THE GENTIAN weaves her fringes,
The maple’s loom is red.
My departing blossoms
A brief, but patient illness, 5
An hour to prepare;
And one, below this morning,
Is where the angles are.
It was a short procession,—
The bobolink was there, 10
An aged bee addressed us,
And then we knelt in prayer.
We trust that she was willing,—
We ask that we may be.
Summer, sister, seraph, 15
Let us go with thee!
In the name of the bee~Emily Dickinson
And of the butterfly
And of the breeze, amen!
This is a fascinating poem. Its basic meaning is clear–it’s about the passage of summer into autumn, the beginning of the slow death of the year that somehow creeps up on us every trip around the sun.
The first stanza lays out botanical cues that summer is ending. I had to look up gentian (a flower/herb). I don’t know what to make of the second stanza, with its “below this morning” and being “where the angles are.” Something about the angle of the light, maybe?? No idea on this one.
As a beekeeper, I love the third, middle stanza, with its “aged bee” as the officiant of summer’s funeral. The notion of an aged bee is rich with meaning. At the risk of falling down a bee-geek hole, it’s worth noting that honeybees during the summer live for a matter of weeks, due to the stresses of their constant foraging, but during the winter they can live for months. Ironically, the “harder” time of the year is not their harder time. Still, even a life-span of months hardly seems “aged,” and I suspect Dickinson is using the word ironically to show how quickly summer seems to pass.
In the fourth stanza, the speaker expresses a desire to follow summer to wherever it’s gone, rather than remain for the long winter. Relatable. The line “Summer, sister, seraph” echoes the structure and rhythm of her poem that begins, “I never lost as much but twice.” The penultimate line of that one is “Burglar, banker, father,” and I can’t read this one without hearing echoes of that one, which is also about loss–but of a person rather than a season.
The final stanza of this poem is especially effective. The rhyme scheme, which has been mostly slant up to this point, suddenly disappears. Four-line stanzas abruptly give way to a three-line mock liturgy. The poem, like summer itself, is cut short.