華閱文章網1.雪萊《西風頌》的英文賞析 謝謝
[Commentary] Of the many revolutionary poems of Shelley, "Ode to the West Wind" is one of his best. It is not only a political poem but also a very lyrical one, in form or content. According to the poet, when he met the storm near the River Arno in Florence, Italy, he was deeply moved by this vehement（猛烈的） natural force, which he associated with the revolutionary storms of the human world. In the first part of this poem, Shelley describes the wind's power and its role as both "destroyer and preserver." As a destroyer, the west wind sweeps away the dead leaves; as the preserver, it plows the seeds deep into the earth to bloom when spring comes. In the second part, with images of clouds, rain, lightening, etc., the poet delineates（描繪） the power of the west wind to its extreme when it drives the clouds in the sky. The third part of the poem finds the poet showing the power of the wind in controlling the waves of the sea, from the tranquil Mediterranean to the turbulent Atlantic. In the fourth part, the poet expresses his keenly felt feelings and awakened thoughts toward the wind. The final part of the poem tells how the poet asks of the wind to drive away his dead thoughts, spread his lines to all corners of the world and awaken people who are still in a slumber. In a word, this poem is a passionate calling to the spirit of the personified west wind. The symbolism in this poem is rich and diverse. The wind is the natural force of regeneration; it is regarded as the force that leads to self-sacrifice, even self destruction, in man's personal life; it represents the invincible（不能征服的） political hopes that drive continually over the unawakened earth; and it is also the very passion of idealism, the aspiration and creativity itself. Shelley's craft in minute images like wind, water, sky, wood, etc., is both mythic（神話，虛構的） and biblical (in that it reveals to us the last scenes of the world like that recorded in the Revelation of the Bible). The total effect is "one of transcendental hope and energy, achieved through suffering and despair." As we see, while the first generation of Romantic poets like Wordsworth, Coleridge and Southey regarded nature as the embodiment of truth, the younger generation of Shelley, Byron and Keats largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley relates nature to art by working out powerful metaphors based on natural images, and expresses his views on the aesthetic quality in poetry.。
2.簡析《西風頌》
西風，是勇猛的，值得歌頌的。詩人雪萊所作的《西風頌》是一首政治抒情詩，雖然全詩沒有一句話是在寫革命，但整首詩就是圍繞革命來想像的。
全詩共有五段，前三段是在描寫西風，贊頌西風，而后兩段則是進一步的提升，詩人和西風相互應和。但兩者又溶為一體，成為詩的中心思想。第一段，詩人描寫西風掃除林中殘葉，送走生命的種子；第二段描寫了西風攪亂天上的云霧，呼喚雷電的到來；而第三段則說西風掀起大海的兇猛海浪，摧毀樹木，三段三個意境，從樹林到天空，再到大海，飛翔在現實和想象中。詩人的想象夸張而豐富，表達出了西風能夠抵抗腐朽，鼓舞新生的巨大潛能。第四段，便是創作形式的轉變，從寫景到抒情。最后一節是整首詩的高潮，進一步闡述了西風作為“保存者”的力量。詩人要求西風把他作為琴弦，使詩人能施展自己的力量去傳播革命的思想。為革命吶喊，把沉睡的人們喚醒“盡管我的葉落了，那有什么關系！” 作者希望西風能夠賜予自己“狂暴的精神”，與西風和二為一融為一體，去掃蕩腐朽反動勢力。表達了作者愿意為革命犧牲的堅強決心。西風的氣勢正是詩人所要我們知道的，全詩洋溢著詩人對西風的熱愛與向往。
《西風頌》采用的是象征性手法，整首詩從頭到尾都在寫秋天的西風，無論是寫景也好，抒情也好，都沒有脫離西風這個形象。詩人不僅是在歌唱西風，也是在歌唱革命。詩中的西風、殘葉、種子、云、風雨雷電、大海、樹木都不過是象征性的東西，但它們卻有著深刻的含意。大自然順息萬變的景象，正是革命戰爭的象征。看吧，那狂暴如同狂女的頭發，那黑夜中濃濃的無邊無際的神秘，是西風的力量，那黑色的雨、冰雹、火焰是它的幫手，這力量足以使人震撼。“哦，西風啊，如果冬天來了，春天還會遠嗎？”詩人最后發出這樣的感嘆，雪萊愿意用自己的生命去感受西風，愿意用生命去等待春天。西風已經成了一種象征，詩人以西風自喻，表達了自己對生活的信念和向舊世界宣戰的決心。
詩人以優雅而蓬勃的想象力構出了西風的形象，那氣勢磅礴的詩句，把西風的壯烈，急于掃除舊世界的情感抒發的淋漓盡致。詩中比喻奇異，形象鮮明，每一字每一句都表達了詩人激動的心情。詩人雪萊愿意用自己的一切，為即將到來的春天奉獻。
3.急求西風頌英文賞析
