《西风颂》的英文版

雪莱《西风颂》的英文赏析 谢谢！~

Interpretation of the poem

The poem Ode to the West Wind can be divided in two parts: the first three stanzas are about the qualities of the ‘Wind’; the fact that these three stanzas belong together can visually be seen by the phrase ‘Oh hear!’ at the end of each of the three stanzas. Whereas the first three stanzas give a relation between the ‘Wind’ and the speaker, there is a turn at the beginning of the fourth stanza; the focus is now on the speaker, or better the hearer, and what he is going to hear.


a.) first stanza

The first stanza begins with the alliteration ‘wild West Wind’. This makes the ‘wind’ “sound invigorating”. The reader gets the impression that the wind is something that lives, because he is ‘wild’ – it is at that point a personification of the ‘wind’. Even after reading the headline and the alliteration, one might have the feeling that the ‘Ode’ might somehow be positive. But it is not, as the beginning of the poem destroys the feeling that associated the wind with the spring. The first few lines consist of a lot of sinister elements, such as ‘dead leaves’. The inversion of ‘leaves dead’ (l. 2) in the first stanza underlines the fatality by putting the word ‘dead’ (l. 2) at the end of the line so that it rhymes with the next lines. The sentence goes on and makes these ‘dead’ (l. 2) leaves live again as ‘ghosts’ (l. 3) that flee from something that panics them. The sentence does not end at that point but goes on with a polysyndeton. The colourful context makes it easier for the reader to visualise what is going on – even if it is in an uncomfortable manner. ‘Yellow’ can be seen as “the ugly hue of ‘pestilence-stricken’ skin; and ‘hectic red’, though evoking the pase of the poem itself, could also highlight the pace of death brought to multitudes.” There is also a contradiction in the colour ‘black’ (l. 4) and the adjective ‘pale’(l. 4). In the word ‘chariotest’ (l. 6) the ‘est’ is added to the verb stem ‘chariot’, probably to indicate the second person singular, after the subject ‘thou’ (l. 5). The ‘corpse within its grave’ (l. 8) in the next line is in contrast to the ‘azure sister of the Spring’ (l. 9) – a reference to the east wind - whose ‘living hues and odours plain’ (l.12) evoke a strong contrast to the colours of the fourth line of the poem that evoke death. The last line of this stanza (‘Destroyer and Preserver’, l. 14) refers to the west wind. The west wind is considered the ‘Destroyer’ (l. 14) because it drives the last sings of life from the trees. He is also considered the ‘Preserver’ (l.14) for scattering the seeds which will come to life in the spring.


b.) second stanza

The second stanza of the poem is much more fluid than the first one. The sky’s ‘clouds’ (l.16) are ‘like earth’s decaying leaves’ (l. 16). They are a reference to the second line of the first stanza (‘leaves dead’, l. 2). Through this reference the landscape is recalled again. The ‘clouds’(l. 16) are ‘Shook from the tangled boughs of Heaven and Ocean’ (l. 17). This probably refers to the fact that the line between the sky and the stormy sea is indistinguishable and the whole space from the horizon to the zenith being is covered with trialing storm clouds. The ‘clouds’ can also be seen as ‘Angels of rain’ (l. 18). In a biblical way, they may be messengers that bring a message from heaven down to earth through rain and lightning. These two natural phenomenons with their “fertilizing and illuminating power” bring a change. Line 21 begins with ‘Of some fierce Maenad ...’ (l. 21) and again the west wind is part of the second stanza of the poem; here he is two things at once: first he is ‘dirge/Of the dying year’ (l. 23f) and second he is “a prophet of tumult whose prediction is decisive”; a prophet who does not only bring ‘black rain, and fire, and hail’ (l. 28), but who ‘will burst’ (l. 28) it. The ‘locks of the approaching storm’ (l. 23) are the messengers of this bursting: the ‘clouds’. Shelley in this stanza “expands his vision from the earthly scene with the leaves before him to take in the vaster commotion of the skies”. This means that the wind is now no longer at the horizon and therefore far away, but he is exactly above us. The clouds now reflect the image of the swirling leaves; this is a parallelism that gives evidence that we lifted “our attention from the finite world into the macrocosm”. The ‘clouds’ can also be compared with the leaves; but the clouds are more unstable and bigger than the leaves and they can be seen as messengers of rain and lightning as it was mentioned above.


