Emily  Dickinson      
In 1830, Emily Dickinson was born in Amherst, Massachusetts.. She was particularly stirred by the Reverend Charles Wadsworth, whom she met on a trip to Philadelphia. He left for the West Coast shortly after a visit to her home in 1860, and some critics believe his departure gave rise to the heartsick flow of verse from Dickinson in the years that followed.
. She spent a great deal of this time with her family. Her father, Edward Dickinson, was actively involved in state and national politics. Her brother Austin attended law school and became an attorney, . Dickinson’s younger sister Lavinia also lived at home for her entire life in similar isolation. Lavinia and Austin were not only family, but intellectual companions during Dickinson’s lifetime.

Dickinson's poetry reflects her loneliness and the speakers of her poems generally live in a state of want, but her poems are also marked by the intimate recollection of inspirational moments which are decidedly life-giving and suggest the possibility of happiness. Her work was heavily influenced by the Metaphysical poets of seventeenth-century England, as well as her reading of the Book of Revelation and her upbringing in a Puritan New England town…

She admired the poetry of Robert and Elizabeth Barrett Browning, as well as John Keats. Though she was dissuaded from reading the verse of her contemporary Walt Whitman by rumor of its disgracefulness, the two poets are now connected by the distinguished place they hold as the founders of a uniquely American poetic voice. While Dickinson was extremely prolific as a poet and regularly enclosed poems in letters to friends, she was not publicly recognized during her lifetime. The first volume of her work was published posthumously in 1890 and the last in 1955. She died in Amherst in 1886.

Upon her death, Dickinson's family discovered 40 handbound volumes of nearly 1800 of her poems, or "fascicles" as they are sometimes called.). The poems were initially unbound and published according to the aesthetics of her many early editors, removing her unusual and varied dashes and replacing them with traditional punctuation. Since then, many critics have argued for thematic unity in these small collections, believing the ordering of the poems to be more than chronological or convenient. The Manuscript Books of Emily Dickinson (Belknap Press, 1981) remains the only volume that keeps the order intact..
Poetry
Poems by Emily Dickinson (1890)
Poems: Second Series (1891)
Poems: Third Series (1896)
The Single Hound: Poems of a Lifetime (1914)
The Complete Poems of Emily Dickinson (1924)
Further Poems of Emily Dickinson: Withheld from Publication by Her Sister Lavinia (1929) Unpublished Poems of Emily Dickinson (1935)
Bolts of Melody: New Poems of Emily Dickinson (1945)
The Complete Poems of Emily Dickinson (1960)
Final Harvest: Emily Dickinson's Poems (1962)
;prose:
Letters of Emily Dickinson (1894)
Emily Dickinson Face to Face: Unpublished Letters with Notes and Reminisces (1932
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poem 640 F706   ‘I cannot love with You.
, this poem to her beloved master is Emily’s
longest poem. It is set out like a good sermon with three main headings and a
conclusion.
Heading 1: ‘I cannot live with You’ (line 1)
Heading 2: ‘I could not die _ with You’ (line 17)
Heading 3: ‘Nor could I rise_ with You’ (line 21)
Conclusion: ‘So We must meet apart’ (line 45)
      A paraphrase of the poem might be:
Section 1: To live with you would be a true life of love, but such a life has been
locked away out of sight  by the Sexton as though it were ‘His Porcelain’ (= the
church, represented by the sexton, regards the true life of love as only happening
between married persons). Our adulterous liaison would be regarded by the church as
a broken thing, just like a housewife regards a broken cup as something to be thrown
away and be replaced by quality Sevres china.
Section 2: I could not die at the same time as you, as one of us must wait to close the
other’s eyes. At the same time such waiting would be hard. You could not do it, and I
would find it impossible to look upon you dead and not be dead myself.
Section 3: But we have to steel ourselves to do it, because we cannot rise together
either. If we did that, your face would outshine the face of Jesus, and his Grace would
just ‘glow plain _ and foreign’ unless you ‘shone closer by.
      Also, we would probably be separated at the Last Judgment, for you tried to
‘serve Heaven’ (= do the right thing and not commit adultery), whereas you so
saturated my sight that I had no more eyes for such a sordid excellence as Paradise (=
I didn’t care whether I did the right thing or not).
     If you were judged a lost soul, I too would feel lost, even though I had been
judged the best in Heaven. And if you were saved for Heaven, and I condemned to
Hell, just being separated from you would be a Hell in itself.
Conclusion: So we can only meet apart in our minds (as at the beginning of poem
474), and the Door ajar between us now is not just the door of my room but is Oceans,
Prayer, Despair…
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Poem 736 F723   Have any like Myself.’
This is the first of five poems about Emily’s favourite month of March. The others are
1213, 1320, 1404 and 1669. March was important to Emily as it was the month of
rebirth and new beginnings in nature, symbolising our rebirth into eternal life. Poem
1404 begins, ‘March is the Month of Expectation,’ and in a letter (L976) of March
1885 to her friend, Helen Hunt Jackson, she asks, ‘Who could be ill in March, that
Month of proclamation?’
     This poem, with its clear structure of three sections each beginning with ‘Have
any like Myself,’ takes up these ideas.
Have any like herself seen the ‘New Houses on the Hill,’ and ‘possibly a Church?’
Have any like herself wondered who lives in these houses which are so near to the sky
that God is their nearest neighbour?
Have any like herself concluded that her ‘Villages’ and ‘possibly a Steeple’ are only
visible in March, and so avoided the spot for the rest of the year to preserve the
‘Charm secure?’ ( Marginal variants for ‘Charm secure’ are ‘Vision sure/clear.’)
      The buildings are not real houses, but symbolise the thoughts about the kingdom
of God in heaven, which come more clearly into Emily’s mind during March than in
any other month. It is in that month of rebirth and expectation that she seems to see
foreshadowed in nature the houses of the new Jerusalem, inhabited by the dead in
Paradise, who are so close to God that they could invite Heaven along ‘For Show, or
Company.’ But she does not get this vision from nature so clearly in the remaining
months of the year, so she does not try to force it then, but preserves the ‘Charm
secure’ of her March vision.
.But. she would like to know if any have shared this vision.
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Poem 737 F735   ‘The Moon was but a Chin of Gold.’
This is Emily’s fourth poem about the moon. In 429 she said that she herself was as
obedient to her beloved master was the sea to the moon. In 504 she had daringly
compared her beloved to the Man in the Moon, and in 629 she had described the
moon as coldly indifferent to man and his concerns.
      This poem is a hymn to the brilliance of the moon, in which the moon is
consistently described as a person. Her Cheek, for example, has the light blue, yellow
and white colours of the precious stone known as a Beryl. Her Eye is the nearest thing
Emily has ever seen to ‘the Summer Dew’ (perhaps barely discernible). What a smile
she could confer upon a Friend, if she so wished! She goes visiting to ‘the remotest
Star.’ She wears a bonnet, shoe and belt with trinkets of Stars, and she appears to be
dressed in the ‘Dimities’ or clothes of the dark-blue sky.
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ع راسي أبو الطيط لك والله أنت شمعة وتسلم واحي جماهيري الغفيريا متل أمثالك بس طلاع بحق الكروز الدخان  ماني نسيانو