艾米莉·狄金森-的人生簡介及其作品課件

EmilyDickinson

(1830-1886)

AReclusivePoetofthe19thCenturyEmilyDickinson

(1830-1881EmilyDickinsonTheBelleofAmherstTheNunofAmherstEmilyDickinsonTheBelleofAm2EmilyElizabethDickinsonwasborninAmherst,

asmalltowninthestateofMassachusetts.

onDecember10,1830.ShewasborntoanextremelyReligious,puritanicalfamily.

Herfatherwasaverywealthy,successfulandprominentlawyerandpolitician.Butshewasverypassiveaboutanysocialandpoliticalactivities.DickinsonwaseducatedatAmherstAcademyandMountHolyokeFemaleSeminaryinSouthHadley,MassachusettsEmilyDickinson:LifeFactsEmilyElizabethDickinsonwas3WenttoDCwithherfather,acongressman,becauseshehadfalleninlovewithamarriedlawyer,whosoondiedofTB.Therefellinlovewithanothermarriedman,aminister.Aboutthistimeshewrote,“Isingastheboydoesbytheburyingground,becauseIamafraid.”UnrequitedLoveWenttoDCwithherfather,a4

becauseofthefailureofherloveaffairs,shebegantoisolateherselffromothersandlivedasolitarylife.Theonlycontactshehadwithfamilywasinwhimsical,epigrammaticletters.Sheoftenloweredsnacksandtreatsinbasketstoneighborhoodchildrenfromherwindow,carefulnevertoletthemseeherface.Shealmostalwaysworewhite.Dickinsonseldomleftherhouseandvisitorswerescarce.Allthroughherlife,shedidnotgetmarriedandlivedaveryquiet,lonelylifeinavillage.AWithdrawnLife

AWithdrawnLife5Inherfamilylibrary,shehadaccesstomanyreligiousworksaswellasbooksbyEmerson,othertranscendentalistsandcurrentmagazinesabout20,begantowritepoemsThefirstpersontonoticeDickinson’stalentwasThomasWentworthHigginson.Higginsonbecamealifelongcorrespondentandamentor.Dickinsonhadcontactwithfewpeople,butonewasReverendCharlesWadsworth.DickinsonalsobefriendednovelistHelenJackson.

MentorsandFellowPoetsInherfamilylibrary,shehad6HigginsonadvisedDickinsonnottogetherpoetrypublishedbecauseofherviolationofcontemporaryliteraryconvention.HelenJacksontriedtoconvincehertogetherworkpublishedbutherrequestswereunsuccessful.SheneverapprovedofpublishingherpoemsandrequestedhersisterLaviniatodestroyallofherpomesBeforeherdeath,onlysevenpoemswerepublished.Butafterherdeath,hersisterfoundthatsheleftalargenumberofpoems,altogether,itwasabout1800poems.AfterDickinson’sdeath,hersister,Lavina,hadEmily’spoetrypublishedandthenburnttheoriginalcopies,becausethatwashersister’swish.ToPublishorNottoPublishHigginsonadvisedDickinsonno7EmilyDickinsonEmilyDickinson8艾米莉·狄金森-的人生簡介及其作品ppt課件9TheHomestead1813TheHomestead181310TheHomesteadTheHomestead11RepaintedHomesteadRepaintedHomestead12TheDickinsonHomesteadinAmherst,Massachusetts

(bedroom)TheDickinsonHomesteadinAmh13Dickinson’sRoomDickinson’sRoom14Dickinson’sRoomDickinson’sRoom15TheDickinsonHomesteadinAmherst,Massachusetts

