章节正文
The dramaticsonnet in English has not gone beyond that, for beauty,
for brevity, for tragic effect, -- nor, I add, for unspoken loyalty
to reality. Reality was, perhaps, what he most dearly wished for;
here he achieved it. In many another sonnet he won the laurel;
but if I were to venture to choose, it is in the dramatic handling
of the sonnet that he is most individual and characteristic.
The second great success of his genius, formally" target="_blank" title="ad.形式地，正式地">formally considered,
lay in the narrative idyl, either in the Miltonic way of flashing bits
of English country landscape before the eye, as in "Grantchester",
or by applying essentially the same method to the water world of fishes
or the South Sea world, both on a philosophic background.
These are all master poems of a kaleidoscopic beauty and charm,
where the brief pictures play in and out of a woven veil of thought,
irony, mood, with a delightfulintellectual pleasuring.
He thoroughly enjoys doing the poetical" target="_blank" title="a.理想化了的">poetical magic. Such bits of
English retreats or Pacific paradises, so full of idyllic charm,
exquisite in image and movement, are among the rarest of poetic treasures.
The thought of Milton and of Marvell only adds an old world charm
to the most modern of the works of the Muses. What lightness of touch,
what ease of movement, what brilliancy of hue! What vivacity throughout!
Even in "Retrospect", what actuality!
And the third success is what I should call the "melange". That is,
the method of indiscrimination by which he gathers up experience,
and pours it out again in language, with full disregard
of its relative values. His good taste saves him from what in another
would be shipwreck, but this indifference to values, this apparent lack
of selection in material, while at times it gives a huddled flow,
more than anything else "modernizes" the verse. It yields, too,
an effect of abundantvitality, and it makes facile the change
from grave to gay and the like. The "melange", as I call it,
is rather an innovation in English verse, and to be found only rarely.
It exists, however; and especially it was dear to Keats in his youth.
It is by excellent taste, and by style, that the poet here overcomes
its early difficulties.
In these three formal ways, besides in minor matters, it appears to me
that Rupert Brooke, judged by the most orthodox standards,
had succeeded in poetry.
III
But in his first notes, if I may indulge my private taste,
I find more of the intoxication of the god. These early poems
are the lyrical cries and luminous flares of a dawn, no doubt;
but they are incarnate of youth. Capital among them is "Blue Evening".
It is original and complete. In its whispering embraces of sense,
in the terror of seizure of the spirit, in the tranquil euthanasia
of the end by the touch of speechless beauty, it seems to me a true symbol
of life whole and entire. It is beautiful in language and feeling,
with an extraordinary clarity and rise of power; and, above all,
though rare in experience, it is real. A young poet's poem;
but it has a quality never captured by perfect art. A poem for poets,
no doubt; but that is the best kind. So, too, the poem,
entitled "Sleeping Out", charms me and stirs me with
its golden clangors and crying flames of emotion as it mounts up
to "the white one flame", to "the laughter and the lips of light".
It is like a holy Italian picture, -- remote, inaccessible, alone.
The "white flame" seems to have had a mystic meaning to the boy;
it occurs repeatedly. And another poem, -- not to make
too long a story of my private enthusiasms -- "Ante Aram", --
wakes all my classical blood, --
"voice more sweet than the far plaint of viols is,
Or the soft moan of any grey-eyed lute player."
But these things are arcana.
IV
There is a grave in Scyros, amid the white and pinkish marble of the isle,
the wild thyme and the poppies, near the green and blue waters.
There Rupert Brooke was buried. Thither have gone the thoughts
of his countrymen, and the hearts of the young especially.
It will long be so. For a new star shines in the English heavens.
G. E. W.
Beverly, Mass., October, 1915.
