美國(guó)文學(xué)選讀-詩(shī)歌鑒賞

1、Henry Wadsworth LongfellowI Shot an ArrowI shot an arrow into the air,我把一支箭射向空中It fell to earth I knew not where;不知它落在何方For so swiftly it flew the sight飛得那么快Could not follow it in its flight飛行 .眼睛難以追尋它的方向I breathed a song into the air,我對(duì)著天空輕輕唱歌It fell to earth I knew not where;不知它消逝在何方For who has th

2、e sight so keen and strong誰(shuí)的眼光能如此敏銳犀利That can follow the flight of a song.能跟上歌聲的翅膀Long, long afterwards in an oak,很久很久以后，在一棵橡樹(shù)上I found the arrow still unbroke 完整的 ;我找到了那支箭，仍未折斷And the song, from beginning to end,也發(fā)現(xiàn)了那支歌，自始自終I found again in the heart of a friend.在朋友的心中歡唱Analysis:When he shot an arro

3、w and breathed a song into the air, he did not expect to find them any more. But many years later, he came across with the arrow and found that his song was always in the heart of his friend. This suggests that the friendship is everlasting.This poem is written in a traditional iambic form with the

4、feet “aabb aacc ddee”.In the poem, Longfellow sings the friendship implicitly and skillfully. The arrow and the song in this poem stand for the friendship.Structurally, the first and the second stanza develop in a parallel way, yet in the last stanza the poet joins the two independent images logical

5、ly together to indicate the strength of fantastic conceit in poetry.A Psalm of Life 人生頌Tell me not, in mornful numbers 不要在哀傷的詩(shī)句里告訴我：Life is but an empty dream! “人生不過(guò)是一場(chǎng)幻夢(mèng)！” For the soul is dead that slumbers 因?yàn)殪`魂睡著了，就等于死了，And things are not what they seem. 事物的真相與外表不同。Analysis:In this opening stanza,

6、 Longfellow declares himself to be a believer in life hereafter來(lái)世.Life is real! Life is earnest! 人生是真切的！人生是實(shí)在的！ And the grave is not its goal; 它的歸宿決不是荒墳；Dust thou art, to dust returnest, “你本是塵土，必歸于塵土”，Was not spoken of the soul. 這是指軀殼，不是指靈魂。Analysis:The second stanza continues with the same belief i

7、n afterlife that is present in the first. Longfellow states this clearly when he writes, And the grave is not its goal. It means that life doesnt end for people simply because they die; there is always something more to be hopeful and optimistic for.Not enjoyment, and not sorrow, 我們命定的目標(biāo)和道路Is our de

8、stined命中注定的 end or way; 不是享樂(lè)，也不是受苦；But to act, that each to-morrow 而是行動(dòng)，在每個(gè)明天Find us farther than to-day. 都超越今天，跨出新步。Analysis:Longfellow begins discussing how humans must live their lives in constant anticipation for the next day under the belief that it will be better than each day before it: But t

9、o act that each to-morrow / Find us farther than to-day. Art is long, and Time is fleeting, 智藝無(wú)窮，時(shí)光飛逝；And our hearts, though stout 頑強(qiáng)的and brave, 這顆心，縱然勇敢堅(jiān)強(qiáng)，Still, like muffled捂住drums, are beating 也只如那鼓，悶聲敲動(dòng)著， Funeral marches葬禮進(jìn)行曲to the grave. 一下又一下，向墳地送喪。Analysis: In this stanza, Longfellow asserts

10、that there is never an infinite amount of time to live, but art that is created during ones life can be preserved indefinitely and live on long after its creator dies. In the worlds broad field of battle, 世界是一片遼闊的戰(zhàn)場(chǎng)， In the bivouac bivuk 露營(yíng) of life, 人生是到處扎寨安營(yíng)；Be not like dumb, driven cattle! 莫學(xué)那聽(tīng)人驅(qū)策

11、的啞畜，Be a hero in the strife!奮斗, 努力 做一個(gè)威武善戰(zhàn)的英雄！Analysis:In this stanza, Longfellow likens living in the world to fighting on a huge field of battle. He believes that people should lead heroic and courageous lives and not sit idle and remain ineffectual while the world rapidly changes around them: Be

12、not like dumb, driven cattle! Be a hero in the strife!“ Trust no Future, howeer pleasant! 別指望將來(lái)，不管它多可愛(ài)！Let the dead Past bury its dead! 把已逝的過(guò)去永久掩埋！Act, - act in the living Present! 行動(dòng)吧趁著活生生的現(xiàn)在！Heart within, and God oevhead! 心中有赤心，頭上有真宰！Analysis: Longfellow then encourages everyone to have faith and

