39. And then—the Size of This—:
    • The size of the spectrum or the size of the speaker’s life is emphasized, possibly alluding to the vastness and intricacy of human existence.
40. Upon the Other side—:
    • The mention of “the Other side” hints at a division or boundary, suggesting a separation between life and whatever lies beyond.
41. —It was not Death—:
    • The assertion that it was not death raises questions about what is being referred to. The speaker distinguishes this experience from the conventional notion of death.
42. For I stood up—:
    • The speaker’s act of standing up implies a moment of awakening or realization.
43. —And all the Dead, lie down—:
    • The contrast between the speaker standing up and the dead lying down reinforces the idea that the speaker is experiencing something different from conventional death.
44. It was not Night—:
    • The assertion that it was not night raises questions about the nature of the experience. Night is often associated with sleep or death, and the negation adds to the mystery.
45. For all the Bells put out their Tongues—:
    • The imagery of bells putting out their tongues suggests a symbolic silencing or cessation of activity.
46. For Noon—:
    • The mention of noon introduces a contrasting image of midday, associated with light and visibility.
47. I could not see to see—:
    • The paradoxical statement suggests a state of being unable to see despite the presence of light, perhaps hinting at a spiritual or metaphorical blindness.
48. But We—:
    • The collective “We” includes the speaker and others who share a similar experience.
49. Afloat on the Ether sailed—:
    • The image of being afloat on the ether conveys a sense of weightlessness and detachment from the earthly realm.
50. And for Each Sake—:
    • The phrase “for Each Sake” introduces a consideration of individuals or entities for whom this experience is significant.
51. The Swan—upon the Swan—:
    • The swan, often a symbol of beauty and transformation, is mentioned, possibly representing the speaker’s soul or essence.
52. Floats double—Sailing in—:
    • The image of the swan floating double, sailing in, suggests a graceful and purposeful movement, perhaps symbolizing a journey.
53. And Glory of the Noon—:
    • The glory of the noon is reiterated, emphasizing the significance of this moment in the day.
54. The Winds do not exceed his Presumption—:
    • The winds not exceeding the swan’s presumption suggests that even nature respects or acknowledges the significance of this experience.
55. —The lightning—fore—it cease—:
    • The lightning, a symbol of sudden illumination or revelation, is mentioned, and its occurrence is presented as preceding its cessation.
56. Incorporate—of Flight—:
    • The incorporation of flight suggests a merging of the swan with the concept of flight, possibly symbolizing transcendence or spiritual elevation.
57. The Apparatus of the Year—:
    • The apparatus of the year refers to the machinery or structure of the annual cycle, perhaps suggesting a broader cosmic order.
58. Loses—like the Maine—:
    • The comparison to the Maine, a ship that sank in 1898, may symbolize a loss or tragedy in the context of the larger cosmic order.
59. Woven without a gauze—:
    • The image of being woven without gauze suggests a direct and unobstructed connection to the cosmic fabric.
60. Soaring through wider Zones—:
    • The act of soaring through wider zones suggests a journey through expansive and limitless realms.
61. —The Seasons of the Year—:
    • The reference to the seasons of the year implies a transcendence of temporal limitations.
62. The North—without a North—:
    • The mention of the North without a North introduces a paradox, possibly signifying a departure from conventional directions or boundaries.
63. The Capes—stand in the East—:
    • The capes standing in the East may allude to geographical features or serve as symbolic markers in the speaker’s transcendent experience.
64. The Chart—recover—But the Longitude—:
    • The mention of a chart and longitude introduces navigational imagery, emphasizing a sense of guidance or direction.
65. Of the Soul—:
    • The soul is explicitly referenced, suggesting that the journey or experience described pertains to the spiritual essence.
66. That bolder Arctics—lie—:
    • The bolder Arctics lying suggests a bold or daring aspect of this spiritual journey, possibly alluding to unexplored or challenging realms.
67. Approve a Sea—:
    • The act of approving a sea implies a judgment or validation of the vast expanse encountered in this spiritual journey.
68. That is of Solid Blonde—:
    • The sea being of solid blonde introduces an unusual and vivid image, possibly symbolizing purity or transcendence.
69. Or Axiom of the Naves—:
    • The axiom of the naves suggests a fundamental principle or guiding truth, possibly related to the central aspects of the speaker’s experience.
70. Or Nature’s—shifting—Tents—:
    • Nature’s shifting tents may evoke the transient and evolving aspects of the natural world.
71. Permitless of a Paradisal Stand—:
    • The notion of being permitless of a paradisal stand suggests a state that doesn’t require permission, emphasizing a natural or inherent right to this paradisal state.
72. Though Naught—be—front the Lease—:
    • Despite the absence of anything confronting or obstructing the lease, the use of “naught” adds a sense of emptiness or nothingness.
73. But a purple—imperial—Noise—:
    • The purple imperial noise introduces a sensory element, possibly signifying a regal or majestic quality.
74. That arrested the World—:
    • The idea of a noise arresting the world implies a momentous and globally significant event or phenomenon.
75. And I leaped—:
    • The speaker describes a leap, suggesting a moment of profound action or transcendence.
76. —and I heard him land—:
    • The speaker hears the landing, possibly symbolizing a return to a different state or realm.
77. And can—smile—and shake My Head—:
    • The ability to smile and shake one’s head suggests a sense of understanding or acceptance, possibly in response to the experience.
78. As tho’ ‘twere Thumbs—:
    • The simile “as tho’ ‘twere Thumbs” adds a touch of whimsy or playfulness to the speaker’s reaction.
79. And has let the Matter drop—:
    • The speaker notes that the matter has been let drop, possibly indicating a resolution or conclusion to the experience.
80. 80. And, seeing that it was:
    • The fragment leaves an open-ended anticipation, inviting readers to ponder the resolution or realization that the speaker has reached.
    81. Human—In one blink I—:
        • The human quality is emphasized, and the mention of a blink suggests a momentary glimpse or realization.
    82. Unconscious—felt new Spirit—:
        • The speaker becomes aware of a new spirit, suggesting a transformation or awakening that was previously unconscious.
    83. Possibly it has been—:
        • The uncertainty in “Possibly it has been” hints at the elusive nature of the experience, leaving room for interpretation.
    84. Another—since—:
        • The reference to “Another” introduces the idea of multiple experiences or entities, possibly alluding to a broader spiritual context.
    85. I could not—:
        • The repetition of “I could not” emphasizes the speaker’s inability, underscoring the mysterious and ineffable nature of the experience.
    86. But a’ the Trees that dot—:
        • The Scottish dialect “a’” stands for “all,” and the mention of trees introduces a natural element, possibly symbolizing life and growth.
    87. As in Miranda—:
        • The reference to Miranda, a character in Shakespeare’s “The Tempest,” adds a literary layer to the poem, connecting it to themes of magic and revelation.
    88. Did swim in Eden—:
        • The allusion to Eden, the biblical garden, invokes themes of paradise and the primal state of existence.
    89. And Deeper—they did swim—:
        • The idea of swimming deeper suggests a profound exploration or immersion into the spiritual or transcendent.
    90. And Eagles—in the Sky—:
        • The mention of eagles in the sky adds a majestic and soaring quality, possibly symbolizing elevated perspectives or spiritual ascent.
    91. And silver Fleets at Sea—:
        • The silver fleets at sea introduce imagery of vastness and expansiveness, possibly symbolizing journeys and explorations.
    92. And Barb’s in Juniper—:
        • The mention of barbs in juniper introduces a contrast between the harshness of barbs and the natural setting of juniper, possibly symbolizing the coexistence of challenge and beauty.
    93. That on the Map—have been—:
        • The reference to the map suggests a charting or mapping of experiences, emphasizing their significance.
    94. Like Hempen Rows—of Wheat—:
        • The simile “Like Hempen Rows—of Wheat” evokes the idea of organized and cultivated experiences, possibly symbolizing the ordered nature of spiritual growth.
    95. That ripple in the Wind—:
        • The ripples in the wind suggest a dynamic and responsive quality, possibly symbolizing the influence of unseen forces.
    96. Or Roses—stun in Lead—:
        • The juxtaposition of roses stunning in lead introduces a paradox, combining beauty with heaviness or constraint.
    97. Before the Garden’s Gate—:
        • The mention of the garden’s gate reinforces the imagery of paradise and a threshold between different states of being.
    98. Not like the Judgement—Seat—:
        • The comparison to the Judgment Seat implies a contrast between the speaker’s experiences and a conventional judgment or evaluation.
    99. But like an endless sash—:
        • The simile “like an endless sash” suggests a continuous and unbroken flow, possibly representing the ongoing nature of spiritual experiences.
    100. Of Tourists—slid away—: – The imagery of tourists sliding away introduces an unexpected and somewhat whimsical element, possibly symbolizing the transience of worldly concerns.
    101. ‘Tis Thought’s—supposed so—: – The phrase “’Tis Thought’s—supposed so” suggests that what follows is a commonly held belief or perspective.
    102. They go to meet the Gods—: – The idea that tourists go to meet the Gods introduces a mythological dimension, suggesting a quest for higher knowledge or transcendence.
