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The influcence of church on the writing is the creation of religious themes that are commonly questioned or recieve deep analysis of through her writing. For example, within This World is not Conclusion there are multiple relgious allusions that are questioned as apart of her analysis of life after death. "Strong Hallelujahs roll—

Narcotics cannot still the Tooth

That nibbles at the soul— "

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Gothic and Transcendentalist elements appear in the poem on page 33, where gothic imagery, such as "Ghost" (6), and a "lonesome Place" (12) are used to describe the brain's relationship with the body. More specifically, the body is said to act on impulse without the brain (representing the mind-over-matter of Transcendentalism), which has "Corridors surpassing Material Place" (3-4).

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Gothic movements influence her style by creating gloomy tones within her works contributing to her themes of questioning ones existense. For example within, " My life closed twice before its close—" the line "So huge, so hopeless to concieve" uses the gothic element of a dreadful atmosphere to contribute to her questioning of life and immortality.

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Dickinson uses the motif of death and conflict throughout her poems which reflects the usage of religious themes as well. Her faith is intertwined with atmosphere of war and how it threatened her loyalty to religion. The words "no one testified" combined with the imagery of mother and son combatting the horrors and risks of war reflects depressing themes in her works overall. Her poems from the homework use a motif of battle through weapon imagery "revolver" and ideas of death and the afterlife which is connected to religion.

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In the first poem from the classwork, the use of anacoluthon creates a confused, and jumpy atmosphere as thoughts as not coherent and complete. In her poems as a whole the use of this device is used to create a tone of anxiousness and quick thought as the narrator is thinking about too much to make coherent thoughts. The use of synesthesia in her poems creates a imaginative and creative way to make metaphors, comparisons, and to capture the attention of the reader seen in "blue stumbling buzz" which combines the color blue which has a connotation of depression, prior to the image of death, and the "buzz" of emotion one experiences in the moments of death.

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The Transcendentalist movement influences Dickinson's style and consequently her themes as it pushed her to write of the natural world as connecting to the higher human existence. Such is seen in lines 3-4 of "The Wind begun to rock the grass" as Dickinson writes "He flung a menace at the earth, / A menace at the sky." By connecting the human experience as connected to both the "earth" and "sky" Dickinson presents such as intermingled and without difference from nature. Upon such a realization Dickinson then promotes a perspective on such through the utilization of Gothic elements. In lines 16-18 that "And then, as if the hands / That held the dams had parted hold, / The waters wrecked the sky." Through natural elements being mixed with gothic ones Dickinson allows for the presentation of natural elements to hold a destructive power. Therefore Dickinson connects the human experience as holding the potential capacity for destructiveness like that of nature.

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The transcendentalist movement influences her work as she investigates universal truths and explores faith and the human condition. For example on page 10 Dickinson opens with, "The World is not Conclusion. / A Species stands beyond-" (lines 1-2) which refers to a higher power or the supernatural influence. The motif of religion is present in her work with biblical diction such as "Crucifixion" (line 12), "Faith" (line 13), "Pulpit" (line 17), "and "Hallelujahs" (line 18). The poet tries to find solutions to quench the soul. The gothic influence can be seen on page 33 with the mysterious setting described. sinister diction like "Haunted" (line 1), "Midnight" (line 5), "Ghost" (line 6), "lonesome place" (line 12), and "Horror" (line 16) are used to create a spooky atmosphere.

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The Gothic and Transcendentalist movements acted as major influences in Emily Dickinson's styles and themes. In "The Wing begun to rock the grass", Dickinson uses a focus on nature in combination with a gothic setting to portray the destruction that can caused by nature and storms. "The leaves unhooked themselves from the trees" (lines 5-6) combines nature in "leaves" and "trees" with them "unhooking themselves", conveying an atmosphere of mystery, to develop the theme of the destructiveness of nature.

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Emily Dickinson uses Gothic and Transcendental ideas in her poetry in the generally separate or independent nature of nature in her works, as with the fly in "I heard a Fly buzz - when I died" and the moss in "I died for Beauty - but was scarce", with the independence highlighting Transcendentalism and the connections to death imparting Gothic elements.

