2014年12月25日 星期四

The Portrait of Mr. W. H. / Sonnet 20

The Portrait of Mr. W. H. is a story written by Oscar Wilde, first published in Blackwood's Magazine in 1889. It was later added to the collection Lord Arthur Savile's Crime and Other Stories, though it does not appear in early editions.[1] An enlarged edition planned by Wilde, almost twice as long as the Blackwoods version, with cover illustration by Charles Ricketts, did not proceed and only came to light after Wilde's death. This was published in limited edition by Mitchell Kennerley in New York in 1921, and in a first regular English edition by Methuen in 1958, edited by Vyvyan Holland[2]
The story is about an attempt to uncover the identity of Mr W.H., the enigmatic dedicatee ofShakespeare's Sonnets. It is based on a theory, originated by Thomas Tyrwhitt, that the Sonnets were addressed to one Willie Hughes, portrayed in the story as a boy actor who specialized in playing women in Shakespeare's company. This theory depends on the assumption that the dedicatee is also the Fair Youth who is the subject of most of the poems. The only evidence for this theory is a number of sonnets (such as Sonnet 20) that make puns on the words 'Will' and 'Hues.'[3]

Sonnet 20
A woman's face with nature's own hand painted,
Hast thou, the master mistress of my passion;
A woman's gentle heart, but not acquainted
With shifting change, as is false women's fashion:
An eye more bright than theirs, less false in rolling,
Gilding the object whereupon it gazeth;
A man in hue, all 'hues' in his controlling,
Which steals men's eyes and women's souls amazeth.
And for a woman wert thou first created;
Till Nature, as she wrought thee, fell a-doting,
And by addition me of thee defeated,
By adding one thing to my purpose nothing.
But since she prick'd thee out for women's pleasure,
Mine be thy love and thy love's use their treasure.
–William Shakespeare



External links[edit]


The Portrait of Mr. W. H. (1889)
The Portrait of Mr. W. H. (1921) courtesy of Archive.Org
An informative Digital Humanities Project on The Annotated Portrait of Mr. W. H.
An article from The Guardian about the work. Fact and Fictions
"A thing is not necessarily true because a man dies for it."
--from "The Portrait of Mr. W. H." (1889)



2014年12月5日 星期五

章益(1901~1986)翻譯《亨利六世》《中洛辛郡的心臟》《人心中的宇宙》


章益在學術研究上,注重理論聯繫實際,學以致用,並具有創新精神。早在30 年代就撰寫了一系列論文,闡述了他的主張。如在《國家與教育》一文中,他不贊成美國教育家杜威的“學校即社會”的說法,而主張面對現實,不讓社會的邪惡影響侵入學校,相反學校教育應起改革社會的作用。在《普通教育與職業教育》一文中,他初步提到教育與生產相結合的思想。在《中國中等教育應負之使命》一文中,他提出中等教育不只有培養學生升學的任務,還應面對地方,造就各類建設人才。其它如《橫直行排列及新舊標點對閱讀效率的影響》、《讀法心理的研究》等,都對革新教育提出了一些積極建議。
章益在治學方法方面,牢記“學而不思則罔,思而不學則殆”的名言,主張學思結合,不肯食人唾餘。民國15年在華盛頓州立大學讀書時,正是行為主義心理學在美國盛行之時。行為主義強調人的學習是刺激——反應的機械聯結。他對此大有疑竇,使用大白鼠做了一個精巧的試驗。結論說明:即使是大白鼠的學習,也不會是機械的刺激——反應聯結,而是含有認識成份。新行為主義心理學家托爾曼的認識理論在此6年之後才公諸於世。章益此舉,可見其治學方法之一斑。
章益後期主要從事普通心理學和心理學史的教學及研究工作。其專著及論文有《心理學講話》、《心理學的回顧與前瞻》、《略論馮特創建心理學實驗室以來心理學的研究方法》等。
章益在文學方面也有較高的造詣。曾翻譯莎士比亞的《亨利六世》、司各特的《中洛辛郡的心臟》等世界文學名著。1984年春,他在一首抒懷詩中寫道:“飽閱滄桑六十年,艱辛歷盡入堯天。黃童白叟齊歡樂,疊圖岑樓亙陌阡。黌宇廣開英俊集,輕騎馳騁物資闐。老去猶甘效十駕,庶幾芹獻瓦磚添。”筆端凝聚著一位老學者對黨由衷的熱愛和壯心不已的獻身精神。在病中他也不肯停筆,把病房當書齋,完成了最後一部譯著《人心中的宇宙》。[


