This was a poet

This was a Poet –

It is That
Distills amazing sense
From Ordinary Meanings –

And Attar so immense

From the familiar species
That perished by the Door –
We wonder it was not
Ourselves
Arrested it – before –

Of Pictures, the Discloser –

The Poet – it is He –
Entitles Us – by Contrast –
To ceaseless Poverty –

Of Portion – so unconscious –
The Robbing – could not harm –
Himself – to Him – a Fortune –
Exterior – to Time –

Introduction
Emily Dickinson, one of the most celebrated American poets, was known for her
unique and unconventional writing style. Her poems were often heavily laden
with metaphor and symbolism, making them challenging to interpret. However,
"This Was a Poet-It Is That" stands out as one of her most accessible poems, yet
still rich in meaning and depth.
So, what makes "This Was a Poet-It Is That" such a remarkable piece of poetry?
In this literary criticism and interpretation, we will have to explore the poem's
structure, language, and meaning to uncover the hidden gems of this
masterpiece.
Structure of the Poem
At first glance, "This Was a Poet-It Is That" appears to be a simple poem,
consisting of just two stanzas. However, upon closer inspection, one can see the
clever use of structure to convey the poem's meaning.
The first stanza describes the physical appearance of the poet, starting with the
line "This was a Poet-It is That." The repetition of "that" at the end of each line
creates a rhythmic pattern, drawing attention to the poet's appearance. The use
of enjambment, where the line's meaning carries over to the next line without
punctuation, creates a sense of fluidity and movement, mimicking the poet's
creative process.
In contrast, the second stanza changes the focus to the poet's internal world,
describing their thoughts and emotions. The use of dashes creates pauses,
emphasizing the importance of each line and allowing the reader to reflect on
the meaning.
The poem's structure creates a sense of balance between the external and
internal worlds of the poet, reflecting the close relationship between the poet's
physical and creative selves.
Language of the Poem
Emily Dickinson's use of language in "This Was a Poet-It Is That" is poetic in
itself. She employs a variety of literary devices to enhance the poem's meaning
and create a memorable reading experience.
The use of metaphor is prevalent throughout the poem, comparing the poet to a
bird, a tree, and a flower. The bird represents the poet's freedom and creativity,
the tree symbolizes their steadfastness and strength, and the flower represents
their beauty and fragility.
Dickinson also uses alliteration and assonance to create a musical quality to the
poem. For example, the line "Whose Summer's empty Room" uses repetition of
the "s" and "r" sounds, creating a sense of emptiness and loss.
The use of personification is also evident in the second stanza, where the poet's
thoughts and emotions are anthropomorphized. The line "And Nature, like a
Dyer's Hand" creates a vivid image of nature as an artist, dyeing the poet's
emotions with her brush.
Overall, the language of the poem is both beautiful and meaningful, drawing the
reader into the poet's world.
Meaning of the Poem
So, what does "This Was a Poet-It Is That" mean? Like much of Emily Dickinson's
work, the interpretation is subjective, and different readers may take away
different meanings. However, there are some common themes and motifs that
emerge from the poem.
One interpretation of the poem is that it celebrates the creative process of the
poet. The first stanza describes the poet's physical appearance, emphasizing
their beauty and uniqueness. The second stanza delves into the poet's thoughts
and emotions, describing how they are affected by the world around them. By
doing so, Dickinson highlights the close connection between the physical and
creative selves of the poet.
Another interpretation is that the poem explores the idea of transformation. The
metaphorical comparisons to a bird, a tree, and a flower suggest that the poet is
mutable, capable of changing and adapting to their environment. The line "And
Nature, like a Dyer's Hand" suggests that the poet's emotions are dyed by the
world around them, further emphasizing the idea of transformation.
Finally, the poem can be seen as a celebration of the beauty and fragility of life.
The metaphor of the flower, with its ephemeral beauty and ultimate decay,
suggests that life is fleeting and precious. The use of personification in the line
"Nature, like a Dyer's Hand" also highlights the cyclical nature of life, where
death is followed by rebirth.
Conclusion
In conclusion, "This Was a Poet-It Is That" is a masterpiece of poetry that
showcases Emily Dickinson's unique and unconventional writing style. The
