目录
Unit1 Geoffrey Chaucer (1343 - 1400)
The Canterbury Tales
Unit 2 William Shakespeare (1564 - 1616)
Hamlet
Romeo and Juliet
Sonnet 18
Unit 3 Francis Bacon (1561 - 1626)
Of Marriage and Single Life
Of Studies
Unit 4 17th-Century British Poets
John Donne (1572-1631)
John Milton (1608-1674)
Unit 5 Adventure Fiction Writers
Daniel Defoe (1660-1731)
Jonathan Swift (1667-1745)
Unit 6 Romantic Poets ( I )
William Blake (1757-1827)
Robert Burns (1759-1796)
William Wordsworth (1770-1850)
Samuel Taylor Coleridge (1772-1834)
Unit 7 Jane Austen (1775 - 1817)
Pride and Prejudice
Unit 8 Romantic Poets ( II )
George Gordon Byron (1788-1824)
Percy Bysshe Shelley (1792-1822)
John Keats (1795-1821)
Unit 9 Charlotte Bronte (1816 - 1855)
Jane Eyre
Unit 10 Charles Dickens (1812 - 1870)
Great Expectations
Unit 11 Victorian Poets
Alfred Tennyson (1809 - 1892)
Robert Browning (1812 - 1889)
Matthew Arnold (1822 - 1888)
Unit 12 Thomas Hardy (1840 - 1928)
Tess of the D'Urbervilles 德伯家的苔丝
Unit 13 Modern Dramatists
Oscar Wilde (1854 - 1900)
George Bernard Shaw (1856 - 1950)
Unit 14 Joseph Conrad (1857 - 1924)
Heart of Darkness
Unit 15 20th-Centnry British Poets ( I )
T.S. Eliot (1888 - 1965) 荒原
William Butler Yeats (1865 - 1939) 再次降临
Unit 16 Modernist Novelists ( I )
James Joyce (1882 - 1941)
Virginia Woolf (1882 - 1941)
Unit 17 Modernist Novelists ( II )
D.H. Lawrence (1885 - 1930)
Unit 18 E.M. Forster (1879 - 1970)
The Road from Colonus
Unit 19 William Golding (1911 - 1993)
Lord of the Flies
Unit 20 Doris Lessing (1919 - )
A Woman on a Roof 屋顶丽人
Unit 21 John Fowles (1926 - 2005 )
The French Lieutenant's Woman法国中尉的女人
Unit 22 20th-Century British Poets ( II )
Dylan Thomas (1914- 1953)
Philip Larkin (1922 - 1985)
Ted Hughes (1930 - 1998)
Seamus Heaney (1939 - )
Unit 23 Antonia Susan Byatt (1936 - )
Rose-coloured Teacups
Unit 24 Vidiadhar Surajprasad Naipaul (1932 - )
Prelude: An Inheritance
Unit 25 Graham Swift (1949 - )
Our Nicky's Heart
Unit 26 Kazuo Ishiguro (1954 - )
The Remains of the Day. 作者: ououmama 时间: 2012-4-30 12:43 标题: 其中的诗歌
Unit1 Geoffrey Chaucer (1343 - 1400)
The Canterbury Tales坎特伯雷故事集提要
Unit 2 William Shakespeare (1564 - 1616)
Sonnet 18 商籁体第18首
Unit 4 17th-Century British Poets
John Donne (1572-1631) 跳蚤
John Milton (1608-1674)失乐园
Unit 6 Romantic Poets ( I )
William Blake (1757-1827)羔羊 病玫瑰 老虎
Robert Burns (1759-1796)一朵红红的玫瑰 昔日时光
William Wordsworth (1770-1850)我好似一朵流云独自漫游
Samuel Taylor Coleridge (1772-1834)忽必烈汗
Unit 8 Romantic Poets ( II )
George Gordon Byron (1788-1824)她在美中行
Percy Bysshe Shelley (1792-1822)西风颂
John Keats (1795-1821) 希腊古瓮
Unit 11 Victorian Poets
Alfred Tennyson (1809 - 1892)鹰、溅吧,溅吧,溅吧!
Robert Browning (1812 - 1889)我已故的公爵夫人
Matthew Arnold (1822 - 1888)多佛海滩
Unit 15 20th-Centnry British Poets ( I )
T.S. Eliot (1888 - 1965) 荒原
William Butler Yeats (1865 - 1939) 再次降临
Unit 22 20th-Century British Poets ( II )
Dylan Thomas (1914- 1953)蕨山
Philip Larkin (1922 - 1985)树
Ted Hughes (1930 - 1998)栖息中的鹰
Seamus Heaney (1939 - )沼泽地
诗歌,占30%,共计8课. 作者: ououmama 时间: 2012-4-30 17:01 标题: 《坎特伯雷故事集》序言
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.. 作者: ououmama 时间: 2012-4-30 17:06 标题: Unit 4 17th-Century British Poets
John Donne (1572-1631) 跳蚤
The Flea
--John Donne
Mark but this flea, and mark inthis,
How little that which thou deniest me is;
Me it suckedfirst, and now sucks thee,
And in this flea our two bloods mingledbe;
Thou know‘st that this cannot be said
A sin, or shame, orloss of maidenhead,
Yet this enjoys before it woo,
And pamperedswells with one blood made of two,
And this, alas, is more than we woulddo.
Oh stay, three lives in one flea spare,
Where we almost,nay more than married are.
This flea is you and I, and this
Ourmarriage bed and marriage temple is;
Though parents grudge, and you,we are met,
And cloisered in these living walls of jet.
Thoughuse make you apt to kill me
Let not to that, self-murder addedbe,
And sacrilege, three sins in killing three.
Cruel andsudden, hast thou since
Purpled thy nail in blood ofinnocence?
Wherein could this flea guilty be,
Except in that dropwhich it sucked from thee?
Yet thou triumph‘st, and say‘st thatthou
Find‘st not thy self nor me the weaker now;
‘Tis true; thenlearn how false fears be:
Just so much honor, when thou yield‘st tome,
Will waste, as this flea‘s death look life fromthee.
注释:
1. thou:在古英语里,是表示you 的主格形式。
2. thee:在古英语里,是表示 you的宾格形式。
3. And in this flea our two bloods mingledbe:这一句是这首诗的关键句,道出“在这只跳蚤的身体里,我们两个人的血液相互交融。”
4. Oh stay, three lives in oneflea spare:“哦,你先等一等,不要掐死这只跳蚤,因为它(吸了两人的血)集三条生命于一身。”
5.grudge:厌恶,怨恨。
6. use:=habit 习惯。
7.sacrilege:亵渎神圣。
8.hast:在古英语里,相当于 have 的第二人称单数的现在式,主词为 thou。
9.purpled thy nail:thy用在古英语里,相当于your,你的。掐死了跳蚤,所以鲜血染红了指甲,变成了“紫色”。由此可见,诗人的语言非常滑稽有趣。
John Milton (1608-1674) 失乐园
《失乐园》以史诗一般的磅礴气势揭示了人的原罪与堕落。诗中叛逆之神撒旦,因为反抗上帝的权威被打入地狱,却毫不屈服,为复仇寻至伊甸园。亚当与夏娃受被撒旦附身的蛇的引诱,偷吃了上帝明令禁吃的知识树上的果子。最终,撒旦及其同伙遭谴全变成了蛇,亚当与夏娃被逐出了伊甸园。该诗体现了诗人追求自由的崇高精神,是世界文学史、思想史上的一部极重要的作品
单独成贴. 作者: ououmama 时间: 2012-4-30 17:28 标题: Unit 6 Romantic Poets ( I )
The Lamb
William Blake (1757-1827)羔羊
lamb
Little Lamb, who made thee?