Contents
1905-1908
Second Best
Day That I Have Loved
Sleeping Out: Full Moon
In Examination
Pine-Trees and the Sky: Evening
Wagner
The Vision of the Archangels
Seaside
On the Death of Smet-Smet, the Hippopotamus-Goddess
The Song of the Pilgrims
The Song of the Beasts
Failure
Ante Aram
Dawn
The Call
The Wayfarers
The Beginning
1908-1911
Sonnet: "Oh! Death will find me, long before I tire"
Sonnet: "I said I splendidly loved you; it's not true"
Success
Dust
Kindliness
Mummia
The Fish
Thoughts on the Shape of the Human Body
Flight
The Hill
The One Before the Last
The Jolly Company
The Life Beyond
Lines Written in the Belief That the Ancient Roman Festival of the Dead
Was Called Ambarvalia
Dead Men's Love
Town and Country
Paralysis
Menelaus and Helen
Libido
Jealousy
Blue Evening
The Charm
Finding
Song
The Voice
Dining-Room Tea
The Goddess in the Wood
A Channel Passage
Victory
Day and Night
Experiments
Choriambics -- I
Choriambics -- II
Desertion
1914
I. Peace
II. Safety
III. The Dead
IV. The Dead
V. The Soldier
The Treasure
The South Seas
Tiare Tahiti
Retrospect
The Great Lover
Heaven
Doubts
There's Wisdom in Women
He Wonders Whether to Praise or to Blame Her
A Memory (From a sonnet-sequence)
One Day
Waikiki
Hauntings
Sonnet (Suggested by some of the Proceedings
of the Society for Psychical Research)
Clouds
Mutability
Other Poems
The Busy Heart
Love
Unfortunate
The Chilterns
Home
The Night Journey
Song
Beauty and Beauty
The Way That Lovers Use
Mary and Gabriel
The Funeral of Youth: Threnody
Grantchester
The Old Vicarage, Grantchester
1905-1908
Second Best
Here in the dark, O heart;
Alone with the enduring Earth, and Night,
And Silence, and the warm strange smell of clover;
Clear-visioned, though it break you; far apart
From the dead best, the dear and old delight;
Throw down your dreams of immortality,
O faithful, O foolish lover!
Here's peace for you, and surety; here the one
Wisdom -- the truth! -- "All day the good glad sun
Showers love and labour on you, wine and song;
The greenwood laughs, the wind blows, all day long
Till night." And night ends all things.
Then shall be
No lamp relumed in heaven, no voices crying,
Or changing lights, or dreams and forms that hover!
(And, heart, for all your sighing,
That gladness and those tears are over, over. . . .)
And has the truth brought no new hope at all,
Heart, that you're weeping yet for Paradise?
Do they still whisper, the old weary cries?
"'MID YOUTH AND SONG, FEASTING AND CARNIVAL,
THROUGH LAUGHTER, THROUGH THE ROSES, AS OF OLD
COMES DEATH, ON SHADOWY AND RELENTLESS FEET,
DEATH, UNAPPEASABLE BY PRAYER OR GOLD;
DEATH IS THE END, THE END!"
Proud, then, clear-eyed and laughing, go to greet
Death as a friend!
Exile of immortality, strongly wise,
Strain through the dark with undesirous eyes
To what may lie beyond it. Sets your star,
O heart, for ever! Yet, behind the night,
Waits for the great unborn, somewhere afar,
Some white tremendousdaybreak. And the light,
Returning, shall give back the golden hours,
Ocean a windless level, Earth a lawn
Spacious and full of sunlit dancing-places,
And laughter, and music, and, among the flowers,
The gay child-hearts of men, and the child-faces
for brevity, for tragic effect, -- nor, I add, for unspoken loyalty
to reality. Reality was, perhaps, what he most dearly wished for;
here he achieved it. In many another sonnet he won the laurel;
but if I were to venture to choose, it is in the dramatic handling
of the sonnet that he is most individual and characteristic.
The second great success of his genius, formally" target="_blank" title="ad.形式地，正式地">formally considered,
lay in the narrative idyl, either in the Miltonic way of flashing bits
of English country landscape before the eye, as in "Grantchester",
or by applying essentially the same method to the water world of fishes
or the South Sea world, both on a philosophic background.
These are all master poems of a kaleidoscopic beauty and charm,
where the brief pictures play in and out of a woven veil of thought,
irony, mood, with a delightfulintellectual pleasuring.
