Ode_on_a_Grecian_Urn_希腊古瓮颂
济慈
Keats―Ode on an Grecian Urn‖ shows the contrast between the permanence of art and the transience of human passion.―希腊古瓮颂‖展示了永恒的艺术与短暂的人类热情之间的对比。
1. Which of the following is taken from John Keats' "Ode on a Grecian Urn"?[A] "I fall upon the thorns of life! I bleed!"[B] "They are both gone up to the church to pray."[C] "Earth has not anything to show more fair."[D] "Beauty is math, math beauty".2，. "Ode on a Grecian Urn" shows the contrast between the______ of art and the of human passion.[A] glory.., ugliness[B] permanence ...transience[C] transience.., sordidness[D] glory.., permanence3，It is generally regarded that Keats’ s most important and mature poems are in the form of ______________.A．ode B．elegy C．epic D．sonnet4，“Heard melodie s 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 nc tone. ” These lines are taken from Keat’s poem ________. A．“Ode on Melancholy”B．“Ode to Psyche”C．“Ode on a Grecian Urn”D．“Ode to a Nightingale”5. Paraphrase the following quotations: （解释题）When old age this generation waste,Thou shall remain, in midst of other woeThan ours, a fiend to man, to whom thou say’st;―Beauty is truth, truth beauty.‖ – that is allYe know on earth, and all ye need to know.( Ode on a Grecian Urn )答案：When the old generation die, you shall live in the sorrows of another generation. You tell the people that truth and beauty are one, and that is all you know and need to know.7. “Ode on an Grecian Urn” by John Keats shows the contrast between the________ of art and the _______ of human passion.（北师大07年英美文学研究生题）Part Ⅳ: Interpretation (20%)Read the following selections and then answer the questions.Write your answers on the Answer Sheet.(1)O Attic shape! Fair attitude! With bredeOf marble men and maidens overwrought,With forest branches and the trodden weed;Thou, silent form, dost tease us out of thoughtAs doth eternity: Cold Pastoral!When old age shall this generation waste,Thou shalt remain, in midst of other woeThan ours, a friend to man, to whom thou say’st,―Beauty is truth, truth beauty,‖——that is allYe know on earth, and all ye need to know.1. Where does eternity lie, according to the author?2. Interpret ―Beauty is truth, truth beauty‖ within the context of this poem.。
《希腊古瓮颂》的赏析
或哪个静静的堡寨山村，
来了这些人，在这敬神的清早？
Thouｓhａltｒemaiｎ, iｎmiｄst oｆoｔherｗoe
Ｔｈanoｕrｓ，a frｉｅndｔo man，to whomｔhou say'sｔ,
Ｂeauｔy is truth, trｕthbeautｙ，--ｔhａt is alｌ
Yｅknoｗon eａrｔh，anｄall yeｎeed to knoｗ.
Alｌｂｒeａｔhingｈumaｎpａｓsｉｏn fａraboｖe，
Tｈａt leavesa heartｈigh-sorrｏwfulａndｃloｙed,
A burninｇforeheａd, anｄａpａrchｉngtoｎgue.
Whoａre tｈｅse coｍingｔothe sacrifice?
Ｔo wｈatgreｅｎaltａｒ, O mysterｉoｕｓpriesｔ,
Oｆ ｍarbｌemen anｄmａｉdｅns overwrｏught，
Wiｔｈforeｓt brａｎches and tቤተ መጻሕፍቲ ባይዱe trodden weed;
Tｈｏｕ,silｅｎtfｏrm,dｏｓtｔｅaseｕｓoｕｔof tｈｏｕghｔ
As dothｅteｒｎｉｔy:ＣolｄＰaｓtorａl!
Ｗheｎold aｇe shaｌl tｈis gｅneｒatｉon wastｅ，
Shｅ ｃannotfade，tｈouｇh thoｕｈaｓｔnotｔhyｂliｓｓ,
For ever wｉltｔｈｏulovｅ, andｓhｅｂｅ ｆａir!
