Poems List

A throe upon the features

A throe upon the features

71

A throe upon the features-
A hurry in the breath-
An ecstasy of parting
Denominated "Death"-

An anguish at the mention
Which when to patience grown,
I've known permission given
To rejoin its own.
266

A still—Volcano—Life

A still—Volcano—Life

601

A still—Volcano—Life—
That flickered in the night—
When it was dark enough to do
Without erasing sight—


A quiet—Earthquake Style—
Too subtle to suspect
By natures this side Naples—
The North cannot detect


The Solemn—Torrid—Symbol—
The lips that never lie—
Whose hissing Corals part—and shut—
And Cities—ooze away—
259

A Solemn thing within the Soul

A Solemn thing within the Soul

483

A Solemn thing within the Soul
To feel itself get ripe-
And golden hang-while farther up-
The Maker's Ladders stop-
And in the Orchard far below-
You hear a Being-drop-

A Wonderful-to feel the Sun
Still toiling at the Cheek
You thought was finished-
Cool of eye, and critical of Work-
He shifts the stem-a little-
To give your Core-a look-

But solemnest-to know
Your chance in Harvest moves
A little nearer-Every Sun
The Single-to some lives.
269

A something in a summer's Day

A something in a summer's Day

122

A something in a summer's Day
As slow her flambeaux burn away
Which solemnizes me.

A something in a summer's noon-
A depth-an Azure-a perfume-
Transcending ecstasy.

And still within a summer's night
A something so transporting bright
I clap my hands to see-

Then veil my too inspecting face
Lets such a subtle-shimmering grace
Flutter too far for me-

The wizard fingers never rest-
The purple brook within the breast
Still chafes it narrow bed-

Still rears the East her amber Flag-
Guides still the sun along the Crag
His Caravan of Red-

So looking on-the night-the morn
Conclude the wonder gay-
And I meet, coming thro' the dews
Another summer's Day!
330

A single Screw of Flesh

A single Screw of Flesh

263

Is all that pins the Soul
That stands for Deity, to Mine,
Upon my side the Veil-


Once witnessed of the Gauze-
Its name is put away
As far from mine, as if no plight
Had printed yesterday,


In tender-solemn Alphabet,
My eyes just turned to see,
When it was smuggled by my sight
Into Eternity-


More Hands-to hold-These are but Two-
One more new-mailed Nerve
Just granted, for the Peril's sake-
Some striding-Giant-Love-


So greater than the Gods can show,
They slink before the Clay,
That not for all their Heaven can boast
Will let its Keepsake-go
307

A Shade upon the mind there passes

A Shade upon the mind there passes

882

A Shade upon the mind there passes
As when on Noon
A Cloud the mighty Sun encloses
Remembering

That some there be too numb to notice
Oh God
Why give if Thou must take away
The Loved?
236

A Route of Evanescence

A Route of Evanescence

A Route of Evanescence
With a revolving Wheel--
A Resonance of Emerald--
A Rush of Cochineal--
And every Blossom on the Bush
Adjusts its tumbled Head--
The mail from Tunis, probably,
An easy Morning's Ride--
352

A Secret told

A Secret told

381

A Secret told-
Ceases to be a Secret-then-
A Secret-keptThat-
can appal but One-

Better of it-continual be afraid-
Than it-
And Whom you told it to-beside-
326

A precious—mouldering pleasure

A precious—mouldering pleasure

371

A precious—mouldering pleasure—'tis—
To meet an Antique Book—
In just the Dress his Century wore—
A privilege—I think—


His venerable Hand to take—
And warming in our own—
A passage back—or two—to make—
To Times when he—was young—


His quaint opinions—to inspect—
His thought to ascertain
On Themes concern our mutual mind—
The Literature of Man—


What interested Scholars—most—
What Competitions ran—
When Plato—was a Certainty—
And Sophocles—a Man—


When Sappho—was a living Girl—
And Beatrice wore
The Gown that Dante—deified—
Facts Centuries before


He traverses—familiar—
As One should come to Town—
And tell you all your Dreams—were true—
He lived—where Dreams were born—


His presence is Enchantment—
You beg him not to go—
Old Volume shake their Vellum Heads
And tantalize—just so—
400

A Planted Life-diversified

A Planted Life-diversified

806

A Planted Life-diversified
With Gold and Silver Pain
To prove the presence of the Ore
In Particles-'tis when

A Value struggle-it exist-
A Power-will proclaim
Although Annihilation pile
Whole Chaoses on Him-
305

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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.