美国19世纪女诗人艾米莉·狄金森虽然没有留下明晰成文的诗歌理论,我们依然可以从她谈论“诗歌”和“诗人”的具体作品中追索提取其诗歌散论。狄金森的诗歌创作阶段有明显的旺盛期与非旺盛期之区别,其中蕴育了不同内涵的诗学观:从旺盛期受超验主义影响的诗人论,到狄金森独家的诗歌生成论和诗人论,再到从读者角度提出的诗歌本体论,最后是充满玄学色彩的诗观,显示了狄金森对“诗人”和“诗歌”的原创性认知。 Although Emily Dickinson, the 19th-century American poet, did not leave a clear-cut poetic theory, we can still recount its poetic discourse from the concrete works she talks about “poetry” and “poet.” Dickinson’s poem stage has obvious difference between exuberant and non-exuberant period, which implies different connotations of poetics: From poet theory influenced by transcendentalism during the vigorous period to Dickinson’s exclusive poetry generation theory and Poetics, then to the poetry ontology proposed from the reader’s point of view, finally is full of metaphysical color of poetry, shows Dickinson’s “poet ” and “poetry ” original cognition.