Ah，ｈappy，ｈａｐｐy bｏuｇｈs! tｈatｃannoｔshed
Your leavｅs，ｎoｒeverbid thｅｓpring adieu;
浪漫主义诗歌的奇葩——约翰·济慈《希腊古瓮颂》解读
The Wonderful Work of the Romantic Poetry --Interpretation of John Keats＇ Ode to a Grecian Urn 作者： 张素月
作者机构： 商丘师范学院外语学院,河南商丘476000
出版物刊名： 商丘职业技术学院学报
页码： 68-69页
主题词： 真 美 永恒美
摘要：约翰·济慈被誉为“诗人中的诗人”，是19世纪初英国文坛上一位杰出的浪漫主义诗人：他的诗以优美动人著称，充满了对人生美丽和短暂的深痛感悟。
在济慈的作品中最为不朽
的当属他的颂歌，《希腊古瓮颂》是其中的一首。
陔诗布局精美，形象美，韵律美，语言美，
表明了诗人对永恒美的向往和追求，阐明了“真”、“美”学说。
Analysis-of-Ode-on-a-Grecian-Urn希腊古翁颂
Analysis-of-Ode-on-a-Grecia n-Urn希腊古翁颂Analysis of Ode on a Grecian UrnÏ£À°¹ÅÎÌËÌ.txtÈËÓÀÔ¶²»ÖªµÀË-ÄĴβ»¾-ÒâµÄ¸úÄã˵ÁËÔÙ¼ûÖ®ºó¾ÍÕæµÄÔÙÒ²²»¼ûÁË¡£Ò»·ÖÖÓÓж೤£¿ÕâÒª¿´ÄãÊǶ×ÔÚ²ÞËùÀïÃ棬»¹ÊǵÈÔÚ²ÞËùÍâÃæ¡-¡-O de on a Grecian UrnNotes Compiled by Michael J. Cummings...? 2005Type of Work."Ode on a Grecian Urn" is a romantic ode, a dignified but highly lyrical (emotional) poem in which the author speaks to a person or thing absent or present. In this famous ode, Keats addresses the urn and the images on it. The romantic ode was at the pinnacle of its popularity in the 19th Century. It was the result of anauthor¡¯s deep meditation on the person or object. The romantic ode evolved from the ancient Greek ode, written in a serious tone to celebrate an event or to praise an individual. The Greek ode was intended to be sung by a chorus or by one person to the accompaniment of musical instruments. The odes of the Greek poet Pindar (circa 518-438 B.C.) frequently extolled athletes who participated in athletic games at Olympus, Delphi, the Isthmus of Corinth, and Nemea. Bacchylides, a contemporary of Pindar, also wrote odes praising athletes. The Roman poets Horace (65-8 B.C.) and Catullus (84-54 B.C.) wrote odes based on the Greek model, but their odes were not intended to be sung. In the 19th Century, English romantic poets wrote odes that retained the serious tone of the Greek ode. However,like the Roman poets, they did not write odes to be sung. Unlike the Roman poets, though, the authors of 19th Century romantic odes generally were more emotional in their writing. The author of a typical romantic ode focused on a scene, pondered its meaning, and presented a highly personal reaction to it that included a special insight at the end of the poem (like the closing lines of ¡°Ode on a Grecian Urn¡±).Writing and Publication Dates "Ode on a Grecian Urn" was written in the spring of 1819 and published later that year in Annals of the Fine Arts, which focused on architecture, sculpture, and painting but sometimes published poems and essays with themes related to the arts. Structure and Meter"Ode on a Grecian Urn" consists of fivestanzas that present a scene, describe and comment on what it shows, and offer a general truth that the scene teaches a person analyzing the scene. Each stanza has ten lines written in iambic pentameter, a pattern of rhythm (meter) that assigns ten syllables to each line. The first syllable is unaccented, the second accented, the third unaccented, the fourth accented, and so on. Note, for example, the accent pattern of the first two lines of the poem. The unaccented syllables are in lower-cased blue letters, and the accented syllables are in upper-cased red letters.thou STILL un RAV ished BRIDE of QUI et NESS,thou FOS ter - CHILD of SI lence AND slow TIMENotice that each line has tensyllables, five unaccented ones in blue and five accented ones in red. Thus, these lines--like the other lines in the poem--are in iambic pentameter. Iambic refers to a pair of syllables, one unaccented and the other accented. Such a pair is called an iamb. "Thou STILL" is an iamb; so are "et NESS" and "slow TIME." However, "BRIDE of" and "FOS ter" are not iambs because they consist of an accented syllable followed by an unaccented syllable. Pentameter--the first syllable of which is derived from the Greek word for five--refers to lines that