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18 pages 36 minutes read

Emily Dickinson

This World is not Conclusion

Fiction | Poem | Adult | Published in 1862

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Themes

The Unknowability of Spiritual Things

One of the principal themes of “This World is not Conclusion” and many of Dickinson’s other poems is the infinite unknowability of God, Heaven, and eternity. The beginning of the poem affirms that existence in this world is not the “conclusion” (Line 1) of life, since there is another world outside of ours. However, the speaker’s certainty extends only to the existence of this “beyond” (Lind 2), but not to any particular aspect of its true nature, information which no human being possesses. Possibly, this new place holds another “Species” (Line 2)—but using this scientific classification indicates a level of uncertainty and personal distance. The poem’s speaker knows that there are beings in Heaven, but can only characterize them in inconclusive and almost inhuman terms.

The rest of the poem confirms humans’ limited understanding of eternity and its residents. Attempts to describe the next world can only generate comparisons to bodily senses: The afterlife is “Invisible, as Music—/ But positive, as Sound” (Lines 3-4). Auditory events, while a familiar phenomenon, are intangible—but because we cannot see or touch them, doesn’t mean they aren’t real. Similarly, the speaker implies that the “beyond” can be felt with another human sense, though it defies the specificity of sight. Nevertheless, eternity remains an unsolvable and unknowable “riddle” (Line 7) that “puzzles” (Line 9) the poem’s speaker, as well as “scholars” (Line 9) and theologians.

Attempts to Hide Spiritual Doubt

Despite not being able to prove the existence of spiritual concepts like eternity, human beings assume and pretend a level of understanding they cannot possibly possess. Instead, believers repress their questions and overcompensate for any misgivings with public displays of faith. Some do their best to imitate the life of Jesus: “Men” (Line 10) who have “borne” (Line 10) the “Contempt of Generations” (Line 11) and “Crucifixion” (Line 12), hoping to have publicly “shown” (Line 12) their religious zeal for all to see. But these people, like all others, must cope with unreliable faith, personified as a being that “slips” (Line 13) and “blushes” (Line 14) when anyone sees their momentary lapse. The poem deliberately undercuts the common opinion that extreme suffering is proof of faith and spiritual wisdom, instead suggesting that displays of bravado only hide universally experienced doubt.

Dickinson portrays faith as a figure that quickly dismisses any insecure moment with a “laugh” (Line 13) when alone, but “blushes” (Line 14) with embarrassment if anyone else should “see” (Line 14) them tripping. Through this personified figure, the poem criticizes Christian refusal to reflect on and question belief, for fear that others will see their sometimes lack of certainty. The speaker mockingly represents faith’s desperation as it “plucks at a twig of Evidence” (Line 15) and even seeks spiritual guidance from a “weathervane” (Line 16)—the least reliable marker of direction—demonstrating the absurd efforts of those that are religious to justify their beliefs and conceal their doubts.

The Inescapability of Religious Doubts

Although people may try to quell and hide their doubts, they can never fully escape the lingering anxiety in their minds. The end of the poem directly critiques organized religion’s efforts to stifle spiritual questioning. In sarcastically dismissive terms, Dickinson portrays a typical religious service, observing “much Gesture, from the Pulpit” (Line 17) and “strong Hallelujahs” (Line 18) resonating from the congregation. The “Pulpit,” here used as metonymy for the Christian preacher standing behind it, uses over-confident religious posturing to assuage the doubts of his congregation, as well as his own. This distraction, mirrored by shouts of religious zeal from the flock, stifles individualistic thought.

However, attempts to use religious zealotry as an antidote for unwanted doubts ultimately prove fruitless. The poem ends with the lines, “Narcotics cannot still the Tooth / That nibbles at the soul” (Lines 19-20), drawing a connection between opiates, which people ingested in Dickinson’s time to alleviate or numb pain, and religion. In other words, Christians seek mental relief from the sting of religious doubt in excessive public displays of belief. However, the narcotics of organized religion cannot entirely ease the ache of spiritual doubts. Within the human subconscious, there will always be a gnawing anxiety, or “tooth” that slowly “nibbles” at the soul’s convictions, until the soul is utterly consumed by it. Despite the best efforts to ignore it, the mystery of eternity will haunt the minds of all people, from “scholars” to the blindly faithful. 

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