c.) third stanza

The question that comes up when reading the third stanza at first is what the subject of the verb ‘saw’ (l. 33) could be. On the one hand there is the ‘blue Mediterranean’ (l. 30). With the ‘Mediterranean’ as subject of the stanza, the “syntactical movement” is continued and there is no break in the fluency of the poem; it is said that ‘he lay, / Lull’d by the coil of this crystalline streams,/Beside a pumice isle in Baiae’s bay, / And saw in sleep old palaces and towers’ (l. 30-33). On the other hand it is also possible that the lines of this stanza refer to the ‘wind’ again. Then the verb that belongs to the ‘wind’ as subject is not ‘lay’, but the previous line of this stanza, that says ‘Thou who didst waken ... And saw’ (l. 29, 33). But whoever – the ‘Mediterranean’ or the ‘wind’ - ‘saw’ (l. 33) the question remains whether the city one of them saw, is real and therefore a reflection on the water of a city that really exists on the coast; or the city is just an illusion. Pirie is not sure of that either. He says that it might be “a creative interpretation of the billowing seaweed; or of the glimmering sky reflected on the heaving surface”. Both possibilities seem to be logical. To explain the appearance of an underwater world, it might be easier to explain it by something that is realistic; and that might be that the wind is able to produce illusions on the water. With its pressure, the wind “would waken the appearance of a city”. From what is known of the ‘wind’ from the last two stanzas, it became clear that the ‘wind’ is something that plays the role of a Creator. Whether the wind creates real things or illusions does not seem to be that important. It appears as if the third stanza shows - in comparison with the previous stanzas – a turning-point. Whereas Shelley had accepted death and changes in life in the first and second stanza, he now turns to “wistful reminiscence [, recalls] an alternative possibility of transcendence”. From line 26 to line 36 he gives an image of nature Line 36 begins with the sentence ‘So sweet, the sense faints picturing them’. And indeed, the picture Shelley gives us here seems to be ‘sweet’ (l. 36). ‘The sea-blooms’ (l. 39) are probably the plants at the bottom of the ocean and give a peaceful picture of what is under water. But if we look closer at line 36, we realise that the sentence is not what it appears to be at first sight, because it obviously means ‘so sweet that one feels faint in describing them’. This shows that the idyllic picture is not what it seems to be and that the harmony will certainly soon be destroyed. A few lines later, Shelley suddenly talks about ‘fear’ (l. 41). This again shows the influence of the west wind which announces the change of the season.


