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-
Read full poem
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

I'm nobody! Who are you?

I'm nobody! Who are you?

I'm nobody! Who are you?
Are you nobody, too?
Then there's a pair of us -- don't tell!
They'd banish -- you know!


How dreary to be somebody!
How public like a frog
To tell one's name the livelong day
To an admiring bog!
245

I'll send the feather from my Hat!

I'll send the feather from my Hat!

687

I'll send the feather from my Hat!
Who knows-but at the sight of that
My Sovereign will relent?
As trinket-worn by faded Child-
Confronting eyes long-comforted-
Blisters the Adamant!
322

I'm wife-I've finished that

I'm "wife"-I've finished that

199

I'm "wife"-I've finished that-
That other stateI'm
Czar-I'm "Woman" nowIt's
safer so-


How odd the Girl's life looks
Behind this soft Eclipse-
I think that Earth feels so
To folks in Heaven-now-


This being comfort-then
That other kind-was pain-
But why compare?
I'm "Wife"! Stop there!
278

If What we could-were what we would

If What we could-were what we would

407

If What we could-were what we wouldCriterion-
be small-
It is the Ultimate of Talk-
The Impotence to Tell-
363

If your Nerve, deny you

If your Nerve, deny you

292

If your Nerve, deny you-
Go above your Nerve-
He can lean against the Grave,
If he fear to swerve


That's a steady posture-
Never any bend
Held of those Brass arms-
Best Giant made-

If your Soul seesaw-
Lift the Flesh door-
The Poltroon wants Oxygen-
Nothing more-
324

If this is fading

If this is "fading"

120

If this is "fading"
Oh let me immediately "fade"!
If this is "dying"
Bury me, in such a shroud of red!
If this is "sleep,"
On such a night
How proud to shut the eye!
Good Evening, gentle Fellow men!
Peacock presumes to die!
253

If she had been the Mistletoe

If she had been the Mistletoe

44

If she had been the Mistletoe
And I had been the Rose-
How gay upon your table
My velvet life to close-
Since I am of the Druid,
And she is of the dewI'll
deck Tradition's buttonhole-
And send the Rose to you.
524

If pain for peace prepares

If pain for peace prepares

63

If pain for peace prepares
Lo, what "Augustan" years
Our feet await!


If springs from winter rise,
Can the Anemones
Be reckoned up?


If night stands fast-then noon
To gird us for the sun,
What gaze!


When from a thousand skies
On our developed eyes
Noons blaze!
318

If I'm lost-now

If I'm lost-now

256

If I'm lost-now
That I was found-
Shall still my transport be-
That once-on me-those Jasper Gates
Blazed open-suddenly-

That in my awkward-gazing-face-
The Angels-softly peered-
And touched me with their fleeces,
Almost as if they caredI'm
banished-now-you know it-
How foreign that can beYou'll
know-Sir-when the Savior's face
Turns so-away from you-
249

If I may have it, when it's dead

If I may have it, when it's dead

577

If I may have it, when it's dead,
I'll be contented-so-
If just as soon as Breath is out
It shall belong to me-


Until they lock it in the Grave,
'Tis Bliss I cannot weigh-
For tho' they lock Thee in the Grave,
Myself-can own the key-


Think of it Lover! I and Thee
Permitted-face to face to be-
After a Life-a Death-We'll say-
For Death was That-
And this-is Thee


I'll tell Thee All-how Bald it grew-
How Midnight felt, at first-to me-
How all the Clocks stopped in the World-
And Sunshine pinched me-'Twas so cold-


Then how the Grief got sleepy-some-
As if my Soul were deaf and dumb-
Just making signs-across-to Thee-
That this way-thou could'st notice me


I'll tell you how I tried to keep
A smile, to show you, when this Deep
All Waded-We look back for Play,
At those Old Times-in Calvary,


Forgive me, if the Grave come slow-
For Coveting to look at Thee-
Forgive me, if to stroke thy frost
Outvisions Paradise!
338

Quotes

40

Videos

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