7 стихотворений для знакомства с английской поэзией

Английская поэзия известна своей красотой, эмоциональной глубиной и мастерством передачи чувств и мыслей. Чтение стихотворений на английском языке не только помогает развивать языковые навыки, но и позволяет окунуться в мир литературы и насладиться его великолепием.

В этой статье мы предлагаем вам семь великих стихотворений, которые помогут вам натренировать память и ощутить магию английской поэзии.

1 "The Raven" by Edgar Allan Poe («Ворон» Эдгара Аллана По)

Этот знаменитый стихотворный рассказ Эдгара Аллана По перенесёт вас в мрачный мир тайн и загадок. "Once upon a midnight dreary, while I pondered, weak and weary" – так начинается этот стихотворный шедевр, в котором автор описывает встречу с загадочным вороном, символизирующим тоску и горе. Каждая строфа, каждая фраза наполнена глубоким эмоциональным подтекстом, а мелодичный ритм и повторяющийся рефрен "Nevermore" создают завораживающую атмосферу.

Once upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore—

While I nodded, nearly napping, suddenly there came a tapping,

As of some one gently rapping, rapping at my chamber door.

“’Tis some visitor,” I muttered, “tapping at my chamber door—

Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;

And each separate dying ember wrought its ghost upon the floor.

Eagerly I wished the morrow;—vainly I had sought to borrow

From my books surcease of sorrow—sorrow for the lost Lenore—

For the rare and radiant maiden whom the angels name Lenore—

Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain

Thrilled me—filled me with fantastic terrors never felt before;

So that now, to still the beating of my heart, I stood repeating

“’Tis some visitor entreating entrance at my chamber door—

Some late visitor entreating entrance at my chamber door;—

This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,

“Sir,” said I, “or Madam, truly your forgiveness I implore;

But the fact is I was napping, and so gently you came rapping,

And so faintly you came tapping, tapping at my chamber door,

That I scarce was sure I heard you”—here I opened wide the door;—

Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,

Doubting, dreaming dreams no mortal ever dared to dream before;

But the silence was unbroken, and the stillness gave no token,

And the only word there spoken was the whispered word, “Lenore?”

This I whispered, and an echo murmured back the word, “Lenore!”—

Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,

Soon again I heard a tapping somewhat louder than before.

“Surely,” said I, “surely that is something at my window lattice;

Let me see, then, what thereat is, and this mystery explore—

Let my heart be still a moment and this mystery explore;—

’Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter,

In there stepped a stately Raven of the saintly days of yore;

Not the least obeisance made he; not a minute stopped or stayed he;

But, with mien of lord or lady, perched above my chamber door—

Perched upon a bust of Pallas just above my chamber door—

Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,

By the grave and stern decorum of the countenance it wore,

“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,

Ghastly grim and ancient Raven wandering from the Nightly shore—

Tell me what thy lordly name is on the Night’s Plutonian shore!”

Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,

Though its answer little meaning—little relevancy bore;

For we cannot help agreeing that no living human being

Ever yet was blessed with seeing bird above his chamber door—

Bird or beast upon the sculptured bust above his chamber door,

With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only

That one word, as if his soul in that one word he did outpour.

Nothing farther then he uttered—not a feather then he fluttered—

Till I scarcely more than muttered “Other friends have flown before—

On the morrow he will leave me, as my Hopes have flown before.”

Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,

“Doubtless,” said I, “what it utters is its only stock and store

Caught from some unhappy master whom unmerciful Disaster

Followed fast and followed faster till his songs one burden bore—

Till the dirges of his Hope that melancholy burden bore

Of ‘Never—nevermore’.”

But the Raven still beguiling all my fancy into smiling,

Straight I wheeled a cushioned seat in front of bird, and bust and door;

Then, upon the velvet sinking, I betook myself to linking

Fancy unto fancy, thinking what this ominous bird of yore—

What this grim, ungainly, ghastly, gaunt, and ominous bird of yore

Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing

To the fowl whose fiery eyes now burned into my bosom’s core;

This and more I sat divining, with my head at ease reclining

On the cushion’s velvet lining that the lamp-light gloated o’er,

But whose velvet-violet lining with the lamp-light gloating o’er,

She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer

Swung by Seraphim whose foot-falls tinkled on the tufted floor.

