Dickinson Poetry Quotes

If I read a book and it makes my whole body so cold no fire can ever warm me, I know that is poetry.

If I read a book and it makes my whole body so cold no fire can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?

I'm nobody! Who are you? Are you nobody, too? Then there ’s a pair of us—don’t tell! They ’d banish us, you know. How dreary to be somebody! How public, like a frog To tell your name the livelong day To an admiring bog!

A Word is Dead A word is dead When it is said, Some say. I say it just Begins to live That day.

Dogs are better than human beings because they know but do not tell.

One need not be a chamber to be haunted.

There is no Frigate like a Book To take us Lands away Nor any Coursers like a Page Of prancing Poetry – This Traverse may the poorest take Without oppress of Toll – How frugal is the Chariot That bears a Human soul.

How happy is the little stone That rambles in the road alone, And doesn't care about careers, And exigencies never fears; Whose coat of elemental brown A passing universe put on; And independent as the sun, Associates or glows alone, Fulfilling absolute decree In casual simplicity.

Oh phosphorescence. Now there’s a word to lift your hat to... To find that phosphorescence, that light within — is the genius behind poetry.

Hope is the thing with feathers That perches in the soul, And sings the tune without the words, And never stops at all, And sweetest in the gale is heard; And sore must be the storm That could abash the little bird That kept so many warm. I've heard it in the chilliest land And on the strangest sea; Yet, never, in extremity, It asked a crumb of me.

A wounded dear leaps the highest

The sun just touched the morning; The morning, happy thing, Supposed that he had come to dwell, And life would be all spring.

There's a certain slant of light, On winter afternoons, That oppresses, like the weight Of cathedral tunes.

He ate and drank the precious words, His spirit grew robust; He knew no more that he was poor, Nor that his frame was dust. He danced along the dingy days, And this bequest of wings Was but a book. What liberty A loosened spirit brings!

Solitude never hurt anyone. Emily Dickinson lived alone, and she wrote some of the most beautiful poetry the world has ever known... then went crazy as a loon." Lisa Simpson

Much Madness Is Divinest Sense Much Madness is divinest Sense — To a discerning Eye — Much Sense — the starkest Madness — 'Tis the Majority In this, as All, prevail — Assent — and you are sane — Demur — you're straightway dangerous — And handled with a Chain —

I can wade Grief— Whole Pools of it— I'm used to that— But the least push of Joy Breaks up my feet— And I tip—drunken— Let no Pebble—smile— 'Twas the New Liquor— That was all!

I felt a Cleaving in my Mind— As if my Brain had split— I tried to match it—Seam by Seam— But could not make it fit.

I died for beauty, but was scarce Adjusted in the tomb, When one who died for truth was lain In an adjoining room. He questioned softly why I failed? “For beauty,” I replied. “And I for truth,—the two are one; We brethren are,” he said. And so, as kinsmen met a night, We talked between the rooms, Until the moss had reached our lips, And covered up our names.

I think of love, and you, and my heart grows full and warm, and my breath stands still.

Heart, we will forget him! You and I, to-night! You may forget the warmth he gave, I will forget the light. When you have done, pray tell me, That I my thoughts may dim; Haste! lest while you’re lagging, I may remember him!

Wild Nights—Wild Nights! Were I with thee Wild Nights should be Our luxury! Futile—the winds— To a heart in port— Done with the compass— Done with the chart! Rowing in Eden— Ah, the sea! Might I but moor— Tonight— In thee!

One need not be a Chamber — to be Haunted — One need not be a House — The Brain has Corridors — surpassing Material Place —

Inebriate of Air — am I — And Debauchee of Dew — Reeling — thro endless summer days — From Inns of Molten Blue —

I held a jewel in my fingers And went to sleep. The day was warm, and winds were prosy; I said: "'T will keep." I woke and chid my honest fingers,— The gem was gone; And now an amethyst remembrance Is all I own.

Success is counted sweetest By those who ne’er succeed. To comprehend a nectar Requires sorest need.

Tell all the truth but tell it slant.

