Comparative Analysis of Social Poetries of Emily Dickinson and Migjeni
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INTERNATIONAL JOURNAL OF APPLIED LANGUAGE AND CULTURAL STUDIE (IJALSC) Vol. 2, No. 1, 2019. COMPARATIVE ANALYSIS OF SOCIAL POETRIES OF EMILY DICKINSON AND MIGJENI Hyreme Gurra, PhD, State University of Tetova, English Language Department, Macedonia E-mail: [email protected] Vjolica Berisha, Student, State University of Tetova, English Language Department, Macedonia E-mail: [email protected] Abstract. This paper draws a comparison between two selected poets, Emily Dickinson and Milosh Gjergj Nikolla which were not separated from each other by a century but belonged to different gender groups and lived in different continents. In this paper we are going to analyse both of these poets’ major works and also we are going to emphasize what two poets have in common and what differs them. Inspired by the conditions and circumtancies of their nations, social theme was the main theme which left its impact on all their thinking and gave its tint to the majority of their poems. Not many poets or writers of that time were able to reflect on what concerned people, in this artistic and brave way as they did. They raised their voice against many issues and revealed this on their innovative and original creations. Both of them encouraged humans to indulge in a healthy level of doubt and scepticism, but not to the point of nihilistic despair. They searched for hope within another source – the human body comprising of a pure soul, which itself according to them, always contains a spark of divinity. Keywords: Emily Dickinson, Migjeni, comparison, differences, similaritie © 2019 IJALSC. All rights reserved. 1. Introduction reality we live, that see life without curtains, without tension, without fear. Poetry brings the real face and aspects Poetry enabled Dickinson to achieve an of the history, people and geographic domains equilibrium between perosonal autonomy and and social events in front of us colorfully and emotional dependece. Her comprehensive vi- with a strong imagination and remembrance. sion and her comitment to the inner and outer Poems are possible to be used in the educa- experience that drive the individual, allowed tional field due to these characteristics. Social her to accept and celebrate life despite dualis- poetry is poetry which performs a social func- tic inevitabilities of grief and joy, despair and tion or contains a level of social commentary. hope. Less concerned with what should be Migjeni himself did not believe in great- than with what was, she focused her energy ness. On the contrary, greatness, in his works on the concrete details of the present moment. is a pretext for being sarcastic and a cause for Through her writing, Dickinson expressed caricature. Enthusiasm, youthful momentum, anxiety about the uncertainty of life while par- is ruined in the streets and the trails of mis- adoxically stressing the value and profound ery. The quest for human truth and dignity, importance of life’s journey. Her moral and the quest for human values, are degenerated artistic vision was essentially holistic, genera- into hypocrisy and servility. The resurrection tive, and comprehensive rather than linear,and has emerged on the horizon while Albania has categorical. sunken its foot in misery. Therefore, Migjeni said; we as a poets have a sacred duty to dis- 2. Literary Review cover this misery in front of the world. Let the world hear the cries of the Albanian popular Migjeni and Emily Dickinson were crowd coming from this mortar planted equa- unique source of human literary creativity. ly from outside and inside. Migjeni asserted; This is evidenced by their critiques and schol- we need writers who know how to reflect the ars as well. Migjeni was visionary in his writ- Corresponding Author ing, as Gani Qarri ascertains that “Migjeni, Hyreme Gurra, PhD, State University of Tetova, poet i mjerimit të djeshëm dhe profet i mjer- English Language Department, Macedonia imit të sotëm”. He is considered the most po- E-mail: [email protected] erful writer of all times, yet considering the applicability of his verses from a century ago in todays Albanian environment. This work is licensed under a Creative Commons Sabri Hamiti claims: Attribution 4.0 International license. The article is “Migjeni nuk asht rreze dielli qi len, por published with Open Access at www.alsjournal.com rreze dielli qiprendon. Asht lajmtar i kohës së www.alsjournal.com 5 INTERNATIONAL JOURNAL OF APPLIED LANGUAGE AND CULTURAL STUDIE (IJALSC) Vol. 2, No. 1, 2019. re, jo fillues i saj. Bir jo i shekullit të ri” por i year period of the Civil War (1861-65) was the mbramibir, rebel, i shekullit të vjetër“. (Ham- bloodiest era America had yet seen. It was the iti S. 1998, p 175) most prolific time of Emily Dickinson’s writ- Regjep Qosja: ing. “This idea of the poet, given in its nar- row