雪莱《西风颂》的英文赏析 谢谢！

Interpretation of the poem

The poem Ode to the West Wind can be divided in two parts: the first three stanzas are about the qualities of the ‘Wind’; the fact that these three stanzas belong together can visually be seen by the phrase ‘Oh hear!’ at the end of each of the three stanzas. Whereas the first three stanzas give a relation between the ‘Wind’ and the speaker, there is a turn at the beginning of the fourth stanza; the focus is now on the speaker, or better the hearer, and what he is going to hear.

a.) first stanza

The first stanza begins with the alliteration ‘wild West Wind’. This makes the ‘wind’ “sound invigorating”. The reader gets the impression that the wind is something that lives, because he is ‘wild’ – it is at that point a personification of the ‘wind’. Even after reading the headline and the alliteration, one might have the feeling that the ‘Ode’ might somehow be positive. But it is not, as the beginning of the poem destroys the feeling that associated the wind with the spring. The first few lines consist of a lot of sinister elements, such as ‘dead leaves’. The inversion of ‘leaves dead’ (l. 2) in the first stanza underlines the fatality by putting the word ‘dead’ (l. 2) at the end of the line so that it rhymes with the next lines. The sentence goes on and makes these ‘dead’ (l. 2) leaves live again as ‘ghosts’ (l. 3) that flee from something that panics them. The sentence does not end at that point but goes on with a polysyndeton. The colourful context makes it easier for the reader to visualise what is going on – even if it is in an uncomfortable manner. ‘Yellow’ can be seen as “the ugly hue of ‘pestilence-stricken’ skin; and ‘hectic red’, though evoking the pase of the poem itself, could also highlight the pace of death brought to multitudes.” There is also a contradiction in the colour ‘black’ (l. 4) and the adjective ‘pale’(l. 4). In the word ‘chariotest’ (l. 6) the ‘est’ is added to the verb stem ‘chariot’, probably to indicate the second person singular, after the subject ‘thou’ (l. 5). The ‘corpse within its grave’ (l. 8) in the next line is in contrast to the ‘azure sister of the Spring’ (l. 9) – a reference to the east wind - whose ‘living hues and odours plain’ (l.12) evoke a strong contrast to the colours of the fourth line of the poem that evoke death. The last line of this stanza (‘Destroyer and Preserver’, l. 14) refers to the west wind. The west wind is considered the ‘Destroyer’ (l. 14) because it drives the last sings of life from the trees. He is also considered the ‘Preserver’ (l.14) for scattering the seeds which will come to life in the spring.

b.) second stanza

The second stanza of the poem is much more fluid than the first one. The sky’s ‘clouds’ (l.16) are ‘like earth’s decaying leaves’ (l. 16). They are a reference to the second line of the first stanza (‘leaves dead’, l. 2). Through this reference the landscape is recalled again. The ‘clouds’(l. 16) are ‘Shook from the tangled boughs of Heaven and Ocean’ (l. 17). This probably refers to the fact that the line between the sky and the stormy sea is indistinguishable and the whole space from the horizon to the zenith being is covered with trialing storm clouds. The ‘clouds’ can also be seen as ‘Angels of rain’ (l. 18). In a biblical way, they may be messengers that bring a message from heaven down to earth through rain and lightning. These two natural phenomenons with their “fertilizing and illuminating power” bring a change. Line 21 begins with ‘Of some fierce Maenad ...’ (l. 21) and again the west wind is part of the second stanza of the poem; here he is two things at once: first he is ‘dirge/Of the dying year’ (l. 23f) and second he is “a prophet of tumult whose prediction is decisive”; a prophet who does not only bring ‘black rain, and fire, and hail’ (l. 28), but who ‘will burst’ (l. 28) it. The ‘locks of the approaching storm’ (l. 23) are the messengers of this bursting: the ‘clouds’. Shelley in this stanza “expands his vision from the earthly scene with the leaves before him to take in the vaster commotion of the skies”. This means that the wind is now no longer at the horizon and therefore far away, but he is exactly above us. The clouds now reflect the image of the swirling leaves; this is a paralleli** that gives evidence that we lifted “our attention from the finite world into the macroco**”. The ‘clouds’ can also be compared with the leaves; but the clouds are more unstable and bigger than the leaves and they can be seen as messengers of rain and lightning as it was mentioned above.

