Percy Bysshe Shelley雪萊(作品總)

1、Shelley (17921822),.,Percy Bysshe Shelley (1792-1827), English Romantic poet who rebelled against English politics and conservative values. He is one of the supreme geniuses of English literature, as a lyric poet. Shelley drew no essential distinction between poetry and politics, and his work reflec

2、ted the radical ideas and revolutionary optimism of the era.,introduction,Percy Bysshe Shelley (1792-1822),Life Story Major Literary Works Features of Shelleys Poetry His Position in English Literature,Life Story,Born into a wealthy family at Sussex, England on August 4, 1792; Attended Eton College

3、in 1804; went on to Oxford University six years later; called “mad Shelley”; Expelled from Oxford and disinherited in 1811 for his pamphlet The Necessity of Atheism ; Eloped and then married Harriet Westbrook in 1811; Separated from Harriet and eloped with Marry Godwin to Europe in 1814; Harriets dr

4、owning in 1816 left him a bad reputation as an “immoralist”; Left England in 1818 and stayed in Italy for the remaining 4 years of his life; Drowned off Leghorn on July 8, 1822 .,Born into a wealthy family at Sussex, England on August 4, 1792; Attended Eton College in 1804; went on to Oxford Univers

5、ity six years later; called “mad Shelley”; Expelled from Oxford and disinherited in 1811 for his pamphlet The Necessity of Atheism ; Eloped and then married Harriet Westbrook in 1811; Separated from Harriet and eloped with Marry Godwin to Europe in 1814; Harriets drowning in 1816 left him a bad repu

6、tation as an “immoralist”; Left England in 1818 and stayed in Italy for the remaining 4 years of his life; Drowned off Leghorn on July 8, 1822 .,Percy Bysshe Shelley,作者簡介 波西比希雪萊(1792-1822)出身于貴族家庭，1810年10月進入牛津大學(xué)，半年后，因印發(fā)無神論的必然性(The Necessity of Atheism)小冊子而被開除。離開學(xué)校后，雪萊來到倫敦，結(jié)識了哈麗特(Harriat Westbrook)并與之

7、結(jié)婚。1812年，雪萊到愛爾蘭，為激勵愛爾蘭人民爭取自由而活動和寫作。1814 年 7月雪萊與妻子哈麗雅特分手，不久與瑪麗戈德溫(Marry Goldwin，即著名女作家Marry Shelley)結(jié)合。1818年，雪萊被迫離開英國，到意大利定居。1822年，雪萊在海上遇難，時年30歲。雪萊一生創(chuàng)作勤奮，在去意大利前創(chuàng)作的重要詩作有長詩麥布女王(Queen Mab, 1813)和伊斯蘭的反叛(The Revolt of Islam, 1817)。在意大利生活的最后幾年是他創(chuàng)作最旺盛的時期，他先后完成了詩劇解放了的普羅米修斯(Prometheus Unbound, 1819) 和欽契(The C

8、enci, 1819)，以及悼念濟慈的阿多尼(Adonais, 1821)等。此外雪萊還創(chuàng)作了大量充滿激情的政治詩歌和膾炙人口的抒情詩，如1819年的英國(“England in 1819”，1819) 和西風(fēng)頌(“Ode to the West Wind”， 1819)等。雪萊的文論著作有詩辯(A Defence of Poetry， 1821)。,Artistic Points of View,A lifelong aversion (厭惡) to cruelty, injustice, authority, institutional religion and the formal sh

9、ams of respectable society; condemning war, tyranny and exploitation; Influenced by Christian humanism and predicating that only through gradual and suitable reforms of the existing institutions could benevolence be universally established and none of the evils would survive in this “genuine society

10、”, where people could live together happily, freely and peacefully.,Writing Style,Like Blake, he has a reputation as a difficult poet: erudite(博學(xué)的), imagistically(意象主義) complex, full of classical and mythological allusions(暗示). His style abounds in personification and metaphor and other figures of s

11、peech which describe vividly what we see and feel. Rich in myth, symbols and allusions(暗示), especially in describing fire, air, water, wind and earth; Strong dramatic power as shown in the rapidity of his lines;,His Position in English History,One of the leading romantic poets, an intense and origin

