布朗宁《我已故的公爵夫人》

布朗宁《我已故的公爵夫人》 诗歌欣赏: 罗伯特.布朗宁(Robert.Browning) - 我已故的公爵夫人(:My Last Duchess") That's my last Duchess painted on the wall, your will Looking as if she were alive. I call Quite clear to such an one, and say, 'Just this That piece a wonder, now: Frà Pandolf's hands Or that in you disgusts me; here you miss, Worked busily a day, and there she stands. Or there exceed the mark' -- and if she let Will 't please you sit and look at her? I said Herself be lessoned so, nor plainly set 'Frà Pandolf' by design, for never read Her wits to yours, forsooth, and made excuse, Strangers like you that pictured countenance, -- E'en then would be some stooping; and I The depth and passion of its earnest glance, choose But to myself they turned (since none puts by Never to stoop. Oh, sir, she smiled, no doubt, The curtain I have drawn for you, but I) Whene'er I passed her; but who passed And seemed as they would ask me, if they without durst, Much the same smile? This grew; I have How such a glance came there; so, not the first commands; Are you to turn and ask thus. Sir, 't was not Then all smiles stopped together. There she Her husband's presence only, called that spot stands Of joy into the Duchess' cheek: perhaps As if alive. Will 't please you rise? We'll meet Frà Pandolf chanced to say, 'Her mantle laps The company below then. I repeat, Over my lady's wrist too much,' or 'Paint The Count your master's known munificence Must never hope to reproduce the faint Is ample warrant that no just pretence Half-flush that dies along her throat:' such Of mine for dowry will be disallowed; stuff Though his fair daughter's self, as I avowed Was courtesy, she thought, and cause enough At starting, is my object. Nay, we'll go For calling up that spot of joy. She had Together down, sir. Notice Neptune, though, A heart -- how shall I say? -- too soon made Taming a sea-horse, thought a rarity, glad, Which Claus of Innsbruck cast in bronze for Too easily impressed; she liked whate'er me! She looked on, and her looks went everywhere. 我的前公爵夫人 Sir, 't was all one! my favour at her breast, The dropping of the daylight in the West, 墙上的这幅面是我的前公爵夫人， The bough of cherries some officious fool 看起来就像她活着一样。如今， Broke in the orchard for her, the white mule 我称它为奇迹:潘道夫师的手笔 She rode with round the terrace -- all and each 经一日忙碌，从此她就在此站立。 Would draw from her alike the approving 你愿坐下看看她吗,我有意提起 speech, 潘道夫，因为外来的生客(例如你) Or blush, at least. She thanked men, -- good! 凡是见了画中描绘的面容、 but thanked 那真挚的眼神的深邃和热情， Somehow -- I know not how -- as if she 没有一个不转向我(因为除我外 ranked 再没有别人把画上的帘幕拉开)， my gift of a nine-hundred-years-old name 似乎想问我可是又不大敢问; With anybody's gift. Who'd stoop to blame 是从哪儿来的——这样的眼神, This sort of trifling? Even had you skill 你并非第一个人回头这样问我。 In speech -- (which I have not) -- to make 先生，不仅仅是她丈夫的在座 使公爵夫人面带欢容，可能 你有口才(我却没有)能把你的意志 潘道夫偶然说过:“夫人的披风 给这样的人儿充分说明:“你这点 盖住她的手腕太多，”或者说: 或那点令我讨厌。这儿你差得远， “隐约的红晕向颈部渐渐隐没， 而那儿你超越了界限。”即使她肯听 这绝非任何颜料所能复制。” 你这样训诫她而毫不争论， 这种无聊话，却被她当成好意， 毫不为自己辩解，——我也觉得 也足以唤起她的欢心。