英美詩歌名篇選讀

前言

　　《英美詩歌名篇選讀》是一本為本科英語專業(yè)英美詩歌選讀課和非英語專業(yè)高年級英語素質(zhì)教育選修課編寫的教材。內(nèi)容選用14世紀(jì)以來英美各個時期代表詩人的名作。編者對入選詩人及其詩歌提供了簡介、注釋及啟發(fā)性思考題。詩人簡介涉及詩人生平、主要成就、創(chuàng)作風(fēng)格以及英美詩歌史上的主要流派和運動。入選詩歌力爭以點見面，堅持藝術(shù)性與系統(tǒng)性兼顧的原則。詩文注釋涉及基本詩歌體裁（如，十四行詩形式與內(nèi)容的契合變化）、英詩格律、重點難點、詩篇主題以及詩化主題的各種藝術(shù)手法等等。編者在掌握翔實材料的基礎(chǔ)上，介紹英美詩歌史上具有里程碑意義的詩歌名篇及其內(nèi)涵；希望既能夠反映英美詩史脈絡(luò)，又能鞭辟入里地解釋一些名詩片段，做到精練而不失其精要，給讀者一種豁然開朗又絲絲入扣的認(rèn)知體驗。希望讀者通過細(xì)讀名詩原作，提高對英語語言的感受能力和對英語文學(xué)作品的鑒賞能力，從而拓展英語文學(xué)與文化知識，增強外語學(xué)習(xí)的文化意識，陶冶情操，提高綜合素質(zhì)?！　”本┐髮W(xué)資深教授趙蘿蕤博士曾經(jīng)在一篇隨筆中寫到：“想把英語學(xué)好，總得多讀點思想性和藝術(shù)性都比較好的文學(xué)作品，而且還得付出一定的辛勤勞動，把作品讀得透一點，不能光想著圖快，圖省力?！姼枋且环N進(jìn)一步加了工的語言?！嘧x文學(xué)作品很有必要，不完全是為了‘錦上添花’；因為文學(xué)作品往往有極豐富的生活內(nèi)容，而思想性和藝術(shù)性好的作品還往往是內(nèi)容與形式的完美結(jié)合，讀了不但開闊眼界，增長知識，還能夠極大地提高鑒別能力和表達(dá)能力；關(guān)鍵在于是否肯費點力氣，多用點心，這樣日復(fù)一日必定會見效果的?！?。誠然，初讀英詩的讀者會因為理不順英國文藝復(fù)興時期斯賓塞、莎士比亞、彌爾頓等偉大詩人詩歌中許多盤根錯節(jié)的句法結(jié)構(gòu)而感到困惑；會因為英國玄學(xué)派詩人筆墨中的”怪誕比喻”而感到百思不解；也會因為現(xiàn)代和當(dāng)代英美詩人詩歌貌似簡單而找不到可以入詩的元素。但是，我們也總會因為最終體JI吾到斯賓塞、莎士比亞、彌爾頓等詩人名篇中曲中帶直的抑揚頓挫而感到欣喜若狂；我們也總會因為最終體會到鄧恩筆下的“怪誕比喻”所蘊涵的豐富情感與敏銳思想而拍案叫絕；也會因為最終體察到現(xiàn)代和當(dāng)代詩人貌似簡單的外衣下所隱藏的深邃哲理而感到興奮不已。每當(dāng)我們意識到英美詩歌能夠讓生命意義得以升華的時候，我們學(xué)習(xí)英語的意義也同時得到了升華。在這一時刻，英語教學(xué)中的文化意識問題悄然進(jìn)入我們的心靈深處；在這一時刻，我們能夠發(fā)現(xiàn)英語學(xué)習(xí)不是一種”瘋狂”的行為，而是一種心靈的歷煉?！　≡诒緯木帉戇^程中承蒙許多專家、學(xué)者不吝賜教。我感謝北京大學(xué)和紐約州立大學(xué)奧本尼分校（SUNYatAlbany）對我從事英美詩歌教學(xué)科研工作的關(guān)心與培養(yǎng)。我感謝北京聯(lián)合大學(xué)應(yīng)用文理學(xué)院領(lǐng)導(dǎo)和外國語言文化系的全體師生對我的信任與支持。我感謝高等教育出版社對該選題的認(rèn)可與鼓勵，感謝劉援社長、賈巍老師的策劃與指點，感謝秦彬彬編輯所付出的辛勤勞動。我感謝北京大學(xué)孫亦麗教授在百忙中認(rèn)真審讀了全稿，也感謝美國惠頓學(xué)院Wayne Martindale教授及其夫人Nita Martindale女士審讀了部分書稿。還要感謝北京大學(xué)圖書館祝德光、柴振才、杜璐等幾位老師多年來對我的支持。本書根據(jù)編者從事英美詩歌教學(xué)的教案和學(xué)習(xí)筆記編寫而成。書中的詩人介紹與詩文注釋參考了許多英美文學(xué)選集、教材、作品注釋、評論專著。

