Romantic+Poets+(II)

nullRomantic Poets (II) Active/Revolutionary Romantic PoetsRomantic Poets (II) Active/Revolutionary Romantic PoetsLord Byron Percy Bysshe Shelley John KeatsByron (1788—1824)Byron (1788—1824)Important PointsImportant Points1. Byron’s literary works. 2. Byron’s masterpiece, Don Juan《唐璜》and Childe Harold’s Pilgrimage《恰尔德·哈罗尔德游记》 3. Comments on Byron.Byron’s LifeByron’s Lifevery unhappy sports writing in Cambridgeunbalanced life expensive clothes room decoration horses, a pet beardrink with a cup made from a human skull aristocratic but impoverished Byron’s Life18071809181518161824Lyric poemstour of Europeromantic verse narrativesunhappy marriage8 years abroad (Switzerland, Italy Greece)died in Greece Life Story2. Literary Works 2. Literary Works 1) Hours of Idleness 《闲暇时刻》《消闲时光》 2) The English Bards and Scott Reviewers 《英国诗人和苏格兰评论家》 p. 74dealing with childish recollections and early friendship, showing the influence of 18th century traditions… “taken to task” 责备,申斥 …celebrities 知名人士“ran the gauntlet” 受到严厉批评Literary WorksLiterary Works Child Harold’s Pilgrimage 《恰尔德·哈罗德游记》, the first two canto. “I awoke one morning to find myself famous.” “我一天早晨醒来,发现自己出了名。”nullChilde Harold’s Pilgrimagelong poem with 4 cantosSpenserian stanza 9-line stanza, ababbcbccHarold’s travels in Europesolitary, melancholy melancholia:忧郁症 keen understanding strong love of freedomphilosophical and political views first by the mouth of Harold, then by himselfnullThe Giaour 《异教徒》 The Bride of Abydos 《阿比多斯的新娘》 The Siege of Corinth 《科林斯之围》“Oriental Tales“东方叙事诗””“Byronic heroes” “拜伦式英雄”fiery passions; unbending will ideal of freedom against tyranny and injustice lone fighters, individualistic endsLiterary Works in Switzerland Literary Works in Switzerland Sonnet on Chillon 《锡隆十四行诗》 Manfred 《曼弗雷德》a poetical drama（诗剧）Literary Works in ItalyLiterary Works in ItalyDon Juan 《唐璜》masterpiece Cain 《该隐》a poetical drama诗剧 The Vision of Judgment 《审判的幻景》 a satire parodying (imitating) Southey’s sycophant (flattery) elegy A Vision of Judgment. 语言生动，内容超俗,主 题 快递公司问题件快递公司问题件货款处理关于圆的周长面积重点题型关于解方程组的题及答案关于南海问题 鲜明, 充分体现了幻境与现实相结合的 原则 组织架构调整原则组织架构设计原则组织架构设置原则财政预算编制原则问卷调查设计原则 。Another version to answer Southey’s attack.Don Juan 《唐璜》Don Juan 《唐璜》It was written in Italy during the years from 1818 to 1823. It has 16,000 lines in 16 cantos and witten in ottava rima （八行体）. Each stanza contains 8 iambic pentameter lines. The rhyme scheme is abababcc.八行体：每行10或11个音节， 前6行交替押韵，后2行成一组同脚韵。 Comments on Don Juan Comments on Don Juan1.The story of the poem takes place in the later part of the 18th century. 2.Don Juan is a Spanish youth of aristocratic birth. 3.This long poem describes Don Juan’s vicissitudes(变迁) of life and adventures in many countries. Don Juan Don Juan childhoodlove affairabroadGreek islandsold as a slavecapital of Turkeyin guise of a woman Don JuanDon Juan camp of the Russian army St. Petersburg Empress Catherine to England on a political mission Comments on Don JuanComments on Don Juan4.The hero is made to participate in different historical events. Thus we can get a broad panorama（全景） of the social life of the time.Comments on Don JuanComments on Don Juan5.The poem gives a satirical description of English ruling classes and social conditions. 