TO MAKE A PRAIRIE BY DICKINSON compared to Pascoli

 

To make a prairie it takes a clover and one bee—
One clover, and a bee,
And revery.
The revery alone will do,
If bees are few.

In this brief, five-line poem we can find several themes central to Dickinson’s work: imagination, nature, and the inner life of the mind.

Imagination as Creative Force-At first glance, the poem appears to be a literal recipe for a prairie—requiring clover and a bee. But Dickinson quickly shifts the focus with the word “revery” (a dreamlike or meditative state). -FANTASTICHERIA

She’s not talking about physical creation, but imaginative creation. A single bee and clover can be enough to evoke the vastness of a prairie in the mind. And if even those aren’t available, revery alone will do.

This means that imagination is not just powerful, but sufficient. It suggests the mind’s ability to conjure entire worlds from almost nothing—one of Dickinson’s most recurring beliefs.

Minimalism and Essence Minimal language to express complex ideas

Solitude and Self-Sufficiency There’s also a subtle celebration of solitude here

Meaning

“To make a prairie” is a celebration of the imagination. Dickinson reminds us that the external world is not the only source of beauty and meaning—our inner world, through reverie, can be just as vast and sustaining. It’s a testament to the power of thought, memory, and poetic vision.

Comparison: Dickinson and Pascoli

1. Use of Nature as Symbol

• Dickinson uses nature—here, a clover and a bee—as minimal symbols to represent vast imaginative possibilities. The prairie becomes a metaphor for what the mind can create.
• Pascoli, especially in poems like "L’assiuolo" or "Il gelsomino notturno", also draws from small natural images (an owl’s cry, the scent of jasmine) to evoke profound emotional or existential states.

Both poets see nature not as scenery, but as a key to inner experience.

2. Power of Imagination and Inner World

• In “To make a prairie”, Dickinson ultimately claims that the dream alone is enough—imagination is self-sufficient.
• Similarly, Pascoli develops the concept of the “fanciullino” (the child within), whose pure gaze can transform ordinary reality into mystery and meaning through poetic imagination.

They both celebrate a kind of mental autonomy, where external reality is less important than how it is perceived or imagined.

3. Simplicity and Symbolism

• Dickinson's poem is incredibly short, almost aphoristic, yet symbolic and layered.
• Pascoli’s style, though more lyrical and rich in sound patterns, often hinges on simple, concrete images that open up to symbolic or metaphysical interpretations.

Example from Pascoli’s “Il gelsomino notturno”:

E s’aprono i fiori notturni,
nell’ora che penso ai miei cari.
[...]
È l’alba: si chiudono i petali
un poco gualciti...                                                                                                                                                                                             Here, the flowers' nocturnal blooming reflects the mystery of love, memory, and perhaps even death—just as Dickinson's bee and clover reflect a mind creating vastness from the minimal.

EMILY DICKINSON

 

What's offbeat vocabulary?

 Offbeat vocabulary refers to unusual, quirky, unexpected, or unconventional word choices — words that stand out because they are not commonly used in typical speech or writing, or because they are used in an unexpected context.

Characteristics of Offbeat Vocabulary:

• Rare or archaic words 

• Invented  words 

• Playful or whimsical language

• Surprising metaphors or combinations (e.g., calling hope “the thing with feathers”)

Example from Emily Dickinson:

In “Hope is the thing with feathers,” Dickinson uses offbeat vocabulary in a few ways:

• Metaphorical phrasing: “Hope is the thing with feathers” – calling hope a bird is imaginative and unconventional.

• Verb choices: “Perches,” “abash,” “crumb” – not unusual words on their own, but used in unexpected ways or settings.

• Syntax and punctuation: Her use of dashes and capitalization creates a distinctive, offbeat rhythm and feel.

Why use offbeat vocabulary?

• To create a memorable image or tone

• To surprise the reader or subvert expectations

• To convey complex or abstract ideas in fresh ways

• To express a unique voice

ABASH

The word "abash" means to make someone feel embarrassed, disconcerted, or ashamed.

Definition:

• Verb (used with an object)

• To destroy the self-confidence, poise, or self-possession of; to embarrass or humiliate.

Example from Emily Dickinson’s poem "Hope is the thing with feathers":

"That could abash the little Bird
That kept so many warm –"

In this context, "abash" means to discourage, unsettle, or silence the bird (which symbolizes hope). Dickinson is saying that it would take a very strong storm (a metaphor for hardship) to shake or embarrass hope.

Synonyms:

• Embarrass

• Humble

• Fluster

• Disconcert

What's a slant rhyme?

 Slant rhymes are rhyming structures with words that share similar sounds but aren't exactly perfect rhymes. They can be words that have the same consonant sounds with different vowel sounds, or the same vowel sounds with different consonant sounds.

