希腊古瓮颂翻译及简要赏析希腊古瓮颂修辞赏析Word下载.docx
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卤莽的恋人,你永远,永远吻不上,虽然够接近了——但不必心酸;
她不会老,虽然你不能如愿以偿,你将永远爱下去,她也永远秀丽!
呵,幸福的树木!
你的枝叶不会剥落,从不曾离开春天,幸福的吹笛人也绝不停歇,他的歌曲永远是那么新鲜;
呵,更为幸福的、幸福的爱!
永远热烈,正等待情人宴飨,永远热情的心跳,永远年轻;
幸福的是这一切超凡的情态:
它不会而使心灵餍足和悲伤,没有炽热的头脑,焦渴的嘴唇。
这些人是谁呵,都去赴祭祀?
这作牺牲的小牛,对天鸣叫,你要牵它到哪儿,神秘的祭司?
花环缀满着它光滑的身腰。
主要是从哪个傍河傍海的小镇,或哪个静静的堡寨的山村,来了这些人,在这敬神的清早?
呵,小镇,你的街道永远恬静;
再也不可能将回来一个灵魂告诉人你何以是怎么寂寥。
哦,希腊的形状!
唯美的观照上面缀有石雕的男人和女人,还有林木,和践踏过的青草;
沉默的形体呵,你象是“永恒”使人超越思想:
呵,冰冷的牧歌!
等暮年使这一世代都凋落,只有你如旧;
在另外的一些深沉中,你会抚慰后人说:
“美即是真,真即是美,”这就包括你们所知道、和该知道的一切。
(查良铮译,选自《济慈诗选》,人民文学出版社,1958年)
一个古瓮会给我们带来什么呢?
造型的浪漫和雕饰的华美?
一般来说只有这些。
但是,在英国大点诗人济慈(1795年---1821年)眼里可就不一样了,竟然铺叙出一篇华美的乐章——《希腊古瓮颂》。
“瓮”是古希腊人用来盛放骨灰或作为装饰品的一种大理石或玻璃器皿,上面多画有人与物的人物形象。
但在诗人笔下,古瓮上的人能与枯萎物已经不是简单的形象和干枯的线条,而是具有鲜明个性的生命。
开始,诗人点明这个瓮的古老:
它曾“委身寂静的、完美的处子,受过了沉默和悠久的抚育”,经过“田园的史家”再造,“竟能铺叙一个如花的神话故事,比诗还瑰丽”,于是,在它的形体上,“岂非缭绕着古老的传说,以绿叶为其边缘,讲着人,或神,敦陂或阿卡狄?
”诗人叹赏道:
“呵,是怎样的人,或神!
在舞乐前多热烈的追求!
怎样的风笛和鼓铙!
”这是诗人对古瓮热烈的感情,为整首诗作定下基调。
据说,诗人曾看到过数种不同的希腊古瓮。
他凝视着古瓮上那些栩栩如生的画面曾长长地陷入沉思,在冥冥的想象中,他看到古希腊的古老传说——敦陂和阿卡狄山谷人神共处谷地的那种奇瑰的生活,即古希腊人田园诗般的生活。
这是一个何等圣洁,何等美丽,何等自由,无比欢乐的世界啊!
那里树木长青,鲜花盛开,人们欢乐地歌唱,跳舞,姣美的闲适年青人无拘无束地恋爱,到处充满狂热、幸福的气氛!
散文家被深深地激动了,他情不自禁地为这种生活唱起赞歌。
在整首诗中,诗人以“永恒”和“超越思想”为着眼点,从声觉和视觉两方面铺写开来。
在声觉方面,诗人写道:
“听见的乐声虽好,但若听不见却更和美,所以,吹吧,柔情的风笛;
不是奏给耳朵听,而是更甜,它给灵魂奏出无声的乐曲;
树下的美少年呵,你无法中断你的歌”。
“甜蜜的吹笛人也不会停歇,他的歌曲永远是那么新鲜”。
“这作
牺牲的小牛,对天鸣叫,你要牵它到哪儿,神秘的祭司”。
在视觉方面,诗人写道:
“那树木也沉不了叶子;
卤莽的恋人,你永远,永远吻不上,虽然够接近了——但不必心酸”。
“呵,幸福的树木!
你的枝叶不会剥落,从不曾离开春天”。
“是从哪个傍河傍海的小镇,或哪个静静的堡寨的山村,来了这些人,在这敬神的清早”。
这些描写,加上强袭的笔调,让人感觉既神秘,又优美。
而这首诗中,诗人着墨最多的,还是对少男少女无拘无束的青年人恋爱的描写。
如:
“树下的美少年呵,你无法停顿你的歌,那树木也落不至于叶子;
她不会老,虽然你不能如愿以偿,你将永远爱下去,她也永远秀丽!
