夜莺颂中英对照
济慈名诗夜莺颂中英对照欣赏（2）
济慈名诗夜莺颂中英对照欣赏(2)济慈诗歌欣赏带翻译篇三TO AUTUMN 秋颂by John Keats(查良铮译)SEASON of mists and mellow fruitfulness,Close bosom-friend of the maturing sun;Conspiring with him how to load and blessWith fruit the vines that round the thatch-eves run;To bend with apples the moss’d cottage-trees,And fill all fruit with ripeness to the core;To swell the gourd, and plump the hazel shellsWith a sweet kernel; to set budding more,And still more, later flowers for the bees,Until they think warm days will never cease,For Summer has o’er-brimm’d their clammy cells.雾气洋溢、果实圆熟的秋，你和成熟的太阳成为友伴;你们密谋用累累的珠球，缀满茅屋檐下的葡萄藤蔓;使屋前的老树背负着苹果，让熟味透进果实的心中，使葫芦胀大，鼓起了榛子壳，好塞进甜核;又为了蜜蜂一次一次开放过迟的花朵，使它们以为日子将永远暖和，因为夏季早填满它们的粘巢。
Who hasth not seen thee oft amid thy store?Sometimes whoever seeks abroad may findThee sitting careless on a granary floor,Thy hair soft-lifted by the winnowing wind;Or on a half-reap’d furrow sound asleep. Drowsed with the fumes of poppies, while thy hook Spares the next swath and all its twined flowers: And sometimes like a gleaner thou dost keep Steady thy laden head across a brook;Or by a cyder-press, with patient look,Thou watchest the last oozings hours by hours.谁不经常看见你伴着谷仓?在田野里也可以把你找到，弥有时随意坐在打麦场上，让发丝随着簸谷的风轻飘;有时候，为罂粟花香所沉迷，你倒卧在收割一半的田垄，让镰刀歇在下一畦的花旁;或者.像拾穗人越过小溪，你昂首背着谷袋，投下倒影，或者就在榨果架下坐几点钟，你耐心地瞧着徐徐滴下的酒浆。
ode to a nightingale中英对照
ode to a nightingale中英对照"Ode to a Nightingale" is one of the most celebrated poems written by John Keats. Through this ode, Keats explores the themes of nature, mortality, and the transformative power of art. Below is a Chinese-English comparison of some key aspects and interpretations of the poem.1. Theme of Nature:In the poem, Keats is captivated by the nightingale's song and its connection to the natural world. He feels a deep appreciation for the beauty of nature and seeks to escape the troubles of life through an immersion in its sights and sounds.Chinese: 《莺啼赋》中，济慈被夜莺的歌声所吸引，并感受到它与自然界的联系。
他对自然的美感到无比赞叹，试图通过沉浸在自然景观的声色中来逃离生活中的烦恼。
2. Mortality and Transience:Keats reflects upon the transient nature of life, symbolized by the fleeting song of the nightingale. He longingly considers the bird's timeless existence and ponders the brevity of human life. This exploration of mortality serves as a reminder of the ephemeral nature of existence.Chinese: 济慈反思了生命的短暂性，以夜莺歌声瞬间即逝为象征。
英国诗人济慈的经典诗歌《夜莺颂》原文及赏析
英国诗人济慈的经典诗歌《夜莺颂》原文及赏析夜莺颂第一节我的心疼痛，我感到昏昏欲睡，麻木不仁，好像是饮过毒鸩，又像是刚刚吞服过鸦片，开始沉向冥府的忘川。
这并非我对你的福气有所妒嫉，而是你的欢乐使我过度欣喜——你呀，羽翼翩翩的树精，在山毛榉的绿叶与荫影之中，在那歌声悠扬的地点，你舒展了喉咙，歌唱着夏天。
夜莺颂第二节啊，但愿有一口美酒，一口曾在地窖冷藏多年的美酒！人一尝就会想到花神，想到葱绿的酒乡，想起舞蹈、恋歌和丰收季节的欢狂。
啊，要是那杯酒带有南国的热气，红如人面，充满灵感之泉的真味，珍珠的泡沫在杯沿浮动，能把嘴唇染得绯红，我就会一饮而尽，悄然离开尘寰，随你隐没在幽暗的林间。
夜莺颂第三节远远地隐没，消失，并且忘记你在林间从不知晓的东西，忘记这里的厌倦、焦虑和烦躁不安。
这里，人们坐在一起长吁短叹；这里，老年瘫痪了，只剩得几根白发摇晃，青年也变得苍白，瘦削，以至死亡；这里，人们一思想就感到伤悲，就会绝望得两眼铅灰；这里，美人的双眸难以保持明丽，新生的爱情第二天就会凋敝。
夜莺颂第四节飞去，飞去，我要向你飞去，不是与酒神同驾豹车而去，而是乘坐诗神的无形的双翼，尽管这头脑恁地迟钝、团惑和呆滞。
啊，此刻我终于和你在一起了；夜，是这般地柔和，也许月后已经登上宝座，众星正在四周守望，但是，这里却没有光亮，除了几丝天光，随风穿过窗枝的隙缝，穿过绿叶的荫影和苔藓的曲径。
夜莺颂第五节我看不清什么花儿在我脚下，也望不见什么花儿在枝头挂，但是，在温馨的黑夜，我却能猜想这个季节的每一种芬芳，那就该有香草、灌木和野果树的花。
有山楂和野玫瑰的花，还有早谢的紫罗兰为绿叶遮盖，还有麝香蔷薇即将盛开——那种蔷薇是五月中旬的骄儿，流露着酒香，它是夏夜蚊蝇飞鸣的地方。
夜莺颂第六节我在黑暗中倾听你的歌声，我多次想到死亡，他可以给人安宁。
我在诗歌里亲昵地向他呼唤，求他把我的生命化为青烟。
现在我越发感到死亡的富丽，想在午夜安然地与世别离，但此刻你却以如此的狂喜倾吐着你的胸臆，你将永远歌唱不息，我死了就不会再听见你——你将唱给一堆草泥。
夜莺颂 翻译
作者简介济慈（1795—1821），19世纪英国著名浪漫主义诗人。
生于伦敦一个马夫家庭。
由于家境贫困，诗人不满16岁就离校学医，当学徒。
1816年，他弃医从文，开始诗歌创作。
1817年诗人出版第一本诗集。
1818年，他根据古希腊美丽神话写成的《安狄米恩》问世。
此后诗人进入诗歌创作的鼎盛时期，先后完成了《伊莎贝拉》、《圣亚尼节前夜》、《许佩里恩》等著名长诗，还有最脍炙人口的《夜莺颂》、《希腊古瓮颂》、《秋赋》等诗歌。
也是在1818年，诗人爱上了范妮·布恩小姐，同时诗人的身体状况也开始恶化。
在痛苦、贫困和甜蜜交织的状况下，诗人写下了大量的著名诗篇。
1821年，诗人前往意大利休养，不久病情加重，年仅25岁就离开了人世。
名作赏析1818年，济慈23岁。
那年，诗人患上了肺痨，同时诗人还处于和范妮·布恩小姐的热恋中。
正如诗人自己说的，他常常想的两件事就是爱情的甜蜜和自己死去的时间。
在这样的情况下，诗人情绪激昂，心中充满着悲愤和对生命的渴望。
在一个深沉的夜晚，在浓密的树枝下，在鸟儿嘹亮的歌声中，诗人一口气写下了这首8节80多行的《夜莺颂》。
相传，夜莺会死在月圆的晚上。
在午夜0点时，夜莺会飞上最高的玫瑰枝，将玫瑰刺深深地刺进自己的胸膛，然后发出高亢的声音，大声歌唱，直到心中的血流尽，将花枝上的玫瑰染红。
诗的题目虽然是“夜莺颂”，但是，诗中基本上没有直接描写夜莺的词，诗人主要是想借助夜莺这个美丽的形象来抒发自己的感情。
诗人的心是困顿和麻木的，又在那样的浊世。
这时候诗人听到了夜莺的嘹亮歌唱，如同令人振奋的神灵的呼声。
诗人的心被这样的歌声感染着，诗人的心同样也为现实的污浊沉重打击着。
诗人向往那森林繁茂，树阴斑驳、夜莺欢唱的世界。
他渴望饮下美妙的醇香美酒，愿意在这样的世界里隐没，愿意舍弃自己困顿、疲乏和痛苦的身体，诗人更愿意离开这污浊的社会。
这是一个麻木的现实，人们没有思想，因为任何的思索都会带来灰色的记忆和忧伤的眼神。
Ode to a Nightingale夜莺颂
徐欢英师1012 1020302217Ode to a Nightingale夜莺颂济慈ⅠMy heart aches, and a drowsy numbness painsMy sense, as though of hemlock1 I had drunk,Or emptied some dull opiate2 to the drains3One minute past, and Lethe? wards4 had sunk:'Tis not through envy of thy5 happy lot,But being too happy in thine5 happiness,——＊That thou5, light-winged Dryad6 of the trees,In some melodious plotOf beechen7 green, and shadows numberless,Singest8 of summer in full? throated ease9.ⅡO, for10 a draugh11t of vintage12! that hath13 been Cool' d a long age in the deep-delved earth, Tasting of Flora14 and the country geen.Dance, and Provengal15 song, and sunburnt mirth! O for10 a beaker16 full of the warm South,Full of the true, the blushful Hippocrene17,With beaded bubbles winking at the brim,And purple-stained mouth;That I might drink, and leave the world unseen, And with thee5 fade away into the forest dim:ⅢFade far away, dissolve, and quite forgetWhat thou5 among the leaves hast18 never known, The weariness, the fever, and the fret19Here20, where men sit and hear each other groan;Where palsy21 shakes a few, sad, last gray hairs22, Where youth grows pale, and speater-thin23, and dies; Where but24 to think is to be full of sorrowAnd leaden-eyed25 despairs,Where Beauty cannot keep her lustrous eyes,Or new Love ＊pine at them26 beyond tomorrow. ⅣAway! away! for I will fly to thee,Not＊eharioted by Bacchus and his pards27,But on the viewless28 wings of Poesy29,Though the dull brain perplexes and retards:Already with thee! ＊tender is the night30,And haply31 the Queen-Moon is on her throne, Clustered around by all her starry Fays32;But here33 there is no light,Save34 what from heaven is with the breezes blown Through verdurous35 glooms and winding mossy ways. ⅤI cannot see what flowers are at my feet,Nor what soft incense36 hangs upon the boughs,But, in embalméd37 darkness, guess each sweet Wherewith38 the seasonable month endowsThe grass, the thicket, and the fruit tree wild;White hawthorn39, and thepastoral40 eglantine41;Fast fading violets covered up in leaves;And mid-May' s eldest child,The 'coming musk-rose42, full of dewy wine,The murmurous haunt of flies on summer eves.