Poems List

The Night was wide, and furnished scant

The Night was wide, and furnished scant

589

The Night was wide, and furnished scant
With but a single Star-
That often as a Cloud it met-
Blew out itself-for fear-

The Wind pursued the little Bush-
And drove away the Leaves
November left-then clambered up
And fretted in the Eaves-

No Squirrel went abroad-
A Dog's belated feet
Like intermittent Plush, he heard
Adown the empty Street-

To feel if Blinds be fast-
And closer to the fire-
Her little Rocking Chair to draw-
And shiver for the Poor-

The Housewife's gentle Task-
How pleasanter-said she
Unto the Sofa opposite-
The Sleet-than May, no Thee-
258

The only ghost I ever saw

The only ghost I ever saw

The only ghost I ever saw
Was dressed in mechlin, --so;
He wore no sandal on his foot,
And stepped like flakes of snow.
His gait was soundless, like the bird,
But rapid, like the roe;
His fashions quaint, mosaic,
Or, haply, mistletoe.


Hi conversation seldom,
His laughter like the breeze
That dies away in dimples
Among the pensive trees.
Our interview was transient, --
Of me, himself was shy;
And God forbid I look behind
Since that appalling day!
313

The Murmur of a Bee

The Murmur of a Bee

155

The Murmur of a Bee
A Witchcraft-yieldeth me-
If any ask me why'
Twere easier to die-
Than tell-

The Red upon the Hill
Taketh away my will-
If anybody sneer-
Take care-for God is hereThat's
all.

The Breaking of the Day
Addeth to my Degree-
If any ask me howArtist-
who drew me so-
Must tell!
219

The name-of it-is Autumn

The name-of it-is "Autumn"

656

The name-of it-is "Autumn"-
The hue-of it-is Blood-
An Artery-upon the Hill-
A Vein-along the Road-

Great Globules-in the Alleys-
And Oh, the Shower of Stain-
When Winds-upset the Basin-
And spill the Scarlet Rain-

It sprinkles Bonnets-far below-
It gathers ruddy PoolsThen-
eddies like a Rose-away-
Upon Vermilion Wheels-
332

The Morning after Woe

The Morning after Woe

364

The Morning after Woe'
Tis frequently the Way-
Surpasses all that rose before-
For utter Jubilee-

As Nature did not care-
And piled her Blossoms on-
And further to parade a Joy
Her Victim stared upon-

The Birds declaim their Tunes-
Pronouncing every word
Like Hammers-Did they know they fell
Like Litanies of Lead-

On here and there-a creatureThey'd
modify the Glee
To fit some Crucifixal Clef-
Some Key of Calvary-
242

The Mountain sat upon the Plain

The Mountain sat upon the Plain

975

The Mountain sat upon the Plain
In his tremendous Chair-
His observation omnifold,
His inquest, everywhere-

The Seasons played around his knees
Like Children round a sire-
Grandfather of the Days is He
Of Dawn, the Ancestor-
277

The Martyr Poets—did not tell

The Martyr Poets—did not tell

544

The Martyr Poets—did not tell—
But wrought their Pang in syllable—
That when their mortal name be numb—
Their mortal fate—encourage Some—


The Martyr Painters—never spoke—
Bequeathing—rather—to their Work—
That when their conscious fingers cease—
Some seek in Art—the Art of Peace—
193

The Months have ends—the Years—a knot

The Months have ends—the Years—a knot

423

The Months have ends—the Years—a knot—
No Power can untie
To stretch a little further
A Skein of Misery—


The Earth lays back these tired lives
In her mysterious Drawers—
Too tenderly, that any doubt
An ultimate Repose—


The manner of the Children—
Who weary of the Day—
Themself—the noisy Plaything
They cannot put away—
173

The Malay—took the Pearl

The Malay—took the Pearl

452

The Malay—took the Pearl—
Not—I—the Earl—
I—feared the Sea—too much
Unsanctified—to touch—


Praying that I might be
Worthy—the Destiny—
The Swarthy fellow swam—
And bore my Jewel—Home—


Home to the Hut! What lot
Had I—the Jewel—got—
Borne on a Dusky Breasty—
I had not deemed a Vest
Of Amber—fit—


The Negro never knew
I—wooed it—too—
To gain, or be undone—
Alike to Him—One—
224

The Love a Life can show Below

The Love a Life can show Below

673

The Love a Life can show Below
Is but a filament, I know,
Of that diviner thing
That faints upon the face of Noon-
And smites the Tinder in the Sun-
And hinders Gabriel's Wing


'Tis this-in Music-hints and sways-
And far abroad on Summer days-
Distils uncertain pain'
Tis this enamors in the East-
And tints the Transit in the West
With harrowing Iodine


'Tis this-invites-appalls-endowsFlits-
glimmers-proves-dissolvesReturns-
suggests-convicts-enchantsThen-
flings in Paradise-
333

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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.