O Rose, thou art sick!
The invisible worm
That flies in the night,
In the howling storm,
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
O,my love is like a red, red rose,
啊,我爱宛如一朵红红的玫瑰
That's newly spring in June.
在六月苞放
O,my love is like the melody,
啊,我爱宛如那一曲旋律
That's sweetly played in tune,
甜美地弹唱(回荡)
As fair are you ,my bonie lass,
你如此的姣美,我的姑娘
So deep in love am i,
我爱的那么深
And i will love you still ,my dear,
亲爱的,我会一直爱你
Till all the seas go dry,
直到沧海干涸
Till all the seas go dry,my dear.
亲爱的,直到沧海干涸
And the rocks melt with the sun.
直到烈阳将岩石熔化
And i will love you still,my dear,
亲爱的,我爱你永不渝
While the sands of life shall run,
直到生命的沙漏流逝
And farewell to you ,my only love,
再见吧,我不渝的心肝
And fare you awhile;
暂别吧
And i will come again ,my love.
我爱,我会再回来
Though it were ten thousand mile!
即使相隔万里
彭斯-生平
英国诗人。浪漫主义的先驱。其相当于安徒生在丹麦的地位。1759年1月25日生于苏格兰艾尔郡阿洛韦镇的一个佃农家庭,1796年7月21日卒于邓弗里斯。自幼家境贫寒,未受过正规教育,靠自学获得多方面的知识。最优秀的诗歌作品产生于1785~1790年,收集在诗集《主要以苏格兰方言而写的诗》中。诗集体现了诗人一反当时英国诗坛的新古典主义诗风,从地方生活和民间文学中汲取营养,为诗歌创作带来了新鲜的活力,形成了他诗歌创作的基本特色。以虔诚的感情歌颂大自然及乡村生活;以入木三分的犀利言辞讽刺教会及日常生活中人们的虚伪。诗集使彭斯一举成名,被称为天才的农夫。后应邀到爱丁堡,出入于上流社会的显贵中间。但发现自己高傲的天性和激进思想与上流社会格格不入,乃返回故乡务农。一度到苏格兰北部高原地区游历,后来当了税务官,一边任职一边创作。彭斯最优秀的诗歌作品产生于1785~1790年,收集在诗集《主要以苏格兰方言而写的诗》中。诗集体现了诗人一反当时英国诗坛的新古典主义诗风,从地方生活和民间文学中汲取营养,为诗歌创作带来了新鲜的活力,形成了他诗歌创作的基本特色。以虔诚的感情歌颂大自然及乡村生活;以入木三分的犀利言辞讽刺教会及日常生活中人们的虚伪。诗集使彭斯一举成名,被称为天才的农夫。后应邀到爱丁堡,出入于上流社会的显贵中间。但发现自己高傲的天性和激进思想与上流社会格格不入,乃返回故乡务农。一度到苏格兰北部高原地区游历,后来当了税务官,一边任职一边创作。彭斯复活并丰富了苏格兰民歌;他的诗歌富有音乐性,可以歌唱。彭斯生于苏格兰民族面临被异族征服的时代,因此,他的诗歌充满了激进的民主、自由的思想。诗人生活在破产的农村,和贫苦的农民血肉相连。他的诗歌歌颂了故国家乡的秀美,抒写了劳动者纯朴的友谊和爱情。
彭斯-作品特点彭斯的诗歌作品多使用苏格兰方言,并多为抒情短诗,如歌颂爱情的名篇《我的爱人像朵红红的玫瑰》和抒发爱国热情的《苏格兰人》等。他还创作了不少讽刺诗(如《威利长老的祈祷》),诗札(如《致拉布雷克书》)和叙事诗(如《两只狗》和《快活的乞丐》)。作品表达了平民阶级的思想感情,同情下层人民疾苦,同时以健康、自然的方式体现了追求“美酒、女人和歌”的快乐主义人生哲学。彭斯富有敏锐的幽默感。对苏格兰乡村生活的生动描写使他的诗歌作品具有民族特色和艺术魅力。他的诗歌富有音乐性,可以歌唱。人们耳熟能详的歌曲《友谊地久天长》就是苏格兰民歌,歌词的作者是苏格兰民族诗人罗伯特·彭斯。
除诗歌创作外,彭斯还收集整理大量的苏格兰民间歌谣,编辑出版了6卷本的《苏格兰音乐总汇》和8卷本的《原始的苏格兰歌曲选集》。其中《往昔的时光》不仅享誉苏格兰,而且闻名世界。他的诗札也写得不同凡响,结构完整,往往一开始先表明时间、地点、气氛,接着议论风生,畅谈人生和艺术,或亲切地倾诉友谊,最后则以妙语作结,而贯穿其间的则是一种豪放、活泼的风格。《致拉布雷克书》即是一例。在这篇作品里,针对当时英国新古典主义诗歌重文雅、讲节制的风气,他提出了诗的灵感来自大自然、诗的价值在于用真挚的情感打动人心的浪漫主义观点。 罗伯特·彭斯Robert Burns (1 759— 1 796)是苏格兰历史上最伟大的诗人之一 ,是 1 8世纪浪漫主义诗歌的先驱 ,又称苏格兰著名的农民诗人。他一生劳作于田间 ,熟悉古老的苏格兰民谣 ,对诗歌怀有浓厚的兴趣 ,他的诗真实反映了苏格兰农民的思想和渴望 ,具有民主进步思想 ,在形式和内容上具有人民诗歌的特征。彭斯的诗歌抒情泛围广泛 ,即有现实的生活图画 ,热情的浪漫主义情调 ,又有悲剧性色彩。他的诗歌吸取了苏格兰民谣的优点 ,采用苏格兰方言来表现普通劳动人民的思想情感 ,朴实自然、简洁明快 ,具有鲜明的民族特色
MY LUVE IS LIKE A RED, RED ROSE [附1]: 郭沫若译本-
《红玫瑰》
我爱人象朵红红的玫瑰- O my luve is like a red,red rose, 吾爱吾爱玫瑰红,
六月里迎风初绽; That's newly sprung in June. 六月初开韵晓风;
我爱人象首美妙的乐曲- O my luve is like the melodie, 吾爱吾爱如管弦,
琴瑟和谐地奏弹。 That's sweetly play'd in tune. 其声悠扬而玲珑。
我的好姑娘,你美丽、纯洁, As fair art thou,my bonie lass, 吾爱吾爱美而殊,
我爱你,如此深切! So deep in luve am I, 我心爱你永不渝,
我将永远地爱你,亲爱的, And I will luve thee still,my dear, 我心爱你永不渝,
一直到四海枯竭。 Till a' the seas gang dry. 直到四海海水枯;
一直到四海枯竭,亲爱的, Till a' the seas gang dry,my dear, 直到四海海水枯,
太阳烤化了岩石; And the rocks melt wi' the sun! 岩石融化变成泥,
我依然渴慕你呀,亲爱的, And I will luve thee still,my dear, 只要我还有口气,
只要是生命不止。 While the sands o' life shaii run. 我心爱你永不渝。
多保重吧,我唯一的至爱, And fare thee weel,my only luve! 暂时告别我心肝,
让我们暂时割舍; And fare thee weel,a while! 请你不要把心担!