ⅥDarkling43 I listen; and for many a timeI have been half in love with easeful Death,Called him soft names in many amuséd44 rhyme,To take into the air my quiet breath;Now more than ever seems it rich45 to die,To cease upon the midnight with no pain,While ＊thou art46 pouring forth thy soul abroadIn such an ecstasy!Still＊wouldst thou47 sing, and I have ears in vain——? ?To thy high requiem48 become a sod49.Ⅶ＊Thou wast50 not born for death, immortal Bird!No hungry generations tread thee down; The voice I hear this passing night was heardIn ancient days by emperor and clown:Perhaps the selfsame song that found a pathThrough the sad heart of Ruth51 when, sick for home,She stood in tears amid the alien corn;The same that oft times hathCharmed magic casements52, opening on the foamOf perilous seas, in faery lands forlorn53.ⅧForlorn! the very word is like a bell To toll me back from thee to my sole self!Adieu! the fancy54 cannot cheat so wellAs she is famed to do, deceiving olf55.Adieu! adieu! thy plaintive anthem fadesPast the near meadows, over the still stream,Up the hill side; and now ' its buried deepIn the next valley-glades:Was it a vision, or a waking dream? Fled is that music:——Do I wake or sleep?语音学方面The "Ode to a Nightingale" is a regular ode. All eight stanzas have ten pentameter lines and a uniform rhyme scheme. Although the poem is regular in form, it leaves the impression of being a kind of rhapsody; Keats is allowing his thoughts and emotions free expression. One thought suggests another and, in this way, the poem proceeds to a somewhat arbitrary conclusion.When it came to vowel forms, Keats incorporated a pattern of alternating historically "short" and "long" vowel sounds in his ode. In particular, line 18 ("And purple-stained mouth") has the historical pattern of "short" followed by "long" followed by "short" and followed by "long". This alteration is continued in longer lines, including line 31 ("Away! away! for I will fly to thee") which contains five pairs of alternations. However, other lines, such as line 3 ("Or emptied some dull opiate to the drains") rely on a pattern of five "short" vowels followed by "long" vowel and "short" vowel pairings until it ends with a "long" vowel. These are not the only combination patterns present, and there are patterns of two "short" vowels followed by a "long" vowel in other lines, including 12, 22, and 59, which are repeated twice and then followed up with two setsof "short" vowel and then "long" vowel pairs.The poem incorporates a complex reliance on assonance-a repetition of vowel sounds- in a conscious pattern as found in many of his poems. Such a reliance on assonance is found in very few English poems. Within "Ode to a Nightingale", an example of this pattern can be found in line 35 ("Already with thee! tender is the night") where the "ea" of "Already" connects with the "e" of "tender" and the "i" of "with" connects with the "i" of "is". This same pattern is found again in line 41 ("I cannot see what flowers are at my feet") with the "a" of "cannot" linking with the "a" of "at" and the "ee" of "see" linking with the "ee" of "feet". This system of assonance can be found in approximately a tenth of the lines of Keats's later poetry.[10]When it came to other sound patterns, Keats relied on double or triple caesuras within approximately 6% throughout the 1819 odes. An example from "Ode to a Nightingale" can be found within line 45 ("The grass, the thicket, and the fruit-tree wild") as the pauses after the commas are a "masculine" pause. Furthermore, Keats began to reduce the amount of Latin based words and syntax that he relied on in his poetry, which in turn shortened the length of the words that dominate the poem.There is also an emphasis on words beginning with consonants, especially those that begin with "b", "p" or "v". These three consonants are relied on heavily in the first stanza, and they are used syzygically toadd a musical tone within the poem.[11]In terms of poetic meter, Keats relies on spondee throughout his 1819 odes and in just over 8% of his lines within "Ode to a Nightingale", including line 12:[12]and line 25:The use of spondees in lines 31–34 creates a feeling of slow flight, and "in the final stanza . . . the distinctive use of scattered spondees, together with initial inversion, lend[s] an approximate phonetic suggestion of the peculiar spring and bounce of the bird in its flight."语法学方面RhetoricParadoxIn the first stanza, the author uses the pain from the real life to draw forth the joy of nightingale. This kind of paradox empathizes the dramaticfunction of the poetry, making people sense the charming of sing of nightingale, thus naturally lead the reader to the conception of happiness. SynesthesiaIn the second stanza, the author uses the rhetoric device ―synesthesia‖to assimilate the song of nightingale with the delicious wine. Here the imagination of the author has given full scope: listening to the singing of the nightingale is like tasting nice wine, feeling fresh and natural.SymbolThrough all the past and in fiction, the word‖ forlorn‖ has existed, as the speaker discovers to his chagrin when his imagination leads him to re-create an image out of fairyland. He discovers as well that though the imagination can chest us out of our grasp of reality for a time, the power to think and understand will once again intrude. To use the word‖ forlorn‖in imagining a fairy world is to invite the analytic mind to see that one is not in fact ―with‖the bird, but alone, a ―sole self‖. Returning to one’s own reality also leads to the recognition that the song of a nightingale is the creation of a living thing, and it too will fade, move away, and finally die away, ―buried deep‖ in another valley.