graphicdesign我是无名之辈，你是谁？
你也是无名之辈吗？
那我们不就是一对了！
不要张扬—你知道，他们会赶走我们的。
当个大人物多么的无趣，
就像只青蛙—在漫长的六月
make sb do sth公开地向赞扬它的沼泽
宣扬它的大名。
Emily Dickinson (1830-1886)I’m Nobody!
I’m Nobody! Who are you?
Are you Nobody too?
Then there’s a pair of us!
Don’t tell, they’d banish us, you know!
How dreary to be Somebody!
How public—like a Frog—
To tell your name the livelong June
To an admiring Bog!
agora
The author us the first narration to have a cret talk with the readers. The theme of the talk is the fame burden. The author is happy that she is nobody and asked the reader not to unclo her identity. She is satisfied with her current life.
The theme of the poem is that to live a peaceful life with no fame is a wi idea. The complicated society is not fit for the author.
Simile :“How public—like a frog…”
The author compares the public person or somebody to frogs, they have no freedom, hypocritical and have to share with others their own things
Questions
1.Who are the “pair of us” and “they” in this poem?
2.What does “an admiring bog” really mean?
3.What is the theme of this poem?
4.Do you want to be “nobody” or “somebody”? Explain your reasons.
Ezra Pound (1885—1972)
In a Station of the Metro
The apparition of the faces in the crowd;
viceversa
Petals on a wet, black bough
●人群中这些面庞的闪现； 人群中，这些面孔的鬼影；
湿漉的黑树干上的花瓣。（赵毅衡） 潮湿的黑树枝上的花瓣。（余光中）
新视野大学英语●这几张脸在人群中幻景般闪现； 这些面孔浮现于人群；
湿漉漉的黑树枝上花瓣数点。（飞白） 花瓣潮湿的黑树枝（颜元叔）
Theme: This poem is an obrvation of the poet of the human faces en in a Paris subway station or a description of a moment of sudden emotion at eing beautiful faces in a Metro in Paris. He es the faces, turned variously toward light and darkness, like flower petals which are half absorbed by, half resisting, the wet, dark texture of a bough.
The one image in this poem: This poem is probably the most famous of all imagist poems. In two lines it combines a sharp visual image or two juxtapod images （意象叠加） "Petals on a wet， black bough" with an implied meaning. The faces in the dim light of the Metro suggest both the impersonality and haste of city life and the greater transience of human life itlf. The word "apparition" is a well-chon one which has a two-fold meaning: Firstly, it means a visible appearance of something real. Secondly, it bu
ilds an image of a ghostly sight, a delusive and unexpected appearance.
Pound us the fewest possible words to convey an accurate image, which is the principle of the Imagist poetry. This poem looks to be a modern adoption of the haiku form of Japane poetry which adapts the 3-line, 17 syllable and where the title is an integral part of the whole. The poem succeeds largely becau of its internal rhymes: station/apparition; Metro/petals/wet; crowd/bough. Its form was determined by the experience that inspired it, involving organically rather than being chon arbitrarily.
This short piece illustrates his imagistic talent becau the entire poem deals with images alone. It is not complex; rather, the two-line poem is straightforward and to the point. The poem is extremely short, but it ems intriguing and has a deep message about the beauty of human beings.
Robert Frost (1874-1963)
我很难办，我一人把步散，
不能同时都涉足，我踌躇，
curtain什么意思顺着一条路我望向远处，
直到它在树丛下边转弯。
The Road Not Taken (1915)Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth.
(Stanza One---- Describes Situations)
或许还有更大的说服力，
因为它茸茸如草待人踩；
那边的足迹，就这点说来，
留下的印痕也难分彼此。
Then took the other, as just as fair,
And having perhaps the better claim,
Becau it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same.
建筑工程发票(Stanza Two---- Decides to Take Less-travelled Road)
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
differentiated
Yet knowing how way leads on to way,
I doubted if I should ever come back.
(Stanza Three---- Continues Description of Road)
那个早晨那两条路全都
铺满落叶没有脚步踩黑。
哦，我留头一条路下次走！
但我知道前途路路相扣，
我怀疑是否还能再走回。
岁月如梭当多少年已过，
a dream哪天说起此事我会感叹：
树林里分出两条路，而我――
我走的那条路足迹不多，
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I--
