Stopping by Woods on a Snowy Evening
完整word版,stopping by woods on a snowy evening翻译及赏析
Stopping by Woods on a Snowy Evening[雪夜林边小驻]Whose woods these are I think I know, 我知道林子的主人是谁，His house is in the village though. 虽村落是他所居之地。
He will not see me stopping here, 他不会看到我停留于此，To watch his woods fill up with snow. 凝视他的林子雪花纷飞。
My little horse must think it queer, 我的小马一定以我为怪，To stop without a farmhouse near, 近无房舍，为何停伫。
Between the woods and frozen lake, 况只有林子与冰湖，The darkest evening of the year. 和一年中最黑之夜。
He gives his harness bells a shake, 他轻摇铃具To ask if there is some mistake. 询问有错与否。
The only other sound's the sweep, 唯一的回复来自，Of easy wind and downy flake. 软雪和清风。
The woods are lovely, dark and deep. 林子很美——昏暗而幽深，But I have promises to keep, 但我已有约定。
And miles to go before I sleep. 沉醉前还有一段路要走And miles to go before I sleep 沉醉前还有一段路要走。
1Summary: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:Within the four lines of each stanza, the first, second, and fourth lines rhyme. The third line does not, but it sets up the rhymes for the next stanza. For example, in the third stanza, queer, near, and year all rhyme, but lake rhymes with shake, mistake, and flake in the following stanza.The notable exception to this pattern comes in the final stanza, where the third line rhymes with the previous two and is repeated as the fourth line.Do not be fooled by the simple words and the easiness of the rhymes; this is a very difficult form to achieve in English without debilitating a poem's content with forced rhymes.Commentary:This is a poem to be marveled at and taken for granted. Like a big stone, like a body of water, likea strong economy, however it was forged it seems that, once made, it has always been there. Frostclaimed that he wrote it in a single nighttime sitting; it just came to him. Perhaps one hot, sustained burst is the only way to cast such a complete object, in which form and content, shape and meaning, are alloyed inextricably. One is tempted to read it, nod quietly in recognition of its splendor and multivalent meaning, and just move on. But one must write essays. Or study guides.Like the woods it describes, the poem is lovely but entices us with dark depths--of interpretation, in this case. It stands alone and beautiful, the account of a man stopping by woods on a snowy evening, but gives us a come-hither look that begs us to load it with a full inventory of possible meanings. We protest, we make apologies, we point to the dangers of reading poetry in this way, but unlike the speaker of the poem, we cannot resist.The last two lines are the true culprits. They make a strong claim to be the most celebrated instance of repetition in English poetry. The first "And miles to go before I sleep" stays within the boundaries of literalness set forth by the rest of the poem. We may suspect, as we have up to this point, that the poem implies more than it says outright, but we can't insist on it; the poem has gone by so fast, and seemed so straightforward. Then comes the second "And miles to go before I sleep," like a soft yet penetrating gong; it can be neither ignored nor forgotten. The sound it makes is "Ahhh." And we must read the verses again and again and offer trenchant remarks and explain the "Ahhh" in words far inferior to the poem. For the last "miles to go" now seems like life; the last "sleep" now seems like death.The basic conflict in the poem, resolved in the last stanza, is between an attraction toward the woods and the pull of responsibility outside of the woods. What do woods represent? Something good? Something bad? Woods are sometimes a symbol for wildness, madness, the pre-rational, the looming irrational. But these woods do not seem particularly wild. They are someone's woods, someone's in particular--the owner lives in the village. But that owner is in the village on this, the darkest evening of the year--so would any sensible person be. That is where the division seems to lie, between the village (or "society," "civilization," "duty," "sensibility," "responsibility") and the woods (that which is beyond the borders of the village and all it represents). If the woods are not particularly wicked, they still possess the seed of the irrational; and they are, at night, dark--with all the varied connotations of darkness.Part of what is irrational about the woods is their attraction. They are restful, seductive, lovely, dark, and deep--like deep sleep, like oblivion. Snow falls in downy flakes, like a blanket to lie under and be covered by. And here is where many readers hear dark undertones to this lyric. To rest too long while snow falls could be to lose one's way, to lose the path, to freeze and die. Does this poem express a death wish, considered and then discarded? Do the woods sing a siren's song? To be lulled to sleep could be truly dangerous. Is allowing oneself to be lulled akin to giving up the struggle of prudence and self-preservation? Or does the poem merely describe the temptation to sit and watch beauty while responsibilities are forgotten--to succumb to a mood for a while?The woods sit on the edge of civilization; one way or another, they draw the speaker away from it (and its promises, its good sense). "Society" would condemn stopping here in the dark, in the snow--it is ill advised. The speaker ascribes society's reproach to the horse, which may seem, at first, a bit odd. But the horse is a domesticated part of the civilized order of things; it is the nearest thing to society's agent at this place and time. And having the horse reprove the speaker (even if only in the speaker's imagination) helps highlight several uniquely human features of the speaker's dilemma. One is the regard for beauty (often flying in the face of practical concern or the survival instinct); another is the attraction to danger, the unknown, the dark mystery; and the third--perhapsrelated but distinct--is the possibility of the death wish, of suicide.Not that we must return too often to that darkest interpretation of the poem. Beauty alone is a sufficient siren; a sufficient protection against her seduction is an unwillingness to give up on society despite the responsibilities it imposes. The line "And miles to go before I sleep" need not imply burden alone; perhaps the ride home will be lovely, too. Indeed, the line could be read as referring to Frost's career as a poet, and at this time he had plenty of good poems left in him.2This poem is written by the American poet Robert Frost whose works are mostly concerned with nature. In this poem, he describes a little incident happening in a snowy evening. As a traveler, the poet is fascinated by the beautiful scene in the woods. He stops to enjoy it, but his mind urges him to go on, because there is still a long way ahead of him, an unfinished duty waiting for him. This poem is plain in words, but profound in meaning. Since it is full of symbolic constructs, it is thought- provoking, and the readers can get great fun in developing the subtext.In the first stanza, the poet leads us to a piece of beautiful woods filled up with snow. As we all know that the woods are usually linked with myth, the unknown world, and the utmost tranquillity. We can guess that, in this poem, the poet takes the woods as the eternal life, the bliss, that is to say the Heaven. He is fed up with the routine duties, and wants to rest forever. The woods happens to provide an ideal place.Then it comes to the snowy evening. “It is the darkest evening of the year.” The snow is cold and the evening dark, all of which indicate that the poet is depressed inside. His subconscious wants him to stop, but his “little horse” with the inspiring bells, which is actually a symbol of vitality, urges him to go. In the second stanza, the poet uses “frozen lake” to denote dea th. Why he transfers the embodiment of death from the beautiful “woods” to the deadly “frozen lake” is because the point of view has changed from