Emily Dickinson’s poem “A Clock Stopped” may not be among her most widely recognized works, yet it encapsulates one of the central themes prevalent in her poetry: the contemplation of death. Through the metaphor of a halted clock, Dickinson delves into the profound implications of a life that has come to an end.
In the poem, the clock is depicted as a grandfather clock, a detail inferred from the presence of a pendulum—characteristic of such clocks—and its placement in a shop window rather than on a mantelpiece. This setting adds a layer of meaning to the metaphor.
Summary
A Clock stopped –
Not the Mantel’s –
Geneva’s farthest skill
Can’t put the puppet bowing –
That just now dangled still –
The poem opens with the strikingly simple line, “A Clock stopped.” The meter reflects the very action of the clock stopping: “Clock stopped” can be interpreted as a spondee (two stressed syllables in succession) or, at the very least, as a heavy trochee, where the emphasis on “Clock” surpasses that on “stopped.” This lack of rhythmic fluidity contrasts with the usual to-and-fro motion of, for instance, iambic pentameter, mirroring the clock’s ceaseless ticking—until, with a dash, the line abruptly ends, echoing the cessation of the clock’s movement.
We learn that not even the most skilled clockmakers in Geneva can revive it. The word “still” at the conclusion of the first stanza holds an ironic twist: until that moment, the cuckoo “puppet” had been in motion, but now it has become “still” in the sense of being lifeless.
An awe came on the Trinket!
The Figures hunched, with pain –
Then quivered out of Decimals –
Into Degreeless Noon –
The personification of the clock’s figures “hunched with pain” introduces a layer of pathetic fallacy, suggesting that the clock’s stillness serves as a reminder of our own mortality, often accompanied by suffering. The term “Figures” is a clever pun; it refers not only to the numbers on the clock but also evokes the human body, which similarly experiences pain. The imagery of the clock running out of “decimals” parallels the finite nature of life, emphasizing the clock’s human-like qualities. The resonance of “Decimals” with “decibels” adds an unspoken layer of sound that lingers, hinting at the sounds that the clock would emit if it were still operational.
It will not stir for Doctors –
This Pendulum of snow –
This Shopman importunes it –
While cool – concernless No –
The pendulum of the clock, now recognized as a metaphor for the human heart—beating steadily—has ceased its motion and will not resume, not even for the doctors. The clock is now thoroughly anthropomorphized. It is also described as “cold,” akin to a deceased body; hence, it is referred to as a “pendulum of snow.” The rhythmic beating of a heart is depicted as a pendulum’s swing, mirroring the clock’s functionality.
The shopkeeper, who owns the clock, implores it to resume ticking, yet his efforts are in vain. The imagery of various clock components nodding a “No” is oxymoronic; typically, a nod signifies agreement, not refusal, suggesting a futile attempt to animate the clock once more.
Nods from the Gilded pointers –
Nods from the Seconds slim –
Decades of Arrogance between
The Dial life –
And Him –
The final stanza presents “Decades of Arrogance” from the shopkeeper, implying that he took the clock’s life for granted, only to be confronted with its cessation. This prompts reflection on how we often take one another for granted, only to realize the significance of those around us when they are gone. However, Dickinson’s poem resists sentimentality, emphasizing instead the stark reality that the clock, representing a life, has indeed come to a standstill.
Analysis
“A Clock Stopped” intricately intertwines the notion of a “stopped clock” with the image of a lifeless body. This intertwining raises a thought-provoking question: Is the clock in the poem a literal clock, or merely a metaphor for a deceased human? Dickinson invites readers to navigate this ambiguity, beginning with a clear depiction of a clock before introducing “Doctors” in the third stanza, suggesting a shift in focus.
Are the “Doctors” figurative figures, such as the shopkeeper who attempts to revive the clock’s mechanism? A fruitful analysis of Dickinson’s work may posit that while the poem centers around a clock, it employs this miniature grandfather clock—its very nomenclature invoking comparisons to humanity—as an extended metaphor for human existence and mortality. Viewed through this lens, many of the poem’s details gain additional meaning. The clock’s description as a “puppet” suggests, as noted by Helen Vendler, that human beings too may be seen as “puppets,” controlled by forces beyond their comprehension (be they divine or societal).
Form
In a departure from her usual style, “A Clock Stopped” predominantly employs full rhyme, contrasting with Dickinson’s characteristic use of pararhyme or half-rhyme. The sole instance of pararhyme occurs in the second stanza with “pain” and “noon.” While there are pairs of rhymes, such as “skill” and “still,” “snow” and “No,” and “slim” and “Him,” several lines lack rhyme altogether.
Additionally, Dickinson diverges from her typical quatrains in the first and final stanzas, which consist of five lines. This subtle irregularity mirrors the disruption of rhythm associated with the clock’s stillness: the pendulum that once marked time has ceased its movement, just as the human heart inevitably will.
For those wishing to explore all of Dickinson’s remarkable poetry in a single collection, we recommend the Faber edition of her Complete Poems. Discover more about Dickinson’s timeless works with “I died for Beauty, but was scarce,” “One need not be a Chamber to be Haunted,” and “I cannot live with You.”