To see the Summer Sky Is Poetry, though never in a Book it lie— True Poems flee—

We never know how high we are Till we are called to rise; And then, if we are true to plan, Our statures touch the skies. The heroism we recite Would be a daily thing, Did not ourselves the cubits warp For fear to be a king.

They say that “time assuages,”— Time never did assuage; An actual suffering strengthens, As sinews do, with age. Time is a test of trouble, But not a remedy. If such it prove, it prove too There was no malady.

I measure every Grief I meet With narrow, probing, Eyes; I wonder if It weighs like Mine, Or has an Easier size. I wonder if They bore it long, Or did it just begin? I could not tell the Date of Mine, It feels so old a pain. I wonder if it hurts to live, And if They have to try, And whether, could They choose between, It would not be, to die. I note that Some -- gone patient long -- At length, renew their smile. An imitation of a Light That has so little Oil. I wonder if when Years have piled, Some Thousands -- on the Harm Of early hurt -- if such a lapse Could give them any Balm; Or would they go on aching still Through Centuries above, Enlightened to a larger Pain By Contrast with the Love. The Grieved are many, I am told; The reason deeper lies, -- Death is but one and comes but once, And only nails the eyes. There's Grief of Want and Grief of Cold, -- A sort they call "Despair"; There's Banishment from native Eyes, In sight of Native Air. And though I may not guess the kind Correctly, yet to me A piercing Comfort it affords In passing Calvary, To note the fashions of the Cross, And how they're mostly worn, Still fascinated to presume That Some are like My Own.

A precious, mouldering pleasure ’t is To meet an antique book, In just the dress his century wore; A privilege, I think.

Your absence insanes me so-- I do not feel so peaceful, when you are gone from me.

The bustle in a house The morning after death Is solemnest of industries Enacted upon earth,-- The sweeping up the heart, And putting love away We shall not want to use again Until eternity

A charm invests a face Imperfectly beheld,— The lady dare not lift her veil For fear it be dispelled. But peers beyond her mesh, And wishes, and denies,— Lest interview annul a want That image satisfies.

Marginalia Sometimes the notes are ferocious, skirmishes against the author raging along the borders of every page in tiny black script. If I could just get my hands on you, Kierkegaard, or Conor Cruise O'Brien, they seem to say, I would bolt the door and beat some logic into your head. Other comments are more offhand, dismissive - Nonsense." "Please!" "HA!!" - that kind of thing. I remember once looking up from my reading, my thumb as a bookmark, trying to imagine what the person must look like who wrote "Don't be a ninny" alongside a paragraph in The Life of Emily Dickinson. Students are more modest needing to leave only their splayed footprints along the shore of the page. One scrawls "Metaphor" next to a stanza of Eliot's. Another notes the presence of "Irony" fifty times outside the paragraphs of A Modest Proposal. Or they are fans who cheer from the empty bleachers, Hands cupped around their mouths. Absolutely," they shout to Duns Scotus and James Baldwin. Yes." "Bull's-eye." "My man!" Check marks, asterisks, and exclamation points rain down along the sidelines. And if you have managed to graduate from college without ever having written "Man vs. Nature" in a margin, perhaps now is the time to take one step forward. We have all seized the white perimeter as our own and reached for a pen if only to show we did not just laze in an armchair turning pages; we pressed a thought into the wayside, planted an impression along the verge. Even Irish monks in their cold scriptoria jotted along the borders of the Gospels brief asides about the pains of copying, a bird singing near their window, or the sunlight that illuminated their page- anonymous men catching a ride into the future on a vessel more lasting than themselves. And you have not read Joshua Reynolds, they say, until you have read him enwreathed with Blake's furious scribbling. Yet the one I think of most often, the one that dangles from me like a locket, was written in the copy of Catcher in the Rye I borrowed from the local library one slow, hot summer. I was just beginning high school then, reading books on a davenport in my parents' living room, and I cannot tell you how vastly my loneliness was deepened, how poignant and amplified the world before me seemed, when I found on one page A few greasy looking smears and next to them, written in soft pencil- by a beautiful girl, I could tell, whom I would never meet- Pardon the egg salad stains, but I'm in love.

