I’m-Nobody!-Who-are-you

I’mNobody!Whoareyou?(260)EmilyDickinson,1830-1886I’mNobody!Whoareyou?Areyou–Nobody–too?Thenthere’sapairofus!Don’ttell!they’dadvertise–youknow!Howdreary–tobe–Somebody!Howpublic–likeaFrog–Totellone’sname–thelivelongJune–ToanadmiringBog!这首小诗口语化、俏皮，而又寓意深远。第一句话就透露出说话者不忮不求的傲岸：我是无名小卒！接着是发现朋友的欣喜(从you变成us)，以及到流俗划分界线(they/us)。这种壁垒分明的态度也见于诗节的安排。首节讲无名小卒，节奏轻快，句法多变化；次节讲大人物，节奏滞缓，且只有一种句型(How+adj)。六、七、八行是接续诗行(run-onlines)，正所以代表大人物滔滔不绝。喻大人物的frog和喻其听众的bog押韵，显示两者意气相投。以六月为永远(livelongJune)，点出沼“蛙之见肤浅可笑(按，另本做livelongday，讽刺之意更明显)。而俗人犹自欣羡，亦复可悯！I'MNOBODY!WHOAREYOU?byEmilyDickinson(1830-1886)I'mnobody!Whoareyou?Areyounobody,too?Thenthere'sapairofus－don'ttell!They'dbanishus,youknow.vt.放逐，驱逐；消除，排除Howdrearytobesomebody!adj.沉寂的；阴沉的；令人厌烦的；枯燥的n.可怕的人物Howpublic,likeafrogTotellyounamethelivelongJuneToanadmiringbog!译文：我是无名之辈！你是谁？艾米莉·狄金森我是无名之辈！你是谁？你也是无名之辈？那咱俩就成了一对－别出声！他们会把咱们排挤－要小心！多无聊－身为赫赫显要！多招摇－不过像只青蛙向一片仰慕的泥沼整日里炫耀自己的名号！关于作者:艾米莉·狄金森（EmilyDickinson）（1830－1886），美国抒情诗人，意象派诗歌的先驱之一，被誉为美国现代派诗歌的鼻祖。她生前写过一千七百多首无标题短诗（标题为出版时后人所加，一般为原诗的首句），当时不为人知，死后名声大噪。她诗风独特，近乎婉约，以文字细腻，感情真挚，意象突出，清新自然而著称，艺术风格倾向于微观，内省，多涉及自然，宗教，爱情，死亡与永生等题材，体现了朴素的自然美，新颖的意象美与不拘一格的音韵美。狄金森隐世脱俗，与世无争，冷眼看世事，写出了许多鞭辟入里的好诗，《我是无名之辈！你是谁？》即为代表作之一，对夸夸其谈而不惜身陷泥沼的庸俗之徒进行了辛辣的讽刺，表明了诗人甘于平凡的超越心理与不随波逐流的高尚人格。I'mNobody!Whoareyou?isashortlyricpoembyEmilyDickinsonfirstpublishedin1891inPoems,Series2.ItisoneofDickinson’spopularpoems.Summary[edit]Thepoemiscomposedoftwoquatrains,and,withanexceptionofthefirstline,therhythmalternatesbetweeniambictetrameterandiambictrimeter.Thepoememploysalliteration,anaphora,simile,satire,andinternalrhymebutnoregularendrhymescheme.However,lines1and2andlines6and8endwithmasculinerhymes.Thepoetincorporatesthepronounsyou,we,us,yourintothepoem,andindoingso,drawsthereaderintothepiece.Thepoemsuggestsanonymity[英][ˌænəˈnɪməti][美][ˌænəˈnɪmɪti(n.匿名；作者不详；匿名者；无名者)ispreferabletofame.Itwasfirstpublishedin1891inPoems,Series2,acollectionofDickinson’spoemsassembledandeditedbyMabelLoomisToddandThomasWentworthHigginson.[1]SummaryThespeakerexclaimsthatsheis“Nobody,”andasks,“Whoareyou?/Areyou—Nobody—too?”Ifso,shesays,thentheyareapairofnobodies,andsheadmonishesheraddresseenottotell,for“they’dbanishus—youknow!”Shesaysthatitwouldbe“dreary”tobe“Somebody”—itwouldbe“public”andrequirethat,“likeaFrog,”onetellone’sname“thelivelongJune—/ToanadmiringBog!”FormThetwostanzasof“I’mNobody!”arehighlytypicalforDickinson,constitutedoflooseiambictrimeteroccasionallyincludingafourthstress(“Totellyourname—thelivelongJune—”).TheyfollowanABCBrhymescheme(thoughinthefirststanza,“you”and“too”rhyme,and“know”isonlyahalf-rhyme,sotheschemecouldappeartobeAABC),andshefrequentlyusesrhythmicdashestointerrupttheflow.CommentaryIronically,oneofthemostfamousdetailsofDickinsonloretodayisthatshewasutterlyun-famousduringherlifetime—shelivedarelativelyreclusivelifeinAmherst,Massachusetts,andthoughshewrotenearly1,800poems,shepublishedfewerthantenofthem.Thispoemishermostfamousandmostplayfuldefenseofthekindofspiritualprivacyshefavored,implyingthattobeaNobodyisaluxuryincomprehensibletothedrearySomebodies—fortheyaretoobusykeepingtheirnamesincirculation,croakinglikefrogsinaswampinthesummertime.ThispoemisanoutstandingearlyexampleofDickinson’softenjauntyapproachtometer(sheuseshertrademarkdashesquiteforcefullytointerruptlinesandinterferewiththeflowofherpoem,asin“Howdreary—tobe—Somebody!”).Further,thepoemvividlyillustrateshersurprisingwaywithlanguage.Thejuxtapositionintheline“Howpublic—likeaFrog—”shocksthefirst-timereader,combiningelementsnottypicallyconsideredtogether,and,thus,morepowerfullyconveyingitsmeaning(frogsare“public”likepublicfigures—orSomebodies—becausetheyareconstantly“tellingtheirname”—croaking—totheswamp,remindingalltheotherfrogsoftheiridentities).