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“‘Hope’ is the thing with feathers” is arranged into three four-line stanzas (quatrains) that alternate between iambic tetrameter and iambic trimeter. This form is often called hymn meter because a large number of Christian hymns have been constructed around it. Historically, this shared meter has allowed churches to have a large repertoire of hymns that can be sung to the same piece of music. Those who perform the hymns, therefore, needed to master only a few songs in order to sing multiple hymns. Though Dickinson stopped attending church services by her early twenties, she wrote in hymn meter throughout her life. The use of hymn meter in “‘Hope’ is the thing with feathers” points towards a potential religious interpretation of the poem’s content.
The poem also deviates from hymn meter in interesting ways. The first foot of the poem, “‘Hope’ is,” (Line 1) for instance, places the emphasis on “Hope,” (Line 1) making the first foot a trochee instead of an iamb. This is likely to place greater emphasis on the first word, “Hope” (Line 1) as the object of investigation. This substitution also has the effect of building momentum into the definition of hope as “the thing with feathers” (Line ), as there are no stresses on any syllables between “Hope” (Line 1) and “thing” (Line 1). This creates a stumbling effect that potentially reflects the speaker’s own frustrated attempts at defining hope.
This frustration is also communicated through Dickinson’s use of dashes. Dickinson’s extensive dash use is unique among poets—particularly among her contemporaries. Dickinson’s dashes are sometimes, but not necessarily, used as punctuation. If her dashes, for instance, were understood as standard m- or n-dashes, the meaning of Line 11 would invert, and the word “never” (Line 11) would refer to “of me” (Line 12) in the next line, which renders the ending of the poem nonsensical. Often, instead, the dash is used to create caesurae, or a pause. This pause, at times, demonstrates the speaker’s hesitation. At other times, it provides space for reflection.
Extended metaphors, like traditional metaphors, draw comparisons between two things with the intention of illustrating their similarities. Traditional metaphors may only last a single line and are often used to elucidate one aspect of the thing being compared. Extended metaphors can sustain for an entire stanza, section, or work of poetry.
Metaphors rely on a tenor (the thing being described) and a vehicle (the thing used to describe the tenor). In “‘Hope’ is the thing with feathers,” Dickinson uses the extended metaphor of a bird or an angel to explore and define the concept of hope. Extended metaphors tend to be particularly useful in discussing abstract concepts. By connecting the concept with a concrete image, Dickinson’s speaker is able to investigate the concept concretely rather than abstractly.
“‘Hope’ is the thing with feathers” follows a loose rhyme scheme that is a variant of the ABCB rhyme scheme seen in most of Dickinson’s work. The first stanza follows this scheme exactly, the second stanza uses an ABAB rhyme scheme, and the third stanza has a more interesting ABBB rhyme scheme. This last stanza is the most interesting because of the effect that this rhyme scheme creates. Rhyming triplets are quite uncommon in poetry and are sometimes considered to be lazy or the sign of low-quality verse. Dickinson seems to use this lazy, docile quality of rhyming triplets to her advantage, however. The three perfect rhymes “Sea” (Line 10), “Extremity” (Line 11), and “me” (Line 12) communicate the speaker’s fatigue and desire to resolve the poem. The three perfect rhymes could also be interpreted as mimicking the waving rhythm of the “Sea” (Line 10).
The reliance of perfect rhymes in this poem is quite unusual in Dickinson’s work. Typically, Dickinson is associated with the use of slant, or imperfect rhymes. Slant rhymes give a sense of discomfort or uneasiness, and Dickinson likely avoided them in “‘Hope’ is the thing with feathers” to give the work a feeling of comfort and closure similar to the satisfaction one feels when full of hope.
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By Emily Dickinson