Poems List

That first Day, when you praised Me, Sweet

That first Day, when you praised Me, Sweet

659

That first Day, when you praised Me, Sweet,
And said that I was strong-
And could be mighty, if I liked-
That Day-the Days among-

Glows Central-like a Jewel
Between Diverging Golds-
The Minor One-that gleamed behind-
And Vaster-of the World's.
260

That after Horror—that 'twas us

That after Horror—that 'twas us

286

That after Horror—that 'twas us—
That passed the mouldering Pier—
Just as the Granite Crumb let go—
Our Savior, by a Hair—


A second more, had dropped too deep
For Fisherman to plumb—
The very profile of the Thought
Puts Recollection numb—


The possibility—to pass
Without a Moment's Bell—
Into Conjecture's presence—
Is like a Face of Steel—
That suddenly looks into ours
With a metallic grin—
The Cordiality of Death—
Who drills his Welcome in—
265

Teach Him—When He makes the names

Teach Him—When He makes the names

227

Teach Him—When He makes the names—
Such an one—to say—
On his babbling—Berry—lips—
As should sound—to me—
Were my Ear—as near his nest—
As my thought—today—
As should sound—
"Forbid us not"—
Some like "Emily."
288

Taking up the fair Ideal

Taking up the fair Ideal

428

Taking up the fair Ideal,
Just to cast her down
When a fracture-we discover-
Or a splintered Crown-
Makes the Heavens portable-
And the Gods-a lieDoubtless-"
Adam"-scowled at Eden-
For his perjury!

Cherishing-our pool Ideal-
Till in purer dress-
We behold her-glorifiedComforts-
search-like this-
Till the broken creatures-
We adored-for wholeStains-
all washedTransfigured-
mended-
Meet us-with a smile-
251

Sweet, to have had them lost

Sweet, to have had them lost

901

Sweet, to have had them lost
For news that they be saved-
The nearer they departed Us
The nearer they, restored,

Shall stand to Our Right Hand-
Most precious and the Dead-
Next precious
Those that rose to go-
Then thought of Us, and stayed.
288

T was just this time last year I died.

T was just this time last year I died.

'T was just this time last year I died.
I know I heard the corn,

When I was carried by the farms,-It
had the tassels on.

I thought how yellow it would look
When Richard went to mill;

And then I wanted to get out,
But something held my will.

I thought just how red apples wedged
The stubble's joints between;

And carts went stooping round the fields
To take the pumpkins in.

I wondered which would miss me least,
And when Thanksgiving came,

If father'd multiply the plates
To make an even sum.

And if my stocking hung too high,
Would it blur the Christmas glee,

That not a Santa Claus could reach
The altitude of me?

But this sort grieved myself, and so
I thought how it would be

When just this time, some perfect year,
Themselves should come to me.
226

Suspense—is Hostiler than Death

Suspense—is Hostiler than Death

705

Suspense—is Hostiler than Death—
Death—tho'soever Broad,
Is Just Death, and cannot increase—
Suspense—does not conclude—


But perishes—to live anew—
But just anew to die—
Annihilation—plated fresh
With Immortality—
263

Sweet-safe-Houses

Sweet-safe-Houses


457

Sweet-safe-HousesGlad-
gay-Houses-
Sealed so stately tight-
Lids of Steel-on Lids of Marble-
Locking Bare feet out-

Brooks of Plush-in Banks of Satin
Not so softly fall
As the laughter-and the whisper-
From their People Pearl-

No Bald Death-affront their Parlors-
No Bold Sickness come
To deface their Stately TreasuresAnguish-
and the Tomb-

Hum by-in Muffled Coaches-
Lest they-wonder WhyAny-
for the Press of SmilingInterrupt-
to die-
243

Summer Shower

Summer Shower

A drop fell on the apple tree,
Another on the roof;
A half a dozen kissed the eaves,
And made the gables laugh.


A few went out to help the brook,
That went to help the sea.
Myself conjectured, Were they pearls,
What necklaces could be!


The dust replaced in hoisted roads,
The birds jocoser sung;
The sunshine threw his hat away,
The orchards spangles hung.


The breezes brought dejected lutes,
And bathed them in the glee;
The East put out a single flag,
And signed the fete away.
233

Superfluous were the Sun

Superfluous were the Sun

999

Superfluous were the Sun
When Excellence be dead
He were superfluous every Day
For every Day be said

That syllable whose Faith
Just saves it from Despair
And whose "I'll meet You" hesitates
If Love inquire "Where"?

Upon His dateless Fame
Our Periods may lie
As Stars that drop anonymous
From an abundant sky.
315

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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.