Digitised by the Victorian Woman Writers Project, Indiana University.
In this, the penultimate poem in Constance Naden’s year in sonnets, we see several of the preceding poems echoed as she looks both forwards and backwards. The sombre opening invokes lack and desolation, even the boisterous wind of spring and autumn has almost fallen silent.
The shift in tone at the volta is more dramatic than any we’ve seen over the course of the cycle, ‘And yet’ clearly indicating the movement from despair to optimism. This is, however, foreshadowed in the preceding stanza. The ‘constant, faint, unchanging hum’ gestures towards Naden’s own poetic voice, ‘constant’ punning on the name Constance, and the ‘hum’ aligning itself with the poetic song behind these very lines. Indeed the usually regular beat of iambic pentameter is flattened here, reflecting the mood expressed in these opening lines.
Naden becomes one with nature, which follows on from a similar sense of identification and unity in the previous sonnet. Her poetic voice ‘seems the voice of the despairing earth’, and over the course of this sonnet cycle we have learned how closely Naden identifies emotionally with the changing seasons. In these lines this reciprocity is almost complete, as she seemingly comes to speak for the earth itself.
There is an introspective side to this sonnet, however, the caveat ‘to me’ being an acknowledgement that not all will share her perspective. But nonetheless the evocative imagery of ‘Their lace‐like twigs half‐seen, half‐hid with snow’ provides the reader with an insight into Naden’s personal vision of the encroaching winter. A fundamental concept within her philosophy is that empathy underlies human relationships, as described in the following excerpt of her 1884 essay ‘Hylo-Idealism: The Creed of the Coming Day’ which goes some way to demonstrating how her poetic sensibilities suffuse her philosophical prose.
Two interlocutors are like opposite mirrors. Each, among other objects, reflects its vis-à-vis, and therefore reflects its own reflexion. The mirrors may be cracked or clouded, convex or concave […] Still, in however distorted a form, each may be said to contain its opposite neighbour, and, were mirrors sentient beings the mutual inclusion would be psychical as well as physical. (Induction and Deduction, p. 174)
The idea of mentally absorbing that with which we interact is central to ‘November, 1878’, in which the boundaries between poet and nature are comprehensively blurred.
The closing couplet leaves the reader with a real sense of hope; we return to the familiar imagery that highlights the living energy inherent in what is seemingly dormant, reminding us of both ‘The Seed’ and ‘To the First Snowdrop’. And yet the resonance is slightly different in this instance, for the ‘red chrysanthemum’ is symbolic of love, optimism, and rest; this is therefore also a poem about the resilience of these ideals. The biting frost signifies the inevitability of challenges they might face, but we are left safe in the knowledge that while this flower will inevitably be killed off by the winter’s cold, many more will rise again in its stead.