12、al lyrical poet in the English language.,1) The Necessity of Atheism, 無神論的必然性，written when in Oxford University ) Queen Mab, 1813 仙后麥布，written when in London. ) The Revolt of Islam, 1817 伊斯蘭的反叛 ) Prometheus Unbound, 解放了的普羅米修斯，written when in Italy. is the most important works, which is regarded as h

13、is masterpiece. This poem are somewhat violent attacks against government, priest, marriage, religion, even God as men supposed him to be; and without exception they all voice the poets undying hope for a better world. ) The Masque of Anarchy, 專制者的假面游行 ，a political lyrics, written when in Italy.,His

14、 Literary Works,A Song: Men of England a war cry calling on all working people to rise up against their political oppressors.,英格蘭的人們，憑什么要給 蹂躪你們的老爺們耕田種地？ 憑什么要辛勤勞動紡織不息 用錦繡去打扮暴君們的身體？ 憑什么，要從搖籃直到墳?zāi)梗?用衣食去供養(yǎng)，用生命去保衛(wèi) 那一群忘恩負(fù)義的寄生蟲類， 他們在榨你們的汗，喝你們的血？,Men of England, wherefore plough For the lords who lay ye low?

15、 Wherefore weave with toil and care The rich robes your tyrants wear? Wherefore feed and clothe and save, From the cradle to the grave, Those ungrateful drones who would Drain your sweat - nay, drink your blood?,The west wind symbolizes both destroyer of the old and preserver of the new. Note：Writte

16、n in the Autumn, 1819, and published in the following year, this poem has become one of the most popular and best-known of Shelleys verses.,Ode to the West Wind,西風(fēng)頌共分五節(jié)。在第一節(jié)中，西風(fēng)在陸地上以摧枯拉朽之勢橫掃落葉，同時又把種子吹入泥土，點出了西風(fēng)既是毀滅者又是保護者的主題。第二節(jié)描寫西風(fēng)在空中掃蕩殘云，帶出了暴雨雷霆。在第三節(jié)中，西風(fēng)在海上劈波斬浪，大顯神威，攪醒了沉睡的海洋。以上三節(jié)詠風(fēng)，把西風(fēng)在陸、空、海上的凜凜威風(fēng)寫得

17、酣暢淋漓。接著詩人筆鋒一轉(zhuǎn)，由詠物而抒懷，在第四節(jié)中表達(dá)了自己愿隨西風(fēng)而舞的心愿，進而在第五節(jié)中發(fā)出了愿與西風(fēng)合而為一的澎湃激情。 在這首頌歌中，雪萊愿借西風(fēng)之力，蕩滌自己心中的沉暮之氣，激發(fā)自己的靈感，并將自己的詩名傳播四方，喚醒昏昏然的蕓蕓眾生。西風(fēng)頌的影響超越了文學(xué)、超越了國界，被革命者當(dāng)作自由與革命的頌歌。既是毀滅者又是保護者的西風(fēng)無疑是破壞舊世界、創(chuàng)造新世界的革命的極好象征，所向披靡、勢不可擋的西風(fēng)則成了革命精神的化身，尤其是詩歌末尾的“風(fēng)啊，冬天來了，春天還會遠(yuǎn)嗎？”，一直是革命樂觀主義者的口號。,這首詩的結(jié)構(gòu)安排精巧，值得品味。詩歌每節(jié)有14行五音步詩行，每節(jié)可獨立成為一首十四行

18、詩，前三節(jié)的末尾均以“oh，hear!”結(jié)尾，既在形式上把不同詩節(jié)貫串起來，又在語氣上也使詩節(jié)之間相互照應(yīng)。在每節(jié)內(nèi)部，前12行利用三行詩(terza rima)的形式，最后兩行為一個偶句(couplet)，押韻格式為aba bcb cdc ded ee，使詩行前后銜接，最后兩行沖破格式，模仿了西風(fēng)飛旋、不可阻擋的氣勢，既傳神又達(dá)意。,Ode to the West Wind,This is best of all the well-known lyric pieces by Shelley. Here Shelleys rhapsodic and declamatory tendencies

