1

CRITICAL ANALYSIS OF POEMS WHEN I AM DEAD, MY

DEAREST AND NO COWARD SOUL IS MINE

MAHRUKH TAJAMMAL

22005

ENGLISH 7TH SEMESTER

INTRODUCTION TO WOMEN’S WRITING

SUBMITTED TO: MA’AM FAIZA KHAN

GOVERNMENT POSRTGRADUATE COLLEGE FOR WOMEN

HARIPUR
 2

WHEN I AM DEAD, MY DEAREST BY CHRISTINA ROSSETTI

Historical Context
Christina Rossetti lived between December 5th, 1830, and December 29th, 1894. Her poem
Song was first published in her 1862 volume, Goblin Market and Other Poems, largely
considered her most successful work, especially at the time of its publication. What inspired this
particular poem is likely the fact that Rossetti dealt with a variety of issues with her mental and
physical health throughout her life, leaving her with a great many potential times to reflect upon
the nature of her own mortality. As early as when she was fourteen years old, she suffered a
nervous breakdown that saw her withdraw from her school and receive a home education with a
notable religious element; Christina Rossetti, along with her family, became deeply involved in
Anglo-Catholicism. This led to the declining of three separate engagements offered to Rossetti in
her teenage years, and she never married in her adulthood.

Apart from this, she was diagnosed later in her life with Graves’ Disease and suffered
bouts of depression periodically through her adulthood as well. By the time Song was written,
Rossetti had turned down her suitors already, so it seems likely that the “dearest” addressed to in
the poem was meant either as a general mark of fondness, or as an address to a family member.
Shortly before the poem’s publication, Rossetti experienced a crisis of faith that arose from a bout
of depression. Dealing with all of this, her Song was likely written as a means of comforting her
own self, and accepting the potential realities held by death (and indeed, after her death her works
remained popular, and her contributions have earned her a feast day in the Anglican Calendar —
April 27th).

It is clear that throughout her life, Rossetti fought some very unpleasant and very difficult
emotions that might have otherwise ruined the life of an excellent poet who has expressed some
of those feelings in Song, which is all the more powerful when the reader remembers the difficult
life endured by the woman who wrote it.

About Christina Rossetti

Christina Georgina Rossetti (5 December 1830 – 29 December 1894) was an English writer of
romantic, devotional and children's poems, including "Goblin Market" and "Remember". She
also wrote the words of two Christmas carols well known in Britain: "In the Bleak Midwinter",
later set by Gustav Holst, Katherine Kennicott Davis, and Harold Darke, and "Love Came
Down at Christmas", also set by Darke and other composers. She was a sister of the artist and
poet Dante Gabriel Rossetti and features in several of his paintings. She was regarded as one of
the top female poets of the Victorian Poetry and Poetics (1968). Her Song: starting with When I
am dead, my dearest, is regarded as one of the best-loved poems up till now.
 3

The poem varies from John Donne’s ‘A Valediction: Forbidding Mourning,’ and
renders a Rossetti-neat complement to another of Christina Rossetti’s initial poems, the sonnet
‘Remember,’ which she had written a year after ‘When I am dead, my dearest.’

About the poem:

The poem is divided into two verses, each with eight lines, each of which could be further
broken down into two quatrains, rhyming off an ABCB pattern. There is a clear rhythm and
beat to this work, and it is structured so as to flow in the most natural way for the reader. The
content of the poem follows an unnamed narrator speaking to another individual identified
only as “my dearest,” a strong word choice that instills deeply-felt emotion into the first line of
the poem. The verse uses alliteration heavily to create pleasant sounds; the “dead” and
“dearest” in the first line and the “sing,” “sad,” and “songs” in the second line, for instance,
give off a simple and calm atmosphere to the work. The poem focuses on death and
mourning, with the speaker urging a loved one not to waste too much time grieving for her
when she dies. Instead, the speaker tells this person to move on with life: while the speaker isn't
exactly sure what happens after death, she does seem sure that she won't notice whether or not
the living remember her.

SUMMARY
When I am Dead, My Dearest by Christina Rossetti is a poignant poem that reflects on life,
death, and remembrance. The speaker addresses a loved one, expressing a desire for them not
to mourn or dwell on the speaker’s passing. The speaker encourages a peaceful approach to
remembrance, suggesting they neither remember nor forget, but rather let the memory of the
speaker rest naturally. The tone is calm and accepting, and Rossetti emphasizes a peaceful
release from earthly concerns, where both joy and sorrow fade. In essence, the poem captures a
balanced acceptance of mortality, conveying tranquility in the face of death.

SYMBOLS
1. Roses and the Cypress Tree
The roses and cypress trees in the poem symbolize traditional mourning—the typical ways in
which the living go about commemorating the dead.

This symbolism has deep roots: the ancient Greeks and Romans associated the cypress
tree with death because of its inability to regrow if cut back too much, and it's one of the most
common trees planted in cemeteries across European and Muslim countries. Roses, of course,
are linked with love and are often placed at loved ones' headstones.

Importantly, roses and cypress trees are also alive. In a way, then, they also represent the
idea that the mourning rituals people partake cannot reach the dead. Such rituals stem from the
world of the living, and are done for the living themselves.
 4

That's why the speaker of this poem asks that she not be mourned with roses and cypress
trees. As far as she can see, there's no point in these rituals because once she's dead, she won't be
around to appreciate them. She would rather her loved one move on, regardless of whether that
means remembering or forgetting their time together.

2. Green Grass
The "green grass" here symbolizes the way that life carries on in the face of death. Such grass
will grow and thrive above the speaker's grave, and this speaks to the way that the world will keep
on turning after the speaker dies.

The grass, then, is also a symbol of what the speaker hopes for her beloved: that this person
will continue to grow and flourish in her absence.

The color green itself often symbolizes youth, spring, and rebirth. Perhaps, then, the
green grass here further suggests that the speaker will be reborn in some way, existing in some
kind of afterlife where she may or may not remember her time on earth (or simply that her body
will nourish the ground on which the grass grows).

3. The Nightingale

The nightingale (a kind of songbird) has been a symbol of lament (a passionate expression of
grief, sorrow, or mourning) in classical literature since the ancient Greeks first associated it with
Philomela.

According to myth, Philomela was a princess of Athens who was raped by her sister's
husband, King Tereus of Thrace. When she threatened to tell everyone about his crime, Tereus
cut out her tongue. Later, she exacted revenge on him (there are many variations of this part of the
story), and when he came after her in a rage, the gods turned Philomela into a nightingale so that
she could his wrath.

In this poem, the speaker says that once she is dead, she will no longer hear the nightingale's
lament. On the surface, this paints death as a kind of relief from the pain and sorrow of this world.
Yet, at the same time, the nightingale's song is also renowned for its beauty. It commonly
represents not just sorrow, but also the beauty of nature and the artistry of poets. As such, the
nightingale in this poem is a symbol of all the things the dead can no longer feel once they are
gone: sadness and beauty and sorrow and joy.

THEMES
1. Mortality and Acceptance of Death:

Rossetti portrays death as an inevitable, peaceful state rather than something to dread. The
speaker’s calm acceptance suggests a philosophical view that death is a return to a natural state,
 5

free from the trials of earthly existence. Rather than dramatizing death, Rossetti embraces it as part
of life’s natural cycle.

2. Memory and Forgetfulness:

The speaker’s line “And if thou wilt, remember, / And if thou wilt, forget” reflects an indifference
toward being remembered. This theme highlights the idea that memory is ultimately transient and
subjective. Rossetti implies that what matters is not how long we are remembered but rather the
peace we can achieve in letting go of such concerns.

