励志英文诗

励志英文诗（精选7篇）

1.励志英文诗 篇一

cocoon

Just like a cloud, Floating

And oscillating lonely in the welkin, Wanna find a cave, To foist herself in.She knows There waiting Is a dolce fairy.Whose smile is so sweety, And voice so dulcie

To drive away all the profane apparitions She’ll hearken

No matter what you are telling.Far from hullabaloo, Far from intricacy.But Manito warns her, Go back，Too tiny are those caves, To imbosom you.No tears, No doldrums.Just head up high, In a distant place, A motte liege She believes, Is there waiting,whose arms are so strong, And metsuke so tender, To treib away all the ferocious devil.He’ll sopite，No matter what you are worriting.Far from la polvere, Far from melancholy.But

Manito alarms her, Go back，Too vast are those mottes, To shugo you.Oh, My spirit，Your fairy being far from you, And so your liege.When you feel sorrowful and helpless，Whose shoulders can you lean on? What should you do? And

Where can you go?

2.励志英文诗 篇二

关键词：悼亡诗,苏轼,哈代,《江城子》,爱玛组诗

Hardy and Su Shi,living in different countries and ages,yet suffering the similar toil of losing wife,expressed their yearning and missing to their deceased wives with similar exquisite style of writing,and also described the permanent motif of literature of home and abroad from ancient to present---love and death.Both sublimed their deep love and grief to deceased wives to well accepted and remembered poems.Chinese way of expressing love is originally different from that of British in that the former is implicative and euphemistic while the latter is bold and unrestrained and passionate,yet poets of different nations expressed their feelings in the same form of literature with surprisingly similar exquisite style of writing.This paper probes into the deep Occidental and Oriental differences of implied meaning in terms of discourse.

1 Definition of Memorial Poetry

Memorial poetry,in a broad sense,refers to all the poems written to memorize the deceased,and in a narrow sense,refers to poems written by a husband or a wife to mourn his or her wife or husband.[1]Combining the subject of love and death,memorial poetry could be taken as a unique kind of love poetry which relates to the love between the alive and the dead and the living's yearning for the dead.Love and death has always been the eternal motif of litterateur both home and abroad.The earliest Chinese memorial poetry appeared in The Book of Poetry,and since Pan Yue of Xi Jin Dynasty wrote poetry to memorize his passed wife,memorial poetry became the exclusive reference to the poems of mourning deceased wives.From then on,there are many excellent memorial poetry and poets,like Wei Yingwu,Meng Jiao of Tang dynasty,Huang Tingjian,Lu You of Song dynasty,Yu Qian,Li Zhi of Ming dynasty and Wang Fuzhi of Qing dynasty and the like.

In Britain,"a country emphasizing freedom,equality,freedom of love,individuality liberation"[2],lyrical poems are numerous,yet the number of memorial poetry is greatly less than that of China,in spite of which,there are still many a good excellent works,such as John Milton's On his deceased wife;Thomas Hardy's Emma poetry including Afterwards,The Walk,After A Journey,The Voice and etc.;Robert Browning's Prospice etc.A-mong the western memorial poetry,maybe only Hardy's are an exception because about his 100 memorial poetry on his wife are different form others'in that they are full of romanticism illusions and rich in scenes of daily life,the feelings in which are sincere and genuine but not euphuistical.Readers often gasp in admiration when reading his memorial poems,some of which are surprisingly similar to Chinese ones,like Su Shi's JiangChengZi.

2 Comparative Analysis on Hardy's Emma Poetry and Su Shi's JiangChengZi

2.1 Analysis on Su Shi's JiangChengZi

《江城子·乙卯正月二十日夜记梦》

苏轼

十年生死两茫茫,/不思量,自难忘。/千里孤坟,/无处话凄凉。/纵使相逢应不识,/尘满面,鬓如霜。/夜来幽梦忽还乡/小轩窗,正梳妆。/相顾无言,/惟有泪千行。/料得年年肠断处,/明月夜,短松冈。

English version:

Ten years,dead and living dim and draw apart.

I don't try to remember,

But forgetting is hard.

Lonely grave a thousand miles off,

Cold thoughts,where can I talk them out?

Even if we met,you wouldn't know me,

Dust on my face,

Hair like frost.

In a dream last night suddenly I was home.

By the window of the little room,

You were combing your hair and making up.

You turned and looked,not speaking,

Only lines of tears coursing down.

Year after year will it break my heart?

The moonlit grave,

The stubby pines.1

2.1.1 Background

This poem was written to mourn Su Shi's ex-wife Wang Fu who was 3 years younger than Su Shi and married him at her 16.What's a pity is that she left at her 27 leaving a seven year old child to Su Shi.It's easy to see what Su Shi suffered from this loss.After 10 years'involving in official career,due to the unsatisfactory achievement of his political ideal and excessive official business,the only 40 years old Su Shi got an early aging,being like"Dust on my face,Hair like frost.",can he still remember his deceased wife from time to time?Yet,in his sub-consciousness,Wang Fu was always there.As a result,on a night of 20th day of 1stmonth in terms of Chinese lunar calendar(actually,it was in 1075 at Su Shi's 39),a dream realized their reunion and consequently,came out this outstanding memorial poem.

