现在的美国诗歌

现在的美国诗歌 篇一:美国诗歌 美国诗歌 There Was a Child Went Forth【王琪】 By Walt Whitman THERE was a child went forth every day; And the first object he look’d upon, that object he became; And that object became part of him for the day, or a certain part of the day, or for many years, or stretching cycles of years. The early lilacs became part of this child, And grass, and white and red morning-glories, and white and red clover, and the song of the phoebe-bird, And the Third-month lambs, and the sow’s pink-faint litter, and the mare’s foal, and the cow’s calf, And the noisy brood of the barn-yard, or by the mire of the pond-side, And the fish suspending themselves so curiously below there—and the beautiful curious liquid, And the water-plants with their graceful flat heads —all became part of him. The field-sprouts of Fourth-month and Fifth-month became part of him; Winter-grain sprouts, and those of the light-yellow corn, and the esculent roots of the garden, And the apple-trees cover’d with blossoms, and the fruit afterward, and wood-berries, and the commonest weeds by the road; And the old drunkard staggering home from the out-house of the tavern, whence he had lately risen, And the school-mistress that pass’d on her way to the school, And the friendly boys that pass’d—and the quarrelsome boys, And the tidy and fresh-cheek’d girls—and the barefoot negro boy and girl, And all the changes of city and country, wherever he went. His own parents, He that had father’d him, and she that had conceiv’ d him in her womb, and birth’d him, They gave this child more of themselves than that; They gave him afterward every day—they became part of him. The mother at home, quietly placing the dishes on the supper-table; The mother with mild words—clean her cap and gown, a wholesome odor falling off her person and clothes as she walks by; The father, strong, self-sufficient, manly, mean, anger’d, unjust; The blow, the quick loud word, the tight bargain, the crafty lure, The family usages, the language, the company, the furniture—the yearning and swelling heart, Affection that will not be gainsay’d—the sense of what is real—the thought if, after all, it should prove ueal, The doubts of day-time and the doubts of night-time—the curious whether and how, Whether that which appears so is so, or is it