6.The hero shows his disgust at the vanity（虚荣） and hypocrisy（虚伪）of English high society. Comments on Don JuanComments on Don Juan7.Byron did not finish the poem. He meant to make the hero take part in the French Revolution and die a heroic death. 8.Don Juan is the great poem of the age.4. Comments on Byron4. Comments on Byron1)Byron is one of the most excellent representatives of English Romanticism and one of the most influential poets of the time. 4. Comments on Byron4. Comments on Byron2)His literary career was closely linked with the struggle and progressive movements of his age. 3)He opposed oppression and slavery, and has an ardent (passionate) love for liberty. Comments on ByronComments on Byron4)He praised the people’s revolutionary struggles in his works. 5)His poems are favorites of the British workers and the laboring people of other countries. Comments on ByronComments on Byron6) Byron’s poems show energy and vigor, romantic daring (bold, brave) and powerful passion. 7) He stands with Shakespeare and Scott among the British writers who exert the greatest influence over the mainland Europe and the Chinese youth greatly. Comments on ByronComments on Byron8) But some critics think many of his lines are harsh (unkind), rugged (rough) and not rhythmical. Some poems show his individual heroism and pessimism.She Walks in BeautyShe Walks in BeautyIn this poem , Byron attended a party where he for the first time met his young cousin, Lady Wilmot Horton, who was dressed in a black mourning gown. Byron was so struck by her beauty that, on returning home, he wrote this poem in a single night.She Walks in BeautyShe Walks in BeautyShe walks in beauty, like the night 她走在美的光彩中，象夜晚 Of cloudless climes and starry skies 皎洁无云而且繁星漫天； And all that's best of dark and bright 明与暗的最美妙的色泽 Meets in her aspect and her eyes; 在她的仪容和秋波里呈现： Thus mellow‘d to that tender light Which Heaven to gaudy day denies. 耀目的白天只嫌光太强 它比那光亮柔和而幽暗。 She Walks in BeautyShe Walks in BeautyThe opening couplet is among the most memorable and most quoted lines in romantic poetry.  They are effortless, graceful and beautiful, a fitting match for his poem about a woman who possesses effortless grace and beauty. They bring together the opposing qualities of darkness and light that are at play throughout the three verses.  The first line is an enjambed line (it continues without pause onto the second line). That she walks in beauty like the night may not make sense, as night represents darkness. However, as the line continues, the night is a cloudless one with bright stars to create a beautiful mellow glow. She Walks in Beauty (analysis)She Walks in Beauty (analysis)The remaining lines of the first verse employ another set of enjambed lines that tell us that her face and eyes combine all that’s best of dark and bright.  The fourth line begins with an irregularity in the meter called a metrical substitution, for it starts with an accented syllable followed by an unaccented one, rather than the iambic meter of the other lines.  The result is that the word ‘Meet’ receives attention, an emphasis. The lady’s unique feature is that opposites meet in her in a wonderful way.She Walks in Beauty (analysis)She Walks in Beauty (analysis)No mention is made here or elsewhere  in the poem of any other physical features of the lady.  The focus of the vision is upon the details of the lady’s face and eyes, which reflect  the mellowed and tender light.  