Daffodils 作文

Which 指的是前面整句话“They flash upon that inward eye”.
inward eye意为“脑海”,bliss意为“赐福、慰藉”.
“They flash upon that inward eye ,Which is the bliss of solitude；”翻译为“这景象在脑海中闪现,多少次安慰我的寂寞；”或者“此情此景魂萦梦牵,寂寞缠绵”.
整首诗歌翻译如下
我好似一朵孤独的流云,
高高地飘游在山谷之上,
突然我看到一大片鲜花,
是金色的水仙遍地开放.
它们开在湖畔,开在树下
它们随风嬉舞,随风飘荡.
它们密集如银河的星星,
像群星在闪烁一片晶莹；
它们沿着海湾向前伸展,
通往远方仿佛无穷无尽；
一眼看去就有千朵万朵,
万花摇首舞得多么高兴.
粼粼湖波也在近旁欢跳,
却不如这水仙舞得轻俏；
诗人遇见这快乐的旅伴,
又怎能不感到欢欣雀跃；
我久久凝视——却未领悟
这景象所给我的精神至宝.
后来多少次我郁郁独卧,
感到百无聊赖心灵空漠；
这景象便在脑海中闪现,
多少次安慰过我的寂寞；
我的心又随水仙跳起舞来,
我的心又重新充满了欢乐
郭沫若翻译如下：
山间谷中,白云漂浮
我如白云,独自遨游
忽见水仙,黄花清幽
湖边树下,摆舞不休
犹似银河,闪耀繁星
水仙连绵,一望无垠
千万花朵,入眼清新
迎风摇摆,活泼欢欣
谷中幽湖,碧波荡漾
花舞清风,欢胜波浪
沉醉其间,久久凝望
未尝领悟,何等珍藏
时而卧塌,茫然愁楚
湖畔水仙,跃上心头
豁然开朗,孤寂之福
我心怿动,与花共舞
诗歌原作者威廉.华兹华斯 William Wordsworth（1770～1850）英国浪漫主义诗人.

Notes about this poem:
1. Wordsworth made use of the description in his sister's diary, as well as
of his memory of the daffodils in Gowbarrow Park, by Ullswater. Cf. Dorothy
Wordsworth's Journal, April 15, 1802: "I never saw daffodils so beautiful.
They grew among the mossy stones . . .; some rested their heads upon these
stones, as on a pillow for weariness; and the rest tossed and reeled and
danced, and seemed as if they verily laughed with the wind, that blew upon
them over the lake; they looked so gay, ever glancing, ever changing."
2. 'They flash upon that inward eye... ': Wordsworth said that these were
the two best lines in the poem and that they were composed by his wife.
Biography and Assessment:
Wordsworth was born in the Lake District of northern England[...]The
natural scenery of the English lakes could terrify as well as nurture, as
Wordsworth would later testify in the line "I grew up fostered alike by
beauty and by fear," but its generally benign aspect gave the growing boy
the confidence he articulated in one of his first important poems, "Lines
Composed a Few Miles Above Tintern Abbey . . . ," namely, "that Nature
never did betray the heart that loved her."
[...]
Wordsworth moved on in 1787 to St. John's College, Cambridge. Repelled by
the competitive pressures there, he elected to idle his way through the
university, persuaded that he "was not for that hour, nor for that place."
The most important thing he did in his college years was to devote his
summer vacation in 1790 to a long walking tour through revolutionary
France. There he was caught up in the passionate enthusiasm that followed
the fall of the Bastille, and became an ardent republican sympathizer.
[...]
The three or four years that followed his return to England were the
darkest of Wordsworth's life. Unprepared for any profession, rootless,
virtually penniless, bitterly hostile to his own country's opposition to
the French, he knocked about London in the company of radicals like
William Godwin and learned to feel a profound sympathy for the abandoned
mothers, beggars, children, vagrants, and victims of England's wars who
began to march through the sombre poems he began writing at this time.
This dark period ended in 1795, when a friend's legacy made possible
Wordsworth's reunion with his beloved sister Dorothy--the two were never
again to live apart--and their move in 1797 to Alfoxden House, near
Bristol. There Wordsworth became friends with a fellow poet, Samuel Taylor
Coleridge, and they formed a partnership that would change both poets'
lives and alter the course of English poetry.
[...]
Through all these years Wordsworth was assailed by vicious and tireless
critical attacks by contemptuous reviewers; no great poet has ever had to
endure worse. But finally, with the publication of The River Duddon in
1820, the tide began to turn, and by the mid-1830s his reputation had been
established with both critics and the reading public.
Wordsworth's last years were given over partly to "tinkering" his poems,
as the family called his compulsive and persistent habit of revising his
earlier poems through edition after edition. The Prelude, for instance,
went through four distinct manuscript versions (1798-99, 1805-06, 1818-20,
and 1832-39) and was published only after the poet's death in 1850. Most
readers find the earliest versions of The Prelude and other heavily
revised poems to be the best, but flashes of brilliance can appear in
revisions added when the poet was in his seventies.
Wordsworth succeeded his friend Robert Southey as Britain's poet laureate
in 1843 and held that post until his own death in 1850. Thereafter his
influence was felt throughout the rest of the 19th century, though he was
honoured more for his smaller poems, as singled out by the Victorian
critic Matthew Arnold, than for his masterpiece, The Prelude. In the 20th
century his reputation was strengthened both by recognition of his
importance in the Romantic movement and by an appreciation of the darker
elements in his personality and verse.
William Wordsworth was the central figure in the English Romantic
revolution in poetry. His contribution to it was threefold. First, he
formulated in his poems and his essays a new attitude toward nature. This
was more than a matter of introducing nature imagery into his verse; it
amounted to a fresh view of the organic relation between man and the
natural world, and it culminated in metaphors of a wedding between nature
and the human mind, and beyond that, in the sweeping metaphor of nature as
emblematic of the mind of God, a mind that "feeds upon infinity" and
"broods over the dark abyss." Second, Wordsworth probed deeply into his
own sensibility as he traced, in his finest poem, The Prelude, the "growth
of a poet's mind." The Prelude was in fact the first long autobiographical
poem. Writing it in a drawn-out process of self-exploration, Wordsworth
worked his way toward a modern psychological understanding of his own
nature, and thus more broadly of human nature. Third, Wordsworth placed
poetry at the centre of human experience; in impassioned rhetoric he
pronounced poetry to be nothing less than "the first and last of all
knowledge--it is as immortal as the heart of man," and he then went on to
create some of the greatest English poetry of his century. It is probably
safe to say that by the late 20th century he stood in critical estimation
where Coleridge and Arnold had originally placed him, next to John
Milton--who stands, of course, next to William Shakespeare.
Some comments:
1.We often go through life as if we were unconscious of what is going on
around us - like clouds. We notice many things some of which are beautiful
and some ordinary. But being distracted - not poets, who would naturally
notice and be gay at the sight - we fail to be lifted by the simple but
awesome beauty that surrounds us. WW was not being a poet at the time and
so he "little thought what wealth to him the show had wrought." He was
forced to try to re-experience it from memory - his inward eye - in order to
fill his heart with the pleasure he missed when he actually saw the daffodils.
To me, the poem serves as a reminder that our happiness is best served if we
live our lives as poets and notice the simple beauty that nature gives us
daily. Where ordinary people see flowers, the poet sees stars, dancers,
happy celebrations of nature's miracles and is pleasured. Live as a
poet!
2.I always thought
of the poem as a simple poem of yellow gay springtime. Having really
looked at the poem something clicked and I have a profound understanding
that I had overlooked -
The word 'DANCE' is in every stanza - Dance the cosmic creative energy
that transforms space into time, is the rhythm of the universe. Round
dancing, was a dance that imitated the sun's course in the heavens and
enclosed a sacred space. The round, yellow, golden cups of the daffodil
can easily symbolize the sun, the sacred sun of incorruptibile wisdom,
superior and noble.
Dancing as the Dance of Siva is the eternal movement of the universe the
'play' of creatio, or the 'fluttering' frenzy emotional chaos of
Dionysian/Bacchic.
The stars, messengers of the gods, the eyes of night, and hope, toss
their 'head,' the seat of both our intelligence and folly, honor and
dishonor.
Lying on a couch in a vacant pensive mood could easily be a way to
discribe a meditative state where the forces of the universe and our
connection with the ceaseless movement, the ebb and flow of life as a
wave dances could be pondered.
That last line "And dances with the Daffodils." could it be the dance of
angels round the throne of God. If this is a poem of the cycle of
existence and the circling of the sun/God of course what wealth and
glee.
3.A poem can stir all of the senses, and the subject matter of a poem can range from being funny to being sad.