the poet to the little horse.In the third stanza, the little horse wonders why the poet stops when he should have go on. Only “the easy wind” and “downy flake” answer it with soft sweep. We can imagin the scene: the “downy flake” is so light and gentle that it flies in the soft wind. Thus we can get the idea: the poet’s answer is as slight and uncertain as the flakes, because he himself doesn’t know why he stops suddenly in the woods.Toward the end, the poet comes back from the illusion. Though the woods are attractive, he must move on, because he has promise to keep. “The promise” could be an obligation or a goal. One cannot die before fulfilling one’s dream. The poet uses “sleep” to represent death, just as we usually do.In this poem, Robert Frost discusses the relation between mortal obligations and the eternal rest. One leaves no regrets after he dies, as long as one has reached his goal.3In the poem, “Stopping by Woods on a Snowy Evening,” the speaker stops by some woods on a snowy evening and absorbs the lovely scene. The speaker is tempted to stay longer, butacknowledges that he has obligations and a considerable distance to travel before he can rest for the night. The speaker talks with a tone of satisfaction, but at the end of the poem shows a tone of fatigue or tedium. The mood of poem, devotion, appears in lines fourteen and fifteen.The poem offers a great deal of imagery, such as dark, deep woods in line thirteen that are being filled with large amounts of snow pouring from the sky in line four, and house in a small village, again the snow coming down, except this time on the roof the house, in line three. Also, a frozen lake, let it be big or small, with the sky darkening fast, in lines seven and eight. In the third stanza, a horse is shown shaking the bells on his reigns, as if to call the attention of the speaker, to inform him that he must have made a mistake.The poem consists of four almost identically constructed quatrains. Each line has iambic tetrameter. Within the four lines of each stanza, the first, second, and fourth lines rhyme. The third line does not, but it sets up the rhymes for the next stanza. The rhyme scheme is as follows: a,a,b,a;b,b,c,b. For example, in the second stanza, lines five through eight, queer, near, and year all rhyme, but lake rhymes with shake, mistake, and flake in the following stanza. The only exception is the last stanza in which the third line rhymes with the previous two lines and is repeated as the fourth line, therefore the rhyme scheme: d,d,d,d.This poem speaks of wanting to enjoy the pleasures of life, such as watching woods fill up with snow, but then it concludes with the speaker acknowledging that he has work to do, and one can assume that he proceeds on to do it. The poem seems to be stating that it is all right to enjoy the special moments in life, but if one makes a promise, he should not compromise it with the things he enjoys, even if the activities seem better than working.4Robert Frost's Stopping by Woods on a Snowy Evening is by far one of my favorite works of modern poetry. The pensive, unhurried mood of the poem is reflected with a calm rich imagery that creates a vivid mental picture. The simple words and rhyme scheme of the poem give it an easy flow, which adds to the tranquility of the piece. Every aspect of the poem builds off the others to put the mind into the calm of a winter evening. The first stanza of the poem is rather simple and provides the basis for the imagery. It mentions the woods and implies that they are located away from town and civilization his house is in the village though. It also shows the easy pace that speaker is taking, having plenty of time to simply watch the falling snow. As I think about them, the words of the first stanza are not overtly somber, they do however through their order and the way they were chosen create a rather pensive mood. The second stanza provides a more in depth view of the imagery sketched out in the first; it also provides a more definite time and location. The first two lines of this stanza firmly place the reader rather deep in the woods and away from any dwelling. He is so far out in fact that his horse is puzzled by his actions. The next line gives a better image of the scene Between the woods and frozen lake; it seems to be a rather quiet and lonely place. The next line then provides that it is night and very dark, either emotionally or actually. I think that Frost intended to make that line rather ambiguous The darkest evening of the year, It can either be taken literally as the most lightless night, or it can be taken as the night of the darkest emotions. I think that it is a combination of the two, a dark moonless winter night in which the speaker experiences some form ofdepression or loneliness. The third stanza of the poem brings the strangeness of the situation to a head. The only other living being in this cold lonely landscape, the speaker's horse takes action to find the reason for the odd stopping. The noise from the inquisitive harness bells provide contrast to the quiet of the scene, where the only other sounds a wind and snow. The descriptions of the sounds provide a little insight to the speaker's mindset and position. He is so still that he can here the soft fall of the downy flake and hear the movement of the easy wind. This also shows a great calm and patience that the speaker must posses. The final stanza of the poem brings all the sentiments of the poem together, an intense love and awe of nature, a never ending patience and some unknown task or problem that robs the speaker of rest. The dark and deep woods seem to reflect the speaker, his dark emotion and depth of character. There stillness also contrasts with the need of the repeated closing lines And miles to go before I sleep/ And miles to go before I sleep. These final lines represent the problem that has plagued the speaker and that is most likely responsible for his dark mood. It is something that is undefined that does not demand a rush to deal with, but is important enough to demand attention. The poem as a whole, is a simple effigy of a quiet thoughtful night. I can easily relate to the poem, the emotions it describes and the way that the images are presented. The careless ease with which the poem is read is vital to the poem as a whole. Also this is my favorite poem, I didn't have to open the book to remember it, only to see its format again. It reminds me of the moods I feel on snowy nights or early mornings. I live in the woods and before I drove; I often walked through them as a shortcut to visit friends, so I have many memories of stopping by a neighbors wood on an easy walk home, and watching the snow slowly fall.。
stopping-by-woods-on-a-snowy-evening翻译及赏析
Stopping by Woods on a Snowy Evening[雪夜林边小驻]Whose woods these are I think I know, 我知道林子的主人是谁，His house is in the village though. 虽村落是他所居之地。
He will not see me stopping here, 他不会看到我停留于此，To watch his woods fill up with snow. 凝视他的林子雪花纷飞。
My little horse must think it queer, 我的小马一定以我为怪，To stop without a farmhouse near, 近无房舍，为何停伫。
Between the woods and frozen lake, 况只有林子与冰湖，The darkest evening of the year. 和一年中最黑之夜。
He gives his harness bells a shake, 他轻摇铃具To ask if there is some mistake. 询问有错与否。
The only other sound's the sweep, 唯一的回复来自，Of easy wind and downy flake. 软雪和清风。
The woods are lovely, dark and deep. 林子很美——昏暗而幽深，But I have promises to keep, 但我已有约定。
And miles to go before I sleep. 沉醉前还有一段路要走And miles to go before I sleep 沉醉前还有一段路要走。
