雪莱西风颂原文及赏析（雪莱《西风颂》的英文赏析 谢谢！）_西风_诗人_赏析

本文目录

• 雪莱《西风颂》的英文赏析 谢谢！
• 冬天来了春天还会远吗是谁说的
• 《西风颂》赏析是什么
• 西风颂赏析
• 关于英语诗歌西风颂欣赏
• 〔英国〕.雪莱《西风颂》赏析
• 经典赏析：雪莱《西风颂》
• 《西风颂》赏析

雪莱《西风颂》的英文赏析 谢谢！

Interpretation of the poem
The poem Ode to the West Wind can be divided in two parts: the first three stanzas are about the qualities of the ‘Wind’; the fact that these three stanzas belong together can visually be seen by the phrase ‘Oh hear!’ at the end of each of the three stanzas. Whereas the first three stanzas give a relation between the ‘Wind’ and the speaker, there is a turn at the beginning of the fourth stanza; the focus is now on the speaker, or better the hearer, and what he is going to hear.
a.) first stanza
The first stanza begins with the alliteration ‘wild West Wind’. This makes the ‘wind’ “sound invigorating”. The reader gets the impression that the wind is something that lives, because he is ‘wild’ – it is at that point a personification of the ‘wind’. Even after reading the headline and the alliteration, one might have the feeling that the ‘Ode’ might somehow be positive. But it is not, as the beginning of the poem destroys the feeling that associated the wind with the spring. The first few lines consist of a lot of sinister elements, such as ‘dead leaves’. The inversion of ‘leaves dead’ (l. 2) in the first stanza underlines the fatality by putting the word ‘dead’ (l. 2) at the end of the line so that it rhymes with the next lines. The sentence goes on and makes these ‘dead’ (l. 2) leaves live again as ‘ghosts’ (l. 3) that flee from something that panics them. The sentence does not end at that point but goes on with a polysyndeton. The colourful context makes it easier for the reader to visualise what is going on – even if it is in an uncomfortable manner. ‘Yellow’ can be seen as “the ugly hue of ‘pestilence-stricken’ skin; and ‘hectic red’, though evoking the pase of the poem itself, could also highlight the pace of death brought to multitudes.” There is also a contradiction in the colour ‘black’ (l. 4) and the adjective ‘pale’(l. 4). In the word ‘chariotest’ (l. 6) the ‘est’ is added to the verb stem ‘chariot’, probably to indicate the second person singular, after the subject ‘thou’ (l. 5). The ‘corpse within its grave’ (l. 8) in the next line is in contrast to the ‘azure sister of the Spring’ (l. 9) – a reference to the east wind - whose ‘living hues and odours plain’ (l.12) evoke a strong contrast to the colours of the fourth line of the poem that evoke death. The last line of this stanza (‘Destroyer and Preserver’, l. 14) refers to the west wind. The west wind is considered the ‘Destroyer’ (l. 14) because it drives the last sings of life from the trees. He is also considered the ‘Preserver’ (l.14) for scattering the seeds which will come to life in the spring.
b.) second stanza
The second stanza of the poem is much more fluid than the first one. The sky’s ‘clouds’ (l.16) are ‘like earth’s decaying leaves’ (l. 16). They are a reference to the second line of the first stanza (‘leaves dead’, l. 2). Through this reference the landscape is recalled again. The ‘clouds’(l. 16) are ‘Shook from the tangled boughs of Heaven and Ocean’ (l. 17). This probably refers to the fact that the line between the sky and the stormy sea is indistinguishable and the whole space from the horizon to the zenith being is covered with trialing storm clouds. The ‘clouds’ can also be seen as ‘Angels of rain’ (l. 18). In a biblical way, they may be messengers that bring a message from heaven down to earth through rain and lightning. These two natural phenomenons with their “fertilizing and illuminating power” bring a change. Line 21 begins with ‘Of some fierce Maenad ...’ (l. 21) and again the west wind is part of the second stanza of the poem; here he is two things at once: first he is ‘dirge/Of the dying year’ (l. 23f) and second he is “a prophet of tumult whose prediction is decisive”; a prophet who does not only bring ‘black rain, and fire, and hail’ (l. 28), but who ‘will burst’ (l. 28) it. The ‘locks of the approaching storm’ (l. 23) are the messengers of this bursting: the ‘clouds’. Shelley in this stanza “expands his vision from the earthly scene with the leaves before him to take in the vaster commotion of the skies”. This means that the wind is now no longer at the horizon and therefore far away, but he is exactly above us. The clouds now reflect the image of the swirling leaves; this is a parallelism that gives evidence that we lifted “our attention from the finite world into the macrocosm”. The ‘clouds’ can also be compared with the leaves; but the clouds are more unstable and bigger than the leaves and they can be seen as messengers of rain and lightning as it was mentioned above.
c.) third stanza
