In Emily Dickinson's poem "Hope is the thing with feathers," there aren't explicitly two distinct voices in a conversational sense. Instead, the poem is written in the first person, with the speaker expressing their own thoughts and observations about hope.

However, there is a subtle shift in perspective in the lines:

"I’ve heard it in the chillest land, And on the strangest sea; Yet, never, in extremity, It asked a crumb of me."

Here, the speaker describes their personal experience of encountering hope in various situations, suggesting a reflective tone. The use of "I've heard it" implies the speaker's direct experience, while the subsequent lines convey the speaker's contemplation on the resilience of hope.

So, while there isn't a distinct conversation between two voices, there is a shift in focus from the general description of hope to the speaker's personal reflections on its presence in their life.

The phrase "strange to tell" is an idiomatic expression that is used to introduce a surprising or unusual fact or statement. It is often used to signal to the reader or listener that what follows may be unexpected or astonishing.

For example, if someone says, "Strange to tell, the supposedly haunted house turned out to be completely ordinary," they are indicating that what they are about to reveal is surprising or contrary to expectations.

In essence, "strange to tell" serves as a preamble to something unexpected or remarkable, prompting the audience to pay attention to what comes next.

In Emily Dickinson's poem "Hope is the thing with feathers," there is a parallel drawn between hope and music. The words that indicate this parallel are "And sings the tune without the words" in the second line of the poem.

The similarity between hope and music lies in their intangible and uplifting qualities. Just as music has the power to evoke emotions, uplift spirits, and transcend language barriers, hope similarly transcends tangible expression. Hope, like music, can be felt and experienced even without explicit words or concrete forms.

Furthermore, both hope and music have the ability to provide solace and comfort in times of difficulty. They can inspire resilience, perseverance, and optimism, even in the face of adversity. Both are forms of expression that can resonate deeply within the human soul, offering a sense of connection and transcendence.

By drawing a parallel between hope and music, Dickinson emphasizes the ethereal and enduring nature of hope, highlighting its ability to uplift and sustain individuals in the midst of life's challenges.

It seems like you might be referring to "rein" instead of "rain." If you meant "rein," it could suggest control or constraint, as in the metaphorical sense of holding back or guiding something, like reins on a horse. However, it's more commonly interpreted as "rain" in relation to the cyclic movement.

In Emily Dickinson's poem "Hope is the thing with feathers," the cyclic movement of rain isn't explicitly mentioned. However, the poem does use imagery and symbolism to convey the cyclical nature of hope, which could be related to the cyclical patterns often associated with rain.

The poem describes hope as a bird that "perches in the soul" and "sings the tune without the words." This imagery suggests a constant presence, implying a cyclical pattern of hope's arrival and departure, much like the recurring cycles of rain falling and ceasing.

Furthermore, the line "And never stops at all" emphasizes the continuous nature of hope, reinforcing the idea of a cyclical movement similar to the perpetual cycle of rain in nature.

While the poem doesn't directly reference rain, the imagery and symbolism used to depict hope evoke a sense of cyclical movement and persistence, echoing the cyclical patterns observed in nature, such as the ebb and flow of rain.

The last two lines of Emily Dickinson's poem "Hope is the thing with feathers" are sometimes enclosed within brackets in certain versions of the poem. This variation in formatting is likely due to the fact that these lines are considered to be potentially added by editors rather than originating directly from Dickinson herself.

Emily Dickinson is known for her prolific writing and her tendency to revise her poems extensively. After her death, her poems were compiled and edited by various individuals before publication. In some cases, editors made decisions about which versions of Dickinson's poems to include in collections, sometimes incorporating variants or alternative endings.

The inclusion of brackets around the last two lines indicates to readers that these lines may not be present in all versions of the poem and that their authenticity or authorship is uncertain. It's possible that these lines were added by an editor for clarity, emphasis, or aesthetic reasons, but they are not universally accepted as part of the original text.

Overall, the use of brackets around the last two lines acknowledges the complexities of Dickinson's work and the editorial decisions involved in presenting her poetry to readers.