I Died For Beauty But Was Scarce I died for beauty but was scarce Adjusted in the tomb,
When one who died for truth was lain In an adjoining room.
He questioned softly why I failed? \
\ We brethren are,\
And so, as kinsmen met a night, We talked between the rooms, Until the moss had reached our lips, And covered up our names.
我为美死去，却还不曾 在墓中安息，
又来一位为真理而死的人 栖身我的隔壁。
他悄言问我何以逝去 “为了美。”我回答。
“而我为真理。真与美是一体； 我们是兄弟。”
就这样，像亲人在夜里相遇 我们隔墙倾谈
直到苍苔爬至我们的唇际 掩没掉，我们的名字
Analysis: The speaker : died for Beauty
a man laid in a tomb next to her : died for Truth.
When the two softly told each other why they died, the man declared that Truth and Beauty are the same
so he and the speaker were \
\names on their tombstones.
bizarre, allegorical death fantasy
its manner of presentation belongs uniquely to Dickinson.
\
-----Keats, Ode on a Grecian Urn
the macabre physicality of death , the high idealism of martyrdom (\died for Truth\
a certain kind of romantic yearning combined with longing for Platonic companionship (\as Kinsmen, met a Night--\
and an optimism about the afterlife (it would be nice to have a friend) with terror about the fact of death (it would be horrible to lie in the cemetery having a conversation through the walls of a tomb).
As the poem progresses, the high idealism and yearning for companionship gradually give way to mute, cold death,
as the moss creeps up the speaker's corpse and her headstone, obliterating both her capacity to speak (covering her lips) and her identity (covering her name).
The ultimate effect of this poem is to show that every aspect of human life--ideals, human feelings, identity itself--is erased by death.
But by making the erasure gradual--something to be \
a speaker who is untroubled by her own grim state, Dickinson creates a scene that is, by turns, grotesque and compelling, frightening and comforting. Poetic form: This poem follows many of Dickinson's typical formal patterns: --the ABCB rhyme scheme,
the rhythmic use of the dash to interrupt the flow--but has a more regular meter the first and third lines in each stanza are iambic tetrameter, while the second and fourth lines are iambic trimeter,
creating a four-three-four-three stress pattern in each stanza.
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