Emily Dickenson诗歌赏析及解读
Emily Dickinson诗歌表现出来的女性意识
Emily Dickinson诗歌--女性意识觉醒的标志古往今来，妇女的地位一直受到男权的压迫。
生活在19世纪70、80年代的美国女性被认为是男性的附庸，作为社会的个体她们并没有自己独立的思想及灵魂，而是以家庭、丈夫为中心。
这不经令人想起中国古代社会要求妇女“三从四德”“三纲五常”的男权主义思想。
然而，随着社会的发展，人类的思想得到解放，女性意识在全球各个国家相继萌芽。
Emily Dickinson作为美国女性的代表，在诗歌中直言不讳，违背传统，表达了自己对男权社会的不满。
她的诗歌在内容以及用词方面都体现出女性意识觉醒的一面。
其中诗歌内容方面，这种不满的控诉主要体现在婚恋观、宗教观中。
而诗歌形式主要体现在选词和诗节的运用方面。
1诗歌内容1.1 婚恋观Emily寻求精神自由平等，试图摆脱社会约束。
在她生活的年代，若一名女子对他人有爱慕之心，她是不会直言不讳地表达出来的，因为社会传统要求她们学会控制自己的情感。
她们没有表达爱的勇气，只能被动地接受。
而Emily不顾世俗的看法，勇敢地倾诉自己心中的爱恋，主动去爱。
在why do I love you, sir?一诗中"Why do I love" You, Sir? Because— The Wind does not require the Grass To answer—Wherefore when He pass She cannot keep Her place…表达出男人、女人都是社会构成的主体，在恋爱关系中处于平等地位。
她虽为一名女子，可是同样有表达爱情的权利，因此她把行动付诸于实践。
Emily思想独立，敢于突破。
在她所处的时代，婚姻中的大多数女子都是以家庭为中心，以照顾丈夫和孩子为己任，没有自己的人生追求。
她在I’m a wife 中用反讽的手法将矛头直指那些安于现状，麻木满足的已婚妇女。
她们逆来顺受，面对社会角色的分配没有自己独立的想法。
Emily_Dickinson诗歌赏析
①I’m Nobody!我是无名之辈－Emily DickinsonI’m nobody! Who are you?我是无名之辈！你是谁？Are you nobody, too?你也是无名之辈吗？Then there’s a pair of us----don’t tell!那么我们就是一对儿了！千万不要透露出去They’d banish us, you know!不然我们都会被他们驱逐，你知道。
How dreary to be somebody!做一个某某，是多么沉闷无聊How public, like a frog众人像是青蛙To tell your name the livelong day整日地把你谈论啊To an admiring bog!对着他们倾慕的泥沼我是无名之辈艾米莉·狄金森我是无名之辈，你是谁？你，也是，无名之辈？这就凑成一双，别声张！你知道，他们会大肆张扬！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！This poem is Dickinson’s most famous and most defense of the kind of spiritual privacy she favored, implying that to be a Nobody is a luxury incomprehensible to a dreary somebody—for they are too busy keeping their names in circulation. But to be somebody is not as fancy as it seems to be.Emily DickinsonAs you probably noticed when you read this poem, none of the themes that I discussed in the Overview of Dickinson applies to this poem. My list was not meant to cover every topic Dickinson wrote on, nor does every poem she wrote fit neatly into a category.Dickinson adopts the persona of a child who is open, naive, and innocent. However, are the questions asked and the final statement made by this poem naive? If they are not, then the poem is ironic because of the discrepancy between the persona's understanding and view and those of Dickinson and the reader. Under the guise of the child's accepting society's values, is Dickinson really rejecting those values?Is Dickinson suggesting that the true somebody is really the "nobody"? The child-speaker welcomes the person who honestly identifies herself and who has a true identity. These qualities make that person "nobody" in society's eyes. To be "somebody" is to have status in society; society, the majority, excludes or rejects those who lack status or are "nobody"--that is, "they'd banish us" for being nobody.In stanza 2, the child-speaker rejects the role of "somebody" ("How dreary"). The frog comparison depicts "somebody" as self-important and constantly self-promoting. She also shows the false values of a society (the "admiring bog") which approves the frog-somebody. Does the word "bog" (it means wet, spongy ground) have positive or negative connotations? What qualities are associated with the sounds a frog makes (croaking)?Is there satire in this poem?Some readers, who are modest and self-effacing or who lack confidence, feel validated by this poem. Why?②To Make a Prairie…To make a prairieIt takes a clover and one bee,One clover and a bee,And revery.Revery alone will do,If bees are few.去造一个草原张祈试译去造一个草原需要一株三叶草和一只蜜蜂，一株三叶草和一只蜜蜂，还有梦。
