sappho诗歌

篇一：诗歌

II.

The age demanded an image

Of its accelerated grimace,

Something for the modern stage,

Not, at any rate, an Attic grace;

Not, not certainly, the obscure reveries

Of the inward gaze;

Better mendacities

Than the classics in paraphrase!

The "age demanded" chiefly a mould in plaster, Made with no loss of time,

A prose kinema, not, not assuredly, alabaster

Or the "sculpture" of rhyme.

III.

The tea-rose, tea-gown, etc.

Supplants the mousseline of Cos,

The pianola "replaces"

Sappho's barbitos.

Christ follows Dionysus,

Phallic and ambrosial

Made way for macerations;

Cal

All things are a flowing,

Sage Heracleitus says;

But a tawdry cheapness

Shall reign throughout our days.

Even the Christian beauty

Defects -- after Samothrace;

We see to kalon

Decreed in the market place.

Faun's flesh is not to us,

Nor the saint's vision.

We have the press for wafer;

Franchise for circumcision.

All men, in law, are equals.

Free of Peisistratus,

We choose a knave or an eunuch

To rule over us.

A bright Apollo,

tin andra, tin eroa, tina theon,

What god, man, or hero

Shall I place a tin wreath upon?

IV.

These fought, in any case,

and some believing, pro domo, in any case ..

Some quick to arm,

some for adventure,

some from fear of weakness,

some from fear of censure,

some for love of slaughter, in imagination,

learning later ...

some in fear, learning love of slaughter;

Died some pro patria, non dulce non et decor" ..

walked eye-deep in hell

believing in old men's lies, then unbelieving

came home, home to a lie,

home to many deceits,

home to old lies and new infamy;

usury age-old and age-thick

and liars in public places.

Daring as never before, wastage as never before. Young blood and high blood,

Fair cheeks, and fine bodies;

fortitude as never before

frankness as never before,

disillusions as never told in the old days,

hysterias, trench confessions,

laughter out of dead bellies.

V.

There died a myriad,

And of the best, among them,

For an old bitch gone in the teeth,

For a botched civilization.

Charm, smiling at the good mouth,

Quick eyes gone under earth's lid,

For two gross of broken statues,

For a few thousand battered books.

Yeux Glauques

Gladstone was still respected,

When John Ruskin produced

"Kings Treasuries"; Swinburne

And Rossetti still abused.

F?tid Buchanan lifted up his voice

When that faun's head of hers

Became a pastime for

Painters and adulterers.

The Burne-Jones cartons

Have preserved her eyes;

Still, at the Tate, they teach

Cophetua to rhapsodize;

Thin like brook-water,

With a vacant gaze.

The English Rubaiyat was still-born

In those days.

The thin, clear gaze, the same

Still darts out faun-like from the half-ruin'd face,

Questing and passive ....

"Ah, poor Jenny's case" ...

Bewildered that a world

Shows no surprise

At her last maquero's

Adulteries.

"Siena Mi Fe', Disfecemi Maremma"

Among the pickled f?tuses and bottled bones, Engaged in perfecting the catalogue,

I found the last scion of the

Senatorial families of Strasbourg, Monsieur Verog.

For two hours he talked of Gallifet;

Of Dowson; of the Rhymers' Club;

Told me how Johnson (Lionel) died

By falling from a high stool in a pub ...

But showed no trace of alcohol

At the autopsy, privately performed --

Tissue preserved -- the pure mind

Arose toward Newman as the whiskey warmed.

Dowson found harlots cheaper than hotels;

Headlam for uplift; Image impartially imbued

With raptures for Bacchus, Terpsichore and the Church. So spoke the author of "The Dorian Mood",

M. Verog, out of step with the decade,

Detached from his contemporaries,

Neglected by the young,

Because of these reveries.

Brennbaum.

The sky-like limpid eyes,

The circular infant's face,

The stiffness from spats to collar

Never relaxing into grace;

The heavy memories of Horeb, Sinai and the forty years,

Showed only when the daylight fell

Level across the face

Of Brennbaum "The Impeccable".

Mr. Nixon

In the cream gilded cabin of his steam yacht

Mr. Nixon advised me kindly, to advance with fewer Dangers of delay. "Consider

Carefully the reviewer.

"I was as poor as you are;

"When I began I got, of course,

"Advance on royalties, fifty at first", said Mr. Nixon, "Follow me, and take a column,

"Even if you have to work free.

"Butter reviewers. From fifty to three hundred "I rose in eighteen months;

"The hardest nut I had to crack

"Was Dr. Dundas.

