Emily Dickinson的英文诗评 谁有Emily Dickinson if you were ...
\u6c42Emily Dickinson\u7684\u8bd7\u201dhope\u201dis the thing with feathers\u7684\u82f1\u6587\u8bd7\u8bc4\uff0c\u6025\uff01\u591a\u8c22\uff01HOPE IS THE THING THE FEATHERS
Hope is the thing with feathers
that perches in the soul
And sings the tune without the words,
And never stops at all.
And sweetest in the gale is heard;
And sore must be the storm
That could abash the little bird
That kept so many warm
I've heard it in the chillest land,
And on the strangest sea;
Yet,never,in extremity,
It asked a crumb of me.
\u770b\u770b\u8fd9\u91cc http://www.americanpoems.com/poets/emilydickinson/10463
不趋时媚俗的诗歌革新者——试论艾米莉·迪金森诗歌创作与成就
生活在19世纪的沃尔特·惠特曼（1819-92）和艾米莉·迪金森（Emily Dickinson, 1830-86）是游荡在美国乃至世界现当代诗歌原野上声势赫赫的幽灵。可以这么说，任何美国当代诗人不管如何后现代，如何先锋，起步时没有一个不在他（她）俩的抚育下长大的，其影响之大，如同中国诗人无不受李白和杜甫的荫庇。斯坦利·威廉斯 （Stanley T.Williams）说：“在迄今为止反映在诗歌里人迹罕至的精神领域里，他（她）俩代表19世纪美国心灵拓荒最远的才智。”[1] 美国的一些著名文学选集和诗歌选集现代部分往往以这两位美国心灵拓荒最远的才智当带头人。[2] 2001年来华参加美国文学研讨会[3]的美国诗人朱迪思·约翰逊（Judith Johnson）教授[4]在谈到这两位诗人时，俏皮地称他（她）俩为艾米莉·惠特曼。这一有见地的断语立刻受到中美学者的赞赏。这真是一对同一时代天造地设而风格各异的诗歌创新者。如果说在风格上，惠特曼是大海长河滔滔，骄阳当空，迪金森则是小桥流水，月明星稀。众所周知，他，大气磅礴，更多关心的是宏观世界，而她，细致入微，更多注重的是微观世界。正如唐纳德·巴洛·斯托弗（Donald Barlow Stauffer）说：“惠特曼的诗歌是通过他持续的、为了包罗万象而向外冲刺努力取得的，而迪金森的诗歌是通过她迅疾的、零散的洞察取得的。”[5] 然而，她（他）俩有着一个鲜明的共同点：在诗歌艺术上的追求是执着的，勇敢的，在任何时候决不趋时媚俗，宁可遭受占主流地位的保守诗人、诗评家、编辑、出版家乃至读者的误解，讽刺，嘲笑，甚至抨击，却毫不妥协地与传统的诗美学作彻底的决裂，表现了任何革命者、创新者所具备的胆略和气魄。这也是世界上从古至今任何独领风骚的伟大诗人所必具的基本品质。有了这样的品质，她（他）们的诗篇才“超越着时代，穿越着时空，昭示着一个跨越时代的精神向度。”[6]
这两位大诗人尽管都经过了不平坦的或者说坎坷的创作道路，但惠特曼生前最后得到诗界的承认，获得了一个伟大诗人应该获得的荣耀，而迪金森则没有他幸运，终身受到冷遇，生前只发表了少数几首诗，她的诗歌天才是逐渐被世人发现的，直到20世纪中叶以后才被完全确立为美国主要诗人。从追求一时盛名的世俗观点来看，这也许是她的不幸，但从长远的观点来看，这是她的幸运。我们若从她生前到目前为止的整个评论界、学术界对她及其诗歌评介和研究的演变来看，她是何等的幸运：她似乎成了超越时空的诗圣，虽生在19世纪，但经过轰轰烈烈的20世纪，依然活在21世纪，从新英格兰走向全美国，从美国走向全世界。
各个历史时期美国学术界和批评界对迪金森诗歌评价的演变
21世纪的今天，我们要准确把握艾米莉·迪金森这位大诗人如此丰厚而又如此难懂的诗歌，不是靠我们个别人勤奋的精读和聪慧的理解能解决问题的。我们必须要建立在一代代前人考证和研究的基础之上。正如詹姆斯·伍德雷斯（James Woodress）在介绍迪金森诗歌批评接受的情况时所说：“如今美国文学的学生或教师在研读迪金森诗歌时面临的大问题是紧跟学术的和批评的探究，考察。”[7] 何况不是生长在美国文化语境中的我们这些中国学人？因此，我们在着手研究她的诗歌之前，更有必要了解迪金森诗歌在美国学术界研究的情况和趋势。