Who loves you most, and loves you best, and thinks of you when others rest? 'Tis Emilie.

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

I felt a Cleaving in my Mind— As if my Brain had split— I tried to match it—Seam by Seam— But could not make it fit. The thought behind, I strove to join Unto the thought before— But Sequence ravelled out of Sound Like Balls—upon a Floor.

Her breast is fit for pearls, But I was not a "Diver" - Her brow is fit for thrones But I have not a crest, Her heart is fit for home- I- a Sparrow- build there Sweet of twigs and twine My perennial nest.

Sweet hour, blessed hour, to carry me to you, and to bring you back to me, long enough to snatch one kiss, and whisper goodbye again.

The Soul selects her own Society— Then—shuts the Door— To her divine Majority— Present no more— Unmoved—she notes the Chariots—pausing— At her low Gate— Unmoved—an Emperor be kneeling Upon her Mat— I've known her—from an ample nation— Choose One— Then—close the Valves of her attention— Like Stone—

I stepped from Plank to Plank So slow and cautiously The Stars about my Head I felt, About my Feet the Sea. I knew not but the next Would be my final inch — This gave me that precarious Gait Some call Experience.

Mine Enemy is growing old -- I have at last Revenge -- The Palate of the Hate departs -- If any would avenge Let him be quick -- the Viand flits -- It is a faded Meat -- Anger as soon as fed is dead -- 'Tis starving makes it fat

Much Madness is Divinest Sense, to a Discerning Eye....

These are all direct quotes, except every time they use a curse word, I'm going to use the name of a famous American poet: 'You Walt Whitman-ing, Edna St. Vincent Millay! Go Emily Dickinson your mom!' 'Thanks for the advice, you pathetic piece of E.E. Cummings, but I think I'm gonna pass.' 'You Robert Frost-ing Nikki Giovanni! Get a life, nerd. You're a virgin.' 'Hey bro, you need to go outside and get some fresh air into you. Or a girlfriend.' I need to get a girlfriend into me? I think that shows a fundamental lack of comprehension about how babies are made.

Oh my darling one, how long you wander from me, how weary I grow of waiting and looking, and calling for you; sometimes I shut my eyes, and shut my heart towards you, and try hard to forget you because you grieve me so, but you'll never go away, oh you never will.

A great Hope fell You heard no noise The Ruin was within Oh cunning wreck that told no tale And let no Witness in

We both believe, and disbelieve a hundred times an hour, which keeps believing nimble.

I miss you, mourn for you, and walk the streets alone- often at night, beside, I fall asleep in tears, for your dear face, yet not one word comes back to me. If it is finished, tell me, and I will raise the lid to my box of Phantoms, and lay one more love in; but if it lives and beats still, still lives and beats for me, then say so, and I will strike the strings to one more strain of happiness before I die.

Love is like the wild rose-briar; Friendship like the holly-tree. The holly is dark when the rose-briar blooms, But which will bloom most constantly? The wild rose-briar is sweet in spring ,Its summer blossoms scent the air; Yet wait till winter comes again, And who will call the wild-briar fair? Then, scorn the silly rose-wreath now, And deck thee with holly's sheen, That, when December blights thy brow, He still may leave thy garland green.

Anne Sexton knows the mind, Walt Whitman knows grass, but Emily Dickinson knows everything.

I measure every Grief I meet With narrow, probing, Eyes; I wonder if It weighs like Mine, Or has an Easier size.

We never know we go,—when we are going We jest and shut the door; Fate following behind us bolts it, And we accost no more.

If I feel physically as if the top of my head were taken off, I know that is poetry.

I need you more and more, and the great world grows wider, and dear ones fewer and fewer, every day that you stay away. My heart goes wandering around and calls for Susie...My heart is full of you; none other than you are in my thoughts, yet when I seek to say to you something not for the world, words fail me. If you were here, we need not talk at all for our eyes would whisper for us and, your hand fast in mine, we would not ask for language.

Presentiment is that long shadow on the lawn Indicative that suns go down; The notice to the startled grass That darkness is about to pass.

