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lesson 5 Beauty is truth


Beauty is truth
Anna Guest

Background knowledge
John Keats’ poem Ode on a Grecian Urn

court
N. 法院, 庭院, 朝廷, 宫庭, 球场, 奉承, 求 爱, 殷勤 Vt. 试图得到; courting wealth and fame. 试图得到;寻求 招致, courts disaster by taking drugs. 招致,引诱 求爱, court the daughter of the boss 求爱,求婚 pay court to 讨好,求爱

deliberate
mistook the oversight for a deliberate insult a deliberate decision moved at a deliberate pace Adj. 深思熟虑的/谨慎的:行动、移动、 举止方面不慌不忙的/蓄意的;故意的 Vt.熟虑;商讨

deliberate on/upon 仔细研究, 审议 Adv. deliberately N. deliberation熟思, 从容, 商议, 考虑

dislodge
Lodge vi.临时住宿, 寄宿(某人家) vt. 容纳, 寄存, 把...射入, 存放, (向有关当 局)提出(声明) Lodgement n.住处, 寄宿处, 立足点 存放;存放处 Lodging n. 寄宿处, 寄宿, (通常用复数)出租 的房间、住房 Lodging house/quarters Dislodge vt. 移动,驱离;移走,离开

keen
锋利的, 敏锐的, 敏捷的, 热心的, 渴望的 a keen ear. a keen wind. a keen smell of skunk a keen chess player keen on going to Europe in the spring Be keen on/ about 喜爱

pitch
Pitch dark Pitch the road pitched the can out of the window pitched a tent; pitch camp. pitched stakes in the ground. Pitched the ball A high-pitched man

pitch
n. 沥青 柏油 vt. 铺沥青于 投球 (baseball) 树起,搭起,建立 深埋 丢,抛开,丢弃

Text analysis
How do you understand the truth and beauty in the this story? How do you interpret the end of the story?

be behind 延迟, 落后
be behind in / with拖欠; 拖延;不能如期完 成 She is behind with her term papers. fall behind 落在...的后面, 拖欠 fall behind in 在...方面落后

detach
分开,松开:分开,松开;使不连: detach a check from the checkbook; detach burs from one's coat. 分离,退出:从组织或联盟中移走某物: detach a calf from its mother; detached herself from the group. 派遣:为某一特殊任务派遣(例如:士兵,船 只等) Detach more soldiers for the mission.

2. Attach to: (1) tick to 贴,粘着 e.g. to attach a label to a suitcase (2) be part of 附属 e.g. There is a hospital attached to the medical school. The primary school is attached to Northeast Normal University. (3) sign one’s name on 签名 e.g. attach one’s signature to a document (4) to like very much 喜爱,迷恋 e.g. He was strongly attached to his home. The two sisters are very much attached to each other. (5) consider important认为 重要e.g. She attached no significance to his warning. Attach an importance to

to be attached to
to be connected with; to like very much; to be part of 附属于,依恋 -A garage is attached to their house. 他们的 房子有一个车库。 Attached 附上...的 attachment 附件, 附加装置, 配属

cling
clung to the rope to keep from falling; fabrics that cling to the body. We clung together in the storm. clinging to outdated customs. Cling on to紧紧抱住, 死抱不放 The old man clung on to a tree trunk, which saved him in the flood. Cling to依附, 依靠, 坚持

descend
V 下来;向下倾斜,向下延伸;遗传下来,传下: 来自祖先;来自;来源于;:降低自己的身份; 降格 A rough path descended like a steep stair into the plain She was descended from a pioneer family. a tradition descending from colonial days “She, the conqueror, had descended to the level of the conquered

Descend/ fall /drop
Soon afterwards ,the balloon began to descend and it landed near an airfield. I came across him when he was descending the stairs. Dead leaves are falling from the tree. A bird had snatched up the snake from the ground and then dropped it on to the wires.

