1. Dickinson’s Letters To Higginson Suggest That Her Highest Ambition For Her Poetry Is That It Be Aesthetically Vital publishable technically
| 1. | Dickinson’s letters to Higginson suggest that her highest ambition for her poetry is that it be |
| [removed]aesthetically vital[removed]publishable[removed]technically unique |
| 2. | Dickinson’s poems 130 and 214 describe experiences of nature in terms that are deliberately |
| [removed]personal[removed]realistic[removed]religious |
| 3. | Poems 241, 258, and 341 describe in introspective terms experiences of personal pain and sorrow. These descriptions suggest that Dickinson had |
| [removed]a keen observer’s eye[removed]an emotional life of profound intensity[removed]an intimate acquaintance with contemporary poetry |
| 4. | Poems 435, 441, 448 describe Dickinson’s attitude toward and ambitions for her poetry. They suggest that |
| [removed]she sought economic independence through her poetry[removed]she considered her poetry to be of high quality[removed]she wanted to develop a reputation as a prominent American poet |
| 5. | Dickinson’s later poetry, exemplified by 1624 and 1732, suggests that |
| [removed]she had great hopes for America[removed]she lost her belief in God[removed]she experienced life as complex and ambiguous |
| 6. | In his letter to Emerson, Whitman identifies as his primary ambition |
| [removed]to be a founder of an indigenous American literature[removed]to be a stylistic innovator[removed]to put Emerson’s philosophy in poetic language |
| 7. | When Whitman tells Emerson that “a profound person can easily know more of the people than they know of themselves” he is suggesting |
| [removed]that Emerson is such a person[removed]the need for more careful education of American youth[removed]a justification for his claim to be a representative voice for his readers |
| 8. | In “Crossing Brooklyn Ferry,” Whitman describes the sights and sensations he experiences at sunset as he rides the crowded ferry across the East River from Manhattan to Brooklyn. His purpose in doing so is to |
| [removed]document the way that his pocket of America was at the time he lived there[removed]express his unique perspective on this time and place[removed]demonstrate how those common sights and sensations transcend time and all the other differences that divide Americans |
| 9. | In “Crossing Brooklyn Ferry,” Whitman discusses individual identity as |
| [removed]autonomous and separate[removed]nonexistent[removed]derived out of commonality |
| 10. | The final line of “Crossing Brooklyn Ferry” asserts Whitman’s belief that |
| [removed]the soul is embodied in the autonomous individual[removed]the soul is the sum of the individuals in the community[removed]individuals do not exist |
| 11. | Whitman’s poetry is often described as providing a “catalog” of cultural sights and events. The primary effect of this catalog is |
| [removed]to inventory the characteristics of his culture for posterity[removed]to add authenticity to his writing[removed]to portray the diversity of American experience as encompassed in his consciousness. |
| 12. | Dickinson envisions literature functioning as |
| [removed]a religious sermon[removed]an expression of national identity[removed]an expression of individual, human experience |
| 13. | Whitman envisions “Song of Myself” as |
| [removed]an expression of one individual’s experience[removed]an expression of national identity[removed]a new Homeric epic |
| 14. | Whitman’s poetry may be contrasted with Dickinson’s by being described as |
| [removed]precise and concrete rather than vague and abstract[removed]undisciplined and innovative rather than disciplined and traditional[removed]public and political rather than personal and private |
| 15. | In their differences, these poets can be read as offering |
| [removed]gender-specific experiences of American life[removed]conflicting views of the American experience[removed]complementary versions of life in nineteenth century America |