the soul selects her own society赏析
《The Soul Selects Her Society》赏析《The Soul Selects Her Society》是英国诗人 Emily Dickinson 创作的一首著名诗歌，该诗通过描述灵魂选择自己的伴侣，表达了对自由、独立和个性的追求。
本文将对该诗进行赏析，探讨其主题、意象和语言风格。
《The Soul Selects Her Society》是 Emily Dickinson 创作的一首经典诗歌，该诗以灵魂选择自己的伴侣为主题，表达了对自由、独立和个性的追求。
在这首诗中，Dickinson 通过运用生动的意象和深刻的语言，使读者感受到灵魂选择的过程和意义。
首先，从主题来看，《The Soul Selects Her Society》探讨了灵魂在选择伴侣时所追求的自由和独立。
诗中，灵魂被描绘成一个自由、独立的个体，她有权选择自己的伴侣，而不是被他人安排。
这种对自由和独立的追求，反映了 Dickinson 本人对自由和个性的追求，也表达了当时美国社会中人们对自由和独立的渴望。
其次，从意象来看，《The Soul Selects Her Society》中运用了大量的比喻和隐喻，使得诗歌形象生动。
例如，“The soul selects her society——/Of course——”，这里的“soul”和“society”之间通过“selects”建立了一种主动的关系，暗示了灵魂在选择伴侣时的自主性。
再如，“The atom of a flower——/Is as a star——”，通过将花与星进行比喻，表现了灵魂在选择伴侣时所感受到的美好和幸福。
最后，从语言来看，《The Soul Selects Her Society》采用了Dickinson 典型的语言风格，即简短、深刻、富有哲思。
整首诗只有两句，但却充满了深刻的哲理，令人深思。
此外，Dickinson 还运用了破折号和省略号等语法符号，使得诗歌在语言上更加简练、精炼。
艾米莉·狄金森《我为美而死》及诗歌中死亡意象
艾米莉·狄金森《我为美而死》及诗歌中死亡意象艾米莉·狄金森（EmilyDickinson，1830—1886），美国女诗人。
出生于律师家庭，青少年时代生活单调而平静，受正规宗教教育。
20岁开始写诗，早期的诗大都已散失。
从25岁起弃绝社交，女尼似的闭门不出，在孤独中埋头写诗30年，在文学史上被称为“阿默斯特的女尼”，留下诗稿1775首，生前只发表过7首，其余的都是在死后才出版，并被世人所知，名气极大。
狄更生的诗主要写生活情趣，自然、生命、信仰、友谊、爱情。
诗风凝练婉约、意向清新，描绘真切、精微，思想深沉、凝聚力强，极富独创性，被视为20世纪现代主义诗歌的先驱之一。
I Died for BeautyI died for beauty－－but was scarceAdjusted in the TombWhen one who died for Truth，was lainIn the adjoining Room－－He questioned softly“Why I failed?”“For beauty，”I replied－－“And I－－for Truth－－Themself are OneWe Brethren，are，”He said－－And so，as Kinsmen，met a Night－－We talked between the Rooms－－Until the Moss had reached our lips－－And covered up－－our names－－我为美而死去我为美而死——对坟墓几乎，还不适应一个殉真理的烈士就成了我的近邻——他轻声问我“为什么倒下？”我回答他：“为了美”——他说：“我为真理，真与美——是一体，我们是兄弟”——就这样，像亲人，黑夜相逢——我们，隔着房间谈心——直到苍苔长上我们的嘴唇——覆盖掉，我们的姓名——《我为美而死》是女诗人对美与真理关系进行探讨的一首诗。
抽象 感性 跳跃——评爱米莉·迪金森诗歌中的意象
抽象 感性 跳跃———评爱米莉迪金森诗歌中的意象吴 娜爱米莉迪金森(Emily Dickinson1830～1886),美国文学史上一朵灿烂的奇葩。
在她那1700多首诗歌里,无论是《生命》之歌,还是《自然》之情;不管是《爱情》之颂,还是《时间与永恒》之叹;她都写得那样情真意切,别具风味。
她的诗只有时间,没有时代;只有空间,没有世界;只有上帝和死神,没有人群。
她似乎生活在远离世俗的纯净真空世界里。
南北战争,欧洲风云,文坛论战,一切都不曾进入她思想的花园。
她终日沉醉于形而上学的冥想和充满自潮意味的内省;占据她心灵的是死亡和那死后的虚无世界。
迪金森的诗是心灵的产物,她把自己的感情全部倾注到诗中,恰如她自己所言:“我的诗太靠近我的心灵”。
在形式上,迪金森的技巧寓丰富于简陋。
其句式往往打破常规文法,韵脚常常蹒跚不稳,音步时时零乱不堪。
她的思想放纵驰骋,她的表达自由潇洒,以致她的诗从来不受格律的约束。
难怪华德(A.C.Ward)评价说惠特曼和迪金森“写起诗来,似乎诗坛上史无前人”。
爱米莉迪金森被誉为“自萨浮以来最伟大的女诗人”、“最神秘的优秀诗人”和“一位早生的现代诗人”。
英美的现代诗人深受她的影响,尤其她那种打破传统格律形式的简洁象征手法,以及充满玄想和怪喻的风格。
意象派将她视为保姆。
在她的诗中,一切都是充满活力的,花草和虫鸟固然各具多姿的生命,然而,即使是一片阴影,一道闪光,一片沉寂,甚至于一个幻想,一丝情调,一种感觉,都充满十分奇异的活力。
即使上帝,也不再是一个令人敬畏的严肃长者,而是她调侃、争论和撒娇的对象。
她把上帝称为“我们的老邻居”、“有名的教士”、“窃贼”、“银行家”和“天父”。
她随意挥霍自己的意象,读者每每被她那种既怪诞又新鲜的比喻所激怒、困惑,而最终入迷。
一辆火车会“停在它马厩的门口”;报纸会“像松鼠一样地赛跑”;地平线会“举步远行”;霜会变成一位“金发碧眼的刺客”;一种无边的广阔会“像一位邻居来到”。