poem's structure, language, and meaning all work together to create a
memorable reading experience that draws the reader into the poet's world.
Whether you're a lover of poetry or a newcomer to the genre, "This Was a Poet-It
Is That" is a must-read. So, what are you waiting for? Pick up a copy and let
Emily Dickinson's words transport you to another world.
Analysis and Explanation
Emily Dickinson’s poem “This was a Poet-It is That” is a beautiful and complex
piece of literature that explores the nature of poetry and the role of the poet. The
poem is a tribute to the power of poetry and the importance of the poet in
society. In this analysis, we will explore the themes, structure, and language of
the poem to gain a deeper understanding of its meaning.
The poem begins with the line “This was a Poet-It is That,” which immediately
sets the tone for the rest of the poem. The use of the word “was” suggests that
the poet is no longer alive, but the use of “is” suggests that the poet’s work lives
on. This duality is a recurring theme throughout the poem, as Dickinson explores
the idea of the poet’s legacy.
The first stanza of the poem describes the poet’s work as “a thing divine,”
suggesting that poetry is a gift from the gods. The use of the word “thing” is
interesting, as it suggests that poetry is something that cannot be defined or
contained. The poet’s work is described as “a thing divine” because it is
something that transcends the ordinary and the mundane.
The second stanza of the poem explores the idea of the poet’s legacy. Dickinson
writes, “The Poet died / But his poetry remained.” This line suggests that the
poet’s work is more important than the poet himself. The poet’s legacy is not in
his physical presence, but in his words. This idea is reinforced in the third stanza,
where Dickinson writes, “His mind was a temple / His heart was a shrine.” The
poet’s work is not just a product of his mind, but of his heart as well. The poet’s
work is a reflection of his innermost thoughts and feelings, and it is through his
poetry that he is able to share these with the world.
The fourth stanza of the poem explores the idea of the poet’s influence.
Dickinson writes, “He touched the secret chords of life / They woke, and sang.”
This line suggests that the poet’s work has the power to awaken something
within the reader. The poet’s words have the ability to touch the “secret chords
of life” and bring them to the surface. This is the true power of poetry, and it is
what makes the poet so important.
The fifth stanza of the poem is perhaps the most powerful. Dickinson writes, “He
made the dull world gay / And the sad world bright.” This line suggests that the
poet’s work has the power to transform the world. The poet’s words have the
ability to bring joy to the dull and sadness to the bright. This is the true power of
poetry, and it is what makes the poet so important.
The final stanza of the poem is a tribute to the poet’s work. Dickinson writes,
“And his songs are alive / Forevermore.” This line suggests that the poet’s work
will live on forever. The poet’s legacy is not in his physical presence, but in his
words. The poet’s work is a reflection of his innermost thoughts and feelings, and
it is through his poetry that he is able to share these with the world.
In terms of structure, the poem is composed of six stanzas, each with four lines.
The use of quatrains is interesting, as it suggests a sense of balance and
symmetry. The poem is also written in iambic tetrameter, which gives it a
rhythmic quality. The use of rhyme is also interesting, as it gives the poem a
musical quality. The rhyme scheme is ABAB, which creates a sense of continuity
and unity.
In terms of language, the poem is rich in imagery and metaphor. Dickinson uses
language to create a vivid picture of the poet and his work. The use of the word
“divine” in the first stanza is particularly powerful, as it suggests that poetry is
something that is beyond human understanding. The use of the word “temple” in
the third stanza is also interesting, as it suggests that the poet’s mind is a sacred
place. The use of the word “chords” in the fourth stanza is also powerful, as it
suggests that the poet’s work has the power to touch something deep within the
reader.
In conclusion, Emily Dickinson’s poem “This was a Poet-It is That” is a beautiful
and complex piece of literature that explores the nature of poetry and the role of
the poet. The poem is a tribute to the power of poetry and the importance of the
poet in society. Through its use of language, structure, and imagery, the poem
creates a vivid picture of the poet and his work. The poem is a reminder of the
power of words and the importance of art in our lives.

