第一篇：雪萊詩(shī)歌英文賞析
雪萊，是英國(guó)文學(xué)史上最有才華的抒情詩(shī)人之一。以下是小編整理的雪萊詩(shī)歌英文賞析，歡迎閱讀！
Ozymandias
I met a traveller from an antique land
Who said: "Two vast and trunkless legs of stone
Stand in the desert.Near them on the sand,Half sunk, a shattered visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,The hand that mocked them and the heart that fed.And on the pedestal these words appear:
'My name is Ozymandias, King of Kings:
Look on my works, ye mighty, and despair!'
Nothing beside remains.Round the decay
Of that colossal wreck, boundless and bare,The lone and level sands stretch far away.中文譯文
奧茲曼迪亞斯（楊絳 譯）
我遇見(jiàn)一位來(lái)自古國(guó)的旅人
他說(shuō)：有兩條巨大的石腿
半掩于沙漠之間
近旁的沙土中，有一張破碎的石臉
抿著嘴，蹙著眉，面孔依舊威嚴(yán)
想那雕刻者，必定深諳其人情感
那神態(tài)還留在石頭上
而斯人已逝，化作塵煙
看那石座上刻著字句：
“我是萬(wàn)王之王,奧茲曼斯迪亞斯
功業(yè)蓋物,強(qiáng)者折服”
此外，蕩然無(wú)物
廢墟四周，唯余黃沙莽莽
寂寞荒涼，伸展四方
賞析
Before reading Ozymandias, I glanced at the writer’s name, Percy Bysshe Shelley, one of the major Romantic poets, whom is not unfamiliar to me.When it comes to Shelley, a famous sentence flashed upon my mind, “If Winter comes, can Spring be far behind?”
Personally speaking, I really admire Shelley because of his romantic life experience.Also, William Wordsworth appraise Shelley as “One of the best artists of us all”, and Lord Byron, Shelley’s close friend once said of him “Without exception the best and least selfish man I ever knew”.From the French writer André Maurois’s Biography of Shelley, Shelley is regarded as a character who has strongly tragic fate, he is a rebel by nature, he will not fit into any environment, but his works still concerns the reality.From all of the lectures, Ozymandias is the poem whom I really admire.When I first read this poem, I seem to enter into a totally different world.It is a scene of utter desolation, only a bust of Ozymandias on a pedestal among the bleak desert.By means of imagination, I seemed like to stand in the desert, watching the colossal, it is a great masterpiece, still reveals the vigor and strength when Ozymandias ruled his country.The stone must have witnessed many dynasty changes in the course of history.Meanwhile, this historical impression extensively expresses some description which are highly capable of creating mental pictures.Then I heard the sound, “My name is Ozymandias, king of kings: Look on my works, ye Might, and despair!” the voice whistled through the fierce wind, and makes a person shiver.There is no doubt that the monologue brings out the arrogant and overconfident side of Ozymandias.Ozymandias, who was the king of kings before, was obsessed by power.Even now he became a stone and would be impossible to move, he still remembered his own brilliant merits.Besides the strong images and imagination, there are also some reason why I like Ozymandias.To some degree, the theme of this poem is ambiguous, which covers many dimensions, and that is why I really admire Ozymandias.Firstly, this poem can be regarded as the satire aimed at magnates.The king who had absolute power inevitably was in his last throes, and his country drew on rapidly towards destruction in the end, “Nothing beside remains”, “The lone and level sands stretch far away”.At the same time, I think that Shelley wrote this poem for the sake of mocking people who were in authority.As I know, “Ozymandias” was written in 1818, at which time Shelley may be forced to Italy with Mary and Clare Claremont, the cast off lover of Byron, showing a total disregard to other people and their feelings.On the one hand, Shelley hated so-called conservative rules.On the other hand, he considered that this prejudice was bound to fade away.However, Shelley was able to only represent it to readers by metaphors.In this poetry the king’s voice was a metaphor for the attack.Similarly, these kind of rules and bondage would wear down in the end.Secondly, this poem reflects that art and beauty can not be everlasting.The sculpture of Ozymandias, as a symbol of beauty, was hard to bear the exposure of rain and wind day after day, only leaving the broken and lifeless debris.By the way, how long could the Ozymandias existed in the desert, and who knew? Faced with the power of time, every perfect thing would become imperfect, time is so strong that can ruin everything.Thirdly, this poem demonstrates that only time is perpetual, everything including power, artistic beauty even human beings, as time goes by will all be gone.Time is so powerful that it destroys everyone’s brilliant victories.But eventually, no one will escape the fate.No one has the capacity to transcend time.As the proverb goes: There are a thousand Hamlets in a thousand people's eyes.There are just three of the ambiguous themes that I have came up with.As for other themes, I do think that Ozymandias likes a highlight, throw off many different aspects which give readers space of imagination to fill in the gap.Reading some reference materials, I realized that Ozymandias was a Greek name for the Egyptian king Ramesses II(1304-1237 BC.)Records the inscription on the pedestal of his statue(at the Ramesseum, on the other side of Nile river from Luxor)as “King of kings am I, Ozymandias.If anyone would know how great I am and where I lie, let him surpass one of my works”.Horace Smith once also wrote a poem describing Ozymandias.Someone considered that they took the same subject, told the same story, even made the same moral point.But from my own perspective, Shelley’s sonnet is more refined than Smith’s.There were different voices appeared in Shelley’s poem.For instance, the king’s voice was high, representing he took charge of power;the sculptor said nothing but he may discern everything;the traveller told the narrator the whole story, and the narrator witnessed the story.To some degree, it's also a suggestive story of people facing an uncertain future, and of a country searching for a new sense of patriotic identity.
