Wild Nights by E.Dickinson

Wild Nights (Not included in our course (UNED USA Lit.)

Wild nights - Wild nights!
Were I with thee
Wild nights should be
Our luxury!

Futile - the winds -
To a Heart in port -
Done with the Compass -
Done with the Chart!

Rowing in Eden -
Ah - the Sea!
Might I but moor - tonight -
In thee!

First Stanza
The opening line is a little bit outrageous, a repeated phrase, fully stressed, complete with exclamatory punctuation, giving the reader the idea that the speaker has experienced something extraordinarily profound.
This loud, excitable introduction is followed by a quieter second line that helps put things into perspective. The speaker seems to be merely proposing the idea that if she and some other could be together then....
....wild nights would certainly ensue. Note the plural. Not a single one night stand but envisaged nights, ongoing, indefinite. This third line further underlines the inevitability of such togetherness - should be - a probable deserved and shared experience.
But what of this experience during these wild nights? Everything hinges on the word luxury, which, in the context of this first stanza and the poet's life, points to a fulfilment of an intense desire. This could be sexual, this might be spiritual; it's more than likely linked to death, leaving behind all that is mundane, earthly, physical.
Second Stanza
Some ambiguity has already crept into the interpretation as the speaker announces that the winds cannot be of any use. This is the first mention of an element, the first clue - the winds that blow, that cause change.

• Yet, the reader needs the second line to confirm that the setting for this little drama is the sea. Before the word port arrives there is no clear indication for the setting.
• Before the word Heart appears the reader has little idea that this poem is about love and the intimate feelings attached. Or is that Love and religious feelings attached?

The third and fourth lines reinforce the idea that the journey (already made or to be made) is of no consequence - reason and direction mean nothing.
This is the challenge - either the speaker cannot reach their intended goal because they're held fast in the port, so the winds are useless, as is guidance and rationality symbolised by compass and chart.
The speaker is with her lover or her God or she has lost the opportunity in real life and can now only dream of being united.
Third Stanza
Eden is the biblical garden where Adam and Eve first lived and here is the speaker in a boat, rowing across an imagined sea. Rowing is an obvious sensual action, a rhythmical movement that many have construed as sexual.
And the sea can be understood to mean the passion or emotion, the element we all return to.
The third line brings home the idea of immediacy - tonight - and wishful thinking - Might I - related to the verb moor, which means to fasten (a boat) on to, as with a rope to land.
The speaker is enthusiastically looking forward to this time, that much is obvious. A time when love and fulfilment will be attained, when body and spirit are one, achieved through human intimacy and bonding, or through a spiritual act that leads to God.

Footnote by Wilko.tv :c.f.https://owlcation.com/humanities/Analysis-of-Poem-Wild-Nights-by-Emily-Dickinson