The title of this sonnet – ‘In the Garden’ – implies specificity, but the poem itself lacks details describing place and context when compared to earlier sonnets. Here the flowers are simply ‘gold or blue’, which contrasts to the lilies, buttercups, and cowslips of ‘May, 1879’, for example. Through this Naden emphasises the universality of the experience she describes.
While the first line offers a multisensory description of ‘sounds, and scents, and colours’, the rest of the poem turns to focus solely on visual perception. She returns repeatedly to the act of looking itself, moving from the literal (her appreciation of plants’ ‘form’ and ‘hue’) to the figurative, whereby the search for higher knowledge is put in terms of the ‘soul, far gazing’. The physical eye and the mind’s eye is therefore brought together, and Naden cites the natural world as having a strong, though ‘tender’ and ‘subtle’, influence on emotion and thought. There is no divine inspiration here only a pantheistically-inclined materialism, gesturing towards her developing Hylo-Idealist philosophy.
This view of the world, which highlights the importance of scientific understanding when explaining the universe, is drawn out in the sestet. Here Naden’s understanding of physics and physiology come to the fore, as she perceives when looking at the flower garden the process by which wave lengths in ‘pure uncoloured beams’ are variously absorbed and reflected by petals so that the eye observes different colours. Through this the flowers become the ‘poets and revealers of the light’, and therefore take an active and creative role in the scene being described, placing them on the same plane as Naden herself.
In the final three lines the focus shifts away from the plants and towards the source of light itself. This is indicative of Naden’s preoccupation with life cycles and the inescapable truth that all living things must fade and die. In the phrase ‘your life-work is done’ she puns on the word ‘dun’ (greyish-brown) to describe the inevitable decay of the flowers’ bright tints. ‘[T]he eternal splendour of the sun’ is therefore invoked in the last line because although its rising and setting is a paradigmatic example of natural cycles its static place in the universe provides a permanent locus. While we, earth-bound human observers, lose sight of the sun for several hours a day and it is therefore a constantly shifting presence, it is actually a reliable constant that the rest of the solar system is orbiting around. In this way Naden is advocating for taking a universal and scientific, rather than individual and personal, view of the world, and it is these larger truths that her soul seeks.