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Dickinson utilizes synesthesia and anacoluthon to a great stylistic effect, using them to hammer home deeper motifs within her text, such as religion and mental health. For example, in "There's a Certain Slant of Light," Dickinson utilizes synesthesia in lines 3-4 to emphasize points about religion by saying, "That oppresses, like the Heft Of Cathedral Tunes--". Dickinson places the sense of touch and sound together, giving an emotional weight to the slant of light in her text highlight the idea that religion is important. Anacoluthon is used in a similar way, in the same poem Dickinson writing "There's a certain Slant of light, Winter Afternoons -". The two ideas are completely unrelated, but together and with the rest of the text the Winter Afternoon gives a time, an uncommon feature of winter being light, especially in literary works. This then shows religious context, a miracle of sorts, how religion works with the mind.

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Gothic and transcendentalist movements influence Dickenson's styles and themes through her portrayal of concepts heavily presented in each of her works. Examples of this include the motif of nature, which ties into transcendentalist thinking in how nature is valued above material concepts, which can be seen in poems such as "A light exists in spring." Examples of gothic influence can be seen in her motifs regarding supernatural elements, including ghosts in poems such as "One need not be haunted-" as a comparative device.

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Influences of the the Civil War and the Church can be seen in Emily Dickinson's poetry as they fuel her curiosity about violence and faith. In "When I was small, a Woman died--", Dickinson combines religious and war allusions to portray the violence of the war. This can be seen in lines such as, "that woman and her boy" (line 14) and "bullets clipt an angle and he passed quickly round--" (lines 7-8). Including both religion and violent references helped to portray the cruelty of the war while emphasizing the heroism of many people Emily Dickinson knew personally.

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War is used in Emily Dickenson's poetry to highlight a theme of the unfairness of death and, at the same time, the unfairness of life, as she does with motifs of grief and immortality. In the texts we read, "Success is counted sweetest" and "It feels a shame to be Alive" have strongest connections to war, both pushing this idea with reference to both death as a tragedy and death as knowing more meaning than life in relation to the fallen soldier.

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Dickinson puts influences of the Civil War as allusions to her current issues in order to highlight the intensity of what she is saying. For example, in "When I was small, a Woman died--" Dickinson uses the Civil War to discuss maternal love. Dickinson writes, "For Braveries, remote as this In Scarlet Maryland" Maryland is a state in the United States, and a place of intense bloodshed. She uses this towards the end, a bravery of the son to fight in a bloody war to finally be able to join his mother in Heaven from his sacrifice, who died before Dickinson was an adult. Dickinson also uses words such as "apparitions" in the work, and references Heaven as paradise to discuss the love further.

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Emily Dickinson uses gothic and transcendentalist elements in order to show her own beliefs and philosophy towards ideas such as humanity and nature. Gothic elements are used in "Of nearness to her sundered Things" to further amplify the motif of death (Dickinson 23). Dickinson talks about "Apparitions" or a ghost, to focus on common factors of the supernatural in gothic literature (Dickinson, 23, line 15). Additionally, transcendentalist elements are seen in ideas with nature, like with "moss" and "mold" to demonstrate the linkage between nature and death.

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Dickenson utilizes devices such as synesthesia and anacoluthon to elevate her writing style to formulate concepts and themes regarding her work as layered and confusing. The use of synesthesia in works such as "There is a certain slant of light" allows for an appeal to multiple senses, creating a more layered and nuanced symbolic concept for the audience to digest. As for anacoluthon, it is used in poems such as "I'm Nobody! Who are you?" to create a jumpy, unstructured tone that can in some cases create more confusing, layered work, or in this case a more childish, joyful tone.

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Gothic elements appear in works that utilize the common motif of death. In "I would not stop for death", the carriage stops before a dilapidated house with a "scarcely visible" roof. The common gothic element of a deteriorating setting is used to metaphorically compare the house to a coffin, left to rot with the dead.

