英語詩歌鑒賞及名詞解釋(英文版)

第一篇：英語詩歌鑒賞及名詞解釋(英文版)

The Basic Elements of Appreciating English Poetry 1.What is poetry?

?Poetry is the expression of Impassioned feeling in language.?―Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility.‖

?―Poetry, in a general sense, may be defined to be the expression of the imagination.‖ ?Poetry is the rhythmical creation of beauty.?Poetry is the image of man and nature.?―詩言志，歌詠言?！?/p>

---《虞書》

?―詩言志之所以也。在心為志，發(fā)言為詩。情動(dòng)于中而行于言，言之不足，則嗟嘆之；嗟嘆之不足，故詠歌之；詠歌之不足，不知手之舞之，足之蹈之也。情發(fā)于聲；聲成文，謂之音?！?/p>

---《詩·大序》

?―詩是由詩人對(duì)外界所引起的感覺，注入了思想與情感，而凝結(jié)了形象，終于被表現(xiàn)出來的一種?完成‘的藝術(shù)?！?/p>

---艾青：《詩論》 2.The Sound System of English Poetry a.The prosodic features ?Prosody(韻律)---the study of the rhythm, pause, tempo, stress and pitch features of a language.?Chinese poetry is syllable-timed, English poetry is stress-timed.?Stress: The prosody of English poetry is realized by stress.One stressed syllable always comes together with one or more unstressed syllables.eg.Tiger, /tiger, /burning /bright

In the /forest /of the/ night，What im/mortal /hand or /eye

Could frame thy/ fearful /symme/try?

---W.Blake

Length: it can produce some rhetorical and artistic effect.eg.The curfew tolls the knell of parting day，The lowing herd wind slowly o‘er the lea，The Ploughman homeward plods his weary way，And leaves the world to darkness and to me.---Thomas Gray Long vowels and diphthongs make the poem slow, emotional and solemn;short vowels quick, passionate, tense and exciting.Pause: it serves for the rhythm and musicality of poetry.b.Meter or measure(格律)

poem---stanza/strophe---line/verse---foot---arsis + thesis;Meter or measure refers to the formation way of stressed and unstressed syllables.Four common meters:

a)Iambus;the iambic foot(抑揚(yáng)格)

eg.She walks/ in beau/ty, like/ the night

Of cloud /less climes/ and star/ry skies;

And all/ that‘s best /of dark/ and bright

Meet in /her as /pect and /her eyes.---Byron b)Trochee;the trochaic foot（揚(yáng)抑格）

eg.Never /seek to/ tell thy/ love，Love that/ never/ told can/ be.---Blake

c)Dactyl;the dactylic foot（揚(yáng)抑抑格）

eg.Cannon to/ right of them，Cannon to/ left of them.Cannon in/ front of them，Volley‘d and/ thunder‘d.---Tennyson d)Anapaest;the anapestic foot（抑抑揚(yáng)格）

eg.Break,/ break, /break，On thy cold /grey stones,/ O sea!

And I would /that my tongue/ could utter

The thought/ that arise /in me.---Tennyson

c)Other meters

Amphibrach, the amphibrachic foot(抑揚(yáng)抑格)；

Spondee, the spondaic foot(揚(yáng)揚(yáng)格)；

Pyrrhic, the pyrrhic foot(抑抑格)；

d)Actalectic foot(完整音步)and Cactalectic foot（不完整音步）

eg.Rich the / treasure，Sweet the / pleasure.(actalectic foot)

Tiger,/ tiger, /burning /bright，In the/ forest/ of the/ night.(cactalectic foot)

e)Types of foot

monometer(一音步)

dimeter（二音步）

trimeter（三音步）

tetrameter（四音步）

pentameter（五音步）

hexameter（六音步）

heptameter（七音步）

octameter（八音步）

We have iambic monometer, trochaic tetrameter, iambic pentameter, anapaestic trimeter, etc., when the number of

foot and meter are taken together in a poem.C.Rhyme When two or more words or phrases contain an identical or similar vowel sound, usually stressed, and the consonant sounds that follow the vowel sound are identical and preceded by different consonants, a rhyme

occurs.?It can roughly be divided into two types:

internal rhyme and end rhyme Internal rhyme a)alliteration: the repetition of initial identical consonant sounds or any vowel sounds in successive or closely associated syllables, esp.stressed syllables.eg.The fair breeze blew, the white foam flew，The furrow followed free.---Coleridge

I slip, I slide, I gloom, I glance，Among my skinning swallows.---Tennyson

Whereat with blade, with bloody blameful blade，He bravely broached his boiling bloody breast.---Shakespeare

―Consonant cluster‖(輔音連綴)

―internal or hidden alliteration‖(暗頭韻)as in

―Here in the long unlovely street‖(Tennyson)

The Scian & the Teian muse，The hero‘s harp, the love‘s lute, Have found the fame your shores refuse.---Byron b)Assonance(腹韻/元音疊韻/半諧音)：the repetition of similar or identical vowel sounds in a line ending with different consonant sounds.eg.Do not go gentle into that night

Old age should burn and rave at close of day.Rage, rage against the dying of the light.Though wise men at their end know dark is right，Because their words have forked no lightning they

Do not go gentle into that night.c)Consonance(假韻): the repetition of the ending consonant sounds with different preceding vowels of two or more words in a line.eg.At once a voice arose among

The bleak twigs overhead

In a full-hearted evensong

Of joy illimited.---Hardy End rhyme: lines in a poem end in similar or identical stressed syllables.a)Perfect rhyme

Perfect rhyme(in two or more words)occurs in the following three conditions:

identical stressed vowel sounds(lie--high, stay--play);

the same consonants after the identical stressed vowels(park--lark, fate--late);

different consonants preceding the stressed vowels(first– burst);

follow—swallow(perfect rhyme)

b)imperfect/ half rhyme: the stressed vowels in two or more words are the same, but the consonant sounds after and preceding are different.eg.fern—bird, faze—late, like—right c)Masculine and feminine rhyme

eg.Sometimes when I‘m lonely,Don‘t know why，Keep thinking I won‘t be lonely

By and by.---Hughes

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…

---Shelley Rhyme scheme(韻式)a)Running rhyme scheme(連續(xù)韻)

two neighbouring lines rhymed in aa bb cc dd:

eg.Tiger, tiger, burning bright

In the forests of the night，What immortal hand or eye

Could frame thy fearful symmetry?

In what distant deeps or skies

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand dare seize the fire?

b)Alternating rhyme scheme(交叉韻)

rhymed every other line in a b a b

c d c d:

eg.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:

---Shakespeare

c)enclosing rhyme scheme(首尾韻)

In a quatrain, the first and the last rhymed, and the second and the third rhymed in a b b a:

eg.When you are old and gray and full of sleep，And nodding by the fire, take down this book，And slowly read, and dream of the soft look

Your eyes had once, and of their shadows deep;

---W.B.Yeats

D.Form of poetry(stanzaic form)

a)couplet: a stanza of two lines with similar end rhymes:

eg.A little learning is a dangerous thing;

Drink deep, or taste not the Pierian Spring.b)heroic couplet: a rhyming couplet of iambic pentameter:

eg.O could I flow like thee, and make thy stream

My great example, as it is my theme:

---Denham

Then share thy pain, allow that sad relief;

Ah, more than share it, give me all thy grief.---Pope

c)Triplet / tercet: a unit or group of three lines, usu.rhymed

eg.He clasps the crags with crooked hands;

Close to the sun in lonely lands，Ringed with the azure world, he stands.The wrinkled sea beneath him crawls:

He watches from his mountains walls，And like a thunderbolt he falls.---Tennyson

d)quatrain: a stanza of four lines rhymed or unrhymed.eg.O my luve is like a red, red rose，That‘s newly sprung in June;

O my luve is like the melodie

That‘s sweetly play‘d in tune.As fair art thou, my bonie lass，So deep in luve am I;

And I will luve thee still, my dear，Till a‘ the seas gang dry.---Burns

e)Sonnet: a fixed verse form of Italian origin consisting of

lines that are characteristically in iambic pentameter:

The Petrarchan / Italian sonnet(Francesco Petrarch):

two parts: octave, asking question, presenting a problem，or expressing an emotional tension rhyming abba abba;

while the sestet, solving the problem rhyming cde cde，cde cde, or cd cd cd.Shakespearean / English sonnet:

arranged usually into three quatrains and a couplet, rhyming abab cdcd efef gg.The first quatrain introduces

a subject, the second expands, and once more in the third, and concludes in the couplet.Spenserian sonnet: three quatrains and a couplet rhyming abab

bcbc

cdcd

ee;

Miltonic sonnet: simply an ltalian sonnet that eliminates the pause between the octave and sestet.f)Blank verse: the unrhymed iambic pentameter

eg.To be, or not to be: that is the question:

Whether ‘tis nobler in the mind to suffer

The slings and arrows of outrageous fortune，Or to take arms against a sea of troubles，And by opposing end them? To die: to sleep;

---Shakespeare

g)Free verse: poetry that is based on irregular rhythmic

cadence of the recurrence, with variations, of phrases，images and syntactical patterns rather than the

conventional use of meter.eg.Days

What are days for?

Days are where we live.They come, they wake us

Time and time over.They are to be happy in

Where can we live but days?

Ah, solving that question

Bring the priest and doctor

In their long coats

Running over the fields.3.The semantic system of English poetry a.The meaning of poetry

Poetry is ―the one permissible way of saying one thing

and meaning another‖.(Frost)

The meaning of a poem usually consists of three levels，that is, the literal(the lowest), the sensory(the medium)

and the emotional(the highest).b.Image---the soul of the meaning in poetry

a)Definition: ―language that evokes a physical sensation

produced by one or more of the five senses---sight，hearing, taste, touch and smell.‖(Kirszner and Mandell)

A literal and concrete representation of a sensory

experience or of an object that can be known by one or

more of the senses.b)Types of images

In terms of senses：

visual image(視覺意象)

---Philip Larkin

auditory image（聽覺意象）

olfactory image（嗅覺意象）

tactile image（觸覺意象）

gustatory image（味覺意象）

kinaesthetic image（動(dòng)覺意象）

eg.Spring, the sweet spring, is the year‘s pleasant king,Then blooms each thing, then maids dance in a ring，Cold doth not sting, the pretty birds do sing:

Cuckoo, jug-jug, pu-we, to-witta-woo!

---Thomas Nashe

In terms of the relation between the image and the object: Literal(字面意象)and figurative image（修辭意象）

The former refers to the one that involves no necessary change or extension in the obvious meaning of the words;or the one in which the words call up a sensory representation of the literal object or sensation.The latter is the one that involves a turn on the literal meaning of the words.eg.Let us walk in the white snow

In a soundless space;

With footsteps quiet and slow，At a tranquil pace，Under veils of white lace.---Elinor Wylie

In terms of the readers: fixed and free image（穩(wěn)定意象和自由意象）

By fixed or tied image, it is the one so employed that its meaning and associational value is the same or nearly the same for all readers.By free image, it is the one not so fixed by the context that its possible meanings or associational values are limited, it is therefore, capable of having various meanings or values for various people.eg.Snake

I saw a young snake glide

Out of the mottled shade

And hang limp on a stone:

A thin mouth, and a tongue

Stayed, in the still air.It turned;it drew away;

Its shadow bent in half;

It quickened and was gone.I felt my slow blood warm.I longed to be that thing，The pure, sensuous form.And I may be, some time.---Theodore Roethke

c)The function of image:

?to stimulate readers‘ senses;

?to activate readers‘ sensory and emotional experience;

?to involve the readers in the creation of poetry with personal and emotional experience;?to strike a responsive chord in the hearts of readers;

eg.Fog

The fog comes

on little cat feet.It sits looking

over harbor and city

on silent haunches

and then moves on.---Carl Sandberg

eg.Fire and ice

Some say the world will end in fire，Some say in ice.From what I‘ve tasted of desire

I hold with those who favor fire.But if it had to perish twice，I think I know enough of hate

To say that for destruction ice

Is also great

And would suffice.---R.Frost

C.The means of expressing meaning

a)Phonetic devices

onomatopoeia

A widow bird

eg.A widow bird was mourning for her love

Upon a wintry bough;

The frozen wind crept on above，The freezing stream below

There was no leaf upon the forest bare，No flower upon the ground，And little motion in the air

Except the mill-wheel‘s sound.P.B.Shelley

Pun

eg.The little black thing among the snow

Crying ―‘weep, ‘weep‖ in notes of woe!

b)figures of speech

A.comparison: metaphor;simile(tenor 本體 , vehicle 喻體)

B.conceit

C.personification

D.metonymy(換喻)

E.apostrophe F.synaesthesia（―通感‖或―聯(lián)覺‖）G.symbolism H.hyperbole I.Allusion（典故）

c)Deviation(變異)：the digression from the normal way of

expressions

Lexical deviation(self-made words)

Grammatical deviation(slang, vernacular)

Deviation of registers

Deviation of cultural subjects

第二篇：英文詩歌鑒賞

英文詩歌賞析

導(dǎo)引

詩歌是一種精美的藝術(shù)，趣味高一點(diǎn)的人一般都喜歡詩歌。受過良好教育的中國人都會(huì)背誦若干首古詩?，F(xiàn)在人們很重視學(xué)習(xí)英文，學(xué)習(xí)英文，視野也應(yīng)寬闊一些，也應(yīng)當(dāng)對(duì)英文詩歌多少有些領(lǐng)略才好。中國文學(xué)中詩歌成就極大，英語文學(xué)中，詩歌也極其豐富多彩。語言藝術(shù)的最高表現(xiàn)形式在詩歌。如果只是知道實(shí)用性的英文，只學(xué)習(xí)商業(yè)英文、法律英文等英文，對(duì)英語文學(xué)毫無修養(yǎng)，對(duì)英文詩歌一無所知，那將是一個(gè)不小的遺憾，將會(huì)影響到審美能力的發(fā)展和提高，學(xué)英文而不懂英文詩歌，不僅從審美角度看是一個(gè)遺憾，而且從英語學(xué)習(xí)這一角度看，不學(xué)一些英文詩歌，其英語水平也達(dá)不到很高的層次。詩歌語言最精煉，語匯最豐富，表達(dá)形式最精美，語言的色調(diào)最細(xì)膩。如果對(duì)詩歌有一定修養(yǎng)，其語言表達(dá)能力會(huì)大大提高。試想一個(gè)學(xué)漢語的人，如果對(duì)唐詩宋詞一無所知，其漢語水平不會(huì)很高。學(xué)英語者也是如此。如果他對(duì)莎士比亞、彌爾頓、華茲華斯、拜倫、雪萊、濟(jì)慈等人的著名詩篇一竅不通，其英文水平也不會(huì)很高。

總之，有一定英語基礎(chǔ)的人不能不更上一層樓，讀一點(diǎn)英文詩。這不僅有助于提高我們的文學(xué)素養(yǎng)，豐富我們的審美能力，也有助于提高我們的英語水平。

英詩基礎(chǔ)知識(shí)

讀英文詩歌相當(dāng)不容易。其中的主要原因是詩歌有其獨(dú)特的語言特點(diǎn)和表達(dá)方式，與散文有明顯區(qū)別。為更好地欣賞英文詩歌，很有必要了解一些相關(guān)的基本知識(shí)。這方面的知識(shí)極其細(xì)致，以下只介紹一些最基本的。

一節(jié)奏

詩歌是具有音樂性的語言。音樂作品的最大特點(diǎn)之一是音符的流動(dòng)是有節(jié)奏的。所謂節(jié)奏就是強(qiáng)拍和弱拍按一定的形式配合起來，有規(guī)律地反復(fù)出現(xiàn)。懂點(diǎn)音樂的人都知道，音樂中基本的節(jié)奏有兩種，即強(qiáng)——弱（2/4拍）和強(qiáng)——弱——弱（3/4拍）。舉兩個(gè)簡單的例子：

