Tag: death

nothing commoner than snow

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Of tribulation these are they
Denoted by the white;
The spangled gowns, a lesser rank
Of victors designate.

All these did conquer; but the ones
Who overcame most times
Wear nothing commoner than snow,
No ornament but palms.

Surrender is a sort unknown
On this superior soil;
Defeat, an outgrown anguish,
Remembered as the mile

Our panting ankle barely gained
When night devoured the road;
But we stood whispering in the house,
And all we said was “Saved!”

~Emily Dickinson
Image by Radu Andrei Razvan via Pexels.

More death. Dickinson must have spent a lot of time thinking about it–so much time that she has a variety of different reactions and attitudes toward it. Sometimes it’s a suitor, welcome, chivalrous. Sometimes it’s an adversary. Sometimes it is longed for as relief from suffering, while other times the act of dying is itself the supreme trial.

There’s a lot of interesting, evocative, and tricksy language in this poem. In the first stanza, those who wear white are the ones who have overcome (or at least endured) tribulation. A lesser rank, presumably of the dead, wear “spangled gowns.” The contrast is interesting–those who are higher wear plain white, while those who are “lesser” are more elaborately adorned. The “lesser” are, however, still “victors.” All here have triumphed.

All of them, she goes on to elaborate in the second stanza, have been victorious, but those in white “overcame most times.” Their reward? Their only ornaments are palms, and the color of their raiment is “nothing commoner than snow.” Dickinson’s use of “commoner” suggests that snow is not common–they don’t wear anything commoner than this. At the same time, snow is fairly common, we know–certainly in New England. So there’s a paradoxical turn of phrase here, which perhaps is meant to underscore the paradox of the highest being clothed the most simply. Heaven, after all, is an upside-down kingdom where the last shall be first.

On the “superior soil” of heaven, surrender is unknown, and defeat is merely a memory, like the reminiscence of the last mile of a particularly difficult night journey.

The final stanza brings us out of heaven and back to Earth, back into a mortal, living perspective. Dickinson shifts from the white-clothed and bespangled victors to those they left behind: “But we stood whispering in the house, / And all we said was ‘Saved!'” That is all the living can say, all they can know. They can only guess at the rank and raiment of the deceased in heaven.

This, of course, begs the question–how can the speaker know? She identifies herself in the last stanza with personal pronouns as one of the “we,” one of the living left behind. Yet she is informing us about the status of the dead and saved. More paradox. So I’m left not entirely sure of exactly what she’s getting at, and once again wondering if I’m a bit dull, or if perhaps this was precisely the effect Dickinson was going for.

This World is not Conclusion

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This World is not Conclusion.
A Species stands beyond –
Invisible, as Music –
But positive, as Sound –
It beckons, and it baffles –
Philosophy, dont know –
And through a Riddle, at the last –
Sagacity, must go –
To guess it, puzzles scholars –
To gain it, Men have borne
Contempt of Generations
And Crucifixion, shown –
Faith slips – and laughs, and rallies –
Blushes, if any see –
Plucks at a twig of Evidence –
And asks a Vane, the way –
Much Gesture, from the Pulpit –
Strong Hallelujahs roll –
Narcotics cannot still the Tooth
That nibbles at the soul –

~Emily Dickinson
Image via Pexels.

The mystery of what comes after–this seems like a very Emily sort of poem, of wondering. The bulk of the poem seems to be contemplating the riddle of what follows this life–but the final lines throw it a bit up in the air. What is “the Tooth/That nibbles at the soul”? Through the rest of the poem, Dickinson seems to be expressing faith, if imperfect. But the last lines throw it all into question. Does she mean that the life after this one plucks at the soul, calling it? Or does she mean, by nibbling, that something is consuming the soul?

Ultimately, the poem, like its subject, is a sort of riddle. Dickinson is describing a mystery, and the point, perhaps, is not for us to know what that mystery is, but through her language to feel the wondering, the doubt, the confusion, the mystery itself.

thirst

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I bring an unaccustomed wine
To lips long parching, next to mine,
And summon them to drink.

Crackling with fever, they essay;
I turn my brimming eyes away,
And come next hour to look.

The hands still hug the tardy glass;
The lips I would have cooled, alas!
Are so superfluous cold,

I would as soon attempt to warm
The bosoms where the frost has lain
Ages beneath the mould.

Some other thirsty there may be
To whom this would have pointed me
Had it remained to speak.

And so I always bear the cup
If, haply, mine may be the drop
Some pilgrim thirst to slake,—

If, haply, any say to me,
“Unto the little, unto me,”
When I at last awake.

~Emily Dickinson
Image via Pexels.

This one is challenging to me. I’m not sure what Dickinson is getting at–it’s certainly metaphorical, whatever it is. I can’t imagine she actually wants to go gallivanting all over New England, pushing wine on dying people.

The central image that arises in this poem, and which must be key to understanding it, is that of thirst. In the first stanza, Dickinson describes “lips long parching” to which she offers a drink.