3. Love and Detachment:

While the speaker addresses a loved one, they refrain from asking for prolonged grief or devotion,
suggesting a form of love that does not insist on possessiveness. The poem encourages moving
forward without excessive sorrow, reflecting a selfless love that prioritizes the well-being of the
one left behind.

4. The Transience of Life and Emotions:

Rossetti subtly reminds readers that human experiences, emotions, and even memories are fleeting.
This theme is emphasized by the gentle tone of the poem and the speaker’s encouragement to
neither cling too strongly to remembrance nor to feel guilt in letting go.

5. Inner Peace and Serenity:

The poem’s tone is one of tranquility and acceptance, with nature-based imagery like “the green
grass above me” reinforcing a sense of harmony with the natural world. By rejecting intense
mourning, Rossetti portrays death as a serene, restful state, promoting an inner peace free from
earthly worries.

LITERARY DEVICES:
1. Imagery:
Rossetti uses vivid nature-based imagery to evoke peace and a sense of final rest. Phrases like “the
green grass above me” and “I shall not see the shadows” create an image of calm and serenity
in death, suggesting a restful, natural state beyond life’s worries.

2. Symbolism:

Several symbols in the poem add layers to its meaning. For example, “green grass” symbolizes
peace and a return to nature, while “shadows” and “rain” symbolize sorrow, which the speaker
suggests will no longer affect them in death. This contrast emphasizes the freedom from earthly
suffering after death.
 6

3. Repetition:

The phrase “I shall not” repeats throughout the second stanza, emphasizing the speaker’s
detachment from life’s activities after death. It reinforces the finality of death and underscores a
calm acceptance of all that will be left behind.

4. Tone:

The tone is serene and accepting rather than mournful. Rossetti’s choice of gentle language and
soft imagery contributes to this tone, helping to convey an attitude of peace toward death. The
tone sets up the central message that both remembering and forgetting are acceptable after one’s
passing.

5. Alliteration:
Subtle alliteration, like in the phrase “sing no sad songs,” contributes to the poem’s gentle,
flowing rhythm. This helps maintain the calm and reflective atmosphere that permeates the work,
underscoring the speaker’s acceptance.

6. Juxtaposition:

Rossetti juxtaposes ideas of remembrance and forgetfulness, illustrating that either response is
valid and neither should be a source of distress. This acceptance of both possibilities reinforces the
speaker’s detachment and the transient nature of life and memory.

7. Consonance:
The repetition of certain consonant sounds, like the “s” in “sing no sad songs for me,” adds to
the soothing, almost musical quality of the poem. This choice in sound contributes to the calm and
flowing rhythm, aligning with the theme of peace.

8. Metaphor:

The speaker’s “sleep” in death is a metaphor for the peaceful rest that death represents. By likening
death to sleep, Rossetti softens the concept of dying, making it feel like a gentle transition rather
than an end.

Existential and Philosophical Perspective:

Christina Rossetti's When I am Dead, My Dearest can be analyzed from an existential and
philosophical perspective which reveals a meditation on life, death, and the meaning (or lack
thereof) of human existence. The poem presents a speaker who expresses a calm, even indifferent
 7

attitude toward death, which can be seen as an existential contemplation on mortality and the
transient nature of life.

1. Indifference to Posthumous Existence

The speaker’s instructions to the "dearest" not to mourn or remember them after death immediately
set a tone of detachment:

"When I am dead, my dearest,

Sing no sad songs for me;"

This indifference to being remembered suggests that, from the speaker’s perspective, the typical
human need for legacy or remembrance has no significance once one ceases to exist. This echoes
existential themes regarding the meaninglessness of such concerns in the grand scheme of human
mortality. In an existential framework, death is a natural endpoint, and the desire for remembrance
may be seen as a futile attempt to impose meaning on a life that will inevitably end.

2. Transcendence of Earthly Emotions

The speaker’s further instructions to their beloved reveal an existential detachment from emotions
associated with death, such as grief or sorrow:

"Plant thou no roses at my head,

Nor shady cypress tree:
Be the green grass above me
With showers and dewdrops wet;"

The absence of the traditional symbols of mourning (roses and cypress trees) can be interpreted as
the speaker’s rejection of society’s rituals surrounding death. Instead, the imagery of "green grass"
and "dewdrops" suggests a return to nature, an idea that is in line with existential thought. Rather
than focusing on emotional or symbolic acts, the speaker highlights the natural process of decay
and the continuity of life in nature, emphasizing the inevitability and neutrality of death.

3. Confrontation with Nothingness

In existential philosophy, death represents a confrontation with nothingness—the absence of being.

Rossetti’s speaker addresses this directly by considering the possibility of complete oblivion after
death:

"And if thou wilt, remember,

And if thou wilt, forget."

The speaker’s indifference to whether they are remembered or forgotten reflects existential
concerns about the ultimate meaning of life. In existentialism, the idea of “nothingness” looms
large; life can be seen as a fleeting, often purposeless journey toward inevitable death. The speaker
 8

accepts this reality without any demand for significance beyond their immediate existence, and
they do not concern themselves with the potential emptiness that follows death.

4. The Ephemeral Nature of Existence

The poem conveys a deep understanding of life’s ephemeral nature. The speaker's acceptance of
this transience is reinforced in the second stanza:

"I shall not see the shadows,

I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain."

Here, Rossetti reflects on the impermanence of sensory experiences, such as seeing shadows,
feeling rain, or hearing birdsong. The speaker acknowledges that after death, these fleeting
experiences will no longer matter, as they will be beyond perception. This aligns with existentialist
ideas about the absurdity of life’s transient moments, which are significant to us while alive but
lose all meaning once we are dead.

5. Ambiguity and Freedom from Earthly Ties

The poem’s final lines express a sense of ambiguity about the afterlife, reinforcing existential
uncertainty about what follows death:

"And dreaming through the twilight

That doth not rise nor set,
Haply I may remember,
And haply may forget."

The uncertainty about whether the speaker will "remember" or "forget" after death highlights the
existentialist belief in the unknowable nature of existence beyond life. In existential philosophy,
individuals are free to create their own meaning in life, but there is no certainty about what, if
anything, follows death. The speaker's lack of concern about this ambiguity can be seen as an
acceptance of the human condition—of living and dying in a world where ultimate truths are
elusive, and where personal freedom is found in accepting life as it is.

Conclusion:
From an existential and philosophical perspective, "When I am Dead, My Dearest" reflects themes
of death, the impermanence of life, and the search for meaning in a transient existence. Rossetti’s
speaker exhibits a calm acceptance of death and an indifference to typical human concerns about
legacy, remembrance, and mourning. In line with existential thought, the poem emphasizes the
inevitability of death, the uncertainty of what comes after, and the ultimate futility of imposing
meaning on a life that is fundamentally finite. The speaker's detachment from emotional and
societal rituals surrounding death illustrates a deep philosophical contemplation on the nature of
human existence and the freedom found in accepting life's impermanence.
 9

Feminism:
Feminism is a social, political, and intellectual movement that advocates for the equality of the
sexes and the empowerment of women, striving to address and dismantle systems of oppression,
discrimination, and gender-based inequality. Feminism challenges the historical marginalization
of women in social, economic, political, and cultural spheres, and promotes women’s autonomy,
rights, and opportunities. There are various waves and types of feminism, such as liberal, radical,
Marxist, and intersectional feminism, each focusing on different aspects of gender inequality,
including issues like reproductive rights, workplace discrimination, representation, and systemic
sexism.