―Birds‖symbolize flight, freedom from confinement, detachment from earthbound limits, the ability to soar beyond rationality and transcend mortal limits. By composing Ode to Nightingale, Keats linksthe bird with poetic imagination and identifies it with pure and ideal singers of songs语义学方面Three main thoughts stand out in the ode. One is Keats' evaluation of life; life is a vale of tears and frustration. The happiness which Keats hears in the song of the nightingale has made him happy momentarily but has been succeeded by a feeling of torpor which in turn is succeeded by the conviction that life is not only painful but also intolerable. His taste of happiness in hearing the nightingale has made him all the more aware of the unhappiness of life. Keats wants to escape from life, not by means of wine, but by a much more powerful agent, the imagination.The second main thought and the main theme of the poem is Keats' wish that he might die and be rid of life altogether, providing he could die as easily and painlessly as he could fall asleep. The preoccupation with death does not seem to have been caused by any turn for the worse in Keats' fortunes at the time he wrote the ode (May 1819). In many respects Keats' life had been unsatisfactory for some time before he wrote the poem. His family life was shattered by the departure of one brother to America and the death from tuberculosis of the other. His second volume of poetry had been harshly reviewed. He had no gainful occupation and no prospects, since he had abandoned his medical studies. His financialcondition was insecure. He had not been well in the fall and winter of 1818-19 and possibly he was already suffering from tuberculosis. He could not marry Fanny Brawne because he was not in a position to support her. Thus the death-wish in the ode may be a reaction to a multitude of troubles and frustrations, all of which were still with him. The heavy weight of life pressing down on him forced "Ode to a Nightingale" out of him. Keats more than once expressed a desire for "easeful Death," yet when he was in the final stages of tuberculosis he fought against death by going to Italy where he hoped the climate would cure him. The death-wish in the ode is a passing but recurrent attitude toward a life that was unsatisfactory in so many ways.The third main thought in the ode is the power of imagination or fancy. (Keats does not make any clear-cut distinction between the two.) In the ode Keats rejects wine for poetry, the product of imagination, as a means of identifying his existence with that of the happy nightingale. But poetry does not work the way it is supposed to. He soon finds himself back with his everyday, trouble-filled self. That "fancy cannot cheat so well / As she is fam'd to do," he admits in the concluding stanza. The imagination is not the all-powerful function Keats, at times, thought it was. It cannot give more than a temporary escape from the cares of life.Keats' assignment of immortality to the nightingale in stanza VII has caused readers much trouble. Keats perhaps was thinking of a literalnightingale; more likely, however, he was thinking of the nightingale as a symbol of poetry, which has a permanence.。
夜莺颂
夜莺颂《夜莺颂》我的心在痛，困顿和麻木刺进了感官，有如饮过毒鸠，又象是刚刚把鸦片吞服，于是向着列斯忘川下沉：并不是我嫉妒你的好运，而是你的快乐使我太欢欣——因为在林间嘹亮的天地里，你呵，轻翅的仙灵，你躲进山毛榉的葱绿和荫影，放开歌喉，歌唱着夏季。
哎，要是有一口酒！那冷藏在地下多年的清醇饮料，一尝就令人想起绿色之邦，想起花神，恋歌，阳光和舞蹈！要是有一杯南国的温暖充满了鲜红的灵感之泉，杯沿明灭着珍珠的泡沫，给嘴唇染上紫斑；哦，我要一饮而离开尘寰，和你同去幽暗的林中隐没：远远地、远远隐没，让我忘掉你在树叶间从不知道的一切，忘记这疲劳、热病、和焦躁，这使人对坐而悲叹的世界；在这里，青春苍白、消瘦、死亡，而“瘫痪”有几根白发在摇摆；在这里，稍一思索就充满了忧伤和灰色的绝望，而“美”保持不住明眸的光彩，新生的爱情活不到明天就枯凋。
去吧！去吧！我要朝你飞去，不用和酒神坐文豹的车驾，我要展开诗歌底无形羽翼，尽管这头脑已经困顿、疲乏；去了！呵，我已经和你同往！夜这般温柔，月后正登上宝座，周围是侍卫她的一群星星；但这儿却不甚明亮，除了有一线天光，被微风带过，葱绿的幽暗，和苔藓的曲径。
我看不出是哪种花草在脚旁，什么清香的花挂在树枝上；在温馨的幽暗里，我只能猜想这个时令该把哪种芬芳赋予这果树，林莽，和草丛，这白枳花，和田野的玫瑰，这绿叶堆中易谢的紫罗兰，还有五月中旬的娇宠，这缀满了露酒的麝香蔷薇，它成了夏夜蚊蚋的嗡萦的港湾。
我在黑暗里倾听：呵，多少次我几乎爱上了静谧的死亡，我在诗思里用尽了好的言辞，求他把我的一息散入空茫；而现在，哦，死更是多么富丽：在午夜里溘然魂离人间，当你正倾泻着你的心怀发出这般的狂喜！你仍将歌唱，但我却不再听见——你的葬歌只能唱给泥草一块。
永生的鸟呵，你不会死去！饥饿的世代无法将你蹂躏；今夜，我偶然听到的歌曲曾使古代的帝王和村夫喜悦；或许这同样的歌也曾激荡露丝忧郁的心，使她不禁落泪，站在异邦的谷田里想着家；就是这声音常常在失掉了的仙域里引动窗扉：一个美女望着大海险恶的浪花。
john keats英文诗歌中英对照
John Keats (1795-1821) was an English Romantic poet whose work is characterized by its vivid imagery and sensual language. Keats' poetry is known for its exploration of themes such as beauty, love, and the transience of life. His use of the English language is often described as lyrical and elegant, and his work has left a lasting impact on the world of literature.In this article, we will delve into the poetry of John Keats, exploring the beauty and depth of his English verses by providing a side-by-sideparison with their Chinese translations. By examining Keats' poems in both languages, we aim to gain a more profound understanding of his themes and the nuances of his language, and also to appreciate the skill and artistry of the translators who have brought his work to a wider audience.1. "Ode to a Nightingale" (夜莺颂)In the "Ode to a Nightingale," Keats vividly describes his longing to escape from the harsh realities of life and seek solace in the song of a nightingale. Through his rich and evocative language, he transports the reader to a world of beauty and imagination. The Chinese translation of this poem captures the essence of Keats' verses, delicately conveying the poet's yearning and thetimeless allure of the nightingale's song.2. "Ode on a Grecian Urn" (希腊古瓮颂)In this poem, Keats reflects on the eternal nature of art and beauty, as represented by a Grecian urn. The Chinese translation of this ode beautifully conveys the poet's contemplation of the scenes depicted on the urn, and the intertwining of life and art. Through thisparison, we can appreciate the universal themes explored by Keats, and the resonance of his words across different cultures and languages.3. "To Autumn" (致秋天)Keats' "To Autumn" celebrates the beauty of the season and invokes the sights, sounds, and scents of nature. The Chinese translation of this poem captures the warmth and richness of Keats' language, allowing readers to immerse themselves in the sensory experience he describes. By engaging with the dual language presentation of this poem, we can appreciate the vivid imagery and emotional depth of Keats' verses.In conclusion, the exploration of John Keats' English poetrythrough its Chinese translations allows us to delve into the beauty andplexity of his work with a multi-faceted perspective. By experiencing the poems in both languages, we gain a deeper understanding of the themes and emotions conveyed by Keats, while also appreciating the artistry of the translators who have brought his poetry to a global audience.As a personal reflection, I am struck by the timeless relevance of Keats' poetry and the skillful way in which the translators have preserved the essence of his verses in Chinese. The ability of his words to transcend language barriers is a testament to the enduring power of his art, and a reminder of the universal human experiences captured within his poetry.Through this journey of discovery, I havee to realize the significance of experiencing literature in its original language, as well as the value of exploring translations as a means of broadening our understanding and appreciation of different cultures. John Keats' English poetry, when presented alongside its Chinese translations, offers a rich tapestry of language, emotion, and beauty that transcends borders and speaks to the heart of humanity.。
