具有代表的美国诗歌整理

5. “Aunt Jennifer’s Tigers”

Adrienne Rich

Aunt Jennifer’s tigers prance across a screen,

Bright topaz denizens in a world of green.

They do not fear the men beneath the tree;

They pace in sleek chivalric certainty.

Aunt Jennifer’s fingers fluttering through her wool

Find even the ivory needle hard to pull.

The massive weight of Uncle’s wedding band

Sits heavily upon Aunt Jennifer’s hand.

When Aunt is dead, her terrified hands will lie

Still ringed with ordeals she was mastered by.

The tigers in the panel that she made

Will go on prancing, proud and unafraid.

杰妮夫姨妈的老虎在屏风上窜腾，
安居在绿草世界犹如黄玉般晶亮。
对于树下的人类它们不屑畏惧；
自信的步态骑士般孔武而自如。
詹妮孚姨妈的手指在毛线间摸索，
甚至那象牙色钩针也难以穿梭。
姨父硕大的婚戒沉甸甸地缠绕
将詹妮孚姨妈的手指紧紧套牢。
姨妈亡故，她惊颤的双手终于放松
但主宰终生的磨难依然是她的指环。
她编织的装饰图案中，那些老虎
继续窜腾，一如既往，傲岸且无

灵活运用，押韵＼铺垫＼借代＼比喻＼联想等多种修辞手法，烘托出悲怆的气氛，逼真描绘女主人公被男权社会压迫的命运，与威风凛凛的老虎形象形成鲜明对比，表达作者对男权社会，女人的地位状况的同情和不满。The fearful, gloomy woman waiting inside her darkening room for the emotional and meteorological devastation to hit could be Aunt Jennifer, who is similarly passive and terrified, overwhelmed by events that eclipsed her small strength. "Aunt Jennifer's Tigers" is, however, an even clearer statement of conflict in women, specifically between the impulse to freedom and imagination (her tapestry of prancing tigers) and the "massive weight" of gender roles and expectations, signified by "Uncle's wedding band." Although separated through the use of the third person and a different generation, neither Aunt Jennifer in her ignorance nor Rich as a poet recognizes the fundamental implications of the division between imagination and duty, power and passivity. The tigers display in art the values that Aunt Jennifer must repress or displace in life: strength, assertion, fearlessness, fluidity of motion.

7. This is Just To Say William Carlos Williams

I have eaten

the plums

that were in

the icebox

and which

you were probably

saving

for breakfast.

Forgive me

they were delicious

so sweet

and so cold.

我吃了
冰箱里的
梅子
它们
大概是你
留着
当早餐用的
原谅我
它们太好吃了
那么甜
那么凉

非常生活化的一首便条诗，语感棒极了，读起来就两个字：舒服.要有感情，此诗的最后四行就是抒情的,抒发了一种偷吃的快感。要有意象，这里是梅子。所以，它是一首诗，而且是一首经典的诗歌，曾在美国引起了哄动。此诗的前四行是叙事，吃了冰箱里的梅子。而中间部分事遐想。能力有限，到此思维就停止了，希望得到你们的补充。

Introduction to Poetry

Billy Collins

I ask them to take a poem
and hold it up to the light
like a color slide

or press an ear against its hive.

I say drop a mouse into a poem
and watch him probe his way out,

or walk inside the poem's room
and feel the walls for a light switch.

I want them to waterski
across the surface of a poem
waving at the author's name on the shore.

But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.

They begin beating it with a hose
to find out what it really means.

我让他们拿起一首诗

对着灯把它举起

像举彩色幻灯片一样

或者把一只耳朵贴在它的巢上。

我说丢只老鼠到一首诗里

看它如何摸出来，

或者在诗的屋子里走动

摸墙上的灯闸。

我想要他们乘水橇

滑过一首诗的表面

冲着岸上作者的姓名挥手致意。

可他们只想

拿绳子将诗捆在椅子上

给它来个屈打成招。

他们开始用软管抽它

想弄清它的真正含义。

王君如是说：切身地体会诗歌，才会同作者有共鸣，像“他们”一样，挖空心思“以找出它真正的意义”只会对诗歌造成伤害。我们要记住的是诗中种种有趣的片段，这些瞬间而动人的，才是最本质的体验。由是，对于诗歌，我们只谈感受，不谈“分析”。

8. The Red Wheelbarrow

William Carlos Williams

so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.

这么多
全靠
一辆红轮子的
手推车
因为雨水
而闪光
旁边是一群
白色的小鸡

诗人试图尝试将我们的文明根基还原到一个朴素的存在，即简单的农具和家畜的饲养。他在宣示我们的文明，无论如何绚烂夺目抑或已经走向颓势，都离不开简单的劳作和简单的工具。而这些简单的农场元素，又恰恰是我们文明最初获得生命力的表现，人以自己对世界的认识，反省着我们和自然的关系，于是便在形而下的层面创造了我们和自然得以互动沟通的方式。

9. The House on the Hill Edwin Arlington Robinson 

They are all gone away,
The House is shut and still,
There is nothing more to say.
Through broken walls and gray
The winds blow bleak and shrill:
They are all gone away.
Nor is there one to-day
To speak them good or ill:
There is nothing more to say.
Why is it then we stray
Around the sunken sill?
They are all gone away,
And our poor fancy-play
For them is wasted skill:
There is nothing more to say.

