The griefs

I measure every grief I meet
With analytic eyes;
I wonder if it weighs like mine,
Or has an easier size.

I wonder if they bore it long, 5
Or did it just begin?
I could not tell the date of mine,
It feels so old a pain.

I wonder if it hurts to live,
And if they have to try, 10
And whether, could they choose between,
They would not rather die.

I wonder if when years have piled—
Some thousands—on the cause
Of early hurt, if such a lapse 15
Could give them any pause;

Or would they go on aching still
Through centuries above,
Enlightened to a larger pain
By contrast with the love. 20

The grieved are many, I am told;
The reason deeper lies,—
Death is but one and comes but once,
And only nails the eyes.

There ’s grief of want, and grief of cold,—
A sort they call “despair”;
There ’s banishment from native eyes,
In sight of native air.

And though I may not guess the kind
Correctly, yet to me 30
A piercing comfort it affords
In passing Calvary,

To note the fashions of the cross,
Of those that stand alone,
Still fascinated to presume 35
That some are like my own.

~Emily Dickinson

My first thought is that this is an uncharacteristically long Dickinson poem. That makes sense, given the subject matter. This is Dickinson’s jam, this dwelling on pain.

My next thought is that this whole poem is basically riffing on the old saw that “misery loves company.” That’s not it exactly, of course, but I think the poem and the platitude are touching on the same general human tendency. When we’re suffering, it’s a perverse kind of comfort to know that others are, too, and to wonder about the precise nature of their pain.

I am writing this on Day 3 of a particularly nasty head cold. Also Day 3 of my back going out. Also Day 3 since the realization that I am way out of shape and I need to get myself in gear unless I want to continue throwing out my back. Good times. In the vast scheme of things, these are very small sorrows. But they are mine, dammit, and they are eating my brain at the moment.

Dickinson’s poem is a reminder that we don’t suffer alone–well, that we do, but that we are never the only ones suffering. What saddens me about this poem, though, is the sense I get from it that we will never truly understand one another’s griefs, no matter how much we may try.

This is one of those poems that makes me want to go out and defy it. While the speaker doesn’t seem to ever succeed in understanding the sufferings of those around her, it also seems that she’s relying on observation alone–she keeps wondering, guessing–but never once is there a suggestion that she sits down with anybody else and just listens.

So I think, today, in the midst of my own small griefs, that that’s this poem’s lesson for me. Maybe we can’t ever really understand each other–but we’re certainly not going to get there without trying.

You cannot put a fire out

You cannot put a fire out;
A thing that can ignite
Can go, itself, without a fan
Upon the slowest night.

You cannot fold a flood
And put it in a drawer,—
Because the winds would find it out,
And tell your cedar floor.

~Emily Dickinson

This is an odd one. The first stanza seems fairly self-explanatory. Fire is powerful. It can spark seemingly without warning, and once it gets going, it can be impossible for humans to stop. Fire here could be a metaphor for all sorts of things that are uncontrollable by human beings.

The second stanza begins in the same vein–just as you can’t control fire, you can’t control water. A flood is wild, something that cannot be folded up and put away.

Then it gets weird. You can’t control a flood because “the winds would find it out”? “And tell your cedar floor”?? Umm…..

I think what Dickinson is really talking about here is trying to control language. Once something is put into words, it’s out there in the world. It cannot be taken back. If you try to control a word once it’s been spoken, you can’t. I’m reminded of this Dickinson poem:

A word is dead
When it is said,
Some say.
I say it just
Begins to live
That day.

~Emily Dickinson

Words take on lives of their own. Once said, they cannot be unsaid. While the last line of this poem feels contrived–this whole “cedar floor” business sounds as if it’s trying too hard to match rhyme and rhythm–the point is a powerful one.

My new favorite poem

XXXI


I FOUND the phrase to every thought
I ever had, but one;
And that defies me,—as a hand
Did try to chalk the sun


To races nurtured in the dark;—
How would your own begin?
Can blaze be done in cochineal,
Or noon in mazarin?

~Emily Dickinson

I love this poem. It’s not one I’d ever encountered before. I’m finding as we progress through this project of a Dickinson poem a day that it’s the poems I’ve never heard of that strike me most. It’s not just because they sound fresh to me–I think it’s because they’re a bit quirkier or more philosophical or less easily categorized than her poems that are most commonly anthologized.

This poem strikes me as brilliant, and as part of a much larger trend that runs through many of Dickinson’s poems. This isn’t the first of her poems I’ve read this year that attempts to express the inexpressible–not in terms of pinning it down, but in terms of recounting the human experience of dealing with the knowledge that there are thoughts, emotions, ideas that we will never be entirely capable of articulating.

One of my grad school professors said during a lecture that thought is impossible without language. I disagree, and I think Dickinson would, too. This poem is proof. She’s found the phrase to every thought–except that one tricksy one that keeps eluding her. The second stanza, with its juxtaposition of abstract words with paint colors, seems to expand the argument–can we really express anything accurately via our art?

There’s perhaps no point in attempting to express the inexpressible. What Dickinson does is express what it feels like to stand in the face of that chasm in her knowledge. I love, too, that she includes a prompt in her own poem, a question to the reader. How would yours begin?