超全美国文学诗歌整理

2021年1月25日发(作者：relational)
5.
“Aunt Jennifer’s Tigers”



Adrienne Rich


Aunt Jennifer’s tigers prance across a screen,

杰妮夫姨妈的老虎在屏风上窜腾，

Bright topaz denizens in a world of green.
安居在绿草世界犹如黄玉般晶亮。

They do not fear the men beneath the tree;

对于树下的人类它们不屑畏惧；

They pace in sleek chivalric certainty.
自信的步态骑士般孔武而自如。

Aunt Jennifer’s fingers flutter
ing through her wool
詹妮孚姨妈的手指在毛线间摸索，

Find even the ivory needle hard to pull.
甚至那象牙色钩针也难以穿梭。

The massive weight of Uncle’s wedding band

姨父硕大的婚戒沉甸甸地缠绕

Sits heavily upon Aunt Jennifer’s hand.

将詹妮孚姨妈的手指紧紧套牢。

When Aunt is dead, her terrified hands will lie
姨妈亡故，她惊颤的双手终于放松

Still ringed with ordeals she was mastered by.
但主宰终生的磨难依然是她的指环。

The tigers in the panel that she made
她编织的装饰图案中，那些老虎

Will go on prancing, proud and unafraid.
继 续窜腾，一如既往，傲岸且无
灵活运用，押韵＼铺垫＼借代＼比喻＼联想等多种修辞手法，烘托出悲怆的 气氛，逼真描绘女主人公被男权社会压迫
的命运，与威风凛凛的老虎形象形成鲜明对比，表达作者对男权 社会，女人的地位状况的同情和不满。
The fearful,
gloomy woman waiting inside her darkening room for the emotional and meteorological devastation to hit could be
Aunt Jennifer, who is similarly passive and terrified, overwhelmed by events that eclipsed her small strength.

impulse to freedom and imagination (her tapestry of prancing tigers) and the
expectations, signified by
different generation, neither Aunt Jennifer in her ignorance nor Rich as a poet recognizes the fundamental
implications of the division between imagination and duty, power and passivity. The tigers display in art the values
that Aunt Jennifer must repress or displace in life: strength, assertion, fearlessness, fluidity of motion.
7. This is Just To Say

William Carlos Williams
I have eaten
Forgive me
the plums
they were delicious
that were in
so sweet
the icebox
and so cold.
and which
我吃了

you were probably
冰箱里的

saving
梅子

for breakfast.
它们

大概是你

留着

当早餐用的

原谅我

它们太好吃了

那么甜

那么凉

非常生活化的一 首便条诗，语感棒极了，读起来就两个字：舒服
.
要有感情，此诗的最后四行就是抒情的
,
抒发了一种偷吃的
快感。要有意象，这里是梅子。所以，它是一首诗，而且是一首经典的诗 歌，曾在美国引起了哄动。此诗的前四行是叙事，
吃了冰箱里的梅子。而中间部分事遐想。能力有限，到 此思维就停止了，希望得到你们的补充。



Introduction to Poetry
Billy Collins
I ask them to take a poem
and hold it up to the light
like a color slide
or press an ear against its hive.
I say drop a mouse into a poem
and watch him probe his way out,
or walk inside the poem's room
and feel the walls for a light switch.
I want them to waterski
across the surface of a poem
waving at the author's name on the shore.
But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.
They begin beating it with a hose
to find out what it really means.
我让他们拿起一首诗

对着灯把它举起

像举彩色幻灯片一样

或者把一只耳朵贴在它的巢上。

我说丢只老鼠到一首诗里

看它如何摸出来，

或者在诗的屋子里走动

摸墙上的灯闸。

我想要他们乘水橇

滑过一首诗的表面

冲着岸上作者的姓名挥手致意。

可他们只想

拿绳子将诗捆在椅子上

给它来个屈打成招。

他们开始用软管抽它

想弄清它的真正含义。

王君如是说：切身地 体会诗歌，才会同作者有共鸣，像
“
他们
”
一样，挖空心思
“
以找出它真正的意义
”
只会对诗歌造成伤害。我
们要记住的是诗中种种有趣的片段， 这些瞬间而动人的，才是最本质的体验。由是，对于诗歌，我们只谈感受，不谈
“
分析
”
。

