Emily Dickinson’s Obsession with Death Emily Dickinson is one of the most outstanding and well-known poets of American Romanticism, whose rather significant work uses themes and motifs characteristic of the movement to clear them away with their unique visionary treatment Nature. Her poetry revolves around various binary opposites such as life and death, eternity and immediacy, earthly and divine, body and soul, about which Emily Dickinson speculates the experiences of her persona with the reader. Three poems by Emily Dickinson were selected for analysis, namely “Death is a dialogue between …”, “Death sets an important element …” and “Let go of the bars, O death!”, In which the Purpose of the analysis is expressly stated: Examination of the concept of death and its manifestation in selected works. The work in the romantic paradigm Emily Dickinson allows certain configurations within common structural opposites. Her poems reflect the struggle between metaphysical and dialectical strategies of worldview. Taking these two propositions into account, the first conclusion is drawn: the poetess chooses a conventional opposition that expands on the basis of two ambiguous concepts, and introduces the third member, which transforms the metaphysical contrast pair into a dialectical triad. Let us apply a narrow reading technique to the first poem. The opening lines of the poem read: “Death is a dialogue between / The Spirit and the dust “. In the limelight is the classic binary opposition in the structuralist sense – spirit :: dust, which is figuratively immobile, but adds the third element – death – and gives the couple an impulse for eternal movement in which the mind becomes the thesis, to the dust. an antithesis and death is a synthesis that signifies a transition from the state to the movement, from metaphysics to dialectics. The form of dialogue corresponds to the schema discussed above, for it presupposes the exchange between two entities and leads to a movement of ideas in space and time, and death is the substance for this dialogue. The dialogue captures two different realities that are equal in meaning: life itself and life after death, in which death is the personification of the latter. Death, as depicted in the collective subconscious, is somewhat inescapable if it sets foot and there is no way to fight it. In the context of the poem, however, death deals with the vital spirit; Even if he uses the imperative mood: “Dissolution,” he commands, the mind has the right to make a choice and to parry with another blow: “Sir, I have another confidence,” a polysemantic word that either ” Faith “or” faith “means. Hope “or” Reliability. “In any case, this synonymous realm implies that there is a choice and nothing can compel the mind to do so instead of doing it itself , and in the next stanza, another important discovery must be made Two distinct realities are clearly separated, and the margin is the reason Death speaks: in contemporary terms, death is quite discriminated against because its word is underestimated and not taken seriously, and the power of death is only of verbal quality The poem is based here on two different types of worldview – mythological and religious – mythological is represented by the personification of death and the name of the place where its existence is possible; acquire three abstract concepts in their whole bandwidth human trait e and physical properties: You can speak and reveal the work of Last Name 3 of the second signal system. You can also make decisions. The religious component is made clear by the last two lines of the poem: “Only the evidence put / A Lehmmantel.” Clay is a biblical material from which man was made. it is also a proof of Divine Providence and a connection between man and his Creator. However, clay as a sign of origin is also a constant reminder of mortality and nothingness. The mind decides to shake it off and be free forever. Mythological and religious modes thus provide a soothing symbiosis that leads to the personification of death, to the restriction of its authority and to such a reduction, when the regular binary opposition is replaced by a dialectic triad. Another embodiment of death is found in Emily Dickinson’s poem, “Death Sets One Important Thing …,” which shows how powerful and categorical its imperatives are. The contrast between life and death is vaguely represented by culturally accepted images of the former and the implicit presence of the latter and does not seem as important as the contrast of life and life after death. Here the poet applies the speculation, characteristic of her style, of the ability to speak from beyond the grave, without being dead. Human life manifests itself in the chain of work activities, all of which aim to produce something new or, in other words, leave traces of one’s existence in material form. The poem begins beyond the grave, and “a perished creature” who underestimated the meaning of death because her “eye had passed”, missed the moment of death in a hurry, ignored it, and henceforth there was nothing in the living human world to be able to leave behind. It’s a call to all humanity, and the message is not to waste time and use skills to create some artifacts, or at least normal things. The materials vary: “in colored pencil or in wool”; The words “thimble”, “stitches” and “cupboard shelves” imply the tailoring and sewing of clothes. Although the message is very reassuring