“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee

Respite—respite and nepenthe from thy memories of Lenore;

Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”

Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—

Whether Tempter sent, or whether tempest tossed thee here ashore,

Desolate yet all undaunted, on this desert land enchanted—

On this home by Horror haunted—tell me truly, I implore—

Is there—is there balm in Gilead?—tell me—tell me, I implore!”

Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!

By that Heaven that bends above us—by that God we both adore—

Tell this soul with sorrow laden if, within the distant Aidenn,

It shall clasp a sainted maiden whom the angels name Lenore—

Clasp a rare and radiant maiden whom the angels name Lenore.”

Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—

“Get thee back into the tempest and the Night’s Plutonian shore!

Leave no black plume as a token of that lie thy soul hath spoken!

Leave my loneliness unbroken!—quit the bust above my door!

Take thy beak from out my heart, and take thy form from off my door!”

Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting

On the pallid bust of Pallas just above my chamber door;

And his eyes have all the seeming of a demon’s that is dreaming,

And the lamp-light o’er him streaming throws his shadow on the floor;

And my soul from out that shadow that lies floating on the floor

Shall be lifted—nevermore!

2 "If" by Rudyard Kipling («Если» Редьярда Киплинга)

Это вдохновляющее стихотворение содержит ценные советы о мужестве, чести, терпении и самодисциплине. "If you can keep your head when all about you / Are losing theirs and blaming it on you" – так Киплинг начинает свой набор советов, направленных на формирование сильного и уверенного характера. Стихотворение пропитано мудрым пониманием жизни и становится настоящим руководством для преодоления трудностей и достижения успеха.

If you can keep your head when all about you

Are losing theirs and blaming it on you,

If you can trust yourself when all men doubt you,

But make allowance for their doubting too;

If you can wait and not be tired by waiting,

Or being lied about, don’t deal in lies,

Or being hated, don’t give way to hating,

And yet don’t look too good, nor talk too wise:

If you can dream—and not make dreams your master;

If you can think—and not make thoughts your aim;

If you can meet with Triumph and Disaster

And treat those two impostors just the same;

If you can bear to hear the truth you’ve spoken

Twisted by knaves to make a trap for fools,

Or watch the things you gave your life to, broken,

And stoop and build ’em up with worn-out tools:

If you can make one heap of all your winnings

And risk it on one turn of pitch-and-toss,

And lose, and start again at your beginnings

And never breathe a word about your loss;

If you can force your heart and nerve and sinew

To serve your turn long after they are gone,

And so hold on when there is nothing in you

Except the Will which says to them: ‘Hold on!’

If you can talk with crowds and keep your virtue,

Or walk with Kings—nor lose the common touch,

If neither foes nor loving friends can hurt you,

If all men count with you, but none too much;

If you can fill the unforgiving minute

With sixty seconds’ worth of distance run,

Yours is the Earth and everything that’s in it,

And—which is more—you’ll be a Man, my son!

3 "Ode to a Nightingale" by John Keats («Ода соловью» Джона Китса)

В этой оде Китс восхваляет пение соловья и погружается в мир его красоты и вдохновения. "My heart aches, and a drowsy numbness pains my sense" – такими словами поэт описывает свою меланхолию и стремление утонуть в искусстве. Стихотворение переплетает в себе темы природы, смерти и искусства, создавая образы, которые проникают в самые глубины души.

My heart aches, and a drowsy numbness pains

My sense, as though of hemlock I had drunk,

Or emptied some dull opiate to the drains

One minute past, and Lethe-wards had sunk:

'Tis not through envy of thy happy lot,

But being too happy in thine happiness,—

That thou, light-winged Dryad of the trees

In some melodious plot

Of beechen green, and shadows numberless,

Singest of summer in full-throated ease.

O, for a draught of vintage! that hath been

Cool'd a long age in the deep-delved earth,

Tasting of Flora and the country green,

Dance, and Provençal song, and sunburnt mirth!

