In August 1846, shortly before their marriage, Robert Browning told Elizabeth Barrett that one work in her 1844 Poems had "always affected" him "profoundly"--"perhaps ... more profoundly" than any other by her, filling his "heart with unutterable desires." (1) The poem that aroused such "unutterable desires"--"Wine of Cyprus"--is little read today. In the mid-nineteenth century, however, it was a universally praised minor poem in the collection that made "Elizabeth Barrett Barrett" England's most internationally recognized woman poet. Like EBB's other 1844 works, "Wine of Cyprus" was included in the successively expanded collections of Poems (1850, 1853, 1856) published under her married name, reproduced in pirated editions in America. These widely reviewed collections made "Mrs. Browning's poems ... household words in Massachusetts to every school boy & (yet more) every school girl," Thomas Wentworth Higginson observed to her poet-husband in a letter of January 1854 (BC 20: 53). Although Emily Dickinson did not approach Higginson until 1862 to ask if her verse was "alive," his comment to Browning reflects the contexts in which "Mrs. Browning" became an empowering star on Dickinson's artistic horizon well before the publication of Aurora Leigh in November 1856. "For Poets," she had "Keats--and Mr and Mrs Browning," as she informed Higginson, and Paula Bennett is far from alone in identifying EBB as Dickinson's "Most beloved" and "chosen precursor" among women writers. (2) Studies of this transatlantic poetic relationship typically focus on Dickinson's deep engagement with Aurora Leigh and/or and the American poet's three elegies for "that Foreign Lady": especially "I think I was enchanted," representing the "Conversion of the Mind" that Dickinson experienced in encountering what she termed the "Titanic opera" of EBB's poetry. (3) Like teeming grapevines, however, the tendrils of affiliation intertwining Dickinson's poetry with EBB's grow in multiple directions. This essay explores unexamined connections between EBB's "Wine of Cyprus" and Dickinson's "I taste a liquor never brewed" (Fr207) in conjunction with the historical and cultural contexts that gave rise to these works. As I hope to show, these minor poems speak to the rich diversity of the lyric forms available to the two poets and the similar strategies they developed to transform one particularly masculine literary tradition. Despite very notable differences in form, Dickinson's most famous "drinking poem" and EBB's "wine" poem exhibit some striking parallels in subject matter, metaphors, and motifs. In Dickinson's euphoric lyric as it appears in fascicle 12, the speaker rhapsodizes about an "Alcohol" "never brewed" from "Frankfort berries" ("Vats opon upon the Rhine" in the variant), describes herself as "Inebriate of air," and finally pictures herself as a "little Tippler / From Manzanilla come!"--or, in the often preferred variant ending, "Leaning against the--Sun--" (Fr207,11. 1-5, 15-16). "Wine of Cyprus" celebrates a similar state of ecstatic inebriation, in EBB's case resulting from a gift of Cyprian honey wine from the classical scholar Hugh Stuart Boyd. "Thank you my very dear friend!! I write to you drunk with Cyprus!" she wrote to Boyd in June 1844- Extolling the "ideal nectar" as suited to "gods or demigods" and potent enough to inspire her dog Flush to talk in "Greek or English" (though denounced as "exceedingly beastly" by her father), she fancifully conveyed her "own particular intoxication" (BC 9: 22, 77). In the same letter, she informed Boyd of progress on her 1844 collection: "I have passed the middle of my second volume--and I only hope that the critics may say of the rest that it smells of Greek wine" (p. 22). Thus, she hinted at her return gift, dedicated to the blind scholar who had studied Greek with her when she was shut out from the male preserve of a university classical education. In "Wine of Cyprus," she transforms Boyd's gift of honey wine into an expansive metaphor for the pleasure she had experienced in drinking deeply from the Greek poetical tradition. …

中文翻译：

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抒情酒：伊丽莎白·巴雷特·布朗宁的“塞浦路斯之酒”，艾米莉·狄金森的“我尝到了酒”，以及跨大西洋的无明传统

