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

1.1 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,

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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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