Hope Is The Thing With Feathers: A Literary Analysis

Hope can be defined as many things. Desmond Tutu, a Zimbabwean Anglican cleric and theologian known for his work as a human rights activist, defines “Hope [as] being able to see that there is light despite all of the darkness,” rather than the accustomed definition, of a desire for a better future. Laura Hildebrand, Emily Dickinson, and George Frederick Watt use literary devices and a unique art style to assert their own interpretations and representations of hope in their own individual pieces. Laura Hildebrand, in her book, Seabiscuit: An American Legend, illustrates a theme of resilience in the depths of hopelessness and anguish. Additionally, in “‘Hope’ is the Thing with Feathers,” Emily Dickinson reveals how hope is everlasting, no matter the conditions. Both Hillenbrand and Dickinson communicate that hope will oftentimes feel lost, especially at a time of crisis, but it never truly is. Finally, George Frederick Watt, in his 1886 art piece, “Hope,” exhibits that hope may not necessarily mean expectancy, but rather holding on and appreciating the speck of virtue that remains. An analytical examination
In the illustration, a bonded and blindfolded girl plays the one single string remaining on her broken lye. Her surroundings are glum and devastating yet, she appears to be faintly smiling. Besides the difficult situation, the girl still enjoys the faint music produced by the feeble string. This symbolizes that hope is not just awaiting something better, but rather appreciating the admirable qualities that remained. In addition to, ‘“Hope’ is the Thing with Feathers” by Emily Dickinson, also compares "hope" to a melodious tune. Both authors did so to convey the idea that hope is a pure feeling and can not be understood rationally. Such as, Seabiscuit's unlikely victories, Dickinson's bird that could not be bashed by the storm, and Watt’s unlikely