英文诗歌赏析
诗歌是一种精美的艺术，趣味高一点的人一般都喜欢诗歌。受过良好教育的中国人都会背诵若干首古诗。现在人们很重视学习英文，学习英文，视野也应宽阔一些，也应当对英文诗歌多少有些领略才好。中国文学中诗歌成就极大，英语文学中，诗歌也极其丰富多彩。语言艺术的最高表现形式在诗歌。如果只是知道实用性的英文，只学习商业英文、法律英文等英文，对英语文学毫无修养，对英文诗歌一无所知，那将是一个不小的遗憾，将会影响到审美能力的发展和提高，
学英文而不懂英文诗歌，不仅从审美角度看是一个遗憾，而且从英语学习这一角度看，不学一些英文诗歌，其英语水平也达不到很高的层次。诗歌语言最精炼，语汇最丰富，表达形式最精美，语言的色调最细腻。如果对诗歌有一定修养，其语言表达能力会大大提高。试想一个学汉语的人，如果对唐诗宋词一无所知，其汉语水平不会很高。学英语者也是如此。如果他对莎士比亚、弥尔顿、华兹华斯、拜伦、雪莱、济慈等人的著名诗篇一窍不通，其英文水平也不会很高。
总之，有一定英语基础的人不能不更上一层楼，读一点英文诗。这不仅有助于提高我们的文学素养，丰富我们的审美能力，也有助于提高我们的英语水平。
英诗基础知识
读英文诗歌相当不容易。其中的主要原因是诗歌有其独特的语言特点和表达方式，与散文有明显区别。为更好地欣赏英文诗歌，很有必要了解一些相关的基本知识。这方面的知识极其细致，以下只介绍一些最基本的。
诗歌是具有音乐性的语言。音乐作品的最大特点之一是音符的流动是有节奏的。所谓节奏就是强拍和弱拍按一定的形式配合起来，有规律地反复出现。懂点音乐的人都知道，音乐中基本的节奏有两种，即强——弱（2/4拍）和强——弱——弱（3/4拍）。举两个简单的例子：
《东方红》的节奏就是强——弱：
5 56│2 —│1 16│2 —│5 5│6i 65│1 16│2
《新年好》（HAPPY NEW
YEAR）这首儿歌的节奏是强——弱——弱：
11 1 5 │33 3 1│13 5 5 │43 2 —│23 4 4
│32 3 1│13 2 5│72 1 —│
中国古诗有节奏。其节奏主要是通过汉字特有的声调表现出来的。传统汉语中的声调有四：平、上、去、入。平声称“平声”，上、去、入三声统称仄声。平声与仄声结合起来反复出现，就是中国诗歌的节奏。如一首五言绝句，其最常见的节奏是：
仄仄平平仄，平平仄仄平。
平平平仄仄，仄仄仄平平。
王之涣《等鹳雀楼》：白日依山尽，黄河入海流。欲穷千里目，更上一层楼。此诗即是这样的节奏。其中“欲”字是仄声，与格式不合。但根据格律要求，诗行中的第一字可平可仄。
英文诗歌也有节奏。英文没有平声、仄声之分，但有重读轻读音节之分，其节奏是通过重读音节与轻读音节表现出来的。一个重读音节与一个或两个轻读音节按一定的模式搭配起来，有规律地反复出现就是英文诗歌的节奏。
我们知道凡是有两个以上音节的英文单词，都有重读音节与轻读音节之分，在一句话中，根据语法、语调、语意的要求，有些词也要重读，有些要轻读。如he
went to town to buy a book.. I’m glad to hear the news.
英文中有重读和轻读之分，重读的音节和轻读的音节，按一定模式配合起来，反复再现，组成诗句，听起来起伏跌宕，抑扬顿挫，就形成了诗歌的节奏。多音节单词有重音和次重音，次重音根据节奏既可视为重读，也可视为轻读。读下面这两句诗：
Alone │she cuts │and binds│ the
And sings │a me│lancho│ly strain.
这两行诗的重读与轻读的固定搭配模式是：轻——重。在每行中再现四次，这样就形成了这两行诗的节奏。某种固定的轻重搭配叫“音步”（foot），相当与乐谱中的“小节”。一轻一重，就是这两行诗的音步。一行诗中轻重搭配出现的次数叫音步数，这两行诗的音步数都是四，所以就称其为四音步诗。
二 常见的音步类型
音步是轻读与重读构成的。根据重读与轻读搭配的方式的不同，可以划分出不同的音步类型。音步类型不同，节奏自然也不同。最常见的音步类型有以下四种：
（一） 抑扬格
如果一个音步中有两个音节，前者为轻，后者为重，则这种音步叫抑扬格音步，其专业术语是（iamb,
iambic.）。轻读是“抑”，重读是“扬”，一轻一重，故称抑扬格。
英语中有大量的单词，其发音都是一轻一重，如adore, excite,
above, around, appear, besides, attack, supply, believe,
return等，所以用英语写诗，用抑扬格就很便利。也就是说，抑扬格很符合英语的发音规律。因此，在英文诗歌中用得最多的便是抑扬格，百分之九十的英文诗都是用抑扬格写成的。前面的那两句诗就是抑扬格诗。
（二）扬抑格
如果一个音步中有两个音节，前者为重，后者为轻，则这种音步叫扬抑格音步，其专业术语是（trochee,
trochaic.）。重读是“扬”，轻读是“抑”，一重一轻，故称扬抑格。与抑扬格恰好相反。
英语中也有一批其读音为一重一轻的单词，如Happy, many, holy,
yonder, headlong, flaming, upper, grandeur,
failing等。写扬抑格的诗，此类词正好合适。但这类词在英语中其数量不及前面的那些多，与英文的语言规律不十分吻合，所以扬抑格诗不多。举两句诗例：
Present │mirth has │present
│laughter
Shakespeare
Shake your │chains to │earth like
（三） 抑抑扬格
抑抑扬格含三个音节，即轻——轻——重，专门术语是：Anapaest,
anapaestic
cavalier, intercede, disbelieve,
reappear, disapprove, indistinct, on the hill.
拜伦的以下四行诗是抑抑扬格：
The Assyr│ian came down │like the wolf
│on the fold,
And his coh│orts were glea│ming in
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
这是拜伦写的描述古代亚述人围攻耶路撒冷，被瘟疫所袭的诗的一节。第四行第二音步中的waves
一词可轻可重。诗题中的Sennacherib 是亚述国王。fold 指羊群， purple and gold
描写亚述军队的服饰，Galilee，巴勒斯坦北部的加利利湖。cohorts军团， sheen，光芒。
（四） 扬抑抑格
重——轻——轻是扬抑抑格，专门术语是：dactyl,
happily, merciful, eloquent, messenger,
merrily, properly, accident, quantity.
Dragging the │corn by her │golden
Davies: the villain.
英文诗歌中的音步类型有十几种之多，常见者即此四种，第一种则最常见。此外诗句中也常有抑抑格（pyrrhic[/peirik]和扬扬格(spondee[/sp
:ndi])出现。
需要说明的是，这些音步类型只是理论上的分析，实际上，一首诗仅用一种音步类型写，这种情况极少见，大多是以某一种为主，同时穿插其他类型。如果一首诗只含有一种音步，就会显得非常单调机械。一首诗只要是以某种类型为主的，尽管有其他类型穿插其中，也称此诗为某某格。如，以抑扬格为主要节奏写成的，就称此诗为抑扬格诗。现代兴起的一些自由诗（FREE
VERSE），不受这些格律的限制。
（一） 一诗行不一定是一个完整的句字。
英文诗每行的第一个字母都大写，但是一诗行不一定是一个完整的句子，不一定能表达一个完整的意思。有时候，一行诗正好是一句，有时两行甚至许多行才构成一个意思完整的句子。前者叫end-stopped
line（结句行），后者叫run-on
line.（跨行句）。这是英文诗与中国诗的最大区别之一。中国诗歌都是一行表达一个完整的意思。看下面一节诗：
I shot an arrow into the air,
It fell to earth, I
For, so swiftly it flew, the sight
Could not follow it in its flight.
前两行是end-stopped line，后两行是run-on
line。读跨行句诗，行末停顿较短。
跨行句在英文诗歌中极其普遍，有时十来行才成一完整句子。刚学英文诗的人，对此往往不习惯。对此我们需加注意。
（二） 诗行的长短以音步数目计算：
英文诗行的长度范围一般是一音步——五音步。六、七、八音步的诗行也有，但不多。最多的是四音步、五音步的诗。
（各种长短诗行的专门术语：一音步诗：monometer
二音步诗：dimeter三音步诗：trimeter四音步诗：tetrameter 五音步诗：pentameter
六音步诗：hexameter 七音步诗：heptameter八音步诗：octameter.）
在分析一首诗的格律时，既要考律此诗的基本音步类型，也要考律此诗中诗行的音步数目。看下面的一首短诗：
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.
