HYDE的英文诗

HYDE的英文诗（通用6篇）

HYDE的英文诗 篇1

I REALLY DON#39;T REMEMBER MUCH ABOUT WHEN MY LIFE HAS DEPARTURED FROM

WHAT IS THE SO-CALLED; REAL LIFE?

SO MANY UNUSUAL PHENOMENA AND ILLUSION.

REALIZE WHAT#39;S SURROUNDING ME.

THE END OF LIFE OR THE BEGINNING OF DEATH.

DO YOU NOTICE ME?

(不是我故意都打大写..hyde就是都写大写的唷!)

中译...

我真的不记得太多有关于我的生命的开始与出发.

那被叫做什么?真实的生命?

太多不寻常的现象与痛苦..

在真实与幻影之间游移.徘徊.

知道了是什么围绕在我四周.

是生命的结束?或是死亡的开始?

你注意到我了吗?

HYDE的英文诗 篇2

关键词：悼亡诗,苏轼,哈代,《江城子》,爱玛组诗

Hardy and Su Shi,living in different countries and ages,yet suffering the similar toil of losing wife,expressed their yearning and missing to their deceased wives with similar exquisite style of writing,and also described the permanent motif of literature of home and abroad from ancient to present---love and death.Both sublimed their deep love and grief to deceased wives to well accepted and remembered poems.Chinese way of expressing love is originally different from that of British in that the former is implicative and euphemistic while the latter is bold and unrestrained and passionate,yet poets of different nations expressed their feelings in the same form of literature with surprisingly similar exquisite style of writing.This paper probes into the deep Occidental and Oriental differences of implied meaning in terms of discourse.

1 Definition of Memorial Poetry

Memorial poetry,in a broad sense,refers to all the poems written to memorize the deceased,and in a narrow sense,refers to poems written by a husband or a wife to mourn his or her wife or husband.[1]Combining the subject of love and death,memorial poetry could be taken as a unique kind of love poetry which relates to the love between the alive and the dead and the living's yearning for the dead.Love and death has always been the eternal motif of litterateur both home and abroad.The earliest Chinese memorial poetry appeared in The Book of Poetry,and since Pan Yue of Xi Jin Dynasty wrote poetry to memorize his passed wife,memorial poetry became the exclusive reference to the poems of mourning deceased wives.From then on,there are many excellent memorial poetry and poets,like Wei Yingwu,Meng Jiao of Tang dynasty,Huang Tingjian,Lu You of Song dynasty,Yu Qian,Li Zhi of Ming dynasty and Wang Fuzhi of Qing dynasty and the like.

In Britain,"a country emphasizing freedom,equality,freedom of love,individuality liberation"[2],lyrical poems are numerous,yet the number of memorial poetry is greatly less than that of China,in spite of which,there are still many a good excellent works,such as John Milton's On his deceased wife;Thomas Hardy's Emma poetry including Afterwards,The Walk,After A Journey,The Voice and etc.;Robert Browning's Prospice etc.A-mong the western memorial poetry,maybe only Hardy's are an exception because about his 100 memorial poetry on his wife are different form others'in that they are full of romanticism illusions and rich in scenes of daily life,the feelings in which are sincere and genuine but not euphuistical.Readers often gasp in admiration when reading his memorial poems,some of which are surprisingly similar to Chinese ones,like Su Shi's JiangChengZi.

2 Comparative Analysis on Hardy's Emma Poetry and Su Shi's JiangChengZi

2.1 Analysis on Su Shi's JiangChengZi

《江城子·乙卯正月二十日夜记梦》

苏轼

十年生死两茫茫,/不思量,自难忘。/千里孤坟,/无处话凄凉。/纵使相逢应不识,/尘满面,鬓如霜。/夜来幽梦忽还乡/小轩窗,正梳妆。/相顾无言,/惟有泪千行。/料得年年肠断处,/明月夜,短松冈。

English version:

Ten years,dead and living dim and draw apart.

I don't try to remember,

But forgetting is hard.

Lonely grave a thousand miles off,

Cold thoughts,where can I talk them out?

Even if we met,you wouldn't know me,

Dust on my face,

Hair like frost.