He thoroughly enjoys doing the poetical" target="_blank" title="a.理想化了的">poetical magic. Such bits of
English retreats or Pacific paradises, so full of idyllic charm,
exquisite in image and movement, are among the rarest of poetic treasures.
The thought of Milton and of Marvell only adds an old world charm
to the most modern of the works of the Muses. What lightness of touch,
what ease of movement, what brilliancy of hue! What vivacity throughout!
Even in "Retrospect", what actuality!
And the third success is what I should call the "melange". That is,
the method of indiscrimination by which he gathers up experience,
and pours it out again in language, with full disregard
of its relative values. His good taste saves him from what in another
would be shipwreck, but this indifference to values, this apparent lack
of selection in material, while at times it gives a huddled flow,
more than anything else "modernizes" the verse. It yields, too,
an effect of abundantvitality, and it makes facile the change
from grave to gay and the like. The "melange", as I call it,
is rather an innovation in English verse, and to be found only rarely.
It exists, however; and especially it was dear to Keats in his youth.
It is by excellent taste, and by style, that the poet here overcomes
its early difficulties.
In these three formal ways, besides in minor matters, it appears to me
that Rupert Brooke, judged by the most orthodox standards,
had succeeded in poetry.
III
But in his first notes, if I may indulge my private taste,
I find more of the intoxication of the god. These early poems
are the lyrical cries and luminous flares of a dawn, no doubt;
but they are incarnate of youth. Capital among them is "Blue Evening".
It is original and complete. In its whispering embraces of sense,
in the terror of seizure of the spirit, in the tranquil euthanasia
of the end by the touch of speechless beauty, it seems to me a true symbol
of life whole and entire. It is beautiful in language and feeling,
with an extraordinary clarity and rise of power; and, above all,
though rare in experience, it is real. A young poet's poem;
but it has a quality never captured by perfect art. A poem for poets,
no doubt; but that is the best kind. So, too, the poem,
entitled "Sleeping Out", charms me and stirs me with
its golden clangors and crying flames of emotion as it mounts up
to "the white one flame", to "the laughter and the lips of light".
It is like a holy Italian picture, -- remote, inaccessible, alone.
The "white flame" seems to have had a mystic meaning to the boy;
it occurs repeatedly. And another poem, -- not to make
too long a story of my private enthusiasms -- "Ante Aram", --
wakes all my classical blood, --
"voice more sweet than the far plaint of viols is,
Or the soft moan of any grey-eyed lute player."
But these things are arcana.
IV
There is a grave in Scyros, amid the white and pinkish marble of the isle,
the wild thyme and the poppies, near the green and blue waters.
There Rupert Brooke was buried. Thither have gone the thoughts
of his countrymen, and the hearts of the young especially.
It will long be so. For a new star shines in the English heavens.
G. E. W.
Beverly, Mass., October, 1915.
Contents
1905-1908
Second Best
Day That I Have Loved
Sleeping Out: Full Moon
In Examination
Pine-Trees and the Sky: Evening
Wagner
The Vision of the Archangels
Seaside
On the Death of Smet-Smet, the Hippopotamus-Goddess
The Song of the Pilgrims
The Song of the Beasts
Failure
Ante Aram
Dawn
The Call
The Wayfarers
The Beginning
1908-1911
Sonnet: "Oh! Death will find me, long before I tire"
Sonnet: "I said I splendidly loved you; it's not true"
Success
Dust
Kindliness
Mummia
The Fish
Thoughts on the Shape of the Human Body
Flight
The Hill
The One Before the Last
The Jolly Company
The Life Beyond
Lines Written in the Belief That the Ancient Roman Festival of the Dead
Was Called Ambarvalia
Dead Men's Love
Town and Country
Paralysis
Menelaus and Helen
Libido
Jealousy
Blue Evening
The Charm
Finding
Song
The Voice
Dining-Room Tea
The Goddess in the Wood
A Channel Passage
Victory
Day and Night
Experiments
Choriambics -- I
Choriambics -- II
Desertion
1914
I. Peace
II. Safety
III. The Dead
IV. The Dead
V. The Soldier
The Treasure
The South Seas
Tiare Tahiti
Retrospect
The Great Lover
Heaven
Doubts
There's Wisdom in Women
He Wonders Whether to Praise or to Blame Her
A Memory (From a sonnet-sequence)
One Day
Waikiki
Hauntings
Sonnet (Suggested by some of the Proceedings
of the Society for Psychical Research)
Clouds
Mutability
Other Poems
The Busy Heart
Love
Unfortunate
The Chilterns
Home
The Night Journey
Song
Beauty and Beauty
The Way That Lovers Use
Mary and Gabriel
The Funeral of Youth: Threnody
Grantchester
The Old Vicarage, Grantchester
1905-1908
Second Best
Here in the dark, O heart;
Alone with the enduring Earth, and Night,
And Silence, and the warm strange smell of clover;
Clear-visioned, though it break you; far apart
From the dead best, the dear and old delight;
Throw down your dreams of immortality,
O faithful, O foolish lover!
