導(dǎo)引
詩(shī)歌是一種精美的藝術(shù)，趣味高一點(diǎn)的人一般都喜歡詩(shī)歌。受過(guò)良好教育的中國(guó)人都會(huì)背誦若干首古詩(shī)?，F(xiàn)在人們很重視學(xué)習(xí)英文，學(xué)習(xí)英文，視野也應(yīng)寬闊一些，也應(yīng)當(dāng)對(duì)英文詩(shī)歌多少有些領(lǐng)略才好。中國(guó)文學(xué)中詩(shī)歌成就極大，英語(yǔ)文學(xué)中，詩(shī)歌也極其豐富多彩。語(yǔ)言藝術(shù)的最高表現(xiàn)形式在詩(shī)歌。如果只是知道實(shí)用性的英文，只學(xué)習(xí)商業(yè)英文、法律英文等英文，對(duì)英語(yǔ)文學(xué)毫無(wú)修養(yǎng)，對(duì)英文詩(shī)歌一無(wú)所知，那將是一個(gè)不小的遺憾，將會(huì)影響到審美能力的發(fā)展和提高，
學(xué)英文而不懂英文詩(shī)歌，不僅從審美角度看是一個(gè)遺憾，而且從英語(yǔ)學(xué)習(xí)這一角度看，不學(xué)一些英文詩(shī)歌，其英語(yǔ)水平也達(dá)不到很高的層次。詩(shī)歌語(yǔ)言最精煉，語(yǔ)匯最豐富，表達(dá)形式最精美，語(yǔ)言的色調(diào)最細(xì)膩。如果對(duì)詩(shī)歌有一定修養(yǎng)，其語(yǔ)言表達(dá)能力會(huì)大大提高。試想一個(gè)學(xué)漢語(yǔ)的人，如果對(duì)唐詩(shī)宋詞一無(wú)所知，其漢語(yǔ)水平不會(huì)很高。學(xué)英語(yǔ)者也是如此。如果他對(duì)莎士比亞、彌爾頓、華茲華斯、拜倫、雪萊、濟(jì)慈等人的著名詩(shī)篇一竅不通，其英文水平也不會(huì)很高。
總之，有一定英語(yǔ)基礎(chǔ)的人不能不更上一層樓，讀一點(diǎn)英文詩(shī)。這不僅有助于提高我們的文學(xué)素養(yǎng)，豐富我們的審美能力，也有助于提高我們的英語(yǔ)水平。
英詩(shī)基礎(chǔ)知識(shí)
讀英文詩(shī)歌相當(dāng)不容易。其中的主要原因是詩(shī)歌有其獨(dú)特的語(yǔ)言特點(diǎn)和表達(dá)方式，與散文有明顯區(qū)別。為更好地欣賞英文詩(shī)歌，很有必要了解一些相關(guān)的基本知識(shí)。這方面的知識(shí)極其細(xì)致，以下只介紹一些最基本的。
一 節(jié)奏
詩(shī)歌是具有音樂(lè)性的語(yǔ)言。音樂(lè)作品的最大特點(diǎn)之一是音符的流動(dòng)是有節(jié)奏的。所謂節(jié)奏就是強(qiáng)拍和弱拍按一定的形式配合起來(lái)，有規(guī)律地反復(fù)出現(xiàn)。懂點(diǎn)音樂(lè)的人都知道，音樂(lè)中基本的節(jié)奏有兩種，即強(qiáng)——弱（2/4拍）和強(qiáng)——弱——弱（3/4拍）。舉兩個(gè)簡(jiǎn)單的例子：
《東方紅》的節(jié)奏就是強(qiáng)——弱：
5 56│2 —│1 16│2 —│5 5│6i 65│1 16│2 —│
《新年好》（HAPPY NEW YEAR）這首兒歌的節(jié)奏是強(qiáng)——弱——弱：
11 1 5 │33 3 1│13 5 5 │43 2 —│23 4 4 │32 3 1│13 2 5│72 1 —│
中國(guó)古詩(shī)有節(jié)奏。其節(jié)奏主要是通過(guò)漢字特有的聲調(diào)表現(xiàn)出來(lái)的。傳統(tǒng)漢語(yǔ)中的聲調(diào)有四：平、上、去、入。平聲稱“平聲”，上、去、入三聲統(tǒng)稱仄聲。平聲與仄聲結(jié)合起來(lái)反復(fù)出現(xiàn)，就是中國(guó)詩(shī)歌的節(jié)奏。如一首五言絕句，其最常見(jiàn)的節(jié)奏是：
仄仄平平仄，平平仄仄平。
平平平仄仄，仄仄仄平平。
王之渙《等鸛雀樓》：白日依山盡，黃河入海流。欲窮千里目，更上一層樓。此詩(shī)即是這樣的節(jié)奏。其中“欲”字是仄聲，與格式不合。但根據(jù)格律要求，詩(shī)行中的第一字可平可仄。
英文詩(shī)歌也有節(jié)奏。英文沒(méi)有平聲、仄聲之分，但有重讀輕讀音節(jié)之分，其節(jié)奏是通過(guò)重讀音節(jié)與輕讀音節(jié)表現(xiàn)出來(lái)的。一個(gè)重讀音節(jié)與一個(gè)或兩個(gè)輕讀音節(jié)按一定的模式搭配起來(lái)，有規(guī)律地反復(fù)出現(xiàn)就是英文詩(shī)歌的節(jié)奏。
我們知道凡是有兩個(gè)以上音節(jié)的英文單詞，都有重讀音節(jié)與輕讀音節(jié)之分，在一句話中，根據(jù)語(yǔ)法、語(yǔ)調(diào)、語(yǔ)意的要求，有些詞也要重讀，有些要輕讀。如he went to town to buy a book.. I’m glad to hear the news. 英文中有重讀和輕讀之分，重讀的音節(jié)和輕讀的音節(jié)，按一定模式配合起來(lái)，反復(fù)再現(xiàn)，組成詩(shī)句，聽(tīng)起來(lái)起伏跌宕，抑揚(yáng)頓挫，就形成了詩(shī)歌的節(jié)奏。多音節(jié)單詞有重音和次重音，次重音根據(jù)節(jié)奏既可視為重讀，也可視為輕讀。讀下面這兩句詩(shī)：
Alone │she cuts │and binds│ the grain,
And sings │a me│lancho│ly strain.
這兩行詩(shī)的重讀與輕讀的固定搭配模式是：輕——重。在每行中再現(xiàn)四次，這樣就形成了這兩行詩(shī)的節(jié)奏。某種固定的輕重搭配叫“音步”（foot），相當(dāng)與樂(lè)譜中的“小節(jié)”。一輕一重，就是這兩行詩(shī)的音步。一行詩(shī)中輕重搭配出現(xiàn)的次數(shù)叫音步數(shù)，這兩行詩(shī)的音步數(shù)都是四，所以就稱其為四音步詩(shī)。
二 常見(jiàn)的音步類型
音步是輕讀與重讀構(gòu)成的。根據(jù)重讀與輕讀搭配的方式的不同，可以劃分出不同的音步類型。音步類型不同，節(jié)奏自然也不同。最常見(jiàn)的音步類型有以下四種：
（一） 抑揚(yáng)格
如果一個(gè)音步中有兩個(gè)音節(jié)，前者為輕，后者為重，則這種音步叫抑揚(yáng)格音步，其專業(yè)術(shù)語(yǔ)是（iamb, iambic.）。輕讀是“抑”，重讀是“揚(yáng)”，一輕一重，故稱抑揚(yáng)格。
英語(yǔ)中有大量的單詞，其發(fā)音都是一輕一重，如adore, excite, above, around, appear, besides, attack, supply, believe, return等，所以用英語(yǔ)寫(xiě)詩(shī)，用抑揚(yáng)格就很便利。也就是說(shuō)，抑揚(yáng)格很符合英語(yǔ)的發(fā)音規(guī)律。因此，在英文詩(shī)歌中用得最多的便是抑揚(yáng)格，百分之九十的英文詩(shī)都是用抑揚(yáng)格寫(xiě)成的。前面的那兩句詩(shī)就是抑揚(yáng)格詩(shī)。
（二）揚(yáng)抑格
如果一個(gè)音步中有兩個(gè)音節(jié)，前者為重，后者為輕，則這種音步叫揚(yáng)抑格音步，其專業(yè)術(shù)語(yǔ)是（trochee, trochaic.）。重讀是“揚(yáng)”，輕讀是“抑”，一重一輕，故稱揚(yáng)抑格。與抑揚(yáng)格恰好相反。
英語(yǔ)中也有一批其讀音為一重一輕的單詞，如Happy, many, holy, yonder, headlong, flaming, upper, grandeur, failing等。寫(xiě)揚(yáng)抑格的詩(shī)，此類詞正好合適。但這類詞在英語(yǔ)中其數(shù)量不及前面的那些多，與英文的語(yǔ)言規(guī)律不十分吻合，所以揚(yáng)抑格詩(shī)不多。舉兩句詩(shī)例：
Present │mirth has │present │laughter
Shakespeare
Shake your │chains to │earth like │dew
Shelley
（三） 抑抑揚(yáng)格
抑抑揚(yáng)格含三個(gè)音節(jié)，即輕——輕——重，專門術(shù)語(yǔ)是：Anapaest, anapaestic
例詞：
cavalier, intercede, disbelieve, reappear, disapprove, indistinct, on the hill.
