Emily Dickinson from Emerson: Her Great Circle Sailing
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There has been recent scholarship on Emily Dickinson which examines the relationship between her and Ralph Waldo Emerson and which evokes a renewed interest in reading Dickinson's poems within the gamut of Transcendentalism. This paper aims at measuring the ways in which Emerson and his ideas helped her to develop her poetry. Though it is evident that Emerson's presence is felt throughout her life and writing, it is not easy to determine the nature of his effect on her work. Dickinson follows his inculcation of self-reliance eagerly at first and explores the self's boundlessness which makes it capable to transcend the dichotomy of the self and the other. But Emerson's vision of achieving the unification of man, nature and God is stifled in her own quest by her recognition of the unfathomable gap among them— the inscrutability of God in nature and in man's ultimate alienation. Between her writings “a Columner Self” and “Four Trees” posits undulations of belief and doubt. Her poetry follows a heuristic model in which her poems, comprised of Emersonian themes, cannot resolve the precariousness of the self in face of the ineffable entities in nature. In this sense, she is rightly viewed as “Emersonian-in-reverse,” or post-Emersonian.
Abstract
There has been recent scholarship on Emily Dickinson which examines the relationship between her and Ralph Waldo Emerson and which evokes a renewed interest in reading Dickinson's poems within the gamut of Transcendentalism. This paper aims at measuring the ways in which Emerson and his ideas helped her to develop her poetry. Though it is evident that Emerson's presence is felt throughout her life and writing, it is not easy to determine the nature of his effect on her work. Dickinson follows his inculcation of self-reliance eagerly at first and explores the self's boundlessness which makes it capable to transcend the dichotomy of the self and the other. But Emerson's vision of achieving the unification of man, nature and God is stifled in her own quest by her recognition of the unfathomable gap among them— the inscrutability of God in nature and in man's ultimate alienation. Between her writings “a Columner Self” and “Four Trees” posits undulations of belief and doubt. Her poetry follows a heuristic model in which her poems, comprised of Emersonian themes, cannot resolve the precariousness of the self in face of the ineffable entities in nature. In this sense, she is rightly viewed as “Emersonian-in-reverse,” or post-Emersonian.
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