Here's peace for you, and surety; here the one
Wisdom -- the truth! -- "All day the good glad sun
Showers love and labour on you, wine and song;
The greenwood laughs, the wind blows, all day long
Till night." And night ends all things.
Then shall be
No lamp relumed in heaven, no voices crying,
Or changing lights, or dreams and forms that hover!
(And, heart, for all your sighing,
That gladness and those tears are over, over. . . .)
And has the truth brought no new hope at all,
Heart, that you're weeping yet for Paradise?
Do they still whisper, the old weary cries?
"'MID YOUTH AND SONG, FEASTING AND CARNIVAL,
THROUGH LAUGHTER, THROUGH THE ROSES, AS OF OLD
COMES DEATH, ON SHADOWY AND RELENTLESS FEET,
DEATH, UNAPPEASABLE BY PRAYER OR GOLD;
DEATH IS THE END, THE END!"
Proud, then, clear-eyed and laughing, go to greet
Death as a friend!
Exile of immortality, strongly wise,
Strain through the dark with undesirous eyes
To what may lie beyond it. Sets your star,
O heart, for ever! Yet, behind the night,
Waits for the great unborn, somewhere afar,
Some white tremendousdaybreak. And the light,
Returning, shall give back the golden hours,
Ocean a windless level, Earth a lawn
Spacious and full of sunlit dancing-places,
And laughter, and music, and, among the flowers,
The gay child-hearts of men, and the child-faces
- dramatic [drə´mætik]
a.戏剧的；戏剧般的 (初中英语单词) - reality [ri´æliti] n.现实(性)；真实；逼真 (初中英语单词)
- venture [´ventʃə] n.投机 v.冒险；敢于 (初中英语单词)
- genius [´dʒi:niəs] n.天才(人物)；天赋 (初中英语单词)
- delightful [di´laitful] a.讨人喜欢的 (初中英语单词)
- thoroughly [´θʌrəli] ad.完全地，彻底地 (初中英语单词)
- movement [´mu:vmənt] n.活动；运动；动作 (初中英语单词)
- relative [´relətiv] a.有关系的 n.亲属 (初中英语单词)
- apparent [ə´pærənt] a.显然的；表面上的 (初中英语单词)
- abundant [ə´bʌndənt] a.丰富的；充分的 (初中英语单词)
- formal [´fɔ:məl] a.正式的；外表的 (初中英语单词)
- terror [´terə] n.恐怖；惊骇 (初中英语单词)
- extraordinary [ik´strɔ:dinəri] a.非常的；额外的 (初中英语单词)
- emotion [i´məuʃən] n.感情；情绪；激动 (初中英语单词)
- laughter [´lɑ:ftə] n.笑，笑声 (初中英语单词)
- italian [i´tæliən] a.意大利 n.意大利人 (初中英语单词)
- remote [ri´məut] a.遥远的；偏僻的 (初中英语单词)
