Image: Emily Dickinson – Amherst College – This daguerrotype circa 1847 at age 17 is likely the only authentic, extant image of the poet.
Emily Dickinson’s “It did not surprise me”
In Emily Dickinson’s “It did not surprise me,” the speaker has created a bird metaphor as she begins to muse on the unlikely event that she may lose her intuitive ability to perceive beyond sense awareness.
Introduction with Text of “It did not surprise me”
With a similar motivational purpose of her riddle-poem “I have a Bird in spring,” Emily Dickinson’s speaker in “It did not surprise me” employs a bird metaphor to contemplate the notion that her special intuitive ability to perceive events, ideas, and entities beyond sense awareness might abandon her.
The bird metaphor remains a useful poetic device for Emily Dickinson‘s speakers as they bestow flight on their ability to create poetic dramas. Also, similar to her riddle-poem “I have a Bird in spring” in this little drama, the speaker is unveiling the metaphorical bird as a mystical muse, as the speaker ruminates on the idea that if that little birdling were to fly away from her, she would become heartbroken.
However, unlike the riddle aspect in “I have a Bird in spring,” the poet allows her speaker to report first as if she is merely describing a literal bird. The speaker then moves into a questioning format which shines a light on the possibility that her muse might just up and fly off as any real bird might do.
The speaker is obliged, however, to leave the issue without answering it, because she will keep that question as long as she continues in her mission of poetry creation. Ultimately, no creative artist can ever know in advance, if or when inspiration will vanish and possibly never return.
Despite temporary flights into the clairvoyance of certain noumena, as long as the poet remains earth bound, she remains dependent to a certain extent on ordinary sense awareness.
It did not surprise me
It did not surprise me – So I said – or thought – She will stir her pinions And the nest forgot,
Traverse broader forests – Build in gayer boughs, Breathe in Ear more modern God’s old fashioned vows –
This was but a Birdling – What and if it be One within my bosom Had departed me?
This was but a story – What and if indeed There were just such coffin In the heart instead?
Reading of “It did not surprise me”
Commentary on “It did not surprise me”
Dickinson’s speaker metaphorically likens her muse—which she knows is bound to her mystical insight—to a bird, as she contemplates the possibility of losing the blessing provided by her innate, God-given talent and mystical ability.
First Stanza: A Thought Awakening
It did not surprise me – So I said – or thought – She will stir her pinions And the nest forgot,
The speaker begins her soliloquy by admitting that her lack of “surprise” at some event has been prompted by the thought of a bird stirring and flying off from its nest. Between her opening statement and the bird’s first movement, the speaker asserts that upon realizing her lack of surprise, she spoke out but then changed her claim to the fact that she merely thought about the coming event without actually giving it voice.
The final two lines of the stanza express the possibility of an activity as she states that this particular bird will start fluttering its wings, readying itself for flight and then fly off from its nest. Such an avian forsaking its nest will then likely not even recall that it had ever stayed there.
That status is simply the essential nature of natural creatures, as well as specific metaphorical birds that may be likened to the muse. If this style of muse abandons its target permanently, it will likely not recall that it had ever inspired any such soul.
Interestingly, Dickinson has her speaker employ the past tense “forgot” but clearly the actual meaning is present tense “forget.” She possibly employed the past tense because it stands in as a closer rime to “thought.”
However, a different interpretation of the meaning may call for the term “forgot” to be understood as the shortened form of the past participle, as in the nest will be “forgotten.” Through her widespread employment of minimalism and ellipsis, the poet has her speaker leave out “nest will be,” requiring the phrase to be understood and, therefore, supplied by the reader’s mind.
Second Stanza: Ranging to New Territories
Traverse broader forests – Build in gayer boughs, Breathe in Ear more modern God’s old fashioned vows –
After rousing its pinions and flying from its nest, this bird will roam in new territories or through “broader forests.” It may reconstruct a new nest in a place deemed happier for its circumstances, that is, “gayer boughs.” The bird will listen to fresh sounds, as it enjoys the many blessings of its Divine Creator, Who has promised to guard and guide all of His creatures.
At this point, the bird has taken on only a few metaphorical qualities. The message could thus be that of merely dramatizing what any young bird might do, after awakening to the marvelous reality of possessing the delicious ability to fly and range wide from its original location.
Third Stanza: Bird in the Heart
This was but a Birdling – What and if it be One within my bosom Had departed me?
The speaker now admits that the little flying creature she has been describing was, in actuality, a simple little bird, or “Birdling.” But then she changes her focus to the “One” that lives in her heart, asking the basic question—what if my little bird-muse leaves me?
In her poem “I have a Bird in spring,” the poet also had her speaker describe her mystical muse as a bird. That poem also plays out as one of her numerous riddle-poems, as she seems to be describing some impossible entity that can fly from her but then return to her and bring her gifts from beyond the sea.
That special metaphorical bird has the power to calm her in times of stress. Similar to “I have a Bird in spring,” which is one of her most profound poems, this one, “It did not surprise me,” remains on the exact same consistent plane of mystical perception.
Unquestionably, the natural creature known as a “bird” as a metaphorical vehicle for the soul (muse or mystically creative spirit) remains quite appropriate, as poet Paul Laurence Dunbar has also demonstrated in his classic masterpiece “Sympathy.”
Fourth Stanza: A Intriguing Inquiry
This was but a story – What and if indeed There were just such coffin In the heart instead?
The speaker offers another admission that up to this point she has been merely speculating about her bird/muse flying off from its nest in her heart/mind/soul. She crafts another inquiry, repeating the curious phrase “[w]hat and if” before her question.
This poignant question employs the term “coffin” indicating the drastic and deadly situation that would exist in her mind/heart/soul, if her bird/muse did actually fly off from her to explore more extensive forests and build nests on more joyful boughs. The speaker affirms her belief that such a loss to her heart and mind would materialize that “coffin,” if such an event ever transpired.
Image: Emily Dickinson – Amherst College – This daguerrotype circa 1847 at age 17 is likely the only authentic, extant image of the poet.
Emily Dickinson’s “I have a Bird in spring”
Emily Dickinson’s riddle-poem “I have a Bird in spring” features the speaker’s musing on her ability to sense existence beyond the earthly, material level of physical reality. She also expresses her confidence that the “Bird” she possesses is not one that she could ever lose.
Introduction with Text of “I have a Bird in spring”
Emily Dickinson’s “I have a Bird in spring” exemplifies the poet’s oft-employed strategy of creating little dramas that not only function as poems, but they also work well as fascinating riddles.
The speaker never states the name of this strange bird that can fly away from her and then return bringing her new melodies from far beyond the sea.
This metaphoric avian winging its way beyond a metaphoric sea possesses the delicious power to calm any doubts and fears that might molest the speaker. That a mere bird could retain such seemingly magical powers renders this Dickinsonian riddle one of her most profound and most captivating little dramas.
I have a Bird in spring
I have a Bird in spring Which for myself doth sing – The spring decoys. And as the summer nears – And as the Rose appears, Robin is gone.
Yet do I not repine Knowing that Bird of mine Though flown – Learneth beyond the sea Melody new for me And will return.
Fast in safer hand Held in a truer Land Are mine – And though they now depart, Tell I my doubting heart They’re thine.
In a serener Bright, In a more golden light I see Each little doubt and fear, Each little discord here Removed.
Then will I not repine, Knowing that Bird of mine Though flown Shall in distant tree Bright melody for me Return.
Reading of “I have a Bird in spring”
Commentary on “I have a Bird in spring”
The speaker muses on and dramatizes the activity of a metaphoric bird that can bring to her wonderful bits of information from beyond the material level of existence.
First Stanza: A Strange Bird
I have a Bird in spring Which for myself doth sing – The spring decoys. And as the summer nears – And as the Rose appears, Robin is gone.
The speaker begins employing a rather straight forward claim that becomes ever more mysterious as she continues. She reports that she is in possession of “a Bird in spring.” However, that “Bird” sings for her alone. Such a statement remains intriguing because it seems obvious that birds sing for everyone, or rather perhaps they sing for no one but themselves and likely other birds.
Even if this speaker is creating her little ditty about a pet bird that she keeps in a cage, that bird likely would not sing simply for his care-taker. Paul Laurence Dunbar’s speaker has averred in his poem “Sympathy” that he “knows why the caged bird sings,” and the bird does not sing only for the one who has caged him.
Thus, the puzzle continues to plays out. Why is this “Bird” singing only for his owner/care-taker? Thus, the speaker then asserts that as spring moves on, the season lures her away from her “Bird.” But then as she moves into summer, she becomes attracted by the beauty of “the Rose,” but then her “Bird,” whom she now calls “Robin” has flown away.
The first stanza leaves the audience cogitating on such a mystifying conundrum: an unusual bird that seems to belong to a person, simply up and disappears as the season of spring with all of its lushness has captured the individual’s attention and as roses are starting to blow forth for summer.
Second Stanza: Not a “bird” – but a “Bird”
Yet do I not repine Knowing that Bird of mine Though flown – Learneth beyond the sea Melody new for me And will return.
The speaker then offers yet another surprising claim. She reports that she does not worry that the bird has vanished. She remains confident that this special “Bird” has simply winged its way “beyond the sea” where he will accrue some new melodies.
The bird with his newly learned repertoire will then return to her. Once again, the speaker has offered an even more puzzling event for the audience to ponder. Her rare bird has apparently flown away, but the avian’s owner/care-taker seems to remain convinced that he will fly back to her. The likelihood of any person recognizing the same bird that had flown far way from her remains next to nil.
As thousands of birds appear and fly away chirping throughout the land or landing in trees, the ability to distinguish the same bird as the exact one that flew away and then returned would be a stunning feat.
The speaker’s claim seems ridiculous—however, it may not be ridiculous because that “Bird” that she owns is not a “bird.” Instead the avian referred to by the speaker is, in fact, a “Bird.” It is thus a metaphorical bird. And because he is a metaphoric not a literal bird, the audience has to rethink all those claims that seemed so terribly unusual.
In order to take this confusing discourse seriously, the reader must interpret a metaphorical bird. How can a bird be metaphorical? The speaker is calling a bird a “Bird,” and that figurative “Bird” is not a literal bird.
Third Stanza: Divine Creator as Muse
Fast in safer hand Held in a truer Land Are mine – And though they now depart, Tell I my doubting heart They’re thine.
The speaker then makes it clear that this metaphorical “Bird” is her muse. Her muse thus retains the qualities, features, and aspects of her soul. Those soul qualities and functions permit her to fashion a new creation, such as her magnificent other “sky,” which includes her marvelously perpetual “garden” of poetry. Thus, the speaker creates her garden of verse, where she can spend her time, her effort, and her love. In this metaphysical world, she can continue to fashion a different world.
Even as she lives in the world of physical, material, earthly existence, because she communes with her inner being—her soul which is a spark of the Ultimate Creator (God)—she can create just the Creator does.
Her soul—through the instrumentality of her metaphysical “Bird”— bestows on her the ability to comprehend that fact that she along with her talent remains secure in the presence of the Divine Creator.
