The main one, in this regard, is the influence of the Anglo-American school of new criticism. To provide a very broad idea of the traditional psychoanalytic setting, created by the Viennese neurologist Sigmund Freud after all. My reading of the poem conforms to the principles outlined by the Main Cloud.
In the final stanza, the second voice, the pilot's soothing voice, takes control and steers the speaker safely to shore. The speaker's fear of losing direction in the darkness of the coming night ominously threatens to set her further adrift. The image of the “greedy wave” licking the speaker's boat completes this sense of hopelessness and loss.
34;Exultation is the going" there is an inversion as the speaker's idea of eternity is located in the depths of the sea, away from the "heads". Even in the image of the proverbial drop in the sea, Dickinson refuses to be intimidated to become She is, in the proverbial sense, drunk with life and this is an effect of the "divine drunkenness" described in Poem 76.
Dickinson's desire to fathom the secrets behind "The universe to know!" is characteristic of her poetry.
CHAPTER TWO
AWAKENING VESUVIUS
Does the birth of her new consciousness represent the awakening of the poetic genius within her? Although "Nature lost the date of this - / And left it in the Sky -" the memory of the experience escapes the speaker's consciousness for the moment, but remains permanently imprinted in the speaker's memory. For example, Dickinson, in the aftermath of the two powerful attacks described in Poems 410 and 362, is capable of this.
A helpless mouse caught in the claws of a powerful cat recalls Dickinson's use of the same image in "Papa above!". This is probably due to the severity of the panic attacks ("Murder in the Footsteps") and the excruciating life-and-death tension that accompanies each episode. Dickinson dares the reader to enter the poet's soul when he experiences his most intense moment, "by the white grill."
What must follow is the process of refinement in the 'Tmer Forge' of the poet's. It is worth noting that Ramsey and Weisberg do not engage in any critical, literary analysis of the poems. The image of the speaker's "frozen hair" caressed by the figure of "Fright" completes the soul's connected moment.
What follows is a scenario that is the antithesis of the bondage described in the first stanzas. The speaker is transported from one end of the bipolar continuum to the other in her 'moments of escape'. The last two, unspoken lines, are a clear confirmation of the speaker's determination to sing in honor of her poetic gift.
These "chambers" form the sacred temple of the poet, into which her muses pour their inspiration. Dickinson is aware of the superiority of being a poet without being pretentious, egotistical or arrogant. She's not out of the woods yet, so to speak, and she acknowledges that.
The poet is able to distill "wonderful feeling/From ordinary meanings"—an achievement that is sublime and out of the ordinary. Dickinson, as a young girl and future poet, would smile knowingly, delighted in the recognition of the unique fortune she possessed.
OHAPTEJv THREE
VESUVIUS AT HOME
The last line of the poem, "Vesuvius at Home," in the Dickinson tradition, conveys a double meaning. Although the speaker has learned the art of containment, she is not out of the woods, so to speak, as she still experiences anxious moments. However, these concerns are of the lighter variety, seen in the context of the bipolar spectrum formulated by the experts.
Memory that has not taken hold of the psyche is depicted in the image of a plant that has "lost its root". Even after such a long period of time, the memory can never be erased; it lies hidden in the depths of The intricate details of the inner dramas and agonies will never be known to these strangers.
34;Orthography" refers to the original or conventional spelling of words, but more significantly, in the context of the poem, its alternative. It is this "key" that allows her to lock herself away from the horrors of the past. The fascinating relationship between memory and the art of containment is taken up in the next poem in which the image of the "key", which is introduced in Poem 1147, is developed and sustained even further.
In her description of the dynamic and complex nature of the brain in her poems, Dickinson is certainly ahead of her time. After the turbulent episodes of the early 1860s, which are so explicitly described in the poems of this period, the later years, on the other hand, reflect a much more mature and perceptive mind. Freedom of choice is clearly related to the art of restraint and Dickinson demonstrates her understanding of the mind's ability to choose.
34;A Model of the Running World" to explain the complex workings of the brain from a twenty-first century perspective. Dickinson's awareness of the brain's potential and her understanding of her own poetic power enable her to face adversity with resolute confidence. The descriptions of the external enemy culminate in the third stanza with " The assassin hid in our apartment."
Conclusion
To this extent it can be said that Emily Dickinson was able to become a great poet because - not in spite of - her modest, ungifted and unstimulating mother - that is, the last ancestor of verse. Others, such as Vivian Pollak in Dickinson: The Anxiety of Gender, postulate similar readings of the poem by viewing "The Loaded Gun" in terms of phallic imagery and associating it with repressed sexuality (152). The poem is not only a dramatization of the speaker's new sense of self—it is the very personification of Dickinson's art of restraint, and is, therefore, a fitting conclusion to this thesis.
The speaker, in the image of this "Loaded Weapon," and its owner, who spurs it into action, are two dimensions of the same entity as they constitute the sum total of its consciousness interacting mutually. This mutual relationship between weapon and owner is underscored by the powerful presence of the personal pronoun "We," which recurs in the first two lines of stanza two. In speaking of "Him," she speaks of herself, for he and she are two parts of the same entity.
The hunt for the doe, then, is not a pursuit driven by a desire to kill, as a result of a violent instinct or inclination. This death of the symbolic doe in turn gives her a new sense of self and rewrites her identity – she overcomes her old self, which. Dickinson's use of the volcano image as a powerful motif in her poems, and which I have used to structure this thesis, recurs in stanza three ("It is as [if] a Vesuvian face/Had let its pleasure through").
In all the poems that I have examined so far, there is evidence of her yearning. In these lines, Dickinson enters what Freud would later call the unconscious and its realm. The critics I mentioned earlier associate the "yellow eye" and the "empathetic thumb -" with marksmanship and literal pull of the trigger.
I see these simply in terms of the poet's eye and his golden vision along with the thumb that holds the pen to write. The same sound can have different senses; a form of words will be tricked to trick the reader's mind, and this happens in the last stanza of Emily Dickinson's poem. So the main problem is with the opening two lines of the riddle with each of the poem's two protagonists seeming, improbably, to outlive the other (159).
Bibliography
34; Emily Dickinson's poetic activity: A further test of the hypothesis that affective disorders stimulate creativity.