济慈代表作(双语)
济慈《夜莺颂》是1818年济慈23岁的作品。
该诗歌一共八节80余行，该诗歌具有强烈的浪漫主义特色，用美丽的比喻和一泻千里的流利语言表达了诗人心中强烈的思想感情和对自由世界的深深向往。
Ode to a Nightingale 夜莺颂- John Keats 中英双语对照My heart aches, and a drowsy numbness pains 我的心痛，困顿和麻木My sense, as though of hemlock I had drunk, 毒害了感官，犹如饮过毒鸩，Or emptied some dull opiate to the drains 又似刚把鸦片吞服，One minute past, and Lethe-wards had sunk 一分钟的时间，字句在忘川中沉没'Tis not through envy of thy happy lot, 并不是在嫉妒你的幸运，But being too happy in thine happiness,-- 是为着你的幸运而大感快乐，That thou, light-winged Dryad of the trees 你，林间轻翅的精灵，In some melodious plot 在山毛榉绿影下的情结中，Of beechen green, and shadows numberless,Singest of summer in full-throated ease. 放开了歌喉，歌唱夏季。
O, for a draught of vintage! that hath been 哎，一口酒！那冷藏Cool'd a long age in the deep-delved earth, 在地下多年的甘醇，Tasting of Flora and the country green, 味如花神、绿土、Dance, and Provencal song, and sunburnt mirth! 舞蹈、恋歌和灼热的欢乐！O for a beaker full of the warm South, 哎，满满一杯南方的温暖，Full of the true, the blushful Hippocrene, 充满了鲜红的灵感之泉，With beaded bubbles winking at the brim, 杯沿闪动着珍珠的泡沫，And purple-stained mouth 和唇边退去的紫色；That I might drink, and leave the world unseen, 我要一饮以不见尘世，And with thee fade away into the forest dim 与你循入森林幽暗的深处Fade far away, dissolve, and quite forget 远远的离开，消失，彻底忘记What thou among the leaves hast never known, 林中的你从不知道的，The weariness, the fever, and the fret 疲惫、热病和急躁Here, where men sit and hear each other groan; 这里，人们坐下并听着彼此的呻吟；Where palsy shakes a few, sad, last gray hairs, 瘫痪摇动了一会儿，悲伤了，最后的几丝白发，Where youth grows pale, and spectre-thin, and dies; 青春苍白，古怪的消瘦下去，后来死亡；Where but to think is to be full of sorrowAnd leaden-eyed despairs, 铅色的眼睛绝望着；..Where Beauty cannot keep her lustrous eyes, 美人守不住明眸，Or new Love pine at them beyond to-morrow. 新的恋情过不完明天。
夜莺颂
ode to a nightingale《夜莺颂》My heart aches, and a drowsy numbness pains 我的心在痛,困顿和麻木My sense, as though of hemlock I had drunk, 刺进了感官有如饮过毒鸩Or emptied some dull opiate to the drains 又像是刚把鸦片吞服One minute past, and Lethe-wards had sunk: 於是向列斯忘川下沉'Tis not through envy of thy happy lot, 并不是我忌妒你的好运But being too happy in thine happiness -- 而是你的快乐使我太欢欣--That thou, light winged Dryad of the trees, 因为在林间嘹亮的天地里In some melodious plot 你呵,轻翅的仙灵Of beechen green, and shadows numberless, 你躲进山毛榉的葱绿和荫影Singest of summer in full-throated ease. 放开了歌喉,歌唱著夏季O, for a draught of vintage! that hath been 唉,要是有一口酒,那冷藏Cooled a long age in the deep-delved earth, 在地下多年的清醇饮料Tasting of Flora and the country green, 一尝就令人想起绿色之邦Dance, and Provencal song, and sunburnt mirth! 想起花神,恋歌,阳光和舞蹈O for a beaker full of the warm South, 要是有一杯南国的温暖Full of the true, the blushful Hippocrene, 充满了鲜红的灵感之泉With beaded bubbles winking at the brim, 杯缘明灭著珍珠的泡沫And purple-stained mouth, 给嘴唇染上紫斑That I may drink, and leave the world unseen, 我要一饮而尽而悄然离开尘寰And with thee fade away into the forest dim. 和你同去幽暗的林中隐没Fade far away, dissolve, and quite forget 远远地,远远隐没,让我忘掉What thou amongst the leaves hast never known, 你在树叶间从不知道的一切The weariness, the fever, and the fret 忘记这疲劳,热病,和焦躁Here, where men sit and hear each other groan; 这使人对坐而悲叹的世界Where palsy shakes a few, sad, last grey hairs. 在这里,青春,苍白,削瘦,死亡Where youth grows pale, and spectre-thin, and dies; 而瘫痪有几根白发在摇摆Where nut to think is to be full of sorrow 在这里,稍一思索就充满了And leaden-eyed despairs; 忧伤和灰暗的绝望Where Beauty cannot keep her lustrous eyes, 而美保持不住明眸的光彩Or new Love pine at them beyond to-morrow. 新生的爱情活不到明天就枯凋Away! away! for I will fly to thee, 去吧!去吧!我要朝你飞去Not charioted by Bacchus and his pards, 不用和酒神坐文豹的车驾But on the viewless wings of Poesy, 我要展开诗歌底无形的羽翼Though the dull brain perplexes and retards. 尽管这头脑已经困顿,疲乏Already with thee! tender is the night, 去了,我已经和你同往And haply the Queen-Moon is on her throne, 夜这般温柔,月后正登上宝座Clustered around by all her starry Fays; 周围是侍卫她的一群星星But here there is no light, 但这儿不甚明亮Save what from heaven is with the breezes blown 除了有一线天光,被微风带过Through verduous glooms and winding mossy ways. 葱绿的幽暗和藓苔的曲径I cannot se what flowers are at my feet, 我看不出是哪种花在脚旁Nor what soft incense hangs upon the boughs, 什麼清香的花挂在树枝上But, in embalmed darkness, guess each sweet 在温馨的幽暗理,我只能猜想Wherewith the seasonable month endows 这时令该把哪种芬芳The grass, the thicket, and the fruit-tree wild -- 赋予这果树,林莽和草丛White hawthorn, and the pastoral eglantine; 这白枳花,和田野的玫瑰Fast fading violets covered up in leaves; 这绿叶堆中易凋谢的紫罗兰And mid-May's eldest child, 还有五月中旬的娇宠The coming musk-rose, full of dewy wine, 这缀满了露酒的麝香蔷薇The murmurous haunt of flies on summer eves. 它成了夏夜蚊蚋嗡营的港湾Darkling I listen; and for many a time 我在黑暗中里倾听,多少次I have been half in love with easeful Death, 我几乎爱上了静谧的死亡Called him soft names in many a mused rhyme, 我在诗思里用尽了我言辞To take into the air my quiet breath; 求他把我的一息散入空茫Now more than ever seems it rich to die, 而现在,死更是多麼的富丽To cease upon the midnight with no pain, 在午夜里溘然魂离人间While thou art pouring forth thy soul abroad 当你正倾泻你的心怀In such an ecstasy! 发出这般的狂喜Still wouldst thou sing, and I have ears in vain -- 你仍将歌唱,但我却不再听?To thy high requiem become a sod. 你的莽歌只能唱给泥草一块Thou wast not born for death, immortal Bird! 永生的鸟,你不会死去No hungry generations tread thee down; 饿的世代无法将你蹂躏The voice I hear this passing night eas heard 今夜,我偶然听到的歌曲In ancient days by emperor and clown: 当使古代的帝王和村夫喜悦Perhaps the self-same song that found a path 或许这同样的歌也曾激荡Through the sad heart of Ruth, when, sick for home, 露丝忧郁的心,使她不禁落泪She stood in tears amid the alien corn; 站在异邦的谷田里想著家The same that oft-times hath 就是这声音常常Charmed magic casements, opening on the foam 在失掉了的仙域里引动窗扉Of perilous seas, in faery lands forlorn. 一个美女望著大海险恶的浪花Forlorn! the very word is like a bell 失掉了,这句话好比一声钟To toll me back from thee to my sole self! 使我猛省到我站脚的地方Adieu! the fancy cannot cheat so well 别了!幻想,这骗人的妖童As she is famed to do, deceiving elf. 不能老耍弄它盛传的伎俩Adieu! adieu! thy plaintive anthem fades 别了!别了!你怨诉的歌声Past the near meadows, over the still stream, 流过草坪,越过幽静的溪水Up the hill-side; and now 'tis buried deep 溜上山坡,而此时它正深深In the next valley-glades: 埋在附近的溪谷中Was is a vision, or a waking dream? 这是个幻觉,还是梦寐Fled is that music -- Do I wake or sleep? 那歌声去了-我是睡?是醒?作品赏析相传，夜莺会死在月圆的晚上。
