英文诗歌赏析

如何赏析一首英文诗歌~

英诗的欣赏：诗的格律、诗的押韵、诗的体式、诗的评判。诗以高度凝结的语言表达着人们的喜怒哀乐，用其特有的节奏与方式影响着人们的精神世界。诗讲究联想，运用象征、比喻、拟人等各种修辞手法，形成了独特的语言艺术。

一、 诗的格律 “格律是指可以用脚打拍子的节奏”，是每个音步轻重音节排列的格式，也是朗读时轻重音的依据。而音步是由重读音节和非重读音节构成的诗的分析单位。重读音节为扬（重），在音节上用“－”或“?”标示，非重读音节为抑（轻），在音节上用“?”标示，音步之间可用“／”隔开。以下是五种常见格式：
1. 抑扬格（轻重格）Iambus：是最常见的一种格式，每个音步由一个非重读音节加一个重读音节构成。
As fair / art thou / my bon/nie lass，
So deep / in luve / am I ：

And I / will luve / thee still，/ my dear， Till a` / the seas / gang dry：
Robert Burns（1759-1796）： My Luve Is like a Red， Red Rose
注；art=are luve=love bonnie=beautiful a`=all gang=go
上例中为四音步与三音步交叉，可标示为：?－／?－／?－／（?－）
2.扬抑格（重轻格）Trochee：每个音步由一个重读音节加一个非重读音节构成。
下例中为四音步扬抑格（少一个轻音节），可标示为：－?／－?／－?／－
Tyger！/ Tyger！/ burning / bright
In the / forests / of the / night
William Blake： The Tyger
3. 抑抑扬格（轻轻重格）Anapaestic foot： 每个音步由两个非重读音节加一个重读音节构成。如：三音步抑抑扬格??－／??－／??－
Like a child / from the womb，
Like a ghost / from the tomb，
I arise / and unbuild / it again.
4. 扬抑抑格（重轻轻格）Dactylic foot： 每个音步由一个重读音节加两个非重读音节构成。如：两音步扬抑抑格－??／－??
?Touch her not / ?scornfully，
?Think of her / ?mournfully.
- Thomas Hood
5. 抑扬抑格（轻重轻格）Amphibrach：每个音步由一个非重读音节加一个重读音节再加一个非重读音节构成。如：三音步抑扬抑格?－?／?－?／?－?下例中最后一个音步为抑扬格。
O ?hush thee / my ?babie / thy ?sire was / a knight.
在同一首诗中常会出现不同的格律，格律解析对朗读诗歌有一定参考价值。现代诗中常不遵守规范的格律。
二、 诗的押韵
押韵是指通过重复元音或辅音以达到一定音韵效果的诗歌写作手法。
1. 尾韵：最常见，最重要的押韵方式。
1） 联韵：aabb型。
I shot an arrow into the air，
It fell to earth， I knew not where；
For， so swiftly it flew， the sight
Could not follow it in its flight.
Henry Wadsworth Longfellow： The Arrow and the Song
2） 交叉韵：abab型。
Sunset and evening star，
And one clear call for me！
And may there be no moaning of the bar，
When I put out to sea，
Alfred Tennyson（1809-1892）： Crossing the Bar
3） 同韵：有的诗押韵，一韵到底，大多是在同一节诗中共用一个韵脚。
如下例就共用／i：p／为韵脚。
The woods are lovely， dark and deep，
But I have promises to keep，
And miles to go before I sleep，
And miles to go before I sleep.
Robert Frost （1874-1963）： Stopping by Woods on a Snowy Evening
2. 头韵：是指一行（节）诗中几个词开头的辅音相同，形成押韵。下例中运用／f／、／b／与／s／头韵生动写出了船在海上轻快航行的景象。
The fair breeze blew， the white foam flew，
The furrow followed free，
We were the first that ever burst
Into that silent sea.
T.S. Coleridge： Rime of the Acient Mariner
3.内韵（同元音）：指词与词之间原因的重复形成的内部押韵。
下面一节诗中／i／及／iη／重复照应，呈现出一派欢乐祥和的气氛。
Spring， the sweet spring， is the year‘s pleasant king；
Then blooms each thing， then maids dance in a ring，
Cold dath not sting， the pretty birds do sing：
