In accidental power -
The blonde Assassin passes on -
The Sun proceeds unmoved
To measure off another Day
For an Approving God -
F (1668)
This poem describes the cycle of change in nature, specifically the cycle of death in nature. The flowers, which die in winter, are not surprised when they are killed because it is expected and normal, as seen in the frozen rose above. The world keeps moving even after they die, the sun “measure[s] off another day,” and God is in control of it all. He even approves of this killing as nature acts according to his will.
In approving her own unique religion, Dickinson often discusses Christianity “in tones of mocking contempt” (Hughes 283). The speaker in “Apparently with no surprise” is matter of fact, sarcastic, and skeptical as well. Beginning the poem with “Apparently” creates tension between whatever is apparent and the speaker. He or she is not satisfied with the flippant killing of the “approving God” (ll. 8). This pushes the speaker towards her own form of religion rather than the religion of the “approving God” who condones the “blonde assassin” (ll. 5) to “behead” flowers “at its play” (ll. 3).
The speaker in “Apparently with no Surprise” describes the cycle of death in nature with a disapproving voice, aligning with Dickinson’s personal beliefs regarding an all-powerful God. This subject and theme could also apply to the death of humans being an act of God as natural as winter killing flowers, which angers and saddens Dickinson who’s life was marked by several losses.
This poem describes the cycle of change in nature, specifically the cycle of death in nature. The flowers, which die in winter, are not surprised when they are killed because it is expected and normal, as seen in the frozen rose above. The world keeps moving even after they die, the sun “measure[s] off another day,” and God is in control of it all. He even approves of this killing as nature acts according to his will.
In approving her own unique religion, Dickinson often discusses Christianity “in tones of mocking contempt” (Hughes 283). The speaker in “Apparently with no surprise” is matter of fact, sarcastic, and skeptical as well. Beginning the poem with “Apparently” creates tension between whatever is apparent and the speaker. He or she is not satisfied with the flippant killing of the “approving God” (ll. 8). This pushes the speaker towards her own form of religion rather than the religion of the “approving God” who condones the “blonde assassin” (ll. 5) to “behead” flowers “at its play” (ll. 3).
The speaker in “Apparently with no Surprise” describes the cycle of death in nature with a disapproving voice, aligning with Dickinson’s personal beliefs regarding an all-powerful God. This subject and theme could also apply to the death of humans being an act of God as natural as winter killing flowers, which angers and saddens Dickinson who’s life was marked by several losses.
It attempts to reconcile this idea of God, Dickinson often reverts to the worship of nature as God, rather than the Christian God. Despite her frequent portrayal of nature as God, Dickinson does not always completely forfeit the idea of God, keeping God and nature somewhat distinct. Nature is performing the acts of God by enacting the death of the flowers. “Apparently with no surprise” shows this idea as “the frost beheads” (ll. 3) “happy [flowers]” (ll. 2) “for an approving God” (ll. 8). Flowers are not surprised when nature, acting out of obedience to God, assassinates them. Despite Dickinson’s frequent portrayal of nature as God, this poem makes a clear distinction. Nature is acting for God, and life goes on as “the sun proceeds unmoved” and the “blond assassin passes on” (ll. 5-6).
Dickinson continues to show her opinions on God’s actions using her form in the poem. The rhyme scheme in this poem adheres to traditional hymn rhyme in the first stanza, being ABCB. However, in the second stanza, when God is introduced, it is altered, changing to a slant rhyme rather than a perfect rhyme. This difference shows the discrepancies between Dickinson’s feelings about nature and God. Nature follows the perfect order, shown by the perfect rhyme, but God does not. God interferes with the perfect order, and Dickinson shows that she prefers nature.
Hughes, Glenn. “Love, Terror, and Transcendence in Emily Dickinson’s Poetry.” Renascence, vol. 66, no. 4, Fall 2014, pp. 283–304.
http://www.wallpapermania.eu/wallpaper/frozen-red-rose-winter-time
Hughes, Glenn. “Love, Terror, and Transcendence in Emily Dickinson’s Poetry.” Renascence, vol. 66, no. 4, Fall 2014, pp. 283–304.
http://www.wallpapermania.eu/wallpaper/frozen-red-rose-winter-time
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