Poems List

I bring an unaccustomed wine

I bring an unaccustomed wine

132

I bring an unaccustomed wine
To lips long parching
Next to mine,
And summon them to drink;


Crackling with fever, they Essay,
I turn my brimming eyes away,
And come next hour to look.


The hands still hug the tardy glass-
The lips I would have cooled, alas-
Are so superfluous Cold-


I would as soon attempt to warm
The bosoms where the frost has lain
Ages beneath the mould-


Some other thirsty there may be
To whom this would have pointed me
Had it remained to speak-


And so I always bear the cup
If, haply, mine may be the drop
Some pilgrim thirst to slake-


If, haply, any say to me
"Unto the little, unto me,"
When I at last awake.
379

I can wade Grief

I can wade Grief

252

I can wade Grief-
Whole Pools of itI'm
used to that-
But the least push of Joy
Breaks up my feet-
And I tip-drunken-
Let no Pebble-smile'
Twas the New Liquor-
That was all!

Power is only Pain-
Stranded, thro' Discipline,
Till Weights-will hang-
Give Balm-to Giants-
And they'll wilt, like Men-
Give HimmalehThey'll
Carry-Him!
366

I am alive—I guess

I am alive—I guess

470

I am alive—I guess—
The Branches on my Hand
Are full of Morning Glory—
And at my finger's end—


The Carmine—tingles warm—
And if I hold a Glass
Across my Mouth—it blurs it—
Physician's—proof of Breath—


I am alive—because
I am not in a Room—
The Parlor—Commonly—it is—
So Visitors may come—


And lean—and view it sidewise—
And add "How cold—it grew"—
And "Was it conscious—when it stepped
In Immortality?"


I am alive—because
I do not own a House—
Entitled to myself—precise—
And fitting no one else—


And marked my Girlhood's name—
So Visitors may know
Which Door is mine—and not
229

I asked no other thing

I asked no other thing

621

I asked no other thing-
No other-was denied-
I offered Being-for it-
The Mighty Merchant sneered-

Brazil? He twirled a Button-
Without a glance my way"
But-Madam-is there nothing else-
That We can show-Today?"
310

How sick—to wait—in any place—but thine

How sick—to wait—in any place—but thine

368

How sick—to wait—in any place—but thine—
I knew last night—when someone tried to twine—
Thinking—perhaps—that I looked tired—or alone—
Or breaking—almost—with unspoken pain—


And I turned—ducal—
That right—was thine—
One port—suffices—for a Brig—like mine—


Ours be the tossing—wild though the sea—
Rather than a Mooring—unshared by thee.
Ours be the Cargo—unladed—here—
Rather than the "spicy isles—"
And thou—not there—
254

How the Waters closed above Him

How the Waters closed above Him

923

How the Waters closed above Him
We shall never know-
How He stretched His Anguish to us
That-is covered too-

Spreads the Pond Her Base of Lilies
Bold above the Boy
Whose unclaimed Hat and Jacket
Sum the History-
278

How many times these low feet staggered

How many times these low feet staggered

187

How many times these low feet staggered-
Only the soldered mouth can tellTry-
can you stir the awful rivetTry-
can you lift the hasps of steel!

Stroke the cool forehead-hot so oftenLift-
if you care-the listless hair-
Handle the adamantine fingers
Never a thimble-more-shall wear-

Buzz the dull flies-on the chamber windowBrave-
shines the sun through the freckled paneFearless-
the cobweb swings from the ceiling-
Indolent Housewife-in Daisies-lain!
271

How happy is the little Stone

How happy is the little Stone

1510

How happy is the little Stone
That rambles in the Road alone,
And doesn't care about Careers
And Exigencies never fears-
Whose Coat of elemental Brown
A passing Universe put on,
And independent as the Sun
Associates or glows alone,
Fulfilling absolute Decree
In casual simplicity-
236

How fortunate the Grave

How fortunate the Grave

897

How fortunate the Grave-
All Prizes to obtain-
Successful certain, if at last,
First Suitor not in vain.
295

Houses—so the Wise Men tell me—

Houses—so the Wise Men tell me—

"Houses"—so the Wise Men tell me—
"Mansions"! Mansions must be warm!
Mansions cannot let the tears in,
Mansions must exclude the storm!


"Many Mansions," by "his Father,"
I don't know him; snugly built!
Could the Children find the way there—
Some, would even trudge tonight!
182

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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.