The speaker, her soul, her muse, and her talent are all “Held in a truer Land”—a metaphorical, cosmic location that remains more real because it is ever existing as well as eternally present, unlike the planet called Earth, on which immortality and eternity do not exist.
Aging, fading, destruction, and death obtain on the physical level of existence, for example, on such place as the Earth planet. The speaker’s compendium of joy includes her mental abilities, her writing talent, and her love and appreciation of beauty, poetry, and the arts and science.
This compendium the speaker has fashioned into a metaphorical, metaphysical “Bird” is secured “fast” by a “safer hand.” The speaker’s Heavenly Father, Divine Creator (God) guides and guards her in myriad mystery-making ways. She remains aware, however, that she follows that guidance through faith because she continues to work and ponder with a “doubting heart.”
However, she informs her doubting heart that the compendium of joyous qualities, metaphorically fashioned into her “Bird,” still belong to her. Though at times they may seem to move beyond her sight, her strong faith keeps her mind convinced that immortality and eternity belong to her.
As the Shakespearean sonneteer, who often complains about periods of creative dryness that afflict him, this speaker confesses that certain entities and events of spring and summer may distract her, allowing her “Bird” to seem to fly off and disappear for long whiles. Nevertheless, she finds relief through the understanding that her talent is merely resting and likely experiencing further development somewhere out of her vision.
Her “Bird” is just off somewhere learning new melodies for her to sing and fashion into new dramas. Even more important is that she need not entertain doubts about the return of that special bird. They will return to her because “They’re [hers].” What belongs to her, she cannot lose.
Fourth Stanza: Seeing through Mystic Eyes
In a serener Bright, In a more golden light I see Each little doubt and fear, Each little discord here Removed.
The speaker moves on detailing the reasoning that allows her to be sure that her “Bird” will return to her. During her periods of clear sight which she at times experiences even with the absence of her “Bird,” she can sense in a “more golden light” that all her doubts, worries, fears, and discordant thoughts “here” can be removed.
As she remains living upon this Earth planet, she acknowledges that her fears will likely persist in attacking her. However, because of her assurance of her own divinity through her the power of her soul—that spark of the Divine Creator—she remains capable of realizing that those trials and tribulations brought on by the dualities and pairs of opposites of Earth life are time-stamped.
In opposition to the temporal, her soul power is permanent without any limitation or stamp of time. The speaker possesses to ability to perceive through mystic eyes in a “serener Bright” and “golden light.” These cosmic lights bestow upon her the ability to quiet her doubting heart.
She possesses the awareness that Eternity and Immortality are hers. Her capacity to continue creating her own “sky” and “garden” remains absolute—the knowledge of the Absolute has the power to quiet and even eliminate fears and doubts.
Fifth Stanza: The Virtue of Patience
Then will I not repine, Knowing that Bird of mine Though flown Shall in distant tree Bright melody for me Return.
The speaker can finally report that she will no longer fuss and fret if her “Bird” remains away from her for extended periods. She will remain confident that he will return to her and bring with him beautiful, glowing melodies.
Even though that “Bird of [hers]” may retain a inclination for disappearing from her sight, she is sure that her own consciousness is simply being distracted by other entities and events of “spring” and “summer.” Those warm seasonal activities just permit her “Bird” to flutter deep into the darkened areas of her mental sphere.
The speaker experiences great joy in creating her little dramatic pieces, and also once again similar to the Shakespearean sonneteer, she possesses the great ability to create her dramas even as she appears to be experiencing a blockage in the flowing of her words.
Incubation and Writing
Writing teachers and rhetoricians explain the concept of incubation as a stage of the writing process, a period of time when the writer seems not to be thinking directly about his writing project but to be allowing his thoughts to quietly proliferate, even as he goes about performing other activities.
Dickinson and the Shakespearean sonneteer, as creative writers, were able to use that concept for creating their little dramas, even as they, no doubt, chafed under their seeming inability to create.
Dickinson’s mystic sight afforded her an even stronger talent for delivering her mind to performance because she knew her soul to be immortal, and she was able to see mystically beyond the physical, Earth-level of being. The Shakespeare writer’s faith was strong enough to render him nearly as capable as Dickinson, as his “Muse” sonnet sequence (Part 1 and Part 2) testifies.
Image: Emily Dickinson – Amherst College – This daguerrotype circa 1847 at age 17 is likely the only authentic, extant image of the poet.
Emily Dickinson’s “There is another sky”
Emily Dickinson’s “There is another sky” reveals the speaker’s confidence in her creation of a world of beauty that will exist in perpetuity. She is envisioning a world beyond the physical level of existence, where permanence prevails in things of beauty.
Introduction with Text of “There is another sky”
Emily Dickinson’s “There is another sky” is an American-Innovative sonnet. Each line is short, featuring only 3 to 5 metric feet, and with Dickinson’s characteristic slant or near rime; the rime scheme plays out roughly, ABCBCDECFCGHIH.
This American-Innovative sonnet thematically sections itself into two quatrains and a sestet, making it a gentle melding of the English (Shakespeare) and Italian (Petrarchan) sonnets. The speaker of the poem is previewing her intention to establish a world where the pairs of opposites do not obstruct the lives of the inhabitants.
Such beloved features and qualities of life, such as beauty, peace, harmony, balance, and love will hold sway uninterrupted by pesky things like change and disfigurement in her newly created “garden.” On a second note, she is also inviting her brother to enter her new garden that exists under a different sky so that he too may enjoy the divinely fragranced atmosphere of her new creation.
On the literal level, the poet is creating a speaker who is announcing her audacious plan to create a brand new world with her poetry. It will be such a special place so other-worldly that nothing unpleasant that exists in earthly reality will exist there.
Because everything she creates will be based on her imagination and intuition, she can fashion her “garden” to grow anything she finds feasible. That she anticipates no arrival of “frost,’ she can guarantee that flowers will not “fade.” Also leaves will be able to remain “ever green.”
Posing as a invitation, Dickinson’s little drama serves as a clever ruse to persuade her brother to come and experience her poetry. By promising him a whole new, different world, she no doubt hopes he will be more likely to take her up on her offer.
There is another sky
There is another sky, Ever serene and fair, And there is another sunshine, Though it be darkness there; Never mind faded forests, Austin, Never mind silent fields – Here is a little forest, Whose leaf is ever green; Here is a brighter garden, Where not a frost has been; In its unfading flowers I hear the bright bee hum: Prithee, my brother, Into my garden come!
Reading of “There is another sky”
Commentary on “There is another sky”
Emily Dickinson’s “There is another sky” reveals an attitude dramatized in the Shakespeare sonnets: the poet’s confidence in her creation of a world of beauty that will last forever.
The poem is a literal invitation from the poet to her brother Austin to read her poetry, where she is erecting a new place to exist, a beautiful garden free of the decay that literal gardens must undergo.
First Quatrain: Physical Sky vs Metaphysical Sky
There is another sky, Ever serene and fair, And there is another sunshine, Though it be darkness there;
In the first quatrain, the speaker begins by alerting readers that in addition to the “sky” and “sunshine” that already experience on the earthly level, there exist a different sky and a different sunshine.
The other sky about which the speaker is declaiming is always “serene and fair. Thus, no thunder storms or dark clouds intrude into this new sky’s space. The beauty and calmness of a clear blue sky offer an inviting and intriguing possibility.
The speaker then announces the existence of “another sunshine.” But this sunshine seems to have the magic and delicious power to shining even through the darkness. This claim is the first flag that the speaker will be referring to a mystical or metaphysical place that only the soul can perceive.
Behind the darkness of closed eyes, the only “sunshine” or light that can be seen is that of the spiritual eye. Although the speaker cannot guarantee that her entire audience will be able to see such “sunshine,” she is sure that on a mental level they can imagine such a heavenly place.
Second Quatrain: No Fading in the Metaphysical Universe
Never mind faded forests, Austin, Never mind silent fields – Here is a little forest, Whose leaf is ever green;
The speaker then directly addresses someone, admonishing him to pay no attention to “faded forests.” She then the addresses the individual by name, “Austin. ” Austin is the name of Dickinson’s brother. She then admonishes Austin to ignore the “silent fields.”
The reason that Austin should ignore those faded forests and silent fields is that in this place to which she is inviting him, the “little forest” presents leaves that remain perpetually green. And the fields will remain perpetually filled with fruitful crops, never having to lie fallow.
While dropping hints throughout, he speaker remains illusive regarding the whereabouts of this place where the sky, the sun, forests and fields, and leaves all behave differently from that of the physical universe that humanity must experience on the earthly plane.
Sestet: Invitation to the Metaphysical Garden
Here is a brighter garden, Where not a frost has been; In its unfading flowers I hear the bright bee hum: Prithee, my brother, Into my garden come!
The speaker now offers some further description of this new place with a new sky and new sun; she then states that that place is “a brighter garden.” As earthly gardens are bright, mystical or metaphysical gardens remain even brighter.
In the metaphysical garden, there is never a fear of “frost” that kills earthly plants with its sting. Flowers will not fade because of frost or from simply aging. The magic of her garden will guarantee that the beauty of the flowers will bloom forth in perpetuity.
Because of the ability of the flowers to remain “unfading,” bees will always be able to partake of their nectar any time they choose. Thus, the speaker avers that she can “hear the bright bee hum.”
The bright bee is, no doubt, brighter than the ordinary, earthly, literal bee. And because of the permanence of her newly created metaphysical garden, she can listen to the pleasant hum any time she wishes.
In the final couplet, the speaker sets forth the clear invitation to her brother, virtually begging him to come into her garden. She employs the archaic expression “[p]rithee” (conflation of “pray thee”) to emphasize her desire that he take her up on her offer to visit her “garden.”
On the literal level, the poet has created a speaker who extends an invitation to the poet’s brother to read her poems. She has offered an alluring set of reasons to try to capture the brother’s imagination and interest.
And to her other readers, the poet has created a speaker to extend that same invitation, as she hopes the notion of a new, permanent, created world will capture their imaginations also.
Dickinson Riddles
Emily Dickinson’s American-Innovative sonnet “There is another sky” is one of the poet’s many riddles. Her speaker never states directly that the garden is her poetry, but still, she is inviting her brother in to read her poems.
The speaker continues to imply throughout the sonnet that she has constructed a whole new world, where things can live unmolested by the irritants that exist on the physical plane of life. The sky can remain “serene and fair”—no storms, tornadoes, hurricanes, heavy rainstorms that frighten and damage.
And the sunshine can present itself even through the darkness. Forests never fade and die out, and the fields remain always bursting with life; they never lie fallow or turn to dust as on the real, earthy plane—that literal world.
The trees can enjoy wearing green leaves and never have to drop them after they turn all brown or rusty. The speaker is privy to all these utopian-sounding acts because she has created it.
And like the master writer of the Shakespeare sonnets, Dickinson’s speaker knows that she has fashioned out of crude, earthly nature an art that will provide pleasure in perpetuity to the minds and hearts of those who have the ability to imagine and intuit along with her.
