Despite the ubiquity of bees in Dickinson’s work, most interpreters denigrate her nature poems. But following several recent scholars, I identify Nietzschean/Dionysian overtones in the bee poems and suggest the figure of bees/hive/queen illuminates as feminist key to her corpus. First, (a) the bee’s sting represents martyred death; (b) its gold, immortality; (c) its tongue, the “lesbian phallus”; (d) its wings, poetic power; (e) its buzz, poetic melody, and (f) its organism, a joyful Dionysian Susan (her sister-in-law and love interest) (...) to Emily’s flower. Second, the hive represents her individual poems (with slants/dashes as stingers, wings as hymn meter, honey as rhymes, variant words as exiled bees, and accompanying flowers their Darwinian coevolution with bees), constituting her writing persona as a multi-voiced self-swarm, as organized in the apiary of her letters and fascicles. And third, the queen represents her Western cultural and religious inheritance wherein bees are symbols of the soul, reincarnation, poetic-philosophical vocation, and a Nietzschean, trans-Dionysian naturalist ontology—symbolized by apiarian Artemis. (shrink)

In the article, I prove that the dialogical ritual obscene songs, in which Sappho “scolds” Gorgo and Andromeda, are the closest parallel to Aristotle's poetic dialogue of Sappho with Alcaeus, 70, 145, 99 etc. Campbell; cf. Max Tyr., 18. 9 Hobein). Also I prove that this poetic dialogue was most likely included in the text of the “Rhetoric” in mid-340s., when Aristotle and his young wife Pythias were living in Mytilene. Aristotelian verb tetimekasin indicates that, even in his time, these (...) Sapphic dialogical songs had traditionally been performed in Mytilene during religious festivals. It becomes clear that Aristotle, while quoting this dialogue of Sappho with Alcaeus, seeks to “elevate” Sappho over the obscene songs of the Mytilenean ritual chorus, leaving all the responsibility for aischrologia entirely with Alcaeus. (shrink)