Percy_Bysshe_Shelley(雪莱)

1、珀西比希雪莱,percy bysshe shelley,shelley (17921822,mary shelley,young shelley,life stories (1,6/19/1816 frankenstein, milton and the computeron this day in 1816 the shelleys, lord byron and entourage gathered at the villa diodati on lake geneva to tell the ghost stories that would trigger frankenstein. t

2、he byways of literature being what they are, this most legendary of storm-tossed evenings has connections backwards to john milton and forward to the language of computer programming,11/9/1816 the death of harriet westbrook, first wife of percy bysshe shelleyon this day in 1816, harriet westbrook co

3、mmitted suicide by drowning herself in hyde park. if you had never left me i might have lived, her final note to shelley said, but as it is i freely forgive you destroyer and preserver; hear, o hear,o wild west wind, thou breath of autumns being, thou, from whose unseen presence the leaves dead are

4、driven, like ghosts from an enchanter fleeing, yellow, and black, and pale, and hectic red, pestilence-stricken multitudes: o thou, who chariotest to their dark wintry bed the winged seeds, where they lie cold and low, each like a corpse within its grave, until thine azure sister of the spring shall

5、 blow her clarion oer the dreaming earth, and fill (driving sweet buds like flocks to feed in air) with living hues and odours plain and hill: wild spirit, which art moving everywhere; destroyer and preserver; hear, o hear,剽悍的西风啊, 你是暮秋的呼吸, 因你无形的存在, 枯叶四处逃窜, 如同魔鬼见到了巫师, 纷纷躲避; 那些枯叶, 有黑有白, 有红有黄, 像遭受了瘟疫的群

6、体, 哦, 你呀, 西风, 你让种籽展开翱翔的翅膀, 飞落到黑暗的冬床, 冰冷地躺下, 像一具具尸体深葬于坟墓, 直到 你那蔚蓝色的阳春姐妹凯旋归家, 向睡梦中的大地吹响了她的号角, 催促蓓蕾, 有如驱使吃草的群羊, 让漫山遍野注满生命的芳香色调; 剽悍的精灵, 你的身影遍及四方, 哦,听吧, 你既在毁坏, 又在保藏,stanza i in the first stanza, the autumn wind scatters dead leaves and seeds on the forest soil, where they eventually fertilize the earth a

7、nd take root as new growth. both destroyer and preserver, the wind ensures the cyclical regularity of the seasons. these themes of regeneration and the interconnectedness of death and life, endings and beginnings, runs throughout ode to the west wind,thou on whose stream, mid the steep skys commotio

8、n, loose clouds like earths decaying leaves are shed, shook from the tangled boughs of heaven and ocean, angels of rain and lightning: there are spread on the blue surface of thine airy surge, like the bright hair uplifted from the head of some fierce maenad, even from the dim verge of the horizon t

9、o the zeniths height the locks of the approaching storm. thou dirge of the dying year, to which this closing night will be the dome of a vast sepulchre, vaulted with all thy congregated might of vapours, from whose solid atmosphere black rain, and fire, and hail will burst: o hear,在你的湍流中, 在高空的骚动中, 纷

10、乱的云块就像飘零飞坠的叶子, 你从天空和海洋相互交错的树丛 抖落出传送雷雨以及闪电的天使; 在你的气体波涛的蔚蓝色的表面, 恰似酒神女祭司的头上竖起缕缕 亮闪闪的青丝, 从朦胧的地平线 一直到苍天的顶端, 全都披散着 即将来临的一场暴风骤雨的发卷, 你就是唱给垂死岁月的一曲挽歌, 四合的夜幕, 是巨大墓陵的拱顶, 它建构于由你所集聚而成的气魄, 可是从你坚固的气势中将会喷迸 黑雨、电火以及冰雹; 哦, 请听,thou who didst waken from his summer dreams the blue mediterranean, where he lay, lulled by th

11、e coil of his crystalline streams, beside a pumice isle in baiaes bay, and saw in sleep old palaces and towers quivering within the waves intenser day, all overgrown with azure moss and flowers so sweet, the sense faints picturing them! thou for whose path the atlantics level powers cleave themselve

12、s into chasms, while far below the sea-blooms and the oozy woods which wear the sapless foliage of the ocean, know thy voice, and suddenly grow grey with fear, and tremble and despoil themselves: o hear,你啊, 把蓝色的地中海从夏梦中 唤醒, 它曾被清澈的水催送入眠, 就一直躺在那个地方, 酣睡沉沉, 睡在拜伊海湾的一个石岛的旁边, 在睡梦中看到古老的宫殿和楼台 在烈日之下的海波中轻轻地震颤,

