Tag: Dickinson

Dickinson’s “Tell all the truth but tell it slant”: A Reading

Dickinson House (Courtesy: Dickinson Museum)

Tell all the truth but tell it slant —
Success in Circuit lies
Too bright for our infirm Delight
The Truth’s superb surprise
As Lightning to the Children eased
With explanation kind
The Truth must dazzle gradually
Or every man be blind.

This poem, widely read, typically exhibits Dickinson’s syntactical subtleties, meriting close, repeated readings.

At its primary level, it counsels the circuitous in communicating with others in difficult circumstances: “Tell all the truth but tell it slant.” “Slant” connotes the angular, or indirect, anticipating the sun and lightning analogies in the lines that follow.

Just as we cannot view the sun directly, so it is with harsh realities that need filtering, given the “infirmity,” or sensitivity, of humans unable to absorb truth undiluted: “Success in Circuit lies/Too bright for our infirm Delight.” Although the sun isn’t specifically mentioned, “bright” confirms its presence..

Likewise, to disclose the truth directly is analogous to the lightning’s surprise flash, frightening children, whose anxiety is only eased with softened explanation: “The Truth’s superb surprise/As Lightning to the Children eased/With explanation kind.”

The poem’s final lines reiterate the poem’s opening counsel, while warning of the consequence of not doing so: “The Truth must dazzle gradually/
Or every man be blind.” That is, we may otherwise do greater harm.

Ethicists may argue with the seeming absolutism in the all of “Tell all the truth.” Surely we can think of circumstances that demand otherwise. A lot depends on the motives we bring to troublesome situations, whether centered in ourselves or on others. Dickinson unequivocally chooses the latter, with kindness the arbitrator.

Dickinson was hardly naive. As poet Camille Dungy observes, “We can’t truly know comfort unless we know its opposite. Writers who think carefully about how to render the world in a truthful and realistic way have to handle, bare-handed and, thus, ever so carefully, the double-edged sword of comfort versus discomfort” (poetryfoundation.org).

We would be wise to adopt a cultural approach as well. We’re not sure of when Dickinson wrote this poem, but most scholarship suggests between 1858 and 1865. In short, it may have been written in the context of America’s Civil War. The conflict was cataclysmic, with an ultimate casualty toll of 600,000. The majority of leading scholars think she internalized the struggle to reflect her psychological wrestlings.

This isn’t to say she wasn’t mindful of the war’s gruesome realities. We have, for example, her “It Feels Ashamed to be Alive” poem, which opens: “It feels a shame to be Alive—When Men so brave—are dead.” We also have her letters and journal. It’s conceivable Dickinson had in mind families and friends receiving grim news of their loved one’s demise. Amherst was a small, close-knit community.

But the poem can also be read in quite another way as Dickinson’s aesthetic of concealment, or how poetry should be written. Good poetry should show, not tell; hint, but not reveal, a credo consistently realized in her poetry. Sound poetry engages readers in discovery, fashioning a poem’s constituents into pattern, yielding coherence, or like pieces of a puzzle, fitting into place.

Through such methodology, poetry acquires universality, the reader becoming the text. This doesn’t mean readers can impose any meaning. On the contrary, astute readers map a poem’s clues and observe its boundaries. Like a good mystery, the clues are planted, awaiting their discovery.

With this in mind, it’s conceivable we can pursue the poem at a metaphysical level as well. What is this “truth” to be shared cautiously? Has it to do with the mystery of Deity’s doings; His ways beyond our “infirm Delight,” or capability to comprehend, necessitating Divine truth be a fragmentary unfolding?

In both Judaism and Christianity, the Shekinah, or divine immanence, is traditionally associated with light. Light dominates this brief poem: “too bright”; “lightning”; “dazzle.” Did Dickinson have in mind Exodus 33:20?: “And he said, Thou canst not see my face: for there shall no man see me, and live” (KJV).

A devotee of the metaphysical poets, Dickinson may have read Henry Vaughan’s “There is in God (some say) a deep, but dazzling darkness” (“The Night”). Did she have this in mind in her summation, “The Truth must dazzle gradually/Or every man be blind”?

