With a few straight lines, maybe a dot, and an occasional scribble, Word was born. Despite its humble beginnings, the Word holds the possibility of greatness: the capacity to provoke war, to make peace, to express love, to describe fear. While many others are easily accessible, arguing with Perfect Word requires patience, scrupulousness and wit. Although it has been properly monopolized, the true “perfection” of Word lies in its relationship to other words. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Emily Dickinson has an uncanny ability to master perfect diction, creating worlds of hope, despair, faith, and endless questioning. Through her use of the word Goblin, its role, its impact on the understanding of the poem, and its relationship to other images, Dickinson shows her linguistic prowess and the intricacies of language. Each of the six poems (356, 360, 388, 425, 619, and 757) that include goblin imagery does so in an entirely distinct manner; nevertheless, as the goblin's part of speech becomes more substantial, his degree of evil and his role in the poem also intensify. Through subtle manipulations of language, Dickinson deepens her poetry and opens it to many layers of interpretation and connectivity.#757 I think that living - can be happiness To better understand Dickinson's use of the word goblin poem in #757, its context must first be evaluated. Due to a desire for “happiness” and “enlargement” of the heart, the tone of this poem reflects a pious air – a dream of achieving an existence more perfect than the life she lives and knows (lines 1 , 6 ). This poem expresses the speaker's desire to reach paradise where all fear of corruption of beauty, "apprehension" for one's destiny or moral and spiritual "bankruptcy" is dissipated by the vision of an "unshakable South" for the soul (13-16, 19). This dream is so vivid and so desired that she prefers this “fictitious” world to her reality (21, 23). Furthermore, not only does she long for the arrival of heaven, but she also wishes to ignore this life as an "error" corrected by God, implying that her life truly begins by entering heaven (27-28). Heaven, with its splendor and generosity, offers a striking contrast to earthly corruption and the uncertainty of faith. Having established his context, the goblin appears in a catalog of negativity and corruption on earth that is lacking in heaven. Although it is used as a noun, the negation of this noun makes this example of the word the least powerful of the six examples. Because the goblin does not exist in heaven, this has little effect on the meaning of the poem (other than contrasting the perfection of heaven with the corruption of earth). Due to the part of speech attributed to the goblin, neither the word nor its implications apply/affect the interpretation in a negative sense. Therefore, the tone of this poem remains pious as the speaker simply acknowledges the fact that negative aspects exist in reality but refuses to let them impact her dream state. The role of the goblin here is to act as a corrupter of flowers, a destroyer of passive beauty. Associated with a simple insect in nature, the "goblin" represents a pest or nuisance generally ignored and considered a fact of life. In light of this interpretation, Dickinson's subtle use of a word with evil connotations reveals her mastery and control over language and her ability to adapt it to her needs. #356 If you came in the fall The initial tone of this poem seems nostalgic and pious. to the speaker's desire to "spend the summer" in order to arrive in the fall, to put away the balls of the monthrolled up in separate drawers to get through the year, to casually count down the "centuries...on [her] hand" if she the lover (or God) is only a century away, or carelessly throws away his life if in the afterlife they wanted to be united (2, 6-7, 10, 14). Time acts like the faceless enemy that stands between her and her lover. Although this poem is about love and the desire to find a lover, there remains an element of pain. Because she does not know how long they will be separated by an outside force, she suffers emotionally, as if her heart is longing for a sense of comfort brought by a defined period of separation. Uncertainty is tortuous, but only because it must wait for love. Even the most negative aspect of this poem remains positive. In this context, goblin acts as an adjective modifying bee. In this regard, the goblin exists but only in the form of another being, thus existing in the transference of goblin-like qualities. Because this sense of evil exists in a diluted form (since the bee possesses other qualities in addition to its goblin status), it has a subtle impact on the tone of the poem, adding impatience to desire and wishful thinking. By proclaiming that uncertainty over the duration of their separation "stings