The poem was written after the dream,the first sentence"Ten years,dead and living dim and draw apart."Expressed his deep feeling of grief and unhelplessness that he couldn't go across the line between living and death to meet with her wife,and then what's in his mind in the time of"Ten years,dead and living dim and draw apart."?"I don't try to remember,but forgetting is hard"is the answer.As a mundane man,Su Shi had to deal with numerous trifles,let alone to muse over her long deceased wives,the rather that the passing of time will also gradually water one's memory down,so"I don't try to remember,"is really telling the truth.But his missing of his wife was still clearly in his sub-consciousness,though similarly inexistent in his consciousness,"but forgetting is hard"expressed his incapability to forget his wife.The dead was gone,even though the living and the dead could communicate and the couples were able to meet again like a miracle,but the man before her was almost a middle-aged toil worn stranger,instead of that who had been young with elegance and talent.Seeing this,wouldn't they be speechless.It seems that the deceased is relatively lucky,because the living is still suffering from her departing and missing of her.At this extremely grievous moment,a dream came to abate his pain,yet even in the dream,the happiness was limited---"You turned and looked,not speaking,only lines of tears coursing down",the misery without any word but only tears covered the temporarily happiness.Then,the poet came back to the dismal reality:"Year after year will it break my heart?The moonlit grave,The stubby pines."Su Shi imagined that his beloved wife would still have to lie in the grave alone before his death years after years and day by day,what kind of heartbroken torturing is it!

2.2 Analysis on Hardy's Emma poetry

Compared with Su Shi's memorial poem,missing also constituted Hardy's Emma poetry,and the proportion was also not small,at the same time,it touched readers with authentic and profound feelings,but the most protruding features of Hardy's Emma poetry is its abundant reflection and illusion,like in The Shadow on the Stone

I went by the Druid stone

That broods in the garden white and lone,

And I stopped and looked at the shifting shadows That at some moments fall thereon

From the tree hard by with a rhythmic swing,And they shaped in my imagining

To the shade that a well-known head and shoulders Threw there when she was gardening.

I thought her behind my back,

Yea,her I long had learned to lack,

And I said:"I am sure you are standing behind me,Though how do you get into this old track?"

And there was no sound but the fall of a leaf As a sad response;and to keep down my grief I would not turn my head to discover

That there was nothing in my belief.

Yet I wanted to look and see

That nobody stood at the back of me;

But I thought once more:"Nay,I'll not univision A shape which,somehow,there may be."

So I went on softly from the glade,

And left her behind me throwing her shade,As she were indeed an apparition

My head unturned lest my dream should fade.

In this poem,the shadow behind the stone was imagined as the shadow of his deceased wife which was always behind his back.In Su Shi'poem,it is"Even if we met,you wouldn't know me,Dust on my face,Hair like frost",but Hardy's wife still remained fresh in his memory,he said"I am sure you are standing behind me,Though how do you get into this old track?"knowing that it was illusion,but unbearable to break it,and repressed his fierce longing for looking back,"and to keep down my grief,I would not turn my head to discover""So I went on softly from the glade,""lest my dream should fade."In his poem,Hardy didn't see her wife's appearance again and he implied reader it was on a moonlit night by shadow,while Su Shi clearly said that"The moonlit grave".In Hardy's poem,there were image of shadow of tree,fallen leaves,while in Su Shi'he used"The moonlit grave,The stubby pines"to create a kind atmosphere of loneliness,piteousness and melancholy.The feature of illusion and imagination of Emma poetry can be roughly seen from the simple analysis of the above poem,and its another feature is deep recalling and reflection which is greatly different from Chinese memorial poetry.

Memorial poetry is to memorize the lost love and express missing to deceased wives[3],as a result,recalling is inevitable which is also one of what Hardy liked to do in his poems.As a matter of fact,Emma poetry is his confession on his marriage.In all these poems,Hardy frankly recalled the long unhappy marriage as well as his sweet days with Emma.In the After a Journey,he said to his wife“what have you now found to say of our past""summer gave us sweets,but autumn wrought division?""Things were not lastly as firstly well with us twain,you tell?"Spring and summer represented respectively the season that they got to know each other and fell in love with each other,they implied sweetness in Hardy's poem.Autumn signified grief and pains because Emma died in autumn.Hardy tried his best to beautify and idealize the sceneries in his mind to make a contrast with the present.The early Emma was"with your nut-colored hair,and grey eyes,and rose-flush coming and going(After a Journey)".At that time,their love is harmonious"While Life unrolled us its very best(The Going)"and"the faint scent of the bordering flowers swam unheeded away,and I marked not the charm in the changes of day as the cloud-colors came and went(After The Visit)".And then he began to describe the later unhappiness,the beautiful image of Emma was replaced with"apparition""ghost",returning from the past to the present,from the dream to the reality.In the poem of The Going,Hardy pondered on the estrangement between Emma and him:"Why,then,latterly did we not speak,Did we not think of those days long dead,And ere your vanishing strive to seek that time's renewal?We might have said,‘in this bright spring weather,we'll visit together those places that once we visited'."It's really rare that a poet will retrospect his own love experience so frankly.The best poem that reflects Hardy's repent and retrospection is the poem An Upbraiding written in the perspective of Emma which was actually his own repent:

Now I am dead you sing to me

The songs we used to know,

But while I lived you had no wish Or care for doing so.

Now I am dead you come to me In the moonlight,comfortless;

Ah,what would I have given alive To win such tenderness!

When you are dead,and stand to me Not differenced,as now,

But like again,will you be cold As when we lived,or how?

This poem took the dead as the first person narrator,creating a new perspective of narration and expression of emotions,which broke the traditional memorial poetry's restriction of taking the alive as the first person.This kind of style is rare in Chinese history of memorial poetry as well as in that of Western.At her living,Hardy wrote so few poems about her,yet he wrote so tremendous about her after her death,so what's the point here?Could he make up for anything?As Hardy was writing all those poems,he realized it and became dissatisfied with himself.He stood in Emma's shoes to think about what he had done,and expressed his repent and regret through Emma's heckling to him.Seeing from this,we can see that Hardy's memorial poetry was filled with rational retrospection over his past behavior as he was recalling the past days.Just because of this rational retrospection on death,some scholars said that"it is the death of Emma that enables Hardy to complete what he didn't finish in her living:his best love poems were created not at the time when he was pursuing his sweetheart at his 30,nor at the time when he got married at his 34,but at the time when he was frail at his 72"which also verifies Hardy's Memorial poetry's value of retrospection.

