She uses personification to portray Death and Immortality as characters. Her familiarity with Death and Immortality at the beginning of the poem causes the reader to feel at ease with the idea of Death. However, as the poem progresses, a sudden shift in tone causes readers to see Death for what it really is, cruel and evil.
In the poem under consideration, however, the house of death so lightly sketched is not her destination.
The poem does not in the least strive after the incomprehensible. These are intensely felt, but only as ideas, as the abstractions of time and eternity, not as something experienced.
Being essentially inexpressible, they are rendered as metaphors. Its theme is a Christian one, yet unsupported by any of the customary rituals and without any final statement of Christian faith. The resolution is not mystical but dramatic. Read in this way the poem is flawless to the last detail, each image precise and discrete even while it is unified in the central motif of the last journey.
Yet another level of meaning has suggested itself faintly to two critics. But even in the well-known opening lines of the poem there are suggestive hints for anyone who remembers that the carriage drive was a standard mode of courtship a century ago.
In the period of her normal social life, when Emily Dickinson took part ill those occasions that give youthful love its chance, she frequently went on drives with young gentlemen.
Some ten years before the date of this poem, for example, she wrote to her brother: The love-death symbolism, however, re-emerges with new implications in the now restored fourth stanza, probably omitted by previous editors because they were baffled by its meaning: It is instead a bridal dress, but of a very special sort.
He is the envoy taking her on this curiously premature wedding journey to the heavenly altar where she will be married to God. The whole idea of the Bride-of-the-Lamb is admittedly only latent in the text of this poem, but in view of the body of her writings it seems admissible to suggest it as another metaphor for the extension of meanings.
In it all the traditional modes are subdued so they can, be assimilated to her purposes. For her theme there, as a final reading of its meaning will suggest, is not necessarily death or immortality in the literal sense of those terms.
There are many ways of dying, as she once said: But in another sense she had simply triumphed over them, passing beyond earthly trammels.
Finally, this makes the most satisfactory reading of her reversible image of motion and stasis during the journey, passing the setting sun and being passed by it. For though in her withdrawal the events of the external world by-passed her, in the poetic life made possible by it she escaped the limitations of the mortal calendar.
Stairway of Surprise New York: Holt, Rinehart and Winston, Inc. For we ignore its own struggle with extraordinary claims if we insist too quickly on its adherence to traditional limits.
Thus the first line, like any idiosyncratic representation of the world, must come to grips with the tyranny of more general meanings, not the least of which can be read in the inviolable stand of the universe, every bit as willful as the isolate self. In another respect, we must see the first line not only as willful had not time for but also as the admission of a disabling fact could not.
The second line responds to the doubleness of conception. What, in other words, in one context is deference, in another is coercion, and since the poem balances tonally between these extremes it is important to note the dexterity with which they are compacted in the first two lines.
There is, of course, further sense in which death stops for the speaker, and that is in the fusion I alluded to earlier between interior and exterior senses of time, so that the consequence of the meeting in the carriage is the death of otherness.
The poem presumes to rid death of its otherness, to familiarize it, literally to adopt its perspective and in so doing to effect a synthesis between self and other, internal time and the faster, more relentless beat of the world. But, as in "Our journey had advanced," death so frequently conceptualized as identical with eternity here suffers a radical displacement from it.
While both poems suggest a discrepancy between eternity and death, the former poem hedges on the question of where the speaker stands with respect to that discrepancy, at its conclusion seeming to locate her safely in front of or "before" death.
Along these revisionary lines, the ride to death that we might have supposed to take place through territory unknown, we discover in stanza three to reveal commonplace sights but now fused with spectacle.
Perhaps what is extraordinary here is the elasticity of reference, how imposingly on the figural scale the images can weigh while, at the same time, never abandoning any of their quite literal specificity.
|Be Book-Smarter.||O'Connor picks her favorite Dickinson poems.|
|Downloading prezi...||This is undoubtedly one reason why modern composers like Samuel Barber and Aaron Copland have set her poems to music and why the dancer Martha Graham choreographed them as a ballet.|
|Because I could not stop for Death— Summary - attheheels.com||Because I could not stop death by Emily Dickinson Emily Dickinson is one of the finest poets of the 19th century. She was something of a recluse, perhaps because of the problems that she had with her vision.|
|Who can edit:||Summary and Analysis The poem describes the slant rays of light in a winter afternoon.|
|Because I could not stop death by Emily Dickinson | English Literature||Draw evidence form literary or informational texts to support analysis, reflection, and research.|
This referential flexibility or fusion of literal and figural meanings is potential in the suggestive connotations of the verb "strove," which is a metaphor in the context of the playground that is, in its literal context and a mere descriptive verb in the context of the implied larger world that is, in its figural context.
For at least as the third stanza conceives of it, the journey toward eternity is a series of successive and, in the case of the grain, displaced visions giving way finally to blankness.
But just as after the first two stanzas, we are again rescued in the fourth from any settled conception of this journey. Thus while the poem gives the illusion of a one-directional movement, albeit a halting one, we discover upon closer scrutiny that the movements are multiple and, as in "I heard a Fly buzz when I died," constitutive of flux, back and forth over the boundary from life to death.
Implications in the poem, like the more explicit assertions, are contradictory and reflexive, circling back to underline the very premises they seem a moment ago to have denied. Given such ambiguity, we are constantly in a quandary about how to place the journey that, at anyone point, undermines the very certainty of conception it has previously established.
The poem that has thus far played havoc with our efforts to fix its journey in any conventional time or space, on this side of death or the other, concludes with an announcement about the origins of its speech, now explicitly equivocal: For one might observe that for all the apparent movement here, there are no real progressions in the poem at all.
For the predominant sense of this journey is not simply its endlessness; it is also the curious back and forth sweep of its images conveying, as they do, the perpetual return to what has been perpetually taken leave of. Thus the utterance is not quite allegory because it is not strongly iconographic its figures do not have a one-to-one correspondence with a representational baseand at the same time, these figures are sufficiently rigid to preclude the freeing up of associations that is characteristic of the symbol.Oct 09, · Because I could not stop for Death – He kindly stopped for me – The Carriage held but just Ourselves – And attheheels.com: Resolved.
Briefly paraphrase the poem "Because I could not stop for Death." It is actually really fun to paraphrase Emily Dickinson's poetry. A paraphrase, of course, is . Analysis and Comments on Because I could not stop for Death. Provide your analysis, explanation, meaning, interpretation, and comments on the poem Because I could not stop for Death here.
Death Is The Thing With Feathers, By Emily Dickinson - Though the first stage starts off lighter, the second stage begins with a dark and utter realization that all life must come to an end.
Because I could not stop for Death () Emily Dickinson, - Because I could not stop for Death – He kindly stopped for me – The Carriage held but just Ourselves – . Apr 22, · This video is an analysis of Emily Dickinson's poem "Because I could not stop for Death".