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Connect Four

2/28/2026

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1. Yesterday I shared Emily Dickinson’s poem “Many a phrase has the English language,” and I noted that there was one more odd little thing I’d cover today. I don’t know how or why this happened, but many poetry sites show one if not two errors with this poem.
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The most common issue involves line 15, “Say it again, Saxon.”  Instead of “Saxon,” many sites use the word “Saxton,” or on occasion, a site prints “Sexton.”  Also, in line 7, some sites use “infection” in place of the correct term, “inflection.”
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2. In my post from 2/22 (HERE), I mentioned that eight of the twelve letters in “onomatopoeia” were vowels, and I asked “is this the word in English with the most vowels?” 

I did a little more research into this and found a site (HERE) which claims (in words from 2 to 15 letters), “epizootiologies” is the word with the most vowels – 9 in total.
3. In a post from 2/23 (HERE), I mentioned Michael C. Corballis’ article, “The Gestural Origins of Language: Human language may have evolved from manual gestures, which survive today as a ‘behavioral fossil’ coupled to speech,” published in the March-April “American Scientist” in 1999.  In the post I said, “The thought that gestures tied to sounds led to “words” which led to grammar and language never really crossed my mind – but it makes perfect sense!”

The idea of gestures leading to speech made me wonder about the “etymology” of common gestures – and is there even such a thing as “etymology” of human gestures? I found this (HERE), "Thumbs Up: The Fascinating Origins of Hand Gestures." 

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4. The article I mentioned above opens with this anecdote:

“In 1934 the behavioral psychologist B. F. Skinner found himself seated at the dinner table with the eminent philosopher Alfred North Whitehead, and proceeded to explain to Whitehead what behaviorism was all about. Obliged to offer a challenge, Whitehead uttered the sentence ‘No black scorpion is falling upon this table’ and then asked Skinner to explain why he might have said that.”

Skinner wrote a response to Whitehead’s challenge more than 20 years later in an appendix to his 1957 book Verbal Behavior; however, Corballis added to Skinner’s explanation (that Whitehead was unconsciously expressing a fear of behaviorism) with this:

“Be that as it may, Whitehead had articulated one of the properties of language that seems to distinguish it from all other forms of communication, its generativity. Whereas other forms of communication among animals seem to be limited to a relatively small number of signals, and restricted to limited contexts, there is essentially no limit to the number of ideas or propositions that we can convey using sentences. We can immediately understand sentences made up of words that we have never heard in combination before.”

I mention this because one analysis of Dickinson’s “Many a phrase has the English language,” echoed Corballis’ statement, albeit it much briefer;  she wrote that language allows us to “spin out sentence after sentence, unfolding idea after idea or chit after chat.”   The blogger then went on to elevate “mystics, great poets, the holy and the enlightened” who  “see and hear more than the rest of us” and how they speak wisdom through parable, metaphor, and myth.  While most of us may have an occasional transcendent moment, “The cosmos unfolds for a rare few in the smallest manifestations of the everyday world.”  

Dickinson was surely a member of that “rare few,” though in this poem she confesses a lack of knowledge of “ some glorious universal affirmation.”

Now humor me here:  Dickinson’s poem itself and this analysis called to mind a scene From season 6 of “The Simpsons,” “Homer vs. Patty and Selma,” where Homer hopes for some glorious universal inspiration to invent some necessary product for all humankind (as a “get-rich-quick” scheme), and in a dream, he accomplished just that.  The catch?  He never gets to see the “one product” (i.e., Dickinson’s “one phrase”).  It eludes him. 

​Click the pic below to view the scene (or click HERE): 
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Owed to Joy?

2/27/2026

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Yesterday I shared Dickinson’s poem “Many a phrase has the English language,” in some ways the counter to “To my quick ear the Leaves – conferred,” the poem I’d shared the day before.
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In “Many a phrase,” I love Dickinson’s striking contrast of the modulated volume of the cosmic message through the use of similes from nature, accented with effective personification (“Low as the laughter of the Cricket, / Loud, as the Thunder's Tongue”). Additionally, I love that fourth stanza, when the “bright Orthography” stirs the speaker from her “simple sleep,” and she weeps – not for sorrow, but for the “push of joy.” 

That, and the birds thundering their “Prospective” in line 11, called to mind the force of birds’ voices in “The Birds begun at Four o clock,” resonance which created “A Music numerous as space” – and why? For no reason “But independent Ecstasy.” 

