Furthermore nature seems simple but as you explore the meaning, we can see the patterns of how Dickinson used the diversity in nature. This poem divides evenly into two metaphorical descriptions — of a sunrise and a sunset on the same day. The first two stanzas show the bird at home in nature, aggressive towards the worm which it eats and politely indifferent to the beetle. The world does not proceed according to our plans. Dickinson and Frost both used death and loneliness as main themes. The young feel themselves superior on account of their vitality, represented by the sun.
The words are very simplistic due to this poem being her first. She is looking ahead to the loneliness of winter when she will not have even the companionship of nature and its small creatures. The hills and the seas are appeared as strong but the bobolink and bumblebee are weak. The last four lines shift the metaphor and relax the tension. The description of the angleworm as being a fellow eaten raw simultaneously humanizes the little creature and places it in a diminutive animal world. In the first eight lines, the wind is rising and sweeping across the land.
Emily Dickinson is an American poet of exclusion, whose writing consists of passionate and emotional eccentric meanings with much complexity. Although the light seems to symbolize death at the end of the poem, its association with cathedrals in the first stanza modifies this symbolism. I have provided observations and analysis for selected Emily Dickinson nature poems. Sunset clouds are a traditional symbol of a barred gateway into another mysterious world of space and time, or into heaven. Written in primarily iambic rhythm, the poem communicates its uneasy tone partly through its subtle metrical variation, chiefly reversal of accent, and through its cacophonous sounds — all largely in the first three stanzas. Also she attempts to define nature through the senses of what we see and hear.
The dashes are the pauses, which helps the readers to understand the highs and lows in the poem. This tone adds effect to the overall voice of the poem as well, some critics even believed that she was trying to act as the wind in nature. This simplification imparts to the speaker's reveling a childlike quality in keeping with the poem's quick transformation of the sensuous into the spiritual. This device shows the speaker identifying with the bird, a sign of her desire for an intimacy that the bird will reject. In the last stanza, she has ascended into heaven, perhaps by the way of sunbeams, and heavenly angels come to the windows of paradise to see this spiritual drunkard leaning against the sun for rest. Our analysis can provide a basis for further symbolic interpretation of the poem.
Poetic Devices Dickinson uses metaphors, rhymes, and personification if her poem. But the snake belongs to a distinctly alien order. We can only enjoy nature, but not capture it any art form, as the beauty of nature is something we cannot touch to copy. The entire scene is presented in terms of little school children climbing a stile steps over a hedge. The world is an old dog, following us around the kitchen with its eyes.
The way in which the poem was written, leads the reader to an element called diction. For example, she would put dashes not just at the end of a line, but also within the lines. The speaker seems to be displaying cool resolve in the face of her shock, but we know nothing of the content of her thoughts. In the poem the reader can see her love to nature. Lightning is a giant bird whose head and toe stand for its jagged sweep these details are clearer and more consistent in Dickinson's second version of the poem, which accompanies the first version in the Complete Poems and in the variorum edition. Despite their relative brevity, Dickinson's philosophical nature poems are often quite rich in meaning and connotation, and they can be re-read and re-experienced from many angles. It is more accurate to say that the philosophical nature poems look outward and inward with equal intensity.
The third event is referring to the speakers own death. Her roots in a Puritanism that saw God manifested everywhere in nature contributed to her pursuit of personal significance in nature. Because these last two lines are so condensed, it is difficult to choose between these two interpretations. Dickinson's love of nature and religion had a lot of impact on her poems, as seen by most when her work was relieved. But inspite of being surrounded by nature everywhere, no human art or skill could reach even closer to the perfection of nature.
The haze describes the literal atmosphere of such a scene and also suggests the speaker's sense of two seasons dissolving into each other and herself dissolving into the scene. In stanza three, the reader is expecting another nice rhyme to end the stanza, but is jolted with off rhyme. In the last two stanzas, the rhythms become smoother and the sounds more euphonious, in imitation of the bird's smooth merging with nature. Its natural habitat is being invaded, and the speaker appreciates the bird's increased beauty under stress, a stress which is implied by the metaphors of its eyes being like beads and its head being like velvet. The fifth and sixth lines describe the bird's gathering nectar from the flowers from the blossom's own point of view. Our senses interpret things and the job of our minds the thing it does best is to separate things us and nature. The days when birds come back make up Indian summer, an event of great beauty in rural New England.
Dickinson was well educated and attended Mount Holyoke Seminary, although she only attended for one year, the longest time she ever spent away from home. If we stress the Christian analogies, we can interpret the poem as an affirmation of conventional immortality, but it is more likely that it celebrates the immortality of the cycle of life while indulging in a bittersweet pathos about the beauty of the season's and life's decline. The second and third lines begin a description of a transitional period, and their claim that the speaker felt no betrayal shows that she has had to struggle against such a feeling. However, these final stanzas seem to be more concerned with the deepening of human sensibility on earth. Typically Dickinson writes dark, meditative and defiant toned poems about death, gender and poetry itself, often challenging social beliefs and traditions. When she tried to pick up the whiplash and it had disappeared, she apparently was not overly surprised.
An ordinance is the sign of a change in a phase of a religious ritual. The interpretation of hell is the pain and grief that one feels after a loved one has died. By doing this, the poet paints a picture of the squirrel, the hill, the bumblebee, etcetera. In the last two stanzas, Dickinson grows more abstract and yet she preserves considerable drama through the personification of nature, the actions of those that study it, and the frightening results. Nature is what we hear, The Bobolink, the Sea Thunder, the Cricket Nay,Nature is Harmony. There are possibly two different, but not necessarily contradictory, ideas here.