This is a brutal violation, this flattening of the narrative so that temporal sequence provides the only order; and it accomplishes one part of its effect merely through a felt absence. In the first stanza, the speaker is restricted but is faintly hopeful, and she contrasts her present limitations with her inner capacity. She lived very much apart even as she associated with people. At the conclusion of the poem, she is still staggering in pain, and the whole poem shows that she has only partial faith in the piercing virtue of renunciation. People who are truly convulsed are not acting.
Similar ideas appear in many poems about immortality. The strict rules and regulations in funeral ironically shows the gap between the situation of sanity and insanity. This is an extraordinarily self-conscious piece of verse, with Dickinson making both artifice and the relationship between art and life explicit concerns of the poem. Among Emily Dickinson's less popular poems are several about childhood deprivation. Thus two lines of the poem, the familiar order of ritual and the mixed feelings used to define the speaker's existence, function to balance each other. She tells what it feels like to realize that nothing can be known at all. Her final articulation stops mid-way between a sentence revealing total discord.
Even the attempt to reconstruct the experience and do it over with a different consequence leads, as it did the first time, to blankness. Emily Dickinson's ideas here may resemble her most extravagant claims for the poet and the human imagination. The consistency of these analogies and the brevity of the poem are indices of a certain conceptual neatness. The sixteenth centaury was a very historical period in America. Because the poem replicates the disappearance or appropriation of a physical space, it can inspire in readers a sensation of bodily and intellectual disorientation that may begin to approximate Dickinson's own confusion as she made her way around the Dickinson household. The worlds she strikes as she descends are her past experiences, both those she would want to hold onto and those that burden her with pain. Thus two forces, the familiar order of ritual and the expanding disjunction of categories that are used to define the speaker's existence, function to balance each other in some measure.
She always encouraged the family to do the right thing, as it would be rewarded by the almighty God. The mourners sit down, and the funeral service begins. The poem expresses anger against nature's indifference to her suffering, but it may also implicitly criticize her self-pity. I felt a Funeral, in my Brain by Emily Dickinson: Summary and Analysis This is one of the greatest poems of Emily imaginary. The third and final part of the funeral is burial.
Reprinted with the permission of the author. From Gender and The Poetics of Excess: Moments of Brocade. This funeral is a symbol of an intense suffering that threatens to destroy the speaker's life but at last destroys only her present, unbearable consciousness. Sharon Cameron We may speculate that the poem charts the stages in the speaker's loss of consciousness, and this loss of consciousness is a dramatization of the deadening forces that today would be known as repression. Emily Dickinson's poem 'I Felt a Funeral, in My Brain' is not something that is read once and never revisited. The third stanza tries to outdo the earlier ones in overstatement.
It can be assumed that this box is a coffin. I felt a Funeral, in my Brain, And Mourners to and fro Kept treading — treading — till it seemed That Sense was breaking through — And when they all were seated, A Service, like a Drum — Kept beating — beating — till I thought My Mind was going numb — The Metaphor of the Funeral The mourners appeared to be seated around her; the sense of mobbing leaves her in a claustrophobic atmosphere. Such relief is pursued in four stages. Reprinted by permission of the author. This is quite reasonable, although in the bulk of her poems and letters, Dickinson gives almost no attention to politics.
On the surface, this poem is about death or, possibly, madness. Her all-encompassing suffering remains a mystery. This funeral that Dickinson is experiencing in her brain, is actually a funeral for the death of her mind. Almost from its beginning, the poem has been dramatizing a state of emotional shock that serves as a protection against pain. The second line establishes that the sensation being described here is some sort of mental falling apart. The speaker imagines that a funeral is taking place inside her brain, and she can feel the mourners pacing back and forth. The irrational impulse in her seems to beat like the funeral drum till the mind is benumbed.
She attempts to explain this painful emotion through this poem using a variety of literary techniques that include metaphor, symbolism, personification and others. Since the speaker adds no emotive comment to the recollection, it is as if even in the recounting the words did not penetrate the walls of her own understanding. Silence is alienated from the world of noise as much as the speaker is alienated from the world of rational beings. As in the surrealist paintings of de Chirico and Magritte, outsize 'humanistic' detail functions in this poem to evoke all the terror that the isolated individual feels when confronting nothingness--the abyss. Some ineffable experience of the madding mind is described through the images drawn from funeral ceremony. Thus the funeral imagery, replete with mourners, coffin, and service, seems both to distract from the poem's subject of repression and to insist on the severity of its consequences.
The weather was dull and cloudy and I was just about to head for home after an unusually difficult day at my local high school. The poem is a staple inDickinson's canon and reflects her ability to replicate human consciousness in a controlled poetic form. Keeping the readers of that era in mind, they were modified accordingly and published. Finally, a third way of reading the variants is to see them in relation: that is, they precisely dramatize the conflict registered throughout the poem, and, as I have tried to illustrate, throughout the earlier poems in the fascicle. Neither you, nor the coeditors you shared it with will be able to recover it again. In the midst of the sounds of the bell there is no place for silence. As they toss the coffin into the grave, her soul arises into new life.