William Wordsworth George Gordon Byron Percy Bysshe Shelley John Keats Romantic Poet William Wordsworth George Gordon Byron Percy Bysshe Shelley John Keats

Romanticism in England Romanticism is a literary trend prevailing in England during the period from 1798 to 1832. Coming along with the French Revolution and the Industrial Revolution, the English Romanticism, compared with the neoclassicism which emphasized what men have in common, focuses mainly on the special qualities of individual’s mind. So its features run in contrary with the neoclassicism: Firstly, the Romanticists tended to probe into the inner world of the human spirit rather than narrate daily happenings of the human world;

Secondly, the Romanticists liked to employ rural scenery, legendary and mythological resources and stories of ancient times to create their artistic reality, and favored figures from the country and Orientals which they took to be part of the innocent and pure Nature they sought for;

Thirdly, the Romantic Age was one of poetry, producing a number of great poets such as Wordsworth，Blake, Coleridge, Shelley, Byron and Keats. Thus, imagination was emphasized as the greatest resource of literary creation, and freedom from all rules became the rule of poetical writing.

Finally, the focus of the everyday life of human beings in the Age brought about the flourishing of familiar essays, e.g. those written by Charles Lamb, and the fiction about family life such as in the novels written by Jane Austen; and its romantic longings led to the popularity of Gothic fiction with violence, horror and the supernatural, and the historical novels of Sir Walter Scott.

Romantic Poets Lake poets Satan poets William Wordsworth (1770-1850) Samuel T. Coleridge (1772-1834) Robert Southey (1774-1843) Satan poets George G. Byron (1788-1824) Percy B. Shelley (1792-1822) John Keats (1795-1821)

Lake Poets Any of the English poets William Wordsworth, Samuel Taylor Coleridge, and Robert Southey, who lived in the English Lake District of Cumberland and Westmorland at the beginning of the 19th century. Wordsworth (1770-1850)

Characteristics of Lake Poets Wordsworth used his imaginative powers to idealize nature； Coleridge explored the philosophical aspects of poetry； Southey's Romantic efforts centered on travel and adventure.

Lake District The Lake District, also known as The Lakes or Lakeland, is a mountainous region in North West England. A popular holiday destination, it is famous for its lakes and its mountains (or fells), and its associations with the early 19th century poetry and writings of William Wordsworth and the Lake Poets. The central and most-visited part of the area is contained in the Lake District National Park, one of fourteen National Parks in the United Kingdom. It lies entirely within Cumbria, and is one of England's few mountainous regions. All the land in England higher than three thousand feet above sea level lies within the National Park, including Scafell Pike, the highest mountain in England.

Chapter 19 William Wordsworth born in a lawyer’s family in England in 1770 orphan at early age 13 school in the lake district in Northwestern England 1787-1791, Cambridge 1790-1792, visited France twice ( during the French Revolution period), participated in the Republic, but relatives threatened to cut off finance, so he had to come back to England 1795, settled in the countryside, began the observation of nature 1843 made “poet laureate” 1850 death

He spent his life in the Lake District of Northern England He spent his life in the Lake District of Northern England. William Wordsworth started with Samuel Taylor Coleridge the English Romantic movement with their collection LYRICAL BALLADS in 1798. When many poets still wrote about ancient heroes in grandiloquent style, Wordsworth focused on the nature, children, the poor, common people, in his poem, he aimed at simplicity and purity of the language, so he used ordinary words to express his personal feelings. His definition of poetry as "the spontaneous overflow of powerful feelings arising from "emotion recollected in tranquility" was shared by a number of his followers.

William Wordsworth is an Romantic poet in England and the best-known of the ‘Lake Poets’. He was made poet laureate in 1843. Lyrical Ballads 抒情歌谣集 Lucy Poems 露西组诗 Ode on Intimations of Immortality 不朽颂 Ode on Duty 道义颂 The Prelude 序曲 Lines Composed a Few Miles Above Tintern Abbey 丁登寺杂咏 Dove Cottage and Wordsworth Museum

1798, co-authored “ lyrical Ballads” with Coleridge ( marking the break with the classicism, marking the beginning of the Romantic Revival in England ) ( The preface to “Lyrical Ballads” served as the manifesto of the English Romantic Movement in poetry.)

William Wordsworth’s theory, as stated in his ‘Preface’ to the Lyrical Ballads, serves as a manifesto of Romanticism. The poets takes the direct experience of the senses as the sources of poetic truth. ‘Preface’ advocates the writing of the common people in ordinary language. The joys and sorrows of the common people are his themes in many of his poems, such as the ‘Lucy poems’

The sympathy towards the poor in rural places becomes part of his concern. Natural scenery with its beauty and mystery acts also as one of his favorite themes. Wordsworth likes to reveal the inner working of individual’s mind in his depiction of natural scenery. The seemingly simplicity of Wordsworth both in diction and description is immersed in a profound and sympathetic longing for a better world.

I wandered lonely as a cloud I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance.

The waves beside them danced; but they Outdid the sparkling waves in glee; A poet could not but be gay, In such a jocund company; I gazed - and gazed - but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.

Background Knowledge Wordsworth‘s famous poem about daffodils was composed in 1804, two years after he saw the flowers walking by Ullswater on a stormy day with Dorothy. His inspiration for the poem came from an account written by Dorothy. In her journal entry for 15th April 1802 she describes how the daffodils tossed and danced, and seemed as if they laughed with the wind, that blew upon them over the lake; Wordsworth published his poem, 'I wandered lonely as a Cloud' , in 1807. He later altered it, and his second version, published in 1815, is the one widely known today.

