dover beaach 多佛海滩

1、Matthew Arnold (1822-1888)Life experiencesLiterary worksCharacterReputationIn 1822,born into a clegymans family , educated in Rugby School;In 1841,won a scholarship to Oxford;In1851,married Francis Lucy ,had six chidren;From 1851 to 1883, an inspector of schools;From1857 to 1867, a professor of poet

2、ry at Oxford;Life Experiencesa man of the world entirely free from worldliness and a man of letters without the faintest trace of pedantry fond of fishing and shootinga lively conversationalist,A voice poking fun in the wilderness was T. H. Warrens description of him.CharacterLiterary WorksPoetry迷途浪

3、子(The Strayed Reveller,1852)诗集(Poems, 1853)诗歌二集(Poems: Second Series, 1855)新诗集(New Poems, 1867)Prose评论集(Essay in Criticism, 1865)文化与无政府(Culture and Anarchy, 1869)文学与教条(Literature andDogma，1873)评论荷马史诗译本评论集ReputationArnold is sometimes called the third great Victorian poet, along with Alfred Lord Tenn

4、yson and Robert Browning.In his poetry he reflects on the doubt of his age, and the conflict between science and religion.The writer John Cowper Powys, an admirer, wrote that, with the possible exception of Merope, Matthew Arnolds poetry is arresting from cover to cover he is the great amateur of En

5、glish poetry,he always has the air of an ironic and urbane scholar chatting freely, perhaps a little indiscreetly,with his not very respectful pupils. “My poems represent, on the whole, the main movement of mind of the last quarter of a century, and thus they will probably have their day as people b

6、ecome conscious to themselves of what that movement of mind is, and interested in the literary productions which reflect it. It might be fairly urged that I have less poetical sentiment than Tennyson and less intellectual vigor and abundance than Browning; yet because I have perhaps more of a fusion

7、 of the two than either of them, and have more regularly applied that fusion to the main line of modern development, I am likely enough to have my turn as they have had theirs.”Stanza 1 The sea is calm to-night. The tide is full, the moon lies fair Upon the straits; on the French coast the light Gle

8、ams and is gone; the cliffs of England stand, Glimmering and vast, out in the tranquil bay. Come to the window, sweet is the night-air! Only, from the long line of spray Where the sea meets the moon-blanchd land, 今夜海上是风平浪静，今夜海上是风平浪静，潮水正满，月色皎皎潮水正满，月色皎皎临照着海峡；临照着海峡；法国海岸上，光法国海岸上，光明明一现而不见了；英国的悬崖，一现而不见了；英

9、国的悬崖，闪亮而开阔，挺立在宁谧的海湾里。闪亮而开阔，挺立在宁谧的海湾里。到窗口来吧，夜里的空气多好！到窗口来吧，夜里的空气多好！只是，从海水同月光所漂白的陆地只是，从海水同月光所漂白的陆地两相衔接的地方，浪花铺成长长的两相衔接的地方，浪花铺成长长的一排，一排， Dover Beach Listen! you hear the grating （ 刺耳的）roar Of pebbles which the waves draw back, and fling, At their return, up the high strand, Begin, and cease, and then aga

10、in begin, With tremulous cadence slow, and bring The eternal note of sadness in. 听啊！你听得见聒耳的咆哮，听啊！你听得见聒耳的咆哮，是水浪把石子卷回去，回头是水浪把石子卷回去，回头又抛出，抛到高高的岸上来，又抛出，抛到高高的岸上来，来了，停了，然后又来一阵，来了，停了，然后又来一阵，徐缓的旋律抖抖擞擞，徐缓的旋律抖抖擞擞，带来了永恒的哀音。带来了永恒的哀音。Stanza 2Sophocles long ago Heard it on the Aegean, and it brought Into his mind

11、 the turbid（浑（浑浊的）浊的） ebb and flow Of human misery; we Find also in the sound a thought, Hearing it by this distant northern sea.索福克勒斯在很久以前索福克勒斯在很久以前在爱琴海上听见它给他的心里在爱琴海上听见它给他的心里带来了人类的悲惨带来了人类的悲惨浊浪滚滚的起伏景象；我们也浊浪滚滚的起伏景象；我们也听得出听得出一种思潮活动在这一片声音里，一种思潮活动在这一片声音里，在这里遥远的北海边听见它起在这里遥远的北海边听见它起伏。伏。 Sophocles, a 5th c