Feminist Analysis of "When I Am Dead, My Dearest"

When analyzed from a feminist perspective, Christina Rossetti’s poem "When I am Dead, My
Dearest" can be seen as a subtle commentary on the expectations placed on women in Victorian
society, particularly regarding their roles in life and death, and how they were often idealized,
objectified, or confined within domestic and emotional roles. The speaker in the poem rejects
conventional mourning rituals and, in doing so, challenges the idea of women being defined by
how others—especially men—remember or revere them.

1. Rejection of Traditional Mourning and Remembrance

From a feminist standpoint, the speaker’s disinterest in being mourned or remembered can be
interpreted as a rejection of how women, in life and death, were often sentimentalized and
idealized:

"When I am dead, my dearest,

Sing no sad songs for me;"

In Victorian times, women were frequently placed on a pedestal, revered not just for their virtues,
but also in their suffering or death. The speaker, however, refuses to play this part, showing no
desire to be remembered through sorrow or through idealized notions of womanhood. The
avoidance of "sad songs" could symbolize a rejection of being turned into a passive,
sentimentalized figure. This reflects a feminist desire to step outside the traditional roles of how
women were expected to be perceived.

2. Autonomy and Control Over One’s Memory

The speaker exhibits a degree of autonomy over how they wish to be remembered—or, more
specifically, how they do not wish to be remembered. By instructing the "dearest" to not plant
roses or a cypress tree, both symbols of mourning, the speaker resists the common practice of
venerating women posthumously:

"Plant thou no roses at my head,

Nor shady cypress tree;
 10

Be the green grass above me

With showers and dewdrops wet."

This desire for a simple burial, free of sentimental gestures, symbolizes a feminist assertion of
control over one’s image and legacy. The speaker is not interested in the traditional practices that
reinforce gendered roles of women as fragile beings who require mourning and emotional
investment after death. Instead, the speaker seems to desire a natural, unembellished end—one not
confined to the cultural or societal expectations placed on women.

3. Indifference to Being Remembered

The speaker’s ambivalence about whether or not they are remembered challenges the patriarchal
notion that women’s value is often tied to their relationships or how they are remembered by others
(especially men). The speaker says:

"And if thou wilt, remember,

And if thou wilt, forget."

This line reflects a powerful feminist statement about independence and self-worth. The speaker
is asserting that their identity and value are not contingent on the memories or thoughts of others,
a radical notion in a time when women were often seen through the lens of their roles as wives,
mothers, or mourned figures. The indifference to being remembered underscores the speaker’s
rejection of external validation and highlights a feminist assertion of self-determination, even in
death.

4. Breaking Free from Victorian Gender Expectations

In Victorian society, women were often confined to domestic roles, where their worth was
measured by their relationships to others—particularly their husbands and children. Even in death,
women were expected to be remembered as virtuous, self-sacrificing, and nurturing. Rossetti’s
speaker, however, does not subscribe to this idealized image of womanhood. The tone of the poem
is one of quiet defiance, as the speaker chooses to opt out of the emotional labor typically
associated with women, even in their memory.

By not caring whether her death evokes sadness or elaborate mourning rituals, the speaker steps
outside the passive and submissive role that Victorian women were expected to occupy. This can
be interpreted as a feminist declaration that women are not bound to societal expectations and can
dictate how they wish to be viewed or remembered—if at all.

5. Natural Imagery and Feminist Symbolism

Rossetti uses natural imagery, such as “green grass,” “showers,” and “dewdrops,” to contrast with
the more traditional and gendered symbols of roses and cypress trees (both associated with
feminine mourning). This preference for nature over cultivated symbols suggests a desire to break
free from the constructed, socially imposed ideals of femininity. In rejecting the “roses” and
“cypress,” the speaker resists the ornamental and aesthetic expectations often associated with
 11

women’s death and memory, instead aligning herself with the more organic, unadorned cycle of
life and death.

Conclusion:

Through a feminist lens, "When I am Dead, My Dearest" can be seen as a subtle act of defiance
against the traditional, idealized roles women were expected to occupy in both life and death. By
rejecting conventional mourning rituals, sentimental gestures, and the need to be remembered,
Rossetti’s speaker asserts autonomy and independence, breaking free from the societal
expectations that confined Victorian women. The poem suggests that a woman’s value does not
lie in how she is mourned or remembered, but in her ability to assert her own will, even in the face
of death. This quiet rebellion against the gendered norms of remembrance serves as a feminist
statement of self-determination and freedom.

Religious and Spiritual Perspective

Analyzing Christina Rossetti's "When I Am Dead, My Dearest" from a religious and spiritual
perspective brings out themes related to the afterlife, detachment from worldly concerns, and faith
in divine grace. Rossetti, known for her deep Christian beliefs, often infused her poetry with
religious ideas about life, death, and eternity. In this poem, the speaker's calm acceptance of death
and the focus on the natural world can be interpreted as reflecting a Christian understanding of
death as a passage into a spiritual realm beyond earthly sorrow.

1. Acceptance of Death as a Natural Part of God's Plan

The speaker’s serene and detached attitude towards death can be interpreted as an expression of
faith in a divine order. In Christian theology, death is often seen not as a tragic end, but as a
transition to eternal life with God. This religious belief in the afterlife likely informs the speaker’s
calmness:

"When I am dead, my dearest,

Sing no sad songs for me;"

Rather than fearing death or asking for prolonged mourning, the speaker seems to embrace it with
acceptance. The instruction not to sing "sad songs" reflects a trust in something beyond this life,
perhaps suggesting that the speaker believes in the peacefulness or joy of the afterlife. This could
signify a Christian belief in heavenly rest, where worldly concerns are no longer relevant.

2. Detachment from Worldly Concerns

The speaker’s rejection of mourning rituals—such as planting roses or cypress trees—can be seen
as a reflection of Christian values that emphasize the fleeting nature of earthly life and the
insignificance of worldly symbols in comparison to spiritual concerns:
 12

"Plant thou no roses at my head,

Nor shady cypress tree:
Be the green grass above me
With showers and dewdrops wet;"

By focusing on nature’s simplicity ("green grass" and "dewdrops") rather than man-made symbols
of mourning, the speaker seems to acknowledge the natural cycle of life and death. In Christianity,
earthly life is seen as temporary, and human beings are encouraged to focus on the soul’s eternal
existence rather than material or symbolic displays. The speaker’s indifference to elaborate
mourning could reflect this spiritual focus, suggesting that they are at peace with leaving the
earthly world behind.

3. Hope for Spiritual Peace

Although the speaker does not directly mention the afterlife or heaven, the overall tone of the poem
suggests a calm and hopeful view of death, which can be interpreted as an implicit trust in a
peaceful afterlife. The second stanza presents the speaker imagining a state of oblivion or dream-
like existence:

"I shall not see the shadows,

I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain."

This absence of sensory experience could symbolize a peaceful, restful state, free from the sorrows
and pains of earthly life. In Christian teachings, the afterlife is often described as a place of rest
and peace, where believers are freed from the burdens of the physical world. The idea of not feeling
"rain" or hearing the nightingale "sing on, as if in pain" suggests an escape from the suffering that
characterizes human existence.

4. Eternal Rest and Spiritual Ambiguity

The poem also introduces a degree of uncertainty or mystery about the afterlife, as the speaker
suggests the possibility of "remembering" or "forgetting" after death:

"And dreaming through the twilight

That doth not rise nor set,
Haply I may remember,
And haply may forget."