The question that comes up when reading the third stanza at first is what the subject of the verb ‘saw’ (l. 33) could be. On the one hand there is the ‘blue Mediterranean’ (l. 30). With the ‘Mediterranean’ as subject of the stanza, the “syntactical movement” is continued and there is no break in the fluency of the poem; it is said that ‘he lay, / Lull’d by the coil of this crystalline streams,/Beside a pumice isle in Baiae’s bay, / And saw in sleep old palaces and towers’ (l. 30-33). On the other hand it is also possible that the lines of this stanza refer to the ‘wind’ again. Then the verb that belongs to the ‘wind’ as subject is not ‘lay’, but the previous line of this stanza, that says ‘Thou who didst waken ... And saw’ (l. 29, 33). But whoever – the ‘Mediterranean’ or the ‘wind’ - ‘saw’ (l. 33) the question remains whether the city one of them saw, is real and therefore a reflection on the water of a city that really exists on the coast; or the city is just an illusion. Pirie is not sure of that either. He says that it might be “a creative interpretation of the billowing seaweed; or of the glimmering sky reflected on the heaving surface”. Both possibilities seem to be logical. To explain the appearance of an underwater world, it might be easier to explain it by something that is realistic; and that might be that the wind is able to produce illusions on the water. With its pressure, the wind “would waken the appearance of a city”. From what is known of the ‘wind’ from the last two stanzas, it became clear that the ‘wind’ is something that plays the role of a Creator. Whether the wind creates real things or illusions does not seem to be that important. It appears as if the third stanza shows - in comparison with the previous stanzas – a turning-point. Whereas Shelley had accepted death and changes in life in the first and second stanza, he now turns to “wistful reminiscence an alternative possibility of transcendence”. From line 26 to line 36 he gives an image of nature Line 36 begins with the sentence ‘So sweet, the sense faints picturing them’. And indeed, the picture Shelley gives us here seems to be ‘sweet’ (l. 36). ‘The sea-blooms’ (l. 39) are probably the plants at the bottom of the ocean and give a peaceful picture of what is under water. But if we look closer at line 36, we realise that the sentence is not what it appears to be at first sight, because it obviously means ‘so sweet that one feels faint in describing them’. This shows that the idyllic picture is not what it seems to be and that the harmony will certainly soon be destroyed. A few lines later, Shelley suddenly talks about ‘fear’ (l. 41). This again shows the influence of the west wind which announces the change of the season.
d.) fourth stanza
Whereas the stanzas one to three began with ‘O wild West Wind’ (l. 1) and ‘Thou...’ (l. 15, 29) and were clearly directed to the wind, there is a change in the fourth stanza. The focus is no more on the ‘wind’, but on the speaker who says ‘If I...’ (l. 43f). Until this part, the poem has appeared very anonymous and was only concentrated on the ‘wind’ and its forces so that the author of the poem was more or less forgotten. Pirie calls this “the suppression of personality” which finally vanishes at that part of the poem. It becomes more and more clear that what the author talks about now is himself. That this must be true, shows the frequency of the author’s use of the first-person pronouns ‘I’ (l. 43, 44, 48, 51, 54), ‘my’ (l. 48, 52) and ‘me’ (l. 53). These pronouns appear nine times in the fourth stanza. Certainly the author wants to dramatise the atmosphere so that the reader recalls the situation of stanza one to three. He achieves this by using the same pictures of the previous stanzas in this one. Whereas these pictures, such as ‘leaf’, ‘cloud’ and ‘wave’ have existed only together with the ‘wind’, they are now existing with the author. The author thinks about being one of them and says ‘If I were a ...’ (l. 43ff). Shelley here identifies himself with the wind, although he knows that he can not do that, because it is impossible for someone to put all the things he has learnt from life aside and enter a “world of innocence”. That Shelley is deeply aware of his closedness in life and his identity shows his command in line 53. There he says ‘Oh, lift me up as a wave, a leaf, a cloud’ (l. 53). He knows that this is something impossible to achieve, but he does not stop praying for it. The only chance Shelley sees to make his prayer and wish for a new identity with the Wind come true is by pain or death, as death leads to rebirth. So, he wants to ‘fall upon the thorns of life’ and ‘bleed’ (l. 54). At the end of the stanza the poet tells us that ‘a heavy weight of hours has chain’d and bow’d’ (l. 55). This may be a reference to