My Heart Leaps Up My heart leaps up when I behold A rainbow in the sky: So was it when my life began; So is it now I am a man; So be it when I shall grow old, Or let me die! The Child is father of the Man; And I could wish my days to be Bound each to each by natural piety. The Child is father of the Man：此处的意思不仅是说每个人都先有童年才有成年，而且成年人性情中纯洁美好的部分都是保持了在童年时期形成的东西。 natural piety：对大自然的敬虔。此处见了彩虹而心中雀跃即是一例。既然儿童是成年人的父亲，每一个今天也是来自昨天，成年人就应当尊敬自己的童年和少年时代，使自己的精神发展连贯一致。

儿童是成人之父。这句话引自意大利儿童教育家玛利亚-蒙台梭利的《幼儿教育方法》一书。 儿童的身上具有一种神性，表现为智慧和精神力量。 实际上，这种来自儿童的智慧，一直是成人世界不至于完全堕落到混乱与黑暗的重要原因。在恶和伪的念头产生时，与孩子眼睛的相遇“总会让这些成人羞愧难当”。 我们在长大，获得了一些，丢失了一些。我们忘记了小王子所说的：“只有孩子们知道他们在寻找些什么，他们会为了一个破布娃娃而不惜让时光流逝，于是那个布娃娃就变得十分重要，一旦有人把它拿走，他们就哭了。”这是儿童倔强的力量所在，这种力量的强大当令人敬畏。 塞林格说他要做那些将要跌落悬崖的孩子们的守望者，他以悲悯的眼光看着那些柔弱的孩子。而黄蓓佳也许更像冰心老人所说，要做万千个天使中的一个，起来赞颂孩子，因为那些细小的身躯里，有着伟大的灵魂。

She Dwelt Among the Untrodden Ways She dwelt among the untrodden ways Beside the springs of Dove. A Maid whom there were none to praise And very few to love; A violet by a mossy stone Half hidden from the eye! Fair as a star, when only one Is shining in the sky. She lived unknown, and few could know When Lucy ceased to be; But she is in her grave, and, oh, The difference to me!

Background Knowledge “She Dwelt among the Untrodden Ways” is one of the “Lucy Poems”.William Wordsworth composed the famous love poems in Germany. Lucy who is subject of small groups of poems, most of them written in the winter of 1798-1799. Lucy has never been identified, if she ever existed except as a creation of the poet’s imagination.

The Solitary Reaper Behold her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! For the Vale profound Is overflowing with the sound. No nightingale did ever chaunt More welcome note to weary bands Of travelers in some shady haunt,

Among Arabian sands; A voice so thrilling ne’er was heard In springtime from the Cuckoo bird, Breaking the silence of the seas Among the farthest Hebrides. Will no one tell me what she sings?– Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago; Or is it some more humble lay, Familiar matter of today? Some natural sorrow, loss or pain, That has been, and may be again?

Whate’er the theme, the Maiden sang As if her song could have no ending; I saw her singing at her work, And o’er the sickle bending– I listened, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more.

Study Guild of The Solitary Reaper 　Wordsworth thinks that common life is the only subject of literary interest. The joys & sorrows of the common people are his themes.　"The Solitary Reaper" is an example of his literary views. It describes vividly a young peasant girl working alone in the fields & singing as she works. The four eight-line stanzas of this poem are written in a tight iambic tetrameter（四音部）. Each follows a rhyme scheme of ABABCCDD, though in the first and last stanzas the "A" rhyme is off (field/self and sang/work).

We Are Seven --A simple child, That lightly draws its breath, And feels its life in every limb, What should it know of death? I met a little cottage Girl: She was eight years old, she said; Her hair was thick with many a curl That clustered round her head. She had a rustic, woodland air, And she was wildly clad（穿衣）: Her eyes were fair, and very fair;

--Her beauty made me glad. "Sisters and brothers, little Maid, How many may you be?" "How many? Seven in all," she said And wondering looked at me. "And where are they? I pray you tell." She answered, "Seven are we; And two of us at Conway dwell, And two are gone to sea.

"Two of us in the church-yard lie, My sister and my brother; And, in the church-yard cottage, I Dwell near them with my mother." "You say that two at Conway dwell, And two are gone to sea, Yet ye are seven!--I pray you tell, Sweet Maid, how this may be." Then did the little Maid reply,

"Seven boys and girls are we; Two of us in the church-yard lie, Beneath the church-yard tree." "You run about, my little Maid, Your limbs they are alive; If two are in the church-yard laid, Then ye are only five." "Their graves are green, they may be seen," The little Maid replied,

"Twelve steps or more from my mother's door, And they are side by side. "My stockings there I often knit, My kerchief there I hem; And there upon the ground I sit, And sing a song to them. "And often after sunset, Sir,

When it is light and fair, I take my little porringer, And eat my supper there. "The first that died was sister Jane; In bed she moaning lay, Till God released her of her pain; And then she went away.

"So in the church-yard she was laid; And, when the grass was dry, Together round her grave we played, My brother John and I. "And when the ground was white with snow, And I could run and slide, My brother John was forced to go, And he lies by her side."

"How many are you, then," said I, "If they two are in heaven "How many are you, then," said I, "If they two are in heaven?" Quick was the little Maid's reply, "O Master! we are seven." "But they are dead; those two are dead! Their spirits are in heaven!" 'Twas throwing words away; for still The little Maid would have her will, And said, "Nay, we are seven!"

Samuel Taylor Coleridge An English poet, Romantic, literary critic and philosopher，one of the founders of the Romantic Movement in England and one of the Lake Poets. Poems： The Rime of the Ancient Mariner， Kubla Khan, Biographia Literaria (文学传记). His critical work, especially on Shakespeare, was highly influential, and he helped introduce German idealist philosophy to English-speaking culture. He was a major influence, via Emerson, on American transcendentalism.