19、 find a subject perfectly suited to them. The autumn wind, burying the dead year, preparing for a new spring, becomes an image of Shelley himself, as he would want to be, in its freedom, its destructive-constructive potential, and its universality. The whole poem has a logic of feeling, a not easily

20、 analyzable progression that leads to the triumphant, hopeful and convincing conclusion: ”If Winter comes, can Spring be far behind?” the poem is written in the terza rima form Shelley derived from his reading of Dante. The nervous thrill of Shelleys response to nature however is here transformed th

21、rough the power of art and imagination into a longing to be united with a force at once physical and prophetic. Here is no conservative reassurance, no comfortable mysticism, but the primal amorality of nature itself, with its mad fury and its pagan ruthlessness.,Ode to West Wind 西風(fēng)頌,An ode is a rhy

22、med lyric expressing noble feelings and is often addressed to a person or celebrating an event. The poet describes vividly the activities of the west wind on the earth, in the sky and on the sea and then expresses his envy for the boundless freedom of the west wind and his wish to be free like it an

23、d to scatter his words among mankind. Metrical pattern(格律): iambic pentameter(抑揚格五音步) Rhyme Scheme: aba, bcb, cdc, ded, ee,O wild West Wind, thou breath of Autumns being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale,

24、and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion oer the dreaming earth, and fill (Driving sweet buds like

25、flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, O hear!,O wild West Wind, thou breath of Autumns being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yell

26、ow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion oer the dreaming earth, and fill

27、(Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, O hear!,剽悍的西風(fēng)啊, 你是暮秋的呼吸, 因你無形的存在, 枯葉四處逃竄, 如同魔鬼見到了巫師, 紛紛躲避; 那些枯葉, 有黑有白, 有紅有黃, 像遭受了瘟疫的群體, 哦, 你呀, 西風(fēng), 你讓種籽展開翱翔的翅膀, 飛落到黑暗的冬床, 冰冷地躺下, 像一具具尸體

28、深葬于墳?zāi)? 直到 你那蔚藍(lán)色的陽春姐妹凱旋歸家, 向睡夢中的大地吹響了她的號角, 催促蓓蕾, 有如驅(qū)使吃草的群羊, 讓漫山遍野注滿生命的芳香色調(diào); 剽悍的精靈, 你的身影遍及四方, 哦,聽吧, 你既在毀壞, 又在保藏!,Stanza I In the first stanza, the autumn wind scatters dead leaves and seeds on the forest soil, where they eventually fertilize the earth and take root as new growth. Both Destroyer and Pr

29、eserver, the wind ensures the cyclical regularity of the seasons. These themes of regeneration and the interconnectedness of death and life, endings and beginnings, runs throughout Ode to the West Wind.,Thou on whose stream, mid the steep skys commotion, Loose clouds like earths decaying leaves are

30、shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine airy surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zeniths height The locks of the approachin

31、g storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: O hear!,在你的湍流中, 在高空的騷動中, 紛亂的云塊就像飄零飛墜的葉子, 你從天空和海洋相互交錯的樹叢 抖落出傳送雷雨以及閃電的天使; 在

32、你的氣體波濤的蔚藍(lán)色的表面, 恰似酒神女祭司的頭上豎起縷縷 亮閃閃的青絲, 從朦朧的地平線 一直到蒼天的頂端, 全都披散著 即將來臨的一場暴風(fēng)驟雨的發(fā)卷, 你就是唱給垂死歲月的一曲挽歌, 四合的夜幕, 是巨大墓陵的拱頂, 它建構(gòu)于由你所集聚而成的氣魄, 可是從你堅固的氣勢中將會噴迸 黑雨、電火以及冰雹; 哦, 請聽!,Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lulled by the coil of his crystalline streams, Beside a pu

33、mice isle in Baiaes bay, And saw in sleep old palaces and towers Quivering within the waves intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantics level powers Cleave themselves into chasms, while far below The sea-blooms

