Analysis Of Emily Dickinson As A Metaphysical Poet

A metaphysical poem is characterized by its wit, incongruous imagery and its frequent usage of conceits such as paradoxical metaphors. Often, metaphysical poems are rich in complexity and subtlety of thought, and are marked by its dramatic and conversational rhythms and tones. The term was first coined by Samuel Johnson to describe a loose group of seventeenth century English poets which includes many popular poets such as John Donne, George Herbert, Richard Crashaw and Andrew Marvell. Metaphysical poetry is among the most popular and most studied verse in the world of literature and became one of the major influences on many twentieth century poets (1).

One such poet was Emily Dickinson (2), whose works contain metaphysical qualities and bear resemblance (3) to the works of the metaphysical poets of the seventeenth century. Many have argued that Dickinson’s works cannot be classified as such due to her complex writing style, and that her usage of conceit — a more intricate and intellectual literary device that embodies majority of a metaphysical poem; a component that makes the poem “metaphysical” — would not be described as “strained” or “metaphysical. ” (4) However, by comparing her work with Richard Crashaw, it is revealed that Dickinson may actually be a metaphysical poet after all.

Richard Crashaw was one of the major figures associated with metaphysical poets during the seventeenth century and was well-known for his use of conceits to draw parallels “between the physical beauties of nature and the spiritual significance of existence” (5). In “But Men Loved Darkness than Light,” Crashaw muses about the wages of sin and how it is the natural inclination of the world to disobey and sin against God rather than choosing virtue and goodness. He uses “the world” as a metaphor for the sinful flesh in opposition to the Divine. This metaphor alludes to the Bible verse (1 John 2: 15-17) where John says “Do not love the world…” (6), referring to ‘the world’ as the natural sinful state of mankind. Similarly, ‘the light’ appears to be a reference to John 3: 17-21 (7), which also talks about how “men loved darkness rather than light” — the “light” referring to God’s glory, set against the “darkness” of hell. With the use of these metaphors, he is able to paint a powerful image of the world’s fate- that even though we have humanity has the potential for goodness [God] in us, humans are predisposed to succumb to death and destruction, ultimately leading to the end of the physical world.

Crashaw’s poetry is imbued with themes that reflect his own religious views as a cleric and fervent convert to Catholicism. In the poem “A Song,” Crashaw once again uses death as an extended metaphor, alluding to Philippians 1: 21 (8). Here death symbolizes rebirth; one must die to the self, subjugating the sinful soul and seeking a path in Christ’s teachings on salvation and eternal life beyond mortality. The original poem is written in the Old English in use at the time, giving it a mystical tone to modern ears. “A Song” also uses a paradoxical metaphor in the last line: “For while though sweetly slayest me / Dead to my selfe, I live in thee” which validates previously made statements. Crashaw is true to his faith and uses it as his inspiration; his religious emotion gives his poems an enchanting beauty and is successfully able to blend emotional tenderness with ascetic mysticism (9).

Emily Dickinson is widely regarded to be one of America’s greatest poets; though she lived much of her life in seclusion, she wrote poetry of great power with the capacity to move and provoke. Dickinson often wrote about nature, religion, immortality, love and death: topics that many metaphysical poets have covered in their poetry. One of Dickinson’s most famous poems, “Because I Could not Stop for Death” focuses on the topics of immortality and death. Because the poem resembles a children’s rhyme, scholars have argued that it’s much too simple to be deemed metaphysical, since metaphysical poems are often too difficult to comprehend at first glance. However, “Because I Could not Stop for Death”, despite its simplistic reading, possesses a magnitude of metaphysical qualities that can be easily overlooked. In spite of the dark subject matter, the meter, rhymes, and overall tone of the poem gives it a paradoxical feeling of comfort and innocence — this despite the personification of Death (“a civil gentleman”) arriving to escort the author to the afterlife. Dickinson uses a multitude of metaphors in this poem: Death’s carriage is a metaphor for life’s journey, similar to the Greek myth in which the ferryman, Charon, transported souls to Hades in the Underworld (10). Death itself is a metaphor for “eternity. ” In the last two lines of the first stanza she indicates, “The Carriage held but just Ourselves - / And Immortality,” implying that Death can be seen as an endless life, and thus, immortal life. Like Crashaw, Dickinson wrote many poems in which religion was a common theme — the only difference being that Crashaw wrote about his undoubting faith in God, whereas Dickinson revealed her struggle with doubt (11). Likewise, in the poem, “Faith is a Fine Invention,” she demonstrates the boundaries between religion and science. Despite it being a short piece, she’s able to convey her thoughts through the use of irony. The poem, which she presents with a witty and biting satirical jab at religion and its limitations, is accompanied by a pragmatic and straightforward tone from beginning to end. In this brief but facetious poem, she addresses the argument between two controversial topics in her generation: the pursuit of practical knowledge through science, or faith in an omniscient and omnipotent being called God and which of the two were more powerful (12).

She compares faith to science and calling it an invention by gentlemen who “see” (“‘Faith’ is a Fine Invention”); moreover, she brings up a microscope, which symbolizes both science and practicality, suggesting that blindly following faith is not the only path but sensibility, too. Similarly, “This World is not Conclusion” is yet another paradigmatic example of Dickinson’s ambivalence towards Christian faith. Here, she implies that there are different worlds besides this one, and that death doesn’t necessarily mean “the end. ” Although it has a physical existence, it is mysterious and invisible (“A Species stands beyond - / Invisible, as Music - / But positive, as Sound”) — something that baffles even philosophers and puzzles scholars.

With the use of vivid imagery and conceit, Dickinson allows for a memorable and striking poetry: the very notion of asking a “Vane” for directions is ironic as a weathervane changes position based on nothing but wind, rather than a conscious and divine being. The word “Vane” could also be a pun for “vain”, insinuating the idea that seeking the truth from an all-knowing being is all in vain. In the final lines of the poem, she compares the constant nagging of doubt to the dull ache of an inflamed tooth