b華茲華斯賞析

⑴ 誰能提供詩歌「She dwelt among the untrodden ways」的英文賞析

廉·華茲華斯（William
Wordsworth,1770-1850），英國19世紀浪漫主義詩歌的領袖人物，與其說是因為他的睿智而使其聞名於世、影響深遠，不如說是他情感的力量使其讓人印象深刻並為之傾倒，正如同時代的著名英國詩人、評論家馬修·阿諾德在致華茲華斯的悼詩中所問的一樣：「何處能在歐洲未來之歲月中，再度覓得華茲華斯的癒合才能？」
而華茲華斯有名的「露西組詩」之一的《她住在人跡罕到的路邊》便通過傳統的韻律、深切的感情、多樣化的意象完美地呈現了他情感力量的巨大與深遠。本文試從韻律、主題、藝術手法上入手，分析此詩以解讀隱含在其中的更深一層的華茲華斯詩歌創作中情感力量的呈現方式。
《She dwelt among the untrodden ways》
She dwelt among the untrodden ways
Beside the springs of Dove,
A Maid whom there were none to praise
And very few to love:
A violet by a mossy stone
Half hidden from the eye!
Fair as a star,when only one
Is shining in the sky.
She lived unknown,and few could know
When Lucy ceased to be;
But she is in her grave,and,oh,
The difference to me!
《她住在人跡罕到的路邊》
她住在人跡罕到的路邊，
住在野鴿泉的近旁；
沒有誰曾把這姑娘誇贊，
很少人曾把她愛上：
一朵半隱半現的紫羅蘭，
開在長青苔的石旁!
美好得像顆星忽閃忽閃，
獨一無二地掛天上。
活著時誰知道她在人間，
更有誰知道她夭亡；
但露西已在墳墓里長眠！
對我呀這太不一樣！
（黃杲譯）
一 由淳樸語言構建而成的謠曲
這首詩是現代詩壇公認的傑作，是威廉·華茲華斯於1799年發表的著名組詩《露西》中的第一首，描寫的是一位普通的蘇格蘭少女。盡管她「美好得像顆星忽閃忽閃」，卻生在「人跡罕到的路邊」，既得不到人的贊美，也得不到人的憐愛；更可惜的是，她小小年紀便默默無聞地死去了。消息傳來，令詩人感到震驚和痛苦。詩以樸素的語言平平寫來，字里行間卻滲透著濃濃的情意，真切感人。
在韻律上，此詩分為三節，採用具有英詩中古已有之的帶有民歌風格的謠曲形式（四音步抑揚格與三音步抑揚格相間，為交叉韻「abab
cdcd
efef」），這些語言形式的特點也與詩中鄉村姑娘露西的形象貼合得當、和諧統一。很多古時傳下的著名謠曲（如《派屈克·司本斯爵士》）以及一些名家的作品（如羅伯特·彭斯的《一朵紅紅的玫瑰》）都以此格律寫成。華茲華斯正是大量運用了這種詩體，使他的浪漫主義詩歌從當時的新古典主義詩歌中脫穎而出，並同英國詩壇上流行了一百多年的雙韻體劃清了界線，與他所極力反對的新古典主義的詩歌，特別是德萊頓、蒲柏和約翰遜等人的詩歌大相徑庭。從上面的原作看，詩行排列似乎參差不齊，但事實上格律相當嚴整：單行都為四音步，每個音步多由前輕後重的兩個音節構成；雙行都為三音步，每個音步同樣由前輕後重的兩個音節構成；每個詩節中，第一與第三行押韻，第二與第四行另押一韻。也有部分尾韻屬於眼韻，如「Dove」和「love」，「stone」和「one」。
這首詩歌體現出了華茲華斯語言上的創作理念。在語言上，他主張拋棄新古典主義時期典雅陳舊的詞句，而採用日常生活中的用語，採用民間生動的語言，他說這是「一種更淳樸和有力的語言。」使用這種語言的人「表達情感和思想都很單純而不矯揉造作」；他認為詩的韻律、節奏必須在很大程度上與口語的音調相吻合；他還強調詩人的想像力，認為想像可以「使日常的東西在不平常的狀態下呈現在心靈面前」。
二 由微賤人們的生活築起的情感
1800年，在為《抒情歌謠集》再版而寫的序言中，華茲華斯主張不僅要寫偉大的歷史事件，更要寫微賤人們的日常生活，因為在這種生活里「人的熱情和自然的美以永久的形式合而為一」，而此首詩歌所描述的便是微賤人們的日常生活。
關於本詩所想表達的思想，評論不一。有人認為詩歌表達的是敘述者對露西熱烈的愛，盡管其他人對露西的死活並不關心，但他卻依舊愛她，愛她的美麗。她美好的品質將永存於他的記憶里；有人認為是詩人藉此詩講述他豐富的生活經驗和對生活的深切感受，即他自己真實的愛戀和失去此愛的悲痛的經歷；而關於露西的身份問題，批評家們做了各種推測，卻終無定論。傳統觀點認為，露西即詩人的妹妹多蘿西；還有人推斷認為露西是安耐特·瓦隆——華茲華斯的女兒卡羅琳的母親（詩人並未與之成婚）；也有人認為詩人幼時的夥伴也是後來的合法妻子瑪麗·哈琴森是組詩中露西的生活原型；還有人認為詩中的露西並非特指某個具體的人，她實為一個理想的人物，是一個由華茲華斯的妹妹多蘿西、安耐特及瑪麗·哈琴森等生活原型合成的想像的理想美的典型。更有人認為，詩中的露西可能並不是詩人的愛人，也許是其朋友，更或者只是點頭之交，只是它寫出了詩人的至性深情。具體說來，詩人通過對一位美麗少女形象的刻畫及其命運的敘述，以自己惜美、惜弱的同情心引起了讀者的共鳴。一般說來，對於美的人或物，人們都希望能有美的境遇與之相匹配，不如此，便有一種錯位之感。像這么一位美麗而孤弱的少女，人們多希望她能有好的境遇啊！可事實正相反。她的逝世就如同星星的隕落，這是多麼令人惋惜的事！詩人通過言志抒情的藝術，重在表達情致，展示意境，使讀者涵詠體味，感同身受。詩中的感傷氣氛、對生命流逝的無奈心情和詩人哀憐的情緒，正是這種至性深情的自然流露，使詩句充滿感染力，深受讀者喜愛，魅力歷久不衰。
三 自然的美和永恆的形式共築的美詩
華茲華斯明確主張詩歌應以表現主觀情感和心靈世界來取代摹仿客觀事物，認為「所有的好詩都是強烈感情的自然漫溢」（the
spontaneous overflow of powerful feelings:it takes its origin from
emotion recollected in
tranquility），宣稱詩歌的偉大主題都是「人心的基本情感」，「那些偉大而又朴實的情感」總是與「自然的美和永恆的形式」相互作用，並以一種「赤裸而朴實的」語言表達出來，而這種語言是用來「永恆地取悅於人類」。而此詩則從形式上呈現了詩人情感力量的巨大與深遠。
從藝術手法上看，此詩似無技巧，實則渾然天成、不露痕跡。本詩極其短小，只有三節，共十二行。第二詩節的前兩行與後兩行之間看似毫無聯系，甚至相互矛盾，實則環環相扣。第一詩節描述了一少女雖芳華正茂，然「誰曾把這姑娘誇贊，很少人曾把她愛上」；第二詩節中運用了兩個截然相反的意象來描述露西，一是「一朵半隱半現的紫羅蘭，開在長青苔的石旁！」；同時又是「美好得像顆星忽閃忽閃，獨一無二地掛天上。」為更好地了解這兩個意象的獨具匠心，我們可以試著把第二詩節從整首詩中抽取出來觀其效果。

