狄金森诗歌中概念隐喻的创造性运用

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摘要
C. Lewis 曾说过，隐喻是诗歌的生命，是诗人的主要文本和荣耀。这一说法
应用于艾米莉.狄金森是再合适不过了。 作为 19 世纪美国文坛上最具创新意识的
诗人，狄金森的创新不仅表现在其诗中她对破折号的偏爱，不规则的韵律和韵脚
的运用，更体现于其诗中超乎寻常的比喻，和简洁而深邃的语言。
本文主要基于 Lakoff 和Johnson 的概念隐喻理论这一认知语言学的视角，对
艾米莉.狄金森诗歌中的隐喻进行分析，旨在揭示其诗歌中隐喻的系统性以及这些
概念隐喻所反映出的诗人认识、理解、描述世界的方法和视角。
Lakoff 和Johnson 的概念隐喻理论作为贯穿全文的理论红线，为论文的展开
提供了可能。概念隐喻理论的提出是隐喻研究领域的一个革命性的突破。传统的
以亚氏为代表的隐喻理论大多只是局限在修辞学的范畴，认为隐喻是一种修辞手
法，一种语言的变异形式，所以以往针对诗歌的隐喻研究常常只是关注隐喻的修
辞功能及美感功能，而隐喻的认知功能很少有人触及。概念隐喻的提出为诗歌隐
喻的认知研究提供了可能。Lakoff 和Johnson 认为隐喻是人们认识和理解世界的
工具，而不仅仅是一种语言现象；这一视角为诗歌隐喻的研究注入了新的活力。
基于概念隐喻这一认知学视角，笔者试图对诗歌中的隐喻进行解码并提炼出
几个频繁使用的概念隐喻：“人生是旅程”，“死亡是离去”，“自然是房子”，“诗歌
是房子”，以及本体隐喻拟人。通过文本和语义的分析，进一步阐释了这些概念隐
喻的体验基础以及其生成诗性隐喻，形成诗人独特隐喻风格的机制。隐喻的形成
过程实质上是诗人对世界概念化的过程，诗人对隐喻的选择和使用体现了她理解
世界的独特视角。因此本文在第四章重点分析了隐喻和诗人自身的概念世界之间
的关系，进一步揭示了作者隐含在诗中的对生死、永恒、自然、爱情,以及诗歌创
造等方面的哲理性的思考，以期为更好地理解和欣赏狄金森的诗歌提供新的视野。
关键词：认知分析 概念隐喻 艾米莉．狄金森 诗歌
ABSTRACT
C. Lewis has ever said that metaphor is the life of poetry, and the major text and
glory of poets. This statement is especially suitable to Emily Dickinson. As one of the
most innovative poets in American literature, her innovation lies not only in her
preference for dash, irregular rhythm and feet, but more importantly, in the
extraordinary metaphors and the seemingly concise yet profound language in her
poems.
Based upon Conceptual Metaphor Theory, a cognitive approach to metaphor put
forward by Lakoff & Johnson, this thesis aims to probe into the metaphors in
Dickinson’s poems, so as to uncover the systematicity of metaphors as well as their
contribution to the unique perspectives from which the poetess understands and
describes the world.
As the main thread that runs through the thesis, Conceptual Metaphor Theory is a
milestone in the field of metaphor research. The traditional theory represented by
Aristotle is mostly confined to the field of rhetoric, regarding metaphor as either a
device of rhetoric, or an aberrant form of language; thus up to now researches upon
poetic metaphor have mainly focused on the decorative and esthetical aspects, with its
cognitive function being neglected. However, conceptual metaphor theory makes the
cognitive research of metaphor possible. According to Lakoff and Johnson, metaphor,
instead of being a mere linguistic phenomenon, is a cognitive tool through which people
recognize and understand the world.
After a comprehensive study of metaphors in Emily’s poem, the author abstracts
several fundamental conceptual metaphors such as, LIFE IS A JOURNEY, DEATH IS
DEPARTURE, NATURE IS A HOUSE, POEM IS A HOUSE, and a kind of ontological
metaphor PERSONIFICATION. A further textual study reveals the systematicity of
metaphors in Emily’s poems, their empirical foundation and the mechanism of the
creative extension of basic metaphors into unconventional metaphors. Metaphor is a
way of thinking by means of which people conceptualize the world; the conceptual
metaphors employed by the poetess also reveal her unique way of understanding the
world. Thus, in the fourth chapter the author focuses on the relationship between
metaphors and Emily’s conceptual world, and further demonstrates her profound
meditation on such philosophical themes as life, death, eternity, nature, love and poetic
creation, in the hope that the research will offer a new way to the understanding and
appreciation of Emily’s poems.
