I like the look of agony essay

Copyrightedslightly edited with permission by Gary Amirault, Introduction by Gary Amirault Ancient Greek and Roman poets, philosophers and statesmen such as Seneca, Polybius, Strabo, Plato, Plutarch, Timaeus Locrus, Chrysippus and Livy tell us they invented fables of Hell "Since the multitude is ever fickle, full of lawless desires, irrational passions and violence, there is no other way to keep them in order but by the fear and terror of the invisible world.

I like the look of agony essay

I like the Look of Agony By: People normally have trepidation of agony, but Dickinson uses literary devices such as imagery, personification, and connotation to reveal her contrasting enjoyment to the social norm.

I like the look of agony essay

Completely reading the poem allows the reader to understand what the first line actually means. Dickinson does not like a look of agony because she enjoys watching others suffer; she is fascinated by the expression of agony.

Many human emotions can be falsely projected or controlled. People tend to feel comfortable when they are in control of their emotions.

People who are in agony cannot only experience pain but can also be removed from their comfort zone. This potential for lose of control can therefore evoke fear in people. No one can fake the physical reactions accompanying agony. People are used to being in control and interacting with people who also have this control.

It can be uncomfortable for people to watch others in agony because it reminds them of how, if they were in the same situation, it would be impossible to disguise the pain.

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This loose of control is the focus of her fascination, and her motivation for writing this poem. Dickinson uses imagery to describe the reactions from the pain.

I like the look of agony essay

Imagery of physical reactions to agony can convey feeling associated with it to the reader, but Dickinson contrasts this with her own views. The physical reactions of a convulsion, a throe, and eyes glazing over are effective as reminders because they all have a connotation of pain and death.

Pain is something that tends to evoke an instinctual fear in people, so as Dickinson describes the painful reactions people have, the reader is reminded of this fear. Because it makes reference to death, the strongest of these descriptions is the one referring to the eyes. Not only is pain associated with this but also the process will eventually leads to fatality.

Death is also a metaphor, the death of the control. Once the eyes begin to glaze over, physical death could be pending and death of emotional control could also be setting in. Dickinson enjoys the fact that people cannot fake the reactions to anguish; therefore their reaction must be true.

Because of her isolated lifestyle and the wonderment she had for things both natural and spiritual, she appreciated something that was a known truth. Another literary device utilized by Dickinson is personification. When an author uses personification, human qualities are assigned to something non-human.

Personification helps the readers understand anguish because they can easily visualize the act of stringing something. Dickinson utilizes this to create a vision that helps reinforce the fear that people tend to have toward pain and agony. Both imagery and personification are made more effective as literary devices because of the connotation of the words Dickinson choose to use when employing them.

The connotation of these words helps Dickinson remind the reader how distressing agony can be. What distress most people, however, fascinates Dickinson.X⁠— Last week I returned to Amherst.

It’s been years since I was there, the time we met. I was hoping that you’d show up again; I even looked for you, but you didn’t appear. "I like a look of Agony," by Emily Dickinson, uses literary devices to affect the reader. People normally have a fear of agony, but Dickinson uses literary devices such as imagery and personification to reveal her contrasting enjoyment of this usually disagreeable emotion.

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