雪莱 西风颂:让预言的号角奏鸣!西风啊,如果冬天来了,那春天还会远吗的前面几句

C

悟已往之不谏，知来者之可追

出自雪莱的:《西风颂》

冬天来了,春天还会远么?
雪莱

我们要坚信,一切苦难最终都将会过去.
We must firmly believe that all hardships will be over in time.

"若是冬天来了,春天也总马上会来”是英国诗人雪莱《西风颂》中的诗句

C

D

伟大的诗篇即优秀的文化能给人智慧和欢欣体现了优秀的文化能丰富人的精神世界，故选D。ABC不体现。

如果你是学生的话,我觉得“莫等闲,白了少年头,空悲切”就算名句了,满江红那么经典,随便拿出一句都朗朗上口

雪莱生平（1792-1822）Percy Bysshe Shelley was born in 1792, into a wealthy Sussex family which eventually attained minor noble rank--the poet's grandfather, a wealthy businessman, received a baronetcy...

不要惧怕暂时的困难,成功就在不久的将来.

C

C

翅膀越练才越有力,好比身体和心,想要一个好身心不是过分珍爱它,而是去锻炼它,磨练它

原谅我不能给出它的深刻意义,我只能对“爱”这个字给出自己的感受.

The Harvest Moon
Ted Hughes
The flame-red moon,the harvest moon,
Rolls along the hills,gently bouncing,
A vast balloon,
Till it takes off,and sinks upward
To lie on the borrom of the sky,like a gold doubloon.
The harvest moon has come ,
Booming softly through heaven ,like a bassoon.
And the earth replies all night,like a deep drum.
So people can't sleep,
So they go out where elms and oak trees keep
A kneeling vigil,in a religious hush.
The harvest moon has come!
And all the moonlit cows and all sleep
Stare up at her petrified,while she swells
Filling heaven,as if red hot,and sailing
Closer and closer like the end of the world.
Till the gold fields of stiff wheat
Cry‘We are ripe,reap us!’and the rivers
Sweat from the melting hills.

雪莱曾说过：冬天到了,春天还会远吗?
Shelley once has said:Arrived in the winter,spring also can far?

徐志摩《雪花的快乐》
假如我是一朵雪花, 翩翩的在半空里潇洒, 我一定认清我的方向—— 飞飏（扬）,飞飏（扬）,飞飏（扬）,—— 这地面上有我的方向. 不去那冷寞的幽谷, 不去那凄清的山麓, 也不上荒街去惆怅—— 飞飏（扬）,飞飏（扬）,飞飏（扬）,—— 你看,我有我的方向! 在半空里娟娟的飞舞, 认明了那清幽的住处, 等着她来花园里探望—— 飞飏（扬）,飞飏（扬）,飞飏（扬）,—— 啊,她身上有朱砂梅的清香! 那时我凭借我的身轻, 盈盈的,沾住了她的衣襟, 贴近她柔波似的心胸—— 消溶,消溶,消溶—— 溶入了她柔波似的心胸!
徐志摩《偶然》
我是天空里的一片云, 偶尔投影在你的波心－－ 你不必讶异, 更无须欢喜－－ 在转瞬间消灭了踪影. 你我相逢在黑夜的海上, 你有你的,我有我的,方向； 你记得也好, 最好你忘掉, 在这交会时互放的光亮!
泰戈尔的《飞鸟集》,《新月集》中都是这样的诗歌,在网上一搜,就有很多的~~

A

B

英国浪漫主义诗人代表是拜伦和雪莱，其中雪莱是积极乐观的。

C

1、春风得意马蹄疾 2、黄沙百战穿金甲 3、天生我材必有用 4、冬天到了,春天还会远吗 5、众所皆知
采纳哦

就是在困难呢的面前努力,你的成功就离你不远了.

Ode to the West Wind
Percy Bysshe Shelley
1
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 chariltest 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 odors plain and hill:
Wild Spirit, which art moving everywhere;
Destroyer and presserver; hear, oh, hear!
2
Thou on whose stream, 'mid the steep sky's commotion,
Loose clouds like earth's decaying leaves are shedd,
Shook from the tangled boughs of Heaven and Ocean,
angels of rain and lightning:there are spread
On the blue surface of thine airy 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 vapoursr, from whose solid atmosphere
Black rain, and fire , and hail will burst :oh, hear!
3
Thou who didst waken from his summer dreams
The blue Mediterranean, where he lay,
Lulled by the coil of his crystalline streams
Beside a pumice isle in Baiae's bay,
And saw in sleep old palaces and fowers
Quivering within the eave'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 esepoil themselves:oh, hear!
4
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 im my boyhood, and could be
The comrade of thy wanderigs 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 chained and bowed
One too lke thee: tameless, and swift, and proud.
5
Make me thy lyre, even as the forest is:
What if my leavers are falling like its own!
The tmult 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 witheered leaves to quicken a new birth!
And , by the incantation of this verse,
Scatter, is from an unextinguished hearth
Ashes and sparks, my words among mankind!
Be through my lips to unawakened earth
The trumpet of a prophecy! O Wind,
If Winter comes , can Spring be far behind?

