第4章 企业计算机信息系统的管理

1、Percy Bysshe Shelley (1792-1822) Shelly Introduction u Shelly, one of the leading Romantic poets, an intense and original lyrical poet in the English language. English romantic poet who rebelled against English politics and conservative values. u He was not only a Platonist, but also an idealist. Hi

2、s work reflected the radical ideas and revolutionary optimism of the era. Outline 1、Life experience 2、Points of view 3、Features of his poetry 4、Major works 5、Position 6、Comments 7、Analysis of some of his works Born wealthily (1792) Eton (12years old) (Mad Shelly) Oxford (18 years old) The Necessity

3、of Atheism Expelled from the university and disowned by his father vFirst Wife (19 years old) vSecond wife (22 years old) Harriet WestbrookHasty and unsuitable Mary Godwin Happy Marry Shelly Shelleys Later Life Four-year troubles in Italy Poor health Financial problems Restless moving Drowned in 182

4、2, buried in Rome Points of View A lifelong aversion (厌恶) to cruelty, injustice, authority, condemning tyranny and exploitation and unjust war, glorified freedom, expressed his sympathy for the oppressed. To him the emancipation(解放）解放）of mankind could only be won “by resolute perseverance and indefa

5、tigable(有耐性的）有耐性的） hope, and long suffering and long-believing courage, and the systematic efforts of generations of men of intellect and virtue. He did not understand the necessity of armed struggle for a better society. Features of Shelleys Poetry uRich in myth, symbols and classical allusions, sh

6、ort poems on nature and love. uStrong dramatic power as shown in the rapidity of his lines; uStyle abounds in personification and metaphor and other figures of speech. His Literary Works v “Ode to the West Wind”,“西风颂西风颂” written when in Italy. v A Defence of Poetry, 诗辩诗辩，written when in Italy. vOzym

7、andias vA Song:“Men of England”, vThe Cloud, vTo A Sky-Lark His Position in English History One of the leading romantic poets, an intense and original lyrical poet in the English language. As far as his lyric poems are concerned, he is regarded as one of the greatest of all English poets. He was the

8、 first poet in Europe who sang for the working class. Comments Wordsworth said, “Shelly is one of the best artists of us all”. Byron, his best friend, called Shelly “the best and least selfish man I ever knew”. He and Byron are justifiably regarded as two great poets of revolutionary romanticism in

9、England. Engels wrote: Shelly, the genius, the prophet, Shelly and Byron, with his glowing sensuality and his bitter satire upon our existing society, find most of their readers in the proletariat(无产阶级）. Ozymandias Shelley wrote this sonnet in 1817, just after the announcement of the discovery of a

10、large fragment of a statue. So some people believe that Shelley is inspired by this. The sonnet tries to show a metaphor that the cracked statue was deserted in the desert, but still with arrogant appearance . SONG TO THE MEN OF ENGLAND Background: Thepoemwaswrittenbytheromanticpoet Percy.ByssheShel

11、leyin1819.Thepoemisabout theclashbetweentwoclassesofsociety,thepoor workingclassandtherichnobles.Themajorthe- meofthispoemisexploitation,howtheworkers aredoingalltheyaredoingforthebenefitsofthe ungratefulnobles.Thenarratorisurgingthe workerstomakeastandastheyarebeingtreate- dunfairly. 三. Wherefore B

12、ees of England,forge 英格兰的工蜂，何以锻造 Many a weapon,chain,and scourge, 这么多的武器、鞭子、镣铐？ That these stingless drones may spoil 这些无刺的雄蜂会掠夺 The forced produce of your toil? 你迫于辛劳所得的成果？ In the third stanza, In the third stanza, he uses he uses ironyirony, , commenting on how the commenting on how the “stingless

13、 drones” “stingless drones” are using the weapons are using the weapons that the workers that the workers forge. The fact that forge. The fact that he says “stingless” he says “stingless” is telling the is telling the workers that without workers that without their work and their work and service,th

14、ey would be service,they would be of no threat to them.of no threat to them. v （五） vThe seed ye sow,another reaps； v你们播的种子，他人享受； vThe wealth ye find,another keeps； v你们找的财富，他人保留； v vThe robes ye weave,another wears； v你们织的衣锦，他人穿戴； vThe arms ye forge,another bears. v你们铸的兵器，他人佩带。 there is a slight chang

15、e of ton-e. This is where the poet is trying to make the worker s re- alize how the lords are benefiting from them. It is written in a repetitive form “The seed ye sow, an othe r reaps, The wealth ye find, an- other keeps”. Th e constant repetition of “the”, “ye”, a nd “another” makes the whol e sta

