拜伦、雪莱与济慈

拜伦、雪莱与济慈

三位诗人的选篇都探讨了死亡、新生、爱情、自由等主题，探讨了死亡与爱情、死亡与革命、死亡与美等之间的关系。

拜伦与雪莱的激进思想，都体现了生命燃烧的一生，短短人生却留下了追求自由和解放的激情的岁月。

1. 如早年都受到主流社会的抨击，拜伦在学生时代因出版诗集《闲散的时刻》（hours of Idleness）受到攻击，后来因此事引起轰动。最后终因离婚事件被迫离开了伦敦，到意大利定居。雪莱则是在牛津大学读书期间，因印发无神论的必然性（The Necessity of Atheism）而被开除。也发生过离婚事件，也被迫离开了英国，也到意大利定居。

2. 都坚持追求自由（freedom）和英雄豪情。1823年7月，拜伦前往希腊，支援希腊人们反抗土耳其统治的斗争，死于营地，比希腊人民奉为英雄。

3. 强烈的政治和抒情意识体现了诗人的英雄豪情和儿女私情的完美结合，如课文选篇中的拜伦的两首诗。

She Walks in beauty

一个姑娘的美丽，会是怎么样的？用哪些形容词可以描述？tender,soft, calm, pure, dear,sweet，peace，innocent.外在的美描述哪些部位？如眼睛(eye)，头发(raven tress)（色调），脸庞（色调）(face)，面颊(cheek)，额际(brow)，微笑(smile)，容颜(aspect)，心灵（peace）(mind and heart)

1. What is the word as the central image of the second part of the poem?

2. Would you like to analyze the syntactic structure of part 2?

3. The body narrative is apparent in this poem, so how do you think body parts(what are they?) are narrated by Byron?

4. 除了对有形身体(body parts)的叙述，还有就是对无形的身体叙述。尤其是明与暗的叙述。请问是如何叙述这一“无言的美”（nameless grace）的?

When a Man Has No Freedom to Fight for at Home

Byronic hero

Ode to the West Wind

雪莱的“咏风”： 风啊，冬天来了，春天还会远吗？

古往今来，写景色或自然现象的人比比皆是，但是专门以“风”为题的诗歌不多。“风”到底有什么自然特点（凛凛威风），风会在哪些地方出没（陆、海和空）？具有什么样的隐喻和象征意义呢（唤醒沉睡或昏昏然的大众，革命精神的化身）？枯叶（decaying or dead leaves）、流云(loose clouds)等象征腐朽没落事物。

这首诗歌的影响：超越文学和国界，主要影响是被革命者当做自由与革命的颂歌

结构：咏物（1-3节，革命之风）到抒怀（4节，随风而舞，5节，人风合一）

在第1节中，体现西风的怎样的双重性（毁灭者又是保护者：双重性隐含革命情怀）？你认为矛盾否？（陆地，横扫落叶，种子吹入泥土）

在第2节中，西风具有怎样的象征意义？（空中，扫荡残云 cloud，带出了暴雨雷霆）

第3节，在海洋，劈波斩浪（cleave through the water，搅醒了沉睡的海洋,水波，wave）

把腐朽的东西比喻为疾病、死人等意象，同时又与复活意象结合起来，表达革命主题。

文本细读：

1. Clarion: 号角。这里有复活的暗示。《新约 哥林多前书》（15:52）中说，“最后的号角吹起的时候，死人要复活，从此，不朽不灭”。诗人讲春天的种子的发芽喻为死人的复活，与Each like a corpse within its grave(第8行)相呼应。在本诗末尾，诗人再次采用了复活的意象。

2. Destroyer and preserver: The west wind is considered the destroyer for driving the last signs of life from the trees; it is considered the preserver, for scattering the seeds which will come to life in the spring.

3. 分析第2节1-3行的句法，以及比拟的用法

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

The line between the sky and the stormy sea is indistinguishable , the whole space from the horizon to the zenith being covered with trailing(拖尾的) storm clouds.

Maenad  

In Greek mythology, Maenad was priestess of Dionysus（[ˌdaiə'naisəs],狄俄尼索斯）， the Greek god of mystery, wine and intoxication（疯癫）. The word literally translates as "raving（疯狂的）one". She was known as a wild, insane woman who could not be reasoned with. The mysteries of Dionysus inspired the woman to ecstatic（狂喜的） frenzy; she indulged in copious （丰富的）amounts of violence, bloodletting（流血）, sex and self-intoxication and mutilation（毁损）.