（你拍拍脑袋，以为灵感马上就来。可任你怎么敲打，也无人把门打开。pate，脑袋。 fancy，动词：以为，想象。）
此诗的基本音步类型是抑扬格，每行五音步。因此称此诗的格律是“抑扬格五音步”（iambic
pentameter）。一首诗的音步类型和诗行所含的音步数目构成此诗的格律（meter）。
四 压韵（rhyme）
英文诗一般都押运韵。
（一） 全韵与半韵（full rhyme and half
全韵是严格的押韵，其要求是：
（1） 韵要押在重读音节上，其元音应相同；
（2） 元音前的辅音应不同；
（3） 如果元音之后有辅音，应相同。
（4） 重读音节之后如有轻读音节，也应相同。
下面几对词都符合全韵的标准：
why--- hate---
fight--- powers--- today---
ending---bending.
如果仅是元音字母相同，读音不同，不符合全韵：如:
blood---- there---
gone--- daughter----laughter.
这种情形被称为“眼韵”（eye
rhyme），虽然诗人有时用之，但不是真正的押韵。
仅是辅音相同或仅是元音相同的属半韵：
元音不同，其前后的辅音相同，这叫谐辅韵（consonance）如：black,
creak, reader, despise, dispose.
元音相同，其后的辅音相同者叫谐元韵（assonance），如lake,
time, mind.
（二） 尾韵与行内韵(end rhyme and internal
押在诗行最后一个重读音节上，叫尾韵。这是英文诗歌最常见的押韵部位。诗行中间停顿处的重读音节与该行最后一个重读音节押韵者，叫行内韵。如：
Spring, the sweet spring, is the year’s
Then blooms each thing, then maids
dance in a ring,
（三） 男韵与女韵((masculine rhyme and feminine
所押的韵音局限于诗行中重读的末尾音节上，称男韵，也叫单韵，听起来强劲有力。如：late, hill,
enjoy, destroy.
押韵押在两个音节上，后一音节非重读音节，称女韵，也叫双韵，听起来或轻快，或幽婉。如：lighting,
motion, wining, beginning.
看下面一节诗：
I am coming, little maiden,
With the ple
With the honey for the bee,
With the blossom for the tree.
前两行押女韵，后两行押男韵。
也有不少英文诗是不押韵的，不押韵的诗称无韵诗或白体诗（blank
verse）。多用在戏剧和叙事诗中。莎士比亚的戏剧和弥尔顿的Paradise Lost 都是用blank verse写成的。
押韵的诗叫rhymed
verse。无韵诗不同与自由诗。无韵诗虽不押韵，但是有固定节奏，以扬抑格五音步最常见。自由诗节奏不固定，如同白话。
诗选及讲解
A SELECTION OF ENGLISH POETRY
FOR AN OPTIONAL COURSE OF THE
UNDERGRADUADTES
William Shakespeare（）
作者简介：
剧作家、诗人。一生创作三十七部戏剧，154首十四行诗。其十四行诗大部分是献给一位贵族青年，有二十余篇则是献给一位“黑肤女士”（the
dark lady）.
1 Sonnet 18
Shall I compare thee to a summer’s
Thou art more lovely and more
temperate:
Rough winds do shake the darling buds
And summer’s lease hath all too short a
Sometimes too hot the eye of heaven
And often is his gold complexion
And every fair from fair sometimes
By chance, or nature’s changing course,
untrimm’d;
But thy eternal summer shall not
Nor lose possession of that fair thou
Nor shall Death brag thou wander’st in
his shade,
When in eternal lines to time thou
So long as men can breathe or eyes can
So long lives this, and this gives life
Compare ···to 把什么比做什么。
Thou, thee 第二人称单数代词，前者主格，后者宾格。现已为you
所取代。其所有格是thy，或thine, 即现代英语的your。
Art = are. 16、17世纪时与thou连用。
Temperate:
来自拉丁文temperātus，读时为符合押韵规则，可将重音放后。
Shake：shake off。
Lease 租借期限，此处指夏天的长度。
Hath 与第三人称单数连用，相当于现代英语的has。
Dimmed: clouded.
Fair form fair: beautiful thing from
beauty. 前后fair意义不同。Declines from beauty。
Chance：极缘，时运，命运。
And every fair from fair sometimes
declines,/By chance, or nature’s changing course,
untrimm’d：每一个美人总要失去美貌，即使没有突发的以外事件，也逃不过自然界生老病死的变迁。Sometimes:
有的版本作“sometime”: at some unspecified time.
Untrimm’d: untrimmed.
本意为剥去美观的衣服等，此处隐喻夺去美貌等。
Fair thou ow’st: beauty you own.
莎士比亚时代，owe与own通用。古英语第二人称单数后加-st或-est
His shade：shadow of death.
“Nor shall Death brag thou wander’st in
his shade”：“死神无从夸口，说你在他的阴影里徘徊”。
To time thou grow’st: you grow as long
as time lasts. 与时间同寿。 Grow to = be incorporated with.
内容解析：
此诗的发展变化：以人比夏天开始，以人胜自然终结。前四行说明人比夏天更美更温和；中四行发展了这个意思，引到驻颜无术的感慨；第三组则新意突起，推翻前言，终于于胜利的末两行作结。此诗表达了这样一种思想：美丽的事物可以依靠文学的力量而永远不朽；文学是人所创造的，因此这有宣告了人的不朽。因此此诗不是一般的爱情诗。
形式解析：
sonnet：十四行诗，即“商籁体”诗。此诗体起源不明，最早的例子出现于13世纪，16世纪在英国出现。主要有意大利式和英国式两种变体。意大利诗人Petrarch
[/petra:k]用此诗体最精熟，故意大利式又称Petrarchan sonnet。英国式由莎士比亚创立，又称
Shakespearean sonnet.
意大利式分前八行、后六行。韵尾是abba, cde,
dcd.。莎士比亚式十四行诗，层次上分前四行，中四行，后四行和结尾两行。韵尾为：abab, cdcd, efef,
gg。格律是抑扬格五音步。
Shall I│compare│ thee to │a sum│mer’s
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
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
Nor lose│ posses│sion of │that fair│
thou ow’ (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)
参考译文：
能不能让我把你比拟作夏日？
你可是更加温和，更加可爱：
狂风会吹落五月的好花儿，
夏季的生命又未免结束得太快：
有时候苍天的巨眼照得太灼热，
他那金彩的脸色也会被遮暗；
每一样美呀，总会离开美而凋落，
被时机或者自然的代谢所摧残；
但是你永久的夏天决不会凋枯，
你永远不会失去你美的仪态；
死神夸不着你在他影子里踯躅，
你将在不朽的诗中与时间同在；
只要人类在呼吸，眼睛看得见，
我这诗就活着，使你的生命绵延。（屠岸）
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,
M for thus sings
Cuckoo, cuckoo! Oh word of fear
Unpleasing to a married ear!
When shepherds pipe on oaten
And merry larks are ploughmen’s
When turtles tread, and rooks, and
And maidens bleach their summer
The cuckoo then, on every three,
M for thus sings
Cuckoo, cuckoo! Oh word of fear
Unpleasing to a married ear!
------Comedy: Love’s Labour Lost
剧情：拿伐Navarre [n /va:
]国王与其几位朝臣立誓三年之内摒弃一切世俗的快乐，致力于研究学问。其中的一条是：三年之中不可与女子交谈一次。不久法国公主携几名侍女来办理国务，国王和朝臣门守不住自己的誓言，爱上了这几个女子。最后公主的父亲去世，公主要持戒三年，国王和朝臣们的求爱也化为泡影。此诗在此剧之结尾处。
daisies pied：杂色的雏菊。
lady-smock：也作lady’s-smock
花名：布谷鸟剪秋罗。Smock：〈古〉女衬衣，罩衣。
cuckoo-buds of yellow
hue：黄色的杜鹃花。hue：颜色。
Cuckoo：[/kuku:]
布谷鸟的叫声，与/cuckold（奸妇的丈夫）一词谐音。
shepherds [/ ep d]
pipe on oaten straws：拿燕麦杆吹哨子。
tread：斑鸠交配。Turtle：〈古〉斑鸠，=turtledove。 Tread：（雄鸟）与（雌鸟）交配。
rooks and daws：白嘴鸦和穴鸟。
内容解析：
春天里百花争艳，万象更新，情人们沉醉于甜蜜的爱情之中。但树梢上布谷鸟的叫声却似乎在不断提醒人们：爱情并不可考。此诗有反讽意味，与剧情一致。英国诗人甘贝尔（Thomas
Campbell，）在 Freedom and Love一诗中说：“Love has bliss, but love
has ruining/ Other smiles may make you fickle/ Tears for other
charm may trickle。”
形式解析：抑扬格四音步，韵式： fgfg hh d
When dai│sies pied │and vio│lets
And la│dy-smocks│ all sil│ver-white
And cu│ckoo-buds │of ye│llow hue
Do paint │he mea│dows with│
The cu│ckoo then, │on eve│ry three,
Mocks mar│ │for thus │sings
Cuckoo, │cuckoo! │Oh word│ of fear
Unplea│sing to│ a mar│ried ear!
When she│pherds pipe │on oa│ten
And mer│ry larks│ are plough │men’s
When turt│les tread, │ and rooks, │and
And mai│dens bleach │their sum│mer
The cu│ckoo then, │on eve│ry three,
Mocks mar│ │for thus │sings
Cuckoo, │cuckoo! │Oh word │of fear
Unplea│sing to│ a mar│ried ear!
