No More Learning

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.

MABEL LOOMIS TODD.

AMHERST, MASSACHUSETTS,
August, I891.
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.




I. LIFE.


I.

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!





II.

I bring an unaccustomed wine
To lips long parching, next to mine,
And summon them to drink.

Crackling with fever, they essay;
I turn my brimming eyes away,
And come next hour to look.

The hands still hug the tardy glass;
The lips I would have cooled, alas!
Are so superfluous cold,

I would as soon attempt to warm
The bosoms where the frost has lain
Ages beneath the mould.