1Summary: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:Within the four lines of each stanza, the first, second, and fourth lines rhyme. The third line does not, but it sets up the rhymes for the next stanza. For example, in the third stanza, queer, near, and year all rhyme, but lake rhymes with shake, mistake, and flake in the following stanza.The notable exception to this pattern comes in the final stanza, where the third line rhymes with the previous two and is repeated as the fourth line.Do not be fooled by the simple words and the easiness of the rhymes; this is a very difficult form to achieve in English without debilitating a poem's content with forced rhymes.Commentary:This is a poem to be marveled at and taken for granted. Like a big stone, like a body of water, likea strong economy, however it was forged it seems that, once made, it has always been there. Frostclaimed that he wrote it in a single nighttime sitting; it just came to him. Perhaps one hot, sustained burst is the only way to cast such a complete object, in which form and content, shape and meaning, are alloyed inextricably. One is tempted to read it, nod quietly in recognition of its splendor and multivalent meaning, and just move on. But one must write essays. Or study guides.Like the woods it describes, the poem is lovely but entices us with dark depths--of interpretation, in this case. It stands alone and beautiful, the account of a man stopping by woods on a snowy evening, but gives us a come-hither look that begs us to load it with a full inventory of possible meanings. We protest, we make apologies, we point to the dangers of reading poetry in this way, but unlike the speaker of the poem, we cannot resist.The last two lines are the true culprits. They make a strong claim to be the most celebrated instance of repetition in English poetry. The first "And miles to go before I sleep" stays within the boundaries of literalness set forth by the rest of the poem. We may suspect, as we have up to this point, that the poem implies more than it says outright, but we can't insist on it; the poem has gone by so fast, and seemed so straightforward. Then comes the second "And miles to go before I sleep," like a soft yet penetrating gong; it can be neither ignored nor forgotten. The sound it makes is "Ahhh." And we must read the verses again and again and offer trenchant remarks and explain the "Ahhh" in words far inferior to the poem. For the last "miles to go" now seems like life; the last "sleep" now seems like death.The basic conflict in the poem, resolved in the last stanza, is between an attraction toward the woods and the pull of responsibility outside of the woods. What do woods represent? Something good? Something bad? Woods are sometimes a symbol for wildness, madness, the pre-rational, the looming irrational. But these woods do not seem particularly wild. They are someone's woods, someone's in particular--the owner lives in the village. But that owner is in the village on this, the darkest evening of the year--so would any sensible person be. That is where the division seems to lie, between the village (or "society," "civilization," "duty," "sensibility," "responsibility") and the woods (that which is beyond the borders of the village and all it represents). If the woods are not particularly wicked, they still possess the seed of the irrational; and they are, at night, dark--with all the varied connotations of darkness.Part of what is irrational about the woods is their attraction. They are restful, seductive, lovely, dark, and deep--like deep sleep, like oblivion. Snow falls in downy flakes, like a blanket to lie under and be covered by. And here is where many readers hear dark undertones to this lyric. To rest too long while snow falls could be to lose one's way, to lose the path, to freeze and die. Does this poem express a death wish, considered and then discarded? Do the woods sing a siren's song? To be lulled to sleep could be truly dangerous. Is allowing oneself to be lulled akin to giving up the struggle of prudence and self-preservation? Or does the poem merely describe the temptation to sit and watch beauty while responsibilities are forgotten--to succumb to a mood for a while?The woods sit on the edge of civilization; one way or another, they draw the speaker away from it (and its promises, its good sense). "Society" would condemn stopping here in the dark, in the snow--it is ill advised. The speaker ascribes society's reproach to the horse, which may seem, at first, a bit odd. But the horse is a domesticated part of the civilized order of things; it is the nearest thing to society's agent at this place and time. And having the horse reprove the speaker (even if only in the speaker's imagination) helps highlight several uniquely human features of the speaker's dilemma. One is the regard for beauty (often flying in the face of practical concern or the survival instinct); another is the attraction to danger, the unknown, the dark mystery; and the third--perhapsrelated but distinct--is the possibility of the death wish, of suicide.Not that we must return too often to that darkest interpretation of the poem. Beauty alone is a sufficient siren; a sufficient protection against her seduction is an unwillingness to give up on society despite the responsibilities it imposes. The line "And miles to go before I sleep" need not imply burden alone; perhaps the ride home will be lovely, too. Indeed, the line could be read as referring to Frost's career as a poet, and at this time he had plenty of good poems left in him.2This poem is written by the American poet Robert Frost whose works are mostly concerned with nature. In this poem, he describes a little incident happening in a snowy evening. As a traveler, the poet is fascinated by the beautiful scene in the woods. He stops to enjoy it, but his mind urges him to go on, because there is still a long way ahead of him, an unfinished duty waiting for him. This poem is plain in words, but profound in meaning. Since it is full of symbolic constructs, it is thought- provoking, and the readers can get great fun in developing the subtext.In the first stanza, the poet leads us to a piece of beautiful woods filled up with snow. As we all know that the woods are usually linked with myth, the unknown world, and the utmost tranquillity. We can guess that, in this poem, the poet takes the woods as the eternal life, the bliss, that is to say the Heaven. He is fed up with the routine duties, and wants to rest forever. The woods happens to provide an ideal place.Then it comes to the snowy evening. “It is the darkest evening of the year.” The snow is cold and the evening dark, all of which indicate that the poet is depressed inside. His subconscious wants him to stop, but his “little horse” with the inspiring bells, which is actually a symbol of vitality, urges him to go. In the second stanza, the poet uses “frozen lake” to denote death. Why he trans fers the embodiment of death from the beautiful “woods” to the deadly “frozen lake” is because the point of view has changed from the poet to the little horse.In the third stanza, the little horse wonders why the poet stops when he should have go on. O nly “the easy wind” and “downy flake” answer it with soft sweep. We can imagin the scene: the “downy flake” is so light and gentle that it flies in the soft wind. Thus we can get the idea: the poet’s answer is as slight and uncertain as the flakes, because he himself doesn’t know why he stops suddenly in the woods.Toward the end, the poet comes back from the illusion. Though the woods are attractive, he must move on, because he has promise to keep. “The promise” could be an obligation or a goal. One can not die before fulfilling one’s dream. The poet uses “sleep” to represent death, just as we usually do.In this poem, Robert Frost discusses the relation between mortal obligations and the eternal rest. One leaves no regrets after he dies, as long as one has reached his goal.3In the poem, “Stopping by Woods on a Snowy Evening,” the speaker stops by some woods on a snowy evening and absorbs the lovely scene. The speaker is tempted to stay longer, butacknowledges that he has obligations and a considerable distance to travel before he can rest for the night. The speaker talks with a tone of satisfaction, but at