She has a remarkable quality of being  able to contain the opposites of dark and bright.She Walks in BeautyShe Walks in BeautyOne shade the more one ray the less 增加或减少一份明与暗 Had half impair‘d the nameless grace 就会损害这难言的美。 Which waves in every raven tress 美波动在她乌黑的发上， Or softly lightens o‘er her face 或者散布淡淡的光辉 Where thoughts serenely sweet express 在那脸庞，恬静的思绪 How pure how dear their dwelling-place. 指明它的来处纯洁而珍贵。She Walks in Beauty She Walks in Beauty This stanza tells us that the glow of the lady’s face is nearly perfect. The shades and rays are in just the right proportion, and because they are, the lady possesses a nameless grace. This conveys the romantic idea that her inner beauty is mirrored by her outer beauty. Her thoughts are serene and sweet. She is pure and dear. She Walks in BeautyShe Walks in BeautyAnd on that cheek and o'er that brow So soft so calm yet eloquent The smiles that win the tints that glow But tell of days in goodness spent， A mind at peace with all below A heart whose love is innocent. 呵，那额际，那鲜艳的面颊， 如此温和，平静，而又脉脉含情， 那迷人的微笑，那容颜的光彩， 都在说明一个善良的生命： 她的头脑安于世间的一切， 她的心充溢着真纯的爱情！The Form of the PoemThe Form of the PoemThe three stanzas of this poem all follow the same rhyme scheme (ababab, cdcdcd, efefef) and the same metrical (诗的)韵律的pattern. Critics have admired it for its gracefulness, lyricism： a work of “peculiar sweetness and beauty.”《登徒子好色赋》《登徒子好色赋》大夫登徒子侍於楚王，短宋玉曰：“玉为人体貌娴丽，口多微辞，又性好色，愿王勿与出入后宫。”王以登徒子之言问宋玉。玉曰：“体貌娴丽，所受於天也；口多微辞，所学於师也。至于好色，臣无有也。”王曰：“子不好色，亦有说乎？有说则止，无说则退。”玉曰：“天下之佳人，莫若楚国；楚国之丽者，莫若臣里；臣里之美者，莫若臣东家之子。东家之子，增之一分则太长，减之一分则太短；著粉则太白，施朱则太赤。眉如翠羽，肌如白雪，腰如束素，齿如含贝。嫣然一笑，惑阳城，迷下蔡。然此女登墙窥臣三年，至今未许也。登徒子则不然。其妻蓬头挛耳，齞唇历齿，旁行踽偻，又疥且痔。登徒子悦之，使有五子。王孰察之，谁为好色者矣。”是时，秦章华大夫在侧，因进而称曰：“今夫宋玉盛称邻之女，以为美色。愚乱之邪臣，自以为守德。谓不如彼矣。且夫南楚穷巷之妾，焉足为大王言乎？若臣之陋目所曾睹者，未敢云也。”王曰：“试为寡人说之。”大夫曰：“唯唯。”臣少曾远游，周览九土，足历五都。出咸阳，熙邯郸，从容郑、卫、溱、洧之间。是时，向春之末，迎夏之阳，鸧鹒喈喈，群女出桑。此郊之姝，华色含光，体美容冶，不待饰装。臣观其美丽者，因称诗曰：“遵大路兮揽子祛，赠以芳华辞甚妙。”于是处子恍若有望而不来，忽若有来而不见。意密体疏，俯仰异观，含喜微笑，窃视流眄。复称诗曰：“寤春风兮发鲜荣，洁斋俟兮惠音声，赠我如此兮，不如无生。”因迁延而辞避。盖徒以微辞相感动，精神相依凭。目欲其颜，心顾其义，扬诗守礼，终不过差。故足称也。 ExercisesExercises1. Remember Byron’s major works. 2. What is the main idea of She Walks in Beauty? 3. Comment on Byron.Shelley (1792—1822)Shelley (1792—1822)Shelley’s LifeShelley’s LifewealthyEtonMad ShelleyOxfordThe Necessity of Atheism 《无神论的必要性》 expelled to leave the school disowned by the fatherShelley’s LifeShelley’s Lifemarried Harrietrunaway marriageturn to LondonWilliam Godwinmarried Maryimmoralistforced to leave England in 1818Shelley’s LifeShelley’s Lifefour-year troubles in Italypoor healthfinancial problemsrestless movingdeath of his two sonsdrowned in 1822, buried at Rome near Keats friendship with Byron2. His Literary Works2. His Literary Works1) Zastrozzi, 《柴斯特罗齐》，written when in Eton. 2) The Necessity of Atheism, 《无神论的必要性》，written when in Oxford University 3) Address to the Irish People， 《告爱尔兰人民 书 关于书的成语关于读书的排比句社区图书漂流公约怎么写关于读书的小报汉书pdf 》His Literary WorksHis Literary Works4) Queen Mab, 《仙后麦布》，written when in London. 5）The Revolt of Islam《伊斯兰的反叛》 6）The Masque of Anarchy《暴政的行列》His Literary WorksHis Literary Works7) Prometheus Unbound, 《解放了的普罗米修斯》，written when in Italy. 8) The Cenci《钦契一家》 9) A Defence of Poetry, 《诗辩》，written when in Italy. Comments on Shelley’s Poetry Comments on Shelley’s Poetry 1)Shelley has a reputation as a difficult poet: erudite (/érudait/) (learned), complex (difficult), full of classical and mythological allusions（神话典故）. 