第二篇：英文詩(shī)歌賞析
英語(yǔ)詩(shī)歌賞析方法
英詩(shī)的欣賞：詩(shī)的格律、詩(shī)的押韻、詩(shī)的體式、詩(shī)的評(píng)判。
詩(shī)以高度凝結(jié)的語(yǔ)言表達(dá)著人們的喜怒哀樂(lè)，用其特有的節(jié)奏與方式影響著人們的精神世界。詩(shī)講究聯(lián)想，運(yùn)用象征、比喻、擬人等各種修辭手法，形成了獨(dú)特的語(yǔ)言藝術(shù)。
一、詩(shī)的格律
“格律是指可以用腳打拍子的節(jié)奏”，是每個(gè)音步輕重音節(jié)排列的格式，也是朗讀時(shí)輕重音的依據(jù)。而音步是由重讀音節(jié)和非重讀音節(jié)構(gòu)成的詩(shī)的分析單位。重讀音節(jié)為揚(yáng)（重），在音節(jié)上用“－”或“?”標(biāo)示，非重讀音節(jié)為抑（輕），在音節(jié)上用“?”標(biāo)示，音步之間可用“／”隔開(kāi)。以下是五種常見(jiàn)格式：
1.抑揚(yáng)格（輕重格）Iambus：是最常見(jiàn)的一種格式，每個(gè)音步由一個(gè)非重讀音節(jié)加一個(gè)重讀音節(jié)構(gòu)成。
As fair / art thou / my bon/nie lass，So deep / in luve / am I ：
And I / will luve / thee still，/ my dear，Till a` / the seas / gang dry：
Robert Burns（1759-1796）： My Luve Is like a Red，Red Rose
注；art=are luve=love bonnie=beautiful a`=all gang=go
上例中為四音步與三音步交叉，可標(biāo)示為：?－／?－／?－／（?－）
2.揚(yáng)抑格（重輕格）Trochee：每個(gè)音步由一個(gè)重讀音節(jié)加一個(gè)非重讀音節(jié)構(gòu)成。
下例中為四音步揚(yáng)抑格（少一個(gè)輕音節(jié)），可標(biāo)示為：－?／－?／－?／－
Tyger！/ Tyger！/ burning / bright In the / forests / of the / night William Blake： The Tyger 3.抑抑揚(yáng)格（輕輕重格）Anapaestic foot： 每個(gè)音步由兩個(gè)非重讀音節(jié)加一個(gè)重讀音節(jié)構(gòu)成。如：三音步抑抑揚(yáng)格??－／??－／??－
Like a child / from the womb，Like a ghost / from the tomb，I arise / and unbuild / it again.4.揚(yáng)抑抑格（重輕輕格）Dactylic foot： 每個(gè)音步由一個(gè)重讀音節(jié)加兩個(gè)非重讀音節(jié)構(gòu)成。如：兩音步揚(yáng)抑抑格－??／－??
