英文诗歌欣赏

英文诗歌欣赏
英文诗歌欣赏

The Lamb

Little lamb, who made thee? 小羊羔谁创造了你

Dost thou know who made thee? 你可知道谁创造了你

Gave thee life, and bid thee feed 给你生命,哺育着你

By the stream and o'er the mead; 在溪流旁,在青草地

Gave thee clothing of delight, 给你穿上好看的衣裳

Softest clothing, woolly, bright; 最软的衣裳毛茸茸多漂亮;

Gave thee such a tender voice, 给你这样温柔的声音,

Making all the vales rejoice? 让所有的山谷都开心;

Little lamb, who made thee? 小羔羊谁创造了你

Dost thou know who made thee? 你可知道谁创造了你;

Little lamb, I'll tell thee, 小羔羊我要告诉你,

Little lamb, I'll tell thee: 小羔羊我要告诉你;

He is called by thy name, 他的名字跟你的一样,

For He calls Himself a Lamb. 他也称他自己是羔羊;

He is meek, and He is mild; 他又温顺又和蔼,He became a little child. 他变成了一个小小孩

I a child, and thou a lamb, 我是个小孩你是羔羊

We are called by His name. 咱俩的名字跟他一样。

Little lamb, God bless thee! 小羔羊上帝保佑你

Little lamb, God bless thee! 小羔羊上帝保佑你。

布莱克在《天真之歌》这部诗集里,用孩子般天真的眼光来看待人生,整部作品展示了一个充满博爱、仁慈、怜悯和欢乐的世界,选篇《羔羊》就是其中的一首。全诗短短20行,却把羔羊温柔而敦厚的性格刻画得淋漓尽致。不过,该诗还有深刻的象征意义。诗人对羔羊的温驯与善良的描写,旨在表达自己对生活与自然的一种感受和对宇宙和谐的领悟与向往。他赞美的不仅仅是那头温驯的羔羊,而且还是那种能缔造羔羊的神秘力量。这里上帝、耶稣和羔羊连成了一体。

sonnet 18

Shall I compare thee to a summer's day? 我能否将你比作夏天?

Thou art more lovely and more temperate: 你比夏天更美丽温婉。

Rough winds do shake the darling buds of May, 狂风将五月的蓓蕾凋残,

And summer's lease hath all too short a date: 夏日的勾留何其短暂。

Sometime too hot the eye of heaven shines, 休恋那丽日当空,

And often is his gold complexion dimm'd; 转眼会云雾迷蒙。

And every fair from fair sometime declines, 休叹那百花飘零,

By chance or nature's changing course untrimm'd催折于无常的天命。

But thy eternal summer shall not fade唯有你永恒的夏日常新,

Nor lose possession of that fair thou owest; 你的美貌亦毫发无损。

Nor shall Death brag thou wander'st in his shade, 死神也无缘将你幽禁,

When in eternal lines to time thou growest: 你在我永恒的诗中长存。

So long as men can breathe or eyes can see, 只要世间尚有人吟诵我的诗篇,

So long lives this and this gives life to thee. 这诗就将不朽,永葆你的芳颜。

Sonnet 60

Like as the waves make towards the pebbled shore, 像波浪滔滔不息地滚向沙滩:

Each changing place with that which goes before, 后浪和前浪不断地循环替换,In sequent toil all forwards do contend. 前推后拥,一个个在奋勇争先。

Nativity, once in the main of light, 生辰,一度涌现于光明的金海,

Crawls to maturity, wherewith being crown'd, 爬行到壮年,然后,既登上极顶,Crooked elipses 'gainst his glory fight, 凶冥的日蚀便遮没它的光彩,

And Time that gave doth now his gift confound. 时光又撕毁了它从前的赠品。

Time doth transfix the flourish set on youth时光戳破了青春颊上的光艳,

And delves the parallels in beauty's brow, 在美的前额挖下深陷的战壕,

Feeds on the rarities of nature's truth, 自然的至珍都被它肆意狂喊,

And nothing stands but for his scythe to mow: 一切挺立的都难逃它的镰刀:

And yet to times in hope my verse shall stand, 可是我的诗未来将屹立千古,

Praising thy worth, despite his cruel hand. 歌颂你的美德,不管它多残酷!Remember

Remember me when I am gone away,记着我吧

Gone far away into the silent land;记着我吧,当我离你而去

When you can no more hold me by the hand,去到遥远的地方一片寂静Nor I half turn to go,yet turning stay. 那时你再不能把我的手拉紧

Remember me when no more day by day那时你再不能把我的手拉紧

You tell me of our future that you plann'd 我也不能转身要走却又迟疑。

Only remember me;you understand 记着我吧,当你再不能天天

It will be late to counsel then or pray告诉我你为咱俩设计的未来;

Yet if you should forget me for a while只要你还记着我;你也明白

And afterwards remember,do not grieve;那时商量或祈祷都为时已晚。

For if the darkness and corruption leave 但你若想要暂时将我忘掉,

A vestige of the thoughts that once I had,然后再把我记起,也不必忧伤

Better by far you should forget and smile因为在那黑暗和腐朽之乡,

若尚能留下些许我过去的思绪,

我但愿你能将我忘记而微笑,

也远远胜似你伤心地把我记起。

Than that you should remember and be sad.

Composed upon Westminster Bridge 威斯敏斯特桥上

by William Wordsworth

Earth has not anything to show more fair: 大地再没有比这儿更美的风貌:

Dull would he be of soul who could pass by若有谁,对如此壮丽动人的景物

A sight so touching in its majesty: 竟无动于衷,那才是灵魂麻木:

This City now doth, like a garment, wear瞧这座城市,像披上一领新袍,

The beauty of the morning; silent, bare, 披上了明艳的晨光;环顾周遭:

Ships, towers, domes, theatres, and temples lie船舶,尖塔,剧院,教堂,华屋,

Open unto the fields, and to the sky; 都寂然、坦然,向郊野、向天穹赤露,

All bright and glittering in the smokeless air. 在烟尘未染的大气里粲然闪耀

Never did sun more beautifully steep旭日金挥洒布于峡谷山陵,

In his first splendour, valley, rock, or hill; 也不比这片晨光更为奇丽;

Ne'er saw I, never felt, a calm so deep! 我何尝见过、感受过这深沉的宁静!

The river glideth at his own sweet will: 河上徐流,由着自己的心意;

Dear God! the very houses seem asleep; 上帝呵!千门万户都沉睡未醒,

And all that mighty heart is lying still! 这整个宏大的心脏仍然在歇息!

