Ode to the West Wind

I

O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red,

Pestilence-stricken multitudes: O thou,

Who chariotest to their dark wintry bed

The winged seeds, where they lie cold and low,

Each like a corpse within its grave, until

Thine azure sister of the Spring shall blow

Her clarion o'er the dreaming earth, and fill

(Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill:

Wild Spirit, which art moving everywhere;

Destroyer and preserver; hear, oh hear!

II

Thou on whose stream, mid the steep sky's commotion, Loose clouds like earth's decaying leaves are shed,

Shook from the tangled boughs of Heaven and Ocean,

Angels of rain and lightning: there are spread On the blue surface of thine aery surge,

Like the bright hair uplifted from the head

Of some fierce Maenad, even from the dim verge

Of the horizon to the zenith's height,

The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night

Will be the dome of a vast sepulchre,

Vaulted with all thy congregated might

Of vapours, from whose solid atmosphere

Black rain, and fire, and hail will burst: oh hear!

III

Thou who didst waken from his summer dreams

The blue Mediterranean, where he lay,

Lull'd by the coil of his crystalline streams,

Beside a pumice isle in Baiae's bay,

And saw in sleep old palaces and towers

Quivering within the wave's intenser day,

All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic's level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear

The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear!

IV

If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee;

A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even

I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem'd a vision; I would ne'er have striven As thus with thee in prayer in my sore need.

Oh, lift me as a wave, a leaf, a cloud!

I fall upon the thorns of life! I bleed!

A heavy weight of hours has chain'd and bow'd One too like thee: tameless, and swift, and proud.

V

Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce,

My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe Like wither'd leaves to quicken a new birth! And, by the incantation of this verse,

Scatter, as from an unextinguish'd hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken'd earth The trumpet of a prophecy! O Wind,

If Winter comes, can Spring be far behind?

第二篇：《西风颂》文献综述

对《西风颂》研究的文献综述

《西风颂》（Ode to the West Wind）是英国19世纪杰出的浪漫主义诗人雪莱（Percy Bysshe Shelley，1792-1822）于1819年创作的不朽诗篇，它无疑是一株从内容到形式，从气势到格律都已结合成一个完美整体的艺术奇葩。

雪莱在《西风颂》中，描写了“既是破坏者，又是保存者”（“destroyer and preserver”）的西风的形象，“愿借西风之力，荡涤自己心中的沉暮之气，激发自己的灵感，并将自己的诗名传播四方，唤醒昏昏然的芸芸众生。”（王守仁，2008）。这首荡气回肠的颂歌影响深远，超越国界，众多批评家和学者从不同研究角度，撰写文章介绍、研究她。本文试对《西风颂》的研究作简要文献综述。

有众多学者从文体特征方面赏析《西风颂》。他们主要关注雪莱在音韵、格律、语言风格、修辞手法等方面的运用。例如，“格律是但丁《神曲》所采用的三行诗节和莎士比亚十四行体两者的混合。全诗共五章,每章十四行,由四个三行的诗节和一个双行偶句组成。每行基本上是五音步抑扬格，韵律是abc bcb cdc ded ee 。”“诗中运用古英语和较文雅的大词，使语言更显庄重典雅。”“诗人巧妙地运用了象征、比喻、重复、拟人等修辞方法。”（孟宪杰，1998）；以及“从文体上说，以上三个诗节彼此很相似。首先，这三节都以‘哦，听啊！’结尾，是诗人‘我’对西风‘你’的不断重复呼喊；第二，这三节每一节的开头、中间和结尾有三次对‘你’（或西风的替代‘你凝聚的力量’，‘你的嗓音’）的重复。”（顾嘉祖，1987）

有一些学者从形式结构上入手，研究《西风颂》。如，“用‘西风’来控制的方法，在诗的结构上是显而易见的。这首诗是明显的三行诗体，是一种把诗行急速地向前推进的节奏形式。在前三节中，要求迅速地把前一行引入下面一行，因而句法也就如同诗句一样开放无阻地向前涌动了。”（陆欣，1997）再如，“《西风颂》是由五首十四行诗组成，首行独立成篇，各有相对独立的主题，又相互呼应，形成完整的整体结构。其段落结构可根据‘起、承、转、合’分析此首诗。”（郑静，2007）

还有很多学者从主题内涵的角度出发来分析此诗。人们大多从社会革命性和对胜利的预言的角度来分析诗的主题。还有人认为可以从讴歌生命的角度出发，认为“破坏——生命的力量；保存——生命的价值；自由——生命的意义。”（辛中华，1999）

以浪漫主义诗风的角度分析《西风颂》的学者也不在少数。浪漫主义一般是肯定个性的伟大，肯定个性为真正崇高的社会理想而进行严酷的斗争，认为直面现实，投身革命是唯一出路。因此，有学者深入分析并感悟到“雪莱借自然来发掘真理，抒发人性自由，昂扬乐观的浪漫主义诗风。”（王秀艳，2006）

除了从以上四个角度研究《西风颂》，还有一些学者从中西方比较、翻译、巫术动机等方面入手，对该诗提出各自的看法和主张。

简言之，评论家和学者们从内容与形式的各个方面，各个角度对《西风颂》进行深入分析和探究。目前，《西风颂》在中国的译文超20余种，至今研究《西风颂》的专论近50篇，可见其倍受中国学术界的青睐。这也再次说明了雪莱的《西风颂》是不朽的抒情名篇。正如

《大不列颠百科全书》中所注，雪莱在“一个伟大的诗的时代，写出了最伟大的抒情诗剧。”其永恒魅力，不仅在于形象丰满而生动，语言清新而富有音乐性，感情真挚而充沛，更在于思想上闪耀着崇高的光辉。

参考文献：

王守仁，《英国文学选读》[M],高等教育出版社（p.78），2008.3.

孟宪杰，《<西风颂>文体特色赏析》[J]内蒙古民族师院学报（pp.48-49），1998.

顾嘉祖，Meanings and Stylistic Features of “Ode to the West Wind”[J]福建外语（pp.66-69）,1987.

陆欣，《<西风颂>的结构及其思想意义》[J]吴中学刊 (pp.93-94), 1997.

郑静，《从篇章语言学角度分析<西风颂>》[J]重庆科技学院学报（pp.118-119），2007. 辛中华，《雪莱<西风颂>主题探析》[J]内蒙古工业大学学报（pp.55-57）, 1999. 王秀艳，《试析<西风颂>中的浪漫主义诗风》[J]现代企业教育(p.157)，2006.