The Lyman Letters: New Light on Emily Dickinson and Her Family@@@Emily Dickinson's Reading, 1836-1886@@@The Art of Emily Dickinson's Early Poetry

To fully appreciate the potential complexity of voice in a sonnet sequence by a woman, the reader must consider the work in its entirety as integrated and complete. Inasmuch as works in this genre by women are so often out of print, or only partially anthologised, few people have read them in this way. Careful reading, both with and against patriarchal definitions, is essential in such an heavily encoded conventional genre. Since language and tone are dependent on voice, Barthes' "layering of significance" comes from reading the words on the page with an ear for the possible voices the poet employs through performance, juxtaposition and structure. In the first chapter, I discuss individual short poems to overcome sotne of the disadvantages of working with texts which are not readily accessible, to create a familiar literary environment, to demonstrate particular vocal strategies, to clarify concepts, and to offer a clear argument on the nature of hearing multivocal texts. By reading a poem through multiple perspectives and through many other poems, I expose its dialogic nature as the expression of shifting identity. I show that, by isolating the poetic voices of women from the canon, it is possible to hear them in relationship to each other, not just in relation to men. Chapter Two explores the inter-relationship between voice and structure, ranging from Mary Wrofh's Pamphilia to Amphilanthus (1621) to Adrienne Rich's Twenty-One Love Poems (1974). Discussion of the importance of voicing for understanding Elegiac Sonnbts (1784-1806) by Charlotte Smith, and for revaluation of British Romanticism where the development of poetic forms, politics and diction are concerned, occupies Chapter Three. Detailed consideration of the structural changes in two sequences by Eleanor Farjeon(lSS11965) makes clear, in the fourth chapter, thatthe positioning of sonnets influences theirtonalify. Sonnets from a Lock Box (1929) by Anna Hempstead Branch, in a brilliant display of evolving ideas and symbols, wrestle with the difficulties for a woman who tries to escape from the box of patriarchal control. Her sequence can be seen as the culmination of the genre and of this

Hearing women : voice in sonnet sequences

Classical Intimations in the Poems of Emily Dickinson

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Classical Intimations in the Poems of Emily Dickinson