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Ode_on_a_Grecian_Urn_希腊古瓮颂

Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead’st thou tat heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of its folk, this pious morn? And, little town, thy streets for evermore Will silent be; and a soul to tell Why thou art desolate, can e’er return.
O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As dost eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say’st, ‘Beauty is truth, truth beauty,’- that is all ye know on earth, and all ye need boughs! that cannot shed Your leaves, nor ever bid the Spring adiwu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoy’d, For ever panting and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy’d, A burning forehead, and a parching tongue.

Ode on a Grecian Urn原文加解析

In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of the piper’s unheard song and the eternally unchanging beauty of his lover. He thinks that their love is“far above”all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensity—when passion is satisfied, all that remains is a wearied physicality: a sorrowful heart, a“burning forehead,”and a“parching tongue.”His recollection of these conditions seems to remind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.

Ode to an Grecian Urn

Introduction of John Keats (1795-1821)Significancel. The most talented of the English romantic poets2. He wrote best odes in English literature3. The last of the great Romantics4. The most attractive Romantic figure because of his personal life and his poetry5. A poet of great beauty6. A close friend of Shelley’sFeatures of His poetry1. fused with verbal beauty, musical beauty and melodious beauty2. deal with minor subjects and his youth3. worship beauty, sensuous beauty have physical response to life & this world stylistically,4. he perfected the form ‘ode’5. rhyme scheme is complicated, but used the coupletType of WorkType of poem: lyric poem Type of lyric poem: ode1. "Ode on a Grecian Urn" is a romantic ode, a dignified but highly lyrical (emotional) poem in which the author speaks to a person or thing absent or present.2. In this famous ode, Keats addresses the urn and the images on it. The romantic ode was at the pinnacle of its popularity in the 19th Century. It was the re sult of an author’s deep meditation on the person or object.Structure and Meter"Ode on a Grecian Urn" consists of five stanzas that present a scene, describe and comment on what it shows, and offer a general truth that the scene teaches a person analyzing the scene. Each stanza has ten lines written in iambic pentameter. The rime scheme is abab, cdecdeSituation and Setting1. In England, Keats examines a marble urn crafted in ancient Greece. (Whether such an urn was real or imagined is uncertain. However, many artifacts from ancient Greece, ones which could have inspired Keats, were on display in the British Museum at the time that Keats wrote the poem.) Pictured on the urn, a type of vase, are pastoral scenes in Greece.2. In one scene, males are chasing females in some sort of revelry or celebration. There are musicians playing pipes (wind instruments such as flutes) and timbrels (ancient tambourines). Keats wonders whether the images represent both gods and humans. He also wonders what has occasioned their merrymaking.3. A second scene depicts people leading a heifer to a sacrificial altar. Keats writes his ode about what he sees, addressing or commenting on the urn and its images as if they were real beings with whom he can speak."Ode on a Grecian Ode" is based on a series of paradoxes and opposites:1. the discrepancy between the urn with its frozen images and the dynamic life portrayed on the urn,2. the human and changeable versus the immortal and permanent,3. participation versus observation,4. life versus art.Analysis of the poemSummaryIn the poem Keats shows the contrast between the permanence of art and the transience of human passion. The poet has absorbed himself into the timeless beautiful scenery on the Grecian urn: the lovers, musicians and worshippers carved on the urn, and their everlasting joys. They are unaffected by time, stilled in expectation. This is the glory and the limitation of the world conjured up by and object of art. The urn celebrates but simplifies intuitions of joy by defying our pain and suffering. But at last, the urn presents his ambivalence about time and the nature of beauty.Stanza I.Keats calls the urn an “unravish’d bride of quietness” because it has existed for centuries without undergoing a ny changes (it is “unravished”) as it sits quietly on a shelf or table. He also calls it a “foster-child of silence and time” because it is has been adopted by silence and time, parents who have conferred on the urn eternal stillness. In addition, Keats refers to the urn as a “sylvan historian” because it records a pastoral scene from long ago. (“Sylvan” refers to anything pertaining to woods or forests.) This scene tells a story (“legend”) in pictures framed with leaves (“leaf-fring’d”)–a story that the urn tells more charmingly with its images than Keats does with his pen. Keats speculates that the scene is set either in Tempe or Arcady. Tempe is a valley in Thessaly, Greece–between Mount Olympus and Mount Ossa–that is favored by Apollo, the god of poetry and music. Arcady is Arcadia, a picturesque region in the Peloponnesus (a peninsula making up the southern part of Greece) where inhabitants live in carefree simplicity. Keats wonders whether the images he sees represent humans or gods. And, he asks, who are the reluctant (“loth”) maidens and what is the activity taking place?Stanza I begins slowly, asks questions arising from thought and raises abstract concepts such as time and art. The comparison of the urn to an "unravish'd bride" functions at a number of levels. It prepares for the impossisbility of fulfillment of stanza II and for the violence of lines 8-10 of this stanza. "Still" embodies two concepts--time and motion--which appear in a number of ways in the rest of the poem. They appear immediately in line 2 with the urn as a "foster" child. The urn exists in the real world, which is mutable or subject to time and change, yet it and the life it presents are unchanging; hence, the bride is "unravish'd" and as a "foster" child, the urn is touched by "slow time," not the time of the real world. The figures carved on the urn are not subject to time, though the urn may be changed or affected over slow time.The urn as "sylvan historian" speaks to the viewer, even if it doesn't answer the poet's questions (stanzas I and IV). Whether the urn communicates a message depends on how you interpet the final stanza. The urn is "sylvan"--first, because a border of leaves encircles the vase and second because the scene carved on the urn is set in woods. The "flowery tale" told "sweetly" and "sylvan historian" do not prepare for the terror and wild sexuality unleashed in lines 8-10 (another opposition); the effect and the subject of the urn or art conflict. Is it paradoxical that the urn, which is silent, tells tales "more sweetly than our rime"? Twice (lines 6 and 8) the poet is unableto