【正文】 and now with treble soft The re。 And fullgrown lambs loud bleat from hilly bourn。 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。 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。 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。erbrimm39。 To swell the gourd, and plump the hazel shells With a sweet kernel。 To bend with apples the moss39。 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。 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。 x / x / x / x / x / I met a traveller from an antique land x / x / x / x / x / Who said: Two vast and trunkless legs of stone Ozymandias is a son (an octave+a sestet), a fourteenline poem metered in iambic pentameter: The rhyme scheme is ABABACDC+EDEFEF. Analysis of the Poem The speaker recalls having met a traveller ―from an antique land,‖ who told him a story about the ruins of a statue in the desert of his native country. Two vast legs of stone stand without a body, and near them a massive, crumbling stone head lies ―half sunk‖ in the sand. The traveller told 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。像頭旁落， Half sunk, a shattered visage lies, whose frown 半遭沙埋，但人面依然可畏， And wrinkled lip and sneer of cold mand 那冷笑，那發(fā)號(hào)施令的高傲， Tell that its sculptor well those passions read 足見(jiàn)雕匠看透了主人的心， Which yet survive, stamped on these lifeless things, 才把那石頭刻得神情唯肖， The hand that mocked them and the heart that fed. 而刻像的手和像主的心 And on the pedestal these words appear: 早成灰燼。s unconventional life and unpromising idealism, bined with his strong disapproving voice, made him a muchdenigrated figure during his life. Shelley never lived to see the extent of his success and influence. He became an idol of the next three or four generations of poets. He was admired by Karl Marx, Oscar Wilde, Thomas Hardy, Gee Bernard Shaw, Bertrand Russell and William Butler Yeats. Shelley‘s major works A. His classic anthology verse works: Ozymandias (奧西曼迭斯 ) Ode to the West Wind (西風(fēng)頌 ) To a Skylark (致云雀 ) Music (音樂(lè) ) When Soft Voices Die (輕柔的聲音寂滅后 ) The Cloud (云 ) The Masque of Anarchy (無(wú)政府的假面具 ) B. His long visionary poems: Queen Mab (麥布女王 ) (later reworked as The Daemon of the World 世界的惡魔 ) Alastor (阿拉斯托