EMILY DICKINSON_I'm Nobody_Who are you_STYLISTIC ANALYSIS.pptx

Powerpoint presentation for literary analysis

1. Mischelle C. Torregosa Ph.D - ELT 2 ELT 334: Stylistics Dr. Michele Rellita Professor

2. I. Brief background of the poet Born into a wealthy and religious family in Amherst, Mass . – obedient and well-behaved – father is important politician, so she takes part in community and family events – learned to cook, sew and manage a household. Attended Mt. Holyoke Female Seminary, a boarding school, but did not take part in activities much – described herself as a “mourner among children.” – dropped out after a year because she was homesick. Emily Dickinson 1830 - 1886

3. I. Brief background of the poet Emily fell in love with a married man when she was 24 (he died of TB later that year) – to avoid scandal, father (now a Congressman) took her to Washington and Philadelphia. The trip was not successful. While in Philadelphia, Emily fell in love with Charles Wadsworth , the pastor of the Arch Street Presbyterian Church. He asked to be transferred to San Fransisco . Emily is destroyed.

4. I. Brief background of the poet 1862 – Dickinson withdraws from society and is rarely seen outside her home – dresses only in white now , like the bride she will not be - maintains contact with friends by sending them baked goods and a poem for special occasions. Mentored by Thomas Higginson of the Atlantic Monthly – she wrote to him: “I’m nobody! Who are you? / Are you nobody too?

5. I. Brief background of the poet Dickinson’s poetry is typically brief – only seven were published in her lifetime (anonymously). Instructed her family to destroy the poetry when she died, but they discovered bundles and bundles of poems. The family assembled and edited the poems and began to publish their edited pieces. Dickinson wrote 1,775 poems in her lifetime.

6. I’m Nobody! Who are you?   I'm Nobody! Who are you? Are you—Nobody—too? Then there's a pair of us! Don’t tell! They’d banish us—you know! How dreary—to be—Somebody! How public—like a Frog— To tell your name—the livelong June To an admiring Bog!

7. II. Stylistic Analysis The poem is simply as being about how it is actually quite nice to be a Nobody rather than a Somebody – that anonymity is preferable to fame or public recognition. Nobodies can stick together and revel in their anonymity, but it’s more difficult to find companionship and an equal when you’re in the public eye. As the old line has it, it’s lonely at the top. Rather than buy the other old line – that fame and distinction are unequivocally desirable – Dickinson sees anonymity as an advantage. The poet proudly declares her ordinariness, her  likeness  to everyone else rather than her uniqueness .

8. II.1 Structure The poem consists only of two stanzas, though its seemingly simple form but it never fails to convey its profound content. Accurate and direct wording features largely in this poem. Simplicity is another significant characteristic, both on the lexical and syntactic levels. The language is refined, concise and vivid. As for rhyme and rhythm, the poem also deviates from the conventional scheme. Similarly, the punctuation is very distinctive, with only question marks, exclamation marks and dashes used.

9. II.1 Structure In the poem dashes are unusually and largely used, producing pause and transition both in the flow of emotion and in the poetic rhythm. “Are you—Nobody—too?” may serve as an example. With two striking dashes lengthening the short sentence and slowing down the otherwise hasty rhythm, here the poetess seems to be making a casual dialogue with the reader in a joyful and easy mood . The leisurely tone may make the readers readily sympathize with the poetess’s satisfaction at being a hermit and standing aloof from the worldly affairs. Furthermore, placed between two dashes,“Nobody ” is in a way stressed and hence the theme of the poem is also emphasized. Likewise, in“How dreary—to be—Somebody! How public—like a Frog—”, thanks to the dashes, the easygoing tone and persuasive effect continue, and the poetic foot remains diversified.