distinguish between mortal and immortal, men and gods, another opposition; is there a suggestion of coexistence and inseparableness in this blurring of differences between them?With lines 8-10, the poet is caught up in the excited, rapid activities depicted on the urn and moves from observer to participant in the life on the urn, in the sense that he is emotionally involved. Paradoxically, turbulant dynamic passion is convincingly portrayed on cold, motionless stone.Stanza II.Using paradox and oxymoron to open Stanza 2, Keats praises the silent music coming from the pipes and timbrels as far more pleasing than the audible music of real life, for the music from the urn is for the spirit. Keats then notes that the young man playing the pipe beneath trees must always remain an etched figure on the urn. He is fixed in time like the leaves on the tree. They will remain ever green and never die. Keats also says the bold young lover (who may be the piper or another person) can never embrace the maiden next to him even though he is so close to her. However, Keats says, the young man should not grieve, for his lady love will remain beautiful forever, and their love–though unfulfilled–will continue through all eternity.The first four lines contrast the ideal (in art, love, and nature) and the real. The last six lines contrast the drawback of frozen time; note the negative phrasing: "canst not leave," "nor ever can," "never, never canst" in lines 5-8.Stanza III.Keats addresses the trees, calling them “happy, happy boughs” because they will never shed their leaves, and then addresses the young piper, calling him “happy melodist” because his songs will continue forever. In addition, the young man's love for the maiden will remain forever “warm and still to be enjoy’d / For ever panting, and for ever young. . . .” In contrast, Keats says, the love between a man and a woman in the real world is imperfect, bringing pain and sorrow and desire that cannot be fully quenched. The lover comes away with a “burning forehead, and a parching tongue.”This stanza recapitulates ideas from the preceding two stanzas and re-introduces some figures, the trees which can't shed leaves, the musician, and the lover. Keats portrays the ideal life on the urn as one without disappointment and suffering. The urn-depicted passion may be human, but it is also "all breathing passion far above" because it is unchanging.Stanza IV.Keats inquires about the images of people approaching an altar to sacrifice a "lowing" (mooing) cow, one that has never borne a calf, on a green altar. Do these simple folk come from a little town on a river, a seashore, or a mountain topped by a peaceful fortress. Wherever the town is, it will be forever empty, for all of its inhabitants are here participating in the festivities depicted on the urn. Like the other figures on the urn, townspeople are frozen in time; they cannot escape the urn and return to their homes.Stanza IV shows the ability of art to stir the imagination, so that the viewer sees more than is portrayed. The poet imagines the village from which the figures on the urn came. In this stanza, the poet begins to withdraw from his emotional participation in and identification with life on the urn.This stanza focuses on communal life (the previous stanzas described individuals). What paradox is implicit in the contrast between the event being a sacrifice and the altar being "green? between leading the heifer to the sacrifice and her "silken flanks with garlands drest"?In imagining an empty town, why does he give three possible locations for the town, rather than fix on one location? Why does he use the word "folk," rather than "people"? Think about the different connotations of these words. The image of the silent, desolate town embodies both pain and joy.Stanza V.Keats begins by addressing the urn as an “attic shape.” Attic refers to Attica, a region of east-central ancient Greece in which Athens was the chief city. Shape, of course, refers to the urn. Thus, attic shape is an urn that was crafted in ancient Attica. The urn is a beautiful one, poet says, adorned with “brede” (braiding, embroidery) depicting marble men and women enacting a scene in the tangle of forest tree branches and weeds. As people look upon the scene, they ponder it–as they would ponder eternity–trying so hard to grasp its meaning that they exhaust themselves of thought. Keats calls the scene a “cold pastoral!”–in part because it is made of cold, unchanging marble and in part, perhaps, because it frustrates him with its unfathomable mysteries, as does eternity. (At this time in his life, Keats was suffering from tuberculosis, a disease that had killed his brother, and was no doubt much occupied with thoughts of eternity. He was also passionately in love with a young woman, Fanny Brawne, but was unable to act decisively on his feelings–even though she reciprocated his love–because he believed his lower social status and his dubious financial situation stood in the way. Consequently, he was like the cold marble of the urn–fixed and immovable.) Keats says that when death claims him and all those of his generation, the urn will remain. And it will say to the next generation what it has said to Keats: “Beauty is truth, truth beauty.” In other words, do not try to look beyond the beauty of the urn and its images, which are representations of the eternal, for no one can see into eternity. The beauty itself is enough for a human; that is the only truth that a human can fully grasp. The poem ends with an endorsement of these words, saying they make up the only axiom that any human being really needs to know.The poet observes the urn as a whole and remembers his vision. Is he emotionally involved in the life of the urn, or is he again the observer? What aspect of the urn is stressed in the phrases "marble men and maidens," "silent form," and "Cold Pastoral"?Yet the poet did experience the life experienced on the urn and comments, ambiguously perhaps, that the urn "dost tease us out of thought / As doth eternity." Is this another reference to the "dull brain" which "perplexes and retards" ("Nightingale")? Why does Keats use the word "tease"? By teasing him "out of thought," did the urn draw him from the real world into an ideal world, where, if there was neither imperfection nor change, there was also no real life or fulfillment? Or, possibly, was the poet so involved in the life of the urn he couldn't think? Was the urn an escape, however temporary, from the pains and problems of life? One thing that all these suggestions mean is that this is a puzzling line.In the final couplet, is Keats saying that pain is beautiful? You must decide whether it is the poet (a persona), Keats (the actual poet), or the urn speaking. Are both lines spoken by the same person, or does some of the quotation express the view of one speaker and the rest of the couplet express the comment upon that view by another speaker? Who is being addressed--the poet, theurn, or the reader? Are the concluding lines a philosphical statement about life or do they make sense only in the context of the poem? Click here to read the three versions of the last two lines.。