经典名作Ode to a nightingale 夜莺颂
The speaker opens with a declaration of his own heartache. He feels numb, as though he had taken a drug only a moment ago. He is addressing a nightingale he hears singing somewhere in the forest and says that his “drowsy numbness” is not from envy of the nightingale’s happiness, but rather from sharing it too completely; he is “too happy” that the nightingale sings the music of summer from amid some unseen plot of green trees and shadows.In the second stanza, the speaker longs for the oblivion of alcohol, expressing his wish for wine, “a draught of vintage,” that would taste like the country and like peasant dances, and let him “leave the world unseen” and disappear into the dim forest with the nightingale. In the third stanza, he explains his desire to fade away, saying he would like to forget the troubles the nightingale has never known: “the weariness, the fever, and the fret” of human life, with its consciousness that everything is mortal and nothing lasts. Youth “grows pale, and spectre-thin, and dies,” and “beauty cannot keep her lustrous eyes.”In the fourth stanza, the speaker tells the nightingale to fly away, and he will follow, not through alcohol (“Not charioted by Bacchus and his pards”), but through poetry, which will give him “viewless wings.” He says he is already with the nightingale and describes the forest glade, where even the moonlight is hidden by the trees, except the light that breaks through when the breezes blow the branches. In the fifth stanza, the speaker says that he ca nnot see the flowers in the glade, but can guess them “in embalmed darkness”: white hawthorne, eglantine, violets, and the musk-rose, “the murmurous haunt of flies on summer eves.” In the sixth stanza, the speaker listens in the dark to the nightingale, sa ying that he has often been “half in love” with the idea of dying and called Death soft names in many rhymes. Surrounded by the nightingale’s song, the speaker thinks that the idea of death seems richer than ever, and he longs to “cease upon the midnight with no pain” while the nightingale pours its soul ecstatically forth. If he were to die, the nightingale would continue to sing, he says, but he would “have ears in vain” and be no longer able to hear.In the seventh stanza, the speaker tells the nighting ale that it is immortal, that it was not “born for death.” He says that the voice he hears singing has always been heard, by ancient emperors and clowns, by homesick Ruth; he even says the song has often charmed open magic windows looking out over “the foa m / Of perilous seas, in faery lands forlorn.” In the eighth stanza, the word forlorn tolls like a bell to restore the speaker from his preoccupation with the nightingale and back into himself. As the nightingale flies farther away from him, he laments tha t his imagination has failed him and says that he can no longer recall whether the nightingale’s music was “a vision, or a waking dream.” Now that the music is gone, the speaker cannot recall whether he himself is awake or asleep.FormLike most of the ot her odes, “Ode to a Nightingale” is written in ten-line stanzas. However, unlike most of the other poems, it is metrically variable—though not so much as “Ode to Psyche.” The first seven and last two lines of each stanza are written in iambic pentameter; the eighth line of each stanza is written in trimeter, with only three accented syllables instead of five. “Nightingale” also differs from the other odes in that its rhyme scheme is the same in every stanza (every other ode varies the order of rhyme in the final three or four lines except “To Psyche,” which has the loosest structure of all the odes). Each stanza in “Nightingale” is rhymed ABABCDECDE, Keats’s most basic scheme throughout the odes.With “Ode to a Nightingale,” Keats’s speaker begins hi s fullest and deepest exploration of the themes of creative expression and the mortality of human life. In this ode, the transience of life and the tragedy of old age (“where palsy shakes a few, sad, last gray hairs, / Where youth grows pale, and spectre-t hin, and dies”) is set against the eternal renewal of the nightingale’s fluid music (“Thou wast not born for death, immortal bird!”). The speaker reprises the “drowsy numbness” he experienced in “Ode on Indolence,” but where in “Indolence” that numbness was a sign of disconnection from experience, in “Nightingale” it is a sign of too full a connection: “being too happy in thine happiness,” as the speaker tells the nightingale. Hearing the song of the nightingale, the speaker longs to flee the human world and join the bird. His first thought is to reach the bird’s state through alcohol—in the second stanza, he longs for a “draught of vintage” to transport him out of himself. But after his meditation in the third stanza on the transience of life, he rejects the idea of being “charioted by Bacchus and his pards” (Bacchus was the Roman god of wine and was supposed to have been carried by a chariot pulled by leopards) and chooses instead to embrace, for the first time since he refused to follow the figures in “Indolence,” “the viewless wings of Poesy.”The rapture of poetic inspiration matches the endless creative rapture of the nightingale’s music and lets the speaker, in stanzas five through seven, imagine himself with the bird in the darkened forest. The ecstatic music even encourages the speaker to embrace the idea of dying, of painlessly succumbing to death while enraptured by the nightingale’s music and never experiencing any further pain or disappointment. But when his meditation causes him to utter the wor d “forlorn,” he comes back to himself, recognizing his fancy for what it is—an imagined escape from the inescapable (“Adieu! the fancy cannot cheat so well / As she is fam’d to do, deceiving elf”). As the nightingale flies away, the intensity of the speaker’s experience has left him shaken, unable to remember whether he is awake or asleep.In “Indolence,” the speaker rejected all artistic effort. In “Psyche,” he was willing to embrace the creative imagination, but only for its own internal pleasures. But in the nightingale’s song, he finds a form of outward expression that translates the work of the imagination into the outside world, and this is the discovery that compels him to embrace Poesy’s “viewless wings” at last. The “art” of the nightingale is end lessly changeable and renewable; it is music without record, existing only in a perpetual present. As befits his celebration of music, the speaker’s language, sensually rich though it is, serves to suppress the sense of sight in favor of the other senses. He can imagine the light of the moon, “But here there is no light”; he knows he is surrounded by flowers, but he “cannot see what flowers” are at his feet. This suppression will find its match in “Ode on a Grecian Urn,” which is in many ways a companion poem to “Ode to a Nightingale.” In the later poem, the speaker will finally confront a created art-object not subject to any of the limitations of time; in “Nightingale,” he has achieved creative expression and has placed his faith in it, but that expression—the nightingale’s song—is spontaneous and without physical manifestation.。
