Emily Dickinson wrote over 1,700 poems during her lifetime, which are all recognized for their content and their unique formatting and stylistic choices.
Content-wise, Dickinson's poetry covers a wide range of subjects. She writes about everything from love to loneliness, nature to religion, and even death. She frequently utilized some of the same symbols within her poetry as well; flowers are regulars in her work, as well as bees.
In addition to this, many of her poems often approach difficult subjects that many people tend to feel uncomfortable discussing, such as death and loneliness. Her life experiences likely had something to do with this, but it is important to note that Dickinson never intended for her poetry to be read as one would a memoir (Wineapple 42); poetry can be affected by the poet's life and experiences, but we must be careful to remember that the implied 'I' in poetry should be read as a persona unless otherwise stated by the author. Regardless of her poems being autobiographical or not, Dickinson’s willingness to approach the unapproachable is part of the reason her poetry has become so loved and valued. She does not just touch on the difficult subject and retreat from it––she pries it open and allows her readers to immerse themselves in the emotions it elicits.
From a formatting and stylistic standpoint, Dickinson's work is incredibly unique. She plays with capitalization frequently, usually using it to emphasize improper nouns. Her poetry is filled with dashes, strange line-breaks, and italics/underlines. Her poetry breaks traditional grammar and punctuation rules, it does not always maintain a clear rhyme-scheme, instead playing with eye-rhymes, and it utilizes whimsical and unusual words to create a very distinctive sound. All of these formatting choices not only help readers to instantly recognize Dickinson's work, but they also provide a unique reading experience.
In the rest of this post, I will be sharing some of the poems that I explicated throughout the semester, categorizing them by subject.
NATURE
“The fairest Home I ever knew” (F1443):
The fairest Home I ever knew
Was founded in an Hour
By Parties also that I knew
A spider and a Flower –
A manse of Mechlin and of Floss –
(Dickinson 545-546)
This poem reflects how much Dickinson loved nature and how ‘at home’ she felt within it.
The speaker starts out the poem by explaining that “The fairest Home I ever knew / Was founded in an Hour” (Dickinson, lines 1-2), instantly catching the reader’s attention and causing the reader to wonder how a home could possibly be built in an ‘Hour.’ The speaker then follows up by specifying that the ‘fairest Home’ was built “By Parties also that I knew / A spider and a Flower” (Dickinson, lines 3-4). Here, the reader realizes that the poem is discussing ‘homes’ found in nature and that the speaker has been observing a spider building its home with a ‘Flower.’ The final line describes the home as “A manse of Mechlin and of Floss” (Dickinson, line 5), creating stunning imagery with the combination of the words ‘manse,’ ‘Mechlin,’ and ‘Floss.’ A manse is a type of house that is dedicated to a church’s clergyman, Mechlin is a type of dainty lace used in dressmaking, and floss is the delicate material of a silkworm’s cocoon. The use of the words ‘Mechlin’ and ‘Floss’ call to mind the image of a spider’s web, which is the ‘fairest Home’ the speaker has ever seen.
By capitalizing the words Home, Hour, Parties, Flower, Mechlin, and Floss, Dickinson calls attention to each word, emphasizing their places and purposes in the poem. She also does not use punctuation in this poem at all, but she does use dashes at the end of the final two lines. The word-choice in the final line is interesting as well, making the reader pay particular attention to definition.
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“We introduce ourselves” (F1184):
We introduce ourselves
To Planets and to Flowers
But with ourselves
Have etiquettes
Embarrassments
And awes
(Dickinson 471)
This poem is intriguing because the persona seems to be subtly questioning society and its customs.
The persona starts out by mentioning that “We introduce ourselves / To Planets and to Flowers” (Dickinson, lines 1-2), which might allude to an old rule of etiquette, dictating that one should wait to be introduced to someone instead of introducing oneself. Here, the persona points out that people ‘introduce’ themselves to nature and planets without a concern about decorum. This is quickly followed up with the lines “But with ourselves / Have etiquettes / Embarrassments / And awes” (Dickinson, lines 3-6), pointing out that people only do this amongst themselves, taking these rules quite seriously––to the point of causing embarrassment or awe. Drawing this clear comparison appears to be the persona’s way of calling out how many of these rules seem to be rather arbitrary in the grand scheme of things.
This attitude also seems to somewhat reflect Dickinson’s feelings towards society and its customs as well; she was known to stay indoors and rarely (if ever) saw guests. In fact, in response to gossip about Emily Dickinson’s reclusive nature, Mabel Loomis Todd wrote that “She had tried society and the world, and found them lacking” (Wineapple 294). Because Dickinson did not take an active part in society, choosing instead to separate herself from it, perhaps the persona in this poem shares a peek into her views on society as a whole.
