إميلي ديكنسون - ترجمة - معافرة مسعود و فورأولاب ، والدعوة عامة

Quote: it is flawless to the last detail. The rhythm charges with movement the pattern of suspended action back of the poem. Every image is precise and, moreover, not merely beautiful, but /14/ inextricably fused with the central idea. Every image extends and intensifies every other. The third stanza especially shows Miss Dickinson's power to fuse, into a single order of perception, a heterogeneous series: the children, the grain, and the setting sun (time) have the same degree of credibility; the first subtly preparing for the last. The sharp gazing before grain instils into nature a kind of cold vitality of which the qualitative richness has infinite depth. The content of death in the poem eludes forever any explicit definition. He is a gentleman taking a lady out for a drive. But note the restraint that keeps the poet from carrying this so far that it is ludicrous and incredible; and note the subtly interfused erotic motive, which the idea of death has presented to every romantic poet, love being a symbol interchangeable with death. The terror of death is objectified through this figure of the genteel driver, who is made ironically to serve the end of Immortality. This is the heart of the poem: she has presented a typical Christian theme in all its final irresolution, without making any final statement about it. There is no solution to the problem; there can be only a statement of it in the full context of intellect and feeling. A construction of the human will, elaborated with all the abstracting powers of the mind, is put to the concrete test of experience: the idea of immortality is confronted with the fact of physical disintegration. We are not told what to think; we are told to look at the situation.