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Dickinson's Poetry in the Context of the Romantic Era
Basically place, Romanticism is the “establishment of human life on a pure basis of feeling” (Sreedharan, 2004: 128). To the Romantic, the medium of feeling or emotion did not replace the medium of believed. As an alternative, the medium of feeling was the medium of believed. Historical context is crucial when discussing the Romantic era. During this time, the globe and, much more particularly, the literary neighborhood seasoned a surge of freedom in terms of ideas and schools of belief. One particular of the most prominent schools of thought was the reaction to the rationalization of science and the rise of individuality in artistic operates. Such themes are brought across in Emily Dickinson’s Wild Nights (Dickinson, 1999), a poem written in a time when the liberation of girls, particularly the sexual liberation of women, was quite much taboo. In the poem, the speaker fantasizes about nights she would invest with her lover. Apart from the blatant sexual overtones of the short poem which are conveyed by way of words such as “our luxury!” (Dickinson, 1999:1: IV), Dickinson’s work also speaks to the adjustments skilled by the intellectual neighborhood at the height of Romanticism. 1 of these modifications is the rise of individuality and personal perspective in literary functions. The lines, “Done with the compass – Completed with the Chart!” (Dickinson, 1999: two: VI-VII) suggest that the poet, like a representative Romantic intellectual, is blazing her own path with no the help of literary functions that have come just before. And Dickinson’s individual writing style and special use of grammar stand as testaments to the Romantic emphasis on experimentation. For instance, her poetry makes substantial uses of hyphens, as is observed in lines such as, “Rowing in Eden –“, (Dickinson, 1999: three: IX) and, “Ah – the sea!” (Dickinson, 1999: three: X) in Wild Nights. What could be interpreted as a mere pause is as an alternative Dickinson conveying the speaker’s apprehension towards the practically infinite liberation (the sea) that lies before her.
In addition to its emphasis on feeling and emotion, the Romantic era also influenced people to focus much less on rational expertise and turn their consideration to aesthetic experience as an alternative. A key component of this experience was a newfound interest in nature fittingly, references to nature and all its wonder can be discovered in practically all of Dickinson’s poems. Her use of the sea as a metaphor for private liberation in Wild nights, Wild Nights is just one blatant example. But Dickinson’s use of all-natural imagery did not finish with the environment. She made substantial use of animal imagery in her poems in order to convey her themes. A prime instance would be the figure of a minuscule bird as a representation of the persistence of hope in her poem “Hope” is the issue with feathers (Dickinson, 1999). This image, when combined with the imagery of inhospitable environments such as “the chillest land” (Dickinson, 1999: 3: IX) and “the strangest sea” (Dickinson, 1999: 3: X), suggests that Dickinson had a a lot more intimate and distinctive understanding of nature than did most of her peers at the time.
No discussion on Romanticism or Dickinson would be total without having reference to mortality or death. Right after all, Romanticism was fueled by feelings. Terror and horror, specially towards the thought of the afterlife, were just some of these robust impulses. Yet Dickinson incorporates other feelings in her meditations on death, which includes confusion and morbidity, as noticed in her poem Death sets a thing important (Dickinson, 1999). These feelings are brought across in lines such as “To ponder tiny workmanships” (Dickinson, 1999: two: V). Dickinson was no distinct from other folks, as she felt the want to reflect on traces of a lost loved 1 soon after that loved one’s death (O’Sullivan, 2010: 1). Certainly, Dickinson’s confusion towards death is further explored in her brief poem Is Heaven a Doctor? (Dickinson, 1999). Here, she ponders the healing energy of Heaven and how helpful it really is if it only happens after a person has died (Dickinson, 1999: 1: III-IV). Her satirizing of the afterlife is given even much more gravitas in the second half of the poem, when she queries the debt she owes to God. Her words, “But that negotiation I’m not a party to –“, (Dickinson, 1999: 2: VII-VIII) suggest that she is not only displeased with God, but also angry at Him. However, it is exciting to note that the poem ends on a hyphen. This could imply that the speaker is nevertheless indecisive with regard to her opinion about the afterlife, or even that she hopes that the reader will not share her decidedly cynical attitude towards Heaven.
“That it will never ever come once again is what tends to make life sweet.” (Dickinson, n.d.). While maybe oversimplified, this quote by Emily Dickinson seems to completely encapsulate the ever fleeting mortality of the human situation. Nevertheless, it also speaks to the pure uniqueness of the Romantic era. Even though Romanticism shaped Dickinson, our current understanding of Romanticism would not be feasible without having Dickinson’s influence, particularly her penchant for nature, her near obsession with morbidity, and, above all, her love for the person.
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