【正文】 the speaker that the frown and ―sneer of cold mand‖ on the statue‘s face indicate that the sculptor understood well the passions of the statue‘s subject, a man who sneered with contempt for those weaker than himself, yet fed his people because of something in his heart (―The hand that mocked them and the heart that fed‖). On the pedestal of the statue appear the words: ―My name is Ozymandias, king of kings: / Look on my works, ye Mighty, and despair!‖ But around the decaying ruin of the statue, nothing remains, only the ―lone and level sands,‖ which stretch out around it, far away. Framing the son as a story told to the speaker by ―a traveller from an antique land‖ enables Shelley to add another level of obscurity to Ozymandias‘s position with regard to the reader—rather than seeing the statue with our own eyes, so to speak, we hear about it from someone who has seen it. Thus the ancient king is rendered even less manding。 the distancing of the narrative serves to undermine his power over us just as pletely as has the passage of time. Shelley‘s description of the statue works to reconstruct, gradually, the figure of the ―king of kings‖: first we see merely the ―shattered visage,‖ (note how it is shattered, a much stronger word than merely broken) and then the face itself, with its ―frown / And wrinkled lip and sneer of cold mand‖, the harsh alliterative C‘s of cold mand reinforcing the picture. Then we are introduced to the figure of the sculptor, and are able to imagine the living man sculpting the living king, whose face wore the expression of the passions now inferable。 then we are introduced to the king‘s people in the line, ―the hand that mocked them and the heart that fed.‖ There is a balance and paradox in this line between the mockery and the feeding. The kingdom is now imaginatively plete, and we are introduced to the extraordinary, prideful boast of the king: ―Look on my works, ye Mighty, and despair!‖ With that, the poet demolishes our imaginary picture of the king, and interposes centuries of ruin between it and us: ―??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.‖ Again, the hard consonants of colossal wreck, boundless and bare emphasize the harsh reality, and this is followed by the alliteration and long vowels of lone and level sands stretching far away, the open vowel sound ending the poem and disappearing into eternity. But Ozymandias symbolizes not only political power—the statue can be a metaphor for the pride of all of humanity, in any of its manifestations. It is significant that all that remains of Ozymandias is a work of art and a group of words。 Shelley demonstrates that art and language long outlast the other legacies of power. Theme : all is vanity (maybe except art) Figures of speech: Irony : the inconsistency of what is said with the reality Alliteration: cold mand / lone level ands / king of kings 2. John Keats (約翰 濟(jì)慈 1795 – 1821) John Keats was an English Romantic poet. Along with Lord Byron and Percy Bysshe Shelley, he was one of the key figures in the second generation of the Romantic movement (active Romanticism). Although his poems were not generally well received by critics during his life, his reputation grew after his death to the extent that by the end of the 19th century he had bee one of the most beloved of all English poets. He has had a significant influence on a diverse range of later poets and writers. The poetry of Keats is characterized by sensual imagery, most notably in the series of odes. Keats’s long poems: Hyperion (許佩里翁 ) Endymion (恩底彌翁 ) Keats’s short poems: Ode to a Nightingale (夜鶯頌 ) Ode to Autumn (秋頌 ) Ode on Melancholy (憂郁頌 ) Ode on Grecian Urn (希臘古甕頌 ) Ode to Autumn Keats 秋頌 查良錚 譯 Season of mists and mellow fruitfulness, Close bosomfriend of the maturing sun。 Conspiring with him how to load and bless With fruit the vines that round the thatcheves run。 To bend with apples the moss39。d cottagetrees, And fill all fruit with ripeness to the core。 To swell the gourd, and plump the hazel shells With a sweet kernel。 to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For Summer has o39。erbrimm39。d their clammy cells. 霧氣洋溢、果實(shí)圓熟的秋， / 你和成熟的太陽(yáng)成為友伴； 你們密謀用壘壘的珠球綴滿茅屋檐下的葡萄藤蔓； 使屋前的老樹(shù)背負(fù)著蘋果， / 讓熟味透進(jìn)果實(shí)的心中， 使葫蘆脹大，鼓起了榛子殼， / 好塞進(jìn)甜核；又為了蜜蜂 一次一次開(kāi)放過(guò)遲的花朵， / 使它們以為日子將永遠(yuǎn)暖和， 因?yàn)橄募驹缣顫M它們的粘巢。 Who hath not seen thee oft amid thy store? Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Thy hair softlifted by the winnowing wind。 Or on a halfreap?d furrow sound asleep, Drows‘d with the fume of poppies, while thy hook Spares the next swath and all its twined flowers: And sometimes like a gleaner thou dost keep Steady thy laden head across a brook。 Or by a cyderpress, with patient look, Thou watchest the last oozings hours by hours. 誰(shuí)不經(jīng)?？匆?jiàn)你伴著谷倉(cāng)？ / 在田野里也可以把你找到， 你有時(shí)隨意坐在打谷場(chǎng)上， / 讓發(fā)絲隨著簸谷的風(fēng)輕飄； 有時(shí)候，為罌粟花香所沉迷， / 你倒臥在收割一半的田垅， 讓鐮刀歇在下一畦的花旁； / 或者，像拾穗人越過(guò)小溪， 你昂首背著谷袋，投下倒影， / 你耐心瞧著徐徐滴下的酒漿。 或者就在榨果架下坐幾點(diǎn)鐘 。 Where are the songs of Spring? Ay, where are they? Think not of them, thou hast thy music too, While barred clouds bloom the softdying day, And touch the stubbleplains with rosy hue。 Then in a wailful choir the small gnats mourn Among the river swallows, borne aloft Or sinking as the light wind lives or dies。 And fullgrown lambs loud bleat from hilly bourn。 Hedgecrickets sing。 and now with treble soft The