赏析PERCY BYSSHE SHELLEY
Percy Bysshe Shelley的作品分析
Percy Bysshe Shelley( 4 August 1792 –8 July 1822) was one of the major English Romantic poets and is critically regarded as among the finest lyric poets in the English language. Shelley was famous for his association with John Keats and Lord Byron. The novelist Mary Shelley was his second wife.He is most famous for such classic anthology verse works as Ozymandias, Ode to the West Wind, To a Skylark, Music, When Soft V oices Die, The Cloud and The Masque of Anarchy, which are among the most popular and critically acclaimed poems in the English language. His major works, however, are long visionary poems which included Queen Mab (later reworked as The Daemon of the World), Alastor, The Revolt of Islam, Adona?s and the unfinished work The Triumph of Life. The Cenci (1819) and Prometheus Unbound (1820) were dramatic plays in five and four acts respectively. Although he has typically been figured as a "reluctant dramatist", he was passionate about the theatre, and his plays continue to be performed today. He wrote the Gothic novels Zastrozzi (1810) and St. Irvyne (1811) and the short prose works "The Assassins" (1814), "The Coliseum" (1817) and "Una Favola" (1819). In 2008, he was credited as the co-author of the novel Frankenstein (1818) in a new edition by the Bodleian Library in Oxford and Random House in the U.S. entitled The Original Frankenstein, edited by Charles E. Robinson.[3][4][5]Shelley's unconventional life and uncompromising idealism[6][7],combined with his strong disapproving voice, made him an authoritative and much-denigrated figure during his life and afterward. Mark Twain took particular aim at Shelley in In Defense of Harriet Shelley, where he lambasted Shelley for abandoning his pregnant wife and child to run off with the 16-year-old Mary Godwin.[8] Shelley never lived to see the extent of his success and influence; although some of his works were published, they were often suppressed upon publication.He became an idol of the next three or four generations of poets, including important Victorian and Pre-Raphaelite poets. He was admired by Karl Marx, Oscar Wilde, Thomas Hardy, George Bernard Shaw, Bertrand Russell, William Butler Y eats, Upton Sinclair and Isadora Duncan.[9] Henry David Thoreau's civil disobedience and Mohandas Karamchand Gandhi's passive resistance were apparently influenced and inspired by Shelley's non-violence in protest and political action, although Gandhi does not include him in his list of mentors"Ode to the West Wind" is one of Shelley's best known lyrics. The poet describes vividly the activities of the west wind on the earth, in the sky and on the sea, and then expresses his envy for the boundless freedom of the west wind, and his wish to be free like the wind and to scatter his words among mankindSummaryThe speaker invokes the "wild West Wind" of autumn, which scatters thedead leaves and spreads seeds so that they may be nurtured by the spring, and asks that the wind, a "destroyer and preserver," hear him. The speaker calls the wind the "dirge / Of the dying year," and describes how it stirs up violent storms, and again implores it