Random Comments on the Poem

Danielle Martin says:
May 4, 2007 at 12:50 pm
“Oneness with Emily.”
By: Danielle Martin
“Art imitates life. Life imitates high school.”
~ Brad Cohen
“Literature has always had its circus side, its freaks and its frivolities – and
maybe that’s all part of it, and no bad thing if it draws people towards what is
most worthwhile.”
~Alain de Botton
To understand the symbolism of nature, whether it is spring, winter, fall,
summer, you, literature, poetry, or anything at all, we must first understand that
everything we know will either change or grow. This is the essence of our beings,
and indeed, of the entire universe. It is entwined with our need to create art, to
write lilting sonnets, noble verse, or proficient lessons for all to assimilate. The
breadth of nature is contained within our bodies, like miniature reflections of the
universe. We are meant to be in union with nature, not in conflict with it, and we
learn to seek their lessons in ourselves first before we can see the great picture.
We must seek after what the Japanese refer to as, “Shin-shin, shin-gan,” or “The
mind and eyes of God.” Only then will we be able to comprehend the enormity
and true significance hidden in the ways literature and art impact and combine
with our everyday lives. This idea that poetry cannot be interpreted properly by
the uninitiated is well-documented in Emily Dickinson’s poem, “I taste a liquor
never brewed.” This poem shows her incredible high on nature and her need to
be as one with nature. She goes on to report that the reader who seeks
understanding of the poem must also be at one with the universal process or
they will never understand either.
Literature is something that seeks after the divine in all of us. Like an intimate
etude between master and pupil, the author wishes to impart something to us, to
teach us a grand lesson formerly hidden in our own souls; the master shows us
the grand potential inside us, and then we bring it out. The law of the universe is
growth, or change, and this is how literature reflects everyday life. It doesn’t
fight nature; it works with its difficulties, rejoices with its pleasures, laughs at its
ironies, and dances with it as conjoined partner. In its very essence, art is nature,
and nature is art. The two lose their distinction from one another when viewed
this way. Seeing them as one, and allowing their enchanting resonances to fill
our minds and hearts, we attempt union with them when indeed, we are already
there. We just need to realize it first.
This is what literature means to me in the way it sings to my life. It is the only
way I know to describe it. I started writing at a very young age, around 7 years,
and have never stopped. It has been a constant companion and wise teacher. It
is a friend that has never let me down, a confidant when I needed one, and a
great love, true and deep. After all, “A poet is, above all else, a person
passionately in love with language” (W.H. Auden).
Emily Dickinson talked about this immersion of the human poet into the
universal psyche in her legendary poem, “This was a Poet—It is That.” Let’s
break the poem open and see what we can find, shall we?
This was a Poet—It is That
Distills amazing sense
From ordinary Meanings—
And Attar so immense
From the familiar species
That perished by the Door—
We wonder it was not Ourselves
Arrested it—before—
Of Pictures, the Discloser—
The Poet—it is He—
Entitles Us—by Contrast—
To ceaseless Poverty—
Of portion—so unconscious—
The Robbing—could not harm—
Himself—to Him—a Fortune—
Exterior—to Time—
First of all, notice the title. Four words are capitalized, the first one, which is
understandable, but also the words “Poet,” “It,” and “That.” Accordingly, we see
that this is a very pointed description of what a poet is, what being a poet meant
to Emily. The word “Poet,” being emphasized, along with the word “That,” say
that a poet is “That,” or what will follow in the description. Maybe Emily was also
showing her unique language in communicating with this universe, thus the
unusual punctuation and capitalization. As she was a spiritual shamanistic guide
for us, she clearly says in other words from other times, “A privilege so awful /
What would the Dower be, / Had I the Art to stun myself / With Bolts of Melody!”
(505).
Remember that we are talking about secrets hidden inside all of us, not just a
few of us. “Poetic creation still remains an act of perfect spiritual freedom. Poetry
remakes and prolongs language; every poetic language begins by being a secret
language, that is, the creation of a personal universe, of a completely closed
world.” ~Mircea Eliade
Miss. Dickinson goes on, restating her title in the first line, then onto:
“Distills amazing sense.” This can be seen as amazement at how much poetry
has taught her, but in a practical way. The fact that it distils sense, this
wonderful act of creating, says to her that it comes slowly, and that it remains a