例句：
拜倫的以下四行詩(shī)是抑抑揚(yáng)格：
The Assyr│ian came down │like the wolf │on the fold,
And his coh│orts were glea│ming in purp│le and gold;
And the sheen│ of their spears │was like stars │on the sea,
When the blue │waves rolls night│ly on deep │Galilee.
——Destruction of Sennacherib
這是拜倫寫(xiě)的描述古代亞述人圍攻耶路撒冷，被瘟疫所襲的詩(shī)的一節(jié)。第四行第二音步中的waves 一詞可輕可重。詩(shī)題中的Sennacherib 是亞述國(guó)王。fold 指羊群， purple and gold 描寫(xiě)亞述軍隊(duì)的服飾，Galilee，巴勒斯坦北部的加利利湖。cohorts軍團(tuán)， sheen，光芒。
（四） 揚(yáng)抑抑格
重——輕——輕是揚(yáng)抑抑格，專門術(shù)語(yǔ)是：dactyl, dactylic.
例詞：
happily, merciful, eloquent, messenger, merrily, properly, accident, quantity.
例句：
Dragging the │corn by her │golden hair.
Davies: the villain.
英文詩(shī)歌中的音步類型有十幾種之多，常見(jiàn)者即此四種，第一種則最常見(jiàn)。此外詩(shī)句中也常有抑抑格（pyrrhic[/peirik]和揚(yáng)揚(yáng)格(spondee[/sp :ndi])出現(xiàn)。
需要說(shuō)明的是，這些音步類型只是理論上的分析，實(shí)際上，一首詩(shī)僅用一種音步類型寫(xiě)，這種情況極少見(jiàn)，大多是以某一種為主，同時(shí)穿插其他類型。如果一首詩(shī)只含有一種音步，就會(huì)顯得非常單調(diào)機(jī)械。一首詩(shī)只要是以某種類型為主的，盡管有其他類型穿插其中，也稱此詩(shī)為某某格。如，以抑揚(yáng)格為主要節(jié)奏寫(xiě)成的，就稱此詩(shī)為抑揚(yáng)格詩(shī)?，F(xiàn)代興起的一些自由詩(shī)（FREE VERSE），不受這些格律的限制。
三 詩(shī)行
（一） 一詩(shī)行不一定是一個(gè)完整的句字。
英文詩(shī)每行的第一個(gè)字母都大寫(xiě)，但是一詩(shī)行不一定是一個(gè)完整的句子，不一定能表達(dá)一個(gè)完整的意思。有時(shí)候，一行詩(shī)正好是一句，有時(shí)兩行甚至許多行才構(gòu)成一個(gè)意思完整的句子。前者叫end-stopped line（結(jié)句行），后者叫run-on line.（跨行句）。這是英文詩(shī)與中國(guó)詩(shī)的最大區(qū)別之一。中國(guó)詩(shī)歌都是一行表達(dá)一個(gè)完整的意思?？聪旅嬉还?jié)詩(shī)：
I shot an arrow into the air,
It fell to earth, I knew not where;
For, so swiftly it flew, the sight
Could not follow it in its flight.
前兩行是end-stopped line，后兩行是run-on line。讀跨行句詩(shī)，行末停頓較短。
跨行句在英文詩(shī)歌中極其普遍，有時(shí)十來(lái)行才成一完整句子。剛學(xué)英文詩(shī)的人，對(duì)此往往不習(xí)慣。對(duì)此我們需加注意。
（二） 詩(shī)行的長(zhǎng)短以音步數(shù)目計(jì)算：
英文詩(shī)行的長(zhǎng)度范圍一般是一音步——五音步。六、七、八音步的詩(shī)行也有，但不多。最多的是四音步、五音步的詩(shī)。
（各種長(zhǎng)短詩(shī)行的專門術(shù)語(yǔ)：一音步詩(shī)：monometer 二音步詩(shī)：dimeter三音步詩(shī)：trimeter四音步詩(shī)：tetrameter 五音步詩(shī)：pentameter 六音步詩(shī)：hexameter 七音步詩(shī)：heptameter八音步詩(shī)：octameter.）
在分析一首詩(shī)的格律時(shí)，既要考律此詩(shī)的基本音步類型，也要考律此詩(shī)中詩(shī)行的音步數(shù)目?？聪旅娴囊皇锥淘?shī)：
An EMPTY HOUSE
Alexander Pope
You beat│your pate, │and fan│cy wit │will come:
Knock as│you please, │there’s no│body│at home.
（你拍拍腦袋，以為靈感馬上就來(lái)?？扇文阍趺辞么?，也無(wú)人把門打開(kāi)。pate，腦袋。 fancy，動(dòng)詞：以為，想象。）
此詩(shī)的基本音步類型是抑揚(yáng)格，每行五音步。因此稱此詩(shī)的格律是“抑揚(yáng)格五音步”（iambic pentameter）。一首詩(shī)的音步類型和詩(shī)行所含的音步數(shù)目構(gòu)成此詩(shī)的格律（meter）。
四 壓韻（rhyme）
英文詩(shī)一般都押運(yùn)韻。
（一） 全韻與半韻（full rhyme and half rhyme）。
全韻是嚴(yán)格的押韻，其要求是：
（1） 韻要押在重讀音節(jié)上，其元音應(yīng)相同；
（2） 元音前的輔音應(yīng)不同；
（3） 如果元音之后有輔音，應(yīng)相同。
（4） 重讀音節(jié)之后如有輕讀音節(jié)，也應(yīng)相同。
下面幾對(duì)詞都符合全韻的標(biāo)準(zhǔn)：
why---sigh; hate---late; fight---delight; powers---flowers; today---away; ending---bending.
如果僅是元音字母相同，讀音不同，不符合全韻：如:
blood----hood; there---here; gone---alone; daughter----laughter.
這種情形被稱為“眼韻”（eye rhyme），雖然詩(shī)人有時(shí)用之，但不是真正的押韻。
僅是輔音相同或僅是元音相同的屬半韻：
元音不同，其前后的輔音相同，這叫諧輔韻（consonance）如：black, block; creak, croak; reader, rider; despise, dispose.
元音相同，其后的輔音相同者叫諧元韻（assonance），如lake, fate; time, mind.
（二） 尾韻與行內(nèi)韻(end rhyme and internal rhyme)
押在詩(shī)行最后一個(gè)重讀音節(jié)上，叫尾韻。這是英文詩(shī)歌最常見(jiàn)的押韻部位。詩(shī)行中間停頓處的重讀音節(jié)與該行最后一個(gè)重讀音節(jié)押韻者，叫行內(nèi)韻。如：
Spring, the sweet spring, is the year’s pleasant king;
Then blooms each thing, then maids dance in a ring,
（三） 男韻與女韻((masculine rhyme and feminine rhyme)
所押的韻音局限于詩(shī)行中重讀的末尾音節(jié)上，稱男韻，也叫單韻，聽(tīng)起來(lái)強(qiáng)勁有力。如：late, fate; hill, fill; enjoy, destroy.
押韻押在兩個(gè)音節(jié)上，后一音節(jié)非重讀音節(jié)，稱女韻，也叫雙韻，聽(tīng)起來(lái)或輕快，或幽婉。如：lighting, fighting; motion, ocean; wining, beginning.
看下面一節(jié)詩(shī)：
I am coming, little maiden,
With the pleasant sunshine laden;
With the honey for the bee,
With the blossom for the tree.
前兩行押女韻，后兩行押男韻。
也有不少英文詩(shī)是不押韻的，不押韻的詩(shī)稱無(wú)韻詩(shī)或白體詩(shī)（blank verse）。多用在戲劇和敘事詩(shī)中。莎士比亞的戲劇和彌爾頓的Paradise Lost 都是用blank verse寫(xiě)成的。 押韻的詩(shī)叫rhymed verse。無(wú)韻詩(shī)不同與自由詩(shī)。無(wú)韻詩(shī)雖不押韻，但是有固定節(jié)奏，以揚(yáng)抑格五音步最常見(jiàn)。自由詩(shī)節(jié)奏不固定，如同白話。
詩(shī)選及講解
A SELECTION OF ENGLISH POETRY
FOR AN OPTIONAL COURSE OF THE UNDERGRADUADTES
William Shakespeare（1564—1616）
作者簡(jiǎn)介：
劇作家、詩(shī)人。一生創(chuàng)作三十七部戲劇，154首十四行詩(shī)。其十四行詩(shī)大部分是獻(xiàn)給一位貴族青年，有二十余篇?jiǎng)t是獻(xiàn)給一位“黑膚女士”（the dark lady）.
1 Sonnet 18
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date:
Sometimes too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometimes declines,
By chance, or nature’s changing course, untrimm’d;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall Death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st.
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
注釋:
Compare ···to 把什么比做什么。
Thou, thee 第二人稱單數(shù)代詞，前者主格，后者賓格?，F(xiàn)已為you 所取代。其所有格是thy，或thine, 即現(xiàn)代英語(yǔ)的your。
Art = are. 16、17世紀(jì)時(shí)與thou連用。
Temperate: 來(lái)自拉丁文temperātus，讀時(shí)為符合押韻規(guī)則，可將重音放后。
Shake：shake off。
Lease 租借期限，此處指夏天的長(zhǎng)度。
Hath 與第三人稱單數(shù)連用，相當(dāng)于現(xiàn)代英語(yǔ)的has。
Dimmed: clouded.
Fair form fair: beautiful thing from beauty. 前后fair意義不同。Declines from beauty。
Chance：極緣，時(shí)運(yùn)，命運(yùn)。
And every fair from fair sometimes declines,/By chance, or nature’s changing course, untrimm’d：每一個(gè)美人總要失去美貌，即使沒(méi)有突發(fā)的以外事件，也逃不過(guò)自然界生老病死的變遷。Sometimes: 有的版本作“sometime”: at some unspecified time.
