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Milica Kora Professor Nataa Karanfilovi XIX century American literature 18 April 2011

Emily Emily Eli&a'et%

ic!inson"s Poetry# $%eme of Nature

ic!inson( one of t%e )reatest poets of t%e 1* t%

century( +as al+ays t%ou)%t of as an eccentric, -%e +oul. al+ays +ear +%ite clot%es( rarely left %er fat%er/s %ouse an. .i. not respect t%e strict )en.er roles of t%e society, 0er seclu.e. life( %o+ever( .i. not lac! t%e e1citement, 0ome environment allo+e. %er to .evote %er time to rea.in)( +ritin)( ac2uirin) !no+le.)e of t%e topics s%e +as intereste. in, plenty( t%at to renounce is to possess all t%e more41, Even t%ou)% ic!inson .i. +rite more t%an 1800 poems( 'ut only several of t%ose +ere pu'lis%e. .urin) %er lifetime( si)nificantly c%an)e. 'y t%e pu'lis%ers in or.er to a.5ust t%em to t%e stan.ar.s of t%e time, After %er .eat%( in 18*0( first e.ition of %er poems +as pu'lis%e. 'y $%omas 6ent+ort% 0i))inson an. Ma'el 7oomis $o.. an. t%e poems +ere rou)%ly classifie. into )eneral topics( suc% as 7ife( 7ove( Nature( $ime an. Eternity, It is usually 2uite .ifficult to ma!e a clear .istinction 'et+een topics in ic!inson/s poems( as one poem may encompass t+o or more topics at a time, 0o+ever( I +ill focus on t%ose .ealin) +it% t%e t%eme of nature( as one of t%e most prominent t%emes in %er poetry( eit%er com'ine. +it% ot%er t%emes or alone, Nature %as al+ays presente. a source of inspiration for t%e artists( especially +riters an. painters, Emily ic!inson/s relations%ip +it% nature is 2uite comple1 an. intri)uin), -%e felt a .eep( intimate connection to it, Even t%e minutest o'5ects in nature attracte. %er attention( natural 'ein)s an.
1

ic!inson

3live. in accor. +it% %er ascetic para.o1 t%at privation is more plentiful t%an

Paci( 218

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p%enomena sym'olise. 'ot% pain an. ecstasy( an. %er poems reflecte. t%ose feelin)s in suc% a masterly +ay +%ic% places %er amon) t%e most influential poets in American %istory, Emily ic!inson reco)ni&e. t%at s%e .i. not nee. t%e e1terior +orl. as a source of %er creativity( an. t%at s%e +oul. +it%.ra+ to %er fat%er/s family %ouse, As s%e put it %erself( 3$o live is so startlin)( it leaves 'ut little time for ot%er occupations,42 0o+ever( s%e +as not completely separate. from t%e outsi.e +orl. 8 s%e +oul. still fulfil %er family .uties an. it is o'vious from t%e letters s%e a..resse. to %er frien.s %o+ muc% s%e treasure. %er frien.s, Para.o1ically( t%e +it%.ra+al tau)%t %er %o+ to love an. treasure t%e +orl., It provi.e. %er ma1imum self9a+areness an. consciousness t%at s%e +oul. later transform into %er poetry, -%e +as a'le to e1perience .eep emotions sprin)in) from %er imme.iate natural surroun.in) an. 3eac% poem is a recor. of moment of inspiration .urin) +%ic% %er poetic vision penetrate. t%e concrete o'5ect or event t%at arreste. %er attention an. reac%e. for+ar. to t%e )eneral meanin) of t%e e1perience( to eternity4, : ic!inson +as .eeply roote. in t%e cultural tra.ition of Ne+ En)lan.( %er %ome country, In t%e poem 28;( 3$%e <o'in/s my criterion for tune4 t%e last t%ree lines 3=ecause I see 8 Ne+ En)lan.ly 9 > $%e ?ueen( .iscerns li!e me 9 > Provincially 94@ reflect t%e first line an. testify t%at s%e foun. inspiration in %er imme.iate surroun.in) an. +as in +%at s%e !ne+ 'est 8 t%e Ne+ En)lan. countrysi.e, -%e .i. not nee. )ran. t%in)s to inspire %er, Every flo+er( movement of an animal or even afternoon li)%t( coul. 'e transforme. into a source of %er poetry, ue to %er e.ucation in 'otany( ic!inson +as also a'le to un.erstan. nature from a scientific stan.point( t%us appreciatin) it an. its p%enomena in a +ay t%at +oul. .iffer from t%at of ot%er artists, Ae+ poets in t+entiet% century( let alone t%e nineteent%( %ave incorporate. scientific concepts into t%eir +or! as purposively an.
2 : @