Again, in this poem, Dickinson emphasizes the words Planets, Flowers, and Embarrassments with capitalization; she uses no punctuation as though she is challenging the 'etiquette' of punctuation.
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“Except to Heaven, she is nought" (F173):
Except to Heaven, she is nought.
Except for Angels – lone.
Except to some wide-wandering Bee
A flower superfluous blown.
Except for winds – provincial.
Except by Butterflies
Unnoticed as a single dew
That on the Acre lies.
The smallest Housewife in the grass,
Yet take her from the Lawn
And somebody has lost the face
That made Existence – Home!
(Dickinson 83-84)
This poem is an excellent example of Emily Dickinson’s use of nature to express her point and how she uses subtle details that the reader might miss upon the first reading.
The first two stanzas of the poem discuss a ‘Housewife’ (line 9), using words like “nought” (line 1) “lone” (line 2), “provincial” (line 5), and “unnoticed” (line 7) to describe her situation in life. Through this language, Dickinson begins to paint a picture of a lonely woman who has few experiences outside of her home or “the Acre” (line 8) on which she lives. She continues to develop this image of isolation by contrasting the stationary Housewife to a “wide-wandering Bee” (line 3), which helps the reader to see how small the Housewife’s life is in comparison. Dickinson also describes how the Housewife is “A flower superfluous blown” (line 4), which would imply that this Housewife is one of many housewives in the world, yet she is still beautiful in her own way. The final stanza takes on a slightly different tone, changing from pointing out the Housewife’s seemingly dismal state of affairs to revealing how sad ‘Home’ would be without her presence because she is “the face / That made Existence – Home!” (Dickinson, lines 11-12). The sentiments in the final stanza cause the reader to look at the previous two stanzas with a new appreciation––the Housewife’s existence is what makes the house become a Home. The sense of purpose that comes along with creating and maintaining the Home brings validity to the Housewife’s way of life, showing the audience that the Housewife’s lifestyle is not necessarily a bad way to live because it has a value of its own.
In this piece, Dickinson capitalizes several words: Heaven, Angels, Bee, Butterflies, Acre, Housewife, Lawn, Existence, and Home. She uses proper punctuation this time, which helps the ideas in this poem to flow together. In this instance, the dashes are used to emphasize the words that directly follow them (lone, provincial, and Home). She also plays with grammar in line 7 by saying "a single dew," even though dew is a collective word by nature.
LOVE
“We outgrow love, like other things” (F1094):
We outgrow love, like other things
And put it in the Drawer –
Till it an Antique fashion shows –
Like Costumes Grandsires wore.
(Dickinson 443)
This poem likens love to clothing that can be put on and off, outgrown, or even outdated. Interestingly, the word ‘clothing’ is never mentioned in the poem itself––it is merely implied. The first two lines set up this comparison to clothing, utilizing words that are loosely associated with it, such as “outgrow” (line 1) and “Drawer” (line 2), before leading into more closely related words like “fashion” (line 3) and “Costumes” (line 4) in the final two lines.
The imagery of outgrowing love and putting it into a drawer indicates that the persona of the poem feels that the ‘love’ in question no longer ‘fits’ her, so has distanced herself from the feelings of love or perhaps even physically and emotionally distanced herself from the object of her affection. In lines 3-4, the ‘love’ has remained in the drawer for quite some time, eventually becoming “Antique” (3) or old-fashioned. This old ‘love’ is then likened to the “Costumes Grandsires wore” (4), insinuating that the affection seems ridiculous now that time has aged it. In short, the poem is describing how affections can seem to grow silly as time goes on and we move past it. This is commonly seen in childhood crushes, where when the child grows up, he or she wonders why they would ever have found their crush attractive at all.
Dickinson capitalizes the words Drawer, Antique, Costumes, and Grandsires, all of which help to carry the theme of outgrown, old love. There is minimal punctuation here, but the period at the end of the poem helps to cement the theme of how the old love has ended. The word choice of "Grandsire" is incredibly interesting because it is actually an archaic term, so it also helps to back up the theme.