Untrimm’d: untrimmed. 本意為剝?nèi)ッ烙^的衣服等，此處隱喻奪去美貌等。
Fair thou ow’st: beauty you own. 莎士比亞時(shí)代，owe與own通用。古英語(yǔ)第二人稱單數(shù)后加-st或-est
His shade：shadow of death.
“Nor shall Death brag thou wander’st in his shade”：“死神無(wú)從夸口，說(shuō)你在他的陰影里徘徊”。
To time thou grow’st: you grow as long as time lasts. 與時(shí)間同壽。 Grow to = be incorporated with.
內(nèi)容解析：
此詩(shī)的發(fā)展變化：以人比夏天開(kāi)始，以人勝自然終結(jié)。前四行說(shuō)明人比夏天更美更溫和；中四行發(fā)展了這個(gè)意思，引到駐顏無(wú)術(shù)的感慨；第三組則新意突起，推翻前言，終于于勝利的末兩行作結(jié)。此詩(shī)表達(dá)了這樣一種思想：美麗的事物可以依靠文學(xué)的力量而永遠(yuǎn)不朽；文學(xué)是人所創(chuàng)造的，因此這有宣告了人的不朽。因此此詩(shī)不是一般的愛(ài)情詩(shī)。
形式解析：
sonnet：十四行詩(shī)，即“商籟體”詩(shī)。此詩(shī)體起源不明，最早的例子出現(xiàn)于13世紀(jì)，16世紀(jì)在英國(guó)出現(xiàn)。主要有意大利式和英國(guó)式兩種變體。意大利詩(shī)人Petrarch [/petra:k]用此詩(shī)體最精熟，故意大利式又稱Petrarchan sonnet。英國(guó)式由莎士比亞創(chuàng)立，又稱 Shakespearean sonnet.
意大利式分前八行、后六行。韻尾是abba, abba; cde, dcd.。莎士比亞式十四行詩(shī)，層次上分前四行，中四行，后四行和結(jié)尾兩行。韻尾為：abab, cdcd, efef, gg。格律是抑揚(yáng)格五音步。
Shall I│compare│ thee to │a sum│mer’s day? ( a)
Thou art │more love│ly and │more tem│perate -: ( b)
Rough winds │do shake │the dar│ling buds │of May, (a)
And sum│mer’s lease│ hath all │too short│ a date: (b)
Sometimes │too hot│ the eye │of hea│ven shines, (c)
And of│ten is │his gold │comple│xion dimmed; (d)
And eve│ry fair │from fair │sometimes │declines, (c)
By chance, │or na│ture’s chan│ging course, │ untrimm’d; (d)
But thy │eter│nal sum│mer shall │not fade, (e)
Nor lose│ posses│sion of │that fair│ thou ow’st; (f)
Nor shall│ Death brag │thou wan│der’st in│ his shade, (e)
When in │eter│nal lines │to time│ thou grow’st. (f)
So long│ as men │can breathe │or eyes │can see, (g)
So long │lives this, │ and this │gives life│ to thee. (g)
參考譯文：
能不能讓我把你比擬作夏日？
你可是更加溫和，更加可愛(ài)：
狂風(fēng)會(huì)吹落五月的好花兒，
夏季的生命又未免結(jié)束得太快：
有時(shí)候蒼天的巨眼照得太灼熱，
他那金彩的臉色也會(huì)被遮暗；
每一樣美呀，總會(huì)離開(kāi)美而凋落，
被時(shí)機(jī)或者自然的代謝所摧殘；
但是你永久的夏天決不會(huì)凋枯，
你永遠(yuǎn)不會(huì)失去你美的儀態(tài)；
死神夸不著你在他影子里躑躅，
你將在不朽的詩(shī)中與時(shí)間同在；
只要人類在呼吸，眼睛看得見(jiàn)，
我這詩(shī)就活著，使你的生命綿延。（屠岸）
2 Spring
When daisies pied and violets blue
And lady-smocks all silver-white
And cuckoo-buds of yellow hue
Do paint the meadows with delight,
The cuckoo then, on every three,
Mocks married men; for thus sings he,
Cuckoo,
Cuckoo, cuckoo! Oh word of fear
Unpleasing to a married ear!
When shepherds pipe on oaten straws,
And merry larks are ploughmen’s clocks,
When turtles tread, and rooks, and daws,
And maidens bleach their summer smocks,
The cuckoo then, on every three,
Mocks married men; for thus sings he,
Cuckoo,
Cuckoo, cuckoo! Oh word of fear
Unpleasing to a married ear!
------Comedy: Love’s Labour Lost
劇情：拿伐Navarre [n /va: ]國(guó)王與其幾位朝臣立誓三年之內(nèi)摒棄一切世俗的快樂(lè)，致力于研究學(xué)問(wèn)。其中的一條是：三年之中不可與女子交談一次。不久法國(guó)公主攜幾名侍女來(lái)辦理國(guó)務(wù)，國(guó)王和朝臣門守不住自己的誓言，愛(ài)上了這幾個(gè)女子。最后公主的父親去世，公主要持戒三年，國(guó)王和朝臣們的求愛(ài)也化為泡影。此詩(shī)在此劇之結(jié)尾處。
注釋：
daisies pied：雜色的雛菊。
lady-smock：也作lady’s-smock 花名：布谷鳥(niǎo)剪秋羅。Smock：〈古〉女襯衣，罩衣。
cuckoo-buds of yellow hue：黃色的杜鵑花。hue：顏色。
Cuckoo：[/kuku:] 布谷鳥(niǎo)的叫聲，與/cuckold（奸婦的丈夫）一詞諧音。
shepherds [/ ep d]
pipe on oaten straws：拿燕麥桿吹哨子。
turtles tread：斑鳩交配。Turtle：〈古〉斑鳩，=turtledove。 Tread：（雄鳥(niǎo)）與（雌鳥(niǎo)）交配。
rooks and daws：白嘴鴉和穴鳥(niǎo)。
內(nèi)容解析：
春天里百花爭(zhēng)艷，萬(wàn)象更新，情人們沉醉于甜蜜的愛(ài)情之中。但樹(shù)梢上布谷鳥(niǎo)的叫聲卻似乎在不斷提醒人們：愛(ài)情并不可考。此詩(shī)有反諷意味，與劇情一致。英國(guó)詩(shī)人甘貝爾（Thomas Campbell，1777—1844）在 Freedom and Love一詩(shī)中說(shuō)：“Love has bliss, but love has ruining/ Other smiles may make you fickle/ Tears for other charm may trickle?！?br>形式解析：抑揚(yáng)格四音步，韻式：abab cc d ee; fgfg hh d ee
When dai│sies pied │and vio│lets blue
And la│dy-smocks│ all sil│ver-white
And cu│ckoo-buds │of ye│llow hue
Do paint │he mea│dows with│ delight,
The cu│ckoo then, │on eve│ry three,
Mocks mar│ried men; │for thus │sings he,
Cuckoo,
Cuckoo, │cuckoo! │Oh word│ of fear
Unplea│sing to│ a mar│ried ear!
When she│pherds pipe │on oa│ten straws,
And mer│ry larks│ are plough │men’s clocks,
When turt│les tread, │ and rooks, │and daws,
And mai│dens bleach │their sum│mer socks,
The cu│ckoo then, │on eve│ry three,
Mocks mar│ried men; │for thus │sings he,
Cuckoo,
Cuckoo, │cuckoo! │Oh word │of fear
Unplea│sing to│ a mar│ried ear!
參考譯文：
當(dāng)雜色的雛菊開(kāi)遍牧場(chǎng)，
藍(lán)的紫羅藍(lán)，白的美人衫，
還有那杜鵑花吐蕾嬌黃，
描出了一片廣大的欣歡；
聽(tīng)杜鵑在每一株樹(shù)上叫，
把那娶了妻的男人譏笑：
咯咕！
咯咕！咯咕！啊，可怕的聲音！
害得做丈夫的肉跳心驚。
當(dāng)無(wú)愁的牧童口吹麥笛，
清晨的云雀驚醒了農(nóng)人，
斑鳩烏鴉都在覓侶求匹，
女郎們漂洗夏季的衣群；
聽(tīng)杜鵑在每一株樹(shù)上叫，
把那娶了妻的男人譏笑：
咯咕！
咯咕！咯咕！啊，可怕的聲音！
害得做丈夫的肉跳心驚。（朱生豪）
3 To Be or Not To Be
To be, or not to be: that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles,
And by opposing end them? To die—to sleep—
No more; and by a sleep to say we end
The heartache, and the thousand natural shocks
That flesh is heir to. ’tis a consummation
Devoutly to be wished. To die—to sleep.
To sleep—perchance to dream: ay, there’s the rub!
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause. There’s the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’ contumely,
The pangs of despised love, the law’s delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death—
The undiscovered country, from whose bourn
No traveller returns—puzzles the will,
And makes us rather bear those ill we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry
And lose the name of action.
