Poetry Of Emily Bronte Research Paper

The Spell of Poetry of Emily Bronte
The need for man to cast his experiences in a narrative form has existed as long as humans have. The genre of poetry is one that has existed long before novels and essays came about. Through delightful connections between words and ideas, poets and poems offer us visions that are intense, enabling us to move to a realm of countless experiences and emotions; where our minds have to stretch a little to encompass the idea thus established. It is a medium that gives us the freedom to range between time and space with its compactness, and a language wonderfully equipped to connect parts of the world and connect us to the world. Poetry, like a wandering river has flown through various days and ages of human existence.

Although the sobriquet ‘Victorian’ is a mere reference to the chronology of British literary timeline, it has come to be associated with the connotations of repression and social conformity. One can find texts in defiance of as well as agreement with the conventions of the Victorian period. In the realm of poetry, these labels are somewhat misplaced. From the rich metaphors and metrical quality of Alfred Lord Tennyson to Christina Rossetti’s lyrical wholesomeness and powerful examination of loss and faith, the Victorian period harbingers a beckoning of poetry that was influenced by its Romantic ancestors and yet distinctly different. How did the Victorian poets approach composition, form and language, and what inspired their subjects? To explore these questions and find their answers which in turn raise more questions owing to the true nature of poetry, I intend to discuss the lesser known yet widely acclaimed poetry of Emily

There is not just the wind and its object, the speaker, but also the night, the silence and the song. The wind’s tactics are not in competition with all those, but include them. Moreover, the terms of the invitation are slightly different from the lover’s “O come to me” motif. It seems more like the wheedling colloquialism of a child. The invitation is to play, not to love. If the speaker is being seduced, it is only to go out. “Have we not been from childhood friends?” is reason enough to play again the game of going out in the dark. In the course of the poem, the distance between childhood and grave collapses. “The space between is all forgot”. An uncanny connection darkens the mood of the poem. Between wind, child, lover and spirit from the grave, the fantasy of what lies outside circulates. The point of the poem is not ultimately to identify that fantasy, but to feel the stress of its invitation. Inside the poem, the unfinished love story, with play and song goes on. The drama of that love story concerns form, more than