?Touch her not / ?scornfully，?Think of her / ?mournfully.-Thomas Hood
5.抑揚(yáng)抑格（輕重輕格）Amphibrach：每個(gè)音步由一個(gè)非重讀音節(jié)加一個(gè)重讀音節(jié)再加一個(gè)非重讀音節(jié)構(gòu)成。如：三音步抑揚(yáng)抑格?－?／?－?／?－?下例中最后一個(gè)音步為抑揚(yáng)格。
O ?hush thee / my ?babie / thy ?sire was / a knight.在同一首詩(shī)中常會(huì)出現(xiàn)不同的格律，格律解析對(duì)朗讀詩(shī)歌有一定參考價(jià)值。現(xiàn)代詩(shī)中常不遵守規(guī)范的格律。
二、詩(shī)的押韻
押韻是指通過(guò)重復(fù)元音或輔音以達(dá)到一定音韻效果的詩(shī)歌寫作手法。
1.尾韻：最常見(jiàn)，最重要的押韻方式。
1）聯(lián)韻：aabb型。
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.Henry Wadsworth Longfellow： The Arrow and the Song
2）交叉韻：abab型。
Sunset and evening star，And one clear call for me！
And may there be no moaning of the bar，When I put out to sea，Alfred Tennyson（1809-1892）： Crossing the Bar
3）同韻：有的詩(shī)押韻，一韻到底，大多是在同一節(jié)詩(shī)中共用一個(gè)韻腳。
如下例就共用／i：p／為韻腳。
The woods are lovely，dark and deep，But I have promises to keep，And miles to go before I sleep，And miles to go before I sleep.Robert Frost（1874-1963）： Stopping by Woods on a Snowy Evening
2.頭韻：是指一行（節(jié)）詩(shī)中幾個(gè)詞開(kāi)頭的輔音相同，形成押韻。下例中運(yùn)用／f／、／b／與／s／頭韻生動(dòng)寫出了船在海上輕快航行的景象。
The fair breeze blew，the white foam flew，The furrow followed free，We were the first that ever burst Into that silent sea.T.S.Coleridge： Rime of the Acient Mariner 3.內(nèi)韻（同元音）：指詞與詞之間原因的重復(fù)形成的內(nèi)部押韻。
下面一節(jié)詩(shī)中／i／及／iη／重復(fù)照應(yīng)，呈現(xiàn)出一派歡樂(lè)祥和的氣氛。
Spring，the sweet spring，is the year?s pleasant king；
Then blooms each thing，then maids dance in a ring，Cold dath not sting，the pretty birds do sing：
Cuckoo，jug-jug，pu-we，to-witta-woo！
Thomas Nashe（1567-1601）： Spring，the Sweet Spring
三、詩(shī)的體式
有的詩(shī)分成幾節(jié)（stanza），每節(jié)由若干詩(shī)行組成（每行詩(shī)均以大寫字母開(kāi)頭）；有的詩(shī)則不分節(jié)。目前我們常見(jiàn)的詩(shī)體有：
1.十四行詩(shī)（Sonnet），源于中世紀(jì)民間抒情短詩(shī)，十三、十四世紀(jì)流行于意大利，意大利彼特拉克（Petrarch）為代表人物，每行十一個(gè)音節(jié)，全詩(shī)一節(jié)八行，加一節(jié)六行，韻腳用abba，abba，cdcdcd（cdecde）。前八行提問(wèn)，后六行回答。
后來(lái)，懷亞特（ThomasWyatt，1503-1542）將十四行詩(shī)引人英國(guó)，五音步抑揚(yáng)格，全詩(shī)三個(gè)四行一個(gè)二行，前三節(jié)提問(wèn)，后二句結(jié)論。斯賓塞（EdmundSpenser，1552-1599）用韻腳 abab，bcbc，cdcd，ee.莎士比亞（WilliamShakespeare，1564-1616）用韻腳abab，cdcd，dfdf，gg，稱英國(guó)式或莎士比亞式。舉例見(jiàn)本文第四部分。
2.打油詩(shī)（Limericks）：通常是小笑話甚至是胡謅，一般沒(méi)有標(biāo)題也無(wú)作者姓名，含有幽默諷刺性，常運(yùn)用雙關(guān)，內(nèi)韻等手法。每首詩(shī)五個(gè)詩(shī)行，押韻為aabba，格律以抑揚(yáng)格和抑抑揚(yáng)格為主。
1）There was a young lady of Nigger
Who smiled as she rode on a tiger；
They returned from the ride
With the lady inside，And the smile on the face of the tiger.2）A tutor who taught on the flute
Tried to teach two tooters to toot，“Is it harder to toot，or
