Throughout her life, Yane was obsessed with the relationship between the world about her and herself. This is particularly evident in The Bumblebee. This classic poem, one of a number of memorable entomic compositions by Yane (others include The Butterfly and The Earwig), was written during her most creative period: the 1890s. It is perhaps her finest achievement; the first six lines alone are enough to tell us she was no ordinary rhymester:

The alliteration of the first couplet, almost perfect and totally accurate in observation, is but a minor point of this landmark work. That said, it is worth pointing out the aptness of the device in this case, given the syllabic alliteration within the word ‘bumblebee’. The author has taken this as a starting point and built the two lines around it. The alliteration in line 1 is based around the letters ‘f”, as in ‘fast’, ‘flit’ and ‘fervent’, and ‘b’, as in ‘bum’, ‘ble’ and ‘bee’. In line 2 the order is reversed, with the ‘b’ in ‘bush’ preceding the ‘f’ in flower. A mere poetaster might have kept the same order, but this counterweight effect is one of the aspects that mark Yane’s poetry out for special admiration. It is no coincidence that with the words ‘bush’ and ‘flower’ it is not just the initial letters but the first two that mirror words in the first line, the ‘bu’ in the former corresponding to the ‘bu’ in ‘bumblebee’, and the ‘fl’ in the latter corresponding to the ‘fl’ in ‘flits’. The end of the line is even cleverer. First comes ‘shrub’, where the ‘b’ and the ‘u’ are reversed and put at the end of the word, which begins with the ‘sh’ sound found at the end of ‘bush’. Next comes ‘and’, echoing the ‘and’ between ‘bush’ and ‘flower’. Finally comes ‘tree’, which, apart from rhyming with ‘bumblebee’, enhances the alliteration still further as it starts with the same letter as the only two words in this couplet we have yet to mention, ‘the’ and ‘’twixt’. The next two couplets maintain the theme; we can see the pattern in ‘bird’ and ‘beak’ (and ‘but’, for that matter), ‘wings’, ‘weaves’ and ‘wasp’, the two ‘hums’ (and ‘has’), and ‘sings’ and ‘sky’. We should also not underestimate the effect of four ‘not’s and a ‘no’. Finally, Yane gives us the ‘fl’ sound again in ‘fly’.