美國詩歌復(fù)習(xí)

1、致海倫埃德加·愛倫·坡海倫！你的美貌于我就像昔日尼西亞的輕帆小船，溫柔地，飄蕩在芬芳的海面上。帶著那倦旅勞累的流浪者向他故鄉(xiāng)的海岸轉(zhuǎn)航。   早已習(xí)慣在絕望之海上長久徘徊游蕩，你紫藍(lán)色的長發(fā)，你典雅的臉龐，還有你水中仙女般的風(fēng)姿，引我返航，去向希臘的榮光，去向羅馬的輝煌！          看！在彼處精美絢爛的窗龕里，你玉立一如雕像，瑪瑙燈在你手中光芒明亮。?。§`魂化身的美女，你所來之處，就是圣地！AnalysisIn "To Helen," P

2、oe is celebrating the nurturing power of woman.1 Poe was inspired in part by Samuel Taylor Coleridge, particularly in the second line ("Like those Nicean barks of yore") which resembles a line in Coleridge's "Youth and Age" ("Like those trim skiffs, unknown of yore"

3、).2 AllusionsPoe, in referring to Helen, may be alluding to the Greek goddess of light or Helen of Troy who is considered to be the most beautiful woman who ever lived, though there is not enough information given to determine for certain.人生禮頌 Herry Wadsworth Longfellow/享利.沃茲渥斯.朗費羅 Tell me not in mo

4、urnful numbers, 請別用哀傷的詩句對我講； Life is but an empty dream! 人生呵，無非是虛夢一場！ For the soul is dead that slumbers 因為沉睡的靈魂如死一般， And things are not what they seem. 事物的表里并不一樣。 Life is real! Life is earnest! 人生是實在的！人生是熱烈的！ And the grave is not its goal; 人生的目標(biāo)決不是墳?zāi)梗?Dust thou art , to dust returnest, 你是塵土，應(yīng)歸于塵土。

5、Was not spoken of the soul. 此話指的并不是我們的精神。 Not enjoyment , and not sorrow, 我們的歸宿并不是快樂， Is our destined and our way; 也不是悲傷， But to act, 實干 That much to-morrow. 才是我們的道路， Find us farther than to-day. 每天不斷前進，蒸蒸蒸日上。 Art is long , and time is fleeting. 光陰易逝，而藝海無涯， And our hearts , though stout and brave. 我

6、們的心哪雖然勇敢堅強， Still , like muffled drums , are beating 卻像被布蒙住的銅鼓， Funeral marches to the grave。 常把殯葬的哀樂擂響。 In the worlds broad field of battle, 在這人生的宿營地， In the bivouac of Life, 在這遼闊的世界戰(zhàn)場， Be not like dumb,driven cattle! 別做無言的牲畜任人驅(qū)趕， Be a hero in the strife! 做一名英雄漢立馬橫槍！ Trust no future.howeer pleasant

7、! 別相信未來，哪怕未來多么歡樂！ Let the dead Past bury its dead! 讓死去的往昔將死亡一切埋葬！ Act,act in the living Present! 上帝在上，我們胸懷勇氣， Heart within,and God Oerhead! 行動吧趁現(xiàn)在活著的好時光！ Lives of great men all remind us 偉人的生平使我們想起， We can make our lives sublime, 我們能使自己的一生變得高尚！ And departing,leave behind us 當(dāng)我們辭別人間， Footprints on th

8、e sands of time; 能把足跡留在時間的流沙上， Footprints that perhaps another, 也許有個遭了船災(zāi)的苦難弟兄， Sailing oer life solemn main, 他曾在莊嚴(yán)的人生大海中飄航， A forlorn and shipwrecked brother, 見到我們的腳印， Seeing,shall take heart again, 又會滿懷信心。 Let us,then,be up and doing, 讓我們起來干吧， With a heart for any fate; 下定決心，不管遭遇怎樣； Still achieving