我就会回来的,我的心爱, And I will come again, my luve, 纵使相隔十万里,
纵然是万里遥隔! Tho' it were ten thousand mile! 踏穿地皮也要还。
-by Robert Burns(1759-1796) -录自《英诗译稿》
Robert Burns (1759-1796) 昔日时光
For Auld Lang Syne
Robert Burns
Should auld acquaintance be forgot,
and never brought to mind ?
Should auld acquaintance be forgot,
and auld lang syne ?
For auld lang syne, my dear,
for auld lang syne,
we'll tak a cup o' kindness yet,
for auld lang syne!
And surely ye'll be your pint-stoup ,
And surely I'll be mine.
And we'll tak a cup o' kindness yet,
for auld lang syne.
We twa hae run about the braes,
and pou'd the gowans fine .
But we've wander'd mony a weary fit,
sin' auld lang syne.
We twa hae paidl'd in the burn,
frae morning sun till dine .
But seas between us braid hae roar'd
sin' auld lang syne.
And there's a hand, my trusty fiere ,
And gies a hand o' thine .
And we'll tak a right gude-willie waught,
for auld lang syne.
I wandered lonely as a cloud
我孤独地漫游,像一朵云
That floats on high o′er vales and hills,
在山丘和谷地上飘荡,
When all at once I saw a crowd,
忽然间我看见一群
A host, of golden daffodils;
金色的水仙花迎春开放,
Beside the lake, beneath the trees,
在树荫下,在湖水边,
Fluttering and dancing in the breeze.
迎着微风起舞翩翩。
Continuous as the stars that shine
连绵不绝,如繁星灿烂,
And twinkle on the milky way,
在银河里闪闪发光,
They stretched in never-ending line
它们沿着湖湾的边缘
Along the margin of a bay:
延伸成无穷无尽的一行;
Ten thousand saw I at a glance,
我一眼看见了一万朵,
Tossing their heads in sprightly dance.
在欢舞之中起伏颠簸。
The waves beside them danced; but they
粼粼波光也在跳着舞,
Out-did the sparkling waves in glee:
水仙的欢欣却胜过水波;
A poet could not but be gay,
与这样快活的伴侣为伍,
In such a jocund company:
诗人怎能不满心欢乐!
I gazed--and gazed--but little thought
我久久凝望,却想象不到
What wealth the show to me had brought:
这奇景赋予我多少财宝,——
For oft, when on my couch I lie
每当我躺在床上不眠,
In vacant or in pensive mood,
或心神空茫,或默默沉思,
They flash upon that inward eye
它们常在心灵中闪现,
Which is the bliss of solitude;
那是孤独之中的福祉;
And then my heart with pleasure fills,
于是我的心便涨满幸福,
And dances with the daffodils.
和水仙一同翩翩起舞。
In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacrecl river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half- intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail:
And'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 'twould wiff me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, "Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round himthrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise."
谁都能见到这宫殿,只要听见了乐音,
他们全都会喊叫:当心!当心!
他飘动的头发,他闪光的眼睛!
织一个圆圈,把他三道围住,
闭下你两眼,带着神圣的恐惧,
因为他一直吃着蜜样甘露,
一直饮着天堂的琼浆仙乳。. 作者: ououmama 时间: 2012-4-30 18:07 标题: Unit 8 Romantic Poets ( II )浪漫主义诗人
George Gordon Byron (1788-1824)
拜伦 她在美中行
She Walks in Beauty
She Walks in Beauty
She walks in beauty,like the night
of cloudless climes and starry skies:
And all that's best of dark and bright
Meet in her aspect ang her eyes:
Thus mellow'd to that tender light
Which heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impair'd the nameless garace
Which waves in every raven tress
Or softly lightens o'er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.
And on that cheek, and o'er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below
A heart whose love is innocent!
赏析:
这是一首歌颂女性美的抒情诗,诗中的女性是诗人的表妹威尔莫特夫人(Mrs. Wilmot)。诗人在这一次的舞会上遇到这位穿着孝服的表妹时为其的美貌所倾倒,遂成此诗。诗人在诗中极尽赞美之能事,仰慕之情跃然笔端,尤其是诗中的一句“One shade the more, one ray the less/Had half impair'd the nameless garace”,颇有“增一分则太长,减一分则太短,着粉则太白,施朱则太赤”的神韵。在诗篇的末尾,诗人笔锋一转,由渲染外表的美丽转向颂扬心灵美,由表及里,深化了主题。
Ode to the West Wind
- Percy Bysshe Shelley (1792-1822)
I
1 O wild West Wind, thou breath of Autumn's being,
2 Thou, from whose unseen presence the leaves dead
3 Are driven, like ghosts from an enchanter fleeing,
4 Yellow, and black, and pale, and hectic red,
5 Pestilence-stricken multitudes: O thou,
6 Who chariotest to their dark wintry bed
7 The winged seeds, where they lie cold and low,
8 Each like a corpse within its grave, until
9 Thine azure sister of the Spring shall blow
10 Her clarion o'er the dreaming earth, and fill
11 (Driving sweet buds like flocks to feed in air)