Cuckoo，jug-jug，pu-we，to-witta-woo！
Thomas Nashe（1567-1601）： Spring， the Sweet Spring
三、 诗的体式
有的诗分成几节（stanza），每节由若干诗行组成（每行诗均以大写字母开头）；有的诗则不分节。目前我们常见的诗体有：
1. 十四行诗（Sonnet），源于中世纪民间抒情短诗，十三、十四世纪流行于意大利，意大利彼特拉克（Petrarch）为代表人物，每行十一个音节，全诗一节八行，加一节六行，韵脚用abba， abba， cdcdcd （cdecde）。前八行提问，后六行回答。
后来，怀亚特（ThomasWyatt，1503-1542）将十四行诗引人英国，五音步抑扬格，全诗三个四行一个二行，前三节提问，后二句结论。斯宾塞（EdmundSpenser，1552-1599）用韵脚 abab， bcbc，cdcd，ee.莎士比亚（WilliamShakespeare，1564-1616）用韵脚abab，cdcd，dfdf，gg，称英国式或莎士比亚式。举例见本文第四部分。
2. 打油诗（Limericks）：通常是小笑话甚至是胡诌，一般没有标题也无作者姓名，含有幽默讽刺性，常运用双关，内韵等手法。每首诗五个诗行，押韵为aabba，格律以抑扬格和抑抑扬格为主。
1） There was a young lady of Nigger
Who smiled as she rode on a tiger；
They returned from the ride
With the lady inside，
And the smile on the face of the tiger.
2） A tutor who taught on the flute
Tried to teach two tooters to toot，
“Is it harder to toot， or
Said the two to the tutor，
To tutor two tooters to toot？“
3. 无韵体（Blank Verse）：五音步抑扬格，不押韵诗体。
Across the watery bale ， and shout again，
Responsive to his call， - with quivering peals，
And long halloos， and screams， and echoes loud.
Redoubled and redoubled：concourse wild
Of jocund din！…
William Wordsworth： There Was a Boy
4. 自由诗（FreeVerse）：现代诗中常见的体式，长短不同的诗行存在于同一首诗中，不讲究押韵与格律，只注重诗歌所表达的意象和传递的情感。美国诗人WaltWhitman的>（Leaves of Grass）中，就采用此格式。例子见第四部分。
四、 诗的评判
对一首诗，个人的感受会有不同。节奏流畅，语言精炼，联想新颖的诗可算是好诗。堆砌词藻，一味抒发感情而无实际内容的诗，只能是下乘的诗。
二十世纪英美诗歌大量采用自由诗体，接近口语，可谓大胆创新，大概也是诗歌发展的大势所趋吧。以下通过三首诗的分析看诗的评判。
1. That Time of Year
That time of year thou may‘st in me behold
When yellow leaves，or none，or few， do hang
Upon those boughs which shake against the cold，
Bare ruined choirs where late the sweet birds sang，
In me thou see‘st the twilight of such day
As after sunset fadeth in the west，
When by and by black night doth take away，
Death‘s second self， that seals up all in rest.
In me thou see‘st the glowing of such fire，
That on the ashes of his youth doth lie.
As the deathbed whereon it must expire，
Consumed with that which it was nourished by.
This you perceivest， which makes thy love more strong，
To love that well which thou must leave ere long.
Notes：may‘st：may behold：see late：no long ago thou：you see’st：see
fadeth：fades doth：does seals up all at rest：彻底埋葬
thy：your perceivest： perceive ere long： before long
此诗是莎士比亚（William Shakespeare， 1564-1616）的一首十四行诗。作为英国文学巨匠，他以37部剧作和154首十四行诗屹立于世界文坛。
此诗为五音步抑扬格，每个诗行格律为：?－／?－／?－／?－／?－／。