The “joy” and “ecstasy” in these poems are similar to other of Dickinson’s poems I wrote about recently, HERE. 

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The birds in these poems  sing “Extrinsic to Attention / Too intimate with Joy.”  Dang,  what a positive and exuberant outlook!  I love it!  
Indulge me a bit, for this positivity, this joyous perspective, calls to mind “When I have seen the Sun emerge,” another poem where the speaker stirs “for the push of joy”:
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Back to “Many a phrase has the English language” where the speaker is familiar with all “but one.” It seems that she has received these cosmic messages through Nature’s messengers, and the physiological response has been joy.  Still something is missing. Is this a joyful poem?  

Look at this analysis I found:  “Among Dickinson’s less-anthologized poems, it stands out for the imperative directed to Saxton (sic) and for staging language as a synaptic shock that rewires feeling; joy arrives not as consolation but as violence that demands to be repeated and silenced.” 
Hmm…I think I need to mull that over for a while. Whadaya think?

I’ll share one other odd little detail about this poem tomorrow when I tie up some loose ends for this and some other recent posts.  For now, my brain has shifted a bit to thinking about joy and happiness.  I subbed at a school this week where in separate conversations, I spoke with three people who are struggling with sustaining joy in their lives. Well, the stress they conveyed was definitely job-related, so I can’t say they experience little joy in their lives — it’s just that one’s work encompasses such a significant portion of one’s daily life, that work-related pressure and anxiety can saturate one’s well being.

Interestingly, one of the three was relatively new to the profession, one was a fifteen-year veteran, and one was a well-established leader – and again, these were separate conversations; two of the three seemed hopeful for advice, the third seemed more cathartic. 

Well, I have definitely veered off track from where I began.  Let me take a cleansing breath and refocus.  ; )

I hope the laughter of the cricket or the thunder’s tongue brings you joy today. 


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You Must Remember This

2/26/2026

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Yesterday I shared “To my quick ear the Leaves – conferred” (the only poem by Dickinson with the word “cave”), and I closed with this, “I can even see a connection to the advent of human language as the ‘mighty crack’ that made all of humanity visible as we emerged from our caves” (BTW: the day before I focused on the emergence of human language and the first words uttered by cave dwellers in the distant past). 
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​Recent posts also focused on onomatopoeic words (a topic related to the development of early language), so for today I explored Dickinson’s use of the word “murmur.”  A search for that word on the Dickinson archive yielded 44 entries representing 17 different poems – and lo and behold, I believe I found one of the seventeen, “Many a phrase has the English language,” that seems to be the inverse of the poem I shared yesterday. 
In “To my quick ear the Leaves – conferred,” the speaker is constantly watched by Nature – to the point that she seeks privacy in a cave.  On the other hand, in “Many a phrase has the English language,” the speaker is acutely aware of universal truths (i.e., nature?), at least through her lens of English language   As matter of fact, the speaker seems to have heard all phrases of the English language – but one.
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In light of this worldly consciousness, the speaker hopes the “Saxon,” who knows the undisclosed phrase, will whisper it to her – and to her alone. Could that be some statement about …what?  What is the meaning of life? Does free will exist? Is there a deeper reality beyond the physical world? What is the nature of the soul? What is the limit of human understanding? Hmm, what could that singular phrase reveal?

Now humor me here:  The phrase is out there, for it has been uttered – check out the penultimate line:  “Say it AGAIN, Saxon” (I added the caps).   This reminds me of Ilsa in “Casa Blanca”:  “Play it again, Sam,” she whispered.  

Yes, yes, yes – I know the actual line is “Play it, Sam. Play ‘As Time Goes By,’” and Woody Allen added the “Again” in the movie title, “Play It Again, Sam.”  However, now in our collective memory, the line is “Play it again, Sam.”  In the movie Ilsa knows the song; she wants to hear it again.  In the poem, the speaker is not familiar with the undisclosed and mysterious phrase; she wants to hear and understand it – “Play it again, Saxon!” she implores, “Hush – Only to me!”
Let me pause for a moment with a curious aside: I’m sitting in a local coffee shop as I type this.  As I got to the part about “Casa Blanca,” the background music began playing the song “Key Largo.”  That song includes these lines: 
We had it all
Just like Bogie and Bacall
Starring in our own late, late show
Sailing away to Key Largo
Here's looking at you, kid


I thought that was weirdly other-worldly, no?  LOL. Then to top it off, when I searched for the lyrics of the song, I discovered that it was written and sung by Bertie Higgins.  Huh?  Who in the world is Bertie Higgins?  If you’d asked me who sang “Key Largo,” I would have guessed Kenny Rogers. 
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I digress.  Pray, pardon me, and I am sincerely indebted to your patience.  Sweetness, heart, what watch?  Yikes – ten watch!  Such much!  I must take my leave; however, I shall proceed with more on this poem in the morrow.
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Visibility Problem?

