Chapter Three

Versions Uith Chanaes Suaaested / Incorporated

Redaction is seen to be operating in the third ataae of

Dickinaon'a aesthetic transcendence. Poems considered in this

chapter are those with two or more versions. The fair or final

copies of the ten Crisis Poems in this cateaory (See Xppendix 2)

are not entered in the fascicles; their semifinal versions alone

appear there. Besides these, the aroup contains 141 poems (See

Appendix 3). 47 semifinal copies of which bear fascicle versions

1 as well. (See Appendix 6). Accordina to their ataae of

completion, the poems of this cateaory contain 141 fair versions,

103 semifinal copies. and 61 rouah onea.

Verbal and extraverbal chanaea sugaested in one version of a

poem are considered for incorporation in another.

Upon revision, some of the auaaeations are made an intearal

part of the .variant copy- or copies; others are not. There are

also substitutes introduced while fair versions are being dravn

up. Theae are recruited on the vay. and inducted to the position T

of the deleted onea. I n t b i m cm-$!he version of a poem that I\

carries auaaested changes is either rouah or semifinal; the

version that bears incorporated chanaes is a fair one

The substitutee auaaested in the rouah or asmifinal version

of the poem are examined in pursuance of precision in utterance;

fair veraiona are made accordingly. The process involves

selection and/or rejection of the suggested changes, and of the

nevly recruited items to be incorporated. $- 5 eeemg to be quite a

laborious matching work done * Seam by Seam* (P 9 3 7 ) .

The first of the verbal items here is the introduction of

-emeqa uy aue~e33~p Ale~yque eJe meod eq? 30 euoyeJeA on* eq~

eqa 30 axe* eqa 30 q~od sP $1 sJepueJ eq 'poeaeuI .aeod eqa

Aq pease88ne uo~anqyaeqns eqa ea~8 aou seop uoeuqoy -euo Jeael

eqa sen Ados ens eqa aeqa q8noue 300~d sy uoTeJeA elsTs6ej eqq uy

e8ueqs peadepe eq~ -ens oa aU96 sen uo~e~e~ JTe3 8aI 'ay 30 Adoa

on? eqq 30 Apnae eAyaeJedaos e Aq peasJasnllT eq ues 'uoT~J~~~J

uy peAloAuT 'uo~as~od~oau~ /uo~aeeUUns 30 seeso~d eq~

-9~ puo peuTmexe e~e suo~~ee88ns eq~ 30 Ador JT~J e ?no

euo uy seUuoq? peaeeBBns eqa uo sllenp AlaueJedds uosuyysya

'uodn peqanoa oele eJe ZEE pue '6TE '822

uo :., pease~je ey 00% u~eaaed syezueas eq~ -suorae~eale ely yo ye

noqs 'spaon 30 Buyz~syleay / Burull~epun eqq pue 'ey~en eaonb 30

esn eq~ .uoyeTAeJ oqa 8u~~np pesnpoJauy JO 'axe% eqa UT peaeeaBns

uoTanaTa6qnp a 0% Bu~pJosae 'uo~?enqaund pue uoTaezTleaTdea

u~ 6aBueq3 ealo~u~ auea~ IeqJeAeJaxa aqL .pJon pel~esues e 30

UOTa30JJnEeJ 0qa 9q Ue3 'Lllru~d 'EeJnaTaEqnS UeATb 9qJ 8~0me

/. aou 61 qs~qn 'pesnpo~auy eq ues p~on y -uoyaeeBUns

U

eld~alnm e mo~j peaselee eq Lem p~on eqy 'pJon 8u~ana~qsqns L

eqa emoseq ues uo~aeeB8ns lenpTATpuT uv -6e8ueqa p~on-JOJ-p~on

The difference is indicated by the openina lines themselves. The

semifinal copy reads: "He showed me Hiahts I never saw --" whi 1 e

the fair one goes: "I showed her Hiahta she never saw --.- The

variation is almost wholly played by two pronouns. 'he' and 'she'.

The 'he' version refers to Dickinaon's close connection vith her

lover. He has shown her many secrete. Yet she ia not sure of the

permanence of their relationship. The 'she' version speaks of the

poet's attachment for her mister-in-law, Susan Dickinaon. She has

revealel many secrets to Sue. But she has not found a

correapondina affinity in the other.

The fascicle version of the poem ia a renderina of certain

intimate moments in the life of Dickinaon. It certainly is not a

"sort of viah-f~lfillment;"~ it echoes the impact of a real

personal relationehip. It reproduces seven instances from the

poet's conversation with her lover; these strike an erotic note of

a very private nature. Dickinaon could not have been thinkina of

"a personal Jeaua who broke hie life for the make of hereelf. -4

Nor could it have been an imaainary lover, with tho poem as a mere

exercise in describing "the wonders of her mental world. "5 It

aseuredly was a lover with flesh and blood and vill, whoso

"physical desire for her touched off profound sexual

reaervatione. "6 There could be no riddle reaardina the masculine

identity of tho lovor. a problem that ia raieed by the Sue vereion

of tho poon, vhich makes Pattereon conmidor Kate Scott am tho

"reluctant lover."' vith vhon tho poet i. ready to share her life.

One ia inclined to agree vith Shurr that Dickinaon's affair with

Uadeworth is the point in queetion here.' But that iaaue arieaa

only when the copy in Fascicle 16 is considered.

The fascicle version appeare to be an account of a wild night

of the lovers' encounter. The lady is led to new "Highta" (1 1)

of experience. The man shows her "secrets" (1 5) vhich she has

not seen before. Yet she fails to say "Yes"(1 8) to his question

whether she can have him "for a guest" (1 7). Then follows the

performance that "brake His life --" (1 9); it throws light on her

understanding o !i the situation. The light glows "The steadier" n

(1 11) on her face. So much so, that she can never say *Now (1 12)

to his query. She could do nothing but surrender to his will.

A substitution is advanced at the foot, of the fascicle

version of the poem, the only one of its kind here. It is

suggested that "steadier " be replaced by 'larger --." in line 11. ?he verbal part of the suggestion is accepted in the Sue copy but

not the extraverbal dash. The comma after "steadier" is retained

in the fair' version. 'crisis Poema 322, 332, and 333 also

illustrate how the auggeated changes in their semifinal versione

are only partly accepted in their fair ones.9 Poems 319 and 327

of the Crisis Period shov the full acceptance of both the verbal

and extraverbal items suggested. lo Suggested changee are reJected

in Crisis Poems 325 and 328. 11

In the Sue copy of Poem 446, "larger" becomee the reading of

the text. The idea of the light gloving larger incorporates that

of the light gloving eteadier. There ie something more to the

former reading. It giver, the eense of an ever grow in^ awarenees

vhich "steadier" could not yield. Hence the propriety of the

subetitution. It accounts for a more precise telling of the truth.

It ia not always that Dickinaon replaces an adjective or

adverb with another of the aame degree of comparison though she

does it in Poem 319, where the superlative "maddest." in the first

line of the semifinal copy, is substituted by the superlative

"nearest." of the fair copy, in accordance with the suggested

change in the former veraion. It can also be a superlative

recruited for the comparative, as "Antiquer" of the aemifinal

becomes "Antiquest" of the fair, according to the suggestion in

the former. Dickinaon often rejecte subatitutea of the eame

degree. "Uhiter." the auggeated change for "Cooler', ia rejected

in Poem 670. The aame ia the fate of "closer" for "nearer", in

Poem 1229.

