英国文学，恼人的经典

2007-01-02 18:20:42 来自: 龙须面小乖

William Shakespeare
[Hamlet]

To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them. To die: to sleep;
No more; and by a sleep to say we end
The heart-ache, and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: aye, there's the rub;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveler returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pitch and moment
With this regard their currents turn awry
And lose the name of action.

2007-01-02 18:21:35 龙须面小乖

哈姆雷特经典独白：

生存还是死亡，这是一个值得考虑的问题；

默然忍受命运的暴虐的毒箭，

或是挺身反抗人世的无涯的苦难，

通过斗争把它们扫清，这两种行为，哪一种更高贵？

死了；睡着了；什么都完了；

要是在这一种睡眠之中，我们心头的创痛，

以及其他无数血肉之躯所不能避免的打击，

都可以从此消失，那正是我们求之不得的结局。

死了；睡着了；

睡着了也许还会做梦；

嗯，阻碍就在这儿：

因为当我们摆脱了这一具朽腐的皮囊以后，

在那死的睡眠里，

究竟将要做些什么梦，

那不能不使我们踌躇顾虑。

人们甘心久困于患难之中，也就是为了这个缘故；

谁愿意忍受

人世的鞭挞和讥讽、

压迫者的凌辱、

傲慢者的冷眼、

被轻蔑的爱情的惨痛、

法律的迁延、

官吏的横暴和费尽辛勤所换来的小人的鄙视，

要是他只要用一柄小小的刀子，

就可以清算他自己的一生？

谁愿意负着这样的重担，

在烦劳的生命的压迫下呻吟流汗，

倘不是因为惧怕不可知的死后，

惧怕那不曾有一个旅人回来过的神秘之国，

是它迷惑了我们的意志，

使我们宁愿忍受目前的磨折，

不敢向我们所不知道的痛苦飞去？
　　

这样，重重的顾虑使我们全变成了懦夫，

决心的赤热的光彩，被审慎的思维盖上了一层灰色，

伟大的事业在这一种考虑之下，

　　也会逆流而退，失去了行动的意义

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2007-01-03 14:29:43 龙须面小乖

The King James Bible of 1611钦定版圣经是圣经的诸多英文版本之一。英文称作：「King James Version of the Bible」。中文也有人称为「英王钦定版」，「詹姆士王译本」等。英文简称KJV。钦定版圣经是在英王詹姆斯一世的命令下翻译的，出版於1611年。

钦定版圣经不仅影响了随后的英文版圣经，对英语文学的影响也是很大的。为了让更多未受良好教育的普通人也能知晓「上帝的旨意」，该部圣经一共的辞汇量只在8,000个常用的英文单词，因此十分容易理解。一些著名作者，如John Bunyan, John Milton, Herman Melville, John Dryden, and William Wordsworth 很明显从这个版本的圣经中得到啟发。一些圣经如，英语修订版圣经（English Revised Version），新美国标準版圣经(New American Standard Bible）, 修订标準版圣经（the Revised Standard Version）, 还有新钦定版圣经（New King James Version)等都是这个版本的修订版。儘管新国际版圣经等其他版本的圣经没有说它们是这个版本的修订版，但是我们可以看出这个版本对它们深深的影响。

这个版本儘管常被说成是「权威版」（Authorised Version (AV)）或者「权威标準版」（Authorised Standard Version (ASV)）。它本身从来没有被英国政府或者英国教会正是这样承认过。在世界的很多地方，这个版本的版权已经过期了，但是在英国，由於「永久王家版权」（perpetual Crown copyright）的缘故，还是有版权的。虽然钦定版圣经已经年代久远了，现在绝大部分仍然可以被普通读者理解。它也被认为是现代英语的基石，并从它诞生以来一直是被最广泛阅读的文献之一。

现在印刷的钦定版圣经基於1769年牛津大学出版的版本，而不是1611年的版本。牛津版的圣经纠正了一些小的标点错误，对於漏掉的单词用斜体更仔细的标记，并更新了拼写，使之全书统一併和现代一致。

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2007-01-03 17:06:21 龙须面小乖

约翰·多恩《告别词》的几个不同译文

JOHN DONNE (1572-1631)
A VALEDICTION: FORBIDDING MOURNING

As virtuous men pass mildly away,
And whisper to their souls, to go,
Whilst some of their sad friends do say,
"The breath goes now," and some say, "No:"

So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move;
'Twere profanation of our joys
To tell the laity our love.

Moving of th' earth brings harms and fears;
Men reckon what it did, and meant;
But trepidation of the spheres,
Though greater far, is innocent.

Dull sublunary lovers' love
(Whose soul is sense) cannot admit
Absence, because it doth remove
Those things which elemented it.

But we by a love so much refin'd,
That ourselves know not what it is,
Inter-assured of the mind,
Care less, eyes, lips, and hands to miss.

Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to airy thinness beat.

If they be two, they are two so
As stiff twin compasses are two;
Thy soul, the fix'd foot, makes no show
To move, but doth, if the' other do.

And though it in the centre sit,
Yet when the other far doth roam,
It leans, and hearkens after it,
And grows erect, as that comes home.

Such wilt thou be to me, who must
Like th' other foot, obliquely run;
Thy firmness makes my circle just,
And makes me end, where I begun.