雪莱（1792-1822）,生于英国萨塞克斯郡.1816年往瑞士,与拜伦结为好友.1822年与友人驾帆船出海,遇暴风,舟沉身亡.作品包括长诗《仙后麦布》（Queen Mab）、《阿多尼斯》（Adonais）等.
《西风颂》,全诗五节,每节的韵脚安排是：aba,bcb,cdc,ded,ee.
西风颂
波西.比希.雪莱
1
呵,狂野的西风,你把秋气猛吹,
不露脸便将落叶一扫而空,
犹如法师赶走了群鬼,
赶走那黄绿红黑紫的一群
那些染上了瘟疫的魔怪——
呵,你让种子长翅腾空,
又落在冰冷的土壤里深埋,
象尸体躺在坟墓,但一朝
你那青色的东风妹妹回来,
为沉睡的大地吹响银号
驱使羊群般的蓓蕾把大气猛喝,
就吹出遍野嫩色,处处香飘.
狂野的精灵!你吹遍了大地山河,
破坏者,保护者,听吧——听我的歌!
2
你激荡长空,乱云飞坠
如落叶；你摇撼天和海,
不许它们象老树缠在一堆；
你把雨和电赶了下来,
只见蓝空上你骋驰之处
忽有万丈金发披开,
象是洒神的女祭司勃然大努,
愣把她的长发遮住了半个天,
将暴风雨的来临宣布.
你唱着挽歌送别残年,
今夜这天空宛如圆形的大墓,
罩住了混浊的云雾一片,
却挡不住电火和冰雹的突破,
更有黑雨倾家荡产盆而下!呵,听我的歌!
3
你惊扰了地中海的夏日梦,
它在清澈的碧水里静躺,
听着波浪的催眠曲,睡意正浓,
朦胧里它看见南国港外石岛旁,
烈日下古老的宫殿和楼台
把影子投在海水里晃荡,
它们的墙上长满了花朵和藓苔,
那香气光想想也叫人醉倒!
你的来临叫太西洋也惊骇,
它们把海水劈成两半,为你开道,
海底下有琼枝玉树安卧,
尽管深潜万丈,一听你的恕号
就闻声而变色,只见一个个
战栗——呵,听我的歌!
4
如果我能是一片落叶随便你飘腾,
如果我能是一朵流云伴你飞行,
或是一个浪头在你的威力下翻滚,
如果我能有你的锐势和冲劲,
即使比不上你那不羁的奔放,
但只要能拾回我当年的童心,
我就能陪着你遨游天上,
那时候追上你未必是梦呓,
又何至沦落到这等颓丧,
祈求你来救我之急!
呵,卷走我吧,象卷落叶,波浪,流云!
我跌在人生的刺树上,我血流遍体!
岁月沉重如铁链,压着的灵魂
原本同你一样：高傲,飘逸,不驯.
5
让我做你的竖琴吧,就是森林一般,
纵然我们都落叶纷纷,又有何妨!
我们身上的秋色斑烂,
好给你那狂飚曲添上深沉的回响,
甜美而带苍凉.给我你迅猛的劲头!
豪迈的精灵,化成我吧,借你的锋芒,
把我的腐朽思想扫出宇宙,
扫走了枯叶把新生来激发；
凭着我这诗韵做符咒,
犹如从未灭的炉头吹出火花,
把我的话散布在人群之中!
对那沉睡的大地,拿我的嘴当嗽,
吹响一个预言!呵,西风,
冬天已到,春天还会远吗?

A


雪莱是杰出的浪漫主义诗人，《西风颂》是其很有名的代表作。

我比较喜欢济慈~!这是他的简介：约翰·济慈 姓名：约翰·济慈 （可参见 济慈 词条）性别：男出生年月：1795～1821出生地：伦敦国籍：英国里程碑济慈（1795～1821）英国诗人,他出生于伦敦,父亲是马厩的雇工领班.济慈...