c.) third stanza

The question that comes up when reading the third stanza at first is what the subject of the verb ‘saw’ (l. 33) could be. On the one hand there is the ‘blue Mediterranean’ (l. 30). With the ‘Mediterranean’ as subject of the stanza, the “syntactical movement” is continued and there is no break in the fluency of the poem; it is said that ‘he lay, / Lull’d by the coil of this crystalline streams,/Beside a pumice isle in Baiae’s bay, / And saw in sleep old palaces and towers’ (l. 30-33). On the other hand it is also possible that the lines of this stanza refer to the ‘wind’ again. Then the verb that belongs to the ‘wind’ as subject is not ‘lay’, but the previous line of this stanza, that says ‘Thou who didst waken ... And saw’ (l. 29, 33). But whoever – the ‘Mediterranean’ or the ‘wind’ - ‘saw’ (l. 33) the question remains whether the city one of them saw, is real and therefore a reflection on the water of a city that really exists on the coast; or the city is just an illusion. Pirie is not sure of that either. He says that it might be “a creative interpretation of the billowing seaweed; or of the glimmering sky reflected on the heaving surface”. Both possibilities seem to be logical. To explain the appearance of an underwater world, it might be easier to explain it by something that is realistic; and that might be that the wind is able to produce illusions on the water. With its pressure, the wind “would waken the appearance of a city”. From what is known of the ‘wind’ from the last two stanzas, it became clear that the ‘wind’ is something that plays the role of a Creator. Whether the wind creates real things or illusions does not seem to be that important. It appears as if the third stanza shows - in comparison with the previous stanzas – a turning-point. Whereas Shelley had accepted death and changes in life in the first and second stanza, he now turns to “wistful reminiscence [, recalls] an alternative possibility of transcendence”. From line 26 to line 36 he gives an image of nature Line 36 begins with the sentence ‘So sweet, the sense faints picturing them’. And indeed, the picture Shelley gives us here seems to be ‘sweet’ (l. 36). ‘The sea-blooms’ (l. 39) are probably the plants at the bottom of the ocean and give a peaceful picture of what is under water. But if we look closer at line 36, we realise that the sentence is not what it appears to be at first sight, because it obviously means ‘so sweet that one feels faint in describing them’. This shows that the idyllic picture is not what it seems to be and that the harmony will certainly soon be destroyed. A few lines later, Shelley suddenly talks about ‘fear’ (l. 41). This again shows the influence of the west wind which announces the change of the season.

d.) fourth stanza

Whereas the stanzas one to three began with ‘O wild West Wind’ (l. 1) and ‘Thou...’ (l. 15, 29) and were clearly directed to the wind, there is a change in the fourth stanza. The focus is no more on the ‘wind’, but on the speaker who says ‘If I...’ (l. 43f). Until this part, the poem has appeared very anonymous and was only concentrated on the ‘wind’ and its forces so that the author of the poem was more or less forgotten. Pirie calls this “the suppression of personality” which finally vanishes at that part of the poem. It becomes more and more clear that what the author talks about now is himself. That this must be true, shows the frequency of the author’s use of the first-person pronouns ‘I’ (l. 43, 44, 48, 51, 54), ‘my’ (l. 48, 52) and ‘me’ (l. 53). These pronouns appear nine times in the fourth stanza. Certainly the author wants to dramatise the atmosphere so that the reader recalls the situation of stanza one to three. He achieves this by using the same pictures of the previous stanzas in this one. Whereas these pictures, such as ‘leaf’, ‘cloud’ and ‘wave’ have existed only together with the ‘wind’, they are now existing with the author. The author thinks about being one of them and says ‘If I were a ...’ (l. 43ff). Shelley here identifies himself with the wind, although he knows that he can not do that, because it is impossible for someone to put all the things he has learnt from life aside and enter a “world of innocence”. That Shelley is deeply aware of his closedness in life and his identity shows his command in line 53. There he says ‘Oh, lift me up as a wave, a leaf, a cloud’ (l. 53). He knows that this is something impossible to achieve, but he does not stop praying for it. The only chance Shelley sees to make his prayer and wish for a new identity with the Wind come true is by pain or death, as death leads to rebirth. So, he wants to ‘fall upon the thorns of life’ and ‘bleed’ (l. 54). At the end of the stanza the poet tells us that ‘a heavy weight of hours has chain’d and bow’d’ (l. 55). This may be a reference to the years that have passed and ‘chained and bowed’ (l. 55) the hope of the people who fought for freedom and were literally imprisoned. With this knowledge, the West Wind becomes a different meaning. The wind is the ‘uncontrollable’ (l. 47) who is ‘tameless’ (l. 56). One more thing that one should mention is that this stanza sounds like a kind of prayer or confession of the poet. This confession does not address God and therefore sounds very impersonal. Shelley also changes his use of metaphors in this stanza. In the first stanzas the wind was a metaphor explained at full length. Now the metaphors are only weakly presented – ‘the thorns of life’ (l. 54). Shelley also leaves out the fourth element: the fire. In the previous stanzas he wrote about the earth, the air and the water. The reader now expects the fire – but it is not there. This leads to a break in the symmetry of the poem because the reader does not meet the fire until the fifth stanza.

