请帮我介绍一下 英国浪漫主义方面的理论和诗人

一种文学艺术的基本创作方法和风格，与现实主义同为文学艺术史上的两大主要思潮。浪漫主义（英语romantic）一词源出南欧一些古罗马省府的语言和文学。这些地区的不同方言原系拉丁语和当地方言混杂而成，后来发展成罗曼系语言（the Romance languages）。在 11～12世纪 ， 大量地方语言文学中的传奇故事和民谣就是用罗曼系语言写成的。这些作品着重描写中世纪骑士的神奇事迹、侠义气概及其神秘非凡，具有这类特点的故事后来逐渐称为romance ，即骑士故事或传奇故事。浪漫主义思潮在文学、美术、建筑、音乐等艺术领域都有所体现。

作为创作方法和风格，浪漫主义在表现现实上，强调主观与主体性，侧重表现理想世界，把情感和想象提到创作的首位，常用热情奔放的语言、超越现实的想象和夸张的手法塑造理想中的形象。古今中外的文艺创作自始就有这种特色。如中国屈原、李白的诗歌和吴承恩的小说《西游记》，德国的歌德和席勒、法国的雨果和乔治·桑、英国的拜伦和雪莱等人的作品中都具有鲜明的浪漫主义特色。

作为文艺思潮，浪漫主义产生并风行于18世纪末～19世纪初的欧洲。其时正值资产阶级革命的时代，资产阶级处于上升时期，要求个性解放和感情自由，在政治上反抗封建主义的统治，在文学艺术上反对古典主义的束缚。为适应这样的需要，浪漫主义思潮应运而生。

浪漫主义文学 浪漫主义精神最先出现在文学中。在法国，浪漫主义的先驱者是卢梭，他宣扬感情至上和人的本性善良。一批作家响应他的“回归自然”的口号，在创作中抒发对大自然的感受，描绘大自然的魅力，抒发对美好事物 、自由理想和乡土的热爱追求和依恋。法国早期浪漫主义的代表是夏多布里昂。他的创作缅怀过去的理想，宣扬宗教的威力，表现出浓厚的消极思想与情绪。1800年斯塔尔夫人发表了著作《论文学》，介绍了她对浪漫主义的观点。在这部著作和另一部著作《论德国》中，她提出了浪漫主义民族主义的问题，奠定了法国浪漫主义的理论基础。雨果的《克伦威尔》序言和《爱尔那尼》一剧的上演成功，标志着浪漫主义对古典主义的胜利。雨果的作品气势恢宏，具有强烈的理想主义色彩，表现了对中下层人民群众的深厚同情，是法国也是欧洲浪漫主义文学的杰作。乔治·桑表现空想社会主义理想，揭露金钱万能罪恶的小说在法国浪漫主义文学中也属优秀作品。然而，严格地说，浪漫主义还是起源于德国和英国。浪漫主义最早的主要表现是德国的狂飙突进时期。施莱格尔兄弟在18世纪最后几十年中成为德国浪漫主义的领袖。施莱格尔兄弟编辑的刊物《雅典娜神殿》，在推动浪漫主义运动的宣传和理论建设方面起了重要作用，被称为耶拿派浪漫主义。他们要求个性解放，主张创作自由，提出打破各门艺术界限。但他们的浪漫主义理论带有浓厚的主观唯心主义和宗教神秘主义色彩。德国浪漫主义的另一个派别是海德堡派 。代表人物有阿尔尼姆、布伦坦诺和格林兄弟等人，重视民间文学，深入民间收集民歌和童话，对浪漫主义文学发展起过积极作用。此外，霍夫曼、荷尔德林、海涅、歌德、席勒等人的创作也在德国浪漫主义文学中占有重要地位。英国浪漫主义的主要代表是湖畔派诗人华兹华斯、柯尔律治和骚塞 。华兹华斯在《抒情歌谣集》再版序言中把诗歌看作“强烈感情的自然流露”，这篇序言后来成为英国浪漫主义诗人的宣言。19世纪初英国浪漫主义文学的代表是拜伦、雪莱和济慈等人。他们抨击封建教会势力，表现出争取自由和进步的民主倾向，在艺术上发展和丰富了浪漫主义诗歌的形式和格律。小说中的代表司各特善于把历史事件和大胆想象有机结合起来，创造出丰富多彩的画面。在西欧浪漫主义思潮的影响和推动下，19世纪初俄国诗人茹科夫斯基打破古典主义规范 ，创作了许多优美的抒情诗和叙事诗，对俄国浪漫主义的兴起起了重要作用。十二月党诗人和普希金、莱蒙托夫的早期浪漫主义创作，充满了革命激情，讴歌反专制、争自由的思想，是俄国浪漫主义文学的卓越代表。东欧浪漫主义文学以波兰革命诗人A密茨凯维奇和匈牙利革命诗人S裴多菲为代表 ，他们的创作具有鲜明的爱国主义精神和浓郁的民族特色。19世纪中期以后，欧洲的浪漫主义文学逐步被现实主义文学所取代。

