22 May 2024

The Spirit is the Conscious Ear.


The Spirit is the Conscious Ear.
We actually Hear
When We inspect—that's audible—
That is admitted—Here—

For other Services—as Sound—
There hangs a smaller Ear
Outside the Castle—that Contain—
The other—only—Hear—

     -F718, J733, Fascicle 35, 1863


Let us inspect this poem.

In the first line Dickinson gives us a definition of the word “Spirit.” What is Spirit? “The Spirit is the Conscious ear.” Spirit, then, is conscious listening, listening with awareness. You might say it is awareness itself.

I suspect Dickinson chose the Ear over the Eye as the sense analogous to awareness in this poem because hearing is, essentially, about communication. The eyes are easily deceived, but the ears, when they “actually hear” can pick up all kinds of clues the eyes might miss. Think of “tone” in a conversation. What’s “actually” said is often quite different from the words being said. The ear is the best sense organ to stand in as a metaphor for “understanding.”

In the next line we get a further delineation of Spirit: “We actually Hear/ When We inspect.” Awareness hinges on that word “inspect.” From the Dickinson Lexicon we find this helpful set of definitions:

inspect (-ed), v. [Fr. < L. inspicere, look into] Study; read; scrutinize; consider; examine; go over; scan carefully.

So then, the way our consciousness listens is through studying, reading, scrutinizing, considering, examining and scanning carefully. The more we do these things, the more in tune our Spirit becomes. When we read Dickinson we are studying the poems of a woman who was, in turn, studying the world. Since the stakes are high, every nuance counts.

In the definitions of “Inspect” given to us by the Lexicon I’m not seeing words that connote “judgment." Today we are more apt to hear a connotation of judgment in inspection. Compare it to the modern dictionary definition, which does imply judgment, “To look at (someone or something) closely, typically to assess their condition or to discover any shortcomings.” This is a nuance worthy of consideration. We are inspecting even the word inspection here. The difference is “audible.”

The 4th line of the first stanza is nuanced too. “That is admitted—Here— “ The word “admit” has a couple of possible meanings. A contemporary ear hears “confess” in the word "admit." But I think a more fitting meaning for this poem might be “allowed;” what has been carefully inspected is allowed in, is admitted in. I’m reminded of poem F409, “The Soul selects her own society.” The Soul selects... the Spirit admits.

The second stanza of this poem compares this larger kind of hearing to the smaller one that merely takes in sound. The word that this stanza seems to hinge on is “Contain.” Unlike the smaller ear, the Castle (the seat of the Conscious ear) Contains. From the Dickinson Lexicon we get:

contain (-ed, -s), v. [ME < L. continēre, hold together, keep together, comprehend.]

A. Confine; limit; circumscribe; restrain; hold back; restrict to boundaries.
B. Hold; encompass; surround; enclose; have capacity for.

In our modern sense of the word "contain" we think of the second definition here, but the first definition also makes sense in this poem. A castle is something that PROTECTS the monarch. It “holds back” invaders. Once again I am reminded of F409, "The Soul selects her own Society —/ Then — shuts the Door —" 

Dickinson provides an alternative line in the original MS to “Outside the Castle—that Contain”, which is “Outside the City—that Present.”

Using "City" instead of "Castle" is interesting. City suggests a more complex realm of consciousness than a castle. A city is larger and more inclusive than a castle, which would imply that the inner understanding is part of a more intricate and expansive inner world. The phrase "that Present" shifts the focus to the act of manifesting understanding. It's more generous than containment. Within this "City" (consciousness), there is a presentation of insights, i.e. this poem.


  -/)dam Wade l)eGraff


Girl Listening at Door by Meyer Von Bremen


P.S. For fun, I asked Chat GPT to give me a practical application for this poem. Here is what it said:

"Mindful Listening: Practice active and mindful listening in conversations. Instead of merely hearing words, engage with the speaker on a deeper level, trying to understand their emotions, intentions, and underlying messages. This approach fosters better communication and stronger relationships.

Self-Reflection: Incorporate regular periods of introspection into your routine. Set aside time to reflect on your thoughts, feelings, and experiences, listening to your inner self. This can enhance self-awareness, personal growth, and emotional intelligence.

Critical Thinking: In learning and problem-solving, move beyond accepting information at face value. Inspect and analyze information critically, seeking a deeper understanding of the concepts and their implications. This method leads to more profound knowledge and better decision-making.

By applying these principles, one can cultivate a deeper, more meaningful engagement with the world, moving beyond mere sensory experiences to true understanding and awareness."

Well said, Chat GPT. 


4 comments:

  1. Wow!

    If ChatGPT, an AI application, can compose those true paragraphs, what could it do in the hands of a clever deceiver? ChatGPT is just a human invention, a tool to accomplish human-assigned goals. Like any tool, AI itself is not evil or good, but the human goal behind its use can "intentionally harm innocent people", which is a useful definition of evil.

    The above paragraph seems a long way from ED's poetry, but is it? My hunch is that somewhere ED covers this ground. At any rate, thank you, Adam, for including the AI-generated "wisdom". It is an education for this dinosaur.

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  2. Speaking of paragraphs, every pre-P.S. paragraph above rings true, a thorough explication on subtleties of human communication. But what if ED's "Conscious Ear" is tuned to hear non-human communication, specifically, the music of the spheres? Here's another take on F718, ''The Spirit is the Conscious Ear':

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  3. In a footnote to this poem, Christine Miller (2016, ‘Emily Dickinson’s Poems’) refers readers to ‘Ode on a Grecian Urn’ (John Keats, 1819, Stanza 2):

    “Heard melodies are sweet, but those unheard
    Are sweeter; therefore, ye soft pipes, play on;
    Not to the sensual ear, but, more endear'd,
    Pipe to the spirit ditties of no tone”

    Given ED’s interest in “the spirit ditties of no tone”, that is, mystical experiences, her “Conscious Ear” is the one that hears God speaking, the “Ear” Saul used to listen to God on the road to Damascus (Acts9:3-5)

    3 As he journeyed he came near Damascus, and suddenly a light shone around him from heaven.

    4 Then he fell to the ground, and heard a voice saying to him, “Saul, Saul, why are you persecuting Me?”

    5 And he said, “Who are You, Lord?” Then the Lord said, “I am Jesus, whom you are persecuting. . .”

    For ED, the ear we use for human communication is “the smaller Ear” [ED’s alternative words in brackets]:

    “For other Services [purposes]- as Sound –
    There hangs a smaller [minor] Ear”

    It would be hard for any poet, including ED, to improve on Keats. Frankly, ED’s “Ear” / “Hear” / “Here” // “Ear” / “Hear” sound clunky compared to Keats’ “Heard”, “unheard” // “ear”, “endear’d”.


    P.S. It’s a relief to read an ED poem that has no implied or apparent reference to Charles Wadsworth.

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  4. Responsibility is a mode of hearing. -Arkadii Dragomoschenko

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