?t., In -pra)ue( : Paci( 20B <ea.er( ic!inson( poem 28;

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effectively as Emily

ic!inson, -%e possesse. an ama&in)

compre%ensive scientific an. tec%nical voca'ulary, More t%an 200 of %er poems touc% on scientific t%emesC s%e .ra+s on most of t%e sciences( from p%ysical sciences suc% as p%ysics( astronomy( c%emistry( an. )eolo)y( to 'iolo)ical sciences suc% as 'otany( p%ysiolo)y( me.icine( an. even psyc%olo)y( to science in )eneral Dt%e lar)est cate)oryE( plus mat%ematics an. applie. science or tec%nolo)y,; $%e attitu.e to+ar.s nature also .iffere. from %er contemporaries/( t%e $ranscen.entalists( le. 'y <alp% 6al.o Emerson an. 0enry avi. $%oreau, $%is literary movement( one of t%e most si)nificant in t%e 1* t% century( com'ine. romanticism an. reform, $%us( its proponents sa+ nature as sym'olic means for ac%ievin) ultimate free.om of t%ou)%t( source of inspiration for t%e reform of %uman min., In %is essay 3Nature4( Emerson +rites# In t%e +oo.s( +e return to reason an. fait%, $%ere I feel t%at not%in) can 'efall me in life( 99 no .is)race( no calamity( Dleavin) me my eyes(E +%ic% nature cannot repair, -tan.in) on t%e 'are )roun.( 99 my %ea. 'at%e. 'y t%e 'lit%e air( an. uplifte. into infinite space( 99 all mean e)otism vanis%es, I 'ecome a transparent eye9'allC I am not%in)C I see all,F Gn t%e contrary( ic!inson/s vie+s resem'le. more t%ose of t%e En)lis% <omantics( primarily 6illiam 6or.s+ort% an. Ho%n Keats, Nature for t%e <omantics represente. a form of a +or! of art( t%e result of .ivine creativity, $%ey 'ot% receive. from nature an. create. t%emselves( transformin) t%e e1ternal sensations into t%eir o+n mental creations, Gr)anic ima)es in t%eir poetry possesse. .eistic c%aracteristics, 6illiam 6or.s+ort% referre. to %imself as 3+ors%iper of nature4 B( an. t%e same can 'e sai. for Emily
; F B

ic!inson, In %is preface to t%e 2 n. e.ition of

6%ite( 121 Emerson( 1: 6or.s+ort%( 37yrical =alla.s4 210

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t%e 37yrical 'alla.s4( 6or.s+ort% .efine. poetry as 3t%e spontaneous overflo+ of po+erful feelin)s# it ta!es ori)in from emotion recollecte. in tran2uillity48, It seems t%at t%e i.ea )reatly appeale. to ic!inson, ic!inson/s unusual lifestyle allo+e. %er to confront life an. fin. +ays of intensifyin) %er e1periences to t%e ma1imum, $%is le. to %er 'ein) completely in love +it% life( +%ic% +as reflecte. in %er poetry, $%e satisfaction +it% life( +%ic% overpo+ere. t%e )rief for losin) important people in %er life( +as e1presse. in many of t%e poems, Gne suc% poem is 3I taste a li2uor never 're+e.4 *( pro'a'ly t%e 'est e1pression of t%is 5oy of livin), In t%e poem( +e see t%e poet ta!in) t%e form of a 'ee( .run! on t%e li2uor 3never 're+e.4( ine'riate. of air an. .e'auc%ee of .e+, Nature affects %er senses .irectly( provi.in) %er +it% t%e feelin) of utter pleasure, $%e secon. line in t%e poem( 3Arom $an!ar.s scoope. in Pearl4( stan.s to si)nify %o+ little it ta!es for t%e poet to 'e completely over+%elme. 'y nature( 'ut t%e ima)e of a pearl also points to t%e purity an. t%e preciousness of love t%at s%e feels to+ar. nature, $%e four stan&as of t%e poem represent t%e four seasons( or( sym'olically( t%e cycle of life an. t%e fact t%at life in nature is never9en.in)( rene+e. all t%e time, It is o'vious t%at nature for ic!inson presente. an enormous source of inspiration, -%e applie. various metap%orical meanin)s to natural ima)ery( relatin) it to t%e 5oy in life( as in t%e previously .iscusse. poem( 'ut also to %er inner fears an. 2uestions t%at .istresse. %er in any +ay, ?uestions of se1uality( .eat% an. t%e unconscious +ere some of t%e t%emes t%at s%e .iscusse. an. trie. to fin. ans+ers to in t%e nature, In t%e poem 4I starte. Early 8 $oo! my o)4 10( ic!inson e1presses t%e fear of intense feelin)s t%at over+%elm %er, $%e sea is a recurrin) sym'ol in ic!inson/s poetry( +%ere it stan.s for .ifferent i.eas( suc% as t%e po+er an. .ea.liness of t%e sea( t%e possi'ility of +atery .eat%( fulfilment t%rou)% love