to hear him. The speaker says that the wind stirs the Mediterranean from "his summer dreams," and cleaves the Atlantic into choppy chasms, making the "sapless foliage" of the ocean tremble, and asks for a third time that it hear him.The speaker says that if he were a dead leaf that the wind could bear, or a cloud it could carry, or a wave it could push, or even if he were, as a boy, "the comrade" of the wind's "wandering over heaven," then he would never have needed to pray to the wind and invoke its powers. He pleads with the wind to lift him "as a wave, a leaf, a cloud!"--for though he is like the wind at heart, untamable and proud--he is now chained and bowed with the weight of his hours upon the earth.The speaker asks the wind to "make me thy lyre," to be his own Spirit, and to drive his thoughts across the universe, "like withered leaves, to quicken a new birth." He asks the wind, by the incantation of this verse, to scatter his words among mankind, to be the "trumpet of a prophecy." Speaking both in regard to the season and in regard to the effect upon mankind that he hopes his words to have, the speaker asks: "If winter comes, can spring be far behind?"FormEach of the seven parts of "Ode to the West Wind" contains five stanzas--four three-line stanzas and a two-line couplet, all metered in iambic pentameter. The rhyme scheme in each part follows a pattern known as terza rima, the three-line rhyme scheme employed by Dante in his Divine Comedy. In the three-line terza rima stanza, the first and third lines rhyme, and the middle line does not; then the end sound of that middle line is employed as the rhyme for the first and third lines in the next stanza. The final couplet rhymes with the middle line of the last three-line stanza. Thus each of the seven parts of "Ode to the West Wind" follows this scheme: ABA BCB CDC DED EE.CommentaryThe wispy, fluid terza rima of "Ode to the West Wind" finds Shelley taking a long thematic leap beyond the scope of "Hymn to Intellectual Beauty," and incorporating his own art into his meditation on beauty and the natural world. Shelley invokes the wind magically, describing its power and its role as both "destroyer and preserver," and asks the wind to sweep him out of his torpor "as a wave, a leaf, a cloud!" In the fifth section, the poet then takes a remarkable turn, transforming the wind into a metaphor for his own art, the expressive capacity that drives "dead thoughts" like "withered leaves" over the universe, to "quicken a new birth"--that is, to quicken the coming of the spring. Here the spring season is a metaphor for a "spring" of human consciousness, imagination,liberty, or morality--all the things Shelley hoped his art could help to bring about in the human mind. Shelley asks the wind to be his spirit, and in the same movement he makes it his metaphorical spirit, his poetic faculty, which will play him like a musical instrument, the way the wind strums the leaves of the trees. The thematic implication is significant: whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience, the younger generation largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, quality, and ultimate effect of aesthetic expression.。
