Ozymandias所有中英文分析.doc

OzymandiasPercy Bysshe ShellyI met a traveler from an antique land,Who said-“Two vast and trunkless legs of stoneStand in the desert. Near them, on the sand,Half sunk, a shattered visage lies, whose frown,And wrinked lip, and sneer of cold command,Tell that its sculptor well those passions readWhich yet survive, stamped on these lifeless things,The hand that mocked them, and the heart, that fed;And on the pedestal, these words appear:“My name is Ozymandias, King of Kings,Look on my works, ye Mighty, and despair!Nothing besides remains. Round the decayOf that colossal Wreck, boundless and bareThe lone and level sands stretch faraway.” 奥兹曼迪亚斯我遇见一位来自古国的旅人他说：有两条巨大的石腿半掩于沙漠之间近旁的沙土中，有一张破碎的石脸抿着嘴，蹙着眉，面孔依旧威严想那雕刻者，必定深谙其人情感那神态还留在石头上而私人已逝，化作尘烟看那石座上刻着字句：“我是万王之王,奥兹曼斯迪亚斯功业盖物,强者折服”此外，荡然无物废墟四周，唯余黄沙莽莽寂寞荒凉，伸展四方。 （杨绛译）PS：英国文学讲到浪漫主义时期了，讲到John Keats的诗歌了。这意味着让我头疼的诗歌部分终于要告一段落了，天知道我有多么厌恶英诗，我实在不知道它们好在哪里。我没有耐心去赏析它们，在我的眼里，它们全被术语化，留给我的只有stanza,verse,foot,lyric rhyme.虽然每次老师要做诗歌分析欣赏的时候我都能讲出点东西来，但是我真的对英诗很不感冒。 这首诗是Percy Shelley的，我想了两个星期了，还是没有找到老师所说的这里面的paradox。我可以看出这首诗想说的是什么，也可以找出irony，但是真的不知道哪一句是paradox。想了两个星期，我都要怀疑老师是不是耍我们的了。真是让人沮丧。 最喜欢那句“I am the king of kings”了，显示出了无限的傲气与目空一切的自信。虽然Shelley想用石碑上的话和现今比照来说明国王的傲慢与自大，想显示其愚蠢，因为最后他所建立的功业全都归于尘土。Shelley想说自负的人类想要不朽都是可笑的，谁都无法抗拒时间和历史，只有艺术才是不朽的。但是我还是很欣赏国王奥兹曼迪亚斯的狂妄。AnalysisonOzymandiasAswereadthepoem,apictureofdesolationandruinsformsitselfinourminds,animagedepictingadecayingstateinthemidstofthebarrenwasteofthedesert.OzymandiasistheGreeknameforRamsesII,thepowerfulrulerofEgyptduringthethirteenthcenturyBCHeruledforover60yearsandbroughtgreatprosperitytothepeopleofEgypt.Hewasalsoextremelyvainwithrespecttohisdeeds.Thefaceofthestatueembodiesafrown,wrinkledlip,anda“sneerofcoldcommand”,Shelleyseestheseemotionsascharacterizingpeopleinpoweras“itssculptorwellthosepassionsread”.Thesculptorcorrectlyinterpretedthecharacteroftheking,theoneinpower,ashemadethestatue.Throughthesculptor,Shelleyairstwoqualitiesofvanityandgreatness.Hehaddonegreatworksandruledalongtime.However,hethoughttoohighlyofhimself.Powerandrenowndontlastforever.Hecalledhimselfthe“kingofkings”butlikeallotherkings,hewaspopularforawhileandthenforgottenwhenthenewkingcameround.Asthe“twovastandtrunklesslegsofstone/standinthedesert”,theysupportnothing,whichisallthatremainsofthe“kingofkings”andhisworks.Thisisfurtheremphasizedas“Nothingbesideremains.Roundthedecay/ofthatcolossalwreck”thereexistsnothingbut“thelongandlevelstands”Theoxymoronof“colossalwreck”againestablishestheoncegreatpowerofthekingtohavedissipatedwithhisdeath.Thestatuelikethekinghadbeengreatandimposing,colossal,butintime,thekingspowerandmemorywereburiedalongwithhimandthestatuedecayedtothelevelofwreck.The“shatteredvisage”appears“halfsunk”,againsymbolizingthememoryoftheoncemightykingtobeforgottenandputaside.ThedecayedstatueshowsthefutilityofOzymandiasfeelings.Hisworksdidntinciteanyonetodogreaterdeedsthanhehaddone.Insteadeverythingwaslefttodecay.Allthatsurvivesarethosepassionsetchedonthefaceoflifelessstone,sowecanunderstandthattimewillobliterateallmemoryofthegreatrulerandhisworksjustasthedesertwilldotothestatue.Theauthorsmoothlyandsubtlyswitchesthemoodinhispoem.Inthefirstpartofit,strongdescriptivewordssuchas“sneer”,and“coldcommand”arepresent.Theyarenotpleasant,thosereadingthepoemcanclearlysensethepowerandarrogance.Inthelatterpartofit,wordslike“barren”,“decay”and“lone”evokeonlyfeelingsofnothingness,waste，andthesadeffectoftime.奥西曼提斯客自海外来，曾见沙漠古国有石像半毁，唯余巨腿蹲立沙砾间。像头旁落，半遭沙埋，但人面依然可畏，那冷笑，那发号施令的高傲足见雕匠看透了主人的心，才把那石头刻得神情唯肖，而刻像的手和像主的心早成灰烬。像座大字在目：“吾乃万王之主也，盖世功业，敢叫天公折服！”此外无一物，但见废墟周围，寂寞平沙空莽莽，伸向荒凉的四方。王佐良译OZYMANDIASbyPercyByssheShelleyImetatravellerfromanantiquelandWhosaid:TwovastandtrunklesslegsofstoneStandinthedesert.Nearthemonthesand,Halfsunk,ashatteredvisagelies,whosefrownAndwrinkledlipandsneerofcoldcommandTellthatitssculptorwellthosepassionsreadWhichyetsurvive,stampedontheselifelessthings,Thehandthatmockedthemandtheheartthatfed.Andonthepedestalthesewordsappear:MynameisOzymandias,KingofKings:Lookonmyworks,yemighty,anddespair!Nothingbesideremains.RoundthedecayOfthatcolossalwreck,boundlessandbare,Theloneandlevelsandsstretchfaraway.“Ozymandias”isasonnet,afourteen-linepoemmeterediniambicpentameter:x/x/x/x/x/Imetatravellerfromanantiquelandx/x/x/x/x/Whosaid:TwovastandtrunklesslegsofstoneTherhymeschemeisABABACDCEDEFEF.Thespeakerrecallshavingmetatraveller“fromanantiqueland,”whotoldhimastoryabouttheruinsofastatueinthedesertofhisnativecountry.Twovastlegsofstonestandwithoutabody,andnearthemamassive,crumblingstoneheadlies“halfsunk”inthesand.Thetravellertoldthespeakerthatthefrownand“sneerofcoldcommand”onthestatuesfaceindicatethatthesculptorunderstoodwellthepassionsofthestatuessubject,amanwhosneeredwithcontemptforthoseweakerthanhimself,yetfedhispeoplebecauseofsomethinginhisheart(“Thehandthatmockedthemandtheheartthatfed”).Onthepedestalofthestatueappearthewords:“MynameisOzymandias,kingofkings:/Lookonmyworks,yeMighty,anddespair!”Butaroundthedecayingruinofthestatue,nothingremains,onlythe“loneandlevelsands,”whichstretchoutaroundit,faraway.Framingthesonnetasastorytoldtothespeakerby“atravellerfromanantiqueland”enablesShelleytoaddanotherlevelofobscuritytoOzymandiasspositionwithregardtothereaderratherthanseeingthestatuewithourowneyes,sotospeak,wehearaboutitfromsomeonewhoheardaboutitfromsomeonewhohasseenit.Thustheancientkingisrenderedevenlesscommanding;thedistancingofthenarrativeservestounderminehispoweroverusjustascompletelyashasthepassageoftime.Shelleysdescriptionofthestatueworkstoreconstruct,gradually,thefigureofthe“kingofkings”:firstweseemerelythe“shatteredvisage,”(notehowitisshattered,amuchstrongerwordthanmerelybroken)thenthefaceitself,withits“frown/Andwrinkledlipandsneerofcoldcommand”,theharshalliterativeCsofcoldcommandreinforcingthepicture;thenweareintroducedtothefigureofthesculptor,andareabletoimaginethelivingmansculptingthelivingking,whosefaceworetheexpressionofthepassionsnowinferable;thenweareintroducedtothekingspeopleintheline,“thehandthatmockedthemandtheheartthatfed.”Thereisanintriguingbalanceandparadoxinthislinebetweenthemockeryandthefeeding.Thekingdomisnowimaginativelycomplete,andweareintroducedtotheextraordinary,pridefulboastoftheking:“Lookonmyworks,yeMighty,anddespair!”Withthat,thepoetdemolishesourimaginarypictureoftheking,andinterposescenturiesofruinbetweenitandus:“Lookonmyworks,yeMighty,anddespair!/Nothingbesideremains.Roundthedecay/Ofthatcolossalwreck,boundlessandbare,/Theloneandlevelsandsstretch faraway.”Again,thehardconsonantsofcolossalwreck,boundlessandbareemphasizetheharshreality,andthisisfollowedbythealliterationandlongvowelsofloneandlevelsandsstretchingfaraway,theopenvowelsoundendingthepoemanddisappearingintoeternity.ButOzymandiassymbolizesnotonlypoliticalpowerthestatuecanbeametaphorfortheprideofallofhumanity,inanyofitsmanifestations.ItissignificantthatallthatremainsofOzymandiasisaworkofartandagroupofwords;Shelleydemonstratesthatartandlanguagelongoutlasttheotherlegaciesofpower.Ozymandias“Ozymandias”describestheruinsofanancientstatueTheme:allisvanityIrony:theinconsistencyofwhatissaidwiththereality(appearancevs.reality)3kindsofirony:dramatic,verbal,situationalFindexamplesinthepoemofeach.SettingEgyptandtheSaharadesertThemethearroganceandtransienceofpowerthepermanenceofrealartandemotionaltruththerelationshipbetweenartistandsubjectStructure:Italiansonnetrhyme:interlinkstheoctavewiththesestet,bygraduallyreplacingoldrhymeswithnewonesintheformABABACDCEDEFEF.sound:meterediniambicpentameterthepoemcanbedividedintotwopartsOctave(thefirst8lines)describesthefragmentsofasculpturethetravelerseesonanancientruinSestet(thenext6lines)-goesfurthertorecordthewordsonthepedestalandthendescribethesurroundingemptiness.Technique-IronyTheuseofironyinthispoem1.whatOzymadiassaid(MynameisOzymandias,kingofkings:Lookonmyworks,yemighty,anddespair!)andwhatisleftbehindhim(Nothingbesideremains.)themightyshoulddespairnot,asOzymandiasintended,becausetheycanneverhopetoequalhisachievements,butbecausetheywillsharehisfateofinevitableoblivioninthesandsoftime.Besides,thereisnoany“mighty”aroundhisstatuenow.2.Thesurvivalofthepharaohnotbecauseofhisownpowers,butbythesculptorshandthatmadehissculpture.3.Thedescriptionofthedesert“boundlessandbare”Althoughthesculptureis“vastandcolossal,”afterbeingputintosuchalargespaceastheSaharadesert,itwouldbeseenasasmallthingbycompare.TheissueofArtTheattitudetowardArtexpressedinthispoem:ThedecayofthesculptureshowsthatOzymandiasobviouslyloseshispowerandisignored.Artistandsubject:Ozymandiaspassionsurvivedbythesculptorshand.OctetThespeakermeetsatravelerfroman“antiqueland”whodescribestheruinsfoundinthedesertwrinkledlipandsneerofcoldcommandTellthatitssculptorwellthosepassionsread-thefrownandsneerofcoldcommandonthestatuesfaceindicatethatthescu