In a dream last night suddenly I was home.

By the window of the little room,

You were combing your hair and making up.

You turned and looked,not speaking,

Only lines of tears coursing down.

Year after year will it break my heart?

The moonlit grave,

The stubby pines.1

2.1.1 Background

This poem was written to mourn Su Shi's ex-wife Wang Fu who was 3 years younger than Su Shi and married him at her 16.What's a pity is that she left at her 27 leaving a seven year old child to Su Shi.It's easy to see what Su Shi suffered from this loss.After 10 years'involving in official career,due to the unsatisfactory achievement of his political ideal and excessive official business,the only 40 years old Su Shi got an early aging,being like"Dust on my face,Hair like frost.",can he still remember his deceased wife from time to time?Yet,in his sub-consciousness,Wang Fu was always there.As a result,on a night of 20th day of 1stmonth in terms of Chinese lunar calendar(actually,it was in 1075 at Su Shi's 39),a dream realized their reunion and consequently,came out this outstanding memorial poem.

The poem was written after the dream,the first sentence"Ten years,dead and living dim and draw apart."Expressed his deep feeling of grief and unhelplessness that he couldn't go across the line between living and death to meet with her wife,and then what's in his mind in the time of"Ten years,dead and living dim and draw apart."?"I don't try to remember,but forgetting is hard"is the answer.As a mundane man,Su Shi had to deal with numerous trifles,let alone to muse over her long deceased wives,the rather that the passing of time will also gradually water one's memory down,so"I don't try to remember,"is really telling the truth.But his missing of his wife was still clearly in his sub-consciousness,though similarly inexistent in his consciousness,"but forgetting is hard"expressed his incapability to forget his wife.The dead was gone,even though the living and the dead could communicate and the couples were able to meet again like a miracle,but the man before her was almost a middle-aged toil worn stranger,instead of that who had been young with elegance and talent.Seeing this,wouldn't they be speechless.It seems that the deceased is relatively lucky,because the living is still suffering from her departing and missing of her.At this extremely grievous moment,a dream came to abate his pain,yet even in the dream,the happiness was limited---"You turned and looked,not speaking,only lines of tears coursing down",the misery without any word but only tears covered the temporarily happiness.Then,the poet came back to the dismal reality:"Year after year will it break my heart?The moonlit grave,The stubby pines."Su Shi imagined that his beloved wife would still have to lie in the grave alone before his death years after years and day by day,what kind of heartbroken torturing is it!

2.2 Analysis on Hardy's Emma poetry

Compared with Su Shi's memorial poem,missing also constituted Hardy's Emma poetry,and the proportion was also not small,at the same time,it touched readers with authentic and profound feelings,but the most protruding features of Hardy's Emma poetry is its abundant reflection and illusion,like in The Shadow on the Stone

I went by the Druid stone

That broods in the garden white and lone,

And I stopped and looked at the shifting shadows That at some moments fall thereon

From the tree hard by with a rhythmic swing,And they shaped in my imagining

To the shade that a well-known head and shoulders Threw there when she was gardening.

I thought her behind my back,

Yea,her I long had learned to lack,

And I said:"I am sure you are standing behind me,Though how do you get into this old track?"

And there was no sound but the fall of a leaf As a sad response;and to keep down my grief I would not turn my head to discover

That there was nothing in my belief.

Yet I wanted to look and see

That nobody stood at the back of me;

But I thought once more:"Nay,I'll not univision A shape which,somehow,there may be."

So I went on softly from the glade,

And left her behind me throwing her shade,As she were indeed an apparition

My head unturned lest my dream should fade.

