艾米莉·狄金森-的人生简介及其作品ppt课件.ppt

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1、Emily Dickinson (1830-1886)v v A Reclusive Poet of the 19th CenturyEmily DickinsonThe Belle of AmherstThe Nun of AmherstvEmily Elizabeth Dickinson was born in Amherst, a small town in the state of Massachusetts. on December 10, 1830. vShe was born to an extremely Religious, puritanical family. vHer

2、father was a very wealthy, successful and prominent lawyer and politician.vBut she was very passive about any social and political activities.v Dickinson was educated at Amherst Academy and Mount Holyoke Female Seminary in South Hadley, MassachusettsvWent to DC with her father, a congressman, becaus

3、e she had fallen in love with a married lawyer, who soon died of TB.vThere fell in love with another married man, a minister. vAbout this time she wrote, “I sing as the boy does by the burying ground, because I am afraid.”vbecause of the failure of her love affairs, she began to isolate herself from

4、 others and lived a solitary life. vThe only contact she had with family was in whimsical, epigrammatic letters.vShe often lowered snacks and treats in baskets to neighborhood children from her window, careful never to let them see her face.vShe almost always wore white.vDickinson seldom left her ho

5、use and visitors were scarce. vAll through her life, she did not get married and lived a very quiet, lonely life in a village.vIn her family library, she had access to many religious works as well as books by Emerson, other transcendentalists and current magazinesvabout 20, began to write poems vThe

6、 first person to notice Dickinsons talent was Thomas Wentworth Higginson. vHigginson became a life long correspondent and a mentor.vDickinson had contact with few people, but one was Reverend Charles Wadsworth. vDickinson also befriended novelist Helen Jackson. vHigginson advised Dickinson not to ge

7、t her poetry published because of her violation of contemporary literary convention. vHelen Jackson tried to convince her to get her work published but her requests were unsuccessful. vShe never approved of publishing her poems and requested her sister Lavinia to destroy all of her pomes vBefore her

8、 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. vAfter Dickinsons death, her sister, Lavina, had Emilys poetry published and then burnt the original copies, because that was her sisters wish. E

9、mily DickinsonEmily DickinsonThe Homestead 1813The HomesteadRepainted HomesteadThe Dickinson Homestead in Amherst, Massachusetts(bedroom)Dickinsons RoomDickinsons RoomDickinsons RoomThe Dickinson Homestead in Amherst, Massachusetts(Dress)Newly Discovered PhotoHer GraveWalt Whitman and Emily Dickinso

10、n Walt Whitman and Emily Dickinson were two major poets in late 19th century. The two are of entirely different visions, styles and personalities. Whitman, in his poems, he expressed his strong love toward his country, his nation and his people, he showed great optimism and confidence towards the fu

11、ture of America.v Because Emily Dickinson withdraw herself from the society and lived like a hermit, so any political and social things did not influence her. she just focused her attention on the inner world. vHer themes ranged from love, death, religion, nature, immortality, pain and beauty, espec

12、ially about the exploration of death. vShe was a pessimistic writer.vBut posthumously the greatness of both was firmly established and they proved to be the genuine precursors to the most serious modern American poetry. Im NobodyPoems Apprehension Im Nobody!vIm Nobody! Who are you? vAre you-Nobody-t

13、oo? vThen theres a pair of us! vDont tell! theyd banish us-you know! v我是无名之辈，你是谁？v你,也是,无名之辈？v这就有了我们一对！可是别声张！ v你知道，他们会大肆张扬！ Im Nobody!vHow dreary-to be-Somebody! vHow public-like a Frog-v To tell your name-the livelong Junev To an admiring Bog! 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！（江枫译）1. Who a

14、re the “they” in line 4? The “admiring bog” in line 8?2. Do you prefer solitude to public life? Give your reasons.QuestionsMetaphor/SimileMetaphor: A comparison.Example: “A frog is a celebrity.”Simile: A comparison using like or as.Example: “How publiclike a frog” 我是无名之辈，我是无名之辈，我是无名之辈，你是谁？你也是无名之辈？那么

15、，咱俩是一对且莫声张！你懂嘛，他们容不得咱俩。做个名人多无聊！象青蛙到处招摇向一洼仰慕的泥塘把自己的大名整天宣扬！） （汪义群译 孙梁校；英美名诗一百首，北京：中国对外翻译出版公司，1987） Translation v I heard a Fly buzzwhen I diedv I heard a Fly buzzwhen I diedv The Stillness in the Roomv Was like the Stillness in the Airv Between the Heaves of Stormv v The Eyes aroundhad wrung them dryv

16、 And Breaths were gathering firmv For that last Onsetwhen the Kingv Be witnessedin the Room (2)v v I willed my KeepsakesSigned awayv What portion of me bev Assignableand then it wasv There interposed a Flyv v With Blueuncertain stumbling Buzzv Between the lightand mev And then the Windows failedand

