With apologies to Winston Churchill; Emily Dickinson is a riddle, wrapped in a mystery inside an enigma. Dickinson scholar Linda Freedman attempts to decipher the mysteries of the poet’s language in her book Emily Dickinson and the Religious Imagination by considering her religious imagery as an allegory for Dickinson’s poetic journey; a quest that shaped the narrative in Emily Dickinson’s work. Freedman posits a theory that “the sense of a life to be lived in the difficult knowledge of a goal beyond unites the poetic and religious quest” (98). On the other hand, author Judit Konyi argues in her essay “The Pseudo-Silence of Emily Dickinson” that Dickinson’s religious language referenced her calling as a poet and Dickinson considered herself a messenger of God (96). Could these ideas be the key to unlock the inscrutability of Dickinson’s poetry? Although I agree with both of these authors in their assessment of the importance of Dickinson’s religious phraseology each of them seem to have overlooked the overarching cogency of the harsh reality of classical five-point Calvinism and the connection between this dogma on her thinking and use of language. I celebrate the fact that these authors have identified the value in Dickinson’s religious language but a point that needs emphasizing I will examine in this essay is the influence of Calvinism on Dickinson’s poetry and the interpretation of language in her poetry through a Calvinist lens. Specifically, I will focus on the poems that reference “grace” and “election.”
History
Emily Dickinson was raised in a time in which religion and religious thought was a reality that shaped the everyday interactions of her time. The family and Dickinson attended a Congregationalist church with root...
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...ine by the Right of the White Election!” is brimming with Calvinist references.
Works Cited
Barlow, Jonathan. "The Five Points of Calvinism." Center for Reformed Theology and Apologetics. N.p., n.d. Web. 05 Dec. 2013.
Dickinson, Emily, and R. W. Franklin. The Poems of Emily Dickinson. Cambridge, MA: Belknap, 1999. Print.
Dickinson, Emily and Thomas Johnson. The Complete Poems of Emily Dickinson. London [u.a.: Little, Brown, 1998. Print
Freedman, Linda. Emily Dickinson and the Religious Imagination. Cambridge: Cambridge UP, 2011. Print.
Konyi, Judit. "Emily Dickinson's Pseudo Silence." Reverberations of Silence: Silenced Texts, Sub-texts and Authors in Literature, Language and Translation. Ed. Márta Pellérdi and Gabriella Reuss. Newcastle upon Tyne: Cambridge Scholars, 2013. 78-97. Print.
Noah Webster’s 1828 Dictionary of the English Language. 2013.
In Emily Dickinson’s dramatic monolog “My Life had stood – a Loaded Gun,” a journey of a spiritual awakening is expressed. Dickinson writes about how a child of God is found then goes out to find other lost souls. Literary Critic Gregory Palmerino indicates “‘My Life had stood – a Loaded Gun’ maybe Dickinson’s most expansive poem if not her magnum opus, yet I do believe there is a discernible meaning – a center – to be found there. That center is her struggle with God” (84). Dickinson develops her poem using sound, symbolism, and figurative language.
During the period between 1500 and 1700 different Protestant ideals and religions such as the views of Luther, Henry VIII, and Calvinism reflected varying degrees of closeness between church and state. Luther's views of the state being above the church represented a distance between the church and state that many other Protestant religions at the time did not have. Henry VI and Calvinism on the other hand, intertwined the church and state so that their relationship was much closer. Calvinism went much further than just intertwining church and state though; it became a complete combination: the church working as state.
Approaching Emily Dickinson’s poetry as one large body of work can be an intimidating and overwhelming task. There are obvious themes and images that recur throughout, but with such variation that seeking out any sense of intention or order can feel impossible. When the poems are viewed in the groupings Dickinson gave many of them, however, possible structures are easier to find. In Fascicle 17, for instance, Dickinson embarks upon a journey toward confidence in her own little world. She begins the fascicle writing about her fear of the natural universe, but invokes the unknowable and religious as a means of overcoming that fear throughout her life and ends with a contextualization of herself within both nature and eternity.
Exposing the Hypocrisy of Religion in Emily Dickinson’s Some Keep the Sabbath Going to Church
In 1536 a man by the name of John Calvin authored a book titled, “Institutes of the Christian Religion.” In this incredibly detailed theological work, Calvin outlines and defines the doctrines and systematic theology of the Protestant faith. Prior to the release of Calvin’s book, there were little to no reformation movements that were operating on a large scale in the nation of France. But as the impact of Calvin’s work began to grow, there became a growing mass of followers interested in the biblical framework Calvin highlighted. One group, the Huguenots were followers of Calvin and soon began to take steps in starting a Protestant Reformation within the nation of France.
The French civil wars occurred from 1562 to 1598. One of the main reasons for the fighting was the concerning growth of the popularity of Calvinism, a type of Protestantism. These French Calvinists were called Huguenots, who came from all the levels of society. It is estimated that roughly forty to fifty percent of the French nobility were Huguenots, which included the house of Bourbon. The house of Bourbon stood next to the Valois in the royal line of succession and ruled the southern French kingdom of Navarre. Because much of the nobility had converted to Huguenots, they became a dangerous political threat to the power of the monarch.
