Poems List

Two Travellers perishing in Snow

Two Travellers perishing in Snow

933

Two Travellers perishing in Snow
The Forests as they froze
Together heard them strengthening
Each other with the words

That Heaven if Heaven-must contain
What Either left behind
And then the cheer too solemn grew
For language, and the wind

Long steps across the features took
That Love had touched the Morn
With reverential Hyacinth-
The taleless Days went on

Till Mystery impatient drew
And those They left behind
Led absent, were procured of Heaven
As Those first furnished, said-
308

Two—were immortal twice

Two—were immortal twice

800

Two—were immortal twice—
The privilege of few—
Eternity—obtained—in Time—
Reversed Divinity—


That our ignoble Eyes
The quality conceive
Of Paradise superlative—
Through their Comparative.
216

'Twas warm—at first—like Us

'Twas warm—at first—like Us

519

'Twas warm—at first—like Us—
Until there crept upon
A Chill—like frost upon a Glass—
Till all the scene—be gone.


The Forehead copied Stone—
The Fingers grew too cold
To ache—and like a Skater's Brook—
The busy eyes—congealed—


It straightened—that was all—
It crowded Cold to Cold—
It multiplied indifference—
As Pride were all it could—


And even when with Cords—
'Twas lowered, like a Weight—
It made no Signal, nor demurred,
But dropped like Adamant.
262

Two butterflies went out at noon

Two butterflies went out at noon

Two butterflies went out at noon
And waltzed above a stream,
Then stepped straight through the firmament
And rested on a beam;


And then together bore away
Upon a shining sea,--
Though never yet, in any port
Their coming mentioned be.


If spoken by the distant bird,
If met in ether sea
By frigate or by merchantman,
Report was not to me.
321

'Twas like a Maelstrom, with a notch

'Twas like a Maelstrom, with a notch

414

'Twas like a Maelstrom, with a notch,
That nearer, every Day,
Kept narrowing its boiling Wheel
Until the Agony


Toyed coolly with the final inch
Of your delirious Hem-
And you dropt, lost,
When something broke-
And let you from a Dream-


As if a Goblin with a Gauge-
Kept measuring the Hours-
Until you felt your Second
Weigh, helpless, in his Paws-


And not a Sinew-stirred-could help,
And sense was setting numb-
When God-remembered-and the Fiend
Let go, then, Overcome-


As if your Sentence stood-pronounced-
And you were frozen led
From Dungeon's luxury of Doubt
To Gibbets, and the Dead-


And when the Film had stitched your eyes
A Creature gasped "Reprieve"!
Which Anguish was the utterest-then-
To perish, or to live?
220

Twas such a little—little boat

Twas such a little—little boat

107

'Twas such a little—little boat
That toddled down the bay!
'Twas such a gallant—gallant sea
That beckoned it away!

'Twas such a greedy, greedy wave
That licked it from the Coast—
Nor ever guessed the stately sails
My little craft was lost!
313

Twas Crisis—All the length had passed

Twas Crisis—All the length had passed

'Twas Crisis—All the length had passed—
That dull—benumbing time
There is in Fever or Event—
And now the Chance had come—


The instant holding in its claw
The privilege to live
Or warrant to report the Soul
The other side the Grave.


The Muscles grappled as with leads
That would not let the Will—
The Spirit shook the Adamant—
But could not make it feel.


The Second poised—debated—shot—
Another had begun—
And simultaneously, a Soul
Escaped the House unseen—
267

Truth—is as old as God

Truth—is as old as God

836

Truth—is as old as God—
His Twin identity
And will endure as long as He
A Co-Eternity—


And perish on the Day
Himself is borne away
From Mansion of the Universe
A lifeless Deity.
255

Triumph—may be of several kinds

Triumph—may be of several kinds

455

Triumph—may be of several kinds—
There's Triumph in the Room
When that Old Imperator—Death—
By Faith
221

Too little way the House must lie

Too little way the House must lie

911

Too little way the House must lie
From every Human Heart
That holds in undisputed Lease
A white inhabitant-

Too narrow is the Right between-
Too imminent the chance-
Each Consciousness must emigrate
And lose its neighbor once-
260

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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.