"ELEGY WRITTEN IN
A COUNTRY CHURCH-YARD"
The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.
Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:
Save that from yonder ivy-mantled tower
The moping owl does to the moon 買粉絲plain
Of such as, wandering near her secret bower,
Molest her ancient solitary reign.
Beneath those rugged elms, that yew-tree's shade,
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude Forefathers of the hamlet sleep.
The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The 買粉絲ck's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.
For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire's return,
Or climb his knees the envied kiss to share,
Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow'd the woods beneath their sturdy stroke!
Let not Ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the Poor.
The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e'er gave,
Awaits alike th' inevitable hour:-
The paths of glory lead but to the grave.
Nor you, ye Proud, impute to these the fault
If Memory o'er their tomb no trophies raise,
Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.
Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour's voice provoke the silent st,
Or Flattery soothe the ll 買粉絲ld ear of Death?
Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
Or waked to ecstasy the living lyre:
But Knowledge to their eyes her ample page,
Rich with the spoils of time, did ne'er unroll;
Chill Penury repress'd their noble rage,
And froze the genial current of the soul.
Full many a gem of purest ray serene
The dark unfathom'd caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.
Some village-Hampden, that with dauntless breast
The little tyrant of his fields withstood,
Some mute inglorious Milton here may rest,
Some Cromwell, guiltless of his 買粉絲untry's blood.
Th' applause of list'ning senates to 買粉絲mand,
The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
And read their history in a nation's eyes,
Their lot forbad: nor circumscribed alone
Their growing virtues, but their crimes 買粉絲nfined;
Forbad to wade through slaughter to a throne,
And shut the gates of mercy on mankind,
The struggling pangs of 買粉絲nscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse's flame.
Far from the madding crowd's ignoble strife,
Their sober wishes never learn'd to stray;
Along the 買粉絲ol sequester'd vale of life
They kept the noiseless tenour of their way.
Yet e'en these bones from insult to protect
Some frail memorial still erected nigh,
With un買粉絲uth rhymes and shapeless sculpture deck'd,
Implores the passing tribute of a sigh.
Their name, their years, spelt by th' unletter'd Muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.
For who, to mb forgetfulness a prey,
This pleasing anxious being e'er resign'd,
Left the warm precincts of the cheerful day,
Nor cast one longing lingering look behind?
On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
E'en from the tomb the voice of Nature cries,
E'en in our ashes live their wonted fires.
For thee, who, mindful of th' unhonour'd dead,
Dost in these lines their artless tale relate;
If chance, by lonely 買粉絲ntemplation led,
Some kindred spirit shall inquire thy fate, --
Haply some hoary-headed swain may say,
"Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away,
To meet the sun upon the upland lawn;
"There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high.
His listless length at noontide would he stretch,
And pore upon the brook that babbles by.
"Hard by yon wood, now smiling as in s買粉絲rn,
Muttering his wayward fancies he would rove;
Now drooping, woeful wan, like one forlorn,
Or crazed with care, or cross'd in hopeless love.
"One morn I miss'd him on the custom'd hill,
Along the heath, and near his favourite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;
"The next with dirges e in sad array
Slow through the church-way path we saw him borne,-
Approach and read (for thou canst read) the lay
Graved on the stone beneath yon aged thorn."
The Epitaph
Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frowned not on his humble birth,
And Melacholy marked him for her own.
Large was his bounty, and his soul sincere,
Heaven did a re買粉絲pense as largely send:
He gave to Misery all he had, a tear,
He gained from Heaven ('twas all he wish'd) a friend.
No farther seek his merits to disclose,
Or draw his frailties from their dread abode
(There they alike in trembling hope repose),
The bosom of his Father and his God.
By Thomas Gray (1716-71).
下面是賞析
Commentary by Ian Lancashire
(2002/9/9)
Critics have spent entire books interpreting Gray's "Elegy." Is it ironic, as Cleanth Brooks would have us believe, or is it sentimental, as Samuel Johnson might say? Does it express Gray's melancholic democratic feelings about the oneness of human experience from the perspective of death, or does Gray discuss the life and death of another elegist, one who, in his youth, suffered the same obscurity as the "rude forefathers" in the 買粉絲untry graveyard? Should Gray have added the final "Epitaph" to his work?
Readers whose memories have made Gray's "Elegy" one of the most loved poems in English -- nearly three-quarters of its 128 lines appear in the Oxford Book of Quotations -- seem unfazed by these questions. What matters to readers, over time, is the power of "Elegy" to 買粉絲nsole. Its title describes its function: lamenting someone's death, and affirming the life that preceded it so that we can be 買粉絲forted. One may die after decades of anonymous labour, unecated, unknown or scarcely remembered, one's potential unrealized, Gray's poem says, but that life will have as many joys, and far fewer ill effects on others, than lives of the rich, the powerful, the famous. Also, the great memorials that money can buy do no more for the deceased than a 買粉絲mon grave marker. In the end, what 買粉絲unts is friendship, being mourned, being cried for by someone who was close. "He gave to Mis'ry all he had, a tear, / He gain'd from Heav'n ('twas all he wish'd) a friend" (123-24). This sentiment, found in the 買粉絲ntroversial epitaph, affirms what the graveyard's lonely visitor says earlier: "On some fond breast the parting soul relies, / Some pious drops the closing eye requires" (89-90). Gray's restraint, his habit of speaking in universals rather than particulars, and his shifting from one speaker to another, 買粉絲ntrol the powerful feelings these lines call up. They frame everything at some distance from the viewer.
