The Truth—is stirless—

The Truth—is stirless—
Other force—may be presumed to move—
This—then—is best for confidence—
When oldest Cedars swerve—

And Oaks untwist their fists—
And Mountains—feeble—lean—
How excellent a Body, that
Stands without a Bone—

How vigorous a Force
That holds without a Prop—
Truth stays Herself—and every man
That trusts Her—boldly up—

      Fr882, J780, fascicle 39, 1864

Dickinson was not only an extremely perceptive philosopher, but she could put her thoughts down so perfectly that they have the inevitable ring of Truth.

Keats wrote “Beauty is truth, truth beauty,—that is all/ Ye know on earth, and all ye need to know.”

Dickinson proves this here in a poem that purports a truth about Truth itself in such a beautiful way that it seems to be undeniable.

It’s like a riddle poem. What is the one force that doesn’t move? What stands without a bone? What holds us up without a prop? 

The answer is given to us. Truth.

The real riddle though is...what is Truth? And the answer to this riddle are the questions themselves.

By logical inversion, if what we find gives us confidence, and holds us up, that’s how we know it is the Truth.

What is it that does that for you? Inquiring minds want to know.

One thing that does this for us is Beauty:

First there is the beauty of the music in the sounds of the poem. You are subtly swayed by the internal slant-rhymes in the first stanza: Stirless, force, this, best, confidence and oldest. There is another set in the end-rhymes of Move and swerve.  

Along with the consonance and rhyme, there is also an intricate rhythm at play here. The poem has pushed the beat of the poem forward in a number of ways. The first line is iambic trimeter but it’s a half beat short. That missing beat springs us into a line double the length. That long second line sets us up for an iambic pattern that is then disrupted by the two emphatic single-syllable spondees in the third line.

The poem continues its rhythmic brilliance. The next three lines are strict iambic trimeter which sets us up for a seventh line that’s tetrameter (4 beats). The push of a beat past trimeter in that line sets us to resolve with one more trimeter in the 8th line.

The meter set-up of this poem is one of a kind. If you read it through and pay attention to JUST the meter you will hear and feel how the rhythm propels you forward.

There is also great beauty in the concrete images. 

oldest Cedars swerve—

And Oaks untwist their fists—
And Mountains—feeble—lean—

These images are essential. This poem would be purely abstract without them. Oldest Cedars swerve. What a verb swerve is here. To think of a cedar tree falling as a swerving presents a fantastic image to our eyes. But then we get the oaks untwisting their fists, which is even more remarkable. It feels as if the oaks are letting go of their pent-up anger, releasing their tension, unknotting their knottiness. You can see the first of the tree in your mind literally twisting up as it grows and then untwisting as it dies. 

UN

The last image is of mountains leaning feebly. Can you picture that? It's humorous.

Paradoxically though, the concrete is what is ephemeral while the abstract, Truth, is what lasts. Truth is abstract because it must be. Anything that is described must, by its nature, fade away.

So the poem ends as it begins, in the pursuit of something beyond names, to something Truer than the transient.

We are left with nothing but evanescent Beauty, which is, in itself, an indicator of eternal Truth. That's what I think Keats was getting at. 

What else is True?

     -/)dam Wade l)eGraff

P.S. One subtle thing about this poem is the question of what "boldly" refers to. At first it seems to be point to the reader. If we are bold, Truth holds us up. But the lack of a dash between "boldly" and "up" means, I think, that "boldy" qualifies Truth. 

Truth stays Herself—and every man
That trusts Her—boldly up—

In other words, Truth, that "vigorous Force," is what is bold. There is a will to it. It IS what is holding us up, the life force itself.