本書屬于大學(xué)英語選修課系列教材,由“詩(shī)歌要素”、“詩(shī)歌種類”、“詩(shī)歌主題”和“更多詩(shī)歌欣賞”四部分組成。此外,本書的兩個(gè)附錄“術(shù)語表”和“詩(shī)人小傳”對(duì)教與學(xué)也十分有幫助。全書涉及54位英語詩(shī)人,包括90首英語詩(shī)歌,主要收錄19世紀(jì)和20世紀(jì)的作品,這些作品都是有代表性的短篇名作,劃入相關(guān)學(xué)習(xí)單元,便于課堂教學(xué)和課外自學(xué)?紤]到英語國(guó)家地域的廣闊性、文化的多樣性和詩(shī)歌成就的豐富性,在重點(diǎn)選擇了英國(guó)和美國(guó)的詩(shī)人和詩(shī)作之后,本書適當(dāng)增加了愛爾蘭、新西蘭、加拿大和圣盧西亞的詩(shī)人和詩(shī)作。
本書特色鮮明,易于教學(xué),又系統(tǒng)專業(yè),雖為大學(xué)英語學(xué)生選修科設(shè)計(jì),也適合英語專業(yè)學(xué)生。
詩(shī)歌乃文學(xué)之桂冠,語言之精華。本書是針對(duì)大學(xué)英語學(xué)生提高詩(shī)歌素養(yǎng)而編寫的一部英文教材,因此分門別類地準(zhǔn)備了“詩(shī)歌要素”、“詩(shī)歌種類”和“詩(shī)歌主題”三個(gè)部分,作為課堂教學(xué)之用。本書還準(zhǔn)備了第四部分,即“更多詩(shī)歌欣賞”部分,供學(xué)生課外閱讀和欣賞。此外,本書的兩個(gè)附錄“術(shù)語表”和“詩(shī)人小傳”對(duì)教與學(xué)也十分有幫助。 全書涉及54位英語詩(shī)人,包括90首英語詩(shī)歌?紤]到語言的時(shí)代性和現(xiàn)代性要求,以及每周兩小時(shí)課堂教學(xué)的需要,編者在確定詩(shī)歌選目時(shí)主要收錄19世紀(jì)和20世紀(jì)的作品,這些作品都是有代表性的短篇名作,劃入相關(guān)學(xué)習(xí)單元,便于課堂教學(xué)和課外自學(xué)?紤]到英語國(guó)家地域的廣闊性、文化的多樣性和詩(shī)歌成就的豐富性,編者在重點(diǎn)選擇了英國(guó)和美國(guó)的詩(shī)人和詩(shī)作之后,適當(dāng)增加了愛爾蘭、新西蘭、加拿大和圣盧西亞的詩(shī)人和詩(shī)作。 書中的每一首詩(shī)都配有題解、注釋和思考題。在書中的主體部分,即前三部分,每一首詩(shī)后還配有翻譯詩(shī),以方便理解原詩(shī)和比較英漢語言妙趣。這些譯詩(shī)基本出自國(guó)內(nèi)名家之手,是從眾多譯本中精挑細(xì)選出來的上品。
我國(guó)的大學(xué)英語教學(xué)起步于20世紀(jì)80年代,經(jīng)過20多年的發(fā)展,大學(xué)英語在教學(xué)水平、課程設(shè)置、教學(xué)方法、教學(xué)環(huán)境、師資隊(duì)伍等各個(gè)方面都有了長(zhǎng)足的進(jìn)步和發(fā)展。但隨著我國(guó)加入WTO和國(guó)民經(jīng)濟(jì)的快速發(fā)展,大學(xué)英語教學(xué)暴露出與時(shí)代要求不相稱的一面。為適應(yīng)現(xiàn)代社會(huì)對(duì)人才培養(yǎng)的實(shí)際需求,推動(dòng)和指導(dǎo)大學(xué)英語教學(xué)改革,教育部于2003年頒布了《大學(xué)英語課程教學(xué)要求(試行)》(以下簡(jiǎn)稱《要求》),并于2007年結(jié)合對(duì)人才能力培養(yǎng)的新要求再次做了修訂和調(diào)整,作為全國(guó)各高校組織非英語專業(yè)本科生英語教學(xué)的主要依據(jù)。
《要求》
Part One Elements of Poetry
Unit One Meter and Rhythm
The Pasture
Annabel Lee
A Psalm of Life
We Real Cool
Unit Two Stanza and Rhyme
The Night Has a Thousand Eyes
I Died for Beauty
Ars Poetiea
The Windhover
Unit Three Speaker and Tone
Still I Rise
A Far Cry from Africa
The Song of Wandering Aengus
Ah, Are You Digging on My Grave?
Unit Four Figurative Language
A Birthday
All the World s a Stage
A Narrow Fellow in the Grass
Cynara
Unit Five Image and Symbol
Cavalry Crossing a Ford
In a Station of the Metro
Anecdote of the Jar
The Second Coming
Part Two Types of Poetry
Unit Six Ballad
A Red, Red Rose
The Last Rose of Summer
Boots of Spanish Leather
Ballad of Birmingham
Unit Seven Ode
Ode to the West Wind
Unit Eight Sonnet
Shall I Compare Thee to a Summers Day?