3 Cultural Difference behind Chinese and Western Memorial Poetry

Chinese memorial poetry has always been influenced by realism,and it always chooses the usual image of daily life to imply death,and at the same time,reflecting poet's death awareness and expressing poet's resentfulness on other things[4].In Su Shi's JiangChengZi,the image of"lonely grave"and"wife coming hair before the mirror at her living"both implied the cruelty of death Yet in Emma poetry,there is little such image,instead,Hardy utilized more imagination and illusion,the choice of image was much more free and extensive,such as"the breeze in its listlessness""the wet mead""wind oozing from norward""the thorn"This is due to the romantic tradition's influence to British literature inn the result that images in memorial poetry are always full of imagination and philosophy,stressing the expression of retrospection.

In a country where people widely believe in Christianity or Catholics,death is the beckoning of God,and is the follower's real end-result breaking away from the profane world,also,at certain time in the future,everyone will meet again in the heaven[5].This kind of belief originated from the western original sin that people are born sinfully,the purpose they come to the world is to bear tribulation and get atonement,by doing like this,their ghost will finally go to the paradise,the eternal world,realizing the significance of life.Admittedly,it is the inspiration of religion that makes western litterateur's imaging wings fly to the rose wreath in paradise,like a freely galloping angel,or in the hell,or on the dream,as a result of which,western poets are detached,broadminded,taking desperation as happy hope,death as eternal living.Consequently,they can face death of their beloved,friends and relatives calmly and serenely,exceeding the barrier of death and living,removing the affliction in their hearts.Though,Chinese memorial poetry is also simple and touching,but its grief to death is always too thick,and comparatively speaking,their imagination can't be compared with western memorial poems which is decided by Chinese people's attitude towards death.In Chinese mind,the existence of body can't be substituted by any other matters,and their heavy relying on living also lies in their indifference to the concept of the Other World and the Psyche The ancient Chinese simple materialism was the main stream in the ideology,few people seriously considered the question of whether Psyche exists after death or where it goes.In the opinion of Confucians,there is even a saying like"You don't yet understand this life,how can you understand the afterlife?"[6]Chinese poets think that death is the end of life,"A man dies the way a lamp goes out",so the situation faced to death is to situated oneself in a longing condition where they hope the deceased would one day come back.Different from Chinese people's heavy relying on living,westerners traditionally take death as the aim of life,namely,live to die,living is toilsome tillage,and death is happy harvest and safe enjoyment.As a result,they pay more attention to the understanding and perception of death,imagining and describing various objective sceneries after the death.In their heart,death,as the terminator of the whole shoot,is nothing to be feared,contrarily,death has the power of overwhelming everything,because of its eternality,because of its inevitability,because of the inaccessibility to get the true feeling of it in theworld of living.Therefore,it leaves people with unlimited space of imagination,and poets endow it various transcendental and sacred significance for some kind of inspiration to get spiritual extrication finally and completely.

Hardy and Su Shi,two versed writers,while writing the magnum opus,wrote the touching and euphemistic memorial poems with authentic emotions,giving a good and vivid description of love the eternal motif of literature.Obviously,human being's sentimen attached to families,pursuit of love,longing for happiness is the same,without the limit of time or space.

4 Conclusion

Comparing the memorial poems of Chinese poet of Song Dynasty,Su Shi's Jiang Chengzi with Thomas Hardy's Emma poetry,this paper finds that Chinese memorial poetry is featured with missing of the past life,whereas the English poetry lays great stress on illusion and imagination of the future as well as the deep reflection on death.In addition,Chinese's fear of death and Westerners'accept and understanding of death is also clearly presented.The last but not the least,Chinese memorial poetry is always to express the poet's resent,disappointment and depression in life,it's just an outlet of unhappiness;yet,the British memorial poetry is the poet's deep ponderation on death.

参考文献

[1]Wang Zuoliang.An Anthology of English Verse,Edited With an Introduction[M].Shanghai:Shanghai Translation Publishing House,1993.

[2]Merryn Williams.哈代导读[M].北京:北京大学出版社,2005.

[3]狄兆俊.中英比较诗学[M].上海:上海外语教育出版社,1992.

[4]张中载.托马斯·哈代——思想与创作[M].北京:外语教学与研究出版社,1982.

[5]飞白,吴笛.梦幻时刻:哈代抒情诗选[M].北京:中国文联出版公司,1992.

3.袁世凯的励志诗 篇三

袁世凯靠小站练兵起家,受到晚清重臣李鸿章的赏识和推举,在1901年到1908年间,袁世凯大力推进新政,废科举,建学校,办新军,筑铁路,成效不凡。在这个过程中,袁世凯的势力也发展壮大,形成了日后所谓的北洋军事政治集团。1908年11月,光绪皇帝和慈禧太后相继去世,爱新觉罗·溥仪继承了皇位,溥仪的父亲醇亲王载沣摄政。载沣本来就与袁世凯政见不合,更因袁世凯在戊戌政变中出卖光绪皇帝一事而心怀怨恨,一度“铲除”袁世凯,后来害怕激起北洋新军兵变,遂于1909年1月将袁世凯“开缺”(解职) 回乡,理由是袁有“足疾”。

位高权重的袁世凯突然被清廷解除了所有职务,这堪称1909年中国政坛的一次大地震。不但很多中国人感到意外,就连国际社会也“深感震惊”。《纽约时报》评论说,袁世凯被解职后,中国将会发生更多的“革命暴动”;《泰晤士报》指出,清廷解职袁世凯的公告冷淡无情;《芝加哥每日论坛报》认为,袁世凯被解职标志着中国的新政(改革)将就此停滞……

外国人的判断并没有得到印证。被解职的袁世凯并没有利用自己掌控的政治和军事势力向清廷发难,而是“温顺”地回到了河南安阳的洹上村,过起了“烟蓑雨笠一渔舟”的赋闲生活。他还将自己披蓑衣、戴斗笠,悠然垂钓的照片送到上海的《东方杂志》去发表,目的当然是向朝廷表态:我老袁很享受这种优哉游哉的赋闲岁月。