《東方紅》的節(jié)奏就是強(qiáng)——弱： 56│2 —│1 16│2 —│5 5│6i 65│1 16│2 —│

《新年好》（HAPPY NEW YEAR）這首兒歌的節(jié)奏是強(qiáng)——弱——弱： 11 1 5 │33 3 1│13 5 5 │43 2 —│23 4 4 │32 3 1│13 2 5│72 1 —│

中國古詩有節(jié)奏。其節(jié)奏主要是通過漢字特有的聲調(diào)表現(xiàn)出來的。傳統(tǒng)漢語中的聲調(diào)有四：平、上、去、入。平聲稱“平聲”，上、去、入三聲統(tǒng)稱仄聲。平聲與仄聲結(jié)合起來反復(fù)出現(xiàn)，就是中國詩歌的節(jié)奏。如一首五言絕句，其最常見的節(jié)奏是：

仄仄平平仄，平平仄仄平。平平平仄仄，仄仄仄平平。

王之渙《等鸛雀樓》：白日依山盡，黃河入海流。欲窮千里目，更上一層樓。此詩即是這樣的節(jié)奏。其中“欲”字是仄聲，與格式不合。但根據(jù)格律要求，詩行中的第一字可平可仄。

英文詩歌也有節(jié)奏。英文沒有平聲、仄聲之分，但有重讀輕讀音節(jié)之分，其節(jié)奏是通過重讀音節(jié)與輕讀音節(jié)表現(xiàn)出來的。一個(gè)重讀音節(jié)與一個(gè)或兩個(gè)輕讀音節(jié)按一定的模式搭配起來，有規(guī)律地反復(fù)出現(xiàn)就是英文詩歌的節(jié)奏。

我們知道凡是有兩個(gè)以上音節(jié)的英文單詞，都有重讀音節(jié)與輕讀音節(jié)之分，在一句話中，根據(jù)語法、語調(diào)、語意的要求，有些詞也要重讀，有些要輕讀。如he went to town to buy a book..I?m glad to hear the news.英文中有重讀和輕讀之分，重讀的音節(jié)和輕讀的音節(jié)，按一定模式配合起來，反復(fù)再現(xiàn)，組成詩句，聽起來起伏跌宕，抑揚(yáng)頓挫，就形成了詩歌的節(jié)奏。多音節(jié)單詞有重音和次重音，次重音根據(jù)節(jié)奏既可視為重讀，也可視為輕讀。讀下面這兩句詩：

Alone │she cuts │and binds│ the grain, And sings │a me│lancho│ly strain.這兩行詩的重讀與輕讀的固定搭配模式是：輕——重。在每行中再現(xiàn)四次，這樣就形成了這兩行詩的節(jié)奏。某種固定的輕重搭配叫“音步”（foot），相當(dāng)與樂譜中的“小節(jié)”。一輕一重，就是這兩行詩的音步。一行詩中輕重搭配出現(xiàn)的次數(shù)叫音步數(shù)，這兩行詩的音步數(shù)都是四，所以就稱其為四音步詩。

二常見的音步類型

音步是輕讀與重讀構(gòu)成的。根據(jù)重讀與輕讀搭配的方式的不同，可以劃分出不同的音步類型。音步類型不同，節(jié)奏自然也不同。最常見的音步類型有以下四種：

（一）抑揚(yáng)格

如果一個(gè)音步中有兩個(gè)音節(jié)，前者為輕，后者為重，則這種音步叫抑揚(yáng)格音步，其專業(yè)術(shù)語是（iamb, iambic.）。輕讀是“抑”，重讀是“揚(yáng)”，一輕一重，故稱抑揚(yáng)格。

英語中有大量的單詞，其發(fā)音都是一輕一重，如adore, excite, above, around, appear, besides, attack, supply, believe, return等，所以用英語寫詩，用抑揚(yáng)格就很便利。也就是說，抑揚(yáng)格很符合英語的發(fā)音規(guī)律。因此，在英文詩歌中用得最多的便是抑揚(yáng)格，百分之九十的英文詩都是用抑揚(yáng)格寫成的。前面的那兩句詩就是抑揚(yáng)格詩。

（二）揚(yáng)抑格

如果一個(gè)音步中有兩個(gè)音節(jié)，前者為重，后者為輕，則這種音步叫揚(yáng)抑格音步，其專業(yè)術(shù)語是（trochee, trochaic.）。重讀是“揚(yáng)”，輕讀是“抑”，一重一輕，故稱揚(yáng)抑格。與抑揚(yáng)格恰好相反。

英語中也有一批其讀音為一重一輕的單詞，如Happy, many, holy, yonder, headlong, flaming, upper, grandeur, failing等。寫揚(yáng)抑格的詩，此類詞正好合適。但這類詞在英語中其數(shù)量不及前面的那些多，與英文的語言規(guī)律不十分吻合，所以揚(yáng)抑格詩不多。舉兩句詩例：

Present │mirth has │present │laughter Shakespeare Shake your │chains to │earth like │dew Shelley

（三）抑抑揚(yáng)格

抑抑揚(yáng)格含三個(gè)音節(jié)，即輕——輕——重，專門術(shù)語是：Anapaest, anapaestic 例詞：

cavalier, intercede, disbelieve, reappear, disapprove, indistinct, on the hill.例句：

拜倫的以下四行詩是抑抑揚(yáng)格：

The Assyr│ian came down │like the wolf │on the fold, And his coh│orts were glea│ming in purp│le and gold;And the sheen│ of their spears │was like stars │on the sea, When the blue │waves rolls night│ly on deep │Galilee.——Destruction of Sennacherib 這是拜倫寫的描述古代亞述人圍攻耶路撒冷，被瘟疫所襲的詩的一節(jié)。第四行第二音步中的waves 一詞可輕可重。詩題中的Sennacherib 是亞述國王。fold 指羊群，purple and gold 描寫亞述軍隊(duì)的服飾，Galilee，巴勒斯坦北部的加利利湖。cohorts軍團(tuán)，sheen，光芒。

（四）揚(yáng)抑抑格

重——輕——輕是揚(yáng)抑抑格，專門術(shù)語是：dactyl, dactylic.例詞：

happily, merciful, eloquent, messenger, merrily, properly, accident, quantity.例句：

Dragging the │corn by her │golden hair.Davies: the villain.英文詩歌中的音步類型有十幾種之多，常見者即此四種，第一種則最常見。此外詩句中也常有抑抑格（pyrrhic[/peirik]和揚(yáng)揚(yáng)格(spondee[/sp :ndi])出現(xiàn)。

需要說明的是，這些音步類型只是理論上的分析，實(shí)際上，一首詩僅用一種音步類型寫，這種情況極少見，大多是以某一種為主，同時(shí)穿插其他類型。如果一首詩只含有一種音步，就會(huì)顯得非常單調(diào)機(jī)械。一首詩只要是以某種類型為主的，盡管有其他類型穿插其中，也稱此詩為某某格。如，以抑揚(yáng)格為主要節(jié)奏寫成的，就稱此詩為抑揚(yáng)格詩?，F(xiàn)代興起的一些自由詩（FREE VERSE），不受這些格律的限制。

三詩行

（一）一詩行不一定是一個(gè)完整的句字。

英文詩每行的第一個(gè)字母都大寫，但是一詩行不一定是一個(gè)完整的句子，不一定能表達(dá)一個(gè)完整的意思。有時(shí)候，一行詩正好是一句，有時(shí)兩行甚至許多行才構(gòu)成一個(gè)意思完整的句子。前者叫end-stopped line（結(jié)句行），后者叫run-on line.（跨行句）。這是英文詩與中國詩的最大區(qū)別之一。中國詩歌都是一行表達(dá)一個(gè)完整的意思?？聪旅嬉还?jié)詩：

I shot an arrow into the air, It fell to earth, I knew not where;For, so swiftly it flew, the sight Could not follow it in its flight.前兩行是end-stopped line，后兩行是run-on line。讀跨行句詩，行末停頓較短?？缧芯湓谟⑽脑姼柚袠O其普遍，有時(shí)十來行才成一完整句子。剛學(xué)英文詩的人，對(duì)此往往不習(xí)慣。對(duì)此我們需加注意。

（二）詩行的長短以音步數(shù)目計(jì)算：

英文詩行的長度范圍一般是一音步——五音步。六、七、八音步的詩行也有，但不多。最多的是四音步、五音步的詩。

（各種長短詩行的專門術(shù)語：一音步詩：monometer 二音步詩：dimeter三音步詩：trimeter四音步詩：tetrameter 五音步詩：pentameter 六音步詩：hexameter 七音步詩：heptameter八音步詩：octameter.）

在分析一首詩的格律時(shí)，既要考律此詩的基本音步類型，也要考律此詩中詩行的音步數(shù)目?？聪旅娴囊皇锥淘姡?/p>

An EMPTY HOUSE Alexander Pope You beat│your pate, │and fan│cy wit │will come: Knock as│you please, │there?s no│body│at home.（你拍拍腦袋，以為靈感馬上就來。可任你怎么敲打，也無人把門打開。pate，腦袋。fancy，動(dòng)詞：以為，想象。）

此詩的基本音步類型是抑揚(yáng)格，每行五音步。因此稱此詩的格律是“抑揚(yáng)格五音步”（iambic pentameter）。一首詩的音步類型和詩行所含的音步數(shù)目構(gòu)成此詩的格律（meter）。

四壓韻（rhyme）英文詩一般都押運(yùn)韻。

（一）全韻與半韻（full rhyme and half rhyme）。全韻是嚴(yán)格的押韻，其要求是：

（1）韻要押在重讀音節(jié)上，其元音應(yīng)相同；（2）元音前的輔音應(yīng)不同；（3）如果元音之后有輔音，應(yīng)相同。（4）重讀音節(jié)之后如有輕讀音節(jié)，也應(yīng)相同。下面幾對(duì)詞都符合全韻的標(biāo)準(zhǔn)： why---sigh;ending---bending.如果僅是元音字母相同，讀音不同，不符合全韻：如: blood----hood;there---here;gone---alone;daughter----laughter.這種情形被稱為“眼韻”（eye rhyme），雖然詩人有時(shí)用之，但不是真正的押韻。僅是輔音相同或僅是元音相同的屬半韻：

元音不同，其前后的輔音相同，這叫諧輔韻（consonance）如：black, block;creak, croak;reader, rider;despise, dispose.元音相同，其后的輔音相同者叫諧元韻（assonance），如lake, fate;time, mind.（二）尾韻與行內(nèi)韻(end rhyme and internal rhyme)押在詩行最后一個(gè)重讀音節(jié)上，叫尾韻。這是英文詩歌最常見的押韻部位。詩行中間停頓處的重讀音節(jié)與該行最后一個(gè)重讀音節(jié)押韻者，叫行內(nèi)韻。如：

Spring, the sweet spring, is the year?s pleasant king;Then blooms each thing, then maids dance in a ring，（三）男韻與女韻((masculine rhyme and feminine rhyme)所押的韻音局限于詩行中重讀的末尾音節(jié)上，稱男韻，也叫單韻，聽起來強(qiáng)勁有力。如：late, fate;hill, fill;enjoy, destroy.押韻押在兩個(gè)音節(jié)上，后一音節(jié)非重讀音節(jié)，稱女韻，也叫雙韻，聽起來或輕快，或幽婉。如：lighting, fighting;motion, ocean;wining, beginning.看下面一節(jié)詩：

I am coming, little maiden, hate---late;

fight---delight;

powers---flowers;

today---away;With the pleasant sunshine laden;With the honey for the bee, With the blossom for the tree.前兩行押女韻，后兩行押男韻。

也有不少英文詩是不押韻的，不押韻的詩稱無韻詩或白體詩（blank verse）。多用在戲劇和敘事詩中。莎士比亞的戲劇和彌爾頓的Paradise Lost 都是用blank verse寫成的。押韻的詩叫rhymed verse。無韻詩不同與自由詩。無韻詩雖不押韻，但是有固定節(jié)奏，以揚(yáng)抑格五音步最常見。自由詩節(jié)奏不固定，如同白話。

詩選及講解

A SELECTION OF ENGLISH POETRY FOR AN OPTIONAL COURSE OF THE UNDERGRADUADTES William Shakespeare（1564—1616）作者簡介：

劇作家、詩人。一生創(chuàng)作三十七部戲劇，154首十四行詩。其十四行詩大部分是獻(xiàn)給一位貴族青年，有二十余篇?jiǎng)t是獻(xiàn)給一位“黑膚女士”（the dark lady）.1 Sonnet 18 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: Sometimes too hot the eye of heaven shines, And often is his gold complexion dimmed;And every fair from fair sometimes 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.注釋: Compare ···to 把什么比做什么。

Thou, thee 第二人稱單數(shù)代詞，前者主格，后者賓格?，F(xiàn)已為you 所取代。其所有格是thy，或thine, 即現(xiàn)代英語的your。

Art = are.16、17世紀(jì)時(shí)與thou連用。

Temperate: 來自拉丁文temperātus，讀時(shí)為符合押韻規(guī)則，可將重音放后。Shake：shake off。

Lease 租借期限，此處指夏天的長度。

Hath 與第三人稱單數(shù)連用，相當(dāng)于現(xiàn)代英語的has。Dimmed: clouded.Fair form fair: beautiful thing from beauty.前后fair意義不同。Declines from beauty。Chance：極緣，時(shí)運(yùn)，命運(yùn)。

And every fair from fair sometimes declines,/By chance, or nature?s changing course, untrimm?d：每一個(gè)美人總要失去美貌，即使沒有突發(fā)的以外事件，也逃不過自然界生老病死的變遷。Sometimes: 有的版本作“sometime”: at some unspecified time.Untrimm?d: untrimmed.本意為剝?nèi)ッ烙^的衣服等，此處隱喻奪去美貌等。

Fair thou ow?st: beauty you own.莎士比亞時(shí)代，owe與own通用。古英語第二人稱單數(shù)后加-st或-est His shade：shadow of death.“Nor shall Death brag thou wander?st in his shade”：“死神無從夸口，說你在他的陰影里徘徊”。

To time thou grow?st: you grow as long as time lasts.與時(shí)間同壽。Grow to = be incorporated with.內(nèi)容解析：

此詩的發(fā)展變化：以人比夏天開始，以人勝自然終結(jié)。前四行說明人比夏天更美更溫和；中四行發(fā)展了這個(gè)意思，引到駐顏無術(shù)的感慨；第三組則新意突起，推翻前言，終于于勝利的末兩行作結(jié)。此詩表達(dá)了這樣一種思想：美麗的事物可以依靠文學(xué)的力量而永遠(yuǎn)不朽；文學(xué)是人所創(chuàng)造的，因此這有宣告了人的不朽。因此此詩不是一般的愛情詩。

形式解析：

sonnet：十四行詩，即“商籟體”詩。此詩體起源不明，最早的例子出現(xiàn)于13世紀(jì)，16世紀(jì)在英國出現(xiàn)。主要有意大利式和英國式兩種變體。意大利詩人Petrarch [/petra:k]用此詩體最精熟，故意大利式又稱Petrarchan sonnet。英國式由莎士比亞創(chuàng)立，又稱 Shakespearean sonnet.意大利式分前八行、后六行。韻尾是abba, abba;cde, dcd.。莎士比亞式十四行詩，層次上分前四行，中四行，后四行和結(jié)尾兩行。韻尾為：abab, cdcd, efef, gg。格律是抑揚(yáng)格五音步。

Shall I│compare│ thee to │a sum│mer?s day?(a)Thou art │more love│ly and │more tem│perate-:(b)Rough winds │do shake │the dar│ling buds │of May,(a)And sum│mer?s lease│ hath all │too short│ a date:(b)Sometimes │too hot│ the eye │of hea│ven shines,(c)And of│ten is │his gold │comple│xion dimmed;(d)And eve│ry fair │from fair │sometimes │declines,(c)By chance, │or na│ture?s chan│ging course, │ untrimm?d;(d)But thy │eter│nal sum│mer shall │not fade,(e)Nor lose│ posses│sion of │that fair│ thou ow?st;(f)Nor shall│ Death brag │thou wan│der?st in│ his shade,(e)When in │eter│nal lines │to time│ thou grow?st.(f)So long│ as men │can breathe │or eyes │can see,(g)So long │lives this, │ and this │gives life│ to thee.(g)參考譯文：

