Poems List

The bustle in a house

The bustle in a house

The bustle in a house
The morning after death
Is solemnest of industries
Enacted upon earth,-


The sweeping up the heart,
And putting love away
We shall not want to use again
Until eternity.
253

The Chemical conviction

The Chemical conviction

954

The Chemical conviction
That Nought be lost
Enable in Disaster
My fractured Trust-

The Faces of the Atoms
If I shall see
How more the Finished Creatures
Departed me!
320

The Brain—is wider than the Sky

The Brain—is wider than the Sky

632

The Brain—is wider than the Sky—
For—put them side by side—
The one the other will contain
With ease—and You—beside—


The Brain is deeper than the sea—
For—hold them—Blue to Blue—
The one the other will absorb—
As Sponges—Buckets—do—


The Brain is just the weight of God—
For—Heft them—Pound for Pound—
And they will differ—if they do—
As Syllable from Sound—
198

The Brain-is wider than the Sky

The Brain-is wider than the Sky

632

The Brain-is wider than the SkyFor-
put them side by side-
The one the other will contain
With ease-and You-beside-

The Brain is deeper than the seaFor-
hold them-Blue to Blue-
The one the other will absorb-
As Sponges-Buckets-do-

The Brain is just the weight of GodFor-
Heft them-Pound for Pound-
And they will differ-if they do-
As Syllable from Sound-
234

The Birds begun at Four o'clock

The Birds begun at Four o'clock

783

The Birds begun at Four o'clock-
Their period for Dawn-
A Music numerous as space-
But neighboring as Noon-

I could not count their Force-
Their Voices did expend
As Brook by Brook bestows itself
To multiply the Pond.

Their Witnesses were not-
Except occasional man-
In homely industry arrayed-
To overtake the Morn-

Nor was it for applause-
That I could ascertain-
But independent Ecstasy
Of Deity and Men-

By Six, the Flood had done-
No Tumult there had been
Of Dressing, or Departure-
And yet the Band was gone-

The Sun engrossed the East-
The Day controlled the World-
The Miracle that introduced
Forgotten, as fulfilled.
343

The Black Berry—wears a Thorn in his side

The Black Berry—wears a Thorn in his side

The Black Berry—wears a Thorn in his side—
But no Man heard Him cry—
He offers His Berry, just the same
To Partridge—and to Boy—


He sometimes holds upon the Fence—
Or struggles to a Tree—
Or clasps a Rock, with both His Hands—
But not for Sympathy—


We—tell a Hurt—to cool it—
This Mourner—to the Sky
A little further reaches—instead—
Brave Black Berry—
229

The Bee is not afraid of me

The Bee is not afraid of me

111

The Bee is not afraid of me.
I know the Butterfly.
The pretty people in the Woods
Receive me cordially-


The Brooks laugh louder when I come-
The Breezes madder play;
Wherefore mine eye thy silver mists,
Wherefore, Oh Summer's Day?
260

The Bible is an antique Volume

The Bible is an antique Volume

1545

The Bible is an antique Volume-
Written by faded men
At the suggestion of Holy SpectresSubjects-
BethlehemEden-
the ancient HomesteadSatan-
the BrigadierJudas-
the Great DefaulterDavid-
the TroubadorSin-
a distinguished Precipice
Others must resist-
Boys that "believe" are very lonesome-
Other Boys are "lost"-
Had but the Tale a warbling Teller-
All the Boys would come-
Orpheus' Sermon captivated-
It did not condemn-
241

That is solemn we have ended

That is solemn we have ended

934

That is solemn we have ended
Be it but a Play
Or a Glee among the Garret
Or a Holiday


Or a leaving Home, or later,
Parting with a World
We have understood for better
Still to be explained.
427

The Angle of a Landscape

The Angle of a Landscape

375

The Angle of a Landscape-
That every time I wake-
Between my Curtain and the Wall
Upon an ample Crack-

Like a Venetian-waiting-
Accosts my open eye-
Is just a Bough of Apples-
Held slanting, in the Sky-

The Pattern of a Chimney-
The Forehead of a HillSometimes-
a Vane's Forefinger-
But that's-Occasional-

The Seasons-shift-my Picture-
Upon my Emerald Bough,
I wake-to find no-EmeraldsThen-
Diamonds-which the Snow

From Polar Caskets-fetched me-
The Chimney-and the Hill-
And just the Steeple's fingerThese-
never stir at all-
399

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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.