[Commentary] Of the many revolutionary poems of Shelley, "Ode to the West Wind" is one of his best. It is not only a political poem but also a very lyrical one, in form or content. According to the poet, when he met the storm near the River Arno in Florence, Italy, he was deeply moved by this vehement（猛烈的） natural force, which he associated with the revolutionary storms of the human world. In the first part of this poem, Shelley describes the wind's power and its role as both "destroyer and preserver." As a destroyer, the west wind sweeps away the dead leaves; as the preserver, it plows the seeds deep into the earth to bloom when spring comes. In the second part, with images of clouds, rain, lightening, etc., the poet delineates（描繪） the power of the west wind to its extreme when it drives the clouds in the sky. The third part of the poem finds the poet showing the power of the wind in controlling the waves of the sea, from the tranquil Mediterranean to the turbulent Atlantic. In the fourth part, the poet expresses his keenly felt feelings and awakened thoughts toward the wind. The final part of the poem tells how the poet asks of the wind to drive away his dead thoughts, spread his lines to all corners of the world and awaken people who are still in a slumber. In a word, this poem is a passionate calling to the spirit of the personified west wind. The symbolism in this poem is rich and diverse. The wind is the natural force of regeneration; it is regarded as the force that leads to self-sacrifice, even self destruction, in man's personal life; it represents the invincible（不能征服的） political hopes that drive continually over the unawakened earth; and it is also the very passion of idealism, the aspiration and creativity itself. Shelley's craft in minute images like wind, water, sky, wood, etc., is both mythic（神話，虛構的） and biblical (in that it reveals to us the last scenes of the world like that recorded in the Revelation of the Bible). The total effect is "one of transcendental hope and energy, achieved through suffering and despair." As we see, while the first generation of Romantic poets like Wordsworth, Coleridge and Southey regarded nature as the embodiment of truth, the younger generation of Shelley, Byron and Keats largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley relates nature to art by working out powerful metaphors based on natural images, and expresses his views on the aesthetic quality in poetry.。
4.雪萊《西風頌》的英文賞析 謝謝
Interpretation of the poemThe poem Ode to the West Wind can be divided in two parts: the first three stanzas are about the qualities of the 'Wind'; the fact that these three stanzas belong together can visually be seen by the phrase 'Oh hear!' at the end of each of the three stanzas. Whereas the first three stanzas give a relation between the 'Wind' and the speaker, there is a turn at the beginning of the fourth stanza; the focus is now on the speaker, or better the hearer, and what he is going to hear.a.) first stanzaThe first stanza begins with the alliteration 'wild West Wind'. This makes the 'wind' “sound invigorating”. The reader gets the impression that the wind is something that lives, because he is 'wild' – it is at that point a personification of the 'wind'. Even after reading the headline and the alliteration, one might have the feeling that the 'Ode' might somehow be positive. But it is not, as the beginning of the poem destroys the feeling that associated the wind with the spring. The first few lines consist of a lot of sinister elements, such as 'dead leaves'. The inversion of 'leaves dead' (l. 2) in the first stanza underlines the fatality by putting the word 'dead' (l. 2) at the end of the line so that it rhymes with the next lines. The sentence goes on and makes these 'dead' (l. 2) leaves live again as 'ghosts' (l. 3) that flee from something that panics them. The sentence does not end at that point but goes on with a polysyndeton. The colourful context makes it easier for the reader to visualise what is going on – even if it is in an uncomfortable manner. 