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She Walks in Beauty

[导读]她走在美的光彩中，像夜晚；皎洁无云而且繁星满天。有人理解为赞美爱人的美丽，有的人则认为是一种意境的呈现。无论从什么角度去欣赏它，这首诗都那么的美，那么的打动人心。诵读时注意诗歌的用韵，每行结尾压韵的单词要重读。 She walks in beauty, like the night Of cloudless climes and starry skies; And all that's best of dark and bright Meet in her aspect and her eyes: Thus mellow'd to that tender light Which heaven to gaudy day denies. George Gordon Byron: She Walks in Beauty [注释]

G. G. Byron：拜伦，英国浪漫时期的诗人，著有长诗\Harold's Pilgrimage” clime: 气候；地方 starry: 布满星星的

mellow: soft, sweet, juicy, and full-flavored 柔和、柔软的、甜蜜的；芳醇的。 mellow'd=mellowed, mellow'd是古英语拼法。 tender: 温柔的, 柔嫩的

gaudy: a feast or festival; called also gaud-day and gaudy day. deny: to give a refusal to; turn down or away 拒绝

[参考译文]

她走在美的光彩中，像夜晚 皎洁无云而且繁星满天 明与暗的最美妙的色泽 在她的仪容与秋波里呈现 彷佛是晨露映出的阳光 但比那光亮柔和而幽暗。

英文赏析:

According to his friend, James W. Webster, “I did take him to Lady Sitwell?s party in Seymour Road. He there for the first time saw his cousin, the beautiful Mrs. Wilmot. When we returned to his rooms in Albany, he said little, but desired Fletcher to give him a tumbler of brandy, which he drank at once to Mrs. Wilmot?s health, then retired to rest, and was, I heard afterwards, in a sad state all night. The next day he wrote those charming lines upon her—she walks in Beauty like the Night…”

附写作背景:

In June, 1814, several months before he met and married his first wife,

Anna Milbanke, Lord Byron attended a party at Lady Sitwell?s. While at the party, Lord Byron was inspired by the sight of his cousin, the beautiful Mrs. Wilmot, who was wearing a black spangled mourning dress. Lord Byron was struck by his cousin?s dark hair and fair face, the mingling of various lights and shades. This became the essence of his poem about her. 分析答案

?The three stanzas of this poem all follow the same rhyme scheme (ababab, cdcdcd, efefef) and the same metrical pattern. The pairing of two rhyming sounds in each stanza works well because the poem concerns itself with the two forces—darkness and light—at work in the woman?s beauty, and also the two areas of her beauty—the internal and the external.

?The rhyming words, especially in the first stanza, have importance: notice how “night” rhymes with its opposites, “light” and “bright.” ?The poem uses images of light and darkness interacting to describe the wide spectrum of elements in a beautiful woman?s personality and looks. ?Critics have admired it for its gracefulness, lyricism, and masterful use of internal rhyme: a work of “peculiar sweetness and beauty” Alfred Tennyson: “Cross the Bar;”p295

Stylistic Analysis of “She Walk in Beauty”

Introduction

George Gordon Byron was a British poet and a leading figure of Romanticism. He was regarded as one of the greatest European poets and remains widely read and influential, both in the English-speaking world and beyond.

In the period of Romanticism, the poetry style is quite different from that in Neoclassicism. They are no longer a reflection of the reality or morality, but the true feelings flowing from the inside of the poets. As one of the

representatives of Romanticism, Byron’s works are famous for daring imagination and exaggeration. In the other hand, he is very good at blending beautiful feelings into beautiful imagery. Analysis

Byron’s poem “She Walks in Beauty” is one of his best-known poems. It is not necessarily a love poem, but more of a celebration of the women's beauty. In June, 1814, Byron attended a party at Lady Sitwell’s, where he was inspired by the sight of his cousin, the beautiful Mrs. Wilmot, who was

wearing a black, spangled mourning dress. Byron was struck by his cousin’s dark hair and fair face, the mingling of various lights and shades. The next day he wrote these charming lines upon her. In this poem he fully expresses his praise for beauty, and every line leaps his heart of admiration. Like much of Byron’s poems, this one is pleasant both in form and content. I. At the Phonological Level Meter

In this poem, Byron uses a very clear metrical pattern-iambic tetrameter. That is to say each line contains four stressed syllables and four unstressed syllables, and each unstressed syllable is followed by a stressed one, as the following shows: v ／ v ／ v ／ v ／

But the fourth line of the first stanza begins with an irregularity in the meter called a metrical substitution. It starts with a stressed syllable followed by an unstressed one, rather than the iambic meter of the other lines. The effect is that the word “meet” receives attention, an emphasis. The lady’s unique feature is “meet” in her in a wonderful way.