e.) fifth stanza

Again the wind is very important in this last stanza. The wind with his ‘mighty harmonies’ (l. 59) becomes an artist or a Creator of sounds. At the beginning of the poem the ‘wind’ was only capable of blowing the leaves from the trees. In the previous stanza the poet identified himself with the leaves. In this stanza the ‘wind’ is now capable of using both of these things mentioned before. Everything that had been said before, was part of the elements – wind, earth and water. Now the fourth element comes in: the fire. There is also a confrontation in this stanza: whereas in line 57 Shelley writes ‘me thy’, there is ‘thou me’ in line 62. This “signals a restored confidence, if not in the poet’s own abilities, at least in his capacity to communicate with [...] the Wind”. It is also necessary to mention that the first-person pronouns again appear in a great frequency; but the possessive pronoun ‘my’ predominates. Unlike the frequent use of the ‘I’ in the previous stanza that made the stanza sound self-conscious, this stanza might now sound self-possessed. The stanza is no more a request or a prayer as it had been in the fourth stanza – it is a demand. The poet becomes the wind’s instrument – his ‘lyre’ (l. 57). This is a symbol of the poet’s own passivity towards the wind; he becomes his musician and the wind’s breath becomes his breath. The poet’s attitude towards the wind has changed: in the first stanza the wind has been an ‘enchanter’ (l. 3), now the wind has become an ‘incantation’ (l. 65). And there is another contrast between the two last stanzas: in the fourth stanza the poet had articulated himself in singular: ‘a leaf’ (l. 43, 53), ‘a cloud’ (l. 44, 53), ‘A wave’ (l. 45, 53) and ‘One too like thee’ (l. 56). In this stanza, the “sense of personality as vulnerably individualised led to self-doubt” and the greatest fear was that what was ‘tameless, and swift, and proud’ (l. 56) will stay ‘chain’d and bow’d’ (l. 55). The last stanza differs from that. The poet in this stanza uses plural forms, for example, ‘my leaves’ (l. 58, 64), ‘thy harmonies’ (l. 59), ‘my thoughts’ (l. 63), ‘ashes and sparks’ (l. 67) and ‘my lips’ (l. 68). By the use of the plural, the poet is able to show that there is some kind of peace and pride in his words. It even seems as if he has redefined himself because the uncertainty of the previous stanza has been blown away. The ‘leaves’ merge with those of an entire forest and ‘Will’ become components in a whole tumult of mighty harmonies. The use of this ‘Will’ (l. 60) is certainly a reference to the future. Through the future meaning, the poem itself does not only sound as something that might have happened in the past, but it may even be a kind of ‘prophecy’ (l. 69) for what might come - the future. At last, Shelley again calls the Wind in a kind of prayer and even wants him to be ‘his’ Spirit: he says: ‘My spirit! Be thou me, impetuous one!’ (l. 62). Like the leaves of the trees in a forest, his leaves will fall and decay and will perhaps soon flourish again when the spring comes. That may be why he is looking forward to the spring and asks at the end of the last stanza ‘If Winter comes, can Spring be far behind?’ (l. 70). This is of course a rhetorical question because spring does come after winter. The question has a deeper meaning and does not only mean the change of seasons, but is a reference to death and rebirth as well.

