Emily Dickinson was yet another idiosyncratic New Englander, remarkable for her poetic innovations. If Gerald Manley Hopkins introduced a concept called sprung rhythm, Dickinson engaged in what might be termed sprung language. A simple but delightful example of her technique occurs in Nobody
I’m nobody! Who are you?
Are you nobody, too?
Then there’s a pair of us — don’t tell!
They’d banish us, you know.
How dreary to be somebody!
How public, like a frog
To tell your name the livelong day
To an admiring bog!
The technique is delightful, using words and phrases (too, pair, us) to involve the reader with the writer. The conspiracy is entrenched by the startling use of ‘frog’ for those in the public eye, followed by the splendidly illuminating comparison of their activities to croaking to an admiring bog,