Emily Dickinson's "1577" 

Thelma Oragbon
 

      In the poem “1577” by Emily Dickinson, the speaker describes and evaluates the bible as an ancient piece of literature while also acknowledging its prominent role and impact in society. Despite being raised in a strict Puritan household, Dickinson herself grew distant from religion and ultimately stopped attending church. With consideration of her background, it is evident through the literary choices, language and form that Dickinson felt spiritually disconnected from the bible. At a first glance, Dickinson appears to merely give an impassive commentary on the bible. However, the speaker seeks further to rexamine the bible’s glorified status and reputation by illustrating its nature of detachment, downplaying its significance and contrasting its spiritual impact to that of Greek religion. Dickinson’s reevaluation of the bible is an endeavor to liberate the human aptitude for creativity and imagination from the limitations of the bible.

      In pursuit of questioning the appeal of the bible, the speaker evokes a sense of detachment through her representation of the bible. The speaker introduces the Bible as an “antique Volume -/ Written by faded men/ At the suggestion of Holy Spectres ”, promptly establishing its considerable age and value. The characterization of the Bible as antique emphasizes the Bible as an esteemed system of past efforts. This is further established in the description of the bible as “written by faded men”, the word ‘faded’ meaning to gradually grow faint and disappear. Recalling that aged objects are inclined to fade over time, the speaker reinforces that the bible is written by people of an old timeline with old values who no longer exist. But more importantly, ‘faded’ carries a negative connotation in its meaning, elaborating the speaker’s perspective of the bible as not only old, but outdated. As a result, the speaker evokes a sense of detachment from the bible, which the speaker recalls written  “at the suggestion of Holy Spectres”, a biblical reference to the Holy Ghosts. On top of the implication that the men are instructed what to write, this representation of supernatural elements in the discussion of the bible’s creation pushes the bible further into unrelatability and the speaker further into skepticism.

      With the effect of minimizing the prominent status of the bible, the speaker lists out metaphorical analogies that link a series of biblical subjects to relatively modern concepts. The speaker includes, ``Subjects – Bethlehem -/Eden - the ancient Homestead - /Satan - the Brigadier - /Judas - the Great Defaulter - /David - the Troubador -/Sin - a distinguished Precipice.`` The short, endstopped form of these lines reflects the lack of details put into the subjects. The bible is socially and religiously recognized as an established holy book with grand characters immersed in magnificent stories. The oversimplification of major biblical elements to mere analogies reduces the grandeur attached to its reputation. The speaker doesn’t deem necessary to go into depth of each biblical theme. Instead, the speaker diverts focus from widely known biblical subjects to its analogous components, thereby weakening its facade of incomparable greatness. Viewing the bible as a piece of literature , the speaker assigns each biblical subject to relatively familiar archetypes. “Eden” is compared to “the ancient Homestead '', the word “homestead” meaning a farmhouse or settlement. Considering the poem had been written in 1882, the speaker may allude to the Homestead Act of 1862, a Civil War- era legislation under which an area of land in the West is granted to U.S citizens on expectation to settle and improve it. The expectation to uphold a promise is present in both the Homestead Act and the story of Eden in relation to Adam and Eve, hence, the speaker opens the analogous comparisons by introducing this idea of obligation. Following the allusive Civil War reference, Satan is paralleled to “the Brigadier”, an officer rank in the army whose duty is to command a brigade. In the bible, Satan is believed to command the hearts of evil-doers. Satan being the first character introduced in these comparisons sets a melancholy tone for the rest of the poem. Satan is the least popular character followed by Judas who is notably the next character introduced. Judas is labeled the “Great Defaulter”, the word “defaulter” meaning a person who fails to fulfill an obligation or in relation to the army, a soldier guilty of committing a military offence. This is a clear allusion to Judas’ betrayal of Jesus. This reintroduced idea of obligation amplifies a rigid, authoritative mood in this piece of text. David is referred to as the “Troubador”, the word “troubador” meaning a musician poet known to sing and play a stringed instrument. David is more widely known for slaying Goliath with a sling and stone. However, with the comparison to a Troubador, the speaker highlights David and his musicianship. David was a skillful harpist player, whose skillful harp playing soothed the agitated King Saul.  The last character mentioned is “Sin” itself which is described simply as “a distinguished Precipice”. A precipice is a synonym for a steep cliff. The phrase “on the edge of a precipice” is an idiom meaning to be close to a bad or dangerous situation. The speaker creates an atmosphere of tension through this language choice. Dickinson’s frequent capitalizations in this segment may be a mockery of capitalized biblical words like ‘God’, ‘Bible’, ‘Lord’,’He’, etc., which highlights the bible as a satired reference in her comparisons. On a broad view, the endstopped structure reflects a sense of rigidness, creating a tone of resolute and assertive defiance, further developing her apathetic stance towards the bible. But on a deeper level,  the blocky, oversimplfied structure and repeated ideas of obligation not only emphasizes her apathy towards the bible, but it also mimics its deprivation of creativity and imagination, which validates the poet’s overall disconnect with the bible.