This speaker further demonstrates a certain level of cheek and courage by inviting her own brother into her creation. While she no doubt quietly wonders if he will be as impressed as she is, she shows a certain level of confidence by offering such an invitation.
Full Image: Emily Dickinson – Amherst College – This daguerrotype circa 1847 at age 17 is likely the only authentic, extant image of the poet.
Emily Dickinson’s “After great pain, a formal feeling comes”
Emily Dickinson’s “After great pain, a formal feeling comes” is the poem equivalent of a sculpture carved to represent grief; the poet has metaphorically carved from the rock of suffering a remarkable statue of the human mind that has experienced severe agony.
Introduction and Text of “After great pain, a formal feeling comes”
The speaker in Emily Dickinson’s “After great pain, a formal feeling comes” (number 341 in Thomas H. Johnson’s Complete Poems) is creating an intense drama that sets in center stage the bitter agony involved in experiencing utter torment.
The speaker does not name the origin of the certain type of “pain,” because she takes as her purpose only the illumination of the effect she is exploring. If the individual is grieving because of losing a loved one to death or possibly to the breaking up of a friendship, pain will affect that individual in a similar manner to one surfing from an fatal illness. The result of pain regardless of the cause is the issue, not the cause itself.
The tragedy of cause may be held in abeyance and explored separately. When pain itself is explored, it is not also necessary to make clear the original cause for the onset of the pain. The issue of pain itself and how the human heart and mind respond to that stimulus offer a sufficient quantity of material on which to focus.
The poem plays out in three stanzas; the first and third stand in quatrains, while the middle stanza is displayed in a cinquain. The poem features a masterful dramatization, resembling a sculpture set in stone. This poem testifies to the greatness of Emily Dickinson, not only as a poet but also as a lay psychologist.
That the poet was able to sculpt her poem from the stone of grief demonstrates her versatility and the ability to envision and craft into images the language of the heart and mind.
After great pain, a formal feeling comes –
After great pain, a formal feeling comes – The Nerves sit ceremonious, like Tombs – The stiff Heart questions was it He, that bore, And Yesterday, or Centuries before?
The Feet, mechanical, go round – Of Ground, or Air, or Ought – A Wooden Way Regardless grown, A Quartz contentment, like a stone –
This is the Hour of Lead – Remembered, if outlived, As Freezing persons, recollect the Snow – First – Chill – then Stupor – then the letting go –
Reading of “After great pain, a formal feeling comes”
Commentary on “After great pain, a formal feeling comes”
The images that represent hardness, stillness, and cold combine to create the substance out of which this intense drama grows into existence. The images, while mostly concentrated in the visual, however, bleed over into the other senses. One can virtually hear the hardness and stiffness that afflict the heart and mind as the individual suffers the great agony described so colorfully and precisely.
First Stanza: Stunned by the Onset of Grief
After great pain, a formal feeling comes – The Nerves sit ceremonious, like Tombs – The stiff Heart questions was it He, that bore, And Yesterday, or Centuries before?
The speaker begins the scene with a rather dramatic claim that after the experience of some great event causing suffering, a state of solemnity visits the heart and mind of the sufferer. This simple claim puts a label on the stunned feeling which has accompanied the sudden arrival of grief.
That grief results from having experienced some great tragic terror or torment, and that intense feeling can be described as “formal,” as the next step of trying to accept and overcome that pain must be taken. The opposite emotion would then necessarily be “informal,” wherein the individual would remain content or perhaps even in the neutrality of emotion that would cause not feeling at all.
The usual non-suffering consciousness retains no special form, as it spreads out over the heart and mind, formless, shapeless, and unrecognized until nudged into existence by its opposite—or near opposite. The neutrally existing emotion remains neutral or unfeeling until it is forced by circumstances to feel in order to act.
After the suffering begins, the consciousness becomes aware of itself as it begins to feel the sensations of cold, hard, and/or stiff, as in the colorful image, the “Nerves sit ceremonious, like Tombs.” Time then lets loose its strict hold on consciousness, prompted by the intensity of feeling.
The suffering victim can fanaticize that she has been feeling this new way for an eternity. The personified heart begins to pose questions to the mind, trying to distinguish just how long the pain has been afflicting it: did it happen yesterday or was it ages ago? Such a “stiff Heart” can no longer sense time—minutes, day, years all seem irrelevant to the individual suffering from fierce agony because in such distress, it seems that such a state will never end.
Second Stanza: The Expansion of Formal Stiffness throughout Body and Mind
The Feet, mechanical, go round – Of Ground, or Air, or Ought – A Wooden Way Regardless grown, A Quartz contentment, like a stone –
The sufferer may seem to pass through her hours and days as would an automaton. The stiffness seems to expand throughout the body from the heart to the feet that are no longer driven by organic impulse but by some “mechanical” motor. They go but without purpose or desire.
The suffering individual seems to be just “going through the motions” of living, or rather existing, for she has become incapable of sensitive living. Her life has become “Wooden”; she pays no attention to important details. She might as well be “a stone”—her ability to enjoy “contentment” is simply like a piece of “Quartz”—inanimate, hard, and cold. She has become a cliché, attempting to carve out her existence on this newly found pice of rock that she has experienced as inordinate pain.
Third Stanza: Uncertainty of Outliving the Trauma
This is the Hour of Lead – Remembered, if outlived, As Freezing persons, recollect the Snow – First – Chill – then Stupor – then the letting go –
This horrendous suffering has effected this hard, cold, stiff formality, and it has morphed into a dreadful “Hour of Lead, ” causing time to transform into an ocean of lead. The navigator on such a sea finds it virtually impossible to move forward.
Such pain must be overcome, if the individual is to continue living her life. Thus, the speaker must reach some satisfactory conclusion. So she arrives at the possibility that if the suffering soul can just manage to live through the painful event, she will still remember the experience.
The question then becomes how will looking back and recalling such pain affect the person’s life in future time. The speaker decides that recalling such an event will resemble remembering almost dying from freezing to death in the snow.
First, she will recall the freezing chill. Then she will remember nearly losing consciousness and remaining in a stupefied state of awareness. And finally she will realize that she can hold on no longer, and then she will allow herself simply to relax let go of all thoughts involving the trauma. As she remained in the throes of torment, the sufferer could not be assured that she could live through the event.
However, if she does outlive the tragedy, according to her conclusion, she should be able to look back and recall the pain as a cold, hard, stiff substance that stiffened her until she finally managed to control and lose the consciousness that felt that unendurable misery.
Image: Emily Dickinson This daguerrotype, circa 1847 at age 17, is likely the only authentic, extant image of the poet.
Emily Dickinson’s “Because I could not stop for Death”
Emily Dickinson’s mystical drama features a carriage driver who appears to be a gentleman caller. The speaker abandons both her work and leisure in order to accompany the kind gentleman on a carriage ride. Dickinson’s mystical tendencies are on pull display in this poem.
Introduction with Text of “Because I could not stop for Death”
Emily Dickinson’s mystical drama “Because I could not stop for Death” plays out with a carriage driver who appears to be a gentleman calling on a lady for an evening outing. The speaker leaves off her work as well as her leisure activities in order to accompany the gentleman on the carriage ride to their unspecified festivities.
Certain childhood memories occasionally spur poets to compose verse that is thus influenced by such musing on past memories. Examples of such nostalgic daydreaming include Dylan Thomas’ “Fern Hill,” Theodore Roethke’s “My Papa’s Waltz,” and a nearly perfect American-Innovative sonnet by Robert Hayden “Those Winter Sundays.”
In Emily Dickinson’s “Because I could not stop for Death,” the speaker is also gazing back into her past, but this occasion is a much more momentous musing than merely an ordinary childhood recollection. The speaker in this memory poem is recalling the day she died.
The speaker frames the occasion as a metaphoric carriage ride with Death as the gentleman caller. This speaker is peering intuitively into the plane of existence well beyond that of the earth and into the eternal, spiritual level of being.
Interestingly, the procession that the carriage ride follows seems to be echoing the concept that in the process of leaving the physical body at death, the mental faculty encased in the soul, experiences past scenes from its current existence.
Examples of such past-experienced scenes include the riding by a school and observing that the children were playing at recess; then, they drive by a field of grain and observe the sunset. These are scenes that the speaker has undoubtedly experienced during her current incarnational lifetime.
Because I could not stop for Death
Because I could not stop for Death – He kindly stopped for me – The Carriage held but just Ourselves – And Immortality.
We slowly drove – He knew no haste, And I had put away My labor and my leisure too, For His Civility –
We passed the School, where Children strove At recess – in the ring – We passed the Fields of Gazing Grain – We passed the Setting Sun –
Or rather – He passed Us – The Dews drew quivering and chill – For only Gossamer, my Gown – My Tippet – only Tulle –
We paused before a House that seemed A Swelling of the Ground – The Roof was scarcely visible – The Cornice – in the Ground –
Since then – ’tis centuries – and yet Feels shorter than the Day I first surmised the Horses’ Heads Were toward Eternity –
Reading of “Because I could not stop for Death”
Commentary on “Because I could not stop for Death”
The speaker avers that she had no inclination to stop what she was doing for the sake of “Death.” Nevertheless, Death—as a kindly carriage driver, appearing to be a gentleman caller—was polite enough to invite her to join him on an outing.
Because of this kind gentleman’s polite demeanor, the speaker gladly leaves off both her ordinary, daily work plus her free time hours in order to accompany the gentleman on what portends to be a simple, pleasant carriage ride, perhaps including some evening social event.
First Stanza: An Unorthodox Carriage Ride
Because I could not stop for Death – He kindly stopped for me – The Carriage held but just Ourselves – And Immortality.
In the first stanza, the speaker claims startlingly that she was unable to avail herself to cease her work and leave off her free time for a certain gentleman, whom she names “Death.”
However, that gentleman Death had no problem in stopping for her, and he did so in such a polite fashion that she readily acquiesced to his kindness and agreed to join him for a carriage ride.
The speaker offers an additional shocking remark, noting that the carriage, in which the speaker and gentleman caller Death rode, was transporting not only the speaker and the gentleman but also one other passenger—”Immortality.” Thus, the speaker has begun to dramatize an utterly unorthodox buggy ride.
The kind gentleman Death has picked up the speaker as if she were his date for a simple carriage ride through the countryside, but something otherworldly intrudes immediately with the presence of the third passenger.
By personifying “Death” as a gentleman caller, the speaker imparts to that act a certain level of rationality that levels out fear and trepidation usually associated with the idea of dying.
Second Stanza: The Gentleman Caller
We slowly drove – He knew no haste, And I had put away My labor and my leisure too, For His Civility –
The speaker then describes her momentous event. She has not only ceased her ordinary work, but she has also concluded her leisure–certainly not unusual for someone who dies.
The gentleman caller Death has been so persuasive in suggesting a carriage ride that the speaker has easily complied with his suggestion. This kind and gracious man was in no hurry; instead, he offered a rhythmically methodical ushering into realms of peace and quiet.