１

哦，狂暴的西风，秋之生命的呼吸！

你无形，但枯死的落叶被你横扫，

有如鬼魅碰到了巫师，纷纷逃避：

黄的，黑的，灰的，红得像患肺痨，

呵，重染疫疠的一群：西风呵，是你

以车驾把有翼的种子催送到

黑暗的冬床上，它们就躺在那里，

像是墓中的死穴，冰冷，深藏，低贱，

直等到春天，你碧空的姊妹吹起

她的喇叭，在沉睡的大地上响遍，

（唤出嫩芽，象羊群一样，觅食空中）

将色和香充满了山峰和平原。 　

不羁的精灵呵，你无处不远行；

破坏者兼保护者：听吧，你且聆听！

２

没入你的急流，当高空一片混乱，

流云象大地的枯叶一样被撕扯

脱离天空和海洋的纠缠的枝干。 　

成为雨和电的使者：它们飘落

在你的磅礴之气的蔚蓝的波面，

有如狂女的飘扬的头发在闪烁，

从天穹的最遥远而模糊的边沿

直抵九霄的中天，到处都在摇曳

欲来雷雨的卷发，对濒死的一年 　

你唱出了葬歌，而这密集的黑夜

将成为它广大墓陵的一座圆顶，

里面正有你的万钧之力的凝结； 　

那是你的浑然之气，从它会迸涌

黑色的雨，冰雹和火焰：哦，你听

３

是你，你将蓝色的地中海唤醒，

而它曾经昏睡了一整个夏天，

被澄澈水流的回旋催眠入梦， 　

就在巴亚海湾的一个浮石岛边，

它梦见了古老的宫殿和楼阁

在水天辉映的波影里抖颤， 　

而且都生满青苔、开满花朵，

那芬芳真迷人欲醉！呵，为了给你

让一条路，大西洋的汹涌的浪波 　

把自己向两边劈开，而深在渊底

那海洋中的花草和泥污的森林

虽然枝叶扶疏，却没有精力； 　

听到你的声音，它们已吓得发青：

一边颤栗，一边自动萎缩：哦，你听！

４

哎，假如我是一片枯叶被你浮起，

假如我是能和你飞跑的云雾，

是一个波浪，和你的威力同喘息， 　

假如我分有你的脉搏，仅仅不如

你那么自由，哦，无法约束的生命！

假如我能像在少年时，凌风而舞 　

便成了你的伴侣，悠游天空

（因为呵，那时候，要想追你上云霄，

似乎并非梦幻），我就不致像如今 　

这样焦躁地要和你争相祈祷。

哦，举起我吧，当我是水波、树叶、浮云！

我跌在生活底荆棘上，我流血了！ 　

这被岁月的重轭所制服的生命

原是和你一样：骄傲、轻捷而不驯。

５

把我当作你的竖琴吧，有如树林：

尽管我的叶落了，那有什么关系！

你巨大的合奏所振起的音乐 　

将染有树林和我的深邃的秋意：

虽忧伤而甜蜜。呵，但愿你给予我

狂暴的精神！奋勇者呵，让我们合一！ 　

请把我枯死的思想向世界吹落，

让它像枯叶一样促成新的生命！

哦，请听从这一篇符咒似的诗歌， 　

就把我的话语，像是灰烬和火星

从还未熄灭的炉火向人间播散！

让预言的喇叭通过我的嘴唇 　

把昏睡的大地唤醒吧！要是冬天

已经来了，西风呵，春日怎能遥远？

1819年

查良铮 译

希腊古翁颂

《希腊古翁颂》 - 赏析

在寻生活真谛的过程中，与诗人形影不离的惟有他的想像，除此以外，对于这个历尽了人世磨难的濒死者，还能去哪儿找到更坚实的东西，作为他受创心灵的依托呢？诗人断乎难以享受到一种丰盈， 完备的生活，然而，当阳光透过窗户的玻璃，折射到他的病榻时，纵使有病魔、贫困、无望啃啮着他虚弱的心，他攫住自己的希望，让想像飞驰到遥远的古希腊文明时代，写下了《希腊古瓮颂》这首赞美愉快而生气勃勃的古代艺术不朽的绝唱。