17、then (3)v I could not see to seev vIn this first stanza, the scene of a deathbed is set. vThe second stanza discusses the state of mind of those waiting by the deathbed of the speaker. They have obviously been crying by the suggestion that their eyes had wrung them dry.”vWhat does the “king” refer t

18、o?vThe king may be God, Christ, or death; vThe King is probably God in this context and they are all awaiting his entering the room to take the soul of the speaker.vWhats the meaning of “last onset ?vLast onset is an oxymoron;v onset means a beginning and last means an end. For Christians, death is

19、the beginning of eternal life.vThe third stanzavHow to understand “I willed my Keepsakes”?v These keepsakes could be material goods that the speaker collected during life. There will be no use for these goods in heaven so this line discusses the tradition of willing away property and material belong

20、ing. vThe fly interposed“v which means to come between or intervenevThe vision of death it presents is horrifying, even gruesome.v the central image is the fly vWhat do does the fly suggest ? Questions for discussionFlies feed on carrion (dead flesh). vDoes this association suggest anything about th

21、e dying womans vision of death? or the observers vision? vIs seeing the future death as physical decay only? any realities of death-smell, decay?vDoes the fly indicates that death has no spiritual significance, that there is no eternity or immortality for us? vThe uncertainty of the fly could be sym

22、bolic of the speakers own unsure feelings about death. Poetic Form v trimeter and tetrameter iambic lines v(four stresses in the first and third lines of each stanza, three in the second and fourth, a pattern Dickinson follows at her most formal);v rhythmic insertion of the long dash to interrupt th

23、e meter; vrhyme scheme: abcb. vInterestingly, all the rhymes before the final stanza are half-rhymes (Room/Storm, firm/Room)v while only the rhyme in the final stanza is a full rhyme (me/see). vDickinson uses this technique to build tension; a sense of true completion comes only with the speakers de

24、ath. Because I could not stop for Deathv Because I could not stop for Deathv He kindly stopped for me-v The Carriage held but just Ourselvesv And Immortality.v v We slowly droveHe knew no hastev And I had put awayv My labor and my leisure too,v For His Civilityv v We passed the School, where Childre

25、n strovev At Recessin the Ringv We passed the Fields of Gazing Grain-v We passed the Setting Sunv Or ratherHe passed Usv The Dews drew quivering and chillv For only Gossamer, my Gownv My Tippetonly Tulle-v v We paused before a House that seemedv A Swelling of the Groundv The Roof was scarcely visibl

26、ev The Cornicein the Groundv v Since thentis Centuriesand yetv Feels shorter than the Dayv I first surmised the Horses Headsv Were toward EternityThe first stanzavThe opening of the poem has an understated casualness of tone : vIn the first line the persona is too busy and too contented as she lives

27、 her life to both to stop for the gentlemans call;v but, through his kindness and consideration, she is compelled at last to go with him. vIn the third line, the dramatic scene is set in the carriage. The situation is one of intimacy- “the carriage held but just ourselves.”v He has called on her as

28、a beau; and, like a true gentleman, he has included a chaperon, “Immortality.”The second stanzavThe first line of the second stanza indicates the peacefulness and pleasantness surrounding an appointment with a beau. vHe drives leisurely, without haste- ironically, as if they had all the time in the

29、world.v She who could not stop for Death in the first stanza is completely captivated by him in the second and third lines of this stanza. vHe is such an artful charmer that she needs neither labor nor leisure, for in his “Civility” he has taken care of everything. The third stanzavBy the third stan

30、za, they are nearing the edge of town. vThe three elements summarize the progress and passage of a lifetime. vChildren strove on the playground-youthvthe Fields of Gazing Grain-adulthoodvThe setting sun-old agevAs critic Charles R. Anderson described in them, v“The seemingly disparate parts of this

31、are fused into a vivid reenactment of the mortal experience. It includes the three states of youth, maturity, and age, the cycle of day from morning to evening, and even a suggestion of seasonal progression from spring through ripening to decline.”The Fourth stanzavthe lady is getting closer to deat

32、h; vfor “The Dews” now grow “quivering and chill” upon her skin, the traditional associations of the coldness of death. vIn the third line, however, the lady is still holding onto life by offering a rational explanation about her chill. She is not really dying, she seems to say: she is cold simply b

33、ecause her gown is thin. vBut she cannot escape her death, for she reveals even in her garments the dying influence: her gown is gossamer, a substance associated with spirits and other worldliness, and her tippet made of lace is something one might expect to see around the shoulders of a deceased wo

34、man lying in repose. The fifth stanzavIn the fifth stanza, they have arrived at a country cemetery. vThe House is the House of death, a fresh grave, sketched only with a few details. vThe roof is a small tombstone, and the cornice, the molding around a coffins lid, is already placed “in the Ground.”