16、nza more expressive, making it stronger each time. VIEWPOINT 1.System is unjust and England is tained by the injustice. 2.Workers are dehumanized as masters suck their lifeblood. 3.Workers should rebel and work only for themselves. To a Skylark vThe poem can be tentatively divided into three parts,

17、each having its own emphasis. vPart I. The first to the sixth stanza vPart II. The seventh to the twelfth stanza vPart III. The thirteenth to the twenty first stanza Part I. The Skylarks “profuse strain of unpremeditated art” vThe skylarks song which embodies “shrill delight” and “sweetest songs” ar

18、e poetic inspirations of “unpremediated art”. What Shelley sees in the sky-lark are the instinct to create its art through happiness and joy. Its gift of flight enables it to soar nearest to Heaven, which for many Romantic poets is the source of all spiritually inspired art. Part II. An analogue bet

19、ween the unseen skylark and the invisible poet (1) vShelley momentarily finds an analogue between the unseen skylark and the invisible poet concealed from the public gaze by the obscurity of what he or she contemplates. The poet and the skylark are united in their possession of a voice that can have

20、 an effect in the world even if their unsubstantial presence remains undetected Part II. An analogue between the unseen skylark and the invisible poet (2) vBoth a poets hymns unbidden and the skylarks profuse strains of unpremeditated art are so beautiful that the world would listen to, as the speak

21、er is listening to the skylark. Ode to the West Wind vWritten 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 This is best of all the well-kn

22、own lyric pieces by Shelley. Ode: an elaborately formal lyric poem, often in the form of a lengthy ceremonious address to a person or abstract entity, always serious and elevated in tone. Note vThis poem was conceived and chiefly written in a wood that skirts the Arno, near Florence, on a day when t

23、hat tempestuous wind, whose temperature is at once mild and animating, was collecting the vapors which pour down the autumnal rains. They begin, 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. (Sh

24、elley 239) vO 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 seed

25、s, 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; De

26、stroyer and preserver; hear, O hear! Alliteratio n metapho r Anastrophe paradox 查良铮译 v 哦，狂暴的西风，秋之生命的呼吸！ v你无形，但枯死的落叶被你横扫， v有如鬼魅碰到了巫师，纷纷逃避： v黄的，黑的，灰的，红得像患肺痨， v呵，重染疫疠的一群：西风呵，是你 v以车驾把有翼的种子催送到 v黑暗的冬床上，它们就躺在那里， v像是墓中的死穴，冰冷，深藏，低贱， v直等到春天，你碧空的姊妹吹起 v她的喇叭，在沉睡的大地上响遍， v（唤出嫩芽，像羊群一样，觅食空中） v将色和香充满了山峰和平原。 v不羁的精灵呵，你

27、无处不远行； v破坏者兼保护者：听吧，你且聆听！ v Stanza I The west wind like a human .It drives dead leaves away as if they were ghosts fleeing a wizard. The leaves are yellow and black, pale and red, as if they had died of an infectious disease. The west wind carries seeds in its chariot and deposits them in the earth,

28、where they lie until the spring wind awakens them by blowing on a trumpet (clarion). When they form buds, the spring wind spreads them over plains and on hills. In a paradox, the poet addresses the west wind as a destroyer and a preserver, then asks it to listen to what he says vThou on whose stream

29、, 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 t

30、he 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 bur

31、st: O hear! v 没入你的急流，当高空一片混乱，没入你的急流，当高空一片混乱， v流云象大地的枯叶一样被撕扯流云象大地的枯叶一样被撕扯 v脱离天空和海洋的纠缠的枝干。脱离天空和海洋的纠缠的枝干。 v成为雨和电的使者：它们飘落成为雨和电的使者：它们飘落 v在你的磅礴之气的蔚蓝的波面，在你的磅礴之气的蔚蓝的波面， v有如狂女的飘扬的头发在闪烁，有如狂女的飘扬的头发在闪烁， v从从天穹天穹的最遥远而模糊的边沿的最遥远而模糊的边沿 v直抵九霄的中天，到处都在摇曳直抵九霄的中天，到处都在摇曳 v欲来雷雨的卷发，对濒死的一年欲来雷雨的卷发，对濒死的一年 v你唱出了葬歌，而这密集的黑夜你唱出了葬歌

32、，而这密集的黑夜 v将成为它广大墓陵的一座圆顶，将成为它广大墓陵的一座圆顶， v里面正有你的里面正有你的万钧万钧之力的凝结；之力的凝结； v那是你的浑然之气，从它会迸涌那是你的浑然之气，从它会迸涌 v黑色的雨，冰雹和火焰：哦，你听！黑色的雨，冰雹和火焰：哦，你听！ vThou 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, A