The Rime of the Ancient Mariner tells an adventurous story of a sailor who kills an albatross, is punished in the way the other sailor died of thirst, and runs the ship home when he has repented finally;

‘Christabel’ is about a tale of a serpent disguised as a beautiful lady to victimize an innocent maiden; ‘Kubla Khan’ describes the pleasure dome of the Khan, images of a river, and other marvelous scenes, all restored out of a dream but with only 54 lines surviving. The group is characterized by visionary memory, supernatural happenings, and magic power which are fantasies, and in some places horrible, but also charming in their own way;

“Kubla Khan” “Kubla Khan” is a dream-poem. During an illness in 1797 Coleridge retired to a lonely farmhouse house. One day he fell asleep as he was reading a passage about Kubla Khan, the Mongol conqueror, from a book of travels. While dreaming , he composed a poem about two or three hundred lines. On waking he began to write down the poem, but was interrupted by “a person on business from Porlock.” On returning to his desk, he found that the intensity of his impressions had faded, leaving only the 54-line fragment.The poem claims to be “scattered lines and images” from a longer, forgotten work. Whether the story is true or not, the poem takes the nature of such dreams as its theme.

Robert Southey An English poet of the Romantic school, one of the so-called "Lake Poets", and Poet Laureate for 30 years from 1813 to his death in 1843. He was a prolific letter writer, literary scholar, essay writer, historian and biographer.

Satanic school Satanic School, name applied by Robert Southey in the preface to his A Vision of Judgment (1821) to a class of writers headed by Byron, Shelley, and Keats. Because, according to Southey, their productions were “characterized by a Satanic spirit of pride and audacious（无畏的） impiety.” The term expressed Southey's disapproval of the unorthodox views and lifestyles of the poets.

Chapter 20 George Gordon,Lord Byron A British poet and a leading figure in Romanticism. He created the concept of the ‘Byronic hero’ - a defiant, melancholy young nobleman, brooding on some mysterious, unforgivable event in his past and fighting against outworn social systems and conventions. Byron's influence on European poetry, music, novel, opera, and

Childe Harold's Pilgrimage Oriented Tales Manfred Don Juan painting has been immense, although the poet was widely condemned on moral grounds by his contemporaries. Best-known works She Walks in Beauty, When We Two Parted, the narrative poems: Childe Harold's Pilgrimage Oriented Tales Manfred Don Juan

Byron's notability rests not only on his writings but also on his life, which featured aristocratic excesses, huge debts, numerous love affairs, and self-imposed exile. He was famously described by Lady Caroline Lamb as "mad, bad and dangerous to know". Byron served as a regional leader of Italy's revolutionary organization, the Carbonari, in its struggle against Austria. He later travelled to fight against the Ottoman Empire in the Greek War of Independence, for which Greeks revere him as a national hero. He died from a fever contracted while in Missolonghi in Greece.

Marianna Segati Margarita Cogni Lady Caroline Lamb, Augusta Leigh, Anne Isabella Milbanke, Teresa Makri Marianna Segati Margarita Cogni Claire Clairmont

Byronic hero the “Byronic hero”，a proud, mysterious rebel figure of noble origin. With immense superiority in his passions and powers, this Byronic hero would carry on his shoulders the burden of righting all the wrongs in a corrupt society, and would rise single-handedly against any kind of tyrannical rules either in government, in religion, or in moral principles with unconquerable wills and inexhaustible energies. The conflict is usually one of rebellious individuals against outworn social systems and conventions. Such a hero appears first in Childe Harold's Pilgrimage, and then further developed in later works such as the Oriented Tales, Manfred, and Don Juan in different guises. The figure is modeled on the life and personality of Byron himself.

Don Juan Don Juan is Byron's masterpiece, a great comic epic of the early 19th century. It is a poem' based on a traditional Spanish legend of a great lover and seducer of women. In the conventional sense, Juan is immoral, yet Byron takes this poem as the most moral. Byron invests in Juan the moral positives like courage, generosity and frankness, which are virtues neglected by the modern society. the poet’s true intention is, by making use of Juan’s adventures, to sent a panoramic view of different types of society.

In Don Juan, the hero is a handsome and happy-go-lucky Spanish youth of noble birth. He falls in love with a married woman Donna Julia. Their affair being discovered by the husband, Juan is sent away on a ship for Italy.

On the sea the ship is caught in a violent storm and is shipwrecked On the sea the ship is caught in a violent storm and is shipwrecked. Don Juan, the only survival, is cast upon the shore of a Greek island and is saved by the daughter of a pirate named Haidee. Soon Juan and Haidee fall in love and get married. Later Haidee’s father returns and separates them by force. Haidee dies of grief and rage and Juan is sold as a slave in

Constantinople(君士坦丁堡) to a sultana（苏丹女眷） who takes a fancy to him Constantinople(君士坦丁堡) to a sultana（苏丹女眷） who takes a fancy to him. Juan manages to escape to the camp of the Russian army which is besieging the Turkish town of Ismail. Later Juan is sent on a political mission to England where he engages in several love adventures and sees with his own eyes the hypocrisy and moral degeneracy of the high society.

The poem is unfinished due to Byron’s death The poem is unfinished due to Byron’s death. Don Juan deals with the theme of love, war, religion, ethics, intrigues political and personal, lives of pirates and of slaves, the lust and greed of high society and despotism(独裁) of all kinds.

Childe Harold's Pilgrimage Childe Harold's Pilgrimage narrates his travels between 1809 and 1811 in Europe. The poem is about a gloomy, passionate young wanderer who escaped from the society he disliked and traveled around the continent, questing for freedom. It contains all kinds of recognizable features of Romantic poetry -- the medieval, the outcast figure, love of nature, hatred of tyranny, occupation with the remote and savage, and so on. It also contains many vivid and exotic descriptive passages on mountains, rivers, and seas.

