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PhilipFreneau1.野金银花美丽的金银花，你粲然绽放于幽静一角。芳菲满枝,无人垂顾，迎风起舞,无人注目。游子从不践踏你的玉体，过客从不催落你的泪滴。造化令你素裹银妆，你得以远离庸人的目光她赐予你一片绿荫葱葱她带给你一泓流水淙淙恬静的夏日倏然流淌你终于红衰翠减，玉殒香消妩媚动人，你却无法盛颜久长落红满地，你令我黯然神伤纵然在伊甸乐园，人间天堂也难免一日凋零，满目凄凉萧瑟秋风，凄白秋霜你终于消失得无影无踪朝霞幕露孕育了你娇小的身躯你从尘土来，又归尘土去来时一无所有，去时化作尘土可叹生命苦短你终究红消香断Background:Theshortlyricwaswrittenin1786.FreneauwasinspiredbythebeautyofthewildhoneysucklewhenhewaswalkingatChaeleston,SouthCarolina.Asisdisplayedinthispoem,honeysuckle,insteadofroseofdaffodilbecametheobjectofdepiction;itis“wild”justtoconveythefreshperceptionofthenaturalscenesonthenewcontinent.Theflowers,similartotheearlyPuritansettlers,usedtobelievetheyweretheselectsofGodtobearrangedontheabundantland,butnowhavetowakeupfromfantasyandbemorerespectfultonaturallaw.Theme:themutabilityofflowersandbyextensionthetransienceofhumanlife.Timeisconstantbutthetimeofalifeisshort;anyfavorisrelativebutchangeisabsolute;withorwithouttheawareness,naturedevelops;flowerswereborn,blossomedanddeclinedtorepose,andhumanbeingswouldexistinexactlythesameway.Aphilosophicalmeditationisindicatedbythedescriptionofthefateofatrivialwildplant.Inthispoem,thepoetexpressesakeenawarenessofthelovelinessandtransienceofnature.Itimpliesthatlifeanddeathareinevitablelawofnature.Inaddition,thepoetwriteswiththestrongimplicationthat,thoughintheworknooneispresentedinperson,humanbeingsattimesenvytheflower.Thisisseennotbecausethe“rovingfoot”would“crush”;northatthe“busyhand”would“provokeatear”;norbecauseofthe“vulgareye”,butbecauseofthefactthatthehumanbeinghastheabilitytoforeseehisdeath.Whereas,theflower,withitshappyignorance,lacksthisconsciousnessandiscompletelyunawareofitsdoom.Itsinnocenceleftithappierthantheforeseeinghumanbeings.Unfortunately,thehumanbeingsarequiteunwillingtorefusethisknowledgeandthatarousesalltheirsufferings.Rhymeandanalysis:Form•Foursix-linestanzas•iambictetrameter四音步抑扬格•soft-strong-soft-strong-soft-strong-soft-strong•Fairflower,thatdostsocomelygrow•rhymedonababccpatternFollowingthetraditionalEuropeanmodel,thelyriciswritteninregular6-linetetrameterstanzas,rhyming“ababcc”,andsoundsjustlikemusic.ButinordertoaccordwiththechangeintoneandtopicinStanza3,therhythmicpatternisvaried.Differentfromtherestthepoemwhichiswritteninsmoothiambictetrameterlines,thethirdlineofthestanza---“Theydied”---beginswitha“spondee”(twostressedbeatsinarow)and,afterforcingthereadertopause(thedash),continuesinahighlyirregularrhythmwithanintensificationofstressedbeats.Thepurposeisobvious:thespeakerwantstodrivethehorriblemessagehome,toletthereaderfeeltheimpactacutely.Butasweprogressintothelaststanza,whenamorematureviewoflifeanddeathisadopted,therhythmsarerestoredtotheoriginalregularityasthetoneassumesatemperedserenitygrownoutofexperience.Thewildhoneysuckleis,inthepoet’seye,nolongeracommonflower.Inthefirsttwostanzas,tostartwith,Freneaudevotedmoreattentiontotheenvironmentoftheflowerinwhichhefounditthantotheappearanceoftheflowerperse.Hecommentedonthesecludednatureoftheplacewherethehoneysucklegrew,drawingaconclusionthatitwasduetoNature’sprotectivenessthattheflowerwasabletoleadapeacefullifefreefrommen’sdisturbanceanddestruction.Butthenextstanzaimmediatelychangedthetonefromsilentadmirationandappreciationtooutrightlamentationoverthe“future’sdoom”oftheflower---evenNaturewasunabletosavetheflowerfromitsdeath.Actuallynoflower,ornolivingbeing,canescape.NoteventheflowersthatusedtobloominEden.Thusfromtheflowerinnaturethepoetstartedtoponderoverthefateofman,whowasboundtofallfromhisinnocenceandsufferfromthedespairofdeathastheresulttohisexilefromParadise.Justaskindlyasnourishedandprotectedthehoneysuckleinspringandsummer,Naturewilldestroyruthlesslytheflowerwithitsautumnandwinterweapons.Understandthetitle:1.Thenamehoneysucklecomesfromthesweetnectarthattheflowerproducestointoxicatethegreedybee.Itspowerfulfragranceseducesthehumansensesasitpervadestheair.Theperfumeofthispassionateplantmayturnamaidenshead,hencewildhoneysuckleisasymbolofinconstancyinlove.2.Theword“wild”impliesherlivingplace;shelivesinwildernessnotinparadiseorhouse;soshewillnotbeappreciatedbyothersandfeelssorrowful.Alsoitimpliesthenature,sowecansaythewriterisdescribingthenature.WilliamCullenBryant2.Thanatopsis（对死亡的冥想）热爱自然的人与世间万象,有着心神的交流，对他,她可说各种各样的语言他高兴的时候，她声音喜悦,微笑里透着高贵的美丽,她潜入他隐秘的思索，带着温柔和抚慰的关切，未及他明白她就将痛苦带走，当最后的思想如灾难降临你的精神,悲痛的哀影，寿衣，棺罩,令人窒息的黑暗，以及促狭的房屋使你瑟瑟发抖，并心生憎恨——去开阔的田野吧，去听听,自然的教诲，听听那从四野里——大地、河川和新鲜的空气中——传来的静谧而寂寥的声音——然而几天后，普照大地的太阳在它的行程里，也不见你的踪影；也不在冰冷的大地你含泪苍白的形体停放之处,也不在大海的怀抱存你的形象养育了你的大地要将你召回,复归为尘土，消除人的痕迹你的个体将臣服于此，你将永远与自然之中的万物共处去做无情的草木和磐石的兄弟掩藏在坚硬的泥土下，任由那粗野的情郎翻犁和践踏橡树伸展的根须将刺穿你的躯体。不过，在你永恒的栖所你并不会独处，你也不能企望更多的奢华。你将与幼稚世界的尊者们并卧，——有国王，地上的强者，——有智者、善者仁者，以及远古时代的先知，在同一个墓室里。山峦如太阳一样固执且陈旧，河谷平静的沉思在原始的树林间伸展蜿蜒——江河在尊贵里前行，而浇绿草原的溪流却带着汩汩的怨言，灌注世间的一切，古老的海洋是苍凉孤凄的荒原——而这一切不过是人类伟大坟冢的威严的装饰。金色的太阳众多的行星，一切天界无限的居所都照耀着死亡之悲戚的归处历经千秋万代的静逝。一切行在世间的血肉也不过是安睡在其胸间的部族的一撮。——攀上清晨的翅膀，穿越巴肯荒漠或自弃于绵延的丛林,俄勒冈河奔流不息的水声充溢双耳——尽管亡者齐聚，万千魂灵在那孤寂里隐身自打这多年的飞行肇始，他们就卧在最后的睡眠里——那里亡者独自统治。你也将这般歇息；假若你从生撤入沉寂，而无一亲朋注意到你的离去所有呼吸的人都将分享你的命运乐观的在你不在的时候欢笑严肃而关切的艰难前行。每个人都将一如既往地追求他们最心仪的幻影；尽管他们都将离开一切欢愉和觊觎，而前来筑榻于你之侧。随着生命的列车慢慢滑远，人类的子孙生命之春的青年，历经沧桑的中年、垂垂老妪和娇娇少女呀呀学语的孩童，以及