第一篇：She Walks in Beauty的英文鑒賞

The Appreciation of She Walks in Beauty Byron is one of the most excellent representatives of English Romanticism and one of the most influential poets of the time.His literary career was closely linked with the struggle and progressive movements of his age.He opposed oppression and slavery, and has an ardent(passionate)love for liberty.He praised the people’s revolutionary struggles in his works.His poems are favorites of the British workers and the laboring people of other countries.Byron’s poems show energy and vigor, romantic daring(bold, brave)and powerful passion.He stands with Shakespeare and Scott among the British writers who exert the greatest influence over the mainland Europe and the Chinese youth greatly.But some critics think many of his lines are harsh(unkind), rugged(rough)and not rhythmical.Some poems show his individual heroism and pessimism.“She Walks in Beauty” is frequently considered one of his most powerful works.It is an eighteen-line poem, much shorter than Byron's famous narrative poems, like Childe Harold's Pilgrimage or Don Juan.But despite its relative brevity, ”She Walks in Beauty“ has become one of the most well-known and easily recognized poems written by Byron.It is a lyric poem centering on the extraordinary beauty of a young lady.Lord Byron wrote the poem in 1814 and published it in a collection, Hebrew Melodies, in 1815.As the name of the volume suggests, the poems in that volume were written to be set to music.On the evening of June 11, 1814, Byron attended a party with his friend, James Wedderburn Webster, at the London home of Lady Sarah Caroline Sitwell.Among the other guests was the wife of Byron’s cousin, the beautiful Mrs.Anne Beatrix Wilmot, who was newly widowed and wore a black mourning gown brighten with spangles.Her exquisite good looks dazzled Byron and inspired him to write “She Walks in Beauty.”

As the title says, She walks in beauty, the main theme of the poem is the description of a lady, the enumeration of certain qualities that the author considers give her beauty.The introduction of the verb to “walk” in the title is important because it gives connotations of advancing, not only in space but also in time.It makes reference to the movement of walking, introducing the reader this way into a reading which is going to be constant through out the entire poem.The poem uses images of light and darkness interacting to describe the wide spectrum of elements in a beautiful woman's personality and looks.Unlike common love poetry, which makes the claim that its subject is filled with beauty, this poem describes its subject as being possessed by beauty.This woman does have beauty within her, but it is to such a great degree that she is actually surrounded by it, like an aura.To some extent, her positive attributes create her beauty, and so the poem makes a point of mentioning her goodness, her serenity, and her innocence, which all have a direct causal effect on her looks.The three six-line stanzas of this poem all follow the same rhyme scheme and the same metrical pattern.There are only six rhyming sounds in this eighteen-line poem because the poem rhymes ababab, cdcdcd, efefef.Oftentimes poets use their poetic structures to mirror what the poem's chief concerns are.Poetic form—stanzas and meter—and content—what the poem's subject is—are almost always related.The meter is also very regular—iambic tetrameter.The pairing of two rhyming sounds in each stanza works well because the poem concerns itself with the two forces—darkness and light—at work in the woman's beauty, and also the two areas of her beauty—the internal and the external.The rhyming words themselves, especially in the first stanza, have importance: notice how ”night“ rhymes with its opposites, ”light“ and ”bright,“ in the same way that this woman contains the two opposing forces in her particular type of beauty.The first couple of lines can be confusing if not read properly.Too often readers stop at the end of the first line where there is no punctuation.This is an enjambed line, meaning that it continues without pause onto the second line.That she walks in beauty like the night may not make sense as night represents darkness.However, as the line continues, the night is a cloudless one with bright stars to create a beautiful mellow glow.The first two lines bring together the opposing qualities of darkness and light that are at play throughout the three verses.The remaining lines of the first verse employ another set of enjambed lines that tell us that her face and eyes combine all that's best of dark and bright.No mention is made here or elsewhere in the poem of any other physical features of the lady.The focus of the vision is upon the details of the lady's face and eyes which reflect the mellowed and tender light.She has a remarkable quality of being able to contain the opposites of dark and bright.The third and fourth lines are not only enjambed, but the fourth line begins with an irregularity in the meter called a metrical substitution.The fourth line starts with an accented syllable followed by an unaccented one, rather than the iambic meter of the other lines, an unaccented syllable followed by an accented one.The result is that the word ”Meet“ receives attention, an emphasis.The lady's unique feature is that opposites ”meet“ in her in a wonderful way.The second verse tells us that the glow of the lady's face is nearly perfect.The shades and rays are in just the right proportion, and because they are, the lady possesses a nameless grace.This conveys the romantic idea that her inner beauty is mirrored by her outer beauty.Her thoughts are serene and sweet.She is pure and dear.The last verse is split between three lines of physical description and three lines that describe the lady's moral character.Her soft, calm glow reflects a life of peace and goodness.This is a repetition, an emphasis, of the theme that the lady's physical beauty is a reflection of her inner beauty.Lord Byron greatly admired his cousin's serene qualities on that particular night and he has left us with an inspired poem.Before you go any further, we should warn you: ”She Walks in Beauty“ is not a love poem.Sure, it's a celebration of a woman's beauty, but the speaker never says he's in love with her.He just thinks she's really, really gorgeous.The poem is about an unnamed woman.She's really quite striking, and the speaker compares her to lots of beautiful, but dark, things, like ”night“ and ”starry skies.“ The second stanza continues to use the contrast between light and dark, day and night, to describe her beauty.We also learn that her face is really ”pure“ and ”sweet.“ The third stanza wraps it all up – she's not just beautiful, she's ”good“ and ”innocent," to boot.The theme of the poem is the woman's exceptional beauty, internal as well as external.The first stanza praises her physical beauty.The second and third stanzas praise both her physical and spiritual, or intellectual, beauty.Byron presents an ethereal portrait of the young woman in the first two stanzas by contrasting white with black and light with shadow in the same way that nature presents a portrait of the firmament—and the landscape below—on a cloudless starlit evening.He tells the reader in line 3 that she combines “the best of dark and bright”(bright here serving as a noun rather than an adjective)and notes that darkness and light temper each other when they meet in her raven hair.Byron's words thus turn opposites into compeers working together to celebrate beauty.