冬天来了,春天还会远吗?
这句话出自英国著名浪漫主义诗人雪莱的《西风颂》.
当寒冷的冬天来临时,寒风瑟瑟,万物凋零,给人萧瑟之感.但不要忘了,在冬天之后,就是春天的降临,到那时,阳光明媚,草长莺飞,万物复苏,生机勃勃.
出在黑暗、痛苦中的人,不要忘记寻找希望的光明,不要忘记,黑暗之后就是黎明.
这首诗写于英国革命时期,因此,“冬天如果来了,春天还会远吗”是写给那些生活在黑暗社会的人们,不要放弃希望,要勇于与黑暗的现实斗争,迎取胜利的光芒.

C

雪莱 的西风颂

If winter comes ,can spring be far behind ——P.B.Shelley ,British poet
这个就是原句,在线词典上也能查到的.

冬天来了春天还会远吗?没有准确的答案,说远,它还很远,如果只有你一个人独自度过这寒冷的冬天,那春天对你来说真的很远,一个人期盼春天的来临,你的心会很孤独、很害怕,当然春天它还很远;但它却又是那么近,冬季是短暂的,如果此时的你很快乐,有朋友有家人有同学,你就不会在意春天的来临,当你与同伴家人相聚时,我想春天已悄然来到你身边,而你自己却不知道,因为这对你来说季节的变化并不是很重要