约翰济慈明诗《夜莺颂》欣赏
约翰济慈明诗《夜莺颂》欣赏[摘要]约翰济慈(John Keats)是十九世纪英国浪漫主义时期的杰出诗人。
他的名作《夜莺颂》(ode tonightingale)是作者创造力最旺盛年代的作品，同时又由于作者身患绝症，自觉不久于人世而创作的，因此诗歌里渗透着对青春的渴望和对死亡的恐惧心理。
[关健词]浪漫主义济慈夜莺颂在诗歌的第一节里，诗人主要描写夜莺的歌声给诗人带到了飘飘欲仙的忘我境界，在艰难的现实生活里，诗人感到无情命运对其压迫产生的饿痛楚：My heart aches，and a drowsy numbness painMv sense，as though of hemlock I had drunk诗人的心里痛苦，困顿麻木，就象吃了鸦片一样，但是痛苦带来的麻木又使诗人感到一丝慰藉：Or emptied some dull opiate to the drainsOne minute past，and Lethe-wards had sunk；列撕忘川是哈帝斯冥城里的一条让人忘记过去的河流。
作者通过引用这日引吭高歌，并且这种欢快的声音在某种程度上引起诗人的嫉妒：This not through envy of the happy lot,But being too happy in thine happiness在第一节诗里’作者先用现实生活带来的饿痛苦感受来引出夜莺快乐的情感，这种矛盾修饰辞法(paradox)大大加强了诗歌的戏剧效果，让人更感受到夜莺歌声的魅力，从而自然引出了夜莺歌声而产生的快乐意境。
在第二节里，诗人通过运用了通感修辞手法(synesthesia)把夜莺的歌声比作温酿可口的清醇的葡萄酒葡萄酒产生于法国南部的普鲁旺斯省(Provencal)这一带地区气候温暖湿润，阳光明媚，是一处宜人可爱的地方一樽珍藏在地窖多年的美酒就更加清醇可口了，在这里，诗人联想力得到了极大的发挥：听着夜莺的歌声就象喝下了清醇的美酒。
ode to a nightingale中英对照
Ode to a Nightingale by John Keats
译文：夜莺颂
I heard a nightingale singing
在幽暗的柏树下我坐着
In a dark and shadowy grove,
夜莺独鸣，四围灌木环绕
A voice so tremulous and true
它的歌声如泣如诉
That I could scarcely hear the note,
难以听见这音符
It was a melancholy strain
曲调忧郁哀愁
To haunt my woods by night alone,
孤独在夜晚萦绕在我树林中
And移民海外的日本艺人、音乐人或演员中，以流行歌手
最为常见。
许多日本流行歌手会以艺名或昵称进行音乐活动，其中一些艺人甚至会同时从事音乐、演艺和模特等多重职业。
在日本，偶像组合是乐坛主流，而单打独斗的歌手则相对较少。
济慈代表作(双语)
济慈《夜莺颂》是1818年济慈23岁的作品。
该诗歌一共八节80余行，该诗歌具有强烈的浪漫主义特色，用美丽的比喻和一泻千里的流利语言表达了诗人心中强烈的思想感情和对自由世界的深深向往。
Ode to a Nightingale 夜莺颂- John Keats 中英双语对照My heart aches, and a drowsy numbness pains 我的心痛，困顿和麻木My sense, as though of hemlock I had drunk, 毒害了感官，犹如饮过毒鸩，Or emptied some dull opiate to the drains 又似刚把鸦片吞服，One minute past, and Lethe-wards had sunk 一分钟的时间，字句在忘川中沉没'Tis not through envy of thy happy lot, 并不是在嫉妒你的幸运，But being too happy in thine happiness,-- 是为着你的幸运而大感快乐，That thou, light-winged Dryad of the trees 你，林间轻翅的精灵，In some melodious plot 在山毛榉绿影下的情结中，Of beechen green, and shadows numberless,Singest of summer in full-throated ease. 放开了歌喉，歌唱夏季。
O, for a draught of vintage! that hath been 哎，一口酒！那冷藏Cool'd a long age in the deep-delved earth, 在地下多年的甘醇，Tasting of Flora and the country green, 味如花神、绿土、Dance, and Provencal song, and sunburnt mirth! 舞蹈、恋歌和灼热的欢乐！O for a beaker full of the warm South, 哎，满满一杯南方的温暖，Full of the true, the blushful Hippocrene, 充满了鲜红的灵感之泉，With beaded bubbles winking at the brim, 杯沿闪动着珍珠的泡沫，And purple-stained mouth 和唇边退去的紫色；That I might drink, and leave the world unseen, 我要一饮以不见尘世，And with thee fade away into the forest dim 与你循入森林幽暗的深处Fade far away, dissolve, and quite forget 远远的离开，消失，彻底忘记What thou among the leaves hast never known, 林中的你从不知道的，The weariness, the fever, and the fret 疲惫、热病和急躁Here, where men sit and hear each other groan; 这里，人们坐下并听着彼此的呻吟；Where palsy shakes a few, sad, last gray hairs, 瘫痪摇动了一会儿，悲伤了，最后的几丝白发，Where youth grows pale, and spectre-thin, and dies; 青春苍白，古怪的消瘦下去，后来死亡；Where but to think is to be full of sorrowAnd leaden-eyed despairs, 铅色的眼睛绝望着；Where Beauty cannot keep her lustrous eyes, 美人守不住明眸，Or new Love pine at them beyond to-morrow. 新的恋情过不完明天。
济慈《夜莺颂》中英对照
济慈《夜莺颂》中英对照济慈《夜莺颂》中英对照(2011-05-18 09:01:06)1818年，济慈23岁。
那年，诗人患上了肺痨，同时诗人还处于和方妮·布朗小姐的热恋中。
在这样的背景下，本身充斥着复杂矛盾的情感。
Ode To A Nightingaleby John KeatsMy heart aches, and a drowsy numbness painsMy sense, as though of hemlock I had drunk,Or emptied some dull opiate to the drainsOne 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 plotOf beechen green and shadows numberless,Singest of summer in full-throated ease.O, for a draught of vintage! that hath beenCooled a long age in the deep-delved earth,Tasting of Flora and the country green,Dance, and Provencal song, and sunburnt mirth!O for a beaker full of the warm South,Full of the true, the blushful Hippocrene,With beaded bubbles winking at the brim,And purple-strained mouth;That I might drink, and leave the world unseen,And with thee fade away into the forest dim;Fade far away, dissolve, and quite forgetWhat thou among the leaves hast never known, The weariness, the fever, and the fretHere, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs, Where youth grows pale, and specter-thin, and dies; Where but to think is to be full of sorrowAnd leaden-eyed despairs,Where Beauty cannot keep her lustrous eyes,Or new Love pine at them beyond tomorrow.Away! away! for I will fly to thee,Not charioted by Bacchus and his pards,But on the viewless wings of Poesy,Though the dull brain perplexes and retards: Already with thee! Tender is the night,And haply the Queen Moon is on her throne, Clustered around by all her starry fays;But here there is no light,Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways.I cannot see what flowers are at my feet,Nor what soft incense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endowsThe grass, the thicket, and the fruit tree wild;White hawthorn, and the pastoral eglantine;Fast-fading violets covered up in leaves;And mid-May's eldest child,The coming musk rose, full of dewy wine,The murmurous haunt of flies on summer eves.Darkling I listen; and, for many a timeI have been half in love with easeful Death,Called him soft names in many a mused rhyme,To take into the air my quiet breath;Now more than ever seems it rich to die,To cease upon the midnight with no pain,While thou art pouring forth thy soul abroadIn such an ecstasy!Still wouldst thou sing, and I have ears in vain --- To thy high requiem become a sod.Thou wast not bonr for death, immortal Bird!No hungry generations tread thee down;The voice I hear this passing night was heardIn ancient days by emperors and clown;Perhaps the selfsame song that found a path Through the sad heart of Ruth, when, sick for home, She stood in tears amid the alien corn;The same that ofttimes hathCharmed magic casements, opening on the foam Of perilous seas, in faery lands forlorn.Forlorn! the very word is like a bellTo toll me back from thee to my sole self!Adieu! the fancy cannot cheat so wellAs she is famed to do, deceiving elf.Adieu! adieu! thy plaintive anthem fades Past the near meadows, over the still stream, Up the hilside; and now 'tis buried deepIn the next valley glades.Was it a vision, or a waking dream?Fled is that music --- Do I wake or sleep?夜莺颂查良铮译我的心在痛，困顿和麻木刺进了感官，有如饮过毒鸠，又象是刚刚把鸦片吞服，于是向着列斯忘川下沉：并不是我嫉妒你的好运，而是你的快乐使我太欢欣——因为在林间嘹亮的天地里，你呵，轻翅的仙灵，你躲进山毛榉的葱绿和荫影，放开歌喉，歌唱着夏季。
