Emily Dickinson

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Emily Elizabeth Dickinson (December 10, 1830 - May 15, 1886) is an American poet.

Dickinson was born in Amherst, Massachusetts. Although some of the leading families with strong ties to his community, Dickinson lived most of his life in closed isolation. After studying at the Amherst Academy for seven years in his youth, he briefly attended the Mount Holyoke Women Seminary before returning to his family home in Amherst. Considered eccentric by the locals, he developed a tendency for white clothing and became famous for his reluctance to welcome guests or, later on, to even leave his bedroom. Dickinson was never married, and most of the friendships between him and others depended entirely on correspondence. Dickinson was a hermit for the last years of his life.

While Dickinson was a productive personal poet, less than a dozen of the nearly 1,800 poems were published during his lifetime. Jobs published during his lifetime are usually altered significantly by the publisher to fit the conventional poetic rules of the day. Dickinson's poem is unique to the era in which he wrote; they contain short lines, usually less titles, and often use oblique verse as well as unconventional capitalization and punctuation. Many of his poems relate to the theme of death and immortality, two repeated topics in a letter to his friends.

Although Dickinson's acquaintance most likely knew his writings, it was not until after his death in 1886 - when Lavinia, Dickinson's sister, discovered the cache of her poems - that the breadth of her work became clear to the public. His first collection of poetry was published in 1890 by personal acquaintances of Thomas Wentworth Higginson and Mabel Loomis Todd, though both severely edit the contents. His complete, and largely unchanged, collection of poems became available for the first time when scholar Thomas H. Johnson published Emily Dickinson's Poems in 1955.

Video Emily Dickinson

Life

Family and younger children

Emily Elizabeth Dickinson was born in a family home in Amherst, Massachusetts, on December 10, 1830, became a prominent family, but not rich. His father, Edward Dickinson is a lawyer at Amherst and the guardian of Amherst College. Two hundred years earlier, his patriline ancestors had arrived in the New World - in the Puritan Great Migration - where they prospered. Paternal grandfather Emily Dickinson, Samuel Dickinson, is one of the founders of Amherst College. In 1813, he built Homestead, a large house on Main Street city, which became the focus of the Dickinson family's life for over a century. Samuel Dickinson's eldest son, Edward, was the treasurer of Amherst College for nearly forty years, serving various terms as State Legislator, and representing the Hampshire district of the United States Congress. On May 6, 1828, he married Emily Norcross of Monson. They have three children:

• William Austin (1829-1895), known as Austin, Aust or Awe
• Emily Elizabeth
• Lavinia Norcross (1833-1899), known as Lavinia or Vinnie

Overall, young Emily is a well-behaved girl. On an extended visit to Monson when he was two years old, Emily Bibi Lavinia described Emily as "very good & very satisfied - She is a very good boy & but a bit of a problem." Aunt Emily also notes the girl's affinity for music and talent especially for the piano, which she calls "the moosic ".

Dickinson attended elementary school in a two-story building on Pleasant Street. His education was "ambitiously classic for a Victorian girl". His father wanted his children well educated and he followed their progress even while on a business trip. When Emily was seven years old, she wrote at home, reminding her children to "go to school, and learn, to tell me, when I get home, how many new things you've learned." While Emily consistently describes her father in a warm way, her correspondence shows that her mother is regularly cold and aloof. In a letter to the believer, Emily writes that she "always runs home to Awe [Austin] when a child, if anything happens to me, she is a terrible mother, but I like her more than nothing."

On September 7, 1840, Dickinson and his sister, Lavinia, began together at Amherst Academy, a former boy school that opened for girls just two years earlier. At about the same time, his father bought a house on North Pleasant Street. Brother Emily, Austin, then describes this large new home as the "home" where she and Emily lead as "lord and lady" while their parents are not there. The house overlooked Amherst's cemetery grounds, described by a local minister as treeless and "forbid".

Teen age

Dickinson spent seven years at the Academy, taking classes in English and classical, Latin, botanical, geological, historical, "mental philosophy," and arithmetic literature. Daniel Taggart Fiske, the headmaster of the time, would then recall that Dickinson was "very intelligent" and "an excellent scholar, exemplary, faithful in all schoolwork". Although he has several terms for illness - the longest was in 1845-1846, when he registered for just eleven weeks - he enjoyed his heavy studies, writing to a friend that the Academy was "very good school".

Dickinson was agitated from a young age by the "deep threat" of death, especially the deaths of those close to him. When Sophia Holland, her second cousin and a close friend, had typhus and died in April 1844, Emily was traumatized. Remembering that incident two years later, Emily wrote that "for me, I must die also if I am not allowed to watch her or even see her face." She became so melancholic that her parents sent her to live with family in Boston to recover. With his health and zeal recovered, he soon returned to Amherst Academy to continue his studies. During this period, he first met people who became friends and lifelong correspondents, such as Abiah Root, Abby Wood, Jane Humphrey, and Susan Huntington Gilbert (who later married Emily's brother, Austin).

In 1845, religious revival occurred in Amherst, producing 46 creeds of faith among Dickinson's comrades. Dickinson wrote to a friend the following year: "I have never enjoyed perfect peace and happiness like a short time in which I felt I had found my savior." He went on to say that it was "his greatest pleasure to communicate alone with the great God & feel that he would listen to my prayers." The experience did not last long: Dickinson never made official statements of faith and attended services regularly for only a few years. After finishing in church, circa 1852, he wrote a poem that opens: "Some people keep the Sabbath going to Church -/I keep it, stay at Home".

