With a few straight lines, perhaps a dot and an occasional squiggle, Parola is born. Despite its humble origins, Word holds the possibility of greatness: the ability to cause war, make peace, express love, describe fear. While many others are easily accessible, discussing Perfect Word requires patience, thoroughness and wit. Despite having it properly shackled, Word's true "perfection" rests on its relationship with Other Words. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Emily Dickinson has an uncanny ability to master perfect diction, thus creating worlds of hope, desperation, faith, and endless questions. Through her use of the word Goblin, its role, its impact on understanding the poem, and its relationship to other images, Dickinson displays her linguistic skill and the intricacies of language. Each of the six poems (356, 360, 388, 425, 619, and 757) that include goblin imagery does so in a completely distinct way; however, as the leprechaun's part of speech is more substantial, so too is his degree of evil and his role in the poem intensified. Through subtle manipulations of language, Dickinson deepens her poetry and opens it to many levels of interpretation and connection.#757 I think living - it could be a happiness To better understand Dickinson's use of the word goblin poem in #757, its context must first be assessed. Because of the desire for "bliss" and the "enlarge[ing]" of one's heart, the tone of this poem reflects an air of longing, a dream of achieving an existence more perfect than the life he lives and knows (lines 1, 6). This poem articulates the speaker's desire to reach heaven where any fear of beauty's corruption, "apprehension" about her fate, or moral and spiritual "bankruptcy" is dispelled by a vision of a "steadfast South" for the soul (13-16, 19). This dream is so vivid and desired that she prefers this "fictitious" world to her reality (21, 23). Furthermore, he not only longs for heaven to arrive, but he also wishes to ignore this life as a "mistake" corrected by God, implying that his life truly begins with entering heaven (27-28). Paradise, with its splendor and generosity, serves as a striking contrast to earthly corruption and uncertainty in faith. Having established its context, the goblin appears in a catalog of negativity and corruption on earth that is missing in heaven. Although it is used as a noun, the negation of that noun makes this example of the word the least powerful of the six examples. Since the goblin does not exist in heaven, it has little effect on the meaning of the poem (other than the contrast between the perfection of heaven and the corruption of earth). Due to the part of speech attributed to the goblin, neither the word nor its implications apply/affect the interpretation in a negative sense. Therefore, the tone of this poem remains longing because the speaker simply acknowledges the fact that negative aspects exist in reality but refuses to let them affect his dream state. The goblin's role here is to act as a corrupter of blooming flowers, a destroyer of passive beauty. Associated in nature with a simple insect, the "goblin" represents a pest or nuisance typically ignored and considered a fact of life. In light of this interpretation, Dickinson's subtle use of a word with evil connotations reveals her understanding and control over language and ability to bend it to her needs.#356 If You Were Coming in the FallThe opening tone of this poem appears eager and eager due to thethe speaker's desire to "sweep away summer" to get to autumn, to put the month's balls in separate drawers to get through the year, to casually count the "centuries...on [her] hands" if she the lover (or God) would be only a century away, or would carelessly put aside his life if they would be united in the afterlife (2, 6-7, 10, 14). Time acts as the faceless enemy that stands between her and her lover. Although this poem is about love and the desire to reunite with a lover, an element of pain remains. Because he does not know how long they will be kept apart by an outside force, he suffers emotionally, as if his heart awaits a sense of comfort offered by a defined period of separation. Uncertainty is torturous, but only torturous because it must wait for love. Even the most negative aspect of this poem remains positive. In this context, the pixie acts as an adjective, a modifying bee. In this regard, the goblin exists but only in the form of another being, thus existing in the transference of goblin-like qualities. Because this sense of evil exists in a diluted form (as the bee possesses other qualities beyond its goblin status), it has a subtle impact on the tone of the poem, adding impatience to longing and longing. Proclaiming that the uncertainty of the length of time in which they will be separated "stings, like the goblin bee -/that does not declare - is stinging", the speaker attributes goblinism as a state of malice and provocation (18-20) . This goblin bee holds back its sting momentarily because the unknown is so much worse than the known. Because the speaker is uncertain about both the sting and the meeting, she remains anxious. The use of the goblin as a natural image also seems to imply that this is an unfortunate, but expected, life event. This provocation produces a change in tone: not only is she eager to be reunited with her lover, but she also appears annoyed by the time. Dickinson's delicate use of "goblin" as an adjective allows the word to act as an element of evil without corrupting the entire loving feeling behind the poem.