English playwright and poet whose body of works is considered the greatest in English literature. His plays, many of which were performed at the Globe Theatre in London, include historical works, such as Richard II, comedies, including Much Ado about Nothing and As You Like It, and tragedies, such as Hamlet, Othello, and King Lear. He also composed 154 sonnets. The earliest collected edition of his plays, the First Folio, contained 36 plays and was published posthumously (1623). (莎士比亚）
Percy Bysshe Shelley (1792-1827), English Romantic poet who rebelled against English politics and conservative values. Shelley drew no essential distinction between poetry and politics, and his work reflected the radical ideas and revolutionary optimism of the era.
Percy Bysshe Shelley was born on August 4, 1792, at Field Place, near Horsham in Sussex, into an aristocratic family. His father, Timothy Shelley, was a Sussex squire and a member of Parliament. Shelley attended Syon House Academy and Eton and in 1810 he entered the Oxford University College.
In 1811 Shelley was expelled from the college for publishing The Necessity Of Atheism, which he wrote with Thomas Jefferson Hogg. Shelley's father withdrew his inheritance in favor of a small annuity, after he eloped with the 16-year old Harriet Westbrook, the daughter of a London tavern owner. The pair spent the following two years traveling in England and Ireland, distributing pamphlets and speaking against political injustice. In 1813 Shelley published his first important poem, the atheistic Queen Mab.
The poet's marriage to Harriet was a failure. In 1814 Shelley traveled abroad with Mary Wollstonecraft Godwin, the daughter of the philosopher and anarchist William Godwin (1756-1836). Mary's young stepsister Claire Clairmont was also in the company. During this journey Shelley wrote an unfinished novella, The Assassins (1814). Their combined journal, Six Weeks' Tour, reworked by Mary Shelley, appeared in 1817. After their return to London, Shelley came into an annual income under his grandfather's will. Harriet drowned herself in the Serpentine in 1816. Shelley married Mary Wollstonecraft and his favorite son William was born in 1816.
Shelley spent the summer of 1816 with Lord Byron at Lake Geneva, where Byron had an affair with Claire. Shelley composed the "Hymn To Intellectual Beauty" and "Mont Blanc". In 1817 Shelley published The Revolt Of Islam and the much anthologized "Ozymandias" appeared in 1818. Among Shelley's popular poems are the Odes "To the West Wind" and "To a Skylark" and Adonais, an elegy for Keats.
In 1818 the Shelleys moved to Italy, where Byron was residing. In 1819 they went to Rome and in 1820 to Pisa. Shelley's works from this period include Julian And Maddalo, an exploration of his relations with Byron and Prometheus Unbound, a lyrical drama. The Cenci was a five-act tragedy based on the history of a 16th-century Roman family, and The Mask Of Anarchy was a political protest which was written after the Peterloo massacre. In 1822 the Shelley household moved to the Bay of Lerici. There Shelley began to write The Triumph Of Life.
To welcome his friend Leigh Hunt, he sailed to Leghorn. During the stormy return voyage to Lerici, his small schooner the Ariel sank and Shelley drowned with Edward Williams on July 8, 1822. The bodies were washed ashore at Viareggio, where, in the presence of Lord Byron and Leigh Hunt, they were burned on the beach. Shelley was later buried in Rome. （雪莱）
John Keats
In his short life, John Keats wrote some of the most beautiful and enduring poems in the English language. Among his greatest achievements is his sequence of six lyric odes, written between March and September 1819--astonishingly, when Keats was only twenty-four years old. Keats's poetic achievement is made all the more miraculous by the age at which it ended: He died barely a year after finishing the ode "To Autumn," in February 1821. Keats was born in 1795 to a lower-middle-class family in London. When he was still young, he lost both his parents. His mother succumbed to tuberculosis, the disease that eventually killed Keats himself. When he was fifteen, Keats entered into a medical apprenticeship, and eventually he went to medical school. But by the time he turned twenty, he abandoned his medical training to devote himself wholly to poetry. He published his first book of poems in 1817; they drew savage critical attacks from an influential magazine, and his second book attracted comparatively little notice when it appeared the next year. Keats's brother Tom died of tuberculosis in December 1818, and Keats moved in with a friend in Hampstead. In Hampstead, he fell in love with a young girl named Fanny Brawne. During this time, Keats began to experience the extraordinary creative inspiration that enabled him to write, at a frantic rate, all his best poems in the time before he died. His health and his finances declined sharply, and he set off for Italy in the summer of 1820, hoping the warmer climate might restore his health. He never returned home. His death brought to an untimely end one of the most extraordinary poetic careers of the nineteenth century--indeed, one of the most extraordinary poetic careers of all time. Keats never achieved widespread recognition for his work in his own life (his bitter request for his tombstone: "Here lies one whose name was writ on water"), but he was sustained by a deep inner confidence in his own ability. Shortly before his death, he remarked that he believed he would be among "the English poets" when he had died. Keats was one of the most important figures of early nineteenth-century Romanticism, a movement that espoused the sanctity of emotion and imagination, and privileged the beauty of the natural world. Many of the ideas and themes evident in Keats's great odes are quintessentially Romantic concerns: the beauty of nature, the relation between imagination and creativity, the response of the passions to beauty and suffering, and the transience of human life in time. The sumptuous sensory language in which the odes are written, their idealistic concern for beauty and truth, and their expressive agony in the face of death are all Romantic preoccupations--though at the same time, they are all uniquely Keats's. Taken together, the odes do not exactly tell a story--there is no unifying "plot" and no recurring characters--and there is little evidence that Keats intended them to stand together as a single work of art. Nevertheless, the extraordinary number of suggestive interrelations between them is impossible to ignore. The odes explore and develop the same themes, partake of many of the same approaches and images, and, ordered in a certain way, exhibit an unmistakable psychological development. This is not to say that the poems do not stand on their own--they do, magnificently; one of the greatest felicities of the sequence is that it can be entered at