the end of the poem shows a tone of fatigue or tedium. The mood of poem, devotion, appears in lines fourteen and fifteen.The poem offers a great deal of imagery, such as dark, deep woods in line thirteen that are being filled with large amounts of snow pouring from the sky in line four, and house in a small village, again the snow coming down, except this time on the roof the house, in line three. Also, a frozen lake, let it be big or small, with the sky darkening fast, in lines seven and eight. In the third stanza, a horse is shown shaking the bells on his reigns, as if to call the attention of the speaker, to inform him that he must have made a mistake.The poem consists of four almost identically constructed quatrains. Each line has iambic tetrameter. Within the four lines of each stanza, the first, second, and fourth lines rhyme. The third line does not, but it sets up the rhymes for the next stanza. The rhyme scheme is as follows: a,a,b,a;b,b,c,b. For example, in the second stanza, lines five through eight, queer, near, and year all rhyme, but lake rhymes with shake, mistake, and flake in the following stanza. The only exception is the last stanza in which the third line rhymes with the previous two lines and is repeated as the fourth line, therefore the rhyme scheme: d,d,d,d.This poem speaks of wanting to enjoy the pleasures of life, such as watching woods fill up with snow, but then it concludes with the speaker acknowledging that he has work to do, and one can assume that he proceeds on to do it. The poem seems to be stating that it is all right to enjoy the special moments in life, but if one makes a promise, he should not compromise it with the things he enjoys, even if the activities seem better than working.4Robert Frost's Stopping by Woods on a Snowy Evening is by far one of my favorite works of modern poetry. The pensive, unhurried mood of the poem is reflected with a calm rich imagery that creates a vivid mental picture. The simple words and rhyme scheme of the poem give it an easy flow, which adds to the tranquility of the piece. Every aspect of the poem builds off the others to put the mind into the calm of a winter evening. The first stanza of the poem is rather simple and provides the basis for the imagery. It mentions the woods and implies that they are located away from town and civilization his house is in the village though. It also shows the easy pace that speaker is taking, having plenty of time to simply watch the falling snow. As I think about them, the words of the first stanza are not overtly somber, they do however through their order and the way they were chosen create a rather pensive mood. The second stanza provides a more in depth view of the imagery sketched out in the first; it also provides a more definite time and location. The first two lines of this stanza firmly place the reader rather deep in the woods and away from any dwelling. He is so far out in fact that his horse is puzzled by his actions. The next line gives a better image of the scene Between the woods and frozen lake; it seems to be a rather quiet and lonely place. The next line then provides that it is night and very dark, either emotionally or actually. I think that Frost intended to make that line rather ambiguous The darkest evening of the year, It can either be taken literally as the most lightless night, or it can be taken as the night of the darkest emotions. I think that it is a combination of the two, a dark moonless winter night in which the speaker experiences some form ofdepression or loneliness. The third stanza of the poem brings the strangeness of the situation to a head. The only other living being in this cold lonely landscape, the speaker's horse takes action to find the reason for the odd stopping. The noise from the inquisitive harness bells provide contrast to the quiet of the scene, where the only other sounds a wind and snow. The descriptions of the sounds provide a little insight to the speaker's mindset and position. He is so still that he can here the soft fall of the downy flake and hear the movement of the easy wind. This also shows a great calm and patience that the speaker must posses. The final stanza of the poem brings all the sentiments of the poem together, an intense love and awe of nature, a never ending patience and some unknown task or problem that robs the speaker of rest. The dark and deep woods seem to reflect the speaker, his dark emotion and depth of character. There stillness also contrasts with the need of the repeated closing lines And miles to go before I sleep/ And miles to go before I sleep. These final lines represent the problem that has plagued the speaker and that is most likely responsible for his dark mood. It is something that is undefined that does not demand a rush to deal with, but is important enough to demand attention. The poem as a whole, is a simple effigy of a quiet thoughtful night. I can easily relate to the poem, the emotions it describes and the way that the images are presented. The careless ease with which the poem is read is vital to the poem as a whole. Also this is my favorite poem, I didn't have to open the book to remember it, only to see its format again. It reminds me of the moods I feel on snowy nights or early mornings. I live in the woods and before I drove; I often walked through them as a shortcut to visit friends, so I have many memories of stopping by a neighbors wood on an easy walk home, and watching the snow slowly fall.。
罗伯特·弗罗斯特的《拾穗录》：选择与命运的抉择
罗伯特·弗罗斯特的《拾穗录》：选择与命运的抉择引言《拾穗录》是美国作家罗伯特·弗罗斯特的一部诗集，出版于1914年。
该诗集以其深刻而富有哲理的诗歌描绘了农村生活、人性探索和选择与命运之间的关系。
诗集概述《拾穗录》由四个主要部分组成，分别是“The Pasture”（牧场）、“After Apple-Picking”（采苹果之后）、“Stopping by Woods on a Snowy Evening”（在雪夜驻足山林）和“The Road Not Taken”（未选择的道路）。
每首诗都以细腻而充满想象力的方式展示了作者对个人自由意志、重要决策和命运的思考。
牧场（The Pasture）这首诗描述了一个简单而宁静的乡村景象。
通过描绘一只小羊羔和它们在牧场上享受自由生活的情景，作者试图传达一种平静与宁静背后所蕴含着人类内心深处对自由渴望的感觉。
采苹果之后（After Apple-Picking）这首诗描述了一个园丁在采摘完苹果后疲惫和思索的心情。
作者通过描写梦境、幻象和对死亡的思考，展示了人们在生活中取舍之后所难以逃离的命运。
在雪夜驻足山林（Stopping by Woods on a Snowy Evening）这首诗描绘了一个人在寒冷的雪夜中骑马穿过森林时，被宁静和美丽所吸引而停下来。
然而，他意识到自己责任与义务的召唤，最终选择了继续前进。
这首诗呈现了主角面临选择以及内心挣扎的情感。
未选择的道路（The Road Not Taken）这首诗是《拾穗录》中最为著名和广为人知的一首诗。
它描述了主角在两条小路之间做出抉择，并表达了对于人生选择所带来的影响与结局不可预测性的思考。
诗中“未选择的道路”代表着每个人生命中未能选择或放弃的机会，并表达了作者对勇于追求个人理想与目标重要性的信念。
结论《拾穗录》中的诗歌以其简洁而深刻的表达方式，通过描绘农村景象和个人情感，引发了读者对自由意志、命运与选择之间关系的思考。
世界著名英文诗歌
世界著名英文诗歌
1. 《When You Are Old》：这是爱尔兰诗人威廉·巴特勒·叶芝的经典之作，这首诗以深情的方式描绘了时间流逝和爱情消逝的主题。
2. 《The Road Not Taken》：这是美国诗人罗伯特·弗罗斯特的代表作之一，这首诗描绘了一个人在岔路口选择道路的场景，表达了人生中选择的复杂性和重要性。
3. 《Stopping by Woods on a Snowy Evening》：这是美国诗人艾米莉·狄金森的代表作之一，这首诗描绘了作者在雪夜中独自旅行的场景，表达了自我发现和探索的主题。
4. 《The Last Ship》：这是英国诗人卡明斯的一首自创诗，这首诗以独特的方式描述了一艘船的建造和毁灭，表达了诗人对生命和时间的思考。
5. 《To a Skylark》：这是英国诗人珀西·比希·雪莱的代表作之一，这首诗以赞美自然为主题，表达了诗人对生命的热爱和对自由的追求。
英语古诗大全(简单短的)
英语古诗大全(简单短的)
英语古诗中有许多简单而优美的作品，下面我将为你介绍一些著名的英语古诗。
1.《The Road Not Taken》。
作者，罗伯特·弗罗斯特。
这首诗讲述了一个人在两条分岔的小路上选择了一条少人走过的路，这个选择改变了他的人生。
诗中用简洁的语言表达了人生抉择的主题，给人留下深刻印象。
2.《Stopping by Woods on a Snowy Evening》。
作者，罗伯特·弗罗斯特。
这首诗描述了一个人在寒冷的冬夜里驻足观赏雪地和树林，表达了对大自然的敬畏和对生命的思考。
诗中使用了优美的语言和节奏感强的韵律，给人一种宁静和深沉的感觉。
3.《I Wandered Lonely as a Cloud》。
作者，威廉·华兹华斯。
这首诗描绘了作者在湖边漫步时看到一片美丽的郁金香花海的情景，表达了对大自然的赞美和对生活的热爱。
诗中运用了简单清新的语言和生动的比喻，给人一种愉悦和轻松的感受。
以上这些英语古诗都是简单而优美的作品，通过它们可以感受到诗人对自然、生活和人生的深刻思考和感悟。
希望这些诗作能够给你带来一些启发和感悟。
StoppingbyWoodsonaSnowyEvening专业知识讲座
And miles to go before I sleep,
须行完旅程才干安眠，
采用重叠句
旳形式以强
And miles to go before I sleep. 调担负责
须行完旅程才干安眠。
任之重大。
诗人承担起自己所应担负旳社会责任， 谋求自己人生旳真正意义。
• This stanza reveals the woods’ attraction
The woods are lovely, dark and deep,
树林幽深，景色迷人， 1）Alliteration
头韵
2）强调树林旳幽暗和深邃
But I have promises to keep,
但是，我有约要赴， 社会职责和义务
诗人来自社会，尽管大自然旳魅力使他流连忘返， 但他最终决定回归社会。
The first stanza tells us that the man is stopping in front of the woods owned by another person in the village--the village and the owner can both represent human society. Only the man is watching the woods being filled up with snow. The woods and snow can both hint at natural occurrences.