2)His style abounds (is rich) in personification and metaphor and other figures of speech.5. Comments on Shelley5. Comments on Shelley1. Shelley is one of the leading Romantic poets, an intense and original lyrical poet in the English language. 2. Shelley loved the people and hated their oppressors and exploiters. Comments on ShelleyComments on Shelley3. He called on the people to overthrow the rule of tyranny and injustice and prophesied（预言）a happy and free life for mankind. Comments on ShelleyComments on Shelley4. He stood for this social and political ideal all his life. 5. He and Byron are justifiably (justly, rightly) regarded as the two great poets of the revolutionary romanticism in England. Comments on ShelleyComments on Shelley6. Byron, his best friend, said of Shelley “the best and least selfish man I ever knew”. Wordsworth said, “Shelley is one of the best artists of us all”.Ode to the West WindOde to the West Windnull对“西风颂”不同的理解和解释： 有人把西风视作政治抒情诗， 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 达了诗人豪迈、奔放的革命热情。西风象征着一般强烈的革命风暴，风卷残云，摧枯拉朽，扫除一切旧势力，同时又播下新生的种子，将自由和幸福传遍人间。null 有人将西风看作一首描写大自然的抒情诗，表达了诗人泛神论(pantheism)的思想，即西风代表大自然，而自然则是神灵(divinities)的体现。null 有人认为诗人在“西风颂”中表达了自己对创作灵感和想象力的呼唤。 然而，无论那种解释，批评家都把西风看作自由的象征和一股巨大的精神力量。Summmary of Ode to the West WindSummmary of Ode to the West WindIt is Shelley’s most famous lyric poem & most representative of his feelings & thoughts at that time. The poem is divided into 5 logical stanzas: Stanza I describes the wind's effects on the land. Stanza II addresses the wind's influence on the sky. Stanza III discusses its effects on the sea. Stanza IV is the expression of the poet’s strong desire to join the force of the wind & his dissatisfaction with the reality. Stanza V shows the poet’s determination & confidence in the future.ThemeTheme The mixture of death & rebirth. The west wind, image of the poet himself, is the symbol of the destroyer of the old as well as the preserver of the new.Stanza IStanza IThe autumn breezes scatter dead leaves and seeds on the forest soil, where they eventually fertilize the earth and take root as new growth. In Greek and Latin , the words for "wind," "inspiration," "soul," and "spirit" are all related. Shelley's "West Wind" thus seems to symbolize an inspiring spiritual power that moves everywhere, and affects everything. Lines 1-3Lines 1-3O wild West Wind, thou breath of Autumn's being, 哦，狂暴的西风，秋之生命的呼吸！ Thou, from whose unseen presence the leaves dead 你无形，但枯死的落叶被你横扫， Are driven, like ghosts from an enchanter fleeing, 有如鬼魅碰到了巫师，纷纷逃避：Lines 1-3Lines 1-3These lines ostensibly suggest that, like a magician might frighten away spirits, the wind scatters leaves. But one might also interpret "leaves dead" as anything of the past; in this sense, the winds of inspiration make way for a new world by driving away the old. Lines 4-5Lines 4-5Yellow, and black, and pale, and hectic red, 黄的，黑的，灰的，红得像患肺痨， Pestilence-stricken multitudes: O thou, 呵，重染疫疠的一群：西风呵，是你 Lines 4-5 ：Lines 4-5 ：The colors named here might simply indicate the different shades of the leaves, but it is also possible to interpret the leaves as symbols of the dying force. This idea is supported by the phrase "Each like a corpse within its grave" in line 8 . Lines 