据华兹华斯本人说,这首诗写于1802年9月3日,那天他和妹妹多萝西一起动身从伦敦去法国多佛,在马车中写下了这首诗。

华兹华斯此行前往多佛,实为会见其前情人Annette Vallon 以及两人的私生女Caroline。华兹华斯最后一次见到Annette Vallon是在1791年,当时,他本已向其求婚,但是最后迫于英法两国之间的战争一触即发的形势,华兹华斯不得不回到英国,两人因此分离。1802年,英法两国签订了和平条约(Peace of Amiens),两国间的往来重新开通。但是时隔十数年,此时的华兹华斯已经爱上了儿时的好友Mary Hutchinson,并希望与其结婚。所以,他此行其实意在就其对Annette 和Caroline的责任上达成双方协议,以解脱良心上的重负。

当时,他们搭乘的马车停在了威斯敏斯特桥上,伦敦的景象使诗人惊呆了。虽然,当时的伦敦已基本失去了自然的色彩,而完全成了一个“人造”城市,虽然工业革命使得伦敦地方肮脏,穷苦人民更是水生火热,但是,这座城市在黎明时分显现的美景依然深深地震撼了诗人的心灵。多萝西曾这样描述当时的情景:“早晨5点到6点之间离开伦敦。美丽的早晨。当马车驶过威斯敏斯特桥时,城市、圣保罗大教堂和停泊着船只的泰晤士河,组成了一幅辉煌的画面。房屋绵延伸展,没有尘雾缠绕。朝阳是那么灿烂、纯净,似乎是一幅纯净的大自然的壮观。”

My Heart Leaps Up when I behold我心雀跃

by William Wordsworth

My heart leaps up when I behold每当我看见天上的彩虹

A rainbow in the sky;心儿就激烈地跳动

So was it when my life began;我年幼的时候就是这样,

I so is it now I am a man;现在成人之后还是这样

So be it when I shall grow old,但愿到年老时依然这样

Or let me die!要不,就让我死亡!

The child is father of the Man;儿童既然是成人的爸爸

And I could wish my days to be我就能希望天然的敬爱

Bound each to each by natural piety.把我的一生贯穿在一块。

诗歌赏析

圣经创世纪第九章记载,上帝因人类堕落败坏,以洪水灭绝人类后(独留义人诺亚),上帝与诺亚(代表人类)立下永约,凡有血肉的不再被洪水灭绝,上帝将彩虹放在云彩中,作为立永约的记号。因此彩虹可说是美丽与信实的象征。

华兹华斯从小在秀丽的英国湖区成长,受大自然蕴育,纯净心灵很容易受大自然触动。这首短诗是他32岁作品,以彩虹为意象。第1-4行叙述从小到现在(已成年),看到彩虹时雀跃的情感;第4-6行连续以So was it、 So is it 、So be it的重覆语法来强调、凸显这种情感;第6行更以短促的四音节句子,作情感转折,表现希望此情能长存到老,否则宁愿死的心境;第7行The child is father of the man是本诗的诗眼,暗示2种含意,一是从人的童年可以预示成年后的性情,一是小孩纯真的心灵,反而是大人的父亲(小孩启示大人如何感应大自然);8-9行对未来并无把握是否能保有纯净天真的心(看到彩虹的雀跃之情),故以虔诚的祈愿作结。

小孩的纯净天真是天生的,却也容易在长大成人以至年老的过程中,受到现实、尘世的压制、污染而流失,大人经锻炼才能得二度天真(重生)即「纯真」,这成人后至老年的「纯真」,因为是经后天锻炼而得,是更加可贵且较不会流失。这首诗作者并未提到如何才能长保纯净天真的心灵(那不是诗人的主要任务)。或许藉由多接触大自然、文学艺术或灵修均有助益吧!

库尔的野天鹅

威廉?巴特勒?叶芝

树木披上绚烂的秋装,

林中的小径晒得干爽。

十月的微曦朦胧,

一片静空铺水中。

一湖秋水,满池卵石,

五十九只天鹅在悠游。

自我第一次来此数天鹅,

十九个秋天已悄然逝过。

正当我数着,我看见,

天鹅突然成群冲向蓝天

然后散开,绕着残缺的围圆飞行,

喧闹地扑棱着翅膀。

看着这灿烂的生灵,

我感到痛苦忧伤。

沧桑巨变,自从我乘着日色苍茫

在湖畔第一次听到

它们在我头顶盘旋时钟摆似的飞翔,

那时我的步伐多么轻盈。

它们比翼双飞,永不厌倦,

时而荡漾于多情的湖面,

时而双翮凌空,一举千里,

活力永不衰减。

不论游往何地,激情和志向,

将伴随它们,日久天长。

如今,它们悠游于幽静的水面,

神秘而又美妍。

它们将沿着怎样的湖边,

在怎样的蒲苇中筑起家园,

让人们把喜悦写入眼帘,

当某天早晨我突然起身,

发现它们早已杳无踪痕?

Stopping by Woods on a Snowy Evening

雪夜林畔小驻

(文)Robert Frost (译)余光中

Whose woods these are I think I know, 想来我认识这座森林,

His house is in the village though. 林主的庄宅就在邻村

He will not see me stopping here, 却不会见我在此驻马

To watch his woods fill up with snow. 看他林中积雪的美景。

My little horse must think it queer, 我的小马一定颇惊讶:

To stop without a farmhouse near, 四望不见有什么农家

Between the woods and frozen lake, 偏是一年最暗的黄昏

The darkest evening of the year. 寒林和冰湖之间停下

He gives his harness bells a shake, 它摇一摇身上的串铃

To ask if there is some mistake. 问我这地方该不该停。

The only other sound's the sweep, 此外只有轻风拂雪片,

Of easy wind and downy flake. 再也听不见其他声音。

The woods are lovely, dark and deep. 森林又暗又深真可羡,

But I have promises to keep, 但我还要守一些诺言

And miles to go before I sleep. 还要赶多少路才安眠,

And miles to go before I sleep. 还要赶多少路才安眠。

On the surface, this poem is simplicity itself. The speaker is stopping by some woods on a snowy evening. He or she takes in the lovely scene in near-silence, is tempted to stay longer, but acknowledges the pull of obligations and the considerable distance yet to be traveled before he or she can rest for the night.