第二篇：英文詩歌鑒賞

英文詩歌賞析

導引

詩歌是一種精美的藝術，趣味高一點的人一般都喜歡詩歌。受過良好教育的中國人都會背誦若干首古詩。現在人們很重視學習英文，學習英文，視野也應寬闊一些，也應當對英文詩歌多少有些領略才好。中國文學中詩歌成就極大，英語文學中，詩歌也極其豐富多彩。語言藝術的最高表現形式在詩歌。如果只是知道實用性的英文，只學習商業英文、法律英文等英文，對英語文學毫無修養，對英文詩歌一無所知，那將是一個不小的遺憾，將會影響到審美能力的發展和提高，學英文而不懂英文詩歌，不僅從審美角度看是一個遺憾，而且從英語學習這一角度看，不學一些英文詩歌，其英語水平也達不到很高的層次。詩歌語言最精煉，語匯最豐富，表達形式最精美，語言的色調最細膩。如果對詩歌有一定修養，其語言表達能力會大大提高。試想一個學漢語的人，如果對唐詩宋詞一無所知，其漢語水平不會很高。學英語者也是如此。如果他對莎士比亞、彌爾頓、華茲華斯、拜倫、雪萊、濟慈等人的著名詩篇一竅不通，其英文水平也不會很高。

總之，有一定英語基礎的人不能不更上一層樓，讀一點英文詩。這不僅有助于提高我們的文學素養，豐富我們的審美能力，也有助于提高我們的英語水平。

英詩基礎知識

讀英文詩歌相當不容易。其中的主要原因是詩歌有其獨特的語言特點和表達方式，與散文有明顯區別。為更好地欣賞英文詩歌，很有必要了解一些相關的基本知識。這方面的知識極其細致，以下只介紹一些最基本的。

一 節奏

詩歌是具有音樂性的語言。音樂作品的最大特點之一是音符的流動是有節奏的。所謂節奏就是強拍和弱拍按一定的形式配合起來，有規律地反復出現。懂點音樂的人都知道，音樂中基本的節奏有兩種，即強——弱（2/4拍）和強——弱——弱（3/4拍）。舉兩個簡單的例子：

《東方紅》的節奏就是強——弱： 56│2 —│1 16│2 —│5 5│6i 65│1 16│2 —│

《新年好》（HAPPY NEW YEAR）這首兒歌的節奏是強——弱——弱： 11 1 5 │33 3 1│13 5 5 │43 2 —│23 4 4 │32 3 1│13 2 5│72 1 —│

中國古詩有節奏。其節奏主要是通過漢字特有的聲調表現出來的。傳統漢語中的聲調有四：平、上、去、入。平聲稱“平聲”，上、去、入三聲統稱仄聲。平聲與仄聲結合起來反復出現，就是中國詩歌的節奏。如一首五言絕句，其最常見的節奏是：

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。此詩即是這樣的節奏。其中“欲”字是仄聲，與格式不合。但根據格律要求，詩行中的第一字可平可仄。

英文詩歌也有節奏。英文沒有平聲、仄聲之分，但有重讀輕讀音節之分，其節奏是通過重讀音節與輕讀音節表現出來的。一個重讀音節與一個或兩個輕讀音節按一定的模式搭配起來，有規律地反復出現就是英文詩歌的節奏。

我們知道凡是有兩個以上音節的英文單詞，都有重讀音節與輕讀音節之分，在一句話中，根據語法、語調、語意的要求，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，重讀的音節和輕讀的音節，按一定模式配合起來，反復再現，組成詩句，聽起來起伏跌宕，抑揚頓挫，就形成了詩歌的節奏。多音節單詞有重音和次重音，次重音根據節奏既可視為重讀，也可視為輕讀。讀下面這兩句詩：

Alone │she cuts │and binds│ the grain, And sings │a me│lancho│ly strain.這兩行詩的重讀與輕讀的固定搭配模式是：輕——重。在每行中再現四次，這樣就形成了這兩行詩的節奏。某種固定的輕重搭配叫“音步”（foot），相當與樂譜中的“小節”。一輕一重，就是這兩行詩的音步。一行詩中輕重搭配出現的次數叫音步數，這兩行詩的音步數都是四，所以就稱其為四音步詩。

二 常見的音步類型

音步是輕讀與重讀構成的。根據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，節奏自然也不同。最常見的音步類型有以下四種：

（一）抑揚格

如果一個音步中有兩個音節，前者為輕，后者為重，則這種音步叫抑揚格音步，其專業術語是（iamb, iambic.）。輕讀是“抑”，重讀是“揚”，一輕一重，故稱抑揚格。

英語中有大量的單詞，其發音都是一輕一重，如adore, excite, above, around, appear, besides, attack, supply, believe, return等，所以用英語寫詩，用抑揚格就很便利。也就是說，抑揚格很符合英語的發音規律。因此，在英文詩歌中用得最多的便是抑揚格，百分之九十的英文詩都是用抑揚格寫成的。前面的那兩句詩就是抑揚格詩。

（二）揚抑格

如果一個音步中有兩個音節，前者為重，后者為輕，則這種音步叫揚抑格音步，其專業術語是（trochee, trochaic.）。重讀是“揚”，輕讀是“抑”，一重一輕，故稱揚抑格。與抑揚格恰好相反。

英語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。寫揚抑格的詩，此類詞正好合適。但這類詞在英語中其數量不及前面的那些多，與英文的語言規律不十分吻合，所以揚抑格詩不多。舉兩句詩例：

Present │mirth has │present │laughter Shakespeare Shake your │chains to │earth like │dew Shelley

（三）抑抑揚格

抑抑揚格含三個音節，即輕——輕——重，專門術語是：Anapaest, anapaestic 例詞：

cavalier, intercede, disbelieve, reappear, disapprove, indistinct, on the hill.例句：

拜倫的以下四行詩是抑抑揚格：

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 這是拜倫寫的描述古代亞述人圍攻耶路撒冷，被瘟疫所襲的詩的一節。第四行第二音步中的waves 一詞可輕可重。詩題中的Sennacherib 是亞述國王。fold 指羊群，purple and gold 描寫亞述軍隊的服飾，Galilee，巴勒斯坦北部的加利利湖。cohorts軍團，sheen，光芒。

（四）揚抑抑格

重——輕——輕是揚抑抑格，專門術語是：dactyl, dactylic.例詞：

happily, merciful, eloquent, messenger, merrily, properly, accident, quantity.例句：

Dragging the │corn by her │golden hair.Davies: the villain.英文詩歌中的音步類型有十幾種之多，常見者即此四種，第一種則最常見。此外詩句中也常有抑抑格（pyrrhic[/peirik]和揚揚格(spondee[/sp :ndi])出現。

需要說明的是，這些音步類型只是理論上的分析，實際上，一首詩僅用一種音步類型寫，這種情況極少見，大多是以某一種為主，同時穿插其他類型。如果一首詩只含有一種音步，就會顯得非常單調機械。一首詩只要是以某種類型為主的，盡管有其他類型穿插其中，也稱此詩為某某格。如，以抑揚格為主要節奏寫成的，就稱此詩為抑揚格詩。現代興起的一些自由詩（FREE VERSE），不受這些格律的限制。

三 詩行

（一）一詩行不一定是一個完整的句字。

英文詩每行的第一個字母都大寫，但是一詩行不一定是一個完整的句子，不一定能表達一個完整的意思。有時候，一行詩正好是一句，有時兩行甚至許多行才構成一個意思完整的句子。前者叫end-stopped line（結句行），后者叫run-on line.（跨行句）。這是英文詩與中國詩的最大區別之一。中國詩歌都是一行表達一個完整的意思。看下面一節詩：