With his strong passion for liberty and his intense hatred for all tyrants, Byron shows his sympathy for the oppressed Portuguese under French occupation, strong support to the Spanish people fighting for their national independence, laments over the fallen Greece, ardent wish that the suppressed Greek people should win their freedom; he glorifies the French Revolution and condemns the despotic Napoleon period.

She Walks in Beauty 1 She walks in beauty like the night Of cloudless climes and starry skies And all that's best of dark and bright Meets in her aspect and her eyes; Thus mellow'd to that tender light Which Heaven to gaudy day denies. 2 One shade the more one ray the less Had half impair'd the nameless grace Which waves in every raven tress Or softly lightens o'er her face Where thoughts serenely sweet express How pure how dear their dwelling-place.

3 And on that cheek and o'er that brow So soft so calm yet eloquent The smiles that win the tints that glow But tell of days in goodness spent， A mind at peace with all below A heart whose love is innocent.

Theme of "She Walks in Beauty" "She Walks in Beauty," is a love poem about a beautiful woman and all of her features. Throughout the poem, Byron explains the depth of this woman’ beauty. Even in the darkness of death and mourning, her beauty shines through. Her innocence shows her pureness in heart, and her pureness in love. The two forces involved in Byron's poem are the darkness and light at work in the woman's beauty, and also the two areas of her beauty-the internal and the external.

Byron’s Position in literature Byron's poetry has a great influence on the literature of the whole world. Across Europe, patriots and painters and musicians are all inspired by him. Poets and novelists are profoundly influenced by his work. Actually Byron has enriched European poetry with an abundance of ideas, images, artistic forms and innovations. He stands with Shakespeare and Scott among the British writers who exert the greatest influence over the mainland of Europe.

Chapter 21 Percy Bysshe Shelley Life may change, but it may fly not; Hope may vanish, but can die not; Truth be veiled, but still it burneth; Love repulsed, but it returneth.

Works Queen Mab 麦布女王 The Revolt of Islam伊斯兰的反叛 Cenci 钦契 Prometheus Unbound 解放的普罗米修斯 A Defence of Poetry 诗辩 Ode to the West Wind 西风颂 To a Skylark 致云雀

Life The son of a prosperous squire Entered Oxford in 1810 In 1811 he and his friend Thomas Jefferson published their pamphlet, The Necessity of Atheism,（《无神论的必要性》） which resulted in their immediate expulsion from the university. The same year Shelley eloped with 16-year-old Harriet Westbrook His first important poem, Queen Mab, privately printed in 1813 In 1814 Shelley left England for France with Mary Godwin, the daughter of William Godwin. During their first year together they were plagued by social ostracism and financial difficulties. After Harriet Shelley’s suicide in 1816, Shelley and Mary officially married. In 1818 Shelley and Mary left England and settled in Italy. On July 8, 1822, Shelley was drowned while sailing in the Bay of Spezia, near Lerici.

The burning of Shelley’s body

雪莱，全名珀西·比西·雪莱 ，1792年-1822年，英国浪漫主义诗人。12岁那年，雪莱进入伊顿公学，在那里他受到学长及教师的虐待，在当时的学校里这种现象十分普遍，但是雪莱并不象一般新生那样忍气吞声，他公然的反抗这些，而这种反抗的个性如火燃尽了他短暂的一生。8岁时雪莱就开始尝试写作诗歌.1810年，18岁的雪莱进入牛津大学，深受英国自由思想家休谟以及葛德文等人著作的影响，雪莱习惯性的将他关于上帝、政治和社会等问题的想法写成小册子散发给一些素不相识的人，并询问他们看后的意见。1811年3月25日，由于散发《无神论的必然》The Necessity of Atheism，入学不足一年的雪莱被牛津大学开除。雪莱的父亲是一位墨守成规的乡绅，他要求雪莱公开声明自己与《无神论的必然》毫无关系，而雪莱拒绝了，他因此被逐出家门。

被切断经济支持的雪莱在两个妹妹的帮助下过了一段独居的生活，这一时期，他认识了一个小旅店店主的女儿。雪莱与这个十六岁的少女仅见了几次面后，带着这一少女私奔，在爱丁堡结婚。1812年2月12日，在政治热情的驱使下，完成叙事长诗《麦布女王》Queen Mab，这首诗富于哲理，抨击宗教的伪善、封建阶级与劳动阶级当中存在的所有的不平等。雪莱的婚姻一开始就被他的敌人当作最好的武器来攻击他，当那些富于浪漫的骑士精神经过理性的冷却，他那场仓猝的婚姻中较为真实的一面随着两个人的成长开始显现。雪莱不得不承认婚姻并没有救助他的妻子，婚姻只是将两个人绑在一起来承受另一种折磨。在精神上，感情上，两个人之间的差异越来越大。这一时期，雪莱结识了葛德文的女儿玛丽·葛德文（Mary Wollstonecraft Godwin，1797年-1851年），他们相爱了，出走至欧洲大陆同游，他们对于爱情和婚姻的理想纯洁到连最严苛的批评家也无法致词。雪莱死后，玛丽为他的诗全集编注。次年五月，携玛丽再度同游欧洲，在日内瓦湖畔与拜伦George Gordon, Lord Byron交往密切，这两位同代伟大诗人的

友谊一直保持到雪莱逝世，雪莱后来的作品《朱利安和马达洛》便是以拜伦与自己作为原型来创作的。同年11月，雪莱的妻子投河自尽，在法庭上，因为是《麦布女王》Queen Mab的作者，大法官将两个孩子教养权判给其岳父，为此，雪莱受到沉重的打击，就连他最亲的朋友都不敢在他的面前提及他的孩子，出于痛苦及愤怒，雪莱写就《致大法官》和《给威廉·雪莱》。雪莱与玛丽结婚，为了不致影响到他与玛丽所生孩子的教养权，雪莱携家永远离开英国。1818年至1819年，雪莱完成了两部重要的长诗Prometheus Unbound，Cenci ，和Ode to the West Wind。而雪莱最成熟、结构最完美的作品Cenci则被评论家称为“当代最恶劣的作品，似出于恶魔之手”。1821年2月23日，John Keats逝世，雪莱写就《阿多尼》来抒发自己对济慈的悼念之情，并控诉造成济慈早逝的英国文坛以及当时社会现状。1822年7月8日，雪莱乘坐自己建造的小船“唐璜”号从莱杭度海返回勒瑞奇途中遇风暴，舟覆，雪莱以及同船的两人无一幸免。

Shelley’s Poetry Assessment Most of Shelley’s poetry reveals his philosophy, a combination of belief in the power of human love and reason, and faith in the perfectibility and ultimate progress of man. His lyric poems are superb in their beauty, grandeur, and mastery of language.

