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After Great Pain, Stages of Pain


after Great Pain, Stages of Pain

be reconstructed from disjecta membra. thus we are shown actions, how the body looks, what it does, rather than feelings. And, for one who knows that quartz is a crystal, a "quartz contentment" is a contentment crystallized, as it were, out of the pain. A tomb has very similar features of deadness, like quietness and stillness. mmpi (Minnesota Multiphasic Personality Inventory test a 566-question test consisting of true or false answers and designed to assess personality traits. The mmpi test shows elevated scale I (hypochondriasis) while the SCL-90 test has elevated SOM scales; the depression scales are again low on the SCL-90, but may not have returned to normal on the mmpi because of the structure of its questions.

Moreover, these externalizations did not always /260/ correspond to the internal condition but at times, in fact, represented the exact opposite. The anger may also be better understood if one examines the dynamics of dependency. She is not content to recollect emotion in tranquillity, nor to describe it in eloquent, complete sentences.



after Great Pain, Stages of Pain

Emily Dickinson used special imagery to describe the feeling and situations as best as she could. In After Great Pain, widely renowned as one of her two greatest poems, she describes three stages of pain experienced in an unknown traumatic event.

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As the poem begins by setting out the past-what precedes the action of the poem-so its final analogy projects the poem into the future, what will hopefully (unless the formal feeling is truly death-dealing) follow: "Remembered, if outlived As Freezing persons, recollect the Snow-/FirstChill-then Stupor-then. So she is unsure whether her numbness began only yesterday or centuries ago. While at first this may seem inconceivable, upon further examination it is quite apparent that almost all of the various pain states as they progress into chronicity are bound to produce psychological changes, since the debilitating component of the experience of chronic pain only worsens. Were the sentences to be made complete and the poem conventionally punctuated, the essence of the experience it describes would be lost. He tells us that Christ is meant. In their totality, both these forms of living death define the "stop sensation" that comes after great pain. First Dickinson outlines the feeling by describing the body's manifestation of it: nerves, heart, feet. But we do this in a "mechanical" and a "wooden" way-further dehumanization and deadness.

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