1846 年 8 月，就在他们结婚前不久，罗伯特·布朗宁告诉伊丽莎白·巴雷特，她 1844 年的诗中的一首作品“总是深深地”影响着他——“也许……比她的任何其他作品都更深刻地”，填满了他的“心”带着说不出来的欲望。” (1) 激起如此“难以言说的欲望”的诗——《塞浦路斯之酒》——今天读得很少。然而，在 19 世纪中叶，正是《伊丽莎白·巴雷特·巴雷特》(Elizabeth Barrett Barrett) 成为英国最受国际认可的女诗人的收藏中一首广受好评的小诗。与 EBB 1844 年的其他作品一样，《塞浦路斯之酒》被收录在以她的已婚名义出版的连续扩充的诗集（1850 年、1853 年、1856 年）中，并在美国以盗版版本进行复制。托马斯·温特沃斯·希金森 (Thomas Wentworth Higginson) 在 1854 年 1 月 (公元前 20 年： 53)。尽管艾米莉·狄金森直到 1862 年才接近希金森，询问她的诗句是否“活着”，但他对布朗宁的评论反映了在 11 月《奥罗拉·利》出版之前，“布朗宁夫人”成为狄金森艺术视野中的明星的背景1856. “对于诗人”，她有“济慈——和布朗宁先生和夫人”，正如她告诉希金森的那样，而将 EBB 认定为狄金森在女性作家中“最受喜爱的”和“选择的先驱”的远不止宝拉贝内特一个人。(2) 对这种跨大西洋诗歌关系的研究通常集中在狄金森与奥罗拉·利的深度接触和/或美国诗人为“那个外国女士”的三首挽歌：尤其是“我想我被迷住了”，代表了“心灵的转变” ” 狄金森在遇到她称之为 EBB 诗歌的“泰坦尼克号歌剧”时所经历的。(3) 然而，就像小道消息一样，将狄金森的诗歌与 EBB 的诗歌交织在一起的从属关系向多个方向发展。本文结合产生这些作品的历史和文化背景，探讨了 EBB 的“塞浦路斯之酒”和狄金森的“我品尝了一种从未酿造过的酒”（Fr207）之间未经审查的联系。正如我希望展示的那样，这些小诗讲述了两位诗人可用的抒情形式的丰富多样性以及他们为改变一种特别男性化的文学传统而制定的相似策略。尽管在形式上有非常显着的差异，狄金森最著名的“饮酒诗”和 EBB 的“酒”诗在主题、隐喻和主题方面表现出一些惊人的相似之处。在第 12 分册中出现的狄金森欣快的抒情诗中，演讲者狂想着一种“酒精”“从未酿造”过“法兰克福浆果”（变体中的“莱茵河上的大桶”），将自己描述为“醉酒的空气”，最后把自己想象成一个“小酒鬼/来自曼萨尼亚来了！”——或者，在通常喜欢的变体结尾，“靠在——太阳——”（Fr207，11. 1-5, 15-16)。“塞浦路斯之酒”庆祝了一种类似的狂喜状态，在 EBB 的案例中，这是由古典学者休·斯图尔特·博伊德 (Hugh Stuart Boyd) 赠送的塞浦路斯蜂蜜酒所致。“谢谢你，我亲爱的朋友！我写信给你喝醉了塞浦路斯！” 她于 1844 年 6 月写信给博伊德 - 颂扬“理想的花蜜”适合“众神或半神人”，并且足以激励她的狗 Flush 用“希腊语或英语”说话（尽管她父亲谴责为“非常野兽”） ，她幻想地表达了她“自己特别的陶醉”（BC 9:22, 77）。在同一封信中，她告诉博伊德她 1844 年收藏的进展：“我已经读完了第二卷的中间部分——我只希望评论家们可以说其余部分闻起来有希腊酒的味道”（第 22 页） ）。因此，她暗示了她的回礼，献给在她被排除在大学古典教育的男性保护区之外时与她一起学习希腊语的盲人学者。在“塞浦路斯之酒”中，她将博伊德 (Boyd) 的蜂蜜酒礼物转化为一个广阔的隐喻，以表达她从希腊诗意传统中深深饮酒所体验到的乐趣。…