all flashes and specks? Men and women crowding fast in the streets—if they are not flashes and specks, what are they? The streets themselves, and the fa?ades of houses, and goods in the windows, Vehicles, teams, the heavy-plank’d wharves—the huge crossing at the ferries, The village on the highland, seen from afar at sunset—the river between, Shadows, aureola and mist, the light falling on roofs and gables of white or brown, three miles off, The schooner near by, sleepily dropping down the tide—the little boat slack-tow’d astern, The hurrying tumbling waves, quick-broken crests, slapping, The strata of color’d clouds, the long bar of maroon-tint, away solitary by itself—the spread of purity it lies motionless in, The horizon’s edge, the flying sea-crow, the fragrance of salt marsh and shore mud; These became part of that child who went forth every day, and who now goes, and will always go forth every day. 有个孩子在一天天长大 他第一眼看到的东西～他就成了它 那东西在后来的一天时光里 或几年的岁月里 又成了他的一部分 早先见到的丁香花成了这孩子的一部分 还有草～红红白白的牵牛花～红红白白的 三叶草～还有那翁鸟的歌声 还有那三月的羊羔和粉红的 猪仔还有那驴崽和牛犊 还有仓库边或是池塘旁的叽叽喳喳的一窝鸟 还有那池塘里浮游于水中的鱼 还有那澄澈的水 还有那叶顶扁平的漂亮的水草～都成了 他的一部分 四五月的禾苗成了他的一部分 越冬的禾苗～浅黄的玉米～还有那 园中可食的草根 还有那满树繁花的苹果树和随后的 果实还有那路边的野草和木莓 还有那从小酒店的厕所解完手的酒徒 回转家门 还有到学校去路上的女教师 还有那路过的友善的和不友善的男孩 还有那穿着整齐面颊红润的姑娘和赤脚的 黑人男孩和女孩 还有她所过之处的城乡的变化 还有他的亲生父母～养育他的父亲的和怀胎十月 并生下他的母亲 他们不但生了它还抚养他长大 他们为他每日辛劳～他们成了他的一部分 母亲在家默默无闻地把菜摆上了饭桌 母亲言语温和～衣帽整洁 她走过的时候～她的身体和衣裳发出好闻的气味 父亲～强壮～傲慢～果断～小心～气闷～偏执 打骂～斤斤计较～狡诈 那家里的习惯～那语言～那玩伴～那家具 那渴望和高涨的心情 不可否认的情感～那真实的感觉 那最终是不真实的思虑 那对白昼的怀疑～对夜晚的疑惑～还有 那萦绕心头的是否是否如何如何的问 是不是出现的是什么就是什么,还有它们- 一闪而过～无足轻重 男男女女在街上挤成一团～如果他们不是 过眼烟云芸芸众生又是什么, 那街道～那当街的铺面～那橱窗里的 货物 那车辆～牲口～那铺了厚板的码头～那人群 如织的渡口 那日落时看到的高原村落～中间 夹了一条河 那两英里外的阴影～晕轮和薄雾～那落在 白色的和棕色的屋顶和尖塔的光线 那潮水旁轻眠的纵帆船 那朝后返拖的小船 那怒卷的大海～拍打后迅速跌下的浪峰 那重重云霞横在西天～孤独的栖在哪里 长天蔚蓝如洗～一片宁静 那天边～那飞翔的海鸟～ 那芬芳的盐池温地 和海岸泥土 这些都成了天天长大的孩子的一部分～ 他现在在长大～将来一直要天天长大。 O Captain! My Captain!【田野】 By Walt Whitman O Captain:My Captain: 啊～船长:我的船长: Walt Whitman ,瓦尔特.惠特曼, O Captain!My Captain!Our fearful trip is done, 啊:船长:我的船长:可怕的航程已完成, The ship has weather'd every rack, the prize we sought is won,这船历尽风险～企求的目标已达成。 The port is near, the bells I hear, the people all exulting, 港口在望～钟声响～人们在欢欣。 While follow eyes the steady keel, the vessel grim and daring;千万双眼睛注视着船——平稳～勇敢～坚定。 But O heart!heart!heart! 但是痛心啊:痛心:痛心: O the bleeding drops of red! 