dover beaach 多佛海灘

1、Matthew Arnold (1822-1888)Life experiencesLiterary worksCharacterReputationIn 1822,born into a clegymans family , educated in Rugby School;In 1841,won a scholarship to Oxford;In1851,married Francis Lucy ,had six chidren;From 1851 to 1883, an inspector of schools;From1857 to 1867, a professor of poet

2、ry at Oxford;Life Experiencesa man of the world entirely free from worldliness and a man of letters without the faintest trace of pedantry fond of fishing and shootinga lively conversationalist,A voice poking fun in the wilderness was T. H. Warrens description of him.CharacterLiterary WorksPoetry迷途浪

3、子(The Strayed Reveller,1852)詩集(Poems, 1853)詩歌二集(Poems: Second Series, 1855)新詩集(New Poems, 1867)Prose評論集(Essay in Criticism, 1865)文化與無政府(Culture and Anarchy, 1869)文學(xué)與教條(Literature andDogma，1873)評論荷馬史詩譯本評論集ReputationArnold is sometimes called the third great Victorian poet, along with Alfred Lord Tenn

4、yson and Robert Browning.In his poetry he reflects on the doubt of his age, and the conflict between science and religion.The writer John Cowper Powys, an admirer, wrote that, with the possible exception of Merope, Matthew Arnolds poetry is arresting from cover to cover he is the great amateur of En

5、glish poetry,he always has the air of an ironic and urbane scholar chatting freely, perhaps a little indiscreetly,with his not very respectful pupils. “My poems represent, on the whole, the main movement of mind of the last quarter of a century, and thus they will probably have their day as people b

6、ecome conscious to themselves of what that movement of mind is, and interested in the literary productions which reflect it. It might be fairly urged that I have less poetical sentiment than Tennyson and less intellectual vigor and abundance than Browning; yet because I have perhaps more of a fusion

7、 of the two than either of them, and have more regularly applied that fusion to the main line of modern development, I am likely enough to have my turn as they have had theirs.”Stanza 1 The sea is calm to-night. The tide is full, the moon lies fair Upon the straits; on the French coast the light Gle

8、ams and is gone; the cliffs of England stand, Glimmering and vast, out in the tranquil bay. Come to the window, sweet is the night-air! Only, from the long line of spray Where the sea meets the moon-blanchd land, 今夜海上是風(fēng)平浪靜，今夜海上是風(fēng)平浪靜，潮水正滿，月色皎皎潮水正滿，月色皎皎臨照著海峽；臨照著海峽；法國海岸上，光法國海岸上，光明明一現(xiàn)而不見了；英國的懸崖，一現(xiàn)而不見了；英

9、國的懸崖，閃亮而開闊，挺立在寧謐的海灣里。閃亮而開闊，挺立在寧謐的海灣里。到窗口來吧，夜里的空氣多好！到窗口來吧，夜里的空氣多好！只是，從海水同月光所漂白的陸地只是，從海水同月光所漂白的陸地兩相銜接的地方，浪花鋪成長長的兩相銜接的地方，浪花鋪成長長的一排，一排， Dover Beach Listen! you hear the grating （ 刺耳的）roar Of pebbles which the waves draw back, and fling, At their return, up the high strand, Begin, and cease, and then aga

10、in begin, With tremulous cadence slow, and bring The eternal note of sadness in. 聽??！你聽得見聒耳的咆哮，聽??！你聽得見聒耳的咆哮，是水浪把石子卷回去，回頭是水浪把石子卷回去，回頭又拋出，拋到高高的岸上來，又拋出，拋到高高的岸上來，來了，停了，然后又來一陣，來了，停了，然后又來一陣，徐緩的旋律抖抖擻擻，徐緩的旋律抖抖擻擻，帶來了永恒的哀音。帶來了永恒的哀音。Stanza 2Sophocles long ago Heard it on the Aegean, and it brought Into his mind

11、 the turbid（渾（渾濁的）濁的） ebb and flow Of human misery; we Find also in the sound a thought, Hearing it by this distant northern sea.索?？死账乖诤芫靡郧八鞲？死账乖诤芫靡郧霸趷矍俸Ｉ下犚娝o他的心里在愛琴海上聽見它給他的心里帶來了人類的悲慘帶來了人類的悲慘濁浪滾滾的起伏景象；我們也濁浪滾滾的起伏景象；我們也聽得出聽得出一種思潮活動在這一片聲音里，一種思潮活動在這一片聲音里，在這里遙遠的北海邊聽見它起在這里遙遠的北海邊聽見它起伏。伏。 Sophocles, a 5th c