Analysis-of-Ode-on-a-Grecian-Urn希腊古翁颂

Analysis-of-Ode-on-a-Grecia n-Urn希腊古翁颂Analysis of Ode on a Grecian UrnÏ£À°¹ÅÎÌËÌ.txtÈËÓÀÔ¶²»ÖªµÀË-ÄÄ´Î²»¾-ÒâµÄ¸úÄãËµÁËÔÙ¼ûÖ®ºó¾ÍÕæµÄÔÙÒ²²»¼ûÁË¡£Ò»·ÖÖÓÓÐ¶à³¤£¿ÕâÒª¿´ÄãÊÇ¶×ÔÚ²ÞËùÀïÃæ£¬»¹ÊÇµÈÔÚ²ÞËùÍâÃæ¡-¡-O de on a Grecian UrnNotes Compiled by Michael J. Cummings...? 2005Type of Work."Ode on a Grecian Urn" is a romantic ode, a dignified but highly lyrical (emotional) poem in which the author speaks to a person or thing absent or present. In this famous ode, Keats addresses the urn and the images on it. The romantic ode was at the pinnacle of its popularity in the 19th Century. It was the result of anauthor¡¯s deep meditation on the person or object. The romantic ode evolved from the ancient Greek ode, written in a serious tone to celebrate an event or to praise an individual. The Greek ode was intended to be sung by a chorus or by one person to the accompaniment of musical instruments. The odes of the Greek poet Pindar (circa 518-438 B.C.) frequently extolled athletes who participated in athletic games at Olympus, Delphi, the Isthmus of Corinth, and Nemea. Bacchylides, a contemporary of Pindar, also wrote odes praising athletes. The Roman poets Horace (65-8 B.C.) and Catullus (84-54 B.C.) wrote odes based on the Greek model, but their odes were not intended to be sung. In the 19th Century, English romantic poets wrote odes that retained the serious tone of the Greek ode. However,like the Roman poets, they did not write odes to be sung. Unlike the Roman poets, though, the authors of 19th Century romantic odes generally were more emotional in their writing. The author of a typical romantic ode focused on a scene, pondered its meaning, and presented a highly personal reaction to it that included a special insight at the end of the poem (like the closing lines of ¡°Ode on a Grecian Urn¡±).Writing and Publication Dates "Ode on a Grecian Urn" was written in the spring of 1819 and published later that year in Annals of the Fine Arts, which focused on architecture, sculpture, and painting but sometimes published poems and essays with themes related to the arts. Structure and Meter"Ode on a Grecian Urn" consists of fivestanzas that present a scene, describe and comment on what it shows, and offer a general truth that the scene teaches a person analyzing the scene. Each stanza has ten lines written in iambic pentameter, a pattern of rhythm (meter) that assigns ten syllables to each line. The first syllable is unaccented, the second accented, the third unaccented, the fourth accented, and so on. Note, for example, the accent pattern of the first two lines of the poem. The unaccented syllables are in lower-cased blue letters, and the accented syllables are in upper-cased red letters.thou STILL un RAV ished BRIDE of QUI et NESS,thou FOS ter - CHILD of SI lence AND slow TIMENotice that each line has tensyllables, five unaccented ones in blue and five accented ones in red. Thus, these lines--like the other lines in the poem--are in iambic pentameter. Iambic refers to a pair of syllables, one unaccented and the other accented. Such a pair is called an iamb. "Thou STILL" is an iamb; so are "et NESS" and "slow TIME." However, "BRIDE of" and "FOS ter" are not iambs because they consist of an accented syllable followed by an unaccented syllable. Pentameter--the first syllable of which is derived from the Greek word for five--refers to lines that have five iambs (which, as demonstrated, each have two syllables). "Ode on a Grecian Urn," then, is in iambic pentameter because every line has five iambs, each iamb consisting of an unaccented syllable followed by an accented one. Thepurpose of this stress pattern is to give the poem rhythm that pleases the ear.Situation and SettingIn England, Keats examines a marble urn crafted in ancient Greece. (Whether such an urn was real or imagined is uncertain. However, many artifacts from ancient Greece, ones which could have inspired Keats, were on display in the British Museum at the time that Keats wrote the poem.) Pictured on the urn, a type of vase, are pastoral scenes in Greece. In one scene, males are chasing females in some sort of revelry or celebration. There are musicians playing pipes (wind instruments such as flutes) and timbrels (ancient tambourines). Keats wonders whether the images represent both gods and humans. He also wonders what has occasionedtheir merrymaking. A second scene depicts people leading a heifer to a sacrificial altar. Keats writes his ode about what he sees, addressing or commenting on the urn and its images as if they were real beings with whom he can speak.Text, Summary, and Annotations End-Rhyming Words Are HighlightedOde on a Grecian UrnStanza 1THOU still unravish¡¯d bride of quietness,Thou foster-child of silence and slow time,Sylvan historian, who canst thus expressA flowery tale more sweetly than our rhyme:What leaf-fring¡¯d legend haunts about thy shapeOf deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth?What mad pursuit? What struggle to escape?What pipes and timbrels? What wild ecstasy?Stanza 2Heard melodies are sweet, but those unheardAre sweeter; therefore, ye soft pipes, play on;Not to the sensual ear, but, more endear¡¯d,Pipe to the spirit ditties of no tone:Fair youth, beneath the trees, thou canst not leaveThy song, nor ever can those trees be bare;Bold Lover, never, never canst thou kiss,Though winning near the goal¡ªyet, do not grieve;She cannot fade, though thou hast not thy bliss,For ever wilt thou love, and she be fair!Stanza 3Ah, happy, happy boughs! that cannot shedYour leaves, nor ever bid the Spring adieu;And, happy melodist, unwearied, [un WEER e ED]For ever piping songs for ever new; More happy love! more happy, happy love!For ever warm and still to be enjoy¡¯d,For ever panting, and for ever young;All breathing human passion far above,That leaves a heart high-sorrowfuland cloy¡¯d,A burning forehead, and a parching tongue.Stanza 4Who are these coming to the sacrifice?To what green altar, O mysteriouspriest,Lead¡¯st thou that heifer lowing atthe skies,And all her silken flanks with garlands drest?What little town by river or sea shore, Or mountain-built with peaceful citadel,Is emptied of this folk, this piousmorn?And, little town, thy streets for evermoreWill silent be; and not a soul totellWhy thou art desolate, can e¡¯er return.Stanza 5O Attic shape! Fair attitude! with bredeOf marble men and maidens overwrought,With forest branches and the trodden weed;Thou, silent form, dost tease us outof thoughtAs doth eternity: Cold Pastoral! When old age shall this generation waste,Thou shalt remain, in midst of other woeThan ours, a friend to man, to whomthou say¡¯st,¡°Beauty is truth, truth beauty,¡±¡ªthat is allYe know on earth, and all ye need to know.Summary and AnnotationsStanza 1Keats calls the urn an ¡°unravish¡¯d bride of quietness¡± because it has existed for centuries without undergoing any changes (it is ¡°unravished¡±) as it sits quietly on a shelf or table. He also calls it a ¡°foster-child of silence and time¡± because it is has been adopted by silence and time, parents who have conferred on the urn eternal stillness. In addition, Keats refers to the urn as a ¡°sylvan historian¡± because it records a pastoral scene from long ago. (¡°Sylvan¡± refers to anything pertaining to woods or forests.) This scene tells a story (¡°legend¡±) in pictures framed withleaves (¡°leaf-fring¡¯d¡±)¨Ca story that the urn tells more charmingly with its images than Keats does with his pen. Keats speculates that the scene is set either in Tempe or Arcady. Tempe is a valley in Thessaly, Greece¨Cbetween Mount Olympus and Mount Ossa¨Cthat is favored by Apollo, the god of poetry and music. Arcady is Arcadia, a picturesque region in the Peloponnesus (a peninsula making up the southern part of Greece) where inhabitants live in carefree simplicity. Keats wonders whether the images he sees represent humans or gods. And, he asks, who are the reluctant (¡°loth¡±) maidens and what is the activity taking place? Stanza 2Using paradox and oxymoron to open Stanza 2, Keats praises the silent music coming from the pipes andtimbrels as far more pleasing than the audible music of real life, for the music from the urn is for the spirit. Keats then notes that the young man playing the pipe beneath trees must always remain an etched figure on the urn. He is fixed in time like the leaves on the tree. They will remain ever green and never die. Keats also says the bold young lover (who may be the piper or another person) can never embrace the maiden next to him even though he is so close to her. However, Keats says, the young man should not grieve, for his lady love will remain beautiful forever, and their love¨Cthough unfulfilled¨Cwill continue through all eternity. Stanza 3Keats addresses the trees, calling them ¡°happy, happy boughs¡± because they will never shed their leaves, andthen addresses the young piper, calling him ¡°happy melodist¡± because his songs will continue forever. In addition, the young man's love for the maiden will remain forever ¡°warm and still to be enjoy¡¯d / For ever panting, and for ever young. . . .¡± In contrast, Keats says, the love between a man and a woman in the real world is imperfect, bringing pain and sorrow and desire that cannot be fully quenched. The lover comes away with a ¡°burning forehead, and a parching tongue.¡± Stanza 4Keats inquires about the images of people approaching an altar to sacrifice a "lowing" (mooing) cow, one that has never borne a calf, on a green altar. Do these simple folk come from a little town on a river, a seashore, or a mountain topped bya peaceful fortress. Wherever the town is, it will be forever empty, for all of its inhabitants are here participating in the festivities depicted on the urn. Like the other figures on the urn, townspeople are frozen in time; they cannot escape the urn and return to their homes. Stanza 5Keats begins by addressing the urn as an ¡°attic shape.¡± Attic refers to Attica, a region of east-central ancient Greece in which Athens was the chief city. Shape, of course, refers to the urn. Thus, attic shape is an urn that was crafted in ancient Attica. The urn is a beautiful one, poet says, adorned with ¡°brede¡± (braiding, embroidery) depicting marble men and women enacting a scene in the tangle of forest tree branches and weeds. As people look upon the scene, theyponder it¨Cas they would ponder eternity¨Ctrying so hard to grasp its meaning that they exhaust themselves of thought. Keats calls the scene a ¡°cold pastoral!¡±¨Cin part because it is made of cold, unchanging marble and in part, perhaps, because it frustrates him with its unfathomable mysteries, as does eternity. (At this time in his life, Keats was suffering from tuberculosis, a disease that had killed his brother, and was no doubt much occupied with thoughts of eternity. He was also passionately in love with a young woman, Fanny Brawne, but was unable to act decisively on his feelings¨Ceven though she reciprocated his love¨Cbecause he believed his lower social status and his dubious financial situation stood in the way. Consequently, he was like the cold marble of the urn¨Cfixed andimmovable.) Keats says that when death claims him and all those of his generation, the urn will remain. And it will say to the next generation what it has said to Keats: ¡°Beauty is truth, truth beauty.¡± In other words, do not try to look beyond the beauty of the urn and its images, which are representations of the eternal, for no one can see into eternity. The beauty itself is enough for a human; that is the only truth that a human can fully grasp. The poem ends with an endorsement of these words, saying they make up the only axiom that any human being really needs to know。