瞧一滴滴鲜红的血: Where on the deck my Captain lies, 甲板上躺着我的船长～ Fallen cold and dead. 他倒下去～冰冷～永别。 O Captain! my Captain!rise up and hear the bells; 啊～船长:我的船长:起来吧～倾听钟声, Rise up -for you the flag is flung -for you the bugle trills,起来吧～号角为您长鸣～旌旗为您高悬: For you bouquets and ribbon'd wreaths-for you the shores crowding,迎接您～多少花束花圈——候着您～ 千万人峰拥岸边,For you they call, the swaying mass, their eager faces turing;他们向您高呼～拥来挤去～仰 起殷切的脸, Here, Captain!dear father! 啊～船长:亲爱的父亲: This arm beneath your head; 我的手臂托着您的头: It is some dream that on the deck 莫非是一场梦:在甲板上 You 've fallen cold and dead. 您倒下去～冰冷～永别。 My Captain does not answer, his lips are pale and still, 我的船长不作声～嘴唇惨白～毫不动弹, My father does not feel my arm , he has no pulse nor will;我的父亲没感到我的手臂～没有脉搏～没有遗言, The ship is anchor'd safe and sound, its voyage closed and done;船舶抛锚停下～平安抵达,船程终了, From fearful trip the victor ship comes in with object won;历经难险返航～夺得胜利目标。 Exult, O shores!and ring, O bells! 啊～岸上钟声齐鸣～啊～人们一片欢腾: But I,with mournful tread, 但是～我在甲板上～在船长身旁～ Walk the deck my captain lies, 心悲切～步履沉重, Fallen cold and dead.[1] 因为他倒下去～冰冷～永别。[2] 篇二:美国诗歌复习 致海伦 埃德加〃爱伦〃坡 海伦:你的美貌于我 就像昔日尼西 亚的轻帆小船～ 温柔地～飘荡在芬芳的海面上。 带着那倦 旅劳累的流浪者 向他故乡的海岸转航。 早已习惯在绝望之海上长久徘徊游荡～ 你紫蓝色的长 发～你典雅的脸庞～ 还有你水中仙女般的风姿～引我返航～ 去向希腊的荣光～ 去向罗马的辉煌: 看:在彼处精美绚烂的窗龛里～ 你 玉立一如雕像～ 玛瑙灯在你手中光芒明亮。 啊:灵魂化身的美女～ 你 所来之处～就是圣地: Analysis In "To Helen," Poe is celebrating the nurturing power of woman.[1] Poe was inspired in part by Samuel Taylor Coleridge, particularly in the second line ("Like those Nicean barks of yore") which resembles a line in Coleridge's "Youth and Age" ("Like those trim skiffs, unknown of yore").[2] Allusions Poe, in referring to Helen, may be alluding to the Greek goddess of light or Helen of Troy who is considered to be the most beautiful woman who ever lived, though there is not enough information given to determine for certain. 人生礼颂 Herry Wadsworth Longfellow/享利.沃兹渥斯.朗费罗 Tell me not in mournful numbers, 请别用哀伤的诗句 对我讲, Life is but an empty dream! 人生呵～无非是虚梦一 场: For the soul is dead that slumbers 因为沉睡的灵魂 如死一般～ And things are not what they seem. 事物的里并不 一样。 Life is real! Life is earnest! 人生是实在的:人生 是热烈的: And the grave is not its goal; 人生的目标决不是坟 墓, Dust thou art , to dust returnest, 你是尘土～应归 于尘土。 Was not spoken of the soul. 此话指的并不是我们的精神。 Not enjoyment , and not sorrow, 我们的归宿并不是快乐～ Is our destined and our way; 也不是悲伤～ But to act, 实干 That much to-morrow. 