35、 vThe lady is alone now, her gentleman friend has vanished unexplained. The sixth stanzavIn the sixth stanza the words “first surmised” contribute a note of ironic surprise. vAll along, then, she did not realize where her kind, intimate, slow driving, civil suitor was taking her. vIt was not until a

36、fter the school children, the “Gazing Grain,” the “Setting Sun,” and the “Swelling of the Ground” that she began to realize where she was heading. vShe had, therefore, apparently been tricked, seduced, and then abandoned. In these terms: then Dickinson is being terribly ironic throughout the poem. S

37、he is saying “kindly,” “slowly drove,” and “Civility” in retrospect through clenched teeth.The Conclusionv In its depiction of Death on one hand as the courtly suitor and on the other as the fraudulent seducer, the poem reflects a basic ambiguity about death and immortality. vIs death a release from

38、 a lifetime of work and suffering?v Is it the gateway to a lasting peace in paradise?vOr is it simply a cold, mindless annihilation?I Died For Beauty But Was ScarcevI died for beauty but was scarce Adjusted in the tomb, When one who died for truth was lain In an adjoining room. vHe questioned softly

39、 why I failed? For beauty, I replied. And I for truth, the two are one; We brethren are, he said. vAnd so, as kinsmen met a night, We talked between the rooms, Until the moss had reached our lips, And covered up our names. vThe speaker : died for Beautyva man laid in a tomb next to her : died for Tr

40、uth. vWhen the two softly told each other why they died, the man declared that Truth and Beauty are the samevso he and the speaker were Brethren. vand talked as Kinsmen between their tombs until the moss reached their lips and covered up the names on their tombstones. vbizarre, allegorical death fan

41、tasy vits manner of presentation belongs uniquely to Dickinson. v Beauty is Truth, Truth Beauty -Keats, Ode on a Grecian Urn vthe macabre physicality of death , the high idealism of martyrdom (I died for Beauty. . . One who died for Truth)va certain kind of romantic yearning combined with longing fo

42、r Platonic companionship (And so, as Kinsmen, met a Night-),v and an optimism about the afterlife (it would be nice to have a friend) with terror about the fact of death (it would be horrible to lie in the cemetery having a conversation through the walls of a tomb). vAs the poem progresses, the high

43、 idealism and yearning for companionship gradually give way to mute, cold death, vas the moss creeps up the speakers corpse and her headstone, obliterating both her capacity to speak (covering her lips) and her identity (covering her name). vThe ultimate effect of this poem is to show that every asp

44、ect of human life-ideals, human feelings, identity itself-is erased by death. vBut by making the erasure gradual-something to be adjusted to in the tomb-and by portraying a speaker who is untroubled by her own grim state, Dickinson creates a scene that is, by turns, grotesque and compelling, frighte

45、ning and comforting. Poetic formsvThis poem follows many of Dickinsons typical formal patterns:v-the ABCB rhyme scheme,v the rhythmic use of the dash to interrupt the flow-but has a more regular meterv the first and third lines in each stanza are iambic tetrameter, vwhile the second and fourth lines

46、 are iambic trimeter, vcreating a four-three-four-three stress pattern in each stanza. 殉美/ 我为美死去v我为美死去，但是还不曾 安息在我的墓里，又有个为真理而死去的人 来躺在我的隔壁。他悄悄地问我为何以身殉？ “为了美，”我说。“而我为真理，两者不分家； 我们是兄弟两个。”于是象亲戚在夜间相遇， 我们便隔墙谈天，直到青苔爬到了唇际， 将我们的名字遮掩。我为美而死v我为美死去，却还不曾在墓中安息，又来一位为真理而死的人栖身我的隔壁。v他悄言问我何以逝去“为了美。”我回答。“而我为真理。真与美是一体；我们是兄

47、弟。”v就这样，像亲人在夜里相遇我们隔墙倾谈直到苍苔爬至我们的唇际掩没掉，我们的名字译/青裳ThemesDickinson often brought dazzling originality to overwrought topics.LifeLoveNatureTime and EternityDeath and MourningReligion and FaithIsolation and DepressionPoetry and LanguageStyle vA: Her poems have no titles, hence the first line of each poem i

48、s always quoted as the title of each poem.vB: particular stress pattern: dash“ ”vC: Capital letters as a means of emphasis;vD: Language: brief, direct, and plain;vE: Poem: short, always on original images or symbols vF: Conventional meters, iambic tetrameter, off-rhymes.vG: Short poetic lines, conde

49、nsed by using intense metaphors and by extensive use of ellipsis.vH: Regular meterhymn meter and ballad meter, also known as Common metervQuatrainsvAlternating tetrameter and trimetervOften 1st and 3rd lines rhyme, 2nd and 4th lines rhyme in iambic pentametervVisual and audible effects, great imagin

50、ation, sincere emotions.vI: Her poems tend to be personal and meditative (e.g. “Because I could not stop for Death”). This Is My Letter To The World v This is my letter to the World vThat never wrote to Me vThe simple News that Nature toldv With tender Majesty vHer Message is committed vTo Hands I c