希腊古瓮颂翻译及简要赏析

希腊古瓮颂你委身“寂静”的、完美的处子，受过了“沉默”和“悠久”的抚育，呵，田园的史家，你竟能铺叙一个如花的故事，比诗还瑰丽：在你的形体上，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？呵，是怎样的人，或神！在舞乐前多热烈的追求！少女怎样地逃躲！怎样的风笛和鼓铙！怎样的狂喜！听见的乐声虽好，但若听不见却更美，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，那树木也落不了叶子；卤莽的恋人，你永远，永远吻不上，虽然够接近了——但不必心酸；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，幸福的吹笛人也不会停歇，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。

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；在另外的一些忧伤中，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？造型的美丽和雕饰的华美？一般来说只有这些。

但是，在英国大诗人济慈（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形象。

OdeonaGrecianUrn希腊古瓮颂.ppt

；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，那树木也落不了叶子；卤莽的恋人，你永远、永远吻不上，虽然够接近了--但不必心酸；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！
Ah, happy, happy boughs（大树枝）! that cannot shed Your leaves, nor ever bid the Spring adieu（与春天道别）; And, happy melodist, unwearied（不累的，孜孜不倦的）, For ever piping songs forever new; More happy love! more happy, happy love! For ever warm and still to be enjoy’d, For ever panting（因狂喜而呼吸急促）, and forever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy’d（厌腻）, A burning forehead, and a parching（枯焦） tongue.
希腊古瓮颂
Thou still unravish’d（纯洁的） bride of quietness, Thou foster-child（领养的孩子） of silence and slow time, Sylvan（田园的) historian, who canst thus express A flowery tale more sweetly than our rhyme（指本诗）: What leaf-fringed legend haunts about thy shape Of deities（神） or mortals（凡人）, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth（即loath,不愿意的）? What mad pursuit? What struggle to escape? What pipes and timbrels（风笛与铃鼓）? What wild ecstasy（狂喜）?

《希腊古瓮颂》的赏析

beautiful bride at once. This may be the difference between great people and
common persons.
It is a pity that the beauty in life can not exist forever. The summer flowers come
”
Monalisa to smile for hundreds of years. In this poem, there is also one sentence
expresses the same meaning. On the urn, a piture showed that a young man wanted to
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高级阅读-希腊古瓮颂

Ode on a Grecian Urn希腊古瓮颂by John Keats 1819年5月查良铮译1.THOU still unravish'd bride of quietness, 你委身“寂静”的、完美的处子，Thou foster-child of silence and slow time, 受过了“沉默”和“悠久”的抚育，Sylvan historian, who canst thus express 呵，田园的史家，你竟能铺叙A flowery tale more sweetly than our rhyme: 一个如花的故事，比诗还瑰丽：What leaf-fring'd legend haunts about thy shape 在你的形体上，岂非缭绕着Of deities or mortals, or of both, 古老的传说，以绿叶为其边缘；In Tempe or the dales of Arcady? 讲着人，或神，敦陂或阿卡狄？What men or gods are these? What maidens loth? 呵，是怎样的人，或神！在舞乐前What mad pursuit? What struggle to escape? 多热烈的追求！少女怎样地逃躲！What pipes and timbrels? What wild ecstasy? 怎样的风笛和鼓谣！怎样的狂喜！2.Heard melodies are sweet, but those unheard 听见的乐声虽好，但若听不见Are sweeter; therefore, ye soft pipes, play on; 却更美；所以，吹吧，柔情的风笛；Not to the sensual ear, but, more endear'd, 不是奏给耳朵听，而是更甜，Pipe to the spirit ditties of no tone: 它给灵魂奏出无声的乐曲；Fair youth, beneath the trees, thou canst not leave 树下的美少年呵，你无法中断Thy song, nor ever can those trees be bare; 你的歌，那树木也落不了叶子；Bold Lover, never, never canst thou kiss, 卤莽的恋人，你永远、永远吻不上，Though winning near the goal—yet, do not grieve; 虽然够接近了－－但不必心酸；She cannot fade, though thou hast not thy bliss, 她不会老，虽然你不能如愿以偿，For ever wilt thou love, and she be fair! 你将永远爱下去，她也永远秀丽！3.Ah, happy, happy boughs! that cannot shed 呵，幸福的树木！你的枝叶Your leaves, nor ever bid the Spring adieu; 不会剥落，从不曾离开春天；And, happy melodist, unwearied, 幸福的吹笛人也不会停歇，For ever piping songs for ever new; 他的歌曲永远是那么新鲜；More happy love! more happy, happy love! 呵，更为幸福的、幸福的爱！For ever warm and still to be enjoy'd, 永远热烈，正等待情人宴飨，For ever panting, and for ever young; 永远热情地心跳，永远年轻；All breathing human passion far above, 幸福的是这一切超凡的情态：That leaves a heart high-sorrowful and cloy'd, 它不会使心灵餍足和悲伤，A burning forehead, and a parching tongue. 没有炽热的头脑，焦渴的嘴唇。