the years that have passed and ‘chained and bowed’ (l. 55) the hope of the people who fought for freedom and were literally imprisoned. With this knowledge, the West Wind becomes a different meaning. The wind is the ‘uncontrollable’ (l. 47) who is ‘tameless’ (l. 56). One more thing that one should mention is that this stanza sounds like a kind of prayer or confession of the poet. This confession does not address God and therefore sounds very impersonal. Shelley also changes his use of metaphors in this stanza. In the first stanzas the wind was a metaphor explained at full length. Now the metaphors are only weakly presented – ‘the thorns of life’ (l. 54). Shelley also leaves out the fourth element: the fire. In the previous stanzas he wrote about the earth, the air and the water. The reader now expects the fire – but it is not there. This leads to a break in the symmetry of the poem because the reader does not meet the fire until the fifth stanza.
e.) fifth stanza
Again the wind is very important in this last stanza. The wind with his ‘mighty harmonies’ (l. 59) becomes an artist or a Creator of sounds. At the beginning of the poem the ‘wind’ was only capable of blowing the leaves from the trees. In the previous stanza the poet identified himself with the leaves. In this stanza the ‘wind’ is now capable of using both of these things mentioned before. Everything that had been said before, was part of the elements – wind, earth and water. Now the fourth element comes in: the fire. There is also a confrontation in this stanza: whereas in line 57 Shelley writes ‘me thy’, there is ‘thou me’ in line 62. This “signals a restored confidence, if not in the poet’s own abilities, at least in his capacity to communicate with the Wind”. It is also necessary to mention that the first-person pronouns again appear in a great frequency; but the possessive pronoun ‘my’ predominates. Unlike the frequent use of the ‘I’ in the previous stanza that made the stanza sound self-conscious, this stanza might now sound self-possessed. The stanza is no more a request or a prayer as it had been in the fourth stanza – it is a demand. The poet becomes the wind’s instrument – his ‘lyre’ (l. 57). This is a symbol of the poet’s own passivity towards the wind; he becomes his musician and the wind’s breath becomes his breath. The poet’s attitude towards the wind has changed: in the first stanza the wind has been an ‘enchanter’ (l. 3), now the wind has become an ‘incantation’ (l. 65). And there is another contrast between the two last stanzas: in the fourth stanza the poet had articulated himself in singular: ‘a leaf’ (l. 43, 53), ‘a cloud’ (l. 44, 53), ‘A wave’ (l. 45, 53) and ‘One too like thee’ (l. 56). In this stanza, the “sense of personality as vulnerably individualised led to self-doubt” and the greatest fear was that what was ‘tameless, and swift, and proud’ (l. 56) will stay ‘chain’d and bow’d’ (l. 55). The last stanza differs from that. The poet in this stanza uses plural forms, for example, ‘my leaves’ (l. 58, 64), ‘thy harmonies’ (l. 59), ‘my thoughts’ (l. 63), ‘ashes and sparks’ (l. 67) and ‘my lips’ (l. 68). By the use of the plural, the poet is able to show that there is some kind of peace and pride in his words. It even seems as if he has redefined himself because the uncertainty of the previous stanza has been blown away. The ‘leaves’ merge with those of an entire forest and ‘Will’ become components in a whole tumult of mighty harmonies. The use of this ‘Will’ (l. 60) is certainly a reference to the future. Through the future meaning, the poem itself does not only sound as something that might have happened in the past, but it may even be a kind of ‘prophecy’ (l. 69) for what might come - the future. At last, Shelley again calls the Wind in a kind of prayer and even wants him to be ‘his’ Spirit: he says: ‘My spirit! Be thou me, impetuous one!’ (l. 62). Like the leaves of the trees in a forest, his leaves will fall and decay and will perhaps soon flourish again when the spring comes. That may be why he is looking forward to the spring and asks at the end of the last stanza ‘If Winter comes, can Spring be far behind?’ (l. 70). This is of course a rhetorical question because spring does come after winter. The question has a deeper meaning and does not only mean the change of seasons, but is a reference to death and rebirth as well.
Poems like this one really have a prophecy for all of us and this prophecy helps us to think about the term ‘poetry’ itself. The Ode shows us that rebirth is something that can be fulfilled through spiritual growing. The last few lines of the poem underline this thought and bring the topic of regeneration and decline to the heart in a very explicit way.
参考资料http://en.wikipedia.org/wiki/Ode_to_the_West_Wind

