夜莺颂英文毕业论文

不确定性的狂欢——《达芬奇密码》的后现代主义解读从文学文体学角度浅析《汤姆叔叔的小屋》中的反奴斗争接受美学视角下《暮光之城》字幕翻译的审美再现策略针对“00后”学生特点的初中英语个性化教学研究

约翰.济慈(John Keats,1795-1821)， 英国浪漫主义时期与拜伦、雪莱齐名的浪漫主义诗人，代表作品有《恩底弥瓮》（Endymion）、《伊莎贝拉》（Isabella）、《圣阿格尼斯之夜》（The Eve of Saint Agnes）等 长诗 以及《希腊古瓮颂》（Ode on a Grecian Urn）、《夜莺颂》（Ode to a Nightingale）等 颂歌 。

济慈在《希腊古瓮颂》中提出了“ Beauty is truth, truth beauty.”( 美即是真，真即是美)的美学理念，意思是生活的本真是艺术美的源泉，艺术美使生活之美得以永存。济慈的诗歌表达感情真挚，济慈虽然他英年早逝，但我觉得他是一位用生命写作才华横溢，追求诗歌的本真和美的诗人。

《夜莺颂》是一首颂歌。 如果你看过电影《明亮的星》（Bright Star）,相信你会被济慈对诗歌的狂热和才华所折服。诗人对生命、美和自由的歌颂和赞美在《夜莺颂》这首诗歌中体现地淋漓尽致。

My heart aches, and a drowsy numbness pains

My sense, as though of hemlock I had drunk,

Or emptied some dull opiate to the drains

One minute past, and Lethe-wards had sunk:

‘Tis not through envy of thy happy lot,

But being too happy in thine happiness, –

That thou, light-winged Dryad of the trees,

In some melodious plot

Of beechen green and shadows numberless,

Singest of summer in full-throated ease.

O, for a draught of vintage! that hath been

Cool’d a long age in the deep-delved earth,

Tasting of Flora and the country green,

Dance, and Provençal song, and sunburnt mirth!

O for a beaker full of the warm South,

Full of the true, the blushful Hippocrene,

With beaded bubbles winking at the brim,

And purple-stained mouth;

That I might drink, and leave the world unseen,

And with thee fade away into the forest dim:

Fade far away, dissolve, and quite forget

What thou among the leaves hast never known,

The weariness, the fever, and the fret

Here, where men sit and hear each other groan;

Where palsy shakes a few, sad, last gray hairs,

Where youth grows pale, and spectre-thin, and dies;

Where but to think is to be full of sorrow

And leaden-eyed despairs,

Where Beauty cannot keep her lustrous eyes,

Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee,

Not charioted by Bacchus and his pards,

But on the viewless wings of Poesy,

Though the dull brain perplexes and retards:

Already with thee! tender is the night,

And haply the Queen-Moon is on her throne,

Cluster’d around by all her starry Fays;

But here there is no light,

Save what from heaven is with the breezes blown

Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet,

Nor what soft incense hangs upon the boughs,

But, in embalmed darkness, guess each sweet

Wherewith the seasonable month endows

The grass, the thicket, and the fruit-tree wild;

White hawthorn, and the pastoral eglantine;

Fast fading violets cover’d up in leaves;

And mid-May’s eldest child,

The coming musk-rose, full of dewy wine,

The murmurous haunt of flies on summer eves.

Darkling I listen; and, for many a time

I have been half in love with easeful Death,

Call’d him soft names in many a mused rhyme,

To take into the air my quiet breath;

Now more than ever seems it rich to die,

To cease upon the midnight with no pain,

While thou art pouring forth thy soul abroad

In such an ecstasy!

Still wouldst thou sing, and I have ears in vain –

To thy high requiem become a sod.

Thou wast not born for death, immortal Bird!

No hungry generations tread thee down;

The voice I hear this passing night was heard

In ancient days by emperor and clown:

Perhaps the self-same song that found a path

Through the sad heart of Ruth, when, sick for home,

She stood in tears amid the alien corn;

The same that oft-times hath

Charm’d magic casements, opening on the foam

Of perilous seas, in faery lands forlorn.