In this poem,the shadow behind the stone was imagined as the shadow of his deceased wife which was always behind his back.In Su Shi'poem,it is"Even if we met,you wouldn't know me,Dust on my face,Hair like frost",but Hardy's wife still remained fresh in his memory,he said"I am sure you are standing behind me,Though how do you get into this old track?"knowing that it was illusion,but unbearable to break it,and repressed his fierce longing for looking back,"and to keep down my grief,I would not turn my head to discover""So I went on softly from the glade,""lest my dream should fade."In his poem,Hardy didn't see her wife's appearance again and he implied reader it was on a moonlit night by shadow,while Su Shi clearly said that"The moonlit grave".In Hardy's poem,there were image of shadow of tree,fallen leaves,while in Su Shi'he used"The moonlit grave,The stubby pines"to create a kind atmosphere of loneliness,piteousness and melancholy.The feature of illusion and imagination of Emma poetry can be roughly seen from the simple analysis of the above poem,and its another feature is deep recalling and reflection which is greatly different from Chinese memorial poetry.

Memorial poetry is to memorize the lost love and express missing to deceased wives[3],as a result,recalling is inevitable which is also one of what Hardy liked to do in his poems.As a matter of fact,Emma poetry is his confession on his marriage.In all these poems,Hardy frankly recalled the long unhappy marriage as well as his sweet days with Emma.In the After a Journey,he said to his wife“what have you now found to say of our past""summer gave us sweets,but autumn wrought division?""Things were not lastly as firstly well with us twain,you tell?"Spring and summer represented respectively the season that they got to know each other and fell in love with each other,they implied sweetness in Hardy's poem.Autumn signified grief and pains because Emma died in autumn.Hardy tried his best to beautify and idealize the sceneries in his mind to make a contrast with the present.The early Emma was"with your nut-colored hair,and grey eyes,and rose-flush coming and going(After a Journey)".At that time,their love is harmonious"While Life unrolled us its very best(The Going)"and"the faint scent of the bordering flowers swam unheeded away,and I marked not the charm in the changes of day as the cloud-colors came and went(After The Visit)".And then he began to describe the later unhappiness,the beautiful image of Emma was replaced with"apparition""ghost",returning from the past to the present,from the dream to the reality.In the poem of The Going,Hardy pondered on the estrangement between Emma and him:"Why,then,latterly did we not speak,Did we not think of those days long dead,And ere your vanishing strive to seek that time's renewal?We might have said,‘in this bright spring weather,we'll visit together those places that once we visited'."It's really rare that a poet will retrospect his own love experience so frankly.The best poem that reflects Hardy's repent and retrospection is the poem An Upbraiding written in the perspective of Emma which was actually his own repent:

Now I am dead you sing to me

The songs we used to know,

But while I lived you had no wish Or care for doing so.

Now I am dead you come to me In the moonlight,comfortless;

Ah,what would I have given alive To win such tenderness!

When you are dead,and stand to me Not differenced,as now,

But like again,will you be cold As when we lived,or how?

This poem took the dead as the first person narrator,creating a new perspective of narration and expression of emotions,which broke the traditional memorial poetry's restriction of taking the alive as the first person.This kind of style is rare in Chinese history of memorial poetry as well as in that of Western.At her living,Hardy wrote so few poems about her,yet he wrote so tremendous about her after her death,so what's the point here?Could he make up for anything?As Hardy was writing all those poems,he realized it and became dissatisfied with himself.He stood in Emma's shoes to think about what he had done,and expressed his repent and regret through Emma's heckling to him.Seeing from this,we can see that Hardy's memorial poetry was filled with rational retrospection over his past behavior as he was recalling the past days.Just because of this rational retrospection on death,some scholars said that"it is the death of Emma that enables Hardy to complete what he didn't finish in her living:his best love poems were created not at the time when he was pursuing his sweetheart at his 30,nor at the time when he got married at his 34,but at the time when he was frail at his 72"which also verifies Hardy's Memorial poetry's value of retrospection.

3 Cultural Difference behind Chinese and Western Memorial Poetry

Chinese memorial poetry has always been influenced by realism,and it always chooses the usual image of daily life to imply death,and at the same time,reflecting poet's death awareness and expressing poet's resentfulness on other things[4].In Su Shi's JiangChengZi,the image of"lonely grave"and"wife coming hair before the mirror at her living"both implied the cruelty of death Yet in Emma poetry,there is little such image,instead,Hardy utilized more imagination and illusion,the choice of image was much more free and extensive,such as"the breeze in its listlessness""the wet mead""wind oozing from norward""the thorn"This is due to the romantic tradition's influence to British literature inn the result that images in memorial poetry are always full of imagination and philosophy,stressing the expression of retrospection.