劇情：
《哈娒萊特》是莎士比亞重要?jiǎng)∽髦?，?xiě)于1601年。劇中的主人公是丹麥王子Hamlit。哈姆萊特的父親，即丹麥國(guó)王，被哈姆萊特的叔父Claudius秘密害死，不到兩個(gè)月，又與哈姆萊特的母親，即王后，結(jié)婚。還竊取了王位。哈姆萊特的叔父Caudius是個(gè)壞透頂了的人。哈姆萊特則是一位有理想、有道德的人，他決心要為父親報(bào)仇。為了不被看出來(lái)，他裝成瘋子。哈姆萊特要為父親報(bào)仇，但中間有其母親穿插其間，這使他心情極其復(fù)雜，于是整日心情抑郁，產(chǎn)生了厭世情緒。于是真的有點(diǎn)瘋瘋顛顛了。劇情很曲折，大家可在課外找有關(guān)資料讀。推薦讀讀英漢對(duì)照本《莎士比亞戲劇故事》（Tales from Shakespeare, by Charles Lamb and Mary Lamb, 蕭乾、文潔若翻譯。商務(wù)印書(shū)館1984年出版。）
這段獨(dú)白就是哈姆萊特在極度困惑、不知所措的心情下道出的，談到了生與死、思考與行動(dòng)、報(bào)復(fù)與寬容等等人生中的永恒矛盾，批判了現(xiàn)實(shí)世界的黑暗，富有深刻的哲理意味。出現(xiàn)在原劇第三幕第一場(chǎng)。
注釋：
slings and arrows of outrageous fortune: 狂暴命運(yùn)的矢石交攻。sling: 投石器，彈
弓；投擲，打擊一擊.
To die—to sleep—No more：死就是睡眠，如此而已。
by a sleep to say we end/The heartache：to say (that) by a sleep we end the heartache
the thousand natural shocks/That flesh is heir to: 無(wú)數(shù)要承受的皮肉之苦，與“heartache”相對(duì)。Be heir to: 要繼承或承受的。
’tis a consummation/Devoutly to be wished. 那正是求之不得的完美結(jié)局。Consummation：final settlement of everything.
To sleep—perchance to dream: ay, there’s the rub! 睡眠也許要做夢(mèng)，嗨，那就成問(wèn)題了。Perchance：perhaps. Rub: 摩擦，障礙。
For in that sleep of death what dreams may come/When we have shuffled off this mortal coil,/Must give us pause. “what dreams may come” 這一名詞從句是主語(yǔ)，give 是謂語(yǔ)。Shuffled off：擺脫，脫去。mortal coil：earthly turmoil.人世的紛擾。
There’s the respect /That makes calamity of so long life. 這一顧慮使漫長(zhǎng)歲月成了災(zāi)難。Respect: attention, consideration. 顧慮，考慮。”without respect to the results”不顧后果。
the whips and scorns of time: 人世的鞭撻和嘲弄。Time: the times, 時(shí)世
The oppressor’s wrong, the proud man’ contumely: 壓迫者的凌辱，傲慢者的冷眼。
do sb. Wrong, do wrong to sb. Contumely [/k ] insolent treatment. 無(wú)禮對(duì)待。
The pangs of despised love：失戀的痛苦。Pang：痛苦。Despised 之重音在第一音節(jié)。
the spurns/That patient merit of the unworthy takes：忍讓的有德才者從小人那里受到的排擠。Of: from; spurn: contemptuous rejection，一腳踢開(kāi); the unworthy: 小人。
Quietus [kai/i:t s]: acquittance, release, 卸去（義務(wù)、責(zé)任）
A bare bodkin: a mere poniard. 短劍，匕首。
Fardels: bundles, burdens.
Grunt: groan, 哼，呻吟.
Bourn: 領(lǐng)域
Conscience: 思考，顧慮，良心。
sicklied o’er：sickly: 使出現(xiàn)病態(tài)
the pale cast of thought: 慘白的一層思慮的病容。Cast：tinge, shade of color. Thought: 思慮，顧慮，melancholy, despondency.
pith and moment：vigour and importance. Pith: 體力、氣力、精力，（文章的）力。1604年版本中pith作pitch: height
with this regard: on this account
內(nèi)容分析：這斷獨(dú)白是傾訴人生的根本苦悶和基本矛盾。受到壓迫了，應(yīng)該反抗，但往往結(jié)果是適得其反。事事忍讓，卻又心中不能平衡。干事業(yè)需果斷有魄力，但也得深思熟慮，三思而行。但是顧慮太多，縮手縮腳又會(huì)疲軟，行動(dòng)不起來(lái)。人生在世，煩惱苦難不一而足，但死后的世界未比此岸世界好（古代人一般相信有彼岸世界 “a life in the world to come is taken for granted.” New Concept English, vol.4, lesson, 60.）。人生就是這樣充滿了各種矛盾和無(wú)奈。
形式分析：
這是莎士比亞戲劇最著名獨(dú)白(soliloquy)，用的是抑揚(yáng)格五音步“白體詩(shī)”（BLANK VERSES）。
To be, │or not │to be: │that is │the ques│tion:
Whether│ ’tis nob│ler in │the mind │to suf│fer
The slings │and ar│rows of│ outra│geous for│tune
（以上三行多一音節(jié)，其到遲疑、沉思的效果。）
Or to│ take arms│against │a sea │of troubles,
And by op│posing │end them? │To die—│to sleep—
No more; │and by│ a sleep │to say │we end
The heart│ache, and│the thou│sand na│tural shocks
That flesh│ is heir │to. ’tis│ a con│summa│tion
Devout│ly to│ be wished. │ To die│—to sleep.
To sleep│—perchance │to dream: │ay, there’s │the rub!
For in │that sleep │of death│what dreams │may come
When we│ have shuffled │off this│ mortal │coil,
Must give│ us pause. │ There’s the │respect
That makes │cala│mity │of so │long life.
For who │would bear│ the whips│ and scorns │of time,
The oppres│sor’s wrong, │the proud│ man’ con│tumely,
The pangs │of des│pised love, │the law’s │delay,
The in│solence │of of│fice, and │the spurns
That pa│tient me│rit of the │unwor│thy takes,
When he│ himself │might his │quie│tus make
With a│ bare bod│kin? Who │would far│dels bear,
To grunt │and sweat │under│ a wea│ry life,
But that│ the dread │of some│thing af│ter death—
The un│disco│vered coun│try, from │whose bourn
No travel│ler re│turns—│puzzles │the will,
And makes │us ra│ther bear │those ill │we have
Than fly│ to oth│ers that │we know │not of?
Thus con│science does│ make co│wards of │us all,
And thus │the na│tive hue │of re│solu│tion
Is sick│lied o’er │with the │pale cast │of thought,
And en│terprises │of great │pith and│ moment
With this│ regard │their cur│rents turn│ awry
And lose │the name │of ac│tion.
參考譯文：
“活下去還是不活：這是個(gè)問(wèn)題”
活下去還是不活，這是個(gè)問(wèn)題；
要做到高貴，究竟該忍氣吞聲
來(lái)容受狂暴的命運(yùn)矢石交攻擊呢，
還是該挺身反抗無(wú)邊的苦惱，
掃它個(gè)干凈？死，就是睡眠——
就這樣；而如果睡眠就等于了結(jié)了
心痛以及千百種身體要擔(dān)受的
皮痛肉痛，那該是天大的好事，
正求之不得?。∷?，就是睡眠；
睡眠也許要做夢(mèng)，這就麻煩了！
我們一旦擺脫了塵世的牽纏
在死的睡眠里還會(huì)做些什么夢(mèng)，
一想到就不能不躊躇。這一點(diǎn)顧慮
正好使災(zāi)難變成了長(zhǎng)期的折磨。
誰(shuí)甘心忍受人世的鞭撻和嘲弄，
忍受壓迫者虐待、傲慢者凌辱，
忍受失戀的痛苦、法庭的拖延、
衙門的橫暴、做埋頭苦干的大才
受座位的小人一腳踢出去，
如果他只消自己來(lái)使一下尖刀
就可以得到解脫啊？誰(shuí)甘心挑擔(dān)子，
拖著疲累的生命，呻吟，流汗，
要不是怕一死就去了沒(méi)有人回來(lái)的
那個(gè)從未發(fā)現(xiàn)的國(guó)土，怕那邊
還不知會(huì)怎樣，因此意志動(dòng)搖了，
因此就寧愿忍受目前的災(zāi)殃，
` 而不愿投奔另一些未知的苦難？
這樣子，顧慮使我們都成了懦夫，
也就這樣了，決斷決行的本色
蒙上了慘白的一層思慮的病容；
本可以轟轟烈烈的大作大為，
由于這一點(diǎn)想不通，就出了別扭，
失去了行動(dòng)的名份。（卞之琳）
Thomas Nash (1567—1601)
作者簡(jiǎn)介：劇作家、詩(shī)人，小說(shuō)家，諷刺作家。
4 Spring
Spring, the sweet spring, is the year’s pleasant king;
Then blooms each thing, then maids dance in a ring,
Cold doth not sting, the pretty birds do sing,
Cuckoo, jug-jug, pu-we, to-witta-woo!
The palm and may make country houses gay,
Lambs frisk and play, the shepherds pipe all day,
And we hear aye birds tune this merry lay,
Cuckoo, jug-jug, pu-we, to-witta-woo!
The fields breathe sweet, the daisies kiss our feet,
Young lovers meet, old wives a-sunning sit,
In every street these tunes our ears do greet,
Cuckoo, jug-jug, pu-we, to-witta-woo!
