However, as Persephone has eaten the fruit of the Underworld, she has to return to the Underworld four months out of the year. Horses are an assumption at this point, supplied by our imaginations and preconceptions, both of which Dickinson plays upon in the poem. The narrator realized the reality of this short life journey. The rhyme structure creates a largely gentle, lilting tone, which further supports the treatment of death as a gentle presence. The poem is written in five quatrains.
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. The first interpretation deals with the Christian view of death and immortality. Death is ominous as it is a leap into the unknown; we simply cannot fathom the eternity of afterlife. Each image that she uses builds upon the other images. The seemingly disparate parts of this are fused into a vivid re-enactment of the mortal experience. Death and his carriage also recede.
Also examine the arrangements of the words, phrases and sentences in the poem. This lady has been industrioustoo busy to stop her work, whatever it may have been. Thus, the reader is given a broader image than what he has yet experienced in the poem. She sees, and as long as she does, she still is. Since then--'tis Centuries--and yet Feels shorter than the Day 21-22 These reversals offer three stages in the speaker's metamorphosis from her human state back into the universal: They are her period of adjustment. Her poems are honest, penetrative and psychologically precise with a great deal of adventure in every single piece. Hers is a poetics as aggressive as any male oedipal struggle, yet complicated by an intensified vulnerability, a consciousness of perpetual exile, the awareness of the impossibility of winning adequate patriarchal recognition.
Night clearly can be a reference to the time we sleep, sleep here being death. The poet's language is compact and oblique, but there is no false personification in it. Though death is an important word and concept in Dickinson, the rhyme never appears. He teaches English in a high school. If they are strange, they are no less real for that, the strangeness relating less to her oblique language which can be read, even in the difficult stanzas than to her refusal to put down the experience as if it had been experienced the same way by everyone, or as if there were conventions for feeling and knowing. In these poems redemption, as such, is never mentioned; rather, the awareness of it permeates the entire section.
Should they be allowed simply to play? Faced with the large unknown, we pretend it is manageable. She watches from the carriage as mortality slips by--though with death, and passive, she still registers sensory details. There is little talk of heaven or hell, except as they exist within the poet herself. So the obvious theme of the poem is death, specifically, a personal encounter with the character, Death, who is male and drives a carriage. To think that we must forever live and never cease to be.
Any poem analysis should not read anything into the title. For her even death is a physical experience--the dead experiencing the cool damp air after the sunset and hard on that arriving at the tomb where one imagines a similar quality of air. With Immortality as a companion, the speaker can accede to the trip in death's carriage; it becomes a leisurely afternoon drive--a gentleman taking a lady and her friend a chaperone? She looks at death from the perspective of both the living and the dying, even imagining her own death. But going back to the beginning of the poem, consider that Death was a male suitor calling on a young lady. The personification of death, however, is unassailable.
As much in danger from death as adults and thus in need for early belief in the trinity, children strove. If the word great means anything in poetry, this poem is one of the greatest in the English language; it is flawless to the last detail. An eminent critic, after praising this as a remarkably beautiful poem, complains that it breaks down at this point because it goes beyond the 'Limits of Judgment'; in so far as it attempts to experience death and express the nature of posthumous beatitude, he says, it is 'fraudulent. She is therefore quite willing to put aside her work. Her marriage to her suitor represents her marriage to God.
Life is busy and full of labor. Next, Dickinson paints a picture of a house, but still reminds the reader that it is actually a grave that she is describing. She was inspired by a world manifesting itself as unpredictable, violent, and terrifying. She and her fiancé are going out for a ride in a cart pulled by a horse. We are assured that death is not only a part of life but something not to be feared.
She first must resolve through aggression her need for supremacy in imaginatively murderous acts that recur because murder of the tradition is a most illusory triumph. Only snatches of memory are left and a little narrative in stanza three representing life and also death. In simple words, we may say that this poem is a poem of 'suicidal feelings'. Sixty-five years later they were restored to the original, as written by her, and sewn into fascicles starting in 1858. To begin with, the appearance of Death as a suitor with his carriage literalizes the overfamiliar metaphor of death being a passage to the afterlife where the innocent soul becomes a bride of Christ. Since then - 'tis Centuries - and yet Feels shorter than the Day What begins in the simple past ends in Eternity, endless life after death where time has no consequence. The theme of death has been approached in many different ways.