-
William Blake
Of
all
the
romantic
poets
of
the
eighteenth
century,
William
Blake
is
the
most
independent
and
the
most
original.
Blake,
born
on
28
November
1757,
the
son
of
a
London
haberdasher,
was
a
strange,
imaginative
child,
whose
soul
was
more
at
home with
brooks and flowers and fairies than
with
the
crowd
of
the
city
streets.
Beyond
learning
to
read
and
write,
he
received
no
ducation. His only formal education was
in art:
at
the
age
of
10
he
entered a
drawing
school
and later studied for a time at the
school of
the
Royal
Academy
of
Arts.
At
14
he
apprenticed
for
seven
years
to
a
well-known
engraver, James Basire, read widely in
his free
time,
and
began
to
try
his
hand
at
poetry.
At
24 he
married Catherine Boucher, daughter of
a market gardener. She was then
illiterate, but
Blake taught her to
read and to help him in his
engraving
and
printing.
In
the
early
and
somewhat
sentimentalized
biographies,
Catherine
is
represented
as
an
ideal
wife
for
an
unorthodox
and
penniless
genius.
Blake,
however,
must
have
been
a
trying
domestic
partner,
and
his
vehement
attacks
on
the
torment
caused
by
a
possessive,
jealous
female
will,
which
reached
their
height
in
1793, and remained prominent in his
writings
for another decade, probably
reflect a troubled
period at home. The
couple had no children.
In
1800,
he
moved
to
Felpham
in
Sussex,
where
he
had
a
patron
who
wanted
to
威廉
·
布莱
克
(1757
—
1827)
transform Blake into a conventional
artist and
bread
earner.
But
Blake
had
his
ideals
and
wanted to pursue his spiritual life. He
rebelled.
After
three
years
at
Felpham
Blake
moved
back
to
London,
determined
to
follow
his
“Divine
Vision”
though
it
meant
a
life
of
isolation,
misunderstanding,
and
poverty.
He
had
a
one-man
show
put
on
in
1809,
which
proved
a
total
failure.
Blake
passed
into
almost complete obscurity. Only when he
was
in
his
60’s
did
he
finally
attract
a
small
but
devoted
group
of
young
painters
who
served
as
an
audience
for
his
work
and
his
talk,
Blake’s
old age was serene, selfconfident,
and
joyous,
largely
free
from
the
bursts
of
irascibility
with
which
he
had
earlier
responded to the
shallowness and blindness of
the
English
public.
He
died
in
his
seventieth
year in 1827.
Blake was a
very important poet in the history
of
English
literature.
His
poems
seem
easy,
but difficult to
understand on
account
of
his
use
of
mysterious
images
and
symbols.
And
one
cannot
really
understand
him if not versed
in religious knowledge.
He
was
strongly
influenced
by
The
French
Revolution,
the
ideas
of
Thomas
Paine,
William
Godwin,
Mary
Wollstonecraft
and
others.
His
main
works
include
Songs
of
Innocence
(1789) and
Songs of
Experience
(1794),
The
Marriage
of
Heaven
and Hell
(1790).
1
London
1
I wander
thro
2
each charter’d
3
street,
Near
where the charter’d Thames
4
does flow,
And mark
5
in every face I meet
Marks of weakness, marks of woe.
In every
6
cry of
every Man,
In every Infant’s cry of
fear,
In every voice, in
every ban,
7
The
mind-
forg’d manacles
8
I hear.
How the
chimney-
sweeper’s
9
cry
Every blackning
10
church appalls;
11
And the hapless Soldier’s
sigh
Runs in blood down
Palace walls.
12
But most
13
thro’ midnight streets I
hear
How the youthful
Harlot’s curse
Blasts
14
the new-
born
Infant’s tear,
And blights
15
with plagues
16
the Marriage hearse.
