英文诗歌的五步抑扬格

音步(feet)

音步是诗行中按一定规律出现的轻音节和重音节的不同组合成的韵律最小单位。英语文字是重音----音节型语言，因此有轻读音节兴重音节之分，它们是形成英语特有的抑扬顿挫声韵节律的决定性因素。这是英文和英语在语音方面的区别之一。法语是音节型语言，音节没有轻重之分，法语韵律的最小单位就是音节，而非音步。据统计﹕英诗中这种轻重音组音步﹔其余各种音步可以看作是从这五种衍生而出来的。这五个音步是﹕抑扬格，扬抑格，抑抑扬格，扬抑抑格和扬扬格。现述如下﹕

1.抑格格音步 (iambic foot, iambus) ，即轻格或短长格﹕一轻读音节后跟一个重读音节即构成抑扬格。它是英语本身最基本的节奏单位，也是英诗的最重要、最常用的音步。随便说一句话，其基本音步就是抑扬格，如﹕

It’s time︱ the chil︱ dren went︱ to bed. 这句话有四个抑扬格音步。

We’ll learn︱a poem︱ by Keats, 有三个抑扬格音步。

The sym︱ bols used︱ in scan︱ sion are︱the breve(ˇ)︱and the︱macron(ˋ)。︱这句话共七个音步，有五个抑扬格。一些著名英诗体都是抑扬格，如民遥体，十四行诗，双韵体，哀歌等。

例诗：

The Eagle : A Fragment

He clasps the crag with crooked hands ;

Close to the sun in lonely lands ,

Ringed with the azure world , he stands .

The wrinkled sea beneath him crawls :

He watches from his mountain walls ,

And like a thunderbolt he falls .

2.扬抑格音步 (trochaic foot, trochee ，即重轻格或长短格，由一个重读音节后跟一个轻读音节构成。如,

Never, happy, heartless, topsy-turvy

William︱Morris︱ taught him︱ English.︱Would you︱ hear what︱ man can︱ say?︱又如﹕

Double,︱ double,︱ toil and︱ trouble,︱

Fire︱ burns and︱ cauldron︱ bubble.︱

--- Shakespeare(1564-1616)

不惮劳苦不惮烦，

釜中沸沫已成烂。

- --莎士比亚

这种音步是十六世纪以后才出现的;后是主要在无六韵体和其他诗体中与抑扬格配合使用，使全诗韵律有所变化，表现动作的突然性，或起强调作用。在句首的扬抑格常使读者感到突然与骇异，有振聋发聩的效果。如丁尼先生的《鹰》诗，绝大多数音步是抑扬格，而第2行和第3行的两个扬抑格短语“Close to”和“Ringed with”更显得十分故出，强调了鹰居高临下的雄伟姿态。

3. 抑抑扬格( anapaestic foot, anapaest)，由两个轻音节后跟一个重音节组成。如，

Intervene

We will go.

I’ve been wor︱king in Chi︱na for for︱ty years.︱

﹝例诗﹞﹕

Song for the Luddites

As the Lib︱erty lads︱o’er the sea︱

Bought their free︱dom, and cheap︱ly with blood,︱So we,︱ boys, we︱

Will die︱ fighting,︱ or live gree,︱

And down with︱ all kings︱ but King Ludd!︱

When the web︱ that we weave︱ is complete,︱

And the shut︱tle exchanged︱ for the sword,︱

We will fling︱ the wind︱ing sheet︱

O’er the des︱pot at︱ our feet,︱

And dye︱ it deep︱ in the gore︱ he has pour’d.︱

Though black︱ as his heart︱ its hue,︱

Since his veins︱ are corrup︱ted to mud,︱

Yet this is︱ the dew︱

Which the tree︱ shall renew︱

Of Lib︱erty, plant︱ed by Ludd!︱

---George Gordon Byron(1788-1824)

﹝译诗﹞

卢尔德派之歌

海外的自由的儿郎

买到了自由----用鲜血﹔

我们，不自由便阵亡!

除了我们的卢尔德王，

把一切国王都消灭!

等我们把布匹织出，

梭子换成了利剑，

就要把这块尸布

掷向脚下的独夫，

用他的腥血来染遍!

他腥血和心一样黑，

血管腐烂如泥土﹔

把血水拿来当露水，

浇灌卢尔德所栽培----

我们的自由之树!