During his final year at the Academy, Emily befriended Leonard Humphrey, a popular young principal. After completing his last tenure at the Academy on August 10, 1847, Dickinson began attending Mary Lyon's Mount Holyoke Female Seminary (which later became Mount Holyoke College) in South Hadley, about ten miles (16 km) from Amherst. He was in seminary for only ten months. Though he likes girls in Holyoke, Dickinson does not have a lasting friendship there. The explanation for his brief visit at Holyoke was very different: whether he was in a state of ill health, his father wanted to have him at home, he rebelled against the evangelical spirit that was at school, he did not like a disciplined teacher, or he just missed. Whatever the specific reason for leaving Holyoke, his brother Austin appeared on March 25, 1848, to "bring [him] home at all events". Back in Amherst, Dickinson spends his time with household activities. She takes the cake for the family and enjoys attending local events and activities in a thriving college town.

Initial influence and writing

When he was eighteen, the Dickinson family became friends with a young lawyer named Benjamin Franklin Newton. According to a letter written by Dickinson after Newton's death, he had "with my Father two years, before going to Worcester - in pursuit of his studies, and many in our family." Although their relationship may not be romantic, Newton is a formative influence and would be second in a series of older men (after Humphrey) called Dickinson, assorted, as teachers, mentors or masters.

Newton probably introduced it to William Wordsworth's writings, and his reward for Ralph Waldo Emerson about collected poetry books had a liberating effect. He then writes that he, "named by my Dad's Law of Law, has touched Spring a secret". Newton upholds, believes and recognizes him as a poet. When he died of tuberculosis, he wrote to him, saying that he wanted to live until he achieved the greatness he foretold. The biographer believes that Dickinson's statement in 1862 - "When a little girl, I have a friend, who taught me immortality - but too close, herself - she never returned" - refers to Newton.

Dickinson is known not only with the Bible but also with contemporary popular literature. She may be influenced by Lydia Maria Child's Letters from New York, another gift from Newton (after reading it, she is flushed "This is a book! And there are more of them!"). His brother smuggled a copy of Henry Wadsworth Longfellow's Kavanagh into his house (because his father might disagree) and a friend lent him Charlotte Brontà  «Jane Eyre at the end of 1849. The Effect of Jane Eyre ' can not be measured, but when Dickinson got his first and only dog, Newfoundland, he named it "Carlo" after the character of St. John River Dog. William Shakespeare was also a powerful influence in his life. Referring to his drama, he wrote to a friend, "Why hold any hand besides this?" and to another, "Why is another book needed?"

Adulthood and seclusion

In early 1850, Dickinson wrote that "Amherst lives with the fun of this winter... Oh, this great city!" His high spirits soon turned to melancholy after another death. Amherst Academy head Leonard Humphrey died suddenly due to "brain congestion" at the age of 25 years. Two years after his death, he revealed to his friend, Abiah Root, about his depression:

some of my friends are gone, and some of my friends are sleeping - sleeping in church sleeping - sad night - that is my study hour - my master has gone to rest, and leaves his open book, and his own scholar , make tears come, and I can not brush them; I will not do it if I can, because they are the only honor I can pay to Humphrey who has died.

During the 1850s, Emily's strongest and most loving relationship was with her sister-in-law, Susan Gilbert. Emily finally sent her more than three hundred letters, more than to other correspondents, during their friendship. Susan supported the poet, playing the role of "friend, influence, muse, and the most beloved adviser" whose editorial advice often followed by Dickinson, Sue played a major role in Emily's creative process. "Sue married Austin in 1856 after four years of courtship, even though their marriage was unhappy.Edward Dickinson built a house for Austin and Sue named it Evergreens, standing on the west side of Homestead.There is controversy about seeing Emily's friendship with Susan, according to the point of view first promoted by Mabel Loomis Todd, the old lady of Austin, Emily's messengers usually handle the demand for Sue's affections and the fear of unrequited admiration Todd believes that because Sue is often aloof and uncomfortable, Emily is constantly wounded By what most of the companionship is fervent, however, the idea of ​​a "cruel" Susan - as promoted by her romantic rivals - has been questioned, especially by Sue and Austin's su raising children, with whom Emily is near.

Until 1855, Dickinson did not stray far from Amherst. That spring, accompanied by his mother and sister, he took one of the longest journeys and farthest from home. First, they spent three weeks in Washington, where his father represented Massachusetts in Congress. Then they went to Philadelphia for two weeks to visit family. In Philadelphia, he met Charles Wadsworth, a famous minister of the Presbyterian Church of Arch Street, with which he established strong friendships that lasted until his death in 1882. Although he met only twice after 1855 (he moved to San Francisco in 1862) , he in various ways referred to him as "my Philadelphi", "My Pastor", "my beloved friend on earth" and "My Shepherd from" Little Girl ".

From the mid-1850s, Emily's mother became bedridden with chronic illness until her death in 1882. Writing to a friend in the summer of 1858, Emily said that she would visit if she could leave "home, or mother. went out altogether, lest father would come and miss me, or miss some small actions, which I might forget, should I run away -Mother is as usual.I do not know what to expect from him ". As her mother continued to decline, Dickinson's domestic responsibilities overburdened her and she locked herself inside Homestead. Forty years later, Lavinia stated that because their mother was chronically sick, one of the daughters had to stay always with her. Emily takes this role as hers, and "finds life with her books and nature so much fun, keeps going".