Success is counted sweetest by those ne'er succeed.

I had been hungry all the years- My noon had come, to dine- I, trembling, drew the table near And touched the curious wine. 'Twas this on tables I had seen When turning, hungry, lone, I looked in windows, for the wealth I could not hope to own. I did not know the ample bread, 'Twas so unlike the crumb The birds and I had often shared In Nature's diningroom. The plenty hurt me, 'twas so new,-- Myself felt ill and odd, As berry of a mountain bush Transplanted to the road. Nor was I hungry; so I found That hunger was a way Of persons outside windows, The entering takes away.

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 knowledge to unfold On what concerns our mutual mind, The literature of old

I many times thought peace had come, When peace was far away; As wrecked men deem they sight the land At centre of the sea, And struggle slacker, but to prove, As hopelessly as I, How many the fictitious shores Before the harbor lie.

It was not death, for I stood up, And all the dead lie down; It was not night, for all the bells Put out their tongues, for noon. It was not frost, for on my flesh I felt siroccos crawl, Nor fire, for just my marble feet Could keep a chancel cool. And yet it tasted like them all; The figures I have seen Set orderly, for burial, Reminded me of mine, As if my life were shaven And fitted to a frame, And could not breathe without a key; And I was like midnight, some, When everything that ticked has stopped, And space stares, all around, Or grisly frosts, first autumn morns, Repeal the beating ground. But most like chaos,--stopless, cool, Without a chance or spar,-- Or even a report of land To justify despair.

Oh Susie, I often think that I will try to tell you how very dear you are, and how I'm watching for you, but the words won't come, though the tears will, and I sit down disappointed. Yet, darling, you know it all-- then why do I seek to tell you? I do not know. In thinking of those I love, my reason is all gone from me, and I do fear sometimes that I must make a hospital for the hopelessly insane, and chain myself up there so I won't injure you.

I sing to use the waiting, My bonnet but to tie, And shut the door unto my house; No more to do have I, Till, his best step approaching, We journey to the day, And tell each other how we sang To keep the dark away.

After all, when a thought takes one's breath away, a lesson on grammar seems an impertinence.

I believe in possibility.

Beauty crowds me till I die, Beauty, mercy have on me! But if I expire today, Let it be in sight of thee

Psychoanalysis [...] overestimates the linguistic character of the unconscious. Dreaming is a pagan cinema.

The days will have more hours while you are gone away.

The Brain—is wider than the Sky—

Tell the truth, but tell it slant.

In a serener Bright, In a more golden light I see Each little doubt and fear, Each little discord here Removed.

Read poetry. Especially poetry by Emily Dickinson. It might save you. Anne Sexton knows the mind, Walt Whitman knows grass, but Emily Dickinson knows everything.

The Poets light but Lamps- Themselves-go out-

How vain it seems to write, when one knows how to feel-- how much more near and dear to sit beside you, talk with you, hear the tones of your voice...Give me strength, Susie, write me of hope and love, and of hearts that endure...

Is Bliss then, such Abyss, I must not put my foot amiss For fear I spoil my shoe? I'd rather suit my foot Than save my Boot -- For yet to buy another Pair is possible, At any store -- But Bliss, is sold just once. The Patent lost None buy it any more --

Good Morning—Midnight— I'm coming Home— Day—got tired of Me— How could I—of Him? Sunshine was a sweet place— I liked to stay— But Morn—didn't want me—now— So—Goodnight—Day! I can look—can't I— When the East is Red? The Hills—have a way—then— That puts the Heart—abroad— You—are not so fair—Midnight— I chose—Day— But—please take a little Girl— He turned away!

Pain has an element of blank; It cannot recollect When it began, or if there were A day when it was not. It has no future but itself, Its infinite realms contain Its past, enlightened to perceive New periods of pain.

