Yet another level of meaning has suggested itself faintly to two critics. Dickinson means for us to regard the word ironically. Not, obviously, by simply setting them side by side, but by making them all parts of a single order of perception. The first interpretation deals with the Christian view of death and immortality. The drive her leaving life. Using domestic imagery, the persona suggests that she did not recognize the meaning of the scene before her. That poetry itself is Dickinson's religious alternative to Christianity is clear from the conclusion of no.
How clever the mixture of details that suggest both beginnings and decline, youth and ripeness. 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. It accentuates the absolute cleavage between subject and object. We are not told what to think; we are told to look at the situation. The theme of death has been approached in many different ways. We'll show you what we mean. The style and form of the poem is also unique.
. Judith Farr believes that the dash seems to indicate that the poem is never ending, just as eternity is never ending 331. It moves on to describe the fields of grain she is riding through. The poem carries an imaginative approach with the central theme Death. Perhaps the most notable way in which Dickinson uses form is when she ends the poem with a dash.
Was it because she knew from experience that time pressed, even upon children, and death often came early? It also demonstrates the implicit trust the speaker had for her caller. It could be neither forgotten nor accepted in its present form. But Emily Dickinson's conception of this immortality is centered in the beloved himself, rather than in any theological principle. Pilgrims thought of poetry, as they thought of everything else in their world, as a way of revealing the order that exists in the universe. She is not properly dressed for their journey; she is wearing only a gossamer gown and tulle tippet gossamer: very light, thin cloth; tulle: a thin, fine netting used for veils, scarfs, etc.
The usage of metaphor in the fifth stanza also helps to prevent an intimidating atmosphere. The lead casket will not be dumb, nor will Dickinson accept her appointed role as death mother through silence or concealment. But there is another clue which assists the reader—punctuation. Enter Lear with Cordelia dead in his arms. On the allegorical level, we know that the speaker is actually recounting her death. The reason being this version seems to have a deeper effect than any other version. 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.
Thus on both counts, in both genres, ballad and hymn, in both the secular and sacred spheres, and in both the marriage and death strands of the allegory, the ending is a shock, a surprising anticlimax. This means time is of two types: the time of our temporary life on earth and the eternal time of the soul. Bennett, Paula, Emily Dickinson: Woman Poet, Iowa City: Press, 1990. This tells the readers that no one can anticipate death. From Comic Power in Emily Dickinson. There is a third occupant in the carriage, Immortality--shadowy, and if not a person, a condition to be desired.
In the fourth quatrain, she describes the speaker's light form of dress in detail. Yet this condition is not a mere negative; it is the vastness of eternity, a powerful, sublime moment. The reader, like a member of the congregation, will have to wait to see. One often used topic is that of death. Death has been kind and civil, but he drives the carriage toward the dark and cold of the grave. The sharp gazing before grain instils into nature a kind of cold vitality of which the qualitative richness has infinite depth. Immortality provides no consolation, only prolonged consciousness of the end.
Without Immortality present, might not the speaker have been afraid? The vaults had a stone slab or corbeled roof, a back wall, and a dry-stone facade with a portal closed by a door or slab of marble or slate inscribed, when used for burial, with the names of the interred. During a person's life, time means everything, but once a person dies and enters eternity, time is irrelevant. One reason for why Death is so bound by formal manners in this poem could be that Dickinson does not want to portray Death as being all-powerful, as other poets have. We passed the school, where children strove At recess, in the ring; We passed the fields of gazing grain, We passed the setting sun. The two elements of her style, considered as point of view, are immortality, or the idea of permanence, and the physical process of death or decay. Line 5 There are many possible explanations for the slow speed with which Death drives the carriage. To those who believe in an ,afterlife, death may be kind in taking us from a world of proverbial woe into one of equally proverbial eternal bliss; the irony is in the contrast between our fear of death and the kindness of his mission, and it seems unnecessary to call upon an amorous implication.