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Ronnie Dapo
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Ronald L. Dapo (born May 8, 1952, Plattsburgh, New York) is an American former child actor who appeared in supporting roles in such television series as the ABC/Warner Brothers situation comedy Room for One More (1962) and CBS's The New Phil Silvers Show (1964).
Acting career[edit]
Dapo began acting in 1959 at the age of seven when he played Billy Lacy in John Bromfield's syndicated series U.S. Marshal. That same year he appeared as Ronnie in The Alcoa Hour in the episode "Another Day, Another Dollar" and in "The Greenhorn Story" of NBC's western series Wagon Train starring Ward Bond. He also appeared in the movie -30- as Billy, opposite Jack Webb and Whitney Blake as their soon be adopted son. Then in 1960, he appeared as a schoolboy in the episode "A Bullet for the Teacher" on ABC's Maverick starring James Garner, "Ocean's 11" starring Frank Sinatra and Dean Martin[1]
In 1961, he guest starred in three ABC/WB series, The Roaring 20s (episode "Dance Marathon"), Hawaiian Eye (as Roger in "Don't Kiss Me Good-bye"), and Surfside 6 (as Little Kelly in "Little Mister Kelly"). In 1962, he appeared as Norbert Smith in Meredith Willson's The Music Man and on two ABC series, as Mike Russo in the episode "Pandora's Box" of The Detectives starring Robert Taylor and as ten-year-old Roy Barrington in "One Way Ticket" on Clint Walker's Cheyenne, with Philip Carey cast as the outlaw Cole Younger.[1]
In 1962, he was also cast as 9-year-old Flip Rose, one of the four children (two natural and two foster) of George and Anna Rose, portrayed by Andrew Duggan and Peggy McCay, in the 26-week Room for One More.[2] While on Room for One More young Dapo made two appearances on another ABC series, The Adventures of Ozzie and Harriet, having played himself in "The Tigers Go to a Dance" and "Rick Sends a Picture".[1]
In 1963, he guest starred as Danny Saunders in "The Left Field Caper" of ABC's 77 Sunset Strip[1] before he was cast as Phil Silvers's nephew, Andy, in the comedian's revised sitcom. The second Silvers series focused on the star's role of Harry Grafton as the foreman of a plant, with co-stars Stafford Repp, Herbie Faye, and Buddy Lester. Then Elena Verdugo joined the show as Andy's mother, Audrey, and Sandy Descher as Andy's older sister, Susan. Like Room for One More, The New Phil Silvers Show soon folded.[3]
Young Dapo then appeared in small roles on Lucille Ball's CBS series The Lucy Show and on Gene Barry's ABC detective series Burke's Law in the episode entitled "Who Killed Andy Zygmunt?". In 1964, he played Peter McCloud in the film Kisses for My President. From 1963 to 1965, Dapo appeared twice on CBS's Lassie and The Munsters. In 1965, he appeared on ABC's The Fugitive and The F.B.I.[1]
Between 1963 and 1966, Dapo appeared three times as Arnold Winkler, a friend of Opie Taylor (played by Ron Howard) on CBS's The Andy Griffith Show. The episodes on which Dapo appeared are "Opie and the Spoiled Kid" and "The Haunted House" (both in 1963) and "A Baby in the House" (1966). Dapo's acting career ended in 1966 with two other roles: as Jimmy in the television movie Baby Makes Three and as Virgil 'Tiger' Higgins in the Disney film Follow Me, Boys! starring Fred MacMurray and Kurt Russell.[1]
References[edit]
^ Jump up to: a b c d e f "Ronnie Dapo". Internet Movie Data Base. Retrieved January 21, 2009.
Jump up ^ Alex McNeil, Total Television, New York: Penguin Books, 1996, 4th ed., p. 706
Jump up ^ McNeil, Total Television, p. 598
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ronnie_Dapo&oldid=794570470"
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Because I could not stop for Death
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Emily Dickinson in a daguerreotype, circa December 1846 or early 1847
"Because I could not stop for Death" is a lyrical poem by Emily Dickinson first published posthumously in Poems: Series 1 in 1890. The persona of Dickinson's poem meets personified Death. Death is a gentleman caller who takes a leisurely carriage ride with the speaker to her grave. According to Thomas H. Johnson's variorum edition of 1955 the number of this poem is 712.
Contents
[hide]
1 Summary
2 Text
3 Critique
4 Musical settings
5 References
6 External links
Summary[edit]
The poem was published posthumously in 1890 in Poems: Series 1, a collection of Dickinson's poems assembled and edited by her friends Mabel Loomis Todd and Thomas Wentworth Higginson. The poem was published under the title "The Chariot". It is composed in six quatrains with the meter alternating between iambic tetrameter and iambic trimeter. Stanzas 1, 2, 4, and 6 employ end rhyme in their second and fourth lines, but some of these are only close rhyme or eye rhyme. In the third stanza, there is no end rhyme, but "ring" in line 2 rhymes with "gazing" and "setting" in lines 3 and 4 respectively. Internal rhyme is scattered throughout. Figures of speech include alliteration, anaphora, paradox, and personification. The poem personifies Death as a gentleman caller who takes a leisurely carriage ride with the poet to her grave. She also personifies immortality.[1] The volta (turn) happens in the fourth quatrain. Structurally, the syllables shift from its constant 8-6-8-6 scheme to 6-8-8-6. This parallels with the undertones of the sixth quatrain. The personification of death changes from one of pleasantry to one of ambiguity and morbidity: "Or rather--He passed Us-- / The Dews drew quivering and chill--" (13-14). The imagery changes from its original nostalgic form of children playing and setting suns to Death's real concern of taking the speaker to afterlife.
Text[edit]
Close transcription[2]
First published version[3]

