The fourth and fifth lines protest against the majority's dictating standards for personal values and conduct, as well as for the rest of society's organization. Unlike many of her religiously oriented love poems, this one does no violence to Christian doctrine in its view of life, death, and love. The speaker addresses a beloved man from whom she is permanently separated in life. We are also instructed in the New Testament to store up our treasures in Heaven--with the divine Banker. Clearly she prefers a position of invisibility, where she can take her own measure. The fine restraint of the poem's conclusion, which reinforces the sense of a hushed atmosphere, implies a favorable outcome for the situation, but it is difficult to tell if it directs our attention more to the friend or to the speaker.
The speaker alternates between expecting to move from girlhood to marriage and asserting that she has done so. What gives the lines extra punch, besides the alliteration and the whiff of blasphemy, is the syllable emphasis. Nobody else has ever written like this. Defiantly joyous in tone — at least on the surface — until its almost tragic final stanza, this poem presents an allegory about the pursuit of personal identity and fulfillment through love, and yet it is quite possible that the joy of the poem conceals a satire directed back against the speaker, a satire which may be the chief clue to the meaning of the last stanza. The last stanza says that since she has no idea how long she must wait for him, she is goaded like a person around whom a bee hovers. Some critics believe that the subject of this poem is the union of the soul with the muse or with God, rather than with a lover.
There do not seem to be reasonable alternatives to the view that the worm-turned-snake is the male sexual organ moving toward a state of excitement and making a claim on the sexuality and life of the speaker. The first two stanzas stress the spiritual triumph of this day for the speaker, which overshadows the fullness of nature and places her and her lover in a world entirely apart from it. In the second stanza, these nights become a reality, and the concentrated imagery shows that the wildness stands both for passion and for the threat to it from the socially forbidding world. The poem is jocular, amusing, and surely a bit defensive, and its psychology and satire are keen. Knowledge of these depths is assigned to the sea rather than to the woman, but the sea seems to be a symbol for part of the woman. The paradox can be resolved by assuming that die may have a special meaning.
In one day she has been born through love, has been made bride, and therefore been bridled like a horse, and has been shrouded, in the sense that her peculiar marriage is a kind of living death. The last three lines imply the instruments, social ostracism or even the asylum or prison, which the majority uses to hold people in line. I generally try to point out where Franklin's version differs from Johnson's. She first calls God a Burglar: he has robbed her of a dear one. Possibly the last line is both an acknowledgment of the unconscious source of the fantasy and an insistence on its being taken very seriously.
Złodziej, bankier, ojciec — Biedna jestem znowu! Rather, viewing the snake as a symbol of evil, in addition to seeing it as a sexual symbol, helps us to see how ambivalent is the speaker's attitude toward the snake — to see how she relates to it with a mixture of feelings, with mingled fear, attraction, and revulsion. The short lines and abruptly rocking movement of the poem echo their struggles. The speaker rejoices in her preference as if it were an indication of her own superiority. The idea that suffering and friendship produce an experience almost more rewarding than we can hope to find in heaven parallels Dickinson's celebration of art. As we have noted, other interpretations of this poem are quite arguable, partly because the tone of the poem is so ambivalent. In all likelihood the poems present fantasies which would have emotionally satisfied Dickinson more than her actual lonely renunciation did.
This image recalls images of pleasurable engulfment in other Dickinson poems, but here it is clearly threatening. The lovers, excluding the world, become their own church and hold their own communion, an act which will prepare them for heaven. The poetry of Emily Dickinson is not easily categorized as she use forms such as rhyme and meter in unconventional ways; however, her poetry lucidly expresses thought provoking themes with a style that is a delight to read. I never lost as much but twice I never lost as much but twice, And that was in the sod; Twice have I stood a beggar Before the door of God! The poem is structured around an economic conceit that is further developed in the second stanza. These reimbursements may have been in the form of a new relationship that was able to ease the suffering associated with the loss of a previous one.
Both wildness and luxury are part of a shared, overflowing passion. Three popular Dickinson poems about lost friends are similar in length and style. The somebodys sit in the middle of bogs, a nasty representation of society, and the somebodys bellow to people who will admire them for their names alone. It is true that neither a specific room nor people are described, and that the room may be a symbol of a condition of life, but possibly the very generality of the situation has allowed Dickinson to create more of a scene than she usually attempts. But the third and fourth lines show us that these women are detached from the real world around them and perhaps they even revel in this detachment.
For many poets, society provides a context for their treatment of love, or perhaps a clear delineation of a world from which they withdraw into love. The second stanza satirizes their sinking into a drunken stupor, and their lying in ditches and jail and ridicules their activities as an improper memorial for historical events. Angels—twice descending Reimbursed my store— Burglar! Burglar, banker, father, I am poor once more! In human life, these are the two greatest emotional losses we encounter and Emily makes it clear though this poem. The poet seems to be mildly congratulating herself that unlike the vulgar and pretentious somebodys, she is shy and sensitive. The alternating short-long lengths of the poem's lines, culminating in the two-syllable lines of the last stanza, parallels this closing down of attention and strengthens our sense of a painful but glorious triumph in the concluding lines.
The statement that the snake fathomed her thoughts implies admiration for its power, and the description of its rhythmic movements reveals more admiration than repulsion. Is she standing before the graves, calling that the door -- the gateway, perhaps, to heaven? The first stanza is spoken in detached anger by an observer or a victim. There are several examples of figurative use of language in this poem. He or she has strong feelings on the subject that is described in the poem. The fact that earlier losses were in literally to the sod surely refers to the death of friends. This loss is probably not to death but to separation or alienation and that can be more embittering. The last stanza does not connect logically to what precedes it.
And finally, she calls out to God the Father. . We make no warranties of any kind, express or implied, about the completeness, accuracy, reliability and suitability with respect to the information. Dogs in Dickinson's poems are often symbols of the self, partly stemming from her many years of companionship with her setter, Carlo. Although heaven and hell are mentioned, and although some critics see the parting as deaths, the parting is probably not the result of death. Or it may be that she is a different but equally shallow human type. These figures may stand for people in general or for prospective suitors.