Emily Dickinson’s “Safe in Their Alabaster Chambers”: An Optimistic Observation
Safe in their Alabaster Chambers—
Untouched by Morning
And untouched by Noon—
Sleep the meek members of the Resurrection—
Rafter of satin,
And Roof of stone.
Light laughs the breeze
In her Castle above them—
Babbles the Bee in a stolid Ear,
Pipe the Sweet Birds in ignorant cadence—
Ah, what sagacity perished here!
Version of1859
Safe in their Alabaster Chambers—
Untouched by Morning
And untouched by Noon—
Lie the meek members of the Resurrection—
Rafter of Satin—and Roof of Stone!
Grand go the Years—in the Crescent—above them—
Worlds scoop their Arcs—
And Firmaments—row—
Diadems—drop—and Doges—surrender—
Soundless as dots—on a Disc of Snow—
Version of 1861
Critics have scrutinized both versions of Emily Dickinson’s “Safe in Their Alabaster
Chambers” through a critical lens that has produced many similar trends in reviews. Dickinson’s
poem initially represents a pessimistic view of the dead and the lack of progression into the next
life. Borderline “sacrilegious” even suggests Bettina L. Knapp. Critics such as Bernhard Frank
focus on the poems imagery to come to this conclusion. By using images of literal safes and
snow, for example, Frank argues the members of death are locked away (as if in a safe) and to
decay, as would snow. Critic Brent E. Kinser goes on to stress that the importance of the poem in
its “movement of life and death within the all encompassing universe.” Although Kinser moves
away from the traditional scrutiny: one which leads to a pessimistic view of what comes after
death, he still hasn’t grasped the possibility of a positive analysis. Under a closer observation,
Dickinson’s effective diction suggests a grand and optimistic portrayal of the dead in this frozen
state.
Dickinson’s complete poem consists of three parts: the first stanza, in which the dead are
described as trapped, the second stanza, which details life going on around the dead member, and
the third stanza, which notes that the universe goes on and the dead are insignificant in
comparison. Traditionally, critics pull from the pessimistic atmosphere of the poem. Angela
Carson interprets the line, “Diadems – drop – and Doges – surrender – ” and remarks, “The
interpretation of ‘drop’ and ‘surrender’ as die may be debatable, but it seems to follow from the
general tone of the poem.” This general tone is further explained when analyzing the line, “Sleep
the meek members of the resurrection”. Which mockingly suggests the meek, mentioned in
Matthew 5, are literally inheriting the earth (Frank 212). The statement that the members are
likewise, “Untouched by morning/ and untouched by noon –” suggests that the members are
“touched (overwhelmed in fact) by eternal night” as Frank observes. I argue that these same
aspects that critics use to point out the pessimistic can be analyzed with further evidence to
immortalize the dead and elevate their grandeur; in general, in an optimistic lens.
In analyzing Dickinson’s poetry, Allen Tate believes it becomes clear that there is a
“singularly morbid concern, not for religious truth, but for personal revelation” in her writings. It
would be hasty to assume that Dickinson takes up a singularly pessimistic view of death in “Safe
in Their Alabaster Chambers.” Tate also states that the "interplay of the various levels of
imagery Dickinson uses to convey her message weaves a spell far beyond meaning. ” Again, it
would be unjust to label a lone meaning to Dickinson’s poem when there are a plethora of
possible implications behind the words. For example, in his analysis, Kinser makes a remark
related to words such as “crescent”, “scoop”, “arcs” and “row” and their implication of a
connected circle. At the poem’s close there is reference to the members as a disk, again another
circle reference, tying the members into this eternal circular movement. There is another
movement in the description of “Rafters of Satin – and Roof of Stone –“ from the ceiling of the
coffin (satin) to the roof of stone (tombstone) suggests a movement upward, contrary to Frank’s
belief of these members being trapped in their ‘safes’ as mentioned above. The stone roof holds
further meaning as well; according to Hans Biedermann stone holds a “characteristic durability
and permanence, stone is for many cultures a symbol of divine power.” This suggests the dead
are under a roof of “divine power”.
Word choice is key in understanding this critical analysis. Dickinson’s use of words such
as, “chambers”, “sleep”, “rafters”, “satin”, “roof”, “castle”, “diadems” and “doges”, support
imagery of the members not suffering and wasting away, but rather residing in a luxurious castle.
Critics traditionally pity the members of this poem because they interpret them as trapped, but
Dickinson’s phrasing actually puts them in a majestic setting usually associated with wealth and
freedom. Not only are the members in a figurative castle, but the lack of gloom in the word
choice also supports this positive outlook. The last stanza in the 1859 version of the poem in
particular is riddled with cheerful images. “Light laughs the breeze” and “Babbles the Bee” and
“Pipe the Sweet Birds” for example dispel the negative association. The birds described have an
interesting association to the poem. Biedermann notes the symbolic association saying, “[...]
these creatures that use their wings to approach the heavens often embody the human desire to
break free of gravity and to attain higher spheres like the angels.” This symbolism insinuates a
breaking free instead of restraint. Words describing the members, such as safe, untouched and
grand also enhance the theory that they are lifted to a dignified state. The narrator of the poem
even laments, “Ah, what sagacity perished here!” furthering the praise of the dead’s wise
character.
As critic Hyatt H. Waggoner remarks, “Critics who wish to find a single meaning in
Dickinson's work - the "real" or "deeper" meaning they usually call it - need only select the
poems that "prove" their point and ignore the rest.” To analyze Dickinson’s “Safe in Their
Alabaster Chambers” through one critical lens would be an incomplete analysis. Considering an
observation in which Dickinson puts value to the members of the dead and immortalizes them
puts a new and original lens to the poem.
Works Cited
Biedermann, Hans. "Birds." Dictionary of Symbolism. N.p.: Facts On File, Inc., 1992. 204-05.
Print.
- - -. "Stone." Dictionary of Symbolism. New York: Facts On File, Inc., 1992. 326-28. Print.
Carson, Angela. "DICKINSON, Safe in Their Alabaster Chambers." Explicator 17 (1958): n.
pag. Periodicals Archive Online. Web. 27 Jan. 2013.
Frank, Bernhard. "Dickinson's SAFE IN THEIR ALABASTER CHAMBERS." Explicator 55.4
(1997): 211-14. Periodicals Archive Online. Web. 27 Jan. 2013.
Kinser, Brent E. "Dickinson's SAFE IN THEIR ALABASTER CHAMBERS." Explicator 58.3
(2000): 143-46. Periodical Archives Online. Web. 27 Jan. 2013.
Tate, Allen. "Emily Dickinson." Poetry Criticism. Ed. Robyn V. Young. Vol. 1. Detroit: Gale
Research Inc., 1991. 82-87. Print.
Waggoner, Hyatt H. "Emily Dickinson: The Transcendent Self." Poetry Criticism. Ed. Robyn V.
Young. Vol. 1. Detroit: Gale Research Inc., 1991. 101-05. Print.