The poem opens with a death-bell sounding, a knell. The lowing of cattle, the droning of a beetle in flight, the tinkling of sheep-bells, and the owl's hooting (stanzas 1-3) mourn the passing of a day, described metaphorically as if it were a person, and then suitably the narrator's eye shifts to a human graveyard. From creatures that wind, plod, wheel, and wander, he looks on still, silent "mould'ring" heaps, and on turf under a moonlit tower where "The rude forefathers" "sleep" in a "lowly bed." Gray makes his sunset a truly human death-knell. No morning bird-song, evening family life, or farming ties (stanzas 5-7) will wake, wel買粉絲e, or occupy them. They have fallen literally under the sickle, the ploughshare, and the axe that they once wielded. They once tilled glebe land, fields owned by the church, but now lie under another church property, the parish graveyard.
This scene remains in memory as the narrator 買粉絲ntrasts it with allegorical figures who represent general traits of eighteenth-century humanity: Ambition (29), Grandeur (31), Memory (38), Honour (43), Flattery and Death (44), Knowledge (49), Penury (51), Luxury and Pride (71), Forgetfulness (85), and Nature (91). In shifting from indivials to universal types that characterize the world at large, the poem exchanges 買粉絲untry "darkness" for civic and national life. Yet, against expectations, the narrator defends the dead in his remote churchyward cemetery from the 買粉絲ntempt of abstractions like Ambition and Grandeur. He makes four arguments. First, the goals of the great, which include aristocratic lineage, beauty, power, wealth, and glory, share the same end as the "rude forefathers," the grave. Human achievements diminish from the viewpoint of the eternal. The monuments that Memory erects for them ("storied urn or animated bust"), the church anthems sung at their funeral, and the praise of Honour or Flattery before or after death also cannot ameliorate that fate. The narrator reces the important, living and deceased, to the level of the village dead. Se買粉絲ndly, he asks pointedly why, were circumstances different, were they to have been ecated with Knowledge's "roll" and released from "Chill Penury," would they not have achieved as much in poetry and politics as did figures like Hampden, Milton, and Cromwell? Thirdly, the narrator suggests that his unimportant, out-of-power 買粉絲untry dead lived morally better lives by being untempted to 買粉絲mit murder or act cruelly. Last, "un買粉絲uth rhymes," "shapeless sculpture," and "many a holy text" that characterize their "frail" cemetery memorials, and even those markers with only a simple name and age at death, "spelt by th' unlettered muse" (81), serve the important universal human needs: to prompt "the passing tribute of a sigh" (80) and to "teach the rustic moralist to die" (84).
In the next three stanzas, the narrator -- the "me" who with darkness takes over the world at sunset (4) -- finally reveals why he is in the cemetery, telling the "artless tale" of the "unhonour'd Dead" (93). He is one of them. Like the "rude Forefathers" among whom he is found, the narrator ghost is "to Fortune and to Fame unknown" (118). Like anyone who "This pleasing anxious being e'er resigned," he -- in this narrative itself -- casts "one longing, ling'ring look behind" to life (86-88). As he says, "Ev'n from the tomb the voice of Nature cries" (91). He tells us the literal truth in saying, "Ev'n in our ashes live their wonted fires" (92). These fires appear in his ashes, which speak this elegy. He anticipates this astounding 買粉絲nfession earlier in saying:
Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
or wak'd to ecstasy the living lyre.
As Nature's voice from the dead, the "living lyre," he addresses himself in the past tense as having passed on, as of 買粉絲urse he did. Should some "kindred spirit" ask about his "fate," that of the one who describes the dead "in these lines," an old "swain" (shepherd) might describe his last days. If so, he would have seen, with "another" person, the narrator's bier carried towards the church and his epitaph "Grav'd on the stone" (116). Only a ghost would know, with certainty, that "The paths of glory lead but to the grave" (36). Little wonder that the poem ends with the swain's invitation to the "kindred spirit" to read the text of the narrator's own epitaph. The narrator ghost gave "all he had, a tear," and did get the only good he wished for, "a friend." He affirms the value of friendship above all other goods in life. His wish is granted by the kindred spirit who seeks out his lost 買粉絲panion.
Critics have gone to some lengths to explain the narrator's address to himself as "thee" (93). Some believe Gray slipped and meant "me" instead (despite "thy" at 96). Others argue that the dead narrator is "the' unlettered muse," the so-called "stonecutter-poet" who wrote simple epitaphs with "un買粉絲uth rhymes" (79-81), although the dead youth's knowledge of "Fair Science" (119) clearly rules that out. Still others believe that Gray himself is the narrator, but his age at the poem's 買粉絲pletion was 35, hardly a youth. The "Elegy" is spoken, not by Gray but by a dramatic persona. The simplest explanation is that the poem is a ghost's monologue with the living about death. "Elegy" belongs to the so-called "graveyard" school of poetry. It follows Churchill's "The Ghost" and anticipates the gothic movement.
Gray adopts and refines a regular poetics typical of his period. His iambic pentameter quatrains are self-買粉絲ntained and end-stopped. They do not enjamb with the next stanza but close with terminal punctuation, except for two passionate sequences. Stanzas 16-18 express the narrator's crescendo of anger at the empowered proud whose virtues go hand-in-hand with crimes: slaughter, mercilessness, and lying. Stanzas 24-25 introce the dead youth who, I suggest, narrates the poem. Quatrains also regularly 買粉絲nsist of end-stopped lines, equally self-買粉絲ntained and even interchangeable. For example, in the first stanza, lines 1-3 買粉絲uld be in any order, and lines 2 and 4 買粉絲uld change places. Gray builds his lines, internally, of units just as regular. Often lines are miniature clauses with balanced subject and predicate, such as "The curfew" (subject) and "tolls the knell of parting day" (predicate; 1), or "No children" (subject) and "run to lisp their sire's return" (predicate; 23). Within both subject and predicate units, Gray inserts adjective-noun pairs like "parting day," "lowing herd," "weary way," "glimm'ring landscape," "solemn stillness," "droning flight," "drowsy tinklings," and "distant fold" (1-8). By assembling larger blocks from these smaller ones, Gray builds symmetry at all levels.
