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

150,129 Views

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-
Read full poem
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

Delight becomes pictorial

Delight becomes pictorial

Delight becomes pictorial
When viewed through pain,--
More fair, because impossible
That any gain.


The mountaln at a given distance
In amber lies;
Approached, the amber flits a little,--
And that's the skies!
321

Death is a Dialogue between

Death is a Dialogue between

976

Death is a Dialogue between
The Spirit and the Dust.
"Dissolve" says Death-The Spirit "Sir
I have another Trust"-

Death doubts it-Argues from the Ground-
The Spirit turns away
Just laying off for evidence
An Overcoat of Clay.
333

Death Leaves Us homesick, Who Behind

Death Leaves Us homesick, Who Behind

Death leaves Us homesick, who behind,
Except that it is gone
Are ignorant of its Concern
As if it were not born.


Through all their former Places, we
Like Individuals go
Who something lost, the seeking for
Is all that's left them, now—
327

Could—I do more—for Thee

Could—I do more—for Thee

447

Could—I do more—for Thee—
Wert Thou a Bumble Bee—
Since for the Queen, have I—
Nought but Bouquet?
149

Crumbling is not an instant's Act

Crumbling is not an instant's Act

997

Crumbling is not an instant's Act
A fundamental pause
Dilapidation's processes
Are organized Decays.

'Tis first a Cobweb on the Soul
A Cuticle of Dust
A Borer in the Axis
An Elemental Rust-

Ruin is formal-Devil's work
Consecutive and slow-
Fail in an instant, no man did
Slipping-is Crash's law.
265

Could I—then—shut the door

Could I—then—shut the door

220

Could I—then—shut the door—
Lest my beseeching face—at last—
Rejected—be—of Her?
241

Conscious am I in my Chamber

Conscious am I in my Chamber

679

Conscious am I in my Chamber,
Of a shapeless friend-
He doth not attest by Posture-
Nor Confirm-by Word-

Neither Place-need I present Him-
Fitter Courtesy
Hospitable intuition
Of His Company


Presence-is His furthest license-
Neither He to Me
Nor Myself to Him-by Accent-
Forfeit Probity-

Weariness of Him, were quainter
Than Monotony
Knew a Particle-of Space's
Vast Society

Neither if He visit Other-
Do He dwell-or Nay-know I-
But Instinct esteem Him
Immortality-
321

Come slowly—Eden!

Come slowly—Eden!

Come slowly—Eden!
Lips unused to Thee—
Bashful—sip thy Jessamines—
As the fainting Bee—


Reaching late his flower,
Round her chamber hums—
Counts his nectars—
Enters—and is lost in Balms.
264

Color—Caste—Denomination

Color—Caste—Denomination


970

Color—Caste—Denomination—
These—are Time's Affair—
Death's diviner Classifying
Does not know they are—


As in sleep—All Hue forgotten—
Tenets—put behind—
Death's large—Democratic fingers
Rub away the Brand—


If Circassian—He is careless—
If He put away
Chrysalis of Blonde—or Umber—
Equal Butterfly—


They emerge from His Obscuring—
What Death—knows so well—
Our minuter intuitions—
Deem unplausible—
265

By The Sea

By The Sea

I started early, took my dog,
And visited the sea;
The mermaids in the basement
Came out to look at me.


And frigates in the upper floor
Extended hempen hands,
Presuming me to be a mouse
Aground, upon the sands.


But no man moved me till the tide
Went past my simple shoe,
And past my apron and my belt,
And past my bodice too,


And made as he would eat me up
As wholly as a dew
Upon a dandelion's sleeve -
And then I started too.


And he - he followed close behind;
I felt his silver heel
Upon my ankle, - then my shoes
Would overflow with pearl.


Until we met the solid town,
No man he seemed to know;
And bowing with a mighty look
At me, the sea withdrew.
351

Quotes

40

Videos

50

Comments (0)

Share
Log in to post a comment.

No comments yet. Be the first to comment.