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2007-01-03 17:08:42 龙须面小乖

别离辞：节哀

[英]多恩

正如德高人逝世很安然，
对灵魂轻轻的说一声走，
悲伤的朋友们聚在旁边，
有的说断气了，有的说没有。

让我们化了，一声也不作，
泪浪也不翻，叹风也不兴；
那是亵渎我们的欢乐——
要是对俗人讲我们的爱情。

地动会带来灾害和惊恐，
人们估计它干什么，要怎样，
可是那些天体的震动，
虽然大得多，什么也不伤。

世俗的男女彼此的相好，
(他们的灵魂是官能)就最忌
别离，因为那就会取消
组成爱恋的那一套东西。

我们被爱情提炼得纯净，
自己都不知道存什么念头
互相在心灵上得到了保证，
再不愁碰不到眼睛、嘴和手。

两个灵魂打成了一片，
虽说我得走，却并不变成
破裂，而只是向外伸延，
像金子打到薄薄的一层。

就还算两个吧，两个却这样
和一副两脚规情况相同；
你的灵魂是定脚，并不像
移动，另一脚一移，它也动。

虽然它一直是坐在中心，
可是另一个去天涯海角，
它就侧了身，倾听八垠；
那一个一回家，它马上挺腰。

你对我就会这样子，我一生
像另外那一脚，得侧身打转；
你坚定，我的圆圈才会准，
我才会终结在开始的地点。

(卞之琳译)

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2007-01-03 17:58:05 龙须面小乖

Virtue 美德
2006-12-26 12:54
Sweet day,so cool,so calm,so bright! 甜美的白昼，如此凉爽、安宁、明媚！

The bridal of the earth and sky- 天地间完美的匹配-----

The dew shall weep thy fall to-night; 今宵的露珠儿将为你的消逝而落泪；

For thou must die. 因为你必须离去。

Sweet rose,whose hue angry and brave, 美丽的玫瑰，色泽红润艳丽，

Bids the rash gazer wipe his eye, 令匆匆而过的人拭目而视，

Thy root is ever in its grave, 你的根永远扎在坟墓里，

And thou must die. 而你必须消逝。

Sweet spring,full of sweet days and roses, 美妙的春天，充满了美好的日子和芳香的玫瑰，

A box where sweets compacted lie, 如一支芬芳满溢的盒子，

My music shows ye have your closes, 我的音乐表明你们也有终止，

And all must die, 万物都得消逝。

Only a sweet and virtuous soul, 唯有美好而正直的心灵，

Like season'd timber,never gives; 犹如干燥备用的木料，永不走样；

But though the whole world turn to coal, 纵然整个世界变为灰烬，

Then chiefly lives. 它依然流光溢彩。

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2007-01-03 18:24:07 龙须面小乖

1716—1771
托马斯·格雷（Thomas Gray）出于伦敦一经纪人家庭，年青时曾在伊顿公学和剑桥大学求学，并随友人游历欧洲大陆。后半生隐居于剑桥大学，担任历史和语言教授，但从未讲学，也少有著述，只潜心读书，致力于充实自己的学识。格雷一生淡泊名利，曾谢绝桂冠诗人的称号。除诗歌外，他的书信也被视为英国散文中的精品。
格雷一生作诗不多，仅十余首诗传世。其中以《墓园挽歌》最为著名，发表后曾引来诸多仿作，一时形成所谓“墓园诗派”。该诗用8年时间写成，最初的写作动机是哀悼他伊顿公学读书时的好友理查德·韦斯特，至少诗末所附的“墓志铭”是为他而作。但纵观全诗，其内容明显超越了对某个具体人物的哀思，而是通过对乡村一处寂静的墓地的描写，表达对默默无闻的农民的同情，惋惜他们没有机会施展天赋，同时也流露出对大人物傲慢奢侈生活的谴责。这种热爱自然、同情人民、蔑视权贵的思想和弥漫于全诗的感伤情调，使《墓园挽歌》成为18世纪后期感伤主义诗歌的典范之作和此后兴起的浪漫主义的精神。诗的语言精致典雅、结构严谨完整，隔行押韵的四行诗体也运用得节奏整齐、韵脚严格，表现出一个学者型诗人的书卷气。
另外值得一提的是，格雷曾经十分醉心于古代北欧人的朴素而浪漫的原始诗歌，翻译过他们的史诗《命运女神姐妹》和《奥丁的降生》等，开了英国浪漫派对北欧文学感兴趣的风气。

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2007-01-03 18:25:29 龙须面小乖

ELERGY WRITTEN IN A COUNTRY CHURCHYARD
The curfew tolls the knell of parting day;
The lowing herd wind slowly o'er the lea;
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.
墓园挽歌
白昼将残尽，晚钟促落晖。
黄犊鸣草原，逶迤缓缓归。
田夫荷锄走，赴家意沉昏。
玄冥盈天地，孤影立乾坤。

Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds;
夕曛逐黯淡，晚景渐暝灭。
万化皆偃息，阴肃笼四野。
唯见虫旋舞，但闻语切切。
牧铃声思睡，催羊入圈歇。

Save that, from yonder ivy-mantled tower,
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient solitary reign.
薜荔摇青气，蒙络罩尖顶。
栖栖枝上枭，磔磔怨蟾光：
窥我私巢久，徘徊未离休。
古已长居此，何事扰清幽。

Beneath those rugged elms, that yew-tree's shade
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude forefathers of the hamlet sleep.
峥嵘耸青榆，蔼蔼立紫杉。
翳下多荒坟，隆冒蒿草间。
隘隘见方穴，寂寂长眠人。
欲问谁偃卧，野夫与村氓。

The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.
侵晓花香郁，翦翦风轻唤。
茅庐草堂下，家燕语呢喃。
司晨雄鸡啼，行猎号角鸣。
陋塌一已卧，万声莫能醒。

For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care;
No children run to lisp their sire's return,
Or climb his knees the envied kiss to share.
炉膛火烁烁，主妇忙夜活。
烧饭兼添火，此景已不复。
娇儿尚学语，哑哑迎父归。
爬膝争宠爱，斯景亦难追。

Oft did the harvest to their sickle yield;
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bowed the woods beneath their sturdy stroke!
昔往镰刀利，行处皆披靡。
瘠土硗薄地，犁沟亦能理。
驱驾于南亩，耦耕欢时务。
千斤挥巨斧，群林纷鞠伏。

Let not ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor grandeur hear with a disdainful smile
The short and simple annals of the poor.
妄者莫嘲讽，劳碌终有功。
微贱无须叹，家乐可颂扬。
蓬户家史短，简略不足耀。
权贵或有闻，无为相讥诮。

The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e'er gave,
Awaits alike the inevitable hour:
The paths of glory lead but to the grave.

