The Poem

(Critical Guide to Poetry for Students)

First published under the title “Priapus” and often referred to as “Spare us from Loveliness,” “Orchard” is a short poem. Containing thirty-one lines, it is written in free verse and divided into four stanzas of unequal length. As its title suggests, its setting and focal point is an orchard in autumn, replete with epicurean treasures that inspire both awe and apprehension in the first-person narrator.

Unlike many poems in which orchard or garden imagery is used simply to suggest fecundity, fertility, or abundance, for this narrator the splendor of the orchard sets up a dilemma. This dilemma is the source of conflict within the poem: The orchard contains hazelnuts, figs, quinces, and “berries dripping with their wine”; however, like many people with puritan sensibilities, the narrator is wary of being seduced by its aesthetic and sensual appeal and leaves it “untouched.”

On entering the orchard, the narrator is profoundly moved by its opulence. A falling pear serves as a reminder of the resplendent blossoms that preceded it, and the narrator is overcome with emotion and reverence. Because of the seemingly unbearable beauty of the orchard, the narrator falls to the ground and begs for mercy, wishing to be spared its intoxicating effects. In contrast to the bees who take no notice, the narrator feels vulnerable to the allure of the orchard and must struggle to overcome its aesthetic appeal. However, the narrator feels obliged to reject the orchard’s beauty for reasons ranging from veneration to disdain. Rather than taking pleasure in its gifts, the narrator repeatedly entreats the god of the orchard to “spare us from loveliness.”

In comparison to the orchard, the god appears coarse. He looks on impassively. Like the bees, he is unimpressed by the surroundings. But his plain appearance and indifferent demeanor make him a less threatening, more deserving object of adoration. By making an offering of the orchard’s treasures, the narrator subordinates the aesthetic appeal of the orchard to authority of the “unbeautiful” (and therefore less suspect) deity. By using the immoderate bounty to supplicate a more meaningful ideal, the narrator satisfies both the impulse to revere the fruit of the orchard and the compulsion to reject it. By taking pleasure in the fruit by proxy, the narrator minimizes the risk of falling under its intoxicating spell.

Orchard Forms and Devices

(Critical Guide to Poetry for Students)

Probably the most conspicuous form in “Orchard” is that associated with a style H. D. is credited with helping to invent: Imagism. Tenets of this literary movement included a propensity for short, concrete descriptions of naturalistic scenes, as well as an inclination to focus on images in and of themselves, rather than more elusive or enigmatic meanings. Much of this poem’s meaning depends on its success in depicting images in unfamiliar ways, attributing characteristics to objects with which they are not normally associated. For example, instead of picturing pear blossoms as delicate, white, fragile, or ethereal, the poem implies that they are cruel, flaying observers with their beauty. Bees, instead of their familiar buzzing, “thundered their song.”

By rejecting conventional portrayals, H. D. forces readers to reconsider the effect and meaning of everyday objects. However, the objects themselves are less important than the relationships among them. The narrator competes with the bees, realizing too late that they do not share her interest in the wonder of the orchard. The god of the orchard becomes more remarkable for his unpolished simplicity because he presides over a place of aesthetic enchantment. By juxtaposing disparate elements, H. D. calls attention to how contexts can determine how situations are likely to be interpreted.

Another way that H. D. brings attention to selected elements within the poem is by reducing them to...

(The entire section is 430 words.)

Orchard Bibliography

(Critical Guide to Poetry for Students)

Burnett, Gary Dean. H. D. Between Image and Epic: The Mysteries of Her Poetics. Ann Arbor, Mich.: UMI Research Press, 1990.

Camboni, Marina, ed. H. D.’s Poetry: “The Meanings That Words Hide”—Essays. Brooklyn, N.Y.: AMS Press, 2003.

Collecott, Diana. H. D. and Sapphic Modernism, 1910-1950. New York: Cambridge University Press, 1999.

Connor, Rachel. H. D. and the Image. New York: Palgrave, 2004.

DuPlessis, Rachel Blau. H. D., the Career of That Struggle. Brighton, England: Harvester Press, 1986.

Friedman, Susan Stanford. Psyche Reborn: The Emergence of H. D. Bloomington: Indiana University Press, 1981.

Fritz, Angela DiPace. Thought and Vision: A Critical Reading of H. D.’s Poetry. Washington, D.C.: Catholic University of America Press, 1988.

Guest, Barbara. Herself Defined: The Poet H. D. and Her World. Garden City, N.Y.: Doubleday, 1984.

King, Michael, ed. H. D.: Woman and Poet. Orono, Maine: National Poetry Foundation, 1986.

Korg, Jacob. Winter Love: Ezra Pound and H. D. Madison: University of Wisconsin Press, 2003.

Laity, Cassandra. H. D. and the Victorian Fin de Siècle: Gender, Modernism, Decadence. New York: Cambridge University Press, 1996.

Morris, Adalaide Kirby. How to Live/What to Do: H. D.’s Cultural Poetics. Urbana: University of Illinois Press, 2003.