I AM THE WIND
我是风
I am the wind that wavers,
我是那舞动的风
You are the certain land;
而你是那安静的土地
I am the shadow that passes
Over the sand.
我是那跨越你土地的影子
I am the leaf that quivers,
我是那震澶的叶子
You--the unshaken tree;
而你是那宁静的树
You are the stars that are steadfast,
你是那坚定的群星
I am the sea.
而我是那大海
You are the light eternal,
你是那永恒的光辉
Like a torch I shall die...
而我要象火炬熄灭
You are the surge of deep music,
I--but a cry!
你是那深沉乐音的波涛
可我，只会哭泣
2.
MISTRESS MINE,
WHERE ARE YOU ROAMING
你是去哪里，我的姑娘啊
Mistress mine, where are you roaming?
我的姑娘哦，你要去哪里？
stay and hear! your true-love's coming
That can sing both high and low;
还是留下来，你的真爱正悄悄来临
听啊！它会高歌浅吟
Trip no further, pretty sweeting,
不要再四处游荡了，美丽的情人
Journeys end in lovers' meeting--
Every wise man's son doth know.
飘荡会止于爱人的相会，这每个聪明人的儿子都懂
What is love? 'tis not herafter;
什么才是爱情？如这还不是
Present mirth hath present laughter;
现上欢乐，显出笑声
What's to come is still unsure:
那些将来的依然不能预测
In delay there lies no plenty,--
这里将没有多少谎言
Then come kiss me, Sweet--and--twenty,
那么来亲吻我吧！妙龄美人！
Youth's a stuff will not endure
青春会稍纵即逝
3.
I TRAVELLED AMONG UNKNOWN MEN
我曾在海外的异乡漫游
I travelled among unknown men,
In lands beyond the sea;
我曾在海外的他乡漫游
Nor, England! did I know till then
直到那个时候我才知道有个被称为英格兰的地方
What love I bore to thee.
我能给你什么样的爱情。
'Tis past, that melancholy dream!
那只不过是过去的一个忧郁的梦哦！
Nor will I quit thy shore
我将不会在你的海岸搁浅
A second time; for still I seem
To love thee more and more
这已经不是第一次，我似乎越来越爱你
Among thy mountains did I feel
The joy of my desire;
在你的群峰之间，我享受着欲望的快乐
And she I cherished turned her wheel
Beside an English fire.
在英国人的钩火边，我怀抱着她催动她欲望之轮
Thy mornings showed, thy nights concealed
The bowers where Lucy played;
就在露希曾玩耍过的凉亭，你的清晨已露，你的黑夜逃脱
And thine too is the last green field
That Lucy's eyes surveyed.
而露希的双眸所及，也是你最后的绿地。
FAREWELL, SWEET GROVES
哦再见，可爱的小树林
Farewell,
再见吧
Sweet groves to you;
可爱的小树林
You hills, that highest dwell,
And all you humble vales, adieu.
你盘踞在小山之顶
You wanton brooks and solitary rocks,
肆意而孤独的摇摆
My dear companions all, and you, my tender flocks!
我和你仅有的伴侣是那些温顺的羊群
Farewell, my pipe, and all those pleasing songs, whose moving strains
再见吧，我的笛子和所有快乐的歌声, 以及那些移动着的紧张
Delighted once the fairest nymphs that dance upon the plains;
欣喜的，无比美丽的仙女在平地上起舞
You discontents, whose deep and over- deadly smart,
你的不满，是那些深邃过於平静的苦痛
Have, without pity, broke the truest heart;
毫无怜悯地伤害了那真实的心脏
Sighs, tears, and every sad annoy,
That erst did with me dwell,
And all other's joy
那曾伴随我的叹息，眼泪和每一个愁苦的烦恼
以及所有别的乐趣
The Poem, “A Red, Red Rose”
by Robert Burns
O my luve's like a red, red rose.
That's newly sprung in June;
O my luve's like a melodie
That's sweetly play'd in tune.
As fair art thou, my bonnie lass,
So deep in luve am I;
And I will love thee still, my Dear,
Till a'the seas gang dry.
Till a' the seas gang dry, my Dear,
And the rocks melt wi' the sun:
I will luve thee still, my Dear,
While the sands o'life shall run.
And fare thee weel my only Luve!
And fare thee weel a while!
And I will come again, my Luve,
Tho' it were ten thousand mile!
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One of the most famous songs that Robert Burns wrote for this project and first published in 1794 was “A Red, Red Rose.” Burns wrote it as a traditional ballad, four verses of four lines each.
“A Red, Red Rose” begins with a quatrain containing two similes. Burns compares his love with a springtime blooming rose and then with a sweet melody. These are popular poetic images and this is the stanza most commonly quoted from the poem.
The second and third stanzas become increasingly complex, ending with the metaphor of the “sands of life,” or hourglass. One the one hand we are given the image of his love lasting until the seas run dry and the rocks melt with the sun, wonderfully poetic images. On the other hand Burns reminds us of the passage of time and the changes that result. That recalls the first stanza and its image of a red rose, newly sprung in June, which we know from experience will change and decay with time. These are complex and competing images, typical of the more mature Robert Burns.
The final stanza wraps up the poem’s complexity with a farewell and a promise of return.
“A Red, Red Rose” is written as a ballad with four stanzas of four lines each. Each stanza has alternating lines of four beats, or iambs, and three beats. The first and third lines have four iambs, consisting of an unstressed syllable followed by a stressed syllable, as in da-dah, da-dah, da-dah, da-dah. The second and fourth lines consist of three iambs. This form of verse is well adapted for singing or recitation and originated in the days when poetry existed in verbal rather than written form.