868.1864. Fairer through Fading – as the Day

Fairer through Fading — as the Day
Into the Darkness dips away —
Half Her Complexion of the Sun —
Hindering — Haunting — Perishing —

Rallies Her Glow, like a dying Friend —
Teasing with glittering Amend —
Only to aggravate the Dark
Through an expiring — perfect — look —
………………………………………………………………….

My interpretation:

Stanza 1.

Fairer through Fading — as the Day
Into the Darkness dips away —
Half Her Complexion of the Sun —
Hindering — Haunting — Perishing —

S1.

The fading sky grows fairer as day dips into darkness. Half her color is the complexion of the Sun, which hinders her death and haunts us as she perishes.

Stanza 2.

Rallies Her Glow, like a dying Friend —
Teasing with glittering Amend —
Only to aggravate the Dark
Through an expiring — perfect — look —

S2.

Like a dying friend, she rallies her glow, teasing us with glittering gilt, if only to aggravate death with one last perfect complexion as she dies.
…………………………………………………………………..

At times, I’ve noticed sunset give one perfect last complexion as she drops into darkness, and, at times, I’ve noticed sunrise give one perfect first complexion as she rises from the dark. Both moments reaffirm for me that life is worth living. How about you?

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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.