Shelly’s Gravestone

Poetic drama: Prometheus Unbound（1820） Shelley's greatest achievement is his four-act poetic drama， Prometheus Unbound. According to the Greek mythology， Prometheus， the champion of humanity， who has stolen the fire from Heaven， is punished by Zeus to be chained on Mount Caucasus & suffers the vulture's feeding on his liver. Shelley based his drama on Prometheus Bound by Aeschylus， in which Prometheus reconciles with the tyrant Zeus. Radical & revolutionary as Shelley， he wrote

in the preface： “In truth，I was averse from（厌恶于） a catastrophe so feeble as that reconciling the Champion with the oppressor of Mankind." So he gave a totally different interpretation，transforming the compromise into a liberation. With the strong support of Earth， his mother；Asia，his bride & the help from Demogorgon & Hercules，Zeus is driven from the throne；Prometheus is unbound. The play is in praise of humankind's potential，& Shelley himself recognized it as " the most perfect of my products."

Poem appreciation Ode to West Wind What is ode? an elaborately formal lyric poem, often in the form of a lengthy ceremonious address to a person or abstract entity, always serious and elevated in tone. -----Oxford concise dictionary of literary terms

Ode to the west wind typically reveals Shelley’s views of life and politics: to enjoy freedom and to fight against tyranny

Ode to the West Wind The autumn wind，burying the dead year，preparing for a new Spring，becomes an image of Shelley himself，as he would want to be，in its freedom，its destructive-constructive potential， its universality. “I fall upon the thorns of Life！ I bleed！” calls the Shelley that could not bear being fettered to the humdrum realities of everyday！

The "West Wind" represents liberty, the untamedness of nature and power for Shelley. The wind is the changing part in nature, controling heaven and the sea. It can stand for death, but at the same time it means life. It is a destroyer and a preserver. Shelley sees the wind as a chance to get a new inspiration and to transmit his ideas and "prophecy".

To a Sky-lark HAIL to thee, blithe spirit! Bird thou never wert— That from heaven or near it Pourest thy full heart In profuse strains of unpremeditated art. 5 Higher still and higher From the earth thou springest, Like a cloud of fire; The blue deep thou wingest, And singing still dost soar, and soaring ever singest. 10

In the golden light'ning Of the sunken sun, O'er which clouds are bright'ning, Thou dost float and run, Like an unbodied joy whose race is just begun. 15 The pale purple even Melts around thy flight; Like a star of heaven, In the broad daylight Thou art unseen, but yet I hear thy shrill delight— 20

Keen as are the arrows Of that silver sphere Whose intense lamp narrows In the white dawn clear, Until we hardly see, we feel that it is there. 25 All the earth and air With thy voice is loud, As when night is bare, From one lonely cloud The moon rains out her beams, and heaven is overflow'd. 30

What thou art we know not; What is most like thee What thou art we know not; What is most like thee? From rainbow clouds there flow not Drops so bright to see, As from thy presence showers a rain of melody:— 35 Like a poet hidden In the light of thought, Singing hymns unbidden, Till the world is wrought To sympathy with hopes and fears it heeded not: 40

Like a high-born maiden In a palace tower, Soothing her love-laden Soul in secret hour With music sweet as love, which overflows her bower: 45 Like a glow-worm golden In a dell of dew, Scattering unbeholden Its aërial hue Among the flowers and grass which screen it from the view: 50

Like a rose embower'd In its own green leaves, By warm winds deflower'd, Till the scent it gives Makes faint with too much sweet those heavy-wingèd thieves. 55 Sound of vernal showers On the twinkling grass, Rain-awaken'd flowers— All that ever was Joyous and clear and fresh—thy music doth surpass. 60

Teach us, sprite or bird, What sweet thoughts are thine: I have never heard Praise of love or wine That panted forth a flood of rapture so divine. 65 Chorus hymeneal, Or triumphal chant, Match'd with thine would be all But an empty vaunt— A thin wherein we feel there is some hidden want. 70 What objects are the fountains Of thy happy strain? What fields, or waves, or mountains? What shapes of sky or plain? What love of thine own kind? what ignorance of pain? 75

With thy clear keen joyance Languor cannot be: Shadow of annoyance Never came near thee: Thou lovest, but ne'er knew love's sad satiety. 80 Waking or asleep, Thou of death must deem Things more true and deep Than we mortals dream, Or how could thy notes flow in such a crystal stream? 85 We look before and after, And pine for what is not: Our sincerest laughter With some pain is fraught; Our sweetest songs are those that tell of saddest thought. 90

Yet, if we could scorn Hate and pride and fear, If we were things born Not to shed a tear, I know not how thy joy we ever should come near. 95 Better than all measures Of delightful sound, Better than all treasures That in books are found, Thy skill to poet were, thou scorner of the ground! 100 Teach me half the gladness That thy brain must know; Such harmonious madness From my lips would flow, The world should listen then, as I am listening now. 105

