large/7245/poems_seriestwo_la_librivox_64kb_mp3/poemsseriestwo_0_dickinson_64kb_15
large/7245/poems_seriestwo_la_librivox_64kb_mp3/poemsseriestwo_0_dickinson_64kb
English
7245
Emily Dickinson scrutinized everything with clear eyed frankness. Every subject was proper ground for legitimate study, even the sombre facts of death and burial, and the unknown life beyond. EMILY DICKINSON SCRUTINIZED EVERYTHING WITH CLEAR EYED FRANKNESS EVERY SUBJECT WAS PROPER GROUND FOR LEGITIMATE STUDY EVEN THE SOMBRE FACTS OF DEATH AND BURIAL AND THE UNKNOWN LIFE BEYOND
author, frequently at the end,--sometimes only in the accompanying note, if sent to a friend. The variation of readings, with the fact that she often wrote in pencil and not always clearly, have at times thrown a good deal of responsibility upon her Editors. But all interference not absolutely inevitable has been avoided. The very roughness of her rendering is part of herself, and not lightly to be touched; for it seems in many cases that she intentionally avoided the smoother and more usual rhymes. Like impressionist pictures, or Wagner's rugged music, the very absence of conventional form challenges attention. In Emily Dickinson's exacting hands, the especial, intrinsic fitness of a particular order of words might not be sacrificed to anything virtually extrinsic; and her verses all show a strange cadence of inner rhythmical music. Lines are always daringly constructed, and the "thought-rhyme" appears frequently,--appealing, indeed, to an unrecognized sense more elusive than hearing. OTHERS WERE NAMED BY THEIR AUTHOR FREQUENTLY AT THE END SOMETIMES ONLY IN THE ACCOMPANYING NOTE IF SENT TO A FRIEND THE VARIATION OF READINGS WITH THE FACT THAT SHE OFTEN WROTE IN PENCIL AND NOT ALWAYS CLEARLY HAVE AT TIMES THROWN A GOOD DEAL OF RESPONSIBILITY UPON HER EDITORS BUT ALL INTERFERENCE NOT ABSOLUTELY INEVITABLE HAS BEEN AVOIDED THE VERY ROUGHNESS OF HER RENDERING IS PART OF HERSELF AND NOT LIGHTLY TO BE TOUCHED FOR IT SEEMS IN MANY CASES THAT SHE INTENTIONALLY AVOIDED THE SMOOTHER AND MORE USUAL RHYMES LIKE IMPRESSIONIST PICTURES OR WAGNER'S RUGGED MUSIC THE VERY ABSENCE OF CONVENTIONAL FORM CHALLENGES ATTENTION IN EMILY DICKINSON'S EXACTING HANDS THE ESPECIAL INTRINSIC FITNESS OF A PARTICULAR ORDER OF WORDS MIGHT NOT BE SACRIFICED TO ANYTHING VIRTUALLY EXTRINSIC AND HER VERSES ALL SHOW A STRANGE CADENCE OF INNER RHYTHMICAL MUSIC LINES ARE ALWAYS DARINGLY CONSTRUCTED AND THE THOUGHT RHYME APPEARS FREQUENTLY APPEALING INDEED TO AN UNRECOGNIZED SENSE MORE ELUSIVE THAN HEARING
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