勃朗宁的Home Thoughts from Abroad

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1、Home Thoughts from Abroad 异域乡思Oh, to be in England now that Aprils there, 哦，英格兰此时正值四月And whoever wakesin England sees,some morningunaware, 那里，清晨醒来，无论谁，都会在不经意间看到That the lowest boughs and the brushwood sheaf 那低垂的树枝和浓密的灌木丛Round the elm-tree bole are in tiny leaf, 环绕在榆树周围，郁郁葱葱While the chaffinch sings

2、on the orchard bough 燕雀在果园的枝头歌唱In England-now! 英格兰-就在此刻And after April, when May follows 四月过去，五月来临And the white-throat builds, and all the swallows! 白喉雀，还有那些燕子为筑巢忙碌Hark, where my blossomed pear-tree in the hedge 篱笆旁我那繁华绽放的梨树Leans to the field and scatterss on the clover 依傍着田野，梨花带露Blossoms and dewdro

3、ps-at the bent sprays edge- 在苜蓿草上飘飘洒洒-在弯曲的枝头Thats the wise thrush :he sings each song twice over 听，那是聪慧的画眉鸟，正把每一支歌都唱上两遍Lest you should think he never could recapture 唯恐你误认为，他再也不能The first fine careless rapture! 捕获到第一次那异常美妙、无忧无虑的欣喜And, thothe fields look rough with hoary dew, 原野覆着白露，凄清而苍凉All will be

4、gay when noontide wakes anew 当正午的太阳重新唤醒金凤花-那孩子们的嫁妆The buttercups, the little childrens dower 一切又重现欢乐的景象-Far brighter than this gaudy melon-flower! -远比这绚丽的天国花更明亮诗歌赏析 本诗是布朗宁最负盛名的一首抒情短诗，以其浓郁的乡思情调著称。诗人此时身在意大利，但故乡英格兰却是他魂牵梦萦的地方。诗人巧妙的借助了视觉和听觉意象，多方位的展现出英国和意大利不同的乡土风情。凭着对故乡一草一木的清晰记忆，他如数家珍般的向读者描绘着他的故土家园，令我们仿佛看

5、到清晨醒来的诗人，如痴如醉地沉浸在充满自然气息的英格兰乡村景色中。诗人简介编辑本段回目录Robert Browning 罗伯特勃朗宁（1812-1889年） 英国19世纪著名诗人。出生在伦敦的坎伯威尔。父亲是银行职员，一直鼓励他并分享他对文学艺术及犯罪故事和计谋故事的热爱，他的母亲则培养了他对音乐的兴趣。16岁时，罗伯特在伦敦大学听过几次课，不过他所受的教育大都来自父亲教授他的希腊语和拉丁语，来自对家藏图书的大量阅读。 12岁时，罗伯特就完成了一卷诗歌，不过并没有发表。21岁时在雪莱浓郁的浪漫主义风格的影响下发表了第一首长诗波林（1833年），被当时的评论家认为过分坦率地暴露了自己的心迹，显露

6、出一种强烈的“病态的自我意识”。此后勃朗特决意与浪漫派诗歌风格分道扬镳，他不在以抒情手法在诗歌中打开自己的心扉，而是改以戏剧性的手法去展现别人的灵魂。 1835年发表巴拉塞尔士，得到华兹华斯和卡莱尔的肯定。1837年发表的斯特福拉德是一部悲剧，只上演了五次，与其他为数不多的剧作一样，这部剧作也因为人物塑造而忽略了故事情节。1838年，勃朗宁来到意大利，为撰写长诗索尔德罗（1840年）寻找创作背景。这是一部以十三世纪为背景的哲理性诗作，几乎让人无法读懂，只是让勃朗宁朦胧的主题风格更加声名远扬。铃铛与石榴（1841-46年）分为八个小册子，收入了勃朗宁最优秀的诗作，其中包括西班牙修道院里的独白、圣

7、普拉西德教堂的主教吩咐后事、皮帕走过、汉默尔恩的彩衣吹笛人。 1846年，勃朗宁与伊丽莎白巴雷特结婚，当时妻子有更高的文学声望。在接下来的15年中，勃朗宁全身心地陪伴体弱多病的妻子，比较重要的作品只有男人和女人（1855年），其中收入一些为人们熟知的诗作。1861年妻子死后，勃朗宁带着年轻的儿子回到英格兰。他的诗歌创作也随之进入了一个新时期。 1864年的发表的剧中人物为勃朗宁赢得一些民众和评论家的赞誉。指环与书（186869年）发表后，他的名声仅次于丁尼生。在生命的最后几年，勃朗宁创作颇丰，并四处游历。他在威尼斯过世，被埋在威斯敏斯特教堂。 他的其他作品包括：圣诞前夜与复活节（1850年）；

