The poem was published posthumously as "Hope" in 1891
"'Hope' is the thing with feathers" is a lyric poem in ballad meter by American poet Emily Dickinson. The poem's manuscript appears in Fascicle 13, which Dickinson compiled around 1861.[1] It is one of 19 poems in the collection, in addition to the poem "There's a certain Slant of light".[1] With the discovery of Fascicle 13 after Dickinson's death by her sister, Lavinia Dickinson, "'Hope' is the thing with feathers" was published in 1891 in a collection of her works under the title Poems, which was edited and published by Thomas Wentworth Higginson and Mabel Loomis Todd.
"'Hope' is the thing with feathers" was first compiled in one of Dickinson's hand-sewn fascicles, which was written during and put together in 1861.[1] In the 1999 edition of The Poems of Emily Dickinson: Reading Edition, R. W. Franklin changed the year of appearance from 1861, where the holograph manuscript exists, to 1862.[2] According to the appendix, Dickinson wrote 227 poems, numbered 272 to 498, in 1862, the third-most she wrote in a single year between 1860 and 1865.[2] The edition that Dickinson included in the fascicle was text B, according to Franklin.[2] No current holograph manuscript exists of the poem's first written version. "'Hope' is the thing with feathers" first appeared in print in a Poems by Emily Dickinson, second series in 1891.[3] It was published by Roberts Brothers in Boston.
Upon the original publication, Dickinson's poems were reassessed and transcribed by Thomas H. Jefferson in 1955. That was the first scholarly collection of her work. Jefferson's transcription of her works from her fascicles was taken from their earliest fair copies. In the Johnson collection, "'Hope' is the thing with feathers" is poem number 254.[4] In his edition, Franklin used the last fair copies.[5] It is number 314 in his collection and is so labeled in the Norton Anthology of Poetry.[6]
"Hope" is the thing with feathers — That perches in the soul — And sings the tune without the words — And never stops — at all — And sweetest — in the Gale — is heard — And sore must be the storm — That could abash the little Bird That kept so many warm — I've heard it in the chillest land — And on the strangest Sea — Yet — never — in Extremity, It asked a crumb — of me.
HOPE.
"Hope" is the thing with feathers That perches in the soul, And sings the tune without the words, And never stops at all,
And sweetest in the Gale is heard; And sore must be the storm That could abash the little bird That kept so many warm.
I 've heard it in the chillest land, And on the strangest sea; Yet, never, in extremity, It asked a crumb of me.
Fascicle 13
Fascicle 13 is the bound edition of Dickinson's written poetry that contains "'Hope' is the thing with feathers" in her hand. Franklin found similarities in the materials used for this fascicle and Fascicles 9, and 11–14.[1] Fascicle 13's distinctive markers include a woven style of stationery, with paper that is cream in appearance with a blue rule line on it. It also is decorated in an embossed style that frames the page with "a queen's head above the letter 'L'".[1]Harvard University's Houghton Library houses the holograph manuscript.
Analysis
Daguerreotype of Emily Dickinson, taken in 1848 while attending Mount Holyoke Seminary
According to literary critic Helen Vendler, the poem's opening foot is "reversed", adding more color and emphasis on the word "Hope".[5] Dickinson uses iambic meter throughout the poem to replicate that of "Hope's song through time".[5] Most of Dickinson's poetry contains quatrains and runs in a hymnal meter, which maintains the rhythm of alternating between four beats and three beats during each stanza.[5] "'Hope' is the thing with feathers" is broken into three stanzas, each containing alternating lines of iambic tetrameter and iambic trimeter, totaling 12 lines.
