Linda's Literary Home

Tag: faith

  • James Weldon Johnson’s “Mother Night”

    Image: James Weldon Johnson - Portrait by Laura Wheeler Waring https://npg.si.edu/object/npg_NPG.67.40
    Image: James Weldon Johnson – Portrait by Laura Wheeler Waring

    James Weldon Johnson’s “Mother Night”

    The speaker in Johnson’s sonnet, “Mother Night,” likens his own existence and protection to that of the planets—all are created and protected by the same Divine Entity.  Thus his soul remains a spark from the Original Divine Flame.

    Introduction with Text of “Mother Night”

    James Weldon Johnson’s “Mother Night,” a Petrarchan (or Italian) sonnet, metaphorically dramatizes night as the calm union of the soul with the Oversoul or the individual self with Divine Self.

    The speaker, influenced by Eastern as well as Christian philosophical tenets, draws a parallel between the conflict of day and night in the cosmos and his own struggle with the pairs of opposites in his earthly sojourn.   This sonnet’s form offers polished Petrarchan rime-scheme:  ABBAABBA in the octave, and CDECDE in the sestet.

    Mother Night

    Eternities before the first-born day,
    Or ere the first sun fledged his wings of flame,
    Calm Night, the everlasting and the same,
    A brooding mother over chaos lay.
    And whirling suns shall blaze and then decay,
    Shall run their fiery courses and then claim
    The haven of the darkness whence they came;
    Back to Nirvanic peace shall grope their way. 

    So when my feeble sun of life burns out,
    And sounded is the hour for my long sleep,
    I shall, full weary of the feverish light,
    Welcome the darkness without fear or doubt,
    And heavy-lidded, I shall softly creep
    Into the quiet bosom of the Night.

    Commentary on “Mother Night”

    All creation is protected by its Creator, Who performs in various guises somewhat like a mother bird, who protects her progeny.  Nighttime is the time for rest, peaceful contemplation, and retreat from the hustle and bustle of day time activities.

    Thus, nighttime may be perceived as a protecting entity that offers solace and comfort to those in need and those who wish for such qualities in their lives.

    First Quatrain:  Existence Was Brooding before the First Created Day

    Eternities before the first-born day,
    Or ere the first sun fledged his wings of flame,
    Calm Night, the everlasting and the same,
    A brooding mother over chaos lay.

    Like a brooding mother, that is, a mother bird who is sitting on her brood of eggs and then who continues to protect and keep them warm as baby birds, “Calm Night” kept watch over the unmanifested entity until the first-born day, before the first planets were created and hurled into activity: “ere the first sun fledged his wings of flame.” 

    The mature planet of the sun is like a bird that is now flying off on its own, after having been tenderly nurtured by its mother.

    Mother Night tenderly nurtured the growing cosmos that ultimately resulted in planets and people. Johnson’s metaphoric Night represents the non-vibratory realm of reality where nothing is manifested, and only the mind of God exists in that vibrationless realm.

    There is no creation only a peaceful possibility, a potential. Until God chooses to create beings to populate His cosmos, He simply broods like a mother over chaos. 

    Here the term chaos does not refer to our modern usage of confusion and disorder but to infinite formlessness. The term originates from the Greek Khaos, indicating a dark void from which the gods originated.

    Second Quatrain:  The Projection of Light as It Creates the Cosmos

    And whirling suns shall blaze and then decay,
    Shall run their fiery courses and then claim
    The haven of the darkness whence they came;
    Back to Nirvanic peace shall grope their way. 

    The second quatrain describes the plight of whirling suns as they “blaze and then decay.” Those planets of fire will eventually burn out and after they do, they will return “[b]ack to Nirvanic peace.” 

    The speaker employs the term Nirvanic, adjectival form for “Nirvana,” the Buddhist term for God-union, which is “Samadhi” in  Hinduism, “Salvation” in Christianity, and “Fana” in Sufism, the mystical branch of Islam.

    The speaker cleverly plays by punning “whirling suns,” whereas sun puns son. With God as Mother Night, Her suns (sons) will “run their fiery courses” (live their passionate lives) and then recede back into the arms of the brooding mother or God. 

    First Tercet:  The Individual Self as It Careens Toward Oblivion

    So when my feeble sun of life burns out,
    And sounded is the hour for my long sleep,
    I shall, full weary of the feverish light,

    The sestet then shifts from the cosmos to the speaker himself, a son of the night mother. The speaker vows that he will react to his death a certain way, but he does not clarify that way yet, but merely sets up the conditions for his final claim. 

