外国关于玫瑰花的诗句(急求普希金十首关于玫瑰的诗要两篇英文的)

1急求普希金十首关于玫瑰的诗 要两篇英文的

玫 瑰 إ我们的玫瑰在哪儿，إ我的朋友们？إ这朝霞的孩子，إ这玫瑰已经凋零。

إ不要说：إ青春如此蹉跎！إ不要说：إ人生如此欢乐！إ快告诉我的玫瑰，إ我为她多么惋惜，إ也请顺便告诉我，إ哪儿盛开着百合。Our roses flowers Where are my friendsThe glory of the children,Roses — it fadedDo not say:Youth and so the wilting process!Do not say:This is the joy of life!Go on a flower talk:Farewell, I pity you!Then means to us:Lilies are in full bloom 普希金的这首诗是以玫瑰和百合花为意象来表现人生。

玫瑰凋谢不能说是令人高兴的，但也不能代表一切都完了，看，百合花正在盛放。作者这是在告诉人们，人生中会有不幸和痛苦，但也有幸福和欢乐；当上帝在你面前关上一扇窗时，他同时会为你打开另一扇窗的。

所以，在不幸和痛苦到来时，没必要强颜欢笑，也不必因此悲观绝望，而要坦然去面对，并看到同时存在的生活中的幸福和欢乐。 瑰象征着爱情——热烈，专一，也象征着青春——张扬，奔放。

然而，花开总有花落时，玫瑰落后思更多。青春的玫瑰渐渐褪色，但愿那绚烂的颜色潜入心灵，沉淀成内在的香气，在心里盛开一丛百合。

再美的玫瑰都有凋零之时，正如“青春就这样衰萎啦”！这是一种自然界的生命呈现出的最自然的状态，那么与其抗拒，不如接受，在她萌发、盛开之际，细细地品味，慢慢地享受，就像她会永世美丽一样，当她不再年轻、貌美，凋零了一地的残红，就让我们收起她的美、她的心，永远记住她曾美丽、骄傲地走过。玫瑰走了，就迎接百合吧，在外在的青春还未消失殆尽前，将美丽植入内心，让心酝酿出永恒的生命之美与风采。

إ 据学者分析，普希金此诗中的两朵花的形象分别取自维亚泽姆基的《致友人》中象征青春的玫瑰和卡拉姆津《一个俄国旅行家的书简》中象征内在美与生命力量的百合花。普希金是多愁善感的，敏锐地体察到自然界的花朵的感情与内心世界，遂将自然界的花引入自己的主观世界，赋予它们人类社会的形象，年轻时尽显玫瑰般的青春与热烈，随着玫瑰的凋零，却依然能从内心散发出百合般的从容、淡雅、永恒之美。

普希金《夜莺和玫瑰》2009年02月14日 星期六 09:40在幽静的花园里， 在春夜的昏暗中 夜莺在芳香的玫瑰枝头上歌唱 但可爱的玫瑰却无动于衷， 也不倾听，只是在那倾慕的颂歌中 打盹和摇晃 玫瑰啊，她不需要诗人的颂歌 她只需要，现实的富足与虚荣享乐 清醒些吧，诗人， 你追求的是什么 你除了让诗人和他的诗歌， 以及关心热爱他们的朋友 一起带来永恒 你还能给自己带来什么？ 难道只是让那 长久对爱情渴慕的心 持续遭受失落的折磨？ 你不也是和玫瑰一样 是个冷美人 她不听也不理会诗人的歌声 她那么娇艳， 对你的呼求却报以沉默。 In the quiet garden, In the spring night of obscuration The Nightingale in Roses wee sing on But lovely rose trembles Do not listen, just that adore mantra in NAP and shaking Rose, she doesn't need the poet's Carol She only needs, the reality of the rich and vain pleasures Wake up, poet What is your quest Do you let the poet and his poetry, As well as concerned about friends who love them Bring together forever You can give yourself Don't just let the Long love longing hearts Sustained loss of torture You don't like it is and roses Is a cold beauty She wouldn't listen also to ignore the poet's voice She is so beautiful, You cry was reported with silence The Nightingale and the rose Garden Silent Spring, in the face of the night of drapes, An Oriental Nightingale at Rose's singing above But lovely rose has feel ignored, Listen to see love hymn was put to fro, tireless State Can't you just sing the beauty of the cold Sober, poet, Ah, you make something look for People do not listen to you a poet, she is indifferent: You see — she in the open; you call — but no response 夜莺和玫瑰 花园默默无言，春天了，面对夜的幔帐， 一只东方的夜莺站在玫瑰的上面歌唱。

但是可爱的玫瑰却没有感觉，不予理睬， 听看爱的颂歌却摆来摆去，一副倦态。 难道你就是这样歌唱那冰凉的美？ 清醒吧，诗人啊，你在把什么东西寻觅？ 人家并不听你诗人的，她无动于衷： 你看——她在开放；你呼唤——却没有回应。

啊，玫瑰姑娘 普希金 啊，玫瑰姑娘，我受到了囚禁；但我并不以你的桎梏而羞愧：如同在月桂从中的夜莺，这森林歌手中有羽的王者，生活在甜蜜的囚禁中，靠近美丽而骄傲的玫瑰，在情欲之夜的幽暗中，为她柔情绵绵地歌唱 Ah, rose girl, I was imprisoned; But I do not take your shackles and shame: As in the Nightingale in Lauryl witches, This forest has a feather of singers, King Live in the sweet captivity, Close to the beautiful and proud of roses, In the dark night of passion, As she sang with gentleness There is a lovely rose There is a lovely rose: it In the West salad surprised, before Open, Carmine, gorgeous handsome,Venus kind praise itFrost breath but in vain,It 。

2有没有关于玫瑰的诗

彭斯 Robert Burns(1759~1796)英国诗人 。

a red,red rose 《一朵红红的玫瑰》

o my luve's like a red,red rose 啊，我爱人象红红的玫瑰，

that's newly spring in june： 在六月里苞放；

o my luve's like the melodie 啊，我爱人象一支乐曲，

that's sweetly play'd tune 乐声美妙、悠扬。

as fair art thou,my bonnie lass 你那么美，漂亮的姑娘，

so deep in luve am i： 我爱你那么深切；

and i will luve thee still,my dear， 我会永远爱你，亲爱的，

till a'the seas gang dry 一直到四海涸竭。

till a'the seas gang dry,my dear， 直到四海涸竭，亲爱的，

and the rocks melt wi'the sun； 直到太阳把岩石消熔！

o i will luve thee still, my dear， 我会永远爱你，亲爱的，

while the sands o'life shall run 只要生命无穷。

and fare thee week,my onlu luve！ 再见吧，我唯一的爱人，

and fare thee awhile！ 再见吧，小别片刻！

and i will come again,my luve， 我会回来的，我的爱人，

tho'it were ten thousand mile 即使万里相隔！

《一朵红红的玫瑰》赏析

这首诗出自诗人的《主要用苏格兰方言写的诗集》是诗集中流传最广的一首诗。诗人写这首诗的目的是送给他的恋人即少女琪恩。诗人在诗中歌颂了恋人的美丽，表达了诗人的炽热感情和对爱情的坚定决心。