17
注释
1. “London”: from
Songs of
Experience
2. thro’: through
3.
charter’d:
chartered,
指享有专利权的大商人或
大公司所独占的
4. Thames:
泰晤士河
5. mark:
notice
6. every:
具体地从成人和婴儿、话
语和法令的角
度描绘伦敦的苦难
7.
ban:
禁令
8.
mind-
forg’d
manacles:
指用英国统治阶级思想
< br>铸成的镣铐，
-
forg’d:
-forged
9. chimney-sweeper:
扫烟囱者
10.
black’ning: blackening
11.
appalls: be surprised
12.
And
the
hapless
soldier’s
sigh
/
Runs
in
blood
down palace walls:
诗人听到不幸士兵的
叹息，仿佛看到他们的鲜血
正从王宫的墙壁上流下来。
Hapl
ess : unfortunate
13. most: most of all
14. Blasts:
使干枯，指吓得婴儿不敢哭泣
15.
blights: destroy
16. plagues:
指包括性病在内的各种疫病
17.
the Marriage hearse:
婚姻的柩车
伦
敦
我徘徊在每条被独占的街上，
靠近那也被霸占的泰晤士河，
注意到所遇的每个行人脸上
都把衰弱和痛苦的烙印铭刻。
从每个男女的每一声呼喊声，
每个婴孩害怕的哭叫，
从每个声音里，从每一条禁令
都能听到心灵铸的镣铐。
听扫烟囱孩子的叫喊
震惊着每座熏黑的教堂。
不幸士兵的悲叹
像鲜血冲下堵堵宫墙。
但我常听见在深夜的街头
年轻妓女不停地诅咒。
它吓得新生儿眼泪不敢流，
妓女带来瘟疫，使婚车变成灵柩。
The Tyger
1
Tyger!
Tyger
！
burning bright
2
In the forests of the
night,
What immortal hand or eye
Could frame thy fearful symmetry?
3
In what distant deeps
4
or skies
Burnt
the fire of thine eyes?
On what wings
dare he
5
aspire?
6
What the hand, dare seize
the fire?
7
And what
shoulder,
8
& what art,
9
Could twist the sinews of
thy heart?
10
And when thy
heart began to beat,
What dread hand? &
what dread feet ?
11
What the
hammer?
12
what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
13
Dare its deadly terrors
clasp?
When the stars threw down their
spears,
14
And water’d
heaven with their tears,
Did
he smile his work to see?
Did he who
made the Lamb
15
make thee?
Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?
注释
1. This is one
of the poems in
Songs of
Experience
.
2
Tyger: tiger
2.
burning
bright:
指老虎的眼睛在黑暗中发出炽
烈的光
3. the fearful symmetry:
可怕的匀称
4. deeps:
seas
5. he: God,
指造物者
6. aspire:
rise high
7. seize the fire:
（敢）抓住这样的火
8.
shoulder:
指肩臂的力量
9. art: skills
技巧
10. twist the sinews of thy heart:
拧制在你心脏的
筋肉。
sinews:
筋，腱
11.
What
dread
hand?
and
what
dread
feet:
dread:
dreadful
可怕的
12. the hammar:
诗人用铁匠的形象喻老虎的创造
者
13. grasp:
指手臂
14. spears: tears
15. the
Lamb:
指耶稣基督
老
虎
老虎！老虎！炯炯发亮，
燃烧在黑夜的丛莽。
是什么脱俗的手和眼睛
塑造了你这可怕的匀称？
眼睛的火光来自什么地方？
是来自远处的深海还是高处的天堂？
凭什么翅膀他胆敢高翔？
敢抓这火的是什么样的手掌？
什么样的肩膀，什么样的技艺
能把你心脏的肌肉拧制？
当你心胸开始搏跳，
制造你的是多么可怕的手与脚？
是什么样的铁锤？是什么样的铁链？
是什么样的熔炉把你的头脑冶炼？
是什么样的铁砧？是什么可怕的手臂
敢把这死的恐怖握得结结实实？
当群星洒下泪做成的长矛，
用泪水把整个天宇来浇灌，
他可曾因见到自己的创作而微笑？
莫非是同样创造了羔羊的人把你也创造？
老虎！老虎！炯炯发亮，
燃烧在黑夜的林莽。
是什么脱俗的手和眼睛
敢塑造你这可怕的匀称？
William
Wordsworth
：
Some of Wordsworth’s principal poems
are:
Lines
Composed a Few
Miles Above Tintern Abbey
(1798),
The Prelude
(1805
—
1806),
The
Excursion
(1814), miscellaneous sonnets
(written at different periods of his
life).
