Emily-Dickinson-狄金森.ppt

EmilyDickinson(1830-1886),一沙一世界一花一天堂,ComparisonbetweenWhitmanandEmilyp.96,Theydifferinavarietyofways:optimisticVs.pessimistickeepshiseyeonsocietyatlargeVs.explorestheinnerlifeoftheindividual;“national”inhisoutlookVs.“regional”Whitmansendless,all-inclusivecatalogsVs.Dickinsonsconcise,direct,andsimpledictionandsyntax,LifeofEmilyDickinson,I.Biographicalexperiences:Amherst,Mass.;MountHolyokeFemaleSeminary;individualistic,refusetoobservereligiouscustoms;livedasecludedlife,dressedinwhite;twopassions:hergardenandherpoetry.2.Meninherlife:Herfather,alawyer,anoldpuritan,influencedEmilyinnosmallway;BenjaminNewton,alawstudentinherfathersoffice,introducedhertoEmersonandotherliteraryinfluences;CharlesWadsworth,aminister,whomEmilymayhavelovedinherimagination,sparkledherfrenziedpoeticcreativity;ThomasHigginson,theeditorandpublisherofherpoems.,LiterarycreationofEmilyDickinson,Altogether1,775poemsbutonly7gotpublishedwhenalive.Avolumeof115poemsappearedin1890;HarvardUniversityboughtallhercopyrightin1950andCompletePoemsofEmilyDickinsonwaspublishedin1955.,Aboutherpoetry,Aclearillustrationofherreligious-ethicalandpolitical-socialideas.basictoneistragic.Subjects:nature,love,deathandimmortality.Thelargestportionofherpoetryconcernsdeathandimmortality(onethird).Poemsshowthatshewasskepticalandambivalentaboutthepossibilityofachievingimmortality.,II.Reading,DeathPoems1.Mylifeclosedtwicebeforeitsclosep.982.BecauseIcouldnotstopforDeath,Appreciationof“ClosedTwice”,Thespeakerusesthemetaphorofdeathtodescribethetormenttwodeathsofherbelovedpeopleinflicted.Thepainoftheseeventswassosharpthatshefeelsasifherlifeended.Despiteherfeeling,sheis,ofcourse,stillphysicallyalive,sothatshecanexperiencemorethanonelossandthepainofthatloss.Obviously,itscloseattheendofline1referstoherliteraldeath.Dickinsonusesmetaphorsofvision(seeandunveil)forrevelation.Whathappensafterdeath,inimmortality?Thelasttwolinesofthispoempresentapowerfulparadox;partingisbothheavenandhell.Wepartwiththosewhodieand-hopefully-gotoheaven,whichis,ironically,aneternalhappinessforthem;however,wewhoareleftbehindsufferthepain(hell)oftheirdeaths(parting).,BecauseIcouldnotstopforDeath,BecauseIcouldnotstopforDeathHekindlystoppedformeThecarriageheldbutjustourselvesAndImmortality.WeslowlydroveHeknewnohasteAndIhadputawayMylabor,andmyleisuretoo,ForHisCivility,Wepassedtheschool，wherechildrenstroveAtRecessinaringWepassedtheFieldsofGazingGrainWepassedtheSettingSun.OrratherHepassedUsTheDewsdrewquiveringandchillForonlyGossamer,myGownMyTippetonlyTulle,WepausedbeforeahousethatseemedAswellingofthegroundTheroofwasscarcelyvisibleThecorniceintheGroundSincethentiscenturiesandyetFeelsshorterthanthedayIfirstsurmisedthehorsesheadsWeretowardeternity.,因为我不能停下来等待死亡,因为我不能停下来等待死亡，他亲切地停下等我；马车中只有我们俩还有不朽同行。我们慢慢行驶，他知道无需匆忙，而我已经放下我的劳作，和我的懒散，为他的殷勤有礼。,我们经过学校，正是课间休息孩子们正在游戏，喧闹；我们经过注目凝视的谷物的田野，经过西沉的落日。我们在一座房舍前停下,似乎是隆起的地面；几乎看不见屋顶，屋檐只是个土堆。从那时已有几个世纪；但每一个感觉都比那一天还短那是我第一次猜出马头朝向永恒。,Appreciation,Deathispersonifiedasagentlemancallerorsuitor.Butexactlywhatkindofpersonishe?IsDeathakind,politesuitor?Thespeakerreferstohis“kindness”and“civility.”Hedrivesherslowly;isthisanexpressionoftactandconsiderationforher?Ifheisthecourteoussuitor,thenImmortality,whoisalsointhecarriage(orhearse)wouldbetheirchaperon(伴娘）,asilentone.IsDeathactuallyabetrayer,andishiscourtlymanneranillusiontoseduceher?Becauseofhiskindnessinstoppingforher,sheagreestogowithhim(putaway/Mylaborandmyleisuretoo).IsDeathreallycruel?Sheisnotproperlydressedfortheirjourney;