诗的开头用了一个鲜活的比喻——红红的玫瑰一下子就将恋人的美丽写得活灵活现，同时也写出了诗人心中的感情。在诗人的心中，恋人不仅有醉人的外表而且有着柔美灵动的心灵，像一段乐曲，婉转动人地倾诉着美丽的心灵。

诗人对恋人的爱是那样的真切、深情和热烈。那是种怎样的爱呀！——要一直爱到海桔石烂。这样的爱情专注使人想到中国的古老民歌：”上邪l我欲与君相知长命无绝衰。山无陵江水为竭冬雷阵阵夏雨雪，天地合乃敢与君绝。”诗人的哀婉和柔情又可用《诗经》里的一句来说明：“执子之手，与子偕老。”何等的坚决和悠长！

爱的火焰在诗人的心中强烈地燃烧着，诗人渴望有着美好的结果。但是，此时的诗人已经是囊中羞涩诗人知道这时的自己并不能给恋人带来幸福，他已经预感到自己要离去。但诤人坚信：这样的离别只是暂别，自己一定会回来的。

这首诗是诗人的代表作它开了英国浪漫主义诗歌的先河对济慈、拜伦等人有很大的影响。诗人用流畅悦耳的音调、质朴无华的词语和热烈真挚的情感打动了千百万恋人的心也使得这首诗在问世之后成为人们传唱不衰的经典。诗歌吸收了民歌的特点采用口语使诗歌朗朗上口，极大地显示了民歌的特色和魅力读来让人感到诗中似乎有一种原始的冲动一种原始的生命之流在流淌。另外诗中使用了重复的句子，大大增强了诗歌的感情力度。在这首仅仅有16句的诗中涉及“爱”的词语竟有十几处之多，然而并不使人感到重复和累赘反而更加强化了诗人对恋人爱情的强烈和情感的浓郁程度

3有什么关于玫瑰的英文诗

1 My Pretty Rose Tree by William BlakeA flower was offered to me;Such a flower as May never boreBut I said I've a Pretty Rose-treeAnd I passed the sweet flower o'erThen I went to my Pretty Rose-tree:To tend her by day and by nightBut my Rose turned away with jealousy:And her thorns were my only delight 2 When the Rose is Faded by Walter de la MareWhen the rose is faded,Memory may still dwell onHer beauty shadowed,And the sweet smell goneThat vanishing loveliness,That burdening breath,No bond of life hath then,Nor grief of death'Tis the immortal thoughtWhose passion stillMakes the changingThe unchangeableOh, thus thy beauty,Loveliest on earth to me,Dark with no sorrow, shinesAnd burns, with thee 3 A Little Budding Rose by Emily BronteIt was a little budding rose,Round like a fairy globe,And shyly did its leaves uncloseHid in their mossy robe,But sweet was the slight and spicy smellIt breathed from its heart invisibleThe rose is blasted, withered, blighted,Its root has felt a worm,And like a heart beloved and slighted,Failed, faded, shrunk its formBud of beauty, bonnie flower,I stole thee from thy natal bowerI was the worm that withered thee,Thy tears of dew all fell for me;Leaf and stalk and rose are gone,Exile earth they died uponYes, that last breath of balmy scentWith alien breezes sadly blent! 4 The Grave and The Rose by Victor HugoThe Grave said to the Rose,"What of the dews of dawn,Love's flower, what end is theirs""And what of spirits flown,The souls whereon doth closeThe tomb's mouth unawares"The Rose said to the GraveThe Rose said, "In the shadeFrom the dawn's tears is madeA perfume faint and strange,Amber and honey sweet""And all the spirits fleetDo suffer a sky-change,More strangely than the dew,To God's own angels new,"The Grave said to the Rose。

4大学英语系教科书里有一首关于玫瑰的诗歌

一朵红红的玫瑰A Red Red Rose罗伯特·彭斯O my luve is like a red, red rose， 啊，我的爱人象红红的玫瑰， That´s newly sprung in June； 在六月里苞放； O my luve is like the melodie， 啊，我的爱人象一支乐曲， That´s sweetly played in tune 乐声美妙、悠扬。

As fair thou art, my bonie lass， 你那么美，漂亮的姑娘； So deep in luve am I； 我爱你那么深切； And I will luve thee still, my dear， 我会永远爱你，亲爱的， Till a´ the seas gang dry 一直到四海涸竭。 Till a´ the sea gang dry, my dear， 直到四海涸竭，亲爱的， And the rock melt wi´ the sun； 直到太阳把岩石消融！ And I will luve thee still, my dear， 我会永远爱你，亲爱的， While the sands o´ life shall run 只要生命无穷。

And fare thee weel, my only luve， 再见吧，我唯一的爱人， And fare thee weel a while； 再见吧，小别片刻； And I will come again, my luve， 我会回来的，我的爱人， Tho´s it were ten thousand mile！ 即使万里相隔。

5关于玫瑰花的古诗

李建勋

春词

日高闲步下堂阶，

细草春莎没绣鞋。

折得玫瑰花一朵，

凭君簪向凤凰钗。

温庭筠

舞曲歌辞

·

屈柘词

杨柳萦桥绿，玫瑰拂地红。

绣衫金騕褭，花髻玉珑璁。

宿雨香潜润，春流水暗通。

画楼初梦断，晴日照湘风。

李叔卿

芳树

春看玫瑰树，西邻即宋家。

门深重暗叶，墙近度飞花。

靓妆愁日暮，流涕向窗纱。

影拂桃阴浅，香传李径斜。

齐己

蔷薇

根本似玫瑰，繁英刺外开。

香高丛有架，红落地多苔。

去住闲人看，晴明远蝶来。

牡丹先几日，销歇向尘埃。

徐凝

题开元寺牡丹

此花南地知难种，惭愧僧闲用意栽。

海燕解怜频睥睨，胡蜂未识更徘徊。

虚生芍药徒劳妒，羞杀玫瑰不敢开。

惟有数苞红萼在，含芳只待舍人来

徐夤

灯花

点蜡烧银却胜栽，九华红艳吐玫瑰。

独含冬夜寒光拆，不傍春风暖处开。

难见只因能送喜，莫挑唯恐堕成灰。

贪膏附热多相误，为报飞蛾罢拂来。

6一首外国的诗 不知道是不是叫玫瑰

应该是这个吧

诗的名字是A Red, Red Rose 作者是 Robert Burns

O,my luve's like a red, red rose， 啊，我的爱人象朵红红的玫瑰啊，

That's newly sprung in June； 六月里迎风初开，

O, my luve's like the melodie ， 啊，我的爱人象支甜甜的曲子，

That's sweetly played in tune 奏得合拍又和谐。

As fair art thou, my bonnie lass，我的好姑娘，多么美丽的人儿！

So deep in luve am I； 请看我，多么深挚的爱情！

And I will luve thee still, my dear，亲爱的，我永远爱你，

Till a' the seas gang dry 纵使大海干涸水流尽。

Till a'the seas gang dry,my dear，亲爱的，纵使大海干涸水流尽，

And the rocks melt wi' the sun； 太阳将岩石烧作灰尘，

I will luve thee still, my dear， 亲爱的，我永远爱你，

While the sands o' life shall run 只要我一息犹存。

And fare thee still, my only luve！ 珍重吧，我唯一的爱人，

And fare thee weel awhile！ 珍重吧，让我们暂时别离，

And I will come again, my luve， 但我定要回来，

Though it were ten thousand mile哪怕千里万里！

希望对亲有帮助哈。

英国诗歌篇浪漫主义前的单子主要参照的是外交学院英语翻译专业大三上的选读，教材是 《英国文学选读（上）》 ，浪漫主义及之后的诗歌参照的是我这个学期选的英国浪漫主义诗文经典，教材是 The Health Anthropology of American Literature A, B，之前写的 英语文学必读书单（美国小说篇） ，用的也是这套教材，不过是C、D卷，就不赘述了。