It ia more than mere dallying with the degreea of qualifiere

and modifier6 for Dickinaon to advance the poeitive for the

comparative . ( Poem 12291 or the superlative ( Poem 1067). the

comparative for the positive ( Poem 1071). or the auperlative for

the poaitive ( Poem 1397). Theae exerciaee in composition form

a alant approach to the poet'e purauit of precision. Thy are to

aecertain the quantum required of a noun'e qualification, or a

verb'a modificzation.

'Steadier' and 'larger' are more or leaa aynonymoua though

the latter gaina advantage. in the context of Poem 446. It calla

for a acrutiniaing eye to make effective uae of a auggeated

equivalent. One ham to dwell at length on the ahadea and nuance8

of meaning bafore the alternativa ie accepted or rejected. Thie

kind of parrying with auggeated 8ynonyma and equivalent8 can ba

noticed aa aemifinala become fair veraione. in Criai8 Poema 319,

92

322. 332, and 333. In Poems 319 and 332, such suggestions are

accepted; and in the other tvo, they are rejected, on redaction. 12

The Sue copy of Poem 446 is quite remarkable for the

transformation effected by a change in pronouns. "He" of the

semifinal version is replaced by "I" of the fair one; and "I" of

the former by "She" of the latter. This naturally' calls for

alterations according to differences in gender and case. Thus "He

shoved me Highta I never saw --" is rendered anew as "I shoved her

Hights she never saw --." This process of pronominal aubatitution is sustained throughout the process of redaction.Thet-e are no

further changes of the verbal kind involved here.

Crisis Poena 319 and 327 illuatrate hov verbal changes of the

above kind are introduced in addition to the suggested ones while

the semifinal version of a poem ia being rendered fair. l3 Poems

332 and 333 of the Crisis Period show newly inducted changea being

added to a part-selection wf the substitutes already advanced in a

rough or semifinal draft. l4 Crisis Poems 310. 325, and 328

testify to the introduction of subatitutea which are incorporated

vhile the suggested changes are rejected. 15

Poem 328. "A Bird came dovn the Walk -." shovs hov redaction

relies entirely on the tvo comparatively minor verbal items in

order to transform its semifinal version to a fair one. It

involves rejection of the tvo suggested changes in the semifinal

text, and incorporation of a vord that is introduced during the

reviaion.

The poem ia about Dickinaon'a encounter vith a bird in the

garden. She sees him eating an anglevorm "rav* (1 4 ) . Then he

d r i n k a a dew from a conven ien t g r a s s , and hopa s i d e w i s e t o t h e

wa l l t o avo id a b e e t l e . A t t h e s i g h t of t h e poe t h e aenaes d a n g e r .

and c a u t i o u s l y f l e e a from t h e p l a c e .

Uhen t h e a e m i f i n a l copy o f t h e poem is r ende red f a i r , two

v e r b a l , and one e x t r a v e r b a l , i tema e r e s e e n t o be g i v e n due

cona ide r a t i on . The p r o c e s s invo lvea t v o a a p e c t a . One i a concerned

w i t h t h e r e j e c t i o n of t h e s u b s t i t u t e s advanced i n t h e f a a c i c l e

ve r a ion . The o t h e r i a A ~ F S W ~ t h e i n t r o d u c t i o n of a word t h a t is

r e c r u i t e d on t h e way t o t h e f i n a l a t a g e of t h e poem. The r e j e c t i o n

and a l t e r a t i o n appear t o be more e f f e c t i v e i n t h e t e l l i n g of t h e

t r u t h .

The q u e a t i o n o f r e j e c t i o n touchea t h e t h i r d l i n e : *He b i t a n

Angleworm i n h a l v e a . " The s e m i f i n a l o f f e r a *shook--* f o r

a u b a t i t u t i n g " b i t " . The poe t muat have s p e c u l a t e d on t h e

possibility of t h e r e d a c t e d l i n e : "He shook-- an Angleworm i n 1

ha lvea . " The p i c t u r e would have been t h a t t h e mighty b i r d g i v e a a

s t unn ing ' ahake ' t o t h e t r emb l ing vorm. The i d e a of t h e whole

t e r r i f y i n g s i t u a t i o n i a caught i n t h e word "ahook--". The d a e h

t h a t fo l lowa t h e word cou ld make t h e r e a d e r pauae a f t e r i t ,

dwel l ing on i t a c o n t e x t u a l poignancy. Thia e x t r a v e r b a l i t em cou ld

t h u s be i n d i e p e n a a b l e t o t h e v e r b a l element auggea ted .

But t h e r e w a s a r u b . The b i r d cou ld aimply n o t ahake t h e worm

" i n h a l v e a , " u n l e a a t h e two ha lvea of t h e b i t t e n vorm were ahaken

s e p a r a t e l y . I t would be a t r e t c h i n g t h e metaphor t o o far. Tho

" b i t " of t h e e e m i f i n a l v e r a i o n ha s . t h e r e f o r e . t o be r o t a i n e d i n

t h e f a i r as w e l l . I t goes p e r f e c t l y w i t h t h e b i r d ' s ' h a l v i n e *

work. The ' b i t i n g ' p a r t of t h e a c t ahould form one u n i t ---)

9 1

vith the rest of the line. These should necessarily be cast in one

unbroken line of utterance. The suggested dash would of fend the

harmonious combination.

The third line of the poem, therefore. remains as it is.

Hence the efficacy of the rejection of the tvo verbal and

extraverbal items while the poems is redacted.

The alteration introduced upon revision occurs in line 10.

The poet narrates how the bird "glanced vith rapid eyes" (1 9).

and hov those eyes "looked like frightened Beads* (1 11).

The semifinal version of line 10 reads : "That hurried all

abroad -- ." "That." here, refers to the bird's eyes. In the fair

version, the line becomes : "That hurried all around -- . " The

"abroad" at the end of the line has been replaced by the fair

"around". No other change takes place in the poem. Even the dash

at the end of line 10 remains untouched. The fascicle reading

demonstrates that the birh is merely glancing 'abroad'. meaning.

'in different directions' . 'Abroad' is too general a vord for

expreseing the combined association of the verb "hurried", and of

the adjectives "rapid" and "frightened". It leans too heavily on

its fellov adverb. "all", vhich indicates the different directions

in vhich the bird's eyes travel.

The beaded balls of the eyes did not Just go 'in difhrent

directions'; they indeed vent 'on every side', 'all round'.

'Around' is capable of capturing the pracisa detail of the poet's

perception of the birdv. feeling of "one in danger" (1 13). It

doaa not at all have to rely on "4l,1," for further modification. Aa

a matter of fact. it renders "all" redundant. irrelevant.

Therefore. "around" is the only adverb for the nonce.

The alteration int-roduced upon the redaction of the u

semifinal copy of Poem 328 ia aa relevant as the rejection of the

suaaested changes there.

