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-she wanted to be different form people around her. she never felt that she fit in with the other children and women of her age. her religious backgrounds had a bring impact on her writing and so did marriage. her marriage was not healthy and she did not like the duty and responsibilities of a wife

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-possible for a new type of "faith" that involves science. she did write like hymns which shows that she still has faith but in a different meaning. she created for herself a new poetry that spoke to her life and friendships around her.

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There are many negative definitions and sharp contrasts. While the emphasis on the outer limits of emotion may well be the most familiar form of the Dickinsonian extreme, it is not the only one. Dickinsons use of synecdoche is yet another version.

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The final lines of her poems might well be defined by their inconclusivenes

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Her vocabulary circles around transformation, often ending before change is completed.

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The alternating four-beat/three-beat lines are marked by a brevity in turn reinforced by Dickinson syntax. Her poems followed both the cadence and the rhythm of the hymn form she adopted. This form was fertile ground for her poetic exploration

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The poems dated to 1858 already carry the familiar metric pattern of the hymn

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They shift from the early lush language of the 1850s valentines to their signature economy of expression

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Dickinson own ambivalence toward marriage an ambivalence so common as to be ubiquitous in the journals of young women was clearly grounded in her perception of what the role of required. From her own housework as dutiful daughter, she had seen how secondary her own work became. In her observation of married women, her mother not excluded, she saw the failing health, the unmet demands, the absenting of self that was part of the husband-wife relationship. -poem wife

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Dickinson question frames the decade. Within those ten years she defined what was incontrovertibly precious to her. Not religion, but poetry; not the vehicle reduced to its tenor, but the process of making metaphor and watching the meaning emerge.

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Like the soul of her description, Dickinson refused to be confined by the elements expected of her. The demands of her religion invariably prompted such moments of escape

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scientific observation proved its excellence in powerful description

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Dickinson created in her writing a distinctively elliptical language for expressing what was possible but not yet realized

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she crafted a new type of persona for the first person