só agora percebi que afinal me apiedei de vós ( :)) e só inseri na antologia um dos fascículos de Emily Dickinson, o 21. Assim sendo, o que peço é que cada um produza a sua interpretação individual deste grupo de poemas, e em que sentido(s) constitui ele uma sequência (se é que vos faz sentido pensar nestes termos, caso contrário expliquem também). Como afinal a leitura é mais reduzida, peço que lhe acrescentem a leitura do relato de Thomas Wentworth Higginson, que muito encorajou a produção poética de Emily D., sobre a correspondência mantida com a autora (na antologia, pp. 92-108).
Emily Dickinson – Fascicle 21 - PART 1
ResponderEliminarWhile looking for a central theme, I was able to find a few cohesive elements that can be spotted throughout most of the poems in this fascicle. As an overall topic I would name the fear of death, or more precisely the fear of being dead while alive. This fear is closely linked to the figure of the poet whose inability to express himself or herself is ultimately perceived as a death sentence. At the same time, death also represents a closure of a cycle.
Furthermore, the mourning of the loss of a loved one is given voice to.
However, the mentioned topics are very blurred and sometimes hard to isolate from one another. Generally speaking, the whole fascicle is somehow hard to understand, as it appears to consist of different, quite intricate layers that speak of highly personal feelings and happenings.
J 609, Fr 440
Here, we find the speaker standing in front of her “[h]ome,” (1) fearing to open the entrance door. It is quite interesting to note, that in this poem the supposedly familiar and safe becomes the frightening unknown (“a face I never saw before,” “that I could fear a door” (14)). The narrative voice might be (mentally) revisiting sights or feelings of her past, as “years had been [spent] from home.” The question whether there is still the “life [she] left” (7) “dwelling there,” (8) might be a question directed to herself, wondering if any remnants of her past still continue existing inside of her. In the end, however the speaker prefers to rather let the past be in the past, as she is too frightened of what might be inside her metaphoric former home.
The “vacant” stare (5), the “life [she] left” (7) or the “silence” (11) on the other hand can also be read as metaphors for death and refer to the aforementioned fear of death and the unknown afterlife. When looking at the last two stanzas of this poem, we get the feeling that the speaker has been at deaths door or had a near death experience. Taking into account that she “fitted to the latch – [her] Hand/ With trembling care” (17-18) she has been very close to entering the doorway to death. Also, an attempted (but failed) suicide could have been processed in this poem.
All in all, in this particular poem death represents the end of something important, be it of a stage of life or of a whole life cycle.
J 610, Fr 441
In the second poem, the topic of an ending life is again revisited. In fact, the reader is immediately confronted with this in the first lines, where he is told that “when you try to die -/ The Easier to let go –/ For recollecting such as went-/ You cold not spare – You know.” Hence, the narrative voice explains that it is easier to die when remembering the ones we have already lost. The following stanzas then reveal that even if time passes by - represented by the moss growing in the deceased one’s “places” (5) and their “Marble names” (6)- our loved ones will not be replaced by “newer names” (8) or substitute “toys” but that the memory of them and the love directed to them will “distincter grow[ ] -/ And supersede[ ] the fresh” (11-12).
Although this poem has a certain macabre note to it, a soothing quality can also be found that relieves the fear of death we were confronted with in the first poem. In the end, it appears as if a reunion with the ones we loved most in life might be possible in an afterlife.
J 447, Fr 443
Even though this poem is the shortest one of the fascicle, it is the one that puzzled me the most.
It appears as if the narrative voice is unable to help another human being or feels unqualified to do so. If the situation were different, that is, if the queen bee would be a generic bumblebee, the speaker would be able to “do more” (1). The “Queen” being of high status could represent an authority figure in the speaker’s life.