为了方便阅读，点击每首诗歌的标题，就能打开该诗歌。我知道我写得东西比较小众一点，谢谢大家一直以来的支持和鼓励！

I Old English Literature & The Late Medieval Ages 古英语及中世纪时期-英雄史诗

1 Beowulf 贝奥武夫 ——英格兰民族史诗，古英语时期的最高成就

the single major surviving work of the Anglo-Saxon (449-1100) heroic poetry 安格鲁撒克逊时期唯一流传下来的英雄史诗。和《失乐园》一同列为最伟大的史诗。贝奥武夫是古代英雄的典型，忠诚，勇气，责任，荣誉。

《贝奥武夫》的艺术手法（名词解释）：

① Alliteration押头韵

② Kenning: a compound made up of two or more nouns standing for another noun Kenning（比喻复合辞），是用两个或两个以上的词代表另一个名词，是古英语时期古典诗歌的典型手法，能为普通事物添加美感。

2Geoffery Chaucer 乔叟1340()~1400 Middle English writer

The father of English poetry The first author to demonstrate vernacular English in art He was buried in “the Poet’s Corner” in Westminster Abbey as the first person buried there 英国文学史上首先用伦敦方言写作。John Dryden称其为“英国诗歌之父”。是第一个葬在威斯敏斯特”诗人之角“的人。

The Canterbury Tales 坎特伯雷故事集 ：first time to use ‘heroic couplet’ in middle English 中古英语的杰作，首先使用英雄双韵体。写作风格是witty satire，light humor，irony。

Heroic couplet英雄双韵体: commonly used for epic and narrative poetry; constructed from a sequence of rhyming pairs of iambic pentameter lines

II The Renaissance Period 文艺复兴时期伊丽莎白时代

1 Edmund Spenser埃德蒙•斯宾塞（1552~1599） university wits大学才子派

The poets’ poet He greatly influenced the poetry of Milton and Keats “诗人的诗人”

① The Shepheardes Calender牧人月历

Pastoral poem in 12 eclogues 每个月一首田园牧歌（我加在链接的是四月） 

It sets the pastoral fashion in English literature

Eclogue牧歌: a classical form in the tradition of Virgil It presents the moods, feelings and attitudes of the simple, rural life, usually in dialogues between shepherds and shepherdesses who adopt classical, French, or English peasant names

② The Faerie Queene 仙后 -romantic epic浪漫史诗

An allegorical work in praise of Queen Elizabeth 夸赞伊丽莎白一世的寓言

I It is the first work written in Spenserian stanza

Spenserian stanza 斯宾塞体: consists of 8 five-foot iambic lines, followed by a six-foot iambic line The rhyme scheme is “ababbcbcc”

2 William Shakespeare威廉•莎士比亚1564~1616

A sonnet十四行诗： is a lyric consisting of 14 lines, usually in iambic pentameter restricted to a definition rhyme scheme

Shakespearean Sonnet莎士比亚式十四行诗 : Three quatrain and one couplet, 韵律是"abab cdcd efef gg"

Sonnet 18: Shall I compare thee to a summer’s day

Sonnet 29: When, in disgrace with fortune and men’s eyes

Speech: “All the world’s a stage”

Speech: “O Romeo, Romeo, wherefore art thou Romeo”

Speech: “To be, or not to be, that is the question”

III The 17th Century 十七世纪

1 John Milton约翰•弥尔顿（1608~1674）

天才诗人，两大史诗，经口述一笔写就：

① Paradise Lost 失乐园 first narrative poem that does not rhyme

②Paradise Regained 复乐园

（其实弥尔顿这个部分，老师也没有讲文本。本身课程容量太大，弥尔顿理解起来也比较困难。我自己看了失乐园的一部分，看不下去。大家查点资料理解下弥尔顿笔下的撒旦之特殊就好。）

2 John Donne 约翰·多恩: the Metaphysical poet(玄学派诗人)

conceits 奇思妙喻: an extended metaphor that combines two vastly different ideas。

The Flea虱子

IV The 18th Century: Pre-Romantic period 十八世纪

1 Alexander Pope亚历山大•蒲柏（1688~1744）

18世纪英国最伟大的诗人，其诗多用“英雄双韵体”/ “ heroic couplets”。词句工整、精练、富有哲理性。（这个诗人是很有意思的，如果你也喜欢丹·布朗，应该还记得《达芬奇密码》里面关于Pope教皇-蒲柏这个双关吧~）

① An Essay on Criticism批评论 

② The Rape of the Lock卷发遇劫记

③ An Essay on Man人论 

7 William Blake威廉•布莱克（1757~1827）

他是浪漫主义诗歌的先驱，所以我这个学期虽然是浪漫主义诗歌，第一周却还是主要讲布莱克。我个人很喜欢他的诗，朗朗上口，画面感十足。并且他的诗集是如下配图的，精致美丽，我在图书馆借到之后不愿还书了都。果然诗歌即是音韵美，也是图画美哈~

①Songs of Innocence天真之歌:

A happy and innocent world from children’s eye It expresses delight in life, even in the face of sorrow and suffering It praises the beauty of nature and the innocence of child, with a language which a child loves Nature is in pious harmony as symbolized in “The Lamb”

The Chimney Sweeper扫烟囱的孩子

The Lamb羊羔

London伦敦

②Songs of Experience经验之歌: A world of misery, poverty, disease, war and repression with a melancholy tone from men’s eyes The atmosphere is sad and gloomy The poet draws pictures of poverty and distress, showing sufferings of the miserable There is also a voice of anger, a wish for freedom and a passion for liberty in the sorrow tone

The Chimney Sweeper扫烟囱的孩子

The Tyger老虎

London伦敦

《天真与经验之歌》共有54首诗。两个诗集中的绝大多数诗都是作为对比一一对应，这种对比折射的是诗人认知世界的过程： the former presents a world of light, peace and harmony, while the later reflects darker side of its main themes 这也正是浪漫主义的核心所在。

8 Robert Burns罗伯特•彭斯（1759~1796）

最早主要用苏格兰方言写诗的诗人

①A Red, Red Rose 一朵红红的玫瑰

②Auld Long Syne 往昔时光 （也译作 友谊地久天长 我是不会说这是我们班充满年代感的班歌的=v=）

V． The Romantic Period (1789/98-1832) 浪漫主义

开端有两种说法，一种以1789年法国大革命爆发为开端；一种以1798华兹华斯和柯尔律治《抒情歌谣集》的出版为开端，以1832年斯科特去世为结束的标志。

浪漫主义是对之前新古典主义的反叛和革新，强调了人作为独立自由个体的重要性；想象，灵感，自由情感的表达要远远重于古典格律；从关注社会、文明等外部世界变为关注人的内心世界；诗歌应该注重想象，自然，通俗流畅，不囿于形式，从某种角度来说很像是中国古代的古文运动。

