塞缪尔 泰勒 柯勒律治
kubla khan诗歌鉴赏
Kubla Khan是英国浪漫主义诗人塞缪尔·泰勒·柯勒律治的一首著名诗作。
这首诗是在1797年创作的，被誉为英国文学史上的经典之作，它展现了柯勒律治独特的想象力和优美的诗歌艺术。
1. 主题分析在Kubla Khan这首诗中，柯勒律治通过对蒙古大汗忽必烈的宏伟帝国的描绘，展现了自然与恢弘、幻想与现实之间的奇妙交织。
诗中展现出了大自然的壮美景观，以及人类文明与自然之间的冲突与融合。
在诗中，柯勒律治运用了许多意象和比喻，描绘了世界上最壮美的景色和人类活动，表达了对于宇宙的神秘、人类历史的宏大和人类情感的丰富。
2. 内容分析Kubla Khan由三部分组成，第一部分描绘了著名的山川和瀑布，展现了大自然的壮美和恢弘；接着讲述了忽必烈将要建造的宫殿，表现了人类文明的辉煌和壮丽；最后描述了女巫术士的神秘仪式，体现了人类情感的悸动和神秘的奇妙。
整首诗以其瑰丽的意象和华丽的语言，描绘了宇宙的奇妙、人类的伟大和情感的丰富。
3. 语言风格柯勒律治在Kubla Khan中运用了大量的修辞手法，如比喻、隐喻、排比等，使整篇诗意境优美、言辞华丽。
他运用了丰富的形容词和动词，使诗歌文字生动鲜明，具有强烈的视觉冲击力。
整篇诗具有独特的韵律，旋律感强，语言笔法流畅自然，堪称诗歌艺术的典范。
4. 主题思想Kubla Khan揭示了柯勒律治对于自然、历史和人类情感的独特见解。
他通过对大自然和人类活动的描绘，展现了对于宇宙的神秘和奇妙的赞叹，对于人类历史的辉煌和壮美的赞美，以及对于人类情感的悸动和神秘的探索。
诗中所表达的主题思想，具有非凡的深度和广度，对于当代读者依然具有深刻的启发和引领意义。
5. 结构特点Kubla Khan整篇诗的结构非常有序，分为三个部分，每个部分之间犹如画面切换一般，紧密连接且相互呼应。
整篇诗构思巧妙、布局合理，既有法度与节奏感，又有情感与意象的流动。
整体结构上，给人以惊喜与享受，展现了诗人卓越的艺术造诣和创作才华。
Samuel_Taylor Coleridge
In November, 1793, he left the college and enlisted（参军） in the Royal Dragoons（皇家骑兵）using the false name "Silas Tomkyn Comberbache", perhaps because of debt or because the girl that he loved, Mary Evans, had rejected him. His brothers arranged for his discharge a few months later under the reason of "insanity" and he was readmitted（再次接纳） to Jesus College, though he would never receive a degree from Cambridge.
Coleridge in 1795, age 27.At the university he was introduced to political and theological（神学的） ideas then considered radical（激进的）, including those of the poet Robert Southey. Coleridge joined Southey in a plan, soon abandoned, to found a utopian（乌托邦 的）commune-like society, called pant isocracy（乌托邦）, in the wilderness of Pennsylvania（宾西法尼亚州）. In 1795 the two friends married sisters Sarah(wife) and Edith Fricker, but Coleridge„s marriage proved unhappy. He grew to detest(厌恶) his wife, whom he only married because of social constraints, and eventually divorced her.
英语诗歌欣赏：KublaKhanby：SamuleTaylorColeridge
英语诗歌欣赏：Kubla Khan by：Samule Taylor Coleridge作者：塞缪尔·泰勒·柯勒律治(Samuel T aylor Coleridge，1772-1834年)，英国诗人和评论家，他一生是在贫病交困和鸦片成瘾的阴影下度过的，诗歌作品相对较少。
尽管存在这些不利因素，柯勒律治还是坚持创作，确立了其在幻想浪漫诗歌方面的主要浪漫派诗人地位。
英国诗人Samule Taylor Coleridge ：Kubla Khan 忽必烈by Samuel Taylor ColeridgeIn Xanadu did Kubla KhanA stately pleasure-dome decree:Where Alph, the sacred river, ranThrough caverns measureless to manDown to a sunless sea.So twice five miles of fertile groundWith walls and towers were girdled round:And there were gardens bright with sinuous rills,Where blossomed many an incense-bearing tree;And here were forests ancient as the hills,Enfolding sunny spots of greenery.But oh! that deep romantic chasm which slantedDown the green hill athwart a cedarn cover!A savage place! as holy and enchantedAs e'er beneath a waning moon was hauntedBy woman wailing for her demon-lover!And from this chasm, with ceaseless turmoil seething,As if this earth in fast thick pants were breathing,A mighty fountain momently was forced:Amid whose swift half-intermitted burstHuge fragments vaulted like rebounding hail, Or chaffy grain beneath the thresher's flail: And 'mid these dancing rocks at once and ever It flung up momently the sacred river.Five miles meandering with a mazy motion Through wood and dale the sacred river ran, Then reached the caverns measureless to man, And sank in tumult to a lifeless ocean:And 'mid this tumult Kubla heard from far Ancestral voices prophesying war!The shadow of the dome of pleasure Floated midway on the waves;Where was heard the mingled measureFrom the fountain and the caves.It was a miracle of rare device,A sunny pleasure-dome with caves of ice!A damsel with a dulcimerIn a vision once I saw:It was an Abyssinian maid,And on her dulcimer she played,Singing of Mount Abora.Could I revive within meHer symphony and song,To such a deep delight 'twould win meThat with music loud and longI would build that dome in air,That sunny dome! those caves of ice!And all who heard should see them there, And all should cry, Beware! Beware!His flashing eyes, his floating hair!Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fedAnd drunk the milk of Paradise.。
塞缪尔·泰勒·柯尔律治
华兹华斯与柯尔律治,骚塞 同被称为“湖畔派”诗人 （Lake Poets）。他们也是英国文学中最早出现的浪漫 主义作家。
Lake District:
He and William Wordsworth’ s friendship proved to be one of the most fruitful creative relationship in English
忽必烈汗
In Xanadu did Kubla Khan 忽必烈汗在上都曾经 A stately pleasure-dome decree : 下令修建一座富丽堂皇的逍遥宫： Where Alph, the sacred river, ran 这里有圣河阿尔浮流奔， Through caverns measureless to man 穿过深不可测的洞窟， Down to a sunless sea. 注入不见阳光的大海。 So twice five miles of fertile ground 有方圆十英里沃土， With walls and towers were girdled round : 楼塔，城墙四面围绕： And there were gardens bright with sinuous rills, 这里有花园，蜿蜒的溪河在其间闪耀，
THANK YOU
---2010级英师五班赵尹滋
In 1798, the two men published a joint volume of poetry, Lyrical Ballads, which became a landmark in English poetry.
Lyrical Ballads
Kubla khan
柯勒律治
My comments
He was always a dreamer . Though he suffered from illness and poverty, he was still stick in writing and reached a high position in romantic poets.He wanted to express his admire of the wonderful life according to exerting super imaginations and mysterious power in his poems. he once said, “Alas, my only confidants”. He devoted his thoughts, his observations, sentences and also his dreams and his fantasies to his works.
Achievements
His actual achievement as a poet can be divided into two remarkably diverse groups： the demonic & the conversational. The demonic group includes his three masterpieces： "The Rime of the Ancient Mariner，" "Christabel" & "Kubla Khan." Mysticism & demonism with strong imagination are the distinctive features of this group. Generally, the conversational group speaks more directly of an allied theme： the desire to go home, not to the past, but to " an improved infancy." Each of these poems bears a kind of purgatorial atonement, in which Coleridge must fail or suffer so that someone he loves may succeed or experience joy. Coleridge is one of the first critics to give close critical attention to language, maintaining that the aim of poetry is to give pleasure "through the medium of beauty." In analyzing Shakespeare, Coleridge emphasizes the philosophic implication, reading more into the subject than the text & going deeper into the inner reality than only caring for the outer form.
SamuelTaylorColeridge（1772--1834）
Samuel Taylor Coleridge (1772--1834)Subject: English literature on ColeridgeObjectives: help the student to know about John Milton , the person+, the artisticfeatures of his poems and the characteristics of the selected works. Focus: 1. the poems’ forms and the features of his poems.2. the points of view of Blake’s.3.The discussion of the selected work:.4. the features of Blake’s language.Difficult Points: rhythm ,elements, refrain, Masculine and Feminine Rhyme. Courtlylove.Procedures:1. A brief introduction to the biography. (30 min.)2. the poems’ forms and Artistic features of his works. (30 min.)3. The Main points of Blake’s. (30min.)4. Relevent exercise. (30 min.)1.About the writer:塞谬尔。
泰勒。
柯勒律治，英国浪漫派诗人和批评家，生于德汶郡的一个乡村牧师家庭。
柯勒律治博闻强记，极富于想象。
青年时代曾同情法国革命，并曾于1794年与友人计划到美国宾夕法尼亚州去建立一个乌托邦式的大同社会pantisocracy, 后因经费不足而作罢。
Samuel Taylor Coleridge 柯勒律治
Life in Death
1798 The Rime of the Ancient Mariner《古舟子咏》 1798 Kubla Khan 《忽必烈汗》 1816 Christabel 《克丽斯塔贝尔》
Works
rheumatism（风湿病）, which gradually
destroyed his health, happiness and
poetic creativity
Death He died in Highgate, London on July 25, 1834 (62), providing his own epitaph（墓志铭）:
为她的魔鬼情郎而凄声嚎哭！
And from this chasm, with ceaseless turmoil seething,
巨壑下，不绝的喧嚣在沸腾汹涌，
As if this earth in fast thick pants were breathing,
似乎这土地正喘息在快速而猛烈的悸动中，
Graveyard （墓地）
• Beneath this sod
A Poet lies; or that which once was he.