能不能讓我把你比擬作夏日？你可是更加溫和，更加可愛：狂風(fēng)會(huì)吹落五月的好花兒，夏季的生命又未免結(jié)束得太快：有時(shí)候蒼天的巨眼照得太灼熱，他那金彩的臉色也會(huì)被遮暗；每一樣美呀，總會(huì)離開美而凋落，被時(shí)機(jī)或者自然的代謝所摧殘；但是你永久的夏天決不會(huì)凋枯，你永遠(yuǎn)不會(huì)失去你美的儀態(tài)；死神夸不著你在他影子里躑躅，你將在不朽的詩中與時(shí)間同在；只要人類在呼吸，眼睛看得見，我這詩就活著，使你的生命綿延。（屠岸）2 Spring When daisies pied and violets blue And lady-smocks all silver-white And cuckoo-buds of yellow hue Do paint the meadows with delight, The cuckoo then, on every three, Mocks married men;for thus sings he, Cuckoo, Cuckoo, cuckoo!Oh word of fear Unpleasing to a married ear!When shepherds pipe on oaten straws, And merry larks are ploughmen?s clocks, When turtles tread, and rooks, and daws, And maidens bleach their summer smocks, The cuckoo then, on every three, Mocks married men;for thus sings he, Cuckoo, Cuckoo, cuckoo!Oh word of fear Unpleasing to a married ear!------Comedy: Love?s Labour Lost 劇情：拿伐Navarre [n /va: ]國王與其幾位朝臣立誓三年之內(nèi)摒棄一切世俗的快樂，致力于研究學(xué)問。其中的一條是：三年之中不可與女子交談一次。不久法國公主攜幾名侍女來辦理國務(wù)，國王和朝臣門守不住自己的誓言，愛上了這幾個(gè)女子。最后公主的父親去世，公主要持戒三年，國王和朝臣們的求愛也化為泡影。此詩在此劇之結(jié)尾處。

注釋：

daisies pied：雜色的雛菊。

lady-smock：也作lady?s-smock 花名：布谷鳥剪秋羅。Smock：〈古〉女襯衣，罩衣。cuckoo-buds of yellow hue：黃色的杜鵑花。hue：顏色。

Cuckoo：[/kuku:] 布谷鳥的叫聲，與/cuckold（奸婦的丈夫）一詞諧音。shepherds [/ ep d] pipe on oaten straws：拿燕麥桿吹哨子。

turtles tread：斑鳩交配。Turtle：〈古〉斑鳩，=turtledove。Tread：（雄鳥）與（雌鳥）交配。

rooks and daws：白嘴鴉和穴鳥。內(nèi)容解析：

春天里百花爭艷，萬象更新，情人們沉醉于甜蜜的愛情之中。但樹梢上布谷鳥的叫聲卻似乎在不斷提醒人們：愛情并不可考。此詩有反諷意味，與劇情一致。英國詩人甘貝爾（Thomas Campbell，1777—1844）在 Freedom and Love一詩中說：“Love has bliss, but love has ruining/ Other smiles may make you fickle/ Tears for other charm may trickle。”

形式解析：抑揚(yáng)格四音步，韻式：abab cc d ee;fgfg hh d ee When dai│sies pied │and vio│lets blue And la│dy-smocks│ all sil│ver-white And cu│ckoo-buds │of ye│llow hue Do paint │he mea│dows with│ delight, The cu│ckoo then, │on eve│ry three, Mocks mar│ried men;│for thus │sings he, Cuckoo, Cuckoo, │cuckoo!│Oh word│ of fear Unplea│sing to│ a mar│ried ear!When she│pherds pipe │on oa│ten straws, And mer│ry larks│ are plough │men?s clocks, When turt│les tread, │ and rooks, │and daws, And mai│dens bleach │their sum│mer socks, The cu│ckoo then, │on eve│ry three, Mocks mar│ried men;│for thus │sings he, Cuckoo, Cuckoo, │cuckoo!│Oh word │of fear Unplea│sing to│ a mar│ried ear!參考譯文：當(dāng)雜色的雛菊開遍牧場(chǎng)，藍(lán)的紫羅藍(lán)，白的美人衫，還有那杜鵑花吐蕾嬌黃，描出了一片廣大的欣歡；聽杜鵑在每一株樹上叫，把那娶了妻的男人譏笑：咯咕！

咯咕！咯咕！啊，可怕的聲音！害得做丈夫的肉跳心驚。當(dāng)無愁的牧童口吹麥笛，清晨的云雀驚醒了農(nóng)人，斑鳩烏鴉都在覓侶求匹，女郎們漂洗夏季的衣群；聽杜鵑在每一株樹上叫，把那娶了妻的男人譏笑：咯咕！

咯咕！咯咕！啊，可怕的聲音！害得做丈夫的肉跳心驚。（朱生豪）3 To Be or Not To Be To be, or not to be: that is the question: Whether ?tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles, And by opposing end them? To die—to sleep— No more;and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to.?tis a consummation Devoutly to be wished.To die—to sleep.To sleep—perchance to dream: ay, there?s the rub!For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause.There?s the respect That makes calamity of so long life.For who would bear the whips and scorns of time, The oppressor?s wrong, the proud man? contumely, The pangs of despised love, the law?s delay, The insolence of office, and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? Who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death— The undiscovered country, from whose bourn No traveller returns—puzzles the will, And makes us rather bear those ill we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o?er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry And lose the name of action.劇情：

哈娒萊特》是莎士比亞重要?jiǎng)∽髦?，寫?601年。劇中的主人公是丹麥王子Hamlit。哈姆萊特的父親，即丹麥國王，被哈姆萊特的叔父Claudius秘密害死，不到兩個(gè)月，又與哈姆萊特的母親，即王后，結(jié)婚。還竊取了王位。哈姆萊特的叔父Caudius是個(gè)壞透頂了的人。哈姆萊特則是一位有理想、有道德的人，他決心要為父親報(bào)仇。為了不被看出來，他裝成瘋子。哈姆萊特要為父親報(bào)仇，但中間有其母親穿插其間，這使他心情極其復(fù)雜，于是整日心情抑郁，產(chǎn)生了厭世情緒。于是真的有點(diǎn)瘋瘋顛顛了。劇情很曲折，大家可在課外找有關(guān)資料讀。推薦讀讀英漢對(duì)照本《莎士比亞戲劇故事》（Tales from Shakespeare, by Charles Lamb and Mary Lamb, 蕭乾、文潔若翻譯。商務(wù)印書館1984年出版。）

這段獨(dú)白就是哈姆萊特在極度困惑、不知所措的心情下道出的，談到了生與死、思考與行動(dòng)、報(bào)復(fù)與寬容等等人生中的永恒矛盾，批判了現(xiàn)實(shí)世界的黑暗，富有深刻的哲理意味。出現(xiàn)在原劇第三幕第一場(chǎng)。

注釋： slings and arrows of outrageous fortune: 狂暴命運(yùn)的矢石交攻。sling: 投石器，彈弓；投擲，打擊一擊.To die—to sleep—No more：死就是睡眠，如此而已。

by a sleep to say we end/The heartache：to say(that)by a sleep we end the heartache the thousand natural shocks/That flesh is heir to: 無數(shù)要承受的皮肉之苦，與“heartache”相對(duì)。Be heir to: 要繼承或承受的。

?tis a consummation/Devoutly to be wished.那正是求之不得的完美結(jié)局。Consummation：final settlement of everything.To sleep—perchance to dream: ay, there?s the rub!睡眠也許要做夢(mèng)，嗨，那就成問題了。Perchance：perhaps.Rub: 摩擦，障礙。

For in that sleep of death what dreams may come/When we have shuffled off this mortal coil,/Must give us pause.“what dreams may come” 這一名詞從句是主語，give 是謂語。Shuffled off：擺脫，脫去。mortal coil：earthly turmoil.人世的紛擾。

There?s the respect /That makes calamity of so long life.這一顧慮使漫長歲月成了災(zāi)難。Respect: attention, consideration.顧慮，考慮?！眞ithout respect to the results”不顧后果。

the whips and scorns of time: 人世的鞭撻和嘲弄。Time: the times, 時(shí)世

The oppressor?s wrong, the proud man? contumely: 壓迫者的凌辱，傲慢者的冷眼。do sb.Wrong, do wrong to sb.Contumely [/k ] insolent treatment.無禮對(duì)待。

The pangs of despised love：失戀的痛苦。Pang：痛苦。Despised 之重音在第一音節(jié)。the spurns/That patient merit of the unworthy takes：忍讓的有德才者從小人那里受到的排擠。Of: from;spurn: contemptuous rejection，一腳踢開;the unworthy: 小人。

Quietus [kai/i:t s]: acquittance, release, 卸去（義務(wù)、責(zé)任）A bare bodkin: a mere poniard.短劍，匕首。Fardels: bundles, burdens.Grunt: groan, 哼，呻吟.Bourn: 領(lǐng)域

Conscience: 思考，顧慮，良心。sicklied o?er：sickly: 使出現(xiàn)病態(tài)

the pale cast of thought: 慘白的一層思慮的病容。Cast：tinge, shade of color.Thought: 思慮，顧慮，melancholy, despondency.pith and moment：vigour and importance.Pith: 體力、氣力、精力，（文章的）力。1604年版本中pith作pitch: height with this regard: on this account 內(nèi)容分析：這斷獨(dú)白是傾訴人生的根本苦悶和基本矛盾。受到壓迫了，應(yīng)該反抗，但往往結(jié)果是適得其反。事事忍讓，卻又心中不能平衡。干事業(yè)需果斷有魄力，但也得深思熟慮，三思而行。但是顧慮太多，縮手縮腳又會(huì)疲軟，行動(dòng)不起來。人生在世，煩惱苦難不一而足，但死后的世界未比此岸世界好（古代人一般相信有彼岸世界 “a life in the world to come is taken for granted.” New Concept English, vol.4, lesson, 60.）。人生就是這樣充滿了各種矛盾和無奈。

形式分析：

這是莎士比亞戲劇最著名獨(dú)白(soliloquy)，用的是抑揚(yáng)格五音步“白體詩”（BLANK VERSES）。

To be, │or not │to be: │that is │the ques│tion: Whether│ ?tis nob│ler in │the mind │to suf│fer The slings │and ar│rows of│ outra│geous for│tune（以上三行多一音節(jié)，其到遲疑、沉思的效果。）Or to│ take arms│against │a sea │of troubles, And by op│posing │end them? │To die—│to sleep— No more;│and by│ a sleep │to say │we end The heart│ache, and│the thou│sand na│tural shocks That flesh│ is heir │to.?tis│ a con│summa│tion Devout│ly to│ be wished.│ To die│—to sleep.To sleep│—perchance │to dream: │ay, there?s │the rub!For in │that sleep │of death│what dreams │may come When we│ have shuffled │off this│ mortal │coil, Must give│ us pause.│ There?s the │respect That makes │cala│mity │of so │long life.For who │would bear│ the whips│ and scorns │of time, The oppres│sor?s wrong, │the proud│ man? con│tumely, The pangs │of des│pised love, │the law?s │delay, The in│solence │of of│fice, and │the spurns That pa│tient me│rit of the │unwor│thy takes, When he│ himself │might his │quie│tus make With a│ bare bod│kin? Who │would far│dels bear, To grunt │and sweat │under│ a wea│ry life, But that│ the dread │of some│thing af│ter death— The un│disco│vered coun│try, from │whose bourn No travel│ler re│turns—│puzzles │the will, And makes │us ra│ther bear │those ill │we have Than fly│ to oth│ers that │we know │not of? Thus con│science does│ make co│wards of │us all, And thus │the na│tive hue │of re│solu│tion Is sick│lied o?er │with the │pale cast │of thought, And en│terprises │of great │pith and│ moment With this│ regard │their cur│rents turn│ awry And lose │the name │of ac│tion.參考譯文：

“活下去還是不活：這是個(gè)問題” 活下去還是不活，這是個(gè)問題；要做到高貴，究竟該忍氣吞聲來容受狂暴的命運(yùn)矢石交攻擊呢，還是該挺身反抗無邊的苦惱，掃它個(gè)干凈？死，就是睡眠—— 就這樣；而如果睡眠就等于了結(jié)了心痛以及千百種身體要擔(dān)受的皮痛肉痛，那該是天大的好事，正求之不得?。∷?，就是睡眠；睡眠也許要做夢(mèng)，這就麻煩了！我們一旦擺脫了塵世的牽纏在死的睡眠里還會(huì)做些什么夢(mèng)，一想到就不能不躊躇。這一點(diǎn)顧慮正好使災(zāi)難變成了長期的折磨。誰甘心忍受人世的鞭撻和嘲弄，忍受壓迫者虐待、傲慢者凌辱，忍受失戀的痛苦、法庭的拖延、衙門的橫暴、做埋頭苦干的大才受座位的小人一腳踢出去，如果他只消自己來使一下尖刀就可以得到解脫啊？誰甘心挑擔(dān)子，拖著疲累的生命，呻吟，流汗，要不是怕一死就去了沒有人回來的那個(gè)從未發(fā)現(xiàn)的國土，怕那邊還不知會(huì)怎樣，因此意志動(dòng)搖了，因此就寧愿忍受目前的災(zāi)殃，` 而不愿投奔另一些未知的苦難？這樣子，顧慮使我們都成了懦夫，也就這樣了，決斷決行的本色蒙上了慘白的一層思慮的病容；本可以轟轟烈烈的大作大為，由于這一點(diǎn)想不通，就出了別扭，失去了行動(dòng)的名份。（卞之琳）Thomas Nash(1567—1601)作者簡介：劇作家、詩人，小說家，諷刺作家。4 Spring Spring, the sweet spring, is the year?s pleasant king;Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing, Cuckoo, jug-jug, pu-we, to-witta-woo!The palm and may make country houses gay, Lambs frisk and play, the shepherds pipe all day, And we hear aye birds tune this merry lay, Cuckoo, jug-jug, pu-we, to-witta-woo!The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit, In every street these tunes our ears do greet, Cuckoo, jug-jug, pu-we, to-witta-woo!注釋：注釋：

the year?s pleasant king：一年四季中以春天為最歡樂的時(shí)期。King 即比喻歡樂之最，也兼指一歲之首。

Cold doth not sting：doth：古英語do 的第三人稱現(xiàn)在事態(tài)形式。the pretty birds do thing：do 是為了韻律的需要而加進(jìn)去的。

Cuckoo, jug-jug, pu-we, to-witta-woo： Cuckoo, 布谷鳥的叫聲； jug-jug, 夜鶯（nightingale）的叫聲，pu-we, 田鳧（pewit）的叫聲，to-witta-woo，泛指各種鳥鳴。