"I never mentioned a man but with the view "Of selling my own works.

"The tip's a good one, as for literature

"It gives no man a sinecure."

And no one knows, at sight a masterpiece. And give up verse, my boy,

There's nothing in it."

Likewise a friend of Bloughram's once advised me: Don't kick against the pricks,

Accept opinion. The "Nineties" tried your game And died, there's nothing in it.

X.

Beneath the sagging roof

The stylist has taken shelter,

Unpaid, uncelebrated,

At last from the world's welter

篇二：古希腊诗人sappho英文介绍

Sappho .

The Alexandrians included her in the list of nine lyric poets. Her birth was sometime between 630 and 612 BCE, and it is said that she died around 570 BCE, but little is known for certain about her life. The bulk of her poetry, which was well-known and greatly admired through much of antiquity, has been lost, but her immense reputation has endured through surviving fragments

. Sappho's lifetime witnessed a period of political turbulence on Lesbos and saw the rise of Pittacus. According to the Parian Marble, Sappho was exiled to Sicily sometime between 604 BCE and 594 BCE and Cicero records that a statue of her stood in the town-hall of Syracuse. Unlike the works of her fellow poet, Alcaeus, Sappho's surviving poetry has very few allusions to political conditions. The principal exception is Fragment 98, which mentions exile and indicates that Sappho was lacking some of her customary luxuries. Her political sympathies may have lain with the party of Alcaeus. Though there is no explicit record of this, it is usually assumed that Sappho returned from exile at some point and that she spent most of her life in Lesbos.

David Campbell has briefly summarized some of the most arresting qualities of Sappho's poetry Clarity of language and simplicity of thought are everywhere evident in our fragments; wit and rhetoric, so common in English love-poetry and not quite absent from Catullus' love poems, are

nowhere to be found. Her images are sharp—the sparrows that draw Aphrodite's chariot, the full moon in a starry sky, the solitary red apple at the tree-top—and she sometimes lingers over them to elaborate them for their own sake. She quotes the direct words of conversations real or imaginary and so gains immediacy. When the subject is the turbulence of her emotions, she displays a cool control in their expression. Above all, her words are chosen for their sheer melody: the skill with which she placed her vowels and consonants, admired by Dionysius of Halicarnassus, is evidenced by almost any stanza; the music to which she sang them has gone, but the spoken sounds may still enchant. Out of over 200 remaining remnants of Sappho’s poetry, Fragment 16 and Fragment 44 in particular are considered lyric retellings

of Homer epics, as Sappho was known to be very familiar with Homer’s poems. Both fragments make direct allusions to scenes in Homer’s Iliad, while Sappho also expands them with her own narrative illustrations. Fragment 16, for instance, serves to characterise Helen, a key figure of Homer's, while Fragment 44 glorifies domestic joy by depicting the events leading to the wedding of Hector and Andromache.

The political atmosphere of the Lesbos during Sappho's time paralleled that of Homer’s Troy, as the cities of Lesbos were constantly plagued with threats from Lydia. Whereas Homer focused depicting beauty through the glory of militarism, however, Sappho focused primarily on

the portrayal of beauty through love. As oratory poets, both Homer and Sappho used their work to celebrate and memorialise events for posterity. The exigency of their verses was therefore to preserve information as well as to entertain.

篇三：英语诗歌

Samples –type of poetry

NARRATIVE ...................................................................................................................................... 1

Epic .............................................................................................................................................. 1

THE ILIAD ......................................................................................................................... 1

THE AENEID ..................................................................................................................... 2

Paradise Lost ...................................................................................................................... 2

Romances .................................................................................................................................... 3

Troilus and Criseyde .......................................................................................................... 3

Idylls of the King ................................................................................................................ 3

Ballads ......................................................................................................................................... 4

The Wife of Usher’s Well ................................................................................................... 4

Robin Hood And Allin-A-Dale .......................................................................................... 5

LYRICS ............................................................................................................................................... 5

Auld lang syne .................................................................................................................... 5

Western Wind ..................................................................................................................... 6

Hark, Hark, the Lark ........................................................................................................ 6

The Isles of Greece ............................................................................................................. 6

THE DAFFODILS William Wordsworth .......................................................................... 6

DRAMATIC ....................................................................................................................................... 7

Hamlet ................................................................................................................................. 7

Julius Caesar ...................................................................................................................... 8

Narrative

EPIC

THE ILIAD by Homer, translated by Samuel Butler

BOOK I

Sing, O goddess, the anger of Achilles son of Peleus, that brought

countless ills upon the Achaeans. Many a brave soul did it send

hurrying down to Hades, and many a hero did it yield a prey to dogs

and vultures, for so were the counsels of Jove fulfilled from the

day on which the son of Atreus, king of men, and great Achilles, first

fell out with one another.