冬天来了春天还会远吗是谁说的

出自《西风颂》，是英国浪漫主义诗人雪莱的诗作。

原文为：If Winter comes, can Spring be far behind?“如果冬天来了，春天还会远吗？”预言革命春天即将来临，给生活在黑夜及困境中的人们带来鼓舞和希望。

赏析：

《西风颂》是十九世纪英国伟大的抒情诗人雪莱的代表作之一，全诗共五节，始终围绕作为革命力量象征的西风来加以咏唱。

诗中诗人把西风当作革命力量的象征，它横扫败叶、席卷残云、震荡大海,是无所不及、无处不在的“不羁的精灵”。同时西风对新生事物起了保护和促进作用，是“破坏者兼保护者”。诗人愿意做一把预言的号角，告知人们：如果冬天已经来了，呵，西风，春天还会遥远吗？

《西风颂》赏析是什么

《西风颂》赏析如下：

《西风颂》不仅仅是一首风景诗，也是一首政治抒情诗。全诗气势豪放，想象奇丽，意境雄浑，思想深沉，感情强烈，在艺术上达到辉煌的境界。全诗共五节，始终围绕作为斗争力量象征的西风来加以咏唱。

《西风颂》采用的是象征手法，诗人用优美而蓬勃的想象写出了西风的形象。那气势恢宏的诗句、强烈撼人的激情把西风的狂烈、急于扫除旧世界创造新世界的形象展现在人们面前。 

诗歌部分内容：

请把我枯死的思想向世界吹落，让它像枯叶一样促成新的生命！

哦，请听从这一篇符咒似的诗歌，就把我的话语，像是灰烬和火。

从还未熄灭的炉火向人间播散，让预言的喇叭通过我的嘴唇。

把昏睡的大地唤醒吧！西风呵，如果冬天来了，春天还会远吗?

西风颂赏析

《西风颂》是英国诗人雪莱创作的，这不仅仅是一首风景诗，也是一首政治抒情诗。全诗共五节，始终围绕作为斗争力量象征的西风来加以咏唱。诗篇表达了诗人对腐朽势力的憎恨，对斗争终将胜利和光明未来的热切希望和坚定信念，深刻揭示出新事物必将战胜旧事物的客观规律。西风颂赏析《西风颂》是英国诗人雪莱创作的，这不仅仅是一首风景诗，也是一首政治抒情诗，诗篇表达了诗人对腐朽势力的憎恨，对斗争终将胜利和光明未来的热切希望和坚定信念，深刻揭示出新事物必将战胜旧事物的客观规律。全诗气势雄阔，境界奇丽宏伟，具有浓郁的浪漫主义特色，通篇采用了象征、寓意手法，含蕴深远。《西风颂》采用的是象征手法，诗人用优美而蓬勃的想象写出了西风的形象。那气势恢宏的诗句、强烈撼人的激情把西风的狂烈、急于扫除旧世界创造新世界的形象展现在人们面前。诗中比喻奇特，形象鲜明，枯叶的腐朽、狂女的头发、黑色的雨、夜的世界无不深深地震撼着人们的心灵。

关于英语诗歌西风颂欣赏

　　 英语诗歌 是一个包含丰富社会生活内容、语言艺术和 文化 内涵的世界,是基础英语教学的一块很有潜力的教学资源。我精心收集了关于英语诗歌西风颂，供大家欣赏学习!

　　关于英语诗歌西风颂：《西风颂》英语原文

　　Ode to the West Wind

　　I

　　O wild West Wind, thou breath of Autumn’s being,

　　Thou, from whose unseen presence the leaves dead

　　Are driven, like ghosts from an enchanter fleeing,

　　Yellow, and black, and pale, and hectic red,

　　Pestilence-stricken multitudes: O thou,

　　Who chariotest to their dark wintry bed

　　The winged seeds, where they lie cold and low,

　　Each like a corpse within its grave, until

　　Thine azure sister of the Spring shall blow

　　Her clarion o’er the dreaming earth, and fill

　　(Driving sweet buds like flocks to feed in air)

　　With living hues and odours plain and hill:

　　Wild Spirit, which art moving everywhere;

　　Destroyer and preserver; hear, oh hear!

　　II

　　Thou on whose stream, mid the steep sky’s commotion,

　　Loose clouds like earth’s decaying leaves are shed,

　　Shook from the tangled boughs of Heaven and Ocean,

　　Angels of rain and lightning: there are spread

　　On the blue surface of thine a{:e}ry surge,

　　Like the bright hair uplifted from the head

　　Of some fierce Maenad, even from the dim verge

　　Of the horizon to the zenith’s height,

　　The locks of the approaching storm. Thou dirge

　　Of the dying year, to which this closing night

　　Will be the dome of a vast sepulchre,

　　Vaulted with all thy congregated might

　　Of vapours, from whose solid atmosphere

　　Black rain, and fire, and hail will burst: oh hear!

　　III

　　Thou who didst waken from his summer dreams

　　The blue Mediterranean, where he lay,

　　Lull’d by the coil of his cryst{`a}lline streams,

　　Beside a pumice isle in Baiae’s bay,

　　And saw in sleep old palaces and towers

　　Quivering within the wave’s intenser day,

　　All overgrown with azure moss and flowers

　　So sweet, the sense faints picturing them! Thou

　　For whose path the Atlantic’s level powers

　　Cleave themselves into chasms, while far below

　　The sea-blooms and the oozy woods which wear

　　The sapless foliage of the ocean, know

　　Thy voice, and suddenly grow gray with fear,

　　And tremble and despoil themselves: oh hear!