Poems like this one really have a prophecy for all of us and this prophecy helps us to think about the term ‘poetry’ itself. The Ode shows us that rebirth is something that can be fulfilled through spiritual growing. The last few lines of the poem underline this thought and bring the topic of regeneration and decline to the heart in a very explicit way.

参考资料

2012世界末日英语作文？

UNTO THE END OF THE WORLD

by Chris McCann

Hello and welcome to this weekly devotional time in the Bible. The name of this time of devotions is “Unto the End of the World.” This phrase is taken from the Gospel of Matthew, Matthew 28:19-20, where it says:

Go ye therefore, and teach all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Ghost: Teaching them to observe all things whatsoever I have commanded you: and, lo, I am with you alway, even unto the end of the world. Amen.

These verses have been the guiding light—they have been the marching orders of the people of God—through the centuries. Since the Lord Jesus first spoke them, the Lord’s people have been going into the world with the Gospel.

There have been large numbers of Christians, of believers, who have packed up their belongings and traveled into far lands and foreign lands in order to share the Word of God with the natives on a remote island or in Africa or in India or in China. God’s people have suffered and given up their lives in order to bring the Bible’s message of salvation to the people of the world.

Of course, they did not think that this was a great thing. They knew that they themselves had eternal life through the salvation that is presented by the Bible. Therefore, their life in this world was not counted great to them. They willingly, in a way of desiring to serve their Lord, gave up their life in order to share the Bible’s message with other people.

Now in our day, which is the time of the Great Tribulation, we are coming down to the wire—that is one expression—or we are coming to the end of the race, as God does look at the whole Christian life as a race. Just as the Apostle Paul says that he finished his course, so all the children of God will soon finish their course. This will take place on May 21st in 2011.

The Lord had sealed up a great deal of information in the Bible, and yet it was not to be sealed forever. It was sealed until the time of the end. Now that we are living at the time of the end, God is opening up the seals from the Bible and He is revealing to His people information concerning time and judgment, as well as purifying and opening up the eyes of the people of God to truths concerning salvation.

Here we are very close to this date of May 21, 2011. This day will be the end of the world, but the Lord Jesus is still with us. He is with His people. We no longer need to sell all that we have or to pack up our belongings and gather our family and take shipping to go to a distant land in order to bring the Gospel message.

No, the Lord, in His tremendous wisdom, has opened up the technology of the electronic medium over the last decade, or several decades, to such a degree that the Bible message is able to go out over the airwaves through radio and shortwave radio or through satellite broadcasting or through many, many other means. Even television is used somewhat in the sending forth of the Gospel to the world.

This was done by God. He is the One in charge of what men know or what they are held back from knowing. For most of history, the world did not have electronics like we do today. There were not airplanes or automobiles or all of this great machinery: the phone system, radio, television and Internet. These things did not exist for most of earth’s 13,000 plus years of history.

But the Lord, knowing that He would have to get His Word out to the world in order to save a great multitude of people during this time of the Great Tribulation that we are in, made provision for these technological advances of mankind in order to accomplish His purpose. Yes, man abuses it and uses it for wicked means and endeavors, but God will accomplish His purpose in sending forth His Word to the world.

This is what has been going on for the last several years during this period of the Latter Rain, and this is what will continue unto the end of the world on May 21st in 2011. And we are just greatly privileged as ambassadors for Christ, as representatives of the Lord Jesus, as servants to God, in that we can share His Word through this medium, the electronic medium, with multitudes of people.

Well, during the time of this weekly devotional, we will be taking a look at a verse or a passage of Scripture that will have a particular relationship to the day that we are living in. If you think about it, here we are just a short distance from the end. It is very close. Before we know it, time will fly by and the day will be upon us. We have Bibles in our houses or in stores that are available, and yet now time is becoming exceedingly precious and rare.

