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

At last, to be identified!

At last, to be identified!

174

At last, to be identified!
At last, the lamps upon thy side
The rest of Life to see!


Past Midnight! Past the Morning Star!
Past Sunrise!
Ah, What leagues there were
Between our feet, and Day!
256

As imperceptibly as Grief

As imperceptibly as Grief

1540

As imperceptibly as Grief
The Summer lapsed away-
Too imperceptible at last
To seem like Perfidy-
A Quietness distilled
As Twilight long begun,
Or Nature spending with herself
Sequestered Afternoon-
The Dusk drew earlier in-
The Morning foreign shone-
A courteous, yet harrowing Grace,
As Guest, that would be gone-
And thus, without a Wing
Or service of a Keel
Our Summer made her light escape
Into the Beautiful.
266

As plan for Noon and plan for Night

As plan for Noon and plan for Night

960

As plan for Noon and plan for Night
So differ Life and Death
In positive Prospective-
The Foot upon the Earth


At Distance, and Achievement, strains,
The Foot upon the Grave
Makes effort at conclusion
Assisted faint of Love.
210

As Frost is best conceived

As Frost is best conceived

951

As Frost is best conceived
By force of its Result-
Affliction is inferred
By subsequent effect-

If when the sun reveal,
The Garden keep the Gash-
If as the Days resume
The wilted countenance

Cannot correct the crease
Or counteract the stain-
Presumption is Vitality
Was somewhere put in twain.
286

As if some little Arctic flower

As if some little Arctic flower

180

As if some little Arctic flower
Upon the polar hem-
Went wandering down the Latitudes
Until it puzzled came
To continents of summer-
To firmaments of sun-
To strange, bright crowds of flowers-
And birds, of foreign tongue!
I say, As if this little flower
To Eden, wandered in-
What then? Why nothing,
Only, your inference therefrom!
266

As Everywhere of Silver

As Everywhere of Silver

884

As Everywhere of Silver
With Ropes of Sand
To keep it from effacing
The Track called Land.
264

As by the dead we love to sit

As by the dead we love to sit

88

As by the dead we love to sit,
Become so wondrous dear-
As for the lost we grapple
Tho' all the rest are here-

In broken mathematics
We estimate our prize
Vast-in its fading ration
To our penurious eyes!
410

Apology for Her

Apology for Her

852

Apology for Her
Be rendered by the Bee-
Herself, without a Parliament
Apology for Me.
337

Arcturus

Arcturus


"Arcturus" is his other name—
I'd rather call him "Star."
It's very mean of Science
To go and interfere!


I slew a worm the other day—
A "Savant" passing by
Murmured "Resurgam"—"Centipede"!
"Oh Lord—how frail are we"!


I pull a flower from the woods—
A monster with a glass
Computes the stamens in a breath—
And has her in a "class"!


Whereas I took the Butterfly
Aforetime in my hat—
He sits erect in "Cabinets"—
The Clover bells forgot.


What once was "Heaven"
Is "Zenith" now—
Where I proposed to go
When Time's brief masquerade was done
Is mapped and charted too.


What if the poles should frisk about
And stand upon their heads!
I hope I'm ready for "the worst"—
Whatever prank betides!


Perhaps the "Kingdom of Heaven's" changed—
I hope the "Children" there Won't be "new fashioned" when I come—
And laugh at me—and stare—


I hope the Father in the skies
Will lift his little girl—
Old fashioned—naught—everything—
Over the stile of "Pearl."
561

Angels, in the early morning

Angels, in the early morning

94

Angels, in the early morning
May be seen the Dews among,
Stooping-plucking-smiling-flying-
Do the Buds to them belong?


Angels, when the sun is hottest
May be seen the sands among,
Stooping-plucking-sighing-flying-
Parched the flowers they bear along.
274

Quotes

40

Videos

50

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