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To Be Alive - Is Power: Fullers Feminine Ideal Realized in Dickinsons Poems Emma A

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To Be Alive - Is Power: Fullers Feminine Ideal Realized in Dickinsons Poems Emma A Union College Union | Digital Works Honors Theses Student Work 6-2011 To be alive - is Power: Fullers Feminine Ideal Realized in Dickinsons Poems Emma A. Krosschell Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Krosschell, Emma A., "To be alive - is Power: Fullers Feminine Ideal Realized in Dickinsons Poems" (2011). Honors Theses. 1011. https://digitalworks.union.edu/theses/1011 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. “To be alive – is Power”: Fuller‟s Feminine Ideal Realized in Dickinson‟s Poems By Emma Krosschell * * * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Department of English UNION COLLEGE June 2011 i ABSTRACT KROSSCHELL, EMMA “To be alive – is Power”: Fuller‟s Feminine Ideal Realized in Dickinson‟s Poems. Department of English, June 2011. ADVISORS: Professor Judith Lewin, Professor Bernhard Kuhn This thesis examines the relationship between nineteenth-century American feminism, transcendentalism, and poetry through an analysis of Margaret Fuller‟s essay Woman in the Nineteenth Century in tandem with Emily Dickinson‟s collected poems. Fuller presents an original type of feminist optimism influenced by the precepts of the American transcendentalist movement. Her essay employs the transcendental belief in the possibility for human semi- divinity in order to proclaim that women, rather than men, possess unique potential for transcendence. As a result, Fuller theorizes that with women‟s social, sexual, and intellectual liberation, a certain ideal woman will be able to transcend not only women‟s limited position in a patriarchal society, but also the confines of human experience. I investigate the details of Fuller‟s ideal woman and employ her theories as a lens through which to read Dickinson‟s poems, with the goal of determining if Dickinson‟s poetic genius embodies this female ideal. By simultaneously analyzing the two women‟s works, I reveal the ways in which Dickinson‟s poems enhance, complicate, and deviate from Fuller‟s concepts, as well as the literary exchange that arises between the two writers. Due to the essay and poems‟ capacity to reciprocally nuance each other, I argue that Dickinson‟s poetic achievement, when read concurrently with Fuller, does fulfill Fuller‟s concept of the feminine transcendental ideal. ii TABLE OF CONTENTS Introduction………………………………………………………………………………………..1 Chapter 1: The Social Woman…………………………………………………………………….9 Women and Nature: Establishing Subjugation…………………………………………..13 Motherhood, the “Natural” Role…………………………………………………………20 The “Divine Union”……………………………………………………………………...26 The Female Citadel………………………………………………………………………38 Insanity or Escape? Women in Isolation………………………………………………...45 Chapter 2: The Sexual Woman…………………………………………………………………..59 The “Loaded Gun” of Male Sexuality…………………………………………………...61 Locating Female Sexuality within Patriarchy……………………………………………76 Towards an Exclusively Female Sexuality………………………………………………93 I. The “Mysterious Fluid”: Individual Sexual Identity…………………………..93 II. Transcending Hierarchy with Homoerotic Exploration………………………99 Chapter 3: The Intellectual Woman…………………………………………………………….110 The “Mighty Crack” of Written Expression……………………………………………111 “Writing Woman” through Feminine Androgyny……………………………………...123 Reclaiming Language: Fuller and Dickinson‟s Styles………………………………….138 The Woman Artist Transcendent……………………………………………………….155 Conclusion……………………………………………………………………………………...175 References………………………………………………………………………………………179 iii INTRODUCTION To be alive – is Power – Existence – in itself – Without a further function – Omnipotence – Enough – To be alive – and Will! 'Tis able as a God – The Maker – of Ourselves – be what – Such being Finitude! - Emily Dickinson Emily Dickinson‟s resounding words suggest the great strength and knowledge inherent in human existence. How can this poet – a devout, reclusive woman – draw such conclusions from her rather ordinary and restricted life? As the unmarried daughter of a well-respected New England politician, Dickinson spent the majority of her days in her father‟s household, cooking and cleaning and scribbling bits of poems on scrap paper. Despite pleas from friends and acquaintances, Dickinson almost always refused to have her poems published, and she remained obstinately separate from the literary world until her death. As she grew older, she became more withdrawn, observing public life in Amherst only from her window. This mundane image of Dickinson is at odds with the unyielding, prophet-like