‘The Seed’ is one of Naden’s most literal renderings of botanical knowledge within her poetry. Its description of the formation of the seed, followed by its period of dormancy in the soil over winter, is closely tied to the availability of light. The presence and absence of light is not as straightforward as one might suppose, however’ Naden reminds us in the opening lines that ‘No light of sun or moon can reach the seed / That blindly in the bosom of a flower / Ripens through summer’, and returns to this image of the seed lying in the flower’s ‘fragrant gloom’ immediately after the volta. As she would have been well aware from her Botany classes taken at the Birmingham and Midland Institute, it is not simply the availability of light that stimulates growth, since during the height of summer the seed lies in the flower-head’s ‘fragrant gloom’. Instead the ‘embryo life’ must wait for spring that ‘shall not speed’, resulting in the climactic line ‘And every child of Day shall find the sun.’ There is certainly a moralistic tone to this conclusion that patience is a virtue and yet the positioning of this within a scientifically informed register indicates Naden’s unwillingness to accept socio-cultural platitudes.
It is notable that ‘child of Day’ echoes a Biblical phrase, contributing to the sense of didacticism evident in the closing couplet. While, in isolation, the final line would therefore imply that the seed’s eventual germination is a metaphor for revelation and redemption upon accepting the light of religion, its pairing with the preceding line ‘Yet Night shall keep her own, and lose not one’ undermines this. Rather than the Bible’s proclamation ‘Ye are all the children of light, and the children of the day: we are not of the night, nor of darkness’ (Thessalonians 1.5) Naden sees the value and necessity of both light and dark, day and night, winter and spring. The dark soil may seem ‘cold’ and ‘lifeless’, but it is protective; by gendering night as female it becomes equated with the ‘mother earth’ figure that often underlies pantheistic philosophies.
Naden personifies the seed, drawing parallels between a plant’s life cycle and human emotions such as hopelessness, and yet she does so in a way that highlights our essential oneness with nature in our urge for the right kind of light. This is borne out of the earlier sonnet in the cycle, ‘To the First Snowdrop’, which celebrates how when ‘the sun appears’ there ‘[n]ow springs to life and light each buried joy’, indicating how these poems gesture both forwards and backwards, to the year that has passed and the year that is to come. The pairing of ‘life and light’ that is traceable across Naden’s Year in Sonnets is fundamental to her engagement with the natural world and the influence of the changing seasons both intellectually and emotionally, reaching beyond the commonplace towards the realm of materialist knowledge and universal truth.
NB At the Birmingham and Midland Institute Naden sat the Elementary and Advanced Botany exams in 1881 (achieve a first-class certificate in the subject) – these exams were set by the Science and Art Department, and so diagrams such as this would have been used by Naden to study botany.