Emily dickinsons nature poems Essay

Emily Dickinsons use of spirit imagery in her poetry incorporates elements of both romanticism and realism. These usually contrasting visions allow Dickinson to express a duplicity of perception, a duplicity which provoke be considered as a part of nature itself, as expressed with human consciousness. Although the overall impact of Dickinsons nature imagery is romantic and reveals perception of nature as a mode of transcendence, the imagery and diction of Dickinsons verse forms also establish a convincing realist tone, which separates her mold from strictly transcendentalist nature-poets such as Emerson or Thoreau.It is not difficult to pinpoint individual rimes by Dickinson where nature emerges as an intelligible transcendent force. Her metrical composition 214 I Taste a Liquor Never Brewed (Perkins, 990) utilizes an obvious metaphorical dynamic the talker unit of the poem is drunk on elements of nature Inebriate of Air am I / And Debauchee of Dew (Perkins, 990) and the exuberance of the speaker is meant to be both humorous and extreme.The poem strikes a merry tone, due to Dickinsons belief that the comic or humorous is no less serious than the tragical (Eberwein 150) and in her mind, the depths of human existence could never be climbed, would never be plumbed, without a humorous fading to the world (Eberwein 150). The humor in poem 214 is meant to emerge from the irony of a speaker blatantly celebrating their drunkeness. condescension the poems comical overtones, the alkali of the poem is, in fact, quite serious. The poems theme is that nature is a gate through which ecstacy is reached.The sure irony of the poem is that liquor is superfluous to true ecstacy all that is needed is nature itself. In this way, Dickinson is casting a criticism on her societys reliance on artificial stimulants. Nature will endure where actual liquor runs dry When Landlords cover the drunken Bee/Out of the Foxgloves door /When Butterflies renounce their drams / I shall and drink the more (Perkins, 990) The seriousness of the poems theme is in the implied isolation of the speaker, who is acknowledged only by the Seraphs and Saints (Perkins, 990) who watch the little social drinker / Leaning against the Sun - (Perkins, 990).It is impossible to escape the feeling that Leaning against the Sun (Perkins, 990) is a dangerous line even fro an ecstatic poet so while the poem demonstrates transcendence, it also expresses isolation and alienation. By contrast, Dickinsons poem 328, A Bird came down the Walk (Perkins, 995) begins with a sense of alienation and rigid realistic comment and opens toward the end to a transcendentalist vision of nature. The beginning line describe how a bid hopped on the speakers walk and bit an Angleworm in halves (Perkins, 995).The poets observation that the bird ate the fellow, raw, (Perkins, 995) suggests anything but a transcendental vision of nature. rather, the scene evokes a stark, biologically precise depic tion of natural processes. Nevertheless, a duplicity of perception is hinted at in the following lines And then he drank a Dew /From a contented Grass / And then hopped sidewise to the Wall/ To let a Beetle pass (Perkins, 995) where the previously predatory scene gives way to one of civility and calm.The duplicity of perception is extended by the phrase handle one in danger, Cautious (Perkins, 995) which may modify either the preceding He stirred his velvet-textured Head or the following I offered him a Crumb, hence either the bird or the speaker or both (Eberwein 85) and, as such, admits an ambiguity into the poems diction which is foreshadowed by the imagery.This ambiguity is not quite resolved, but merely turned toward an image of transcendent nature in the poems closing lines Too silver for a seam /Or Butterflies, off Banks of Noon/ Leap, plashless as they drift (Perkins, 995). Whereas poem 214 began with a blatant expression of intoxicated transcendence and ended with an ambiguity of isolation and alienation, poem 328 begins with a sense of alienation and even violence,but resolves in a harmonious, transcendental uplift of diction and imagery.Obviously, Dickinson head in her poetry was to represent the duality of human perception and the duality of the natural world which can be resolved in aesthetic expression, but not by methods based solely on rationalism or realism.Works CitedEberwein, Jane Donahue, ed. An Emily Dickinson Encyclopedia. Westport, CT Greenwood Press, 1998. Perkins, George Perkins, Barbara. The American Tradition in Literature 11th discrepancy 2007