适合送给朋友的唯美英文文案

1dream

as

a

horse，you

may

perch

end

of

the

World以梦为马，可栖天涯

2Never

expectNever

assumeNever

askAnd

never

demandJust

let

it

beIf

it's

meant

to

be，

it

will

happen不满怀期待，不心存猜想，不问也不索取。只是顺其自然，因为注定的事情，它必然会发生

3Be

strong，

believe

in

who

you

areBe

strong，

believe

in

what

you

feel~~~强大一些，要相信你自己。坚定一些，要相信自己的感觉。

4If

you

need

me，

I

am

here

for

youI

am

on

your

side。如果你需要我，我会在这等候，我一直会在你左右。

5when

you

love

someone

there

are

no

maybes，

not

buts

and

no

whys，

you

just

do当你爱一个人的时候，没有也许，没有但是，没有为什么，只是爱他而已。

6At

the

touch

of

love

everyone

becomes

a

poet在爱情里，每个人都成为了一个诗人

Percy Bysshe Shelley was an English poet of the early nineteenth century He is widely thought of as one of most important poets of the Romantic movement in English literature Some of his poems, like Ozymandias and Ode to the West Wind, are among the most famous in English

Shelley was born in Horsham, Sussex He was the son of a member of Parliament He attended the University of Oxford, for only one year; he was expelled for being an atheist[1] In his own time Shelley was very unpopular for his political and religious views and for his personal conduct He married young, but left his wife to run away with Mary Godwin After Shelley's first wife committed suicide, Shelley married Mary Godwin; she later became famous as Mary Shelley, the author of the novel Frankenstein

Shelley left England and spent much of his life travelling in Europe, especially in Italy He became a close friend of poet Lord Byron, who also left England and travelled in Europe because of controversy at home Shelley continued to write poetry throughout this time; he wrote several major works, like the verse drama The Cenci and long poems like Alastor and Adonais, as well as many shorter poems

About a month before his 30th birthday, Shelley drowned in a boating accident off the coast of Italy He was one of a trio of important English Romantic poets of the same generation who died young; the other two were Lord Byron and John Keats

译文：

佩尔西·雪莱是十九世纪初的一位英国诗人。他被广泛认为是英国文学中最重要的浪漫主义诗人之一。他的一些诗，像《奥西曼提斯》，《西风颂》，是英国最著名的。

雪莱出生在霍舍姆，苏塞克斯。他是议员的儿子。他考取了牛津大学，仅在其学习了一年，他就因无神论者的身份被驱逐。在他自己的时光里，由于他的政治和宗教观点和他的个人行为，雪莱是非常不受欢迎的。他娶了一个年轻妻子，但之后离开了她，和戈德温玛丽一起逃走了。雪莱的第一任妻子自杀后，雪莱娶了玛丽戈德温；后来玛丽戈德温成了著名小说《怪人》的作者。

后来雪莱离开了英国，他一生中大部分时间都在欧洲旅行，尤其是在意大利。他成为了诗人拜伦勋爵的亲密朋友，拜伦也因家庭矛盾离开英国，在欧洲旅行。雪莱在这段时间内继续写诗；他完成了几部主要作品，如戏剧、长诗《阿拉斯特》和《阿多尼斯》，以及许多的小诗。

大约在他第三十岁生日的一个月前，雪莱在一次划船事故中淹死在意大利海岸。他是当代三位重要的英年早逝的英国浪漫主义诗人之一，另外两位是拜伦勋爵和约翰济慈。

上述译文经过本人细心修改和校对，望采纳。

一、中文译本全文：

我们是七个

华兹华斯 (英国)

我碰见一个乡村小姑娘：

她说才八岁开外；

浓密的发丝一卷卷从四方

包裹着她的小脑袋

她带了山林野地的风味,

衣着也带了土气：

她的眼睛很美,非常美；

她的美叫我欢喜

“小姑娘,你们一共是几个,

你们姊妹弟兄”

“几个一共是七个,”她说,

看着我象有点不懂

“他们在哪儿请给我讲讲”

“我们是七个,”她回答,

“两个老远的跑去了海上,

两个在康威住家

“还有我的**姐、小弟弟,

两个都躺在坟园,

我就位在坟园的小屋里,

跟母亲,离他们不远”

“你既说两个跑去了海上,

两个在康威住家,

可还说是七个!——请给我讲讲,

好姑娘,这怎么说法”

“我们一共是七个女和男,”

小姑娘马上就回答,

里头有两个躺在坟园

在那棵坟树底下”

“你跑来跑去,我的小姑娘,

你的手脚都灵活；

既然有两个埋进了坟坑,

你们就只剩了五个”