There is ruin and decay
In the House on the Hill:
They are all gone away,
There is nothing more to say.

他们都已离去，
只留下大门紧闭的老屋，
冷冷清清，默默无语。

断壁灰暗，往日的旧居，
凄厉的寒风吹拂，
他们都已离去。

人迹渺茫，满目空虚，
谁来把陈年是非讲述，
冷冷清清，默默无语。

我们为何踏着蹒跚的步履，
围绕破败的门窗徘徊盼顾？
他们都已离去。

那梦幻般的嬉戏欢娱，
太过久远，太过模糊，
冷冷清清，默默无语。

眼前唯有废墟，
山上的这间老屋：
他们都已离去，
冷冷清清，默默无语

“The House on the Hill” was once a place full of life and laughter. Once Edwin’s older brothers left to live on their own, the house became lifeless. He was already alienated by his parents, which added to his loneliness. Throughout this poem Robinson used refrain to emphasize his loneliness.

10. Richard Cory

Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored and imperially slim.

And he was always quietly arrayed,
And he was always human when he talked,
But still he fluttered pulses when he said,
"Good-morning," and he glittered when he walked.

And he was rich--yes, richer than a king--
And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.
So on we worked, and waited for the light,
And went without the meat and cursed the bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head.

理查德·科里一到街头，
行人总要注目瞻望；
一派君子风度，
眉清目秀，伟岸颀长。
举止谦和沉稳，
谈吐文雅大方；
一声“早安”令人怦然心动，
他迈开步子溢彩流光。

他有富可敌国的家产，
他有全知全能的教养，
他是万民效仿的标准，
他是大众追求的榜样。

人们不停劳作，苦苦盼望，
一日三餐只有难吃的粗粮；
可他在一个平静的夏夜回到家里，
用一颗子弹打碎自己的脑浆。

In this poem "Richard Cory" Edwin makes it seem like there was this perfect man that everybody bowed down to and they all wanted to be like him because of the way he presented himself. The people did not know that deep down this prosperous man felt like an outcast, like Edwin Robinson. This wealthy man felt separated by the people in his town because of his many achievements.

Richard is simply an example of a major downfall of human nature: the need to be liked. He acts as though he is a great man and traines his body to be admirable as well but, when he sees how much he had to live up to he knows it is un- attainable and kills him at the realization that, he has been living a lie.

11. Anecdote of a Jar Wallace Stevens

I placed a jar in Tennessee,   我把一只坛子放在田纳西
And round it was, upon a hill.    它圆圆的，矗立在山顶
It made the slovenly wilderness    原本凌乱的荒野
Surround that hill.      因它而向小山环聚

The wilderness rose up to it,   荒野向它涌来
And sprawled around, no longer wild.   并向四周蔓延，不再狂野
The jar was round upon the ground 圆圆的坛子在地面上格外突出
And tall and of a port in air.         高的像空中的海港

It took dominion everywhere.       它统治着所有地方
The jar was gray and bare. 虽然它光秃秃、灰溜溜

It did not give of bird or bush,     它既不长鸟又不长植物

Like nothing else in Tennessee.    但它与田纳西的任何一样东西就是不同

The jar means humanity, means culture, means art and artistic imaginations. With a jia being there, the wilderness got a center, and then, an order for everything. The soil, the sand, the patches of grass and clumps of bush are soon under dominance of it. The jar adds some thought to this place, just like art, turning the dead to live. Art is magic. It fantasize the nature. Without art, we are nothing and dead

12. The Emperor of Ice Cream Wallace Stevens

Call the roller of big cigars,
The muscular one, and bid him whip
In kitchen cups concupiscent curds.
Let the wenches dawdle in such dress
As they are used to wear, and let the boys
Bring flowers in last month's newspapers.
Let be be finale of seem.
The only emperor is the emperor of ice-cream.

Take from the dresser of deal.
Lacking the three glass knobs, that sheet
On which she embroidered fantails once
And spread it so as to cover her face.
If her horny feet protrude, they come
To show how cold she is, and dumb.
Let the lamp affix its beam.
The only emperor is the emperor of ice-cream.

让那卷大雪茄的人，那雄健的人
过来，让他去厨房
弄几杯淫欲的冰淇淋，
让少女穿上惯常的服装
来悠闲鬼混，让男孩们
用上个月的旧报纸把花儿包装好送来，
让看起来像的东西成为实实在在的东西。
唯一的王是冰淇淋大帝。

从缺三个玻璃把手的妆台
取出那床单，
在上面她曾刺绣扇尾鸽图案
铺开它，盖住她的脸。
如果她角状双脚伸出单子外，它们
是显示她尸骨已寒，再也不能说话，
让那盏灯光亮闪闪。
唯一的王是冰淇淋大帝。