Rhyme

Byron also adopts very strict rhymes:

a b a b a b (night/skies, bright/eyes, light/denies) c d c d c d (less/grace, tress/face, express/place) e f e f e f (brow/eloquent, glow/spent, below/innocent) The rhymes add much musicality to the poem and make it sound harmonious and euphonious. Meanwhile, the use of rhymes also perfectly combines the pleasant structure with the poet’s deep thought

Alliteration and Assonance

Alliteration refers to the repetition of an initial sound in two or more words that occur close together while assonance refers to the repetition of internal vowel sounds in successive words. In this poem, Byron uses alliteration and assonance frequently. For example, “cloudless/climes” and “starry/skies” in the second line are forms of alliteration, “like/night” in the first line and “climes/skies” in the second line are assonance. These also add a music sense to the

poem. At the same time, they can deepen the readers’ impression of the verses. Phonaesthesia

Phonaesthesia has been described as a type of conventional sound symbolism whereby phonemes, clusters or syllables are associated with a sub-lexical meaning. In this poem, the author applies many soft consonants, such as /w/ in “walks” “which” “where”, /l/ in “light” “less” “tell”, /m/ in “mellow” “more” “smile” and so on. There are also many long vowels in it, like /?:/ /ju:/ /?:/ etc. Moreover, the voiceless consonant /s/ appears almost in every line. All these combine in this beauty-describing poem and make it gentle in tone and slow in rhythm, which matches the lady’s grace and quiet as well as the author’s admirable heart harmoniously.

Ⅱ. At the Text Level

Enjambment (Inner-line Relationship)

Enjambment is used quite often in English poetry. In this poem, the first two lines can be confusing if not read properly. Many

readers stop at the end of the first line where there is no punctuation. This is an enjambed line, meaning that it continues without pause onto the second line. That “she walks in beauty like the night” may not make sense as night represents darkness. However, as the line continues, the night is a cloudless one with bright stars to create a beautiful mellow glow. The first two lines bring together the opposing qualities of darkness and light that are at play throughout the three stanzas.

The remaining lines of the first stanza employ another two sets of enjambed lines that tell us that her face and eyes combine “all that’s best of dark and bright”. The focus of the vision is upon the details of the lady’s face and eyes which reflect the mellowed and tender light. She has a remarkable quality of being able to contain the opposites of dark and bright. Layout

The first two stanzas tell us how beautiful the lady’s face and eyes are, and they are nearly perfect. The shades and rays are in just the right proportion, and because of them, the lady possesses a nameless grace. This conveys the romantic idea that

her inner beauty is mirrored by her outer beauty. Her thoughts are serene and sweet. She is pure and dear.

The last stanza is split between three lines of physical description and three lines that describe the lady’s moral character. Here “soft”, “calm” and “glow” reflect a life of peace and goodness. This is a repetition, an emphasis, of the theme that the lady’s physical beauty is a reflection of her inner beauty. Conclusion

In this poem “She Walks in Beauty”, Byron portrays a graceful and serene lady successfully with his delicate touch. He uses hue contrast of darkness and brightness and vivid description of the lady’s physical appearance. Thus, a lady gathering the true, the good and the beautiful is like walking before the readers. No matter from its meter and structure or from the aesthetic point, this poem is a treasure in English poetry. Byron deserves the name of a great romanticist. 1、整体上 ：

这首诗采用的押韵是ababab cdcdcd efefef，为四步抑扬格，诗歌形象鲜明，语言富有表现力,尤其形容词的使用不仅烘托出诗的优美

气氛，而且塑造了温柔、善良、理想的美的形象。诗人通过感觉、形体等意象，使读者通过想象和联想获得身临其境、亲见其美之感。 诗歌的结构严谨，节奏明快，意向完美，全诗分为三个诗段，十八诗行。

诗人从心里感受到角度出发，描写夫人的美：从步态、仪容、眼睛、乌发、脸庞到微笑及心灵，由具体到抽象，将现实中的美通过诗句升华到理想的美，使得美内涵和意境得到无限延伸。全是感情自然，风格明快，从外在美深入到内在美，书法这不同内涵的美，突出了诗人高超独到的审美能力。 2、分诗段研读