Said the two to the tutor，To tutor two tooters to toot？“
3.無(wú)韻體（Blank Verse）：五音步抑揚(yáng)格，不押韻詩(shī)體。
Across the watery bale，and shout again，Responsive to his call，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；
Ans then my heart with pleasure fills，And dances with the daffodils.Notes： a crowd，a host of： many sprightly：happy glee：joy
jocund：happy bliss：complete happiness pensive：sadly thoughtful
華茲華斯（WilliamWordsworth，1770-1850），十九世紀(jì)初英格蘭北部湖區(qū)三大“湖畔派詩(shī)人”（浪漫主義）之一。此詩(shī)向我們描繪了一幅美好的自然景象，同時(shí)抒發(fā)作者對(duì)自然美景的喜歡。黃水仙據(jù)說(shuō)是威爾士國(guó)花（1282年，威爾士歸順英格蘭，被封公國(guó)），在英國(guó)廣泛栽種，春季開(kāi)花，花期不長(zhǎng)。有許多關(guān)于黃水仙的詩(shī)歌，這首詩(shī)無(wú)疑是脫穎而出的。
全詩(shī)語(yǔ)言精煉，通俗易懂，四音步抑揚(yáng)格，分四節(jié)（stanza），每節(jié)6行，每節(jié)押韻均為ababcc.第一節(jié)寫詩(shī)人孤寂時(shí)外出散步，偶遇水仙；第二節(jié)寫水仙爭(zhēng)相開(kāi)放，千姿百態(tài)；第三節(jié)，詩(shī)人看到這景象感到欣喜異常；第四節(jié)寫詩(shī)人在日后憂郁時(shí)，回想當(dāng)時(shí)情景，又讓他心中充滿了歡樂(lè)，隨著水仙跳起舞來(lái)。
3.Song of Myself
I celebrate myself，and sing myself，And what I assume you shall assume，F(xiàn)or every atom belonging to me as good belongs to you.I loafe and invite my soul，I learn and loafe at my ease observing a spear of summer grass.My tongue，every atom of my blood，form?d from this soil，this air，Born ere of parents born here from parents the same，and their parents the same，I，now thirty seven years old in perfect health begin，Hoping to cease not till death.Creeds and schools in abeyance，Retiring back a while sufficed at what they are，but never forgotten.I harbor for good or bad，I permit to speak at every hazard.Nature without check with original energy.Notes： a spear of： a piece of school：學(xué)說(shuō)，流派 hazard：chance
abeyance： the condition of not being in use for a certain time
惠特曼（Walt Whitman，1819-1892），美國(guó)詩(shī)人。此詩(shī)選自其巨著。本文是Song of Myself 一詩(shī)的第一部分，采用自由詩(shī)體，語(yǔ)言接近當(dāng)時(shí)的美國(guó)口語(yǔ)。
文中I指作者，you指讀者，這種寫法使讀者身臨其境，進(jìn)入作者描寫的世界。作者在文中表明人的價(jià)值是平等的，同時(shí)他把自己融入到自然帶給他的啟發(fā)思考中。
從上看出，詩(shī)歌的欣賞評(píng)判并非可望而不可及，關(guān)鍵要抓住詩(shī)中的意象，了解其語(yǔ)義，以便把握詩(shī)的大意。縱然每個(gè)人的讀后感會(huì)有不同，但每個(gè)人都會(huì)在閱讀過(guò)程中感受到詩(shī)歌帶來(lái)的美和精神上的共鳴。
第三篇：雪萊詩(shī)歌代表作
雪萊英國(guó)著名作家、浪漫主義詩(shī)人，被認(rèn)為是歷史上最出色的英語(yǔ)詩(shī)人之一。那么雪萊詩(shī)歌代表作有哪些呢？下面和小編一起看看吧！
雪萊詩(shī)歌代表作
1811年 《瑪格麗特·尼克爾斯遺稿》