Emily Dickinson is known for using slant rhyme in her poetry. In “Not any higher stands the Grave,” she uses a perfect rhyme with “Men” and “Ten” in the first stanza, then breaks expectations by using a slant rhyme with “Queen” and “Afternoon” in the second.

“Not any higher stands the Grave
For Heroes than for Men –
Not any nearer for the Child
Than numb Three Score and Ten –

This latest Leisure equal lulls
The Beggar and his Queen
Propitiate this Democrat
A Summer’s Afternoon –

 

The children’s nursery rhyme “This Little Piggy” features slant rhyme with the words “home” and “none.”

“This little piggy went to market,
This little piggy stayed home,
This little piggy had roast beef,
This little piggy had none,
And this little piggy cried ‘wee wee wee’ all the way home.”

Examples of Slant Rhyme in the Poem:

Here’s the full first stanza for reference:

“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –

1. “soul” / “all” (Lines 2 and 4)

• These words do not rhyme exactly but have similar vowel sounds, making them a slant rhyme.

• "soul" ends in an "ol" sound and "all" in an "all" sound — not identical, but close enough to create an echo.

Here’s another stanza with potential slant rhymes:

And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –

2. “heard” / “Bird” (Lines 1 and 3)

• This is closer to an imperfect rhyme than a perfect one. While both end in a "rd" sound, the vowels differ slightly.

• Depending on pronunciation, this could be interpreted as either a slant rhyme or a perfect rhyme. Dickinson often played with sound in this way.

Overall, Dickinson’s use of slant rhyme in this poem contributes to its lyrical quality without being overly predictable, mirroring the elusive and persistent nature of hope itself. 

 

Hope is the thing-comment and videos

 

“Hope” is the thing with feathers

“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –
And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –

I’ve heard it in the chillest land –
And on the strangest Sea –
Yet, never, in Extremity,
It asked a crumb – of me.

È la “speranza” una creatura alata
che si annida nell’anima –
e canta melodie senza parole –
senza smettere mai –

E la senti dolcissima nel vento –
e ben aspra dev’esser la tempesta
che valga a spaventare il tenue uccello
che tanti riscaldò –

Nella landa più gelida l’ho udita –
sui più remoti mari –
ma nemmeno all’estremo del bisogno
ha voluto una briciola – da me.

• •       Hope as a Bird: 
  • The poem uses a bird as an extended metaphor for hope. The bird "perches in the soul" and "sings the tune without the words," implying that hope is an internal, persistent feeling that doesn't require external expression.  
  • Resilience:
  • The poem highlights hope's ability to endure, even in the "gale" or "storm" of life's challenges. The bird's song "never stops" and is even "sweetest in the gale," suggesting that hope can be found even in the darkest moments. 
  • • Unconditional Gift:

      The bird, representing hope, "never asks a crumb" of the speaker. This emphasizes that hope is a gift that comes without strings attached and is always available to the soul. 

    Inner Strength:

    The poem suggests that hope is a source of strength and resilience, helping individuals navigate difficult times and find solace in the face of adversity
  • • Enduring Presence:

      The poem reinforces the idea that hope is a constant companion, always present in the human soul, offering comfort and encouragement. 

Poem Summaries

Emily Dickinson – “Hope is the thing with feathers”
Dickinson portrays hope as a resilient bird that perches in the soul, singing a tune without words, and never asking for anything in return. Despite life's storms, hope endures, offering comfort and solace.

Giovanni Pascoli – “X Agosto”
In this elegy, Pascoli reflects on the night of August 10, 1867, when his father was murdered. He compares the tragic event to the death of a swallow returning to its nest, symbolizing innocence and the abruptness of loss. The poem conveys a deep sense of grief and the search for meaning in the face of senseless violence.

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Thematic Comparison

Theme	Dickinson's Poem	Pascoli's Poem
Hope and Resilience	Hope is portrayed as enduring and comforting.	Hope is overshadowed by grief and loss.
Nature as Metaphor	Nature symbolizes the constancy of hope.	Nature reflects the abruptness and injustice of death.
Emotional Tone	Uplifting and reassuring.	Mourning and contemplative.
Symbolism	The bird represents hope's persistence.	The swallow and the murdered man symbolize innocence and tragedy.

Poetic Style and Language

• Dickinson: Uses concise stanzas, slant rhymes, and dashes to create a contemplative and intimate tone. Her language is simple yet profound, focusing on the inner experience of hope.

• Pascoli: Employs vivid imagery and personification, especially in depicting the swallow and the murdered man. The poem's structure and rhythm evoke a sense of elegiac mourning, with a focus on external events and their emotional impact.

