最美的英语诗歌：Ode on a Grecian Urn 希腊古瓮颂
英语听力下载：希腊古瓮颂
英语听力下载：希腊古瓮颂约翰·济慈（JohnKeats，1795年—1821年），出生于18世纪末年的伦敦，他是杰出的英诗作家之一，也是浪漫派的主要成员。
从歌咏的艺术对象看，诗人那观赏的目光转而对准了一个永恒不变的对象——希腊古瓮。
这默然、冰冷但不乏艺术魅力的古代雕刻珍品，似乎向诗人透露出某种永恒的信息。
命运赋予我们的太短暂，我们就像匆匆过客，赤条条无牵无挂的来，又孤零零心事重重的离开。
Ode on a Grecian Urn希腊古瓮颂JohnKeats约翰·济慈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，A flowery tale more sweetly than our rhyme：你竟能铺叙一个如花的故事，比诗还瑰丽：What leaf-fringed legend haunts about thy shape在你的形体上，岂非缭绕着古老的传说，Of deities or mortals, or of both,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！What mad pursuit? What struggle to escape?在舞乐前多热烈的追求！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！Heard melodies are sweet, but those unheard听见的乐声虽好，但若听不见却更美；Are sweeter; therefore, ye soft pipes, play on;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，你无法中断你的歌，Thy song, nor ever can those trees be bare;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！Ah, happy, happy boughs! that cannot shed呵，幸福的树木！Your leaves, nor ever bid the Spring adieu;你的枝叶不会剥落，从不曾离开春天；And, happy melodist, unwearièd,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,幸福的是这个切超凡的情态：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。
Ode on a Grecian Urn原文加解析
Summary
In 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 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_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.
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。
《希腊古瓮颂》的赏析
或哪个静静的堡寨山村，
来了这些人，在这敬神的清早？
Thouｓhａltｒemaiｎ, iｎmiｄst oｆoｔherｗoe
Ｔｈanoｕrｓ，a frｉｅndｔo man，to whomｔhou say'sｔ,
Ｂeauｔy is truth, trｕthbeautｙ，--ｔhａt is alｌ
Yｅknoｗon eａrｔh，anｄall yeｎeed to knoｗ.
Alｌｂｒeａｔhingｈumaｎpａｓsｉｏn fａraboｖe，
Tｈａt leavesa heartｈigh-sorrｏwfulａndｃloｙed,
A burninｇforeheａd, anｄａpａrchｉngtoｎgue.
Whoａre tｈｅse coｍingｔothe sacrifice?
Ｔo wｈatgreｅｎaltａｒ, O mysterｉoｕｓpriesｔ,
Oｆ ｍarbｌemen anｄmａｉdｅns overwrｏught，
Wiｔｈforeｓt brａｎches and tቤተ መጻሕፍቲ ባይዱe trodden weed;
Tｈｏｕ,silｅｎtfｏrm,dｏｓtｔｅaseｕｓoｕｔof tｈｏｕghｔ
As dothｅteｒｎｉｔy:ＣolｄＰaｓtorａl!
Ｗheｎold aｇe shaｌl tｈis gｅneｒatｉon wastｅ，
Shｅ ｃannotfade，tｈouｇh thoｕｈaｓｔnotｔhyｂliｓｓ,
For ever wｉltｔｈｏulovｅ, andｓhｅｂｅ ｆａir!