In a country where people widely believe in Christianity or Catholics,death is the beckoning of God,and is the follower's real end-result breaking away from the profane world,also,at certain time in the future,everyone will meet again in the heaven[5].This kind of belief originated from the western original sin that people are born sinfully,the purpose they come to the world is to bear tribulation and get atonement,by doing like this,their ghost will finally go to the paradise,the eternal world,realizing the significance of life.Admittedly,it is the inspiration of religion that makes western litterateur's imaging wings fly to the rose wreath in paradise,like a freely galloping angel,or in the hell,or on the dream,as a result of which,western poets are detached,broadminded,taking desperation as happy hope,death as eternal living.Consequently,they can face death of their beloved,friends and relatives calmly and serenely,exceeding the barrier of death and living,removing the affliction in their hearts.Though,Chinese memorial poetry is also simple and touching,but its grief to death is always too thick,and comparatively speaking,their imagination can't be compared with western memorial poems which is decided by Chinese people's attitude towards death.In Chinese mind,the existence of body can't be substituted by any other matters,and their heavy relying on living also lies in their indifference to the concept of the Other World and the Psyche The ancient Chinese simple materialism was the main stream in the ideology,few people seriously considered the question of whether Psyche exists after death or where it goes.In the opinion of Confucians,there is even a saying like"You don't yet understand this life,how can you understand the afterlife?"[6]Chinese poets think that death is the end of life,"A man dies the way a lamp goes out",so the situation faced to death is to situated oneself in a longing condition where they hope the deceased would one day come back.Different from Chinese people's heavy relying on living,westerners traditionally take death as the aim of life,namely,live to die,living is toilsome tillage,and death is happy harvest and safe enjoyment.As a result,they pay more attention to the understanding and perception of death,imagining and describing various objective sceneries after the death.In their heart,death,as the terminator of the whole shoot,is nothing to be feared,contrarily,death has the power of overwhelming everything,because of its eternality,because of its inevitability,because of the inaccessibility to get the true feeling of it in theworld of living.Therefore,it leaves people with unlimited space of imagination,and poets endow it various transcendental and sacred significance for some kind of inspiration to get spiritual extrication finally and completely.

Hardy and Su Shi,two versed writers,while writing the magnum opus,wrote the touching and euphemistic memorial poems with authentic emotions,giving a good and vivid description of love the eternal motif of literature.Obviously,human being's sentimen attached to families,pursuit of love,longing for happiness is the same,without the limit of time or space.

4 Conclusion

Comparing the memorial poems of Chinese poet of Song Dynasty,Su Shi's Jiang Chengzi with Thomas Hardy's Emma poetry,this paper finds that Chinese memorial poetry is featured with missing of the past life,whereas the English poetry lays great stress on illusion and imagination of the future as well as the deep reflection on death.In addition,Chinese's fear of death and Westerners'accept and understanding of death is also clearly presented.The last but not the least,Chinese memorial poetry is always to express the poet's resent,disappointment and depression in life,it's just an outlet of unhappiness;yet,the British memorial poetry is the poet's deep ponderation on death.

参考文献

[1]Wang Zuoliang.An Anthology of English Verse,Edited With an Introduction[M].Shanghai:Shanghai Translation Publishing House,1993.

[2]Merryn Williams.哈代导读[M].北京:北京大学出版社,2005.

[3]狄兆俊.中英比较诗学[M].上海:上海外语教育出版社,1992.

[4]张中载.托马斯·哈代——思想与创作[M].北京:外语教学与研究出版社,1982.

[5]飞白,吴笛.梦幻时刻:哈代抒情诗选[M].北京:中国文联出版公司,1992.