The "twilight" that "doth not rise nor set" evokes an image of a liminal state—neither fully alive
nor dead—which could represent a spiritual realm beyond the confines of time and earthly
understanding. In Christianity, eternal life with God is often imagined as existing beyond the
bounds of earthly time, and the imagery of twilight could symbolize this timeless spiritual state.
 13

The ambiguity in the lines “haply I may remember, / And haply may forget” suggests that
the speaker does not know for certain what the afterlife will entail. While this could be interpreted
as a lack of knowledge about the afterlife, it may also reflect the idea that spiritual existence
transcends human understanding. In Christian teachings, the afterlife is often described as
mysterious and beyond the comprehension of earthly minds. This mystery could be a reflection of
faith—a belief in a divine plan that surpasses human knowledge.

5. Spiritual Detachment from Grief and Mourning

The speaker’s lack of concern over whether they are remembered or forgotten aligns with Christian
teachings on detachment from worldly honors or emotions. The speaker expresses an acceptance
of either possibility:

"And if thou wilt, remember,

And if thou wilt, forget."

In many religious traditions, including Christianity, personal ego and concerns over legacy or
remembrance are seen as part of the material world, which believers are encouraged to transcend.
The speaker’s indifference toward remembrance or being forgotten could reflect a spiritual
mindset in which the soul, after death, no longer needs or desires human recognition or memory.
This echoes the Christian idea that one's soul finds ultimate fulfillment in God, not in the opinions
or emotions of those left behind.

6. Symbolism of Nature and Spiritual Renewal

The use of natural imagery, such as "green grass," "showers," and "dewdrops," also holds spiritual
significance. Nature in Christian symbolism often represents purity, renewal, and the cycle of life
created by God. The speaker’s desire to be covered by "green grass" rather than roses or a cypress
tree can be seen as an embrace of a simple, natural return to the earth, reflecting the Christian idea
of the body returning to dust while the soul lives on:

"Be the green grass above me

With showers and dewdrops wet;"

This return to nature, in Christian theology, could symbolize resurrection and renewal, as the
natural world often serves as a metaphor for spiritual rebirth. By choosing the simplicity of grass
and dewdrops over ornamental symbols, the speaker may be expressing a belief in the natural cycle
of life and death as part of God’s plan.

Conclusion:

From a religious and spiritual perspective, "When I am Dead, My Dearest" can be seen as
reflecting Christian themes of acceptance of death, detachment from earthly concerns, and faith in
a peaceful afterlife. The speaker’s calm attitude toward death and the rejection of traditional
mourning rituals suggest a belief in the impermanence of earthly life and the importance of
spiritual peace. While the poem does not explicitly reference Christian doctrine, its focus on the
 14

natural cycle of life and death, indifference to earthly remembrance, and quiet acceptance of the
unknown afterlife all reflect a spiritual understanding of death as part of a greater, divine plan.

Ecocritical Perspective:
Ecocriticism is a literary theory that examines the relationship between literature and the natural
environment. It analyzes how texts engage with the natural world, address ecological issues, or
challenge anthropocentric (human-centered) views of nature. Ecocritics explore how literature
represents nature, human-nature relationships, environmental concerns, and the consequences of
human actions on the environment. When analyzing literature from an ecocritical perspective,
one focuses on the significance of nature, the interaction between humanity and the natural world,
and the role that ecological awareness plays in shaping the themes and messages of a work.

Ecocritical Analysis of "When I Am Dead, My Dearest"

In Christina Rossetti’s "When I Am Dead, My Dearest," nature plays a central role in the poem's
imagery and overall tone. The speaker’s approach to death is intertwined with nature, suggesting
a deep connection between human life, death, and the natural world. From an ecocritical
perspective, the poem reflects the idea of human mortality as part of the broader natural cycle, and
the speaker's wishes align with an ecological understanding of life’s transience and humanity's
place within the environment.

1. Rejection of Artificial Mourning Practices

The speaker’s rejection of conventional symbols of mourning, such as roses and cypress trees, in
favor of the simplicity of grass, rain, and dewdrops, reflects a preference for natural elements over
human-made or cultivated ones. This rejection can be interpreted ecocritically as a commentary
on the contrast between natural and artificial representations of death:

"Plant thou no roses at my head,

Nor shady cypress tree;
Be the green grass above me
With showers and dewdrops wet;"

The speaker’s choice of "green grass" instead of roses or a cypress tree highlights a return to the
natural world and a desire to be remembered within the context of the earth’s organic, untamed
environment rather than through human-imposed symbols. The avoidance of ornamental flowers
suggests a more ecological view of death as an event that should be in harmony with nature’s
simplicity rather than adorned with human intervention. In this way, the speaker aligns their death
with the unadorned processes of nature, rather than cultural customs that seek to modify or
romanticize it.
 15

2. Nature as a Symbol of Eternal Life

Rossetti uses natural elements such as "green grass," "showers," and "dewdrops" to convey an
image of life continuing beyond human existence. From an ecocritical viewpoint, this could
represent the eternal, regenerative power of nature, which transcends individual human lives:

"Be the green grass above me

With showers and dewdrops wet;"

The imagery of "showers and dewdrops" suggests the natural cycle of renewal and nourishment
that continues after death. Water, in the form of rain and dew, is often symbolic of life and growth
in nature. By emphasizing these natural elements, the speaker expresses a sense of continuity
between their death and the natural world’s processes. This ecocritical reading highlights the
poem’s acknowledgment of the interconnectedness between human life and the environment,
suggesting that the human body, upon death, becomes part of the earth's ongoing cycle of growth
and decay.

3. Death as a Return to Nature

From an ecocritical perspective, the poem can be interpreted as a celebration of the natural cycle
of life, death, and regeneration. The speaker’s calm attitude toward death reflects an understanding
of mortality as part of the natural order, rather than something to be feared or resisted:

"I shall not see the shadows,

I shall not feel the rain;"

In this line, the speaker acknowledges the cessation of human senses after death, but nature
continues its course regardless. The speaker will no longer feel or interact with the environment in
a human sense, but they are now part of the earth. This reflects the ecological view that death is a
natural process, and human life is just one small part of the larger ecological cycle. Ecocritically,
this could be seen as a rejection of the human tendency to place themselves at the center of
existence, instead acknowledging the continuity of nature independent of human life.

4. Non-Anthropocentric View of Life

The speaker’s indifference toward being remembered ("And if thou wilt, remember, / And if
thou wilt, forget") suggests a detachment from the human-centered need for legacy or lasting
impact. From an ecocritical perspective, this can be read as an acknowledgment of the
insignificance of individual human life within the broader context of nature. The speaker does not
seek immortality through human memory, but instead, seems content to dissolve into the natural
world.

This non-anthropocentric attitude aligns with the ecocritical understanding that humans are not at
the center of the universe but are instead part of a larger ecological system. The speaker’s peaceful
acceptance of death without concern for how they are remembered emphasizes the idea that life
 16

and death are natural processes that exist within the cycles of nature, beyond human control or
influence.

5. The Role of the Nightingale: Nature’s Continuation

The poem features a nightingale, a bird often associated with melancholy in literature. From an
ecocritical perspective, the nightingale’s song, which continues even after the speaker’s death,
reinforces the idea that nature persists, unaffected by individual human lives:

"I shall not hear the nightingale

Sing on, as if in pain."

