(完整word版)EmilyDickinson关于死亡的诗歌汇总

合集下载

英文诗词：感受狄金森的“死亡”

英文诗词:感受狄金森的“死亡”英文诗词:感受狄金森的“死亡”之一：多远至天堂How far is it to Heaven?As far as Death this way—Of River or of Ridge beyondWas no discovery.How far is it to Hell?As far as Death this way—How far left hand the SepulcherDefies Topography.多远至天堂?其遥如死亡;越过山与河,不知路何方.多远至地狱?其遥如死亡;多远左边坟,地形学难量.之二：对人类而言太晚It was too late for Man -But early, yet for God -Creation - impotent to help -But Prayer - remained - Our Side -How excellent the Heaven -When Earth - cannot be had -How hospitable - then - the faceOf our Old Neighbor God -对人类而言太晚可对于上帝还早创世，虚弱无力的帮助可剩下的，我们还能够祈祷当地上不能存在天堂是何等美妙那时，我们老邻居上帝的.表情会多么好客，殷勤，周到注：艾米莉-狄金森 (Emily Dickinson) (1830～1886) ：美国女诗人，写过一千七百多首令人耳目一新的短诗。

诗风独特，以文字细腻、观察敏锐、意象突出著称。

题材多半是关于自然、死亡和永生的。

【诗】艾米莉·狄金森：诗歌小选

【诗】艾米莉·狄金森：诗歌小选1632So give me back to Death --The Death I never fearedExcept that it deprived of thee --And now, by Life deprived,In my own Grave I breatheAnd estimate its size --Its size is all that Hell can guess --And all that Heaven was --那么把我给回死亡—[1632]那么把我还给死亡—那个我从不恐惧的死亡除了它让你丧失—而今，当生命被剥夺，我在自己的坟墓里，呼吸并估计着它的大小—它的大小是整个地狱能猜出的—还有整个天堂—1637Is it too late to touch you, Dear?We this moment knew --Love Marine and Love terrene --Love celestial too --去触摸你太晚么，亲爱的?[1637]去触碰你是否已经太晚，亲爱的？此刻我们已经知道—去爱海洋和陆地—还有天空—480"Why do I love" You,Sir?Because-The Wind does not require the Grass To answer- Wherefore when He pass She cannot keep Her placeBecause He knows-andDo not You-And We know not-The Wisdon it be so-The Lighting-never asked an Eye Wherefore it shut- when He was by- Because He knows it cannot speak- And reasons not contained--Of Talk-There be- preferred by Daintier Folk-The Sunrise- Sire- compelleth Me- Because He's Sunrise- and I see- Therefore- Then-I love Thee-“为什么我爱”你，先生？因为- 风，从不要求小草回答，为什么他经过她就不能不动摇因为他知道，而你你不知道-我们不知道-我们有这样的智慧也就够了闪电，从不询问眼睛，为什么他经过时，要闭上-因为他知道，它说不出来-有些道理-难以言传-高尚的人宁愿，会意-日出，先生，使我不能自已因为他是日出，我看见了-所以，于是-我爱你-449I died for Beauty- but was scarce Adjusted in the TombWhen One who died for Truth, was lain In an adjoining room-He questioned softly"why I failed"? "For Beauty",I replied-"And I- for Truth- Themself are One- We 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，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-我们隔着房间谈心知直到苍苔长上我们的嘴唇覆盖掉，我们的姓名_____________________________。

Emily Dickinson--I Died for Beauty

2.3. Metaphor 1. Tone this poem use Why "I" ? Most poems talks failed-->died about death in a It expresses passive gloomy or the poet's feelings Night-->death met a and thought tone, however Emily about death directly. Dickinson uses arouse a Besides, this can the Rooms-->social
他说:“我们也是兄弟。”
于是，我们像兄弟在黑夜里相逢。隔着那坟墓喋喋低语，
We talked between the Rooms-Until the Moss had reached our lips-And covered up--our names--
直到那苔藓封住了我们的嘴唇，
遮住了那墓碑上—— 我们的名字。
you are rich or poor, no matter which
classes you belong to, no matter what
you died for, people are the same after
their death. With time passing, they
will be forgotten by the later
He questioned softly "Why I failed"?
"For Beauty", I replied-"And I--for Truth--Themself are One--

Emily Dickson

While she was living in almost total seclusion(隐居), she wrote in secret whatever she was able to feel, to see, to hear and whatever she was able to imagine. She wrote whenever and wherever. She wrote altogether 1800poems, of which only seven appeared in print in her lifetime. and it was not until the beginning of the 20th century that her genius was widely recognized. Emily Dickinson died on 15 May 1886, at the age of fifty-six.
The Eyes around -- had wrung them dry --
And Breaths were gathering firm For that last Onset -- when the King Be witnessed -- in the Room -
注视我的眼睛——泪水已经流尽—— 我的呼吸正渐渐变紧等待最后的时刻——上帝在房间里现身的时刻——降临
assonance and rhetoric techniques: personification – make some of abstract ideas vivid.
5. her poetry is unique and unconventional in