Forlorn! the very word is like a bell

To toll me back from thee to my sole self!

Adieu! the fancy cannot cheat so well

As she is fam’d to do, deceiving elf.

Adieu! adieu! thy plaintive anthem fades

Past the near meadows, over the still stream,

Up the hill-side; and now ’tis buried deep

In the next valley-glades:

Was it a vision, or a waking dream?

Fled is that music: – Do I wake or sleep?

夜莺颂

我的心在痛，困顿和麻木

刺进了感官，有如饮过毒鸠，

又象是刚刚把鸦片吞服，

于是向着列斯忘川下沉：

并不是我嫉妒你的好运，

而是你的快乐使我太欢欣——

因为在林间嘹亮的天地里，

你呵，轻翅的仙灵，

你躲进山毛榉的葱绿和荫影，

放开歌喉，歌唱着夏季。

哎，要是有一口酒！那冷藏

在地下多年的清醇饮料，

一尝就令人想起绿色之邦，

想起花神，恋歌，阳光和舞蹈！

要是有一杯南国的温暖

充满了鲜红的灵感之泉，

杯沿明灭着珍珠的泡沫，

给嘴唇染上紫斑；

哦，我要一饮而离开尘寰，

和你同去幽暗的林中隐没：

远远地、远远隐没，让我忘掉

你在树叶间从不知道的一切，

忘记这疲劳、热病、和焦躁，

这使人对坐而悲叹的世界；

在这里，青春苍白、消瘦、死亡，

而“瘫痪”有几根白发在摇摆；

在这里，稍一思索就充满了

忧伤和灰色的绝望，

而“美”保持不住明眸的光彩，

新生的爱情活不到明天就枯凋。

去吧！去吧！我要朝你飞去，

不用和酒神坐文豹的车驾，

我要展开诗歌底无形羽翼，

尽管这头脑已经困顿、疲乏； 去了！呵，

我已经和你同往！ 夜这般温柔，

月后正登上宝座，

周围是侍卫她的一群星星；

但这儿却不甚明亮，

除了有一线天光，被微风带过，

葱绿的幽暗，和苔藓的曲径。

我看不出是哪种花草在脚旁，

什么清香的花挂在树枝上；

在温馨的幽暗里，我只能猜想

这个时令该把哪种芬芳

赋予这果树，林莽，和草丛，

这白枳花，和田野的玫瑰，

这绿叶堆中易谢的紫罗兰，

还有五月中旬的娇宠，

这缀满了露酒的麝香蔷薇，

它成了夏夜蚊蚋的嗡萦的港湾。

我在黑暗里倾听，多少次

我几乎爱上了静谧的死亡，

我用深思的诗韵唤他的名字，

求他把我的一息散入空茫；

而现在，死更是多么富丽：

在午夜里溘然魂离人间，

当你正倾泻着你的心怀

发出这般的狂喜！

你仍将歌唱，但我却不再听见——

你的葬歌只能唱给泥草一块。

永生的鸟呵，你不会死去！

饥饿的世代无法将你蹂躏；

今夜，我偶然听到的歌曲

曾使古代的帝王和村夫喜悦；

或许这同样的歌也曾激荡

露丝忧郁的心，使她不禁落泪，

站在异邦的谷田里想着家；

就是这声音常常

在失掉了的仙域里引动窗扉：

一个美女望着大海险恶的浪花。

呵，失掉了！这句话好比一声钟

使我猛醒到我站脚的地方！

别了！幻想，这人的妖童，

不能老耍弄它盛传的伎俩。

别了！别了！你怨诉的歌声

流过草坪，越过幽静的溪水，

溜上山坡；而此时，它正深深

埋在附近的溪谷中：

噫，这是个幻觉，还是梦寐？

那歌声去了：——我是睡？是醒？

颂歌（Ode），属于诗歌形式的一种，颂歌是一首抒情诗，用来赞美一个人、一个事件或一个物体。英国颂歌最著名的代表作品是雪莱的《西风颂》（Ode to the West Wind），以及济慈的《夜莺颂》（Ode to a Nightingale）、《希腊古瓮颂》（Ode on a Grecian Urn）。

