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1、emily-dickinsonemily-dickinsonEmily Dickinson (1830-1886) EmilyDickinsonwasbornin1830intoaCalvinistfamilyofAmherst,Massachusetts.Sheattended MountHolyokeFemaleSeminaryinSouthHadley.Emilywasanenergeticand outgoing woman while attending the Academy andSeminary.Itwaslater,duringhermid-twentiesthatEmily
2、began to grow reclusive. In the years that followed, sheseldomleftherhouseandvisitorswerescarce.Thepeoplewith whom she did come in contact, however, had anintenseimpactonherthoughtsandpoetry.ShewasparticularlystirredbytheReverendCharlesWadsworth,whomshemetonatriptoPhiladelphia.HeleftfortheWestCoasts
3、hortlyafteravisittoherhomein1860,andhisdeparturegaverisetoaheartsickflowofversefromDickinson,whodeeplyadmiredhim.Bythe1860s,shelivedinalmosttotalphysical isolation from the outside world, but actively maintained manycorrespondencesandreadwidely.ExitContinueSheis,inasense,alinkbetweenhereraandthelite
4、rarysensitivitiesoftheturnofthecentury.Shenevermarried,andsheledanunconventionallifethatwasoutwardlyuneventfulbutwasfullofinnerintensity.Shelovednatureandfounddeepinspirationinthebirds,animals,plants,andchangingseasonsoftheNewEnglandcountryside.Wefindnomentionofthewaroranyothergreatnationaleventinhe
5、rpoetry.She lived a quiet, very private life in her little hometown of Amherst,Massachusetts.Dickinsonspentthelatterpartofherlifeasarecluse,duetoanextremelysensitivepsycheandpossiblytomaketimeforwriting(forstretchesoftimeshewroteaboutonepoemaday).Herdayalsoincludedmoneymakingforherattorneyfather,apr
6、ominentfigureinAmherstwhobecameamemberofCongress.Ofallthegreatwritersofthenineteenthcentury,shehadtheleastinfluenceonhertimes.Yet,becauseshewascutofffromtheoutsideworld,shewasabletocreateaverypersonalandpurekindofpoetry.Sinceherdeath,herreputationhasgrownenormouslyandherpoetryisnowseenasverymodernfo
7、ritstime.Emily Dickinson (1830-1886) ExitContinueEmily Dickinson (1830-1886) Features Dickinsons terse, frequently imagistic style is even more modern andinnovativethanWhitmans.Sheneverusestwowordswhenonewilldo,andcombines concrete things with abstract ideas in an almost proverbial,compressed style.
8、 Her best poems have no fat; many mock currentsentimentality,andsomeareevenheretical.Shesometimesshowsaterrifyingexistentialawareness.LikePoe,sheexploresthedarkandhiddenpartofthemind,dramatizingdeathandthegrave.Yetshealsocelebratedsimpleobjects-aflower,abee.Herpoetryexhibitsgreatintelligenceandoften
9、evokestheagonizingparadoxofthelimitsofthehumanconsciousnesstrappedintime.Shehadanexcellentsenseofhumor,andherrangeofsubjectsandtreatmentisamazinglywide.HerpoemsaregenerallyknownbythenumbersassignedtheminThomasH.Johnsonsstandardeditionof1955.Theybristlewithoddcapitalizationanddashes.ExitContinueThe s
10、ubjects of Dicksons poetry are the traditional ones of love, nature,religion,andmortality,seenthroughherpuritaneyes,orasshedescribedit,“NewEnglandly”.Muchofthedramatictensionstemsfromherreligiousdoubt;she was unable to accept the orthodox religious faith of her friends andschoolmates,yetshelongedfor
