Because I could not stop for Death— by Emily Dickinson

Emily Dickinson’s “Because I could not stop for Death—” (1863) is one of her most iconic poems. The six-stanza ballad tells of the speaker’s carriage ride with Death, which is personified as a gentleman caller. The poem combines metaphysical subject matter with tangible imagery, offering the speaker a series of worldly sights on her journey “toward Eternity.”

Stanza by Stanza Summary:

• The first and second stanzas establish the poem’s simple yet strange narrative. Death “kindly” stops for the speaker in his carriage. Accompanied by Immortality, they embark on their unhurried sojourn. To honor Death’s civility, the speaker has put away both her “labor” and her “leisure.”
• The third and fourth stanzas describe the environment through which the carriage rides. The third stanza depicts a trio of sights that represent the stages of human life, including a group of schoolchildren at play during recess, a field of “gazing grain,” and finally the setting sun. The fourth stanza describes the ensuing night, in which “the Dews drew quivering and chill.” Prompted by the funereal atmosphere, the speaker describes her provisional “gossamer” and “tippet,” fabrics for mourning veils.
• In the fifth and sixth stanzas the speaker confronts the phenomenon of death. The final sight the speaker encounters during the carriage ride is a grave, modestly and invitingly characterized as “a House” that resembles “a Swelling of the Ground.” In the final stanza, the speaker reflects on the “Centuries” that have briskly passed since the day of the ride, when she “first surmised the Horses’ Heads / Were toward Eternity.”

Dickinson takes a traditional approach to the rhyme and meter of the poem. The poem uses common meter, a classic ballad form that employs alternating lines of iambic tetrameter and iambic trimeter. As in many ballads, the stanzas follow an ABCB rhyme scheme. Dickinson’s formal choices give the poem a lilting, songlike effect that conveys the poem’s narrative arc and accentuates the leisurely, mannered tone. Over the course of the poem, however, Dickinson includes a notable exception to each formal pattern:

• In the fourth stanza, the meters of the first two lines are switched, producing a jarring effect. In that moment, the speaker undergoes a change in perspective; having claimed that “we passed the Setting Sun,” she shifts to “Or rather — He passed Us —.” Dickinson conveys the speaker’s feeling of surprise and...