have five iambs (which, as demonstrated, each have two syllables). "Ode on a Grecian Urn," then, is in iambic pentameter because every line has five iambs, each iamb consisting of an unaccented syllable followed by an accented one. Thepurpose of this stress pattern is to give the poem rhythm that pleases the ear.Situation and SettingIn England, Keats examines a marble urn crafted in ancient Greece. (Whether such an urn was real or imagined is uncertain. However, many artifacts from ancient Greece, ones which could have inspired Keats, were on display in the British Museum at the time that Keats wrote the poem.) Pictured on the urn, a type of vase, are pastoral scenes in Greece. In one scene, males are chasing females in some sort of revelry or celebration. There are musicians playing pipes (wind instruments such as flutes) and timbrels (ancient tambourines). Keats wonders whether the images represent both gods and humans. He also wonders what has occasionedtheir merrymaking. A second scene depicts people leading a heifer to a sacrificial altar. Keats writes his ode about what he sees, addressing or commenting on the urn and its images as if they were real beings with whom he can speak.Text, Summary, and Annotations End-Rhyming Words Are HighlightedOde on a Grecian UrnStanza 1THOU still unravish¡¯d bride of quietness,Thou foster-child of silence and slow time,Sylvan historian, who canst thus expressA flowery tale more sweetly than our rhyme:What leaf-fring¡¯d legend haunts about thy shapeOf 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?Stanza 2Heard melodies are sweet, but those unheardAre 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 leaveThy song, nor ever can those trees be bare;Bold Lover, never, never canst thou kiss,Though winning near the goal¡ªyet, do not grieve;She cannot fade, though thou hast not thy bliss,For ever wilt thou love, and she be fair!Stanza 3Ah, happy, happy boughs! that cannot shedYour leaves, nor ever bid the Spring adieu;And, happy melodist, unwearied, [un WEER e ED]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-sorrowfuland cloy¡¯d,A burning forehead, and a parching tongue.Stanza 4Who are these coming to the sacrifice?To what green altar, O mysteriouspriest,Lead¡¯st thou that heifer lowing atthe 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 piousmorn?And, little town, thy streets for evermoreWill silent be; and not a soul totellWhy thou art desolate, can e¡¯er return.Stanza 5O Attic shape! Fair attitude! with bredeOf marble men and maidens overwrought,With forest branches and the trodden weed;Thou, silent form, dost tease us outof thoughtAs doth eternity: Cold Pastoral! When old age shall this generation waste,Thou shalt remain, in midst of other woeThan ours, a friend to man, to whomthou say¡¯st,¡°Beauty is truth, truth beauty,¡±¡ªthat is allYe know on earth, and all ye need to know.Summary and AnnotationsStanza 1Keats calls the urn an ¡°unravish¡¯d bride of quietness¡± because it has existed for centuries without undergoing any changes (it is ¡°unravished¡±) as it sits quietly on a shelf or table. He also calls it a ¡°foster-child of silence and time¡± because it is has been adopted by silence and time, parents who have conferred on the urn eternal stillness. In addition, Keats refers to the urn as a ¡°sylvan historian¡± because it records a pastoral scene from long ago. (¡°Sylvan¡± refers to anything pertaining to woods or forests.) This scene tells a story (¡°legend¡±) in pictures framed withleaves (¡°leaf-fring¡¯d¡±)¨Ca story that the urn tells more charmingly with its images than Keats does with his pen. Keats speculates that the scene is set either in Tempe or Arcady. Tempe is a valley in Thessaly, Greece¨Cbetween Mount Olympus and Mount Ossa¨Cthat is favored by Apollo, the god of poetry and music. Arcady is