large/7245/poems_seriestwo_la_librivox_64kb_mp3/poemsseriestwo_0_dickinson_64kb_14
large/7245/poems_seriestwo_la_librivox_64kb_mp3/poemsseriestwo_0_dickinson_64kb
English
7245
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. 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
 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 1862. 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. AVE 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 EIGHTEEN SIXTY TWO 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
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