8、集市上的菲法恩（1872年）；客栈的像册（The Inn Album）（1875年）；戏剧田园诗（187980年）。阿索兰多（Asolando）（1890年）是在诗人去世后几个月发表的。 勃朗宁和丁尼生是维多利亚女王时代最重要的诗人，不过两人有很多不同。丁尼生的诗忧郁，勃朗宁的诗热情洋溢。丁尼生遵循浪漫诗人的写作传统，勃朗宁探究人类现实的情感和行为。丁尼生的风格精练、简洁、清晰；勃朗宁的风格经常是豪放、复杂、晦涩。 勃朗宁重新使用通俗用语，使人物和场景更为生动鲜活，这是他对英国诗歌其中一个最为重要的贡献。另一个贡献是，他发展了戏剧独白，使其更具讽刺效果。在勃朗宁的戏剧独白中，说话人处在一个戏剧

9、情景中，通常无意间就能透露自己和其他人的性格特点。例如，在我最后的公爵夫人中，一位文艺复兴时期的贵族夸耀自己的一丝不苟，贬低自己死去的妻子，与此同时，他也是在暴露自己的凶残无情，彰显妻子的道德高度。 勃朗宁的指环与书（1868-69年）经常被视为他的经典之作。这部作品基于十七世纪一桩谋杀案的记录，共有12处戏剧独白，不同的人物刻画了纷繁复杂的案件作者简介：罗伯特白朗宁（Robert Browning，18121889），英国十九世纪中叶诗人，出身富裕家庭，终生不事生产，写诗过日。在英国文学史上他与丁尼生（Alfred Tennyson）齐名，在政治上倾向于资产阶级自由党中的激进派，在同他妻子伊

10、丽莎白白朗宁（也是著名诗人）长期寄居意大利期间，曾同情当地人民反抗奥地利占领者的革命斗争。白朗宁写了许多长诗，颇有特色；他尝试过诗剧的创作，则无多建树；他的短诗之中，有两类颇值一读。一类是抒情诗。他的诗笔一般晦涩，但在一些抒情短诗里他却做到以白描见长。另一类是戏剧性的独白诗，用活跃的口语词语和节奏，模拟人物口吻，一时独步诗坛，无人能及。在题材上，诗人所歌咏的，除了爱情之外，多是处在奇幻处境里的人物的心理状态，但也有反对教会与贵族专制的作品。Summary“Home-Thoughts, From Abroad” celebrates the everyday and the domestic,

11、taking the form of a short lyric. The poet casts himself in the role of the homesick traveler, longing for every detail of his beloved home. At this point in his career, Browning had spent quite a bit of time in Italy, so perhaps the longing for England has a bit of biographical urgency attached to

12、it. The poem describes a typical springtime scene in the English countryside, with birds singing and flowers blooming. Browning tries to make the ordinary magical, as he describes the thrushs ability to recreate his transcendental song over and over againFormExcept for the poems rhyme scheme and num

13、ber of lines, it resembles an inverted sonnet: it divides into two sections, each of which is characterized by its own tone. The first, shorter stanza establishes the emotional tenor of the poemthe speaker longs for his home. This section contains two trimeter lines, followed by two tetrameter lines

14、, three pentameter lines, and a final trimeter line; it rhymes ABABCCDD. The metrical pattern and the rhyme scheme give it a sort of rising and falling sense that mirrors the emotional rise and fall of the poems central theme: the burst of joy at thinking of home, then the resignation that home lies

15、 so far away.The second section is longer, and consists almost entirely of pentameter lines, save the eighth line, which is tetrameter. It rhymes AABCBCDDEEFF. The more even metrical pattern and more drawn-out rhyme plan allow for a more contemplative feel; it is here that the poet settles back and

16、thinks on the progress of the seasons that cycle outside of him. In its metrical irregularity and surprising last line, as well as its overall tone, the poem suggests the work of Emily Dickinson.CommentaryThis seemingly simple little poem reacts in quite complex ways to both Romanticism and the deve

17、lopment of the British Empire. The domestic bliss and rapturous exchange with nature that characterize many Romantic poems emerge here as the constructions of people who do not live the life about which they write. But these constructions were integral to an illusion of “Rural England” that served a

18、s a crucial background for many philosophical ideas, and as a powerful unifying principle for many Britons: as the British Empire grew, and more British citizens began to live outside the home islands, maintaining a mythical conception of “England” became important as a way to differentiate oneself

