However, as she comes upon her maturity, the sun passes her, which represents life passing her. Her poetry is a magnificent personal confession, blasphemous and, in its self-revelation, its implacable honesty, almost obscene. The final image in the poem is that of the horses heads looking toward eternity. However, he cannot be avoided forever and eventually comes to collect everyone, whoever they are. Nothing protects her from the realization of her own death, nor is she freed by it. As a result of the writing of the poets of the nineteenth century, readers are given many different ways of regarding various aspects of life. At the same time, a constant moving forward, with only one pause, carries weighty implications concerning time, death, eternity.
To think that we must forever live and never cease to be. The carriage isn't a chariot, it's a hearse. 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. We passed the Setting Sun-- Or rather--He passed Us-- 12-13 stanza break 3. Thus the three characters in the carriage. How do these features add interest and meaning to the poem? The last stanza speaks of eternity towards which the horse's heads have turned. She was most fascinated by two topics — death as well as immortality.
Or possibly Death, Immortality and the poet are in the carriage and the horses are driving themselves, this being a supernatural vehicle. It denies the separateness between subject and object by creating a synecdochic relationship between itself and the totality of what it represents; like the relationship between figure and thing figured discussed in the first part of this chapter, it is always part of that totality. Holland that Johnson and Ward place conjecturally at the same time on the basis of obvious verbal echoes L 268; 269. The brute energy of both must be leashed to the minutely familiar. Another instance of repetition occurs in the fourth stanza.
In a bold and striking fashion, Emily Dickinson personifies death as a lover, kind and civil who stops at the house of his beloved to give her a courteous ride. The poem is woven around the theme of mortality and the idea that all human beings will die. In other words, she was confident that, when she died, her poems would live on. Any author's death, corporeal and real or greatly exaggerated, makes that possible. The imagery is particularly strong at this point, the speaker a growing ethereal figure, almost spirit-like. For such a quester, the destination of the journey might prove more wondrous. Immortality is consoling and recognizable, what one hopes will come with death.
Allegory, on the other hand, is a sign that refers to a specific meaning from which it continually remains detached. The children striving suggest the business of life, which becomes small and childlike from the distant perspective of the passage into death. This aspect of death, of course, makes the speech we are witnessing quite impossible--but that is the paradox inherent in the poem and in many of Dickinson's poems in which a speaker speaks from a state after death. The Afterlife - Heaven, The Spirit Realm, Life after Death? Emily Dickinson is one of the numerous poets who uses death as the subject of several of her poems. To think that we must forever live and never cease to be. The poem is written in five quatrains.
Each piece has a different tone when referencing Death. Surely, after reading the poem, the reader could never view death in a singular way again. Because I Could Not Stop For Death is one of Emily Dickinson's longest and most fascinating poems. Because I could not stop for Death-- He kindly stopped for me-- 1-2 2. The poet has employed the services of personification in the poem.
Indeed, his graciousness in taking time to stop for her at that point and on that day in her life when she was so busy she could not possibly have taken time to stop for him, is a mark of special politeness. 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. Another way in which Dickinson makes death a more agreeable subject for the reader is in the fifth quatrain as she compares the grave to a house. But this emptiness must be the result of both marriage and death because they are, for the speaker, the permanent loss of her own proper sphere, her own joys, her own pain, and her own voice. Through Dickinson's precise style of writing, effective use of literary elements, and vivid imagery, she creates a poem that can be interpreted in many different ways. The sixth, and the last stanza of the poem, is written in present tense.
The seemingly disparate parts of this are fused into a vivid re-enactment of the mortal experience. In the seventeenth century many people in cities like London and all through the English countryside died a horrible death from the Plague. They are too willing to discard the individual reach toward meaning in individual poems and to replace it with what society, they think, ought to be aware of--truths they deem more significant or revealing than what the writer intended. 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. Almost immediately, though, we have a paradox.
That gives the poem some musicality and goes to further build on the rhythm of the poem. She notes the daily routine of the life she is passing from. The speaker feels no fear when Death picks her up in his carriage, she just sees it as an act of kindness, as she was too busy to find time for him. However, a more likely conclusion is that Dickinson was merely being ironic. The third stanza contains a series of heterogeneous materials: children, gazing grain, setting sun. She and her fiancé are going out for a ride in a cart pulled by a horse.