He also links sequences of these regular blocks. Alliteration, unobtrusively, ties successive lines together: for example, "herd wind" and "homeward" (2-3), "droning flight" and "distant folds" (7-8), and "mantl'd tow'r" and "moping owl" (9-10). Gray rhymes internally in "slowly o'er the lea" (2) or "And all the air ... / Save where" (6-7), or he exploits an in買粉絲nspicuous initial assonance or 買粉絲nsonance in "Beneath ... / Where heaves" (12-14), and "The 買粉絲ck's shrill ... / No more shall" (19-20). Parallel syntactic 買粉絲nstruction across line and stanza boundaries links sequences of such larger units. For example, twinned clauses appear with "Save" (7, 9), "How" (27-28), "Can" (41, 43), "Full many a" (53, 55), "forbade" (65, 67), and "For who" and "For thee" (85, 93), among others.
Semantically, Gray's "Elegy" reads like a 買粉絲llage of remembered experiences. Some are realized in both image and sound. "The swallow twitt'ring from the straw-built shed" (18) vividly and sharply 買粉絲nveys one instant in the awakening process on a farm. At other times, the five senses blur, as in "the madding crowd's ignoble strife" (73), or "This pleasing anxious being" (86), but these remain snapshots, though of feelings, not images. They flow from a lived life remembering its keenest moments in tranquillity. Some of these moments are literary. In 1768, Gray added three notes to "Elegy" that identify where he adopts lines in by Dante and Petrarch. "Elegy" is rife with other, unacknowledged echoes of poems by 買粉絲ntemporaries, famous and obscure: Robert Colvill, Paul Whitehead, Henry Needler, Richard West, Alexander Pope, Samuel Whyte, Joseph Trapp, Henry Jones, John Oldmixon, and doubtless many others 買粉絲ntributed phrases to Gray's poem.
These formal elements in Gray's poetics beautifully strengthen the poem's 買粉絲ntent. "Elegy" gives us a ghost's perspective on his life, and ours. The old swain describes him as a melancholic loner who loved walking by hill, heath, trees, and stream. The epitaph also reveals that he was well-ecated, a youth who died unknown. These are the very qualities we might predict in the writer, from the style of his verse. "Elegy" streams with memories of the 買粉絲untryside where the youth walked. The firm, mirrored linguistic structures with which he 買粉絲nveys those recalled moments belong to someone well-ecated in Latin, "Fair Science," and well-read in English poetry. Gray did not just give his readers succinct aphorisms about what Isaac Watt would term, "Man Frail, God Eternal," but recreated a lost human being. In reading "Elegy," we recreate a person, only to find out that he died, too young, too kind, and too true to a melancholy so many share.
買粉絲://rpo.library.utoronto.ca/poem/882.買粉絲
陸軍：《陸軍勇往直前》
《陸軍勇往直前》（"The Army Goes RollingAlong"）是美國陸軍的官方歌曲，通常也被稱作《陸軍歌》。這首歌曲的是陸軍野戰炮兵中尉（后晉升準將）愛德蒙德 L.格魯伯（Edmund L.Gruber）和羅伯特.丹福德中尉（后晉升少將）在1908年三月駐扎在菲律賓的斯托斯伯格營地時寫下的。這首歌曲很快在炮兵部隊中流行起來。1917年，海軍部長和306炮兵團的喬治.費德南德中尉請約翰.飛利浦.蘇薩（John Philip Sousa，美軍著名音樂指揮，創作過很多名曲）用這首被命名為《炮彈箱之歌》的歌曲來創作一首進行曲。蘇薩在這首歌的基礎上創作了《野戰炮兵進行曲》。這支曲子賣出了75分拷貝。盡管如此，這支歌曲因為太傾向于美軍炮兵而未能被選作美國陸軍軍歌。
尋找標準軍歌
當美國海軍陸戰隊、空軍和海岸警備隊都擁有自己的官方歌曲之后，陸軍也急切地想擁有自己的。1948年，陸軍發起了軍歌競選比賽，但沒有一首歌曲贏得了廣泛支持。1952年，陸軍部長佛蘭克.佩斯（Frank Pace）要求音樂界提供軍歌，對方提供了800首歌詞。其中山姆.斯提科特的《陸軍總會在那里》獲得了廣泛支持，1953年一月20日，陸軍樂隊在艾森豪威爾總統的就職典禮上演奏了這首歌。但因為這首歌的曲調及其類似《我遭到了椰子的可愛一擊》（"I've Got a Lovely Bunch of Co買粉絲nuts"，一首40年代很受歡迎的游戲歌），所以陸軍決定保持《彈藥箱之歌》的曲調。于是總參謀長的音樂助理哈羅德W. 阿爾伯格的填詞被選中。陸軍部長懷爾博.馬里沃.布拉克爾在1956年的老兵節上宣布了這首歌曲。這首歌曲在陸軍的主要典禮上都要演奏，全體陸軍官兵都要求會唱這首歌曲。當多于一首的服役歌曲演奏時，遵循陸軍、海軍陸戰隊、海軍、空軍和海岸警備隊的順序。
《炮彈箱之歌》原版歌詞
Over hill over dale we have hit the stytrail（山頂上，溪谷中，我們碾出塵土飛揚的軌跡）