O for a beaker full of the warm South,

Full of the true, the blushful Hippocrene,

With beaded bubbles winking at the brim,

And purple-stained mouth;

That I might drink, and leave the world unseen,

And with thee fade away into the forest dim:

Fade far away, dissolve, and quite forget

What thou among the leaves hast never known,

The weariness, the fever, and the fret

Here, where men sit and hear each other groan;

Where palsy shakes a few, sad, last gray hairs,

Where youth grows pale, and spectre-thin, and dies;

Where but to think is to be full of sorrow

And leaden-eyed despairs,

Where Beauty cannot keep her lustrous eyes,

Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee,

Not charioted by Bacchus and his pards,

But on the viewless wings of Poesy,

Though the dull brain perplexes and retards:

Already with thee! tender is the night,

And haply the Queen-Moon is on her throne,

Cluster'd around by all her starry Fays;

But here there is no light,

Save what from heaven is with the breezes blown

Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet,

Nor what soft incense hangs upon the boughs,

But, in embalmed darkness, guess each sweet

Wherewith the seasonable month endows

The grass, the thicket, and the fruit-tree wild;

White hawthorn, and the pastoral eglantine;

Fast fading violets cover'd up in leaves;

And mid-May's eldest child,

The coming musk-rose, full of dewy wine,

The murmurous haunt of flies on summer eves.

Darkling I listen; and, for many a time

I have been half in love with easeful Death,

Call'd him soft names in many a mused rhyme,

To take into the air my quiet breath;

Now more than ever seems it rich to die,

To cease upon the midnight with no pain,

While thou art pouring forth thy soul abroad

In such an ecstasy!

Still wouldst thou sing, and I have ears in vain—

To thy high requiem become a sod.

Thou wast not born for death, immortal Bird!

No hungry generations tread thee down;

The voice I hear this passing night was heard

In ancient days by emperor and clown:

Perhaps the self-same song that found a path

Through the sad heart of Ruth, when, sick for home,

She stood in tears amid the alien corn;

The same that oft-times hath

Charm'd magic casements, opening on the foam

Of perilous seas, in faery lands forlorn.

Forlorn! the very word is like a bell

To toll me back from thee to my sole self!

Adieu! the fancy cannot cheat so well

As she is fam'd to do, deceiving elf.

Adieu! adieu! thy plaintive anthem fades

Past the near meadows, over the still stream,

Up the hill-side; and now 'tis buried deep

In the next valley-glades:

Was it a vision, or a waking dream?

Fled is that music:—Do I wake or sleep?

4 "Sonnet 18" by William Shakespeare («Сонет 18» Уильяма Шекспира)

Этот сонет – одно из самых известных произведений Шекспира, в котором он воспевает красоту и вечность любви. "Shall I compare thee to a summer's day? Thou art more lovely and more temperate" – поэт сравнивает свою возлюбленную с летним днем и приходит к выводу, что она красивее и совершеннее. В этом сонете Шекспир использует изысканные метафоры и нежные образы, чтобы воплотить величие и непреходящую природу истинной любви.

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer’s lease hath all too short a date;

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm'd;

And every fair from fair sometime declines,

By chance or nature’s changing course untrimm'd;

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow’st;

Nor shall death brag thou wander’st in his shade,

When in eternal lines to time thou grow’st:

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.

5 "Ode to the West Wind" by Percy Bysshe Shelley («Ода западному ветру» Перси Биши Шелли)

«Ода западному ветру» – это великолепная поэтическая композиция, в которой Перси Биши Шелли воспевает силу и влияние природы. Поэт обращается к западному ветру, призывая его помочь преобразить мир и принести перемену. Стихотворение полно ярких и метафоричных образов, описывающих мощь природных стихий и их воздействие на человечество. «Ода западному ветру» является одним из наиболее известных произведений Шелли и выражает его веру в силу поэзии и природы.