第一诗节：首先描写夫人的步态。“She walks in beauty, like the night of cloudless climes and starry skies” 用头韵、明喻等手法，塑造了一个鲜明的艺术形象。诗人把夫人的从容缓步与皎洁无云、满天繁星的夜晚相映衬，以浪漫主义笔触将这种美与大自然融为一体。“Thus mellow’d to that tender light / Which heaven to gaudy day denies”描写夫人的仪容与秋波，她的美色泽柔和。 第二诗节：诗人继续围绕美的内涵，延伸美的意境。“One shade the more, one ray the less/ Has half impair’d the nameless grace” 对夫人的美做了高度赞美。诗句中的“waves”和“lightens”,将抽象的美具体化。美能飞舞在发上，在夫人的脸上放出光彩。美便有了生命。

第三诗节：从夫人面颊的美深入到她内心的美。“So soft, so calm, yet eloquent”生动地表现出夫人性情温柔沉静。前四行赞美夫人的容颜、微笑等外在美；后两行表现的是夫人的本质美。“A mind at peace with all below,/ A heart whose love is innocent”外在美与内在美完美结合。

She Walks in Beauty

---George Gordon, Lord Byron George Gordon Byron (22 January 1788 – 19 April 1824) was an English poet and a leading figure in Romanticism. Amongst Byron's best-known works are the brief poems She Walks in Beauty,

When We Two Parted, and So, We’ll Go No More a Roving, in

addition to the narrative poems Childe Harold’s Pilgrimage and Don Juan.

He is regarded as one of

the greatest British poets and remains widely read and influential, both in the English-speaking world and beyond. Byron's notability rests not only on his writings but also on his life, which featured aristocratic excesses, huge debts, numerous love affairs, and self-imposed exile. He was famously described by Lady Caroline Lamb as \know\

Byron served as a regional leader of Italy's revolutionary organization, the Carbonari, in its struggle against Austria. He later travelled to fight against the Ottoman Empire in the Greek War of Independence, for which Greeks revere him as a national hero. He died from a fever contracted while in Messolonghi in Greece

She Walks in Beauty

It is written in 1814. It was the first of several poems to be set to Jewish tunes from the synagogue by Isaac Nathan, which were published as Hebrew Melodies in 1815.

This poem is not necessarily a love poem, but more of a celebration of the subject's beauty. Some critics have said that Byron fell passionately in love with his cousin and wrote this poem for her. He met her for the first time while she was in mourning over the death of a loved one. Thus, in modest black dress. Byron encountered his cousin, known for her great beauty, and was taken aback.

She walks in beauty,like the night

美人缓行如夜移,

Of cloudless climes and starry skies; 清空无云动繁星;

And all that'best of dark and bright 明丽晦深潜交影,

Meet in her aspect and her eyes; 凝妆娇容汇眸情;

Thus mellow'd to that tender light

融融月色柔极致,

Which heaven to gaudy day denies 耀目昼曦难相映.

One shade the more,one ray the less, 明暗一丝难增减,

Had half impair'd the nameless grace 莫明优雅易折失.

Which waves in every raven tress, 万缕金泽溢雅致,

Or softly lightens o'er her face; 芙蓉颜面泛灵滋;

Where thoughts serenely sweet express 适逸安恬若有思,

How pure,how dear their dwelling-place. 清纯高洁显心志.

And on that cheek, and o'er that brow,

秀颊柔美多沉静,

So soft, so clam, yet eloquent 柳眉动人语无声;

The smiles that win, the tins that glow, 迷人笑嫣光彩焕,

But tell of days in goodness spent, 似隐似现年华生.

A mind at peace with all below, 人间万事平心待,

A heart whose love is innocent! 痴心一片仍天真.

The first couple of lines can be confusing if not read properly. Too often readers stop at the end of the first line where there is no punctuation. This is an enjambed line, meaning that it continues without pause onto the second line. That she walks in beauty like the night may not make sense as night represents darkness. However, as the line continues, the night is a cloudless one with bright stars to create a beautiful mellow glow. The first two lines bring together the

opposing qualities of darkness and light that are at play throughout the three verses.

The remaining lines of the first verse employ another set of enjambed lines that tell us that her face and eyes combine all that’s best of dark and bright. No mention is made here or elsewhere in the poem of any other physical features of the lady. The focus of the vision is upon the details of the lady’s face and eyes which reflect the mellowed and tender light. She has a remarkable quality of being able to contain the opposites of dark and bright.