从玛丽埃塔·梅斯梅尔的最新调查中[8]，我们可以清楚地看到整个批评界和学术界对迪金森评论和学术研究的走向。根据美国现代语言协会提供的有关研究迪金森诗歌的学术著作和论文的条目，平均每年50多种，1986年最多，达到83多种之多，其中的研究包括多种用外语写的论著，除了英语之外，还有日语、波兰语、德语、法语、斯洛文尼亚语、俄语、西班牙语、马其顿语、葡萄牙语等。虽然玛丽埃塔·梅斯梅尔在她的调查清单上没有提及被世界上最多的人使用的语言—汉语，但事实上迪金森也进入了汉语著作和中译本之中了，只是比起惠特曼对中国文学界的影响，她是一个迟到者，比他迟到了差不多70年。1919年田汉先生首次把惠特曼介绍到中国，而中国学者开始陆续介绍迪金森则在20世纪80年代[9]。她的诗歌天才在美国真正被发现和普遍重视也不过始于20世纪50年代中期。随着中国学者和译着对迪金森诗歌的深入研究和翻译，我们有理由相信，她必将对新世纪的中国文学界和学术界产生越来越大的影响。
19世纪60年代到世纪末，对迪金森的诗歌的接受基本上处于报刊的贬褒不一的评价性评论的初级阶段。个别的读者和女性评论员对她的诗歌和书信持热情的肯定的态度[10]，文论界占主导地位的少数男性文学记者、编辑和作家，由于坚持传统的诗美学，对迪金森诗歌形式的“不规范”进行挑剔，批评，说她的韵脚、节奏、句法都错。1890年以后，贬低迪金森的批评基本上占了上风。
然而，特别值得一提的是，显赫的银行家、早期超验主义者、作家、艾默生和梭罗的亲密朋友塞缪·沃德（Samuel G. Ward）别具慧眼，在1891年10月11日给托马斯·温特沃斯·希金森（Thomas Wentworth Higginson, 1823-1911）写的一封著名的信中说：“我同世界一道，对艾米莉·迪金森怀有浓厚的兴趣。难怪她的六版诗选都销售完了，我想，每一本都卖给新英格兰人了。她也许会世界闻名，也许决不会走出新英格兰。”他在信的结尾，称迪金森为“表达力强的缄默者”，并认为“这就是为什么她吸引许多新英格兰的魅力之所在”。当时评论界对迪金森诗歌的尖锐批评使本来就奉行传统诗美学的希金森很受影响，以至他不愿意再继续编辑她的诗选。但沃德的信给他鼓起了勇气，建立了信心。
希金森和梅布尔·卢米斯·托德（Mabel Loomis Todd）主编的迪金森的第一版《诗选》（Poems by Emily Dickinson, 1890）和第二版《诗选》（Poems, Second Series,1891）面世时，虽然报刊的专业评论者对迪金森诗歌非同寻常的艺术形式和主题，在“理解、美学评价、比较、分类和传记推测方面感到有困难”，但希金森对迪金森不规范的形式和独创性的内容的一分为二的评论在评论界和读者中产生了深远的影响。当时著名的评论家托马斯·贝利·奥尔德里奇（Thomas Bailey Aldrich, 1836-1907）在他的著名论文《关于艾米莉·迪金森》（In Re Emily Dickinson, 1892）中对迪金森诗歌也提出了一分为二的看法，他说，他从迪金森“诗歌的混乱”中，找到了“一首小诗”，“为了使它值得加入海涅抒情诗怪燕的飞翔中，需要对开头的一个诗节加以小小的修改。”但当时最具权威性的作家、评论家威廉·迪安· 豪威尔斯（William Dean Howells, 1837-1920）则对迪金森作了少有的高度评价：“在艾米莉·迪金森的作品里，美国，或者更多的是新英格兰，对世界文学作出了显著的增添，不可能被世界文学的任何记载所能漏掉。”这一具有民族自豪感的评价却引起了英国评论家们敌对的反响。1891年，一个叫做安德鲁·兰（Andrew Lang）的英国评论家认定迪金森的语法不通，把它视为美国不文明状态的表征，并挖苦说：
我们也许被告知：民主（指美国—笔者）不象欧洲那样注重语法。但即使民主跳过了头，又落在原始状态，我相信我们的野蛮继承者将会使他们的诗歌在语法上狗屁不通，虽然他们这样做是无意识的。
次年，一个叫做艾丽斯·詹姆斯（Alice James）的美国女学人针锋相对，反唇相讥：
听到英国宣布艾米莉·迪金森为五流诗人，我疑虑顿消，释然于怀：他们有着如此失察优秀品格的能力。