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Dickinson uses synesthesia and anacoluthon in her poems to place emphasis on the fear and conflictions she had in her life. Synesthesia is used to demonstrate a mixture of senses and to amplify a certain idea; "The Brain--is wider than the Sky--" shows synesthesia with "the sea/For--hold them" which shows transcendentalist ideas of nature connecting to humanity. Anacoluthon is specifically used to show a quick change of thought, demonstrating a change in ideas.

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Dickinson incorporates elements of the war into her work through the use of religious themes and allusions, as well as historical allusions, in conjunction to motifs of death, immortality, and worthiness. She is wary of the war, but has a sympathetic lens to those who fight in it, such as seen in deemed "the rich and royal" blind to the gravity of success, whereas those who fought, "the forbidden ear", the most worthy of the victory they fought for, understand it, but cannot live in it, in "Success is counted sweetest".

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Dickinson’s use of Transcendentalism in "The wind begun to rock the grass" comes in the form of the power of nature in an animalistic form, using elements that have tremendous power or ability to cause harm, like water, thunder, and lightning, all characteristics of a storm. Dickinson’s use of Gothic Elements in this poem comes in the manner by which the poem has an undertone of malice, or dark foreboding energy, using elements of nature that are typically seen as evil or mischievous, like crows or a run-down house. This influences her style and themes by creating a vessel for her common motifs of death and divine beings, or afterlife and eternity. This can also be seen in her use of nature in A bird came down the walk. Here, an animalistic use of nature characterizes it, as Dickinson often does, as pure, especially in comparison to the inherent malice of human nature. We see this in the line "Like one in danger, Cautious/ I offered him a crumb." The bird is the scared entity here; the human mimics one in danger and continues with caution. Essentially, these elements characterize the complex relationship between humanity and nature by establishing the qualities of fear and the mystery of nature.

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Dickinson's use of anacoluthon furthers the thematic elements of her poems, as seen in "The soul selects her own society". To emphasize the notion that Dickinson's true self is hard to access, she states "The Soul selects its own society - Then - shuts the door" (line 1-2). The anacoluthon in this excerpt creates an abrupt and absolute tone, furthering the idea that the soul is exclusive and individually unique.

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Dickinson utilizes the incorporation of the Church in her poetry as she explores the conflicting relationship between an individual and a monotheistic God. Within this incorporation, Dickinson intertwines her own religious views with her audience as we see how her loyalty to her personal faith triumphs over that of her religion.
In “When I was small, a Woman died”, Dickinson writes “If pride shall be in Paradise”, alluding to the biblical concept of Heaven. Within these lines, we see that Dickinson is unsure if the boy earned his passage into paradise with the uncertain diction in “If”. Although Dickinson later writes, “That Woman and her Boy Pass back and forth, before my Brain, As even in the sky”, emphasizing the idea that no matter where they go, both the woman and her son maintain their pride.
The Civil War is incorporated in Dickinson's poems as she often explores themes of life and death, which often combine religion as well. Both concepts of religion and death are often explored in Dickinson's works as they have a large personal connection to her life, as well as a prevalence to her time period.

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Gothic and Transcendentalist movements heavily influence Dickinson's works, specifically those that utilize motifs of death and wickedness. On page 20, in the lyrical poem "Because I could not stop for Death", we see the personification of Death as a male, giving it a larger presence and importance in her life. The inevitability of death is demonstrated in the title, as Dickinson is unable to halt her life to allow death to enter, and instead, he stops for her. Dickinson also explores this dark topic by giving Death humanity in line 8 "For His Civility", juxtaposing common perspectives of death and what comes after. With Dickinson's description of Death, we also see her comfortability with it, as she calmly narrates their trip toward "Eternity".

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Gothic and transcendentalist elements are clearly seen in "Until the moss had reached our lips,
And covered up our names.". In this quotation the gothic elements are seen in the allusion to death while the transcendentalist elements are seen in the depiction of moss silencing the characters. The use elements allows Dickinson to develop the somber tone of the poem, by adding more emotion to the poem through the motif of and allusion to death used throughout it. This allows Dickinson to produce the commentary and theme that nature is a strong force that should be respected by society.

