Introduction
The poems “Because I Could Not Stop for Death” by Emily Dickinson and “The Mother” by Gwendolyn Brooks share a common theme about mortality. In the former, the speaker explores the issue of death and immortality. Dickinson portrays death as a wonderful companion who patiently escorts her through the journey of life (lines 2-12). The poet understands that dying is inevitable, and she calmly accepts it because she believes in eternity.
On the other hand, Brook’s poem reveals the emotional challenges of abortion that mothers or women grapple with. The speaker’s voice divulges the intense sorrow and regret associated with the ordeal because she deprived her children of the chance to grow and live their lives (Brooks line 19). In this narration, Brook highlights the internal struggles of mothers who terminate their pregnancies as they question their actions, intentions, and motivations. Although Emily Dickinson’s and Gwendolyn Brooks’ poems share the theme of death, Dickinson’s poetry uses a serene tone, metaphors, personification, and symbolism, while Brooks employs a remorseful tone, imagery, apostrophe, and irony.
Tone
Differences
Dickinson’s and Brooks’ compositions utilize distinct tones to convey their message. In this case, the former uses a calm and contemplative tone throughout her work. The speaker is depicted as having accepted her demise because death stopped for her, and they unhurriedly drove in the carriage (Dickinson lines 3-5). In addition, the voice confirms the poet’s willingness to dismiss her leisure and labor, indicating that she was composed and had already resigned herself to the next phase of life. Equally, the slow journey through the school, grain fields, and past a setting sun signify the serenity and tranquility with which the speaker approached her demise.
Alternatively, Brooks’ tone embodies immense sorrow and guilt for the mother. The voice in this work portrays deep regret and emotional distress, which sets an atmosphere of grief and loss. This mood supports Ruggiero’s assertions that “Effects in human affairs can also be complex” (42). This is because the mother’s abortion resulted in deep regrets for herself and adverse repercussions for the unborn children, even if it was not her intention. Thus, while Dickinson’s voice depicts peace and calmness, Brooks’ articulation signifies sadness and remorse.
Similarities
There is a unique similarity in the tone of the two poems. In this case, although the voices utilized in the compositions greatly vary, they both elicit a sense of contemplation and self-examination from the readers. For example, Dickinson’s attitude of serenity triggers a feeling of tranquility and acceptance of death among the audience. It ignites the need for readers to assess and alter their approach toward mortality because it is an integral part of an individual’s life and is inescapable.
Conversely, Brooks’ rhyme resonates with the audience, who can identify with the grief and sorrow associated with abortion. This voice prompts a deep emotional engagement with the narrator’s actions and captures the prolonged feeling of guilt linked with the loss of a child. Therefore, the reflective voice in the two poems emphasizes the intense emotional burden of the subject matter, making the readers ponder the life intricacies, mortality, and complexities of the human experience.
Figurative Language
Metaphors
The two compositions utilize diverse figurative language to relay the intended message. Dickinson applies metaphors throughout her work to illustrate the transition to the afterlife. In this case, the carriage ride the narrator refers to symbolizes the shift from life to death (Dickinson line 3). In addition, the slow change from day to night depicted through the setting sun signifies the ephemeral nature of humanity.
On the other hand, Brooks employs imagery to set an emotive mood in her poem. For instance, the phrases “sucking-thumb” and “damp small pulps” are used to emphasize the human nature of the unborn children (Brooks lines 3-7). Similarly, the author uses vivid language to illuminate what mothers or women deprive the babies they abort. For example, the terminated children are denied an opportunity to be born, named, cry, play games, get married, and die. This vivid imagery and constant repetition within the verses highlight the narrator’s unwavering regret about her choices. Hence, while Dickinson’s work largely relies on metaphors, Brooks’ piece incorporates imagery to communicate with the audience.