O lift one thought in prayer (祷告)for S.T.C.
That he, who many a year with toil (辛苦)of
A few months later under the reason of "insanity" (精神病 ) and he was readmitted （再次接纳） to Jesus College, though he would never receive a degree from Cambridge.
Samuel Taylor Coleridge塞缪尔
*注 egalitarianism 平等主义
Pantisocracy大同世界乌托邦
中文名： 塞缪尔· 泰勒· 柯尔律治
英文名： Samuel Taylor Coleridge
别名： 湖畔派诗人 籍贯： 英格兰西南部德文郡 出生地： 英格兰西南部德文郡
性别： 男
国籍： 英国 出生年月： 1772年10月21日 星座： 天蝎座
沿青山斜裂，横过伞盖的杉树！
A savage place! as holy and enchanted ['wein]
野蛮的地方，既神圣而又着了魔－－ 月亏
悲叹 好象有女人在衰落的月色里出没，
As e'er beneath [weil] a waning moon was haunted
他枯瘦的手把行人抓住， 喃喃言道：”曾有一艘船。” “走开，撒手，你这老疯子!” 他随即放手不再纠缠。
但他炯炯的目光将行人摄住—— 使赴宴的客人停步不前， 像三岁的孩子听他讲述， 老水手实现了他的意愿。 赴宴的客人坐在石头上， 不由自主地听他把故事讲： 就这样老水手继续往下说， 两眼闪着奇异的光芒。 “船在欢呼声中驶出海港， 乘着落潮我们愉快出航， 驶过教堂，驶过山岗， 最后连灯塔也消失在远方。
['insens] 那里有花园，蜿蜒的溪河在其间闪耀， 香味
Where blossomed many an incense-bearing tree; 园里树枝上鲜花盛开，一片芬芳；
And here were forests ancient as the hills,
[in'fəuld] 这里有森林，跟山峦同样古老， 包围
Kubla Khan
• during autumn 1797, he composed Kubla Khan • until 1816, it was made available to the public
lyrical ballads的名词解释
lyrical ballads的名词解释浸润着文学史的河流之中，有一本名为《抒情的歌谣》的诗集，它凝聚着浪漫主义时期的文学精神，成为英国文学史上的一块里程碑。
这本集子的名字自然就是《抒情的歌谣》（Lyrical Ballads）。
它不仅象征着浪漫主义运动的兴起，更是一部独特的诗集，它开启了一个崭新的文学时代。
那么，什么是《抒情的歌谣》？它是一本于1798年出版的诗集，其作者是塞缪尔·泰勒·柯勒律治（Samuel Taylor Coleridge）和威廉·华兹华斯（William Wordsworth）。
这本诗集的标题直截了当，但其中的深意非常丰富。
它所提倡的是一种新奇的抒情形式，一种将个人情感与自然景观相结合的创新方式。
《抒情的歌谣》的意义不仅在于它的形式，更在于它的内容。
它包含了约80首诗歌，其中涵盖了多种主题，如自然、静思、宗教、情感、社会等等。
这些诗歌以抒情的方式表达了诗人们对人类生活和自然界的思考与感悟。
正如其名，融入了抒情的元素，《抒情的歌谣》传达了诗人们内心的激情与情感。
威廉·华兹华斯的诗歌以其真诚的情感和对自然之美的追求而闻名。
他的抒情作品中，通过对小溪、村庄、星空等自然景观的描写，表达了对大自然的敬畏和赞美之情。
与之相比，塞缪尔·泰勒·柯勒律治的诗歌则更加深奥复杂。
他的作品中，常常运用奇幻的想象和夸张的表达手法，使诗歌充满了神秘与幻象。
此外，《抒情的歌谣》在文学史上的意义也值得一提。
这本诗集的出版被认为是浪漫主义运动的开端。
它对于后来的浪漫主义文学产生了深远的影响。
诗人威廉·华兹华斯和塞缪尔·泰勒·柯勒律治试图通过与古典诗歌的对抗，打破传统的文学观念和形式。
他们开始关注平凡的人们及其所遭遇的困境，抒发对人性的关怀和社会的批判。
这种“回归本真”的理念激励了后来一代诗人们，使他们在文学创作中精神再次焕发，对现实进行深入的观察和反思。
塞缪尔柯勒律治
• 这首梦幻性的诗被最优秀的批评 家认为是最精美的。诗中有亚洲 的大汗、地下圣河、阴冷的大海 、森林、有围墙和寄望塔的宫殿 和御花园，还有操琴的非洲姑娘 以及啜饮甘露和天堂的灵感之泉 的诗人。在这首诗中，诗人用他 的想象力把这一切融合在一起。 虽然这部作品只有短短的54 行， 但它还是成为了世界有名的英语 诗歌。
•
Creation Background
* Special historical background-- the Romantic period. * Poet’s unique art style. * Opium dream and the understanding of the orientation. * Coincidence of the encounter of the chanciness and the inevitability.
时代背景
• 忽必烈汗。闻名于世的英雄，有他的辉煌。有他的成就，他在整个历史的长 河里留下了他的足迹，他功绩显赫。在遥远的西方。人们带着一颗景仰的心 。一种朦胧的欣赏来看待这个大英雄。当科勒律治采用这个人物作为诗歌的 主题时。显示一种与众不同。一种新颖．这与诗歌中所要表达的一种独特的 美的艺术理论遥相呼应。
•
赏析
上面讲到忽必烈汗下旨，在上都修建一座宫殿。这座宫 殿方圆十英里，青山环抱，芳草鲜美、绿英缤纷，旁边 有圣河流过，它穿过峡谷和洞窟一直通向“阴沉的大海 ”。一幅美不胜收的迷人景色。诗人选用了“decree”( 降旨)、“stately”(威严)、“sacred”（神圣）等词，渲染 帝王的尊贵；用“two five miles”(两个五英里)、 “measureless to man”(深不可测)、“walls and towers”( 高墙和塔楼)来描绘帝王的气派和尊严。 一连串的视觉意象（花园、小山、溪水、森林）以及一 系列的听觉意象（峡谷里声如鼎沸，喷泉、溶洞的融合 音响，喧嚣声中祖先悠远的声音）等，生动具体地呈现 了皇家宫苑的风貌，使人有身临其境之感。
英国诗人柯勒律治简介
英国诗人柯勒律治简介塞缪尔·泰勒·柯勒律治(SamuelTaylorColeridge，1772-1834年)，英国诗人和评论家，他一生是在贫病交困和鸦片成瘾的阴影下度过的，诗歌作品相对较少。
下面是小编为大家整理的英国诗人柯勒律治简介，希望大家喜欢!柯勒律治生平简介塞缪尔·柯勒律治是英国著名的诗人和评论家，也是英国浪漫主义文学的开辟者。
他的一生坎坷艰难，是对诗歌的热爱支持他生活下来。
塞缪尔·柯勒律治出生于英国的德文郡，他的父亲是当地农村的牧师。
在他九岁的时候，他的父亲去世了，之后他被送到了慈善学校。
在那里他度过了8年的时间，并且交到了查尔斯·兰姆这个至交好友。
在1791年，他进入了剑桥大学读书，但是大学生活并没有为他带来任何愉悦，所以他在两年后从军了。
军队没有完全地接纳他，很快就将他退回了学校。
在1794年，他遇见了志同道合的罗伯特·骚塞。
他们两个人因为相同的爱好和追求而结为了好友。
两人合作写了一本关于罗伯斯庇尔与法国革命的剧本。
同年，塞缪尔·柯勒律治和萨拉·弗里克成婚。
后来，弗里克的妹妹还嫁给了骚塞，这让两人的关系更加亲近。
到1797年时，塞缪尔·柯勒律治用来不到一年的时间就完成了自己的诗作。
在1800年，他搬到了开士威克，和骚塞、华兹华斯成为了邻居。
同年，为了缓解风湿，他开始吸食鸦片。
这导致他妻子带着孩子与他离婚。
虽然他曾两次试图戒掉鸦片但都没有成功。
1816年，他一边在伦敦教授莎士比亚的诗歌，一边在詹姆士的帮助下戒毒。
在伦敦待了十八年后，他去世了。
柯勒律治代表作柯勒律治的一生十分贫困，并且深受鸦片的危害，虽然他曾经想要戒毒，但是没有成功。
正是这样的生活条件导致柯勒律治代表作品十分少。
在柯勒律治代表作中最著名的一篇是《古舟子咏》，这首诗是一首音乐叙事诗，总体表达了一个犯罪与赎罪的故事。
在这首诗中，讲述了一个古代的水手在航海中故意杀死了信天翁。
Samuel Taylor Coleridge塞缪尔
['zænə.du:] 行宫,世外桃源
Kubla Khan
In Xanadu did Kubla Khan [di'kri:] 下令 忽必列汗在上都曾经 A stately pleasure-dome decree: 下令造一座堂皇的安乐殿堂： Where Alph, the sacred river, ran 这地方有圣河亚佛流奔， Through caverns measureless to man 穿过深不可测的洞门， Down to a sunless sea. 直流入不见阳光的海洋。
So twice five miles of fertile ground 有方圆十英里肥沃的土壤， 四周给围上楼塔和城墙：
[„gə:dl] 在…环绕
With walls and towers were girdled round:
['sinjuəs] 蜿蜒的
小河
And there were gardens bright with sinuous rills,
Ideological content:, egalitarianism utopian society, Pantisocracy (failed) Coleridge and Wordsworth published a joint volume of poetry, Marriage: Sarah • Frick (sister of Southey’s wife)
['zænə.du:] 行宫,世外桃源 The first stanza describes the beauty and mystery
of Xanadu with rich and exotic images. The second part shows the savage and violence of life outside of the “pleasure dome.” It describes nature and images of evil and war mixed together.