The nightingale, "singing on as if in pain," suggests that nature remains constant, regardless of
human suffering or death. This image reflects the ecocritical understanding that the natural world
operates independently of human life, with its own rhythms and processes. The nightingale's
continued song after the speaker’s death underscores the continuity of nature, which goes on
unaffected by the passing of individual humans. In this way, the poem suggests that nature’s
existence transcends human concerns and will endure long after humanity.

6. Harmony with Nature in Death

Ultimately, the speaker’s wishes to be "under green grass" with no formal markers or symbols
of mourning reflect a desire to return to the earth in a natural and harmonious way. This preference
for a simple, unadorned burial suggests an understanding of death as part of the ecological cycle,
where human bodies return to the earth and contribute to the environment’s ongoing life processes.

From an ecocritical perspective, this reflects a worldview that embraces the interconnectedness of
all living things and the importance of living in harmony with nature. The poem expresses a sense
of humility in the face of the natural world, acknowledging that human life is just one element of
the larger ecosystem. By requesting that no roses or cypress trees be planted, the speaker
emphasizes a desire to integrate with the earth’s natural processes rather than being marked by
human intervention.

Conclusion:
From an ecocritical perspective, "When I Am Dead, My Dearest" emphasizes the speaker’s desire
to return to nature in a simple and unadorned way, reflecting an ecological understanding of death
as part of the natural cycle. The poem rejects human-centered mourning practices and focuses on
nature’s continuity and regenerative power, portraying death as a natural process that should be in
harmony with the environment. By placing natural elements at the center of the poem, Rossetti
suggests that human existence is only a small part of the greater ecological system, and that nature
will continue long after individual lives have ended.
 17

Psychological Perspective:
Analyzing Christina Rossetti's "When I Am Dead, My Dearest" through a psychological lens
focuses on the inner workings of the speaker’s mind, including their thoughts on death, emotions,
and coping mechanisms. This perspective emphasizes the speaker's relationship with their
mortality and how they manage feelings related to death, memory, and existence.

1. Detachment from Emotional Involvement

The speaker’s attitude towards their own death is one of detachment and emotional neutrality,
which can be seen as a coping mechanism. By calmly instructing their "dearest" not to mourn
them, the speaker demonstrates a conscious decision to distance themselves from typical emotional
responses to death:

"When I am dead, my dearest,

Sing no sad songs for me;
Plant thou no roses at my head,
Nor shady cypress tree."

This calm and almost indifferent tone suggests that the speaker is avoiding the emotional burden
typically associated with death, such as grief or sorrow. From a psychological standpoint, this
could be interpreted as denial or disengagement from fear and anxiety about death. By rejecting
the ritualistic expressions of mourning, the speaker may be seeking control over their own death
experience, choosing to focus on peace rather than emotional turmoil.

2. Coping with Mortality

The speaker’s acceptance of death reflects an advanced stage in the psychological process of
coming to terms with mortality, which could align with Elisabeth Kübler-Ross’s model of grief
(the five stages of grief: denial, anger, bargaining, depression, and acceptance). The speaker
appears to have moved past fear or sorrow and reached a stage of acceptance:

"And if thou wilt, remember,

And if thou wilt, forget."

This indifference to being remembered or forgotten reflects a psychological state of detachment

from ego. The speaker no longer feels the need for validation or recognition in death, which could
be seen as a form of psychological resilience. Instead of clinging to the need for immortality
through memory, the speaker has reached a place of serenity, accepting the possibility of oblivion
or fading from the minds of the living.

3. Psychological Escape into Nature

The use of natural imagery, such as "green grass," "showers," and "dewdrops," suggests a desire
to connect with something beyond the human experience, perhaps as a way to cope with the idea
 18

of death. Psychologically, nature can represent a peaceful, non-threatening force, offering the
speaker a sense of comfort and continuity. The speaker imagines a world in which they no longer
perceive the "shadows," "rain," or "nightingale" in a state of distress:

"I shall not see the shadows,

I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain."

This imagery suggests a psychological desire to escape the emotional weight of human existence,
symbolized by the shadows, rain, and nightingale’s mournful song. The speaker may be seeking
refuge in the idea that death brings relief from emotional and physical suffering, allowing for a
form of peaceful detachment from life’s hardships.

4. Ambivalence and the Uncertainty of the Afterlife

The speaker expresses uncertainty about what happens after death, particularly in the lines:

"Haply I may remember,

And haply may forget."

This reflects a psychological ambivalence toward the unknown, as the speaker acknowledges the
possibility of both memory and oblivion. Psychologically, this could represent a form of cognitive
dissonance, where the speaker is trying to reconcile conflicting feelings about death. The
ambiguity suggests that the speaker may be grappling with fear or doubt about what comes after
death, but they seem to have made peace with the uncertainty, allowing them to maintain a calm
demeanor.

Romantic Perspective:
From a Romantic perspective, the poem can be interpreted as part of the broader Romantic
movement, which emphasized individual emotion, nature, the sublime, and the spiritual aspects of
life. Romanticism often focused on death as a natural part of life, rejecting the rationalism of the
Enlightenment in favor of more emotional and spiritual explorations of existence. Rossetti's poem
exhibits several key Romantic characteristics, including the use of nature, the contemplation of
death, and the speaker's deep emotional engagement with life and its transience.

1. Nature as a Source of Comfort

The natural world plays a central role in the poem, aligning with the Romantic idea of nature as a
source of spiritual renewal and emotional solace. The speaker’s desire to be surrounded by natural
elements, such as "green grass" and "dewdrops," reflects the Romantic belief in nature’s restorative
power:
 19

"Be the green grass above me

With showers and dewdrops wet;"

In Romanticism, nature is often viewed as sublime—both beautiful and awe-inspiring—and as a

force that transcends human life. The speaker’s wish to be buried under the grass, without elaborate
markers of mourning, suggests an alignment with the Romantic idea that true beauty and meaning
are found in the simplicity and grandeur of nature. This connection to nature implies a deeper
spiritual understanding of death, as the speaker seems to embrace the natural cycle of life and death
as part of a greater cosmic order.

2. Embracing Death as Part of Life

Romanticism often explored themes of death as a natural and inevitable part of life. Rather than
fearing death, Romantics viewed it as a transition into a different state of existence, sometimes
even as a release from the constraints of the material world. The speaker in Rossetti’s poem seems
to embody this Romantic acceptance of death:

"And dreaming through the twilight

That doth not rise nor set,
Haply I may remember,
And haply may forget."

The speaker imagines death as a dreamlike state, existing in a "twilight" that transcends the
boundaries of time. This image of twilight, a liminal space between day and night, reflects the
Romantic fascination with moments of transition, where life and death intersect. By envisioning
death as a peaceful, almost mystical state, the speaker aligns with the Romantic notion of death as
a continuation of life, rather than an end.

3. Emotion and Individualism

Romanticism is deeply concerned with the expression of individual emotion, and Rossetti’s
speaker expresses a quiet but profound emotional response to their own death. Although the
speaker instructs their "dearest" not to mourn them with "sad songs," there is an underlying
sensitivity to the emotions surrounding death. The speaker’s calm acceptance of death does not
negate the emotional weight of the poem; rather, it reveals a deep emotional introspection typical
of Romantic poetry.

The speaker’s personal reflections on death highlight the Romantic focus on the individual
experience and the inner emotional world. The poem can be seen as an exploration of how the
individual relates to mortality, memory, and the afterlife, with the speaker choosing to confront
these existential questions on their own terms.