Emily Dickinson – Fascicle 21 - PART 2
ResponderEliminarJ 612, Fr 444
The fourth poem once again revisits the past of the narrative voice. It is a very pitiful and “small” (2) childhood that is being described. Indeed, it was so miserable that any bloodsucking insect, such as a “gnat” (1) or a “leech” (7) would have been unable to sustain itself from. The speaker then goes on comparing the smallness of her childhood to the life of an insect by stating that “Not like the Gnat – had I -/ The privilege to fly/ And seek Dinner for myself –/ How mightier He – than I.” The lack of freedom to express and explore oneself (“the privilege to fly”) and the oppression that lay “Upon [her] – like a claw,” are ultimately named as the reasons for the perception of herself as a “little Being.” (16)
J 613, Fr 445
The next poem can be regarded as a direct continuation of the previous one. We still find ourselves in the childhood of the narrative voice, where the topic of oppression is further explored. We learn that “They” tried to “shut [the speaker] up in Prose” and “put [her] in the Closet – Because they liked [her] “still”.” (1-4)
Shutting a poet up in prose reflects the act of trying to take away one’s sensibilities, to lock their talents and distinct points of view away, so that the molded subject in the end acts “still,” i.e. according to societies (“they”) perception of life. “Still” at the same time may once more represent death. In this case, it is the aforementioned death while being alive, a life dictated by others, a “Captivity” (11) with no freedom or right of choice.
J 448, Fr 446
The role of the poet is then explored in greater detail in the sixth poem of the fascicle. The poet is perceived as someone who “Distills amazing sense/ From ordinary Meanings” and thus is able to see the beauty attached to everyday life. He is the one who widens our senses by capturing the “Attar so immense” these seemingly common things bear in them. Bearing in mind, that the narrative voice has used “still” various times before to refer to a stagnating, imprisoned lifestyle, through the act of dis-stilling, a lost life can be resurrected again. It is the poet that will “Disclose[ ]” the essence of the world to us, bringing back a sense of being alive.
J 614, Fr 447
Death once again plays an important role in the seventh poem of Fascicle 21. The poem introduces us to a rescue operation, in which a group of “diggers” (9) are trying to find a man trapped underneath fallen timber. As the rescuers eventually reach the man, he is already dead; the operation hence was “fruitless.” (13) Nevertheless, in the end his death is regarded as a “reward of anguish,” as there is “no Gratitude/ Like the Grace – of Death.” (15)
This scene reminds us of a terminally ill person that is kept alive by all available means. In a way, Dickinson declares that accepting death is sometimes more humane than keeping a person experiencing incurable pain alive.
J 449, Fr 448
In this morbid poem we are confronted with two corpses buried next to one another. The narrative voice has “died for Beauty,” while the other corpse “In an adjoining room” has “died for Truth.” When entering in dialogue and finding out about each others cause of death, the two deceased bodies get to the conclusion that they are “One” and “Brethren.” As different as these people might have been during life, ultimately in death they become meaningless matter. They are the same motionless bodies that soon will be covered up with “Moss” and whose “names” will be forgotten in oblivion.
Emily Dickinson – Fascicle 21 - PART 3
ResponderEliminarJ 450, Fr 449
In regards to the next poem, we are confronted with a juxtaposition of contrasts, that is “Dreams” and “Waking” (1) and “Midnight” (3) and “Dawn.” (4) Considering the themes that have been addressed in the previous poems, these contrasted notions might again reflect on life or a rebirth (Waking, Dawn) and death (Dreams, Midnight).
Even though the speaker is trying to convince herself that “Waking’s better,” (1) this statement is then cancelled out by the fact that she would wake to “Dream – of the Dawn.” Thus the speaker is trapped in a liminal space, in a state in-between life and death.
The “Surmising Robins” (5) underline the same chain of thought. Robins usually symbolize a renewal or spring. However, here, they are confronted with “a Solid Dawn,” suggesting a new day or life, (7) “Leading to no Day.” (8)
J 451, Fr 450
In the tradition of Kant’s "Critique of Pure Reason" or the celebration of the subjective by the transcendentalist movement, this poem reflects on the way a the world. “human being perceives The Outer – from the Inner/ Derives its Magnitude” (1-2) the narrative voice proclaims. Hence, all that is perceived, the “things” we see, lie in the personal eye of the beholder (“The Inner – paint the Outer” (9).
Ultimately, we can only know reality as we constitute it through our filtered, subjective way of perceiving the world (“The Star’s whole Secret – in the Lake – Eyes were not meant to know” (16)).
This poem might relate to the ones dealing with the role of the poet as it once again affirms that each and every individual might perceive the world in a very personal and unique way.