Descend/ fall /drop
descend表示带有一定的倾斜度的下落, 而 fall 和drop 表示突然的或急剧的垂直下 落。 drop 所表示的下落可以是行为者有意识 的动作,也可以是无意识或不小心所致的 动作。 fall 是个普通词,使用范围很广

impact
n. 碰击,撞击: 影响;影响力 the impact of automation on the lives of factory workers a speech that lacked impact. V.用力撞击: meteorites impacting the lunar surface. 对…产生影响 impact on

affect, influence, impress, touch, move, strike
这些动词可以相互比较,因为他们都表示产 生心理或情感上的影响。 affect , 是指作用于人的感情: influence 暗含对他人感情,思想以及行 为的控制及左右的程度: impress , 其是指产生一种显著的,深刻 的,通常是持久的效果

Touch 通常指激起一种温柔的反应,例 如爱,感激或激情: Move 暗指深刻的情感效果,有时导致行 动或具有进一步后果: Strike 暗含对刺激反应的强烈感情或心理 力量:

affect, influence, impress, touch, move, strike
The adverse criticism the book received didn't affect the author one way or another. “Humanity is profoundly influenced by what you do” (John Paul II). The Tibetan landscape particularly impressed him. We are touched by the touching music.

affect, influence, impress, touch, move, strike
The account of her experiences as a refugee moved us to tears. I was struck by the sudden change in his behavior.

reflect
Baseball reflects America's history Her work reflects intelligence. The smooth surface reflect back most of the rays. reflect on思考 反省 怀疑 导致 责备 思考, 思考 反省, 怀疑, 导致, reflects on her country's place in history The hasty preparation of this report reflects on you The excuses you gave reflect disappointingly on you.

rip
rip into猛烈攻击,抨击:猛烈地攻击或抨击 猛烈攻击, 猛烈攻击 抨击:猛烈地攻击或抨击: She ripped into her opponent's political record. rip off 【俚语】偷窃 偷窃: 偷窃 She ripped off a leather jacket while ostensibly trying on clothes. 剥削、诈取、欺骗或诈骗: 剥削、诈取、欺骗或诈骗 It was a false advertising campaign that ripped off a great many consumers.

crack break split rip tear
Break 最普通,含有突然用力或内部压力的聚 积的意思 broke her leg a delicate chair that will break under a great weight crack 是使破裂,常带有啪的一声,并不裂成 碎片 The foundation of the house cracked during the earthquake.

Split 指竖向或顺着纹理分裂成几个 部分: split the log with an ax frost that caused the rock to split. Tear 含有把某物扯开或扯成碎片的 意思 She tore the letter in shreds Rip 暗指经常沿分割线,例如裂缝 或接合线,粗暴的或用力的撕开或撕 掉 Carpenters ripped up the old floorboards.

The general___the ultimatum into pieces. The robbers had obviously tried to ___ the safe open, but failed. Eventually the empire ____ into many smaller nations. He ____ off a piece of cloth from his shirt and bandaged his wound.

Can you ___ the wood right down the middle. She ___ open the letter and found there were only four words written: “you will be next”. The door was made of very hard wood. They could only___ it, but they could not ____ it.

Disregard/regard
Regard (1)to look at attentively; to observe closely They all regard her with great curiosity. (2) to consider or look upon in a particular way In those days many young people regarded simple life as a virtue.

(3) to have great affection or admiration for She is highly regarded in the academic circles. Regard n. give or send one’s regards to somebody

In this regard: in this respect, in this matter With regard to: regarding; about; concerning As regards: as for Regardless of

Incredible/ incredulous
The way she escaped is an story. They all looked at me when I told them that my 94-year-old mother can still recite long classical essays. It’s how China has achieved such a rapid economic growth. They looked when the young woman said that she could get the factory out of debt in two years.

shrink
Shrink 指引起长度、尺寸、体积或范围减小的 收缩: Wool jersey should be shrunk before being cut and stitched. 羊毛平针织物在裁剪和缝纫前应先缩水。 Many once prosperous northern mill towns have shrunk as industry has moved to the South. His capital shrank as his business foundered.

