percy bysshe shelley
诗人雪莱介绍英文版Percy Bysshe Shelley
狂暴的精神！奋勇者呵，让我们合一！
Drive my dead thoughts over the universe 请把我枯死的思想向世界吹落，
Like wither'd leaves to quicken a new birth! 让它像枯叶一样促成新的生命！
And, by the incantation of this verse,
哦，请听从这一篇符咒似的诗歌，
Scatter, as from an unextinguish'd hearth 就把我的话语，像是灰烬和火星
Ashes and sparks, my words among mankind! 从还未熄灭的炉火向人间播散！
Be through my lips to unawaken'd earth
•To The Lord Chancellor（1817） 《致大法官》 •Laon and Cythna (The Revolution of the Golden City) (1818)《莱昂和西斯那》 •The Revolt of Islam (1818) 《伊斯兰的反叛》
Ode to the West Wind (1819) Prometheus Unbound (1819) 《解放了的普罗米修斯》 The Cenci(1819) 《倩契》 The Masque of Anarchy(1819) 《暴政的假面游行》 Men of England (1819) 《英格兰人》
雪莱笔下的普罗米修斯的形象，既概括了工人阶级和劳动人 民反抗专制统治（against despotism）、争取自由解放（fight for freedom and liberation）的革命精神和不畏强暴的英雄气 概，也体现了诗人自己坚定的立场、伟大的品格、崇高的精 神境界。
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.。
Percy_Bysshe_Shelly
3. Writing Style
Shelley is one of the leading Romantic poets, an intense and original lyrical poet in the English language.
Like Blake, he has a reputation as a difficult poet: erudite, imagistically complex, full of classical and mythological allusions.
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,
His style abounds in personification and metaphor and other figures of speech which describe vividly what we see and feel, or express what passionately moves us
printed in 1813, set forth a radical system of curing social ills by advocating the destruction of various established institutions.
In 1814 Shelley left England for FranБайду номын сангаасe with Mary Godwin.
自由颂
《自由颂》原文by Percy Bysshe Shelley[Composed early in 1820, and published, with “Prometheus Unbound”, in the same year. A transcript in Shelley’s hand of lines 1-21 is included in the Harvard manuscript book, and amongst the Boscombe manuscripts there is a fr agment of a rough draft (Garnett). For further particulars concerning the text see Editor’s Notes.]Yet, Freedom, yet, thy banner, torn but flying,Streams like a thunder-storm against the wind.—BYRON.1.A glorious people vibrated againThe lightning of the nations: LibertyFrom heart to heart, from tower to tower, o’er Spain,Scattering contagious fire into the sky,Gleamed. My soul spurned the chains of its dismay,And in the rapid plumes of songClothed itself, sublime and strong;As a young eagle soars the morning clouds among,Hovering inverse o’er its accustomed prey;Till from its station in the Heaven of fameThe Spirit’s whirlwind rapped it, and the rayOf the remotest sphere of living flameWhich paves the void was from behind it flung,As foam from a ship’s swiftness, when there cameA voice out of the deep: I will record the same.2.The Sun and the serenest Moon sprang forth:The burning stars of the abyss were hurledInto the depths of Heaven. The daedal earth,That island in the ocean of the world,Hung in its cloud of all-sustaining air:But this divinest universeWas yet a chaos and a curse,For thou wert not: but, power from worst producing worse,The spirit of the beasts was kindled there,And of the birds, and of the watery forms,And there was war among them, and despairWithin them, raging without truce or terms:The bosom of their violated nurseGroaned, for beasts warred on beasts, and worms on worms,And men on men; each heart was as a hell of storms.3.Man, the imperial shape, then multipliedHis generations under the pavilionOf the Sun’s throne: palace and pyramid, Temple and prison, to many a swarming million Were, as to mountain-wolves their ragged caves. This human living multitudeWas savage, cunning, blind, and rude,For th ou wert not; but o’er the populous solitude, Like one fierce cloud over a waste of waves, Hung Tyranny; beneath, sate deifiedThe sister-pest, congregator of slaves;Into the shadow of her pinions wideAnarchs and priests, who feed on gold and blood Till with the stain their inmost souls are dyed, Drove the astonished herds of men from every side.4.The nodding promontories, and blue isles,And cloud-like