The definition of the transitive verb “hope” according to Merriam-Webster is 1. ) to desire with expectation of obtainment, and 2. ) to expect with confidence. This implies a sense of fulfillment through confident yearning. In Emily Dickinson’s renowned poem “Hope is the thing with feathers,” she interprets these meanings and adds her own perspective. The first two lines in the first stanza read, “Hope is the thing with feathers- / That perches in the soul-“. Dickinson metaphorically depicts “hope” as a bird residing within each individual.
The following two lines, “And sings the tune without words- / And never stops-at all-” convey that the bird that exists within each person continues to sing, even in the face of challenging times. The explanation of the poem “Hope (1)” describes the bird as “brave and persistent” because it continues to “share its song even in the most difficult circumstances.” The writer also suggests that by depicting “hope” as a bird, Dickinson creates a beautiful representation of the value of human aspiration. While not everyone demonstrates courage or perseverance, everyone possesses the capacity to do so.
Everyone’s personality is unique and varies. The “bird” symbolizes the more extroverted personality, which is more dominant and easily recognized. Conversely, in the more introverted personality, the “bird” is concealed due to insecurities and the inability to sense its presence. Despite their differences, these contrasting traits share a common factor – the universal human feeling of desire. Just like the bird, this desire may not always be prominent, but it remains integral. Similarly, individuals have different desires. While some people may have similar interests, not everyone desires the same things in life.
Despite having the same desires, the songs of those individuals’ “birds” sing a nearly identical tune. Barton Levi St. Armand and George Monteiro, scholars from Brown University, examined William Holmes and John W. Barber’s Religious Emblems (1846) and discovered an alternative interpretation of Dickinson’s term “hope.” St. Armand argues, “Hope does not eliminate hardship; instead, it supports the soul in difficult times…. This hope provides a delightful feeling of security during trials, a blissful sense of tranquility amidst numerous challenges…” Interestingly, although their analysis mainly pertains to the religious dimension, it introduces a contrasting perspective to Emily Dickinson’s poem.
Instead of courage, perseverance, as well as desire, St. Armand and Monteiro’s findings prioritize hope as a metaphorical “rock” during times of turmoil. The singing of the “bird” not only provides stability and tranquility, but also motivates individuals to overcome their struggles and progress. Those lacking courage and identification with this hopeful “bird” often face unnecessary hardships.
Both the apprehensive personality and the extrovert have different ways of dealing with conflict. The apprehensive personality does not recognize their own ability to overcome their conflict, while the extrovert takes advantage of the feeling of safety provided by the song of the “bird”. The extrovert adapts better to their situation and achieves better results. Monteiro and St. Armand analyze “Hope is the thing with feathers” and conclude that the “thing with feathers” is not a supernatural aid or saving grace, but rather a human force that exists within the soul, even in the most challenging moments of life (St. Armand).
The text suggests that unexpected sources such as sorrow can give rise to hope. This idea is a universal longing, although not everyone recognizes it. Sean Robisch takes a more critical approach to Emily Dickinson’s poetry, suggesting that her use of metaphors encourages readers to bring their own experiences to the interpretation. Readers often connect with literature on a personal level by relating to specific phrases or the entire work.
This establishes a more devoted reading of the written work which all writers desire – the connection and understanding of a piece of their works even if it was not the intended interpretation. Robisch responds to the metaphorical query “What is hope?” with the reply “It is a bird.” He suggests that this initial question raises further queries about the metaphor of feathers, as posed by critic Katherine M. Rogers. Rogers raises the question “Do birds sing in bad weather?” in line with Barton Levi St.
Armand and George Monteiro have discovered that “hope” can be described as “a blessed sense of peace amid a sea of troubles”. In this analogy, the bad weather represents the various problems one may face, and the song represents the longing for a life free from unwanted predicaments. In response to Rogers’ question, it can be concluded that yes, “birds do sometimes sing in bad weather” (Robisch). The first two lines of the second stanza of the poem highlight the beautiful sound of the “Bird” singing amidst the harsh “storm”, as it strives to be heard.