8. The Red Wheelbarrow

William Carlos Williams
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.
这么多

全靠

一辆红轮子的

手推车

因为雨水

而闪光

旁边是一群

白色的小鸡

诗人试图尝试 将我们的文明根基还原到一个朴素的存在，即简单的农具和家畜的饲养。他在宣示我们的文明，无论如何绚烂夺< br>目抑或已经走向颓势
，
都离不开简单的劳作和简单的工具
。
而这些简单 的农场元素
，
又恰恰是我们文明最初获得生命力的表现，
人以自己对世界的认识，反省 着我们和自然的关系，于是便在形而下的层面创造了我们和自然得以互动沟通的方式。


9. The House on the Hill

Edwin Arlington Robinson

They are all gone away,



The House is shut and still,
There is nothing more to say.
Through broken walls and gray



The winds blow bleak and
shrill:
They are all gone away.
他们都已离去，


只留下大门紧闭的老屋，


冷冷清清，默默无语。


断壁灰暗，往日的旧居，


凄厉的寒风吹拂，


他们都已离去。


Nor is there one to-day



To speak them good or ill:
There is nothing more to say.
Why is it then we stray



Around the sunken sill?
They are all gone away,
And our poor fancy-play
人迹渺茫，满目空虚，


谁来把陈年是非讲述，


冷冷清清，默默无语。


我们为何踏着蹒跚的步履，


围绕破败的门窗徘徊盼顾？


他们都已离去。


那梦幻般的嬉戏欢娱，


太过久远，太过模糊，


冷冷清清，默默无语。


眼前唯有废墟，


山上的这间老屋：


他们都已离去，


冷冷清清，默默无语
―The House on the Hill‖ was once a place full of life and laughter. Once Edwin’s older brothers left to live



For them is wasted skill:
There is nothing more to say.
There is ruin and decay
In the House on the Hill:
They are all gone away,
There is nothing more to say.
on their own, the house became
lifeless.
He was already alienated by his parents, which added to his
loneliness. Throughout this poem Robinson used refrain to emphasize his
loneliness.


10. Richard Cory
Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored and imperially slim.

And he was always quietly arrayed,
And he was always human when he talked,
But still he fluttered pulses when he said,

walked.

And he was rich--yes, richer than a king--
And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.
So on we worked, and waited for the light,
And went without the meat and cursed the
bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head.
理查德
·
科里一到街头，


行人总要注目瞻望；


一派君子风度，


眉清目秀，伟岸颀长。


举止谦和沉稳，


谈吐文雅大方；


一声
“
早安
”
令人怦然心动，


他迈开步子溢彩流光。



他有富可敌国的家产，


他有全知全能的教养，


他是万民效仿的标准，


他是大众追求的榜样。



人们不停劳作，苦苦盼望，


一日三餐只有难吃的粗粮；


可他在一个平静的夏夜回到家里，


用一颗子弹打碎自己的脑浆。

In this poem
they all wanted to be like him because of the way he presented himself. The people did not know that deep down this
prosperous man felt like an outcast, like Edwin Robinson. This wealthy man felt separated by the people in his town
because of his many achievements.
Richard is simply an example of a major downfall of human nature: the need to be liked. He acts as though he is a
great man and traines his body to be admirable as well but, when he sees how much he had to live up to he knows it is
un- attainable and kills him at the realization that, he has been living a lie.


11. Anecdote of a Jar

Wallace Stevens

I placed a jar in Tennessee,


我把一只坛子放在田纳西

And round it was, upon a hill.


它圆圆的，矗立在山顶

It made the slovenly wilderness


原本凌乱的荒野

Surround that hill.


因它而向小山环聚


The wilderness rose up to it,





荒野向它涌来

And sprawled around, no longer wild.