d.) fourth stanza

Whereas the stanzas one to three began with ‘O wild West Wind’ (l. 1) and ‘Thou...’ (l. 15, 29) and were clearly directed to the wind, there is a change in the fourth stanza. The focus is no more on the ‘wind’, but on the speaker who says ‘If I...’ (l. 43f). Until this part, the poem has appeared very anonymous and was only concentrated on the ‘wind’ and its forces so that the author of the poem was more or less forgotten. Pirie calls this “the suppression of personality” which finally vanishes at that part of the poem. It becomes more and more clear that what the author talks about now is himself. That this must be true, shows the frequency of the author’s use of the first-person pronouns ‘I’ (l. 43, 44, 48, 51, 54), ‘my’ (l. 48, 52) and ‘me’ (l. 53). These pronouns appear nine times in the fourth stanza. Certainly the author wants to dramatise the atmosphere so that the reader recalls the situation of stanza one to three. He achieves this by using the same pictures of the previous stanzas in this one. Whereas these pictures, such as ‘leaf’, ‘cloud’ and ‘wave’ have existed only together with the ‘wind’, they are now existing with the author. The author thinks about being one of them and says ‘If I were a ...’ (l. 43ff). Shelley here identifies himself with the wind, although he knows that he can not do that, because it is impossible for someone to put all the things he has learnt from life aside and enter a “world of innocence”. That Shelley is deeply aware of his closedness in life and his identity shows his command in line 53. There he says ‘Oh, lift me up as a wave, a leaf, a cloud’ (l. 53). He knows that this is something impossible to achieve, but he does not stop praying for it. The only chance Shelley sees to make his prayer and wish for a new identity with the Wind come true is by pain or death, as death leads to rebirth. So, he wants to ‘fall upon the thorns of life’ and ‘bleed’ (l. 54). At the end of the stanza the poet tells us that ‘a heavy weight of hours has chain’d and bow’d’ (l. 55). This may be a reference to the years that have passed and ‘chained and bowed’ (l. 55) the hope of the people who fought for freedom and were literally imprisoned. With this knowledge, the West Wind becomes a different meaning. The wind is the ‘uncontrollable’ (l. 47) who is ‘tameless’ (l. 56). One more thing that one should mention is that this stanza sounds like a kind of prayer or confession of the poet. This confession does not address God and therefore sounds very impersonal. Shelley also changes his use of metaphors in this stanza. In the first stanzas the wind was a metaphor explained at full length. Now the metaphors are only weakly presented – ‘the thorns of life’ (l. 54). Shelley also leaves out the fourth element: the fire. In the previous stanzas he wrote about the earth, the air and the water. The reader now expects the fire – but it is not there. This leads to a break in the symmetry of the poem because the reader does not meet the fire until the fifth stanza.


e.) fifth stanza

Again the wind is very important in this last stanza. The wind with his ‘mighty harmonies’ (l. 59) becomes an artist or a Creator of sounds. At the beginning of the poem the ‘wind’ was only capable of blowing the leaves from the trees. In the previous stanza the poet identified himself with the leaves. In this stanza the ‘wind’ is now capable of using both of these things mentioned before. Everything that had been said before, was part of the elements – wind, earth and water. Now the fourth element comes in: the fire. There is also a confrontation in this stanza: whereas in line 57 Shelley writes ‘me thy’, there is ‘thou me’ in line 62. This “signals a restored confidence, if not in the poet’s own abilities, at least in his capacity to communicate with [...] the Wind”. It is also necessary to mention that the first-person pronouns again appear in a great frequency; but the possessive pronoun ‘my’ predominates. Unlike the frequent use of the ‘I’ in the previous stanza that made the stanza sound self-conscious, this stanza might now sound self-possessed. The stanza is no more a request or a prayer as it had been in the fourth stanza – it is a demand. The poet becomes the wind’s instrument – his ‘lyre’ (l. 57). This is a symbol of the poet’s own passivity towards the wind; he becomes his musician and the wind’s breath becomes his breath. The poet’s attitude towards the wind has changed: in the first stanza the wind has been an ‘enchanter’ (l. 3), now the wind has become an ‘incantation’ (l. 65). And there is another contrast between the two last stanzas: in the fourth stanza the poet had articulated himself in singular: ‘a leaf’ (l. 43, 53), ‘a cloud’ (l. 44, 53), ‘A wave’ (l. 45, 53) and ‘One too like thee’ (l. 56). In this stanza, the “sense of personality as vulnerably individualised led to self-doubt” and the greatest fear was that what was ‘tameless, and swift, and proud’ (l. 56) will stay ‘chain’d and bow’d’ (l. 55). The last stanza differs from that. The poet in this stanza uses plural forms, for example, ‘my leaves’ (l. 58, 64), ‘thy harmonies’ (l. 59), ‘my thoughts’ (l. 63), ‘ashes and sparks’ (l. 67) and ‘my lips’ (l. 68). By the use of the plural, the poet is able to show that there is some kind of peace and pride in his words. It even seems as if he has redefined himself because the uncertainty of the previous stanza has been blown away. The ‘leaves’ merge with those of an entire forest and ‘Will’ become components in a whole tumult of mighty harmonies. The use of this ‘Will’ (l. 60) is certainly a reference to the future. Through the future meaning, the poem itself does not only sound as something that might have happened in the past, but it may even be a kind of ‘prophecy’ (l. 69) for what might come - the future. At last, Shelley again calls the Wind in a kind of prayer and even wants him to be ‘his’ Spirit: he says: ‘My spirit! Be thou me, impetuous one!’ (l. 62). Like the leaves of the trees in a forest, his leaves will fall and decay and will perhaps soon flourish again when the spring comes. That may be why he is looking forward to the spring and asks at the end of the last stanza ‘If Winter comes, can Spring be far behind?’ (l. 70). This is of course a rhetorical question because spring does come after winter. The question has a deeper meaning and does not only mean the change of seasons, but is a reference to death and rebirth as well.