Form
In Victoria N. Morgan's Emily Dickinson and Hymnal Culture: Tradition and Experience, she writes that Dickinson's poetry may have been influenced by 18th-century hymn culture, such as Isaac Watts and hymnal writers Phoebe Hinsdale Brown and Eliza Lee Follen.[9] Morgan postulates that their works were introduced to Dickinson early in her life, when she attended church regularly. She believes that the "simplicity" of the hymnal form allowed Dickinson to make this "an easy target for parody."[9]
Theme of poem
The poem calls upon the imagery of seafaring adventures with the use of the words "Sea" and "Gale". Dickinson uses the metaphor of hope as a bird that does not disappear when it encounters hardships or "storms".[10] Vendler writes that Dickinson enjoys "the stimulus of teasing riddles", as seen when she plays with the idea of hope as a bird.[5] Dickinson alludes to hope as something that does not disappear when the "Gale" and "storm" get worse and whose song persists despite the intensity of whatever is attempting to unseat it.[11] She also says that no matter what the speaker of the poem is doing, hope does not leave even if they offer nothing in return to it.[11]
Punctuation
Dickinson uses dashes liberally in the poem, ending nine lines with them. She also capitalized common nouns, such as "Hope," "Bird," and "Extremity." Scholar Ena Jung writes that Dickinson's dashes are among the most "widely contested diacriticals" in contemporary literary discussions.[12] In his Poetry Handbook,John Lennard writes that Dickinson's poems rely heavily on her use of dashes, capitalization, and line/stanza breaks.[13] He says her "intense, [and] unexpected play" with capitalization and dashes makes her poetry "memorable".[13] Read aloud, the dashes create caesura, giving the poem a staccato rhythm. Jung says Dickinson's use of dashes creates a "visible breath" for the speaker of the poetry.[12]
Symbolism
Dickinson describes hope as a bird, a metaphor for salvation.[9] She has nine variations of the word "hope," which can be interpreted in multiple ways.[14] Morgan writes that Dickinson often writes about birds when describing acts of worship, which coincides with the format of the hymn.[9] Birds in Christian iconography are often doves. Dickinson often alludes to nature in her poems. In this poem, the bird and the violent weather create a balance between the destructive and the beneficent.[3] The poem also juxtaposes the interior and exterior worlds, with the soul interior and the storms exterior.[3]
Critical reception
Dickinson's poems are considered mysterious and enigmatic and typically have a volta, or turn in topic, at the end, as in "Because I could not stop for Death." "'Hope' is the thing with feathers" has a similar quality, but some critics consider it childlike in its simplicity.[15] Vendler notes that Dickinson's quatrains and hymnal meter can be seen as simplistic.[5] Morgan argues that because of Dickinson's "antagonistic relation" with 19th-century Christianity, the poet gives a "reassessment of spirituality" through this poem with the image of the bird and the Christian conception of "hope."[9]
Derivative works
"'Hope' is the thing with feathers" has been set to music many times. The best-known musical adaptation is Susan LaBarr's, for women's choir and piano.[16] Other musical settings are by Robert Sieving, Emma Lou Diemer, and Paul Kelly.
1 2 3 4 5 Dickinson, Emily (1981). Franklin, R. W. (ed.). The manuscript books of Emily Dickinson. Cambridge, Massachusetts: Belknap Press of Harvard University Press. ISBN0674548280. OCLC6446918.
1 2 3 Dickinson, Emily (1999). Franklin, R. W. (ed.). The poems of Emily Dickinson. Cambridge, Mass.: Belknap Press. ISBN0674676246. OCLC40714127.
1 2 3 Napierkowski, Marie Rose.; Ruby, Mary K., eds. (1998–2010). Poetry for students: presenting analysis, context and criticism on commonly studied poetry. Detroit: Gale Research. ISBN0-7876-1688-5. OCLC39035649.
↑ Dickinson, Emily (1979). The poems of Emily Dickinson: including variant readings critically compared with all known manuscripts. Belknap Press. OCLC246137006.
↑ Ferguson, Margaret W.; Kendall, Tim; Salter, Mary Jo, eds. (July 2018). The Norton anthology of poetry (Sixthed.). New York: W. W. Norton. ISBN978-0-393-67902-1. OCLC1022075358.
↑ Fr#314 in: Franklin, R. W., ed. The Poems of Emily Dickinson: Reading Edition. Cambridge, MA: The Belknap Press, 1999.
↑ Poem I.VI (page 27) in: Higginson, T. W. & Todd, Mabel Loomis, ed. Poems by Emily Dickinson: Second Series. Boston: Roberts Brothers, 1891.
