‘Much Madness Is Divinest Sense’ is the unofficial title of one of Emily Dickinson’s most thought-provoking poems (she often refrained from providing titles for her works; instead, they are simply numbered in her Complete Poems, with this one designated as number 620). The poem challenges the conventional definitions of sanity and madness, asserting that what society frequently interprets as ‘madness’ may actually represent profound insight and truth. Conversely, those who appear ‘sane’ may be woefully misguided. In fact, the so-called ‘madness’ present in some individuals might even reflect a form of divine understanding or ‘sense’.
Summary
In her poem, Dickinson presents the idea that:
- Much Madness is divinest Sense –
To a discerning Eye –
Much Sense – the starkest Madness –
’Tis the Majority
In this, as all, prevail –
Assent – and you are sane –
Demur – you’re straightway dangerous –
And handled with a Chain.
To paraphrase Dickinson’s brief yet impactful poem: to an insightful observer, what seems to be ‘madness’ or insanity in another might actually represent sound judgment, divinely inspired. In contrast, what many regard as common sense can, in fact, be pure madness.
The societal consensus plays a crucial role in determining what is labeled as ‘madness’ versus ‘sanity.’ If one ‘assents’ or aligns with the mainstream view of a society, they are deemed sane; however, if one ‘demurs’ or objects, they are immediately categorized as dangerously mad, often requiring restraint for the safety of themselves and others. This serves as a preliminary understanding of Dickinson’s poem, leading us to delve deeper into its core meaning. But what more can be examined? What circumstances led her to express such revolutionary ideas?
Analysis
In one of her letters, Emily Dickinson remarked, ‘Had we the first intimation of the Definition of Life, the calmest of us would be Lunatics!’ This insight reflects her belief that her poem not only addresses worldly sanity but also engages with divine or religious concepts. If any of us were to catch a glimpse of the divine and grasp the true purpose of our existence, such a revelation would likely be enough to drive even the most rational individuals to madness.
In this poem, Dickinson asserts that ‘Much Madness’ is, paradoxically, – contrary to popular belief – ‘divinest Sense.’ It is important to note that she does not claim all madness falls into this category, but rather ‘much’ of it does. For every individual suffering from mental illness and in need of compassion, there exists the possibility of a visionary like William Blake, whose insights were branded as ‘lunacy’ simply because they were not understood by his contemporaries.
In essence, Dickinson urges us to consider that what society deems insane may carry deeper significance than what is conventionally accepted as normal. Conversely, behaviors or beliefs considered ‘sane’ may be rooted in madness, obscured by the majority’s acceptance.
Consider the beliefs held by society just a century ago. Eugenics, for instance, was widely championed during the early twentieth century by many prominent intellectuals who believed humanity could be improved through a selective approach to reproduction. Today, the prevailing view is that eugenics is an abhorrent practice, a blatant violation of individual rights. This perspective, taken for granted now, would have been deemed insane by many leading thinkers of the past.
Similarly, the notion of women attaining equal voting rights was considered radical in many countries two centuries ago. In Britain, even the Chartists, who advocated for electoral reform, did so exclusively for men. Today, it is the opposition to equal suffrage that is viewed as irrational.
The crux of the matter is that societal norms dictate what is labeled as ‘mad’ or ‘sane,’ and it is crucial to recognize that these norms are not infallible. The majority may decide what is acceptable, but this leads to the well-known logical fallacy known as argumentum ad populum (Latin for ‘appeal to the people’), which asserts that a claim is valid or morally right simply because it is widely accepted. For instance, two centuries ago, many individuals in the United States and Britain believed slavery was justifiable. How many would argue the same in the twenty-first century?
This phenomenon was already acknowledged in the nineteenth century, during Dickinson’s lifetime. Charles Mackay’s Extraordinary Popular Delusions and the Madness of Crowds, published in 1841, examined how many past manias, from Tulip mania to the South Sea Bubble and even the Crusades, were regarded as rational pursuits at their respective times.
The Tyranny of the Mob
The speaker in Dickinson’s poem suggests that divine inspiration often visits those deemed mad; she implies that these individuals possess a unique, divinely-inspired understanding of reality. However, society fails to recognize their brilliance and instead labels them as exhibiting ‘starkest Madness.’
If this were the extent of the poem’s message, it would be unremarkable. What imparts ‘Much Madness Is Divinest Sense’ with its psychological depth and social critique is the striking conclusion that individuals who ‘demur’ are bound in chains for merely expressing dissent against the beliefs of the collective.
As Helen Vendler notes in her study of Dickinson’s poetry, the term ‘demur’ is a gentle verb, signifying the mildest opposition to prevailing ideas. It does not involve vehement rejection or resistance; rather, it may simply be a polite inquiry: ‘But surely…’ or ‘But what about…’ For committing this minor offense, the demurrer is branded as ‘mad’ and subjected to the most egregious form of restraint. One might wonder what further actions the oppressive majority intends to impose on that individual once they are secured in chains. Vendler argues that Dickinson’s protest is aimed at the Majority’s fervent belief that any challenge to its views is so perilous it must be repressed, censored, or brutally punished.
Thus, Dickinson’s poem critiques the majority not only for their lack of insight compared to the few visionaries who grasp the truth but also for their cruel and unjust treatment of those who possess that insight, driven by the confidence that their numerical superiority justifies their actions.
Form
The poem’s distinctive use of capitalization, dashes, and slant rhyme exemplifies Dickinson’s unique style and contributes to the poem’s enigmatic quality. The meter is predominantly iambic:
- Much MAD-ness IS di-VIN-est SENSE –
To A dis-CERN-ing EYE –
It may also be worthwhile to read this prose poem by twentieth-century Lebanese-American poet Kahlil Gibran alongside Dickinson’s work; its message resonates in some ways with the themes found in Dickinson’s poem.