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DICKINSONSBECAUSEICOULDNOTSTOPFORDEATH作者：Shaw,M.DICKINSONSBECAUSEICOULDNOTSTOPFORDEATHAbstract:Analyzesthepoem`BecauseICouldNotStopforDeath,\'byEmilyDickinson.Theuseofrememberedimagesofthepasttoclarifyinfiniteconceptionsthroughtheestablishmentofadialecticalrelationshipbetweenrealityandimagination,theknownandtheunknown;Theviewpointofeternity;Understandingoftheincomprehensible;Thestagesofexistence.DICKINSON\'SBECAUSEICOULDNOTSTOPFORDEATHIn\"BecauseICouldNotStopforDeath\"(J712),EmilyDickinsonusesrememberedimagesofthepasttoclarifyinfiniteconceptionsthroughtheestablishmentofadialecticalrelationshipbetweenrealityandimagination,theknownandtheunknown.[1]Byviewingthisrelationshipholisticallyandhierarchicallyorderingthestagesoflifetoincludedeathandeternity,Dickinsonsuggeststheinterconnectedandmutuallydeterminednatureofthefiniteandinfinite.[2]Fromtheviewpointofeternity,thespeakerrecallsexperiencesthathappenedonearthcenturiesago.Inherrecollection,sheattemptstoidentifytheeternalworldbyitsrelationshiptotemporalstandards,asshestatesthat\"Centuries\"(21)ineternityare\"shorterthanthe[earthly]day\"(22).Likewise,byanthropomorphizingDeathasakindandcivilgentleman,thespeakerparticularizesDeath\'scharacteristicswithfavorableconnotations.[3]Similarly,thefiniteandinfiniteareamalgamatedinthefourthstanza:TheDewsdrewquiveringandchill--ForonlyGossamer,myGown--MyTippett--onlyTulle--(14-16)Intheselinesthespeaker\'stemporalexistence,whichallowshertoquiverassheischilledbythe\"Dew,\"mergeswiththespiritualuniverse,asthespeakerisattiredina\"Gown\"andcapeor\"Tippet,\"maderespectivelyof\"Gossamer,\"acobweb,and\"Tulle,\"akindofthin,opennet-temporalcoveringsthatsuggesttransparent,spiritualqualities.Understandingtheincomprehensibleoftendependsonanappreciationoftheprogressionofthestagesofexistence.Byrecallingspecificstagesoflifeonearth,thespeakernotonlysettleshertemporalpastbutalsoviewsthesehappeningsfromahigherawareness,bothliterallyandfiguratively.Inaliteralsense,forexample,asthecarriagegainsaltitudetomakeitsheavenlyapproach,ahouseseemsas\"ASwellingoftheGround\"(18).Figurativelythepoemmaysymbolizethethreestagesoflife:\"School,whereChildrenstrove\"(9)mayrepresentchildhood;\"FieldsofGazingGrain\"(11),maturity;and\"SettingSun\"(12)oldage.Viewingtheprogressionofthesestages-life,todeath,toeternity-asacontinuuminveststheseisolated,oftenincomprehensibleeventswithmeaning.[4]Fromhereternalperspective,thespeakercomprehendsthatlife,likethe\"HorsesHeads\"(23),leads\"towardEternity\"(24).[5]Throughherboundlessamalgamationandprogressiveorderingofthetemporalworldwiththespiritualuniverse,Dickinsondialecticallyshapesmeaningfromthelimitationsoflife,allowingthereadermomentarilytoglimpseauniverseinwhichtheseeminglydistinctanddiscontinuousstagesofexistenceareholisticallyimplicatedandpurposed.NOTES[1.]OtherswhohavewrittenonEmilyDickinson\'sresponsestodeathincludeRuthMiller(ThePoetryofEmilyDickinson[Middletown,Conn.:WesleyanUP,1968]);RobertWeisbuchEmilyDickinson\'sPoetry[Chicago,111.:UofChicagoP,1975]);CarolAnneTaylor(\"KierkegaardandtheIronicVoicesofEmilyDickinson,\"JournalofEnglishandGermanPhilology77[1978]:569-81);CharlesAnderson(EmilyDickinson\'sPoetry:StairwayofSurprise[NewYork:Holt,Reinhart,1960]);SharonCameron(LyricTime(Baltimore:JohnHopkinsUP,1979]);BritaLindberg-Seyersted(TheVoiceofthePoet:AspectsofStyleinthePoetryofEmilyDickinson[Cambridge:HarvardUP,1968]).[2.]ThetheoreticalfoundationforaspectsofthisargumentrestsinpartonthephilosophiesofsuchmenasImmanuelKant,whorepresentsthenotionoftheboundaryofhumanexperienceasabeltofmediation:\"Thesensuousworldisnothingbutachainofappearancesconnectedaccordingtouniversallaws;ithasthereforenosubsistencebyitself;itisnotthethinginitselfandconsequentlymustpointtothatwhichcontainsthebasisofthisexperience,tobeingswhichcannotbecognisedmerelyasphenomena,butasthingsinthemselves\"(ProlegomenatoAnyFutureMetaphysics,trans.anded.PaulCarus[Chicago:OpenCourtPublishingCo.,1902]124).[3.]InTheLongShadow,ClarkGriffithgroundsthispoeminseculartraditions,ashepointsoutthatDeath\'sstoppingfortheLady-Poetreflectsa\"traditionofnineteenth-century\'courtlylove\'\"(129),aninterpretationwhichallowsthereadertoevaluate\"Deathaseitherkindormalevolent\"(130)and\"Eternity\"(131)asa\"pleasant\"placeorrealmof\"nothingness\"(132).[4.]InTheRhetoricofAmericanRomance(Baltimore:JohnsHopkinsUP1984),EvanCartonsays,\"ToapproachGod,forDickinson,isgenerallytoshapeamoresatisfying...relationshipbetweenoneselfandtheuniverse...\"(270).[5.]JaneD.Eberwein,inDickinson:StrategiesofLimitation(Amherst:UofMassachusettsP,1985).arguesthatDeathdoesnot\"launchthepersonaofthispoemintoanotherworld\"butratherleavesthepersonaina\"House\"(218).CopyrightofExplicatoristhepropertyofHeldrefPublicationsanditscontentmaynotbecopiedwithoutthecopyrightholder\'sexpresswrittenpermissionexceptfortheprintordownloadcapabilitiesoftheretrievalsoftwareusedforaccess.Thiscontentisintendedsolelyfortheuseoftheindividualuser.本文关键词：DICKINSONSBECAUSEDEATH其实，语言的含义是多才多艺的，同样也是博大精深的，所以只有认真的学习，才有可能明白的，所以我们要认真的去学习各种文化，让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