---拜伦

拜伦于1816年侨居意大利期间写成这篇战斗檄文，抒发了诗人对人对自由的向往和对工人斗争的敬意。从原文上划分的音步可以看出，这首诗以抑抑扬格为主体。这种音步朗读时，语调有明显的起伏。有两个轻读音节在先，使后面的重音节自然得到强调，彷佛是一种澎湃起伏哀怨愤怒之声，与这首诗的主题相辅承。

4.扬扬抑格步 (dactylic foot, dactyl)，由一个重音节后跟两个轻读音节组成。这种音步令语气听来像命令像宣言，多用在格言、警句、谚语中。如，

Yesterday, happily, thoroughly, merrily

What is now︱ proved was once︱ only im︱agined.︱

Think in the︱ morning.︱ Act in the︱ noon.︱ Eat in the

︱evening.︱ Sleep in the︱ night.

﹝例诗﹞﹕

The gathering Of The People (EXCERPT)

A Storm Song

Gather ye︱ silently,︱

Even as︱ the snow︱

Heapeth the︱ avalanche:︱

Gather ye︱ so!︱

Gather ye︱ so.︱

In the︱ wide glare︱ of day,︱

Sternly and︱ tranquilly;︱

Melt not a︱ way!︱

Flake by flake︱ gather;︱

Bind ye the︱ whole︱

Firmly tog︱ ether-︱

One from︱ and one︱ soul!︱

Are ye all gather’d?︱

Welded in︱ one?︱

Hark to the︱ thunder-shout!︱

Now roll ye︱ on!

---William James Linton (1812-1899)

﹝译文﹞

人民的集结（节选）

暴风雨之歌

悄悄集结吧，

就像那雪花，

积一场雪崩﹕

就这么集结吧！

就这么集结吧，

光天化日下，

坚决而沉着，

可不要融化！

一片又一片，

整个团结紧，

成一个形体，

有一个灵魂！

全都已经集齐？

结成了整体？

且听雷声吼，

奋勇滚上去！

───威廉．林顿

林顿是宪章派著名诗人，1838年起积极参加宪章派活动。例如是他的一首著名政治鼓动诗，谱成了曲在宪章派的集会上唱。其中多数诗行的第一音步是扬抑抑格，像是在发号召，表决心，激发工人的斗志，使人民团结起来。形成雷霆万钧之力。这种音步增强了诗句的说服力和感染力。扬抑抑格正适合说理性强的诗。

5.扬扬格(Spondaic foot, spondee)，由连续两个重音节组而成，表现沉重、缓慢、困难的动作或情绪﹔也用于表现感情的突然变化或强调语气。此音步也主要与其他音步合用，甚少有以扬扬格为主的诗。如，

Three men, red cross

More haste,︱ less speed.︱

亚历山大，蒲伯的《批评论》中有两行诗很能说明连续读音节的表演力﹕

When A︱jax strives︱ some rock’s︱ vast weight︱ to throw,︱

The︱ line too︱ labours,︱ the words︱ move slow.︱

当埃阿斯奋力举起千钧巨石砸去，

诗行也变得沉重，充满缓慢的字句。

蒲伯的《批评论》是新古典主义的韵体文论著作。Ajax是指希腊神话中的埃阿斯(Ajax the Great)。他骁勇善战，身材魁梧，力大无比，是特洛伊战中的英雄。

不同的内容要用不同的韵律也要变得费力、迟缓。第一行中的扬扬格“vast weight”表现巨石的沉重。第二行的扬扬格的着例。共八个字，九个音节。有六个皇音读音节，都是实词，更能表现句中格调的巍峨。这一行共有两个扬扬格音步。这样的诗句只能用加重的语气缓慢朗读，想快也快不起来，因只有轻读音节多时才能读得快。

同一首诗中接下来的两行就是读得快的例子，那是描写古罗马诗人弗吉尔的史诗《伊尼特》(Aeneid)中的女英雄---“飞毛腿”卡米拉(Camilla)。

为帮助记忆以上几个主要音步，现向读者推荐一首顺口溜﹕

Iambics march from short long;

Trochee trips from long to short.

Slow spondee stalks, strong feet,

Ever to come up with dactyl trisyllable.