any point, viewed wholly or partially from any perspective, and still prove moving and rewarding to read. There has been a great deal of critical debate over how to treat the voices that speak the poems--are they meant to be read as though a single person speaks them all, or did Keats invent a different persona for each ode? There is no right answer to the question, but it is possible that the question itself is wrong: The consciousness at work in each of the odes is unmistakably Keats's own. Of course, the poems are not explicitly autobiographical (it is unlikely that all the events really happened to Keats), but given their sincerity and their shared frame of thematic reference, there is no reason to think that they do not come from the same part of Keats's mind--that is to say, that they are not all told by the same part of Keats's reflected self. In that sense, there is no harm in treating the odes a sequence of utterances told in the same voice. The psychological progress from "Ode on Indolence" to "To Autumn" is intimately personal, and a great deal of that intimacy is lost if one begins to imagine that the odes are spoken by a sequence of fictional characters. When you think of "the speaker" of these poems, think of Keats as he would have imagined himself while writing them. As you trace the speaker's trajectory from the numb drowsiness of "Indolence" to the quiet wisdom of "Autumn," try to hear the voice develop and change under the guidance of Keats's extraordinary language.（济慈)
Charlotte Brontë (April 21, 1816 – March 31, 1855) was an English novelist, the eldest of the three Brontë sisters whose novels have become enduring classics of English literature. Life and worksCharlotte Brontë was born at Thornton, in Yorkshire, England, the third of six children, to Patrick Brontë (formerly "Patrick Brunty"), an Irish Anglican clergyman, and his wife, Maria Branwell. In April 1820 the family moved to Haworth, where Patrick had been appointed Perpetual Curate. Maria Branwell Brontë died of cancer on 15 September 1821, leaving five daughters and a son to the care of her sister Elizabeth Branwell. In August 1824, Charlotte was sent with three of her sisters to the Clergy Daughters' School at Cowan Bridge in Lancashire (which she would describe as Lowood School in Jane Eyre). Its poor conditions, Charlotte maintained, permanently affected her health and physical development, and hastened the deaths of her two elder sisters, Maria (born 1814) and Elizabeth (born 1815), who died of tuberculosis in 1825 soon after they were removed from the school.
At home in Haworth Parsonage, Charlotte and the other surviving children — Branwell, Emily, and Anne — were influenced by their father's library of Walter Scott, Byron, Tales of the Genii and The Arabian Nights. They began chronicling the lives and struggles of the inhabitants of their imaginary kingdoms. Charlotte and Branwell wrote stories about their country — Angria — and Emily and Anne wrote articles and poems about theirs — Gondal. The sagas were elaborate and convoluted (and still exist in part manuscripts) and provided them with an obsessive interest in childhood and early adolescence, which prepared them for their literary vocations in adulthood.
Charlotte continued her education at Roe Head school in Mirfield from 1831 to 1832, where she met her lifelong friends and correspondents, Ellen Nussey and Mary Taylor. Charlotte returned as a teacher from 1835 to 1838. In 1839 she took up the first of many positions as governess to various families in Yorkshire, a career she pursued until 1841. In 1842 she and Emily travelled to Brussels to enroll in a pensionnat run by Constantin Heger (1809–1896) and his wife Claire Zoë Parent Heger (1804–1890). In return for board and tuition, Charlotte taught English and Emily taught music. Their time at the pensionnat was cut short when Elizabeth Branwell, their aunt who joined the family after the death of their mother to look after the children, died of internal obstruction in October 1842. Charlotte returned alone to Brussels in January 1843 to take up a teaching post at the pensionnat. Her second stay at the pensionnat was not a happy one; she became lonely, homesick, and deeply attached to Constantin Heger. She finally returned to Haworth in January 1844 and later used her time at the pensionnat as the inspiration for some of The Professor and Villette.
In May 1846, Charlotte, Emily, and Anne published a joint collection of poetry under the assumed names of Currer, Ellis, and Acton Bell. Although the book failed to attract interest (only two copies were sold) the sisters decided to continue writing for publication and began work on their first novels. Charlotte continued to use the name 'Currer Bell' when she published her first two novels.
Cover page of the first edition of Jane EyreHer novels are:
Jane Eyre, published 1847
Shirley, published 1849
Villette, published 1853
The Professor, written before Jane Eyre and rejected by many publishing houses, was published posthumously in 1857
Her novels were deemed coarse by the critics. Much speculation took place as to who Currer Bell really was, and whether Bell was a man or a woman.
Charlotte's brother, Branwell, the only son of the family, died of chronic bronchitis and marasmus exacerbated by heavy drinking, in September 1848, although Charlotte believed his death was due to tuberculosis. Emily and Anne both died of pulmonary tuberculosis in December 1848 and May 1849, respectively.
Portrait of Charlotte Brontë, 1873
Charlotte and her father were now left alone. In view of the enormous success of Jane Eyre, she was persuaded by her publisher to visit London occasionally, where she revealed her true identity and began to move in a more exalted social circle, becoming friends with Harriet Martineau, Elizabeth Gaskell, William Makepeace Thackeray and G. H. Lewes. However, she never left Haworth for more than a few weeks at a time as she did not want to leave her aging father's side.
In June 1854, Charlotte married Arthur Bell Nicholls, her father's curate. She died nine months later during her first pregnancy. Her death certificate gives the cause of death as phthisis (tuberculosis), but there is a school of thought that suggests she may have died from her excessive vomiting caused by severe morning sickness in the early stages of pregnancy. There is also evidence to suggest that Charlotte died from typhus she may have caught from Tabitha Ackroyd, the Bronte household's oldest servant, who died shortly before her. Charlotte was interred in the family vault in The Church of St. Michael and All Angels, Haworth, West Yorkshire, England.
The posthumous biography by Elizabeth Gaskell, for a long time a standard source on her life, has been much criticised by feminists such as Elaine Showalter, for suppressing details of Charlotte's life and her apparently passionate nature. （勃朗特）
我能帮的也就只有这么多了,至于200字嘛······