希腊古瓮颂翻译及简要赏析

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。

(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？造型的美丽和雕饰的华美？一般来说只有这些。

但是，在英国大诗人济慈（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形象。

Ode on a Grecian Urn 希腊古瓮颂

• What leaf-fring'd legend haunts about thy shape
• Of deities or mortals, or of both, • In Tempe or the dales of Arcady? • What men or gods are these? What maidens loth? • What mad pursuit? What struggle to escape? • What pipes and timbrels? What wild ecstasy?
• 在你的形体上，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？ • 呵，是怎样的人，或神！在舞乐前 • 多热烈的追求！少女怎样地逃躲！ • 怎样的风笛和鼓谣！怎样的狂喜！
2 • Heard melodies are sweet, but those unheard • Are sweeter; therefore, ye soft pipes, play on; • Not to the sensual ear, but, more endear'd, • Pipe to the spirit ditties of no tone: • Fair youth, beneath the trees, thou canst not leave • Thy song, nor ever can those trees be bare;
2 • 听见的乐声虽好，但若听不见 • 却更美；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，那树木也落不了叶子；
• Bold Lover, never, never canst thou kiss,

ode on a grecian urn

Critical reception of Keats'poetry:
Not much read during his lifetime Harshly judged by critics Belief arose that negative criticism hastened his death Keats wrote to his brother George,"I think shall be among the English poets after my death ",but wrote this for his own epitaph reputation(like Blake's)established by later Victorians,Tennyson considered him the greatest poet of the 19th Century. Keats began to be treated as a serious thinker and literary theorist with the publication of his letters in the
希腊古瓮颂
Ode on a Grecian Urn
1 2 3
THE WRITER
STRUCTURE
Fea Keats
THE WRITTER
John Keats ,major English poet ,lived only twenty-five years and four months (1795-1821),yet his poetic achievement is extraordinary.His writing career lasted a little more than five years (1814-1820),and three of his great odes--"Ode to a Nightingale," "Ode on a Grecian Urn," and "Ode on Melancholy"--were written in one month.Most of his major poems were written between his twenty-third and twenty-fourth years,and all his poems were written by his twenty-fifth year.In this brief period,he produced poems that rank him as one of the great English poets.He also wrote letters which T.S.Eliot calls "the most notable and the most important ever written by any English poet."

Ode-on-a-Grecian-Urn原文加解析

Ode on a Grecian UrnSummaryIn the first stanza, the speaker stands before an ancient Grecian urn and addresses it. He is preoccupied with its depiction of pictures frozen in time. It is the “still unravish’d bride of quietness,” the “foster-child of silence and slow time.” He also describes the urn as a “historian”that can tell a story. He wonders about the figures on the side of the urn and asks what legend they depict and from where they come. He looks at a picture that seems to depict a group of men pursuing a group of women and wonders what their story could be: “What mad pursuit? What struggle to escape? / What pipes and timbrels? What wild ecstasy?”In the second stanza, the speaker looks at another picture on the urn, this time of a young man playing a pipe, lying with his lover beneath a glade of trees. The speaker says that the piper’s “unheard” melodies are sweeter than mortal melodies because they are unaffected by time. He tells the youth that, though he can never kiss his lover because he is frozen in time, he should not grieve, because her beauty will never fade. In the third stanza, he looks at the trees surrounding the lovers and feels happy that they will never shed their leaves. He is happy for the piper because his songs will be “for ever new,” and happy that the love of the boy and the girl will last forever, unlike mortal love, which lapses into “breathing human passion” and eventually vanishes, leaving behind only a “burning forehead, and a parching tongue.”In the fourth stanza, the speaker examines another picture on the urn, this one of a group of villagers leading a heifer to be sacrificed. He wonders where they are going (“To what green altar, O mysterious priest...”) and from where they have come. He imagines their little town, empty of all its citizens, and tells it that its streets will “for evermore” be silent, for those who have left it, frozen on the urn, will never return. In the final stanza, the speaker again addresses the urn itself, saying that it, like Eternity, “doth tease us out of thought.” He thinks that when his generation is long dead, the urn will remain, telling future generations its enigmatic lesson: “Beauty is truth, truth beauty.” The speaker says that that is the only thing the urn knows and the only thing it needs to know.Form“Ode on a Grecian Urn” follows the same ode-stanza structure as the “Ode on Melancholy,”though it varies more the rhyme scheme of the last three lines of each stanza. Each of the five stanzas in “Grecian Urn” is ten lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable. The first seven lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as in stanza one. As in other odes (especially “Autumn” and “Melancholy”), the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well. The first four lines of each stanza roughly define the subject of the stanza, andthe last six roughly explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others; stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all.)ThemesIf the “Ode to a Nightingale” portrays Keats’s speaker’s engagement with the fluid expressiveness of music, the “Ode on a Grecian Urn” portrays his attempt to engage with the static immobility of sculpture. The Grecian urn, passed down through countless centuries to the time of the speaker’s viewing, exists outside of time in the human sense—it does not age, it does not die, and indeed it is alien to all such concepts. In the speaker’s meditation, this creates an intriguing paradox for the human figures carved into the side of the urn: They are free from time, but they are simultaneously frozen in time. They do not have to confront aging and death (their love is “for ever young”), but neither can they have experience (the youth can never kiss the maiden; the figures in the procession can never return to their homes).The speaker attempts three times to engage with scenes carved into the urn; each time he asks different questions of it. In the first stanza, he examines the picture of the “mad pursuit” and wonders what actual story lies behind the picture: “What men or gods are these? What maidens loth?” Of course, the urn can never tell him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this line of questioning.In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of the piper’s unheard song and the eternally unchanging beauty of his lover. He thinks that their love is “far above” all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensity—when passion is satisfied, all that remains is a wearied physicality: a sorrowful heart, a “burning forehead,” and a “parching tongue.” His recollection of these conditions seems to remind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.In the fourth stanza, the speaker attempts to think about the figures on the urn as though they were experiencing human time, imagining that their procession has an origin (the “little town”) and a destination (the “green altar”). But all he can think is that the town will forever be deserted: If these people have left their origin, they will never return to it. In this sense he confronts head-on the limits of static art; if it is impossible to learn from the urn the whos and wheres of the “real story” in the first stanza, it is impossible ever to know the origin and the destination of the figures on the urn in the fourth.It is true that the speaker shows a certain kind of progress in his successive attempts to engage with the urn. His idle curiosity in the first attempt gives way to a more deeply felt identification in the second, and in the third, the speaker leaves his own concerns behind and thinks of the processional purely on its own terms, thinking of the “little town” with a real and generous feeling. But each attempt ultimately ends in failure. The third attempt fails simply because there is nothing more to say—once the speaker confronts the silence and eternal emptiness of the littletown, he has reached the limit of static art; on this subject, at least, there is nothing more the urn can tell him.In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. He is overwhelmed by its existence outside of temporal change, with its ability to “tease” him “out of thought / As doth eternity.” If human life is a succession of “hungry generations,” as the speaker suggests in “Nightingale,” the urn is a separate and self-contained world. It can be a “friend to man,” as the speaker says, but it cannot be mortal; the kind of aesthetic connection the speaker experiences with the urn is ultimately insufficient to human life.The final two lines, in which the speaker imagines the urn speaking its message to mankind—”Beauty is truth, truth beauty,” have proved among the most difficult to interpret in the Keats canon. After the urn utters the enigmatic phrase “Beauty is truth, truth beauty,” no one can say for sure who “speaks” the conclusion, “that is all / Ye know on earth, and all ye need to know.” It could be the speaker addressing the urn, and it could be the urn addressing mankind. If it is the speaker addressing the urn, then it would seem to indicate his awareness of its limitations: The urn may not need to know anything beyond the equation of beauty and truth, but the complications of human life make it impossible for such a simple and self-contained phrase to express sufficiently anything about necessary human knowledge. If it is the urn addressing mankind, then the phrase has rather the weight of an important lesson, as though beyond all the complications of human life, all human beings need to know on earth is that beauty and truth are one and the same. It is largely a matter of personal interpretation which reading to accept.THANKS !!!致力为企业和个人提供合同协议，策划案计划书，学习课件等等打造全网一站式需求欢迎您的下载，资料仅供参考。