如何划分音步

首先要初步读懂诗，至少要看懂诗的大意，并根据理解进行朗读或实际或默读，然后按实际读出的音划分出重音音节和轻读音节，切要时还有次重音节﹔晒最后找出占多数的音步，进行归纳划分。一般来说，实词(包括名词、动词、副词等)，要重读﹔虚词(包括名词、冠词、介词等)，要轻读。但实词轻读，虚词重读，虚词重读的情况也不少。切忌按固定的框框去硬套﹔如，知道十四行诗多是抑扬格，于是见到十四行诗就按抑扬格划分音步，甚至照这样的划法来理解诗意和朗，这样就本末倒置了，因为在实际应用中会出现许多变化。像莎士比亚在他的第116首十四行诗中，第一行就用了两处扬抑格，两处扬抑抑格，以表示对旧制度抗争和对世人的勤戒﹕

Let me︱ not to the︱ marriage of︱ true minds︱

Admit︱ impediments.︱

如果只是接固定的模式去硬套不同的诗，划分音步的义就不大了。划分音步的目的之一

是要看到诗人在一个总的韵律之内有那些变化。一般来说，凡是音步有变化的地方，都是较重要或关键的地方。这样，回过头来再读这首诗，就会有一些新的理解，体会到诗人的用意和运用变化之妙。全篇只用一种音步的诗是罕见的，当然儿歌一类除外。

还有一点需要注意的是，并不是所有实词都重读，所有虚词都轻读。考虑对诗的理解和韵律两种因素，个别的实词可以划分为轻读音节，有些虚词可以划分为重读音节，这在日常口语中也不鲜见。即使是重读得很重很慢，有的读得较轻较快。这样就出现所谓“主要重读音节”(primary stress)和“次要重读音节”(secondary stress)的区别。如I want to go 这句话有两个抑扮格音步，want和go都是重读音节。但在实际朗读时，want比go要朗读得弱些，成为次要重读音节。这句话应这样划音节﹕

I want︱ to go.︱。又如，彭斯的诗句“我爱人像红红的玫瑰”应划为﹕

My love︱ is like︱ a red︱ red rose.︱原本是介词的like，这里可以读得重些，

变为次重音，第二个red也成为次重音节。这行诗占主导地位的步音是抑扬格﹔最后一个音步是扬扬格，起了强调作用，其中的次重音读音节增加了诗行的抑扬格顿挫音乐美感。

总之来说，不变中有变是一切艺术的规律，诗也如此。从本书其他各章节例诗的讨论中，还可以具体看到一些各种音步变化所产生的不同效果。

韵律(meter)

韵律(meter)，也译为节奏(rhythm)。任何事物都离不开节奏。心脏跳动、走路、吃饭都有节奏﹔学习和工作也要有节奏﹔音乐舞蹈更离不开节奏。节奏给人以力量，给人以愉快的刺激。

英诗韵律(节奏)就是一首诗中由不同数量和种类的音步组成的语音语调抑扬顿挫基本规律的记述。它是诗歌最基本的形式技巧，是构成诗的音乐性的重要因素。中国诗人闻一多说过，“诗所以能激发情感”，完全在于它的节奏。好的散文，动人的讲演辞也都有强烈的节奏感。

确定一首诗是什么韵律要看多数诗行有几个音步，以什么音步为主，主要音步名称加上音步数目就是这首诗的韵律。如，各行大体有五个音步，以抑扬格音步为主，这首的韵律就是抑扬格五音步。

现将一至六音步的部分韵律名称例举如下﹕

抑扬格一音步 iambic monometer

扬抑格二音步 trochaic dimeter

抑抑扬格三音音步 anapaestic trimeter

抑拣格四音步 iambic tetrameter

抑拴格五音步 iambic pentameter

抑扬格六音步 iambic hexameter

上一节的第一首例诗《鹰》的基本是抑扬格四音步﹔第二首例诗《路德派之歌》的基本节奏是抑抑扬格三音步﹔第三首例诗《人民的集结》是扬抑抑格二音步。

正如音中的2/4，3/4，6/8等节拍适于表现不同的情感和内容，英诗中的不同韵律也有各自的主要用途，如一音步、二音步、三音步的各种韵律多表现幽默讽刺的内容﹔四音步、五音步用于各种抒情诗、叙事诗。五音步的应用范围最广，很多固定诗体都是五音步，如无韵体、英雄双韵体、十四行体、哀歌等都是抑扬格五步音。六音步最著名的用例是作为斯宾塞诗体(Spenserian Stanza)的最后一行。这诗体是以ababbcbc为韵式的九行诗体，上八行都是五音步，也多为抑扬格(iambic pentameter)，只有最后一行为六音步。这最后一行又称为亚历山大诗行(Alexandrine)。七音步(heptameter)、八音步(octameter)或更多的音步，在英诗中就罕见了。

