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    Emily Dickinson: Complete Poems (Book Center)
    Emily Dickinson: Complete Poems (Book Center)
    Emily Dickinson: Complete Poems (Book Center)
    Ebook264 pages1 hour

    Emily Dickinson: Complete Poems (Book Center)

    By Emily Dickinson and Book Center

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    Emily Elizabeth Dickinson (December 10, 1830 – May 15, 1886) was an American poet. Born in Amherst, Massachusetts, to a successful family with strong community ties, she lived a mostly introverted and reclusive life. After she studied at the Amherst Academy for seven years in her youth, she spent a short time at Mount Holyoke Female Seminary before returning to her family's house in Amherst. Thought of as an eccentric by the locals, she became known for her penchant for white clothing and her reluctance to greet guests or, later in life, even leave her room. Most of her friendships were therefore carried out by correspondence.

    In 2016, Terence Davies released A Quiet Passion, a biographical film about the life of Emily Dickinson. The film stars Cynthia Nixon as the reclusive poet. It co-stars Emma Bell as young Dickinson, Jennifer Ehle, Duncan Duff and Keith Carradine.
    LanguageEnglish
    PublisherOregan Publishing
    Release dateApr 23, 2017
    ISBN9782377871704
    Emily Dickinson: Complete Poems (Book Center)
    Author

    Emily Dickinson

    Emily Dickinson (1830–1886) was an American poet. Born in Amherst, Massachusetts, to a successful family with strong community ties, she lived a mostly introverted and reclusive life, but today is considered to be one of the most influential poets in American history.

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      Book preview

      Emily Dickinson - Emily Dickinson

      THE COMPLETE POEMS OF EMILY DICKINSON

      CONTENTS

      PREFACE.

      First Series

      Second Series

      Third Series

      Index of First Lines

      TRANSCRIBER'S NOTE

      As is well documented, Emily Dickinson's poems were edited in these early editions by her friends, better to fit the conventions of the times. In particular, her dashes, often small enough to appear as dots, became commas and semi-colons.

      In the second series of poems published, a facsimile of her handwritten poem which her editors titled Renunciation is given, and comparing this to the printed version gives a flavor of the changes made in these early editions.

      —-JT

      First Series

      PREFACE.

      The verses of Emily Dickinson belong emphatically to what Emerson long since called the Poetry of the Portfolio,—something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and the unconventional utterance of daring thoughts. In the case of the present author, there was absolutely no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without setting her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a very few friends; and it was with great difficulty that she was persuaded to print, during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiously indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness.

      Miss Dickinson was born in Amherst, Mass., Dec. 10, 1830, and died there May 15, 1886. Her father, Hon. Edward Dickinson, was the leading lawyer of Amherst, and was treasurer of the well-known college there situated. It was his custom once a year to hold a large reception at his house, attended by all the families connected with the institution and by the leading people of the town. On these occasions his daughter Emily emerged from her wonted retirement and did her part as gracious hostess; nor would any one have known from her manner, I have been told, that this was not a daily occurrence. The annual occasion once past, she withdrew again into her seclusion, and except for a very few friends was as invisible to the world as if she had dwelt in a nunnery. For myself, although I had corresponded with her for many years, I saw her but twice face to face, and brought away the impression of something as unique and remote as Undine or Mignon or Thekla.

      This selection from her poems is published to meet the desire of her personal friends, and especially of her surviving sister. It is believed that the thoughtful reader will find in these pages a quality more suggestive of the poetry of William Blake than of anything to be elsewhere found,—flashes of wholly original and profound insight into nature and life; words and phrases exhibiting an extraordinary vividness of descriptive and imaginative power, yet often set in a seemingly whimsical or even rugged frame. They are here published as they were written, with very few and superficial changes; although it is fair to say that the titles have been assigned, almost invariably, by the editors. In many cases these verses will seem to the reader like poetry torn up by the roots, with rain and dew and earth still clinging to them, giving a freshness and a fragrance not otherwise to be conveyed. In other cases, as in the few poems of shipwreck or of mental conflict, we can only wonder at the gift of vivid imagination by which this recluse woman can delineate, by a few touches, the very crises of physical or mental struggle. And sometimes again we catch glimpses of a lyric strain, sustained perhaps but for a line or two at a time, and making the reader regret its sudden cessation. But the main quality of these poems is that of extraordinary grasp and insight, uttered with an uneven vigor sometimes exasperating, seemingly wayward, but really unsought and inevitable. After all, when a thought takes one's breath away, a lesson on grammar seems an impertinence. As Ruskin wrote in his earlier and better days, No weight nor mass nor beauty of execution can outweigh one grain or fragment of thought.