#619 Have you ever been in the mouth of a cave- The tone of this poem, a unlike the previous one, the second is dark, disturbing and disturbing, as revealed by the images of darkness inside a cave, horror, loneliness and death (1, 5, 8, 12). Fear permeates this poem: fear of the afterlife, of death, of loneliness, of the unknown, of desperation, of living after such experiences. The speaker describes these fears first through the metaphor of the cave. Standing inside the cave, “far from the sun” and shrouded in darkness, the speaker evokes a sense of paranoia coupled with shortness of breath and prickly hairs on the back of his neck (2, 3). Panic prevails, not out of fear of a presence in the darkness but rather out of fear of overwhelming loneliness. This sense of desperation continues with the cannon metaphor. Driven to that point by desperation and disparity, the barrel of the gun (or cannon) offers lost souls a means to ease the pain. The "yellow eye" lit from within the cannon's barrel serves as a paradox for the light that leads the deceased to heaven: while the celestial light represents redemption and guidance, the cannon's lit fuse lures its viewer into a false sense of truce (an anti-salvation) (10). Just before committing suicide, the question of death enters the person's mind. That fear of the unknown causes the individual to reconsider life, saving him not by faith in heaven but by the uncertainty of it. Without knowing whether the Christian god will save, whether the pagan afterlife will prevail (symbolized by the Satyr's song) or nothingness will reign, death turns out to be a greater risk than life. In terms of this poem, Dickinson uses goblinas an adjective, modifying the word it, which in turn represents the circumstances within Cavern's Mouth. In this context, the goblin acts as a kind of exclamation, emphasizing that the cave is scary, disturbing and horrible. The situation inside the cave inspires fear and uncertainty, much like the mystical character of a goblin. However, since goblin simply describes the larger entity of a cave, the impact of the word loses some of its potency and demonic aspects. Because of its minimal role, its impact on the overall tone and meaning of the poem is to underline preconceived feelings and introduce a somewhat otherworldly element. Typically considered a lesser demon or mythical creature, the goblin represents the question of faith through a look at the powers of evil. Describing the cave as having goblin-like qualities, it therefore takes on the air of a place of evil, temptation and paganism. Likewise, a feeling of isolation and helplessness is often related to questioning one's belief in God. By simply using the term goblin in relation to the cave, Dickinson emphasizes the temptation and religious turmoil experienced in people's darkest moments.#388 It would never be common again- I said The tone of this poem resonates with a longing for times gone by because now, "the difference had begun" (2). Because it speaks of a crippling loss and the transformation from bliss to fatigue, the poem applies to several interpretations: to the loss of riches, the loss of innocence, the loss of love, the loss of faith, or the loss of the ability to find happiness. A disturbing change has occurred, which was once greeted with bitterness, but is now viewed more with longing or reminiscence. Once upon a time, the speaker lived a life of blushing joy, reflected in her rosy cheeks and sparkling eyes (9-12). Rather than being anchored to the earth, she “walked like wings,” rising above earthly difficulties (13). His joy could not be held within himself, but rather demanded to be shared with “every creature that met and endowed the whole world” (19-20). Unexpectedly, however, the source of her happiness is stripped from her and she becomes a "beggar" (24). Temporarily blinded and disoriented by the sudden loss, she "clings to sounds" and "gropes" at shapes, feebly searching for signs of familiarity and her former life (25, 26). Its beautiful and exotic fabrics have been replaced with simple, coarse "sackcloth" (30). The beauty she saw in life before her catastrophic