人心中的宇宙: 探究人心智的一门新科学-认知心理学. 亨特. 人民教育出版社, 1989 -


http://en.wikipedia.org/wiki/The_Heart_of_Midlothian
《中洛辛郡的心臟》英文翻譯:The Heart of Midlothian
作者 : 【英】司格特
出版社:人民文學出版社譯者 : 章益出版年: 1981年9月第1版頁數: 623頁

故事發生在十八世紀的蘇格蘭。在蘇格蘭的首府愛丁堡的街道上,聳立著一座古老陰森的建築物,這就是米德洛西恩監獄。
一天,一隊士兵押來了一個年輕的姑娘,她名叫埃菲,被控殺死了自己私生的嬰兒。她被關進了這座監獄。
埃菲的姐姐珍妮·迪恩斯是個農村姑娘,她和年老的父親住在愛丁堡的郊區,務農為生。聽到妹妹被捕的消息,珍妮非常吃驚,因為妹妹在愛丁堡做工,珍妮對她懷孕的情況毫不知情。她急忙去探望妹妹。埃菲對她哭訴說,她是無辜的。埃菲有個情人,名叫羅伯遜,是個走私販。埃菲和他尚未結婚就有了身孕。但是羅伯遜這時卻和另一名走私販威爾遜因搶劫罪被捕。後來威爾遜披判死刑,羅伯遜逃出了監獄,潛藏起來。埃菲生下一個男嬰,被接生婆梅格偷走,謊說嬰兒已死。按照嚴格的英國法律規定,埃菲就算犯了殺嬰罪,應判死刑,除非她能證明自己曾向別人透露過懷孕的事實,說明她並非蓄意殺死嬰兒。埃菲懇求姐姐為她作證。但是珍妮認為一個人最重要的品質是誠實,她雖然只有這一個妹妹,也不肯為她作假證。埃菲被法庭判處了死刑。
埃菲的情人羅伯遜逃走後,他的同夥威爾遜被押赴刑場,執刑的城防軍官波蒂厄斯用極其驕橫殘暴的手段對待威爾遜,激起愛丁堡民眾的憤怒,波蒂厄斯在群眾的叫罵聲中竟悍然拔出槍來對著人群射擊,打死打傷了一些群眾。市當局迫於眾怒,不得不將波蒂厄斯交付司法機關,判處死刑。一時人心大快,愛丁堡市民紛紛奔走相告。就在這時,忽然傳來消息,英國國王下令對波蒂厄斯實行緩刑。
一場騷亂發生了。扮成女人的羅伯遜帶領著憤怒的群眾攻下了米德洛西恩監獄,打開牢門,把波蒂厄斯押到城市廣場,就在那裡把他絞死。羅伯遜又乘混亂之際進入監獄,找到埃菲,勸她逃走。埃菲悲痛地拒絕了他的要求,她認為自己既已喪失了名譽,還不如死掉。羅伯遜害怕被人發現,只得離開了埃菲。
珍妮相信埃菲是無辜的,她決心到倫敦去請求國王赦免埃菲。珍妮的未婚夫白特勒是個窮牧師,他的祖父在一次戰爭中曾經救過蘇格蘭大貴族阿蓋爾公爵的祖父。白特勒交給珍妮一封介紹信,讓她到倫敦求阿蓋爾公爵幫助。
珍妮獨自徒步走上了通向倫敦的大路。她沒有料到有人正在算計她。接生婆梅格的女兒曾被羅伯遜引誘,後來又遭到遺棄,以致發瘋。梅格為了報復,偷走了埃菲的嬰兒,現在,她又千方百計阻止珍妮營救妹妹的行動。她勾結了兩名匪徒在一個偏僻的地方綁架了珍妮,還想讓匪徒把珍妮殺死,以除後患。機警的珍妮乘他們不注意時逃出虎口,來到附近一家富有的牧師住宅求宿。她在這裡意外地遇見了羅伯遜。羅伯遜的真名是喬治·斯湯頓,是牧師斯湯頓的不肖子。他不聽父命,行為放蕩,後來逃出家庭,與走私販為伍。喬治告訴珍妮,他本想前去自首,換取對埃菲的赦免,但途中騎馬跌傷,無法行動。他允許珍妮用告發他來換取妹妹的生命。
珍妮經過長途跋涉,終於到了倫敦。阿蓋爾公爵十分佩服這個正直純樸的農村姑娘,親自帶她求見王后。王后正想籠絡蘇格蘭的民心,便同意釋放埃菲,還贈給珍妮一些禮物。
埃菲獲得自由以後不久就和羅伯遜私奔了,很長時間杳無音信。阿蓋爾公爵讓珍妮的父親擔任公爵府邸畜牧場的主管,又任命巴特勒為自己教區的牧師。珍妮和巴特勒結了婚。有一天,她突然收到埃菲從倫敦寫來的一封信。埃菲和喬治早已正式結婚。喬治繼承了伯父的爵位,成了倫敦上流社會裡的知名人物。埃菲一直沒有孩子,他們認為這是上天的懲罰,時常想念那個失踪的嬰兒。
此後又過去了許多年。珍妮偶然聽人說,接生婆梅格在某地被當作巫婆吊死。她臨死時招供曾把埃菲的嬰兒交給了一幫海盜。珍妮馬上把這個線索寫信告訴妹妹。不久,埃菲和她的丈夫斯湯頓爵士便冒著被人認出的危險回到蘇格蘭來尋訪兒子的下落。
白特勒夫婦的家位於海濱,離一片海灘不遠。一夥海盜打聽到斯湯頓是個有錢的貴族,便想在他身上發一筆大財。斯湯頓爵士一行人剛剛到達這裡,從一片茂密的樹林裡突然闖出一夥強人,攔路行劫。斯湯頓爵士拔出劍來和他們進行格鬥。但是待人們聞聲趕來時,斯湯頓已經被一個年輕的海盜刺死。埃菲發現,這個年輕的海盜正是她失踪多年的兒子。他後來逃到海邊,跳上一隻船,逃到了美洲,在那裡繼續幹殺人越貨的勾當,最後死在當地的印第安人手裡。
丈夫的慘死使埃菲感到無比的悲痛。她後來終身不再嫁人,進入修道院終其餘生。
珍妮和白特勒這一對心地善良的夫婦經歷了許多驚心動魄的事件後在平靜中度過了晚年。