(Dress)TheDickinsonHomesteadinAmh16艾米莉·狄金森-的人生簡介及其作品ppt課件17艾米莉·狄金森-的人生簡介及其作品ppt課件18NewlyDiscoveredPhotoNewlyDiscoveredPhoto19HerGraveHerGrave20WaltWhitmanandEmilyDickinsonWaltWhitmanandEmilyDickinsonweretwomajorpoetsinlate19thcentury.Thetwoareofentirelydifferentvisions,stylesandpersonalities.Whitman,inhispoems,heexpressedhisstronglovetowardhiscountry,hisnationandhispeople,heshowedgreatoptimismandconfidencetowardsthefutureofAmerica.WaltWhitmanandEmilyDickins21BecauseEmilyDickinsonwithdrawherselffromthesocietyandlivedlikeahermit,soanypoliticalandsocialthingsdidnotinfluenceher.shejustfocusedherattentionontheinnerworld.Herthemesrangedfromlove,death,religion,nature,immortality,painandbeauty,especiallyabouttheexplorationofdeath.Shewasapessimisticwriter.ButposthumouslythegreatnessofbothwasfirmlyestablishedandtheyprovedtobethegenuineprecursorstothemostseriousmodernAmericanpoetry.BecauseEmilyDickinsonwithd22I’mNobodyPoemsApprehensionI’mNobodyPoemsApprehension23I’mNobody!I'mNobody!Whoareyou?Areyou-Nobody-too?Thenthere'sapairofus!Don'ttell!they'dbanishus-youknow!我是無名之輩，你是誰？你,也是,無名之輩？這就有了我們一對！可是別聲張！你知道，他們會大肆張揚！I’mNobody!I'mNobody!Whoare24I’mNobody!Howdreary-tobe-Somebody!Howpublic-likeaFrog-Totellyourname-thelivelongJuneToanadmiringBog!做個，顯要人物，好不無聊！像個青蛙，向仰慕的泥沼——在整個六月，把個人的姓名聒噪——何等招搖！（江楓譯）I’mNobody!Howdreary-tobe-So251.Whoarethe“they”inline4?The“admiringbog”inline8?

2.Doyouprefersolitudetopubliclife?Giveyourreasons.

Questions1.Whoarethe“they”inline26Metaphor/SimileMetaphor:Acomparison.Example:“Afrogisacelebrity.”Simile:Acomparisonusinglikeoras.Example:

“Howpublic—likeafrog…”Metaphor/SimileMetaphor:Acom27

我是無名之輩，

我是無名之輩，你是誰？

你也是無名之輩？

那么，咱倆是一對——且莫聲張！

你懂嘛，他們容不得咱倆。

做個名人多無聊！

象青蛙——到處招搖——

向一洼仰慕的泥塘

把自己的大名整天宣揚?。?/p>

（汪義群譯孫梁校；《英美名詩一百首》，北京：中國對外翻譯出版公司，1987）

Translation我是無名之輩，

我是無名之輩，你是誰？

你28IheardaFlybuzz—whenIdied—IheardaFlybuzz—whenIdied—TheStillnessintheRoomWasliketheStillnessintheAir—BetweentheHeavesofStorm—

TheEyesaround—hadwrungthemdry—AndBreathsweregatheringfirmForthatlastOnset—whentheKingBewitnessed—intheRoom—(2)

IwilledmyKeepsakes—SignedawayWhatportionofmebeAssignable—andthenitwasThereinterposedaFly—

WithBlue—uncertainstumblingBuzz—Betweenthelight—andme—AndthentheWindowsfailed—andthen(3)Icouldnotseetosee—

29Inthisfirststanza,thesceneofadeathbedisset.Thesecondstanzadiscussesthestateofmindofthosewaitingbythedeathbedofthespeaker.Theyhaveobviouslybeencryingbythesuggestionthattheireyeshad"wrungthemdry.”Whatdoesthe“king”referto?ThekingmaybeGod,Christ,ordeath;TheKingisprobablyGodinthiscontextandtheyareallawaitinghisenteringtheroomtotakethesoulofthespeaker.What’sthemeaningof“l(fā)astonset"?"Lastonset"isanoxymoron;"onset"meansabeginningand"last"meansanend.ForChristians,deathisthebeginningofeternallife.Inthisfirststanza,thescen30ThethirdstanzaHowtounderstand“IwilledmyKeepsakes”?Thesekeepsakescouldbematerialgoodsthatthespeakercollectedduringlife.Therewillbenouseforthesegoodsinheavensothislinediscussesthetraditionofwillingawaypropertyandmaterialbelonging.Thefly"interposed“whichmeanstocomebetweenorinterveneThevisionofdeathitpresentsishorrifying,evengruesome.