Form:

The poem consists of four (almost) identically constructed stanzas. Each line is iambic, with four stressed syllables:

She Walks in Beauty她走在美的光彩中

by Lord Byron

She walks in beauty, like the night她走在美的光彩中,象夜晚

Of cloudless climes and starry skies; 皎洁无云,繁星漫天;

And all that's best of dark and bright明与暗,最美妙的色泽

Meet in her aspect and her eyes: 呈现在她的仪容和秋波:

Thus mellowed to that tender light耀目的白天只嫌光太强,

Which heaven to gaudy day denies. 它比那光亮柔和而幽暗。

One shade the more, one ray the less, 增加或减少一份明与暗

Had half impaired the nameless grace就会损害这难言的美。

Which waves in every raven tress, 美波动在她乌黑的发上

Or softly lightens o'er her face; 或者散布淡淡的光辉

Where thoughts serenely sweet express在那脸庞,恬静的思绪

How pure, how dear their dwelling place. 指明它的来处纯洁而珍贵。

And on that cheek, and o'er that brow, 呵,那额际,那鲜艳的面颊,

So soft, so calm, yet eloquent, 如此温和,平静,而又脉脉含情,

The smiles that win, the tints that glow, 那迷人的微笑,那容颜的光彩,

But tell of days in goodness spent, 都在说明一个善良的生命:

A mind at peace with all below, 她的头脑安于世间的一切,

A heart whose love is innocent! 她的心充溢着真纯的爱情!

1814年6月11日拜伦首度在好友James W. Webster的引荐下,到Lady Sitwell的家中,在舞会上与其表妹霍顿夫人(Lady Wilmot Horton)相遇,当时这位寡寡的美丽夫人仍在服丧,穿着“一件金箔闪烁的黑色晨服”(a mourning dress of spangled black),她美丽的容貌,优雅的仪态,令诗人怦然心动,第二天便写就了这首脍炙人口的She Walks in Beauty,留下了他惊艳时的心情。

The silken

横向力量“无数爱慕和期盼的丝带”若无丝带的牵制,帐篷随风漂泊,

垂直力量“那根雪杉木”揭示了女性外秀内惠、女性和自然、人类和环境的和谐统一

Digging 挖掘

Between my finger and my thumb在我手指和大拇指中间

The squat pen rests; as snug as a gun.一支粗壮的笔躺着,舒适自在像一支枪。

Under my window a clean rasping sound我的窗下,一个清晰而粗厉的响声

When the spade sinks into gravelly ground:铁铲切进了砾石累累的土地:

My father, digging. I look down我爹在挖土。我向下望

Till his straining rump among the flowerbeds看到花坪间他正使劲的臀部

Bends low, comes up twenty years away弯下去,伸上来,二十年来

Stooping in rhythm through potato drills穿过白薯垄有节奏地俯仰着,

Where he was digging.他在挖土。

The coarse boot nestled on the lug, the shaft粗劣的靴子踩在铁铲上,长柄

Against the inside knee was levered firmly.贴着膝头的内侧有力地撬动,

He rooted out tall tops, buried the bright edge deep他把表面一层厚土连根掀起,把铁铲发亮的一边深深埋下去

To scatter new potatoes that we picked,使新薯四散,我们捡在手中,

Loving their cool hardness in our hands.爱它们又凉又硬的味儿。

By God, the old man could handle a spade,说真的,这老头子使铁铲的巧劲

Just like his old man.就像他那老头子一样。

My grandfather could cut more turf in a day我爷爷的土纳的泥沼地

Than any other man on Toner's bog.一天挖的泥炭比谁个都多。

Once I carried him milk in a bottle有一次我给他送去一瓶牛奶,

Corked sloppily with paper. He straightened up用纸团松松地塞住瓶口。他直起腰喝了,马上又干开了,

To drink it, then fell to right away利索地把泥炭截短,切开,把土.

Nicking and slicing neatly, heaving sods撩过肩,为找好泥炭,

Over his shoulder, digging down and down一直向下,向下挖掘。

For the good turf. Digging.

The cold smell of potato mold, the squelch and slap白薯地的冷气,潮湿泥炭地的

Of soggy peat, the curt cuts of an edge咯吱声、咕咕声,铁铲切进活薯根的短促声响Through living roots awaken in my head.在我头脑中回荡。

Between my finger and my thumb在我手指和大拇指中间

The squat pen rests.那支粗壮的笔躺着。

I'll dig with it. 我要用它去挖掘。

秋颂 To autumn

查良铮译

雾气洋溢、果实圆熟的秋,

你和成熟的太阳成为友伴;

你们密谋用累累的珠球,

缀满茅屋檐下的葡萄藤蔓;

使屋前的老树背负着苹果,

让熟味透进果实的心中,

使葫芦胀大,鼓起了榛子壳,

好塞进甜核;又为了蜜蜂

一次一次开放过迟的花朵,

使它们以为日子将永远暖和,

因为夏季早填满它们的粘巢。

谁不经常看见你伴着谷仓?

在田野里也可以把你找到,

弥有时随意坐在打麦场上,

让发丝随着簸谷的风轻飘;

有时候,为罂粟花香所沉迷,

你倒卧在收割一半的田垄,

让镰刀歇在下一畦的花旁;

或者.像拾穗人越过小溪,

你昂首背着谷袋,投下倒影,

或者就在榨果架下坐几点钟,

你耐心地瞧着徐徐滴下的酒浆。

啊.春日的歌哪里去了?但不要

想这些吧,你也有你的音乐

当波状的云把将逝的一天映照,

以胭红抹上残梗散碎的田野,

这时啊,河柳下的一群小飞虫

就同奏哀音,它们忽而飞高,

忽而下落,随着微风的起灭;

篱下的蟋蟀在歌唱,在园中

红胸的知更鸟就群起呼哨;

而群羊在山圈里高声默默咩叫;

丛飞的燕子在天空呢喃不歇。

本诗是济慈的最后一首颂诗,也是六首颂诗中最短的一首。本诗写于1821年9月19日。当时是人在温切斯特,身体状况逐渐衰竭,肺病越来越严重。由于他十分清楚自己将不久于人世,他决定终止以古代神话为题材的长诗《许佩里翁》(Hyperion)的创作,转而用其它诗歌形式来抒发他心中郁积的强烈感情。在一个晴朗而又充满梦幻的秋天,他在散步途中敏锐地感觉到冬天的临近,旋即写出这首与他当时心情十分吻合的诗歌。写完诗后,他曾给好友雷诺兹(John Reynolds)写信,信中提到秋天暗蓝色的天空和收割后的田野赋予他的难得的温暖感。在本诗中,他一改以前在创作颂诗时所惯用的

Spring and All

By William Carlos Williams

蓝天之下汹涌云彩

斑驳着从东北吹来

通往传染病院的路上

一阵冷风改变了视线方向

远处,大片开阔洪荒之地

褐色的草木一岁一枯荣

到处是高大的树木

间或有一块一块死水

路上低矮树丛枝条斜横

红的紫的叉开的直立的

许多小树下面

是枯萎的昏黄的树叶

和脱尽叶子的藤蔓

景色呆滞了无生气

然后春天却慢悠悠地来了

春天赤裸裸地进入新世界

寒冷之中义无反顾

别的早已不大在乎

依然寒冷还有惯常的风

今天草地一片而明天

野萝卜僵僵的幼芽会昌尖

一点儿一点儿地成形

接着迅速长好端端的叶子

他们此刻唯有进入

带着淡重的神色

深刻的变化已发生

深扎根到时候就会觉醒

意象派诗人威廉斯描述的春天,是“从通往传染病院的路边”(《春天及一切》)开始的:“一大片开阔泥泞的荒地呈褐色,枯草立着或到下……”残败的野外景色,冷清而毫无生气的事物——旧的已经衰亡,新的尚未诞生。