全诗涉及衰老、死亡及爱情问题。前十二行：通过描写深秋的树枝黄叶凋零，曾是百鸟争鸣的歌坛，联想到自身青春会如夕阳消逝在远方，被黑夜吞没；自身的青春会如将尽的柴火奄奄一息，被曾滋养过它的火焰焚化。其中choirs（歌坛），deathbed（灵床）使用暗喻手法，同时又用夕阳和柴火象征人的衰老死亡。最后两行：点题，人们对即将永别的东西会更珍惜。本文动词变化具有明显的伊利沙白时代的特点。
2. The Daffodils
I wandered lonely as a cloud
That floats on high o‘er vales and hills，
When all at once I saw a crowd，
A host of golden daffodils；
Beside the lake， beneath the trees，
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the Milky Way，
They stretched in never-ending line
Along the margin of a bay：
Ten thousand saw I at a glance，
Tossing their heads in sprightly dance.
The waves beside them danced； but they
Outdid the sparkling waves in glee：
A poet could not but be gay，
In such a jocund company：
I gazed - and gazed - but little thought
What wealth the show to me had brought：
For oft， when on my couch I lie
In vacant or in pensive mood，
They flash upon that inward eye
Which is the bliss of solitude；
Ans then my heart with pleasure fills，
And dances with the daffodils.
Notes： a crowd， a host of： many sprightly：happy glee：joy
jocund：happy bliss：complete happiness pensive：sadly thoughtful
华兹华斯（WilliamWordsworth，1770-1850），十九世纪初英格兰北部湖区三大“湖畔派诗人”（浪漫主义）之一。此诗向我们描绘了一幅美好的自然景象，同时抒发作者对自然美景的喜欢。黄水仙据说是威尔士国花（1282年，威尔士归顺英格兰，被封公国），在英国广泛栽种，春季开花，花期不长。有许多关于黄水仙的诗歌，这首诗无疑是脱颖而出的。
全诗语言精炼，通俗易懂，四音步抑扬格，分四节（stanza），每节6行，每节押韵均为ababcc.第一节写诗人孤寂时外出散步，偶遇水仙；第二节写水仙争相开放，千姿百态；第三节，诗人看到这景象感到欣喜异常；第四节写诗人在日后忧郁时，回想当时情景，又让他心中充满了欢乐，随着水仙跳起舞来。
3. Song of Myself
I celebrate myself， and sing myself，
And what I assume you shall assume，
For every atom belonging to me as good belongs to you.
I loafe and invite my soul，
I learn and loafe at my ease observing a spear of summer grass.
My tongue， every atom of my blood， form‘d from this soil， this air，
Born ere of parents born here from parents the same， and their parents the same，
I， now thirty seven years old in perfect health begin，
Hoping to cease not till death.
Creeds and schools in abeyance，
Retiring back a while sufficed at what they are， but never forgotten.
I harbor for good or bad， I permit to speak at every hazard.
Nature without check with original energy.
Notes： a spear of： a piece of school：学说，流派 hazard：chance
abeyance： the condition of not being in use for a certain time
惠特曼（Walt Whitman，1819-1892），美国诗人。此诗选自其巨著。本文是Song of Myself 一诗的第一部分，采用自由诗体，语言接近当时的美国口语。
文中I指作者，you指读者，这种写法使读者身临其境，进入作者描写的世界。作者在文中表明人的价值是平等的，同时他把自己融入到自然带给他的启发思考中。
从上看出，诗歌的欣赏评判并非可望而不可及，关键要抓住诗中的意象，了解其语义，以便把握诗的大意。纵然每个人的读后感会有不同，但每个人都会在阅读过程中感受到诗歌带来的美和精神上的共鸣。