Samuel-Taylor-Coleridge塞缪尔
“上帝保佑你吧，老水手！ 别让魔鬼把你缠住身！—— 你怎么啦？”——”是我用弓箭， 射死了那头信天翁。”
Poetry appreciation
Oxford university 1798 went to Germany (with Wordsworth)for learning
philosophy
Friendship: Charles Lamb, Robert Southey, William Wordsworth (1800 in Keswick)
星座： 天蝎座
去世年月： 1834年7月25日
职业： 文学 诗人
毕业院校： 伦敦基督慈幼学校；剑桥大学
成就：
1798年，两人合作出版著名的《抒情歌谣集》, 成为浪漫主义的宣言书。
1809年创办《朋友》杂志。 重要事件： 1817年发表了著名的《文学传记》，以文学批
评为主， 是他最完整的散文著作。
代表作品：
古舟子咏·part1
他是一个年迈的水手， 从三个行人中他拦住一人， “凭你的白须和闪亮的眼睛， 请问你为何阻拦我的路程？
“新郎家的大门已经敞开， 而我是他的密友良朋，
宾客已到齐，宴席已摆好， 远远能听到笑语喧闹。”
他枯瘦的手把行人抓住， 喃喃言道：”曾有一艘船。” “走开，撒手，你这老疯子!”
他随即放手不再纠缠。
“它每天升得越来越高， 正午时直射桅杆的顶极——” 赴宴的客人捶打着胸膛， 当听到巴松管嘹亮的乐曲。
这时新娘已跨进大门， 她如鲜红的玫瑰一样漂亮； 行吟诗人走在她前面， 摇头摆尾快乐地歌唱。
赴宴的客人捶打着胸膛， 但不由自主地听他把故事讲； 就这样老水手继续往下说， 两眼闪烁着奇异的光芒。
塞缪尔·泰勒·柯勒律治简历
塞缪尔·泰勒·柯勒律治简历塞缪尔u2022泰勒u2022柯勒律治（Samuel Taylor Coleridge，1772-1834年），英国诗人和评论家，他一生是在贫病交困和鸦片成瘾的阴影下度过的，诗歌作品相对较少。
尽管存在这些不利因素，柯勒律治还是坚持创作，确立了其在幻想浪漫诗歌方面的主要浪漫派诗人地位。
19岁进入剑桥大学攻读古典文学。
1794年，与骚塞合写《罗伯斯庇尔的失败》一剧。
当时两人都同情法国革命，但又都害怕革命暴力，于是设想去美洲建立乌托邦社会。
计划失败后柯尔律治移居英格兰部西部湖区，致力于写诗，并与华兹华斯结成密友。
他憎恶资本主义城市文明和冷酷的金钱关系，于是远离城市，隐居于昆布兰湖区，寄情山水或缅怀中世纪的宗法社会。
他们创作出歌颂大自然的或美化宗法制农村生活方式的诗篇，以抵制丑恶的资本主义现实。
因此被称为“湖畔派诗人”。
1798年，两人合作出版著名的《抒情歌谣集》,成为浪漫主义的宣言书。
同年他与华兹华斯兄妹到德国留学，被康德的哲学和耶拿派的诗歌理论和创作所吸引。
1809年创办《朋友》杂志。
以后大多写诗及批评文章，也曾在皇家学会讲演。
1817年发表了著名的《文学传记》，以文学批评为主，是他最完整的散文著作。
1818年作了一系列关于莎士比亚的讲演，后来收集为《关于莎士比亚讲演集》一书。
回国后继续居住于湖区，与华兹华斯保持往来。
柯尔律治年青时代即患有风湿痛等多种疾病。
为求镇痛他长期服食鸦片竟至上瘾，故健康大受损害。
晚年他贫病交加，1834年7月25日逝世于海格特。
柯尔律治的诗数量不多，但《古舟子咏》、《克里斯特贝尔》和《忽必烈汗》都脍炙人口，是英国诗歌中的瑰宝。
这些诗显示了柯尔律治创作的原则和特色，即以自然、逼真的形象和环境的描写表现超自然的、神圣的、浪漫的内容，使读者在阅读时“自动摒弃其不信任感”,而感到真实可信。
其他优秀诗篇如《青春与暮年》、《沮丧》、《寂寞中的恐惧》、《霜夜》、《无希望的工作》等，大多伤感、阴郁，表现了作者不幸的生活遭遇和抑郁的心情。
西方象征主义诗歌作品
西方象征主义诗歌作品西方象征主义诗歌是19世纪末到20世纪初欧洲诗歌的一种流派，该流派的诗人注重个人感受和想象力，他们将物象象征化，探求隐藏在现实世界背后的真理和意义。
本文将介绍几位西方象征主义诗人及其代表作品。
1. 塞缪尔·泰勒·柯勒律治塞缪尔·泰勒·柯勒律治是英国著名的诗人和文学评论家，他是象征主义运动的领袖之一。
他的诗歌以具有强烈意象的语言和富有哲理性的主题著称。
代表作品有《古巴比伦》、《水仙花和满头麦穗》等。
他的《古巴比伦》描写了一个巴比伦城的繁华景象，以此探寻人类欲望和追求的本质。
其中“测量巴比伦的人们”、“汲水的女人们”等形象都具有象征意义。
诗歌中不断反复使用的“水”、“巴比伦”等词语都被赋予了特殊的含义，从而呈现出一种深邃的哲学思考。
2. 保罗·瓦莱里保罗·瓦莱里是法国著名的诗人和文学理论家，他的诗歌以深刻的心理描写和对于人类存在的思考著称。
代表作品有《生死》、《忘却的风景》等。
他的《生死》是一首以诗歌形式探讨人类生存问题的诗。
诗歌中所使用的“时间”、“生死”等形象都具有一定的象征意义。
作者通过把时间变成一个永不停歇的“钟声”，表达了对于生命流逝的深刻思考。
3. 弗朗西斯·托马斯弗朗西斯·托马斯是美国著名的诗人和文学评论家，他的诗歌以具有强烈音乐感的语言和抒情的情感著称。
代表作品有《食物区域》、《水井》等。
他的《食物区域》是一首描写美国荒野上的一片骨架之地的诗。
诗歌中的骨架、食物、惊惧等意象都具有特殊的象征意义。
作者通过对于自然环境的描绘，表达了对于人类存在的深刻思考和对于自然环境的敬畏之情。
以上是几位西方象征主义诗人及其代表作品的简介。
这些诗歌通过语言和意象将现实世界的深刻内涵展现在读者面前，帮助人们探索生命的意义和价值。
这种思考方式不仅应用于诗歌创作，也适用于现实生活中对于问题的思考和解决。
SamuelTaylorColeridge柯勒律治简介
Samuel T aylor Coleridge柯勒律治简介1772-1834 Lyrical Ballads;The Fall of the Bastille巴士底狱的毁灭;The Rime of the Ancient Mariner老船夫;Kubla Khan忽必烈汗;Biographia Literaria-96文学传记Introductionborn Oct. 21, 1772, Ottery St. Mary, Devonshire, Eng.died July 25, 1834, Highgate, near LondonSamuel Taylor Coleridge, detail of an oil painting by Washington Allston, 1814; in the National …English lyrical poet, critic, and philosopher. His Lyrical Ballads, written with William Wordsworth, heralded the English Romantic movement, and his Biographia Literaria (1817) is the most significant work of general literary criticism produced in the English Romantic period.Early life and works.Coleridge's father was vicar of Ottery and headmaster of the local grammar school. As a child Coleridge was already a prodigious reader, and he immersed himself to the point of morbid fascination in romances andEastern tales such as The Arabian Nights' Entertainments. In 1781 his father died suddenly, and in the following year Coleridge entered Christ's Hospital in London, where he completed his secondary education. In 1791 he entered Jesus College, Cambridge. At both school and university he continued to read voraciously, particularly in works of imagination and visionary philosophy, and he was remembered by his schoolmates for his eloquence and prodigious memory. In his third year at Cambridge, oppressed by financial difficulties, he went to London and enlisted as a dragoon under the assumed name of Silas Tomkyn Comberbache. Despite his unfitness for the life, he remained until discovered by his friends; he was then bought out by his brothers and restored to Cambridge.On his return, he was restless. The intellectual and political turmoil surrounding the French Revolution had set in motion intense and urgent discussion concerning the nature of society. Coleridge now conceived the design of circumventing the disastrous violence that had destroyed the idealism of the French Revolution by establishing a small society that should organize itself and educate its children according to better principles than those obtaining in the society around them. A chance meeting with the poet Robert Southey led the two men to plan such a “pantisocracy” and to set up a community by the Susquehanna River in Pennsylvania. To this end Coleridge left Cambridge for good and set up with Southey as a public lecturer in Bristol. In October 1795 he married Sara Fricker, daughter of a local schoolmistress, swayed partly by Southey's suggestion that he was under an obligation to her since she had been refusing the advances of other men.Shortly afterward, Southey defected from the pantisocratic scheme, leaving Coleridge married to a woman whom he did not really love. In a sense his career never fully recovered from this blow: if there is a makeshift quality about many of its later events, one explanation can be found in his constant need to reconcile his intellectual aspirations with the financial needs of his family. During this period, however, Coleridge's intellect flowered in an extraordinary manner, as he embarked on an investigation of the nature of the human mind, joined by William Wordsworth, with whom he had become acquainted in 1795. Together they entered upon one of the most influential creative periods of English literature. Coleridge's intellectual ebullience and his belief in the existence of a powerful “life consciousness” in all individuals rescued Wordsworth from the depression into which recent events had cast him and made possible the new approach to nature that characterized his contributions to Lyrical Ballads (which was to be published in 1798).Coleridge, meanwhile, was developing a new, informal mode of poetry in which he could use a conversational tone and rhythm to give unity to apoem. Of these poems, the most successful is “Frost at Midnight,” which begins with the description of a silent frosty night in Somerset and proceeds through a meditation on the relationship between the quiet work of frost and the quiet breathing of the sleeping baby at the poet's side, to conclude in a resolve that his child shall be brought up as a “child of nature,” so that the sympathies that the poet has come to detect may be reinforced throughout the child's education.At the climax of the poem, he touches another theme, which lies at the root of his philosophical attitude:. . . so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Coleridg e's attempts to learn this “language” and trace it through the ancient traditions of mankind also led him during this period to return to the visionary interests of his schooldays: as he ransacked works of comparative religion and mythology, he was exploring the possibility that all religions and mythical traditions, with their general agreement on the unity of God and the immortality of the soul, sprang from a universal life consciousness, which was expressed particularly through the phenomena of human genius.While these speculations were at their most intense, he retired to a lonely farmhouse near Culbone, Somersetshire, and, according to his own account, composed under the influence of laudanum the mysterious poetic fragment known as “Kubla Khan.” The ex otic imagery and rhythmic chant of this poem have led many critics to conclude that it should be read as a “meaningless reverie” and enjoyed merely for its vivid and sensuous qualities. An examination of the poem in the light of Coleridge's psychological and mythological interests, however, suggests that it has, after all, a complex structure of meaning and is basically a poem about the nature of human genius. The first two stanzas show the two sides of what Coleridge elsewhere calls “commanding genius”: it s creative aspirations in time of peace as symbolized in the projected pleasure dome and gardens of the first stanza; and its destructive power in time of turbulence as symbolized in the wailing woman, the destructive fountain, and the voices prophesying war of the second stanza. In the final stanza the poet writes of a state of “absolute genius” in which, if inspired by a visionary “Abyssinian maid,” he would become endowed with the creative, divine power of a sun god—an Apollo or Osiris subduing all around him to harmony by the fascination of his spell.Coleridge