- marble [´mɑ:bəl] n.大理石 a.大理石的 (初中英语单词)
- thither [´ðiðə] ad.到那里 a.那边的 (初中英语单词)
- vision [´viʒən] n.视觉；想象力；幻影 (初中英语单词)
- belief [bi´li:f] n.相信；信仰，信条 (初中英语单词)
- goddess [´gɔdis] n.女神 (初中英语单词)
- channel [´tʃænəl] n.海峡；航道；途径 (初中英语单词)
- wisdom [´wizdəm] n.智慧，聪明，才智 (初中英语单词)
- funeral [´fju:nərəl] n.葬礼，丧葬；困难 (初中英语单词)
- faithful [´feiθfəl] a.忠实的；可靠的 (初中英语单词)
- whisper [´wispə] v.耳语 n.低语；沙沙声 (初中英语单词)
- strongly [´strɔŋli] ad.强烈地；强有力地 (初中英语单词)
- tremendous [tri´mendəs] a.可怕的；巨大的 (初中英语单词)
- tragic [´trædʒik] a.悲剧的；悲惨的 (高中英语单词)
- narrative [´nærətiv] a.叙述的 n.记事 (高中英语单词)
- landscape [´lændskeip] n.风景；景色；风景画 (高中英语单词)
- intellectual [,inti´lektʃuəl] n.知识分子 (高中英语单词)
- pacific [pə´sifik] a.和平的；温和的 (高中英语单词)
- indifference [in´difrəns] n.冷淡；无足轻重 (高中英语单词)
- selection [si´lekʃən] n.选择；选拔；精选物 (高中英语单词)
- indulge [in´dʌldʒ] v.(使)沉迷；沉溺；放任 (高中英语单词)
- festival [´festivəl] n.节日；庆祝；欢庆 (高中英语单词)
- shadowy [´ʃædəui] a.有阴影的；模糊的 (高中英语单词)
- sonnet [´sɔnit] n.十四行诗 (英语四级单词)
- dearly [´diəli] ad.深深地(爱等)；昂贵 (英语四级单词)
- formally [´fɔ:məli] ad.形式地，正式地 (英语四级单词)
- essentially [i´senʃəli] ad.本质上，基本上 (英语四级单词)
- shipwreck [´ʃiprek] n.&v.(船)失事；毁灭 (英语四级单词)
- vitality [vai´tæliti] n.活力；生命力；效力 (英语四级单词)
- luminous [´lu:minəs] a.发光的；明晰的 (英语四级单词)
- speechless [´spi:tʃləs] a.说不出话的 (英语四级单词)
- repeatedly [ri´pi:tidli] ad.反复地；再三地 (英语四级单词)
- classical [´klæsikəl] a.经典的；传统的 (英语四级单词)
- gladness [´glædnis] n.愉快，高兴，喜悦 (英语四级单词)
- immortality [,imɔ:´tæliti] n.不死，不朽，永生，来生 (英语四级单词)
- daybreak [´deibreik] n.黎明，拂晓 (英语四级单词)
- poetical [pəu´etikəl] a.理想化了的 (英语六级单词)
- poetic [pəu´etik] a.理想化了的 (英语六级单词)
- innovation [,inə´veiʃən] n.改革；革新；创新 (英语六级单词)
- orthodox [´ɔ:θədɔks] a.正统的；正统的；习惯的 (英语六级单词)
- tranquil [´træŋkwil] a.平静的，稳定的 (英语六级单词)
- inaccessible [,inæk´sesəbəl] a.达不到的，难接近的 (英语六级单词)
- mystic [´mistik] a.神秘的；难以理解的 (英语六级单词)
- splendidly [´splendidli] ad.光彩夺目地；辉煌地 (英语六级单词)
- enduring [in´djuəriŋ] a.持久的 (英语六级单词)
- greenwood [´gri:nwud] n.绿林 (英语六级单词)
- weeping [´wi:piŋ] a.&n.哭泣(的) (英语六级单词)
- relentless [ri´lentləs] a.无情的；坚韧的 (英语六级单词)
- unborn [,ʌn´bɔ:n] a.未生的；将来的 (英语六级单词)
文章标签:名著
章节正文
京公网安备 11011202003401号
