“W.B.叶芝” 的 “名句” 列表

W.B. Yeats is generally considered to be one of the twentieth century's key English-language poets. He can be considered a Symbolist poet in that he used allusive imagery and symbolic structures throughout his career. Yeats chooses words and puts them together so that in addition to a particular meaning they suggest other meanings that seem more significant. His use of symbols is usually something physical which is used both to be itself and to suggest other, perhaps immaterial, timeless qualities. Yet, unlike most modernists who experimented with free verse, Yeats was also a master of the traditional verse forms. The impact of modernism on his work can be seen in the increasing abandonment of the more conventionally poetic diction of his early work in favor of the more austere language and more direct approach to his themes that increasingly characterises the poetry and plays of his middle period, comprising the volumes In the Seven Woods, Responsibilities and The Green Helmet. His later poetry and plays are written in a more personal vein, and the works written in the last twenty years of his life include mention of his son and daughter, as well as meditations on the experience of growing old. In his poem, The Circus Animals' Desertion, he describes the inspiration for these late works:Now that my ladder's goneI must lie down where all the ladders startIn the foul rag and bone shop of the heart

O Rose, thou art sick.-- WILLIAM BLAKETo FLORENCE FARRThe Scene is laid in the Barony of Kilmacowen, in the County of Sligo, and at a remote time.

A Morality Play, first performed in 1913.

Inspired by Irish folklore, first published in 1892, first performed in 1899.The sorrowful are dumb for thee--Lament of Morion Shehone for Miss Mary BourkeOriginally published in 1892, The Countess Cathleen aroused fierce controversy when it was first performed in 1899. The play was frequently revived and almost as often revised, becoming at various points in Yeats’s career a decisive indicator of his relations with his literary and theatrical public, of his changing conception of dramatic form, and of the status of his pursuit of Maud Gonne, for whom the play was written. This volume in the Cornell Yeats reproduces the complete set of extant manuscripts preceding the play’s first publication and reassembles the extensive manuscript, proof, and authorial copy to present a crucial body of evidence of Yeats’s work and thought in drama and theater over the course of three decades.

Offers a glimpse of all Yeats' styles--beginning with his youthful romantic idealism and ending with his more outspoken, sardonic treatment of sexuality.CONTENTS:TO THE SECRET ROSETHE CRUCIFIXION OF THE OUTCASTOUT OF THE ROSETHE WISDOM OF THE KINGTHE HEART OF THE SPRINGTHE CURSE OF THE FIRES AND OF THE SHADOWSTHE OLD MEN OF THE TWILIGHTWHERE THERE IS NOTHING, THERE IS GODOF COSTELLO THE PROUD, OF OONA THE DAUGHTER OF DERMOTT, AND OF THE BITTER TONGUE.FAR-OFF, most secret, and inviolate Rose,Enfold me in my hour of hours; where those Who sought thee in the Holy Sepulchre, Or in the wine-vat, dwell beyond the stir And tumult of defeated dreams; and deep Among pale eyelids, heavy with the sleep Men have named beauty. Thy great leaves enfold The ancient beards, the helms of ruby and gold Of the crowned Magi; and the king whose eyes Saw the pierced Hands and Rood of elder rise In Druid vapour and make the torches dim; Till vain frenzy awoke and he died; and him Who met Fand walking among flaming dew By a grey shore where the wind never blew, And lost the world and Emer for a kiss; And him who drove the gods out of their liss, And till a hundred moms had flowered red Feasted, and wept the barrows of his dead; And the proud dreaming king who flung the crown And sorrow away, and calling bard and clown Dwelt among wine-stained wanderers in deep woods: And him who sold tillage, and house, and goods, And sought through lands and islands numberless years, Until he found, with laughter and with tears, A woman of so shining loveliness That men threshed corn at midnight by a tress, A little stolen tress. I, too, await The hour of thy great wind of love and hate. When shall the stars be blown about the sky, Like the sparks blown out of a smithy, and die? Surely thine hour has come, thy great wind blows, Far-off, most secret, and inviolate Rose?

WITH A NOTE CONCERNING A WALK THROUGH CONNEMARA WITH HIMBY JACK BUTLER YEATS

Hanrahan, that was never long in one place, was back again among the villages that are at the foot of Slieve Echtge, Illeton and Scalp and Ballylee, stopping sometimes in one house and sometimes in another, and finding a welcome in every place for the sake of the old times and of his poetry and his learning. There was some silver and some copper money in the little leather bag under his coat, but it was seldom he needed to take anything from it, for it was little he used, and there was not one of the people that would have taken payment from him. His hand had grown heavy on the blackthorn he leaned on, and his cheeks were hollow and worn, but so far as food went, potatoes and milk and a bit of oaten cake, he had what he wanted of it; and it is not on the edge of so wild and boggy a place as Echtge a mug of spirits would be wanting, with the taste of the turf smoke on it. He would wander about the big wood at Kinadife, or he would sit through many hours of the day among the rushes about Lake Belshragh, listening to the streams from the hills, or watching the shadows in the brown bog pools; sitting so quiet as not to startle the deer that came down from the heather to the grass and the tilled fields at the fall of night. . . .

O blessed and happy he, who knowing the mysteries of the gods,sanctifies his life, and purifies his soul, celebrating orgies in the mountains with holy purifications.--Euripides.

Here ends 'Four Years,' written by William Butler Yeats. Four hundred copies of this book have been printed and published by Elizabeth C. Yeats on paper made in Ireland, at the Cuala Press, hurchtown, Dundrum, in the County of Dublin, Ireland. Finished on All Hallows' Eve, in the year nineteen hundred and twenty one.

本书是叶芝的代表作之一，这是一部特殊的作品。之所以说它特殊，原因有二：第一，这是诗人叶芝以诗歌的笔法写出，却又并非诗集的作品。第二，这是诗人用来表达他对爱尔兰永恒的热爱的一部重要作品。实际上，这是一部叶芝饱含着诗人的激情整理出的一部优美的爱尔兰神话传说集。诗人浸淫在爱尔兰文化中多年，对于爱尔兰传说中的仙女等等魔幻力量的存在深信不疑，这种浪漫信仰给他的诗歌创作增添了特殊光彩。为了回报爱尔兰民族文化这个提供给他以无限灵感的美的母体，叶芝用诗人的笔触，记录下他喜爱的凯尔特风土人情。本书集结了或绵延数页，或寥寥几句的乡人闲谈和神话传说，风格和形式有点类似我国蒲松龄的《聊斋志异》。不过，与《聊斋》不同的是，本书更多的是强调诗人本人对于魔幻世界的思索与感激。这是一部反映了作者早期的典型创作特征的作品。它的内容包罗万象：鬼怪、仙人、幽默故事和乡间传说层出不穷；它的文体更可谓杂而不乱：时而是一段关于生命和死亡的严肃探讨，时而是一段农人放肆地讲出的荒诞不经的故事，之间穿插着叶芝的诗歌片段。全书笔法自由轻松至极，行文充满想象力，张扬一种神秘浪漫的美感以及对淳朴思想的热爱。《凯尔特的薄暮》是搜集自爱尔兰斯莱戈和戈尔韦两地的神话、传说合集，是作者在爱尔兰西北沿海村庄采风，和当地的各色人物交友聊天，并对这些谈话笔记稍加整理，加上自己的一些思考和感悟编写而成的。也可以视为一部文笔优美的散文集，其内容涉及天地神鬼，充满各种有趣的奇谈怪论，有点类似我国的《聊斋志异》，或者《阅微草堂笔记》。