We know that Dickinson wrestled with traditional Christianity and a Deity allowing suffering and death. She did not attend church. In an earlier poem, “There’s a certain Slant of light,” she writes of a light “That oppresses, like the Heft/Of Cathedral Tunes/Heavenly Hurt, it gives us.”

Less than a dozen poems of 1779 total were published in Dickinson’s lifetime. This poem was published in 1890, four years after her death. It remains one of her most popular poems.

–rj

Winter Discontent: Dickinson’s “There’s a certain Slant of light”

dickinsonI’m sitting here in our sunroom, looking out this afternoon on our backyard, smothered with frost. We had our first snow cover a week ago, which came early to Kentucky.

I’m a warm weather lover, and while those around me complain about heat, I say, more is better.

You’d think coming from New England, I’d be more tolerant of snow and ice and lashing wind, but I can tell you that over time I’m liking old man winter much less.

But neither am I some isolated crank in finding winter oppressive.

Take fellow New Englander, Emily Dickinson, for example, that fervent champion of spring and summer, and with them, birds, flowers and even snakes populating her many poems, emissaries of nature’s cornucopia and the inherent goodness of its plentitude.

Understandably, she didn’t soften her distain toward winter in a poem I’ve memorized, “There’s a certain Slant of light.”

I’ve always admired this poem, like so many others she wrote, cerebral, observant, brief, but dependably engaging, centered in detail, redolent in ambience.

Here’s the poem, followed with my commentary:

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.

 Like so many of Dickinson’s poems, this one deals with death, as ultimately revealed in its closing line. Keenly aware of the temporal, she always dreaded saying good bye to not only visiting friends, but the passage of the temperate seasons.

Appropriately, the poem’s ambience is foregrounded in emerging darkness on a winter afternoon, signified in the angular, or slanted, solstice light. While “Slant” suggests not only a way of seeing things, it more likely connotes a cosmic knife that wounds, amplified in the second stanza’s “hurt” and “scar” allusions.

In the first, stanza, however, this visual image of a slanting light evolves into one of sound, the light being like the “Heft” of Cathedral Tunes, heft denoting heaviness, or the solemnity of perhaps tolling bells or funeral music.

The speaker’s reference here to cathedrals plainly suggests the poem exceeds depiction of a gloomy New England winter’s day, entering into metaphysical concerns embracing religion, God, and mortality.

Dickinson, after all, was not only a rebel in writing non-traditional verse, both formally and thematically, but in her strident skepticism when it came to the assurances of Christianity.

In stanzas two and three, the persona traces the cosmic sources of the day’s oppressive gloom to Deity (1.e., “heavenly hurt,” “an imperial affliction /Sent us of the air”).

As to the specific nature of the transient day’s mood, it is rightfully left ambiguous (“None may teach it–Any–“), underscoring the persona’s angst in a cosmos ruled at best by a silent deity, who allows death’s intrusion into every aspect of nature.

The speaker can only offer analogies in attempting to articulate her resulting emotional dissonance in response to the waning light, since words often prove ineffectual in rendering matters of our psyche:  “We can find no scar,/But internal difference/Where the Meanings are.”

The persona’s allusion to the Book of Revelation with its apocryphal judgments, “T’is the Seal Despair,” underscores the angst of this “imperial affliction” in its psychological reign.

In the concluding stanza, two additional analogies appear, the first employing personification:  “When it comes’ the Landscape listens–/Shadows hold their breath–”

The pronoun “it” brings us back to the slanted light of the initial stanza, reminding us again that we are at the moment when the winter sun is about to slip below the horizon. With anxious anticipation, afternoon shadows stand at attention like sentries.

In the final analogy, the speaker breaks through with simile to the source of her angst in the sun’s passage:  “When it goes, ’tis like the Distance/On the look of Death–”

Or like viewing a corpse, distanced from every human concern.

In the poem’s absence of any proffered reunion or resurrection, Dickinson’s deep vein of skepticism is readily apparent, despite her Puritan forbears and living in a culture still permeated with conservative Christian belief.

