787.1863.Bloom opon the Mountain—stated—

Bloom opon the Mountain—stated—
Blameless of a Name—
Efflorescence of a Sunset—
Reproduced—the same—

Seed, had I, my Purple Sowing
Should endow the Day—
Not a Tropic of a Twilight—
Show itself away—

Who for tilling—to the Mountain
Come, and disappear—
Whose be Her Renown, or fading,
Witness, is not here—

While I state—the Solemn Petals,
Far as North—and East,
Far as South and West—expanding—
Culminate—in Rest—

And the Mountain to the Evening
Fit His Countenance—
Indicating, by no Muscle—
The Experience—

Humpf. We don’t call Robert Frost Robert or Elizabeth Barrett Browning Elizabeth or Emily Bronte Emily. But Biographers, academic authors, and commentors alike often call Emily Dickinson Emily. Ever since her family met courteous inquiries with stony stares, we’ve been “protecting Emily”. I’m guilty too, I call her my difficult girlfriend.

Nevertheless, sing-songy perfect rhymes like “a name / the same”, “the day / away”, “disappear / is not here”, “East / West /Rest”, “Countenance / Experience” in every stanza just sound trite, no matter who wrote the poem. Maybe it’s a joke and she’s somewhere out there laughing at us as we gush. At any rate, it’s refreshing to hear an ED fan say, “in this poem, she does get a little purple in her diction, at least a little more so than usual, as can be heard in the phrase, “efflorescence of a sunset.”

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After commenting on Poems 1-763 (Franklin) on The Prowling Bee’, I am convinced that (virtually) all of Emily Dickinson’s (ED’s) poems have a factual historical level in addition to their various poetic levels of meaning. The reason for her instant and continuing public adulation (1890 - present) was and is, by far, poetic. She is one of the "Greats" that she always dreamed to be, despite her lifelong refusal to publish. That refusal freed her from criticism and allowed her to explore the outer boundaries of poetic power.

More than a century of scholarly research has resulted in somewhere between 10,000 and 100,000 books and published academic papers about ED. A large majority of these publications focus only on the “poetic levels” of one or more of ED’s poems. Publications that consider both the “historic level” and “poetic levels” comprise a small minority. Publications that focus only on the factual history of her life probably number less than 100. (All numbers in this paragraph are my estimates.)

Unfortunately for ED’s universe of readers, these two basic levels (historical and poetic) cannot be separated into two ivory towers. Every history-level publication that I know of includes at least some discussion of the poetic level(s).

The reverse is not true. In fact, authors of the “poetry-level” school seem to avoid commenting on the historical level, sometimes admonishing that a poem must stand on its own, without concern for its historical roots. To my knowledge, there are (virtually) no published “history-level” books or articles that totally ignore ED’s poems and their poetic levels.

Of course, ED’s refusal to publish her poems was only possible because of lifelong financial and daily social/housekeeping support by her family, especially her father and sister, respectively. In addition, throughout her life, the Dickinsons hired servants, first Negro and later Irish, some of whom became much more than housekeepers for ED.

My point is that our appreciation of ED's poems can be enhanced by understanding both poetic and historical levels of her sound and sense. We impoverish ourselves if we ignore their historical base.