13、它们全都开满鲜花, 又生满青苔, 散发而出的醉人的芳香难以描述! 见到你, 大西洋的水波豁然裂开, 为你让出道路, 而在海底的深处, 枝叶里面没有浆汁的淤泥的丛林 和无数的海花、珊瑚, 一旦听出 你的声音, 一个个顿时胆战心惊, 颤栗着, 像遭了劫掠, 哦, 请听,stanzas ii if i were a swift cloud to fly with thee; a wave to pant beneath thy power, and share the impulse of thy strength, only less free than thou, o uncontrollabl

14、e! if even i were as in my boyhood, and could be the comrade of thy wanderings over heaven, as then, when to outstrip the skyey speed scarce seemed a vision; i would neer have striven as thus with thee in prayer in my sore need. oh! lift me as a wave, a leaf, a cloud! i fall upon the thorns of life!

15、 i bleed! a heavy weight of hours has chained and bowed one too like thee: tameless, and swift, and proud,假如我是一片任你吹卷的枯叶, 假若我是一朵随你飘飞的云彩, 或是在你威力之下喘息的水波, 分享你强健的搏动, 悠闲自在, 不羁的风啊, 哪怕不及你自由, 或者, 假若我能像童年的时代, 陪伴着你在那天国里任意翱游, 即使比你飞得更快也并非幻想 那么我绝不向你这般苦苦哀求: 啊, 卷起我吧! 如同翻卷波浪、 或像横扫落叶、或像驱赶浮云! 我跃进人生的荆棘, 鲜血直淌! 岁月的重负缚住了我

16、这颗灵魂, 它太像你了:敏捷、高傲、不驯,stanza iv the speaker identifies himself with the leaves of the first three stanzas: dead leaf, swift cloud, and wave. if the wind can lift these things into flight, why can it not also lift shelley as a wave, a leaf, a cloud ,make me thy lyre, even as the forest is: what if my

17、leaves are falling like its own! the tumult of thy mighty harmonies will take from both a deep, autumnal tone, sweet though in sadness. be thou, spirit fierce, my spirit! be thou me, impetuous one! drive my dead thoughts over the universe like withered leaves to quicken a new birth; and, by the inca

18、ntation of this verse, scatter, as from an unextinguished hearth ashes and sparks, my words among mankind! be through my lips to unawakened earth the trumpet of a prophecy! o, wind, if winter comes, can spring be far behind,拿我当琴吧, 就像那一片树林, 哪怕我周身的叶儿也同样飘落! 你以非凡和谐中的狂放的激情 让我和树林都奏出雄浑的秋乐, 悲凉而又甜美。狂暴的精灵哟, 但

19、愿你我迅猛的灵魂能够契合! 把我僵死的思想撒向整个宇宙, 像枯叶被驱赶去催促新的生命! 而且, 依凭我这首诗中的符咒, 把我的话语传给天下所有的人, 就像从未熄的炉中拨放出火花! 让那预言的号角通过我的嘴唇 向昏沉的大地吹奏! 哦, 风啊, 如果冬天来了, 春天还会远吗,stanza v the fifth stanza completes the metaphor by identifying shelleys falling and withered leaves as his dead thoughts and words. at last the speakerin longing t

20、o be the west winds lyrebecomes one with the forest,theme the cycle of the seasons west wind: destroyer and preserver sweeps across the land, sweeps across the sky, sweeps across the ocean man and wind young (posessing the qualities of the wind): tameless, radical, brave, passionate, energetic, cour

21、ageous, with strong imagination old (losing the qualities of the wind): tamed, conservative, inactive, indifferent, cold, loss of imagination,cycles of death and rebirth as a magician the wind works its magic throughout nature and it knows no bounds as the earth, water and air all feel its power. th

22、e imagery associated with this suggests that shelley expected his work to also spread over the universe, like the wind, to destroy the old and to preserve the new,the poem calls for a mythical power to inspire and induce change or a new birth. it is about the regenerative powers of nature to bring f

23、orth not only new life but also poetic inspiration. the call for inspiration comes in the form like a prayer, not to a christian god, but to an unseen spiritual force which has the same omnipresence and power as a god,o wild west wind, thou breath of autumns being,the west wind is a manifestation of

24、 spiritual or supernatural energy, associated with breath, respiration and inspiration, with pneuma and anima, the holy ghost or spirit, the spirit of life itself. this is important in a stanza which contains so many references and allusions to death and decay, reaffirming the energy and vitality of