mountains, and dividuous waves Of Greece, basked glorious in the open smilesOf favouring Heaven: from their enchanted caves Prophetic echoes flung dim melody.On the unapprehensive wildThe vine, the corn, the olive mild,Grew savage yet, to human use unreconciled; And, like unfolded flowers beneath the sea,Like the man’s thought dark in the infant’s br ain, Like aught that is which wraps what is to be, Art’s deathless dreams lay veiled by many a vein Of Parian stone; and, yet a speechless child, Verse murmured, and Philosophy did strainHer lidless eyes for thee; when o’er the Aegean main5.Athens arose: a city such as visionBuilds from the purple crags and silver towersOf battlemented cloud, as in derisionOf kingliest masonry: the ocean-floorsPave it; the evening sky pavilions it;Its portals are inhabitedBy thunder-zoned winds, each headWithin its cloudy wings with sun-fire garlanded,—A divine work! Athens, diviner yet,Gleamed with its crest of columns, on the willOf man, as on a mount of diamond, set;For thou wert, and thine all-creative skill Peopled, with forms that mock the eternal deadIn marble immortality, that hillWhich was thine earliest throne and latest oracle.6.Within the surface of Time’s fleeting riverIts wrinkled image lies, as then it lay Immovably unquiet, and for everIt trembles, but it cannot pass away!The voices of thy bards and sages thunderWith an earth-awakening blastThrough the caverns of the past:(Religion veils her eyes; Oppression shrinks aghast:) A winged sound of joy, and love, and wonder, Which soars where Expectation never flew, Rending the veil of space and time asunder!One ocean feeds the clouds, and streams, and dew; One Sun illumines Heaven; one Spirit vastWith life and love makes chaos ever new,As Athens doth the world with thy delight renew.7.Then Rome was, and from thy deep bosom fairest, Like a wolf-cub from a Cadmaean Maenad,She drew the milk of greatness, though thy dearest From that Elysian food was yet unweaned;And many a deed of terrible uprightnessBy thy sweet love was sanctified;And in thy smile, and by thy side,Saintly Camillus lived, and firm Atilius died.But when tears stained thy robe of vestal-whiteness, And gold profaned thy Capitolian throne,Thou didst desert, with spirit-winged lightness, The senate of the tyrants: they sunk proneSlaves of one tyrant: Palatinus sighedFaint echoes of Ionian song; that toneThou didst delay to hear, lamenting to disown8.From what Hyrcanian glen or frozen hill,Or piny promontory of the Arctic main,Or utmost islet inaccessible,Didst thou lament the ruin of thy reign,Teaching the woods and waves, and desert rocks,And every Naiad’s ice-cold urn,To talk in echoes sad and sternOf that sublimest lore which man had dared unlearn?For neither didst thou watch the wizard flocksOf the Scald’s dreams, nor haunt the Druid’s sleep.What if the tears rained through thy shattered locks Were quickly dried? for thou didst groan, not weep, When from its sea of death, to kill and burn,The Galilean serpent forth did creep,And made thy world an undistinguishable heap.9.A thousand years the Earth c ried, ‘Where art thou?’And then the shadow of thy coming fellOn Saxon Alfred’s olive-cinctured brow:And many a warrior-peopled citadel.Like rocks which fire lifts out of the flat deep,Arose in sacred Italy,Frowning o’er the tempestuous seaOf kings, and priests, and slaves, in tower-crowned majesty; That multitudinous anarchy did sweepAnd burst around their walls, like idle foam,Whilst from the human spirit’s deepest deepStrange melody with love and awe struck dumb Dissonant arms; and Art, which cannot die,With divine wand traced on our earthly homeFit imagery to pave Heaven’s everlasting dome.10.Thou huntress swifter than the Moon! thou terrorOf the world’s wolves! thou bearer of the quiver,Whose sunlike shafts pierce tempest-winged Error,As light may pierce the clouds when they disseverIn the calm regions of the orient day!Luther caught thy wakening glance;Like lightning, from his leaden lanceReflected, it dissolved the visions of the tranceIn which, as in a tomb, the nations lay;And England’s prophets hailed thee as their queen,In songs whose music cannot pass away,Though it must flow forever: not unseenBefore the spirit-sighted countenanceOf Milton didst thou pass, from the sad scene Beyond whose night he saw, with a dejected mien.11.The eager hours and unreluctant yearsAs on a dawn-illumined mountain stood.Trampling to silence their loud hopes and fears, Darkening each other with their multitude,And cried aloud, ‘Liberty!’ IndignationAnswered Pity from her cave;Death grew pale within the grave,And Desolation howled to the destroyer, Save!When like Heaven’s Sun girt by the exhalationOf its own glorious light, thou didst arise.Chasing thy foes from nation unto nationLike shadows: as if day had cloven the skiesAt dreami ng midnight o’er the western wave,Men started, staggering with a glad surprise,Under the lightnings of thine unfamiliar eyes.12.Thou Heaven of earth! what spells could pall thee then In ominous eclipse? a thousand yearsBred from the slime of deep Opp ression’s den.Dyed all thy liquid light with blood and tears.Till thy sweet stars could weep the stain away;How like Bacchanals of bloodRound France, the ghastly vintage, stood Destruction’s sceptred slaves, and Folly’s mitred brood! When one, like them, but mightier far than they,The Anarch of thine own bewildered powers,Rose: armies mingled in obscure array,Like clouds with clouds, darkening the sacred bowersOf serene Heaven. He, by the past pursued,Rests with those dead, but unforgotten hours,Whose ghosts scare victor kings in their ancestral towers.13.England yet sleeps: was she not called of old?Spain calls her now, as with its thrilling thunder Vesuvius wakens Aetna, and the coldSnow-crags by its reply are cloven in sunder:O’er the lit waves every Aeolian isleFrom Pithecusa to PelorusHowls, and leaps, and glares in chorus:They cry, ‘Be dim; ye lamps of Heaven suspended o’er us!’Her chains are threads of gold, she need but smileAnd they dissolve; but Spain’s were links of steel,Till bit to dust by virtue’s keenest file.Twins of a single destiny! appealTo the eternal years enthroned before usIn the dim West; impress us from a seal,All ye have thought and done! Time cannot dare conceal.14.Tomb of Arminius! render up thy deadTill, like a standard from a watch-tower’s staff,His soul may stream over the tyrant’s head;Thy victory shall be his epitaph,Wild Bacchanal of truth’s mysterious wine,King-deluded Germany,His dead spirit lives in thee.Why do we fear or hope? thou art already free!And thou, lost Paradise of this divineAnd glorious world! thou flowery wilderness!Thou island of eternity! thou shrineWhere Desolation, clothed with loveliness, Worships the thing thou wert! O Italy,Gather thy blood into thy heart; repressThe beasts who make their dens thy sacred palaces.15.Oh, that the free would stamp the impious nameOf KING into the dust! or write it there,So that this blot upon the page of fameWere as a serpent’s path, which the light air Erases, and the flat sands close behind!Ye the oracle have heard:Lift the victory-flashing sword.And cut the snaky knots of this foul gordian word, Which, weak itself as stubble, yet can bindInto a mass, irrefragably firm,The axes and the rods which awe mankind;The sound has poison in it, ’tis the spermOf what makes life foul, cankerous, and abhorred; Disdain not thou, at thine appointed term,To set thine armed heel on this reluctant worm.16.Oh, that the wise from their bright minds would kindle Such lamps within the dome of this dim world,That the pale name of PRIEST might shrink and dwindle Into the hell from which it first was hurled,A scoff of impious pride from fiends impure;Till human thoughts might kneel alone,Each before the judgement-throneOf its own aweless soul, or of the Power unknown! Oh, that the words which make the thoughts obscure From which they spring, as clouds of glimmering dew From