Seamus Heaney, Denis Donoghue, William Pritchard, Marilyn Butler, Harold Bloom, and many others have praised Helen Vendler as one of the most attentive readers of poetry. Here, Vendler turns her illuminating skills as a critic to 150 selected poems of Emily Dickinson. As she did in "The Art of Shakespeare's Sonnets", she serves as an incomparable guide, considering both stylist...
Seamus Heaney, Denis Donoghue, William Pritchard, Marilyn Butler, Harold Bloom, and many others have praised Helen Vendler as one of the most attentive readers of poetry. Here, Vendler turns her illuminating skills as a critic to 150 selected poems of Emily Dickinson. As she did in "The Art of Shakespeare's Sonnets", she serves as an incomparable guide, considering both stylistic and imaginative features of the poems. In selecting these poems for commentary Vendler chooses to exhibit many aspects of Dickinson's work as a poet, "from her first-person poems to the poems of grand abstraction, from her ecstatic verses to her unparalleled depictions of emotional numbness, from her comic anecdotes to her painful poems of aftermath". Included here are many expected favorites as well as more complex and less often anthologized poems. Taken together, Vendler's selection reveals Emily Dickinson's development as a poet, her astonishing range, and her revelation of what Wordsworth called "the history and science of feeling". In accompanying commentaries Vendler offers a deeper acquaintance with Dickinson the writer, "the inventive conceiver and linguistic shaper of her perennial themes." All of Dickinson's preoccupations - death, religion, love, the natural world, the nature of thought - are explored here in detail, but Vendler always takes care to emphasize the poet's startling imagination and the ingenuity of her linguistic invention. Whether exploring less familiar poems or favorites we thought we knew, Vendler reveals Dickinson as "a master" of a revolutionary verse - language of immediacy and power. "Dickinson: Selected Poems and Commentaries" will be an indispensable reference work for students of "Dickinson" and readers of lyric poetry.
新之处。例如，我们可以通过《开花-是成就-遇上一朵花》（*1038）来领略一下狄金森对句法的巧妙安排。为了绽放，诗中的花需要在方方面面付出机智而艰苦的努力：它需要
裹住花蕾一抵御毛虫一
获取它的雨露权一
调控高温一避开风-
躲过偷偷摸摸的蜜蜂一
To pack the Bud-oppose the Worm-
Obtain its right of Dew-
Adjust the Heat-elude the Wind-
Escape the prowling Bee-
（“偷偷摸摸的”蜜蜂充满喜剧色彩
但她列举的一系列危险又是对史诗的戏仿：非正义的敌对势力、压迫者、猎食者、拒绝提供必需养料的权威者。）为了表现花的抗争，狄金森将花的种种努力与诗行长度做了相应的安排：在每个四音节诗行中，都有两个斩钉截铁的动词不定式和两个名词；而在三音节诗行中，是一个动词不定式和一个名词。在第一个锋利的单音节动词“裹”（pck）之后，所有的动词都是双音节，每一个（对此她一定是了如指掌的）都带有拉丁语的前缀形式一ob（反对）、ad（向）、x（出来）：op-pose，ob--tain、ad-just、e-lude，es-cape。到最后，花的一系列职责，读起来就好像一本战场指南，书名叫《获胜必备》。若是想起那一对古老的双关语“诗歌”和“花束”（poesy/posy），我们还可以把这个诗节读作一个寓言式的诗歌创作指南。如果深求寓意，我们不难发现一套让一首诗“开花”的必备程序：
裹住诗句一抵御俗语
获取它的歌唱权一
调控节奏一避开粗俗
躲过潜伏的错误一 (查看原文)
genesis
广西人民出版社2021版
amanda
Belknap Press of Harvard University Press2010版
0 有用 Petit salé 2019-04-16 21:27:36
绵延大半年，终于翻完加改完了我负责的十几篇小狄🐶🐼🐝🐞我要标条目来纪念一下😹