Poems List

Exultation is the going

Exultation is the going

76

Exultation is the going
Of an inland soul to sea,
Past the houses-past the headlands-
Into deep Eternity-


Bred as we, among the mountains,
Can the sailor understand
The divine intoxication
Of the first league out from land?
344

Faith

Faith


"Faith" is a fine invention
When Gentlemen can see—
But Microscopes are prudent
In an Emergency.
260

Exclusion (The soul selects her own society)

Exclusion (The soul selects her own society)

The soul selects her own society,

Then shuts the door;

On her divine majority

Obtrude no more.

Unmoved, she notes the chariot's pausing

At her low gate;

Unmoved, an emperor is kneeling

Upon her mat.

I've known her from an ample nation

Choose one

Then close the valves of her attention

Like stone.
278

Expectation—is Contentment

Expectation—is Contentment

807

Expectation—is Contentment—
Gain—Satiety—
But Satiety—Conviction
Of Necessity


Of an Austere trait in Pleasure—
Good, without alarm
Is a too established Fortune—
Danger—deepens Sum—
304

Escaping backward to perceive

Escaping backward to perceive

867

Escaping backward to perceive
The Sea upon our place-
Escaping forward, to confront
His glittering Embrace-

Retreating up, a Billow's height
Retreating blinded down
Our undermining feet to meet
Instructs to the Divine.
241

Except the Heaven had come so near

Except the Heaven had come so near

472

Except the Heaven had come so near-
So seemed to choose My Door-
The Distance would not haunt me so-
I had not hoped-before-

But just to hear the Grace depart-
I never thought to see-
Afflicts me with a Double loss'
Tis lost-and lost to me-
249

Elysium is as far as to

Elysium is as far as to

Elysium is as far as to
The very nearest Room
If in that Room a Friend await
Felicity or Doom--

What fortitude the Soul contains
That it can so endure
The accent of a coming Foot--
The opening of a Door--
232

Empty my Heart, of Thee

Empty my Heart, of Thee

587

Empty my Heart, of Thee-
Its single Artery-
Begin, and leave Thee out-
Simply Extinction's Date-

Much Billow hath the Sea-
One Baltic-They-
Subtract Thyself, in play,
And not enough of me
Is left-to put away"
Myself" meanth Thee-

Erase the Root-no TreeThee-
then-no me-
The Heavens strippedEternity's
vast pocket, picked-
347

Dying! To be afraid of thee

Dying! To be afraid of thee

831

Dying! To be afraid of thee
One must to thine Artillery
Have left exposed a Friend-
Than thine old Arrow is a Shot
Delivered straighter to the Heart
The leaving Love behind.


Not for itself, the Dust is shy,
But, enemy, Beloved be
Thy Batteries divorce.
Fight sternly in a Dying eye
Two Armies, Love and Certainty
And Love and the Reverse.
250

Each Scar I'll keep for Him

Each Scar I'll keep for Him

877

Each Scar I'll keep for Him
Instead I'll say of Gem
In His long Absence worn
A Costlier one

But every Tear I bore
Were He to count them o'er
His own would fall so more
I'll mis sum them.
292

Comments (0)

Log in to post a comment.

NoComments

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.