    As his life comes to an end, as he knows that it “is the hour for [his] long sleep,” he will be fully aware that his life is ebbing.

    Second Tercet:  Faith That Leads the Faithful toward Their True Home

    Welcome the darkness without fear or doubt,
    And heavy-lidded, I shall softly creep
    Into the quiet bosom of the Night.

    And the speaker will “[w]elcome the darkness without fear or doubt.” His strong faith and intuition allow him to realize that his soul is going home. 

    This speaker has mused long and hard upon the profundities that puzzle every thinking brain.  He has contemplated what science has discovered about the nature of the created Cosmos.

    The speaker has likewise compared the knowledge  of scientists to that of the tenets of religion and philosophy.  And the result of his in depth study now allows him to formulate a pathway to Divine Reality.  

    This prescient speaker has come to understand that his own soul is simply a spark of the Divine Flame, Who has fashioned out of chaos a marvelous entity of joy, peace, hope, and love.

    This speaker’s eyelids may droop, but his soul is ever ensconced in the omnipresent protection of the beautiful mother, the Mother Night—who parallels the Blessèd Divine Reality—who will throughout eternity continue to brood over and fiercely guide and guard her beloved son.  

  • Awaken In Me Divine Joy

    Image:  Created by Grok inspired by the poem/chant
    Image: Created by Grok inspired by the poem/chant

    Awaken In Me Divine Joy

    —after “O Thou King of the Infinite”

    Divine Belovèd,
    Awaken in me that joy—
    Bright and sustaining joy

    That comes only in union
    With Thee, O Belovèd Divine,
    Awaken in me that joy!

  • Emily Dickinson’s “Once more, my now bewildered Dove”

    Image: Emily Dickinson - Amherst College - Daguerrotype of the poet at age 17, circa 1847 - likely the only authentic, extant likeness of the poet
    Image: Emily Dickinson – Amherst College – Daguerrotype of the poet at age 17, circa 1847 – likely the only authentic, extant likeness of the poet

    Emily Dickinson’s “Once more, my now bewildered Dove”

    Emily Dickinson’s “Once more, my now bewildered Dove” dramatizes the soul’s anxious search for spiritual certainty while maintaining courageous hope amid uncertainty and isolation.

    Introduction and Text of “Once more, my now bewildered Dove”

    Emily Dickinson’s “Once more, my now bewildered Dove” employs a minimalist two-stanza structure to portray the soul’s repeated attempts to discover assurance in a troubled world. The speaker draws upon the biblical story of Noah’s dove to symbolize the restless human heart seeking divine confirmation and spiritual refuge. 

    As Paramahansa Yogananda taught, “The nature of Spirit is joy; and the nature of your soul is joy.” The speaker’s dove dramatizes that same longing for safe spiritual harbor within the storms of earthly uncertainty.  

    Once more, my now bewildered Dove

    Once more, my now bewildered Dove
    Bestirs her puzzled wings
    Once more her mistress, on the deep
    Her troubled question flings –

    Thrice to the floating casement
    The Patriarch’s bird returned,
    Courage! My brave Columba!
    There may yet be Land!

    Commentary on “Once more, my now bewildered Dove”

    Emily Dickinson’s “Once more, my now bewildered Dove” reveals the speaker’s spiritual resilience as she dramatizes the soul’s persistent search for divine certainty.

    First Stanza: Soul as Bird

    Once more, my now bewildered Dove
    Bestirs her puzzled wings
    Once more her mistress, on the deep
    Her troubled question flings –

    In the first stanza, the speaker immediately introduces the symbolic “Dove,” a creature long associated with peace, innocence, and spiritual aspiration. Yet this dove appears “bewildered,” suggesting that the soul has encountered confusion while navigating the uncertainties of earthly existence. 

    The speaker’s use of “Once more” emphasizes repetition, implying that this struggle between doubt and faith recurs continually throughout human life.  The dove’s “puzzled wings” suggest not only physical movement but also mental and spiritual agitation. 

    The soul desires elevation and freedom, yet uncertainty hampers its flight. In many Dickinson poems, the speaker dramatizes the soul as yearning to transcend earthly limitation, while simultaneously confronting the painful obscurity that veils spiritual truth from ordinary human perception.

