Because-I-Could-Not-Stop-for-Death

BecauseICouldNotStopforDeathAmericanLiteratureEmilyDickinsonOutlineBackgroundofPoetMajorWorksThemeandStyleTextAnalysisHistoricalbackgroundEmilyDickinson（1830-1886),thebest-knownfemalepoetinAmericanliterature.Herpoems,aswellasWaltWhitman's,wereconsideredasapartofAmericanrenaissance;theywereregardedaspioneersofimagism.•borninAmherst,Massachusetts.•receivedagoodeducation.•“vestalofAmherst”.“阿姆赫斯特的修女”•poemsgotpublishedafterdeath•nearly2000poemsthroughoutheradultlife•originalinbothcontentandtechnique•profoundlyinfluenceseveralgenerationsofAmericanpoets•winherasecurepositionasoneofthegreatestpoetsthatAmericahaseverproduced.Majorworks•MylifeClosedTwicebeforeItsClose•BecauseIcan’tStopforDeath•IHeardaFlyBuzz-WhenIDie•Mine-bytheRightoftheWhiteElection•WildNights-WildNightsThemes•Deathandimmortality:lifeanddeath,deathandlove,deathandeternity.•Religion:doubtandbeliefaboutreligioussubject•Societyandpolitics:transcendentalism•Love:sufferingandfrustrationcausedbylove•Nature•AestheticsStyle•1.Poemswithouttitles•2.Severeeconomyofexpression•3.Directness,brevity•4.Musicaldevicetocreatecadence•5.Capitalletters—emphasis•6.Shortpoems,mainlytwostanzas•7.Rhetorictechniques:personification---makesomeofabstractideasvivid.BecauseICouldNotStopforDeath•BecauseIcouldnotstopforDeath-Hekindlystoppedforme—TheCarriageheldbutjustOurselves—AndImmortality.•Weslowlydrove—Heknewnohaste,AndIhadputawayMylaborandmyleisuretoo,ForHisCivility—•WepassedtheSchool,whereChildrenstroveAtrecess—inthering—WepassedtheFieldsofGazingGrain—WepassedtheSettingSun—•Orrather—HepassedUs—TheDewsdrewquiveringandchill—ForonlyGossamer,myGown—MyTippet—onlyTulle—•WepausedbeforeaHousethatseemedASwellingoftheGround—TheRoofwasscarcelyvisible—TheCornice—intheGround—Sincethen—'tiscenturies—andyetFeelsshorterthantheDayIfirstsurmisedtheHorses'Heads•WeretowardEternity—因为我不能停下来等待死神-他和善地为我而停下--四轮马车只载着我俩--还有不朽。我们慢慢前行--他不慌不忙而我也收拾起我的劳动和闲暇，因他的彬彬有礼–我们经过学校，正值课间休息孩子们围成圆环--打逗--我们经过农田凝望五谷我们经过落日—确切地说--是他经过了我们--那露水引来了冷颤寒气--因我的女礼服--仅为纤细的薄纱织物我的披肩--不过是绢网而已我们停步于一所房子前那似乎是一片隆起的地面--屋顶几乎看不见--宛如飞檐装饰着大地--自那以后--若干个世纪--可还是感觉比那天短，我首次猜测到，那马头是朝向永恒之地--Hekindlystoppedforme—TheCarriageheldbutjustOurselves—AndImmortality.Weslowlydrove—Heknewnohaste,AndIhadputawayMylaborandmyleisuretoo,ForHisCivility—WepassedtheSchool,whereChildrenstroveAtrecess—inthering—WepassedtheFieldsofGazingGrain—WepassedtheSettingSun—Orrather—HepassedUs—TheDewsdrewquiveringandchill—ForonlyGossamer,myGown—MyTippet—onlyTulle—WepausedbeforeaHousethatseemedASwellingoftheGround—TheRoofwasscarcelyvisible—TheCornice—intheGround—Sincethen—'tiscenturies—andyetFeelsshorterthantheDayIfirstsurmisedtheHorses'HeadsWeretowardEternity—ThefigureofspeechMetaphorSchool,whereChildrenstrove--childhoodFieldsofGazingGrain--maturitySettingSun--oldageAswellingoftheground--thegrave(theendoflife’sjourney)InBrief•Inthispoem,EmilyDickinsonconveyedherlimitlesssentimentalityafterthesetbackofloveandjoyfulnesswiththesuddencomprehensionoftruthinatenderlybeautifulandzigzaggedway,realizinghertranscendenceofdeath.•Andtheuniqueverseform(rhythmanddash)notonlyhelpedreadersacquirecompletelyfreshandnewexperienceofaestheticappreciationbutalsoillustratedherownaestheticattitude:Truthisbeautyandimmortal.