小姑娘回答说,“他们的坟头

看得见一片青青,

十二步就到母亲的门口,

他们俩靠得更近

“我常到那儿去织我的毛袜,

给我的手绢缝边；

我常到那儿的地上去坐下,

唱歌给他们消遣

“到太阳落山了,刚近黄昏,

要是天气好,黑得晚,

我常把小汤碗带上一份,

上那儿吃我的晚饭

“先走的一个是金妮姐姐,

她躺在床上哭叫,

老天爷把她的痛苦解了结,

她就悄悄的走掉

“所以她就在坟园里安顿；

我们要出去游戏,

草不湿,就绕着她的坟墩——

我和约翰小弟弟

“地上盖满了白雪的时候,

我可以滑溜坡面,

约翰小弟弟可又得一走,

他就躺到了她旁边”

我就说,“既然他们俩升了天,

你们剩几个了,那么”

小姑娘马上又回答一遍：

“先生,我们是七个”

1798

卞之琳 译

二、英文原作：

We Are Seven

William Wordsworth (1770–1850)

A SIMPLE Child,

That lightly draws its breath,

And feels its life in every limb,

What should it know of death

I met a little cottage Girl:5

She was eight years old,she said;

Her hair was thick with many a curl

That clustered round her head

She had a rustic,woodland air,

And she was wildly clad:10

Her eyes were fair,and very fair;

—Her beauty made me glad

‘Sisters and brothers,little Maid,

How many may you be’

‘How manySeven in all,’ she said,15

And wondering looked at me

‘And where are theyI pray you tell’

She answered,‘Seven are we;

And two of us at Conway dwell,

And two are gone to sea20

‘Two of us in the church-yard lie,

My sister and my brother;

And,in the church-yard cottage,I

Dwell near them with my mother’

‘You say that two at Conway dwell,25

And two are gone to sea,

Yet ye are seven!—I pray you tell,

Sweet Maid,how this may be’

Then did the little Maid reply,

‘Seven boys and girls are we; 30

Two of us in the church-yard lie,

Beneath the church-yard tree’

‘You run above,my little Maid,

Your limbs they are alive;

If two are in the church-yard laid,35

Then ye are only five’

‘Their graves are green,they may be seen,’

The little Maid replied,

‘Twelve steps or more from my mother’s door,

And they are side by side40

‘My stockings there I often knit,

My kerchief there I hem;

And there upon the ground I sit,

And sing a song to them

‘And often after sun-set,Sir,45

When it is light and fair,

I take my little porringer,

And eat my supper there

‘The first that died was sister Jane;

In bed she moaning lay,50

Till God released her of her pain;

And then she went away

‘So in the church-yard she was laid;

And,when the grass was dry,

Together round her grave we played,55

My brother John and I

‘And when the ground was white with snow,

And I could run and slide,

My brother John was forced to go,

And he lies by her side’ 60

‘How many are you,then,’ said I,

‘If they two are in heaven’

Quick was the little Maid’s reply,

‘O Master!we are seven’

‘But they are dead; those two are dead!65

Their spirits are in heaven!’

’Twas throwing words away; for still

The little Maid would have her will,

And said,‘Nay,we are seven!’

三、诗人介绍：

华兹华斯（William Wordsworth，1770-1850年），英国浪漫主义诗人，曾当上桂冠诗人。其诗歌理论动摇了英国古典主义诗学的统治，有力地推动了英国诗歌的革新和浪漫主义运动的发展。他是文艺复兴运动以来最重要的英语诗人之一，其诗句“朴素生活，高尚思考（plain living and high thinking）”被作为牛津大学基布尔学院的格言。

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

Make me thy lyre, even as the forest is:

What if my leaves are falling like its own!

The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,

Sweet though in sadness Be thou, Spirit fierce,

My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe

Like wither'd leaves to quicken a new birth!

And, by the incantation of this verse,

Scatter, as from an unextinguish'd hearth

Ashes and sparks, my words among mankind!

Be through my lips to unawaken'd earth

The trumpet of a prophecy! Oh Wind,

If Winter comes, can Spring be far behind

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，

如果冬天已到，难道春天还用久等？

------雪莱《西风颂》

著名英国诗人：

布莱克 华兹华斯 拜伦 雪莱 济慈

威廉·布莱克（William Blake，1757---1827），英国第一位重要的浪漫主义诗人、版画家。主要诗作有诗集《天真之歌》、《经验之歌》等。早期作品简洁明快，中后期作品趋向玄妙晦涩，充满神秘色彩。

威廉·华兹华斯（William Wordsworth,1770-1850）与柯尔律治（Samuel Taylor Coleridge）、骚塞（Robert Southey）同被称为“湖畔派”诗人（Lake Poets）。他们也是英国文学中最早出现的浪漫主义作家。他们喜爱大自然，描写宗法制农村生活，厌恶资本主义的城市文明和冷酷的金钱关系，他们远离城市，隐居在昆布兰湖区和格拉斯米尔湖区，由此得名“湖畔派”。华兹华斯的主要作品有《抒情歌谣集》《丁登寺旁》《序曲》 《革命与独立》《不朽颂》《远足》。

