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Analysis and comments on Because I could not stop for Death -- by Emily Dickinson

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Comment 57 of 447, added on January 22nd, 2006 at 10:32 PM.


KRIS from United States
Comment 56 of 447, added on January 9th, 2006 at 6:33 AM.

For an understanding of 'Because I could not stop for death. See 'Emily
Dickinson- an interpretive biography' by Thomas H Johnson. pp.223-224

David Brogan from United Kingdom
Comment 55 of 447, added on January 5th, 2006 at 5:48 PM.

i dont think this poem is dickinson's acceptance of death i think it is
that she is surrounded by so many deaths as her bio says in her later
years. sitting in the carriage with death shows how she is constantly near
death as she is seated next to him.
i think the house represents her own house since she lived in her fathers
house all her life. i think the ground swelling is all the coffins buried
in it and basically the house is deteriorating and falling since much of
her family and loved ones passed on.

Jessie Victoria from United States
Comment 54 of 447, added on December 15th, 2005 at 4:50 PM.

I think that the poem is awesome and really inspiring but I have a
questions to what the house might represent?

Jordin Hardy from United States
Comment 53 of 447, added on December 11th, 2005 at 5:59 AM.

Thank all of you !i am a student.my teacher gave me this poem as homework
.but at first i did not understand it ,after i read those comments i
understand.so thank you!

kathy from China
Comment 52 of 447, added on November 30th, 2005 at 9:12 PM.

Iam a sophmore in high school and we had to research a poet and one of
their poems, I choose Emily Dickinson and to my surprise she is awesome!! I
had chosen her just to get someone but found out acctually loving her
poetry. This piece in particular. i love it that she is willing to confront
death and tell it that shes not afraid, and she is willing to go. Sometimes
we arent ready and it comes unexpectedly like she says but she was sure
ready for it, and i take that to be truely inspring. We should always live
a day at a time so when death comes we wont be afraid but happy that we are
leaving to a much better world.

Diana from United States
Comment 51 of 447, added on November 30th, 2005 at 7:21 PM.

I found that this is one of the greatest poems in american history. Emily
Dickinson, portrayed death perfectly through a simple carriage ride.
Although she did not have time for death, death kindly stopped for her. For
someone of that time to think of that, is truly rare. Especially for a
woman nonetheless. She strung the imagery together flawlessly. it was as if
she was reminiscing the simple life, when she saw the school, young
innocent children striving, and going to recess. I believe that she was
traveling with death, and as she saw her life past by, but knew that there
was another in death, thus immortality and eternity.

kasumi from Japan
Comment 50 of 447, added on November 18th, 2005 at 7:21 AM.

Rereading Dickinson's poems about DEATH showed me that death in all her
poems is related to immortality.In death she does not see the end of life
;however she see the begining of iternity. In this poem she shows her wide
imagination, and her cleverness to personified Death as a suitor, I liked
that sooooo soo much!

Esaaf from Ukraine
Comment 49 of 447, added on November 14th, 2005 at 9:21 AM.

After reading these nice commentaries I discovered alot of things in this
poem which I did not see.Thnx for everybody who passed his comments. Now I
can see that this poem one of the greatest poems of Emily Dickinson, I like
her ,her poems give other ideas about death.
Dickinson has a profound understanding of the human psyche and a rare
ability to communicate a sense of despair and depression.

Esaaf from Ukraine
Comment 48 of 447, added on November 8th, 2005 at 9:52 AM.


One of the perfect poems in English is “Because I could not stop for
death,” and it exemplifies better than anything else [Emily Dickinson]
wrote the special quality of her mind. . . . 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. The rhythm charges with
movement the pattern of suspended action back of the poem. Every image is
precise and, moreover, not merely beautiful, but inextricably fused with
the central idea. Every image extends and intensifies every other. 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. The sharp gazing before grain instills into
nature a kind of cold vitality of which the qualitative richness has
infinite depth. The content of death in the poem eludes forever any
explicit definition. He is a gentleman taking a lady out for a drive. But
note the restraint that keeps the poet from carrying this so far that it is
ludicrous and incredible; and note the subtly interfused erotic motive,
which the idea of death has presented to every romantic poet, love being a
symbol interchangeable with death. The terror of death is objectified
through this figure of the genteel driver, who is made ironically to serve
the end of Immortality. This is the heart of the poem: she has presented a
typical Christian theme in all its final irresolution, without making any
final statement about it. There is no solution to the problem; there can be
only a statement of it in the full context of intellect and feeling. 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 are
not told what to think; we are told to look at the situation.

The framework of the poem is, in fact, the two abstractions, mortality and
eternity, which are made to associate in perfect equality with the images:
she sees the ideas. and thinks the perceptions. She did, of course, nothing
of the sort; but we must use the logical distinctions, even to the extent
of paradox. if we are to form any notion of this rare quality of mind. She
could not in the proper sense think at all, and unless we prefer the feeble
poetry of moral ideas that flourished in New England in the eighties, we
must conclude that her intellectual deficiency contributed at least
negatively to her great distinction. Miss Dickinson is probably the only
Anglo-American poet of her century whose work exhibits the perfect literary
situation— in which is possible the fusion of sensibility and thought.
Unlike her contemporaries, she never succumbed to her ideas, to easy
solutions, to her private desires.

. . . No poet could have invented the elements of “Because I could not stop
for death”; only a great poet could have used them so perfectly. Miss
Dickinson was a deep mind writing from a deep culture, and when she came to
poetry, she came infallibly.

Infallibly, at her best; for no poet has ever been perfect, nor is Emily
Dickinson. Her unsurpassed precision of statement is due to the directness
with which the abstract framework of her thought acts upon its unorganized
material. 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. Her diction has two corresponding features: words of Latin or
Greek origin and, sharply opposed to these, the concrete Saxon element. It
is this verbal conflict that gives to her verse its high tension; it is not
a device deliberately seized upon, but a feeling for language that senses
out the two fundamental components of English and their metaphysical
relation: the Latin for ideas and the Saxon for perceptions—the peculiar
virtue of English as a poetic tongue. Only the great poets know how to use
this advantage of our language.

Min Yee from United States

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Information about Because I could not stop for Death --

Poet: Emily Dickinson
Poem: 712. Because I could not stop for Death --
Volume: Complete Poems of Emily Dickinson
Year: 1955
Added: Jan 9 2004
Viewed: 1178 times
Poem of the Day: Nov 10 2002

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