was enabled to explore the same range of themes less egotistically in “The Rime of the Ancient Mariner,” composed during the autumn and winter of 1797–98. For this, his most famous poem, he drew upon the ballad form. The main narrative tells how a sailor who has committed a crime against the life principle by slaying an albatross suffers from torments, physical and mental, in which the nature of his crime is made known to him. The underlying life power against which he has transgressed is envisaged as a power corresponding to the influx of the sun's energy into all living creatures, thereby binding them together in a joyful communion. By killing the bird that hovered near the ship, the mariner has destroyed one of the links in this process. His own consciousness is consequently affected: the sun, previously glorious, is seen as a bloody sun, and the energies of the deep are seen as corrupt.All in a hot and copper sky,The bloody Sun, at noon,Right up above the mast did stand,No bigger than the Moon.. . . . . . . . . . . . . . . . . . . . . . . .The very deep did rot; O Christ!That ever this should be!Yea, slimy things did crawl with legsUpon the slimy sea.Only at night do these energies display a sinister beauty.About, about, in reel and routThe death-fires danced at night;The water, like a witch's oils,Burnt green, and blue and white.After the death of his shipmates, alone and becalmed, devoid of a sense of movement or even of time passing, the mariner is in a hell created by the absence of any link with life. Eventually, however, a chance sight of water snakes flashing like golden fire in the darkness, answered by an outpouring of love from his heart, reinitiates the creative process: he is given a brief vision of the inner unity of the universe, in which all living things hymn their source in an interchange of harmonies. Restored to his native land, he remains haunted by what he has experienced but is at least delivered from nightmare, able to see the ordinary processes of human life with a new sense of their wonder and mercifulness. These last qualities are reflected in the poem's attractive combination of vividness and sensitivity. The placing of it at the beginning of Lyrical Ballads was evidently intended to provide a context for the sense of wonder in common life that marks many of Wordsworth's contributions. While thisvolume was going through the press, Coleridge began a complementary poem, a Gothic ballad entitled “Christabel,” in which he aimed to show how naked energy might be redeemed through contact with a spirit of innocent love.Troubled years.Early in 1798 Coleridge had again found himself preoccupied with political issues. The French Revolutionary government had suppressed the states of the Swiss Confederation, and Coleridge expressed his bitterness at this betrayal of the principles of the Revolution in a poem entitled “France: An Ode.”At this time the brothers Josiah and Thomas Wedgwood, who were impressed by Coleridge's intelligence and promise, offered him in 1798 an annuity of £150 as a means of subsistence while he pursued his intellectual concerns. He used his new independence to visit Germany with Wordsworth and Wordsworth's sister, Dorothy. While there Coleridge attended lectures on physiology and biblical criticism at Göttingen. He thus became aware of developments in German scholarship that were little-known in England until many years later.On his return to England, the tensions of his marriage were exacerbated when he fell in love with Sara Hutchinson, the sister of Wordsworth's future wife, at the end of 1799. His devotion to the Wordsworths in general did little to help matters, and for some years afterward Coleridge was troubled by domestic strife, accompanied by the worsening of his health and by his increasing dependence on opium. His main literary achievements during the period included another section of “Christabel.” In 1802 Coleridge's domestic unhappiness gave rise to “Dejection: An Ode,” originally a longer verse letter sent to Sara Hutchinson in which he lamented the corrosive effect of his intellectual activities when undertaken as a refuge from the lovelessness of his family life. The poem employs the technique of his conversational poems; the sensitive rhythms and phrasing that he had learned to use in them are here masterfully deployed to represent his own depressed state of mind.Although Coleridge hoped to combine a platonic love for Sara with fidelity to his wife and children and to draw sustenance from the Wordsworth household, his hopes were not realized, and his health deteriorated further. He therefore resolved to spend some time in a warmer climate and, late in 1804, accepted a post in Malta as secretary to the acting governor.Later he spent a long time journeying across Italy, but, despite his hopes, his health did not improve during his time abroad. The time spent in Malta had been a time of personal reappraisal, however. Brought into direct contact with men accustomed to handling affairs of state, he had found himself lacking an equal forcefulness and felt that in consequence he often forfeited the respect of others. On his return to England he resolved to become more manly and decisive. Within a few months he had finally decided to separate from his wife and to live for the time being with the Wordsworths. Southey atoned for his disastrous youthful advice by exercising a general oversight of Coleridge's family for the rest of his days.Coleridge published a periodical, The Friend,from June 1809 to March 1810 and ceased only when Sara Hutchinson, who had been acting as amanuensis, found the strain of the relationship too much for her and retired to her brother's farm in Wales. Coleridge, resentful that Wordsworth should apparently have encouraged his sister-in-law's withdrawal, resolved shortly afterward to terminate his working relationship with William and Dorothy Wordsworth and to settle in London again.The period immediately following was the darkest of his life. His disappointment with Wordsworth was followed by anguish when a wounding remark of Wordsworth's was carelessly reported to him. For some time he remained in London, nursing his grievances and producing little. Opium retained its powerful hold on him, and the writings that survive from this period are redolent of unhappiness, with self-dramatization veering toward self-pity.In spite of this, however, there also appear signs of a slow revival, principally because for the first time Coleridge knew what it was to be a fashionable figure. A course of lectures he delivered during the winter of 1811–12 attracted a large audience; for many years Coleridge had been fascinated by William Shakespeare's achievement, and his psychological interpretations of the chief characters were new and exciting to his contemporaries. During this period, Coleridge's play Osorio, written many years before, was produced at Drury Lane with the title Remorse in January 1813.Late life and works.In the end, consolation came from an unexpected source. In dejection, unable to produce extended work or break the opium habit, he spent a longperiod with friends in Wiltshire, where he was introduced to Archbishop Robert Leighton's commentary on the First Letter of Peter. In the writings of this 17th-century divine, he found a combination of tenderness and sanctity that appealed deeply to him and seemed to offer an attitude to life that he himself could fall back on. The discovery marks an important shift of balance in his intellectual attitudes. Christianity, hitherto one point of reference for him, now became his “official” creed. By aligning himself with the Anglican church of the 17th century at its best, he hoped to find a firm point of reference that would both keep him in communication with orthodox Christians of his time (thus giving him the social approval he always needed, even if only from a small group of friends) and enable him to pursue his former intellectual explorations in the hope of reaching a Christian synthesis that might help to revitalize the English church both intellectually and emotionally.One effect of the adoption of this basis for his intellectual and emotional life was a sense of liberation and an ability to produce large works again. He drew together a collection of his poems (published in 1817 as Sibylline Leaves) and wrote Biographia Literaria(1817), a rambling and discursive but highly stimulating and influential work in which he outlined the evolution of his thought and developed an extended critique of Wordsworth's poems.For the general reader Biographia Literaria is a misleading volume, since it moves bewilderingly between autobiography, abstruse philosophical