炫炫之豪族，煌煌之王侯，
美貌所招徕，财货所添购，
最终皆难免，灰飞烟灭时。
荣华何足道，百年归丘垄。

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2007-01-03 18:27:46 龙须面小乖

墓园挽歌》这首诗充分体现了格雷的民主思想。由于贫困，农民不能发挥自己的才能，不能成为像弥尔顿那样的文学家，像克伦威尔那样的政治家。但是从另一方面说，在他们身上没有“野心”，“傲慢”，“骄”“奢”和“谄媚”。他们虽然“贫瘠”，没有知识，但却有“德性”和“天良”，他们是自然本身。这样的思想和弥漫于全诗的感伤情调，使《墓园挽歌》成为18 世纪后期感伤主义诗歌的典范之作。
《墓园挽歌》之所以是历代注评家青睐的对象。是因为“第一，它凝聚了一个时期中的某种社会情绪；其次，它有比较完整的形式表达了这种情绪，在一定程度上解决了如何革新旧传统的问题，具有较高的艺术成就”。（杨周翰语）
从《墓园挽歌》这首诗中，我们可以看到英国诗人从新古典主义向浪漫主义的过渡。一方面，格雷的诗歌语言精雕细琢，符合新古典主义推崇的诗歌词藻要求，另一方面，他的诗歌表现了浪漫的对自然以及对人与人之间和谐关系的渴望。这两者的结合用以表达深一层的感伤，使古典主义者所追求的对永恒真理的描述，这一古往今来始终如此的叹惋被精美的诗歌形式架构起来，更有着动人心弦的力量。

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2007-01-04 11:15:34 龙须面小乖

George Gordon Byron

When we two parted
In silence and tears,
Half broken-hearted
To sever for years,
Pale grew thy cheek and cold,
Colder thy kiss;
Truly that hour foretold
Sorrow to this!

The dew of the morning
Sunk chill on my brow-
It felt like the warning
Of what I feel now.
Thy vows are all broken,
And light is thy fame:
I hear thy name spoken,
And share in its shame.

They name thee before me,
A knell to mine ear;
A shudder comes o’er me-
Why wert thou so dear?
They know not I knew thee
Who knew thee too well:
long, long shall I rue thee,
Too deeply to tell.

In secret we met-
In silence I grieve,
That thy heart could forget,
Thy spirit deceive.
If I should meet thee
After ling year,
How should I greet thee?
With silence and tears.

昔日依依别

乔治·戈登！拜伦

昔日依依别，
泪流默无言；
离恨肝肠断，
此别又几年。
冷颊何惨然，
一吻寒更添；
日后伤心事，
此刻已预言。

朝起寒露重，
凛冽凝眉间－－
彼时已预告：
悲伤在今天。
山盟今安在？
汝名何轻贱！
吾闻汝名传，
羞愧在人前。

闻汝名声恶，
犹如听丧钟。
不禁心怵惕－－
往昔情太浓。
谁知旧日情，
斯人知太深。
绵绵长怀恨，
尽在不言中，
昔日喜幽会，
今朝恨无声。
旧情汝已忘，
疾心遇薄幸。
多年离别后，
抑或再相逢，
相逢何所语？
泪流默无声。

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2007-01-04 11:20:11 龙须面小乖

(i). 1st stanza
sorrow in parting

(ii). 2nd stanza
Faith and betrayal

(iii). 3rd Stanza
faith and infidelity

(iv). 4th stanza
Grieve forever

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2007-01-04 11:25:57 龙须面小乖

英美文学英国部分——浪漫主义（一）
Chapter3 The Romantic Period (1798-1832)浪漫主义

1. This urgency was provoked by two important revolutions: the French Revolution of 1789-1794 and the English Industrial Revolution which happened more slowly, but with Astonishing consequences.英国面临着新的发展动力：一是1789-1794年的法国资产阶级大革命，一是同时期英国内部的工业革命。

2. In 1832, the Reform Bill was enacted, which brought the Industrial capitalists into power.1832年“改革法案”在议会通过并实施。

3. The Romantic Movement, whether in England, Germany or France, expressed a more or less negative forward the existing social.浪漫主义运动，无论是在英国，德国还是法国，都表现相互对工业革命时期现存的社会经济制度及城市资产阶级的上升的否定态度。

4. The Romantics demonstrated a strong reaction against the dominant modes of thinking of the 18th-century writers and philosophers. Where their predecessors saw man as a social animal, the Romantics saw him essentially as an individual in the solitary state.文学家摒弃了18世纪盛行的文学及哲学基调---理性，新古典主义文学家认为人是社会性的动物，而浪漫主义文学家认为人应该是独立自由的个体。

5. Thus, we can say that Romanticism actually constitutes a change of direction from attention to the outer world of social civilization to the inner world of the human spirit.因此，我们还可以说浪漫主义其实是将人们的注意力从外部世界—社会文明转移到内部世界---人类自己的精神实质。

6. The Romantic period is an age of poetry.浪漫主义时代也是诗歌的时代。

7. They believed that poetry could purify both individual souls and the society.他们（浪漫主义代表诗人布莱克，华兹华斯，科勒律治，拜伦，雪莱及济恩）认为诗歌是医治社会顽疾的良药，可以净化人的灵魂。

8. Wordsworth defines the poet as a “man speaking to men,” and poetry as “the spontaneous overflow of powerful feelings, which originates in emotion recollected in tranquillity.”华兹华斯认为诗人是对着广大人民讲话的人，而诗歌是强烈情感的自发流露，发乎情，止乎静。

9. Imagination, defined by Coleridge, is the vital faculty that creates new wholes out of disparate elements.想象是在全无联系的各种元素上创立新型整体的一种超凡的官能。

10. The Romantics not only extol the faculty of imagination, but also elevate the concepts of spontaneity and inspiration, regarding them as something crucial for true poetry.浪漫主义者不仅推崇想象，还强调灵感与创作的自发性，认为有这两种才智才能创造出真正的诗歌。

11. Romantics also tend to be nationalistic.浪漫主义者们还体现了强烈的民族精神。

12. To the Romantics, poetry should be free from all rules. They would turn to the humble people and the common everyday life for subjects.浪漫主义诗人却打破这些格律，他们会在穷苦百姓及日常生活中找寻素材。