Drawing more and more from the outside world, Emily began in the summer of 1858 what would become an eternal legacy. Reviewing the poem he had written before, he began to make a clean copy of his work, assembling carefully-embossed textbooks. The forty wicked he made from 1858 to 1865 eventually had nearly eight hundred poems. No one was aware of the existence of these books until after his death.

In the late 1850s, the Dickinson were friends with Samuel Bowles, the owner and editor of the Springfield Republic , and his wife, Mary. They visit Dickinson regularly for years to come. During this time Emily sent her over thirty letters and nearly fifty poems. Their friendship produced some of his most intense writings and Bowles published some of his poetry in his journal. It was from 1858 to 1861 that Dickinson is believed to have written a trio of letters that have been called "The Master Letters". These three letters, arranged for an unknown man known simply as "Master," continue to be the subject of speculation and quarrels among scholars.

The first half of the 1860s, after most withdrawing from social life, proved to be the most productive writing period in Dickinson. Modern scholars and researchers are divided as the cause of Dickinson's withdrawal and extreme isolation. When he was diagnosed with a "nervous prosthesis" by a doctor during his lifetime, these days he believes he may be suffering from diseases such as various agoraphobia and epilepsy.

Is "My verse... live? "

In April 1862, Thomas Wentworth Higginson, a literary critic, radical abolitionist, and former minister, wrote a major work for The Atlantic Monthly titled, "Letter to a Young Contributor". Higginson's writings, in which he encourages writers who aspire to "fill your style with life", contains practical advice for those who want to print. Dickinson's decision to contact Higginson points out that in 1862 he contemplated publications and it may become increasingly difficult to write poetry without an audience. Looking for literary guidance that no one close to him can give, Dickinson sent him a letter that reads in full:

Mr. Higginson,
Are you too busy to say if my Ayat is still alive?
The mind is so close - it can not be seen, clearly - and I have no question -
If you think it is breathing - and you have free time to tell me, I should feel a quick thanksgiving -
If I make a mistake - that you dare to tell me - will give me a sincere honor - against you -
I am attaching my name - ask you, if you please - sir - to tell me what is right?
That you will not betray me - no need to ask - because Honor is [ sic ] pawnshop itself -

This highly nuanced and theatrical letter was not signed, but he put his name on the card and put it in an envelope, along with his four poems. He praised his work but suggested that he postpone publishing until he has written longer, unaware that he has appeared in the print media. He assures him that the publication is as alien to him "as the Horizon for Fin", but also proposes that "If fame is mine, I can not avoid it". Dickinson delighted in the dramatic self-characterization and mystery in his letters to Higginson. She said of herself, "I'm small, like a bum, and my hair is thick, like a bur chestnut, and my eyes are like sherry in a glass the guests leave behind." He emphasized his solitary nature, stating that his only true friend is the hill, the sunset, and his dog, Carlo. He also mentions that while his mother is not "concerned for Thought", his father buys his books, but begs him "not to read them - because he is afraid they will change their minds".

Dickinson appreciated his advice, going from calling him "Mr. Higginson" to "My best friend" and signing his letters, "Your Gnome" and "Your Scholar". His interest in his work certainly provided great moral support; Years later, Dickinson told Higginson that he had saved his life in 1862. They corresponded until his death, but his difficulties in expressing his literary needs and the reluctance to enter into cooperative exchanges made Higginson less busy; he did not force him to publish in his subsequent correspondence. Dickinson's own ambivalence to this issue is contrary to the possibility of publication. The literary critic Edmund Wilson, in his review of the Civil War literature, assumed that "with impulse, he would publish it".

White women

In direct contrast to the great productivity that he displayed in the early 1860s, Dickinson wrote fewer poems in 1866. Overridden by personal losses and loss of domestic help, Dickinson may be overcome to maintain his previous writing levels. Carlo died during this time after giving sixteen years of friendship; Dickinson never had another dog. Although nine-year-old housekeeper Margaret O Brien had married and left the Rest Home in the same year, it was not until 1869 that her family brought permanent housekeeper, Margaret Maher, to replace the old one. Emily is once again responsible for the tasks, including roasting, where she excels.

Around this time, Dickinson's behavior began to change. He did not leave the Rest House unless absolutely necessary and as early as 1867, he began speaking to visitors from the other side of a door rather than speaking to them directly. He gained a local reputation; he is rarely seen, and when he is, he is usually dressed in white. One article of Dickinson's surviving outfit is a white cotton dress, which may be sewn around 1878-1882. Some of the locals who exchanged messages with Dickinson over the last fifteen years had seen him in person. Austin and his family began to protect Emily's privacy, deciding that she would not be the subject of discussions with outsiders. Regardless of his physical alienation, however, Dickinson is socially and expressively active through what makes two-thirds of his letters and letters alive. When visitors come to Homestead or Evergreens, he often leaves or sends small gifts of poetry or flowers. Dickinson also has a good relationship with the children in his life. Mattie Dickinson, the second child of Austin and Sue, later said that "Aunt Emily stood for pleasure." MacGregor (Mac) Jenkins, the son of a family friend who later wrote a short article in 1891 called "A Child's Recollection of Emily Dickinson ", think of it as always offering support to the children of the environment.

