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Realism and Romanticism in the Poetry of Emily Dickinson

 Essay about Realism and Romanticism inside the Poetry of Emily Dickinson

Sam Nelson

Fr. Fitzgibbons

English one hundred ninety

11/25/04

Realistic look and Romanticism in the Poetry of Emily Dickinson

Emily Dickinson is usually known as a romantic era poetess, yet your woman frequently built-in a surprising realism into her romantically styled poetry. Frequently choosing issues related to realistic look for her beautifully constructed wording, she enigmatically shrouded her lines in romantic vocabulary. Her rich imagination, focus on nature, and use of symbolism thus created a romantic feeling in poetry otherwise grounded in realistic look. Her poetry " 303" and " 465" are both excellent types of Emily Dickenson's intertwined use of realism and romanticism.

A spotlight on character presents itself being a crucial element of romanticism. In her poems, Emily Dickinson takes simple, obvious facets of the world around her and conveys them as very complex, using romantic language to conceal the natural realism. To Emily Dickinson, " the overall symbol of Nature is death (Larrabee 115)", which in turn she talks about in poem " 465". " 465" gives us a lament regarding being on a deathbed, while a travel buzzes about, and the personality slowly slipping away in to death. The realism with this poem originates from its truthful handling of death, but Dickenson grows this endless theme simply by overlaying it with a romantic-style point of view. The poem claims:

I noticed a Travel buzz-when I actually died-

The Stillness within the room

Was like the Stillness in the Air-

Between Heaves of Storm- (" 465", lines 1-4)

This kind of passage speaks of the material and reasonable aspects of fatality В– nevertheless adds the colorful " romantic" image of the travel buzzing about while the character slowly passes away in bed, and additional intensifies the result with the dual stillness following your persona's fatality. The identity and the news of the fly are both noiseless. Note that the fly is not represented by a material image, but instead with its affiliated symbol: a buzzing appear. An additional loving twist is in Dickinson's range of words to spell out the quietness. In an analogy to mother nature, the...

Offered: Dickinson, Emily. 303. Rpt. In The Norton Anthology of World Masterpieces. Ed. Maynard Mack. New York: W. Watts. Norton Firm, 1997. 2315-2316.

Dickinson, Emily. 465. Rpt. In The Norton Anthology of World Masterpieces. Ed. Maynard Mack. New York: W. W. Norton Firm, 1997. 2317.

Larrabee, Ankey. " Three Studies in Modern Beautifully constructed wording, " Accentuate, 3. 5 (1943), 115-117.

Cameron, Sharon. " Lyric Time: Dickinson and the Limitations of Genre". Baltimore: John Hopkins UP, lates 1970s. 65-72.

Juhasz, Suzanne. The Undiscovered Place: Emily Dickinson and the Space of the Mind. Indiana Univ. Press, 1983. 105-109.

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