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23 March 2025

Never for Society

Never for Society
He shall seek in vain—
Who His own acquaintance
Cultivate—Of Men

Wiser Men may weary—
But the Man within
Never knew Satiety—
Better entertain

Than could Border Ballad—
Or Biscayan Hymn—
Neither introduction
Need You—unto Him—



      -FR783, J746, Fascicle 37, 1863


The syntax on this one is a little tricky, but once unraveled it is pretty straightforward. Here's a prose translation for the lines below, as I understand them.

Never for Society
He shall seek in vain—


One (who is wise) shall never vainly seek for the society of others.

Who His own acquaintance
Cultivate—Of Men
Wiser Men may weary—
But the Man within

Never knew Satiety—


If you are wise and cultivate an acquaintance with the One in yourself, then you may grow weary of others, but the One within to whom you acquaint yourself, you will never become satiated with his/her company.

Better entertain
Than could Border Ballad—
Or Biscayan Hymn—


The One inside that you become friends with will entertain you better than any Scottish border ballad or Biscayan (Basque) hymn.

Neither introduction
Need You—unto Him—


Unlike the people in society, you need no introduction to this Friend inside of you.
 
Of course, understanding this poem syntactically and understanding this poem internally are two different things.

It’s hard to know for sure who this “Man” inside is meant to be. It could possibly be Christ, with that capital M “Man” and capital H “His.” It could also be read as higher/deeper Self, with that adjectival indicator “own” in the line “He shall never seek in vain/ Who His own acquaintance/ Cultivate.” 

This poem goes some way toward explaining Emily Dickinson’s increasingly reclusive nature. She was vastly entertained by her own ballads, and by her own hymn-like poems. Even the most compelling external distractions cannot rival the richness of self-discovery.

This is a model for the reader. A majority of the poems written before this one in Dickinson’s oeuvre exhibit a painful yearning for a Beloved. In this one the Beloved has been internalized as Self.

It is instructive to pair this poem with a very similar one from earlier in this fascicle, FR773, which begins, "Conscious am I in my Chamber –/Of a shapeless friend –"

Compare, for instance, these lines from the earlier poem,

Weariness of Him, were quainter
Than Monotony
Knew a Particle – of Space’s
Vast Society –


To the lines from this one,

Of Men
Wiser Men may weary—
But the Man within

Never knew Satiety—


Read together you get a a growing sense of this "shapeless Friend" within. In this poem you get the added idea that this Friend is...entertaining! To find this entertaining Self within is a challenge worth taking up. 

      -/)dam Wade l)eGraff



Write your own Border Ballads and Biscayan Hymns!


5 comments:

  1. As of April 2025,modern day Emily might amuse herself as blogger but never seek reputation on incorporated sites, like StackExchange/Reddit/LinkedIN. But help me out here, one of my self-evident great translation of a short poem by T.S. Eliot, I can't remember the original lines. But it has 'ballons and father joe', moon gazing ( as oppose to navel gazing to close for young Eliot at a party) about girlfriend's piano playing, which poem is that?!

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    1. Here is a Google AI answer to your question:

      That's a great description, but it sounds like you might be mixing memories from different T.S. Eliot poems, as "balloons and Father Joe" and specific "moon gazing" lines don't appear together in one single short poem; you're likely thinking of "Conversation Galante" for the piano playing/party atmosphere and potentially lines from poems like "Rhapsody on a Windy Night" or "The Love Song of J. Alfred Prufrock" for the mood, but the "balloons and Father Joe" part is a bit of a misremembering, possibly a blend of imagery from different modernist works, though Eliot does touch on trivial pursuits and the mundane in poems like "Conversation Galante".

      "Conversation Galante": Captures the dialogue, piano playing, and superficiality of a gathering, perfect for your "girlfriends piano playing" memory, according to poets.org.

      "Rhapsody on a Windy Night": Features surreal, moonlit urban scenes with fractured memories, which might relate to the "moon gazing" aspect, notes poets.org.
      "The Love Song of J. Alfred Prufrock": Contains themes of social anxiety, rooms, and trivial conversation, a classic Eliot work, though not specifically with "balloons" or "Father Joe".

      The specific phrase "balloons and Father Joe" isn't a direct Eliot quote, but the feel of triviality and distorted memory in his early work is spot on!

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  4. Adam, you covered all the bases admirably, but, for me, your sentence, "A majority of the poems written before this one in Dickinson’s oeuvre exhibit a painful yearning for a Beloved. In this one the Beloved has been internalized as Self" marks a watershed moment.

    ED probably paired this poem, Fr783 (Fascicle 37 Poem 11), with the previous one, 782.1863.Renunciation—is a piercing Virtue— (Fr782, Fascicle 37 Poem 10), as a celebration of this watershed moment. She pledges herself as only she could, encrypted with a pronoun switch:

    Renunciation—is the Choosing
    Against itself [myself]—
    Itself [myself] to justify
    Unto itself [myself]—

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