Palm: 棕櫚。其枝葉常作為勝利的象征。May：山楂花。因在五月盛開，故名 may。

And we hear aye birds tune this merry lay：aye：古英語副詞，always，ever。Tune：動(dòng)詞：唱。Lay 歌曲。

old wives a-sunning sit：sit是謂語動(dòng)詞。a-sunning：曬太陽，作狀語。a-作為特殊介詞，后跟動(dòng)名詞，表示在進(jìn)行什么活動(dòng)。如 He went a-fishing.現(xiàn)代說法是：He went fishing.these tunes our ears do greet：these tunes do greet our ears.內(nèi)容解析：此詩節(jié)奏明快，旋律強(qiáng)烈，生動(dòng)地描繪出了一幅春回大地，生機(jī)昂然的畫面。形式解析：主要是揚(yáng)抑格五音步，韻式是aaab, cccb, dddb.三節(jié)最后一行是疊句（refrain）；每節(jié)除末一行外，其他三行都用行內(nèi)韻（internal rhyme），即第二音步的第二個(gè)詞同第五音步末尾的詞諧韻。疊句（refrain）: a phrase, line or lines repeated at the end of a stanza.Spring, the│ sweet spring, │ is the │year?s plea│sant king;Then blooms │each thing, │ then maids│ dance in│ a ring, Cold doth│ not sting, │the pret│ty birds │do thing, Cuckoo, │ jug-jug, │ pu-we, │to-wi│tta-woo!The palm│ and may│ make coun│try hou│ses gay, Lambs frisk │and play, │the she│pherds pipe │all day, And we│ hear aye│ birds tune │this mer│ry lay, Cuckoo, │jug-jug, │pu-we, │to-wi│tta-woo!The fields │breathe sweet, │the dai│sies kiss │our feet, Young lo│vers meet, │ old wives │a-sun│ning sit, In eve│ry street │these tunes │our ears│ do greet, Cuckoo, │ jug-jug, │pu-we, │ to-wi│tta-woo!Spring!The │sweet spring!Spring!The sweet spring!參考譯文：（略。郭沫若有譯文，意譯，參考價(jià)值不不大。）John Milton(1608—1674)作者簡介：英國詩人，思想家、政論家。從小好學(xué)，經(jīng)常開夜車，四十余歲失明。晚年在失明的情況下，寫成了偉大史詩《失樂園》（PARADISE LOST）。其內(nèi)容是演述《圣經(jīng)》故事?？膳c荷馬的《伊利亞特》（Homer's Iliad）、但丁的《神曲》(Dante's Divine Comedy)相媲美?！段逶鲁扛琛肥窃缙谧髌?，成于二十一歲時(shí)，格調(diào)十分清新。Song On May Morning Now the bright morning star, Day?s harbinger, Comes dancing from the east, and leads with her The flowery May, who from her green lap throws The yellow cowslip and the pale primrose.Hail, bounteous May, that dost inspire Mirth, and youth, and warm desire!Woods and groves are of thy dressing;Hill and dale doth boast thy blessing.Thus we salute thee with our early song And welcome thee, and wish thee long.注釋：

morning star: 啟明星、太白星、長庚星等。早晨在東方出現(xiàn)。晚上在西方出現(xiàn)，叫長庚，英文作“evening star”.。同是一顆星，即Venus。

harbinger [/ha: bind ]先導(dǎo)，先兆 primrose [/primroz] 櫻草花，報(bào)春花。Bounteous [/baunti s] 慷慨的

of thy dressing：dressed in thy fashion Dost：第二人稱現(xiàn)在時(shí)單數(shù)。即do Doth: 一般用于第三人稱單數(shù)，但彌爾頓也常常用于復(fù)數(shù)。在他的作品中很常見。著名英語專家陸佩弦總結(jié)彌爾頓的語言特點(diǎn)，其中一條就是 “singular verb for plural subject”。此種情況在莎士比亞的作品中也不時(shí)能遇見。

Long: long life.形式分析：抑揚(yáng)格穿插揚(yáng)抑格（7、8兩行是揚(yáng)抑格，女韻，顯得十分輕快）。韻式為aa，bb，cc，dd，ee。

Now the │bright mor│ning star, │ Day?s har│binger, Comes dan│cing from │the east, │ and leads │with her The flowe│ry May, │who from │her green │lap throws The ye│llow cow│slip and │the pale│ primrose.Hail, boun│teous May, │that dost │inspire Mirth, │ and youth, │and warm │desire!Woods and │groves are │of thy │dressing;Hill and │dale doth│boast thy │blessing.Thus we│ salute │thee with │our ear│ly song And wel│come thee, │and wish │thee long.參考譯文：

晶瑩的晨星，白日的先驅(qū)，她舞蹈著從東方帶來嬌侶，百花的五月，從綠色的懷中撒下金黃色的九輪花和淡紅的櫻草花。歡迎，富麗的五月啊，你激揚(yáng) 歡樂、青春和熱情的希望；林木、樹叢是你的裝束，山陵、溪谷夸說你的幸福。我們也用清晨的歌曲向你禮贊，歡迎你，并且祝福你永恒無邊！Alexander Pope(1688—1744)作者簡介：蒲伯是18世紀(jì)英國最重要的詩人。作品很多。他還用英雄雙行體詩翻譯了荷馬史詩。文學(xué)上崇尚精雕細(xì)琢，是新古典主義的大師。身體不好，終身未婚。他的父母是天主教徒，當(dāng)時(shí)天主教徒是受迫害的。一生基本上過的是隱居日子。《獨(dú)處誦》是其早期作品。自稱寫于12歲時(shí)。6 Solitude Happy the man, whose wish and care A few paternal acres bound,（acres[/eik ]）Content to breathe his native air In his own ground.Whose herds with milk, whose fields with bread, Whose flocks supply him with attire;Whose trees in summer yield him shade, In winter fire.Blest, who can unconcern?dly find Hours, days, and years slide soft away In health of body, peace of mind, Quiet by day, Sound sleep by night;study and ease Together mix?d;sweet creation;And innocence, which most does please With meditation.Thus let me live, unseen, unknown;Thus unlamented let me die;Steal from the world, and not a stone Tell where I lie.注釋: the first stanza can be rewritten like this: the man is happy, whose wish and care are bound by a few paternal acres, and who is content to breathe his native air in his own ground.其意思相當(dāng)于《中庸》上所說的“君子素位而行，不愿乎其外?！盝ude The Obscure 中有一句話說：a contented mind is a continual feast.(Jude the Obscure.P378)Whose herds with milk, /whose fields with bread,/Whose flocks supply him with attire;前兩行省略了“supply him with”。Attire：服裝。

unconcern?dly，即unconcernedly：漫不經(jīng)心，無憂無慮，悠然自得。第三節(jié)可以改寫成：Blest is the man who can unconcern?dly find Hours, days, and years slide soft away In health of body and in peace of mind 相當(dāng)于“ I see him leave.”這樣的句子。

study and ease /Together mix?d;sweet creation;/And innocence, which most does please/With meditation.他勞逸結(jié)合，有令人歡喜的娛樂活動(dòng)，還有天真的性情。這天真的性情與沉思結(jié)合起來，最使他高興。

內(nèi)容解析：避開塵世的煩擾，與世無爭，潛心學(xué)術(shù)，并悠然自得地享受田園生活，這是最幸福的。與《莊子》“恬淡寂寞，虛無無為”（《刻意》）之說有相似之處。陶淵明有幾句詩可以與此詩相參：“息交游閑業(yè)，臥起弄書琴。園蔬有余滋（生長得很多。滋：生長），舊谷猶儲(chǔ)今。營己良有極，過足非所欽。舂秫作美酒，酒熟吾自斟。弱子戲我側(cè)，學(xué)語未成吟。此事真復(fù)樂，聊用忘華簪（比喻高官厚祿）。”（《和郭主薄》其一）

形式解析：此詩五節(jié)，每節(jié)四行。韻尾是abab。節(jié)奏主要是四音步抑揚(yáng)格(i/ambic te/trameter)，每節(jié)四音步：

Happy │the man, │ whose wish │and care A few │pater│nal a│cres bound, Content│ to breathe │his na│tive air In his │own ground.Whose herds │with milk, │whose fields │with bread, Whose flocks │supply │him with│ attire;Whose trees│ in sum│mer yield│ him shade, In win│ter fire.Blest, who │can un│concern?d│ly find Hours, days, │and years │slide soft│ away In health│ of bo│dy, peace│ of mind, Quiet │by day, Sound sleep│ by night;│ study│ and ease Toge│ther mix?d;│ sweet cre│ation;And in│nocence, │ which most │does please With me│ditation.Thus let │me live, │unseen, │unknown;Thus un│lamen│ted let│ me die;Steal from │the world, │ and not│ a stone Tell where │I lie.參考譯文：人生如何方為樂，唯有知足不貪心。只守祖上數(shù)畝田，但吸故園氣清新。綿羊產(chǎn)毛制衫袍，乳牛耕地供食飲。夏來密葉乘濃蔭，冬至疏枝做柴薪。一任歲月輕輕去，那堪憂思處處尋。白日閑逸夜安眠，一身強(qiáng)健心氣平。讀書勞逸相結(jié)合，娛樂甜美悅?cè)诵?。最佳勝景有冥思，極樂世界屬天真。死后不受世哀悼，生時(shí)豈令人見聞。幽幽偷辭濁世去，不銘何處葬我身。（石瓃）Robert Burns(1759—1796)羅伯特·彭斯，蘇格蘭詩人。出身于偏僻鄉(xiāng)村。他的詩歌充分吸收了蘇格蘭民歌成分，熱情奔放，優(yōu)美動(dòng)聽，被譽(yù)為偉大的蘇格蘭民族詩人。19世紀(jì)英國浪漫主義詩歌運(yùn)動(dòng)的先驅(qū)。他的一些詩歌被譜寫成歌曲，廣為流傳。如《友誼地久天長》（Auld[o:ld] Lang Syne[sain]: old long then: long ago.）、《我的心在高原》(My heart's in the high lands)等。A Red, Red Rose O, my Luve?s like a red, red rose, That?s newly sprung in June.O, my Luve?s like the 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!And I will love 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!注釋：

Luve?s = Love is melodie = melody，甜蜜的歌曲

play?d in tune = played in tune。唱得合拍。

As fair art thou, my bonnie lass,/ So deep in Luve am I: Bonnie: beautiful.Lass[laes]: girl, maiden.可改寫為：as you are fair, my bonnie lass, so I am deep in love.你那么美，我也那么愛你。我愛你的程度與你美的程度成正比。So 的意思是“in the same proportion“, ”in like manner“, ”in the same way“.Another example: As you treat me, so I will treat you.I will love thee still = I will always love thee.Till a? the seas gang dry: a? = all.gang = go.wi? = with.While the sands? o? life shall run: 只要我生命不息。o?= of。sands o? life：沙漏。古代人們?cè)跁r(shí)鐘發(fā)明前，用玻璃器皿盛沙，使沙從小孔中漏過，以此計(jì)時(shí)。因此詩人常用沙漏中的沙比喻人生。

fare thee weel：goodbye.。Weel[wi:l] = well.Farewell: ”proceed happily“.Goodbye: 本來是”God be wy ye“(God be with you), 后縮寫成”God-bye“, 后來為與”good day“、“good night” 一致, “God bye” 又改成了“goodbye”.Tho? = though 內(nèi)容解析：這是彭斯最有名的愛情詩，節(jié)奏強(qiáng)烈，激情澎湃，很有感染力。但是此詩所表達(dá)的感情似乎不太深刻，其愛情似乎純粹是建立在容美貌的礎(chǔ)上的。容貌一衰退，很難保證?？菔癄€不變心。另一英國詩人賈魯(Thomas Carew, 1594---1640)有一首名The True Beauty的詩，可拿來對(duì)彭斯的這首詩作注腳：

He that loves a rosy cheek Or a coral lip admires, Or from star-like eyes doth seek Fuel to maintain his fires;As old Time makes these decay, So his flames must waste away.But a smooth and steadfast mind, Gentle thoughts, and calm desires, Hearts with equal love combined, Kindle never-dying fires:----Where these are not, I despise Lovely cheeks or lips or eyes.（smooth and steadfast mind：性情溫和、意志堅(jiān)定。Hearts with equal love combined：正常語序?yàn)椋篽earts combined with equal love.能一視同仁的心靈。）

彭斯說他的愛人如同玫瑰花一樣美，他的愛與其愛人的美麗成正比，賈魯反過來說，誰追求玫瑰花一樣的容貌，誰的愛情的衰退程度與就容貌衰老的程度成正比。賈魯講的雖然有道理，他的態(tài)度也很可取，但是世上的人像賈魯那樣的很少，相彭斯這樣的人則多不勝數(shù)。（彭斯是個(gè)沉溺于美酒、詩歌和愛情的人）。人的感情往往能沖破理智的說教，即使這種愛情不一定能長久，人們往往也要追求它。所以不能以說教的心態(tài)否定詩歌的藝術(shù)價(jià)值。形式分析：基本上是抑揚(yáng)格，每節(jié)二、四兩行押韻。O, my │Luve?s like │a red, │red rose, That?s new│ly sprung │in June.O, my │Luve?s like│ the me│lodie, That?s sweet│ly play?d │in tune.As fair│ art thou, │my bon│nie 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!And I│ will love │thee still, │my dear, While the sands│ o? life │shall run.And fare│ thee weel, │my on│ly Luve!And fare│ thee weel, │ a while!And I│ will come │again, │ my Luve, Tho? it were │ten thous│and mile!William Wordsworth(1770—1850)華茲華斯（渥滋渥斯），英國浪漫主義時(shí)期的大詩人，湖泮詩人（LAKE POETS）之首。1843年榮獲桂冠詩人稱號(hào)（Poet Laureate）。湖畔詩人是十九世紀(jì)英國的一個(gè)詩歌流派，這些人在英格蘭西北部的湖區(qū)（Lake district）居住、寫作。其主要成員除華茲華斯外，尚有柯勒律治（Samuel Taylor Coleridge）。華茲華斯對(duì)大自然情有獨(dú)鐘，經(jīng)常去各地旅行漫游，對(duì)自然風(fēng)光和田園生活有獨(dú)特的感受。他的詩的特點(diǎn)是通過描寫日常生活中的平凡場(chǎng)景激發(fā)心靈深處的感受，表現(xiàn)人性中真善美。素材多為自然風(fēng)光、田園生活和素樸的農(nóng)民。語言簡明，情真意切。讀之能使人產(chǎn)生無盡的遐思、精神上能受到有力的陶冶。

英國浪漫主義運(yùn)動(dòng)時(shí)間介于1790-1830，最重要的代表人物有六：William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, and John Keats.作品特點(diǎn)：形式比較自由，想象豐富，傾向描寫孤獨(dú)的個(gè)人的精神世界和大自然。'Poery is the spontaneous overflow of powerful feelings'----Wordsworth.8 I Wandered Lonely As A Cloud(The Daffodils)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 pleasures fills, And dances with the daffodils.注釋：o'er: over.Pronounced as [/o ], counted as one syllable.The waves beside them danced, but they Out-did the sparkling waves in glee: 雖然浪花也在起舞，但是水仙花的歡樂超過了浪花的歡樂。in glee, 就歡樂而言，在歡樂上。in 有as to, as regards 這樣的用法, 表示'在···方面'。如：weak in judgment;they are equal in length.有人注解此詩，認(rèn)為in glee是介詞短語作定語修飾waves 的，這樣也通，但不如視為狀語修飾全句為好。

Sprightly: 輕快地，活潑地。

Could not but: but: other than, except.But 用在否定詞后，構(gòu)成雙重否定。如：there is no one but hopes rich.（沒有不想發(fā)財(cái)?shù)娜耍㏕here is no one but knows that.（那件事無人不知。）

Jocund: lit.& poet: merry, cheerful.Couch：睡椅，床。

And then my heart with pleasures fills：my heart fills with pleasures.Fill 可用為不及物動(dòng)詞，意思是“滿”。如the house fills(with children).They flash upon that inward eye | Which is the bliss of solitude：湛然的心靈是幽居才能有的福分。因?yàn)樾撵`回歸其自我是一種高級(jí)的精神享受，所以如此說。

內(nèi)容：此詩是詩人1804年回憶兩年前在英格蘭湖區(qū)漫游時(shí)看到一大片水仙的情景時(shí)寫成的。后經(jīng)多此修該，到1815年才最終定型。當(dāng)時(shí)的情景深深地因在了他心靈深處，幽居獨(dú)處時(shí)，就在心中顯現(xiàn)出來，給他帶來慰籍?？梢娫娙藢?duì)自然的向往。我們讀之，猶如進(jìn)入了空明潔凈的世界。

Yon：yonder，那邊的，遠(yuǎn)處的。

No Nightingale did ever chauntMore welcome notes to weary bands Of travellers in some shady haunt,Among Arabian sands;:即使在人際罕至的阿拉伯沙漠的幽暗之處，夜鶯也不曾為疲憊的行人唱過如此動(dòng)人的歌曲。Chaunt: chant的變體。

