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Wild Prosperity

The Rumor’s Gate was shut so tight

Before my Mind was sown,

Not even a Prognostic’s Push

Could make a Dent thereon

she analyzes the nature of man’s changed life after death. Dickinson looks at the question, could the soul exist without the body. She concludes that the body and the soul interact to form an identity, and matter is essential to spiritual expression. Beauty, truth and grace are too abstract for the imagination to comprehend for the speaker in the poem so she must direct her questions outside the living only to find “Adamant.” The poem This world is not conclusion

This World is not Conclusion.

A Species stands beyond -

Invisible, as Music -

But positive, as Sound -

It beckons, and it baffles -

Philosophy – don’t know -

And through a Riddle, at the last -

Sagacity, must go -

To guess it, puzzles scholars -

To gain it, Men have borne

Contempt of Generations

And Crucifixion, shown -

Faith slips – and laughs, and rallies -

Blushes, if any see-

Plucks at a twig of Evidence -

And asks a Vane, the way -

Much Gesture, from the Pulpit -

Strong Hallelujahs roll -

Narcotics cannot still the Tooth

That nibbles at the soul -

addresses the question of, is immortality possible? Dickinson starts off assure of her belief in immortality but as the poem develops that assurance breaks down and is questioned. Human thought, intellect, and wisdom is not enough to support the hope of immortality. All resources of the living world are unable to understand it. It demonstrates the drive of humans to the enigmas that immortality and death present and it represents how the question of immortality, “nibbles at the soul.”

Dreaming allows Dickinson to have the speaker in the poem question and wonder about death without experiencing it. As though she was playing a role in a play Dickinson looks at death in a dream as a person who has been brought to the end of mortality and has crossed over to eternity in We dream – it is good we are dreaming.

We dream — it is good we are dreaming –

It would hurt us — were we awake –

But since it is playing — kill us,

And we are playing — shriek –

What harm? Men die — externally –

It is a truth — of Blood –

But we — are dying in Drama –

And Drama — is never dead –

Cautious — We jar each other –

And either — open the eyes –

Lest the Phantasm — prove the Mistake –

And the livid Surprise

Cool us to Shafts of Granite –

With just an Age — and Name –

And perhaps a phrase in Egyptian –

It’s prudenter — to dream –

The speaker is claiming to be playing a death role in a drama but she feels uneasy with the concept that the performance actually involves dying. The actors are all dying by some degree and making them actors in a play allows Dickinson to use her imagination to experience death. However, she is soon confronted with the idea of her own elimination from the living and that she must wake up from her dream. Representation using dreaming and sleep in Where bells no more affright the morn

Where bells no more affright the morn –

Where scrabble never comes –

Where very nimble Gentlemen

Are forced to keep their rooms –

Where tired Children placid sleep

Thro’ Centuries of noon

This place is Bliss — this town is Heaven –

Please, Pater, pretty soon!

“Oh could we climb where Moses stood,

And view the Landscape o’er”

Not Father’s bells — nor Factories,

Could scare us any more!

suggests that fleeing from the world is often better than to remain and that the dead are often more tired of the living than the living of them. The speaker dreams of being in heaven, “where tired Children Sleep,” immune from her father’s bells and factories that represents the living world. Once more Dickinson is able to escape the world in a dream so that she may imagine herself away from the busy world content and blissful in heaven.

The passing on from life to death in Emily Dickinson’s poetry often takes on the form of a journey. In most cases the narrator has been brought to the brink of death and is confronted by glimpses into the other side only revealed to the dead and only speculated about by the living. She is often requesting entry to or understanding of the other side. Secrets about death are often used as an incentive for the narrator to come so close to death, and many times the speaker is unable to force itself to proceed into the other side because of its mysteriousness. The joy and emotion expressed in Tis so much joy! Tis so much Joy!

T IS so much joy! ‘T is so much joy!

If I should fail, what poverty!

And yet, as poor as I

Have ventured all upon a throw;

Have gained! Yes! Hesitated so

This side the victory!

Life is but life, and death but death!

Bliss is but bliss, and breath but breath!

And if. indeed, I fail,

At least to know the worst is sweet.

Defeat means nothing but defeat,

No drearier can prevail!

And if I gain, — oh, gun at sea,

Oh, bells that in the steeples be,

At first repeat it slow!

For heaven is a different thing

Conjectured. and waked sudden in,

And might o’erwhelm me so!

comes from the anticipation of the mystery and surprise of what lies after life. Given the risk the narrator decides to proceed at the possibility of victory and lured further by the

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