13. The two major novelists of the Romantic period are Jane Austen and Walter Scott.浪漫主义时期的代表小说家有简.奥斯汀与沃尔特.司各特.

14. Jane Austen’s view of life is a totally realistic one.简.奥斯汀对生活抱有完全的现实主义.

15. The major theme of Jane’s novels is love and marriage toward which she holds on a practical idealism---love should be justified by reason and disciplined by self-control. She chooses to stay within the tiny field that she knows best., she has become a popular classic and has been admired for her wit, her common-sense, her insight into characters and social relationships. 简.奥斯汀作品的主题为爱情与婚姻,对于这个主题,奥斯汀抱有一种较为实际的理想主义---爱情必须有理智及道德准则的约束,她的作品的背景都很小却都是她熟知的,她的智慧,常识及对人物和人际关系深刻的洞察受到了大批读者的喜爱.

16. Walter Scott showed a keen sense of political and traditional forces and of their influence on the individual. He is the first major historical novelist.司各特表现出对政治与传统的力量及它们对个人的影响深刻的洞察力。他是英国文学史上第一位重要的历史小说家。

17. Gothic novel, a type of romantic fiction that predominated in the late eighteenth century, its principal elements are violence, horror, and the supernatural.哥特式小说也是浪漫主义运动的一部分，它盛行于浪漫主义前期的18世纪末。这种小说的主要题材是暴力，恐怖及对超自然力（鬼神）的描写。

(I)William Blake威廉.布莱克

18. He was often misunderstood by other people, who would regard him as gifted but mad. He was recognized only posthumously.他经常遭到旁人误解，认为他是个天才，又是个疯子，他去世后才被人发掘出来并一举成名。

19. Childhood is central to Blake’s concern in the Songs of Innocence and Songs of Experience, and this concern gives the two books a strong social and historical reference.他的两步诗集《天真之歌》和《经验之歌》中，童年是布莱克主要描述的中心，这个描述中心使作品富有社会与历史性的参考价值。

20. Blake’s Marriage of Heaven and Hell marks his entry into maturity. It plays the double role both as a satire and a revolutionary prophecy.布莱克的《天堂与地狱的结合》一诗标志着他创作上的成熟，并担负了讽喻与革命预言的两重角色。

21. The “marriage,” to Black, means the reconciliation of then contraries, not the subordination of the one to the other.婚姻对布莱克意味着矛盾的调和，而并非一方从属于另一方。

22. Blake felt bound to declare that “I know that This World is World of Imagination & Vision” and that “The Nature of my work is visionary or imaginative.”布莱克热切得宣布：“我认为人世凡尘是一个充满想象与幻想的世界，我的作品也如人世凡尘一样充满想象与幻觉。”

23. Blake writes his poems in plain and direct language.布莱克的语言直白朴素。

24. Symbolism in wide rang is also a distinctive feature of his poetry.大范围地使用象征手法也是他作品的鲜明特征。

(II)William Wordsworth威廉.华兹华斯

25. The poet Robert Southey as well as Coleridge lived nearby, and the three men became known as the “Lake Poets”.诗人骚塞,科勒律治也居住在同一地城,三人并称为”湖畔诗人”。

26. In 1842 he received a government pension, and in the following year he succeeded Southey as Poet Laureate.1842年政府为他发了津贴，次年他压倒骚塞成为了“桂冠诗人”。

27. According to the subject, Wordsworth’s short poems can be classified into two group: poems about nature and poems about human life.按照主题，华的短诗可分为两大类：关于自然的和关于人类生活的。

28. Wordsworth is regarded as a “worshipper of nature.”华被称为”大自然的膜拜者”。

29. Wordsworth thinks that common life is the only subject of literary interest. The joys and sorrows of the common people are his themes.华认为普通人的普通生活应是文学的主题，她的作品大多描述普通百姓的喜怒哀乐。

30. His works contain “The Solitary Reaper”, “To a Highland Girl”, ”The Old Cumberland Beggar ” and “The Ruined Cottage”.他的作品包括《孤独的收割者》，《致高地姑娘》，《老坎伯兰的乞丐》和《被摧毁的茅屋》。

31. In its daring use of subject mater and sense of then authenticity of the experience of the poorest, “Resolution and Independence” is the triumphant conclusion of ideas first developed in the Lyrical Ballads.通过大胆运用这样的主题，同时对贫苦人民生活经历的描写拥有极大的可信度，“革命与独立”则成为《抒情歌谣集》中成功的结论，这在英国诗歌历史上也是第一次。

32. Wordsworth is a poet in memory of the past .华兹华斯是一个怀旧的诗人。

33. Wordsworth’s deliberate simplicity and refusal to decorate the truth of experience produced a kind of pure and profound poetry which no other poet has ever equaled.华兹华斯对简洁朴素的风格的追求，对粉饰真实的厌恶使他的诗歌具有别人无法企及的纯净与深远之美。

34. he maintained that the scenes and events of everyday life and the speech of ordinary people were the raw material of which poetry could and should be made.他强调诗歌创作最要紧的是把握真实素材的来源，他的创作理论的核心便是普通人的生活经历，普通人的词汇语言都是诗人应该也能够汲取的素材。

35. William Wordsworth is the leading figure of the English romantic poetry, the focal poetic voice of the period.华兹华斯是英国诗歌史上的精英，是浪漫主义时期的杰出代表。

36. The most important contribution he has made is that he has not only started the modern poetry, the poetry of the growing inner self, but also changed the course of English poetry by using ordinary speech of the language and by advocating a return to nature.他对诗歌的巨大贡献在于开启了现代诗歌，开创了运用百姓生活语言写诗的新道路，并号召人们回归自然。

(III)Samuel Taylor Coleridge塞.泰.科勒律治

37. In 1798, the two men published a joint volume of poetry, Lyrical Ballads, which became a landmark in English poetry. 1798年，他同华兹华斯合作出版《抒情歌谣集》，成为英诗发展的一座里程碑。