12 With living hues and odours plain and hill:
13 Wild Spirit, which art moving everywhere;
14 Destroyer and preserver; hear, oh hear!
II
15 Thou on whose stream, mid the steep sky's commotion,
16 Loose clouds like earth's decaying leaves are shed,
17 Shook from the tangled boughs of Heaven and Ocean,
18 Angels of rain and lightning: there are spread
19 On the blue surface of thine airy surge,
20 Like the bright hair uplifted from the head
21 Of some fierce Maenad, even from the dim verge
22 Of the horizon to the zenith's height,
23 The locks of the approaching storm. Thou dirge
24 Of the dying year, to which this closing night
25 Will be the dome of a vast sepulchre,
26 Vaulted with all thy congregated might
27 Of vapours, from whose solid atmosphere
28 Black rain, and fire, and hail will burst: oh hear!
III
29 Thou who didst waken from his summer dreams
30 The blue Mediterranean, where he lay,
31 Lull'd by the coil of his crystalline streams,
32 Beside a pumice isle in Baiae's bay,
33 And saw in sleep old palaces and towers
34 Quivering within the wave's intenser day,
35 All overgrown with azure moss and flowers
36 So sweet, the sense faints picturing them! Thou
37 For whose path the Atlantic's level powers
38 Cleave themselves into chasms, while far below
39 The sea-blooms and the oozy woods which wear
40 The sapless foliage of the ocean, know
41 Thy voice, and suddenly grow gray with fear,
42 And tremble and despoil themselves: oh hear!
IV
43 If I were a dead leaf thou mightest bear;
44 If I were a swift cloud to fly with thee;
45 A wave to pant beneath thy power, and share
46 The impulse of thy strength, only less free
47 Than thou, O uncontrollable! If even
48 I were as in my boyhood, and could be
49 The comrade of thy wanderings over Heaven,
50 As then, when to outstrip thy skiey speed
51 Scarce seem'd a vision; I would ne'er have striven
52 As thus with thee in prayer in my sore need.
53 Oh, lift me as a wave, a leaf, a cloud!
54 I fall upon the thorns of life! I bleed!
55 A heavy weight of hours has chain'd and bow'd
56 One too like thee: tameless, and swift, and proud.
V
57 Make me thy lyre, even as the forest is:
58 What if my leaves are falling like its own!
59 The tumult of thy mighty harmonies
60 Will take from both a deep, autumnal tone,
61 Sweet though in sadness. Be thou, Spirit fierce,
62 My spirit! Be thou me, impetuous one!
63 Drive my dead thoughts over the universe
64 Like wither'd leaves to quicken a new birth!
65 And, by the incantation of this verse,
66 Scatter, as from an unextinguish'd hearth
67 Ashes and sparks, my words among mankind!
68 Be through my lips to unawaken'd earth
69 The trumpet of a prophecy! O Wind,
70 If Winter comes, can Spring be far behind?. 作者: ououmama 时间: 2012-4-30 18:11
Ode on a Grecian Urn
John Keats
1
THOU still unravish’d bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring’d legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
2
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
3
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy’d,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy’d,
A burning forehead, and a parching tongue.
4
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead’st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e’er return.
5
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say’st,
“Beauty is truth, truth beauty,”—that is all
Ye know on earth, and all ye need to know.
希腊古瓮颂
1
你委身“寂静”的、完美的处子,
受过了“沉默”和“悠久”的抚育,
呵,田园的史家,你竟能铺叙
一个如花的故事,比诗还瑰丽:
在你的形体上,岂非缭绕着
古老的传说,以绿叶为其边缘,
讲着人,或神,敦陂或阿卡狄?
呵,是怎样的人,或神!在舞乐前
多热烈的追求!少女怎样地逃躲!
怎样的风笛和鼓铙!怎样的狂喜!
The Eagle: A Fragment
Alfred, Lord Tennyson
He clasps the crag with crooked hands;
Close to the sun in lonely lands,
Ring’d with the azure world, he stands.
The wrinkled sea beneath him crawls;
He watches from his mountain walls,
And like a thunderbolt he falls.. 作者: ououmama 时间: 2012-4-30 18:14
丁尼生 BREAK BREAK BREAK
BREAK, BREAK, BREAK
BREAK, break, break,
On thy cold gray stones,O Sea!
And I would that my tongue could utter
The thoughts that arise in me.
O, well for the fisherman’s boy,
That he shouts with his sister at play!
O, well for the sailor lad,
That he sings in his boat on the bay!
And the stately ships go on
To their haven under the hill;
But O for the touch of a vanish’d hand,
And the sound of a voice that is still!
Break, break, break,
At the foot of thy crags, O Sea!
But the tender grace of a day that is dead
Will never come back to me.
(译文)
溅吧,溅吧,溅吧
溅吧,溅吧,溅吧,溅碎在
你冷冷的灰岩上,哦大海!
但愿我的言辞能表达出
我心中涌起的思绪情怀。
哦,那渔家的孩子有多好,
他同他妹妹正边玩边嚷!
哦,那年轻的水手有多好,
他唱着歌荡舟在海湾上!
巍巍的巨舶一一地驶去
驶进他们山坡边的港口;
可是那相握的手已殒灭,
那说话的声音已沉寂哦!
溅吧,溅吧,溅吧,溅碎在
That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Will 't please you sit and look at her? I said
'Frà Pandolf' by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 't was not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Frà Pandolf chanced to say, 'Her mantle laps
Over my lady's wrist too much,' or 'Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat:' such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart -- how shall I say? -- too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 't was all one! my favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace -- all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men, -- good! but thanked
Somehow -- I know not how -- as if she ranked
my gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech -- (which I have not) -- to make your will
Quite clear to such an one, and say, 'Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark' -- and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse,
-- E'en then would be some stooping; and I choose
Never to stoop. Oh, sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I have commands;
Then all smiles stopped together. There she stands
As if alive. Will 't please you rise? We'll meet
The company below then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
多佛海滩
马修•阿诺德(1822-1888)
Dover Beach-Matthew Arnold多佛海滩
牐燶r
牐燭he sea is calm to-night.(今夜大海平安。
牐燭he tide is full, the moon lies fair(潮水满满,皓月俯瞰峡湾;
牐燯pon the straits; -on the French coast the light(法兰西海岸线上,微光闪烁,
牐燝leams and is gone; the cliffs of England stand,(忽明忽暗;英格兰的峭壁悬崖,
牐燝limmering and vast, out in the tranquil bay.(微明,危耸,突兀于宁静海湾。
牐燙ome to the window, sweet is the night air!(来到窗前吧,夜的空气多么清洌!
牐燨nly, from the long line of spray(月光下,海水与惨白陆地的接壤之处,
牐燱here the sea meets the moon-blanch'd land,(一条浪花飞溅的海岸绵延。
牐燣isten! you hear the grating roar(听啊!卵石相互的撞击如雷贯耳——
牐燨f pebbles which the waves draw back, and fling,(浪涛将其卷走,又抛掷上岸,
牐燗t their return, up the high strand,(周而复始,自低处,向高端,
牐燘egin, and cease, and then again begin,(止而又始,无尽循环,
牐燱ith tremulous cadence slow, and bring(和着徐缓而震颤的节律,
牐燭he eternal note of sadness in. (鸣唱永恒的哀怨。
牐燶r
牐燬ophocles long ago(古代,索福克勒斯在爱琴海边
牐燞eard it on the Aegean, and it brought(听到这涛声,联想到
牐營nto his mind the turbid ebb and flow(人类如浑浊潮汐般的苦难;
牐燨f human misery; we(如今,站在这遥远北方的海岸,
牐燜ind also in the sound a thought,(聆听这涛声,我们
牐燞earing it by this distant northern sea. (也浮想联翩。
牐燶r
牐燭he Sea of Faith(曾经,信仰的大海
牐燱as once, too, at the full, and round earth's shore(也潮涨水满,环绕大地海岸,
牐燣ay like the folds of a bright girdle furl'd.(似彩练,似云卷,涌动人间。
牐燘ut now I only hear(可如今,我只听见
牐營ts melancholy, long, withdrawing roar,(它那忧伤、悠长的后撤之吼,
牐燫etreating, to the breath(退回到夜风的呼吸,
牐燨f the night-wind, down the vast edges drear(退下渺远、阴沉的海岸,
牐燗nd naked shingles of the world. (露出茫茫的裸石一滩。
牐燶r
牐燗h, love, let us be true(哦亲爱的,让咱们赤诚相见!
