They crowded the death chamber to wait expectantly a burst of dying energy to bring on the grand act of passing. In the third stanza Dickenson says that she gave a way all of her belongings, even all of her personal belongings. Lines 5-6 In these lines, Dickinson uses metonymy. These are a few differences between the two poems. She displays different views on death by writing two contrasting poems: one of a softer side and another of a more ridged and scary side.
Yet the presence of this fly remains puzzling. But by the end of the poem, the fly has acquired dreadful meaning. The sudden fall of the dying person into the captivity of an earth-heavy skepticism demonstrates of course the inadequacy of the earlier pseudo-stoicism. Patterson, Rebecca, The Riddle of Emily Dickinson, : Cooper Square Publishers, Inc. She began writing verse at an early age, practicing her craft by rewriting poems she found in books, magazines, and newspapers. She wrote of abstemious ecstacy, of hoary boys, and of piercing comfort.
And how wrong, I think, is Mr. She should have been surrounded by people who loved her in the peacefulness of her room. She describes a stillness, and silence in the room, as in the center of a storm hurricane. Does the fly's fulfilling their expectations indicate that death has no spiritual significance, that there is no eternity or immortality for us? Michael Lake Michael Lake is a published poet who holds a M. Throughout her life, she seldom left her home and visitors were few. After the windows failed Dickenson could no longer see, hear or feel.
One reason might be because it is a petty annoyance that is distracting the speaker. The form of the poem is the common meter hymnal Dickinson preferred: each of the four stanzas is four lines—a quatrain; the lines alternate between eight and six syllables each; the dominant foot is the iamb, which is one unaccented syllable followed by one accented syllable. Death Dickinson was fond of using oxymorons to assert the double truth of what was seemingly contradictory. Paula Bennett Like many people in her period, Dickinson was fascinated by death-bed scenes. Dickinson wrote thousands of poems and they she stated that she wrote for herself and not for others.
Before the age of powerful anodynes death was met in full consciousness, and the way of meeting it tended to be stereotype. And still the only sound is the fly's buzzing. The room is silent except for the fly. Blue has a solemn supraterrestrial quality that the Egyptians considered to be the color of truth. Although the blue on the average housefly is usually darkly iridescent, blue is the color of a clear sky and, as such, is said to draw the individual toward the infinite and awaken a yearning for purity. The poem also concentrates a lot on the practicalities of death.
Clearly, the central image is the fly. The fly could be a metaphor for death or for the sins that Dickenson committed in her lifetime. Even this mention of the afterlife has more to do with the process of dying and being brought into heaven then what happens after death. The room was peaceful, and the air was still. How should we interpret this? The focus is not the unknown after death, but what happens as one dies. Emily Dickinson wrote the poem around the time of the Civil war which was between the years 1861 through the years 1865. In many ways, Emily Dickinson lived within the cusp of two worldviews.
Dickinson went to primary school for four years and then attended Amherst Academy from 1840 to 1847 before spending a year at Mount Holyoke Female Seminary. Stanza 2 The Eyes around — had wrung them dry — And Breaths were gathering firm For that last Onset — when the King Be witnessed — in the Room — In the second stanza, the speaker shifts from her focus on the fly as contrasted with the stillness of the room, and she begins to describe the people she sees sitting around her. . But with a dash suddenly giving a turn to the idea, the stumbling, buzzing fly comes into the scene. That makes me think that they are saving their tears for the moment when the narrator actually dies. No, the fly stands for the ultimate destiny of all corporeal existence: decay, disintegration, and nothingness. My reactions to the two poems were about the same in both.
Death is thus rendered unknowable. Since then, many critics have argued that there is a thematic unity in these small collections, rather than their order being simply chronological or convenient. She tells us about the people standing around her, who are calmly preparing themselves for her final moment. She made, finally, a telescope of her house and her placement there; the simplest of perspectives, the most austere surroundings, allowed her the broadest of views. The handwritten poems show a variety of dash-like marks of various sizes and directions some are even vertical. The sound of the fly is like a tether that connects the speaker to the world of the living.
Deeply original, she trafficked in the most familiar and sacred subjects and forms of her day, only to trouble them, worry that they were inadequate, and question their value. I heard a Fly buzz when I died? If the king is representative of the fly, this could also be another example of how the fly is interrupting the speaker's death. The obtrusiveness of the inferior, physical aspects of existence, and the busybody activity associated with them, is poignantly illustrated by the intervening insect cf. Here, the speaker suggests that there is such a light, but the fly buzzes between herself and the light. Dickinson is writing about the unreferencing of the body from forms of subjectivity other than itself. Dickinson uses the convention of the deathwatch as a way to consider the self at a moment when its culturally-assigned significance is weakest, and she does so in order to escape the Christian narrative frame.
Her invocations of religion are, however, often subversive—particularly given that she lived in a deeply religious town. Behind the irony in her apparent lampoon of the popular death poetry of her day lurks an agonized question. At the same time, their breathing has stopped shaking and trembling because they are calmly awaiting what is now inevitable. Tis dangerous to value, for only the precious can alarm. The eyes beside had wrung them dry. I heard a Fly buzz when I died? The people with whom she did come in contact, however, had an enormous impact on her poetry. She could not possibly have entertained any such view of a blowfly.