才是我们的道路～ Find us farther than to-day. 每天不断前进～蒸蒸蒸日上。 Art is long , and time is fleeting. 光阴易逝～而艺海无涯～ And our hearts , though stout and brave. 我们的心哪——虽然勇敢坚强～ Still , like muffled drums , are beating 却像被布蒙住的铜鼓～ Funeral marches to the grave。 常把殡葬的哀乐擂响。 灵魂选择自己的伴侣 In the world’s broad field of battle, 在这人生的宿营地～ In the bivouac of Life, 在这辽阔的世界战场～ Be not like dumb,driven cattle! 别做无言的牲畜任人驱赶～ Be a hero in the strife! 做一名英雄汉立马横枪: Trust no future.howe’er pleasant! 别相信未来～哪 怕未来多么欢乐: Let the dead Past bury its dead! 让死去的往昔将死亡一切埋葬: Act,act in the living Present! 上帝在上～我们胸怀勇气～ Heart within,and God O’erhead! 行动吧———趁现在活着的好时光: Lives of great men all remind us 伟人的生平使我们想起～ We can make our lives sublime, 我们能使自己的一生变得高尚: And departing,leave behind us 当我们辞别人间～ Footprints on the sands of time; 能把足迹留在时间的流沙上～ Footprints that perhaps another, 也许有个遭了船灾的苦难弟兄～ Sailing o’er life solemn main, 他曾在庄严的人生大海中飘航～ A forlorn and shipwrecked brother, 见到我们的脚印～ Seeing,shall take heart again, 又会满怀信心。 Let us,then,be up and doing, 让我们起来干吧～ With a heart for any fate; 下定决心～不管遭遇怎样, Still achieving,still pursuing 不断胜利～不断追求～ Learn to labour and to wait. 要学会苦干和耐心等待。 灵魂选择自己的伴侣 狄金森 然后～把门紧闭～ 她神圣的决定～ 再不容干预 发现车辇停在她低矮的门前～ 不为所动～ 一位黄帝跪在她的席垫～ 不为所动 我知道她从一个民族众多的入口 选中了一个～ 从此 封闭关心的阀门～ 像一块石头。?. Summary on the content The speaker says that "the Soul selects her own Society--" and then "shuts the Door," refusing to admit anyone else--even if "an Emperor be kneeling / Upon her mat--."Indeed, the soul often chooses no more than a single person from "an ample nation" and then closes "the Valves of her attention" to the rest of the world. ?. Form The meter of "The Soul selects her own Society" is much more irregular and halting than the typical Dickinson poem, although it still roughly fits her usual structure:? iambic trimeter with the occasional line in tetrameter. For exemple,the odd lines are all in tetrameter .?It is also uncharacteristic in that its rhyme scheme--if we count half-rhymes such as "Gate" and "Mat"--is ABAB, rather than ABCB; the first and third lines rhyme, as well as the second and fourth. And the same as the following lines.?However, by using long dashes rhythmically to interrupt the flow of the meter and effect brief pauses, the poem's form remains recognizably Dickinsonian, despite its atypical aspects. We