To— Shelley诗歌赏析
To— Shelley诗歌赏析
在阅读《奥兹曼迪亚斯》之前，我瞥了一眼作者的名字，珀西-
比希-雪莱，主要的浪漫主义诗人之一，我对他并不陌生。
说到雪莱，我脑海中闪过一句名言："如果冬天来临，春天还会远吗？"
另外，威廉-华兹华斯评价雪莱是我们所有人中最好的艺术家之一，而雪莱的密友拜伦勋爵曾这样评价他：毫无例外，他是我所认识的最好、最不自私的人。
从法国作家安德烈-莫鲁瓦的《雪莱传》中，雪莱被认为是一个
具有强烈悲剧性命运的人物，他生性叛逆，不适应任何环境，但他的作品仍然关注现实。
在所有的讲座中，《奥兹曼迪亚斯》是我最欣赏的一首诗。
当我第一次读到这首诗时，我似乎进入了一个完全不同的世界。
那是一个完全荒凉的场景，只有一个奥兹曼迪亚斯的半身像在荒凉的沙漠中的基座上。
通过想象，我仿佛站在沙漠中，看着这块巨石，它是一个
伟大的杰作，仍然显示着奥西曼迪亚斯统治他的国家时的活力和力量，这块石头在历史的进程中一定见证了许多王朝的更替。
同时，这个历史印象广泛地表达了一些描述，这些描述非常能够创造精神图景。
然后我听到了这样的声音：我的名字叫欧西曼迪亚斯，万王之王：看看我的作品，你们这些强者，绝望吧！这个声音在猛烈的风中呼啸而过，让人不寒而栗。
毫无疑问，这段独白带出了欧西曼迪亚斯傲慢和过度自信的一面。
欧西曼迪亚斯以前是万王之王，被权力迷住了，即使现在他变成石头，无法移动，他仍然记得自己的辉煌功绩。
美文赏译雪莱的诗及译文
美文赏译雪莱的诗及译文美文赏译雪莱的诗及译文在平时的学习、工作或生活中，大家最不陌生的就是古诗了吧，古诗的篇幅可长可短，押韵比较自由灵活，不必拘守对仗、声律。
你还在找寻优秀经典的古诗吗？下面是小编为大家整理的美文赏译雪莱的`古诗及译文，希望能够帮助到大家。
原文：The flower that smiles todayTomorrow dies;All that we wish to sayTempts and then flies.What is this world’s delight?Lightning that mocks the night.Brief even as bright.Virtue, how frail it is!Friendship how rare!Love, how it sells poor blissFor proud despair!But we,though soon they fall,Survive their joy, and allWhich ours we call.Whilst skies are blue and bright,Whilst flowers are gay,Whilst eyes that change ere nightMake glad the day;Whilst yet the calm hours creepDream thou and from thy sleepThen wake up to weep.译文：今天微笑的花朵明日它便死去；我们但愿留驻的诱惑之后飞去。
人世间快乐究为何物？恰如闪电嘲笑黑夜，光亮一片，转瞬消逝。
美德何其脆弱！友谊何其稀有！爱情以不足道的幸福轻易换取高傲的绝望！它们很快跌落，而我们活下去，再没有它们带来的欢乐，没有我们称为“我们的”一切。
注解：Percy Bysshe Shelley(1792---1822) 作为诗人，雪莱的态度是积极的，进取的，战斗的，但同时他也是愤世的，孤独的，苦闷的，时而表现出消极的方向。
谢默斯希尼的诗
谢默斯希尼的诗
谢默斯·希尼（PercyByssheShelley）是19世纪英国浪漫主义诗人，他的诗歌作品充满激情和对自由、人性、自然和神秘主义的探索。
以下是他的一些代表作：
1.《西风颂》(OdetotheWestWind)：这首诗是谢默斯·希尼的代表作之一，充满了慷慨激昂的情感和强烈的象征意义。
它描述了自然界的力量，特别是西风的力量，以及这些力量对人类的影响。
2.《抒情小调》(OdetoaSkylark)：这首诗歌讴歌了一只云雀的美丽和灵魂的自由，诗歌充满了浪漫主义的理想主义和对美好的追求。
3.《皮西·谢莉》(Epipsychidion)：这首诗被认为是谢默斯·希尼写给他妻子玛丽·谢莉的一封长信。
它探索了爱情和灵魂的关系，以及人类和宇宙之间的联系。
4.《普罗米修斯释放》(PrometheusUnbound)：这是一部史诗般的诗歌剧，讲述了普罗米修斯的故事，揭示了希尼对人性和自由的哲学观点。
5.《玛塔·斯图尔特》(TheMaskofAnarchy)：这是一首政治诗歌，谴责当时英国政府的暴政和剥削，呼吁人民反抗和争取自由。
它被认为是希尼最具政治影响力的作品之一。
1/ 1。
英国文学史《西风颂》Ode_to_the_West_Wind赏析
Apart from the alliteration it is also worth noting the capitalisation of West Wind in the poem. In typically Romantic fashion an abstract quality or aspect of Nature is personified and addressed in the poem, such that it appears divine or god-like, or as an expression of the divine
Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might
Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: O hear!
Drive my dead thoughts over the universe Like withered leaves to quicken a new birth; And, by the incantation of this verse,
Scatter, as from an unextinguished hearth Ashes and sparks, my words among mankind! Be through my lips to unawakened elley
西风颂赏析(中英文)(课堂PPT)
1
If winter comes, can spring be far behinபைடு நூலகம்?"
Marx says he is "daring vanguard" of socialism, Engels praised him as "a genius of the prophet". Mr. Lu Xun in his "person said" to "both difficulties and dangers, double upright" eight words to generalize the poet's background and character. Shelley's short life as his poems show that, despite repeated setbacks, adversity, but still strong integrity, bravely.