a white lake blot Heaven’s blue portraiture,Were stripped of their thin masks and various hueAnd frowns and smiles and splendours not their own, Till in the nakedness of false and trueThey stand before their Lord, each to receive its due!17.He who taught man to vanquish whatsoeverCan be between the cradle and the graveCrowned him the King of Life. Oh, vain endeavour!If on his own high will, a willing slave,He has enthroned the oppression and the oppressor What if earth can clothe and feedAmplest millions at their need,And power in thought be as the tree within the seed?Or what if Art, an ardent intercessor,Driving on fiery wings to Nature’s throne,Checks the great mother stooping to caress her,And cries: ‘Give me, thy child, dominionOver all height and depth’? if Life can breedNew wants, and wealth from those who toil and groan, Rend of thy gifts and hers a thousandfold for one!18.Come thou, but lead out of the inmost caveOf man’s deep spirit, as the morning-starBeckons the Sun from the Eoan wave,Wisdom. I hear the pennons of her carSelf-moving, like cloud charioted by flame;Comes she not, and come ye not,Rulers of eternal thought,To judge, with solemn truth, life’s ill-apportioned lot? Blind Love, and equal Justice, and the FameOf what has been, the Hope of what will be?O Liberty! if such could be thy nameWert thou disjoined from these, or they from thee:If thine or theirs were treasures to be boughtBy blood or tears, have not the wise and freeWept tears, and blood like tears?—The solemn harmony19.Paused, and the Spirit of that mighty singingTo its abyss was suddenly withdrawn;Then, as a wild swan, when sublimely wingingIts path athwart the thunder-smoke of dawn,Sinks headlong through the aereal golden lightOn the heavy-sounding plain,When the bolt has pierced its brain;As summer clouds dissolve, unburthened of their rain; As a far taper fades with fading night,As a brief insect dies with dying day,My song, its pinions disarrayed of might, Drooped; o’er it closed the echoes far awayOf the great voice which did its flight sustain,As waves which lately paved his watery wayHiss ro und a drowner’s head in their tempestuous play.。
Percy Bysshe Shelley
• The first section is fairly straightforward with constant references to death, corpses and destruction that Shelly uses as a metaphor for autumn. The allusion to disease and darkness describes the West Wind in this first section. • Shelly sees it as a sort of 'grim reaper' but seems to come back from the whole topic by also calling it the "preserver".
Ode to the West Wind 《西风颂》
----Percy ----Percy Bysshe Shelley
波西·比希· 波西·比希·雪莱
Percy Bysshe Shelley
(1792 - 1822) Category: English Literature Born in a wealthy family at Sussex Educated first at Eton, then at Oxford
– Stanza I
•In the first stanza, the autumn wind scatters dead leaves and seeds on the forest soil, where they eventually fertilize the earth and take root as new growth. Both "Destroyer and Preserver," the wind ensures the cyclical regularity of the seasons. These themes of regeneration and the interconnectedness of death and life, endings and beginnings, runs throughout "Ode to the West Wind."
Percy Bysshe Shelley
Writing style
• His writings are full of enthusiasm and philosophical speculation (哲理思辨).His poetry(诗 风) is free and uninhibited (自由不羁).
• He accustomed to use fantasy symbolism (梦幻 象征手法) and ancient mythological material (远古 神话题材).
Marriage
Percy Bysshe Shelley’ two marriages:
• The poet‘s fist marriage to Harriet. • The second marriage to Mary.
ቤተ መጻሕፍቲ ባይዱ Main works
(1) Poems
•
• • • • • • • • • • • • • • • • •
Percy Bysshe Shelley (August 4, 1792 –
July 8, 1822),is one of the major English Romantic poets and is widely considered to be among the finest lyric poets （最好的抒 情诗人）of the English language. Shelley rebelled against （反对）English politics and conservative values（保守的价值观）， and he is a Platonist (柏拉图主义者) and idealist (理想主义者) ，his works reflected the radical（激进的） ideas and revolutionary optimism of the era.
