1、Philip FreneauThe Wild Honeysuckle野忍冬花美好的花呀，你長(zhǎng)得，這么秀麗，卻藏身在這僻靜沉悶的地方-甜美的花兒開(kāi)了卻沒(méi)人親昵，招展的小小枝梢也沒(méi)人觀賞；沒(méi)游來(lái)蕩去的腳把你踩碎，沒(méi)東攀西摘的手來(lái)催你落淚。大自然把你打扮得一身潔白，她叫你避開(kāi)庸俗粗鄙的目光，她布置下樹(shù)蔭把你護(hù)衛(wèi)起來(lái)，又讓潺潺的柔波淌過(guò)你身旁； 你的夏天就這樣靜靜地消逝， 這時(shí)候你日見(jiàn)萎蔫終將安息。那些難免消逝的美使我銷魂，想起你未來(lái)的結(jié)局我就心疼，別的那些花兒也不比你幸運(yùn)-雖開(kāi)放在伊甸園中也已凋零， 無(wú)情的寒霜再加秋風(fēng)的威力， 會(huì)叫這花朵消失得一無(wú)蹤跡。朝陽(yáng)和晚露當(dāng)初曾把你養(yǎng)育，讓你這小小的生命來(lái)到

2、世上，原來(lái)若烏有，就沒(méi)什么可失去，因?yàn)槟愕乃雷屇阃惹耙粯樱?這來(lái)去之間不過(guò)是一個(gè)鐘點(diǎn)- 這就是脆弱的花享有的天年。 （黃皋炘 譯）CommentaryThe short lyric was written in 1786. Freneau was inspired by the beauty of the wild honey suckle when he was walking at Chaeleston, South Carolina. It was virtually unread in the poets lifetime, yet it deserves a place among

3、 major English and American works of poetry of that time. This is one of the most quoted works of Freneau. Generally speaking, it is the best of Freneaus poems, and the best poem on nature before the appearance of the verses of William Cullen Bryant, William Wordsworth, and Ralph Waldo Emersons The

4、Rhodora. But unlike those early writers who turned to look for themes outside America, Freneau rooted his poem on this piece of land. He is one of the few early writers who eulogize the country. Before Freneau there had been some American poets who, however, wrote mostly on the religious theme and e

5、ither in style or structurally they imitated English poets. Freneau, the first American-born poet, was one of the earliest who cast their eyes over the natural surroundings of the New Continent and American subject matter. As is displayed in this poem, honeysuckle, instead of rose of daffodil became

6、 the object of depiction; it is “wild” just to convey the fresh perception of the natural scenes on the new continent. The flowers, similar to the early Puritan settlers, used to believe they were the selects of God to be arranged on the abundant land, but now have to wake up from fantasy and be mor

7、e respectful to natural law. Time is constant but the time of a life is short; any favor is relative but change is absolute; with or without the awareness, nature develops; flowers were born, blossomed and declined to repose, and human beings would exist in exactly the same way. A philosophical medi

8、tation is indicated by the description of the fate of a trivial wild plant. A quintessentially Romantic poet, Freneau demonstrated the best of his poetic art in the melodious lyrics on Natures beauty. In this short poem about a flower, the poet describes his thoughts over some much more grand topics

9、 including religion and life in general. The wild honey suckle is, in the poets eye, no longer a common flower. To some extent, Freneaus poem is a longer expounding of William Blakes poem: “To see the world in a grain of sand,/And a heaven in a wild flower,/Hold infinity in the palm of your hand,/An

10、d eternity in an hour.”In the first two stanzas, to start with, Freneau devoted more attention to the environment of the flower in which he found it than to the appearance of the flower per se. He commented on the secluded nature of the place where the honey suckle grew, drawing a conclusion that it

11、 was due to Natures protectiveness that the flower was able to lead a peaceful life free from mens disturbance and destruction. But the next stanza immediately changed the tone from silent admiration and appreciation to outright lamentation over the “futures doom” of the flower - even Nature was una

12、ble to save the flower from its death. Actually no flower, or no living being, can escape. Not even the flowers that used to bloom in Eden. Thus from the flower in nature the poet started to ponder over the fate of man, who was bound to fall from his innocence and suffer from the despair of death as

13、 the result to his exile from Paradise. Just as kindly as nourished and protected the honey suckle in spring and summer, Nature will destroy ruthlessly the flower with its autumn and winter weapons. Following the traditional European model, the lyric is written in regular 6-line tetrameter stanzas,

14、rhyming “ababcc”, and sounds just like music. But in order to accord with the change in tone and topic in Stanza 3, the rhythmic pattern is varied. Different from the rest the poem which is written in smooth iambic tetrameter lines, the third line of the stanza - “They died” - begins with a “spondee

15、” (two stressed beats in a row) and, after forcing the reader to pause (the dash), continues in a highly irregular rhythm with an intensification of stressed beats. The purpose is obvious: the speaker wants to drive the horrible message home, to let the reader feel the impact acutely. But as we prog

