Poems List

All but Death, can be Adjusted

All but Death, can be Adjusted

749

All but Death, can be Adjusted-
Dynasties repairedSystems-
settled in their SocketsCitadels-
dissolved-

Wastes of Lives-resown with Colors
By Succeeding SpringsDeath-
unto itself-Exception-
Is exempt from Change-
266

Ah, Moon—and Star!

Ah, Moon—and Star!

240

Ah, Moon—and Star!
You are very far—
But were no one
Farther than you—
Do you think I'd stop
For a Firmament—
Or a Cubit—or so?


I could borrow a Bonnet
Of the Lark—
And a Chamois' Silver Boot—
And a stirrup of an Antelope—
And be with you—Tonight!


But, Moon, and Star,
Though you're very far—
There is one—farther than you—
He—is more than a firmament—from Me—
So I can never go!
220

After a hundred years

After a hundred years

After a hundred years
Nobody knows the place,--
Agony, that enacted there,
Motionless as peace.


Weeds triumphant ranged,
Strangers strolled and spelled
At the lone orthography
Of the elder dead.


Winds of summer fields
Recollect the way,--
Instinct picking up the key
Dropped by memory.
241

After great pain, a formal feeling comes -- (341)

After great pain, a formal feeling comes -- (341)

After great pain, a formal feeling comes --
The Nerves sit ceremonious, like Tombs
The stiff Heart questions, was it He, that bore,
And Yesterday, or Centuries before?


The Feet, mechanical, go round --
Of Ground, or Air, or Ought --
A Wooden way
Regardless grown,
A Quartz contentment, like a stone --


This is the Hour of Lead --
Remembered, if outlived,
As Freezing persons, recollect the Snow --
First -- Chill -- then Stupor -- then the letting go --
243

Absence disembodies—so does Death

Absence disembodies—so does Death

860

Absence disembodies—so does Death
Hiding individuals from the Earth
Superposition helps, as well as love—
Tenderness decreases as we prove—
375

Adrift! A little boat adrift!

Adrift! A little boat adrift!

30

Adrift! A little boat adrift!
And night is coming down!
Will no one guide a little boat
Unto the nearest town?

So Sailors say-on yesterday-
Just as the dusk was brown
One little boat gave up its strife
And gurgled down and down.

So angels say-on yesterday-
Just as the dawn was red
One little boat-o'erspent with gales-
Retrimmed its masts-redecked its sails-
And shot-exultant on!
256

A Wounded Deer-leaps highest

A Wounded Deer-leaps highest

165

A Wounded Deer-leaps highestI've
heard the Hunter tell'
Tis but the Ecstasy of death-
And then the Brake is still!


The Smitten Rock that gushes!
The trampled Steel that springs!
A Cheek is always redder
Just where the Hectic stings!


Mirth is the Mail of Anguish
In which it Cautious Arm,
Lest anybody spy the blood
And "you're hurt" exclaim!
285

A Weight with Needles on the pounds

A Weight with Needles on the pounds

264

A Weight with Needles on the pounds-
To push, and pierce, besides-
That if the Flesh resist the Heft-
The puncture-coolly tries-

That not a pore be overlooked
Of all this Compound Frame-
As manifold for Anguish-
As Species-be-for name-
218

A Tongue—to tell Him I am true!

A Tongue—to tell Him I am true!

400

A Tongue—to tell Him I am true!
Its fee—to be of Gold—
Had Nature—in Her monstrous House
A single Ragged Child—


To earn a Mine—would run
That Interdicted Way,
And tell Him—Charge thee speak it plain—
That so far—Truth is True?


And answer What I do—
Beginning with the Day
That Night—begun—
Nay—Midnight—'twas—
Since Midnight—happened—say—


If once more—Pardon—Boy—
The Magnitude thou may
Enlarge my Message—If too vast
Another Lad—help thee—


Thy Pay—in Diamonds—be—
And His—in solid Gold—
Say Rubies—if He hesitate—
My Message—must be told—


Say—last I said—was This—
That when the Hills—come down—
And hold no higher than the Plain—
My Bond—have just begun—


And when the Heavens—disband—
And Deity conclude—
Then—look for me. Be sure you say—
Least Figure—on the Road—
282

A transport one cannot contain

A transport one cannot contain

184

A transport one cannot contain
May yet a transport be-
Though God forbid it lift the lid-
Unto its Ecstasy!


A Diagram-of Rapture!
A sixpence at a Show-
With Holy Ghosts in Cages!
The Universe would go!
250

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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.