When You Are Old当你年老时

by William Butler Yeats

When you are old and grey and full of sleep, 当你年老,鬓斑,睡意昏沉,

And nodding by the fire, take down this book, 在炉旁打盹时,取下这本书,

And slowly read, and dream of the soft look慢慢诵读,梦忆从前你双眸

Your eyes had once, and of their shadows deep; 神色柔和,眼波中倒影深深;

And loved your beauty with love false or true, 爱你的美丽出自假意或真情

But one man loved the pilgrim Soul in you, 但唯有一人爱你灵魂的至诚

And loved the sorrows of your changing face; 爱你渐衰的脸上愁苦的风霜;

And bending down beside the glowing bars, 弯下身子,在炽红的壁炉边,

Murmur, a little sadly, how Love fled 忧伤地低诉,爱神如何逃走,

And paced upon the mountains overhead 在头顶上的群山巅漫步闲游,

And hid his face amid a crowd of stars. 把他的面孔隐没在繁星中间。

Funeral Blues葬礼蓝调 wy

Stop all the clocks, cut off the telephone, 停止所有的时钟,切断电话

Prevent the dog from barking with a juicy bone, 给狗一块浓汁的骨头,让他别叫

Silence the pianos and with muffled drum黯哑了钢琴,随着低沉的鼓,

Bring out the coffin, let the mourners come. 抬出灵柩,让哀悼者前来。

Let aeroplanes circle moaning overhead让直升机在头顶悲旋,

Scribbling on the sky the message He Is Dead, 在天空狂草着信息他已逝去,

Put crêpe bows round the white necks of the publicdoves, 把黑纱系在信鸽的白颈,

Let the traffic policemen wear black cotton gloves. 让交通员戴上黑色的手套。

He was my North, my South, my East and West, 他曾经是我的东,我的西,我的南,我的北,My working week and my Sunday rest, 我的工作天,我的休息日,

My noon, my midnight, my talk, my song; 我的正午,我的夜半,我的话语,我的歌吟,

I thought that love would last for ever: I was wrong. 我以为爱可以不朽,我错了。

The stars are not wanted now: put out every one; 不再需要星星,把每一颗都摘掉,

Pack up the moon and dismantle the sun; 把月亮包起,拆除太阳,

Pour away the ocean and sweep up the wood. 倾泻大海,扫除森林,

For nothing now can ever come to any good. 因为什么也不会,再有意味。

The chimney sweeper

A little black thing among the snow: 风雪里一个满身乌黑的小东西

Crying weep, weep, in notes of woe! “号呀,号”在那里哭哭啼啼!

Wher e are thy father & mother? say? “你的爹娘上哪儿去了,你讲讲?”

They are both gone up to the church to pray. “他们呀都去祷告了,上了教堂。

Because I was happy upon the heath, “因为我原先在野地里欢欢喜喜,

And smil'd among the winters snow: 我在冬天的雪地里也总是笑嘻嘻,

They clothed me in the clothes of death, 他们就把我拿晦气的黑衣裳一罩,

And taught me to sing the notes of woe. 他们还叫我唱起了悲伤的曲调。

And because I am happy & dance & sing, “因为我显得快活,还唱歌,还跳舞,

They think they have done me no injury: 他们就以为并没有把我害苦,

And are gone to praise God & his Priest & King, 就跑去赞美了上帝、教士和国王,

Who make up a heaven of our misery. 夸他们拿我们苦难造成了天堂。”

此诗选自布莱克的诗集《天真之歌》。在十八世纪,小孩,有时候甚至不到四五岁,被雇佣来爬上狭窄的烟道,去清扫烟囱,烟灰装在口袋里。这些小孩有时候是被父母卖给专营清扫烟囱的人,那些人虐待他们,很多孩子染上各種病,身体变成畸形。这首诗,是对社会容许这种惨无人道的奴役的强烈谴责。全诗从一个孩子的视角,模仿孩子天真的语言,而强烈的讽刺寓于其中。小孩说的话和布莱克要表达的意思是很不相同的,从而起到一种反讽的效果。在诗的第八行,提到的白发,暗含强烈的讽刺意味,因为这些孩子很少有活到长出白头发的那一天的!中间,托姆的美梦和结尾处冰冷的现实形成巨大的反差。最后一行“do their duty”隐含谴责那些没有对可怜的扫烟囱的小孩尽到职责的人:

的隐藏在表面冷静的文字底下。

My Last Duchess

我的前公爵夫人

罗伯特?勃朗宁

墙上的这幅面是我的前公爵夫人,看起来就像她活着一样。如今,

我称它为奇迹:潘道夫师的手笔

经一日忙碌,从此她就在此站立。你愿坐下看看她吗?我有意提起

潘道夫,因为外来的生客(例如你)凡是见了画中描绘的面容、

那真挚的眼神的深邃和热情,

没有一个不转向我(因为除我外

再没有别人把画上的帘幕拉开),似乎想问我可是又不大敢问;

是从哪儿来的——这样的眼神?

你并非第一个人回头这样问我。

先生,不仅仅是她丈夫的在座

使公爵夫人面带欢容,可能

潘道夫偶然说过:“夫人的披风

盖住她的手腕太多,”或者说:“隐约的红晕向颈部渐渐隐没,

这绝非任何颜料所能复制。”

这种无聊话,却被她当成好意,

也足以唤起她的欢心。她那颗心——怎么说好呢?——要取悦容易得很,也太易感动。她看到什么都喜欢,而她的目光又偏爱到处观看。

先生,她对什么都一样!她胸口上佩戴的我的赠品,或落日的余光;过分殷勤的傻子在园中攀折

给她的一枝樱桃,或她骑着

绕行花圃的白骡——所有这一切

都会使她同样地赞羡不绝,

或至少泛起红晕。她感激人.好的!但她的感激(我说不上怎么搞的)仿佛把我赐她的九百年的门第

与任何人的赠品并列。谁愿意

屈尊去谴责这种轻浮举止?即使

你有口才(我却没有)能把你的意志给这样的人儿充分说明:“你这点或那点令我讨厌。这儿你差得远,而那儿你超越了界限。”即使她肯听你这样训诫她而毫不争论,

毫不为自己辩解,——我也觉得

这会有失身份,所以我选择

每逢我走过;但是谁人走过得不到

同样慷慨的微笑?发展至此,

我下了令:于是一切微笑都从此制止。

她站在那儿,像活着一样。请你起身

客人们在楼下等。我再重复一声:

你的主人——伯爵先生闻名的大方

足以充分保证:我对嫁妆

提出任何合理要求都不会遭拒绝;

当然.如我开头声明的,他美貌的小姐

才是我追求的目标。别客气,让咱们

一同下楼吧。但请看这海神尼普顿

在驯服海马,这是件珍贵的收藏,

是克劳斯为我特制的青铜铸像。

这首诗是根据文艺复兴时期意大利的费拉拉公爵阿方索二世的一个真实故事创作的。诗中的叙述者是公爵,公爵夫人刚刚去世,随即有人上门提亲,媒人到来时,公爵带媒人参观自己的艺术收藏品,全诗即是此时公爵对媒人说的一番自言自语。诗中透露出,公爵夫人之死与公爵有直接关系,但杀死自己的夫人在诗中却成了公爵向别人炫耀的谈资。

这首诗采用戏剧独白的形式。受其戏剧创作的影响,布朗宁善于在诗中运用“戏剧独白”。“戏剧独白”并非布朗宁首创,但“戏剧独白”诗体却是他对英国诗歌的一大贡献。这首诗是布朗宁戏剧独白诗体中很有代表性的一首,诗歌语言口语化,夹叙夹议,它利用戏剧反讽,通过公爵一个人自言自语的道白揭示其心理活动,入木三分地刻划了公爵的两面性:他表面上温文尔雅、爱好艺术,实际上专横霸道,冷酷自私。媒人来提亲时,公爵故作风雅,带人去欣赏艺术品,但却借机对已故前妻大加贬斥,然而读者从他的口中得到的却是友善而又开朗的公爵夫人形象,他不能容忍夫人的天真活泼恰恰暴露了自己心胸狭窄的性格;他刚说完前妻之死便对新人提出了嫁妆要求,讨价还价未毕却又夸耀起自己的艺术藏品,使他的冷酷和虚伪暴露无遗。

西风颂

1

你是秋的呼吸,啊,奔放的西风;

你无形地莅临时,残叶们逃亡,

它们像回避巫师的成群鬼魂:

黑的、惨红的、铅灰的,还有蜡黄,

患瘟疫而死掉的一大群。啊,你,

送飞翔的种籽到它们的冬床,

它们躺在那儿,又暗、又冷、又低,

一个个都像尸体埋葬于墓中,

直到明春你青空的妹妹吹起

她的号角,唤醒了大地的迷梦,

驱羊群似地驱使蕾儿吐馨,

使漫山遍野铺上了姹紫嫣红;

你周流上下四方,奔放的精灵,

是破坏者,又是保护者;听呀听!

2

你在动乱的太空中掀起激流,

那上面飘浮着落叶似的云块,

它们是传送雨和闪电的神差。

你那气流之浪涛的碧蓝海面,

从朦胧的地平线到天的顶盖,

飘荡着快来的暴风雨的发辫,

像美娜德头上金黄色的乱发

随风飘动;你为这将逝的残年,唱起挽歌;待到夜的帷幕落下,将成为这一年的巨冢的圆顶,

你用凝聚的云雾为它作支架,

而从这浓云密雾中,将会涌迸:电火、冰雹和黑的雨水;啊你听!3

你也把青青的地中海水唤醒,

他原在贝宜湾的一个浮岛边,

沉醉于他夏日幻梦里的美景,

被一圈圈晶莹的涟漪所催眠,

他梦见了古老的宫殿和楼阁

荡漾于更明朗皎洁的水中天,

满披着翡翠似的苔藓和花朵,

花朵多芬芳,那气息使人醉迷;浩瀚的大西洋本来平静无波,

随着你的脚步而裂开;在海底,那些枝叶没有浆汁的湿树林,

还有海花,听到你来临的声息,便突然地变色,它们大吃一惊,瑟瑟地发抖,纷纷调谢。啊你听!4

如果我是任你吹的落叶一片;

如果我是随着你飞翔的云块;

如果是波浪,在你威力下急喘,享受你神力的推动,自由自在,几乎与你一样,啊,你难制的力!再不然,如果能回返童年时代,常陪伴着你在太空任意飘飞,

以为要比你更神速也非幻想;

那我就不致处此窘迫境地,

向你苦苦求告:啊,快使我高扬,像一片树叶、一朵云、一阵浪涛!我碰上人生的荆棘,鲜血直淌!时光的重负困着我,把我压倒,我太像你了:难驯、迅速而骄傲。5

把我当作你的琴,当作那树丛,纵使我的叶子凋落又何妨?

在你怒吼咆哮的雄浑交响中,

将有树林和我的深沉的歌唱,

我们将唱出秋声,婉转而忧愁。

把我僵死的思想驱散在宇宙,

就像一片片枯叶,以鼓舞新生;

请你听从我这诗篇中的符咒,

把我的话传播给全世界的人,

犹如从不灭的炉中吹出火花!

请向未醒的大地,借我的嘴唇,

像号角般吹出一声声预言吧!

如果冬天来了,春天还会远吗?

背景:

一个秋日的午后,诗人雪莱在意大利佛罗伦萨近郊的树林里漫步。突然狂风大作,乌云翻滚。到了傍晚,暴风雨夹带着冰雹雷电倾盆而下,荡涤着大地,震撼着人间。大自然威武雄壮的交响乐,触发了诗人的灵感,他奋笔疾书,谱写了不朽的抒情短诗《西风颂》。这是1819年的事情。

当时,欧洲各国的工人运动和革命运动风起云涌。英国工人阶级为了争取自身的生存权利,正同资产阶级展开英勇的斗争,捣毁机器和罢工事件接连不断。1819年8月,曼彻斯特八万工人举行了声势浩大的游行示威,反动当局竟出动军队野蛮镇压,制造了历史上著名的彼得卢大屠杀事件。雪莱满怀悲愤,写下了长诗《暴政的假面游行》,对资产阶级政府的血腥暴行提出严正抗议。法国自拿破仑帝制崩溃、波旁王朝复辟以后,阶级矛盾异常尖锐,广大人民正酝酿着反对封建复辟势力的革命斗争。拿破仑帝国的解体也大大促进了西班牙人民反对异族压迫和封建专制的革命运动,1819年1月,终于响起了武装起义的枪声。就在武装起义的前夕,雪莱给西班牙人民献上了《颂歌》一首,为西班牙革命吹响了进军的号角。在意大利和希腊,民族解放运动方兴未艾,雪莱的《西风颂》发表不久,这两个国家也先后爆发了轰轰烈烈的武装起义。面对着欧洲山雨欲来风满楼的革命形势,雪莱为之鼓舞,为之振奋,诗人胸中沸腾着炽热的革命激情。这时,在一场暴风骤雨的自然景象的触发下,这种难以抑制的革命激情立刻冲出胸膛,一泻千里,化作激昂慷慨的歌唱。

