As one of the most read poets to this day, Emily Dickinson has been analyzed for generations. Her poems touch on deep human issues such as death, religion, and, perhaps more subtly, gender. Although Dickinson's predominantly homely and domestic lifestyle might initially suggest otherwise, her works, both in their content and in their very existence, reveal her as an early feminist. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The fact that Dickinson even attempted to write poetry, let alone share it with her friends and family, manifests her more progressive views on female ingenuity and empowerment. During Dickinson's lifetime (1830-1886), the creative sphere was dominated by men and would continue to be so until the mid-to-late 1900s. After all, women didn't even have the right to vote until 1920, when it was ratified the 19th Amendment. Women like Anne Bradstreet had previously attracted attention for their poetic exploits, but Bradstreet's works were very different from Dickinson's: they were extremely pious and focused on relatively tame and superficial topics, such as a fated house fire or love Bradstreet's eternal for her husband. In contrast, Dickinson, who refused to attend church, wrote several poems that revealed his disillusionment with Christianity. “Some keep the Sabbath by going to church --/ I keep it, staying at home,” he boldly declares in “324 [Fr 236]” (Belasco 1052). Rather than amounting to simple declarations of submission to God or a husband, Dickinson's poems are philosophical and eloquent, using sophisticated diction and figurative language to communicate sometimes elusive messages and themes. An intriguing detail about the publication of Dickinson's poems is discussed in Martha Nell Smith's "Gender Issues in the Textual Editing of Emily Dickinson." Smith claims that certain segments of Dickinson's poems were edited or excluded by her male editors and publishers, particularly those of a more polarizing or sexual nature. With this knowledge, the reader can further understand why some of Dickinson's references to gender may initially seem convoluted or extremely subtle: she had to frame them in such a way that she could escape the scrutinizing eyes of her patriarchal overseers. In “199 [Fr 225],” Dickinson discusses the topic of marriage (Belasco 1047). She begins by clearly stating “I am 'wife,'” which can be interpreted as demonstrating how women's domestic roles controlled their lives and defined their perception of themselves (line 1). A few lines below, he states that "it's safer this way", that is, that society is more accepting of women who choose to get married and settle down, compared to those who don't and are destined to become bitter and lonely "old" maids." (line 4). Perhaps the most significant line in this short poem is “How strange the girl's life seems / Behind this soft eclipse,” which most likely refers to the way women at the time were overshadowed by their husbands (lines 5- 6). Dickinson concludes by repeating "I'm 'Wife'" once again, followed by "Stop there!" (line 12). It's as if that was all a woman could hope to be at that moment: a wife and nothing more. Although she herself never married, through this poem Dickinson showcases the gender issues that were applicable to most marriages of the time, and even some today. “I'm Nobody! Who art thou?" (“288 [Fr 260]”) is one of Dickinson's best-known poems and has beenthen examined in different ways (Belasco 1051). From a feminist perspective, it can be postulated that Dickinson could have alluded to women's lack of power and privilege by calling herself – and consequently her contemporaries – a “Nobody.” Evidence for this statement can be found in the second line of the poem, when it mentions that “to be – Someone” means to be “public” (lines 5, 6). During Dickinson's lifetime, men tended to exist more in the public sector, working outside the home and acting as breadwinners for their families, while their wives stayed at home to cook, clean, and care for the children. If the reader chooses to read the poem with this state of affairs in mind, Dickinson's work can be seen as a lighthearted and even sarcastic approach to the stark discrepancies between the identities and duties of men and women in the 1800s. Another reference to gender in this a selection of Dickinson's works is found in “401 [Fr 675]” (Belasco 1053). Dickinson describes women as “Soft Cherubic Creatures,” explaining that “One would rather assault a Stuffed Toy --/ Or violate a Star,” which at first glance seems like a stereotypically sexist viewpoint (lines 1, 3-4). Later in the poem, however, he states that women possess "Such refined horror / Of freckled human nature" (lines 6-7). These lines might suggest that the subjugation of women is a “horror,” but so ingrained in society that it has become “refined.” This statement makes the previous lines somewhat ironic. Dickinson's personification of human nature as "freckled" may also have been intended to demonstrate that humans are imperfect, which has led to this imbalance between men and women. He concludes by saying “Be so – shame on you,” a message to those who allow this injustice to continue to occur (line 12). Cheryl Walker's "Locating a Feminist Critical Practice: Between the Kingdom and the Glory" challenges the belief that Dickinson was a feminist. Walker cites Dickinson's "fear and dependence on others in late life, her choice of the conservative Judge Lord as a lover, her dismissal of most women and admiration of powerful men, [and] her mental breakdowns" as proof of this statement (Walker 10) . However, considering only Dickinson's personal life and not her poetry seems to be a serious oversight on Walker's part. Furthermore, many people, both men and women, become addicted in later years. It seems unfair to the reader to assume that, simply because Dickinson became frail and needed care in old age, she is not a feminist or even a feminist sympathizer. In mentioning Dickinson's so-called dismissal of women, Walker does not appear to consider that Dickinson preferred to exist separate from the mass of society, including men and women. In fact, one of the few people she felt closest to was her brother Austin's wife, Sue. It is also essential to note that positions of power were usually held by men during Dickinson's time, so it makes sense that she tended to admire these men. If women had been less submissive and more empowered, she would no doubt have admired them too. Finally, to suggest that the occurrence of “mental breakdowns” makes Dickinson less feminist is completely misleading; mental health problems are on the same level as physical ones in that they are not a choice of the people who suffer them and, in many cases, they have no relation to ideologies or beliefs. It is evident through both her poetry and her personal life – her choice not to marry or have children and thus be forced into the domestic role of “wife” – that Dickinson was indeed one of the first. 2014.