38. In addition to “The Ancient Mariner,” he wrote “Kubla Khan,” began writing “Christabel” and composed “This Lime-Tree Bower My Prison,” “Frost at Midnight,” and “The Nightingale,” which are considered to be his best “conversational” poems.他创作了《古航海家之歌》，《忽必烈汗》，《子夜寒霜》，《夜莺》等名诗，这些都是他“对话诗”的代表。

39. Philosophically and critically, Coleridge opposed the limitedly rationalistic trends of the the 18th-century thought.在哲学与文学评论方面，科勒律治反对18世纪那种局限的理性主义潮流。

40. he advocated a more spiritual and religious interpretation of life, based on what he had learnt from Kant and Schelling.他倡导了以坎特与斯凯灵理论的对人类精神化与宗教化的诠释。

41. He believed that art is the only permanent revelation of the nature of reality.他认为艺术是唯一一种能永远揭示现实的形式。

42. Coleridge’s actual achievement as poet can be divided into two remarkably diverse groups: the demonic and the conversational.柯勒律治在诗歌方面的成就可分为不同的两大类，神祗诗与对话诗。

43. Mysticism and demonism with strong imagination are the distinctive features of this group.这些诗歌的显著特点，便是神秘与想象。

44. “Christabel” uses a freer version of the ballad form to create an atmosphere of the Gothic horror at once delicate and sinister.“克丽斯特贝尔”一诗采用了更为自由的抒情诗形式，创造出的是与一种微妙而又邪恶的哥特式恐怖氛围。

45. He sings highly Wordsworth’s “purity of language,” “deep and subtle thoughts,” “Perfect truth to nature” and his “imaginative power.” But he denies Wordsworth’s claim that there is no essential difference between the language of poetry and the language spoken by common people.他高度赞赏华兹华斯那“纯净的语言”，“深邃的思想”，“对自然完美真实的描述”以及他“非凡的想象力”。但是他不赞成华兹华斯所说的“诗歌语言与普通百姓的生活语言没什么两样”。

46. Coleridge was esteemed by some of his contemporaries and is generally recognized today as a lyrical poet and literary critic of the first rank.科勒律治被同时期的诗界所尊崇，直至今日也被奉为第一流的抒情诗人与文学评论家。

47. he was one of the most influential English literary critics and philosophers of the 19th century.他是19世纪浪漫主义文学与哲学的代表。

英美文英国部分——浪漫主义（二）
（IV）George Gordon Byron乔治.戈登.拜伦

48. The publication in 1812 of the first two cantos of Childe Harold’s Pilgrimage, brought Byron fame.拜伦早期代表作是长篇叙事诗《恰尔德.哈罗德游记》第一，第二章（1812）。

49. In Geneva, he wrote the third canto of Childe Harold and the narrative poem The Prisoner of Chillon.在日内瓦，拜伦写下了《哈罗德游记》第三章及叙事诗《齐伦的囚犯》。

50. he produced the verse drama Manfred, the first two cantos of Don Juan.他创作了诗剧《曼弗雷德》，《唐璜》的前两章。

51. Don Juan is Byron’s masterpiece, a great comic epic of the early 19th century.他的代表作《唐璜》是19世纪初期的著名讽刺史诗。

52. Byron invests in Juan the moral positives like courage, generosity and frankness, are virtues neglected by the modern society.拜伦在唐璜身上开发出勇敢,慷慨,诚恳直白等优点。

53. the poet’s true intention is, by making use of Juan’s adventures, to present a panoramic view of different types of society.诗人的创作意旨在于通过唐璜的游历来体现不同的社会情形。

54. Byron’s satire on the English society in the later part of the poem can be compared with Pope’s; and his satire is much less personal than that of Pope’s, for Byron is here attacking not a personal enemy but the whole hypocritical society.拜伦在诗的末尾对英国社会的讽刺与蒲柏相媲美，有过之而无不及，因为拜伦讽刺的不是个人恩怨，而是整个社会的虚伪。

55. As a leading Romanticist, Byron’s chief contribution is his creation of the “Byronic hero,” a proud, mysterious rebel figure of noble origin. Such a hero appears first in Childe Harold’s Pilgrimage, and then further developed in later works such as the Oriented Tales, Manfred, and Dan Juan in different guises.作为浪漫主义的代表诗人，拜伦的主要贡献在于他创造了“拜伦式英雄”，高傲，神秘，反叛却带有贵族血统。这种拜伦式英雄出现在《哈罗德游记》，《东方故事集》，《曼弗雷德》及《唐璜》等多部作品中。

56. Actually Byron has enriched European poetry with an abundance of ideas, images, artistic forms and innovations.拜伦以丰富的思想，想象力，艺术形式和创新欧洲的诗歌得到了发展

(V)Percy Bysshe Shelley柏.比.雪莱

57. He held a lifelong aversion to cruelty, injustice, authority, institutional religion and the formal shams of respectable society, condemning war, tyranny and exploitation.他一生都在执著的反抗社会上的残忍与不公，强权与宗教，战争与剥削。

58. He realized that the evil was also in man’s mind.他认为罪恶还存在于人的思想。

59. One of Shelley’s greatest political lyrics is “Men of England. The poem was later to become a rallying song of the British Communist Party.”雪莱最著名的政治抒情诗是“致苏格兰人民”，这首诗在宪章运动时期成为广大工人的战歌。

60. Best of all the well-known lyric pieces is Shelley’s “Ode to the West Wind”; here Shelley’s rhapsodic and declamatory tendencies find a subject perfectly suited to them.雪莱最著名的抒情诗当属“西风颂”，这首诗语气狂热，宜于诵读。

61. “If Winter comes, can Spring be far behind?” The poem is written in the terza rima form Shelley derived from his reading of Dante.“如果冬天已经来临，春天还会远吗？”诗人引用了文艺复兴时期意大利诗人但丁的三行诗节隔句押韵法。

62. Shelley’s greatest achievement is his four-act poetic drama, Prometheus Unbound，The play is an exultant work in praise of humankind’s potential, and Shelley himself recognized it as “the most perfect of my products.”.雪莱最有造诣的作品是他的四幕诗剧《解放了的普罗米修斯》，它赞扬了人类自身的潜力，雪莱认识它是自己最出色的作品。