诗人大概是在哪个博物馆中看到一只有景雕的希腊古瓮，上面刻着酒神祭祀及信徒狂欢的景象，年轻的情人你追我逐，鲁莽的小伙子在竭力去吻少女的脸的情状，在春光明媚的树荫下，安闲自得的小笛手及信徒们献祭时的静穆气氛。哦，如果你以为诗人惟妙惟肖的描写仅仅是描摹古瓮的装饰图案，那就错矣。诚然，但济慈不是常人，他有天才的魔匙，为我们打开文明墓穴，开掘出一个花团锦簇的比诗还瑰丽的古希腊世界。在这儿，诗人以他心灵的颤动撩起了大量我们不可理喻的想象：

你委身寂静的、完美的处子，/受过“沉默”和“悠久”的抚育，/啊，田园的史家，你竟能铺叙，/一个如花的故事，比诗还瑰丽/……听见的乐声虽好，但若听不见/却更美；所以，吹吧，柔情的风笛，不是奏给耳朵听，而是更甜，它给灵魂奏出无声的乐曲。/树下的美少年啊，你无法中断，/你的歌，那树木也落下了叶子；鲁莽的恋人，你永远、永远吻不上/虽然够接近了——但不必心酸，/她不会老，虽然你不能如愿以偿，/你将永远爱下去，她也永远秀丽……

捧读这富于青春玄想的精美诗章，谁能不为之幽然、陶然呢，在不觉中我们已被济慈的魔力所征服.再三沉醉于诗人观赏古瓮时的情感想象所赋予我们的一种与实体同样真实，甚至比它还真实的永恒美的生活。试想，面对一个古代雕刻品，要说出如此摄人心魄的诗行，若不是具有最细致的感受性和最博大的想象力，可谓戛戛乎难矣哉！济慈真不愧为抒怀大家，他用天才的灵性，青春的玄想和他内心含咏不尽的脉脉温情，赋予古代雕刻品以罕有的精魄和无穷的魅力。

“诗使他触及的一切都变形”（雪莱）。在这首诗里，诗人把古瓮提供给他的一些感性的，富有生命力的，色彩斑澜的印象，通过他的神思妙想，艺术的提炼，把触及他灵魂的东西至美地表达了出来。“听见的乐声虽好，但若听不见，却更美”。这句颇有美学意味的诗句，不仅使静止的古瓮一下子灵动起来，更表明了诗人的美学观点。最完美的乐声是不为肉体的耳朵所闻的。它只存在于心灵的感应与想象中，“给灵魂奏出无声的乐曲”。大概是缘于这种玄奥无极的乐声浸润熏陶吧，在这里，心爱的姑娘“她不会老，你虽然不能如愿以偿,你将永远爱下去，她也永远秀丽。”还有“更为幸福的幸福的爱，永远热烈，正等待情人的宴飨，从不失超凡的情态。它不会使心灵餍足和悲伤，没有炽热的头脑，焦渴的嘴唇”——这祈颂的音响，倾诉了诗人对人类美好前途的憧憬与向往，也蕴含了诗人自身的最深切的爱的忧伤。所以说诗人在这儿不是单纯地艺术陶醉，而是旨在把现实生活中受压抑的，或不存在的东西升华为迷人的，遥远的彼岸.表明了病魔和抑郁困苦的生活不曾冲刷年轻诗人那甜美澄明的情感与追求真、善、美的情怀。诗人不愿对生活进行庸俗的摹拟，他要将痛苦化为欢乐，甚至将想象的世界置于现实世界之上，所以，他那饥渴而流血的心灵总是奇想腾空，执意去发掘晦暗生活之中的奇境。德国哲学家狄尔泰在其《论德国诗歌和音乐》中曾指出：“最高意义上的诗是在想象中创造一个新的世界。”济慈的这首诗正可谓“最高意义的诗”。因为他为我们建造了超时空的生命情调：生活中的青春会消逝，但古瓮上的恋人永远年轻貌美，炽热的爱情总在宁静的期待中享有幸福，春天的枝叶永不凋零，柔情的风笛永不停歇。倾听这“只应天上有”的动人歌吟，我们不能不被古瓮的丰实静谧之美所攫住，乃至祈求诗人把我们也收进那永恒不朽的古代雕刻品。但济慈毕竟是清醒的说梦人，在不觉中他把我们从欢乐的梦之园引进了一个冷静沉思的境界。接下来诗人通过对神秘肃穆的祭祀场面的描写，诗人逐渐闭合了古希腊“黄金时代”的文明古堡。所有那些曾诗意地栖居于这片大地上的生灵们都归于寂静——再也不可能回来一个灵魂来指出他们生活过的路线，亦不可能诉说那儿的寂寥。昔日的生命不复存在，但生命不一定要依附于肉体，曾几何时，他们在古代雕刻家手中获得了“再生” ，化为永恒之美长存人间，且超然于人间苦海的变幻，抚慰凄风苦雨中忧伤的心----美即是真，真即是美，此美乃不朽！故痛苦有限的生命可以在美和真中找到慰藉。这就是诗人所理解的世界上的一切，也是我们所需要知道的一切。

