The use of the word “slant” juxtaposed near light, seems to represent some lie, some facade created by the afternoon sunshine of winters. One would usually associate winter with darkness and the lack of light, yet Dickinson has used light in such a way that we feign away from trusting it as we usually would. Its comparison to the ‘Heft of Cathedral Tunes” perhaps shows Dickinson’s feeling of being weighed down upon, with some sense of despair that the light of a winter afternoon causes her just as she feels when hearing the tunes in a church. There is something deceptive about sunshine during winter, because winter in itself represents darkness and a lack of light. It gives us a sense of “Heavenly Hurt” – ironic, because coming from the Heavens, one would connote feelings of joy and purity to this light. Dickinson recognises how it may not take a physical toll on us necessarily, but that where it really matters, inside us, our souls and our minds, is where it takes a toll. It is represented as the arrival of despair, being the “Seal Despair” – it is something that takes over our landscape and has been sent by the conqueror that is the Air, thus its representation as an “imperial affliction”, as though it is somewhere that is does not belong. The landscape and darkness comes together with silence with the arrival of winter, and Dickinson notes how, when it goes, it leaves behind a landscape full of death and gloomy despair. Dickinson has seemingly used vivid imagery to create groups of images; the Cathedral, Slant of light, Heavenly Hurt, Seal Despair all represent ideas of religion, whereas the Winter Afternoons, Air, Landscape, and Shadows represent the natural world. It shows a combination, or a collaboration, rather, of the supernatural world and the real world.