参考译文：
当杂色的雏菊开遍牧场，
蓝的紫罗蓝，白的美人衫，
还有那杜鹃花吐蕾娇黄，
描出了一片广大的欣欢；
听杜鹃在每一株树上叫，
把那娶了妻的男人讥笑：
咯咕！咯咕！啊，可怕的声音！
害得做丈夫的肉跳心惊。
当无愁的牧童口吹麦笛，
清晨的云雀惊醒了农人，
斑鸠乌鸦都在觅侣求匹，
女郎们漂洗夏季的衣群；
听杜鹃在每一株树上叫，
把那娶了妻的男人讥笑：
咯咕！咯咕！啊，可怕的声音！
害得做丈夫的肉跳心惊。（朱生豪）
3 To Be or Not To Be
To be, or not to be: that is the
Whether ’tis nobler in the mind to
The slings and arrows of outrageous
Or to take arms against a sea of
And by opposing end them? To die—to
N and by a sleep to say we
The heartache, and the thousand natural
That flesh is heir to. ’tis a
consummation
Devoutly to be wished. To die—to
To sleep—perchance to dream: ay,
there’s the rub!
For in that sleep of death what dreams
When we have shuffled off this mortal
Must give us pause. There’s the
That makes calamity of so long
For who would bear the whips and scorns
The oppressor’s wrong, the proud man’
contumely,
The pangs of despised love, the law’s
The insolence of office, and the
That patient merit of the unworthy
When he himself might his quietus
With a bare bodkin? Who would fardels
To grunt and sweat under a weary
But that the dread of something after
The undiscovered country, from whose
No traveller returns—puzzles the
And makes us rather bear those ill we
Than fly to others that we know not
Thus conscience does make cowards of us
And thus the native hue of
resolution
Is sicklied o’er with the pale cast of
And enterprises of great pith and
With this regard their currents turn
And lose the name of action.
哈娒莱特》是莎士比亚重要剧作之一，写于1601年。剧中的主人公是丹麦王子Hamlit。哈姆莱特的父亲，即丹麦国王，被哈姆莱特的叔父Claudius秘密害死，不到两个月，又与哈姆莱特的母亲，即王后，结婚。还窃取了王位。哈姆莱特的叔父Caudius是个坏透顶了的人。哈姆莱特则是一位有理想、有道德的人，他决心要为父亲报仇。为了不被看出来，他装成疯子。哈姆莱特要为父亲报仇，但中间有其母亲穿插其间，这使他心情极其复杂，于是整日心情抑郁，产生了厌世情绪。于是真的有点疯疯颠颠了。剧情很曲折，大家可在课外找有关资料读。推荐读读英汉对照本《莎士比亚戏剧故事》（Tales
from Shakespeare, by Charles Lamb and Mary Lamb,
萧乾、文洁若翻译。商务印书馆1984年出版。）
这段独白就是哈姆莱特在极度困惑、不知所措的心情下道出的，谈到了生与死、思考与行动、报复与宽容等等人生中的永恒矛盾，批判了现实世界的黑暗，富有深刻的哲理意味。出现在原剧第三幕第一场。
slings and arrows of outrageous
fortune: 狂暴命运的矢石交攻。sling: 投石器，弹
弓；投掷，打击一击.
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: 无数要承受的皮肉之苦，与“heartache”相对。Be heir to: 要继承或承受的。
’tis a consummation/Devoutly to be
wished. 那正是求之不得的完美结局。Consummation：final settlement of
everything.
To sleep—perchance to dream: ay,
there’s the rub! 睡眠也许要做梦，嗨，那就成问题了。Perchance：perhaps. Rub:
摩擦，障碍。
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” 这一名词从句是主语，give 是谓语。Shuffled
off：摆脱，脱去。mortal coil：earthly turmoil.人世的纷扰。
There’s the respect /That makes
calamity of so long life. 这一顾虑使漫长岁月成了灾难。Respect: attention,
consideration. 顾虑，考虑。”without respect to the results”不顾后果。
the whips and scorns of time:
人世的鞭挞和嘲弄。Time: the times, 时世
The oppressor’s wrong, the proud man’
contumely: 压迫者的凌辱，傲慢者的冷眼。
do sb. Wrong, do wrong to sb. Contumely
[/k ] insolent treatment. 无礼对待。
The pangs of despised
love：失恋的痛苦。Pang：痛苦。Despised 之重音在第一音节。
the spurns/That patient merit of the
unworthy takes：忍让的有德才者从小人那里受到的排挤。Of: spurn: contemptuous
rejection，一脚踢开; the unworthy: 小人。
Quietus [kai/i:t s]: acquittance,
release, 卸去（义务、责任）
A bare bodkin: a mere poniard.
短剑，匕首。
Fardels: bundles, burdens.
Grunt: groan, 哼，呻吟.
Bourn: 领域
Conscience: 思考，顾虑，良心。
sicklied o’er：sickly: 使出现病态
the pale cast of thought:
惨白的一层思虑的病容。Cast：tinge, shade of color. Thought: 思虑，顾虑，melancholy,
despondency.
pith and moment：vigour and importance.
Pith: 体力、气力、精力，（文章的）力。1604年版本中pith作pitch: height
with this regard: on this account
内容分析：这断独白是倾诉人生的根本苦闷和基本矛盾。受到压迫了，应该反抗，但往往结果是适得其反。事事忍让，却又心中不能平衡。干事业需果断有魄力，但也得深思熟虑，三思而行。但是顾虑太多，缩手缩脚又会疲软，行动不起来。人生在世，烦恼苦难不一而足，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.）。人生就是这样充满了各种矛盾和无奈。
形式分析：
这是莎士比亚戏剧最著名独白(soliloquy)，用的是抑扬格五音步“白体诗”（BLANK VERSES）。
To be, │or not │to be: │that is │the
ques│tion:
Whether│ ’tis nob│ler in │the mind │to
The slings │and ar│rows of│ outra│geous
（以上三行多一音节，其到迟疑、沉思的效果。）
Or to│ take arms│against │a sea │of
And by op│posing │end them? │To die—│to
N │and by│ a sleep │to say │we
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
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
That makes │cala│mity │of so │long
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
That pa│tient me│rit of the │unwor│thy
When he│ himself │might his │quie│tus
With a│ bare bod│kin? Who │would
far│dels bear,
To grunt │and sweat │under│ a wea│ry
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
And makes │us ra│ther bear │those ill
Than fly│ to oth│ers that │we know │not
Thus con│science does│ make co│wards of
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│
With this│ regard │their cur│rents
turn│ awry
And lose │the name │of ac│tion.
参考译文：
“活下去还是不活：这是个问题”
活下去还是不活，这是个问题；
要做到高贵，究竟该忍气吞声
来容受狂暴的命运矢石交攻击呢，
还是该挺身反抗无边的苦恼，
扫它个干净？死，就是睡眠——
就这样；而如果睡眠就等于了结了
心痛以及千百种身体要担受的
皮痛肉痛，那该是天大的好事，
正求之不得啊！死，就是睡眠；
睡眠也许要做梦，这就麻烦了！
我们一旦摆脱了尘世的牵缠
在死的睡眠里还会做些什么梦，
一想到就不能不踌躇。这一点顾虑
正好使灾难变成了长期的折磨。
谁甘心忍受人世的鞭挞和嘲弄，
忍受压迫者虐待、傲慢者凌辱，
忍受失恋的痛苦、法庭的拖延、
衙门的横暴、做埋头苦干的大才
受座位的小人一脚踢出去，
如果他只消自己来使一下尖刀
就可以得到解脱啊？谁甘心挑担子，
拖着疲累的生命，呻吟，流汗，
要不是怕一死就去了没有人回来的
那个从未发现的国土，怕那边
还不知会怎样，因此意志动摇了，
因此就宁愿忍受目前的灾殃，
` 而不愿投奔另一些未知的苦难？
这样子，顾虑使我们都成了懦夫，
也就这样了，决断决行的本色
蒙上了惨白的一层思虑的病容；
本可以轰轰烈烈的大作大为，
由于这一点想不通，就出了别扭，
失去了行动的名份。（卞之琳）
Thomas Nash ()
作者简介：剧作家、诗人，小说家，讽刺作家。
Spring, the sweet spring, is the year’s
Then blooms each thing, then maids
dance in a ring,
Cold doth not sting, the pretty birds
Cuckoo, jug-jug, pu-we,
to-witta-woo!
The palm and may make country houses
Lambs frisk and play, the shepherds
pipe all day,
And we hear aye birds tune this merry
Cuckoo, jug-jug, pu-we,
to-witta-woo!
The fields breathe sweet, the daisies
kiss our feet,
Young lovers meet, old wives a-sunning
In every street these tunes our ears do
Cuckoo, jug-jug, pu-we,
to-witta-woo!
the year’s pleasant
king：一年四季中以春天为最欢乐的时期。King 即比喻欢乐之最，也兼指一岁之首。
Cold doth not sting：doth：古英语do
的第三人称现在事态形式。
the pretty birds do thing：do
是为了韵律的需要而加进去的。
Cuckoo, jug-jug, pu-we, to-witta-woo：
Cuckoo, 布谷鸟的叫声； jug-jug, 夜莺（nightingale）的叫声，pu-we,
田凫（pewit）的叫声，to-witta-woo，泛指各种鸟鸣。
Palm: 棕榈。其枝叶常作为胜利的象征。
May：山楂花。因在五月盛开，故名 may。
And we hear aye birds tune this merry
lay：aye：古英语副词，always， ever。Tune：动词：唱。 Lay 歌曲。
old wives a-sunning sit：sit是谓语动词。
a-sunning：晒太阳，作状语。a-作为特殊介词，后跟动名词，表示在进行什么活动。如 He went a-fishing.