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，行末停頓較短。跨行句在英文詩歌中極其普遍，有時十來行才成一完整句子。剛學英文詩的人，對此往往不習慣。對此我們需加注意。

（二）詩行的長短以音步數目計算：

英文詩行的長度范圍一般是一音步——五音步。六、七、八音步的詩行也有，但不多。最多的是四音步、五音步的詩。

（各種長短詩行的專門術語：一音步詩：monometer 二音步詩：dimeter三音步詩：trimeter四音步詩：tetrameter 五音步詩：pentameter 六音步詩：hexameter 七音步詩：heptameter八音步詩：octameter.）

在分析一首詩的格律時，既要考律此詩的基本音步類型，也要考律此詩中詩行的音步數目。看下面的一首短詩：

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。可任你怎么敲打，也無人把門打開。pate，腦袋。fancy，動詞：以為，想象。）

此詩的基本音步類型是抑揚格，每行五音步。因此稱此詩的格律是“抑揚格五音步”（iambic pentameter）。一首詩的音步類型和詩行所含的音步數目構成此詩的格律（meter）。

四 壓韻（rhyme）英文詩一般都押運韻。

（一）全韻與半韻（full rhyme and half rhyme）。全韻是嚴格的押韻，其要求是：

（1）韻要押在重讀音節上，其元音應相同；（2）元音前的輔音應不同；（3）如果元音之后有輔音，應相同。（4）重讀音節之后如有輕讀音節，也應相同。下面幾對詞都符合全韻的標準： why---sigh;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），雖然詩人有時用之，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）尾韻與行內韻(end rhyme and internal rhyme)押在詩行最后一個重讀音節上，叫尾韻。這是英文詩歌最常見的押韻部位。詩行中間停頓處的重讀音節與該行最后一個重讀音節押韻者，叫行內韻。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行中重讀的末尾音節上，稱男韻，也叫單韻，聽起來強勁有力。如：late, fate;hill, fill;enjoy, destroy.押韻押在兩個音節上，后一音節非重讀音節，稱女韻，也叫雙韻，聽起來或輕快，或幽婉。如：lighting, fighting;motion, ocean;wining, beginning.看下面一節詩：

I am coming, little maiden, hate---late;

fight---delight;

powers---flowers;

today---away;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。

也有不少英文詩是不押韻的，不押韻的詩稱無韻詩或白體詩（blank verse）。多用在戲劇和敘事詩中。莎士比亞的戲劇和彌爾頓的Paradise Lost 都是用blank verse寫成的。押韻的詩叫rhymed verse。無韻詩不同與自由詩。無韻詩雖不押韻，但是有固定節奏，以揚抑格五音步最常見。自由詩節奏不固定，如同白話。

詩選及講解

A SELECTION OF ENGLISH POETRY FOR AN OPTIONAL COURSE OF THE UNDERGRADUADTES William Shakespeare（1564—1616）作者簡介：

劇作家、詩人。一生創作三十七部戲劇，154首十四行詩。其十四行詩大部分是獻給一位貴族青年，有二十余篇則是獻給一位“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 第二人稱單數代詞，前者主格，后者賓格。現已為you 所取代。其所有格是thy，或thine, 即現代英語的your。

Art = are.16、17世紀時與thou連用。

Temperate: 來自拉丁文temperātus，讀時為符合押韻規則，可將重音放后。Shake：shake off。

Lease 租借期限，此處指夏天的長度。

Hath 與第三人稱單數連用，相當于現代英語的has。Dimmed: clouded.Fair form fair: beautiful thing from beauty.前后fair意義不同。Declines from beauty。Chance：極緣，時運，命運。

And every fair from fair sometimes declines,/By chance, or nature?s changing course, untrimm?d：每一個美人總要失去美貌，即使沒有突發的以外事件，也逃不過自然界生老病死的變遷。Sometimes: 有的版本作“sometime”: at some unspecified time.Untrimm?d: untrimmed.本意為剝去美觀的衣服等，此處隱喻奪去美貌等。

Fair thou ow?st: beauty you own.莎士比亞時代，owe與own通用。古英語第二人稱單數后加-st或-est His shade：shadow of death.“Nor shall Death brag thou wander?st in his shade”：“死神無從夸口，說你在他的陰影里徘徊”。

To time thou grow?st: you grow as long as time lasts.與時間同壽。Grow to = be incorporated with.內容解析：

此詩的發展變化：以人比夏天開始，以人勝自然終結。前四行說明人比夏天更美更溫和；中四行發展了這個意思，引到駐顏無術的感慨；第三組則新意突起，推翻前言，終于于勝利的末兩行作結。此詩表達了這樣一種思想：美麗的事物可以依靠文學的力量而永遠不朽；文學是人所創造的，因此這有宣告了人的不朽。因此此詩不是一般的愛情詩。

形式解析：

sonnet：十四行詩，即“商籟體”詩。此詩體起源不明，最早的例子出現于13世紀，16世紀在英國出現。主要有意大利式和英國式兩種變體。意大利詩人Petrarch [/petra:k]用此詩體最精熟，故意大利式又稱Petrarchan sonnet。英國式由莎士比亞創立，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，層次上分前四行，中四行，后四行和結尾兩行。韻尾為：abab, cdcd, efef, gg。格律是抑揚格五音步。

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： 狂風會吹落五月的好花兒，夏季的生命又未免結束得太快： 有時候蒼天的巨眼照得太灼熱，他那金彩的臉色也會被遮暗； 每一樣美呀，總會離開美而凋落，被時機或者自然的代謝所摧殘； 但是你永久的夏天決不會凋枯，你永遠不會失去你美的儀態； 死神夸不著你在他影子里躑躅，你將在不朽的詩中與時間同在； 只要人類在呼吸，眼睛看得見，我這詩就活著，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: ]國王與其幾位朝臣立誓三年之內摒棄一切世俗的快樂，致力于研究學問。其中的一條是：三年之中不可與女子交談一次。不久法國公主攜幾名侍女來辦理國務，國王和朝臣門守不住自己的誓言，愛上了這幾個女子。最后公主的父親去世，公主要持戒三年，國王和朝臣們的求愛也化為泡影。此詩在此劇之結尾處。

注釋：

daisies pied：雜色的雛菊。

lady-smock：也作lady?s-smock 花名：布谷鳥剪秋羅。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）與（雌鳥）交配。

rooks and daws：白嘴鴉和穴鳥。內容解析：

春天里百花爭艷，萬象更新，情人們沉醉于甜蜜的愛情之中。但樹梢上布谷鳥的叫聲卻似乎在不斷提醒人們：愛情并不可考。此詩有反諷意味，與劇情一致。英國詩人甘貝爾（Thomas Campbell，1777—1844）在 Freedom and Love一詩中說：“Love has bliss, but love has ruining/ Other smiles may make you fickle/ Tears for other charm may trickle。”