11、thecomfortandemotionalstabilitythatsuchfaithcouldbring.Manyofherlyrics,intheirmixtureofrebelliousandreverentsentiments,illustratethisconflict.Herpoetryisalsonotableforitstechnicalirregularities,whichalarmedherearlyeditorsandreviewers.Hercharacteristicstanzaisfourlineslong,andmostpoemsconsistofjusttw
12、ostanzas.Sheoftenseparated her words with dashes, which tend to relieve the density of thepoems and introduce into them moments of speculative silence. Othercharacteristicsofherstyle:sporadiccapitalizationofnouns;convolutedandungrammatical phrasing; off- rhymes; broken meters; bold, unconventional,a
13、nd often startling metaphors; and aphoristic wit, all these have greatlyinfluenced20thcenturypoetsandcontributedtoDickinsonsreputationasoneofthegreatestandmostinnovativepoetsof19thcenturyAmericanliterature.Emily Dickinson (1830-1886) ExitContinueEarlyLifeShewasborntoreligious,well-to-dofamilyandhada
14、normalchildhoodinAmherst,Massachusetts.Everyoneexpectedhertomarryandraiseafamilylikemostwomenofherclass.Thisallsuddenlychangedwhenshewas24.Shebecameapoetandrecluse.“Dickinsonusedpreciselanguageanduniquepoeticformstosimultaneouslyrevealandconcealherprivatethoughtsandfeelings”(Elements of Literature34
15、5).Whathappenedtoturnayounggirlintoanunrecognizedpoetwhoneverleftherhouse?Whatwouldcauseayoungwomanof24suddenlytoisolateherselfwithinheryardandhouseandignoretheworldoutside?SpeculationsaboutWhyWenttoDCwithherfather,acongressman,becauseshehadfalleninlovewithamarriedlawyer,whosoondiedofTB.Therefellinl
16、ovewithanothermarriedman,aminister.HemovedtoSanFranciscoin1862.Aboutthistimeshewrote,“Isingastheboydoesbytheburyingground,becauseIamafraid.”ReturntoAmherstWithinafewyears,shehadretreatedfromallsociallifeinAmherst.Alwayswearingwhite,likethebrideshewouldneverbe,sheremainedinherparentshouseandrestricte
17、dherselftohouseholdworkandwritingpoetry,whichshewouldsometimessendtopeopleasgiftsforvalentinesorbirthdays,alongwithapieorcookies.Onlyafewofherpoemswerepublishedinherlifetime.Shesentfourofthemtoacritic,Mr.Higginson,askingforhishelp.Whenhesentsuggestionsforchangingherpoems,sherepliedinaletter,“Thankyo
18、uforthesurgery;itwasnotsopainfulasIsupposed.Ibringyouothers,asyouask”(Higginson).Afterherdeath,friendsandrelativesfoundbundlesofherpoems,whichtheyeditedand“corrected”andhadpublishedininstallments.In1955,ThomasH.Johnsonfinallypublishedacollectionofherpoemsthathadnotbeen“corrected.”Thesearetheversions
19、wereadtoday.Herearetwoversionsofonestanzaofoneofherpoems.Thefirstisunedited;thesecondhasbeen“corrected.”WepassedtheSchool,whereChildrenstroveAtrecessintheRingWepassedtheFieldsofGazingGrainWepassedtheSettingSunWepassedtheschoolwherechildrenplayedTheirlessonsscarcelydone;Wepassedthefieldsofgazinggrain
20、,Wepassedthesettingsun.See the differences? How does the poem change?Whywassheapoet?Manypeoplehavecommentedthattherearenogreatwomanartists.WouldEmilyDickinsonhavebecomesucharenownedpoetifshehadmarriedandhadchildren?Whatevidenceisthereinherpoetrythatshehadarichemotionallifeinspiteofthefactthatsherare
