756.1863.Bereavement in their death to feel

ED’s three alternate words (Line 11) in parentheses

Bereavement in their death to feel
Whom We have never seen –
A Vital Kinsmanship import
Our Soul and theirs – between

For Stranger – Strangers do not mourn –
There be Immortal friends
Whom Death see first – ’tis news of this
That paralyze Ourselves –

Who – vital only to Our Thought –
Such Presence bear away
In dying – ’tis as if Our souls (World – • selves – • Sun -)
Absconded – suddenly –

EDLex defines “import” (Line 3) as “communicate”.
“Who” (Line 9) refers to “friends” (Line 6).
ED’s “souls” (Line 11) sounds better than her alternates.

The poem’s final stanza convinces me that David Preest, Jane Eberwein, and Adam DeGraph (TPB) got close to ED’s intention:

“Jane Donahue Eberwein suggests that this may be another poem referring to the death of Elizabeth Barrett Browning [1806-1861], like poems [F600, F627, & F637]. When Emily hears of Mrs Browning’s death, she is not mourning for a stranger, but for someone she had a soul ‘kinsmanship’ with when she read her poems. Mrs Browning’s ‘vitality’ may only have been present to Emily’s ‘Thought,’ but, when she heard that Mrs Browning had become immortal through death, she was paralysed, for such a ‘Presence’ had left this world that it was almost as though Emily’s own soul had fled.” [Preest 2014,]

David Preest. 2014. ‘Emily Dickinson: Notes on All Her Poems’, p. 217 of 672 pp.

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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.