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Harvard University Press claimed ´How tame and manageable are the emotions of our bards, how placid and literary their allusions!´ complained essayist T. W. Higginson in the Atlantic Monthly in 1870. ´The American poet of passion is yet to come.´ He was, of course, unaware of the great erotic love poems such as ´Wild Nights--Wild Nights!´ and ´Struck was I, nor yet by Lightning´ being privately written by his reclusive friend Emily Dickinson. In a profound new analysis of Dickinson´s life and work, Judith Farr explores the desire, suffering, exultation, spiritual rapture, and intense dedication to art that characterize Dickinson´s poems, and deciphers their many complex and witty references to texts and paintings of the day. In The Passion of Emily Dickinson the poet emerges, not as a cryptic proto-modern or a victim of female repression, but as a cultivated mid-Victorian in whom the romanticism of Emerson and the American landscape painters found bold expression. Dickinson wrote two distinct cycles of love poetry, argues Farr, one for her sister-in-law Sue and one for the mysterious ´Master,´ here convincingly identified as Samuel Bowles, a friend of the family. For each of these intimates, Dickinson crafted personalized metaphoric codes drawn from her reading. Calling books her ´Kinsmen of the Shelf,´ she refracted elements of Jane Eyre, Antony and Cleopatra, Tennyson´s Maud, De Quincey´s Confessions, and key biblical passages into her writing. And, to a previously unexplored degree, Dickinson also quoted the strategies and subject matter of popular Hudson River, Luminist, and Pre-Raphaelite paintings, notably Thomas Cole´s Voyage of Life and Frederic Edwin Church´s Heart of the Andes. Involved in the delicate process of both expressing and disguising her passion, Dickinson incorporated these sources in an original and sophisticated manner. Farr´s superb readings of the poems and letters call on neglected archival material and on magazines, books, and paintings owned by the Dickinsons. Viewed as part of a finely articulated tradition of Victorian iconography, Dickinson´s interest in the fate of the soul after death, her seclusion, her fascination with landscape´s mystical content, her quest for honor and immortality through art, and most of all her very human passions become less enigmatic. Farr tells the story of a poet and her time.
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