---

Philosophical Outlook

• Dickinson: Offers a vision of hope as an eternal, self-sustaining force that provides comfort without expectation.

• Pascoli: Presents a view where hope is fragile and often overshadowed by the harsh realities of life, emphasizing the inevitability of loss and the search for meaning in suffering.

---

Conclusion

While both poems delve into profound emotional landscapes, Dickinson's work highlights the enduring nature of hope amidst adversity, whereas Pascoli's poem confronts the suddenness of loss and the challenge of finding hope in its wake. Their contrasting approaches offer rich perspectives on the human experience of hope and grief.

The saddest noise, the sweetest noise

 Il suono più triste, il suono più dolce,

Il suono più pazzo che esista, -

Gli uccelli, lo fanno in primavera,

Al delizioso chiudersi della notte,

Sulla linea fra marzo e aprile -

Quella magica frontiera

Al di là della quale l'estate esita,

Quasi troppo celestialmente vicina.

Ci fa pensare a tutti i morti

Che si aggiravano con noi qui,

Dal sortilegio della separazione

Resi crudelmente più cari.

Ci fa pensare a ciò che avevamo,

E a ciò che ora piangiamo.

Quasi vorremmo che quelle gole incantatrici

Se ne andassero e non cantassero più.

Un orecchio può spezzare un cuore umano

Tanto in fretta quanto una lancia.

Vorremmo che l'orecchio non avesse un cuore

Così pericolosamente vicino.

*****

The saddest noise, the sweetest noise,
The maddest noise that grows, -

The birds, they make it in the spring,

At night's delicious close,

Between the March and April line -

That magical frontier

Beyond which summer hesitates,

Almost too heavenly near.

It makes us think of all the dead

That sauntered with us here,

By separation's sorcery

Made cruelly more dear.

It makes us think of what we had,

And what we now deplore.

We almost wish those siren throats

Would go and sing no more.

An ear can break a human heart

As quickly as a spear.

We wish the ear had not a heart

So dangerously near.

Emily Dickinson

Emily Dickinson

Dear March - Come in

Dear March - Come in -    

How glad I am -

I hoped for you before -

Put down your Hat -           

You must have walked -

How out of Breath you are -             

Dear March, how are you, and the Rest -

Did you leave Nature well -              

Oh March, Come right upstairs with me -

I have so much to tell -

I got your Letter, and the Birds -     

The Maples never knew that you were coming -

I declare - how Red their Faces grew -                  

But March, forgive me -    

And all those Hills you left for me to Hue -    

There was no Purple suitable -         

You took it all with you -            

 

Who knocks? That April -

Lock the Door -

I will not be pursued -

He stayed away a Year to call           

When I am occupied -               

But trifles look so trivial     

As soon as you have come

              

That blame is just as dear as Praise

And Praise as mere as Blame.

Emily Dickinson 

 

https://www.youtube.com/watch?v=AZlRrdj840w

Emily Dickinson - "The Soul Has Bandaged Moments"

The Soul has Bandaged moments, 1862

The Soul has Bandaged moments - When too appalled to stir - She feels some ghastly Fright come up And stop to look at her - Salute her, with long fingers - Caress her freezing hair - Sip, Goblin, from the very lips The Lover - hovered - o'er - Unworthy, that a thought so mean Accost a Theme - so - fair - The soul has moments of Escape - When bursting all the doors - She dances like a Bomb, abroad, And swings upon the Hours, As do the Bee - delirious borne - Long Dungeoned from his Rose - Touch Liberty - then know no more, But Noon, and Paradise - The Soul's retaken moments - When, Felon led along, With shackles on the plumed feet, And staples, in the Song, The Horror welcomes her, again, These, are not brayed of Tongue -

L'Anima ha momenti Bendati - Quando troppo atterrita per muoversi - Sente arrivare un qualche spaventoso Terrore Che si ferma a guardarla - E la saluta, con le lunghe dita - Le accarezza i capelli agghiacciati - Deliba, Spettrale, dalle stesse labbra Su cui - l'Amante - indugiò - Indegno, che un'attenzione così vile Si accosti a un Soggetto - così - bello - L'anima ha momenti di Fuga - Quando sfonda ogni porta - Danza come una Bomba, là fuori, E oscilla sulle Ore, Come fa l'Ape - spinta al delirio - A lungo Separata dalla sua Rosa - Che tocca la Libertà - poi non capisce più niente, Tranne il Mezzogiorno, e il Paradiso - Momenti in cui l'Anima viene riacciuffata - Quando, condotta innanzi come un Criminale, Con catene ai piedi piumati, E chiavistelli, al suo Canto, L'Orrore le dà il benvenuto, di nuovo, Questi, non sono clangori di Lingua -

Emily Dickinson - "The Soul Has Bandaged Moments"

Emily Dickinson's "The Soul has Bandaged Moments" deals with the theme of internal suffering and emotional restraint. The poem is about moments of intense psychological or emotional pain that constrain the soul, comparing the soul to a bandaged or wounded entity. These "bandaged moments" refer to times when the soul is restricted, trapped, or unable to express its true nature because of grief or psychological turmoil.