thecentralimageisthefly

Whatdodoestheflysuggest?Thethirdstanza31艾米莉·狄金森-的人生簡介及其作品ppt課件32

QuestionsfordiscussionFliesfeedoncarrion(deadflesh).Doesthisassociationsuggestanythingaboutthedyingwoman'svisionofdeath?ortheobservers'vision?Isseeingthefuturedeathasphysicaldecayonly?anyrealitiesofdeath--smell,decay?Doestheflyindicatesthatdeathhasnospiritualsignificance,thatthereisnoeternityorimmortalityforus?Theuncertaintyoftheflycouldbesymbolicofthespeaker'sownunsurefeelingsaboutdeath.Questionsfor33PoeticFormtrimeterandtetrameteriambiclines(fourstressesinthefirstandthirdlinesofeachstanza,threeinthesecondandfourth,apatternDickinsonfollowsathermostformal);rhythmicinsertionofthelongdashtointerruptthemeter;rhymescheme:abcb.Interestingly,alltherhymesbeforethefinalstanzaarehalf-rhymes(Room/Storm,firm/Room)whileonlytherhymeinthefinalstanzaisafullrhyme(me/see).Dickinsonusesthistechniquetobuildtension;asenseoftruecompletioncomesonlywiththespeaker'sdeath.PoeticFormtrimeterandtetr34BecauseIcouldnotstopforDeath—

BecauseIcouldnotstopforDeath—Hekindlystoppedforme---TheCarriageheldbutjustOurselves—AndImmortality.

Weslowlydrove—HeknewnohasteAndIhadputawayMylaborandmyleisuretoo,ForHisCivility—

WepassedtheSchool,whereChildrenstroveAtRecess—intheRing—WepassedtheFieldsofGazingGrain---WepassedtheSettingSun—BecauseIcouldnotstopforD35

Orrather—HepassedUs—TheDewsdrewquiveringandchill—ForonlyGossamer,myGown—MyTippet—onlyTulle---

WepausedbeforeaHousethatseemedASwellingoftheGround—TheRoofwasscarcelyvisible—TheCornice—intheGround—

Sincethen—tisCenturies—andyetFeelsshorterthantheDayIfirstsurmisedtheHorses’HeadsWeretowardEternity—Orrather—HepassedUs—36ThefirststanzaTheopeningofthepoemhasanunderstatedcasualnessoftone:Inthefirstlinethepersonaistoobusyandtoocontentedasshelivesherlifetobothtostopforthegentleman’scall;but,throughhiskindnessandconsideration,sheiscompelledatlasttogowithhim.Inthethirdline,thedramaticsceneissetinthecarriage.Thesituationisoneofintimacy----“thecarriageheldbutjustourselves.”Hehascalledonherasabeau;and,likeatruegentleman,hehasincludedachaperon,“Immortality.”Thefirststanza37艾米莉·狄金森-的人生簡介及其作品ppt課件38Thesecondstanza

Thefirstlineofthesecondstanzaindicatesthepeacefulnessandpleasantnesssurroundinganappointmentwithabeau.Hedrivesleisurely,withouthaste----ironically,asiftheyhadallthetimeintheworld.ShewhocouldnotstopforDeathinthefirststanzaiscompletelycaptivatedbyhiminthesecondandthirdlinesofthisstanza.Heissuchanartfulcharmerthatsheneedsneitherlabornorleisure,forinhis“Civility”hehastakencareofeverything.Thesecondstanza

Thefirstli39Thethirdstanza

Bythethirdstanza,theyarenearingtheedgeoftown.Thethreeelementssummarizetheprogressandpassageofalifetime.Childrenstroveontheplayground-------youththeFieldsofGazingGrain----adulthoodThesettingsun-----oldageAscriticCharlesR.Andersondescribedinthem,“Theseeminglydisparatepartsofthisarefusedintoavividreenactmentofthemortalexperience.Itincludesthethreestatesofyouth,maturity,andage,thecycleofdayfrommorningtoevening,andevenasuggestionofseasonalprogressionfromspringthroughripeningtodecline.”Thethirdstanza