21、lylefthome?WasSheWeird?Knownforbeingarecluse,shedidntleaveherfamilyshomesteadforanyreasonafterthelate1860s.Shealmostalwaysworewhite.Sheoftenloweredsnacksandtreatsinbasketstoneighborhoodchildrenfromherwindow,carefulnevertoletthemseeherface.Whatsortofpoetwasshe?Dickinsonisknownforusingpoetryasprivateo
22、bservation.Herpoemsarecarefullycraftedinrhymeandmeter.A Poet Writes about Dickinson:Wethinkofherhiddeninawhitedressamongthefoldedlinensandsachetsofwell-keptcupboards,orjustoutofsightsendingjelliesandnoteswithnoaddresstoallthewonderingAmherstneighbors.EccentricasNewEnglandweatherthestiffwindofhermind
23、,stingingorgentle,blewtwohalf-imaginedloversoff.Yetlegendwontexplainthesheersanityofvision,theseriousmischiefoflanguage,theeconomyofpain.-LindaPastan(Elements of Literature371)Importantpeople:WilliamAustinDickinsonSusanGilbert(sisterinlaw)Lavinia(sister)MabelTodd(brothersmistress)ThomasWentworthHigg
24、insonCharlesWadsworthSusanGilbertDickinsonLavinia Lavinia NorcrossNorcrossDickinsonDickinsonSister of BloodSister of BloodSister of HeartSister of HeartTwoVeryInfluentialMenInEmilysentirelife,shetookonetriptoPhiladelphia(duetoeyeproblems),onetoWashington,andafewtripstoBoston.Fortunately,duringthoser
25、arejourneysEmilymettwoveryinfluentialmenthatwouldbesourcesofinspirationandguidance:CharlesWadsworthandThomasWentworthHigginson.CharlesWadsworth:SourceofInspirationDickinsonsemotionalliferemainsmysterious,despitemuchspeculationaboutapossibledisappointedloveaffair.OnepossiblecandidateisReverendCharles
26、Wadsworth,withwhomshecorresponded.MinisteroftheArchStreetPresbyterianChurchinPhiladelphia.ThomasWentworthHigginsonEditorandColonelDickinsoninitiatedacorrespondencewithhiminApril1862thatturnedintooneofthemainstaysofherwritinglife.HecorrespondedwithEmilyDickinsonfornearly25years.(1823-1911)HigginsonHi
27、gginsonvisitedherin1870andlatertoldofmeetingherinthedarkcoolparlor:“Asteplikeapattering（轻快的脚步声）childsintheentryandinglidedalittleplainwomanwithtwosmoothbandsofreddishhairandafacewithnogoodfeatureShecametomewithtwowhitedaylilieswhichsheputinachildlikewayintomyhandandsaid,Thesearemyintroduction,inasof
28、t,frightened,breathless,childlikevoiceandaddedunderherbreath,ForgivemeifIamfrightened;Ineverseestrangersandhardlyknowwhattosaybutshetalkedsoonandthenthforthcontinuously”MabelTodd“Shehasnotbeenoutsideofherownhouseinfifteenyears,exceptoncetoseeanewchurch,whenshecreptoutatnight,andvieweditbymoonlight.N
29、oonewhocallsuponhermotherandsistereverseeher,butsheallowslittlechildrenonceinagreatwhile,andoneatatime,tocomein,whenshegivesthemcakeorcandy,orsomenicety,forsheisveryfondoflittleones.Butmoreoftensheletsdownthesweetmeatbyastring,outofawindow,tothem.Shedresseswhollyinwhite,andhermindissaidtobeperfectly
30、wonderful.Shewritesfinely,butnooneeverseesher.MabelTodd”AlltheDickinsonsstruckpeopleasunusual,butEmilywasidentifiedas“theclimaxofallthefamilyoddity”Severalmonthsbeforeherdeathin1882,Mrs.DickinsonreadsomeofherdaughterspoetrytoMabelTodd,whofoundthem“fullofpower.”SoonMabelToddandDickinsonhadestablished
