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-
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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

He was weak, and I was strong—then

He was weak, and I was strong—then

190

He was weak, and I was strong—then—
So He let me lead him in—
I was weak, and He was strong then—
So I let him lead me—Home.


'Twasn't far—the door was near—
'Twasn't dark—for He went—too—
'Twasn't loud, for He said nought—
That was all I cared to know.


Day knocked—and we must part—
Neither—was strongest—now—
He strove—and I strove—too—
We didn't do it—tho'!
281

He put the Belt around my life

He put the Belt around my life

273

He put the Belt around my life
I heard the Buckle snap-
And turned away, imperial,
My Lifetime folding up-
Deliberate, as a Duke would do
A Kingdom's Title Deed-
Henceforth, a Dedicated sort-
A Member of the Cloud.

Yet not too far to come at call-
And do the little Toils
That make the Circuit of the Rest-
And deal occasional smiles
To lives that stoop to notice mine-
And kindly ask it in-
Whose invitation, know you not
For Whom I must decline?
364

He outstripped Time with but a Bout

He outstripped Time with but a Bout

865

He outstripped Time with but a Bout,
He outstripped Stars and Sun
And then, unjaded, challenged God
In presence of the Throne.


And He and He in mighty List
Unto this present, run,
The larger Glory for the less
A just sufficient Ring.
202

He found my Being—set it up

He found my Being—set it up

603

He found my Being—set it up—
Adjusted it to place—
Then carved his name—upon it—
And bade it to the East


Be faithful—in his absence—
And he would come again—
With Equipage of Amber—
That time—to take it Home—
282

He fumbles at your spirit

He fumbles at your spirit

He fumbles at your spirit
As players at the keys
Before they drop full music on;
He stuns you by degrees,

Prepares your brittle substance
For the ethereal blow,
By fainter hammers, further heard,
Then nearer, then so slow

Your breath has time to straighten,
Your brain to bubble cool, --
Deals one imperial thunderbolt
That scalps your naked soul.
225

He forgot—and I—remembered

He forgot—and I—remembered

203

He forgot—and I—remembered—
'Twas an everyday affair—
Long ago as Christ and Peter—
"Warmed them" at the "Temple fire."


"Thou wert with him"—quoth "the Damsel"?
"No"—said Peter, 'twasn't me—
Jesus merely "looked" at Peter—
Could I do aught else—to Thee?
292

Have any like Myself

Have any like Myself

736

Have any like Myself
Investigating March,
New Houses on the Hill descried-
And possibly a Church-

That were not, We are sure-
As lately as the Snow-
And are Today-if We exist-
Though how may this be so?

Have any like Myself
Conjectured Who may be
The Occupants of the Adobes-
So easy to the Sky


'Twould seem that God should be
The nearest Neighbor to-
And Heaven-a convenient Grace
For Show, or Company-

Have any like Myself
Preserved the Charm secure
By shunning carefully the Place
All Seasons of the Year,

Excepting March-'Tis then
My Villages be seen-
And possibly a Steeple-
Not afterward-by Men-
300

Had I not This, or This, I said

Had I not This, or This, I said

904

Had I not This, or This, I said,
Appealing to Myself,
In moment of prosperityInadequate-
were Life


"Thou hast not Me, nor Me"-it said,
In Moment of Reverse"
And yet Thou art industrious-
No need-hadst Thou-of us"?


My need-was all I had-I said-
The need did not reduce-
Because the food-exterminate-
The hunger-does not cease-


But diligence-is sharper-
Proportioned to the Chance-
To feed upon the RetrogradeEnfeebles-
the Advance-
208

Great Caesar! Condescend

Great Caesar! Condescend

102

Great Caesar! Condescend
The Daisy, to receive,
Gathered by Cato's Daughter,
With your majestic leave!
319

Good night! which put the candle out?

Good night! which put the candle out?

Good night! which put the candle out?
A jealous zephyr, not a doubt.

Ah! friend, you little knew
How long at that celestial wick
The angels labored diligent;

Extinguished, now, for you!

It might have been the lighthouse spark
Some sailor, rowing in the dark,

Had importuned to see!
It might have been the waning lamp
That lit the drummer from the camp

To purer reveille!
298

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