Christina+Sun

Christina's Project





2. [|http://www.poetryfoundation.org/bio/emily-dickinson#about]
 * Sources:** 1. Everyman's Library Pocket Poets, First. //Dickinson//. New York: Alfred A Knopf, Inc, 1993.

“It troubled me as once I was” reflects Dickinson’s questioning of the meaning of life—both as a child, and in adulthood. From a young age, she wondered how “an Atom–fell–And yet the Heavens–held–”, revealing the naïveté of her youth (3-4). She couldn’t understand how the sky “weighted the most–by far–”, and still “‍‍‍‍‍stood” without falling (5-6). Although these thoughts seem simple and childish, they also reveal a deeper, intellectual side to Dickinson. She’s not satisfied with mere facts (the sky is blue, it stays where it is), but‍ wanted to understand //why// the sky remains in place ‍, and //why// it doesn’t fall on her. Her reference to “Giants” could refer to adults who may look like giants to children from their height. The “Giants”, along with her other childish diction in the first two stanzas reinforce the innocence of her youth as they lack the understanding and maturity of adults. Dickinson handles parallelism effectively, comparing life dilemmas between childhood and adulthood. By the third stanza, she breaks off into a more mature tone, recognizing “Life sent” her “larger problems” than “Why isn’t the sky falling?” to occupy her thoughts (9-10). She also mentions “Algebra” to reference more “grown-up” problems as opposed to the ones from her youth to continue the idea of her maturing throughout life. However, by ending with “Why Heaven did not break away– And tumble– Blue– on me–”, Dickinson adds a twist of irony since she had supposedly moved on to more “mature” themes (15-16). The concluding line completely undermines everything she’s said in the third and fourth stanzas, suggesting she still does not fully comprehend life and hasn’t solved the other problems that perplexed her as a child. Dickinson’s use of the dashes is present in nearly every single one of her poems. This tool is extremely useful when it comes to emphasizing ‍‍‍‍‍an important concept, and adding a set rhythm to pace the audience. || Regarding “Hope is the thing with feathers”, Dickinson explores hope as a tangible object, comparing it to a bird that almost never leaves the soul. The metaphor states hope “sings the tune”, to remind its host to not lose faith (3). Its wordless tune “never stops at all”, serving as a constant reminder as it sheds light during the darkest of times (4). She also mentions how hope sounds “sweetest” when heard “in the gale”, meaning it is felt the strongest during difficult situations. Also, the “storm”, or any form of negativity, must be very powerful to “abash the little bird” that has “kept so many warm” (5-8). Hope is a very influential force that almost always gets back on its feet after being knocked down. However, in order to be completely destroyed, it must be annihilated by a “storm” or something equally destructive. Furthermore, Dickinson hears hope’s tune in the “chilliest land” (9), referring to the fact hope can be heard anywhere—especially when it seems the circumstance is desperate. Hope can also be present in the “strangest sea”, suggesting even when a person is confused about a situation, and is unaware of his or her surroundings, hope is there (10). The tone shift in the last two lines, “Yet, never, in extremity, it asked a crumb of me”, reflects upon hope’s unconditional support (11-12). Nothing needs to be done to maintain hope, or to make hope stronger—it is always present to lend a hand whenever needed. It’s also important to note Dickinson kept the poem in the present tense, further supporting the idea hope never goes away. || Dickinson questions who really values success by pinpointing the opinions of those who //are// successful against those who aren’t. She argues those who “ne’er succeeded” count success “sweetest” (1-2). People who don’t have the privilege of owning success are able to truly appreciate it when they finally come across it. On the other hand, those who are bestowed with success take it for granted and don’t understand its full value. Similarly, Dickinson goes ahead and extends her message to those who don’t see food as a necessity to those who starve. She claims only people who are in “sorest need” can “comprehend a nectar” (3-4). Nectar is a luxury—it’s one of the sweetest substances on the planet. To compare who would find the nectar more compelling, a wealthy person in the United States, or a man in some third world country that’s on the brink of starvation is almost humorous. Only those who are starving can fully savor the sweetness and vividly remember the taste for the rest of their life. In the second stanza, Dickinson introduces a battle scene in which “not one” soldier in the army “who took the flag” can “tell the definition” of “victory” (5-8). Just as her previous metaphors stated, people who possess success cannot understand its true value. Only the soldiers who lay “defeated, dying” can hear the “distant strains of triumph burst agonized and clear!” (9-12). Even as the defeated soldiers are dying, they’re able to recognize the pride and worth behind victory since they aren’t victorious themselves. However, can anyone //truly// understand the value of success? Since those who //do// have success taken for granted, those who //aren’t// in