When Higginson urged him to come to Boston in 1868 so they could officially meet for the first time, he declined, writing: "Could it be fun to comfort you to come as far as Amherst I should be very happy, but I do not cross my Father's Land to Home or town anywhere ". It was not until he came to Amherst in 1870 that they met. Then he refers to him, in his most detailed and vivid physical notes on the record, as "a plain little woman with two fine ribbons of reddish hair... in a very clear white & perfectly clean white & blue scarf worst wool. "He also felt that he had never" with anyone who drained my nervous power so much, without touching him, he pulled from me, I'm glad I did not live near him. "

Posies and poesies

Scholar Judith Farr notes that Dickinson, during his lifetime, "is known more widely as a gardener, perhaps, than as a poet". Dickinson studied botany from the age of nine, and along with his sister, took care of the garden at Homestead. During his lifetime, he collected a collection of pressed plants in a sixty-six-page herbarium page. It contains 424 specimens of flowers that he collects, is classified, and labeled using the Linnaean system. The Homestead Park is renowned and admired locally in its day. It has not survived but the effort to revive has begun. Dickinson does not keep a garden note or a list of plants, but a clear impression can be formed from the letters and memories of friends and family. His nephew, Martha Dickinson Bianchi, remembers "lily-of-the-valley and pansy carpets, sweetpeas platoon, hyacinth, enough in May to provide all summer dyspepsia bees.There is a ribbon of peony hedges and drift daffodils in season, marigolds to distract - butterfly utopia ". In particular, Dickinson cultivated exotic floral flowers, writing that he "can inhabit the Spice Islands simply by crossing the dining room to the conservatory, where the plants hang in the basket". Dickinson often sends his friends bunches of flowers with embedded verses, but "they appreciate more nymphs than poetry".

Next life

On June 16, 1874, when in Boston, Edward Dickinson suffered a stroke and died. When a simple funeral was held in the front hall of Homestead, Emily stayed in her room with the door open. He also did not attend the funeral on June 28th. He wrote to Higginson that "His father's heart is pure and terrible and I think nothing else like it exists." A year later, on June 15, 1875, Emily's mother also suffered a stroke, which resulted in partial lateral paralysis and memory impairment. Mourning an increase in her mother's physical and mental demands, Emily writes that "The house is very far from the House".

Lord Otis Phillips, an elderly judge at the Massachusetts Supreme Judicial Court of Salem, in 1872 or 1873 became Dickinson's acquaintance. After the death of God's wife in 1877, her friendship with Dickinson may be the romance of the last life, even though their letters are destroyed, this is supposed. Dickinson finds the soul of a relative in God, especially in terms of shared literary interests; some of the surviving letters contain several quotes by Shakespeare, including plays of Othello, Antony and Cleopatra, Hamlet and King Lear. . In 1880 he gave Cowden Clarke Complete Deal to Shakespeare (1877). Dickinson writes that "While others go to the Church, I go to Church, because are you not my Church, and do we not have Hymns that no one knows except us?" He calls it "my beautiful Salem" and they write to each other religiously every Sunday. Dickinson is looking forward to this day; a fragment of a living letter written by his country that "Tuesday is a very depressed day".

After a critical illness for several years, Judge Lord died in March 1884. Dickinson referred to it as "our newest Lost". Two years before this, on April 1, 1882, "Shepherd from 'Little Girl'hood" Dickinson, Charles Wadsworth, has also died after a long illness.

Reject and die

Although he continued to write in his final years, Dickinson stopped editing and arranging his poems. He also demanded the promise of his sister, Lavinia to burn the paper. Lavinia, who never married, remained at Homestead until her own death in 1899.

The year 1880 was a difficult time for the remaining Dickinson. Separated from his wife, Austin fell in love in 1882 with Mabel Loomis Todd, wife of Amherst College lecturer who recently moved to the area. Todd never met Dickinson but was attracted to him, referring to him as "a woman whom people call Myth ". Austin distanced himself from his family because his affair continued and his wife became sick from sadness. Dickinson's mother died on November 14, 1882. Five weeks later, Dickinson wrote, "We were never intimate... when she was our Mother - but Mining in the same Land met the tunnel and when she became our Child, Affection came." The following year, Austin and Sue's third and youngest son, Gilbert - Emily's favorite - died of typhoid fever.

When death succeeds death, Dickinson finds his world overturned. In the autumn of 1884, he wrote that "The dye is too deep for me, and before I can lift my Heart from one, the others have come." That summer she had seen "big darkness coming" and collapsed while baking in the kitchen. He remained unconscious until late at night and the weeks of poor health followed. On November 30, 1885, his weakness and other symptoms were so alarming that Austin canceled a trip to Boston. She was locked up in her bed for several months, but managed to deliver the last letter in the spring. What counts as his last letter was sent to his cousin Louise and Frances Norcross, and simply read: "Little Cousin, Called Back, Emily". On May 15, 1886, after several days of worsening symptoms, Emily Dickinson died at the age of 55 years. Austin wrote in his diary that "the day was horrible... he stopped breathing a horrible moment before the whistle [afternoon] was heard for six." Dickinson's chief physician gave the cause of death as Bright disease and its duration as two and a half years.

Dickinson is buried, placed in a white coffin with vanilla-scented heliotrope, Lady's Slipper orchids, and a blue "blue field node" placed around it. The funeral service, held at the Homestead library, is simple and short; Higginson, who had met him only twice, read "No Coward Soul Is Mine," a poem by Emily BrontÃÆ'Â yang who became Dickinson's favorite. At Dickinson's request, "his coffin is not moved but carried through a buttercup field" to be buried in a family plot in West Cemetery on Triangle Street.