“The Lake Poets” 湖畔派诗人：居住在湖区的 William Wordsworth, Samuel Taylor Coleridge, Robert Southey

1 William Wordsworth华兹华斯1770~1850

A leading English Romantic poet, and England’s Poet Laureate（桂冠诗人） from 1843 to 1850 与柯尔律治、骚塞同被称为“湖畔派诗人“。

①Preface to Lyrical Ballads抒情歌谣集序

"poetry is the spontaneous overflow of powerful feelings”

② We Are Seven 我们是七个

 Lucy系列的组诗都很值得琢磨，虽然华兹华斯总是把天真可爱的小女孩写死= =至少这首她还活着

③ Lines Written in Early Spring

④ I Wondered Lonely As A Cloud咏水仙

⑤ Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour July 13, 1798丁登寺

Blank Verse素体诗：written with regular metrical but unrhymed lines, almost always in iambic pentameter 五步抑扬格下不押韵的诗体

⑥ The Solitary Reaper孤独的割麦女

⑦ I Travelled among Unknown Men

⑧ Ode: Intimations of Immortality from Recollections of Early Childhood

⑨ Three Years She Grew

2 Samuel Taylor Coleridge科尔律治1772~1834

华兹华斯的好友，共同代表浪漫主义。华兹华斯风格有一点继承了田园牧歌，歌颂孩童和自然，而柯尔律治则擅长写一些充满奇幻色彩的叙事长诗，甚至是带有浓重哥特式气息的诗歌。

① The Rime of the Ancient Mariner 古舟子咏

Lyrical Ballads It relates the supernatural events experienced by a mariner on a long sea voyage Stops a wedding man Tells the guests stories The guests turn from bemusement to impatience

② Christabel柯里斯塔贝尔

③ Kubla Khan 忽必烈汗

Artistic features: mysticism, demonism with strong imagination, a strange territory

3 George Gordon Byron拜伦（1788~1824）

拜伦式英雄“Byronic hero” is a mysterious and romantic rebel figure of noble origin, against tyrannical rules or moral principles He is full of revenge, yet capable of deep affections Proud, cynical, moody and lonely, he is idealized but flawed, both reflected in Byron’s work and life（Childe Harold）

①Don Juan 唐•璜 Young man of various background of adventure

②Childe Harold's Pilgrimage 恰尔德•哈罗德尔游记

A world-weary man, disillusioned with life of pleasure and revelry, looks for distraction of foreign lands Childe Harold became a vehicle for Byron’s own beliefs and ideas, and introduced for the first time the image of the Byronic Hero

③ She walks in beauty

④ When we two parted

⑤ Darkness

⑥ So, we'll go no more a roving

4 Persy Bysshe Shelley雪莱1792~1822

① Mont Blanc

②A defence of poetry 诗辩 （文章）“Poets are the unacknowledged legislators of the world”, and poetry plays a very important role in spiritual life of society

③ A Song: “Men of England”

④ Ode to the West Wind 西风颂

This is a poem about renewal, about the wind blowing life back into dead things, implying circle of life最有名的一句：“If winter comes, can Spring be far behind” 冬天来了，春天还会远么？

主题：envy and eagerness to enjoy the boundless freedom from the reality His wish to be free like the wind and to scatter his words among mankind The image of west wind symbolizes rebirth and creative power

1 Yearning for genius

2 The hunger for imagination

3 inherent value of primitive and untrammeled Images of innocence and serenity

4 Emphasize the search for individual definition of morality

4 units use terza rima(三行诗，aba bcb cdc ded efe …), giving a sense of onward movement

5 John Keats约翰•济慈1795~1821

我最喜欢的浪漫主义诗人（最不喜欢的是雪莱=  =），推荐有兴趣的朋友们可以去看小本演得Bright Star，非常美好又忧伤的传记式**，作为背景了解很不错噢~

Four great odes四大颂:

① Ode on a Grecian Urn 希腊古瓮颂  

最有名气的一首诗~名句是Beauty is truth, truth beauty 美即是真，真即是美

② Ode to a Nightingale夜莺颂

Mixed feelings of joy and pain, delight and hurt His desire of joining the nightingale s that he can escape from the harsh reality and problems and his awareness of the incapability to run awayThemes: immortality and mortality(unable to run away); nature; transcience

③ Ode to Psyche心灵颂

④ Ode on Melancholy忧郁颂

其他诗歌：

⑤ To Autumn 秋颂 歌颂季节之美与变化之美。Each of the poem's three stanzas represents the evolving of two different types of change One type of change shown in the poem is the change of periods in a day

⑥ On First Looking into Chapman's Homer初读查普曼译荷马有感

Written in Petrachan sonnet 彼得拉克式十四行诗。

我很喜欢这首诗歌的表述，很长时间以来我们都在争论原版和译本的问题。可倘若只读原版，一个人要精通多少语言才能看到这个世界呢？济慈给了很好的回应——思想的交流无国界。

⑦“Bright star, would I were stedfast as thou art”  **的名字来源于这首诗~

⑧ On Seeing the Elgin Marbles

⑨ Selections from Keats’s Letters (1817)  

他的信笺也很值得阅读，早早离开这个世界，却留下了丰富的文学评论和诗歌赏析的相关研究。也不乏小情小爱~

VI The Victorian Period 1832-1900 维多利亚时期

1 Alfred Tennyson丁尼生(1809~189)

维多利亚时代最具代表性的伟大诗人

Appointed Poet Laureate（桂冠诗人） after William Wordsworth, one of the most popular poets in his lifetime, and affirmed as the greatest poet in Victorian Age

①Ulysses 尤利西斯

Dramatic Monologue，是老年尤利西斯英雄迟暮的内心独白。dissatisfied with his life as king of Ithaca, a man of restlessness of action Tennyson questions what makes an hero after the quest

②  Break, Break, Break

为纪念死去的朋友所作，充满了天真无虑和悲伤婉转的对比和融合。

2 Robert Browning罗伯·布朗宁（1812~1889）

布朗宁夫妇的花式虐狗。

① My Last Duchess我已故的公爵夫人

Dramatic Monologue的代表作品，以英雄双行体写就。

② < Home Thoughts From Abroad>海外乡思

3 Elizabeth Barrett Browing勃朗宁夫人

England’s most famous woman poet during her life

葡萄牙人十四行诗。基本都是以两人的爱情为灵感写就的情诗,

VIIModernism 现代主义 1900~1950

1William Butler Yeats 叶芝1865~1939

爱尔兰诗人，剧作家； The Irish nationalist movement 爱尔兰独立运动； The Irish Literary Revival 爱尔兰文艺复兴

