我不能为死停留
他便和善地为我止步
马车上只载着我们俩，以及 ——永寂
我们缓缓前行，他知道不必着急
我卸下了一世的辛劳
也放弃了闲暇的欢愉 ——
托他的好意
我们经过学校，
孩子们正趁着课间嬉戏
我们经过等待收获的田野
经过了落日
其实，毋宁说是它将我们抛在夜里
露水带着让人颤抖的寒意
唯有蛛网是我的睡袍
我的披肩——一层薄薄的绢丝
我们停在一座屋前
就像是大地隆起的一个包
这房子的屋顶几乎看不见
屋檐则没入大地
从那时起，过了好几个世纪
却感觉比那天更短暂
我终于想到马头应是朝着
低层住宅无尽无止——
Becau I could not stop for DeathBecau I could not stop for Death—
He kindly stopped for me---
香港梦a股和h股的区别 The Carriage held but just Ourlves—
And Immortality.
We slowly drove—He knew no haste
And I had put away
My labor and my leisure too,
For His Civility—
We pasd the School, where Children strove
At Recess—in the Ring—
We pasd the Fields of Gazing Grain---
We pasd the Setting Sun—
Or rather—He pasd Us—
The Dews drew quivering and chill—
For only Gossamer, my Gown—
My Tippet—only Tulle---
We paud before a Hou that emed
A Swelling of the Ground—
The Roof was scarcely visible—
The Cornice—in the Ground—
Since then—tis Centuries—and yet
Feels shorter than the Day
I first surmid the Hors’ Heads
Were toward Eternity—
赏析
The first stanza
弹力素怎么用The opening of the poem has an understated casualness of tone : 这首诗的开头有一种低调的随意性：建设程序
In the first line the persona is too busy and too contented as she lives her life to both to stop for the gentleman’s call; 在第一行中，角色太忙了，太满足了，因为她过着自己的生命，为了绅士的召唤而停下来;
but, through his kindness and consideration, she is compelled at last to go with him. 但是，通过他的善意和考虑，她终于被迫和他一起去了。
In the third line, the dramatic scene is t in the carriage. The situation is one of intimacy---- “the carriage held but just ourlves.” 在第三行中，戏剧性场景设置在马车中。 这种情况是亲密的 - “马车举行但只是我们自己。”
He has called on her as a beau; and, like a true gentleman, he has included a chaperon, “Immortality.”他称她为男友; 而且，像一个真正的绅士一样，他包括了一个“不朽”的伴侣。
The cond stanza
The first line of the cond stanza indicates the peacefulness and pleasantness surrounding an appointment with a beau. 第二节的第一行表明与男友约会的宁静和愉快。
He drives leisurely, without haste---- ironically, as if they had all the time in the world. 他匆匆忙忙地开车，讽刺的是，仿佛他们一直都在世界上。
She who could not stop for Death in the first stanza is completely captivated by him in the cond and third lines of this stanza. 在第一节中无法阻止死亡的她在本节的第二和第
三行完全被他迷住了。
He is such an artful charmer that she needs neither labor nor leisure, for in his “Civility” he has taken care of everything.
他是一个非常有魅力的人，她既不需要劳动也不需要休闲，因为在他的“文明”中，他一直在照顾一切。
The third stanza
By the third stanza, they are nearing the edge of town. 在第三节，他们正在靠近城镇的边缘。
The three elements summarize the progress and passage of a lifetime.
这三个要素总结了一生的进步和通过。
Children strove on the playground-------youth
孩子们在操场上奋斗-------青年
the Fields of Gazing Grain----adulthood
结婚祝福的话凝视谷物的领域----成年
民委
The tting sun-----old age
夕阳-----晚年
As critic Charles R. Anderson described in them, 正如评论家查尔斯·安德森所描述的那样，
“The emingly disparate parts of this are fud into a vivid reenactment of the mortal experience. It includes the three states of youth, maturity, and age, the cycle of day from morning to evening, and even a suggestion of asonal progression from spring through ripening to decline.”
“看似完全不同的部分融入了对凡人经历的生动再现。 它包括青年，成熟和年龄的三种状态，从早到晚的一天的周期，甚至是从春季到成熟到衰退的季节性进展的建议。
The Fourth stanza
the lady is getting clor to death; 这位女士越来越接近死亡;
防疫主题
for “The Dews” now grow “quivering and chill” upon her skin, the traditional associations of the coldness of death.
因为“露水”现在在她的皮肤上变得“颤抖和寒意”，这是传统的死亡寒冷。
In the third line, however, the lady is still holding onto life by offering a rational explanation about her chill. She is not really dying, she ems to say: she is cold simply becau her gown is thin. 然而，在第三行中，这位女士仍然通过提供关于她的寒意的理性解释来保持生命。 她似乎并没有真正死去，她似乎说：她很冷，因为她的长袍很薄。
But she cannot escape her death, for she reveals even in her garments the dying influence: her gown is gossamer, a substance associated with spirits and other worldliness, and her tippet made of lace is something one might expect to e around the shoulders of a decead woman lying in repo.
但是她无法逃脱她的死亡，因为她甚至在她的服装中揭示了垂死的影响：她的礼服是游丝，一种与精神和其他世俗相关的物质，她的蕾丝披肩是人们可能期望在肩膀周围看到的东西。 已故的女人躺在休息。