Key Words: cognitive approach; conceptual metaphor; Emily
Dickinson; poetry
Contents
Acknowledgements ...........................................................................................i
摘要 .................................................................................................................... ii
ABSTRACT .......................................................................................................iii
Chapter One Introduction ..........................................................................1
1.1 The Life of Emily Dickinson ...............................................................................1
1.2 The Poems of Emily Dickinson ...........................................................................2
1.3 The Previous Studies on the Metaphors in Emily Dickinson’s Poems ............... 3
1.4 The Aim and Organization of This Thesis ...........................................................4
Chapter Two Theoretical Preliminaries ......................................................6
2.1 Metaphor as Rhetoric Device .............................................................................. 6
2.1.1 Aristotle’ Definition of Metaphor .............................................................. 6
2.1.2 The Evaluation of Aristotle’s Theory .........................................................7
2.1.3 Substitution Theory ....................................................................................8
2.1.4 Comparison Theory ................................................................................... 8
2.2 Metaphor as Cognitive Concept .......................................................................... 9
2.2.1 Interaction Theory ......................................................................................9
2.2.2 Conceptual Metaphor Theory .................................................................. 10
Chapter Three Metaphors in Emily Dickinson’s Poems ......................... 18
3.1 LIFE IS A JOURNEY ....................................................................................... 18
3.1.1 Life is a voyage on the sea .......................................................................19
3.1.2 Life is a trip through the woods ............................................................... 22
3.2 DEATH IS DEPARTURE ................................................................................. 23
3.3 LOVE IS A BRITTLE OBJECT ....................................................................... 26
3.4 NATURE IS A HOUSE .....................................................................................27
3.5 POEM IS A HOUSE ..........................................................................................30
3.6 PERSONIFICATION ........................................................................................ 32
3.6.1 NATURE/NATURAL PNENOMENEON IS A PERSON ...................... 33
3. 6.2 SOUL IS A PERSON ..............................................................................35
3.6.3 DEATH/GOD IS A PERSON .................................................................. 37
3.7 Summary ........................................................................................................... 38
Chapter Four Metaphor and Dickinson’s Conceptual World ......................39
4.1 Her Concept of Death ........................................................................................39
4.1.1 Death Is Inevitable to Everyone ...............................................................40
4.1.2 Death Is a “Dash” Connecting Limited Life and Eternity ....................... 42
4.2 Her Concept of Nature ...................................................................................... 43
4.2.1 Nature Is Close and Benevolent ...............................................................44
4.2.2 Nature Is Mysterious and Indifferent ....................................................... 46
4.3 Her Concept of Love and Marriage ...................................................................47
4.3.1 Her Yearning for Love ............................................................................. 48
4.3.2 Her Doubt and Resistance of Marriage ....................................................50
4.4 Her Concept of Poem and Poetic Creation ........................................................52
4.5 Summary ........................................................................................................... 53
Chapter Five Conclusion ............................................................................... 54
Bibliography ................................................................................................... 57
在读期间公开发表的论文 ..................................................................................59
Chapter One Introduction
1
Chapter One Introduction
1.1 The Life of Emily Dickinson
Emily Dickinson (1830-1886) was born into a well-off and decedent family in
Amherst, Massachusetts, a Calvinist New England community. Her father, Edward
Dickinson, was a Harvard-graduated lawyer and a representative to Congress. As a
traditional Puritan who believed in its doctrine of predestination and salvation through
God’s election, he exerted a great influence on the formation of Dickinson’s character.
Her mother was a traditional housewife who lived under the shadow of her husband all
her life and was indifferent to the feelings of her children. In a letter to Mr. Higginson,
Dickinson had ever said, “— My Mother does not care for thought — and Father, too
busy with his Beliefs – to notice what we do – He buys me many Books – but begs me
not to read them – because he fears they joggle the Mind” (L 1056) .