英文图像诗及其发展的三大历程 篇3

【关键词】听觉 视觉 图像 图像诗一、听觉时代的英文图像诗

诗歌的本质是语言的艺术，语言经历了口头语言和文字语言两个阶段。最初的诗歌都是巫师代神立言之“言”，尔后的民间诗歌也是口耳相传的，不管是任何民族的诗歌最初都是如此，概莫能外。语言的本质是听觉，诗歌也就是诉诸听觉的。

图像诗（concrete poetry）即用字母或单词排列成图案来表达思想感情的图案式有形诗体很显然是文字之后的产物，当人类创造了文字并用文字记录或写作诗歌时，诗歌就有了视觉维度。西方有研究者也指出，“诗最早是以纯粹的口头传播模式存在的，但是当诗人们将听到的诗用文字记录下来时，他们就对语言的视觉成分有了兴趣。”（王珂，2008）

从古希腊时代开始，就有诗人把文字符号组成各种图案的诗，如祭坛、沙漏、金字塔等，但其中大多数与诗的内容没有联系。西方第一个使用图形诗（figure poet）的据说是西米亚斯（Sinias），他以斧子、翅膀和鸡蛋为造型来写诗，这种习惯在中世纪偶尔也会出现。准确地说，这个时期的图像诗还是偏向于某种几何造型的pattern poetry。pattern poetry， also called figure poem， shaped verse， or carmen figuratum verse in which the typography or lines are arranged in an unusual configuration， usually to convey or extend the emotional content of the words. Of ancient （probably Eastern） origin， pattern poems are found in the Greek Anthology， which includes the works composed between the 7th century and the early 11th century.

在听觉为主导的时期，英文图像诗曾经历一个小高潮时期，虽然西方人早已经发明了文字，甚至15世纪，古登堡发明了印刷术，但当时听觉依然是诗歌的主导性感官。

二、视觉时代的英文图像诗

从文艺复兴时期开始，西方人的感知系统发生了重大转向，从中世纪以前以倾听神的话语转向对视觉的张扬。著名哲学家罗兰·巴尔特说：“在中世纪，最精微的、纯粹知觉的、那与世界建立起最为丰富接触的感官是听觉：视觉在触觉之后，只能列在第三位。然后，发生了一种反转：眼睛成为知觉的最高级器官。”（耿幼壮，2005）在诗歌领域，诗歌除了保留自身的听觉维度以外，视觉维度不断得到强化。到了17世纪，图形诗一度非常流行，特别是巴洛克艺术时期。巴洛克时期正是一个张扬视觉的时期。在此期间，印刷术的发明使得诗歌的传播转向书籍性的视觉传播。

象征主义诗歌的一个重要特征就是强调诗歌的视觉性，代表性诗人是前象征派诗人兰波（Arthur Rimbaud，1854—1891）。在兰波的《彩色十四行诗》（1871）问世后，“象征主义的象征”——马拉美（Stéphane Mallarmé，1842—1898）于1897发表了另一首奇诗：《骰子的一掷》（A Throw of Dice）。他把书页看成一个空白的世界，词语写上纸页就像打破沉默的声音颗粒，词语打破了纸页的沉默，就像声音打破沉默，词语占据一定的空间，但没有占领的空间同样重要，甚至更重要。具体就是运用字母的印刷技巧，充分发挥字母在印刷排版上的艺术功能，“把大小字母不等的词语有意地间隔、分散在空白的纸页上，以造成意念浮沉、思绪起伏与自然应和的神秘效果，目的是要引起机敏读者的深思和遐想，从而使诗的自我宇宙展现一种空濛境界并可以同真的宇宙争高下。”（葛雷、梁栋，1997）正如麦克卢汉说，“由于电力时代在19世纪晚期开始扎根，整个语言艺术世界开始追求诗歌的触觉图像特征和感知的相互影响。”（马歇尔·麦克卢汉，2000） 虽然视觉诗还不是完全意义上的图像诗，但对于英文图像诗的推动意义重大。

