Lecture_5_Emily_Dickinson[1]

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poems Emily_Dickinson重要_ppt

?我们慢慢驱车?他不慌不忙我也把我的劳与闲?统统丢掉一边?为了他的礼让?我们走过校园孩子们你推我搡?在休息时间在圆形广场?我们走过在田间凝眸的麦杆?我们走过落日旁?或毋宁说他走过我们身旁?寒露降身子冻得打颤?因为我的长衫落纱般?我的披肩如丝网?我们停步在一所房子前?那似乎是隆起的土地一片?屋顶几乎看不见?屋檐在地里面?离那时已是几个世纪?过了还不到一天?我首次猜测到?马头在朝向永恒奔窜
Because I Could Not Stop for Death
Stanza 1: Death, in the image of a kind gentleman, comes in a carriage for the sake of Immortality and me. Stanza 2: To show my politeness to death, I gave up my work and my enjoyment of life as well; I give up my life. Stanza 3: The journey of our carriage implies the experience of human life; school stands for childhood; the fields of gazing grain, for youth and adulthood; while the setting sun, for old age.
Features of Her Poems
1. subject matter ： love, nature, morality and immortality. The subjects of her poems range among descriptions of love and despair, joy and suffering, and thoughts of death and immortality.

emilydickinson艾米丽迪金森简介

emilydickinson艾米丽迪金森简介Emily DickinsonMy favorite writer is Emily Dickinson. Like Whitman, she broke the limitations of her time. Though she left us more than 1770 poems, only several of these poems are published before she died. From her twentieth, she began to get rid of the contact with society. So we do not know much information about her, which made us feel hard to know the exact meaning of her poetry. Her style was influenced greatly by Emerson. Though she almost did not go to the outdoor, she lived a colorful spirit life. She was very important in American literature.The themes of Emily Dickinson’s poems are love, nature, doubt and faith, suffering, death and immortality. For example, she writes To Make a Prairie… and I Died for Beauty, but was Scarce.The style of her poems is terse and frequently imagistic style. That style is very modern and innovative. Dickinson explores the inside world. Her poetry is marked for her concise, direct and simple diction and syntax.Although she had normal and vivacious girlhood, her poetry illustrates the doctrine predestination and pessimism, so that her basic tone was tragic. She sees nature as both gaily benevolent and cruel. On the ethical level she emphasizes free-will and human responsibility. Like Emerson, she holds that beauty, truth and goodness are ultimately one. She says “For Beauty,” I replied—“and I--for Truth--Themselves are One— we Brethren, are,” he said-- The artistic features of her poems lie in her innovation in rhyme and her structural patterns. She used “consonance” which means similarity of final consonants. Forexample, in Success Is Counted Sweetest, in the second stanza, “today” and “victory” are consonance. Another rhyme she used is assonance: the final vowels correspond, but the consonants are different. Her major pattern is that of a sermon: statement or introduction of topic, elaboration and conclusion. There are three variations of this major pattern. Firstly, the poet makes her initial announcement of topic in an unfigured line. Secondly, she uses a figure for that purpose. Thirdly, she repeated her statement and its elaboration a number of times before drawing a conclusion.The characters of Emily Dickinson’s poems ar e as follows: first, frequent use of dashes, such as the poem I Died for Beauty, but was Scarce; second, sporadic capitalization of nouns; third, convoluted and ungrammatical phrasing; forth, off-rhymes; innovation in rhyme; fifth, compressed, broken meters; sixth, bold and unconventional and often startling metaphors, for example, “ And so, as Kinsmen met a Night—We talked between the Rooms-- Until the Moss had reached our lips— And covered up—our names--”; seventh, aphoristic wit; eighth, begin with “I”,such as “I’m nobody! Who are you”; ninth, ambiguity of meaning and syntax, this is because we do not have enough documents about Emily Dickinson; last, elliptical—she will say no more than she must, because she was influenced by the doctrine of her religion.。