    The phrase “her mistress” identifies the speaker herself as the guiding consciousness behind the dove. The soul and the human personality remain intertwined, even while the personality attempts to direct the soul toward revelation. 

    The speaker’s “troubled question” cast “on the deep” suggests prayer, meditation, or inward spiritual inquiry hurled into the mysterious abyss of existence.  The “deep” carries biblical and mystical implications. 

    The term evokes the vast floodwaters of Genesis while also symbolizing the unknowable dimensions of divine reality. As in many Dickinson riddles, the speaker refuses to explain fully the exact nature of the “question,” allowing readers to intuit the soul’s universal anxieties concerning meaning, permanence, and salvation.

    The speaker’s dramatization resembles concepts frequently emphasized by Paramahansa Yogananda, who taught that the human heart continually seeks reassurance of divine presence amid worldly confusion. 

    Paramahansa Yogananda explained,“The season of failure is the best time for sowing the seeds of success” from The Law of Success: Using the Power of Spirit to Create Health, Prosperity, and Happiness.  The dove’s repeated effort to take wing despite bewilderment reflects precisely such spiritual perseverance. 

    The speaker’s symbolism also recalls observations from my earlier Dickinson commentaries at Linda’s Literary Home regarding the poet’s tendency to dramatize the inner life through compressed metaphysical imagery. 

    Rather than offering abstract philosophical assertions, the speaker embodies spiritual tension through vivid symbolic action. The fluttering dove becomes the visible representation of invisible yearning.

    The stanza’s emotional force arises from the balance between uncertainty and persistence. Although the dove remains bewildered, she nevertheless “bestirs” her wings again. The speaker thus suggests that genuine spiritual seeking requires repeated effort despite the absence of immediate answers or comforting certainties.

    Second Stanza: Allusion of Searching

    Thrice to the floating casement
    The Patriarch’s bird returned,
    Courage! My brave Columba!
    There may yet be Land!

    In the second stanza, the speaker introduces a direct biblical allusion to Noah’s ark. The “Patriarch’s bird” refers to the dove Noah released repeatedly after the floodwaters had submerged the earth. By invoking this familiar narrative, the speaker expands her private spiritual anxiety into a universal drama of humanity searching for signs of divine mercy and renewed stability.

    The word “Thrice” carries symbolic significance, often suggesting spiritual completion or sacred persistence. Noah’s dove returned multiple times before finally discovering evidence of dry land. Likewise, the speaker implies that the soul may endure repeated disappointments before attaining spiritual assurance. The repeated return of the bird dramatizes patience rather than failure.

    The “floating casement” offers an especially striking image. The ark’s window becomes both a literal opening and a symbolic threshold between fear and hope. The dove repeatedly departs from temporary safety into uncertain vastness, only to return again.   Such movement reflects the soul’s oscillation between doubt and renewed aspiration.

    The speaker’s cry, “Courage! My brave Columba!,” introduces sudden tenderness and encouragement. “Columba,” the Latin word for dove, heightens the spiritual dignity of the bird while lending the poem a liturgical tone. At the same time, the term subtly echoes the name “Columbus,” invoking the great explorer who crossed unknown seas searching for a new world.

    That layered allusion enriches the poem’s central drama of spiritual searching. Like Columbus navigating dangerous and uncharted waters, the speaker’s symbolic dove ventures repeatedly into uncertainty, guided largely by intuition and hope rather than visible proof. The soul becomes both sacred dove and courageous explorer, willing to risk bewilderment in pursuit of discovery.

    The speaker addresses the soul compassionately, recognizing both its exhaustion and its bravery in continuing the search. The exclamation “Courage!” therefore functions not merely as comfort but as a rallying cry urging the soul onward despite repeated returns without final resolution. 

    Dickinson’s speaker suggests that spiritual discovery, like earthly exploration, demands perseverance through vast stretches of apparent emptiness before glimpsing the longed-for italics-emphasized “Land.”

    The concluding line, “There may yet be Land!” preserves uncertainty while simultaneously affirming hope. The speaker does not proclaim certainty that land exists; instead, she emphasizes the possibility of deliverance. Dickinson’s speakers often value the sustaining power of hope itself, even when ultimate knowledge remains inaccessible.

