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Emily DickinsonWe never know how high we are
Fiction | Poem | Adult | Published in 1880A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Symbols & Motifs
Two Types of Kings
The king is a symbol in “We never know how high we are.” In the historical context of America and its war against England and King George III, a king represents tyranny and injustice. Thus, it’s logical to “fear to be a King” (Line 8). A person doesn’t want to be a king. People shouldn’t try to free themselves from the twisting cubits because they are supposed to confront restraint — it’s part of the human condition. From this interpretation, the king symbolizes excess and immodesty, while the people warped by the cubits represent commendable humility.
In a second interpretation, the king does not necessarily symbolize the specific ruler of a country, or even someone male and wealthy; it represents someone with ample power and authority in their life. Here, a king symbolizes a person fully in charge. What constrains the average person doesn’t limit a king or another type of exceptional person. They have liberated themselves from the warping measurements of humankind.
In My Emily Dickinson, Susan Howe says that Dickinson’s withdrawal from social life “emancipated her from all representations of calculated human order.” Like a king, Dickinson could create her own customs and rules. In “I’m ceded—I’ve stopped being Their’s” (ca 1862), Dickinson crowns herself. In “The Soul selects her own Society” (ca 1862), Dickinson depicts herself as a royal who prefers a “low Gate” and “Mat'' instead of baroque barriers and a splendid carpet. The norms that connect royalty to a lavish lifestyle are insignificant to Dickinson. Emancipated from such conventions, the king in “We never know how high we are'' symbolizes Dickinson’s subversive belief that, in order to be a king, a person doesn’t need a palace or nation, only a vigorous spirit and sense of self.
Predestination, False Prophets, and Suffering
Emily Dickinson maintained a conflicting attitude about religion. As a teen, Dickinson stopped attending church services, yet she didn’t dismiss the idea of God or avoid sentiments of Christianity. “We never know how high we are” contains many Christian symbols and tropes. She toys with the idea of predestination and Calvinism with phrases like “called to rise” (Line 2) and “true to plan” (Line 3). Like Jonathan Edwards and John Calvin, the speaker suggests that fate assigns people roles; there is a “plan” for each person -- some are “called to rise” while others are left behind.
The inclusion of the word “statures” (Line 4) tackles the Christian concern about imposters. In Matthew 7:15, Jesus says, “Beware of false prophets, which come to you in sheep's clothing but inwardly they are ravening wolves.” Not all prophets are genuine, and not everyone with a great stature is a good person. Dickinson uses “statures” to alert the reader about the potential for deceptive heroism. Heroes, too, are liable to be “ravening wolves.”
Suffering is another key aspect of the Christian religion. Christ, Joan of Arc, Job, and many other Biblical and religious figures endured pain and torment. In Dickinson’s poem, people confront “the Cubit warp.” They have to figure out how to deal with the twisting and distorting of their human flesh. As a religious symbol and motif, the “warp” is something to endure humbly, not cast aside. People are not kings; they are fallen, sinful creatures. Their ability to tolerate disfigurement is a sign of their spiritual strength.
Illusion Versus Reality
“We never know how high we are” continually toys with the idea of illusion and reality. The first line reinforces the motif in that it suggests a disconnect between perceived greatness and actual greatness. The tension between truth and fiction continues in Line 4 where the “statures touch the skies.” The word "statures" touches on illusion and reality as it’s not clear if a person’s stature is the same thing as their genuine identity. A person’s stature is liable to change. It might not reflect who they are. Dickinson’s stature was not great while she was alive, yet Dickinson lead a singular, exceptional life regardless.
Kings, too, might not be all they’re cracked up to be. Dickinson read a lot of William Shakespeare. Many of Shakespeare’s plays feature royal characters. These kings and queens don’t enjoy splendid, happy lives. They are often tormented and beset. In King Lear (ca 1605), Lear’s daughters betray him, and he's driven to madness. In Macbeth (ca 1606), Macbeth kills to become a king only to be haunted by the ghosts of his victims. With disquieting examples like these, it’s no wonder why people would “fear to be a King” (Line 8). They are under no illusion that the reality of a king is automatically peaceful and prosperous.
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