I f the 'she' of the fair veraion of Poem 446 refers to Sue

herself the piece can be, aa Sewall says, a summine up of Emily

Dickinaon'a relationship with her aister-in-law. l6 The poet could

be employing the third peraon instead of the aecond while

addressina her brother's wife. Yet one shall doubt the purpose of

the pronoun thouah one may not necessarily approve of Patterson's

view on the matter. It could be that Dickinson is turninp out the

fair veraion of the poem auardinp the identity of her lover. In

that case, the pronominal disauise would be doina her a aood turn

indeed.

The poem must go to Sue, as many others did, for the much 7

desired appreciation and evaluation. It obviously was not to

speak out clearly on thinas passionately peraonal. The fair copy

was desipned for an aesthetic appraisal. Sue havinp been the

poet's beat of readers tried and tested. How Dickinson laboured

at the exercise in variation on "Safe in their Alabaster Chambers

__" (P 216) to please her aiater-in-law's palate is enouah

evidence of the poet's faith in her judaement. l7 However. Sue's

response to Poem 446 is not available. The 'She' of the piece

must remain unidentified until further proof is obtained.

The redaction of Poem 322, "There came a Day at Summer's

full." indicates the importance of cancellation / restoration in

Dickinson's aesthetic . The poem recalls the unusual experience

of a day i n summer. D ick inson f e e l s b l e s s e d t o have had t h a t day

e n t l r e l y f o r h e r . The s u n , t h e f l o w e r s and e v e r y t h i n g e l s e i n

n a t u r e appea red a s u s u a l . The p o e t a l o n e e x p e r i e n c e s t h e

d i f f e r e n c e because i t is h e r day of m a r r i a g e . But i t is a

c l a n d e s t i n e a f f a i r . T h e r e f o r e t h e c o o l e a r e n o t l i k e l y t o e n J o y V

l a s t i n g n u p t i a l b l i s s on e a r t h . The p o e t r e s t s a s s u r e d t h a t t h e y

s h a l l l i v e t o g e t h e r i n heaven. neanwhi l e s h e w i l l have t o go

t h r o u g h c a l v a r i e s of l o v e .

Uords c r o s s e d o u t i n t h e t e x t of t h e poem's s e m i f i n a l copy

a r e r e s u r r e c t e d i n t h a t of t h e f a i r . But t h e c a n c e l l e d v e r b a l i t e m

s e l e c t e d f o r one f a i r copy is r e J e c t e d i n a n o t h e r . The p a r t l y

c r o s s e d o u t l i n e 7 of t h e s e m i f i n a l r e a d s : " While o u r two a o u l a

t h a t S o l s t i c e p a s s e d --," of which a l l worde e x c e p t t h e l a s t two

a t a n d c a n c e l l e d . 1 8

The c a n c e l l a t i o n h a s a p p a r e n t l y been t o t o n e down t h e

i n t e n s i t y of t h e p e r s o n a 1 , i n t h e words c r o s s e d o u t . The s u g g e s t e d

r e a d i n g of "Aa i f no s o u l t h e " f o r t h e c a n c e l l e d p o r t i o n i a

a c c e p t e d i n t h e f i r a t f a i r v e r a i o n : " A s i f no a o u l t h e a o l a t i c e

p a s s e d " , as i n t h e c a s e of t h e f i r s t f a i r v e r s i o n of Poem 2 2 8 . 1 9

The two e x t r a v e r b a l changea i n t r o d u c e d on r e d a c t i o n . i n Poem

3 2 2 , a r e t h e l o s s of t h e c a p i t a l t o " S o l a t i c e " (1 7 ) . and t h e

removal of t h e d a a h at t h e end of t h e l i n e . I n t h e aecond f a i r

v e r s i o n , t h e c a n c e l l e d " t h a t . " i n t h e midd le of t h e l i n e , is

r e a u r r e c t e d i n u s e . S o is t h e dash a t t h e end o f l i n e 7 . T h i s

p r o c e s s i8 a l s o a t v o r k i n t h e t h i r d and f o u r t h v e r s i o n s o f Poem

2 2 8 . 2 0 Thus remade. l i n e 7 of t h e aecond f a i r v e r s i o n of t h e

Poem 322 r e a d s . " A s i f no s o u l -- t h a t s o l s t i c e paased --." A

dash is introduced to halve the line for a caesura. The

decapitalized "soletice" of the first fair version la retained in

the second.

The crossed - out "Which: of line B t 1 8 ignored in preference

for the suggested "That." in the first fair version of Poem 322.

"Which" Is re-employed in the second fair veraion. The

cancellation of "falling" (1 10) is approved in the first fair

version. accepting "symbol," the second of the auggested chanpea.

But in the second fair version "falling" rises in glory. The

first of the subatitutea. "figure," is crossed out, a pattern

found also in Poema 1260 and 1626. Cancellation of augpested

changea followed by reatoration in fair copiea of the original

reading is to be noted in Poema 1561 and 1620. But "failed." the

aubatitute for "leaked" (1 21). fails to find a place in neither

of the fair copies of Poem 322. On the other hand. tho cancelled

is reatored tp power on rqdaction.

The extraverbal alterations introduced in the fair version of

Poem 446 alao indicate Dickinaon'a procesa of redaction. Theae

have not been suggeated in the semifinal copy but added even ae

the fair one is made. They are of considerable importance to the

verae.

Capitalization ia uaed in order to attract the reader'a eye to

the importance of the words which ought to begin with small

lettera. Thia extraverbal item powerfully operates in the

redaction of poema. As a reault, certain words pain in maJuecule

as certain othera lose their capital. Some of them are registered

along with the suggested changes while othera are incorporated

when the fair veraions are being made.

Uhen the aemifinal version of Poem 446 is rendered fair,

three words become capitalized. and three others have thelr

capitals taken away from them. Accordingly. there ia a shift in

emphasis, or rather in the shaping of right emphasis.

The idea of a solemn light, referred to in line'lO of the

poem, is introduced by the expression "-- and lo." in the

fascicle copy; it becomes " -- And Lo." in the Sue veraion. Uhen

the words are capitalized they draw more attention. They, in

turn, lead the reader's eye with deeper intereat to what follows

in the next line. The third and fourth worda to obtain

capitalization are "secrets" and "neat," in line 5. These gains in

majuscule are not suggested in the semifinal copy of the poem;

they are incorporated in the fair version. In Crisis Poem 310, a

gain in capitalization is part of the substitution advanced, to be

accepted on redaction. 2 1 . Llne 9 recorda two loaees in capitalization vhen the fair

copy of poem 446 is made. The semifinal reading of "Hie Life --"

becomea "my life - - As a matter of fact, a transference of

majueculea ia what takee place in thia line. The capitale of "Hie

Life --" are shifted on to the two words that follov immediately

after " -- and lo." If "-- my life --" were avarded a pair of

majuaculea there could be too much of capitalization in the line.