sense what the man of consciousness and high moral mature in the revolutionary struggle, hopes for man….but in the broadest sense Migjen’s superhero is not individual but collective and social power“. (Qosja, R. 1972, p.52.) In her critical biography of Emily Dick- inson, Cynthia Griffin Wolff describesa “ new Voice (that) emerges in the poetry after 1862 or 1863” a voice that “recognizes the needs of others” and “reveals a philosophical turn of mind”; one that “speaks with the authority of one who can comprehend extremities of suf- fering”. (Griffin Wolff, C. 1986 p. 15) Despite the fact of living in a total iso- lation maybe not much recognized, yet she Picture 1. Emily Dickinson and her innovative voice was heard and rec- ognized. Suddenly the clashes between individual Dickinson’s stark style, her ambiguous and society, agrarian and industrial, black and punctuation and capitalization, her variant white, and North and South came to a head. word choices and multiple versions of poem It was a time when war had brought poverty it is what people thought that differs her but in and pain with Abraham Lincoln getting assas- fact Miller, Edward H. Butler1 tells what ac- sinated in the process. tually makes Dickinson’s work so differently Dickinson was quite a nineteenth-centu- from that of her contemporaries and that is “an ry American woman who wrote with the fire, electrifying sensibility; conciseness; especial- innovation, and skill of a twentieth-century ly syntactic; crisp and colloquial diction that master. Long before the Modernist and femi- lacks poeticisms, and a greater distinctiveness nist movement, she wrote such a poetry that marked by many dashes as well as by quick embodied principles of fragmentation, isola- logical turns that challenge the reader to figure tion and self-reliance. out the transitions” because according to him By the 1860s, Dickinson lived in al- Dickinson’s forms and topics were typical of most total physical isolation from the outside her era, and quite accessible and acceptable to world and from that time onward, she began to the readers of her time. dress all in white. Whether the choice of dress was practical (white was easy to launder and mend), symbolic (mourning, virginity), or a 3. Emily Dickinson type of self-chosen uniform (poet, bride). But what caused the “women-white-to When Emily Dickinson was born be “to shut herself up in the homestead and in1830, the United States was a very young leave the wider social world behind? This is country just beginning its quest for expan- the question that continues to perplex many sion. Progress was closely associated with the scholars. There are many theory conspiracies desire for additional territory and resources. about this. In the 1800s, pregnant women were The country’s thirst for land was insatiable. expected to separate themselves from society, America during her time, especially the four- a costume which the Victorians called “con- finement”. And therefore Dickinson took up 1 Professor of English at the University at Buf- this ritual and transformed it from something falo, has received the Modern Language Asso- negative to something positive- confining her- ciation’s biennial Prize for a Scholarly Edition self in order to give birth to her poetry. Some other people state that Emily Dickinson could for her book, “Emily Dickinson’s Poems: As not face and cope with the poverty and injus- She Preserved Them” www.alsjournal.com 6 INTERNATIONAL JOURNAL OF APPLIED LANGUAGE AND CULTURAL STUDIE (IJALSC) Vol. 2, No. 1, 2019. tices of that time. While Amy Lowell was cer- of the Dickinson’s poems, “ Hope is the thing tain, however, that she was the victim of some with feathers--..”takes the form of an iambic undiagnosed nervous disorder. However read- trimeter that often expands to include fourth ers, fans, historians, and critics of Emily will stress at the end of the line (as in “ And the never know for certain the motivations be- tune without the words—“). Like almost all of hind Dickinson’s self-induced seclusion and her poems, it modifies and breaks up the rhyth- creative outburst. Even though she remained mic flow with long dashes indicating breaks physically separate from society, she was still and pauses (“ And never stops—at all—‘’) very much emotionally and intellectually in- The stanzas, as in most of Dickinson’s lyrics, vested in her family and the news of the world. rhyme tunes in an ABCB scheme though in The power of words and her style is this poem there are some incidental rhymes: complex, confusing, provocative, intimidat- “words” in line three of the first stanza rhymes ing, profound, and unorthodox: these are some with “heard” and “Bird” in the second; “Ex- of the words that describe the work of Emily. tremity” rhymes with “ Sea” and “Me” in the Except that was unique on usage of words she third stanza, thus technically conforming to an also was unique on her style.