Ah，ｈappy，ｈａｐｐy bｏuｇｈs! tｈatｃannoｔshed
Your leavｅs，ｎoｒeverbid thｅｓpring adieu;
希腊古瓮颂英文赏析
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On the Beauty of Ode on a Grecian UrnAs a famous poem of John Keats’ main works, Ode on a Grecian Urn is a remarkable classic to people from generation to generation。
One of the reasons why it is renowned is thanks to the excellent poet, John Keats, who is extremely gifted but died young. Besides Ode on a Grecian Urn，in his short but precious poetry life，there emerges several other popular works, to illustrate，To a Nightingale, To Psyche，The Eve of St. Agnes and so on。
Full of various beauties, Ode on a Grecian Urn is very worthy appreciating on its theme, images and rhetorical forms。
Through depicting an exquisite Grecian Urn made a thousand years ago, the poet expresses his strong admiration to the artist’s innovative skill which shocks him greatly。
Ode on a Grecian Urn
Ode 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 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? 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 leave Thy song, nor ever can those trees be bare;Bold Lover, never, never canst thou kiss, Though winning near the goal—yet, 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-sorrowful and cloy’d,A burning forehead, and a parching tongue.Stanza 4Who are these coming to the sacrifice?To what green altar, O mysterious priest, Lead’st thou that 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 this folk, this pious morn? And, little town, thy streets for evermoreWill silent be; and not a soul to tellWhy 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 out of thought As doth 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 allYe know on earth, and all ye need to know.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！怎样的风笛和鼓谣！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，永远热情地心跳，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。
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。
希腊古瓮颂原文与翻译
希腊古瓮颂原⽂与翻译希腊古瓮颂原⽂与翻译 《希腊古瓮颂》为济慈所作的⼀⾸诗歌。
济慈，全名约翰·济慈John Keats(1795年—1821年），出⽣于18世纪末年的伦敦，他是杰出的英国诗作家之⼀，也是浪漫派的主要成员。
以下是⼩编整理的希腊古瓮颂原⽂与翻译，欢迎阅读！ 1. THOU still unravish'd bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: 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? 你这岿然的，“寂静”的新娘， “沉默”和“悠久”把你来收养。
⽥园的史家呵，竟能娓娓道来⽐我们 瑰丽诗句更加甜美的如花童话： 绿叶流苏般的传说， 是怎样地将你那 在潭蓓⾕⾥，在阿卡迪亚⼭壑中的 神圣⽽凡俗的形体缠绕？抑或是 ⼈神合⼀罢！ 那⼜是怎样的⼈，怎样的神呵？ 处⼥们怎样不情愿地躲闪？ 怎样狂烈的追求？怎样挣扎着逃避？ 怎样的笛⾳与⿎谣？怎样的——欣喜若狂？ 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; Bold Lover, never, never canst thou kiss, Though winning near the goal—yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! 能够聆听的旋律固然迷⼈，却也⽐不上 那些听不见的乐⾳；所以，你那柔情的风笛， 继续吹响吧，不向那耽于感官之乐的 世俗之⽿，却更加亲密地 向灵魂吹奏出⽆韵之曲： 美丽的少年，在⼤树下坐着，你⽆法 中断你的歌，⽽那些⼤树，也永远 不会变得光秃和⽼迈。
《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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Ode on a Grecian Urn
• 你委身“寂静”的、完美的处子， • “沉默”和“悠久”的养子， • 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？
• What men or gods are these? What maidens loth（unwilling）?
• 它不会使心灵餍足和悲伤， agony as the poet himself often
•
没有炽热的头脑，焦渴的
嘴唇。
•
experienced in the world. 3. parching: burning
iv
• Who are these coming to the sacrifice?
• She cannot fade, though thou hast not thy bliss （满 足）,
• For ever wilt thou love, and she be fair!
Notes : • though getting near
to the act of kissing his beloved.
• 2. The first two lines refer to the urn, which, as a work of art, has been wedded to the quietness and brought up by silence and slow time, and therefore, suffers no change. They imply that in contrast with the transitoriness of human life, art is immortal.
