Adjusted in the Tomb
When One who died for Truth, was lain
In an adjoining Room —
He questioned softly “Why I failed?”
"For Beauty," I replied —
"And I — for Truth — Themselves are One —
We Brethren, are," He said —
And so, as Kinsmen, met a Night —
We talked between the Rooms —
Until the Moss had reached our lips —
And covered up — Our names —
F448 (1862) J449
The setting: a mausoleum with separate rooms. The narrator lies in one room, recently dead, but long enough so to have “Adjusted” herself when another body is laid in the next room. The recent arrival strikes up what is to be a very long conversation by provocatively asking his neighbor why she “failed.”
Helen Vendler claims “failed” is used in the sense of “weaken and die,” as if the pursuits of beauty and truth compelled the seekers to efforts beyond their strength. One thinks of the poet or philosopher burning the midnight oil, scarcely eating, taking no heed for their personal wellbeing until their health failed. But now they have seemingly endless time to contemplate and discuss their two pursuits.
The dialog between Truth and Beauty is meant to recall two poems from two of Dickinson’s favorite poets: John Keats and Elizabeth Barrett Browning. From the ending of Keats’ “On a Grecian Urn”:
Beauty is truth, truth beauty, — that is allKeats, according to Helen Vendler, in thinking about beauty would be considering “aesthetic creation and its product.” Truth would be “both philosophical and representational.” The Truth seeker, like Keats, comments that Truth and Beauty are “One.”
Ye know on earth, and all ye need to know.
Browning takes a slightly different angle in “A Vision of Poets” where a poet is led by a Muse through trial and terror to a vision of great poets of the past whose foreheads were “royal with the truth”:
These were poets true,
Who died for Beauty, as martyrs do
For Truth — the ends being scarcely two.
|A moss-covered family mausoleum|
So while Keats says that truth and beauty are the same, Browning says it is the people, that the lives and deaths of poets and martyrs for truth are very similar. Both give up their lives. One remembers that Dickinson herself gave up her life, her potentially ‘normal’ life, that is, for poetry.
Dickinson’s Truth seeker takes both Keats and Browning’s positions: Truth and beauty are the same; consequently, the two of them, the two souls in the mausoleum, are “Brethren.” Beauty, note, makes no comment except that “as Kinsmen” they spoke together until the moss covered their names. Their “lips” would be, as in F210, the granite grave markers. Their conversation would have lasted at least a hundred years – probably much more!
The two have an idealized and Platonic relationship, satisfying and comfortable unlike the frustrating relationships Dickinson experienced with many of the people she loved in her lifetime. Nonetheless, a wall separates the two. There will be no physical union or consummation here. Can Truth, one is led to ask, never completely be joined with Beauty?
Perhaps, but Dickinson sets her scene in a mausoleum, typically a structure to contain the graves of family members. Although she may have simply meant that there were two graves side by side, I think it more likely that she is reinforcing the close kinship between the two. They share the same DNA.
The quiet end is terrible in a way despite its gentle peacefulness. As the moss spreads over bones and stones, it obliterates the separate identities through which the two souls communicated. It is a second death. Nothing fearful about it. The consciousness of the Beauty narrator continues to exist but it is in a diffused state. There is some sort of deep irony about the poem being a communication from that distant state. Perhaps it is a Truth about Beauty.
Another stanza from Browning’s poem also depicts the death of Poet/Beauty as peaceful:
Since sweet the death-clothes and the knell
Of him who having lived, dies well;
And wholly sweet the asphodel