So what are we going to do with our time? When it comes to looking at the Bible, all Scripture is profitable and good and can be used of God. Yet there are certain Scriptures that naturally draw our attention since we are approaching the very end of the world.

So during this time of this weekly devotional, “Unto the End of the World,” we will be taking a look at certain Bible verses and passages that will be offered as an assist and a help for others to consider and to turn to in order to understand that the Lord has been pleading; He has been beseeching through His people. This is the way that He has set up the salvation program.

For instance, in 2 Corinthians 5:19-20, it says:

To wit, that God was in Christ, reconciling the world unto himself, not imputing their trespasses unto them; and hath committed unto us the word of reconciliation. Now then we are ambassadors for Christ, as though God did beseech you by us: we pray you in Christ’s stead, be ye reconciled to God.

We can see how God has used individuals. He has used His people to bring the Gospel message to others on His behalf.

So the Lord has been bringing His Word to the people of the world, maybe even to you, for quite some time now. Again and again, you are hearing the Gospel message. Will you not be reconciled to God? The Lord Himself is beseeching you through His people.

This is why we read of those who bring the good news, the good tidings, and God says, “How beautiful are the feet of them that…bring glad tidings of good things!” Yet in another place, it is almost an exact quote; however, it is slightly changed, “How beautiful…are the feet of him that bringeth good tidings.” This is because, as we come with the Word of God, it is God who is being represented.

The Ninevites understood this. This is why when Jonah went into Nineveh and cried out, “Yet forty days, and Nineveh shall be overturned!,” we read in Jonah 3:5 that the Ninevites “believed God,” not Jonah. Jonah was only a messenger, only a servant, but they believed the One who sent him.

Will you not at this time—not tomorrow, not next week, not some far-off distant time—but will you not right now at this time understand the Word of the Lord, understand what time it is and what day you are living in and understand that you are about to die?

God takes “no pleasure in the death of the wicked” or you. He takes no pleasure in the death of those who have rebelled against Him. He “delighteth in mercy” and takes pleasure in saving His elect people.

We do not know who are the elect or who are not, and so it could be that you are one of God’s elect. Therefore, why will you not take up your Bible today? Take up your Word and begin reading and praying to the Lord that He might have mercy; because it could be that He will grant you His mercy.

but he shall see multitudes of webs, made visible by the dew that hangs in them,什么意思

但是接下来他将看见更多的网状物，挂在它们上面的露水让这些网状物清晰可见。

In The Name Of The Father 歌词

歌曲名:In The Name Of The Father

歌手:Black Grape

专辑:It'S Great When You'Re Straight ... Yeah

Come to me

Come lie beside me

Oh don't deny me

Your love

Make sense of me

Walk through my doorway

Don't hide in the hallway

Oh love...step over

I'll follow you down

I'll follow you down

In the name of whiskey

In the name of song

You didn't look back

You didn't belong

In the name of reason

In the name of hope

In the name of religion

In the name of dope

In the name of freedom

You drifted away

To see the sun shining

On someone else's day

In the name of united and the bbc

In the name of georgie best and lsd

In the name of a father

And his wife the spirit

You said you did not

They said you did it

In the name of justice

In the name of fun

In the name of the father

In the name of the son

Call to me

No one is listening

I'm waiting to hear from you love

Stay with me

It's cold in the ground

But there's peace in the sound

Of the white and the black

Spilling over

I'll follow you down

multiples of修饰可数还是不可数名词

不是multiples of，而是multitudes of，修饰可数名词。

multitudes of表示众多，许多的意思，修饰可数名词。例句有：In the United States，multitudes of premiums for new devices were awarded at country fairs and at the industrial fairs in major cities。在美国，奖励新发明的大量奖品在乡村集市和大城市的工业博览会上颁发。Among multitudes of bitter trials，the Buddha was given such manifest proof of his Dharma，his infinite pity for all creatures was inspired， and so he determined to help by showing all how their world of suffering may be transformed into happiness。佛陀出生在人间，生长、成道也在人间，佛陀29岁，体悟人间之因缘，多种不同的苦，佛陀顿悟得智慧，开启他悲天悯人的慈悲心，度化众生离苦得乐。