It would adveraely affect the magnified stature of '-- And Lo" of

the fair version. The capital losses of "His Life --" are amone

the auggeated changes given in the eemifinrl copy of the poem.

quite unlike the loaa advanced in the case of Poem 332. 2 2

Dickinson'a dashes have a d e c i s i v e r o l e i n t h e p r o c e s s of

r edac t ion . They e f f e c t a a l a n t towarda p r e c i a e expreea ion v h i c h

t h e r e g u l a r manner of punc tua t ion cannot r e p r e s e n t . Uhen, i n moat

c a s e s , s e m i f i n a l c o p i e s a r e made f a i r , t h e r e is a g r e a t e r supp ly

of daahes i n t h e poema. These a r e auggeated among t h e a u b s t i t u t e a *

t o be chosen o r ignored , o r inducted f o r i n c o r p o r a t i o n wh i l e t h e

f a i r v e r s i o n s a r e be ing processed. The a e m i f i n a l and f a i r c o p i e s

of Poem 4 4 6 . however. con ta in 1 2 daahea each. 23 In r e d a c t i o n

t h r e e daehea a r e a u b a t i t u t e d f o r two commas and a pe r iod ; t h - e e

o t h e r s a r e d i ap l aced by t h r e e commas.

Line 3 makea anaver t o t h e f i r a t of t h e t h r e e quea t iona

aaked i n t h e poem. I t s f a s c i c l e ve r s ion reada a s " I a a i d 'Not

' . The comma i n t h e former u t t e r a n c e e p e l l a a pauae. and t h e &a

per iod W a i g n i f i e a no th ing l e a a than f i n a l i t y . In t h e l a t t e r .

t h e daahea a p p a r e n t l y pa ren thea i ze '-- Not s o --." The i d e a t i o n a l

structure and t h e t o n a l e'hape of t h e l i n e demanda a pause a f t e r

"aaid. ' The f i r a t daah i n t h e l i n e of t h e Sue copy a t anda f o r

t h a t pauee; t h e second muat a l a o r ep reaen t a pauae. But t h e aecond

daah aaau red ly denotea a longer pauae, vh i ch ahova t h a t l i n e 4 is

g e t t i n g ready wi th t h e second quea t ion r a i s e d i n t h e poem. The

aecond daah defenda t h e conversa t ion a f t e r r each ing an ab rup t end

wi th t h e n e g a t i v e r e p l y t o t h e f i r a t quea t ion . The pe r iod . on t h e

c o n t r a r y , could as we l l mean t h e end of i t . The daah meemm t o

c a r r y t h e d i a logue on.

The comma a f t e r 'nov' (1 7 ) . i n t h e memif inal , -* '1

a daah i n t h e f a i r copy. The pauae engendered by t h e comma i a

aimply no t enough. The "nov'"of t h e Sue v e r e i o n m u n d e r l i n e d .

and, therefore, emphasized. The stress here ia obviously in

addition to that offered by the iambic measure of the line. The

chronemic nature of so accentually enriched a monosyllabic word

requirea a duration and a pauae certainly longer than that can be

afforded by a comma. A dash alone can do it. The third question

"Uould'at have me for a Gueat?" accrues greater attention of the

reader when it ia introduced by a dash.

The incorporation of three additional daahea in the fair copy

of the poem is not baaed on the substitution suggeeted in the

aemifinal copy. Dickinaon suggests a dash aa a aubatitute for the

comma after *ateadierW in line 11. It is probably becauae "larger # _ _ , * the dieplacing word advanced in the faacicle copy. ia

followed by a daeh. But the auggeated dash ia rejected. The

comma of the aemifinal copy ia retained in the fair. Thua the

verbal item in the auggeated aubatitution ie accepted but not the

extraverbal 6ne. Likewide, in Crisia Poems 328 and 332. daahea

are advanced along with other verbal and extraverbal changea. 24

Replacing daahea with other marks of punctuation provee that

Dickinaon ia not juat casual or carelesa in doling them out. It

ia part of her studied way of poetic redaction. In linea 2. 9,

Y and 10, of Poem 4p6, there are three instancee of daahea in the

It

aemifinal being displaced by commas in the fair copy. The

fascicle reading of " ' Uould'at Climb' -- He aaid?" (line 2 ) on

becomea the Sue veraion of " 'Uould'at Climb,' I aaid?" -fn 4

redaction. Dickinaon aeema to have realized that the pauae before

"1 aaid" require. only a ahorter duration. It apparently ia

ahorter than the duration required for the pauae between "She aaid

--" and " 'Not s o ' --" I

i n l i n e 3. Ev iden t ly , a d a s h wo

i n d i c a t e a l onee r d u r a t i o n t han a comma does . Hence t h e comma

t h a t s u b s t i t u t e s t h e dash i n l i n e 2 . This is q u i t e c o n t r a r y t o

t h e e x t r a v e r b a l chanees i n l i n e 3.

The q u e s t i o n of d u r a t i o n of pauses a l s o de t e rmines t h e

removal of dashes i n l i n e s 9 and 10. The p roces s is a t work i n

Poem 333 a s w e l l . 2 5 I n l i n e 16 of t h e poem Dickineon s e e k s t o

s u b e t i t u t e "Amulets of P ine --" wi th "Spikenards p e r i e h i n e - - . w ' ~

I

g. t h e poe t is concerned t o t h e p o i n t of t h e l e a a t d e t a i l m,

of compoeit ion. Such i s t h e conscious e f f o r t invo lved i n

Dickineon'e e t y l e . 2 7

The Sue copy of Poem 446 showa a chanee i n t h e u se of quo te

marks. In t h e f a e c i c l e copy, t h e i n v e r t e d commas seem t o s i e n i f y

a d i r e c t r e n d e r i n e of a p i e c e of conve r sa t i on . They a r e adapted

i n t h e fa i r v e r s i o n t o e i v e t o c e r t a i n s e l e c t words s p e c i a l

importance ai, v e l l . sZine t h u s a e t o f f from t h e r e e t of t h e

u t t e r a n c e , t h e quoted i teme can c a t c h more a t t e n t i o n of t h e

r e a d e r . Linee 4 , 7 . and 8 ehow chaneee of t h i a k i n d .

Line 4 of t h e s e m i f i n a l v e r s i o n of t h e poem is " ' U i t h mes--

He e a i d -- 'U i th me?' " In t h e f a i r copy. i t becomea, " 'U i th m e

- - ' I e a i d -- Uith me?" The r epea t ed "-- Uith me?" i e n o t awarded

quote marka. Thie t y p e of e x t r a v e r b a l loea t a k e a p l a c e a l e o i n

C r i a i e Poeme 322 and 325. With t h e removal of i n v e r t e d commae rn

from t h e r e p e a t e d p o r t i o n , t h e f i r a t ' 'U i th s' ' g e t 8 UWI 'h

a t t e n t i o n of t h e r e a d e r . The r e p e t i t i o n of t h e q u o t e marke could

be o u t of eeaeon e i n c e t h e expreaaion i a r e i t e r a t e d ve rba t im .

Line 7 of t h e f a e c i c l e copy r eads : " 'And nov, Uould 'e t have

102

me for a guest?' " The Sue version is shaped aa "And now -- 'Uould'st have me for a Guest?' " The initial "And now" of the

semifinal copy loses some of its significance in the fair. Thie

is warranted for both by the comma after it, and by the

capitalization of "Uould'st." The question proper begins with

"Uould'st," and not at the beginning of the line.>. The

conjunction ("And") and the adverb ("now") are not essential to

the question itself. Theae have their place in the poem, though,

carrying the utterance logically on to "And then --; of line 9.

