The profound poetic renditions, of Emily Dickinson, one of America’s most prolific and original poets, are replete with manifest commendations of the paradoxical ecstasies of an agonizing renunciation. Hence, a number of readers, like Richard Wilbur and others, have considered ‘Sumptuous Destitution’ as the most significant leitmotif of her art. Simultaneously, Dickinson happens to be an inebriate of air, and perhaps since she writes in a trance caused by such inebriation, she is often rapacious, splenetic and covertly or overtly intransigent. The expression ‘Sumptuous Destitution’ sounds daunting, and almost presumptuous, since it implies a certain amount of voluptuousness (the term having unequivocal implications though) that she is willing to indulge in, even in her penury. A divergent array of predicaments in describing female selfhood in and through language is demonstrated in her oeuvre. Her poems thematizing love are distinguished for their exceptional ingenuity. But, both love and poetry bring for Dickinson a calamitous end. Her love poems are seldom considered as objective demonstrations in relation to the form of traditional lyric poetry. It is these artistic nuances of her female subjectivity and her amorous sensibility that the paper seeks to uncover by a close examination of selections from her verse.