Theme: Seize the Day one must be open to the abstract and the figurative to appreciate the blast of hedonism that comes from this poem. The woman's death presents an opportunity for her acquaintances to hold a party. The pleasure they will derive from the occasion apparently matters more than the memory of the deceased woman they are supposed to be mourning. No doubt, the women who attend will pay homage to the muscular man who makes the "concupiscent curds" (Line 3)--that is, appetizing, sensual curds that will constitute the ice cream. He and the ice cream represent sensual or physical pleasure. In turn, the "boys" (Line 5) will no doubt want to live it up with the "wenches" (Line 4), even if they are attending a wake. Everyone wants to seize the day--carpe diem. The Emperor of Ice Cream will preside at the festivities, dispensing pleasure by the dollop

13. Chicago
by Carl Sandbury

Hog Butcher for the World,
        Tool maker, Stacker of Wheat,
        Player with Railroads and the Nation's Freight Handler;
        Stormy, husky, brawling,
        City of the Big Shoulders:

They tell me you are wicked and I believe them, for I have seen your
     painted women under the gas lamps luring the farm boys.
And they tell me you are crooked and I answer: yes, it is true I have seen
     the gunman kill and go free to kill again.
And they tell me you are brutal and my reply is: On the faces of women
     and children I have seen the marks of wanton hunger.
And having answered so I turn once more to those who sneer at this my
     city, and I give them back the sneer and say to them:
Come and show me another city with lifted head singing so proud to be
     alive and coarse and strong and cunning.
Flinging magnetic curses amid the toil of piling job on job, here is a tall
     bold slugger set vivid against the little soft cities;
Fierce as a dog with tongue lapping for action, cunning as a savage pitted
     against the wilderness,
        Bareheaded,
        Shoveling,
        Wrecking,
        Planning,
        Building, breaking, rebuilding,
Under the smoke, dust all over his mouth, laughing with white teeth,
Under the terrible burden of destiny laughing as a young man laughs,
Laughing even as an ignorant fighter laughs who has never lost a battle,
Bragging and laughing that under his wrist is the pulse, and under his
     ribs the heart of the people,
             Laughing!
Laughing the stormy, husky, brawling laughter of Youth, half-naked,
     sweating, proud to be Hog Butcher, Tool Maker, Stacker of Wheat,
     Player with Railroads and Freight Handler to the Nation.

世界的猪屠夫，
工具匠，小麦存储者，
铁路运输家，全国货物转运人
暴躁、魁梧、喧闹，
宽肩膀的城市：

人家告诉我你太卑劣，我相信：我看到你的
女人浓妆艳抹在煤气灯下勾引乡下小伙。
人家告诉我你太邪恶，我回答：是的，的确
我见到凶手杀了人逍遥法外又去行凶。
人家告诉我你大残酷，我的答复是：在妇女
和孩子脸上我见到饥饿肆虐的烙印。
我这样回答后．转过身，对那些嘲笑我的城
市的人，我回敬以嘲笑，我说：
来呀，给我看别的城市，也这样昂起头，骄
傲地歌唱，也这样活泼、粗犷、强壮、机灵。
他把工作堆起来时，抛出带磁性的咒骂，在
那些矮小展弱的城市中，他是个高大拳击手。
凶狠如一只狗，舌头伸出准备进攻，机械有
如跟莽原搏斗的野蛮人；
光着头，
挥着锹，
毁灭，
计划，
建造，破坏，再建造，
在浓烟下，满嘴的灰，露出白牙齿大笑，
在命运可怕的重负下，像个青年人一样大笑，
大笑，像个从未输过一场的鲁莽斗士，
自夸，大笑，他腕下脉搏在跳，肋骨下人民
的心在跳，大笑！
笑出年青人的暴躁、魁伟、喧闹的笑、赤着
上身，汗流浃背，他骄傲，因为他是猪屠
夫，工具匠，小麦存储者，铁路运输家，
全国货物的转运人。

The poem presents a striking and impressive description of the vigor and vitality of Chicago primarily by means of personification, images and metaphor. In the first five lines, . By using this metaphor. The poet highlights the vigor of Chicago.Then in the last 21 lines, the poet delineates the images of "a tall bold slugger", "a dog lapping for actions" and "a savage pitted against the wilderness". They are all incarnations of power, strength, vitality and action. So, the use of these images further emphasizes the vigor of Chicago.Moreover, the varied syntactic pattern and changeable rhythm also reveal the mobility, energy, and vigor of Chicago.

14. I am the People, the Mob

I am the people--the mob--the crowd--the mass.

Do you know that all the great work of the world is done through me?
I am the workingman, the inventor, the maker of the world's food and
clothes.
I am the audience that witnesses history. The Napoleons come from me
and the Lincolns. They die. And then I send forth more Napoleons
and Lincolns.
I am the seed ground. I am a prairie that will stand for much plowing.
Terrible storms pass over me. I forget. The best of me is sucked out
and wasted. I forget. Everything but Death comes to me and makes
me work and give up what I have. And I forget.
Sometimes I growl, shake myself and spatter a few red drops for history
to remember. Then--I forget.
When I, the People, learn to remember, when I, the People, use the
lessons of yesterday and no longer forget who robbed me last year,
who played me for a fool--then there will be no speaker in all the
world say the name: "The People," with any fleck of a sneer in his
voice or any far-off smile of derision.
The mob--the crowd--the mass--will arrive then.

In this poem he talks about how the people are the reason people like Napoleon and Lincoln were able to do all that they did. Even though people like them die the people are still strong.