    103. ‘Tis daisies—centuries—: – The comparison to daisies spanning centuries adds a timeless quality to the imagery, possibly representing enduring and cyclical aspects of nature.
    104. **The mention of a key introduces the idea of unlocking or revealing hidden truths.
    105. And the abyss—is sweet—: – The unexpected description of the abyss as sweet adds a paradoxical and complex layer to the poem, challenging conventional associations with the abyss.
    106. And—asking—got the loss—: – The act of asking and receiving the loss suggests a transaction or exchange, possibly symbolizing the cost of gaining spiritual insight.
    107. The Echoes—never mind—: – The disregard for echoes introduces a sense of detachment or transcendence, where certain aspects of the earthly realm become inconsequential.
    108. That dying—was so long—: – The reflection that dying was so long suggests a distortion of time, possibly indicating a different experience of the passage of time in the spiritual realm.
    109. The Bells—assured—of Gold—: – The assurance of gold in the bells introduces an image of richness or value associated with the spiritual experience.
    110. They re’d—their bronze—and I—: – The re-ding of bronze suggests a reverberation or resonance, and the personal pronoun “I” indicates the speaker’s involvement in this spiritual exchange.
    111. I—passed away—from Toll—: – The speaker’s passing away from toll suggests a departure from earthly concerns or burdens.
    112. As—He—extinct—a Cell—: – The simile “As—He—extinct—a Cell” suggests a parallel between the speaker’s passing and the extinguishing of a cell, possibly symbolizing a transition at the cellular or spiritual level.
    113. When some—bone—tells me—that Alone—: – The mention of bone and the notion of being alone introduce a sense of isolation or separation.
    114. At last—I am—assured—: – The assurance at last suggests a resolution or confirmation, possibly related to the speaker’s understanding of her state.
    115. Man—grows the most—at Night—: – The assertion that man grows the most at night introduces a metaphorical understanding of growth, possibly linked to spiritual or internal development.
    116. And influence—is a Toy—: – The characterization of influence as a toy suggests a whimsical or playful quality, possibly emphasizing the relative insignificance of worldly influence in the grander scheme.
    117. Of Nullities—a Toy—: – The phrase “Of Nullities” emphasizes the trivial nature of worldly influence, reinforcing the idea that such influence is inconsequential in the grander scheme of existence.
    118. But let a—chariot pass—: – The introduction of a chariot passing suggests a momentary event or occurrence that captures attention.
    119. The Whipp’d—step of Feet—: – The mention of the whipped step of feet introduces the imagery of a rapid or urgent movement.
    120. The Silver— tinkled—cool—: – The tinkling of silver adds an auditory dimension to the passing chariot, possibly symbolizing a refreshing or pure quality associated with the event.
    121. As if the Earth—were Gass—: – The simile “As if the Earth—were Gass” suggests a transient or ephemeral quality, as if the earth were gaseous and insubstantial.
    122. That Tinsel—doesn’t pass—: – The reference to tinsel, often associated with festive decorations, contrasts with the passing chariot, suggesting a durability or permanence in comparison.
    123. That Dandy—dandy Day—: – The repetition of “dandy” adds a playful and celebratory tone, possibly emphasizing the special or exceptional nature of the day.
    124. But then the—Earth—is duller—: – The contrast between the lively dandy day and the dullness of the earth suggests a return to mundane or ordinary existence.
    125. And only thro’ the Ear—: – The avenue of perception shifts to the ear, emphasizing the auditory experience associated with the passing chariot.
    126. It went—as if the East—: – The direction of the East is invoked, possibly alluding to symbolic or mythological associations with the East.
    127. Were sorry ’twere not he—: – The suggestion that the East might be sorry implies a personification of the East, attributing human emotions to it.
    128. And he—and it—were ‘Tin’—: – The comparison of the chariot and the East to “Tin” introduces a metallic and potentially artificial quality.
    129. Were out of town Today—: – The idea of being out of town suggests an absence or departure, emphasizing the transitory nature of the event.
    130. And that—its sweet—returned—: – The sweetness of the event is mentioned, possibly referring to the pleasing or positive impact of the passing chariot.
    131. As if the Bees had plucked the Tombs—: – The imagery of bees plucking tombs introduces a vivid and unconventional image, possibly symbolizing a transformative or life-affirming action.
    132. And filled them—full—with—Hay—: – The notion of filling tombs with hay contrasts with the conventional association of tombs with death, introducing an unexpected and playful element.
    133. Drunken—with Spring!: – The final line concludes with an exclamation, celebrating the intoxication or exhilaration associated with the arrival of spring.

