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There is the frequent addition of rather perplexing foot-notes, affording large choice of words and phrases. And in the copies which she sent to friends, sometimes one form, sometimes another, is found to have been used. Without important exception, her friends have generously placed at the disposal of the Editors any poems they had received from her; and these have given the obvious advantage of comparison among several renderings of the same verse.

To what further rigorous pruning her verses would have been subjected had she published them herself, we cannot know. They should be regarded in many cases as merely the first strong and suggestive sketches of an artist, intended to be embodied at some time in the finished picture. Emily Dickinson appears to have written her first poems in the winter of In a letter to one of the present Editors the April following, she says, "I made no verse, but one or two, until this winter.

The handwriting was at first somewhat like the delicate, running Italian hand of our elder gentlewomen; but as she advanced in breadth of thought, it grew bolder and more abrupt, until in her latest years each letter stood distinct and separate from its fellows.

In most of her poems, particularly the later ones, everything by way of punctuation was discarded, except numerous dashes; and all important words began with capitals. The effect of a page of her more recent manuscript is exceedingly quaint and strong. The fac-simile given in the present volume is from one of the earlier transition periods. Although there is nowhere a date, the handwriting makes it possible to arrange the poems with general chronologic accuracy.

As a rule, the verses were without titles; but "A Country Burial," "A Thunder-Storm," "The Humming-Bird," and a few others were named by their author, frequently at the end,—sometimes only in the accompanying note, if sent to a friend. The variation of readings, with the fact that she often wrote in pencil and not always clearly, have at times thrown a good deal of responsibility upon her Editors. But all interference not absolutely inevitable has been avoided.

The very roughness of her rendering is part of herself, and not lightly to be touched; for it seems in many cases that she intentionally avoided the smoother and more usual rhymes. Like impressionist pictures, or Wagner's rugged music, the very absence of conventional form challenges attention.

In Emily Dickinson's exacting hands, the especial, intrinsic fitness of a particular order of words might not be sacrificed to anything virtually extrinsic; and her verses all show a strange cadence of inner rhythmical music. Lines are always daringly constructed, and the "thought-rhyme" appears frequently,—appealing, indeed, to an unrecognized sense more elusive than hearing.

Emily Dickinson scrutinized everything with clear-eyed frankness. Every subject was proper ground for legitimate study, even the sombre facts of death and burial, and the unknown life beyond. She touches these themes sometimes lightly, sometimes almost humorously, more often with weird and peculiar power; but she is never by any chance frivolous or trivial.

And while, as one critic has said, she may exhibit toward God "an Emersonian self-possession," it was because she looked upon all life with a candor as unprejudiced as it is rare. She had tried society and the world, and found them lacking. She was not an invalid, and she lived in seclusion from no love-disappointment. Her life was the normal blossoming of a nature introspective to a high degree, whose best thought could not exist in pretence. Storm, wind, the wild March sky, sunsets and dawns; the birds and bees, butterflies and flowers of her garden, with a few trusted human friends, were sufficient companionship.

The coming of the first robin was a jubilee beyond crowning of monarch or birthday of pope; the first red leaf hurrying through "the altered air," an epoch. Immortality was close about her; and while never morbid or melancholy, she lived in its presence. My nosegays are for captives; Dim, long-expectant eyes, Fingers denied the plucking, Patient till paradise, To such, if they should whisper Of morning and the moor, They bear no other errand, And I, no other prayer.

It's all I have to bring to-day, This, and my heart beside, This, and my heart, and all the fields, And all the meadows wide. Be sure you count, should I forget, — Some one the sum could tell, — This, and my heart, and all the bees Which in the clover dwell. The intellectual activity of Emily Dickinson was so great that a large and characteristic choice is still possible among her literary material, and this third volume of her verses is put forth in response to the repeated wish of the admirers of her peculiar genius.

Much of Emily Dickinson's prose was rhythmic, —even rhymed, though frequently not set apart in lines. Also many verses, written as such, were sent to friends in letters; these were published in , in the volumes of her Letters. It has not been necessary, however, to include them in this Series, and all have been omitted, except three or four exceptionally strong ones, as "A Book," and "With Flowers.