具体分析一首诗的韵律时，要首先找出占主导地位的音步。然后统计在大多数诗行中都有多少个这样的音步。遵循一种总的韵律，然后根据内容和感情的需要不时有所变化，是英诗的主要特征。美国华盛顿大学教授查尔斯，弗雷博士(Dr. Charles Frey)在南开大学任教期间曾对笔者lhhnudt说﹕“A good poet works against the established m eter.”(优秀诗人总是想办法突破固定的韵律。)此言可谓精辟深刻。

莎士比亚十四行诗第十八首

莎士比亚十四行诗第十八首 Sonnet 18 铁冰译文 1 Shall I compare thee to a summer's day? 我该不该把你比作怡人的夏天？ 2 Thou art more lovely and more temperate: 你却比她更加可爱更加温情。 3 Rough winds do shake the darling buds of May, 五月的娇蕊总是被狂风吹断， 4 And summer's lease hath all too short a date: 夏天也只是一道短暂的美景。 5 Sometime too hot the eye of heaven shines, 苍穹的目光有时会过于灼热， 6 And often is his gold complexion dimm'd; 那金色的脸庞也常黯淡无光。 7 And every fair from fair sometime declines, 人间一切瑰丽终将失去秀色， 8 By chance, or nature's changing course, untrimm'd; 湮没于不测风云和世事沧桑。 9 But thy eternal summer shall not fade, 但是，你常青的夏季永不消逝，10 Nor lose possession of that fair thou owest; 你拥有的美丽也将永不折损， 11 Nor shall Death brag thou wander'st in his shade, 或许死神的阴影会笼罩着你， 12 When in eternal lines to time thou growest; 你却和这不朽的诗句千古长存。 13 So long as men can breathe, or eyes can see, 只要人类还在呼吸、眼睛还在欣赏， 14 So long lives this, and this gives life to thee. 我的诗就会活着，令你生命绽放。译注：原诗每行10个音节，非常整齐。前人翻译时总喜欢使译文每行保持字数相同，这其实是一种作茧自缚，强求形式上的绝对整齐，往往限制了内容的完美。前人的译文常常有凑韵（为了押韵，用词勉强）、不流畅和用词搭配不当的毛病，其原因在此。更重要的是，英文原诗有着非常讲究的格律，每行都含有相同数量的重音节和轻音节，朗诵时每行所用时间基本一致；而对每行字数相同的中译文进行朗诵时，每行所用的时间则不尽相同，因为每行译文中所含有的虚词（如“的”、“地”、“了”，朗读时较轻声、短促）个数未必相同。因此，笔者的译文不强求每行字数相同，这样便将内容从形式中解放出来，得以更好地协调，且更利于押韵和用词的搭配。此诗的翻译中，值得注意的几处是：第3行：darling buds of May有人译为“五月宠爱的嫩蕊”，其实darling是“可爱的”之意，所以还是译为“五月的娇蕊”更好。第4行：lease前人经常译成“租赁的期限”，令人费解，应该是“持续的时间”之意。此行的意思是“夏天持续的时间实在太短”，这样的陈述缺乏诗味。笔者将该行意译为“夏天也只是一道极短的美景”，化用了中文的习语“好景不长”，不但忠实原文，颇有诗味，而且于与第二行译文押韵自然。第5行：一般认为该行中的eye of heaven是“太阳”的妙喻，因此前人常将此行译为“有时候天空的眼睛照得太灼热（或酷烈）”，这样保留了“眼睛”的意向，似乎很好，但从字面上看，