浪漫主义美术 18世纪60～70年代，一些在罗马的画家曾在新古典主义艺术的严格学院主义原则范围以外探索各种可能的途径。其中瑞士人亨利·富塞利以其所画奇怪异常而最为突出，其《梦魔》一画着重刻画了思想的非理性方面的力量。英国画家和诗人布莱克在基督教神话的基础上，发展了他自己精心构制的宇宙论，他的水彩画技巧精美绝伦。在后来一代的画家中康斯特布尔和泰纳把水彩画技法的鲜艳性和油彩结合使用。康斯特布尔画英国乡村景色，探索了大气的光和色的复杂性。泰纳发挥了光的自然效果，创造出有动力感的构图，使观众如历其境，似乎在随画面一起游动。在德国，风景画家龙格力图以象征手法把个人的心灵气质描绘为普通的自然灵性的一部分。弗里德里希是虔诚的宗教徒 ，他以高入云霄的一棵孤树或十字架之类形象来暗示自然和心灵的可敬可畏。在法国，采用历史和文学题材的主要浪漫主义画家是德拉克洛瓦。除在色彩和光方面进行实验外，他以雄健的笔力表现了他的感情。异国的主题，特别是北非沙漠的游牧生活使他着迷。其热情洋溢地描绘动物生活的作品 ，反映了他和热里柯相似的兴趣，后者在选择当代事件作为创作题材方面很有革命性。

浪漫主义建筑 浪漫主义在建筑上表现为追求超尘脱俗的趣味和异国情调 。 18世纪60年代～19 世纪30年代是浪漫主义建筑发展的第一阶段，又称先浪漫主义。出现了中世纪城堡式的府邸，甚至东方式的建筑小品 。 19 世纪30～70年代是浪漫主义建筑的第二阶段，它已发展成为一种建筑创作潮流。由于追求中世纪的哥特式建筑风格，故又称哥特复兴建筑。浪漫主义建筑主要限于教堂、大学、市政厅等中世纪就有的建筑类型。它在各个国家的发展不尽相同。英国是浪漫主义建筑的发源地，最有名的建筑作品是伦敦的英国议会大厦、圣吉尔斯教堂、曼彻斯特市政厅等。

浪漫主义音乐 在音乐方面，浪漫主义的特点是，不论作曲或演奏，都以个性为重点，注重感情表现。这种变化部分地是由于音乐家的社会地位发生变化所致。17世纪的作曲家是受托为贵族保护人而创作，而18世纪的作曲家则依靠城市音乐会的听众。就这一意义来说，贝多芬上承古典主义时期，下启浪漫主义时期，因为他的音乐技巧基本上是古典主义的，但他把自己的音乐看得高于一切，看作是自我表现的一种手段，从而为19世纪作曲家树立了重要的典范。一般认为CMvon韦伯是真正浪漫主义作曲家的开端 。 他以《魔弹射手》建立了德国浪漫主义歌剧，随后有舒伯特、柏辽兹 、门德尔松、肖邦、李斯特和瓦格纳等大量作曲家。他们分别在艺术歌曲、标题交响乐、钢琴小品、交响诗、歌剧等浪漫主义新体裁的创作上取得了巨大成就。音乐中的浪漫主义精神，不论在浪漫曲还是在器乐方面，往往从诗歌、童话和民间故事吸取灵感。浪漫主义音乐作品的形式结构更加自由 ，它服从于感情上的需要，有意识地带有片断或即兴的性格 ，对远距离和声和调性关系的探索使和声语言大为扩展。把浪漫主义理想体现得淋漓尽致的是19世纪的大歌剧，强烈的民族主义，对英雄的崇敬，奇异的布景和服装，描述性音乐 ，以及交响和声乐配曲所显示的精湛技巧，都是构成浪漫主义音乐的因素。

人们普遍认为徐志摩，生于1897，故于1931，是中国现代浪漫主义诗人之一。

翻译为英文是：                    

It is widely believed that Xu Zhimo was born in 1897 and died in 1931 He is one of the modern romantic poets in China

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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-

纳兰性德如果照后人的眼光来看应属于浪漫诗人，但是如果就浪漫诗人的定义来看可能有点儿牵强。毕竟他没有李白的无极豪迈但也不是杜甫的悲悯现实。纳兰性德的忧伤都是属于他自己的情事。他是钟情的男子，是而今女孩的理想情人，但他只是诗词的浪漫，钟情的浪漫，却不是真真正正像李白那样可以藐视天地的无极之浪漫。他不是李白那样可以放开情爱，谁遇而安的浪漫诗人，也可以这样说，正是应为他放不开说以他才会写出如此忧伤的词。这个清朝第一大词人仅仅是流淌在他自己人生里的河流，从不见他决堤泛滥的去关心世界。个人见解！！

以下是参考英文介绍：

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