Emily Dickinson诗歌详细鉴赏
Writing style
Rhythm: aabc, dede Soliloquy（独白） form Comparison: nobody and somebody Satire/ironic tone—how dreary to be somebody! Simile: somebody—frog the people who admire the big man
2.Major works
• • • • • • • • • • • • Because I Could Not Stop for Death 《因为我不能等待死神》 I Heard a Fly Buzz—When I Died 《我死时听到了苍蝇的嗡嗡声》 My life Closed Twice before Its Closed 《我从未失掉这么多但有两次》 I„m Nobody 《我是无名之辈》 I Died For Beauty 《我为美而死》 I Like to See It Lap the Miles 《我愿看它穿千里》
狄金森死亡诗赏析
狄金森死亡诗赏析本文解读了美国女诗人艾米丽·狄金森死亡诗歌的主题。
第一，作者将肉体死亡细致描写为安详的暂时歇息；第二，诗人从不同的角度写出死亡者超然的临终感受；第三，狄金森的悼亡诗阐述了人生生与死的大道理。
标签：狄金森；死亡；诗歌死亡，像爱情一样，是古今中外文人墨客笔下一个经久不衰的主题。
但是，将这一主题挖掘得如此透彻如此淋漓尽致的，却非美国女诗人艾米丽·狄金森莫属。
单从数量上而言，她一生所作的1775首诗歌作品中，涉及到死亡主题的不下五、六百首，几乎占了其总创作量的三分之一。
康拉德·艾肯曾如此评价狄金森：“死亡和死后的问题困扰着她。
她仿佛时时都在思考这个问题——她一生都在经历死亡，日日都在探索死亡。
”[1]然而，狄金森的死亡诗不仅数量众多，而且风格独特，一扫以往死亡诗作品中的悲伤之情，反而以从容冷静甚至超脱淡然的姿态把玩这个令人望而生畏的话题，凭借着细致的观察力与深入的洞察力，以多维的视角探索死亡主题。
依据狄金森诗集与书信集编辑托马斯·约翰逊的观点，她的死亡诗作品大致可分为三种类型。
一种是对肉体死亡的细致描写，一种是通过想象将死亡进行拟人化处理，还有一些则是悼亡诗。
[2]鉴于狄金森死亡诗篇庞大的数量，要想对这些作品进行全景式的描述几乎是不可能的，因此，我们不妨以约翰逊的分类为线索，选取各类中代表性的诗篇进行赏析，以期能够领略这座巨大诗歌宝库中的精华。
一第一类诗歌往往以细致的笔触描摹死亡来临时或来临后死者的模样。
例如“她躺着，仿佛在做游戏”。
她躺着，仿佛在做游戏—她的生命已经离去—打算回来—却不会很快—她欢快的双臂，半垂—仿佛是暂时歇息—一瞬间，忘记了—就要开始的把戏—这首诗描写了一个小女孩之死。
在这场本应充满痛苦的死亡中，我们却仿佛是看到憨态可掬的孩童游戏间歇忽然忘记了自己正在玩着的游戏，而忍俊不禁。
她曾经“会闪烁的眼睛” 仿佛还是那么调皮，“还在用眼色/ 向你，逗趣”。
对死亡的沉思——英诗because i could not stop for death的赏析
对死亡的沉思——英诗because i could not stop for death的赏析
英国诗人Emily Dickinson的作品《Because I Could Not Stop for Death》中，把死亡描述
成一场温柔的接送，强调了人生的安宁，而且暗喻归还的挚爱永远不可辜负。
该诗以以好友的视角，写下了死亡之旅的形容。
以“停驻”描写出死亡的慢条斯理，并在第二句中以“神秘的朋友”的称呼叙述死亡对人们的爱护。
继而，诗人以“我们开着舒适的车，如同无忧无虑的年轻人”来展示死亡乘坐者自然而安宁的心态，解释了死亡是一种安全的
邀约，而不是恐惧与痛苦。
然而，死亡旅程中，诗人发现了太多景象，揭示了生命的本质。
死亡与生活的对比，以及诗人更新的死亡认知，使其认识到一切事物都是无常，终将被死亡所夺去。
“我们来到一座桥，看到生命在水里游弋，生命本身就是一次安静的旅程，在这里可以感
受到淡淡的惆怅，更可以感受到无限的宽慰，生命也是一种宲客者游览的精彩之旅，它教给我们如何去活，又如何去死。
最后，死亡车只前往诗人家中，没有继续往前，代表了死亡已经向大家传递出来，死亡步履并没有太多的急切，只是渐渐的将人们从物质的生命中带走去。
《Because I Could Not Stop for Death》这首诗，是Emily Dickinson时代不可忽视的独特伶作，巧妙的表达出淋漓尽致的死亡凝思，勾勒出一幅胜过千言万语的沉思境界。
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Because I could not stop for Death, He kindly stopped for me;The carriage held but just ourselves And Immortality.We slowly drove, he knew no haste, And I had put awayMy labor, and my leisure too,For his civility.We passed the school, where children stroveAt recess, in the ring;We passed the fields of gazing grain, We passed the setting sun.Or rather, he passed us;The dews grew quivering and chill,For only gossamer my gown,My tippet only tulle.We paused before a house that seemed A swelling of the ground;The roof was scarcely visible,The cornice but a mound.Since then 'tis centuries, and yet each Feels shorter than the dayI first surmised the horses' heads Were toward eternity. 我无暇去会死亡爱米莉·伊丽莎白·狄更生我无暇去会死亡，死神便和善地接我前往，我只好放下劳作与闲暇，无法拒绝他的殷勤礼让。
我们一起坐上马车，还有永生陪伴身旁，我们驱车缓缓前行，他悠然自得不慌不忙。
我们经过校园，娱乐的孩子挤满操场，我们经过田野，麦穗张望，我们经过西沉的太阳。
或许该是夕阳经过我们吧，露珠抖动，略显苍凉，只为我的面纱、斗篷，还有我薄丝织就的衣裳。
我们经过一个隆起的土堆，那似乎是一座住房，屋顶几乎无法看见，屋架也在地下埋藏。
感觉比一天还要短暂，虽然自此千万年岁月漫长，我初次产生这种猜测：永恒正是马头所向。