and hopeful, Emily Dickinson brings into play an almost transparent thread of finiteness for Last Name 4. Everything a man creates in the course of his life falls victim to the dust covered by the mantle of oblivion. Creation is detached from its Creator, there is no longer any vital connection, and the artifact becomes meaningless and no longer means anything. A parallel between God and man as His creation lends itself, but is rather inappropriate, since a human being is a living being and never an object, so this suggestion can be finally dropped. Death brings a void to the past by extracting the mind or soul from it. The person of the poem, however, seems to find the way to keep alive the soul of the deceased in the afterlife. This is a special medium of a word – a book in which the remarks of the deceased friend remain “his pencil, here and there, / would have scored the place he liked”. / Are resting on his fingers are “books and what is written, there is a level of presence – the presence of the actual story, its plot and characters, to put it simply, the fictional world of the literary text. On the other level there is the reader’s interpretation, his answer to the text reflected in the underlining of certain places – another typical romantic strategy introduced by Friedrich Schlegel – the world is endless, there is no possibility, it is in their entirety, so fragments are only possible approximations to the Absolute. On the third level in the sample lines, there is another interpretation of the persona that says, “Now, when I read, I do not read / To interrupt tears / Erase etchings / Too expensive for repairs”. The persona refuses to read and destroys the remains of her friend’s soul. Noteworthy about the poem is also a continuous movement from the microcosm to the macrocosm and back again. A submerged creature (microcosm) sends its message to humanity (macrocosm) and then limits itself to the dialogue between the person and her deceased friend (two microcosms) in the medium of literature as an integral and self-sufficient macrocosm. Interestingly enough, the fact that each of these transitions has a certain latitude – death in its various manifestations: “death is a matter of importance” – a statement that the person is dead; “Hardworking up” is an aposiope – a number of the secondary denomination of last name 5 that leads to a sudden break of a syntactic structure, or in other words, a phrase remains unfinished and leaves room for interpretation. A transition to the world of literature is, after all, “His fingers are at rest”, which says that man is dead, but his spirit and probably his soul in the world of living beings through his etchings and traces left in the literature, still present are books. Therefore, in this poem, death has a greater meaning; it serves as a dividing line between life and life after death, equal in strength and separating segments of the entire life cycle. The dialogue is also part of the poem, but it does not take place between death and life, however, but in two different ways: the first is a human being, the human being a message from beyond the grave transmitted. and the second, which consists of two persons: one dead and one still alive. A new vision of death is presented in the last of the selected poems: “Lower the Beams, O Death!” The image that emerges, as you read until the end of the poem, is very different from the first two. Death is seen here as a liberator, as someone who helps people forget their worries and move into the calmer realm. Nevertheless, it can not be said that the image is positive rather than negative, that it is charged with no polarity and remains neutral as a source of eternal rest. Obviously, the circular motive of the poem becomes: “Let the bars down, O death! / The tired herds come in. “Here death has its physical territory, which corresponds to the shed, and humans are a flock of sheep in biblical terms. In the morning, the sheep come out of the barn, graze in the pasture during the day and then return to the barn to rest overnight. As part of a parallel construction, it can therefore be inferred that we, the people, are born of death and do not drift there, but strive to return to where we belong. Death is nothing in this case, but this nothingness is still personified, representing a paradox and contradicting the postulates of formal logic. Nothing is death with human characteristics, surname 6, but humans have no special qualities, they are faceless, they are a herd. The only feature that affects humans is fatigue, their “walking is done”. This line implies that life is a rather negative and worthless struggle, and the only right thing is to return to the place of rest. This leads to the analysis of the archetypes of Karl Jung. The psychiatrist specified six main archetypes that were created by the collective unconscious. They are anima and animus (male and female behavioral representations in female and male personalities), wise old man and great mother, as well as shadow (evil) and self (identity). Himself is the archetype that Emily Dickinson mentions in his poem. It is usually described as a safe and sacred place where the embryo was taken metaphorically and literally before its birth. In the case under discussion, this place is the shed, the morning of death, completely changing the traditional paradigm of thinking. In connection to the management of the analysis moves to the following