牐燭o one another! for the world, which seems(只因这似梦境袒露眼前的世界,
牐燭o lie before us like a land of dreams,(虽如此多姿、壮丽、新鲜,
牐燬o various, so beautiful, so new,(却既无欢乐,也无爱情,也无光明,
牐燞ath really neither joy, nor love, nor light,
牐燶r
牐燦or certitude, nor peace, nor help for pain;(也无信念,和平,及对苦难的救援;
牐燗nd we are here as on a darkling plain(你我在此,如在黑暗的荒原,
牐燬wept with confused alarms of struggle and flight,(到处是厮杀与溃逃的惊恐与混乱,
牐燱here ignorant armies clash by night. (愚昧的大军在拼死夜战。
牐燶r
《多佛尔海滩》是一首沉思的诗,而不是一曲浪漫的歌,它之所以成为阿诺德最著名的抒情诗之一,很大程度上是因为诗人是在对他的心上人倾诉自己的思想,倾诉他对人类苦难的感受和思索,倾诉他对失去信仰的疑惑和彷徨。
诗人生活的时代正值英国社会出现巨大变革的时代,科学的进步和工业的发展急剧地改变着人们的思维方式、生活习惯和人际关系,传统的社会秩序瓦解了,千百年来的宗教信仰正在崩溃。 追求信仰但却失去信仰的诗人生活在痛苦、彷徨与烦闷之中,唯有心上人在身边时才暂时感觉到大海宁静、月色朗朗、晚风清新,才有心情眺望海峡对岸的法兰西,俯瞰窗下伸延的英格兰海岸。
然而,片刻的怡情也难以消除诗人的忧患,即使在这风清月朗、携情人倚窗的夜晚,诗人依然从海边传来的浪卷沙石的涛声中,听到了古希腊悲剧诗人索福克勒斯曾在爱琴海边听到过的声音——永恒的悲哀的声音。索福克勒斯在其悲剧《安提戈涅》中写法律与“神律”形成无法解决的矛盾,成为人类不可挽救的命运。在《奥狄浦斯王》中则写个人意志与残酷命运的冲突,表现了人们在社会灾难面前所感到的悲观愤懑的情绪。抚今追昔,诗人思有所得:人类的苦难和悲哀不仅当今有,古时也有,不仅北方的海滨有,南方的爱琴海岸也有,尽管“信仰的海洋也曾一度满潮”,但到头来也只能不断地退潮,“留给世界一滩赤裸的卵石”。
一片只剩下赤裸卵石的海滩,使我们很容易想到现代诗人艾略特笔下那段现代仙女扔下香烟头和空酒瓶的泰晤士河畔,而大海送来的“永恒的悲哀的声音”,则自然而然地使我们想到艾略特在《荒原》中所写的“冷风里白骨碰白骨的声音。”由此我们似乎可以看出:阿诺德那个既没有欢乐、光明和确信、也没有安宁和爱的世界,其实就是艾略特那片“上帝死了”之后的现代荒原的前身。两位不同时代的诗人分别为我们展示了两片没有信仰的荒原,但20世纪的艾略特找到了拯救荒原的办法——复活耶稣,依靠宗教,恢复信仰,皈依上帝。而19世纪的阿诺德则像他在《游大沙特勒兹修道院而作》一诗中所说,始终“彷徨在两个世界之间,一个已死,另一个却没有力量诞生。”生活在那片昏暗的荒原,诗人的支撑点唯有爱人之间的彼此真诚,唯有他用来代替信仰的诗。
(原载北京师范学院出版社1991年版《外国抒情诗赏析辞典》第565~567页). 作者: ououmama 时间: 2012-4-30 18:20 标题: Unit 15 20th-Centnry British Poets ( I )
T.S. Eliot (1888 - 1965) 荒原
艾略特 荒原
I. THE BURIAL OF THE DEAD
April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten, 10
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm' aus Litauen, echt deutsch.
And when we were children, staying at the archduke's,
My cousin's, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.
What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man, 20
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust. 30
Frisch weht der Wind
Der Heimat zu
Mein Irisch Kind,
Wo weilest du?
"You gave me hyacinths first a year ago;
"They called me the hyacinth girl."
- Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing, 40
Looking into the heart of light, the silence.
Od' und leer das Meer.
Madame Sosostris, famous clairvoyante,
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe,
With a wicked pack of cards. Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes. Look!)
Here is Belladonna, the Lady of the Rocks,
The lady of situations. 50
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man. Fear death by water.
I see crowds of people, walking round in a ring.
Thank you. If you see dear Mrs. Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.
Unreal City, 60
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
Flowed up the hill and down King William Street,
To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine.
There I saw one I knew, and stopped him, crying "Stetson!
"You who were with me in the ships at Mylae! 70
"That corpse you planted last year in your garden,
"Has it begun to sprout? Will it bloom this year?
"Or has the sudden frost disturbed its bed?
"Oh keep the Dog far hence, that's friend to men,
"Or with his nails he'll dig it up again!
"You! hypocrite lecteur! - mon semblable, - mon frere!"
II. A GAME OF CHESS
The Chair she sat in, like a burnished throne,
Glowed on the marble, where the glass
Held up by standards wrought with fruited vines
From which a golden Cupidon peeped out 80
(Another hid his eyes behind his wing)
Doubled the flames of sevenbranched candelabra
Reflecting light upon the table as
The glitter of her jewels rose to meet it,
From satin cases poured in rich profusion;
In vials of ivory and coloured glass
Unstoppered, lurked her strange synthetic perfumes,
Unguent, powdered, or liquid - troubled, confused
And drowned the sense in odours; stirred by the air
That freshened from the window, these ascended 90
In fattening the prolonged candle-flames,
Flung their smoke into the laquearia,
Stirring the pattern on the coffered ceiling.
Huge sea-wood fed with copper
Burned green and orange, framed by the coloured stone,
In which sad light a carved dolphin swam.
Above the antique mantel was displayed
As though a window gave upon the sylvan scene
The change of Philomel, by the barbarous king
So rudely forced; yet there the nightingale 100
Filled all the desert with inviolable voice
And still she cried, and still the world pursues,
"Jug Jug" to dirty ears.