并向四周蔓延，不再狂野

The jar was round upon the ground

圆圆的坛子在地面上格外突出

And tall and of a port in air.




高的像空中的海港


It took dominion everywhere.


它统治着所有地方

The jar was gray and bare.


虽然它光秃秃、灰溜溜


It did not give of bird or bush,


它既不长鸟又不长植物


Like nothing else in Tennessee.


但它与田纳西的任何一样东西就是不同

The jar means humanity, means culture, means art and artistic imaginations. With a jia being there, the wilderness got a
center, and then, an order for everything. The soil, the sand, the patches of grass and clumps of bush are soon under
dominance of it. The jar adds some thought to this place, just like art, turning the dead to live. Art is magic. It fantasize
the nature. Without art, we are nothing and dead


12.
The Emperor of Ice Cream

Wallace Stevens
Call the roller of big cigars,
On which she embroidered
The muscular one, and bid
fantails once
him whip
And spread it so as to cover
In kitchen cups concupiscent
her face.
curds.
If her horny feet protrude,
Let the wenches dawdle in
they come
such dress
To show how cold she is,
As they are used to wear, and
and dumb.
let the boys
Let the lamp affix its beam.
Bring flowers in last month's
The only emperor is the
newspapers.
emperor of ice-cream.
让那卷大雪茄的人，
那雄健的人


Let be be finale of seem.
过来，让他去厨房


The only emperor is the
弄几杯淫欲的冰淇淋，


emperor of ice-cream.

让看起来像的东西成为实实在
在的东西。


唯一的王是冰淇淋大帝。



从缺三个玻璃把手的妆台


取出那床单，


在上面她曾刺绣扇尾鸽图案


铺开它，盖住她的脸。


如果她角状双脚伸出单子外，
它
们


是显示她尸骨已寒，
再也不能说
话，


让那盏灯光亮闪闪。


唯一的王是冰淇淋大帝。
让少女穿上惯常的服装


来悠闲鬼混，让男孩们


Take from the dresser of deal.
用上个月的旧报纸把花儿包装
Lacking the three glass
好送来，


knobs, that sheet
Theme:
Seize
the
Day
one
must
be
open
to
the
abstract
and
the
figurative
to
appreciate
the
blast
of
hedonism
that
comes
from
this
poem
.
The woman's death presents an opportunity for her acquaintances to
hold a party. The pleasure they will derive from the occasion apparently matters more than the memory of the
deceased woman they are supposed to be mourning. No doubt, the women who attend will pay homage to the
muscular man who makes the
the ice cream. He and the ice cream represent sensual or physical pleasure. In turn, the
doubt want to live it up with the
the day --carpe diem. The Emperor of Ice Cream will preside at the festivities, dispensing pleasure by the dollop


13
.

Chicago
by
Carl Sandburg
Hog Butcher for the World,

Tool maker, Stacker of Wheat,

Player with Railroads and the Nation's Freight
Handler;

Stormy, husky, brawling,

City of the Big Shoulders:

They tell me you are wicked and I believe them, for I
have seen your

painted women under the gas lamps luring the
farm boys.
And they tell me you are crooked and I answer: yes, it
is true I have seen

the gunman kill and go free to kill again.
And they tell me you are brutal and my reply is: On
the faces of women

and children I have seen the marks of wanton
hunger.
And having answered so I turn once more to those
who sneer at this my

city, and I give them back the sneer and say to
them:
Come and show me another city with lifted head
singing so proud to be

alive and coarse and strong and cunning.
Flinging magnetic curses amid the toil of piling job on
job, here is a tall

bold slugger set vivid against the little soft cities;
Fierce as a dog with tongue lapping for action,
cunning as a savage pitted

against the wilderness,

Bareheaded,

Shoveling,

Wrecking,

Planning,

Building, breaking, rebuilding,
Under the smoke, dust all over his mouth, laughing
with white teeth,
Under the terrible burden of destiny laughing as a
young man laughs,
Laughing even as an ignorant fighter laughs who has
never lost a battle,
Bragging and laughing that under his wrist is the pulse,
and under his


