Emily Dickinson Personification
Each season brings with it a new sensation. With the coming of winter, some may experience a sense of loneliness or isolation. With summer, energy and excitement exist in abundance. Autumn may entail a crisp sense of comfort. However, spring stands apart; the coming of spring, as Dickinson elucidates in her poem “A Light exists in Spring,” brings not just a fleeting emotion, but a renewal of the soul. The season tends to transcend the category of ‘season,’ and more accurately takes on the form of a revival. By utilizing personification, Dickinson is able to bring to life the natural elements that form the essence of spring, while implicitly relating these intrinsic qualities of spring to her faith. Throughout most of her works, Dickinson tends
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to hold nature in the highest regard, and “A Light exists in Spring” is no exception. By personifying the abstract elements of spring, Dickinson is able to reveal the intimate way in which one can connect to nature. In reference to the springtime light, Dickinson explains that this light “almost speaks to you” (Dickinson 10) and “stands abroad on solitary fields” (Dickinson 5-6). These statements imply that, especially when one is alone, one can almost hear the light and general aura of spring speaking to him, and can wholly experience the atmosphere of the season in a personable form that almost acts as a fellow human being rather than simply an abstract idea. As the spring “horizons step” (Dickinson 13), the elements of spring are further personified to take on human traits, making these elements more relatable and the possibility of a relationship with nature, specifically the spring, more easily understood. The personification of the poem illuminates the seemingly magical qualities of spring in that the coming and going of the season is like the coming and going of an old friend. This affection for nature which Dickinson possesses is expressed in this poem not only to give acclaim to the nature itself, but to act as a symbol for one’s faith.
While explicitly Dickinson utilizes personification to speak of spring as an illumination of her world, implicitly she uses the springtime light/atmosphere to symbolize her religious beliefs and the ‘light’ that those beliefs fill her with. When Dickinson describes this springtime light as something that “science cannot overtake but human nature feels” (Dickinson 7-8), she is giving an obvious nod to the parallels between her affinity for spring and her religious beliefs. Much like the light of spring, one’s faith is something that cannot be scientifically measured or even seen; it can only be felt, and is therefore real. This light, or one’s faith, is described as “wait[ing] upon the lawn” (Dickinson 9). This personification implies that one’s faith will cease to rush or pass one by, but instead will patiently wait for him and act as a respite from the world, regardless of the circumstance or the busyness of life. This light is known to “show the furthest tree upon the furthest slope you know” (Dickinson 10-11), demonstrating the effect that this omnipresent light, or faith, has on the spirit. This light illuminates every aspect of one’s world. However, as “Noons report away” (Dickinson 14), the positive outlook the springtime light brings can go along with the departing season, leaving one vulnerable to
‘darkness’. By personifying the noontime as possessing the ability to leave, Dickinson emphasizes the importance of remaining steadfast in one’s beliefs so as to avoid the invitation of this undesirable ‘darkness’. The complete meaning behind the use of personification comes to fruition with the knowledge that the poem is implicitly describing one’s religious beliefs, as the personification involves knowing one’s faith is present and alive despite the fact that the feeling cannot be scientifically measured. Nature and faith can both fill one to the brim with light and hope. Dickinson’s illustrious personification demonstrates the intimacy and connection one has the capability of feeling both with nature and with one’s faith by relating these abstract elements with personable relationships. Dickinson’s poem concludes that, through faith, one can experience the light of spring no matter the season.
to hold nature in the highest regard, and “A Light exists in Spring” is no exception. By personifying the abstract elements of spring, Dickinson is able to reveal the intimate way in which one can connect to nature. In reference to the springtime light, Dickinson explains that this light “almost speaks to you” (Dickinson 10) and “stands abroad on solitary fields” (Dickinson 5-6). These statements imply that, especially when one is alone, one can almost hear the light and general aura of spring speaking to him, and can wholly experience the atmosphere of the season in a personable form that almost acts as a fellow human being rather than simply an abstract idea. As the spring “horizons step” (Dickinson 13), the elements of spring are further personified to take on human traits, making these elements more relatable and the possibility of a relationship with nature, specifically the spring, more easily understood. The personification of the poem illuminates the seemingly magical qualities of spring in that the coming and going of the season is like the coming and going of an old friend. This affection for nature which Dickinson possesses is expressed in this poem not only to give acclaim to the nature itself, but to act as a symbol for one’s faith.
While explicitly Dickinson utilizes personification to speak of spring as an illumination of her world, implicitly she uses the springtime light/atmosphere to symbolize her religious beliefs and the ‘light’ that those beliefs fill her with. When Dickinson describes this springtime light as something that “science cannot overtake but human nature feels” (Dickinson 7-8), she is giving an obvious nod to the parallels between her affinity for spring and her religious beliefs. Much like the light of spring, one’s faith is something that cannot be scientifically measured or even seen; it can only be felt, and is therefore real. This light, or one’s faith, is described as “wait[ing] upon the lawn” (Dickinson 9). This personification implies that one’s faith will cease to rush or pass one by, but instead will patiently wait for him and act as a respite from the world, regardless of the circumstance or the busyness of life. This light is known to “show the furthest tree upon the furthest slope you know” (Dickinson 10-11), demonstrating the effect that this omnipresent light, or faith, has on the spirit. This light illuminates every aspect of one’s world. However, as “Noons report away” (Dickinson 14), the positive outlook the springtime light brings can go along with the departing season, leaving one vulnerable to
‘darkness’. By personifying the noontime as possessing the ability to leave, Dickinson emphasizes the importance of remaining steadfast in one’s beliefs so as to avoid the invitation of this undesirable ‘darkness’. The complete meaning behind the use of personification comes to fruition with the knowledge that the poem is implicitly describing one’s religious beliefs, as the personification involves knowing one’s faith is present and alive despite the fact that the feeling cannot be scientifically measured. Nature and faith can both fill one to the brim with light and hope. Dickinson’s illustrious personification demonstrates the intimacy and connection one has the capability of feeling both with nature and with one’s faith by relating these abstract elements with personable relationships. Dickinson’s poem concludes that, through faith, one can experience the light of spring no matter the season.