⑵ 誰能提供William Wordsworth （華茲華斯）《水仙花》的英文賞析

Notes about this poem:
1. Wordsworth made use of the description in his sister's diary, as well as
of his memory of the daffodils in Gowbarrow Park, by Ullswater. Cf. Dorothy
Wordsworth's Journal, April 15, 1802: "I never saw daffodils so beautiful.
They grew among the mossy stones . . .; some rested their heads upon these
stones, as on a pillow for weariness; and the rest tossed and reeled and
danced, and seemed as if they verily laughed with the wind, that blew upon
them over the lake; they looked so gay, ever glancing, ever changing."

2. 'They flash upon that inward eye... ': Wordsworth said that these were
the two best lines in the poem and that they were composed by his wife.

Biography and Assessment:

Wordsworth was born in the Lake District of northern England[...]The
natural scenery of the English lakes could terrify as well as nurture, as
Wordsworth would later testify in the line "I grew up fostered alike by
beauty and by fear," but its generally benign aspect gave the growing boy
the confidence he articulated in one of his first important poems, "Lines
Composed a Few Miles Above Tintern Abbey . . . ," namely, "that Nature
never did betray the heart that loved her."
[...]
Wordsworth moved on in 1787 to St. John's College, Cambridge. Repelled by
the competitive pressures there, he elected to idle his way through the
university, persuaded that he "was not for that hour, nor for that place."
The most important thing he did in his college years was to devote his
summer vacation in 1790 to a long walking tour through revolutionary
France. There he was caught up in the passionate enthusiasm that followed
the fall of the Bastille, and became an ardent republican sympathizer.
[...]
The three or four years that followed his return to England were the
darkest of Wordsworth's life. Unprepared for any profession, rootless,
virtually penniless, bitterly hostile to his own country's opposition to
the French, he knocked about London in the company of radicals like
William Godwin and learned to feel a profound sympathy for the abandoned
mothers, beggars, children, vagrants, and victims of England's wars who
began to march through the sombre poems he began writing at this time.
This dark period ended in 1795, when a friend's legacy made possible
Wordsworth's reunion with his beloved sister Dorothy--the two were never
again to live apart--and their move in 1797 to Alfoxden House, near
Bristol. There Wordsworth became friends with a fellow poet, Samuel Taylor
Coleridge, and they formed a partnership that would change both poets'
lives and alter the course of English poetry.