ribs the heart of the people,

Laughing!
Laughing the stormy, husky, brawling laughter of
Youth, half-naked,

sweating, proud to be Hog Butcher, Tool Maker,
Stacker of Wheat,

Player with Railroads and Freight Handler to the
Nation.
世界的猪屠夫，

工具匠，小麦存储者，

铁路运输家，全国货物转运人

暴躁、魁梧、喧闹，

宽肩膀的城市：


人家告诉我你太卑劣，我相信：我看到你的

女人浓妆艳抹在煤气灯下勾引乡下小伙。

人家告诉我你太邪恶，我回答：是的，的确

我见到凶手杀了人逍遥法外又去行凶。

人家告诉我你大残酷，我的答复是：在妇女

和孩子脸上我见到饥饿肆虐的烙印。

我这样回答后．转过身，对那些嘲笑我的城

市的人，我回敬以嘲笑，我说：

来呀，给我看别的城市，也这样昂起头，骄

傲地歌唱，也这样活泼、粗犷、强壮、机灵。

他把工作堆起来时，抛出带磁性的咒骂，在

那些矮小展弱的城市中，他是个高大拳击手。

凶狠如一只狗，舌头伸出准备进攻，机械有

如跟莽原搏斗的野蛮人；

光着头，

挥着锹，

毁灭，

计划，

建造，破坏，再建造，

在浓烟下，满嘴的灰，露出白牙齿大笑，

在命运可怕的重负下，像个青年人一样大笑，

大笑，像个从未输过一场的鲁莽斗士，

自夸，大笑，他腕下脉搏在跳，肋骨下人民

的心在跳，大笑！

笑出年青人的暴躁、魁伟、喧闹的笑、赤着

上身，汗流浃背，他骄傲，因为他是猪屠

夫，工具匠，小麦存储者，铁路运输家，

全国货物的转运人。

The poem presents a striking and impressive description of the vigor and vitality of Chicago primarily by means of personification,
images and metaphor. In the first five lines, . By using this metaphor. The poet highlights the vigor of in the last 21
lines, the poet delineates the images of
They
are
all
incarnations
of
power,
strength,
vitality
and
action.
So,
the
use
of
these
images
further
emphasizes
the
vigor
of
er, the varied syntactic pattern and changeable rhythm also reveal the mobility, energy, and vigor of Chicago.

14.
I am the People, the Mob

I am the people--the mob--the crowd--the mass.
Do you know that all the great work of the world is done through me?
I am the workingman, the inventor, the maker of the world's food and





clothes.
I am the audience that witnesses history. The Napoleons come from me





and the Lincolns. They die. And then I send forth more Napoleons





and Lincolns.
I am the seed ground. I am a prairie that will stand for much plowing.






Terrible storms pass over me. I forget. The best of me is sucked out





and wasted. I forget. Everything but Death comes to me and makes





me work and give up what I have. And I forget.
Sometimes I growl, shake myself and spatter a few red drops for history





to remember. Then--I forget.
When I, the People, learn to remember, when I, the People, use the





lessons of yesterday and no longer forget who robbed me last year,





who played me for a fool--then there will be no speaker in all the





world say the name:





voice or any far-off smile of derision.
The mob--the crowd--the mass--will arrive then.
In this poem he talks about how the people are the reason people like Napoleon and Lincoln
were able to do all that they did. Even though people like them die the people are still strong.

He wants people to understand that without all the hard work, People wouldn't have food to
feed themselves and clothes to wear
. People wouldn't be where they're at right now.