夜莺颂ode to a nightingale
The lifetime of John Keats
The poet
John Keats (31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron 拜伦 and Percy Bysshe Shelley波比雪莱 , despite his work only having been in publication for four years before his death. Although his poems were not generally well received by critics • （ during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.
两个意象的交叉
诗人的“心莺的“欢欣”
Structure[edit]
Ode to a Nightingale夜莺颂
Ode to a NightingaleSummaryThe speaker opens with a declaration of his own heartache. He feels numb, as though he had taken a drug only a moment ago. He is addressing a nightingale he hears singing somewhere in the forest and says that his "drowsy numbness" is not from envy of the nightingale's happiness, but rather from sharing it too completely; he is "too happy" that the nightingale sings the music of summer from amid some unseen plot of green trees and shadows.In the second stanza, the speaker longs for the oblivion of alcohol, expressing his wish for wine, "a draught of vintage," that would taste like the country and like peasant dances, and let him "leave the world unseen" and disappear into the dim forest with the nightingale. In the third stanza, he explains his desire to fade away, saying he would like to forget the troubles the nightingale has never known: "the weariness, the fever, and the fret" of human life, with its consciousness that everything is mortal and nothing lasts. Youth "grows pale, and spectre-thin, and dies," and "beauty cannot keep her lustrous eyes."In the fourth stanza, the speaker tells the nightingale to fly away, and he will follow, not through alcohol ("Not charioted by Bacchus and his pards"), but through poetry, which will give him "viewless wings." He says he is already with the nightingale and describes the forest glade, where even the moonlight is hidden by the trees, except the light that breaks through when the breezes blow the branches. In the fifth stanza, the speaker says that he cannot see the flowers in the glade, but can guess them "in embalmed darkness": white hawthorne, eglantine, violets, and the musk-rose, "the murmurous haunt of flies on summer eves." In the sixth stanza, the speaker listens in the dark to the nightingale, saying that he has often been "half in love" with the idea of dying and called Death soft names in many rhymes. Surrounded by the nightingale's song, the speaker thinks that the idea of death seems richer than ever, and he longs to "cease upon the midnight with no pain" while the nightingale pours its soul ecstatically forth. If he were to die, the nightingale would continue to sing, he says, but he would "have ears in vain" and be no longer able to hear.In the seventh stanza, the speaker tells the nightingale that it is immortal, that it was not "born for death." He says that the voice he hears singing has always been heard, by ancient emperors and clowns, by homesick Ruth; he even says the song has often charmed open magic windows looking out over "the foam / Of perilous seas, in faery lands forlorn." In the eighth stanza, the word forlorn tolls like a bell to restore the speaker from his preoccupation with the nightingale and back into himself. As the nightingale flies farther away from him, he laments that his imagination has failed him and says that he can no longer recall whether the nightingale's music was "a vision, or a waking dream." Now that the music is gone, the speaker cannot recall whether he himself is awake or asleep.FormLike most of the other odes, "Ode to a Nightingale" is written in ten-line stanzas. However, unlike most of the other poems, it is metrically variable--though not so much as "Ode to Psyche." The first seven and last two lines of each stanza are written in iambic pentameter; the eighth line of each stanza is written in trimeter, with only three accented syllables instead of five. "Nightingale" also differs from the other odes in that its rhyme scheme is the same in every stanza (every other ode varies the order of rhyme in the final three or four lines except "To Psyche," which has the loosest structure of all the odes). Each stanza in "Nightingale" is rhymed ABABCDECDE, Keats's most basic scheme throughout the odes.ThemesWith "Ode to a Nightingale," Keats's speaker begins his fullest and deepest exploration of the themes of creative expression and the mortality of human life. In this ode, the transience of life and the tragedy of old age ("where palsy shakes a few, sad, last gray hairs, / Where youth grows pale, and spectre-thin, and dies") is set against the eternal renewal of the nightingale's fluid music ("Thou wast not born for death, immortal bird!"). The speaker reprises the "drowsy numbness" he experienced in "Ode on Indolence," but where in "Indolence" that numbness was a sign of disconnection from experience, in "Nightingale" it is a sign of too full a connection: "being too happy in thine happiness," as the speaker tells the nightingale. Hearing the song of the nightingale, the speaker longs to flee the human world and join the bird. His first thought is to reach the bird's state through alcohol--in the second stanza, he longs for a "draught of vintage" to transport him out of himself. But after his meditation in the third stanza on the transience of life, he rejects the idea of being "charioted by Bacchus and his pards" (Bacchus was the Roman god of wine and was supposed to have been carried by a chariot pulled by leopards) and chooses instead to