三、图像时代的英文图像诗

图像时代是视觉时代的强化，即人们感知的许多东西都要通过转换成图像来进行接受。准确地说，这时的英文图像诗应该叫“具像诗”：“poetry in which the poets intent is conveyed by graphic patterns of letters， words， or symbols rather than by the meaning of words in conventional arrangement.在20世纪，英文图像诗迎来了真正的繁荣和高峰，这就是“画诗”（poempicture）。“poempicture”是美国诗人E.E卡明斯用来指称自己诗作时提出的，以强调他诗作的绘画性，后来又有评论家用来评论米罗等画家的画作，以指出他们绘画的诗性。它是一种带有图画性质的诗歌，但是这种造型始终只是用词语来像绘画一样造型，它所造的“型”始终只是通过词语在想象中构造出来，而“画诗”则不同，“画诗”中的造型直接像绘画中用画笔画出来的造型，不通过词语的想象，直接通过眼睛就看到这个具体的型，它的视觉感更强。

卡明斯“画诗”几乎都是在打字机上进行印刷排版，他有时把两个以上的单词联在一起不留间隔以表示一种连续的运动或加速度；或把一个词用冒号、分号等打断以表达一种新的感受，甚至是捏造新词；或者把一个单词的自身的间隔和与其他单词的间隔拉大以表达一种时间滞留和空白感；大小写不分以打破常规；或干脆在诗的结尾不用句号以留下想象，如此等等，不一而足。他名传一时的诗作（《孤》，1958，注：标题被作者有意小写）就是试图把诗歌的“无形”变为“有形”，把看不见的“孤独”变成可以看见：

l（a孤

le （一

af 片

fa 树

ll 叶

s） 落

one下）

l 零

iness零

此诗曾使读者莫名其妙，但全诗的文字恢复原状为： loneliness a leaf falls，意为孤独像一片树叶的飘零。从诗意上来看，诗中将“一片树叶”的“落下”/“a leaf falls”穿插在“孤零零”/“loneliness”中，树叶在数量上的“一”片与“孤零零”以及落叶暗示出来的秋天的冷清与“孤零零”都达到了重叠暗合；从视觉效果上来看，单词字母从上垂直排列下来，模拟了树叶飘零而落的形态，与诗歌的意义又达到了重叠暗合。有研究者甚至拟想了字母与落叶相互协调的动态过程：树叶在风中落下“l（a”，叶片在旋转“le”，正面“af”，反面“fa”，随风直下“ll”，大幅度旋转“s”，被风平托着“one”，直落“l”，着地后横躺之状“iness”，即落在单词“孤独”“loneliness”上。（沈谦，1999）这不失一种诗意的解读，也是该诗的魅力所在。

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如果说《孤》这首诗的“有形”还不完全是视觉的刺激的话，他的其他诗就具有完全的视觉效果了。《蚱蜢》（r-p-o-p-h-e-s-s-a-g-r），标题本身首先就被毕加索立体画式的拆解了，grasshopper被拆解为r-p-o-p-h-e-s-s-a-g-r，中间的“-”使字母之间有一种跳跃感。在诗中，还被继续拆解为PPEGORHRASS和gRrEaPsPhOs，不仅秩序错乱，大小写混杂，读者在这些字母中去重组该单词，这就是毕加索那句名言“绘画是破坏的集成”的诗学应用。这样的排列又并非完全无意义的文字游戏，它的诗意为：蚱蜢在我们向上看时攒足劲儿跳跃，最终成为一个不同寻常的蚂蚱（As we look up now， r-p-o-p-h-e-s-s-a-g-r-who， gathering into a /the leap（s） and arriving become rearrangingly grasshopper）。该诗的诗性在于，它模拟了一只蚱蜢跳跃的瞬间，蚱蜢的跳跃使蚱蜢不失为一只蚱蜢。诗歌对“看”的兴趣明显大过了过去对“听”的追求。有好事者甚至将该诗置于线条的勾勒之中，复活了一只蚱蜢的形态：