诸如此类的笔战见诸于当时的报刊，不管贬褒如何，至少说明当时迪金森备受关注。当然我们不能忽视对推出艾米莉·迪金森诗歌不可或缺的人物梅布尔·卢米斯·托德[11]，她后来独自编辑出版了迪金森第三版《诗选》（Poems, Third Series, 1896）。但可惜的是，后来她和艾米莉胞妹拉维尼娅[12]因土地诉讼纠纷产生不和而在1897年突然终止了迪金森诗歌的编辑工作，由此影响了评论界对迪金森诗歌关注的热度。直至艾米莉的侄女玛莎· 迪金森·比安奇（Martha Dickinson Bianch）编辑艾米莉·迪金森的新诗选《独一的猎狗》（The Single Hound）在1914年的出版，评论界才又开始对她的诗歌产生兴趣。当年，《诗刊》主编哈丽特·门罗（Harriet Monroe）在评论《独一的猎狗》时视迪金森为“一位无意识的未列入意象派队伍的意象派诗人”。她的这一看法正好与伊丽莎白·谢普利·萨金特（Elizabeth Shepley Sergeant）称迪金森为“早期意象派诗人”的看法不谋而合[13]。她俩的评论对研究迪金森诗歌无疑地起了促进作用，开辟了研究迪金森诗歌的新潮流。紧接而来的是，评论家纷纷从新英格兰超验主义、清教主义等不同的视角对迪金森诗歌进行研究。更令人注目的是，越来越的评论者把她的诗歌归于欧洲文化传统，尤其是归到T.S.艾略特所推崇的玄学派诗歌传统。美国著名诗人康拉德·艾肯（Conrad Aiken，1889-1973）称赞迪金森诗歌为“也许是女诗人中所写的最好的英文诗”。马丁·阿姆斯特朗（Martin Armstrong）同意他对她的诗歌的评价，但建议把“也许”去掉。艾肯为他编选的《艾米莉·迪金森诗选》评价性的批评转入到阐释性批评。换言之，到了这个时候，评论界不再在她的诗歌品格的好坏上打圈子，而是在承认她的诗歌是优秀的前提下进行阐释，解读。
从1930年到1955年，对迪金森诗歌的研究进一步从报刊的评价性评论转入学术的阐释。这一发展趋势是由玛莎和艾尔弗雷德·利特·汉普森（Alfred Leete Hampson）主编的《艾米莉·迪金森诗续编》（Further Poems of Emily Dickinson, 1929）和《艾米莉·迪金森未发表的诗》（Unpublished Poems of Emily Dickinson, 1935）推动和巩固的。这时恰好与新批评派的兴起巧合。新批评派评论家主要对迪金森单篇的诗作细致的阐释，而不是对迪金森这位诗人作整个的评价。这就牢牢地巩固了她作为具有机智的玄学诗人和神秘主义诗人的地位。这是对一个诗人的高度评价。只是在中国，玄学不太受重视，因为它带有我们不少人一向蔑视的唯心主义色彩，而且它似乎偏离我们许多人一向重视的现实主义。须知大诗人T.S.艾略特得益于英国17世纪玄学派诗人约翰·多恩（John Donne, 1572-1963），而且经过他的大力提倡，才使得曾在18世纪受到冷落的多恩和其他玄学派诗人在20世纪流行了起来。[14] 至于神秘主义，在中国, 也不是一个什么讨喜的好字眼。可是，在西方，神秘主义（mysticism）是一种信仰，即相信直接领悟真理或与上帝沟通是用种种难接近于理性的方法，通过沉思冥想或顿悟获得的。迪金森的诗总是通过她对在常人不起眼的小事小景小情的顿悟获得的。当然她生动地描绘死神来临和死后体验的精彩诗篇，也使她的诗歌有着神秘的色彩。我们写诗时也常常有这样一种神秘的体验：当你处于沉思冥想的状态时，你往往会把思想和感觉、现实和幻想混淆起来。迪金森正是在这样的状态下创作的。最早看出迪金森这一艺术特色的是著名新批评派评论家和诗人艾伦·塔特（Allen Tate, 1899-1997）。他在他的论文《新英格兰文化和艾米莉·迪金森》里指出她“把思想和感觉混淆了起来”，使迪金森成了新批评派的诗歌批评中的范例。其深远意义在于塔特抛弃了紧密联系作者生平的传统批评方法，把迪金森诗歌置于美国新教文化的语境里。不过，这一个时期同时存在着对迪金森作传记式批评。它的主要兴趣在于收集迪金森的生平事迹和她隐隐约约的情人。一时间，她似乎成了一个双性恋者。有的说，她的男情人是查尔斯·沃兹沃思或塞缪尔·鲍尔斯；有的说，她的男情人是乔治·古尔德或梅杰·亨特；有的说，她是女同性恋者，对象是苏珊·吉尔伯特和凯特·斯各特·特纳·安东。这是好奇者们从她的诗歌和玛莎的《艾米莉·迪金森的生活与书信》（The Life and Letters of Emily Dickinson, 1924）的字里行间为这个未婚女诗人找出来的，并没有确凿的证据。迪金森无论在诗里或信里从来就是若明若暗，若言辄止，扑朔迷离。一个女子有没有情人本来是一件平常事，但费力猜测迪金森的情人本身至少可以说明她受到大家关注和喜爱的程度。。。。。。。
Poetry and influence