　　IV

　　If I were a dead leaf thou mightest bear;

　　If I were a swift cloud to fly with thee;

　　A wave to pant beneath thy power, and share

　　The impulse of thy strength, only less free

　　Than thou, O uncontrollable! If even

　　I were as in my boyhood, and could be

　　The comrade of thy wanderings over Heaven,

　　As then, when to outstrip thy skiey speed

　　Scarce seem’d a vision; I would ne’er have striven

　　As thus with thee in prayer in my sore need.

　　Oh, lift me as a wave, a leaf, a cloud!

　　I fall upon the thorns of life! I bleed!

　　A heavy weight of hours has chain’d and bow’d

　　One too like thee: tameless, and swift, and proud.

　　V

　　Make me thy lyre, even as the forest is:

　　What if my leaves are falling like its own!

　　The tumult of thy mighty harmonies

　　Will take from both a deep, autumnal tone,

　　Sweet though in sadness. Be thou, Spirit fierce,

　　My spirit! Be thou me, impetuous one!

　　Drive my dead thoughts over the universe

　　Like wither’d leaves to quicken a new birth!

　　And, by the incantation of this verse,

　　Scatter, as from an unextinguish’d hearth

　　Ashes and sparks, my words among mankind!

　　Be through my lips to unawaken’d earth

　　The trumpet of a prophecy! O Wind,

　　If Winter comes, can Spring be far behind?

　　《西风颂》中文译文

　　西风颂

　　一

　　哦，狂野的西风，秋之实体的气息!

　　由于你无形无影的出现，万木萧疏，

　　似鬼魅逃避驱魔巫师，蔫黄，黢黑，

　　苍白，潮红，疫疠摧残的落叶无数，

　　四散飘舞;哦，你又把有翅的种籽

　　凌空运送到他们黑暗的越冬床圃;

　　仿佛是一具具僵卧在坟墓里的尸体，

　　他们将分别蛰伏，冷落而又凄凉，

　　直到阳春你蔚蓝的姐妹向梦中的大地

　　吹响她嘹亮的号角(如同牧放群羊

　　驱送香甜的花蕾到空气中觅食就饮)

　　给高山平原注满生命的色彩和芬芳。

　　不羁的精灵，你啊，你到处运行;

　　你破坏，你也保存，听，哦，听!

　　二

　　在你的川流上，在骚动的高空，

　　纷乱的乌云，那雨和电的天使，

　　正象大地凋零枯散的落叶无穷，

　　挣脱天空和海洋交情缠接的柯枝，

　　漂流奔泻;在你清虚的波涛表面，

　　似酒神女祭司头上扬起的蓬勃青丝。

　　从那茫茫地平线阴暗的边缘

　　直到苍穹的绝顶，到处散步着

　　迫近的暴风雨飘摇翻腾的发卷。

　　你啊，垂死残年的挽歌，四合的夜幕

　　在你聚集的全部水汽威力的支撑下，

　　将构成他那庞大墓穴的拱形顶部。

　　从你那雄浑磅礴的氛围，将迸发

　　黑色的雨、火、冰雹;哦，听啊!

　　三

　　你，哦，是你把蓝色的地中海

　　从梦中唤醒，他在一整个夏天

　　都酣睡在贝伊湾一座浮石岛外，

　　被澄澈的流水喧哗声催送入眠，

　　梦见了古代的楼台、塔堡和宫闱，

　　在强烈汹涌的波光里不住地抖颤，

　　全部长满了蔚蓝色苔藓和花卉，

　　馨香馥郁，如醉的知觉难以描摹。

　　哦，为了给你让路，大西洋水

　　豁然开裂，而在浩森波澜深处，

　　海底的花藻和枝叶无汁的丛林，

　　哦，由于把你的呼啸声辨认出，

　　一时都惨然变色，胆沐心惊，

　　战栗着自行凋落;听，哦，听!

　　四

　　我若是一朵轻捷的浮云能和你同飞，

　　我若是一片落叶，你所能提携，

　　我若是一头波浪能喘息于你的神威，

　　分享你雄强的脉搏，自由不羁，

　　仅次于，哦，仅次于不可控制的你，

　　我若能象少年时，作为伴侣，

　　随你同游天际，因为在那时节，

　　似乎超越你天界的神速也不为奇迹;

　　我也就不至于象现在这样急切，

　　向你苦苦祈求。哦，快把我扬起，

　　就象你扬起的波浪、浮云、落叶!

　　我倾覆于人生的荆棘!我在流血!