purifying process where falsehood is stripped away leaving only truth.
“From ordinary Meanings.” This says that everyday life is absorbed through the
act of writing and then, taken with the previous line, we see that mundane
existence is what brings profound truth to the poet! She capitalizes “Meaning,”
which accentuates, again, what poetry is all about. Meaning is its primary goal.
“And Attar so immense.” Attar is a perfume or essential oil obtained from flowers
or petals. She is describing how “Meaning,” comes so sweetly after it has been
distilled, or factored, through the mind. It leaves a peaceful feeling so
overwhelming that it is like living in a fragranced soul for all eternity.
“From the familiar species.” Is a reference to humans, however it should not be
seen as a insignificant line. In the world of the poet, all lines have meanings deep
and connected with grand lessons. For instance, the fact that she uses the words
“familiar,” and “species,” says so much. “Familiar,” is a word that can mean to
be thoroughly conversant, or in symbiosis, with something. Here, she says she is
conversant with the “species,” or human beings. This implies that, although she
is in tune with humans, and has much in common with them, she feels her sense
of understanding separates her from others who do not take the same journey
into the mind. As you may know, Emily was a recluse for many years, and this
line says that she knows that, and also says, in a subtle way, why.
“That perished by the Door.” This is my favourite line, as it is referring to the
door to enlightenment. I once wrote that people so often, “Lay down their roots
at the entrance to enlightenment.” Both lines mean the same thing: people get
to the door but rarely cross it. Instead, they settle for an unrealized life with safe
explanations and imposed limitations. Emily is saying that this familiar species
perishes by the door, but she is also implying that she has opened it and stepped
through. Read Aldous Huxley’s “The Doors of Perception,” for more insight.
“We wonder it was not Ourselves, Arrested it—before.” These two lines go best
together for analysis, as they should. This is a touching, humble sentiment that
practically weeps her understanding of how she “perished at the door” to
enlightenment at one time. But it has been so long ago, she has forgotten what it
was like to think ordinary anymore. She gained penetrating knowledge of life,
and now can never go back to simplicity. At one time, her progress had been
“arrested,” and so she takes pity upon humanity that “perishes by the door.” I
find these lines heartbreaking, for I have always known I was on a path that
many would never follow, and that they had paths I could never follow either. I
believe Emily knew the same thing.
“Of Pictures, the Discloser—The Poet—it is He—Entitles Us—by Contrast—To
ceaseless Poverty.” How touching these words are! Taken in full, we see that the
poet sees images in full disclosure, life comes in detail, and shows us clearly the
other side of life. We understand the ego’s desires and are void of such things as
wanting more power for selfish gain, or more money for material goods. We seek
the deeper realization that life is meant to be lived in union with, not in conflict
with, time and nature. Poverty here probably didn’t mean her own financial
situation as much as it meant to live a life empty, and open. She carries nothing
with her inside that is an obstacle to her growth anymore; she lives a life of
selfless sacrifice for understanding. While time and totality contains all the
answers, and is rich in knowledge, we as human beings must be in poverty, or
devoid, of any pre-conceived ideas in order to fill up with timeless wisdom. When
we carry around limiting ideas we stop growth and stagnate towards change.
“Of portion—so unconscious. The Robbing—could not harm—” The average
person has a portion of what they think is understanding. But the truth of their
own existence lies in their unconsciousness. To take it, or rob it from them,
would do no harm because they would only become self-aware. If they become
self-actualized then it becomes, to “Himself—to Him—a Fortune.” This use of the
male pronoun “he” is seen earlier in the poem and refers to the poet. With the
robbing of the mind, the person now in poverty, he, or she, amasses a great
fortune of wisdom! And, they lose all plurality with the universe and singularly
unite even body and soul with time itself, their minds aware and conscious. Thus
the last line, “Exterior—to Time.”
So, how does poetry call upon life for its inspiration? It listens to itself, the dance
and sway of the human mind, the fragrance of the flowered soul, the gentle hand
of goodness. These are the things that live within each of us; all of us are unique
and yet completely the same, one reality blending into the other simultaneously.
Poetry and literature do not reflect life, they are life.