Love's Baptism (Poem by Emily Dickinson)

Love's Baptism

By Emily Dickinson

I'm ceded, I've stopped being theirs;

The name they dropped upon my face

With water, in the country church,

Is finished using now,

And they can put it with my dolls,

My childhood, and the string of spools

I've finished threading too.

Baptized before without the choice,

But this time consciously, of grace

Unto supremest name,

Called to my full, the crescent dropped,

Existence's whole arc filled up

With one small diadem.

My second rank, too small the first,

Crowned, crowing on my father's breast,

A half unconscious queen;

But this time, adequate, erect,

With will to choose or to reject.

And I choose — just a throne.

Poem Analysis:

Emily Dickinson’s “Love’s Baptism” is a powerful and deeply introspective poem that explores themes of identity, transformation, spiritual awakening, and self-empowerment. Through the extended metaphor of baptism, Dickinson contrasts a passive childhood induction into society and religion with a self-chosen, mature, and sovereign act of love and self-realization.

Overview

The poem presents a speaker who has undergone two metaphorical baptisms:

• The first, in childhood, was traditional and involuntary—a baptism by water.
• The second, chosen freely, is a spiritual or emotional awakening—most likely a baptism by love or a transcendent realization of the self.

This second baptism is transformative: the speaker renounces past definitions imposed on her and claims a new, autonomous identity.

Stanza-by-Stanza Analysis

Stanza 1: A Rejection of the Past

I'm ceded, I've stopped being theirs;

The name they dropped upon my face

With water, in the country church,

Is finished using now,

And they can put it with my dolls,

My childhood, and the string of spools

I've finished threading too.

Here, Dickinson begins with a bold declaration of personal liberation: “I’m ceded, I’ve stopped being theirs.” The speaker no longer belongs to the people who baptized her as a child—her family, society, or church. She disowns the identity imposed upon her during that ritual.

The “name” placed on her “with water” alludes to a Christian baptism, which typically includes naming a child. However, Dickinson uses a tone of detachment and almost disdain, grouping this name with childhood toys—dolls, spools of thread—items outgrown. The metaphor signals a shedding of immaturity and a movement toward self-definition.

Stanza 2: A Second, Chosen Baptism

Baptized before without the choice,

But this time consciously, of grace

Unto supremest name,

Called to my full, the crescent dropped,

Existence's whole arc filled up

With one small diadem.

This stanza describes the second baptism—a conscious and spiritual event, not done “without the choice” but undertaken freely. It could represent a religious reawakening, romantic love, or a deeper self-realization.

The “supremest name” suggests a divine or absolute identity, one that the speaker accepts knowingly. The “crescent dropped” and “existence’s whole arc filled up” evoke the image of the moon completing its cycle—a metaphor for personal fulfillment and maturation.

The “one small diadem” (a crown or headband) symbolizes royalty, agency, and the quiet dignity of self-possession. With this second baptism, she is not just cleansed but crowned—elevated to full stature as an autonomous being.

Stanza 3: From Half-Queen to Full Sovereignty

My second rank, too small the first,

Crowned, crowing on my father's breast,

A half unconscious queen;

But this time, adequate, erect,

With will to choose or to reject.

And I choose — just a throne.

Dickinson contrasts her two “ranks” or statuses:

• The first was a symbolic crowning in childhood: being loved and celebrated on her “father’s breast,” but in a “half unconscious” state—too young to understand or choose her role.
• The second is a full, conscious crowning: she now stands “adequate, erect,” fully aware and in control.

The final lines are especially striking. She asserts her right “to choose or to reject”—to own her agency, perhaps in love, in faith, or in life. Her choice?

“And I choose — just a throne.”

This is a profound declaration of sovereignty. Not merely to be crowned, but to sit upon the throne: to rule herself. The modest “just” adds irony—it is not a mere preference, but an empowered proclamation.

Themes

1. Personal Identity and Rebirth: The core of the poem is the speaker’s journey toward reclaiming her identity. The poem’s “second baptism” becomes a metaphor for rebirth—not by external forces, but through conscious self-definition.
2. Autonomy and Choice: Dickinson contrasts imposed identity with self-chosen destiny. The idea of choosing love, faith, or power is radical in the context of 19th-century expectations for women. The speaker’s ultimate claim to the throne represents self-rule and inner freedom.
3. Feminine Empowerment: The imagery of a queen, a diadem, and a throne paints a picture of female authority and maturity. The transformation from a “half unconscious queen” to one who stands “erect” is an assertion of both intellect and agency.
4. Spiritual Transformation: While the first baptism is religious, the second baptism seems more spiritual or romantic in nature. It reflects Dickinson’s belief in an inner, personal spirituality over ritual or dogma.

Tone and Style

The tone is reflective, bold, and quietly triumphant. Dickinson employs her characteristic elliptical style: short lines, dashes, and capitalized abstract nouns (e.g., Grace, Existence, Name), lending weight and ambiguity.

The rhythm is uneven, mimicking the flow of thought. The poem’s structure mirrors the speaker’s psychological journey: from past rejection to present affirmation.

Symbolism

• Water Baptism: Social/religious identity imposed at birth.
• Second Baptism: Love or personal awakening, chosen freely.
• Diadem/Throne: Power, sovereignty, and self-realization.
• Crescent to Arc: Symbolizes growth, maturity, and wholeness.

Emily Dickinson’s “Love’s Baptism” is a profound exploration of self-identity and inner transformation. Using the metaphor of baptism, she illustrates the journey from externally imposed labels to a consciously chosen, empowered selfhood.

The poem moves from submission to sovereignty, from childhood to conscious adulthood, from a "half unconscious queen" to one who actively chooses "just a throne." In a society that often confined women to passive roles, Dickinson offers a radical and poetic vision of female agency and spiritual fulfillment.