陜師大翻譯系期末考試參考試題及答案

野金銀花1Thepoemwaswritteninregular6-linetetrameterstanzas,rhyming:ababcc.Thestructureofthepoemisregular,soithastheneoclassicqualityofproportionandbalance.Inthispoemthepoetexpressedakeenawarenessofthelovelinessandtransienceofnature.1.Henotonlymeditatedonmortalitybutalsocelebratednature.Itimpliesthatlifeanddeathareinevitablelawofnature,"thewildhoneysuckle"isPhilipFreneau'smostwidelyreadnatureallyricwiththethemeoftransience.2.Thepoemexpressthepoet'sviewaboutthewritingmaterialofAmericanwritors.Intheauthor'sopinion,theoriginlandinAmericawasfiiledwithbeautyandmyth,whichcouldcompetewiththerilicsofEurop.ItrevealedonthebasisofAmericanbeauty,theAmericanwritorcanproducegoodworks..2.Stanza1:thepoemtreatstheadvantagesaswellasthedisadvantagesoftheflower’smodestretirement-itisdesignedwithbeautyandwellprotectedinsolitude;whereasitsbeautymightbeadmiredbyfew.Stanza2:itsuggeststhatthehoneysucklebearsaspecialrelationshipwithnaturewhichhasadvisedittokeepawayfromthe“vulgareye”;naturehasdesigneditinwhite—acolorofsimplicityandpurity,and,ithassentthesoftwatersflowinggntlyby.However,inspiteofallthenature’skindness,theflowercannotescapeitsdoom.Thebesttimeofitslifeisfading,fordeathiswaiting.第二題；烏鴉Afterheseesthebird,itsresponse—oritsimaginedone一“nevermore”–keepsbreakingupontheyoungman’spsychicwoundruthlesslyandceaselesslyasdothewavesontheseashoreuntilhisdepressionreachesitsbreakingpoint:Andtheraven,neverflitting,stillissitting,stillissittingOnthepallidbustofPallasjustabovemychamberdoor;Andhiseyeshavealltheseemingofademonthatisdreaming,Andthelamp-lighto’erhimstreamingthrovehisshadowonthefloor;AndmysoulfromoutchatshadowthatliesfloatingonthefloorShallbelifted-nevermore!Theyoungman,aneuroticonthebrinkofamentalcollapse,（精神幾近崩潰）outpourshissorrowinhissemi-sleep（半夢(mèng)半醒之間）ontheappearanceofthebird.Poeticimaginationexternalizesitself（詩(shī)歌的想象力表現(xiàn)在…）inthephantomofabird幻象中的小鳥(niǎo)）and–theyreallygetitandrelishinthejoyofnature.sototrulylovenatureasadults,wemustholdontoorrekindlethechild-likepartourselves.Spendingtimeinanatureshouldbepartofourdailylives-asitissooftenforchildrenthatplayoutside,atrecess,etc.thedelightthatnaturecanbringuswillmakeushappier,evenintimesofsadness.最后一題;為美而死ThispoemfollowsmanyofDickinson'stypicalformalpatterns--theABCBrhymescheme,therhythmicuseofthedashtointerrupttheflow--buthasamoreregularmeter,sothatthefirstandthirdlinesineachstanzaareiambictetrameter,whilethesecondandfourthlinesareiambictrimeter,creatingafour-three-four-threestresspatternineachstanza.Theultimateeffectofthispoemistoshowthateveryaspectofhumanlife--ideals,humanfeelings,identityitself--iserasedbydeath.Butbymakingtheerasuregradual--somethingtobe"adjusted"tointhetomb--andbyportrayingaspeakerwhoisuntroubledbyherowngrimstate,Dickinsoncreatesascenethatis,byturns,grotesqueandcompelling,frighteningandcomforting.Itisoneofhermostsingularstatementsaboutdeath,andlikesomanyofDickinson'spoems,ithasnoparallelsintheworkofanyotherwriter.Iheardaflybuzz_Thispoemreflectedher"earlyandlifelongfascination"withillness,dyinganddeath.Shereservedhersharpestinsightsintothe"deathblowaimedbyGod"andthe"funeralinthebrain",oftenreinforcedbyimagesofthirstandstarvation.Theprocessofdyingisanoutwardexpressionofherneedyself-imageassmall,thinandfrail.Dickinson'smostpsychologicallycomplexpoemsexplorethethemethatthelossofhungerforlifecausesthedeathofselfandplacethisat"theinterfaceofmurderandsuicide.BecauseIcouldnotstopfordeathIn"BecauseICouldNotStopforDeath"(J712),EmilyDickinsonusesrememberedimagesofthepasttoclarifyinfiniteconceptionsthroughtheestablishmentofadialecticalrelationshipbetweenrealityandimagination,theknownandtheunknown.[1]Byviewingthisrelationshipholisticallyandhierarchicallyorderingthestagesoflifetoincludedeathandeternity,Dickinsonsuggeststheinterconnectedandmutuallydeterminednatureofthefiniteandinfinite.Throughherboundlessamalgamationandprogressiveorderingofthetemporalworldwiththespiritual