6-7Lines 6-7Who chariotest to their dark wintry bed 以车驾把有翼的种子催送到 The winged seeds, where they lie cold and low, 黑暗的冬床上，它们就躺在那里，Lines 6-7Lines 6-7Here, the wind is described as a chariot that carries leaves and seeds to the cold earth. This comparison gives the impression that the wind has some of the aspects of those who are associated with chariots — gods and powerful rulers. "chariotest"--"est" is here added to the verb stem "chariot" to indicate the second person singular, after the subject "thou.“ nullChariot n./ v. 二轮战车 驾战车Line 8Line 8The leaves are personified as people within their graves, an image that harks back to lines 4 and 5, where the leaves are considered as diseased "multitudes" of people. Each like a corpse within its grave, until 像是墓中的死穴，冰冷，深藏，低贱， Lines 9-12Lines 9-12Thine azure sister of the Spring shall blow 直等到春天，你碧空的姊妹吹起 Her clarion o'er the dreaming earth, and fill 她的喇叭，在沉睡的大地上响遍， (Driving sweet buds like flocks to feed in air) （唤出嫩芽，像羊群一样，觅食空中） With living hues and odours plain and hill: 将色和香充满了山峰和平原。 Lines 9-12Lines 9-12In Greek and Roman mythology, the spring west wind was masculine, as was the autumnal wind. Here, the speaker refers to the spring wind as feminine, perhaps to stress its role as nurturer and life-giver. She is pictured as awakening Nature with her energetic "clarion," which is a type of medieval trumpet. "thine azure sister of the Spring"--referring here to the east wind.null Clarion A medieval trumpet with a shrill, clear tone. 尖音小号，号角：中世纪号角，能发出尖利、清晰的音响Lines 13-14Lines 13-14Wild Spirit, which art moving everywhere; 不羁的精灵呵，你无处不远行； 　 Destroyer and preserver; hear, oh hear! 破坏者兼保护者：听吧，你且聆听！Lines 13-14Lines 13-14At the conclusion of the first stanza, the speaker identifies the wind as the powerful spirit of nature that incorporates both destruction and continuing life. In fact, these two processes are said to be related; without destruction, life cannot continue. At the end of line 14 is the phrase "Oh hear!" that will be repeated at the end of stanzas 2 and 3. This refrain emphasizes sound, which seems appropriate given that wind, an invisible force, is the poem's central subject. Lines 13-14Lines 13-14“Destroyer and Preserver”--the west wind is considered the “Destroyer,” for driving the last signs of life from the trees; it is considered the "Preserver" for scattering the seeds which will come to life in the spring. Lines 15-28Lines 15-28In stanza II, the wind helps the clouds shed rain, as it had helped the trees shed leaves in stanza I. Just as the dead foliage nourishes new life in the forest soil, so does the rain contribute to Nature's regenerative cycle. Lines 15-18Lines 15-18Thou on whose stream, mid the steep sky's commotion, 没入你的急流，当高空一片混乱， Loose clouds like earth's decaying leaves are shed, 流云象大地的枯叶一样被撕扯 Shook from the tangled boughs of Heaven and Ocean, 脱离天空和海洋的纠缠的枝干。 