《夜莺颂》这首诗写于1819年。有一天，一只夜莺一棵树上筑巢，济慈被夜莺婉转而欢快的歌声所吸引，他在一棵李树下面的凳子上坐了2、3个小时，返回房间时，他的手中拿了4、5张诗稿。写这首诗的时候，济慈的弟弟刚刚去世，而济慈也被肺病困扰，夜莺代表着他忘却现实中的痛苦，去追求美好和自由的向往。

我国古代诗人中也有很多描写鸟鸣的古诗词。如：“月出惊山鸟，时鸣春涧中。；” “百啭千声随意移，山花红紫树高低。”；“蝉噪林逾静，鸟鸣山更幽。” 鸟鸣衬托出了周围环境的幽静，反映了作者闲适、享受大自然美好的心境。正所谓境由心生。山水田园诗人王维被称为“诗中有画，画中有诗”。而济慈的这首诗是诗中有画，画中有音乐。

这首颂歌共分为8小节，每小节10行，各小节诗行按照ABABCDECDE的形式押韵。诗人在整首诗中采取了对比和象征的表达方式。夜莺代表着诗人所向往的自由、美好的生活，但作者却不得不困于现实的痛苦中：弟弟刚刚去世；他自己又身患疾病；他和Fanny Brawn小姐相爱，但迫于现实的状况却不能长厢厮守。爱情的甜蜜，病痛的折磨，这些痛苦让诗人十分羡慕夜莺，并愿和夜莺一起飞去。

从下图我们可以看出诗人在描述中采用了对比的表达方式，体现了诗人的现实（negative）生活和夜莺(positive)代表的理想世界之间的矛盾，作者在诗中采用了不同的词汇，如诗人的pains和夜莺的happiness,诗人的dull和夜莺的melodious等等，反映了作者当时追求自由、摆脱痛苦但却又不得不面对现实的无奈心境。这也是济慈在这首诗中采用paradox手法的体现。

关于这首诗的朗诵，可以找本尼迪克特的版本来听。今天早上，听本尼朗诵济慈《夜莺颂》的时候，舒缓优美的音乐配上本尼纯正的英音简直是一种至高的艺术享受。

济慈有诗叫做《多少诗人把光阴镀成了黄金》，“多少诗人把光阴镀成了黄金，诗杰的神品永远是我的幻想......仿佛集聚在黄昏的无数声响......仿佛积聚在黄昏的无数声响：鸟儿歌唱，树叶飒飒地絮语，流水潺潺，洪钟沉重地叩出庄严的声音，还有那来自远方 难以辩认的千种鸣响，合奏出

绝妙的音乐，而不是聒噪喧嚷。”

济慈写诗讲究感官感受，所以读他的诗，不仅仅是在看一幅精美的油画，而且还是在欣赏一首优美的古典音乐，完全沉浸在他的诗所描绘的美好情境中。所以读他的诗是一种享受，不仅仅因为他对诗歌的狂热，更由于他对美与真的尽情歌颂。

虽然济慈25岁就去世，但他在诗歌方面的影响力却是英国浪漫主义诗歌中最明亮耀眼的一颗星。他写诗讲究官能感受，唯美主义以及为艺术而艺术（Art's for arts' sake）的创作理念，他具有与莎士比亚的天才极为接近的艺术感应力。他的诗歌形式和风格也是多变的，颂歌、长诗、叙事诗、抒情诗、十四行诗。他的十四行诗与莎士比亚的诗风很像，读他的十四行诗也是一种美的感官享受。