翻譯例:
一個問心無愧的人,賽如穿著護胸甲,是絕對安全的,他理直氣壯,好比是披著三重盔甲,那種理不直,氣不壯,喪失天良的人,即使穿上鋼盔鋼甲,也如同赤身裸體一般。 (章益(1901~1986)譯) ---研討會討論題材
"What stronger breastplate than a heart untainted!
Thrice is he armed that hath his quarrel just,
And he but naked, though locked up in steel,
Whose conscience with injustice is corrupted."
--King Henry from "Henry VI, Part II (3.2.232)




2014年11月29日 星期六

Mark Strand, 80, Dies; Pulitzer-Winning Poet Laureate

Photo

Mark Strand in New York in 2000, the year after he won the Pulitzer Prize for Poetry for his collection “Blizzard of One.”CreditChris Felver/Getty Images
Mark Strand, 80, Dies; Pulitzer-Winning Poet Laureate

Mark Strand, whose spare, deceptively simple investigations of rootlessness, alienation and the ineffable strangeness of life made him one of America’s most hauntingly meditative poets, died on Saturday at his daughter’s home in Brooklyn. He was 80.
His daughter, Jessica Strand, said the cause was liposarcoma, a rare cancer of the fat cells.
Mr. Strand, who was named poet laureate of the United States in 1990 and awarded the Pulitzer Prize for Poetry in 1999 for his collection “Blizzard of One,” made an early impression with short, often surreal lyric poems that imparted an unsettling sense of personal dislocation — what the poet and critic Richard Howard called “the working of the divided self.”
His first poetry collection, “Sleeping With One Eye Open,” published in 1964, set the tone.
“In a field/ I am the absence/ of field,” the much-anthologized poem “Keeping Things Whole” begins. “This is/ always the case./ Wherever I am/ I am what is missing.”
It goes on:
When I walk
I part the air
and always
the air moves in
to fill the spaces
where my body’s been.
We all have reasons
for moving.
I move
to keep things whole.
Echoes of Wallace Stevens and Elizabeth Bishop could be heard in his compressed, highly specific language and wintry cast of mind, as could painters like Giorgio de Chirico, René Magritte and Edward Hopper, whose moody clarity and mysterious shadows dovetailed with Mr. Strand’s own sensibility.
“He is not a religious poet on the face of it, but he fits into a long tradition of meditation and contemplation,” said David Kirby, the author of “Mark Strand and the Poet’s Place in Contemporary Culture” and a professor of English at Florida State University. “He makes you see how trivial the things of this world are, and how expansive the self is, once you unhook it from flat-screen TVs and iPhones.” Reading Mr. Strand, he said, “We learn what a big party solitude is.”
In 1980, Mr. Strand felt that he had reached an impasse and stopped writing poetry for several years. He wrote children’s books, beginning with “The Planet of Lost Things” (1982), and short stories, 14 of them collected in “Mr. and Mrs. Baby” (1985). “I didn’t like what I was writing,” he told the magazine Ploughshares in 1995. “I didn’t believe in my autobiographical poems.”
Chafing at the restrictive vocabulary and tight boundaries he had imposed on himself, he began writing longer poems and packing more of the outside world into them, a turn reflected in “A Continuous Life” (1990), whose poems showed a more expansive dramatic scope, and “Dark Harbor” (1995), a single poem divided into 45 sections and encompassing an entire life’s voyage.
“He is up there with Donald Hall, Maxine Kumin and Philip Levine,” Mr. Kirby said. “You can contrast those poetic friends very readily and have the great achievements of that period in American poetry.”