Emily Dickinson, sometime around 1850, (supposed to be) the second and only other known photo of her. Curators at the Emily Dickinson Museum deny its authenticity.Dickinson's poetry is quite often recognizable at a glance, and is unlike the work of any other poet. Her facility with ballad and hymn meter, her extensive use of dashes and unconventional capitalization in her manuscripts, and her idiosyncratic vocabulary and imagery combine to create a unique lyric style.
Over half of her poems were written during the years of the American Civil War. Many suggest that the Civil War gave some of the tense feeling in her poetry. Dickinson toyed briefly with the idea of having her poems published, even asking Thomas Wentworth Higginson, a literary critic, for advice. Higginson immediately realized the poet's talent, but when he tried to "improve" Dickinson's poems, adapting them to the more florid, romantic style popular at the time, Dickinson quickly lost interest in the project.
By her death (1886), only ten of Dickinson's poems (see: Franklin Edition of the Poems, 1998, App. 1) had been published. Seven of those ten were published in the Springfield Republican. Three posthumous collections in the 1890s established her as a powerful eccentric, but it wasn't until the twentieth century that she was appreciated as a poet.
Dickinson's poetry was collected after her death by Higginson and Mabel Loomis Todd, with Todd initially collecting and organizing the material and Higginson editing. They edited the poems extensively in order to regularize the manuscripts' punctuation and capitalization to late nineteenth-century standards, occasionally rewording poems to reduce Dickinson's obliquity. A volume of Dickinson's Poems was published in Boston in 1890, and became quite popular; by the end of 1892 eleven editions had sold. Poems: Second Series was published in 1891 and ran to five editions by 1893; a third series was published in 1896. Two volumes of Dickinson's letters, heavily edited and selected by Todd (who falsified dates on some of them), were published in 1894.