Emily____Dickinson(1)

2) We find no mention of the war or any other great national event in her poetry. Of all the great writers of the 19th century, she had the least influence on her times. Yet, because she was cut off from the outside world, she was able to create a very personal and pure kind of poetry. Since her death, her reputation has grown enormously and her poetry is now seen as very mode Selected Poems:

Because I Could Not Stop for Death I Heard a Fly Buzz---When I Died My Life Closed Twice before Its Close As Imperceptibly as Grief Mine---by the Right of the White Election Wild Nights---Wild Nights A Narrow Fellow in the Grass Apparently with No Surprise I Died for Beauty---but Was Scarce Tell All the Truth but Tell It Slant I Like to See It Lap the Miles The Brain---Is Wider than the Sky

Emily dickinson

Though
Dickinson often uses perfect rhymes for lines two and four, she also makes frequent use of slant rhyme(斜韵，不工整韵).In some of her poems, she varies the meter from the traditional ballad stanza by using trimeter for lines one, two and four, while only using tetrameter fily Dickenson

I take a flower as I go My face to justify He never saw me in this life I might surprise his eye I cross the hall with mingled steps I silently pass the door I look on all this world contains-Just his face---nothing more!
Her
style : (1) poems without titles (2) capital letters – emphasis (3) severe economy of expression (4) directness, brevity (5) musical device to create cadence (rhythm) (6) short poems, mainly two stanzas (7) rhetoric techniques: personification – make some of abstract ideas vivid (8) use a lot of dashes.

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。

美国文学EmilyDickinson迪金森

7
Weird Recluse?
• She would sometimes send her poems to
people as gifts for valentines or birthdays, along with a pie or cookies.
• She often lowered snacks and treats in baskets to neighborhood children from her window, careful never to let them see her face.
5
• Until 1855, Dickinson had not strayed far from Amherst. That spring, accompanied by her mother and sister, she took one of her longest and farthest trips away from home. First, they spent three weeks in Washington, where her father was representing Massachusetts in Congress. Then they went to Philadelphia for two weeks to visit family.
• Dickinson wanted to live simply as a complete independent being, and as a spinster.
8
• Dickinson's poetry writing began in the early 1850s. Altogether she wrote 1,775 poems, of which only seven had appeared during her lifetime. Most of her poems were published after her death. Her fame kept rising. She is now recognized not only as a great poetess on her own right but as a poetess of considerable influence upon American poetry of the 20th century.

EmilyDickinsonppt

❖ Emily Dickinson was a witty woman, sensitive, full of humanity and with a genius for poetry. While she was living in almost total seclusion, 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. Although she guarded her poems even from her family, 1775 poems were discovered and published after her death. However, as the only noteworthy woman poet in American literature of the 19th century, she had only seven of her poems published during her lifetime, and it was not until the beginning of the 20th century that her genius was widely recognized.
❖ C. exploring human’s inner world (psychology description in her poems)
❖ D. severe economy of expression ❖ E. original images ❖ F. direct and plain language ❖ G. great influence on the Imagist Movement in

Emily-Dickinson-迪金森作家及作品介绍讲课讲稿

ห้องสมุดไป่ตู้
The themes in Dickinson’s poems
1. religion 2. death and immortality 3. love 4. nature
The themes in Dickinson’s poems
Dickinson’s poems are usually based on her experiences, her sorrows and joys. But within her little lyrics Dickinson addresses those issues that concern the whole human beings, which include religion, death, immorality, love, and nature.
The themes in Dickinson’s poems
3.Love
Love is another subject Dickinson dwelt on. One group of her love poems treats the suffering and frustration love can cause. These poems are clearly the reflection of her own unhappy experience, closely related to her deepest and most private feelings.
1. religion
In some of her poems she wrote about her doubt and belief about religious subjects.