The third and fourth lines are not only enjambed, but the fourth line begins with an irregularity in the meter called a metrical substitution. The fourth line starts with an accented syllable followed by an unaccented one, rather than the iambic meter of the other lines, an unaccented syllable followed by an accented one. The result is that the word “Meet” receives attention, an emphasis. The lady’s unique feature is that opposites “meet” in her in a wonderful way.

The second verse tells us that the glow of the lady’s face is nearly perfect. The shades and rays are in just the right proportion, and because they are, the lady possesses a nameless grace. This conveys the romantic idea that her inner beauty is mirrored by her outer beauty. Her thoughts are serene and sweet. She is pure and dear.

The last verse is split between three lines of physical description and three lines that describe the lady’s moral character. Her soft, calm glow reflects a life of peace and goodness. This is a repetition, an emphasis, of the theme that the lady’s physical beauty is a reflection of her inner beauty.

Lord Byron greatly admired his cousin’s serene qualities on that particular night and he has left us with an inspired poem.

The poem was written shortly before Lord Byron’s marriage to Anna Milbanke and published shortly after the marriage. 这是一首歌颂女性美的抒情诗，诗人在诗中极尽赞美之能事，仰慕之情跃然笔端。在诗的末尾，诗人笔锋一转，由渲染外表美而转向颂扬

心灵美，由表及里，深化了主题。

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Type of Work and Year Written

“She Walks in Beauty” is a lyric poem centering on the extraordinary beauty of a young lady. George Gordon Byron (commonly known as Lord Byron) wrote the poem in 1814 and published it in a collection, Hebrew Melodies, in 1815. Background

On the evening of June 11, 1814, Byron attended a party with his friend, James Wedderburn Webster, at the London home of Lady Sarah Caroline Sitwell. Among the other guests was the beautiful Mrs. Anne Beatrix Wilmot, the wife of Byron’s first cousin, Sir Robert Wilmot. Her exquisite good looks dazzled Byron and inspired him to write “She Walks in Beauty.” (In 1823, Wilmot inherited the estate of his wife’s father, Eusebius Horton. In accordance with the will, Sir Robert assumed the additional surname Horton. Thereafter, he was known as Robert Wilmot-Horton and his wife as Anne Wilmot-Horton.) Theme

The theme of the poem is the woman's exceptional beauty, internal as well as external. The first stanza praises her physical beauty. The second and third stanzas praise both her physical and spiritual, or intellectual, beauty. Rhyme Scheme and Meter

The rhyme scheme of the first stanza is ababab; the second stanza, cdcdcd; and the third stanza, efefef. All the end rhymes are masculine. The meter is predominantly iambic tetrameter, a pattern in which a line has four pairs of unstressed and stressed

syllables—eight syllables in all. The first two lines demonstrate the pattern followed throughout the poem except for line 6, which has nine syllables: Enjambment

Enjambment links the end of line 1 with line 2. Enjambment means carrying the sense of one line of verse over to the next line without a pause. (Note that there is no pause after night. Pauses occur at the end of the other lines.) Use of Alliteration

Alliteration occurs frequently to enhance the appeal of the poem to the ear. The most obvious examples of this figure of speech include the following

Other Figures of Speech

Examples of other figures of speech are the following:

Lines 1, 2:......Simile comparing the movement of the beautiful woman to the movement of the skies

Line 6:............Metonymy, in which heaven is substituted for God or for the upper atmosphere

Lines 8-10:......Metaphor comparing grace, a quality, to a

perceivable phenomenon

Lines 11-12:....Metaphor and personification comparing thoughts to people; metaphor and personification comparing the mind to a home (dwelling-place)

Lines 13-16:....Metaphor and personification comparing the woman's cheek and brow to persons who tell of days in goodness spent

Imagery: Light and Darkness

Byron presents an ethereal portrait of the young woman in the first two stanzas by contrasting white with black and light with shadow in the same way that nature presents a portrait of the firmament—and the landscape below—on a cloudless starlit evening. He tells the reader in line 3 that she combines “the best of dark and bright” (bright here serving as a noun rather than an adjective) and notes that darkness and light temper each other when they meet in her raven hair. Byron's words thus turn opposites into compeers working together to celebrate beauty. Analysis