1812年 《魔鬼出行》The Devil`s Walk1814年 《寫在布雷克耐爾》Stanza，written at Bracknell《無(wú)題——1814年4月》Stanzas——April，1814《致哈莉特》To Harriet《致瑪麗伍爾斯頓克拉夫特葛德文》To Mary Wollstonecraft Godwin1815年 《無(wú)常》Mutabilty《死亡》On Death《夏日黃昏墓園》A Summer Evening Churchyard《無(wú)題》Lines1816年 《日落》The Sunset《贊智力美》Hymn to Intellectual Beauty《勃朗峰》Mount Blanc《一個(gè)共和主義者有感于波拿巴的傾覆》Feelings Of A Republican On The Fall Of Bonaparte1817年 《瑪麗安妮的夢(mèng)》Marianne's Dream《致歌唱的康斯坦西亞》To Constantia，Singing《致大法官》To the Lord Chancellor《給威廉雪萊》To William Shelley《無(wú)題》Lines《死亡》Death《撒旦掙脫了鎖鏈》Fragment:Satan broken loose《給獄中歸來(lái)的朋友》Fragment: To a Friend relased from Prison《奧西曼迭斯》Ozymandias1818年 《致尼羅》To the Nile《逝》The Past《一朵枯萎的紫羅蘭》On a Faded Violet《尤根尼亞山中抒情》Lines written among the Euganean Hills《召苦難》Invocation to Misery《無(wú) 題》Stanzas written in Dejection,near Naples《十四行：無(wú)題》Sonnet《致瑪麗》To Mary1819年 《給英格蘭人的歌》Song to the Man of England《新國(guó)歌》A New National Anthem《頌 歌》An Ode《蒼天頌》Ode to Heaven《西風(fēng)頌》Ode to the West Wind《告誡》An Exhoratation《印度小夜曲》The Indian Serenade《愛(ài)的哲學(xué)》Love's Philosophy《1819年的英國(guó)》England in 1819《饑餓的母親》A Starving Mother1820年 《含羞草》The Sensitive Plant《云》The Cloud《致云雀》To a Skylark《阿波羅之歌》Hymn of Apollo《潘之歌》Hymn of Pan《兩個(gè)精靈：一則寓言》The two Spirits:An Allegory《秋：挽歌》Autumn: A Dirge《十四行》Sonnet《久遠(yuǎn)的往昔》Time Long Past1821年 《年歲的挽歌》Dirge for the Year《時(shí) 間》Time《無(wú) 題》Lines《阿拉伯歌詞仿作》Frim the Arabic:An Imitation《歌》Song《無(wú) 常》Mutability《聞拿破侖死有感》Lines written on hearing the News of the Death of Mapoleon《十四行：政治的偉Sonnet:Political Greatness《哀濟(jì)慈》Fragment on Keats《十四行：致拜倫》Sonnet ti Byron《音 樂(lè)》Music《致愛(ài)德華威廉斯》To Edward Williams《憶》Remembrance《哀 歌》A Lament1822年 《女催眠師語(yǔ)病人》The Magnetic Lady to her Patient《致珍妮：回憶》To Jane :The Recollection《寫在勒瑞奇海灣》Lines written in the Bay of Lerici《一盞破碎的明燈》Lines《我們重逢和分別時(shí)不同》Lines：We meet not as we parted
1817年 《萊昂和西絲娜》（或《黃金城的革命：預(yù)見(jiàn)于十九世紀(jì)的一場(chǎng)幻景》）
1818年 《羅薩林和海倫》Rosalind and Helen《伊斯蘭的反叛》The Revolt of Islam《朱利安和馬達(dá)洛》
1819年 《暴政的假面游行》The Mask of Anarchy《彼得·貝爾第三》
1820年 《心之靈》Epipsychidion《致瑪利亞·吉斯伯恩》
《阿特拉斯的女巫》
1821年 《阿童尼（阿多尼）》Adonais1822年 《生命的凱旋》
最經(jīng)典的是《解放了的普羅米修斯》、《西風(fēng)頌》、《致云雀》、《云》
附詩(shī)一首
《西風(fēng)頌》是雪萊“三大頌”詩(shī)歌中的一首，寫于1819年。這首詩(shī)是詩(shī)人“驕傲、輕捷而不馴的靈魂”的自白，是時(shí)代精神的寫照。詩(shī)共分5節(jié)，每節(jié)的韻腳安排是：aba，bcb，cdc，ded，ee。這里，西風(fēng)已經(jīng)成了一種象征，它是一種無(wú)處不在的宇宙精神，一種打破舊世界，追求新世界的西風(fēng)精神。詩(shī)人以西風(fēng)自喻，表達(dá)了自己對(duì)生活的信念和向舊世界宣戰(zhàn)的決心。
Ode to the West Wind
西風(fēng)頌
I 第一節(jié)
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!
啊，狂野的西風(fēng)，你把秋氣猛吹，不露臉便將落葉一掃而空，猶如法師趕走了群鬼，趕走那黃綠紅黑紫的一群，那些染上了瘟疫的魔怪——
呵，你讓種子長(zhǎng)翅騰空，又落在冰冷的土壤里深埋，象尸體躺在墳?zāi)梗怀?/p>
你那青色的東風(fēng)妹妹回來(lái)，為沉睡的大地吹響銀號(hào)，驅(qū)使羊群般蓓蕾把大氣猛喝，就吹出遍野嫩色，處處香飄。
狂野的精靈！你吹遍了大地山河，破壞者，保護(hù)者，聽(tīng)吧——聽(tīng)我的歌！
II 第二節(jié)
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 aery 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!