can find that there are a lot of dashes in the poem. In fact, dash is a common technique in Dickinson’s poem. Her purpose of using dashes is to pause or emphasize. She wants to stress her irregular sentence-making. ?Another tecnique of expression is the capitalization. In this poem the first letter in every line is capitalized. She must have her own special intention in plenty using them. Maybe she thinks this act is unusual. A critic said that she did an excellent example of Dickinson's tightly focused skills with metaphor and imagery; cycling through her regal list of door, divine Majority, chariots, emperor, mat, ample nation, and stony valves of attention, Dickinson continually surprises the reader with her vivid and unexpected series of images, each of which so only in order to lead nobility and granduer to the fable realm. ?. Commentary The tone of "The Soul selects her own Society--" is quiet, grand, and ominous. The idea that "The Soul selects her own Society" (that people choose a few companions who matter to them and exclude everyone else from their inner consciousness) conjures up images of a solemn ceremony with the ritual closing of the door, the chariots, the emperor, and the ponderous Valves of the Soul's attention. Essentially, the middle stanza functions to emphasize the Soul's stonily uncompromising attitude toward anyone trying to enter into her Society once the metaphorical door is shut--even chariots, even an emperor, cannot persuade her. The third stanza then illustrates the severity of the Soul's exclusiveness--even from "an ample nation" of people, she easily settles on one single person to include, summarily and unhesitatingly locking out everyone else. The concluding stanza, with its emphasis on the "One" who is chosen, gives "The Soul selects her own Society--" the feel of a tragic love poem, although we need not reduce our understanding of the poem to see its theme as merely romantic. The poem is furthers the somber mood of the poem. ?. Chinese version 灵魂选择它自己的伴侣 选定精神伴侣～ 然后谢客关门, 既作神圣抉择～ 必当匿影藏形。 车輦沓至纷来～ 姑娘不闻不问, 皇帝跪于席垫～ 万难 打动芳心。 茫茫人海无限～ 唯独选中一人, 从此心如盘石～ 封闭 情感闸门。 Song of Myself 华尔特.惠特曼 1我赞美我自己～歌唱我自己～ 我所讲的一切～将对你 们也一样适合～ 因为属于我的每一个原子～也同样属于你。 我闲游～邀请我的灵魂一起～ 我俯首下视～悠闲地观察一片夏天的草叶。 