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

One dignity delays for all

One dignity delays for all

98

One dignity delays for all-
One mitred Afternoon-
None can avoid this purple-
None evade this Crown!


Coach, it insures, and footmen-
Chamber, and state, and throng-
Bells, also, in the village
As we ride grand along!


What dignified Attendants!
What service when we pause!
How loyally at parting
Their hundred hats they raise!


Her pomp surpassing ermine
When simple You, and I,
Present our meek escutheon
And claim the rank to die!
330

One and One—are One

One and One—are One

769

One and One—are One—
Two—be finished using—
Well enough for Schools—
But for Minor Choosing—


Life—just—or Death—
Or the Everlasting—
More—would be too vast
For the Soul's Comprising—
199

On this wondrous sea

On this wondrous sea

4

On this wondrous sea
Sailing silently,
Ho! Pilot, ho!
Knowest thou the shore
Where no breakers roar-
Where the storm is o'er?


In the peaceful west
Many the sails at rest-
The anchors fast-
Thither I pilot thee-
Land Ho! Eternity!
Ashore at last!
285

On a Columnar Self

On a Columnar Self

789

On a Columnar Self-
How ample to rely
In Tumult-or Extremity-
How good the Certainty

That Lever cannot pry-
And Wedge cannot divide
Conviction-That Granitic Base-
Though None be on our Side-

Suffice Us-for a CrowdOurself-
and Rectitude-
And that Assembly-not far off
From furthest Spirit-God-
360

On that dear Frame the Years had worn

On that dear Frame the Years had worn

940

On that dear Frame the Years had worn
Yet precious as the House
In which We first experienced Light
The Witnessing, to Us-

Precious! It was conceiveless fair
As Hands the Grave had grimed
Should softly place within our own
Denying that they died.
267

Of nearness to her sundered Things

Of nearness to her sundered Things

607

Of nearness to her sundered Things
The Soul has special times-
When Dimness-looks the OddityDistinctness-
easy-seems-


The Shapes we buried, dwell about,
Familiar, in the Rooms-
Untarnished by the Sepulchre,
The Mouldering Playmate comes-


In just the Jacket that he wore-
Long buttoned in the Mold
Since we-old mornings, Children-playedDivided-
by a world-


The Grave yields back her Robberies-
The Years, our pilfered Things-
Bright Knots of Apparitions
Salute us, with their wings-


As we-it were-that perishedThemself-
had just remained till we rejoin them-
And 'twas they, and not ourself
That mourned.
256

Of Tolling Bell I ask the cause?

Of Tolling Bell I ask the cause?

947

Of Tolling Bell I ask the cause?
"A Soul has gone to Heaven"
I'm answered in a lonesome tone-
Is Heaven then a Prison?


That Bells should ring till all should know
A Soul had gone to Heaven
Would seem to me the more the way
A Good News should be given.
287

Of Bronze—and Blaze

Of Bronze—and Blaze

290

Of Bronze—and Blaze—
The North—Tonight—
So adequate—it forms—
So preconcerted with itself—
So distant—to alarms—
And Unconcern so sovereign
To Universe, or me—
Infects my simple spirit
With Taints of Majesty—
Till I take vaster attitudes—
And strut upon my stem—
Disdaining Men, and Oxygen,
For Arrogance of them—


My Splendors, are Menagerie—
But their Completeless Show
Will entertain the Centuries
When I, am long ago,
An Island in dishonored Grass—
Whom none but Beetles—know.
206

Of Consciousness, her awful Mate

Of Consciousness, her awful Mate

894

Of Consciousness, her awful Mate
The Soul cannot be rid-
As easy the secreting her
Behind the Eyes of God.

The deepest hid is sighted first
And scant to Him the Crowd-
What triple Lenses burn upon
The Escapade from God-
275

Not that We did, shall be the test

Not that We did, shall be the test

823

Not that We did, shall be the test
When Act and Will are done
But what Our Lord infers We would
Had We diviner been-
290

Quotes

40

Videos

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