There is another sky,
Ever serene and fair,
And there is another sunshine,
Though it be darkness there;
Never mind faded forests, Austin,
Never mind silent fields –
Here is a little forest,
Whose leaf is ever green;
Here is a brighter garden,
Where not a frost has been;
In its unfading flowers
I hear the bright bee hum:
Prithee, my brother,
Into my garden come!
“Why do I love” You, Sir?
The Wind does not require the Grass
To answer—Wherefore when He pass
She cannot keep Her place.
Because He knows—and
Do not You—
And We know not—
Enough for Us
The Wisdom it be so—
The Lightning—never asked an Eye
Wherefore it shut—when He was by—
Because He knows it cannot speak—
And reasons not contained—
There be—preferred by Daintier Folk—
The Sunrise—Sire—compelleth Me—
Because He’s Sunrise—and I see—
I love Thee—
This breathtakingly unique and original poem by Emily Dickinson expresses the notion that love cannot be explained (and cannot, must not be justified) by reason or logic. Dickinson was an incredibly innovative poet, ahead of her time; although she lived in the 1800s, the way she writes often reminds me of 20th century poet E.E. Cummings. This piece is a perfect example of that. Notice the way she uses syntax, and punctuation; the characteristic hyphens; all of this breathes uncommon ease and freedom of language.
I adore the opening stanza of this poem. The speech marks indicate the poet is responding to a question: “”Why do I love” You, Sir?” and then that touching, self-contained, almost childish answer: “Because”. A concrete answer is never given, though the simple “Because” is illustrated with examples taken from nature. For example, the wind does not ask the grass for an explanation when it “cannot keep her place” as he blows. “Because he knows”, says Dickinson — again, enigmatically. He knows, presumably, that the grass has no choice but to move as it is moved by the wind.
Another example given is that of the lightning, which “never asked an Eye/ Wherefore it shut – when he was by”. Because he knows the eye cannot speak. And in any case, the reason is “not contained of -/ – of Talk – “. There is no explanation that can be put into words for such a phenomenon.
I find the last verse very touching as the poet employs a final example to illustrate her love. “The Sunrise”, she tells us, wakes her “Because he’s Sunrise”. She is woken by the light, because it is light – because it is itself. “Therefore, then -/ I love Thee”. What a beautiful, simple expression of something that is beyond us.
Of all the souls that stand create
I have elected one.
When sense from spirit files away,
And subterfuge is done;
When that which is and that which was
Apart, intrinsic, stand,
And this brief tragedy of flesh
Is shifted like a sand;
When figures show their royal front
And mists are carved away,—
Behold the atom I preferred
To all the lists of clay!
This is a beautiful love poem by Emily Dickinson. I picked this poem today because it is heroic and bold, and about an enduring, spiritual love.
The phrase that really gets me in this poem is “this brief tragedy of flesh”; I think that is just perfect wording. Dickinson is telling us in this poem that of all the souls on earth, she has chosen only “one”. And when the “subterfuge” of the human guise, and the brief tragedy that is out material life, is “shifted like a sand”; when “mists are carved away” and we pass on to a spiritual realm (i.e. when we die?)… “Behold the atom I preferred/ To all the lists of clay!”
I love the tone of triumph in the final two lines. The word “atom” is interesting, here. I suppose what Dickinson is getting at here is that this spirit, or “soul” is something more than the material shell — the “lists of clay” — and cannot be seen or touched physically. I love the poet’s use of the word “lists” here because it delivers a sense of the physical plain of almost being boring; there are lists and lists of physically beautiful, materially rich people, but she has chosen one “soul” — one “atom” — who is all that she could ever want, even when the material realm has passed away.