2/25/2026

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My recent posts have focused on arcane vocabulary words, onomatopoeia, the development of human language, and – from yesterday – the very first words ever spoken by cave dwellers.  Based on that cave-speak, I also mentioned that Dickinson used the word “cave” in one poem, “To my quick ear the Leaves – conferred,” and I shared the work – and what a work it is!
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Dickinson’s view of nature feels a bit different in this poem. Nature here is the observer instead of the speaker of the poem – who, at the start of the second stanza, attempts to find privacy in a cave.  However, even the walls began “to tell” – and then comes that pivotal word, “Creation.”  On the surface, it seems to speak to the beginnings of existence; however, could all of this also speak to artistic undertakings, say, withdrawing to a room (one’s “cave”) to write poetry?
Then there is this “mighty Crack” which makes the speaker “visible.” Does this imply that existence itself engenders uncomfortable and inescapable exposure?  Moreover, does this reflect in some way the poet’s view on exposure through publication?

I found one analysis of the poem that focused on how our internal lives are intertwined with the external world:-- how we “cannot truly separate ourselves from our surroundings” and the “disconnect between humanity and the natural world. We have built a society that often sees nature as something to be conquered or exploited, rather than something to be respected and revered.”  What do you think of that?

To be honest, I can even see a connection to the advent of human language as the “mighty crack” that made all of humanity visible as we emerged from our caves.

What speaks to you in this poem?  Is the “mighty crack” leading to exposure a positive manifestation  – or is this more hopeless than hopeful? 

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First Words

2/24/2026

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Recent posts of mine have focused on grandiose vocabulary, onomatopoeia, and the development of human language – and I have one loose end from yesterday to tie up.  I shared Dickinson’s poem “How many times these low feet staggered,” a somber lamentation of a deceased housewife, and asked. “If you were to provide a title for this poem, what would you call it?”  I noted that the title Mabel Loomis Todd gave the poem when she first published in 1891 was a bit odd – and that title was… **drum roll** …“Troubled About Many Things.”  Alas, I’d say that the dead housewife “in daisies lain” is more than somewhat untroubled at this point.
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Anyway, in yesterday’s post I also included a link to Michael Corballis’s 1999 article “The Gestural Origins of Language: Human language may have evolved from manual gestures, which survive today as a ‘behavioral fossil’ coupled to speech" (HERE). It was fascinating! 

“If,” said Corballis, “the earliest language were indeed gestural, this would help to explain one of the mysteries of the evolution of speech: how words came to represent objects and events in arbitrary fashion…With very few exceptions, such as onomatopoeic words like ‘buzz’ or ‘shriek’...there is nothing in the actual sound of a word that gives a clue as to its meaning. It has been argued that the earliest words did in fact mimic their referents, a notion pejoratively dubbed the "bow-wow theory" by the 19th-century Oxford philologist Max Müller.” 

By the way, I mentioned the “bow-wow theory” in one of my recent posts; info is HERE. 


Anywho, I discussed all of this with my wife the other day, and we pondered what might have been the actual first words in human speech; after some extensive research, we came up with this top-ten list:

1. Ouw – or some utterance of pain.

2. Mmmuh – or some voice bilabial nasal consonantal sound – which occurs in about 96% of spoken languages – to indicate one’s mother figure.

3. Aaaaiiiiiyyyyy – or some sort of alarm call or a “term” to signify “I’m falling” or “I’m being eaten by a black-backed jackal.”

4. Pleeeh – “this baobab bark tastes terrible.”

5. Bah (with waving arms) – a greeting, “Here I am.”

6. Bah bah bah (wiht frantic pointing) – “Look over there!”

7. BAH BHA BAAAAHHH BAAAAHHH – “RUN!”

8. Various grunts – “Honey, I’m home.” 

9. WRREAGH – “Don’t make me stop this caravan.”
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10. B’haa hah hah – “Look at Thok! He fell down!”