Wordsworth is quite popular with
the readers. His
poems are clear in
imagery, deep in feeling yet is to
read
aloud and recite.
The Solitary Reaper
Behold her, single in the field,
Yon
1
solitary
Highland
2
Lass!
Reaping and singing by herself;
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain;
3
O listen! for the Vale
profound
Is overflowing with the sound.
No Nightingale did ever chaunt
4
More welcome notes
5
to weary bands
Of travelers
6
in
some shady haunt,
Among Arabian sands;
7
A voice so thrilling ne’er
8
was heard
In
springtime from the Cuckoo bird,
Breaking the silence of the seas
Among the farthest Hebrides.
9
Will no one tell me what
she sings?
10
—
Perhaps the plaintive numbers
11
flow
For old,
unhappy, far-off things,
And battles
long ago;
Or is it some more humble
lay,
12
Familiar matter of
today?
Some natural sorrow, loss, or
pain,
That has been, and may be again?
Whate’er
13
the
theme, the Maiden sang
As if her song
could have no ending;
I saw her singing
at her work,
And o’er the sickle
bending
14
—
I listened, motionless and still;
And, as I mounted up the hill,
The music in my heart I bore,
Long after it was heard no more.
3
注释
1. Yon: yonder
那边的，远处的
2.
Highland:
苏格兰高地（的）
3. strain: melody
4. chaunt:
chant
唱
5.
welcome notes:
叫人快乐的音调
6.
weary
bands
of
travellers:
一队队疲乏的旅行
者，指商旅
7. Arabian sands:
阿拉伯沙漠
8. ne’er:
never
9. Hebrides:
赫布里底群岛，
在苏格兰西北方的大
西洋中
10.
Will
no
one
tell
me
what
she
sings:
那姑娘是
用苏格兰高地的
盖尔语（
Erse
）歌唱的，诗人听不懂。
11. the plaintive numbers: sad
songs
，哀怨的歌声；
numbers: songs
（复数）诗歌，音乐
12.
lay:
（唱的）短抒情诗或短叙事诗
13. whate’er: whatever
14. o’er the sickle bending: bending
over the sickle
孤独的刈麦女
你看，那边高原上孤独的少女，
独自个儿在这田野里！
她自己一人，边收割边哼着小曲；
停下吧，要么就悄悄地绕过去！
孤独一人，她又收割又绑捆，
唱出的曲调有些哀婉伤心；
啊，听！那深深的峡谷
也把她的歌声洒布。
阿拉伯沙漠，
在偶见的绿荫，对疲惫的旅人，
夜莺会唱出甜美的歌，
但怎么也超不过这少女的唱吟；
在遥远的赫伯利群岛，
听到啼叫报春的布谷鸟
打破辽阔海域的沉寂，
却也赶不上少女的歌声醉人心迷。
就没人告诉我她唱的是什么？
——
也许只是些伤感事，
也许是些遥远过去不幸的生活，
也许是古老的战场怨曲。
也许唱的是更普通的曲子，
唱的是当今的生活琐事。
也许诉说着自然的伤感、损失和痛苦，
这些事曾经发生以后也许会反复。
不管这少女唱的主题是什么，
仿佛这歌声无头无尽远流长；
我见她边唱歌儿边工作，
我见她弯腰运镰收割忙。
我凝神贯注静静地听，
我登高侧耳仍听见那歌声。
那乐声在我这儿长存，
久未听见，却仍留于心。
I Wandered Lonely as a
Cloud
1
I wandered lonely as
a cloud
2
That floats on
high
3
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,
4
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;
And then my heart with pleasure fills,
And dances with the daffodils.