Third Stanza: A Review of a Life Lived
We passed the School, where Children strove At recess – in the ring – We passed the Fields of Gazing Grain – We passed the Setting Sun –
Next, the speaker reports that she was able to observe children playing at school during recess. She also views cornfields or perhaps fields of wheat. She, then, views the setting of the sun.
The images observed by the speaker may be interpreted as symbols of three stages in each human life: (1) children playing representing childhood, (2) the growing fields of grain symbolizing adulthood, and (3) the setting sun representing old age.
The imagery also brings to mind the well-known concept that a dying person may experience the passing of scenes from one’s life before the mind’s eye. The experience of viewing of past scenic memories from the dying person’s life seems likely to be for the purpose of readying the human soul for its next incarnation.
Fourth Stanza: The Passing Scenes
Or rather – He passed Us – The Dews drew quivering and chill – For only Gossamer, my Gown – My Tippet – only Tulle –
The speaker reveals that she is dressed in very light clothing. On the one hand, she experiences a chill at witnessing the startling images passing before her sight. But is it the light clothing or is it some other phenomenon causing the chill?
Then on the other hand, it seems that instead of the carriage passing those scenes she has described of children playing, grain growing, and sun setting, those scenes may actually be passing the carriage riders. The uncertainly regarding this turn of events once again supports the commonly held notion that the speaker is viewing her life passing before her eyes.
Fifth Stanza: The Pause
We paused before a House that seemed A Swelling of the Ground – The Roof was scarcely visible – The Cornice – in the Ground –
By now, the carriage has almost reached its destination, and instead of a gala or festive outing, it is the speaker’s gravesite before which the carriage has momentarily stopped.
Apparently, without shock or surprise, the speaker now dramatically unveils the image of the grave: she sees a mound of dirt, but she cannot see the roof of the building that she expected, and any ornamental moulding that might have decorated the house also remains out of the sight of the speaker who assumes it is “in the Ground.”
Sixth Stanza: Looking Back from Eternity
Since then – ’tis centuries – and yet Feels shorter than the Day I first surmised the Horses’ Heads Were toward Eternity –
In the final scene, the speaker is calmly reporting that she remains now—and has been all along—centuries in future time. She speaks plainly from her cosmic, eternal home on the spiritual/astral level of being. She has been reporting only on how events seemed to go on the day she died, that is, that day that her soul left its physical encasement.
She recalls what she saw only briefly just after leaving her physical encasement (body). Yet, the time from the day she died to her time now centuries later feels to her soul as if it were a very short period of time.
The time that has passed, though it may be centuries, seems to the speaker relatively shorter than the earthly day of 24 hours. The speaker avers that on that day the heads of the horses drawing the carriage were pointing “toward Eternity.”
The speaker has unequivocally described through metaphor and metaphysical terminology the transition from life to death. That third occupant of the carriage offered the assurance that the speaker’s soul had left the body but continued to exist beyond that body.
Image: Emily Dickinson – Amherst College – This daguerrotype of the poet at age 17 is likely the only extant authentic image of Emily Dickinson.
Two Winter Poems: Emily Dickinson’s “Winter is good – his Hoar Delights” and “Like Brooms of Steel”
For Emily Dickinson, the seasons offered ample opportunities for verse creation, and her love for all of the seasons is quite evident in her poems. However, her poetic dramas become especially deep and profound in her winter poems.
First Winter Poem: “Winter is good – his Hoar Delights”
Emily Dickinson creates speakers who are every bit as a tricky as Robert Frost’s tricky speakers. Her two-stanza, eight-line lyric announcing, “Winter is good” attests to the poet’s skill of seemingly praising while showing disdain in the same breath.
The rime scheme of “Winter is good – his Hoar Delights” enforces the slant rime predilection with the ABAB approximation in each stanza. All of the rimes are near or slant in the first stanza, while the second boasts a perfect rime in Rose/goes.
Winter is good – his Hoar Delights
Winter is good – his Hoar Delights Italic flavor yield – To Intellects inebriate With Summer, or the World –
Generic as a Quarry And hearty – as a Rose – Invited with Asperity But welcome when he goes.
Commentary on “Winter is good – his Hoar Delights”
Emily Dickinson loved all of the seasons, and she found them inspiringly colorful in their many differing attributes. These seasonal characteristics gave this observant poet much material for her creative little dramas.
First Stanza: Winter’s Buried Charms
Winter is good – his Hoar Delights Italic flavor yield – To Intellects inebriate With Summer, or the World –
The speaker claims rather blandly that “Winter is good” but quickly adds not so plainly that his frost is delightful. That winter’s frost would delight one, however, depends on the individual’s ability to achieve a level of drunkenness with “Summer” or “the World.”
For those who fancy summer and become “inebriat[ed]” with the warm season’s charms, winter takes some digging to unearth its buried charm. And the speaker knows that most folks will never bother to attempt to find anything charming about the season they least favor.
But those frozen frosts will “yield” their “Italic flavor” to those who are perceptive and desirous enough to pursue any “Delights” that may be held there. The warmth of the Italian climate renders the summer flavors a madness held in check by an other-worldliness provided by the northern climes.
The speaker’s knowledge of the climate of Italy need be only superficial to assist in making the implications this speaker makes. Becoming drunk with winter, therefore, is a very different sport from finding oneself inebriated with summer, which can be, especially with Dickinson, akin to spiritual intoxication.
Second Stanza: Repository of Fine Qualities
Generic as a Quarry And hearty – as a Rose – Invited with Asperity But welcome when he goes.
Nevertheless, the speaker, before her hard-hitting yet softly-applied critique, makes it clear that winter holds much to be honored; after all, the season is “Generic as a Quarry / And hearty – as a Rose.” It generates enough genuine qualities to be considered a repository like a stone quarry that can be mined for all types of valuable rocks, gems, and granite.
The season is “hearty” in the same manner that a lovely flower is “hearty.” The rose, although it can be a fickle and finicky plant to cultivate, provides a strength of beauty that rivals other blossoms. That the freezing season is replete with beauty and its motivating natural elements render it a fertile time for the fertile mind of the poet.
But despite the useful and luxuriant possibilities of winter, even the mind that is perceptive enough to appreciate its magnanimity has to be relieved when that frozen season leaves the premises or as the speaker so refreshingly puts it, he is “welcome when he goes.” The paradox of being “welcome” when “he goes” offers an apt conclusion to this tongue-in-cheek, left-handed praise of the coldest season.
The speaker leaves the reader assured that although she recognizes and even loves winter, she can well do without his more stark realities as she welcomes spring and welcomes saying good-bye to the winter months.
Second Winter Poem: “Like Brooms of Steel”
Emily Dickinson’s “Like Brooms of Steel” features the riddle-like metaphoric usage that the poet so often employs. She playfully turns the natural elements of snow and wind into brooms made of steel and allows them to sweep the streets, while the coldness draws stillness through the landscape.
Like Brooms of Steel
Like Brooms of Steel The Snow and Wind Had swept the Winter Street – The House was hooked The Sun sent out Faint Deputies of Heat — Where rode the Bird The Silence tied His ample — plodding Steed The Apple in the Cellar snug Was all the one that played.
Commentary on “Like Brooms of Steel”
For Emily Dickinson the seasons offered ample opportunities for verse creation, and her love for all of the seasons is quite evident in her poems. However, her poetic dramas become especially deep and profound in her winter poems.
First Movement: The Nature of Things in Winter
Like Brooms of Steel The Snow and Wind Had swept the Winter Street —
The speaker has been observing and musing on the nature of things in winter. She finally speaks and makes the remarkable claim that the “Winter Street” looks as if it has been swept by “Brooms of Steel.” The “Snow and Wind” are the agencies that have behaved like those hard, industrial brooms. In Dickinson’s time were decidedly absent those big plows we have today that come rumbling down the streets, county roads, and interstates.
But those simple natural elements of snow and wind have moved the snow down the street in such a way that it looks as if it has been swept with a broom. And not just a straw broom would do, but it had to be a steel broom, an anomaly even in Dickinson’s century.
Second Movement: House as Big Warm Rug
The House was hooked The Sun sent out Faint Deputies of Heat –
The speaker then remarks about “the House,” which looked as if it had been, “hooked.” She is referring to the process of creating a rug with a loom that employs a hook. The house is like a big warm rug as “The Sun sent out / Faint Deputies of Heat.” Of course, the sun will always be sending out heat, but this speaker looks upon those dribbles of warmth as mere “Deputies.” They are sent in place of the sheriff, who will not appear until summer, or late spring at the most.
Third Movement: A Tree Steed
Where rode the Bird The Silence tied His ample – plodding Steed
The speaker then spies a bird, who seems to have ridden in on a “plodding Steed.” But the steed has been stilled by “silence”—denoting that the steed was indeed a tall tree. The tree is silenced by fall having blown away all of his leaves. He no longer rustles in the wind, but he does serve as a useful vehicle for both bird and poet.
Fourth Movement: Silent, Frozen
The Apple in the Cellar snug Was all the one that played.
The winter scene is filled with things that are still, silent, frozen in place by those agents of cold. The still bird sits in the still tree, silent, waiting in the frozen atmosphere. The musing speaker detects both silence and stillness and makes them vibrant with an inner, spiritual movement.
Yet, the speaker has to confess that the only real movement, things that might be said to have “played” that cold day, belongs to the “Apple in the Cellar.” The apple is “snug,” wrapped in tissue paper, preserved for the long winter months.
Or perhaps even some apple wine is “snug” in its bottle, and might even be a better candidate for playing. But they differ greatly from those outdoor creatures; those apples possess a level of warmth that allows them to play, although the irony of such playing might intrigue and tickle the fancy of the musing mind that deigns to contemplate the icy bitterness of winter.
Misplaced Line Alters Meaning
A number of sites that offer this poem—for example, bartleby.com—misplace the line, “The Apple in the Cellar snug,” relocating it after “Faint Deputies of Heat.”
This alteration changes the meaning of the poem: Dickinson’s poem makes it clear that it is the “apple” that is the only one who played. While it might seem more sensible to say a horse played instead of an apple, that is not what the original poem states. And, in actuality, the apple does, in fact, do some moving as it will begin to decay even though it is securely wrapped for winter and stored in the cellar.
The problem is, however, that the speaker has said that silence has “tied” or stilled the steed; he is not moving, which means that the bird is not moving. So to claim that the steed is playing gives motion to the bird, which the speaker claims is still.
The only thing that makes sense is that the speaker is exaggerating the stillness by saying that the snug apple is playing. The irony of a playing apple does not contradict the stillness that the speaker is painting, while the playing steed would violate and confuse that meaning.
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 “Nature – the Gentlest Mother is”
In a unique mystical voice, Emily Dickinson’s speaker is dramatizing a number of the many ways in which Mother Nature takes care of her children. Dickinson’s keep observation and knowledge of science allowed her the ability to skillfully create her little dramas about her surroundings.