The question catches more attention in the Sue version as the

quote marka are placed two words after the line has begun.

Beaidea it is preceded by a dash which ia more prominent than a

comma, to aet off two portiona of a line one from the other.

Poema 322 and 325 also give instances of such introduction of

quote marks when semifinal versions are made fair. 29 A shift in

emphasis accbunts for the introduction / removal of inverted

commas.

Linea 4 and 7 of the Sue veraion of Poem 446 illuatrate the

gain in, and loaa of, quote marks for shaping the right emphasis

in expression. Line 8 sheds the mign of direct epeech without

restoring the same anywhere else. The fascicle reading is "I

could not find my 'Yes' --" vhile the Sue copy has it as "She

could not find her Yea --." Obviously, the "Yea" is not spoken;

either it hae been etilled before the l ip . could ahape it, or the

speaker could not dwell on it at all. Thie particle of speech

becomes a powerful noun h e r even ae nacbeth umea the

interJection 'Amen' ae a noun. 30 Probably. Dickineon 1 earned f roa

the Bard this art of grammatical converaion. The quote marka for

the vord in the semifial copy of the poem must only have been to

draw the reader's attention. and not to give a conversational

appearance to it. In the fair copy, the poet therefore unquote8

it. It is partly to get closer to the truth of the dialogue

representing the backbone of the poem. It ia alao deaigned to

serve as a finer contraat to the final "No" of the poem; thia

concluding vord of the piece la placed vithin inverted commaa in

order to emphaaize the inability of the "I" of the fascicle copy.

or of the "She" of the Sue copy, to pronounce a negative reply to

the question made in line 7.

Redaction in Dickinson's aesthetic involvea the underlining /

italicizing of vorda. The laat line of Poem 446. in the aemiflnal

veraion ia vorded aa "And could I further 'No'? " 31 In the fair

veraion, it becomea "And could she, further. 'No'? " The elliptic

conatruction of it finds ita logic in line 8. The rhetorical

question eatabliahes that a 'No' could not be found at all. The

idea of it is more emphatically repreaented when "could" la

underlined or italicized. Thia ia in addition to the atreaa that

the iambic meaaure afforda to the otherwise unatreaaed helping

verb. Lines 4 and 7 bear proof of a aimilar extraverbal method

of accentuation.

Poem 322 (firat and third veraiona) illuatratea how Dickinaon

introduces or removea underlining / italicizing of vorda in order

to get at a more preciae telling of thinga in the proceaa of

redaction. 32 Poema 322 and 332 offer auggeated vorda vhich are

underlined, shoving the poet'a preference for the item or the

necessity to replace the un-underlined e ~ p r e s s i o n . ~ ~ Underlining

a suggestion, hovever, is no sure sign of ite being accepted on

redaction. In the rough copy of Poem 461, there is only one vord

advanced for substitution, and it is underlined / italicized; but

It is rejected in both of the fair versions.

The force of this method is undeniably emphasiebd in the b

redaction of Poem 322. In line 10 of the semifinal copy.

"falling" is croeeed out; "figure" and "symbol" are advanced as

substitutee, the aecond of vhich is selected in the first fair

version of the poem. The first of the euggested changes is

cancelled vhile the second etande doubly underlined, ae reproduced

in Franklin. 3 4 The preference ie made clear, strongly and

undoubtably, by the second of the linee belov the vord having been

drawn thicker than the one immediately under it. This

significance of underlining is vholly loat in Johnson's ayetem of

the merely italic represen'tation of the word.

There is an obvious change in the stanzaic pattern.

Introduced in the Sue version of Poem 446. Similar changes are

seen to occur vhen the semifinal versions of Criaia Poema 228.

310. 319 and 332 are rendered fair. 3 5 The fascicle copy of Poem

446 1s caat in three quatrains; the other is laid out as one,

undivided body of 1 inea. 3 6

Thle feature of redaction gives to the fair version an

appearance of a more unified utterance.. The line arrangement of

the poem, and the vord organization within linea themselves,

remain unaffected when the eeaifinal veraion becomea fair. aa in

the came of Poem 310. 37 A rearrangement of linea takea place even

aa the stanzas are turned to a body of linee On the redaction of

Poenp228 and 322. 38 The stanzaic pattern of the semifinal of Poem

319 is changed, along vith a reordering of linea in stanzas 2. 3,

and 4, vhen the fair version is made though not into a single unit

of 1 ines. 39 The length of Poems 228 and 319 is reduced, along

vith reorganization of linee, vhen their semifinal versions turn

fair. Poem 319 undergoes a reduction in the number of stanzas

as vell. 41 The procees of redaction doe6 not affect the length of

Poem 446.

Redaction of versions vith changee suggested / incorporated

is found to be a matching vork baeed on the selection and / or

rejection of verbal and extraverbal items.

The verbal subetitution ia made vord-for-vord, from

'd individual aRd multiple suggeetiona. A word can aleo be newly

n

introduced. A cancelled vord can be resurrected in use. The

choice of vorde often ia 'betveen equivalents and contraries. An

adjective or an adverb ie displaced by another, usually in the

eame degree of comparieon. At timee. a auggeetion in the eame

degree ie seen reJected. Occasionally, the euperlative ie

installed in place of the comparative or poeitive; the comparative

Instead of the positive; and the poeitive in lieu of the

euperlative or comparative. A pronoun may be dieplaced by

another, involving a change in persone and numbers.

Five extraverbal element. hava been idantified hera an

playing an important ~ 0 1 9 in redaction. Capitala are introduced.

or removed. in accordance vith the required change in the

eignificance of utterance. They follow the poet's veighing and

considering the details of expression. There is a greater supply

of dashes vhen a semifinal is turned fair. Perioda and commaa

often give way to dashes. More quote marks are introduced upon

revision. They grant special distinction to select vords. They

also effect the conversational tone vithout a rendering in direct

speech. The choice or rejection of the underlining / .italicizing

of vords is found to be for shaping the right emphasis in

expression. Redaction brings about changes in the stanzaic

pattern of the verse. A lyric of two or more stanzas is

frequently made one, undivided body of lines, vith or

a vithout the attendlnt reordering of vords in lines. or of lines

A

themselves. This makea the poem appear aa a unified whole.

Redaction thua provea to be a alant method of aesthetic

tranacendence in Dickinaon. It aurpaaaea the limits of the lyric

mode by revising the text of a poem. It ahova how the poet

atrivea for an effective telling of the truth. She speculates on

the selection and /or reJection of verbal and extraverbal

materiala of versification, vith a view to arriving at a more

powerful utterance. Accordingly, the rough copy of a poem becomes

semifinal; then it turna fair. The proceaa indicates Dickinaon'a

efforta at imparting a aense of finality to the verse. The

reproduction of the fair text of a poem indicatea that auch

finality is often a diatant reality.