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“To wait an Hour – is long” (F884):
To wait an Hour – is long –
If Love be just beyond –
To wait Eternity – is short –
If Love reward the end –
(Dickinson 384)
Although this poem is only four lines long, this poem holds a beautiful, deep message about love and the human perception of time. The first two lines say “To wait an Hour – is long – / If Love be just beyond” (Dickinson, lines 1-2), addressing how difficult it can be to wait a short period of time in expectancy of seeing a loved one. For instance, when a person is excitedly waiting to meet with a loved one, an hour can feel so much longer than usual because of the excitement and anticipation that person is experiencing. However, Dickinson switches the point of view in the last two lines: “To wait Eternity – is short – / If Love reward the end” (Dickinson, lines 3-4). In these lines, she notes that if one had to wait an ‘eternity’ with the promise of love at the end, the time would seem shorter because true love is worth the wait. In either point of view, love is incredibly valuable, but both situations require different outlooks. The first situation requires the person to demonstrate short-term patience and to remember that the discomfort of separation will only last a short time. On the other hand, the second situation requires the person to exhibit long-term patience and have an understanding that the long wait is worth the ‘reward’ at the end.
The words Hour, Love, Eternity are all capitalized in this poem, encapsulating the theme of time and love. There is no punctuation, but the dashes almost act like punctuation in this poem, placing emphasis on the pauses at the end of each line and emphasizing "is long" and "is short" because they are both wedged between two dashes.
PURPOSE & POETRY
“A Man may make a Remark” (F913):
A Man may make a Remark -
In itself - a quiet thing
That may furnish the Fuse unto a Spark
In dormant nature - lain -
Let us divide - with skill -
Let us discourse - with care -
Powder exists in Charcoal -
Before it exists in Fire –
(Dickinson 393)
This poem accurately describes the power of words and how much of an impact they can have on the world around us. Interestingly though, due to the unique way the poem is written, the persona does not reveal an opinion on whether he or she believes these words are good or evil––they are only percieved as powerful, with the potential to do good or evil.
In the first stanza, it starts by saying that “A Man may make a Remark - / In itself - a quiet thing” (Dickinson, lines 1-2), pointing out how words, even simple and quiet ones, can have unexpected potential and power. In fact, the persona states that the power that this ‘quiet remark’ has “… may furnish the Fuse unto a Spark / In dormant nature - lain” (Dickinson, lines 3-4). The interesting thing about the word-choice of ‘Spark’ is that it could allude to the positive concept of new ideas and knowledge, or it could possibly allude to the negative idea of friction. The word ‘dormant’ is also a fascinating word-choice because it insinuates that words can awaken or bring something to the surface that was either asleep or hidden, such as person’s beliefs or forgotten arguments.
In the next stanza, we see that the power of words could either be a good thing or a bad thing when the persona says, “Let us divide - with skill - / Let us discourse - with care” (Dickinson, lines 5-6). Here, the persona recognizes that words have power, and they should be handled carefully and skillfully. For example, if words truly have the ability to start something new, such as a political movement, the speaker should be cautious that his or her words are used for good purposes and to make good choices. Likewise, one should be wary when talking to someone during an disagreement because civil words can quickly escalate into an argument. The persona backs up this warning by noting that “Powder exists in Charcoal - / Before it exists in Fire” (Dickinson, lines 7-8), implying that we must be mindful of our words because they act can as fuel for a fire. Fire itself is neither good nor evil––it all depends how it is used. For example, fire can be useful to warm oneself or cook, but it can also destroy entire forests if not controlled. In this case, fire represents the outcome of words, either being helpful or damaging. On the other hand, Charcoal is a type of fuel which can build and grow a fire, but ‘Powder’ seems to refer to gunpowder which was used to shoot guns. The differentiation between the two types of fuel that both come from the same place acts as a parallel to how words can be used to either build up or tear down.
The words Man, Remark, Fuse, Spark, Powder, Charcoal, and Fire are all stressed through capitalization, outlining the reaction that happens when sparks ignite and turn into a fire. Again, there is no punctuation with this poem, but the dashes almost behave as if they are meant to be punctuation and emphasize "lain," "with skill," and "with care."