”“他的歌曲永远是那么新鲜;
呵,更为幸福的、幸福的爱!
永远热烈,正等待情人宴飨,永远热情的心跳,永远年轻;
真爱的是这一切超凡的情态:
它不会以使心灵餍足和悲伤,没有炽热的头脑,焦渴的嘴唇!
”既生动,又热烈。
诗篇最后,诗人理性地思考了“永恒”的问题。
艺术能赢得永久的生命,是因为它已凝固在这永恒的原因在于画面中,它不仅是“唯美的观照”,而且真实情况地都市生活再现了古希腊的生活。
正因为它具有才智美和真的品格,因而才能“永恒”。
诗人从艺术和生活相互杜博韦,完美结合,因而双双获得永久魅力的情形受到启发,写出了“美即是真、真即是美”这样高度人生哲理化的结句,成为诗歌画廊当代艺术中的万古绝唱。
诗人济慈以获取从古希腊艺术获取绝妙,经过幽默感的再创造,在读者窗前展现出一幅窗外意象鲜明、色彩斑斓的素描;
同时,诗人又以激情奔放的诗句歌颂这瓮上的画。
真正做到了诗中有画,画中有诗,不愧为传世佳作。
OdeonaGrecianUrn
"
OdeonaGrecianUrn"
isapoembyJohnKeats,writtenin1819andfirstpublishedinJanuary1820.ItsinspirationisconsideredtobeavisitbyKeatstotheexhibitionofGreekartifactsaccompanyingthedisplayofthe"
Elgin
Marbles"
attheBritishMuseum.[citationneeded]ThepoemcapturesaspectsofKeats"
sideaof"
NegativeCapability"
asthereaderdoesnotknowwhothefiguresareontheurn,whattheyaredoing,orwheretheyaregoing.Instead,thespeakerrevelsinthismystery,ashedoesinthefinalcouplet(mentionedbelow),whichdoesnotmake
immediate,ascertainablesensebutcontinuestohavepoeticsignificancenonetheless.Theodeultimatelydealswiththecomplexityofart"
srelationshipwithreallife.
Thepoembegins:
Thoustillunravish"
dpideofquietness,
Thoufoster-childofSilenceandslowTime,
andendswiththefamouslines:
Beautyistruth,truthbeauty,-thatisall
Yeknowonearth,andallyeneedtoknow."
BecausethisendingcoupletisindirectcontrasttomanyofKeats"
poems,forexample"
LaBelleDameSansMerci"
or"
Lamia"
inwhichamanisdeceivedbyawoman"
sbeauty,literarycriticshavebeguninterpretingitinanewway.Itisnowbelievedthatthenarrator,representativeofKeats,wascriticizingtheUrn,sayingthatallitwilleverneedtoknowisthatbeautyistruthandtruthbeauty.Thisisalsoasignofjealousyasthenarratoradmiresthissimplicityjustashecriticizesyetadmiresthecharactersontheurn,whowillneverachieveclimaxyetareforeverpassionate.
Style
Theodeisanancientformoriginallywrittenformusicalaccompaniment.
TheworditselfisofGreekorigin,meaning"
sung."
Whileode-writersfromantiquityadheredtorigidpatternsofstrophe,antistrophe,andepode,theformbyKeats"
stimehadundergoneenoughtransformationthatitreallyrepresentedamanner-ratherthanasetmethodforwritingacertaintypeoflyricpoetry.Ingeneral,theodeoftheRomanticeraisapoemof30to200linesthatmeditatesprogressivelyuponordirectlyaddresses
asingleobjectorcondition.Inadditionto"
OdeonaGrecianUrn,"
Keatswroteodesabouttheseasonofautumnandthesongofanightingaleaswellasaboutindolence,melancholy,andeventhepoetJohnMilton"
shair.Keats"
sodesarecharacterizedbyanexaltedandhighlylyricaltone,andwhiletheyemployspecificstanzaformsandrhymeschemes,thesecanvaryfromodetoode.
NotesCompiledbyMichaelJ.Cummings...?