loss of innocence, lover, or faith has been replaced with something banal and crass. Reality grounded her. Within this poem, goblin acts as a noun representing one of many goblins or beings. Unlike the previous poems, because the goblin represents a real entity, it possesses all aspects of goblinhood rather than simple goblin qualities. As a royal being, he displays traits attributed to a goblin in his purest form: a malignant, troublemaker, and manipulative being. The use of the term "goblin" greatly influences the tone of the poem, as it helps to stimulate the turning point and cause desire. In this poem, the goblin belongs to a list of actions that transform the speaker's life from naive and cheerful to tired and depressed. By drinking her "dew", he steals her God-given freshness and sustenance. However, since the goblin in this poem acts as one of the many goblins in existence, denoted by the indefinite article "a", this goblin's power is not unique. Likewise, its impact on the speaker's status is significant but is not the only determining factor in the fall; the decrease in wealth,the lack of tenants in the buildings and the begging of the speaker accompany him (21-24). Through this depiction of the goblin, the poet reveals a character strong enough to completely alter the course of the poem, transforming the speaker's life from bliss to meekness.#414 'It was like a Maelstrom, with a notch, Illustrated by words like "boiling ,” “agony,” “delirious,” “frozen,” and “anguish,” this poem has an overall tone of desperation (3, 4, 19, 24). Divided into three sections, the first and second stanzas illustrate the message in terms of a vortex, the third and fourth stanzas tell the same tale but in terms of a goblin with a pressure gauge, and the fifth and sixth stanzas reinterpret the fourth stanza in terms of an execution this poem discusses the anxiety of fate's decision, whether it is in the form of courtly or heavenly judgment capable of changing the course of events, the individual must wait anxiously for the "edge" or the "ultimate." ".inch" of the fabric of his life lies in the hands of the agony and in his (6, 7). While in the first stanza the means of measuring time was represented by notches in a chaotic vortex, the third stanza employs the goblin as a cincher of the fleeting hours, transferring that role from an act of nature to an otherworldly demon. The key words “as if” that open the fifth stanza establish the mirroring of the fourth stanza (18), the hesitation of time depicted as the paralysis of the “tendons” and “senses” translates into the frozen state of the individual while being led to the gallows, still fascinated by the "luxury of doubt" (14, 15, 20). saves the condemned from the powerful demonic hands of the "demon" but, in the sixth stanza, becomes a mere creature panting for "recovery" to free the prisoner (16, 23) in rendering the position of savior from "something" that is unleashed in the second stanza to God, in the fourth to a simple creature in the sixth, Dickinson articulates his uncertainty about the role of faith in reality (8, 16, 23). To move from the unknown to the spiritual and end up with a physical image, the role of the savior is not necessarily downplayed; rather, it becomes an aspect of this world, tangible and understandable (thus describing the poet's oscillation between Calvinism and Transcendentalism). The final lines of each section introduce the question of how to react to reality in light of this experience with salvation: awakening from a dream, being "let go, therefore, conquering", or questioning whether to perish or live implies that although the individual has been saved from condemnation, his fate is uncertain (9, 17, 25). Through uncertainty awaiting conviction, paralysis with fear, liberation and the return of uncertainty, the poem provokes a sense of unease; through all these trials and tribulations, the individual finds himself no better than when he started. Here, goblin behaves like a noun, first representing one of many goblins (A goblin) but then acting as a specific goblin (THE demon) (10, 16). The shift from the indefinite article to the definite article implies that the demon has adopted a more prominent role within the poem. As briefly mentioned above, the goblin takes on the role of the vortex in representing the person's lack of control over their destiny. Beyond a simple role transfer, the goblin acts as a being who knowingly controls someone's life, while the vortex appears to be an unfortunate but inevitable event that unintentionally captures the person. Therefore, the goblin represents a demonic force, bent on destroying and torturing for its own pleasure. Furthermore, pairing this goblin with God forces an interaction between pagan and Christian influences in addition to the battle between good and evil. Although the.