A voice so thrilling ne?er was heardIn spring-time from the Cuckoo-bird,Breaking the silence of the seas: In spring-time , a voice so thrilling was never heard from the Cuckoo-bird, whose song breaks the silence of the seas among the farthest Hebrides.Hebrides[/hebridi:z]赫布里底群島[英國蘇格蘭西部] Perhaps the plaintive numbers flowFor old, unhappy, far-off things,And battles long ago;Or is it some more humble lay,Familiar matter of to-day?Some natural sorrow, loss, or pain,That has been, and may be again? 也許這凄婉的歌聲是詠嘆古老的、遙遠(yuǎn)的悲歡離合，和很久以前的征戰(zhàn)，要么是一只平凡的曲子，唱的是今天日常小事，或者是那些曾經(jīng)有過而且可能繼續(xù)出現(xiàn)的、常見的憂傷、失意和痛苦？

I saw her singing at her work,And o?er the sickle bending;I saw her singing at her work and when she is bending over the sickle.And, as I mounted up the hill, The music in my heart I bore,Long after it was heard no more.到我登上了山崗時(shí)，雖然那歌聲早已聽不見了，但還是在我心底回響。Bear: 負(fù)擔(dān)，擔(dān)負(fù)，帶上。

內(nèi)容：此詩寫的是蘇格蘭高原地區(qū)一農(nóng)家少女獨(dú)自在田間勞動(dòng)歌唱的情景。此一情景深深地觸動(dòng)了詩人的心弦。為了讓這淳樸勤勞的女孩盡情地歌唱、盡情地抒發(fā)她的內(nèi)心的世界，詩人不忍心驚動(dòng)她，他想，要么就此止步，要么悄悄走開。夜鶯、布谷鳥的歌聲是天籟之聲，詩人說割麥女的歌聲比夜鶯、布谷鳥的歌聲還要?jiǎng)尤?，表名其歌聲是純真而自然的。農(nóng)家女孩沒有受到城市生活的污染，如“清水出芙蓉，天然去雕飾”，獨(dú)自一人在空曠的田野，向大自然傾訴衷情，當(dāng)然會(huì)打動(dòng)向往大自然的詩人。今天，浮偽之風(fēng)比其一百多年前詩人所處的那個(gè)時(shí)代，更厲害不知多少倍，因而此詩所描寫的情景更能引起人們的遐思神往。此詩的意境空靈飄逸，感情高潔真摯，極富浪漫氣息，沒有絲毫庸俗情調(diào)。

我們所選的這首《滑鐵盧前夜》是《游記》中的片段(Canto III, stanzas 21, 22, 24, 25.)，記述的是滑鐵盧之戰(zhàn)爆發(fā)前夕比利時(shí)首都布魯塞爾（Brussels, Belgium）上層人士盲目歌舞狂歡的場(chǎng)面。滑鐵盧是位于比利時(shí)首都以南約20公里的一個(gè)村莊，1815年英軍在此駐扎。呂希蒙公爵夫人設(shè)宴款待英軍將士，拿破侖乘其不備，于當(dāng)晚突然襲擊。與英軍共同與拿破侖戰(zhàn)斗的還有荷蘭、比利時(shí)、德等國。最后拿破侖寡不敵眾，失敗。The Eve Of Waterloo There was a sound of revelry by night, And Belgium?s capital had gather?d then Her Beauty and her Chivalry, and bright The lamps shone o?er fair women and brave men;A thousand hearts beat happily;and when Music arose with its voluptuous swell, Soft eyes look?d love to eyes which spake again, And all went merry as a marriage bell;But hush!hark!a deep sound strikes like a rising knell!Did ye not hear it? —No;?twas but the wind, Or the car rattling o?er the stony street;On with the dance!let joy be unconfined;No sleep till morn, when Youth and Pleasure meet To chase the growing hours with flying feet— But, hark!— that heavy sound breaks in once more, As if the clouds its echo would repeat;And nearer, clearer, deadlier than before!Arm!arm!it is — it is —the cannon?s opening roar!Ah!Then and there was hurrying to and fro, And gathering tears, and tremblings of distress, And cheeks all pale, which but an hour ago Blush?d at the praise of their own loveliness: And there were sudden partings, such as press The life from out young hearts, and choking sighs Which ne?er might be repeated;who could guess If ever more should meet those mutual eyes, Since upon night so sweet such awful morn could rise!And there was mounting in hot haste: the steed, The mustering squadron, and the clattering car, Went pouring forward with impetuous speed, And swiftly forming in the ranks of war;And the deep thunder peal on peal afar;And near, the beat of the alarming drum Roused up the soldier ere the morning star;While throng?d the citizens with terror dumb, Or whispering with white lips —?the foe!they come!they come!? 注釋：

Her Beauty and her Chivalry, and bright：布魯塞爾的英雄美人。Her 指Brussels Voluptuous[v /l ptu s ]swell 華麗的音樂旋律。Swell 本指大浪，此指樂聲蕩漾。Soft eyes look?d love to eyes which spake again look：溫柔的眼睛與眼睛互相傳情。Look love：Look with love。

And all went merry as a marriage bell;大家歡欣鼓舞，就像結(jié)婚打鐘。

a deep sound strikes like a rising knell：一個(gè)沉悶的聲音就像正在敲響的喪鐘一樣傳來。Youth and Pleasure meetTo chase the growing hours with flying feet: 青春與歡樂結(jié)伴，用飛快的腳步追逐這煥發(fā)的時(shí)光。growing hours：令人起勁的時(shí)光。

As if the clouds its echo would repeat;天上的云好像又把它的回聲有重復(fù)了一次：意即聲音很大，會(huì)響很久。

Arm!arm!it is — it is —the cannon?s opening roar!拿起武器，拿起武器！這是大炮在展開咆哮。

gathering tears：不斷聚集的淚，越來越多的淚水。

cheeks all pale, which but an hour ago Blush?d at the praise of their own loveliness: 一小時(shí)以前因受到夸獎(jiǎng)而羞紅的臉蛋兒，現(xiàn)在都發(fā)白了。

there were sudden partings, such as pressThe life from out young hearts, 使年輕的心靈痛不欲生的突然訣別。

choking sighs Which ne?er might be repeated;很可能永遠(yuǎn)不會(huì)再有的抽搐嘆息。因?yàn)榭赡苁窃E別，所很可能不會(huì)再有。

mustering squadron：集合的中隊(duì) swiftly forming in the ranks of war;快速排成作戰(zhàn)隊(duì)形。Rank：隊(duì)列。

And the deep thunder peal on peal afar;And near, the beat of the alarming drumRoused up the soldier ere [e ]the morning star;遠(yuǎn)處是一陣一陣的沉悶的雷鳴，近處是報(bào)警的鼓聲，不等啟名星出現(xiàn)，就把士兵喚醒。

While throng?d the citizens with terror dumb,市民們則擠在一起，被嚇成了啞巴。此句可改成：the citizens thronged, dumb with terror.或者：The citizens dumb with terror thronged.內(nèi)容：此詩極其生動(dòng)地描繪了舞會(huì)上的歡樂場(chǎng)面和大戰(zhàn)來臨之際的驚慌景象。舞會(huì)上英雄們風(fēng)度翩翩，美人們含情脈脈，婆娑起舞，盡情狂歡。沒有想到，也不相信戰(zhàn)爭會(huì)在此時(shí)爆發(fā)。正在狂歡之際，大炮轟鳴起來。于是在驚恐和絕望之中告別。士兵門急速集合，市民們驚慌失措。整個(gè)城市亂作一團(tuán)。此詩的成功之處在于生動(dòng)的場(chǎng)景描寫，極富戲劇性，讀之如身臨其境。英國小說家薩克雷（William Makepeace Thackeray）在起長篇小說《名利場(chǎng)》(Vanity Fair, 1847-48)第29章中對(duì)這場(chǎng)舞會(huì)也有非常出色的描寫。

形式：

（1）One word is too often profanedFor me to profane it, 有一個(gè)詞匯被人濫用得不像樣子，我再也不忍心濫用它了。One word指love。Profane：褻瀆。

（2）One feeling too falsely disdainedFor thee to disdain it;有一種情感總是錯(cuò)誤地遭到蔑視，你不該狠下心，再去蔑視它。One feeling：指對(duì)所愛的人的崇敬之情。

（3）One hope is too like despairFor prudence to smother, 有一個(gè)希望，它太難實(shí)現(xiàn)，和絕望差不多，請(qǐng)你不要顧慮重重、縮手縮腳，把它熄滅。（4）And pity from thee more dear Than that form another,:對(duì)我來說，你的愛憐比別人的都珍貴。詩人對(duì)其情人無比崇敬，如果其情人對(duì)詩人的這種心情不視而不見，以愛憐之心作出反應(yīng)，對(duì)詩人來說當(dāng)然無比珍貴。

第二節(jié)

（1）I can give not what men call love,But wilt thou accept not: 我不能向你奉獻(xiàn)世俗之人所謂的“愛”，但是難道你會(huì)忍心拒絕（以下幾種情感嗎）？wilt thou：you will.Wilt：第二人稱單數(shù)現(xiàn)在時(shí)的古式。此句與第一節(jié)的“One word is too often profanedFor me to profane it”對(duì)應(yīng)。

（2）The worship the heart lifts aboveAnd the Heavens reject not, 如果心靈將它奉獻(xiàn)給蒼天，蒼天也不回絕的崇拜。意即這種崇拜之情是崇高而神圣的。

（3）The desire of the moth for the star,Of the night for the morrow, 飛蛾對(duì)星星的期盼，以及黑夜對(duì)白晝的向往。Morrow ：〈文〉：tomorrow, morning.詩人把自己的處境比做黑夜，把所愛的人比做光明。

（4）The devotion to something afar Form the sphere of our sorrow? 在痛苦的塵世中對(duì)遙遠(yuǎn)夢(mèng)景的追求。這與第一節(jié)“One hope is too like despair”相呼應(yīng)。Sphere 本義為球體，此處指世俗世界。

內(nèi)容：此詩與彭斯的那首風(fēng)格不同。前者外漏而淺顯，此詩深摯并有一定的哲理。雪萊認(rèn)為愛情是從人的天性中自然流露出來的某種純潔的、柔嫩的情感，崇高而神圣。就像飛蛾對(duì)星星的期盼、黑暗對(duì)光明的向往、痛苦中對(duì)美好未來的追求一樣，是天地間自然而然產(chǎn)生的。這種情感一旦夾雜世俗生活中的庸俗觀念，就會(huì)被扭曲、被褻瀆。此與Plato哲學(xué)思想有關(guān)。實(shí)際情況也的確如此，人們基于世俗的考慮，這種高潔的東西經(jīng)常被輕蔑、被褻瀆，以至于追求純潔愛情的希望幾乎與絕望相等?？磥恚粌H從我們現(xiàn)在從周圍的現(xiàn)實(shí)看是如此，在雪萊時(shí)代的英國，也是如此?？梢哉f“愛情之難，難于上青天”。

形式：抑揚(yáng)格與抑抑揚(yáng)格相間。第二節(jié)最后四行顯然是抑抑揚(yáng)格，有向前沖的勢(shì)頭，與內(nèi)容中的“向往”之意吻合。韻式是ababcdcd

第三篇：最新英語詩歌鑒賞

You Are Not Alone

Another day has gone

I am still alone

How could this be

You are not here with me

You never said goodbye

Someone tell me why

Did you have to go

And leave my world so cold

Everyday I sit and ask myself

How did love slip away

Something whispers in my ear and says

That you are not alone

For I am here with you

Though you are far away

I am here with you

Though you are far away

I am here to stay

But you are not alone

For I am here with you

Though we are far apart

You are always in my heart

But you are not alone

Lone,Lone

Why,lone

Just the other night

I thought I heard you cry

Asking me to come

And hold you in my arms

I can hear your prayers

Your burdens I will bear

But first I need your hand

Then forever can begin

第四篇：英文詩歌鑒賞-Annabel Lee

Annabel Lee

——Edgar Allan Poe It was many and many a year ago，In a kingdom by the sea, That a maiden there lived whom you may know By the name of ANNABEL LEE;And this maiden she lived with no other thought Than to love and be loved by me.I was a child and she was a child, In this kingdom by the sea;But we loved with a love that was more than love-I and my Annabel Lee;With a love that the winged seraphs of heaven Coveted her and me.And this was the reason that, long ago, In this kingdom by the sea, A wind blew out of a cloud, chilling My beautiful Annabel Lee;So that her highborn kinsman came And bore her away from me, To shut her up in a sepulchre In this kingdom by the sea.The angels, not half so happy in heaven, Went envying her and me-Yes!-that was the reason(as all men know, In this kingdom by the sea)That the wind came out of the cloud by night, Chilling and killing my Annabel Lee.But our love it was stronger by far than the love Of those who were older than we-Of many far wiser than we-And neither the angels in heaven above, Nor the demons down under the sea, Can ever dissever my soul from the soul Of the beautiful Annabel Lee.For the moon never beams without bringing me dreams Of the beautiful Annabel Lee;And the stars never rise but I feel the bright eyes Of the beautiful Annabel Lee;And so, all the night-tide, I lie down by the side

Of my darling-my darling-my life and my bride, In the sepulchre there by the sea, In her tomb by the sounding sea.Edgar Allan Poe is one of the greatest literary figures in the history of American literature.He develops his own poetic theories and tries to apply the theories to his writing.Poe is against the didactic function of poetry, advocating that poetry should be a rhythmical creation of beauty.Poe's poems are perfect illustrations of his poetic theories.His poems are aimed at producing a melancholy feeling in the reader and make the reader feel the metrical beauty of poems.His poetic works are well appreciated all over the world.“Annabel Lee” is one of his last poems and also one of his best poems.The poem is also well organized, with a musical rhythm and fairy tale form.Annabel Lee, like many other poems of Edgar Allan Poe, describes the theme of the death of a beautiful woman which is called “the most poetical topic in the world” by the poet himself.In the poem, the narrator and Annabel Lee had an extremely strong love for each other since they were children.Unfortunately, their love is so strong that even angels envy them and Annabel Lee was killed by them.However, the narrator retains the deep love for her after her death.Just as the last stanza shows us, the narrator dreams about Annabel everyday and lies by the side of her tomb at night.It seems that their love is beyond grave and death.There are many speculation of who is the inspiration of Annabel Lee.I would like to believe that Annabel Lee is referring to Poe’s wife Virginia who died at the age of 26.She was loved as a child by Edgar Allen Poe because she was only 13 when she married the 27-year-old Poe.And she was the only bride of him.Poe set the scene in a kingdom by the sea and uses some images like sepulcher and tomb, which add some Gothic touch to the poem.With the repetition of some words and phrases, the poem has a nostalgic tone and gives us a mournful feeling.The mysterious tone of the poem makes us feel that only in mysterious and ancient time does such kind of love exist.Besides the content, the poetic structure of this poem is also what I appreciate.It is composed of six stanzas with lines at different length, which gives me a feeling of the waves of the ocean.When I read it, the rhyme and the different length makes it has a musical effect and it is like telling a story to someone.“Annabel Lee” was composed in the form of a fairy tale.First, the poet chose simple everyday words as that of tales to compose his poem, so that it could be easily reached by everyone, even by small children.Second, the starting line “It was many and many a year ago, / In a kingdom by the sea,” suggests that the tale has existed for a long time and it has been told many times, which indicates the strong love between the narrator and Annabel Lee doesn't fade with time, and it will be told from generation to generation;by this way, their love will reach immortality.“Annabel Lee” also shows some characteristics of a ballad.For example: The language is simple;it is accessible to the common people and children.The theme is tragic and the tone is melancholy;the poem tells the death of a beloved young beauty,which is the most frequently seen theme in Poe's poems.Poe uses insistent repetition of phrases like “Annabel Lee”, “in this kingdom by the sea” for effect, which might be considered as refrains in a ballad.Let’s appreciate it carefully.In Stanza 1, “maiden” implies the narrator hasn't consummated with Annalbel Lee before she had been

dead, and it symbolizes the innocence and pure.As above “many and many” and “l(fā)ove and be loved”, Poe utilizes the repetition to enhance the rhythm of the poem.However, we can also find the repetition in Stanza 2, as the sounds of “w” and “l(fā)”: But we loved with a love that was more than love.“I was a child and she was a child, here we find the repetition of the word, child suggesting the amazement and fascination in youth.Poe uses ”sepulchre“ in Stanza 3 and we can see ”tomb“ in Stanza 6;the former is where Annabel Lee is buried in and the latter is where Annabel Lee's soul rest in, furthermore ”tomb“ deepens the ominus connotion with finality, just like a more deathly toll of a funeral bell.There're rhyme and alliteration as follows:

A wind blew out of a cloud, chilling

My beautiful Annabel Lee;

So that her high-born kinsmen came

And bore her away from me，To shut her up in a sepulchre

In this kingdom by the sea.Let's get an overlook on Stanza 4 and Stanza 5, then we can find that Poe heavily uses alliteration just in want of creating fascinating sound patterns, as the following sentense in these two Stanzas:

A wind blew out of a cloud, chilling

That the wind came out of the cloud one night，But our love it was stronger by far than the love

Of those who were older than we

”In the kingdom of the sea“ and ”Annabel Lee“ are repeated by the narrator in term of a repetition of Poe, which is murmured by the narrtor after losing his lover, Annabel Lee.And now Annabel Lee in the kingdom of the sea seems to be a nightmare.Throughout the poem, Poe utilizes the imagery of drak and light, and indicates that in this kingdom by the sea is a very bright, pleasing and peaceful place with sunshine on the narrator and his beautiful Annabel Lee, but, irronically, it's the very angles, Seraphs from another same place like the kingdom of the sea, lightful and cheering, that let the sky get dark(the wind came out of the cloud one night)and send the chilling and killing wind that takes Annabel Lee away from the narrator and this Kingdom of the sea and push her into the sepulchre, and even the tomb because of envy and jealousy.However, it also gives us an evidence that the narrator is very childish and hasn't grown up yet since he went throgh the lose.The repetiton of his word implies that he is trying to rationalize his feeling and be mature.And then the last four lines in Stanza 5, which're totally different from The Raven, Poe or the narrator, believes that two can be one or reunited by love even beyond the death and none can dissever the soul from the other soul of the two lovers.It's the last poem of Edgar Allen Poe so that we can see mature and tranquility in this poem.In Stanza 6, Poe uses the light of the moon and the brightness of the star to account so strong love of the narrator and Annabel Lee that he lies down by her side in her sepulchre and her tomb by the sea where love is everything, even the narrator's life.What a bitter sweetness love is!

Mood and Tone of the Poem

”Annabel Lee“ is a poem Poe wrote to grieve over his early-died wife.At the beginning,the tone of the poem is quietly mournful.It feels like that the narrator is lost in thought, recalling the precious love between him and Annabel Lee.By and by, with the narrator thinking of the death of Annabel Lee, the tone becomes more mournful.When it reaches the fourth stanza where the reason of Annabel Lee's death is revealed, the tone is indignant.The narrator becomes angry at the winged seraphs, since they take away his lover.Then the tone becomes more and more emphatic and risesto its emotional climax in the last stanza.Everything in the world makes the narrator think of Annabel Lee.Hence the narrator expresses his strong will of loving Annabel Lee forever.In a word, the poem is an elegy written to his dead wife;it wears a mournful and melancholy tone.Rhythm of the Poem

Poe believes that beauty is the sole purpose of the poem.He insists on an even metrical flow in versification.Therefore, all his poems are rhythmical and musical.”Annabel Lee“ was mainly written in anapestic trimeter, tetrameter, and sometimes dimeter.The poem consists of six stanzas.the first, second, and fourth stanza each contains six lines, the third and sixth stanza eight lines, and the fifth stanza seven lines.What's more, the lines are also of different lengths.One long line is frequently followed by a short one.Different lengths of lines and stanzas create a rise and fall rhythm, just like the ebbing and flowing of the sea which create a melancholy and sad feeling in the reader.The rhyme scheme of the first stanza is ababcb;the second stanza is abcbdb;the third stanza is abcbdbeb, and rhyme schemes of the last three stanzas are abcbdb, abbabcb, abcbddbb.From here you can see that the rhyme scheme is not so regular among each stanza, but the [i:] sound is the basic rhyme through the whole poem.This kind of rhyme scheme reflects the unchanging love of the two lovers.[i:] is a long front close vowel, the sound of which is similar to the weeping of people.Therefore the frequent use of this rhyme adds the great sorrow of the narrator at losing his loved one.Another frequently used rhyme is [ai] such as in ”night“, ”tide“, ”side“, ”eye“ and ”bride“.This use of this diphthong can create a high pitch, which expressed the anger of the narrator towards the seraphs.Poe also used other rhyming types: Alliteration of [m] and [奩] in the line ”That a maiden there lived whom you may know“.Assonance of [ei] in the same line with ”maiden“ and ”may“;[i耷] in ”chilling and killing my Annabel Lee“.”Chilling“ and ”killing“ is also an example of end rhyme and feminine rhyme.Internal rhymes like ”beams“ and ”dreams“ in the line ”For the moon never beams without bringing me dreams“.All in all, [m], [n], [耷], [奩] and [i:] are the recurrent sounds in the poem.These sounds usually create a low mood and make people want to cry.The repetition of ”Annabel Lee“ and ”in this kingdom by the sea“ feels like the insistent tolling of a bell at a funeral, leaving the reader in great sadness.Imagery of the poem Image is the soul of poetry as language is the body of poetry.In this poem, Poe uses a lot of images to create a melancholy feeling in the reader.The images of ”the kingdom by the sea“, ”the seraphs“ and ”the demons“ create a mythical remote atmosphere.This implies that there love is so great and beautiful that it could only exist in a remote kingdom by the sea.”Children“ implies that their love is pure and innocent, without being aware of the earthly troubles.”The moon“ and ”the stars“ are the images of the universe, which show that all the things in the world make the narrator think of Annabel Lee.”The night tide“ and ” the sepulcher“ create a gothic mood of the poem.”The sounding sea“ is used to emphasize the quietness of the kingdom by contrast, and at the same time implies the changing of time in order to show the unchanging love by contrast.Reading the poem, the reader can see the moon, the stars and the

kingdom by the sea, can feel the chilling wind from heaven, and can hear the noise of the sounding sea.The poem employs people's senses and imagination to create a picture of a fairy tale scene.Conclusion Poe says in his ”The Poetic Principle“ that the poem should be short, readable at one sitting.Its chief aim is beauty.”Annabel Lee“ is just a good illustration of his poetic theories.The poem consists of 41lines, just readable at one sitting.He also concludes that the death of a beautiful woman is the most poetical topic in the world.The poem tells the death of Annabel Lee---the loss of a beautiful woman the narrator loves so much,hence producing a melancholy feeling in the reader.Poe stresses rhythm, and defines true poetry as ”the rhythmical creation of beauty“.His style is traditional, employing regular rhyme schemes and all kinds of poetic devices to compose the poem in order to achieve a musical effect.Unlike his other works, ”Annabel Lee" is easy to read, using simple words and simple form creating a simple fairy tale.

第五篇：中國古代文學(xué)史題庫(名詞解釋和詩歌鑒賞)

名詞解釋（4個(gè)）1.古文運(yùn)動(dòng)：唐貞元元和年間，在韓愈的倡導(dǎo)下及柳宗元的支持下，出現(xiàn)了影響廣泛的古代散文文體，史稱古文運(yùn)動(dòng)。意在恢復(fù)先秦兩漢以散文單句為特征的散文，推動(dòng)散文的核心和發(fā)展，實(shí)質(zhì)上是一次在文體，文風(fēng)和文學(xué)語言諸方面都進(jìn)行變革的散文革新運(yùn)動(dòng)。

2.唐傳奇：唐代文言短篇小說的通稱，因內(nèi)容多傳述奇聞異事，故稱。唐傳奇藝術(shù)構(gòu)思奇異新穎，寓于變化，敘述事件簡潔明快，人物對(duì)話生動(dòng)傳神，詞匯豐富，句式多變。標(biāo)志著我國文言小說發(fā)展到了成熟的階段。

3.變文：唐代興起的一種說唱文學(xué)，內(nèi)容原為佛經(jīng)故事后范圍擴(kuò)大，包括歷史故事，變文的“變”的變是變更了佛經(jīng)的文本成為俗講的意思，“文”的體制是散文和韻文相連接，代表作品有伍子胥的《伍子胥變文》。

4.郊寒島瘦：指中唐代著名詩人孟郊、賈島。二人都以苦吟詩著稱，因其平生遭際大體相當(dāng)，詩風(fēng)相似，被后世并稱為“郊寒島瘦”。郊、島之詩風(fēng)格清奇悲凄,幽峭枯寂,格局狹隘窄小,破碎迫促,且講究苦吟推敲,錘字煉句,往往給人以寒瘦窘迫之感。5.“沉郁頓挫”：杜甫詩歌最具有特征性的藝術(shù)風(fēng)格。所謂“沉郁”，主要指思想感情的博大深厚、深沉蒼涼；所謂“頓挫”，主要指語言的剛健，遒勁，音調(diào)的鏗鏘有力，章法的曲折變幻等?！俺劣纛D挫”概括了杜詩在思想內(nèi)容方面的深廣和表達(dá)上的波瀾起伏的特點(diǎn)。

6.新樂府運(yùn)動(dòng)：指中唐時(shí)期，興起的一場(chǎng)詩歌運(yùn)動(dòng)。自命新題，抒寫實(shí)事，以白居易和元稹為主要詩人，用樂府詩形式進(jìn)行創(chuàng)作、都提倡以現(xiàn)實(shí)和事實(shí)題材入詩，主要運(yùn)用寫實(shí)、比興和諷喻的手法，重視詩歌的社會(huì)地位，也重視表達(dá)和語言的淺顯通俗，這一運(yùn)動(dòng)的最高要求是把藝術(shù)寫實(shí)和政教公立結(jié)合在一起。

7.上官體：是唐代詩歌史上第一個(gè)以個(gè)人命名的詩歌風(fēng)格稱號(hào)。指唐高宗龍朔年間以上官儀為代表的宮廷詩風(fēng)。以綺錯(cuò)婉媚，講究技巧、追求對(duì)仗工整，音韻協(xié)和，但音韻內(nèi)容狹窄，他的詩被爭相效仿，稱上官體。

8.文章四友：武后時(shí)期的宮廷詩人李嶠、杜審言、蘇味道、崔融的并稱。內(nèi)容不外歌功頌德、宮苑游宴，但在他們的其他一些作品中，卻有時(shí)透露了詩歌變革的消息，有的還對(duì)詩歌體制的建設(shè)做出了積極的貢獻(xiàn)。四人中，以杜審言成就最高。

9.盛唐山水田園詩派：盛唐興起的一個(gè)詩歌流派。在陶淵明以來的田園詩和謝靈運(yùn)以來的山水詩的基礎(chǔ)之上。偏重于寫山水風(fēng)光和田園生活，大多表現(xiàn)自然之美和閑適心情，偶或反映農(nóng)家生活現(xiàn)實(shí)。所作以五言為主，風(fēng)格多清淡恬靜，具有較高的藝術(shù)技巧和審美價(jià)值。代表詩人有儲(chǔ)光羲、裴迪、丘為、常建等，而以王維、孟浩然為首，故后世又稱“王孟詩派”。

10.辛派詞人：這是南宋受辛棄疾的影響而產(chǎn)生的一個(gè)詞派。主要有陳亮、劉過、劉克莊等。他們?cè)谛翖壖驳挠绊懴?，用詞來抒發(fā)愛國情感，豪放慷慨如辛棄疾，但題材不如辛詞廣，風(fēng)格不如辛詞多樣。多以議論為詞，以文為詞，過于直率，不如辛詞蘊(yùn)藉。

11.小李杜：晚唐詩人李商隱、杜牧的合稱，二人皆晚唐杰出詩人，又生于李白、杜甫之后，故稱，李商隱以愛情詩為代表。

12.盛唐氣象：所指的是詩歌中蓬勃的氣象，這蓬勃不只由于它發(fā)展的盛況，更重要的乃是一種蓬勃的思想感情所形成的時(shí)代性格。

13.韓孟詩派：唐貞元年間，韓愈和孟郊在麗都高踞盛唐巔峰，后代詩人難以為繼的情況下，以艱險(xiǎn)、力矯大力詩風(fēng)的平庸，勇于創(chuàng)新，開創(chuàng)了以新奇橫放為特色的新詩派，代表詩人孟郊、韓愈、李賀、賈島、姚合。文學(xué)史上稱韓孟詩派。這一詩派不重視客觀寫實(shí)，重視主觀感受。形式上創(chuàng)新出其，創(chuàng)作上講究苦吟。他們創(chuàng)作各有所失，但都為詩歌做出了貢獻(xiàn)。

14.宋初三體：一以當(dāng)時(shí)的一些達(dá)官貴人如徐鉉、李昉等為代表，以白居易為師，詩風(fēng)平易淺俗，是當(dāng)時(shí)的主流詩歌，此為白體詩。一以稍后的楊億、劉筠、錢惟演為代表，以李商隱為師，辭藻華麗，講究用典，是白體之后的詩壇主流，因詩集《西昆酬唱集》得名，此為西昆體。一以魏野、林逋等隱士為代表，以賈島、姚合為師，多用白描手法寫隱逸生活，詩風(fēng)清苦，此為晚唐體。宋初三體內(nèi)容上均離政治、社會(huì)較遠(yuǎn)，形式上多為近體詩。

15.王安石體：王安石體稱半世體或半山絕句，王安石的晚年罷官隱居后生活和心情發(fā)生了變化，引起了詩風(fēng)的變化，創(chuàng)作了較多的描寫湖光山色的小詩，這些詩風(fēng)格趨于含蓄深沉，注重對(duì)藝術(shù)的錘煉。其特點(diǎn)是下字工，用事切，對(duì)偶精，既有深婉不迫，也有生硬奇絕之處，成為江南詩派的先驅(qū)。16.大厲十才子：“十才子”之名，最初見于中唐詩人姚合編的《極玄集》，即李端、盧綸、吉中孚、韓翊、錢起、司空曙、苗發(fā)、崔峒、耿湋、夏侯審?！笆抛印饼R名的重要原因是，因大歷初年在長安參加重要的唱和活動(dòng)而為世人所矚目，創(chuàng)作傾向和詩風(fēng)相近。他們?cè)姼璧闹饕獌?nèi)容是歌頌升平、吟詠山水和稱道隱逸成為基本主題；擅長寫送別詩和隱居的詩歌。詩歌藝術(shù)上：講究格律辭藻，追求清雅閑淡，工于白描寫景。

17.前赤壁賦：是蘇軾的一篇散文作品，歷來為人們所傳誦。它寫的是秋夜泛舟游赤壁的情景。文章通過物描寫和主客對(duì)答，表現(xiàn)了作者政治上受挫后的惆悵苦悶和抑郁心情，同時(shí)也顯示出作者自我解脫的曠達(dá)胸襟。

18.山谷體：指北宋詩人黃庭堅(jiān)的詩，他的詩歌特征是生奇瘦硬，其藝術(shù)特色是：一以學(xué)杜詩為宗旨，重視句法發(fā)展了拗句﹑拗律的體制；二強(qiáng)調(diào)“無一字無來處”，用典以故為新，變俗為雅，點(diǎn)鐵成金，奪胎換骨；三好奇尚硬，造語洗凈鉛華，獨(dú)標(biāo)雋旨，風(fēng)格生新瘦峭峻，但兼有軟綿的一面。19.江西詩派：是宋代著名的詩歌流派。北宋年末，呂本中作的《江西詩社宗派圖》，將黃庭堅(jiān)、陳師道等二十余人列為江西詩派。元代人方回提出一祖三宗之談，認(rèn)為江西詩派以杜甫為祖，以黃庭堅(jiān)、陳師道和陳與義為三宗。標(biāo)榜學(xué)習(xí)杜甫的藝術(shù)技巧，模仿七律形式，但忽視杜甫的情感特征，以黃的詩歌理論和創(chuàng)作理論作為學(xué)習(xí)和模仿的關(guān)鍵，作詩強(qiáng)調(diào)“無一字無一處”。