2005
TypeofWork
.
isaromanticode,adignifiedbuthighlylyrical(emotional)poeminwhichtheauthorspeakstoapersonorthingabsentorpresent.Inthisfamousode,Keatsaddressestheurnandtheimagesonit.Theromanticodewasatthepinnacleofitspopularityinthe19thCentury.Itwastheresultofanauthor’sdeepmeditationonthepersonorobject.TheromanticodeevolvedfromtheancientGreekode,writteninaserioustonetocelepateaneventortopraiseanindividual.TheGreekodewasintendedtobesungbyachorusorbyonepersontotheaccompanimentofmusicalinstruments.TheodesoftheGreekpoetPindar(circa518-438B.C.)frequentlyextolledathleteswhoparticipatedinathleticgamesatOlympus,Delphi,theIsthmusofCorinth,andNemea.Bacchylides,acontemporaryofPindar,alsowroteodespraisingathletes.TheRomanpoetsHorace(65-8B.C.)andCatullus(84-54B.C.)wroteodesbasedontheGreekmodel,buttheirodeswerenotintendedtobesung.Inthe19thCentury,EnglishromanticpoetswroteodesthatretainedtheserioustoneoftheGreekode.However,liketheRomanpoets,theydidnotwriteodestobesung.UnliketheRomanpoets,though,theauthorsof19thCenturyromanticodesgenerallyweremoreemotionalintheirwriting.Theauthorofatypicalromanticodefocusedonascene,pondereditsmeaning,andpresentedahighlypersonalreactiontoitthatincludedaspecialinsightattheendofthepoem(liketheclosinglinesof“OdeonaGrecianUrn”).
WritingandPublicationDates
waswritteninthespringof1819andpublishedlaterthatyearinAnnalsoftheFineArts,whichfocusedonarchitecture,sculpture,andpaintingbutsometimespublishedpoemsandessayswiththemesrelatedtothearts.StructureandMeter
consistsoffivestanzasthatpresentascene,describeandcommentonwhatitshows,andofferageneraltruththatthesceneteachesapersonanalyzingthescene.Eachstanzahastenlineswritteniniambicpentameter,apatternofrhythm(meter)thatassignstensyllablestoeachline.Thefirstsyllableisunaccented,thesecondaccented,thethirdunaccented,thefourthaccented,andsoon.Note,forexample,theaccentpatternofthefirsttwolinesofthepoem.Theunaccentedsyllablesareinlower-casedblueletters,andtheaccentedsyllablesareinupper-casedredletters.
thouSTILLunRAVishedBRIDEofQUIetNESS,
thouFOSter-CHILDofSIlenceANDslowTIME
Noticethateachlinehastensyllables,fiveunaccentedonesinblueandfiveaccentedonesinred.Thus,theselines--liketheotherlinesinthepoem--areiniambicpentameter.Iambicreferstoapairofsyllables,oneunaccentedandtheotheraccented.Suchapairiscalledaniamb."
ThouSTILL"
isaniamb;
soare"
etNESS"
and"
slowTIME."
However,"
BRIDEof"
FOSter"
arenotiambsbecausetheyconsistofanaccentedsyllablefollowedbyanunaccentedsyllable.Pentameter--thefirstsyllableofwhichisderivedfromtheGreekwordforfive--referstolinesthathavefiveiambs(which,asdemonstrated,eachhavetwosyllables)."
then,isiniambicpentameterbecauseeverylinehasfiveiambs,eachiambconsistingofanunaccentedsyllablefollowedbyanaccentedone.Thepurposeofthisstresspatternistogivethepoemrhythmthatpleasestheear.
SituationandSetting
InEngland,KeatsexaminesamarbleurncraftedinancientGreece.(Whethersuchanurnwasrealorimaginedisuncertain.However,manyartifactsfromancientGreece,oneswhichcouldhaveinspiredKeats,wereondisplayintheBritishMuseumatthetimethatKeatswrotethepoem.)Picturedontheurn,atypeofvase,arepastoralscenesinGreece.Inonescene,malesarechasingfemalesinsomesortofrevelryorcelepation.Therearemusiciansplayingpipes(windinstrumentssuchasflutes)andtimpels(ancienttambourines).Keatswonderswhethertheimagesrepresentbothgodsandhumans.Healsowonderswhathasoccasionedtheirmerrymaking.Asecondscenedepictspeopleleadingaheifertoasacrificialaltar.Keatswriteshisodeaboutwhathesees,addressingorcommentingontheurnanditsimagesasiftheywererealbeingswithwhomhecanspeak.Text,Summary,andAnnotations
End-RhymingWordsAreHighlighted
SummaryandAnnotations
Stanza1
Keatscallstheurnan“unravish’dpideofquietness”becauseithasexistedforcenturieswithoutundergoinganychanges(itis“unravished”)asitsitsquietlyonashelfortable.Healsocallsita“foster-childofsilenceandtime”becauseitishasbeenadoptedbysilenceandtime,parentswhohaveconferredontheurneternalstillness.Inaddition,Keatsreferstotheurnasa“sylvanhistorian”becauseitrecordsapastoralscenefromlongago.(“Sylvan”referstoanythingpertainingtowoodsorforests.)Thisscenetellsastory(“legend”)inpicturesframedwithleaves(“leaf-fring’d”)–astorythattheurntellsmorecharminglywithitsimagesthanKeatsdoeswithhispen.Keatsspeculatesthatthescen