Ozymandias诗的中文：
奥兹曼迪亚斯（杨绛 译）
雪莱
我遇见一位来自古国的旅人
他说：有两条巨大的石腿
半掩于沙漠之间
近旁的沙土中，有一张破碎的石脸
抿着嘴，蹙着眉，面孔依旧威严
想那雕刻者，必定深谙其人情感
那神态还留在石头上
而斯人已逝，化作尘烟
看那石座上刻着字句：
“我是万王之王,奥兹曼斯迪亚斯
功业盖物,强者折服”
此外，荡然无物
废墟四周，唯余黄沙莽莽
寂寞荒凉，伸展四方

Ozymandias诗的英文赏析如下：
Before reading Ozymandias, I glanced at the writer’s name, Percy Bysshe Shelley, one of the major Romantic poets, whom is not unfamiliar to me. When it comes to Shelley, a famous sentence flashed upon my mind, “If Winter comes, can Spring be far behind?”
Personally speaking, I really admire Shelley because of his romantic life experience. Also, William Wordsworth appraise Shelley as “One of the best artists of us all”, and Lord Byron, Shelley’s close friend once said of him “Without exception the best and least selfish man I ever knew”.
From the French writer André Maurois’s Biography of Shelley, Shelley is regarded as a character who has strongly tragic fate, he is a rebel by nature, he will not fit into any environment, but his works still concerns the reality.
From all of the lectures, Ozymandias is the poem whom I really admire. When I first read this poem, I seem to enter into a totally different world. It is a scene of utter desolation, only a bust of Ozymandias on a pedestal among the bleak desert.
By means of imagination, I seemed like to stand in the desert, watching the colossal, it is a great masterpiece, still reveals the vigor and strength when Ozymandias ruled his country. The stone must have witnessed many dynasty changes in the course of history. Meanwhile, this historical impression extensively expresses some description which are highly capable of creating mental pictures.
Then I heard the sound, “My name is Ozymandias, king of kings: Look on my works, ye Might, and despair!” the voice whistled through the fierce wind, and makes a person shiver. There is no doubt that the monologue brings out the arrogant and overconfident side of Ozymandias. Ozymandias, who was the king of kings before, was obsessed by power. Even now he became a stone and would be impossible to move, he still remembered his own brilliant merits.
Besides the strong images and imagination, there are also some reason why I like Ozymandias. To some degree, the theme of this poem is ambiguous, which covers many dimensions, and that is why I really admire Ozymandias.
Firstly, this poem can be regarded as the satire aimed at magnates. The king who had absolute power inevitably was in his last throes, and his country drew on rapidly towards destruction in the end, “Nothing beside remains”, “The lone and level sands stretch far away”. At the same time, I think that Shelley wrote this poem for the sake of mocking people who were in authority.
As I know, “Ozymandias” was written in 1818, at which time Shelley may be forced to Italy with Mary and Clare Claremont, the cast off lover of Byron, showing a total disregard to other people and their feelings. On the one hand, Shelley hated so-called conservative rules. On the other hand, he considered that this prejudice was bound to fade away. However, Shelley was able to only represent it to readers by metaphors. In this poetry the king’s voice was a metaphor for the attack. Similarly, these kind of rules and bondage would wear down in the end.
Secondly, this poem reflects that art and beauty can not be everlasting. The sculpture of Ozymandias, as a symbol of beauty, was hard to bear the exposure of rain and wind day after day, only leaving the broken and lifeless debris. By the way, how long could the Ozymandias existed in the desert, and who knew? Faced with the power of time, every perfect thing would become imperfect, time is so strong that can ruin everything.
Thirdly, this poem demonstrates that only time is perpetual, everything including power, artistic beauty even human beings, as time goes by will all be gone. Time is so powerful that it destroys everyone’s brilliant victories. But eventually, no one will escape the fate. No one has the capacity to transcend time.
As the proverb goes: There are a thousand Hamlets in a thousand people's eyes.
There are just three of the ambiguous themes that I have came up with. As for other themes, I do think that Ozymandias likes a highlight, throw off many different aspects which give readers space of imagination to fill in the gap.
Reading some reference materials, I realized that Ozymandias was a Greek name for the Egyptian king Ramesses II (1304-1237 BC.) Records the inscription on the pedestal of his statue (at the Ramesseum, on the other side of Nile river from Luxor ) as “King of kings am I, Ozymandias. If anyone would know how great I am and where I lie, let him surpass one of my works”.
Horace Smith once also wrote a poem describing Ozymandias. Someone considered that they took the same subject, told the same story, even made the same moral point. But from my own perspective, Shelley’s sonnet is more refined than Smith’s. There were different voices appeared in Shelley’s poem. For instance, the king’s voice was high, representing he took charge of power; the sculptor said nothing but he may discern everything; the traveller told the narrator the whole story, and the narrator witnessed the story. To some degree, it's also a suggestive story of people facing an uncertain future, and of a country searching for a new sense of patriotic identity.
Work Cited:
The Poems of Shelley,II: 1817-1819 [London: Pearson, 2000]:311
Trans. C.H,Oldfather, Loeb Classical Library, vol. 33 [Cambridge, Mass: Harvard University Press, 1961]: I 47
Reiman, Donald H and Sharon B.Powers. Shelley’s Poetry and Prose. Norton 1977.ISBN 0-393-09164-3
André, Maurois. Ariel Ou La Vie Shelly ISBN 7308121836
扩展连接：
珀西·比希·雪莱（英文原名：Percy Bysshe Shelley，公元1792年8月4日—公元1822年7月8日），英国著名作家、浪漫主义诗人，被认为是历史上最出色的英语诗人之一。英国浪漫主义民主诗人、第一位社会主义诗人、小说家、哲学家、散文随笔和政论作家、改革家、柏拉图主义者和理想主义者，受空想社会主义思想影响颇深。
雪莱生于英格兰萨塞克斯郡霍舍姆附近的沃恩汉，12岁进入伊顿公学，1810年进入牛津大学，1811年3月25日由于散发《无神论的必然》，入学不足一年就被牛津大学开除。1813年11月完成叙事长诗《麦布女王》，1818年至1819年完成了两部重要的长诗《解放了的普罗米修斯》和《倩契》，以及其不朽的名作《西风颂》。1822年7月8日逝世。恩格斯称他是“天才预言家”。

