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The vast night sky, in western poetry has countless stars shine, shine.The life course only thirty spring and autumn period of British poet Shelley has past tianyu resplendent in a meteor, glowing with singular and dazzling brilliance.We hear of his poetry is more like the song of life, not always singing poet immortal life, echoes in eternity of time and space.Shelley was born in a hereditary noble family, since childhood to the families of the conservative atmosphere and the kind of gentleman poise filled with disgust affectation.In school, he accepted the eighteenth century enlightenment thought, and the utopian socialism of early British trend more give him with profound effect.He once said: I will not with selfishness, company image, curse people together, and I will be attacked.I swear will pour out my whole life contribute to worship of beauty.Shelley's young life is such a spirit of rebellion and struggle at the beginning, from his ode to the west wind ", the first thing we feel is a peaceful soul, one erases all the destruction of the ugly forces:It should be said that Shelley is conditional enjoy praised the secular life, he became his family as the eldest son of the rank of nobility and property of the inevitable successor, boyhood into Eaton his noble school, youth he studied at Oxford University, he should follow the rules from nation, Ann keepeth his.However he lent his family expenses were all used to buy books, he was reluctant to sacrifice his spirit in the presence of the title and heritage.Shelley to s, Europe in the age of darkness, the reactionary forces gathered together and formed a "holy alliance", under the coercion of the bourgeois regime, the democratic and national revolution in the trough, the atmosphere of choking on the society at that time, more make the Shelley to burst all mental quality.So, in order to get rid of the bound and obstacles of mental anguish, Shelley with "west wind" such a male of powerful artistic image to an outlet his pent-up resentment in the heart.To say the "west wind" the precision wild, uninhibited, wanton destruction force is just what Shelley's desire to pursue life force, was his strong resistance by the currents of life.West wind comes, "all saddened discoloration, bravery afraid lose, shuddering litter" itself, it went through the cloud in the sky, the long wave short waves in the sea to rise, its hands to have swept away all things that do not belong to the autumn, the damage and refreshes fun, this energetic male pleasure forever, is just the most real Shelley's life consciousness.In the past, we in the understanding of Shelley's poem, the "west wind" of this kind of destructive power as more of a social revolutionary force, it is certainly not wrong.Because Shelley is a always pay attention to politics, the study of politics, and engaged in political poet, he is the dark social reality detest evil, to hate everything ugly power, he is going to change all the old, a strong desire to create a new society are reflected in many of his poems.And strong west wind, of course, can be interpreted as a symbol of revolutionary spirit.It is said that the the lu xun's "ode to west wind" is introduced to China, with particular emphasis on the poems that misfits and destruction of the time spirit, because the Chinese have many forms of bondage and obstacles of the society, need to "destruction" and "new".But like today we can't take only a single understanding of lu xun for a political "revolutionary fighters" (where lu xun once accept Nietzsche's "superman philosophy", according to Nietzsche's view, "destruction and power" is reflected as a "superman" life vigor), Shelley "west wind" this image also borrow xuan yu on such a philosophy of life: the power of life is to destroy.Here the "destruction" of both destroy meaning, has a profound connotation of struggles against, more.Actually in Shelley's life, always embodies the resistance and struggle, he was expelled from school, was expelled from the family, his against the tide with a civilian woman private life and his eldest daughter eloped with teacher Switzerland and his adventure, etc., all in the bowels of the character indicates that Shelley restless and struggle, and his tireless, YongWangZhiQian the pursuit of the spirit.Therefore shape through the "west wind" this great art image, we should see more was the "superman" Shelley himself as the embodiment of the life force. 终于打好了，打字好累。望接纳~
Analysis of Percy Shelley’s “Ode to the West Wind” In 'Ode to the West Wind,' Percy Bysshe Shelley tries to show his desire for transcendence, by explaining that his thoughts and ideas, like the 'winged seeds' are trapped. The West Wind acts as a force for change and forward movement in the human and natural world. Shelley sees winter not just as the last season of vegetation but as the last phase of life. Shelley observes the changing of the weather from autumn to winter and its effects on the environment. Shelley is trying to show that a man’s ideas can spread and live on beyond his lifetime by having the wind carry his 'dead thoughts' which through destruction, will lead to a rebirth in the imagination, and in the natural world. Shelley begins his poem by addressing the 'Wild West Wind'. He then introduces the theme of death and compares the dead leaves to 'ghosts'. The imagery of 'Pestilence-stricken multitudes' makes the reader aware that Shelley is addressing more than a pile of leaves. His claustrophobic mood is shown when he talks about the 'wintry bed' and 'The winged seeds, where they lie cold and low/ Each like a corpse within its grave, until/ Thine azure sister of the Spring shall blow'. In the first line, Shelley used the phrase 'winged seeds' which presents i . . . The 'closing night' is used also to mean the final night. The 'pumice' shows destruction and creation because when the volcano erupts it destroys. This acts as an introduction and a foreshadow of what is to come later. ' also helps the reader prepare for the climax which Shelley intended. It seems that it is only in his death that the 'Wild Spirit' could be lifted 'as a wave, a leaf, a cloud' to blow free in the 'Wild West Wind'. The 'pumice' is probably Shelley's best example of rebirth. As the rising action continues, Shelley talks about the 'Mediterranean' and its 'summer dreams'. Again, he uses soft sounding words to calm the reader into the same dream-like state of the Mediterranean. He then writes like a mourning song 'Of the dying year, to which this closing night/ Will be the dome of a vast sepulchre/ Vaulted with all they congregated might'. Percy sees his ‘dome’ as a volcano and when the 'dome' does 'burst,' it will act as a 'Destroyer and Preserver' and creator. In 'Ode to the West Wind,' Shelley uses the wind to represent driving change and a carrier for his ideas.