\Walks in Beauty\one of Byron’s most famous works. It was published in 1815 as a part of his volume Hebrew Melodies, which was set to music.[2] The poem was inspired by actual events

in Byron’s life. Once, while at a ball, Byron happened upon a beautiful woman as she walked by. That woman was Byron’s cousin by marriage, Mrs. John Wilmot, and the next morning the poem was written.[3] She was in mourning, wearing a black dress set with spangles, which would explain the opening lines;

“ She walks in beauty, like the night

Of cloudless climes and starry skies ”

However, Nathan, in his reminiscences of Byron, indicates that the subject of the poem may have been Byron's half-sister, Augusta.[4] \Byron’s tribute to the beauty of art.[5] The poem begins with the image of a woman who “walks in beauty like the night” (poem), which would lead the reader to ask how she could be found.[6] That question is answered in the next line when the speaker says that the night is cloudless and that the stars illuminate the sky, bringing into focus the imagery of light and darkness.[6] When the first line of a poem is presented with no punctuation, but is followed by a line that will clarify the previous statement, it is referred to as enjambment, and this technique is used in the first four lines of the poem.[6] In the next few lines Byron draws attention to the word meet; it

emphasizes the contrasts in the woman being described; the imagery presented in the first two lines reappears in these lines, and the contrast of light and dark makes another appearance.[6] The light and dark appear in her face and in her eyes. Her face contains light alabaster skin, yet has dark hair, and her eyes are dark in the iris in contrast with the white of her eye. This repeat of the contrast between light and dark reinforces the imagery introduced in the beginning of the poem.[6] The poem goes on to say that if she were to have even one bit more light or less dark she would not be ruined but she would be only “half impair’d”.[6] As the poem begins to end Byron speaks of the woman’s inner thoughts and how they are all good, which serves to convey the woman as pure , making her all the more beautiful.[6] The reference to her angelic looks gives a window into her morality as a person, and enhances her beauty all the more. According to Uma Kukathas there is a contrast of light and dark in the poem can easily be a representation of what art is in its entirety; there are so many varying, contrasting parts of art and yet it all comes together to create something that is beautiful.[5] The contrast of light and dark is used to convey the soft beauty of the woman; the beauty is soft and pronounced but not overdone.[5] The woman’s

beauty is soft like candlelight, it is not too over powering and yet her beauty is still obvious to all who look at her.[5] The dark part of the contrast serves as a reality check to make the woman seem more worldly and real, it creates flaws and yet if she were to have even one bit more light or darkness she would only be “half-impaired”.[5] Byron speaks of her “nameless grace”, in which one would think he were speaking of her grace as she walks but, he is really speaking of the grace she possesses from the darker features of her face, which serve to enhance her beauty in the speakers eyes.[7]

SUBJECTS Love, Relationships, Romantic Love, Classic Love Lord Byron typified Romanticism in which he lived and wrote the poem, “She Walks in Beauty”, in 1814, when he was twenty-six years old. Gaarder(1991) states that in the Romantic period people feel drawn to night, to twilight, to old ruins and the supernatural. They were preoccupied with what people of today usually refer to as the dark side of life, or the murky, uncanny and mystical. Additionally, many Romantic poets embrace the concept of self -expression through their personal visions of love and life. The poem can be viewed as a love poem about a beautiful woman, but the poem was, in fact, written about Byron?s cousin, Anne Wilmot. According to Jeffares(1984) and literary historians, she

wore a black gown that was brightened with spangled. This description helps the reader understand the origin of the poem, and the mixing of the darkness and light. Throughout the poem, Lord Byron emphasises the balance between two opposing forces that create the woman?s beauty, both internal and external. The use of his metaphorical description leads the reader to imagine that this woman?s beauty is perfect.

First of all, the poem includes several poetic mechanisms. It opens with a line that does not have punctuation; it runs over to the next. Not only that but the next line has a different kind of meter. Byron uses this mechanism together with enjambment to attract attention to certain words. For example in the fourth line, the word \is emphasised. It is an important word in the poem as mentioned in the next paragraph. Also, this poem makes use of alliteration for an easy-reading effect; for example, in the second line: \cloudless climes and starry skies.\the other hand, the poem follows a basic iambic tetrameter with an unaccented syllable followed by an accented syllable that allows for a rhythm to be set by the reader and can be clearly seen when one looks at a line: She walks / in beau / ty like / the night.(cited)

At the beginning of the poem, the reader is given the image of darkness: \walks in beauty, like the night\but then the line continues

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