15. The Road Not Taken

Robert Frost
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.
深黄的林子里有两条岔开的路，

很遗憾，我，一个过路人，

没法同时踏上两条征途，

伫立好久，我向一条路远远望去，

直到它打弯，视线被灌木丛挡住。


于是我选了另一条，不比那条差，

也许我还能说出更好的理由，

因为它绿草茸茸，等待人去践踏
——

其实讲到留下了来往的足迹，

两条路，说不上差别有多大。


那天早晨，有两条路，相差无几，

都埋在还没被踩过的落叶底下。

啊，我把那第一条路留给另一天！

可我知道，一条路又接上另一条，

将来能否重回旧地，这就难言。


隔了多少岁月，流逝了多少时光，

我将叹一口气，提起当年的旧事：

林子里有两条路，朝着两个方向，

而我
——
我走上一条更少人迹的路
，

于是带来完全不同的一番景象

Everyone is a traveler, choosing the roads to follow on the map of their continuous journey, life. There is
never a straight path that leaves one with but a sole direction in which to head. Regardless of the original
message that Robert Frost had intended to convey


16. Stopping By Woods On A Snowy Evening
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.

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.

我不会猜错谁是这林子的主人，

但他的家却远在那边的孤村。

他不会想到，我竟在这里停马，

只为看那树林里面落雪纷纷。


我那小马定有点诧异，

为何在这里停下，悄无人迹。

这边是树林，那边是冰冻的湖，

又是一年里最黑的夜，夜黑如漆。


他摇了下铃铛，送来个声响，

似乎问我有什么异常。

其他的声音，只有微风，

还有那漫天的雪花，沙沙地落在脚旁。


静谧的树林，深邃幽暗，

我虽向往，但已有约在先。

入睡之前仍然路程迢迢，

入睡之前，仍然路程漫漫

The speaker is stopping by some woods on a snowy evening. He or she takes in the lovely scene in
near-silence, is tempted to stay longer, but acknowledges the pull of
obligations
and the
considerable
distance
yet to be traveled before he or she can rest for the night.

20.
When I Heard the
Learn’d Astronomer

Walt Whitman

When I heard the learned astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure them,
When I sitting heard the astronomer where he lectured with much applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wandered off by myself,
In the mystical moist night-air, and from time to time,
Looked up in perfect silence at the stars.
当我听那位博学的天文学家的讲座时，

当那些证明、数据一栏一栏地排列在我眼前时，

当那些表格、图解展现在我眼前要我去加、去减、
去测定时，

当我坐在报告厅听着那位天文学家演讲、听着响起
一阵阵掌声时，

很快地我竟莫名其妙地厌倦起来，

于是我站了起来悄悄地溜了出去，

在神秘而潮湿的夜风中，一遍又一遍，

静静地仰望星空。

.......
Mere numbers, charts, and diagrams cannot sum up the mystery, power, and beauty of the universe. To
begin to understand the wonder of the universe, one must view it through the lens of the unaided eye rather
than the lens of the calibrated telescope in order see a glimmer of its meaning. A person must sometimes
separate
himself
from
the
crowd
to
experience
life
and
the
cosmos
from
a
different
perspective.
He
must
become an individual, a nonconformist, willing to abandon the herd to roam freely in open pastures.


21. Crossing Brooklyn Ferry
Walt Whitman












1
Flood-tide below me! I see you face to face!
Clouds of the west
—
sun there half an hour high
—
I see you also face to face.

Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than
you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations,
than you might suppose.











2
The impalpable sustenance
无形的食粮

of me from all things at all hours of the day,
The simple, compact, well-joined (weel- connected) scheme (design), myself disintegrated (
解体
),
我化为
尘土了

every

one disintegrated yet part of the scheme,
The similitudes (resemblance) of the past and those of the future,
The glories strung like beads (
珠子
) on my smallest sights and hearings, on the walk in the street and

passage over the river,
（敢情我也小小的惠特曼了。
。
。
）

The current rushing
河流
so swiftly and swimming with me far away,
The others that are to follow me,
the ties
between me and them,
The certainty of others, the life, love, sight, hearing of others.

Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide (
涨潮
),
Others will see the shipping of
Manhattan
north and west, and the heights of Brooklyn to the south and
east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence (after), or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling back to the sea of the ebb-tide (
退潮
).
3