Neither the feeling nor the style of Miss Dickinson belongs to the seventeenth century; yet between her and Donne there are remarkable ties. Their religious ideas, their abstractions, are momently toppling from the rational plane to the level of perception. The ideas, in fact, are no longer the impersonal religious symbols created anew in the heat of emotion, that we find in poets like Herbert and Vaughan. They have become, for Donne, the terms of personality; they are mingled with the miscellany of sensation. In Miss Dickinson, as in Donne, we may detect a singularly morbid concern, not for religious truth, but for personal revelation.