形式解析：抑揚格四音步，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： 當雜色的雛菊開遍牧場，藍的紫羅藍，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； 聽杜鵑在每一株樹上叫，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。當無愁的牧童口吹麥笛，清晨的云雀驚醒了農人，斑鳩烏鴉都在覓侶求匹，女郎們漂洗夏季的衣群； 聽杜鵑在每一株樹上叫，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》是莎士比亞重要劇作之一，寫于1601年。劇中的主人公是丹麥王子Hamlit。哈姆萊特的父親，即丹麥國王，被哈姆萊特的叔父Claudius秘密害死，不到兩個月，又與哈姆萊特的母親，即王后，結婚。還竊取了王位。哈姆萊特的叔父Caudius是個壞透頂了的人。哈姆萊特則是一位有理想、有道德的人，他決心要為父親報仇。為了不被看出來，他裝成瘋子。哈姆萊特要為父親報仇，但中間有其母親穿插其間，這使他心情極其復雜，于是整日心情抑郁，產生了厭世情緒。于是真的有點瘋瘋顛顛了。劇情很曲折，大家可在課外找有關資料讀。推薦讀讀英漢對照本《莎士比亞戲劇故事》（Tales from Shakespeare, by Charles Lamb and Mary Lamb, 蕭乾、文潔若翻譯。商務印書館1984年出版。）

這段獨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、報復與寬容等等人生中的永恒矛盾，批判了現實世界的黑暗，富有深刻的哲理意味。出現在原劇第三幕第一場。

注釋： slings and arrows of outrageous fortune: 狂暴命運的矢石交攻。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: 無數要承受的皮肉之苦，與“heartache”相對。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局。Consummation：final settlement of everything.To sleep—perchance to dream: ay, there?s the rub!睡眠也許要做夢，嗨，那就成問題了。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，give 是謂語。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.這一顧慮使漫長歲月成了災難。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.無禮對待。

The pangs of despised love：失戀的痛苦。Pang：痛苦。Despised 之重音在第一音節。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;the unworthy: 小人。

Quietus [kai/i:t s]: acquittance, release, 卸去（義務、責任）A bare bodkin: a mere poniard.短劍，匕首。Fardels: bundles, burdens.Grunt: groan, 哼，呻吟.Bourn: 領域

Conscience: 思考，顧慮，良心。sicklied o?er：sickly: 使出現病態

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 內容分析：這斷獨白是傾訴人生的根本苦悶和基本矛盾。受到壓迫了，應該反抗，但往往結果是適得其反。事事忍讓，卻又心中不能平衡。干事業需果斷有魄力，但也得深思熟慮，三思而行。但是顧慮太多，縮手縮腳又會疲軟，行動不起來。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奈。

形式分析：

這是莎士比亞戲劇最著名獨白(soliloquy)，用的是抑揚格五音步“白體詩”（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，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：這是個問題” 活下去還是不活，這是個問題； 要做到高貴，究竟該忍氣吞聲 來容受狂暴的命運矢石交攻擊呢，還是該挺身反抗無邊的苦惱，掃它個干凈？死，就是睡眠—— 就這樣；而如果睡眠就等于了結了 心痛以及千百種身體要擔受的 皮痛肉痛，那該是天大的好事，正求之不得啊！死，就是睡眠； 睡眠也許要做夢，這就麻煩了！我們一旦擺脫了塵世的牽纏 在死的睡眠里還會做些什么夢，一想到就不能不躊躇。這一點顧慮 正好使災難變成了長期的折磨。誰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，如果他只消自己來使一下尖刀 就可以得到解脫啊？誰甘心挑擔子，拖著疲累的生命，呻吟，流汗，要不是怕一死就去了沒有人回來的 那個從未發現的國土，怕那邊 還不知會怎樣，因此意志動搖了，因此就寧愿忍受目前的災殃，` 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，由于這一點想不通，就出了別扭，失去了行動的名份。（卞之琳）Thomas Nash(1567—1601)作者簡介：劇作家、詩人，小說家，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： 注釋：

the year?s pleasant king：一年四季中以春天為最歡樂的時期。King 即比喻歡樂之最，也兼指一歲之首。

Cold doth not sting：doth：古英語do 的第三人稱現在事態形式。the pretty birds do thing：do 是為了韻律的需要而加進去的。

Cuckoo, jug-jug, pu-we, to-witta-woo： Cuckoo, 布谷鳥的叫聲； 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，故名 may。

And we hear aye birds tune this merry lay：aye：古英語副詞，always，ever。Tune：動詞：唱。Lay 歌曲。

old wives a-sunning sit：sit是謂語動詞。a-sunning：曬太陽，作狀語。a-作為特殊介詞，后跟動名詞，表示在進行什么活動。如 He went a-fishing.現代說法是：He went fishing.these tunes our ears do greet：these tunes do greet our ears.內容解析：此詩節奏明快，旋律強烈，生動地描繪出了一幅春回大地，生機昂然的畫面。形式解析：主要是揚抑格五音步，韻式是aaab, cccb, dddb.三節最后一行是疊句（refrain）；每節除末一行外，其他三行都用行內韻（internal rhyme），即第二音步的第二個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，參考價值不不大。）John Milton(1608—1674)作者簡介：英國詩人，思想家、政論家。從小好學，經常開夜車，四十余歲失明。晚年在失明的情況下，寫成了偉大史詩《失樂園》（PARADISE LOST）。其內容是演述《圣經》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。《五月晨歌》是早期作品，成于二十一歲時，格調十分清新。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、長庚星等。早晨在東方出現。晚上在西方出現，叫長庚，英文作“evening star”.。同是一顆星，即Venus。

harbinger [/ha: bind ]先導，先兆 primrose [/primroz] 櫻草花，報春花。Bounteous [/baunti s] 慷慨的

of thy dressing：dressed in thy fashion Dost：第二人稱現在時單數。即do Doth: 一般用于第三人稱單數，但彌爾頓也常常用于復數。在他的作品中很常見。著名英語專家陸佩弦總結彌爾頓的語言特點，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能遇見。

Long: long life.形式分析：抑揚格穿插揚抑格（7、8兩行是揚抑格，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，她舞蹈著從東方帶來嬌侶，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 歡樂、青春和熱情的希望； 林木、樹叢是你的裝束，山陵、溪谷夸說你的幸福。我們也用清晨的歌曲向你禮贊，歡迎你，并且祝福你永恒無邊！Alexander Pope(1688—1744)作者簡介：蒲伯是18世紀英國最重要的詩人。作品很多。他還用英雄雙行體詩翻譯了荷馬史詩。文學上崇尚精雕細琢，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，當時天主教徒是受迫害的。一生基本上過的是隱居日子。《獨處誦》是其早期作品。自稱寫于12歲時。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.其意思相當于《中庸》上所說的“君子素位而行，不愿乎其外。”Jude The Obscure 中有一句話說：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：漫不經心，無憂無慮，悠然自得。第三節可以改寫成：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.他勞逸結合，有令人歡喜的娛樂活動，還有天真的性情。這天真的性情與沉思結合起來，最使他高興。

