"This is what I must bring today, this and my heart, this, my heart and all the fields, and all the grass" [33]. These are the words of Emily Dickinson, who is regarded as one of the greatest poets in the United States. In her life, she lived a life of seclusion, but in this seclusion she wrote more than 70 poems, and there is almost no match for these poems. In her poetry, Dickinson created a unique style of writing in which she called for simple ideas and childlike innocence to convey complex ideas. Express this complex idea by using nature, God, eternity and death. Through her poetry, Emily Dickinson uses nature, God, the afterlife and death to convey complex information or ideas while expressing her thoughts in simple language.
Nature is an element of Dickinson's poetry that conveys life information. By including familiar aspects of wildlife, such as bumblebees and flowers, she is able to portray images depicting anxiety and anxiety found in everyday life. A poem like this begins: "A wounded deer jumps the highest, I hear what the hunter said; but the ecstasy of death, then the brakes are still" [62]. In this section, Dickinson is comparing injured deer with someone who has been emotionally or physically hurt in the past. The injured deer was shot or injured in the previous situation and jumped higher to make sure it would not be injured again. Like deer, human animals with emotional or physical injuries will also walk away subconsciously to avoid re-injury.
This fear is instilled in the destruction of humans can play on several levels, from simple and physical, such as broken limbs, to emotional or spiritual, such as heartbreak. Dickinson, with the simplest language and the eyes of nature, is clearly able to convey the concept of deep emotional pain. The second poem wrote: "God created a little gentian; it tried to be a rose, failed, and laughed all summer." 127. This poem is composed of primary language, emphasizing the reader's individuality. It warns against trying to be something that it is not like a small blue flower, and is confused by the surrounding season. Dickinson's message is clear: people need to be satisfied with who they are and what they are, and don't need to be completely strange to them. Just like a gentian can only be a gentian, what kind of person can be a person, who they are, and who is a person's self is not wrong. In the third poem, Dickinson uses nature to depict life and death. She began to say: "I will tell you how the sun rises - a ribbon at a time." The minaret swam through the amethyst, a squirrel-like news "[104]. This first section means the beginning of birth and life. The rising sun is often the common symbol of a new life, and Dickinson uses it here with gentle innocence, "one ribbon at a time." To contrast this section, Dickinson wrote in a later section:
"But the sun is setting, I don't know.
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a purple window frame appeared
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Which little yellow boy and girl
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Always climbing
Until they reach the other side
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Grey domini
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Gently put on the bar at night,
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And led the flock to leave. "[105]
The setting sun is used to symbolize death in this case. This is the end of life on earth. This death is further strengthened in the next section when the bishop or priest "puts the bar at night and leads the flock to leave" [105]. Multi-ism is directly parallel to God, bringing the new recipients of eternal redemption away from the earth into heaven.
Another factor that can be identified through Emily Dickinson's poetry is her fusion of God and eternal traditions and unique perspectives. A typical example of Dickinson's personality and creativity in the religious realm is her poem "Some people keep the Sabbath to the church." This delightful work explains how Dickinson stays at home instead of attending the Sabbath. In a section, she explained on Sunday, "God preached, - a famous pastor, - preaching will never be long; so don't go all the way to heaven, I am always moving forward!" [110]. Dickinson explained in simple language and ingenious humor that God's words do not have to be preached in the chapel, but can be found in any kind of life. God is portrayed as a personal and loving being, contradicting the fire and sulphur God that is often preached in the nineteenth century. She also revealed her inner beliefs. Contrary to what she believed at the time, going to heaven was not a difficult task, not trying to sin or become a good person, but a journey. "I have been here all the time!" She declared with confidence and exultation, as if God told her that she had her place in his kingdom. This eternal concept is a common recurrence in many of Dickinson's poems. Another work shows Dickinson's belief in the afterlife. "This world is not a conclusion; the sequel transcends, invisible, music, but positive, like sound" [135]. No sense of uncertainty was found anywhere in these areas. "This world is not a conclusion" Dickinson instilled. There is a life after this world, although it may be invisible, like music, it is a clear and positive reality, just like the sound in the ear.
As in the previous poems, Emily Dickinson asserts that she believes that there is indeed an afterlife, and another style discovered through her poetry is the unknown problem of the afterlife. She showed a childlike curiosity about what she had in the afterlife, and how it compares to the soil she lived in her life. This curiosity is most evident in her poem "What is - ' Paradise ' -", which reads as follows:
"What is - ' Paradise ' -
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Who lives there -
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They are farmers ' -
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They are not "gimmicks" -
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Do they know that this is Amherst ' -
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And I - coming soon -
Whether they wear new shoes ' - in Eden ' -
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Always pleasant - there -
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They won't scold - when we are homesick -
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Or tell God - how much we cross - "[99]
The first section begins with a general question about what eternal is. She then says, "Who lives there?" Whether there is labor in heaven, this question has led to a series of other unanswered questions. The next question is: "Do they know that this is Amherst - and I - coming soon -" reflects the consciousness of the soul of heaven. When heaven comes, will people realize that they are part of eternal salvation? Are they aware of the world they left behind, and if so, do they know which souls will be saved with them? With these simple words, most of which are two or fewer syllables, Dickinson is able to ask intricate questions whose answers cannot be understood by human thinking. In the second quarter, Dickinson introduced her child's curiosity to the reader, in which case she was mixed with her unmistakable humor. She wonders if paradise will be enjoyable, which is very attractive, because the idea of heaven brings a vision of eternal happiness; the question of asking such a joy about eternal salvation seems to be the most ridiculous. Dickinson then followed this inquiry and wondered if a celestial body became homesick because it returned to Earth. This naive naive idea adds another dimension to the poem. Once in heaven, can a person want to go back to Earth? Do members of the paradise community understand the people, places, and things that they found in their previous lives? The problem that seems to have no answer is that Dickinson is eager to understand the unknown nature of the afterlife.
Finally, death is an integral part of Dickinson's vast poetry, anthropomorphic in a contradictory way. For example, one of her poems begins:
"Because I can't succumb to death
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He stopped me a bit;
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The carriage is held but only our own
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And immortal.
We are slowly, he does not know the haste,
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And I have packed it up.
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My labor is also my leisure,
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For his courtesy."
In Dickinson's simple and vivid portrait painting, "death" is not portrayed as a serious and terrible thing, but an incarnation of a newly arrived gentleman's pursuer, dating. Adhere to the tradition of this era, the date is accompanied by an immortal incarnation. In the following section, the carriage is described as being slow and not fast. This corresponds to the eternal state of the company's death; the time that was so precious on Earth lost its meaning when it entered the afterlife. As time is not important, Dickinson stressed how to have no labor. When there is no leisure in life, he said: "I gave up my labor and gave up my leisure for his civilization." 151. So in order to respect death, she will I am freed from labor and leisure, enjoying the immortal journey of death. However, the polite death of the last poem is completely strange. "When I died, I heard a snoring." In one such section, I wrote: "There is blue between light and me. Ok, humming sound; then the window failed, then I can't see "[132]. In this case, death seems calm at first glance, but in fact it is actually quite scary. Dickinson skillfully uses flies as a symbol of the terrible aspect of death, as flies are often portrayed as creatures that break down the flesh. It seems that instinctively attracts the death of the narrator, and the idea that the fly destroys her flesh is the only thing she has at the end of life at earth and...
Orignal From: Nature, God, Afterlife and Death in Emily Dickinson's Poetry
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