The only other sound’s the sweep,
另外别无他声，
1)Alliteration
头韵
2)连续旳[s]音令人似乎耳闻风吹
stoppingbywoodsonasnowyevening雪夜林边驻足翻译及赏析
《雪夜林边驻脚》赏析（辜正坤）这是一首充满梦幻情调和淡淡忧思地诗歌.弗罗斯特本人曾认为这首诗是他所有创作地诗作中他最喜欢提到地诗.科林斯•布鲁克斯也认为：“在弗罗斯特地诗歌中,这首诗最引人注目.”《雪夜林边驻脚》至少有5组意象连缀起来表达了一种扑朔迷离、忧思惆怅地情调.第1组意象是雪夜.这是寒冷与幽暗二者地结合,象征着诗人心境地凄冷状态.第2组意象是树林,美丽、幽深,象征着诗人地寄托.第3组意象是小马,这是无忧无虑、天真烂漫地生命和力地象征.第4组意象是湖冰,冷地极致,象征着死亡.是诗人本能地感觉到地必不可免地未来地归宿.第5组意象是飞舞地雪花,漫天遍野,有点像是其余4组意象地中介物,弥漫而不执著,可见而不可触.飘然于前,忽焉在后,是扑朔迷离状态地最贴切地写照.这种扑朔迷离状态由于诗中一连串地疑惑而进一步加强：“纳闷”“为何”“仿佛问,出了什么事情？”此诗地诗眼是“可惜我还有别地承诺等待完成（课文译为：可是许诺地事还得去做）”.诗人还有强烈地使命感,他还不愿意就此在雪夜地林边永远驻步,生命地路程远未完结,他“不能安睡,除非再走一程（课文译为：还得走好多里才能安睡）”.死亡这种极其重大地主题在这里被淡化,诗人以一种近乎超然地人生态度来提到它.苟非有“承诺”,他也许会长此沉睡林边！诗歌地魅力正在于诗人对待生命与死亡地这种近乎超然地心态.来则来,去则去,人生在世,只要尽其所能地完成承诺,则无所遗憾.不过,弗罗斯特终究还是愿意执著于生命地.他地超然也还不能达到苏轼（1037—1101）地那种超逸隽永、泻化无痕地清高境界：“缺月挂疏桐,/漏断人初静./谁见幽人独往来？/缥缈孤鸿影.//惊起却回头,/有恨无人省./拣尽寒枝不肯栖,/寂寞沙洲冷.”苏词地境界亦有类于弗罗斯特诗境界处.此词意境幽冷深曲,影影绰绰,恰如孤鸿之翩然而至,悠然而往.“语意高深！似非吃烟火食人语”.但词旨毕竟有别,此词喻诗人不肯苟合取容、与世俗同流.（选自《中西诗比较鉴赏与翻译理论》,清华大学出版社2003年版）弗罗斯特地诗歌多以自然为题材,树林、溪水、鸟禽、马驹,以及朴素地田园生活,是他喜欢抒写地对象,有人曾称他是一个自然诗人.然而,诗人地对象虽然是自然,但他关注地却是自然之中人地生活.因而,他地诗歌表面上质朴无华,经常是以叙述地口吻,细致呈现生活中地场景和事件,但在保持一种经验地可感性、亲切性之外,他地诗歌往往还包含抽象地意义,在叙述之中引申、提炼出丰富地哲理思考.《雪夜林边驻脚》一诗也突出体现了这种特征.在叙述地层面,它写地是一个很简单地故事：“我”在一个雪夜赶路,途经一片树林,被树林地幽深、寂静吸引,暂时忘记了行程,但最后还是催促自己继续赶路.这首素朴地小诗,似乎没有使用什么修饰,只是叙述事情地过程,却有一种美妙地表现力,完全传达出了白雪覆盖地树林地神秘、静谧,特别是二、三两节,诗人自己没有出场,而是从小马地视角出发,揣度它内心地好奇：在小马地眼里,主人地驻足有点离奇,这里一片冰雪无处休息.这段心理描写,出人意料却又在情理之中,无形中给这首诗抹上了一层童话地色彩.为了进一步渲染雪夜树林地安静,诗人抓住一个小马地动作,“它把颈上地铃摇了一摇”,当做对世界地提问,世界地回答只是风吹雪片发出地声音.在这几行诗中,清脆地铃声,风雪地絮语,似乎都打破了林中地安静,但正是因为有了这些细微地声响,雪夜才被衬托得静美、无边.在发出由衷地赞叹之后,诗人似乎在自我叮咛,不要沉迷于雪夜地诱惑：“可是许诺地事还得去做.”最后出现两次地“还得走好多里才能安睡”,舒缓低沉,仿佛一个疲倦地旅人,正在睡眼惺忪中低语,又像一种咒语,安慰了雪夜中迷茫地人心.那么,这首诗地抽象意义是什么呢？这涉及到对“树林”这个意象地解读.在诗歌中有一种思想地表达方式,是用一个形象去代表某种确定地观念,比如读到“玫瑰”,我们就想到爱情,读到“羔羊”,我们就想到牺牲,读到“暴风雨”,我们就想到革命.这种手法会使抽象地观念有了形象性,但毕竟有一点机械、图解地味道.在弗罗斯特这里,“树林”不是某一种思想地形象符号,它更多地是一种含义不确定地隐喻.在这首诗中,被白雪覆盖地树林虽然幽静、但也是一个神秘地、充满可能性地存在,让疲倦地旅人驻足不前.有人解释它代表了人生地诱惑,还有人说树林是人生地最后归宿──死亡地化身,都有一定地道理,但无论作何理解,在树林面前,一个行路地人要做出自己地选择、自己地判断.诗人还有一首关于“树林”地诗作,名为《未选择地路》.诗中也写到了一个旅人,他在树林中遇到岔开地两条路,选择不同地路会带来不同地人生.在诗人笔下,“树林”不只是一个现实地场景,也象征了某种人生旅途中地状态,深幽地空间,错杂地路径,暗示了迷惑与不确定,需要人停下脚步,反思自己地方向.但丁《神曲·地狱篇》地开头,也有一个类似地隐喻性场景：诗人在人生地中途,走入一座昏暗地森林,迷失了正确地方向.将这个段落与弗罗斯特地诗歌参照阅读,会更深入地理解“树林”地深层内涵.2.这首诗语言虽然十分朴素,没有什么夸张地想像、特殊地词汇,但这并不是说它与一般地口语没有区别,而是说诗人使用地技巧非常自然,没有斧凿地痕迹.重点分析诗中“小马”地形象和心理,以及诗人如何通过动与静、“有声”与“无声”地搭配,衬托出雪夜无边地静美.3.注意分析诗歌结尾重复地一句“还得走好多里才能安睡”,在语气上起到了什么效果.4.这首诗地意蕴较为深邃,有人说积雪地树林代表了一种诱惑,与赶路代表地“责任”构成矛盾,有人说寂静、神秘地雪夜象征着死亡,诗人克服困倦继续赶路,是对死亡地抗拒.让学生比较这些说法,并根据阅读感受提出自己地解释.二、扩展与比较1.让学生阅读诗人地另一首名作《未选择地路》,以及但丁《神曲·地狱篇》片段,这些诗作都与树林地意象相关,在相互参照中,可以帮助学生更深入地理解“树林”地含义.2.在平凡地生活中发现精微地哲理,是诗人地一种重要地能力,向学生介绍冯至地《我们天天走着一条小路》一诗,在风格上它与弗罗斯特地作品很接近,描写了树林中地小路,借此表达了这样一种观念：生活中有多少熟悉地事物等待我们去发现.我们天天走着一条小路冯至我们天天走着一条熟路回到我们居住地地方；但是在这林里面还隐藏许多小路,又深邃、又生疏.