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Emily Dickinson alludes to both the Civil War and the Church in her poem "It feels a shame to be Alive" seen in, "In Battle’s—horrid Bowl?" and "Those unsustained—Saviors—
Present Divinity—", respectively. These allusions allow Dickinson to portray her respect for the soldiers fighting through her portrayal of them as saviors. The use of these allusions also allow Dickinson to indicate the involvement and participation of the church in the civil war, through her linkage of both war and the church with the motif of death.

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Dickinson incorporates the Civil War and Church through the use of motifs in order to convey the consequences they've brought to humanity. These consequences challenge conventional ideas of religion and war. She uses her poetry to explain the horrific effects of the war, for instance in "When I was small" using imagery at the final line to characterize "Scarlet Maryland" as a state filled with bloodshed. Church is used to provide emotional solace, however, "Faith slips" (10) as she said in "The World is not Conclusion" and introduces new perspectives to convention.

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Gothic and Transcendentalist movements influence her style and themes through the exploration of universal elements such as humanity and nature in her writing. By exploring the wonders of nature, it seems she is a keen observer. Her style itself is gloomy and has a foreboding tone, thus she often conveys this through the medium of death as a motif or immortality, and consequently her themes tend to be focused on the destructiveness of humanity and nature.

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Dickenson uses anacoluthon to imitate emotional incoherence and brings attention to the few statements that make sense. In the poem, I cannot live with You, her most essential lines (1 and 13) relate to living or dying with “you.”  Thus, the anacoluthon jumbles all of the thoughts around them to emphasize to the reader how important those thoughts are to them.

The use of anacoluthon fits a lot of Dickenson’s writing as she frequently deals with the description of emotion. She recognizes that sentiment is sometimes better conveyed through the lack of coherence than strict structure and guidelines.
Synesthesia is utilized by Dickenson in There’s a certain Slant of light with "Winter afternoons" (2) relating to the cold of winter (sense of touch) and cathedral tunes (4) (sense of hearing) to make the connection of oppressiveness. Then combination of heavenly hurt (touch) and finding a scar (sight) build the imagery of pain from the heavens being intangible, not of this earth, but real enough to be felt and have a lasting impact.

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In the poem, When I was small, a Woman died, Dickenson does not linger on the war itself too long, preferring to focus on the death and reunion of mother and son. She uses imagery to represent the war in line 20 with "Scarlet Maryland." The war is bloody, of course taking the son's life in its occurrence. However the war is not graphically explored outside of those, and the focus is on the mother and son's experience in heaven. In lines 10 and 16 she asks "If pride shall be in Paradise," and "even in the sky." The pride is the pair's pride in the boy's contribution and the sky and paradise are allusions to heaven. In making two stanzas about the religious afterlife and one line about the war, Dickenson has prioritized the closure that religious beliefs in an afterlife can bring over the anguish war can cause. This relates to the central purpose of the poem which is finding comfort amidst the war.

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The Gothic and Transcendentalist movements influenced Dickinson's style primarily through her experiences of grief. Much of Dickinson's life was surrounded by loss and this emotional isolation took an increasing toll on her mental health. Shown in poem 22 where she writes "to hider parting Grace From our unfitted eyes." describing the lapsing composure and growing isolation Dickinson felt. The use of these devices acted as a medium to explore her grief.

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Dickinson incorporates the civil war and religion in her works as a way to explore her own struggles with faith. In many ways Dickinson viewed war entirely as a traumatic event since she knew many soldiers that enlisted and were eventually killed or injured in war. Experiencing this repetitive loss was yet another strain on her mental well being as a historical event that occurred during her life. "I'm confident that Bravoes- Perpetual break abroad For Braveries, remote as this In Scarlet Maryland. In these line Dickinson questions how much the honor of being a soldier is worth in comparison to the bloody landscape that it creates.