此类诗歌就像是一种诗歌的图像化游戏，是对诗歌视觉化的一个产物。对事物呈现于纸上的热烈渴求必然会出现以下这样的诗作：

该诗是对一只“蜂鸟”的摹写，字母作大体对称的摹写，试图呈现一只蜂鸟张开双翼飞翔的姿态。蜂鸟是世界上最小的鸟，也是唯一能够向后飞的鸟，诗中写的是一种北美洲特有的“红喉北蜂鸟”（rubythroat），因其喉部长着一块红宝石（ruby）一样的羽毛而得名，诗人在诗中表达了他对蜂鸟的惊奇。如此这样的诗作还很多，诸如 “mOOn Over tOwns mOOn”（“小镇上明月高悬”） 这样诗句，就是利用大写印刷的“O”来拟写圆月，六个“O”给人以满眼明月之感。运用字母印刷来进行诗歌创作，在卡明斯之前的未来主义创始人马里涅蒂（F.T.Marinetti）那里就有过，他在《赞坦坦》（1912）中就曾以“ssssssssiii ssiissii ssiissssiiii”的字样来表达火车喷气而驰的状态。在卡明斯之后，这样试验的诗人依然很多，但都逐渐为形式而形式，受到先入为主的图像的束缚。

就“画诗”的发展来看，它可能不会走得太远。因为，当诗人心中已经先入为主地有一个要去创作的“图像”模块时，他就给自己预设了一个“语言的牢笼”（詹姆逊），会为“形式”而牺牲创作的自由，牺牲诗歌的自由表达。这种“画诗”不是诗歌的本质性品格，它是诗歌在追求绘画式的“图像”表达时出现的一个变异体，诗歌的本质是语言，不是图画的艺术。

【参考文献】

［1］王珂. 诗体学散论——中外诗体生成流变研究[M]. 上海：上海三联书店，2008：246.

［2］耿幼壮.破碎的痕迹——重读西方艺术史[M].北京：中国人民大学出版社，2005：113.

［3］葛雷，梁栋.现代法国诗歌美学描述[M].北京：北京大学出版社，1997：112.

［4］[加]马歇尔·麦克卢汉.理解媒介——论人的延伸[M].何道宽译.北京：商务印书馆，2000： 307.

［5］沈谦.试论图像诗的体式结构作用[J]. 四川大学学报（哲学社会科学版），1999（01）.

感恩节的英文诗 篇4

Thanksgiving is the appointed time

for focusing on the good in our lives.

In each of our days,

we can find small blessings,

but too often we overlook them,

choosing instead to spend our time

paying attention to problems.

We give our energy

to those who cause us trouble

instead of those who bring peace.

Starting now,

let’s be on the lookout

for the bits of pleasure in each hour,

and appreciate the people who

bring love and light to everyone

who is blessed to know them.

You are one of those people.

On Thanksgiving,

I’m thankful for you.

Happy Thanksgiving!

By Joanna Fuchs

泰戈尔的诗英文总结 篇5

2.Thou hast made me endless, such is thy pleasure. This frail vessel thouemptiest again and again, and fillest it ever with fresh life.

This little flute of a reed thou hast carried over hills and dales, andhast breathed through it melodies eternally new.

At the immortal touch of thy hands my little heart loses its limits in joyand gives birth to utterance ineffable.

Thy infinite gifts come to me only on these very small hands of mine. Agespass, and still thou pourest, and still there is room to fill.

从泰戈尔的诗中能看出来一颗晶莹剔透的心，中文版本是根据英文译出来的，所有有些看英文的更有味道些;我最想去旅游的国家之一，就是印度，很想去看一些另一个东方文明是啥样子的。泰戈尔的诗选是前几天为了准备晚会诗歌朗诵整理的，好东西贴出来和大家共享。(以后我自己编辑整理的东西统一用sog_bj标记)

夏天的飞鸟，飞到我的窗前唱歌，又飞去了。

秋天的黄叶，它们没有什么可唱，只叹息一声，飞落在那里.

Stray birds of summer come to my window to sing and fly away.

And yellow leaves of autumn, which have no songs, flutter and fall therewith a sigh

世界上的一队小小的漂泊者呀，请留下你们的足印在我的文字里.

Troupe of little vagrants of the world, leave your footprints in mywords.

世界对着它的爱人，把它浩翰的面具揭下了。

它变小了，小如一首歌，小如一回永恒的.接吻.

The world puts off its mask of vastness to its lover.

It becomes small as one song, as one kiss of the eternal.

是大地的泪点，使她的微笑保持着青春不谢。

It is the tears of the earth that keep here smiles in bloom.