10. II.1 Structure Another prominent feature typical of the poetess’s writing technique, initial capitalization is also applied in this poem. “Nobody” in the first line, “Somebody” and “Frog” in the fifth line and“Bog ” in the last line are all characterized by capitalized initials. Though it appears to be grammatically inappropriate, initial capitalization brings a special stylistic effect. For instance, with their initials stylistically capitalized,“Nobody ” and“Somebody ” become conspicuous and therefore the relevant meaning behind the words are accentuated—she would rather be“Nobody ”, who could enjoy herself in peace, than “Somebody”, who has to face the scrutiny and jealousy of the world. In the same way, “Frog” and “Bog” function stylistically to stress Dickinson’s disapproval of being “Somebody” and her satire on the frog-like ostentation. The“Frog ” croaks in order to catch attention of the“Bog ”. Dickinson thinks that even if worshiped by the “Bog”, the croaking “Frog” is still lonely. By means of initial capitalization, the poetess gives prominence to not only the specific words but more importantly the theme of the poet—she would like to be“Nobody ”, instead of being“Somebody ” like the “Frog” croaking to the admiring “Bog”.

11. II.2 Words Emily Dickinson readily admits to being a nobody and in fact she even enjoys it. Unlike most people who try their best to become somebody, Dickinson thinks it would be “dreary” to be somebody. What she sees in being somebody is the dreariness, instead of the notability or fortune. Disapproving of being an ostentatious somebody, the poetess would rather be herself in a self-effacing yet restful way. Being nobody, she does not have to face the scrutiny or disapproval of people who are likely to be jealous of her popularity. She does not have to play games, or put on an act. Based on the above interpretation, we could see that this poem demonstrates Dickinson’s philosophy, her attitude toward life—in her eye, spiritual contentment definitely outweighs material satisfaction.

12. II.2 Words In this sense, this poem seems to take on an atmosphere of meditation of Buddhism , which disdains the vainness of material wealth and advocates the spiritual nirvana. Despite her avoidance of publicity and ostentation, the poetess still longs to communicate with congenial souls. Dickinson is amused to meet a fellow nobody, a friend —“Are you—Nobody—too? Then there’s a pair of us! ” Together, the two nobodies could enjoy each other’s company and their shared seclusion. As a pair, they could live a comfortable life in the society of nobodies, and the poetess does not want the peace to be disturbed. That’s why she says, "Don't tell! They’d banish us, you know.” In the second stanza, the poetess draws a picture of “Somebody” trying to stay in the limelight. By metaphorically depicting a frog croaking“to an admiring Bog”, she successfully satirizes those who are eager to attract public notice in the noisy society. Dickinson holds that it is much more important and meaningful to have a friend who understands you and accepts you as you are than to be admired by those ignorant and snobbish people in the bustling society.

13. II.3 Phonology The rhyme scheme is erratic: the two stanzas roughly rhyme  abcb , as with most of Dickinson’s poems, but this is unsettled right from the start: The rhyme of ‘too’ and ‘know’ is only half-rhyme: ‘too’ looks back to ‘you’ (‘Who are you?’) more than it looks forward to ‘know’ (‘know’ itself picks up on the ‘No’ of ‘Nobody’). The use of the longer word ‘advertise’ among shorter, simpler words draws our attention to that word, and this is deliberate. Nobody draws attention to Nobodies; but to do so would be to attempt to make them conspicuous, to advertise them, and the word  advertise  (easily the longest word in the stanza) is itself conspicuous in the poem.

14. II.3 Phonology The rhyme scheme in the second stanza is more conventional ( Frog/Bog ), but the imagery is enigmatic. Why is a ‘Somebody’ like a frog? Because it croaks its (self-)importance constantly, to remind its surroundings that it is – indeed – Somebody? Or because there is something slimy and distasteful about people who possess smug self-importance because they are ‘Somebodies’.  

