Poems List

Life—is what we make of it

Life—is what we make of it

698

Life—is what we make of it—
Death—we do not know—
Christ's acquaintance with Him
Justify Him—though—


He—would trust no stranger—
Other—could betray—
Just His own endorsement—
That—sufficeth Me—


All the other Distance
He hath traversed first—
No New Mile remaineth—
Far as Paradise—


His sure foot preceding—
Tender Pioneer—
Base must be the Coward
Dare not venture—now—
267

Least Rivers—docile to some sea

Least Rivers—docile to some sea

212

Least Rivers—docile to some sea.
My Caspian—thee.
264

Knows how to forget!

Knows how to forget!

433

Knows how to forget!
But could It teach it?
Easiest of Arts, they say
When one learn how


Dull Hearts have died
In the Acquisition
Sacrificed for Science
Is common, though, now-


I went to School
But was not wiser
Globe did not teach it
Nor Logarithm Show


"How to forget"!
Say-some-Philosopher!
Ah, to be erudite
Enough to know!


Is it in a Book?
So, I could buy it-
Is it like a Planet?
Telescopes would know-


If it be invention
It must have a Patent.
Rabbi of the Wise Book
Don't you know?
313

Just lost, when I was saved!

Just lost, when I was saved!

160

Just lost, when I was saved!
Just felt the world go by!
Just girt me for the onset with Eternity,
When breath blew back,
And on the other side
I heard recede the disappointed tide!


Therefore, as One returned, I feel
Odd secrets of the line to tell!
Some Sailor, skirting foreign shores-
Some pale Reporter, from the awful doors
Before the Seal!


Next time, to stay!
Next time, the things to see
By Ear unheard,
Unscrutinized by Eye-


Next time, to tarry,
While the Ages steal-
Slow tramp the Centuries,
And the Cycles wheel!
334

Joy to have merited the Pain

Joy to have merited the Pain

788

Joy to have merited the Pain-
To merit the Release-
Joy to have perished every step-
To Compass Paradise


Pardon-to look upon thy face-
With these old fashioned Eyes-
Better than new-could be-for that-
Though bought in Paradise-

Because they looked on thee before-
And thou hast looked on them-
Prove Me-My Hazel Witnesses
The features are the same-

So fleet thou wert, when present-
So infinite-when gone-
An Orient's Apparition-
Remanded of the Morn-

The Height I recollect'
Twas even with the Hills-
The Depth upon my Soul was notched-
As Floods-on Whites of Wheels-

To Haunt-till Time have dropped
His last Decade away,
And Haunting actualize-to last
At least-Eternity-
267

I've seen a Dying Eye

I've seen a Dying Eye

547

I've seen a Dying Eye
Run round and round a Room-
In search of Something-as it seemed-
Then Cloudier become-
And then-obscure with Fog-
And then-be soldered down
Without disclosing what it be
'Twere blessed to have seen-
278

I've none to tell me to but Thee

I've none to tell me to but Thee

881

I've none to tell me to but Thee
So when Thou failest, nobody.
It was a little tie-
It just held Two, nor those it held
Since Somewhere thy sweet Face has spilled
Beyond my Boundary-

If things were opposite-and Me
And Me it were-that ebbed from Thee
On some unanswering ShoreWould'st
Thou seek so-just say
That I the Answer may pursue
Unto the lips it eddied throughSo-
overtaking Thee-
258

I've heard an Organ talk, sometimes

I've heard an Organ talk, sometimes

183

I've heard an Organ talk, sometimes
In a Cathedral Aisle,
And understood no word it said-
Yet held my breath, the while-


And risen up-and gone away,
A more Berdardine GirlYet-
know not what was done to me
In that old Chapel Aisle.
263

It's such a little thing to weep

It's such a little thing to weep

189

It's such a little thing to weep-
So short a thing to sigh-
And yet-by Trades-the size of these
We men and women die!
675

It's easy to invent a Life

It's easy to invent a Life

724

It's easy to invent a Life-
God does it-every DayCreation-
but the Gambol
Of His Authority


It's easy to efface it-
The thrifty Deity
Could scarce afford Eternity
To Spontaneity-

The Perished Patterns murmur-
But His Perturbless Plan
Proceed-inserting Here-a SunThere-
leaving out a Man-
353

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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.