內容解析：避開塵世的煩擾，與世無爭，潛心學術，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，虛無無為”（《刻意》）之說有相似之處。陶淵明有幾句詩可以與此詩相參：“息交游閑業，臥起弄書琴。園蔬有余滋（生長得很多。滋：生長），舊谷猶儲今。營己良有極，過足非所欽。舂秫作美酒，酒熟吾自斟。弱子戲我側，學語未成吟。此事真復樂，聊用忘華簪（比喻高官厚祿）。”（《和郭主薄》其一）

形式解析：此詩五節，每節四行。韻尾是abab。節奏主要是四音步抑揚格(i/ambic te/trameter)，每節四音步：

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，唯有知足不貪心。只守祖上數畝田，但吸故園氣清新。綿羊產毛制衫袍，乳牛耕地供食飲。夏來密葉乘濃蔭，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，一身強健心氣平。讀書勞逸相結合，娛樂甜美悅人心。最佳勝景有冥思，極樂世界屬天真。死后不受世哀悼，生時豈令人見聞。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，蘇格蘭詩人。出身于偏僻鄉村。他的詩歌充分吸收了蘇格蘭民歌成分，熱情奔放，優美動聽，被譽為偉大的蘇格蘭民族詩人。19世紀英國浪漫主義詩歌運動的先驅。他的一些詩歌被譜寫成歌曲，廣為流傳。如《友誼地久天長》（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。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.可改寫為：as you are fair, my bonnie lass, so I am deep in love.你那么美，我也那么愛你。我愛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。古代人們在時鐘發明前，用玻璃器皿盛沙，使沙從小孔中漏過，以此計時。因此詩人常用沙漏中的沙比喻人生。

fare thee weel：goodbye.。Weel[wi:l] = well.Farewell: ”proceed happily“.Goodbye: 本來是”God be wy ye“(God be with you), 后縮寫成”God-bye“, 后來為與”good day“、“good night” 一致, “God bye” 又改成了“goodbye”.Tho? = though 內容解析： 這是彭斯最有名的愛情詩，節奏強烈，激情澎湃，很有感染力。但是此詩所表達的感情似乎不太深刻，其愛情似乎純粹是建立在容美貌的礎上的。容貌一衰退，很難保證海枯石爛不變心。另一英國詩人賈魯(Thomas Carew, 1594---1640)有一首名The True Beauty的詩，可拿來對彭斯的這首詩作注腳：

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、意志堅定。Hearts with equal love combined：正常語序為：hearts combined with equal love.能一視同仁的心靈。）

彭斯說他的愛人如同玫瑰花一樣美，他的愛與其愛人的美麗成正比，賈魯反過來說，誰追求玫瑰花一樣的容貌，誰的愛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。（彭斯是個沉溺于美酒、詩歌和愛情的人）。人的感情往往能沖破理智的說教，即使這種愛情不一定能長久，人們往往也要追求它。所以不能以說教的心態否定詩歌的藝術價值。形式分析：基本上是抑揚格，每節二、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），英國浪漫主義時期的大詩人，湖泮詩人（LAKE POETS）之首。1843年榮獲桂冠詩人稱號（Poet Laureate）。湖畔詩人是十九世紀英國的一個詩歌流派，這些人在英格蘭西北部的湖區（Lake district）居住、寫作。其主要成員除華茲華斯外，尚有柯勒律治（Samuel Taylor Coleridge）。華茲華斯對大自然情有獨鐘，經常去各地旅行漫游，對自然風光和田園生活有獨特的感受。他的詩的特點是通過描寫日常生活中的平凡場景激發心靈深處的感受，表現人性中真善美。素材多為自然風光、田園生活和素樸的農民。語言簡明，情真意切。讀之能使人產生無盡的遐思、精神上能受到有力的陶冶。

英國浪漫主義運動時間介于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：形式比較自由，想象豐富，傾向描寫孤獨的個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，但是水仙花的歡樂超過了浪花的歡樂。in glee, 就歡樂而言，在歡樂上。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，認為in glee是介詞短語作定語修飾waves 的，這樣也通，但不如視為狀語修飾全句為好。

Sprightly: 輕快地，活潑地。

Could not but: but: other than, except.But 用在否定詞后，構成雙重否定。如：there is no one but hopes rich.（沒有不想發財的人）There is no one but knows that.（那件事無人不知。）

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。因為心靈回歸其自我是一種高級的精神享受，所以如此說。

內容：此詩是詩人1804年回憶兩年前在英格蘭湖區漫游時看到一大片水仙的情景時寫成的。后經多此修該，到1815年才最終定型。當時的情景深深地因在了他心靈深處，幽居獨處時，就在心中顯現出來，給他帶來慰籍。可見詩人對自然的向往。我們讀之，猶如進入了空明潔凈的世界。

形式：全詩四節，每節的韻式是ababcc。韻律基本上是抑揚格四音步。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，遠處的。

No Nightingale did ever chauntMore 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如此動人的歌曲。Chaunt: chant的變體。

A voice so thrilling ne?er was heardIn 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[英國蘇格蘭西部] Perhaps the plaintive numbers flowFor 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、遙遠的悲歡離合，和很久以前的征戰，要么是一只平凡的曲子，唱的是今天日常小事，或者是那些曾經有過而且可能繼續出現的、常見的憂傷、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，雖然那歌聲早已聽不見了，但還是在我心底回響。Bear: 負擔，擔負，帶上。

內容：此詩寫的是蘇格蘭高原地區一農家少女獨自在田間勞動歌唱的情景。此一情景深深地觸動了詩人的心弦。為了讓這淳樸勤勞的女孩盡情地歌唱、盡情地抒發她的內心的世界，詩人不忍心驚動她，他想，要么就此止步，要么悄悄走開。夜鶯、布谷鳥的歌聲是天籟之聲，詩人說割麥女的歌聲比夜鶯、布谷鳥的歌聲還要動人，表名其歌聲是純真而自然的。農家女孩沒有受到城市生活的污染，如“清水出芙蓉，天然去雕飾”，獨自一人在空曠的田野，向大自然傾訴衷情，當然會打動向往大自然的詩人。今天，浮偽之風比其一百多年前詩人所處的那個時代，更厲害不知多少倍，因而此詩所描寫的情景更能引起人們的遐思神往。此詩的意境空靈飄逸，感情高潔真摯，極富浪漫氣息，沒有絲毫庸俗情調。

