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.

Dawn

Not knowing when the dawn will come
I open every door;
Or has it feathers like a bird,
Or billows like a shore?

~Emily Dickinson

What if I did this? What if I rose before sunrise and flung every door wide? What if I waited, in the dew-chill silence of early morning, for the sunrise? What if I welcomed each day in like a long-expected guest?

A lot of questions about: Cocoon

DRAB habitation of whom?
Tabernacle or tomb,
Or dome of worm,
Or porch of gnome,
Or some elf’s catacomb?

Emily Dickinson

While this is a short poem, it’s absolutely full of questions. First of all: who in the world lives in this little cocoon? We aren’t given any context clues; we don’t know what flower or branch might be holding the thing, or what color it is; we aren’t sure of the season, either. But the speaker isn’t done with questions.

“Tabernacle or tomb”: is this a place of religion–reverence, life–or is it a place of death? Put plainly, is a butterfly going to come out of this chrysalis, or has it already exited? Is it lying dead in its self-made coffin, unknown to us?

“Or dome of worm”: is the worm not yet turned into a butterfly? Have we happened on the site too early to have witnessed any change? Or are we talking about the worm here in the Shakespearean sense, as that little worker between body and burial?

“Or porch of gnome, / Or some elf’s catacomb?”: is this something entirely supernatural? And if so, is it a porch–the place where something might currently be living–or a burial ground?

Is this poem about life, or death? And what is a cocoon, anyway? Sure, the caterpillar lives on as a butterfly, but the caterpillar self is dead (as is the cocoon dead organic matter after the butterfly escapes). What’s left of the original thing? Is the cocoon a reminder of the new life that’s about to begin, or of the old one–or the second death the caterpillar will experience when the butterfly, too, dies?

Love Letters

XLIX


We outgrow love like other things
And put it in the drawer,
Till it an antique fashion shows
Like costumes grandsires wore.

~Emily Dickinson

What does she mean? That we outgrow individual loves for specific people? Or that we outgrow love itself? Whatever the answer, this poem seems like a fitting farewell to our month of Emily Dickinson love poems. We haven’t outgrown them–we’ve scarcely begun to grow into them–but it’s been a rich and interesting month for the Emily Project.

Again and again I’m struck by how breathlessly I can adore one Emily Dickinson poem, and how much I can chafe at another. Despite the similarities between her poem in terms of length, syntax, and style, they form a fascinatingly diverse body of work.

This poem seems especially fitting because of its multiplicity of possible interpretations. Four lines should be straightforward, but they aren’t. How do we “put love in the drawer”? If it’s “in the drawer,” doesn’t it still exist? Don’t you still have it, albeit hidden? If we “put it in the drawer” until it looks outdated, are we putting it away before we should? As has become par for the course, Dickinson raises more questions than she answers. Perhaps that’s really what poetry is for.

I suppose this project, this blog, is our love letter to Emily Dickinson. No relationship is without its ups and downs, or its moments of transcendence. Good ones include tears, frustrations, challenges ,and laughter. I have found all of these in Dickinson’s poetry.

This is our letter to the poet who didn’t write to us–and yet somehow did.