31、“averypleasantfriendship”withoutmeeting(MabelToddsawDickinsononce,inhercoffin),andMabelToddhaddecidedthateventhoughherneighborremindedherofDickenssMissHavishaminGreatExpectations,thisAmhersteccentricwas“inmanyrespectsagenius.”ThomasWentworthHigginson:“LettertoayoungContributor”appearedintheApril1862
32、AtlanticMonthly,shefoundintheessaytheassurancethat“everyeditorisalwayshungeringandthirstingafternovelties,”eagerfortheprivilegeof“bringingforwardanewgenius.”LettertoThomasWentworthHigginsonmrhigginson,AreyoutoodeeplyoccupiedtosayifmyVerseisalive?TheMindissonearitselfitcannotsee,distinctlyandIhavenon
33、etoaskShouldyouthinkitbreathedandhadyoutheleisuretotellme,IshouldfeelquickgratitudeIfImakethemistakethatyoudaredtotellmewouldgivemesincerehonortowardyouFeatures of Dickinsons poetry: telling images, suggestive and connotative, sometimes incomprehensible a severe economy of expression direct and plai
34、n words (Anglo-Saxon origin), simple syntax faulty grammar no regular rhythm, at most off or slant rhymes meters common to Protestant hymn books unusual capitalization unusual use of punctuation marksDickinsonsPoetryRegularmeterhymnmeterandballadmeter,alsoknownasCommonmeterQuatrainsAlternatingtetram
35、eterandtrimeterOften1stand3rdlinesrhyme,2ndand4thlinesrhymeiniambicpentameterTheuseofdashesInfluencedbynatureandspiritualthemesIheardaflybuzzwhenIdied;ThestillnessroundmyformWaslikethestillnessintheairBetweentheheavesofstorm.Theeyesbesidehadwrungthemdry,AndbreathsweregatheringsureForthatlastonset,wh
36、enthekingBewitnessedinhispower.Iwilledmykeepsakes,signedawayWhatportionofmeICouldmakeassignable,andthenThereinterposedafly,Withblue,uncertain,stumblingbuzz,Betweenthelightandme;Andthenthewindowsfailed,andthenIcouldnotseetosee.I heard a fly buzz when I diedExitContinueThedeathinthispoemispainless,yet
37、thevisionofdeathitpresentsishorrifying,evengruesome.Theappearanceofanordinary,insignificantflyattheclimaxofalifeatfirstmerelystartlesanddisconcertsus.Butbytheendofthepoem,theflyhasacquireddreadfulmeaning.Clearly,thecentralimageisthefly. Itmakesaliteralappearanceinthreeofthefourstanzasandiswhatthespe
38、akerexperiencesindying.Theroomissilentexceptforthefly.Thepoemdescribesalullbetweenheaves,suggestingthatupheavalprecededthismomentandthatmoreupheavalwillfollow.Itisamomentofexpectation,ofwaiting.Thereisstillnessintheair,andthewatchersofherdyingaresilent.Andstilltheonlysoundistheflysbuzzing.Thespeaker
39、stoneiscalm,evenflat;hernarrativeisconciseandfactual.IheardaflybuzzwhenIdiedisoneofEmilyDickinsonsfinestopeninglines.Iteffectivelyjuxtaposesthetrivialandthemomentous;themovementfromonetotheotherissoswiftandsounderstatedandthemeaningsosignificantthattheeffectislikeablowtoanemotionalsolarplexus(solar
40、plexus:pitofthestomach).Somereadersfinditmisleadingbecausethefirstclause(Iheardaflybuzz)doesnotprepare for the second clause (when I died). Is the dying woman or are thewitnesses misled about death? does the line parallel their experience and so themeaningofthepoem?I heard a fly buzz when I diedExit