他为自己的“垂钓照”写了两首诗,名为《自题渔舟写真二首》,其中的一首是:“百年心事总悠悠,壮志当时苦未酬。野老胸中负兵甲,钓翁眼底小王侯。思量天下无磐石,叹息神州变缺瓯。散发天涯从此去,烟蓑雨笠一渔舟。”另外,他在1909年还写了一首《登楼》:“楼小能容膝,檐高老树齐。开轩平北斗,翻觉太行低。”这两首诗明明白白地道出了他身虽隐居、心雄天下的心态。

袁世凯果然等到了机会。两年后,辛亥革命爆发,清廷不得不请袁世凯重新出山。这次,他坐收渔翁之利,一面逼着清帝退位,一面与革命党讨价还价,为自己谋得了大总统之职。看来,袁世凱在人生低谷时所写的励志诗并非虚妄。

4.普希金英文诗 篇四

I loved you, and I probably still do,

And for a while the feeling may remain...

But let my love no longer trouble you,

I do not wish to cause you any pain.

I loved you; and the hopelessness I knew,

The jealousy, the shyness - though in vain -

Made up a love so tender and so true

5.感恩节的英文诗 篇五

Thanksgiving is the appointed time

for focusing on the good in our lives.

In each of our days,

we can find small blessings,

but too often we overlook them,

choosing instead to spend our time

paying attention to problems.

We give our energy

to those who cause us trouble

instead of those who bring peace.

Starting now,

let’s be on the lookout

for the bits of pleasure in each hour,

and appreciate the people who

bring love and light to everyone

who is blessed to know them.

You are one of those people.

On Thanksgiving,

I’m thankful for you.

Happy Thanksgiving!

By Joanna Fuchs

6.泰戈尔英文诗---吉檀迦利 篇六

这句问话和呼唤”呵,在哪儿呢?”融化在千般的泪泉里,和你保证的回答”我在这里!”的洪流,一同泛滥了全世界.我要唱的歌,直到今天还没有唱出.每天我总在乐器上调理弦索.时间还没有到来,歌词也未曾填好;只有愿望的痛苦在我心中.花蕊还未开放;只有风从旁叹息走过.我没有看见过他的脸,也没有听见过他的声音;我只听见他轻蹑的足音,从我房前路上走过.悠长的一天消磨在为他在地上铺设座位;但是灯火还未点上,我不能请他进来.我生活在和他相会的希望中,但这相会的日子还没有来到.我接到这世界节日的请柬,我的生命受了祝福.我的眼睛看见了美丽的景象,我的耳朵也听见了醉人的音乐.在这宴会中,我的任务是奏乐,我也尽力演奏了.现在,我问,那时间终于来到了吗,我可以进去瞻仰你的容颜,并献上我静默的敬礼吗 我只等候着爱,要最终把我交在他手里.这是我迟误的原因,我对这延误负咎.他们要用法律和规章,来紧紧地约束我;但是我总是躲着他们, 因为我只等候着爱,要最终把我交在他手里.人们责备我,说我不理会人;我也知道他们的责备是有道理的

市集已过,忙人的工作都已完毕.叫我不应的人都已含怒回去.我只等候着爱,要最终把我交在他手里.云霾堆积,黑暗渐深.呵,爱,你为什么让我独在门外等候?

在中午工作最忙的时候,我和大家在一起,但在这黑暗寂寞的日子,我只企望着你.若是你不容我见面,若是你完全把我抛弃,我真不知将如何度过这悠长的雨天.我不住地凝望遥望的阴空,我的心和不宁的风一同彷徨悲叹.若是你不说话,我就含忍着,以你的沉默来填满我的心.我要沉静地等候,像黑夜在星光中无眠,忍耐地低首.清晨一定会来,黑暗也要消隐,你的声音将划破天空从金泉中下注.那时你的话语,要在我的每一鸟巢中生翼发声,你的音乐,要在我林丛繁花中盛开怒放.8 莲花开放的那天,唉,我不自觉地心魂飘荡.我的花篮空着,花儿我也没有去理睬.不时地有一段的幽愁来袭击我,我从梦中惊起,觉得南风里有一阵奇香的芳踪.这迷茫的温馨,使我想望得心痛,我觉得这仿佛是夏天渴望的气息,寻求圆满.我那时不晓得它离我是那么近,而且是我的,这完美的温馨,还是在我自己心灵的深处开放.我必须撑出我的船去.时光都在岸边捱延消磨了____不堪的我呵!

春天把花开过就告别了.如今落红遍地,我却等待而又留连.潮声渐喧,河岸的荫滩上黄叶飘落.你凝望着的是何等的空虚!你不觉得有一阵惊喜和对岸遥远的歌声从天空中一同飘来吗? 在七月淫雨的浓阴中,你用秘密的脚步行走,夜一般的轻悄,躲过一切的守望的人.今天,清晨闭上眼,不理连连呼喊的狂啸的东风,一张厚厚的纱幕遮住永远清醒的碧空.林野住了歌声,家家闭户.在这冷寂的街上,你是孤独的行人.呵,我唯一的朋友,我最爱的人,我的家门是开着的____不要梦一般地走罢.在这暴风雨的夜晚你还在外面作爱的旅行吗,我的朋友?天空像失望者在哀号.我今夜无眠.我不断地开门向黑暗中暸望,我的朋友!

我什么都看不见.我不知道你要走哪一条路!

是从墨墨的河岸上,是从远远的愁惨的树林边,是穿过错昏暗迂回的曲径,你摸索着来到我这里吗,我的朋友? 在这困倦的夜里,让我帖服地把自己交给睡眠,把信赖托付给你.让我不去勉强我的萎靡的精神,来准备一个对你敷衍的礼拜

是你拉上夜幕盖上白日的倦眼,使这眼神在醒觉的清新喜悦中,更新了起来 他来坐在我的身边,而我没有醒起.多么可恨的睡眠,唉,不幸的我呵!