《致云雀》是英国诗人雪莱的抒情诗代表作之一。雪莱与《致云雀》一诗通过云雀的形象，生动地表达了诗人对光明的向往和对理想的追求。云雀是一种鸟，形如麻雀而稍大，栖于荒野草原之中，在地面营巢又性喜高飞，常从它的“领地”升腾而起直上云霄，边飞边叫，越飞越高。因云雀有这种独特的习性，往往被诗人选作讴歌的对象。然而，不同的诗人写云雀，在它身上寄寓的情意是不同的。如华兹华斯称赞云雀忠于天空，也忠于家园，而雪莱歌颂的云雀却是“向上又复向上，一直飞进穹苍”，不但不留恋家园而且蔑视地面。这一云雀形象，并不纯然是自然界中的云雀，而是诗人的理想自我形象或诗人理想的形象载体。雪莱在诗中再三表示自己比不上云雀，不知怎能接近它的欢乐。其实，诗人和云雀在许多方面都很相似：都追求光明，蔑视地面，都向往理想的世界。所不同的只是诗人痛苦地感到了理想与现实间的巨大差距，而这个差距对云雀是不存在的。一面是跃腾欢唱，一面是酸楚苦涩，其实这两者是相反又相通的。二者之中，不断飞升是主导方面。从诗的整个调子中可以看出，雪莱虽感到理想遥远的痛苦，仍以不断飞升的积极情调去超越感伤。此诗在艺术表现上很见功力，诗句的音律与文字可谓珠联壁合，历来为人称道。

Queen Mab The poem is written in the form of a fairy tale that presents a future vision of a utopia on earth, consisting of nine cantos and seventeen notes. Queen Mab, a fairy, descends in a chariot to a dwelling where Ianthe is sleeping on a couch. Queen Mab detaches Ianthe's spirit or soul from her sleeping body and transports it on a celestial tour to Queen Mab's palace at the edge of the universe. Queen Mab interprets, analyzes, and explains Ianthe's dreams. She shows her visions of the past, present, and the future. The past and present are characterized by oppression, injustice, misery, and suffering caused by monarchies, commerce, and religion. In the future,

however, the condition of man will be improved and a utopia will emerge. Two key points are emphasized: 1) death is not to be feared; and, 2) the future offers the possibility of perfectibility. Humanity and nature can be reconciled and work in unison and harmony, not against each other. While Ianthe is asleep on the couch, Henry waits to kiss her. He never does. Queen Mab returns Ianthe's spirit or soul to her body. Ianthe then awakens with a "gentle start". Of the seventeen notes, six deal with the issues of atheism, vegetarianism, free love, the role of necessity in the physical and spiritual realm, and the relationship of Christ and the precepts of Christianity.

History This poem was written early in Shelley's career and serves as a foundation to his theory of revolution. In this work, he depicts a two-pronged revolt involving necessary changes, brought on by both nature and the virtuousness of humans. Shelley took idea of "necessity" and combined it with his own idea of ever-changing nature, to establish the theory that contemporary societal evils would dissolve naturally in time. This was to be coupled with the creation of a virtuous mentality in people who could envision the ideal goal of a perfect society. The ideal was to be reached incrementally, because Shelley (as a result of Napoleon's actions in the French Revolution), believed that the perfect society could not be obtained immediately through violent revolution. Instead it was to be achieved through nature's evolution and ever-greater numbers of people becoming virtuous and imagining a better society.

Summary Artistically Shelley has a reputation as a difficult poet: erudite (learned), complex (difficult), full of classical and mythological allusions. His style abounds in personification and metaphor and other figures of speech.

Thematically Shelley loved the people and hated their oppressors and exploiters. He called on the people to overthrow the rule of tyranny and injustice and prophesied a happy and free life for mankind. He stood for this social and political ideal all his life.

Comments on Shelley Byron, his best friend, said of Shelley “the best and least selfish man I ever knew”. Wordsworth said, “Shelley is one of the best artists of us all”.

Mary Shelley’s comments Shelley loved the people and respected them as often more virtuous, as always more suffering, and therefore more deserving of sympathy, then the great. He believed that a clash between the two classes of society was inevitable, and he eagerly ranged himself on the people’s side. His wife Mary

Http://www.bartleby.com/139/ 提供雪莱的生平和诗歌全集。 Http://www.libary.utoronto.ca/utel/rp/authors/shelly.html 提供雪莱诗选和散文选。

John Keats (1795—1821) Keats was the latest born of the great Romantic poets. The poetry of Keats was characterized by sensual imagery, most notably in the series of odes.

Keats’ leading principle is: “Beauty in truth, truth in beauty”. His works: “Endymion” (1817)-metaphor for poet seeking inspiration “Ode to a Grecian Urn” “Ode to Psyche” “Ode to a Nightingale”-inspiration from art and nature “Ode to Melancholy” “To Autumn”

Characteristics of Keats's Poetry Keat’s longer poems are Lamia, The Eve of St. Agnes and Isabella dealing with the theme of love and the cost of the true lovers in the society of tyranny and oppression. Among Keat’s shorter poems, the most important pieces are his immortal odes, including mainly Ode to Autumn, Ode on Melancholy, Ode to a Nightingale and Ode on a Grecian Urn. Ode to a Nightingale and Ode on a Grecian Urn are full of rich poetic imagery, enchanting lyricism and perfect turns of phrase, Keats shows his immense admiration for lasting beauty in the world of art as well as his intense personal yearning for freedom from human miseries.

Keats's poetry is always sensuous，colorful & rich in imagery，which expresses the acuteness of his senses. Sight，sound，scent，taste & feeling are all used to give an entire understanding of an experience, gives transcendental values to the physical beauty of the world. He has the power of entering the feelings of others-either human or animal. With vivid & rich images，he paints poetic pictures full of wonderful color.