'Yellow' can be seen as “the ugly hue of 'pestilence-stricken' skin; and 'hectic red', though evoking the pase of the poem itself, could also highlight the pace of death brought to multitudes.” There is also a contradiction in the colour 'black' (l. 4) and the adjective 'pale'(l. 4). In the word 'chariotest' (l. 6) the 'est' is added to the verb stem 'chariot', probably to indicate the second person singular, after the subject 'thou' (l. 5). The 'corpse within its grave' (l. 8) in the next line is in contrast to the 'azure sister of the Spring' (l. 9) – a reference to the east wind - whose 'living hues and odours plain' (l.12) evoke a strong contrast to the colours of the fourth line of the poem that evoke death. The last line of this stanza ('Destroyer and Preserver', l. 14) refers to the west wind. The west wind is considered the 'Destroyer' (l. 14) because it drives the last sings of life from the trees. He is also considered the 'Preserver' (l.14) for scattering the seeds which will come to life in the spring.b.) second stanzaThe second stanza of the poem is much more fluid than the first one. The sky's 'clouds' (l.16) are 'like earth's decaying leaves' (l. 16). They are a reference to the second line of the first stanza ('leaves dead', l. 2). Through this reference the landscape is recalled again. The 'clouds'(l. 16) are 'Shook from the tangled boughs of Heaven and Ocean' (l. 17). This probably refers to the fact that the line between the sky and the stormy sea is indistinguishable and the whole space from the horizon to the zenith being is covered with trialing storm clouds. The 'clouds' can also be seen as 'Angels of rain' (l. 18). In a biblical way, they may be messengers that bring a message from heaven down to earth through rain and lightning. These two natural phenomenons with their “fertilizing and illuminating power” bring a change. Line 21 begins with 'Of some fierce Maenad 。
' (l. 21) and again the west wind is part of the second stanza of the poem; here he is two things at once: first he is 'dirge/Of the dying year' (l. 23f) and second he is “a prophet of tumult whose prediction is decisive”; a prophet who does not only bring 'black rain, and fire, and hail' (l. 28), but who 'will burst' (l. 28) it. The 'locks of the approaching storm' (l. 23) are the messengers of this bursting: the 'clouds'. Shelley in this stanza “expands his vision from the earthly scene with the leaves before him to take in the vaster commotion of the skies”. This means that the wind is now no longer at the horizon and therefore far away, but he is exactly above us. The clouds now reflect the image of the swirling leaves; this is a parallelism that gives evidence that we lifted “our attention from the finite world into the macrocosm”. The 'clouds' can also be compared with the leaves; but the clouds are more unstable and bigger than the leaves and they can be seen as messengers of rain and lightning as it was mentioned above.c.) third stanzaThe question that comes up when reading the third stan。
5.請高手翻譯關于西風頌一段賞析
Analysis of Percy Shelley's “Ode to the West Wind” In 'Ode to the West Wind,' Percy Bysshe Shelley tries to show his desire for transcendence, by explaining that his thoughts and ideas, like the 'winged seeds' are trapped. The West Wind acts as a force for change and forward movement in the human and natural world. Shelley sees winter not just as the last season of vegetation but as the last phase of life. Shelley observes the changing of the weather from autumn to winter and its effects on the environment. Shelley is trying to show that a man's ideas can spread and live on beyond his lifetime by having the wind carry his 'dead thoughts' which through destruction, will lead to a rebirth in the imagination, and in the natural world. Shelley begins his poem by addressing the 'Wild West Wind'. He then introduces the theme of death and compares the dead leaves to 'ghosts'. The imagery of 'Pestilence-stricken multitudes' makes the reader aware that Shelley is addressing more than a pile of leaves. His claustrophobic mood is shown when he talks about the 'wintry bed' and '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'. In the first line, Shelley used the phrase 'winged seeds' which presents i . . . The 'closing night' is used also to mean the final night. The 'pumice' shows destruction and creation because when the volcano erupts it destroys. This acts as an introduction and a foreshadow of what is to come