One need not be a Chamber-to be Haunted-
One need not be a House-
The Brain had Corridors- surpassing
Material Place-

Far safer, of a Midnight Meeting
External Ghost
Than its interior Confronting-
That Cooler Host.

Far safer, through an Abbey gallop,
The Stones a'chase-
Than Unarmed, one's a'self encounter-
In lonesome Place-

Ourself behind ourself, concealed-
Should startle most-
Assassin hid in our Apartment
Be Horror's least.

The Body- borrows a Revolver-
He bolts the Door-
O'erlooking a superior spectre-
Or More-


Why is it you read something once and then ages later it comes back to bear some meaning on your life at that particular moment when it occurs to you to remember it? I immediately took to this poem, one of the first ever Emily Dickinson poems I ever came across, but today it came back to me... I uttered the words under my breath and I thought.... where did that come from? WEIRD! heehee... Anyway, this poem makes me feel, slightly oddly, better... I guess on days like this I know how Emily Dickinson felt. However, no more dwelling... up and on as I have already said! Get the stone rolling...

After Death

Christina Rossetti (1830-1894), contemporaneous with Emily Dickinson, was very similar to her in many ways. Like Emily, Christina never married but she did have her own social circle. However Rossetti did not recede from society like Emily Dickinson did, but Christina did have mental problems following from the nervous breakdown she had when she was 14. Both poets were very religious in their own ways; Emily a Calvinist and Christina was part of the Anglo-Catholic movement. But most importantly they both feared their death towards the end of their lives and reflected this in their poems...

The curtains were half drawn, the floor was swept

And strewn with rushes, rosemary and may

Lay thick upon the bed on which I lay,

Where though the lattice ivy-shawdows crept.

He leaned above me, thinking that I slept

And could not hear him; but I heard him say:

"Poor child, poor child:" as he turned away

Came a deep silence, and I knew he wept.

He did not touch the shroud, or raise the fold

That hid my face, or take my ahnd in his,

Or ruffle the smooth pillows for my head:

He did not love me living; but once dead

He pitied me; and very sweet it is

To know he still is warm though I am cold.

I heard a Fly buzz- when I died-

The Stillness in the Room

Was like the Stillness in the Air-

Between the Heaves of Storm-

The Eyes around- had wrung them dry-

And Breathes were gathering firm

For that last Onset- when the king

Be witnessed-in the Room-

I willed away my Keepsakes- Signed away

What portion of me be

Assignable- and then it was

There interposed a Fly-

With Blue- uncertain stumbling Buzz-

Between the light- and me-

And then the Window failed- and then
I could not see to see-

(See here for one of Emily's other poems about her death)

I prefer Emily Dickinson's style of poetry better than Christina's formal sonnet layout. Traditional and over used perhaps... but Emily's use of the dash works a lot better. Her fear of not being able to see into the world of death: "could not see to see" unnerves us because we can't see either because Emily doesn't. the dash leaves us hanging. There is no definite ending. Christina's poem ends on a full stop, which shown next to Emily's dash really puts a definite end to life. It is effective. There is no room for discussion. But I think it would not be as effective if it was not shown side by side next to Emily's poem. Anyways, that is what i think...

A solemn thing- it was- I said-

A solemn thing- it was- I said-
A woman- white- to be-
And wear- if God should count me fit-
Her blameless mystery-

A hallowed thing- to drop a life-
Into the purple well-
Too plummetless- that it return-
Eternity- until-

I pondered how the bliss would look-
And would it feel as big-
When I could take it in my hand-
As hovering-seen through fog-

And then- the size of this "small" life-
The Sages- call it small-
Swelled- like Horizons- in my vest-
And I sneered- softly- "small"!

This peom, like many of Emily Dickinson's, is not to be read on one level. Is it to do with marriage? Highly likely. Religion? Most probably. Death? Again, yes. Each line can be read to prove each theme and this makes Emily Dickinson special. You can read a poem and it mean one thing one time, but the other time it would mean the other thing to you- it is a poem for different moods and since I seem to be on a religious rant at the moment follow this poem along the theme of religion.

By the way I think death is probably the primary interpretation, but argue with me on that as you will. I do! "If God should count me fit" is a definite link to Emily's issue with Calvinism. It was very much at the forefront of her religious insecurity. Calvinist believe that one is predetermined to go to heaven before they are born and no matter what they do on earth can really make much difference. We are inherently good/bad from birth. Emily is very insecure about her own death and whether she would get into heaven. Another link to Emily's thoughts and how this poem represents her life and feelings is that "a woman- white- to be-" refers to Emily being dressed in white all the time when she withdrew from society and become a recluse.

"Hallowed" and "Eternity" all hint at a religious connotation. "Purple" is an ecclesiastical and royal colour. "Plummetless" and "Eternity" make death seem a scary, long drawn out thing. "I pondered how bliss would look" shows that Emily is wondering what heaven looks like. "Seen-through fog-" refers to St. Peter's belief of the 'mist of life' (or something- my bible studies are rusty). "It" to me (in the last stanza) is her life. To her, life is not small. It is everything. The Sages- possibly the saints, angels, God, etc- it is just a small life, but from a personal point of view it is everything.