33、nd 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 w

34、ear The sapless foliage of the ocean, know Thy voice, and suddenly grow grey with fear, And tremble and despoil themselves: O hear! v 是你，你将蓝色的是你，你将蓝色的地中海地中海唤醒，唤醒， v而它曾经昏睡了一整个夏天，而它曾经昏睡了一整个夏天， v被澄澈水流的回旋催眠入梦，被澄澈水流的回旋催眠入梦， v就在巴亚海湾的一个浮石岛边，就在巴亚海湾的一个浮石岛边， v它梦见了古老的宫殿和楼阁它梦见了古老的宫殿和楼阁 v在水天辉映的波影里抖颤，在水天辉映的波影里抖颤，

35、 v而且都生满青苔、开满花朵，而且都生满青苔、开满花朵， v那芬芳真迷人欲醉！呵，为了给你那芬芳真迷人欲醉！呵，为了给你 v让一条路，让一条路，大西洋大西洋的汹涌的浪波的汹涌的浪波 v把自己向两边劈开，而深在渊底把自己向两边劈开，而深在渊底 v那海洋中的花草和泥污的森林那海洋中的花草和泥污的森林 v虽然枝叶扶疏，却没有精力；虽然枝叶扶疏，却没有精力； v听到你的声音，它们已吓得发青：听到你的声音，它们已吓得发青： v一边颤栗，一边自动萎缩：哦，你听！一边颤栗，一边自动萎缩：哦，你听！ Stanzas II If I were a swift cloud to fly with thee; A

36、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 t

37、hus 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. v 哎，假如我是一片枯叶被你浮起，哎，假如我是一片枯叶被你浮起， v假如我是能和你飞跑的云雾，假如我是能和你飞跑的云雾， v是一个波浪，和你的威力同喘息，是一个波

38、浪，和你的威力同喘息， v假如我分有你的脉搏，仅仅不如假如我分有你的脉搏，仅仅不如 v你那么自由，哦，无法约束的生命！你那么自由，哦，无法约束的生命！ v假如我能像在少年时，假如我能像在少年时，凌风凌风而舞而舞 v便成了你的伴侣，悠游天空便成了你的伴侣，悠游天空 v（因为呵，那时候，要想追你上云霄，（因为呵，那时候，要想追你上云霄， v似乎并非梦幻），我就不致像如今似乎并非梦幻），我就不致像如今 v这样焦躁地要和你争相祈祷。这样焦躁地要和你争相祈祷。 v哦，举起我吧，当我是水波、树叶、浮云！哦，举起我吧，当我是水波、树叶、浮云！ v我跌在生活底荆棘上，我流血了！我跌在生活底荆棘上，我流血了！

39、v这被岁月的重轭所制服的生命这被岁月的重轭所制服的生命 v原是和你一样：骄傲、轻捷而不驯。原是和你一样：骄傲、轻捷而不驯。 Stanza IV vThe speaker identifies himself with the leaves of the first three stanzas: dead leaf, swift cloud, and wave. If the wind can lift these things into flight, why can it not also lift Shelley as a wave, a leaf, a cloud ? vMake me

40、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 lea

41、ves 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? v 把我当作你的竖琴吧，有如树林： v尽管我的叶落了，那有什么

42、关系！ v你巨大的合奏所振起的音乐 v将染有树林和我的深邃的秋意： v虽忧伤而甜蜜。呵，但愿你给予我 v狂暴的精神！奋勇者呵，让我们合一！ v请把我枯死的思想向世界吹落， v让它像枯叶一样促成新的生命！ v哦，请听从这一篇符咒似的诗歌， v就把我的话语，像是灰烬和火星 v从还未熄灭的炉火向人间播散！ v让预言的喇叭通过我的嘴唇 v把昏睡的大地唤醒吧！西风啊， v如果冬天来了,春天还会远吗? The poet asks the wind to scatter his words around the world, as if they were ashes from a burning fire

43、. To the unawake earth, they will become blasts from a trumpet of prophecy. In other words, the poet wants the wind to help him disseminate his views on politics, philosophy, literature, and so on. The poet is encouraged that, although winter will soon arrive, spring and rebirth will follow it. Structure and Rhyme The poem contains five stanzas of fourteen lines each. Each stanza has three tiercets and a closing couplet. Metrical pattern(格律格律): iambic pentameter（五音（五音 步抑扬格步抑扬格) Rhyme Scheme: aba, bcb, cdc, ded, ee a unit of three