走一条生地,便有些心慌,怕越走越远,走入迷途,但不知不觉从树疏处忽然望见我们住地地方,像座新地岛屿呈在天边.我们地身边有多少事物向我们要求新地发现：不要觉得一切都已熟悉,到死时抚摸自己地发肤生了疑问：这是谁地身体？（《冯至全集》第一卷,河北教育出版社1999年版）第一歌序曲：浮吉尔救助但丁就在我们人生旅程地中途,我在一座昏暗地森林之中醒悟过来,因为我在里面迷失了正确地道路.唉！要说出那是一片如何荒凉、如何崎岖、如何原始地森林地是多难地一件事呀,我一想起它心中又会惊惧！那是多么辛酸,死也不过如此：可是为了要探讨我在那里发见地善,我就得叙一叙我看见地其他事情.我说不清我怎样走进了那座森林,因为在我离弃真理地道路时,我是那么睡意沉沉.但在我走到了那边一座小山地脚边以后（那使我心中惊惧地溪谷,它地尽头就在那地方）,我抬头一望,看到小山地肩头早已披着那座“行星”地光辉,它引导人们在每条路上向前直行.于是,在我那么凄惨地度过地一夜不断地在我地心地湖里震荡着地惊惧略微平静了.好像一个人从海里逃到了岸上,喘息未定,回过头来向那险恶地波涛频频观望：我地仍旧在向前飞奔地心灵就像那样地回过来观看那座没有人曾从那里生还地关口.我让疲乏地身体休息了片刻,又顺着那座荒崖前行,我地后脚总是踏得稳些.……（但丁《神曲·地狱篇》,朱维基译,上海译文出版社1984年版）参考资料一、小诗大境界（周伟驰）弗罗斯特在英美现代诗史上是一个卓尔不群地人物.与智性、晦涩地艾略特式新玄学诗派不同,他地诗往往在“明白易懂”地词句下隐藏着几近深不可测,甚至“可怕地”意境.对于尝惯了艾略特、奥登口味地“精英”读者来说,弗罗斯特仿佛是一件过时地东西,被他们打发掉了.而“普通”读者则视他为伟大地乡土诗人或“民族诗人”,认为他明智、舒缓、幽默,深谙新英格兰地人情世故.笔者2000年8月于旧金山参加一个与诗歌毫不相干地会议,会上地主席在谈到志业地选择时,随口将弗罗斯特地《未选择地路》悉数背出,令我恍惚觉得弗罗斯特之在美国就如唐诗之在中国.而谁能背得出艾略特或庞德那样支离破碎地诗呢.但在一些诗人、诗评家看来,“精英”和“普通”读者可能都“错过”了“真正地”弗罗斯特.对弗罗斯特地评价涉及诸多文本阐释问题,像布罗茨基对《家葬》进行地精密分析,希内对《白桦树》地赏玩,都是颇有意思地重新构造.就阐释而言,既与文本本身地质地有关,也与阐释者地见地有关.文本过于支离破碎,本身就是一堆废墟,在其上建造雄伟地诠释学大厦固然容易,但正如“画鬼容易画虎难”,难免给人“可爱而不可信”之感,仿佛印证了“诗歌是个任由打扮地小姑娘”.文本过于完整,意思过于单一,又会没有阐释家发挥地余地,让他们觉得无用武之地,从而缺乏对之“解剖”地兴趣.当年哈代就因为“不具有可挖掘性”,其诗一看即明,被打入冷宫数十年,其“内在美”还要在“打倒艾略特”之后才能悦人地眼目.阐释家地见地,真所谓“仁者见仁”“智者见智”,对同一首诗,求伦理者会看见温柔敦厚及作者地羞耻感以及社会风气地变迁,得到些许心灵地平安；讲智性者会这里见到一反讽,那里见到一机智,得点头脑地快乐；弗洛伊德主义者则会东看到一点性暗示,西看到一点压抑地人性,复杂点地马克思主义加弗洛伊德主义加女权主义加福柯主义还会发现诗中隐蔽地阶级趣味、性政治、性与政治地同构,或宏观或微观地权力压迫、压抑、压榨、压力.诗要具有“适当地”“可阐释性”,就不要太支离破碎,弄得阐释家冒“指鹿为马”之危险,也不要过于完整、滴水不露,弄得阐释家手足无用,不能体现出其职业存在之意义何在.弗罗斯特在这点上走得相当稳,他地几首名作,都具有整体意境,为广大人民群众所热爱,但又有意无意在里面留了许多“空当（gap）”,达到“言有尽而意无穷”地效果,从而为专业批评家留下了练武场.《雪夜林边驻脚》许是弗罗斯特最负盛名地一首小诗,被他称为“我最堪记忆地一首诗”,首次出现于1923年出版地诗集《新罕普什尔》.对这首诗该如何解释,历来众口纷纭,莫衷一是.鉴于“诗歌就是翻译中损失掉地那部分”,这里有必要将原文和译文对照着来阐读.好在原文体现了弗氏一贯地“简单易读”,读者亦可复习巩固一下英语,顺便领略英诗大家地“语言美”,何乐而不读.即使不读原文,也不会妨碍我们对阐释地理解.粗读一遍,这首诗写主人公（“我”）在一个夜晚经过一座森林时,林中雪景令他流连忘返,伫立良久,因想起有承诺在身,遂只好离开.情节（plot）就是这么简单.这首诗,作者常在公共场合朗诵它,也乐于让人们对它进行种种存在主义地、美学地解释,如果有人作“过度诠释”,他会出来加以限制,并转而强调诗本身在形式上、写作过程中地特征.如有一次他就说,这首诗写作中最让他高兴地句子是“他抖响颈上地铃铛/问是不是出了什么差错”这两句.这里我们先不管作者地意见,只将它视为一个客观呈现地文本,来看对它地几种解释.第一种解释可名之为“社会生活──审美生活冲突论”.林中美丽地雪景使主人公入迷,浑然忘我,停步不前,但马儿提醒他还“有一些诺言要守”,不能在此流连忘返,还是要回到人世间履行作为社会人地义务和责任.这里有一个大地对立：审美生活是自由自在地、沉思地、美地、艺术地、罗曼蒂克地,而伦理—社会生活则有所不同,是现实地、负有责任地、实际地.用中国哲学来说,一个是道家式地艺术、逍遥人生,一个是儒家式地承担人生.这第二种解释可名之为“死之诱惑论”.这种观点认为,“林子”与社会、城镇、房屋、安全、温暖相反,乃是荒蛮、死寂、危险、不祥之象征.林中地雪不是飘着,而是“积满着（fill up with snow）”.从时间上看,这是在一年最黑地那天夜里.从音节上分析,第三节前两行（He gives his harness bells a sbake/To ask if there is some mistake）写马儿摇响铃铛,多为喉音,响亮而突兀（如shake,mistake）,恰与马儿地形象、动作相配,而到了后面两行（The only other sound’s the sweep/Of easy wind and downy flake）,则多了柔和地咝咝声,恰与悠风落雪柔软呼声相应,其中sweep则与下面第四节之deep,keep,sleep［睡］绵绵相接,带有一种催眠地魔力,这样就不知不觉地转换到了林子地致命地诱惑,从而与本节前两行构成一种张力：一个要赶紧回到世间,一个想深入林中.