He wants people to understand that without all the hard work, People wouldn't have food to feed themselves and clothes to wear. People wouldn't be where they're at right now.

15. The Road Not Taken Robert Frost

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.

深黄的林子里有两条岔开的路，

很遗憾，我，一个过路人，

没法同时踏上两条征途，

伫立好久，我向一条路远远望去，

直到它打弯，视线被灌木丛挡住。

于是我选了另一条，不比那条差，

也许我还能说出更好的理由，

因为它绿草茸茸，等待人去践踏——

其实讲到留下了来往的足迹，

两条路，说不上差别有多大。

那天早晨，有两条路，相差无几，

都埋在还没被踩过的落叶底下。

啊，我把那第一条路留给另一天！

可我知道，一条路又接上另一条，

将来能否重回旧地，这就难言。

隔了多少岁月，流逝了多少时光，

我将叹一口气，提起当年的旧事：

林子里有两条路，朝着两个方向，

而我——我走上一条更少人迹的路，

于是带来完全不同的一番景象

 Everyone is a traveler, choosing the roads to follow on the map of their continuous journey, life. There is never a straight path that leaves one with but a sole direction in which to head. Regardless of the original message that Robert Frost had intended to convey

16. Stopping By Woods On A Snowy Evening

Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

我不会猜错谁是这林子的主人，
但他的家却远在那边的孤村。
他不会想到，我竟在这里停马，
只为看那树林里面落雪纷纷。

我那小马定有点诧异，
为何在这里停下，悄无人迹。
这边是树林，那边是冰冻的湖，
又是一年里最黑的夜，夜黑如漆。

他摇了下铃铛，送来个声响，
似乎问我有什么异常。
其他的声音，只有微风，
还有那漫天的雪花，沙沙地落在脚旁。

静谧的树林，深邃幽暗，
我虽向往，但已有约在先。
入睡之前仍然路程迢迢，
入睡之前，仍然路程漫漫

The speaker is stopping by some woods on a snowy evening. He or she takes in the lovely scene in near-silence, is tempted to stay longer, but acknowledges the pull of obligations and the considerable distance yet to be traveled before he or she can rest for the night.

20. When I Heard the Learn’d Astronomer Walt Whitman

When I heard the learned astronomer,

When the proofs, the figures, were ranged in columns before me,

When I was shown the charts and diagrams, to add, divide, and measure them,

When I sitting heard the astronomer where he lectured with much applause in the lecture-room,

How soon unaccountable I became tired and sick,

Till rising and gliding out I wandered off by myself,

In the mystical moist night-air, and from time to time,

Looked up in perfect silence at the stars.

当我听那位博学的天文学家的讲座时，
当那些证明、数据一栏一栏地排列在我眼前时，
当那些表格、图解展现在我眼前要我去加、去减、去测定时，
当我坐在报告厅听着那位天文学家演讲、听着响起一阵阵掌声时，
很快地我竟莫名其妙地厌倦起来，
于是我站了起来悄悄地溜了出去，
在神秘而潮湿的夜风中，一遍又一遍，
静静地仰望星空。

.......Mere numbers, charts, and diagrams cannot sum up the mystery, power, and beauty of the universe. To begin to understand the wonder of the universe, one must view it through the lens of the unaided eye rather than the lens of the calibrated telescope in order see a glimmer of its meaning. A person must sometimes separate himself from the crowd to experience life and the cosmos from a different perspective. He must become an individual, a nonconformist, willing to abandon the herd to roam freely in open pastures.

21. Crossing Brooklyn Ferry Walt Whitman

1

Flood-tide below me! I see you face to face!

Clouds of the west—sun there half an hour high—I see you also face to face.

Crowds of men and women attired in the usual costumes, how curious you are to me!

On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,

And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.

2

The impalpable sustenance无形的食粮 of me from all things at all hours of the day,

The simple, compact, well-joined (weel-connected) scheme (design), myself disintegrated (解体),我化为尘土了 every one disintegrated yet part of the scheme,

The similitudes (resemblance) of the past and those of the future,

The glories strung like beads (珠子) on my smallest sights and hearings, on the walk in the street and passage over the river,（敢情我也小小的惠特曼了。。。）

The current rushing 河流so swiftly and swimming with me far away,

The others that are to follow me, the ties between me and them,

The certainty of others, the life, love, sight, hearing of others.

Others will enter the gates of the ferry and cross from shore to shore,

Others will watch the run of the flood-tide (涨潮),

Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,

Others will see the islands large and small;

Fifty years hence, others will see them as they cross, the sun half an hour high,

A hundred years hence (after), or ever so many hundred years hence, others will see them,

Will enjoy the sunset, the pouring-in of the flood-tide, the falling back to the sea of the ebb-tide (退潮).

3

It avails (matters) not, time nor place—distance avails not,

I am with you, you men and women of a generation, or ever so many generations hence,

Just as you feel when you look on the river and sky, so I felt,

Just as any of you is one of a living crowd, I was one of a crowd,

Just as you are refreshed by the gladness of the river and the bright flow, I was refreshed,

Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried,

Just as you look on the numberless masts (桅杆) of ships and thick-stemmed (thick) pipes of steamboats, I looked.