25、 the west wind,apart from the alliteration it is also worth noting the capitalisation of west wind in the poem. in typically romantic fashion an abstract quality or aspect of nature is personified and addressed in the poem, such that it appears divine or god-like, or as an expression of the divine,t

26、hou, from whose unseen presence the leaves dead,leaves here refer to trees and the wind-borne seeds, but the phrase also carries associations with paper (leaves from books?), the withered leaves (and dead thoughts) referred to in stanza 5, which are driven across the universe by the power of the win

27、d. the leaves here are dead and fall to the earth, a recurrent theme in this stanza, but there they may give rise to new life,are driven, like ghosts from an enchanter fleeing,helps build up the sense of death, and also life after death, which is brought about by autumn, and by the west wind. there

28、are a number of images in this stanza which help build up this sense of death, haunting and the sepulchre, such as pestilence, dark wintry bed, cold and low, corpse within its grave, emphasizing the west winds quality as a harbinger of death,emphasizes the supernatural power of the west wind, holdin

29、g the observer spell-bound, but remaining invisible. is the wind here but the expression of this invisible and supernatural power, rather than the force itself? the reference to enchantment anticipates the next line and the references to the pestilence-driven multitudes, hypnotised by the dance of d

30、eath and unable to resist its power. it is also worth noting that enchantment originally meant incantation, the singing or weaving of a spell, like the violent noise made by the wind itself,enchanter,ghosts,yellow, and black, and pale, and hectic red, pestilence-stricken multitudes: o thou, who char

31、iotest to their dark wintry bed,to carry or steer, but with possible associations of transport to the underworld. note that in this stanza there is recurrent emphasis on the earth, as opposed to the air in stanza 2 and water/sea in stanza 3. see also the line like a corpse within its grave, 2 lines

32、on,the colours of the leaves swept from the trees, but possible also a reference to the colours of the worlds races, swept away by the forces of change and destruction at work throughout the world, i.e. not just in europe. the word hectic here means feverish, with its related associations of frenzy,

33、 energy and writhing, picked up in the next lines reference to pestilence, the plague which destroys whole communities,the winged seeds, where they lie cold and low, each like a corpse within its grave, until thine azure sister of the spring shall blow,borne by the air, these seeds fall to the earth

34、 and lie dormant, not dead, until awakened by the clarion call of spring,azure refers to the clear blue of the cloudless skies of spring, but the phrase as a whole relates to the gentle west wind of spring, more maternal than autumns wind. at this point in the stanza there is a distinct shift in moo

35、d, anticipating the gentler and more pastoral time of spring, with a noticeably more dream-like, soft and gentle mood,her clarion oer the dreaming earth, and fill (driving sweet buds like flocks to feed in air) with living hues and odours plain and hill,i.e., the trumpet call, a traditional pastoral

36、 motif, perhaps associated with the resurrection, but here associated with the pastoral image of the shepherdess summoning her flocks, the wind-borne seeds springing into buds,bright and cheerful after the drabness and death of winter,wild spirit, which art moving everywhere; destroyer and preserver

37、; hear, o hear,the stanza ends with a final couplet which returns us to the sense of the wind as wild and ever in motion, after the brief respite of spring described in the previous four lines. the emphasis here on moving everywhere might suggest that the wind, or spirit behind the wind, is continua

38、lly in motion in all created nature, and not just in this one mediterranean location, in other words, the winds of change,the wind possesses these two attributes, coupled also with its role as creator. in hindu mythology the three principal gods are siva (destroyer), brahma (creator) and vishnu (pre

39、server), and it is significant that shelleys poem invokes all three gods as manifested in the one abstract force of (or within or behind) the west wind. the phrase neatly expresses the ambivalent attitude which shelley feels towards the wind,thou on whose stream, mid the steep skys commotion, loose

40、clouds like earths decaying leaves are shed, shook from the tangled boughs of heaven and ocean,in other words, the flow of the wind or air. this stanza is predominantly concerned with the violence and terror of air storms, and it begins with a description which expresses the powerful spectacle of fr

41、actocumulus turbulence, which bring air (heaven) and water (ocean) together as one powerful force. note the use of the phrase decaying leaves, which continues on from the reference to the leaves of stanza 1,angels of rain and lightning: there are spread on the blue surface of thine airy surge, like

42、the bright hair uplifted from the head,possibly a reference to messengers and heralds of violent thunderstorms and waterspouts, but helping also to build up the atmosphere of supernatural energies and forces suggested later in the stanza,of some fierce maenad, even from the dim verge of the horizon