But it didn’t come easily to Dickinson, earning my admiration for her candid questioning of cherished communal beliefs. In an early letter, she would confess to “an aching void in my heart which I am convinced the world cannot fill.”

Though often thought of as eccentric, preferring solitude to company, the truth is Dickinson relished her family, had close friends as her extensive correspondence confirms, and received occasional visitors.

Separation from those she loved was always acutely stressful.

And death, of course, which came early and often in her time, was the ultimate ransacker of human bonds. In a three year period she would lose some forty-six friends and relatives.

I share her sensibility when it comes to winter. I miss Nature’s teeming sights, sounds, and smells: my flowers in variegated hues blooming proudly, attended to by murmuring bees; the smell of Spring lilacs; the taste of fresh berries; chickadees in their yellow jackets at the bird feeder, impervious to the wind.

Looking out my window at a checkered landscape of grays and whites on yet another eclipsed day of light on a winter afternoon, I grieve their absence and share the sense of pervasive temporality that so haunted Dickinson.

And thus, like her, I relish the return of every spring, enjoying what I can, while I’m able, and with what light remains.

–rj

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

On living with ambiguity

Those of you familiar with the Myers-Briggs Type Indicator will recall that its end letter comes down to either a P or a J, denoting perception vs judgment modalities.  P types can tolerate, if not thrive on, open-ended movies.  Conversely, J’s like their movies to end with all the pieces in place.  As essentially an everyday existentialist, I’ve always found bonafide certainty elusive.  Thus, I generally come out in the wash as a P, with speculation often more fun for its U-Turn potential than the dead end of the J alternative.

But hold your horses. This doesn’t mean I’m closed to fixed verities and the closure they provide.  Who wants to cast his fate with an ambiguous lover, or speculate about whether he’ll have his job next month or, omigod, is it cancer?  Like the next guy, I want the bad guys rounded-up and justice meted out.  What a wonderful world it’d be if we could truly accept things as they appear, knowing nobody practices deceit, a world with no need for lawyers to protect us from the fraudulent.  No need for the clergy either to put right God’s way of doing things.  And so with psychiatrists, since there’d be nothing to be anxious about in a world absent of unknowns.  But as Voltaire’s Candide discovered the hard way, we don’t live in the best of all possible worlds.

I wouldn’t even be writing this entry if it hadn’t been for coming, serendipity fashion, upon Emily Dickinson’s powerful poem, “We Grow Accustomed to the Dark” with its blunt rendering of our stumbling angst in a cosmos devoid of moon and stars to light our journey through the metaphysical night, reminding me again of ambiguity’s pervasiveness and our struggles to find our way:

We grow accustomed to the Dark—
When light is put away—
As when the Neighbor holds the Lamp
To witness her Goodbye—
A Moment—We uncertain step
For newness of the night—
Then—fit our Vision to the Dark—
And meet the Road—erect—
And so of larger—Darkness—
Those Evenings of the Brain—
When not a Moon disclose a sign—
Or Star—come out—within—
The Bravest—grope a little—
And sometimes hit a Tree
Directly in the Forehead—
But as they learn to see—
Either the Darkness alters—
Or something in the sight
Adjusts itself to Midnight—
And Life steps almost straight.

Here Dickinson fashions the poem’s edifice by way of analogy from everyday life of our initial difficulty seeing things when suddenly plunged into darkness until our vision adjusts and we find our way, or think we do (“And life seems almost straight”).  The equivocation comes in the persona’s almost, which we mustn’t miss in Dickinson’s typical closet subtlety, perhaps mirroring the metaphysical poets Donne and Herbert she read avidly.

When the narrator tells “Of something in the sight/Adjusts itself to Midnight,” we come to the bottom line of how we manage our journey through the psyche’s dark night (“Those Evenings of the Brain”), perhaps through religious faith, a mainstream fixture for many in the Calvinist Amherst of her time.

My point, and I think Dickinson’s as well, is that in a cosmos absent of Divine revelation and explicit meaning, our need for closure–to abolish life’s curves and set its steps straight, exerts itself in human constructs, epistemologically, whether done through provisos of faith or artist metaphor.