脚下的潮水啊！我面对面看着你！

西边的云──太阳还有半个钟头就落了──我也面对面看着你。

衣着平常的男男女女，我感觉你们实在新奇！

成百上千人搭渡船过河回家，给我的感觉比你们想象的还要新奇，

而你们，将在今后岁月里从口岸渡到口岸的人，对于我比你们想象的更加新奇，更多地进入我的沉思。
2 

每天从时时刻刻、大小事物中我得到无形的食粮，

简单、紧凑、完美结合的蓝图，我化为尘土了，人人都化为尘土了，这不过是蓝图的一部分，

和过去相似，也和未来相似，

逛街，过河，我看到和听到的最细微的事物，如同串串闪光的珠子，

河流这样湍急，同我一起游向远方，

那些将要跟随我的人，真实的他们，

他们的生活、爱情、所见、所闻，都和我息息相连。

他们将走进渡口的大门，从口岸渡到口岸，

他们将看到潮水汹涌，

他们将看到船从曼哈顿向北向西航行，看到南边和东边的布鲁克林高地，

他们将看到大大小小的岛屿，

今后五十年，太阳还有半个钟头就要落下的时候，将有人看到他们过河，

今后一百年、或者几百年后，又将有别人看到他们，

欣赏这夕阳西下、潮涨潮落。

It is one of Whitman's best-known and best-loved poems because it so astutely and insightfully argues for Whitman's idea that all humans are united in their common experience of life.

22. A Woman Waits for Me Walt Whitman

A woman waits for me, she contains all, nothing is lacking,

Yet all were lacking if sex were lacking, or if the moisture of the right man were lacking.

…

I draw you close to me, you women’

I cannot let you go, I would do you good,

I am for you, and you are for me, not only for our own sake, but for others’ sakes

Enveloped in you sleep greater heroes and bards (poets),

They refuse to awake at the touch of any man but me.

…

I do not hurt you any more than is necessary for you,

I pour the stuff to start sons and daughters fit for these States, I press with slow rude muscle,

The drops I distil upon you shall grow fierce and athletic girls, new artists, musicians, and singers,

The babes I beget (produce) upon you are to beget babes in their turn,

I shall demand perfect men and women out of my love-spendings,

I shall expect them to interpenetrate with others, as I and you interpenetrate (intercourse) now,

I shall count on the fruits of the gushing showers of them, as I count on the fruits of the gushing (pouring) showers I give now,

I shall look for loving crops from the birth, life, death, immortality, I plant so lovingly now.

25. Success Is Counted Sweetest Emily Dickinson

Success is counted sweetest

By those who never succeed.

To comprehend a nectar

Requires sorest need.

Not one of all the purple Host

Who took the Flag today

Can tell the definition

So clear of Victory

As he defeated—dying—

On whose forbidden ear

The distant strains of triumph

Burst agonized and clear.

成功的滋味最甜
从未成功者主张
1 W# q: f- d( T( k' [2 d品尝蜜的甘美
2 s& J/ i# n4 F7 R; s唯当极度渴望
身穿紫袍的官军  
今天旗开得胜
' o1 I, ?; ]! ~: b( h, N却无人能把胜利的
8 ~2 F( I, q7 h3 }2 ?$ L# K+ v真谛，说清道白
, w# m6 ~: x7 w7 M# R* L他——战败——垂死
惊闻军号冲破屏障
% l* }3 p6 ?- a; ^8 H: [在远方把凯旋的乐章
奏响，悲愤且嘹亮！

This little poem expresses Dickinson’s continuing love affair with the spiritual level of being.

26. The Soul Selects Her Own Society (friends) Emily Dickinson

The Soul selects her own Society—

Then—shuts the Door—

To her divine Majority—

Present no more—

Unmoved she notes the Chariots—pausing—

At her low Gate—

Unmoved—an Emperor be kneeling

Upon her Mat—(垫子)

I’ve known her—from an ample nation—

Choose one—

Then—close the Valves (阀) of her attention—

Like Stone—

灵魂选择自己的伴侣
然后，把门紧闭
她神圣的决定
再不容干预

发现车辇停在她低矮的门前
不为所动
一位皇帝跪在她的席垫
不为所动

我知道她
从人口众多的整个民族
选中了一个
从此，封闭关心的阀门
象一块石头

灵魂选择了自己的伴侣，就关上门，坚定地守着自己的决定。这是一种神圣的决定，它不容干预。一种强烈的内心执着意念，一种内视的心灵在自己的天堂里扎根、生长。这种爱情是义无反顾的，一旦爱上一个人，就坚定地将自己的灵魂，还有生命一并交给另一个灵魂。但是，爱情并不是一点没有烟为味，会经常受到来自外部因素的影响。"车辇停在她低矮的门前"，"一位皇帝跪在她的席垫"上，这是一个暗示，暗示外部因素的纷繁和干扰力量的强大。然而，灵魂坚定而不为所动！这些更进一步地说明坚贞爱情的不易，说明那灵魂的纯真和坚毅。

27. I could not stop for Death Emily Dickinson

BECAUSE I could not stop for Death

He kindly stopped for me;

The carriage held but just ourselves

And Immortality.

We slowly drove, he knew no haste,

And I had put away

My labor, and my leisure too,

For his civility. (kindness and tenderness)

We passed the school where children played

At wrestling (sporting) in a ring; (playground or sports ground)

We passed the fields of gazing grain,

We passed the setting sun.