1.If winter comes, can spring be far behind? （英文原句）
2.Don't worry too much about the bitter wind of the winter ,do you see the coming of the spring ?

　　雪莱的《西风颂》共分五节,第 1、2、3节写西风扫落叶,播种子,驱散乱云,放释雷雨,把地中海从夏天的沉睡中吹醒,让大西洋涂上庄严秋色；第4节写诗人希望和西风一样不受羁绊,迅猛,卑视一切；第5节是诗人的嘱咐：　　...

Belonged to Azrael in the past, will belong to yourself in the future

让预言的号角奏响!哦,西北风啊,如果冬天来了,春天还会远吗?

http://www.***.com/upload/forum/2006032321010048.mp3
http://www.***.cn/pyld/zhiyunque.mp3

这句话出自英国著名浪漫主义诗人雪莱的《西风颂》.
当寒冷的冬天来临时,寒风瑟瑟,万物凋零,给人萧瑟之感.但不要忘了,在冬天之后,就是春天的降临,到那时,阳光明媚,草长莺飞,万物复苏,生机勃勃.
出在黑暗、痛苦中的人,不要忘记寻找希望的光明,不要忘记,黑暗之后就是黎明.
这首诗写于英国革命时期,因此,“冬天如果来了,春天还会远吗”是写给那些生活在黑暗社会的人们,不要放弃希望,要勇于与黑暗的现实斗争,迎取胜利的光芒.

A

答案C
根据材料中的演讲题目,否定启蒙运动,批判现实主义的艺术 是19世纪中后期作品,现代主义的艺术是20世纪后的作品,“拜伦”“ 雪莱”都是浪漫主义时期的代表.

叙事诗歌
诗剧

作者：Yeats(叶慈,1865-1939,爱尔兰剧作家、诗人,获1923年诺贝尔文学奖)
这还改编成歌曲了~非常好听~
Down by the salley gardens my love and I did meet;
在莎莉花园深处,吾爱与我曾经相遇.
She passed the salley gardens with little snow-white feet.
她穿越莎莉花园,以雪白的小脚.
She bid me take love easy,as the leaves grow on the tree;
她嘱咐我要爱得轻松,当新叶在枝桠萌芽.
But I,being young and foolish,with her would not agree.
但我当年年幼无知,不予轻率苟同.
In a field by the river my love and I did stand,
在河边的田野,吾爱与我曾经驻足.
And on my leaning shoulder she laid her snow-white hand.
她依靠在我的肩膀,以雪白的小手.
She bid me take life easy,as the grass grows on the weirs;
她嘱咐我要活得轻松,当青草在堤岸滋长.
But I was young and foolish,and now am full of tears.
但我当年年幼无知,而今热泪盈眶.

Lines:The cold earth slept below
The cold earth slept below;
Above the cold sky shone;
And all around,
With a chilling sound,
From caves of ice and fields of snow
The breath of night like death did flow
Beneath the sinking moon.
The wintry hedge was black;
The green grass was not seen;
The birds did rest
On the bare thorn's breast,
Whose roots,beside the pathway track,
Had bound their folds o'er many a crack
Which the frost had made between.
Thine eyes glow'd in the glare
Of the moon's dying light;
As a fen-fire's beam
On a sluggish stream
Gleams dimly--so the moon shone there,
And it yellow'd the strings of thy tangled hair,
That shook in the wind of night.
The moon made thy lips pale,belov{`e}d;
The wind made thy bosom chill;
The night did shed
On thy dear head
Its frozen dew,and thou didst lie
Where the bitter breath of the naked sky
Might visit thee at will.
Percy Bysshe Shelley

出自雪莱的Epipsychidion心之灵

Shelley,one of the most talented lyric poets in English literary history,is regarded as "Poet of the Poets".He is very knowledgeable and is not only a Platonist but also a great idealist.His poetry is fast-pasted and positive.His representative works include long poems 《Prometheus Unbound》 and 《The Cenci》,as well as the immortal masterpiece 《 Ode to the West Wind》.

这句话出自英国著名浪漫主义诗人雪莱的《西风颂》.当寒冷的冬天来临时,寒风瑟瑟,万物凋零,给人萧瑟之感.但不要忘了,在冬天之后,就是春天的降临,到那时,阳光明媚,草长莺飞,万物复苏,生机勃勃.出在黑暗、痛苦中的人,不...

雪莱
1819年,雪莱写了著名的《西风颂》.

冬天来了,春天还会远吗?

英国诗人雪莱
If winter comes,can spring be far behind?
（冬天来了,春天还会远吗?）