19、from the colonies native population. As works like Forsters A Passage to India show, the British abroad in the colonies (such as India) worked much harder at being British than their compatriots in London. Thus in this period, sentimental thoughts of the English countryside, such as the ones in this

20、 poem, hardly ever present a pure nostalgia; rather, they carry a great deal of ideological weight.Nevertheless this poem contains much sincerity. Browning had left Britain, although he lived in Italy and not in a British colony. And as is evident from the poem, his relationship with “home” was a tr

21、oubled one: although the speaker here longs for home, he doesnt miss it enough to live there. Perhaps some things are best appreciated from abroad; perhaps some emotions are felt more acutely away from home. And perhaps, as this light little poem implies, it is only away from “home” that one can cre

22、ate serious dramatic poetry.SummaryIn this highly Romantic, picturesque poem, the speaker yearns to be in England as springtime arrives. He imagines how those living there are lucky enough to see the trees begin to sprout as the birds begin to sing.He grows more specific as he imagines April turning

23、 to May, and how the wise thrush will sing its gorgeous song twice so nobody can think the first time was an accident of beauty. He notes that though the fields seem overrun with dew, noontime will return them to their full beauty. In the last line, he laments that all of England is far brighter tha

24、n this gaudy melon-flower that he apparently faces wherever he currently is.AnalysisThis poem is unique in Brownings oeuvre, as one of the few where his concerns are primarily natural and descriptive. Certainly, much of Brownings poetry employs descriptive passages, but his primary concern is almost

25、 always men and their psychologies, with the natural passages working to compliment those themes; examples are Love Among the Ruins and ChildeRoland to the Dark Tower Came.It was written in 1845 and published in Dramatic Romances and Lyrics, during a long period in which Browning and his family live

26、d abroad in Italy. On its surface, the poems message is quite simple: he misses home and is melancholy as he imagines the beauty that is overtaking his native country as spring approaches. Spring, as an image of flowering, carries poetically the sense of the world awakening. In its celebration of th

27、is natural phenomenon, the poem owes a lot to the Romantic tradition of poetry, which sought to transcend human limitations through contemplation of natural beauty.However, the poem does employ a few unique elements. First is the perspective that the poet employs. In the third line, he reveals that

28、much of what guides his reflection is the thought of being somebody else there. In other words, he is not reveling in his own memories but rather imagining what whoever wakes in England might see. This gives the whole descriptive poem an idealized air, a sense that what he sees in his mind is an ima

29、gining rather than an objective fact.The second stanza, which is longer than the first and uses longer lines, raises the intensity of his longing as this idealized portrait takes him over. The image of the thrush, who sings his song twice lest you think he never could recapture his initial beauty, r

30、einforces the exaggerated beauty Browning imagines. His native England does not offer priceless, once-in-a-lifetime moments; on the contrary, it is overflowing with moments of beauty. When his mind moves to a less picturesque setting fields that look rough with hoary dew he is quick to force his ima

31、ginings so that they are redeemed by the noontide. All in all, what we glimpse is that this reflection is not a mindless wandering through the past, but rather a willful attempt to escape the gaudy melon-flower that apparently fails to capture the same depth of feeling as he believes his England mig

32、ht.So in the end, the poem does employ a psychological nature in that the speaker is deliberately calling to mind these images in order to distract himself from something. The placement of perspective in someone elses mind falls in line with Brownings usual poetic aesthetic (in which he speaks throu

33、gh characters) and thereby compromises the objective reality of what he imagines. Finally, one is led to wonder why, considering the poet is so mournfully desperate for the English springtime, he does not think of moving back. The fact that such a thought does not enter the poem suggests that it can

34、 be understood as a momentary idyll rather than as a deep, permanent expression of the speakers soul. As the months of springtime pass, so will this daydream, but its transience does not mean it is insignificant.Robert The Obscure Browning1 (1812 - 1889)Public domain photo of Robert Browning, by Jul

35、ia Margaret CameronRobert Browning was born 7 May 1812, first child and only son of Robert Browning and Sarah Wiedemann Browning. Robert was an impulsive, fearless little boy who was also rather a prodigy, writing poems and reading Homer at a very young age. He learned many languages and devoured hi

36、s fathers history books2. He also liked to read books that were considered rather shocking and not quite suitable for children. Robert also had quite a habit of falling for older women, as his father had done. This first happened when Robert was barely in his teens and he apparently developed a crus