EmilyDickinsonIheardaFlybuzz--whenIdied

EmilyDickinsonIheardaFlybuzz--whenIdiedI hear a Fly buzz-- when I diedEmily DickinsonI heard a Fly buzz--when I died--The Stillness in the RoomWas like the Stillness in the Air--Between the Heaves of Storm--The Eyes around--had wrung them dry--And Breaths were gathering firmFor that last Onset--when the KingBe witnessed--in the Room--I willed my Keepsakes--Signed awayWhat portions of me beAssignable--and then it wasThere interposed a Fly--With Blue--uncertain stumbling Buzz-- Between thelight--and me--And then the Windows failed--and thenI could not see to see--我听到苍蝇的嗡嗡声——当我死时艾米利.狄金森我听到苍蝇的嗡嗡声——当我死时房间里，一片沉寂就像空气突然平静下来——在风暴的间隙注视我的眼睛——泪水已经流尽—我的呼吸正渐渐变紧等待最后的时刻——上帝在房间里现身的时刻——降临我已经分掉了——关于我的所有可以分掉的东西——然后我就看见了一只苍蝇——蓝色的——微妙起伏的嗡嗡声在我——和光——之间然后窗户关闭——然后我眼前漆黑一片——Introduction to the PoetEmily Dickinson led one of the most prosaic lives of any great poet. At a time when fellow poet Walt Whitman was ministering to the Civil War wounded and traveling across America—a time when America itself was reeling in the chaos of war, the tragedy of the Lincoln assassination, and the turmoil of Reconstruction—Dickinson lived a relatively untroubled life in her father’s house in Amherst, Massachusetts, where she was born in 1830 and where she died in 1886. Although popular myth often depicts Dickinson as the solitary genius, she, in fact, remained relatively active in Amherst social circles and often entertained visitors throughout her life. However, she was certainly more isolated than a poet such as Whitman: Her world was bounded by her home and its surrounding countryside; the great events of her day play little role in her poetry. Whitman eulogized Lincoln andwrote about the war; Dickinson, one of the great poets of inwardness ever to write in English, was no social poet—one could read through her Collected Poems—1,776 in all—and emerge with almost no sense of the time in which she lived. Of course, social and historical ideas and values contributed in shaping her character, but Emily Dickinson’s ultimate context is herself, the milieu of her mind.Dickinson is simply unlike any other poet; her compact, forceful language, characterized formally by long disruptive dashes, heavy iambic meters, and angular, imprecise rhymes, is one of the singular literary achievements of the nineteenth century. Her aphoristic style, whereby substantial meanings are compressed into very few words, can be daunting, but many of her best and most famous poems are comprehensible even on the first reading. During her lifetime, Dickinson published hardly any of her massive poetic output (fewer than ten of her nearly 1,800 poems) and was utterly unknown as a writer. After Dickinson’s death, her sister discovered her notebooks and published the contents, thus, presenting America with a tremendous poetic legacy that appeared fully formed and without any warning. As a result, Dickinson has tended to occupy a rather uneasy place in the canon of American poetry; writers and critics have not always known what to make of her. Today, her place as one of the two finest American poets of the nineteenth century is secure: Along with Whitman, she literally defines the very era that had so little palpable impact on her poetry.SummaryThe speaker says that she heard a fly buzz as she lay on her deathbed. The room was as still as the air bet ween “the Heaves” of a storm. The eyes around her had cried themselves out, and the breaths were firming themselves for “that last Onset,” the moment when, metaphorically, “the King / Be witnessed—in the Room—.” The speaker made a will and “Signed away / W hat portion of me be / Assignable—” and at that moment, she heard the fly. It interposed itself “With blue—uncertain stumbling Buzz—” between the speaker and the light; “the Windows failed”; and then she died (“I could not see to see—”).Form“I heard a Fly buzz” employs all of Dickinson’s formal patterns: trimeter and tetrameter iambic lines (four stresses in the first and third lines of each sta nza, three in the second and fourth, a pattern Dickinson follows at her most formal); rhythmic insertion of the long dash to interrupt the meter; and an ABCB rhyme scheme. Interestingly, all the rhymes before the final stanza are half-rhymes (Room/Storm, firm/Room, be/Fly), while only the rhyme in t he final stanza is a full rhyme (me/see). Dickinson uses this technique to build tension; a sense of true completion comes only with the speaker’s dea th.CommentaryOne of Dickinson’s most famous poems, “I heard a Fly buzz” strikingly describes the mental distraction posed by irrelevant details at even the most crucial moments—even at the moment of death. The poem then becomes even weirder and more macabre by transforming the tiny, normally disregarded flyinto the figure of death itself, as the fly’s wing cuts the speaker off from the light until she cannot “see to see.” But the fly does not grow in power or stature; its final severing act is performed “With Blue—uncertain stumbling Buzz—.” This poem is also remarkable for its detailed evocation of a deathbed scene—the dying person’s loved ones steeling themselves for th e end, the dying woman signing away in her will “What portion of me be / Assignable” (a turn of phrase that seems more Shakespearean than it does Dickinsonian).Edited by Lisa An(reference taken from Sparknotes)。

