Shelleys Ode to West WindPPT学习教案

1、会计学1Shelleys Ode to West Wind第1页/共23页第2页/共23页第3页/共23页哦，狂暴的西风，秋之生命的呼吸！哦，狂暴的西风，秋之生命的呼吸！ 你无形，但枯死的落叶被你横扫，你无形，但枯死的落叶被你横扫， 有如鬼魅碰到了巫师，纷纷逃避：有如鬼魅碰到了巫师，纷纷逃避： 黄的，黑的，灰的，红得像患肺痨，黄的，黑的，灰的，红得像患肺痨， 呵，重染疫疠的一群：西风呵，是你呵，重染疫疠的一群：西风呵，是你以车驾把有冀的种子摧送到以车驾把有冀的种子摧送到 黑暗的冬床上，它们就躺在那里，黑暗的冬床上，它们就躺在那里， 像是墓中的死穴，冰冷，深藏，低贱，像是墓中的死穴，冰冷，深藏，

2、低贱， 直等到春天，你碧空的姊妹吹起直等到春天，你碧空的姊妹吹起 她的喇叭，在沉睡的大地上响遍，她的喇叭，在沉睡的大地上响遍， （唤出嫩芽，像羊群一样，觅食空中）（唤出嫩芽，像羊群一样，觅食空中） 将色和香充满了山峰和平原。将色和香充满了山峰和平原。 不羁的精灵呵，你无处不远行；不羁的精灵呵，你无处不远行； 破坏者兼保护者：听吧，你且聆听破坏者兼保护者：听吧，你且聆听！ 第4页/共23页Like ghosts the word emphasizes the supernatural power of the West Wind, holding the observer spell-bound

3、, 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

4、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. Leaves here refer to trees and the wind-borne seeds, but the phrase also carries associations with paper (leaves from books?), the with

5、ered leaves (and dead thoughts) referred to in stanza 5, which are driven across the universe by the power of the wind. There is a further suggestion that leaves, in the poem, may refer to Shelleys own fears of losing his own hair, a suggestion which becomes more credible in reading the final stanza

6、. 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.The West Wind is, as this phrase suggests, a manifestation of spiritual or supernatural energy, associated with breath, respiration and inspiration, with the Holy Ghost or Spi

7、rit, 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. The phrase also carries neo-platonic associations, with the wind as visible expression of the abstract and intangibl

8、e Nature itself, Autumns being: the reference to unseen presence in the next line carries on this sense of an order beyond the visible. This neo-platonic imagery is recurrent throughout Shelleys poetry, and is vital to an understanding of Shelleys own developing ideas about nature and the unseen. Th

9、e phrase clearly helps build up the sense of death, but 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, c

10、orpse within its grave, emphasizing the West Winds quality as a harbinger of Death.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 Europ

11、e. 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5页/共23页to carry or steer, but with possible associations of transport to the Underworld. Note that i

12、n 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. Borne by the air, these seeds fall to the earth and lie dormant, not dead, until awakened by the clarion call of Spring.

13、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 noti

14、ceably more dream-like, soft and gentle mood. i.e., the trumpet call, a traditional pastoral motif, 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 WinterThe Wind possesses these

15、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

16、Wind. The phrase neatly expresses the ambivalent attitude which Shelley feels towards the Wind.第6页/共23页第7页/共23页第8页/共23页没入你的急流，当高空一片混乱没入你的急流，当高空一片混乱， 流云象大地的枯叶一样被撕流云象大地的枯叶一样被撕扯扯 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。 成为雨和电的使者：它们飘落成为雨和电的使者：它们飘落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， 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， 从天穹的最遥远而模糊的

17、边沿从天穹的最遥远而模糊的边沿 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 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 你唱出了葬歌，而这密集的黑夜你唱出了葬歌，而这密集的黑夜 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， 里面正有你的万钧之力的凝结；里面正有你的万钧之力的凝结；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 黑色的雨，冰雹和火焰：哦，你听黑色的雨，冰雹和火焰：哦，你听！ 第9页/共23页Possibly a reference to messengers and heralds of violent thunderstorms

18、 and waterspouts, but helping also to build up the atmosphere of supernatural energies and forces suggested later in the stanza. That is, 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 t

19、he powerful spectacle of fractocumulus turbulence, which bring air (Heaven) and water (Ocean) together as one powerful force. 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.The image here is of

20、 the darkened sky liked 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.The Maenads were female follows of the Greek god Dionysus, the god of wine and wild revelry, who were observed to be

21、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.