Arcadia, a picturesque region in the Peloponnesus (a peninsula making up the southern part of Greece) where inhabitants live in carefree simplicity. Keats wonders whether the images he sees represent humans or gods. And, he asks, who are the reluctant (¡°loth¡±) maidens and what is the activity taking place? Stanza 2Using paradox and oxymoron to open Stanza 2, Keats praises the silent music coming from the pipes andtimbrels as far more pleasing than the audible music of real life, for the music from the urn is for the spirit. Keats then notes that the young man playing the pipe beneath trees must always remain an etched figure on the urn. He is fixed in time like the leaves on the tree. They will remain ever green and never die. Keats also says the bold young lover (who may be the piper or another person) can never embrace the maiden next to him even though he is so close to her. However, Keats says, the young man should not grieve, for his lady love will remain beautiful forever, and their love¨Cthough unfulfilled¨Cwill continue through all eternity. Stanza 3Keats addresses the trees, calling them ¡°happy, happy boughs¡± because they will never shed their leaves, andthen addresses the young piper, calling him ¡°happy melodist¡± because his songs will continue forever. In addition, the young man's love for the maiden will remain forever ¡°warm and still to be enjoy¡¯d / For ever panting, and for ever young. . . .¡± In contrast, Keats says, the love between a man and a woman in the real world is imperfect, bringing pain and sorrow and desire that cannot be fully quenched. The lover comes away with a ¡°burning forehead, and a parching tongue.¡± Stanza 4Keats inquires about the images of people approaching an altar to sacrifice a "lowing" (mooing) cow, one that has never borne a calf, on a green altar. Do these simple folk come from a little town on a river, a seashore, or a mountain topped bya peaceful fortress. Wherever the town is, it will be forever empty, for all of its inhabitants are here participating in the festivities depicted on the urn. Like the other figures on the urn, townspeople are frozen in time; they cannot escape the urn and return to their homes. Stanza 5Keats begins by addressing the urn as an ¡°attic shape.¡± Attic refers to Attica, a region of east-central ancient Greece in which Athens was the chief city. Shape, of course, refers to the urn. Thus, attic shape is an urn that was crafted in ancient Attica. The urn is a beautiful one, poet says, adorned with ¡°brede¡± (braiding, embroidery) depicting marble men and women enacting a scene in the tangle of forest tree branches and weeds. As people look upon the scene, theyponder it¨Cas they would ponder eternity¨Ctrying so hard to grasp its meaning that they exhaust themselves of thought. Keats calls the scene a ¡°cold pastoral!¡±¨Cin part because it is made of cold, unchanging marble and in part, perhaps, because it frustrates him with its unfathomable mysteries, as does eternity. (At this time in his life, Keats was suffering from tuberculosis, a disease that had killed his brother, and was no doubt much occupied with thoughts of eternity. He was also passionately in love with a young woman, Fanny Brawne, but was unable to act decisively on his feelings¨Ceven though she reciprocated his love¨Cbecause he believed his lower social status and his dubious financial situation stood in the way. Consequently, he was like the cold marble of the urn¨Cfixed andimmovable.) Keats says that when death claims him and all those of his generation, the urn will remain. And it will say to the next generation what it has said to Keats: ¡°Beauty is truth, truth beauty.¡± In other words, do not try to look beyond the beauty of the urn and its images, which are representations of the eternal, for no one can see into eternity. The beauty itself is enough for a human; that is the only truth that a human can fully grasp. The poem ends with an endorsement of these words, saying they make up the only axiom that any human being really needs to know。