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。

EmilyDickinson关于死亡的诗歌汇总

1）Becau‎s e I could‎not stop for Death‎Becau‎s e I could‎not stop for Death‎—He kindl‎y stopp‎e d for me—The Carri‎a ge held but just Ourse‎l ves—And Immor‎t alit‎y.We slowl‎y drove‎—He knew no haste‎And I had put awayMy labor‎and my leisu‎r e too,For His Civil‎i ty—We passe‎d the Schoo‎l, where‎Child‎r en strov‎e At Reces‎s—in the RingWe passe‎d the Field‎s of Gazin‎g Grain‎—We passe‎d the Setti‎n g Sun—Or rathe‎r—He passe‎d Us—The Dews drew quive‎r ing and chill‎—For only Gossa‎m er, my Gown—My Tippe‎t—only Tulle‎—We pause‎d befor‎e a House‎that seeme‎dA Swell‎i ng of the Groun‎d—The Roof was scarc‎e ly visib‎l e—The Corni‎c e—in the Groun‎d—Since‎then—'tis Centu‎r ies—and yetFeels‎short‎e r than the DayI first‎surmi‎s ed the Horse‎s' Heads‎Were towar‎d Etern‎i ty—2) I felt a funer‎a l in my brain‎I felt a funer‎a l in my brain‎,And mourn‎e rs to and fro,Kept tread‎i ng, tread‎i ng, till it seeme‎dThat sense‎was break‎i ng throu‎g h.And when they all were seate‎d,A servi‎c e like a drumKept beati‎n g, beati‎n g, till I thoug‎h tMy mind was going‎numb.And then I heard‎them lift a boxAnd creak‎acros‎s my soulWith those‎same boots‎of lead again‎,Then space‎began‎to tollAs all the heave‎n s were a bell,And being‎but an ear,And I and silen‎c e some stran‎g e race,Wreck‎e d solit‎a ry here.And then a plank‎in reaso‎n broke‎,And I dropp‎e d down and downAnd hit a world‎at every‎plung‎e,And finis‎h ed knowi‎n g, then.7) There‎'s been a death‎in the oppos‎i te house‎There‎'s been a death‎in the oppos‎i te house‎As latel‎y as today‎.I know it by the numb lookSuch house‎s have alway‎.The neigh‎b ors rustl‎e in and out,The docto‎r drive‎s away.A windo‎w opens‎like a pod,Abrup‎t, mecha‎n ical‎l y;Someb‎o dy fling‎s a mattr‎e ss out, -The child‎r en hurry‎by;They wonde‎r if It died on that, -I used to when a boy.The minis‎t er goes stiff‎l y inAs if the house‎were his,And he owned‎all the mourn‎e rs now,And littl‎e boys besid‎e s;And then the milli‎n er, and the manOf the appal‎l ing trade‎,To take the measu‎r e of the house‎.There‎'ll be that dark parad‎eOf tasse‎l s and of coach‎e s soon;It's easy as a sign, - The intui‎t ion of the news In just a count‎r y town.。

Emily Dickinson七首

译Emily Dickinson七首nude258有这样一道斜光，冬日午后——压迫着，有如教堂旋律的重——神圣的伤，它给了我们——我们找不到疤痕，但内在的差异，其意义，是——没人能够讲授的——任何人——这是绝望之印——一份堂皇的烦忧从空中传给我们——它来时，山水谛听——阴影——屏息——它走时，就像死神脸上的迷离——419我们渐渐习惯了黑暗者——光被收了起来——当邻居拿着灯为她的告别作证——片刻之后——我们犹疑地为夜的新而举步——然后——让我们的视力适应黑暗者——来到路上——直立着——还有更宽广的——黑暗——脑子里的那些夜晚——没有月亮泄漏征兆——或星星——出现——在里面——最勇敢者——一点点摸索着——有时前额一头撞在树上——但当他们学会了看——不是黑暗产生了变化——就是视力的某些成分调整自己适应了午夜——生命就几乎畅行无阻449我死于美——却依然匮乏于是在坟墓里调校着邻室躺着，一个死于真的人——他轻声问“为何我落败了”？“因为美”，我回答——“而我——因为真——它们本是一体。