好吧我知道他最有名的是 当你老了 这类的情诗，然而教材里只选了能代表他现代主义思潮的篇章。

① The Lake Isle of Innisfree  （知道innisfree这个牌子怎么来的了吧=  =）

② The Wild Swans at Coole

③ The Second Coming

④ Among School Children

2 Thomas Sterns Eliot 艾略特

①the wasteland 荒原

作为一个星期要求读完＋评论的诗歌，最痛苦的就是读艾略特。文化素养还没达到这个高度，现代主义的虚无感让人很不舒服。

② The Love Song of J Alfred Prufrock  四个四重奏

③ Sweeney among the Nightingales

④四个四重奏

a red red rose这首诗的特点之一是其音乐性。它保持着民谣自然、流畅、可咏可诵的特点。之二为真挚感情的表达。诗人把爱人比作玫瑰和乐曲。“红红的”和“在六月里初开”这样的从句使得爱人的形象显得格外美丽、清纯而且富有青春活力。三四句把爱人比作优雅的乐曲，这就给读者以想象的空间，使读者产生联想，从美妙中看到了爱人优美舞动的身姿。从表面看，“海枯石烂”是一个陈旧的比喻，但是，由于诗人在整篇诗作中运用了质朴的语言，并把爱情放置在人类生存这样大的背景下，使得爱情得以升华，愈发显得真挚，实在。这样清新的诗篇、这样真挚感情的自然流露，在英国新古典主义时期的诗歌中极为少见的。彭斯诗歌的出现标志着浪漫主义诗歌的开始。 一朵红红的玫瑰

A Red Red Rose

罗伯特·彭斯

O my luve is like a red, red rose,

啊，我的爱人象红红的玫瑰，

That�0�7s newly sprung in June;

在六月里苞放；

O my luve is like the melodie,

啊，我的爱人象一支乐曲，

That�0�7s sweetly played in tune

乐声美妙、悠扬。

As fair thou art, my bonie lass,

你那么美，漂亮的姑娘；

So deep in luve am I;

我爱你那么深切；

And I will luve thee still, my dear,

我会永远爱你，亲爱的，

Till a�0�7 the seas gang dry

一直到四海涸竭。

Till a�0�7 the sea gang dry, my dear,

直到四海涸竭，亲爱的，

And the rock melt wi�0�7 the sun;

直到太阳把岩石消融！

And I will luve thee still, my dear,

我会永远爱你，亲爱的，

While the sands o�0�7 life shall run

只要生命无穷。

And fare thee weel, my only luve,

再见吧，我唯一的爱人，

And fare thee weel a while;

再见吧，小别片刻；

And I will come again, my luve,

我会回来的，我的爱人，

Tho�0�7s it were ten thousand mile!

即使万里相隔！

给你发来微软百科的说明

Romanticism (literature)

I INTRODUCTION

Romanticism (literature), a movement in the literature of virtually every country of Europe, the United States, and Latin America that lasted from about 1750 to about 1870, characterized by reliance on the imagination and subjectivity of approach, freedom of thought and expression, and an idealization of nature The term romantic first appeared in 18th-century English and originally meant “romancelike”—that is, resembling the fanciful character of medieval romances

II ORIGINS AND INSPIRATION

By the late 18th century in France and Germany, literary taste began to turn from classical and neoclassical conventions (see Classic, Classical, and Classicism) Inspiration for the romantic approach initially came from two great shapers of thought, French philosopher Jean Jacques Rousseau and German writer Johann Wolfgang von Goethe

A The Romantic Spirit

Rousseau established the cult of the individual and championed the freedom of the human spirit; his famous announcement was “I felt before I thought” Goethe and his compatriots, philosopher and critic Johann Gottfried von Herder and historian Justus Möser, provided more formal precepts and collaborated on a group of essays entitled Von deutscher Art und Kunst (Of German Style and Art, 1773) In this work the authors extolled the romantic spirit as manifested in German folk songs, Gothic architecture, and the plays of English playwright William Shakespeare Goethe sought to imitate Shakespeare's free and untrammeled style in his Götz von Berlichingen (1773; translated 1799), a historical drama about a 16th-century robber knight The play, which justifies revolt against political authority, inaugurated the Sturm und Drang (storm and stress) movement, a forerunner of German romanticism Goethe's novel The Sorrows of Young Werther (1774; translated 1779) was also in this tradition One of the great influential documents of romanticism, this work exalts sentiment, even to the point of justifying committing suicide because of unrequited love The book set a tone and mood much copied by the romantics in their works and often in their personal lives: a fashionable tendency to frenzy, melancholy, world-weariness, and even self-destruction

B The Romantic Style

The preface to the second edition of Lyrical Ballads (1800), by English poets William Wordsworth and Samuel Taylor Coleridge was also of prime importance as a manifesto of literary romanticism Here, the two poets affirmed the importance of feeling and imagination to poetic creation and disclaimed conventional literary forms and subjects Thus, as romantic literature everywhere developed, imagination was praised over reason, emotions over logic, and intuition over science—making way for a vast body of literature of great sensibility and passion This literature emphasized a new flexibility of form adapted to varying content, encouraged the development of complex and fast-moving plots, and allowed mixed genres (tragicomedy and the mingling of the grotesque and the sublime) and freer style

No longer tolerated, for example, were the fixed classical conventions, such as the famous three unities (time, place, and action) of tragedy An increasing demand for spontaneity and lyricism—qualities that the adherents of romanticism found in folk poetry and in medieval romance—led to a rejection of regular meters, strict forms, and other conventions of the classical tradition In English poetry, for example, blank verse largely superseded the rhymed couplet that dominated 18th-century poetry The opening lines of the swashbuckling melodrama Hernani (1830; translated 1830), by the great French romantic writer Victor Hugo, are a departure from the conventional 18th-century rules of French versification; and in the preface to his drama Cromwell (1827; translated 1896), a famous critical document in its own right, Hugo not only defended his break from traditional dramatic structure but also justified the introduction of the grotesque into art In their choice of heroes, also, the romantic writers replaced the static universal types of classical 18th-century literature with more complex, idiosyncratic characters; and a great deal of drama, fiction, and poetry was devoted to a celebration of Rousseau's “common man”

III THE GREAT ROMANTIC THEMES

As the romantic movement spread from France and Germany to England and then to the rest of Europe and across to the western hemisphere, certain themes and moods, often intertwined, became the concern of almost all 19th-century writers

A Libertarianism

Many of the libertarian (see Libertarianism) and abolitionist movements of the late 18th and early 19th centuries were engendered by the romantic philosophy—the desire to be free of convention and tyranny, and the new emphasis on the rights and dignity of the individual Just as the insistence on rational, formal, and conventional subject matter that had typified neoclassicism was reversed, the authoritarian regimes that had encouraged and sustained neoclassicism in the arts were inevitably subjected to popular revolutions Political and social causes became dominant themes in romantic poetry and prose throughout the Western world, producing many vital human documents that are still pertinent The year 1848, in which Europe was wracked by political upheaval, marked the flood tide of romanticism in Italy, Austria, Germany, and France

In William Tell (1804; translated 1825), by German dramatist Friedrich von Schiller, an obscure medieval mountaineer becomes an immortal symbol of opposition to tyranny and foreign rule In the novel The Betrothed (1825-1827; translated 1834), by Italian writer Alessandro Manzoni, a peasant couple become instruments in the final crushing of feudalism in northern Italy Lord Byron and Percy Bysshe Shelley, who for some most typify the romantic poet (in their personal lives as well as in their work), wrote resoundingly in protest against social and political wrongs and in defense of the struggles for liberty in Italy and Greece Russian poet Aleksandr Sergeyevich Pushkin, whose admiration for the work of Byron is clearly manifested, attracted notoriety for his “Ode to Liberty” (1820); like many other romanticists, he was persecuted for political subversion

