,英国第一位重要的浪漫主义诗人、版画家。主要诗作有诗集《天真之歌》、《经验之歌》等。早期作品简洁明快，中后期作品趋向玄妙晦涩，充满神秘色彩。白话文为大家精心整理了诗人代表作英文诗歌5篇双语（优秀5篇），希望可以启发、帮助到大家。

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英国第一位重要的浪漫主义诗人、版画家。主要诗作有诗集《天真之歌》、《经验之歌》等。早期作品简洁明快，中后期作品趋向玄妙晦涩，充满神秘色彩。白话文为大家精心整理了诗人代表作英文诗歌5篇双语（优秀5篇），希望可以启发、帮助到大家。

代表作英文诗歌 篇一

Weep you no more,sad fountains-你不要再哭泣，悲伤的泉

Weep you no more,sad fountains.悲伤的泉，你不要哭泣。

What need you flow so fast?你为什么流得那样匆匆？

Look how the snowy mountains你不见天庭的阳光将雪山

Heaven's sun does gently waste.多么温柔地消融？

But my sun's heavenly eyes可是我的太阳，

View not your weeping,她天使般的双眼，

That now lies sleeping看不见你的泪光。

Softly,now softly lies已经睡了，我的太阳，

Sleeping.轻轻地，柔柔地睡了。

Sleep is a reconciling,睡眠，给你休憩，

A rest that peace begets.还你安宁，

Doth not the sun rise smiling你不见安然西沉的太阳

When fair at even he sets?明晨又将笑盈盈地升起？

Rest you then,rest,sad eyes,睡吧，睡吧，悲伤的眼睛。

Melt not in weeping莫在哭泣中消融，

While she lies sleeping她已经睡了，

Softly,now softly lies sleeping轻轻地，柔柔地睡了。

英语诗歌 篇二

Sea Fever海之恋

John Masefield 作/ 绿雪 译

I MUST go down to the seas again, to the lonely sea and the sky,

And all I ask is a tall ship and a star to steer her by,

And the wheel's kick and the wind's song and the white sail's shaking,

And a gray mist on the sea's face, and a gray dawn breaking.

我多想再次回到大海，

回到那寂寥的海天相连

我只想独自驾驶那高大的帆船，看浪花和白帆在风的歌唱中飞舞

雾雨弥漫在海面，透出曙色一线

I must go down to the seas again, for the call of the running tide

Is a wild call and a clear call that may not be denied;

And all I ask is a windy day with the white clouds flying,

And the flung spray and the blown spume, and the sea-gulls crying.

我多想再次回到大海

倾听那奔越的潮汐的呐喊

那野性的呼唤如此清晰使我无法拒绝

风舞云飞，浪花涌溅，还有那海鸥的哭啼，是我唯一的惦念

I must go down to the seas again, to the vagrant gypsy life,

To the gull's way and the whale's way, where the wind's like a whetted knife;

And all I ask is a merry yarn from a laughing fellow-rover,

And quiet sleep and a sweet dream when the long trick's over.我一定要再次回到大海

似吉普赛人浪迹天边

像海鸥，像鲸鱼，咧咧的风像一把锋利的刀

我只想似流浪者笑对如戏人生，让欺诈在静谧、甜美的梦中消散

代表作英文诗歌 篇三

lady lazarus 美国自白派女诗人sylvia plath 于1962年的经典诗作。

by sylvia plath

i have done it again.

one year in every ten

i manage it ——

a sort of waling miracle, my skin

bright as a nazi lampshade,

my right foot

a paperweight,

my face a featureless, fine

jew linen.

peel off the napkin

o my enemy.

do i terrify? ——

the nose, the eye pits, the full set of teeth?

the sour breath

will vanish in a day.

soon, soon the flesh

the grave cave ate will be

at home on me

and i a smiling woman.

i am only thirty.

and like the cat i have nine times to die.

this is number three.

what a trash

to annihilate each decade.

what a million filaments.

the peanut-crunching crowd

shoves in to see

them upwrap me hand and foot——

the big strip tease.

gentlemen, ladies

these are my hands

my knees.

i may be skin and bone,

nevertheless,i am the same, identical woman.

the first time it happened i was ten.

it was an accident.

the second time i meant

to last it out and not come back at all.

i rocked shut

as a seashell.

they had to call and call

and pick the worms off me like sticky pearls.

dying

is an art, like everything else.

i do it exceptionally well.

i do it so it feels like hell.

i do it so it feels real.

i guess you could say i've a call.

it's easy enough to do it in a cell.

