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American poet, Emily Dickinson, is a significant figure in the transition from the wordy Romantic style of writing to literary transcendentalism. Her unique elliptical style and compact phrases are prominently displayed in her poem 1577(1545), “The Bible is an antique Volume.” This piece is rich in satire as the speaker questions society’s blind adherence to Christianity and subtly suggests the exploration of alternative belief systems. The speaker eloquently challenges the Bible’s authority as the sole source of interpreting humanity and encourages the audience to seek new perspectives.
At the outset, the metaphor likening the Bible to simply “an antique volume” is striking.
The term “volume” typically refers to a collection of written or printed sheets bound together to form a book.
By labeling the Bible as an “antique” anthology of stories, the speaker implies that it is a relic of the past that can be valued for its historical significance rather than being viewed as the acronym – Basic Instructions Before Leaving Earth.
In the subsequent lines, the speaker raises doubts about the credibility of the authors of the Bible.
The references to “Faded Men” and “at the suggestion of Holy Spectres” suggest that the men who penned the scriptures may have been influenced by external forces rather than drawing from personal experiences.
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This departure from the elaborate syntax found in Dickinson’s other works underscores the speaker’s skepticism towards the traditional narratives of biblical figures like Satan, Judas, and David.
While the speaker’s descriptions may contain elements of truth, they oversimplify the complex roles of these biblical characters.
For instance, Satan is not merely a tempter but is also referred to as the “prince of the air (Ephesians 2:2)” in Christian theology.
Similarly, David’s significance extends beyond being a psalmist to being a revered king in Israel and a forefather of Jesus. Dickinson’s astute literary foresight anticipates the challenges faced by contemporary Christians in a world where religious beliefs are increasingly marginalized.
This sentiment is poignantly captured in the line “Boys that ‘believe’ are very lonesome.” The speaker highlights the isolation experienced by believers who are often at odds with the prevailing cultural norms. The biblical injunction to resist conforming to worldly desires (1 Peter 1:14) is juxtaposed with the portrayal of nonbelievers as “lost” individuals who lack moral guidance. The speaker critiques the hypocrisy and self-righteousness of religious leaders who alienate seekers with their judgmental attitudes.
Consequently, the allure of “Orpheus’ Sermon” captivates the audience, leading to a rejection of traditional Christianity. Both atheists and Christians can find resonance in the poem’s central theme that underscores the universal human need for belief. The biblical definition of faith as “the substance of things hoped for and the evidence of things not seen” (Hebrews 11:1) is invoked to emphasize the importance of personal conviction and spiritual exploration.
The speaker’s exhortation to challenge received wisdom and seek one’s own understanding resonates with the spirit of intellectual inquiry and individual autonomy. In a world marked by religious pluralism and shifting cultural norms, Dickinson’s poem serves as a poignant reminder of the enduring quest for meaning and truth.
Emily Dickinson's Satirical Critique of Christianity. (2017, Jan 21). Retrieved from https://studymoose.com/emily-dickinson-and-bible-essay
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