Poems like this one really have a prophecy for all of us and this prophecy helps us to think about the term ‘poetry’ itself. The Ode shows us that rebirth is something that can be fulfilled through spiritual growing. The last few lines of the poem underline this thought and bring the topic of regeneration and decline to the heart in a very explicit way.


参考资料http://en.wikipedia.org/wiki/Ode_to_the_West_Wind

something wrong with the article
i'm too lazy to change it

OdeToTheWestWind Chapter3
If I were a dead leaf thou mightest bear;
If I were a swift cloud to fly with thee,
A wave to pant beneath thy power, and share

The impulse of thy strength, only less free
Than thou, O, uncontrollable!

If even
I were as in my boyhood, and could be

The comrade of thy wandering over heaven,
As then, when to outstrip thy skiey speed
Scarce seemed a vision, I would never have striven

As thus with thee in prayer in my sore need.
Oh! Lift me as a wave, a leaf , a cloud!
I fall upon the thorns of life! I bleed!
A heavy weight of hours has chained and
bowed
One too like thee: fameless, and swift, and proud

西风颂
第三章

如果我能是一片落叶随你飘腾，
如果我能是一朵流云伴你飞行，
或是一个浪头在你的威力下翻滚。

如果我能有你的锐势和冲劲，
即使比不上你那不羁的奔放，
但只要我能拾回我当年的童心。

我能陪着你遨游天上，
那时候追上你未必是梦呓，
又何至沦落到这等颓丧，

祈求你来救我之急！
呵！卷走我吧，像卷落叶、波浪、流云！
我跌在人生的刺树上，我血流遍地！

岁月沉重如铁链，压着的灵魂，
原本同你一样，高傲，飘逸，不驯。

Ode to the West Wind
　　I
　　O wild West Wind, thou breath of Autumn's being,
　　Thou, from whose unseen presence the leaves dead
　　Are driven, like ghosts from an enchanter fleeing,
　　Yellow, and black, and pale, and hectic red,
　　Pestilence-stricken multitudes: O thou,
　　Who chariotest to their dark wintry bed
　　The winged seeds, where they lie cold and low,
　　Each like a corpse within its grave, until
　　Thine azure sister of the Spring shall blow
　　Her clarion o'er the dreaming earth, and fill
　　(Driving sweet buds like flocks to feed in air)
　　With living hues and odours plain and hill:
　　Wild Spirit, which art moving everywhere;
　　Destroyer and preserver; hear, oh hear!
　　II
　　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,
　　Angels of rain and lightning: there are spread
　　On the blue surface of thine aery surge,
　　Like the bright hair uplifted from the head
　　Of some fierce Maenad, even from the dim verge
　　Of the horizon to the zenith's height,
　　The locks of the approaching storm. Thou dirge
　　Of the dying year, to which this closing night
　　Will be the dome of a vast sepulchre,
　　Vaulted with all thy congregated might
　　Of vapours, from whose solid atmosphere
　　Black rain, and fire, and hail will burst: oh hear!
　　III
　　Thou who didst waken from his summer dreams
　　The blue Mediterranean, where he lay,
　　Lull'd by the coil of his crystalline streams,
　　Beside a pumice isle in Baiae's bay,
　　And saw in sleep old palaces and towers