Ode on a Grecian Urn优秀PPT

8
Thou still unravished bride of quietness! Thou foster-child of silence and slow time
because it is born from stone and made by the hand of an artist who does not communicate through words. As stone, it is able to slow time and become an eternal piece of artwork. As eternal, the urn is capable of producing a story that is outside of time, and that "sylvan historian" expresses:
6
Keats’ odes seek to find a "Classical balance" between two extremes, and in the structure of Ode on a Grecian Urn, these extremes are the symmetrical structure of Classical Literature and the asymmetry of Romantic Poetry . The use of the ABAB structure in the beginning lines of each stanza represents a clear example of the heroic couplets of Classic literature, and the remaining six lines appear to break free of the traditional poetic styles of Greek and Roman odes.

odeonagrecianurn原文加解析[优质文档]

Ode on a Grecian UrnSummaryIn the first stanza, the speaker stands before an ancient Grecian urn and addresses it. He is preoccupied with its depiction of pictures frozen in time. It is the “still unravish’d bride of quietness,” the “foster-child of silence and slow time.” He also describes the urn as a “historian” that can tell a story. He wonders about the figures on the side of the urn and asks what legend they depict and from where they come. He looks at a picture that seems to depict a group of men pursuing a group of women and wonders what their story could be: “What mad pursuit? What struggle to escape? / What pipes and timbrels? What wild ecstasy?”In the second stanza, the speaker looks at another picture on the urn, this time of a young man playing a pipe, lying with his lover beneath a glade of trees. The speaker says that the piper’s “unheard” melodies are sweeter than mortal melodies because they are unaffected by time. He tells the youth that, though he can never kiss his lover because he is frozen in time, he should not grieve, because her beauty will never fade. In the third stanza, he looks at the trees surrounding the lovers and feels happy that they will never shed their leaves. He is happy for the piper because his songs will be “for ever new,” and happy that the love of the boy and the girl will last forever, unlike mortal love, which lapses into “breathing human passion” and eventually vanishes, leaving behind only a “burning forehead, and a parching tongue.”In the fourth stanza, the speaker examines another picture on the urn, this one of a group of villagersleading a heifer to be sacrificed. He wonders where they are going (“To what green altar, O mysterious priest...”) and from where they have come. He imagines their little town, empty of all its citizens, and tells it that its streets will “for evermore” be silent, for those who have left it, frozen on the urn, will never return. In the final stanza, the speaker again addresses the urn itself, saying that it, like Eternity, “doth tease us out of thought.” He thinks that when his generation is long dead, the urn will remain, telling future generations its enigmatic lesson: “Beauty is truth, truth beauty.” The speaker says that that is the only thing the urn knows and the only thing it needs to know.Form“Ode on a Grecian Urn” follows the same ode-stanza structure as the “Ode on Melancholy,” though it varies more the rhyme scheme of the last three lines of each stanza. Each of the five stanzas in “Grecian Urn” is ten lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable. The first seven lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as in stanza one. As in other odes (especially “Autumn” and “Melancholy”), the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others; stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all.)ThemesIf the “Ode to a Nightingale” portrays Keats’s speaker’s engagement with the fluid expressiveness of music, the “Ode on a Grecian Urn” portrays his attempt to engage with the static immobility of sculpture. The Grecian urn, passed down through countless centuries to the time of the speaker’s viewing, exists outside of time in the human sense—it does not age, it does not die, and indeed it is alien to all such concepts. In the speaker’s meditation, this creates an intriguing paradox for the human figures carved into the side of the urn: They are free from time, but they are simultaneously frozen in time. They do not have to confront aging and death (their love is “for ever young”), but neither can they have experience (the youth can never kiss the maiden; the figures in the procession can never return to their homes).The speaker attempts three times to engage with scenes carved into the urn; each time he asks different questions of it. In the first stanza, he examines the picture of the “mad pursuit” and wonders what actual story lies behind the picture: “What men or gods are these? What maidens loth?” Of course, the urn can never tell him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this line of questioning.In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of the piper’s unheard song and the eternally unchanging beauty of his lover. He thinks that their love is “far above” all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensity—when passion is satisfied, all that remains is a wearied physicality: a sorrowful heart, a “burning forehead,” and a “parching tongue.” His recollection of these conditions seems toremind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.In the fourth stanza, the speaker attempts to think about the figures on the urn as though they were experiencing human time, imagining that their procession has an origin (the “little town”) and a destination (the “green altar”). But all he can think is that the town will forever be deserted: If these people have left their origin, they will never return to it. In this sense he confronts head-on the limits of static art; if it is impossible to learn from the urn the whos and wheres of the “real story” in the first stanza, it is impossible ever to know the origin and the destination of the figures on the urn in the fourth.It is true that the speaker shows a certain kind of progress in his successive attempts to engage with the urn. His idle curiosity in the first attempt gives way to a more deeply felt identification in the second, and in the third, the speaker leaves his own concerns behind and thinks of the processional purely on its own terms, thinking of the “little town” with a real and generous feeling. But each attempt ultimately ends in failure. The third attempt fails simply because there is nothing more to say—once the speaker confronts the silence and eternal emptiness of the little town, he has reached the limit of static art; on this subject, at least, there is nothing more the urn can tell him.In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. He is overwhelmed by its existence outside of temporal change, with its ability to “tease” him “out of thought / As doth eternity.” If human life is a succession of “hungry generations,” as the speaker suggests in “Nightingale,” the urn is a separate and self-contained world. It can be a “friend to man,” as the speaker says, but it cannot be mortal; the kind of aesthetic connection the speaker experiences with the urn is ultimately insufficient to human life.The final two lines, in which the speaker imagines the urn speaking its message to mankind—”Beauty is truth, truth beauty,” have proved among the most difficult to interpret in the Keats canon. After the urn utters the enigmatic phrase “Beauty is truth, truth beauty,” no one can say for sure who “speaks” the conclusion, “that is all / Ye know on earth, and all ye need to know.” It could be the speaker addressing the urn, and it could be the urn addressing mankind. If it is the speaker addressing the urn, then it would seem to indicate his awareness of its limitations: The urn may not need to know anything beyond the equation of beauty and truth, but the complications of human life make it impossible for such a simple and self-contained phrase to express sufficiently anything about necessary human knowledge. If it is the urn addressing mankind, then the phrase has rather the weight of an important lesson, as though beyond all the complications of human life, all human beings need to know on earth is that beauty and truth are one and the same. It is largely a matter of personal interpretation which reading to accept.。