Introduction with Text of “Nature – the Gentlest Mother is”
Emily Dickinson’s love of nature was deep and abiding. Along with her intense study of and research in the sciences, she observed her surroundings keenly and those activities bestowed on her the ability to render into art her amazingly beautiful and accurate statements regarding how nature functions.
Dickinson discovered the careful nurturing as well as the softly discipling forces of nature, and she observed those qualities in both the animal and plant kingdoms. Those natural qualities motivated a deep affection for the workings of all of God’s creation.
This poem contrasts greatly with her riddle-poems, for it states explicitly the target of her observation—nature. After he clear statement of focus, she demonstrates how keen were her powers of observation and then how skillful she was in transforming those observations into art.
Nature – the Gentlest Mother is
Nature – the Gentlest Mother is, Impatient of no Child – The feeblest – or the waywardest – Her Admonition mild –
In Forest – and the Hill – By Traveller – be heard – Restraining Rampant Squirrel – Or too impetuous Bird –
How fair Her Conversation – A Summer Afternoon – Her Household – Her Assembly – And when the Sun go down –
Her Voice among the Aisles Incite the timid prayer Of the minutest Cricket – The most unworthy Flower –
When all the Children sleep – She turns as long away As will suffice to light Her lamps – Then bending from the Sky –
With infinite Affection – And infiniter Care – Her Golden finger on Her lip – Wills Silence – Everywhere –
Commentary on “Nature – the Gentlest Mother is”
Emily Dickinson’s speaker is employing her unique mystical voice as she dramatizes a catalogue of the myriad ways in which Mother Nature nurtures the beings under her care. She has determined that the Mother that mothers nature uses the softest touch, thus earning the title of “Gentlest Mother.”
First Stanza: The Mothering from Mother Nature
Nature – the Gentlest Mother is, Impatient of no Child – The feeblest – or the waywardest – Her Admonition mild –
The speaker in Emily Dickinson’s “Nature – the Gentlest Mother is“ assigns to Mother Nature the superb quality of “Gentlest Mother.”
The speaker is also reporting to her audience that this gentlest of mothers has abundant patience in dealing with her charges.
Mother Nature, this gentlest mother, guides in an even tempered way those who are the weakest. And she addresses and corrects in a “mild” manner those who are the most recalcitrant.
Second Stanza: Disciplining Methods
In Forest – and the Hill – By Traveller – be heard – Restraining Rampant Squirrel – Or too impetuous Bird
As Mother Nature’s human progeny moves over the hills and go riding through the woodlands, they are apt to hear that Gentlest Mother as she restrains an excited “Squirrel,” or as she tones down a very tempestuous bird.
The speaker expresses the natural behavior of animals in terms of the disciplining methods used by the “Gentlest Mother.”
Animal behavior quite often requires that a higher force guide them in their impetuousness. And thus the gentlest mother deals with them as they require. In her tenderness, they are permitted to flourish and to grow. In their life span, they remain in the embrace of the mother’s caring, tender arms.
Third Stanza: Measured Ways
How fair Her Conversation – A Summer Afternoon – Her Household – Her Assembly – And when the Sun go down –
The speaker observes that this gentlest mother’s discussions with her charges always remains completely balanced.
The speaker relates how on a beautifully peaceful summer afternoon this perfect mother maintained her “Household,” while gathering together all the fine qualities of her very being, and those of her little family.
The speaker then commences her next idea in this stanza but leaves it conclusion in the fourth stanza. The skillful placement of this statement permits the action taken in “And when the Sun do down” to become finalized; then, she moves on the remainder of the thought.
Fourth Stanza: Bringing Forth Prayer
Her Voice among the Aisles Incite the timid prayer Of the minutest Cricket – The most unworthy Flower –
The speaker places this gentlest Mother “among the Aisles” from where she can bring forth from the attendees their “timid prayer.”
In an earlier poem, the poet has reported that her “church” remains where the creatures of nature abide; they luckily appear nearby her home which serves her as her cloister:
Some keep the Sabbath going to Church – I keep it, staying at Home – With a Bobolink for a Chorister – And an Orchard, for a Dome
Therefore, in this fourth stanza of “Nature – the Gentlest Mother is,” her speaker can assert that this gentlest Mother may be found bringing forth a prayer from the smallest “Cricket” and “The most unworthy Flower.”
Naturally, the human notion of “unworthy” cannot be not applied to the evaluation by this gentlest mother, because she accepts all prayers equally. She applies the same level of justice to all of her children.
Fifth Stanza: Dousing the Lights for Sleep
When all the Children sleep – She turns as long away As will suffice to light Her lamps – Then bending from the Sky –
As the day progresses to its end—”when all the Children sleep”—this gentlest mother quietly moves to put one her lamps. And of course those lamps are the moon and stars.
Here again in this stanza, the speaker begins an idea, but then again puts off its conclusion to the next stanza.
The speaker has begun the thought of the mother “bending” from her perch in the heavens. She thus travels very far to light her lamps, and then she must return to her children.
Sixth Stanza: Hushing for Slumber
With infinite Affection – And infiniter Care – Her Golden finger on Her lip – Wills Silence – Everywhere –
It is with great affection and tender care that this gentlest mother moves her “Golden finger” to her lips, signaling for “silence.” Night is now embracing her children who are spread far and wide.
The mother now calls for silence so that her charges may peacefully slumber. The mother bestows on them a great stillness that is night time, so that they may rest from the day’s activities. And so that they they recharge for the coming events of the coming day.
Image: Emily Dickinson – Amherst College – Daguerrotype of the poet at age 17, circa 1847 – likely the only authentic, extant image of the poet
Emily Dickinson’s “Publication – is the Auction”
Emily Dickinson’s “Publication – is the Auction” remains one of the poet’s starkest statements on the value of authenticity in creative effort—in her case the writing of poetry.
Introduction and Text of Emily Dickinson’s “Publication – is the Auction”
In her poem “Publication – is the Auction,” Emily Dickinson has created a speaker who is musing on the issue of allowing one’s inner thoughts to be made public through publication in media, including newspapers, magazines, or books.
Ultimately, she is saying that remaining true to one’s values and beliefs is more important than writing to sell to a wide audience. Dickinson’s spirituality, contingent upon mysticism, gave her the strong will to continue exploring the world for truth and then telling it without reservation.
Her speaker avers that publication of literary works can even become a threat to one’s inner life, as achievement is so often shunted aside solely for the purpose of increasing sales. Her speaker engages metaphors and images in areas of commerce and religion in order to approach a notion of purity.
Her speaker feels that reverence for one’s mental faculties will naturally garner restraint that will ethically prevent rash decisions to expose one’s inner talent to a world interested primarily in financial achievement over literary accomplishments.
Publication – is the Auction
Publication – is the Auction Of the Mind of Man – Poverty – be justifying For so foul a thing
Possibly – but We – would rather From Our Garret go White – unto the White Creator – Than invest – Our Snow –
Thought belong to Him who gave it – Then – to Him Who bear Its Corporeal illustration – Sell The Royal Air –
In the Parcel – Be the Merchant Of the Heavenly Grace – But reduce no Human Spirit To Disgrace of Price –
Commentary on “Publication – is the Auction”
Emily Dickinson published very few poems during her lifetime. Although she seemed to seek publication as she first conversed with Thomas Wentworth Higginson, her ultimate goal was to produce a body of work the meant something for her soul. She seemed to learn very quickly and early that publication had its pitfalls, and it seems that she struggled to avoid them.
Stanza 1: “Publication – is the Auction”
Publication – is the Auction Of the Mind of Man – Poverty – be justifying For so foul a thing
The speaker opens with a candid statement that publishing is tantamount to selling one’s soul. Although she buffers the claim by inserting “Mind” instead of soul, the ultimate meaning of inner awareness becomes more comparable to soul-awareness than mere mental capacity and observance.
The speaker avers that selling one’s words is equal to selling one’s own consciousness, not merely the paper, ink, and stream of words across a page. Such an insistence makes it abundantly clear that such a sale cannot be justified. In fact, remaining in “Poverty” is better than engaging in “so foul a thing” as selling one’s inner being.
The speaker then is implying that the creative writer’s mind becomes a mere object that is diminished by such a sordid undertaking. The economy with which the speaker has presented such a sapient idea demonstrates the strength her metaphor is exerting.
One can imagine an auctioneer rattling off numbers above the head of man, who is selling his head’s contents to the highest bidder. Such a scenario mocks the very notion of trying to sell one’s wares that have come into being through deep thought about spiritually vital things.
One might question such a strong stance against publication for money, but it is important to keep in mind that the speaker is no doubt referring to the creation and sale of poetry. The genesis of poetry remains a very different one from writing expository and informative essays and/or news articles.
Even the writing of fiction such as plays, short stories, or novels carries a different moral impact. If the speaker were focusing on those genres, the poem would have undoubtedly taken a very different approach.
Stanza 2: “Possibly – but We – would rather”
Possibly – but We – would rather From Our Garret go White – unto the White Creator – Than invest – Our Snow –
In the second stanza, the speaker switches from the general to the personal. Employing the editorial “We,” she asserts that despite the possibly of living in poverty, first principles and ethics remain inviolable.
Thus, if the poet must leave her “Garret”—symbol for poverty—she need not go rushing toward the marketplace. Instead, she can and must associate herself with purity: she employs “White” as a symbol of that purity. Thus, rather than “invest” her “Snow”—another symbol of purity as well as a metaphor for her creative writing pieces—she will go toward the “White Creator”—the Ultimate symbol of purity.
Investing one’s “Snow” signals turning one’s purity (works of art) into money, and such an exchange would cause those works and the mind that created them to become contaminated. Imagine handling a ball of snow—it does not remain snow but instead it melts into a pool of water.
Although water is a useful commodity, after melting from snow the original element has lost its original defining qualities. A work of art/poem may become further damaged even by the process of being readied for publication: how often have we heard writers lament that their original words were changed by an editor?
The speaker then is asserting that she prefers total obscurity to the compromise demanded by attempts at publication. And she is not asserting this stance out fear but instead out of fidelity to her ethical position regarding her sacred principles and values.
She is implying rather strongly that remaining in poverty is the better way to preserve her inner dedication to truth; that way she need never make excuses for losing spiritual purity.
Stanza 3: “Thought belong to Him who gave it”
Thought belong to Him who gave it – Then – to Him Who bear Its Corporeal illustration – Sell The Royal Air –
The speaker now offers her most profound reason for eschewing publication: because all thought belongs to the Ultimate Reality or God. God owns all thought just as He owns all of the air we breathe. Selling thought then becomes tantamount to selling air—a truly absurd notion, easily assimilated and understood.
The writer/artist becomes an instrument of the Divine, a steward not a proprietor. Ownership is not conferred by merely having taken a thought and shaped it into a poem; the Divine Poet, who awarded the poem to the poet, still owns the work.