voice that permeates her poems. Poem 6771 exemplifies that her words and poetic style are incandescent as well as ominous, jagged as well as smooth. What lies at the center of “To be alive – is Power -” is the assertion of the beauty and possibilities natural to human life. Dickinson throws out such loaded words as “Power,” “Omnipotence,” and “Will,” simultaneously invoking associations of dominance, spirituality, and pride, and questioning the acceptance of these associations. In the first line Dickinson creates a causal relationship, conflating the concepts of “To be alive” and 1 “Power.” The meaning of these words is straightforward enough; however, with the jolt of the dash between the concepts, their relationship becomes more complex. The same is true throughout the rest of the poem, where the unconventional punctuation creates an overall sense of incomprehension and doubt. And yet, Dickinson insists upon the initial concept asserted in the first line. “Existence” is linked to “Omnipotence,” “Ourselves” to “a God.” She thus declares the power each individual can obtain through simple existence, a feeling that remains mostly constant throughout the first seven lines of the poem. But, with the final line, Dickinson‟s words complement the discomfort caused by the dashes: “Such being Finitude!” As with most of her poems, this line is grammatically ambiguous. Is “being” a verb or a noun? To what does the “being” refer? Is it to “Ourselves,” “a God,” or “the Maker”? These questions need not be answered with complete certainty, for the meaning of the lines remains the same: despite our divine-like existence, humans, as well as God, are all “Finit[e].” It is through poem‟s tension that this central idea can emerge. Following in the footsteps of the idealist tendencies of mid-nineteenth-century American literature, Dickinson‟s poems reveal similar beliefs in the power of the individual, but also raise questions about the limitations of that power. She wrestles with the interaction of the secular and the divine, the private and the public, life and death, and many other complicated themes. And yet, the ambiguity and tensions in her poetic voice emerge not as weak and indecisive, but as some of the most honest, truthful verses written. What is it about Dickinson that allows her to achieve this impossible balance of truth, clarity, and uncertainty? 2 And will she not soon appear? The woman who shall vindicate their birthright for all women; who shall teach them what to claim, and to use what they obtain? Shall not her name be for her era Victoria, for her country and life Virginia? - Margaret Fuller The literary atmosphere of Margaret Fuller‟s nineteenth-century American era was marked by a need for a uniquely American literary, as well as cultural, social, and political identity. This desire reached partial fulfillment in the works of Ralph Waldo Emerson, Henry David Thoreau, and other New England writers, creating a specifically American Romanticism known as transcendentalism. As a collection of ideas about literature, philosophy, religion, social reform, and American culture, transcendentalism surfaced as an intensely idealistic literary movement. The publication of Emerson‟s essay “Nature” in 1836 marks the beginning of transcendentalism. A series of meditations on the human state as it exists in the natural world, “Nature” paved the way for the development and understanding of the complicated concepts circulating in the Boston literary scene. As a dissenting Unitarian minister, Emerson combines an uncorrupted, individualistic religious fervor with a somewhat secular emphasis on the beauty of human nature. Emerson‟s other major essays, including “Self-Reliance,” “The American Scholar,” “Divinty School Address,” “Experience,” and others, delineate the tenets of transcendentalism. These integral concepts are: that the connection between the human soul, nature, and God, is the gateway to the divine; that human nature mirrors the truths of the universe, and therefore has the potential for universal knowledge; and that individual intuition is the incarnation of this godlike capacity for knowledge. It is most important for the purposes of this thesis to recognize transcendentalism as an idealistic theoretical concept that indicates the possibility of a type of divine human existence. 3 Fuller was intimately involved with the “inner circle” of the American transcendentalists. As a highly intelligent, educated, and ambitious woman living in New England, Fuller sought intellectual fulfillment and stimulation among the great minds of her time; thus, Fuller was introduced to Emerson in 1836, just as “Nature” was published and Emerson‟s
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