possession of it can never really understand it since they lack the experience. This is similar to dare I say. . . a Catch-22. || Between the exploration of romantic love and friendly love, Dickinson paints a vivid picture of the unnoticed, burning desire we all know too well. In “Again—his voice is at the door”, a visitor greets the speaker, causing her to “feel the old //Degree//”, referring to the raise of her temperature as she blushes when she recognizes his voice (2). She takes a “//flower//” as she goes to him, which symbolizes love and romance, hoping it will “//justify//” her face and influence how he views her (5-6). She wants him to associate her with the flowers and give it a romantic connotation since he “never //saw//” her “//in this life//” and wants to “//surprise// his eye” (7-8).She isn’t satisfied with the friendly relationship she has with her love interest; she wants more. When she finally meets him at the door, she “look[s] on all this world //contains//”, which is “//Just his face//—nothing more!” (11-12). The speaker is so infatuated with this man, she sees nothing but him. He is her whole world. Dickinson mentions being “//Alone//—if //Angels// are ‘alone’” in the sixth stanza to emphasize the speaker’s passion for her love when they spend time together. She feels they are like “//Angels//” who “//try// the //sky//” whenever they are “alone”. She feels like she’s in Heaven whenever she’s with him. By the final stanza, she longs to return to that day, stating in order “to live that hour—//again//”, she’d give the “//Purple//—//in// [her] //Vein//”, revealing she would give anything, her blood, her life, to be with him again (26-27). However, she is tired of this one-sided love and decides if she sees him again, “//He// must //count the drops//—//himself//” and understand her “//price// for //every stain//!” (28-29). She’s clearly endured a lot of pain from his lack of romantic interest in her and knows she cannot be around him unless he understands her feelings for him. As usual, Dickinson utilizes the dashes well, keeping a steady tempo throughout the poem unless something needs to be specifically stressed. However, she introduces a new tool to her writing: italicization. Nearly half of the words in the entire poem are italicized. These words hold a great significance to the poem, stressing the speaker’s raw, true feelings for her love. || Dickinson chooses a condescendingly detached tone in her poem, “The soul selects her own society”, to convey the stolid, stubbornness of the soul. She kicks off the first stanza by bluntly stating the soul “shuts the door” immediately after “select[ing] her own society” (1-2). Dickinson portrays the human race to have a one-track mind that, once after picking other souls we want to be around, completely shuts off the “divine majority” , everyone else, from “obtrude[ing] no more”, or getting close with them (3-4). She points out although we live in a world with billions of people, we only choose a select few to be true friends, to share our secrets with, and to always keep in touch with even if the years create an emotional and physical distance. Dickinson continues to emphasize our tenacity by stating nothing can change the soul’s decision—not a “chariot pausing at her low gate”, not even “an emperor” bowing down “upon her mat” (5-8). Chariots are a symbol of royalty and power, as well as the emperor, yet, the soul refuses to associate with them because they don’t meet her standards. She’s already chose her own society; nothing will sway her mind. Such applies especially to love. People are known to “choose one” other soul “from an ample nation”, and then “close the valves” of any other option “like stone” (9-12). When people get married, they vow to love that one other person through sickness and in health, for better or for worse, until death does them part. There is utterly no other human being in the world but those two when they make the commitment to be together forever. Nothing can change their minds—it’s set in stone. || Spring symbolizes a new start—a fresh beginning that transitions from the dull and dead of winter into a new light. Such applies to adulthood. Within the poem, “I dreaded that first Robin, so”, Dickinson describes her aversion towards maturity by focusing her reluctance on the approaching spring. Throughout the poem, Dickinson conveys a sense of immature sadness through her specific diction. She not only didn’t want to see that “first Robin”, but she “dreaded” it “so”, the “Pianos in the Woods” didn’t simply overcome her, but had the “power” to “mangle” her. Even the Daffodils, bright yellow, lovely flowers would not touch her, but they would “pierce” her, and she didn’t just dislike the bees’ arrival, but she “could not bear” it. The speaker chose these words specifically to translate her repugnance in transitioning into adulthood. She’s afraid something as harmless as the “Daffodils” will turn her into someone she isn’t by “pierc[ing]” her “with a fashion so foreign to” her “own”. She dislikes change, which can be clearly viewed through her ability to make something fragile seem domineering. She also personifies these “threats”, making them appear even more intimidating as they seem to force her into adulthood when she is not ready. However, by the sixth stanza, the shift in tone reveals the speaker seems to accept defeat of