[...]

Through all these years Wordsworth was assailed by vicious and tireless
critical attacks by contemptuous reviewers; no great poet has ever had to
enre worse. But finally, with the publication of The River Duddon in
1820, the tide began to turn, and by the mid-1830s his reputation had been
established with both critics and the reading public.

Wordsworth's last years were given over partly to "tinkering" his poems,
as the family called his compulsive and persistent habit of revising his
earlier poems through edition after edition. The Prelude, for instance,
went through four distinct manuscript versions (1798-99, 1805-06, 1818-20,
and 1832-39) and was published only after the poet's death in 1850. Most
readers find the earliest versions of The Prelude and other heavily
revised poems to be the best, but flashes of brilliance can appear in
revisions added when the poet was in his seventies.

Wordsworth succeeded his friend Robert Southey as Britain's poet laureate
in 1843 and held that post until his own death in 1850. Thereafter his
influence was felt throughout the rest of the 19th century, though he was
honoured more for his smaller poems, as singled out by the Victorian
critic Matthew Arnold, than for his masterpiece, The Prelude. In the 20th
century his reputation was strengthened both by recognition of his
importance in the Romantic movement and by an appreciation of the darker
elements in his personality and verse.

William Wordsworth was the central figure in the English Romantic
revolution in poetry. His contribution to it was threefold. First, he
formulated in his poems and his essays a new attitude toward nature. This
was more than a matter of introcing nature imagery into his verse; it
amounted to a fresh view of the organic relation between man and the
natural world, and it culminated in metaphors of a wedding between nature
and the human mind, and beyond that, in the sweeping metaphor of nature as
emblematic of the mind of God, a mind that "feeds upon infinity" and
"broods over the dark abyss." Second, Wordsworth probed deeply into his
own sensibility as he traced, in his finest poem, The Prelude, the "growth
of a poet's mind." The Prelude was in fact the first long autobiographical
poem. Writing it in a drawn-out process of self-exploration, Wordsworth
worked his way toward a modern psychological understanding of his own
nature, and thus more broadly of human nature. Third, Wordsworth placed
poetry at the centre of human experience; in impassioned rhetoric he
pronounced poetry to be nothing less than "the first and last of all
knowledge--it is as immortal as the heart of man," and he then went on to
create some of the greatest English poetry of his century. It is probably
safe to say that by the late 20th century he stood in critical estimation
where Coleridge and Arnold had originally placed him, next to John
Milton--who stands, of course, next to William Shakespeare.

Some comments:

1.We often go through life as if we were unconscious of what is going on
around us - like clouds. We notice many things some of which are beautiful
and some ordinary. But being distracted - not poets, who would naturally
notice and be gay at the sight - we fail to be lifted by the simple but
awesome beauty that surrounds us. WW was not being a poet at the time and
so he "little thought what wealth to him the show had wrought." He was
forced to try to re-experience it from memory - his inward eye - in order to
fill his heart with the pleasure he missed when he actually saw the daffodils.

To me, the poem serves as a reminder that our happiness is best served if we
live our lives as poets and notice the simple beauty that nature gives us
daily. Where ordinary people see flowers, the poet sees stars, dancers,
happy celebrations of nature's miracles and is pleasured. Live as a
poet!!!!!

2.I always thought
of the poem as a simple poem of yellow gay springtime. Having really
looked at the poem something clicked and I have a profound understanding
that I had overlooked -

The word 'DANCE' is in every stanza - Dance the cosmic creative energy
that transforms space into time, is the rhythm of the universe. Round
dancing, was a dance that imitated the sun's course in the heavens and
enclosed a sacred space. The round, yellow, golden cups of the daffodil
can easily symbolize the sun, the sacred sun of incorruptibile wisdom,
superior and noble.

Dancing as the Dance of Siva is the eternal movement of the universe the
'play' of creatio, or the 'fluttering' frenzy emotional chaos of
Dionysian/Bacchic.

The stars, messengers of the gods, the eyes of night, and hope, toss
their 'head,' the seat of both our intelligence and folly, honor and
dishonor.

Lying on a couch in a vacant pensive mood could easily be a way to
discribe a meditative state where the forces of the universe and our
connection with the ceaseless movement, the ebb and flow of life as a
wave dances could be pondered.

That last line "And dances with the Daffodils." could it be the dance of
angels round the throne of God. If this is a poem of the cycle of
existence and the circling of the sun/God of course what wealth and
glee.

3.A poem can stir all of the senses, and the subject matter of a poem can range from being funny to being sad.