15. II.4 Syntax First Stanza The first line contains a declaration, the speaker boldly claiming that she is a nobody, a nonentity, which is a paradox in itself. How can a nobody end up in a poem, on show for all to see? The exclamation mark only adds to the puzzle. Is the speaker excited to be a nobody? Or has she shocked herself by revealing that, yes, it's true, she confesses at last. Being a Nobody is preferable to being a Somebody. And then the extraordinary reaching out to the reader in a child-like playful fashion. The speaker wants a secretive liaison, a private relationship which is a tongue-in-cheek partnership. And it must be kept quiet because if  they  get to know they'll broadcast it to the whole world! This is a comical take on the world of fame and celebrity. In an earlier revised version of the poem (Johnson) the fourth line reads: They'd banish us, you know. But a later and more accurate published collection by R.W. Franklin in 1998, based on the actual written manuscripts, returns the true fourth line: Don't tell! they'd advertise - you know! I’m Nobody! Who are you? Are you – Nobody – too? Then there’s a pair of us! Don’t tell! they’d advertise – you know!

16. II.4 Syntax How dreary – to be – Somebody! How public – like a Frog – To tell one’s name – the livelong June – To an admiring Bog! Second Stanza What makes this poem so powerful is the fact that it resonates with a modern audience today. The cult of celebrity dominates the popular press and media; cultivating the right public persona is everything, the pressure to be a somebody, a perfect social being, is enormous. Emily Dickinson chose to contrast her Nobody of the first stanza with a Somebody, a frog, in the second, and used the adjective   dreary  to describe what it is to be a Somebody. Frogs  go public  at mating time when the males gather to find a partner and establish territory, so whilst the action is instinctive it is still, to the speaker, dull and boring and vulgar. The tone is mocking - to be a Somebody, with a bloated ego, self-important, needing the admiration of the masses, is to be a bit of a loser. Ironically, this Nobody of the first stanza, in cahouts with the reader, is poking fun at the false pretence of those who parade their egos in open view, those who seek fame in a name. In some respects, this poem reflects nothing but the naive thoughts of an introverted child locked up in an adult persona, having to come to terms with the outside world, where the extroverts live. Being a Nobody is to shun the fifteen minutes of fame, to be wary of the negative influence of public opinion and to remain humble and not to rely on the masses for self-worth.

17. II.5 Figures of Speech The sixth line of the poem “How public—like a Frog—”is an example of simile. “Somebody” is vividly compared to a frog ceaselessly croaking in order to catch attention and acquire admiration. In the last line“To an admiring Bog! ”,“an admiring Bog” metaphorically refers to those who blindly admire and envy celebrities. Dickinson holds that the“admiring Bog” is inhuman, to the“Frog ” more of an environment than a companion. In the scene created by the poetess, a frog spends“the livelong June”, which is a metaphorical representation of one’s heyday in life, continuously croaking to get attention and admiration from the lifeless bog, just as those somebodies keep showing off to be noticed and worshiped by their ignorant and soulless followers.

18. II.5 Figures of Speech Though “admired”, neither the frog nor those somebodies are spiritually sympathized with—they are lonely at the bottom of their hearts. Dickinson disdains such impersonal relationship and estrangement between hearts. She cherishes real friendship and spiritual communication between souls, even if she remains in the society of nobodies. Though she lived by herself during almost her whole life, Dickinson was a passionate poetess. Under her seemingly indifference hid her inner love for nature, family and friends.

19. III. Conclusion By stylistically analyzing I am Nobody! Who are you?, we could better understand the poem itself as well as the author—Emily Dickinson, the greatest reclusive poetess in American literary history that it is quite nicer being a  Nobody  rather than a Somebody – that anonymity is preferable to fame or public recognition. ... Rather than buy the other old line – that fame and distinction are unequivocally desirable – Dickinson sees anonymity as an advantage.

20. Thank you very much! References ： 1. Geoffrey N. Leech and Michael H. Short. Style in fiction[M]. Foreign Language Teaching and Research Press,2001. [2] Mick Short. Exploring the Language of Poems [M] .Plays and Prose. Longman, New York, 1996 2. www.loc.gov/poetry/ www.poetryfoundation.org Norton Anthology, Norton, 2005