注释
1.
在这首诗里，
诗人表达了对大自然的热爱以及
大自然对人类心理
的积极影响，即便是孤独的人
只要与美好的大自然合一，他也会幸福无比，孤
意全消。
4
2.
I
wandered
lonely
as
a
cloud
:
wander,
徘徊；
lonely,
孤独、无伴；
as a cloud,
像一片云。这些
都是
“
孤独
”
的形象。
3.
on high: in the sky
4. Continuous as
the stars that shine/And twinkle on
the
milky way:
指湖边的水仙花数不胜数，犹如银河系闪烁的繁
星，
连绵不断。
这个意象扩大了想象视野的空间，
把人从地上带到天上。
这个意象给人一不知
“
湖边
与水仙
”
是
“
天空与繁星
”
< br>，还是
“
天空与繁星
”
是
“
湖边与水仙
”
的感觉，妙不可言。
我独自漫游像一朵浮云
我独自漫游像一朵浮云，
高高地漂浮在山与谷之上，
突然我看见一簇簇一群群
金色的水仙在开放：
靠湖边，在树下，
随风起舞乐开花。
它们连绵不断，像银河中
的群星闪烁、眨眼，
它们展延无限成远景
沿着湖湾的边沿：
一瞥眼我看见成千上万，
它们欢快摇首舞翩翩。
近旁的波浪跳着舞；但水仙
欢快的舞姿远远胜过闪光的波浪；
有这样欢乐的侣伴，
诗人怎能不心花怒放？
我凝视着
—
凝视着
—
当时并
未领悟
这景色给我带来的是何等财富：
常常是，当我独卧榻上，
或是沉思，或是茫然，
它们在我心田闪光
这是我独处时的欢乐无限；
我的心就充满欢乐，
随着那些水仙起舞婀娜。
William Butler Yeats
威廉
·
巴特勒
·
叶芝
(1865
—
1939)
When You Are Old
When you are old and gray and full of
sleep,
And nodding by the fire, take
down this book,
And slowly read, and
dream of the soft look
Your eyes had
once, and of their shadows deep;
How
many loved your moments of glad grace,
And loved your beauty with love false
or true,
But one man loved the pilgrim
soul in you,
And loved the sorrows of
your changing face;
1
And
bending
2
down beside the
glowing bars,
Murmur, a little sadly,
how Love
3
fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.
注释
1. changing fa
ce:
变化着的脸，
指日渐苍老的面孔。
2. bending:
可指弯下身躯，也可指人变老后形成
的驼背。
3. Love:
此处的
love
拟人化，
在这里是一个男性，
与以往诗歌中
love
多指女性的情况不同。
参考译诗
当
你
老
了
当你老了，满头白发，充满睡意，
在火炉旁打盹时，你取下这本书，
慢慢地读，慢慢回忆你昔日眉目
的柔和还有你眼中深深的忧郁；
多少人爱过你美好温雅的时光，
多少人或真或假爱过你的美貌，
只有一个人爱你那圣洁的灵魂，
还爱你日渐衰老的容颜的哀伤；
在散发柔光的炉火旁，你弯着身躯，
有些凄然，低声诉说，爱如何消散，
如何爬上头顶上的山巅，
把自己的脸藏在繁星紧簇的天宇。
THE SECOND COMING
Turning and turning in the widening
gyre
The falcon cannot hear the
falconer;
Things fall apart; the
centre cannot hold;
Mere anarchy is
loosed upon the world,
The blood-
dimmed tide is loosed, and
everywhere
The ceremony of innocence is
drowned;
The best lack all
conviction, while the
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