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 sorrow
And 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。

Away! away! for I will fly to thee, 去吧！去吧！我要飞向你，
Not charioted by Bacchus and his pards, 不用酒神的车辗和他的随从，
But on the viewless wings of Poesy, 乘着诗歌无形的翅膀，
Though the dull brain perplexes and retards 尽管这混沌的头脑早已跟随你，
Already with thee! tender is the night, 夜色温柔，而月后
And haply the Queen-Moon is on her throne, 正登上她的宝座，
Cluster'd around by all her starry Fays; 周围是她所有的星星仙子，
But here there is no light, 但这处那处都没有光，
Save what from heaven is with the breezes blown 一些天光被微风吹入幽绿，
Through verdurous glooms and winding mossy ways. 和青苔的曲径。

I cannot see what flowers are at my feet, 我不能看清是哪些花在我的脚旁，
Nor what soft incense hangs upon the boughs, 何种软香悬于高枝，
But, in embalmed darkness, guess each sweet 但在温馨的暗处，猜测每一种甜蜜Wherewith the seasonable month endows 以其时令的赠与
The grass, the thicket, and the fruit-tree wild; 青草地、灌木丛、野果树
White hawthorn, and the pastoral eglantine; 白山楂和田园玫瑰；
Fast fading violets cover'd up in leaves; 叶堆中易的紫罗兰；
And mid-May's eldest child, 还有五与中旬的首出，
The coming musk-rose, full of dewy wine, 这啜满了露酒的麝香蔷薇，
The murmurous haunt of flies on summer eves. 夏夜蝇子嗡嗡的出没其中。

Darkling I listen; and, for many a time 我倾听黑夜，多少次
I have been half in love with easeful Death, 我几乎爱上了逸谧的死亡，
Call'd him soft names in many a mused rhyme, 在如此多的沉思之韵中呼唤她轻柔的名，To take into the air my quiet breath; 编织成歌，我无声的呼吸；
Now more than ever seems it rich to die, 现在她更加华丽的死去，
To cease upon the midnight with no pain, 在午夜不带悲伤的飞升，
While thou art pouring forth thy soul abroad 当你正向外倾泻灵魂
In such an ecstasy!这般的迷狂！
Still wouldst thou sing, and I have ears in vain-- 你仍唱着，而我听不见，
To thy high requiem become a sod. 你那高昂的安魂曲对着一搓泥土。

Thou wast not born for death, immortal Bird! 永生的鸟啊！你不为了死亡出生！
No hungry generations tread thee down; 饥饿的时代无法把你蹂躏；
The voice I hear this passing night was heard 这逝去的夜晚里我所听见的
In ancient days by emperor and clown: 在那远古的日子也曾为帝王和小丑听见；Perhaps the self-same song that found a path 可能相同的歌在鲁思那颗忧愁的心中Through the sad heart of Ruth, when, sick for home, 找到了一条路径，当她思念故乡，She stood in tears amid the alien corn; 站在异邦的谷田中落泪；
.
.
The same that oft-times hath 这声音常常
Charm'd magic casements, opening on the foam 在遗失的仙城中震动了窗扉
Of perilous seas, in faery lands forlorn. 望向泡沫浪花
Forlorn! the very word is like a bell 遗失！这个字如同一声钟响
To toll me back from thee to my sole self! 把我从你处带会我单独自我！
Adieu! the fancy cannot cheat so well 别了！幻想无法继续欺骗
As she is fam'd to do, deceiving elf. 当她不再能够，
Adieu! adieu! thy plaintive anthem fades别了！别了！你哀伤的圣歌
Past the near meadows, over the still stream, 退入了后面的草地，流过溪水，
Up the hill-side; and now 'tis buried deep 涌上山坡；而此时，它正深深
In the next valley-glades: 埋在下一个山谷的阴影中：
Was it a vision, or a waking dream? 是幻觉，还是梦寐？
Fled is that music:--Do I wake or sleep? 那歌声去了：我醒了？我睡着？
美是济慈的毕生追求，《希腊古瓮颂》是诗人对美的颂歌。

