The journey of the speaker after witnessing different marvels of the world pauses at the grave and goes on, indicating that there is an after-life for her human race and she must continue her journey. She sees Death as kind and gentlemanly, readily getting into his carriage to journey to destinations unknown. And though this triumph is assuredly true for us who have her poems, I would suggest a different identity than the one Bloom assigns the chaperone, for if the poems offer a way of ensuring immortality the texts themselves placed in a drawer, a box reminiscent of a casket? 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. Dickinson's quatrains four-line stanzas aren't perfectly rhymed, but they sure do follow a regular metrical pattern. Sharp as surgeon's steel, this very praxis redeems the dependence her poems counter and magnificently, if sacrificially, destroy. The images of children and grain suggest futurity, that is, they have a future; they also depict the progress of human life. Dickinson's use of imagery is a perfect example of a picture painting a thousand words.
They are among the social codes that the forward rhythm of the poem undermines. There they paused for a while. Some ten years before the date of this poem, for example, she wrote to her brother: 'I've been to ride twice since I wrote you,. Where shall I hide my things? Clearly there has been no deception on his part. Insofar as the afterlife should be like an earthly marriage, that promise, from the point of view of a woman within the framework of post-Puritan Protestant Christianity, is no great bargain. At the same time, a constant moving forward, with only one pause, carries weighty implications concerning time, death, eternity.
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. Is there in the contrast between her passivity and inactivity in the coach and their energetic activity? The identification of her new 'House' with a grave is achieved by the use of only two details: a 'Roof' that is 'scarcely visible' and a 'Cornice,' the molding around the coffin's lid, that is 'in the Ground. The rhythm charges with movement the pattern of suspended action back of the poem. The sixth, and the last stanza of the poem, is written in present tense. The children can also serve as a symbol of human life. As much in danger from death as adults and thus in need for early belief in the trinity, children strove.
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. Her first realization is that she is at the mercy of Death--she cannot call on him. In the concluding stanzas the movement of the poem slows almost to a stop, 'We paused' contrasting with the successive sights 'We passed' in the earlier stages of the journey. At poem's opening the speaker is, to say the least, naive. The last two stanzas are hardly surpassed in the whole range of lyric poetry. Its visitors are the readers, eager to explore its many mansions. The persona in stanza three elaborates on how she is passing through the world.
Also, perhaps because that day was the last day that the woman experienced the temporal, or time-related, world, the memory of it is the last remnant of her previous existence. The words of the poem can only exist in retrospect, as she retraces her path to the present. In his essay, Freud suggests that the male character in Shakespeare's tragedies, when faced with a choice that would fulfill his desire, elects silence, and that his choice signifies the conversion of his own inevitable death, over which he has no control, into an active choosing on his part. Given such ambiguity, we are constantly in a quandary about how to place the journey that, at anyone point, undermines the very certainty of conception it has previously established. It accentuates the absolute cleavage between subject and object.
The speaker, like any human being, cannot wait death on her choice. The title itself seems really alive and active. But there is another kind of irony as well: a situational irony. Both are forces which must be discussed and rehearsed constantly. Surrounded by the faithful, Dickinson struggled with trust and doubt in Christian promises herself, but whether she believed in salvation or even in immortality is endlessly debatable. This demand is not metaphysical, it is not in the afterlife; it functions within the world of the senses, although it takes us beyond the limits of the construction of the self. Its visitors are the readers, eager to explore its many mansions.
Dickinson, too, proclaimed herself too busy in her self-descriptive July 1862 letter to Higginson and in a letter to Mrs. This stanza may be read as a symbolic allegory for the natural progression of life. Instead, Dickinson personifies Death in her poem as a gentleman, which is extremely different from the common terrifying images people relate to when they hear about Death. She is impatient and waits for her fiancé so that they can unite in a new life. In the Christian view of death, a person dies and goes on to a better place to live forever. It could be neither forgotten nor accepted in its present form.
What marks the break between Freud's Shakespearean women and Dickinson's persona is that Dickinson's woman refuses to be silent; she speaks throughout the experience. The poem is unique for both its style and its treatment of love and death as the same. 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. Marriage is looked at as a symbol of eternal love, and death is looked at as a state of eternal rest. American Literature: The Makers and the Making. Her businesses, as she reported them that intensely productive summer, were love, song, and circumference—all of them leading her outside the circuit. Like Hardy and Whitman she must be read entire; like Shakespeare she never gives up her meaning in a single 1ine.
The carriage isn't a chariot, it's a hearse. All of this imploded into her poems. Allegory, on the other hand, is a sign that refers to a specific meaning from which it continually remains detached. Circumference, from the perspective of the circuit world, was death and the cessation of industry, although there might be a different life beyond it. The speaker is in the cemetery, left to wonder at her progress from the moment of her first encounter with Death, with his promise of immortality, to her present situation. 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.