It isn’t just nature that abhors a vacuum.  We despise it too.  In the end, Jung is wrong, for we are all J’s at heart!  Life is very often a search for meaning and, if tenuous in its ambiguity, compels us to define it, however vulnerable its artifice.

–rj

The Smile that Hides the Soul

I have a number of books that supposedly clue you into discerning the personalities of people based on their physical gestures, things like hands on hips,  the turned up corners of the mouth, the wrinkling of the forehead or lifting of the eyebrows,  etc.  The problem is that body language can differ from one culture to another.  While close spatial contact with lots of touching may convey caring in, say, a Hispanic culture, it’s apt to raise the specter of territorial invasion among white North Americans.  I know families, for example, that simply don’t touch.

My take on kinetics, or body language, is to approach the subject with caution.  But it’s more than this, too.  I’m simply suspicious of reductionist approaches that promise us a mirroring of the human psyche and, often as not, a means to its manipulation, if we just read the body cues right and fine-tune our approach.

No, we humans are offspring of eons of evolutionary survival stratagems that camouflage thoughts, and with good reason in a world that often cannot tolerate a baring of the soul with its sonar witness to salient distress as a life component we’re uncomfortable  acknowledging.  We feel safer behind walls.

Thus we’re prone to exercising considerable dissembling skills to avoid alienating our fellows and exacerbating our isolation, for no matter what form physical pain, anguish, and grief assume, there’s always the immense individuality of suffering which even the greatest empathy cannot transcend.

Emily Dickinson, like all gifted poets grounded in sensory acuity, knew this well, typically drawing upon Nature for analogies of  concealment, undermining the conflation of appearance with reality in “The Wounded Deer Leaps Highest” with its successive examples of a deer’s leap, a gashed rock, a sprung trap, and, in the human realm, flushed cheeks and even laughter, suggesting a dynamism masking covert wounding:

A wounded deer leaps highest
I’ve hunter the hunter tell;
Tis but the ecstasy of death,
And then the brake is still.

The smitten rock that gushes,
The trampled steel that springs;
A cheek is always redder
Just where the hectic stings!

Mirth is the mail of anguish,
In which it caution arms
Lest anybody spy the blood
And “You’re hurt exclaim.

As the closing stanza poignantly bears witness, we put on a brave act hiding our grief, as though expressing it were a weakness, with resulting pity simply reinforcing our isolated fate.  Culture has insisted men, in particular, should be very good at this.

We are complex in our emotions and body language.  In the space of three years, Dickinson  would lose 26 friends and relatives to death; but she also knew that life goes on and the game must still be played.

–rj

 
   
   
   
   
   
 

Of Emily Dickinson and Spring Blooms

Foxgloves in the Homestead garden
Foxgloves in the Homestead garden

The opening and the Close Of Being, are alike
Or differ, if they do,
As Bloom upon a Stalk–(1089)

I’ve always liked Emily Dickinson’s poetry.  She has this pithy way of putting things in a few, well-chosen words; a prism mind that turns things over for a thorough look; a quiet defiance that goes its own way with surprisingly modern skepticism;  a willingness to break free from fettering meter; best, a probing of the human heart in its pangs of love and grief.  I admire her honest wrestlings with God and matters of eternity.  She wanted to believe, but not by forfeiting her intelligence.

I  like how nature finds its way into virtually all the nearly 1800 poems she largely wrote in her upstairs bedroom at the Homestead, looking out on the main street of Amherst.  Every sort of plant and creature seemingly populates her poetry, including not only birds, flowers, butterflies and bees, but caterpillars and even snakes.  She kept an album of pressed plants and often slipped a flower in with her many letters.  While few Amherst villagers may have known the woman in white was a consummate poet, everyone knew she kept a great garden.

A holdout in that era’s high tide of Christian belief, she adopted her garden as her daily church, a  place of intimacy with the divinity of life:

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–

Some keep the Sabbath in surplice–
I, just wear my Wings–
And insterad of tolling the Bell, for Church,
Our little Sexton–sings.

