The Soul selects her own Society— by Emily Dickinson
"The Soul selects her own Society" is a poem by Emily Dickinson, written in 1862 during a period when she chose to withdraw from broader societal engagements. The piece explores themes of individual choice and the nature of belonging, emphasizing the power of the soul to determine its own companions. Dickinson uses the metaphor of a soul that selectively opens its door, suggesting an intentional rejection of the majority, even those deemed divinely sanctioned. This choice reflects not only personal preference but also a broader philosophical stance on selectivity in relationships and beliefs. The poem highlights the tension between societal expectations, particularly for women in the 19th century, and the deeper yearning for personal autonomy and meaningful connections. Dickinson's nuanced language invites various interpretations, touching on spiritual and existential considerations without limiting the experience to any single theology. Overall, the work prompts readers to reflect on the nature of companionship and the courage it takes to resist societal norms.
The Soul selects her own Society— by Emily Dickinson
Excerpted from an article in Magill’s Survey of American Literature, Revised Edition
First published: 1890 (as “Exclusion”)
Type of work: Poem
The Work
Critics note that poem 303 was written in 1862, the year Dickinson made her decision to withdraw from the larger world. The poem, read in this simple way, simply states the need to live by one’s own choice. This reading, perfectly acceptable in itself, overlooks several important phrases which have larger implications.
The first of these curious choices of language is “divine Majority,” in line 3. “The Soul” of line 1, not merely “a soul” or a person, shuts her door not only to people at large but also to the majority, even those who bear the stamp of divine sanction. Read this way, the poem also indicates the poet’s decision not to join the society of the Elect, this even though “an emperor be kneeling” on her doormat. The conduit of grace, an analogy favored in the sermons of Jonathan Edwards, becomes “the Valves” of the soul’s discrimination.
Though she remains “unmoved,” the soul is neither nihilistic nor solipsistic. Even as the capitalized letter implies zero, the soul chooses “One” then becomes deaf to all entreaties “Like Stone.” To insist that this necessarily indicates preference for a Unitarian rather than a Trinitarian view carries the interpretation to a theological level that the poem’s language will not sustain. Nevertheless, selectivity in all matters, including religion, is something the poet clearly favors.
On a complementary level, one notices the carefully crafted description of the woman not at home to any callers, except one or at most a few. Read this way, which merely supplements the other possible alternatives, the poem states the preference to live in a way unlike that of most nineteenth century women, spurning the conventions of social obligation and what society expects, even though an emperor might attempt to persuade her to join the larger group.
Bibliography
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