Emily Dickinson's View of Death in Her Confessional Poetry , their autobiographical voice and their enigmatic brilliance. One of the most captivating aspects of Emily Dickinson's literature is her ability to present death in various forms. Having lived a life of simplicity and solitude, she wrote poetry of great power; questioning the nature of immortality and death, with an almost mantic quality at times. This research paper aims to study Emily Dickinson as a confessional poet and the images of death in her poetry, focusing primarily on the various possible theoretical explanations for her glorification and acceptance of death as a "pleasure". Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Should Not Be Banned"? Get an original essay The most defining characteristic of confessional poetry, according to Byrne, is the use of first-person narration to "expand the scope of the poem” and as a “tool for increasing the reader’s emotional identification with the writer” and Dickinson does this by emphasizing the moments of her emotional and philosophical crisis. The mention of "I", establishing an autobiographical connection, in other words, the use of the first person point of view allows the reader to delve deeper into the author's thoughts and feelings. Hoffman believes that the roots of the confessional mode are embedded in the "romantic lyrics" and "personal epics" which MH Abrams primarily characterizes as "greater romantic lyrics" and "crisis autobiography." Romantic lyrics always have a dramatic element which comes from the "poetry of experience" in which the poet gives us insight into the natural cause, often from his personal life, thus allowing the reader to take a sympathetic look at the story. For example, the presence of the poet in the words themselves makes them dramatic for the observer or reader. Many of his poems seem to be a dramatic monologue which represents the different faces of human emotion, namely belief and doubt, hope and despair, etc. Emily Dickinson is portrayed as a colossal poet known for her constant alliance with familiar tropes and total language. in defiance of conventional associations and his poems bristle with a spirit of wildness and affirmation. A substantial part of her protest was against the psychological deficiencies that patriarchy imposes on women in the discourse of wifely conduct and duty as well as against rigid Calvinist religious restrictions, as one of her poems writes: " It's such a small thing to cry - such a short thing to sigh - And yet - by the trades - the size of these men and women, we die! " "Commerces", which is understood as commerce or is used to denote the transaction of the affairs of our own life, negative emotions, small or short things. Dickinson's concern is with the literary conventions of her time when women were considered like the delicate sex, sentimental and liable to faint or faint at the slightest shock Dickinson's unabashed destabilization of male domination gives her poetry a feeling of seclusion. Moreover, confessional poets. focus on subjects once considered taboo Death, which was romantically accepted as "beautiful" until the 19th century, only became taboo in the 20th century, making it "invisible", "embarrassing" andan “obscene fact” that had to be hidden. Dickinson, on the other hand, considered death a “privilege.” Her poetry clearly adheres to the above-mentioned conventions of a confessional poet and so it is not wrong to say that Emily Dickinson is a romantic but confessional poet. It describes the different emotional responses that death has on the human soul and spirit and allows readers to see death from a different perspective. The ambiguous meaning of death used by Dickinson gives the audience the choice to have their own interpretations about death. Through the different descriptions of death, the author explains the many types of death that individuals experience. In the following argument, I will explore how manifested ideas about the Christian afterlife, the Freudian concept of pleasure, homosexuality, and the American Civil War are some of the aspects that justify the romanticization of death in its poetry. According to Aries, men and women belonging to Christianity “accepted death as part of the life of the community and died with the knowledge of their eventual resurrection.” Christianity believes in the spiritual world of souls after life on earth and in the vitality of good deeds which are rewarded through the gate of heaven, as it rightly says: “For the wages of sins, sin is death, but the gift of God is eternal life in Christ Jesus our Lord. » Dickinson disliked formal religion and never allowed herself to join the Church. However, his poems give readers a very elegant understanding of the Bible and the fervor of faith that does not allow him to completely dismiss the possibility behind the Christian idea of the afterlife, of the existence of God or the spiritual dimension. It guides us through the cycle of Christian life through rebirth and resurrection. She excuses herself away from her beloved because she believes their union could be "thwarted" as she fails to meet the "high standards" because she fears the Grace of Jesus will be