內(nèi)容概要

　　《英美詩歌名篇選讀》是一本為本科英語專業(yè)英美詩歌選讀課和非英語專業(yè)高年級英語素質(zhì)教育選修課編寫的教材。內(nèi)容選用14世紀(jì)以來英美各個時期代表詩人的名作。編者對入選詩人及其詩歌提供了簡介、注釋及啟發(fā)性思考題。詩人簡介涉及詩人生平、主要成就、創(chuàng)作風(fēng)格以及英美詩歌史上的主要流派和運動。入選詩歌力爭以點見面，堅持藝術(shù)性與系統(tǒng)性兼顧的原則。 希望讀者通過細(xì)讀名詩原作，提高對英語語言的感受能力和對英語文學(xué)作品的鑒賞能力，從而拓展英語文學(xué)與文化知識，增強外語學(xué)習(xí)的文化意識，陶冶情操，提高綜合素質(zhì)。

書籍目錄

Part One：Experiencing British and American PoetryⅠ Reading Poetry：A Case Study1.1 Poetry Delights and Instructs1.2 Poetry Communicates Experience1.3 Poetry Is the Art of Saying Much in Little1.4 Deceptive Simplicity1.5 Human Subjects Th rough Natural Objects1.6 The Sound Must Seem an Echo to the Sense1.7 The Representation of the Terrible ActuaIities of Life in a New WayⅡ The Art of Poetry2.1 TVpes of Poetry：Lyric，Narrative and Dramatic2.2 Rhythm and Metre2.3 Figurative Language2.4 Allegory and Symbol2.5 Stanzaic Forms2.6 Reading PoetryⅢ Using This Book3.1 As the Base for a Cou rse3.2 As a Textbook3.3 Tentative Syllabi3.3.1 Reading Poetry（for English Major）3.3.2 Selected Readings in British & American Poetry（for Non English Majors）Part Two：An Annotated Anthology of British and American PoetryGeoffrey Chaucer（1340-1400）Thomas Wyatt（1503-1542）Henry Howard，Earl of Surrey（1517-1547）Edmund Spenser（1552-1599）William Shakespeare（1564-1616）Thomas Campion（1567-1620）John Donne（1572-1631）Ben Jonson（1572-1637）Robert Herrick（1591-1674）George Herbert（1593-1633）John Milton（1608-1674）Anne Bradstreet（1612-1672）Andrew Marvell（1621-1678）William Blake（1757-1827）William Wordsworth（1770-1850）Samuel Taylor Coleridge（1772-1834）Percy Bysshe Shelley（1792-1822）John Keats（1795-1821）Henry Wadsworth Longfellow（1807-1882）EdgarAllan Poe（1809-1849）Alfred，Lord Tennyson（1809-1892）Robert Browning（1812-1889）Walt Whitman（1819-1892）MathewArnold（1822-1888）Emily Dickinson（1830-1886）William Butler Yeats（1865-1939）Robert Frost（1874-1963）Wallace Stevens（1879-1955）William Carlos Williams（1883-1963）Ezra Pound（1885-1972）H.D.（HiIda Doolittle，1886-1961）T.S.Eliot（1888-1965）Hart Crane（1899-1932）Langston Hughes（1902-1967）W.H.Auden（1907-1973）Charles Olson（1910-1970）Allen Ginsberg（1926-1997）Anne Sexton（1928-1974）Sylvia Plath（1932-1963）Pierre loris（b.1946）Don Byrd（b.1 944）Works CitedGlossary of Literary TermsOnline Resources

章節(jié)摘錄

　　In Yeats‘s private mythology， Byzantium （called Constantinople in Roman times and Istanbul today） symbolizes art， artifice， sophistication， and eternity as opposed to the natural world and physicality. For a BBC broadcast in 1931， Yeats wrote：“Byzantium was the center of European civilization and the source of its spiritual philosophy， so I symbolize the search for spiritual life by a journey to that city.”O(jiān)f the ancient city of Byzantium-on the site of modern Istanbul， capital of the Eastern Roman Empire， and the center， especially in the fifth and sixth centuries， of highly developed and characteristic forms of art and architecture-Yeats made a many-faceted symbol， which， since it is a symbol， should not be brought within the limits of too narrowly specific interpretation. Byzantine painting and the mosaics that decorated its churches （Yeats had seen later derivatives of these mosaics in Italy and elsewhere） were stylized and formal， making no attempt at the full naturalistic rendering of human forms， so that the city and its art can propriately symbolize a way of life in which art is frankly accepted and proclaimed as artifice. As artifice， as a work of the intellect， this art is not subject to the decay and death that overtake the life of “natural things”. But while such an opposition of artifice and nature is central to the poem， there are references to Byzantium in Yeats’ prose that suggest the wider range of meaning that the city held for him. In A Vision， Byzantium is described at about the end of the first Christian millennium. It is a holy city， as the capital of eastern Christianity， and as the place where God exists because of the life after death Yeats imagines existing there. His description of Byzantium in A Vision particularly，shows an exemplar of a civilization that had achieved “Unity of Being”：　　“1 think if I could be given a month of Antiquity and leave to spend it where I chose， I would spend it in Byzantium， a little before Justinian [who ruled at Byzantium from 527 to 565] opened St. Sophia and closed the Academy of Plato. I think I could find in some little wine-shop some philosophical worker in mosaic who could answer all my questions， the supernatural descending nearer to him than to him than to Plotinus even， for the pride of his delicate skill would make what was all instrument of power to princes and clerics， a murderous madness in the mob， show as a lovely flexible presence like that of a perfect human body.

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