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。
英语诗歌希腊古瓮颂英文欣赏
英语诗歌希腊古瓮颂英文欣赏是从哪个傍河傍海的小镇，或哪个静静的堡寨山村，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这么寂寥。
O Attic shape! Fair attitude! with bredeOf marble men and maidens overwrought,With forest branches and the trodden weed;Thou, silent form, dost tease us out of 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 whom thou say'st,"Beauty is truth, truth beauty"---that is allYe know on earth, and all ye need to know.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。
当国王离开第一个妻子和一个名叫伊诺的坏女人结婚后，两个孩子受到后母残忍虐待，整个王国也受到毁灭性瘟疫的侵袭。
伊诺在爱轻信的丈夫耳边进谗言，终于使国王相信：他的儿子法瑞克斯是这次灾害的罪魁祸首，并要将他献给宙斯以结束瘟疫。
可怜的孩子被推上了祭坛，将要被处死。
正在此时，上帝派了一只浑身上下长着金色羊毛的公羊来将两个孩子驮在背上带走了。
希腊古瓮颂 英语诗歌 纯英文 诗歌赏析
An analysis of the poem Ode on a Grecian UrnOne of the most beautiful poems by John Keats（31 October 1795 – 23 February 1821）Ode on a Grecian Urn is a poem written by John Keats in 1819 and was published in 1820. The poem describes a scene in which a man is trying to immerse himself into the eternal beauty of the Grecian Urn. Through the lines in the poem, it could be found that the man is deep in thought and is going back and forth between the eternal perfect portrayed on the urn and the true fact in the real life with a romantic tongue and a tense emotion. Because of the truehearted expressing way of the poem, people who try to understand this poem would found themselves begin to empathy with the man in the poem.In the first stanza, John Keats used seven question marks to describe the inner world of the man who was observing the urn carefully. The man was trying hard to let himself go into the world of the urn, like an explorer of beauty, and immerse himself into the urn to try to become one with it.Then start from the second stanza, John Keats begin to get into his work of depicting the things painted on the urn with his romantic thinking model. For example, we can see the unheard melody which is sweeter than the heard one, we can see the beautiful trees that are always live in spring and we can also see the bold lovers who can’t kiss each other eternally…… All the things seem to become peaceful and still in their best states, the timeless beauty. These descriptions of the poem add few glamour to the image of the urn. However, no matter how fascinated the world on the urn is, after all, it isn’t the truth of our life. Therefore, after a great length of description of the timeless beauty of the urn, John Keats’ mood changed from enjoyable to melancholy.As is said in the poem: “Thou, silent form, dost tease us out of thought. As doth eternity: Cold Pastoral!” The unheard pastoral is so sweet, so charming but also “cold”, that is because the poet realized the difference between art and life, which has some relations with each other but a lot of differences as well. Art could grasp the momentary beauty of life however the true life can’t keep still like art. Life has its ups and downs and time would elapsing quickly and the poet might feel that something is missing in his heart. That’s why the eternal world on the urn is beautiful but cold as well.After that, it comes to the most controversial line in the poem Ode on a Grecian Urn. In the last stanza, John Keats wrote that: “beauty is truth, truth beauty.” Everyone who reads the poem will have a unique comprehension of this line and while I was reading this line, I could feel a tense mood of melancholy probably for the elapsing time of human life. Besides sadness, there is always a comfort from the bottom of the poet’s heart. Since the coldness of beauty on the urn has already deeply rooted in his heart. By telling himself beauty is truth, truth beauty, the poet could put himself at ease to some extent.Last but not least, there is another point which is worth mentioning: the image of the “bold lover”. According to the history, John Keats died in 1821 and Ode on a Grecian Urn was written in 1819, the time which is two years before he died. During those years in John Keats’ life, he also has a girl he loved, but he couldn’t merry her because of economic problems. Maybe, the bold lovers who couldn’t kiss each other is an implication of Keats’ own experience. While his love and sorrow mix together, the poem becomes much more attractive to readers.。
希腊古瓮颂