Bythethird40TheFourthstanza

theladyisgettingclosertodeath;for“TheDews”nowgrow“quiveringandchill”uponherskin,thetraditionalassociationsofthecoldnessofdeath.Inthethirdline,however,theladyisstillholdingontolifebyofferingarationalexplanationaboutherchill.Sheisnotreallydying,sheseemstosay:sheiscoldsimplybecausehergownisthin.Butshecannotescapeherdeath,forsherevealseveninhergarmentsthedyinginfluence:hergownisgossamer,asubstanceassociatedwithspiritsandotherworldliness,andhertippetmadeoflaceissomethingonemightexpecttoseearoundtheshouldersofadeceasedwomanlyinginrepose.

TheFourthstanza

theladyis41Thefifthstanza

Inthefifthstanza,theyhavearrivedatacountrycemetery.TheHouseistheHouseofdeath,afreshgrave,sketchedonlywithafewdetails.Theroofisasmalltombstone,andthecornice,themoldingaroundacoffin’slid,isalreadyplaced“intheGround.”Theladyisalonenow,hergentlemanfriendhasvanishedunexplained.Thefifthstanza

Inthefifth42Thesixthstanza

Inthesixthstanzathewords“firstsurmised”contributeanoteofironicsurprise.Allalong,then,shedidnotrealizewhereherkind,intimate,slowdriving,civilsuitorwastakingher.Itwasnotuntilaftertheschoolchildren,the“GazingGrain,”the“SettingSun,”andthe“SwellingoftheGround”thatshebegantorealizewhereshewasheading.Shehad,therefore,apparentlybeentricked,seduced,andthenabandoned.Intheseterms:thenDickinsonisbeingterriblyironicthroughoutthepoem.Sheissaying“kindly,”“slowlydrove,”and“Civility”inretrospectthroughclenchedteeth.Thesixthstanza

Inthesixth43TheConclusionInitsdepictionofDeathononehandasthecourtlysuitorandontheotherasthefraudulentseducer,thepoemreflectsabasicambiguityaboutdeathandimmortality.Isdeathareleasefromalifetimeofworkandsuffering?Isitthegatewaytoalastingpeaceinparadise?Orisitsimplyacold,mindlessannihilation?TheConclusion44IDiedForBeautyButWasScarceIdiedforbeautybutwasscarce

Adjustedinthetomb,

Whenonewhodiedfortruthwaslain

Inanadjoiningroom.HequestionedsoftlywhyIfailed?

"Forbeauty,"Ireplied.

"AndIfortruth,thetwoareone;

Webrethrenare,"hesaid.Andso,askinsmenmetanight,

Wetalkedbetweentherooms,

Untilthemosshadreachedourlips,

Andcoveredupournames.IDiedForBeautyButWasScar45Thespeaker:diedforBeautyamanlaidinatombnexttoher:diedforTruth.Whenthetwosoftlytoldeachotherwhytheydied,themandeclaredthatTruthandBeautyarethesamesoheandthespeakerwere"Brethren.""andtalkedasKinsmen"betweentheirtombsuntilthemossreachedtheirlipsandcoveredupthenamesontheirtombstones.Thespeaker:diedforBeauty46bizarre,allegoricaldeathfantasyitsmannerofpresentationbelongsuniquelytoDickinson."BeautyisTruth,TruthBeauty"-----Keats,OdeonaGrecianUrn

themacabrephysicalityofdeath,thehighidealismofmartyrdom("IdiedforBeauty...OnewhodiedforTruth")acertainkindofromanticyearningcombinedwithlongingforPlatoniccompanionship("Andso,asKinsmen,metaNight--"),andanoptimismabouttheafterlife(itwouldbenicetohaveafriend)withterroraboutthefactofdeath(itwouldbehorribletolieinthecemeteryhavingaconversationthroughthewallsofatomb).bizarre,allegoricaldeathfan47Asthepoemprogresses,thehighidealismandyearningforcompanionship

