第十讲悼亡诗情婚曲与歌.docx

1、第十讲悼亡诗情婚曲与歌英美诗歌选读课程教案第十讲首页学生专业班级学 时 数教学目的教学内容教学重点教学难点教学进程教学方法教 具课后总结作 业备注：教学进程一栏可根据教学内容的多少自定页数。第十讲 悼亡诗、庆婚曲、歌第一节 悼亡诗悼亡诗（elegy or monody or mournful poem）也被译成挽歌，哀歌，是哀悼个人之死，群体之死，乃至整个人类之死的诗作。如弥尔顿的黎西达斯（Lyidas, 1637）是诗人对同学、密友爱德华金（Edward King）的哀悼之作。金和弥尔顿就读于剑桥大学基督学院，两人都是诗人、学者和有事业心的好青年，是校方精心培养的牧师人才。金在1633年获得

2、硕士学位后，继续在原校深造，准备做牧师，不幸的是，金于1637年夏天利用暑假去爱尔兰访友，在威尔斯港外船破人溺。弥尔顿非常伤心，写下了这首哀歌，其前面部分如下：Yet once more, O ye laurels, and once more, Ye myrtles brown, with ivy never sere, I come to pluck your berries harsh and crude, And with forced fingers rude Shatter your leaves before the mellowing year. Bitter constrai

3、nt, and sad occasion dear, Compels me to disturb your season due; For Lycidas is dead, dead ere his prime, Young Lycidas, and hath not left his peer. 通过对亡友的哀悼，弥尔顿似乎成熟了许多，在结尾处暗示出要告别以前的诗歌创作风格，准备走向革命战斗的诗歌新草地：And now the sun had stretched out all the hills, And now was dropped into the western bay. At l

4、ast he rose, and twitched his mantle blue: Tomorrow to fresh woods, and pastures new. 1652年，弥尔顿第一任妻子玛丽（Marry Powell）产后三天去世，弥尔顿完全失明。1656年娶年仅28岁的凯瑟琳（Katherine Woodcock）为妻，不料凯瑟琳于1658年死于生产。弥尔顿在凯瑟琳死后的第三年，即1600年，写下了十四行诗悼亡妻（On His Deceased Wife），表达了他与妻子真挚的情感：Methought I saw my late espoused saintBrought me

5、 like Alcestis from the grave,Whom Joves great son to her glad husband gave,Rescued from Death by force, though pale and faint.Mine, as whom washed from spot of child-bed taintPurification in the Old Law did save,And such as yet once more I trust to haveFull sight of her in Heaven without restraint,

6、Came vested all in white , pure as her mind.Her face was veiled; yet to my fancied sightLove, sweetness, goodness, in her person shinedSo clear as in no face with more delight.But, oh! as to embrace me she inclined,I waked, she fled, and day brought back my night. 托马斯格雷的墓园挽歌，前两节如下：The curfew tolls t

7、he knell of parting day,The lowing herd winds slowly oer the lea,The ploughman homeward plods his weary way,And leaves the world to darkness and to me.Now fades the glimmering landscape on the sight,And all the air a solemn stillness holds,Save where the beetle wheels his droning flight,And drowsy t

8、inklings lull the distant folds: （Thomas Gray: Elegy Written in a Country Churchyard）这首诗表达了对乡土的爱和对农民的同情，歌颂的是淳朴，有一种难以派遣的感伤情绪，因为当时英国工业革命正在开始，诗人感到它在破坏乡村的宁静生活，造成巨大变化，但又不明究竟，无可奈何。这首诗结构谨严，词句精雕细刻，深刻的个人感受和浓厚的感伤情绪得到完美结合。也是在这首诗里，这位充满感伤情绪的古典主义者传达了后来浪漫主义诗人们大力宣泄的浪漫情调：Full many a gem of purest ray serene,The dark

9、 unfathomd caves of ocean bear:Full many a flower is born to blush unseen,And waste its sweetness on the desert air. 华兹华斯的露西组诗，是为了纪念诗人曾经钟爱的姑娘，不幸的是姑娘已经不在人世，因此这些诗里有一种忧郁的情调，对死者的爱表达了对这位姑娘的悼念：A slumber did my spirit seal;I had no human fears:She seemed a thing that could not feelThe touch of earthly year

10、s.No motion has she now, no force;She neither hears nor sees;Rolled round in earths diurnal course,With rocks, and stones, and trees. (William Wordsworth: The Love for the Dead)英诗中写得这样沉重的悼亡诗不多见，最后把一个弱女子的命运放在整个大自然的运转里，从此得到一种不朽，又是华兹华斯的独有之笔。雪莱的阿多尼斯（Adonais, 1821）是雪莱悼念济慈之死而作，第一节如下：I weep for Adonaishe i