整首诗在咏物过程中向我们提示了这样一个真理：人生短促、艺术长久！如果说得更透彻一点，即：生命的流逝不可避免，然而，真正的生命不存在于那些迅速消损的空虚的肉体，它存在于人类一种伟大的爱性，一种明朗的思想，一种痴心不改的信仰；存在于对世界最美丽的永恒事物的笃信与创造中。读完这首诗，我们还仿佛从“希腊古瓮”，这个诗人笔下的具有灵魂的伟大艺术品中悟到了迅速流逝的个体生命，该怎样去寻得自身的生存价值和意义，该如何超越生与死的对立，去把握超时空的永恒的美的瞬间这个问题，而这个总是实际上是深深隐藏在这首诗及《夜莺颂》中的一个根本主题。可以说，无论济慈遭受怎样的挫折打击，失去双肺的肉体折磨及死神的逼近都不曾使他放弃这一主题的探索。诗人宣称：“我或许能碰上肃穆的美的幻景，我将喜于在那里静静游荡……我将书写可赋予人的感官的一切。那时，我将像巨人一样抓紧这大千世界的一切，无限欢欣，直到骄傲地看见在我肩上生出能够飞往永恒的翅膀”(诗与睡《济慈诗选》)。 这实在可以作为这两首诗的一个注脚。后来，诗人在另一首《颂诗》中又写道：“热情和欢乐的诗人啊，/人间留下了你们的灵魂！/你们是否也逍遥天上？/同时生活在两个世界？” 这乃是诗人所向往达到，且毕生孜孜以求的境界。诗人对艺术的追求永不停息。他深知作为诗人的责任感，知道只有通过不懈的努力，才能攀登诗歌艺术的高峰。

所以，当他完成《希腊古瓮颂》，立即离开了这个远古时代，沿着想象的通道回到了窥探现实世界的窗口。这时，诗人的诗歌天赋已达到了峰巅。然而，一八二一年二月二十一日，罗马的新教徒墓地却接纳了这位年仅二十五岁的英国天才诗人。在这儿，这位历尽人世磨难却给世界创造了那么多诗歌之美的人得到了永久的宁静。那墓上掩映着他最喜爱的紫罗兰和雏菊；墓碑上刻着他自题的墓志铭：“这儿安息着一个把名字写在水上的人”。

这闪烁着永恒痛苦与惆怅的碑文主人，生前并不知道自己的诗歌将永垂不朽，更不知道单凭他的《夜莺颂》和《希腊古瓮颂》就已把他的名字永远写在了英国文学史上。作为一个抒情诗人，济慈并没有死——“要是未来，不敢遗忘过去，他的命运和名声，必是一线光明，一种回声，增添到永恒里！”

The theme before the last stanza is the arrest of beauty, The theme of the final stanza is the relation of beauty to truth, to thought.

Ode on a Grecian Urn

Summary

In the first stanza, the speaker stands before an ancient Grecian urn and addresses it. He is preoccupied with its depiction of pictures frozen in time. It is the "still unravish’d bride（新娘） of quietness," the "foster-child of silence and slow time." He also describes the urn as a "historian" that can tell a story. He wonders about the figures on the side of the urn and asks what legend they depict and from where they come. He looks at a picture that seems to depict a group of men pursuing a group of women and wonders what their story could be: "What mad pursuit? What struggle to escape? / What pipes and timbrels(小手鼓)? What wild ecstasy?"(情人你追我赶)

In the second stanza, the speaker looks at another picture on the urn, this time of a young man playing a pipe, lying with his lover beneath a glade（林中的空地）of trees. The speaker says that the piper’s "unheard" melodies are sweeter than mortal melodies because they are unaffected by time. He tells the youth that, though he can never kiss his lover because he is frozen in he should not grieve, because her beauty will never fade. （与爱人一起逍遥自得的小笛手）

In the third stanza, he looks at the trees surrounding the lovers and feels happy that they will never shed their leaves. He is happy for the piper because his songs will be "for ever new," and happy that the love of the boy and the girl will last forever, unlike mortal love, which lapses into(流逝) "breathing human passion" and eventually vanishes, leaving behind only a "burning forehead, and a parching (干渴thirsty)tongue."