注釋：
the year’s pleasant king：一年四季中以春天為最歡樂(lè)的時(shí)期。King 即比喻歡樂(lè)之最，也兼指一歲之首。
Cold doth not sting：doth：古英語(yǔ)do 的第三人稱現(xiàn)在事態(tài)形式。
the pretty birds do thing：do 是為了韻律的需要而加進(jìn)去的。
Cuckoo, jug-jug, pu-we, to-witta-woo： Cuckoo, 布谷鳥(niǎo)的叫聲； jug-jug, 夜鶯（nightingale）的叫聲，pu-we, 田鳧（pewit）的叫聲，to-witta-woo，泛指各種鳥(niǎo)鳴。
Palm: 棕櫚。其枝葉常作為勝利的象征。
May：山楂花。因在五月盛開(kāi)，故名 may。
And we hear aye birds tune this merry lay：aye：古英語(yǔ)副詞，always， ever。Tune：動(dòng)詞：唱。 Lay 歌曲。
old wives a-sunning sit：sit是謂語(yǔ)動(dòng)詞。 a-sunning：曬太陽(yáng)，作狀語(yǔ)。a-作為特殊介詞，后跟動(dòng)名詞，表示在進(jìn)行什么活動(dòng)。如 He went a-fishing. 現(xiàn)代說(shuō)法是：He went fishing.
these tunes our ears do greet：these tunes do greet our ears.
內(nèi)容解析：此詩(shī)節(jié)奏明快，旋律強(qiáng)烈，生動(dòng)地描繪出了一幅春回大地，生機(jī)昂然的畫(huà)面。
形式解析：主要是揚(yáng)抑格五音步，韻式是aaab, cccb, dddb. 三節(jié)最后一行是疊句（refrain）；每節(jié)除末一行外，其他三行都用行內(nèi)韻（internal rhyme），即第二音步的第二個(gè)詞同第五音步末尾的詞諧韻。疊句（refrain）: a phrase, line or lines repeated at the end of a stanza.
Spring, the│ sweet spring, │ is the │year’s plea│sant king;
Then blooms │each thing, │ then maids│ dance in│ a ring,
Cold doth│ not sting, │the pret│ty birds │do thing,
Cuckoo, │ jug-jug, │ pu-we, │to-wi│tta-woo!
The palm│ and may│ make coun│try hou│ses gay,
Lambs frisk │and play, │the she│pherds pipe │all day,
And we│ hear aye│ birds tune │this mer│ry lay,
Cuckoo, │jug-jug, │pu-we, │to-wi│tta-woo!
The fields │breathe sweet, │the dai│sies kiss │our feet,
Young lo│vers meet, │ old wives │a-sun│ning sit,
In eve│ry street │these tunes │our ears│ do greet,
Cuckoo, │ jug-jug, │pu-we, │ to-wi│tta-woo!
Spring! The │sweet spring!
Spring! The sweet spring!
參考譯文：（略。郭沫若有譯文，意譯，參考價(jià)值不不大。）
John Milton (1608—1674)
作者簡(jiǎn)介：英國(guó)詩(shī)人，思想家、政論家。從小好學(xué)，經(jīng)常開(kāi)夜車，四十余歲失明。晚年在失明的情況下，寫(xiě)成了偉大史詩(shī)《失樂(lè)園》（PARADISE LOST）。其內(nèi)容是演述《圣經(jīng)》故事。可與荷馬的《伊利亞特》（Homer's Iliad）、但丁的《神曲》(Dante's Divine Comedy)相媲美?！段逶鲁扛琛肥窃缙谧髌?，成于二十一歲時(shí)，格調(diào)十分清新。
5 Song On May Morning
Now the bright morning star, Day’s harbinger,
Comes dancing from the east, and leads with her
The flowery May, who from her green lap throws
The yellow cowslip and the pale primrose.
Hail, bounteous May, that dost inspire
Mirth, and youth, and warm desire!
Woods and groves are of thy dressing;
Hill and dale doth boast thy blessing.
Thus we salute thee with our early song
And welcome thee, and wish thee long.
注釋：
morning star: 啟明星、太白星、長(zhǎng)庚星等。早晨在東方出現(xiàn)。晚上在西方出現(xiàn)，叫長(zhǎng)庚，英文作“evening star”.。同是一顆星，即Venus。
harbinger [/ha: bind ]先導(dǎo)，先兆
primrose [/primroz] 櫻草花，報(bào)春花。
Bounteous [/baunti s] 慷慨的
of thy dressing：dressed in thy fashion
Dost：第二人稱現(xiàn)在時(shí)單數(shù)。即do
Doth: 一般用于第三人稱單數(shù)，但彌爾頓也常常用于復(fù)數(shù)。在他的作品中很常見(jiàn)。著名英語(yǔ)專家陸佩弦總結(jié)彌爾頓的語(yǔ)言特點(diǎn)，其中一條就是 “singular verb for plural subject”。此種情況在莎士比亞的作品中也不時(shí)能遇見(jiàn)。
Long: long life.
形式分析：抑揚(yáng)格穿插揚(yáng)抑格（7、8兩行是揚(yáng)抑格，女韻，顯得十分輕快）。韻式為aa，bb，cc，dd，ee。
Now the │bright mor│ning star, │ Day’s har│binger,
Comes dan│cing from │the east, │ and leads │with her
The flowe│ry May, │who from │her green │lap throws
The ye│llow cow│slip and │the pale│ primrose.
Hail, boun│teous May, │that dost │inspire
Mirth, │ and youth, │and warm │desire!
Woods and │groves are │of thy │dressing;
Hill and │dale doth│boast thy │blessing.
Thus we│ salute │thee with │our ear│ly song
And wel│come thee, │and wish │thee long.
參考譯文：
晶瑩的晨星，白日的先驅(qū)，
她舞蹈著從東方帶來(lái)嬌侶，
百花的五月，從綠色的懷中撒下
金黃色的九輪花和淡紅的櫻草花。
歡迎，富麗的五月啊，你激揚(yáng)
歡樂(lè)、青春和熱情的希望；
林木、樹(shù)叢是你的裝束，
山陵、溪谷夸說(shuō)你的幸福。
我們也用清晨的歌曲向你禮贊，
歡迎你，并且祝福你永恒無(wú)邊！
Alexander Pope (1688—1744)
作者簡(jiǎn)介：蒲伯是18世紀(jì)英國(guó)最重要的詩(shī)人。作品很多。他還用英雄雙行體詩(shī)翻譯了荷馬史詩(shī)。文學(xué)上崇尚精雕細(xì)琢，是新古典主義的大師。身體不好，終身未婚。他的父母是天主教徒，當(dāng)時(shí)天主教徒是受迫害的。一生基本上過(guò)的是隱居日子?！丢?dú)處誦》是其早期作品。自稱寫(xiě)于12歲時(shí)。
6 Solitude
Happy the man, whose wish and care
A few paternal acres bound, （acres[/eik ]）
Content to breathe his native air
In his own ground.
Whose herds with milk, whose fields with bread,
Whose flocks supply him with attire;
Whose trees in summer yield him shade,
In winter fire.
Blest, who can unconcern’dly find
Hours, days, and years slide soft away
In health of body, peace of mind,
Quiet by day,
Sound sleep by night; study and ease
Together mix’d; sweet creation;
And innocence, which most does please
With meditation.
Thus let me live, unseen, unknown;
Thus unlamented let me die;
Steal from the world, and not a stone
Tell where I lie.
注釋: the first stanza can be rewritten like this: the man is happy, whose wish and care are bound by a few paternal acres, and who is content to breathe his native air in his own ground. 其意思相當(dāng)于《中庸》上所說(shuō)的“君子素位而行，不愿乎其外。”Jude The Obscure 中有一句話說(shuō)：a contented mind is a continual feast.(Jude the Obscure.P378)
Whose herds with milk, /whose fields with bread,/Whose flocks supply him with attire; 前兩行省略了“supply him with”。Attire：服裝。
unconcern’dly，即unconcernedly：漫不經(jīng)心，無(wú)憂無(wú)慮，悠然自得。第三節(jié)可以改寫(xiě)成：Blest is the man who can unconcern’dly find Hours, days, and years slide soft away In health of body and in peace of mind 相當(dāng)于“ I see him leave.”這樣的句子。
study and ease /Together mix’d; sweet creation;/And innocence, which most does please/With meditation. 他勞逸結(jié)合，有令人歡喜的娛樂(lè)活動(dòng)，還有天真的性情。這天真的性情與沉思結(jié)合起來(lái)，最使他高興。
內(nèi)容解析：避開(kāi)塵世的煩擾，與世無(wú)爭(zhēng)，潛心學(xué)術(shù)，并悠然自得地享受田園生活，這是最幸福的。與《莊子》“恬淡寂寞，虛無(wú)無(wú)為”（《刻意》）之說(shuō)有相似之處。陶淵明有幾句詩(shī)可以與此詩(shī)相參：“息交游閑業(yè)，臥起弄書(shū)琴。園蔬有余滋（生長(zhǎng)得很多。滋：生長(zhǎng)），舊谷猶儲(chǔ)今。營(yíng)己良有極，過(guò)足非所欽。舂秫作美酒，酒熟吾自斟。弱子戲我側(cè)，學(xué)語(yǔ)未成吟。此事真復(fù)樂(lè)，聊用忘華簪（比喻高官厚祿）?！保ā逗凸鞅 菲湟唬?/p>
形式解析：此詩(shī)五節(jié)，每節(jié)四行。韻尾是abab。節(jié)奏主要是四音步抑揚(yáng)格(i/ambic te/trameter)，每節(jié)四音步：
Happy │the man, │ whose wish │and care
A few │pater│nal a│cres bound,
Content│ to breathe │his na│tive air
In his │own ground.
