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

Good to hide, and hear 'em hunt!

Good to hide, and hear 'em hunt!

842

Good to hide, and hear 'em hunt!
Better, to be found,
If one care to, that is,
The Fox fits the Hound-


Good to know, and not tell,
Best, to know and tell,
Can one find the rare Ear
Not too dull-
329

God permit industrious angels

God permit industrious angels

God permit industrious angels
Afternoons to play.
I met one, -- forgot my school-mates,
All, for him, straightaway.


God calls home the angels promptly
At the setting sun;
I missed mine. How dreary marbles,
After playing the Crown!
263

Going to him! Happy letter! Tell him--

Going to him! Happy letter! Tell him--

Going to him! Happy letter! Tell him--
Tell him the page I didn't write;
Tell him I only said the syntax,
And left the verb and the pronoun out.


Tell him just how the fingers hurried
Then how they waded, slow, slow, slow-
And then you wished you had eyes in your pages,
So you could see what moved them so.


'Tell him it wasn't a practised writer,
You guessed, from the way the sentence toiled;
You could hear the bodice tug, behind you,
As if it held but the might of a child;
You almost pitied it, you, it worked so.
Tell him--No, you may quibble there,
For it would split his heart to know it,
And then you and I were silenter.


'Tell him night finished before we finished
And the old clock kept neighing 'day!'
And you got sleepy and begged to be ended--
What could it hinder so, to say?
Tell him just how she sealed you, cautious
But if he ask where you are hid
Until to-morrow,--happy letter!
Gesture, coquette, and shake your head!'
281

God is a distant—stately Lover

God is a distant—stately Lover

357

God is a distant—stately Lover—
Woos, as He states us—by His Son—
Verily, a Vicarious Courtship—
"Miles", and "Priscilla", were such an One—


But, lest the Soul—like fair "Priscilla"
Choose the Envoy—and spurn the Groom—
Vouches, with hyperbolic archness—
"Miles", and "John Alden" were Synonym—
308

Glowing is her Bonnet

Glowing is her Bonnet

72

Glowing is her Bonnet,
Glowing is her Cheek,
Glowing is her Kirtle,
Yet she cannot speak.

Better as the Daisy
From the Summer hill
Vanish unrecorded
Save by tearful rill-

Save by loving sunrise
Looking for her face.
Save by feet unnumbered
Pausing at the place.
252

Given in Marriage unto Thee

Given in Marriage unto Thee

817

Given in Marriage unto Thee
Oh thou Celestial Host-
Bride of the Father and the Son
Bride of the Holy Ghost.

Other Betrothal shall dissolve-
Wedlock of Will, decay-
Only the Keeper of this Ring
Conquer Mortality-
287

Garland for Queens, may be

Garland for Queens, may be

34

Garland for Queens, may beLaurels-
for rare degree
Of soul or sword.
Ah-but remembering meAh-
but remembering thee-
Nature in chivalry-
Nature in charity-
Nature in equity-
This Rose ordained!
268

Funny—to be a Century

Funny—to be a Century

345

Funny—to be a Century—
And see the People—going by—
I—should die of the Oddity—
But then—I'm not so staid—as He—


He keeps His Secrets safely—very—
Were He to tell—extremely sorry
This Bashful Globe of Ours would be—
So dainty of Publicity—
203

From Cocoon forth a Butterfly

From Cocoon forth a Butterfly

354

From Cocoon forth a Butterfly
As Lady from her Door
Emerged-a Summer Afternoon-
Repairing Everywhere-

Without Design-that I could trace
Except to stray abroad
On Miscellaneous Enterprise
The Clovers-understood-

Her pretty Parasol be seen
Contracting in a Field
Where Men made Hay-
Then struggling hard
With an opposing Cloud-

Where Parties-Phantom as Herself-
To Nowhere-seemed to go
In purposeless Circumference-
As 'twere a Tropic Show-

And notwithstanding Bee-that worked-
And Flower-that zealous blew-
This Audience of Idleness
Disdained them, from the Sky-

Till Sundown crept-a steady Tide-
And Men that made the Hay-
And Afternoon-and ButterflyExtinguished-
in the Sea-
248

Frequently the wood are pink

Frequently the wood are pink

6

Frequently the wood are pink-
Frequently are brown.
Frequently the hills undress
Behind my native town.
Oft a head is crested
I was wont to see-
And as oft a cranny
Where it used to be-
And the Earth- they tell me-
On its Axis turned!
Wonderful Rotation!
By but twelve performed!
263

Quotes

40

Videos

50

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