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

Many cross the Rhine

Many cross the Rhine

123

Many cross the Rhine
In this cup of mine.
Sip old Frankfort air
From my brown Cigar.
319

Low at my problem bending

Low at my problem bending

69

Low at my problem bending,
Another problem comes-
Larger than mine-Serener-
Involving statelier sums.


I check my busy pencil,
My figures file away.
Wherefore, my baffled fingers
They perplexity?
278

Mama never forgets her birds

Mama never forgets her birds

164

Mama never forgets her birds,
Though in another tree-
She looks down just as often
And just as tenderly
As when her little mortal nest
With cunning care she wove-
If either of her "sparrows fall,"
She "notices," above.
366

Love-thou art high

Love-thou art high

453

Love-thou art high-
I cannot climb thee-
But, were it Two-
Who know but we-
Taking turns-at the ChimborazoDucal-
at last-stand up by thee


Love-thou are deep-
I cannot cross thee-
But, were there Two
Instead of One-
Rower, and Yacht-some sovereign Summer-
Who knows-but we'd reach the Sun?

Love-thou are Veiled-
A few-behold theeSmile-
and alter-and prattle-and dieBliss-
were an Oddity-without thee-
Nicknamed by God-
Eternity-
281

Love—is that Later Thing than Death

Love—is that Later Thing than Death

Love—is that later Thing than Death—
More previous—than Life—
Confirms it at its entrance—And
Usurps it—of itself—


Tastes Death—the first—to hand the sting
The Second—to its friend—
Disarms the little interval—
Deposits Him with God—


Then hovers—an inferior Guard—
Lest this Beloved Charge
Need—once in an Eternity—
A smaller than the Large—
238

Like Some Old fashioned Miracle

Like Some Old fashioned Miracle

302

Like Some Old fashioned Miracle
When Summertime is done-
Seems Summer's Recollection
And the Affairs of June

As infinite Tradition
As Cinderella's Bays-
Or Little John-of Lincoln Green-
Or Blue Beard's Galleries-

Her Bees have a fictitious Hum-
Her Blossoms, like a Dream-
Elate us-till we almost weep-
So plausible-they seem-

Her Memories like Strains-Review-
When Orchestra is dumb-
The Violin in Baize replaced-
And Ear-and Heaven-numb-
222

Love reckons by itself—alone

Love reckons by itself—alone

826

Love reckons by itself—alone—
"As large as I"—relate the Sun
To One who never felt it blaze—
Itself is all the like it has—
303

Like eyes that looked on Wastes

Like eyes that looked on Wastes

458

Like eyes that looked on Wastes-
Incredulous of Ought
But Blank-and steady Wilderness-
Diversified by Night-

Just Infinites of Nought-
As far as it could see-
So looked the face I looked upon-
So looked itself-on Me-

I offered it no Help-
Because the Cause was Mine-
The Misery a Compact
As hopeless-as divine


Neither-would be absolved-
Neither would be a Queen
Without the Other-Therefore-
We perish-tho' We reign-
262

Like her the Saints retire

Like her the Saints retire

60

Like her the Saints retire,
In their Chapeaux of fire,
Martial as she!

Like her the Evenings steal
Purple and Cochineal
After the Day!

"Departed"-both-they say!

i.e. gathered away,
Not found,
Argues the Aster still-
Reasons the Daffodil
Profound!
233

Least Rivers—docile to some sea

Least Rivers—docile to some sea

212

Least Rivers—docile to some sea.
My Caspian—thee.
274

Quotes

40

Videos

50

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