    The great Guru Yogananda frequently stressed that spiritual realization demands steadfastness amid periods of apparent silence or darkness. He taught that the devotee must continue seeking divine truth even when external evidence seems absent. The speaker’s encouragement to the “brave Columba” echoes that same spiritual endurance and refusal to surrender to despair.  

    The poem’s final affirmation remains intentionally restrained. The speaker avoids triumphant certainty and instead offers courageous possibility. Such restraint strengthens the poem’s spiritual realism, for authentic faith often survives not through guaranteed answers but through the willingness to continue searching despite bewilderment.

    Like many Dickinson lyrics, this compact poem transforms a brief symbolic scene into a profound musing on the soul’s inward pilgrimage. The dove’s repeated flight over uncertain waters becomes the enduring emblem of humanity’s determination to seek truth, peace, and divine refuge even while surrounded by mystery.

  • O Guruji, I Will Follow Thee

     Image:  Created by ChatGPT inspired by the poem
    Image: Created by ChatGPT inspired by the poem

    O Guruji, I Will Follow Thee

    —after “I Will Be Thine Always”

    O Guruji, I will follow Thee
    As long as Thou dost lead.
    No matter where
    Or how long the road, 

    I will follow Thee.
    No matter if others
    Turn away from the path,
    I will follow Thee.

    To the end of all being,
    To the end of all striving,
    I will follow Thee.
    As I move out of this earthly abode,
    The windows of my soul
    Will still be lit with the candle
    Of Thy promise,
    And I will follow Thee,
    O Guruji, I will follow Thee!

  • Original Short Literary Fiction: “Transformation through the Ages: Two Letters to Myself”

    Image-Created by ChatGPT inspired by the text
    Image: Created by ChatGPT inspired by the text

    Original Short Literary Fiction: “Transformation through the Ages: Two Letters to Myself

    The process of aging asks us to move from one version of ourselves into another—slowly learning how to carry memory, change, loss, wisdom, and time within the same person.

    Dear Older Me,

    I’m writing to you from age twenty, which feels impossibly young and impossibly certain all at once, right on the edge of adulthood. Everyone keeps telling me that life will change me, but I still wake up every morning believing I will somehow remain recognizable to myself forever. I wonder if you remember feeling that way.

    Lately I’ve been thinking about aging—not in the dramatic sense of illness or endings, but in the quieter sense of becoming someone new over time. I look at photographs from just a few years ago and already feel strange about them. 

    The girl in those pictures is me, but also not entirely me anymore. Her worries were smaller. Her body was different, plumper, rosier, full of some kind of strange awareness.  But her understanding of herself was unfinished.

    I wonder what it’s like for you now, at nearly ninety, carrying six plus decades of former selves inside you.

    Do you still feel connected to me? Or do I seem like a distant relative you remember fondly but imperfectly?

    People talk so much about youth as though it’s the truest version of a person, and aging as though it’s some slow departure from that truth. But I’m beginning to suspect that every age is temporary, and every version of ourselves eventually becomes a kind of memory.

    That thought frightens me sometimes.

    I notice already how language changes around age. Adults speak of young people with nostalgia, impatience, envy, and tenderness all at once. And young people speak about aging as though it’s something abstract—something happening to other people. Yet every day we are all moving quietly toward another stage of ourselves.

    I wonder what it feels like to look into the mirror at eighty plus. Do you still recognize your expressions even if the face has changed? Do you still feel young somewhere underneath everything time has altered?

    I’ve also been thinking about photographs and memories. Right now, my room is full of snapshots from childhood, school dances, birthdays, awkward haircuts, and vacations that already feel far away. I can’t imagine ever wanting to hide those versions of myself, even the embarrassing ones. But I wonder if, by your age, those images begin to feel less like evidence and more like archaeology.

    Do old photographs comfort you, or do they ache?  I hope you’ve kept them all anyway.

    I hope you understand that the younger versions of yourself were not mistakes. I hope you speak kindly about us—the insecure teenager, the reckless twenty-year-old, the exhausted middle-aged woman trying to hold everything together. I hope you see all of them not as separate people, but as chapters in the same long story.  Most of all, I hope you haven’t become embarrassed by change itself.

    Right now, growing older seems terrifying because everything around me celebrates beginnings and quietly fears decline. But perhaps aging is not a process of disappearing. Maybe it’s a process of accumulation. Maybe the older face simply carries more life within it.  If you could tell me anything from where you are now, I think I’d want reassurance that becoming older does not mean becoming less.