他在静夜中来到;手里拿着琴,我的梦魂和他的音乐起了共鸣.唉,为什么每夜就这样地虚度了?呵,他的气息接触了我的睡眠,为什么我总看不见他的面? 灯火,灯火在哪里呢?用熊熊的渴望之火把它点上罢了!

灯在这里,却没有一丝火焰,_____这是你的命运吗,我的心呵!你还不如死了好!

悲哀在你门上敲着,她传话说你的主醒着呢,他叫你在夜的黑暗中奔赴爱的约会.云雾遮满天空,雨也不停地下.我不知道我心里有什么在动荡,____我不懂得它的意义.一霎的电光,在我的视线上抛下一道更深的黑暗,我心摸索着寻找那夜的音乐对我呼唤的径路.灯火,灯火在哪里呢?用熊熊的渴望之火把它点上罢!雷声在响,狂风怒吼着穿过天空.夜像黑岩一般的黑.不要让时间在黑暗中度过罢.用你的生命把爱的灯点上罢.罗网是坚韧的,但是要撕破它的时候我又要心痛.我只要自由,为希望自由我却觉得羞愧.我确知那无价之宝是在你那里,而且你是我最好的朋友,但我却舍不得清除我满屋的谷物俗物.我身上披的是尘灰与死亡之衣;我恨它,却又热爱地把它抱紧.我的债负很多,我的失败很大,我的耻辱秘密而又深重;但当我来求福的时候,我又战栗,唯恐我的祈求得了允诺.被我用我的名字囚禁起来的那个人,在监牢中哭泣.我每天不停地筑着围墙;当这道围墙高起接天的时候,我的真我便被高墙的黑影遮断不见了.我以这道高墙自豪,我用沙土把它抹严,唯恐在这名字上还留着一丝制罅隙,我煞费了苦心,我也看不见了真 我独自去赴幽会.是谁在暗寂中跟着我呢?

我走开躲他,但是我逃不掉.他昂首阔步,使地上尘土飞扬;我说出的每一个字里,都掺杂着他的喊叫.他就是我的小我,我的主,他恬不知耻;但和他一同到你门前,我却感到羞愧.尘世上那些爱我的人,用尽方法拉住我.你的爱就不是那样,你的爱比他们的伟大得多,你让我自由.他们从不敢离开我,恐怕我把他们忘掉.但是你,日子一天一天地过去,你还没有露面.若是我不在祈祷中呼唤你,若是我不把你放在心上,你爱我的爱情仍在等待着我的爱.只要我一息尚存,我就称你为我的一切.只要我一诚不灭,我就感觉到你在我的四周,任何事情,我都来请教你,任何时候都把我的爱献上给你.只要我一息尚存,我就永不把你藏匿起来.只要把我和你的旨意锁在一起的脚镣,还留着一小段,你的意旨就在我的生命中实现____这脚镣就是你的爱.这是我对你的祈求,我的主____请你铲除,铲除我心里贫乏的根源.赐给我力量使我能轻闲地承受欢乐与忧伤.赐给我力量使我的爱在服务中得到果实.赐给我力量使我永不抛弃穷人也永不向上淫威屈膝.赐给我力量使我的心灵超越于日常琐事之上.再赐给我力量使我满怀爱意地把我的力量服从你意志的指挥.我以为我的精力已尽,旅程已终____前路已绝,储粮已尽, 退隐在静默鸿蒙中的时间已经到来.但是我发现你的意志在我身上不知终点.旧的言语刚在舌尖上死去,新的音乐又从心上进来;旧辙方迷,新的田野又在面前奇妙地展开.我需要你,只需要你____让我的心不停地重述这句话.日夜引诱我的种种欲念,都是透顶的诈伪与空虚.就像黑夜隐藏在祈求光明的朦胧里,在我潜意识的深处也响出呼声____我需要你,只需要你.正如风暴用全力来冲击平静,却寻求终止于平静,我的反抗冲击着你的爱,而它的呼声也还是____我需要你,只需要你.整个早晨我想编一个花环,但是花儿滑掉了.你坐在一旁偷偷地从侦伺的眼角看着我.问这一对沉黑的恶作剧的眼睛,这是谁的错.我想唱一支歌,但时唱不出来.一个暗笑在你唇上颤动,你问它我失败的缘由.让你微笑的唇儿发一个誓,说我的歌声怎样地消失在沉默里,像一只在荷花里沉醉的蜜蜂.夜晚了,是花瓣合起的时候了.容许我坐在你的旁边,容许我的唇儿做那在沉默中,在星辰的微光中能做的工作吧.一个怀疑的微笑在你眼中闪烁,当我来向你告别的时候.我这样做的次数太多了,你想我很快又会回来.告诉你实话,我自己心里也有同样的怀疑.因为春天年年回来;满月道过别又来访问,花儿每年回来在枝上红晕着脸,很可能我向 你告别只为要再回到你的身边.但是把这幻象保留一会吧,不要冷酷粗率地把它赶走.当我说我要永远离开你的时候,就当作真话来接受它,让泪雾暂时加深你眼边的黑影.当我再来的时候,随便你怎样地狡笑吧.阴睛无定,夏至雨来的时节,在路旁等候瞭望,是我的欢乐.从不可知的天空带信来的使者们,向我致意又向前赶路.我衷心欢畅,吹过的风带着清香.从早到晚我在门前坐地,我知道我一看见你,那快乐的时光便要突然来到.这时我自歌自笑.这时空气里也充满着应许的芬芳.我不知道从永远的什么时候,你就一直走近来迎接我.你的太阳和星辰永不能把你藏起使我看不见你.在许多清晨和傍晚,我曾听见你的足音,你的使者曾秘密地到我心里来召唤.我不知道为什么今天我的生活完全激动了,一种狂欢的感觉穿过了我的心.这就像结束工作的时间已到,我感觉到在空气中有你光降的微馨.乏倦压在你的心上,你眼中尚有睡意.你没有得到消息说荆棘丛中花朵正在盛开吗?醒来吧,呵,醒来!不要让光阴虚度了!