The alant method of duplication ia found to be operating in

the next atage of Dickineon's process of tranacendence. This is

vitnessed by the variants vith changes incorporated. No version

of a poem of this category carries any suggested change for

107

substitution. But its variant copy/copies can bear record of verbal

and extraverbal alterations. These changes are introduced when

the poem is being reproduced.

Not ea

1. The fascicles carry the fair veraiona of four of them:- Poema

6 , 2 9 . 4 6 1 , and 9 8 2 . Two copies of Poem 2 6 9 are found here; one

of them is fair, and the other is semifinal. The rest of the 3 6

semifinals in the fascicles are:- Poems 8 4 . 8 5 , 2 1 7 . 2 2 3 , 2 8 4 .

3 0 2 , 3 0 6 , 3 0 7 , 3 1 1 , 3 1 2 . 3 1 5 , 3 1 6 , 3 1 7 , 3 2 1 , 3 2 9 , 3 6 5 . 5 3 3 . 6 0 9 ,

8 7 6 . 9 9 3 , 1 0 6 7 . 1 0 7 6 . and 1 1 4 2

2 . Johnson. The Poema, I , 3 4 6

3 . tl L.Rosentha1 and Sally R.Gal1, The Rodern Poetic Sequence:The

Geniua of nodern Poetry (NY : OUP, 1 9 8 3 ) 7 2 .

4 , Hiller. The Poetry of Emily Dickinaon. 2 8 1 .

5. Patteraon, The Riddle , 1 2 1 .

6 . Cody, hftar Great Pain, 3 7 1 .

7 . Patteraon. The Riddle . 1 2 1 .

8 . Shurr, The tlarriage . 8 3 .

9. The other piecea of ;his kind are Poema 2 1 7 . 3 0 2 , 3 0 3 . 3 0 6 .

3 1 1 , 3 1 2 . 3 1 3 . 3 2 1 , 3 2 9 . 4 9 1 . 6 0 9 , 6 6 7 . 6 7 2 . 6 7 4 . 7 1 6 . 7 9 2 (fair

veraion), 8 2 1 (fourth veraion), 8 7 6 , 9 8 2 (f irat version). 9919

1 5 3 0 , 1 5 3 8 , 1 5 4 5 . 1 5 6 1 . and 1 5 6 8 .

1 0 . Poema 8 4 , 8 5 , 2 2 3 . 2 8 4 . 3 1 5 , 3 6 5 , 9 0 1 , 1 0 6 8 , 1 0 6 9 , 1 0 7 6 .

1 1 0 4 . 1 1 8 7 , 1 2 5 8 . 1 3 3 9 . , 1 4 0 6 . and 1 5 4 0 also belong to thim group.

11. The rejection of suggested changes is also evident in Poems

2 2 8 , 3 0 7 , 3 1 6 , 3 1 7 . 4 6 1 , 6 6 8 , 6 6 9 . 6 7 9 . 6 8 1 . 6 8 9 , 7 9 2 (third

version), 7 9 4 , 8 2 1 , 9 9 3 , 9 9 4 , 1 0 6 7 (first and second vereiona),

1 0 7 1 , 1 1 0 5 . 1 1 7 7 , 1 2 1 1 . 1 2 3 2 , 1 2 5 4 . 1 2 5 5 . 1 2 5 9 . 1 3 4 6 . 1 3 5 5 , 1 3 5 7 ,

1 3 9 7 , 1 4 0 5 , 1 4 3 3 , 1 4 6 3 , 1 4 6 9 . 147 '7 , 1 5 0 9 , 1 5 8 6 , 1 6 2 0 , 1 6 2 2 , and

1 6 2 8 .

1 2 . Other instances of equivalents being accepted d n redaction

-lQn are in Poems 2 2 3 , 2 2 9 , 2 8 4 , 3 0 2 , 3 1 1 , 312, 3 1 3 , 3 1 5 ,

3 2 1 , 3 2 9 , 3 6 5 , 4 9 1 , 609. 6 7 2 . 674. 716, 7 9 2 . 9 0 1 , 9 8 2 . 9 9 1 . 1 0 6 8 ,

1 0 6 9 . 1 0 7 6 . 1 1 0 4 , 1 1 4 2 , 1 1 6 5 , 1 2 0 7 , 1 2 0 9 , 1 2 1 7 , 1 2 2 9 , 1 2 3 2 , 1 2 5 8 .

1 2 6 0 , 1 2 6 5 , 1 3 3 9 , 1 3 9 3 , 1 3 9 5 , 1 3 9 8 , 1 4 0 4 , 1 4 0 7 , 1 4 0 9 . 1437, 1 4 7 3 ,

1 4 9 0 . 1 5 1 4 . 1 5 3 8 , 1 5 4 0 , 1 5 4 5 , 1 4 6 1 , and 1568.

Inetancea of equivalents being rejected occur in Poems 2 1 7 ,

2 6 9 . 2 8 6 . 3 0 7 , 312, 3 1 6 , 3 1 7 , 5 2 3 , 609. 6 6 7 , 6 6 8 , 6 6 9 , 6 7 0 . -* 6 7 4

6 7 9 . 6 8 1 . 6 8 9 , 716. 7 9 4 , 8 2 1 , 991. 9 9 3 , 1 0 6 7 , 1 0 7 1 , 1 1 0 5 , 1142.

1 1 6 5 , 1 2 0 7 . 1 2 0 9 . 1 2 1 1 , 1 2 1 7 , 1 2 2 9 , 1 2 5 4 , 1 2 5 5 , 1 2 6 0 . 1 2 6 5 . 1 2 8 2 ,

1 2 9 8 , 1 3 3 4 , 1 3 5 3 , 1 3 5 5 , 1 3 7 3 , 1 3 9 3 , 1 3 9 5 , 1 3 9 7 , 1 3 9 8 , 1 4 0 4 , 1 4 0 5 ,

1407. 1 4 3 3 , 1437, 1 4 6 3 . 14'69. 1 4 7 7 . 1490. 1 5 0 9 , 1 5 1 0 . w. 1 5 2 6 .

1 5 3 0 , - 1 5 3 8 , - P 1 5 4 5 - 0 1 5 6 1 1568. 1 5 8 6 . and 1 6 2 3 .

The poeme underlined belong to both of the categories.

1 3 . Further illuetratione of the kind are to be noted in Poeme

J 2 2 3 . 2 8 4 . 3 1 5 , 3 6 5 . 9 0 1 , 1 0 6 8 (firat, third, and fourth version!,

1 0 6 7 (first and second veraiona), 1 1 0 4 (firat and third vereione).

1 1 8 7 . 1 2 5 8 . 1 3 3 9 . 1 4 0 6 , 1 5 4 0 , and 1 6 2 6 .

1 4 . Other pieces of the group are Poeme 2 1 7 . 3 0 2 . 3 0 3 . 3 0 6 . 3 1 1

(firet and eecond vereiona). 3 1 2 , 3 1 3 , - 321 . 3 2 9 , 4 9 1 . 6 0 9 , 6 6 7 ,

6 7 2 , 6 7 4 , 7 1 6 . 7 9 2 (firet vereion). 9 9 1 . 1 1 1 4 . 1 1 4 2 . 1 1 6 5 , 1 1 8 2 .

