Emily Dickinson

Emily Dickinson

1830–1886 · lived 55 years US US

Emily Dickinson was a prolific American poet whose work was largely unknown during her lifetime. Her poems are characterized by their unconventional style, exploring themes of nature, death, immortality, and faith with unique imagery and introspective depth. She is now recognized as one of the most important figures in American poetry, known for her distinct voice and innovative approach to form and language.

n. 1830-12-10, Amherst · m. 1886-05-15, Amherst

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We see-Comparatively

We see-Comparatively

534

We see-Comparatively-
The Thing so towering high
We could not grasp its segment
Unaided-Yesterday-

This Morning's finer Verdict-
Makes scarcely worth the toil-
A furrow-Our Cordillera-
Our Apennine-a Knoll-

Perhaps 'tis kindly-done us-
The Anguish-and the loss-
The wrenching-for His Firmament
The Thing belonged to us-

To spare these Striding Spirits
Some Morning of Chagrin-
The waking in a Gnat's-embrace-
Our Giants-further on-
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Bio

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.

Poems

541

So the Eyes accost—and sunder

So the Eyes accost—and sunder

752

So the Eyes accost—and sunder
In an Audience—
Stamped—occasionally—forever—
So may Countenance


Entertain—without addressing
Countenance of One
In a Neighboring Horizon—
Gone—as soon as known—
199

So from the mould

So from the mould

66

So from the mould
Scarlet and Gold
Many a Bulb will rise-
Hidden away, cunningly, From sagacious eyes.


So from Cocoon
Many a Worm
Leap so Highland gay,
Peasants like me,
Peasants like Thee
Gaze perplexedly!
395

So has a Daisy vanished

So has a Daisy vanished

28

So has a Daisy vanished
From the fields today-
So tiptoed many a slipper
To Paradise away-

Oozed so in crimson bubbles
Day's departing tideBlooming-
tripping-flowing
Are ye then with God?
339

Snow flakes

Snow flakes

36

Snow flakes.

I counted till they danced so
Their slippers leaped the town,
And then I took a pencil
To note the rebels down.
And then they grew so jolly
I did resign the prig,
And ten of my once stately toes
Are marshalled for a jig!
260

Smiling back from Coronation

Smiling back from Coronation

385

Smiling back from Coronation
May be Luxury-
On the Heads that started with usBeing's
Peasantry-

Recognizing in Procession
Ones We former knew-
When Ourselves were also dusty-
Centuries ago-

Had the Triumph no Conviction
Of how many beStimulated-
by the Contrast-
Unto Misery-
213

Size circumscribes—it has no room

Size circumscribes—it has no room

641

Size circumscribes—it has no room
For petty furniture—
The Giant tolerates no Gnat
For Ease of Gianture—


Repudiates it, all the more—
Because intrinsic size
Ignores the possibility
Of Calumnies—or Flies.
216

Should you but fail at—Sea

Should you but fail at—Sea

226

Should you but fail at—Sea—
In sight of me—
Or doomed lie—
Next Sun—to die—
Or rap—at Paradise—unheard
I'd harass God
Until he let you in!
217

She sweeps with many-colored brooms,

She sweeps with many-colored brooms,

She sweeps with many-colored brooms,
And leaves the shreds behind;
Oh, housewife in the evening west,
Come back, and dust the pond!


You dropped a purple ravelling in,
You dropped an amber thread;
And now you've littered all the East
With duds of emerald!


And still she plies her spotted brooms,
And still the aprons fly,
Till brooms fade softly into stars --
And then I come away.
371

Shells from the Coast mistaking

Shells from the Coast mistaking

693

Shells from the Coast mistaking-
I cherished them for All-
Happening in After Ages
To entertain a Pearl-

Wherefore so late-I murmured-
My need of Thee-be doneTherefore-
the Pearl responded-
My Period begin
176

She rose to His Requirement

She rose to His Requirement

732

She rose to His Requirement-dropt
The Playthings of Her Life
To take the honorable Work
Of Woman, and of Wife-


If ought She missed in Her new Day,
Of Amplitude, or Awe-
Or first Prospective-Or the Gold
In using, wear away,


It lay unmentioned-as the Sea
Develop Pearl, and Weed,
But only to Himself-be known
The Fathoms they abide-
812

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