34、and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow grey with fear, And tremble and despoil themselves: O hear!,你啊, 把藍(lán)色的地中海從夏夢中 喚醒, 它曾被清澈的水催送入眠, 就一直躺在那個地方, 酣睡沉沉, 睡在拜伊海灣的一個石島的旁邊, 在睡夢中看到古老的宮殿和樓臺 在烈日之下的海波中輕輕地震顫, 它們?nèi)奸_滿鮮花, 又生滿青苔, 散發(fā)而出的醉人的芳香難以描述! 見到你, 大西洋的水波豁

35、然裂開, 為你讓出道路, 而在海底的深處, 枝葉里面沒有漿汁的淤泥的叢林 和無數(shù)的海花、珊瑚, 一旦聽出 你的聲音, 一個個頓時膽戰(zhàn)心驚, 顫栗著, 像遭了劫掠, 哦, 請聽!,Stanzas II If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and coul

36、d be The comrade of thy wanderings over heaven, As then, when to outstrip the skyey speed Scarce seemed a vision; I would neer have striven As thus with thee in prayer in my sore need. Oh! lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chaine

37、d and bowed One too like thee: tameless, and swift, and proud.,假如我是一片任你吹卷的枯葉, 假若我是一朵隨你飄飛的云彩, 或是在你威力之下喘息的水波, 分享你強健的搏動, 悠閑自在, 不羈的風(fēng)啊, 哪怕不及你自由, 或者, 假若我能像童年的時代, 陪伴著你在那天國里任意翱游, 即使比你飛得更快也并非幻想 那么我絕不向你這般苦苦哀求: 啊, 卷起我吧! 如同翻卷波浪、 或像橫掃落葉、或像驅(qū)趕浮云! 我躍進人生的荊棘, 鮮血直淌! 歲月的重負(fù)縛住了我這顆靈魂, 它太像你了:敏捷、高傲、不馴。,Stanza IV The speaker

38、 identifies himself with the leaves of the first three stanzas: dead leaf, swift cloud, and wave. If the wind can lift these things into flight, why can it not also lift Shelley as a wave, a leaf, a cloud ?,Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumu

39、lt of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like withered leaves to quicken a new birth; And, by the incantation of this verse, Scatter, as from a

40、n unextinguished hearth Ashes and sparks, my words among mankind! Be through my lips to unawakened earth The trumpet of a prophecy! O, Wind, If Winter comes, can Spring be far behind?,拿我當(dāng)琴吧, 就像那一片樹林, 哪怕我周身的葉兒也同樣飄落! 你以非凡和諧中的狂放的激情 讓我和樹林都奏出雄渾的秋樂, 悲涼而又甜美。狂暴的精靈喲, 但愿你我迅猛的靈魂能夠契合! 把我僵死的思想撒向整個宇宙, 像枯葉被驅(qū)趕去催促新的

41、生命! 而且, 依憑我這首詩中的符咒, 把我的話語傳給天下所有的人, 就像從未熄的爐中撥放出火花! 讓那預(yù)言的號角通過我的嘴唇 向昏沉的大地吹奏! 哦, 風(fēng)啊, 如果冬天來了, 春天還會遠(yuǎn)嗎?,Stanza V The fifth stanza completes the metaphor by identifying Shelleys falling and withered leaves as his dead thoughts and words. At last the speakerin longing to be the West Winds lyrebecomes one wit

42、h the forest.,Theme The cycle of the seasons West Wind: Destroyer and preserver sweeps across the land, sweeps across the sky, sweeps across the ocean Man and wind Young (posessing the qualities of the wind): tameless, radical, brave, passionate, energetic, courageous, with strong imagination Old (l

43、osing the qualities of the wind): tamed, conservative, inactive, indifferent, cold, loss of imagination,Cycles of death and rebirth As a magician the wind works its magic throughout nature and it knows no bounds as the earth, water and air all feel its power. The imagery associated with this suggest

44、s that Shelley expected his work to also spread over the universe, like the wind, to destroy the old and to preserve the new,The poem calls for a mythical power to inspire and induce change or a new Birth. It is about the regenerative powers of Nature to bring forth not only new life but also poetic inspiration. The call for inspiration comes in the form like a prayer, not to a Christian God, but to