Form Each of the seven parts of "Ode to the West Wind" contains five stanzas--four three-line stanzas and a two-line couplet, all metered in iambic pentameter. The rhyme scheme in each part follows a pattern known as terza rima, the three-line rhyme scheme employed by Dante in his Divine Comedy. In the three-line terza rima stanza, the first and third lines rhyme, and the middle line does not; then the end sound of that middle line is employed as the rhyme for the first and third lines in the next stanza. The final couplet rhymes with the middle line of the last three-line stanza. Thus each of the seven parts of "Ode to the West Wind" follows this scheme: ABA BCB CDC DED EE. Commentary The wispy, fluid terza rima of "Ode to the West Wind" finds Shelley taking a long thematic leap beyond the scope of "Hymn to Intellectual Beauty," and incorporating his own art into his meditation on beauty and the natural world. Shelley invokes the wind magically, describing its power and its role as both "destroyer and preserver," and asks the wind to sweep him out of his torpor "as a wave, a leaf, a cloud!" In the fifth section, the poet then takes a remarkable turn, transforming the wind into a metaphor for his own art, the expressive capacity that drives "dead thoughts" like "withered leaves" over the universe, to "quicken a new birth"--that is, to quicken the coming of the spring. Here the spring season is a metaphor for a "spring" of human consciousness, imagination, liberty, or morality--all the things Shelley hoped his art could help to bring about in the human mind. Shelley asks the wind to be his spirit, and in the same movement he makes it his metaphorical spirit, his poetic faculty, which will play him like a musical instrument, the way the wind strums the leaves of the trees. The thematic implication is significant: whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience, the younger generation largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, quality, and ultimate effect of aesthetic expression.
Analysis of Percy Shelley’s “Ode to the West Wind” In 'Ode to the West Wind,' Percy Bysshe Shelley tries to show his desire for transcendence, by explaining that his thoughts and ideas, like the 'winged seeds' are trapped. The West Wind acts as a force for change and forward movement in the human and natural world. Shelley sees winter not just as the last season of vegetation but as the last phase of life. Shelley observes the changing of the weather from autumn to winter and its effects on the environment. Shelley is trying to show that a man’s ideas can spread and live on beyond his lifetime by having the wind carry his 'dead thoughts' which through destruction, will lead to a rebirth in the imagination, and in the natural world. Shelley begins his poem by addressing the 'Wild West Wind'. He then introduces the theme of death and compares the dead leaves to 'ghosts'. The imagery of 'Pestilence-stricken multitudes' makes the reader aware that Shelley is addressing more than a pile of leaves. His claustrophobic mood is shown when he talks about the 'wintry bed' and 'The winged seeds, where they lie cold and low/ Each like a corpse within its grave, until/ Thine azure sister of the Spring shall blow'. In the first line, Shelley used the phrase 'winged seeds' which presents i . . . The 'closing night' is used also to mean the final night. The 'pumice' shows destruction and creation because when the volcano erupts it destroys. This acts as an introduction and a foreshadow of what is to come later. ' also helps the reader prepare for the climax which Shelley intended. It seems that it is only in his death that the 'Wild Spirit' could be lifted 'as a wave, a leaf, a cloud' to blow free in the 'Wild West Wind'. The 'pumice' is probably Shelley's best example of rebirth. As the rising action continues, Shelley talks about the 'Mediterranean' and its 'summer dreams'. Again, he uses soft sounding words to calm the reader into the same dream-like state of the Mediterranean. He then writes like a mourning song 'Of the dying year, to which this closing night/ Will be the dome of a vast sepulchre/ Vaulted with all they congregated might'. Percy sees his ‘dome’ as a volcano and when the 'dome' does 'burst,' it will act as a 'Destroyer and Preserver' and creator. In 'Ode to the West Wind,' Shelley uses the wind to represent driving change and a carrier for his ideas.
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Form Each of the seven parts of "Ode to the West Wind" contains five stanzas--four three-line stanzas and a two-line couplet, all metered in iambic pentameter. The rhyme scheme in each part follows a pattern known as terza rima, the three-line rhyme scheme employed by Dante in his Divine Comedy. In the three-line terza rima stanza, the first and third lines rhyme, and the middle line does not; then the end sound of that middle line is employed as the rhyme for the first and third lines in the next stanza. The final couplet rhymes with the middle line of the last three-line stanza. Thus each of the seven parts of "Ode to the West Wind" follows this scheme: ABA BCB CDC DED EE. Commentary The wispy, fluid terza rima of "Ode to the West Wind" finds Shelley taking a long thematic leap beyond the scope of "Hymn to Intellectual Beauty," and incorporating his own art into his meditation on beauty and the natural world. Shelley invokes the wind magically, describing its power and its role as both "destroyer and preserver," and asks the wind to sweep him out of his torpor "as a wave, a leaf, a cloud!" In the fifth section, the poet then takes a remarkable turn, transforming the wind into a metaphor for his own art, the expressive capacity that drives "dead thoughts" like "withered leaves" over the universe, to "quicken a new birth"--that is, to quicken the coming of the spring. Here the spring season is a metaphor for a "spring" of human consciousness, imagination, liberty, or morality--all the things Shelley hoped his art could help to bring about in the human mind. Shelley asks the wind to be his spirit, and in the same movement he makes it his metaphorical spirit, his poetic faculty, which will play him like a musical instrument, the way the wind strums the leaves of the trees. The thematic implication is significant: whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience, the younger generation largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, quality, and ultimate effect of aesthetic expression.