诗歌通过诗人对古瓮观感以及与古瓮的对话，得出了“美即是真，真即是美”的结论。

济慈的这句名言向来颇有争议，很值得我们思考。

在这首诗中，古瓮之美不仅仅在于“优美”和“美妙”：三幅画面中既有人/神狂欢和少年求爱的美好画面，也有小镇倾城献祭的凄凉街景。

诗中的美是艺术之美。

作为艺术品，这首诗和古瓮是美的，这美源自有悲也有乐的生活，这便是真。

生活的本真是艺术美的源泉，艺术之美则使生活的本真得以永存。

这句话也可看作诗人一生的写照。

济慈出生寒微，在创作过程中不断受到死亡的威胁，但他以短暂的生命创作出大批具有强烈美感的名篇佳作。

他的艺术成就是他在生活之真中追求美的结果，他所创造出来的艺术美则使他的一生不朽于世。

Ode on a Grecian Urn 希腊古瓮颂
by John Keats 济慈
查良铮译
Thou still unravished 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-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?
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！
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endeared,
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
Forever wilt thou love, and she be fair!
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！
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unweari-ed,
Forever piping songs forever new;
More happy love! more happy, happy love!
Forever warm and still to be enjoyed,
Forever panting, and forever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloyed,
.
.
A burning forehead, and a parching tongue.
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。

Who 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 dressed?
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 evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
这些人是谁呵，都去赶祭祀？
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 brede
Of 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.
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。

《秋颂》为济慈所作的一首诗歌。

《秋颂》把秋的各种独立的经典意像完美融合在了一起，使得这些原本美好的事物的生命力更加饱满，写作手法运用的相当丰富和娴熟，是描写秋天的文学作品的极品之作。

为了让大家更好的能够欣赏这篇诗文，中文为文学翻译家穆旦（查良铮）先生的中文译文。

济慈诗才横溢，与雪莱、拜伦齐名。

他生平只有25岁，但其遗下的诗篇一直誉满人间，被认为完美地体现了西方浪漫主义诗歌的特色，并被推崇为欧洲浪漫主义运动的杰出代表。

他主“美即是真，真即是美”，擅长描绘自然景色和事物外貌，表现景物的色彩感和立体感，重视写作技巧，语言追求华美，对后世抒情诗的创作影响极大。

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 bless
With 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 shells
With 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 find
Thee 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。

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,-
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river shallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
.
.
And gathering swallows twitter in the skies.
啊．春日的歌哪里去了？但不要
想这些吧，你也有你的音乐——
当波状的云把将逝的一天映照，
以胭红抹上残梗散碎的田野，
这时啊，河柳下的一群小飞虫
就同奏哀音，它们忽而飞高，
忽而下落，随着微风的起灭；
篱下的蟋蟀在歌唱，在园中
红胸的知更鸟就群起呼哨；
而群羊在山圈里高声默默咩叫；
丛飞的燕子在天空呢喃不歇。

<Bright Star 灿烂星辰> 这首诗歌是济慈写给女友芳妮-布劳恩（Fanny Brawne）的一首十四行诗。

在本诗中，济慈采用了bright star，the moving waters，snow，love’s ripening breast 等意象，把关于爱情、死亡和永恒的思想融会在一起，表现了生活、死亡、爱情和理想等永恒的主题。

Bright Star 灿烂星辰
John Keats 约翰·济慈
Bright star, would I were stedfast as thou art—
愿我如你坚定–璀璨明星！
Not in lone splendour hung aloft the night
但不要高悬夜空显赫孤零。

And watching, with eternal lids apart,
像尘世间的隐士警觉清醒，
Like nature’s patient, sleepless Eremit e,
耐心注视，目不转睛。

The moving waters at their priestlike task
江水滔滔把牧师之职履行，
.
.
Of pure ablution round earth’s human shores,
将那红尘之堤岸沐浴洗净。

Or gazing on the new soft-fallen mask
或者凝视着玉屑曼舞晶莹，
Of snow upon the mountains and the moors—
一袭白纱帐装扮旷野峻岭。

No–yet still stedfast, still unchangeable,
不，我要一心不二永笃定，
Pillow’d upon my fair love’s ripening breast,
头枕爱人的酥胸日渐坚挺。

To feel for ever its soft fall and swell,
永远感受跌宕起伏的温情，
Awake for ever in a sweet unrest,
洞察那份甜蜜的骚动不宁。

Still, still to hear her tender-taken breath,
细柔的呼吸永远啜饮聆听，
And so live ever–or else swoon to death.
这样活着，或者晕厥丧命。