So, am I right or wrong? I don't know. Perhaps when I meet Emily "in the fair schoolroom of the sky" I will ask what she meant!

(I shall know why- when Time is over-
And I have ceased to wonder why-
Christ will explain each separate anguish
In the fair schoolroom of the sky-

He will tell me what "peter" promised-
And I- for wonder at his woe-
I shall forget the drop of Anguish
That scalds me now- that scalds me now!)

For other poetry on women in marriage and also marriage blurred with religious service as a nun (possibly) see here.

"Hope" is the thing with feathers-

"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 chillest land-
And on the strangest Sea-
Yet, never, in Extremity,
It asked a crumb- of Me.


A little thing to keep us going over the iniment looming winter. A sweet little poem.

Riddle by Emily Dickinson

Can you guess what she is describing?

Blazing in Gold and quenching in Purple

Leaping like Leopards to the Sky

Then at the feet of the old Horizon

Laying her spotted Face to die

Stooping as low as the Otter's Window

Touching the Roof and tinting the Barn

Kissing her Bonnet to the Meadow

And the Juggler of the Day is gone

A Fan or Foe?: Emily Dickinson on Marriage

Old Fogey and I had a bit of a debate about Emily Dickinson a while back about her attitude to marriage (see here). Her feelings towards marriage vary from poem to poem offering a controversial and a confusing narrative, which means it is difficult for the reader to get a definitive answer on whether she was a fan or a foe of marriage. Dickinson's "I'm 'Wife'" poem, which sparked the debate has already been discussed, so check out the OF's blog on it! Needless to say it seems this poem portrays Emily as unfavorable to the idea of marriage, that it confines women to a title, but she also intimates that after girlhood, what else is there for a woman but marriage? OF believes behind this bitterness there is an element of accommodation, that she would not have minded being married

Now, to further Emily Dickinson's confusing narrative further on the state of marriage I will look at a few of her other poem...

So to commence: -

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
To-night in thee!

This I think has more to do with love, passion and sex rather than marriage, despite it rarely being distinguished separately in Emily's era from marriage. For a woman to describe these sentiments is not unique but definitely rebellious!

This poem, an extended metaphor of sex, is relatively easy to get to grips with. "Might I but moor//To-night in thee!" cannot be mistaken for anything that talking about carnal knowledge. Still, I think the shortness of it shows passion, and of course it is Dickinson's passion. The short outburst of longing for it shows a regret of a sort. Dickinson's 'feminist' stance, so often against marriage, here shows that she is not against men or about the 'luxury' of love. In fact she is rather for love, shown by her mimicking Keats and the themes of Romanticism in "I died for Beauty-but was scarce".

I think for Dickinson marriage was not desirable, but the idea of love she seems to regret more than anything in her poetry.

In her poem "How many times have these low feet staggered-" the image of the "Indolent Housewife" dying in a state of drudgery does not show the role of women as housewives positively and in turn sneers at marriage for confinign women to this role.

How many times have these low feet staggered-

Only the soldered mouth can tell-

Try- can you stir the awful rivet-

Try- can you lift the hasps of steel!

Stroke the cool forehead- hot so often-

Lift- if you care- the listless hair-

Handle the adamantine fingers

Never a thimble- more- shall wear-

Buzz the dull flies- on the chamber window-

Brave- shins the sun through the freckled pane-

Fearless- the cobweb swings from the ceiling-

Indolent Housewife- in Daisies- lain!

I love the imagery of this poem- the typical imagery of sewing to define a domestic setting and housewifery: "Never a thimble-more-shall wear-". The creepiest image Dickinson uses throughout her poetry is the fly (or flies) in this case. They seem to represent death (see "I heard a fly buzz- when I died"). Here they also help to show the house as falling in disrepair after the death of the housewife- the flies at the window, the window dirty or "freckled" and the cobwebs boldly dangling from the ceiling. It almost shows the limits of her work but also that the man won't or can't do the work she did.

He put the Belt around my life-

I heard the Buckle snap-

And turned away, imperial,

My Lifetime folding up-

Deliberate, as a Duke would do

A Kingdom's Title Deed-

Henceforth, a Dedicated sort-

A Member of the Cloud.

Yet not too far to come at call-

And do the little Toils

That make the Circuit of the Rest-

And deal occasional smiles

To lives that stoop to notice mine-

And kindly ask it in-

Whose invitation, know you not?

For whom I must decline?

This triples up almost on themes; it encompasses marriage, class and also possibly a commitment to God. In the case of the first and last idea, patriarchs at the helm controlling what the woman should do. It is ending the woman's life : "My Lifetime folding up-" by marrying for a "Kingdom's Title Deed" and also for religious reasons her life would fold up, the "Kingdom's Title Deed" being instead for heaven rather than actual material wealth. The sharp violent sound of snap on the second line after "He put the Belt around my life" is jolting and draws attention to the woman being controlled, inferior and unable to escape. I prefer the primary idea that thios poem is more to do with marriage than religion, though a dual meaning is rather more likely.