Western poetry, the vast night sky, once had the innumerable stars shine, shine and life course only thirty spring and autumn the English poet Shelley is like a rushing in through the sky bright meteor, flashing a strange and brilliant poetry imitation way not the song of life, always singing poet rotten life, echoed eternal Shelley was born the hereditary aristocracy family, from childhood the conservative family atmosphere and mannered gentleman with disgust school time, he accepted the eighteenth Century enlightenment thought, and the early British Utopian socialism to a more profound impact once said: I swear and selfishness, powerful, Wu, and evil people, and I will be attacked I must my whole life contribute to the beauty of worship Shelley young life begins like a rebellion and struggle spirit, from "Ode to the west wind", we feel to quiet soul, a clean cut evil forces of destruction: it should be said, Shelley is qualified to enjoy worldly pleasures of life, primogeniture into family title and property shall be heirs, youth. Eaton noble school, youth read in University of Oxford, which should follow rules docilely, duty While the family lend cost all used to purchase books, may before the title and heritage sacrifice so Shelley "s, is Europe in the dark ages, the reactionary forces the assembly, composed of the holy alliance, the bourgeois regime ruled, democratic and national revolution was at a low ebb, the society at that time a suffocating atmosphere, more wine Shelley to smash cut to get rid of spirit, mental suffering bondage and obstacles, Shelley will use the kind of male defended strong artistic image to vent the backlog of heart resentment say the west wind, so wild, wanton destruction of power is what Shelley longing for the life force, by imprisonment life strong resistance to the west, all over color, trembling with fear, despoil themselves, the sky across the cloud, the sea rise in long wave short wave, hand to cut everything belongs to autumn clean, failure and cleaned up the battle for fun, always full of vigor male pleasure, is the consciousness of life of Shelley reveal the true in the past, when we Shelley poem understanding, the westerly wind power for all-powerful more understanding social revolutionary forces, when there is no wrong because Shelley really who always pay attention to politics Research on governance, politics, and devoted himself to political poet, the dark social reality and evil enemies, to cut the repulsive forces cherish an undying, to change the old cut, many poems are reflected and strong westerly when understanding like revolutionary spirit symbol of Lu Xun was said to have "Ode to the west wind" the new society strongly desire to create, especially emphasized the poetry and the social division into and destroy the spirit, because at that time the social many forms of bondage and disorder, need to destroy and newborn like today we can get Lu Xun only single understanding of political revolution warrior like (Lu Xun had accepted Nietzsche's superman philosophy, according to Nietzsche's view, failure and strength is reflected as a superman, life vitality), Shelley borrow westerly image Xuan Yu a kind of philosophy of life: the life force to destroy destroy destroy both have meaning, more have against, profound connotation of struggle but Shelley life, always embodies the revolt and struggle: being expelled from school, was expelled from the family, run the world's largest condemnation and bit the civilian women's private life and the eldest daughter eloped with his teacher in Switzerland and adventure and so on, are examples of Shelley the depths of character agitation and struggle Tired, and diligently, Yongwangzhiqian pursuit of spirit through shaping the westerly great artistic image, we should see Shelley himself superhuman power reflects life