We paused before a house that seemed

A swelling of the ground;

The roof was scarcely visible,

The cornice (檐口) but a mound.

Since then ’t is centuries; but each

Feels shorter than the day

I first surmised (guessed) the horses’ heads

Were toward eternity.

因我不能停下等死神

死神便和善地为我停下

四轮马车只载着我俩

和那不朽的永恒

我们慢慢驱车，他知道没啥可急

而我也放弃了

我的工作和那安逸

只因他的彬彬有礼

我们路径学校，正值课间休息

孩子们围成圆环，打逗游戏

我们经过五谷凝望的农田

我们经过换换下沉的落日

其实是落日路径了我们

露浥微颤， 寒气逼人

只因我的礼服那般纤薄

我的披肩又仅是丝织品

我们暂停于一幢房前

看似一片隆起的地面

那屋顶模糊难以看清

宛如飞檐装饰着大地

自那以后，若干个世纪过去

每个世纪都比那白天更短

我当初便猜测那马头

是朝向永恒不久之地

Mortality is probably the major theme in this poem. It's all about the speaker's attitude toward her death and what the actual day of her death was like

28. I HEARD a fly buzz when I died Emily Dickinson

I HEARD a fly buzz when I died;

The stillness round my form

Was like the stillness in the air

Between the heaves (surges) of storm.

The eyes beside had wrung them dry,

And breaths were gathering sure

For that last onset (start, usually of an attack), when the king

Be witnessed in his power.

I willed my keepsakes, signed away

What portion of me I

Could make assignable,—and then

There interposed (come in between) a fly,

With blue, uncertain, stumbling buzz,

Between the light and me;

And then the windows failed, and then

I could not see to see.

我听到苍蝇的嗡嗡声——当我死时
房间里，一片沉寂
就像空气突然平静下来——
在风暴的间隙

注视我的眼睛——泪水已经流尽——
我的呼吸正渐渐变紧
等待最后的时刻——上帝在房间里
现身的时刻——降临

我已经分掉了——关于我的
所有可以分掉的
东西——然后我就看见了
一只苍蝇——

蓝色的——微妙起伏的嗡嗡声
在我——和光——之间
然后窗户关闭——然后
我眼前漆黑一片—

Mortality is definitely the big theme. She looks at the idea from a bunch of different angles – before, during, and after the moment of death – and maybe tries to get us to think about it in new ways

29. I ’M nobody!

I ’M nobody! Who are you?

Are you nobody, too?

Then there ’s a pair of us—don’t tell!

They ’d banish us, you know.

How dreary to be somebody!

How public, like a frog

To tell your name the livelong day (all day long)

To an admiring bog! (marsh)

我是无名之辈! 你是谁?

你也是无名之辈吗?

那么我们为一对!

别说! 他们会传开去-- 你知道!

多无聊-- 是-- 某某名人!

多招摇-- 象个青蛙—

告诉你的名字 -- 漫长的六月—

给一片赞赏的沼泽!

“I'm Nobody! Who Are You?” presents the theme that it is better to be a humble nobody than a proud somebody. After all, somebodies have to spend their time maintaining their status by telling the world how great they are. How boring!

35. Annabel Lee

by Edgar Allan Poe
(published 1849)

It was many and many a year ago,
  In a kingdom by the sea,
That a maiden there lived whom you may know
  By the name of ANNABEL LEE;--
And this maiden she lived with no other thought
  Than to love and be loved by me.
She was a child and I was a child,
  In this kingdom by the sea,
But we loved with a love that was more than love--
  I and my Annabel Lee--
With a love that the winged seraphs of heaven
  Coveted her and me.

And this was the reason that, long ago,
  In this kingdom by the sea,
A wind blew out of a cloud by night
  Chilling my Annabel Lee;
So that her high-born kinsman came
  And bore her away from me,
To shut her up in a sepulchre
  In this kingdom by the sea.

The angels, not half so happy in Heaven,
  Went envying her and me:--
Yes! that was the reason (as all men know,
  In this kingdom by the sea)
That the wind came out of a cloud, chilling
  And killing my Annabel Lee.

But our love it was stronger by far than the love
  Of those who were older than we--
  Of many far wiser than we-
And neither the angels in Heaven above,
  Nor the demons down under the sea,
Can ever dissever my soul from the soul
  Of the beautiful Annabel Lee:--

For the moon never beams without bringing me dreams
  Of the beautiful Annabel Lee;
And the stars never rise but I see the bright eyes
  Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling, my darling, my life and my bride,
  In her sepulchre there by the sea--
  In her tomb by the side of the sea.