embrace, for the first time since he refused to follow the figures in "Indolence," "the viewless wings of Poesy."The rapture of poetic inspiration matches the endless creative rapture of the nightingale's music and lets the speaker, in stanzas five through seven, imagine himself with the bird in the darkened forest. The ecstatic music even encourages the speaker to embrace the idea of dying, of painlessly succumbing to death while enraptured by the nightingale's music and never experiencing any further pain or disappointment. But when his meditation causes him to utter the word "forlorn," he comes back to himself, recognizing his fancy for what it is--an imagined escape from the inescapable ("Adieu! the fancy cannot cheat so well / As she is fam'd to do, deceiving elf"). As the nightingale flies away, the intensity of the speaker's experience has left him shaken, unable to remember whether he is awake or asleep.In "Indolence," the speaker rejected all artistic effort. In "Psyche," he was willing to embrace the creative imagination, but only for its own internal pleasures. But in the nightingale's song, he finds a form of outward expression that translates the work of the imagination into the outside world, and this is the discovery that compels him to embrace Poesy's "viewless wings" at last. The "art" of the nightingale is endlessly changeable and renewable; it is music without record, existing only in a perpetual present. As befits his celebration of music, the speaker's language, sensually rich though it is, serves to suppress the sense of sight in favor of the other senses. He can imagine the light of themoon, "But here there is no light"; he knows he is surrounded by flowers, but he "cannot see what flowers" are at his feet. This suppression will find its match in "Ode on a Grecian Urn," which is in many ways a companion poem to "Ode to a Nightingale." In the later poem, the speaker will finally confront a created art-object not subject to any of the limitations of time; in "Nightingale," he has achieved creative expression and has placed his faith in it, but that expression--the nightingale's song--is spontaneous and without physical manifestation.。
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My heart aches, and a drowsy numbness pains我的心在痛,困顿和麻木My sense, as though of hemlock I had drunk,刺进了感官有如饮过毒鸩Or emptied some dull opiate to the drains又像是刚把鸦片吞服One minute past, and Lethe-wards had sunk於是向列斯忘川下沉'Tis not through envy of thy happy lot,并不是我忌妒你的好运But being too happy in thine happiness,--而是你的快乐使我太欢欣That thou, light-winged Dryad of the trees因为在林间嘹亮的天地里In some melodious plot你呵,轻翅的仙灵Of beechen green, and shadows numberless,你躲进山毛榉的葱绿和荫影Singest of summer in full-throated ease.放开了歌喉,歌唱著夏季O, for a draught of vintage! that hath been 唉,要是有一口酒,那冷藏Cool'd a long age in the deep-delved earth,在地下多年的清醇饮料Tasting of Flora and the country green,一尝就令人想起绿色之邦Dance, and Provencal song, and sunburnt mirth! 想起花神,恋歌,阳光和舞蹈O for a beaker full of the warm South,要是有一杯南国的温暖Full of the true, the blushful Hippocrene,充满了鲜红的灵感之泉With beaded bubbles winking at the brim,杯缘明灭著珍珠的泡沫And purple-stained mouth给嘴唇染上紫斑That I might drink, and leave the world unseen,我要一饮而尽而悄然离开尘寰And with thee fade away into the forest dim和你同去幽暗的林中隐没Fade far away, dissolve, and quite forget远远地,远远隐没,让我忘掉What thou among the leaves hast never known,你在树叶间从不知道的一切The weariness, the fever, and the fret忘记这疲劳,热病,和焦躁Here, where men sit and hear each other groan;这使人对坐而悲叹的世界Where palsy shakes a few, sad, last gray hairs,在这里,青春,苍白,削瘦,死亡Where youth grows pale, and spectre-thin, and dies; 而瘫痪有几根白发在摇摆Where but to think is to be full of sorrow在这里,稍一思索就充满了And leaden-eyed despairs,忧伤和灰暗的绝望Where Beauty cannot keep her lustrous eyes,而美保持不住明眸的光彩Or new Love pine at them beyond to-morrow.新生的爱情活不到明天就枯凋Away! away! for I will fly to thee,去吧!去吧!我要朝你飞去Not charioted by Bacchus and his pards,不用和酒神坐文豹的车驾But on the viewless wings of Poesy,我要展开诗歌底无形的羽翼Though the dull brain perplexes and retards尽管这头脑已经困顿,疲乏Already with thee! tender is the night,去了,我已经和你同往And haply the Queen-Moon is on her throne,夜这般温柔,月后正登上宝座Cluster'd around by all her starry Fays;周围是侍卫她的一群星星But here there is no light,但这儿不甚明亮Save what from heaven is with the breezes blown 除了有一线天光,被微风带过Through verdurous glooms and winding mossy ways. 葱绿的幽暗和藓苔的曲径I cannot see what flowers are at my feet,我看不出是哪种花在脚旁Nor what soft incense hangs upon the boughs,什麼清香的花挂在树枝上But, in embalmed darkness, guess each sweet在温馨的幽暗理,我只能猜想Wherewith the seasonable month endows这时令该把哪种芬芳The grass, the thicket, and the fruit-tree wild; 赋予这果树,林莽和草丛White hawthorn, and the pastoral eglantine;这白枳花,和田野的玫瑰Fast fading violets cover'd up in leaves;这绿叶堆中易凋谢的紫罗兰And mid-May's eldest child,还有五月中旬的娇宠The coming musk-rose, full of dewy wine,这缀满了露酒的麝香蔷薇The murmurous haunt of flies on summer eves.它成了夏夜蚊蚋嗡营的港湾Darkling I listen; and, for many a time我在黑暗中里倾听,多少次I have been half in love with easeful Death,我几乎爱上了静谧的死亡Call'd him soft names in many a mused rhyme,我在诗思里用尽了我言辞To take into the air my quiet breath;求他把我的一息散入空茫Now more than ever seems it rich to die,而现在,死更是多麼的富丽To cease upon the midnight with no pain,在午夜里溘然魂离人间While thou art pouring forth thy soul abroad当你正倾泻你的心怀In such an ecstasy!发出这般的狂喜Still wouldst thou sing, and I have ears in vain-- 你仍将歌唱,但我却不再听To thy high requiem become a sod.你的莽歌只能唱给泥草一块Thou wast not born for death, immortal Bird!永生的鸟啊,你不会死去No hungry generations tread thee down;饿的世代无法将你蹂躏The voice I hear this passing night was heard今夜,我偶然听到的歌曲In ancient days by emperor and clown:当使古代的帝王和村夫喜悦Perha ps the self-same song that found a path或许这同样的歌也曾激荡Through the sad heart of Ruth, when, sick for home, 露丝忧郁的心,使她不禁落泪She stood in tears amid the alien corn;站在异邦的谷田里想著家The same that oft-times hath就是这声音常常Charm'd magic casements, opening on the foam在失掉了的仙域里引动窗扉Of perilous seas, in faery lands forlorn.一个美女望著大海险恶的浪花Forlorn! the very word is like a bell失掉了,这句话好比一声钟To toll me back from thee to my sole self!使我猛省到我站脚的地方Adieu! the fancy cannot cheat so well别了!幻想,这骗人的妖童As she is fam'd to do, deceiving elf.不能老耍弄它盛传的伎俩Adieu! adieu! thy plaintive anthem fades别了!别了!你怨诉的歌声Past the near meadows, over the still stream,流过草坪,越过幽静的溪水Up the hill-side; and now 'tis buried deep溜上山坡,而此时它正深深In the next valley-glades:埋在附近的溪谷中Was it a vision, or a waking dream?这是个幻觉,还是梦寐Fled is that music:--Do I wake or sleep? 那歌声去了——我是睡?是醒?。