The general romantic dissatisfaction with the organization of society was often channeled into specific criticism of urban society La maison du berger (The Shepherd's Hut, 1844), by French poet Alfred Victor de Vigny, expresses the view that such an abode has more nobility than a palace Earlier, Rousseau had written that people were born free but that everywhere civilization put them in chains This feeling of oppression was frequently expressed in poetry—for example, in the work of English visionary William Blake, writing in the poem “Milton” (about 1804-1808) of the “dark Satanic mills” that were beginning to deface the English countryside; or in Wordsworth's long poem The Prelude (1850), which speaks of “ the close and overcrowded haunts/Of cities, where the human heart is sick”

B Nature

Basic to such sentiments was an interest central to the romantic movement: the concern with nature and natural surroundings Delight in unspoiled scenery and in the (presumably) innocent life of rural dwellers is perhaps first recognizable as a literary theme in such a work as “The Seasons” (1726-1730), by Scottish poet James Thomson The work is commonly cited as a formative influence on later English romantic poetry and on the nature tradition represented in English literature, most notably by Wordsworth Often combined with this feeling for rural life is a generalized romantic melancholy, a sense that change is imminent and that a way of life is being threatened Such intimations were early evinced in “Ode to Evening” (1747) by William Collins, “Elegy Written in a Country Churchyard” (1751) by Thomas Gray, and The Borough (1810) by George Crabbe The melancholic strain later developed as a separate theme, as in “Ode on Melancholy” (1820) by John Keats, or—in a different time and place—in the works of American writers: the novels and tales of Nathaniel Hawthorne, which probe the depths of human nature in puritanical New England, or the macabre tales and melancholy poetry of Edgar Allan Poe

In another vein in American literature, the romantic interest in untrammeled nature is found in such writers as Washington Irving, whose Sketch Book of Geoffrey Crayon, Gent (1819-1820), a collection of descriptive stories about the Hudson River valley, reflects the author's knowledge of European folktales as well as contemporary romantic poetry and the Gothic novel The Leather-Stocking Tales by James Fenimore Cooper celebrate the beauty of the American wilderness and the simple frontier life; in romantic fashion they also idealize the Native American as (in Rousseau's phrase) the “noble savage” By the middle of the 19th century the nature tradition was absorbed by American literary transcendentalism, chiefly expressed in the essays of Ralph Waldo Emerson and Henry David Thoreau

C The Lure of the Exotic

In the spirit of their new freedom, romantic writers in all cultures expanded their imaginary horizons spatially and chronologically They turned back to the Middle Ages (5th century to 15th century) for themes and settings and chose locales ranging from the awesome Hebrides of the Ossianic tradition, as in the work of Scottish poet James MacPherson (see Ossian and Ossianic Ballads), to the Asian setting of Xanadu evoked by Coleridge in his unfinished lyric “Kubla Khan” (1797) The compilation of old English and Scottish ballads by English poet Thomas Percy was a seminal work; his Reliques of Ancient English Poetry (1765) exerted a significant influence on the form and content of later romantic poetry The nostalgia for the Gothic past mingled with the tendency to the melancholic and produced a fondness for ruins, graveyards, and the supernatural as themes In English literature, representative works include Keats's “The Eve of St Agnes,” the Gothic novels of Matthew Gregory Lewis, and The Castle of Otranto (1764) by Horace Walpole The Lay of the Last Minstrel (1805), by Scottish writer Sir Walter Scott, and his historical novels, the Waverley series (1814-1825), combine these concerns: love of the picturesque, preoccupation with the heroic past, and delight in mystery and superstition

D The Supernatural

The trend toward the irrational and the supernatural was an important component of English and German romantic literature It was reinforced on the one hand by disillusion with 18th-century rationalism and on the other by the rediscovery of a body of older literature—folktales and ballads—collected by Percy and by German scholars Jacob and Wilhelm Karl Grimm (see Grimm Brothers) and Danish writer Hans Christian Andersen From such material comes, for example, the motif of the doppelgänger (German for “double”) Many romantic writers, especially in Germany, were fascinated with this concept, perhaps because of the general romantic concern with self-identity Poet Heinrich Heine wrote a lyric apocryphally titled “Der Doppelgänger” (1827; translated 1846); The Devil's Elixir (1815-1816; translated 1824), a short novel by E T A Hoffmann, is about a double; and Peter Schlemihl's Remarkable Story (1814; translated 1927), by Adelbert von Chamisso, the tale of a man who sells his shadow to the devil, can be considered a variation on the theme Later, Russian master Fyodor Mikhaylovich Dostoyevsky wrote his famous novel The Double (1846), an analysis of paranoia in a humble clerk

IV DECLINE OF THE TRADITION

By about the middle of the 19th century, romanticism began to give way to new literary movements: the Parnassians and the symbolist movement in poetry, and realism and naturalism in prose

See also American Literature: Poetry; American Literature: Prose; Brazilian Literature; Danish Literature; Dutch Literature; English Literature; French Literature; German Literature; Italian Literature; Latin American Literature; Polish Literature; Portuguese Literature; Russian Literature; Spanish Literature; Swedish Literature

Contributed By:

Robert J Clements

Microsoft ® Encarta ® Encyclopedia 2003 © 1993-2002 Microsoft Corporation All rights reserved

一个秋日的午后，诗人雪莱在意大利佛罗伦萨近郊的树林里漫步。突然狂风大作，乌云翻滚。到了傍晚，暴风雨夹带着冰雹雷电倾盆而下，荡涤着大地，震撼着人间。大自然威武雄壮的交响乐，触发了诗人的灵感，他奋笔疾书，谱写了不朽的抒情短诗《西风颂》。这是1819年的事情。

当时，欧洲各国的工人运动和革命运动风起云涌。英国工人阶级为了争取自身的生存权利，正同资产阶级展开英勇的斗争，捣毁机器和罢工事件接连不断。1819年8月，曼彻斯特八万工人举行了声势浩大的游行示威，反动当局竟出动军队野蛮镇压，制造了历史上著名的彼得卢大屠杀事件。雪莱满怀悲愤，写下了长诗《暴政的假面游行》，对资产阶级政府的血腥暴行提出严正抗议。法国自拿破仑帝制崩溃、波旁王朝复辟以后，阶级矛盾异常尖锐，广大人民正酝酿着反对封建复辟势力的革命斗争。拿破仑帝国的解体也大大促进了西班牙人民反对异族压迫和封建专制的革命运动，1819年1月，终于响起了武装起义的枪声。就在武装起义的前夕，雪莱给西班牙人民献上了《颂歌》一首，为西班牙革命吹响了进军的号角。在意大利和希腊，民族解放运动方兴未艾，雪莱的《西风颂》发表不久，这两个国家也先后爆发了轰轰烈烈的武装起义。面对着欧洲山雨欲来风满楼的革命形势，雪莱为之鼓舞，为之振奋，诗人胸中沸腾着炽热的革命激情。这时，在一场暴风骤雨的自然景象的触发下，这种难以抑制的革命激情立刻冲出胸膛，一泻千里，化作激昂慷慨的歌唱：

你怒吼咆哮的雄浑交响乐中，

将有树林和我的深沉的歌唱，

我们将唱出秋声，婉转而忧愁。

精灵呀，让我变成你，猛烈、刚强!