22、第10页/共23页第11页/共23页是你，你将蓝色的地中海唤醒，是你，你将蓝色的地中海唤醒， 而它曾经昏睡了一整个夏天，而它曾经昏睡了一整个夏天， 被澄澈水流的回旋催眠入梦，被澄澈水流的回旋催眠入梦， 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， 它梦见了古老的宫殿和楼阁它梦见了古老的宫殿和楼阁 在水天辉映的波影里抖颤，在水天辉映的波影里抖颤， 而且都生满青苔、开满花朵，而且都生满青苔、开满花朵， 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 让一条路，大西洋的汹涌的浪波让一条路，大西洋的汹涌的浪波 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 那海洋中

23、的花草和泥污的森林那海洋中的花草和泥污的森林 虽然枝叶扶疏，却没有精力虽然枝叶扶疏，却没有精力； 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： 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！ 第12页/共23页An area west of Naples, a notoriously volcanic area, and a former tourist resort in Roman times. In 1818 Shelley had taken a boat trip in the Bay. As it had been renowned for i

24、ts 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: As in Ozymandias Shelley here introduces a reflection on the futility and transito

25、riness of human authority when set against the forces of nature, manifested in phenomenon such as volcanoes and tempests. 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 la

26、kes, 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 forc

27、es 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.At the beginning of this third stanza th

28、ere 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 Wes

29、t 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.The West Wind has had its origins in the Atlantic, and Shelley suggests here

30、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

31、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.Despoil here refers to the loss of leaves. Shelleys reference to the underwater trees losing its leaves echoes the earlier references to the

32、 loss of leaves in the first two stanzas, which is picked up and drawn together in stanzas 4 and 5.第13页/共23页第14页/共23页哎，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， 假如我是能和你飞跑的云雾，假如我是能和你飞跑的云雾， 是一个波浪，和你的威力同喘息，是一个波浪，和你的威力同喘息， 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 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！假如我能像在少年时，凌风而舞假如我能像在少年时，凌风而舞 便成了你的

33、伴侣，悠游天空便成了你的伴侣，悠游天空 （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， 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 这样焦躁地要和你争相祈祷。这样焦躁地要和你争相祈祷。 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！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！ 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 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。第15页/共23页At this point there is a break in the poem, a radi

34、cal shift of argument and a pulling together. Hypothetically, Shelley likes himself 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

35、 with air, inflated, rising above experience and age.The Wind is not subject to the forces of self-regulation and the Appollonian urge to order and give form, unlike Shelley himself. He is asking, in effect, for a return to the raw power and energy he felt and knew as a child.第16页/共23页第17页/共23页请把我枯死

36、的思想向世界吹落，请把我枯死的思想向世界吹落， 让它像枯叶一样促成新的生命让它像枯叶一样促成新的生命！ 哦，请听从这一篇符咒似的诗歌，哦，请听从这一篇符咒似的诗歌， 就把我的话语，像是灰烬和火星就把我的话语，像是灰烬和火星 从还未熄灭的炉火向人间播散从还未熄灭的炉火向人间播散！ 把我当作你的竖琴吧，有如树林：把我当作你的竖琴吧，有如树林： 尽管我的叶落了，那有什么关系！尽管我的叶落了，那有什么关系！ 你巨大的合奏所振起的音乐你巨大的合奏所振起的音乐 将染有树林和我的深邃的秋意：将染有树林和我的深邃的秋意： 虽忧伤而甜蜜。呵，但愿你给予我虽忧伤而甜蜜。呵，但愿你给予我 狂暴的精神！奋勇者呵，让我

37、们合一！狂暴的精神！奋勇者呵，让我们合一！让预言的喇叭通过我的嘴唇让预言的喇叭通过我的嘴唇 把昏睡的大地唤醒吧！要是冬天把昏睡的大地唤醒吧！要是冬天 已经来了，西风呵，春日怎能遥远？已经来了，西风呵，春日怎能遥远？ 查良铮 译第18页/共23页An important motif which runs throughout Shelleys poetry. Like Coleridge and Wordsworth, Shelley uses the image of that favourite romantic toy, the aeolian lyre, as a symbol of t

38、he relationship between the mind of man and the external world. For him, as for Coleridge, the human mind could be likened to the strings of a lyre, which makes music when the wind (experience, outward sense impressions) blows through the strings and creates both melody and harmony. As a poet there

39、is an obvious connection here with the concept of poetic inspiration, the ability to be moved and drawn by the spiritual rush of the spirit in the air. At this point in the poem Shelley makes the direct connection with his need to be inspired by seeing the Winds force, and the impact made by the Win

40、d on forests, creating harmonies in his own mind and verse. The Wind, as a force of inspiration, will hopefully enable him to spread his message across the universe, both awakening the embers of Shelleys art, and also the political urgency of the message itself. The reference to withered leaves suggests how dispirited the poet is that his poetry has not yet been effective in helping to bringing about radical changes of opinion, the new birth referred to in the following line.This phrase hearkens back to