him, like the goblin bee -/who will not say - it stings", the speaker attributes the goblin status to a state of malice and mockery (18-20). This goblin bee momentarily holds its sting because the unknown is much worse than the known. Because the speaker is uncertain about both the injection and the reunion, she remains anxious. The use of the goblin as a natural image also seems to imply that this is an unfortunate, but expected, event in life. This taunt gives rise to a change in tone: not only is she eager to find her lover but she also seems annoyed by the weather. Dickinson's delicate use of "goblin" as an adjective allows the word to act as an element of evil without corrupting the entire loving feeling behind the poem.#619 Have you ever been in the mouth of a cave? The tone of this poem, unlike the previous second, is dark, disturbing and haunting, as revealed by the images of darkness in a cave, horror, loneliness and death (1, 5, 8, 12). Fear permeates this poem – fear of no afterlife, of death, of loneliness, of the unknown, of despair, of living after such experiences. The speaker first describes these fears through the metaphor of the cave. Standing in the cave, "the width of the sun" and immersed in darkness, the speaker evokes a feeling of paranoia associated with shortness of breath and hairs standing on the back of the neck (2, 3). Panic takes over, not out of fear of a presence in the darkness but rather out of fear of overwhelming loneliness. This feeling of despair continues with the metaphor of the cannon. Driven to this point by desperation and disparity, the barrel of the gun (or cannon) offers lost souls a way to ease the pain. The "yellow eye" lit inside the barrel of the cannon constitutes a paradox in relation to the light leading the deceased to heaven: while the celestial light represents redemption and guidance, the lit fuse of the cannon attracts its viewer towards a false sense of reprieve (an anti-salvation) (10). Just before committing suicide, the question of death enters the person's mind. This fear of the unknown causes the individual to reconsider his life, saving him not by his faith in heaven but by his uncertainty. Without knowing whether the Christian god will save, whether the pagan underworld (symbolized by the satyr's song) prevails, or whether nothingness reigns, death proves a greater risk than life. In the terms of this poem, Dickinson uses goblin as an adjective, modifying the word it, which in turnrepresents the circumstances within Cavern's Mouth. In this context, the goblin acts as a sort of exclamation, emphasizing that the cave is frightening, haunting, and horrible. The situation in the cave inspires fear and uncertainty, much like the mystical nature of a goblin. However, as goblin simply describes the larger entity of a cave, the impact of the word loses some of its power and demonic aspects. Because of its downplayed role, its impact on the overall tone and meaning of the poem is to emphasize pre-established feelings and to introduce a somewhat supernatural element. Typically considered a minor demon or mythical creature, the goblin represents the question of faith through insight into the powers of evil. By describing the cave as possessing goblin qualities, it therefore takes on the appearance of a place of evil, temptation and paganism. Likewise, a feeling of isolation and helplessness is often linked to a questioning of faith in God. By simply using the goblin in relation to the cave, Dickinson highlights the temptation and religious turmoil experienced in people's darkest times. “the difference had begun” (2). Because it speaks of a paralyzing loss and a transformation from happiness to blasé, the poem applies to several interpretations: to the loss of wealth, to the loss of innocence, to the loss of love , to the loss of faith or the loss of the ability to find happiness. Disturbing changes have taken place, which were once greeted with bitterness, but are now viewed more with nostalgia or reminiscence. Once upon a time the speaker lived a life of blushing joy, once reflected in her rosy cheeks and sparkling eyes (9-12). Rather than remaining anchored to earth, she “walked like wings,” soaring above earthly troubles (13). Her joy could not be kept within, but rather demanded to be shared with “all creatures she met and endowed with” (19-20). But unexpectedly, the source of her happiness is taken away from her and she becomes “beggar” (24). Temporarily blinded and disoriented by the suddenness of this loss, she “clings to sounds” and “gropes for shapes,” feebly searching for signs of familiarity and of her previous life (25, 26). Its beautiful and exotic textiles were replaced by simple and crude "bags" (30). The beauty she saw in life before her cataclysmic loss of innocence, lover, or faith has been replaced by something