63. Like Blake, he has a reputation as a difficult poet: erudite, imagistically complex, full of classical and mythological allusions.像布莱克一样，由于不同于其他人，他是个备受推崇的诗人，他的作品博学，具有深厚文化底蕴，含有丰富的典故和神灵的暗示。

(VI)John Keats约翰.济慈

64. Endymion, published in 1818, was a poem based on the Greek myth of Endymion and the moon goddess.1818年,济慈出版了长诗<安狄米恩>,该诗以希腊神话为素材,记述了牧人安狄米恩赫月光女神的故。

65. It was this yearning and suffering that quickened his maturity and added a new dimension to his poetry.一连串挫折与内心压抑的情感促使他走向成熟，并使他未来的创作更加丰满。

66. At the heart of these pomes lies Keats’ concern with how the ideal can be joined with the real, the imagined with the actual, and man with woman.这些诗歌表达了济慈对如何将理想与现实，想象与实际，男人与女人结合起来的思考。

67. The volume also contain his four great odes: ”Ode on Melancholy,” “Ode on a Grecian Urn,” “Ode to a Nightingale,” “Ode a Psyche;” his lyric masterpiece “To Autumn” and the unfinished poem “Hyperion.”这部诗集包括他著名的四首“颂”：“忧郁颂”，“希腊古瓮颂”，“夜莺颂”，“普赛克颂”及他抒情诗的代表作“秋日颂”和未完成的诗作“希波里恩”。

68. The odes are generally regarded as Keats’s most important and mature works.颂诗是济慈最重要也是最成熟的作品。

69. In the great of these works, he also suggests the undercurrent of disillusion that accompanies such ecstasy, the human suffering which forever question the visionary transcendence achieved by art.在这些作品中,他对资本主义社会现实又不满，他的诗歌却常常带有唯美主义色彩。

70. “Ode to a Nightingale” expresses the contrast between the happy world of natural loveliness and human world of agony.”夜莺颂”展示了自然界之美与人世之痛苦强烈的反差。

71. “Ode on an Grecian Urn” shows the contrast between the permanence of art and the transience of human passion.“希腊古瓮颂”展示了永恒的艺术与短暂的人类热情之间的对比。

72. Sight, sound, scent, taste and feeling are all taken in to give an entire understanding of an experience.将视，听，嗅，味，触等感觉都转化成绝美的文字，带来一个通透的体验。

73. He draws diction, style and imagery from works of Shakespeare, Milton and Dante.他在措词，风格和比喻上都参考了莎士比亚，弥尔顿和但丁的作品。

74. Keats’s poetry characterized by exact and closely knit construction, sensual descriptions, and by force of imagination, gives transcendental values to the physical beauty of the world. 济慈的诗以精确紧凑的造句，有感描写为特色，通过想象，营造了超出人类经验值的自然之美。

(VII)Jane Austen 简.奥斯汀

75. Her first novel, Sense and Sensibility, tells a story about two sisters and their love affairs: Pride and Prejudice, the most popular of her novels, deals with five Bennet sisters and search for suitable husbands; and Northanger Abbey.她的处女作《理智与情感》讲述了一对姐妹的恋爱经历；《傲慢与偏见》是她最著名的作品，讲述了贝内特一家五位姐妹寻找如意郎君的过程；《诺觉寺》讽刺了18世纪流行的哥特式骑士抒情诗。

76. Mansfield Park presents the antithesis of worldliness and unworldliness ; Emma gives the thought over self-deceptive vanity; and Persuasion contrasts the true love with the prudential calculations.《曼斯菲尔德花园》表现了世俗与非世俗的并存；《爱玛》对自欺欺人的虚荣心给予了反思；《劝告》将真挚爱情与精打细算进行了对照。

77. She holds the ideals of the landlord class in politics, religion and moral principles; and her works show clearly her firm belief in the predominance of reason over passion, the sense of responsibility, good manners and clear-sighted judgment over the Romantic tendencies of emotion and individuality.她主张地主阶级应在政治及社会生活中占主导地位，而她的作品也表现了她强调的理智高于情感，责任心、礼节、公正高于浪漫与个人主义的观点。

78. And in style, she is neoclassicism advocator, upholding those traditional ideas of order, reason, proportion and gracefulness in novel writing.在写作风格上，她提倡新古典主义，坚持理性，秩序，典雅的原则。

79. Austen’s main literary concern is about human beings in their personal relationships.奥斯汀的创作主题总与个人的生活及人际关系有关。

80. It is her conviction that a man’s relationship to his wife and children is at least as important a part of his life as his concerns about his belief and career.她确信一个人与自己妻子，儿女的关系最起码同他生命的另一半---事业，信仰---同样重要。

81. plots are all restricted to the provincial life of the late 18th-century England, concerning three or four landed gentry families with their daily routine life.奥斯汀的写作素材十分狭窄。主题，角色，社会背景及情节都离不开18世纪英国的乡村中产阶级生活，总是三，四口之家的日常生活。

82. Pride and Prejudice, originally drafted as “First Impressions” in 1796, is the most delightful of Jane Austen’s works.《傲慢与偏见》原名《第一印象》是奥斯汀最出色的作品。

83. Our first impression, according to Jane Austen, are usually wrong.奥斯汀认为人的第一印象总是有失偏颇的。

84. The structure of the novel is exquisitely deft, the characterization in the highest degree memorable, while the irony has a radiant shrewdness unmatched elsewhere.这部小说结构精致灵巧，人物描写令人难忘，讽刺出其不意。

85. The works of Jane Austen, at once delightful and profound, are among the supreme achievements of English literature. With trenchant observation and in meticulous detail, she presents the quiet, day-to-day country life of the upper-middle-class English.奥斯汀的著作令人愉悦并有深意，是英国文学史上巨大的成就。她通过犀利细致的观察，向我们展现了平和的英国乡村中产阶级的日常生活全貌。

86. Her characteristic theme is that maturity is achieved through the loss of illusions.其典型的主旨是成熟，实在错误的幻想打破后获得的。

87. Because of her sensitivity to universal patterns of human behavior, Jane Austen has brought the English novel, as an art of form, to its maturity, and she has been regarded by many critics as one of the greatest of all novelists.由于她人类行为的普遍模式十分敏感，奥斯汀使英国小说走向成熟，众多评论家都认为她是英国最出色的小说家之一。

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2007-01-04 11:31:50 龙须面小乖

Song to the Men of England

1

Men so England, wherefore plough

For the lords who lay ye low?