形式：此詩四節，每節八行，除第四是三音步外，其余七行都是四音步。抑揚格。每節的韻式為 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人，但是與華茲華斯為首的湖畔詩人有不同。拜倫政治上很激進，反對傳統，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，維護傳統價值，是所謂消極浪漫主義者。拜倫對湖畔詩人進行過攻擊。其實，拜倫只是一個出色的詩人，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等。《恰爾德·哈洛爾德游記》（楊熙齡譯，1959年上海文藝出版社。）是一部敘事長詩，是描寫作者游歷歐洲各國的抒情日記，由一個灰心失望的貴族青年哈羅德將全詩情節貫穿起來。《唐璜》[don/d u: n]也是一部敘事長詩，寫的是歐洲傳說中的傳奇人物唐璜浪漫冒險經歷，未完成。關于唐璜這個人物，歐洲各國有很多作品。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爆發前夕比利時首都布魯塞爾（Brussels, Belgium）上層人士盲目歌舞狂歡的場面。滑鐵盧是位于比利時首都以南約20公里的一個村莊，1815年英軍在此駐扎。呂希蒙公爵夫人設宴款待英軍將士，拿破侖乘其不備，于當晚突然襲擊。與英軍共同與拿破侖戰斗的還有荷蘭、比利時、德等國。最后拿破侖寡不敵眾，失敗。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 華麗的音樂旋律。Swell 本指大浪，此指樂聲蕩漾。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，就像結婚打鐘。

a deep sound strikes like a rising knell：一個沉悶的聲音就像正在敲響的喪鐘一樣傳來。Youth and Pleasure meetTo chase the growing hours with flying feet: 青春與歡樂結伴，用飛快的腳步追逐這煥發的時光。growing hours：令人起勁的時光。

As if the clouds its echo would repeat;天上的云好像又把它的回聲有重復了一次：意即聲音很大，會響很久。

Arm!arm!it is — it is —the cannon?s opening roar!拿起武器，拿起武器！這是大炮在展開咆哮。

gathering tears：不斷聚集的淚，越來越多的淚水。

cheeks all pale, which but an hour ago Blush?d at the praise of their own loveliness: 一小時以前因受到夸獎而羞紅的臉蛋兒，現在都發白了。

there were sudden partings, such as pressThe 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;很可能永遠不會再有的抽搐嘆息。因為可能是訣別，所很可能不會再有。

mustering squadron：集合的中隊 swiftly forming in the ranks of war;快速排成作戰隊形。Rank：隊列。

And the deep thunder peal on peal afar;And near, the beat of the alarming drumRoused up the soldier ere [e ]the morning star;遠處是一陣一陣的沉悶的雷鳴，近處是報警的鼓聲，不等啟名星出現，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.內容：此詩極其生動地描繪了舞會上的歡樂場面和大戰來臨之際的驚慌景象。舞會上英雄們風度翩翩，美人們含情脈脈，婆娑起舞，盡情狂歡。沒有想到，也不相信戰爭會在此時爆發。正在狂歡之際，大炮轟鳴起來。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。整個城市亂作一團。此詩的成功之處在于生動的場景描寫，極富戲劇性，讀之如身臨其境。英國小說家薩克雷（William Makepeace Thackeray）在起長篇小說《名利場》(Vanity Fair, 1847-48)第29章中對這場舞會也有非常出色的描寫。

形式：

此詩屬斯賓塞體(Spenserian stanza)，Edmund Spenser（1552？—99繼喬叟之后的最大詩人。）在The Faerie Queene 中創造了這種形式的詩節，故名。其形式是每節九行，前八行為抑揚格五音步，第九行為抑揚格六音步，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，也是浪漫主義時期的大詩人。極力主張自由，不僅主張政治上的自由，也主張男女之愛的自由。二十來歲時與一個名叫Harriet Westbrook 的女孩私奔并結婚。后來加入激進的哲學家 William Godwin 的學術圈子，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。財產制度、婚姻制度都該廢除。）后來雪萊又在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，并結婚，前妻自殺。Mary Wollstonecraft Godwin 寫過一本名為《為女權申辯》（A Vindication of the Rights of Woman）可謂現在女全運動的先驅人物。Godwin 也是主張愛情自由的，可是當雪萊與其女兒私本后，就不再如此主張了。三十歲時，雪萊溺水而死。其作品很多，代表作有長詩Prometheus[pru /mi: s] Unbound, Ode To The West Wind 等。我們要讀的是他的一首著名的愛情詩。One Word Is Too Often Profaned（TO——）(1)One word is too often profaned For me to profane it, One feeling too falsely disdained For thee to disdain it;One hope is too like despair For prudence to smother, And pity from thee more dear Than that from another,(2)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 star, Of the night for the morrow, The devotion to something afar Form the sphere of our sorrow? 注釋： 第一節

（1）One word is too often profanedFor me to profane it, 有一個詞匯被人濫用得不像樣子，我再也不忍心濫用它了。One word指love。Profane：褻瀆。

（2）One feeling too falsely disdainedFor thee to disdain it;有一種情感總是錯誤地遭到蔑視，你不該狠下心，再去蔑視它。One feeling：指對所愛的人的崇敬之情。

（3）One hope is too like despairFor prudence to smother, 有一個希望，它太難實現，和絕望差不多，請你不要顧慮重重、縮手縮腳，把它熄滅。（4）And pity from thee more dear Than that form another,:對我來說，你的愛憐比別人的都珍貴。詩人對其情人無比崇敬，如果其情人對詩人的這種心情不視而不見，以愛憐之心作出反應，對詩人來說當然無比珍貴。

第二節

（1）I can give not what men call love,But wilt thou accept not: 我不能向你奉獻世俗之人所謂的“愛”，但是難道你會忍心拒絕（以下幾種情感嗎）？wilt thou：you will.Wilt：第二人稱單數現在時的古式。此句與第一節的“One word is too often profanedFor me to profane it”對應。

（2）The worship the heart lifts aboveAnd the Heavens reject not, 如果心靈將它奉獻給蒼天，蒼天也不回絕的崇拜。意即這種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, 飛蛾對星星的期盼，以及黑夜對白晝的向往。Morrow ：〈文〉：tomorrow, morning.詩人把自己的處境比做黑夜，把所愛的人比做光明。

（4）The devotion to something afar Form the sphere of our sorrow? 在痛苦的塵世中對遙遠夢景的追求。這與第一節“One hope is too like despair”相呼應。Sphere 本義為球體，此處指世俗世界。

內容：此詩與彭斯的那首風格不同。前者外漏而淺顯，此詩深摯并有一定的哲理。雪萊認為愛情是從人的天性中自然流露出來的某種純潔的、柔嫩的情感，崇高而神圣。就像飛蛾對星星的期盼、黑暗對光明的向往、痛苦中對美好未來的追求一樣，是天地間自然而然產生的。這種情感一旦夾雜世俗生活中的庸俗觀念，就會被扭曲、被褻瀆。此與Plato哲學思想有關。實際情況也的確如此，人們基于世俗的考慮，這種高潔的東西經常被輕蔑、被褻瀆，以至于追求純潔愛情的希望幾乎與絕望相等。看來，不僅從我們現在從周圍的現實看是如此，在雪萊時代的英國，也是如此。可以說“愛情之難，難于上青天”。