《牡丹的拒绝》 张抗抗 它被世人所期待、所仰慕、所赞誉，是由于它的美。 它美得秀韵多姿，美得雍容华贵，美得绚丽娇艳，美得惊世骇俗。它的美是早已被世人所确定、所公认了的。它的美不惧怕争议和挑战。 有多少人没有欣赏过牡丹呢? 却偏偏要坐上汽车火车飞机轮船，千里万里爬山涉水，天南海北不约而同，揣着焦渴与翘盼的心，滔滔黄河般地涌进洛阳城。 欧阳修曾有诗云：洛阳地脉花最重，牡丹尤为天下奇。 传说中的牡丹，是被武则天一怒之下逐出京城，贬去洛阳的。却不料洛阳的水土最适合牡丹的生长。于是洛阳人种牡丹蔚然成风，渐盛于唐，极盛于宋。每年阳历四月中旬春色融融的日子，街巷园林千株万株牡丹竞放，花团锦簇香云缭绕——好一座五彩缤纷的牡丹城。 所以看牡丹是一定要到洛阳去看的。没有看过洛阳的牡丹就不算看过牡丹。况且洛阳牡丹还有那么点来历，它因被贬而增值而名声大噪，是否因此勾起人的好奇也未可知。 这一年已是洛阳的第九届牡丹花会。这一年的春却来得迟迟。 连日浓云阴雨，四月的洛阳城冷风飕飕。 街上挤满了从很远很远的地方赶来的看花人。看花人踩着年年应准的花期。 明明是梧桐发叶，柳枝滴翠，桃花梨花姹紫嫣红，海棠更已落英纷纷——可洛阳人说春尚不曾到来；看花人说，牡丹城好安静。 一个又冷又静的洛阳，让你觉得有什么地方不对劲。你悄悄闭上眼睛不忍寻觅。你深呼吸掩藏好了最后的侥幸，姗姗步入王城公园。你相信牡丹生性喜欢热闹，你知道牡丹不像幽兰习惯寂寞，你甚至怀着自私的企图，愿牡丹接受这提前的参拜和瞻仰。 然而，枝繁叶茂的满园绿色，却仅有零零落落的几处浅红、几点粉白。一丛丛半人高的牡丹枝株之上，昂然挺起千头万头硕大饱满的牡丹花苞，个个形同仙桃，却是朱唇紧闭，皓齿轻咬，薄薄的花瓣层层相裹，透出一副傲慢的冷色，绝无开花的意思。偌大的一个牡丹王国，竟然是一片黯淡萧瑟的灰绿…… 一丝苍白的阳光伸出手竭力抚弄着它，它却木然呆立，无动于衷。 惊愕伴随着失望和疑虑——你不知道牡丹为什么要拒绝，拒绝本该属于它的荣誉和赞颂? 于是看花人说这个洛阳牡丹真是徒有虚名；于是洛阳人摇头说其实洛阳牡丹从未如今年这样失约，这个春实在太冷，寒流接着寒流怎么能怪牡丹?当年武则天皇帝令百花连夜速发以待她明朝游玩上苑，百花慑于皇威纷纷开放，惟独牡丹不从，宁可发配洛阳。如今怎么就能让牡丹轻易改了性子? 于是你面对绿色的牡丹园，只能竭尽你想像的空间。想像它在阳光与温暖中火热的激情；想像它在春晖里的辉煌与灿烂——牡丹开花时犹如解冻的大江，一夜间千朵万朵纵情怒放，排山倒海惊天动地。那般恣意那般宏伟，那般壮丽那般浩荡。它积蓄了整整一年的精气，都在这短短几天中轰轰烈烈地迸发出来。它不开则已，一开则倾其所有挥洒净尽，终要开得一个倾国倾城，国色天香。 你也许在梦中曾亲吻过那些赤橙黄绿青蓝紫的花瓣，而此刻你须在想像中创造姚黄魏紫豆绿墨撒金白雪塔铜雀春锦帐芙蓉烟绒紫首案红火炼金丹……想像花开时节洛阳城上空被牡丹映照的五彩祥云；想像微风夜露中颤动的牡丹花香；想像被花气濡染的树和房屋；想像洛阳城延续了一千多年的“花开花落二十日，满城人人皆若狂”之盛况。想像给予你失望的纪念，给予你来年的安慰与希望。牡丹为自己营造了神秘与完美——恰恰在没有牡丹的日子里，你探访了窥视了牡丹的个性。 其实你在很久以前并不喜欢牡丹。因为它总被人作为富贵膜拜。后来你目睹了一次牡丹的落花，你相信所有的人都会为之感动：一阵清风徐来，娇艳鲜嫩的盛期牡丹忽然整朵整朵地坠落，铺散一地绚丽的花瓣。那花瓣落地时依然鲜艳夺目，如同一只奉上祭坛的大鸟脱落的羽毛，低吟着壮烈的悲歌离去。牡丹没有花谢花败之时，要么烁于枝头，要么归于泥土，它跨越萎顿和衰老，由青春而死亡，由美丽而消遁。它虽美却不吝惜生命，即使告别也要留给人最后一次惊心动魄的体味。 所以在这阴冷的四月里，奇迹不会发生。任凭游人扫兴和诅咒，牡丹依然安之若素。它不苟且不俯就不妥协不媚俗，它遵循自己的花期自己的规律，它有权利为自己选择每年一度的盛大节日。它为什么不拒绝寒冷?! 天南海北的看花人，依然络绎不绝地涌入洛阳城。人们不会因牡丹的拒绝而拒绝它的美。如果它再被贬谪十次，也许它就会繁衍出十个洛阳牡丹城。 于是你在无言的遗憾中感悟到，富贵与高贵只是一字之差。同人一样，花儿也是有灵性、有品位之高低的。品位这东西为气为魂为筋骨为神韵只可意会。你叹服牡丹卓尔不群之姿，方知“品位”是多么容易被世人忽略或漠视的美。编辑本段赏析: 一、《牡丹的拒绝》是当代著名女作家张抗抗的一篇优美的散文。作品没有像众多描写牡丹的作品那样一味赞美牡丹的雍容华贵、绚丽多姿，而是独辟蹊径，通过对牡丹花开花落的描写，着力赞美牡丹的拒绝，赞扬牡丹不慕虚华、对生命执着追求的精神。 牡丹的高贵，开，倾其所有；落，惊心动魄；不开，则安之若素。拒绝是为了坚守，坚守每一次的绽放都是生命最完美的呈现；拒绝是因为执著，执著于对独立矜持的自我个性的追求，执著于对自我生命质量的尊重。为此，皇权可以藐视，宁可被贬；荣誉可以淡漠，纵然遭来诅咒。那冷漠的背后是火一样的热情，拒绝的背后是如磐石般的执著。 ??牡丹是高贵的，所有不媚不俗的独立高洁人格都是高贵的。廉者不受嗟来之食,不饮盗泉之水，孤竹君不食西周之粮，朱自清宁可饿死不食美国人的救济粮，还有陶渊明不为五斗米折腰，还有苏轼，还有夏明翰，还有邓稼先……他们“拣尽寒枝不肯栖”，只为了心中那执著的追求和信念。他们都是有品味的人，都有是人中的牡丹。 ??拒绝的背后是执著，拒绝便是高贵。 二、授课思路（复旦大学附属中学 杨燕） 题旨领会（作者强调牡丹不应作为“富贵”被膜拜，而应作为“高贵”被颂扬） 文章开篇先声夺人，以优美之词渲染铺陈出牡丹的美并描绘人们为一睹牡丹芳容而千里迢迢奔赴洛阳的情形。然后用一传说来增强牡丹的传奇色彩，并为下文抒情议论作了铺垫。行文至此，读者对牡丹的向往也就随着作者的描述而变得愈发强烈起来。然而作者笔锋一转写起了洛阳的天气情况，“春来得迟迟……连日浓云阴雨……冷风飕飕”，看似闲笔，却是极为重要的交代。“谷雨三朝看牡丹”，牡丹的开花与温度关系极为密切，满怀期望前往洛阳赏花的人极有可能会遭遇花已开过或花还未开的尴尬。这样一种因自然现象而引起的反常和遗憾却被作者敏锐地捕捉到并加以诗意的描绘和理性的思考。罗丹说：“在艺者的眼中，一切都是美的，因为他锐利的慧眼，注视到一切众生万物之核心；如能抉发其品性，就是透入外型触及其内在的‘真’，此‘真’，也即是‘美’。”作者正是抓住牡丹因天气阴冷而拒绝开花这一特点赋花以人格精神的美，着力赞颂牡丹不苟且不俯就不妥协不媚俗的个性。而同时又以美丽的想像来渲染牡丹怒放时的辉煌与灿烂，花落时的绚丽与壮烈，这样的描写不仅弥补了读者与牡丹花擦肩而过的遗憾，更重要的是强化了牡丹完美而又高贵的形象。使牡丹的美更具有灵性和品位。【品味语言】 散文要用形象说话，应具有一定的韵味，既要承载作家的主体情感，又要通过精美的语言引导读者的鉴赏期待，使人获得审美的享受。本文所塑造的牡丹形象高贵而富有个性，文章的题目《牡丹的拒绝》运用拟人化手法已显示了文眼。而在文中，这样的写法也是随处可见，“一丛丛半人高的牡丹植株之上，昂然挺起千头万头硕大饱满的牡丹花苞，个个形同仙桃，却是朱唇紧闭，洁齿轻咬，薄薄的花瓣层层相裹，透出一副傲慢的冷色，绝无开花的意思。”“一丝苍白的阳光伸出手竭力抚弄着它，它却木然呆立，无动于衷。”面对众人的参拜瞻仰，牡丹安之若素，其个性魅力不言而喻。而作者丰沛的情感和对牡丹的热烈赞颂更是依托比喻和排比的形式倾注于笔端：“牡丹开花时犹如解冻的大江，一夜间千朵万朵纵情怒放，排山倒海惊天动地。那般恣意那般宏伟，那般壮丽那般浩荡。”“想像花开时节洛阳城上空被牡丹映照的五彩祥云；想像微风夜露中颤动的牡丹花香；想像被花气濡染的树和房屋；想像洛阳城延续了一千多年的“花开花落二十日，满城人人皆若狂”之盛况。”而写到花落时的情景,作者又运用浓笔重彩的描摹凸显其壮美：“一阵清风徐来，娇艳鲜嫩的盛期牡丹忽然整朵整朵地坠落，铺散一地绚丽的花瓣。那花瓣落地时依然鲜艳夺目，如同一只被奉上祭坛的大鸟脱落的羽毛，低吟着壮烈的悲歌离去。”紧随其后的抒情犹如一曲咏叹调将牡丹拒绝萎顿和衰老，追求生命完美的本性揭示出来，“牡丹没有花谢花败之时，要么烁于枝头，要么归于泥土，它跨越萎顿和衰老，由青春而死亡，由美丽而消遁。它虽美却不吝惜生命，即使告别也要留给人最后一次惊心动魄的体味。”由此我们在这个没有牡丹的日子里却深切感悟了牡丹的高贵，它高傲而不妥协，冷艳而不媚俗，壮丽而不萎顿。花开时倾其所有挥洒净尽，花落时惊心动魄义无反顾，不开时不苟且不俯就不妥协不媚俗。