The next few stanzas offer up more subtle references to thirst. In the second stanza, we get a sharp contrast between eyes “Crackling with fever” and the speaker’s own “brimming eyes”–a contrast between heat and liquid, hot and cool. The third stanza gives us hands grasping the glass, the subject of the speaker’s ministrations having died unsated, thirst unslaked despite the proximity of the drink. The fourth stanza offers the image of the frozen dead–moisture locked away in frost. At this point, they are surely beyond the transformative power of wine or any liquid.

With the fifth stanza, we get back to very direct descriptions and mentions of thirst. “Some other thirsty there may be,” the speaker imagines, “And so I always bear the cup.” And then the thirst and liquid language pours out, as the speaker envisions the “drop” that will “slake” someone else’s “thirst.”

She ends with a Biblical reference, which feels a bit strange–it’s very dry in contrast to the liquid language of the rest of the poem. Almost a platitude–except, of course, this is Dickinson, so she is shaping it to her own ends. Exactly what those are, I’m still unsure about. What exactly is the wine she’s offering? And why? She is trying to help the dying–what is the aid she offers? This one is going to need more mulling over, no pun intended, if I’m going to grasp exactly what she’s getting at. What exactly is the thirst she’s talking about? And how would the reclusive Dickinson have thought to address this?

Perhaps the answer is poetry. Whether or not she was shy, as the old myth of the poet proclaims, Dickinson certainly wasn’t out evangelizing to and fro across the Massachusetts countryside. What she was doing was writing. So maybe her poems, her words, are the “unaccustomed wine.” I wonder if she knew they would reach their readers after her death–she must have at least thought of this when she tucked them away in a drawer, tied into neat packets.

Dickinson’s poetry is certainly “unaccustomed”–it definitely would have been to readers at the time. Her attitudes, her style, her unique twist on her subjects–all of these things make her work stand alone, stand out. Maybe this is a poem about her poetry, about a poetic vision of the world that the then-living world wasn’t ready for.

aurora

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Sleep is supposed to be,
By souls of sanity,
The shutting of the eye.

Sleep is the station grand
Down which on either hand
The hosts of witness stand!

Morn is supposed to be,
By people of degree,
The breaking of the day.

Morning has not occurred!
That shall aurora be
East of eternity;

One with the banner gay,
One in the red array,—
That is the break of day.

~Emily Dickinson
Image via Tobias Bjorkli on Pexels.

Sleep is supposed to be simply shutting our eyes. But instead, it is a journey to another world–a station from whence one can depart to anywhere. The first couple of stanzas, in true Emily fashion, seem simple enough.

Then we move farther into the poem. Morning is supposed to be daybreak. So far so good–but Dickinson interrupts us, shifts gears. Instead of telling us what morning actually is to her, she says that it hasn’t happened. It is always tempting to suppose that she’s talking about death. But maybe here she’s talking about resurrection instead–morning is the thing that comes after every night, but true morning is the life after death.

It is completely frustrating interesting to me that I can spend a whole flipping year with Dickinson and still not really know what she’s talking about. I wonder if she’s playing with me, with her readers. Did she write in a kind of shorthand purely for herself? Or was she fully aware of playing with her someday readers, writing in riddles to tease us?

cold

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Safe in their Alabaster Chambers –
Untouched by Morning –
and untouched by noon –
Sleep the meek members of the Resurrection,
Rafter of Satin and Roof of Stone –

Grand go the Years,
In the Crescent above them –
Worlds scoop their Arcs –
and Firmaments – row –
Diadems – drop –
And Doges surrender –
Soundless as Dots,
On a Disk of Snow.

~Emily Dickinson
Image via Pexels.

Dickinson is so good at cold. This is a wintry poem. The opening image of alabaster chambers conjures images of cool white rooms, devoid of heat and blazing light–of any kind of warmth, for these are the chambers of the dead. The bright times of day cannot touch them. Years, worlds, firmaments pass them by, leaving them unscathed, unwarmed.

From alabaster chambers at the beginning to a “Disk of Snow” at the end, everything about this poem carries for me the feel of rooms in old houses when I was a child–rooms that somehow locked in the chill of night or winter and seemed to radiate it back during the heat of the day. No matter what has changed in the world beyond their walls, old houses have a way of ignoring it all, of remaining untouched somehow by the bright passage of time.

granite lip

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If I should n’t be alive
When the robins come,
Give the one in red cravat
A memorial crumb.

If I could n’t thank you,
Being just asleep,
You will know I ’m trying
With my granite lip!

~Emily Dickinson
Image via Pexels.

Sheesh, Emily. This is another one of those “poor lil’ Emily” poems that seems so wildly at odds with poems like “Because I could not stop for Death.” Is she writing from the perspective of a child? That would explain the pathetic tone and the simplistic diction. I’m not sure. I do like the line about the “granite lip”–it evokes both the cold stiffness of the dead and their stone memorials. There’s a wonderfully weird sort of suggestion here of the speaker somehow morphing into her own memorial, becoming the stone angel of her own grave. Maybe. Maybe not. It’s the end of a long day.