11、s dead!O, weep for Adonais! though our tearsThaw not the frost which binds so dear a head!And thou, sad Hour, selected from all yearsTo mourn our loss, rouse thy obscure compeers,And teach them thine own sorrow! Say: With meDied Adonais; till the Future daresForget the Past, his fate and fame shall

12、beAn echo and a light unto eternity!据希腊神话，阿多尼斯是一个美少年，为爱与美的女神阿弗洛狄忒（Aphrodite, 在罗马神话中为维纳斯）所爱，不幸被野猪咬伤而亡。希腊妇女年年为其举行悼念仪式，诗人比翁（Bion, 100BC）曾写过挽诗哀悼。莎士比亚根据此神话写了英雄叙事诗维纳斯与阿多尼斯。雪莱在这首诗中将阿多尼斯比拟济慈，阿多尼斯的故事和济慈的遭遇相互交织，不少章节都仿效和取材于比翁哀悼阿多尼斯的挽诗。但比翁笔下的阿弗洛狄忒代表对肉体美的爱，雪莱笔下的幽兰尼（Urania, 阿多尼斯或济慈的母亲）则象征对于精神的爱。阿诺德的色希斯（Thyrsis, 1

13、866）是悼念诗人朋友亚瑟克拉夫（Arthur Hugh Clough, 18191861），克拉夫作品表现对维多利亚时期道德和宗教的怀疑，可惜于1861年死于佛罗伦萨。第一诗节如下：How changed is here each spot man makes or fills!In the two Hinkseys nothing keeps the same;The village street its haunted mansion lacks,And from the sign is gone Sibyllas name,And from the roofs the twisted

14、chimney-stacks-Are ye too changed, ye hills?See, tis no foot of unfamiliar menTo-night from Oxford up your pathway strays!Here came I often, often, in old days-Thyrsis and I; we still had Thyrsis then. 在希腊神话中，酒神杖（Thyrsus）是酒神狄俄尼索斯（Dionysus）的手杖。阿诺德将这个词改变一个字母成为人名色希斯，用以比拟诗人朋友克拉夫，将朋友提到很高的地位。这首诗追忆了诗人与克拉夫在

15、牛津郡乡下漫步的美好时光、年轻时他们作为诗人的相互竞争以及克拉夫离开他而进入更加纷乱的社会。诗歌一开始就睹物思人，哀伤油然而生。托玛斯哈代与前妻爱玛生前不睦，但婚后亦曾经有过多年的恩爱。1912年11月爱玛去世后，哈代无限悲伤，回首往事，非常悔恨和自责，从1912年11月到1913年底，写下了五十多首怀念亡妻的诗篇，其中有这篇呼唤声(The Voice)Woman much missed, how you call to me, call to me,Saying that now you are not as you wereWhen you had changed from the one

16、 who was all to me, But as at first, when our day was fair.Can it be you that I hear? Let me view you, then,Standing as when I drew near to the townWhere you would wait for me: yes, as I knew you then,Even to the original air-blue gown!Or is it only the breeze, in its listlessnessTraveling across th

17、e wet mead to me here,You being ever dissolved to wan wistlessness,Heard no more again far or near?Thus I; faltering forward,Leaves around me falling,Wind oozing thin through the thorn from norward,And the woman calling. 这诗感情真挚，抚今追昔，低徊不已，写法也很朴实，没有一个浮词艳词，与一般浪漫派诗歌不同。浪漫派诗歌是年轻人的诗，而此诗诗人作于老年，因历经沧桑而感受更深。甚至

18、“你变了，不再完全属于我”（you had changed from the one who was all to me）也坦白说出，如今一切又回到最初的热恋时刻，连她当年穿的“浅蓝裙衣”都如在眼前，那一声声呼唤，也就更加震撼心灵了。第二节 庆婚曲顾名思义，庆婚曲(Epitholamion or marriage songs)是庆祝婚姻的诗作。最具代表性的是斯宾塞的祝婚曲（Epithalamion, 1595），全诗包括二十三个诗节，每个诗节从十七行到十九行不等。诗中以新娘和新郎为中心，周围是城镇街衢，即社会环境。城外是自然环境，在这外围又呈现出神话世界，神话世界之上，则是基督教天国。总之，社

19、会与自然、现实与想象、异教与基督教等众多因素融为一体，创造了一个无限浩淼的宇宙空间。正是从宇宙空间那黎明前的阴郁和沉寂开始，诗中首先出现了神话人物。在这种氛围之中，新娘从娘家出发。随着旭日东升，人类社会看见庆婚队列穿过城镇街衢，来到教堂，举行神圣的婚仪。接着是喜庆活动。夜幕降临后，众人散去，只把一对新婚夫妇留在洞房，这时又再次出现神话人物和广阔宇宙。全诗以广阔的宇宙开始和结束。在这广阔的背景上，全诗以第十二、十三两诗节描写教堂婚仪为中心，象征性地把人间之爱与神爱结合在一起，构成了一曲宇宙欢乐的颂歌。其第十三诗节（即第223行第241行）如下：Behold whiles she before t

