On the allegorical level, we know that the speaker is actually recounting her death. In these poems redemption, as such, is never mentioned; rather, the awareness of it permeates the entire section. Lines 3-4 The Carriage held but just Ourselves — And Immortality. Most notably during this phase in her life, however, Dickinson developed an occupation with the concept of death and the possibility of an afterlife. Griffith has a point, however. Thus death is not really civilized; the boundary between otherness and self, life and death, is crossed, but only in presumption, and we might regard this fact as the real confession of disappointment in the poem's last stanza.
Throughout the course of her life, Dickinson exhibited many strange tendencies. The last two stanzas are hardly surpassed in the whole range of lyric poetry. 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. Also the whole range of the earthly life is symbolized, first human nature, then animate, and finally inanimate nature. Just how unsuspecting she was becomes evident in the second half of the poem.
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. She does not even have the foresight to dress warmly; her gown and tippet are the sheerest of the sheer, and there is no luggage. She offers to the unimaginative no riot of vicarious sensation; she has no useful maxims for men of action. As she passes the children frolicking in the playground, she vicariously lives through her childhood again; another lifetime has passed, from the youthful days of childhood to the ripening of the grain to the setting of the sun Johnson, n. No ruddy fires on the hearth No brimming Tankards flow Necromancer! She is calm and reflective as she passes by the school children and the grain field. But no one can successfully define mysticism because the logic of language has no place for it.
Dickinson offers the reader Immortality, as the Congregational ministers once offered it to her in their sermons. For a lesser poet, the use of such a traditional meter might be a creative limitation; however, Dickinson, whose genius was her ability to choose the perfect word above all others, used the simplicity of this metrical form to showcase the power of language without distraction. In the first two lines Death, personified as a carriage driver, stops for one who could not stop for him. We would have every arbitrary barrier thrown down. Stanza 4 Or rather, he passed us; The dews grew quivering and chill, For only gossamer my gown, My tippet only tulle There is a sudden shift in tone in the fourth stanza. In this sense we are justified in referring to Emily Dickinson as a metaphysical poet. A poem therefore had a structure in order to show that God had made the universe structured, not to be enjoyable.
But just as after the first two stanzas, we are again rescued in the fourth from any settled conception of this journey. This comes with surprise, too, since death is more often considered grim and terrible. Its visitors are the readers, eager to explore its many mansions. If this were a play he'd be cast as the leading male role who gets a lot of lines. The Puritans maintained a strict and were not tolerant of people whose beliefs were different than their own. They were successful as pioneers, bringing European-style civilization to the new land, because they did not let suffering stop them.
The family was active in the Congregational church, which was the only one in Amherst until 1850, when Emily Dickinson was twenty. We are not told what the experience of eternity is like—what one sees or hears or feels there—and this could account for the way that time seems. There is often another meaning underneath his poems. Instead, we choose to ignore its increasing presence. On balance, the poem in question represents a non-traditional interpretation of Death that is conventionally believed to bring sorrow and destruction.
Instead, she is presenting Death as a living being with qualities that belong to humans. I hope i am not a bad influence Now please answer mine!! In contrast to the third stanza, a warm and light stanza, the fourth stanza shows the speaker receiving a great chill this is because they are moving closer to death. Her diction has two corresponding features: words of Latin or Greek origin and, sharply opposed to these, the concrete Saxon element. Copyright © 1951, 1955, 1979, by the President and Fellows of Harvard College. If the conditional phrase seems to suggest that the dead one has rights and options in the matter--a choice of when to die--the main clause is the reminder of death's absolute nature. In reality, the lines offer the first of several ironic reversals of what Dickinson suggests might be but isn't. The poem puts away the labor and leisure of dogma and convention in order for us to experience the sublime space where they fail.
The setting sun indicates an ending, but it is only temporary. The speaker has been seduced, driven to her death, and abandoned. Time and space are earthly concerns, and Death, courier of souls from this world to the unknown, is not bound by such vague human concepts. The poem allows us to feel our own discomfort at not fully knowing, despite what we might surmise, and to experience fears and wonders about time's evanescence and the mystery of death. To think that we must forever live and never cease to be.