Of course, Dickinson never used any of these words in any of her poems, nor did she use the word “grunt”; however, she did use the word “shriek” in two poems (“We dream – it is good we are dreaming” and “I dont sound so terrible – quite – as it did”).  She also used the word “cave” in one poem, and what an interesting, multivalent work it is.  Take a look, and I’ll return to it tomorrow.
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It's Gesture Opinion?

2/23/2026

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To recap, I noted in yesterday’s post that Emily Dickinson never used the word “bombilating” in any of her poems, but she did use various synonyms – like “buzz.” Therefore, yesterday’s focus was to be on “buzz,” but I veered off track with a look at the word “onomatopoeia,” including this example  from the OED of the word’s usage  from 1870: 

“Without..supposing..that all our root-words have originated from onomatopœia.”


From that I explored various “bow-wow theories” on the evolution with human language – including the “pooh-pooh theory, which holds that the original language consisted of interjections; and…ding-dong theory, which posits that humans were originally a kind of improved bell capable of making all sounds…(and) the ho-hiss theory, which held that grunts were also the origin of singing.”  

As I was examining all of this, I caught sight of a link to an article entitled “The Gestural Origins of Language: Human language may have evolved from manual gestures, which survive today as a ‘behavioral fossil’ coupled to speech,” by Michael C. Corballis, published in the March-April “American Scientist” in 1999.

I’ll be honest, Mr. Corballis, wherever you are – that blew my mind.  The thought that gestures tied to sounds led to “words” which led to grammar and language never really crossed my mind – but it makes perfect sense! And the idea of “behavioral fossils”?  Again:  MInd. Blown.

Curiously, though, last night I could not access the article. I do have an account with JSTOR (where the link delivered me), and usually I get access to 100 articles per month, but evidently this one did qualify?  I was glum, “bummed,” as the young folk say.  Not quite crambazzled, but in the mopes to be sure. 

Fear not, dear reader, for continued research remedied this woebegone tale, and my mirth and merriment were restored!  It took some time, but I was finally able to shed my mubble-fubbles and embrace respair:  This morning I ran an additional search for information, and lo and behold, look what I came across, the very article published on the American Scientist site, HERE.
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I shall print the article this dawn and peruse it! For now, let’s take a quick look at Dickinson’s use of “buzz.” The term generates eleven entries on the online Dickinson archive, representing four poems – the most famous being “I heard a Fly buzz – when I died.”  The other three are “Because the Bee may blameless hum,” “Bees are black, with Gilt Surcingles,” and “How many times these low feet staggered.”
Before I depart this morning, one quick thing about each poem:

1. “I heard a Fly buzz – when I died” uses the word “buzz” twice – with it’s “Blue – uncertain – stumbling buzz.”

2. “Because the Bee may blameless hum” includes the word “Furze” in the penultimate line.  Do you need to look that up (like I did)? 

3. A “surcingle” is a wide strap that runs over the back and under the belly of a horse, used to keep a blanket or other equipment in place – so "Bees are black, with Gilt Surcingles” is the perfect way to describe bumble bees (and be sure to check out that second line).

4. Take a look at “How many times these low feet staggered,” a somber lamentation of a deceased housewife. If you were to provide a title for this poem, what would you call it? I’ll fill you in tomorrow on the title provided by Mabel Loomis Todd when the poem was first published in 1891 – I think it’s a bit…odd. 
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Two Words Diverged

2/22/2026

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Some of my recent posts have centered on arcane vocabulary words I found on a website dedicated to Moira Rose (played by Catherine O’Hara) on Schitt’s Creek. I shared two poems that included the word “habiliments” (“Clothes, especially clothing appropriate for someone's job, status, or to an occasion. Equipment or furnishings”); however, none of Dickinson’s works used the word “bombilating” (“make a buzzing, humming, or droning sound”). 

Hmm…that reminds me (and did you note that I bombilated back there at the start of this remark?)...I made a post last November (HERE) about the word “susurrate” used in a book about Dickinson.  At the conclusion of that post, I said this: “Dickinson never used the word ‘susurrate’ in any of her poems; however, she did use a number of synonyms for the word, including whisper, murmur and buzz – so in a day or two, I’ll explore her use of those onomatopoeic terms – but not tomorrow.”

No, back in November, on that next day, I wrote about a veritable crime spree I uncovered from the mid-1800s Amherst, MA (HERE).

Sooo…today I’m finally returning to that promise to explore Dickinson’s use of onomatopoeic terms, and I’m starting with the word “buzz.”