discussion, and literary criticism. It has, however, an internal coherence of its own. The book's individual components—first an entertaining account of Coleridge's early life, then an account of the ways in which he became dissatisfied with the associationist theories of David Hartley and other 18th-century philosophers, then a reasoned critique of Wordsworth's poems—are fascinating. Over the whole work hovers Coleridge's veneration for the power of imagination: once this key is grasped, the unity of the work becomes evident.A new dramatic piece, Zapolya, was also published in 1817. In the same year, Coleridge became associated for a time with the new Encyclopaedia Metropolitana, for which he planned a novel system of organization, outlined in his Prospectus.These were more settled years for Coleridge. Since 1816 he had lived in the house of James Gillman, a surgeon at Highgate, north of London. His election as a fellow of the Royal Society of Literature in 1824 brought him an annuity of £105 and a sense of recognition. In 1830 he joined the controversy that had arisen around the issue of Catholic Emancipation by writing his last prose work, On the Constitution of the Church and State. The third edition of Coleridge'sPoetical Works appeared in time for him to see it before his final illness and death in 1834.Evaluation.Coleridge's achievement has been given more widely varying assessments than that of any other English literary artist, though there is broad agreement that his enormous potential was never fully realized in his works. His stature as a poet has never been in doubt; in “Kubla Khan” and “The Rime of the Ancient Mariner” he wrote two of the greatest poems in English literature and perfected a mode of sensuous lyricism that is often echoed by later poets. But he also has a reputation as one of the most important of all English literary critics, largely on the basis of his Biographia Literaria.In Coleridge's view, the essential element of literature was a union of emotion and thought that he described as imagination. He especially stressed poetry's capacity for integrating the universal and the particular, the objective and the subjective, the generic and the individual. The function of criticism for Coleridge was to discern these elements and to lift them into conscious awareness, rather than merely to prescribe or to describe rules or forms.In all his roles, as poet, social critic, literary critic, theologian, and psychologist, Coleridge expressed a profound concern with elucidating an underlying creative principle that is fundamental to both human beings and the universe as a whole. To Coleridge, imagination is the archetype of this unifying force because it represents the means by which the twin human capacities for intuitive, non-rational understanding and for organizing and discriminating thought concerning the material world are reconciled. It was by means of this sort of reconciliation of opposites that Coleridge attempted, with considerable success, to combine a sense of the universal and ideal with an acute observation of the particular and sensory in his own poetry and in his criticism.John Bernard Beer Ed.Additional ReadingRichard Holmes, Coleridge: Early Visions (1990), and Coleridge: Darker Reflections (1998), are together a comprehensive biography. Norman Fruman, Coleridge, the Damaged Archangel(1971), offers a detailed account of hisborrowings from other authors. Basil Willey, Samuel Taylor Coleridge(1972); and Katharine Cooke, Coleridge(1979), are useful general surveys of his work in both prose and verse. Among the studies of his poetry are John LivingstonLowes, The Road to Xanadu: A Study in the Ways of the Imagination (1927, reprinted 1986); Stephen Potter, Coleridge and S.T.C.(1935, reissued 1965);G. Wilson Knight, The Starlit Dome: Studies in the Poetry of Vision (1941, reissued 1971); Stephen Prickett, Coleridge and Wordsworth: The Poetry of Growth (1970, reprinted 1980); John B. Beer(ed.), Coleridge's Variety: Bicentenary Studies (1974); and J. Robert Barth, Coleridge and the Power of Love (1988). The poet's politics are examined in Nicholas Roe, Wordsworth and Coleridge: The Radical Years (1988); and John Morrow, Coleridge's Political Thought (1990). Other critical analyses include J.A. Appleyard, Coleridge's Philosophy of Literature(1965); Thomas McFarland, Coleridge and the Pantheist Tradition (1969); Ian Wylie, Young Coleridge and the Philosophers of Nature (1989); Paul Hamilton, Coleridge's Poetics (1983); K.M. Wheeler, The Creative Mind in Coleridge's Poetry(1981); and Catherine Miles Wallace, The Design of Biographia Literaria (1983).。
柯勒律治生平(英文版)部分诗作
柯勒律治生平(英文版)部分诗作————————————————————————————————作者：————————————————————————————————日期：2Samuel Taylor Coleridge (1772-1834), English lyrical poet, critic, and philosopher, whose Lyrical Ballads,(1798) written with William Wordsworth, started the English Romantic movement.Samuel Taylor Coleridge was born in Ottery St Mary, Devonshire, as the youngest son of the vicar of Ottery St Mary. After his father's death Coleridge was sent away to Christ's Hospital School in London. He also studied at Jesus College. In Cambridge Coleridge met the radical, future poet laureate Robert Southey. He moved with Southey to Bristol to establish a community, but the plan failed. In 1795 he married the sister of Southey's fiancée Sara Fricker, whom he did not really love.Coleridge's collection Poems On Various Subjects was published in 1796, and in 1797 appeared Poems. In the same year he began the publication of a short-lived liberal political periodical The Watchman. He started a close friendship with Dorothy and William Wordsworth, one of the most fruitful creative relationships in English literature. From it resulted Lyrical Ballads, which opened with Coleridge's "Rime of the Ancient Mariner" and ended with Wordsworth's "Tintern Abbey". These poems set a new style by using everyday language and fresh ways of looking at nature.The brothers Josiah and Thomas Wedgewood granted Coleridge an annuity of 150 pounds, thus enabling him to pursue his literary career. Disenchanted with political developments in France, Coleridge visited Germany in 1798-99 with Dorothy and William Wordsworth, and became interested in the works of Immanuel Kant. He studied philosophy at Göttingen University and mastered the German language. At the end of 1799 Coleridge fell in love with Sara Hutchinson, the sister of Wordsworth's future wife, to whom he devoted his work "Dejection: An Ode" (1802). During these years Coleridge also began to compile his Notebooks, recording the daily meditations of his life. In 1809-10 he wrote and edited with Sara Hutchinson the literary and political magazine The Friend. From 1808 to 1818 he gave several lectures, chiefly in London, and was considered the greatest of Shakespearean critics. In 1810 Coleridge's friendship with Wordsworth came to a crisis, and the two poets never fully returned to the relationship they had earlier.Suffering from neuralgic and rheumatic pains, Coleridge had become addicted to opium. During the following years he lived in London, on the verge of suicide. He found a permanent shelter in Highgate in the household of Dr. James Gillman, and enjoyed an almost legendary reputation among the younger Romantics. During this time he rarely left the house.In 1816 the unfinished poems "Christabel" and "Kubla Khan" were published, and next year appeared "Sibylline Leaves". According to the poet, "Kubla Khan" was inspired by a dream vision. His most important production during this period was the Biographia Literaria(1817). After 1817 Coleridge devoted himself to theological andpolitico-sociological works. Coleridge was elected a fellow of the Royal Society of Literature in 1824. He died in Highgate, near London on July 25, 1834.The above biography is copyrighted. Do not republish it without permission.The Rime of the Ancient Mariner 古舟子咏Part I It is an ancient Mariner,And he stoppeth one of three.`By thy long grey beard and glittering eye, Now wherefore stopp'st thou me?The bridegroom's doors are opened wide,And I am next of kin;The guests are met, the feast is set:Mayst hear the merry din.'He holds him with his skinny hand, "There was a ship," quoth he.