think

Tho’ I get home how late — how late –
So I get home – ’twill compensate –
Better will be the Ecstasy
That they have done expecting me –
When Night — descending — dumb — and dark –
They hear my unexpected knock –
Transporting must the moment be –
Brewed from decades of Agony!

To think just how the fire will burn –
Just how long-cheated eyes will turn –
To wonder what myself will say,
And what itself, will say to me –
Beguiles the Centuries of way!

Popularity: 16% [?]

The Skies can’t keep their secret!
They tell it to the Hills –
The Hills just tell the Orchards –
And they — the Daffodils!

A Bird — by chance — that goes that way –
Soft overhears the whole –
If I should bribe the little Bird –
Who knows but she would tell?

I think I won’t — however –
It’s finer — not to know –
If Summer were an Axiom –
What sorcery had Snow?

So keep your secret — Father!
I would not — if I could,
Know what the Sapphire Fellows, do,
In your new-fashioned world!

Popularity: 16% [?]

Jane writes of her visit to the two Dickinson homes, The Evergreens and The Homestead:

While The Homestead is decidedly ghost free, The Evergreens is not. … Today, the house is in a serious state of dilapidation, yet it retains most of the original contents. While dusty and seriously frayed, the chair Emerson is said to have occupied in the parlor looks as if he could emerge from another room and sit down once again to engage in conversation about the lecture he completed at Amherst College a mere 142 years ago. Yet, the house is eerie. When entering the dining room where Susan Dickinson entertained her guests, there is a noticeable drop in temperature (even in the summer). A chill hangs in the air over the table which looks as though it is set for a spectral dinner party.

I can’t think of a better recommendation for a museum visit than this:

The Evergreens is the saddest museum in America. If there are such things as ghosts, they surely walk at The Evergreens.

Popularity: 2% [?]

If I may have it when it’s dead
I will contented be;
If just as soon as breath is out
It shall belong to me,

Until they lock it in the grave,
‘T is bliss I cannot weigh,
For though they lock thee in the grave,
Myself can hold the key.

Think of it, lover! I and thee
Permitted face to face to be;
After a life, a death we’ll say, –
For death was that, and this is thee.

Popularity: 1% [?]

This was in the white of the year,
That was in the green,
Drifts were as difficult then to think
As daisies now to be seen.

Looking back is best that is left,
Or if it be before,
Retrospection is prospect’s half,
Sometimes almost more.

Popularity: 2% [?]

One day is there of the series
Termed Thanksgiving day,
Celebrated part at table,
Part in memory.

Neither patriarch nor pussy,
I dissect the play;
Seems it, to my hooded thinking,
Reflex holiday.

Had there been no sharp subtraction
From the early sum,
Not an acre or a caption
Where was once a room,

Not a mention, whose small pebble
Wrinkled any bay, –
Unto such, were such assembly,
‘T were Thanksgiving day.

Popularity: 1% [?]

At the intersection of family history and literary scholarship, Carol Damon Andrews has found what may be the secret source of much of Emily Dickinson’s most interesting and passionate poetry: a doomed love affair with George Gould.

Gould was a student at Amherst College at the time, and a friend of Dickinson’s brother Austin. He worked on the Dickinson farm before going west to work on the railroads, and returned to Amherst to follow a career as a respected clergyman. And, according to the journal of Andews’ ancestor Ann Eliza Houghton Penniman, he was briefly engaged to Emily Dickinson, before her father “vetoed the whole affair, . . . and poor Emily’s heart was broken.”

Andrews is not the first to have proposed the Gould engagement theory; Genevieve Taggard explored the possibility in The Life and Mind of Emily Dickinson in 1930, presenting the “purloined valentine” that Taggard argued was intended for Gould. 1930, though, was a bit too close still to 1886, and Taggard’s search for Dickinson’s doomed love affair was quashed by the Dickinson family and the scholarly world. Dickinson as lovelorn spinster remains the received image of her, rather than Dickinson the passionate young woman.

Published in the June issue of The New England Quarterly, Andrews’ article discloses not only the sketch of this doomed affair but also Dickinson’s early musical education. Both revelations are of interest to Dickinson scholars and readers: that the musicality of her poetry has its roots at an earlier age than previously suspected (she was eight years old in the Penniman journal), and that her aching, longing love poetry is grounded in an all-too-real disappointment, enrich our understanding of her poetry, and add a human dimension to the “Belle of Amherst” prism through which we too often see her life.

That there was a flesh and blood source for Dickinson’s love poems–often bitter, frequently playful, sometimes passionate–should not come as a surprise to those who’ve spent some time reading them. And should come, too, as a relief to those who have shared with Dickinson “the kind of early romantic entanglement and disappointment that so many young people have,” as Christopher Benfey has it in Slate, that she made something so extraordinary from such ordinary sources.

Popularity: 3% [?]

One day is there of the series
Termed Thanksgiving day,
Celebrated part at table,
Part in memory.

Neither patriarch nor pussy,
I dissect the play;
Seems it, to my hooded thinking,
Reflex holiday.

Had there been no sharp subtraction
From the early sum,
Not an acre or a caption
Where was once a room,

Not a mention, whose small pebble
Wrinkled any bay, –
Unto such, were such assembly,
‘T were Thanksgiving day.

Popularity: 1% [?]