我是風
I am the wind that wavers,
我是那舞動的風
You are the certain land;
而妳是那安靜的土地
I am the shadow that passes
Over the sand.
我是那跨越妳土地的影子
I am the leaf that quivers,
我是那震澶的葉子
You--the unshaken tree;
而妳是那寧靜的樹
You are the stars that are steadfast,
妳是那堅定的群星
I am the sea.
而我是那大海
You are the light eternal,
妳是那永恒的光輝
Like a torch I shall die...
而我要象火炬熄滅
You are the surge of deep music,
I--but a cry!
妳是那深沈樂音的波濤
可我，只會哭泣
2.
MISTRESS MINE,
WHERE ARE YOU ROAMING
妳是去哪裏，我的姑娘啊
Mistress mine, where are you roaming?
我的姑娘哦，妳要去哪裏？
stay and hear! your true-love's coming
That can sing both high and low;
還是留下來，妳的真愛正悄悄來臨
聽啊！它會高歌淺吟
Trip no further, pretty sweeting,
不要再四處遊蕩了，美麗的情人
Journeys end in lovers' meeting--
Every wise man's son doth know.
飄蕩會止於愛人的相會，這每個聰明人的兒子都懂
What is love? 'tis not herafter;
什麽才是愛情？如這還不是
Present mirth hath present laughter;
現上歡樂，顯出笑聲
What's to come is still unsure:
那些將來的依然不能預測
In delay there lies no plenty,--
這裏將沒有多少謊言
Then come kiss me, Sweet--and--twenty,
那麽來親吻我吧！妙齡美人！
Youth's a stuff will not endure
青春會稍縱即逝
3.
I TRAVELLED AMONG UNKNOWN MEN
我曾在海外的異鄉漫遊
I travelled among unknown men,
In lands beyond the sea;
我曾在海外的他鄉漫遊
Nor, England! did I know till then
直到那個時候我才知道有個被稱為英格蘭的地方
What love I bore to thee.
我能給妳什麽樣的愛情。
'Tis past, that melancholy dream!
那只不過是過去的壹個憂郁的夢哦！
Nor will I quit thy shore
我將不會在妳的海岸擱淺
A second time; for still I seem
To love thee more and more
這已經不是第壹次，我似乎越來越愛妳
Among thy mountains did I feel
The joy of my desire;
在妳的群峰之間，我享受著欲望的快樂
And she I cherished turned her wheel
Beside an English fire.
在英國人的鉤火邊，我懷抱著她催動她欲望之輪
Thy mornings showed, thy nights concealed
The bowers where Lucy played;
就在露希曾玩耍過的涼亭，妳的清晨已露，妳的黑夜逃脫
And thine too is the last green field
That Lucy's eyes surveyed.
而露希的雙眸所及，也是妳最後的綠地。
FAREWELL, SWEET GROVES
哦再見，可愛的小樹林
Farewell,
再見吧
Sweet groves to you;
可愛的小樹林
You hills, that highest dwell,
And all you humble vales, adieu.
妳盤踞在小山之頂
You wanton brooks and solitary rocks,
肆意而孤獨的搖擺
My dear companions all, and you, my tender flocks!
我和妳僅有的伴侶是那些溫順的羊群
Farewell, my pipe, and all those pleasing songs, whose moving strains
再見吧，我的笛子和所有快樂的歌聲, 以及那些移動著的緊張
Delighted once the fairest nymphs that dance upon the plains;
欣喜的，無比美麗的仙女在平地上起舞
You discontents, whose deep and over- deadly smart,
妳的不滿，是那些深邃過於平靜的苦痛
Have, without pity, broke the truest heart;
毫無憐憫地傷害了那真實的心臟
Sighs, tears, and every sad annoy,
That erst did with me dwell,
And all other's joy
那曾伴隨我的嘆息，眼淚和每壹個愁苦的煩惱
以及所有別的樂趣
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!
---------
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.