Few events in American literary history have been more curious than the sudden rise of Emily Dickinson many years since into a posthumous fame only more accentuated by the utterly recluse character of her life. The lines which formed a prelude to the first volume of her poems are the only ones that have yet come to light which indicate even a temporary desire to come in contact with the great world of readers; for she seems to have had no reference, in all the rest, to anything but her own thought and a few friends. But for her only sister, it is very doubtful if her poems would ever have been printed at all; and when published, they were launched quietly and without any expectation of a wide audience. Yet the outcome of it was that six editions of the volume were sold within six months, a suddenness of success almost without a parallel in American literature. On April 16, 1862, I took from the post-office the following letter:— MR. HIGGINSON,—Are you too deeply occupied to say if my verse is alive? The mind is so near itself it cannot see distinctly, and I have none to ask. Should you think it breathed, and had you the leisure to tell me, I should feel quick gratitude. If I make the mistake, that you dared to tell me would give me sincerer honor toward you. I inclose my name, asking you, if you please, sir, to tell me what is true? That you will not betray me it is needless to ask, since honor is its own pawn. The letter was postmarked “Amherst,” and it was in a handwriting so peculiar that it seemed as if the writer might have taken her first lessons by studying the famous fossil bird-tracks in the museum of that college town. Yet it was not in the slightest degree illiterate, but cultivated, quaint, and wholly unique. Of punctuation there was little; she used chiefly dashes, and it has been thought better, in printing these letters, as with her poems, to give them the benefit in this respect of the ordinary usages; and so with her habit as to capitalization, as the printers call it, in which she followed the Old English and present German method of thus distinguishing every noun substantive. But the most curious thing about the letter was the total absence of a signature. It proved, however, that she had written her name on a card, and put it under the shelter of a smaller envelope inclosed in the larger; and even this name was written—as if the shy writer wished to recede as far as possible from view—in pencil, not in ink. The name was Emily Dickinson. Inclosed with the letter were four poems, two of which have since been separately printed,—“Safe in their alabaster chambers” and “I’ll tell you how the sun rose,” besides the two that here follow. The first comprises in its eight lines a truth so searching that it seems a condensed summary of the whole experience of a long life:— “We play at paste Till qualified for pearl; Then drop the paste And deem ourself a fool.