By Walt Whitman 瓦尔特-惠特曼 作 A child said what is the grass? Fetching it to me with full hands; 一个孩子问什么是小草,给我送来满满一手心, How could I answer the child? I do not know what it is any more than he. 我该怎样回答这孩子,我所知道的并不比他多多少。 I guess it must be the flag of my disposition, out of hopeful great stuff woven. 我猜它一定是我品性的旗帜～源自于希望的锦绣飘摇。 Or I guess it is the handkerchief of the Lord, 或 者我猜它是上苍的手绢～ A scented gift and rememberance designedly dropt, 一件芬芳的礼物或者无意抛落的纪念品～ Bearing the owner’s name someway in the corners, that we may see and remark, and say whose? 镌下主人的姓名在某些角落里～我们可能会看见并引起 注意～并问“这是谁的”, Or I guess the grass is itself a child, the produced babe of the vegetation. 或者我猜小草自己就是一个孩子～那出生于植物的婴孩。 致水鸟 吕志鲁译 披着滴落的露珠～ 天空灿烂～白日的行程就要结束, 穿过玫瑰色的遥远 空际～ 你往何方把孤单的前程追逐, 看你远远飞翔而无 计可施～ 捕鸟人的眼光徒劳眷顾, 满天红霞把你映衬～ 暗黑的身影飘飘飞舞。 你是在寻找开阔的大河之滨～ 还是波浪拍岸的水草之湖, 或者潮水冲刷的海滩～ 那里的巨浪奔腾起伏, 有上苍把你关照～ 在无路的海岸为你指路,, 在荒漠和无边的空际～ 你孤单的飘荡不致迷途。 你成天翕动翅膀～ 任空气稀薄暴 寒冷～飞在高处～ 疲乏中你不肯降落舒适的大地～ 即使黑夜即将紧闭它的帷幕。 你很快就会结束这样的劳苦～ 你即将找到你夏天的住处, 休息中呼唤自己的伙伴～ 芦苇也会躬身把你的窝巢遮护。 你的身躯全被吞没～ 天堂深渊里～你踪影全无, 然而你的启迪深深留在我的心底～ 我将久久地久久地把它记住砖 从一地又到一地～ 天空无垠～你的飞翔从无迟误, 愿引领你的向导把我引领～ 孤单的长路中迈开永不偏离的脚步。 William Cullen Bryant (1794-1878), 第一位蜚声世界的美国诗人.浪漫主义.早年创作较多, 后投身社会活动,创作减少.其诗特色如下: 1.大量描绘自然 2.风格忧郁,感性 3.寓情于景 4.强调"自我" 5.有"自然即上帝"的倾向,神秘主义 6.语言简单朴素,形式较古典 下面一首《致水鸟》很典型地体现出以上所有特色。我实在不觉得这首诗好到哪里去～读了几遍也只能用ordinary来形容。他写的这些～也不是不好～只是没什么特色～比较平凡而已。然而因为实在太典型了～所以有作业要求之～说说它“怎么表现出浪漫主义的特点”。可是～一下子看了太多评论～我都不知道哪些是我自己的想法。不过～对这位已经被研究得差不多的诗人～我也不知道有什么自己的想法可以加进去。只是文章还得好好写～然 而到现在还只有开头一段的泛泛而谈。本诗第一节就以整节的篇幅描绘一只水鸟孤独地飞在天中的画面背景:傍晚～落日～绯红的天边～ 一只水鸟将飞向何方, falling dew, last steps of day点明时间～step一词给时间的逝去一种不紧不慢的动感～写出诗人看着日落时的无奈。far, depths两词点出空间的广阔～和一只水鸟“弱小”的形象形成非 常强的反差。 一整节的问句之后～第二节里～诗人就把水鸟塑造成一个坚定的形象:猎鸟人算计着你的飞行轨迹～ 要将你猎下～却无能为力。这里有一种人和自然的对比:在自然的面前～人显得无力～尽管拥有更高的智慧～但自然却丝毫不受影响～一如既往地运行着～就连一只孤独的水鸟 都具有这非凡的魄力。 第三、四节讲水鸟将如何到达自己的目的地。一切都像浑然天成～不论是在无形海岸还是在无尽的天空～都有一种神秘的“力”作为它的向导,它虽独行～却不会迷失,而它要回去的地方也是自然。这种“力”是什么～诗人没有说明。我们也可以把它想成无论什么东西～上帝也好～自然也好～在年轻的布莱恩特的眼中～这种“力”也许没有具体的形 象～只是冥冥中的一个向导而已。 从第五节开始～全诗的象征意味显明起来。凉夜将降～水鸟飞行终日～疲惫不堪～诗人却不希望它降临福地。这里的“福地”指什么,是水鸟长途跋涉的终点～还是它生命的终点,“暗夜”究竟是指真正的夜～还是指生命息止之时,手边仅有诗一首～加些许简单的诗人生平～这些问题无法回答。 第六节～这种象征意味更加明显。虽然描写得非常具象:水鸟熬过暗夜～结束旅程～迁徙至温暖的家。但此时它的同伴们却“尖叫”起来～而芦苇也长过它憩息的地方。如此一联系～原诗中的rest也许不是单指休息～而是水鸟在长途跋涉之后西去了。诗至此～一反第二节的坚强形象～一种宿命感突现 出来。归途:回到哪里, 第七、八节是诗人的借景抒情。他从水鸟身上学到了许多～因而坚定起来。“lesson”指什么～“He”又是谁～诗人 没有作出明确的答复。自然是如此强大～离群的水鸟终究逃 不过一命。而作为孤独的人～是否也该遵从自然的安排呢, 这样想～他便坦然 了。 布莱恩特早年受英国“墓园派”诗人影响非常大～对“忧 郁”“死亡”这些话题格外迷恋。在这首诗里也有所体现。 