Mark Apter Strand was born on April 11, 1934, in Summerside on Prince Edward’s Island in Canada. His father’s job with Pepsi-Cola entailed many transfers. Mr. Strand spent his childhood in Cleveland, Halifax, Montreal, New York and Philadelphia and his teenage years in Colombia, Mexico and Peru.
He initially set his sights on becoming an artist. “I was never much good with language as a child,” he told The Los Angeles Times Magazine in 1991. “Believe me, the idea that I would someday become a poet would have come as a complete shock to everyone in my family.”
After earning a bachelor’s degree at Antioch College in Ohio in 1957, he enrolled in the Yale School of Art and Architecture, studying under Josef Albers. By the time he received his bachelor of fine arts in painting in 1959, he had discovered his vocation as a poet. He spent a year in Florence on a Fulbright Grant studying 19th-century Italian poetry and was accepted into the Iowa Writers’ Workshop, from which he graduated with a master of fine arts in 1962.
His career took off when the celebrated poetry editor Harry Ford accepted his second volume of poems, “Reasons for Moving,” at Athenaeum, which went on to publish the collections “Darker” (1970), “The Story of Our Lives” (1973) and “The Late Hour” (1978). To critics who complained that his poems, with their emphasis on death, despair and dissolution, were too dark, he replied, “I find them evenly lit.”
Interviewed in The Paris Review by the actor Wallace Shawn in 1998, Mr. Strand described his poetic territory as “the self, the edge of the self, and the edge of the world,” what he called “that shadow land between self and reality.” The severe economies of his early work, however, led to frustration and its “bleak landscape” came to feel repetitive.
“I felt I had to sort of break through that limitation,” he said. “And so you have, in my long poem ‘Dark Harbor,’ many other things cropping up. You have Marsyas and the Mafia, the muzhiks being slaughtered, Russian women at a dinner party.”
Mr. Strand’s interest in visual art remained constant. He wrote books on the painters Hopper and William Bailey, and a collection of critical essays, “The Art of the Real” (1983). About five years ago he began making collages, using paper he made by hand. The work was exhibited in New York by Lori Bookstein Fine Art in Chelsea.
Mr. Strand had been living in Madrid and was in the process of moving to Brooklyn.
In addition to his daughter, Mr. Strand is survived by his partner, Maricruz Bilbao. His two marriages ended in divorce. Other survivors are his son, Thomas; a sister, Judith Major; and a grandson.
In 1987, Mr. Strand was named a MacArthur fellow by the MacArthur Foundation, and in 1993 he was awarded the Bollingen Prize for Poetry, given every two years by the Beinecke Library at Yale. Until quite recently, he taught at Columbia University.
This year, Alfred A. Knopf published “Collected Poems: Mark Strand,” a collection that allows readers to absorb the work as a whole.
Absence, negation and death were abiding themes for Mr. Strand. In a sense, he wrote his epitaph many times over, most poignantly perhaps in “The Remains,” from his 1970 collection “Darker.”
I empty myself of the names of others. I empty my pockets.
I empty my shoes and leave them beside the road.
At night I turn back the clocks;
I open the family album and look at myself as a boy.
What good does it do? The hours have done their job.
I say my own name. I say goodbye.
The words follow each other downwind.
I love my wife but send her away.
My parents rise out of their thrones
into the milky rooms of clouds.
How can I sing? Time tells me what I am.
I change and I am the same.
I empty myself of my life and my life remains.