      Strengthening her stance on the unappeal of the bible, Dickinson uses a pessimistic pattern of language to further demonstrate its alienating effect. Following her analogous descriptions, Dickinson adds “Others must resist - /Boys that "believe" are very lonesome -/ Other Boys are “lost”—”. The repetition of “other” emphasizes a sense of alienation, as “other” communicates the idea of not belonging. In effect, Dickinson establishes the isolating effect the bible has on believers and nonbelievers. Prior to this segment of the poem, Dickson demonstrated repeated ideas of obligation, which is further developed in the suggestion that sin is something “others must resist”, heightening the tense mood around the characterization of the bible. The quotation around “believe” and “lost” conveys the speaker’s sarcasm in her attitude towards the bible. Because sarcasm is generally used to lightheartedly criticize or mock a serious subject, the use of sarcastic tone further develops her indifference to the bible and its redeemed reputation. The speaker’s inclusion of the bible’s effect on both believers and nonbelievers is significant because it highlights that the bible’s disadvantages are impartial regardless of one’s status in fate. Believers are “lonesome”, whereas nonbelievers are “lost”. The expression that one has found God and thus found themselves is common among discussions around one’s religious journey. But Dickinson suggests the contrary to that claim. She demonstrates through her depiction of the bible that she is spiritually unmotivated and unstimulated by the rigid expectations and inauthentic nature of the bible. 

      The imaginative drive and creative prowess are special qualities that enrich the human experience. However, these spiritually stimulating characteristics are lost in the rigid, intimidating framework of the bible. To the speaker, the bible is devoid of humanity and the ability to connect and appeal her spiritual appetite for inspiration. Because she is starved of these traits, she finds these redeemable aspects elsewhere, precisely, in the ancient Greek religion. In the closing lines, Dickinson recalls, “Had but the Tale a warbling Teller - All the Boys would come - Orpheus’ Sermon captivated - It did not condemn -.”  To ‘warble’ means to sing in a trilling manner or with many turns and variations, thereby
suggesting that a “warbling Teller” distinguishes a storyteller who relates stories or events in a poetic and artistically compelling manner. The speaker’s suggestion that the bible lacks a  “warbling Teller” to captivate her communicates the bible's inability to capture her heart in a compelling manner. In contrast to the previous lines that separates the ‘Other boys” from “Boys who believe”, here, the speaker  recites that “All the Boys would come”, insinuating that unlike the bible, the ancient Greek stories captured the interests of everyone, regardless of their background. Furthermore, the speaker mentions a different character, Orpheus, a legendary musician poet in the ancient Greek religion. The last two lines, “Orpheus’ Sermon captivated -It did not condemn -” subtly and effectively establishes a contrast between the captivating and inspiring effect of ancient Greek stories against the isolating and intimidating effect of the bible. The choice of ending the last two lines with antonyms beginning with the same letter ‘captivated/condemn’ emphasizes this contrast. Orpheus' sermon moves and emotionally stirs people, awakening something inside of them. The comparison can be broken down into one that dehumanizes, while the other brings out the best of  humanity in people.

      The human experience is marked by innovation, passion and curiosity. By conveying its alienating and rigid nature, Dickinson highlights that the bible cannot fully satisfy the human natural desires and elaborate experience. The recurring themes of resistance, condemnation, and isolation sprawled out across the poem are all linked with repression of the inner self. The speaker believes that life should be more about obeying and resisting. It is also about feeling and drawing inspiration. Dickinson’s reevaluation of the bible demonstrates her view that the bible is overpraised when there are in fact alternative ways to celebrate and explore humanity.