A Glimpse of Mental and Emotional Life:
It cannot, however, be denied that a large body of Emily Dickinson's poetry is candidly confessional. In confessional poetry we get occasional glimpses of the poet's mental and emotional life. Let it be said here, that Emily's poetry is not autobiographical in the usual sense of term.
By deliberate and conscious withdrawal into her father's room upstairs Emily Dickinson, kept aloof from life as it was lived by her contemporaries. Similarly she keeps the events in her life scrupulously aloof from her poetry. Since the events in her life do not find place in her poetry, Emily Dickinson's poetry cannot be called autobiographical.
A Largely Confessional:
What then is Emily Dickinson's poetry, if it is not autobiographical? It is largely confessional, a documents of the eccentricities of the poetess’ mind; it is record of her reactions to some unnamed events in life. He poetry reveals many glimpses of her personality. One cardinal note of Emily Dickinson's personality is her characteristic self - negation. By withdrawing into the privacy of her father's room, Emily denied herself the pleasures of life . This act of hers is symbolic of her psychic and emotional with - drawl and of her loss of all sense of importance of the role she was destined to play in life. In an utter sense of humility, she tells as:
“I am nobody! Who are you?
Are you nobody, too?”
Inspired by Puritanical Doctrine:
To a great extent her life and art were moulded by the Puritanical doctrine. At home she breathed the discipline of honesty and self - denial, trained from an early age to seek rewards beyond the grave. There was repression of joy, but also the satisfaction of an ordered life, purposefully lived according to conscience. This austerity has an impact on Emily as well. As her inner life grew more disturbing, she began to shun society. At the age of twenty - three she wrote, “I don't go from home, unless emergency leads me by the hands, and then I do it obstinately and draw back if I can.” All this led her shun society of those who were casual acquaintances. She also did not like to travel. But she gave herself freely to the children who came to play in her garden. Many of these children later narrated how she used to enter their games and share their fantasies.
Her Living a Life of Her Own Convictions:
She chose seclusion so that she could better participate in the common experience of all mankind. She understood that her fulfilment as a poet required time to spend with the hosts that visited her. “The soul selects her own society,” she declared, “Then shuts the door.” She had decided to live by her convictions and remain unmoved otherwise. That is why she deliberately rejected all worldly occupations, became a recluse in her own home and lived the life of a poetic hermit. It was all done on purpose. Since flashes of poetry can come at any time of the hour without any previous warning, she was to remain always to herself to record them as and when they came. She was true votary of poetry because her poetry was the most faithful criticism of life lived in New England that period.
Her Turning to Simplicity and Natural:
Sometimes her imaginative tensions led her to recoil from the simplest and the most natural actions. Two examples will suffice. The first occurred when her friend Samuel Bowles returned from his European tour in 1862. She refused to come down - stairs and talk to Bowles. The second occurred at the time of her father's death. When everybody assembled in the hall of the last services, she kept herself glued to her room, with only half door open, from where she listened to the services.
Obsession of Death:
While she was able to overcome the concrete world around her she still grappled with the idea of death. Death obsessed her and there were many reasons for this obsession. Since death was the greatest reality she kept herself away from big schemes of love and hate, as common mortals do. In this life in which death is the only reality, Emily Dickinson believed happiness comes only as a temporary relief. In reality she is so accustomed to sorrow and suffering and grief that joy upsets her. In spite of the fact that death is the only reality Emily never felt depressed in her life. In all her poems of grief and pain we do not see her indulging in fits of depression. She deprives death of all its terrors and woes by converting it into an “amorous but genteel” creature. She makes it a courtly gentleman whom she obliges because he is thoughtful and kind. He is so civil that she puts away her labour:
“Because I could not stop for death,
He kindly stopped for me;
The carriage held but just ourselves
And immortality
We slowly drove, he knew no haste,
And I had put away
My labour, and leisure too,
For his civility”
Although death did not depress her , all the same she was not able to accept the wisdom of the old proverb that time heals the wounds . On the contrary, she felt that time strengthens out suffering.
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