O wild West Wind, thou breath of Autumn's being,

Thou, from whose unseen presence the leaves dead

Are driven, like ghosts from an enchanter fleeing,

Yellow, and black, and pale, and hectic red,

Pestilence-stricken multitudes: O thou,

Who chariotest to their dark wintry bed

The winged seeds, where they lie cold and low,

Each like a corpse within its grave, until

Thine azure sister of the Spring shall blow

Her clarion o'er the dreaming earth, and fill

(Driving sweet buds like flocks to feed in air)

With living hues and odours plain and hill:

Wild Spirit, which art moving everywhere;

Destroyer and preserver; hear, oh hear!

Thou on whose stream, mid the steep sky's commotion,

Loose clouds like earth's decaying leaves are shed,

Shook from the tangled boughs of Heaven and Ocean,

Angels of rain and lightning: there are spread

On the blue surface of thine aëry surge,

Like the bright hair uplifted from the head

Of some fierce Maenad, even from the dim verge

Of the horizon to the zenith's height,

The locks of the approaching storm. Thou dirge

Of the dying year, to which this closing night

Will be the dome of a vast sepulchre,

Vaulted with all thy congregated might

Of vapours, from whose solid atmosphere

Black rain, and fire, and hail will burst: oh hear!

III

Thou who didst waken from his summer dreams

The blue Mediterranean, where he lay,

Lull'd by the coil of his crystalline streams,

Beside a pumice isle in Baiae's bay,

And saw in sleep old palaces and towers

Quivering within the wave's intenser day,

All overgrown with azure moss and flowers

So sweet, the sense faints picturing them! Thou

For whose path the Atlantic's level powers

Cleave themselves into chasms, while far below

The sea-blooms and the oozy woods which wear

The sapless foliage of the ocean, know

Thy voice, and suddenly grow gray with fear,

And tremble and despoil themselves: oh hear!

If I were a dead leaf thou mightest bear;

If I were a swift cloud to fly with thee;

A wave to pant beneath thy power, and share

The impulse of thy strength, only less free

Than thou, O uncontrollable! If even

I were as in my boyhood, and could be

The comrade of thy wanderings over Heaven,

As then, when to outstrip thy skiey speed

Scarce seem'd a vision; I would ne'er have striven

As thus with thee in prayer in my sore need.

Oh, lift me as a wave, a leaf, a cloud!

I fall upon the thorns of life! I bleed!

A heavy weight of hours has chain'd and bow'd

One too like thee: tameless, and swift, and proud.

Make me thy lyre, even as the forest is:

What if my leaves are falling like its own!

The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,

Sweet though in sadness. Be thou, Spirit fierce,

My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe

Like wither'd leaves to quicken a new birth!

And, by the incantation of this verse,

Scatter, as from an unextinguish'd hearth

Ashes and sparks, my words among mankind!

Be through my lips to unawaken'd earth

The trumpet of a prophecy! O Wind,

If Winter comes, can Spring be far behind?

6 "Daffodils" by William Wordsworth («Нарциссы» Уильяма Вордсворта)

В этом стихотворении Вордсворт описывает свою встречу с поляной нарциссов и передает чувство радости и восторга перед природой. "I wandered lonely as a cloud / That floats on high o'er vales and hills" – так начинается это прекрасное стихотворение, которое является одним из самых известных произведений романтической поэзии. Слова Вордсворта воссоздают образы красивых цветов, танцующих на ветру, и передают эмоциональное волнение перед величием природы.

I wandered lonely as a cloud

That floats on high o'er vales and hills,

When all at once I saw a crowd,

A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze.

Continuous as the stars that shine

And twinkle on the milky way,

They stretched in never-ending line

Along the margin of a bay:

Ten thousand saw I at a glance,

Tossing their heads in sprightly dance.

The waves beside them danced; but they

Out-did the sparkling waves in glee:

A poet could not but be gay,

In such a jocund company:

I gazed—and gazed—but little thought

What wealth the show to me had brought:

For oft, when on my couch I lie

In vacant or in pensive mood,

They flash upon that inward eye

Which is the bliss of solitude;

And then my heart with pleasure fills,

And dances with the daffodils.

7 "The Road Not Taken" by Robert Frost («Неизбежный выбор» Роберта Фроста)

Этот стихотворный шедевр рассказывает о пути, который мы выбираем в жизни. "Two roads diverged in a yellow wood" – такими словами начинается это знаменитое стихотворение, в котором Фрост задумывается о принятии решений и исследовании новых возможностей. Оно вдохновляет нас задуматься о своих собственных решениях и напоминает, что каждый выбор влияет на наше будущее.