it's easy enough to do it and stay put.

it's the theatrical

comeback in broad day

to the same place, the same face, the same brute

amused shout:

'a miracle!'

that knocks me out.

there is a charge.

for the eyeing of my scars, there is a charge

for the hearing of my heart——

it really goes.

and there is a charge, a very large charge

for a word or a touch

or a bit of blood

or a piece of my hair or my clothes.

so, so, herr doktor.

so, herr enemy.

i am your opus,

i am your valuable,

the pure gold baby

that melts to a shriek.

i turn and burn.

do not think i underestimate your great concern.

ash, ash——

you poke and stir.

flesh, bone, there is nothing there——

a cake of soap,

a wedding ring,

a gold filling.

herr god, herr lucifer

beware

beware.

out of the ash

i rise with my red hair

and i eat men like air.

普拉斯诗歌主题和风格：

普拉丝生前出版的诗集有《巨神像》(the colossus)，死后出版的有《精灵》(ariel)，《渡河》(crossing the water)和《冬树》(winter trees)。人性经验被描绘成恐怖且无法驾驭，人际关系也像傀儡似地毫无意义，这两大主题左右着她的想象；她的诗具有独特的风格和技巧，忧郁的气质和苦痛的经验弥漫其间。

普拉丝的诗多描写内心世界，交织着苦痛、抑郁、嘲讽和淡淡的喜悦，尤其她晚期的作品是在一种极端神经质和创作力旺盛的情况下写成的，有时意象转换扭曲得很厉害，我们读她的诗作时，似乎只是及时抓住了几组意象，而无法掌握全诗。她曾这样形容自己晚期的诗：「瘦瘦长长的，像我自己一样。」当然，绝不仅止于形体上的相像，这些诗是普拉丝企图反击并超越那些萦绕其心的许多感情郁结的记录，在英文作品中几乎很难找出与之匹敌者；我们可以说她的作品往往是一个小小的寓言，她企图透过寓言的建立来超越原来的处境或心境，正如艾佛瑞兹(a. alvarez)所说：「这种秩序的诗作是残酷的艺术。」如果普拉丝活得久些，这类诗是否会更上一层楼，谁也没法预言，因为她的诗作和死亡是密不可分的。如今她的诗名和作品都被人们渲染上几分传奇的色彩，和第一次世界大战初布鲁克(rupert brooke)的诗名相当。由于她是近代作家，我们无法腾出时间的距离来评估她在文学史上的最终地位，她诗中过于狂烈、过于内塑的语调是否对后代读者也具有同样的冲击力，我们留待时间来裁定。

代表作英文诗歌 篇四

the blossom 花儿 双语中英对照：

（1）

merry, merry sparrow! 愉快，愉快的小麻雀！

under leaves so green, 在如此翠绿的树叶下，

a happy blossom 一朵幸福的花儿

sees you, swift as arrow, 看着你，如箭般地敏捷，

seek your cradle narrow 在我的胸前寻找

near my bosom. 你那窄小的摇篮。

（2）

pretty, pretty robin! 漂亮，漂亮的知更鸟！

under leaves so green, 在如此翠绿的树叶下，

a happy blossom 一朵幸福的花朵

hears you sobbing, sobbing, 听到你呜咽，呜咽，

pretty, pretty, robin, 漂亮，漂亮的知更鸟！

near my bosom. 在我的胸前盘旋。

代表作经典英文诗歌 篇五

insufficiency 自愧弗如

伊丽莎白•芭雷特•布朗宁

there is no one beside thee and no one above thee,

thou standest alone as the nightingale sings!

and my words that would praise thee are impotent things,

for none can express thee though all should approve thee.

i love thee so, dear, that i only can love thee.

世界上没有人同你并列，也没人高于你；

你形单影只地站在夜莺啼唱的时分！

而我想称颂你的那些话都显得无能，

因为虽人人该赞你，却没人能描绘你。

亲爱的，我爱你之深使我只能够爱你。

say, what can i do for thee? weary thee, grieve thee?

lean on thy shoulder, new burdens to add?

weep my tears over thee, making thee sad?

oh, hold me not--love me not! let me retrieve thee.

i love thee so, dear, that i only can leave thee.

你说我能为你做什么？使你厌倦忧戚？

倚在你肩头上，把新的负担给你添上？

把我的泪滴在你脸上，使你感到悲伤？

哦，别抱我也别爱我！让我来救出你。

亲爱的，我爱你之深使我只能离开你。

诗人代表作英文诗歌5篇双语（优秀5篇）