請依下文回答第 48 題至第 50 題 In 1881 a young woman named Mabel Loomis Todd wrote her parents about “the character of Amherst…a lady whom the people call the ‘Myth’: she has not been outside of her own house in fifteen years…. She dresses wholly in white, and her mind is said to be perfectly wonderful.” So began the legend of Emily Dickinson, one of the greatest poets of the nineteenth century, who was for years portrayed by biographers and critics as an eccentric recluse, a “little home-keeping person,”a mad spinster who had been disappointed in love. For, four years after this New England woman in white died in 1886, the same Mabel Loomis Todd brought out a volume containing selections from 1,776 strange and passionate poems, which had been found, neatly sewed into booklets, in her bureau drawers, and the imagination of the pubic was immediately seized by the mysterious discrepancy between what seemed to be the isolation of Dickinson’s life and the intensity of her art. To many, indeed, the “case” of Emily Dickinson－only eight of whose poems had been published in her lifetime－seemed to offer a crucial model for the situation of the woman poet. Eccentricity, reclusiveness, and most of all, thwarted romance－these appeared to be the conditions that might drive a woman to what was, for women, the perversity of writing verses.