20.“大晟詞”派：北宋婉約詞派。宋徽宗崇寧年間（公元1102—1107）創(chuàng)立大晟府，并以周幫彥為提舉，招集詞人、樂師整理古音、古調(diào)，創(chuàng)作新樂，名“大晟樂”；詞人按調(diào)填詞，世稱“大晟詞”；在“大晟府”形成的以周幫彥為首的詞派即為“大晟詞派”。他們的詞格律嚴(yán)密善鋪敘，章法細(xì)密曲折，回環(huán)往復(fù)，描繪工巧，語言典雅精致，善于煉字，為婉約詞的發(fā)展做出了貢獻(xiàn)。

21.中興四大指南宋詩人尤袤、楊萬里、范成大、陸游。因宋室南渡在度中興，故名。他們?cè)缒甓加袑W(xué)習(xí)江西詩派的經(jīng)歷但后來擺脫了江西詩派的束縛?！畮煼ㄗ匀?，面向現(xiàn)實(shí)生活，抒寫感時(shí)憂世之情，自承一格打開宋詩新局面’。

22.以詩為詞:手法是蘇軾變革詞風(fēng)的主要武器及把詩的手法移植到詩中，突破音樂對(duì)詞體的制約和束縛,把詞從音樂的附屬品變?yōu)橐环N獨(dú)立的抒情詩體．蘇詞中比較成功的表現(xiàn)是用題序和用典。

23.沈宋：初唐時(shí)期兩位宮廷詩人沈佺期、宋之問的合稱，與“四友”先后，聞名于武周、中宗之時(shí)，因其聲望相當(dāng)，故世稱“沈宋”。兩人詩歌多是宮廷應(yīng)制之作，主要成就是對(duì)聲律的積極探索和實(shí)踐，把四聲分為平仄，在幾代詩人取得的經(jīng)驗(yàn)之上，他們完成了律詩定型化的任務(wù)，使“篇有定句，句有定字”，律詩創(chuàng)作規(guī)范化，從此，古體詩和近體詩有了明顯的區(qū)分。

24.夢(mèng)窗詞：是宋代詞人吳文英，號(hào)夢(mèng)窗，他徹底改變了正常的思維習(xí)慣，將常人眼中的實(shí)景化為虛幻，通過奇特的藝術(shù)想象和聯(lián)想，創(chuàng)造出如夢(mèng)如幻的藝術(shù)境界。其詞遠(yuǎn)承周清真，近承姜白石，講究音律，追求典雅，意境深遠(yuǎn)含蓄，以密麗取勝，注重練字煉句。代表作《風(fēng)人松》等。

25.永嘉四靈：指永嘉地區(qū)的四位詩人：徐照、徐璣、翁卷、趙師秀。這四人都出于葉適之門且字中都帶有一個(gè)“靈”字，所以合稱“四靈”，曾有《四靈詩選》。四靈都是命運(yùn)落拓的貧寒之士。“永嘉四靈”是南宋詩壇獨(dú)樹一幟的詩歌流派。對(duì)前人，他改造江西詩派，去除其弊端；對(duì)后來，他啟動(dòng)江湖詩派而再創(chuàng)新、發(fā)展。

26.格律派詞：是南宋的一個(gè)嚴(yán)守格律的詞派。此派以姜夔為首，其它代表作家有史達(dá)祖、吳文英、高觀國、王沂孫、周密、張炎等。他們作此講究格律，追求典雅、含蓄、柔婉和“清空”，是南宋后期同“辛派”相對(duì)的一個(gè)詞派。

27.邊塞詩派：盛唐詩歌流派之一。代表作家有高適，岑參等人。他們大多有邊塞生活的經(jīng)歷，其詩多采用七言歌行或七絕的形式，抒發(fā)建功立業(yè)的抱負(fù)，從多角度描寫了邊塞風(fēng)光和征戍生涯。

28.三吏三別：三吏：潼關(guān)吏新安吏石壕吏

三別：新婚別垂老別無家別。是杜甫一組“即事名篇”的新樂府詩。

29.柳永：北宋詞人.原名三變, 字景莊.后改名永,崇安人.景佑元年進(jìn)士.官屯田員外郎.世稱柳

七、柳屯田.為人放蕩不羈, 終身潦倒.其詞多描繪城市風(fēng)光和歌妓生活, 尤長于抒寫羈旅行役之情.創(chuàng)作慢詞獨(dú)多.鋪敘刻畫, 情景交融, 語言通俗, 音律諧婉, 在當(dāng)時(shí)流傳很廣, 對(duì)宋詞的發(fā)展有一定影響.代表作《雨霖鈴》、《八聲甘州》、《望海潮》等。

30.易安體：因李清照號(hào)易安居士，故其詞稱為“易安體”，其特點(diǎn)有三，其一，用通俗易懂的文學(xué)語言和明白流暢的音律聲調(diào)作詞其二，“易安體”融入了國家興亡的深悲巨痛，又不失婉約詞的本色，具有凄婉悲愴的格調(diào)其三，“易安體”有倜儻丈夫氣。31.誠齋體：南宋詞人楊萬，字誠齋，因其詩自成一格，故嚴(yán)羽在《滄浪詩話》中稱之為‘楊誠齋體’。誠齋體的風(fēng)格是活潑自然，饒有諧趣，淺近明白的語言和流暢直致的章法。近于口語。代表作《小池》，《曉行望云山》。

32.珠玉詞：晏殊的詞名叫珠玉詞，指晏殊的詞集。主要表現(xiàn)優(yōu)渥生活，具有珠圓玉潤，豐腴雍容的特點(diǎn)，詞作之中融入了自己的主觀情感和哲理領(lǐng)悟，努力表現(xiàn)了深邃的內(nèi)心世界，使其詞作賦予了濃厚的士大夫氣，語言自然清新，音律婉轉(zhuǎn)和諧。

33.王荊公體：即半山詩或半山絕句，指王安石晚年的詩歌創(chuàng)作。其晚年詩作雅麗精絕，既有清新閑適之作，又有沉郁悲壯之作。主要體裁是絕句。它的長處是下字工、用事切、對(duì)偶精，既有深婉不迫處，也有生硬奇絕處，為江西詩派的先驅(qū)。

詩歌鑒賞（2個(gè)）

1《送杜少府之任蜀州》王勃

城闕輔三秦，風(fēng)煙望五津。與君離別意，同是宦游人。海內(nèi)存知己，天涯若比鄰。無為在歧路，兒女共沾巾

《送杜少府之任蜀州》，出自《全唐詩》，是唐代詩人王勃的作品。此詩意在慰勉友人勿在離別之時(shí)悲哀。首聯(lián)描畫出送別地與友人出發(fā)地的形勢(shì)和風(fēng)貌，隱含送別的情意，嚴(yán)整對(duì)仗；頷聯(lián)為寬慰之辭，點(diǎn)明離別的必然性，以散調(diào)相承，以實(shí)轉(zhuǎn)虛，文情跌宕；頸聯(lián)奇峰突起，高度地概括了“友情深厚，江山難阻”的情景，使友情升華到一種更高的美學(xué)境界；尾聯(lián)點(diǎn)出“送”的主題，而且繼續(xù)勸勉、叮嚀朋友，也是自己情懷的吐露。此詩開合頓挫，氣脈流通，意境曠達(dá)，堪稱送別詩中的不世經(jīng)典，全詩僅僅四十個(gè)字，卻縱橫捭闔，變化無窮，仿佛在一張小小的畫幅上，包容著無數(shù)的丘壑，有看不盡的風(fēng)光，至今廣泛流傳。

“城闕輔三秦，風(fēng)煙望五津?！遍_頭兩句分別點(diǎn)出送別的地點(diǎn)和行人的去向?！俺顷I”，指京城長安，闕是宮門兩邊的望樓?！叭亍?，泛指長安附近。千里迢迢，風(fēng)煙渺渺，極目望去不免產(chǎn)生幾分惆悵。這兩句通過一近一遠(yuǎn)兩處景物的對(duì)照，襯托出行者、送行者雙方依依惜別的感情。“與君離別意，同是宦游人”，這兩句詩把兩人之間感情的共鳴寫了出來。這兩句的大意是：我和你都是離鄉(xiāng)遠(yuǎn)游以求仕宦的人，你去蜀州，我留長安，去和留雖有不同，但此刻的惜別之意卻是一樣的啊!這兩句表現(xiàn)的感情很真摯，態(tài)度很誠懇，一種體貼關(guān)注的語氣，從字里行間自然而然地流露出來，是很動(dòng)人的。五六句忽然將筆鋒一轉(zhuǎn)，轉(zhuǎn)而去寬慰那即將遠(yuǎn)行的友人：“海內(nèi)存知己，天涯若比鄰。”意思是說：我們分手之后，雖然天各一方，但是不必悲傷。海內(nèi)有知心的朋友，即使遠(yuǎn)隔天涯，也像是近鄰一樣。最后兩句就此再推進(jìn)一層說：“無為在岐路，兒女共沾巾。”意思是，不要在分手的岐路上因離別而悲傷，就像那些青年男女一樣地別淚沾巾。

2《山居秋暝》王維

空山新雨后，天氣晚來秋。明月松間照，清泉石上流。竹喧歸浣女，蓮動(dòng)下漁舟。隨意春芳歇，王孫自可留。

這首詩寫出了清新、幽靜、恬淡、優(yōu)美的山中秋季的黃昏美景。王維所居輞川別墅在終南山下，故稱山居。一場(chǎng)秋雨過后，秋山如洗，清爽宜人。時(shí)近黃昏，日落月出，松林靜而溪水清，浣女歸而漁舟從。如此清秋佳景，風(fēng)雅情趣，自可令王孫公子流連陶醉，忘懷世事。此詩以一“空”字領(lǐng)起，格韻高潔，為全詩定下一個(gè)空靈澄凈的基調(diào)。全詩動(dòng)靜結(jié)合，相輔相成，相得益彰。月照松林是靜態(tài)，清泉流溢是動(dòng)態(tài)。前四句寫秋山晚景之幽靜，五六句寫浣女漁舟之喧嘩。詩之四聯(lián)分別寫感覺、視覺、聽覺、感受，因象得趣，因景生情。這首山水名篇，于詩情畫意之中寄托著詩人高潔的情懷和對(duì)理想境界的追求。

王維《山居秋暝》是山水田園詩的代表作之一，它唱出了隱居者的戀歌。全詩描繪了秋雨初晴后傍晚時(shí)分山村的旖旎風(fēng)光和山居村民的淳樸風(fēng)尚，表現(xiàn)了詩人寄情山水田園，對(duì)隱居生活怡然自得的滿足心情。首聯(lián)寫山居秋日薄暮之景，山雨初霽，幽靜閑適，清新宜人。頷聯(lián)寫?zhàn)┰庐?dāng)空，青松如蓋，山泉清冽，流于石上，清幽明凈的自然美景。頸聯(lián)寫聽到竹林喧聲，看到蓮葉分披，發(fā)現(xiàn)了浣女、漁舟。末聯(lián)寫此景美好，是潔身自好的所在。全詩通過對(duì)山水的描繪寄慨言志，含蘊(yùn)豐富，耐人尋味。

3《出塞》王昌齡

秦時(shí)明月漢時(shí)關(guān)，萬里長征人未還。但使龍城飛將在，不教胡馬渡陰山。王昌齡的這首邊塞詩倍受歷代詩家推崇，明代詩壇領(lǐng)袖李攀龍甚至推其為“唐代七絕壓卷之作”。詩人以雄勁的筆觸，對(duì)當(dāng)時(shí)的邊塞戰(zhàn)爭生活作了高度的藝術(shù)概括，雖然只有短短的四句，但意境雄渾深遠(yuǎn)，耐人尋味。詩人從寫景入手，首句勾勒出一幅冷月照邊關(guān)的蒼涼景象。

“秦時(shí)明月漢時(shí)關(guān)”秦、漢、關(guān)、月四字交錯(cuò)使用，“互文見義”，意思是秦漢時(shí)的明月，秦漢時(shí)的關(guān)。詩人暗示，這里的戰(zhàn)事自秦漢以來一直未間歇過，突出了時(shí)間的久遠(yuǎn)。次句“萬里長征人未還”，“萬里”指邊塞和內(nèi)地相距萬里，雖屬虛指，卻突出了空間遼闊?！叭宋催€”使人聯(lián)想到戰(zhàn)爭給人帶來的災(zāi)難，表達(dá)了詩人悲憤的情感。怎樣才能解脫人民的困苦呢？詩人寄希望于有才能的將軍?！暗过埑秋w將在，不教胡馬度陰山。”只要鎮(zhèn)守龍城的飛將軍李廣還活著，就不會(huì)讓胡人的騎兵跨越過陰山。

綜觀全詩：首句寫景,勾勒出一派明月照邊關(guān)的蒼涼景象；次句敘事，極言距離之遠(yuǎn)戰(zhàn)爭給人們帶來的災(zāi)難之深；“秦漢”、“萬里”，時(shí)空交織，突出了時(shí)間的久遠(yuǎn)和戰(zhàn)事的頻繁，擴(kuò)大了詩歌的意境；

三、四句抒情，表達(dá)了詩人期望朝廷任用良將，早日平息戰(zhàn)爭，使人民過上安定生活的美好愿望，“但使”、“不教”，含蓄委婉，將厭惡戰(zhàn)爭、同情百姓、不滿朝廷等諸多情緒盡蘊(yùn)其中，加深了詩歌的蘊(yùn)藉?！扒擅罨ノ?，靈活用典，精妙煉字”是這首詩最突出的藝術(shù)特色。

4《行路難其一》李白

金樽清酒斗十千，玉盤珍羞直萬錢。停杯投箸不能食，拔劍四顧心茫然。欲渡黃河冰塞川，將登太行雪滿山。閑來垂釣碧溪上，忽復(fù)乘舟夢(mèng)日邊。行路難，行路難，多歧路，今安在。長風(fēng)破浪會(huì)有時(shí)，直掛云帆濟(jì)滄海。

《行路難》全詩一共十四句，八十二個(gè)字，是詩人在離開長安時(shí)的心情寫懷。這首詩特出的一個(gè)特點(diǎn)就是詩人的情感波瀾起伏、跌宕變化。詩人的情懷時(shí)而失落苦悶，迷惘不知所措;時(shí)而充滿希望，信心倍增，繼爾又彷徨無據(jù)感時(shí)傷逝，最后又能豪情萬丈，豁達(dá)自信。

詩的前四句寫朋友出于對(duì)李白的深厚友情，出于對(duì)這樣一位天才被棄置的惋惜，不惜金錢，設(shè)下盛宴為之餞行。“嗜酒見天真”的李白，要是在平時(shí)，因?yàn)檫@美酒佳肴，再加上朋友的一片盛情，肯定是會(huì)“一飲三百杯”的。然而，這一次他端起酒杯，卻又把酒杯推開了；拿起筷子，卻又把筷子撂下了。他離開座席，拔下寶劍，舉目四顧，心緒茫然。停、投、拔、顧四個(gè)連續(xù)的動(dòng)作，形象地顯示了內(nèi)心的苦悶抑郁，感情的激蕩變化。接著兩句緊承“心茫然”，正面寫“行路難”。詩人用“冰塞川”、“雪滿山”象征人生道路上的艱難險(xiǎn)阻，具有比興的意味。一個(gè)懷有偉大政治抱負(fù)的人物，在受詔入京、有幸接近皇帝的時(shí)候，皇帝卻不能任用，被“賜金還山”，變相攆出了長安，這正像是遇到了冰塞黃河、雪擁太行?！靶新冯y，行路難，多歧路，今安在？”呂尚、伊尹的遇合，固然增加了對(duì)未來的信心，但當(dāng)他的思路回到眼前現(xiàn)實(shí)中來的時(shí)候，又再一次感到人生道路的艱難。離筵上瞻望前程，只覺前路崎嶇，歧途甚多，不知道他要走的路，究竟在哪里。他那種積極用世的強(qiáng)烈要求，終于使他再次擺脫了歧路彷徨的苦悶，唱出了充滿信心與展望的強(qiáng)音：“長風(fēng)破浪會(huì)有時(shí)，直掛云帆濟(jì)滄海！”他相信盡管前路障礙重重，但仍將會(huì)有一天要像南朝宋時(shí)宗愨所說的那樣，乘長風(fēng)破萬里浪，掛上云帆，橫渡滄海，到達(dá)理想的彼岸。