Key themes in this poem include:

• Suffering and Restraint: Dickinson reflects on the limitations that emotional pain can place on an individual. The soul's freedom is tied to moments of pain and constriction.
• The Internal Struggle: The soul is portrayed as being in a battle within itself, where emotions are conflicting and struggle to emerge.
• Tragic Quietness: There is a quiet suffering, where the soul is bandaged in silence, and no outward expression of the pain is allowed to show.

*Giovanni Pascoli - "La Cavallina Storna" (The Little Horse)

Giovanni Pascoli's "La Cavallina Storna" (1897) is one of his most famous poems and is often considered a work that explores themes of innocence, loss, and childhood trauma, with a focus on the relationship between man and nature. Pascoli often depicts nature as both a source of solace and a reminder of painful experiences.

The poem centers on a dying little horse, which is symbolic of loss, innocence, and the cycle of life. The speaker observes the horse’s suffering, blending personal grief with the image of the animal’s slow death.

Key themes in this poem include:

• Innocence and Loss: The little horse represents the fragile, innocent aspects of life, which are doomed to suffer and die.
• Suffering of Nature: The horse's death is described with tenderness and quiet sorrow, emphasizing the gentle and natural suffering in the world.
• The Cycle of Life: The poem contemplates mortality and the inevitable end of all things, using the death of the horse as a metaphor for the passage of time and the loss of innocence.

Comparing the Two Poems

1. Theme of Suffering:

   • Both poems address suffering, but in different contexts. Dickinson’s "The Soul has Bandaged Moments" focuses on internal, psychological suffering. The soul is trapped in its own turmoil, restricted and unable to fully express itself. It conveys emotional suffering in a more abstract and universal sense.
   • Pascoli’s "La Cavallina Storna" presents a more physical, tangible form of suffering—the dying of a horse. This suffering is directly tied to the natural world, and it represents the loss of innocence, much like Dickinson's soul but more externalized.

2. Nature and the Human Condition:

   • In Dickinson's poem, nature plays less of a role, as the focus is on the soul’s inner conflict. However, Dickinson often uses metaphorical elements that evoke nature, but it is more about the human experience.
   • Pascoli, on the other hand, directly intertwines nature with human experience. The horse is not only a symbol of innocence but is also a natural being whose death is woven into the fabric of life. Nature in Pascoli’s work acts as both a reflection and an extension of human emotions.

3. Imagery and Symbolism:

   • Dickinson uses vivid metaphors such as "bandaged moments" to represent emotional wounds, focusing on the internal state of the soul. Her symbolism is more psychological, drawing on abstract concepts to communicate inner experiences.
   • Pascoli’s imagery is concrete, using the image of a dying horse to evoke feelings of sadness, loss, and mortality. The natural world here symbolizes the fragility of life, but it is less abstract than Dickinson’s exploration of the soul.

4. Tone and Mood:

   • Dickinson’s tone is one of restrained sorrow, as she speaks of the soul’s suffering in quiet, almost secret terms. The mood is somber and introspective, suggesting a sense of quiet desperation.
   • Pascoli’s tone in "La Cavallina Storna" is equally somber but also tender. There is a sense of melancholy, but also compassion for the little horse. The mood is one of sorrow mixed with a deep reflection on the natural world’s inevitable suffering.

5. Philosophical Outlook:

   • Dickinson’s poem seems to reflect a more internal, psychological view of suffering—suggesting that internal wounds are just as impactful, if not more so, than physical suffering. It hints at the universality of human pain.
   • Pascoli’s work, while also philosophical, takes a more existential stance, contemplating life and death as part of a natural cycle. There is an emphasis on the innocence lost in this process, and the poem can be seen as a meditation on the inevitability of loss.

Conclusion

While both Dickinson and Pascoli explore the theme of suffering, they do so in very different ways. Dickinson’s "The Soul has Bandaged Moments" focuses on the inner emotional and psychological struggles of the soul, whereas Pascoli’s "La Cavallina Storna" frames suffering within the context of nature and the natural cycle of life. Dickinson's approach is more abstract, internal, and individualistic, while Pascoli’s is rooted in the tangible world, exploring the connection between humans, nature, and loss. Both, however, share a melancholic tone and a reflection on the pain and fragility inherent in the human and natural experience.