　　岁月的重负压制着的这一个太象你，

　　象你一样，骄傲，不驯，而且敏捷。

　　五

　　象你以森林演奏，请你也以我为琴，

　　哪怕我的叶片也象森林一样凋谢!

　　你那非凡和谐的慷慨激越之情，

　　定能从森林和我同奏出深沉的秋乐，

　　悲怆却又甘洌。但愿你勇猛的精灵

　　竟是我的魂魄，我能成为剽悍的你!

　　请把我枯萎的思绪播送宇宙，

　　就象你驱遣落叶催促新的生命，

　　请凭借我这韵文写就的符咒，

　　就象从未灭的余烬扬出炉灰和火星，

　　把我的话语传遍天地间万户千家，

　　通过我的嘴唇，向沉睡未醒的人境，

　　让预言的号角奏鸣!哦，风啊，

　　如果冬天来了，春天还会远吗?

　　相关 文章 拓展阅读：

　　雪莱经典英语诗歌：To —致——

　　Oh! there are spirits of the air,

　　哦，天地间有大气的精灵，

　　And genii of the evening breeze,

　　有儒雅而斯文的鬼魅，

　　And gentle ghosts, with eyes as fair

　　有吹拂晚风的仙妖，眼睛

　　As star-beams among twilight trees: —

　　像黄昏林间星光一样美。

　　Such lovely ministers to meet

　　去会见这些可爱的灵物，

　　Oft hast thou turned from men thy lonely feet.

　　你常踽踽而行，离群独步。

　　With mountain winds, and babbling springs,

　　和山间的清风与淙淙流泉，

　　And moonlight seas, that are the voice

　　和月下的海洋，和这类

　　Of these inexplicable things,

　　不可理解事物的喉舌交谈，

　　Thou didst hold commune, and rejoice

　　得到一声应答便感欣慰。

　　When they did answer thee; but they

　　然而，像摒弃廉价的礼品，

　　Cast, like a worthless boon, thy love away.

　　它们却摒弃你奉献的爱情。

　　And thou hast sought in starry eyes

　　你又在明亮如星的眼睛里

　　Beams that were never meant for thine,

　　搜寻并非为你发的光辉——

　　Another’s wealth: — tame sacrifice

　　那财富另有所归;妄想的

　　To a fond faith! still dost thou pine?

　　牺牲!仍在为相思憔悴?

　　Still dost thou hope that greeting hands,

　　仍在期望热情相迎的双手、

　　Voice, looks, or lips, may answer thy demands?

　　音容和唇吻满足你的企求?

　　Ah! wherefore didst thou build thine hope

　　啊，为什么要把希望建立

　　On the false earth’s inconstancy?

　　在虚伪世界的无常之上?

　　Did thine own mind afford no scope

　　难道你的心灵就不能留些

　　Of love, or moving thoughts to thee?

　　余地给爱和动人的思想?

　　That natural scenes or human smiles

　　以致自然的景色人的颦笑

　　Could steal the power to wind thee in their wiles?

　　竟能使你落入它们的圈套。

　　Yes, all the faithless smiles are fled

　　是啊，不贞的笑已经消失，

　　Whose falsehood left thee broken-hearted;

　　它们的虚伪已使你心碎;

　　The glory of the moon is dead;

　　明月的华光已死，黑夜的

　　Night’s ghosts and dreams have now departed;

　　梦和鬼魅也都远走高飞;

　　Thine own soul still is true to thee,

　　你的灵魂，仍然忠实于你，

　　But changed to a foul fiend through misery.

　　但是历尽酸辛已化为厉鬼。

　　This fiend, whose ghastly presence ever

　　这厉鬼将以它的恐怖永远

　　Beside thee like thy shadow hangs,

　　像影子伴随着你，切勿

　　Dream not to chase; —the mad endeavour

　　梦想驱除：这疯狂的愚念

　　Would scourge thee to severer pangs.

　　会陷你于更难堪的痛苦。

　　Be as thou art. Thy settled fate,

　　安份吧既定的命运虽阴暗，

　　Dark as it is, all change would aggravate.

　　改变却只会加深你的灾难。

〔英国〕.雪莱《西风颂》赏析

《〔英国〕.雪莱·西风颂》经典诗文赏析

一

哦，犷野的西风，秋之实体的气息!

由于你无形无影的出现，万木萧疏，

似鬼魅避驱魔巫师，蔫黄，魃黑，



苍白，潮红，疫疠摧残的落叶无数，

四散飘舞;哦，你又把有翅的种籽，

凌空运送到他们黑暗的越冬床圃;



仿佛是一具具僵卧在坟墓里的尸体，

他们将分别蛰伏，冷落而又凄凉，

直到阳春你蔚蓝的姐妹向梦中的大地



吹响她嘹亮的号角(如同放牧群羊，

驱送香甜的花蕾到空气中觅食就饮)

给高山平原注满生命的色彩和芬芳。



不羁的精灵，你啊，你到处运行;

你破坏，你也保存，听，哦，听!

