【正文】 ings seem to be and what they actually are. Byron?s satire on the English society in the later part of the poem can be pared with Pope?s。 and his satire is much less personal that that of Pope?s, for Byron is here attacking not a personal enemy but the whole hypocritical society. And the diverse materials and the clash of emotions gathered in the poem are harmonized by Byron?s insight into the difference between life?s appearance and its actuality. 3. Artistic features (1) As a leading Romanticist, Byron?s chief contribution is his creation of the “Byronic hero,” a proud, mysterious rebel figure of noble origin. With immense superiority in his passions and powers, this Byronic hero would carry on his shoulders the burden of righting all the wrongs in a corrupt society, and would rise singlehandedly against any kind of tyrannical rules either in government, in religion, or in moral principles with unconquerable wills and inexhaustible energies. (2) Byron?s poetry, though much criticized by some critics on moral grounds, was immensely popular at home and also abroad, where it exerted great influence on the Romantic movement. This popularity it owed to the author?s persistent attacks on “cant political, religious, and moral,” to the novelty of his oriental scenery, to the romantic character of the Byronic hero, and to the easy, fluent, and natural beauty of his verse. 2 (3) Byron?s diction, though unequal and frequently faulty, has on the whole a freedom, copiousness and vigor. His descriptions are simple and fresh, and often bring vivid objects before the reader. (4) Byron employed the Ottva Rima (Octave Stanza 八行詩(shī)體 ) from Italian mockheroic poetry. 4. Selected readings (1) Song for the Luddites (路德分子之歌 ) 《路德分子之歌》是拜倫反映現(xiàn)實(shí)階級(jí)斗爭(zhēng)的詩(shī)作。當(dāng)時(shí) , 路德是這個(gè)運(yùn)動(dòng)的領(lǐng)袖 , 因而稱(chēng)為路德運(yùn)動(dòng)。詩(shī)歌大量使用單音節(jié) 詞匯 , 韻律多變 , 腳韻強(qiáng)健 , 讀來(lái)鏗鏘有力 , 表達(dá)詩(shī)人無(wú)比憤怒的激情。 在前 4 個(gè)詩(shī)節(jié)中詩(shī)人列舉了古希臘燦爛文明與反抗侵略的英勇史實(shí)來(lái)說(shuō)明希臘光輝燦爛的過(guò)去。接下來(lái)的 8 個(gè)詩(shī)節(jié)中 , 每?jī)蓚€(gè)詩(shī)節(jié)形成一組 , 每組都以 “Fill high the cup with Samian wine!”開(kāi)始 , 一反一正 , 循循善誘 , 希望以此來(lái)喚醒希臘人民起來(lái)反抗侵略。 Don Juan is a long satirical poem. Its hero Juan is an aristocratic libertine, amiable and charming to ladies. He first falls in love with a married woman Julia. The affair is soon discovered and Juan is sent abroad. There happens a shipwreck。 V. Percy B. Shelley(雪萊 1792~1822 ) 1. Points of view (1)Shelley grew up with violent revolutionary ideas under the influence of the free thinkers like Hume( 蘇格蘭哲學(xué)家 ) and Godwin(蘇格蘭激進(jìn)派社會(huì)哲學(xué)家 ), so he held a lifelong aversion to cruelty, injustice, authority, institutional religion and the formal shams of respectable society, condemning war, tyranny and exploitation. 3 (2)Under the influence of Christian humanism, Shelley took interest in social reforms. He realized that the evil was also in man?s mind. He predicted that only through gradual and suitable reforms of the existing institutions could benevolence be universally established and none of the evils would survive in this “genuine society,” where people could live together happily, freely and peacefully. 2. Major works (1) Prometheus Unbound(《解放的普羅米修斯》 ) It is a fouract poetic drama, Shelley?s greatest achievement. According to the Greek mythology, Prometheus, the champion of humanity, who has stolen the fire from Heaven, is punished by Zeus to be chained on Mount Caucasus(高加索山 ) and suffers the vulture?s feeding on his liver. Shelley based his drama on Prometheus Bound by Aeschylus(埃斯庫(kù)羅斯 ), in which Prometheus reconciles with the tyrant Zeus. He gave a totally different interpretation, transforming the promise into a liberation. With the strong support of Earth, his mother。s rhapsodic(狂熱的 ) and declamatory（雄辯的） tendencies find a subject perfectly suited to them. The autumn wind, burying the dead year, preparing for a new spring, bees an image of Shelley himself, as he would want to be, in its freedom, its destructiveconstructive potential, and its universality. The whole poem has a logic of feeling, a not easily analyzable progression that leads to the triumphant, hopeful and convincing conclusion: If Winter es, can Spring be far behind? The nervous thrill of Shelley39。 in “ To a Skylark,” the bird, suspended between reality and poetic image, pours forth an human limitation。詩(shī)中號(hào)召英國(guó)人民反抗腐朽統(tǒng)治，打破經(jīng)濟(jì)與 政治上的不平等。 It is unquestionably one of Shelley?s greatest political lyrics. It is not only a war cry calling upon all working people of England to rise up against their political oppressors, but also an address to point out to them the intolerable injustice of economic exploitation. The metaphor( “Bees of England”) is used in the poem. The rhyme scheme for each stanza is aabb. And the last two stanzas of the poem are ironically addressed to those workers who submit passively to capitalist exploitation. They serve as a warning to the working people, that if the latter should give up their struggle 4 they would be digging graves for themselves with their own hands. (2) Ode to the West Wind The poem is written in terza rima form Shelley derived from his reading of Dante( 意大利詩(shī)人但丁 ), with each part consisting of four stanzas of terza rima and one couplet lines, rhymed aba bcb cdc ded ee. Shelley eulogized the powerful west wind and expressed his eagerness to enjoy the boundless freedom from the reality. He gathered in this poem a wealth of symbolism and figures of speech, employed a structural art and his powers of metrical orchestration at their mightiest(編成管弦樂(lè)的最強(qiáng)有力的韻律 , 指發(fā)揮到了極致 ) 。 “pestilencestricken multitudes” refers to dead leaves。 Chariotest 即 chariot, 等于 drive(驅(qū)趕 ), the winged seeds 是它的賓語(yǔ)。 最后 , 詩(shī)人說(shuō)秋風(fēng)是 “wild spirit” “destroyer and preserver”。 第二部分說(shuō)明秋風(fēng)對(duì)天空產(chǎn)生的威力和影響。 第二節(jié)中的 “there are spread”的主語(yǔ)是第三節(jié)中的 “the locks of the approaching storm” 。 第三部分描寫(xiě)秋風(fēng)對(duì)海洋產(chǎn)生的威力和影響 , 突出表現(xiàn)在最后兩行 : “Thy voice, and suddenly grow grey with fear,/And tremble and despoil themselves: O hear!”(一聽(tīng)到你的聲音 ,