借助自然的精灵让自己的 生命与鼓荡的西风相呼相 应深刻揭示人类社会的历 史规律并指出革命斗争要 经过艰难曲折后才能走向 胜利。
5
I O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes:O thou,
英语诗歌鉴赏
英语诗歌鉴赏（2）Percy Bysshe Shelley—A Lament(Percy Bysshe Shelley波西-比希-雪莱（1792——1822）英国浪漫主义大诗人，英国文学史上最有才华、拥有最广大读者的抒情诗人之一。
1811年因发表《无神论的必然性》而被牛津大学开除。
1812年赴爱尔兰参加民族解放运动。
1814年和葛德文的女儿玛丽私奔到国外。
学来的无神论、激进思想和“不道德行为”受到当时英国社会的谴责。
1818年，他离开英国，流亡到意大利，1822年在意大利航船，不幸遇难。
他的诗大多以自然、爱情以及政治自由为题材，被誉为英国最有激情的抒情诗人。
近年来，评论家对雪莱的评价越来越高。
它的象征手法的复杂性和一致性，越来越证实了华兹华斯的论断：“雪莱是我们中最伟大的艺术家，我指的是他的艺术风格。
”雪莱的诗想象丰富，音韵和谐，比喻精美，色彩瑰丽，洋溢着乐观主义精神，蕴含着深湛的感情和人生哲理。
他的《西风颂》和《致云雀》是举世公认的诗歌瑰宝。
<西风颂和致云雀比较长，以后有空翻译好了再传到群共享>）A Lament悲歌O world! O life! O time!啊世界！啊时间！啊人生！On whose last steps I climb,我沿着你最后的阶梯攀登，Trembling at that where I had stood before;回顾立足处，我颤栗伤感；When will return the glory of your prime?几时能重返你年华的峥嵘？No more——Oh,never more!不再还——啊，永不再还！Out of the day and night从一个个逝去的日日夜夜，A joy has taken flight;有种欢情已插翅飞去而别；Fresh spring,and summer,and winter hoar,初春，夏秋和严冬以忧烦Move my faint heart with grief,but with delight搅动我迷惘的心，喜悦却No more——Oh,never more!不再还——啊，永不再还！【诗歌赏析】《哀歌》并非简单的对于生命即将逝去的伤感，尽管这首诗冥冥之中出现于雪莱死前的创作。
Percy-Bysshe-Shelley的作品分析
Percy Bysshe Shelley( 4 August 1792 – 8 July 1822) was one of the major English Romantic poets and is critically regarded as among the finest lyric poets in the English language. Shelley was famous for his association with John Keats and Lord Byron. The novelist Mary Shelley was his second wife.He is most famous for such classic anthology verse works as Ozymandias, Ode to the West Wind, To a Skylark, Music, When Soft V oices Die, The Cloud and The Masque of Anarchy, which are among the most popular and critically acclaimed poems in the English language. His major works, however, are long visionary poems which included Queen Mab (later reworked as The Daemon of the World), Alastor, The Revolt of Islam, Adona?s and the unfinished work The Triumph of Life. The Cenci (1819) and Prometheus Unbound (1820) were dramatic plays in five and four acts respectively. Although he has typically been figured as a "reluctant dramatist", he was passionate about the theatre, and his plays continue to be performed today. He wrote the Gothic novels Zastrozzi (1810) and St. Irvyne (1811) and the short prose works "The Assassins" (1814), "The Coliseum" (1817) and "Una Favola" (1819). In 2008, he was credited as the co-author of the novel Frankenstein (1818) in a new edition by the Bodleian Library in Oxford and Random House in the U.S. entitled The Original Frankenstein, edited by Charles E. Robinson.[3][4][5]Shelley's unconventional life and uncompromising idealism[6][7],combined with his strong disapproving voice, made him an authoritative and much-denigrated figure during his life and afterward. Mark Twain took particular aim at Shelley in In Defense of Harriet Shelley, where he lambasted Shelley for abandoning his pregnant wife and child to run off with the 16-year-old Mary Godwin.[8] Shelley never lived to see the extent of his success and influence; although some of his works were published, they were often suppressed upon publication.He became an idol of the next three or four generations of poets, including important Victorian and Pre-Raphaelite poets. He was admired by Karl Marx, Oscar Wilde, Thomas Hardy, George Bernard Shaw, Bertrand Russell, William Butler Yeats, Upton Sinclair and Isadora Duncan.[9] Henry David Thoreau's civil disobedience and Mohandas Karamchand Gandhi's passive resistance were apparently influenced and inspired by Shelley's non-violence in protest and political action, although Gandhi does not include him in his list of mentors"Ode to the West Wind" is one of Shelley's best known lyrics. The poet describes vividly the activities of the west wind on the earth, in the sky and on the sea, and then expresses his envy for the boundless freedom of the west wind, and his wish to be free like the wind and to scatter his words among mankindSummaryThe speaker invokes the "wild West Wind" of autumn, which scatters thedead leaves and spreads seeds so that they may be nurtured by the spring, and asks