later. ' also helps the reader prepare for the climax which Shelley intended. It seems that it is only in his death that the 'Wild Spirit' could be lifted 'as a wave, a leaf, a cloud' to blow free in the 'Wild West Wind'. The 'pumice' is probably Shelley's best example of rebirth. As the rising action continues, Shelley talks about the 'Mediterranean' and its 'summer dreams'. Again, he uses soft sounding words to calm the reader into the same dream-like state of the Mediterranean. He then writes like a mourning song 'Of the dying year, to which this closing night/ Will be the dome of a vast sepulchre/ Vaulted with all they congregated might'. Percy sees his 'dome' as a volcano and when the 'dome' does 'burst,' it will act as a 'Destroyer and Preserver' and creator. In 'Ode to the West Wind,' Shelley uses the wind to represent driving change and a carrier for his ideas.。
6.西風頌賞析 第三節
第三節描寫西風掀起大海的洶涌波濤，摧毀海底花樹。
三節詩三個意境，詩人幻想的翅膀飛翔在樹林、天空和大海之間，飛翔在現實和理想之間，形象鮮明，想象豐富，但中心思想只有一個，就是歌唱西風掃除腐朽、鼓舞新生的強大威力。從第四節開始，由寫景轉向抒情，由描寫西風的氣勢轉向直抒詩人的胸臆，抒發詩人對西風的熱愛和向往，達到情景交融的境界，而中心思想仍然是歌唱西風。
前3節寫“西風”。 后2段寫詩人與西風的應和。
第三節，視角從高空回到了海洋，寫西風喚醒了海洋，也讓海底的植物戰栗不安。在形容西風到來之前海洋的平靜的時候，詩人設想“它曾經昏睡了一整個夏天”，而且在夢中它還見到了“古老的宮殿和樓閣”，讀者似乎能看到樓閣的倒影在澄澈的海水中，如何蕩漾形成一片波光瀲滟的美景。
隨后，大海也似乎有了人格，在西風到來的時候主動劈開了自己，暴露出了深藏在海底的植物。這一段描寫十分奇異，似乎完全出自詩人恢弘的想像，然而也符合了某種自然的規律。
據說，海洋、河流、湖泊底部的水生植物，也像陸地植物一樣，對季節的改變有相同的反應，因而西風的到來當然對它們也會產生影響。
7.請高手翻譯關于西風頌一段賞析
Analysis of Percy Shelley's “Ode to the West Wind” In 'Ode to the West Wind,' Percy Bysshe Shelley tries to show his desire for transcendence, by explaining that his thoughts and ideas, like the 'winged seeds' are trapped. The West Wind acts as a force for change and forward movement in the human and natural world. Shelley sees winter not just as the last season of vegetation but as the last phase of life. Shelley observes the changing of the weather from autumn to winter and its effects on the environment. Shelley is trying to show that a man's ideas can spread and live on beyond his lifetime by having the wind carry his 'dead thoughts' which through destruction, will lead to a rebirth in the imagination, and in the natural world. Shelley begins his poem by addressing the 'Wild West Wind'. He then introduces the theme of death and compares the dead leaves to 'ghosts'. The imagery of 'Pestilence-stricken multitudes' makes the reader aware that Shelley is addressing more than a pile of leaves. His claustrophobic mood is shown when he talks about the 'wintry bed' and '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'. In the first line, Shelley used the phrase 'winged seeds' which presents i . . . The 'closing night' is used also to mean the final night. The 'pumice' shows destruction and creation because when the volcano erupts it destroys. This acts as an introduction and a foreshadow of what is to come later. ' also helps the reader prepare for the climax which Shelley intended. It seems that it is only in his death that the 'Wild Spirit' could be lifted 'as a wave, a leaf, a cloud' to blow free in the 'Wild West Wind'. The 'pumice' is probably Shelley's best example of rebirth. As the rising action continues, Shelley talks about the 'Mediterranean' and its 'summer dreams'. Again, he uses soft sounding words to calm the reader into the same dream-like state of the Mediterranean. He then writes like a mourning song 'Of the dying year, to which this closing night/ Will be the dome of a vast sepulchre/ Vaulted with all they congregated might'. Percy sees his 'dome' as a volcano and when the 'dome' does 'burst,' it will act as a 'Destroyer and Preserver' and creator. In 'Ode to the West Wind,' Shelley uses the wind to represent driving change and a carrier for his ideas.。
8.誰能幫我鑒賞下雪萊的 西風頌 的最后兩句話,用英語、
簡潔版：
In the last setence "If Winter comes, can Spring be far behind?" , Shelley tried to indicate the approaching achievement after difficulties facing us for the time being. It boosts people's confidence in fighting for the tough goals during their lifetime.