　　Quivering within the wave's intenser day,
　　All overgrown with azure moss and flowers
　　So sweet, the sense faints picturing them! Thou
　　For whose path the Atlantic's level powers
　　Cleave themselves into chasms, while far below
　　The sea-blooms and the oozy woods which wear
　　The sapless foliage of the ocean, know
　　Thy voice, and suddenly grow gray with fear,
　　And tremble and despoil themselves: oh hear!
　　IV
　　If I were a dead leaf thou mightest bear;
　　If I were a swift cloud to fly with thee;
　　A wave to pant beneath thy power, and share
　　The impulse of thy strength, only less free
　　Than thou, O uncontrollable! If even
　　I were as in my boyhood, and could be
　　The comrade of thy wanderings over Heaven,
　　As then, when to outstrip thy skiey speed
　　Scarce seem'd a vision; I would ne'er have striven
　　As thus with thee in prayer in my sore need.
　　Oh, lift me as a wave, a leaf, a cloud!
　　I fall upon the thorns of life! I bleed!
　　A heavy weight of hours has chain'd and bow'd
　　One too like thee: tameless, and swift, and proud.
　　V
　　Make me thy lyre, even as the forest is:
　　What if my leaves are falling like its own!
　　The tumult of thy mighty harmonies
　　Will take from both a deep, autumnal tone,
　　Sweet though in sadness. Be thou, Spirit fierce,
　　My spirit! Be thou me, impetuous one!
　　Drive my dead thoughts over the universe
　　Like wither'd leaves to quicken a new birth!
　　And, by the incantation of this verse,
　　Scatter, as from an unextinguish'd hearth
　　Ashes and sparks, my words among mankind!
　　Be through my lips to unawaken'd earth
　　The trumpet of a prophecy! O Wind,
　　If Winter comes, can Spring be far behind?

西 风 颂
雪莱
一
剽悍的西风啊, 你是暮秋的呼吸,
因你无形的存在, 枯叶四处逃窜,
如同魔鬼见到了巫师, 纷纷躲避;
那些枯叶, 有黑有白, 有红有黄,
像遭受了瘟疫的群体, 哦, 你呀,
西风, 你让种籽展开翱翔的翅膀,
飞落到黑暗的冬床, 冰冷地躺下,
像一具具尸体深葬于坟墓, 直到
你那蔚蓝色的阳春姐妹凯旋归家,
向睡梦中的大地吹响了她的号角,
催促蓓蕾, 有如驱使吃草的群羊,
让漫山遍野注满生命的芳香色调;
剽悍的精灵, 你的身影遍及四方,
哦,听吧, 你既在毁坏, 又在保藏!
二
在你的湍流中, 在高空的骚动中,
纷乱的云块就像飘零飞坠的叶子,
你从天空和海洋相互交错的树丛
抖落出传送雷雨以及闪电的天使;
在你的气体波涛的蔚蓝色的表面,
恰似酒神女祭司的头上竖起缕缕
亮闪闪的青丝, 从朦胧的地平线
一直到苍天的顶端, 全都披散着
即将来临的一场暴风骤雨的发卷,
你就是唱给垂死岁月的一曲挽歌,
四合的夜幕, 是巨大墓陵的拱顶,
它建构于由你所集聚而成的气魄,
可是从你坚固的气势中将会喷迸
黑雨、电火以及冰雹; 哦, 请听!
三
你啊, 把蓝色的地中海从夏梦中
唤醒, 它曾被清澈的水催送入眠,
就一直躺在那个地方, 酣睡沉沉,
睡在拜伊海湾的一个石岛的旁边,
在睡梦中看到古老的宫殿和楼台
在烈日之下的海波中轻轻地震颤,
它们全都开满鲜花, 又生满青苔,
散发而出的醉人的芳香难以描述!
见到你, 大西洋的水波豁然裂开,
为你让出道路, 而在海底的深处,
枝叶里面没有浆汁的淤泥的丛林
和无数的海花、珊瑚, 一旦听出
你的声音, 一个个顿时胆战心惊,
颤栗着, 像遭了劫掠, 哦, 请听!
四
假如我是一片任你吹卷的枯叶,
假若我是一朵随你飘飞的云彩,
或是在你威力之下喘息的水波,
分享你强健的搏动, 悠闲自在,
不羁的风啊, 哪怕不及你自由,
或者, 假若我能像童年的时代,
陪伴着你在那天国里任意翱游,
即使比你飞得更快也并非幻想——
那么我绝不向你这般苦苦哀求:
啊, 卷起我吧! 如同翻卷波浪、
或像横扫落叶、或像驱赶浮云!
我跃进人生的荆棘, 鲜血直淌!
岁月的重负缚住了我这颗灵魂,
它太像你了:敏捷、高傲、不驯。
五
拿我当琴吧, 就像那一片树林,
哪怕我周身的叶儿也同样飘落!
你以非凡和谐中的狂放的激情
让我和树林都奏出雄浑的秋乐,
悲凉而又甜美。狂暴的精灵哟,
但愿你我迅猛的灵魂能够契合!
把我僵死的思想撒向整个宇宙,
像枯叶被驱赶去催促新的生命!
而且, 依凭我这首诗中的符咒,
把我的话语传给天下所有的人,
就像从未熄的炉中拨放出火花!
让那预言的号角通过我的嘴唇
向昏沉的大地吹奏! 哦, 风啊,
如果冬天来了, 春天还会远吗?