Stanza 4: “In the Parcel – Be the Merchant”
In the Parcel – Be the Merchant Of the Heavenly Grace – But reduce no Human Spirit To Disgrace of Price –
In the final stanza, the speaker commands her audience of artists—and likely most important herself as a poet—to accept the package (the art work/poem but think of it as coming from its Divine Source. By thinking thusly, the poet/artist can happily continue to create—as the Great Creator does—but without the stain conferred by the fickle marketplace.
The artist must remain true to her own inner values, and the most natural and divine way to do that is to realize their Source—create for the original Creator alone; the art that is thus produced will reflect only love, beauty, and truth. These qualities are the only ones with which the true artist can contend, for they remain free from taint, stain, and corruption that surge by trying to please multifaceted humankind.
Taking his place among luminaries such as Dickinson and Whitman, Frost has remained one of the most widely anthologized American poets of all time. His poems are more complex than simple nature pieces; many are “tricky—very tricky,” as he once quipped about “The Road Not Taken.”
Robert Frost has earned his reputation as one of America’s most beloved poets. The poet holds the honor of being the first American poet to deliver his poems to the assembled celebrants at the 1961 inauguration of the 35th president of the United States of America, John F. Kennedy.
Early Life
Robert Frost’s father, William Prescott Frost, Jr., was a journalist, residing in San Fransisco, California, when Robert Lee Frost was born on March 26, 1874. Robert’s mother, Isabelle, was an immigrant from Scotland.
The young Frost spent the first eleven years of his childhood in San Fransisco. After his father died of tuberculosis, Robert’s mother relocated the family, including his sister, Jeanie, to Lawrence, Massachusetts, where they lived with Robert’s paternal grandparents.
In 1892, Robert graduated from Lawrence High School, where he and Elinor White, his future wife, served as co-valedictorians.
Robert then made his first attempt to attend college at Dartmouth College, but after only a few months, he left school and returned to Lawrence, where he began working a series of part-time jobs [1].
Marriage and Children
Elinor White, who had been Robert’s high school sweetheart, was attending St. Lawrence University when Robert proposed to her. She turned him down because she wanted to complete her college education before she married.
Robert then moved to Virginia, and then after he returned to Lawrence, again he proposed to Elinor, who had now completed her college education. The couple married on December 19, 1895. They produced six children.
Their son, Eliot, was born in 1896 but died in 1900 of cholera; their daughter, Lesley, lived from 1899 to 1983. Their son, Carol, born in in 1902 but committed suicide in 1940.
Their daughter, Irma, 1903 to 1967, battled schizophrenia for which she was confined in a mental hospital. Daughter, Marjorie, born 1905 died of puerperal fever after giving birth. Their sixth child, Elinor Bettina, who was born in 1907, died one day after her birth.
Only Lesley and Irma survived their father. Mrs. Frost suffered heart issues for most of her life. She was diagnosed with breast cancer in 1937 but the following year died of heart failure [2].
Farming and Writing
Robert then again attempted to attend college. In 1897, he enrolled in Harvard University, but because of health problems, he was forced to leave school again. He rejoined his wife in Lawrence. Their second child Lesley was born in 1899.
The family then relocated to a New Hampshire farm that Robert’s grandparents had procured for him. Robert’s farming phase thus began as he strove to farm the land while continuing his writing. The Frost’s farming endeavors continued to result in unsuccessful fits and starts. Frost became well adjusted to rustic life, despite his lack of success as a farmer.
On November 8, 1894, in The Independent, a New York newspaper, Frost’s first poem “My Butterfly” appeared in print. The next dozen years proved to be a difficult period in the poet’s personal life yet a fertile one for his writing. The poet’s writing life was launched in a impressive fashion, and the rural, rustic influence on his poems would set a tone and style for all of his works.
Nevertheless, despite the popularity of his individually published poems, such “The Tuft of Flowers” and “The Trial by Existence,” he could not secure a publisher for his collections of works [3].
Moving to England
In 1912, Frost sold the New Hampshire farm and relocated his family to England. Because of his failure to find a publisher in the US for his collections of poems, he decided to try his luck across the pond.
That moved turned out to be life-line for the young poet and his career. At age 38 in England, Frost found a publisher for his collection A Boy’s Will and soon after for his collection North of Boston.
In addition to securing publishers for his two books, the American poet became acquainted with Ezra Pound and Edward Thomas, two important contemporary poets. Pound and Thomas reviewed favorably Frost’s two book, and thus Frost’s career as a poet was launched.
Frost’s friendship with Edward Thomas became especially important, and Frost has revealed that the long walks taken by the two poet/friends had influenced his writing in a wonderfully constructive manner.
Frost has given credit to Thomas for one of his most famous poems, “The Road Not Taken,” which was influenced by Thomas’ attitude toward the fact of not being able to take two different paths on their long walks.
Returning to America
After World War 1 began in Europe, the Frosts moved back to the United States. Their brief stay in England had sparked useful results for the poet’s reputation, for even in his native country, he was becoming well known and loved.
American Publisher Henry Holt republished Frost’s earlier collections, and then published the poet’s third collection, Mountain Interval, which had been written while Frost was still living in England.
Frost began to experience the pleasing situation of having the same journals, such as The Atlantic, solicit his work, even though they had rejected those same works only a few years earlier.
In 1915, the Frosts purchased a farm, located in Franconia, New Hampshire. Their traveling days had come to and end, and Frost continued his writing career. Frost also taught intermittently at a number of colleges, including Dartmouth, University of Michigan, and especially Amherst College, where he served regularly from 1916 until 1938.
Amherst’s primary library is now the Robert Frost Library, in honor of the long-time educator and poet. Frost also spent most of his summers teaching English at Middlebury College in Vermont.
Frost never completed a university degree, but over his lifetime, he accumulated more than forty honorary degrees. Frost won the Pulitzer Prize four times for his books, New Hampshire, Collected Poems, A Further Range, and A Witness Tree.
Frost labeled himself a “lone wolf” in the world of poetry because he did not follow any current literary movements. His only motivation was to express the human condition in a world of duality.
Frost did not pretend to explain that condition; he sought solely to create his little dramas to reveal the nature of the emotional life in the mind and heart of a human being [4].
First American Inaugural Poet
Robert Frost had intended to star his occasional piece “Dedication” as a preface to the poem that the President-Elect John F. Kennedy had requested for his 1961 inauguration.
But the sun rendered Frost’s reading impossible, so he dropped “Dedication” but continued on to recite “The Gift Outright” from memory.
Introduction with Text of “Dedication”
On January 20, 1961, Robert Frost became the first American poet to deliver a poem at a presidential inauguration. He recited his poem “The Gift Outright” at the swearing in of John F. Kennedy as the 35th president of the United States of America. Frost had also written a new poem to preface his recitation of “The Gift Outright,” but he did not have time to commit his new piece to memory.
At the inauguration, Frost began to read the new piece, but he was unable to see clearly his copy of the poem because of the bright sunlight bouncing off the snow; he managed to stumble through the first 23 lines of the new poem [5]. But then he switched to reciting “The Gift Outright,” which he had by memory.
While Frost’s “Dedication” offers some useful and important historical features, it does reveal some of the fawning exaggeration that occasional poems [6] are often wont to suffer.
Dedication
Summoning artists to participate In the august occasions of the state Seems something artists ought to celebrate. Today is for my cause a day of days. And his be poetry’s old-fashioned praise Who was the first to think of such a thing. This verse that in acknowledgement I bring Goes back to the beginning of the end Of what had been for centuries the trend; A turning point in modern history. Colonial had been the thing to be As long as the great issue was to see What country’d be the one to dominate By character, by tongue, by native trait, The new world Christopher Columbus found. The French, the Spanish, and the Dutch were downed And counted out. Heroic deeds were done. Elizabeth the First and England won. Now came on a new order of the ages That in the Latin of our founding sages (Is it not written on the dollar bill We carry in our purse and pocket still?) God nodded his approval of as good So much those heroes knew and understood, I mean the great four, Washington, John Adams, Jefferson, and Madison So much they saw as consecrated seers They must have seen ahead what not appears, They would bring empires down about our ears And by the example of our Declaration Make everybody want to be a nation. And this is no aristocratic joke At the expense of negligible folk. We see how seriously the races swarm In their attempts at sovereignty and form. They are our wards we think to some extent For the time being and with their consent, To teach them how Democracy is meant. “New order of the ages” did they say? If it looks none too orderly today, ‘Tis a confusion it was ours to start So in it have to take courageous part. No one of honest feeling would approve A ruler who pretended not to love A turbulence he had the better of. Everyone knows the glory of the twain Who gave America the aeroplane To ride the whirlwind and the hurricane. Some poor fool has been saying in his heart Glory is out of date in life and art. Our venture in revolution and outlawry Has justified itself in freedom’s story Right down to now in glory upon glory. Come fresh from an election like the last, The greatest vote a people ever cast, So close yet sure to be abided by, It is no miracle our mood is high. Courage is in the air in bracing whiffs Better than all the stalemate an’s and ifs. There was the book of profile tales declaring For the emboldened politicians daring To break with followers when in the wrong, A healthy independence of the throng, A democratic form of right divine To rule first answerable to high design. There is a call to life a little sterner, And braver for the earner, learner, yearner. Less criticism of the field and court And more preoccupation with the sport. It makes the prophet in us all presage The glory of a next Augustan age Of a power leading from its strength and pride, Of young ambition eager to be tried, Firm in our free beliefs without dismay, In any game the nations want to play. A golden age of poetry and power Of which this noonday’s the beginning hour.
Commentary on “Dedication”
Robert Frost’s poem “The Gift Outright” remains the poem remembered for the inauguration of John F. Kennedy, and it also happens to be a much stronger poem than “Dedication.”
Frost once remarked [7] about his poem “The Gift Outright” that is was “a history of the United States in a dozen lines of blank verse.”
First Movement: Invocation to Artists
Summoning artists to participate In the august occasions of the state Seems something artists ought to celebrate. Today is for my cause a day of days. And his be poetry’s old-fashioned praise Who was the first to think of such a thing. This verse that in acknowledgement I bring Goes back to the beginning of the end Of what had been for centuries the trend; A turning point in modern history.
The speaker seems to be postponing his task of making this inauguration a grand and glorious event by remarking the efficacy and appropriateness of artists contributing to such an occasion. He likens his current effort to past glories of “poetry’s old-fashioned praise” of remarking that certain occasions are bound to point to historical trends.
The speaker’s claims remain rather vague and noncommittal but still leave open the possibility that things will become clearer and more specific as he continues to offer his gems of wisdom.
He claims that what he is doing, bringing verse to event, is as old as the beginning. But that beginning is then sparked by the “beginning of the end”; thus, the speaker is covering himself in case he may be proven wrong.
Second Movement: The Forming of a Nation
Colonial had been the thing to be As long as the great issue was to see What country’d be the one to dominate By character, by tongue, by native trait, The new world Christopher Columbus found. The French, the Spanish, and the Dutch were downed And counted out. Heroic deeds were done. Elizabeth the First and England won.