J 174, Fr 172
This poem bears allegorical meaning. It tells the story of an “Earl” (1) who envies a “Malay” (1) for taking a pearl out of the sea. As the earl fears the sea for being “Unsanctified,” (4) all he/she can do is pray “that [he/she] might be/ Worthy – the Destiny.” The Malay eventually brings the pearl back home, leaving the earl craving to be “Alike to Him.” (16)
As far as I perceive, the speaker reverses the role of the underdog, the Malay, and the figure of authority, the earl, and clears the former one from all racial prejudices by elevating him (we’re speaking of 19th century America). It is the earl that indeed envies the “Swarthy fellow” (7) by stating that he “wooed it – too.”
Unfortunately, I am unable to find a cohesive element in this poem that would make it part of the greater whole. Probably, the topic of envy might point to the oppression in life, especially felt by women that were unable to express themselves to the fullest. Hence, the mentioned envy could be an envy directed to freedom granted only to men.
Emily Dickinson – Fascicle 21 - PART 4
ResponderEliminarJ 453, Fr 452 – J 615, Fr 453 – J 616, Fr 454
The next three poems not only show a very strong cohesion, they seem to build a chronological storyline in themselves.
The first of this group of poems talks about love and its power when a human being lives as “Two/ Instead of One.” (9-10) Except for the mention of death (“die” (15)) the poem unfurls in a very positive manner, citing words like “Smile,” (15) “Bliss” (16) or a love, which lasts for “Eternity.” (18)
Nevertheless, love is also a “Veiled” (13) “Oddity,” (17) something very hard to grasp or understand.
The next poem continues where the last one stopped, namely with “Our journey [,which] had advanced,” (1) the relationship of two people in love. This advancing, however, leads the lovers to “The Forest of the Dead,” (8) where “Retreat – was out of Hope – Behind – a Sealed Route.” Something has brought this love to a stop, has intruded and captivated the once smiling and blossoming relationship.
The end of the relationship through death is then further scrutinized in the third poem. The narrative voice describes her “fainting Prince” (5) and how “his power dropped.” (3) Desperately, the speaker tries to “cheer[ ]” her dying love through “Chants” (6) and “with Hymn.” (7) Sadly, “the Dews drew off/ That held his Forehead stiff,” (8-9) symbolizing his passing away.
A very intimate and touching moment is then described, in which the speaker tries to give consolation to her loved one, telling him that everything “must pass,” (12) but that the two of them will be “recollected” (18) or reunited if their love is “true.” (19)
J 454, Fr 455
The very last poem of this fascicle in a way summarizes the fear of death/ loss that has been reflected on in most of the poems. Again, we are taken back to the speaker’s childhood. We learn that “Presents” (3) have been given to the speaker, which she “never put down” (6) in fear of losing them.
Hence, we get to know that these anxieties relating to loss and the clinging to certain people/ objects/ situations have always existed inside of her and are part of her innermost being.
David Klein Martins
Emily Dickinson's "Fascicle 21" Part 1
ResponderEliminarBefore going in depth about my analysis of the poems, I have to admit that Emily Dickinson was particularly confusing to me, at first. Every poem required, at least maybe five to six reads, or more, before I was confident enough to try a proper analysis. Even now, I still have a feeling that, in class, I'll discover things about these poems that have missed me at first.
In J609 what struck me the most was the fact that the poem start with “Home” and finishes with “House”. To me, this sounds and seems like a loss of familiarity. In this particular poem, I felt a continuous idea of going away from a place that was once familiar, where “My business – just a Life I left-“, but that it isn’t there anymore.
However, as J610 follows this idea in the sense that it gives a certain feeling of loss and of letting go. Unlike J609, it’s not the specific loss of a place that was once your home, but more of a “them.” For the first time, the narrator addresses a “We.”
In J 447, instead of ‘You’, we have ‘Thee’ and ‘Thou’. For me this is the most ‘out of place’ section. I can’t quite relate it to anything else in the fascicle. I do understand the relationship between Bumble Bee and Queen and Bouquet but I couldn’t place it anywhere.
In J612 Sections one and three are a comparison between the narrator and a Gnat. She even says that he is mightier than her just because he can fly. If one was to place any sort of relation between this poem and J447, I would say that both refer animals that fly “Bumble Bee” and “Gnat”. Section two goes more in depth about the “Food’s necessity” and calls it a “Claw” that she is unable to remove. Section four is the most confusing. “My little Being” is a clear mirror of the word “Child” used in section one but with a different meaning at the end. It means her stature as small, because following the Gnat’s ability to fly, she says that it is able to exit through the window but she can’t do it, despite being little.