Emily Elizabeth Dickinson was an American poet. Little-known during her life, she has since been regarded as one of the most important figures in American poetry. Dickinson was born in Amherst, Massachusetts, into a prominent family with strong ties to its community. After studying at the Amherst Academy for seven years in her youth, she briefly attended the Mount Holyoke Female Seminary before returning to her family's home in Amherst. Evidence suggests that Dickinson lived much of her life in isolation. Considered an eccentric by locals, she developed a penchant for white clothing and was known for her reluctance to greet guests or, later in life, even to leave her bedroom. Dickinson never married, and most of her friendships were based entirely upon correspondence.
Sonnet 130 is a sonnet by William Shakespeare, published in 1609 as one of his 154 sonnets. It mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress.
Sonnet 23 is one of a sequence of 154 sonnets written by the English playwright and poet William Shakespeare, and is a part of the Fair Youth sequence.
Shakespeare's Sonnet 53, presumably addressed to the same young man as the other sonnets in the first part of the sequence, raises some of the most common themes of the sonnet: the sublime beauty of the beloved, the weight of tradition, and the nature and extent of art's power. As in Sonnet 20, the beloved's beauty is compared to both a man's (Adonis) and a woman's (Helen).
Sonnet 64 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.
Sonnet 136 is one of 154 sonnets written by the English playwright and poet William Shakespeare.
Sonnet 78 is one of 154 sonnets published by the English playwright and poet William Shakespeare in 1609. It is one of the Fair Youth sequence, and the first of the mini-sequence known as the Rival Poet sonnets, thought to be composed some time from 1598 to 1600.
Sonnet 84 is one of 154 sonnets published by the English playwright and poet William Shakespeare in 1609. It's part of the Fair Youth sequence, and the seventh sonnet of the Rival Poet group.
Sonnet 87 is one of 154 sonnets published by the English playwright and poet William Shakespeare in 1609. It is part of the Fair Youth sequence, and sometimes included as the last sonnet in the Rival Poet group.
"Because I could not stop for Death" is a lyrical poem by Emily Dickinson first published posthumously in Poems: Series 1 in 1890. Dickinson's work was never authorized to be published, so it is unknown whether "Because I could not stop for Death" was completed or "abandoned". The speaker of Dickinson's poem meets personified Death. Death is a gentleman who is riding in the horse carriage that picks up the speaker in the poem and takes the speaker on her journey to the afterlife. According to Thomas H. Johnson's variorum edition of 1955 the number of this poem is "712".
"I taste a liquor never brewed" is a lyrical poem written by Emily Dickinson first published in the Springfield Daily Republican on May 4, 1861, from a now lost copy. Although titled "The May-Wine" by the Republican, Dickinson never titled the poem so it is commonly referred to by its first line.
"There is a pain — so utter —" is a poem written by American poet Emily Dickinson. It was not published during her lifetime. Like many of Dickinson's poems, it was substantially changed when it was first published in 1929. The original version, with Dickinson's typical dashes, was restored by scholar Thomas H. Johnson for his 1955 edition of The Poems of Emily Dickinson.
"A Bird came down the Walk" is a short poem by Emily Dickinson (1830–1886) that tells of the poet's encounter with a worm-eating bird. The poem was first published in 1891 in the second collection of Dickinson's poems.
"I like to see it lap the Miles" is a short poem by Emily Dickinson describing an "iron horse" or railroad engine and its train. The poem was first published in 1891.
"I'm Nobody! Who are you?" is a short lyric poem by Emily Dickinson first published posthumously in 1891 in Poems, Series 2. It is one of Dickinson's most popular poems.
"Success is counted sweetest" is a lyric poem by Emily Dickinson written in 1859 and published anonymously in 1864. The poem uses the images of a victorious army and one dying warrior to suggest that only one who has suffered defeat can understand success.
"I heard a Fly buzz—when I died" is the informal name for an untitled poem by American author Emily Dickinson. In the poem, the narrator is on her deathbed as she describes the progression towards her death.
Susan Huntington Gilbert Dickinson was an American writer, poet, traveler, and editor. She was a lifelong friend and sister-in-law of poet Emily Dickinson.
"There's a certain Slant of light" is a lyrical poem written by the American poet Emily Dickinson. The poem's speaker likens winter sunlight to cathedral music, and considers the spiritual effects of the light. Themes of religion and death are present in the poem, especially in connection to the theological concept of despair.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