Correction: November 29, 2014 
An earlier version of this obituary referred incorrectly to Mark Strand’s survivors. Mr. Strand had no brothers; he was not survived by a brother, Tom. .  


倫敦環球劇場(Shakespeare's Globe)——莎士比亞光華再現

倫敦環球劇場——莎士比亞光華再現

11 - 28 00:03

(綜合報道)今年是英國著名劇作家莎士比亞(William Shakespeare)誕生四百五十周年的日子,在其故鄉埃文河畔斯特拉特福(Stratford-upon-Avon),乘時便有連串的慶祝及紀念活動在當地上演,只是若你無暇走遠,來到位於倫敦泰晤士河南岸的莎士比亞環球劇場(Shakespeare's Globe),同樣能夠認識到莎翁的生平及其劇作風采,保證能教你看得目不暇給。
生於1564年的莎士比亞,可說是英國及世界最著名的劇作家之一,在他大約五十二年的人生歲月中,便給後世留下三十八部戲劇作品及百多首詩歌,當中包括為世人稱頌的《奧賽羅》、《哈姆雷特》、《李爾王》、《仲夏夜之夢》及《羅密歐與茱麗葉》等等。為演出莎士比亞所著的一眾劇目,一座名為Globe Theatre的環球劇場,早在1599年便在倫敦泰晤士河旁邊出現,迅即發展成為倫敦最受歡迎的劇場之一。可惜在1613年,正當上演《亨利八世》時,木建的劇場頂部起火,令整座劇場付諸一炬,翌年重建後一直營運至1642年被清教徒關閉,並在1644年遭徹底毀掉。
直至1949年,來自美國的演員、導演兼製片人Sam Wanamaker在抵達倫敦後,對昔日的環球劇場消失得無影無蹤感到異常失望,為重現這個演出莎士比亞名劇的地方,他發起集資運動並成立基金會負責重建環球劇場的計畫,只是由於資金籌集速度緩慢,加上花去不少時間搜集當年環球劇場原型的資料,在這座Shakespeare's Globe環球劇場在1997年正式建成前的三年半,Sam Wanamaker便告不幸離世,沒法見證他花上數十年籌建的心血結晶落成啟用,可說是一個遺憾!
目前置身全新的環球劇場,大家除可購票欣賞莎士比亞名劇,更不妨參加導賞團了解箇中歷史沿革,參觀者會先來到館內,透過展板、模型及實物展示,認識莎士比亞生平、倫敦劇場發展史及環球劇場歷史,更可看到莎翁劇目的服飾及樂器等珍貴展品,保證教人大開眼界。導賞團的重點便是由專人帶領下來到環球劇場參觀,原來三層高的木構劇院可容納一千六百人,其中七百人是站在中央觀劇的廉價票觀眾,其他人則可坐在圓形觀眾席、包廂,甚至專供貴族享用的廂房觀劇,體驗著四百年前莎士比亞劇目演出的繁華盛世風情。
遊罷環球劇場仍覺意猶未盡,在此附設的紀念品店及餐廳,或許能夠延續你的「朝聖」旅程。設在環球劇場內的紀念品店,便有售包括衣飾及擺設等的各式莎翁名著主題精品,莎士比亞迷可別錯過;至於位處劇場旁邊的Swan餐廳,則提供一系列英式傳統餐膳選擇,午餐兩道菜約372港元,三道菜約433港元,配以泰晤士河景觀,相當不俗。
莎士比亞環球劇場所處的泰晤士河南岸,近年被發展成為倫敦重點區域,除是市政府辦事處所在地,更是個特色遊點及型格食肆林立的社區,沿著河岸前行,便有現代藝術殿堂泰特現代美術館(Tate Modern)、大型觀景摩天輪倫敦眼(London Eye),以及重現昔日倫敦監獄歷史的倫敦地牢旅行團(London Dungeons)等多個遊樂好去處。

