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Samiya Akther
Mr. James Ursini
AP Literature, Period 1
16 April 2021
Because I Could Not Stop for Death
Coined life’s greatest mystery, what happens after one’s death has been broadly
speculated upon and through many mediums. America’s celebrated poet Emily Dickinson joins
in on the discussion and explores this unanswerable concept in her poem, “Because I Could Not
Stop for Death.” Dickinson artfully employs literary devices such as imagery, symbolism, and
tone to best express her speaker’s emotions regarding her transition from life to death.
An example of the use of imagery includes, “The Carriage held but just Ourselves – /
And Immortality. // We slowly drove – He knew no haste” (Dickinson 3-5). One can imagine
riding in a carriage with two quiet and polite individuals. And because of the familiarity with
which the speaker talks about her fellow passengers, readers can reasonably believe the speaker
feels calm and at ease despite being in the presence of “Death.” Another instance of the use of
sense imagery includes, “The Dews drew quivering and Chill – / For only Gossamer, my Gown –
/ My Tippet – only Tulle –” (Dickinson, lines 14-16). After sunset, the weather became cold. The
speaker becomes aware of the drop in temperature since her dress is made of gossamer and her
scarf of tulle, both sheer and delicate fabrics. Though not meticulously descriptive, one can
imagine the cool of the night and the feel of such fabrics against one’s skin. The speaker feels
abashed by her inappropriate attire and experiences some anxiety, in stark contrast to her initial
comfort and familiarity. These are examples of how Dickinson uses sensory imagery to convey
the speaker’s emotions as she settles into her afterlife.
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Dickinson heavily applied symbolism to the following lines: “We passed the School,
where Children strove / At Recess – in the Ring – / We passed the Fields of Gazing Grain – / We
passed the Setting Sun –” (Dickinson 9-12). It’s established the speaker is on a carriage ride with
“Death” and “Immortality,” but it’s not clear if the speaker is already deceased or is approaching
her death. During her journey, she passes a school, a wheat field, and a sunset. Each corresponds
with and is symbolic of her childhood and youth, her adult experiences, and eventually, the end
of her life. This is said rather matter-of-factly; there is no sense of nostalgia, grief, or longing.
The speaker has welcomed death’s arrival and displays only acceptance instead of any kind of
resistance. Symbolism was used similarly in the fifth stanza: “We paused before a House that
seemed / A Swelling of the Ground – / The Roof was scarcely visible – / The Cornice – in the
Ground –” (Dickinson 17-20). At the end of her carriage ride with “Death,” she arrives at a
house, her new home. She could barely see its roof, and the perimeter’s decorative molding
(which is typically located just below the ceiling) was touching the ground. Of course, this was
because the “house” is no regular residence; it’s her grave. The “[s]welling of the [g]round” was
caused by the misplaced dirt of the plot where her casket was buried. The speaker is initially
confused, then somewhat underwhelmed and upset. Perhaps she had higher expectations of her
final resting place, or she had briefly forgotten about humanity’s inevitable final destination: a
burial pit.
One example of the use of tone includes, “Because I could not stop for Death – / He
kindly stopped for me – / The Carriage held but just Ourselves – / And Immortality. // We slowly
drove – He knew no haste / And I had put away / My labor and my leisure too, / For His Civility
–” (Dickinson 1-8). The speaker speaks of “Death” in a calm, collected, and casual voice,
describing “Death” as an affectionate and benevolent person who exhibits patience and courtesy,
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and someone who had extended compassion towards her. The tone conveys that the speaker feels
content and somewhat comforted in “Death’s” presence. Another example of tone use is, “Since
then – 'tis Centuries – and yet / Feels shorter than the Day / I first surmised the Horses' Heads /
Were toward Eternity –” (Dickinson 21-24). The speaker's voice is somber, her initial joy
subdued, and she’s become wistful. Her tone is indignant but resigned as she reflects on her early
optimism. She feels disappointed with where the carriage ride with “Death” left her, perhaps
bitter that “Death” slyly lured her with false promises and his charms, or upset with herself for
forgetting that the afterlife is no more impressive than a cold, dark grave.
If people really were aware of their consciousness’s transition from life to death, how
would they react? How would they feel? What would they think? What could they possibly see?
Fully understanding death and coming to terms with one’s own mortality can never be easy. The
inherent complexity of how the concept of death and the afterlife can make one feel is reflected
in Dickinson’s speaker’s intricate internal dialogue. And Emily Dickinson does a stellar job of
painting different shades of her speaker’s emotions by using different literary devices, including
but not limited to imagery, symbolism, and tone.