Ode on a Grecian Urnby John KeatsStanza 1Thou still unravished 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-fringed 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 loath?What mad pursuit? What struggle to escape?What pipes and timbrels? What wild ecstasy? Stanza 2Heard 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 dities of no tone.Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare;Bold Lover, never, never canst thou kiss, Though winning near the goal---yet, 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 shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied,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, and forever young;All breathing human passion far above,That leaves a heart high-sorrowful and cloy’d,A burning forehead, and a parching tongue. Stanza 4Who are these coming to the sacrifice?To what green altar, O mysterious priest,Lead'st thou that 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 this folk, this pious morn? And, little town, thy streets for evermoreWill silent be; and not a soul to tellWhy 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 out of thought As doth 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 to know/view/55d46d1da76e58fafab00335.html /s/blog_4ab0991d01000apo.html/qiyue%C6%DF%D4%C2/blog/item/2fb5583 8bdea312097ddd813.html。
希腊古瓮颂 英文赏析
On the Beauty of Ode on a Grecian UrnAs a famous poem of John Keats’main works, Ode on a Grecian Urn is a remarkable classic to people from generation to generation. One of the reasons why it is renowned is thanks to the excellent poet, John Keats, who is extremely gifted but died young. Besides Ode on a Grecian Urn, in his short but precious poetry life, there emerges several other popular works, to illustrate, To a Nightingale, To Psyche, The Eve of St. Agnes and so on. Full of various beauties, Ode on a Grecian Urn is very worthy appreciating on its theme, images and rhetorical forms.Through depicting an exquisite Grecian Urn made a thousand years ago, the poet expresses his strong admiration to the artist’s innovative skill which shocks him greatly. “Thou still unravish’d bride of quietness, thou foster-child of silence and slow time” refers to the urn, which as a work of art, has been wedded to the quietness and brought up by silence and slow time, and therefore, suffers no change. It also shows that the poet has absorbed himself into the timeless beautiful scenery on the antique Grecian urn. Actually, the theme is embodied in the contrast between the permanence of art and the transience of the human life. Art is immortal.Next, a variety of images in the poem all become the aids to set off the theme. Keats arranges them flexibly and properly, which is quite impressive. Pipe in the second stanza, along with the youth, the trees attract the poet’s endless fantasy about a lovely spot. And in the third, green altar, mysterious priest and the heifer lowing at the skies altogether structure a lifelike picture. Then in the last stanza, having listing the marble men and maidens overwrought with forest branches and the trodden weed, he attributes his unforgettable sensation to all the readers. We can’t forget both the talent of the artistry of the poet and the artist to mould their images.In addition, almost all of the vivid expressions in the poem are contributed by wonderful use of rhetorical forms. Personification, allusion, metaphor, metonymy and hyperbole can find their way into the poem. The whole work is written in a thrilling tone as first person with the help of personification. “Ye know on the earth, and all ye need to know”is full of philosophy and emotion. Allusion expressions include “Sylvan”“dales of Arcady”, even and his own quotation “Beauty is truth, truth beauty.” The first two lines in the first stanza is a wonderful use of metaphor which compares the urn to bride, beautiful and silent. Hyperbole is also very obvious. “As doth eternity” and other description to the still imagery on it all highlight the poet’s adoration to the urn.All in all, Ode on a Grecian Urn, written by the positive romanticist John Keats, is absolutely a representative in the second part of English Romanticism. Fruitful of its theme, imagery, and rhetorical forms, the poem successfully expresses the praise to the creativity of artists in that time, and the poet’s admiration. It’s the masterpiece of time and eternity.。
希腊古瓮颂 英文赏析