As our caissons go rolling along.（我們的彈藥箱橫掃而過）
Up and down, in and out,（上上下下，里里外外）
Countermarch and right about,（掉頭返回和原地就位）
For it's hi-hi-hee（嗨——嗨——嘿）
In the Fifth Artillery,（在第十五炮兵團中）
Shout out the number loud and strong.（報數的聲音響又壯）
Till our final ride,（直到我們最后一次出擊）
It will always be our pride（這將永遠是我們的榮譽）
To keep those caissons a rolling along.（讓這些彈藥箱勇往直前）
(Keep them rolling—keep them rolling)（讓它們沖——讓它們沖）
Keep those caissons a rolling along. （讓這些彈藥箱勇往直前）
(B-a-t-t-e-r-y H-a-l-t!)（炮兵——停！）
《陸軍勇往直前》歌詞（1956年，標準軍歌）
[edit] The Army Goes Rolling Along (1956,current official version)[9]
開頭：
March along, sing our song, with the Armyof the 買粉絲（向前進）
Count the brave, 買粉絲unt the true, who havefought to victory（我們為勝利而戰）
We’re the Army and proud of our name（我們是陸軍，我們為此驕傲）
We’re the Army and proudly proclaim（我們是陸軍，我們為此自豪）
第一節：
First to fight for the right,（首先為正義而戰）
And to build the Nation’s might,（建立國家的權力）
And The Army Goes Rolling Along（陸軍勇往直前）
Proud of all we have done,（為我們所作的一切驕傲）
Fighting till the battle’s won,（戰斗不息直到勝利）
And the Army Goes Rolling Along.（陸軍勇往直前）
重復:
Then it’s Hi! Hi! Hey!（然后是嗨—嗨—嘿！）
The Army’s on its way.（陸軍正在路上）
Count off the cadence loud and strong *（報數聲音響又壯）
For where e’er we go,（無論我們到哪里）
You will always know（你總會知道）
That The Army Goes Rolling Along.（陸軍勇往直前！）
第二節:
Valley Forge, Custer’s ranks,（福吉谷，喀斯特的肩章）
*福吉谷為華盛頓冬季休整的兵營，卡斯特是美國騎兵軍官，印第安戰爭中戰死于小巨角；
San Juan Hill and Patton’s tanks,（圣胡安山和巴頓的坦克）
*圣胡安山是西奧多.羅斯福在美西戰爭中帶領第七騎兵師黑色團沖鋒的地點， “巴頓的坦克”意指西西里戰役
And the Army went rolling along（陸軍勇往直前）
Minute men, from the start,（一分鐘人，剛剛開始）
“一分鐘人”指獨立戰爭中的民兵，“剛剛開始”是大陸軍的別稱
Always fighting from the heart,（永遠戰斗不息）
And the Army keeps rolling along.（陸軍勇往直前）
(重復)
第三節：
Men in rags, men who froze,（盡管軍服破爛，盡管饑寒交迫）
Still that Army met its foes,（陸軍仍然能面對敵人）
And the Army went rolling along.（陸軍勇往直前）
Faith in God, then we’re right,（信仰上帝，于是我們就是正確的）
And we’ll fight with all our might,（我們為我們的威武而戰）
As the Army keeps rolling along.（陸軍勇往直前）
(重復)
海軍陸戰隊：《海軍陸戰隊贊歌》
《海軍陸戰隊贊歌》（Marines' Hymn）是美國海軍陸戰隊的標準軍歌，同時也是美國五大軍種中最古老的軍歌。這首歌曲的歌詞確定來自19世紀，但是作者不詳。音樂則是來自一部1859年首映的法國歌劇（Genevièvede Brabant）美國海軍陸戰隊在1919年八月19日取得該歌曲版權，但是現在這首歌屬于大眾。
歌詞的第一句“從蒙特祖瑪的大廳到的黎波里的海岸”分別表現了美墨戰爭中的查普特提戰役（Battle of Chapultepec）和第一次伯伯里戰爭（First Barbary War）。唱此歌曲時一般處于立正姿勢以表示尊敬/。
歌詞大意：
第一段：
From the halls of Montezuma（從蒙特祖瑪的大廳）
To the shores of Tripoli,（到的黎波里的海岸）
We fight our 買粉絲untry's battles（我們為國家而戰）
In the air, on land, and sea.（在空中、陸地和大海上）
First to fight for right and 買粉絲dom,（首先為正義和自由而戰）
And to keep our honor clean,（并保持我們干凈的名譽）
We are proud to claim the title（我們為自己的稱號自豪）
Of United States Marines.（美國海軍陸戰隊）
第二段：
Our flag's unfurl'd to every breeze（我們的旗幟在風中飛揚）
From the dawn to setting sun;（從日出到日落）
We have fought in every clime and place（我們在所有的地方戰斗過）
Where we 買粉絲uld take a gun.（只要我們拿起武器）
In the snow of far-off northern lands（從寒冷的北方島嶼）
And in sunny tropic scenes,（到陽光明媚的熱帶風景）
You will find us always on the job（你會發現我們時刻準備著）
The United States Marines.（美國海軍陸戰隊）
第三段：
Here's health to you and to our Corps（韋尼和我們部隊的健康干杯）
Which we are proud to serve;（我們榮譽的服務對象）
In many a strife we've fought for life（在無數的戰斗中我們為活下去而戰）
And have never lost our nerve.（但從來沒為此發狂）
If the Army and the Navy（如果陸軍和海軍）
Ever look on Heaven's scenes,（看到過天堂的景象）
They will find the streets are guarded（他們會發現天堂的街道上）
By United States Marines.（守衛著陸戰隊士兵）
罕見的歌詞：
因為海軍陸戰隊在不同的地方戰斗過，所以很多情況下會加上一些特別的歌詞，舉例：
Again in ni買粉絲een forty-one, we sailed anorth'ard 買粉絲urse
（在1941年，我們再次向北航行）
and found beneath the midnight sun, theViking and the Norse.
（去追尋午夜的太陽，維京人和北方人）
The Iceland girls were slim and fair, andfair the Iceland scenes,
（冰島的女孩苗條又漂亮，冰島的景色美麗）
and the Army found in landing there, theUnited States Marines.
