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    優(yōu)秀經(jīng)典英語詩歌欣賞【三篇】

    思而思學(xué)網(wǎng)

    優(yōu)秀經(jīng)典英語詩歌:School of Practical Dissection

    Kenny Williams

    In the hands of the priest

    the heart has to break

    like crockery, for a single man,

    not the human race

    which we love into oblivion

    and despise in general.

    In the hands of the anatomist

    it leaps, the heart, like a trout --

    small, brown, and poached --

    at the end of the line.

    Faster students than our teachers,

    we feel like boys playing hooky,

    just wetting our toes

    in the landlord's river,

    passing his jug from

    mouth to mouth.

    優(yōu)秀經(jīng)典英語詩歌:The Dream of a Little Occupied Japan Doll

    Kimiko Hahn

    Among the hundred porcelain figurines,

    the first one -- with slanted eyes, fat cheeks,

    queue (though that's Chinese), and Chinese bonnet --

    is my favorite. Among all those in pajamas

    or gowns or the two in kimono,

    the first is my favorite. Of those with rickshaw,

    tambourine, or parasol and fan --

    I keep on my desk the first one

    though she -- or he -- is not doing a darn thing.

    Here in sleep, rivalry is reserved.

    And as dreams "tune the mind for conscious awareness"

    perhaps this favoritism suggests

    I've quit hoarding and now collect myself.

    For Alice and Laurie

    優(yōu)秀經(jīng)典英語詩歌:About Opera

    Geoffrey Brock

    Fuggirmi io sol non so

    In the real world, lighting is undesigned;

    here it's high art. After we find our seats,

    silence our cells and smooth our ruffled minds,

    and just before the curtains rise, houselights

    go out. We vanish, and before our eyes

    adjust, a splendid spectacle begins

    in which we're borne, again, into the lives

    of others -- figures whose shaded joys and pains

    might be, for these three hours, ours. Yet

    what can we hope to understand of them?

    Words in a strange, old tongue (il fazzoletto!)

    shine through the wordless music as through a scrim

    by turns opaque and blindingly transparent --

    words whose sources are masks, mouths gaping wide.

    Still, some intelligence like a welder's current

    leaps the orchestra pit (where shadows hide

    that pulsing drum, those lacerating strings),

    and something is spilling, something even grander,

    perhaps, than life, from the woman who now sings,

    now dies, as passion fills white space around her,

    fills us, and tears are spilling down our faces --

    there's too much light, it's all too brightly lit!

    Kind curtains fall, and a governed dark replaces

    all light but the glow of the pages in the pit.

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