# data[].attributes.headline
24. Pearltrees: links about Emily Dickinson

# data[].attributes.subject
24. Pearltrees: links about Emily Dickinson

# data[].attributes.attachment_link.description
Assorted resources on the poetess. Emily Dickinson (1830. Publicroad. Major Characteristics of Dickinson's Poetry. Dickinson's Poetry: Analysis. Emily. Diction

# data[].attributes.attachment_link.description
The tone and mood words listed below are also available as a Word document. Tone and mood both deal with the emotions centered around a piece of writing. Though they seem similar and can in fact be...

# data[].attributes.headline
21. Because I could not stop for Death (Shmoop)

# data[].attributes.subject
21. Because I could not stop for Death (Shmoop)

# data[].attributes.attachment_link.title
Because I could not stop for Death Form and Meter

# data[].attributes.attachment_link.description
If you're familiar with hymns, you'll know they're usually written in rhyming quatrains and have a regular metrical pattern. Dickinson's quatrains (four-line stanzas) aren't perfectly rhymed, but they sure do follow a regular metrical pattern. We'll show you what we mean.

# data[].attributes.headline
20. Major characteristics of Dickinson's Poetry

# data[].attributes.subject
20. Major characteristics of Dickinson's Poetry

# data[].attributes.attachment_link.title
Major Characteristics of Dickinson's Poetry | Emily Dickinson Museum

# data[].attributes.attachment_link.description
Like most writers, Emily Dickinson wrote about what she knew and about what intrigued her. A keen observer, she used images from nature, religion, law, music, commerce, medicine, fashion, and domestic activities to probe universal themes: the wonders of nature, the identity of the self, death and immortality, and love.

# data[].attributes.attachment_link.description
Overview Emily Dickinson is not only one of the supreme lyric poets of American literature. She has also come to symbolize the purest kind of artistic vocation. Not merely unrecognized but virtually unpublished in her own lifetime, she developed her genius in the utmost privacy, invisible to all except a small circle of family and friends.

# data[].attributes.headline
18. Guidelines for reading Dickinson's poetry

# data[].attributes.subject
18. Guidelines for reading Dickinson's poetry

# data[].attributes.attachment_link.title
Guidelines for Reading Dickinson's Poetry

# data[].attributes.attachment_link.description
Emily Dickinson, bibliography, notes, and links to information and all texts available on the web, information

# data[].attributes.attachment_link.description
Emily Dickinson can be seen as eccentric (my view) or as psychologically unbalanced or even crazy (less tolerant views). For example, from her late teens through her twenties she adopted the more childish spelling of her name, "Emilie"; her letters repeatedly express the wish to remain a child.

# data[].attributes.attachment_link.keywords[]
the poetry of emily dickinson. complete poems of 1924

# data[].attributes.attachment_link.title
The Poetry of Emily Dickinson. Complete Poems of 1924. Bartleby.com

# data[].attributes.attachment_link.description
The Poetry of Emily Dickinson. Complete Poems of 1924. Comprises 597 poems

# data[].attributes.attachment_link.readable_text
The Poetry of Emily Dickinson | Crash Course English Literature #108

In which John Green examines of the poetry of Emily Dickinson. Sure, John explores the creepy biographical details of Dickinson's life, but he also gets into why her poems have remained relevant over the decades. John discusses Dickinson's language, the structure of her work and her cake recipes. He also talks about Dickinson's famously eccentric punctuation, which again ends up relating to her cake recipes. Also, Dickinson's coconut cake recipe is included.
To find more videos from Crash Course, visit our collection page.

# data[].attributes.attachment_link.title
The Poetry of Emily Dickinson | Crash Course English Literature #108

# data[].attributes.attachment_link.description
In which John Green examines of the poetry of Emily Dickinson. Sure, John explores the creepy biographical details of Dickinson's life, but he also gets into why her poems have remained relevant over the decades. John discusses Dickinson's language, the structure of her work and her cake recipes.

# data[].attributes.attachment_link.description
The Purdue University Online Writing Lab serves writers from around the world and the Purdue University Writing Lab helps writers on Purdue's campus.

# data[].attributes.attachment_link.title
Emily Dickinson Museum – Amherst, Massachusetts

# data[].attributes.attachment_link.description
I felt my life with both my hands
To see if it was there –
I held my spirit to the Glass,
To prove it possibler –

# data[].attributes.attachment_link.description
The Woodberry Poetry Room website offers scholars and poetry-readers worldwide the opportunity to encounter rare and heretofore inaccessible recordings from its historic archive. It hosts an abundance of resources, research guides, announcements of upcoming opportunities and events, and visitor information.

# data[].attributes.attachment_link.readable_text
Current Issue

Read Issue

# data[].attributes.attachment_link.title
Poetic Forms | Academy of American Poets

# data[].attributes.attachment_link.description
Poetic Forms - Refresh and expand your poetic vocabulary with this collection of poetic forms, complete with historical contexts, examples, and more.

