Poems List

My Garden—like the Beach

My Garden—like the Beach

484

My Garden—like the Beach—
Denotes there be—a Sea—
That's Summer—
Such as These—the Pearls
She fetches—such as Me
288

My friend attacks my friend!

My friend attacks my friend!

118

My friend attacks my friend!
Oh Battle picturesque!
Then I turn Soldier too,
And he turns Satirist!
How martial is this place!
Had I a mighty gun
I think I'd shoot the human race
And then to glory run!
358

My Faith is larger than the Hills

My Faith is larger than the Hills

766

My Faith is larger than the Hills-
So when the Hills decay-
My Faith must take the Purple Wheel
To show the Sun the way


'Tis first He steps upon the Vane-
And then-upon the Hill-
And then abroad the World He go
To do His Golden Will-

And if His Yellow feet should miss-
The Bird would not arise-
The Flowers would slumber on their Stems-
No Bells have Paradise-

How dare I, therefore, stint a faith
On which so vast depends-
Lest Firmament should fail for me-
The Rivet in the Bands
216

My best Acquaintances are those

My best Acquaintances are those

932

My best Acquaintances are those
With Whom I spoke no Word-
The Stars that stated come to Town
Esteemed Me never rude
Although to their Celestial Call
I failed to make reply-
My constant-reverential Face
Sufficient Courtesy.
279

Must be a Woe

Must be a Woe

571

Must be a Woe-
A loss or so-
To bend the eye
Best Beauty's way


But-once aslant
It notes Delight
As difficult
As Stalactite

A Common Bliss
Were had for less-
The price-is
Even as the Grace-

Our lord-thought no
Extravagance
To pay-a Cross-
230

Much Madness is divinest Sense

Much Madness is divinest Sense

Much Madness is divinest Sense -
To a discerning Eye -
Much Sense - the starkest Madness `
Tis the Majority
In this, as All, prevail -
Assent - and you are sane -
Demur - you`re straightaway dangerous -
And handled with a Chain -
266

Morns like these—we parted

Morns like these—we parted

27

Morns like these—we parted—
Noons like these—she rose—
Fluttering first—then firmer
To her fair repose.


Never did she lisp it—
It was not for me—
She—was mute from transport—
I—from agony—


Till—the evening nearing
One the curtains drew—
Quick! A Sharper rustling!
And this linnet flew!
243

Morning—is the place for Dew

Morning—is the place for Dew

197

Morning—is the place for Dew—
Corn—is made at Noon—
After dinner light—for flowers—
Dukes—for Setting Sun!
217

Me, change! Me, alter!

Me, change! Me, alter!

268

Me, change! Me, alter!
Then I will, when on the Everlasting Hill
A Smaller Purple grows-
At sunset, or a lesser glow
Flickers upon Cordillera-
At Day's superior close!
290

Mine—by the Right of the White Election!

Mine—by the Right of the White Election!

528

Mine—by the Right of the White Election!
Mine—by the Royal Seal!
Mine—by the Sign in the Scarlet prison—
Bars—cannot conceal!


Mine—here—in Vision—and in Veto!
Mine—by the Grave's Repeal—
Tilted—Confirmed—
Delirious Charter!
Mine—long as Ages steal!
322

Comments (0)

Log in to post a comment.

NoComments

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.