现代说法是：He went fishing.
these tunes our ears do greet：these
tunes do greet our ears.
内容解析：此诗节奏明快，旋律强烈，生动地描绘出了一幅春回大地，生机昂然的画面。
形式解析：主要是扬抑格五音步，韵式是aaab, cccb, dddb.
三节最后一行是叠句（refrain）；每节除末一行外，其他三行都用行内韵（internal
rhyme），即第二音步的第二个词同第五音步末尾的词谐韵。叠句（refrain）: a phrase, line or lines
repeated at the end of a stanza.
Spring, the│ sweet spring, │ is the
│year’s plea│
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!
参考译文：（略。郭沫若有译文，意译，参考价值不不大。）
John Milton ()
作者简介：英国诗人，思想家、政论家。从小好学，经常开夜车，四十余岁失明。晚年在失明的情况下，写成了伟大史诗《失乐园》（PARADISE
LOST）。其内容是演述《圣经》故事。可与荷马的《伊利亚特》（Homer's Iliad）、但丁的《神曲》(Dante's
Divine Comedy)相媲美。《五月晨歌》是早期作品，成于二十一岁时，格调十分清新。
5 Song On May Morning
Now the bright morning star, Day’s
harbinger,
Comes dancing from the east, and leads
The flowery May, who from her green lap
The yellow cowslip and the pale
Hail, bounteous May, that dost
Mirth, and youth, and warm desire!
Woods and groves are of thy
Hill and dale doth boast thy
Thus we salute thee with our early
And welcome thee, and wish thee
morning star:
启明星、太白星、长庚星等。早晨在东方出现。晚上在西方出现，叫长庚，英文作“evening
star”.。同是一颗星，即Venus。
harbinger [/ha: bind ]先导，先兆
primrose [/primroz] 樱草花，报春花。
Bounteous [/baunti s] 慷慨的
of thy dressing：dressed in thy
Dost：第二人称现在时单数。即do
一般用于第三人称单数，但弥尔顿也常常用于复数。在他的作品中很常见。著名英语专家陆佩弦总结弥尔顿的语言特点，其中一条就是
“singular verb for plural subject”。此种情况在莎士比亚的作品中也不时能遇见。
Long: long life.
形式分析：抑扬格穿插扬抑格（7、8两行是扬抑格，女韵，显得十分轻快）。韵式为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│
Hail, boun│teous May, │that dost
Mirth, │ and youth, │and warm
Woods and │groves are │of thy
Hill and │dale doth│boast thy
│blessing.
Thus we│ salute │thee with │our ear│ly
And wel│come thee, │and wish │thee
参考译文：
晶莹的晨星，白日的先驱，
她舞蹈着从东方带来娇侣，
百花的五月，从绿色的怀中撒下
金黄色的九轮花和淡红的樱草花。
欢迎，富丽的五月啊，你激扬
欢乐、青春和热情的希望；
林木、树丛是你的装束，
山陵、溪谷夸说你的幸福。
我们也用清晨的歌曲向你礼赞，
欢迎你，并且祝福你永恒无边！
Alexander Pope ()
作者简介：蒲伯是18世纪英国最重要的诗人。作品很多。他还用英雄双行体诗翻译了荷马史诗。文学上崇尚精雕细琢，是新古典主义的大师。身体不好，终身未婚。他的父母是天主教徒，当时天主教徒是受迫害的。一生基本上过的是隐居日子。《独处诵》是其早期作品。自称写于12岁时。
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
Whose trees in summer yield him
In winter fire.
Blest, who can unconcern’dly find
Hours, days, and years slide soft
In health of body, peace of mind,
Quiet by day,
S study and
Together mix’d;
And innocence, which most does
With meditation.
Thus let me live, unseen,
Steal from the world, and not a
Tell where I lie.
注释: 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. 其意思相当于《中庸》上所说的“君子素位而行，不愿乎其外。”Jude The Obscure 中有一句话说：a
contented mind is a continual feast.(Jude the Obscure.P378)
Whose herds with milk, /whose fields
with bread,/Whose flocks su 前两行省略了“supply him
with”。Attire：服装。
unconcern’dly，即unconcernedly：漫不经心，无忧无虑，悠然自得。第三节可以改写成：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 相当于“ I see him
leave.”这样的句子。
study and ease /Together mix’d; sweet
/And innocence, which most does please/With meditation.
他劳逸结合，有令人欢喜的娱乐活动，还有天真的性情。这天真的性情与沉思结合起来，最使他高兴。
内容解析：避开尘世的烦扰，与世无争，潜心学术，并悠然自得地享受田园生活，这是最幸福的。与《庄子》“恬淡寂寞，虚无无为”（《刻意》）之说有相似之处。陶渊明有几句诗可以与此诗相参：“息交游闲业，卧起弄书琴。园蔬有余滋（生长得很多。滋：生长），旧谷犹储今。营己良有极，过足非所钦。舂秫作美酒，酒熟吾自斟。弱子戏我侧，学语未成吟。此事真复乐，聊用忘华簪（比喻高官厚禄）。”（《和郭主薄》其一）
形式解析：此诗五节，每节四行。韵尾是abab。节奏主要是四音步抑扬格(i/ambic te/trameter)，每节四音步：
Happy │the man, │ whose wish │and
A few │pater│nal a│cres bound,
Content│ to breathe │his na│tive
In his │own ground.
Whose herds │with milk, │whose fields
│with bread,
Whose flocks │supply │him with│
Whose trees│ in sum│mer yield│ him
In win│ter fire.
Blest, who │can un│concern’d│ly
Hours, days, │and years │slide soft│
In health│ of bo│dy, peace│ of
Quiet │by day,
Sound sleep│ │ study│ and
Toge│ther mix’d; │ sweet cre│
And in│nocence, │ which most │does
With me│ditation.
Thus let │me live, │unseen,
Thus un│lamen│ted let│
Steal from │the world, │ and not│ a
Tell where │I lie.
参考译文： 人生如何方为乐，唯有知足不贪心。
只守祖上数亩田，但吸故园气清新。
绵羊产毛制衫袍，乳牛耕地供食饮。
夏来密叶乘浓荫，冬至疏枝做柴薪。
一任岁月轻轻去，那堪忧思处处寻。
白日闲逸夜安眠，一身强健心气平。
读书劳逸相结合，娱乐甜美悦人心。
最佳胜景有冥思，极乐世界属天真。
死后不受世哀悼，生时岂令人见闻。
幽幽偷辞浊世去，不铭何处葬我身。（石瓃）
Robert Burns ()
罗伯特·彭斯，苏格兰诗人。出身于偏僻乡村。他的诗歌充分吸收了苏格兰民歌成分，热情奔放，优美动听，被誉为伟大的苏格兰民族诗人。19世纪英国浪漫主义诗歌运动的先驱。他的一些诗歌被谱写成歌曲，广为流传。如《友谊地久天长》（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
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
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!
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.可改写为：as you are fair, my bonnie lass, so I am deep in love.
你那么美，我也那么爱你。我爱你的程度与你美的程度成正比。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。古代人们在时钟发明前，用玻璃器皿盛沙，使沙从小孔中漏过，以此计时。因此诗人常用沙漏中的沙比喻人生。
fare thee weel：goodbye.。Weel[wi:l] =
well. Farewell: "proceed happily". Goodbye: 本来是"God be wy ye"(God
be with you), 后缩写成"God-bye", 后来为与"good day"、“good night" 一致, "God
bye" 又改成了"goodbye".
Tho’ = though
内容解析：
这是彭斯最有名的爱情诗，节奏强烈，激情澎湃，很有感染力。但是此诗所表达的感情似乎不太深刻，其爱情似乎纯粹是建立在容美貌的础上的。容貌一衰退，很难保证海枯石烂不变心。另一英国诗人贾鲁(Thomas
Carew, 1594---1640)有一首名The True Beauty的诗，可拿来对彭斯的这首诗作注脚：
He that loves a rosy cheek
Or a coral lip admires,
Or from star-like eyes doth seek
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：性情温和、意志坚定。Hearts with equal love combined：正常语序为：hearts
combined with equal love.能一视同仁的心灵。）
彭斯说他的爱人如同玫瑰花一样美，他的爱与其爱人的美丽成正比，贾鲁反过来说，谁追求玫瑰花一样的容貌，谁的爱情的衰退程度与就容貌衰老的程度成正比。贾鲁讲的虽然有道理，他的态度也很可取，但是世上的人像贾鲁那样的很少，相彭斯这样的人则多不胜数。（彭斯是个沉溺于美酒、诗歌和爱情的人）。人的感情往往能冲破理智的说教，即使这种爱情不一定能长久，人们往往也要追求它。所以不能以说教的心态否定诗歌的艺术价值。
形式分析：基本上是抑扬格，每节二、四两行押韵。
O, my │Luve’s like │a red, │red
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
So deep│ in Luve│ am I,
And I │will love │thee still, │my
Till a’ │the seas │gang dry!