Hmm…(yes, I’m bombilating again)...maybe let’s start with the word “onomatopoeia” instead.  That’s quite an unusual word, no?  There are twelve letters in it, and eight of them are vowels, or ⅔ of the word.

I dunno – is this the word in English with the most vowels?  I ran a search on “what word in the English language contains the most vowels,” but I didn’t get what I was looking for.  Instead, responses focused on words with all five vowels.  A bit of trivia I do know is that the word “facetious” contains all five of the vowels in alphabetical order – AND – “facetiously” adds the “sometimes ‘y.’”  Now how cool is that?
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Below is info related to the frequency of use of the word “onomatopoeia” (note that the word itself was not as prevalent in Dickinson’s time) and examples of its past usage.  My favorite examples are from 1577, “Onomatopeia, when we inuent, deuise, fayne, and make a name, immitating the sownd of that it sygnifyeth, as hurliburly, for an uprore, and tumultuous stirre” (love the use of “hurliburly”), and both entries from 1728 and 1870, “The surest Etymologies are those deduced by the Onomatopæia” and “Without..supposing..that all our root-words have originated from onomatopœia.”
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Theories that believe human language sprang from onomatopoeic babbling and jabbering are known as bow-wow theories or cuckoo theories which include the “pooh-pooh theory, which holds that the original language consisted of interjections; and…ding-dong theory, which posits that humans were originally a kind of improved bell capable of making all sounds…(and) the ho-hiss theory, which held that grunts were also the origin of singing.”  More info  is HERE. 

Okay, stop the presses – I just spotted something that totally astonished me.  I literally uttered “Oh wow!” 

I need to take a breath and figure out how to proceed.  Two roads have diverged with this fellow’s words, and happy I can travel both.  I just need to look down one as far as I can where it’s bent with undergrowth; however, both this morning equally lay – and knowing how way leads on to way, I just need to decide which path to take. Which will make all the difference?  Hmmm.
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Stay tuned.
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Happy Happy Joy Joy

2/21/2026

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Two poems I shared yesterday are about birds – and pure joy. In “Before you thought of spring,” a bluebird perches upon “some superior tree / without a single leaf” and sings “for joy to nobody / But his seraphic self.” In “The way to know the Bobolink,” the bird is distinguished from all other birds “Precisely as the joy of him.”  He sings “Extrinsic to Attention / Too intimate with Joy.” As a result,  “He compliments existence” – so much so that the meadow is “nullified” when he has withdrawn!  How frickin joyful is that!
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These two poems called to mind another work of birds and joy, “The birds begun at four o’clock.”  In this poem, at dawn, a “force” of birds created “A Music numerous as space” – and why?  Not for applause, but for “independent Ecstasy.”  Be sure to check out that final stanza – it leaves me awestruck.  I wrote about the poem HERE
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I noted yesterday that symbolically the birds represent those who pursue their passions for pure joy and intrinsic reward  – those who create for no one but themselves (think Emily Dickinson). I asked, “For what do you have passion? Do you write? Sing? Play an instrument?  Quilt? Dance? Paint? Whatever it is you do, do you do so ‘Extrinsic to Attention / Too intimate with Joy’?”

That reminded me of a current art display in a local coffee shop I visit often.  The owner there invites different artists to share their works on a rotating basis, and this go-round, I thought the paintings looked a bit…simple…unrefined…like folk art?  Perhaps painted by a teen just finding their way in the world of art?  I then read the bio on the wall.  

You go, Richard Gallagher!  Paint on, my friend.  Paint for the pure joy of it!

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Hello Birdie?

2/20/2026

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My most recent posts centered on the phraseology of Moira Rose (played by Catherine O’Hara) in Schitt’s Creek. I checked on some of the arcane terms she used to see if ever they appeared in the poetry of Emily Dickinson.  Two of her works used the word “habiliments,” “Before you thought of spring” and “The way to know the Bobolink.” I shared these two poems yesterday and noted that “some lines and images (in them)...leave me in awe.”
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On the surface, “Before you thought of spring” is an ode to the bluebird.  As a matter of a fact, when first published in 1891, editor Mabel Loomis Todd gave the poem the title of “The Bluebird,” and this particular bird has arrived early, “Before you thought of spring” (and, of course, in his “Inspiriting habiliments / Of indigo and brown”). 