`Hold off! unhand me, grey-beard loon!' Eftsoons his hand dropped he.He holds him with his glittering eye -The Wedding-Guest stood still,And listens like a three years' child:The Mariner hath his will.The Wedding-Guest sat on a stone:He cannot choose but hear;And thus spake on that ancient man,The bright-eyed Mariner."The ship was cheered, the harbour cleared, Merrily did we dropBelow the kirk, below the hill,Below the lighthouse top.The sun came up upon the left,Out of the sea came he!And he shone bright, and on the rightWent down into the sea.Higher and higher every day,Till over the mast at noon -"The Wedding-Guest here beat his breast, For he heard the loud bassoon.The bride hath paced into the hall,Red as a rose is she;Nodding their heads before her goesThe merry minstrelsy.The Wedding-Guest he beat his breast,Yet he cannot choose but hear;And thus spake on that ancient man,The bright-eyed Mariner."And now the storm-blast came, and he Was tyrannous and strong:He struck with his o'ertaking wings,And chased us south along.With sloping masts and dipping prow,As who pursued with yell and blowStill treads the shadow of his foe,And foward bends his head,The ship drove fast, loud roared the blast, And southward aye we fled.And now there came both mist and snow, And it grew wondrous cold:And ice, mast-high, came floating by,As green as emerald.And through the drifts the snowy cliftsDid send a dismal sheen:Nor shapes of men nor beasts we ken -The ice was all between.The ice was here, the ice was there,The ice was all around: It cracked and growled, and roared and howled, Like noises in a swound!At length did cross an Albatross,Thorough the fog it came;As it had been a Christian soul,We hailed it in God's name.It ate the food it ne'er had eat,And round and round it flew.The ice did split with a thunder-fit;The helmsman steered us through!And a good south wind sprung up behind;The Albatross did follow,And every day, for food or play,Came to the mariner's hollo!In mist or cloud, on mast or shroud,It perched for vespers nine;Whiles all the night, through fog-smoke white, Glimmered the white moonshine."`God save thee, ancient Mariner,From the fiends that plague thee thus! -Why look'st thou so?' -"With my crossbowI shot the Albatross."Part II"The sun now rose upon the right:Out of the sea came he,Still hid in mist, and on the leftWent down into the sea.And the good south wind still blew behind,But no sweet bird did follow,Nor any day for food or playCame to the mariners' hollo!And I had done a hellish thing,And it would work 'em woe:For all averred, I had killed the birdThat made the breeze to blow.Ah wretch! said they, the bird to slay,That made the breeze to blow!Nor dim nor red, like God's own head,The glorious sun uprist:Then all averred, I had killed the birdThat brought the fog and mist.'Twas right, said they, such birds to slay,That bring the fog and mist.The fair breeze blew, the white foam flew,The furrow followed free;We were the first that ever burstInto that silent sea.Down dropped the breeze, the sails dropped down, 'Twas sad as sad could be;And we did speak only to breakThe silence of the sea!All in a hot and copper sky,The bloody sun, at noon,Right up above the mast did stand,No bigger than the moon.Day after day, day after day,We stuck, nor breath nor motion;As idle as a painted shipUpon a painted ocean.Water, water, every where,And all the boards did shrink;Water, water, every where,Nor any drop to drink.The very deep did rot: O Christ!That ever this should be!Yea, slimy things did crawl with legsUpon the slimy sea.About, about, in reel and routThe death-fires danced at night;The water, like a witch's oils,Burnt green, and blue, and white.And some in dreams assured wereOf the Spirit that plagued us so;Nine fathom deep he had followed usFrom the land of mist and snow.And every tongue, through utter drought, Was withered at the root;We could not speak, no more than ifWe had been choked with soot.Ah! well-a-day! what evil looksHad I from old and young!Instead of the cross, the AlbatrossAbout my neck was hung."Part III"There passed a weary time. Each throat Was parched, and glazed each eye.A weary time! a weary time!How glazed each weary eye -When looking westward, I beheldA something in the sky.At first it seemed a little speck,And then it seemed a mist;It moved and moved, and took at lastA certain shape, I wist.A speck, a mist, a shape, I wist!And still it neared and neared:As if it dodged a water-sprite,It plunged and tacked and veered.With throats unslaked, with black lips baked, We could nor laugh nor wail;Through utter drought all dumb we stood!I bit my arm, I sucked the blood,And cried, A sail! a sail!With throats unslaked, with black lips baked, Agape they heard me call:Gramercy! they for joy did grin,And all at once their breath drew in,As they were drinking all. See! see! (I cried) she tacks no more!Hither to work us weal;Without a breeze, without a tide,She steadies with upright keel!The western wave was all a-flame,The day was well nigh done!Almost upon the western waveRested the broad bright sun;When that strange shape drove suddenly Betwixt us and the sun.And straight the sun was flecked with bars, (Heaven's Mother send us grace!)As if through a dungeon-grate he peeredWith broad and burning face.Alas! (thought I, and my heart beat loud)How fast she nears and nears!Are those her sails that glance in the sun,Like restless gossameres?Are those her ribs through which the sunDid peer, as through a grate?And is that Woman all her crew?Is that a Death? and are there two?Is Death that Woman's mate?Her lips were red, her looks were free,Her locks were yellow as gold:Her skin was as white as leprosy,The Nightmare Life-in-Death was she,Who thicks man's blood with cold.The naked hulk alongside came,And the twain were casting dice;`The game is done! I've won! I've won!'Quoth she, and whistles thrice.The sun's rim dips; the stars rush out:At one stride comes the dark;With far-heard whisper o'er the sea,Off shot the spectre-bark.We listened and looked sideways up!Fear at my heart, as at a cup,My life-blood seemed to sip!The stars were dim, and thick the night,The steersman's face by his lamp gleamed white; From the sails the dew did drip -Till clomb above the eastern barThe horned moon, with one bright starWithin the nether tip.One after one, by the star-dogged moon,Too quick for groan or sigh,Each turned his face with a ghastly pang,And cursed me with his eye.Four times fifty living men,(And I heard nor sigh nor groan)With heavy thump, a lifeless lump,They dropped down one by one.The souls did from their bodies fly, -They fled to bliss or woe!And every soul it passed me by,Like the whizz of my crossbow!"Part IV`I fear thee, ancient Mariner!I fear thy skinny hand!And thou art long, and lank, and brown,As is the ribbed sea-sand.I fear thee and thy glittering eye,And thy skinny hand, so brown.' -"Fear not, fear not, thou Wedding-Guest!This body dropped not down.Alone, alone, all, all alone,Alone on a wide wide sea!And never a saint took pity onMy soul in agony.The many men, so beautiful!And they all dead did lie;And a thousand thousand slimy thingsLived on; and so did I.I looked upon the rotting sea,And drew my eyes away;I looked upon the rotting deck,And there the dead men lay.I looked to heaven, and tried to pray;But or ever a prayer had gusht,A wicked whisper came and madeMy heart as dry as dust.I closed my lids, and kept them close,And the balls like pulses beat;Forthe sky and the sea, and the sea and the sky, Lay like a load on my weary eye,And the dead were at my feet.The cold sweat melted from their limbs,Nor rot nor reek did they:The look with which they looked on meHad never passed away.An orphan's curse would drag to hellA spirit from on high;But oh! more horrible than thatIs the curse in a dead man's eye!Seven days, seven nights, I saw that curse,And yet I could not die.The moving moon went up the sky,And no where did abide:Softly she was going up,And a star or two beside -Her beams bemocked the sultry main,Like April hoar-frost spread;But where the ship's huge shadow lay,The charmed water burnt alwayA still and awful red.Beyond the shadow of the shipI watched the water-snakes:They moved in tracks of shining white,And when they reared, the elfish light Fell off in hoary flakes.Within the shadow of the shipI watched their rich attire:Blue, glossy green, and velvet black,They coiled and swam; and every trackWas a flash of golden fire.O happy living things! no tongueTheir beauty might declare:A spring of love gushed from my heart,And I blessed them unaware:Sure my kind saint took pity on me,And I blessed them unaware.The selfsame moment I could pray;And from my neck so freeThe Albatross fell off, and sankLike lead into the sea."Part V"Oh sleep! it is a gentle thing,Beloved from pole to pole!To Mary Queen the praise be given!She sent the gentle sleep from heaven,That slid into my soul.The silly buckets on the deck,That had so long remained,I dreamt that they were filled with dew;And when I awoke, it rained.My lips were wet, my throat was cold,My garments all were dank;Sure I had drunken in my dreams,And still my body drank.I moved, and could not feel my limbs:I was so light -almostI thought that I had died in sleep,And was a blessed ghost.And soon I heard a roaring wind:It did not come anear;But with its sound it shook the sails,That were so thin and sere.The upper air burst into life!And a hundred fire-flags sheen,To and fro they were hurried about!And to and fro, and in and out,The wan stars danced between.And the coming wind did roar more loud,And the sails did sigh like sedge;And the rain poured down from one black cloud; The moon was at its edge.The thick black cloud was cleft, and stillThe moon was at its side:Like waters shot from some high crag,The lightning fell with never a jag,A river steep and wide.The loud wind never reached the ship,Yet now the ship moved on!Beneath the lightning and the moonThe dead men gave a groan.They groaned, they stirred, they all uprose,Nor spake, nor moved their eyes;It had been strange, even in a dream,To have seen those dead men rise.The helmsman steered, the ship moved on;Yet never a breeze up blew;The mariners all 'gan work the ropes,Where they were wont to do;They raised their limbs like lifeless tools -We were a ghastly crew.The body of my brother's sonStood by me, knee to knee:The body and I pulled at one rope,But he said nought to me."