In the fourth stanza, the speaker examines another picture on the um, this one of a group of villagers leading a heifer（小母牛） to be sacrificed. He wonders where they are going ("To what green altar（祭坛）, O mysterious priest...") and from where they have come. He imagines their little town, empty of all its citizens, and tells it that its streets will "for evermore（永远）" be silent, for those who have left it, frozen on the urn, will never return.

In the final stanza, the speaker again addresses the urn itself, saying that it, like Eternity, "doth tease us out of thought." He thinks that when his generation is long dead, the um will remain, telling future generations its enigmatic(神秘的) lesson: "Beauty is truth, truth beauty." The speaker says that that is the only thing the urn knows and the only thing it needs to know.

If the "Ode to a Nightingale" portrays Keats's speaker's engagement with the fluid expressiveness of music, the "Ode on a Grecian Urn" portrays his attempt to engage with the static immobility of sculpture. The Grecian urn, passed down through countless centuries to the time of the speaker's viewing, exists outside of time in the human sense—it does not age, it does not die, and indeed it is alien to all such concepts. In the speaker's meditation, this creates an intriguing paradox for the human figures carved into the side of the urn:

《希腊古翁颂》中的时间主题

They are free from time, but they are simultaneously frozen in time. They do not have to confront aging and death (their love is "for ever young"), but neither can they have experience (the youth can never kiss the maiden; the figures in the procession can never return to their homes).

The speaker attempts three times to engage with scenes carved into the urn; each time he asks different questions of it. In the first stanza, he examines the picture of the "mad pursuit" and wonders what actual story lies behind the picture: "What men or gods are these? What maidens loth?" Of course, the urn can never tell him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this line of questioning.

In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of the piper's unheard song and the eternally unchanging beauty of his lover.

He thinks that their love is "far above" all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensity—when passion is satisfied, all that remains is a wearied(疲倦, 厌烦, 生厌) physicality(肉体性): a sorrowful heart, a "burning forehead," and a "parching tongue." His recollection of these conditions seems to remind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.

In the fourth stanza, the speaker attempts to think about the figures on the urn as though they were experiencing human time, imagining that their procession has an origin (the "little town") and a destination (the "green altar"). But all he can think is that the town will forever be deserted: If these people have left their origin, they will never return to it. In this sense he confronts head-on(迎面地) the limits of static art; if it is impossible to learn from the urn the whos and wheres of the "real story" in the first stanza, it is impossible ever to know the origin and the destination of the figures on the urn in the fourth.

It is time that the speaker shows a certain land of progress in his successive attempts to engage with the urn. His idle curiosity in the first attempt gives way to a more deeply felt identification in the second, and in the third, the speaker leaves his own concerns behind and thinks of the processional purely on its own terms, thinking of the "little town" with a real and generous feeling. But each attempt ultimately ends in failure. The third attempt fails simply because there is nothing more to say—once the speaker confronts the silence and eternal emptiness of the little town, he has reached the limit of static art; On this subject, at least, there is nothing more the urn can tell him.

In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. He is overwhelmed by its existence outside of temporal change, with its ability to "tease" him "out of thought /As doth eternity." If human life is a succession of "'hungry generations," as the speaker suggests in "Nightingale," the urn is a separate and self-contained world. It can be a "friend to man," as the speaker says, but it cannot be mortal; the land of aesthetic connection the speaker experiences with the urn is ultimately insufficient to human life.

The final two lines, in which the speaker imagines the urn speaking its message to mankind—"Beauty is truth, truth beauty," have proved among the most difficult to interpret in the Keats canon. After the urn utters the enigmatic phrase "Beauty is truth, truth beauty," No one can say for sure who "speaks" the conclusion, "that is all / Ye know on earth, and all ye need to know." It could be the speaker addressing the urn, and it could be the urn addressing mankind. If it is the speaker addressing the urn, then it would seem to indicate his awareness of its limitations: The urn may not need to know anything beyond the equation(等式) of beauty and truth, but the complications of human life make it impossible for such a simple and self-contained phrase to express sufficiently anything about necessary human knowledge. If it is the urn addressing mankind, then the phrase has rather the weight of an important lesson, as though beyond all the complications of human life, all human beings need to know on earth is that beauty and truth are one and the same. It is largely a matter of personal interpretation which reading to accept.

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