Tell all the truth but tell it slant

Dickinson uses the lyric form to drive “Tell all the truth but tell it slant.” Lyric poems originated in Ancient Greece and focus on the emotions and feelings of the speaker. Lyric poetry now includes elegies, odes, and sonnets. Rhyme and meter vary with each form. “Tell All the Truth” is eight lines, with variations of six and eight syllables per line, and has a “slant” rhyme scheme, or words that contain a slightly similar sound.

The Lyrical form in “Tell All the Truth” allows the speaker to address personal feelings and values in an accessible way; its song-like quality and iambic pentameter give a slight nursery rhyme feel. This allows the speaker to focus intently on a value (truth), without shaping it into any particular context. There is no backstory driving the speaker’s advice; instead, they describe their notion of truth (its importance) and how it should be conveyed to others. They grapple with truth and its possible negative ramifications. They also hold space for the argument that the greater good benefits from not receiving the full, unabridged truth. This falls in line with Dickinson’s readers at the time, who most likely were well-versed in the concepts and movements of Transcendentalism and Romanticism.

This poem is not just about truth’s abstract and ambiguous qualities. The speaker has no defining characteristics. There is no indication of gender, race, or nationality. No information reveals whether Dickinson or another historical person is the speaker, leaving readers to wonder if this is an experience or a parable. They are discovering the truth in a disembodied yet controlled way, as the meter provides a stable structure while exploring the unknown.

Line 1 begins in the imperative: “Tell all the truth but tell it slant —,” the tone emitting an authoritative and serious feel. Dickinson reinforces this with the end-line dash, requiring the reader to pause. Dickinson uses the word “slant” as an adverb which could mean by way of taking a diagonal route. This also begins the poem’s layered meaning. Most of the end-rhymes are “slant rhymes”; for example, “eased” ends Line 5 and “gradually” ends Line 7. This also foreshadows to the reader that more double meaning lies ahead.

In Line 2, the tone and capitalization becomes more playful, “Success in Circuit lies.” The syntax seems awkward and archaic, but it allows the line to end with the word “lies.” This adds a layer of duality to the question of what truth is and what it is not. It blurs the lines, and it also reinforces the idea that all the facts do not need to be presented; depending on the severity of truth, a heavier slant may be necessary. Dickinson also balances the uncomfortable with the playful while maintaining on point. The words “Success” and “Circuit” are capitalized (but “lies” is not), suggesting that small lies may be necessary in conveying the truth.

The tone returns to seriousness in Line 3, “Too bright for our infirm Delight.” Dickinson compares the truth as power in a circuit, or power along a path (Line 2). Typically, brightness or light brings positive connotations, but here, she pairs it with “too,” suggesting an overwhelming force. Dickinson repeats this pairing at the end of the line with “infirm Delight,” a fragile happiness that can be overwhelming and even damaging. The readers must therefore grapple with the notion that doing the “right thing” by telling the truth may not always be the right thing to do.

Lines 4-5 expand upon this dual nature of the truth: “The Truth’s superb surprise/As Lightning to the Children eased.” Dickinson’s dialectics are hard at work, making room for truth as both a “superb surprise” and “lightning.” By capitalizing “Truth” and “Lightning,” readers connect truth with carefulness, as one would explaining a dangerous natural event to a child. Line 6 expands on the “how” of telling it slant. Like lightning, the truth is less fearful when explained with the dangerous parts omitted or rephrased with a gentler spin: “With explanation kind.” The word “kind” makes the reader pause for a second. They must separate themselves from what is right and look to whether the action is kind, and if it benefits the greater good.

The poem’s turn arrives in Lines 7-8, and the tone returns to advisory and instructive. The speaker presents a caveat: “The Truth must dazzle gradually/Or every man be blind —.” As the speaker suggests, one must convey the truth slowly and with care of this power; Dickinson retains the seriousness of the matter by capitalizing “Truth.” Line 8 reinforces the idea of mindfulness; otherwise, there could be a severe impact. Dickinson reinforces this by returning to the metaphor of unbridled light/power, and without care, “every man be blind” and overwhelmed by its force. It will destroy their capacity to receive it or recognize it in the future.

The poem ends with a dash — perhaps a pause, or perhaps the other wall holding up a thoughtfully constructed partial truth.