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Ozymandias by Percy Bysshe Shelley (1792 – 1822) [Copy link] 中文

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Post time 2014-8-20 16:52:21 |Display all floors
This post was edited by liu5222512 at 2014-8-20 16:53

Ozymandias

by Percy Bysshe Shelley (1792 – 1822)


I met a traveller from an antique land

Who said: Two vast and trunkless legs of stone

Stand in the desert. Near them, on the sand,

Half sunk, a shattered visage lies, whose frown,


And wrinkled lip, and sneer of cold command,

Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,

The hand that mocked them and the heart that fed;


And on the pedestal these words appear:

“My name is Ozymandias, King of Kings:

Look on my Works, ye Mighty, and despair!”


Nothing beside remains. Round the decay

Of that colossal wreck, boundless and bare

The lone and level sands stretch far away.


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Post time 2014-8-20 16:54:08 |Display all floors
This post was edited by liu5222512 at 2014-8-22 12:27

奥斯曼狄斯

我遇到一位来自古远国度的旅者,

他说:有两条巨型石腿立于沙漠,

不见躯干。旁边沙中有断头落卧,

沙中半掩,脸面上,他眉头紧锁,

双唇起皱,带着不可一世的冷笑,

想那雕刻者,必定深谙其人情感
那神态还留在石头上
而刻像的手和像主的心早成灰烬。

石腿的基座上凿刻有这样的字迹:

我是万王之王,奥兹曼斯迪亚斯
功业盖世,强者折服
此外,荡然无物
废墟四周,唯余黄沙莽莽
寂寞荒凉,伸展四方。

Ozymandias” is a sonnet, a fourteen-line poem metered in iambic pentameter.

The rhyme scheme is ABABACDCEDEFEF.

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Post time 2014-8-20 16:55:19 |Display all floors
This post was edited by liu5222512 at 2014-8-22 12:28

Notes:

1)五音步抑扬格14行诗。彼特拉克(Petrarch)体,前八行的韵式为ABBA ABBA。后六行韵式比较灵活,以CDCCDC或者CDECDE为多见。

另一种14行的体裁是莎士比亚式,也叫英式14行。14行被分为三个四行的诗节,加一个结尾总结性的对句。韵式为ABAB CDCD EFEF GG。

而雪莱这首14行是两种格式的混用。结构上是彼特拉克式的,仍分为前8行,后6行,但韵式上既不是莎士比亚体,也不是彼特拉克体。

整首诗歌的韵式为:ABABA,CDC EDE FEF。

2)Ozymandias奥斯曼狄斯,是公元前十三世纪的埃及法老拉美西斯二世(Ramses II),希腊人称他为奥斯曼狄斯。

他在墓地旁建造了狮身人面像斯芬克斯。

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Post time 2014-8-22 13:40:04 |Display all floors
The speaker recalls having met a traveller “from an antique land,” who told him a story about the ruins of a statue in the desert of his native country.
Two vast legs of stone stand without a body, and near them a massive, crumbling stone head lies “half sunk” in the sand.
The traveller told the speaker that the frown and “sneer of cold command” on the statue's face indicate that the sculptor understood well the passions of the statue's subject, a man who sneered with contempt for those weaker than himself, yet fed his people because of something in his heart (“The hand that mocked them and the heart that fed”).

Thus the ancient king is rendered even less commanding; the distancing of the narrative serves to undermine his power over us just as completely as has the passage of time.
Shelley's description of the statue works to reconstruct, gradually, the figure of the “king of kings”: first we see merely the “shattered visage,” (note how it is "shattered", a much   stronger word than merely "broken") then the face itself, with its “frown / And wrinkled lip and sneer of cold command”, the harsh alliterative Cs of "cold command" reinforcing the picture; then we are introduced to the figure of the sculptor, and are able to imagine the living man sculpting the living king, whose face wore the expression of the passions now inferable; then we are introduced to the king's people in the line, “the hand that mocked them and the heart that fed.”  There is an intriguing balance and paradox in this line between the mockery and the feeding.

The kingdom is now imaginatively complete, and we are introduced to the extraordinary, prideful boast of the king: “Look on my works, ye Mighty, and despair!”
With that, the poet demolishes our imaginary picture of the king, and interposes centuries of ruin between it and us: “ Look on my works, ye Mighty, and despair! / Nothing beside remains. Round the decay / Of that colossal wreck, boundless and bare, / The lone and level sands stretch far away.”
Again, the hard consonants of "colossal wreck, boundless and bare" emphasize the harsh reality, and this is followed by the alliteration and long vowels of "lone and level sands" stretching "far away", the open vowel sound ending the poem and disappearing into eternity.   

But Ozymandias symbolizes not only political power—the statue can be a metaphor for the pride of all of humanity, in any of its manifestations. It is significant that all that remains of Ozymandias is a work of art and a group of words;
Shelley demonstrates that art and language long outlast the other legacies of power.

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Post time 2014-8-24 23:24:25 |Display all floors
The hand that mocked them and the heart that fed;
4)The hand…句,是一个省略句,大概是雪莱作诗时为了音节的缘故。首先,mock是一个双关意义的词,即表示雕刻人的临摹,也隐喻对貌似威严的法老的蔑视和嘲笑。中文翻译时,往往因为不能兼顾双层含义,而使原诗的含义丧失一部分,这里为了保留复意,同时用了“妙手”(雕刻技术娴熟)和“笑诮”。Heart 究竟是谁的?从整体看,lifeless things (石头)已经从侧面讽刺了法老的coldness (前面的 cold command),而与之形成鲜明对比的,是有生命的石匠,虽然他的音容笑貌没有因为被雕刻在石头上而“万古长存”(但最终也成为尘沙),但是,这正是雪莱巧妙讽刺的地方。是这些有生命的、有手、有心的平民工匠,才让那个没心没肺的统治者存留,那么不能想象,真正能长久的并不是法老和他统治的王朝。最后几行也影射了雪莱相信只有诗人和文字,而不是政客、政权、王国,才是世界上真正永存的智者和领袖。全句以完整的文字释写出来,应该是:(passions)survive the sculptor’s hand that mocked them (passions) as well as his heart that is fed (with the passions to be graved into the sculpture). Feed 本意是为。。。提供食物、养活。由此而来,它表示提供最基本的需求以保证某人、某件事物得以生存和发展(to provide what is necessary for the existence or development of)。所以,正是工匠对法老的细致观察、深刻了解(明鉴精了,心中充满对法老的了解),才会使他用独具匠心,把这些神态和情感惟妙惟肖地赋予石雕。Survive 这里是个及物动词,即比。。。活得长久,后面的宾语是hand和heart;中文翻译处理成独立的两句了。

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