# data[].attributes.attachment_link.description
A statement with two or more meanings that may seem to exclude one another in the context. Grammatical ambiguity (amphibologia) occurs where a word has two or more possible word classes. For example, in "BILL POSTERS WILL BE PROSECUTED," the words "BILL POSTERS" could be either adjective and common noun or a proper name.

# data[].attributes.attachment_link.description
Emily Dickinson (1830-1886) wrote approximately 1,789 lyric poems in nineteenth-century American English. The Emily Dickinson Lexicon (EDL) is a comprehensive dictionary of over 9,275 words and variants found in the collected poems. We have used Dickinson's poems, the Webster 1844 dictionary, the Oxford English Dictionary, and other resources to create the EDL entries.

# data[].attributes.attachment_link.title
The Emily Dickinson Collection - Modern Books & Manuscripts - Collections - Houghton Library - Harvard College Library

# data[].attributes.attachment_link.description
The Houghton Library is renowned internationally for its holdings of the papers of nineteenth-century American writers, and many would say that the jewel in that crown is the Emily Dickinson Collection.

# data[].attributes.headline
3. Emily Dickinson at the Poetry Foundation

# data[].attributes.subject
3. Emily Dickinson at the Poetry Foundation

# data[].attributes.attachment_link.description
Emily Dickinson is one of America's greatest and most original poets of all time. She took definition as her province and challenged the existing definitions of poetry and the poet's work. Like writers such as Ralph Waldo Emerson, Henry David Thoreau, and Walt Whitman, she experimented with expression in order to free it from conventional restraints.

# data[].attributes.attachment_link.description
The original Dickinson Electronic Archives was launched in 1994 and was regularly updated until 2012. We invite visitors to explore the DEA in its original form, where they can discover nearly 18 years worth of digital Dickinson archival and scholarly work. Visit the DEA1

# data[].attributes.attachment_link.readable_text
Emily Dickinson Archive makes high-resolution images of Dickinson's surviving manuscripts available in open access, and provides readers with a website through which they can view images of manuscripts held in multiple libraries and archives. This first phase of the EDA includes images for the corpus of poems identified in The Poems of Emily Dickinson: Variorum Edition, edited by R. W. Franklin (Cambridge: Belknap Press of the Harvard University Press, 1998).

Emily Dickinson (1830-1886) was well known as a poet to the many correspondents with whom she shared her manuscript writings. Only a handful of her poems appeared in print during her lifetime, however, and none under her own name; those few poems were sent to publishers by friends, and she did not have an opportunity to review them before they were printed. At her death in 1886 Dickinson left behind a wealth of writings that had never been printed: hundreds of manuscript poems in her personal effects, and hundreds more poems and letters sent to her correspondents (we will never know exactly how many, since some were destroyed or lost). Many poems were preserved in multiple manuscript versions, or with variant choices for words within a single poem, without indication of whether a particular version or word choice was Dickinson's final intention.

Dickinson did not leave behind explicit instructions about how-or even whether-her manuscripts should be reproduced in print. Her first editors, reflecting the conventions of print and the traditions of late nineteenth-century poetry, sometimes changed her words and regularized her grammar, syntax, and rhyme, as well as punctuation and capitalization. They added titles to poems, sometimes deleted entire stanzas, and did not convey Dickinson's variant word choices. They transcribed poems as metrical stanzas, rather than replicating the visual arrangement of words exactly as found in Dickinson's manuscripts. While their methods differed from modern editorial principles, it was thanks to their efforts that Dickinson's work reached a wide public audience.

Since those first editorial transcriptions, there has been debate about the importance of the manuscript page to our understanding of Dickinson's poetry. Some critics argue that Dickinson's manuscript pages are mediated primarily by metrical and stanzaic conventions. Other critics assert that her manuscript page, with its spaces between words, lines, and stanzas, its ambiguous capitalization and idiosyncratic punctuation, represents Dickinson's radical revision of these conventions. Some critics believe that Dickinson, over the course of her writing life, came to conceive of her poems as fully realized in their manuscript condition rather than as drafts designed with the printed page in mind. This range of critical opinion provides a compelling reason to make access to images of those manuscript pages more easily and widely available.

Dickinson's manuscript page is the focus of Emily Dickinson Archive. A search of the full text or first line from a poem produces images of all the manuscript versions of the poem, where multiple versions survive. Readers have the option of selecting from a historical array of editors' transcriptions of these autograph materials into printed form, and of viewing a transcription by physical line or by poetic line, depending upon the editor's choice. Additionally, readers can use the site's tools to create their own transcriptions, annotate images, or, by zooming in, look closely at Dickinson's handwriting.

# data[].attributes.attachment_link.description
Emily Dickinson Archive makes high-resolution images of Dickinson's surviving manuscripts available in open access, and provides readers with a website through which they can view images of manuscripts held in multiple libraries and archives. This first phase of the EDA includes images for the corpus of poems identified in The Poems of Emily Dickinson: Variorum Edition, edited by R.