诗中描写的自然是一幅清冷的景象～水鸟的命运也不见得很 好。然而诗人的坦然似乎表明～他找到了自己心中的“向导”～ 建立起了一种类似于宗教的情结。The Message of “To A Waterfowl” The poets use the form of verse in different types of rhymes, meters, poetic feet, line lengths and other sound devices, to convey various themes, from ordinary people to divinity or God, from strong emotional patriotism to resentment to an accused person, from nature to human being, from zest for life to melancholy feelings of death, from romantic imagination to realistic description, and so on. William Cullen Bryant’s “To A Waterfowl” is a well-known poem about nature, in which he relates a scene of nature to the divine power and the divine power to the human life and the author shows the reader his sense of divine power guiding and protecting everything in nature. The author starts his poem by the question where the solitary waterfowl pursues his way: Whither, midst falling dew, While glow the heavens with the last steps of day, Far, through their rosy depths, dost thou pursue Thy solitary way? By this stanza, we can imagine an individual migrating waterfowl, not in flocks, flying “midst falling dew” at the end of the day. Thus the author’ purpose to arise sympathy with the bird is accomplished. The second stanza helps to establish the emotion of sympathy. The hunter attempts to get the bird down, though he fails. The bird continues flying alone to “ the plashy brink of weedy lake or marge of river wide, or where the rocking billows rise an d sink on the chafed ocean-side”. Seeing the bird’s homeward flight, the author sinks himself into meditation. The following 3 stanzas (4,5,6) tells us that there exist a Power who guides the bird to fly through the pathless coast, the desert and the illimitable air without being lost, and leads the bird to get to his homecoming after having overcome difficulties during the flight: always wings fanning, far height, cold and thin atmosphere, and dark night. At last the bird is safe at home 篇三:国外著名诗人经典诗歌 冬天的早晨 普希金 ,俄 1799——1837, 冰霜和阳光～多美妙的白天: 妩媚的朋友～你却在安眠。 是时候了～美人儿～醒来吧: 快睁开被安乐闭上的睡眼。 请出来吧～作为北方的晨星～ 来会见北国的朝霞女神: 昨夜～你记得～风雪在飞旋～ 险恶的天空笼罩一层幽暗。 遮在乌云后发黄的月亮 像是夜空里苍白的斑点。 而你闷坐着～百无聊赖—— 可是现在??啊～请看看窗外: 在蔚蓝的天空下～像绒毯 灿烂耀目地在原野上铺展。 茫茫一片白雪闪着阳光～ 只有透明的树林在发暗。 还有枞树枝子透过白霜 泛出绿色:冻结的小河晶亮。 整个居室被琥珀的光辉 照得通明。刚生的炉火内 发出愉快的劈啪的声响。 这时～躺在床上遐想可真够美。 然而～你是否该叫人及早 把棕色的马套上雪橇: 亲爱的朋友～一路轻捷 让我们滑过清晨的雪。 