The image of winter, as well as the organ music, adds gloom to the poem. Figural interpretation presupposes much greater equality between its terms than either allegory or symbol for, in the former, the sign is a mere form and, in the latter, the symbol is always fused with what it represents and can actually replace it. We also see the exit of winter light at the end of the day in the same distant way we might see some deaths. Emily Dickinson produced groundbreaking and morose poems molded by her reclusive and sad lifestyle; her poems are remembered as inspirational and innovative, despite how they were received in her lifetime. This is metrical artistry at about as high a level as one is likely to find it. When it leaves, she feels that whole body.
Helen is getting more glimpses at her past now that she is in Jenny's body. She was particularly stirred by the Reverend Charles Wadsworth, whom she first met on a trip to Philadelphia. It's winter, it's painful, and you know what that means. Her father, mother, nephew, and three close friends, all died within an eight-year period. Most people are sensible of the sober disquietude that may be stimulated by great, solemn music, if not by the beauty of nature. From the very beginning of the poem, the speaker is instructing on the best way to tell the truth.
The thing in other words is saturated in the terms of its own figuration. The slanted light that she sees, is a metaphor for her battle with depression. Yet at the same time, 'There's a certain Slant of light' is, obviously, a highly subjective poem, dealing with an intensely personal state of mind. When Dickinson uses nature imagery in this way, she is appropriating it, as Joanne Feit Diehl says, for the aggrandizement of the mind. The season, as well as the day, are suggestive of death. But to be redeemed one must first be mortal, and be made conscious of one's mortality. Certainly it would be incorrect to say that they are symbols.
Initially, these poems were published according to the aesthetics of her early editors, who removed her dashes and unusual punctuation, and changed the text. She does not pour a cup of tea. Not mere speculation is stimulated; an emotional ecstasy of such intensity that it is an affliction possesses her. In 1890, the first volume of her work was published. Even though it is focused outward on a natural scene, it does not mention a single color or describe a single form. Dickinson used trochaic and iambic meters through out the poem.
It also lies in our familiarity with the experience Dickinson describes. This personification in the work shows that a divine being has arranged for this revelation to occur therefore, all of nature will halt to the being who has been selected to find this new piece of themselves. With its exquisite use of sound, its disjunctive grammar, and mixed levels of diction, 'There's a certain Slant of light' is a formidable performance. There's a certain slant of light, There's a certain slant of light, On winter afternoons, That oppresses, like the weight Of cathedral tunes. The religious note on which the prelude ends, 'Cathedral Tunes,' is echoed in the language of the central stanzas.
She thinks nothing much of the frog and tries to flush him down the toilet. The poems were initially unbound and published according to the aesthetics of her many early editors, who removed her unusual and varied dashes, replacing them with traditional punctuation. He left for the West Coast shortly after a visit to her home in 1860, and some critics believe his departure gave rise to the heartsick flow of verse from Dickinson in the years that followed. She spent a great deal of this time with her family. But what shall we further say about the proximity of these poems? She utilized nature as a way of reflecting on her life.
Her poems, carefully tied in packets, were discovered only after she had died. When it goes, it is only like a look of death going a little farther from the speaker, that is, it still leaves the speaker pale with fear and marks of death left behind. This poem focuses only on the effect of a certain kind of light that the speaker notices on winter afternoons. To be credited as vision, despair must also seek its connection to the generative source outside itself. He realizes that he has been holding himself responsible for something that was out of his control. The light is presented in its most effective form. This is indeed despair, though not in the theological sense unless Redemption is denied also.
Not only is the relationship between the voice which speaks these poems and Dickinson herself problematic, but so, as a rule, is the relationship between the poetry's manifest content and the meaning which this content presumably encodes. There are no definitive answers about the light or the internal conflict. Although, her main muse of her work seems to be despair and internal conflict. She forces herself to question whether there is a possibility of death being a mundane nothingness. Throughout her life, Dickinson rarely left her house and her visits were few, as she lived in almost total isolation. GradeSaver, 26 July 2009 Web.