Sweet Safe Houses

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Sweet Safe Houses


Society comprises mainly of two groups the affluent and the miserable. It is believed to be highly inappropriate for the upper class to mingle with the lesser of the kind. Emily Dickinson mocks those people who consider it below their dignity to allow for the aroma from outside entering into their lives.


The houses in the poem are “sweet” and “safe”, which account for the fact that they aren’t simply means of shelter, but good strong houses. They don’t lack any amenities and are “glad” and “gay”, thus prosperous. These accommodations seem to be completely isolated from the destitute, locking their “bare feet” out. They are “sealed stately tight”, preventing the impurities from outside from penetrating through into the highly sterilized territory.


For most people, it is beyond their financial abilities to attend to the luxury inside their houses. Instead, they would be practical and focus on other basic requirements such as bread and employment. But the houses in the poem have “brooks of plush” and “banks of satin”, both expensive materials in abundance. The residents are obviously contented with their wealth. Dickinson talks about their “whispers”, once again reminding us of their reclusive way of life. The people are mentioned as “People Pearl”, which we relate to the pearls found inside oysters, precious gems.


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In the third stanza, Dickinson is quite sarcastic about these people. She talks about their lives as being “stately treasures”. In reality, life is equally precious to everyone. But these lives seem to be somehow superior to all others. The poet uses the word “deface”, which has an incredible effect. It portrays a picture of harmony being destroyed. No “bald death” or “bald sickness” enters their lives. They seem to be of a higher order. But of course, this is presented to us in the form of sarcasm.


Dickinson paints a serene picture of perfection and eventually smudges it by ridiculing the pretentious way of livelihood. She comes across as being pessimistic in the last stanza when she talks about outsiders “humming by” in “muffled” coaches, careful not to interfere with the lives of these people. She states that the indigent do not even dare to die in front of these houses. “Death” in itself is a powerful word. But the high-class are so audacious as to challenge, control and conquer this element itself.


Dickinson emphasizes on certain facts and vivifies the poem using alliterations and dashes. The alliterations provide us with a calm picture following a certain pattern. She uses sounds such as “sss….”, “gl…” and “p..r…l” which are all soothing. As the poem progresses, she begins to use words producing hard sounds such as “bald” and “bold” in order to disrupt the serenity, finally stopping the use of alliterations altogether. The use of the dash expresses silence and the unexpressed. To dash is to stroke with violence, breaking into fragments, thus putting a different strain into it.


Finally, the irony is that Dickinson being a recluse herself dares to criticize those of her kind. Is she taunting herself? Doesn’t she realize that she too leads a solitary and isolated life? Are these signs of depression and frustration?


In conclusion, Emily Dickinson has managed to create calm and chaos, harmony and anarchy all together, jeering at the psychological aspects of self-concept self-esteem, self-image, self-identification and the norms of society. The poem portrays a clear innate psychological discrimination by the well-off to the impoverished.


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