无垠的沙漠热烈追求一叶绿草的爱，她摇摇头笑着飞开了.

The mighty desert is burning for the love of a blade of grass who shakesher head and laughs and flies away.

如果你因失去了太阳而流泪，那么你也将失去群星了。

If you shed tears when you miss the sun, you also miss the stars.

跳舞着的流水呀，在你途中的泥沙，要求你的歌声，你的流动呢。你肯挟瘸足的泥沙

而俱下么?

The sands in your way beg for your song and your movement, dancing water.Will you carry the burden of their lameness?

她的热切的脸，如夜雨似的，搅扰着我的梦魂。 Her wishful face haunts my dreams like the rain atnight.

有一次，我们梦见大家都是不相识的。

我们醒了，却知道我们原是相亲相爱的。

Once we dreamt that we were strangers.

We wake up to find that we were dear to each other.

忧思在我的心里平静下去，正如暮色降临在寂静的山林中。

泰戈尔的诗英文总结精选 篇6

This little flute of a reed thou hast carried over hills and dales, and hast breathed through it melodies eternally new.

At the immortal touch of thy hands my little heart loses its limits in joy and gives birth to utterance ineffable.

Thy infinite gifts come to me only on these very small hands of mine. Ages pass, and still thou pourest, and still there is room to fill.

从泰戈尔的诗中能看出来一颗晶莹剔透的心，中文版本是根据英文译出来的，所有有些看英文的更有味道些;我最想去旅游的国家之一，就是印度，很想去看一些另一个东方文明是啥样子的。泰戈尔的诗选是前几天为了准备晚会诗歌朗诵整理的，好东西贴出来和大家共享。(以后我自己编辑整理的东西统一用sog_bj标记)

夏天的飞鸟，飞到我的窗前唱歌，又飞去了。

秋天的黄叶，它们没有什么可唱，只叹息一声，飞落在那里.

Stray birds of summer come to my window to sing and fly away.

And yellow leaves of autumn, which have no songs, flutter and fall there with a sigh

世界上的一队小小的漂泊者呀，请留下你们的足印在我的文字里.

Troupe of little vagrants of the world, leave your footprints in my words.

世界对着它的爱人，把它浩翰的面具揭下了。

它变小了，小如一首歌，小如一回永恒的接吻.

The world puts off its mask of vastness to its lover.

It becomes small as one song, as one kiss of the eternal.

是大地的泪点，使她的微笑保持着青春不谢。

It is the tears of the earth that keep here smiles in bloom.

无垠的沙漠热烈追求一叶绿草的爱，她摇摇头笑着飞开了.

The mighty desert is burning for the love of a blade of grass who shakes her head and laughs and flies away.

如果你因失去了太阳而流泪，那么你也将失去群星了。

If you shed tears when you miss the sun, you also miss the stars.

跳舞着的流水呀，在你途中的泥沙，要求你的歌声，你的流动呢。你肯挟瘸足的泥沙

而俱下么?

The sands in your way beg for your song and your movement, dancing water. Will you carry the burden of their lameness?

她的热切的脸，如夜雨似的，搅扰着我的梦魂。 Her wishful face haunts my dreams like the rain at night.

有一次，我们梦见大家都是不相识的。

我们醒了，却知道我们原是相亲相爱的。

Once we dreamt that we were strangers.

We wake up to find that we were dear to each other.

忧思在我的心里平静下去，正如暮色降临在寂静的山林中。

Sorrow is hushed into peace in my heart like the evening among the silent trees.

飞鸟集2

有些看不见的手，如懒懒的微风似的，正在我的心上奏着潺湲的乐声。

Some unseen fingers, like an idle breeze, are playing upon my heart the music of the ripples.

“海水呀，你说的是什么?”

“是永恒的疑问。”

“天空呀，你回答的话是什么?”

“是永恒的沉默。”

What language is thine, O sea?

The language of eternal question.

What language is thy answer, O sky?

The language of eternal silence.

静静地听，我的心呀，听那世界的低语，这是它对你求爱的表示呀。

Listen, my heart, to the whispers of the world with which it makes love to you.

创造的神秘，有如夜间的黑暗——是伟大的。