春天的声音作者：张秀亚你听到过 春天的声音吗？春天的可爱之处，不仅在于它的颜色，更在于 它的声音。那是雨落窗棂的微响，轻风对你的呼唤，以及从小径上、花园的角落里 发出的一些 细碎的声音；甚至一个小孩子响亮的口哨儿，都会成为 春之交响中 动人的部分。然而，在我的心底，春天最美妙的声音 却是鹧鸪的呼唤。断续的、一声声，似是嗔怨，又似是喜悦。记得在古城读书时，窗外那鹧鸪的鸣叫，是来自不远处的湖滨 以及附近的小树林。一声声，又一声声，渐渐地 叫得窗子发白了、变亮了。于是，我就起身打开门窗，让那芳香带露的春的早晨，连同早晨第一次听到的声音，一同拥了进来。那声音，带着花草湿湿的味道，我整个儿的灵魂都浸润其中，宛如接受了一份 上天的恩赐。如今，哪里还会有这种声音呢？这窒息了的，喑哑了的 都市的春天啊。我终日伫立窗前，除了充盈于耳的车声、人声、市声，却再也听不到 那朦胧的、不分明的、包裹着浓雾一般的 鹧鸪声了。今天走过一条小河，水流无声，河畔的杜鹃花 就像倾泻的紫烟。我蹲下身 拾起地上的花瓣儿，这时，我听到了一声春天的叹息，那么细小、那么微弱的声音。我感到一阵喜悦，哪怕是叹息呢，毕竟，我又听到了 春天的声音。如果说，鹧鸪的呼唤，是春天绿色的海洋中翻腾的泡沫；那落花的叹息，就是缥缈在春晖里 细弱的游丝。一个 代表着春天的到来，一个 意味着 春天的离去。到来也好，离去也罢，那些声响，都是我记忆里的春天。我要把它们留住，留在我的园中、窗外、阶前，更要把它们，留在我的心中。哪怕在未来的岁月里，凄寒的冬日来了，我也仍然拥有一个春天——一个 冬天里的 春天。赏析：作者描绘了一个极其美丽的春天，体现了他热爱春天、热爱大自然的情感。以及对春天美景的赞叹和不舍。试问春，带有何种颜色呢？拥有何种声音呢？也许万紫千红，也许桃红柳绿。也许静寂，也许喧嚣。事实上，春天的旋律并不仅限于生活之中，它也许埋藏在你心里，你脑中。在记忆里，和春天有关的无不一是美景、佳作。春天美在何处呢，也许是生命之花的绽放带来的美，又或者仅仅只是景美而已。春天的丰美景物何止这些，春天布满大地，绵延数万里，不论高山、深谷，不论草原、湖泊，不论森林、溪流，处处都有丰饶的物品，处处都有奇丽的美景，你要我说我可真说不完，如果哪一天你有空闲去踏青，临行前别忘了通知我一声，也许我可能给你当一个不很出色的向导。当向导在我只是一个漂亮的借口，其实我私心里也很想找个机会去重游春天。春天的声音，不仅在你的心里，我的心里，作者的心里，更在千千万万个人的心里。
西风颂从主题，主角性格，作者及诗歌的创作背景，当时的时代背景等方面进行赏析
不确定性的狂欢——《达芬奇密码》的后现代主义解读从文学文体学角度浅析《汤姆叔叔的小屋》中的反奴斗争接受美学视角下《暮光之城》字幕翻译的审美再现策略针对“00后”学生特点的初中英语个性化教学研究
约翰.济慈(John Keats,1795-1821)， 英国浪漫主义时期与拜伦、雪莱齐名的浪漫主义诗人，代表作品有《恩底弥瓮》（Endymion）、《伊莎贝拉》（Isabella）、《圣阿格尼斯之夜》（The Eve of Saint Agnes）等 长诗 以及《希腊古瓮颂》（Ode on a Grecian Urn）、《夜莺颂》（Ode to a Nightingale）等 颂歌 。
济慈在《希腊古瓮颂》中提出了“ Beauty is truth, truth beauty.”( 美即是真，真即是美)的美学理念，意思是生活的本真是艺术美的源泉，艺术美使生活之美得以永存。济慈的诗歌表达感情真挚，济慈虽然他英年早逝，但我觉得他是一位用生命写作才华横溢，追求诗歌的本真和美的诗人。
《夜莺颂》是一首颂歌。 如果你看过电影《明亮的星》（Bright Star）,相信你会被济慈对诗歌的狂热和才华所折服。诗人对生命、美和自由的歌颂和赞美在《夜莺颂》这首诗歌中体现地淋漓尽致。
My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
‘Tis not through envy of thy happy lot,
But being too happy in thine happiness, –
That thou, light-winged Dryad of the trees,
In some melodious plot
Of beechen green and shadows numberless,
Singest of summer in full-throated ease.
O, for a draught of vintage! that hath been
Cool’d a long age in the deep-delved earth,
Tasting of Flora and the country green,
Dance, and Provençal song, and sunburnt mirth!
O for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stained mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:
Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs,
Where Beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond to-morrow.
Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! tender is the night,
And haply the Queen-Moon is on her throne,
Cluster’d around by all her starry Fays;
But here there is no light,
Save what from heaven is with the breezes blown
Through verdurous glooms and winding mossy ways.
I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast fading violets cover’d up in leaves;
And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of flies on summer eves.
Darkling I listen; and, for many a time
I have been half in love with easeful Death,
Call’d him soft names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain –
To thy high requiem become a sod.
Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charm’d magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.
Forlorn! the very word is like a bell
To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
As she is fam’d to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-side; and now ’tis buried deep
In the next valley-glades:
Was it a vision, or a waking dream?
Fled is that music: – Do I wake or sleep?