8 *

6or.s+ort%( Preface to 37yrical =alla.s4( 2F <ea.er( ic!inson( poem 21@ 10 <ea.er( ic!inson( poem ;20

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an. t%e life/s stormy con.ition in +%ic% one loo!s for a %aven, 11 In t%is poem too( critics .isa)ree on %o+ to interpret t%e sym'olic( +%et%er as t%e fear of .eat% personifie. or a man +%o is se.ucin) t%e narrator 12, I +oul. a)ree +it% t%e secon. interpretation( as t%e narrator in t%e poem openly mentions 'o.y parts an. pieces of clot%in), In t%e first line of t%e poem( t%e narrator announces a +al! t%at s%e is a'out to ta!e +it% %er .o), 6%at at first seems as simple( every.ay activity( is a'out to turn into terrifyin) e1perience, $%e settin) itself( vast 'eac% an. t%e ocean +it% t%e fri)ates t%at 3e1ten. %ampen %an.s4( compare. to t%e )irl( a+a!es t%e feelin) of %elplessness, $%e )irl on t%e 'eac% seems insi)nificant compare. to t%e settin)( passive an. una'le to move 'efore t%e forces of nature( or( presuma'ly( love, $%e +atery pulse of t%e approac%in) sea ma!es t%e ine1perience. )irl trem'le from fear, $%e feelin) of inferiority is 'est .escri'e. in t%e t%ir. stan&a# 3=ut no Man move. Me 9 till t%e $i.e> 6ent past my simple -%oe 9 > An. past my Apron 8 an. my =elt > An. past my =o..ice 8 too 83 Dlines *912E, $%e )ra.ual risin) of t%e sea su))ests pro)ressive intimacy( +%ic% lea.s to %er lac! of security( 'ut also to loss of personal i.entity to a potentially .an)erous( .ominant male,1: 0o+ever( in t%e fift% stan&a t%e tone is sli)%tly c%an)e. an. +e %ave an ima)e of t%e )irl/s s%oes overflo+e. +it% pearl Dline 20E, $%e ima)e lea.s t%e rea.er to 'elieve t%at t%is contact +it% a man is not irritatin)( 'ut rat%er .esira'le, Presuma'ly t%e fear of t%e un!no+n %as turne. into a pleasant e1perience( as t%e )irl an. t%e sea are su..enly referre. to as 3+e4 Dline 21E( as a couple, Interestin)ly( ic!inson still uses t%e capitali&e. 3%e4 in t%e si1t% stan&a( insistin) on t%e importance of %er lover( 'ut t%e fear is no lon)er present 8 touc% of t%e lover soot%es t%e )irl, Natural ima)ery allo+s ic!inson to e1plore %er feelin)s of fri)%t an. an1iety 'efore t%e inevita'le life forces( represente. 'y t%e sea 8 love in t%e case of t%is poem, Aar from t%e repressive soli. to+n Dline 21E( s%e is a'le to
11 12 1:

