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After choosing and reading legion Emily Dickinson poems at random I began to see a form in that a bulk of her verse forms were touching on the same topic in Death. Poem after poem decease was her chief focal point and I didn & # 8217 ; Ts know why. Bing that I didn & # 8217 ; t truly hold any old cognition of Dickinson & # 8217 ; s work, besides the duologue we had in category, I decided to look farther into her life. I found that the ulterior old ages of Dickinson & # 8217 ; s life were chiefly spent in mourning because of several deceases within the clip frame of a few old ages. Emily & # 8217 ; s father died in 1874, Samuel Bowles died in 1878, J.G. Holland died in 1881, her nephew Gilbert died in 1883, and both Charles Wadsworth and Emily & # 8217 ; s mother died in 1882. Over those five old ages, many of the most influential and cherished friendly relationships of Emily & # 8217 ; s passed off, and that gave manner to the more concentrated compulsion with decease in her poesy. After enduring the loss of so many of import people in her life, it would look like Dickinson would contemn decease, but alternatively I got the feeling that she non merely had come to accept decease, but she besides admired it in her ain small manner. This sounded really awkward at first, but after passing several hours of absorbing her poesy, I think I began to understand where she was coming from. I don & # 8217 ; t intend to state that she wholly became in love with decease, but I do believe that a really unusual captivation came over her. In many of her verse forms she talked as if she were present while some of these people were on their deathbed. This is where I think that Dickinson separated herself from other authors of her clip, in that she made certain that as a reader one would besides experience present as things occurred. She demonstrated this best in her verse form & # 8220 ; I & # 8217 ; ve Seen a Dying Eye, & # 8221 ; and my favourite, & # 8220 ; So Proud She was to Die. & # 8221 ; In the verse form & # 8220 ; I & # 8217 ; ve Seen a Dying Eye, & # 8221 ; Dickinson foremost introduces us to the nature of decease. Immediately a sense of uncertainness and uncontrollability over decease seems to be:

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I & # 8217 ; ve see a deceasing eyeRun unit of ammunition and round a roomIn hunt of something, as it seemed, Then cloudier become ; And so, vague with fog, And so be soldered down, Without unwraping what it be, & # 8217 ; Twere blessed to hold seen.

The perceiver & # 8217 ; s speech sounds hesitating and unsure of what he or she is seeing. The image that goes through my head as I read this transition is that of a individual lying on their deathbed as household and friends are present. Dickinson is present, but she truly isn & # 8217 ; t that near to the deceasing. I say this because of the manner she describes this otherwise gut-wrenching scene. There seems to be no mawkishness involved what so of all time. She seems as if she is merely in the background while all is go oning, until something grabs her attending by surprise. What grabs her is the deceasing oculus! It catches her attending as it dances around evidently in hunt of something. Here, it seems like Dickinson truly seems to concentrate in on the oculus, as she is able to see it go & # 8220 ; cloudier & # 8221 ; and & # 8220 ; obscure with fog. & # 8221 ; She sees that the run outing individual seems to hold no control over the clouds covering their oculus. It is madly seeking for something that it can merely trust to happen before the clouds wholly consume it.The most of import portion of the verse form comes in the terminal when the oculus stopping points and ceases to seek the room. & # 8220 ; And so be soldered down, /Without unwraping what it be/ & # 8217 ; Twere blessed to hold seen. & # 8221 ; The oculus, as discussed earlier, seems to be agitated and seeking urgently for something. The neglecting individual & # 8217 ; s oculus is so & # 8220 ; soldered down & # 8221 ; and fails to allow its perceivers know what was seen. The usage of the word & # 8220 ; solder

” implies to me that whatever answer the oculus found beyond the clouds is now for good sealed away from us, and the remainder of the life universe.

It seems that we sometimes, as in the instance of this peculiar perceiver, envy a dead individual because they have discovered the reply to that stalking inquiry. The world of the state of affairs is that because we, the perceiver and ourselves, take to chew over that inquiry, we give decease a certain power over our lives. That we spend our whole life in uncertainness about decease could represent a sort of & # 8220 ; journey & # 8221 ; towards decease. The realisations and conjectures that we make refering to decease do up the assorted Michigans along the manner with the finish being that minute when the truth is revealed. The uncertainness about decease and what remains after controls those who are still going in their journey.

In the verse form & # 8220 ; So Proud She was to Die & # 8221 ; Dickinson once more harps on the impression of how we as life psyches are in some manner, form, or organize losing something in this so called thing that we cherish so much ; life. The gap lines of this verse form are similar to those of the old verse form & # 8220 ; I & # 8217 ; ve Seen a Dying Eye & # 8221 ; in that one time once more we get the sense that during the last minutes of this individual & # 8217 ; s life, people have gathered around them to witness the terminal. Unlike the last verse form where Dickinson really walked us through the expiring of her topic, this clip we enter after all is said and done.

So proud she was to dieIt made us all ashamedThat what we cherished, so unknownTo her desire seemed,

So satisfied to goWhere none of us should be, Immediately, that anguish stoopedAlmost to green-eyed monster.

Immediately following this individual & # 8217 ; s decease Dickinson tells us that she and all that were present felt contrite. I think that it took the decease of this individual to demo Dickinson and the others that there is something beyond this life. I think that the deceased had come to footings with her destiny and had accepted it and that was why she was & # 8220 ; satisfied to go. & # 8221 ; Where as before in & # 8220 ; I & # 8217 ; ve Seen a Dying Eye & # 8221 ; we saw decease as an about unmanageable force, that swept over the individual before they had clip to unwrap what they were meeting. Even though Dickinson doesn & # 8217 ; t utilize as many action-filled words as she did in the old, we still get the same image. What is different in this image is that alternatively of seeing a roving oculus, we see a unagitated one. We see a adult female that is seeing the visible radiation of her Eden, or possibly even the darkness of her snake pit. What of all time one it was she was content and for that ground she was happy. So happy that she took whatever feelings those looking on were holding and brought them all & # 8220 ; about to jealousy. & # 8221 ; In the terminal we are still left with many inquiries as to what waits for us after decease. Knowing that no life being could perchance reply these inquiries Dickinson was more interested in how the perceiver, whether in her verse form or in existent life, dealt with the fact that what waits for us after decease will ever be unknown right until the concluding moment.On June 14, 1884 Emily & # 8217 ; s compulsions and poetic guesss started to come to a halt when she suffered the first onslaught of her terminal unwellness. Throughout 1865, Emily was confined to bed in her household & # 8217 ; s house where she had lived her full life, and, on May 15, 1886, Emily took her last breath at the age of 56. At that minute the universe lost one of its most gifted and insightful poets. At this point in clip I & # 8217 ; m sure that many felt the hurting of this loss and were really sad. But on the other manus, I bet some felt happy for her because she eventually had the replies to her all of her inquiries.

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