Philip Levine: Poems on Work and Life

很難得讀到關於工作與工廠/工人的詩,先貼在此,再多解釋:





Making It Work

3-foot blue canisters of nitro
along a conveyor belt, slow fish
speaking the language of silence.
On the roof, I in my respirator
patching the asbestos gas lines
as big around as the thick waist
of an oak tree. “These here are
the veins of the place, stuff
inside’s the blood.” We work in rain,
heat, snow, sleet. First warm
spring winds up from Ohio, I
pause at the top of the ladder
to take in the wide world reaching
downriver and beyond. Sunlight
dumped on standing and moving
lines of freight cars, new fields
of bright weeds blowing, scoured
valleys, false mountains of coke
and slag. At the ends of sight
a rolling mass of clouds as dark
as money brings the weather in.

機械翻譯

使其工作

硝基3英尺藍罐
沿一個輸送帶,慢魚
說話的沉默。
在屋頂上,我在我的呼吸器
修補石棉氣行
大周圍的粗腰
的橡樹。 “這些都是在這裡
的地方,東西脈
裡面是血。“我們的工作在下雨,
熱,雪,雨夾雪。首先熱烈
春天來自俄亥俄州,我纏
暫停在梯子的頂部
要在廣闊的世界深遠
下游和超越。陽光
傾倒在站立和移動
貨運車,新場的行
明亮的雜草吹,煮練
山谷,焦炭虛假山
和爐渣。在視線的端部
雲暗的滾動質量
金錢帶來的天氣。



Philip Levine: Poems on Work and Life

2014年11月26日 星期三

William Shakespeare

一切辦法都在我們自己,雖然我們把它諉之天意;注定人類運命的上天,給我們自由發展的機會,只有當我們自己冥頑不靈,不能利用這種機會的時候,我們的計畫才會張遭到挫折。——吳興華譯《終成眷屬》
"Our remedies oft in ourselves do lie
Which we ascribe to heaven. The fated sky
Gives us free scope, only doth backward pull
Our slow designs when we ourselves are dull."
--Helena from "All's Well That Ends Well" (1.1.233)
莎士比亞十四行詩 第二三首(梁宗岱譯)
彷彿舞台上初次演出的戲子
慌亂中竟忘記了自己的角色,
又像被觸犯的野獸滿腔怒氣,
它那過猛的力量反使它膽怯;
同樣,缺乏著冷靜,我不覺忘掉
舉行愛情的儀節的彬彬盛典,
被我愛情的過度重量所壓倒,
在我自己的熱愛中一息奄奄。
哦,請讓我的詩篇做我的辯士,
替我把纏綿的衷曲默默訴說,
它為愛情申訴,並希求著賞賜,
多於那對你絮絮不休的狡舌:
請學會去讀緘默的愛的情書,
用眼睛來聽原屬於愛的妙術。
Sonnet XXIII
As an unperfect actor on the stage,
Who with his fear is put beside his part,
Or some fierce thing replete with too much rage,
Whose strength's abundance weakens his own heart;
So I, for fear of trust, forget to say
The perfect ceremony of love's rite,
And in mine own love's strength seem to decay,
O'ercharged with burthen of mine own love's might.
O! let my looks be then the eloquence
And dumb presagers of my speaking breast,
Who plead for love, and look for recompense,
More than that tongue that more hath more express'd.
O! learn to read what silent love hath writ:
To hear with eyes belongs to love's fine wit.
*
More on Shakespeare's Sonnets: http://www.williamshakespeare-sonnets.com

William Cowper

  1. William Cowper
    Poet
  2. William Cowper was an English poet and hymnodist. One of the most popular poets of his time, Cowper changed the direction of 18th century nature poetry by writing of everyday life and scenes of the English countryside. Wikipedia
  3. BornNovember 26, 1731, Berkhamsted, United Kingdom
  4. DiedApril 25, 1800, Dereham, United Kingdom

William Cowper was born ‪#‎onthisday‬ in 1731. Here’s a portrait of the English poet http://ow.ly/EAXdb