4. Mystery and the Sublime

The Romantic poets often grappled with the idea of the sublime—an overwhelming, mysterious
force that both terrified and inspired awe. In "When I Am Dead, My Dearest," the speaker engages
 20

with the sublime through their contemplation of death and the afterlife, especially in the ambiguous
lines about remembering or forgetting:

"Haply I may remember,

And haply may forget."

This uncertainty about what lies beyond death reflects the Romantic preoccupation with the
unknown and the unknowable. The speaker seems to accept the mystery of death, approaching it
not with fear but with a sense of awe and wonder. This openness to the sublime, to the possibility
of both remembering and forgetting, aligns with the Romantic fascination with the limits of human
knowledge and the vastness of the universe.

Conclusion:

From a psychological perspective, "When I Am Dead, My Dearest" explores the speaker's

detachment from traditional emotions surrounding death, their coping mechanisms, and a calm
acceptance of mortality. The speaker distances themselves from fear and sorrow, embracing a state
of emotional resilience. In contrast, from a Romantic perspective, the poem emphasizes nature,
the individual’s emotional response to death, and the sublime, with the speaker finding comfort in
the natural world and accepting death as part of the mysterious, awe-inspiring cycle of life. Both
perspectives highlight the poem's deep emotional engagement with death, memory, and nature.
 21

NO COWARD SOUL IS MINE BY EMILY BRONTE

Literary Context
Emily Brontë published “No Coward Soul Is Mine” in 1846. The poem appeared in Poems by
Currer, Ellis, and Acton Bell, these names being male pseudonyms for Emily and her sisters
Charlotte and Anne.
The collection was assembled after Charlotte Brontë discovered a manuscript of poems
Emily had been working on in secret. Emily eventually agreed to release the poems in the hope
that their publication would earn the sisters some much-needed money. Unfortunately, the original
edition only sold two copies, and despite sending it out to prominent poets of the time, the sisters
failed to drum up much interest. The little commentary it did obtain, however, was particularly
favorable towards the poems written by “Ellis”—a.k.a. Emily. These were the only poems she
published before her death (although nearly 200 other poems would be later discovered).
Only a year after the disappointing reception to Poems, Brontë went on to publish her now-
acclaimed novel Wuthering Heights. Both her poetry and her novel stood out amidst the prim,
proper, and pious attitudes of Victorian society. The intense emotiveness of her work, as well
as her preoccupations with love, nature, the imagination, and death, linked Brontë more to the
earlier Romantic poets (such as William Wordsworth and Samuel Taylor Coleridge) and to
Gothic writers.
Her other poems touch on themes similar to those found here: in “A Day Dream,” for
example, a dejected speaker is comforted by joyous spirits of nature who argue that life is only a
kind of prelude to death, and that death is therefore not something to be feared. “A Day Dream,”
like “No Coward Soul Is Mine,” also speaks to the “perva[sive]” nature of God as the speaker
says, “Methought, the very breath I breathed / Was full of sparks divine.”

Historical Context
Brontë was born in Yorkshire, England, in 1818. Her father, Patrick, was an ordained priest for
the Church of England, and both her parents were writers. Brontë admired her diligent and pious
father even while developing a rather nonconformist and individual relationship to God. Like
the speaker of this poem, who can be read as a representation of Brontë herself, she was
uninterested in the “creeds,” or religious doctrines, that dominated much of Victorian life, and
rarely attended church services.
The world in which Brontë lived and wrote could easily be described as the “storm-
troubled sphere” that the speaker references in this poem. Queen Victoria came to power in
England in 1837, right around the time that Brontë’s earliest poems are dated. The Victorian era
was a time of intense transformation in British life, thanks in large part to the industrialization of
society and the subsequent growth of the middle class. For someone who found solace, inspiration,
 22

and a relationship to God through nature, the massive shift from country to city life likely
represented an unwelcome and uncertain future, perhaps prompting Brontë to consider a time when
"suns and universes" would "cease[] to be."
The Victorian era was also a time of religious upheaval, with various forms of Christianity
battling amongst each other and against a rise in secularism. This poem's focus on the speaker's
individual, unshakable faith can be read as a response to the many swirling "creeds" of Brontë's
day.
Emily Brontë spent most of her time in her home at Haworth where she explored her
passion for writing. She would go on to publish Wuthering Heights, and her sisters, Charlotte and
Anne, with whom she shared sibling pen names, would publish Jane Eyre and The Tenant of
Wildfell Hall. While Wuthering Heights did not receive any kind of critical praise when it was
published, it is now considered one of the greatest novels of all time.
Emily died in 1848 of tuberculosis and her sister, Anne, would pass away from the same
disease only one year later. Last was Charlotte, who died six years later of pneumonia.

‘No Coward Soul Is Mine’ by Emily Brontë is a seven-stanza poem that is made up of four-line
stanzas, or quatrains. Each of these quatrains adheres to a strict rhyme pattern of ABAB that
carries through the entire poem. The first line and third lines of each stanza rhyme, and the second
and fourth lines rhyme.
Additionally, Brontë has chosen to make the second and third lines of each stanza
substantially longer, at least in most cases, than the first and third.

SUMMARY
‘No Coward Soul Is Mine’ by Emily Brontë describes a speaker’s overwhelming passion for God
and the strength that she is able to draw from her faith.
The poem begins with the speaker stating that she is untouched by fear. The love she has
for God, and the power with which she has been bestowed, due to that love, make her unafraid of
death.
She describes others who are not of the same moral caliber as she is, and sees them as less.
She calls them “Vain” and makes sure to inform the reader that any temptation that might come
her way is hopeless against the “boundless main” which is her faith.
The speaker knows that God’s love is without limits. There is nothing that could happen to
her, or happen to the world that would eradicate that. The poem concludes with the speaker once
more stating that although death is powerful “he” is nothing against the strength of God.
 23

THEMES:
Emily Brontë’s poem "No Coward Soul Is Mine" explores powerful themes of faith,
resilience, and the eternal nature of the human spirit. Here are the central themes in the poem:

1. Faith and Spiritual Strength:

The speaker expresses an unwavering, almost defiant faith in a higher power. This faith serves as
her strength, banishing any fear of death or the unknown. The line “No trembler in the world’s
storm-troubled sphere” suggests that her faith empowers her to confront life’s hardships with
courage.

2. Immortality and Eternity:

Brontë emphasizes the eternal nature of the soul and its connection to an everlasting divine
presence. Phrases like “eternal life in death” reflect the speaker’s belief in an existence beyond the
physical world. This theme portrays death not as an end, but as a gateway to an everlasting union
with the divine.

3. Union with the Divine:

The poem conveys the speaker’s deep connection to God, as she describes her soul as united with
a force that is “Boundless as is the Universe.” This union transcends physical limitations, depicting
a faith so complete that it merges the speaker’s soul with the infinite.

4. Defiance of Mortality:
The speaker’s unyielding faith allows her to dismiss mortality and the fears associated with it. By
saying, “Though earth and moon were gone, / And suns and universes ceased to be,” Brontë
emphasizes the enduring power of the soul in the face of earthly impermanence.

5. Individualism and Inner Strength:

Brontë’s speaker takes a personal, almost solitary stance in her relationship with faith, rejecting
any need for external validation. The phrase “No coward soul is mine” asserts a fierce inner
strength and a refusal to be intimidated by worldly troubles.

