Poems List

If I may have it, when it's dead

If I may have it, when it's dead

577

If I may have it, when it's dead,
I'll be contented-so-
If just as soon as Breath is out
It shall belong to me-


Until they lock it in the Grave,
'Tis Bliss I cannot weigh-
For tho' they lock Thee in the Grave,
Myself-can own the key-


Think of it Lover! I and Thee
Permitted-face to face to be-
After a Life-a Death-We'll say-
For Death was That-
And this-is Thee


I'll tell Thee All-how Bald it grew-
How Midnight felt, at first-to me-
How all the Clocks stopped in the World-
And Sunshine pinched me-'Twas so cold-


Then how the Grief got sleepy-some-
As if my Soul were deaf and dumb-
Just making signs-across-to Thee-
That this way-thou could'st notice me


I'll tell you how I tried to keep
A smile, to show you, when this Deep
All Waded-We look back for Play,
At those Old Times-in Calvary,


Forgive me, if the Grave come slow-
For Coveting to look at Thee-
Forgive me, if to stroke thy frost
Outvisions Paradise!
326

If I should die

If I should die

54

If I should die,
And you should live-
And time should gurgle on-
And morn should beam-
And noon should burn-
As it has usual done-
If Birds should build as early
And Bees as bustling go-
One might depart at option
From enterprise below!
'Tis sweet to know that stocks will stand
When we with Daisies lie-
That Commerce will continue-
And Trades as briskly fly-
It makes the parting tranquil
And keeps the soul serene-
That gentlemen so sprightly
Conduct the pleasing scene!
303

If I can stop one heart from breaking,

If I can stop one heart from breaking,

If I can stop one heart from breaking,
I shall not live in vain;
If I can ease one life the aching,
Or cool one pain,
Or help one fainting robin
Unto his nest again,
I shall not live in vain.
221

If He dissolve—then—there is nothing

If He dissolve—then—there is nothing

236

If He dissolve—then—there is nothing—more—
Eclipse—at Midnight—
It was dark—before—
Sunset—at Easter—
Blindness—on the Dawn—
Faint Star of Bethlehem—
Gone down!


Would but some God—inform Him—
Or it be too late!
Say—that the pulse just lisps—
The Chariots wait—


Say—that a little life—for His—
Is leaking—red—
His little Spaniel—tell Him!
Will He heed?
281

Ideals are the Fairly Oil

Ideals are the Fairly Oil

983

Ideals are the Fairly Oil
With which we help the Wheel
But when the Vital Axle turns
The Eye rejects the Oil.
324

If anybody's friend be dead

If anybody's friend be dead

509

If anybody's friend be dead
It's sharpest of the theme
The thinking how they walked alive-
At such and such a time-

Their costume, of a Sunday,
Some manner of the Hair-
A prank nobody knew but them
Lost, in the Sepulchre-

How warm, they were, on such a day,
You almost feel the date-
So short way off it seems-
And now-they're Centuries from that-

How pleased they were, at what you said-
You try to touch the smile
And dip your fingers in the frost-
When was it-Can you tell-

You asked the Company to teaAcquaintance-
just a few-
And chatted close with this Grand Thing
That don't remember you-

Past Bows, and Invitations-
Past Interview, and Vow-
Past what Ourself can estimateThat-
makes the Quick of Woe!
379

I years had been from home,

I years had been from home,

I years had been from home,
And now, before the door,
I dared not open, lest a face
I never saw before


Stare vacant into mine
And ask my business there.
My business,--just a life I left,
Was such still dwelling there?


I fumbled at my nerve,
I scanned the windows near;
The silence like an ocean rolled,
And broke against my ear.


I laughed a wooden laugh
That I could fear a door,
Who danger and the dead had faced,
But never quaked before.


I fitted to the latch
My hand, with trembling care,
Lest back the awful door should spring,
And leave me standing there.


I moved my fingers off
As cautiously as glass,
And held my ears, and like a thief
Fled gasping from the house.
696

I would distil a cup

I would distil a cup

16

I would distil a cup,
And bear to all my friends,
Drinking to her no more astir,
By beck, or burn, or moor!
347

I went to heaven,--

I went to heaven,--

I went to heaven,-'
T was a small town,
Lit with a ruby,
Lathed with down.
Stiller than the fields
At the full dew,
Beautiful as pictures
No man drew.
People like the moth,
Of mechlin, frames,
Duties of gossamer,
And eider names.
Almost contented
I could be
'Mong such unique
Society.
286

I was the slightest in the House

I was the slightest in the House

486

I was the slightest in the House-
I took the smallest Room-
At night, my little Lamp, and Book-
And one Geranium-

So stationed I could catch the Mint
That never ceased to fall-
And just my Basket-
Let me think-I'm sure-
That this was all-

I never spoke-unless addressed-
And then, 'twas brief and low-
I could not bear to live-aloud-
The Racket shamed me so-

And if it had not been so far-
And any one I knew
Were going-I had often thought
How noteless-I could die-
294

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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.