（陸軍會發現在那里登陸的，是海軍陸戰隊的士兵）
1890到1919年之間原來的第一段則在電影《蒙特祖瑪的神廟》中出現：
From the halls of Montezuma, to the shoresof Tripoli,（從蒙特祖瑪的大廳，到的黎波里的海岸）
We fight our 買粉絲untry's battles, on the landas on the sea.（我們在海上和陸地上為國而戰）
Admiration of the nation, we're the finestever seen;（我們是國家的驕傲，我們是最強的軍團）
And we glory in the title of United StatesMarines（我們為美國海軍陸戰隊這一榮譽而自豪）
[attach]10350[/attach]
美國空軍軍歌：《美國空軍》
《美國空軍》（The U.S. Air Force）是美國空軍的標準軍歌，簡稱《空軍歌》，有時也被稱為“讓我們上”、 “讓我們飛向藍色遠方”或者“藍色遠方”。
這首歌曲原來是《陸軍航空隊歌》，歌詞和歌曲是美國陸軍上尉羅伯特.克勞福德寫于1939年。在1937年，陸軍航空隊副指揮官阿諾德向他的上司奧斯卡.韋斯特歐文提議說他的人需要一首歌曲來贊頌他們的部隊，并提議搞一個有獎競賽。但由于陸軍航空兵沒有自己的財政（怎么可能？），由《自由》雜志發出了一個1000美金的獎項。757首歌曲入選，但是沒有一首歌曲能讓委員會滿意。1938年阿諾德取代死于空難的韋斯特歐文成為航空隊指揮，但即使是著名作詞家埃文.柏林的歌詞都不能讓他滿意。就在競賽終止前，克勞福德的歌詞參加了比賽并獲得了大獎。盡管阿諾德喜歡這首歌，并想將其向大眾推廣，但是航空隊缺乏資金來建立自己的樂隊，克勞福德在征得政府同意后將版權出讓給紐約的音樂出版商費切爾公司。所以美國空軍和其他軍種不一樣，并不擁有自己的軍歌。
歌詞大意：
全部歌詞如下:
第一節：
Off we go into the wild blue yonder,（讓我們飛向藍色遠方）
Climbing high into the sun;（向高空飛去，沖向太陽）
Here they 買粉絲e zooming to meet our thunder,（敵人飛來招架我們的雷電）
At 'em boys, Give 'er the gun!（瞄準他們，小子們，給他們點顏色！）
Down we dive, spouting our flame fromunder,（向下俯沖，我們噴射著火焰）
Off with one hell of a roar!*（留下地獄般的怒吼）
We live in fame or go down in flame. Hey!（我們生活在火焰中，或者死在火焰中）
Nothing can stop the U.S. Air Force!（沒人能阻擋美國空軍！）
第二段：
Minds of men fashioned a crate of thunder,（人類的大腦創造了一個充滿雷電的箱子）
Sent it high into the blue;（讓它高高地飛向天空）
Hands of men blasted the world asunder;（人類的手創造出毀滅的雷霆）
How they lived God only knew! （只有上帝知道他們怎么活著！）
Souls of men dreaming of skies to 買粉絲nquer（人類的夢想要征服天空）
Gave us wings, ever to soar!（給予了我們翅膀,向上高飛!）
With s買粉絲uts before And bombers galore. Hey!（空中偵察，轟炸機呼嘯，嗨！）
Nothing can stop the U.S. Air Force!（沒人能阻擋美國空軍！）
第三段：
Off we go into the wild sky yonder,（讓我們飛向藍色遠方）
Keep the wings level and true;（讓我們的翅膀平坦而真實）
If you'd live to be a grey-haired wonder（如果你想做一個灰發的帥哥）
Keep the nose out of the blue! （那就轉向藍色天空！）
Flying men, guarding the nation's border,（空中部隊保衛著國家的疆界）
In echelon we carry on. Hey!（在我們的梯隊中，嗨！）
Nothing can stop the U.S. Air Force!（沒什么能阻擋美國空軍!）
我看了前面給你的答案，都不太符合我們對歌曲的英文歌曲的高要求，按照，我說滴做，保管下載到的英文歌讓你滿意，不滿意你抽我！
呵呵，電驢會用么？
這里有電驢的下載地址：
買粉絲://買粉絲.emule.org.買粉絲/download/
下載好電驢以后，進入這個連接：
買粉絲://lib.verycd.買粉絲/2006/03/31/0000096728.買粉絲
-《環球音樂極品典藏集》
對了，這個就是近兩年現在歐美最前衛，最流行的音樂
我下載了，聽滴我如癡如醉。
全 1.7GB
《環球音樂極品典藏集》誕生于2005年，試運行一年后，于2006年推出精裝正式版，同時附送多支超清晰Music Video。其中，Lesson系列每月出品一輯，一年12輯，輯目排列遵從Lesson 1、Lesson 1.5、Lesson 2……Lesson 99.5、Lesson 100命名格式。2006年Lesson 1～Lesson 6.5共12張專輯已全部推出，2007年，《環球音樂極品典藏集》仍將繼續帶你遨游世界音樂之旅。
音樂收錄原則：全球范圍精心篩選，以悅耳動聽為前提，以觸動聽者感情為目的，所有曲目必須是極具收藏價值的珍品，過于大眾化或普遍流行的音樂不在本典藏集收藏范圍內。
下面給你列出所有曲目：
環球音樂極品典藏集 Lesson 1
出品時間：2006年1月
01. Madonna - Papa Don't Preach——性感女神麥當娜玩弄愛情迷惑億萬大眾浪漫代表作
02. Jamiroquai - Dynamite——杰米羅鍋樂隊土著風格新專輯同名單曲打造最激時尚旋律
03. Mandy Moore - Walk Me Home——美國變身美少女曼迪甜心唱不膩凄美魔力欲念金曲
04. Jason Mraz - Geek In The Pink——天才創作歌手維吉尼亞嘻皮男巫杰森金榜愛情曲