在石径的尽头,在幽静无人的田野里,我的朋友在独坐着.不要欺骗他罢.醒来,呵,醒来罢!

即使正午的骄阳使天空喘息摇颤---即使灼热的沙地展布开它干渴的巾衣.在你的心的深处难道没有快乐吗?你的每一个足音,不会使道路的琴弦迸出痛苦的柔音吗? 只因你的快乐是这样地充满了我的心.只因你曾这样地俯就我.呵,你这诸天之王,假如没有我,你还爱谁呢?

你使我做了你这一切财富的共享者.在我心里你的快乐不住地遨游.在我的生命中你的意志永远实现.因此,你这万王之王曾把自己修饰了来赢取我的心.因此你的爱也消融在你情人的爱里,在那里,你又以我俩完全合一的形象显现.是的,我知道,这只是你的爱,呵,我心爱的人---这在树叶上跳舞的金光,这些驶过天空的闲云,这使我头额清爽的吹过的凉风.清晨的光辉涌进我的眼睛---这是你传给我心的消息.你的脸容下俯,你的眼睛下望着我的眼睛,我的心接触到了你的双足.我的上帝，从我满溢的生命之杯中，你要饮什么样的圣酒呢？ 通过我的眼睛，来观看你自己的创造物，站在我的耳门上，来静听你自己的永恒的谐音，我的诗人，这是你的快乐吗？

你的世界在我的心灵织上字句，你的快乐又给它们加上音乐。你把自己在梦中交给了我，又通过我来感觉你自己的完满的甜柔。

那在神光离合之中，潜藏在我生命深处的她；那在晨光中永远不肯揭开面纱的她，我的上帝，我要用最后的一首歌把她包裹起来，作为我给你的最后的献礼。

无数求爱的话，都已说过，但还没有赢得她的心；劝诱向她伸渴望的臂，也是枉然。

我把她深藏在心里，到处漫游，我生命的荣枯围绕着她起落。她统治着我的思想、行动和睡梦，她却自己独居索处。

许多的人叩我的门来访问她，都失望地回去。

在这世界上从没有人和她面对过，她孤守着静待你的常识。

你是天空，你也是窝巢。

呵，美丽的你，在窝巢里就是你的爱，用颜色、声音和香气来围拥住灵魂。

在那里，清晨来了，右手提着金筐，带着美的花环，静静地替大地加冕。

在那里，黄昏来了，越过无人畜牧的荒林，穿过车马绝迹的小径，在她的金瓶里带着安靖的西方海上和平的凉飙。

但是在那里，纯白的光辉，统治着伸展着的为灵魂翱翔的无际的天空。在那里无昼无夜，无形无色，而且永远，永远无有言说。

你的阳光射到我的地上，整天地伸臂站在我门前，把我的眼泪，叹息和歌曲变成的云彩，带回放在你的足边。

你喜爱地将这云带缠围在你的星胸之上，绕成无数的形式和褶纹，还染上变幻无穷的色彩。它是那样的轻柔，那样地飘扬、温软、含泪而黯淡，因此你就爱惜它，呵，你这庄严无瑕者。这就是为什么它能够以它可怜的阴影遮掩你的可畏的白光。