Porter( ** Iuerra( B8 Iuerra( B8

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fin. means to e1press %er emotions( com'inin) nature an. %er poetic e1pression, In %er poetry( ic!inson .epicte. t%e +ay e1ternal o'5ects are seen from %uman point of vie+ an. for t%is purpose s%e often metap%orically use. animal ima)ery, -%e often i.entifie. %erself +it% 'ir.s( as in t%e poem 3Aor every =ir. a Nest 941@( for e1ample, Hust as 'ir.s use +in)s for flyin)( ic!inson use. poetry to fly a'ove t%e mun.ane life t%at surroun.e. %er, In t%e poem 3A =ir. came .o+n t%e 6al!4 1;( ic!inson/s narrator .escri'es a 'ir. t%at %e or s%e sees an. tries to esta'lis% contact +it%, At first( t%e 'ir. seems at ease( naturally 'itin) 3an An)le+orm in %alves4 Dline :E( eatin) it ra+, $%e emp%asis of t%e a.5ective 3ra+4 an. t%e noun 3)rass4 Dline FE( su))ests contrast 'et+een natural 'e%avior an. %uman 'e%avior 1F, As lon) as t%e 'ir. .oes not notice t%e o'server( it acts freely an. )enuinely, 0o+ever( it 'ecomes a+are of t%e %uman presence +%en t%e narrator tries to tame it an. incorporate it into t%e %uman +orl., It is at t%is point t%at t%e 'ir. flies a+ay# 3I offere. %im a Jrum' > An. %e unrolle. %is feat%ers > An. ro+e. %im softer %ome 9 > $%an Gars 4 Dlines 1@91BE, $%is ima)e of t%e 'ir./s fli)%t( compare. to t%e ima)e of oars .ivi.in) t%e ocean is so .etaile. in or.er to e1press t%e immensity of effect it leaves on t%e o'server .ue to its 'eauty an. )racefulness, $%e poem points out t%e fear t%at natural 'ein)s feel an. t%e .an)er of %uman .esire to ant%ropomorp%i&e t%em, 1B $ransition from t%e free( natural 'e%avior into escape %appens +%en %uman %an.s try to a'ruptly inva.e t%e 'ir./s privacy, $%e +in)s( or oars it uses( sym'olically represent poetry +%ic% ic!inson uses in or.er to .etac% %erself from t%e rest of %umanity -ome critics( %o+ever( .isapprove. of suc% 'e%avior an. t%e seclusion +%ic% Emily
1@ 1; 1F 1B

an. un.erstan. nature 'etter, ic!inson live. in +as vie+e. as ne)ative aspect of %er lifestyle#

6i!isource( poem 1@: <ea.er( ic!inson( poem :28 Iuerra( 2* Iuerra( 2*

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30er reclusiveness +as( for %er( t%e only +ay to maintain t%is po+er over events an. people( 'y %er art( %er letters an. %er +illful self9.ramati&ation( an. at t%e same time to create t%e appearance of t%e passive female fi)ure,418 Nevert%eless( ic!inson/s life truly +as mar!e. 'y %er fat%er/s oppressive attitu.e, -%e remaine. unmarrie. t%rou)%out %er life( 'ut t%e 2uestion of se1uality +as a common t%eme in %er poems, In t%e poem 3A narro+ Aello+ in t%e Irass41*( ic!inson portrays a sna!e Deven t%ou)% s%e never openly names it( it can 'e interprete. in t%at +ay +it%out .ou'tE( )ives it %uman c%aracteristics an. .escri'es %er o+n attitu.e to+ar. it, =y usin) t%e ver' 3ri.es4 Dline 2E( t%e pronoun %e Dt%rou)%out t%e poemE an. t%e nouns 3fello+4 Dlines 1 an. 21E an. 3com'4 Dline ;E( t%e animal is o'viously ant%ropomorp%i&e., ic!inson )ives an account of meetin) a sna!e( an animal +%ic% can( connotatively( 'e relate. to t%e Areu.ian p%allic sym'olism, $%e fear t%at t%e narrator feels at t%at moment is .escri'e. in t%e last stan&a# 3=ut never met t%is Aello+ > Atten.e.( or alone > 6it%out a ti)%ter 'reat%in) > An. Kero at t%e =one4 Dlines 2192@E, $%e .escription su))ests t%e poet/s fear of se1uality( %o+ t%reatene. s%e must %ave felt 'y t%e male .ominance( 'ot% in %er %ouse an. in t%e strict( 1*t% century society, $%e metap%orical use of natural ima)ery allo+s %er to( at t%e same time( contemplate t%e topic of se1uality( 'ut also to remain +it%in t%e 'oun.aries of moral norms of t%e era, Emily ic!inson commonly use. nature as a metap%or for t%e c%an)in)( 'ut also for t%e unc%an)in) in %uman lives, -ym'olic c%an)e of seasons +as .epicte. in many of %er poems( representin) t%e .ifferent sta)es of one/s life, Interestin)ly( t%e most fascinatin) time of t%e year for ic!inson +as t%e In.ian summer 8 early autumn, $%e transition from summer to autumn allo+e. ic!inson to e1press %er .eepest concerns( 'ut also to portray t%e retrospective attitu.e to+ar.s summer( as in t%e poem
18 1*

