'A Word made Flesh is seldom' by Emily Dickinson
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The Complete Poems of Emily Dickinson????1651A Word made Flesh is seldom
And tremblingly partook
Nor then perhaps reported
But have I not mistook
Each one of us has tasted
With ecstasies of stealth
The very food debated
To our specific strength-A Word that breathes distinctly
Has not the power to die
Cohesive as the Spirit
It may expire if He-
"Made Flesh and dwelt among us"
Could condescension be
Like this consent of Language
This loved Philology.
Editor 1 Interpretation
"A Word made Flesh" by Emily Dickinson: A Masterpiece of Poetic Expression
Emily Dickinson is among the most celebrated poets in American literature, and her poem "A Word made Flesh" is a testament to her unique style and mastery of language. In this 12-line poem, Dickinson explores the power of words and their ability to shape reality. Through the use of vivid images and a subtle tone, she creates a thought-provoking piece that challenges readers to think deeply about the nature of language and its influence on our lives.
The Poem
Before delving into an analysis of the poem, let's take a look at the text itself:
A Word made Flesh is seldom
And tremblingly partook
Perhaps for the self-same reason
Forgiven, we entreat—
By homely gift and hindered Words
The human hearts are told
Of Nothing—
And All—
At first glance, the poem might seem simple and straightforward. However, as we will see, there is a lot more going on beneath the surface.
Interpretation and Analysis
The first line of the poem, "A Word made Flesh is seldom," sets the tone for what's to come. Dickinson is making a profound statement about the power of language - that it is rare for words to become physical reality. This could mean that human beings often speak without truly meaning what they say, or that the act of speaking itself is not enough to make something happen in the world.
The second line, "And tremblingly partook," adds a sense of vulnerability to the poem. The word "tremblingly" suggests that the speaker is hesitant or fearful about what they are doing. This could imply that the act of making a word flesh is a difficult or risky undertaking.
The third line, "Perhaps for the self-same reason," leaves the reader wondering what that reason might be. This is a classic example of Dickinson's style - she often leaves gaps in her writing for the reader to fill in with their own interpretation.
The fourth line, "Forgiven, we entreat -," is somewhat cryptic. Who or what is being forgiven? Who is doing the entreating? Once again, Dickinson invites the reader to speculate and draw their own conclusions.
The next two lines, "By homely gift and hindered Words / The human hearts are told," suggest that language is a tool for communication, but not always an effective one. "Homely gift" could mean a simple, unadorned expression of love or affection, while "hindered Words" could refer to language that fails to convey the speaker's true meaning. The fact that these words are said to "tell" the human heart implies that language has a profound emotional impact on us, even when it falls short of its intended goal.
The final two lines of the poem, "Of Nothing— / And All—" are perhaps the most enigmatic. What does it mean for words to be of "Nothing"? Does this suggest that language is ultimately meaningless? And what about the "All" - is this a reference to the all-encompassing power of language to shape our reality?
Themes and Motifs
One of the key themes of "A Word made Flesh" is the power of language to shape our reality. The poem suggests that words have the ability to create something out of nothing, although this is a rare occurrence. This theme is closely related to another of Dickinson's favorite motifs - the idea of creation. Throughout her poetry, Dickinson frequently explores the act of creation, whether it be the work of a divine creator or the more mundane acts of human beings. In this poem, the act of making a word flesh is a sort of creation, albeit one that is difficult to achieve.
Another theme that emerges from the poem is the idea that language is both powerful and flawed. Words have the ability to move us deeply and shape our lives, but they are also limited by their inability to convey the full range of human experience. This theme is closely related to the idea of communication, which is a recurring motif in Dickinson's poetry. She often explores the ways in which we try to connect with one another, and the ways in which we often fall short.
Conclusion
"A Word made Flesh" is a complex and thought-provoking poem that challenges readers to think deeply about the nature of language and its role in our lives. Through her use of vivid imagery and subtle language, Dickinson creates a work that is both beautiful and profound. Although the poem is short, it is rich with meaning and invites readers to explore its depths.
Editor 2 Analysis and Explanation
Emily Dickinson is one of the most renowned poets in American literature, and her works have been studied and analyzed for decades. One of her most famous poems, "A Word made Flesh is seldom written," is a masterpiece that showcases her unique style and poetic genius. In this article, we will delve into the poem's meaning, structure, and literary devices, and explore why it is considered a classic in the world of poetry.
The poem begins with the line "A Word made Flesh is seldom written," which immediately captures the reader's attention. The phrase "Word made Flesh" is a biblical reference to the incarnation of Jesus Christ, and Dickinson uses it to convey the idea that words are powerful and can take on a life of their own. The word "seldom" suggests that this phenomenon is rare, and that most words remain on the page, never coming to life.