`I fear thee, ancient Mariner!'"Be calm, thou Wedding-Guest!'Twas not those souls that fled in pain,Which to their corses came again,But a troop of spirits blest:For when it dawned -they dropped their arms, And clustered round the mast;Sweet sounds rose slowly through their mouths, And from their bodies passed.Around, around, flew each sweet sound,Then darted to the sun;Slowly the sounds came back again,Now mixed, now one by one.Sometimes a-dropping from the skyI heard the skylark sing;Sometimes all little birds that are,How they seemed to fill the sea and airWith their sweet jargoning!And now 'twas like all instruments,Now like a lonely flute;And now it is an angel's song,That makes the heavens be mute.It ceased; yet still the sails made onA pleasant noise till noon,A noise like of a hidden brookIn the leafy month of June,That to the sleeping woods all nightSingeth a quiet tune.Till noon we quietly sailed on,Yet never a breeze did breathe;Slowly and smoothly went the ship,Moved onward from beneath.Under the keel nine fathom deep,From the land of mist and snow,The spirit slid: and it was heThat made the ship to go.The sails at noon left off their tune,And the ship stood still also.The sun, right up above the mast,Had fixed her to the ocean: But in a minute she 'gan stir,With a short uneasy motion - Backwards and forwards half her length With a short uneasy motion.Then like a pawing horse let go,She made a sudden bound:It flung the blood into my head,And I fell down in a swound.How long in that same fit I lay,I have not to declare;But ere my living life returned,I heard and in my soul discernedTwo voices in the air.`Is it he?' quoth one, `Is this the man? By him who died on cross,With his cruel bow he laid full lowThe harmless Albatross.The spirit who bideth by himselfIn the land of mist and snow,He loved the bird that loved the man Who shot him with his bow.'The other was a softer voice,As soft as honey-dew:Quoth he, `The man hath penance done, And penance more will do.'Part VIFirst VoiceBut tell me, tell me! speak again,Thy soft response renewing -What makes that ship drive on so fast? What is the ocean doing?Second VoiceStill as a slave before his lord,The ocean hath no blast;His great bright eye most silentlyUp to the moon is cast -If he may know which way to go;For she guides him smooth or grim. See, brother, see! how graciouslyShe looketh down on him.First VoiceBut why drives on that ship so fast, Without or wave or wind?Second VoiceThe air is cut away before,And closes from behind.Fly, brother, fly! more high, more high! Or we shall be belated:For slow and slow that ship will go, When the Mariner's trance is abated."I woke, and we were sailing onAs in a gentle weather:'Twas night, calm night, the moon was high; The dead men stood together.All stood together on the deck,For a charnel-dungeon fitter:All fixed on me their stony eyes,That in the moon did glitter.The pang, the curse, with which they died, Had never passed away:I could not draw my eyes from theirs,Nor turn them up to pray.And now this spell was snapped: once more I viewed the ocean green,And looked far forth, yet little sawOf what had else been seen -Like one that on a lonesome roadDoth walk in fear and dread,And having once turned round walks on, And turns no more his head;Because he knows a frightful fiendDoth close behind him tread.But soon there breathed a wind on me,Nor sound nor motion made:Its path was not upon the sea,In ripple or in shade.It raised my hair, it fanned my cheekLike a meadow-gale of spring -It mingled strangely with my fears,Yet it felt like a welcoming.Swiftly, swiftly flew the ship,Yet she sailed softly too:Sweetly, sweetly blew the breeze -On me alone it blew.Oh! dream of joy! is this indeedThe lighthouse top I see?Is this the hill? is this the kirk?Is this mine own country?We drifted o'er the harbour-bar,And I with sobs did pray -O let me be awake, my God!Or let me sleep alway.The harbour-bay was clear as glass,So smoothly it was strewn!And on the bay the moonlight lay,And the shadow of the moon.The rock shone bright, the kirk no less, That stands above the rock:The moonlight steeped in silentnessThe steady weathercock.And the bay was white with silent light,Till rising from the same,Full many shapes, that shadows were,In crimson colours came.A little distance from the prow Those crimson shadows were:I turned my eyes upon the deck -Oh, Christ! what saw I there!Each corse lay flat, lifeless and flat,And, by the holy rood!A man all light, a seraph-man,On every corse there stood.This seraph-band, each waved his hand:It was a heavenly sight!They stood as signals to the land,Each one a lovely light;This seraph-band, each waved his hand,No voice did they impart -No voice; but oh! the silence sankLike music on my heart.But soon I heard the dash of oars,I heard the Pilot's cheer;My head was turned perforce away,And I saw a boat appear.The Pilot and the Pilot's boy,I heard them coming fast:Dear Lord in heaven! it was a joyThe dead men could not blast.I saw a third -I heard his voice:It is the Hermit good!He singeth loud his godly hymnsThat he makes in the wood.He'll shrieve my soul, he'll wash awayThe Albatross's blood."Part VII"This Hermit good lives in that woodWhich slopes down to the sea.How loudly his sweet voice he rears!He loves to talk with marineersThat come from a far country.He kneels at morn, and noon, and eve -He hath a cushion plump:It is the moss that wholly hidesThe rotted old oak-stump.The skiff-boat neared: I heard them talk,`Why, this is strange, I trow!Where are those lights so many and fair,That signal made but now?'`Strange, by my faith!' the Hermit said -`And they answered not our cheer!The planks looked warped! and see those sails, How thin they are and sere!I never saw aught like to them,Unless perchance it wereBrown skeletons of leaves that lagMy forest-brook along;When the ivy-tod is heavy with snow,And the owlet whoops to the wolf below,That eats the she-wolf's young.'`Dear Lord! it hath a fiendish look -(The Pilot made reply)I am afeared' -`Push on, push on!'Said the Hermit cheerily.The boat came closer to the ship,But I nor spake nor stirred;The boat came close beneath the ship,And straight a sound was heard.Under the water it rumbled on,Still louder and more dread:It reached the ship, it split the bay;The ship went down like lead.Stunned by that loud and dreadful sound, Which sky and ocean smote,Like one that hath been seven days drowned My body lay afloat;But swift as dreams, myself I foundWithin the Pilot's boat.Upon the whirl where sank the shipThe boat spun round and round;And all was still, save that the hillWas telling of the sound.I moved my lips -the Pilot shriekedAnd fell down in a fit;The holy Hermit raised his eyes,And prayed where he did sit.I took the oars: the Pilot's boy,Who now doth crazy go,Laughed loud and long, and all the whileHis eyes went to and fro.`Ha! ha!' quoth he, `full plain I see,The Devil knows how to row.'And now, all in my own country,I stood on the firm land!The Hermit stepped forth from the boat, And scarcely he could stand.O shrieve me, shrieve me, holy man!The Hermit crossed his brow.