To begin with, for a woman like Dickinson, choosing to be an artist could seem to require denying essential aspects of herself and relinquishing experience as lover, wife, and mother. Fortunately for Dickinson the alternatives did not always seem so categorical. Moreover, by further turns of the paradox, a surrender of womanhood transformed her into a phallic weapon, and in return his recognition and adoption "identified" her.
For the critic David Porter, its message lies "in its very indefiniteness. If he can vanquish her--Mother Nature, Virgin Land--then he can assume or resume his place in society and as boon exact his share of the spoils of Nature and the service of those, including women and the dark-skinned peoples, beneath him in the established order.
The violent, exclamatory self-mutilation indicates how far we have come from the pieties of Mrs. Sigourney and her sisters. In Hebrew the word "prophet" means to "speak for. But this woman poet also perceives herself as a lethal weapon: His link with landscape, therefore, is a passage into the unknown in his own psyche, the mystery of his unconscious.
The union of gun with hunter embodies the danger of identifying and taking hold of her forces, not least that in so doing she risks defining herself--and being defined--as aggressive, is unwomanly "and now we hunt the Doe"and as potentially lethal. No wonder that the animus and the anima appear in dreams, myths, fantasies, and works of art as figures at once human and divine, as lover and god.
In a mysterious way the craftsmanship of the doomed artist rescues her exalted moments from oblivion and extends destiny beyond "dying" and "killing. The "Sovereign Woods" designate the limits within which both the master and gun are free, an analogue for the freedom invented by, but limited to, the Christian narrative.
Already in the second verse the gun speaks "for" the master, which is to say she perceives her function as an extension of his power: It seems likely that the nineteenth-century woman poet, especially, felt the medium of poetry as dangerous, in ways that the woman novelist did not feel the medium of fiction to be.
But all the time she knew that she was something other and more. Moreover, the novel is or can be a construct, planned and organized to deal with human experiences on one level at a time. Three draft-"letters" from the late s and early s, confessing in overwrought language her passionate love for the "Master" and her pain at his rejection, might seem to corroborate the factual basis for the relationship examined in this poem, probably written in Whatever constraints existed in her daily life the breathless and excessive femininity so well described by her preceptor, Thomas Wentworth Higginsoninwardly it would seem Emily Dickinson was not to be denied.
She can refuse to be a victim by casting her lot with the hunter, but thereby she claims herself as victim. Though I than He--may longer live He longer must--than I-- For I have but the power to kill, Without--the power to die-- In the first rune, why is it that she may live longer than he but he must live longer than she?
The change in tense alerts the reader to the peculiarity and the importance of the comparisons. The interdependence through which she "speaks for" him as his human voice makes both for her dependence and limitations and also for her triumph over dependence and limitation.
The poem presents the alternatives unsparingly: In the third verse she no longer acts for the master but describes an exchange between herself and the mountain. The great matter is to reveal and outpour the God-like suggestions pressing for birth in the soul. From the point of view of Nature, then, or of woman or of the values of the feminine principle the pioneer myth can assume a devastating and tragic significance, as our history has repeatedly demonstrated.
Her rhythm is the round of Nature, and her sovereignty is destructive to the independent individual because the continuity of the round requires that she devour her children and absorb their lives and consciousness back into her teeming womb, season after season, generation after generation.
The lines begin to unravel and reveal themselves if we read the phrase "Without--the power to die" not as "lacking the power to die" but rather as "except for the power to die," "unless I had the power to die.
To be able to tell this story, like learning language, permits the individual to be a Christian to another Christian and to herself.An Explication of Emily Dickinson's Loaded Gun Essays Words | 4 Pages.
Emily Dickinson's "Loaded Gun" Emily Dickinson's poem "My Life had stood-a Loaded Gun-" is a powerful statement of the speaker's choice to forego the accepted roles of her time and.
5 My Life had stood -a Loaded Gun: The Paradox of Emily Dickinson's Poetryl By Noel A.
Black Emily Dickinson's poetry has often been deemed cryptic and even incomprehen. Her works, My Life Had Stood a Loaded Gun and I Heard a Fly Buzz When I Died, clearly tell us about the hardships she endured during her lifetime through symbolism and themes of power and mortality.
In My Life had stood a loaded gun, Dickenson tells the story of a gun (herself) and her owner. The Dickinson poem that Rich so presciently invoked in"My Life had stood--a Loaded Gun" (poem ), has since then attracted diverse interpretations, especially feminist interpretations.
It has become the locus of discussion for feminist critics concerned about accounting in some way for the aggression of Dickinson's poetry, beginning. Emily Dickinson's Collected Poems Summary and Analysis of "My Life had stood -- a Loaded Gun --" Buy Study Guide This poem is an extended metaphor, in which the speaker’s life becomes a loaded gun, as defined in the first line.
A reading of a classic Dickinson poem ‘My Life had stood – a Loaded Gun’ is one of Emily Dickinson’s most popular poems. Yet it is also an extremely subtle and .Download