Wherefore weave with toil and care

The rich robes your tyrants wear?

2

Wherefore feed ,and clothe ,and save, 5

From the cradle to the grave,

Those ungrateful drones who would

Drain your sweat-----nay,drink your blood?

3

Wherefore,Bees of England, forge

Many a weapon, chain, and scourge, 10

That these stingless drones may spoil

The forced produce of your toil?

4

Have ye leisure , comfort, calm,

Shelter, food, love's gentle balm?

Or what is it ye buy so dear 15

With your pain and with your fear?

5

The seed ye sow, another reaps;

The wealth ye find, another keeps;

The robes ye weave, another wears;

The arms ye forge ,another bears. 20

6

Sow seed ,----but let no tyrant reap;

Find wealth,----let no impostor heap;

Weave robes,---let not the idle wear;

Forge arms,----in your defence to bear.

7

Shrink to your cellars, holes, and cells; 25

In hall ye deck another dwells.

Why shake the chains ye wrought ?Ye see

The steel ye tempered glance on ye.

8

With plough and spade ,and hoe and loom,

Trace your grave ,and build your tomb, 30

And weave your winding-sheet,till fair

England be your sepulchre.

(赏析)

1819年8月6日，曼彻斯特六万工人在圣彼德广场聚会、游行示威,要求普选权、反对谷物法案，遭到当局的镇压，很多人受伤，有的死难.雪莱当时在意大利,听到此事后义愤填膺，写了著名长诗"专制魔王的化装舞剧"(The Mask of Anarchy).同年他写了这一首革命态度鲜明的政治抒情诗,并拟把它们印成传单散发，但无人敢承印,直至雪莱死后才得以发表.

在诗人的许多作品中可见到为争取自由而斗争的主题，诗人心目中的自由包括消灭对劳动的剥削，这一观念在本诗中得到深刻的表达.诗人向劳动人民致辞，号召世界的创造者------劳动人民，向资本家进行斗争，拿起武器捍卫自身的权利.全诗共八节,每节四行，每行四个重音节，双行韵式aa-bb.