二

在你的川流上，在骚动的高空，

纷乱的乌云， 那雨和电的天使，

正象大地凋零枯败的落叶无穷，



挣脱天空和海洋交错缠接的枯枝，

飘流奔泻， 在你清虚的波涛表面，

似凶狠的麦纳德头上竖起闪亮发丝;



从那茫茫地平线阴暗的边缘，

直到苍穹的绝顶， 到处散布着

迫近的暴风雨飘摇翻腾的发卷。



你啊， 垂死残年的挽歌， 四合的夜幕

你在聚集的全部水气威力的支撑下，

将构成他那庞大墓穴的拱形底部。



从你那雄浑磅礴的氛围， 将迸发

黑色的雨、水、冰雹， 哦， 听啊!

三

你， 哦， 是你把蓝色的地中海，

从梦中唤醒， 他在一整个夏天

都酣睡在巴雅湾一座浮石岛外，



被澄澈的流水喧哗声催送入眠，

梦见了古代的楼台、塔堡和宫闱，

在强烈汹涌的波光里不住地抖颤，



全部长满了蔚蓝色苔藓和花卉，

馨香馥郁，如醉的知觉难以描摹。

哦，为了给你让路，大西洋的水



豁然开裂，而在浩淼波浪澜深处，

海底的花藻和枝叶无汁的丛林

哦， 由于把你的呼啸声辩认出，



一时都惨然变色，胆怵心惊，

战栗着自行凋落，听，哦，听!

四

我若是一朵轻捷的浮云能和你同飞，

我若是一片落叶，你所能提携，

我若是一头波浪能喘息于你的神威，



分享你雄强的脉膊， 自由不羁，

仅次于，哦，仅次于不可控制的你;

我若能象在少年时，作为伴侣，



随你同游天际，因为你那时节，

似乎超越你天界的神速也不为奇迹，

我也就不至于象现在这样急切。



向你苦苦祈求。哦，快把我扬起，

就象你扬起波浪、浮云、落叶!

我倾覆于人生的荆棘! 我在流血!



岁月的重负压制着的这一个太象你，

象你一样， 骄傲， 不驯， 而且敏捷。

五

象你以森林演奏， 请也以我为琴，

哪怕我的叶片也象森林一样凋谢!

你那非凡和谐的慷慨激越之情，



定能从森林和我同奏出深沉的秋乐，

悲怆却又甘冽。但愿你勇猛的精灵

竟是我的魂魄， 我能成为剽悍的你!



请把我枯萎的思绪播送宇宙，

就象你驱遣落叶催促新的生命，

请凭借我这韵文写就的符咒，



就象从未灭的余烬扬出炉灰和火星，

把我的话语传遍天地间万户千家，

通过我的嘴唇， 向沉睡未醒的人境，



让预言的号角奏鸣! 哦，风啊，

如果冬天来了， 春天还会远吗?

(江枫 译)

这首诗是雪莱——一个时代的歌手对旧世界唱出的挽歌，对一个僵尸般的社会的“符咒”，也是他对人类未来充满信心的预言。

诗人生活的时代正是法国大革命风起云涌继而又逆转直下的年代，充满热情的诗人和许许多多先进的资产阶级知识分子一样，感到万分失望。然而，雪莱并没有消沉，没有象那些消极浪漫主义者那样，逃进自己营造的艺术象牙之塔中，而是站在时代的风口，引吭高歌，象一只云雀， 冲破乌云，歌唱人类的光明前途，预报新时代的来临。《西风颂》正是在这样的背景下，诗人心灵的袒露。

《西风颂》前后分成五节，诗的前三节主要是正面写西风以及西风过处世间万物的景象和反应。在诗人笔下，西风是无所畏惧的，是秋之实体的气息，是不羁的精灵;它有巨大的破坏力，使万木萧疏，将种籽凌空吹送，遣动天空的乌云，鞭笞一切腐败，将沉睡的地中海(暗指地中海国家)从梦中唤醒， 大西洋的水也不得不给它让路，海水深处的花藻也因它的神威而惨然变色(洋底的植物也和陆地上的植物一样，也因季节的变化而有相同的反应)，总之， 它所到之处无不留下它破坏的痕迹。

在第四节和第五节中，诗人的形象出现在读者面前。他希望自己能同这强劲的西风一起去摧毁腐朽、丑恶的一切，能象西风那样有雄强的脉膊， 自由不羁。因为诗人觉得，自己也和这西风一样被压抑得太久了，现在是秋天了，是迸发的时候了，他愿西风带他一起去扫荡这个垂死的世界。值得注意的是，诗人在第五节中表现出无私的涅槃精神——如果西风将森林吹奏，可以“我”为琴;如果“我”的身上存在着枯萎的思绪，请将我吹散，表现了诗人无私、坦白的胸襟。至此，诗人革命者、“人类立法者”的形象出现在读者面前。

