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As we delve into Emily Dickinson's enigmatic poem 508, titled "I'm ceded - I've stopped being Theirs-," we embark on a profound exploration of the narrator's transformative journey from childhood to adulthood, intricately interwoven with the development of spiritual consciousness.
The opening stanza thrusts us into the heart of the narrator's metamorphosis, capturing the essence of her emancipation from parental expectations. The strategic use of the term "ceded" implies a surrender, typically associated with territory but here applied to personhood, immediately seizing our attention.
Dickinson's characteristic dash punctuates this revelation, isolating it with an exclamation mark-like emphasis, underlining a sense of relief. The narrator boldly declares, "I've stopped being Theirs," a powerful assertion resonating with defiance, echoing liberation from familial obligations. The forceful caesura, created by dashes enclosing the statement, intensifies the rupture, marking a departure from the expected trajectory.
The impersonal tone deepens as Dickinson refers to "The name," distancing herself from ownership and accentuating the transient nature of identity by stating, "is finished using now." This implies a temporary borrowing of the name, devoid of personal attachment.
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A similar distancing occurs concerning the spirituality of the Baptism, described as "They dropped upon my face." The deliberate refusal to deem it holy signifies the narrator's rejection of imposed divinity.
The rejection extends to the narrator's childhood accoutrements, explicitly stating, "My childhood is finished / And They can put it with my Dolls." Noteworthy is the non-capitalization of "name," emphasizing its insignificance. The stanza crescendos with the narrator's bold renouncement of traditionally feminine pursuits, represented by the string of spools and threading.
The dashes flanking "too" impart an anxious, breathless quality to this declaration, underscoring the audacity of the narrator's rejection of societal norms.
Transitioning to the second stanza, the reader is beckoned into the realm of the narrator's growth, transcending the physical metamorphosis from child to adult into a spiritual awakening. Here, the importance of choice becomes paramount, reminiscent of Dickinson's exploration in Poem 324, "Some keep the Sabbath going to Church-." The narrator resists her parents' values and beliefs, a rejection extended to the community's religious expressions.
The narrator discerns the lack of significance in a Baptism imposed before personal choice, denoting it as a mere reflection of parental beliefs. Rejecting this imposition becomes symbolic of rejecting the parents' name and the societal expectations tied to gender roles. This marks the narrator's assertion of autonomy as a strong, independent woman free to make her own choices.
Aligning with Dickinson's overarching theme, the stanza concludes with the narrator's resolute declaration, "I choose, just a Crown-," reminiscent of Poem 324's ending, suggesting both Dickinson and the narrator have undergone substantial growth in grappling with religious beliefs and expressions. This growth stands in paradoxical contrast to Elizabeth Barrett Browning's sonnet, where refusal to grow unconsciously persists.
The third stanza marks the zenith of the narrator's spiritual journey, contrasting the two baptisms. The significance lies not only in the contrast but in the narrator's conscious participation in the second Baptism, described as one of "Grace-." The narrator's spiritual growth is palpable, culminating in an epiphany as she chooses to be "Called to my Full." This voluntary engagement with religious and spiritual life signifies a profound connection with God.
Dickinson's choice of "supremest" conveys not only God as the Supreme Being but also the supreme name bestowed upon the narrator through God's Grace. The small Diadem filling up Existence's whole Arc metaphorically suggests the expansion of the narrator's soul, a visual representation of her spiritual growth. This transcendent experience serves as a powerful testament to the narrator's completion through divine connection.
The final stanza delves into the aftermath of the epiphany, contrasting the narrator's pre- and post-epiphany existence. The impact of the spiritual awakening is vividly illustrated by Dickinson's comparison of the narrator's "second Rank" to her "too small" first. The size differential becomes a metaphor for the profound influence of the epiphany on the narrator's life.
Dickinson employs powerful imagery, portraying the repression of the narrator's childhood through the symbol of the "half unconscious Queen" on her father's breast. This evokes a dual meaning, highlighting the father's protective but repressive role. The rejection of [Their] values and the emphasis on the right to choose reflect a Romantic desire for authentic self-expression.
The stanza concludes by describing the narrator as "Erect," emphasizing both her literal and symbolic standing as a full-fledged adult. This visual representation solidifies her complete status, no longer reliant on her father's support.
Throughout the poem, it becomes evident that the narrator has undergone substantial growth, both physically and spiritually. The rejection of the Calvinist community's emphasis on religious ceremony over genuine meaning is apparent. The narrator expresses gratitude for God's recognition of her inner spirituality, appreciating authenticity over ostentatious displays lacking sincerity.
As we contemplate the rhyme scheme, a subtle movement towards a more harmonious existence emerges in the third stanza, marking a transition from apparent rhymelessness in the first two stanzas. This reflects an optimistic sense of growth, concluding the poem on a note of completeness and self-discovery.
In essence, Emily Dickinson's "I'm ceded - I've stopped being Theirs-" encapsulates not only the physical and spiritual maturation of the narrator but also serves as a poignant reflection on the complex interplay between individual choice, societal expectations, and the pursuit of genuine spiritual connection.
Dickinson's Poem 508 and the Evolution of Identity. (2016, Aug 03). Retrieved from https://studymoose.com/im-ceded-ive-stopped-being-theirs-emily-dickinson-essay
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