Abbreviations:
? UN United Nations 联合国 ? UNESCO United Nations Educational, Scientific, and Cultural Organization联合国教科文组织 ? WHO World Health Organization 世界卫生组织 ? WTO World Trade Organization世界贸易组织 ? OPEC Organization of Petroleum Exporting Countries 石油输出国组织

? APEC
The Asia-Pacific Economic Cooperation 亚太经贸合作组织

? OECD
Organization for Economic Cooperation and Development 经济合作与发展组织[欧洲]

? IMF International Monetary Fund 国际货币基金组织 ? NATO North Atlantic Treaty Organization 北大西洋公约组织 ? EU European Union 欧洲同盟

? UK United Kingdom 联合王国 ? PRC People‘s Republic of China中华人民共和国 ? GNP Gross National Product 国民生产总值 ? GDP Gross Domestic Product 国内生产总值 ? ITT International Telephone and Telegraph Corporation 国际电话电报公司[美]

? GM General Motors Corporation 通用汽车公司[美] ? FBI Federal Bureau of Investigation (美国)联邦 调查局 ? CIA Central Intelligence Agency 中央情报局[美] ? CCTV China Central Television中国中央电视台 ? VOA Voice of America ,美国之音

? BBC British Broadcasting Corporation英国广播公 司 ? CBS Columbia Broadcasting System哥仑比亚广播 系统([美] ? WW II World War Two 第二次世界大战 ? GMT Greenwich Mean Time 格林尼治标准时间 ? UFO unidentified flying object 不明飞行物

? NAFTA North American Free Trade Agreement 北美自由贸易协定 ? UPI United Press International合众国际社 ? JAL Japan Air Lines, 日本航空公司 ? MIT Massachusetts Institute of Technology 马萨诸塞州理工学院, 麻省理工学院[美] ? UCLA University of California at Los Angeles (美国)加利福尼亚大学洛杉矶分校

? US United States 美国 ? HK Hong Kong 香港 ? AD 公元 (Anno Domini) ? BC Before Christ 公元前 ? NASA National Aeronautics and Space Administration (美国)国家航空和宇宙航行局

John Keats
(1795(1795-1821)

English lyric poet, the archetype of the Romantic writer

2010年11月26日星期五

School of Foreign Studies, SCNU

The Ode
? dignified and elaborately structured lyric poem praising and glorifying an individual, commemorating an event, or describing nature intellectually rather than emotionally. ? The ode in English is usually a succession of stanzas in lines of varying length and meter. ? During the romantic period in England, Shelley wrote “Ode to the West Wind” and John Keats produced his great odes, including “Ode on a Grecian Urn.”
2010年11月26日星期五 School of Foreign Studies, SCNU

Ode on a Grecian Urn
? This poem was first published in January 1820. It is thought not to be based on any specific Greek vase. ? This ode is frequently treated as Keats' central poem, as a key to the understanding and appreciation of all his work, and with its reiteration of all the major themes, its richness of imagery, its superb craftsmanship, it is quite capable of filling such a role. ? Literally hundreds of interpretations have been offered of it, no one of which, as Walter Bate has said, "satisfies anyone except the interpreter," for "too many different elements converge" in these stanzas to make for an easy consensus.
2010年11月26日星期五 School of Foreign Studies, SCNU

The Form
? Each stanza is 10 lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last 3 lines of which are variable. ? The first 7 lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza 1 and 5, lines 7 through 10 are rhymed DCE; in stanza 2, CED; in stanzas 3 and 4, CDE. ? The two-part rhyme scheme creates the sense of a twopart thematic structure as well. The first 4 lines of each stanza roughly define the subject of the stanza, and the last 6 roughly explicate or develop it.
2010年11月26日星期五 School of Foreign Studies, SCNU

在你的形体上, 在你的形体上,岂非缭绕着 古老的传说,以绿叶为其边缘; 古老的传说,以绿叶为其边缘; Stanza 1 ,或神,敦陂或阿卡狄? 讲着人, 讲着人 或神,敦陂或阿卡狄? 是怎样的人,或神! 呵,是怎样的人,或神!在舞乐前 Thou多热烈的追求!少女怎样地逃躲! still unravish'd bride of quietness, 多热烈的追求!少女怎样地逃躲! Thou foster-child of silence怎样的狂喜! 怎样的风笛和鼓谣! and slow time, 怎样的风笛和鼓谣!怎样的狂喜! Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, 你委身“寂静” 你委身“寂静”的、完美的处子 In Tempe or the dales of Arcady? , What men or gods are these? What maidens loth? 悠久” 受过了“沉默”和“悠久”的抚 受过了“沉默” What mad pursuit? What struggle to escape? 育, What pipes and timbrels? What wild 田园的史家, 呵,田园的史家,你竟能铺叙 ecstasy? 一个如花的故事,比诗还瑰丽: 一个如花的故事,比诗还瑰丽:

