She was particularly stirred by the Reverend Charles Wadsworth, whom she first met on a trip to Philadelphia. The rest of the poem, however, does allow us to shed some light on this memorable opening line. In the second stanza, she repeats the pattern, this time rushing up the stairs of childhood towards her marriage. The youthful naivete of the mood of this poem is indicative of the paradox we see here. The Vesuvian face suggests the speaker's sexual release being read into the landscape, and perhaps also the joy on the face of the lover, who remains curiously uncharacterized throughout the poem. The pretty and glittering words suggest the pleasure which a clever woman takes in her speech while being at least partly aware of how much her words hurt those whom she is addressing. Hope is the thing with feathers That perches in the soul, And sings the tune without the words, And never stops at all,And sweetest in the gale is heard; And sore must be the storm That could abash the little bird That kept so many warm.
She regards her earlier pre-marriage state with scorn, implying that she has found her own safety without having gone through a conventional marriage. Here, the first stanza anticipates nights to be spent with a beloved. What happens after death, in immortality? Our closest connection with heaven while we are still alive would be through the death of a near one. Such interpretations probably do not reflect the reality behind these poems. On the biographical level, the poem perhaps reflects Dickinson's resentment of shallow writers who gain undeserved attention. Rather, viewing the snake as a symbol of evil, in addition to seeing it as a sexual symbol, helps us to see how ambivalent is the speaker's attitude toward the snake — to see how she relates to it with a mixture of feelings, with mingled fear, attraction, and revulsion. The speaker rejoices in her preference as if it were an indication of her own superiority.
Seriously, what does that mean? The speaker thinks that she may outlive the owner-lover, but she knows that in some sense she cannot. . The poem seems to return to the world of the living, and it seems to be saying that the lovers' complicated prospects and perhaps their shocking unconventionality make the future so uncertain that they can depend on only the small sustenance of their present narrow communication and tortured hopes. In the third and fourth stanzas, she grows extravagant, imagining how easy it would be to wait out centuries, or to pass through death, if either would bring her the lover. However, they are destined to part, but their parting will intensify their relationship. Sponsor 122 Free Video Tutorials Please I make on youtube such as.
Her being claimed by the owner suggests subservience to a lover as the only way to achieve selfhood — a stereotype of woman's position in society. The poem's domestic images show Dickinson using the everyday and trivial to describe strong emotions, but these images also serve to suggest that the speaker is used to her situation. She attended Mount Holyoke Female Seminary in South Hadley, but only for one year. Thus we see illustrated one of the many thematic overlappings between her love poems and her poems on other subjects. Then, I might have revisited it at twenty five and loved it. Many of her poems relating to passion and love reflect intense anxiety, but we should not stress their possible abnormality any further than the clarification of these poems requires.
The last stanza shows the pursuing sea-lover disregarding the social surroundings. Neither you, nor the coeditors you shared it with will be able to recover it again. He subscribes to no rules and believes a holy world of possibility exists inside and around each of us. The prison is her isolation that cannot hide her dedication. These interpretations are contingent upon my life experiences coloring my readings of this poem.
Literary Devices: Lines 7,8 Parting is all we know of heaven, And all we need of hell. Sponsored Links My life closed twice before its close; It yet remains to see If Immortality unveil A third event to me, So huge, so hopeless to conceive, As these that twice befell. Unlike many of her religiously oriented love poems, this one does no violence to Christian doctrine in its view of life, death, and love. Emily now doubts the small glimmer of hope for love that she expresses in her previous lines. Thus the poet makes the point that it is through this parting that we are able to know anything about heaven. This could explain to the reader a bit about why she was only familiar with heartbreak. Both wildness and luxury are part of a shared, overflowing passion.
However, such psychological speculation should be used carefully in interpreting her poems. It seems to me that obviously Emily Dickinson is speaking of death, but not only our deaths, but the deaths of others as well. Well received because of the depth and widespread appeal of the topics it addresses, this poem tackles the inescapable: life and death, heaven and hell. The descending angels must have brought new friends. If this is the case, the speaker-gun has never really lived and so the owner-lover must outlive her. The tone of the last two lines is somewhat jocular.
I think she suffered a loss, which caused her so much pain that she couldn't imagine anything worse, not even death, which she had yet to experience. The speaker seems to sigh with relief at the end, perhaps reflecting Dickinson's difficulty in dealing with social subjects. Hence, although the poet is still living, it is a life that has already experienced death intimately. The word is an adjective here converted into a noun for a cloth substance too soft to provoke anyone to assault it. Analysis: Lines 5,6 So huge, so hopeless to conceive, As these that twice befell. This has always been one of my favorite poems, as I walk from plank to plank.
Humans are creatures of habit and routine; to draw from experiences in predicting the future is natural. The concentrated last four lines show an overlapping of the physical and the spiritual. The speaker-gun's inability to die will make the owner-lover outlive her. The rhythmic projection of the snake may refer even to the speaker's mental processes, as well as to the snake's actual motion. In this poem, the discerning eye represents the person who sees that going her own way and choosing her own values may lead to the intensest life, whereas choosing what the world calls sense may produce emptiness, or waste, or pretension, all of which are madness to a sensitive person. Perhaps we are to see them displaying their false values at religious services or in condescending acts of charity. This symbolic splitting of woman and sea implies that the woman has detached herself from her husband, and reaps, or faces, special rewards and punishments by herself.