spring (adulthood’s) arrival, by understanding “they’re here, though” and even mentions how spring’s creatures treat her with respect, by “salut[ing]” her as they go, honoring the “Queen of Calvary”. Although reluctant, the speaker understands growing up is inevitable and she can either cry about it and stamp her feet on the ground, or she can learn to accept it and change her ways to adapt to her next stage in life. Dickinson uses fewer dashes in this particular poem, but focuses more on capitalizing specific words to bring attention to them and display their importance. The capitalized words in this poem, “Robin”, “Daffodils”, “Queen of Calvary”, etc, all symbolize different stages in her life. || Throughout her poem, “’Why do I love’ You, Sir?”, Dickinson effectively conveys the accepted nonsensical truth of love. She keeps it straight to the point, comparing her feelings to nature. Quite simply, the reasoning for her love is that there is //no// reason. Just as the “Grass” bends with the “Wind” as it blows; it “does not require” an “answer” (3-4). It’s a known fact. Just as how the “Eye” blinks when “Lightning. . . was by”—it’s a reflex (11-12). Basic instinct. There’s no need for explanation. Likewise, Dickinson adds how she “see[s]” the sun rise every day (18). The sun comes up every day; it’s inevitable. It’s how the universe works. There’s no lengthy reason or anything—just like with love.The sun also symbolizes love itself, as it “compelleth” her, providing a source of security and happiness in her life (17). She loves the person she’s addressing the poem to—“He’s” the “Sunrise” she sees. Through this comparison, Dickinson illustrates this man to literally glow, shining a light in the speaker’s life and causing him to be all she sees. All of these actions have two things in common: they’re involuntary and occur naturally. “We know not” the logic, it’s just how it is—the same goes with love (8). Love cannot be rationalized, like how the eye “cannot speak” why it shuts when lightning flashes, (13). It will never be truly understood. People can’t control who they fall in love with; it is what it is. Dickinson utilizes quite a few of her well-known dashes, adding drama to the passion of the poem and setting a pace to follow. She also uses the dashes to isolate “Of Talk” from the rest of the other lines in her third stanza, emphasizing its importance and stating we cannot explain the reasoning behind love (15). || Dickinson spins off in an entirely new direction with her furiously controlled tone in “My Life had stood—a Loaded Gun”. She kicks off the poem by comparing her “Life” to “a Loaded Gun”, leading the audience to believe she is filled with nothing but anger and tension until one day, “the Owner”, or her fury, completely sweeps her off her feet and “carried” her “away” (1-4). The speaker spends her days at a standstill, allowing the rage to gradually build up inside of her until one day, it finally breaks free and consumes her being. She is filled with so much fury she allows her wrath to control her thoughts.As a result, she commits violent actions such as “hunt[ing] the Doe” (6) in order to relieve some of the pressure. She also “speak[s] for Him”, or her rage, by angrily yelling out, with “the Mountains” responding in a “straight reply” to her, resulting in an echo (7-8). Dickinson then shifts her tone to an almost creepily joyful voice as she describes the speaker’s “smile” as shining a “cordial light” after committing her aggressive acts (9). Dickinson refers to Mount Vesuvius when describing the speaker’s “Vesuvian face”, which is a volcano that erupted in Italy, annihilating Pompeii in 79 A.D. This specific reference alludes the speaker has an explosive temper, yet her face still lets “its pleasure through” (12), contributing to the sick satisfaction of succumbing to anger. To add to the disturbance, the speaker calls her anger her “Master”, confirming her temper is officially in control of her every thought and action (14). She basically serves her rage, stating any “foe” of “His” is a foe of hers, and she will do anything to defend him—even if it involves killing, as her anger’s enemy will not “stir the second time”, or after shot dead (17-18). However, emotions don’t last forever. Although she “may longer live” than “He”, she thinks his life “must” last “longer” than hers, because “without” her anger as fuel, her “power” will “die” (21-24). The speaker is utterly ruled by her rage, and without it, she doesn’t have the driving force to live on, allowing the audience to believe she is indestructible when motivated by anger. || Dickinson reflects upon her depression in the poem, “I started Early—Took my Dog—”. She compares her sadness to the “Sea”, mentioning how “The Mermaids in the Basement”, or her inner demons, “Came out to look at me” by presenting themselves in her life (2-4). They affect her thoughts, emotions, and gradually draw the grief out from her chest and stain every aspect of her life. She also compares herself to a “Mouse—Aground”, or trapped, in the “Sands” (7-8). She cannot break free from her sorrow.The speaker then actually visits the sea, taking a step into the water as she contemplates taking her own life to escape the pain. The “Tide”—the literal wave and her depression—eventually starts the process of drowning her, both literally and figuratively. It begins at her “simple