Ode to the West Wind

I

O wild West Wind, thou breath of Autumn's being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,

Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes: O thou,
Who chariotest to their dark wintry bed

The winged seeds, where they lie cold and low,
Each like a corpse within its grave, until
Thine azure sister of the Spring shall blow

Her clarion o'er the dreaming earth, and fill
(Driving sweet buds like flocks to feed in air)
With living hues and odors plain and hill:

Wild Spirit, which art moving everywhere;
Destroyer and preserver; hear, oh, hear!

II

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,

Angels of rain and lightning: there are spread
On the blue surface of thine aery surge,
Like the bright hair uplifted from the head

Of some fierce Maenad, even from the dim verge
Of the horizon to the zenith's height,
The locks of the approaching storm. Thou dirge

Of the dying year, to which this closing night
Will be the dome of a vast sepulchre,
Vaulted with all thy congregated might

Of vapors, from whose solid atmosphere
Black rain, and fire, and hail will burst: oh, hear!

III

Thou who didst waken from his summer dreams
The blue Mediterranean, where he lay,
Lulled by the coil of his crystalline streams,

Beside a pumice isle in Baiae's bay,
And saw in sleep old palaces and towers
Quivering within the wave's intenser day,

All overgrown with azure moss and flowers
So sweet, the sense faints picturing them! Thou
For whose path the Atlantic's level powers

Cleave themselves into chasms, while far below
The sea-blooms and the oozy woods which wear
The sapless foliage of the ocean, know

Thy voice, and suddenly grow gray with fear,
And tremble and despoil themselves: oh, hear!

IV

If I were a dead leaf thou mightest bear;
If I were a swift cloud to fly with thee;
A wave to pant beneath thy power, and share

The impulse of thy strength, only less free
Than thou, O uncontrollable! If even
I were as in my boyhood, and could be

The comrade of thy wanderings over Heaven,
As then, when to outstrip thy skiey speed
Scarce seemed a vision; I would ne'er have striven

As thus with thee in prayer in my sore need.
Oh, lift me as a wave, a leaf, a cloud!
I fall upon the thorns of life! I bleed!

A heavy weight of hours has chained and bowed
One too like thee: tameless, and swift, and proud.

V

Make me thy lyre, even as the forest is:
What if my leaves are falling like its own!
The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,
Sweet though in sadness. Be thou, Spirit fierce,
My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe
Like withered leaves to quicken a new birth!
And, by the incantation of this verse,

Scatter, as from an unextinguished hearth
Ashes and sparks, my words among mankind!
Be through my lips to unawakened earth

The trumpet of a prophecy! O Wind,
If Winter comes, can Spring be far behind?