Type of Work“Because I Could Not Stop for Death” is a lyric poem on the theme of death. The contains six stanzas, each with four lines. A four-line stanza is called a quatrain. The poem was first published in 1890 in Poems, Series 1, a collection of Miss Dickinson's poems that was edited by two of her friends, Mabel Loomis Todd and Thomas Wentworth Higginson. The editors titled the poem "Chariot."Commentary and Theme“Because I Could Not Stop for Death” reveals Emily Dickinson’s calm acceptance of death. It is surprising that she presents the experience as being no more frightening than receiving a gentleman caller—in this case, her fiancé (Death personified).The journey to the grave begins in Stanza 1, when Death comes calling in a carriage in which Immortality is also a passenger. As the trip continues in Stanza 2, the carriage trundles along at an easy, unhurried pace, perhaps suggesting that death has arrived in the form of a disease or debility that takes its time to kill. Then, in Stanza 3, the author appears to review the stages of her life: childhood (the recess scene), maturity (the ripe, hence, “gazing” grain), and the descent into death (the setting sun)–as she passes to the other side. There, she experiences a chill because she is not warmly dressed. In fact, her garments are more appropriate for a wedding, representing a new beginning, than for a funeral, representing an end.Her description of the grave as her “house” indicates how comfortable she feels about death. There, after centuries pass, so pleasant is her new life that time seems to stand still, feeling “shorter than a Day.”The overall theme of the poem seems to be that death is not to be feared since it is a natural part of the endless cycle of nature. Her view of death may also reflect her personality and religious beliefs. On the one hand, as a spinster, she was somewhat reclusive and introspective, tending to dwell on loneliness and death. On the other hand, as a Christian and a Bible reader, she was optimistic about her ultimate fate and appeared to see death as a friend. CharactersSpeaker: A woman who speaks from the grave. She says she calmly accepted death. In fact, she seemed to welcome death as a suitor whom she planned to "marry."Death: Suitor who called for the narrator to escort her to eternity.Immortality: A passenger in the carriage.Children: Boys and girls at play in a schoolyard. They symbolize childhood as a stage of life. Text and NotesBecause I could not stop for Death,He kindly stopped for me;The carriage held but just ourselvesAnd Immortality.We slowly drove, he knew no haste,And I had put awayMy labor, and my leisure too,For his civility.We passed the school, where children stroveAt recess, in the ring;We passed the fields of gazing grain,We passed the setting sun.Or rather, he passed us;The dews grew quivering and chill,For only gossamer my gown,1My tippet2 only tulle.3We paused before a house4 that seemedA swelling of the ground;The roof was scarcely visible,The cornice5 but a mound.Since