把我僵死的思想驱散在宇宙，

像一片片的枯叶，以鼓舞新生；

请听从我这个诗篇中的符咒，

把我的话传给全世界的人，

犹如从不灭的炉中吹出火花!

雪莱在歌唱西风。他歌唱西风以摧枯拉朽的巨大力量扫除破败的残叶，无情地把那“黑的、惨红的、铅灰的，或者蜡黄，患瘟疫而死掉的一大群”垃圾扫除干净；他歌唱西风“在动乱的太空中掀起激流”，搅动着“浓云密雾”，呼唤着“电火、冰雹和黑的雨水”，“为这将逝的残年唱起挽歌”；他歌唱西风唤醒沉睡的浩翰大海，波涛汹涌，把一丛丛躲藏在海底深处的海树海花，吓得惊恐色变，“瑟瑟地发抖，纷纷凋谢”。雪莱歌唱西风，同时也在歌唱席卷整个欧洲的革命风暴。他歌唱革命运动正以排山倒海之势，雷霆万钧之力，横扫旧世界一切黑暗反动势力。革命运动风起云涌，一顶顶皇冠随风落地，一群群妖魔鬼怪望风逃遁，这正是当时欧洲革命形势的生动写照。

雪莱在歌唱西风。他歌唱西风“是破坏者，又是保护者”。他歌唱西风不仅扫除了残枝败叶，而且“送飞翔的种籽到它们的冬床”。待到来年春天，西风的妹妹——东风驾临大地，就会“蓓蕾儿吐馨”，“漫山遍野铺上了姹紫嫣红”，出现一个春光明媚的新世界。雪莱歌唱西风，同时也在歌唱革命。他和那些资产阶级凡夫俗子不同，他没有把革命简单地看作消极的破坏力量。他看到了革命一方面在扫除腐朽，无情地摧毁旧世界，另一方面又在“鼓舞新生”，积极地在创建着美好的新世界。尽管雪莱对新世界的理解还比较空泛，还不可能突破空想社会主义的水平。

雪莱在歌唱西风。但他不是冷眼旁观的歌者，他强烈地热爱西风，向往西风，他以西风自喻，西风是他的灵魂，他的肉体，诗人和西风合而为一：

如果我是任你吹的落叶一片；

如果我是随着你飞翔的云块；

如果是波浪，在你威力下急湍，

享受你神力的推动，自由自在，

几乎与你一样，啊，你难制的力!

再不然，如果能回返童年时代，

常陪伴着你在太空任意飘飞，

以为要比你更神速也非幻想；

那我就不致处此窘迫的境地，

向你苦苦求告：啊，快使我高扬，

像一片树叶、一朵云、一阵浪涛!

我碰上人生的荆棘，鲜血直淌!

时光的重负困住我，把我压倒，

我太像你了：难驯、迅速而骄傲。

这是雪莱在歌唱西风，同时在激励和鞭策自己。雪莱是一个热情的浪漫主义诗人，同时又是一个勇敢的革命战士，他以诗歌作武器，积极投身革命运动，经受过失败和挫折，但始终保持着高昂的战斗精神。他早年就赴爱尔兰参加民族解放斗争，回到英国后继续抨击暴政，鼓吹革命，同情和支持工人运动。因而受到资产阶级反动政府的迫害，不得不愤然离开自己的祖国。在旅居意大利期间，他与意大利“烧炭党”人和希腊革命志士来往密切，同情和支持他们的革命活动。在《西风颂》里，熔铸着雪莱坎坷的人生道路，倾注着雪莱对反动统治者的满腔愤恨，洋溢着雪莱不屈不挠的战斗精神，表达了雪莱献身革命的强烈愿望。

《西风颂》是秋天的歌，是时代的声音。19世纪初叶，科学社会主义还没有诞生，欧洲各国的工人运动还处在自发阶段，封建贵族和资产阶级的反动势力还很强大，“神圣同盟”的魔影正在到处游荡着。大地还没有苏醒，寒冬还在后头。所以，《西风颂》不免带有“婉转而忧愁”的调子。但作为社会主义思想的先驱，雪莱对革命前途和人类命运始终保持着乐观主义的坚定信念，他坚信正义必定战胜邪恶，光明必定代替黑暗。从总的倾向来看，《西风颂》的旋律又是“猛烈、刚强”的。诗人以“天才的预言家”的姿态向全世界大声宣告：

如果冬天来了，春天还会远吗

《西风颂》是欧洲诗歌史上的艺术珍品。全诗共五节，由五首十四行诗组成。从形式上看，五个小节格律完整，可以独立成篇。从内容来看，它们又熔为一体，贯穿着一个中心思想。第一节描写西风扫除林中残叶，吹送生命的种籽。第二节描写西风搅动天上的浓云密雾，呼唤着暴雨雷电的到来。第三节描写西风掀起大海的汹涌波涛，摧毁海底花树。三节诗三个意境，诗人幻想的翅膀飞翔在树林、天空和大海之间，飞翔在现实和理想之间，形象鲜明，想象丰富，但中心思想只有一个，就是歌唱西风扫除腐朽、鼓舞新生的强大威力。从第四节开始，由写景转向抒情，由描写西风的气势转向直抒诗人的胸臆，抒发诗人对西风的热爱和向往，达到情景交融的境界，而中心思想仍然是歌唱西风。因此，结构严谨，层次清晰，主题集中，是《西风颂》一个突出的艺术特点。

其次，《西风颂》采用的是象征手法，整首诗从头至尾环绕着秋天的西风作文章，无论是写景还是抒情，都没有脱离这个特定的描写对象，没有使用过一句政治术语和革命口号。然而读了这首短诗以后，我们却深深感受到，雪莱在歌唱西风，又不完全是歌唱西风，诗人实质上是通过歌唱西风来歌唱革命。诗中的西风、残叶、种籽、流云、暴雨雷电、大海波涛、海底花树等等，都不过是象征性的东西，它们包含着深刻的寓意，大自然风云激荡的动人景色，乃是人间蓬勃发展的革命斗争的象征性反映。从这个意义上说，《西风颂》不是风景诗，而是政治抒情诗，它虽然没有一句直接描写革命，但整首诗都是在反映革命。尤其是结尾脍炙人口的诗句，既概括了自然现象，也深刻地揭示了人类社会的历史规律，指出了革命斗争经过艰难曲折走向胜利的光明前景，寓意深远，余味无穷，一百多年来成了人们广泛传诵的名言警句。

Ozymandias诗的中文：

奥兹曼迪亚斯（杨绛 译）

雪莱

我遇见一位来自古国的旅人

他说：有两条巨大的石腿

半掩于沙漠之间

近旁的沙土中，有一张破碎的石脸

抿着嘴，蹙着眉，面孔依旧威严

想那雕刻者，必定深谙其人情感

那神态还留在石头上

而斯人已逝，化作尘烟

看那石座上刻着字句：

“我是万王之王,奥兹曼斯迪亚斯

功业盖物,强者折服”