形式：抑揚格與抑抑揚格相間。第二節最后四行顯然是抑抑揚格，有向前沖的勢頭，與內容中的“向往”之意吻合。韻式是ababcdcd

第三篇：鑒賞英文求職信

各位好范文，如果你正為如何寫求職信而困惑，不妨參考以下這篇最新的英文求職信范文，供參考。

Dear Sir,I have learned from xiexiebang.com on 29 May, 2000 that there is a vacancy in your firm, and I wish to apply for the position.I am a graduate of Hong Kong polytechnics, class of 1996.For the last four years I have been working as a salesman for Hong Kong Trading Company, and I an just quitting that firm in a few days.Enclosed you will please find a letter of recommendation from my present employer who appreciates my performance very much but have to let me go, for his firm is going to be closed.While working with Hong Kong Trading Company, I have a good chance to know all the leading chemical product manufactures in this area.My connections bulit with them in the past may employ me as a salesman.I am sure that these manufacturers would equally welcome my service if I work for you.I shall appreciate a personal interview at your convenience.Best Regards

Yours faithfully

第四篇：英文求職信鑒賞

最新英文求職信：

Room 212 Building 343

Tsinghua University,Beijing 100084

Ms.Yang:

I was referred to you by Mr.Zhang, a partner with your Beijing office, who informed me that the Shanghai office of your company is actively seeking to hire quality individuals for your Auditor program.I have more than two years of accounting experience, including interning as an Auditor last year with the Beijing office of CCCC.I will be receiving my MBA this May from Tsinghua University.I am confident that my combination of practical work experience and solid educational experience has prepared me for making an immediate contribution to your company.I understand the level of professionalism and communication required for long-term success in the field.My background and professional approach to business will provide your office with a highly productive Auditor upon completion of your development program.I will be in the Shanghai area the week of April 16.please call me at ***1 to arrange a convenient time when we may meet to further discuss my background in relation to your needs.I look forward to meeting you then.Sincerely,xiexiebang

第五篇：英文詩歌鑒賞-Annabel Lee

Annabel Lee

——Edgar Allan Poe It was many and many a year ago，In a kingdom by the sea, That a maiden there lived whom you may know By the name of ANNABEL LEE;And this maiden she lived with no other thought Than to love and be loved by me.I was a child and she was a child, In this kingdom by the sea;But we loved with a love that was more than love-I and my Annabel Lee;With a love that the winged seraphs of heaven Coveted her and me.And this was the reason that, long ago, In this kingdom by the sea, A wind blew out of a cloud, chilling My beautiful Annabel Lee;So that her highborn kinsman came And bore her away from me, To shut her up in a sepulchre In this kingdom by the sea.The angels, not half so happy in heaven, Went envying her and me-Yes!-that was the reason(as all men know, In this kingdom by the sea)That the wind came out of the cloud by night, Chilling and killing my Annabel Lee.But our love it was stronger by far than the love Of those who were older than we-Of many far wiser than we-And neither the angels in heaven above, Nor the demons down under the sea, Can ever dissever my soul from the soul Of the beautiful Annabel Lee.For the moon never beams without bringing me dreams Of the beautiful Annabel Lee;And the stars never rise but I feel the bright eyes Of the beautiful Annabel Lee;And so, all the night-tide, I lie down by the side

Of my darling-my darling-my life and my bride, In the sepulchre there by the sea, In her tomb by the sounding sea.Edgar Allan Poe is one of the greatest literary figures in the history of American literature.He develops his own poetic theories and tries to apply the theories to his writing.Poe is against the didactic function of poetry, advocating that poetry should be a rhythmical creation of beauty.Poe's poems are perfect illustrations of his poetic theories.His poems are aimed at producing a melancholy feeling in the reader and make the reader feel the metrical beauty of poems.His poetic works are well appreciated all over the world.“Annabel Lee” is one of his last poems and also one of his best poems.The poem is also well organized, with a musical rhythm and fairy tale form.Annabel Lee, like many other poems of Edgar Allan Poe, describes the theme of the death of a beautiful woman which is called “the most poetical topic in the world” by the poet himself.In the poem, the narrator and Annabel Lee had an extremely strong love for each other since they were children.Unfortunately, their love is so strong that even angels envy them and Annabel Lee was killed by them.However, the narrator retains the deep love for her after her death.Just as the last stanza shows us, the narrator dreams about Annabel everyday and lies by the side of her tomb at night.It seems that their love is beyond grave and death.There are many speculation of who is the inspiration of Annabel Lee.I would like to believe that Annabel Lee is referring to Poe’s wife Virginia who died at the age of 26.She was loved as a child by Edgar Allen Poe because she was only 13 when she married the 27-year-old Poe.And she was the only bride of him.Poe set the scene in a kingdom by the sea and uses some images like sepulcher and tomb, which add some Gothic touch to the poem.With the repetition of some words and phrases, the poem has a nostalgic tone and gives us a mournful feeling.The mysterious tone of the poem makes us feel that only in mysterious and ancient time does such kind of love exist.Besides the content, the poetic structure of this poem is also what I appreciate.It is composed of six stanzas with lines at different length, which gives me a feeling of the waves of the ocean.When I read it, the rhyme and the different length makes it has a musical effect and it is like telling a story to someone.“Annabel Lee” was composed in the form of a fairy tale.First, the poet chose simple everyday words as that of tales to compose his poem, so that it could be easily reached by everyone, even by small children.Second, the starting line “It was many and many a year ago, / In a kingdom by the sea,” suggests that the tale has existed for a long time and it has been told many times, which indicates the strong love between the narrator and Annabel Lee doesn't fade with time, and it will be told from generation to generation;by this way, their love will reach immortality.“Annabel Lee” also shows some characteristics of a ballad.For example: The language is simple;it is accessible to the common people and children.The theme is tragic and the tone is melancholy;the poem tells the death of a beloved young beauty,which is the most frequently seen theme in Poe's poems.Poe uses insistent repetition of phrases like “Annabel Lee”, “in this kingdom by the sea” for effect, which might be considered as refrains in a ballad.Let’s appreciate it carefully.In Stanza 1, “maiden” implies the narrator hasn't consummated with Annalbel Lee before she had been

dead, and it symbolizes the innocence and pure.As above “many and many” and “love and be loved”, Poe utilizes the repetition to enhance the rhythm of the poem.However, we can also find the repetition in Stanza 2, as the sounds of “w” and “l”: But we loved with a love that was more than love.“I was a child and she was a child, here we find the repetition of the word, child suggesting the amazement and fascination in youth.Poe uses ”sepulchre“ in Stanza 3 and we can see ”tomb“ in Stanza 6;the former is where Annabel Lee is buried in and the latter is where Annabel Lee's soul rest in, furthermore ”tomb“ deepens the ominus connotion with finality, just like a more deathly toll of a funeral bell.There're rhyme and alliteration as follows:

A wind blew out of a cloud, chilling

My beautiful Annabel Lee;

So that her high-born kinsmen came

And bore her away from me，To shut her up in a sepulchre

In this kingdom by the sea.Let's get an overlook on Stanza 4 and Stanza 5, then we can find that Poe heavily uses alliteration just in want of creating fascinating sound patterns, as the following sentense in these two Stanzas:

A wind blew out of a cloud, chilling

That the wind came out of the cloud one night，But our love it was stronger by far than the love

Of those who were older than we

”In the kingdom of the sea“ and ”Annabel Lee“ are repeated by the narrator in term of a repetition of Poe, which is murmured by the narrtor after losing his lover, Annabel Lee.And now Annabel Lee in the kingdom of the sea seems to be a nightmare.Throughout the poem, Poe utilizes the imagery of drak and light, and indicates that in this kingdom by the sea is a very bright, pleasing and peaceful place with sunshine on the narrator and his beautiful Annabel Lee, but, irronically, it's the very angles, Seraphs from another same place like the kingdom of the sea, lightful and cheering, that let the sky get dark(the wind came out of the cloud one night)and send the chilling and killing wind that takes Annabel Lee away from the narrator and this Kingdom of the sea and push her into the sepulchre, and even the tomb because of envy and jealousy.However, it also gives us an evidence that the narrator is very childish and hasn't grown up yet since he went throgh the lose.The repetiton of his word implies that he is trying to rationalize his feeling and be mature.And then the last four lines in Stanza 5, which're totally different from The Raven, Poe or the narrator, believes that two can be one or reunited by love even beyond the death and none can dissever the soul from the other soul of the two lovers.It's the last poem of Edgar Allen Poe so that we can see mature and tranquility in this poem.In Stanza 6, Poe uses the light of the moon and the brightness of the star to account so strong love of the narrator and Annabel Lee that he lies down by her side in her sepulchre and her tomb by the sea where love is everything, even the narrator's life.What a bitter sweetness love is!

Mood and Tone of the Poem

”Annabel Lee“ is a poem Poe wrote to grieve over his early-died wife.At the beginning,the tone of the poem is quietly mournful.It feels like that the narrator is lost in thought, recalling the precious love between him and Annabel Lee.By and by, with the narrator thinking of the death of Annabel Lee, the tone becomes more mournful.When it reaches the fourth stanza where the reason of Annabel Lee's death is revealed, the tone is indignant.The narrator becomes angry at the winged seraphs, since they take away his lover.Then the tone becomes more and more emphatic and risesto its emotional climax in the last stanza.Everything in the world makes the narrator think of Annabel Lee.Hence the narrator expresses his strong will of loving Annabel Lee forever.In a word, the poem is an elegy written to his dead wife;it wears a mournful and melancholy tone.Rhythm of the Poem

Poe believes that beauty is the sole purpose of the poem.He insists on an even metrical flow in versification.Therefore, all his poems are rhythmical and musical.”Annabel Lee“ was mainly written in anapestic trimeter, tetrameter, and sometimes dimeter.The poem consists of six stanzas.the first, second, and fourth stanza each contains six lines, the third and sixth stanza eight lines, and the fifth stanza seven lines.What's more, the lines are also of different lengths.One long line is frequently followed by a short one.Different lengths of lines and stanzas create a rise and fall rhythm, just like the ebbing and flowing of the sea which create a melancholy and sad feeling in the reader.The rhyme scheme of the first stanza is ababcb;the second stanza is abcbdb;the third stanza is abcbdbeb, and rhyme schemes of the last three stanzas are abcbdb, abbabcb, abcbddbb.From here you can see that the rhyme scheme is not so regular among each stanza, but the [i:] sound is the basic rhyme through the whole poem.This kind of rhyme scheme reflects the unchanging love of the two lovers.[i:] is a long front close vowel, the sound of which is similar to the weeping of people.Therefore the frequent use of this rhyme adds the great sorrow of the narrator at losing his loved one.Another frequently used rhyme is [ai] such as in ”night“, ”tide“, ”side“, ”eye“ and ”bride“.This use of this diphthong can create a high pitch, which expressed the anger of the narrator towards the seraphs.Poe also used other rhyming types: Alliteration of [m] and [奩] in the line ”That a maiden there lived whom you may know“.Assonance of [ei] in the same line with ”maiden“ and ”may“;[i耷] in ”chilling and killing my Annabel Lee“.”Chilling“ and ”killing“ is also an example of end rhyme and feminine rhyme.Internal rhymes like ”beams“ and ”dreams“ in the line ”For the moon never beams without bringing me dreams“.All in all, [m], [n], [耷], [奩] and [i:] are the recurrent sounds in the poem.These sounds usually create a low mood and make people want to cry.The repetition of ”Annabel Lee“ and ”in this kingdom by the sea“ feels like the insistent tolling of a bell at a funeral, leaving the reader in great sadness.Imagery of the poem Image is the soul of poetry as language is the body of poetry.In this poem, Poe uses a lot of images to create a melancholy feeling in the reader.The images of ”the kingdom by the sea“, ”the seraphs“ and ”the demons“ create a mythical remote atmosphere.This implies that there love is so great and beautiful that it could only exist in a remote kingdom by the sea.”Children“ implies that their love is pure and innocent, without being aware of the earthly troubles.”The moon“ and ”the stars“ are the images of the universe, which show that all the things in the world make the narrator think of Annabel Lee.”The night tide“ and ” the sepulcher“ create a gothic mood of the poem.”The sounding sea“ is used to emphasize the quietness of the kingdom by contrast, and at the same time implies the changing of time in order to show the unchanging love by contrast.Reading the poem, the reader can see the moon, the stars and the

kingdom by the sea, can feel the chilling wind from heaven, and can hear the noise of the sounding sea.The poem employs people's senses and imagination to create a picture of a fairy tale scene.Conclusion Poe says in his ”The Poetic Principle“ that the poem should be short, readable at one sitting.Its chief aim is beauty.”Annabel Lee“ is just a good illustration of his poetic theories.The poem consists of 41lines, just readable at one sitting.He also concludes that the death of a beautiful woman is the most poetical topic in the world.The poem tells the death of Annabel Lee---the loss of a beautiful woman the narrator loves so much,hence producing a melancholy feeling in the reader.Poe stresses rhythm, and defines true poetry as ”the rhythmical creation of beauty“.His style is traditional, employing regular rhyme schemes and all kinds of poetic devices to compose the poem in order to achieve a musical effect.Unlike his other works, ”Annabel Lee" is easy to read, using simple words and simple form creating a simple fairy tale.