Poetry Analysis: "The World is Not a Conclusion", by Emily Dickinson

Analysis of “The World is Not a Conclusion”, by Emily Dickinson

Emily Dickinson (1830-1886) shows the fragility of her life and world, as well as her hopes and expectations for the afterlife, in the piece of poetry entitled "This World Is Not a Conclusion".

What is a conclusion then, if it is not this world?

Consider the implications of an invisible Species. Note that the word Species has been capitalized by her, possibly implying some kind of divination. It is amusing in one way, because even in our era, we do not consider human beings invisible, even after death. Maybe it is because we have never thought about life and death that way. God might be perceived as invisible.

Life offers us a Mystery, but death does, too. Where man stands in respect to life and death is a riddle, particularly in the realm of unbelief. Christianity allows us to experience a final reconciliation between the human and Divine realms of existence.

One has to marvel at the musicality of this poem with its remarkable rhythm, even while one chuckles at Dickinson's understanding of how the world perceives the human quest for eternal life.

“The World Is Not Conclusion”, by Emily Dickinson (1830-1886)

This World is not conclusion,
A Species stands beyond
Invisible, as Music
But positive, as Sound
It beckons, and it baffles
Philosophy, don't know
And through a Riddle, at the last
Sagacity, must go
to guess it, puzzles scholars
To gain it, Men have borne
Contempt of Generations
and Crucifixion, shown
Faith slips and laughs, and rallies
Blushes, if any see
Plucks at a twig of Evidence
And asks a Vane, the way
Much Gesture, from the pulpit
Strong Hallelujahs roll
Narcotics cannot still the tooth
that nibbles at the soul (1)

There is another version of this poem and it is shorter, as it has only twelve lines. It reveals minor differences, that might lead one to suggest that it is an earlier version.

This world is not a conclusion;
A sequel stands beyond,
Invisible, as music,
But positive, as sound.
It beckons and it baffles;
Philosophies don't know,
And through a riddle, at the last,
Sagacity must go.
To guess it puzzles scholars;
To gain it, men have shown
Contempt of generations,
And crucifixion known. (2)

In this version, from Part Four: "Time and Eternity" LXXXIII, (3) there is the use of the word sequel, instead of the word Species. Philosophies is the word that is used instead of Philosophy. Shown replaces the word borne in line ten. Known replaces shown in the line twelve.

One might ask why there are changes. Are these errors or are they part of editing for publication?

In the longer version, perhaps the poet is blushing, because of her own personal, momentary lapse in faith. This is absent in the shorter version.

Obviously, this poetry has been written by a person seeking answers about immortality. Her insight suggests that humankind is trying to find some kind of an answer and even man's best answer is not really the final Answer. What direction is one to go? The directions of a weather vane? Or a Divine Vane? Some Direction beyond the realm of mere nature?

In some ways, Dickinson appears to realize that even the best answer from the pulpit, does not seem to resolve the pain of her own soul. Her reflection reveals her personal metaphysical perception and her expectations about an afterlife. She is seeking comfort or perhaps the Comforter, who she does not know at this time in her life. She is in pain.

Even in our era, most people do not know that they can pray for the Comforter and be comforted. 

"Ask and it shall be given; seek and ye shall find."

The agony of not knowing about life after death remains a riddle, but a divine Riddle, beyond mere human comprehension.

In some ways, it appears that Dickinson is relating to the Crucifixion of Christ and yet, she does not seem to comprehend, that His suffering has taken place, so that she would not have to suffer. It would seem that Music, which might even be heard by her as Divine Music, on a higher level of consciousness, is her one consolation. To her, sound is a positive, but not a capitalized positive, in both of these versions, so it is probably not a Divine Music. She is still in touch with reality.

Note the words that she has put in capital letters. What she has capitalized is Evidence, Vane, Gesture and Hallelujahs in the second part of this poem. One might suggest that she is wanting to perceive these from a higher level of understanding. Numerous words have been capitalized, in the earlier part of the poem. These include World, Species, Music, Sound, Riddle, Men, Generations and Crucifixion. They could all be summarized as a Mystery.

The wisdom of Emily Dickinson's poetry, can only be understood on one's own level of consciousness. Remember that Darwin's Theory of Evolution appears on the horizon of time, in the year 1864. Dickinson only lived another two years after that, if the dates of her life history are correct.

Did Darwin have a concept of invisible man? Probably not!

Are there any more lines to this poem? Perhaps it is not yet finished? Look the format and how it ends. This poem is not a conclusion either.

(1) http://www.plymouth.org/sermons/sermon-dickinson05.htm

(2) http://www.bartleby.com/113/4083.html

(3) Ibid.