那是很久很久以前，

在海边的国度，

一个少女在那里生活你可能知道的，

名叫安娜贝尔·李

在少女的生命中没有其他的期盼，

只为与我相爱，

当我们还是孩子的时候，

在海边的国度；

我们的爱早已超越一切，

我和我的安娜贝尔·李；

因为这爱，天堂的六翼天使

也把我们羡慕。

就因如此，很久以前，

在这海边的国度，

风从云的那边吹来，冻坏了我的安娜贝尔·李；

于是乎她那高贵的同族者来了，

并恶意地把她夺去，

将她关进一座坟墓里

在这海边的国度。

天堂里的天使却不及我们一半的快乐，

于是把我们嫉妒，

是的！正因如此（是啊谁都知道的，

在这海边的国度，）

风从云的那边吹来，

冻坏了我的安娜贝尔·李，并把她带走

但我们的爱远甚于一切的爱，

那些比我们年长的人的

那些比我们聪慧的人的

无论是天堂里的天使，

还是澳大利亚海里的魔鬼，

都无法将我们的灵魂分离。

美丽的安娜贝尔·李；

因为月亮从未照耀，从未带来

我的梦。

美丽的安娜贝尔·李；

星星也从未升起，但我却能看见一双明亮的

眼睛。

美丽的安娜贝尔·李；

因而，我整晚趟在那儿。

心爱的人儿，我的爱人，我的生命、我的新娘，

在海边的坟墓里，

在海边她的坟墓里

诗歌体现了爱德加·爱伦·坡的诗歌创作原则:音乐感和忧郁美.坡在其著名文学评论<创作原理>中说,人世间最伤感的莫过于死亡,而美丽的年轻女子的死亡更让人痛彻心骨.诗中美丽的安娜贝尔丽正是诗人所钟爱的年轻的亡妻弗吉尼亚的化身.该诗淋漓尽致地体现了坡对诗歌音乐美的不懈追求以及对伤感主题的执著偏爱,诠释了他所主张的诗歌创作原则,即视觉和听觉、节奏和音韵、想象和情感间的和谐统一.诗人也采用了大量象征手法更突出了诗歌主题并渲染了气氛.诗是一场梦境,但读过良久之后仍意味隽永,令人回味无穷.

36. Station of metro E.Ezra Pound

Apparition of these faces in the crowd在地铁站

Petals, flowers on a wet, black bough人潮中这些面容的忽现；湿巴巴的黑树丫上的花瓣。

Face is face , but in Pond's poem In a Station of the Metro, the face is so lovely that looks like a watery pear flower. This is imago which descrbe the figures, landscapes or intrapersonal feelings as the misty beauty. So lovely imago that you drop in deep and reluctant to come back to reality

The River-Merchant's Wife Ezra Pound

While my hair was still cut straight across my forehead
I played about the front gate, pulling flowers.
You came by on bamboo stilts, playing horse,
You walked about my seat, playing with blue plums.
And we went on living in the village of Chokan:
Two small people, without dislike or suspicion.
At fourteen I married My Lord you.
I never laughed, being bashful.
Lowering my head, I looked at the wall.
Called to, a thousand times, I never looked back.

At fifteen I stopped scowling,
I desired my dust to be mingled with yours
Forever and forever and forever.
Why should I climb the look out?

At sixteen you departed,
You went into far Ku-to-en, by the river of swirling eddies,
And you have been gone five months.
The monkeys make sorrowful noise overhead.

You dragged your feet when you went out.
By the gate now, the moss is grown, the different mosses,
Too deep to clear them away!
The leaves fall early this autumn, in wind.
The paired butterflies are already yellow with August
Over the grass in the West garden;
They hurt me. I grow older.
If you are coming down through the narrows of the river Kiang,
Please let me know beforehand,
And I will come out to meet you
      As far as Cho-fu-Sa.

17. A clean well-lighted place Ernest Hemingway (省略)

30. Excerpt from Benjamin Franklin’s Autobiography From Chapter 8

31. The Overcoat Sally Benson

32. Excerpts from Nature (Chapter One) Ralph Waldo Emerson

33. Excerpts from Emerson's Essay"Self-Reliance"

1. Aesop’s Last Fable William March

2. Declaration of Independence

34. Walden Henry David Thoreau

《瓦尔登湖》不仅是一部文笔清新的散文文学作品，同时更是一部深刻反映作者人生哲学的力作。作品中描写的形象，清澈的湖水、湖边的草木、林中的动物、自然环境中的人，等等，都带着某种象征意义。书中叙述的许多带有寓言色彩的故事，也都深刻地体现著作者的哲理思考。正如评论家查尔斯·安德生所形容的，瓦尔登湖及其周围环境是一个“魔圈”(注一)。这部书震撼人心的地方，也就是这个瓦尔登湖小世界魔圈中所象征、所蕴含的哲理。
从哲学观上看,梭罗属于美国十九世纪以爱默生为代表的超验主义(Transcendentalism)
A literary and philosophical movement, associated with Ralph Waldo Emerson and Margaret Fuller, asserting the existence of an ideal spiritual reality that transcends the empirical and scientific and is knowable through intuition. 超验主义：一种文学和哲学运动，与拉尔夫·沃尔多·爱默生和玛格丽特·富勒有关，宣称存在一种理想的精神实体，超越于经验和科学之处，通过直觉得以把握