      —-Thomas Wentworth Higginson

      This is my letter to the world,

          That never wrote to me, —

      The simple news that Nature told,

          With tender majesty.

      Her message is committed

          To hands I cannot see;

      For love of her, sweet countrymen,

          Judge tenderly of me!

      I. LIFE.

      I.

      SUCCESS.

      [Published in A Masque of Poets

      at the request of H.H., the author's

      fellow-townswoman and friend.]

      Success is counted sweetest

      By those who ne'er succeed.

      To comprehend a nectar

      Requires sorest need.

      Not one of all the purple host

      Who took the flag to-day

      Can tell the definition,

      So clear, of victory,

      As he, defeated, dying,

      On whose forbidden ear

      The distant strains of triumph

      Break, agonized and clear!

      II.

      Our share of night to bear,

      Our share of morning,

      Our blank in bliss to fill,

      Our blank in scorning.

      Here a star, and there a star,

      Some lose their way.

      Here a mist, and there a mist,

      Afterwards — day!

      III.

      ROUGE ET NOIR.

      Soul, wilt thou toss again?

      By just such a hazard

      Hundreds have lost, indeed,

      But tens have won an all.

      Angels' breathless ballot

      Lingers to record thee;

      Imps in eager caucusv Raffle for my soul.

      IV.

      ROUGE GAGNE.

      'T is so much joy! 'T is so much joy!

      If I should fail, what poverty!

      And yet, as poor as I

      Have ventured all upon a throw;

      Have gained! Yes! Hesitated so

      This side the victory!

      Life is but life, and death but death!

      Bliss is but bliss, and breath but breath!

      And if, indeed, I fail,

      At least to know the worst is sweet.

      Defeat means nothing but defeat,

      No drearier can prevail!

      And if I gain, — oh, gun at sea,

      Oh, bells that in the steeples be,

      At first repeat it slow!

      For heaven is a different thing

      Conjectured, and waked sudden in,

      And might o'erwhelm me so!

      V.

      Glee! The great storm is over!

      Four have recovered the land;

      Forty gone down together

      Into the boiling sand.

      Ring, for the scant salvation!

      Toll, for the bonnie souls, —

      Neighbor and friend and bridegroom,

      Spinning upon the shoals!

      How they will tell the shipwreck

      When winter shakes the door,

      Till the children ask, "But the forty?

      Did they come back no more?"

      Then a silence suffuses the story,

      And a softness the teller's eye;

      And the children no further question,

      And only the waves reply.

      VI.

      If I can stop one heart from breaking,

      I shall not live in vain;

      If I can ease one life the aching,

      Or cool one pain,

      Or help one fainting robin

      Unto his nest again,

      I shall not live in vain.

      VII.

      ALMOST!

      Within my reach!

      I could have touched!

      I might have chanced that way!

      Soft sauntered through the village,

      Sauntered as soft away!

      So unsuspected violets

      Within the fields lie low,

      Too late for striving fingers

      That passed, an hour ago.

      VIII.

      A wounded deer leaps highest,

      I've heard the hunter tell;

      'T is 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 cautions arm,

      Lest anybody spy the blood

      And You're hurt exclaim!

      IX.

      The heart asks pleasure first,

      And then, excuse from pain;

      And then, those little anodynes

      That deaden suffering;

      And then, to go to sleep;

      And then, if it should be

      The will of its Inquisitor,

      The liberty to die.

      X.

      IN A LIBRARY.

      A precious, mouldering pleasure 't is

      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 knowledge to unfold

      On what concerns our mutual mind,

      The literature of old;

      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 sown.

      His presence is enchantment,

      You beg him not to go;

      Old volumes shake their vellum heads

      And tantalize, just so.

      XI.

      Much madness is divinest sense

      To a discerning eye;

      Much sense the starkest madness.

      'T is the majority

      In this, as all, prevails.

      Assent, and you are sane;

      Demur, — you're straightway dangerous,

      And handled with a chain.

      XII.

      I asked no other thing,

      No other was denied.

      I offered Being for it;

      The mighty merchant smiled.

      Brazil? He twirled a button,

      Without a glance my way:

      "But, madam, is there nothing else

      That we can show to-day?"

      XIII.

      EXCLUSION.

      The soul selects

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