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“I reckon – When I count at all” (F533):
I reckon — When I count at all —
First — Poets — Then the Sun —
Then Summer — Then the Heaven of God —
And then — the List is done —
But, looking back — the First so seems
To Comprehend the Whole —
The Others look a needless Show —
So I write — Poets — All —
Their Summer — lasts a solid Year —
They can afford a Sun
The East — would deem extravagant —
And if the Further Heaven —
Be Beautiful as they prepare
For Those who worship Them —
It is too difficult a Grace —
To justify the Dream —
F533 (Dickinson 242)
The poem starts out by mentioning Poets, the Sun, Summer, and Heaven, listing them together before saying, “the List is done” (4). The capitalization of the word ‘list’ in this instance seems to indicate something specific about the list––perhaps that these four items in the list sum up everything important and puzzling about the world. This is further developed when the next two lines state “the First so seems / To Comprehend the Whole” (Dickinson, lines 5-6), signifying that the Poet holds a better understanding of the other three mysteries of the universe. This idea ties back in to the connection to some of the primary transcendentalist’s ideology about the duties of the universal Poet––to transcribe truths found in life and nature. When the poem continues with, “So I write — Poets — All — // Their Summer — lasts a solid Year” (Dickinson, lines 8-9), it continues to focus on Poets and their abilities. Dickinson attributes a yearlong Summer (which is associated with a person’s prime, joy, and youth) to Poets, showing how they are able to see and experience things that others cannot. Even though the poem indicates that Poets can experience things outside of a normal person’s realm of understanding, it continues by saying “They can afford a Sun / The East — would deem extravagant” (Dickinson, lines 10-11), which plays with the definition of the word ‘afford’ to express that the Poet can provide a glimpse or ‘shed light’ on these awe-inspiring or ‘extravagant’ experiences for others. The lines “And if the Further Heaven — // Be Beautiful as they prepare” (Dickinson, lines 12-13) point out how many poets have written about Heaven, creating a beautiful picture for their audience. The poem concludes with the words “For Those who worship Them — / It is too difficult a Grace — / To justify the Dream” (Dickinson, lines 14-16), essentially stating that even though Poets have written about Heaven, they really know nothing about it because they have not truly experienced it; Heaven is the one thing that Poets have to ‘dream’ about just like everyone else.
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“Each Life converges to some Centre –” (F724):
Each Life converges to some Centre —
Expressed — or still —
Exists in every Human Nature
A Goal —
Embodied scarcely to itself — it may be —
Too fair
For Credibility's presumption
To mar —
Adored with caution — as a Brittle Heaven —
To reach
Were hopeless, as the Rainbow's Raiment
To touch —
Yet persevered toward — sure — for the Distance —
How high —
Unto the Saint's slow diligence —
The Sky —
Ungained — it may be — by a Life's low Venture —
But then —
Eternity enable the endeavoring
Again.
F724 (Dickinson 323-324)
In the very first stanza, Dickinson communicates that every person has a purpose or “A Goal” (4) in their life, whether “Expressed – or still –” (2). This observation becomes even more poignant when looking at Dickinson’s friendship with Higginson because it is easy to see that Dickinson’s life goal was writing poetry in private, while Higginson’s goal was enacting change in public. Stanzas 2 and 3 define the simultaneous strength and delicacy of the individual’s Goal by describing it as “Too fair / For Credibility's presumption / To mar — // Adored with caution — as a Brittle Heaven — / To reach” (Dickinson, lines 5-10). The former half of this quote indicates that the enduring strength of the Goal should not be tainted by “Credibility’s presumption” (6) or public opinion. The latter portion highlights the delicacy of the individual’s Goal, giving a gentle reminder that it should be “Adored with caution –– as a Brittle Heaven” (9) because hopes and aspirations often have a way of causing disappointment. However, Dickinson follows up with “Were hopeless, as the Rainbow's Raiment / To touch — // Yet persevered toward — sure — for the Distance — / How high — / Unto the Saint's slow diligence — / The Sky” (Dickinson, lines 11-16) to point out that ‘persevering’ towards an unlikely goal (such as the impossibility of touching a rainbow) still has merit. She even likens this kind of ‘perseverance’ to a “Saint’s slow diligence” (15), revealing a sense of admiration for those who continue, no matter how far away their Goal may seem. The final stanza says “Ungained — it may be — by a Life's low Venture — / But then — / Eternity enable the endeavoring / Again” (Dickinson, lines 17-19), addressing the Goal that will not be met in one’s lifetime, but may eventually be met posthumously. It is also significant that Dickinson ends the poem with a single word and a period because it signifies how life can end suddenly. This reminder holds much more meaning whenever one realizes that Dickinson’s poems were not published and publicly recognized until after her death in 1886, and they are still being read and studied today. Likewise, Higginson’s goals for numerous social and political changes began during his lifetime, but they are still unfolding today, continuing to make a difference.
The capitalization of the the words Life, Center, Human Nature, Goal, Credibility, Brittle, Heaven, Rainbow's Raiment, Distant, Saint, Sky, and Venture adds a sense of specificity to each word/concept. For instance, it's not just some vague goal that exists in every human nature––it is a specific Goal that humanity must strive to meet.
Dickinson, Emily. The Poems of Emily Dickinson. Edited by Ralph W. Franklin, Belknap Press of Harvard Univ. Press, 1998.
Habegger, Alfred. My Wars Are Laid Away in Books: the Life of Emily Dickinson. Modern Library, 2002.
Wineapple, Brenda. White Heat: the Friendship of Emily Dickinson and Thomas Wentworth Higginson. Anchor Books, 2009.