6ilner( 128 <ea.er( ic!inson( poem *8F

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3$%ese are t%e .ays +%en =ir.s come 'ac!4 20, It represente. a c%allen)e for %er to capture nature at t%e e1act moment of transition, Aor t%is reason( s%e also often portraye. sunrise or sunset( 'e)innin)s an. en.in)s of seasons( metap%orically representin) t%e eternal movement 'et+een life an. .eat%, In t%e poem 3$%e Ientian +eaves %er frin)es421( ic!inson portrays t%e 'urial of summer( 'ut s%e .escri'es t%e season as if it +ere a +oman( )ivin) it t%e reli)ious connotation# 3$%e analo)y t%rou)%out is +it% t%e 'urial of a +oman( an. it is surprisin)( even s%oc!in)( to .iscover %o+ literally( at t%is time of %er life( ic!inson e2uate. t%e L.eat%L of t%e summer +it% %uman .eat%,422 In.ian summer stan.s 'et+een summer 8 t%e most lively season( an. autumn 8 'e)innin) of an en. for nature, It is at t%is point t%at life an. .eat% meet an. t%e transition 'et+een t%e t+o +as an important topic for ic!inson, Gn t%e ot%er %an.( t%ere are t%ose poems +%ic% .eal +it% t%e unc%an)in) in nature, Gne suc% poem is 3Me( c%an)eM Me( alterM4 2:( in +%ic% ic!inson i.entifies %erself +it% nature an. .eclare. its stayin) po+er, $%e poet 3employs t%e e1otic or t%e forei)n , , , to su))est t%e t%in)s t%at are eternal an. +%ic% sustain42@, Nature/s po+er of re)eneration an. t%e constant rene+al( oppose. to .eat% t%at provi.e. %er +it% t%e feelin) of comfort, $%e tec%ni2ues +%ic% Emily ic!inson use. +%en +ritin) %er poetry +ere %i)%ly unort%o.o1 for t%e nineteent% century, At t%e first )lance on any of %er poems( it can 'e notice. t%at s%e use.( even for to.ay/s stan.ar.s( unusual meter an. r%yme( elliptic sentences an. syntactic structures in )eneral, ic!inson/s )oal +as to tell as muc% as possi'le in as little +or.s( an. t%e form of %er poems resulte. from t%at, 0er contemporaries .i. not appreciate t%e style in +%ic% s%e +rote( 'ut to.ay +e are a'le to see t%e immensity of %er innovation in poetry of t%e nineteent% century,
20 21 22 2: 2@

ic!inson sa+ as omnipresent(

6i!isource( poem 1:0 6i!isource( poem 18 -an.een( @8B 6i!isource( poem 2F8 Porter( *2

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In or.er to .epict natural ima)es(

ic!inson use. a lot of fi)ures of

speec%( poetic ima)es an. rat%er o'scure +or.s, In t%e poem 3A Narro+ Aello+ in t%e Irass4( for e1ample( +e %ave an instance of %er use of !inaest%etic lan)ua)e to .escri'e a natural 'ein), It is remar!a'le t%at not once in t%e poem s%e mentions a sna!e .irectly( yet it is still o'vious t%at s%e is .escri'in) one( ic!inson +as a'le to accomplis% t%is t%rou)% t%e use of alterin) letter si&es( alliteration of t%e soun. >s>( remin.in) o% t%e sna!e %isses( an. t%rou)% a careful use of +or.s, -%e .oes not use ela'orate metap%ors( 'ut rat%er s%ort( concise ones t%at precisely transfer %er point, In t%e poem 3A 'ir. came .o+n t%e 6al!4( +e %ave anot%er e1ample of %er unusual c%oice of +or.s, 0ere its purpose is to esta'lis% a .ifference 'et+een t%e natural an. %uman +orl.( an. It is impressive %o+ ima)inatively In t%e poem 3I starte. Early 8 too! my ic!inson accomplis%es to .o ic!inson re)ar.e. t%e natural o)4( for e1ample( t%e sea is t%is 'y contrastin) 3%uman4 an. 3animal4 ver's, +orl. an. %o+ successfully s%e transferre. t%is point of vie+ to %er poetry, .escri'e. as a %ouse( +it% t%e mermai.s livin) in 3t%e 'asement4 Dline :E( meanin) t%e 'ottom of t%e ocean( an. t%e fri)ates( or 'oats( 3in t%e Npper floor4 Dline ;E, Poetic ima)es suc% as t%is one serve to su))est t%at ic!inson felt at %ome in nature, $%ere is not%in) to stan. in t%e +ay 'et+een %er an. t%e natural +orl.( an. t%is allo+e. %er to captivate t%e 'eauty of nature in %er poems so e12uisitely, Emily ic!inson +as constantly pursuin) a +ay to )rasp t%e multitu.e of meanin)s in nature( to compre%en. its mysteries an. relate t%e !no+le.)e to %er o+n life, Even t%ou)% s%e felt incapa'le of truly capturin) t%e 'eauty of nature in %er poems( s%e never stoppe. tryin), 0er a'ility to rea. nature as an open 'oo!( to perceive most common p%enomena in nature an. fin. .eeper meanin) in t%em resulte. in a )reat collection of %er poems( +%ic% are( 'ot% structurally an. in t%eir content( re)ar.e. as some of t%e 'est poems in American literature so far,

