Her indictment of those who do not make note of the disparities and inequities in treatment of women and men is evident in her disdainful tone. Dickinson feels the need to integrate and internalize an assertive self, one which will not subscribe to the thankless duties allotted women in conventional roles. More importantly, by conquering Calvary, she, like the emperor Christ, is the empress who has won "Tri-Victory" over death and, perhaps -- as implied by the reference to "My Husband" as something other women say -- over male barriers and institutions. Only such a feat would gain the persona equal status with Christ, who also transcended the laws and dictates of his persecutors and oppressors. Like him, she was "Born -- Bridalled -- Shrouded -- ," all stages of being wrapped in cloth, perhaps white, at birth, through life (e.g., in marriage), and at death. She has rewritten a portion of the Apostolic creed: that Christ was born, died, and was buried, and on the third day, he rose again. Or perhaps, as indicated in the next line: "In a Day," she -- like Christ, through his crucifixion and resurrection -- experienced in one moment these variant stages of a similar state of rebirth. Her rebirth is made possible by creating a philosophy that enables her to validate her own experience and being. Once again, Dickinson subverts patriarchal definitions and collapses the duality upon which they are based, for through the development of these poems, Calvary is linked with victory, rather than with defeat or (only) anguish. 

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From "Emily Dickinson: Fleshing Out a New Word" The Emily Dickinson Journal Vol. I.1 (1992). Online Source: http://www.colorado.edu/EDIS/journal/articles/I.1.Hoefel.html