乔治·戈登·拜伦（1788—1824），是英国19世纪初期伟大的浪漫主义诗人。其代表作品有《恰尔德·哈罗德游记》、《唐璜》等。在他的诗歌里塑造了一批“拜伦式英雄”。拜伦不仅是一位伟大的诗人，还是一个为理想战斗一生的勇士；他积极而勇敢地投身革命，参加了希腊民族解放运动，并成为***之一。拜伦是多产诗人。拜伦著名的诗还有《当初我们两分别》《给一位淑女》《雅典的女郎》《希腊战歌》《她走在美丽的光彩里》《我见过你哭》《我给你的项链》《写给奥古斯塔》

珀西·比希·雪莱（Percy Bysshe Shelley，1792年8月4日-1822年7月8日）英国文学史上最有才华的抒情诗人之一。William Wordsworth曾称其为“One of the best artists of us all”，同时期的拜伦称其为“Without exception the best and least selfish man I ever knew”，更被誉为诗人中的诗人。其一生见识广泛，不仅是柏拉图主义者，更是个伟大的理想主义者。创作的诗歌节奏明快，积极向上。

诗作有：《爱尔兰人之歌》《战争》《魔鬼出行》《麦布女王》《一个共和主义者有感于波拿巴的倾覆》《玛丽安妮的梦》《致大法官》《奥西曼迭斯》《逝》《一朵枯萎的紫罗兰》《召苦难》《致玛丽》《伊斯兰的反叛》《1819年的英国》《饥饿的母亲》《解放的普罗米修斯》《罗萨林和海伦》《钦契》

约翰·济慈（JohnKeats，1795年—1821年），出生于18世纪末年的伦敦，他是杰出的英诗作家之一，也是浪漫派的主要成员。与雪莱、拜伦齐名。他的人生只有二十几年，可是他遗下的诗篇一直誉满人间，被认为完美地体现了西方浪漫主义诗歌的特色，并被推崇为欧洲浪漫主义运动的杰出代表。作品有《仿斯宾塞》、《伊莎贝拉》、《圣亚尼节前夜》、《许佩里恩》、《夜莺颂》、《希腊古瓮颂》、《秋颂》、《忧郁颂》

《 I wandered lonely as a cloud》

威廉·华兹华斯

I wandered lonely as a cloud

我似浮云独自游。

That floats on high o'er vales and hills

悠然溪谷群山中。

When all at once I saw a crowd

霎时美景入眼帘。

A host, of golden daffodils

金色水仙朵朵开。

Beside the lake, beneath the trees

遍布湖畔树荫下。

Fluttering and dancing in the breeze

摇曳风中舞翩翩。

Continuous as the stars that shine

璀璨漫漫如繁星。

And twinkle on the milky way

连成一片似银河。

They stretched in never-ending line

遥望水湾堤岸处。

Along the margin of a bay

无边无垠路长长。

Ten thousand saw I at a glance

千朵万朵入眼帘。

Tossing their heads in sprightly dance

舞姿曼曼频点头。

The waves beside them danced; but they

水波荡漾生涟漪。

Out-did the sparkling waves in glee

水仙却更显欣怡。

A poet could not but be gay

此情此景伴相随。

In such a jocund company

诗者怎能不欢愉。

I gazed---and gazed---but little thought

沉思许久终未解。

What wealth the show to me had brought

此等财富何以计。

For oft, when on my couch I lie

每每榻上细思量。

In vacant or in pensive mood

几时冥想几时空。

They flash upon that inward eye

水仙之美心中念。

Which is the bliss of solitude

享受平静如恩赐。

And then my heart with pleasure fills

我心重又燃愉悦。

And dances with the daffodils

与花共舞方欢畅。

扩展资料：

作者：

威廉·华兹华斯（William Wordsworth，1770-1850年），英国浪漫主义诗人，曾当上桂冠诗人。

其诗歌理论动摇了英国古典主义诗学的统治，有力地推动了英国诗歌的革新和浪漫主义运动的发展。

他是文艺复兴运动以来最重要的英语诗人之一，其诗句“朴素生活，高尚思考（plain living and high thinking）”被作为牛津大学基布尔学院的格言。

创作背景：

《我似浮云独自游》，创作于1804年，被认为是威廉·华兹华斯最著名的作品，同时，也被赞誉为英国诗歌史上最杰出作品之一。

据诗人自述，1802四月十五日的傍晚，他与妹妹多萝西于英国阿尔斯沃特湖畔的格林可因湾散步，见到了一片片金色的水仙花在风中翩翩起舞的美景，从而产生了灵感，创作了这首传世诗作。

-我孤独地漫游，像一朵云

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。