41、ContinueIm Nobody! Who are you? (260)ImNobody!Whoareyou?Areyou-Nobody-too?Thentheresapairofus?Donttell!theydadvertise-youknow!Howdreary-tobe-Somebody!Howpublic-likeaFrog-Totellonesname-thelivelongJuneToanadmiringBog! ExitContinueDickinsonadoptstheofachildwhoisopen,naive,andinnocent.However,aretheque
42、stionsaskedandthefinalstatementmadebythispoemnaive?Iftheyarenot, then the poem is because of the discrepancy between the personasunderstandingandviewandthoseofDickinsonandthereader.Undertheguiseof the childs accepting societys values, is Dickinson really rejecting thosevalues?IsDickinsonsuggestingth
43、atthetruesomebodyisreallythenobody?Thechild-speakerwelcomesthepersonwhohonestlyidentifiesherselfandwhohasatrueidentity.Thesequalitiesmakethatpersonnobodyinsocietyseyes.Tobesomebodyistohavestatusinsociety;society,themajority,excludesorrejects those who lack status or are nobody-theyd banish us for be
44、ingnobody.Instanza2,thechild-speakerrejectstheroleofsomebody(Howdreary).Thefrog comparison depicts somebody as self-important and constantly self-promoting.Shealsoshowsthefalsevaluesofasociety(theadmiringbog)whichapprovesthefrog-somebody.Doesthewordbog(itmeanswet,spongyground)havepositiveornegativem
45、eanings?Whatqualitiesareassociatedwiththesoundsafrogmakes(croaking)?Im Nobody! Who are you? (260)ExitContinueThematic concerns of Dickinson: death and immortality 465, “I Heard a Fly buzzwhen I died” 712, “Because I could not stop for Death” 1732, “My life closed twice before its close”Thematic conc
46、erns of Dickinson: nature 328, “A Bird came down the Walk” 986, “A narrow Fellow in the Grass” 1624, “Apparently with no surprise” death and immortalityThematic concerns of Dickinson: naturedeath and immortality unity of goodness, truth and beauty 449, “I died for Beautybut was scarce”Thematic conce
47、rns of Dickinson: naturedeath and immortality unity of goodness, truth and beauty other subjects 632, “The Brainis wider than the Sky” 675, “Essential oilsare Wrung” 1129, “Tell all the Truth but tell it slant”SelectedpoemsPublication-istheAuctionOftheMindofMan-Poverty-bejustifyingForsofoulathing(Po
48、emNo.709)303TheSoulselectsherownSocietyThenshutstheDoorToherdivineMajority（优势。多数。死人）Presentnomore灵魂选择自己的伴侣，然后，把门紧闭她神圣的决定再不容干预UnmovedshenotestheChariotspausingAtherlowGateUnmovedanEmperorbekneelingUponherMat发现车辇，停在，她低矮的门前不为所动一位皇帝，跪在她的席垫不为所动IveknownherfromanamplenationChooseOneThenclosetheValvesofhera
49、ttentionLikeStone我知道她，从人口众多的整个民族选中了一个从此，封闭关心的阀门像一块石头（江枫译）ThemesofDickinsonsPoetryLife&Death(thelargestportion)Love(someareratherbold,evenerotic;)Nature(about300poems)Time&Eternity449IdiedforBeautybutwasscarceAdjustedinthetombWhenOnewhodiedforTruth,waslainInanadjoiningRoomHequestionedsoftly“WhyIfaile
50、d”?“ForBeauty”,Ireplied“AndIforTruthThemselfareOneWeBretheren,are”,HesaidAndso,asKinsmen,metaNightWetalkedbetweentheRoomsUntiltheMosshadreachedourlipsAndcoveredupournamesLovelyrics,249WildNightsWildNights!WereIwiththeeWildNightsshouldbeOurluxury!暴风雨夜，暴风雨夜！我若和你同在一起，暴风雨夜就是豪奢的喜悦！FutiletheWindsToaHearti
