资源描述
单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,*,本幻灯片资料仅供参考，不能作为科学依据，如有不当之处，请参考专业资料。谢谢,Percy Bysshe Shelley,Percy Bysshe Shelley(1792-1822),Ode to the West Wind,第1页,A man,to be greatly good,must imagine intensely and comprehensively;he must put himself in the place of another and of many others.The pains and pleasures of his species must become his own.The great instrument of moral good is the imagination;and Poetry strengthens the faculty which is the organ of the moral nature of man,in the same manner as exercise strengthens a limb.,Percy Bysshe Shelley,第2页,Ode to the West Wind:Notes,Written in the Autumn,1819,and published in the following year,this poem has become one of the most popular and best-known of Shelleys verses.In a note Shelley outlined the circumstances behind the poems making:,第3页,This poem was conceived and chiefly written in a wood that skirts the Arno,near Florence,and on a day when the tempestuous wind,whose temperature is at once mild and animating,was collecting the vapours which pour down the autumnal rains.They began,as I foresaw,at sunset with a violent tempest of hail and rain,attended by that magnificent thunder and lightning peculiar to the Cisalpine regions.,Ode to the West Wind:Notes,第4页,O,wild West Wind,thou,breath of Autumns being,Thou,from whose unseen presence the,leaves dead,Are 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 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!,第5页,Thou on whose,stream,mid the steep skys commotion,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 to 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!,第6页,Thou who didst waken from his summer,dreams,The blue Mediterranean,where he lay,Lulled by the 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 themselves 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!,第7页,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,The impulse of thy strength,only less free,Than thou,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,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!I bleed!,A heavy weight of hours has chained and bowed,One too like thee:tameless,and swift,and proud.,第8页,Make me thy lyre,even as the forest is:What if my 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 incantation 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,?,第9页,O,wild West Wind,thou,breath of Autumns being,The West Wind is a manifestation of 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 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,第10页,Thou,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 wind.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.,第11页,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 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,holding 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 Death 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.,第12页,Enchanter,Ghosts,第13页,Yellow,and black,and pale,and hectic red,Pestilence-stricken multitudes:O thou,Who,chariotest,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 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,energy and writhing,picked up in the next lines reference to Pestilence,the Plague which destroys whole communities.,第14页,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 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 mood,anticipating the gentler and more pastoral time of Spring,with a noticeably more dream-like,soft and gentle mood.,第15页,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 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,第16页,Wild Spirit,which art moving,everywhere,;,Destroyer and preserver,;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 continually 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(Preserver),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.,第17页,Picture of,Percy Bysshe Shelley,第18页,Thou on whose,stream,mid the steep skys commotion,Loose 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 fractocumulus 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.,第19页,Commotion,第20页,Angels,of rain and lightning:there are spread,On the blue surface of thine airy surge,Like 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.,第21页,Of some fierce Maenad,even from the dim verge,Of the horizon 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 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 its darkness and associations with death,第22页,Maenad,第23页,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 similar 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.,第24页,The West Wind,第25页,Thou who didst waken from his summer,dreams,The blue Mediterranean,where he lay,Lulled by the coil of his crystalline 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 political 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.,第26页,Beside a pumice isle in,Baiaes 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 antique 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 levelled 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.,第27页,pumice isle,第28页,All overgrown with azure moss and flowers,So sweet,the sense faints picturing 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 effects 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 the Atlantic is whipped into chasms by the force of the wind,so it is inevitable that the Mediterraneans waters will do so also.,第29页,Level powers,第30页,A Chasm,第31页,Thy,voice,and suddenly grow grey with fear,And tremble and,despoil,themselves:O hear!,Shelley comments here The phenomenon alluded to at the conclusion 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 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 disrupt 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 stanzas 4 and 5.,第32页,第33页,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 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,inflate
展开阅读全文
浙ICP备2021020529号-1 | 浙B2-20240490 