Emily Dickinson was a different type of poet that has people thinking of things people would never think about in another author’s work. Dickinson was born and raised with the rich life with only two siblings. Her work was inspired by her much of her childhood and the people she interacted with. An example of Dickinson’s different type of style is, “ So I conclude that space and time are things of the body and have little or nothing to do with ourselves. My Country is Truth,”(Berry) Emily Dickinson did not share hardly any of her writing when she was alive. According to Berry,” With the exception of six poems that appeared in newspapers at various times, and another that appeared in a collection of stories and poems in 1878, Emily Dickinson never published her work,” (Berry) Even though Dickinson wrote differently, does not mean she had a different lifestyle compared to most people today. Dickinson was an outstanding American poet where her childhood, family and friends, religion, and education inspired most of her poetry.
Dickinson was unique and the “exception” in creating a private relationship with her self and her soul. In “Emily Dickinson and Popular Culture”, David S. Reynolds, a new historicism critic, wrote that it 's no surprise that the majority of Dickinson 's poetry was produced between 1858-1866, “It was a period of extreme consciousness about proliferation of varied women 's role in American culture.” It was a time where women were actively searching for more “literary” ways of self expression” (Reynolds 25). Dickinson was able to express her ideas and beliefs as a woman, something that was scandalous during this time period.
Emily Dickinson, who achieved more fame after her death, is said to be one of the greatest American poets of all time. Dickinson communicated through letters and notes and according to Amy Paulson Herstek, author of “Emily Dickinson: Solitary and Celebrated Poet,” “Writing was the way she kept in touch with the world” (15). Dickinson’s style is unique and although unconventional, it led to extraordinary works of literature. Dickinson lived her life in solitude, but in her solitude she was free to read, write and think which led to her nonconformity and strong sense of individualism. Suzanne Juhasz, a biographer of Dickinson, sums up most critics’ idea of Dickinson ideally: “Emily Dickinson is at once the most intimate of poets, and the most guarded. The most self-sufficient, and the neediest. The proudest, and the most vulnerable. These contradictions, which we as her readers encounter repeatedly in her poems, are understandable, not paradoxical, for they result from the tension between the life to which she was born and the one to which she aspired” (1). Dickinson poured her heart and soul into over 1,700
Emily Dickinson’s imagination is dynamic partly because she thinks of her mental world as always in flux and prefers not to adhere for long to any preconceived religious of philosophical doctrine. At different times she advances opposed positions on such central questions as the goodness of God, the reality of heaven, or the presence of the divine in nature. As a child of her culture, the fixed positions of her local Calvinism are inscribed in her mind and heart, while at the same time she distrusts them and seeks an alternative faith that will be truer to her moral conceptions. Since she takes different positions on religious questions, it has proved hard for commentators to summarize her religious perspective.
On December 10, 1830, a cold winter day, Emily Elizabeth Dickinson was brought into the world. Emily lived on Maine street in a lovely brick home, which they called the “Homestead.” Emily had an older brother named Austin. She also had a younger sister, who was born three years after her, her name was Livina. The first school that Emily attended was a school right down the road from her house. This was the first education that she received. This was the school that her father wanted her to attend. This is also where Emily’s writing career began (Borus: 9-14).
Although, Emily Dickinson physically isolated herself from the world she managed to maintain friendships by communicating through correspondence. Ironically, Dickinson’s poetry was collected and published after her death. Dickinson explores life and death in most of her poems by questioning the existence of God. Dickinson applies common human experiences as images to illustrate the connection from the personal level of the human being, to a universal level of faith and God. This can be seen in Dickinson’s Poem (I, 45).
“Although Emily Dickinson is known as one of America’s best and most beloved poets, her extraordinary talent was not recognized until after her death” (Kort 1). Dickinson was born on December 10, 1830, in Amherst, Massachusetts, where she spent most of her life with her younger sister, older brother, semi-invalid mother, and domineering father in the house that her prominent family owned. As a child, she was curious and was considered a bright student and a voracious reader. She graduated from Amherst Academy in 1847, and attended a female seminary for a year, which she quitted as she considered that “’I [she] am [was] standing alone in rebellion [against becoming an ‘established Christian’].’” (Kort 1) and was homesick. Afterwards, she excluded herself from having a social life, as she took most of the house’s domestic responsibilities, and began writing; she only left Massachusetts once. During the rest of her life, she wrote prolifically by retreating to her room as soon as she could. Her works were influenced ...
Emily Dickinson was an intricate and contradictory figure who moved from a reverent faith in God to a deep suspicion of him in her works. (Sherwood 3) Through her own intentional choice she was, in her lifetime, considered peculiar. Despite different people and groups trying to influence her, she resisted making a public confession of faith to Christ and the Church. (Sherwood 10) She wanted to establish her own wanted to establish her own individuality and, in doing so, turned to poetry. (Benfey 27) Dickinson’s poems were a sort of channel for her feelings and an “exploration” of her faith (Benfey 27).
"Arguing with herself, Dickinson considers three major resolutions for the frustrations she is seeking to define and to resolve. Each of these resolutions is expressed in negative form: living wither her lover, dying with him, and discovering a world beyond nature. Building on this series of negations, Dickinson advances a catalogue of reasons for her covenant with despair, which are both final and insufficient. Throughout, she excoriates the social and religious authorities that impede her union, but she remains emotionally unconvinced that she has correctly identified her antagonists." (Pollack, 182)