How Do I Love Thee?
America
Why Brownlee Left
Unit Nine Free Verse
I Hear America Singing
Chicago
The Red Wheelbarrow
The Negro Speaks of Rivers
Unit Ten Shaped Verse
40——Love
The Window
Swan and Shadow
Part Three Themes of Poetry
Unit Eleven Friendship
When, in Disgrace with Fortune and Mens Eyes
The Arrow and the Song
Break, Break, Break
In Memory of Eva Gore-Booth and Con Markiewicz
Unit Twelve Love
Love s Philosophy
The Soul Selects Her Own Society
When You Are Old
Permanently
Unit Thirteen Life
Dreams
The Road Not Taken
Sea-Fever
Success Is Counted Sweetest
Unit Fourteen Nature
Spring
I Wandered Lonely as a Cloud
On the Grasshopper and Cricket
The Lake Isle of Innisfree
Unit Fifteen Death
Because I Could Not Stop for Death
When I Am Dead, My Dearest
Requiem
Mid-Term Break
Unit Sixteen Patriotism
My Hearts in the Highlands
I Travelled among Unknown Men
My Grave
The Gift Outright
Part Four Enjoying More English Poems
George Herbert ( 1593-1633 )
The Altar
William Wordsworth ( 1770-1850 )
The Solitary Reaper
Thomas Moore (1779-1852)
The Harp That Once Through Tara s Halls
Percy Bysshe Shelley (1792-1822)
Ozymandias
Walt Whitman (181%1892)
1 Saw in Louisiana a Live-Oak Growing
A Sight in Camp in the Daybreak Gray and Dim
Emily Dickinson (1830-1886)
My Life Closed Twice Before Its Close
If I Can Stop One Heart from Breaking
Thomas Hardy (1840-1928)
In Time of "The Breaking of Nations"
Katharine Tynan ( 1
Not Lovers Then
Any Woman
William Butler Yeats ( 1865-1939 )
The Stolen Child
The Mask
Robert Frost ( 1874-1963 )
Stopping by Woods on a Snowy Evening
Birches
Thomas Stearns Eliot ( 1888-1965 )
The Love Song of J. Alfred Prufrock
E. E. Cummings (1894-1962)
Love Is More Thicker Than Forget
Wystan Hugh Auden (1907-1973)
In Memory of W. B. Yeats
R. S. Thomas (1913-2000)
Welsh Landscape
Robert Lowell (1917-1977)
Skunk Hour
Donald Justice (b. 1925)
Ode to a Dressmakers Dummy
James K. Baxter (1926-1972)
New Zealand
Ted HughesBZ ( 1930-1998 )
Hawk Roosting
Derek Walcott (b. 1930)
Winding Up
Adrian Henri (1932-2000)
Tonight at Noon
Margaret Atwood ( b. 1939)
You Fit into Me
Seamus Heaney ( b. 1939)
Bogland
From the Republic of Conscience
Eavan Boland ( b. 1944)
Mother Ireland
Appendix I Glossary
Appendix II Biographical Sketches
The Windhover
To Christ Our Lord
By Gerard Manley Hopkins(1844-1889)I caught this morning mornings minion,kingdom of daylights dauphin,dapple-dawn-drawn Falcon,in his riding
Of the rolling level underneath him steady air,and striding High there.how he rung upon the rein。of a wimpling。wing In his ecstasy!then off,off forth on swing, As a skates heel sweeps smooth on a bow—bend:the hurl and gliding
Rebuffed the big wind.My heart in hiding Stirred for a bird,the achieve of,the mastery of the thing! Brute beauty and valour and act,oh,air,pride,plume,here
Buckle!AND the fire that breaks from thee then.a billion Times told lovelier,more dangerous,O my chevalier4 1
No wonder of it:sh6er p16d makes plough down sillions hine,and blue—bleak embers,ah my dear,
Fall,gall themselves,and gash gold—vermillion.
注釋
霍普金斯生前是一位耶穌會(huì)的傳教士,死后詩(shī)名扶搖直上。他的詩(shī)在意境、格律和詞藻上都有創(chuàng)新,其內(nèi)容則表現(xiàn)自然界萬物的個(gè)性以及詩(shī)人對(duì)大自然的感懷,宗教色彩濃厚。他采用一種“彈跳韻律”(sprung rhythm),竭力仿效“日常語言的自然節(jié)奏”,喜好用頭韻、內(nèi)韻、略語、復(fù)喻,并生造新詞,風(fēng)格清新活潑!癟he Windhover”描繪風(fēng)鷹,發(fā)表于1918年,當(dāng)時(shí)詩(shī)人已去世二十年。詩(shī)人熱切地贊美風(fēng)鷹的粗獷的姿態(tài)、勇猛的力量和姣好的身形,想到了造物主的力量和高貴,因而親切而激情地呼喚基督為“我的騎士”。1.minion:寵臣。