Maps Emily Dickinson

Publications

Despite Dickinson's productive writing, less than a dozen of his poems were published during his lifetime. After his younger sister, Lavinia, found a collection of nearly 1,800 poems, Dickinson's first volume was published four years after his death. Until Thomas H. Johnson published Dickinson Complete Poetry in 1955, Dickinson's poems were highly edited and changed from their version of the manuscript. Since 1890, Dickinson continues to print.

Contemporary

Some of Dickinson's poems appeared in Samuel Bowles' Springfield Republican between 1858 and 1868. They were published anonymously and heavily edited, with deliberate punctuation and formal titles. The first poem, "No one knows this little rose", may have been published without Dickinson's permission. The Republican also published "A Fellow Narrow in Grass" as "The Snake", "Safe in Their Alabaster Chamber -" as "The Sleeping", and "Blazing in the Gold and Quenching in Purple" as "Sunset". Poem "I think liquor is never brewed -" is an example of an edited version; the last two lines in the first verse are completely rewritten.

In 1864, several poems were changed and published in Drum Beat, to raise funds for medical care for Union troops in the war. Another appeared in April 1864 at the Brooklyn Daily Union.

In the 1870s, Higginson showed Dickinson poetry to Helen Hunt Jackson, who happened to be in the Academy with Dickinson when they were girls. Jackson was heavily involved in the publishing world, and successfully convinced Dickinson to publish his poem "The sweetest counted success" anonymously in a volume called A Masque of Poets . Poetry, however, is altered to agree with contemporary tastes. It was the last poem published during Dickinson's lifetime.

Posthumous

After Dickinson's death, Lavinia Dickinson kept her promise and burned most of the poet's correspondence. However, significantly, Dickinson left no instruction about 40 notebooks and loose sheets collected in locked crates. Lavinia recognizes poetry values ​​and becomes obsessed with seeing them published. He turned first to his brother's wife and then to Mabel Loomis Todd, his brother, for help. A feud ensued, with the manuscripts split between the houses of Todd and Dickinson, preventing the full publication of Dickinson's poetry for more than half a century.

The first volume of Dickinson's Poems, edited together by Mabel Loomis Todd and TW Higginson, appeared in November 1890. Although Todd claimed that only important changes were made, the poems were widely edited to match punctuation and capitalization to the standard 19th century, with occasional rewordings to reduce the obliquity of Dickinson. The first volume of 115 poems is an important and financial success, through eleven prints in two years. Poetry: The Second Series followed in 1891, runs up to five editions in 1893; the third series appeared in 1896. One reviewer, in 1892, wrote: "The world will not be satisfied until every piece of writing, letters and literature has been published".

Nearly a dozen new editions of Dickinson's poetry, whether containing unpublished or recently edited poems, were published between 1914 and 1945. Martha Dickinson Bianchi, Susan's daughter and Austin Dickinson, published a collection of her aunt's poems based on a script she held. family, while Mabel Loomis Todd's daughter, Millicent Todd Bingham, publishes collections based on manuscripts held by her mother. This poignant edition of Dickinson's poetry, often different in order and structure, ensures that the poet's work is in the public eye.

The first scientific publication appeared in 1955 with a complete new three-volume series edited by Thomas H. Johnson. Forming the foundation of Dickinson's later scholarship, Johnson variorum brought all the poems known to Dickinson together for the first time. Johnson's goal was to present the poems almost as much as Dickinson had left them in his manuscripts. They are not titled, only numbered in near-chronological sequences, full of irregular lines and capital letters, and often very elliptical in their language. Three years later, Johnson edited and published, along with Theodora Ward, a complete collection of Dickinson letters, was also presented in three volumes.

In 1981, The Manuscript Books of Emily Dickinson was published. Using physical evidence from the original work, the poem is intended to be published in the original for the first time. Editor Ralph W. Franklin relies on stain marks, needle punctures and other clues to rearrange the poet's package. Since then, many critics have debated the thematic unity in these small collections, believing that composing poetry is more than chronological or comfortable.

Dickinson biographer Alfred Habegger writes in [i] My War Postponed in Book: Emily Dickinson's Life (2001) that "The consequence of the poet's failure to disseminate his work in a faithful and regular manner is still very much with us".

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Poems

Dickinson poetry generally falls into three different periods, the works in each period have the same general character of the same.

• Pre-1861 . These are often conventional and sentimental. Thomas H. Johnson, who later published Emily Dickinson's Poetry, was able to date only five poems of Dickinson before 1858. Two of them were fake duplications performed in an ornate and playful style, and the other two were lyrics conventional, one of which is about losing his brother Austin. The fifth poem, which begins "I have Bird in the Spring", expressed his sadness over the loss of the dreaded friendship and sent to his friend Sue Gilbert.
• 1861-1865 . This is his most creative period - these poems represent the most passionate and creative work. Johnson estimated that he composed 86 poems in 1861, 366 in 1862, 141 in 1863, and 174 in 1864. He also believed that during this period he fully developed the theme of his life and mortality.
• Post 1866 . It is estimated that two-thirds of the entire body of his poetry was written before this year.