你激蕩長(zhǎng)空，亂云飛墜
如落葉；你搖撼天和海，不許它們象老樹(shù)纏在一堆；
你把雨和電趕了下來(lái)，只見(jiàn)藍(lán)空上你馳騁之
忽有萬(wàn)丈金發(fā)披開(kāi)，象是酒神的女祭司勃然大怒
愣把她的長(zhǎng)發(fā)遮住了半個(gè)天，將暴風(fēng)雨的來(lái)臨宣布。
你唱著挽歌送別殘年
今夜這天空宛如圓形的大墓
罩住了混濁的云霧一片，卻擋不住電火和冰雹的突破，更有黑雨傾盆而下！呵，聽(tīng)我的歌！
III 第三節(jié)
Thou who didst waken from his summer dreams
The blue Mediterranean, where he lay,Lull'd by the coil of his crystalline streams,Beside a pumice isle in Baiae's bay,And saw in sleep old palaces and tower
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!
你驚擾了地中海的夏日夢(mèng)，它在清澈的碧水里靜躺，聽(tīng)著波浪的催眠曲，睡意正濃
朦朧里它看見(jiàn)南國(guó)港外石島旁
烈日下古老的宮殿和樓臺(tái)
把影子投在海水里晃蕩，它們的墻上長(zhǎng)滿花朵和蘚苔，那香氣光想想也叫人醉倒！
你的來(lái)臨叫大西洋也驚駭
它忙把海水劈成兩半，為你開(kāi)道，海地下有瓊枝玉樹(shù)安臥，盡管深潛萬(wàn)丈，一聽(tīng)你的怒號(hào)
就聞聲而變色，只見(jiàn)一個(gè)個(gè)
戰(zhàn)栗，畏縮——呵，聽(tīng)我的歌！
IV 第四節(jié)
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.如果我能是一片落葉隨你飄騰，如果我能是一朵流云伴你飛行，或是一個(gè)浪頭在你的威力下翻滾，如果我能有你的銳勢(shì)和沖勁，即使比不上你那不羈的奔放，但只要能拾回我當(dāng)年的童心，我就能陪著你遨游天上，那時(shí)候追上你未必是夢(mèng)囈，又何至淪落到這等頹喪，祈求你來(lái)救我之急！
呵，卷走我吧，象卷落葉，波浪，流云！
我跌在人生的刺樹(shù)上，我血流遍體！
歲月沉重如鐵鏈，壓著的靈魂
原本同你一樣，高傲，飄逸，不馴。
V 第五節(jié)
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!Oh Wind,If Winter comes, can Spring be far behind?
讓我做你的豎琴吧，就同森林一般，縱然我們都落葉紛紛，又有何妨！
我們身上的秋色斑爛，好給你那狂飚曲添上深沉的回響，甜美而帶蒼涼。給我你迅猛的勁頭！
豪邁的精靈，化成我吧，借你的鋒芒，把我的腐朽思想掃出宇宙，掃走了枯葉好把新生來(lái)激發(fā)；
憑著我這詩(shī)韻做符咒，猶如從未滅的爐頭吹出火花，把我的話散布在人群之中！
對(duì)那沉睡的大地，拿我的嘴當(dāng)喇叭，吹響一個(gè)預(yù)言！呵，西風(fēng)，如果冬天已到，難道春天還用久等？
寫作背景
第四篇：雪萊詩(shī)歌鑒賞參考
詩(shī)歌要給能理解人讀才會(huì)有感覺(jué)，下面就由小編為大家整理雪萊詩(shī)歌鑒賞，歡迎大家查看!