51、nportDonewiththeCompassDonewiththeChart!风，无能为力-心，已在港内-罗盘，不必，海图，不必！RowinginEdenAh,theSea!MightIbutmoorTonightInThee!泛舟在伊甸园-啊，海！但愿我能，今夜，泊在你的水域！919IfIcanstoponeHeartfrombreakingIshallnotliveinvainIfIcaneaseoneLifetheAchingOrcoolonePainOrhelponefaintingRobinUntohisNestagainIshallnotliveinVain.ImNobody!W
52、hoareyou?Areyou-Nobody-Too?Thentheresapairofus!Donttell!theydadvertise-youknow!Howdreary-tobe-Somebody!Howpublic-likeaFrog-Totellonesname-thelivelongJune-ToanadmiringBog!做个，显要人物，好不无聊！/像个青蛙，向仰慕的泥沼/在整个六月，把个人的姓名/聒噪何等招摇！(PoemNo.288)NobodyknowsthislittleRose-ItmightapilgrimbeDidInottakeitfromthewaysAndli
53、ftituptothee.它很可能漂泊流离/若不是我从路旁拾取/把它捧起，奉献给你OnlyaBeewillmissit-OnlyaButterfly,Hasteningfromfarjourney-Onitsbreasttolie-OnlyaBirdwillwonder-OnlyaBreezewillsigh-AhLittleRose-howeasyForsuchastheetodie!(PoemNo.35)97Tomakeaprairieittakesacloverandonebee,Onecloverandabee,Andrevery.Reveryalonewilldo,Ifbeesare
54、few.SUCCESSiscountedsweetestBythosewhoneersucceed.TocomprehendanectarRequiressorestneed.NotoneofallthepurplehostWhotooktheflagto-dayCantellthedefinition,Soclear,ofvictory,Ashe,defeated,dying,OnwhoseforbiddenearThedistantstrainsoftriumphBreak,agonizedandclear.UniqueFeaturesExtensiveusesofdashes（varyi
55、nlength）OptionalemploymentsofcapitallettersDerailmentofthepropergrammar（fullofgrammaticallywrongstructures）FreshImagesAnalysisofBecauseIcouldnotstopforDeathBecauseIcouldnotstopforDeathHekindlystoppedformeTheCarriageheldbutjustOurselvesAndImmortality.Dickinsondescribes“Death”asapersonShedescribesthem
56、eetingasapleasantevent;thattakesplaceinacarriagePoemstartsoffwithdeathhavingtostopforDickinson-WeslowlydroveHeknewnohasteAndIhadputawayMylaborandmyleisuretoo,ForHisCivilityShewalksawayfromherbusyschedule,suchasworkandevenherleisuretimefordeath-WepassedtheSchool,whereChildrenstroveAtRecess-intheRingW
57、epassedtheFieldsofGazingGrainWepassedtheSettingSunItisthoughtthathere,DickinsonistalkingaboutthedifferentstagesofherlifeCanalsobethoughtofasherseeingherownlifeflashbeforehereyesthechildrenatrecesssymbolizingthebeginningofherlifethefieldsofgrazinggrainreferstoadolescence/adultthesettingsunisthewriter
58、sfinalyears-Orrather-HepassedusTheDewsdrewquiveringandchillForonlyGossamer,myGownMyTippet-onlyTulle-SheisrestatingthatthephasesofherlifehaspassedherbyDescribingbeinginsidetheground;beingcoldAlsotalksaboutwhatsheiswearing(tippet&Tulle)WepausedbeforeaHousethatseemedASwellingoftheGroundTheRoofwasscarce
59、lyvisibleTheCornice-intheGround-Thehouse/swellingofthegroundthatsheisdescribingishergravesiteSincethen-tisCenturiesbuteachFeelsshorterthantheDayIfirstsurmisedtheHorsesHeadsWeretowardEternity-Time(centuries)haspassedsincehercarriageridewithdeathEndswithherrealizingthattowardstheendofherridewithdeaths
60、hefiguredoutthatthiswasnttemporary“HorsesHeadsweretowardeternity”meaningthehorsespullingthecarriageweretakinghersomewhereshecouldntreturnfrom-realizessheisdead;thatthis“ride”isforalleternityDickinsonsLegacyDickinsondiedMay15,1886ofnephritis(kidneydisease).Dickinsonisconsideredinfluentialtomanypoetsoflatergenerations.AlongwithWaltWhitman,DickinsonisoneofthetwogiantsofAmericanpoetryofthe19thcentury.结束语结束语谢谢大家聆听！谢谢大家聆听！62