泰戈尔诗集经典名句中英文

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我是否可以把你比喻成夏天？Shall I compare thee to a summer's day?虽然你比夏天更可爱更温和：Thou art more lovely and more temperate:狂风会使五月娇蕾红消香断，Rough winds do shake the darling buds of May,夏天拥有的时日也转瞬即过；And summer's lease hath all too short a date:有时天空之巨眼目光太炽热，Sometime too hot the eye of heaven shines,它金灿灿的面色也常被遮暗；And often is his gold complexion dimmed,而千芳万艳都终将凋零飘落，And every fair from fair sometime declines,被时运天道之更替剥尽红颜；By chance, or nature's changing course untrimmed: 但你永恒的夏天将没有止尽，But thy eternal summer shall not fade,你所拥有的美貌也不会消失，Nor lose possession of that fair thou ow'st,死神终难夸口你游荡于死荫，Nor shall death brag thou wander'st in his shade,当你在不朽的诗中永葆盛时；When in eternal lines to time thou grow'st,只要有人类生存，或人有眼睛，So long as men can breathe, or eyes can see,我的诗就会流传并赋予你生命。So long lives this, and this gives life to thee.注：第11行语出《旧约?诗篇》第23篇第4节：“虽然我穿行于死荫之幽谷，但我不怕罹祸，因为你与我同在……”英文赏析：This is one of the most famous of all the sonnets, justifiably so. But it would be a mistake to take it entirely in isolation, for it links in with so many of the other sonnets through the themes of the descriptive power of verse; the ability of the poet to depict the fair youth adequately, or not; and the immortality conveyed through being hymned in these 'eternal lines'. It is noticeable that here the poet is full of confidence that his verse will live as long as there are people drawing breath upon the earth, whereas later he apologises for his poor wit and his humble lines which are inadequate to encompass all the youth's excellence. Now, perhaps in the early days of his love, there is no such self-doubt and the eternal summer of the youth is preserved forever in the poet's lines. The poem also works at a rather curious level of achieving its objective through dispraise. The summer's day is found to be lacking in so many respects (too short, too hot, too rough, sometimes too dingy), but curiously enough one is left with the abiding impression that 'the lovely boy' is in fact like a summer's day at its best, fair, warm, sunny, temperate, one of the darling buds of May, and that all his beauty has been wonderfully highlighted by the comparison。这是整体赏析 1. Shall I compare thee to a summer's day? This is taken usually to mean 'What if I were to compare thee etc?' The stock comparisons of the loved one to all the beauteous things in nature hover in the background throughout. One also remembers Wordsworth's lines: We'll talk of sunshine and of song,And summer days when we were young, Sweet childish days which were as longAs twenty days are now.Such reminiscences are indeed anachronistic, but with the recurrence of words such as 'summer', 'days', 'song', 'sweet', it is not difficult to see the permeating influence of the Sonnets on Wordsworth's verse. 2. Thou art more lovely and more temperate: The youth's beauty is more perfect than the beauty of a summer day. more temperate - more gentle, more restrained, whereas the summer's day might have violent excesses in store, such as are about to be described. 3. Rough winds do shake the darling buds of May, May was a summer month in Shakespeare's time, because the calendar in use lagged behind the true sidereal calendar by at least a fortnight. darling buds of May - the beautiful, much loved buds of the early summer; favourite flowers. 4. And summer's lease hath all too short a date: Legal terminology. The summer holds a lease on part of the year, but the lease is too short, and has an early termination (date). 5. Sometime too hot the eye of heaven shines, Sometime = on occasion, sometimes; the eye of heaven = the sun. 6. And often is his gold complexion dimmed, his gold complexion = his (the sun's) golden face. It would be dimmed by clouds and on overcast days