The "He", the first word, the condemning word illustrates where the blame lies, who is being discussed and sets the tone for the rest of the poem. The woman must meekly follow his lead and do as her social status requires ("make the Circuit of the Rest").

Another more disturbing poem Emily Dickinson penned was: -

He fumbles at your Soul

As Players at the keys

Before they drop full music on-

He stuns you by degrees-

Prepares your brittle nature

For the Ethereal Blow

By fainter Hammers-further heard-

Then nearer- Then so slow

Your Breath has time to straighten-

Your Brain- to bubble Cool-

Deals- One- imperial- Thunderbolt-

That scalps your naked Soul-

When Winds take Forests in their Paws-

The Universe- is still-

This poem is again about sex, but I think this time it definitely more violent than the soft passionate lulling of the sea imagery in "Wild Nights! Wild Nights!" This poem is about rape crafted by the aggressive vocabulary selected: "fumbles", "Drop", "stun", "Ethereal Blow", "scalps" and also the line "Deals-One-imperial-Thunderbolt-". The dashes aid the dramatic effect and adds to rather unpleasant reading I think. Again this poem starts with a "He" and deliberately shows the culprit: of course, a man. In this case I am unsure whether it is a husband, but it seems likely. It was typical for this 'without love sex' to be considered within marriage. "Wild Nights!" mentions no "He" in the poem. It infers that a man is present to be "moored" in her harbour, but the lack of presence of a gender allows Dickinson to praise passion, romance and love of its own accord rather than marriage and the conjugal duties accorded to the husband.

So, to conclude... Emily Dickinson is a fan of love and passion but a foe of marriage. Her circumastances in her own life had obviously made her bitter but at a time when she was socially graded by her status, married or unmarried, she would have felt keenly that she had no role in society. Unlike today where women can have a role within and without marriage shows how time has changed. It also makes it hard for us to understand Emily, but essentially we can summise that Emily missed to closeness and happiness love and romance gave but was not sorry to be unmarried. Marriage, she thought, would not allow her to conceive of her passionate ideals of love. Whether she was right, I am unsure, but she penned some fabulous poetry!

I'm "Wife"- I've finished that-

I'm "Wife"- I've finished that-
That other state-
I'm Czar-I'm "Woman" now-
It's safer so-

How odd the Girl's life looks-
Behind this soft Eclipse-
I think that earth feels so
To folks in Heaven- now-

This being comfort-then-
That other kind- was pain-
But why compare?
I'm "Wife"! Stop there!

This is a really good example of Emily Dickinson really digging her heels into the side of the proverbial social stallion. The labels and titles given to women ("Wife") and to contrast it to what a woman can never be and a man can ("Czar") demonstrates this with the sharp puncturing dashes, capital letters and exclamation marks at the end. The unequality of man and woman is clearly shown as well by the change the woman goes through from childhood: "girl" to womanhood: "Wife" characterised by an "Eclipse". The sarcasm is very obvious and the last line "I'm "Wife"! Stop there!" almost sounds like a man's voice ordering her.

Not a very upbeat poem, I am sorry... but it is the one I can almost say from the top of my head. Gawd love A-Level English; one of the classes where I felt I really truly learnt the most (she was a great teacher to was Miss Watson!!) See? You can sometime remember what you were taught in school!

Civilisation-spurns-the Leopard!

Civilisation-spurns-the Leopard!
Was the Leopard- bold?
Deserts-never rebuked her Satin-
Ethiop- her Gold-
Tawny- her Customs-
Spotted- her Dun Gown-
This was the Leopard’s nature- Signor-
Need- a keeper-frown?

Pity- The Pard-that left her Asia-
Memories- of Palm-
Cannot be stifled-with Narcotic-
Nor suppressed-with Balm-

What is it about? Good question. In my opinion, not that it always counts for much, I think it is on the first level about nature and obviously a caged leopard, but the fact that 'the Pard' is a her is ver revealing. Dickinson wrote many poems about women being confined to roles, labels and by men so it seems ideal that the 'Signor' be the keeper and the Leopard be the woman. On a more positive note, the last stanza states that she will never be 'suppressed- with Balm'. Indeed. Keeper watch out!

Because I could not stop for Death

Because I could not stop for Death,
He kindly stopped for me;
carriage held but just ourselves
And Immortality.

We slowly drove, he knew no haste,
And I had put away
My labour, and my leisure too,
For his civility.

We passed the school where children played,
Their lessons scarcely done;
We passed the fields of gazing grain,
We passed the setting sun.

We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.

Since then 'tis centuries; but each
Feels shorter than the day
I first surmised the horses' heads
Were toward eternity.

I truly love Emily Dickinson; a wacky half feminist, half doubting religious nut who became a recluse and wrote poetry of love, death, nature and womanhood (all the things that are important of course!!) and I completely fell in love with her. Trust me, if there ever was a poet for every occasion, this woman had it! This one is a bit more morose and serious, but I promise the next one will be demonstrating the wackier side...