The speaker then draws an interesting picture of “colonial” America. He contends that the many nations that have found their progeny on the new shores were battling for dominance, putting forth the question: would France, Spain, or Holland take the lead in heading the American nation?
But then he answers the question by declaring England the winner, as “Elizabeth the First and England won.” Thus, the speaker provides answers to this question of whose characteristics, language, and traits would prevail: America would not adopt French or Spanish or Dutch as its native language; it would be English whose tongue the New World would speak.
Also, one can imagine the “native traits” including English style clothing, manners, and food. The other nations, while welcome, would take their place as an accompanying position.
Third Movement: Tribute to the Founding
Now came on a new order of the ages That in the Latin of our founding sages (Is it not written on the dollar bill We carry in our purse and pocket still?) God nodded his approval of as good So much those heroes knew and understood, I mean the great four, Washington, John Adams, Jefferson, and Madison So much they saw as consecrated seers They must have seen ahead what not appears, They would bring empires down about our ears And by the example of our Declaration Make everybody want to be a nation.
While this movement contains a number of historically accurate statements, it remains rather awkward in its structural execution. The parenthetical—”(Is it not written on the dollar bill / We carry in our purse and pocket still?)”— followed by the line,”God nodded his approval of as good” render their substance less impactful.
That “Latin of our founding sages” refers to “E Pluribus Unum,” (Out of the many, One) and loses it heft when placed as a parenthetical. Robert Frost was a somewhat religious agnostic. That he would claim that God was nodding approval of anything seems a bit out of character sparking a question of sincerity.
Because of Frost’s wholly secular take on the historical founding of a nation— despite the fact that one of the founding principles for founding this nation was religious—the questionable sincerity issue continues to present itself.
This issue is especially evident since the poem is an occasional poems specifically written to celebrate a politician in his ascendency to political office. The tribute to “Washington, / John Adams, Jefferson, and Madison,” whom the speaker designates “as consecrated seers” remains a wholly accurate statement.
And the final two lines appropriately celebrate the document the “Declaration of Independence” which along with the U. S. Constitution remain two of the most important texts ever to exist. The existence of those documents remains important both to the American nation and the world, making “everybody want to be a nation.”
Fourth Movement: Pursuing Life, Liberty, and Happiness
And this is no aristocratic joke At the expense of negligible folk. We see how seriously the races swarm In their attempts at sovereignty and form. They are our wards we think to some extent For the time being and with their consent, To teach them how Democracy is meant. “New order of the ages” did they say? If it looks none too orderly today, ‘Tis a confusion it was ours to start So in it have to take courageous part. No one of honest feeling would approve A ruler who pretended not to love A turbulence he had the better of.
The speaker then engages the issue of immigration to this newly formed nation. It makes perfect sense that folks from all over the world would desire to emigrate from totalitarian, freedom-squelching dictators in their own nations. And it remains quite sensible that they would want to relocate to this new land.
This new land from the beginning embraces freedom and individual responsibility while promising such in those documents delineating the basic human rights of “life, liberty, and the pursuit of happiness.”
The speaker denigrates the notion that only the aristocrats were appreciated and allowed to flourish in this new land. New immigrants may become our “ward,” but that status is only temporary and “with their consent.” In other words, new immigrants can become citizens of our new land of freedom because that new land represents the “[n]ew order of the ages.”
Fifth Movement: A Courageous Nation
Everyone knows the glory of the twain Who gave America the aeroplane To ride the whirlwind and the hurricane. Some poor fool has been saying in his heart Glory is out of date in life and art. Our venture in revolution and outlawry Has justified itself in freedom’s story Right down to now in glory upon glory. Come fresh from an election like the last, The greatest vote a people ever cast, So close yet sure to be abided by, It is no miracle our mood is high. Courage is in the air in bracing whiffs Better than all the stalemate an’s and ifs.
The speaker then focuses on the very specific event of the Wright Brothers (“the twain”) and their new invention “the aeroplane.” He then asserts that such feats have put the lie to the “poor fool” who thinks that there is no longer any “glory” in “life and art.” He insists that the American adventure story in “revolution and outlawry” has been gloriously vindicated and “justified [ ] in freedom’s story.”
The speaker then offers his take of how this recent election, whose result he is now celebrating, played out. He deems it the “greatest vote a people ever cast”—an obvious exaggeration. Yet, while the election was “close,” it will be “abided by.” The citizenry’s mood is “high,” and that fact is “no miracle.” He then asserts that such a situation arises out of the courage of the nation.
Sixth Movement: The Curse of the Inaugural Poem
There was the book of profile tales declaring For the emboldened politicians daring To break with followers when in the wrong, A healthy independence of the throng, A democratic form of right divine To rule first answerable to high design. There is a call to life a little sterner, And braver for the earner, learner, yearner. Less criticism of the field and court And more preoccupation with the sport. It makes the prophet in us all presage The glory of a next Augustan age Of a power leading from its strength and pride, Of young ambition eager to be tried, Firm in our free beliefs without dismay, In any game the nations want to play. A golden age of poetry and power Of which this noonday’s the beginning hour.
In the opening line of this final movement, the speaker alludes to John F. Kennedy’s book, Profiles in Courage—”book of profile tales.” Of course, the inaugural poet in his inaugural poem had to focus on the subject of this occasion, the new president of the United States, whom he is celebrating with his poem.
But then he becomes overly solicitous in his following remarks claiming that this president was a politician who can “break with followers when in the wrong.” The speaker furthers his fawning remarks by suggesting that this administration would be a “democratic form of right divine / To rule first answerable to high design.” This statement boarders on toadying flattery.
Then the puffery in the movement continues with the prediction of a “next Augustan age,” until the final unfortunate lines, “A golden age of poetry and power / Of which this noonday’s the beginning hour.”
Of course, hindsight now confirms that no “golden age” ever resulted for politics or poetry. And this president was assassinated before the completion of his first term in office.
While Frost’s “Dedication” offers some useful commentary, it still fails as a genuine poem. Even as an occasional poem in it final movement, it engages overzealously in exaggerated flattery.
One is reminded that fortunately, this piece did not see the light of day, as Frost was unable to read it as he intended. The poet was spared the drubbing he no doubt would have received had the sunlight not conspired to keep that piece in the dark.
Robert Frost’s “The Gift Outright”
Robert Frost’s “The Gift Outright” became the first inaugural poem, after President-Elect John F. Kennedy asked the famous poet to read at his swearing in ceremony—the first time a poet had read a poem at a presidential inauguration.
Introduction with Text of “The Gift Outright”
On January 20, 1961, John F. Kennedy was inaugurated the 35th president of the United States of America. For the inauguration ceremony, Kennedy had invited America’s most famous poet, Robert Frost, to write and read a poem. Frost rejected the notion of writing an occasional poem, and so Kennedy asked him to read “The Gift Outright.” Frost then agreed.
Kennedy then had one more favor to ask of the aging poet. He asked Frost the change the final line of the poem from “Such as she was, such as she would become” to “Such as she was, such as she will become.”
Kennedy felt that the revision reflected more optimism than Frost’s original. Frost did not like the idea, but he relented for the young president’s sake. Frost did, nevertheless, write a poem especially for the occasion titled “Dedication,” which he intended to read as a preface to “The Gift Outright.”
At the inauguration, Frost attempted to read his occasional poem, but because of the bright sunlight bouncing off the snow, his aging eyes could not see the poem well enough to read it. He then continued to recite “The Gift Outright.”
Regarding the changing of the final line: instead of merely reading the line with the revision Kennedy had requested, Frost stated,
Such as she was, such as she would become, has become, and I – and for this occasion let me change that to –what she will become. (my emphasis added)
Thus, the poet remained faithful to his own vision, while satisfying the presidential request. Robert Frost’s poem, “The Gift Outright,” offers a brief history of the USA, which has just elected and was in the process of inaugurating its 35th president.
The speaker of Frost’s poem, without becoming chauvinistically patriotic, manages to offer a positive view of the country’s struggle for existence, a struggle that can be deemed a gift that the Founding Fathers gave to themselves and the world.
To the question—“Well, Doctor, what have we got—a Republic or a Monarchy?”—regarding the product created by the Constitutional conveners during their meetings from May 25 to September 17, 1787, in Philadelphia, Founder Benjamin Franklin responded, “A Republic, if you can keep it” [8].
The US Constitution became a gift that has kept on giving in the best possible way. It replaced the old, weak Articles of Confederation and kept the nation in tact even during a bloody Civil War, nearly a century later.
The speaker in Frost’s poem offers a brief overview of the American struggle for existence, and he describes that struggle resulting in a Constitution as a gift the Founders gave themselves and to all the generations to follow.
The Gift Outright
The land was ours before we were the land’s. She was our land more than a hundred years Before we were her people. She was ours In Massachusetts, in Virginia, But we were England’s, still colonials, Possessing what we still were unpossessed by, Possessed by what we now no more possessed. Something we were withholding made us weak Until we found out that it was ourselves We were withholding from our land of living, And forthwith found salvation in surrender. Such as we were we gave ourselves outright (The deed of gift was many deeds of war) To the land vaguely realizing westward, But still unstoried, artless, unenhanced, Such as she was, such as she would become.
Robert Frost Reading “The Gift Outright”
At Inauguration
Commentary on “The Gift Outright”
Robert Frost’s inaugural poem offers a glimpse into the history of the country that has just elected its 35th president.
First Movement: The Nature of Possession
The land was ours before we were the land’s. She was our land more than a hundred years Before we were her people. She was ours In Massachusetts, in Virginia, But we were England’s, still colonials, Possessing what we still were unpossessed by, Possessed by what we now no more possessed.
The first movement begins by offering a brief reference to the history of the country over which the new government official would now preside. The speaker asserts that the men and women who had settled on the land, which they later called the United States of America, had begun their experiment in freedom living on the land which would later become their nation, and they would then become its citizens.
Instead of merely residing as a loosely held-together band of individuals, they would become a united citizenry with a name and government shared in common. The official birthdate of the United States of America is July 4, 1776; with the Declaration of Independence, the new country took its place among the nations of the world.
And the speaker correctly states that the land belonged to the people “more than a hundred years” before Americans became citizens of the country. He then mentions two important early colonies, Massachusetts and Virginia, which would become states (commonwealths) after the new land was no longer a possession of England.
Second Movement: The Gift of Law and Order
Something we were withholding made us weak Until we found out that it was ourselves We were withholding from our land of living, And forthwith found salvation in surrender.
During the period from 1776 to 1887, the country struggled to found a government that would work to protect individual freedom and at the same time provide a legal order that would make living in a free land possible. An important first step was the Articles of Confederation and Perpetual Union [9], the first constitution written in 1777, which was not ratified until 1781.
The Articles failed to provide enough structure for the growing nation, and by 1787, it was deemed that a new, stronger document was needed to keep the country functioning and united. Thus, the Constitutional Convention of 1787 [10] was convened to rewrite the Articles.
Instead of merely writing them, however, the Founding Fathers scrapped the old document and composed a new U.S. Constitution, which has remained the founding set of laws guiding America since it was finally ratified June 21, 1788 [11].
