In her lyric poem “There’s a certain Slant of Light”, Emily Dickinson manipulates the titular slant of light as a metaphysical conceit, exploring the way the ephemeral world damages the speaker in definite ways, despite the lack of physical interaction or evidence. The beam of light acts as a vehicle for any of the elemental forces active on the plane of “internal difference” (7): fear, love, and despair, et al. The poem’s unconventional grammatical structure allows the speaker to explore ambiguity in line readings—both within and between stanzas—and draws forward the blurring of the physical and metaphysical worlds the conceit addresses. Meanwhile, precise diction counterpoises “positively” and “negatively” connoted words, paralleling and magnifying the contrast between the “positive” light and the negative suffering it creates for the speaker. Through their combined magnification these layers of poetic technique create a subtle, poignant bolster for the poem’s articulated argument that an ephemeral object, a “certain slant of light”, has real, if invisible, effects on the speaker’s well being.