Percy Bysshe Shelley
雪莱概述全名：珀西·比西·雪莱（Percy Bysshe Shelley）生卒：1792年8月4日-1822年7月8日一般译作雪莱，英国浪漫主义诗人，出生于英格兰萨塞克斯郡霍舍姆附近的沃恩汉，其祖父是受封的男爵，其父是议员。
生平8岁时雪莱就开始尝试写作诗歌，在伊顿的几年里，雪莱与其表兄托马斯合作了诗《流浪的犹太人》并出版了讽刺小说《扎斯特罗奇》。
12岁那年，雪莱进入伊顿公学，在那里他受到学长及教师的虐待，在当时的学校里这种现象十分普遍，但是雪莱并不象一般新生那样忍气吞声，他公然的反抗这些，而这种反抗的个性如火燃尽了他短暂的一生。
1810年，18岁的雪莱进入牛津大学，深受英国自由思想家休谟以及葛德文等人著作的影响，雪莱习惯性的将他关于上帝、政治和社会等问题的想法写成小册子散发给一些素不相识的人，并询问他们看后的意见。
1811年3月25日，由于散发《无神论的必然》，入学不足一年的雪莱被牛津大学开除。
雪莱的父亲是一位墨守成规的乡绅，他要求雪莱公开声明自己与《无神论的必然》毫无关系，而雪莱拒绝了，他因此被逐出家门。
被切断经济支持的雪莱在两个妹妹的帮助下过了一段独居的生活，这一时期，他认识了赫利埃特·委斯特布洛克，他妹妹的同学，一个小旅店店主的女儿。
雪莱与这个十六岁的少女仅见了几次面，她是可爱的，又是可怜的，当雪莱在威尔士看到她来信称自己在家中受父亲虐待后便毅然赶回伦敦，带着这一身世可怜且恋慕他的少女踏上私奔的道路。
他们在爱丁堡结婚，婚后住在约克。
1812年2月12日，同情被英国强行合并的爱尔兰的雪莱携妻子前往都柏林为了支持爱尔兰天主教徒的解放事业，在那里雪莱发表了慷慨激昂的演说，并散发《告爱尔兰人民书》以及《成立博爱主义者协会倡议书》。
在政治热情的驱使下，此后的一年里雪莱在英国各地旅行，散发他自由思想的小册子。
同年11月完成叙事长诗《麦布女王》，这首诗富于哲理，抨击宗教的伪善、封建阶级与劳动阶级当中存在的所有的不平等。
Percy_Bysshe_Shelley
His Position in English History
One
of the leading romantic poets, an intense and original lyrical poet in the English language. As far as his lyric poems are concerned, he is regarded as one of the greatest of all English poets. He was the first poet in Europe who sang for the working class.
Four-year troubles in Italy
Financial problems Restless moving
At the age of 30
Drowned in 1822, buried in Rome
Major Works
Classic Verse Works: Ozymandias（1817）（《奥西曼提斯》） Ode to the West Wind（1819）（《西风颂》） To a Skylark(1820)(《致云雀》) Long Poems: Queen Mab(1813)《麦布女王》 Alastor(《阿拉斯特 》) The Revolt of Islam（1818）《伊斯兰的反叛》 Adonais 《阿多尼》(Inspired by the death of Keats, in 1821 Shelley wrote the elegy. )
Love and Freedom
They
are key notes of his character and consequently of his poetry. believed that any type of institution led to superstition(迷信) and selfishness. Love is the principle of all actions. Love is the “great secret of morals”, ”the soul within the soul”.