6. Transcendence of Earthly Suffering:

The speaker’s focus on spiritual conviction allows her to rise above earthly suffering, trusting in a
power that exists beyond the physical realm. The poem suggests that true strength lies in looking
beyond temporary hardships to a greater, eternal perspective.
Through these themes, Brontë presents a powerful, almost mystical vision of faith,
illustrating the soul’s resilience and its capacity to transcend earthly limitations in its unity with
the divine.
 24

SYMBOLS:
Emily Brontë’s "No Coward Soul Is Mine" uses several powerful symbols to reinforce its themes
of faith, immortality, and inner strength:

1. The Soul:
"No coward soul is mine"
The “soul” represents inner strength and the essence of the speaker’s being. It’s portrayed as
fearless and steadfast, symbolizing resilience in the face of mortality. This soul is aligned with a
higher power, suggesting that faith is what fuels and empowers it.

2. Light and Flame:

Brontë uses images of light and flame as symbols of divine presence and inner vitality. The flame
represents the eternal spirit and the power of faith that transcends physical limitations, burning
brightly despite worldly troubles. It’s a source of guidance and strength.

3. Boundless Universe:
"And I shall stand upon my own, / With the whole world around me."
Brontë frequently references the universe, the earth, and the moon to symbolize the infinite and
eternal nature of the divine. This vastness contrasts with the impermanence of the physical world
and emphasizes the soul’s unity with something endless and transcendent.

4. Storm:
The “storm-troubled sphere” in which the speaker does not tremble represents the hardships and
struggles of life. This storm is a metaphor for worldly challenges and fears, which the speaker
faces courageously due to her unwavering faith.

5. Earth, Moon, and Sun:

These celestial bodies represent the physical world and the limitations of human life. When Brontë
writes that these could “cease to be” without shaking her faith, they symbolize the transient nature
of earthly existence, which the soul transcends in its unity with the divine.

6. The Throne:
The “Throne” symbolizes the ultimate authority and power of God, representing a divine presence
that is eternal and beyond question. The Throne is a source of comfort and assurance for the
speaker, embodying a power that underpins the universe and reassures her in the face of mortality.

7. Eternal Life in Death:

 25

This phrase acts as a symbol of spiritual immortality, suggesting that faith offers a form of life that
endures beyond physical death. It represents the belief in an everlasting soul, reflecting the
speaker’s trust in something that continues after the physical self is gone.
Through these symbols, Brontë emphasizes the soul’s strength and its unbreakable
connection to the divine, illustrating how faith enables the speaker to confront life’s uncertainties
with resilience and peace.

LITERARY DEVICES:
Emily Brontë’s "No Coward Soul Is Mine" employs a range of literary devices that enhance
its themes of faith, resilience, and the eternal nature of the soul. Here are some key literary devices
used in the poem:

1. Imagery:
Brontë uses vivid imagery to evoke a sense of strength and connection to the divine. Phrases like
“earth and moon” and “suns and universes” create a cosmic backdrop that highlights the vastness
of existence and the eternal nature of the soul.

2. Symbolism:
Many elements in the poem serve as symbols. For instance, the “soul” represents inner strength
and faith, while the “storm” symbolizes life's challenges. The universe symbolizes the infinite,
contrasting with the temporary nature of earthly life.

3. Repetition:
The repeated use of phrases such as “No coward soul is mine” reinforces the speaker's defiance
and strength. This repetition emphasizes her unwavering conviction and adds to the poem's
rhythmic quality.

4. Alliteration:
Brontë employs alliteration, as in “storm-troubled sphere,” to create a musical quality in the poem.
This device enhances the flow and can evoke emotional resonance, contributing to the poem’s
overall tone.

5. Metaphor:
The poem contains metaphorical language, particularly in equating faith with an eternal flame or
light. This metaphor highlights the idea of faith as a guiding force that persists regardless of life’s
difficulties.

6. Personification:
 26

The poem personifies the soul, giving it qualities such as courage and resilience. By attributing
human-like traits to abstract concepts, Brontë emphasizes the strength and vitality of the spirit.

7. Juxtaposition:
The poem juxtaposes concepts such as life and death, and faith and fear, highlighting the contrasts
between the temporary nature of the physical world and the enduring quality of the soul. This
device deepens the exploration of the poem’s themes.

8. Paradox:
Phrases like “eternal life in death” present a paradox, suggesting that death is not an end but a
continuation of existence. This complexity enriches the poem’s exploration of mortality and
spirituality.

9. Tone:
The tone of the poem is resolute and defiant, conveying confidence in the face of mortality.
Brontë’s choice of diction contributes to this tone, establishing an atmosphere of strength and faith.

Form, Meter, & Rhyme Scheme of “No Coward Soul is Mine”

FORM
The poem is made up of seven quatrains, or four-line stanzas. This steadiness of these stanzas,
with their regular meter and rhyme, makes the poem feel predictable, confident, and sure-footed.
The poem's form thus reflects the speaker's steadfast faith: the poem's form is as constant and
unshakable as the speaker's belief in a vast, all-knowing, and "ever-present Deity."
It's also worth noting that the poem is quite sparing in its use of punctuation. Many lines
are enjambed, which allows the poem to flow smoothly down the page even as its form remains
quite strict.

METER
The poem is written in alternating lines of iambic trimeter and pentameter. Odd-numbered lines
contain three iambs, poetic feet that follow a da-DUM syllable pattern. Take line 21, for example:
Though earth | and moon | were gone
Even-numbered lines, meanwhile, have five iambs. That means they have the same da-
DUM rhythm as the odd-numbered lines, but four more syllables (remember that each iamb
consists of two syllables, and there are two more iambs here). As an example, here's line 22:
And suns | and u- | nivers- | es ceased | to be
There are many moments in the poem when the speaker diverges from this pattern for
emphasis, however. Take line 2, which might be scanned as follows:
 27

No tremb- | ler in | the world's | storm-troub- | led sphere

The fourth foot here is a spondee, meaning there are two strong beats in a row ("storm
troub-"). Combined with the iamb before it, there are actually three stressed beats in a row! As a
result, the troubles of the world stand out to the reader's ear. The forcefulness of the phrase reflects
the power of those troubles. (Some readers might heat a stressed beat on that initial "No" as well!)
The speaker also often starts lines with stressed beats, adding a bit of oomph to the verse.
Take line 7:
Life, that | in me | hast rest
And line 9:
Vain are | the thou- | sand creeds
Both lines begin with trochees, feet that go DA-dum, before falling back into steady iambs. Such
moments add interest and intensity to the poem without totally diverging from its steady beat.
The poem's meter defies expectations in a more subtle way as well. While common meter
was often used for hymns and ballads, and would perhaps have been an obvious choice for a poem
about God, the meter here is almost the opposite of common meter: common meter uses longer
lines of tetrameter (lines with four feet) followed by shorter lines of trimeter (again, lines with
three feet), but this poem starts with shorter trimeter lines and follows them up with longer ones
(in this case pentameter).
The effect is striking: short, declarative lines, such as line 1 ("No coward soul is mine") are
followed by longer, more expansive lines that seem to explain or build on the preceding statements
("No trembler in the world's storm-troubled sphere"). By starting with more declarative lines and
then extrapolating, the poem takes on an assured, confident tone—fitting for a poem about the
power of unshakeable faith.

RHYME SCHEME
The poem follows a strict ABAB rhyme scheme in each stanza. That means that the first and third
lines of each stanza rhyme with each other, as do the second and fourth.
On one level, the steady rhyme scheme simply adds to the poem's confident, assured tone: the
predictable pattern of rhyme reflects the speaker's unwavering faith in God.
More subtly, the back-and-forth nature of the rhyme scheme might evoke the speaker's relationship
to God; God doesn't just exist above or around the speaker, but inside of and through the speaker
as well. In other words, the line between God and God's creations isn't hard and defined, but instead
is porous, a kind of exchange between creator and created.
And although Brontë chose not to use common meter (which was used for church hymns and a lot
of religious poems), it's worth noting that the rhyme scheme is the one generally associated with
 28

church music. So even though the poem defies some expectations that Victorian readers might
have had, the rhyme scheme still evokes the sense of reverence that a hymn might. This may not
be a conventional Victorian poem about God, but it is still a poem about God written during
Victorian times.