9、,still pursuing 不斷勝利，不斷追求， Learn to labour and to wait. 要學(xué)會苦干和耐心等待。 靈魂選擇自己的伴侶 狄金森 靈魂選擇自己的伴侶 然后，把門緊閉， 她神圣的決定， 再不容干預(yù) 發(fā)現(xiàn)車輦停在她低矮的門前， 不為所動， 一位黃帝跪在她的席墊， 不為所動 我知道她從一個民族眾多的入口 選中了一個， 從此封閉關(guān)心的閥門， 像一塊石頭。. Summary on the contentThe speaker says that "the Soul selects her own Society-" and then "sh

10、uts the Door," refusing to admit anyone else-even if "an Emperor be kneeling / Upon her mat-."Indeed, the soul often chooses no more than a single person from "an ample nation" and then closes "the Valves of her attention" to the rest of the world. FormThe meter of

11、 "The Soul selects her own Society" is much more irregular and halting than the typical Dickinson poem, although it still roughly fits her usual structure: iambic trimeter with the occasional line in tetrameter. For exemple,the odd lines are all in tetrameter .It is also uncharacteristic i

12、n that its rhyme scheme-if we count half-rhymes such as "Gate" and "Mat"-is ABAB, rather than ABCB; the first and third lines rhyme, as well as the second and fourth. And the same as the following lines.However, by using long dashes rhythmically to interrupt the flow of the meter

13、 and effect brief pauses, the poem's form remains recognizably Dickinsonian, despite its atypical aspects. We can find that there are a lot of dashes in the poem. In fact, dash is a common technique in Dickinsons poem. Her purpose of using dashes is to pause or emphasize. She wants to stress her

14、 irregular sentence-making. Another tecnique of expression is the capitalization. In this poem the first letter in every line is capitalized. She must have her own special intention in plenty using them. Maybe she thinks this act is unusual. A critic said that she did so only in order to lead nobili

15、ty and granduer to the fable realm. CommentaryThe tone of "The Soul selects her own Society-" is quiet, grand, and ominous. The idea that "The Soul selects her own Society" (that people choose a few companions who matter to them and exclude everyone else from their inner consciou

16、sness) conjures up images of a solemn ceremony with the ritual closing of the door, the chariots, the emperor, and the ponderous Valves of the Soul's attention. Essentially, the middle stanza functions to emphasize the Soul's stonily uncompromising attitude toward anyone trying to enter into

17、 her Society once the metaphorical door is shut-even chariots, even an emperor, cannot persuade her. The third stanza then illustrates the severity of the Soul's exclusiveness-even from "an ample nation" of people, she easily settles on one single person to include, summarily and unhes

18、itatingly locking out everyone else. The concluding stanza, with its emphasis on the "One" who is chosen, gives "The Soul selects her own Society-" the feel of a tragic love poem, although we need not reduce our understanding of the poem to see its theme as merely romantic. The p

19、oem is an excellent example of Dickinson's tightly focused skills with metaphor and imagery; cycling through her regal list of door, divine Majority, chariots, emperor, mat, ample nation, and stony valves of attention, Dickinson continually surprises the reader with her vivid and unexpected seri

20、es of images, each of which furthers the somber mood of the poem. Chinese version靈魂選擇它自己的伴侶選定精神伴侶，然后謝客關(guān)門；既作神圣抉擇，必當(dāng)匿影藏形。車輦沓至紛來，姑娘不聞不問；皇帝跪于席墊，萬難打動芳心。茫茫人海無限，唯獨選中一人；從此心如盤石，封閉情感閘門。Song of Myself華爾特.惠特曼 1我贊美我自己，歌唱我自己，我所講的一切，將對你們也一樣適合，因為屬于我的每一個原子，也同樣屬于你。我閑游，邀請我的靈魂一起，我俯首下視，悠閑地觀察一片夏天的草葉。By Walt Whitman瓦爾特-惠特