Whose herds │with milk, │whose fields │with bread,
Whose flocks │supply │him with│ attire;
Whose trees│ in sum│mer yield│ him shade,
In win│ter fire.
Blest, who │can un│concern’d│ly find
Hours, days, │and years │slide soft│ away
In health│ of bo│dy, peace│ of mind,
Quiet │by day,
Sound sleep│ by night; │ study│ and ease
Toge│ther mix’d; │ sweet cre│ation;
And in│nocence, │ which most │does please
With me│ditation.
Thus let │me live, │unseen, │unknown;
Thus un│lamen│ted let│ me die;
Steal from │the world, │ and not│ a stone
Tell where │I lie.
參考譯文： 人生如何方為樂(lè)，唯有知足不貪心。
只守祖上數(shù)畝田，但吸故園氣清新。
綿羊產(chǎn)毛制衫袍，乳牛耕地供食飲。
夏來(lái)密葉乘濃蔭，冬至疏枝做柴薪。
一任歲月輕輕去，那堪憂思處處尋。
白日閑逸夜安眠，一身強(qiáng)健心氣平。
讀書(shū)勞逸相結(jié)合，娛樂(lè)甜美悅?cè)诵摹?br>最佳勝景有冥思，極樂(lè)世界屬天真。
死后不受世哀悼，生時(shí)豈令人見(jiàn)聞。
幽幽偷辭濁世去，不銘何處葬我身。（石瓃）
Robert Burns (1759—1796)
羅伯特·彭斯，蘇格蘭詩(shī)人。出身于偏僻鄉(xiāng)村。他的詩(shī)歌充分吸收了蘇格蘭民歌成分，熱情奔放，優(yōu)美動(dòng)聽(tīng)，被譽(yù)為偉大的蘇格蘭民族詩(shī)人。19世紀(jì)英國(guó)浪漫主義詩(shī)歌運(yùn)動(dòng)的先驅(qū)。他的一些詩(shī)歌被譜寫(xiě)成歌曲，廣為流傳。如《友誼地久天長(zhǎng)》（Auld[o:ld] Lang Syne[sain]: old long then: long ago.）、《我的心在高原》(My heart's in the high lands)等。
7 A Red, Red Rose
O, my Luve’s like a red, red rose,
That’s newly sprung in June.
O, my Luve’s like the melodie,
That’s sweetly play’d in tune.
As fair art thou, my bonnie lass,
So deep in Luve am I,
And I will love thee still, my dear,
Till a’ the seas gang dry!
Till a’ the seas gang dry, my dear,
And the rocks melt wi’ the sun!
And I will love thee still, my dear,
While the sands o’ life shall run.
And fare thee weel, my only Luve!
And fare thee weel, a while!
And I will come again, my Luve,
Tho’ it were ten thousand mile!
注釋：
Luve’s = Love is
melodie = melody，甜蜜的歌曲
play’d in tune = played in tune。唱得合拍。
As fair art thou, my bonnie lass,/ So deep in Luve am I: Bonnie: beautiful. Lass[laes]: girl, maiden.可改寫(xiě)為：as you are fair, my bonnie lass, so I am deep in love. 你那么美，我也那么愛(ài)你。我愛(ài)你的程度與你美的程度成正比。So 的意思是“in the same proportion", "in like manner", "in the same way". Another example: As you treat me, so I will treat you.
I will love thee still = I will always love thee.
Till a’ the seas gang dry: a’ = all. gang = go.
wi’ = with.
While the sands’ o’ life shall run: 只要我生命不息。o’= of。sands o’ life：沙漏。古代人們?cè)跁r(shí)鐘發(fā)明前，用玻璃器皿盛沙，使沙從小孔中漏過(guò)，以此計(jì)時(shí)。因此詩(shī)人常用沙漏中的沙比喻人生。
fare thee weel：goodbye.。Weel[wi:l] = well. Farewell: "proceed happily". Goodbye: 本來(lái)是"God be wy ye"(God be with you), 后縮寫(xiě)成"God-bye", 后來(lái)為與"good day"、“good night" 一致, "God bye" 又改成了"goodbye".
Tho’ = though
內(nèi)容解析：
這是彭斯最有名的愛(ài)情詩(shī)，節(jié)奏強(qiáng)烈，激情澎湃，很有感染力。但是此詩(shī)所表達(dá)的感情似乎不太深刻，其愛(ài)情似乎純粹是建立在容美貌的礎(chǔ)上的。容貌一衰退，很難保證?？菔癄€不變心。另一英國(guó)詩(shī)人賈魯(Thomas Carew, 1594---1640)有一首名The True Beauty的詩(shī)，可拿來(lái)對(duì)彭斯的這首詩(shī)作注腳：
He that loves a rosy cheek
Or a coral lip admires,
Or from star-like eyes doth seek
Fuel to maintain his fires;
As old Time makes these decay,
So his flames must waste away.
But a smooth and steadfast mind,
Gentle thoughts, and calm desires,
Hearts with equal love combined,
Kindle never-dying fires:----
Where these are not, I despise
Lovely cheeks or lips or eyes.
（smooth and steadfast mind：性情溫和、意志堅(jiān)定。Hearts with equal love combined：正常語(yǔ)序?yàn)椋篽earts combined with equal love.能一視同仁的心靈。）
彭斯說(shuō)他的愛(ài)人如同玫瑰花一樣美，他的愛(ài)與其愛(ài)人的美麗成正比，賈魯反過(guò)來(lái)說(shuō)，誰(shuí)追求玫瑰花一樣的容貌，誰(shuí)的愛(ài)情的衰退程度與就容貌衰老的程度成正比。賈魯講的雖然有道理，他的態(tài)度也很可取，但是世上的人像賈魯那樣的很少，相彭斯這樣的人則多不勝數(shù)。（彭斯是個(gè)沉溺于美酒、詩(shī)歌和愛(ài)情的人）。人的感情往往能沖破理智的說(shuō)教，即使這種愛(ài)情不一定能長(zhǎng)久，人們往往也要追求它。所以不能以說(shuō)教的心態(tài)否定詩(shī)歌的藝術(shù)價(jià)值。
形式分析：基本上是抑揚(yáng)格，每節(jié)二、四兩行押韻。
O, my │Luve’s like │a red, │red rose,
That’s new│ly sprung │in June.
O, my │Luve’s like│ the me│lodie,
That’s sweet│ly play’d │in tune.
As fair│ art thou, │my bon│nie lass,
So deep│ in Luve│ am I,
And I │will love │thee still, │my dear,
Till a’ │the seas │gang dry!
Till a’ │ the seas │gang dry, │my dear,
And the rocks │melt wi’ │the sun!
And I│ will love │thee still, │my dear,
While the sands│ o’ life │shall run.
And fare│ thee weel, │my on│ly Luve!
And fare│ thee weel, │ a while!
And I│ will come │again, │ my Luve,
Tho’ it were │ten thous│and mile!
William Wordsworth (1770—1850)
華茲華斯（渥滋渥斯），英國(guó)浪漫主義時(shí)期的大詩(shī)人，湖泮詩(shī)人（LAKE POETS）之首。1843年榮獲桂冠詩(shī)人稱號(hào)（Poet Laureate）。湖畔詩(shī)人是十九世紀(jì)英國(guó)的一個(gè)詩(shī)歌流派，這些人在英格蘭西北部的湖區(qū)（Lake district）居住、寫(xiě)作。其主要成員除華茲華斯外，尚有柯勒律治（Samuel Taylor Coleridge）。華茲華斯對(duì)大自然情有獨(dú)鐘，經(jīng)常去各地旅行漫游，對(duì)自然風(fēng)光和田園生活有獨(dú)特的感受。他的詩(shī)的特點(diǎn)是通過(guò)描寫(xiě)日常生活中的平凡場(chǎng)景激發(fā)心靈深處的感受，表現(xiàn)人性中真善美。素材多為自然風(fēng)光、田園生活和素樸的農(nóng)民。語(yǔ)言簡(jiǎn)明，情真意切。讀之能使人產(chǎn)生無(wú)盡的遐思、精神上能受到有力的陶冶。
英國(guó)浪漫主義運(yùn)動(dòng)時(shí)間介于1790-1830，最重要的代表人物有六：William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, and John Keats. 作品特點(diǎn)：形式比較自由，想象豐富，傾向描寫(xiě)孤獨(dú)的個(gè)人的精神世界和大自然。'Poery is the spontaneous overflow of powerful feelings'----Wordsworth.
8 I Wandered Lonely As A Cloud (The Daffodils)
I wandered lonely as a cloud
That floats on high o’er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced, but they
Out-did the sparkling waves in glee:
A poet could not but be gay
In such a jocund company:
I gazed — and gazed — but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasures fills,
And dances with the daffodils.
注釋：o'er: over. Pronounced as [/o ], counted as one syllable.
The waves beside them danced, but they\ Out-did the sparkling waves in glee: 雖然浪花也在起舞，但是水仙花的歡樂(lè)超過(guò)了浪花的歡樂(lè)。in glee, 就歡樂(lè)而言，在歡樂(lè)上。in 有as to, as regards 這樣的用法, 表示'在···方面'。如：weak in judgment; they are equal in length. 有人注解此詩(shī)，認(rèn)為in glee是介詞短語(yǔ)作定語(yǔ)修飾waves 的，這樣也通，但不如視為狀語(yǔ)修飾全句為好。
Sprightly: 輕快地，活潑地。
Could not but: but: other than, except. But 用在否定詞后，構(gòu)成雙重否定。如：there is no one but hopes rich. （沒(méi)有不想發(fā)財(cái)?shù)娜耍㏕here is no one but knows that.（那件事無(wú)人不知。）
Jocund: lit. & poet: merry, cheerful.