sheiswearingonlyagossamergownandtulletippet(gossamer:verylight,thincloth;tulle:athin,finenettingusedforveils,scarves,etc.;tippet:coveringfortheshoulders).IsImmortalityreallyanaccomplicetoDeathsdeception?,Thedrivesymbolizesherleavinglife.Sheprogressesfromchildhood,maturity(thegazinggrainisripe)andthesetting(dying)suntohergrave.Thechildrenarepresentedasactiveintheirleisure(strove).Theimagesofchildrenandgrainsuggestfuturity,thatis,theyhaveafuture;theyalsodepicttheprogressofhumanlife.Isthereacontrastbetweenherpassivityandinactivityinthecoachandtheirenergeticactivity?Thewordpassedisrepeatedfourtimesinstanzasthreeandfour.Theyarepassingbythechildrenandgrain,bothstillpartoflife.Theyarealsopassingoutoftimeintoeternity.Thesunpassesthemasthesundoeseveryonewhoisburied.Withthesunsetting,itbecomesdark,incontrasttothelightoftheprecedingstanzas.Italsobecomesdampandcold(dewgrewquiveringandchill),incontrasttothewarmthoftheprecedingstanza.,Alsotheactivityofstanzathreecontrastswiththeinactivityofthespeakerinstanzasfourandfive.Theypauseatthegrave.Whatistheeffectofdescribingitasahouse?Inthefinalstanza,thespeakerhasmovedintodeath;thelanguagebecomesabstract;inthepreviousstanzastheimagerywasconcreteandspecific.WhatisDickinsonsayingaboutdeathorherknowledgeofdeathwiththischange?Thespeakeronlyguesses(surmised)thattheyareheadingforeternity.Whydoesshehavetoguess?Shehasexperiencedlife,butwhatdoesshespecificallyknowaboutbeingdead?Andwhydidntdeathtellher?Ifeternityistheirgoal,canImmortalitybeapassenger?,LovePoems,WildNightsWildNightsp.99,Appreciation,Atempestisconventionallyconsideredasaturbulentweather,however,ifIweretogetherwithyou,mylover,thewildnightswouldbethegreatestpleasuretome.Ifonehastrueloveinheart,itisjustlikeashipinport.Toaheartinsafety,compassorchart,eventhewindsbecomequiteunnecessary.Thepoet,byalludingthewomanandmaninlovetotheimagesofaboatandaport,verysmartlydeliveredtothereaderstherealpassiondeeplyburiedinherheart.,NaturePoemsAnarrowFellowintheGrass,AnarrowFellowintheGrassOccasionallyrides-YoumayhavemetHim-didyounotHisnoticesuddenis-TheGrassdividesaswithaComb-Aspottedshaftisseen-AndthenitclosesatyourfeetAndopensfurtheron-,HelikesaBoggyAcreAFloortoocoolforCorn-YetwhenaBoy,andBarefoot-ImorethanonceatNoonHavepassed,Ithought,aWhiplashUnbraidingintheSunWhenstoopingtosecureitItwrinkled,andwasgone-,SeveralofNaturesPeopleIknow,andtheyknowme-IfeelforthematransportOfcordiality-ButnevermetthisFellowAttended,oraloneWithoutatighterbreathingAndZeroattheBone-,草丛中一个细长的家伙,草丛中一个细长的家伙偶尔滑过去；你也许遇见过-难道没有？它的通报往往很突然。草丛像被梳子分开，一根带斑点的箭杆出现；等草丛在你的脚边合拢更远处的草丛又分开。,它喜欢沼泽地，那里冷得不生谷物。当我还是个孩子，光着脚，不止一次，在拂晓与之相遇，我以为是鞭梢散开在阳光下，我正要弯腰拾起，它却皱起身子，离开。,我熟悉几种自然的居民它们和我也十分要好；我常常因为它们感受到友好热情；但每逢遇见这个家伙，无论是有伴，还是独自一人，我总是立刻呼吸发紧，骨头冷到零度。,“ANarrowFellowintheGrass”isbelievedtohavebeenwrittenin1865.Ayearlater,itwaspublishedanonymouslyunderthetitle“TheSnake”inajournalcalledtheSpringfieldRepublican.ThenaturalworldisportrayedvividlythroughoutDickinsonswork,andthispoemcloselyexaminesoneofnaturesmostinfamouscreatures,thesnake.,Thepoembeginswithadescriptionoftheshockofencounteringasnake.Althoughthepoemsspeakerneveractuallyusestheword“snake,”thesceneisfamiliarenoughformostreaderstorelatetoit.Thesnakeisalmostmagicalasitmoves,ghost-like,throughthetallgrass.Thespeakerseesonlyflashesofthesnakesscalyskin,butthereisevidenceofitspresenceasthegrassseparatesinitswake.,Thepoemgoesontoillustratehowsnakescanbedeceptive.Theword“barefoot”makesthespeakerseemevenmorevulnerabletotheserpentspotentialthreat.Mistaking