“The poetry of earth is never dead,” wrote John Keats, and yet that quintessential poet of autumn, his own life fading as the colors of his glory blazed and flew, was exquisitely alive to the season’s dying. His sleeping Autumn, cheeks flushed and hair awry, personifies the sensual richness of the early part of the season as iconically as the yellow leaves of Shakespeare’s Sonnet LXXIII embody the forlorn grandeur of the late. And yet both of these poems contain the tinge of their opposites, more exquisite for being so subtle: the unspoken sexual passion in the sonnet and the hint of the ominous in the ode (the wailing of the bugs, the swallows gathering) are so delicate they are barely there.
Through just this kind of sensitivity to duality, the poetry of autumn tends to ambiguity—and to greatness. What poet or lover of poetry could resist, now, when death and beauty are afoot? Together? The stereotypical poet writes of spring; the odds are that any parody of poetry will involve twittering and budding. But Millay answers, from the end of “The Death of Autumn”: “Beauty stiffened, staring up at the sky! / Oh, Autumn! Autumn—What is the Spring to me?”
The evidence for the greatness of autumn poetry, at least in the Romantic tradition in English, is everywhere: Shelley’s “Ode to the West Wind,” Keats’s “To Autumn,” Hopkins’s “Spring and Fall,” Yeats’s “The Wild Swans at Coole,” H.D.’s “Orchard,” Stevens’s “The Auroras of Autumn,” Brooks’s “Beverly Hills, Chicago.” Dickinson seemed to take the connection between poetry and autumn for granted, writing “Besides the Autumn poets sing / a few prosaic days” as if it were as standard a subject for poetry in her mind as spring is in ours. It seems likely that her own “Wild nights - Wild nights!,” not to mention its ancient ancestor, “O Western Wind,” was inspired by late autumn, by the kind of mood when Rilke wrote, “Whoever’s homeless now, will build no shelter; / who lives alone will live indefinitely so.”
Rilke’s poem partakes of the tradition of relentless autumn poems, those sad or bitter mournings of the season, the “withered” world on which Alice Cary so utterly turns her back. This is the aspect of autumn that drives Walter de la Mare, in “Autumn,” to spell-like obsession:
There is a wind where the rose was;
Cold rain where sweet grass was . . .
Sad winds where your voice was;
Tears, tears where my heart was . . .
It drives Paul Verlaine to hear such long long sobs, and most brutally of all perhaps, Adam Zagajewski to political despair at the power of autumn “merciless in her blaze / and her breath.”
On the other end of the spectrum are the few stalwart, happy autumn poems. These seem, interestingly enough, more common among American than among English poets. Could it be the sheer beauty of a more heavily wooded landscape that tips the balance? Paul Laurence Dunbar’s “Merry Autumn,” one of the most successful happy autumn poems, consciously calls up the “solemn” tradition it rejects:
It's all a farce,—these tales they tell
About the breezes sighing,
And moans astir o'er field and dell,
Because the year is dying.
Emily Dickinson’s “The morns are meeker than they were,” uncharacteristic of her as it may be, is utterly memorable, and Whitman basks in autumn with benign acceptance, feeling its rivulets flowing towards an eternal ocean. Longfellow, not at his best in his ruthlessly cheerful poem “Autumn,” more than makes up for it at the gorgeous beginning of Book 2 of his now-underappreciated, but still highly readable, epic Evangeline:
Now had the season returned, when the nights grow colder and
And the retreating sun the sign of the Scorpion enters.
Birds of passage sailed through the leaden air, from the
Desolate northern bays to the shores of tropical islands.
Harvests were gathered in; and wild with the winds of September
Wrestled the trees of the forest, as Jacob of old with the angel.
But poems of lament or celebration are the exceptions; the real tradition of the poetry of autumn is the paradoxical tradition. Where does paradox find its proper home but in poetry, and in autumn? From Shakespeare’s sonnet to Keats’s ode and far beyond, much of the most memorable autumn poetry embraces what Stevens called “the blaze of summer straw in winter’s nick,” that balance between fecundity and decay which Frost addresses with such excruciating specificity in “After Apple-Picking”:
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear. . . .