This wave of posthumous publications gave Dickinson's poetry its first real public exposure, and it found an immediate audience. Backed by Higginson and William Dean Howells with favorable notices and reviews, the poetry was popular from 1890 to 1892. Later in the decade, critical opinion became negative. Thomas Bailey Aldrich published an influential negative review anonymously in the January 1892 Atlantic Monthly:
It is plain that Miss Dickinson possessed an extremely unconventional and grotesque fancy. She was deeply tinged by the mysticism of Blake, and strongly influenced by the mannerism of Emerson....But the incoherence and formlessness of her — versicles are fatal....[A]n eccentric, dreamy, half-educated recluse in an out-of-the-way New England village (or anywhere else) cannot with impunity set at defiance the laws of gravitation and grammar. (in Buckingham 281-282)
In the early 20th century, Dickinson's niece, Martha Dickinson Bianchi, published a series of further collections, including many previously unpublished poems, with similarly normalized punctuation and capitalization; The Single Hound emerged in 1914, The Life and Letters of Emily Dickinson and The Complete Poems of Emily Dickinson in 1924, Further Poems of Emily Dickinson in 1929. Other volumes edited by Todd and Bianchi emerged through the 1930s, releasing gradually more previously unpublished poems. With the rise of modernist poetry, Dickinson's failure to conform to nineteenth-century ideas of poetic form was no longer surprising nor distasteful to new generations of readers. A new wave of feminism created greater cultural sympathy for her as a woman poet. Her stock had clearly risen, but Dickinson was not generally thought a great poet among the first generation of modernists, as is clear from R.P. Blackmur's critical essay of 1937:
She was neither a professional poet nor an amateur; she was a private poet who wrote as indefatigably as some women cook or knit. Her gift for words and the cultural predicament of her time drove her to poetry instead of antimacassars....She came, as Mr. Tate says, at the right time for one kind of poetry: the poetry of sophisticated, eccentric vision. That is what makes her good — in a few poems and many passages representatively great. But...the bulk of her verse is not representative but mere fragmentary indicative notation. The pity of it is that the document her whole work makes shows nothing so much as that she had the themes, the insight, the observation, and the capacity for honesty, which had she only known how — or only known why — would have made the major instead of the minor fraction of her verse genuine poetry. But her dying society had no tradition by which to teach her the one lesson she did not know by instinct. (195)
The texts of these early editions would hardly be recognized by later readers, as their extensive editing had altered the texts found in Dickinson's manuscripts substantially. A new and complete edition of Dickinson's poetry by Thomas H. Johnson, The Poems of Emily Dickinson, was published in three volumes in 1955. This edition formed the basis of all later Dickinson scholarship, and provided the Dickinson known to readers thereafter: the poems were untitled, only numbered in an approximate chronological sequence, were strewn with dashes and irregularly capitalized, and were often extremely elliptical in their language. They were printed for the first time much more nearly as Dickinson had left them, in versions approximating the text in her manuscripts. A later variorum edition provided many alternate wordings from which Johnson, in a more limited editorial intervention, had been forced to choose for the sake of readability.
Later readers would draw attention to the remaining problems in reading even Johnson's relatively unaltered typeset texts of Dickinson, claiming that Dickinson's treatment of her manuscripts suggested that their physical and graphic properties were important to the reading of her poems. Possibly meaningful distinctions could be drawn, they argued, among different lengths and angles of dash in the poems, and different arrangements of text on the page. Several volumes have attempted to render Dickinson's handwritten dashes using many typographic symbols of varying length and angle; even R.W. Franklin's 1998 variorum edition of the poems, which aimed to supplant Johnson's edition as the scholarly standard text, used typeset dashes of varying length to approximate the manuscripts' dashes more closely. Some scholars claimed that the poems should be studied by reading the manuscripts themselves.