约翰.济慈（1795-1821）是英国十九世纪浪漫主义运动的杰出诗人，和拜伦雪莱并称于世。他出生于伦敦一个贫苦家庭，父亲是马饲养员。他为生活所迫，十六岁便离开学校，当过医生的助手，又在医院里学习过两年，但对文学的酷爱使他走上了写作的道路。1920年，济慈因肺病恶化而去意大利疗养，不久就去世了。年仅二十五岁。雪莱为他写了著名的挽歌《阿童尼》。 济慈具有资产阶级民主思想，厌恶资产阶级社会的现实，向往古代希腊文化，幻想在“永恒的美的世界”中寻找安慰，他善于描绘自然景色和事物的外貌，他的诗充满人间温暖与生活美感。他的创作生涯虽然只有短短的五年时间，却给英国和世界文学的宝库留下了珍贵的遗产。他最著名的抒情诗有《夜莺颂》《希腊古瓮颂》《秋颂》和许多优美的十四行诗。如《灿烂的星》、《蝈蝈和蟋蟀》等，他的叙事诗杰作有《伊莎贝拉》和《圣亚尼节的前夕》等

Ode to a Nightingale is generally known to have been written after the poet had an actual experience of listening to the nightingale singing one day. The poem consists of eight stanzas and each stanza has ten lines. In the poem, Keats relates what happens in his mind while he is listening to the song of a nightingale. In the first stanza the poet shows himself in a state of uncomfortable drowsiness under the magic of the nightingale’s song. Envying the happiness of the bird, Keats longs for a draught of wine which take him out of himself and allow him to join his existence with that of the bird, and by the power of wine and imagination

he could leave the world in which life is full of pain and misery, sorrow and despair, and the world in which the young die and the old suffer. Here we can see clearly the poet’s inner contradiction between ugly social reality all around him and his vain wish to leave it or forget it and through his contrasting the joys of the ‘immortal bird’ with the ‘hungry generations’. By saying the word ‘Forlorn’（孤独、悲凉）, the poet ends the poem with an acute sense of pain.

Major Poetic Works Endymion is a poem by John Keats first published in 1818. Beginning famously with the line "A thing of beauty is a joy for ever". Keats based the poem on the Greek myth of Endymion, the shepherd beloved by the moon goddess Selene.

Plot Endymion was a young shepherd who kept his sheep on Mount Latmus. The pasture there was green and fresh, and the air was pure and cool. When the moon rose, it was very beautiful. Endymion liked it so much that he spent day and night on it, sleeping and dreaming 　　Selene was the moon-goddess, and it was because of her that Mount Latmus was so beautiful. She went around it nearly every day. 　　

One day, as she was walking around, she saw the sleeping Endymion One day, as she was walking around, she saw the sleeping Endymion. She was so amazed at the beauty of the young man that she didn't want to leave, and she went out to see him every night. How she hoped that the young man would be young and sleeping forever, because she liked him best when he slept in her light.  She asked Jupiter for help so that the young man would stay young and sleeping forever. Jupiter promised to help, and put him in a cave on Monut Latmus. So Endymion has been sleeping ever since.

Narrative It starts by painting a rustic scene of trees, rivers, shepherds, and sheep. The shepherds gather around an altar and pray to Pan, god of shepherds and flocks. As the youths sing and dance, the elder men sit and talk about what life would be like in the shades of Elysium. However, Endymion is in a trancelike state, and not participating in their discourse. His sister, Peona, takes him away and brings him to her resting place where he sleeps. After he wakes, he tells Peona of his encounter with Cynthia, and how much he loved her.

The First Stanza Of "Endymion" A thing of beauty is a joy for ever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing. Therefore, on every morrow, are we wreathing A flowery band to bind us to the earth, Spite of despondence, of the inhuman dearth Of noble natures, of the gloomy days, Of all the unhealthy and o'er-darkened ways: Made for our searching: yes, in spite of all, Some shape of beauty moves away the pall

From our dark spirits. Such the sun, the moon, Trees old and young, sprouting a shady boon For simple sheep; and such are daffodils With the green world they live in; and clear rills That for themselves a cooling covert make 'Gainst the hot season; the mid forest brake, Rich with a sprinkling of fair musk-rose blooms: And such too is the grandeur of the dooms We have imagined for the mighty dead; All lovely tales that we have heard or read: An endless fountain of immortal drink, Pouring unto us from the heaven's brink.

Ode on a Grecian Urn “Ode on a Grecian Urn" is written in May 1819 and published in January 1820. It is one of his "Great Odes of 1819", which include "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to Psyche". Keats found earlier forms of poetry unsatisfactory for his purpose, and the collection represented a new development of the ode form. He was

inspired to write the poem after reading two articles by English artist and writer. Keats was aware of other works on classical Greek art which reinforced his belief that classical Greek art was idealistic and captured Greek virtues, which forms the basis of the poem.

Divided into five stanzas of ten lines each, the ode contains a narrator‘s discourse on a series of designs on a Grecian urn. The poem focuses on two scenes: one in which a lover eternally pursues a beloved without fulfillment, and another of villagers about to perform a sacrifice. The final lines of the poem declare that “beauty is truth, truth beauty,’ – that is all / Ye know on earth, and all ye need to know”.

The Grecian Urn that the poem depicts is a piece of ancient Greek pottery with a pastoral scene overwrought upon it. The urn represents a piece of artifact，& it has endured a long history，yet remains untarnished，& the pastoral scene on it can still be seen clearly.

On the surface，this ode is about the Grecian Urn， but we can fairly say it is a commentary on nature & art， for art has the power to preserve intense human experiences，so that they may go on being enjoyed by men from generation to generation. Pleasure in life cannot be protected from change，while artifact can remain intact. The Ode consists of 5 stanzas，the first four stanzas describing a pastoral scene on the urn，& the last epitomizing the relation of the timeless ideal world in art to the woeful actual world.

