Can anybody help me with literary critiscm for emily dickinson's he put the belt around my life?

He put the belt around my life


i heard the buckle snap


and turned away, imperial


my lifetime, folding up


deliberate, as a duke would do


a kingdom's title deed


henceforth, a dedicated sort


a member of the cloud





yet not too far to come at call


and do the little tiols


that make the Circuit of the Rest


and deal occassional smiles


to lives that stoop to notice mine


and kindly ask it in


whose inviation, know you not


for whom I must decline?|||Wow, I love searching for answers on questions like this- this is a tough one!





This was the ONLY thing I could find, a comment someone wrote...





It could be a man controlling her life--her father, Wadsworth, Higginson?--but it makes more sense to identify the "He" and "Whom" with god. The belt is some kind of sign of office, the one who puts the belt on the speaker is a "Duke" with "imperial" stature. Once belted, the speaker becomes a member of the elite and ethereal "Cloud." (If you wanted to you could read this a some kind of kinky bondage thing--The Story of E--but that would be inappropriate and less than tactful.)





With the second eight lines in place, I see the poem as a wry and witty, even slightly rueful, comment on ED's famous reclusivity. There might not have been a train she wouldn't take as it lapped up its miles, but in fact she did take very few, and she did care where they were going!





And of course, like most of ED's other poems, you can sing it to the tune of "The Yellow Rose of Texas" or "Amazing Grace," or any other song in psalm meter.





Ciarog from United States








Alternatively, I guess maybe background on Dickinson's usual themes might help?





Emily Dickinson is such a unique poet that it is very difficult to place her in any single tradition—she seems to come from everywhere and nowhere at once. Her poetic form, with her customary four-line stanzas, ABCB rhyme schemes, and alternations in iambic meter between tetrameter and trimeter, is derived from Psalms and Protestant hymns, but Dickinson so thoroughly appropriates the forms—interposing her own long, rhythmic dashes designed to interrupt the meter and indicate short pauses—that the resemblance seems quite faint. Her subjects are often parts of the topography of her own psyche; she explores her own feelings with painstaking and often painful honesty but never loses sight of their universal poetic application; one of her greatest techniques is to write about the particulars of her own emotions in a kind of universal homiletic or adage-like tone (“After great pain, a formal feeling comes”) that seems to describe the reader’s mind as well as it does the poet’s. Dickinson is not a “philosophical poet”; unlike Wordsworth or Yeats, she makes no effort to organize her thoughts and feelings into a coherent, unified worldview. Rather, her poems simply record thoughts and feelings experienced naturally over the course of a lifetime devoted to reflection and creativity: the powerful mind represented in these records is by turns astonishing, compelling, moving, and thought-provoking, and emerges much more vividly than if Dickinson had orchestrated her work according to a preconceived philosophical system.


Of course, Dickinson’s greatest achievement as a poet of inwardness is her brilliant, diamond-hard language. Dickinson often writes aphoristically, meaning that she compresses a great deal of meaning into a very small number of words. This can make her poems hard to understand on a first reading, but when their meaning does unveil itself, it often explodes in the mind all at once, and lines that seemed baffling can become intensely and unforgettably clear. Other poems—many of her most famous, in fact—are much less difficult to understand, and they exhibit her extraordinary powers of observation and description. Dickinson’s imagination can lead her into very peculiar territory—some of her most famous poems are bizarre death-fantasies and astonishing metaphorical conceits—but she is equally deft in her navigation of the domestic, writing beautiful nature-lyrics alongside her wild flights of imagination and often combining the two with great facility.





To be perfectly honest, I think your best bet is to borrow a book from the library with criticism...


All the best, hope that helps somehow!