mundane and crude. Reality grounded her. In this poem, goblin acts as a noun that represents one of many goblins or beings. Unlike previous poems, because the goblin represents a real entity, he possesses all aspects of being a goblin rather than just goblin qualities. As a real being, he exhibits traits attributed to a goblin in its purest form: a malevolent, troublemaking, and manipulative being. The use of the word "goblin" greatly affects the tone of the poem, as it helps stimulate the turning point and arouse desire. In this poem, the goblin is part of a list of acts that transform the speaker's life from naive and cheerful to jaded and depressed. By drinking its “dew”, we rob it of its freshness and the nourishment that God has given it. However, as the goblin in this poem acts as one of many existing goblins, indicated by the indefinite article "a", this goblin's power is not unique. Likewise, its impact on the state of the speaker is important but is not the only actor in the fall; the shrinking of wealth, the absence of tenants in the palaces and the begging of the speaker accompany it (21-24). Through this representation of the goblin, the poet reveals a character strong enough to modifyentirely the course of the poem, transforming the speaker's life from bliss to gentleness.#414 "It was like a Maelstrom, with a notch, illustrated by words like 'boiling,' 'agony,' 'delirious,' frozen” and “anguish,” this poem has a general tone of despair (3, 4, 19, 24). Divided into three sections, the first and second stanzas illustrate the message in terms of a maelstrom, the third and fourth stanzas tell this same story but in terms of a goblin with a gauge, and the fifth and sixth stanzas reinterpret the fourth stanza in terms of an execution. The overall subject of this poem deals with the anxiety of fate's decision, whether in the form of courtly or heavenly judgment. Powerless to change the course of events, the individual must wait anxiously because the "hem" or "final inch" of his fabric of life lies in the hand of agony and in his own (6, 7). that in the first stanza the means of measuring time were represented by notches in a chaotic maelstrom, the third stanza employs the goblin as time's holdfast, transferring this role from an act of nature to. a supernatural demon. The key words “as if” which open the fifth stanza establish the mirror of the fourth stanza (18), the hesitation of time is represented as the paralysis of the “tendon” and the “. meaning” translates into the frozen state of the individual as he is led to the gallows, still captivated by the “luxury of doubt” (God, in the fourth stanza, 14, 15, 20). powerful demonic hands of the “demon” but in the sixth stanza, becomes a simple creature who has the breath taken for “respite” to free the prisoner (16, 23) making the position of savior of “something” which. rages in the second stanza from God in the fourth to a mere creature in the sixth, Dickinson expresses uncertainty about the role of faith in reality (8, 16, 23). To move from an unknown to a spiritual and ending with a physical image, the role of savior is not necessarily minimized; rather it becomes an aspect of this world, tangible and comprehensible (thus depicting the poet's hesitation between Calvinism and transcendentalism). The final lines of each section introduce the question of how to respond to reality in light of this salvation experience – waking from a dream, being "let go, then overcome", or wondering whether to perish or to live implies that although the individual has been saved from condemnation, his fate is uncertain (9, 17, 25). Through the uncertainty awaiting conviction, the paralysis of fear, the release and return of uncertainty, the poem provokes a feeling of discomfort; through all these trials and tribulations, the individual finds himself no better off than at the beginning. Here, goblin behaves as a noun, first representing one of many goblins (A goblin), but then acting as a specific goblin (THE demon) (10, 16). The change from the indefinite article to the definite article implies that the demon has adopted a more important role in the poem. As briefly mentioned above, the goblin takes on the role of maelstrom in depicting the person's lack of control over their destiny. Beyond a simple transfer of roles, the goblin acts as a being consciously controlling someone's life, while the maelstrom appears as an unfortunate but inevitable event that unwittingly captures the person. The goblin therefore represents a demonic force, determined to destroy and torture for its own pleasure. Furthermore, associating this goblin with God forces an interaction between pagan and Christian influences in addition to the battle between good and evil. Although the goblin initially maintains its control over the helpless individual, its power has no strength.