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Years I 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.
308

His Bill an Auger is

His Bill an Auger is

1034

His Bill an Auger is,
His Head, a Cap and Frill.
He laboreth at every Tree
A Worm, His utmost Goal.
395

Her Sweet turn to leave the Homestead

Her Sweet turn to leave the Homestead

649

Her Sweet turn to leave the Homestead
Came the Darker WayCarriages-
Be Sure-and Guests-too-
But for Holiday

'Tis more pitiful Endeavor
Than did Loaded Sea
O'er the Curls attempt to caper
It had cast away-

Never Bride had such Assembling-
Never kinsmen kneeled
To salute so fair a Forehead-
Garland be indeed-

Fitter Feet-of Her before us-
Than whatever Brow
Art of Snow-or Trick of Lily
Possibly bestow

Of Her Father-Whoso ask Her-
He shall seek as high
As the Palm-that serve the Desert-
To obtain the Sky


Distance-be Her only Motion-
If 'tis Nay-or YesAcquiescence-
or Demurral-
Whosoever guess


He-must pass the Crystal Angle
That obscure Her faceHe-
must have achieved in person
Equal Paradise-
308

Her-last Poems

Her-"last Poems"

312

Her-"last Poems"Poets-
endedSilver-
perished-with her Tongue-
Not on Record-bubbled other,
Flute-or Woman-
So divine-
Not unto its Summer-Morning
Robin-uttered Half the Tune-
Gushed too free for the Adoring-
From the Anglo-FlorentineLate-
the Praise'
Tis dull-conferring
On the Head too High to CrownDiadem-
or Ducal Showing-
Be its Grave-sufficient signNought-
that We-No Poet's KinsmanSuffocate-
with easy woe-
What, and if, Ourself a Bridegroom-
Put Her down-in Italy?
368

Her breast is fit for pearls

Her breast is fit for pearls

84

Her breast is fit for pearls,
But I was not a "Diver"-
Her brow is fit for thrones
But I have not a crest.
Her heart is fit for homeI-
a Sparrow-build there
Sweet of twigs and twine
My perennial nest.
309

Her Grace is all she has

Her Grace is all she has


810

Her Grace is all she has-
And that, so least displays-
One Art to recognize, must be,
Another Art, to praise.
364

Heaven is what I cannot reach!

Heaven is what I cannot reach!

Heaven is what I cannot reach!
The apple on the tree,

Provided it do hopelss hang,
That 'heaven' is, to me.

The color on the cruising cloud,
The interdicted ground

Behind the hill, the house behind, -There
Paradise is found!
260

Heaven has different Signs—to me

Heaven has different Signs—to me

"Heaven" has different Signs—to me—
Sometimes, I think that Noon
Is but a symbol of the Place—
And when again, at Dawn,


A mighty look runs round the World
And settles in the Hills—
An Awe if it should be like that
Upon the Ignorance steals—


The Orchard, when the Sun is on—
The Triumph of the Birds
When they together Victory make—
Some Carnivals of Clouds—


The Rapture of a finished Day—
Returning to the West—
All these—remind us of the place
That Men call "paradise"—


Itself be fairer—we suppose—
But how Ourself, shall be
Adorned, for a Superior Grace—
Not yet, our eyes can see—
214

Heart, We Will Forget Him

Heart, We Will Forget Him

Heart, we will forget him,
You and I, tonight!
You must forget the warmth he gave,
I will forget the light.
When you have done pray tell me,
Then I, my thoughts, will dim.
Haste! ‘lest while you’re lagging
I may remember him!
278

Heart! We will forget him!

Heart! We will forget him!

47

Heart! We will forget him!
You and I-tonight!
You may forget the warmth he gave-
I will forget the light!


When you have done, pray tell me
That I may straight begin!
Haste! lest while you're lagging
I remember him!
242

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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.