12、entury BC Greek playwright who wrote tragedies of fate and the will of the gods, also heard this same sound as he stood upon the shore of the Aegean Sea. Sophocles in the classical age of Greece interprets the “note of sadness” humanistically, while Arnold in the industrial 19th century hears in thi

13、s sound the retreat of religion and faith. Thoughts are mightier than strength of hand. 思想比武力更有力量。思想比武力更有力量。 If I am Sophocles, I am not mad; and if I am mad, I am not Sophocles.倘若我还是我，我就没有发疯；倘若我已疯了，我就不再是我。倘若我还是我，我就没有发疯；倘若我已疯了，我就不再是我。The Sea of FaithWas once, too, at the full, and round earths shore

14、Lay like the folds of a bright girdle furld.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drear（dreary)And naked shingles of the world. Stanza 3信仰的海洋信仰的海洋从前也曾经饱满，把大地环抱，从前也曾经饱满，把大地环抱，像一条光亮的腰带连接成一气。像一条光亮的腰带连接成一气。可是现在我只听见可是现在我只

15、听见它的忧郁，冗长，退缩的咆啸，它的忧郁，冗长，退缩的咆啸，退进夜风的喧响，退进夜风的喧响，退下世界的浩瀚，荒凉的边沿退下世界的浩瀚，荒凉的边沿和光秃秃的沙砾。和光秃秃的沙砾。 The Sea of Faith is a metaphor for the faith in God that offered comfort to humankind in the past. That faith used to permeate peoples lives just like the sea at its high tide, surrounding the land. However, the

16、 “sea of Faith” has now receded like the ebb of the ocean. This is a fitting image for one like Arnold caught in the Victorian period of Darwinian theory, and the sense of loss and despair is intensified through “withdrawing roar,” “retreating,” etc. “信仰之海信仰之海”曾经是曾经是“满潮满潮”，“像一根灿烂像一根灿烂的腰带，把全球的海岸线围绕的腰

17、带，把全球的海岸线围绕”。可是，现如今，。可是，现如今，诗人只听到诗人只听到“它那忧伤退潮的咆哮它那忧伤退潮的咆哮”，只看到，只看到“一滩光秃秃的卵石一滩光秃秃的卵石”。信仰如落潮一般退到。信仰如落潮一般退到“世界广阔阴沉的边界世界广阔阴沉的边界”。世事如海水，起伏不。世事如海水，起伏不定，人生如卵石，无所归依。定，人生如卵石，无所归依。 Having examined the soundscape, Arnold turns to the action of the tide itself and sees in its retreat a metaphor for the loss of

18、faith in the modern age once again expressed in an auditory image (“But now I only hear/Its melancholy, long, withdrawing roar”). Stanza 4Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new, Hath really neither joy

19、, nor love, nor light, Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. 啊，爱，让我们互相啊，爱，让我们互相忠实吧！因为世界教我们分明忠实吧！因为世界教我们分明看来像摆在眼前的一个梦境，看来像摆在眼前的一个梦境，这么美，这么新，这么个多式这么美，这么新，这么个多式多样，多样，实际上并没

20、有光明，爱，幸福，实际上并没有光明，爱，幸福，也没有稳定、和平、给痛苦的也没有稳定、和平、给痛苦的温慰；温慰；我们在这里，像在原野上受黑我们在这里，像在原野上受黑暗包围，暗包围，受斗争和逃遁惊扰得没有一片受斗争和逃遁惊扰得没有一片净土，净土，处处是无知的军队在夜里冲突。处处是无知的军队在夜里冲突。 The poem seems to open with the speaker speaking to his companion at a window about the beauty of the seashore. The seascape begins to remind him of h

21、is uncertain place in the world. He mourns the loss of faith in God, which provided security and meaning of life to people in the past, and compares the passing of faith to the ebbing of the tide. The poem ends by providing a solution for the speakers anxiety. He begs his “love” to be true to him because only in their devotion to each other will they secure their comfort