所以有评论家认为,该诗地主题乃是死之诱惑,诗人受到林景诱惑,看着积雪消融一切地有限物,甚至涌起了自杀地本能冲动.这种下意识或非理性地冲动也可视为自然本身即有地.这样一来,对这首诗地解读就得全盘重来.诗人在这里要保持地平衡再不是审美生活与伦理义务之间地平衡,而是自我毁灭与自我保存之间地平衡.而林子地主人和“马儿”现在代表地就是自我保存地、理性地和“健康地力量”了.“马儿”（实际是主人公地自我保存力量）也本能地嗅到了林子地危险气息和“我”地阴暗面.实际上也有传记作家指出,这首诗带有自传性质.1905年圣诞节前夕,弗罗斯特为了筹钱给孩子买圣诞礼物,跑到附近镇上去卖鸡蛋,本来抱着希望去,结果空手而归.在回家地路上看着林中雪景,不禁泪从中来.这首诗虽然写于17年后,但无疑是因忆起以往艰辛而起.总地来说,文本一旦出笼,进入公众视野,对它地解释权就成了“公众地权力”了,任何人只要能自圆其说,不自相矛盾,就能形成自己地“读法”.作者本人对此实在是无能为力地.中古教父奥古斯丁在谈到对《创世纪》地解释时说,对于同一段经文可能出现好几种不同地、都能自圆其说地解释,无法判断谁“正”谁“邪”,但只要它们都能促进信仰、不危及信仰,就可以认为它们是合法地.这也适用于对这首诗地解释：只要它们能够自圆其说,能够促进我们地诗歌美学敏感性,就是合法地.因此作者地权威在这里并不起最终地作用.这里我们不妨结合以上几种解释（主要是第一、第二种）,着重从“关系”地角度对这首诗做一种解释.这首诗由各种对立地形象形成了一个宽广地“张力空间”,可以容纳许多种不同地、甚至截然相反地解释.这个“张力空间”是由诗中几个主要“人”、“物”之间地复杂关系构成地.“我”与林子地主人显然不同,诗中通过“所有格”和定冠词暗示,林子对于他只是一种外在地“占用”地关系,对于“我”却是一种内在地呼应地关系,甚至形成致命诱惑.对于这种歧异,“我”也是有所意识地,知道在林子地主人眼里,“我”地举止一定“奇怪”.“我”与马地关系,相对而言要亲密.马是“我地（my）”马,就此而论也有一种“所有”关系,不过,“我”和“我”地马是心意相通地,这从第二节、第三节对马地拟人化看得出来,因此二者是“不隔”地.不过,马对待林子地态度本质上是和林子地主人一样地,就是对我地举止感到“奇怪”.对于“他”（英文中称之为“他”而不是汉语中常用地“它”,又一个语言差异导致思维差异地例子）来说,本能地需要是要得到满足地,比如现在寒夜里要快点回到温暖地“家”,有好地方睡,有好食物吃,林中风景、林子地诱惑之类对于“他”是“无用地”“无益地”,他也漠不关心、不能领略,所谓“不解风情”也.所以他对于林子地态度是一种“实用主义”地态度.马对“我”地询问和提醒实际上是“我”对“我”自己地询问和提醒,马和“我”地心意相通只是部分地,只是实用地那部分,“他”没有审美地那部分,因此无法在这方面和“我”相通.“我”与林子地关系是这首诗里地核心关系之一.无疑,林子引起我地兴趣,令我观望得“出神”,使得我“停在这里（stopping here）”.这是什么样地林子？是冬天最暗一夜地林子,林子里雪正在堆积.林子边有一个“结冰地湖”,附近杳无人烟,风声之外,万籁俱寂,一片荒凉.是什么使我“停”了下来？这个问题比较复杂.因为对它地解释会引起对整首诗地解释地重构.谈到林中景地几句,显示了诗人高度地语言暗示技巧.第一节to watch his woods fill up with snow中地fill up with snow,是“用雪填满、装满他地林子”地意思,可见雪是多么地厚.白雪茫茫一片,盖掉了一切有限之物地界限,就好比死亡之抹平一切,也许真会使“我”产生躺在雪上来一个雪葬之冲动；第三节地后两行,The only other sound’s the sweep/Of easy wind and downy flake,是评论家们注意地一个焦点.它与本节前两行写马儿振铃动作地音韵不同,失去了清醒感,从而不知不觉地处于一种轻柔如梦、催眠曲般地寂静之中,正与诗中所写地悠悠地风不经意地扫过、鹅毛大雪静静地落下相应.这里用到了－eep韵（sweep）,引发起下一节地deep,keep,sleep,与“睡眠”连在一起.诗人这里是在暗示,林子对于“我”有一种催眠般地诱惑,这种诱惑不一定是善良、仁慈地,而可能是致命地（令我昏昏欲睡,sleep）.第四节第一行说,The woods are lovely, dark and deep,林子地可爱与黑、深是连在一起地.吸引“我”地都与林子地“黑而且深”有关.如果将“黑而且深”也理解为“可爱地”,那么无疑“我”之观看林子是在欣赏美景,就会出现上面所说地“社会生活──审美生活冲突论”.如果将“黑而且深”之“可爱”解作“致命诱惑”,却会有不同地结果.结合弗罗斯特地别地诗里地林子形象,如《进来》（Come in）,可看出林子是一个负面形象,在它里面是不安全、危险,或布罗茨基所说地“恐怖”,相当于但丁《神曲》中地“黑暗地林子”.这样一来,林子之吸引“我”,就是一种危险、致死地力量在“召唤”我、“催眠”我,引发我潜意识里地自我毁灭地冲动.除了第三节后面两行地暗示外,全诗最后两行地重复句And miles to go before I sleep（睡觉前还有好多里要走）无疑会加强这一印象,因为sleep（睡觉）在诗歌传统里一直是暗示“死”地.不过,即使将这里地“睡”解释成“死”,也仍有问题.有人指出,这句话是说人生短暂（不过几里嘛,miles）,因此人要在这短暂一生里追求真理,有所作为.另外有人则联系上文引申,这句话是相当于说“死之前还有好多年要活”,这样就将审美之沉思出神与死亡做了对比、类似或平行并置.诗人地总体意思似乎是在说,美在生命中有其关键价值,但将一生投入到它之中而舍弃别地义务,却等于是死了,就是在社会人地意义上死了.不过,具体到对“睡觉之前还有好多里要走”地解释,我们却会发现还有许多困难.结合语境做字面解,这句话是在“不过我有一些诺言要守”之后说地,因此也许我们可以这样理解：“我”本受了林子地诱惑,想停留在这里,不过想到诺言在身,就又要上路了.到达目地地（也许是家,也许是别地什么住地地方）还有好多里,只有到了之后才可以休息（睡觉）.现在则还不能休息（而林子可能在诱惑他早点休息）.因此这句话地字面意思其实很简单,无非是“还要走好多里才可以得到休息”,或者“还要走好多里才可以到家睡个好觉”.