    I hope you still laugh easily.  I hope you still feel wonder.  I hope you still believe your life mattered.  And I hope, somehow, that you are grateful for me too—for this young girl standing at the beginning, trying so hard to understand time before she has truly lived it.

    Love,
    Your Former Self

    Dear Former Self,

    Your letter arrived like a voice carried across water—young, searching, and achingly sincere. I read it slowly, not because age has made me slower, though perhaps it has, but because your words reopened rooms in my memory I had not visited in years.

    Yes, I remember you.  More importantly, I remember being you.

    At twenty, you believe identity is something you must discover once and then defend forever. What age eventually teaches is that the self is not a monument. It is weather. It shifts continuously—sometimes gently, sometimes violently—and survives through adaptation rather than permanence.

    You ask whether I still feel connected to you. I do, though not in the simple way you imagine. You are not buried beneath the years; you are woven through them. I still recognize your idealism, your sensitivity, your fear of being forgotten or diminished by time. Those things remain, though softened now by experience.

    And yes, there are moments when I look into the mirror and feel startled. Aging happens so gradually that you scarcely notice it while living through it, and then suddenly you catch sight of your mother’s face in your own reflection, or your grandmother’s hands resting in your lap.

    The body changes first in obvious ways. The knees complain. The spine stiffens. Sleep becomes lighter. Faces hollow and soften simultaneously. But the deeper transformation  is stranger: the realization that inside the aging body, consciousness remains largely untouched by chronology.

    I am eighty-nine, yet some mornings I still feel eighteen until I stand up.  That is one of the great hidden truths of aging: the young self never fully leaves. She simply becomes surrounded by additional selves gathered over a lifetime.

    You asked whether old photographs comfort or ache. The answer is both.  Photographs become less about appearance and more about vanished worlds. You stop focusing on how pretty you once were and begin noticing who is no longer standing beside you. An old picture can break your heart because time is visible there in a way it never feels while you are living it.

    But keep the photographs anyway.  Keep all of them.  One day you will treasure the evidence that ordinary afternoons once existed at all.

    You fear that aging may mean becoming less. I understand that fear because our culture speaks of aging almost entirely in the language of loss. Loss of beauty. Loss of relevance. Loss of strength. Loss of possibility.

    And yes, there are losses. I will not lie to you about that.  You will lose people you cannot imagine living without.  You will lose certain ambitions.  You will lose versions of your body that once felt effortless.  But aging is not merely subtraction.  It is also refinement.

    At twenty, you experience life intensely because everything is new. At ninety, you experience life intensely because you finally understand how temporary everything always was. A simple morning light across the kitchen table can move you to tears. An ordinary conversation can feel sacred.  Youth burns brightly, but age glows.

    You asked whether I still laugh easily. I do—more easily, in fact. Young people often believe seriousness gives life meaning, but age teaches the opposite. Much of survival depends upon learning when to laugh at yourself gently.

    And wonder? Yes, wonder remains too. Perhaps even more so. The older you become, the more miraculous existence itself begins to feel. Not because life becomes easier, but because you finally understand how improbable it always was.

    As for whether your life mattered: meaning does not arrive as a grand declaration. It accumulates quietly through small acts of love, attention, endurance, forgiveness, and presence. A meaningful life rarely feels monumental from the inside.

    You hoped I would be grateful for you.  I am.

    I am grateful for your impatience, your hunger for understanding, your belief that life must contain something beautiful and true. You carried us forward. Without your courage to begin, I would never have arrived here with so much tenderness intact.

    So let me leave you with this:

    Do not spend your youth mourning age in advance. Become fully each version of yourself when it arrives.

    The frightened girl, the ambitious woman, the joyful grandmother—they all belong to you. None of them are failures of the others. They are simply the many forms a human life must take in order to become complete.

    Love and blessings,
    Myself Now

  • Waltzing on the Rim of Eternity

    Image - Created by ChatGPT inspired by the poem
    Image: Created by ChatGPT inspired by the poem

    Waltzing on the Rim of Eternity

    —after “Spirit and Nature”

    They win as they balance—
    Soul and body.

    Radha, the body.  Krishna, the soul.
    Victorious Radha Govinda! 

    Victory when spring brings flowers
    And God brings rain.