16、ress into the last stanza, when a more mature view of life and death is adopted, the rhythms are restored to the original regularity as the tone assumes a tempered serenity grown out of experience. In this poem, the poet expresses a keen awareness of the loveliness and transience of nature. It impli

17、es that life and death are inevitable law of nature. In addition, the poet writes with the strong implication that, though in the work no one is presented in person, human beings at times envy the flower. This is seen not because the “roving foot” would “crush”; nor that the “busy hand” would “provo

18、ke a tear”; nor because of the “vulgar eye”, but because of the fact that the human being has the ability to foresee his death. Whereas, the flower, with its happy ignorance, lacks this consciousness and is completely unaware of its doom. Its innocence left it happier than the foreseeing human being

19、s. Unfortunately, the human beings are quite unwilling to refuse this knowledge and that arouses all their sufferings. 菲利普弗瑞諾是美國(guó)18世紀(jì)著名的詩(shī)人，被成為美國(guó)詩(shī)歌之父。盡管他在很大程度上受到John Milton和Tomas Gray等英國(guó)詩(shī)人的影響，在詩(shī)歌的主題和形式上都帶有明顯的模仿痕跡，但他卻頗有獨(dú)創(chuàng)地把傳統(tǒng)英詩(shī)的創(chuàng)作模式運(yùn)用于謳歌北美大陸特有的土著居民和花卉鳥(niǎo)獸中。他的詩(shī)歌融合了新古典主義和浪漫主義，充滿美國(guó)情調(diào)，其特點(diǎn)在于具有濃厚的抒情色彩，運(yùn)用明確的意象手

20、法，并反映出崇尚自然和原始生活的傾向。而這些特點(diǎn)成為19世紀(jì)浪漫主義文學(xué)的基本特征，所以Freneau本人被認(rèn)為是美國(guó)浪漫主義文學(xué)的先驅(qū)。野金銀花就是他自然神論的一個(gè)重要特征，一直被評(píng)論家視為美國(guó)文學(xué)的瑰寶。Freneau豐富的想象使他在同代人中率先擺脫模擬英國(guó)18世紀(jì)新古典詩(shī)作的羈絆，直接觀察和描繪四周的一切。美洲大地的風(fēng)貌，它的一花一草，它平凡的生活經(jīng)歷，都能引起詩(shī)人的聯(lián)翩浮想。他善于捕捉倏忽即逝的遐思，并借此為框架，巧妙地遣詞用字，寫(xiě)出抒發(fā)自己胸臆的詩(shī)歌。野金銀花是Freneau在南卡羅萊納州查爾斯頓散步時(shí)，看到一簇幽生的金銀花，于是便有感而發(fā)，將這首短詩(shī)一氣呵成。詩(shī)人以敏銳的觀察力、淺

21、俗的詞匯、優(yōu)美的旋律和清晰的意象，細(xì)膩生動(dòng)地描寫(xiě)了盛開(kāi)于北美大地不為人們注意的野金銀花。此詩(shī)分為兩大部分，前兩節(jié)寫(xiě)景，后兩節(jié)抒情。寫(xiě)景以抒情為目的，抒情以寫(xiě)景為背景，兩部分互為烘托，成為不可分割的整體。詩(shī)人以驚喜的目光看到自然界神奇的產(chǎn)物時(shí)，心中涌動(dòng)的是對(duì)大自然無(wú)限的崇拜之情。如果說(shuō)“綠蔭”指的是未受人類文明侵犯的新大陸處女地的話，那些“美麗的金銀花”則應(yīng)是大自然創(chuàng)作的生命的具體體現(xiàn)。詩(shī)人用淺顯的文字勾畫(huà)出一片繁榮祥和的景象，在對(duì)生命的贊嘆中，流露出返璞歸真、崇尚自然的情節(jié)，充滿了浪漫主義情調(diào)和理想主義色彩。然而，F(xiàn)reneau的過(guò)人之處，不僅在于他具有詩(shī)人的敏感，而且在于他同時(shí)具有哲人的睿智

22、。詩(shī)人先是描寫(xiě)外界景物，然后直接聯(lián)系到自己，聯(lián)系到人類，并將人與自然融為一體，以自然規(guī)律來(lái)感染讀者。所以，詩(shī)人從第三小節(jié)開(kāi)始筆鋒一轉(zhuǎn)。顯然，詩(shī)人對(duì)大自然的神奇力量由崇拜轉(zhuǎn)為迷惑，懷著惋惜忐忑的心情聯(lián)想到生命的無(wú)奈和大自然的無(wú)情，開(kāi)始了對(duì)生命本質(zhì)的思考。因此，在第四小節(jié)，詩(shī)人對(duì)主題進(jìn)一步挖掘。至此，F(xiàn)reneau借助金銀花的榮枯闡述了自己毫不掩飾的自然觀：萬(wàn)物有生必有死，有榮必有枯，花開(kāi)花落，四季轉(zhuǎn)換乃自然界的規(guī)律，這一規(guī)律是不以人的意志為轉(zhuǎn)移的，是人類無(wú)法抗拒的。自然界萬(wàn)物的生生息息乃自然的神力所造就，是人類無(wú)法左右的。因而，對(duì)于花的榮枯，人的生死，人類大可不必為之傷情。正如中國(guó)的一句古語(yǔ)，人