overshadowed by the affection and beauty of her lover which is "This New Grace". She declares that even if the grace of God came to her and she became the one God had chosen her for salvation and paradise, paradise would be a hell without her beloved Alternatively, if he were saved and she was damned, such salvation would be useless because they would still be apart. the psyche embraces the “least possible effort”. Smith in “The death drive does not think” raises the question of the cogitative or reflective nature of a psychic mechanism when it is forced to repeat it. makes it “mechanical” and eventually this mechanism begins to play a structural role, thus being noted and theorized. Theoretically, the now mechanical nature of the “death drive” is tactfully suppressed. This happens because by repeating patterns of mental and social behavior, we minimize psychic expenditure. The death drive then becomes a state of minimum effort which is the key to the Freudian “pleasure principle”. Dickinson in "I Can't Live With You" clearly shows how she views death as a "privilege" which she cannot let her beloved have the benefit of first and wishes death to come to both of them simultaneously so that she does not have to bear the loss alone. . His recurring images of death in most of his poetry could therefore be considered "mechanical", which could have resulted in "pleasure", thus "risking no authentically new investment". Death is personalized and also given a gender identity "him", which made him escape with the help of a friend named "immortality"[footnoteRef:5]with which she loses her temper as if she had authorized herself to do so. She implies that most people do not think or talk about death because they are busy with their lives and therefore fear death which would separate them from their ambitions and family. Emily had thought about death so much that she no longer remained a psychic device. However, the possibility of her beloved's death is so overwhelming to her that she abandons him, almost in a state of terror. Even though Emily is unable to face the horror of the possibility that could happen to her beloved, death, for the poet, has a very rational definition that is meant for all living beings. By expressing the desire for the disappearance of oneself but not of the other, Dickinson suggests to readers a suicidal tendency. While MartheBianchi, his niece, had already revealed her aunt's many sorrows, Ray presents these gentlemen to us as simple “male mentors”. His poems are considered a testimony of lost love in this area. Patterson puts forward a new theory without really brushing aside the old ones: “the lost lover was not a man at all. She was a woman.” In one of her letters to Abiah Root, Dickinson expresses her views on the women of Amherst: “We really have some most charming young ladies in the school this term. I will only call them women, because they are women in every sense of the word. » Emily Dickinson's published works contain around forty poems which are addressed without subterfuge to another woman. Patterson believes that women might have written love poems to an imaginary man, assuming he was a lover, which the patriarchy then demanded of women of that era. But the usual letters, from the point of view of a man's love, were not usual. No woman would ever write poems describing a love story between herself and an imaginary woman. Only a keen sense of truth could dictate poems so opposed to 19th century conventions. Dickinson mines her words through her poetry which includes fragments of her personal life, notably her relationship with Susan Huntington Gilbert, her sister-in-law. One of his personal letters to Susan read: "I love you too dearly, Susie...I miss you, I cry for you...I fall asleep in tears, for your dear face...If it's over, say it- me, and I will lift the lid of my box of Ghosts and I will place one more love in it; but if he still lives and beats, lives and still beats for me, then tell me, and I will play on the strings for another note of happiness before I die. It is not that female homosexuality went completely unnoticed during this American century, but the connotations of lesbianism at that time were recognized as a medical or psychological phenomenon which offered to explain its "etiology", its characterization , its adjustment and even its “cure” for lesbians. The treatment perhaps seemed to be a more humanitarian way of dealing with homosexuality than classifying an individual as morally deficient and criminal, but it also allowed psychiatrists to retain and reinterpret this medical model to keep "deviant" sex under their control. control. Dickinson's poetry was not fully published until after her death; it suggests his reluctance and fear to give the audience even the slightest hint of his individual identity in a world that treated homosexuality as a disorder. Her inability to integrate into society may have affected her psychologically due to the isolation she imposed herself in and, therefore, her personal life truly justified her mentioning "death" to several times in his poems. Emily Dickinson wrote at the end of the Romantic period, and although she was influenced by some ideals of the, 2010.