我在想，如果英文诗歌可以像夜莺那样浸润现代社会中人们偶尔孤寂的心田，那将是人世间最美好的事。

这是我自己参考中文赏析写的，虽然不是很权威，但是这也是我交给老师的作业，我们老师给的评价还不错，所以分享一下^*^,觉得有价值的话，就参考一下吧~Reads “Ode to a Nightingale”“Old to a Nightingale” was written by Jhon Keats.It expresses poet’s stray and complex mood emerged after hearing a nightingale’s engaging voice and reflects poet’s desire of getting rid of the pressure from human suffering there, blending into the natural world and entering into the joyous nightingale kingdom, however, be trapped by realities where his inner pain comes from. Behinde the discribing of the nightingale’s happy voice, the poem is full of strong emotion with sadness and pain, and the mournful sentiment make it painful lingering for us.Keats cried out a painful lament at the beginning of the poem. “My heart aches”, poet cried out such a painful lament when listening so enchanting song from nightingale under such a soft night sky. The nightingale’s song which shoule make people feel happy originally make the poet feel heart aches. This is the specific reflection of Keats’ artistic idea of accepting things by the opposite side.In fact, we should comprehend the sentence of the fifth line in the first section of the poem—Tis not through envy of thy happy lot, But being too happy in thy happiness—from the opposite side according to the following sentences and the whole poem. So the true meaning of the sentence reffered before is that the touching nightingale voice make poet feel never-ending pain and as a result he is envious of the nightingale’s freedom and happiness.The four lines at the beginning of the first section describe that the poet’s heart was suffering from the felling of heavy-headed, numb and stepping into death. And the folloewing six sentences describe the nightingale’s happiness of singing freely in the shadow of the forest.The strongly contrast show poet’s contradictory mood.He is eager ro blend into the nature just like the nightingale in order to break away from the worry of the world. However, how can he enter to the nightingale’s freedom kingdom? In the senond section, the poet opens his imagination.He imagines the vintage wine made of grapes from the south world, and drinking it and then leaving the world silencely, hiding himself into the forest together with the nightingale. In the section, the poet makes a specific and deepgoing description of the vintage wine.”That hath been Cool’d a long age in the deep-delved earth, Tasting of Flora and the country green, Dance, and Provencal song, and sunburnt mirth!” This is a Chinese fictitious land of piace which is nothing else than the world the poet was looking forward to.And the literary quotation of Hippocrene make the vintage wine made of grapes more mysterious.He wants to drink the vintage wine here has double meanings.One is to enter into the nightingale’s free kingdom with the help of the mysterious power of the wine, and the other one is to forget the bad things in the world through drink to drunk. He describes his worry detailedly in the third section.In his view, there is none happiness but distressness, none hopes but hopelessness, none beauty or love, but ugly and hate because of his painful experience. So he said in the poem that “Fade away, dissolve, and quite forget. What thou among the leaves hast neve known,” so he is eager to fly to the nightingale’s kingdom where doesn’t have suffering and is filled with happiness and beauty.The fourth and the fifth sections are the important transition of Keats’ thoughts. He realizes that he can’t leave his world by drinking, so he can fly to the ninghtingale’s world though his poem. He make a new happy world in his poem which is nearly the same with the nightingale’s world.The last two sentences in the sixth section express his pity of can’t hear the beautiful voice in his world, and Keats’ contractory mind appears again.The seventh section is the transition of his coming back to the reality from his imagination. He realizes that nothing can live forever in the world. But ninghtingale’s voice can comfort the people who are sufferring misery in the world. The two literary quotations—the Ruth and the half-times hath—show that what he needs is being saved. But the fact that he is still live and suffer misery break his fancy and bring him back to reality just like what he said in his poem that “Forlorn! The very word is like a bell.To toll me back from thee to mysole self!” The Forlorn in the last section has double meanings one of which is being abandoned and the other one of which is loneliness. In this section,Keats can not distinguish weather it is a vision or a walking dream even after the ninghtingale’s voice has disappeared, which also reflect his unsure and doublful attitude to the reality.Old to a Ninghtingale deeply reflects Keats’ difficult position of failling to seek beauty, the sence of distressed lies in every word,and makes us think without ending.字数：814个

TO AUTUMN 秋颂

by John Keats

(查良铮译)

SEASON of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss’d cottage-trees,

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 o’er-brimm’d their clammy cells.