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Emily Dickinson uses synesthesia in her works to bring ideas to life. For example, the poem "Of nearness to her sundered Things" allows readers to get a scent of the "Mouldering Playmate" or feel the "Bright Knots of Apparitions Salute us, with their wings". The combination of senses allows the reader to immerse themselves in the text and become one with her emotions.

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Dickinson utilizes both the devices of synesthesia and Anacoluthon to influence the style and themes in her poems. She uses synesthesia to appeal to her audience in the form of their senses, and she often compres objects to sense like in the line "And Life is over there - Behind the shelf." she personifies life with the sense of sight to appeal more to its ability to hide. She uses anacoluthon to highlight certain parts of her sentence structure, like in the line "I could not die- with You/ For one must wait." she puts the emphasis on not being able to die with te person in the story.

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Dickinson uses both gothic elements and transcendentalism in her poems to a great extent. Dickinson uses the elements of nature as a sense of hope in many of her poems for example in the lines "The waters wrecked the sky,/ But just overlooked my father's house,/ Just quartering a tree." she explores a thunderstorm and how destructive it is, yet it has a large amount of beauty in it. Dickinson also uses gothic elements to the same extent to describe beauty around here, like in the lines "The wagons quickened on the streets," she is emphasizing again the nature but also the beauty of the wagons quickening to hide from the thunderstorm.

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Dickinson incorporates allusion to the Civil War and religion as a way of exploring her personal uncertainty with universal truth. This is particularly evident in the poem "This World is not Conclusion" (page 10), where Dickinson discusses the futility of both scholarly learning and religion in explaining the nature of the human experience. The poem maintains a consistently uncertain tone, using it to deny the seeming juxtaposition that would form between science and religion. Ultimately, she concedes that the only solution to life is the pursuit of escapism - no doubt inspired by the bleakness of war constantly surrounding her.

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The elements of synesthesia and anacoluthon are prominent in Dickinson's poetry, as both features adhere well to her consistent focus on human limitations and fallibility. These two features are especially prevalent in "I heard a Fly buzz-" (page 9), where Dickinson explores the inability for humans to comprehend death. The symbol of the buzzing fly manages to fulfill both features - the sound of the fly's buzzing is a constant reminder of the human senses, and the line "and then it was / There interposed a Fly-" interrupts the previously profound considerations of death. Throughout her poetry, Dickinson develops a narrative tone that seems almost in a state of perpetual argument against itself, and the unshakable human element associated with both of these features is essential in developing that tone.

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In the poem, "it feels a shame to be alive'" Dickinson uses anacoluthon to separate the first line (the title) and the second line, automatically changing the meaning of the first line. A reader can imply that she does not like living, or she does not value her life, but with the following line, "when men so brave- are dead," she expresses that there is no value within life if people all day anyway, regardless of what they do in their life. The use of anacoluthon creates emotion, that she feels drained with the idea of knowing people are dying to protect or to serve good, and she is not doing anything but writing poetry about it, but she uses her poetry to reflect on how she feels in the time of war.

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Dickinson uses gothic movements and gothic sets of paradoxes such as "so appalling-it exhilarates," by pulling the reader into her horrifying yet captivating experience. She attracts the reader with Gothic diction with the words, "Soul," and "fears frost," and "torment...suspense," in order to tell more than just a story, or retelling an event that occurred, but allowing the reader to relive that moment she confidently retells.

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Dickinson utilizes synesthesia and anacoluthon to create a strong sentiment of her poems that rely on the imagery and the relation between the subjects. In the poem "I measure every Grief I meet," Dickinson uses synesthesia to mix the feeling sense with others like sight. In this way, Dickinson can create a live description of what she thinks of grief. The motif of Grief and Death is often mentioned throughout her poems and including anacoluthon creates a deeper depiction of the subject. These devices create a deeper feeling to Dickinson's poems contributing to her unique style while presenting the reoccuring ideas of her works.