    Spirit and nature locked and balanced,
    Waltzing on the rim of Eternity.

  • Emily Dickinson’s “I keep my pledge”

    Image: Emily Dickinson - Amherst College - Daguerrotype of the poet at age 17, circa 1847 - likely the only authentic, extant likeness of the poet
    Image: Emily Dickinson – Amherst College – Daguerrotype of the poet at age 17, circa 1847 – likely the only authentic, extant likeness of the poet

    Emily Dickinson’s “I keep my pledge”

    Emily Dickinson’s “I keep my pledge” dramatizes the speaker’s quiet certainty that life continues beyond death and returns again through the spirituality of nature’s eternal rhythms.

    Introduction and Text of “I keep my pledge”

    Emily Dickinson’s “I keep my pledge” offers a compact but profound musing on immortality, reincarnation, and the soul’s fidelity to divine law. The speaker fashions a little lyrical drama in which nature becomes witness to a sacred vow that transcends earthly death. 

    The poem’s short lines and compressed images intensify the mystical atmosphere as the speaker aligns herself with flowers, bees, and birds to affirm her continuing existence. As in many Dickinson poems, earthly imagery gestures toward a metaphysical reality beyond human sensory perception.

    I keep my pledge

    I keep my pledge.
    I was not called –
    Death did not notice me.
    I bring my Rose.
    I plight again,
    By every sainted Bee –
    By Daisy called from hillside –
    By Bobolink from lane
    Blossom and I –
    Her oath, and mine –
    Will surely come again.

    Commentary on “I keep my pledge”

    The speaker quietly celebrates the immortality of the soul and its inevitable return through metaphorical employment of nature’s recurring cycles.

    First Movement: Making a Vow

    I keep my pledge.
    I was not called –

    Death did not notice me.

    The speaker begins with a declaration of fidelity, insisting that she has remained true to a sacred promise. The claim “I keep my pledge” carries spiritual force because it implies an agreement extending beyond one earthly lifetime. 

    The speaker’s assertion that “Death did not notice me” diminishes death’s supposed authority and portrays the soul as untouched by the loss of the physical encasement.

    The speaker’s attitude recalls Paramahansa Yogananda’s teaching that “This body has come, and it will vanish; but the soul essence within it will never cease to exist.” 

    Dickinson’s speaker similarly refuses to grant death ultimate reality, treating it almost as a distracted figure unable to perceive the immortal essence moving silently beyond material limitation.

    Earlier commentaries on Dickinson’s poetry have often noted that her speakers transform ordinary experience into metaphysical revelation. Here again, the speaker presents death not as annihilation but merely as an interruption in outward form. 

    Her confidence resembles the assurance found in “There is another sky,” where the created spiritual world remains untouched by decay and change.

    Second Movement: Instruments of Faith

    I bring my Rose.
    I plight again,

    The speaker next introduces the “Rose,” a traditional emblem of spiritual beauty and eternal affection. She does not merely observe the flower; she “bring[s]” it, suggesting active participation in the ongoing renewal of life. The rose becomes an offering carried from one incarnation into another.

    The affirmation “I plight again” deepens the sense of recurring vows. To “plight” means to pledge or bind oneself faithfully, and the addition of “again” hints strongly at reincarnation. The soul continues renewing its sacred commitments across repeated cycles of existence.

    Paramahansa Yogananda frequently taught that the soul evolves “through many forms” until it realizes its unity with Spirit. The speaker’s language harmonizes with that spiritual concept, as though she recognizes herself participating in a divine continuity extending far beyond one mortal appearance.

    The rose also resembles the unfading flowers in “There is another sky,” where beauty remains untouched by frost or deterioration. Dickinson’s speakers repeatedly imagine blossoms as symbols of permanent spiritual reality rather than temporary earthly decoration. The flower’s endurance reflects the soul’s endurance.

    Third Movement: By Nature’s People

    By every sainted Bee –
    By Daisy called from hillside –
    By Bobolink from lane

    The speaker now invokes nature itself as witness to her vow. The “sainted Bee,” the daisy, and the bobolink all function as living participants in a sacred universe governed by continuity and renewal. The adjective “sainted” elevates the bee from ordinary insect to spiritual messenger.