Emily Dickinson's "Fascicle 21" Part 2
ResponderEliminarIn J 613, the use of “Little Girl” is easily related with the words “my little Being” and “Child” from J 612. Unlike the previews part, in J 613, there’s a feel of imprisonment. This contrasts to J610. We have, again, a possible underlining idea of flying as something that is a privilege. While in J612, the narrator finds the animal to be better than her, in J613, both her and the bird are at the same level for a while but she says that it’s easier for him to “Abolish his Captivity” because he “has but to will.” Like in J612, in J613, the animal has more power to free itself because she doesn’t have the power to free herself just by wishing it.
In J 448, the theme changes once more. The narrator describes what a Poet is and what he does. “Distills” and “Attar” both point a bit towards the Poet as a perfume maker or at least someone that obtains the essential oil, in his case, from ordinary things. However, it’s almost as if she first compliments the poet but then speaks badly of him for his Fortune being always external to the others’.
In J 614, instead of the poet, we have a man. The only thing that he works is ‘his lungs’, while other men use spades to work because they are looking for him. He is unconsciously hidden from them and they don’t know he’s breathing. Like in other parts, towards the last two sections, the poem gets much darker. Despite not being found, the Man is dying but it’s a reward for his suffering. In the poet’s words “There is no Gratitude/ Like the Grace – of Death –“. This forth section of the poem, reminds me of J610 in general because of the pairs between World and Earth and the theme of death, though in J610 it’s a “when you try to die” and in J461, by comparison, death is seen as a “Reward of Anguish” and generally as something graceful to be given.
In J 641, is the first poem that introduces the theme of death and J 449 continues it. The reader is taken inside a tomb with the narrator, who died for Beauty and is joined in the ‘neighbour’ tomb by someone who died for Truth. Though they have different causes of death, in section two, the one that died for Truth (a ‘he’) says that they are Brethren, which means brothers, given that he believes that Truth and Beauty are One. I believe that in a way, the poet from J 448 is this man that makes Truth and Beauty one. In section three, there is a reference to Moss (which only happens once in another part, J 610) as the true ‘ending’ of the two characters.
Emily Dickinsons' "Fascicle 21" Part 3
ResponderEliminarJ450 is composed of contrasts. Waking is better than dreaming if the person wakes in the morning but if one wakes at midnight, he dreams of the Dawn which is better. Dawn is given a far more positive connotation because waking in the morning is also seen as best, so what involves light in any way is seen as what is preferable. In the second section, Dawn is referred to as “Solid Dawn” that confronts a “No Day.” I’m not absolutely sure of what this means but in this poem, there is a clear ‘battle’ between dark and light and “No Day” is, compared to “Dawn”, it’s clear dark antagonist. Unlike the poems about death, this brings in the ‘ray of light’.
J 451, I found to be a particularly confusing poem. I understood what was said about the Outer an the Inner but the second and forth sections are intriguing to me. I couldn’t relate this poem to any of the others.
J 174 made me feel like it almost demanded to be read out loud so that all the exclamation points could have their effect. The first section, (just like J612 and J613) seems to be like an exultation of freedom and a new Life to live. The second section sounds to me like a kind of trip where she gets closer and closer to a new day. The mentions of Midnight, Morning Star and Sunrise remind me of J 450 due to the presence of Dawn, Midnight and Solid Dawn.
J 452 contains the first clear mention to a foreign language: Malay. Unlike in J 609 ( “could fear a Door”) in this poem “I – feared the Sea (...)”. The last section refers to a ‘Negro’, though I’m not sure if that is a direct reference to the Malay. Curiously, the narrator places herself at his level, saying that she is ‘Alike to Him – One”. It brings me back to J612 and J613, when she sees the animals has better than her.
J 453 was by far my favourite. Not only because it just sounded so beautiful and poetic but because of the connection of natural elements to the loved person the poem addresses.