If you were coming in the Fall, I'd brush the Summer by With half a smile and half a spurn, As Housewives do a Fly. If I could see you in a year, I'd wind the months in balls — And put them each in separate Drawers, For fear the numbers fuse — If only Centuries, delayed, I'd count them on my Hand, Subtracting, till my fingers dropped Into Van Diemen's land. If certain, when this life was out, That yours and mine should be, I ’d toss it yonder like a rind, And taste eternity. But, now, uncertain of the length Of this, that is between, It goads me, like the Goblin Bee, That will not state — its sting.

Listen, we’ll come visit you. Okay? I’ll dress up as William Shakespeare, Lucent as Emily Dickinson, and beautiful ‘Ray’ as someone dashing and manly like Jules Verne or Ernest Hemingway...and we’ll write on your white-room walls. We’ll write you out of your supposed insanity. I love you, Micky Affias. -James (from "Descendants of the Eminent")

Not with a club, the Heart is broken Nor with a Stone – A Whip so small you could not see it I've known

Did the harebell loose her girdle To the lover bee, Would the bee the harebell hallow Much as formerly?

The Dark—felt beautiful—

I know that I myself have felt that prickling of the scalp that Emily Dickinson tells us is the sign of recognition before a true poem.

The heart asks pleasure first, And then, excuse from pain

I am afraid to own a Body— I am afraid to own a Soul—

The worm doth woo the mortal, death claims a living bride, Night unto day is married, morn unto eventide, Earth a merry damsel, and heaven a knight so true, And Earth is quite coquettish, and beseemeth in vain to sue.

The brain within its groove Runs evenly and true; But let a splinter swerve, ’T were easier for you To put the water back When floods have slit the hills, And scooped a turnpike for themselves, And blotted out the mills!

We do not play on Graves— Because there isn't Room— Besides—it isn't even—it slants And People come— And put a Flower on it— And hang their faces so— We're fearing that their Hearts will drop— And crush our pretty play— And so we move as far As Enemies—away— Just looking round to see how far It is—Occasionally—

Crumbling is not an instant's Act A fundamental pause Dilapidation's processes Are organized Decays. 'Tis first a Cobweb on the Soul A Cuticle of Dust A Borer in the Axis An Elemental Rust— Ruin is formal—Devil's work Consecutive and slow— Fail in an instant, no man did Slipping—is Crash's law.

Mr. O'Donnell was at the library counter, performing the sort of grim rituals librarians perform with index cards and stumpy pencils and those rubber stamps with columns of rotating numbers. "Ms. Auerbach! What will it be today? Camus? Cervantes?" "Actually I'm looking for a book of poetry by Emily Dickinson" He paused somberly, toying with the twirled tip of his mustache. No matter how seriously librarians are engaged in their work, they are always glad to be interrupted when the theme is books. It makes no difference to them how simple the search is or how behind on time either of you might be running - they consider all queries scrupulously. They love to have their knowledge tested. They lie in wait, they will not be rushed.

To wander now is my abode; To rest,—to rest would be A privilege of hurricane To memory and me.

I never spoke — unless addressed — And then, 'twas brief and low — I could not bear to live — aloud — The Racket shamed me so — And if it had not been so far — And any one I knew Were going — I had often thought How noteless — I could die —

You know that book of poems I’m always carrying around? [...] In one of her poems, she calls hope the ‘thing with feathers,’ and I always think about that…. Maybe when we hope for something, the hope flies off to find whatever it is we’re thinking about…and then it brings it back to us. And when there’s nothing else we can do, at least we can hope.

He marveled at the poetry of Emily Dickinson, sensing her kindred spirit. For the last seventeen years of her life, Dickinson rarely left her home in Massachusetts and spoke to visitors only through a partially closed door. "Saying nothing, " she wrote, "sometimes says the most.

When you come home, darling, I shant have your letters, but I shall have yourself, which is more-- oh more, and better, than I can even think! I sit here with my little whip, cracking the time away, 'till not an hour is left of it- then you are here! And joy is here-- joy now and forevermore! Tis only a few days, Susie, it will soon go away, yet I say, "go now, this very moment, for I need her- I must have her, oh, give her to me!" Sometimes when I do feel so, I think it may be wrong, and that God will punish me by taking you away; for He is very kind to let me write to you, and to give me your sweet letters, but my heart wants more.