12、entury BC Greek playwright who wrote tragedies of fate and the will of the gods, also heard this same sound as he stood upon the shore of the Aegean Sea. Sophocles in the classical age of Greece interprets the “note of sadness” humanistically, while Arnold in the industrial 19th century hears in thi

13、s sound the retreat of religion and faith. Thoughts are mightier than strength of hand. 思想比武力更有力量。思想比武力更有力量。 If I am Sophocles, I am not mad; and if I am mad, I am not Sophocles.倘若我還是我，我就沒有發(fā)瘋；倘若我已瘋了，我就不再是我。倘若我還是我，我就沒有發(fā)瘋；倘若我已瘋了，我就不再是我。The Sea of FaithWas once, too, at the full, and round earths shore

14、Lay like the folds of a bright girdle furld.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drear（dreary)And naked shingles of the world. Stanza 3信仰的海洋信仰的海洋從前也曾經(jīng)飽滿，把大地環(huán)抱，從前也曾經(jīng)飽滿，把大地環(huán)抱，像一條光亮的腰帶連接成一氣。像一條光亮的腰帶連接成一氣?？墒乾F(xiàn)在我只聽見可是現(xiàn)在我只

15、聽見它的憂郁，冗長，退縮的咆嘯，它的憂郁，冗長，退縮的咆嘯，退進夜風(fēng)的喧響，退進夜風(fēng)的喧響，退下世界的浩瀚，荒涼的邊沿退下世界的浩瀚，荒涼的邊沿和光禿禿的沙礫。和光禿禿的沙礫。 The Sea of Faith is a metaphor for the faith in God that offered comfort to humankind in the past. That faith used to permeate peoples lives just like the sea at its high tide, surrounding the land. However, the

16、 “sea of Faith” has now receded like the ebb of the ocean. This is a fitting image for one like Arnold caught in the Victorian period of Darwinian theory, and the sense of loss and despair is intensified through “withdrawing roar,” “retreating,” etc. “信仰之海信仰之?！痹?jīng)是曾經(jīng)是“滿潮滿潮”，“像一根燦爛像一根燦爛的腰帶，把全球的海岸線圍繞的腰

17、帶，把全球的海岸線圍繞”?？墒?，現(xiàn)如今，?？墒?，現(xiàn)如今，詩人只聽到詩人只聽到“它那憂傷退潮的咆哮它那憂傷退潮的咆哮”，只看到，只看到“一灘光禿禿的卵石一灘光禿禿的卵石”。信仰如落潮一般退到。信仰如落潮一般退到“世界廣闊陰沉的邊界世界廣闊陰沉的邊界”。世事如海水，起伏不。世事如海水，起伏不定，人生如卵石，無所歸依。定，人生如卵石，無所歸依。 Having examined the soundscape, Arnold turns to the action of the tide itself and sees in its retreat a metaphor for the loss of

18、faith in the modern age once again expressed in an auditory image (“But now I only hear/Its melancholy, long, withdrawing roar”). Stanza 4Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new, Hath really neither joy

19、, nor love, nor light, Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. 啊，愛，讓我們互相啊，愛，讓我們互相忠實吧！因為世界教我們分明忠實吧！因為世界教我們分明看來像擺在眼前的一個夢境，看來像擺在眼前的一個夢境，這么美，這么新，這么個多式這么美，這么新，這么個多式多樣，多樣，實際上并沒

20、有光明，愛，幸福，實際上并沒有光明，愛，幸福，也沒有穩(wěn)定、和平、給痛苦的也沒有穩(wěn)定、和平、給痛苦的溫慰；溫慰；我們在這里，像在原野上受黑我們在這里，像在原野上受黑暗包圍，暗包圍，受斗爭和逃遁驚擾得沒有一片受斗爭和逃遁驚擾得沒有一片凈土，凈土，處處是無知的軍隊在夜里沖突。處處是無知的軍隊在夜里沖突。 The poem seems to open with the speaker speaking to his companion at a window about the beauty of the seashore. The seascape begins to remind him of h

21、is uncertain place in the world. He mourns the loss of faith in God, which provided security and meaning of life to people in the past, and compares the passing of faith to the ebbing of the tide. The poem ends by providing a solution for the speakers anxiety. He begs his “l(fā)ove” to be true to him because only in their devotion to each other will they secure their comfort