Arcadia
? a geographic area of mountainous forest of Greece in the Peloponnesus. ? For Greek pastoral poets, Arcadia was a symbol of rural simplicity and the joys of the shepherd's life, tending flocks and making music all the day long with flute and pipes. ? Arcadia remained a rustic, secluded area, and its inhabitants became proverbial as primitive herdsmen leading simple pastoral unsophisticated yet happy lives, to the point that Arcadia may refer to some imaginary idyllic paradise.
2010年11月26日星期五 School of Foreign Studies, SCNU

树下的美少年呵, 树下的美少年呵,你无法中断 你的歌,那树木也落不了叶子; 你的歌,那树木也落不了叶子; Stanza 2 卤莽的恋人,你永远、永远吻不上, 卤莽的恋人,你永远、永远吻不上, 虽然够接近了——但不必心酸; 但不必心酸; 虽然够接近了 但不必心酸 Heard melodies ,虽然你不能如愿以偿, 她不会老,虽然你不能如愿以偿, 她不会老 are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; 你将永远爱下去,她也永远秀丽! 你将永远爱下去,她也永远秀丽! Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave 听见的乐声虽好, 听见的乐声虽好, trees be bare; Thy song, nor ever can those 但若听不见 却更美;所以,吹吧,柔情的风笛; 却更美;所以,吹吧,柔情的风笛; Bold Lover, never, never canst thou kiss, 不是奏给耳朵听,而是更甜, 不是奏给耳朵听,而是更甜, Though winning near the goal yet, do not grieve; 它给灵魂奏出无声的乐曲; 它给灵魂奏出无声的乐曲; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair!

呵,更为幸福的、幸福的爱! 更为幸福的、幸福的爱! 永远热烈,正等待情人宴飨, 永远热烈,正等待情人宴飨, Stanza 3 永远热情地心跳,永远年轻; 永远热情地心跳,永远年轻; 幸福的是这一切超凡的情态: 幸福的是这一切超凡的情态: Ah, happy, happy boughs! that cannot shed 它不会使心灵餍足和悲伤, 它不会使心灵餍足和悲伤, Your leaves, nor ever,焦渴的嘴唇。 没有炽热的头脑,焦渴的嘴唇。 没有炽热的头脑 bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! 呵,幸福的树木! For ever warm and 幸福的树木!你的枝叶 still to be enjoy'd, 不会剥落, ever young; 不会剥落 for从不曾离开春天; For ever panting, and,从不曾离开春天; 幸福的吹笛人也不会停歇, 幸福的吹笛人也不会停歇, All breathing human passion far above, 他的歌曲永远是那么新鲜; 他的歌曲永远是那么新鲜; That leaves a heart high-sorrowful and cloy'd, A burning forehead, and a parching tongue.

是从哪个傍河傍海的小镇, 是从哪个傍河傍海的小镇, 或哪个静静的堡寨山村, 或哪个静静的堡寨山村, Stanza 4 来了这些人,在这敬神的清早? 来了这些人,在这敬神的清早? 小镇,你的街道永远恬静; 呵,小镇,你的街道永远恬静; Who 再也不可能回来一个灵魂 are these coming to the sacrifice? To what green altar, O mysterious priest, 告诉人你何以是这么寂寥。 告诉人你何以是这么寂寥。 Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, 这些人是谁呵,都去赶祭祀? 这些人是谁呵,都去赶祭祀? Is emptied 这作牺牲的小牛,对天鸣叫, of this folk, this pious morn? 这作牺牲的小牛,对天鸣叫, 你要牵它到哪儿,神秘的祭司? 你要牵它到哪儿,神秘的祭司? And, little town, thy streets for evermore 花环缀满着它光滑的身腰。 Will silent be; 花环缀满着它光滑的身腰。 and not a soul to tell Why thou art desolate, can e'er return.