济慈诗才横溢，与雪莱、拜伦齐名。

他年仅25岁，可是他遗下的诗篇一直誉满人间，被认为完美地体现了西方浪漫主义诗歌的特色，并被推崇为欧洲浪漫主义运动的杰出代表。

John Keats（约翰济慈）The Day Is Gone,And All Its Sweets Are Gone!那一天来了，所有甜蜜的东西都失去
The day is gone, and all its sweets are gone!
Sweet voice, sweet lips, soft hand, and softer breast,
Warm breath, light whisper, tender semi-tone,
Bright eyes, accomplish'd shape, and lang'rous waist !
那一天来了，甜蜜的一切已失去!
甜嗓，甜唇，酥胸，纤纤十指，
.
.
热烈的呼吸，温柔的低音，耳语，
明眸，美好的体态，柔软的腰肢!
Faded the flower and all its budded charms,
Faded the sight of beauty from my eyes,
Faded the shape of beauty from my arms,
Faded the voice, warmth, whiteness, paradise-
凋了，鲜花初绽的全部魅力，
凋了，我眼睛见过的美的景色，
凋了，我双臂抱过的美的形体，
凋了，轻声，温馨，纯洁，欢乐——
Vanish'd unseasonably at shut of eve,
When the dusk holiday or holy night
Of fragrant-curtain'd love begins to weave
The woof of darkness thick, for hid delight;
这一切在黄昏不合时宜地消退，
当黄昏，节日的黄昏，爱情的良夜
正开始细密地编织昏暗的经纬
以便用香幔遮住隐蔽的欢悦；
But, as I've read love's missal through to-day,
He'll let me sleep, seeing I fast and pray.
但今天我已把爱的弥撒书读遍，
他见我斋戒祈祷，会让我安眠。

《每当我害怕》为济慈所作的一首诗歌，也是济慈的第一首莎士比亚型十四行诗，附在1818年1月31日致雷诺兹的心中。

被认为是他以这种诗格创作最成功的作品之一。

When I have fears每当我害怕by 济慈英语带中文翻译：
When I have fears that I may cease to be
每当我害怕，生命也许等不及
Before my pen has glean'd my teeming brain,
我的笔搜集完我蓬勃的思潮，
.
.
Before high-piled books, in charactery,
等不及高高一堆书，在文字里，
Hold like rich garners the full ripen'd grain;
象丰富的谷仓，把熟谷子收好；
When I behold, upon the night's starr'd face,
每当我在繁星的夜幕上看见
Huge cloudy symbols of a high romance,
传奇故事的巨大的云雾征象，
And think that I may never live to trace
而且想，我或许活不到那一天，
Their shadows, with the magic hand of chance;
以偶然的神笔描出它的幻相；
And when I feel, fair creature of an hour,
每当我感觉，呵，瞬息的美人！
That I shall never look upon thee more,
我也许永远都不会再看到你，
Never have relish in the faery power
不会再醉于无忧的爱情
Of unreflecting love;--then on the shore
和它的魅力！——于是，在这广大的
Of the wide world I stand alone, and think
世界的岸沿，我独自站定、沉思，
Till love and fame to nothingness do sink.
直到爱情、声名，都没入虚无里。

查良铮译
.
.
约翰·济慈（1795-1821），19世纪英国浪漫主义诗人，与雪莱和拜伦齐名。

有Ode on a Grecian Urn、Ode to a NIghtingale和To Autumn等传世之作。

这段诗只有24行，是他追求美的宣言。

A thing of beauty is a joy for ever:
Its lovliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o'er-darkn'd ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon,
Trees old and young, sprouting a shady boon
For simple sheep; and such are daffodils
With the green world they live in; and clear rills
That for themselves a cooling covert make
'Gainst the hot season; the mid-forest brake,
Rich with a sprinkling of fair musk-rose blooms:
.
.
And such too is the grandeur of the dooms
We have imagined for the mighty dead;
An endless fountain of immortal drink,
Pouring unto us from the heaven's brink.
一件美好事物永远是一种欢乐：
它的美妙与日俱增；它决不会
化为乌有；而是会使我们永远有
一座幽静的花亭，一个充满美梦，
健康，和匀静的呼吸的睡眠。

因此，每天早上，我们都在编织
一根绚丽带子把我们束缚于人世，
不管失望，不管无情的人缺少高贵的
本性。

不管愁苦的岁月，不管设下
为我们搜索的不健康的黑暗的道路：
是呀，不管一切，一个美的形体
从我们阴暗的精神上移去棺衣：
太阳，月亮，为天真的羊群长出
绿荫的古树和幼树就是这种事物；
水仙和它们生活其间的绿的世界，
为自己造好凉荫以御炎季的清溪，
满洒着麝香玫瑰的林中的丛薮，
都是这种事物：我们对伟大的古人
.
.
所想象的命运的壮丽，我们所听到
或读到的一切美妙的故事也都是
这种事物：从天的边涯向我们
倾注的一支不尽的琼浆的源泉。

.
.。