就是这股生命的泉水，日夜流穿我的血管，也流穿过世界，又应节地跳舞。

就是这同一的生命，人大地的尘土里快乐地伸出无数片的芳草，迸发出繁花密叶的波纹。

就是这同一的生命，在潮汐里摇动着生和死的大海的摇篮。

我觉得我的四肢因受着生命世界的爱抚而光荣。我的骄傲，是因为时代的脉搏，此刻在我血液中跳动。

这欢欣的音律不能使你欢欣吗？不能使你回旋激荡，消失碎裂在这可怖的快乐旋转之中吗？

万物急剧地前奔，它们不停留也不回顾，任何力量都不能挽住它们，它们急遽地前奔。

季候应和着这急速不宁的音乐，跳舞着来了又去＿＿颜色、声音、香味在这充溢的快乐里，汇注成奔流无尽的瀑泉，时时刻刻地在散溅、退落而死亡。

我应当自己发扬光大、四周放射、投映彩影于你的光辉之中＿＿这便是你的幻境。

你在你自身里立起隔栏，用无数不同的音调来呼唤你的分身。你这分身已在我体内成形。

高亢的歌声响彻诸天，在多采的眼泪与微笑，震惊与希望中回应着；波起复落，梦破又圆。在我里面是你自身的破灭。

你卷起的那重帘幕，是用书和夜的画笔，绘出了无数的花样。幕后的你的座位，是用奇妙神秘的曲线织成。抛弃了一切无聊的笔直的线条。

你我组成的伟丽的行列，布满了天空。因着你的歌音，太空都在震颤，一切时代都在你我捉迷藏中度过了。

就是他，那最深奥的，用他深隐的摩触使我清醒。

就是他把神符放在我的眼上，又快乐地在我心弦弹弄出种种哀乐的调子。

就是他用金、银、青、绿的灵幻的色丝，织起幻境的披纱，他的脚趾从衣褶中外露。在他的摩触之下，我忘却了自己。

日来年往，就是他永远以种种名字，种种姿态，种种的深悲和极乐，来打动我的心。

在断念屏欲之中，我不需要拯救。在万千欢愉的约束里我感到了自由的拥抱。

你不断地在我瓦罐里满满地斟上不同颜色不同芬芳的新酒。

我的世界，将以你的火焰点上他的万盏不同的明灯，安放在你庙宇的坛前。

不，我永不会关上我感觉的门户。视、听、触的快乐会含带着你的快乐。

是的，我的一切幻想会燃烧成快乐的光明，我的一切愿望将结成爱的果实。

白日已过，暗影笼罩大地。是我到河边汲水的时候了。

晚空凭着水的凄音流露着切望。呵，它呼唤我出来到暮色中来。荒径上断绝上行，风起了，波浪在河里翻腾。

我不知道是否应该回家去。我不知道我会遇见什么人。浅滩的小舟上有个不相识的人正弹着琵琶。

你赐给我们世人的礼物，满足了我们一切的需要，可是它们又毫未减少地返回到你那里。

河水有它每天的工作，匆忙地穿过田野和村庄；但它的不绝的水流，又曲折地回来洗你的双脚。

花朵以芬芳熏香的空气；但它最终的任务，是把自己献上给你。

对你供献不会使世界困穷。人们从诗人的字句里，选取自己心爱的意义：但是诗句的最终意义是指向着你。

过了一天又是一天，呵，我生命的主，我能够和你对面站立吗？呵，全世界的主，我能合掌和你对面站立吗？

在广阔的天空下，严静之中，我能够带着虔恭的心，和你对面站立吗？

在你的劳碌的世界里，喧腾着劳作和奋斗，在营营扰扰的人群中，我能和你对面站立吗？

当我已做完了今生的工作，呵，万王之王，我能够独自悄立在你的面前吗？

当鸿蒙初辟，繁星第一次射出灿烂的光辉，众神在天上集会，唱着“呵，完美的画图，完全的快乐！“

有一位神忽然叫起来了＿＿“光链里仿佛断了一环，一颗星星走失了。”

他们金琴的弦子猛然折断了，他们的歌声停止了，他们惊惶地叫着＿＿“对了，那颗走失的星星是最美的，她是诸天的光荣！“

从那天起，他们不住地寻找她，众口相传地说，因为她丢失了，世界失去了一种快乐。

只在严静的夜里，众星微笑着互相低语说＿＿“寻找是无用的，无缺的完美正笼盖着一切！”