> 删除
2007-01-04 11:32:47 龙须面小乖

雪莱

一

英格兰的人们，凭什么要给

蹂躏你们的老爷们耕田种地？凭什么要辛勤劳动纺织不息

用锦绣去打扮暴君们的身体？

二

凭什么，要从摇篮直到坟墓，

用衣食去供养，用生命去保卫

那一群忘恩负义的寄生虫类，

他们在榨你们的汗，喝你们的血？

三

凭什么，英格兰的工蜂，要制作

那么多的武器，锁链和刑具，

使不能自卫的寄生雄蜂竟能掠夺

用你们强制劳动创造的财富？

四

你们是有了舒适，安宁和闲暇，

还是有了粮食，家园和爱的慰抚？

否则，付出了这样昂贵的代价，

担惊受怕忍痛吃苦又换来了什么？

五

你们播下了种子，别人来收割；

你们找到了财富，归别人占有；

你们织布成衣，穿在别人身上；

你们锻造武器，握在别人的手。

六

播种吧——但是不让暴君收；

发现财富——不准骗子占有；

制作衣袍——不许懒汉们穿；

锻造武器——为了自卫握在手！

七

你们装修的厅堂让别人住在里面，

自己却钻进地窖、牢房和洞穴去睡。

为什么要挣脱你们自己造的锁链？

瞧！你们炼就的钢铁在向你们逞威。

八

就用锄头和织机，耕犁和铁铲

构筑你们的裹尸布吧，终有一天

美丽的英格兰成为你们的葬身窟。

> 删除
2007-01-04 14:45:10 龙须面小乖

关于《呼啸山庄》这部书，在世界文坛上多年来每谈及十九世纪西欧文学，必会涉及
《呼啸山庄》的探讨。有不少著名评论家及小说家都曾有专文论述。如：英国著名女作家弗
吉尼亚·伍尔夫（ViginiaWoolf，１８８２—１９４１）⑨在一九一六年就写过《〈简爱〉
与〈呼啸山庄〉》一文。她将这两本书作了一个比较。她写道：
“当夏洛蒂写作时，她以雄辩、光采和热情说‘我爱’，‘我恨’，‘我受苦’。她的
经验，虽然比较强烈，却是和我们自己的经验都在同一水平上。但是在《呼啸山庄》中没有
‘我’，没有家庭女教师，没有东家。有爱，却不是男女之爱。艾米莉被某些比较普遍的观
念所激励，促使她创作的冲动并不是她自己的受苦或她自身受损害。她朝着一个四分五裂的
世界望去，而感到她本身有力量在一本书中把它拼凑起来。那种雄心壮志可以在全部小说中
感觉得到——一种部分虽受到挫折，但却具有宏伟信念的挣扎，通过她的人物的口中说出的
不仅仅是‘我爱’或‘我恨’，却是‘我们，全人类’和‘你们，永存的势力……’这句话
没有说完。”
英国进步评论家阿诺·凯特尔（ArnoldKettle）⑩在《英国小说引论》一书中第三部分
论及十九世纪的小说时，也有专文为《呼啸山庄》作了较长的评论，他总结说：“《呼啸山
庄》以艺术的想象形式表达了十九世纪资本主义社会中的人的精神上的压迫、紧张与矛盾冲
突。这是一部毫无理想主义、毫无虚假的安慰，也没有任何暗示说操纵他们的命运的力量非
人类本身的斗争和行动所能及。对自然，荒野与暴风雨，星辰与季节的有力召唤是启示生活
本身真正的运动的一个重要部分。《呼啸山庄》中的男男女女不是大自然的囚徒，他们生活
在这个世界里，而且努力去改变它，有时顺利，却总是痛苦的，几乎不断遇到困难，不断犯
错误。”
而英国当代著名小说家及创作家毛姆（William Somer Eset Maugham，１８７４—１９
８５）⑾，在一九四八年应美国“大西洋”杂志请求向读者介绍世界文学十部最佳小说时，
他选了英国小说四部，其中之一便是《呼啸山庄》，他在长文中最后写道：
“我不知道还有哪一部小说其中爱情的痛苦、迷恋、残酷、执著，曾经如此令人吃惊地
描述出来。《呼啸山庄》使我想起埃尔·格里科⑿的那些伟大的绘画中的一幅，在那幅画上
是一片乌云下的昏暗的荒瘠土地的景色，雷声隆隆拖长了的憔悴的人影东歪西倒，被一种不
是属于尘世间的情绪弄得恍恍惚惚，他们屏息着。铅色的天空掠过一道闪电，给这一情景加
上最后一笔，增添了神秘的恐怖之感。”
总之，《呼啸山庄》是一部伟大的作品，也有誉之为“最奇特的小说”的。但是正如阿
诺德·凯特尔所说：“希刺克厉夫的反抗是一种特殊的反抗，是那些在肉体上和精神上被这
同一社会（指维多利亚时期的社会）的条件与社会关系贬低了的工人的反抗。希刺克厉夫后
来的确不再是个被剥削者，然而也的确正因为他采用了统治阶级的标准（以一种甚至使统治
阶级本身也害怕的残酷无情的手段），在他早期的反抗中和在他对凯瑟琳的爱情中所暗含的
人性价值也就消失了。在凯瑟琳与希刺克厉夫的关系中所包含的一切，在人类的需求和希望
中所代表的一切，只有通过被压迫的积极反抗才能实现。”希刺克厉夫与凯瑟琳的社会悲剧
就在于凯瑟琳意识到他们的社会地位悬殊，却幻想借她所羡慕的林惇家的富有来“帮助希刺
克厉夫高升”，使她哥哥“无权过问”。这当然是不可能的，从后来希刺克厉夫再度出现
时，林惇建议让他坐在厨房而不必请到客厅里坐，就可以看得出来。这就铸成了大错，她陷
入自己亲手编织的罗网。而在她已经答应嫁给林惇后分明还说：
“在这个世界上，我的最大的悲痛就是希刺克厉夫的悲痛，而且我从一开始就注意并且
感受到了，在我的生活中，他是我思想的中心。如果别的一切都毁灭了，而他还留下来，我
就能继续活下去，如果别的一切都留下来，而他给消灭了，这个世界对于我将成为一个极陌
生的地方。我就不像是它的一部分。我对林惇的爱像是树林中的叶子：我完全晓得，在冬天
改变树木的时候，时光便会改变叶子。我对希刺克厉夫的爱恰似下面的恒久不变的岩石，虽
然看起来它给你的愉快并不多，可是这点愉快却是必需的。耐莉，我就是希刺克厉夫！他永
远永远地在我心里……”而这样她竟背叛了她最爱的人，也就是背叛了自己，那么她就只能
在自己编织的罗网中挣扎着死去，在死去以前，希刺克厉夫悲愤地责备她：“你为什么欺骗
你自己的心呢……你害死了你自己。……悲惨、耻辱和死亡，以及上帝或撒旦所能给的一切
打击和痛苦都不能分开我们，而你，却出于你自己的心意，这样作了。”又说：“我爱害了
我的人——可是害了你的人呢？我又怎么能够爱他？”这就导致了希刺克厉夫的悲剧——不
惜用残酷手段来进行报复。他被私有制社会所摒弃，却仍旧用私有制社会的斗争手段来进行
反抗。他没有财产，却掠夺了财产，自己成了庄园主；他自幼被辛德雷嘲弄、贬低、辱骂，
被人降到一个乡巴佬的仆人的地位，若干年后他又反过来以其人之道向其子进行报复，结果
他的胜利必然等于他自己精神上的失败。当他发现林惇的女儿（也就是凯瑟琳的女儿）和辛
德雷的儿子（也就是凯瑟琳的侄子）两人的眼睛完全和凯瑟琳生前的眼睛一模一样时，当他
发现哈里顿（辛德雷之子）仿佛就是他的青春的化身时，他再也不想抬起手来打他们了。他
自己承认“这是一个很糟糕的结局”，他已不想报复，因为这样的“以眼还眼、以牙还牙”
的复仇方式必然只能走向寂寞与空虚！
无论如何，希刺克厉夫就那个时代来说，是值得同情的人物，他的复仇是可以理解的。
十几年来，凯瑟琳的孤魂在旷野上彷徨哭泣，等待着希刺克厉夫，终于希刺克厉夫离开了人
世，他们的灵魂不再孤独，黑夜里在旷野上，山岩底下散步……这当然都是无稽之谈，然而
正如作者最后写道：“我在那温和的天空下面，在这三块墓碑前留连，望着飞蛾在石南丛和
兰铃花中扑飞，听着柔风在草间飘动，我纳闷有谁能想象得出在那平静的土地下面的长眠者
竟会有并不平静的睡眠。”《呼啸山庄》中希刺克厉夫与凯瑟琳这两个主要人物在世界文学
上给广大读者留下了难忘的深刻印象；他们那种不为世俗所压服、忠贞不渝的爱情也正是对
他们所处的被恶势力所操纵的旧时代的一个顽强的反抗，尽管他们的反抗是消极无力的，但
他们的爱情在作者的笔下却终于战胜了死亡，达到了升华境界。而这位才华洋溢的女作家艾
米莉·勃朗特便由于她这部唯一的作品，在英国十九世纪文坛的灿烂星群中永远放出独特
的、闪着异彩的光辉！

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2008-01-13 20:24:17 胖大飞

明天我考这个
现在我看到那些蚂蚁般的文字
很迷茫

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