Also Read-

• Crow Testament Poem Summary by Sherman Alexie

• Bequest Poem Summary by Eunice de Souza
• No Second Troy Poems Summary by William Butler Yeats

I cannot live without you poem

I cannot live with You – 
It would be Life – 
And Life is over there – 
Behind the Shelf

The Sexton keeps the Key to – 
Putting up
Our Life – His Porcelain – 
Like a Cup – 

Discarded of the Housewife – 
Quaint – or Broke – 
A newer Sevres pleases – 
Old Ones crack – 

I could not die – with You – 
For One must wait
To shut the Other’s Gaze down – 
You – could not – 

And I – could I stand by
And see You – freeze – 
Without my Right of Frost – 
Death’s privilege?

Nor could I rise – with You – 
Because Your Face
Would put out Jesus’ – 
That New Grace

Glow plain – and foreign
On my homesick Eye – 
Except that You than He
Shone closer by – 

They’d judge Us – How – 
For You – served Heaven – You know,
Or sought to – 
I could not – 

Because You saturated Sight – 
And I had no more Eyes
For sordid excellence
As Paradise

And were You lost, I would be – 
Though My Name
Rang loudest
On the Heavenly fame – 

And were You – saved – 
And I – condemned to be
Where You were not – 
That self – were Hell to Me – 

So We must meet apart – 
You there – I – here – 
With just the Door ajar
That Oceans are – and Prayer – 
And that White Sustenance – 
Despair – 

Conclusion

I Cannot Live With You by Emily Dickinson is a masterful exploration of profound themes, including the complexities of love, mortality, and spiritual transcendence. Through intricate language, vivid imagery, and a contemplative tone, Dickinson weaves a tapestry of emotions that invites readers to reflect on the nature of existence and the inexorable forces that shape human experience.

The poem’s exploration of separation, the mysteries of death, and glimpses of spiritual awakening resonate with readers, offering a nuanced and timeless meditation on the human condition.I Cannot Live With You by Emily Dickinson Summary, What is the main idea of the poem I cannot live with You?,What is the main idea of a poem also known as though?, I cannot live with You full poem,

FAQ:

1. Who is the speaker addressing in “I Cannot Live With You”?

The speaker is addressing an unnamed individual, expressing the impossibility of living together. The nature of this relationship and the identity of the addressed person remain open to interpretation.

2. What is the significance of the spiritual and transcendental elements in the poem?

The poem delves into spiritual and transcendental themes, offering glimpses of experiences beyond the earthly realm. These elements contribute to the poem’s complexity, prompting readers to consider the possibility of a dimension beyond the tangible and the transient.

3. What role does nature play in the poem?

Nature serves as a rich source of metaphor and imagery in the poem. References to elements like the tiger’s eye, the morning fire, and the swan contribute to the emotional depth of the verses, providing symbolic layers that enhance the poem’s overall impact.

4. How does the poem approach the theme of death?

Death is contemplated with a mixture of resignation, acceptance, and mystery. The speaker grapples with the inevitability of death and hints at a spiritual realm or an afterlife, adding layers of complexity to the exploration of mortality.