A Doodle herbarium of The Flowers of Emily: A Fascicle by Lillian Valentine...
Roses
In Emily Dickinson's poem,”Nobody knows this little Rose," the speaker's act of rescuing and presenting the rose to someone carries personal significance, possibly referencing Sue. The imagery of bees, butterflies, birds, and breezes may symbolize individuals in Dickinson's life, evoking emotional connections. This interpretation adds depth to the poem, hinting at the intimacy between the speaker and Sue. Through these subtle allusions and the intimate tone of the poem, Dickinson hints at a deeper connection between the speaker and the rose, suggesting that it serves as a symbol for someone dear to her, such as Sue. This interpretation adds layers of complexity to the poem, inviting readers to delve into the intricacies of Dickinson's personal relationships and the emotional landscape that permeates her poetry.
Daisys
Indian Pipe
Emily Dickinson, affectionately dubbed "Daisy" by her dear Samuel Bowles, a man bound by marriage, shared a poignant moment in 1863. During Bowles' visit to her brother and sister-in-law, she clandestinely passed a pencil across the lawn, beseeching him to sketch a daisy for her, envisioning it "Most as big as I was – When it plucked me." While Dickinson's reclusive nature is well-documented, Judith Farr's acclaimed exploration, The Gardens of Emily Dickinson, delves into a fascinating interpretation of these lines, deeming them "sexually bold" within their context. Farr ventures further, suggesting a correlation between a "sexual awakening" and Dickinson's heightened poetic output in 1858-59, likening her attraction to Bowles to the act of plucking a rose. In the realm of Greek mythology, the "daisy" symbolizes both joy and love, with the added ability to foretell matters of the heart. Dickinson herself grappled with the societal constraints imposed upon women in a male-dominated world, acknowledging, to a degree, the prescribed feminine ideal as evidenced in Poem 161.
Enveloped in the mystique of her persona, Emily Dickinson's affinity for the unusual is exemplified by her fascination with the "Indian pipe," scientifically known as Monotropa uniflora. This curious botanical intrigue may have stemmed from a botanical painting sent to her by Mabel Loomis Todd, adorning the cover of her inaugural published collection of poems, meticulously edited by Todd herself. The Indian pipe, a spectral presence in the realm of flora, belongs to the intriguing category of Mycotrophic wildflowers. This designation derives from 'myco,' denoting fungus, and 'trophic,' signifying feeding, indicative of its often parasitic nature. Native to the eastern reaches of the United States, this ethereal plant finds its home amidst the deep leaf litter of forest floors. Adorned entirely in a pallid hue accented by somber black flecks, its alternate moniker, "Corpse plant," alludes to its macabre allure, making it a fitting candidate for inclusion in a "Gothic" garden, under the right conditions.
Lilacs
Violets
Emily Dickinson composed this poem about lilacs and dedicated it to her beloved nephew, Gib, who tragically passed away at the tender age of eight. Gib held a special place in Emily's heart, and his untimely demise profoundly affected her and the entire Dickinson family. Among the various poems about lilacs that appear in the R.W. Franklin edition of Dickinson's poetry, there exists a citation error in this particular piece. It is erroneously labeled as poem 1547, despite not being designated as such in the collection. Although I have not been able to locate the exact number of this poem, check out this correspondence between Gib and Emily.
The recurring theme of having just missed something evokes memories of outings where someone often remarks, "You should have been here yesterday!" Similarly, the poet reflects on a missed opportunity to encounter ephemeral violets during a walk through the village into the meadow. However, Dickinson may have been referring not only to the violet flower but perhaps more aptly to the Violet-tip butterfly (Polygonia interrogationis), which sports a distinctive lavender hue on its wings and embodies transience as it flits unseen among shrubs. I argue that the butterfly is the likely subject because its active presence in meadows and the effort required to catch it align better with the poem’s themes of effort and missed chances than simply picking a stationary flower. Yet, the poem ultimately focuses on the interplay of chance and choice and how minor decisions can lead us to miss fleeting opportunities.
Daffodils
Carnations
This poem delves into themes of impermanence and questioning, using natural imagery to explore shifts in perception and belief. The first stanza challenges the constancy of foundational elements like hills and the sun, suggesting profound changes in understanding arise only when these constants falter. In the second stanza, the imagery of a daffodil indulging in dew parallels human relationships, where the speaker expresses a desire to similarly absorb the essence of another, reflecting an intention to fully immerse oneself in personal connections or passions. The poem ultimately serves as a philosophical meditation on engaging with the ephemeral and the eternal, highlighting the interplay between nature, choice, and the human condition.
Emily Dickinson's poem contemplates the profound impact of seemingly trivial elements of nature, using a small flower as a symbol for memory and restoration. The opening stanza reflects on how a modest flower can evoke a sense of lost paradise, returning a "little garden" to the lawn, suggesting that even the smallest elements of nature can stir deep emotional recollections. The vivid imagery in the second stanza, where carnations nod "spicy" and bees reel "drunken," along with flutes stealing silver sounds from the trees, enhances the sensory richness of this garden scene. In the final lines, Dickinson suggests that observing this small flower allows one to transcend the mundane, perceiving the divine in nature—represented by "Bobolinks around the throne" and "Dandelions gold." This poem ultimately celebrates the transcendent power of nature to connect us to both cherished memories and sublime visions.
Lily Of the Valley
In the aftermath of his inaugural encounter with Emily Dickinson, T.W. Higginson hastily penned a missive to his wife, eagerly recounting his impressions of the enigmatic poetess. He vividly described her unique manner of introduction: "She came to me with two day lilies which she put in a sort of childlike way into my hand & said ‘These are my introduction’ in a sort frightened breathless childlike voice" (L342). At the time of their meeting, Dickinson was forty years old, lending weight to the sincerity with which she bestowed the lilies as her symbolic introduction. This seemingly innocuous gesture reveals layers of complexity within Dickinson's character, offering a glimpse into her intricate psyche and the nuances of her interactions.