http://en.wikipedia.org/wiki/Emily_Dickinson
风格与技巧 (Style and Technique)
Emily Dickinson遭遇到每位诗人所面临的同样问题:如何用新的手法把熟悉平凡的事物叙说出来。她并非有意想要改文学传统，或创造新的风格，而是自然的发展，形成了属於她自己的，一套独特的叙述方法。有意要用非凡的方法来陈述平凡的事物。她写的东西初读时，似乎显得风格平凡并且单调，其实这只是表面上如此;因为细读姓的语言和意象，便会带来新的惊奇，并发现她的语调充满热情，结构极为精巧。
语言(Language)
Emily Dickinson认为最复杂而华丽的文字，纵使动人有力，也无法道尽浩瀚的宇宙与人类经验酝藏中真正有意义的事物。因此地竭精竭虑的要用简单平实的字汇，选择有条不紊的文体。她最大的希望似乎在力求文字本身清晰明白，以便把读者毫不资力的引入经验的本身。
她的诗似乎全是为自己而为的。所用的语言是发抒自我世界内在生活的媒介。读她的诗，令人觅得几乎就像在窃听她和神奇的字宙在一片宁静声中幽会一样。
它的诗，语言简单而内容钵复，其间似乎有种似非而是的不订和。有位评论家把这一点称为「自认无力的有力诗」 (powerful poems confessing their powerless)虽然诗人通常会先承认自己未能尽情表达出他想要表达的经验的全部内容。从这一方面看来，有些Emily Dickinson的四行诗(例如，J.288,J.441, J·1078)颇像中国诗的「绝句」;也就是说，思想像是在最后一行突然中断，让读者的想像力继续去玩味这麼几行短诗所激起的经验。她写诗讲求意精言简，忌讳迂回曲折，这便是她用字的另一个特点。它的诗都很简短，好用比喻法来表达宇宙的「实在]。我们可以列出一些她典型的文字技巧，并举例说明:
1)引喻(Allusion)
'And neigh like Boanerges'(J.585)便是最好的例子
。她把圣经中的一整段浓缩成'Boanerges一个字，并且把它
运用到当时的新英格兰地方。她不用神话中的马名，而选择「雷
子」sons of thunder 这样的名字来比喻。耶稣把他的两个
门徒叫做「雷子」，因为他们有如火般的热诚。她也许是在幽默
的暗示当时那些喧壤的演说家(这便是Boanerges引伸出来的
意义)，这些演说家曾夸大其词的说，当时铁路的开通是新时代
物质进步的象徵。
2）惊语(Aphorism)
详情见参考资料
诗书可以入画， 典型如：王籍“蝉噪林愈静，鸟鸣山更幽”，这分明是画。
而诗书自然也可以入影啊！
HOW the old mountains drip with sunset,
And the brake of dun!
How the hemlocks are tipped in tinsel
By the wizard sun!
How the old steeples hand the scarlet,
Till the ball is full,—
Have I the lip of the flamingo
That I dare to tell?
Then, how the fire ebbs like billows,
Touching all the grass
With a departing, sapphire feature,
As if a duchess pass!
How a small dusk crawls on the village
Till the houses blot;
And the odd flambeaux no men carry
Glimmer on the spot!
Now it is night in nest and kennel,
And where was the wood,
Just a dome of abyss is nodding
Into solitude!—
These are the visions baffled Guido;
Titian never told;
Domenichino dropped the pencil,
Powerless to unfold.
————Emily dickinson
最后这一后Powerless to unfold，简直“不摆了”——李伯清总结的俗语。
只是这个“the visions baffled Guido”没有完全明白，Guido是Titian的某作品吗？
Titian提香——是我小时候就“模糊”喜欢的意大利画家。
他把鲜明的色彩和背景的混合使用带入了威尼斯画派。他的作品包括圣坛背壁装饰画 圣母升天(1518年)
Domenichino多米尼琪罗——以宗教神话作品著名的意大利巴洛克中庸派画家。著作有圣·西西里亚教堂的数幅壁画。
实在没时间扫画册，中间借一张行色DX“小刀会”在意大利的片子，对不住！
而讲风光摄影就不得不提到西方油画，除了西方正统，个人对俄罗斯风光油画家更莫名喜欢，如列维坦。
列维坦在风景画中的成功，主要是由于他勤奋地在俄罗斯各地写生，在写生中灌输满腔抒情力量，使画面具有诗意的境界。
他常年沿着伏尔加河写生，曾经哺育过列宾和瓦西里耶夫的伏尔加，同样给列维坦以无穷无尽的灵感和无限丰富的题材。
尤其是1886—1888年的伏尔加之行，使他洞察自然美的真话，抱括地处理自然色调的和谐，形成了成熟的抒情风景画风格。
扩展阅读：the king of fighters ... emily addison wakeup ... maitland ward muse ... emilybloom from behind ... london keys brove ... james fenimore cooper ... josephine jackson ... porphyromonas ... percy bysshe shelly ...
