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[Abstract]

Both Dickinson and Poe are interested in how to convey embodied experiences of extreme mental distress via poetry’s unique capacities for sonic repetition: rhyme, meter, rhythm, alliteration, assonance, refrain. Bringing them together begins to map out the terrain of a “physiological poetics” (Jason Rudy) and its development in the United States over the course of the nineteenth century. With all the current interest in embodied thinking and feeling and “psychophysics” (Erica Fretwell), critics have almost entirely neglected to attend to poetry’s central place in processing the development of neurology and psychology as scientific fields of inquiry in the nineteenth century: the relationship of body to mind, especially in the realm of how it feels to be thinking within a body....how embrained thinking feels.