13、trust the lord and not to rely on an unknown future to be stable and supportive. He advises people to seize the moments they have before them and act while thinking about their present situations.Lives of great men all remind us 偉人的生平啟示我們：We can make our lives sublime壯麗的；高尚的 , 我們能夠生活得高尚，And, departi

14、ng死亡 , leave behind us 而當(dāng)告別人世的時(shí)候，F(xiàn)ootprints on the sand of time; 留下腳印在時(shí)間的沙上Analysis: Longfellow continues his poem by citing the lives of great and important men who were able to lead incredible lives and leave their marks. He views these men as role models for people who have yet to live their live

15、s; Longfellow encourages his readers to leave their own footprints on the sands of time and become important.Footprints, that perhaps another, 也許我們有一個(gè)兄弟Sailing oer lifes solemn main 大海 , 航行在莊嚴(yán)的人生大海， A forlorn fl:n 孤獨(dú)凄涼的 and shipwrecked brother, 遇險(xiǎn)沉了船，絕望的時(shí)刻，Seeing, shall take heart again. 會(huì)看到這腳印而振作起來(lái)

16、。Analysis: In this stanza, the second to last in the poem, continues with this same point. It describes how successful people in the past have their lives copied, while those who failed serve as examples of ways of life to avoid. The final lines of the poem echo the beginning ones and offer perhaps

17、the most important advice in a poem that is chocked full of it. Longfellow encourages all to work and try their hardest to make their lives great and accomplish as much as they can.Let us, then, be up and doing, 那么，讓我們起來(lái)干吧，With a heart for any fate; 對(duì)任何命運(yùn)要敢于擔(dān)戴；Still achieving, still pursuing, 不斷地進(jìn)取，

18、不斷地追求，Learn to labor and to wait. 要善于勞動(dòng)，善于等待。Analysis:Longfellow conveys his message the same way he did in the rest of the poem: by speaking directly to the reader and providing his reasoning for believing in something more, in something better. Longfellow ensures his followers that the rewards for

19、 what they achieve will come eventually-if not in this lifetime, then, certainly, in the next.Edgar allan poeSonnet-to scienceStructure:The first quatrain,condemns Science as a “true daughter of Old Time”and as a “Vulture” that “preyst . . . upon the poets heart” The second quatrain, poses rhetorica

20、l questions asking how a poet could like, respect, or join science . The third quatrain, accuses Science of spoiling some beautiful myths, such as that of Diana and the Hamadryad. Finally, the concluding couplet reveals the reason for the personas lament; here, with the poems only first-person prono

21、un, the persona focuses attention on himself, accusing Science of depriving him of his reverie.Theme:Poe expresses nontraditional accusations of science. It is spoken through the vision of a passionate man mourning the slaughter of mythology, fantasy, art by its alleged arch enemy, Science. Science

22、is portrayed as evil and words like preyst, Vulture, and torn are used to describe sciences impact on mankind. Poe does not see science and scientific development as a good thing , rather he feels that science alterest all things with thy peering eyes. He implores Science as to why “she” must impose

23、 her “dull realities” on the hearts of poets like himself, squelching their wandering minds. He questions the desertion of imagination by the objective force of science. He is inclined to avoid logic in his argument, although the classic sonnet structure implies his own attempt to rationalize his ow

24、n thoughts. Perhaps the structure contrasted with such feelings further insinuates humanitys paradoxical need for organization in every field of thought. To HelenHelen, thy beauty is to me Like those Nican barks of yore,That gently, oer a perfumed sea, The weary, way-worn wanderer bore To his own na

25、tive shore.On desperate seas long wont to roam, Thy hyacinth hair, thy classic face,Thy Naiad airs have brought me home To the glory that was GreeceAnd the grandeur that was Rome.Lo! In yon brilliant window-niche How statue-like I see thee stand, The agate lamp within thy hand!Ah, Psyche, from the r

26、egions which Are Holy-Land!海倫，你的美貌于我 似遠(yuǎn)古尼西亞人的帆船，輕輕飄過(guò)芬芳的海面，讓旅途勞頓的游子，回到他故鄉(xiāng)的岸邊。在漂泊已久、波濤洶涌的海上，你風(fēng)信子般的頭發(fā)、古典的臉龐，和尼厄神殿的風(fēng)采已帶我回家鄉(xiāng)，回到羅馬曾經(jīng)的偉大，和希臘曾經(jīng)的榮光。瞧！彼處輝煌龕盒里你，恰似雕像，佇立，瑪瑙燈兒手中提！呵！賽琪，來(lái)自仙土圣地！Analysis:Stanza 1:The poet first mentioned Helen, the most famous beauty in Great mythology. Then Poe compared himself to