Structure and syntax

The widespread use of dashes and unconventional capitalization in the Dickinson manuscript, as well as strange vocabulary and imagery, combine to create a work that is "much more diverse in style and form than usual". Dickinson avoids pentameters, choosing more common for trimeter, tetrameter and, less often, dimeter. Sometimes the use of these meters is regular, but often it is irregular. The most commonly used regular form is the ballad stanza, the traditional form divided into quatrains, using the tetrameters for the first and third rows and the trimeters for the second and fourth, while the second and fourth rows (ABCB). Although Dickinson often uses the perfect poem for lines two and four, he also often uses slant rhymes. In some of his poems, he varies yards from the traditional ballad stanza by using trimeters for lines one, two and four, while using only tetrameters for the third row.

Since many of his poems are written in traditional ballad stanzas with the ABCB rhyme scheme, some of these poems can be sung to fit popular melodies of popular folk songs and hymns that also use general gauges, using alternate lines of iambic tetrameter and iambic trimet. Common examples of the songs are "O Little Town of Bethlehem" and "Amazing Grace".

The Dickinson scholar and poet Anthony Hecht finds resonance in Dickinson's poetry not only with singing and singing forms but also with psalms and puzzles, citing the following example: "Who is the East?/The Yellow/Who Could Purple if he could? Who brings the Sun./Who is the West?/The Purple Man/Who might be Yellow if He can/It lets him out again. "

The late 20th century scholars were "deeply attracted" by the use of punctuation and lines (line and line usage) of Dickinson's highly individualized. Following the publication of one of the few poems that appeared in his lifetime - "The narrow associate in Grass", published as "The Snake" at Republican - Dickinson complained that the punctuation was edited (a comma and substitution added full stop for the original dashboard) changes the meaning of the whole poem.

As Farr pointed out, "the snake immediately noticed you"; Dickinson's version captures the "breathiness" of the encounter; and Republican punctuation ' gives "the lines more general". With an increasing focus on the structure and syntax of Dickinson, there is an appreciation that they are "esthetic based". Although the 1955 Johnson poetry edition is relatively unchanged from the original, scholars then criticized it for deviating from the style and layout of the Dickinson manuscript. The difference is meaningful, the scholar insists, can be drawn from various lengths and corners of the dash, and different text arrangements on the page. Several volumes have attempted to make the Dickinson handwritten set using many typographic symbols with varying lengths and angles. R. W. Franklin's 1998 edition of the variorum of poetry provides alternate words for those chosen by Johnson, in more limited editorial intervention. Franklin also used long-range stripes to approach the line of the manuscript more closely.

Main theme

Dickinson did not leave any formal statement of his aesthetic intent and, because of the diversity of the theme, his work did not fit any genre. He has been considered, along with Emerson (whom Dickinson recounts as a follower), as a Transcendentalist. However, Farr disagrees with this analysis, saying that Dickinson "endlessly measures the mind... deflating Transcendental altitude". Regardless of the main themes discussed below, Dickinson's poetry often uses humor, play of words, irony and satire.

Flowers and gardens : Farr notes that "Dickinson poems and letters are almost completely concerned about flowers" and that the innuendo of the garden often refers to "imaginative realms... where flowers [often] become symbols of action and emotion. " He attributes several flowers, such as gentian and anemone, to youth and humility; others with caution and insight. His poems are often sent to friends with letters and accompanying chants. Farr notes that one of the earlier Dickinson poems, written around 1859, seems to "unite his own poems with figures": "My Nosegay for CaptivesÃ, -Ã,/DimÃ, - a hoping long eye" Fingers refused to pick, Ã,/Patient until Heavenà ¢ â,¬â "¢ s/To that end, if they sh'd whisper/From morning and moorÃ, -Ã,/They no other duty, Ã,/And me, no other prayers".

Master's Poetry : Dickinson left many poems addressed to "Signor", "Sir" and "Master", characterized as Dickinson's "lover forever". These confessional poems often "bury in self-inquiry" and "horrible for the reader" and usually take their metaphor from the text and paintings of Dickinson's day. The Dickinsons themselves believe these poems are addressed to actual individuals but these views are often rejected by experts. Farr, for example, argues that Master is an unachievable united figure, "human, with certain characteristics, but like a god" and speculates that Master may be a "kind of Christian inspiration."

Morbidity : Dickinson's poem reflects "early and lifelong attractiveness" with illness, death and death. Perhaps surprising for an old maiden in New England, her poems allude to death with many methods: "crucifixion, drowning, hanging, suffocation, freezing, premature burial, shooting, stabbing and guillotinage". He reserves his most penetrating insights into the "blows of death directed by God" and "funeral in the brain", which is often reinforced by images of thirst and hunger. Dickinson's scholar Vivian Pollak considers these references to be an autobiographical reflection of Dickinson's "hungry persona", an outward expression of his needy image as small, thin and fragile. Dickinson's most psychologically complex poem explores the theme that the loss of hunger for life leads to self-mortality and puts it at "an interface of murder and suicide".

Gospel Poems : Throughout his life, Dickinson wrote poems that reflect the preoccupation with the teachings of Jesus Christ and, indeed, much to him. He emphasized the contemporary accuracy of the gospel and re-created them, often with "everyday language and American language". Scholar Dorothy Oberhaus found that "an important feature that unites Christian poets... is the concern of those who respect the life of Jesus Christ" and argues that Dickinson's deep structure places him in a "poetic tradition of Christian service" with Hopkins, Eliot and Auden. In Nativity's poem Dickinson combines light and intelligence to review the ancient theme: "The Savior must be a benign Gentleman To come all day long/For small companions/Paths to Bethlehem/Because He and I are Boys/Are flattened, but for that's two million Miles - ".