9.雪萊西風頌第五節詳細分析
西風頌 第一節 哦，狂暴的西風，秋之生命的呼吸！ 《西風頌》封面 你無形，但枯死的落葉被你橫掃， 有如鬼魅碰到了巫師，紛紛逃避： 黃的，黑的，灰的，紅得像患肺癆， 呵，重染疫癘的一群：西風呵，是你 以車駕把有翼的種子催送到 黑暗的冬床上，它們就躺在那里， 像是墓中的死穴，冰冷，深藏，低賤， 直等到春天，你碧空的姊妹吹起 她的喇叭，在沉睡的大地上響遍， （喚出嫩芽，像羊群一樣，覓食空中） 將色和香充滿了山峰和平原。
不羈的精靈呵，你無處不遠行； 破壞者兼保護者：聽吧，你且聆聽！ 第二節 沒入你的急流，當高空一片混亂， 流云象大地的枯葉一樣被撕扯 脫離天空和海洋的糾纏的枝干。 成為雨和電的使者：它們飄落 在你的磅礴之氣的蔚藍的波面， 有如狂女的飄揚的頭發在閃爍， 從天穹的最遙遠而模糊的邊沿 直抵九霄的中天，到處都在搖曳 欲來雷雨的卷發，對瀕死的一年 你唱出了葬歌，而這密集的黑夜 將成為它廣大墓陵的一座圓頂， 里面正有你的萬鈞之力的凝結； 那是你的渾然之氣，從它會迸涌 黑色的雨，冰雹和火焰：哦，你聽！ 第三節 是你，你將藍色的地中海喚醒， 而它曾經昏睡了一整個夏天， 被澄澈水流的回旋催眠入夢， 就在巴亞海灣的一個浮石島邊， 它夢見了古老的宮殿和樓閣 在水天輝映的波影里抖顫， 而且都生滿青苔、開滿花朵， 那芬芳真迷人欲醉！呵，為了給你 讓一條路，大西洋的洶涌的浪波 把自己向兩邊劈開，而深在淵底 那海洋中的花草和泥污的森林 雖然枝葉扶疏，卻沒有精力； 聽到你的聲音，它們已嚇得發青： 一邊顫栗，一邊自動萎縮：哦，你聽！ 第四節 哎，假如我是一片枯葉被你浮起， 假如我是能和你飛跑的云霧， 是一個波浪，和你的威力同喘息， 假如我分有你的脈搏，僅僅不如 你那么自由，哦，無法約束的生命！ 假如我能像在少年時，凌風而舞 便成了你的伴侶，悠游天空 （因為呵，那時候，要想追你上云霄， 似乎并非夢幻），我就不致像如今 這樣焦躁地要和你爭相祈禱。
哦，舉起我吧，當我是水波、樹葉、浮云！ 我跌在生活底荊棘上，我流血了！ 這被歲月的重軛所制服的生命 原是和你一樣：驕傲、輕捷而不馴。 第五節 把我當作你的豎琴吧，有如樹林： 盡管我的葉落了，那有什么關系！ 你巨大的合奏所振起的音樂 將染有樹林和我的深邃的秋意： 雖憂傷而甜蜜。
呵，但愿你給予我 狂暴的精神！奮勇者呵，讓我們合一！ 請把我枯死的思想向世界吹落， 讓它像枯葉一樣促成新的生命！ 哦，請聽從這一篇符咒似的詩歌， 就把我的話語，像是灰燼和火星 從還未熄滅的爐火向人間播散！ 讓預言的喇叭通過我的嘴唇 把昏睡的大地喚醒吧！西風啊， 如果冬天來了，春天還會遠嗎？。