Poems List

For each ecstatic instant We must an anguish pay In keen and quivering ratio To the ecstasy.

No. 125 [c. 1859], st. 1

2

To fight aloud, is very brave— But gallanter, I know Who charge within the bosom The Cavalry of Woe—

No. 126 [c. 1859], st. 1

4

Surgeons must be very careful When they take the knife! Underneath their fine incisions Stirs the Culprit— Life!

No. 108 [c. 1859] 1

3

You're right—

You're right—

234

You're right—"the way is narrow"—
And "difficult the Gate"—
And "few there be"—Correct again—
That "enter in—thereat"—


'Tis Costly—So are purples!
'Tis just the price of Breath—
With but the "Discount" of the Grave—
Termed by the Brokers—"Death"!


And after that—there's Heaven—
The Good Man's—"Dividend"—
And Bad Men—"go to Jail"—
I guess—
334

You'll find—it when you try to die

You'll find—it when you try to die

610

You'll find—it when you try to die—
The Easier to let go—
For recollecting such as went—
You could not spare—you know.


And though their places somewhat filled—
As did their Marble names
With Moss—they never grew so full—
You chose the newer names—


And when this World—sets further back—
As Dying—say it does—
The former love—distincter grows—
And supersedes the fresh—


And Thought of them—so fair invites—
It looks too tawdry Grace
To stay behind—with just the Toys
We bought—to ease their place—
271

You'll know it—as you know 'tis Noon

You'll know it—as you know 'tis Noon

420

You'll know it—as you know 'tis Noon—
By Glory—
As you do the Sun—
By Glory—
As you will in Heaven—
Know God the Father—and the Son.


By intuition, Mightiest Things
Assert themselves—and not by terms—
"I'm Midnight"—need the Midnight say—
"I'm Sunrise"—Need the Majesty?


Omnipotence—had not a Tongue—
His listp—is Lightning—and the Sun—
His Conversation—with the Sea—
"How shall you know"?
Consult your Eye!
201

You see I cannot see—your lifetime

You see I cannot see—your lifetime

253

You see I cannot see—your lifetime—
I must guess—
How many times it ache for me—today—Confess—
How many times for my far sake
The brave eyes film—
But I guess guessing hurts—
Mine—got so dim!


Too vague—the face—
My own—so patient—covers—
Too far—the strength—
My timidness enfolds—
Haunting the Heart—
Like her translated faces—
Teasing the want—
It—only—can suffice!
199

You love the Lord—you cannot see

You love the Lord—you cannot see

487

You love the Lord—you cannot see—
You write Him—every day—
A little note—when you awake—
And further in the Day.


An Ample Letter—How you miss—
And would delight to see—
But then His House—is but a Step—
And Mine's—in Heaven—You see.
231

You left me-Sire-two Legacies

You left me-Sire-two Legacies

644

You left me-Sire-two Legacies-
A Legacy of Love
A Heavenly Father would suffice
Had He the offer of-

You left me Boundaries of Pain-
Capacious as the Sea-
Between Eternity and Time-
Your Consciousness-and Me-
247

You constituted Time

You constituted Time

765

You constituted Time-
I deemed Eternity
A Revelation of Yourself'
Twas therefore Deity

The Absolute-removed
The Relative away-
That I unto Himself adjust
My slow idolatry-
335

Comments (0)

Log in to post a comment.

NoComments

Identification and basic context

Emily Dickinson is one of America's most celebrated poets. She often wrote under her own name. She was born in Amherst, Massachusetts, and died there. Her family was prominent in Amherst society, and she came from a lineage of lawyers and politicians. She was an American national and wrote in English.

Childhood and education

Dickinson grew up in a devoutly religious household, which likely influenced her later theological explorations. She attended Amherst Academy and Mount Holyoke Female Seminary, receiving a rigorous education for the time. Her early readings included the Bible, works by Ralph Waldo Emerson, and classical literature, which undoubtedly shaped her intellectual and poetic development. Significant events in her youth included periods of intense religious engagement and growing introspection.

Literary trajectory

Dickinson began writing poetry at a young age, with her output increasing significantly in the 1860s. Her style evolved, becoming increasingly concise, introspective, and experimental. While she shared her poems with friends and family, she did not actively seek publication. A few poems were published anonymously during her lifetime, often altered by editors. She did not engage with literary magazines or anthologies in a conventional manner.

Works, style, and literary characteristics

Dickinson's major works are her nearly 1,800 poems, most of which were published posthumously. Dominant themes include nature, death, immortality, faith, doubt, love, and the self. Her poems are known for their radical compression, slant rhyme, unconventional capitalization, and use of dashes. Her poetic devices are striking, creating vivid imagery and a unique rhythm. The tone can range from ecstatic to despairing, often employing irony and a deeply personal voice that transcends to the universal. Her language is precise, often using domestic imagery to explore profound philosophical ideas. She is associated with no specific literary movement but is a precursor to modernism.

Cultural and historical context

Dickinson lived during a period of significant social and intellectual change in the United States, including the abolitionist movement and the Civil War, though these are not overt subjects in her poetry. She engaged intellectually with Transcendentalism, particularly through Emerson's writings, and her work reflects a broader cultural questioning of religious and social norms. Her isolation in Amherst created a unique space for her creative development, setting her apart from established literary circles.

Personal life

Dickinson's personal life was largely private and centered in Amherst. Her relationships with family, particularly her brother Austin and his wife Susan Gilbert, were complex and deeply influential. Friendships, such as with Thomas Wentworth Higginson, provided intellectual companionship and some encouragement. Her intense inner life, marked by periods of profound introspection and perhaps illness, is reflected in the depth and originality of her poetry. She did not pursue a parallel profession, dedicating herself to her inner world and writing.

Recognition and reception

During her lifetime, Dickinson received very little recognition, with only a handful of poems published in altered forms. Her major posthumous publication in 1890 by Mabel Loomis Todd and Thomas Wentworth Higginson marked the beginning of her rise to prominence. Over time, her work has achieved immense critical acclaim and immense academic recognition, establishing her as a central figure in American literature.

Influences and legacy

Dickinson was influenced by the Bible, hymnology, and writers like Ralph Waldo Emerson. Her legacy is immense; she profoundly influenced modern poetry with her innovative use of language, form, and thematic exploration. She is a cornerstone of the American literary canon, and her poems are widely translated, studied, and adapted into music and other art forms. Her work continues to inspire poets and readers worldwide.

Interpretation and critical analysis

Dickinson's poetry invites multiple interpretations, often focusing on her exploration of consciousness, spirituality, and the human condition. Critical analysis has delved into her complex relationship with faith and doubt, her unique perspective on death, and the psychological dimensions of her work. Debates often surround the dating and ordering of her poems and the extent of her engagement with social issues.

Curiosities and lesser-known aspects

Dickinson was known for her reclusive habits in her later years, often dressing in white. There is a fascinating tension between her seemingly quiet life and the radical, often explosive, nature of her poetry. Anecdotal evidence suggests her intense observational skills and a profound, sometimes unsettling, wit. She was known to bake and engage in household activities, which stood in contrast to her abstract poetic explorations.

Death and memory

Emily Dickinson died in Amherst, Massachusetts. Her memory is preserved through her extraordinary body of work, the preservation of her home as a museum, and ongoing critical and scholarly engagement with her life and poetry. Numerous posthumous collections and scholarly editions have ensured her enduring presence in literary history.