Till a’ │ the seas │gang dry, │my
And the rocks │melt wi’ │the sun!
And I│ will love │thee still, │my
While the sands│ o’ life │shall
And fare│ thee weel, │my on│ly
And fare│ thee weel, │ a while!
And I│ will come │again, │ my Luve,
Tho’ it were │ten thous│and mile!
William Wordsworth ()
华兹华斯（渥滋渥斯），英国浪漫主义时期的大诗人，湖泮诗人（LAKE
POETS）之首。1843年荣获桂冠诗人称号（Poet
Laureate）。湖畔诗人是十九世纪英国的一个诗歌流派，这些人在英格兰西北部的湖区（Lake
district）居住、写作。其主要成员除华兹华斯外，尚有柯勒律治（Samuel Taylor
Coleridge）。华兹华斯对大自然情有独钟，经常去各地旅行漫游，对自然风光和田园生活有独特的感受。他的诗的特点是通过描写日常生活中的平凡场景激发心灵深处的感受，表现人性中真善美。素材多为自然风光、田园生活和素朴的农民。语言简明，情真意切。读之能使人产生无尽的遐思、精神上能受到有力的陶冶。
英国浪漫主义运动时间介于，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. 作品特点：形式比较自由，想象丰富，倾向描写孤独的个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
When all at once I saw a crowd,
Beside the lake, beneath the trees,
Fluttering and dancing in the
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
The waves beside them danced, but
Out-did the sparkling waves in
A poet could not but be gay
In such a jocund company:
I gazed — and gazed — but little
What wealth the show to me had
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is t
And then my heart with pleasures
And dances with the daffodils.
注释：o'er: over. Pronounced as [/o ],
counted as one syllable.
The waves beside them danced, but they\
Out-did the sparkling waves in glee: 虽然浪花也在起舞，但是水仙花的欢乐超过了浪花的欢乐。in
glee, 就欢乐而言，在欢乐上。in 有as to, as regards 这样的用法, 表示'在···方面'。如：weak in
they are equal in length. 有人注解此诗，认为in glee是介词短语作定语修饰waves
的，这样也通，但不如视为状语修饰全句为好。
Sprightly: 轻快地，活泼地。
Could not but: but: other than, except.
But 用在否定词后，构成双重否定。如：there is no one but hopes rich. （没有不想发财的人）There
is no one but knows that.（那件事无人不知。）
Jocund: lit. & poet:
merry, cheerful.
Couch：睡椅，床。
And then my heart with pleasures
fills：my heart fills with pleasures. Fill 可用为不及物动词，意思是“满”。如the
house fills (with children).
They flash upon that inward eye | Which
is the bliss of
solitude：湛然的心灵是幽居才能有的福分。因为心灵回归其自我是一种高级的精神享受，所以如此说。
内容：此诗是诗人1804年回忆两年前在英格兰湖区漫游时看到一大片水仙的情景时写成的。后经多此修该，到1815年才最终定型。当时的情景深深地因在了他心灵深处，幽居独处时，就在心中显现出来，给他带来慰籍。可见诗人对自然的向往。我们读之，犹如进入了空明洁净的世界。
形式：全诗四节，每节的韵式是ababcc。韵律基本上是抑扬格四音步。
I wan|dered lone|ly as| a cloud
That floats |on high |o’er vales |and
When all |at once |I saw| a crowd,
A host, |of gold|en da|
Beside |the lake, |beneath| the
Fluttering |and dancing |in the
Conti|nuous as |the stars |that
And twink|le on |the mil|ky way,
They stretched |in ne|ver-en|ding
Along |the mar|gin of| a bay:
Ten thou|sand saw |I at| a glance,
Tossing |their heads |in spright|ly
The waves| beside| them danced, |but
Out-did |the spark|ling waves |in
A po|et could |not but |be gay
In such |a jo|cund com|pany:
I gazed —|and gazed |— but litt|le
What wealth |the show |to me |had
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|
And then| my heart| with plea|sures
And dan|ces with |the da|ffodils.
9 The Solitary Reaper
Behold her, single in the field,
Yon solitary Highland lass!
Reaping an
Stop here, or gently pass!
Alone she cuts and binds the grain,
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,
A voice so thrilling ne’er was
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,
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
I saw her singing at her work,
And o’e —
I listen’d,
And, as I mounted up the hill,
The music in my heart I bore,
Long after it was heard no more.
Yon：yonder，那边的，远处的。
No Nightingale did ever chaunt\More
welcome notes to weary bands\ Of travellers in some shady
haunt,\Among Arabian
:即使在人际罕至的阿拉伯沙漠的幽暗之处，夜莺也不曾为疲惫的行人唱过如此动人的歌曲。Chaunt:
chant的变体。
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]赫布里底群岛[英国苏格兰西部]
Perhaps the plaintive numbers flow\For
old, unhappy, far-off things,\A\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?
也许这凄婉的歌声是咏叹古老的、遥远的悲欢离合，和很久以前的征战，要么是一只平凡的曲子，唱的是今天日常小事，或者是那些曾经有过而且可能继续出现的、常见的忧伤、失意和痛苦？
I saw her singing at her work,\And o’er
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.
到我登上了山岗时，虽然那歌声早已听不见了，但还是在我心底回响。Bear: 负担，担负，带上。
内容：此诗写的是苏格兰高原地区一农家少女独自在田间劳动歌唱的情景。此一情景深深地触动了诗人的心弦。为了让这淳朴勤劳的女孩尽情地歌唱、尽情地抒发她的内心的世界，诗人不忍心惊动她，他想，要么就此止步，要么悄悄走开。夜莺、布谷鸟的歌声是天籁之声，诗人说割麦女的歌声比夜莺、布谷鸟的歌声还要动人，表名其歌声是纯真而自然的。农家女孩没有受到城市生活的污染，如“清水出芙蓉，天然去雕饰”，独自一人在空旷的田野，向大自然倾诉衷情，当然会打动向往大自然的诗人。今天，浮伪之风比其一百多年前诗人所处的那个时代，更厉害不知多少倍，因而此诗所描写的情景更能引起人们的遐思神往。此诗的意境空灵飘逸，感情高洁真挚，极富浪漫气息，没有丝毫庸俗情调。
形式：此诗四节，每节八行，除第四是三音步外，其余七行都是四音步。抑扬格。每节的韵式为 ababccdd
Behold| her, sing|le in |the field,
Yon so|lita|ry High|land lass!
Reaping |and sing|ing by |
Stop here, |or gent|ly pass!
Alone |she cuts |and binds| the
And sings |a me|lancho|
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
Of travel|lers in |some sha|dy
Among| A/ra|
A voice| so thril|ling ne’er |was
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
For old, | unhap|py, far-|off
And ba|ttles long |
Or is |it some| more hum|ble lay,
Fami|liar mat|ter of |to-day?
Some na|tural sor|row, loss, | or
That has |been, and| may be| again?
Whate’er |the theme, |the Mai|den
As if| her song |could have |no
I saw| her sing|ing at| her work,
And o’er |the sick| —
I li|sten’d, mo|tionless| and
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
乔治·戈登·拜伦是重要浪漫主义诗人，但是与华兹华斯为首的湖畔诗人有不同。拜伦政治上很激进，反对传统，主张革命，为人放荡不羁，是所谓积极浪漫主义者。华兹华斯主张回归自然，维护传统价值，是所谓消极浪漫主义者。拜伦对湖畔诗人进行过攻击。其实，拜伦只是一个出色的诗人，在政治思想上是肤浅的。拜伦的成名作是《恰尔德·哈洛尔德游记》（Childe
Harold's Pilgrimage,），最有影响的著作是《唐·璜》(Don
Juan,)。此外还有不少抒情诗等。《恰尔德·哈洛尔德游记》（杨熙龄译，1959年上海文艺出版社。）是一部叙事长诗，是描写作者游历欧洲各国的抒情日记，由一个灰心失望的贵族青年哈罗德将全诗情节贯穿起来。《唐璜》[don/d
n]也是一部叙事长诗，写的是欧洲传说中的传奇人物唐璜浪漫冒险经历，未完成。关于唐璜这个人物，欧洲各国有很多作品。莫扎特有一部歌剧即名《唐璜》。
我们所选的这首《滑铁卢前夜》是《游记》中的片段(Canto III,
stanzas 21, 22, 24, 25.)，记述的是滑铁卢之战爆发前夕比利时首都布鲁塞尔（Brussels,
Belgium）上层人士盲目歌舞狂欢的场面。滑铁卢是位于比利时首都以南约20公里的一个村庄，1815年英军在此驻扎。吕希蒙公爵夫人设宴款待英军将士，拿破仑乘其不备，于当晚突然袭击。与英军共同与拿破仑战斗的还有荷兰、比利时、德等国。最后拿破仑寡不敌众，失败。
10 The Eve Of Waterloo
There was a sound of revelry by
And Belgium’s capital had gather’d
Her Beauty and her Chivalry, and
The lamps shone o’er fair women and
A thousand and
Music arose with its voluptuous
Soft eyes look’d love to eyes which
spake again,
And all went merry as a marriage
But hush! hark! a deep sound strikes
like a rising knell!