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;

Then took the other, as just as fair,

And having perhaps the better claim,

Because it was grassy and wanted wear;

Though as for that the passing there

Had worn them really about the same,

And both that morning equally lay

In leaves no step had trodden black.

Oh, I kept the first for another day!

Yet knowing how way leads on to way,

I doubted if I should ever come back.

I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and I—

I took the one less traveled by,

And that has made all the difference.

8 "Jabberwocky" by Lewis Carroll («Джаббервоки» Льюиса Кэрролла)

В этом забавном стихотворении Кэрролл придумал множество бессмысленных слов и создал мир фантастических существ. (Если вы читали «Алису в стране чудес», то понимаете о чём речь.) "Twas brillig, and the slithy toves / Did gyre and gimble in the wabe" – так начинается это непонятное, но весёлое стихотворение, которое позволяет насладиться игрой слов и фантазией автора. Читая его, мы погружаемся в странный и удивительный мир, где ничто не имеет строгого смысла, но всё равно вызывает улыбку и радость.

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe:

All mimsy were the borogoves,

And the mome raths outgrabe.

“Beware the Jabberwock, my son!

The jaws that bite, the claws that catch!

Beware the Jubjub bird, and shun

The frumious Bandersnatch!”

He took his vorpal sword in hand;

Long time the manxome foe he sought—

So rested he by the Tumtum tree

And stood awhile in thought.

And, as in uffish thought he stood,

The Jabberwock, with eyes of flame,

Came whiffling through the tulgey wood,

And burbled as it came!

One, two! One, two! And through and through

The vorpal blade went snicker-snack!

He left it dead, and with its head

He went galumphing back.

“And hast thou slain the Jabberwock?

Come to my arms, my beamish boy!

O frabjous day! Callooh! Callay!”

He chortled in his joy.

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe:

All mimsy were the borogoves,

And the mome raths outgrabe.

Эти семь великих стихотворений предлагают нам разнообразие тем и эмоций, передают глубокие мысли и оставляют незабываемое впечатление. Чтение и погружение в мир английской поэзии позволяет насладиться красотой слова и обогатить свой духовный мир. Позвольте этим стихотворениям вдохновить вас, вызвать эмоции и открыть новые горизонты в литературе.

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Магия английской поэзии: 7 великих стихотворений

1 "The Raven" by Edgar Allan Poe («Ворон» Эдгара Аллана По)

2 "If" by Rudyard Kipling («Если» Редьярда Киплинга)

3 "Ode to a Nightingale" by John Keats («Ода соловью» Джона Китса)

4 "Sonnet 18" by William Shakespeare («Сонет 18» Уильяма Шекспира)

5 "Ode to the West Wind" by Percy Bysshe Shelley («Ода западному ветру» Перси Биши Шелли)

6 "Daffodils" by William Wordsworth («Нарциссы» Уильяма Вордсворта)

7 "The Road Not Taken" by Robert Frost («Неизбежный выбор» Роберта Фроста)

8 "Jabberwocky" by Lewis Carroll («Джаббервоки» Льюиса Кэрролла)

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Магия английской поэзии: 7 великих стихотворений

1 "The Raven" by Edgar Allan Poe («Ворон» Эдгара Аллана По)

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2 "If" by Rudyard Kipling («Если» Редьярда Киплинга)

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3 "Ode to a Nightingale" by John Keats («Ода соловью» Джона Китса)

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4 "Sonnet 18" by William Shakespeare («Сонет 18» Уильяма Шекспира)

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5 "Ode to the West Wind" by Percy Bysshe Shelley («Ода западному ветру» Перси Биши Шелли)

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6 "Daffodils" by William Wordsworth («Нарциссы» Уильяма Вордсворта)

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7 "The Road Not Taken" by Robert Frost («Неизбежный выбор» Роберта Фроста)

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8 "Jabberwocky" by Lewis Carroll («Джаббервоки» Льюиса Кэрролла)

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