Because-I-could-not-stop-for-Death诗歌赏析.doc

我不能为死停留
他便和善地为我止步
马车上只载着我们俩，以及 ——永寂

我们缓缓前行，他知道不必着急
我卸下了一世的辛劳
也放弃了闲暇的欢愉 ——
托他的好意

我们经过学校，
孩子们正趁着课间嬉戏
我们经过等待收获的田野
经过了落日

其实，毋宁说是它将我们抛在夜里
露水带着让人颤抖的寒意
唯有蛛网是我的睡袍
我的披肩——一层薄薄的绢丝

我们停在一座屋前
就像是大地隆起的一个包
这房子的屋顶几乎看不见
屋檐则没入大地

从那时起，过了好几个世纪
却感觉比那天更短暂
我终于想到马头应是朝着
无尽无止——

Because I could not stop for Death
v Because I could not stop for Death—
v He kindly stopped for me---
v The Carriage held but just Ourselves—
v And Immortality.
v  
v We slowly drove—He knew no haste
v And I had put away
v My labor and my leisure too,
v For His Civility—
v  
v We passed the School, where Children strove
v At Recess—in the Ring—
v We passed the Fields of Gazing Grain---
v We passed the Setting Sun—
v
v Or rather—He passed Us—
v The Dews drew quivering and chill—
v For only Gossamer, my Gown—
v My Tippet—only Tulle---
v  
v We paused before a House that seemed
v A Swelling of the Ground—
v The Roof was scarcely visible—
v The Cornice—in the Ground—
v  
v Since then—tis Centuries—and yet
v Feels shorter than the Day
v I first surmised the Horses’ Heads
v Were toward Eternity—
赏析
The first stanza
v The opening of the poem has an understated casualness of tone : 这首诗的开头有一种低调的随意性：
v In the first line the persona is too busy and too contented as she lives her life to both to stop for the gentleman’s call; 在第一行中，角色太忙了，太满足了，因为她过着自己的生命，为了绅士的召唤而停下来;
v but, through his kindness and consideration, she is compelled at last to go with him. 但是，通过他的善意和考虑，她终于被迫和他一起去了。
v In the third line, the dramatic scene is set in the carriage. The situation is one of intimacy---- “the carriage held but just ourselves.” 在第三行中，戏剧性场景设置在马车中。 这种情况是亲密的 - “马车举行但只是我们自己。”
v He has called on her as a beau; and, like a true gentleman, he has included a chaperon, “Immortality.”他称她为男友; 而且，像一个真正的绅士一样，他包括了一个“不朽”的伴侣。
The second stanza
v The first line of the second stanza indicates the peacefulness and pleasantness surrounding an appointment with a beau. 第二节的第一行表明与男友约会的宁静和愉快。
v He drives leisurely, without haste---- ironically, as if they had all the time in the world. 他匆匆忙忙地开车，讽刺的是，仿佛他们一直都在世界上。
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. 在第一节中无法阻止死亡的她在本节的第二和第三行完全被他迷住了。
v He is such an artful charmer that she needs neither labor nor leisure, for in his “Civility” he has taken care of everything.
他是一个非常有魅力的人，她既不需要劳动也不需要休闲，因为在他的“文明”中，他一直在照顾一切。
The third stanza
v By the third stanza, they are nearing the edge of town. 在第三节，他们正在靠近城镇的边缘。
v The three elements summarize the progress and passage of a lifetime.
这三个要素总结了一生的进步和通过。
v Children strove on the playground-------youth
孩子们在操场上奋斗-------青年
v the Fields of Gazing Grain----adulthood
凝视谷物的领域----成年
v The setting sun-----old age
夕阳-----晚年
v As critic Charles R. Anderson described in them, 正如评论家查尔斯·安德森所描述的那样，
v “The seemingly disparate parts of this 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.”
“看似完全不同的部分融入了对凡人经历的生动再现。 它包括青年，成熟和年龄的三种状态，从早到晚的一天的周期，甚至是从春季到成熟到衰退的季节性进展的建议。
The Fourth stanza
v the lady is getting closer to death; 这位女士越来越接近死亡;
v for “The Dews” now grow “quivering and chill” upon her skin, the traditional associations of the coldness of death.
因为“露水”现在在她的皮肤上变得“颤抖和寒意”，这是传统的死亡寒冷。
v In 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 because her gown is thin. 然而，在第三行中，这位女士仍然通过提供关于她的寒意的理性解释来保持生命。 她似乎并没有真正死去，她似乎说：她很冷，因为她的长袍很薄。
v But 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 woman lying in repose.
但是她无法逃脱她的死亡，因为她甚至在她的服装中揭示了垂死的影响：她的礼服是游丝，一种与精神和其他世俗相关的物质，她的蕾丝披肩是人们可能期望在肩膀周围看到的东西。 已故的女人躺在休息。
The fifth stanza
v In the fifth stanza, they have arrived at a country cemetery.
v The House is the House of death, a fresh grave, sketched only with a few details.
v The roof is a small tombstone, and the cornice, the molding around a coffin’s lid, is already placed “in the Ground.”
v The lady is alone now, her gentleman friend has vanished unexplained.
v 在第五节，他们到达了一个国家公墓。
v 众议院是死亡之屋，一个新鲜的坟墓，只有一些细节。
v 屋顶是一块小墓碑，围绕棺材盖子的檐口已经“置于地下”。
v 这位女士现在独自一人，她的绅士朋友已经无法解释。

The sixth stanza
v In the sixth stanza the words “first surmised” contribute a note of ironic surprise.
v All along, then, she did not realize where her kind, intimate, slow driving, civil suitor was taking her.
v It was not until after the school children, the “Gazing Grain,” the “Setting Sun,” and the “Swelling of the Ground” that she began to realize where she was heading.
v 在第六节中，“第一个推测”这个词引起了一个具有讽刺意味的惊喜。
v 一直以来，她都没有意识到她善良，亲密，缓慢驾驶，民事追求者在哪里。
v 直到学校的孩子们，“凝视谷物”，“夕阳”和“肿胀的地面”之后，她才开始意识到她要去的地方。
v She had, therefore, apparently been tricked, seduced, and then abandoned. In these terms: then Dickinson is being terribly ironic throughout the poem. She is saying “kindly,” “slowly drove,” and “Civility” in retrospect through clenched teeth.
v 因此，她显然被欺骗，诱惑，然后被抛弃。 在这些术语中：狄金森在整首诗中都具有极其讽刺意味。 她通过紧握的牙齿回想起她说“善意”，“慢慢开车”和“文明”。
The conclusion
v 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.
v Is death a release from a lifetime of work and suffering?
v Is it the gateway to a lasting peace in paradise?
v Or is it simply a cold, mindless annihilation?
v 在描述死亡一方面作为宫廷追求者，另一方面作为欺诈诱惑者，这首诗反映了关于死亡和不朽的基本模糊性。
v 死亡是从一生的工作和痛苦中解脱出来的吗？
v 它是通往天堂持久和平的门户吗？
v 或者它只是一种冷酷无知的毁灭？