Poems List

What shall I do—it whimpers so

What shall I do—it whimpers so

186

What shall I do—it whimpers so—
This little Hound within the Heart
All day and night with bark and start—
And yet, it will not go—
Would you untie it, were you me—
Would it stop whining—if to Thee—
I sent it—even now?


It should not tease you—
By your chair—or, on the mat—
Or if it dare—to climb your dizzy knee—
Or—sometimes at your side to run—
When you were willing—
Shall it come?
Tell Carlo—
He'll tell me!
189

What is—

What is—

215

What is—"Paradise"—
Who live there—
Are they "Farmers"—
Do they "hoe"—
Do they know that this is "Amherst"—
And that I—am coming—too—


Do they wear "new shoes"—in "Eden"—
Is it always pleasant—there—
Won't they scold us—when we're homesick—
Or tell God—how cross we are—


You are sure there's such a person
As "a Father"—in the sky—
So if I get lost—there—ever—
Or do what the Nurse calls "die"—
I shan't walk the "Jasper"—barefoot—
Ransomed folks—won't laugh at me—
Maybe—"Eden" a'n't so lonesome
As New England used to be!
212

What did They do since I saw Them?

What did They do since I saw Them?

900

What did They do since I saw Them?
Were They industrious?
So many questions to put Them
Have I the eagerness


That could I snatch Their Faces
That could Their lips reply
Not till the last was answered
Should They start for the Sky.


Not if Their Party were waiting,
Not if to talk with Me
Were to Them now, Homesickness
After Eternity.


Not if the Just suspect me
And offer a Reward
Would I restore my Booty
To that Bold Person, God-
287

What if I say I shall not wait!

What if I say I shall not wait!

277

What if I say I shall not wait!
What if I burst the fleshly Gate-
And pass escaped-to thee!

What if I file this Mortal-off-
See where it hurt me-That's enough-
And wade in Liberty!

They cannot take me-any more!
Dungeons can call-and Guns implore
Unmeaning-now-to me-

As laughter-was-an hour ago-
Or Laces-or a Travelling Show-
Or who died-yesterday!
216

Wert Thou but ill—that I might show thee

Wert Thou but ill—that I might show thee

961

Wert Thou but ill—that I might show thee
How long a Day I could endure
Though thine attention stop not on me
Nor the least signal, Me assure—


Wert Thou but Stranger in ungracious country—
And Mine—the Door
Thou paused at, for a passing bounty—
No More—


Accused—wert Thou—and Myself—Tribunal—
Convicted—Sentenced—Ermine—not to Me
Half the Condition, thy Reverse—to follow—
Just to partake—the infamy—


The Tenant of the Narrow Cottage, wert Thou—
Permit to be
The Housewife in thy low attendance
Contenteth Me—


No Service hast Thou, I would not achieve it—
To die—or live—
The first—Sweet, proved I, ere I saw thee—
For Life—be Love—
291

We—Bee and I—live by the quaffing

We—Bee and I—live by the quaffing

230

We—Bee and I—live by the quaffing—
'Tisn't all Hock—with us—
Life has its Ale—
But it's many a lay of the Dim Burgundy—
We chant—for cheer—when the Wines—fail—


Do we "get drunk"?
Ask the jolly Clovers!
Do we "beat" our "Wife"?
I—never wed—
Bee—pledges his—in minute flagons—
Dainty—as the trees—on our deft Head—


While runs the Rhine—
He and I—revel—
First—at the vat—and latest at the Vine—
Noon—our last Cup—
"Found dead"—"of Nectar"—
By a humming Coroner—
In a By-Thyme!
289

We talked as Girls do

We talked as Girls do

586

We talked as Girls do-
Fond, and late-
We speculated fair, on every subject, but the Grave-
Of ours, none affair-

We handled Destinies, as cool-
As we-Disposers-be-
And God, a Quiet Party
To our Authority-

But fondest, dwelt upon Ourself
As we eventual-be-
When Girls to Women, softly raised
We-occupy-Degree-

We parted with a contract
To cherish, and to write
But Heaven made both, impossible
Before another night.
268

We play at paste,

We play at paste,

We play at paste,
Till qualified for pearl,
Then drop the paste,
And deem ourself a fool.
The shapes, though, were similar,
And our new hands
Learned gem-tactics
Practising sands.
297

We miss Her, not because We see

We miss Her, not because We see

993

We miss Her, not because We see-
The Absence of an Eye-
Except its Mind accompany
Abridge Society

As slightly as the Routes of StarsOurselves-
asleep below-
We know that their superior Eyes
Include Us-as they go-
269

We lose—because we win

We lose—because we win

21

We lose—because we win—
Gamblers—recollecting which
Toss their dice again!
251

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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.