To autumn课件

➢ 成熟的羊羔在山头上叫唤， ➢ Hedge-crickets sing; and now with treble soft e ➢ 蟋蟀在篱边歌唱，知更鸟 ➢ The red-breast whistles from a garden-croft; e ➢ 在园林里啾啾，柔和而高亢，
➢ And gathering swallows twitter in the skies. f ➢ 成群的燕子在空中鸣啭呢喃。
Stanza Ⅲ
➢ Among the river sallows, borne aloft e
➢ 举行大合唱，音调哀惋，
➢ Or sinking as the light wind lives or dies; f ➢ 声音随风起落，时高时低； ➢ And full-grown lambs loud bleat from hilly bourn; d
Long Poems
(1) Endymion (Luna in Greek Mythology)恩底弥翁 (his first long poem)
(2) Isabella 伊莎贝拉（The Pot of Basil） (3) The Eve of St. Agnes 圣·爱格尼斯节前夕 (4) Lamia 莱米亚
Short Poems
(1) On a Grecian Urn 希腊古瓮颂 (2) On the Grasshopper and the Cricket (3) 蛐蛐与蟋蟀
(4) Bright Star 闪亮的星星
(5) When I have Fear 当我害怕的时候 (6) To Autumn 秋颂 (7) On Melancholy 忧郁颂 (8) To a Nightingale 夜莺颂 (the best known)

济慈简介英文版

此地长眠者声名水上书此地长眠者声名水上书protestantcemetery新教徒公墓worksendymion恩底弥翁isabella伊莎贝拉theeveofstagnes圣爱格尼斯前夜lamia拉米亚hyperion赫珀里昂longpoemssonnetodeshortpoemsbrightstar灿烂的星whenihavefear每当我恐惧odetoautumn秋颂odeonmelancholy忧郁颂odeonagrecianurn希腊古翁颂odetoanightingale夜莺颂praiseofbeautyodetoanightingale夜莺颂?myheartachesandadrowsynumbnesspains?mysenseasthoughofhemlockihaddrunk?oremptiedsomedullopiatetothedrains?oneminutepastandlethewardshadsunk
Keats learned his poetical art mainly from the poets of the English Renaissance. His literary creation was a clean split with C18th classicism and began with the belief that the revolutionary principles of liberty, equality, and fraternity.
Short poems
Sonnet
Ode
Praise of beauty
Ode to a Nightingale（夜莺颂）
• 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 fullthroated ease.