21、曼 作A child said what is the grass? Fetching it to me with full hands;一個孩子問什么是小草？給我送來滿滿一手心；How could I answer the child? I do not know what it is any more than he.我該怎樣回答這孩子？我所知道的并不比他多多少。I guess it must be the flag of my disposition, out of hopeful great stuff woven.我猜它一定是我品性的旗幟，源自于希望的錦繡飄搖。Or I guess

22、it is the handkerchief of the Lord,或者我猜它是上蒼的手絹，A scented gift and rememberance designedly dropt,一件芬芳的禮物或者無意拋落的紀(jì)念品，Bearing the owners name someway in the corners, that we may see and remark, and say whose?鐫下主人的姓名在某些角落里，我們可能會看見并引起注意，并問“這是誰的”？Or I guess the grass is itself a child, the produced babe of

23、 the vegetation.或者我猜小草自己就是一個孩子，那出生于植物的嬰孩。致水鳥 呂志魯譯披著滴落的露珠， 天空燦爛，白日的行程就要結(jié)束； 穿過玫瑰色的遙遠(yuǎn)空際， 你往何方把孤單的前程追逐？ 看你遠(yuǎn)遠(yuǎn)飛翔而無計可施， 捕鳥人的眼光徒勞眷顧； 滿天紅霞把你映襯， 暗黑的身影飄飄飛舞。 你是在尋找開闊的大河之濱， 還是波浪拍岸的水草之湖？ 或者潮水沖刷的海灘， 那里的巨浪奔騰起伏？ 有上蒼把你關(guān)照， 在無路的海岸為你指路 在荒漠和無邊的空際， 你孤單的飄蕩不致迷途。 你成天翕動翅膀， 任空氣稀薄暴寒冷，飛在高處， 疲乏中你不肯降落舒適的大地， 即使黑夜即將緊閉它的帷幕。 你很快就

24、會結(jié)束這樣的勞苦， 你即將找到你夏天的住處； 休息中呼喚自己的伙伴， 蘆葦也會躬身把你的窩巢遮護。 你的身軀全被吞沒， 天堂深淵里，你蹤影全無； 然而你的啟迪深深留在我的心底， 我將久久地久久地把它記住磚 從一地又到一地， 天空無垠，你的飛翔從無遲誤； 愿引領(lǐng)你的向?qū)О盐乙I(lǐng)， 孤單的長路中邁開永不偏離的腳步。   William Cullen Bryant (1794-1878), 第一位蜚聲世界的美國詩人.浪漫主義.早年創(chuàng)作較多,后投身社會活動,創(chuàng)作減少.其詩特色如下: 1.大量描繪自然 2.風(fēng)格憂郁,感性 3.寓情于景 4.強調(diào)

25、"自我" 5.有"自然即上帝"的傾向,神秘主義 6.語言簡單樸素,形式較古典 下面一首致水鳥很典型地體現(xiàn)出以上所有特色。我實在不覺得這首詩好到哪里去，讀了幾遍也只能用ordinary來形容。他寫的這些，也不是不好，只是沒什么特色，比較平凡而已。然而因為實在太典型了，所以有作業(yè)要求分析之，說說它“怎么表現(xiàn)出浪漫主義的特點”?？墒?，一下子看了太多評論，我都不知道哪些是我自己的想法。不過，對這位已經(jīng)被研究得差不多的詩人，我也不知道有什么自己的想法可以加進去。只是文章還得好好寫，然而到現(xiàn)在還只有開頭一段的泛泛而談。  本詩第一節(jié)就以整節(jié)的篇幅描繪一只水

26、鳥孤獨地飛在天中的畫面背景：傍晚，落日，緋紅的天邊，一只水鳥將飛向何方？falling dew, last steps of day點明時間，step一詞給時間的逝去一種不緊不慢的動感，寫出詩人看著日落時的無奈。far, depths兩詞點出空間的廣闊，和一只水鳥“弱小”的形象形成非常強的反差。 一整節(jié)的問句之后，第二節(jié)里，詩人就把水鳥塑造成一個堅定的形象：獵鳥人算計著你的飛行軌跡，要將你獵下，卻無能為力。這里有一種人和自然的對比：在自然的面前，人顯得無力，盡管擁有更高的智慧，但自然卻絲毫不受影響，一如既往地運行著，就連一只孤獨的水鳥