SPEAKER
It's possible to read the poem's speaker as being Emily Brontë herself, and the poem as thus
expressing her personal beliefs about God. That said, the speaker remains anonymous throughout
the poem; there are no indications of this person's age, gender, occupation, etc. The poem focuses
entirely on the speaker's faith rather than their identity. This makes sense, given that the speaker
believes that "Every Existence" exists within God—that everything that ever was is a part of God.
God, in other words, is who matters here.

SETTING
The poem doesn't have a specific setting. It's about the speaker's faith, which isn't tied to a certain
time or place. The closest thing to a physical setting in this poem is the speaker's description of the
"storm-troubled sphere" on which they live (i.e., the earth). In other words, the world is a difficult
place.
The lack of setting here reflects the speaker's belief that God encompasses the entire world;
that God's "wide-embracing love" permeates everything that is or ever was. The speaker is so
certain of God's infinitude that they go so far as to imagine a future in which the "earth and moon
[are] gone" and "suns and universes cease[] to be." Even in this difficult-to-imagine future where
everything the speaker has ever known is utterly unrecognizable, the speaker is certain that none
of these things would really be gone—they would continue to "exist in [God]." In other words,
God contains everything that's ever been or ever will be.

Following are a few lenses from which this poem can be analyzed:

1. Theme of Faith and Spirituality

Brontë’s poem powerfully asserts her faith in an eternal force, often interpreted as God or a
universal spirit. Lines such as "Vain are the thousand creeds" and "Thou art Being and
Breath" show her rejection of traditional religious doctrines in favor of a personal, internalized
spirituality. This belief is not passive; it’s fervent and empowering, allowing her to face death
without fear. The poem can be seen as an affirmation of her own belief in a divine presence that
transcends organized religion and exists deeply within herself. This theme is crucial to
 29

understanding Brontë's sense of connection to an undying force, which brings her a sense of calm
in the face of life's impermanence.

2. Tone and Mood

The tone of the poem is unyielding and confident, as Brontë confronts mortality and declares her
strength. This tone of defiance emerges from the first line, "No coward soul is mine," setting the
stage for a mood that is both empowering and spiritually uplifting. The lack of hesitation in her
words gives the poem an unwavering intensity, suggesting that she is beyond doubt and has found
peace through this belief. The tone can also be analyzed as one of resilience, where Brontë's voice
remains firm even when acknowledging themes of death and loss. This combination of resilience
and defiance adds to the poem’s inspirational and almost heroic quality.

3. Imagery and Symbolism

Brontë uses powerful imagery and symbols to evoke the strength of her faith. The "immortal
power" and "deathless principle" represent her belief in a force that outlasts the physical world.
She uses language that creates vivid pictures of eternity, such as "cloudless climes" and "open
heaven," contrasting this spiritual realm with the finite human experience. These images serve as
metaphors for eternal life and boundless energy, portraying her inner strength as part of a larger,
enduring spiritual cosmos. By invoking such imagery, Brontë aligns herself with an eternal force,
symbolically positioning her soul as unbreakable, united with the infinite.

4. Form and Structure

The poem is composed of seven quatrains with an ABAB rhyme scheme, which gives it a regular,
almost hymn-like rhythm that enhances the spiritual resonance of her words. The structure’s
steadiness mirrors the poem’s themes of faith and fortitude, reinforcing Brontë's message of
stability and unwavering belief. The use of quatrains also provides a sense of completeness to each
stanza, allowing each to stand alone as a declaration of faith while also contributing to the poem’s
unified whole. The measured structure reinforces the poem’s tone of calm assurance, adding a
musical quality that may reflect her internal harmony.

5. Philosophical and Existential Perspectives

Brontë’s poem delves into existential themes, exploring the meaning of life, death, and the soul’s
immortality. Lines like "Though earth and man were gone" and "In my soul’s embrace"
suggest a belief in an eternal spirit that outlasts earthly existence, offering comfort against the
inevitability of death. This perspective challenges the existential dread that often accompanies
thoughts of mortality, as she suggests that the human soul is part of an everlasting "Being". This
 30

philosophy aligns with certain Romantic beliefs about the unity of humanity with the divine and
the infinite. It provides a lens through which to view Brontë’s faith not as a passive belief but as
an active, philosophical stance on existence itself.

6. Language and Diction

Brontë’s choice of words, such as "coward," "eternal," and "Death’s fierce flood," creates a
dramatic contrast between the mortal and immortal realms. The use of archaic, elevated language
evokes a sense of timelessness, suggesting that her beliefs are not bound by the era in which she
lived. Her diction reflects the poem’s intensity and enhances its grandeur, inviting readers into her
perspective of resilience and strength. Each word is carefully chosen to underscore her connection
to an immortal presence, particularly in lines like "Though earth and man were gone," where
the diction evokes a sense of unyielding permanence.

7. Comparison with Romantic Themes

Brontë’s work resonates with Romantic themes, particularly the Romantic fascination with the
sublime and the infinite. Her emphasis on a deeply personal spirituality, connection to nature,
and exploration of the eternal aligns her with Romantic poets who saw the natural world as a
reflection of the divine. While other Romantic poets often focused on nature as a pathway to
transcendence, Brontë diverges by placing the source of the sublime within her soul, drawing on
an internal rather than external divinity. This shift is significant as it highlights her individualistic
approach to Romantic spirituality, blending nature and the self into a single, indomitable force.

8. Personal Context
Brontë’s life was marked by solitude and introspection, and her quiet strength and resilience are
evident in the poem. She grew up in relative isolation with her siblings, facing personal and familial
challenges. This solitude may have intensified her introspection and contributed to her unique
sense of spirituality. The poem, written near the end of her life, can be viewed as a final statement
of her beliefs, her resilience, and her defiance in the face of death. The personal context adds
another layer to the poem’s analysis, suggesting that her confidence and faith in a "deathless
principle" were not simply philosophical but were also shaped by a life of introspective
contemplation and endurance.
These lenses together provide a multidimensional view of No Coward Soul Is Mine, illustrating
Brontë’s profound spirituality, existential resilience, and unique place within the Romantic
tradition. The poem, in this way, stands as both a deeply personal declaration of faith and a
universal statement of human strength in the face of mortality.
 31

Conclusion:
In conclusion the poem "No Coward Soul Is Mine" encapsulates the speaker's unwavering faith
and resilience in the face of mortality. Throughout the poem, the speaker asserts a deep conviction
in the eternal nature of the soul, rejecting fear and embracing a connection with the divine.
In the final lines, the speaker reflects on the profound sense of strength and assurance that
comes from this faith. The notion of “eternal life in death” emphasizes that death is not an end but
a transformation into a boundless existence beyond the physical realm. The speaker remains
unshaken by worldly troubles, demonstrating a fierce independence and confidence in her spiritual
journey.
Ultimately, the poem concludes with a message of defiance against the fears associated
with mortality, suggesting that true strength lies in faith and the understanding that the soul persists
beyond earthly limitations. Through this resolute affirmation, Brontë offers a powerful meditation
on the enduring power of belief and the immortality of the spirit.