Did ye not hear it? —No; ’twas but the
Or the car rattling o’er the stony
On with the dance! let joy be
No sleep till morn, when Youth and
Pleasure meet
To chase the growing hours with flying
But, hark! — that heavy sound breaks in
once more,
As if the clouds its echo would
And nearer, clearer, deadlier than
Arm! arm! it is — it is —the cannon’s
opening roar!
Ah! Then and there was hurrying to and
And gathering tears, and tremblings of
And cheeks all pale, which but an hour
Blush’d at the praise of their own
loveliness:
And there were sudden partings, such as
The life from out young hearts, and
choking sighs
Which ne’ who
could guess
If ever more should meet those mutual
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
And swiftly forming in the ranks of
And the deep thunder peal on peal
And near, the beat of the alarming
Roused up the soldier ere the morning
While throng’d the citizens with terror
Or whispering with white lips —‘the
foe! they come! they come!’
Her Beauty and her Chivalry, and
bright：布鲁塞尔的英雄美人。Her 指Brussels
Voluptuous[v /l ptu s ]swell
华丽的音乐旋律。Swell 本指大浪，此指乐声荡漾。
Soft eyes look’d love to eyes which
spake again look：温柔的眼睛与眼睛互相传情。Look love：Look with love。
And all went merr
大家欢欣鼓舞，就像结婚打钟。
a deep sound strikes like a rising
knell：一个沉闷的声音就像正在敲响的丧钟一样传来。
Youth and Pleasure meet\To chase the
growing hours with flying feet: 青春与欢乐结伴，用飞快的脚步追逐这焕发的时光。growing
hours：令人起劲的时光。
As if the clouds its echo would
天上的云好像又把它的回声有重复了一次：意即声音很大，会响很久。
Arm! arm! it is — it is —the cannon’s
opening roar! 拿起武器，拿起武器！这是大炮在展开咆哮。
gathering tears：不断聚集的泪，越来越多的泪水。
cheeks all pale, which but an hour ago\
Blush’d at the praise of their own loveliness:
一小时以前因受到夸奖而羞红的脸蛋儿，现在都发白了。
there were sudden partings, such as
press\The life from out young hearts, 使年轻的心灵痛不欲生的突然诀别。
choking sighs\ Which ne’er might be
很可能永远不会再有的抽搐叹息。因为可能是诀别，所很可能不会再有。
mustering squadron：集合的中队
swiftly forming in the ranks of
快速排成作战队形。Rank：队列。
And the deep thunder peal on peal
\ And near, the beat of the alarming drum\Roused up the
soldier ere [e ]the morning
远处是一阵一阵的沉闷的雷鸣，近处是报警的鼓声，不等启名星出现，就把士兵唤醒。
While throng’d the citizens with terror
dumb,市民们则挤在一起，被吓成了哑巴。此句可改成：the citizens thronged, dumb with terror.
或者：The citizens dumb with terror thronged.
内容：此诗极其生动地描绘了舞会上的欢乐场面和大战来临之际的惊慌景象。舞会上英雄们风度翩翩，美人们含情脉脉，婆娑起舞，尽情狂欢。没有想到，也不相信战争会在此时爆发。正在狂欢之际，大炮轰鸣起来。于是在惊恐和绝望之中告别。士兵门急速集合，市民们惊慌失措。整个城市乱作一团。此诗的成功之处在于生动的场景描写，极富戏剧性，读之如身临其境。英国小说家萨克雷（William
Makepeace Thackeray）在起长篇小说《名利场》(Vanity Fair,
1847-48)第29章中对这场舞会也有非常出色的描写。
此诗属斯宾塞体(Spenserian stanza)， Edmund
Spenser （1552？—99继乔叟之后的最大诗人。） 在The Faerie Queene
中创造了这种形式的诗节，故名。其形式是每节九行，前八行为抑扬格五音步，第九行为抑扬格六音步，韵式是：ababbcbcc.
There was |a sound |of re|velry |by
And Bel|gium’s ca|pital |had ga|ther’d
Her Beau|ty and |her Chi|valry, |and
The lamps |shone o’er |fair wo|men and
A thou|sand hearts |beat hap| |and
Music| arose| with its| volup|tuous
Soft eyes| look’d love| to eyes |which
spake |again,
And all |went mer|ry as |a mar|riage
But hush! | hark! a| deep sound
|strikes like |a ris|ing knell!
Did ye |not hear| it? —No; |’twas but|
Or the |car rat|tling o’er| the sto|ny
On with |the dance! |let joy |be
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
And near|er, clear|er, dead|lier than
Arm! arm! | it is —|it is —|the
can|non’s open|ing roar!
Ah! Then| and there| was hur|rying to|
And gath|ering tears, | and trem|blings
of| distress,
And cheeks| all pale, |which but |an
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| 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 |
And the |deep thun |der peal | on peal
And near, | the beat |of the |alar
|ming drum
Roused up |the sol |dier ere | the mor
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
珀西·比希·雪莱是拜伦的好友，与拜伦一样，也是浪漫主义时期的大诗人。极力主张自由，不仅主张政治上的自由，也主张男女之爱的自由。二十来岁时与一个名叫Harriet
Westbrook 的女孩私奔并结婚。后来加入激进的哲学家 William Godwin 的学术圈子，成为其信徒。（William
Godwin，，主张人性本善，在理性直到下，可以不要法律。财产制度、婚姻制度都该废除。）后来雪莱又在Godwin
的后妻的女儿Claire Clairmont的陪伴下与Godwin 前妻的女儿Mary
Wollstonecraft私奔到瑞士，并结婚， 前妻自杀。Mary Wollstonecraft Godwin
写过一本名为《为女权申辩》（A Vindication of the Rights of
Woman）可谓现在女全运动的先驱人物。Godwin
也是主张爱情自由的，可是当雪莱与其女儿私本后，就不再如此主张了。三十岁时，雪莱溺水而死。其作品很多，代表作有长诗Prometheus[pru
/mi: s] Unbound, Ode To The West Wind 等。我们要读的是他的一首著名的爱情诗。
11 One Word Is Too Often Profaned
（TO——）
One word is too often profaned
For me to profane it,
One feeling too falsely disdained
One hope is too like despair
For prudence to smother,
And pity from thee more dear
Than that from another,
I can give not what men call love,
But wilt thou accept not
The worship the heart lifts above
And the Heavens reject not, —
The desire of the moth for the
Of the night for the morrow,
The devotion to something afar
Form the sphere of our sorrow?
注释： 第一节
（1） One word is too often profaned\For
me to profane it, 有一个词汇被人滥用得不像样子，我再也不忍心滥用它了。One
word指love。Profane：亵渎。
（2） One feeling too falsely
disdained\Fo 有一种情感总是错误地遭到蔑视，你不该狠下心，再去蔑视它。One
feeling：指对所爱的人的崇敬之情。
（3） One hope is too like despair\For
prudence to smother, 有一个希望，它太难实现，和绝望差不多，请你不要顾虑重重、缩手缩脚，把它熄灭。
（4） And pity from thee more dear \Than
another,:对我来说，你的爱怜比别人的都珍贵。诗人对其情人无比崇敬，如果其情人对诗人的这种心情不视而不见，以爱怜之心作出反应，对诗人来说当然无比珍贵。
（1） I can give not what men call
love,\But wilt thou accept not:
我不能向你奉献世俗之人所谓的“爱”，但是难道你会忍心拒绝（以下几种情感吗）？wilt thou：you will.
Wilt：第二人称单数现在时的古式。此句与第一节的“One word is too often profaned\For me to
profane it”对应。
（2） The worship the heart lifts
above\And the Heavens reject not,
如果心灵将它奉献给苍天，苍天也不回绝的崇拜。意即这种崇拜之情是崇高而神圣的。
（3） The desire of the moth for the
star,\Of the night for the morrow, 飞蛾对星星的期盼，以及黑夜对白昼的向往。Morrow
：〈文〉：tomorrow, morning. 诗人把自己的处境比做黑夜，把所爱的人比做光明。
（4） The devotion to something afar
\Form the sphere of our sorrow? 在痛苦的尘世中对遥远梦景的追求。这与第一节“One hope is
too like despair”相呼应。Sphere 本义为球体，此处指世俗世界。
内容：此诗与彭斯的那首风格不同。前者外漏而浅显，此诗深挚并有一定的哲理。雪莱认为爱情是从人的天性中自然流露出来的某种纯洁的、柔嫩的情感，崇高而神圣。就像飞蛾对星星的期盼、黑暗对光明的向往、痛苦中对美好未来的追求一样，是天地间自然而然产生的。这种情感一旦夹杂世俗生活中的庸俗观念，就会被扭曲、被亵渎。此与Plato哲学思想有关。实际情况也的确如此，人们基于世俗的考虑，这种高洁的东西经常被轻蔑、被亵渎，以至于追求纯洁爱情的希望几乎与绝望相等。看来，不仅从我们现在从周围的现实看是如此，在雪莱时代的英国，也是如此。可以说“爱情之难，难于上青天”。
形式：抑扬格与抑抑扬格相间。第二节最后四行显然是抑抑扬格，有向前冲的势头，与内容中的“向往”之意吻合。韵式是ababcdcd
One word| is too |often |profaned
For me| to pro|fane it,
One feel|ing too| falsely|
For thee| to dis|
One hope |is too |like -|despair
For prud|ence to |smother,
And pi|ty from |thee -|more dear
Than that |form a|nother,
I can |give not |what men |call
But wilt| thou ac|cept not
The wor|ship the |heart lifts
And the| Heavens re|ject not, —
The desire |of the moth |for the
Of the night| for the morrow,
The devo|tion to some|thing afar
From the sphere |of our sorrow?