《泰戈尔诗集》经典语录中英文对照版

《泰戈尔诗集》经典语录中英文对照版 1.如果你因失去了太阳而流泪，那么你也失去了群星。 If you shed tears when you miss the sun, you also miss the stars. 2.我的心是旷野的鸟，在你的眼睛里找到了它的天空。 My heart, the bird of the wilderness, has found its sky in your eyes. 3.它是大地的泪点，使她的微笑保持着青春不谢。 It is the tears of the earth that keep her smiles in bloom. 4.你看不见你自己，你所看见的只是你的影子。 What you are you do not see, what you see is your shadow. 5.瀑布歌唱道："当我找到了自己的自由时,我找到了我的歌。" The waterfall sing, "I find my song, when I find my freedom." 6.你微微地笑着，不同我说什么话。而我觉得，为了这个，我已等待得久了。 You smiled and talked to me of nothing and I felt that for this I had been waiting long. 7.人不能在他的历史中表现出他自己，他在历史中奋斗着露出头角。 Man does not reveal himself in his history, he struggles up through it. 8.我们如海鸥之与波涛相遇似地，遇见了，走近了。海鸥飞去，波涛滚滚地流开，我们也分别了。 Like the meeting of the seagulls and the waves we meet and come near.The seagulls fly off, the waves roll away and we depart. 9.当我们是大为谦卑的时候，便是我们最接近伟大的时候。 We come nearest to the great when we are great in humility. 10.决不要害怕刹那－－永恒之声这样唱着。 Never be afraid of the moments--thus sings the voice of the everlasting. 11."完全"为了对"不全"的爱，把自己装饰得美丽。 The perfect decks itself in beauty for the love of the Imperfect. 12.错误经不起失败，但是真理却不怕失败。 Wrong cannot afford defeat but right can. 13.这寡独的黄昏，幕着雾与雨，我在我的心的孤寂里，感觉到它的叹息。 In my solitude of heart I feel the sigh of this widowed evening veiled with mist and rain. 14.我们把世界看错了，反说它欺骗我们。 We read the world wrong and say that it deceives us. 15.人对他自己建筑起堤防来。 Man barricades against himself. 16.使生如夏花之绚烂，死如秋叶之静美。 Let life be beautiful like summer flowers and death like autumn leaves. 17.我想起了其他的浮泛在生与死与爱以及被遗忘的川流上的的时代，我便感觉到离开尘世的自由了。 I think of other ages that floated upon the stream of life and love and death and are forgotten, and I feel the freedom of passing away.18.只管走过去，不必逗留着采了花朵来保存，因为一路上花朵自会继续开放的。Do not linger to gather flowers to keep them, but walk on,for flowers will keep themselves blooming all your way. 19.思想掠过我的心上，如一群野鸭飞过天空。我听见它们鼓翼之声了。 Thoughts pass in my mind like flocks of lucks in the sky.I hear the voice of their wings. 20."谁如命运似的催着我向前走呢？""那是我自己，在身背后大跨步走着。" Who drives me forward like fate？The Myself striding on my back. 21.我们的欲望把彩虹的颜色借给那只不过是云雾的人生。 Our desire lends the colours of the rainbow to the mere mists and vapours of life

William Shakespeare莎士比亚代表诗歌翻译及赏析

2011—2012第一学期实践教学

William Shakespeare William Shakespeare (26 April 1564- 23 April 1616) was an English poet and playwright. He was widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. His surviving works, including some collaboration, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the famous works. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the 19th century. In the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed and reinterpreted in diverse cultural and political contexts throughout the world. （Sonnet1 和sonnet5的相关资料由张文瑞提供） Sonnet 1

第18首十四行诗

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. The brevity of natural beauty The eternity beauty of poems 译文1：让我如何来把你比作夏天？你比夏天还要可爱，而且柔软：暴风的五月摧残了鲜嫩的蓓蕾，

泰戈尔很美的诗句中英文翻译

泰戈尔很美的诗句中英文翻译生如夏花之绚烂，死如秋叶之静美。 Let life be beautiful like summer flowers and deathlike autumn leaves。有一次，我们梦见大家都是不相识的。我们醒了，却知道我们原是相亲相爱的。 Once we dreamt that we were strangers。We wake up to find that we were dear to each other。我的心是旷野的鸟，在你的眼睛里找到了天空。 My heart， the bird of thewilderness， has found its sk y in your eyes。是大地的泪点，使她的微笑保持着青春不谢。 It is the tears of the earth that keep her smiles inblo om。如果你因失去了太阳而流泪，那么你也将失去群星了。 If you shed tears when you miss the sun， you also miss the stars。你看不见你自己，你所看见的只是你的影子。 What you are you do not see，what you see is your shado w。瀑布歌唱道：我得到自由时便有了歌声了。 The waterfall sing， I find mysong， when I find my fre edom。

你微微地笑着，不同我说什么话。而我觉得，为了这个，我已等待得久了。 You smiled and talked to me of nothing and I feltthat f or this I had been waiting long。人不能在他的历史中表现出他自己，他在历史中奋斗着露出头角。 Man does not reveal himself in his history， he struggl es up through it。我们如海鸥之与波涛相遇似地，遇见了，走近了。海鸥飞去，波涛滚滚地流开，我们也分别了。 Like the meeting of the seagulls and the waves wemeet and c ome near。The seagulls fly off， the waves roll away and we depart。当我们是大为谦卑的时候，便是我们最接近伟大的时候。 We come nearest to the great when we are great inhumili ty。决不要害怕刹那－－永恒之声这样唱着。 Never be afraid of the moments--thus sings the voiceof the everlasting。完全为了对不全的爱，把自己装饰得美丽。 The perfect decks itself in beauty for the love ofthe I mperfect。错误经不起失败，但是真理却不怕失败。