43、to the zeniths height the locks of the approaching storm. thou dirge,the maenads were female follows of the greek god dionysus, the god of wine and wild revelry, who were observed to be possessed with the spirit of frenzy and excess. here shelley draws on the associations of this classical reference

44、 to create a vivid impression of the dancing maenads, their hair streaming out and up into the air, likened to the water raised by the waterspouts, a further image of demonic possession,a mournful lament for the dead. here shelley seeks to emphasize the terrifying darkness of the storm scene, with i

45、ts darkness and associations with death,maenad,of the dying year, to which this closing night will be the dome of a vast sepulchre, vaulted with all thy congregated might,of vapours, from whose solid atmosphere black rain, and fire, and hail will burst: o hear,the image here is of the darkened sky s

46、imilar to a vast cathedrals interior, with the solid clouds forming the roof, and further images of death and also of the apocalypse: vast sepulchre, dying year, etc,the west wind,thou who didst waken from his summer dreams the blue mediterranean, where he lay, lulled by the coil of his crystalline

47、streams,at the beginning of this third stanza there is an apparent change of mood and tone, as the poem recalls the mood both of summer, and of older aristocratic civilisations now buried beneath the mediterranean waters. the connection between summer and older political and social orders, the polit

48、ical implication of the poem, is that of the west wind itself, which shelley typifies as acting at first below the water, and now on its surface. in the first part of the stanza the emphasis, however, is on the sensuous and luxuriant, in phrases such as lulled and sleep,beside a pumice isle in baiae

49、s bay, and saw in sleep old palaces and towers quivering within the waves intenser day,an area west of naples, a notoriously volcanic area, (hence the reference to pumice), and a former tourist resort in roman times. in 1818 shelley had taken a boat trip in the bay and observed the ruins of its anti

50、que grandeur standing like rocks in its transparent sea under our boat. as the roman town had been renowned for its luxury, immorality and even cruelty shelley uses the image of the now underwater parts of the resort as a symbol of an older aristocratic order, overgrown with moss and flowers, and le

51、velled by the atlantics power: shelley here introduces a reflection on the futility and transitoriness of human authority when set against the forces of nature, manifested in phenomenon such as volcanoes and tempests,pumice isle,all overgrown with azure moss and flowers so sweet, the sense faints pi

52、cturing them! thou for whose path the atlantics level powers cleave themselves into chasms, while far below the sea-blooms and the oozy woods which wear the sapless foliage of the ocean, know,the west wind has had its origins in the atlantic, and shelley suggests here the impact of the wind as its e

53、ffects reach across europe to the mediterranean. the political implications, in terms of waves of revolution sweeping eastwards across the continent, are clear: the atlantics influence is a levelling one, breaking down the social divisions brought about by tyranny and injustice. alternatively, even

54、the atlantic is whipped into chasms by the force of the wind, so it is inevitable that the mediterraneans waters will do so also,level powers,a chasm,thy voice, and suddenly grow grey with fear, and tremble and despoil themselves: o hear,shelley comments here the phenomenon alluded to at the conclus

55、ion of the third stanza is well known to naturalists. the vegetation at the bottom of the sea, of rivers, and of lakes, sympathizes with that of the land in the change of the seasons, and is consequently influenced by the winds which announce it. in the context of what has preceded them, these lines

56、 suggest that even the older aristocratic roman order had to recognise the inevitability of its fall under the forces of time and of nature. yet again the west wind is typified as both agent and harbinger of radical and violent change. within the stanza as a whole these closing lines radically disru

57、pt the mood of calm and sensuality created in the first eleven lines or so,despoil here refers to the loss of leaves. shelleys reference to the underwater trees losing its leaves echoes the earlier references to the loss of leaves in the first two stanzas, which is picked up and drawn together in st

58、anzas 4 and 5,if i were a dead leaf thou mightest bear; if i were a swift cloud to fly with thee; a wave to pant beneath thy power, and share,at this point there is a break in the poem, a radical shift of argument and a pulling together. shelley likes himself, hypothetically, to a leaf, a cloud and

59、a wave, subject to the force of the west wind, and asks to be borne aloft with it: he may be talking about inspiration or enthusiasm, both words which are derived from the sense of being filled with air, inflated, rising above experience and age,the impulse of thy strength, only less free than thou,

60、 o uncontrollable! if even i were as in my boyhood, and could be,the comrade of thy wanderings over heaven, as then, when to outstrip the skyey speed scarce seemed a vision; i would neer have striven,the wind is not subject to the forces of self-regulation and the apollonian urge to order and give f