water lily 睡莲
petunia 喇叭花
tulip 郁金香
hibiscus 木槿
dahlia 天竺牡丹,大丽花
daffodilsy 水仙
unifloraisy 这个可能楼主打错了
pansy 三色堇,三色紫罗兰
daisy 雏菊
marigold 金盏花
morning glory 牵牛花
edelweiss雪绒花

当水仙花初放它的娇黄,
嗨!山谷那面有一位多娇；
那是一年里最好的时光,
来自：
当水仙花初放它的娇黄
奥托里古斯的歌
当水仙花初放它的娇黄,
嗨!山谷那面有一位多娇；
那是一年里最好的时光,
严冬的热血在涨着狂潮.
漂白的布单在墙头晒晾,
嗨!鸟儿们唱得多么动听!
引起我难熬的贼心痒痒,
有了一壶酒喝胜坐龙廷.
听那百灵鸟的清歌婉丽,
嗨!还有画眉喜鹊的叫噪,
一齐唱出了夏天的欢喜,
当我在稻草上左搂右抱.
（《冬天的故事》第四幕第二场）
朱生豪译

"The Daffodils" which is also commonly known as "I Wandered Lonely as a Cloud" is a poem by William Wordsworth.
This poem was inspired by an April 15,1802 event in which Wordsworth and his sister,Dorothy,came across a "long belt" of daffodils.Written in 1804,it was first published in 1807 in Poems in Two Volumes,and a revised version was released in 1815,which is more commonly known.
The poem is a sonnet,24 lines long,consisting of four six-line stanzas.Each stanza is formed by a quatrain,then a couplet,to form a sestet and an ABABCC rhyme scheme.Like most works by Wordsworth,this poem is also romantic in nature.
The poem is littered with emotionally strong words,such as "golden","dancing" and "bliss".
The plot of the poem is simple.Wordsworth believed it "an elementary feeling and simple expression".The speaker is wandering as if among the clouds,viewing a belt of daffodils,next to a lake whose beauty is overshadowed.
Personification is used within the poem,particularly with regards to the flowers themselves,and the whole passage consists of images appearing within the mind of the poet.
William Wordsworth used personification to express his love of nature and the importance of memories

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