And other withered stumps of time
Were told upon the walls; staring forms
Leaned out, leaning, hushing the room enclosed.
Footsteps shuffled on the stair.
Under the firelight, under the brush, her hair
Spread out in fiery points
Glowed into words, then would be savagely still. 110
"My nerves are bad to-night. Yes, bad. Stay with me.
"Speak to me. Why do you never speak. Speak.
"What are you thinking of? What thinking? What?
"I never know what you are thinking. Think."
I think we are in rats' alley
Where the dead men lost their bones.
"What is that noise?"
The wind under the door.
"What is that noise now? What is the wind doing?"
Nothing again nothing. 120
"Do
"You know nothing? Do you see nothing? Do you remember
"Nothing?"
I remember
Those are pearls that were his eyes.
"Are you alive, or not? Is there nothing in your head?"
But
O O O O that Shakespeherian Rag -
It's so elegant
So intelligent 130
"What shall I do now? What shall I do?"
I shall rush out as I am, and walk the street
"With my hair down, so. What shall we do to-morrow?
"What shall we ever do?"
The hot water at ten.
And if it rains, a closed car at four.
And we shall play a game of chess,
Pressing lidless eyes and waiting for a knock upon the door.
When Lil's husband got demobbed, I said -
I didn't mince my words, I said to her myself, 140
HURRY UP PLEASE ITS TIME
Now Albert's coming back, make yourself a bit smart.
He'll want to know what you done with that money he gave you
To get yourself some teeth. He did, I was there.
You have them all out, Lil, and get a nice set,
He said, I swear, I can't bear to look at you.
And no more can't I, I said, and think of poor Albert,
He's been in the army four years, he wants a good time,
And if you don't give it him, there's others will, I said.
Oh is there, she said. Something o' that, I said. 150
Then I'll know who to thank, she said, and give me a straight look.
HURRY UP PLEASE ITS TIME
If you don't like it you can get on with it, I said.
Others can pick and choose if you can't.
But if Albert makes off, it won't be for lack of telling.
You ought to be ashamed, I said, to look so antique.
(And her only thirty-one.)
I can't help it, she said, pulling a long face,
It's them pills I took, to bring it off, she said.
(She's had five already, and nearly died of young George.) 160
The chemist said it would be alright, but I've never been the same.
You are a proper fool, I said.
Well, if Albert won't leave you alone, there it is, I said,
What you get married for if you don't want children?
HURRY UP PLEASE ITS TIME
Well, that Sunday Albert was home, they had a hot gammon,
And they asked me in to dinner, to get the beauty of it hot -
HURRY UP PLEASE ITS TIME
HURRY UP PLEASE ITS TIME
Goonight Bill. Goonight Lou. Goonight May. Goonight. 170
Ta ta. Goonight. Goonight.
Good night, ladies, good night, sweet ladies, good night, good night.
III. THE FIRE SERMON
The river's tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed.
Sweet Thames, run softly, till I end my song.
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights. The nymphs are departed.
And their friends, the loitering heirs of city directors; 180
Departed, have left no addresses.
By the waters of Leman I sat down and wept . . .
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of the bones, and chuckle spread from ear to ear.
A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse 190
Musing upon the king my brother's wreck
And on the king my father's death before him.
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat's foot only, year to year.
But at my back from time to time I hear
The sound of horns and motors, which shall bring
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter
And on her daughter 200
They wash their feet in soda water
Et O ces voix d'enfants, chantant dans la coupole!
Twit twit twit
Jug jug jug jug jug jug
So rudely forc'd.
Tereu
Unreal City
Under the brown fog of a winter noon
Mr. Eugenides, the Smyrna merchant
Unshaven, with a pocket full of currants 210
C.i.f. London: documents at sight,
Asked me in demotic French
To luncheon at the Cannon Street Hotel
Followed by a weekend at the Metropole.
At the violet hour, when the eyes and back
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives,
Old man with wrinkled female breasts, can see
At the violet hour, the evening hour that strives 220
Homeward, and brings the sailor home from sea,
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun's last rays,
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest -
I too awaited the expected guest. 230
He, the young man carbuncular, arrives,
A small house agent's clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire.
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence; 240
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronising kiss,
And gropes his way, finding the stairs unlit . . .
She turns and looks a moment in the glass,
Hardly aware of her departed lover; 250
Her brain allows one half-formed thought to pass:
"Well now that's done: and I'm glad it's over."
When lovely woman stoops to folly and
Paces about her room again, alone,
She smoothes her hair with automatic hand,
And puts a record on the gramophone.
"This music crept by me upon the waters"
And along the Strand, up Queen Victoria Street.
O City city, I can sometimes hear
Beside a public bar in Lower Thames Street, 260
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.
The river sweats
Oil and tar
The barges drift
With the turning tide
Red sails 270
Wide
To leeward, swing on the heavy spar.
The barges wash
Drifting logs
Down Greenwich reach
Past the Isle of Dogs.
Weialala leia
Wallala leialala
Elizabeth and Leicester
Beating oars 280
The stern was formed
A gilded shell
Red and gold
The brisk swell
Rippled both shores
Southwest wind
Carried down stream
The peal of bells
White towers
Weialala leia 290
Wallala leialala
"Trams and dusty trees.
Highbury bore me. Richmond and Kew
Undid me. By Richmond I raised my knees
Supine on the floor of a narrow canoe."
"My feet are at Moorgate, and my heart
Under my feet. After the event
He wept. He promised 'a new start'.
I made no comment. What should I resent?"
"On Margate Sands. 300
I can connect
Nothing with nothing.
The broken fingernails of dirty hands.
My people humble people who expect
Nothing."
la la
To Carthage then I came
Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest 310
burning
IV. DEATH BY WATER
Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
Gentile or Jew
O you who turn the wheel and look to windward, 320
Consider Phlebas, who was once handsome and tall as you.
V. WHAT THE THUNDER SAID
After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience 330
Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink
Amongst the rock one cannot stop or think
Sweat is dry and feet are in the sand
If there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit 340
There is not even silence in the mountains
But dry sterile thunder without rain
There is not even solitude in the mountains
But red sullen faces sneer and snarl
From doors of mudcracked houses
If there were water
And no rock
If there were rock
And also water
And water 350
A spring
A pool among the rock
If there were the sound of water only
Not the cicada
And dry grass singing
But sound of water over a rock
Where the hermit-thrush sings in the pine trees
Drip drop drip drop drop drop drop
But there is no water
Who is the third who walks always beside you? 360
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you
Gliding wrapt in a brown mantle, hooded
I do not know whether a man or a woman
- But who is that on the other side of you?
What is that sound high in the air
Murmur of maternal lamentation
Who are those hooded hordes swarming
Over endless plains, stumbling in cracked earth 370
Ringed by the flat horizon only
What is the city over the mountains
Cracks and reforms and bursts in the violet air
Falling towers
Jerusalem Athens Alexandria
Vienna London
Unreal
A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light 380
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.