then 'tis centuries,6 and yet eachFeels shorter than the dayI first surmised the horses' headsWere toward eternity.Notes1...gossamer my gown: Thin wedding dress for the speaker's marriage to Death.2...tippet: Scarf for neck or shoulders.3...tulle: Netting.4...house: Speaker's tomb.5...cornice: Horizontal molding along the top of a wall.6...Since . . . centuries: The length of time she has been in the tomb.MeterIn each stanza, the first line has eight syllables (four feet); the second, six syllables (three feet); the third, eight syllables (four feet); and the fourth, six syllables (three feet). The meter alternates between iambic tetrameter (lines with eight syllables, or four feet) and iambic trimeter (lines with six syllables, or three feet). In iambic meter, the feet (pairs of syllables) contain an unstressed syllable followed by a stressed syllable. (For detailed information on meter, click here.) The following example demonstrates the metric scheme........1..................2...............3.. (4)Be CAUSE..|..I COULD..|..not STOP..|..for DEATH,......1..................2.. (3)He KIND..|..ly STOPPED..|..for ME;........1.................2.................3. (4)The CARR..|..iage HELD..|..but JUST..|..our SELVES....1..............2 (3)And IM..|..mor TAL..|..i TY.End Rhyme.......The second and fourth lines of stanzas 1, 2, 4, 5, and 6 rhyme. However, some of the lines contain only close rhymes or eye rhymes. In the third stanza, there is no end rhyme, but ring (line 2) rhymes with the penultimate words in lines 3 and 4.Internal Rhyme.......Dickinson also occasionally uses internal rhyme, as in the following lines:The carriage h el d but just ours el ves (line 3)We sl ow ly dr o ve, he knew n o haste (line 5)We passed the fields of g a zing gr ai n (line 11)The dews grew quivering and chill (line 14)Symbols.......In the fourth stanza, the school symbolizes the morning of life; the grain, the midday of life and the working years; the setting sun, the evening of life and the death of life. Figures of Speech.......Following are examples of figures of speech in the poem. (For definitions of figures of speech, click here.)AlliterationBe c ause I c ould not stop for Death (line 1)he kn ew n o haste (line 5)M y l abor, and m y l eisure too (line 7)At r ecess, in the r ingg azing g rain (line 11)s etting s un (line 12)For only g ossamer my g own (line 15)My t ippet only t ulle (line 16)t oward e t erni t y (line 24)AnaphoraWe passed the school, where children stroveAt recess, in the ring;We passed the fields of gazing grain,We passed the setting sun. (lines 9-12)ParadoxSince then 'tis centuries, and yet eachFeels shorter than the dayI first surmised the horses' heads (lines 21-23)PersonificationWe passed the setting sun.Or rather, he passed us (lines 12-13)Comparison of the sun to a personDeath is personified throughout the poem========================================30. Dickinson’s poems are usually based on her own experience, her sorrows and joys.狄金森的诗都是根据自己的经历和悲欢而创作的。