The original poetry is in Public Domain. All other texts here are free for use under the CREATIVE COMMONS LICENSE 2.5. Users specifically to require the CREATIVE COMMONS LICENSE 4.0. or the CREATIVE COMMONS LICENSE BY-SA 3.0. are entitled to use the materials with these licenses as well.

Teresa Pelka 🙂




The index shows First print as well as numbers assigned by Thomas H. Johnson and Ralph W. Franklin in their editions of 1955 and 1998, as J poem number and Fr poem number respectively. For further details, please refer to Wikipedia list of Emily Dickinson’s poems.


Life | Życie


Love | Miłość


Nature | Natura


Time and eternity | Czas a wieczność



FREE E-BOOK: Emily Dickinson’s poetry with a thematic stanza, notes on the poet’s classicist reflections, her inspiration with Latin and Greek for abstract imagery, and other observations also to explain why the first print deserves recognition; language: American English. DOWNLOAD

Click here to see all free e-books

Poezja Emilii Dickinson ze zwrotką tematyczną, notkami o refleksjach klasycystycznych poetki, jej inspiracji greką i łaciną, oraz innymi obserwacjami, także wyjaśniającymi, dlaczego pierwodruk zasługuje na uznanie; cała polska zawartość dla pierwszej kolekcji z tej witryny. ZAKUP: $ 1.99



We may have a strong feeling we need to reconsider the printed stanza in Emily Dickinson’s poetry. The division below does not look right:

The gown that Dante deified.
Facts, centuries before,

He traverses familiar,
As one should come to town…
(In a library, Life, 10)


THE LONELY HOUSE (Life, 15) proves that Emily Dickinson was not stereotyped, in her written composition:

I know some lonely houses off the road
A robber ‘d like the look of, —
Wooden barred,
And windows hanging low,
Inviting to
A portico…

Reasons as these have motivated my THEMATIC STANZA, for Emily Dickinson’s poetry.


The Commentary also tells WHY I STAY WITH THE FIRST PRINT: we would not agree to have drafts of our written works presented for finished linguistic forms, even by an expert, especially if some pieces might be products of another hand.


I am an English philology M.A., specialized in American English and psycholinguistics. I doubt Johnson and Franklin editions of Emily Dickinson’s poetry.


As WIKIPEDIA explains, philology is the study of language in written historical sources; it is a combination of LITERARY CRITICISM, HISTORY, and LINGUISTICS. It is more commonly defined as the study of literary texts and written records, the establishment of their authenticity and their original form, and the determination of their meaning. A person who pursues this kind of study is known as a philologist.



You left me, sweet, two legacies, —
A legacy of love…

The art of prosody may invite a revision to traditional vowel length or syllable counts. Ancient Greek patterns even gained themselves the nickname of “tessellation”, for elaborateness.


“After Justinian, the art practically died out; (…) henceforth, for the five centuries that elapsed till the birth of Provençal and Italian poetry, love lay voiceless, as though entranced and entombed”. Feel welcome to Emily Dickinson’s Love.



A something in a summer’s noon, —
An azure depth, a wordless tune,
Transcending ecstasy…

Reference to philosophical TRANSCENDENCE and IMMANENCE may enrich the reading experience for Emily Dickinson’s Nature. Webster 1828, DISPLAY PAGE 932 shows immanent matters for those inherent or intrinsic. PAGE 790 for Volume 2 explains transcendent matters as those to surpass defined qualities, as well as escape definition.


Transcendence or immanence correlate with aspect, in PAGE 195 for Webster 1828 Volume 1, an appearance, position, or situation with a regard, an aspection to be an act of viewing, as of a picture. Part the pieces are mildly humorous, but after all, humor is an aspect of human existence.



Coach it insures, and footmen,
Chamber and state and throng;
Bells, also, in the village,
As we ride grand along…

Can we find a concept or skill to correlate all the elements here, the coach, footmen, chamber, state, throng, and bells? An uninvolved and distanced approach to PYTHAGOREANISM may bring the answer.


Exercise at Greek and Latin particles may inspire fondness with poetic ability at abstract imagery. The Latin collusor, condiscipulus, angelus, lapillus, and lusus, along with the Greek ὁμηλυσία, omelusia, made the PLAYMATES. Feel welcome to Emily Dickinson’s Time and Eternity.


“The more simple any thing
is, the less liable it is to be disordered”,
Thomas Paine.


Feel welcome to comment

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s