Ode on a Grecian Urn

Ode on a Grecian UrnOde on a Grecian Urn" is a poem written by the English Romantic poet John Keats in May 1819 and published anonymously in the January 1820, Number 15 issue of the magazine Annals of the Fine Arts (see 1820 in poetry).The poem is one of several "Great Odes of 1819", which include "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to Psyche". Keats found earlier forms of poetry unsatisfactory for his purpose, and the collection represented a new development of the ode form. He was inspired to write the poem after reading two articles by English artist and writer Benjamin Haydon. Keats was aware of other works on classical Greek art, and had first-hand exposure to the Elgin Marbles, all of which reinforced his belief that classical Greek art was idealistic and captured Greek virtues, which forms the basis of the poem.Divided into five stanzas of ten lines each, the ode contains a narrator's discourse on a series of designs on a Grecian urn. The poem focuses on two scenes: one in which a lover eternally pursues a beloved without fulfilment, and another of villagers about to perform a sacrifice. The final lines of the poem declare that "'beauty is truth, truth beauty,' – that is all / Ye know on earth, and all ye need to know", and literary critics have debated whether they increase or diminish the overall beauty of the poem. Critics have focused on other aspects of the poem, including the role of the narrator, the inspirational qualities of real-world objects, and the paradoxical relationship between the poem's world and reality."Ode on a Grecian Urn" was not well received by contemporary critics. It was only by the mid-19th century that it began to be praised, although it is now considered to be one of the greatest odes in the English language.[1] A long debate over the poem's final statement divided 20th-century critics, but most agreed on the beauty of the work, despite various perceived inadequacies.Lines1-2 The poem begins with the narrator's silencing the urn by describing it as the "bride of quietness", which allows him to speak for it using his own impressions.[ The urn is a "foster-child of silence and slow time" because it was created from stone and made by the hand of an artist who did not communicate through words. As stone, time has little effect on it and ageing is such a slow process that it can be seen as an eternal piece of artwork. The urn is an external object capable of producing a story outside the time of its creation, and because of this ability the poet labels it a "sylvan historian" that tells its story through its beauty:[21]Lines 3–10 The questions presented in these lines are too ambiguous to allow the reader to understand what is taking place in the images on the urn, but elements of it are revealed: there is a pursuit with a strong sexual component.[22]The melody accompanying the pursuit is intensified in the second stanza:[23]Lines 11–14 There is a hint of a paradox in that indulgence causes someone to be filled with desire and that music without a sound is desired by the soul. There is a stasis that prohibits the characters on the urn from ever being fulfilled:[23Lines 17–20 In the third stanza, the narrator begins by speaking to a tree, which will ever hold its leaves and will not "bid the Spring adieu". The paradox of life versuslifelessness extends beyond the lover and the fair lady and takes a more temporal shape as three of the ten lines begin with the words "for ever". The unheard song never ages and the pipes are able to play forever, which leads the lovers, nature, and all involved to be.Lines 27–30 A new paradox arises in these lines because these immortal lovers are experiencing a living death.[24] To overcome this paradox of merged life and death, the poem shifts to a new scene with a new perspective.[24] The fourth stanza opens with the sacrifice of a virgin cow, an image that appeared in the Elgin Marbles, Claude Lorrain's Sacrifice to Apollo, and Raphael's The Sacrifice at Lystra[25][A 1]Lines 31–40 All that exists in the scene is a procession of individuals, and the narrator conjectures on the rest. The altar and town exist as part of a world outside art, and the poem challenges the limitations of art through describing their possible existence. The questions are unanswered because there is no one who can ever know the true answers, as the locations are not real. The final stanza begins with a reminder that the urn is a piece of eternal artwork.Lines 41–45 The audience is limited in its ability to comprehend the eternal scene, but the silent urn is still able to speak to them. The story it tells is both cold and passionate, and it is able to help mankind. The poem concludes with the urn's message.Themes Like many of Keats's odes, "Ode on a Grecian Urn" discusses art and art's audience. He relied on depictions of natural music in earlier poems, and works such as "Ode to a Nightingale" appeal to auditory sensations while ignoring the visual. Keats reverses this when describing an urn within "Ode on a Grecian Urn" to focus on representational art. He previously used the image of an urn in "Ode on Indolence", depicting one with three figures representing Love, Ambition and Poesy. Of these three, Love and Poesy are integrated into "Ode on a Grecian Urn" with an emphasis on how the urn, as a human artistic construct, is capable of relating to the idea of "Truth". The images of the urn described within the poem are intended as obvious depictions of common activities: an attempt at courtship, the making of music, and a religious rite. The figures are supposed to be beautiful, and the urn itself is supposed to be realistic.[28] Although the poem does not include the subjective involvement of the narrator, the description of the urn within the poem implies a human observer that draws out these images.[29]The narrator interacts with the urn in a manner similar to how a critic would respond to the poem, which creates ambiguity in the poem's final lines: "'Beauty is truth, truth beauty,' – that is all / Ye know on earth, and all ye need to know." The lack of a definite voice of the urn causes the reader to question who is really speaking these words, to whom they are speaking, and what is meant by the words, which encourages the reader to interact with the poem in an interrogative manner like the narrator.As a symbol, an urn cannot completely represent poetry, but it does serve as one component in describing the relationship between art and humanity.[31]The nightingale of "Ode to a Nightingale" is separated from humanity and does not have human concerns. The urn, as a piece of art, requires an audience and is in an incomplete state on its own. This allows the urn to interact with humanity, to putforth a narrative, and allows for the imagination to operate. The images on the urn provoke the narrator to ask questions, and the silence of the urn reinforces the imagination's ability to operate. This interaction and use of the imagination is part of a greater tradition called ut pictura poesis–the contemplation of art by a poet –which serves as a meditation upon art itself.[32] In this meditation, the narrator dwells on the aesthetic and mimetic features of art. The beginning of the poem posits that the role of art is to describe a specific story about those with whom the audience is unfamiliar, and the narrator wishes to know the identity of the figures in a manner similar to "Ode on Indolence" and "Ode to Psyche". The figures on the urn within "Ode on a Grecian Urn" lack identities, but the first section ends with the narrator believing that if he knew the story, he would know their names. The second section of the poem, describing the piper and the lovers, meditates on the possibility that the role of art is not to describe specifics but universal characters, which falls under the term "Truth". The three figures would represent how Love, Beauty, and Art are unified together in an idealised world where art represents the feelings of the audience. The audience is not supposed to question the events but instead to rejoice in the happy aspects of the scene in a manner that reverses the claims about art in "Ode to a Nightingale". Similarly, the response of the narrator to the sacrifice is not compatible with the response of the narrator to the lovers.[33]The two contradictory responses found in the first and second scenes of "Ode on a Grecian Urn" are inadequate for completely describing art, because Keats believed that art should not provide history or ideals. Instead, both are replaced with a philosophical tone that dominates the meditation on art. The sensual aspects are replaced with an emphasis on the spiritual aspects, and the last scene describes a world contained unto itself. The relationship between the audience with the world is for benefiting or educating, but merely to emphatically connect to the scene. In the scene, the narrator contemplates where the boundaries of art lie and how much an artist can represent on an urn. The questions the narrator asks reveal a yearning to understand the scene, but the urn is too limited to allow such answers. Furthermore, the narrator is able to visualise more than what actually exists on the urn. This conclusion on art is both satisfying, in that it allows the audience to actually connect with the art, and alienating, as it does not provide the audience the benefit of instruction or narcissistic fulfilment.[34]Besides the contradictions between the various desires within the poem, there are other paradoxes that emerge as the narrator compares his world with that of the figures on the urn. In the opening line, he refers to the urn as a "bride of quietness", which serves to contrast the urn with the structure of the ode, a type of poem originally intended to be sung. Another paradox arises when the narrator describes immortals on the side of an urn meant to carry the ashes of the dead.[35]In terms of the actual figures upon the urn, the image of the lovers depicts the relationship of passion and beauty with art. In "Ode to a Nightingale" and "Ode on Melancholy", Keats describes how beauty is temporary. However, the figures of the urn are able to always enjoy their beauty and passion because of their artistic permanence.[36]The urn's description as a bride invokes a possibility ofconsummation, which is symbolic of the urn's need for an audience. Charles Patterson, in a 1954 essay, explains that "It is erroneous to assume that here Keats is merely disparaging the bride of flesh wed to man and glorifying the bride of marble wed to quietness. He could have achieved that simple effect more deftly with some other image than the richly ambivalent unravished bride, which conveys ... a hint of disparagement: It is natural for brides to be possessed physically ... it is unnatural for them not to be."[37]John Jones, in his 1969 analysis, emphasises this sexual dimension within the poem by comparing the relationship between "the Eve Adam dreamed of and who was there when he woke up" and the "bridal urn" of "Ode on a Grecian Urn".[38]Helen Vendler expands on the idea, in her 1983 analysis of Keats's odes, when she claimed "the complex mind writing the Urn connects stillness and quietness to ravishment and a bride".[39]In the second stanza, Keats "voices the generating motive of the poem – the necessary self-exhaustion and self-perpetuation of sexual appetite."[40] To Vendler, desire and longing could be the source of artistic creativity, but the urn contains two contradicting expressions of sexuality: a lover chasing after a beloved and a lover with his beloved. This contradiction reveals Keats's belief that such love in general was unattainable and that "The true opponent to the urn-experience of love is not satisfaction but extinction."[41]济慈强调用想象比现实表达的景象更能带给人美的感受：音乐你听到可能是好听的；但是你不曾听的音乐在你的想象下可以更好听，只因有你的想象，你可以想成比你听过的更好听。

最美的英语诗歌：Ode,on,a,Grecian,Urn,希腊古瓮颂

最美的英语诗歌：Ode,on,a,Grecian,Urn,希腊古瓮颂关于这首希腊古瓮颂的诗歌相信很多人都有听说过，以下是给大家整理的邂逅世间最美的英语诗歌Ode on a Grecian Urn 希腊古瓮颂。

希望可以帮到大家Ode on a Grecian Urn希腊古瓮颂John Keats约翰济慈Thou still unravished bride of quietness,你仍是宁静未过门的新娘，Thou foster-child of silence and slow time,你皇寂静与悠长岁月的养女，Sylvan historian,who canst thus express嗬，田园的史家，你竟能如此描述A flowery tale more sweetly than our rhyme：一个如花的故事，比诗还瑰丽：What leaMringed legend haunts about thy shape在你的形体上，岂非缭绕着Of deities or mortals,or of both,古老的传说，以绿叶为其边缘;In Tempe or the dales of Arcady?讲着人或神，敦陂或阿卡狄?What men or gods are these? What maidens loath? 嗬，是什么人，什么神!在舞乐前What mad pursuit? What struggle to escape?多热烈地追求!少女怎样地逃!What pipes and timbrels? What wild ecstasy?又是怎样的笛子和手鼓?怎样狂野地着迷? Heard melodies are sweet, but those unheard乐曲传美妙，无声胜有声;Are sweeter; therefore, ye soft pipes, play on;因此，柔情的风笛，你尽情地吹;Not to the sensual ear,but, more endeared,无声的小曲不是吹给肉耳听的，Pipe to the spirit dities of no tone ：而是与更钟爱的人两心相期。