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1、EmilyDickinson(1830―1886)isnowconsideredapowerfulandpersistentfigureinAmericanculture.AlthoughmuchoftheearlyreceptionconcentratedonDickinson’seccentricandsecludednature,shehasbecomewidelyacknowledgedasaninnovative,pre-modernistpoet.EmilyDickinsononcedescribedherselfas“theonlyKangarooamon
2、gtheBeauty”.Indeed,shewassopeculiarinthe19thcenturyliterarycircle.Herstepswereseldomimprintedoutsideherfather’shouse,andherfeelingsnotconsummatedinmarriage.Herpoemswereboldandstarkinstyle,barelynoticedinherlifetimebutmarveledatafterpublishedposthumously.Dickinsonisfascinatedbydeath―bedsc
3、enes.Inparticular,shewantstoknowiftheirdeathsrevealanyinformationaboutthenatureoftheafterlife，closelyrelatedtoimmortality．“BecauseICouldnotStopforDeath”,asoneofEmilyDickinson’smostcelebratedpoemscanbereadonseverallevelsofmeaning.Apparentlyanotherversionofprocessiontothegrave,itisametapho
4、rthatcanbeprobedfordeeperlevelsofmeaning,spiritualjourneysofaverydifferentsort.StanzathreeoffersanexampleofDickinson’ssubstantialcapacityforcompression.Thisstanzaepitomizesthecircleoflife,notsomuchastolife’scontinuitydespitedeath,butmoreinfusionwiththejourneywithinthepoem―lifeasprocessio
5、ntowardconclusion.Hereherintenselyconsciousleave―takingoftheworldisrenderedwithfineeconomy,andinsteadofthesentimentalgriefofpartingthereisanobjectivelypresentedscene.Theseeminglydisparatepartsofthisarefusedintoavividre-enactmentofthemortalexperience.Itincludesthethreestagesofyouth,maturi
6、ty,andage,thecycleofdayfrommorningtoevening,andevenasuggestionofseasonalprogressionfromtheyearsupspringthroughripeningtodecline.Thelaborandleisureoflifearemadeconcreteinthejoyousactivityofchildrencontrastedwiththepassivityofnatureandagain,bytheopticalillusionofthesun’ssetting,intheimageo
7、fmotionthathascometorest.Alsothewholerangeoftheearthlylifeissymbolized,firsthumannature,thenanimate,andfinallyinanimatenature.But,absorbed“intheRing”ofchildhood’sgames,theplayersatlifedonotevenstoptolookupatthepassingcarriageofdeath.Timeisonthemoveevenforthem,thoughitspac