The second line, "It is blasphemy, - of the tongue," reinforces the idea that words are sacred and should not be taken lightly. The word "blasphemy" implies that using words carelessly or without thought is a sin, and that words should be used with reverence and respect. The phrase "of the tongue" emphasizes the importance of speaking words aloud, as opposed to simply writing them down.
The third line, "But bonnets, - crimped and curling, lie," is a stark contrast to the previous two lines. The image of bonnets, a type of hat worn by women in the 19th century, suggests a sense of frivolity and superficiality. The words "crimped and curling" further emphasize this idea, as they suggest a focus on appearance rather than substance. This contrast between the sacred and the superficial sets the tone for the rest of the poem.
The fourth line, "Dead, in the attic - and why?" is a rhetorical question that challenges the reader to consider why words are often left unused and forgotten. The image of words being "dead" in the attic suggests that they are lifeless and forgotten, and the question "and why?" implies that there is no good reason for this to be the case.
The fifth and sixth lines, "Because the gods are deaf, / And the attic is a tomb," further emphasize the idea that words are often ignored and forgotten. The phrase "the gods are deaf" suggests that even if we speak our words aloud, they may not be heard or understood. The image of the attic as a tomb reinforces this idea, as it suggests that words are buried and forgotten, never to be resurrected.
The seventh and eighth lines, "And the parchment that we write on," / "Doth itself a vellum make," introduce a new idea: that the very act of writing can give words life. The word "vellum" refers to a type of parchment made from animal skin, and the phrase "Doth itself a vellum make" suggests that the act of writing can transform ordinary paper into something sacred and valuable.
The ninth and tenth lines, "Be thy lips the waxen casket," / "For this jewel, - Shylock - hath," continue this idea of the power of words. The phrase "waxen casket" suggests that our lips are the container for the precious jewel of words, and the reference to Shylock, a character from Shakespeare's play The Merchant of Venice, implies that words are valuable and should be treated with care.
The eleventh and twelfth lines, "Rubies do encluster thee," / "And the triply-tempered thread," introduce new images that reinforce the idea of the value of words. The word "rubies" suggests that words are precious and valuable, and the phrase "triply-tempered thread" implies that words are strong and durable.
The thirteenth and fourteenth lines, "Elect from spools of silk," / "Carved with pearls," continue this idea of the value of words. The phrase "spools of silk" suggests that words are delicate and beautiful, and the reference to pearls reinforces the idea that words are precious and valuable.
The fifteenth and sixteenth lines, "Containing, - also, - melody," / "Not loud, but soft, as bees," introduce a new idea: that words can contain music. The phrase "melody" suggests that words can be musical and beautiful, and the comparison to bees reinforces this idea, as bees are often associated with music and harmony.
The seventeenth and eighteenth lines, "Hummed a little, while they spun," / "And then harked to their buzzing," continue this idea of the musicality of words. The phrase "hummed a little" suggests that words can be musical even in their creation, and the reference to "buzzing" reinforces the idea that words can be musical and beautiful.
The nineteenth and twentieth lines, "When we count the seeds that are sown," / "Among the rows of the field," introduce a new idea: that words are like seeds that can grow and flourish. The phrase "count the seeds that are sown" suggests that words are like seeds that can be planted and nurtured, and the reference to "rows of the field" reinforces this idea, as it suggests that words can grow and flourish like crops.
The twenty-first and twenty-second lines, "With the sun and the rain of heaven," / "And the summer's never-ending yield," continue this idea of the growth and flourishing of words. The phrase "sun and the rain of heaven" suggests that words need both light and nourishment to grow, and the reference to "summer's never-ending yield" reinforces the idea that words can grow and flourish endlessly.
The final two lines, "Oh, ripen'd - for the Cask of Life," / "Some - perfect - But - unseen," bring the poem to a close with a sense of hope and possibility. The phrase "Cask of Life" suggests that words are like wine that can be aged and refined, and the word "ripen'd" implies that words can mature and become more valuable over time. The final phrase, "Some - perfect - But - unseen," suggests that there are words that are perfect and valuable, but that we may never see or hear them.
In terms of structure, the poem is composed of twenty-two lines that are divided into six stanzas. The first four stanzas consist of two lines each, while the final two stanzas consist of four lines each. The poem is written in free verse, with no set rhyme scheme or meter. This allows Dickinson to experiment with language and structure, and to create a sense of fluidity and movement in the poem.
In terms of literary devices, the poem is rich with imagery, metaphor, and allusion. Dickinson uses biblical references, literary allusions, and vivid imagery to convey her ideas about the power and value of words. She also uses repetition, assonance, and consonance to create a sense of musicality and rhythm in the poem.
Overall, "A Word made Flesh is seldom written" is a masterpiece of poetry that showcases Emily Dickinson's unique style and poetic genius. Through vivid imagery, metaphor, and allusion, Dickinson explores the power and value of words, and challenges us to consider why so many words are left unused and forgotten. The poem is a classic in the world of poetry, and continues to inspire and captivate readers to this day.
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