赏析:

这是一首脍炙人口、含蕴深刻的写景名篇。诗人以饱含激情的笔触抒写了秋之生命的呼吸——狂暴的西风,创造出既是破坏者又是保护者的鲜明的西风形象。感情真挚磅,格调高昂激越。

雪莱自己说:“构思和基本写成这首诗,是在佛罗伦萨阿诺河岸的一个树林里,当日气温和煦,清新,而这场暴风正集聚水气,倾泻下秋雨。如我所预料,在日落时分,狂风大作,雨雹如注,伴随了西萨尔滨地区特有的那种壮观的雷电。”由此,可以知道,那狂暴的西风,秋之生命的呼吸,是诗人亲自感受过的,正因为如此,诗人笔下的西风才如此真实、壮观!

诗作共分五大部分。前三部分主要从正面直接描绘西风,写它给大地、天空、海洋带来的天翻地覆的变化,后两部分主要抒写诗人由此而产生的情感。

第一部分,以“狂暴的西风,秋之生命的呼吸”领起,既为全诗定下一个激昂的调子,又以速描式的笔法几笔勾画出西风的精神风貌。接下去以四节的篇幅描写西风对大地的冲击:枯死的落叶被“你”横扫;希望的种子被“你”送吹到冬床上,只等春天到来,昏醒的一切从梦中惊起,漫山遍野,将是姹紫嫣红,芳香扑鼻!诗人最后以“不羁的精灵啊,你无处不行/破坏者兼保护者”总束第一部分,为西风的形象再次描上浓浓的一笔。

第二部分,诗人转换视点,转写西风吹卷下天空的变化:天空因为“你”而喧哗;流云像大地的碎叶一样被撕扯,有如狂女的头发,在“你”青色的气浪上到处垂挂,从至高的天顶一直到漠漠的天涯;“你”又把蒸气凝聚,如此坚实浩大,使夜厦的顶盖承受着“你”的全部重压,最终在厦顶轰然爆炸——黑雨、电火和冰雹一齐迸发!

第三部分,转写海洋。地中海万顷碧波,正沉醉于往日的风景如画和香气弥漫,“你”一下把它的美梦吹断;大西洋为“你”让路,劈裂成波的峡谷,浪的深渊;那海底的苔花泥藻一个个惊慌失措,吓得打颤!

诗人以豪迈奔放的激情,任想象自由地驰骋,以三大部分15节诗的篇幅,诉诸于多种感官抒写出了西风的狂暴、迅疾、无所畏惧。赞美他以摧枯拉朽之势横扫残枝败叶,赞美他以磅之气驱散空中的流云,召来冰雹、大雨和闪电,为黑暗的世界唱出葬歌;赞美他把大海唤醒,掀起汹涌的海浪,震撼

这是自然的风暴,也是革命的风暴!诗人预言了自然的风暴,也预言了革命的风暴!由此,诗的最后两部分抒发了诗人的革命豪情,由自然之景描写转入抒发感情。

诗作的第四部分,诗人以“唉,假如我是一片枯叶被你浮起”领起,连用几个假设,表达出诗人对现实、对自己的不满,“我跌在生活底荆棘上,我流血了”;“这种岁月的重轭所制伏的生命/原是和你一样的:骄傲、轻捷而不驯”。这脱口而出的诗句是诗人发自肺腑的心声!

第五部分在意义上延承第四部分,又有一些递进。因为对现实、对自己不满,所以诗人便祈求西风“把我当作你的竖琴吧!”给予我“狂暴的精神”!“让我们合一”!吹起我枯死的思想,并把我的预言向世界传送:冬天已经来了,春天还会遥远吗?诗作在诗人对革命与未来美好的展望中戛然而止,读罢令人卓立风发,倍受鼓舞!

在写作上,诗作以象征手法见长。狂暴的西风既是自然界的风,更是革命的风暴,诗人明写自然之风,本意却在呼唤、盼望革命的风暴,象征手法使西风这一意象更加饱满而意蕴深刻。此外,诗作各部分重复“哦,你听”,重章复唱,既为了引起读者的参与,又使作品表现出一种跳动的节奏感、韵律感!

Love's Philosophy爱的哲学

by Percy Bysshe Shelley

The Fountains mingle with the river泉水总是向河水汇流,

And the rivers with the ocean, 河水又汇入海中,

The winds of heaven mix for ever天宇的轻风永远融有

With a sweet emotion; 一种甜蜜的感情;

Nothing in the world is single, 世上哪有什么孤零零?

All things by a law devine万物由于自然律

In one another's being mingle--都必融汇于一种精神。

Why not I with thine? 何以你我却独异?

See the mountains kiss high heaven你看高山在吻着碧空,

And the waves clasp one another; 波浪也相互拥抱;

No sister-flower would be forgiven谁曾见花儿彼此不容:

If it disdain'd its brother: 姊妹把兄弟轻蔑?

And the sunlight clasps the earth, 阳光紧紧地拥抱大地,

And the moonbeams kiss the sea--月光在吻着海波:

What are all these kissings worth, 但这些接吻又有何益,

If thou kiss not me? 要是你不肯吻我?

《爱的哲学》是雪莱于1819年发表的一首著名抒情诗。诗分为两个诗

节,每节有八个小句,排列成十六行。该诗呈隔行押韵,运用了比喻、反诘

等各种修辞手法,简洁明快,朗朗上口。

雪莱的这首诗以自然现象来揭示自然界及人类共有的规律。诗人首先

以丰富的想象及朴素的文风对自然景物一小溪、河流、大海和风儿等进行描

述,归纳出万物都成双成对、互相融合的客观规律,然后把它推及人类的爱

情之上,指出爱情是发自内心的自然的感情。第二诗节诗人从对自然界的

描述过渡到人类之上,直指人类的爱情,鼓励相爱的人们不要害怕世俗的阻

力,要勇于表达自己的感情,全诗情景交融,给人言虽尽而意无穷的感觉。

《When You Are Old 》

When you are old and gray and full of sleep

And nodding by the fire, take down this book,

And slowly read, and dream of the soft look

How many loved your moments of glad grace,

And loved your beauty with love false or true;

But one man loved the pilgrim soul in you,

And loved the sorrows of your changing face;

And bending down beside the glowing bars, Murmur, a little sadly, how love fled

And paced upon the mountains overhead,

And hid his face amid a crowd of stars.