等暮年使这一世代都凋落, 等暮年使这一世代都凋落, 只有你如旧; 只有你如旧;在另外的一些 Stanza 5 ,你会抚慰后人说: 忧伤中, 忧伤中 你会抚慰后人说: 美即是真,真即是美, “美即是真 attitude! with brede O Attic shape! Fair,真即是美,”这就包 括 Of marble men and maidens overwrought, 你们所知道、和该知道的一切。 你们所知道、和该知道的一切。 With forest branches and the trodden weed; 查良铮 译 Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, 希腊的形状! other woe 哦,希腊的形状!唯美的观照! Thou shalt remain, in midst of唯美的观照! 上面缀有石雕的男人和女人, 上面缀有石雕的男人和女人, Than ours, a friend to man, to whom thou say'st, 还有林木,和践踏过的青草; 还有林木,和践踏过的青草; "Beauty is truth, truth beauty,--that is all 沉默的形体呵,你象是“永恒” 沉默的形体呵,你象是“永恒” Ye know on earth, and all ye need to know." 使人超越思想: 冰冷的牧歌! 使人超越思想:呵,冰冷的牧歌!

Beauty is truth, truth beauty
Aside from textual considerations, the final couplet is ambiguous and has resulted in an extensive critical controversy over its meaning. Jack Stillinger comments, "As to critical interpretation of who says what to whom, no single explanation can satisfy the demands of text, grammar, consistency and common sense." T.S. Eliot calls these lines a " serious blemish on a beautiful poem; and the reason must be either that I fail to understand it, or that it is a statement which is untrue."

Beauty is truth, truth beauty
It could be the speaker addressing the urn, and it could be the urn addressing mankind. If it is the speaker addressing the urn, then it would seem to indicate his awareness of its limitations: The urn may not need to know anything beyond the equation of beauty and truth, but the complications of human life make it impossible for such a simple and self-contained phrase to express sufficiently anything about necessary human knowledge. If it is the urn addressing mankind, then the phrase has rather the weight of an important lesson, as though beyond all the complications of human life, all human beings need to know on earth is that beauty and truth are one and the same. It is largely a matter of personal interpretation which reading to accept.

Engagement with the Urn
This Ode portrays his attempt to engage with the static immobility of sculpture. The Grecian urn, passed down through countless centuries to the time of the speaker's viewing, exists outside of time in the human sense. This creates an intriguing paradox for the human figures carved into the side of the urn: They are free from time, but they are simultaneously frozen in time. They do not have to confront aging and death (their love is "for ever young"), but neither can they have experience (the youth can never kiss the maiden; the figures in the procession can never return to their homes).

Engagement with the Urn
The speaker attempts three times to engage with scenes carved into the urn; each time he asks different questions of it. In the first stanza, he examines the picture of the "mad pursuit" and wonders what actual story lies behind the picture: "What men or gods are these? What maidens loth?" Of course, the urn can never tell him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this line of questioning.

Engagement with the Urn
In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of the piper's unheard song and the eternally unchanging beauty of his lover.

Engagement with the Urn
He thinks that their love is "far above" all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensity— when passion is satisfied, all that remains is a wearied physicality: a sorrowful heart, a "burning forehead," and a "parching tongue." His recollection of these conditions seems to remind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.

Engagement with the Urn
In the 4th stanza, the speaker attempts to think about the figures on the urn as though they were experiencing human time, imagining that their procession has an origin (the "little town") and a destination (the "green altar"). But all he can think is that the town will forever be deserted: If these people have left their origin, they will never return to it. In this sense he confronts head-on the limits of static art; if it is impossible to learn from the urn the whos and wheres of the "real story" in the first stanza, it is impossible ever to know the origin and the destination of the figures on the urn in the fourth.

Engagement with the Urn
In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. He is overwhelmed by its existence outside of temporal change, with its ability to "tease" him "out of thought / As doth eternity." If human life is a succession of "hungry generations," as the speaker suggests in "Nightingale," the urn is a separate and self-contained world. It can be a "friend to man," as the speaker says, but it cannot be mortal; the kind of aesthetic connection the speaker experiences with the urn is ultimately insufficient to human life.

Paradoxes and Opposites
"Ode on a Grecian Ode" is based on a series of paradoxes and opposites: the discrepancy between the urn with its frozen images and the dynamic life portrayed on the urn, the human and changeable versus the immortal and permanent, participation versus observation, life versus art.


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