Her letters, like flowers often enclosed, are the result of Emily's work and care and, like flowers, have a symbolic connotation. Dickinson transcended not only poetry conventions of her time (by her free-verse, her particular use of punctuation and capitalization) but also epistolary ones, especially those for women, and the poems becomes the letter text (Tingle,2009). In fact, the poem 334 is actually the body of a letter that Dickinson sent, enclosing a rose, to her cousin Eudocia Flint(www.emilydickinsonpoems.org).
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2. "All the letters I can write".
2.1. Poetry of the Nature.
In this poem Dickinson creates her characteristic fusion of nature and art, of the rose and the poem (Fart,Carter,2005). This can be deduced particularly through the analysis of two stylistic elements: the demonstrative pronoun "this", at the end of the second line, and the synesthesia in lines 4 and 5. Firstly, the pronoun "this" does not clearly refer to either the letter itself or the flower enclosed with. In the first case, a possible interpretation could be that Emily is revealing the particular value of the poem she is writing to her cousin; in the second one, the interpretations would be the exact opposite, that is that Dickinson performs her own failure to emulate nature's language. Thus, the given rose becomes the message and the poem at the same time. In fact, through the synesthesia, syllables and sentences are described by words generally used in describing petals, which compose the flower's cup like syllables and sentences compose a poem. Hence, "the image of wealth and luxury describes not only the blossoms from her garden but also the richness and sustaining power of" poetry (Tingle,2009); the flower, "like a good poem, hides its softest velvets or deepest, most intimate petal sentences for the one who appreciates it" (Fart,Carter,2005).