that the wind, a "destroyer and preserver," hear him. The speaker calls the wind the "dirge / Of the dying year," and describes how it stirs up violent storms, and again implores it to hear him. The speaker says that the wind stirs the Mediterranean from "his summer dreams," and cleaves the Atlantic into choppy chasms, making the "sapless foliage" of the ocean tremble, and asks for a third time that it hear him.The speaker says that if he were a dead leaf that the wind could bear, or a cloud it could carry, or a wave it could push, or even if he were, as a boy, "the comrade" of the wind's "wandering over heaven," then he would never have needed to pray to the wind and invoke its powers. He pleads with the wind to lift him "as a wave, a leaf, a cloud!"--for though he is like the wind at heart, untamable and proud--he is now chained and bowed with the weight of his hours upon the earth.The speaker asks the wind to "make me thy lyre," to be his own Spirit, and to drive his thoughts across the universe, "like withered leaves, to quicken a new birth." He asks the wind, by the incantation of this verse, to scatter his words among mankind, to be the "trumpet of a prophecy." Speaking both in regard to the season and in regard to the effect upon mankind that he hopes his words to have, the speaker asks: "If winter comes, can spring be far behind?"FormEach of the seven parts of "Ode to the West Wind" contains five stanzas--four three-line stanzas and a two-line couplet, all metered in iambic pentameter. The rhyme scheme in each part follows a pattern known as terza rima, the three-line rhyme scheme employed by Dante in his Divine Comedy. In the three-line terza rima stanza, the first and third lines rhyme, and the middle line does not; then the end sound of that middle line is employed as the rhyme for the first and third lines in the next stanza. The final couplet rhymes with the middle line of the last three-line stanza. Thus each of the seven parts of "Ode to the West Wind" follows this scheme: ABA BCB CDC DED EE.CommentaryThe wispy, fluid terza rima of "Ode to the West Wind" finds Shelley taking a long thematic leap beyond the scope of "Hymn to Intellectual Beauty," and incorporating his own art into his meditation on beauty and the natural world. Shelley invokes the wind magically, describing its power and its role as both "destroyer and preserver," and asks the wind to sweep him out of his torpor "as a wave, a leaf, a cloud!" In the fifth section, the poet then takes a remarkable turn, transforming the wind into a metaphor for his own art, the expressive capacity that drives "dead thoughts" like "withered leaves" over the universe, to "quicken a new birth"--that is, to quicken the coming of the spring. Here the spring season is a metaphor for a "spring" of human consciousness, imagination, liberty,or morality--all the things Shelley hoped his art could help to bring about in the human mind. Shelley asks the wind to be his spirit, and in the same movement he makes it his metaphorical spirit, his poetic faculty, which will play him like a musical instrument, the way the wind strums the leaves of the trees. The thematic implication is significant: whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience, the younger generation largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, quality, and ultimate effect of aesthetic expression.[文档可能无法思考全面，请浏览后下载，另外祝您生活愉快，工作顺利，万事如意!]。
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Percy Bysshe ShelleyPercy Bysshe Shelley(1792-1827),English Romantic poet who rebelled against English politics and conservative values.Shelley drew no essential distinction between poetry and politics,and his work reflected the radical ideas and revolutionary optimism of the era.Percy Bysshe Shelley was born on August4,1792,at Field Place,near Horsham in Sussex,into an aristocratic family.His father,Timothy Shelley, was a Sussex squire and a Member of Parliament.Shelley attended Syon House Academy and Eton and in1810he entered the Oxford University College.In1811Shelley was