In the first section, the narrator describes her Love as a tree because she cannot reach enough to be as tall as her Love. In the second section, she describes her love almost as the sea or a river because she cannot cross and her love is too deep. Despite raising problems at the first sentences of each section, by saying “But, if were it Two-“ and “But were there Two”, the narrator always comes up with a solution for either the height or the depth of her love, keeping them therefore together in every situation. In the third she mentions that her Love is ‘Veiled’ which can point to her love wearing a veil, which could point to this poem being towards a woman, or veiled as a way not to express too clearly anything about her Love. While some look at her Love and have many sorts of reactions (smile, alter and prattle) that eventually lead to their death but on the other hand, her Love is Eternal because they are bliss. This poem reminded me of J449 despite the clear difference in relationships, they are a contrast. In J449 we have a bond established after death and it’s a bond of brotherhood without ties of blood. In J453, we have a love relationship and a poem dedicated to the narrator’s Love and their eternal and blissful quality.
Emily Dickison's "Fascicle 21" Part 4
ResponderEliminarIn J 615, unlike most of the other poems, the reader is introduced to an ‘Our’, which points to the narrator being accompanied. They are going on a journey to “that odd Fork in Being’s Road –“ / “Eternity – by Term –“ which, to me, points out maybe to the narrator’s trip towards Heaven/Hell or in other words Eternity. Curiously enough she doesn’t travel alone. In the second section, this idea continues as they walk by a Forest of the Dead, which could allude to Purgatory or to a place where people are buried. In the third section it’s like their fate has been sealed. Going back is not a possibility and now that they have followed their way, they find God and the whiteness typically associated with Heaven. This poem could be associated with others that mention Death but I wouldn’t immediately associate it that way because, despite having an underlining theme of death, I find this poem not to be negative or to see Death as the end. It’s more of a small narrative of the journey to Heaven or to a place where God is.
In J 616, the first thing that struck me about the first section is the feel of scale that it gave me. It’s like if one thing happens to A, it affects B. In the case of this poem, “I rose – because He sank” or “(...) his power dropped - / My Soul grew straight.” During the next sections of the poem, the narrator seems to be trying to bring back to the Prince. These actions seem to give her courage to lift him, which in a figurative way is almost as if she is lifting him up to a certain kind of Heaven, despite the fact that she never actually mentions death. To me it seems too clear that he has died. Unlike J453, the poem doesn’t immediately let us know that this is a romantic relationship and we can only try to perceive it that way. There is no doubt, however, that this ‘fainting Prince’ is someone that the narrator cares about. It’s curious that this poem comes after a description of a ‘path’ to Heaven, maybe the poet wants to suggest that, all along, she has been carrying him to God.
J454 has the first mention to Gods in the plural. “Little Girl” takes us back to J613 and J612 but these poems aren’t exactly all connected in the same logic of meaning. While in J613 and J612, the themes are more related to freedom, in J454 the narrator tells the reader about the present she got when she was young. Due to the reference of Gold and Presents, one might assume that it’s something material but I think that she goes a step beyond that. The point here is that her greatest gift is her writing, her poetry. The narrator knows the difference between a material good and a immaterial one and that ability makes her “bold” like she says.
Emily Dickinson's "Fascicle 21" Part 5
ResponderEliminarIn conclusion, I don’t think I can claim that the poems form one singular line of understanding or sense. In my opinion, there are several themes that ‘tie’ the poems together but they don’t always make sense in the sequence in which they are provided.
The clearest cases to me are:
- J 612, J613, J174- Freedom
- J609, J610- Letting Go.
-J 612, J613, J447 (?)- Poet vs the animals
- J453, J614- Love
- J610, J614, J615, J449, J615, J616- Death, Eternity, Heaven, God, etc.
- J454, J448- Poet and/or Poetry.
- J 448, J614, J449, J616, J452 (?)- Main possible references to a Man and his ‘journey’ through the fascicle.
Emily Dickinson "Fascicle 21" Part 1
ResponderEliminarThe first think that is noticeable in these Emily Dickinson’s poems is their unusual punctuation, since the use of dashes is very regular. Also immediately noticeable is the words written with capital letters as to give them emphasis. Besides that the interpretation of the poems in formal or creative ways just seems to get harder, since we are dealing with a poet that does not seem interested in a regular form further than the constant use of stanzas with 4 verses and a poet that builds her sentences in a very complex way, almost like a constant use of anastrophe.
The first poem introduces the idea of coming back home and not belonging anymore, “and like a Thief / Stole – gasping – from the House.” The capital letters seem to appeal to the readers senses, with “Years” we gain a notion of time, with “Home” we imagine a house and so forth, which is especially interesting with the hypallage “Wooden laugh” since it really connects with the sense of hearing. Similarly and also creating a beautiful picture the verses “The Silence – like and Ocean rolled – / And broke against my Ear –“ work on the same direction. This poem appears to be a great beginning to the journey that the poet creates, since the act of coming back home seems to bring memories and concerns.