1、《致華茲華斯 》
謳歌自然詩(shī)人，你們?cè)?jīng)揮著淚，看到事物過(guò)去，就永不復(fù)返：
童年、青春、友情和初戀光輝，都像美夢(mèng)般消逝，使你們愴然。
這些我也領(lǐng)略。但有種損失，你們雖然明白，卻只有我感到惋惜：
你們像顆孤星，它光芒照耀過(guò)
只小船，在冬夜浪濤里;
你們也曾像座石徹避難所，在盲目紛爭(zhēng)人海中屹立;
在光榮困苦中，你們?cè)?jīng)吟唱，把你們歌獻(xiàn)給真理與只有神——
現(xiàn)在你們拋棄這些，我為你們哀傷，前后相比，竟自判若二人。
2、《詩(shī)章 》
去吧!月下荒野是如此幽暗，流云已吞沒(méi)黃昏最后余暉：
去吧!晚風(fēng)很快地要把夜霧聚斂，天庭銀光就要被午夜所遮黑。
別停留!時(shí)光逝!切都在喊：
去吧!別以臨別淚惹戀人悲苦;
她冷固而呆癡眼不敢求你們戀棧，職責(zé)和疏懶都要你們復(fù)歸于孤獨(dú)。
去吧，去吧!去到你們幽寂家鄉(xiāng)，把痛苦淚灑在你們凄涼爐邊，你們可以望著暗影似陰魂游蕩，把憂郁和喜悅編織在自己心間。
你們頭上會(huì)飄飛著殘秋樹(shù)木落葉，春日花和露會(huì)在你們腳邊閃爍：
不是你們心，就是現(xiàn)世，必須變冷和寂滅，那么，午夜和晨光、你們和恬靜才能匯合。
午夜愁云也有輪到它寧息：
或者風(fēng)吹得倦，或者中天輪明月，狂暴而不息海洋總會(huì)停下瞬息;
凡是運(yùn)動(dòng)、辛勞、或悲傷，必到時(shí)安歇。
而你們將安歇在墓中——但在此刻，當(dāng)幻景還使你們迷于那宅舍、亭園和荒野，哎，你們記憶、悔恨和深思怎能擺脫
那嫵媚笑光彩，兩人會(huì)談音樂(lè)?
3、《致—— 》
音樂(lè)，當(dāng)裊裊余音消滅時(shí)，還在記憶中震蕩——
花香，當(dāng)芬芳紫羅蘭凋謝時(shí)，還在心魂中珍藏。
玫瑰花，當(dāng)她花時(shí)盡，用落紅為她所愛(ài)鋪成錦床;
對(duì)你們思念也如此，待你們遠(yuǎn)行，愛(ài)情就枕著思念進(jìn)入夢(mèng)鄉(xiāng)。
4、《給瑪麗 》
哦，親愛(ài)瑪麗，你們能在這里多好，你們，和你們那明亮開(kāi)朗棕色眼睛，你們那甜美話語(yǔ)，似小鳥(niǎo)，向常春藤陰里寂寞憂郁伴侶。
傾吐愛(ài)情時(shí)囀鳴，那天地間最甜最美聲音!
還有你們秀額……
更勝過(guò)這蔚藍(lán)色意大利天穹。
親愛(ài)瑪麗，快來(lái)到我身旁，我失去健康，當(dāng)你們遠(yuǎn)在他鄉(xiāng);
你們對(duì)于我，親愛(ài)，就像黃昏對(duì)于西方星辰，就像日落對(duì)于圓滿月亮。
哦，親愛(ài)瑪麗，但愿你們?cè)谶@里，古堡回聲也輕聲低語(yǔ)：“在這里!”
5、《愛(ài)情玫瑰 》
希望，奔騰在年青心里，經(jīng)不起歲月折磨!
愛(ài)情玫瑰長(zhǎng)著密密刺，它欣欣吐苞處所，總是春寒料峭。
少年說(shuō)：“這些紫花兒屬于我，”
但花兒才怒放就枯槁。
二
贈(zèng)給幻想禮物多么珍貴，才授與就被索還，芬芳是那天國(guó)玫瑰，然而竟移植到地面，它欣欣地開(kāi)放，但地上奴隸將花瓣揉碎，它才盛開(kāi)，霎時(shí)就凋亡。
三
歲月摧毀不愛(ài)情，但薄情寡義會(huì)使愛(ài)花遭殃，即使它正在幻想綠蔭中怒放，也會(huì)突然凋謝，使你們猝不及防。
歲月摧毀不愛(ài)情，但薄情寡義卻會(huì)把愛(ài)情摧殘，會(huì)毀壞它閃爍著朱紅光芒神龕。
6、《愛(ài)底哲學(xué) 》
泉水總是向河水匯流，河水又匯入海中，天宇輕風(fēng)永遠(yuǎn)融有
種甜蜜感情;
世上哪有什么孤零零?
萬(wàn)物由于自然律
都必融匯于種精神。
何以你們我卻獨(dú)異?
你們看高山在吻著碧空，波浪也相互擁抱;
你們?cè)?jiàn)花兒彼此不容：
姊妹把弟兄輕蔑?