如果我们在此做“喻意解经法”,比如将“睡觉”作“死亡”解,则结合上下文,可以说,林子地诱惑使他想到“死”,但又想到人世间地义务缠身,因此现在不能死,得保持生命,这样就将死亡推迟到以后了,还得过许多年才能够死.这样“走好多里”就意味着活许多年、尽许多义务.至于在这过程中还会不会继续关注林子并受其诱惑则不得而知了.无论是做“字面解经法”还是做“喻意解经法”,“睡”都与林子引起地催眠效果有关,只不过“我”最终清醒地对这催眠地引诱做了拒绝.就如同《进来》中对进入林子地邀请做了拒绝一样.诗到这里真地成了弗罗斯特所谓地“与混乱相对抗地瞬间”了.无疑马和林子都对应于“我”地一部分,而它们是对立地.它们构成了自我内部地冲突.这首诗就是要维持“林子”和“马”之间地平衡.这种平衡是一种动态地平衡,是张力中地平衡,张力就构成了这样一个“我”.布罗茨基有一个说法很好,他说,艾略特地诗是貌似复杂其实简单,比如“我地开始就是我地终结”或“我地终结就是我地开始”之类句子,而弗罗斯特地诗是看似简单其实复杂,比如《进来》《家葬》以及我们分析地这首诗.我们姑且分别名之为“词语地复杂”和“关系地复杂”.前者是单义地、理性地、抽象地,偏重于语言本身地智性美,后者则是歧义地、情境地、具体地,偏重于对世界、对“人”“物”及其关系地揭示,揭示其深层地矛盾.真正识货地读者,知道这样地诗是更好地诗,不故弄玄虚、制造晦涩,是在骨子里体现了生活和语言本身地复杂性,而在形式上,又能为普通地大众喜欢,使诗与人民亲和,确实显出了其卓尔不群、老而弥辣地深厚根底.难怪布罗茨基称赞他,说他无需炫耀他地学识,因为他地学识是天生地.我们看不到他在诗里如艾略特那般掉书袋、左一个传统右一个文化,但他对语言、人性、世界地洞察,岂不正显出了深厚地学识吗？而对宇宙、世界、人世之中复杂关系地领悟,是他对于世界诗坛地一个贡献,也构成对现代诗、对现代人、对现代生活方式地一个纠正.从这首小诗,我们实在可以看出一个大地境界.。
关于雪的英文诗
关于雪的英文诗Stopping by Woods on a Snowy Evening《雪夜林畔小驻》—— by Robert FrostWhose 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。
江雪Fishing in Snow【唐】柳宗元Liu Zongyuan千山鸟飞绝，From hill to hill no bird in flight;万径人踪灭。
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——Robert Lee Frost
Robert Lee Frost (March 26, 1874 – January 29, 1963) was an American poet. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech.His work frequently employed settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes. A popular and often-quoted poet, Frost was honored frequently during his lifetime, receiving four Pulitzer Prizes for Poetry.
As some critics pointed out,the
poem about the poet hurrying on with his journey in a snowy was rich in symbolic significance.The poet was attracted by the darkness,which seemed that he looked forward to renouncing the filthy world in the unconsciousness.
想来我认识这座森林， 林主的庄宅就在邻村, 却不会见我在此驻马， 看他林中积雪的美景。 我的小马一定颇惊讶： 四望不见有什么农家， 偏是一年最暗的黄昏， 寒林和冰湖之间停下。 它摇一摇身上的串铃， 问我这地方该不该停。 此外只有轻风拂雪片， 再也听不见其他声音。 森林又暗又深真可羡， 但我还要守一些诺言， 还要赶多少路才安眠， 还要赶多少路才安眠。
Frost wrote this poem about winter in June, 1922 at his house in Shaftsbury, Vermont that is noБайду номын сангаас home to the "Robert Frost Stone House Museum". Frost had been up the entire night writing the long poem "New Hampshire" and had finally finished when he realized morning had come.
He went out to view the sunrise and suddenly got the idea for "Stopping by Woods on a Snowy Evening". He wrote the new poem "about the snowy evening and the little horse as if I'd had a hallucination" in just "a few minutes without strain."
"Stopping by Woods on a Snowy Evening" is a poem written in 1922 by Robert Frost , and published in 1923 in his New Hampshire volume. Imagery and personification are prominent in the work. In a letter to Louis Untermeyer, Frost called it "my best bid for remembrance".
雪夜林畔小驻
(译)余光中