    The bee traditionally symbolizes industry and immortality because it continually moves among flowers carrying life-giving pollen. The daisy rising from the hillside represents innocence and recurring seasonal rebirth, while the bobolink’s song fills the landscape with joyful vitality. Together, these natural images create a chorus affirming life’s perpetual return.

    Dickinson’s speakers often treat nature not as separate from humanity but as intimately allied with the soul’s destiny. In earlier Dickinson commentaries, nature frequently appears as a symbolic language through which eternity reveals itself. Here, every creature becomes testimony against death’s supposed permanence.

    Paramahansa Yogananda taught that divine consciousness pervades flowers, birds, and all living forms, declaring, “I am dreaming in the flowers, and I am singing in the birds.” The speaker’s imagery reflects that same intuition of unity between the human soul and the living world surrounding it.

    Fourth Movement: Reincarnation and Karma

    Blossom and I –
    Her oath, and mine –
    Will surely come again.

    In the final movement, the speaker joins herself directly to the “Blossom,” linking human destiny with nature’s recurring cycles. The flower and the speaker share one “oath,” implying that both participate in the same divine law of return and renewal. Spring follows winter just as the soul follows death with rebirth.

    The certainty of “Will surely come again” removes all doubt regarding continuation after physical departure. The speaker utters the line not as speculation but as spiritual knowledge. Her confidence transforms the brief lyric into a powerful affirmation of immortality.

    Paramahansa Yogananda explained that the soul repeatedly returns through reincarnation until it fully realizes its eternal nature. Dickinson’s speaker expresses a remarkably similar vision, perceiving existence as cyclical rather than terminal.

    As in “There is another sky,” the speaker ultimately creates a realm where permanence triumphs over decay. Flowers bloom again, birds sing again, and the soul itself “surely” returns. The little lyric therefore becomes both vow and revelation, affirming the eternal continuity of divine life.

  • The True Love of My Life

    Image:Created by ChatGPT inspired by the poem
    Image: Created by ChatGPT inspired by the poem

    The True Love of My Life

    —after “Thou Art My Life”

    O Divine Belovèd, Thou art the true love of my life,
    The sweetness that lets me taste joy.

    Thy name on my tongue is sweeter
    Than a thousand well-filled honeycombs.

    Let them know Thee.
    Let them all know Thee.

    In the haven of love, I seek Thee
    Again and again, and repeat
    Again and again:  Thou art the true Love of my life,
    The sweetness that lets me taste joy.

  • O! My Belovèd Is Everywhere

     Image:  Created by ChatGPT inspired by the poem
    Image: Created by ChatGPT inspired by the poem

    O! My Belovèd Is Everywhere

    —after “O Thou Blue Sky”

    Where is my belovèd Lord?
    Does He wait and watch behind
    The veil of sky?
    Does He draw the blue curtain
    Around Himself to play
    Hide and seek with us?

    O! My Belovèd is everywhere!
    Behind the sky, in front, above, below,
    On all sides.

    A rent in the blue fabric of sky
    Could no more reveal my Belovèd
    Than a gash in a vein reveals the heart.

    O! My Belovèd is everywhere!—
    Playing hide and seek.
    Come out, my Belovèd,
    Come out of my heart
    And play with me openly.

  • Emily Dickinson’s “Could live – did live”

    Image: Emily Dickinson - Amherst College - Daguerrotype of the poet at age 17, circa 1847 - likely the only authentic, extant likeness of the poet
    Image: Emily Dickinson – Amherst College – Daguerrotype of the poet at age 17, circa 1847 – likely the only authentic, extant likeness of the poet

    Emily Dickinson’s “Could live – did live”

    Emily Dickinson’s speaker in “Could live – did live” is speculating about the possible inner motivation that urged on the heart of an individual acquaintance who has now died.  He did live, she insists, but what drove him?—This man, who seems to have maintained such an even-minded temperament. 

    Introduction and Text of “Could live – did live”

    In Emily Dickinson’s “Could live – did live,” the speaker is speculating about the inner life of an individual who has died.  Because she refers to the deceased as “he” and “his” in the lines, “Through faith in one he met not, / To introduce his soul,” it is safe to assume that the individual is a man or boy—more likely a man because of the nature of the information offered by the speaker.  

    The dead man has experienced enough of life that the speaker, who has observed at least periodically the man living his life, has acquired and retained enough information to make certain assumptions about how he thought and felt and what his inclinations might have been.