诗人以奇特的比喻，恣意汪洋的想象，深刻的象征，给我们呈现出一幅色彩庞杂、空间广博的画面。如果我们了解了它的背景，我们就不难为诗中的各种物象找到对应。诗人的想象令人叹服——万木萧疏，似鬼魅避驱魔巫师(生动);种籽在空中飘飞，是有翅的种籽(贴切);号角吹送出生命的色彩和芬芳(奇妙的通感);花藻等惨然色变(恰如其分的人格化)……那雨和电在海面上则象麦纳德(酒神Dionysus的女崇拜者，喜狂舞，披头散发;头上伸出藤条或毒蛇)头上的头发;狂风吹动森林， 则似拨动琴弦。这一切都让人们领略到浪漫主义的绮丽丰采。

这首诗气势雄浑，境界开阔，主要意象西风和辅助意象海洋、枯叶等浑然一体，构成诗人的外化感情。难能可贵的是，这样奔放的诗，竟用极其严格的形式写出。全诗采用三行联环体(terza rima，但丁《神曲》亦用此韵式写成)的形式，每句采用抑扬格五音步， 句末押ABA，BAB，CDC，DED，EE韵， 读起来铿锵有力。 由于每节换韵， 所以不显单调。雪莱不愧是“戴着镣铐跳舞”的高手。

(义海)

经典赏析：雪莱《西风颂》

这首《西风颂》是雪莱在1819年秋天的一个傍晚，在意大利佛罗伦萨附近阿诺河畔树林中遇上风暴有感而写的。此诗共五节，每节形式如一首十四行诗，包括四组交错押运的三行诗节（terza rima，按aba bcb cdc ded押韵）和一组双行体（couplet），每行都是五步抑扬格（iambic pentameter）。这种韵律和节奏，再加上大量的跨行诗句的运用，形式和主题紧密结合，形成连续不断的诗行和一环扣一环的相互衔接的韵律（interlocking rhyme），形象逼真地模拟了一阵接一阵的强劲西风所向披靡的磅礴之气，既传神又达意。 整首诗中意象纷繁迭起，气势狂放，感情跌宕，充满哲理，特别是句末的那句设问“假如冬天已到，春天还会远吗？”更是鼓舞了当时和后来全世界向旧世.界进行斗争的人们，成为千古绝句。

《西风颂》赏析

全诗共五节，由五首十四行诗组成。从形式上看，五个小节格律完整，可以独立成篇。从内容来看，它们又融为一体，贯穿着一个中心思想。

第一节描写西风扫除林中残叶，吹送生命的种籽。

第二节描写西风搅动天上的浓云密雾，呼唤着暴雨雷电的到来。

第三节描写西风掀起大海的汹涌波涛，摧毁海底花树。三节诗三个意境，诗人想象的翅膀飞翔在树林、天空和大海之间，飞翔在现实和理想之间，形象鲜明，想象丰富，但中心思想只有一个，就是歌唱西风扫除腐朽、鼓舞新生的强大威力。

从第四节开始，由写景转向抒情，由描写西风的气势转向直抒诗人的胸臆，抒发诗人对西风的热爱和向往，达到情景交融的境界，而主旨仍然是歌唱西风。因此，结构严谨，层次清晰，主题集中，是《西风颂》一个突出的艺术特点。

《西风颂》采用的是象征手法，诗人用优美而蓬勃的想象写出了西风的形象。那气势恢宏的诗句、强烈撼人的激情把西风的狂烈、急于扫除旧世界创造新世界的形象展现在人们面前。诗中比喻奇特，形象鲜明，枯叶的腐朽、狂女的头发、黑色的雨、夜的世界无不深深地震撼着人们的心灵。

其创作灵感：

据雪莱自注称：“这首诗构思在佛罗伦萨附近阿诺河畔的一片树林里，主要部分也在那里写成。那一天，孕育着一场暴风雨的暖和而又令人振奋的大风集合着常常倾泻下的滂沱秋雨的云霭。果不出所料，雨从日落下起，狂风暴雨里夹带着冰雹，并且伴有阿尔卑斯山南地区所特有的气势宏伟的电闪雷鸣。”

这涤荡大地、震撼人间的大自然的雄伟乐章，触发了诗人的灵感。于是，自然界和人世间的狂风暴雨一同生起在他的笔下，倾泻为激昂慷慨的歌，他的最负盛名的抒情短诗《西风颂》就此诞生。