此外，荡然无物

废墟四周，唯余黄沙莽莽

寂寞荒凉，伸展四方

Ozymandias诗的英文赏析如下：

Before reading Ozymandias, I glanced at the writer’s name, Percy Bysshe Shelley, one of the major Romantic poets, whom is not unfamiliar to me When it comes to Shelley, a famous sentence flashed upon my mind, “If Winter comes, can Spring be far behind”

Personally speaking, I really admire Shelley because of his romantic life experience Also, William Wordsworth appraise Shelley as “One of the best artists of us all”, and Lord Byron, Shelley’s close friend once said of him “Without exception the best and least selfish man I ever knew”

From the French writer André Maurois’s Biography of Shelley, Shelley is regarded as a character who has strongly tragic fate, he is a rebel by nature, he will not fit into any environment, but his works still concerns the reality

From all of the lectures, Ozymandias is the poem whom I really admire When I first read this poem, I seem to enter into a totally different world It is a scene of utter desolation, only a bust of Ozymandias on a pedestal among the bleak desert 

By means of imagination, I seemed like to stand in the desert, watching the colossal, it is a great masterpiece, still reveals the vigor and strength when Ozymandias ruled his country The stone must have witnessed many dynasty changes in the course of history Meanwhile, this historical impression extensively expresses some description which are highly capable of creating mental pictures

Then I heard the sound, “My name is Ozymandias, king of kings: Look on my works, ye Might, and despair!” the voice whistled through the fierce wind, and makes a person shiver There is no doubt that the monologue brings out the arrogant and overconfident side of Ozymandias Ozymandias, who was the king of kings before, was obsessed by power Even now he became a stone and would be impossible to move, he still remembered his own brilliant merits

Besides the strong images and imagination, there are also some reason why I like Ozymandias To some degree, the theme of this poem is ambiguous, which covers many dimensions, and that is why I really admire Ozymandias

Firstly, this poem can be regarded as the satire aimed at magnates The king who had absolute power inevitably was in his last throes, and his country drew on rapidly towards destruction in the end, “Nothing beside remains”, “The lone and level sands stretch far away” At the same time, I think that Shelley wrote this poem for the sake of mocking people who were in authority 

As I know, “Ozymandias” was written in 1818, at which time Shelley may be forced to Italy with Mary and Clare Claremont, the cast off lover of Byron, showing a total disregard to other people and their feelings On the one hand, Shelley hated so-called conservative rules On the other hand, he considered that this prejudice was bound to fade away However, Shelley was able to only represent it to readers by metaphors In this poetry the king’s voice was a  metaphor for the attack Similarly, these kind of rules and bondage would wear down in the end

Secondly, this poem reflects that art and beauty can not be everlasting The sculpture of Ozymandias, as a symbol of beauty, was hard to bear the exposure of rain and wind day after day, only leaving the broken and lifeless debris By the way, how long could the Ozymandias existed in the desert, and who knew Faced with the power of time, every perfect thing would become imperfect, time is so strong that can ruin everything

Thirdly, this poem demonstrates that only time is perpetual, everything including power, artistic beauty even human beings, as time goes by will all be gone Time is so powerful that it destroys everyone’s brilliant victories But eventually, no one will escape the fate No one has the capacity to transcend time

As the proverb goes: There are a thousand Hamlets in a thousand people's eyes

There are just three of the ambiguous themes that I have came up with As for other themes, I do think that Ozymandias likes a highlight, throw off many different aspects which give readers space of imagination to fill in the gap 

Reading some reference materials, I realized that Ozymandias was a Greek name for the Egyptian king Ramesses II (1304-1237 BC) Records the inscription on the pedestal of his statue (at the Ramesseum, on the other side of Nile river from Luxor ) as “King of kings am I, Ozymandias If anyone would know how great I am and where I lie, let him surpass one of my works”

Horace Smith once also wrote a poem describing Ozymandias Someone considered that they took the same subject, told the same story, even made the same moral point But from my own perspective, Shelley’s sonnet is more refined than Smith’s There were different voices appeared in Shelley’s poem For instance, the king’s voice was high, representing he took charge of power; the sculptor said nothing but he may discern everything; the traveller told the narrator the whole story, and the narrator witnessed the story To some degree, it's also a suggestive story of people facing an uncertain future, and of a country searching for a new sense of patriotic identity

Work Cited:

The Poems of Shelley,II: 1817-1819 [London: Pearson, 2000]:311

Trans CH,Oldfather, Loeb Classical Library, vol 33 [Cambridge, Mass: Harvard University Press, 1961]: I 47

Reiman, Donald H and Sharon BPowers Shelley’s Poetry and Prose Norton 1977ISBN 0-393-09164-3

André, Maurois Ariel Ou La Vie Shelly ISBN 7308121836

扩展连接：

珀西·比希·雪莱（英文原名：Percy Bysshe Shelley，公元1792年8月4日—公元1822年7月8日），英国著名作家、浪漫主义诗人，被认为是历史上最出色的英语诗人之一。英国浪漫主义民主诗人、第一位社会主义诗人、小说家、哲学家、散文随笔和政论作家、改革家、柏拉图主义者和理想主义者，受空想社会主义思想影响颇深。

雪莱生于英格兰萨塞克斯郡霍舍姆附近的沃恩汉，12岁进入伊顿公学，1810年进入牛津大学，1811年3月25日由于散发《无神论的必然》，入学不足一年就被牛津大学开除。1813年11月完成叙事长诗《麦布女王》，1818年至1819年完成了两部重要的长诗《解放了的普罗米修斯》和《倩契》，以及其不朽的名作《西风颂》。1822年7月8日逝世。恩格斯称他是“天才预言家”。

“Ozymandias” 是英国浪漫主义诗人雪莱（Percy Bysshe Shelley）写的一首十四行诗，首次发表于1818年1月11日的 The Examiner。第二年，它被收入了Rosalind and Helen, A Modern Eclogue; with Other Poems （1819年）以及他在1826年出版的诗歌的遗作。“Ozymandias”是雪莱最着名的作品，经常被选集。

雪莱在与他的朋友兼诗人霍拉斯史密斯（1779-1849）的友好竞争中写下了这首诗，史密斯也同样以“Ozymandias”写了一首十四行诗，并且在在雪莱的十四行诗之后几周，史密斯的诗也被发表在 The Examiner上。这两首诗都探索了历史的命运和时间的蹂躏：即使是最伟大的人和他们伪造的帝国也是无常的，他们的遗产决定于衰败。

在古代，Ozymandias（Ὀσυμανδύας）是埃及法老拉美西斯二世的希腊名字。雪莱于1817年开始写他的诗，不久之后大英博物馆宣布从公元前13世纪收购了拉美西斯二世雕像的一大片，导致一些学者相信雪莱的灵感来自于此。雕像头部和躯干的725吨碎片于1816年被意大利冒险家乔瓦尼巴蒂斯塔贝尔佐尼从底比斯的拉美西斯太平间寺庙中移除。预计它将于1818年抵达伦敦，但直到1821年才到达。

参考资料：

Ozymandias-Wikipedia（维基百科）

珀西·比希·雪莱-