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 —

We passed the School, where Children strove
At Recess — in the Ring —
We passed the Fields of Gazing Grain —
We passed the Setting Sun —

Or rather — He passed Us —
The Dews drew quivering and Chill —
For only Gossamer, my Gown —
My Tippet — only Tulle —

We paused before a House that seemed
A Swelling of the Ground —
The Roof was scarcely visible —
The Cornice — in the Ground —

Since then — 'tis Centuries — and yet
Feels shorter than the Day
I first surmised the Horses' Heads
Were toward Eternity —
THE CHARIOT

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.

We passed the school where children played,
Their lessons scarcely done;
We passed the fields of gazing grain,
We passed the setting sun.

We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.

Since then 'tis centuries; but each
Feels shorter than the day
I first surmised the horses' heads
Were toward eternity.
Critique[edit]
In 1936 Allen Tate wrote, "[The poem] exemplifies better than anything else [Dickinson] wrote the special quality of her mind ... If the word great means anything in poetry, this poem is one of the greatest in the English language; it is flawless to the last detail. The rhythm charges with movement the pattern of suspended action back of the poem. Every image is precise and, moreover, not merely beautiful, but inextricably fused with the central idea. Every image extends and intensifies every other ... No poet could have invented the elements of [this poem]; only a great poet could have used them so perfectly. Miss Dickinson was a deep mind writing from a deep culture, and when she came to poetry, she came infallibly.”[4]
Musical settings[edit]
The poem has been set to music by Aaron Copland as the twelfth song of his song cycle Twelve Poems of Emily Dickinson. And again, by John Adams as the second movement of his choral symphony Harmonium, and also set to music by Nicholas J. White as a single movement piece for chorus and chamber orchestra. Natalie Merchant and Susan McKeown have created a song of the same name while preserving Dickinson's exact poem in its lyrics.
References[edit]
Jump up ^ ""Because I could not stop for Death": Study Guide". Retrieved July 10, 2011.
Jump up ^ Fr#479 in: Franklin, R. W., ed. The Poems of Emily Dickinson: Reading Edition. Cambridge, MA: The Belknap Press, 1999.
Jump up ^ Poem IV.XXVII (page 138) in: Higginson, T. W. & Todd, Mabel Loomis, ed. Poems by Emily Dickinson. Boston: Roberts Brothers, 1890.
Jump up ^ Tate 1936, pp. 14-5
External links[edit]
Wikisource has original text related to this article:
Because I could not stop for Death —
www.nicholasjwhite.com
Critical essays on "Because I could not stop for Death"
[hide]
v
t
e
Emily Dickinson
Poetry
"Success is Counted Sweetest" (1864)
"Because I could not stop for Death" (1890)
"I taste a liquor never brewed" (1890)
"A Bird came down the Walk" (1891)
"I'm Nobody! Who are you?" (1891)
"I like to see it lap the Miles" (1891)
"I heard a Fly buzz—when I died" (1896)
"There is a pain — so utter —" (1929)
People
Edward Dickinson (father)
William Austin Dickinson (brother)
Lavinia Norcross Dickinson (sister)
Susan Huntington Gilbert Dickinson (sister in law)
Thomas Wentworth Higginson (editor)
Mabel Loomis Todd (editor)
Related
Emily Dickinson home and museum
Dickinson Historic District
Collected manuscripts and papers
Emily Dickinson International Society
The Emily Dickinson Journal
Dickinson Electronic Archives
The Belle of Amherst (1976 play)
A Quiet Passion (2016 film)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Because_I_could_not_stop_for_Death&oldid=831052013"
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