Couch：睡椅，床。
And then my heart with pleasures fills：my heart fills with pleasures. Fill 可用為不及物動(dòng)詞，意思是“滿”。如the house fills (with children).
They flash upon that inward eye | Which is the bliss of solitude：湛然的心靈是幽居才能有的福分。因?yàn)樾撵`回歸其自我是一種高級(jí)的精神享受，所以如此說(shuō)。
內(nèi)容：此詩(shī)是詩(shī)人1804年回憶兩年前在英格蘭湖區(qū)漫游時(shí)看到一大片水仙的情景時(shí)寫(xiě)成的。后經(jīng)多此修該，到1815年才最終定型。當(dāng)時(shí)的情景深深地因在了他心靈深處，幽居獨(dú)處時(shí)，就在心中顯現(xiàn)出來(lái)，給他帶來(lái)慰籍?？梢?jiàn)詩(shī)人對(duì)自然的向往。我們讀之，猶如進(jìn)入了空明潔凈的世界。
形式：全詩(shī)四節(jié)，每節(jié)的韻式是ababcc。韻律基本上是抑揚(yáng)格四音步。
I wan|dered lone|ly as| a cloud
That floats |on high |o’er vales |and hills,
When all |at once |I saw| a crowd,
A host, |of gold|en da|ffodils;
Beside |the lake, |beneath| the trees,
Fluttering |and dancing |in the breeze.
Conti|nuous as |the stars |that shine
And twink|le on |the mil|ky way,
They stretched |in ne|ver-en|ding line
Along |the mar|gin of| a bay:
Ten thou|sand saw |I at| a glance,
Tossing |their heads |in spright|ly dance.
The waves| beside| them danced, |but they
Out-did |the spark|ling waves |in glee:
A po|et could |not but |be gay
In such |a jo|cund com|pany:
I gazed —|and gazed |— but litt|le thought
What wealth |the show |to me |had brought:
For oft, | when on |my couch |I lie
In va|cant or |in pen|sive mood,
They flash |upon| that in|ward eye
Which is| the bliss |of so|litude;
And then| my heart| with plea|sures fills,
And dan|ces with |the da|ffodils.
9 The Solitary Reaper
Behold her, single in the field,
Yon solitary Highland lass!
Reaping and singing by herself;
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain;
O listen! for the Vale profound
Is overflowing with the sound.
No Nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shady haunt,
Among Arabian sands;
A voice so thrilling ne’er was heard
In spring-time from the Cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.
Will no one tell me what she sings? —
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago;
Or is it some more humble lay,
Familiar matter of to-day?
Some natural sorrow, loss, or pain,
That has been, and may be again?
Whate’er the theme, the Maiden sang
As if her song could have no ending;
I saw her singing at her work,
And o’er the sickle bending; —
I listen’d, motionless and still;
And, as I mounted up the hill,
The music in my heart I bore,
Long after it was heard no more.
注釋：
Yon：yonder，那邊的，遠(yuǎn)處的。
No Nightingale did ever chaunt\More welcome notes to weary bands\ Of travellers in some shady haunt,\Among Arabian sands;:即使在人際罕至的阿拉伯沙漠的幽暗之處，夜鶯也不曾為疲憊的行人唱過(guò)如此動(dòng)人的歌曲。Chaunt: chant的變體。
A voice so thrilling ne’er was heard\In spring-time from the Cuckoo-bird,\Breaking the silence of the seas: In spring-time , a voice so thrilling was never heard from the Cuckoo-bird, whose song breaks the silence of the seas among the farthest Hebrides. Hebrides[/hebridi:z]赫布里底群島[英國(guó)蘇格蘭西部]
Perhaps the plaintive numbers flow\For old, unhappy, far-off things,\And battles long ago;\Or is it some more humble lay,\Familiar matter of to-day?\Some natural sorrow, loss, or pain,\That has been, and may be again? 也許這凄婉的歌聲是詠嘆古老的、遙遠(yuǎn)的悲歡離合，和很久以前的征戰(zhàn)，要么是一只平凡的曲子，唱的是今天日常小事，或者是那些曾經(jīng)有過(guò)而且可能繼續(xù)出現(xiàn)的、常見(jiàn)的憂傷、失意和痛苦？
I saw her singing at her work,\And o’er the sickle bending; I saw her singing at her work and when she is bending over the sickle.
And, as I mounted up the hill, \The music in my heart I bore,\Long after it was heard no more. 到我登上了山崗時(shí)，雖然那歌聲早已聽(tīng)不見(jiàn)了，但還是在我心底回響。Bear: 負(fù)擔(dān)，擔(dān)負(fù)，帶上。
內(nèi)容：此詩(shī)寫(xiě)的是蘇格蘭高原地區(qū)一農(nóng)家少女獨(dú)自在田間勞動(dòng)歌唱的情景。此一情景深深地觸動(dòng)了詩(shī)人的心弦。為了讓這淳樸勤勞的女孩盡情地歌唱、盡情地抒發(fā)她的內(nèi)心的世界，詩(shī)人不忍心驚動(dòng)她，他想，要么就此止步，要么悄悄走開(kāi)。夜鶯、布谷鳥(niǎo)的歌聲是天籟之聲，詩(shī)人說(shuō)割麥女的歌聲比夜鶯、布谷鳥(niǎo)的歌聲還要?jiǎng)尤?，表名其歌聲是純真而自然的。農(nóng)家女孩沒(méi)有受到城市生活的污染，如“清水出芙蓉，天然去雕飾”，獨(dú)自一人在空曠的田野，向大自然傾訴衷情，當(dāng)然會(huì)打動(dòng)向往大自然的詩(shī)人。今天，浮偽之風(fēng)比其一百多年前詩(shī)人所處的那個(gè)時(shí)代，更厲害不知多少倍，因而此詩(shī)所描寫(xiě)的情景更能引起人們的遐思神往。此詩(shī)的意境空靈飄逸，感情高潔真摯，極富浪漫氣息，沒(méi)有絲毫庸俗情調(diào)。
形式：此詩(shī)四節(jié)，每節(jié)八行，除第四是三音步外，其余七行都是四音步。抑揚(yáng)格。每節(jié)的韻式為 ababccdd
Behold| her, sing|le in |the field,
Yon so|lita|ry High|land lass!
Reaping |and sing|ing by |herself;
Stop here, |or gent|ly pass!
Alone |she cuts |and binds| the grain,
And sings |a me|lancho|ly strain;
O li|sten! for| the Vale |profound
Is ov|erflow|ing with| the sound.
No Nigh|tingale |did ev|er chaunt
More wel|come notes |to wea|ry bands
Of travel|lers in |some sha|dy haunt,
Among| A/ra|bian sands;
A voice| so thril|ling ne’er |was heard
In spring|-time from| the Cu|ckoo-bird,
Breaking |the si|lence of| the seas
Among |the far|thest He|brides.
Will no |one tell| me what |she sings? —
Perhaps |the plain|tive num|bers flow
For old, | unhap|py, far-|off things,
And ba|ttles long |ago;
Or is |it some| more hum|ble lay,
Fami|liar mat|ter of |to-day?
Some na|tural sor|row, loss, | or pain,
That has |been, and| may be| again?
Whate’er |the theme, |the Mai|den sang
As if| her song |could have |no ending;
I saw| her sing|ing at| her work,
And o’er |the sick|le bending; —
I li|sten’d, mo|tionless| and still;
And, as |I moun|ted up |the hill,
The mu|sic in| my heart |I bore,
Long af|ter it| was heard |no more.
George Gordon Byron [/bai r n](1788—1824)
喬治·戈登·拜倫是重要浪漫主義詩(shī)人，但是與華茲華斯為首的湖畔詩(shī)人有不同。拜倫政治上很激進(jìn)，反對(duì)傳統(tǒng)，主張革命，為人放蕩不羈，是所謂積極浪漫主義者。華茲華斯主張回歸自然，維護(hù)傳統(tǒng)價(jià)值，是所謂消極浪漫主義者。拜倫對(duì)湖畔詩(shī)人進(jìn)行過(guò)攻擊。其實(shí)，拜倫只是一個(gè)出色的詩(shī)人，在政治思想上是膚淺的。拜倫的成名作是《恰爾德·哈洛爾德游記》（Childe Harold's Pilgrimage,1809-1818），最有影響的著作是《唐·璜》(Don Juan,1819-1824)。此外還有不少抒情詩(shī)等?！肚柕隆す鍫柕掠斡洝罚钗觚g譯，1959年上海文藝出版社。）是一部敘事長(zhǎng)詩(shī)，是描寫(xiě)作者游歷歐洲各國(guó)的抒情日記，由一個(gè)灰心失望的貴族青年哈羅德將全詩(shī)情節(jié)貫穿起來(lái)?！短畦穂don/d u: n]也是一部敘事長(zhǎng)詩(shī)，寫(xiě)的是歐洲傳說(shuō)中的傳奇人物唐璜浪漫冒險(xiǎn)經(jīng)歷，未完成。關(guān)于唐璜這個(gè)人物，歐洲各國(guó)有很多作品。莫扎特有一部歌劇即名《唐璜》。
我們所選的這首《滑鐵盧前夜》是《游記》中的片段(Canto III, stanzas 21, 22, 24, 25.)，記述的是滑鐵盧之戰(zhàn)爆發(fā)前夕比利時(shí)首都布魯塞爾（Brussels, Belgium）上層人士盲目歌舞狂歡的場(chǎng)面?；F盧是位于比利時(shí)首都以南約20公里的一個(gè)村莊，1815年英軍在此駐扎。呂希蒙公爵夫人設(shè)宴款待英軍將士，拿破侖乘其不備，于當(dāng)晚突然襲擊。與英軍共同與拿破侖戰(zhàn)斗的還有荷蘭、比利時(shí)、德等國(guó)。最后拿破侖寡不敵眾，失敗。
10 The Eve Of Waterloo
There was a sound of revelry by night,
And Belgium’s capital had gather’d then
Her Beauty and her Chivalry, and bright
The lamps shone o’er fair women and brave men;
A thousand hearts beat happily; and when
Music arose with its voluptuous swell,
Soft eyes look’d love to eyes which spake again,
And all went merry as a marriage bell;
But hush! hark! a deep sound strikes like a rising knell!
