WHEN POETRY SPEAKS: EMILY DICKINSON AND HER INDIVIDUAL STYLE

The proposed study is focused on the search for individual and authorial features of the poetic style in Emily Dickinson's works, which is largely determined by the peculiarities of the poet's general picture of the world, formed under the influence of her attention to nature due to the limitations of the social experience of communication. Emily Dickinson is one of the most widely read American poets of all time. With her unique author's style and figurative language, she was ahead of her time and continues to attract domestic and foreign researchers to "think" on understanding what a metaphor is, where are the limits of the author's imagination, and how can they be achieved. The purpose of this article is a general review of the artistic originality of Emily Dickinson's authorial style and the uniqueness of linguistic and stylistic means of creating imagery in her poetry. At present there is a need to address the world of the poetic personality of Emily Dickinson in the light of growing attention to the work of women writers and poets and their role in the general cultural process, taking into account the special interest that has arisen recently in such global concepts as the linguistic image of the world, the author's picture of the world, as well as the world of a creative person. The world of the poet is of particular value in this chain. Many of Dickinson's poems still need to be deciphered, as the poet balances between adherence to the rules of English grammar and the use of free word order in a sentence, where meaning is prioritized over the need to adhere to correct syntactic form.

Багато віршів Дікінсон ще потребують розгадки, оскільки поетеса балансує між дотриманням норм граматики англійської мови та використанням вільного порядку слів у реченні, де смисл є пріоритетним на противагу необхідності дотримання правильної синтаксичної форми.  In this poem, the world of nature is vividly depicted and it appears as calm and harmonious. We see the shock of a character from meeting with the snake and fill its terror of the unknown: all this is successfully described, but this does not prevent the poet from calling this terrible creature "fellow", which embodies a friendly and benevolent appeal. 2) LOVE -LONELINESS: Love reckons by itself -alone -.

3) Emily Dickinson compares love and poetry (This -would be Poetry -/ Or
Love -the two coeval come -,) where LOVE is POETRY is the key metaphor.
In the vision of Emily Dickinson, love is a living being (But love is tired and must sleep, / And hungry and must graze). Such metaphors can be unified into one key conceptual metaphor: FEELING IS A LIVING BEING, which we consider to be another dominant feature of the poet's individual style.
The author loves to write about insurmountable obstacles on the way to her beloved, which the protagonist desperately tries to overcome, but all without success.
The theme of love is inseparable from the theme of death. The feelings in the poems are often tested by death. The love of the main chatacter is always sorrowful and tragic, elevated to the abstraction of being, which is stronger than death. The speaker of the poems believes in love as freedom, recognizes that its duration is longer than life itself, which can be seen in the poem "Unable are the Loved to die": Unable are the Loved to die For Love is Immortality, Nay, it is Deity-Unable they that love-to die For Love reforms Vitality Into Divinity [7, с. 281] Emily Dickinson often uses the word "Immortality" in her poetry. In general, the words "immortal" and "immortality" were used in the works of the author more than 50 times. The poetess believes in immortality and considers it a state of continuous birth, death and rebirth.
As we mentioned earlier, Emily Dickinson transferred all her feelings to the protagonist and th pronoun "I" became the most frequent in her poetic vocabulary. So the poet wrote only about herself. Turning to the biography of Emily Dickinson, one may think that her "I" is somewhat pitiful and suffering. But in fact, this is the "I" of a self-sufficient strong woman who self-ironically declares "I am Nobody": The poem opens with an oxymoron: the speaker introduces themselves just like someone would in real life by saying their name, though the speaker calls themselves "Nobody". The capitalization of this word subverts the typical social introduction, because they are joyfully and enthusiastically claiming that they are "Nobody!" In other words, the speaker's name or identity is the absence of a name or identity. This is a proclamation, encouraging others to feel that there is nothing wrong in being "nobody too".
In the only comparison in this poem, the author puts an equal sign between being "Somebody" and being like a Toad. This Toad is a "public" creature: this fact is explained by announcing its presence with a loud croak while all the other Toads around it do the same. This comparison suggests that "Somebody" also likes to talk about himself to other "Somebody" all "livelong June" (as if croaking), and their whole community is "admiring Bog".
As much as Somebody wants to be recognized as unique and special, the way they try to achieve that recognition actually makes them all too similar to each other.
Thus, the sounds that "Somebody" makes are gently mocked in the poem, and the comparison suggests that, for all their hype, they ultimately carry nothing but nonsense.
In today's world, which is obsessed with social media and public perception, the poem may be even more relevant than when it was written. This confirms the thesis that Emily Dickinson foresaw artistic pursuits many years ahead.