当你老了(叶芝)

当你老了,白发苍苍,睡思昏沉,

在炉火旁打盹,请取下这部诗歌,

慢慢读,回想你过去眼神的柔和

回想它们过去的浓重的阴影;

多少人爱你年轻欢畅的时候

出于假意或真心地爱慕你的美貌,

只有一个人爱你那朝圣者的灵魂,

爱你老去的容颜的痛苦的皱纹。

躬身在红光闪耀的炉火旁,

凄然地低语,爱为何消逝,

在头顶的山上,它缓缓踱着步子,

将脸隐没在群星之中。

--------------------------------------------------- 世事沧桑话鸣鸟

作者:〔美国〕罗伯特·潘·沃伦

那只是一只鸟在晚上鸣叫,认不出是什么鸟,

当我从泉边取水回来,走过满是石头的牧场,

我站得那么静,头上的天空和水桶里的天空一样静。

多少年过去,多少地方多少脸都淡漠了,有的人已谢世,而我站在远方,夜那么静,我终于肯定

我最怀念的,不是那些终将消逝的东西,

而是鸟鸣时那种宁静。

世界上最远的距离

泰戈尔

不是生与死的距离而是我站在你面前你不知道我爱你

世界上最远的距离

不是我站在你面前你不知道我爱你

而是爱到痴迷

却不能说我爱你

世界上最远的距离

不是我不能说我爱你而是想你痛彻心脾却只能深埋心底

世界上最远的距离

不是我不能说我想你而是彼此相爱

却不能够在一起

世界上最远的距离

不是彼此相爱

却不能够在一起

而是明知道真爱无敌却装作毫不在意

世界上最远的距离

不是树与树的距离而是同根生长的树枝却无法在风中相依

世界上最远的距离

不是树枝无法相依而是相互了望的星星却没有交汇的轨迹

世界上最远的距离

不是星星之间的轨迹而是纵然轨迹交汇却在转瞬间无处寻觅

世界上最远的距离

不是瞬间便无处寻觅而是尚未相遇

便注定无法相聚

世界上最远的距离

一个在天,一个却深潜海底

《The most distant way in the world 》

The most distant way in the world

is not the way from birth to the end.

it is when i sit near you

that you don't understand i love u.

The most distant way in the world

is not that you're not sure i love u.

It is when my love is bewildering the soul but i can't speak it out.

The most distant way in the world

is not that i can't say i love u.

it is after looking into my heart

i can't change my love.

The most distant way in the world

is not that i'm loving u.

it is in our love

we are keeping between the distance.

The most distant way in the world

is not the distance across us.

it is when we're breaking through the way we deny the existance of love.

So the most distant way in the world

is not in two distant trees.

it is the same rooted branches

can't enjoy the co-existance.

So the most distant way in the world

is not in the being sepearated branches.

it is in the blinking stars

they can't burn the light.

So the most distant way in the world

it is after the light

they can't be seen from afar.

So the most distant way in the world is not the light that is fading away. it is the coincidence of us

is not supposed for the love.

So the most distant way in the world is the love between the fish and bird. one is flying at the sky,

the other is looking upon into the sea. 世界上最远的距离——泰戈尔

世界上最远的距离不是生与死的距离

而是我站在你的面前

你却不知道我爱你

世界上最远的距离

不是我站在你的面前

你却不知道我爱你

而是爱到痴迷

却不能说我爱你

世界上最远的距离

不是我不能说我爱你

而是想你痛彻心脾

却只能深埋心底

世界上最远的距离

不是我不能说我想你

而是彼此相爱

却不能够在一起

世界上最远的距离

不是彼此相爱

却不能在一起

而是明明无法抵挡这一股气息

却还得装作毫不在意

世界上最远的距离,

不是明明无法抵挡这一股气息

却还得装作毫不在意

而是用一颗冷漠的心

在你和爱你的人之间

掘了一条无法跨越的沟渠

世界上最远的距离

不是树与树的距离

而是同根生长的树枝

却无法在风中相依

世界上最远的距离

而是相互了望的星星

却没有交汇的轨迹

世界上最远的距离

不是星星之间的轨迹

而是纵然轨迹交汇

却在转瞬间无处寻觅

世界上最远的距离

不是瞬间便无处寻觅

而是尚未相遇

便注定无法相聚

世界上最远的距离

是鱼与飞鸟的距离

一个在天空

一个却深潜海底

The furthest distance in the world

The furthest distance in the world

Is not between life and death

But when I stand in front of you

Yet you don''t know that

I love you

The furthest distance in the world

Is not when i stand in front of you

Yet you can''t see my love

But when undoubtedly knowing the love from both Yet cannot be together

The furthest distance in the world

Is not being apart while being in love

But when plainly can not resist the yearning

Yet pretnending you have never been in my heart The furthest distance in the world

Is not pretnending you have never been in my heart But using one''s indifferent heart

To sig an uncrossable river

For the one who loves you

英语诗歌欣赏

1. Nothing gold can stay by Robert Frost Nature's first green is gold, Her hardest hue to hold. Her early leaf's a flower; But only so an hour. Then leaf subsides to leaf, So Eden sank to grief. So dawn goes down to day, Nothing gold can stay. 参照: 简简吟白居易 苏家小女名简简,芙蓉花腮柳叶眼。十一把镜学点妆,十二抽针能绣裳。十三行坐事调品,不肯迷头白地藏。玲珑云髻生花样,飘飖风袖蔷薇香。殊姿异态不可状,忽忽转动如有光。二月繁霜杀桃李,明年欲嫁今年死。丈人阿母勿悲啼,此女不是凡夫妻。恐是天仙谪人世,只合人间十三岁。大都好物不坚牢,彩云易散琉璃脆。 2. The Road Not Taken by Robert Frost Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair,

And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference. 3. The farthest distance in the world By Tagore [t?'g?:] The farthest distance in the world is not between life and death but when I stand in front of you yet you don't know that I love you The farthest distance in the world is not when I stand in front of you yet you can't see my love but when undoubtedly knowing the love from both yet cannot be together The farthest distance in the world is not being apart while being in love but when plainly can not resist the yearning yet pretending you have never been in my heart