1 1 8 4 . 1 2 0 7 , 1 2 0 9 , 1 2 2 9 , 1 2 5 6 . 1 2 6 0 , 1 2 6 5 . 1 2 7 7 . 1 2 9 8 , 1 3 3 3 . 1 3 4 2 ,

1 3 5 3 , 1 3 7 3 , 1 3 9 3 . 1 3 9 5 . 1 3 9 6 , 1 3 9 8 , 1 3 9 9 , 1 4 0 4 . 1 4 0 7 , 1 4 0 9 , 1 4 7 3 ,

1490. 1510. 1514. 1526, 1530, 1538, 1545. 1561, 1568. 1581. 1588,

and 1623.

15. Other instances are found in Poems 223, 229. 269. 307. 316.

317, 461, 668, 679, 681, 689, 792 (third version), 794. 821, 993,

994, 1067 (first and second versions), 1071, 1105, 1211, 1232,

1254, 1255, 1259, 1346, 1355. 1357, 1397, 1405, 1433. L463, 1469,

1477. 1509, 1586. 1620. 1622, and 1628.

16. Sewall, The Life, I, 211.

17. Johnson, Note to Poem 216, The Poems, I , 152; and Johnson and

Ward, Letter 238, The Letters, 11, 379.

18. The "two Soula" have been differently represented in the

history of the poem's interpretation.

Patterson relatea the two aa Dickinaon and Kate Scott, in The

Riddle. 175. William Howard thinke it not a love poem, but rather

a poem about ideal love, "Dickinaon's 'There came a Day at

Summer's Pull'." Thomas Hi Davis, ed., 14 by Emily Dickinaon- with . .--

Selected Criticiem (Chicago: Scott. Poresman, 1964) 43-44.

4 Griffith opines that the poem ia lRae about 'lovere' than about

,'%

the transiency which weakens and destroys all human relatione, The

Lona Shadow, 158-61. Hiller explaine that Poem 322 eacramentally

presents the apocalyptic marriage with the Lamb described in the

Book of Revelation. The Poetry of Emily Dickineon, 75-80.

J.V.Cunningham treats the two ae spiritual apouees, eealed to

eternity, not through the mediation of Chriet but throuph each

other'e private love and euffering, "Sorting Out: The Caee of

Dickineon." Richard U.Rupp, ed.,Critice on Emily Dickineon(Cora1

Gables: U of Hiami P, 1972) 44-45. Robert L.Lalr coneiders the

two aa Dickinson and Uadaworth. Barron'a Book Notes: A Simplified

Approach to Emily Dickinson (Uoodbury: Barron'a Educational

Series, 1 9 7 1 ) 6 1 - 6 2 . According to John E.Ualsh, the two are

llaggie Tulliver and Stephen Guest whose renunciation scenes in the

final chapters of The Hill on the Floss are being re-enacted in

the poem, The Hidden Life of Emily Dickinaon (NY: Simon and

Schuater. 1 9 7 1 ) 1 4 6 - 4 7 . Ferlazzo aupports Griffith's opinion, and

finda the poem's emphaaia on love'a transcience, Emily Dickinaon

(Boston: Twayne . 1 9 7 6 ) 68 -69 . Shurr takes up Lair's viev. The w

Marriage , 7 3 . Louis aaya that the two are Dickinaon and earthly f i

lover, and that the new marriage beyond the grave is also between

them, not between her and the Lamb, "Emily Dickinson'a Sacrament

of Starvation," 3 5 4 .

1 9 . Further examples are seen in Poems 6 , 2 9 . 4 6 1 . 6 6 5 , 1 3 9 3 .

1 3 9 8 , 1 3 9 9 , 1 4 0 6 , 1 4 9 1 . and 1 5 1 0 .

2 0 . Other lnstancea aGe found in Poeme 1 2 5 9 , 1363 (third

version), 1 3 9 6 , 1404 (firat veraion), 1 4 3 7 (third and fourth

versions), and 1 5 4 5 .

2 1 . Notable gains of the kind occur in Poems 2 2 9 , 3 0 2 . 3 1 1 , 3 1 2 .

3 2 9 , 6 0 9 , 6 7 2 , 6 7 9 , 1 0 7 1 , 1 0 7 6 , 1 2 0 7 , 1 2 1 1 , 1 3 5 7 , 1 4 0 5 , and 1 4 7 3 .

22 . Similar losses are entered in Poems 2 8 4 . 3 1 1 , 6 0 9 . 6 6 7 . 7 1 6 ,

9 8 2 , 9 9 1 , 9 9 3 , 1 0 7 1 , 1 1 0 5 , 1 1 4 2 , and 1 2 1 7 .

23 . According to Johnson. line 1 0 of the aecond veraion containa

three commaa: "A Liaht. for me, did solemn glow.." Beaidea the

veraion haa only 11 daahea in it. But, aa rendered by Franklin.

the manuscript of the faacicle ahova no comma after "Light." A

daah followa "glow --.* Hence the 12 dashea in the veraion. As

in the case of the last line of the fascicle copy, Johnson has

probably adopted the Sue copy system of punctuation for line 1 0 as

well.

2 4 . Other examples are to be seen in Poems 2 6 9 . 3 0 2 , 3 0 7 . 3 1 1 .

3 1 3 , 3 1 6 , 3 2 9 , 5 2 3 . 6 0 9 . 6 6 7 . 6 6 8 . 6 7 2 . 6 8 1 . 6 8 9 , 7 1 6 . 7 9 4 , 8 2 1 .

8 7 6 , 9 9 1 , 9 9 3 , 1 0 7 1 , 1 0 7 6 , 1 0 9 7 , 1 1 1 4 , 1 1 4 2 , 1 1 6 5 , 1 1 7 7 , 1 2 1 7 ,

1 2 3 2 , 1 2 6 0 , 1 2 9 8 , 1 3 3 9 , 1 3 5 7 , 1 4 0 9 , 1 4 6 9 . 1 4 9 0 . 1 5 0 9 , 1 5 1 4 , and

1 5 3 8 .

2 5 . Further instances of suggestion to displace dashes occur in

Poema 3 0 6 , 3 1 5 , 5 3 3 . 1 2 1 1 , 1 2 5 8 , 1 2 6 0 , and 1 2 7 7 .

26 . The suggested change "Spikenard perishing" is not followed by

any mark of punctuation in Johnson. The Poems. I, 266 . There is a

period placed after it in Franklin. The Hanuscript Books, I. 4 1 0 .

2 7 . Dickinson's poetic style has been an engaging topic of

discourse: Francis H.Stoddard. "Technique in Emily Dickinson's

Poems," The Critic. 2 0 ( 1 8 9 2 ) 24 -25 ; Suzanne H.Uilson, "Structural

Patterns in the Poetry of Emily Dickinson," American Literature,

3 5 , 1 ( 1 9 6 3 ) 5 3 - 5 9 ; Brita Lindberg-Seyersted, The Voice of the

Poet: Aspects of Style in the Poetry of Emily Dickinson

(Cambridge: Harvard UP. 1 9 6 8 ) ; Eleanor Uilner. "The Poetics of

Emily Dickinson," - ELH, 3 8 , 1 ( 1 9 7 1 ) 1 2 6 - 5 4 ; Charlotte Downey,

"Antithesis: How Emily Dickinson Uses Style to Exprees Inner

Conflict," Emily Dickinson Bulletin, 3 3 ( 1 9 7 8 ) 8 - 1 6 ; Cameron,

Lyric Time, 201-60 ; T.Horris. "The Development of Dickinson's

Style," American Literature. 6 0 ( 1 9 8 8 ) 26-41 .