陽(yáng)光緊緊地?fù)肀Т蟮兀鹿庠谖侵２ǎ?/p>
但這些接吻又有何益，要是你們不肯吻我?
7、《給索菲亞》
你們多美，陸地和海洋女仙
也很少象你們這般美麗;
有如適合衣著，隨身聯(lián)翩，這是你們那輕柔肢體：
隨著生命在里面跳躍，你們肢體總在移動(dòng)和閃耀。
二
你們那深邃眼睛是對(duì)星
閃著火焰，柔情而晶瑩，會(huì)把最智慧都看得發(fā)瘋;
那煽動(dòng)火風(fēng)是由歡欣
而生思想，象海上氣流，它以你們蕩漾心作為枕頭。
三
要是被你們眼所描繪臉
只要聽(tīng)到你們急遽琴聲;
那么，別奇怪吧：每當(dāng)你們講到
癡心人時(shí)候，我最為心跳。
四
象是由旋風(fēng)所喚醒海濤，象是晨風(fēng)吹拂下露珠，象是小鳥(niǎo)聽(tīng)到雷聲警告，象是被震撼而無(wú)言生物
感到不見(jiàn)精靈，我心呵
正似這切，當(dāng)你們心臨近。
8、《世間流浪者 》
告訴我，星星，你們光明翼
在你們火焰飛行中高舉，要在黑夜哪個(gè)巖洞里
你們才折起翅膀?
告訴我，月亮，你們蒼白而疲弱，在天庭路途上流離飄泊，你們要在日或夜哪個(gè)處所
才能得到安詳?
疲倦風(fēng)呵，你們飄流無(wú)定，象是被世界驅(qū)逐客人，你們可還有秘密巢穴容身
在樹(shù)或波濤上?
9、《你們匆匆進(jìn)墳?zāi)?》
你們匆匆進(jìn)墳?zāi)?要把什么尋找?
以你們不息意志，活躍思想，和為塵世役使無(wú)目頭腦?
呵，你們那熱情心，對(duì)蒼白希望
所假扮切美景，如此急跳!
還有你們那好奇精神，枉然猜想
生命是從哪兒來(lái)?要到哪兒去?
你們要知道人所不知道信息——
唉，你們究竟何所向往，如此匆匆
走過(guò)生蔥綠可愛(ài)途程，避開(kāi)歡樂(lè)，也避開(kāi)悲傷，只意
在幽暗死洞穴里尋求安身?
心呵，頭腦和思想!是什么東西
你們們期望在那地下墓穴承繼?
第五篇：雪萊的浪漫主義詩(shī)歌
雪萊是英國(guó)浪漫主義民主詩(shī)人、第一位社會(huì)主義詩(shī)人、小說(shuō)家、哲學(xué)家、散文隨筆和政論作家、改革家、柏拉圖主義者和理想主義者等，以下是小編整理的雪萊的浪漫主義詩(shī)歌，歡迎閱讀參考！
給——溫柔的歌聲已消逝
（英國(guó)）雪萊
溫柔的歌聲已消逝，樂(lè)音仍在記憶里縈回；
紫羅蘭花雖然枯死，意識(shí)中尚存留著芳菲。
玫瑰花朵一朝謝去，落英堆成戀人的床幃；
你去后懷念你的思緒
該是愛(ài)情在上面安睡。
給瑪麗
（英國(guó)）雪萊
哦，親愛(ài)的瑪麗，你能在這里多好，你，和你那明亮開(kāi)朗的棕色的眼睛，你那甜美的話語(yǔ)，似小鳥(niǎo)，向常春藤陰里寂寞憂郁的伴侶
傾吐愛(ài)情時(shí)的囀鳴，那天地間最甜最美的聲音！
還有你的秀額……
更勝過(guò)這蔚藍(lán)色意大利的天穹。
親愛(ài)的的瑪麗，快來(lái)到我的身旁，我失去了健康，當(dāng)你遠(yuǎn)在他鄉(xiāng)；
你對(duì)于我，親愛(ài)的，就像黃昏對(duì)于西方的星辰，就像日落對(duì)于圓滿的月亮。
哦，親愛(ài)的瑪麗，但愿你在這里，古堡的回聲也輕聲低語(yǔ)：“在這里！”
結(jié)語(yǔ)： 1799 年雪萊七歲。據(jù)霍格（Hogg）《雪萊傳》引雪萊妹海倫信說(shuō)：雪萊六歲時(shí) 即被每日送往一教士處學(xué)拉丁文。
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