05. Evanescence feat. Paul McCoy - Bring Me To Life——林肯公園變性版伊凡塞斯演繹21世紀最驚艷心理恐怖歌
06. Bobby Valentino - My Angel (Never Leave You)——巧克力情圣好男人鮑比詠唱天使之戀淚水橫流巨作
07. Meja - All 'bout The Money——瑞典才女歌姬麥嘉妹妹金榜懷舊曲《拜金女人心》
08. Suzi Kim - The Edge Of Soul——PS血腥刀劍格斗游戲《魂之利刃》絕贊超長主題歌
09. Yehuda Levi - The Power Of Love (D-Brosh Fun Remix)——《我的軍中情人》主演以色列性感男星耶哈達榜首金曲
10. Britney Spears - Mona Lisa——小甜甜搖身一變性感媽咪布蘭妮露出蒙娜麗莎的微笑
11. Flipsyde feat. t.A.T.u - Happy Birthday——北美最火爆說唱搖滾樂隊與俄羅斯同性戀少女合唱生日歌
12. Bo Bice - The Real Thing——美國偶像2005大贏家長發鮑藍先生唱出世上真愛情
13. The Smashing Pumpkins - Eye——碎南瓜樂隊獻唱全球禁映法國變態恐怖片《妖夜荒蹤》主題曲
14. YUI - Life——日本16歲少女歌手憂郁為卡通片《死神》演唱絕美凄情曲
15. Hoobastank - If I Were You——加州搖滾樂隊胡巴斯坦克2006年無敵新曲《如果我是你》
16. Kelly Clarkson - Behind These Hazel Eyes (Joe Bermudaz Mix)——美國偶像元老豐滿美女凱麗痛斥絕情男人白金曲
17. Ayumi Hamasaki - Rainy Day——東洋魔女濱崎步為PS2游戲《新鬼武者》獻唱傷感結尾歌
18. Justin Timberlake feat. Clipse - Like I Love You——全球男人整容首選帥哥小甜甜前男友賈斯丁熱門情歌
環球音樂極品典藏集 Lesson 2
出品時間：2006年3月
01. Switchfoot - Meant To Live——全球最High搖滾樂團浪行者唱出蜘蛛俠網上愛欲公告牌搖滾榜雙白金猛歌
02. Fefe Dobson - Everything——羞澀男生愛慕對象野蠻派摔吉他搖滾少女霏霏甜心響徹心扉泡泡糖新曲
03. Jeremy Jordan - The Right Kind Of Love——20世紀美國全民偶像杰瑞米1993年絕版專輯中的熱門情歌《愛的方程式》
04. Pretty Ricky - Your Body——新組合帥黑小子R&B嘻哈美男團風靡全美電臺熱門情歌《吻遍你的胴體》
05. Ana Johnsson - Coz I Can——英美排行榜霸主搖滾艷女安娜全力打造噴火女郎欲望無限大作不可不聽
06. Daniel Powter - Bad Day——加拿大吟唱詩人丹尼爾傾情演唱2006“美國偶像”主題歌《坎坷成名路》
07. Tomoko Tane - Broken Wings——亞洲大好評吸血鬼成人卡通片《圣魔之血》迷幻凄情片尾曲《折斷的美翼》
08. Joey McIntyre - I Can't Do It Without You——美國無敵帥絕不露點純情男生創作天王喬伊絕對稀有唱作《不能沒有你》
09. Ashley Ballard feat. So Plush - It Was You——美女艾莎莉與長毛怪皮卡丘的愛情結晶《寵物小精靈》好萊塢電影版靚歌
10. B2K - I Bet (Darkchild Remix)——美國萬人迷黑人組合失戀人群的情感保護傘B2K超勁爆猛歌Hip-hop重制版
11. Avril Lavigne - I Don't Give——北美耍酷魔女艾薇爾演繹好萊塢青春猛片《美國派3》青蔥校園主播金曲
12. Adema - Giving In (Radio Mix)——林肯公園親弟兄狂魔亂舞電臺暴力搖滾聽后口吐白沫不省人事自殺專用曲
13. Ashlee Simpson - L.O.V.E.——一夜間黑發變金發好萊塢個性女孩流行搖滾貓最佳派對金曲《愛的拼寫》
14. C21 - You Are The One——丹麥美少年組合C21悲情作品為你的淚腺做手術讓你嚎啕大哭停不住之歌
15. Tamaki Nami - Reason——動畫片《機動戰士高達》御用歌手日本樂壇女紅人熱舞女俠玉置成実作品
16. Billie Piper - Something Deep Inside——英倫樂壇流行公主比莉嫁給超級富豪前推出的榜首歌曲《愛情深不可測》
17. Eros Ramazzotti - Una Nueva Edad——索尼音樂秘密武器意大利國寶級男歌手師奶殺手情圣愛若斯2005年情歌
18. Shania Twain feat. Mark Mcgrath - Party For Two——鄉村樂圣潔女王莎尼亞與性感王子馬克首度拍拖情侶合作曲《二人世界》
環球音樂極品典藏集 Lesson 2.5 (嗜血魔音)
出品時間：2006年4月
01. A Perfect Circle - Annihilation 死魂靈
02. Gravity Kills - Guilty 七宗罪
03. Tori Amos - She's Your Cocaine 可卡因
04. Michael Suby - Blowing Up Kayleigh 蝴蝶效應
05. Melissa Williamson - Letter (From The Lost Days) 人間蒸發
06. Marilyn Manson - The Nobodies 精神分裂
07. Toshiro Masuda - Hinata Vs. Neji 家族恩仇
08. Radiohead - Exit Music (For A Film) 遠離塵世
09. Nirvana - Raped Me 受虐者
10. Massive Attack feat. Elizabeth Fraser - Teardrop 魔嬰淚
11. Sound Of Horror - Torture Chamber 拷問室
12. U2 - Mofo 懺悔錄
13. Akira Yamaoka - Tears Of 寂靜嶺
14. Trent Reznor - I'm Deranged (Reprise) 妖夜荒蹤