2 8 . Other verses vhere quote marks are removed on redaction are

in Poems 3 6 5 , 4 9 1 , 6 6 8 , 1 2 7 8 , 1 3 4 2 , and 1437 (third version).

113

2 9 . Further instances are found in Poeme 2 2 3 . 3 1 2 (first and

second versions). 3 1 6 , 4 9 1 , 6 0 9 . 1 2 0 7 . 1209 (first veraion), 1 2 6 0 .

1 3 4 2 , 1 3 4 6 , 1 5 4 5 , 1 5 8 6 , and 1 6 2 6 .

3 0 . "I could not say 'Amen'. . . and 'Amen' / Stuck in my throat."

Shakespeare, "Mac", William Shakespeare, 1006-7 .

3 1 . "And could I , further. 'No'? " This la how ~ohnson entere

the line in the second veraion of the poem. The commae are not to

be eeen in the fascicle version given by Franklin. The Hanuscript

B-, I, 3 5 2 . Johnson has probably been governed here by the

line's pattern of punctuation in the Sue copy.

3 2 . Poems 3 1 6 . 4 9 1 . and 1 2 0 7 throw off the underlining of vorde

in them. Uorda take on the pattern of emphasis in Poema 8 5 . 2 2 3 .

2 2 9 , 2 8 4 . 3 1 7 , 3 6 5 . and 6 6 9 .

Poem 4 9 1 offera a unique instance: "Livel" la underlined in

the semifinal copy: the underlining is removed, and the word ie

awarded quote,marka in thd fair version of the poem.

3 3 . Other examplee are found in Poema 3 1 7 . 3 2 1 , 4 6 1 . 4 9 1 . 1 1 8 4 ,

1 2 0 7 , 1 2 0 9 , 1 2 1 1 , 1 2 3 2 , 1 2 5 6 , and 1 2 6 0 .

3 4 . Franklin, The manuscript Books, I. 2 7 5 .

3 5 . The stanzaic ayatem ie altered vhen the aemifinal copiee

become fair, in Poeme 2 9 , 2 1 7 , 2 2 9 , 2 6 9 , 3 1 1 (third vereion), 3 1 2 ,

3 1 5 . 3 1 6 , 3 1 7 , 3 2 1 , 3 2 9 . 3 6 5 , 461 . 4 9 1 , 6 0 9 , 6 6 5 , 6 6 8 , 6 6 9 , 6 7 9 ,

6 8 0 , 6 8 9 . 794 (aecond veraion). 9 0 1 . 982 (first veraion). 1 0 6 7

(firat vereion), 1 0 6 8 (third veraion). 1 0 7 1 . 1 0 7 6 (firat and

aecond vereione). 1104 (firat and third veraiona). 1 1 0 5 . 1 1 0 7 .

1 1 1 4 , 1 1 1 5 . 1 1 4 2 , 1177 (aecond veraion), 1 1 8 7 . 1 2 0 7 , 1 2 0 9 (third

vereion), 1 2 4 6 , 1 2 5 4 , 1 2 5 9 (firat veraion), 1 2 6 0 , 1 2 6 5 (first

114

version),1277, 1339, 1342, 1353, 1355, 1393 (first version), 1395

(first version), 1396 (fourth version). 1397 (first and second

versione). 1398 (second version), 1407, 1490, 1491, 1509. 1514.

1538. 1540 (first version), 1545, 1581. 1588 (third version). and

1626.

Stanzaic changes occur vhen one rough version becomes

another, as in Poem 1282, or vhen the rough turns semifinal, ae in

Poems 1232, 1298, and 1586.

36. The followina poems show a contrary process at v3rk: a body

of lines is split into two or more stanzas vhen the semifinal copy

s is rendered fair. The& are Poems 461, 491. 665, 679, 1107, 1177

(first and second versions), 1207. 1254, 1277, 1342, 1353. 1355,

1397 (first and second versions), 1509, 1588 (third version), and

1626. The first line of Poem 1626 is marked by a shift in its

order of words; the arranaement of the lines in the poea ia not

otherwise affected. . 37. Other instances are Ld in Poems 311 (third version). 329.

m

365, 668. 669. 689, 794 (second version), 1071. 1105, 1114, 1115.

1142. 1187. 1209 (third version). 1339. 1396 (fourth version).

1398 (second version). 1407, 1490. 1491, 1540 (first version). and

38. Others of the kind are Poems 312. 317. 1076 (first version).

1259 (first version), 1514, and 1581.

39. Similar changes occur alao in Poems 229. 269, 316. 317. 901,

1076 (aecond veraion). and 1260.

Reorderina of linen vithout chanae in stanzaic pattern ia

observed in the redaction of Poems 1525 and 1620.

11 5

40. The number of lines ie shortened thus in Poema 29. 85, 312,

317, 609, 665, 1246, 1265 (first vernion), 1395 (first version),

and 1538. In the case of Poem 1393, the 9-line rough draft

becomes an 8-line semifinal, vith linen 8 and 9 of the former

being rehashed into the final line of the latter. Its fair

version, sent to Higginson, consiets of only four lines . 41. The stanzas of Poems 315. 321. 1068 (third version). and 1104

(first and third versions) are also reduced in number vhen their

semifinals are made fair.

Chapter Four

Varianta vith Changes Incorporated

Duplication is found to be operating in the fourth stage of

Dickinson's process of versification. Two or more fair copies are

made in search of a precise telling of the truth. The different

occasions that produce the variants are only incidental to

creatlvenese. Revision appears to be intended for reproducing

fair versions of the text as a slant method of overpassing the

limits of the lyric.

Incorporated changes alone are taken into consideration in

the case of poems vith variant versions because suggested

alterations appear novhere in the text. The substitutes are

understood; vithout them the variants could not be.

Duplication operates on the apparently fair version/e of a

poem, except for 12 inetances.(See Appendix 5). Apart from the 10

-Q Crisis Poeme there are 205 poems in this group. (See Appendix

3). All the Crisis Ppeme bear fair. and apparently final.

copies. The fascicles contain 99 fair versions of the poems of

this group. and one cancelled version. (See Appendix 6 ) .

Different coplee of a poem are produced in order to intensify

the degree of fairness of the text though its finality is not

thereby guaranteed. Duplication accounts for the verbal and

extraverbal changes in the variant versions. Accordingly, there

occurs a rephrasing of utterances. Imagery becomes more compact.

The alteration of a vord is enough to adapt the version of a poem

to an occasion. The extraverbal items are given more attention

vhen poems are duplicated. There is a larger number of capitals.

The variations in the use of dashes establish greater precieion.