John Keats ()
约翰·济慈是浪漫主义时期的又一大诗人，与拜伦、雪莱并驾齐驱。拜伦和雪莱都是贵族出身，济慈则出身寒微，父母早逝，一生贫困。他曾热恋过一个少女Fanny
Browne，但由于经济条件不行，又患着肺病，这个希望也等于绝望。济慈诗才极大，可惜25岁就死于肺结核（tuberculosis
）。他的过人之处是在于善于发掘现实生活中的感性美。最为传颂的作品是颂体诗，如Ode to a Nightingale, Ode to
a Grecian Urn, Ode to the Autumn 等。我们要读的这首《蝈蝈与蟋蟀》写于1816年，也很出名。
12 The Grass-hopper And The Cricket
The poetry of earth is never dead:
When all the birds are faint with the
And hide in cooling trees, a voice will
From hedge to hedge about the new-mown
That is the Grasshopper’s —he takes the
In summer luxury, —he has never
W for when tired out
He rests at ease beneath some pleasant
The poetry of earth is ceasing
On a lone winter evening, when the
Has wrought a silence, from the stove
there shrills
The Cricket’s song, in warmth
increasing ever,
And seems to one in drowsiness half
The Grasshopper’s among some grassy
a voice will run\From hedge to hedge
about the new-就会有一种声音在刚割过的草地上响起，飘过一个个篱笆。Mead [mi:d]: poet
meadow [/med-].
he takes the lead\In summer luxury,
在繁花似锦的夏日，他带头[歌唱]。/Luxury：奢侈，华丽，丰盛。
he has never done\W
for when tired out with fun\He rests at ease beneath some pleasant
weed. 他的兴致从不消失，因为，唱得困倦后，他会舒服地在某些可爱的草丛中稍事消息，（然后继续唱起来）。Do with 有
finish with的用法。如 have you done with the newspaper?
when the frost\ Has wrought a silence,
当霜冻带来了一片寂静的时候。Wrought [r :t] work 的过去式和过去分词。制造，带来。
in warmth increasing ever,\And seems to
one in drowsiness half lost,\ The Grasshopper’s among some grassy
hills. 可以改写成： and in ever increasing warmth, (the cricket's song
)seems to some one who is half lost in drowsiness the grasshopper's
among some grassy hills.
在温度不断上升的室内，蟋蟀的歌声在睡意朦胧的人听来，仿佛是蝈蝈青草丛生的山上鸣叫。half lost in drowsiness:
昏昏欲睡，快要失去知觉。Drowsy: 昏昏欲睡的。
内容：在舒适的环境中，在寂静的夜晚，静听蛙吟虫鸣，能把人带入一种超凡脱俗、回归自我的精神境界，这是一种极大的享受。这些天籁之音，进入我们心中，还能使我们体会到自然界的丰富多彩，和它永无止息的生机。此诗所表现的就是这种感受。夏日有蝈蝈，冬夜有蟋蟀，它们的鸣叫是大地的诗歌的代表，永不停止地歌唱着伟大而神秘的大自然。
形式：此诗为意大利式十四行诗，抑扬格五音步，结构上分两节：前八行(两个四行节)，后六行（两个三行节），展开两种意境。此诗前八行写夏日的蝈蝈，后六行写冬夜的蟋蟀，形成对比。韵式：abba
abba, cde, cde. 第一行的dead 是眼韵 eye rhyme.
The |poetry |of earth |is ne|ver dead
When all |the birds| are faint| with
the |hot sun,
And hide |in coo|ling trees, |a voice|
From hedge| to hedge |about |the
That is |the Grass|hopper’s |—he takes
In sum|mer luxu|ry, —he |has ne|ver
With his | | for when| tired
out |with fun
He rests |at ease |beneath |some
plea|sant weed.
The poe|try of |earth is |ceasing
On a |lone win|ter eve|ning, when |the
Has wrought |a si|lence, from| the
stove| there shrills
The Cri|cket’s song, |in warmth
|increa|sing ever,
And seems| to one| in drow|siness| half
The Grass|hopper’s |among |some gras|sy
Henry Wadsworth Longfellow
亨利·沃滋沃斯·朗费罗是十九世纪美国大诗人，作品极多，抒情诗，充满着人间的真情，优美流畅，广为人传诵。以下《箭与歌》和《村中铁匠》两首即是这样的作品。
13 The Arrow And The Song
I shot an arrow into the air,
It fell to earth, I
For, so swiftly it flew, the sight
Could not follow it in its flight.
I breathed a song into the air,
It fell to earth, I
For who has sight so keen and
That it can follow the flight of
Long, long afterwards, in an oak,
I found the arrow,
And the song, from beginning to
I found again in the heart of a
注释：It fell to earth, I
：I did not know where it fell to earth
Unbroke: unbroken
内容：我向空中射出一只箭，它落在地上。落在何处，我不知道。这不必斤斤计较。我向空中唱一支歌，它在地上消失，消失在何处，我不知道，这不必斤斤计较。虽然我并没有斤斤计较，但是后来我发出的箭和歌都完好地保存在人间，我的劳动、我的好意，并没有白白浪费。它表现的是一种深刻的人生道理。人生于世，要心胸宽广，眼光高远，不要鼠目寸光，不要眼孔太尖（a
sight）总是盯着眼前的小利，患得患失。要只管劳动，不要计较收获，只管与人为善，不要计较回报。虽然你不计较，你的努力最终不会白费。《金刚经》上有一句话：“应无所住而生其心”。《中庸》上讲“积善之家必有余庆”，俗颜说“好人一生平安”。此诗有这些意思。《吕氏春秋·孟春纪·贵公》有一则故事，也可发明此诗意蕴：“荆人有遗弓者，而不肯索，曰：‘荆人遗之，荆人得之，又何索焉。”孔子闻之曰：“去其‘荆’而可矣。”老聃闻之曰：“去其‘人’而可矣。”
形式：抑扬格四音步，韵式：aabb
I shot |an ar|row in|to the air,
It fell |to earth, | I knew |not
For, so| swiftly| it flew, |the
Could not| follow |it in |its
I breathed |a song| into| the air,
It fell| to earth, |I knew| not
For who| has sight |so keen |and
That it |can fol|low the |flight of
Long, long| after|wards, in| an
I found| the ar|row, still|
And the |song, from| begin|ning to
I found| again| in the |heart of |a
14 The Village Blacksmith
（1）Under a spreading chestnut tree
The smith, a mighty man is he,
And the muscles of his brawny arms
Are strong as iron bands.
（2）His hair is crisp, and black, and
His brow is wet with honest sweat,
He earns whate’er he can,
And looks the whole world in the
For he owes not any man.
（3）Week in, week out, from morn till
You can hear him swing his heavy
With measured beat and slow,
Like a sexton ringing the village
When the evening sun is low.
（4）And children coming home from
They love to see the flaming forge,
And hear the bellows roar,
And catch the burning sparks that
Like chaff from a threshing floor.
（5）He goes on Sunday to the church,
He hears the parson pray and
He hears his daughter’s voice,
Singing in the village choir,
And it makes his heart rejoice.
（6）It sounds to him like her mother's
Singing in Paradise!
He needs must think of her once
And with his hard, rough hand he
A tear out of his eyes.
（7）Toiling,— rejoicing, —
sorrowing,
Each morning sees some task begin,
Something attempted, something
Has earned a night’s repose.
（8）Thanks, thanks to thee, my worthy
For the lesson thou hast taught!
Thus at the flaming forge of life
Thus on its sounding anvil shaped
Each burning deed and thought!
（1）spreading chestnut tree：枝叶茂盛的栗子树
village smithy：乡村铁匠铺。
sinewy hands：强壮有力的手。Sinewy：[/sinju:i]
多筋的。Sinew：肌腱。
brawny arms：肌肉发达的手臂。Brawny：/muscular,.
brawn: human muscle.
iron bands. 铁箍。
（2）His hair is crisp,：crisp：（of
hair）tightly curled.
棕褐色的栎树皮（鞣皮革用）；日晒后的颜色, 棕褐色。
And looks the whole world in the face,
理直气壮地面对着世界。
（3）Week in, week out, from morn till
bellows 风箱;
swing his heavy sledge,
挥动沉重的大铁锤。Sledge：sledgehammer
measured beat and slow,: slow and
measured beat: 缓慢而有规则的节奏。Measured：标 准的, 整齐的, 有规则的。
Sexton：寺庙里的杂役, 教堂司事
（4）flaming forge：火红的炼炉；熔炉
chaff [t a: f]from a threshing floor.
