The understatement of the last two lines suggests that she accepts her protected situation as a natural aspect of her life. But it is also a representation of the emotions of the poetess. The poetess begins with the summer which passes away like her grief. Conclusion: Emily Dickinson portrays her emotions and struggles quite well in the poem. The striking thing about this poem is Emily Dickinson's use of three and five syllable words in certain lines, which alters rhythm and sound, so breaking the iambic beat from time to time. The second stanza tells us that this winter light inflicts a spiritual wound, and the third stanza explains that this suffering cannot be taught, given consolation, or even explanation.
Only the first two lines, however, present the physical occurrence. The details of the scene are presented in a series of vigorous personifications and metaphors. In the last stanza, the observer takes delight in a close-up thing, the queenly appearance of fence posts, and then, in a tone of combined relief and wonder, the poem suggests that the lovely winter scene has really had no external source, but has simply arrived by a kind of inner or outer miracle. Birds putting up bars to nests humanizes their actions and parallels the behavior of people. And Nature is here personified, a female, isolated, even lonely, in the company of the afternoon. The third and fourth stanzas show nature at home with itself, suggested by the grass's and the sedge's familiarity with wells and with the sea.
Dickinson is also a nature poet in her own right. She died in 1886, aged 55. Here, she is probably thinking of herself as a boy to stress her desire for the freedom of movement which her society denied to girls. However, there seems to be ambivalence in her attitude; her vivid and carefully accurate, though fanciful, observation of the snake implies some admiration for the beauty and wonderful agility of the strange animal. The second and third lines begin a description of a transitional period, and their claim that the speaker felt no betrayal shows that she has had to struggle against such a feeling. Surprise is continued by the snake's proceeding in a similarly semi-magical way.
The last stanza returns to the physical world but assigns to its personified landscape the feelings of a person who is observing such a scene. The descriptions of nature are not merely a poetic device to invoke nature, but they also convey the state of mind that the poet is in at the time of writing this piece. The crickets are pathetic in the spectator's eyes because they are small and doomed, unlike the birds who will winter over or go south. But it now takes on a shade of resignation. This poem can be said to be an emotional response to the departure of either of the three known men, for whom Dickinson had an unrequited love.
Except for the first, the stanzas all employ a rhymed couplet plus a shortened line which rhyme in pairs. The morning is personified here by giving it a quality of courteousness. There are possibly two different, but not necessarily contradictory, ideas here. The last four lines shift the metaphor and relax the tension. And like this, our summer made its escape, out into the beautiful. Dickinson also provides many nature examples to bring forth an understanding of her happiness escaping.
The northern lights are beyond all competition because they manifest the coldly self-contained power and beauty of the universe itself. This grammatically difficult poem begins with a description of the aurora borealis, or northern lights, frequently visible in New England. As imperceptibly as grief E-Text Emily Dickinson's Collected Poems Part Three: Nature 45. As imperceptibly as grief As imperceptibly as grief The summer lapsed away, -- Too imperceptible, at last, To seem like perfidy. The style of this poem is representative of Dickinson in a meditative mood.
And there came the morning, bright and foreign. Dickinson capitalizes her nouns throughout this poem. However, the poem is shown that the speaker feels distressed in some way by having their old emotions leave so that can also show that the speaker finds their emotions leaving to be something distressing. Each stanza represents a phase of time with its own quality and tone. But the snake belongs to a distinctly alien order.
And so the morning passes, just like the summer. These lines suggest that no matter the pain in the darkness of the night, healing and joy will come again. Then look at the next choices. Other poems and passages of her letters reveal that noon often represented for her immortality or perfection. However, these final stanzas seem to be more concerned with the deepening of human sensibility on earth. The sun will rise, and grief will fade.
The closer these are to leaving the more beautiful they become. The speaker assumes the guise of a little girl urgently running with news of nature, delighted with the imaginativeness of her perception and phrasing, and pretending bafflement about the details and meaning of the sunset. The third line employs synesthesia — the description of one sense in terms of another. Summer here is a metaphor for happiness, light, growth. A furrow is a physical depression or cleavage, usually made by plowing or shoveling earth. Franklin in two volumes Cambridge, Mass. As are several of Dickinson's best philosophical poems, this one is also related to a moment of seasonal change.
It is more accurate to say that the philosophical nature poems look outward and inward with equal intensity. In the last stanza, she has ascended into heaven, perhaps by the way of sunbeams, and heavenly angels come to the windows of paradise to see this spiritual drunkard leaning against the sun for rest. Everything else is familiar iambic, in tune with normal life. The season then begins to have shorter day lengths. The tones lead to the speaker's realization that summer and emotions must leave. And thus, without a wing, Or service of a keel, Our summer made her light escape Into the beautiful.