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Dickinson incorporates her influences from the Church and the Civil War in different manners where the church influences has more of a subtle integration of her poems while the civil war is more obvious. Typically, references of the war are used as the subject as Dickinson's poems as religion accompanies it or any other poem. However, there are poems where the subject is of religion like in "The Brain--is wider than the Sky--" where religion is mentioned in the last stanza with the most emphasis. With the inclusion of the influences, Dickinson depicts her emotions and of others during her time that would reflect the thoughts of the majority.

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Dickinson constantly refers to the church, often through descriptions of angels as in "Of nearness to her sundered things" in the lines "Bright Knots of Apparitions
Salute us, with their wings —." She often connects her allusions to the church with her discussions of guilt and grief, tying the two together.

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The gothic and transcendental movements are imprinted upon the work of Emily Dickinson. Four of her most notable motifs throughout her works are death, grief, the soul, and nature. In one example from the poem "A Bird came down the walk-," Dickinson opens with

"A Bird came down the Walk —
He did not know I saw —
He bit an Angleworm in halves
And ate the fellow, raw,"

Dickinson ties life and nature to death, binding gothic and transcendental elements to her poetry.

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Dickinson incorporates the Civil War and the Church into her poems largely through the use of allusions and setting. The Civil War is referenced in the settings of her poems many of which take place on battlefields. And she incorporates religion through her use of biblical allusions.

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The stylistic effect they create is of schizophrenic tone, and of the complex nature of certain abstract feelings. Things that are described using synesthesia become more complex as a result. Anacoluthon creates the effect of "scatter-brainedness" which is prevalent in the thoughts of one who is distressed.

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Synesthesia and Anacoluthon are two literary devices used by Dickinson to affect the tone and subjects of her poetry. She regularly compares items to senses, such as in the phrase "And Life is over there - Behind the shelf," where she personifies life with the sense of sight to appeal more to its ability to conceal. She employs synesthesia to appeal to her audience in the form of their senses. She emphasizes specific elements of her sentence structure with anacoluthon, as shown in the line "I could not die- with You For one must wait." She emphasizes not being able to die with the character in the story.

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As she works with themes of grief and immortality, Emily Dickinson uses war to illustrate a topic of the unfairness of death while also highlighting the unfairness of life. The two works that stress this idea the most in terms of war are "Success is counted sweetest" and "It feels a shame to be Alive," both of which refer to death as a tragedy and as having greater significance than life in respect to the dead soldier.

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Emily Dickinson utilizes synesthesia and anacoluthon to create disorder within the poem that reveals nuanced perspectives to the audience, conveying the central message of the poem. In Dickinson's work "I cannot live with You-" , the speaker utilizes anacoluthon "Our Life - His Porcelain - Like a Cup". The line is broken and visually chaotic, however, that's the concept that the speaker is conveying to the audience. Relationships, in their exquisite beauty, can be incredibly fragile and chaotic. Beauty and chaos are juxtaposed here through the disorderly nature of the anacoluthon, conveying to the audience a message regarding the nature of relationships. In Dickinson's work "There's a certain Slant of light" we can see her utilize synesthesia in the line "There's a certain Slant of light, Winter Afternoons -" The speaker contrasts the senses of sight and touch, to convey to readers that after Death, we continue to envision our loved ones in a warm light, but we're left with a lonely, cold absence. It's evident that Emily Dickinson, being the enigma she is, utilizes literary features that create disorder within her poem to emphasize the nuanced aspects of life.

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Gothic and Transcendentalist movements influence Dickinson's styles and themes by establishing feelings of suspense and anxiety in her poems as she works towards revealing the poem's central message, the "calm before the storm". The audience can visualize the build-up of the storm through these elements, emphasizing those feelings. In Dickinson's work The Wind begun to rock the grass, we can see how she utilizes Gothic elements through references to nature, such as works like "grass", "earth", "sky", "leaves", "birds", and more followed by Transcendentalist elements such as "thunder" "lighting" "menace" to convey the divine nature of the poem. The combination of both reveals to readers that Emily Dickinson utilized gothic and transcendentalist movements to create suspense and anxiety about a concept as simple as a storm because of how how it contributes to a larger implication, such as God's wrath on the Earth as punishment to the unholy and sinful.