The speaker describes America’s early struggle for self governance as “something we were withholding,” and that struggle “made us weak.” But finally, we found “salvation in surrender,” that is, the Founding Fathers surrendered to a document that provided legitimate order but at the same time offered the greatest possible scope for individual freedom.
Third Movement: The Gift of Freedom
Such as we were we gave ourselves outright (The deed of gift was many deeds of war) To the land vaguely realizing westward, But still unstoried, artless, unenhanced, Such as she was, such as she would become.
The speaker describes the early turbulent history of his country as a time of “many deeds of war,” which would include the war [12] the early Americans had to fight against England—its mother country—to secure the independence that it had declared and demanded.
But the young nation wholeheartedly gave itself that “gift” of existence and freedom by continuing its struggle and continuing to grow by expanding “westward.” The people of this nation struggled on through many hardships “unstoried, artless, unenhanced” to become the great nation that now—at the time of the poet’s recitation—has elected its 35th president.
Sources
[1] Editors. “Robert Frost.” Poetry Foundation. Accessed March 26, 2023.
William Butler Yeats’ “The Second Coming” remains one of the most widely misunderstood poems of the 20th century. Many scholars and critics have failed to criticize the exaggeration in the first stanza and the absurd metaphor in the second stanza, which render a potentially fine poem a critical failure.
Introduction with Text of “The Second Coming”
Poems, in order to communicate, must be as logical as the purpose and content require. For example, if the poet wishes to comment on or criticize an issue, he must adhere to physical facts in his poetic drama. If the poet wishes to emote, equivocate, or demonstrate the chaotic nature of his cosmic thinking, he may legitimately do so without much seeming sense.
For example, Robert Bly’s lines—”Sometimes a man walks by a pond, and a hand / Reaches out and pulls him in” / / “The pond was lonely, or needed / Calcium, bones would do,”—are ludicrous [1] on every level. Even if one explicates the speaker’s personifying the pond, the lines remain absurd, at least in part because if a person needs calcium, grabbing the bones of another human being will not take care of that deficiency.
The absurdity of a lake needing “calcium” should be abundantly clear on its face. Nevertheless, the image of the lake grabbing a man may ultimately be accepted as the funny nonsense that it is. William Butler Yeats’ “The Second Coming” cannot be dismissed so easily; while the Yeats poem does not depict the universe as totally chaotic, it does bemoan that fact that events seem to be leading society to armageddon.
The absurdity surrounding the metaphor of the “rough beast” in the Yeats poem renders the musing on world events without practical substance.
The Second Coming
Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.
Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?
Commentary on “The Second Coming”
William Butler Yeats’ “The Second Coming” remains one of the most widely anthologized poems in world literature. Yet its hyperbole in the first stanza and ludicrous “rough beast” metaphor in the second stanza result in a blur of unworkable speculation.
First Stanza: Sorrowful over Chaos
Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.
The speaker is sorrowing over the chaos of world events that have left in their wake many dead people. Clashes of groups of ideologues have wreaked havoc, and much blood shed has smeared the tranquil lives of innocent people who wish to live quiet, productive lives.
The speaker likens the seemingly out of control situation of society to a falconer losing control of the falcon as he attempts to tame it. Everyday life has become chaotic as corrupt governments have spurred revolutions. Lack of respect for leadership has left a vacuum which is filled with force and violence.
The overstated claim that “The best lack all conviction, while the worst / Are full of passionate intensity” should have alerted the poet that he needed to rinse out the generic hyperbole in favor of more accuracy on the world stage.
Such a blanket, unqualified statement, especially in a poem, lacks the ring of truth: it simply cannot be true that the “best lack all conviction.” Surely, some the best still retain some level of conviction, or else improvement could never be expected.
It also cannot be true that all the worst are passionate; some of the worst are likely not passionate at all but remain sycophantic, indifferent followers. Any reader should be wary of such all-inclusive, absolutist statements in both prose and poetry.
Anytime a writer subsumes an entirety with the terms “all,” “none,” “everything,” “everyone,” “always,” or “never,” the reader should question the statement for its accuracy. All too often such terms are signals for stereotypes, which produce the same inaccuracy as groupthink.
Second Stanza: What Revelation?
Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?
The idea of “some revelation” leads the speaker to the mythological second coming of Christ. So he speculates on what a second coming might entail. However, instead of “Christ,” the speaker conjures the notion that an Egyptian-Sphinx-like character with ill-intent might arrive instead.
Therefore, in place of a second coming of godliness and virtue, as is the purpose of the original second coming, the speaker wonders: what if the actual second coming will be more like an Anti-Christ? What if all this chaos of bloodshed and disarray has been brought on by the opposite of Christian virtue?
Postmodern Absurdity and the “Rough Beast”
The “rough beast” in Yeats’ “The Second Coming” is an aberration of imagination, not a viable symbol for what Yeats’ speaker thought he was achieving in his critique of culture. If, as the postmodernists contend, there is no order [2] in the universe and nothing really makes any sense anyway, then it becomes perfectly fine to write nonsense.
Because this poet is a contemporary of modernism but not postmodernism [3], William Butler Yeats’ poetry and poetics do not quite devolve to the level of postmodern angst that blankets everything with the nonsensical. Yet, his manifesto titled A Vision is, undoubtedly, one of the contributing factors to that line of meretricious ideology.
Hazarding a Guess Can Be Hazardous
The first stanza of Yeats’ “The Second Coming” begins by metaphorically comparing a falconer losing control of the falcon to nations and governments losing control because of the current world disorder, in which “[t]hings fall apart; the centre cannot hold.”
Political factions employ these lines against their opposition during the time in which their opposition is in power, as they spew forth praise for their own order that somehow magically appears with their taking the seat of power.
The poem has been co-opted by the political class so often that Dorian Lynskey, overviewing the poem in his essay, “‘Things fall apart’: the Apocalyptic Appeal of WB Yeats’s The Second Coming,” writes, “There was apparently no geopolitical drama to which it could not be applied” [4].
The second stanza dramatizes the speaker’s musing about a revelation that has popped into his head, and he likens that revelation to the second coming of Christ; however, this time the coming, he speculates, may be something much different.
The speaker does not know what the second coming will herald, but he does not mind hazarding a dramatic guess about the possibility. Thus, he guesses that the entity of a new “second coming” would likely be something that resembles the Egyptian sphinx; it would not be the return of the Christ with the return of virtue but perhaps its opposite—vice.
The speaker concludes his guess with an allusion to the birth of such an entity as he likens the Blessed Virgin Mother to the “rough beast.” The Blessèd Virgin Mother, as a newfangled, postmodern creature, will be “slouching toward Bethlehem” because that is the location to which the first coming came.
The allusion to “Bethlehem” functions solely as a vague juxtaposition to the phrase “second coming” in hopes that the reader will make the connection that the first coming and the second coming may have something in common. The speaker speculates that at this very moment wherein the speaker is doing his speculation some “rough beast” might be pregnant with the creature of the “second coming.”
And as the time arrives for the creature to be born, the rough beast will go “slouching” towards its lair to give birth to this “second coming” creature: “its hour come round at last” refers to the rough beast being in labor.
The Flaw of Yeats’ “The Second Coming”
The speaker then poses the nonsensical question: “And what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born?” In order to make the case that the speaker wishes to make, these last two lines should be restructured in one of two ways:
And what rough beast, its hour come round at last, Slouches towards Bethlehem to give birth?
or
And what rough beast’s babe, its time come at last, Is in transport to Bethlehem to be born?
An unborn being cannot “slouch” toward a destination. The pregnant mother of the unborn being can “slouch” toward a destination. But the speaker is not contemplating the nature of the rough beast’s mother; he is contemplating the nature of the rough beast itself.
The speaker does not suggest that the literal Sphinx will travel to Bethlehem. He is merely implying that a Sphinx-like creature might resemble the creature of the second coming. Once an individual has discounted the return of Jesus the Christ as a literal or even spiritual fact, one might offer personal speculation about just what a second coming would look like.
It is doubtful that anyone would argue that the poem is dramatizing a literal birth, rather than a spiritual or metaphorical one. It is also unreasonable to argue that the speaker of this poem—or Yeats for that matter—thought that the second coming actually referred to the Sphinx. A ridiculous image develops from the fabrication of the Sphinx moving toward Bethlehem. Yeats was more prudent than that.
Exaggerated Importance of Poem
William Butler Yeats composed a manifesto to display his worldview and poetics titled A Vision, in which he set down certain tenets of his thoughts on poetry, creativity, and world history. Although seemingly taken quite seriously by some Yeatsian scholars, A Vision is of little value in understanding either meaning in poetry or the meaning of the world, particularly in terms of historical events.
An important example of Yeats’ misunderstanding of world cycles is his explanation of the cyclical nature of history, exemplified with what he called “gyres” (pronounced with a hard “g.”) Two particular points in the Yeatsian explanation demonstrate the fallacy of his thinking:
In his diagram, Yeats set the position of the gyres inaccurately; they should not be intersecting but instead one should rest one on top of the other: cycles shrink and enlarge in scope; they do not overlap, as they would have to do if the Yeatsian model were accurate.
Image : Gyres – Inaccurate Configuration from A Vision
Image: Gyres – Accurate Configuration
2. In the traditional Second Coming, Christ is figured to come again but as an adult, not as in infant as is implied in Yeats’ poem “The Second Coming.”
Of great significance in Yeats’ poem is the “rough beast,” apparently the Anti-Christ, who has not been born yet. And most problematic is that the rough beast is “slouch[ing] towards Bethlehem to be born.” The question is, how can such a creature be slouching if it has not yet been born? There is no indication the speaker wishes to attribute this second coming fiasco to the mother of the rough beast.
This illogical event is never mentioned by critics who seem to accept the slouching as a possible occurrence. On this score, it seems critics and scholars have lent the poem an unusually wide and encompassing poetic license.
The Accurate Meaning of the Second Coming
Paramahansa Yogananda has explained in depth the original, spiritual meaning of the phrase “the second coming”[5] which does not signify the literal coming again of Jesus the Christ, but the spiritual awakening of each individual soul to its Divine Nature through the Christ Consciousness.
Paramahansa Yogananda summarizes his two volume work The Second Coming of Christ: The Resurrection of the Christ Within You:
In titling this work The Second Coming of Christ, I am not referring to a literal return of Jesus to earth . . .
A thousand Christs sent to earth would not redeem its people unless they themselves become Christlike by purifying and expanding their individual consciousness to receive therein the second coming of the Christ Consciousness, as was manifested in Jesus . . .
Contact with this Consciousness, experienced in the ever new joy of meditation, will be the real second coming of Christ—and it will take place right in the devotee’s own consciousness. (my emphasis added)
Interestingly, knowledge of the meaning of that phrase “the second coming” as explained by Paramahansa Yogananda renders unnecessary the musings of Yeats’ poem “The Second Coming”and most other speculation about the subject. Still, the poem as an artifact of 20th century thinking remains an important object for study.