Because I was could not stop for Deat Summery Analysis

      Because I was could not stop for Death

 Death, as a refined man admirer, stops to get the speaker and take her on a ride in his horse drawn carriage.

They move along at a really loosened up pace and the speaker appears totally calm with the man of his word. As they go through the town, she sees kids at play, fields of grain, and the sunset. Really quiet, correct?
As nightfall sets in our speaker gets somewhat crisp, as she is totally under-dressed – just wearing a slim silk cloak for a coat. She was caught off guard for her offhand date with Death when she got dressed that morning.

They stop at what will be her graveyard, set apart with a little tombstone.

In the last refrain, we discover the speaker's ride with Death occurred hundreds of years prior (so she's been dead for quite a while). In any case, it seems like just yesterday when she initially got the inclination that pony heads (like those of the ponies that drew the "demise carriage") highlighted "Endlessness"; or, as such, flagged the entry from life horribly to a the great beyond.
 Synopsis and Analysis of "On the grounds that I was unable to stop for Death - - "
In this sonnet, Dickinson's speaker is imparting from past the grave, portraying her excursion with Death, embodied, from life to eternity. In the initial verse, the speaker is excessively occupied for Death ("Because I was unable to stop for Death—"), so Death—"benevolent"— sets aside the effort to do what she can't, and stops for her.

This "mutual respect" that Death displays in requiring some investment out for her leads her to abandon those things that had made her so occupied—"And I had taken care of/My work and my recreation as well"— so they can simply partake in this carriage ride ("We gradually drove – He knew no scramble").
In the third refrain we see tokens of the world that the speaker is passing from, with kids playing and fields of grain. Her position on the planet shifts between this refrain and the following; in the third verse, "We passed the Setting Sun—," however at the launch of the fourth refrain, she amends this—"Or rather – He passed Us – "— in light of the fact that she has quit being a functioning specialist, and is just now a piece of the scene.

In this refrain, later the acknowledgment of her new residence on the planet, her demise additionally turns out to be abruptly extremely physical, as "The Dews drew shuddering and chill—," and she clarifies that her dress is just gossamer, and her "Scarf," a sort of cape typically made from hide, is "just Tulle."
Later this snapshot of seeing the frigidity of her passing, the carriage stops at her new "House." The portrayal of the house—"A Swelling of the Ground—"— clarifies that this is no bungalow, yet rather a grave. However they as it were "stop" at this house, in light of the fact that despite the fact that it is apparently her home, it is truly just a resting place as she goes to time everlasting.
The last verse shows a brief look at this eternality, made generally clear in the initial two lines, where she says that in spite of the fact that it has been hundreds of years since she has kicked the bucket, it feels no longer than a day. It isn't only any day that she looks at it to, in any case—it is the actual day of her passing, when she saw "the Horses' Heads" that were pulling her towards this time everlasting.

Analysis
Dickinson's sonnets manage demise over and over, and it is never entirely something very similar in any sonnet. "In light of the fact that I was unable to stop for Death—," we see demise represented. He is no startling, or in any event, scaring, gatherer, but instead a respectful and delicate aide, driving her to forever. The speaker feels no dread when Death gets her in his carriage, she simply considers it to be a thoughtful gesture, as she was too occupied to even think about carving out opportunity for him.

It is this benevolence, this singular thoughtfulness regarding her—it is underscored in the principal refrain that the carriage holds simply both of them, doubly so in view of the inside rhyme in "held" and "ourselves"— that drives the speaker to with such ease abandon her life and what it contained. This is unequivocally expressed, for what it's worth "For His Civility" that she takes care of her "work" and her "relaxation," which is Dickinson utilizing metonymy to address another alliterative word—her life.
For sure, the following verse shows the life isn't completely ideal, as this tranquil, slow carriage ride is appeared differently in relation to what she sees as they go. A school scene of kids playing, which could be enthusiastic, is rather just an illustration of the trouble of life—albeit the youngsters are playing "At Recess," the action word she utilizes is "endeavored," underlining the works of presence. The utilization of anaphora with "We passed" additionally stresses the tiring monotony of ordinary everyday practice.
The following verse moves to introduce a more ordinary vision of death—things become cold and more evil, the speaker's dress isn't adequately thick to warm or ensure her. However it rapidly turns out to be evident that however this piece of death—the briskness, and the following verse's picture of the grave as home—may not be great, it is worth the effort, for it prompts the last refrain, which closes with interminability. Also, the utilization of similar sounding word usage in this verse that underscores the material features—"gossamer" "outfit" and "scarf" "tulle"— makes the refrain overall less vile.
That impropriety is the objective is indicated in the primary verse, where "Eternality" is the main other tenant of the carriage, yet it is just in the last refrain that we see that the speaker has gotten it. Time out of nowhere loses its significance; many years feel the same than a day. Since time is gone, the speaker can in any case feel with relish that snapshot of acknowledgment, that passing was demise, yet eternality, for she "gathered the Horses' Heads/Were toward Eternity – ." By finishing with "Forever – ," the actual sonnet authorizes this endlessness, following out into the endless.