Emily-Dickinson-狄金森-孤独的诗人

使她接受了加尔文派的内视思想以及关于天性美和世界冷酷的观念人
受其他作家影响：狄更生不但熟记圣经，而且也谙熟当代通俗文学威廉.渥兹华斯
亨利·沃兹沃思·朗费罗的《卡文那》
夏洛蒂·勃朗特的《简·爱》威廉·莎士比亚
随着埃米莉越来越远离外面的世界从1858年夏天开始，她开始回顾、筛选自己之前的作品，并将它们制作成副本，小心整理成“诗稿” 。 1858-1865，她创作了将近800首诗歌。但是没有一个人能在她在世的时候注意到这些作品。 1861年—1865年，这是狄更生最富有创造力的时期在这一时期，狄更生充分表达了永生和死亡这一主题。
Because I could not stop for DeathHe kindly stopped for me-
The Carriage held but just OurselvesAnd Immortality. We slowly drove-He knew no haste And I had put away
一般没有题目 Occasionally rides –
You may have met Him – did you not— His notice sudden is –
经常破格，常押所谓“半韵”(half rhyme)
多用破折号，时长时短，有时向上翘，有时向下弯一个细长的家伙有时在草丛里驰骋—— 有批评家指这些是音乐记号 Dickinson的诗富于睿智，新奇的比喻随手抛掷，
狄更生抱怨道修改后的标点符号改变了整篇诗歌的意思。你可能见过——是不？他的出现，很突兀——
诗歌主题：生活，大自然，爱，死亡与永恒
抓住了相遇时那“窒息的一瞬间” 而再版中的标点符号则 “使她的诗句相对就显得普通了”

Emily____Dickinson

Emily Dickinson
(1830-1886)
(A modernism poet of 19th century)

● ● ●
Life experience Love experience poem's themes
●
Major works

1830.
Born: Amherst,On December 10,
狂风夜-狂风夜
Death is a Dialogue between
死是一场对话
I died for beauty-but was scarce
我为美而死
Themes of her poems
◎Death ◎Immortality ◎Nature ◎Love ◎Life ◎Religion ◎Philosophy ◎Flowers and gardens

Because of the failure of her love affairs, she began to isolate herself from others and lived a solitary life. ● The only contact she had with family was in letters.
The Dickinson Homestead in Amherst, Massachusetts (Dress)
The Dickinson Homestead in Amherst, Massachusetts (bedroom)

Before her death, only seven poems were published. But after her death, her sister found that she left a large number of poems, altogether, it was about 1800 poems. After Dickinson’s death, her sister, Lavina, had Emily’s poetry published and then burnt the original copies, because that was her sister’s wish.

美国文学EmilyDickinson迪金森

7
Weird Recluse?
• She would sometimes send her poems to
people as gifts for valentines or birthdays, along with a pie or cookies.
• She often lowered snacks and treats in baskets to neighborhood children from her window, careful never to let them see her face.
• In 1955, Thomas H. Johnson finally published a collection of her poems that had not been “corrected.” These are the versions we read today.
13
What’s the Difference?
• "If fame belonged to me," she told Higginson, "I could not escape her; if she did not, the longest day would pass me on the chase.… My barefoot rank is better." The twentieth century lifted her without doubt to the first rank among poets.
6
• Between 1858 and 1862, it was later discovered, she wrote like a person possessed, often producing a poem a day. It was also during this period that her life was transformed into the myth of Amherst. Withdrawing more and more, keeping to her room, sometimes even refusing to see visitors who called, she began to dress only in white—a habit that added to her reputation as an eccentric.

