Emily Dickenson Notoriously Reclusive, Even

Emily Dickenson Notoriously reclusive, even anti-social, Emily Dickinson left behind a canon of nearly two thousand poems. The few that were published during her lifetime were done so anonymously, and so Dickinson's poetry remained as shrouded in secrecy as the poet herself. Dickinson's poetry reflects some of the prevailing literary themes in nineteenth century America including transcendentalism and romanticism. Nature and religion play predominant roles in the poetry of Dickinson, which is infused with flowery diction and lofty rhythm.

Undoubtedly fascinated by the interface between the spiritual and natural worlds, Dickinson frequently uses nature as a metaphor. Transformation, the passage of time, life, and death are themes visible in the natural world and echoed in the journey of the human soul. Because Emily Dickinson locked herself up at home and thus lived a sort of monastic existence, her approach to religion is deeply personal and resembles the transcendentalist vision.

Her religious perspectives also mirror the revivalist spirit moving through the United States during the time Dickinson wrote most of her poetry. Christianity and especially her personal relationship with Jesus Christ became major themes in Dickinson's poetry. Dickinson deftly weaves nature imagery with religious motifs in her poetry to address themes of transcendence, spiritual transformation, and religious awakening. Natural and religious imagery in the poems of Emily Dickinson frequently focus on the passage of time.

Dickinson's perspective on the passage of time is apparently impacted by her lifestyle choice: her decision to live in self-imposed solitary seclusion. Without the distractions of the mundane world, Dickinson could devote her energy and time to writing poetry and so her verses are replete with themes related to patience and the passage of time. The poet uses nature to convey the subjectivity of time, too. In "my nosegays are for captives," the poet refers to " Dim, long-expectant eyes" that are "Patient till paradise," (lines 2; 4).

Some of Dickinson's nature poetry explicitly uses time as a motif. For example, in "At half-past three a single bird" the poet starts each of three verses with a time stamp. At half-past three the "single bird...sings a cautious melody," (lines 1; 4). The narrator then describes what occurred at "At half-past four" and then "At half-past seven," (lines 5; 9). Likewise, Dickinson mentions clock time in "The day came slow, till five o'clock, / Then sprang before the hills," (lines 1-2).

The contrast between the "slow" approach of day in line one and the sudden springing forth of life add complex depth and nuance to Dickinson's poetry, showing how the passage of time is integral to her worldview. Inserting clock time into her poems also reflects the paradox: nature does not keep a time-clock. To emphasize the difference between the passage of time in the natural world and the human world, Dickinson peppers her nature poetry with references to the stages of each day.

Morning signifies the dawn of ideas, of awakening and enlightenment. Nighttime, as in "Nature, the gentlest mother," is a time for sleep, dreaming, and spiritual regeneration. The motif of time allows Dickinson to explore the difference between external and internal truths: the contrast between the objective passage of time and the subjective experience of time passing. Nature exhibits time through aging and decay as well as the birth of new life. Yet human beings perceive time differently, with activities like prayer and poetry-writing affecting one's experience.

Time passes slowly or can suddenly spring forth as it does in "The day came slow." Dickinson also uses color to convey mood in her nature poetry. Vivid colors are frequent motifs in Dickinson's poetry. Purple makes an especially frequent appearance: "The purple could not keep the east," the narrator states ("The day came slow, till five o'clock," line 5). Purple is the color of dusk and twilight, a time in-between day and night, night and day. As such, purple symbolizes transition and transformation.

Color is often a mystical symbol for Dickinson in her poetry. Silver and gold make frequent appearances; Dickinson writes about "An everywhere of silver," whereas gold is used in relation to sunlight in "Nature, the gentlest mother." In "Nature rarer uses yellow," Dickinson admires the sparing use of the hue in the natural world. For Dickinson, each color conveys a mood or meaning; its appearance in nature is never arbitrary.

Her liberal use of color imagery suggests a deep contemplation of color as an interface between the mundane and mystical worlds. Spiritual themes in the poetry of Emily Dickinson usually centers on religious awakenings, revivalism, and on personal relationships with God. In "Will there really be a morning?" The narrator is a "little pilgrim" crying out to "some wise man from the skies," (lines 11; 10). Angelic imagery and wings are also key motifs in Dickinson's religious poems.

For example, in "Some keep the Sabbath going to church," the narrator wears her wings "instead of tolling the bell for church," (line 7). In fact, Dickinson's poetry reflects her solitary spirituality and personal mysticism. The poet unabashedly avows her choice to pursue religion on her own time and in her own terms in "Some keep the Sabbath going to church." The poem is overtly autobiographical, "Some keep the Sabbath going to church; / I keep it staying at home," (lines 1-2).

Dickinson's poetry reflects prevailing social and religious themes of the nineteenth century. The Great Awakening and religious revivalism that characterized Christianity in America during Dickinson's lifetime allowed, even encouraged personal approaches toward God. Mysticism was tolerated to the extent that Dickinson herself practiced it: by secluding herself in her home and contemplating spiritual themes in her poetry and prose. Transcendentalism in literature like Dickinson's poems revealed the independent spirit that defined American culture.

At the same time, Christian symbols appear frequently in the poems of Emily Dickinson such as her references to resurrection in "Afraid?" Death is also a common motif in.