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Stanza two refers to fond as a noun, which means the ground itself, and how the great length of time the earth has been "asleep" would make it impossible to explain to the dirt where the inner grave is. Yet a simple daisy, with roots reaching down far enough, can know the grave’s location.

The third stanza is both a transition of seasons signifying the passage of time and the obliteration of all recognition until the sun appears again (Spring.)

Stanza four notes, through Dickinson’s keen observation, that the first areas of snow melted by Spring sunlight in a graveyard are the aisles between the rows of graves themselves, and the fact that the graves form mounds which the poet refers to as "little Dwelling Houses." Inside each house are the remains of one who once was someone’s friend.

Stanza five at last discusses the coffin, and how it rests so deep (six feet) beneath the surface, where it is green or white depending on the season, that neither color can reach it.

The final stanza is the most difficult, on several levels. First, as bonnets long ago passed out of fashion, most people today do not realize that they were stylish and made of many colors and fabrics, most often bright and happy. Second, the hue suggested by Emily Dickinson in the conclusion of this typical if brilliant and beautiful poem is earthen — the dark browns and grays and even moldy shades found six feet under where caskets lay, and on the clothing and bonnets of mourners. Third, the odd reference to the ferret, an animal known for digging, which even with its prowess cannot penetrate the depths of the grave.

Dickinson’s epitaph, by the way, is "Called Back."
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My own analysis

For centuries the people in Northern Europe have worn head coverings to keep their head dry when the weather was wet and for shade when the weather was warm. It left their hands free to work, and kept in body heat when the weather was cold.

In the 1830’s men wore hats rather than use an arm to carry an umbrella. Cowboy hats were very wide brimmed to offer the wearer this protection.

For fashion’s sake upper class women wanted pale white skin, so skin protection was considered extremely important. So various type of hats outdoor for women sprang into existence. Lower class women wore hats more for protection from the rain and to keep their hands free for other chores.

Bonnets were worn only by women and had high "pokes" (the part that actually covered the top of the head). The sunbonnets worn by American Women when crossing the prairies, had fabric "pokes" which could be handmade at home.

As for ribbons, satin ribbons for tying bonnets are only for fashion, (they don’t stay tied, I know, I’ve tried) grosgrain ribbon stays tied better. Cotton ties work even better.

This website has pictures of upper class English hats of the 1830s: http://www.fashion-era.com/romantic_era.htm#Romantic%20Era%201825-1835

This second webpage has pictures of sunbonnets to show the difference: http://images.search.yahoo.com/search/images;_ylt=A9G_bDo9uFJLamsAzVGJzbkF?p=pioneer+sunbonnets&fr=yfp-t-701&ei=utf-8&x=wrt&y=Search
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BA in History – years of living History experience

The grave takes her attention in this poem. She notes the outside of the grave changes in appearance with the seasons….and we realise people also change in such a metaphoric way from the green of youth to the white of old age. Each grave is a house containing a loved one, marked by a head stone and in some seasons a daisy growing in the soil.

She realises the real house containing the loved one is not the grave, as it only holds the earthly remains, it is a duplicate of the House of the Lord. In this real house and resting place the house is indescribable and not bothered by the nasty reality of digging ferrets out to disturb the rest of the dead. The colour of the "duplicate house", the earthly grave, is probably the pale gray pall of the mourners at the graveside. The colour of the immortal house is one we will not know til we too follow the path of the dead.
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Just about all fashions seem silly in hindsight. But in the 1830s, homes didn’t have showers so bathing was done less frequently. It’s doubtful anyone washed her hair every day, so the caps worn indoors preserved the elaborate hairstyles (center parts and curls in the 1830s) longer. But the ostentatious outdoor hats were just the product of that era’s fashion sense.
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The gravestone is there to help those who remember find the grave of their loved ones.

In the third stanza she continues, saying the outside of a grave is white in the winter, indistinguishable from all the snow drifts until the sun comes out and reveals the "dwelling houses" aka the gravestones again. Where each has left a friend: the dead bodies.

The last two stanzas are a bit trickier. I think she is saying that the body is either decomposing or already reduced to bones. Nothing could make it green or white like the grass and snow, and you cannot find the color the person once was because they’re not in their bodies any longer.
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