23. Mark Twain (from Life on the Mississippi)

马克-吐温凭着年轻时驾驶河船的经验,写成了脍炙人口的自传《密西西比河上的生活》(Life on the Mississippi)。以密西西比河及沿岸的城镇为舞台背景，生动地写下作者的生活体验、童年岁月以及他所热爱的乡土。 这本书中饶富自传性，有描述、有插曲、有寓言、也有引用，具有多方面的意义和艺术价值，是一部结构雄伟，内容丰富的叙事诗。以幽默嘲讽风格著称的马克吐温,在书中呈现温暖的追忆和淡淡的忧愁。全书共六十章，作者以朴素、柔和、正确的语言把密西西比河的伟大容貌描绘得淋漓尽致，刻画了他亲身经历的十九世纪后半以后的美国社会及其蜕变，使本书成为美国乡土文学的先驱。 对作者来说，汽船时代正是一段最美丽、最富意义的往昔象征，代表了自由和冒险的掌舵生活，正是他的梦想和憧憬

24. After Twenty Years O· Henry

《二十年后》作品中，维尔斯从一个迟顿的老实人成为一个干练的巡警；而鲍勃则从一个不甘平凡的聪明人成为一个不法之徒。命运作弄了这一对昔日的好伙伴，二十年后成为势不两立的警察与匪徒，他们的人生路都是有迹可寻的。韦尔斯坚持了原则，也顾及了友谊。读者从本作品可以发现，欧．亨利式结局并非一种硬惊奇，用论者的说法便是出乎意料之外，却在情理之中。说本作品的结局是符合情理的，则要留意一些细节：两人的个性预示了不同的人生取向；犯罪者的心理倾向于主动剖白自己；鲍勃志得意满的过份自信减弱了应有的警愓；场景昏暗的灯光也模糊了视线，燃点香烟的细节却让韦尔斯看得一清二楚；鲍勃不经意的财富显露也让他露馅；韦尔斯正直的个性与警察的历练让他冷静面对犯罪的朋友。上列这些，都可见作者的艺术匠心。优秀的微型小说都有一个共同的特征，构思巧妙而精密。硬惊奇只是诉诸简单的巧合，甚至让人摸不着头脑。

18. Irwin Shaw The Girls inTheir Summer Dresses

后者则聚焦于男性 对女性身体美的欣赏 ,折射出男性对肉体的专注和对女性精神需求的漠视。两部作品都反映了传统婚姻对女性的压抑 ,表达了 对女性作为传统的“家庭天使 ”的角色的怀疑和否定。

38. A Story of An Hour By Kate Chopin

在读完文章之后,读者理解了玛拉德夫人的处境与情感,也会憎恶这个束缚女性的社会,但故事中的其他人物是永远无法明白她在这一小时中,是如何觉醒又如何体味这自由的,他们也不知道她死亡的真正原因。深受男权主义麻痹的他们,会深信是丈夫死而复活的喜悦给她带来了强大刺激而导致了她的死亡,但是每一位读者心中都明白,玛拉德夫人是由于极度失望和对未来生活的恐惧引发了心脏病的复发,使她最终走向了死亡。

一小时的故事》中除了上文提到的反讽和象征的写作手法外,凯特·肖邦还使用了比喻、拟人、矛盾等手法,无一不体现出作者高超的写作技巧。另外这篇文章同时以它写作风格的独特、文章结构布局的精巧而闻名,但是仅凭反讽和象征手法的恰当使用就不失为一篇杰出之作。

19. Shirley Jackson The Lottery

It is a short story about drawing lots; ironically, the winner is also the loser who will be stoned to death. Basing upon the fact in America that each year a person should be killed to ensure a good harvest, Shirley wrote this work to question some old tradition and laid out the weakness in human individual. In this story, Shirley used irony and symbolism mostly. Nearly every people’s name existed has its symbolic meaning and so do those things in the setting. There also appear several contrasts which show the irony obviously, and Shirley Jackson’s accusation towards the evil old tradition and the evil humanity can be seen very clearly. In this way, Shirley thought deeply about the women’s social level and the attitude towards old traditions. The facts are firstly the women play an important role but live a very hard life, even in the minds of men, the powerful hosts of families, women are just dispensable. Besides, Shirley Jackson held such opinion that there should be someone questioning the old traditions, as they are not fit for the developing society any longer.

在更为广泛的社会层面上，愈能凸显《摸彩》的深层意义。二十世纪四十年代，世界动荡，战争频繁。帝国主义，殖民主义，法西斯主义和极权主义泛滥成灾。西方文坛因之出现了一批“反乌托邦”作家和作品，探索人类世界种种悲剧性的未来。不论是从科学技术的角度去预见人类社会的暗淡前景，还是从政治体制入手去否定国家机器的违反人性，所有这些作品都是从社会制度或统治形式的角度，对现实提出质疑和批判。《摸彩》延续并深化了这个主题。它所质疑的不是众人皆知的帝国主义、殖民主义或法西斯主义的罪恶，而是被寄予希望的“多数人统治”——民主制度。《摸彩》一针见血，直触事物本质：即使在集体参与的民主形式下，在所谓的人人有份和机会平等的社会活动中，民主方法也仍然可能是摧残个体乃至杀人的集体暴行，甚至还充当掩盖暴行的堂皇借口，一如《摸彩》中集体杀死哈太太的决定。《摸彩》就这样毫不留情地瓦解了人们对民主政体的幻想，冷酷地证实了“民主是除了已经先后尝试过的其他形式之外，最糟糕的统治形式”（温·丘吉尔语）。难怪对《摸彩》愤怒的不仅来自右派，还有信奉民主理想的左派

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