Nature and Religion in Emily Dickinson's Poetry

Introduction: Dickinson's Nature and Religious Vision

Notoriously reclusive — even anti-social — Emily Dickinson left behind a canon of nearly two thousand poems. The few that were published during her lifetime appeared anonymously, and so Dickinson's poetry remained as shrouded in secrecy as the poet herself. Her work reflects some of the prevailing literary themes in nineteenth-century America, including transcendentalism and romanticism. Nature and religion play predominant roles in her poetry, 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 lived a sort of monastic existence within her home, 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 she wrote most of her poetry. Christianity, and especially her personal relationship with Jesus Christ, became major themes in her work. Dickinson deftly weaves nature imagery with religious motifs to address themes of transcendence, spiritual transformation, and religious awakening.

The Passage of Time as a Natural and Spiritual Motif

Natural and religious imagery in the poems of Emily Dickinson frequently focuses on the passage of time. Dickinson's perspective on time is apparently shaped by her lifestyle: her decision to live in self-imposed solitary seclusion. Without the distractions of the mundane world, Dickinson could devote her energy 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 as well. 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 poems explicitly use time as a motif. In "At Half-Past Three a Single Bird," the poet begins each of three stanzas 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 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 adds complex depth and nuance to her poetry, showing how the passage of time is integral to her worldview.

Inserting clock time into her poems also reflects a 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, 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 altering one's experience. Time passes slowly, or can suddenly spring forth, as it does in "The Day Came Slow."

Color Imagery and the Mystical World

Dickinson also uses color to convey mood in her nature poetry. Vivid colors are frequent motifs throughout her work. 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 — and as such it symbolizes transition and transformation. Color is often a mystical symbol for Dickinson. Silver and gold make frequent appearances; she writes about "An everywhere of silver," while gold is used in relation to sunlight in "Nature, the Gentlest Mother." In "Nature Rarer Uses Yellow," Dickinson admires the sparing use of that 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.

Conclusion: The Convergence of Nature and Religion

More often than not, nature and religious imagery converge in the poetry of Emily Dickinson. The poet uses natural imagery — such as the symbol of the butterfly or of dawn — to write about spiritual transformation: the change from one state to another, or from ignorance to enlightenment. The poet's profoundly personal approach toward religion, her reclusive lifestyle, and her predilection for transcendent contemplation make Emily Dickinson's poetry emblematic of nineteenth-century America.