I am overtired
Of the great harvest I myself desired.
This paradox, I think, is the pith of autumn, the part that some of us just can’t get enough of, the reason autumn is so many people’s favorite season. This is the ineffable puzzle that inspires Stevens’s “gusty emotions on wet roads on autumn nights” and leads Archibald MacLeish to call autumn “the human season.” This is the time when, perhaps, we are all looking to feel more accurately what Mary Kinzie, in her commentary on Rilke’s “Day in Autumn,” described as “the flowering of loss, . . . the ripening of diminishment into husk and hull.” And in this, autumn is again like poetry: though it may help us to notice more deeply how we are alone, it can also help us to feel the excitement of sharing that solitude with each other. In the words of Basho,
It is deep autumn
How does he live, I wonder.
read poems by this poet
Emily Dickinson was born on December 10, 1830, in Amherst, Massachusetts. She attended Mount Holyoke Female Seminary in South Hadley, but only for one year. Throughout her life, she seldom left her home and visitors were few. The people with whom she did come in contact, however, had an enormous impact on her poetry. She was particularly stirred by the Reverend Charles Wadsworth, whom she first 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. While it is certain that he was an important figure in her life, it is not clear that their relationship was romantic—she called him "my closest earthly friend." Other possibilities for the unrequited love that was the subject of many of Dickinson’s poems include Otis P. Lord, a Massachusetts Supreme Court judge, and Samuel Bowles, editor of the Springfield Republican.
By the 1860s, Dickinson lived in almost complete isolation from the outside world, but actively maintained many correspondences and read widely. She spent a great deal of this time with her family. Her father, Edward Dickinson, was actively involved in state and national politics, serving in Congress for one term. Her brother, Austin, who attended law school and became an attorney, lived next door with his wife, Susan Gilbert. 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 for Dickinson during her lifetime.
Dickinson's poetry 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, which encouraged a Calvinist, orthodox, and conservative approach to Christianity.
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 rumors 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 forty handbound volumes of nearly 1,800 poems, or "fascicles" as they are sometimes called. Dickinson assembled these booklets by folding and sewing five or six sheets of stationery paper and copying what seem to be final versions of poems. The handwritten poems show a variety of dash-like marks of various sizes and directions (some are even vertical). The poems were initially unbound and published according to the aesthetics of her many early editors, who removed her unusual and varied dashes, replacing them with traditional punctuation. The current standard version of her poems replaces her dashes with an en-dash, which is a closer typographical approximation to her intention. The original order of the poems was not restored until 1981, when Ralph W. Franklin used the physical evidence of the paper itself to restore her intended order, relying on smudge marks, needle punctures, and other clues to reassemble the packets. Since then, many critics have argued that there is a thematic unity in these small collections, rather than their order being simply chronological or convenient. The Manuscript Books of Emily Dickinson (Belknap Press, 1981) is the only volume that keeps the order intact.
The Gorgeous Nothings: Emily Dickinson's Envelope Poems (New Direction, 2013)
Final Harvest: Emily Dickinson's Poems (Little, Brown, 1962)
The Complete Poems of Emily Dickinson (Little, Brown, 1960)
Bolts of Melody: New Poems of Emily Dickinson (Harper & Brothers, 1945)
Unpublished Poems of Emily Dickinson (Little, Brown, 1935)
Further Poems of Emily Dickinson: Withheld from Publication by Her Sister Lavinia (Little, Brown, 1929)
The Complete Poems of Emily Dickinson (Little, Brown, 1924)
The Single Hound: Poems of a Lifetime (Little, Brown, 1914)
Poems: Third Series (Roberts Brothers, 1896)
Poems: Second Series (Roberts Brothers, 1892)
Poems (Roberts Brothers, 1890)
Emily Dickinson Face to Face: Unpublished Letters with Notes and Reminiscences (Houghton Mifflin Company, 1932)
Letters of Emily Dickinson (Roberts Brothers, 1894)