The final two lines, “That could intimidate the small Bird / That provided warmth for so many,” emphasize the severity of the “storm” that disturbs the peacefulness of the song. No matter how harsh someone’s personal “storm” may be, the restless bird continues to offer comfort and hope during the downfall and its aftermath, if there is any. According to the poem, the only solace humans can rely on is the “hope” that resides within their souls. Depending on one’s perspective, whether life is seen as a dog-eat-dog world or with a more optimistic view like seeing the glass as half full, the one dependable source of comfort already exists within. After everyone else has left and all actions are finished, the only thing that remains is the “hope” for a better tomorrow. The host who possesses a more extroverted personality and recognizes the bird on a more frequent basis than the timid personality will cling to optimistic thoughts once their turmoil comes to an end and will hold onto the song until their future appears bright enough to face alone or with external support.
The person with a more anxious personality, who rarely or never notices the song of their “bird,” will focus on the negative aspects of their situation because they cannot see the hope that the song brings. The third and final stanza, “I have heard it in the coldest land and on the most unusual sea, yet it never asked for anything from me even in my most desperate times,” highlights the speaker’s acknowledgement of the “bird” and its song throughout their struggle.
Within the poem, it is suggested that the “bird” does not expect anything in return. Robisch analyzes the final two lines of the poem and suggests that the song of the “bird” transforms into a potential request. He interprets this portion of the poem as a shift from a bird’s song to a voice that could ask a question (Robisch).
Sean Robisch discusses the speaker’s perspective on the “bird” and the importance of “hope.” Robisch suggests that the final two lines indicate that the speaker understands that the “bird” does not expect any repayment for its services. He interprets Dickinson’s ending as implying that if he puts himself in the narrator’s position, he realizes the power of the “bird’s” song, which represents hope (Robisch).
The critic highlights the importance of capitalizing the word “Me”. As Robisch suggests, capitalizing the pronoun helps the reader acknowledge their own “bird” and its desire to be heard. This allows Dickinson to create an opportunity for readers to relate to her poem. Her goal was to prompt individuals to contemplate their hidden potential. Throughout the poem, she addresses both extroverted and introverted personalities, but assigns different meanings to each.
The first personality type that Dickinson’s poem addresses is the outgoing one, who possesses a natural sense of hope. By placing themselves in the narrator’s perspective, these individuals can recognize that they are the ones who utilize their comfort in difficult situations. Furthermore, they are encouraged to appreciate the song and acknowledge their privileged access to inner wisdom. In contrast, the poem adopts a different approach when speaking to the second personality type: the hesitant ones. For these readers, it instills a sense of empowerment.
Dickinson presents a metaphorical mirror to readers, enabling them to acknowledge the unique song sung by their internal “bird.” It is probable that their perspective on life aligns with a “every man for himself” mindset, leading them to believe they must handle stressful situations alone without any assistance. By establishing this introspective pathway and metaphorical mirror through placing the reader in the narrator’s shoes, individuals with hesitant personalities can potentially discover the uplifting melody sung by their optimistic “bird” and utilize it.
Although opinions vary, the critics previously mentioned provide a collective interpretation of Dickinson’s poem “Hope is the thing with feathers.” The author of the work overview titled “Explanation of: ‘Hope (1)'” characterizes the bird as representing the inner qualities of “courage and perseverance” that exist within all individuals, regardless of their awareness. Additionally, they acknowledge the universal longing for this inner strength. Barton Levi St. Armand and George Monteiro’s religious-based analyses further support the notion of a resilient melody within, offering a comforting presence.
The poem “Hope is the thing with feathers” by Emily Dickinson suggests that in times of darkness, when hope is most needed, there is always a presence of a “bird.” Sean Robisch’s critical view of the poem prompts readers to find their own “bird” within and contemplate the questions raised. Dickinson’s poem invites readers to introspect and discover the potential of hope that resides within them.
Works Cited
Dickinson, Emily. “Hope is the thing with feathers.” Prentice Hall Literature Portfolio. Ed. Christy Desmet. Upper Saddle River: Pearson, 2007. 464. Print.
“Explanation of: ‘Hope (1)’ by Emily Dickinson.” LitFinder Contemporary Collection. Detroit: Gale, 2007. LitFinder. Web. 1 May 2012.
“Hope.” Merriam-Webster. Merriam-Webster, 2012. Web. 24 Apr. 2012.
Robisch, Sean. “An overview of ‘Hope is the Thing with Feathers’.” Poetry for Students. LiteratureResource Center. Web. 25 Apr. 2012.
St. Armand, Barton Levi, and George Monteiro. “Dickinson’s ‘HOPE’ IS THE THING WITH FEATHERS.” Explicator 47. 4 (1989): 34. Academic Search Complete. Web. 24 Apr. 2012.