Personification vs. Apostrophes
Dickinson’s use of personification greatly contrasts with Brooks’ integration of apostrophes within her rhyme. The former personifies death when the author states, “He kindly stopped for me” (Dickinson line 2). In this context, the poet likens death to a human being who serves as the charioteer of the carriage that transports the speaker to eternity. According to Ruggiero, “The innumerable ideas you have encountered will affect your beliefs and behavior” (7). Therefore, the speaker’s personification of death aims to soften the sinister nature of death by converting it to a more soothing presence, which the readers can connect with due to its inevitability.
Alternatively, Brooks uses apostrophes to advance her composition’s imagery. This narrator directly addresses the unborn babies to evoke a deep connection between herself and the deceased fetuses. In the phrase “I have said, Sweets, if I sinned, if I seized,” the speaker communicates with the lost children, creating an illusion that they can hear and understand her words (Brooks line 14). This allows the author to express her remorse, heartfelt love, and sincere apologies to her unborn offspring, provoking empathy from the readers.
Symbolism vs. Irony
While Dickinson prominently employs symbolism in her narration, Brooks significantly features irony in her work. In the first case, the poet’s leisure and labor exemplify the abandonment of all earthly things that occur during the speaker’s demise (Dickinson line 7). Similarly, the idea of children striving for recess illustrates the trials and struggles of life that the author is deserting.
Equally, the narrator’s description of what she is adorning is another symbol of death. In this case, she is only wearing a tulle tippet and a gossamer gown. These are thin, sheer linens in the form of a scarf or a shawl that a living person cannot wear, especially during the chilly atmosphere portrayed in the poem. Moreover, the house that appears like a swelling on the ground represents the speaker’s tomb, where her body lies as she accompanies death and immortality to eternity. Conversely, the use of irony is evident in Brooks’ composition. In this context, the poem’s title, “The Mother,” is ironic because the author has already lost her children through abortion. This implies that the speaker can never be referred to as a mother.
Visual Imagery
The use of visual imagery is evident in the two poems. Although the authors incorporate distinctive styles in their work to enhance understanding of the content, they both use compelling words to describe the subject matter to the audience. This helps the readers create an image of whatever transpires in the poem, making the narrative more realistic and relatable.
For example, Dickinson utilizes detailed language to recount the passing scenes during her transient life. She narrates her journey by the school, through the fields of gazing grain and past the sunset (Dickinson lines 9-12). These elements aid the audience to better comprehend what the author is experiencing.
Conversely, Brook employs persuasive phrases and words to describe the baby’s appearance after being terminated by the mother. The line “The damp small pulps with a little or with no hair” allows the audience to imagine the scene and understand the speaker’s anguish (Brooks 3). Therefore, integrating vivid imagery in both accounts helps the authors communicate the main themes while boosting the ability of the audience to understand the content.
Conclusion
In conclusion, the compositions “Because I Could Not Stop for Death” and “The Mother” demonstrate how poets employ different tones and figurative language to convey complex themes and emotions. Dickinson’s composed tone, combined with the use of metaphors, personification, symbolism, and imagery, triggers a feeling of serenity and acceptance of mortality. On the contrary, Brooks’ narration embodies a voice with immense guilt and remorse, which is coupled with vivid imagery, apostrophes, and irony to highlight the long-lasting effects of abortion on the speaker’s emotional psyche. Nevertheless, the two compositions also share some similarities because they create a sense of introspection among the audience and use precise and detailed phrases to foster enhanced comprehension among the readers. Generally, regardless of their tonal and figurative style differences, both works act as poignant reflections of human experiences and provide critical insights into the intricacies of life and death.
Works Cited
Brooks, Gwendolyn. “The Mother.” A Street in Bronzeville, Library of America, 2014, pp. 4-5.
Dickinson, Emily. “Because I Could Not Stop for Death.” The Poems of Emily Dickinson, edited by Ralph W. Franklin, Cambridge, Mass.: The Belknap Press of Harvard University Press, 1999, p. 479.
Ruggiero, Vincent Ryan. Beyond Feelings: A Guide to Critical Thinking. McGraw Hill, 2012.
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