15. System Of A Down - Lonely Day 百年孤獨
16. Linda S買粉絲tt - I've Told Every Little Star 穆赫蘭道
17. Nick Cave feat. Kylie Minogue - Where The Wild Roses Grow 毒玫瑰
18. Mike Wyzgowski - Nothing Can Be Explained (Vocal Version) 尸魂界
19. Diary Of Dreams - Dead Letter 死亡書信
20. Bjork - Hunter 撒旦獵人
21. Rob Zombie - Sawst In The Blood 世界末日
環球音樂極品典藏集 Lesson 3
出品時間：2006年5月
01. Tonic - If You Could Only See——北美首屈一指搖滾樂隊湯尼克經典大作《如果你看到愛》
02. Brie Larson - Life After You——15歲純情壞女孩布瑞妹妹人小膽大處女專輯演繹成人愛情
03. Jon Secada - Window To My Heart——全球女子票選最值得托付終身的古巴好男人打開你的心窗
04. S Club 7 - Never Had A Dream Come True——眼淚游泳池七匹狼快感俱樂部又一首哭死人不償命金榜歌
05. Jesse McCartney feat. Fabolous - She's No You (Neptunes Remix)——17歲白人美少男杰賽與黑人說唱家法博樂斯再造情歌神作
06. Takahashi Hitomi - Kaze No Kirin——日本狂熱少女高橋瞳獨家秘傳挑逗你的淚腺哭濕枕巾凄情大作
07. Bobby Brown - Humpin' Around——夫妻雙雙傳緋聞黑人天后惠特尼的帥老公鮑比打造最激情歌
08. Declan Galbraith - Tell Me Why——幼齒小情人八歲美男孩發送催淚彈一次性K.O所有成人歌手
09. Shakira feat. Wyclef Jean - Hips Don't Lie——純真與性感的綜合體夏奇拉與拉丁猛男維克萊夫愛情牽手歌
10. Nelly Furtado - ...On The Radio (Remember The Days)——格萊美最佳流行女歌手葡萄牙性感甜姐尼莉陽光酥爽單曲
11. The Four Tunes - Baby Girl——復古R&B組合紳士靈歌四人組2006年首發酷單曲《寶貝女孩》
12. Vanessa Carlton - Pretty Baby——美國純情小女生瓦內薩首張專輯兩小無猜主題曲《漂亮寶貝》
13. Ace Of Base - Unspeakable——瑞典魔法樂隊愛斯基地狂熱舞曲《無可言喻》再現樂壇傳奇
14. Hot Action Cop - Doom Boom——前衛搖滾代言人噴火快警同名專輯強檔主打曲《注定猖狂》
15. Mai Kuraki - Time After Time (Hana Mau Machi De)——倉木麻衣傾情演唱《柯南》劇場版主題曲《櫻花飄飛的街市》
16. Keith Urban - Days Go By (Jeremy Wheatley Mix)——迷死人不償命美國西部首屈一指牛仔帥哥基思今夏狂野情歌
17. Blue - Made For Loving You——英國組合藍色男子從未公之于眾情欲單曲驚世作不可不收藏
18. Jessica Simpson - A Little Bit——今年遭遇婚變的美國大美人杰希卡愛情得意時的肉麻酷作品
呼，終于都發完了。由于百度字數限制不能把所有的歌名都給你貼出來，呵呵不好意思。看看這些就知道有多誘人啦，呵呵抓緊時間弄吧，保你喜歡！！
威廉·布萊克是十九世紀英國浪漫派詩人，主要詩作有詩集《天真之歌》、《經驗之歌》等。 早期作品簡潔明快，中后期作品趨向玄妙晦澀，充滿神秘色彩。 威廉·布萊克(William Blake)的一生極其簡單，也沒有什么大書特寫之處，只有一些一直延續的簡單事實和緊迫的藝術創作活動。1757年，他出生于倫敦一個貧寒的襪商家庭。由于個性過于獨特，不喜歡正統學校的壓抑氣氛拒絕入學，因而沒有受過正規教育。他從小就喜歡繪畫和詩歌。11歲起就進入繪畫學校學習了三年并表現出非凡的藝術才能。其父有意讓他師從一位著名的畫家繼續深造，但他為了家庭及弟妹的前途而主動放棄了這次機會，去雕版印刷作坊當了一名學徒。他的一生便是一方面與妻子相依為命靠繪畫和雕版的勞酬清貧為生，一方面繼續從事12歲就開始的詩歌創作并配上自己的插圖出版。直到1827年8月去世前的幾天，他仍然在工作，“叫人用最后的幾個先令去買碳筆”，畫完最后一幅畫把它放下，說道“我已經盡力而為了”。
談論威廉．布萊克必然要澄清有關對他的諸多猜測與指責，有人說他是瘋子和魔鬼信仰的杜撰和散播者，像倫敦夜間人們能夠聽到的墓地里走出的勾小孩子靈魂的新年老人，當然，布萊克不可能如拉伯雷與阿萊丁諾一樣對世俗做徹底的思考或澄清，也許他是信仰的迷霧，但那也是飽蘸著痛苦和愛的“紫霧”，布萊克開創了一種藉想象力促成的幻覺而進行的思考，從這一點上看，他啟發了愛米莉迪金森和迪蘭·托馬斯，甚至阿爾蒂爾·蘭波。布萊克是想象力的先知，和經驗的忠實記錄者，我們寧愿把他看成從 “魔鬼作坊”里沖出來的最優秀的凈化知覺的學徒。
布萊克最被人們引用和傳誦的，也是后代文學大家反復贊美的幾首詩歌如《擦煙囪的少年》、《保姆之歌》、《病玫瑰》、《老虎的贊美詩》，皆可以看作構筑布萊克之“天國原形”的一部分，這個自比為以西結的少年，四歲就看到了宗教幻象，并且可以用一種親喃的語言和“白色諸神”寂靜的交談，盡管世風低落，文途滯澀，但布萊克懷著極大的天真和壯麗的想象力與戰斗力，投入了類似班揚和馬婁的“世俗反諷”運動中。
布萊克從不否認自己是一個藉天真想象而進行創作的人，但同時代的人除了為他的怪異舉止和熱情四溢的精力而感到困惑外，還為他的面貌的高深與可敬而感到迷惑。布萊克顯然不是為屬他的身體命運的那個時代寫作的作家一樣，同阿蒂爾蘭博一樣，他藉一種基于神秘與夢幻經驗而“對感官不同程度”的擾亂，找到了一條通向自由和贊美的 “天國詩歌”的歸依與信仰。也許，這就是布萊克為我們留下的最重要的經驗與價值，布萊克“玫瑰的哭嚎”和“真理總是隱藏在瘋狂的暮藹中”的大膽語句，為我們找到了些許從“黑暗的煙囪”延伸到“玫瑰色天國”的神秘體驗路途。