God preaches, a noted Clergyman–
And the sermon is never long,
So instead of getting to Heaven, at last–
I’m going, all along (236)

That garden and its seedlings had disappeared by 1915, when the Homestead’s attached conservatory, her father’s gift, was also dismantled.  Fortunately, beginning with 2005, that garden has been lovingly restored, based on diligent research, to its likely layout and, along with the Homestead, is now owned by Amherst College.

I bring up the subject of gardens because gardening is something I’m fond of as well. Every spring I re-thumb my garden magazines and books, looking for new ways to retool bloom and beauty.  This year, I thought of Emily Dickinson and my several visits to the Homestead.  Since it’s rare I can get back to Amherst in my birth state of Massachusetts, why not the next best thing and find room for a Dickinson look-a-like in my backyard, a space swimming in the flowers that Emily loved like violets and arbutus, daffodils, tulips and crocuses, daisies and roses.

Flowers, “Nature’s sentinels” (912), launched meditative moods in Dickinson, who drew upon metaphysical poets like Herbert and Vaughan for nuances of the Infinite.

For her, nature’s seasonal rounds resonated life’s own temporal rhythms with its undulations of joy and sadness; the immediacy of nowness and the anguish of letting go; the fact of mortality, and yet hints of something more.  That works for me as well. –rj

Related articles

Where are the songs of Spring?

images

Saw a sign yesterday that read, “Spring is coming soon.”  That’s something we’re all wondering about, even in Kentucky, where we’ve been having an unusually cold March, which makes it hard to believe the Kentucky Derby is merely six weeks away.  They say it may be related to melting glaciers changing our wind patterns.

But the real sign nature is about to turn generous was yesterday’s afternoon delight in seeing my goldfinch friends, busy at their feeder, newly returned from their long and distant migration.  I remember late October when suddenly they were gone, the absence of their aerial eagerness and bright collusion of yellow and black; the silence and loneliness of it, like saying good bye to a good friend who had brought abundant joy, “A quality of loss/Affecting our discontent” (Dickinson, “A Light Exists in Spring”).

I’m not a member of the Audubon Society, but I quite understand their love for birds with their bright plumage and merry song.  I think of St. Francis of Assisi whose kindness the birds reputedly reciprocated by sitting on his shoulders.  Sometimes I think they take their own measure of me in their aerial hideaways when I replenish their several feeders in our backyard.

Birds need our help these days more than ever.  I just read the other day that an estimated 100 million birds are killed worldwide each year by outdoor cats and other scavengers.

Diminishing canopy of forest and brush, draining of wetlands, and climate change add to the toll.  Squirrels and other rodents raid their nests, devouring eggs and young hatchlings.

Migration itself can be costly, with many killed and injured, caught in storms or flying into buildings, and sometimes planes.  Many are blown off course and show up in risky environs.  I feel bad that each year several of them smash themselves into our sunroom windows and I am left with their still warm bodies.

Some of them, hawks, are wantonly shot by farmers who see them as predators.  I had an unpleasant experience in New Zealand in hearing of a crusty elderly man who had nothing better to do than shoot hawks as everyday pastime in that gorgeous Taranaki countryside of lush greenery.  In Kentucky, especially in the mountains, hawk-killing takes on a compulsion.

Down the road and around the curve, I often see a sentry red tail hawk on a high telephone wire.  I like what I see when I drive past His Majesty.

I relish reading good poetry and there are poems, great ones by Keats and Shelley, Hopkins and Dickinson, that wonderfully excel in depicting the splendor of birds like “Ode to a Nightingale, “Ode to a Skylark,” “The Windhover,” “A Bird Came Down the Walk” and, sometimes their sadness as in Angelou’s moving “I know why the Caged Bird Sings.”

But I began with the subject of Spring and so Keats’ question of “Where are the songs of spring?” (“Autumn”) comes to mind and finds its answer, for me at least, in yesterday’s return of my yellow-jacketed friends.  Let Spring’s sweet song begin!

Be well,

rj

Related articles
%d bloggers like this: