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. At the same time, the moment brackets off, puts at a distance, and questions the supreme importance of the speaker's daily activities; her labor is, itself, her conventional service to her household. As human beings,… 1188 Words 5 Pages where regular themes include death and mortality. She sees, and as long as she does, she still is. But the very idea of centuries of such emptiness is, itself, sublime. There is, in spite of the homiletic vein of utterance, no abstract speculation, nor is there a message to society; she speaks wholly to the individual experience.
Puritan theology may have given her a fear of the loneliness of death, the Bible and hymnal may have provided her with patterns and phrases, but these equip her with terminologies, molds in which her personal conceptions can take form, rather than actual Christian conceptions. She welcomed death, perhaps because of the idea that she would be only passing from this life to somewhere better. The third stanza especially shows Miss Dickinson's power to fuse, into a single order of perception, a heterogeneous series: the children, the grain, and the setting sun time have the same degree of credibility; the first subtly preparing for the last. The only physical entities that hold value in the earthly existence are now are her Gossamer, gown, tippet and tulle. They are too present and compelling to be pushed into the recesses of the mind.
But the poem is remarkable is its style and metaphor. Poetry is no exception to this trend. Here her intensely conscious leave-taking of the world is rendered with fine economy, and instead of the sentimental grief of parting there is an objectively presented scene. Personification of Death: One of the central poetic devices Dickinson uses in the poem is the personification of death. With what time is left after that we attempt leisure.
Note the use of alliteration and assonance in the iambic tetrameter of line 14: The Dew drew q uivering and Ch ill - In the fifth stanza the carriage pauses before what must be a considerable mound of earth, for there's a complete house part buried. Life, Death and Immortality are represented by the three phrases of their journey presented in the structure of the poem. But in another sense she had simply triumphed over them, passing beyond earthly trammels. This stanza may be read as a symbolic allegory for the natural progression of life. Here Freud makes the connection between the caskets or boxes and women as representatives of enclosure or womblike space.
She is in the carriage with death and immortality. But when she translated this oppression into a language of daily routine, she could blot out the reality of death with pictures conjured up by the surrounding images: What if I file this mortal off, See where it hurts me,that's enough, And wade into liberty?. Could the reference to immortality be in reference to heaven? The personification of death, however, is unassailable. In reality, the lines offer the first of several ironic reversals of what Dickinson suggests might be but isn't. The day seems to have gone down quickly, in part because of the dual suggestion of both a day's cycle and the cycle of the seasons. No ruddy fires on the hearth No brimming Tankards flow Necromancer! Or perhaps more exactly one should say that the sense of time comes to an end as they pass the cycles of the day and the seasons of the year, at a period of both ripeness and decline.
The moment at which she recalls the recognition of this loss is the moment at which her voice, in the present, ceases once more. The second, third and fourth lines tie in perfectly with the first two lines of the poem: she who has not been able to stop for Death is now so completely captivated by his personality that she has put away everything that had occupied her before his coming. This sense of the speaker's confusion becomes accentuated in the three reversals of opinion she undergoes in the course of so brief a poem: 1. Is it that death is eternal, therefore immortal? However, when the sun sets, and the cold damp sets in, she becomes aware of her inappropriate attire. The central stanza poignantly contrasts children at play with death and the children are the first of three references to the passing of time towards the end of life. Death as a caller, the grave as a little housethese are a poetic whistling in the dark. There is a third occupant in the carriage, Immortality--shadowy, and if not a person, a condition to be desired.
She has Hawthorne's intellectual toughness, a hard, definite sense of the physical world. He is described as being a kind gentleman taking her for a ride in a carriage. Finally, she sees the setting sun pass the carriage, which symbolizes either old age or death by showing that she is beyond mortal time. The poem is based on the theme of death. A construction of the human will, elaborated with all the abstracting powers of the mind, is put to the concrete test of experience: the idea of immortality is confronted with the fact of physical disintegration. A revised version of this essay appears in Collected Essays by Allen Tate Denver: Alan Swallow, 1959. But what home is this? This view of marriage would be central to the Christianity that characterizes the social milieu of Dickinson's poetry--more specifically, the Congregationalist church in New England, which was the heir of New England Puritan ideology.
In the poem, she paints a picture of an individual who accepts death calmly and moves through the stages of death gracefully. 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. Because of its multiple layers of its significance and the scope, the poem offers for further exploration of newer layers of meaning, it has attracted a good number of great critics. From Women Poets and the American Sublime. They pass the children playing at school-at recess -in the ring.