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6or!s Jite. ic!inson( Emily, The Letters of Emily Dickinson , E., $%omas 0, Ho%nson, Jam'ri.)e# =el!nap press of 0arvar. Nniversity Press( 1*;8, Print, Emerson( <alp% 6al.o, Nature, =oston# Hames Munroe an. Jompany, 18:F, 6e' O%ttp#>>+++,arc%ive,or)>.etails>naturemunroe00emerric%P, Iuerra( Ho%nnie I, 3 ic!inson/s A =ir. came Qolume @B, Issue 2# pa)es 2*9:0, 6e', 3 ic!inson/s I starte. early( $oo! my 2# pa)es B8981, 6e' I&)ar5an( Ale!san.ra, XIX American Literature Reader, Novi -a.# Nniversity of Novi -a.( En)lis% .epartment, 2011, Print, Paci( =ran!ica. The Bi Ten !a"or Nineteenth century American #riters , Ni# I&.avaR!a He.inica Nniver&iteta u Niu( 1**1, Print, Porter( avi., The Art of Emily Dickinson$s Early %oetry , Jam'ri.)e# 0arvar. eterre. 'y <etrospect# Emily ic!inson/s 7ate9 Nniversity Press, 1*FF, Print, -an.een( Ernest, 3 eli)%t pa)es @8:9;00, -pra)ue( <osemary, Ima inary (ardens, P%ila.elp%ia# J%ilton =oo! Jompany, 1*F*, Print, 6%ite( Are., 3-+eet -cepticism of t%e 0eart# -cience in t%e poetry of Emily ic!inson4, )olle e Literature, Qolume 1*, Issue 1# pa)es 12192*, 6i!isource# 3Aor every =ir. a Nest4 O%ttp#>>en,+i!isource,or)>+i!i>AorSeveryS=ir.SaSNestSTE2T80T*@P( last visite. 18 April 2011 3Me( c%an)eM Me( alterM4 O%ttp#>>en,+i!isource,or)>+i!i>Me(Sc%an)eM SMe(SalterMP last visite. 18 April 2011 -ummer Poems&. The Ne# En land 'uarterly, Qolume @0, Issue @# o)4 Explicator, Qolume ;0, Issue o+n t%e 6al!,4 Explicator, source

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3$%e Ientian +eaves %er frin)es4 O%ttp#>>en,+i!isource,or)>+i!i>$%eSIentianS+eavesS%erSfrin)esS TE2T80T*@P last visite. 18 April 2011 3$%ese are t%e .ays +%en =ir.s come 'ac!4 O%ttp#>>en,+i!isource,or)>+i!i>$%eseSareSt%eS.aysS+%enS=ir.sScomeS 'ac!STE2T80T*@P last visite. 18 April 2011 6or.s+ort%( 6illiam. Lyrical Ballads, Electronic $e1t Jenter# Nniversity of Qir)inia 7i'rary, 6e' O %ttp#>>ete1t,vir)inia,e.u>etc'in>toccer9ne+2U i.V6or27yr,s)mWima)esVima)es>mo.en)W.ataV>te1ts>en)lis%>mo.e n)>parse.Wta)Vpu'licWpartV1W.ivisionV.iv1P Preface to Lyrical Ballads, $%e 0arvar. Jlassics, 6e', O%ttp#>>+++,'artle'y,com>:*>:F,%tmlP 6ilner( Eleanor, 3$%e Poetics of Emily pa)es 12F9;@, ic!inson4, EL*, Qolume :8, Issue 1#