Did ye not hear it? —No; ’twas but the wind,
Or the car rattling o’er the stony street;
On with the dance! let joy be unconfined;
No sleep till morn, when Youth and Pleasure meet
To chase the growing hours with flying feet—
But, hark! — that heavy sound breaks in once more,
As if the clouds its echo would repeat;
And nearer, clearer, deadlier than before!
Arm! arm! it is — it is —the cannon’s opening roar!
Ah! Then and there was hurrying to and fro,
And gathering tears, and tremblings of distress,
And cheeks all pale, which but an hour ago
Blush’d at the praise of their own loveliness:
And there were sudden partings, such as press
The life from out young hearts, and choking sighs
Which ne’er might be repeated; who could guess
If ever more should meet those mutual eyes,
Since upon night so sweet such awful morn could rise!
And there was mounting in hot haste: the steed,
The mustering squadron, and the clattering car,
Went pouring forward with impetuous speed,
And swiftly forming in the ranks of war;
And the deep thunder peal on peal afar;
And near, the beat of the alarming drum
Roused up the soldier ere the morning star;
While throng’d the citizens with terror dumb,
Or whispering with white lips —‘the foe! they come! they come!’
注釋：
Her Beauty and her Chivalry, and bright：布魯塞爾的英雄美人。Her 指Brussels
Voluptuous[v /l ptu s ]swell 華麗的音樂(lè)旋律。Swell 本指大浪，此指樂(lè)聲蕩漾。
Soft eyes look’d love to eyes which spake again look：溫柔的眼睛與眼睛互相傳情。Look love：Look with love。
And all went merry as a marriage bell; 大家歡欣鼓舞，就像結(jié)婚打鐘。
a deep sound strikes like a rising knell：一個(gè)沉悶的聲音就像正在敲響的喪鐘一樣傳來(lái)。
Youth and Pleasure meet\To chase the growing hours with flying feet: 青春與歡樂(lè)結(jié)伴，用飛快的腳步追逐這煥發(fā)的時(shí)光。growing hours：令人起勁的時(shí)光。
As if the clouds its echo would repeat;天上的云好像又把它的回聲有重復(fù)了一次：意即聲音很大，會(huì)響很久。
Arm! arm! it is — it is —the cannon’s opening roar! 拿起武器，拿起武器！這是大炮在展開(kāi)咆哮。
gathering tears：不斷聚集的淚，越來(lái)越多的淚水。
cheeks all pale, which but an hour ago\ Blush’d at the praise of their own loveliness: 一小時(shí)以前因受到夸獎(jiǎng)而羞紅的臉蛋兒，現(xiàn)在都發(fā)白了。
there were sudden partings, such as press\The life from out young hearts, 使年輕的心靈痛不欲生的突然訣別。
choking sighs\ Which ne’er might be repeated;很可能永遠(yuǎn)不會(huì)再有的抽搐嘆息。因?yàn)榭赡苁窃E別，所很可能不會(huì)再有。
mustering squadron：集合的中隊(duì)
swiftly forming in the ranks of war;快速排成作戰(zhàn)隊(duì)形。Rank：隊(duì)列。
And the deep thunder peal on peal afar;\ And near, the beat of the alarming drum\Roused up the soldier ere [e ]the morning star;遠(yuǎn)處是一陣一陣的沉悶的雷鳴，近處是報(bào)警的鼓聲，不等啟名星出現(xiàn)，就把士兵喚醒。
While throng’d the citizens with terror dumb,市民們則擠在一起，被嚇成了啞巴。此句可改成：the citizens thronged, dumb with terror. 或者：The citizens dumb with terror thronged.
內(nèi)容：此詩(shī)極其生動(dòng)地描繪了舞會(huì)上的歡樂(lè)場(chǎng)面和大戰(zhàn)來(lái)臨之際的驚慌景象。舞會(huì)上英雄們風(fēng)度翩翩，美人們含情脈脈，婆娑起舞，盡情狂歡。沒(méi)有想到，也不相信戰(zhàn)爭(zhēng)會(huì)在此時(shí)爆發(fā)。正在狂歡之際，大炮轟鳴起來(lái)。于是在驚恐和絕望之中告別。士兵門急速集合，市民們驚慌失措。整個(gè)城市亂作一團(tuán)。此詩(shī)的成功之處在于生動(dòng)的場(chǎng)景描寫(xiě)，極富戲劇性，讀之如身臨其境。英國(guó)小說(shuō)家薩克雷（William Makepeace Thackeray）在起長(zhǎng)篇小說(shuō)《名利場(chǎng)》(Vanity Fair, 1847-48)第29章中對(duì)這場(chǎng)舞會(huì)也有非常出色的描寫(xiě)。
形式：
此詩(shī)屬斯賓塞體(Spenserian stanza)， Edmund Spenser （1552？—99繼喬叟之后的最大詩(shī)人。） 在The Faerie Queene 中創(chuàng)造了這種形式的詩(shī)節(jié)，故名。其形式是每節(jié)九行，前八行為抑揚(yáng)格五音步，第九行為抑揚(yáng)格六音步，韻式是：ababbcbcc.
There was |a sound |of re|velry |by night,
And Bel|gium’s ca|pital |had ga|ther’d then
Her Beau|ty and |her Chi|valry, |and bright
The lamps |shone o’er |fair wo|men and |brave men;
A thou|sand hearts |beat hap|pily; |and when
Music| arose| with its| volup|tuous swell,
Soft eyes| look’d love| to eyes |which spake |again,
And all |went mer|ry as |a mar|riage bell;
But hush! | hark! a| deep sound |strikes like |a ris|ing knell!
Did ye |not hear| it? —No; |’twas but| the wind,
Or the |car rat|tling o’er| the sto|ny street;
On with |the dance! |let joy |be un|confined;
No sleep| till morn, | when Youth |and Plea|sure meet
To chase |the grow|ing hours |with fly|ing feet—
But, hark! | — that hea|vy sound |breaks in |once more,
As if |the clouds |its e|cho would |repeat;
And near|er, clear|er, dead|lier than |before!
Arm! arm! | it is —|it is —|the can|non’s open|ing roar!
Ah! Then| and there| was hur|rying to| and fro,
And gath|ering tears, | and trem|blings of| distress,
And cheeks| all pale, |which but |an hour |ago
Blush’d at |the praise |of their |own love|liness:
And there| were sud|den par|tings, such| as press
The life |from out |young hearts, |and chok|ing sighs
Which ne’er |might be |repea|ted; who |could guess
If ev |er more | should meet |those mut |ual eyes,
Since up |on night | so sweet |such aw |ful morn |could rise!
And there | was moun |ting in |hot haste: |the steed,
The must |ering squa |dron, and |the clatt |ering car,
Went pou |ring for |ward with | impe |tuous speed,
And swift |ly form |ing in |the ranks | of war;
And the |deep thun |der peal | on peal |afar;
And near, | the beat |of the |alar |ming drum
Roused up |the sol |dier ere | the mor |ning star;
While throng’d |the ci|tizens| with ter|ror dumb,
Or whisp|ering with |white lips —| ‘the foe! |they come! |they come!’
Percy Bysshe Shelly[/p :si bi / eli ](1792—1822)
珀西·比希·雪萊是拜倫的好友，與拜倫一樣，也是浪漫主義時(shí)期的大詩(shī)人。極力主張自由，不僅主張政治上的自由，也主張男女之愛(ài)的自由。二十來(lái)歲時(shí)與一個(gè)名叫Harriet Westbrook 的女孩私奔并結(jié)婚。后來(lái)加入激進(jìn)的哲學(xué)家 William Godwin 的學(xué)術(shù)圈子，成為其信徒。（William Godwin，1756—1836，主張人性本善，在理性直到下，可以不要法律。財(cái)產(chǎn)制度、婚姻制度都該廢除。）后來(lái)雪萊又在Godwin 的后妻的女兒Claire Clairmont的陪伴下與Godwin 前妻的女兒Mary Wollstonecraft私奔到瑞士，并結(jié)婚， 前妻自殺。Mary Wollstonecraft Godwin 寫(xiě)過(guò)一本名為《為女權(quán)申辯》（A Vindication of the Rights of Woman）可謂現(xiàn)在女全運(yùn)動(dòng)的先驅(qū)人物。Godwin 也是主張愛(ài)情自由的，可是當(dāng)雪萊與其女兒私本后，就不再如此主張了。三十歲時(shí)，雪萊溺水而死。其作品很多，代表作有長(zhǎng)詩(shī)Prometheus[pru /mi: s] Unbound, Ode To The West Wind 等。我們要讀的是他的一首著
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