Psalm of the Day

POL

A something in a summer’s day,
As slow her flambeaux burn away,
Which solemnizes me;

A something in a summer’s noon —
An azure depth, a wordless tune,
Transcending ecstasy;

And still within a summer’s night
A something so transporting bright,
I clap my hands to see;

Then veil my too inspecting face,
Lest such a subtle, shimmering grace
Flutter too far for me.

The wizard-fingers never rest,
The purple brook within the breast
Still chafes its narrow bed;
Still rears the East her amber flag,
Guides still the sun along the crag
His caravan of red.

Like flowers that heard the tale of dews,
But never deemed the dripping prize
Awaited their low brows;

Or bees, that thought the summer’s name
Some rumor of delirium
No summer could for them;

Or Arctic creature, dimly stirred
By tropic hint — some travelled bird
Imported to the wood;

Or, wind’s bright signal to the ear,
Making that homely and severe,
Contented, known, before —
The heaven unexpected came,
To lives that thought their worshipping
A too presumptuous psalm.

First print Nature poem XII, 12
Johnson poem 122 | Franklin poem 104

Text compared with the fascicle and prepared for publication by Teresa Pelka, available under any of the following licenses: Creative Commons License 4.0, BY-SA 3.0, and License 2.5.

Thematic arrangement for sunrise depiction; dash alone to expand on thought, semicolon for thematic delineation, cf. Notes, for The Outlet.
Poems, first print by Higginson and Todd, page 82;
Google Drive, manuscript fascicles;
Poems one-by-one print and fascicle comparison,
Resource for Emily Dickinson’s poetry.

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If her skill was taken for supernatural, the world may never have seen her original handwriting. Feel welcome to Poems by Emily Dickinson prepared for print by Teresa Pelka: thematic stanzas, notes on the Greek and Latin inspiration, the correlative with Webster 1828, and the Aristotelian motif, Things perpetual — these are not in time, but in eternity.
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The enclosed piece-by-piece analysis works a criterion to embrace the epsilon, predicate structure, vowel contour, phonemics, person reference in abstract thought, and altogether stylistic coherence. The result supports doubt on fascicle originality. There always is the simple question as well: do we believe Emily Dickinson tried to tell about very exceptional Bees, Ears, or Birds, so peculiar that you write them with capital letters?
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