Undiscovered Continent : Academician Suzanne Juhasz assumes that Dickinson sees mind and spirit as a visible place and that during his life he lives in them. Often, this very private place is called an "undiscovered continent" and a "spiritual landscape" and adorned with natural imagery. At other times, imaging is darker and forbid - castle or prison, complete with corridors and rooms - to create a "self" residence where one lives with another. An example that brings together many of these ideas is: "I am from Myself - to dispel-me/I ArtÃ, -/Impregnable My Fortress/Unto All HeartÃ, -Ã,/But since I - attacked MeÃ, -Ã,//How am I peaceÃ,/Except with subjecting/Awareness./And because We mutual Monarch/How is this/Except by AbdicationÃ, -Ã,/MeÃ, - of Me? ".

Reception

The surge in posthumous publications gave Dickinson's poetry the first public exposure. Supported by Higginson and with good notice from William Dean Howells, an editor of Harper's Magazine, the poem received mixed reviews after it was first published in 1890. Higginson himself stated in the preface to the first edition of Dickinson's Work published that the quality of poetry "is a great understanding and understanding", although "without proper control and rigidity" that the publishing experience during its lifetime may have been given. His opinion that his works are "incomplete and unsatisfactory" will be echoed in the essay of New Criticism in the 1930s.

Maurice Thompson, who was the literary editor of The Independent for twelve years, noted in 1891 that his poetry has "a strange mixture of rare individuality and originality". Some critics praised Dickinson's efforts, but disagreed with his unusual non-traditional style. Andrew Lang, an English writer, rejected Dickinson's work, which stated that "if it were to exist at all, it must have a true form and grammar, and must rhyme as he follows poetry, the wisdom of the times and human nature insist on so many ". Thomas Bailey Aldrich, a poet and novelist, both dismissed Dickinson's poetic technique in The Atlantic Monthly in January 1892: "It is very clear that Miss Dickinson has a very unusual and strange fantasy. by the mysticism of Blake, and strongly influenced by Emerson's behavior... But the inaccuracies and non-existence of him-versicles are fatal... an eccentric, dreamy, half-educated outside-of-the-way New England village (or at anywhere) can not with impunity set against the law of gravity and grammar ".

Critical attention to Dickinson's poetry is somewhat from 1897 to early 1920s. At the beginning of the 20th century, interest in poetry became wider in scope and some critics began to regard Dickinson as essentially modern. Instead of seeing Dickinson's poetic style as a result of his lack of knowledge or skills, modern critics believe that artistically conscious irregularities. In the 1915 essay, Elizabeth Shepley Sergeant called the poet an "audacious" inspiration and named it "one of the most boring rarest flowers in New England". With the growing popularity of modernist poetry in the 1920s, Dickinson's failure to conform to the form of 19th century poetry is no longer surprising or unpleasant for a new generation of readers. Dickinson was suddenly referred to by various critics as a great female poet, and heretical sects began to form.

In the 1930s, a number of New Critics - among them R. P. Blackmur, Allen Tate, Cleanth Brooks and Yvor Winters - rated the importance of Dickinson's poetry. As criticized by Roland HagenbÃÆ'¼le, "affirmative teaching and their prohibitions have particular relevance to Dickinson's scholarship". Blackmur, in an attempt to focus and clarify the main claims for and against the greatness of the poet, wrote in an important 1937 essay: "... he is a personal poet who writes as tirelessly as some women cook or knit. and cultural difficulties of his day propelled him to poetry instead of antimacassars... He came... at the right time for one kind of poetry: an eccentric sophisticated vision poem. "

The second wave of feminism creates greater cultural sympathy for him as a female poet. In the first collection of critical essays on Dickinson from a feminist perspective, he is heralded as the greatest female poet in the English language. Past biographers and theorists tend to separate Dickinson's role as a woman and a poet. For example, George Whicher wrote in his 1952 book Emily Dickinson's Critical Biography, "Perhaps as a poet [Dickinson] can find the fulfillment he has missed as a woman." Feminist criticism, on the other hand, states that there is a necessary and strong connection between Dickinson as a woman and a poet. Adrienne Rich theorizes in Vesuvius at Home: The Power of Emily Dickinson (1976) that Dickinson's identity as a female poet brings his power: "[he] chooses his solitude, knowing that he is extraordinary and knows what he needs... He carefully chooses his society and controls the disposal of his time... not eccentric or archaic; he is determined to survive, use his powers, to practice the necessary economy. "

Some scholars question the poet's sexuality, theorize that many letters and poems dedicated to Susan Gilbert Dickinson show the lesbian romance, and speculate on how this might have influenced his poetry. Critics like John Cody, Lillian Faderman, Vivian R. Pollak, Paula Bennett, Judith Farr, Ellen Louise Hart, and Martha Nell Smith argue that Susan is the center of erotic relationships in Dickinson's life.

Legacy

At the beginning of the 20th century, Martha Dickinson Bianchi and Millicent Todd Bingham maintained the achievement of Emily Dickinson alive. Bianchi promotes Dickinson's poetic achievement. Bianchi inherited The Evergreens as well as copyright to her aunt's poetry from her parents, published works such as Emily Dickinson Face to Face and Letters of Emily Dickinson, sparking public curiosity about her aunt. The Bianchi book does legend about his aunt in the context of family tradition, personal recollection and correspondence. In contrast, Millicent Todd Bingham takes a more objective and realistic approach to the poet.