雾气洋溢、果实圆熟的秋，

你和成熟的太阳成为友伴;

你们密谋用累累的珠球，

缀满茅屋檐下的葡萄藤蔓;

使屋前的老树背负着苹果，

让熟味透进果实的心中，

使葫芦胀大，鼓起了榛子壳，

好塞进甜核;又为了蜜蜂

一次一次开放过迟的花朵，

使它们以为日子将永远暖和，

因为夏季早填满它们的粘巢。

Who hasth not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind;

Or on a half-reap’d furrow sound asleep.

Drowsed with the fumes 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 cyder-press, with patient look,

Thou watchest the last oozings hours by hours.

谁不经常看见你伴着谷仓?

在田野里也可以把你找到，

弥有时随意坐在打麦场上，

让发丝随着簸谷的风轻飘;

有时候，为罂粟花香所沉迷，

你倒卧在收割一半的田垄，

让镰刀歇在下一畦的花旁;

或者.像拾穗人越过小溪，

你昂首背着谷袋，投下倒影，

或者就在榨果架下坐几点钟，

你耐心地瞧着徐徐滴下的酒浆。

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,-

While barred clouds bloom the soft-dying day,

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river shallows, borne aloft

Or sinking as the light wind lives or dies;

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The red-breast whistles from a garden-croft;

And gathering swallows twitter in the skies.

啊.春日的歌哪里去了?但不要

想这些吧，你也有你的音乐——

当波状的云把将逝的一天映照，

以胭红抹上残梗散碎的田野，

这时啊，河柳下的一群小飞虫

就同奏哀音，它们忽而飞高，

忽而下落，随着微风的起灭;

篱下的蟋蟀在歌唱，在园中

红胸的知更鸟就群起呼哨;

而群羊在山圈里高声默默咩叫;

丛飞的燕子在天空呢喃不歇。

Ode to Psyche 赛吉颂

O Goddess! Hear these tuneless numbers, wrung

女神呵!请听这些不成调的韵律——

By sweet enforcement and remembrance dear,

由倾心的执着和亲切的回忆所促成——

And pardon that thy secrets should be sung

请原谅，这诗句唱出了你的秘密，

Even into thine own soft-conched ear:

直诉向你那柔软的海螺状耳轮：

Surely I dreamt today, or did I see

无疑我今天曾梦见——我是否目睹

The winged Psyche with awakened eyes?

长着翅膀、睁着眼睛的赛吉?

I wandered in a forest thoughtlessly,

我在树林里无思无虑地漫步，

And, on the sudden, fainting with surprise,

突然，我竟惊奇得目眩神迷，

Saw two fair creatures, couched side by side

我见到两个美丽的精灵相依偎

In deepest grass, beneath the whispering roof

在深草丛里，上面有絮语的树叶

Of leaves and trembled blossoms, where there ran

和轻颤的鲜花荫庇，溪水流淌

A brooklet, scarce espied:

在其间，无人偷窥：

'Mid hushed, cool-rooted flowers, fragrant-eyed,

周围是宁静的、清凉的、芬芳的嫩蕊，

Blue, silver-white and budded Tyrian,

蓝色花、银色花，紫色的花苞待放，

They lay calm-breathing on the bedded grass;

他们躺卧在绿茵上，呼吸得安详;

Their arms embraced, and their pinions too;

他们的手臂拥抱，翅膀交叠;

Their lips touched not, but had not bade adieu,

他们的嘴唇没接触，也没告别，

As if disjoined by soft-handed slumber,

仿佛被睡眠的柔腕分开一时，

And ready still past kisses to outnumber

准备醒后再继续亲吻无数次

At tender eye-dawn of aurorean love:

在欢爱的黎明睁眼来到的时刻：

The winged boy I knew;

带翅的男孩我熟悉;

But who wast thou, O happy, happy dove?

