In Billy Collins poem, Introduction to Poetry, he plays the role as a teacher, teaching the reader how to analyze poetry by letting your open mindedness lead you to the meaning of the poem. The gun is unused for the first stanza, until its owner recognizes it and takes it away with him. Such interpretations probably do not reflect the reality behind these poems. Shakespeare had the same kind of obscurity. Albert Gelpi Despite the narrative manner, it is no more peopled than the rest of Dickinson's poems, which almost never have more than two figures: the speaker and another, often an anonymous male figure suggestive of a lover or of God or of both. From My Life a Loaded Gun: Dickinson, Plath, Rich, and Female Creativity. The poem is jocular, amusing, and surely a bit defensive, and its psychology and satire are keen.
This time, however, she seems quite aware that the suffering is greater than the rewards, and that, in fact, the whole thing is a bitter delusion. In the poem's terms, she is murderous. The lovers, excluding the world, become their own church and hold their own communion, an act which will prepare them for heaven. Life is presented as being mistlike in that it obscures real values. Although this poem has considerable appeal because of its exuberance and technical virtuosity, its somewhat hysterical tone may lessen its effectiveness. In Dickinson's love poems proper, it is possible to distinguish between romantically passionate poems and poems in which there is a curious physical detachment. Kinser, coincides with the common perception, and adds that she signifies the inevitability of death in the universe Kinser 144.
The power to kill, then, does not give identity, and its satisfactions are misleading. They were not allowed to vote, or earn money. The climbing of the sea up over her protective clothing apron, belt, and bodice are particularly domestic becomes almost explicitly sexual when linked with the image of dew being eaten. The manuscript of this poem can be dated at about 1858, a number of years after the deaths of Leonard Humphrey and Benjamin Newton, and yet it is possible that Dickinson is looking back at their deaths and comparing them to the present departure or faithlessness of a friend or a beloved man. This is a poem that shows anger in its rawest form. Again, the comparison contrasts action with effect rather than action with action and when I guard. We are also happy to take questions and suggestions for future materials.
The notion of separating the before and the after, and the description of life as a process of shifting sands, suggest the greater reality and stability of the afterlife. In the first stanza, the speaker appears almost childlike, and the worm-snake is a minor threat that she can control. Careful study of its images, progression, and grammar would be a valuable exercise in understanding Dickinson's poetic techniques. Franklin in his variorum edition of 1998. Of this ambivalence and its effect on women poets, Rich has written most poignantly, perhaps, because of her own position as poet.
Man is 'Master' now, but the woman is no longer an unproblematic slave. The alternating short-long lengths of the poem's lines, culminating in the two-syllable lines of the last stanza, parallels this closing down of attention and strengthens our sense of a painful but glorious triumph in the concluding lines. The animus muse enables her to fix the dying moment, but it is only her human capabilities, working in time with language, which are able to translate that fixed moment into the words on the page. Some of her most energetic and ecstatic poems--those supreme moments which redeemed the travail and anguish--celebrate her experience of her womanhood. This is a list of poems by.
Furthermore perhaps , his being lost damned would make her glad to give up her salvation in order to share his fate, and were he saved, any possible separation would be, for her, the same thing as hell. She seems to be folding up like a flower. She is glowing, she is loving this experience. In most cases, when a person owns or has a possession of a gun, that person might use the gun for protection. The last stanza does not connect logically to what precedes it.
For me and countless others, our lives are like loaded guns, incapable of sharing ourselves for the owner has yet to arrive to claim us. Both wildness and luxury are part of a shared, overflowing passion. The poet seems to be mildly congratulating herself that unlike the vulgar and pretentious somebodys, she is shy and sensitive. The comparison of what she does not mention to both pearl and weed suggests that in the depths of the woman's soul there are both secret rewards and secret sufferings. Stanza 4 shows trust — he sleeps while she watches over him. The poem I will try to analyze is My Life Had Stood—A Loaded Gun, or number 754.
Even if you have never felt a rage so violent that you felt destructive or explosive, can you imagine what such a state must feel like? The train made a great impact on travel by allowing him to cover great distances in shorter times. She was a loaded gun that went off with her words and gave us beautiful insights into the soul and life. But the word 'cordial,' from the Latin root meaning 'heart,' throws a violent bloody light over this glowing valley. Nevertheless, here, as in many poems, Dickinson sees the chance for fulfillment in her relationship to the animus figure, indeed in her identification with him. This is about life long rage. In public she is the dutiful daughter, and even with the false smile — false because it is Vesuvian after Mt. In the poem's first line, the gun is established as the vehicle and 'my life' as the tenor; in subsequent verses, the narrator is not the woman, but the-woman-as-gun, the woman who, through the man's mediation, has become the gun.
In both poems, Emily Dickinson uses diction to provide the reader the opportunity to see inanimate objects with some human qualities, first in a determined, powerful train and then in a devoted, non-feeling gun. Perhaps her use to her father as a means to crack and alleviate animosity? Written by I had no time to hate, because The grave would hinder me, And life was not so ample I Could finish enmity. It has become the locus of discussion for feminist critics concerned about accounting in some way for the aggression of Dickinson's poetry, beginning with Rich herself. Thus, for her the power to die is resolved in the artist's power to kill, whereby she dies into the hypostasized work of art. Till he came, her life had known only inertia, standing neglected in tight places, caught at the right angles of walls: not just a corner, the first lines of the poem tell us, but corners, as though wherever she stood was thereby a constricted place. Given Dickinson's time and upbringing, it would, of course, have been unlikely that she, any more than we today, would have been comfortable with the high degree of anger and alienation which she exhibits in this extraordinary poem. 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.