27、都具有這非凡的魄力。 第三、四節(jié)講水鳥將如何到達自己的目的地。一切都像渾然天成，不論是在無形海岸還是在無盡的天空，都有一種神秘的“力”作為它的向?qū)?；它雖獨行，卻不會迷失；而它要回去的地方也是自然。這種“力”是什么，詩人沒有說明。我們也可以把它想成無論什么東西，上帝也好，自然也好，在年輕的布萊恩特的眼中，這種“力”也許沒有具體的形象，只是冥冥中的一個向?qū)Ф选?從第五節(jié)開始，全詩的象征意味顯明起來。涼夜將降，水鳥飛行終日，疲憊不堪，詩人卻不希望它降臨福地。這里的“福地”指什么？是水鳥長途跋涉的終點，還是它生命的終點？“暗夜”究竟是指真正的夜，還是指生命息止之時？手邊僅有詩一首，加些許簡單的詩人生

28、平，這些問題無法回答。 第六節(jié)，這種象征意味更加明顯。雖然描寫得非常具象：水鳥熬過暗夜，結(jié)束旅程，遷徙至溫暖的家。但此時它的同伴們卻“尖叫”起來，而蘆葦也長過它憩息的地方。如此一聯(lián)系，原詩中的rest也許不是單指休息，而是水鳥在長途跋涉之后西去了。詩至此，一反第二節(jié)的堅強形象，一種宿命感突現(xiàn)出來。歸途：回到哪里？ 第七、八節(jié)是詩人的借景抒情。他從水鳥身上學(xué)到了許多，因而堅定起來?！發(fā)esson”指什么，“He”又是誰，詩人沒有作出明確的答復(fù)。自然是如此強大，離群的水鳥終究逃不過一命。而作為孤獨的人，是否也該遵從自然的安排呢？這樣想，他便坦然了。 布萊恩特早年受英國“墓園派”詩人影響非常大，對“

29、憂郁”“死亡”這些話題格外迷戀。在這首詩里也有所體現(xiàn)。詩中描寫的自然是一幅清冷的景象，水鳥的命運也不見得很好。然而詩人的坦然似乎表明，他找到了自己心中的“向?qū)А保⑵鹆艘环N類似于宗教的情結(jié)。The Message of “To A Waterfowl” The poets use the form of verse in different types of rhymes, meters, poetic feet, line lengths and other sound devices, to convey various themes, from ordinary people to d

30、ivinity or God, from strong emotional patriotism to resentment to an accused person, from nature to human being, from zest for life to melancholy feelings of death, from romantic imagination to realistic description, and so on. William Cullen Bryants “To A Waterfowl” is a well-known poem about natur

31、e, in which he relates a scene of nature to the divine power and the divine power to the human life and the author shows the reader his sense of divine power guiding and protecting everything in nature. The author starts his poem by the question where the solitary waterfowl pursues his way: Whither,

32、 midst falling dew, While glow the heavens with the last steps of day, Far, through their rosy depths, dost thou pursue Thy solitary way? By this stanza, we can imagine an individual migrating waterfowl, not in flocks, flying “midst falling dew” at the end of the day. Thus the author purpose to aris

33、e sympathy with the bird is accomplished. The second stanza helps to establish the emotion of sympathy. The hunter attempts to get the bird down, though he fails. The bird continues flying alone to “ the plashy brink of weedy lake or marge of river wide, or where the rocking billows rise and sink on

34、 the chafed ocean-side”. Seeing the birds homeward flight, the author sinks himself into meditation. The following 3 stanzas (4,5,6) tells us that there exist a Power who guides the bird to fly through the pathless coast, the desert and the illimitable air without being lost, and leads the bird to get to his