打谷场上的谷壳。
（5）He hears the parson pray and preach,
听教区牧师祷告、布道（传教）。
the village choir, choir [/kwai ]
教堂里的唱诗班。
（6）need must ：必须，不得不。俚语。,
（7）Has earned a night’s repose.
赢得晚上安稳的休息。
（8）Thus at the flaming forge of life\
Our fort\Thus on its sounding anvil
shaped\ Each burring deed and thought!
——Our fortunes must be thus（in this manner）
wrought at the flaming forge of life.
Each burning deed and thought must be thus shaped
on its (the forge's ) sounding anvil.
我们的人生命运也同样需要在生活的熔炉中锻炼，
每一发光的事迹和思想也都需要在铮铮的铁砧上塑造。sounding
anvil：响亮的铁砧。
内容：此诗塑造了一个乡村铁匠的形象。一、二节刻画其外貌：体格健壮，坚忍不拔，靠自己的辛勤劳动过日子。不偷不抢，不诈不骗，理直气壮，傲视世界。三四节具体写铁匠的劳动。大铁锤有节奏地铮铮作响，风箱呼呼地吹。火炉熊熊燃烧，美丽的火星四处飞溅。天真活泼的孩子放学回来后，追逐火星玩耍，发出陈陈欢声笑语频。一个即辛苦又有天伦之乐的家庭气氛跃然纸上。五—七节描写铁匠善良而崇高的心灵。礼拜日他去教堂，听牧师布道，听孩子们用天真纯净的童声唱赞美诗。上帝是正义和爱的化身，信奉他、赞美他，就是希望让正义和爱充满人间。铁匠去教堂听布道，一听到孩子们的歌声响起，内心就充满欢乐，无疑是一个追求真善美的人。铁匠的善良和崇高还表现在他对父母的一片孝心。听到孩子们的歌声，他立刻联想到已经去世的母亲，母亲也是个天性善良的人，去世后她的灵魂一定会上天堂的，可是不知现在她的身体在坟墓中是如何了。他多想再回到她的身边，看看她慈祥的面容啊。想着想着，不觉泪流满面，于是用粗壮的手来擦拭。铁匠堂堂正正地生活，勤勤恳恳地劳动，问心无愧，心中坦然，晚上睡得很平静，很满足，很幸福。孟子说“反身而诚，乐莫大焉！”有以夫！最后一节是作者阐明这位铁匠给他的人生启迪：不仅钢铁需要经过熔炉和铁锤的锻炼，人生也需要这样的锻炼。铁匠的这种高尚人格就是熔炉和铁锤锻炼出来的啊。他的熔炉不仅是锻炼钢铁的熔炉，也是人生熔炉的象征啊。人只有经过各种风风雨雨，各种艰难困苦的磨练，才能思想成熟，才能昂然挺立于天地之间，散发出人生应有的光彩啊！
诗人所描绘的这一人物形象令人起敬：他的地位是卑微的，他人格是高大的；他的手是粗硬的，他的心灵却是柔嫩的；对上帝他是崇敬的，对世间的投机取巧之徒是不屑一顾的；面对艰苦的生活，他是勇往直前、无所畏惧的，在道德上，他是“戒慎恐惧”的；他的工作是单调而劳累的，但内心却是丰富而幸福的。
形式：每节四音步与三音步交错，基本是抑扬格，韵式为abcbdb。
（1）Under |a sprea|ding chest|nut
The vil|lage smi|
The smith, |a migh|ty man| is he,
With larg|er and |sinew|
And the| muscles of| his brawn|y
Are strong |as ir|on bands.
（2）His hair| is crisp, |and black, |and
His face| is like |
His brow| is wet |with hon|est
He earns |whate’er|he can,
And looks |the whole |world in |the
For he| owes not |any man.
（3）Week in, |week out, |from morn |till
You can |hear his|
You can |hear him |swing his| heavy
With mea|sured beat| and slow,
Like a |sexton |ringing| the vil|lage
When the |evening |sun is low.
（4）And childr|en com|ing home |from
Look in |at the|
They love |to see |the flam|ing
And hear |the bel|lows roar,
And catch| the burn|ing sparks |that
Like chaff |from a |threshing
（5）He goes| on Sun|day to |the
And sits |among |
He hears| the par|son pray |and
He hears |his daught|er’s voice,
Singing |in the|village |choir,
And it |makes his |heart rejoice.
（6）It sounds |to him| like her
|mother's voice,
Singing |in Par|adise!
He needs |must think |of her| once
How in |the grave |
And with |his hard, |rough hand |he
A tear| out of |his eyes.
（7）Toiling,—| rejoic|ing, —
sor|rowing,
Onward |through life|
Each morn|ing sees |some task
Each even|ing sees |
Something |attemp|ted, some|thing
Has earned|a night’s |repose.
（8）Thanks, thanks |to thee, |my wor|thy
For the |lesson |thou hast taught!
Thus at |the flam|ing forge |of
Our fort|unes must |
Thus on |its sound|ing an|vil
Each burn|ing deed |and thought!
Alfred Tennyson ()
阿尔弗雷德·坦尼森，十九世纪后半期英国最著名诗人，1850年继华兹华斯后，被英国王室封为“桂冠诗人”(poet laureate)
。1884年又被封为男爵（baron）
——英国历史上唯一的单纯因诗歌成就而被封爵的人。他对同时代的达尔文等科学家对传统宗教信仰的破坏深感不安，其诗意诉诸情感，对科学主义有消解作用。他的诗歌既有浪漫主义的特点，技巧上又有古典主义的特点。音乐性极强，但思想深度不够。其组诗《悼念》（In
Memoriam）是为悼念亡友Arther Hallem而写的，维多利亚女王以为其价值仅次于《圣经》。
15 The Eagle
He clasps the crag with crooked
Close to the sun in lonely lands,
Ringed with the azure world, he
The wrinkled sea beneath him
He watches from his mountain walls,
And like a thunderbolt he falls.
clasp [kla:sp]or [klaesp]: to take or
seize firmly.
Lonely lands:广袤的原野，苍茫大地。Lonely
表示没有别的动物在活动。
Ringed with the azure
world：为蔚兰色的世界环绕着。Azure [ ] 蔚兰色，苍天之色。
Thunderbolt 雷电，晴天霹雳。
此诗刻画雄鹰英姿。前节写其静态：一双铁钳一般的利爪紧紧抓住巉岩，站立在直插云霄的山颠。四周是广袤静寂的原野。瞻顾伟然。后节写动态：从山顶向海面俯冲时，如雷电一般迅猛。寥寥数语，就把雄鹰之阳刚之美充分表现出来。
形式：抑扬格四音步，每节三行均押韵。
He clasps |the crag |with crook|ed
Close to|the sun |in lone|ly lands,
Ringed with|the a|zure world, |he
The wrin|kled sea| beneath |him
He wa|tches from |his moun|tain
And like| a thun|derbolt |he falls.
Richard Henry Stoddard ()
美国诗人、文艺评论家。其诗创造性不强，现在读者不多。但下面一诗一复三叹，非常隽永，表达的是人类之普遍感受。
16 The Flight of Youth
There are gains for all our losses.
There are balms for all our pain:
But when youth, the dream, departs
It takes something from our hearts,
And it never comes again.
We are stronger, and are better,
Under manhood’s sterner reign:
Still we feel that something sweet
Followed youth, with flying feet,
And will never come again.
Something beautiful is vanished,
On the earth, and in the air.
But it never comes again!
balm：疗伤用的香膏，安慰物。
Under manhood’s sterner
reign：在较严厉的成年期的统治之下。成年以后，人走向成熟，人多的是按理智去作事，青少年时代的天真烂漫不见了，所以说“sterner
内容：叹青春之逝，深有沉郁之致。
形式：自然节奏，没有固定的韵律。韵式：abccb.
Emily Dickinson ()
美国女诗人，隐居一生，终身未婚。外表上过着宁静的生活，但内心感情强烈。她将其感情都倾注到诗歌中。二十几岁开始写诗。是私下创作，连家人也无法看到他的作品。一生写了1775首抒情诗，但在世时一首没有发表。去世后发表，有六卷，成为美国伟大诗人之一。其诗语言简朴凝炼，构思奇特，意象鲜明。形式上不拘一格。
17 I’Am Nobody
I’m Nobody! Who are you?
Are you—Nobody—too?
Then there’s a pair of us!
Don’t tell! They’d banish us—you
How dreary—to be—Somebody!
How public—like a Frog—
To tell your name—the livelong
To an admiring Bog!
How public：多么显眼！含有失去幽静之意。
livelong June：整个六月份。livelong
：整个的，全部的（日、夜），如the livelong day整天
内容：此诗表达的是诗人远离世俗，与世无争，甘于淡泊宁静的人生态度。同时对那些沽名钓誉之徒也作了讽刺。第一节最后一行中的“They”指世俗的势利之徒。第二节中，她把大人物Somebody比作青娃，把那些盲目仰慕大人物的庸众比作“admiring
Bog”，大人物对庸众自吹自擂，犹如夏日炎热的六月里，青蛙整天对着烂泥塘呱呱叫个不停。
形式：自然节奏，突破了传统格律诗。
William Henry Davies ()
英国威尔士诗人。约35岁之前，在英国、美国过流浪生活。当过小贩、乞丐、短工和流浪汉。三十岁时因偷乘火车，被}