Yet to depict this terror, he or she employs imagery that effectively draws an image of being startled and chilled. In the last stanza, Emily admits that ever times she came across this particular snake she became tense with fear. The poem is built on the premise of contrasting what something appears to be visually, and what it really is Johnson 711-712. For the analysis, the essay will identify numerous aspects of the poem, unique to Dickson's style such as rhyming scheme, words choice, meter, imagery, metaphors and themes. The speaker leaves the reason for this shift in feeling open for interpretation. She symbolizes its movements, its physique and its behaviors without ever mentioning its name.
This kind of writing could mean that she gave importance to the patriarchal society and importance of men in her writing. In contrast, he returns to very concrete, simple language in the final stanza to comment on his feelings toward the snake. These experiences are more personal and more intense because they are experiences from his boyhood that remain vivid in his imagination. These lines can be easily mistaken for her friends who are admirer of nature as she is; but reading the lines twice, you would understand what exactly Dickinson meant. Let's see…well, your guess is as good as ours as to who this fellow is. In other poems, sight and self seem literally fused, a connection that Dickinson toys with by playing on the sonic similarity of the words I and eye.
As so often in her poetry, Emily Dickinson manages to convey the essence of the creature as she does , its movements, its manner, its appearance, in ways which strike us as at once idiosyncratic and strangely accurate. Like her other poems, this one, too, had no title. However, most readers can relate to the feeling of fear that would come upon them if they met a snake at their feet in the grass. As Dickinson understood it, the mere act of speaking or writing is an affirmation of the will, and the call of the poet, in particular, is the call to explore and express the self to others. He may understand that his fear is irrational, but his fear is inescapable.
Unlike other religious poets, who inevitably saw themselves as subordinate to God, Dickinson rejected this premise in her poetry. In almost all of Dickinson's poetry, she adopts a unique use of style that constitutes a very complicated hybrid of various literary devices. We get just a few details about him: he's narrow, he's in the grass, and occasionally he takes rides. The encounter always accompanied by heavy breaths and chill that would seem to affect the bones. Have passed, I thought, a whip-lash Unbraiding in the sun,— When, stooping to secure it, It wrinkled, and was gone. Dickson again builds a poem around a riddle, by contrasting what things appears to be against what they really are. Dickson recreates a natural world by portraying vivid images.
But when the terms are welded together, they gain much more that their individual ordinary meanings. Stanza 2 He likes a boggy acre, A floor too cool for corn, But when a boy and barefoot, I more than once at noon Have passed, I thought, a whip lash, Unbraiding in the sun, When stooping to secure it, It wrinkled and was gone. Metaphor: The poet compares the motion of a snake to a rider. When human-like features are given to inhuman things, such as being called a fellow, which denotes a man or a boy, the imagery is referred to as personification. The Connection Between Sight and Self For Dickinson, seeing is a form of individual power.
In these lines, she describes about spotting a snake in a marshland. It was not Dickinson herself that published her poem, but rather her sister in law. The speaker seems certain of his comments, but the lack of stress at the ends of these lines undercuts his certainty. Even as an adult who can distinguish between appearance and reality, he still has a visceral response to snakes. He likes a cool floor and wet marshes.
In the next lines, the poet reveals that the speaker in the poem is indeed a man, who when was a boy who liked to visit places without wearing any shoes. Dickinson explores the mental constraint through that of the physical. This gives the snake further human qualities by suggesting that the animal actually had the ability to express human cordiality. Further, the association of the boy with the animals of Nature indicate a clear relationship between him and Nature itself. In other words, he likes a soft, cool, swampy area in which to slither. However, sounds like rhyme, half-rhyme, alliteration, assonance, and consonance can also affect the way we place stress on words and phrases as do pauses created by punctuation. The second stanza includes a run-on sentence that interferes with the enjambment of the second and third line of in the second stanza.
Instead the lines are run together clumsily mirroring the clumsy action of the speaker as he reaches for a whip that turns out to be a snake. A Narrow Fellow in The Grass turns out to be a very personal but child-like wonder poem of a persona in tune with nature but also aware of its inherent dangers. Her thoughts and expressions towards the components of nature become further beautiful with her choice of words to describe things, which many poets do not succeed in doing so. What may look like a spotted shaft or a whip lash turns out to a snake. A Narrow Fellow in the Grass itself does not reveal why she does this, but for some reason she speaks as a man remembering his boyhood encounter with a snake.
An examination of the rhythm of the poem, however, indicates that his attraction and repulsion to the malevolent forces of nature represented by the snake are much stronger than his feelings of cordiality. As in other poems, her strong religious background comes to the fore in a liberal use of Biblical allusions. With the first few lines, the speaker intended to trick the reader into picturing a human being, so that it comes as a shock when the reader realizes that this poem is about a snake. Little do they realize that it is a snake till the moment comes when it starts to react! As the poem reaches its conclusion, those attempts at familiarization fall apart. An imabic foot consists of one unstressed syllable and one stressed syllable. Now, he is a snake who prefers a certain type of home.