The urn is unchanged through the centuries and that moment of eternal beauty, frozen in time, has more significance for humanity, according to Keats, than the fleeting nature of individual happiness. Keats’ work presented all of experience as a tangle of inseparable and irreconcilable opposites. His letters reveal him wrestling with the problems of evil and suffering in the world.

Thou still unravish'd bride of quietness, Thou foster-child of Silence and slow Time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fringed legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? what maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal --- yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoy'd, For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy'd, A burning forehead, and a parching tongue.

Who are these coming to the sacrifice Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead‘st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return.

O Attic shape. Fair attitude O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral ! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty," --- that is all Ye know on earth, and all ye need to know.

美是济慈的毕生追求，《希腊古瓮颂》是诗人对美的颂歌。诗歌通过诗人对古瓮观感以及与古瓮的对话，得出了“美即是真，真即是美”的结论。 在这首诗中，古瓮之美不仅仅在于“优美”和“美妙”：三幅画面中既有人/神狂欢和少年求爱的美好画面，也有小镇倾城献祭的凄凉街景。诗中的美是艺术之美。作为艺术品，这首诗和古瓮是美的，这美源自有悲也有乐的生活，这便是真。生活的本真是艺术美的源泉，艺术之美则使生活的本真得以永存。这句话也可看作诗人一生的写照。济慈出生寒微，在创作过程中不断受到死亡的威胁，但他以短暂的生命创作出大批具有强烈美感的名篇佳作。他的艺术成就是他在生活之真中追求美的结果，他所创造出来的艺术美则使他的一生不朽于世。

"Ode to a Nightingale" It expresses the contrast between the happy world of natural loveliness & human world of agony. Here the aching ecstasy roused by the bird‘s song is felt like a form of spiritual homesickness，a longing to be at one with beauty. The poem first introduces joy & sorrow，song & music. Death & rapture which free him into the world of dream. By combining a tingling anticipation with a lapsing towards dissolution，Keats manages to keep a precarious(不确定的) balance between mirth & despair，rapture & grief. Inspired by the nightingale's song，his thoughts now ascend from the transfigured physical

world， through the imagined ecstasy of death， to the timeless present of the nightingale's song. The ultimate imaginative view of "faery lands forlorn" evaporates in its extremity as the full associations of the word "toll" the poet back from his near-loss of self-hood to the real & human world of sorrow & death.

My heart aches and a drowsy numbness pains My sense as though of hemlock I had drunk Or emptied some dull opiate to the drains One minute past and Lethe-wards had sunk 'Tis not through envy of thy happy lot But being too happy in thine happiness -- That thou light-winged Dryad of the trees In some melodious plot Of beechen green and shadows numberless Singest of summer in full-throated ease.

O for a draught of vintage O for a draught of vintage! that hath been Cool'd a long age in the deep-delved earth Tasting of Flora and the country green Dance and Provencal song and sunburnt mirth! O for a beaker full of the warm South Full of the true the blushful Hippocrene With beaded bubbles winking at the brim And purple-stained mouth That I might drink and leave the world unseen And with thee fade away into the forest dim

Fade far away dissolve and quite forget What thou among the leaves hast never known The weariness the fever and the fret Here where men sit and hear each other groan; Where palsy shakes a few sad last gray hairs Where youth grows pale and spectre-thin and dies; Where but to think is to be full of sorrow And leaden-eyed despairs Where Beauty cannot keep her lustrous eyes Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee Not charioted by Bacchus and his pards But on the viewless wings of Poesy Though the dull brain perplexes and retards Already with thee! tender is the night And haply the Queen-Moon is on her throne Cluster'd around by all her starry Fays; But here there is no light Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet Nor what soft incense hangs upon the boughs But in embalmed darkness guess each sweet Wherewith the seasonable month endows The grass the thicket and the fruit-tree wild; White hawthorn and the pastoral eglantine; Fast fading violets cover'd up in leaves; And mid-May's eldest child The coming musk-rose full of dewy wine The murmurous haunt of flies on summer eves.

Darkling I listen; and for many a time I have been half in love with easeful Death Call'd him soft names in many a mused rhyme To take into the air my quiet breath; Now more than ever seems it rich to die To cease upon the midnight with no pain While thou art pouring forth thy soul abroad In such an ecstasy! Still wouldst thou sing and I have ears in vain-- To thy high requiem become a sod.

Thou wast not born for death immortal Bird Thou wast not born for death immortal Bird! No hungry generations tread thee down; The voice I hear this passing night was heard In ancient days by emperor and clown: Perhaps the self-same song that found a path Through the sad heart of Ruth when sick for home She stood in tears amid the alien corn; The same that oft-times hath Charm'd magic casements opening on the foam

Of perilous seas in faery lands forlorn. Forlorn Of perilous seas in faery lands forlorn. Forlorn! the very word is like a bell To toll me back from thee to my sole self! Adieu! the fancy cannot cheat so well As she is fam'd to do deceiving elf. Adieu! adieu! thy plaintive anthem fades Past the near meadows over the still stream Up the hill-side; and now 'tis buried deep In the next valley-glades: Was it a vision or a waking dream? Fled is that music:--Do I wake or sleep?

Form of "Ode to a Nightingale" "Ode to a Nightingale" is written in ten-line stanzas. It is metrically variable. The first seven and last two lines of each stanza are written in iambic pentameter; the eighth line of each stanza is written in dimeter or trimeter, with only three accented syllables instead of five. Each stanza in "Nightingale" is rhymed ABABCDECDE, Keats's most basic scheme throughout the odes.

What is the major theme in "Ode to Nightingale“? A major theme in "Ode to a Nightingale" is Keats's perception of the mixture of pain/joy, intensity of feeling/numbness of feeling, life/death conflicted nature of human life, i.e., the interconnection or, mortal/immortal, the actual/the ideal, and separation/connection.