`Say quick,' quoth he `I bid thee say - What manner of man art thou?'Forthwith this frame of mine was wrenched With a woeful agony,Which forced me to begin my tale;And then it left me free. Since then, at an uncertain hour,That agony returns;And till my ghastly tale is told,This heart within me burns.I pass, like night, from land to land;I have strange power of speech;That moment that his face I see,I know the man that must hear me:To him my tale I teach.What loud uproar bursts from that door! The wedding-guests are there:But in the garden-bower the brideAnd bride-maids singing are;And hark the little vesper bell,Which biddeth me to prayer!O Wedding-Guest! this soul hath been Alone on a wide wide sea:So lonely 'twas, that God himselfScarce seemed there to be.O sweeter than the marriage-feast,'Tis sweeter far to me,To walk together to the kirkWith a goodly company! -To walk together to the kirk,And all together pray,While each to his great Father bends, Old men, and babes, and loving friends, And youths and maidens gay! Farewell, farewell! but this I tellTo thee, thou Wedding-Guest!He prayeth well, who loveth wellBoth man and bird and beast.He prayeth best, who loveth bestAll things both great and small;For the dear God who loveth us,He made and loveth all."The Mariner, whose eye is bright, Whose beard with age is hoar,Is gone; and now the Wedding-Guest Turned from the bridegroom's door.He went like one that hath been stunned, And is of sense forlorn:A sadder and a wiser manHe rose the morrow morn.Frost at MidnightThe Frost performs its secret ministry, Unhelped by any wind. The owlet's cry Came loud, -and hark, again! loud as before. The inmates of my cottage, all at rest,Have left me to that solitude, which suits Abstruser musings: save that at my sideMy cradled infant slumbers peacefully.'Tis calm indeed! so calm, that it disturbs And vexes meditation with its strangeAnd extreme silentness. Sea, hill, and wood, With all the numberless goings-on of life, Inaudible as dreams! the thin blue flame Lies on my low-burnt fire, and quivers not; Only that film, which fluttered on the grate, Still flutters there, the sole unquiet thing. Methinks its motion in this hush of nature Gives it dim sympathies with me who live, Making it a companionable form,Whose puny flaps and freaks the idling Spirit By its own moods interprets, every where Echo or mirror seeking of itself,And makes a toy of Thought.But O! how oft,How oft, at school, with most believing mind,Presageful, have I gazed upon the bars,To watch that fluttering stranger! and as oftWith unclosed lids, already had I dreamtOf my sweet birthplace, and the old church-tower, Whose bells, the poor man's only music, rangFrom morn to evening, all the hot Fair-day,So sweetly, that they stirred and haunted meWith a wild pleasure, falling on mine earMost like articulate sounds of things to come!So gazed I, till the soothing things, I dreamt,Lulled me to sleep, and sleep prolonged my dreams! And so I brooded all the following morn,Awed by the stern preceptor's face, mine eyeDejection: An OdeLate, late yestreen I saw the new moon,With the old moon in her arms;And I fear, I fear, my master dear!We shall have a deadly storm.Ballad of Sir Patrick Spence.IWell! If the Bard was weather-wise, who madeThe grand old ballad of Sir Patrick Spence,This night, so tranquil now, will not go hence Unroused by winds, that ply a busier tradeThan those which mould yon cloud in lazy flakes, Or the dull sobbing draft, that moans and rakes Type equation here.Upon the strings of this Aeolian lute,Which better far were mute.For lo! the New-moon winter-bright!And overspread with phantom light,Fixed with mock study on my swimming book: Save if the door half opened, and I snatchedA hasty glance, and still my heart leaped up,For still I hoped to see the stranger's face, Townsman, or aunt, or sister more beloved,My playmate when we both were clothed alike! Dear Babe, that sleepest cradled by my side, Whose gentle breathings, heard in this deep calm, Fill up the interspersed vacanciesAnd momentary pauses of the thought!My babe so beautiful! it thrills my heartWith tender gladness, thus to look at thee,And think that thou shalt learn far other lore,And in far other scenes! For I was rearedIn the great city, pent mid cloisters dim,And saw nought lovely but the sky and stars.But thou, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags: so shalt thou see and hear The lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Great universal Teacher! he shall mouldThy spirit, and by giving make it ask. Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earthWith greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branchOf mossy apple-tree, while the nigh thatchSmokes in the sun-thaw; whether the eave-drops fall Heard only in the trances of the blast,Or if the secret ministry of frostShall hang them up in silent icicles,Quietly shining to the quiet Moon.(With swimming phantom light o'erspreadBut rimmed and circled by a silver thread)I see the old Moon in her lap, foretellingThe coming-on of rain and squally blast.And oh! that even now the gust were swelling,And the slant night-shower driving loud and fast! Those sounds which oft have raised me, whilst they awed,And sent my soul abroad,Might now perhaps their wonted impulse give,Might startle this dull pain, and make it move and live! IIA grief without a pang, void, dark, and drear,A stifled, drowsy, unimpassioned grief,Which finds no natural outlet, no relief,In word, or sigh, or tear -O Lady! in this wan and heartless mood,To other thoughts by yonder throstle wooed,All this long eve, so balmy and serene,Have I been gazing on the western sky,And its peculiar tint of yellow green:And still I gaze -and with how blank an eye!And those thin clouds above, in flakes and bars,That give away their motion to the stars;Those stars, that glide behind them or between, Now sparkling, now bedimmed, but always seen: Yon crescent Moon, as fixed as if it grewIn its own cloudless, starless lake of blue;I see them all so excellently fair,I see, not feel, how beautiful they are!IIIMy genial spirits fail;And what can these availTo lift the smothering weight from off my breast?It were a vain endeavour,Though I should gaze foreverOn that green light that lingers in the west:I may not hope from outward forms to winThe passion and the life, whose fountains are within. IVO Lady! we receive but what we give,And in our life alone does Nature live:Ours is her wedding-garment, ours her shroud!。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
4
唱、两首残篇确立了其在诗歌史上的一流地位。 1772年10月21日生于英格兰西南部德文郡一个乡镇牧师 的家庭，父亲是教区牧师，在他9岁时去世。 10岁到伦敦基督慈幼学校上学，熟读希腊、罗马文学， 精习形而上学。 19岁进入剑桥大学攻读古典文学。 1794年，与骚塞合写《罗伯斯庇尔的失败》一剧。 1798年，两人合作出版著名的《抒情歌谣集》,成为浪漫 主义的宣言书。
人物历程
1817年发表了著名的《文学传记》，以文学批评为主，
5
是他最完整的散文著作。 1818年作了一系列关于莎士比亚的讲演，后来收集为 《关于莎士比亚讲演集》一书。 柯勒律治青年时代即患有风湿痛等多种疾病。为求镇痛 他长期服食鸦片竟至上瘾，故健康大受损害。 1834年7月25日逝世于海格特。
6
作品介绍
7
The Rime of the Ancient Mariner ，1798 《古舟子咏》 《忽必烈汗》 《克丽斯塔贝尔》 《文学传记》
“Kubla Khan”，1816 “Christabel”,1816 Biographia Literaria,1817
柯勒律治是19世纪英国 浪漫主义诗歌的杰出代表。
《古舟子咏》（The Rime of the Ancient Mariner ）
10
s：
塞缪尔· 泰勒· 柯勒律治的国籍是哪里？
英国（England）
11
“湖畔派”三诗人是哪三位诗人？
塞缪尔· 泰勒· 柯勒律治（Samuel Taylor Coleridge）威廉· 华 兹华斯（William Wordsworth）罗伯特· 骚塞（Robert Southey）
《古舟子咏》（The Rime of the Ancient Mariner ）
《苦舟子咏》是柯勒律治唯一一部完整的长诗。这部长625行的叙事谣曲是 一个神秘恐怖的浪漫故事：一名老水手对一个赴结婚宴的客人讲述了他自己 的可怕的故事。客人想走开，赶快去赴宴，却为老水手眼中的特殊表情所吸 引住，不得不站在那里把这个故事听完了。老水手和同伴们坐了一艘船出海 去。一路上很平安。然后遇到了一阵暴风，暴风过后，这位老水手却无端地 射杀了一只航海者认为好运象征的信天翁。因此，厄运又降临了。船驶进静 海中，那里没有风也没有浪；太阳如火如荼地照耀着。海水绿绿地满载着腐 物。船停在那里不动，老水手被视为这次厄运的造因者。水手们都渴得要死 去，仿佛有一只船要驶进救他们却又消失不见了。那是一只幻船，水手们一 个个都死在甲板上，每个死者的眼光都注定在这位杀死信天翁的水手身上。 全船的人，只有他没有死。后来，他对于自己所做的恶罪觉得悔恨。于是天 使们可怜他的悲苦，使死尸们站了起来，仍去做水手们的职务。他们开上了 帆。虽然没有风，船却渐渐地移动。于是，这船一直驶到了老水手的故乡。 一个领航者离了海岸，出来迎接。但在他到这船之前，它却突然地沉下了， 留下了这位老水手在海波中与死神挣扎着。他被领航者所救。后来，他一想 起那时受的言之不尽的痛苦，便不能忍。他的心在体内烧着，一直到了把这 可怕的故事说了出来，方才觉得舒服。
塞缪尔· 泰勒· 柯勒律治唯一一部长诗是什么？
《古舟子咏》（The Rime of the Ancient Mariner ）
12
9
Engraving of a scene from The Rime of the Ancient Mariner. The frozen crew and the albatross（信天翁） by Gustave Doré
A statue of the Ancient Mariner at Watchet Harbour（沃切特海港）, Somerset（萨默赛特）, England
3
国籍：英国
星座：天蝎座 职业：文学评论家 诗人 代表作品：《文学传记》 《罗伯斯庇尔的失败》 《抒情歌谣集》
出生年月：1772年10月21 日 去世年月：1834年7月25日
毕业院校：伦敦基督慈幼学 校；剑桥大学
人物历程
塞缪尔· 泰勒· 柯勒律治（Samuel Taylor Coleridge） 英国诗人、评论家。他被称为文学史上的奇迹，一首绝
Plaque commemorating Coleridge at Ottery St Mary Church （柯勒律治 在奥特里圣玛丽教堂的纪 念牌匾）
湖畔派诗人 (Lake Poets)
湖畔派诗人是指十九世纪英国浪漫主义运动中较早 产生的一个流派。 塞缪尔· 泰勒· 柯勒律治（Samuel Taylor Coleridge） 威廉· 华兹华斯（William Wordsworth） 罗伯特· 骚塞（Robert Southey） 由于他们三人曾一同隐居于英国西北部的昆布兰湖 区，先后在格拉斯米尔和文德美尔两个湖畔居住， 以诗赞美湖光山色，所以有“湖畔派诗人"之称。
8
《古舟子咏》（The Rime of the Ancient Mariner ）
全诗是一个充满了奇幻之美的的航海故事。全诗探索人生 的罪与罚问题，诗人把热爱宇宙的万物泛神论思想和基督 教思想结合起来，宣传仁爱和基督教的赎罪思想。诗中的 水手的心理活动刻画得细致入微，老水手杀掉信天翁表示 他拒绝社会给他的礼物，他除掉了深爱自己并代表超自然 的事物，也就除掉了对这个世界的感情，最后水手内心发 生转变，以新的态度对待自然，为此他才得以解脱出来。
塞缪尔·泰勒·柯勒律治 Samuel Taylor Coleridge
Moxie
内容
2
人物概要 人物历程 作品介绍 《古舟子咏》
人物概要
中文名：塞缪尔· 泰勒· 柯勒 律治 别名：湖畔派诗人 出生地：英格兰西南部德 文郡 英文名：Samuel Taylor Coleridge 籍贯：英格兰西南部德文郡 性别：男