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Written in 1819 & published in 1820 One of Shelley’s best known lyrics(抒情诗) The rhyme scheme --- “aba bcb cdc ded ff” Iambic pentameter (五步抑扬格)
你惊扰了地中海的夏日梦， 它在清澈的碧水里静躺， 听着波浪的催眠曲，睡意正浓， 朦胧里它看见南国港外石岛旁， 烈日下古老的宫殿和楼台 把影子投在海水里晃荡， 它们的墙上长满花朵和藓苔， 那香气光想想也叫人醉倒！ 你的来临叫大西洋也惊骇， 它忙把海水劈成两半，为你开道， 海地下有琼枝玉树安卧， 尽管深潜万丈，一听你的怒号 就闻声而变色，只见一个个 战栗，畏缩——呵，听我的歌！
Like Blake, he has a reputation as a difficult poet: erudite, imagistically complex, full of classical and mythological allusions. His style abounds in personification and metaphor and other figures of speech which describe vividly what we see and feel, or express what passionately moves us
如果我能是一片落叶随你飘腾， 如果我能是一朵流云伴你飞行， 或是一个浪头在你的威力下翻滚， 如果我能有你的锐势和冲劲， 即使比不上你那不羁的奔放， 但只要能拾回我当年的童心， 我就能陪着你遨游天上， 那时候追上你未必是梦呓， 又何至沦落到这等颓丧， 祈求你来救我之急！ 呵，卷走我吧，象卷落叶，波浪，流云！ 我跌在人生的刺Байду номын сангаас上，我血流遍体！ 岁月沉重如铁链，压着的灵魂 原本同你一样，高傲，飘逸，不驯，
你激荡长空，乱云飞坠 如落叶；你摇撼天和海， 不许它们象老树缠在一堆； 你把雨和电赶了下来， 只见蓝空上你驰骋之处 忽有万丈金发披开， 象是酒神的女祭司勃然大怒， 愣把她的长发遮住了半个天， 将暴风雨的来临宣布。 你唱着挽歌送别残年， 今夜这天空宛如圆形的大墓， 罩住了混浊的云雾一片， 却挡不住电火和冰雹的突破， 更有黑雨倾盆而下！呵，听我的 歌！
Comments on Shelley
Shelley appealed to me from his hatred of tyranny. And also from his very vivid sense of beauty, natural beauty, and every kind of beauty. And I thought he sort of portrayed a lovely world of the imagination. ----Bertrand Russell Lucretius and his tradition taught Shelley that freedom came from understanding causation. ----Harold Bloom
The poem was composed in 1819 when European labor movement and the revolutionary movement surged. To fight for their right, British working class began to struggle with the bourgeoisie. At August of that year, 80,000 workers in Manchester held a massive demonstration. Of course, the reactionary authorities had dispatched troops to suppress. That was well-known as the Bideilei Massacre. Shelley was in favor of British revolution, so he was expelled from the United Kingdom.
如果冬天来了，春天还会远吗？
In this poem, the poet likens the potential of west wind to swept through the leaves to describe the revolutionary forces of raiding reactionary regime, and regards the west wind which is blowing seeds as the spread of revolutionary ideas,so as to discribe hopes of the poet for the future. At the same time, the destruction, protection and freedom are the three themes of the "Ode to the West Wind" which is showing the awareness of life. Three themes are intertwined, sounding a grand song of life, and always singing immortal life of the poet in the eternal space.
Percy Bysshe Shelley
4 August 1792 – 8 July 1822
Percy Bysshe Shelley
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's unconventional life and uncompromising idealism, combined with his strong skeptical voice, made him a notorious and much denigrated figure during his life.
让我做你的竖琴吧，就同森林一般， 纵然我们都落叶纷纷，又有何妨！ 我们身上的秋色斑烂， 好给你那狂飚曲添上深沉的回响， 甜美而带苍凉。给我你迅猛的劲头！ 豪迈的精灵，化成我吧，借你的锋芒， 把我的腐朽思想扫出宇宙， 扫走了枯叶好把新生来激发； 凭着我这诗韵做符咒， 犹如从未灭的炉头吹出火花， 把我的话散布在人群之中！ 对那沉睡的大地，拿我的嘴当喇叭， 吹响一个预言！呵，西风，
啊，狂野的西风，你把秋气猛吹， 不露脸便将落叶一扫而空， 犹如法师赶走了群鬼， 赶走那黄绿红黑紫的一群， 那些染上了瘟疫的魔怪—— 呵，你让种子长翅腾空， 又落在冰冷的土壤里深埋， 象尸体躺在坟墓，但一朝 你那青色的东风妹妹回来， 为沉睡的大地吹响银号， 驱使羊群般蓓蕾把大气猛喝， 就吹出遍野嫩色，处处香飘。 狂野的精灵！你吹遍了大地山河， 破坏者，保护者，听吧——听我的歌！
The end!
Life and experience
MARY
Life and experience
His Literary Works
His Literary Works
His Literary Works
Shelley is one of the leading Romantic poets, an intense and original lyrical poet in the English language.