任着烈性的马儿奔跑～ 让我们访问那空旷的田野。 那不久以前葳蕤的树林～ 那河岸～对我是多么可亲。 1829 年 查良铮 译 【老人曹树厚赏析】 普希金是19世纪伟大的俄国诗人～ 他的诗形式多样～韵律丰富～具有优美、细腻、轻快、明朗 的风格。水仙 华兹华斯 ,英 1770——1850, 我独自漫游:像山谷上空 悠悠飘过的一朵云儿～ 蓦然举目～我望见一丛 金黄色的水仙～缤纷茂密, 在湖水之滨～树荫之下～ 在随风摇弋～舞姿潇洒。 连绵密布似繁星万点 在银河上下闪烁明灭～ 这一片水仙～沿着湖湾 排成延续无尽的行列, 一眼便瞥见万朵千株～ 摇颤着花冠～轻盈飘舞。 湖面的涟漪也迎风起舞～ 水仙的欢悦却胜似涟漪, 有了这样愉快的伴侣～ 诗人怎能不心旷神怡: 我凝望多时～却未曾想到 这美景给了我怎样的珍奇。 从此～每当我倚榻而卧～ 或情怀抑郁～或心境茫然～ 水仙呵～便在心目中闪烁—— 那是我孤寂时分的乐园, 我的心灵便欢情洋溢 ～ 和水仙一道舞蹈不息。 ,杨德豫 译, 【老人曹树厚赏析】 :华兹华斯是英国“湖畔派”浪漫 主义诗歌的主要代表。他的诗感情醇厚～诗语平易。这首《水 仙》浅显易懂～但诗情洋溢。 ,2001年2月6日 星期二 , 稠李树 叶赛宁 ,苏 1895——1925, 馥郁的稠李树～ 和春天一起开放～ 金灿灿的树枝～ 像卷发一样生长。 蜜甜的露珠～ 顺着树皮往下淌, 留下辛香的绿痕～ 在银色中闪光。 缎子般的花穗 在露珠下发亮～ 就像璀璨的耳环～ 戴在美丽姑娘的耳上。 在残雪消融的地方～ 在树根近旁的草上～ 一条银色的小溪～ 一路欢快地流淌。 稠李树伸开了枝丫～ 发散着迷人的芬芳～ 金灿灿的绿痕～ 映着太阳的光芒。 小溪扬起碎玉的浪花～ 飞溅到稠李树的枝杈上～ 并在峭壁下弹着琴弦～ 为她深情地歌唱。 1915年 ,刘湛秋、茹香雪 译, 【老人曹树厚赏析】 :苏联俄罗斯著名诗人。他的诗主 要以农村自然景色为题材～具有强烈感染力。 窗边的树 弗罗斯特 ,美 1874——1963, 我窗边的树呵～窗边的树～ 夜幕降临时我把窗关闭, 但永远不要拉上窗帘吧～ 以免将你我隔离。 你是地上崛起的朦胧梦影～ 你像浮云一样飘忽不定～ 你轻巧的叶舌高声宣讲的一切～ 并非一切都情理至深。 但树呵～我曾见狂风将你摇撼。 假如你窥见我在这屋中睡眠～ 你会看到我也曾猛烈地被激荡～ 几乎被暴风席卷。 那天命运出于它的儿戏～ 把我们两个联系在一起: 你受的是外界气候的影响～ 而我是内心风雨的荡激。 ,顺子欣 译, 【老人曹树厚赏析】 :罗伯特.弗罗斯特～20世纪美国 最负盛名的诗人。他的诗主要以牧场和农村事物为题材～语 言清晰、质朴、细腻而含蓄。这首诗写窗边树～主题落在内 心的荡激。 ,2001年2月20日 星期二 , 聪明的星 海涅 ,德 1797——1856, 花儿容易碰到人的脚～ 大多数都会被人践踏, 不管它是羞怯或者是胆大～ 人们走过时总会踩碎它。 珍珠藏在大海宝箱里～ 可是也会被人们发现～ 给它们钻孔～把它们扣住～ 牢牢地扣在丝绳上面。 星星很聪明～它们有理由 远远地避开我们人寰, 星星挂在天幕上面～ 像世界之灯～永远安全。 ,钱春绮 译, 【老人曹树厚赏析】 海涅的这首诗～写的特别有趣:大自然被人类破坏很多了～连小草、珍珠都没有了安全～只有星星高高挂在天幕上～人类想破坏它也无能为力。诗写的非常幽默～对人类破坏大自然～是一个警告。这个诗的主题～诗中没有直接讲出来～让读者自己体会。像这样的诗～让读者好似是自己的发现～特别觉得有诗味。 ,2001年2月20日 星期二 , 聪明的星 海涅 ,德 1797——1856, 花儿容易碰到人的脚～ 大多数都会被人践踏, 不管它是羞怯或者是胆大～ 人们走过时总会踩碎它。 珍珠藏在大海宝箱里～ 可是也会被人们发现～ 给它们钻孔～把它们扣住～ 牢牢地扣在丝绳上面。 星星很聪明～它们有理由 远远地避开我们人寰, 星星挂在天幕上面～ 像世界之灯～永远安全。 ,钱春绮 译, 【老人曹树厚赏析】 海涅的这首诗～写的特别有趣:大自然被人类破坏很多了～连小草、珍珠都没有了安全～只有星星高高挂在天幕上～人类想破坏它也无能为力。诗写的非常幽默～对人类破坏大自然～是一个警告。这个诗的主题～诗中没有直接讲出来～让读者自己体会。像这样的诗～让读者好似是自己的发现～特别觉得有诗味。 森 林 赖 特 ,澳大利亚 1915---, 当我刚认识这一座森林～ 它那些花朵真使我惊诧。 它们不同的形体和面孔～ 随着季候的变化而变化。 镶上紫色的白色紫罗兰～ 野生生姜的小小的花枝～ 地上又小又孤独的兰花～ 使得我整个白天都入迷。 还有厚实的紫红色百合～ 凤凰树上面鲜红的花瓣～ 和小溪浅浅流过的地方～ 孔杰沃伊的碧绿的树冠。 当我刚认识这一座森林～ 有的是可以消磨的时候。 而时间重新带来的收获～ 永远也不会有一个尽头。 现在它那些藤蔓和花朵～ 都被人命名被人知道了～ 就像早已实现了的愿望～ 当初神奇的欢乐消失了。 但是我还要进一步寻觅～ 除了我采集的这些鲜花～ 还有尚待命名和知道的～ 那一朵永不调谢的鲜花---- 那产生所有鲜花的真实。 ,邹 绛 译, 【老人曹树厚赏析】 全诗的重点在最后面一段～诗人还 要进一步寻觅那产生所有鲜花的真实。那“所有鲜花的真实” 是什么,诗人没有明说～这就让读者有余地去分析～去想像 ---帮助诗人想像。诗人对森林的描写～也达到了一定的艺 术水平～使读者对森林有一种美的感觉～从而喜欢这首诗。 给爱恩丝