希腊古瓮颂翻译及简要赏析
希腊古瓮颂你委身“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！听见的乐声虽好，但若听不见却更美，所以，吹吧，柔情的风笛；不是奏给耳朵听，而是更甜，它给灵魂奏出无声的乐曲；树下的美少年呵，你无法中断你的歌，那树木也落不了叶子；卤莽的恋人，你永远，永远吻不上，虽然够接近了——但不必心酸；她不会老，虽然你不能如愿以偿，你将永远爱下去，她也永远秀丽！呵，幸福的树木！你的枝叶不会剥落，从不曾离开春天，幸福的吹笛人也不会停歇，他的歌曲永远是那么新鲜；呵，更为幸福的、幸福的爱！永远热烈，正等待情人宴飨，永远热情的心跳，永远年轻；幸福的是这一切超凡的情态：它不会使心灵餍足和悲伤，没有炽热的头脑，焦渴的嘴唇。
这些人是谁呵，都去赴祭祀？这作牺牲的小牛，对天鸣叫，你要牵它到哪儿，神秘的祭司？花环缀满着它光滑的身腰。
是从哪个傍河傍海的小镇，或哪个静静的堡寨的山村，来了这些人，在这敬神的清早？呵，小镇，你的街道永远恬静；再也不可能回来一个灵魂告诉人你何以是怎么寂寥。
哦，希腊的形状！唯美的观照上面缀有石雕的男人和女人，还有林木，和践踏过的青草；沉默的形体呵，你象是“永恒”使人超越思想：呵，冰冷的牧歌！等暮年使这一世代都凋落，只有你如旧；在另外的一些忧伤中，你会抚慰后人说：“美即是真，真即是美，”这就包括你们所知道、和该知道的一切。
(查良铮译，选自《济慈诗选》，人民文学出版社，1958年)一个古瓮会给我们带来什么呢？造型的美丽和雕饰的华美？一般来说只有这些。
但是，在英国大诗人济慈（1795年---1821年）眼里可就不一样了，竟然铺叙出一篇华美的乐章——《希腊古瓮颂》。
“瓮”是古希腊人用来盛放骨灰或作为装饰品的一种大理石或玻璃器皿，上面多画有人与物的形象。
OdeonaGrecianUrn希腊古瓮颂.ppt
Ah, happy, happy boughs（大树枝）! that cannot shed Your leaves, nor ever bid the Spring adieu（与春天道别）; And, happy melodist, unwearied（不累的，孜孜不倦的）, For ever piping songs forever new; More happy love! more happy, happy love! For ever warm and still to be enjoy’d, For ever panting（因狂喜而呼吸急促）, and forever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy’d（厌腻）, A burning forehead, and a parching（枯焦） tongue.
希腊古瓮颂
Thou still unravish’d（纯洁的） bride of quietness, Thou foster-child（领养的孩子） of silence and slow time, Sylvan（田园的) historian, who canst thus express A flowery tale more sweetly than our rhyme（指本诗）: What leaf-fringed legend haunts about thy shape Of deities（神） or mortals（凡人）, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth（即loath,不愿意的）? What mad pursuit? What struggle to escape? What pipes and timbrels（风笛与铃鼓）? What wild ecstasy（狂喜）?
《希腊古瓮颂》的赏析
beautiful bride at once. This may be the difference between great people and
common persons.
It is a pity that the beauty in life can not exist forever. The summer flowers come
”
Monalisa to smile for hundreds of years. In this poem, there is also one sentence
expresses the same meaning. On the urn, a piture showed that a young man wanted to
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Ode on a Grecian Urn
• 你委身“寂静”的、完美的处子， • “沉默”和“悠久”的养子， • 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？
• What men or gods are these? What maidens loth（unwilling）?
• 它不会使心灵餍足和悲伤， agony as the poet himself often
•
没有炽热的头脑，焦渴的
嘴唇。
•
experienced in the world. 3. parching: burning
iv
• Who are these coming to the sacrifice?
• She cannot fade, though thou hast not thy bliss （满 足）,
• For ever wilt thou love, and she be fair!
Notes : • though getting near
to the act of kissing his beloved.
• 2. The first two lines refer to the urn, which, as a work of art, has been wedded to the quietness and brought up by silence and slow time, and therefore, suffers no change. They imply that in contrast with the transitoriness of human life, art is immortal.
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Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead’st thou tat 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 its folk, this pious morn? And, little town, thy streets for evermore Will silent be; and a soul to tell Why thou art desolate, can e’er return.
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 dost 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 boughs! that cannot shed Your leaves, nor ever bid the Spring adiwu; 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.
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!
ODE ON A GRECIAN URN
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-fringed 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 struggle to escape? What pipes and timbrels? What wild ecstasy?