It’s strange to try to reconcile all the different Emilys. I don’t know if it’s even possible, aside from spouting some vague platitudes about how we all contain worlds within ourselves.

a certain Slant of light

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There’s a certain Slant of light,
Winter Afternoons –
That oppresses, like the Heft
Of Cathedral Tunes –

Heavenly Hurt, it gives us –
We can find no scar,
But internal difference –
Where the Meanings, are –

None may teach it – Any –
‘Tis the seal Despair –
An imperial affliction
Sent us of the Air –

When it comes, the Landscape listens –
Shadows – hold their breath –
When it goes, ’tis like the Distance
On the look of Death –

~Emily Dickinson
Image via Pexels.com

I don’t remember when I first encountered this poem–in high school, perhaps, or maybe even middle school. Certainly it was in a textbook, offered up as an example of the work of a famous American poet. Regardless, it’s always rung deeply true for me. There is something about the light on a winter afternoon that’s oppressive, that reminds me of endings and the oncoming rush of darkness.

We’re nearing the darkest day of the year. A week from this Saturday is the winter solstice. After that, the balance will tip back towards light. But for now, darkness gathers its force. For now, winter afternoon sunbeams are a reminder of what has passed, what we have lost, what we will lose. For now, the light is a rare and precious thing, but not without barbs.

Chrysolite?

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It can’t be summer,—that got through;
It ’s early yet for spring;
There ’s that long town of white to cross
Before the blackbirds sing.

It can’t be dying,—it ’s too rouge,—
The dead shall go in white.
So sunset shuts my question down
With clasps of chrysolite.

~Emily Dickinson
Olivine, which is maybe chrysolite?
Image via Wikipedia.

“That long town of white” is the phrase that got me from this poem–but the single word “chrysolite” is what sent me down an internet rabbit hole. What is chrysolite? It sounds like a mineral. Here’s what I learned:

There is no such thing as chrysolite. Or rather, no one is entirely sure exactly what chrysolite is. It appears in the Old Testament, is referenced multiple times in the Bible, and seems to refer to what could be a fairly wide array of green minerals.

Chrysolite could be all kinds of things, including olivine and peridot. What I think is fantastic about its use in this poem is that it’s the last word, and it’s unclear exactly what it is. This fits beautifully and perfectly with the message of the poem. Dickinson starts by pondering and getting things wrong. “It can’t be summer,” and “it’s early yet for spring.” It’s as if she can’t pin down exactly where she is. She has some idea, but can’t articulate it precisely.

The poem ends with sunset shutting down her question with “clasps of chrysolite.” It’s perfectly fitting that her unanswerable question–or her question with an unspeakable answer–should be locked down with clasps of some mysterious substance whose exact name and nature we can only guess at. There’s Biblical resonance to chrysolite, there are loads of suggestions and possibilities–but in the end, we, like the speaker of this poem, can’t know exactly what she’s talking about.

I love how often Dickinson engages with the idea of the unknowable, the inexpressible. It’s a side of her I wasn’t aware of when I began this project nearly a year ago.

like flakes, like stars

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They dropped like flakes, they dropped like stars,
Like petals from a rose,
When suddenly across the June
A wind with fingers goes.

They perished in the seamless grass,—
No eye could find the place;
But God on his repealless list
Can summon every face.

~Emily Dickinson
Image via Pexels.com

What a shift this is from some of the other Dickinson death poems I’ve read so far this month! Unlike the God who lets children perish unremarked, the God of this poem remembers every face among those who have died. There must have been so much going on inside Dickinson’s head at any given time. I have to wonder if her poetry was an overpressure valve, a way to let out some of the bottled thought before she imploded.

I chose this poem for today not because of the death, though, or the theology, but for the mention of falling stars. The Geminid meteor shower is beginning. You can read about it here. It will be peaking this weekend, and while the waning full moon will make it harder to see meteors, some should be visible nonetheless, and the clear winter air will make up in part for the brightness of the moon.

A meteor is a strange and wondrous thing. Some no bigger than grains, they streak the sky, their death-throes moments of beauty and awe. Each trail of light is the flaming disintegration of a unique piece of matter that is no more. How like soldiers falling. How like a thousand, thousand deaths.

But there is so much beauty in this destruction. Each fall is a flash of wonder, a shred of insight into the workings of the deep heavens.

I hope you find some magic in the night sky.

the Ice

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They won’t frown always — some sweet Day
When I forget to tease —
They’ll recollect how cold I looked
And how I just said “Please.”

Then They will hasten to the Door
To call the little Girl
Who cannot thank Them for the Ice
That filled the lisping full.

~Emily Dickinson
Image via Pexels.com

Wow, so this is an “I told you so” poem par excellence. The pathos is dripping from every line. The speaker in this poem is a little child who seems used to being chastised or ignored, and who, as far as we know, has only ever said “please.” I am reminded of Charles Dickens’s Oliver Twist, with his “Could I please have some more?”

The child seems horribly ignored–she imagines a future in which she is gone and the faceless “They” of the poem hurry to the door to call her home. But she is dead and buried, iced over in winter.

Geez. Emo Emily.