她那颗心—— 这会有失身份，所以我选择 怎么说好呢,——要取悦容易得很， 绝不屈尊。哦，先生，她总是在微笑， 也太易感动。她看到什么都喜欢， 每逢我走过;但是谁人走过得不到 而她的目光又偏爱到处观看。 同样慷慨的微笑,发展至此， 先生，她对什么都一样～她胸口上 我下了令:于是一切微笑都从此制止。 佩戴的我的赠品，或落日的余光; 她站在那儿，像活着一样。请你起身 过分殷勤的傻子在园中攀折 客人们在楼下等。我再重复一声: 给她的一枝樱桃，或她骑着 你的主人——伯爵先生闻名的大方 绕行花圃的白骡——所有这一切 足以充分保证:我对嫁妆 都会使她同样地赞羡不绝， 提出任何合理要求都不会遭拒绝; 或至少泛起红晕。她感激人(好的～ 当然(如我开头声明的，他美貌的小姐 但她的感激(我说不上怎么搞的) 才是我追求的目标。别客气，让咱们 仿佛把我赐她的九百年的门第 一同下楼吧。但请看这海神尼普顿 与任何人的赠品并列。谁愿意 在驯服海马，这是件珍贵的收藏， 屈尊去谴责这种轻浮举止,即使 是克劳斯为我特制的青铜铸像。 Robert Browning: a famous 19th century (Victorian) British poet, particularly well-known for his early monologue "My Last Duchess" (《我的已故的公爵夫人》). In the poem, a duke speaks about his dead wife. The poem is about murder, mystery and intrigue, but all in indirect allusions (暗示). Readers may sense that the duke kills his wife or causes her death, but no evidence is shown. The language of the poem is difficult to understand. The use of dramatic monologue forces readers to work hard to find the meaning behind the duke's words. When talking about Robert Browning, we have to mention his wife, Elizabeth Barrett Browning. She was a famous poet, too. She wrote many sonnets, a type of 14 line poem, the same as Shakespeare did. Elizabeth and her husband Robert had a great love affair, almost like a movie. Browning was six years younger than his wife. They ran away to Italy to get married. 戏剧独白"写新诗——布朗宁 罗伯特布朗宁(1882——1889)是维多利亚时代第二大诗人.他生于伦敦,家庭富裕,文化气氛浓 厚.他喜爱拜伦,雪莱,济慈的诗歌,从少年时期就开始写诗,他出版的第一首诗《波琳》(1833) 可见出雪莱诗风的影响.有批评指责诗人过分暴露自我意识和主观感情,这使得他寻求新的表 现手法,采用他人独白的形式写诗. 1835年,布朗宁发表长诗《帕拉塞尔萨斯》,写中世纪一个瑞士医师不顾宗教迫害,献身医学的 悲剧故事.布朗宁喜欢从古代或异国历史事件取材,以后他又在诗里写了被处决的查理一世的 宠臣(《斯特拉福德》,1837),18世纪德国风琴师(《艾卜特佛格列》)等.从1841—1846年,他 写了6部诗剧:《皮帕走过了》,《维克托王和查尔斯王》,《德鲁兹人的归来》,《纹章上的污 点》等,收进了《铃铛和石榴》一书.他的诗剧不重情节,而是侧重挖掘,分析人物的行为动机,描写"角色中的行动,而不是行动中的角色".如《皮帕走过了》,写意大利一个女织工在唯一可以不做工的节日里唱着歌走过街上,她羡慕富人家的舒适,而在富人家里,惨剧却正要发生,4个并不相连的人家听到她的歌声产生了不同的反响,皮帕并不知道她的歌声带来了避恶扬善的效果.书中的《戏剧抒情诗》和《戏剧罗曼斯》中的一些诗歌,成功地运用了"戏剧独白"的手法.著名的《我已故的公爵夫人》里,主人公公爵向来宾介绍亡妻的画象,在他吞吐断续的谈话中,读者了解 到他妻子与画家的爱.和他由嫉妒而杀妻的历史.诗人让诗的叙述者剖白自己内心,使读者,人物和作者处于适当的位置,独白的语气随想象中的听者的存在而波澜起伏,读者从人物富戏剧性的独白中推理和想象,探知隐蔽的作者的观点. 1855年发表的重要诗集《男人和女人》标志着布朗宁"戏剧独白"方式的成熟,5l首诗题材多样,诗体多姿.1864年,他又发表诗集《戏剧人物》,让众多人物向读者披露自己的内心,人生的经验和生活的主张.他写到现实生活中的邪恶,但对生活充满信心,也劝告世人乐观,振作,他在最后的诗集"《自遣集》卷末尾声写道:"他从不退转而是把胸向前,/从不怀疑乌云会消散,/从不胡思乱想,纵然对的挫败,错的胜利./仍认为我们跌倒以便再起,挫败便再战,/睡以便醒." 叙事长诗《环与书》(1868—1869)是布朗宁后斯最重要的作品,也表现了他对正义的信念.长诗12章,根据17世纪末罗马一起谋杀案写成.年老的圭迪伯爵贪图平民少女蓬皮丽娅家产娶她为妻,蓬皮丽娅的养父母发现伯爵家道已衰落,追回他们陪嫁的财产.圭迪虐待妻子为报复,蓬皮丽娅在年轻牧师卡蓬萨基帮助上出逃,被圭迪抓住遣人修道院.圣诞节蓬皮丽娅带着新生儿子回养父母家,惨遭圭迪及帮凶的杀害.教皇主持正义,力排众议,判处圭迪死刑.诗人将在旧书摊上觅得的谋杀案审判"老黄书"当作"黄金",掺入想象的"合金",铸成艺术品"指环",这便是书名"环与书"的由来.布朗宁通过人物独白展示案件审理过程,从不同立场,角度叙述对案件的看法和发言人不同的性格,如3个罗马市民代表罗马人不同的态度,圭迪的独白表现了冷酷自私,怙恶不悛的性格. 布朗宁为心理描写大师,接受了17世纪玄学派诗歌的影响,用形象表达哲理的论述,喜用独特的譬喻,有的诗作流于悔涩.他在世时诗名不如丁尼生,但当代评论视他为现代诗歌先驱之一,T S 艾略特,庞德,弗罗斯特等当代诗人都吸收了他的"戏剧独白"手法写诗.谈布朗宁总会谈到他的妻子,著名女诗人伊丽莎白 巴雪特布朗宁(1806—1861).布朗宁夫妇的爱情故事在文学史上传为佳话,布朗宁的爱使得长 期卧病的她站立起来,并一起私奔到意大利.《葡萄牙人十四行诗集》(1850)是她赠给丈夫的爱情诗,表现爱情战胜死亡的主题,情感真挚动人,是19世纪中叶英国诗歌佳作.她的诗作富有人道主义精神,代表作《孩子们的哭声》(1844)反映童工的痛苦生活.她被公认为当时英国最优秀诗人之一.