夜莺颂
我的心在痛，困顿和麻木
刺进了感官，有如饮过毒鸠，
又象是刚刚把鸦片吞服，
于是向着列斯忘川下沉：
并不是我嫉妒你的好运，
而是你的快乐使我太欢欣——
因为在林间嘹亮的天地里，
你呵，轻翅的仙灵，
你躲进山毛榉的葱绿和荫影，
放开歌喉，歌唱着夏季。
哎，要是有一口酒！那冷藏
在地下多年的清醇饮料，
一尝就令人想起绿色之邦，
想起花神，恋歌，阳光和舞蹈！
要是有一杯南国的温暖
充满了鲜红的灵感之泉，
杯沿明灭着珍珠的泡沫，
给嘴唇染上紫斑；
哦，我要一饮而离开尘寰，
和你同去幽暗的林中隐没：
远远地、远远隐没，让我忘掉
你在树叶间从不知道的一切，
忘记这疲劳、热病、和焦躁，
这使人对坐而悲叹的世界；
在这里，青春苍白、消瘦、死亡，
而“瘫痪”有几根白发在摇摆；
在这里，稍一思索就充满了
忧伤和灰色的绝望，
而“美”保持不住明眸的光彩，
新生的爱情活不到明天就枯凋。
去吧！去吧！我要朝你飞去，
不用和酒神坐文豹的车驾，
我要展开诗歌底无形羽翼，
尽管这头脑已经困顿、疲乏； 去了！呵，
我已经和你同往！ 夜这般温柔，
月后正登上宝座，
周围是侍卫她的一群星星；
但这儿却不甚明亮，
除了有一线天光，被微风带过，
葱绿的幽暗，和苔藓的曲径。
我看不出是哪种花草在脚旁，
什么清香的花挂在树枝上；
在温馨的幽暗里，我只能猜想
这个时令该把哪种芬芳
赋予这果树，林莽，和草丛，
这白枳花，和田野的玫瑰，
这绿叶堆中易谢的紫罗兰，
还有五月中旬的娇宠，
这缀满了露酒的麝香蔷薇，
它成了夏夜蚊蚋的嗡萦的港湾。
我在黑暗里倾听，多少次
我几乎爱上了静谧的死亡，
我用深思的诗韵唤他的名字，
求他把我的一息散入空茫；
而现在，死更是多么富丽：
在午夜里溘然魂离人间，
当你正倾泻着你的心怀
发出这般的狂喜！
你仍将歌唱，但我却不再听见——
你的葬歌只能唱给泥草一块。
永生的鸟呵，你不会死去！
饥饿的世代无法将你蹂躏；
今夜，我偶然听到的歌曲
曾使古代的帝王和村夫喜悦；
或许这同样的歌也曾激荡
露丝忧郁的心，使她不禁落泪，
站在异邦的谷田里想着家；
就是这声音常常
在失掉了的仙域里引动窗扉：
一个美女望着大海险恶的浪花。
呵，失掉了！这句话好比一声钟
使我猛醒到我站脚的地方！
别了！幻想，这人的妖童，
不能老耍弄它盛传的伎俩。
别了！别了！你怨诉的歌声
流过草坪，越过幽静的溪水，
溜上山坡；而此时，它正深深
埋在附近的溪谷中：
噫，这是个幻觉，还是梦寐？
那歌声去了：——我是睡？是醒？
颂歌（Ode），属于诗歌形式的一种，颂歌是一首抒情诗，用来赞美一个人、一个事件或一个物体。英国颂歌最著名的代表作品是雪莱的《西风颂》（Ode to the West Wind），以及济慈的《夜莺颂》（Ode to a Nightingale）、《希腊古瓮颂》（Ode on a Grecian Urn）。
《夜莺颂》这首诗写于1819年。有一天，一只夜莺一棵树上筑巢，济慈被夜莺婉转而欢快的歌声所吸引，他在一棵李树下面的凳子上坐了2、3个小时，返回房间时，他的手中拿了4、5张诗稿。写这首诗的时候，济慈的弟弟刚刚去世，而济慈也被肺病困扰，夜莺代表着他忘却现实中的痛苦，去追求美好和自由的向往。
我国古代诗人中也有很多描写鸟鸣的古诗词。如：“月出惊山鸟，时鸣春涧中。；” “百啭千声随意移，山花红紫树高低。”；“蝉噪林逾静，鸟鸣山更幽。” 鸟鸣衬托出了周围环境的幽静，反映了作者闲适、享受大自然美好的心境。正所谓境由心生。山水田园诗人王维被称为“诗中有画，画中有诗”。而济慈的这首诗是诗中有画，画中有音乐。
这首颂歌共分为8小节，每小节10行，各小节诗行按照ABABCDECDE的形式押韵。诗人在整首诗中采取了对比和象征的表达方式。夜莺代表着诗人所向往的自由、美好的生活，但作者却不得不困于现实的痛苦中：弟弟刚刚去世；他自己又身患疾病；他和Fanny Brawn小姐相爱，但迫于现实的状况却不能长厢厮守。爱情的甜蜜，病痛的折磨，这些痛苦让诗人十分羡慕夜莺，并愿和夜莺一起飞去。
从下图我们可以看出诗人在描述中采用了对比的表达方式，体现了诗人的现实（negative）生活和夜莺(positive)代表的理想世界之间的矛盾，作者在诗中采用了不同的词汇，如诗人的pains和夜莺的happiness,诗人的dull和夜莺的melodious等等，反映了作者当时追求自由、摆脱痛苦但却又不得不面对现实的无奈心境。这也是济慈在这首诗中采用paradox手法的体现。
关于这首诗的朗诵，可以找本尼迪克特的版本来听。今天早上，听本尼朗诵济慈《夜莺颂》的时候，舒缓优美的音乐配上本尼纯正的英音简直是一种至高的艺术享受。
济慈有诗叫做《多少诗人把光阴镀成了黄金》，“多少诗人把光阴镀成了黄金，诗杰的神品永远是我的幻想......仿佛集聚在黄昏的无数声响......仿佛积聚在黄昏的无数声响：鸟儿歌唱，树叶飒飒地絮语，流水潺潺，洪钟沉重地叩出庄严的声音，还有那来自远方 难以辩认的千种鸣响，合奏出
绝妙的音乐，而不是聒噪喧嚷。”
济慈写诗讲究感官感受，所以读他的诗，不仅仅是在看一幅精美的油画，而且还是在欣赏一首优美的古典音乐，完全沉浸在他的诗所描绘的美好情境中。所以读他的诗是一种享受，不仅仅因为他对诗歌的狂热，更由于他对美与真的尽情歌颂。
虽然济慈25岁就去世，但他在诗歌方面的影响力却是英国浪漫主义诗歌中最明亮耀眼的一颗星。他写诗讲究官能感受，唯美主义以及为艺术而艺术（Art's for arts' sake）的创作理念，他具有与莎士比亚的天才极为接近的艺术感应力。他的诗歌形式和风格也是多变的，颂歌、长诗、叙事诗、抒情诗、十四行诗。他的十四行诗与莎士比亚的诗风很像，读他的十四行诗也是一种美的感官享受。
我在想，如果英文诗歌可以像夜莺那样浸润现代社会中人们偶尔孤寂的心田，那将是人世间最美好的事。
这是我自己参考中文赏析写的，虽然不是很权威，但是这也是我交给老师的作业，我们老师给的评价还不错，所以分享一下^*^,觉得有价值的话，就参考一下吧~Reads “Ode to a Nightingale”“Old to a Nightingale” was written by Jhon Keats.It expresses poet’s stray and complex mood emerged after hearing a nightingale’s engaging voice and reflects poet’s desire of getting rid of the pressure from human suffering there, blending into the natural world and entering into the joyous nightingale kingdom, however, be trapped by realities where his inner pain comes from. Behinde the discribing of the nightingale’s happy voice, the poem is full of strong emotion with sadness and pain, and the mournful sentiment make it painful lingering for us.Keats cried out a painful lament at the beginning of the poem. “My heart aches”, poet cried out such a painful lament when listening so enchanting song from nightingale under such a soft night sky. The nightingale’s song which shoule make people feel happy originally make the poet feel heart aches. This is the specific reflection of Keats’ artistic idea of accepting things by the opposite side.In fact, we should comprehend the sentence of the fifth line in the first section of the poem—Tis not through envy of thy happy lot, But being too happy in thy happiness—from the opposite side according to the following sentences and the whole poem. So the true meaning of the sentence reffered before is that the touching nightingale voice make poet feel never-ending pain and as a result he is envious of the nightingale’s freedom and happiness.The four lines at the beginning of the first section describe that the poet’s heart was suffering from the