Emily Dickinson is now considered a strong and persistent figure in American culture. Although much of the early acceptance concentrated on the eccentric and remote nature of Dickinson, he has been widely recognized as an innovative proto-modernist poet. In early 1891, William Dean Howells wrote that "If nothing comes out of our lives, but this strange poem, we should feel that in the work of Emily Dickinson, America, or New England, has made a peculiar addition to the world literature, can be left out of that note. "Critic Harold Bloom has put him with Walt Whitman, Wallace Stevens, Robert Frost, TS Eliot and Hart Crane as great American poets, and in 1994 enrolled them among 26 major authors of Western civilization.

Dickinson is taught in American literature and poetry classes in the United States from high school to college. His poetry is often anthologized and has been used as a text for art songs by composers such as Aaron Copland, Nick Peros, John Adams and Michael Tilson Thomas. Some schools have been established in its name; for example, Emily Dickinson Elementary School is in Bozeman, Montana, Redmond, Washington, and New York City. Several literary journals - including The Emily Dickinson Journal, Emily Dickinson International Society's official publication - have been established to examine his work. The 8 cent commemorative stamps in honor of Dickinson were released by the United States Post Office on 28 August 1971 as the second stamp in the series "American Poets". The one woman drama titled The Belle of Amherst first appeared on Broadway in 1976, winning several awards; it was later adapted for television.

Herbarium Dickinson, now housed at the Houghton Library at Harvard University, was published in 2006 as Emily Dickinson's Herbarium by Harvard University Press. The original work was compiled by Dickinson during his years at Amherst Academy, and consists of 424 pressed specimens from plants arranged on 66 pages of bound albums. The facsimile of digital herbaria is available online. The Special Collection Library Amherst Jones Library has an Emily Dickinson collection composed of about seven thousand items, including poems and original letters, family letters, scientific articles and books, newspaper clippings, theses, plays, photographs, contemporary art, and prints. The Archives and Special Collections at Amherst College have a large collection of Dickinson manuscripts and Dickinson's letters and locks and genuine lips from the only positively identified image of the poet. In 1965, in recognition of Dickinson's dignity as a poet, Homestead was bought by Amherst College. Opened to the public for a tour, and has also served as a faculty residence for many years. The Emily Dickinson Museum was created in 2003 when the Evergreens ownership, which had been occupied by the Dickinson family heir until 1988, was transferred to college.

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Modern influences and inspirations

The life and work of Emily Dickinson has been a source of inspiration for artists, especially for feminist-oriented artists, from various mediums. Some important examples are as follows:

• The feminist artwork , by Judy Chicago, was first exhibited in 1979, featuring a venue setting for Dickinson.
• Jane Campion's The Piano and her novelist (co-authored by Kate Pullinger) are inspired by Emily Dickinson's poems and novels by the Bronte Sisters.
• A character who is a literary scholar at a fictional New England college in a comic book novel by Pamela Hansford Johnson Night and Silence Who's Here? intends to prove that Emily Dickinson is a dipsomaniac addict. His obsession at the expense of his work.
• The 2016 A Quiet Passion by Terence Davies is a biography of Dickinson, in which Cynthia Nixon acts as a poet.

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Translation

Emily Dickinson's poems have been translated into various languages ​​including French, Spanish, Farsi, Kurdish, and Russian. Some examples of this translation are as follows:

• The Queen of Bashful Violets , Kurdish's translation by Madeh Piryonesi was published in 2016.
• French translation by Charlotte MelanÃÆ'§on which includes 40 poems.
• Farsi Translation: The three translations of Farsi Emily Dickinson are available from Saeed Saeedpoor, Madeh Piryonesi, and Okhovat.

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See also

• List of poems Emily Dickinson

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References

Note

Poems edition

• Franklin, R. W. (ed.). 1999. Emily Dickinson's Poems . Cambridge: Belknap Press. ISBN 0-674-67624-6.
• Johnson, Thomas H. (ed.). 1960. Emily Dickinson's Complete Poem . Boston: Little, Brown & amp; Co.

Secondary sources

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Further reading

Archive source

• Emily Dickinson Papers, 1844-1891 (3 microfilm reels) is housed at the Sterling Memorial Library at Yale University.

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External links

• Emily Dickinson in Curlie (based on DMOZ)
• The work by Emily Dickinson in Project Gutenberg
• Works by or about Emily Dickinson in the Internet Archive
• Works by Emily Dickinson on LibriVox (public domain audiobook)
• Dickinson Electronic Archive
• Emily Dickinson Archive
• Emily Dickinson poems and texts at the Academy of American Poets
• Emily Dickinson's profile and poetry, including audio files, at the Poetry Foundation.
• Emily Dickinson Lexicon
• Emily Dickinson in Modern American Poetry
• Emily Dickinson International Society
• The Emily Dickinson Museum The Homestead and Evergreens, Amherst, Massachusetts
• Emily Dickinson at Amherst College, Amherst College Archives, and Special Collections
• Emily Dickinson's collection at Houghton Library, Harvard University
• Emily Dickinson Papers, Galatea Collection, Boston Public Library

Source of the article : Wikipedia