There is internal evidence that many of the poems were simply spontaneous flashes of insight, apparently unrelated to outward circumstance. Others, however, had an obvious personal origin; for example, the verses "I had a Guinea golden," which seem to have been sent to some friend travelling in Europe, as a dainty reminder of letter-writing delinquencies. The surroundings in which any of Emily Dickinson's verses are known to have been written usually serve to explain them clearly; but in general the present volume is full of thoughts needing no interpretation to those who apprehend this scintillating spirit.

A bird came down the walk: A charm invests a face A clock stopped — not the mantel's; A death-blow is a life-blow to some A deed knocks first at thought, A dew sufficed itself A door just opened on a street — A drop fell on the apple tree, A face devoid of love or grace, A lady red upon the hill A light exists in spring A little road not made of man, A long, long sleep, a famous sleep A modest lot, a fame petite, A murmur in the trees to note, A narrow fellow in the grass A poor torn heart, a tattered heart, A precious, mouldering pleasure 't is A route of evanescence A sepal, petal, and a thorn A shady friend for torrid days A sickness of this world it most occasions A sloop of amber slips away A solemn thing it was, I said, A something in a summer's day, A spider sewed at night A thought went up my mind to-day A throe upon the features A toad can die of light!

A word is dead A wounded deer leaps highest, Adrift! A little boat adrift! Of whom am I afraid? After a hundred years All overgrown by cunning moss, Alter? When the hills do. Ample make this bed. An altered look about the hills; An awful tempest mashed the air, An everywhere of silver, Angels in the early morning Apparently with no surprise Arcturus is his other name, — Are friends delight or pain? As by the dead we love to sit, As children bid the guest good-night, As far from pity as complaint, As if some little Arctic flower, As imperceptibly as grief Ashes denote that fire was; At half-past three a single bird At last to be identified!

At least to pray is left, is left. Because I could not stop for Death, Before I got my eye put out, Before the ice is in the pools, Before you thought of spring, Belshazzar had a letter, — Bereaved of all, I went abroad, Besides the autumn poets sing, Blazing in gold and quenching in purple, Bless God, he went as soldiers, Bring me the sunset in a cup, Come slowly, Eden! Could I but ride indefinite, Could mortal lip divine Dare you see a soul at the white heat?

Dear March, come in! Death is a dialogue between Death is like the insect Death sets a thing significant Delayed till she had ceased to know, Delight becomes pictorial Departed to the judgment, Did the harebell loose her girdle Doubt me, my dim companion! Drab habitation of whom? Drowning is not so pitiful Each life converges to some centre Each that we lose takes part of us; Elysium is as far as to Essential oils are wrung: Except the heaven had come so near, Except to heaven, she is nought; Experiment to me Exultation is the going Far from love the Heavenly Father Farther in summer than the birds, Fate slew him, but he did not drop; Father, I bring thee not myself, — Few get enough, — enough is one; Finite to fail, but infinite to venture.

For each ecstatic instant Forbidden fruit a flavor has Frequently the woods are pink, From all the jails the boys and girls From cocoon forth a butterfly From us she wandered now a year, Given in marriage unto thee, Glee! The great storm is over! God gave a loaf to every bird, God made a little gentian; God permits industrious angels Going to heaven! Happy letter!

Tell him — Good night! Great streets of silence led away Have you got a brook in your little heart, He ate and drank the precious words, He fumbles at your spirit He preached upon "breadth" till it argued him narrow, — He put the belt around my life, — He touched me, so I live to know Heart not so heavy as mine, Heart, we will forget him!

Heaven is what I cannot reach! I many times thought peace had come, I meant to find her when I came; I meant to have but modest needs, I measure every grief I meet I never hear the word "escape" I never lost as much but twice, I never saw a moor, I noticed people disappeared, I read my sentence steadily, I reason, earth is short, I shall know why, when time is over, I should have been too glad, I see, I should not dare to leave my friend, I sing to use the waiting, I started early, took my dog, I stepped from plank to plank I taste a liquor never brewed, I think just how my shape will rise I think the hemlock likes to stand I took my power in my hand.

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