The Inevitable While I was fearing it, it came, But came with less of fear, Because that fearing it so long Had almost made it dear. There is a fitting a dismay, A fitting a despair. 'Tis harder knowing it is due, Than knowing it is here. The trying on the utmost, The morning it is new, Is terribler than wearing it A whole existence through.

I think I was enchanted When first a sombre Girl — I read that Foreign Lady** — The Dark — felt beautiful — And whether it was noon at night — Or only Heaven — at Noon — For very Lunacy of Light I had not power to tell — The Bees — became as Butterflies — The Butterflies — as Swans — Approached — and spurned the narrow Grass — And just the meanest Tunes That Nature murmured to herself To keep herself in Cheer — I took for Giants — practising Titanic Opera — The Days — to Mighty Metres stept — The Homeliest — adorned As if unto a Jubilee 'Twere suddenly confirmed — I could not have defined the change — Conversion of the Mind Like Sanctifying in the Soul — Is witnessed — not explained — 'Twas a Divine Insanity — The Danger to be Sane Should I again experience — 'Tis Antidote to turn — To Tomes of solid Witchcraft — Magicians be asleep — But Magic — hath an Element Like Deity — to keep —

The following year the house was substantially remodeled, and the conservatory removed. As the walls of the now crumbling wall were being torn down, one of the workmen chanced upon a small leatherbound book that had apparently been concealed behind a loose brick or in a crevice in the wall. By this time Emily Dickinson was a household name in Amherst. It happened that this carpenter was a lover of poetry- and hers in particular- and when he opened the little book and realized that that he had found her diary, he was “seized with a violent trembling,” as he later told his grandson. Both electrified and terrified by the discovery, he hid the book in his lunch bucket until the workday ended and then took it home. He told himself that after he had read and savored every page, he would turn the diary over to someone who would know how to best share it with the public. But as he read, he fell more and more deeply under the poet’s spell and began to imagine that he was her confidant. He convinced himself that in his new role he was no longer obliged to give up the diary. Finally, having brushed away the light taps of conscience, he hid the book at the back of an oak chest in his bedroom, from which he would draw it out periodically over the course of the next sixty-four years until he had virtually memorized its contents. Even his family never knew of its existence. Shortly before his death in 1980 at the age of eighty-nine, the old man finally showed his most prized possession to his grandson (his only son having preceded him in death), confessing that his delight in it had always been tempered by a nagging guilt and asking that the young man now attempt to atone for his grandfather’s sin. The grandson, however, having inherited both the old man’s passion for poetry and his tendency towards paralysis of conscience, and he readily succumbed to the temptation to hold onto the diary indefinitely while trying to decide what ought to be done with it.

Taking Off Emily Dickinson’s Clothes" First, her tippet made of tulle, easily lifted off her shoulders and laid on the back of a wooden chair. And her bonnet, the bow undone with a light forward pull. Then the long white dress, a more complicated matter with mother-of-pearl buttons down the back, so tiny and numerous that it takes forever before my hands can part the fabric, like a swimmer’s dividing water, and slip inside. You will want to know that she was standing by an open window in an upstairs bedroom, motionless, a little wide-eyed, looking out at the orchard below, the white dress puddled at her feet on the wide-board, hardwood floor. The complexity of women’s undergarments in nineteenth-century America is not to be waved off, and I proceeded like a polar explorer through clips, clasps, and moorings, catches, straps, and whalebone stays, sailing toward the iceberg of her nakedness. Later, I wrote in a notebook it was like riding a swan into the night, but, of course, I cannot tell you everything— the way she closed her eyes to the orchard, how her hair tumbled free of its pins, how there were sudden dashes whenever we spoke. What I can tell you is it was terribly quiet in Amherst that Sabbath afternoon, nothing but a carriage passing the house, a fly buzzing in a windowpane. So I could plainly hear her inhale when I undid the very top hook-and-eye fastener of her corset and I could hear her sigh when finally it was unloosed, the way some readers sigh when they realize that Hope has feathers, that Reason is a plank, that Life is a loaded gun that looks right at you with a yellow eye.