27、Odysseus, who wandered for ten years over the sea to get home. As Odysseus, Edgar Allan Poe was persistent in his chasing after fine arts with the sincere belief that art, or beauty and truth, is the ultimate aim, the home, for the wandering poet; while Helen, the embodiment of ancient beauty, is th

28、e guider to that dreamland. 詩(shī)人第一次提到海倫,最著名的風(fēng)景就像是偉大神話。然后坡把自己比做奧德修斯,就是走迷了十年海里回家。作為奧德修斯、埃德加愛(ài)倫坡執(zhí)說(shuō)捕美真誠(chéng)的信仰,藝術(shù)、美與真,不是最終的目的,;海倫的美,體現(xiàn)古代美,是那夢(mèng)境的向?qū)?。Stanza2:All the art and literature originated from one thing-beauty. Having taken Helen as the embodiment of beauty, the poet was confident that once he saw Helen, h

29、e was sure to be led by Helen to the home of beauty-fine and pure literature. Poe insisted that Greece and Rome are the homes of beauty, the treasure houses of fine art and literature. 所有的藝術(shù)和文學(xué)的起源從一件事-美。海倫作為美的化身，詩(shī)人有信心，有一次他看到海倫，他相信由海倫導(dǎo)致美家-及純文學(xué)。坡堅(jiān)持認(rèn)為，希臘和羅馬是最美麗的家園，美術(shù)和文學(xué)寶庫(kù)。Stanza3:The speaker sees Helen

30、 standing in the bright niche and holding in her hand an agate lamp. She is quite similar to goddess Psyche from Greek Myth. Through his description of his passion to Helen, Poe expressed his pursuit and sincere devotion to beauty.In the poem, three beauties in ancient Greek mythologyHelen, Naiad an

31、d Psyche-are mentioned just to show that beauty is something that existed; it is very holy but it is hard to reach. 看到海倫站在明亮的利基，及舉起了她的手中瑪瑙燈。她和希臘神話女神頗為相似。通過(guò)他的描述，表示表明他對(duì)美的追求和真誠(chéng)奉獻(xiàn)。在這首詩(shī)中，提到了三個(gè)美女在古希臘神話中的海倫，稚蟲(chóng)和普賽克-只是表明美是存在的，它是非常神圣的，但它是很難達(dá)到的。Ezra PoundIn a station of the metroThe apparition of these faces i

32、n the crowd;Petals on a wet,black bough.地鐵站上人群中，這些面孔的鬼影；潮濕的黑樹(shù)枝上的花瓣。（余光中）在一個(gè)地鐵車站人群中這些面孔幽靈般顯現(xiàn)； 濕漉漉的黑枝條上朵朵花瓣（杜運(yùn)燮）This poem just has 14 words in the whole poem. However, the images in this poem give us the interior meaning. The images are apparition, faces, petals and bough.What does the apparition mean

33、? One is “suddenly appear” and the other is “something like the ghost”. This word nicely captures the immediate impression left on the poets mind and the powerful emotional impact he felt in that situation.We can easily touch that the faces in the subway are depressed.At this time, Pound saw a child

34、s lovely face,The lovely faces mixed with the depressed faces. And the poet arouses a complex of joy and fear which is hard to tell from each other. Of course, in this poem, petals indicate faces. When we mention petals, we also think about smiling or some beautiful thing. The subway is just like th

35、e bough, although it is wet, dark and black, we still should use love and smiling to face them.Wallace StevensAnecdote of the jarAnalysis:On one hand, we can see that the jar was the symbol of art and imagination while Tennessees wildness stood for nature. Because of the jar, the wild nature present

36、ed in form and order. Thus, the poet made people recognize the jars infinite charm. It not only gives the mass nature a regulation but also a true meaning of lives to copious amount of common people in the world. Art has made an indelible contribution to the legal system to promote humans progress a

37、nd social process. On the other hand, the jar, as the work of art, is so different from nature. It Like nothing else in Tennessee and It did not give of bird or bush. It relies on the existence of the world around there, by nature of the constraints and restrictions. By Doing so, the poet tells of t

38、he relationship between art and nature: art than life, but cannot be separated from the living.William Carlos WilliamsThe red wheelbarrow1.The opening lines set the tone for the rest of the poem. Since the poem is composed of one sentence broken up at various intervals, it is truthful to say that so much depends upon each line of the poem. This is so because the form of the poem is also its meaning.