花儿在阳光下枯萎----狄金森诗歌中的整合自然界

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中文摘要

作为十九世纪新英格兰的女性诗人，艾米莉· 狄金森承受了巨大的社会宗教

压力，因此不得不使用饱含隐喻的诗歌语言来抒发她的内心感受和对人生的领悟。

诗性隐喻既是狄金森诗歌的重要特征，也是其诗歌的“密码”。为了以更加系统化

的方式解读狄金森的诗歌，本文基于女性主义的本质，采用了概念整合理论和隐

喻理论对其自然诗歌及其主题进行了分析, 认为对狄金森的诗歌的意象分析体现

出了诗人将独身和诗歌写作看作是维持独立的夜晚空间，诗人藏身其中，躲避白

天空间中强大的男性专制的太阳。

本文通过分析意象及其隐喻含义指出，狄金森诗歌中的太阳象征了扼杀女性

独立和自由的男权，花朵则在体态，精神各层面隐喻了女性，围绕花朵的蜜蜂象

征了女性的话语权，蝴蝶则象征了女性的自由意识，露珠象征了女性生命力的来

源。夜晚在狄金森诗歌中成为空间范畴，是女性躲避男权，获得自由和独立的方

式。沙漠则象征了女性的精神在男权极端压迫下的最终结果。通过对各种意象如

太阳，花朵，露珠，蜜蜂，蝴蝶等的分析，文章指出了狄金森的自然诗歌实质上

围绕主题即太阳所谓男性权威的隐喻烤干了象征女性精神的花朵，女性创造力和

想象力被扼杀，失去独立和自由的空间和活力。这个主题表现在狄金森创造的自

然和人类男性女性关系的整合空间中，这一整合空间表现了狄金森对女性地位和

男女性关系的关注，狄金森对男权扼杀女性意识的本质的揭露和恐惧。在这一空

间中，狄金森提出了女性必须在象征了男权至上的白天空间和象征了女性保存自

由的黑夜空间中选择，这些对于当今的女性主义研究依然是有意义的。

关键词：狄金森女性主义概念隐喻整合理论

III

ABSTRACT

As a woman poet of the nineteenth century in New England, Emily Dickinson had to

employ metaphorical language to express her profound inner world and life philosophy,

which is a remarkable feature of Emily Dickinson’s language style and also the “code”

of Dickinson’s poems. In order to understand Dickinson’s poems in a more

systematical way, this thesis, based on feministic point of view, applies conceptual

metaphor theory and blending theory to the study of Dickinson’s images and

metaphors about nature to enhance the understanding and decoding of Dickinson’s

poetic metaphors and to reveal that Dickinson’s poetry and her single life constitute a

“night space” for her to hide from the almighty male sun of the “day space”.

After a literature review on feminism research and metaphorical research on

Dickinson’s poems home and abroad, metaphorical images such as the sun, flowers,

dews, bees, butterflies, night and sand are analyzed specifically. It is concluded that in

Dickinson’s poems about nature, the sun image relates to male power and the image of

God closely, and that the sun, day and light images represent supreme male power

killing female possibility, depriving female of their independence; the flower image

represents female, physically and spiritually; bees represent female language;

butterflies symbolize female mind; night stands for a space for women to keep

independence and freedom; and sand is a symbol of lifeless female world. According

to the analysis of specific images and their metaphorical meaning, the thesis points out

that Dickinson’s poems about nature are around a central theme as well as a metaphor.

The sun that represents male power parches the flower that represents female spirit,

indicating male power kills female vitality and creativity, dispossesses female of their

independence and freedom. This is shown in the blend space of Dickinson’s

understanding of male-female relationship under the disguise of the natural world. The

blend space also shows Dickinson’s fear for the killing power of the almighty male sun

which becomes a supreme killer erasing female vitality and creativity, turning female

spiritual world into lifeless sand. Night in the blend becomes a space instead of a time

period for female to hide from the almighty sun and achieves independence and

possibility to create and speak. Day and night become two spaces in parallel, and each

female should choose between staying in the day space to be parched and searching

possibility in the night space, which is still meaningful to today’s feminism

development.

Key words: Emily Dickinson, feminism, conceptual metaphor,

blending theory

Contents

Acknowledgements

中文摘要

Abstract

Chapter 1 Introduction ...................................................................................................1

§1.1 Overview of Feminist Studies on Emily Dickinson ............................................1

§1.2 Aim of the Research ............................................................................................ 5

§1.3 Organization of the thesis ....................................................................................5

§1.4 Brief Introduction of Theories and Terms ...........................................................6

Chapter 2 Sun as Male Power Metaphor ......................................................................9

§2.1 Traditional Sun Image ......................................................................................... 9

§2.2 Sun and Emily Dickinson ....................................................................................9

§2.3 Sun image in Dickinson’s poems ...................................................................... 12

Chapter 3 Flowers as Female Metaphor ..................................................................... 21

§3.1 Traditional image of flowers ............................................................................. 21

§3.2 Metaphors of Flowers in Dickinson’s poems ....................................................22

§3.3 Specific flower metaphors .................................................................................25

Chapter 4 Other metaphors ......................................................................................... 28

§4.1 Dews ..................................................................................................................28

§4.2 Bees and Butterflies .......................................................................................... 29

§4.3 Night as paradise for female ............................................................................. 32

§4.4 Sand as Lifeless Female World ......................................................................... 36

Chapter 5 The Blended Natural World in Dickinson’s Poems ..................................39

Chapter6 Conclusion .................................................................................................... 44

Works Cited ................................................................................................................... 46

Chapter 1 Introduction

Emily Dickinson’s about 1800 poems are related closely to her private life and her

peculiar thought over life, death, eternity, love and other abstract emotion and feelings.