20、he altar standsHearing the holy priest that to her speaksAnd blesseth her with his two happy hands,How the red roses flush up in her cheeks,And the pure snow with goodly vermill stain,Like crimson dye in grain,That even th Angels which continually,About the sacred Altar doe remain,Forget their servi

21、ce and about her fly,Oft peeping in her face that seems more fair,The more they on it stare.But her sad eyes still fastened on the ground,Are governed with goodly modesty,That suffers not one look to glance awry,Which may let in a little thought unsound,Why blush ye love to give to me your hand,The

22、pledge of all our band?Sing ye sweet Angels Alleluya sing,That all the woods may answer and your echo ring. 斯宾塞的迎婚曲（Prothalamion, 1596）是诗人为庆祝伍斯特伯爵萨默塞特两个女儿在埃塞克斯府邸举行的婚礼而写的贺诗。全诗共十个诗节，其开始部分如下： Calm was the day, and through the trembling airSweet-breathing Zephyrus did softly playA gentle spirit, that li

23、ghtly did delayHot Titans beams, which then did glister fair;When I (whom sullen care,Through discontent of my long fruitless stayIn princes court, and expectation vainOf idle hopes, which still do fly awayLike empty shadows, did afflict my brain),Walkd forth to ease my painAlong the shore of silver

24、-streaming Thames;Whose rutty bank, the which his river hems,Was painted all with variable flowers,And all the meads adornd with dainty gemsFit to deck maidens bowers,And crown their paramours Against the bridal day, which is not long:Sweet Thames! run softly, till I end my song. 第三节 歌歌（song）是诗歌的一种，

25、与其他诗歌不同的是，歌主要用来配上乐曲唱，因而也就有歌曲的特点，诸如合唱，反复等。例如：T was at the royal feast, for Persia wonBy Philips warlike son:Aloft in awful stateThe godlike hero sateOn his imperial throne;His valiant peers were placed around;Their brows with roses and with myrtles bound:(So should desert in arms be crowned).The love

26、ly Thas, by his side,Sate like a blooming Eastern brideIn flower of youth and beautys pride.Happy, happy, happy pair!None but the brave,None but the brave,None but the brave deserves the fair.ChorusHappy, happy, happy pair!None but the brave,None but the brave,None but the brave deserves the fair. （

27、John Dryden: Alexanders Feast or The Power of Music; an Ode in Honor of St. Celilias Day）此诗是纪念西西莉亚节的颂歌。西西莉亚是罗马女子，早期基督徒，约在公元230年殉难。相传她是管风琴的发明者，被尊为音乐保护神。1683至1703年期间，伦敦一音乐组织每年在西西莉亚节（11月22日）举行宗教仪式和音乐会。此诗作于1697年，歌颂音乐的力量。它以亚历山大大帝一生中一段著名经历为基础。他举兵入小亚系亚，大败波斯王。攻克波斯首都后，举行盛大宴会，招待诸将领。席间，其雅典情妇泰依丝（Thas）叫他烧毁宫殿，以报波

28、斯王烧毁雅典之仇，亚历山大果然从命。英籍德国作曲家亨德尔于1736年为此诗谱曲，使其流传很广。又如莎士比亚无事生非中的一段歌：Sigh no more, ladies, sigh no more,Men were deceivers ever;One foot in sea, and one on shore,To one thing constant never.Then sigh not so,But let them go, And be you blithe and bonny,Converting all your sounds of woeInto Hey nonny, nonny

29、.Sing no more ditties, sing no moOf dumps so dull and heavy;The fraud of men was ever so,Since summer first was leavy.Then sigh not so,But let them go,And be you blithe and bonny,Converting all your sounds of woeInto hey nonny, nonny. （William Shakespeare: Much Ado About Nothing, Act II, Scene III）这

30、是阿拉冈亲王唐佩德娄的仆人巴尔萨泽的一段唱词。歌的特点是反复重复一些词句。以下是莎剧如愿中陪同被放逐的公爵的一个名叫哀米安斯的贵族的一段唱词。Blow, blow, thou winter wind,Thou art not so unkindAs mans ingratitude;Thy tooth is not so keen,Because thou art not seen,Although thy breath be rude.Heigh-ho! Sing, heigh-ho! unto the green holly:Most friendship is feigning, mos

31、t loving mere folly:Then, heigh-ho, the holly!This life is most jolly.Freeze, freeze, thou bitter sky,That dost not bite so nighAs benefits forgot:Though thou the waters warp,Thy sting is not so sharpAs friend remembered not.Heigh-ho! Sing, heigh-ho! unto the green holly:Most friendship is feigning, most loving mere folly:Then, heigh-ho, the holly!This life is most jolly. (William Shakespeare: As You Like It, Act II, Scene VII)再如暴风雨第一幕第二场，精灵爱丽尔的一段唱词：Full fathom five t