Shoe”, before reaching past her “Apron”, her “Belt”, and making its way to her “Bodice” (9-12). All she can do is watch as the tide “eat[s]” her “up—as wholly as a Dew” (13-14). The speaker then does something drastic: as she’s sinking deeper into the sea, she “then” “started—too” (16). This last line in the fourth stanza causes a major tone shift. She //wants// to die—she’s allowing herself to be submerged under heavy waves and hopeless thoughts, fully aware it will lead to her demise. Dickinson also personifies the ocean as a man, describing how “He follow[s]” the speaker “close behind” into the water, causing her to feel “His Silver Heel Upon” her “Ankle” as he continues to drown her (17-19). Her “Shoes” start to “overflow with Pearl”, actual pearls, as she descends deeper into the ocean still. Eventually, the two come upon Heaven: the “Solid Town”, announcing the speaker is officially dead (21). With the job done, “The Sea withdrew”, “bowing—with a Mighty look” (22-23). After finally breaking free from both her pain and her life, the speaker may finally rest in peace at the bottom of the ocean. Dickinson’s use of dashes continues to keep the poem at a certain pace, adding a nice effect to the suspense. It’s also a handy tool when it comes to emphasizing important aspects, such as the significant line in stanza four: “And then—I started—too—” (16). This one line changes the entire outcome of the poem. The dashes single out “I started” to separate it from everything else, revealing the speaker //wants// to die. The “Tide” isn’t pulling her into the waters, but simply “follow[ing]” her own lead. Small details such as a dash may seem insignificant, but in reality, they can make all the difference. || In “I heard a Fly buzz—when I died”, Dickinson accomplishes the impossible: reaching the audience from the supernatural. She starts off in a blasé manner, casually mentioning she “heard a Fly buzz”. . . “when I died” (1). Dickinson’s signature use of the dash helps create the shock value in her announcement, adding to the drama. She then revisits the speaker’s death scene by revealing the “Stillness in the Room” at that moment was like the “Stillness in the Air Between the Heaves of Storm” (2-4). Her tone suddenly shifts from the aggravating buzz of a fly, to absolute silence. She wants to convey the seriousness and heavier topic of death and effectively does so through her diction. However, she also mentions the silences to be in-between the storms, alluding to the fact another violent act will occur. The second stanza continues the speaker’s transition through her death. She is now surrounded by loved ones at a funeral, their “Eyes” had been “wrung” “dry” (5). Her visitors have been crying so much, they used up all their tears, revealing the speaker is much loved. After crying their eyes out, her loved ones’ “Breaths were gathering firm”, transitioning the tone to an almost painfully suspenseful silence as we wait to see what happens next (6). The mentioning of a “King” in the next line gives the impression something significant is about to happen, further contributing to the suspense (7). Dickinson then cuts off onto another topic: her will. She mentions how her “Keepsakes—Signed away” are the “portion[s]” of what she’ll leave behind once she dies (9-10). Dickinson transfers, yet again, the tone from a hold-your-breath moment to a melancholy one as the speaker gives her belongings away. She doesn’t even stick with this tone for more than three lines—she interrupts the will scene by suddenly saying, “and then it was there interposed a Fly” (15-16). She reverts back to the beginning of the poem, bringing us back to a full circle. The “Buzz” is back in the final stanza, returning the anxious irritation that bothered us in the poem’s first line (13). Death begins to creep up on her, allowing her to break away from Earth and see the color “Blue”, although “uncertain”, and a “light” as her vision fades (13-14). Eventually “the Windows failed”, and she can “no longer see”, completing her demise (15-16). So why does Dickinson keep changing her tone as if she were bipolar? It could be she’s trying to refer to death’s unpredictability. One moment a person could be alive, casually strolling along the street when out of nowhere, he or she drops dead. Bam. That’s it. Life is fragile—it can be over in a second. ||
 * **Poem** || **Analytical Summary** ||
 * [[file:APLit It troubled me as once I was.docx]] || ‍‍‍**‍‍‍It troubled me as once I was Summary ‍‍‍‍‍‍**
 * [[file:APLit Hope is the thing with feathers.docx]] || **‍‍Hope is the thing with feathers Summary ‍‍ **
 * [[file:APLit Success is counted sweetest.docx]] || **Success is counted sweetest Summary**
 * [[file:APLit Again his voice is at the door.docx]] || **Again his voice is at the door Summary**
 * [[file:APLit The Soul selects her own society.docx]] || **The Soul selects her own society Summary**
 * [[file:APLit I dreaded that first Robin, so.docx]] || **I dreaded that first Robin, so Summary**
 * [[file:APLit Why do I love You, Sir.docx]] || **"Why do I Love" You, Sir? Summary **
 * [[file:ApLit My Life had stood a Loaded Gun.docx]] || **My Life had stood a Loaded Gun Summary **
 * [[file:APLit I started Early Took my Dog.docx]] || **I started Early Took my Dog Summary**
 * [[file:APLit I heard a Fly buzz when I died.docx]] || **I heard a Fly buzz when I died Summary**