Among them there is a large group of Dickinson’s poems depicting things from the

natural world: sunshine, winds, plants, small animals, streams, and so on. Those poems

are never merely simple and arbitrary description of frequently appearing objects or

phenomena in her family garden. The poems actually constitute a blending world

drawing elements from both the natural world and Dickinson’s private thought over

human society. The images and metaphors were woven into a network centering on a

patriarchal society in which male power appearing as the image of sunshine plays the

leading and controlling role, while female image appearing as flowers is placed in the

secondary and subordinate position, hurt and destroyed by male power. Other images

such as bees, butterflies, dews, and others add longitudes and latitudes to the network,

enriching the theme of killing Sun as Male Power.

§1.1 Overview of Feminist Studies on Emily Dickinson

Emily Dickinson is now regarded as one of the greatest American poets, but not

until the major critics such as Allen Tate or F.O. Matthiessen made literary

reevaluations of Dickinson and promoted her to a national bard, general readers’

attention was attracted to her private life. People gathered tiny clues from her poems

and letters to find out correspondence between the contents of her poems and her

actual life, to demonstrate her possible love to the mysterious Master. Though the early

“research” on her privacy was more gossip than academic study, it cannot be denied

that Dickinson’s family background and the 19th century New England society do have

effects on Dickinson’s thoughts as well as her poems.

According to Johnson’s biography of Dickinson, the nineteenth-century New

England had witnessed a growing tendency toward the commercialization stimulated

by the trades with European countries and the latest cultural trends flourished, so that

the traditional conservative systems were liberalized gradually (Johnson 15). This

liberal trend was prominent particularly in the religious aspect, and the doctrine of

Unitarianism which presents the possibility of humankind to approach God overspread

the country in place of traditional Puritanism. In spite of this increasing liberal

The Sun Parches Flowers---- The Blended Natural World in Dickinson’s Poems

tendency, however, the conservative social systems were maintained in the region

around Amherst, because it was separated from the economic center of Boston. People

still believed in the original sin and the elitism. According to Puritanism, all

individuals are assigned distinct roles to fulfill in their society in order to achieve an

organic unity, which was the original notion that organized the hierarchical human

relationship on the basis of patriarchy in the 19th century of New England. As for the

position of women, as Gilbert and Gubar claim, a woman was strongly required to be

pure, pious, and submissive. Her supreme mission was to keep her home as a sanctuary,

where her wearied husband could rest and feel secure after coming back from work

(23-24). Under such a condition, a female poet was regarded as a deviant both

religiously and sexually. Creative and imaginative activities were supposed to be less

fit for a woman than for a man, because it was related to the temptation of the Devil.

According to Gilbert and Gubar, the common assumption was that any creative activity

was unfit for a woman, because she was not supposed to be the subject of reproduction

in patriarchal order (8). A woman who engaged in public writing was defined as a

sexual pervert, and even described as “mad and monstrous” because she was thought to

be “ ‘unsexed’ ” or “sexually fallen” (63).

Therefore it is inevitable to mention Dickinson’s identity as a female poet, for that

very identity required her to conform to the social convention. From 1950, feminists

have become one group of the main academic researchers studying on Emily

Dickinson. Some feminists concentrated on Emily’s rejection of patriarchal religion.

Among them, Biographer Cynthia Griffin Wolff titles her chapter on the poet’s struggle

with the patriarchal deity “The Wrestle for Dominion,” in which Wolff declares the

woman poet’s holy war: “Dickinson’s hero—poet confronted two dilemmas: to seek

out the hidden God so that an attack might be mounted; and to find some weapon

adequate to pitch against the mighty force of the Godhead. As solution to both of these,

Dickinson returned to the power of the Word”(Wolff 158) . Some other feminists

argued that Emily’s eccentric behavior was a strategic revolt against the oppressive

patriarchy, as Sandra M. Gilbert and Susan Gubar maintain in one of the early

representative works of the feminist readings The Mad Woman in the Attic: The Woman

Writer and the Nineteenth-Century Literary Imagination (1979). In Women Writers and

Poetic Identity, Margaret Homans likewise asserts that Dickinson's issues and style

result from her conscious awareness of being female; this consciousness means her

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摘要：

II中文摘要作为十九世纪新英格兰的女性诗人，艾米莉·狄金森承受了巨大的社会宗教压力，因此不得不使用饱含隐喻的诗歌语言来抒发她的内心感受和对人生的领悟。诗性隐喻既是狄金森诗歌的重要特征，也是其诗歌的“密码”。为了以更加系统化的方式解读狄金森的诗歌，本文基于女性主义的本质，采用了概念整合理论和隐喻理论对其自然诗歌及其主题进行了分析,认为对狄金森的诗歌的意象分析体现出了诗人将独身和诗歌写作看作是维持独立的夜晚空间，诗人藏身其中，躲避白天空间中强大的男性专制的太阳。本文通过分析意象及其隐喻含义指出，狄金森诗歌中的太阳象征了扼杀女性独立和自由的男权，花朵则在体态，精神各层面隐喻了女性，围绕花朵的蜜蜂象征...

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