Throughout her life, she seldom left her home and visitors were few. The people with whom she did come in contact, however, had an enormous impact on her poetry. She was particularly stirred by the Reverend Charles Wadsworth, whom she first met on a trip to Philadelphia.
In lieu of an abstract, here is a brief excerpt of the content: Emily Dickinson, Homiletics, and Prophetic Power Beth Maclay Doriani bio From the time that Anne Bradstreet defied each carping tongue to pick up her pen and write poetry, women in America have been struggling to assert their poetic voices.
For Emily Dickinson, the oratory of her time provided a rich resource of models and strategies through which she might empower her voice. Surrounded by male and female orators, preachers, and self-proclaimed prophets such as Ralph Waldo Emerson, as well as the didactic religious voices of contemporary female poets, Dickinson responded with her own kind of prophecy, challenging the conventions of faith and expressing her own religious vision through her poetry.
In challenging Christian dogma, however, she often draws from the very rhetorical sources whose doctrines she seeks to undermine. In the sermons she heard as she grew up in Amherst—specifically, those of Jonathan Edwards' homiletical tradition—Dickinson finds ways to gain authority for her voice as a religious speaker.
The Edwardsian tradition provided her with rhetorical structures and stylistic devices for her poetry, enabling her to communicate a spiritual vision that alternately conforms to and challenges the conventions of faith. In style, the sermons offered Dickinson a model of colloquial, plain language; vivid imagery appealing to the senses; and an emotionally charged tone with an intensity of feeling.
In form, the sermons offered a logical, four-part structure through which Dickinson could appeal to her readers' [End Page 54] intellects: We can see her drawing on this form, or variations of it, in as many as half of her poems, adopting the sermons' emphasis on reason and evidence.
Employing some of the same rhetorical strategies and form as the Edwardsian preachers, Dickinson is able to achieve some of the same effects: The Christian sermonic tradition offers a way to understand Dickinson's poetry that both feminist scholarship and traditional religious criticism have missed.
Focusing on the traditionally patriarchal elements of nineteenth-century Christianity, feminist scholars have for the most part dismissed Christianity as a tradition unable to make positive contributions to Dickinson's art. Focusing on the elements within her religious heritage that give her a voice, a purpose, and authority as a poet can illuminate her poetry in new ways.
Her justification for drawing on the sermonic tradition for the voice of a religious visionary or prophet lay in the Bible's sanctioning of women as prophets both in the Old and New Testaments. In the tradition of Joel 2: Taking the voice and stance of the prophet-preacher enables Dickinson to speak to her culture with a sense of authority and justification, despite that culture's patriarchal temper.
Certainly, scholars have noted the "spoken" quality of Dickinson's poetry as a distinguishing feature of the verse. Brita Lindberg-Seyersted argues throughout her Voice of the Poet that "the prevailing impression conveyed to a reader" through Dickinson's verse is "of the spokenness of her poetic message" Lindberg-Seyersted attempts in her study "to establish the character of an immediate, 'spoken,' often confessional message, which is one of the essential marks of her poetry" David Porter agrees, calling Dickinson's poetic discourse "flattened speech, a talking that was depoeticizing and an escape from pomposity" Idiom She disarmingly called it in Poem "my simple speech" and "plainword.
Into her poems and particularly into those outrageous first lines came a natural breath and diction that created the illusion and If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'.
You are not currently authenticated. View freely available titles:ABSTRACT: As mystic poets, Emily Dickinson and Whitman are the two very important and talented writers in the arena of American literature.
Both of them are famous for their divine In Emily Dickinson’s poetry perfection, lightness, boldness and a chaste refinement are found which and distinct personality to its Object. Emily Dickinson was a well-known poet of the mids whose numerous works have stood the test of time.
Emily Dickinson: Poems and Poetry Analysis. She was also one of the very few women. The Themes of Emily Dickinson's Poetry Words Mar 18th, 16 Pages Emily Dickinson was a great American poet who has had a lasting effect on poetry, yet she was a very complicated poet in the 's to understand, because of her thought patterns.
The Emily Dickinson Journal, Volume 1, Number 2, Fall , pp. (Article) corpus of her poetry. Distinct from the Unitarian sermon, the Edwardsian textbooks of to (devoted to traditional preaching and important for their description of the culturally dominant forms) advocate the.
Like just about all of Dickinsons' poems, this poem has no title. Emily Dickinson titled fewer than 10 of her almost poems. Her poems are now generally known by their first lines or by the numbers assigned to them by posthumous editors (click here for more information).
Margaret Homans, Women Writers and Poetic Identity: Dorothy Wordsworth, Emily Brontë, and Emily Dickinson (Princeton: Princeton University Press, ). Susan Howe, "These Flames and Generosities of the Heart: Emily Dickinson and the Illogic of Sumptuary Values," in her The Birth-Mark: Unsettling the Wilderness in American Literary History (Hanover, N.H.: University Press of New England, ), pp.