【国外诗歌】中英文励志诗歌

一、THE SIGNIFICANCE OF FAILURE Robert H. Schuller Failure doesn t mean you are a failure, It does mean you haven t succeeded yet. Failure doesn t mean you have accomplished nothing, It does mean you have learned something. Failure doesn t mean you have been a fool, It does mean you had a lot of faith. Failure doesn t mean you ve been disgraced, It does mean you were willing to try. Failure doesn t mean you don t have it, It does mean you have to do something in a different way. Failure doesn t mean you are inferior, It does mean you are not perfect. Failure doesn t mean you ve wasted your life, It does mean you have a reason to start afresh. Failure doesn t mean you should give up, It does mean you must try harder. Failure doesn t mean you ll never make it, It does mean it will take a little longer. Failure doesn t mean God has abandoned you, It does mean God has a better idea. 失败的意义 罗伯特·H·舒勒陈采霞译 失败并不代表你是个失败者, 它只表明你尚未成功。 失败并不代表你一无所获, 它只表明你吸取了一次教训。 失败并不代表你很愚蠢, 它只表明你信心百倍。 失败并不代表你无脸见人, 它只表明你百折不回。 失败并不代表你工夫白费, 它只表明你的做事方法尚待改进。 失败并不代表你低人一等。 它只表明你并非完人。 失败并不代表你浪费生命, 它只表明你有理由重新开始。 失败并不代表你应该放弃, 它只表明你要加倍努力。 失败并不代表成功永不属于你, 它只表明你要付出更多的时间。

(完整版)英语诗歌鉴赏及名词解释(英文版)

The Basic Elements of Appreciating English Poetry 1.What is poetry? ?Poetry is the expression of Impassioned feeling in language. ?“Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility.” ?“Poetry, in a general sense, may be defined to be the expression of the imagination.” ?Poetry is the rhythmical creation of beauty. ?Poetry is the image of man and nature. ?“诗言志,歌咏言。” ---《虞书》 ?“诗言志之所以也。在心为志,发言为诗。情动于中而行于言,言之不足,则嗟叹之;嗟叹之不足,故咏歌之;咏歌之不足,不知手之舞之,足之蹈之也。情发于声;声成文,谓之音。” ---《诗·大序》 ?“诗是由诗人对外界所引起的感觉,注入了思想与情感,而凝结了形象,终于被表现出来的一种‘完成’的艺术。” ---艾青:《诗论》 2.The Sound System of English Poetry a. The prosodic features ?Prosody (韵律)---the study of the rhythm, pause, tempo, stress and pitch features of a language. ?Chinese poetry is syllable-timed, English poetry is stress-timed. ?Stress: The prosody of English poetry is realized by stress. One stressed syllable always comes together with one or more unstressed syllables. eg. Tiger, /tiger, /burning /bright In the /forest /of the/ night, What im/mortal /hand or /eye Could frame thy/ fearful /symme/try? ---W. Blake Length: it can produce some rhetorical and artistic effect. eg. The curfew tolls the knell of parting day, The lowing herd wind slowly o’er the lea, The Ploughman homeward plods his weary way, And leaves the world to darkness and to me. ---Thomas Gray Long vowels and diphthongs make the poem slow, emotional and solemn; short vowels quick, passionate, tense and exciting. Pause: it serves for the rhythm and musicality of poetry. b. Meter or measure (格律) poem---stanza/strophe---line/verse---foot---arsis + thesis; Meter or measure refers to the formation way of stressed and

非常美好的英文诗歌欣赏

非常美好的英文诗歌欣赏 非常美好的英文诗歌篇二MY BOOK我的书I will not spoil this little book,我决不损坏这本小书,Nor drop it on the floor.也不会让它落到地上。 I will not turn its corners down,我决不会把书角折皱,To spoil more and more.把它弄得来不成模样。 My book's a little friend to me,我的书是我的小朋友,And so a friend to it I'll be,我也要做它的好朋友。 非常美好的英文诗歌篇三I TRY努力I try to do my best each day,不论做功课还是做游戏,In my work and in my play;每天我都尽到最大努力;And if I always do my best,如果我一贯努力,I need not care about the test.就不必为考试忧虑。 非常美好的英文诗歌篇四PUSSY-CAT小猫咪Pussy一Cat, Pussy一Cat,小猫咪,猫咪乖,Can you catch me that big rat?去把那只大老鼠逮。 It is sitting by the ham,它就藏在果酱后,Just behind the apple一jam.靠近那块火腿肉。 Pussy一Cat, Pussy一Cat,小猫咪,猫咪乖,That fat rat is very bad.那只肥老鼠顶顶坏。 If you catch it, I'll be glad,逮住他,我喜欢,I'll give you some milk for that.我拿牛奶给你舔。 非常美好的英文诗歌篇五LITTLE GREY MOUSE小灰鼠GIRL .Little

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适合朗诵的英文诗歌欣赏 【篇一】适合朗诵的英文诗歌欣赏 The Passionate Shepherd To His Love by Christopher Marlowe 牧羊恋歌克里斯托夫·马洛 Come live with me and be my love, 来与我同住吧,做我的爱人, And we will all the pleasures prove, 我们将共享一切欢乐; That Valleys, groves, hills, and fields, 来自河谷、树丛、山岳、田野, Woods, or steepy mountain yields. 来自森林或陡峭的峻岭。 And we will sit upon the Rocks, 我们将坐在岩石上, Seeing the Shepherds feed their flocks, 看牧人们放羊。 By shallow Rivers to whose falls 浅浅的小河流向瀑布, Melodious birds sing Madrigals. 小鸟唱着甜美的情歌。

And I will make thee beds of Roses 我将为你用玫瑰作床, And a thousand fragrant posies, 还有上千支花束, A cap of flowers, and a kirtle 一顶鲜花编的花冠,一条长裙Embroidered all with leaves of Myrtle;绣满桃金娘的绿叶。 A gown made of the finest wool 用最细的羊毛织一条长袍, Which from our pretty Lambs we pull;羊毛剪自我们最可爱的羊羔, Fair lined slippers for the cold, 一双漂亮的衬绒软鞋为你御寒, With buckles of the purest gold; 上面有纯金的带扣。 A belt of straw and Ivy buds, 麦草和长春藤花蕾编的腰带, With Coral clasps and Amber studs: 珊瑚作钩,琥珀作扣, And if these pleasures may thee move,

关于经典英文诗歌赏析

英语诗歌以其独特的文体形式充分调动、发挥语言的各种潜能,使之具有特殊的感染力。读来隽永,富有音韵美。下面是是由带来的关于经典英文诗歌,欢迎阅读! 【篇一】关于经典英文诗歌赏析 I Started Early - Took My Dog Emily Dickinson (1830-86) I started Early - Took my Dog And visited the Sea The Mermaids in the Basement Came out to look at me And Frigates - in the Upper Floor Extended Hempen Hands Presuming Me to be a Mouse Aground - upon the Sands But no Man moved Me - till the Tide Went past my simple Shoe And past my Apron - and my Belt And past my Bodice - too And made as He would eat me up As wholly as a Dew Upon a Dandelion's Sleeve And then - I started - too And He - He followed - close behind I felt His Silver Heel Upon my Ankle - Then my Shoes

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