expelled from the college for publishing The Necessity of Atheism,which he wrote with Thomas Jefferson Hogg.Shelley's father withdrew his inheritance in favor of a small annuity,after he eloped with the16-year old Harriet Westbrook,the daughter of a London tavern owner. The pair spent the following two years traveling in England and Ireland, distributing pamphlets and speaking against political injustice.In1813Shelley published his first important poem,the atheistic Queen Mab.The poet's marriage to Harriet was a failure.In1814Shelley traveled abroad with Mary Wollstonecraft Godwin,the daughter of the philosopher and anarchist William Godwin(1756-1836).Mary's young stepsister Claire Claremont was also in the company.During this journey Shelley wrote an unfinished novella,The Assassins(1814).Their combined journal,Six Weeks' Tour,reworked by Mary Shelley,appeared in1817.After their return to London,Shelley came into an annual income under his grandfather's will. Harriet drowned herself in the Serpentine in1816.Shelley married Mary Wollstonecraft and his favorite son William was born in1816.Shelley spent the summer of1816with Lord Byron at Lake Geneva, where Byron had an affair with Claire.Shelley composed the"Hymn To Intellectual Beauty"and"Mont Blanc".In1817Shelley published The Revolt Of Islam and the much anthologized"Ozymandias"appeared in1818.Among Shelley's popular poems are the Odes"To the West Wind"and"To a Skylark" and Adonis,an elegy for Keats.In1818the Shelleys moved to Italy,where Byron was residing.In1819 they went to Rome and in1820to Pisa.Shelley's works from this period include Julian And Maddalo,an exploration of his relations with Byron andPrometheus Unbound,a lyrical drama.The Cenci was a five-act tragedy based on the history of a16th-century Roman family,and The Mask of Anarchy was a political protest which was written after the Peterloo massacre.In1822the Shelley household moved to the Bay of Lerici.There Shelley began to write The Triumph of Life.To welcome his friend Leigh Hunt,he sailed to Leghorn.During the stormy return voyage to Lerici,his small schooner the Ariel sank and Shelley drowned with Edward Williams on July8,1822.The bodies were washed ashore at Viareggio,where,in the presence of Lord Byron and Leigh Hunt,they were burned on the beach.Shelley was later buried in Rome.西风颂O Wild West Wind,thou breathe of autumn’s being,Thou,from whose unseen presence the leaves deadAre driven,like ghosts from an enchanter fleeing,Yellow,and black,and pale,and hectic red,Pestilence-stricken multitudes:O thou,Who chariotest to their dark wintry bedThe winged seeds,where they lie cold and low,Each likes a corpse within its grave,untilThine azure sister of the spring hall blowHer clarion o’er the dreaming earth,and fill(Driving sweet buds like flocks to feed in air)With living hues and odours plain and hill:Wild Spirit,which art moving everywhere;Destroyer and preserver;hear,oh hear!1狂野的秋风啊，你这秋的精气！没看见你出现，枯叶已被扫空，像群群鬼魂没见法师就逃避——它们或枯黄焦黑，或苍白潮红，真是遭了瘟灾的一大片；你呀，你把迅飞的种子载送去过冬，让它们僵睡在黑黢黢的地下，就像尸体在各自的墓里安躺，As thus with thee in prayer in my sore need. Oh,lift me as a wave,a leaf,a cloud!I fall upon the thorns of life!I bleed!A heavy weight of hours has chain’d and bow’d One too like thee:tame less,and swift,and proud. 4我若是被你托起的一片枯叶；我若是随你飞驰的一团云朵；我若是浪涛在你威力下喘息，分享你有力的冲动，那自由，哦！仅次于不羁的你；我若是仍然在我的童年时代，仍然能够做你在天空邀游时的忠实伙伴——因为那时，奔得比你快也未必是梦想；那我就不会如此艰难，无须这样哀求你。
请把我掀起，哦，就当我是枯叶、云朵或浪涛！我，跌倒在人生荆棘上，滴着血！我，太像你：倔强、敏捷又高傲，但岁月的重负把我拴牢、压倒。
VMake me thy lyre,even as the forest is:What if my leaves are falling like its own!The tumult of thy mighty harmoniesWill take from both a deep,autumnal tone, Sweet though in sadness.Be thou,Spirit fierce, My spirit!Be thou me,impetuous one!Drive my dead thoughts over the universeLike wither’d leaves to quicken a new birth! And,by the incantation of this verse,Scatter,as from an unextinguish’d hearthAshes and sparks,my words among mankind!Be through my lips to unawaken’d earthThe trumpet of a prophecy!O Wind,If winter comes,can Spring be far behind5让我像森林一样做你的诗琴，哪伯我的叶像森林的叶凋落！这两者又美又悲的深沉秋音你那呼啸的浩荡交响会囊括。