摘要:If so, the Door has already been opened to the pausing Chariots and the kneeling Emperors. Furthermore, as we all know that poets are all both mentally and physically lonely, and poets need a companion more badly than an ordinary people in deed, but in the real life, they hardly find a single friend. The reason is that few people could appreciate them. Just as the Chinese old saying “知音难求”---to find an person who could understand us is very hard.
on, but it is more illuminating than approaching the poems by categories of technique or periods in her life, and the danger of simplification can be easily net by a persistent tensing of her poems against categories; that is, one can always consider the possibility that they have been misplaced or need to be viewed as part of several categories. For these
notes, we have grouped her poems under five major headings, aware that a few major poems may escape such a classification: (1) Nature: Scene and Meaning; (2) Poetry, Art, and Imagination; (3) Friendship, Love, and Society; (4) Suffering and Growth; and (5) Death, Immortality, and Religion.
C. Emily .Dickinson’s Poetic Methods
A glance through Dickinson’s poems reveals their characteristic external forms as easily as a quick look through Whitman’s poems shows us his different forms. Most of Emily .Dickinson’s poems are written in short stanzas, mostly quatrains, with short lines, usually rhyming only on the second and fourth lines. Others stanzas employ triplets or pairs of couplets and a few poems employ larger, looser, and more complicated stanzas. Dickinson evidently found a convenient mold for her thoughts in these forms, and her use of partial rhyme may have helped her to compose swiftly and to focus on reflection of words and metaphors. Therefore the poems sometimes seem puzzling, yet after a re-reading, they are often suddenly illuminating. TO paraphrase Dickinson, scrutiny of this problem keeps the mind nimble. Probably she wanted to keep her own and her readers’ mind as nimble as possible.
Ⅲ. An Analysis on The Soul Selects Her Own Society (303)
A. The Soul Selects Her Own Society (303) and the Traditional Interpretation
The Soul selects her own Society---
Then---shuts the Door---
To her divine Majority--
Present no more
Unmoved---she notes the Chariots---Pausing---
At her low Gate---
Unmoved---an Emperor be kneeling
Upon her Mat---
I’ve known her ---from an ample nation---
Choose one---
Then---close the Valves of her attention---
Like Stone---
The Soul Selects Her Own Society (303) is a difficult poem that has been variously interpreted. It seems midway between the yearning of There Come a Day at Summer’s Fall. Where fulfillment is hoped for in heaven and the scene of almost fulfilled desires in Wild Night. Here Dickinson appears to assert that in some special and mysterious way she is always in the company of one person whom her soul has chosen as its only needed companion. The poem is not in the usual first person of love poems, but in a detached and meditative third person, until the last stanza where the speaker appears and comments on the third person figure of the first two stanzas.
The “Soul” of the first line may at first appear to represent any person, but close examination shows that it is Dickinson herself, or the speaker of the poem, seen from a distance. Also “Society” at first may appear to be a large group of people, but in reality it is one person. “Divine Majority” paradoxically implies that one person or better yet --- two person--- have become more important than anyone else. The third line is probably a declaration that no others are present, but since Dickinson composed the word “obtrude” as an alternative to “present”, the line may be an
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