On the Beauty of Ode on a Grecian UrnAs a famous poem of John Keats’main works, Ode on a Grecian Urn is a remarkable classic to people from generation to generation. One of the reasons why it is renowned is thanks to the excellent poet, John Keats, who is extremely gifted but died young. Besides Ode on a Grecian Urn, in his short but precious poetry life, there emerges several other popular works, to illustrate, To a Nightingale, To Psyche, The Eve of St. Agnes and so on. Full of various beauties, Ode on a Grecian Urn is very worthy appreciating on its theme, images and rhetorical forms.Through depicting an exquisite Grecian Urn made a thousand years ago, the poet expresses his strong admiration to the artist’s innovative skill which shocks him greatly. “Thou still unravish’d bride of quietness, thou foster-child of silence and slow time” refers to the urn, which as a work of art, has been wedded to the quietness and brought up by silence and slow time, and therefore, suffers no change. It also shows that the poet has absorbed himself into the timeless beautiful scenery on the antique Grecian urn. Actually, the theme is embodied in the contrast between the permanence of art and the transience of the human life. Art is immortal.Next, a variety of images in the poem all become the aids to set off the theme. Keats arranges them flexibly and properly, which is quite impressive. Pipe in the second stanza, along with the youth, the trees attract the poet’s endless fantasy about a lovely spot. And in the third, green altar, mysterious priest and the heifer lowing at the skies altogether structure a lifelike picture. Then in the last stanza, having listing the marble men and maidens overwrought with forest branches and the trodden weed, he attributes his unforgettable sensation to all the readers. We can’t forget both the talent of the artistry of the poet and the artist to mould their images.In addition, almost all of the vivid expressions in the poem are contributed by wonderful use of rhetorical forms. Personification, allusion, metaphor, metonymy and hyperbole can find their way into the poem. The whole work is written in a thrilling tone as first person with the help of personification. “Ye know on the earth, and all ye need to know”is full of philosophy and emotion. Allusion expressions include “Sylvan”“dales of Arcady”, even and his own quotation “Beauty is truth, truth beauty.” The first two lines in the first stanza is a wonderful use of metaphor which compares the urn to bride, beautiful and silent. Hyperbole is also very obvious. “As doth eternity” and other description to the still imagery on it all highlight the poet’s adoration to the urn.All in all, Ode on a Grecian Urn, written by the positive romanticist John Keats, is absolutely a representative in the second part of English Romanticism. Fruitful of its theme, imagery, and rhetorical forms, the poem successfully expresses the praise to the creativity of artists in that time, and the poet’s admiration. It’s the masterpiece of time and eternity.。
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，以下是小编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。
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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，以下是小编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。
Fair youth,beneath the trees,thou canst not leave 那树下的美少年歌永不歇，
Thy song,nor ever can those trees be bare ;
那树上的绿叶也永不凋零，
Bold Lover, never, never canst thou kiss,
大胆的恋人也永远吻不到她，
Though winning near the goal~yet, do not grieve; 虽然离目的还差一步——但你也别生悲切
She cannot fade, though thou hast not thy bliss, 虽然你还没有吻她的福气，但她永远不会老，
Forever wilt thou love, and she be fair!
你的爱永恒，她的美永恒!
Ah, happy, happy boughs! that cannot shed
嗬，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,
琴师也有幸，精力永旺盛，
Forever piping songs forever new;
吹奏万古常新的乐曲;
More happy love! more happy, happy love!
嗬，更为幸福的爱情，格外幸福的爱情!
Forever warm and still to be enjoyed,
永远温暖，令人欢慰，
Forever panting,and forever young ;
永远激情，永远年轻;
All breathing human passion far above,
这爱情超越了人间的爱情;
That leaves a heart high-sorrowful and cloyed, 那人间的爱情让人生厌，叫人伤心，
A burning forehead, and a parching tongue.
让人额头发烫，焦灼人的舌根。
Who are these coming to the sacrifice?
这些献祭的人是谁
To what green altar,o mysterious priest,
哦，神秘的祭司，走上神圣的祭坛，
Lead'st thou that heifer lowing at the skies,
这头小母牛披彩缎，饰花环，
And all her silken flanks with garlands dressed? 对着苍天哞哞叫喊，啊，
What little town by river or sea-shore,
是从哪个傍河傍海的小镇，
Or mountain-built with peaceful citadel,
或哪个静静的堡寨山村，
Is emptied of this folk, this pious mom?
来了这些人，在这虔诚的清晨?
And, little town, thy streets for evermore
嗬，小镇，你的街道永远恬静;
Will silent be; and not a soul to tell
没有一个人能赶回来，告诉你
Why thou art desolate, can e’er return.
为什么你是这样荒凉静寂。
O Attic shape! Fair attitude! with brede
啊，形状高雅!姿态美好
Of marble men and maidens overwrought,
上面细刻着大理石的男女之像，
With forest branches and the trodden weed;
那画图里头上有树枝、脚下有青草，
Thou,silent form,dost tease us out of thought 你嘲笑得我们不知如何是好，你这无言的形状，
As doth eternity. Cold Pastoral!
就像永恒嘲笑我们一样;你这苍凉的田园风光!
When old age shall this generation waste,
当衰老把我们这代人消磨殆尽，
Thou shalt remain,in midst of other woe
你仍留在下一代更痛苦的人之中，
Than ours, a friend to man, to whom thou say'st 你对他们说，你是人类的友人，
"Beauty is truth, truth beauty," that is all "美即是真，真即是美"这就包括在这世界上，
Ye know on earth, and all ye need to know.
我们所知和需知的一切。