​The second stanza is WONDERFUL:  This early bird, a harbinger of the coming season of rebirth, alit upon “some superior tree / without a single leaf” and sings “for joy” to no one but himself. Symbolically, perhaps the bird represents those who pursue their passions for pure joy and intrinsic reward  – those who create for no one but themselves.  Hmm…think Emily Dickinson?
Below and right:  A "superior tree without a single leaf" near my home,  I'm standing under the tree in the first pic.  The tree is at least 300 years old.
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I discussed the other poem, “The way to know the Bobolink,” close to a year and a half ago, HERE. 

In that post, I called attention to the opening stanza (note that “joy,” again, takes center stage), the “whimsical and erudite nature” of the second stanza, and the “remarkable tribute to the bird” in lines 15 and 16, “He compliments existence / Until allured away.” 

That acclamation called to mind Frank Lloyd Wright’s view of the cow: 

“Why is any cow, red, black or white, always in just the right place for a picture in any landscape? Like a cypress tree in Italy, she is never wrongly placed. Her outlines quiet down so well into whatever contours surround her. A group of her in the landscape is enchantment.”

One other wonderful image that I didn’t mention back in that September 2024 post comes in the fifth stanza, the grounds for being “allured” away (at the close of the preceding stanza):  “By Seasons or his Children / Adult and urgent grown.”   

Adulting, amirite? “Adult and urgent grown”: The practice of behaving in a way characteristic of a responsible adult. 
Suddenly I’m singing that song from “Bye, Bye, Birdie,” “Why can't they be like we were? Perfect in every way? What′s the matter with kids today?”

Well, back to that idea of creating for the pure joy of it – before the “children” spoiled the moment – be sure to re-read lines 13 and 14.   For what do you have passion?  Do you write? Sing? Play an instrument?  Quilt? Dance? Paint? Whatever it is you do, do you do so “Extrinsic to Attention / Too intimate with Joy”? 

I’ll pick up on this tomorrow.

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Inspiriting Habiliments

2/19/2026

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Yesterday I provided links to one video and one site with lists of highfalutin words used by Moira Rose (played by Catherine O’Hara) on Schitt’s Creek.  I wondered if Dickinson had ever used any of the terms in any of her poetry.  Dickinson did not use any of the sixteen shared on the video; however I noted that she had, in fact, used three of the ten words from the site – well, at least related forms of three of the words.  I ended my post with this: “Take a guess as to which three, and then I’ll fill you in tomorrow.”

As Little Orphan Annie used to sing on Broadway, tomorrow is just a day away – and based on my previous post, that day is today (although the sun did not come out).  Here are the ten words from the site:
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So which three words did Dickinson use?  I would have guessed capricious, vigor, and potable – and I would have been one-third right. 

The words that she did NOT use in any of her poems are ennui, encumbered, capricious, balatron, irksome, gutted and potable.
The words she did use – or at least some form of the words – were mercurial, vigor, and habiliment.
In “The sun retired to a cloud,” she used “mercury,” not the capital-M “Mercury" (i.e., the planet), but “mercury” as “red oxide color; blazing scarlet tincture” to describe a sunset – and what a colorful sunset it is!  I LOVE that image in line 6, “Home flew the loaded bees.”  (LOL – you think those bees were just “loaded” down with pollen from their day's work – or “loaded” in the sense of being drunk on pollen?)
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Dickinson never used the word “vigor”; however, in “The truth is stirless” she used “vigorous.”  The word comes in the opening line of the final stanza, “How vigorous a force” is truth.
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The surprise for me was Dickinson’s use of “habiliment” – and the fact that she used it in two different poems, “Before you thought of spring” and “The way to know the Bobolink.”

“Habiliment” is an out-of-fashion word for fashion, more precisely the clothing one dons.  Here’s an example from a dictionary that popped up on Google:  “You may want to get up extra early on the first day of school so you have time to choose the perfect habiliments to wear.”

Check out the OED’s examples below of the word in uses dating back to the 1400s.  My favories are the “meit, drynk, and abuilyement” from 1554, 1590’s “S[t]raunge Lady, in so straunge habiliment,” and “the costlie excessive of cleithing, and abulzament of mens boeides” from 1609.  (Click the images to enlarge.)
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LOL - I’m at that age where my “abulzament” is rather “costlie.”  How is it for you ladies?
​

The two poems below are those by Dickinson with the word “habiliment.”   There are some lines and images in these two poems that leave me in awe.  Read through them, and then I’ll share what I love about them tomorrow.

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