假如我今生无份遇到你，就让我永远感到恨不相逢＿＿让我念念不忘，让我在醒时梦中都带着这悲哀的苦痛。

当的日子在世界的闹市中度过，我的双手满捧着每日的羸利时候，让我永远觉得我是一无所获＿＿让我念念不忘，让我在醒时梦中都带着这悲哀的苦痛。

当我坐在路边，疲乏喘息，当我在尘土中铺设卧具，让我永远记着前面还有悠悠的长路＿＿让我念念不忘，让我在醒时梦中都带着这悲哀的苦痛。

当我的屋子装饰好了，箫笛吹起来，欢笑声喧的时候，让我永远觉得我还没有请你光临＿＿让我念念不忘，让我在醒时梦中都带着这悲哀的苦痛。

我像一片秋天的残云，无主地在空中飘荡，呵，我的永远光耀的太阳！你的摩触远没有蒸化了我的水气，使我与你的光明合一，因此我计算着和你分离的悠长的年月。

假如这是你的愿望，假如这是你的游戏，就请把我这流逝的空虚染上颜色，镀上金辉，让它在狂风中飘浮，舒卷成种种的奇观。

而且假如你愿意在夜晚结束了这场游戏，我就在黑暗中，或在灿白晨光的微笑中，在净化的清凉中，溶化消失。

在许多闲散的日子，我悼惜着虚度了的光阴。但是光阴并没有虚度，我的主。你掌握了我生命里寸寸的光阴。

你潜藏在万物的心里，培育着种子发芽，蓓蕾绽红，花落结实。

我困乏了，在闲榻上睡眠，想象一切工作都已停歇。早晨醒来，我发现我的园里，却开遍了异蕊奇花。

你手里的光阴是无限的，我的主。你的分秒是无法计算的。

夜去明来，时代像花开花落。你晓得怎样来等待。

你的世纪，一个接着一个，来完成一朵小小的野花。

我们的光阴不能浪费，因为没有时间，我们必须争取机缘。我们太穷苦了，决不可迟到。

因此，在我时间让给每一个性急的，向我索要时间的人，我的时间就虚度了，最后你的神坛上就没有一点祭品。

一天过去，我赶忙前来，怕你的门已经关闭；但是我发现时间还有充裕。

圣母呵，我要把我悲哀的眼泪穿成珠链，挂在你的颈上。

星星把光明做成足镯，来装扮你的双足，但是我的珠链要挂在你的胸前。

名利自你而来，也全凭你的予取。但这悲哀却完全是我自己的，当我把它当作祭品献给你的时候，你就以你的恩慈来酬谢我。

离愁弥漫世界，在无际的天空中生出无数的情境。

就是这离愁整夜地悄望星辰，在七月阴雨之中，萧萧的树籁变成抒情的诗歌。

就是这笼压弥漫的痛苦，加深而成为爱、欲，而成为人间的苦乐；就是它永远通过诗人的心灵，融化流涌而成为诗歌。

死亡，你的仆人，来到我的门前。他渡过不可知的海洋临到我家，来传达你的召令。

夜色沉黑，我心中畏惧＿＿但是我要端起灯来，开起门来，鞠躬欢迎他。因为站在我门前的是你的使者。

我要含泪地合掌礼拜他。我要把我心中的财产，放在他脚前，来礼拜他。

他的使命完成了就要回去，在我的晨光中留了阴影；在我萧条的家里，只剩下孤独的我，作为最后献你的祭品。

在无望的希望中，我在房里的每一个角落找她；我找不到她。

我的房子很小，一旦丢了东西就永远找不回来。

但是你的房子是无边无际的，我的主，为着找她，我来到了你的门前。

我站在你薄暮金色的天穹下，向你抬起渴望的眼。

我来到了永恒的边涯，在这里万物不灭＿＿无论是希望，是幸福，或是从泪眼中望见的人面。

呵，把我空虚的生命浸到这海洋里罢，跳进这最深的完满里罢。让我在宇宙的完整里，感觉一次那失去的温馨的接触罢。

当死神来叩你门的时候，你将以什么贡献他呢？

呵，我要在我客人面前，摆上我的满斟的生命之杯＿＿我决不让他空手回去。

我一切的秋日和夏夜的丰美的收获，我匆促的生命中的一切获得和收藏，在我临终，死神来叩我的门的时候，我都要摆在他的面前。

呵，你这生命最后的完成，死亡，我的死亡，来对我低语罢！

我天天地在守望着你；为你，我忍受着生命中的苦乐。

我的一切存在，一切所有，一切希望，和一切的爱，总在深深的秘密中向你奔流。你的眼睛向我最后一盼，我的生命就永远是你的。

花环已为新郎编好。婚礼行过，新娘就要离家，在静夜里和她的主人独对了。

我知道这日子将要来到，当我眼中的人世渐渐消失，生命默默地向我道别，把最后的帘幕拉过我的眼前。

但是星辰将在夜中守望，晨曦仍旧升起，时间像海波的汹涌，激荡着欢乐与哀伤。

当我想到我的时间的终点，时间的隔栏便破裂了，在死的光明中，我看见了你的世界和这世界里弃置的珍宝。最低的座信是极其珍奇的，最小的生物也是世间少有的。

我追求而未得到和我已经得到的东西＿＿让它们过去罢。只让我真正地据有了那些我所轻视和忽略的东西。

在我动身的时光，祝我一路福星罢，我的朋友们！天空里晨光辉煌，我的前途是美丽的。

不要问我带些什么到那边去。我只带着空空匠手和企望的心。

我要戴上我婚礼的花冠。我穿的不是红褐色的行装，虽然间关险阻，我心里也没有惧怕。

旅途尽处，晚星将生，从王宫的门口交弹出黄昏的凄乐。55 当我刚跨过此生的门槛的时候，我并没有发觉。

是什么力量使我在这无边的神秘中开放，像一朵嫩蕊，中夜在森林里开花！

早起我看到光明，我立时觉得在这世界里我不是一生人，那不可思议，不可名状的，已以我自己母亲的形象，把我抱在怀里。

就是这样，在死亡里，这同一的不可知者又要以我熟识的面目出现。因为我爱今生，我知道我也会一样地爱死亡。

当母亲从婴儿口中拿开右乳的时候，他就啼哭，但人立刻又从左乳得到了安慰。

当我走的时候，让这个作我的别话罢，就是说我所看过的是卓绝无比的。

我曾尝过在光明海上开放的莲花里的隐蜜，因此我受了祝福＿＿让这个做我的别话罢。

在这形象万千的游戏室里，我已经游玩过，在这里我已经瞥见了那无形象的他。

我浑身下下因着那无从接触的他的摩抚而喜颤；假如死亡在这里来临，就让它来好了＿＿让这个作我的别话罢。

当我是同你做游戏的时候，我从来没有问过你是谁。我不懂得羞怯和惧怕，我的生活是热闹的。

清晨你就来把我唤醒，像我自己的伙伴一样，带着我跑过林野。

那些日子，我从来不想去了解你对我唱的歌曲的意义。我只随声附和，我的心应节跳舞。

现在，游戏的时光已过，这突然来到我眼前的情景是什么呢？世界低下眼来看着你的双脚，和它的肃静的众星一同敬畏地站着。

我要以胜利品，我的失败的花环，来装饰你。逃避不受征服，是我永远做不到的。我准知道我的骄傲会碰壁，我的生命将因着极端的痛苦而炸裂，我的空虚的心将像一枝空苇呜咽出哀音，顽石也融成眼泪。

我准知道莲花的百瓣不会永闭合，深藏的花蜜定将显露。

从碧空将有一只眼睛向我凝视，在默默地召唤我。我将空无所有，绝对的空无所有，我将从你脚下领受绝对的死亡。

我跳进形象海洋的深处，希望能得到那无形象的完美的珍珠。

我不再以我的旧船去走遍海港，我乐于弄潮的日子早已过去了。

现在我渴望死于不死之中。

我要拿起我的生命的弦琴，进入无底深渊旁边，那座涌出无调的乐音的广厅。

我要调拨我的琴弦，和永恒的乐音合拍，当它呜咽出最后的声音时，就把我静默的琴儿放在静默的脚边。

在我向你合十膜拜之中，我的上帝，让我一切的感知都舒展在你的脚下，接触这个世界。

像七月的湿云，带着未落的雨点沉沉下垂，在我向你合十膜拜之中，让我的全副心灵在你的门前俯伏。

让我所有的诗歌，聚集起不同的调子，在我向你合十膜拜之中，成为一股洪流，倾注入静寂的大海。

7.献给丈夫的诗英文诗歌及译文 篇七

To My Dear and Loving Husband

If ever two were one, then surely we.

If ever man were lov’d by wife, then thee;

If ever wife was happy in a man,

Compare with me ye momen if you can.

I prize thy love more than whole Mines of gold,

Or all the riches that the East doth hold.

My love is such that Rivers cannot quench,

Nor ought but love from thee, give recompence.

Thy love is such I can no way repay,

The heavens reward thee manifold I pray.

Then while we live, in love lets so persever,

That when we live no more, we may live ever.

献给丈夫的诗

我俩合二为一,

我俩永结同心;

我是妻子把你深爱,

你是丈夫给我温馨。

你的.爱胜过一座座金矿,

你的爱让东部的财富不值一文。

我对你的爱像大海永不干涸,

我对你的爱像江河万古长存;

你的爱就是对我最高的报偿,

你的爱我今生永难还清;

活在人间我们的爱百折不回,

离开尘世我们将获得永生。