“Ozymandias” 是英国浪漫主义诗人雪莱（Percy Bysshe Shelley）写的一首十四行诗，首次发表于1818年1月11日的 The Examiner。第二年，它被收入了Rosalind and Helen, A Modern Eclogue; with Other Poems （1819年）以及他在1826年出版的诗歌的遗作。“Ozymandias”是雪莱最着名的作品，经常被选集。
雪莱在与他的朋友兼诗人霍拉斯史密斯（1779-1849）的友好竞争中写下了这首诗，史密斯也同样以“Ozymandias”写了一首十四行诗，并且在在雪莱的十四行诗之后几周，史密斯的诗也被发表在 The Examiner上。这两首诗都探索了历史的命运和时间的蹂躏：即使是最伟大的人和他们伪造的帝国也是无常的，他们的遗产决定于衰败。

在古代，Ozymandias（Ὀσυμανδύας）是埃及法老拉美西斯二世的希腊名字。雪莱于1817年开始写他的诗，不久之后大英博物馆宣布从公元前13世纪收购了拉美西斯二世雕像的一大片，导致一些学者相信雪莱的灵感来自于此。雕像头部和躯干的7.25吨碎片于1816年被意大利冒险家乔瓦尼巴蒂斯塔贝尔佐尼从底比斯的拉美西斯太平间寺庙中移除。预计它将于1818年抵达伦敦，但直到1821年才到达。
参考资料：
Ozymandias-Wikipedia（维基百科）
珀西·比希·雪莱-百度百科

The furthest distance in the world 世界上最遥远的距离
Is not between life and death 不是生与死
But when I stand in front of you 而是 我就站在你面前
Yet you don't know that I love you 你却不知道我爱你

The furthest distance in the world 世界上最遥远的距离
Is not when I stand in front of you 不是 我就站在你面前
Yet you can't see my love 你却不知道我爱你
But when undoubtedly knowing the love from both 而是 明明知道彼此相爱
Yet cannot be together 却不能在一起

The furthest distance in the world 世界上最遥远的距离
Is not being apart while being in love 不是 明明知道彼此相爱 却不能在一起
But when painly cannot resist the yearning 而是 明明无法抵挡这股思念
Yet pretending you have never been in my heart 却还得故意装作丝毫没有把你放在心里

The furthest distance in the world 世界上最遥远的距离
Is not when painly cannot resist the yearning 不是 明明无法抵挡这股思念
yet pretending you have never been in my heart 却还得故意装作丝毫没有把你放在心里
but using one's indifferent heart 而是 用自己冷漠的心对爱你的人
To dig an uncrossable river For the one who loves you 掘了一条无法跨越的沟渠

泰戈尔(Tagore)是印度近代和现代最伟大的作家,诗人,小说家,戏剧家,美术家,音乐家.1913年以英文散文诗集《吉檀迦利》获诺贝尔文学奖。
有人说泰戈尔就像那天际的明星。因为他写过在“那里，心是无畏的，头也抬的高昂；在那里，智识是自由的；……在那里，话是从真理的深处说出；……在那里，心灵是受你的指引，走向那不断放宽的思想与行为”像那启明星带引我们走向黎明。

对手 OpponentYou are my adversary, but you are not my enemy.
For your resistance gives me strength.
You will give me courage.
Your spirit ennobles me.
And though I aim to defeat you, should I succeed, I will not humiliate you.
Instead, I will honor you.
For without you, I am a lesser man.
对手
你是我的对手，但不是我的敌人。
因为，你的对抗给予我力量。
你的意志带给我勇气。
你的精神使我崇高。
我要尽力击败你，但即使我胜利了，我也不会羞辱你。
相反，我将以你为荣。
因为如果没有你，我就无法达成今天的成就。

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