可你是谁呀，幸福的、幸福的小鸽?

His Psyche true!

他的好赛吉!

O latest born and loveliest vision far

啊，出生在最后而秀美超群的形象

Of all Olympus' faded hierarchy!

来自奥林波斯山暗淡的神族!

Fairer than Phoebe's sapphire-regioned star,

蓝宝石一般的福柏减却清芒，

Or Vesper, amorous glow-worm of the sky;

天边威斯佩多情的萤光比输;

Fairer than these, though temple thou hast none,

你比他们美，虽然你没有神庙，

Nor altar heaped with flowers;

没堆满供花的祭坛;

Nor virgin-choir to make delicious moan

也没童男女唱诗班等午夜来到

Upon the midnight hours:

便唱出哀婉的咏叹;

No voice, no lute, no pipe, no incense sweet

没声音 ，没诗琴，没风管，没香烟浓烈

From chain-swung censer teeming;

从金链悬挂的香炉播散;

No shrine, no grove, no oracle, no heat

没神龛，没圣林，没神谕，没先知狂热，

Of pale-mouthed prophet dreaming.

嘴唇苍白，沉迷于梦幻。

O brightest! Though too late for antique vows,

啊，至美者!你虽没赶上古代的誓约，

Too, too late for the fond believing lyre,

更没听到善男信女的祝歌，

When holy were the haunted forest boughs,

可神灵出没的树林庄严圣洁，

Holy the air, the water and the fire;

空气、流水、火焰纯净谐和;

Yet even in these days so far retired

即使在那些远古的日子里，远离开

From happy pieties, thy lucent fans,

敬神的虔诚，你那发光的翅膀

Fluttering among the faint Olympians,

仍然在失色的诸神间振羽飞翔，

I see, and sing, by my own eyes inspired.

我两眼有幸见到了，我歌唱起来。

So let me be thy choir and make a moan

就让我做你的唱诗班吧，等午夜来到

Upon the midnight hours—

便唱出哀婉的咏叹!

Thy voice, thy lute, thy pipe, thy incense sweet

做你的声音、诗琴、风管、香烟浓烈，

From swinged censer teeming;

从悬空摆动的香炉播散;

Thy shrine, thy grove, thy oracle, thy heat

做你的神龛、圣林、神谕、先知狂热，

Of pale-mouthed prophet dreaming.

嘴唇苍白，沉迷于梦幻。

Yes, I will be thy priest, and build a fane

是的，我要做你的祭司，在我心中

In some untrodden region of my mind,

未经践踏的地方为你建庙堂，

Where branched thoughts, new grown with pleasant pain,

有沉思如树枝长出，既快乐，又苦痛，

Instead of pines shall murmur in the wind:

代替了松树在风中沙沙作响：

Far, far around shall those dark-clustered trees

还有绿阴浓深的杂树大片

Fledge the wild-ridged mountains steep by steep;

覆盖着悬崖峭壁，野岭荒山。

And there by zephyrs, streams, and birds, and bees,

安卧苍苔的林仙在轻风、溪涧、

The moss-lain Dryads shall be lulled to sleep;

小鸟、蜜蜂的歌声里安然入眠;

And in the midst of this wide quietness

在这寂静的广阔领域的中央，

A rosy sanctuary will I dress

我要整修出一座玫瑰色的圣堂，

With the wreathed trellis of a working brain,

它将有花环形构架如思索的人脑，

With buds, and bells, and stars without a name,

点缀着花蕾、铃铛、无名的星斗

With all the gardener Fancy e'er could feign,

和“幻想”这园丁构思的一切奇妙，

Who breeding flowers will never breed the same:

雷同的花朵决不会出自他手：

And there shall be for thee all soft delight

将为你准备冥想能赢得的一切

That shadowy thought can win,

温馨柔和的愉悦欢快，

A bright torch, and a casement ope at night,

一支火炬，一扇窗敞开在深夜，

To let the warm Love in!

好让热情的爱神进来!

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