这句话出自英国著名浪漫主义诗人雪莱的《西风颂》。
当寒冷的冬天来临时，寒风瑟瑟，万物凋零，给人萧瑟之感。但不要忘了，在冬天之后，就是春天的降临，到那时，阳光明媚，草长莺飞，万物复苏，生机勃勃。
出在黑暗、痛苦中的人，不要忘记寻找希望的光明，不要忘记，黑暗之后就是黎明。
这首诗写于英国革命时期，因此，“冬天如果来了，春天还会远吗”是写给那些生活在黑暗社会的人们，不要放弃希望，要勇于与黑暗的现实斗争，迎取胜利的光芒。

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梨树县15152919753： 《西风颂》的英文朗读! - ？
威肤同仁：[答案] 雪莱《西风颂》(中英) O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken ...

梨树县15152919753： 急求《西风颂》英文版的朗诵! - ？
威肤同仁： something wrong with the article i'm too lazy to change it OdeToTheWestWind Chapter3 If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee, A wave to pant beneath thy power, and share The impulse of thy strength, only less ...

梨树县15152919753： 雪莱《西风颂》的英文赏析 - ？
威肤同仁：[答案] Analysis of Percy Shelley's “Ode to the West Wind”In 'Ode to the West Wind,' Percy Bysshe Shelley tries to show his desire for transcendence,by explaining that his thoughts and ideas,like the 'wing...

梨树县15152919753： 求雪莱的《致云雀》《自由颂》《西风颂》的英文原文 - ？
威肤同仁：[答案] To a Skylark by Percy Bysshe Shelley雪莱 致云雀 Hail to thee, blithe Spirit! Bird thou never wert, That from Heaven, or near it, Pourest thy full heart In profuse strains of unpremeditated art. Higher still and higher From the earth thou springest Like a cloud ...

梨树县15152919753： 英语翻译《西风颂》作于1819年秋.这是雪莱最著名的政治抒情诗和政治宣传鼓动诗,也是一首优秀的政治预言、政治激励诗.诗的内容与形式都达到了登峰造... - ？
威肤同仁：[答案] ＂Westerly wind Praised＂ does in 1819 the fall.This is the Shelley most famous politics lyric poetry and politics agitation and propaganda poem,is also an outstanding political prediction,the political drive poem.The poem content and the form has ...

梨树县15152919753： 请问雪莱的《西风歌》的英文名是啥? - ？
威肤同仁： 《Ode to the West Wind》一般汉译为《西风颂》作者 雪莱(Percy Bysshe Shelley 1792–1822) 其中有一句著名诗句:If Winter comes, can Spring be far behind?(如果冬天来了,春天还会远吗?)

梨树县15152919753： 求雪莱的《致云雀》《自由颂》《西风颂》的英文原文 - ？
威肤同仁： To a Skylark by Percy Bysshe Shelley雪莱 致云雀 Hail to thee, blithe Spirit! Bird thou never wert, That from Heaven, or near it, Pourest thy full heart In profuse strains of unpremeditated art. Higher still and higher From the earth thou springest Like a ...

梨树县15152919753： 请推荐一首著名英文诗泰戈尔or普希金or雪莱一定要够出名 英文原版 - ？
威肤同仁：[答案] 我向你推荐三首,分别是泰戈尔、普希金、雪莱写的. 1.Ode to the West Wind(《西风颂》)雪莱最著名的抒情诗. 1.Ode to the West Wind I O WILD West Wind, thou breath of Autumn's being Thou from whose unseen presence the leaves dead...

梨树县15152919753： 急!简单的英文翻译:大家晚上好,我是历史二班的小张.下面我要朗诵的是雪莱的一首诗:《西风颂》？
威肤同仁： Good evening,everyone, I am xiao Zhang in history class two.Then I will read a poem written by shelly＂ The West Wind＂

梨树县15152919753： 英国雪莱《西风颂》全诗全诗内容都要, - ？
威肤同仁：[答案] 查良铮译本 西风颂 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...