Angels of rain and lightning: there are spread 成为雨和电的使者：它们飘落Lines 15-18Lines 15-18The loose clouds are probably cirrus clouds（卷云）, harbingers （预言）(or "angels" as it is put in line 18) of rain. As the leaves of stanza I have been shed from boughs, these clouds have been shaken from the heavier cloud masses, or "boughs of Heaven and Ocean" (line 17). "shook"--used for "shaken," an archaism. Lines 15-18Lines 15-18“the tangled boughs of Heaven and Ocean”--The line between the sky　and the stormy sea is indistinguishable, the whole space from the　horizon to the zenith being covered with trialing storm clouds. Lines 19-23Lines 19-23On the blue surface of thine aery surge, 在你的磅礴之气的蔚蓝的波面 Like the bright hair uplifted from the head 有如狂女的飘扬的头发在闪烁 Of some fierce Maenad, even from the dim verge 从天穹的最遥远而模糊的边沿 Of the horizon to the zenith's height, 直抵九霄的中天，到处都在摇曳 The locks of the approaching storm. Thou dirge 欲来雷雨的卷发，对濒死的一年 Lines 19-23Lines 19-23When Shelley was in Florence, he saw a relief sculpture of four maenads. These worshipers of the Roman god of wine and vegetation, Bacchus (in Greek mythology, Dionysus) were wild, dancing women with streaming hair. Here, the speaker compares the appearance of the cirrus clouds streaked across the horizon with the maenads' blown tresses. Lines 19-23Lines 19-23"Maenad"--a very frenzied woman in Greek mythology, a priestess of Bacchus, the God of Wine. （希腊神话中 参加狄俄尼索斯酒神节狂欢的女人，胡言乱语的，疯女人，发狂的女人） "The locks of the approaching storm"--referring here to the clouds.Lines 23-28Lines 23-28The locks of the approaching storm. Thou dirge 欲来雷雨的卷发，对濒死的一年 Of the dying year, to which this closing night 你唱出了葬歌，而这密集的黑夜 Will be the dome of a vast sepulchre, 将成为它广大墓陵的一座圆顶， Vaulted with all thy congregated might 里面正有你的万钧之力的凝结； Of vapours, from whose solid atmosphere 那是你的浑然之气，从它会迸涌 Black rain, and fire, and hail will burst: oh hear! 黑色的雨，冰雹和火焰：哦，你听！ Lines 23-28Lines 23-28The wail of the wind is compared to a song of grief, as if it were mourning the "dying" year. As the year draws to a close, Nature prepares for the funeral. The coming night is described as a "sepulcher," a burial tomb that will be marked by lightning and hail from a storm. This last day will end in darkness, under storm clouds. "Thou dirge/ Of the dying year“--referring to the west wind.Lines 29-42Lines 29-42In stanza III, the West Wind wields its power over the sea; but unlike the first two stanzas, this one is introduced by an image of calm, peace, and sensuality. The Mediterranean Sea is pictured as smooth and tranquil, sleeping alongside the old Italian town of Baiae. Once a playground of Roman emperors, Baiae sunk as a result of volcanic activity and is now the bed of a lush underwater garden. But the wind can also "waken" (line 29) the sea and disturb the summer tranquility of the waters by ushering in an autumn storm. Lines 29-34Lines 29-34Thou who didst waken from his summer dreams 　　是你，你将蓝色的地中海唤醒， The blue Mediterranean, where he lay, 　　而它曾经昏睡了一整个夏天， Lulled by the coil of his crystalline streams, 　　被澄澈水流的回旋催眠入梦， Beside a pumice isle in Baiae bay, 　　就在巴亚海湾的一个浮石岛边， And saw in sleep old palaces and towers 　　它梦见了古老的宫殿和楼阁 Quivering within the wave‘s intenser day, 　　 在水天辉映的波影里抖颤， Lines 32-34Lines 32-34In 1818, Shelley himself had sailed past the Bay of Baiae; "Pumice Isle"--the name of an isle near Naples, Italy, which is formed by deposits of lava from Vesuvius, a volcano nearby. "Baiae's bay"--a favourite resort of the ancient Romans on the coast of Campania, at the western end of the Bay of Naples.Line 34Line 34“intenser day”--The translucence （半透明）of the water is more intense than the dazzling daylight above its surface. “Day” here refers to　"daylight."Lines 35-38Lines 35-38All overgrown with azure moss and flowers 而且都生满青苔、开满花朵， So sweet, the sense faints pict