graduallygivewayto

mute,colddeath,asthemosscreepsupthespeaker'scorpseandherheadstone,obliteratingbothhercapacitytospeak(coveringherlips)andheridentity(coveringhername).Theultimateeffectofthispoemistoshowthateveryaspectofhumanlife--ideals,humanfeelings,identityitself--iserasedbydeath.Butbymakingtheerasuregradual--somethingtobe"adjusted"tointhetomb--andbyportrayingaspeakerwhoisuntroubledbyherowngrimstate,Dickinsoncreatesascenethatis,byturns,grotesqueandcompelling,frighteningandcomforting.Asthepoemprogresses,thehi48PoeticformsThispoemfollowsmanyofDickinson'stypicalformalpatterns:--theABCBrhymescheme,therhythmicuseofthedashtointerrupttheflow--buthasamoreregularmeterthefirstandthirdlinesineachstanzaareiambictetrameter,whilethesecondandfourthlinesareiambictrimeter,creatingafour-three-four-threestresspatternineachstanza.PoeticformsThispoemfollows49殉美/我為美死去我為美死去，但是還不曾

安息在我的墓里，

又有個為真理而死去的人

來躺在我的隔壁。

他悄悄地問我為何以身殉？

“為了美，”我說。

“而我為真理，兩者不分家；

我們是兄弟兩個。”

于是象親戚在夜間相遇，

我們便隔墻談天，

直到青苔爬到了唇際，

將我們的名字遮掩。

殉美/我為美死去我為美死去，但是還不曾

安息在我的墓里50《我為美而死》我為美死去，卻還不曾

在墓中安息，

又來一位為真理而死的人

棲身我的隔壁。他悄言問我何以逝去

“為了美?！蔽一卮?。

“而我為真理。真與美是一體；

我們是兄弟?！本瓦@樣，像親人在夜里相遇

我們隔墻傾談

直到蒼苔爬至我們的唇際

掩沒掉，我們的名字譯/青裳《我為美而死》我為美死去，卻還不曾

在墓中安息，

又來一位為51ThemesDickinsonoftenbroughtdazzlingoriginalitytooverwroughttopics.LifeLoveNatureTimeandEternityDeathandMourningReligionandFaithIsolationandDepressionPoetryandLanguageThemesDickinsonoftenbrought52StyleA:

Herpoemshavenotitles,hencethefirstlineofeachpoemisalwaysquotedasthetitleofeachpoem.B:particularstresspattern:dash“—”C:Capitallettersasameansofemphasis;D:Language:brief,direct,andplain;E:Poem:short,alwaysonoriginalimagesorsymbolsF:Conventionalmeters,iambictetrameter,off-rhymes.G:Shortpoeticlines,condensedbyusingintensemetaphorsandbyextensiveuseofellipsis.StyleA:Herpoemshavenoti53H:Regularmeter—hymnmeterandballadmeter,alsoknownasCommonmeterQuatrainsAlternatingtetrameterandtrimeterOften1stand3rdlinesrhyme,2ndand4thlinesrhymeiniambicpentameterVisualandaudibleeffects,greatimagination,sincereemotions.I:Herpoemstendtobepersonalandmeditative(e.g.“BecauseIcouldnotstopforDeath”).H:Regularmeter—hymnmeteran54ThisIsMyLetterToTheWorldThisismylettertotheWorldThatneverwrotetoMe—ThesimpleNewsthatNaturetold—WithtenderMajestyHerMessageiscommittedToHandsIcannotsee—ForloveofHer—Sweet—countrymen—Judgetenderly—ofMeThisIsMyLetterToTheWorld55這是我給世界的信

這是我給世界的信

因為它從來不寫信給我——

那是溫柔崇高的存在

自然在把簡單的信息訴說

她的信是交付給

一雙我無法看見的手——

因為她的愛——親切的同鄉(xiāng)

——請溫柔地評判我

這是我給世界的信

這是我給世56OnPoetryShethoughtthatpoetryshouldbepowerfulandtouching.Theinspirationo