Poems List

The Way I read a Letter's—this

The Way I read a Letter's—this

636

The Way I read a Letter's—this—
'Tis first—I lock the Door—
And push it with my fingers—next—
For transport it be sure—


And then I go the furthest off
To counteract a knock—
Then draw my little Letter forth
And slowly pick the lock—


Then—glancing narrow, at the Wall—
And narrow at the floor
For firm Conviction of a Mouse
Not exorcised before—


Peruse how infinite I am
To no one that You—know—
And sigh for lack of Heaven—but not
The Heaven God bestow—
277

The Whole of it came not at once

The Whole of it came not at once

762

The Whole of it came not at once'
Twas Murder by degrees-
A Thrust-and then for Life a chance-
The Bliss to cauterize-

The Cat reprieves the Mouse
She eases from her teeth
Just long enough for Hope to tease-
Then mashes it to death


'Tis Life's award-to die-
Contenteder if once-
Than dying half-then rallying
For consciouser Eclipse-
343

The Tint I cannot take—is best

The Tint I cannot take—is best

627

The Tint I cannot take—is best—
The Color too remote
That I could show it in Bazaar—
A Guinea at a sight—


The fine—impalpable Array—
That swaggers on the eye
Like Cleopatra's Company—
Repeated—in the sky—


The Moments of Dominion
That happen on the Soul
And leave it with a Discontent
Too exquisite—to tell—


The eager look—on Landscapes—
As if they just repressed
Some Secret—that was pushing
Like Chariots—in the Vest—


The Pleading of the Summer—
That other Prank—of Snow—
That Cushions Mystery with Tulle,
For fear the Squirrels—know.


Their Graspless manners—mock us—
Until the Cheated Eye
Shuts arrogantly—in the Grave—
Another way—to see—
309

The Truth—is stirless

The Truth—is stirless

780

The Truth—is stirless—
Other force—may be presumed to move—
This—then—is best for confidence—
When oldest Cedars swerve—


And Oaks untwist their fists—
And Mountains—feeble—lean—
How excellent a Body, that
Stands without a Bone—


How vigorous a Force
That holds without a Prop—
Truth stays Herself—and every man
That trusts Her—boldly up—
250

The Sun—just touched the Morning

The Sun—just touched the Morning

232

The Sun—just touched the Morning—
The Morning—Happy thing—
Supposed that He had come to dwell—
And Life would all be Spring!


She felt herself supremer—
A Raised—Ethereal Thing!
Henceforth—for Her—What Holiday!
Meanwhile—Her wheeling King—
Trailed—slow—along the Orchards—
His haughty—spangled Hems—
Leaving a new necessity!
The want of Diadems!


The Morning—fluttered—staggered—
Felt feebly—for Her Crown—
Her unanointed forehead—
Henceforth—Her only One!
235

The Sunset stopped on Cottages

The Sunset stopped on Cottages

950

The Sunset stopped on Cottages
Where Sunset hence must be
For treason not of His, but Life's,
Gone Westerly, Today-

The Sunset stopped on Cottages
Where Morning just begun-
What difference, after all, Thou mak'st
Thou supercilious Sun?
295

The Sun and Moon must make their haste

The Sun and Moon must make their haste

871

The Sun and Moon must make their haste-
The Stars express around
For in the Zones of Paradise
The Lord alone is burned-

His Eye, it is the East and West-
The North and South when He
Do concentrate His Countenance
Like Glow Worms, flee away-

Oh Poor and Far-
Oh Hindred Eye
That hunted for the Day-
The Lord a Candle entertains
Entirely for Thee-
257

The Sun kept setting—setting—still

The Sun kept setting—setting—still

692

The Sun kept setting—setting—still
No Hue of Afternoon—
Upon the Village I perceived
From House to House 'twas Noon—


The Dusk kept dropping—dropping—still
No Dew upon the Grass—
But only on my Forehead stopped—
And wandered in my Face—


My Feet kept drowsing—drowsing—still
My fingers were awake—
Yet why so little sound—Myself
Unto my Seeming—make?


How well I knew the Light before—
I could see it now—
'Tis Dying—I am doing—but
I'm not afraid to know—
232

The Spider holds a Silver Ball

The Spider holds a Silver Ball

The spider holds a Silver Ball
In unperceived Hands--
And dancing softly to Himself
His Yarn of Pearl--unwinds--

He plies from Nought to Nought--
In unsubstantial Trade--
Supplants our Tapestries with His--
In half the period--

An Hour to rear supreme
His Continents of Light--
Then dangle from the Housewife's Broom--
His Boundaries--forgot--
360

The Soul's distinct connection

The Soul's distinct connection

974

The Soul's distinct connection
With immortality
Is best disclosed by Danger
Or quick Calamity-

As Lightning on a Landscape
Exhibits Sheets of Place-
Not yet suspected-but for Flash-
And Click-and Suddenness.
228

Comments (0)

Log in to post a comment.

NoComments

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.