In this decayed hole among the mountains
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind's home.
It has no windows, and the door swings, 390
Dry bones can harm no one.
Only a cock stood on the rooftree
Co co rico co co rico
In a flash of lightning. Then a damp gust
Bringing rain
Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder 400
DA
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment's surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms 410
DA
Dayadhvam: I have heard the key
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison
Only at nightfall, aetherial rumours
Revive for a moment a broken Coriolanus
DA
Damyata: The boat responded
Gaily, to the hand expert with sail and oar 420
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
To controlling hands
I sat upon the shore
Fishing, with the arid plain behind me
Shall I at least set my lands in order?
London Bridge is falling down falling down falling down
Poi s'ascose nel foco che gli affina
Quando fiam ceu chelidon - O swallow swallow
Le Prince d'Aquitaine a la tour abolie 430
These fragments I have shored against my ruins
Why then Ile fit you. Hieronymo's mad againe.
Datta. Dayadhvam. Damyata.
Shantih shantih shantih
William Butler Yeats (1865 - 1939) 再次降临
叶芝:第二次降临
牐燭he Second Coming -- W. B. Yeats
牐燶r
牐燭urning and turning in the widening gyre
牐燭he falcon cannot hear the falconer;
牐燭hings fall apart; the centre cannot hold;
牐燤ere anarchy is loosed upon the world,
牐燭he blood-dimmed tide is loosed, and everywhere
牐燭he ceremony of innocence is drowned;
牐燭he best lack all convictions, while the worst
牐燗re full of passionate intensity.
牐燶r
牐燬urely some revelation is at hand;
牐燬urely the Second Coming is at hand.
牐燭he Second Coming! Hardly are those words out
牐燱hen a vast image out of Spiritus Mundi
牐燭roubles my sight: somewhere in sands of the desert
牐燗 shape with lion body and the head of a man,
牐燗 gaze blank and pitiless as the sun,
牐營s moving its slow thighs, while all about it
牐燫eel shadows of the indignant desert birds.
牐燭he darkness drops again; but now I know
牐燭hat twenty centuries of stony sleep
牐燱ere vexed to nightmare by a rocking cradle,
牐燗nd what rough beast, its hour come round at last,
牐燬louches towards Bethlehem to be born?
第二次降临
叶芝
不断旋转着,猎鹰转的圈子越来越大,
它再不能听到放鹰人的声音;
万物已崩溃,中心不再掌控;
人世间只有混乱在弥漫,
血色模糊的大潮泛滥失度,
所到之处将纯真典礼淹没;
优秀的人信念全动摇不定,
恶劣者则满腔十足的狂热。
诚然某种启示即将到来;
诚然第二次降临即将到来。
第二次降临!几乎在话脱口之际,
一个巨像自灵魂体中升起
扰乱我的视线:沙漠中的某处
一个狮身人首的东西,
目光空洞且烈日般无情,
正缓缓移动步伐,它的四周
飞旋着怨愤的沙漠鸟的阴影。
黑暗再度笼罩;但此时我明白,
这沉睡如石的两千年,
被那摇动的摇篮所激而成梦魇,
而何等恶兽,它的时限终于等到,
懒懒地走向伯利恒去转世投生?
(鱼玩博客译)
——————————————————————
The Poem by William Butler Yeats:
The Second Coming
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all around it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
——————————————
无疑神的启示就要显灵,
无疑基督就将重临。
基督重临!这几个字还未出口,
刺眼的是从大记忆来的巨兽:
荒漠中,人首狮身的形体,
如太阳般漠然而无情地相觑,
慢慢挪动腿,它的四周一圈圈,
沙漠上愤怒的鸟群阴影飞旋。
黑暗又下降了,如今我明白
二十个世纪的沉沉昏睡,
在转动的摇篮里做起了恼人的恶梦,
何种狂兽,终于等到了时辰,
懒洋洋地倒向圣地来投生?
(袁可嘉译)
————————————————————————
spiritus mundi 拉丁文“宇宙魂”一辞,来自十七世纪柏拉图学派学者亨利•莫尔,但在英文,Yeats称之为Great
Memory“大记忆”。它容纳人类过去的种种记忆,像一间储藏室,供应个人的梦与想像。这个说法有点近于容格C.G.Jung的集体无意识。篇末所谓的
“摇篮”,指基督之诞生结束了第一个大年的异教文化(Yeats认为文化的发展有其周期,且以两千年为一个周期,称之谓“大年”)。然则在基督文化崩溃之
际,是否也有什么将在新的摇篮里诞生?Yeats似乎有意将那“猛兽”(见《圣经•启示录》)写得蠢蠢而动,鲁莽,暧昧,可疑而又可怖,因为下一个类型的文化,谁也不明白究竟是什么形态。一切文化,Yeats相信,莫不始于残暴,渐臻于成熟,而终于衰退,瓦解。
说法见诗人余光中先生《英美现代诗选》. 作者: ououmama 时间: 2012-4-30 18:26 标题: Unit 22 20th-Century British Poets ( II )
Dylan Thomas (1914- 1953)
Philip Larkin (1922 - 1985)
Ted Hughes (1930 - 1998)
Seamus Heaney (1939 - )
Fern Hill《蕨山》 狄兰.托马斯
Now as I wasyoung and easy under the apple boughs
About the lilting house and happy as the grass was green,
The night above the dingle starry,
Time let me hail and climb
Golden in the heydays of his eyes,
And honored among wagons I was prince of the apple towns
And once below a time I lordly had the trees and leaves
Trail with daisies and barley
Down the rivers of the windfall light.
And as I was green and carefree, famous among the barns
About the happy yard and singing as the farm was home,
In the sun that is young once only,
Time let me play and be
Golden in the mercy of his means,
And green and golden I was huntsman and herdsman, the calves
Sang to my horn, the foxes on the hills barked clear and cold,
And the sabbath rang slowly
In the pebbles of the holy streams.
All the sun long it was running, it was lovely, the hay
Fields high as the house, the tunes from the chimneys, it was air
And playing, lovely and watery
And fire green as grass.
And nightly under the simple stars
As I rode to sleep the owls were bearing the farm away,
All the moon long I heard, blessed among stables, the nightjars
Flying with the ricks, and the horses
Flashing into the dark.
And then to awake, and the farm, like a wanderer white
With the dew, come back, the cock on his shoulder: it was all
Shining, it was Adam and maiden,
The sky gathered again
And the sun grew round that very day.
So it must have been after the birth of the simple light
In the first, spinning place, the spellbound horses walking warm
Out of the whinnying green stable
On to the fields of praise.