37、h on a woman named Eliza Flower3, then in her early twenties.At 16, Robert began attending the newly-formed London University, established for those Nonconformists4 like Robert who were barred from Oxford and Cambridge. Robert attended for only just over a year, though thanks to his reading, he was

38、really quite an educated man. He also was quite arrogant at times. By the time he was 20, he was convinced that he would be a great poet, if not THE great poet. His family had enough money to support him in these poetical endeavours, a good thing as he got off to a very rocky start. His first publis

39、hed work, Pauline, was considered not very good, but promising; his second, Paracelsus, was well-received and Robert was always proud of it. He even wrote several stage plays (between 1836 and 1843) which were also well-received, though quite forgotten today. It was in 1840 that he really had some p

40、roblems.In March of that year, Robert published Sordello, a Poem in Six Books, at his fathers expense. Sordello was an obscure Mantuan poet/warrior of the early 13th century5, and though the poem has many beautifully descriptive passages, no one really understood it6. To make matters even worse, thr

41、ee years earlier, a woman named Mrs. Busk had published her own poem on Sordello7, done in a lilting, nearly doggerel sort of style. But these problems aside, Robert was beginning to really hit his poetical stride. Between 1841 and 1846, he published four books, mainly collections of his shorter poe

42、ms that would become among his most famous works.It was about this time that Roberts correspondence with Elizabeth Barrett began, when he wrote to thank her for a flattering mention of his work in one of her poems. Even in this very first letter, he told her that he loved her, which alarmed Elizabet

43、h immensely. Still, he managed to meet her face to face in May of 1845 and marry her in September of that year. The happy couple went to Florence and were enchanted by it, finally settling in the famous Casa Guidi8.They lived like hermits, the normally gregarious Robert content to stay at home with

44、the usually ill Elizabeth. On 9 March 1849, Robert Wiedemann Barrett Browning9 was born, though when Roberts mother Sarah died later that month, never knowing she had a grandson, Robert was devastated. It was Elizabeth and her poems that finally pulled him through.In 1855, Roberts collection of shor

45、t poems, Men and Women, was published, an excellent book that received good but not great reviews. But he was mostly neglecting his poetry in order to be with Elizabeth. Her death on 28 June 1861 was more a relief than a shock, as she had been fading badly for some time. Robert re-dedicated himself

46、to his poetry and to his son.By now, Robert was truly famous, finally one of THE great poets, as he had always wanted. He received two honorary degrees and was much admired, though generally from a distance, as many considered him to be rather ill-tempered. It may surprise you to learn (I know it su

47、rprised me) that he actually proposed to another woman ten years after Elizabeths death, one Lady Louisa Ashburton, but she turned him down. Robert really disliked her after that, even though he told everyone that the proposal was for Pens sake10.Robert wrote a great deal right up to the end of his

48、life, though he was plagued by colds and bronchitis; his last book, Asolando, was published the day of his death, 12 December 1889. Robert had always assumed he would be buried beside Elizabeth, but as that cemetary had been closed to further burials, he instead received a grand funeral at Westminst

49、er Abbey.Gods in his heaven. Alls right with the world!上帝在他的天堂里，整个世界都是那么美好！这是英国诗人罗伯特.伯朗宁的诗歌Pippas Song：The years at the spring一年之计在于春,And days at the morn;一日之计在于晨.Mornings at seven;一晨之计在七时，The hillsides dew-pearled;山坡上装点着珍珠般的露水;The larks on the wing;云雀在风中飞跃;The snails on the thorn;山垆上蜗牛在爬行;Gods in h

50、is heaven - Alls right with the world.上帝在他的天堂里-整个世界都是那么祥和、太平、美好！本诗描写了一个名叫Pippa的女孩,身为孤儿的她过着惨遭剥削的凄惨生活,可是她明知道世界上充满了不公和邪恶,但是她还是相信Gods in his heaven ，Alls right with the world .主要作品有戏剧抒情诗(Dramatic Lyrics)，环与书(The Ring and the Book)，诗剧巴拉塞尔士(Paracelsus)。因为在著名动画EVA中的一句诗“God in his heaven,Alls right with the

51、 world.而被广大动漫迷所熟知。Comment on Robert Brownings philosophy of love as expressed in hisThe Last Ride Together.Brownings poem emphasizes the idea that the love one has shared on earth will be shared after The Last Ride together. These are lovers who are moving beyond what they have had on earth. He bles

52、ses her name in pride and thankfulness and takes back from her the hope she has always given him. In this way, he has hope for the future. He wants to share as many moments with her as he can since Who knows but the world may end tonight? Still, his hope for the future and their future after death makes this one last ride (in case that is what it would turn out to be) that much more special.