felling of heavy-headed, numb and stepping into death. And the folloewing six sentences describe the nightingale’s happiness of singing freely in the shadow of the forest.The strongly contrast show poet’s contradictory mood.He is eager ro blend into the nature just like the nightingale in order to break away from the worry of the world. However, how can he enter to the nightingale’s freedom kingdom? In the senond section, the poet opens his imagination.He imagines the vintage wine made of grapes from the south world, and drinking it and then leaving the world silencely, hiding himself into the forest together with the nightingale. In the section, the poet makes a specific and deepgoing description of the vintage wine.”That hath been Cool’d a long age in the deep-delved earth, Tasting of Flora and the country green, Dance, and Provencal song, and sunburnt mirth!” This is a Chinese fictitious land of piace which is nothing else than the world the poet was looking forward to.And the literary quotation of Hippocrene make the vintage wine made of grapes more mysterious.He wants to drink the vintage wine here has double meanings.One is to enter into the nightingale’s free kingdom with the help of the mysterious power of the wine, and the other one is to forget the bad things in the world through drink to drunk. He describes his worry detailedly in the third section.In his view, there is none happiness but distressness, none hopes but hopelessness, none beauty or love, but ugly and hate because of his painful experience. So he said in the poem that “Fade away, dissolve, and quite forget. What thou among the leaves hast neve known,” so he is eager to fly to the nightingale’s kingdom where doesn’t have suffering and is filled with happiness and beauty.The fourth and the fifth sections are the important transition of Keats’ thoughts. He realizes that he can’t leave his world by drinking, so he can fly to the ninghtingale’s world though his poem. He make a new happy world in his poem which is nearly the same with the nightingale’s world.The last two sentences in the sixth section express his pity of can’t hear the beautiful voice in his world, and Keats’ contractory mind appears again.The seventh section is the transition of his coming back to the reality from his imagination. He realizes that nothing can live forever in the world. But ninghtingale’s voice can comfort the people who are sufferring misery in the world. The two literary quotations—the Ruth and the half-times hath—show that what he needs is being saved. But the fact that he is still live and suffer misery break his fancy and bring him back to reality just like what he said in his poem that “Forlorn! The very word is like a bell.To toll me back from thee to mysole self!” The Forlorn in the last section has double meanings one of which is being abandoned and the other one of which is loneliness. In this section,Keats can not distinguish weather it is a vision or a walking dream even after the ninghtingale’s voice has disappeared, which also reflect his unsure and doublful attitude to the reality.Old to a Ninghtingale deeply reflects Keats’ difficult position of failling to seek beauty, the sence of distressed lies in every word,and makes us think without ending.字数：814个
TO AUTUMN 秋颂
by John Keats
(查良铮译)
SEASON of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o’er-brimm’d their clammy cells.
雾气洋溢、果实圆熟的秋，
你和成熟的太阳成为友伴;
你们密谋用累累的珠球，
缀满茅屋檐下的葡萄藤蔓;
使屋前的老树背负着苹果，
让熟味透进果实的心中，
使葫芦胀大，鼓起了榛子壳，
好塞进甜核;又为了蜜蜂
一次一次开放过迟的花朵，
使它们以为日子将永远暖和，
因为夏季早填满它们的粘巢。
Who hasth not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap’d furrow sound asleep.
Drowsed with the fumes of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.
谁不经常看见你伴着谷仓?
在田野里也可以把你找到，
弥有时随意坐在打麦场上，
让发丝随着簸谷的风轻飘;
有时候，为罂粟花香所沉迷，
你倒卧在收割一半的田垄，
让镰刀歇在下一畦的花旁;
或者.像拾穗人越过小溪，
你昂首背着谷袋，投下倒影，
或者就在榨果架下坐几点钟，
你耐心地瞧着徐徐滴下的酒浆。
Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,-
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river shallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.