And honored among foxes and pheasants by the gay house
Under the new made clouds and happy as the heart was long,
In the sun born over and over,
I ran my heedless ways,
My wishes raced through the house high hay
And nothing I cared, at my sky blue trades, that time allows
In all his tuneful turning so few and such morning songs
Before the children green and golden
Follow him out of grace,
Nothing I cared, in the lamb white days, that time would take me
Up to the swallow thronged loft by the shadow of my hand,
In the moon that is always rising,
Nor that riding to sleep
I should hear him fly with the high fields
And wake to the farm forever fled from the childless land.
Oh as I was young and easy in the mercy of his means,
Time held me green and dying
Though I sang in my chains like the sea.
The Trees (菲利浦•拉金)
牐牐牐燶r
The trees are coming into leaf
Like something almost being said;
The recent buds relax and spread,
Their greenness is a kind of grief.
牐牐牐燶r
Is it that they are born again
And we grow old? No, they die too,
Their yearly trick of looking new
Is written down in rings of grain.
牐牐牐燶r
Yet still the unresting castles thresh
In full-grown thickness every May.
Last year is dead, they seem to say,
Begin afresh, afresh, afresh.
I sit in the top of the wood, my eyes closed.
Inaction, no falsifying dream
Between my hooked head and hooked feet:
Or in sleep rehearse perfect kills and eat.
The convenience of the high trees!
The air's buoyancy and the sun's ray
Are of advantage to me;
And the earth's face upward for my inspection.
My feet are locked upon the rough bark.
It took the whole of Creation
To produce my foot, my each feather:
Now I hold Creation in my foot
Or fly up, and revolve it all slowly -
I kill where I please because it is all mine.
There is no sophistry in my body:
My manners are tearing off heads -
The allotment of death.
For the one path of my flight is direct
Through the bones of the living.
No arguments assert my right:
The sun is behind me.
Nothing has changed since I began.
My eye has permitted no change.
I am going to keep things like this.. 作者: ououmama 时间: 2012-4-30 18:28
We have no prairies
To slice a big sun at evening -
Everywhere the eye concedes to
Encroaching horizon,
Is wooed into the cyclops' eye
Of a tarn. Our unfenced country
Is bog that keeps crusting
Between the sights of the sun.
They've taken the skeleton
Of the Great Irish Elk
Out of the peat, set it up
An astounding crate full of air.
Butter sunk under
More than a hundred years
Was recovered salty and white.
The ground itself is kind, black butter
Melting and opening underfoot,
Missing its last definition
By millions of years.
They'll never dig coal here,
Only the waterlogged trunks
Of great firs, soft as pulp.
Our pioneers keep striking
Inwards and downwards,
Every layer they strip
Seems camped on before.
The bogholes might be Atlantic seepage.
The wet centre is bottomless.. 作者: ououmama 时间: 2012-5-2 13:09
Unit1 Geoffrey Chaucer (1343 - 1400)乔叟
The Canterbury Tales 坎特伯雷故事集提要
Unit 2 William Shakespeare (1564 - 1616)莎士比亚
Hamlet 哈姆雷特
Romeo and Juliet 罗密欧与朱丽叶
Sonnet 18 十四行诗第18首
Unit 3 Francis Bacon (1561 - 1626) 弗朗西斯 培根
Of Marriage and Single Life 关于婚姻与单身
Of Studies 关于学习
Unit 4 17th-Century British Poets 17世纪英国诗选
John Donne (1572-1631) 多恩
John Milton (1608-1674) 弥尔顿
Unit 5 Adventure Fiction Writers 探险小说作家
Daniel Defoe (1660-1731) 丹尼尔 笛福 鲁滨孙漂流记
Jonathan Swift (1667-1745) 乔纳森•斯威夫特 格列佛游记
Unit 6 Romantic Poets ( I ) 浪漫派诗歌1
William Blake (1757-1827) 威廉 布洛克
Robert Burns (1759-1796) 罗伯特 彭斯
William Wordsworth (1770-1850) 威廉 华兹华斯
Samuel Taylor Coleridge (1772-1834) 柯勒律治
Unit 7 Jane Austen (1775 - 1817)
Pride and Prejudice 傲慢与偏见
Unit 8 Romantic Poets ( II ) 浪漫派诗歌2
George Gordon Byron (1788-1824) 拜伦
Percy Bysshe Shelley (1792-1822) 雪莱
John Keats (1795-1821) 济兹
Unit 9 Charlotte Bronte (1816 - 1855)
Jane Eyre 简 爱
Unit 10 Charles Dickens (1812 - 1870) 狄更斯
Great Expectations 远大前程
Unit 11 Victorian Poets 维多利亚时期诗歌
Alfred Tennyson (1809 - 1892)丁尼生
Robert Browning (1812 - 1889) 罗伯特 勃朗宁
Matthew Arnold (1822 - 1888) 阿诺德
Unit 12 Thomas Hardy (1840 - 1928) 汤姆斯 哈代
Tess of the D'Urbervilles 德伯家的苔丝
Unit 13 Modern Dramatists 现代戏剧
Oscar Wilde (1854 - 1900) 奥斯卡 王尔德
George Bernard Shaw (1856 - 1950) 萧伯纳
Unit 14 Joseph Conrad (1857 - 1924)
Heart of Darkness 黑暗的心
Unit 15 20th-Centnry British Poets ( I ) 20世纪诗歌1
T.S. Eliot (1888 - 1965) 荒原
William Butler Yeats (1865 - 1939) 再次降临
Unit 16 Modernist Novelists ( I ) 现代派小说家
James Joyce (1882 - 1941) 詹姆斯乔伊斯
Virginia Woolf (1882 - 1941) 伍尔芙
Unit 17 Modernist Novelists ( II ) 现代派小说家2
D.H. Lawrence (1885 - 1930) 劳伦斯
Unit 18 E.M. Forster (1879 - 1970) 福斯特
The Road from Colonus离开科罗诺斯之路
Unit 19 William Golding (1911 - 1993)
Lord of the Flies蝇王
Unit 20 Doris Lessing (1919 - )
A Woman on a Roof 屋顶丽人
Unit 21 John Fowles (1926 - 2005 )
The French Lieutenant's Woman法国中尉的女人
Unit 22 20th-Century British Poets ( II ) 20世纪诗歌2
Dylan Thomas (1914- 1953)
Philip Larkin (1922 - 1985) 菲利普 拉金
Ted Hughes (1930 - 1998) 泰德 休斯 《栖息着的鹰》
Seamus Heaney (1939 - ) 谢默斯•希尼
Unit 23 Antonia Susan Byatt (1936 - )
Rose-coloured Teacups 玫瑰色茶杯
Unit 24 Vidiadhar Surajprasad Naipaul (1932 - )
Prelude: An Inheritance 奈波尔 世间之路
Unit 25 Graham Swift (1949 - ) 格雷厄姆•斯威夫特
Our Nicky's Heart 咱家的吉的
Unit 26 Kazuo Ishiguro (1954 - ) 石黑一雄
The Remains of the Day 长日将尽. 作者: 不二周助 时间: 2012-5-2 14:11