    As Dickinson is wont to do, in this poem, the poet is playing with English grammar.  She is employing the conditional mood of verbs.  In the opening two lines, she juxtaposes the conditional mood use with the indicative mood emphatic; thus, she moves from “could live” to  “did live.”  

    That the poet added her own emphasis to the emphatic “did” further highlights her play on the language.  In modern print, the emphasis is shown by italicizing—”did“—while in her handwriting, Dickinson shows that emphasis by underlining–”did.”

    Could live – did live

    Could live – did live –
    Could die – did die –
    Could smile upon the whole
    Through faith in one he met not,
    To introduce his soul.

    Could go from scene familiar
    To an untraversed spot –
    Could contemplate the journey
    With unpuzzled heart –

    Such trust had one among us,
    Among us not today –
    We who saw the launching
    Never sailed the Bay!

    Commentary on “Could live – did live”

    The speaker in this Dickinson gem is offering a somewhat clipped observation about the possible inner life of an individual male acquaintance who has died.  She has observed at least enough of the individual’s comings and going that she remains capable of forming an opinion about him.  

    Interestingly, what the speaker claims about the possible inner life of another more than likely remains even more on target about her own station in life.

    First Stanza:  Conditional Speculation

    Could live – did live –
    Could die – did die –
    Could smile upon the whole
    Through faith in one he met not,
    To introduce his soul.

    The speaker begins by contrasting the difference between the conditional and the indicative moods.  She states elliptically that someone had been able to live —”could”—but then adds immediately that he did, in fact, live.  

    The first proposition is stated with the conditional mood auxiliary verb “could,” and the second half of her statement features the emphatic form “did” of the indicative mood “live.”

    In the second line, she repeats the conditional vs indicative moods again with the opposite of “live.”  Thus she is reporting that someone who could have lived, did, in fact, live, and then this same individual could have died—because he lived, of course—and he, in fact, “did die.”

    By playing with the grammar of the language, the speaker indicates that her own solemn mood may be moving her to speculate and to postpone her grieving for this individual.  But then she launches another conditional mood “could smile,” as she reports the level of the deceased’s faith.  

    The deceased was able to smile upon the whole bewildering commotion of life and death likely remaining quite neutral about any deep meaning those puzzling acts might hold; he, at least, possessed some level of faith to be able to hold such a smile, and his soul thereby has remained an entity without dedication to a higher consciousness.  The speaker, however, is merely reporting, not judging.

    Second Stanza:  Remaining Conditional

    Could go from scene familiar
    To an untraversed spot –
    Could contemplate the journey
    With unpuzzled heart –

    Returning again to the conditional mood, the speaker continues to report on the deceased’s ability to face the various vicissitudes of life.  His temperamental state seems to have remained somewhat even-minded whether he was moving in “familiar” territory or venturing out to parts unknown.

    The speaker asserts that the deceased “could go” and was also able to “contemplate” his travels without his “heart” becoming puzzled, or likely even frazzled.  The speaker is offering only her interpretation of how the deceased felt; thus the continued employment of the conditional mood remains operative and most appropriate.  

    While her uncertainly is not paramount, she, nevertheless, does not wish to sound as though she can make any final pronouncement about how the deceased went about his life and his days upon planet Earth.  

    She knows that too deep a speculation would ultimately amount to judging.  She does imply that she likely would not retain such an even-minded ability throughout her puzzling sojourn through life and death.

    Third Stanza:  Trust and Faith in Life’s Inner Turmoil

    Such trust had one among us,
    Among us not today –
    We who saw the launching
    Never sailed the Bay!

    The speaker finalizes her speculative evaluation of the deceased’s inner mental/heartfelt state by asserting that his trust, which did not rise to level of faith, was as she has thus far described.  He was “among us,” and today he is no longer “among us.”

    The speaker then concludes by remarking that although “we,” the living, have been able to observe the manner in which the deceased passed his days, we cannot know for certain how his experience actually shaped and formed his deep heart’s core and ultimate mental state.

    While we may have observed, an observation is not the actual experience.  The deceased is the only one who has “sailed the Bay”; his friends, family, and acquaintances merely caught certain glimpses of his “launching.”  They remain in state of “should, would, could” as far as the deceased’s inner life is concerned.  

    The speaker offers an observation, however, that may be quite accurate, but in the long run, the accuracy is in her own self-revelation, not necessarily in that of the target of her report.