Poem J 610 works with the notion of death that had been introduced in the previous poem: “That I – could fear a Door – / Who Danger – and the Dead – had faced –“. Dickinson remembers the dead and considers the emptiness they leave behind and how the living ones deal with it. Again there seems to be a great usage of a hypallage in “Marble names” which creates the subtle picture of a cemetery with tombstones covered with moss and the moss can be seen as a metaphor for oblivion.
Continuing with the consideration about the dead Dickinson in J 447 creates an analogy between her and a “Bumble Bee” as she wonders if anything else could have been done for them. The doubt is stressed by the way the entire stanza is a question and also the only stanza of the poem. The analogy between the poet and insects continues in J 612 introducing the idea that the “Gnat” have an easier way of living than the humans with complicated lives and bigger limitations, “Not like the Gnat – had I – / The privilege to fly / And seek a Dinner for myself –“ This limitation that concerns the poet is emphasized by the way she introduces this notion form the point of view of her childhood: “And yet I was a living Child – / With Food’s necessity”.
The memories from Dickinson’s childhood keep coming in J 613 where she considers the limitations imposed to her not just in the general way of living but also on the way she was intellectually growing. Even though she was physically stuck her brain did not stop moving: “And seen my Brain – go round – / They might as wise have lodged a Bird”. In this context the poet seems to compare her thoughts and imagination to a bird, creating another analogy between her and another element from nature, which demonstrates how sensible she was to the wildlife. The next poem establishes a connection with this one since the brain that works like a bird that can not be kept on a cage seems to be the way Emily Dickinson became a poet and in the poem J 448 she defines the essence of the poet, someone she considers to be rich in a non-material way, someone who “Distills amazing sense / From ordinary Meanings –“.
Emily Dickinson "Fascicle 21" Part 2
ResponderEliminarFrom the poem J 614 it became harder for me to interpret the meaning of the ones that follow. This one in particular seems to deal with the idea of impotence and the quick passage of time through metaphors, as it builds an incredible picture of a man buried alive. In that sense I can not fully connect this poem to the previous one, but it relates to the next one since the poet is working with the notion of death again. J 614 ends with the unsettling verses: “But there is no Gratitude / Like the Grace – of Death –“ and J 449 death is still a subject that the poet deals with in a very uncommon way. In this poem it is also built a relation between beauty and truth made out to be the same, like brothers: “’For Beauty’, I replied – / ‘And I – for Truth – Themselves are One –“ and the reader is confronted again with the image of a tomb being covered with moss like in the poem J 610.
J 450 is the poem that troubles me the most, it deals with the notion of a waking state and a sleeping state, maybe establishing a connection between the exterior and interior of one’s self, like it becomes clear in the poem that follows: “The Inner – paints the Outer – / The Brush without the Hand – / Its Picture publishes – precise – / As is the Inner Brand –“. And then in poem J 174 there seems to a blast of optimism, the poet changes her style completely, there is no dashes and in their place a lot of exclamation points, which emphasizes the sudden enthusiasm for the future.
The poem J 452 seems to carry on the enthusiasm for the unknown as the poet creates a picture that deals with the “feared sea” and “the Swarthy fellow” along with other new elements making it clear that the idea of the unfamiliar is being explored and love might just be one of those things, as the next poem seems to suggest. In this poem love is constantly personified “thou art high”, “thou are deep” and “thou are veiled” in a way to make it completely clear how love is complicated, that might also be emphasized by the fact that the stanzas are longer in this poem.
This notion seems to carry on in the next poem when the idea of a two people journey is created, a journey with obstacles: “Our pace took sudden awe – / Our feet – reluctant”, this voyage can be a metaphor for the complications of love. J 616 looks like the continuation of the journey and the poet describes herself as being the strong one, this poem tries to build optimism and the poet fully takes up that role: “I cheered my fainting Prince – / I sang firm – even – Chants – / I helped his Film – with Hymm –“. Finally the last poem formed by one long stanza goes back to the poet’s childhood and in that context of innocence builds the idea of everyone’s particular wealth and the fear of losing it.