23、“生不帶來(lái)死不帶去”。詩(shī)人高歌：“不曾擁有，何曾失去”，足以說(shuō)明詩(shī)人對(duì)生命本質(zhì)有了明確的認(rèn)識(shí)后，走出困惑，最終達(dá)到一種豁達(dá)樂(lè)觀的境界。 Freneau以他對(duì)美洲大地的深厚感情和洞若幽微的感受力，通過(guò)對(duì)金銀花的生長(zhǎng)環(huán)境及其盛衰變遷的描述，抒發(fā)了他對(duì)短暫人生的感嘆，使本詩(shī)在清麗的意境和濃郁的美洲大地的鄉(xiāng)土氣息中加入一層哲理的思考。詩(shī)歌的最后四句，似對(duì)花說(shuō)，又似詩(shī)人自然自語(yǔ)，令人頗為回味，乃整首詩(shī)歌的點(diǎn)睛之筆。人無(wú)異于花草，兩者都發(fā)端于“一塊共同的泥土”，并無(wú)法回避“一把黃土葬其身”的最終結(jié)局。美是那么短暫，人生或許亦莫過(guò)于此吧。言盡而意猶存，讓人悵然若失。詩(shī)人記錄了他對(duì)生命的感觸，揭示生命的本質(zhì)，

24、借此提醒讀者，生命因其短暫而寶貴無(wú)價(jià)。雖然生命只是從生到死的一個(gè)過(guò)程，但依然有許多令人心快的綺麗風(fēng)光，有許多值得人們?yōu)橹畩^斗拼搏的美好事物。珍惜生命才是真正地享受生命。盡管生命是有限的，卻要在這有限的生命中，盡可能綻放它，滿懷熱情，悟徹人生的實(shí)質(zhì)。就如同任何一種像野金銀花的花卉不會(huì)因?yàn)樽罱K的凋零而拒絕開(kāi)放，人類也不應(yīng)該因?yàn)樯罱K的結(jié)局是死亡就放棄對(duì)生命的珍愛(ài)。這首詩(shī)中，F(xiàn)reneau以抒情的色調(diào)描繪和謳歌了大自然的瑰麗，同時(shí)又揭示出自然界的蕭殺冷酷和生命無(wú)奈短暫的本質(zhì)；既有浪漫主義情調(diào)，又不乏意象主義的意味，的確不失為一首上乘之作。 Edgar Allan PoeTo Helen（1831）

25、Helen, thy beauty is to me Like those Nican barks of yore, That gently, oer a perfumed sea, The weary way-worn wanderer bore To his own native shore. On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the beauty of fair Greece,And the gra

26、ndeur of old Rome. *Lo ! in yon little window-niche How statue-like I see thee stand! The folded scroll within thy hand!Ah, Psyche, from the regions which Are Holy-land !致海倫海倫，對(duì)于我，你那美艷像往昔的尼斯之船，輕柔地拂過(guò)那芳香的大海，載著那疲憊的游子，返回故鄉(xiāng)的海岸。徘徊在茫茫無(wú)際的大海上，你水仙一般的秀發(fā)，你雍容典雅的臉龐，你海神一般的風(fēng)韻，讓我見(jiàn)識(shí)到，希臘舊日的風(fēng)華，羅馬往昔的莊嚴(yán)?？?！在那明麗的窗鏡內(nèi)，我看到了你手

27、持瑪瑙燈的身影，這般婀娜娉婷！?。∧氵@來(lái)自天國(guó)的靈魂！作品賞析詩(shī)人追求的是神圣的美，是彼岸的輝煌。海倫，這個(gè)使古希臘兩個(gè)國(guó)家發(fā)生戰(zhàn)爭(zhēng)的美女，正是這種美的象征。海倫的美像那古老的帆船, 古典、優(yōu)雅，勾起了詩(shī)人的詩(shī)情和豐富的想象力?！皝?lái)自天國(guó)的靈魂”，海倫仿佛出現(xiàn)在詩(shī)人的面前，那美麗的形象鮮明活潑，那風(fēng)姿神采令人心馳神往，讓詩(shī)人在追思希臘、羅馬的榮耀中沉醉。CommentaryThis poem is believed to have been written when the poet was only 14, inspired, as Poe admitted, by the beauty o

28、f Mrs. Jane Stith Stanard, the young mother of a school fellow who was “the first purely ideal love of my soul”. In this poem, the personal element of the young poet was almost completely sublimated in the idealization of the tradition of supernal beauty in art. The lady died in 1824. But she appear

29、ed in this poetic work in the figure of Helen, the well-known ancient beauty, with all the adoration of poet to her. In the first stanza, Helens beauty is compared to the Nicean barks - a suggestion of classical associations; whats more, “of yore” instead of “before” or “l(fā)ong ago”, is applied to add the classical atmosphere to the poem. As the ancient ships had transported the ancient hero - Ulysses - home fro Troy, so will the beauty of Helen lead the poet to the home of art.The second stanza starts with “On desper