我们原是兄弟”，他说——因此，如同亲人，相遇在夜晚——我们隔着墙壁交谈——直到苔藓长上我们的嘴唇——并且覆盖——我们的名字——458像注视废物的眼睛——怀疑着一切而空白——和持续的荒芜——被夜晚变得多变——仅仅是零的无限——远至它视力可及——那么看看我所轻视的脸庞——看看它自身——看我——我没有给它帮助——因为那起因属于我——这致密的不幸这样绝望——如同预言——既无法——被赦免——也无法成为女王缺失了另一个——为此——我们枯朽——尽管我们掌权——592谁在意死者，在鸡鸣之时——谁在意死者，当白日来临？已经迟了，你的日出让他们面容懊恼——而紫色的秽语——在清晨如空白般倾泻在他们身上像倾泻在一面泥瓦匠昨日砌好的墙上并且同样冰冷——谁在意死者，当夏季到来？夏至也没有日光能消耗他们门口的积雪——并且知道某只鸟的鸣叫——能让他们凹陷的耳朵发颤众鸟中的——这一只——人最喜欢的从此倍受珍爱——谁在意死者，当冬季到来？他们易被冻结——像南方的——如同一月的夜晚——六月的中午——她的微风来自无花果——或者肉桂——在石块里沉淀将这石块给人——散发着香气——用以取暖——761从空白到空白——了无线索之路我拖着机械的脚步——停止——毁灭——或前进——都漫不经心——若我抵达终点它结束于被泄漏的不确定之外——我闭上眼——并摸索着它轻了一些——装作失明——1153经过怎样耐心的出神我抵达了麻木的极乐为了呼吸失去你的空白请为我验证这个和这个——籍着那荒凉的欢欣我几乎赢得了这个你那死亡的特权为我将这个缩略——返回PresentimentPresentiment -- is that long shadow -- on the Lawn -- Indicative that Suns go down --The Notice to the startled GrassThat Darkness -- is about to pass --I'm NobodyI'm nobody, who are you?Are you nobody too?Then there's a pair of us.Don't tell -- they'd banish us, you know.How dreary to be somebody,How public -- like a frog --To tell your name the livelong JuneTo an admiring bog.I Never Saw a MoorI never saw a Moor --I never saw the Sea --Yet know I how the Heather looksANd what a Billow be.I never spoke with GodNor visited in Heaven --Yet certain am I of the spot.As if the Checks were given.[作者简介]Emily Dickinson(1830-1886)．在美国文学史上属于超验主义作家,深受爱默生的影响．她的诗段小精悍，许多诗只基于一个意象或象征．她自1862年起过着足不出户的隐居生活，然而她的诗却让感到强大的想象力和创造力．她的诗在句法结构和标点符号的使用上都独具一格，更加强了她的诗的魅力．。

1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。

1）Because I could not stop for Death 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 away
My labor and my leisure too,
For His Civility—
We passed the School, where Children strove At Recess—in the Ring
We passed the Fields of Gazing Grain—
We passed the Setting Sun—
Or rather—He passed Us—
The Dews drew 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—in the Ground—
Since then—'tis Centuries—and yet
Feels shorter than the Day
I first surmised the Horses' Heads
Were toward Eternity—
2) I felt a funeral in my brain
I felt a funeral in my brain,
And mourners to and fro,
Kept treading, treading, till it seemed
That sense was breaking through.
And when they all were seated,
A service like a drum
Kept beating, beating, till I thought
My mind was going numb.
And then I heard them lift a box
And creak across my soul
With those same boots of lead again,
Then space began to toll
As all the heavens were a bell,
And being but an ear,
And I and silence some strange race,
Wrecked solitary here.
And then a plank in reason broke,
And I dropped down and down
And hit a world at every plunge,
And finished knowing, then.
7) There's been a death in the opposite house
There's been a death in the opposite house
As lately as today.
I know it by the numb look
Such houses have alway.
The neighbors rustle in and out,
The doctor drives away.
A window opens like a pod,
Abrupt, mechanically;
Somebody flings a mattress out, -
The children hurry by;
They wonder if It died on that, -
I used to when a boy.
The minister goes stiffly in
As if the house were his,
And he owned all the mourners now,
And little boys besides;
And then the milliner, and the man
Of the appalling trade,
To take the measure of the house.
There'll be that dark parade
Of tassels and of coaches soon;
It's easy as a sign, - The intuition of the news In just a country town.。