As the second children, Dickinson enjoyed the companionship of her elder
brother Austin and her sister Lavinia in her childhood. In her early womanhood, she was
as active and sociable as other young ladies, attending parties, editing newspapers with
her friends, telling funny, witty story improvisatorially that sent everybody in the house
into laughter. Her extraordinary talent for language and imagination had already been
demonstrated at that time, and her proficient quotation of Biblical stories in daily
conversations sometimes astonished other people. She spent one year at Mount Holyoke
Female Seminary, a school that was intended to serve the church and thereby was rigid
and congregational, where she found herself a rebel to the religious authority, and then
was withdrawn from there by her father in 1848 because of either her rebellious spirit or
her illness. Since then, she had seldom traveled far from her home.
In 1862, she became a total recluse, living a normal country life with her family
in a New England village, at a time when America was occupied with the Civil War. She
had no connection with the outside world except for writing to her friends. Her daily life
was pretty much in order: doing household chores, writing letters to her friends, writing
poems, and reading intensively. It was said that her fruitless love with Charles
Wadsworth led to her unique lifestyle, and that Emily’s great “terror” in 1862 and her
incredible poetic productivity that year was a response to Wadsworth’s removal to
Calvary Church in San Francisco (Dardrop, qut. in Martin 169). Of the 1,777 poems,
The Imaginative Use of Conceptual Metaphors in Emily’s poems
2
about 300 were written in 1862.
Dickinson’s latter years is darkened by the successive death of her friends and
family members. Her father’s death in1847 was the first of a number of personal losses.
Her mother died in 1882 after paralyzing for several years, and Rev. Charles
Wordsworth also died in that year. Her nephew, Gilbert, the son of her brother died in
the following year, which was a serious blow to her. Judge Lord died in 1884, and in
1885 she once again experienced the loss of her bosom friend Helen Hunt Jackson.
After suffering these continuous blows, her health began to worsen and she finally died
of kidney disease in 1886, at the age of 56.
1.2 The Poems of Emily Dickinson
Dickinson began writing poetry seriously in the early 1850s. Of a large number of
poems she created, only seven was published during her lifetime. She had ever sought
to publish her poems, yet in vain. Higginson suggested that she delay publication and
believed that her style did not conform to the traditional standard of poem at that time.
Perhaps feeling disappointed by his judgment, she replied, “ If fame belongs to me, I
could not escape her -- if she did not, the longest day would pass me on the chase —
and the approbation of my Dog, would forsake me — then — My Barefoot-Rank is
better” (L265). Dickinson called her poems “letter to the world” (L441), a way to
bridge her private world with the outside. Although she rejected publication, she sent
her poems to her friends and relatives together with letters.
After her death in 1886, her poems were discovered by her sister Lavinia. With the
help of Mrs. Todd and Thomas Higginson, the first volumes of poems were published
shortly after her death, with much more to come out in 1914, which finally made Emily
Dickinson, especially her withdrawn self known to the outside world. As her poems
continued to be issued after its first appearance in 1890s, her fame has kept rising. She
is now recognized not only as a great poetess in her own time but as a poetess of
considerable influence upon American poetry in the present century.
Unlike other poets, such as Robert Frost or Sylvia Plath who had countless rubs
and worries in their life which made their poems profound, Dickison, for the most part
of her life, lived an uneventful and smooth life as a recluse. Although she was confined
and isolate in her little world, she was sensitive, insightful and imaginative. With
摘要：

摘要C.Lewis曾说过，隐喻是诗歌的生命，是诗人的主要文本和荣耀。这一说法应用于艾米莉.狄金森是再合适不过了。作为19世纪美国文坛上最具创新意识的诗人，狄金森的创新不仅表现在其诗中她对破折号的偏爱，不规则的韵律和韵脚的运用，更体现于其诗中超乎寻常的比喻，和简洁而深邃的语言。本文主要基于Lakoff和Johnson的概念隐喻理论这一认知语言学的视角，对艾米莉.狄金森诗歌中的隐喻进行分析，旨在揭示其诗歌中隐喻的系统性以及这些概念隐喻所反映出的诗人认识、理解、描述世界的方法和视角。Lakoff和Johnson的概念隐喻理论作为贯穿全文的理论红线，为论文的展开提供了可能。概念隐喻理论的提出是隐喻研究...

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