verse, where the lines run ” THINE folding Securest; / You’re too close to look for you. “The reader is now becoming aware of the fact that they all seek a conventional religious paradigm in which the flock seeks God in their faith and deeds, but as it turns out, that is what they all seek. Does that mean that death is like God? No, Emily Dickinson is not trying to build a new pantheon, but she says that in our view, God has always had the wrong image and understanding of who has the power, who is the power and the source and in Dickinson’s words the death. All poems are from the section “Time and Eternity” and deeply reflect the nature of our existence as opposed to Being. The title of the essay is “Emily Dickinson’s Obsession with Death”. However, obsession should not be viewed as mania in the negative sense, but as a matter of primary interest and coverage. The poetess openly addresses the questions each and every one of us poses frequently and privately: What is there? What awaits me beyond the grave? Is there something after I died? Surname 7 Thinking about death does not necessarily mean dying and advocating all possible ways to get into another world. Emily Dickinson works within the literary-philosophical paradigm, which presupposes asking such questions and treating them from different perspectives. Three poems selected for analysis offer three mainly different ways of answering the above questions. One of them is the conscious underestimation of death as the almighty and inevitable result of life. His functions are limited to negotiating and asking for favors, he can no longer enforce his point of view. Death is weak; death is subordinate and limited in its strength by topological restrictions. In the second poem, it becomes an edge that divides two parts of the entire cycle of being – life and life after death. There are two different types of dialogues, microcosms and macrocosms, and death is only a margin. Finally, the third poem depicts death as a liberator, whose quiet realm offers peace and eternal peace. In addition, death is self and God believes in people. It is the beginning and the end. Death is a wholeness. Emily Dickinson offers three different interpretations of what death is. many more are given in her other poems. It does not seem to aim at exhausting all possible interpretations, because according to the romantic world-view, the universe is infinite and therefore can not be fully recognized by anyone. Her method is visionary; she sees or imagines things and then shares her revelations with the reader. Last name 8 Bibliography reviewed Bloom, Harold. Emily Dickinson. – Bloom’s Modern Critical Views, 2008. Harold Bloom is a renowned American literary and art critic. His book is entirely devoted to the authority of Emily Dickinson. The essay deals with a point from Bloom, namely, that I have stopped through the lens of eternity. Staves , Miriam. “Emily Dickinson” – the death motive in the poetry of Emily Dickinson. – Publish and Find Knowledge, 2010. Miriam Dauber is a German scientist who is intensively interested in the work of Emily Dickinson. The text by Dauber is available as a term paper and focuses on three aspects: General features of death, reasons for Emily Dickinson’s interest in death, and the relationship between time and death. The last part of the work is crucial, as Dickinson destroys the category of time and applies eternity not only to life after death, but also to life itself. Dietrich, Nina. Emily Dickinson death poetry. – Publish and Find Knowledge, 2003. Nina Dietrich is a British scholar and literature researcher at the University of Kent. In her essay, she focuses on the theme of death in Emily Dickinson’s poems and in the course of her article discusses three main approaches to the subject: denial, acceptance and embrace. These three categories allow variations and discuss personified images of death that permeate the poet’s entire work. Seriously, Katharina. “Death” in the Poetry of Emily Dickinson ” .- MA: Winter Publishing, 1992. Katharina Ernst is a German-born American literary researcher who focuses on the creative work of Emily Dickinson, and much of her research is the Topos of Death Dedicated in her poems, death is the only point of reference that justifies and centralizes the existence of an individual, it is a background for the whole spectrum of a person’s physical and spiritual aspirations Freedman, Linda, Emily Dickinson, and Religious Imagination – Cambridge University Press, 2011. Linda Freedman wrote her dissertation on “Emily Dickinson’s Life of Christ” in 2007. The scientist deals with the religious Component of Dickinson’s Lyrics Especially in the book are the concepts of the absolute and d it discusses in part, fragmentary, how they are applied to the poems. Words incarnate, truths embody, which corresponds to the pattern of exegesis and modes of perception. White, Fred D. Approaching Emily Dickinson: Critical Currents and Countercurrents. – Camden House, 2008. Professor Fred D. White wrote a voluminous book on Emily Dickinson in 2008. The chapter used for this essay “Scholarship for Archetypal and Philosophical Themes in Dickinson’s Poetry” deals with important archetypes found in Dickinson’s poetry, with special emphasis on the archetype of the self. In addition, the themes of life and death, existence and being are opposites with shifted scope.
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