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)。

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 and wrote 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 arecompressed 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 between “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 / What portion of me be / Assignable—” and at that moment, she heardthe 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 fly into 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 the 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)。

Emily Dickinson艾米莉·狄金森-美国文学PPT精选文档

我们走过落日旁——
Or rather--He passed Us-The Dews drew quivering and chill-For only Gossamer, my Gown--
My Tippet--only Tulle--
或毋宁说，他走过我们身旁寒露降，身子冻得打颤—— 因为我的长衫落纱般——
Metaphor(Children、Gazing Grain、Setting Sun)
Anaphora（we passed）
Imagism
Alliteration
11
I Heard a Fly Buzz—When I Died
I heard a Fly buzz - when I died The Stillness in the Room Was like the Stillness in the Air Between the Heaves of Storm –
• He glanced with rapid eyes他锐利的双目a • That hurried all around—四处飞顾b • They looked like frightened Beads, I thought—小眼珠似乎透着害
怕，我自忖道c • He stirred his Velvet Head他抖了抖头顶的羽毛d • • Like one in danger, Cautious,我像人受伤时小心翼翼a • I offered him a Crumb给他投了一些面包屑b • And he unrolled his feathers他张开双翼c • And rowed him softer home—像划着船桨回到家里b •
我已经签好遗嘱——分掉了我所有可以分掉的东西—-然后我就看见了一只苍蝇—-

Emily Dickinson艾米莉·狄金森-美国文学

Analysis of this poem
• Theme: love of nature;worried relationship between nature&man; the danger and the beauty of nature; • Writing style: • PUN:one • ALLITERATION: and • END-RHYTHM: ocean&noon；seam&swim;around&head • HALF-RHYTHM:home&crumb • SYMBOLIC: bird(potential danger&) • Four sentences in each saction • Imagery
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
I willed my Keepsakes - Signed away What portions of me be Assignable - and then it was There interposed a Fly –
我已经签好遗嘱——分掉了
我所有可以分掉的
东西—-然后我就看见了一只苍蝇—-
With Blue - uncertain stumbling Buzz Between the light - and me And then the Windows failed - and then I could not see to see -
Attention
Pay attention to the bird’s behavior.

Emily Dickinson诗歌详细鉴赏

♥ In the second stanza, the tone of the poem changes. The author sounds confident. She realizes that being just like everyone else would be boring and would diminish her individuality . ♥ She knows that having a friend who understands you and accepts you as you are is more important than being admired by a lot of people .The author also makes a strange comparison. She says that being somebody is like being a frog.
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》

Emily_Dickinson

II. viewpoints
• Religious views:
doubts about the existence of God and the realization of after-life（来生）.
• Ideas on love : unhappiness, passion • Ideas on nature: simple and harmonious • Ideas on death: immortality（永恒P.16)---life may continue
天堂是个医生吗？
• The Mystery of Pain
The artistic features of Dickinson’s writing
1. Stanza form the rhyme scheme is either abcb (P.20) or abab, influenced by the hymnal（赞美诗）. 2. Rhyme Dickinson was famous for using off-rhyme部分韵（P21） or we call "near rhyme―( means that rhyme word don't really rhyme with each other). 3. Imagery and Figurative language (意象、比喻) the use of imagery and symbols. She is good at the use of metaphors. ( P.21)
Forms / style: • W: free verse; long run-on sentences; • D: Delicate, simple diction（简单用语）, compact（简洁）, aphoristic(格言的). Personality: • W: all inclusive（包含的）, public, companionship; • D: close-in（封闭）, solitude, reserved（矜持的）.

Emily Dickinson 艾米丽狄更生

Remarks
• Thomas Bailey Aldrich said,"It is plain that Miss Dickinson possesed an extremely coventional and grotesque fancy.She was deeply tinged by the mysticism of Blake,and strongly influenced by the mannernism of Emerson.But the incoherence and formlessness of her--versicles are fatal--
4. nature
- skepticism about the relationship between man & nature - both simple & harmonious - wrote about nature to reveal its simplicity and profundity - tried to establish a connection between nature & man - poems are full of insights into nature & human life
The themes in Dickinson’s poems religion II. death and immortality III. love IV doubt on religious subjects - denied the orthodox view of paradise - revealed her intellectual awakening - marked the Ideological emancipation(思想解放) of women.