啊.春日的歌哪里去了?但不要
想这些吧，你也有你的音乐——
当波状的云把将逝的一天映照，
以胭红抹上残梗散碎的田野，
这时啊，河柳下的一群小飞虫
就同奏哀音，它们忽而飞高，
忽而下落，随着微风的起灭;
篱下的蟋蟀在歌唱，在园中
红胸的知更鸟就群起呼哨;
而群羊在山圈里高声默默咩叫;
丛飞的燕子在天空呢喃不歇。
Ode to Psyche 赛吉颂
O Goddess! Hear these tuneless numbers, wrung
女神呵!请听这些不成调的韵律——
By sweet enforcement and remembrance dear,
由倾心的执着和亲切的回忆所促成——
And pardon that thy secrets should be sung
请原谅，这诗句唱出了你的秘密，
Even into thine own soft-conched ear:
直诉向你那柔软的海螺状耳轮：
Surely I dreamt today, or did I see
无疑我今天曾梦见——我是否目睹
The winged Psyche with awakened eyes?
长着翅膀、睁着眼睛的赛吉?
I wandered in a forest thoughtlessly,
我在树林里无思无虑地漫步，
And, on the sudden, fainting with surprise,
突然，我竟惊奇得目眩神迷，
Saw two fair creatures, couched side by side
我见到两个美丽的精灵相依偎
In deepest grass, beneath the whispering roof
在深草丛里，上面有絮语的树叶
Of leaves and trembled blossoms, where there ran
和轻颤的鲜花荫庇，溪水流淌
A brooklet, scarce espied:
在其间，无人偷窥：
'Mid hushed, cool-rooted flowers, fragrant-eyed,
周围是宁静的、清凉的、芬芳的嫩蕊，
Blue, silver-white and budded Tyrian,
蓝色花、银色花，紫色的花苞待放，
They lay calm-breathing on the bedded grass;
他们躺卧在绿茵上，呼吸得安详;
Their arms embraced, and their pinions too;
他们的手臂拥抱，翅膀交叠;
Their lips touched not, but had not bade adieu,
他们的嘴唇没接触，也没告别，
As if disjoined by soft-handed slumber,
仿佛被睡眠的柔腕分开一时，
And ready still past kisses to outnumber
准备醒后再继续亲吻无数次
At tender eye-dawn of aurorean love:
在欢爱的黎明睁眼来到的时刻：
The winged boy I knew;
带翅的男孩我熟悉;
But who wast thou, O happy, happy dove?
可你是谁呀，幸福的、幸福的小鸽?
His Psyche true!
他的好赛吉!
O latest born and loveliest vision far
啊，出生在最后而秀美超群的形象
Of all Olympus' faded hierarchy!
来自奥林波斯山暗淡的神族!
Fairer than Phoebe's sapphire-regioned star,
蓝宝石一般的福柏减却清芒，
Or Vesper, amorous glow-worm of the sky;
天边威斯佩多情的萤光比输;
Fairer than these, though temple thou hast none,
你比他们美，虽然你没有神庙，
Nor altar heaped with flowers;
没堆满供花的祭坛;
Nor virgin-choir to make delicious moan
也没童男女唱诗班等午夜来到
Upon the midnight hours:
便唱出哀婉的咏叹;
No voice, no lute, no pipe, no incense sweet
没声音 ，没诗琴，没风管，没香烟浓烈
From chain-swung censer teeming;
从金链悬挂的香炉播散;
No shrine, no grove, no oracle, no heat
没神龛，没圣林，没神谕，没先知狂热，
Of pale-mouthed prophet dreaming.
嘴唇苍白，沉迷于梦幻。
O brightest! Though too late for antique vows,
啊，至美者!你虽没赶上古代的誓约，
Too, too late for the fond believing lyre,
更没听到善男信女的祝歌，
When holy were the haunted forest boughs,
可神灵出没的树林庄严圣洁，
Holy the air, the water and the fire;
空气、流水、火焰纯净谐和;
Yet even in these days so far retired
即使在那些远古的日子里，远离开
From happy pieties, thy lucent fans,
敬神的虔诚，你那发光的翅膀
Fluttering among the faint Olympians,
仍然在失色的诸神间振羽飞翔，
I see, and sing, by my own eyes inspired.
我两眼有幸见到了，我歌唱起来。
So let me be thy choir and make a moan
就让我做你的唱诗班吧，等午夜来到
Upon the midnight hours—
便唱出哀婉的咏叹!
Thy voice, thy lute, thy pipe, thy incense sweet
做你的声音、诗琴、风管、香烟浓烈，
From swinged censer teeming;
从悬空摆动的香炉播散;
Thy shrine, thy grove, thy oracle, thy heat
做你的神龛、圣林、神谕、先知狂热，
Of pale-mouthed prophet dreaming.
嘴唇苍白，沉迷于梦幻。
Yes, I will be thy priest, and build a fane
是的，我要做你的祭司，在我心中
In some untrodden region of my mind,
未经践踏的地方为你建庙堂，
Where branched thoughts, new grown with pleasant pain,
有沉思如树枝长出，既快乐，又苦痛，
Instead of pines shall murmur in the wind:
代替了松树在风中沙沙作响：
Far, far around shall those dark-clustered trees
还有绿阴浓深的杂树大片
Fledge the wild-ridged mountains steep by steep;
覆盖着悬崖峭壁，野岭荒山。
And there by zephyrs, streams, and birds, and bees,
安卧苍苔的林仙在轻风、溪涧、
The moss-lain Dryads shall be lulled to sleep;
小鸟、蜜蜂的歌声里安然入眠;
And in the midst of this wide quietness
在这寂静的广阔领域的中央，
A rosy sanctuary will I dress
我要整修出一座玫瑰色的圣堂，
With the wreathed trellis of a working brain,
它将有花环形构架如思索的人脑，
With buds, and bells, and stars without a name,
点缀着花蕾、铃铛、无名的星斗
With all the gardener Fancy e'er could feign,
和“幻想”这园丁构思的一切奇妙，
Who breeding flowers will never breed the same:
雷同的花朵决不会出自他手：
And there shall be for thee all soft delight
将为你准备冥想能赢得的一切
That shadowy thought can win,
温馨柔和的愉悦欢快，
A bright torch, and a casement ope at night,
一支火炬，一扇窗敞开在深夜，
To let the warm Love in!
好让热情的爱神进来!
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一般老师都给了论文格式的，如果没有。我这到有论文格式