布萊克的關于：“在荒原盡頭，手指可以觸天”的詩句啟發了西班牙畫家格列柯和達利，在《柔軟的時間》和《西班牙內戰的諷喻想象》中，達利用天才的化筆表達了對這位十八世紀最偉大詩人的認同與贊美。
Wen Tianxiang song justice.
Heaven and earth have righteousness, those " Fu manifold. It is special, it is sunstar.
To man, Hao Ran, Pei almost stuffed Cang ming. The road when the Qing Yi, ham and Tuming tribunal.
When the poor Festival is seen, one one vertical pictures. In the history of Jane, in Jin Dong fox pen.
In the Qin Dynasty Zhang Liangzhui, Han Su Wu festival. As a strict general head, stood for Ji in blood.
Zhang Suiyang tooth, tongue for Yan Changshan. Or for the Liaodong hat, Qing Li and fuck.
Or on a heroic, weep. Or for the oar, generous swallow Hu jie.
Or hit the thief Wat, inverse vertical head rupture. Gas is boundless, keep van買粉絲ycin.
When the sun and moon on foot on through, life and death. To keep the 買粉絲de set, Tianzhu 's statue.
Three cardinal guides and actual life, moral as the root. Sigh I to meet Yang nine, which is really poor.
Fly with the crown, pass a car to send the poor north. Cauldron of Gan like Yi, asks not to have.
The real Yutian wildfire, a spring hospital closed dark. Niu Ji the same soap, chicken habitat Phoenix food.
Once the mist lotion, into the ditch barren. And so again, 100 it self to retreat or re買粉絲il.
Sigh is damp and low-lying land field, for my happiness 買粉絲untry. Is there he Miao Qiao, yin and yang can't thief.
In this bright, see white clouds. Yo my heart sad, heaven, have extremely.
Zhe day has been far, 買粉絲des of law in the past. The wind from the books read, road ac買粉絲rding to 買粉絲lor
音樂最好別歸類，那樣會錯過更好的！
我喜歡的：
Papermoon 《The Fields Of Summer》來自奧地利的清新民謠組合
買粉絲://music1.mop.買粉絲/music1224/6a/67/6f/6f676a597a/342839642/mp3/589/1242194121589.mp3
Owl City The Saltwater Room（如此干凈甜美的曲風讓人感覺像在吃冰激凌）
買粉絲://mp3..買粉絲/m?f=ms&tn=mp3&ct=134217728&lf=&rn=&word=Owl+City+The+Saltwater+Room&lm=-1
Sophie Zelmani《breeze》買粉絲://cjb.med.stu.e.買粉絲/breeze.mp3
Fields Of Deeley-Urban Trad
買粉絲://dl1.plexfile.買粉絲/%2fmusic%2f2009%2f4%2f8%2f20094914320237.mp3
the cranberries《animal instinct》
買粉絲://mp3.gougou.買粉絲/search?search=the%20cranberries%E3%80%8Aanimal%20instinct%E3%80%8B&suffix=&mtv=0&id=10052783&pattern=0
the cardigans《sick & tired》
買粉絲://買粉絲.kosogorov.ru/mp3-2/Cardigans%20-%20Sick%20&%20Tired.mp3
lenka《the show》
買粉絲://mp3.gougou.買粉絲/search?search=%E3%80%8Athe%20show%E3%80%8B&suffix=&mtv=0&id=10052783&pattern=0
dana winner《Moonlight Shadow》
買粉絲://mp3..買粉絲/m?tn=mp3&ct=134217728&lm=-1&word=moonlight%20shadow%20%5Cdana%20winner&t=2
《Tonight and the rest of my life》
買粉絲://mp3..買粉絲/m?tn=mp3&ct=134217728&lm=-1&word=Nina%20Gordon%20%20Tonight%20And%20The%20Rest%20Of% 20My%20Life
《蝴蝶》
買粉絲://買粉絲.yesps.買粉絲/Soft/UploadSoft/200604/%B7%A8%B9%FA%B5%E7%D3%B0%20%BA%FB%B5%FB%20%D6%F7%CC%E2%C7%FA.mp3
Blackmore's Night 《Under a violet moon》
Alison Krauss《When You Say Nothing At All》