Was it because she knew from experience that time pressed, even upon children, and death often came early? Although the speaker wishes to discover a means of converting inevitability into active choice, the poem's strategy is complex, going beyond a simple shift in sexual identification. Dickinson calls to mind the Christian paradigm of life's meaning, which is found in the salvation of the soul in the afterlife and not in this world, in order to reveal its failure and to propose in that very revelation an alternative source for the experience of mystical sublimity, This procedure summarizes Dickinson's project in a great many of her poems. In this poem, Death is personified. Dickinson calls to mind the Christian paradigm of life's meaning, which is found in the salvation of the soul in the afterlife and not in this world, in order to reveal its failure and to propose in that very revelation an alternative source for the experience of mystical sublimity, This procedure summarizes Dickinson's project in a great many of her poems. Her opening words echo some of Dickinson's own habitual usages but present a contradictory value system adapted to worldly achievements. In fact, she pays little attention even to her principal escort, being occupied instead with peering out the carriage window at the familiar circuit world.
When he shows us his Home, we turn away, but when he confides to us that he is 'acquainted with Grief,' we listen, for that is also an Acquaintance of our own. Death has in the carriage another passenger, Immortality. She wanted to sleep but sleep brings no rest to her. An asterisk indicates that this poem, or part of this poem, occurs elsewhere in the fascicles or sets but its subsequent occurrences are not noted. Because I could not stop for Death-- He kindly stopped for me-- 1-2 2. Because it is unacceptable in its brute form, we make it governable. In its larger meaning this experience is Nature, over which, with the aid of death, the individual triumphs.
But it is the speaker, who has gone with death, who takes note of this. But wasn't the sun setting, which meant that the point of perception was on earth? Together, they ride past a comforting landscape and seemingly every-day life, until they arrive at a rather peculiar house. Sharp as surgeon's steel, this very praxis redeems the dependence her poems counter and magnificently, if sacrificially, destroy. It includes the three stages of youth, maturity, and age, the cycle of day from morning to evening, and even a suggestion of seasonal progression from the year's upspring through ripening to decline. Clearly there has been no deception on his part.
The speaker knows it has been centuries; time is measurable, but that first day, despite the cover, the protection, the civility, could not be made easier. Strove emphasizes the children's energy, while the speaker, her life over, sits passively in the carriage; but it is also a reminder that as Christians children are meant to start early to labor for their salvation. But Emily Dickinson's conception of this immortality is centered in the beloved himself, rather than in any theological principle. During her time at home she wrote all her poems in a notebook. When the secret is hidden from the speaker, she can generate stanza after stanza, figure after figure, allegorizing the process of death without knowing it. Again and again, she puts forth poetry itself as an alternative religious experience because of its ability to reveal the sublime within the world of the senses and within the very logic that negates Christianity. Although death stops for her, her journey itself becomes an endless quest for Eternity.
Out of despair, she started writing about death, comparing it to a well-manner gentleman. Unable to arrive at a fixed conception, it must rest on the bravado and it implicitly knows this of its initial claim. The terms house and cornice, because of their ironic application to the grave, stress the inadequacy of the conventional, sentimental, and mythic metaphors we cherish and live by as compared to the elemental infinitude of earth, death, and rhythm. They are all perceived as elements in an experience from which the onlooker has withdrawn. P Collect J Fr S13. Once again, as she does in her layouts, by mixing tropes and tones Dickinson underscores the importance of refusing any single-minded response to a subject and implicitly attests to the power in continually opening possibilities by repeatedly posing questions.
That one cannot triumph over time or over death may be this poem's most sorrowful wisdom. Miss Dickinson was a deep mind writing from a deep culture, and when she came to poetry, she came infallibly. Death's heralding phenomenon, the loss of self, would be almost welcomed if self at this point could be magically fused with other. All of this imploded into her poems. Or rather - He passed us - The sun is leaving us behind The Dews drew quivering and chill - It's getting cold out For only Gossamer, my Gown My gown's not right for this weather My Tippet - only Tulle The thing material is the worst for this weather! Instruction: Task: Poem Comparison There are several factors of to observe when comparing poems. The Concordance to the Poems of Emily Dickinson S. Burial vaults were once formed by two parallel dry-stone walls, six to eight feet apart, six to eight feet high.
In reality, the lines offer the first of several ironic reversals of what Dickinson suggests might be but isn't. Indeed, I have no intention of forcing any classification upon her; I have tried to focus more upon the mechanics of her poetry. Reverse the situation and it becomes intelligible and familiar to us---the Death-goddess bearing away the dead hero from the place of battle, like the Valkyr in German mythology. 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. Eternal wisdom, in the garb of the primitive myth, bids the old man renounce love, choose death and make friends with the necessity of dying. The idea of achieving immortality by a ride in the carriage of death is confronted by the concrete fact of physical disintegration as she pauses before a 'Swelling in the Ground.
The attitude of withdrawal, or seeing with perspective, could not have been more effectively accomplished than it has been by the use of the slowly-moving carriage. Every eighth beat reminds us that, behind an before the words, there is the demand of rhythm. They drive in a leisurely manner, and she feels completely at ease. One reading holds that it is a Dickinson backlash against having to write her poetry in secret — gun as language, waiting to go off. Once again, as she does in her layouts, by mixing tropes and tones Dickinson underscores the importance of refusing any single-minded response to a subject and implicitly attests to the power in continually opening possibilities by repeatedly posing questions. Copyright © 1985 by The University of Massachusetts Press.