THE AENEID by Virgil

BOOK I

Arms, and the man I sing, who, forc'd by fate, And haughty Juno's uelenting hate,

Expell'd and exil'd, left the Trojan shore. Long labors, both by sea and land, he bore, And in the doubtful war, before he won

The Latian realm, and built the destin'd town; His banish'd gods restor'd to rites divine, And settled sure succession in his line,

From whence the race of Alban fathers come, And the long glories of majestic Rome

O Muse! the causes and the crimes relate;

What goddess was provok'd, and whence her hate; For what offense the Queen of Heav'n began To persecute so brave, so just a man;

Involv'd his anxious life in endless cares, Expos'd to wants, and hurried into wars!

Can heav'nly minds such high resentment show, Or exercise their spite in human woe?

Paradise Lost by John Milton

Book 1

Of Mans First Disobedience, and the Fruit Of that Forbidden Tree, whose mortal tast

Brought Death into the World, and all our woe, With loss of EDEN, till one greater Man Restore us, and regain the blissful Seat, Sing Heav'nly Muse, that on the secret top Of OREB, or of SINAI, didst inspire

That Shepherd, who first taught the chosen Seed, In the Beginning how the Heav'ns and Earth Rose out of CHAOS: Or if SION Hill

Delight thee more, and SILOA'S Brook that flow'd Fast by the Oracle of God; I thence

Invoke thy aid to my adventrous Song,

That with no middle flight intends to soar Above th' AONIAN Mount, while it pursues Things unattempted yet in Prose or Rhime.

ROMANCES

Troilus and Criseyde by Geoffrey Chaucer BOOK I

The double sorwe of Troilus to tellen,That was the king Priamus sone of Troye,In lovinge, how his aventures fellen

Fro wo to wele, and after out of Ioye,

My purpos is, er that I parte fro ye.

Thesiphone, thou help me for tendyte

Thise woful vers, that wepen as I wryte!

To thee clepe I, thou goddesse of torment,Thou cruel Furie, sorwing ever in peyne;Help me, that am the sorwful instrument That helpeth lovers, as I can, to pleyne!For wel sit it, the sothe for to seyne,

A woful wight to han a drery fere,

And, to a sorwful tale, a sory chere.

Idylls of the King By Tennyson The Coming of Arthur

Leodogran, the King of Cameliard,

Had one fair daughter, and none other child; And she was the fairest of all flesh on earth, Guinevere, and in her his one delight.

For many a petty king ere Arthur came Ruled in this isle, and ever waging war

Each upon other, wasted all the land;

And still from time to time the heathen host Swarmed overseas, and harried what was left. And so there grew great tracts of wilderness, Wherein the beast was ever more and more, But man was less and less, till Arthur came. For first Aurelius lived and fought and died, And after him King Uther fought and died, But either failed to make the kingdom one. And after these King Arthur for a space,

And through the puissance of his Table Round, Drew all their petty princedoms under him.

Their king and head, and made a realm, and reigned.

BALLADS

The Wife of Usher’s Well

There lived a Wife at Usher’s Well,

And a wealthy wife was she:

She had three stout and stalwart sons,

And sent them over the sea.

They hadna been a week from her,

A week but barely ane,

When word came to the carlin wife

That her three sons were gane.

Robin Hood And Allin-A-Dale

Come listen to me, you gallants so free, All you that love mirth for to hear, And I will tell you of a bold ourlaw That lived in Nottinghamshire.

As Robin Hood in the forest stood, All under the greenwood tree,

There he was aware of a brave young man As fine as fine might be.

Lyrics --Auld lang syne By Robert Burns

The Should auld acquaintance be forgot, And never brought to min’?

Should auld acquaintance be forgot, And days o’ lang syne?

We twa hae run about the braes, And pu’d the gowans fine,

But we’ve wandered mony a weary foot, Sin’ auld lang syne.

We twa hae paidled I’ the burn, From morning sun till dine;

But seas between us braid hae roared, Sin’ auld lane syne.

And there’s a hand, my trusty fiere, And gie’s a hand o’ thine;

And we’ll tak a right gude-willie waught, For auld lang syne.

And surely ye’ll be your pint-stowp, And surely I’ll be mine;

And we’ll tak a cup o’ kindness yet, For auld lang syne.

For auld lang syne, my dear,For auld lang syne,

We’ll tak a cup o’ kindness yet,For auld lang syne.