5杜甫——《登高》

風(fēng)急天高猿嘯哀，渚清沙白鳥飛回。天邊落木蕭蕭下，不盡長江滾滾來。萬里悲秋常作客，百年多病獨(dú)登臺(tái)。艱難苦恨繁霜鬢，潦倒新停濁酒杯。

本詩系杜甫于代宗大歷二年重陽節(jié)登高望遠(yuǎn)、觸景生情之作，亦為杜詩中最能表現(xiàn)大氣盤旋、悲涼沉郁之作。前四句是一幅雄邁壯美的“秋景圖”，意境載闊，氣勢(shì)磅礴；后四句并只是個(gè)人的嘆老嗟貧。而是感嘆世事多艱難，人民多災(zāi)禍。

天高風(fēng)急，秋氣肅殺，猿啼哀嘯，十分悲涼；清清河洲，白白沙岸，鷗鷺低空回翔。首聯(lián)兩句，對(duì)舉之中仍復(fù)用韻，且句中自對(duì)，無一虛設(shè)。這是詩人登高看到的景象，構(gòu)成一幅悲涼的秋景圖畫，為全詩定下了基調(diào)。落葉飄零，無邊無際，紛紛揚(yáng)揚(yáng)，蕭蕭而下；奔流不盡的長江，洶涌澎湃，滾滾奔騰而來。頷聯(lián)為千古名句，寫秋天肅穆蕭殺、空曠遼闊的景色，一句仰視，一句俯視，有疏宕之氣。我萬里漂泊，常年客居他鄉(xiāng)，對(duì)此秋景，更覺傷悲；有生以來，疾病纏身，今日獨(dú)自登臨高臺(tái)。頸聯(lián)是詩人一生顛沛流離生活的高度概括，有頓挫之神。時(shí)世艱難，生活困苦，我常恨鬢如霜白；濁酒銷憂，卻怎奈潦倒，以至需要停杯。尾聯(lián)轉(zhuǎn)入對(duì)個(gè)人身邊瑣事的悲嘆，與開篇《楚辭》般的天地雄渾之境，形成慘烈的對(duì)比?！翱嗪蕖?，甚恨，意思是愁恨很深。這是一首最能代表杜詩中景象蒼涼闊大、氣勢(shì)渾涵汪茫的七言律詩。前兩聯(lián)寫登高聞見之景，后兩聯(lián)抒登高感觸之情。由情選景，寓情于景，渾然一體，充分表達(dá)了詩人長年飄泊、憂國傷時(shí)、老病孤愁的復(fù)雜感情。而格調(diào)卻雄壯高爽，慷慨激越，高渾一氣，古今獨(dú)步。

6《雁門太守行》李賀

黑云壓城城欲摧，甲光向日金鱗開。角聲滿天秋色里，塞上燕脂凝夜紫。半卷紅旗臨易水，霜重鼓寒]聲不起。報(bào)君黃金臺(tái)上意，提攜玉龍為君死。

詩共八句，前四句寫日落前的情景。首句既是寫景，也是寫事，成功地渲染了敵軍兵臨城下的緊張氣氛和危急形勢(shì)?！昂谠茐撼浅怯荨?，一個(gè)“壓”字，把敵軍人馬眾多，來勢(shì)兇猛，以及交戰(zhàn)雙方力量懸殊、守軍將士處境艱難等等，淋漓盡致地揭示出來。次句寫城內(nèi)的守軍，以與城外的敵軍相對(duì)比，忽然，風(fēng)云變幻，一縷日光從云縫里透射下來，映照在守城將士的甲衣上，只見金光閃閃，耀人眼目。此刻他們正披堅(jiān)執(zhí)銳，嚴(yán)陣以待。這里借日光來顯示守軍的陣營和士氣，情景相生，奇妙無比。

后四句寫馳援部隊(duì)的活動(dòng)?！鞍刖砑t旗臨易水”，“半卷”二字含義極為豐富。黑夜行軍，偃旗息鼓，為的是“出其不意，攻其不備”；“臨易水”既表明交戰(zhàn)的地點(diǎn)，又暗示將士們具有“風(fēng)蕭蕭兮易水寒，壯士一去兮不復(fù)還”那樣一種壯懷激烈的豪情。接著描寫苦戰(zhàn)的場(chǎng)面：馳援部隊(duì)一迫近敵軍的營壘，便擊鼓助威，投入戰(zhàn)斗。無奈夜寒霜重，連戰(zhàn)鼓也擂不響。面對(duì)重重困難，將士們毫不氣餒?！皥?bào)君黃金臺(tái)上意，提攜玉龍為君死。”黃金臺(tái)是戰(zhàn)國時(shí)燕昭王在易水東南修筑的，傳說他曾把大量黃金放在臺(tái)上，表示不惜以重金招攬?zhí)煜率?。詩人引用這個(gè)故事，寫出將士們報(bào)效朝廷的決心。

7《錦瑟》李商隱

錦瑟無端五十弦，一弦一柱思華年。莊生曉夢(mèng)迷蝴蝶，望帝春心托杜鵑。滄海月明珠有淚，藍(lán)田日暖玉生煙。此情可待成追憶？只是當(dāng)時(shí)已惘然。

“錦瑟無端五十弦，一弦一柱思華年?！弊髡邔懽约核紤僖咽诺臍q月，思戀美好的年華。這種感情往往是悲苦交加，然而句中無一“悲”字，“苦”字。五十弦，一弦一思念，可見思念苦之多，而且一發(fā)不可收拾?！扒f生曉夢(mèng)迷蝴蝶”，似水年華恍如夢(mèng)，又像美麗的蝴蝶，卻更苦于無奈的現(xiàn)實(shí)，于是“望帝春心托杜鵑”，望帝死后化成杜鵑悲啼，自己又該怎樣面對(duì)現(xiàn)實(shí)，又將把一切托付何物呢？人們盡可能傳誦。但誰也不會(huì)輕易說出這是句的悲，于是他迷惘了。

“滄海明月珠有淚，藍(lán)天日亂玉生煙”想的多了，悲傷滾滾而來，自然有淚了。作者也許有點(diǎn)繞性心理，人太悲傷了，就需要一點(diǎn)安慰。想想將來，或許今天的淚水將成為明日的珍珠。美玉總伴隨好運(yùn)而來，運(yùn)氣好了，說不定藍(lán)田的玉??還沒有想完，想象中的“玉山”卻生煙渺茫，自己有一次跌入現(xiàn)實(shí)的苦悶中，“此情可待成追憶”，“唉！”李商隱嘆息著流走的時(shí)間里，我惋惜！“只是當(dāng)時(shí)已惘然”作者捫心自問，“當(dāng)時(shí)已惘然”，那么現(xiàn)在就不能再“惘然”了，要做些有意義的事，不能就這樣一直沉浸在悲哀之中。

整個(gè)篇幅的感情基調(diào)是深沉的，但給人的感覺卻飄然脫俗，用傳說來寫感情，詩句的優(yōu)雅更顯露出柔和凄美。情悲而不失美，靜而又波瀾，有后悔更有勇氣，無不表達(dá)作者最深切的感受。

8《虞美人·春花秋月何時(shí)了》李煜

春花秋月何時(shí)了，往事知多少。小樓昨夜又東風(fēng)，故國不堪回首月明中。雕欄玉砌應(yīng)猶在，只是朱顏改。問君能有幾多愁，恰似一江春水向東流。

全詞以問起，以答結(jié)；由問天、問人而到自問，通過凄楚中不無激越的音調(diào)和曲折回旋、流走自如的藝術(shù)結(jié)構(gòu)，使作者沛然莫御的愁思貫穿始終，形成沁人心脾的美感效應(yīng)。

誠然，李煜的故國之思也許并不值得同情，他所眷念的往事離不開“雕欄玉砌”的帝王生活和朝暮私情的宮闈秘事。但這首膾炙人口的名作，在藝術(shù)上確有獨(dú)到之處：

“春花秋月”人多以美好，作者卻殷切企盼它早日“了”卻；小樓“東風(fēng)”帶來春天的信息，卻反而引起作者“不堪回首”的嗟嘆，因?yàn)樗鼈兌脊窗l(fā)了作者物是人非的棖觸，跌襯出他的囚居異邦之愁，用以描寫由珠圍翠繞，烹金饌玉的江南國主一變而為長歌當(dāng)哭的階下囚的作者的心境，是真切而又深刻的。

結(jié)句“一江春水向東流”，是以水喻愁的名句，含蓄地顯示出愁思的長流不斷，無窮無盡。同它相比，劉禹錫的《竹枝調(diào)》“水流無限似儂愁”，稍嫌直率，而秦觀《江城子》“便作春江都是淚，流不盡，許多愁”，則又說得過盡，反而削弱了感人的力量。9《浣溪沙》晏殊

一曲新詞酒一杯，去年天氣舊亭臺(tái)。夕陽西下幾時(shí)回？

無可奈何花落去，似曾相識(shí)燕歸來。小園香徑獨(dú)徘徊。

這是晏殊詞中最為膾炙人口的篇章。詞的上片通過對(duì)眼前景物的詠嘆，將懷舊之感、傷今之情與惜時(shí)之意交織、融合在一起。“一曲新詞酒一杯”，所展示的是“對(duì)酒當(dāng)歌”的情景，似乎主人公十分醉心于宴飲涵詠之樂。的確，作為安享尊榮而又崇文尚雅的“太平宰相”，以歌侑酒，是作者習(xí)于問津、也樂于問津的娛情遣興方式之一。然而在作者的記憶中，最難忘懷的卻是去年的那次歌宴?！叭ツ晏鞖狻本洌c(diǎn)出眼前的陽春煙景既與去年無異，而作者置身的亭臺(tái)也恰好是昔日飲酒聽歌的場(chǎng)所。故地重臨，懷舊自不可免。此句中正包蘊(yùn)著一種景物依舊而人事全非的懷舊之感。在這種懷舊之感中又糅合著深婉的傷今之情。這樣，作者縱然襟懷沖澹，又怎能沒有些微的傷感呢？“夕陽西下”句，不僅是惋惜時(shí)光的匆匆流逝，同時(shí)也是慨嘆昔日與伊人同樂的情景已一去不返。細(xì)味“幾時(shí)回”三字，所折射出的似乎是一種企盼其返、卻又情知難返的紆細(xì)心態(tài)。下片仍以融情于景的筆法申發(fā)前意。“無可奈何”二句，屬對(duì)工切，聲韻和諧，寓意深婉，一向稱為名對(duì)。唯其如此，作者既用于此詞，又用于《示張寺丞王?？薄芬辉?。上句對(duì)春光的流逝示惋惜之情，下句對(duì)巢燕的歸來興懷舊之感。人間生死，同花開花落一樣，不由自主，所以說“無何奈何”。舊地重游，前塵影事，若幻若真，所以說“似曾相識(shí)”。滲透在句中的是一種混雜著眷戀和悵惆，既似沖澹又似深婉的人生悵觸。因此，此詞不但以詞境勝，還兼以理致勝。后來蘇軾的詞，就大暢此風(fēng)了。

10《踏莎行》秦觀

霧失樓臺(tái)，月迷津渡，桃源望斷無尋處。

可堪孤館閉春寒，杜鵑聲里斜陽暮。驛寄梅花，魚傳尺素，砌成此恨無重?cái)?shù)。郴江幸自繞郴山，為誰流下瀟湘去？

這是一首寄托個(gè)人身世之感的抒情詞。上片寫孤獨(dú)的處境。上片寫謫居中寂寞凄冷的環(huán)境。開頭三句，緣情寫景，劈面推開一幅凄楚迷茫、黯然銷魂的畫面：漫天迷霧隱去了樓臺(tái)，月色朦朧中，渡口顯得迷茫難辨?！办F失樓臺(tái)，月迷津渡?！被ノ囊娏x，不僅對(duì)句工整，也不只是狀寫景物，而是情景交融的佳句?！笆А薄ⅰ懊浴倍?，既準(zhǔn)確地勾勒出月下霧中樓臺(tái)、津渡的模糊，又恰切地寫出了作者無限凄迷的意緒?！办F失”、“月迷”，皆為下句“望斷”出力。“桃源望斷無尋處”。詞人站在旅舍觀望應(yīng)該已經(jīng)很久了，他目尋當(dāng)年陶淵明筆下的那塊世外桃源。桃源，其地在武陵（今湖南常德），離郴州不遠(yuǎn)。詞人由此生聯(lián)想：即是“望斷”，亦為枉然。著一“斷”字，讓人體味出詞人久佇苦尋幻想境界的悵惘目光及其失望痛苦心情。

晏殊的這首詞有一種對(duì)時(shí)光年華的流逝的深切的慨嘆和惋惜存在，而且更在極幽微的情思的敘寫中，流露出了很深摯又很高遠(yuǎn)的一份追尋向往的心意，這種情思，雖然表面看來也許只不過是傷春懷人之情而已，但是隱然間卻可以使讀者的心靈感情感受到一種提升的作用。

11《雨霖鈴》柳永

寒蟬凄切，對(duì)長亭晚。驟雨初歇，都門帳飲無緒.留戀處，蘭舟催發(fā)。執(zhí)手相看淚眼，竟無語凝噎。念去去，千里煙波，暮靄沉沉楚天闊。

多情自古傷離別，更那堪，冷落清秋節(jié)。今宵酒醒何處?楊柳岸，曉風(fēng)殘?jiān)?。此去?jīng)年，應(yīng)是良辰好景虛設(shè)。便縱有千種風(fēng)情，更與何人說!此詞為抒寫離情別緒的千古名篇，也是柳詞和有宋一代婉約詞的杰出代表。詞中，作者將他離開汴京與戀人惜別時(shí)的真情實(shí)感表達(dá)得纏綿悱惻，凄婉動(dòng)人。詞的上片寫臨別時(shí)的情景，下片主要寫別后情景。全詞起伏跌宕，聲情雙繪。

上片紀(jì)別，從日暮雨歇，送別都門，設(shè)帳餞行，到蘭舟摧發(fā)，淚眼相對(duì)，執(zhí)手告別，依次層層描述離別的場(chǎng)面和雙方惜別的情態(tài)，猶如一首帶有故事性的劇曲，展示了令人傷心慘目的一幕。下片述懷，承“念”字而來，設(shè)想別后情景?！嗲樽怨艂x別，那堪冷落清秋節(jié)。念宵酒酲何處，楊柳岸、曉風(fēng)殘?jiān)隆?。上二句點(diǎn)出離別冷落，‘今宵”二句，乃就上二句意染之”?！敖裣菩押翁帯?，遙接上片“帳飲”，足見雖然“無緒”卻仍借酒澆愁以致沉醉；“楊柳岸、曉風(fēng)殘?jiān)隆保瑒t集中了一系列極易觸動(dòng)離愁的意象，創(chuàng)造出一個(gè)凄清冷落的懷人境界?！按巳ァ币韵?，以情會(huì)景，放筆直寫，不嫌重拙，由“今宵”想到“經(jīng)年”，由“千里煙波”想到“千種風(fēng)情”，由“無語凝噎”想到“更與何人說”，回環(huán)往復(fù)又一氣貫注地抒寫了“相見時(shí)難別亦難”的不盡愁思。

12《破陣子》辛棄疾醉里挑燈看劍，夢(mèng)回吹角連營。八百里分麾下炙，五十弦翻塞外聲。沙場(chǎng)秋點(diǎn)兵。

馬作的盧飛快，弓如霹靂弦驚。了卻君王天下事，贏得生前身后名。可憐白發(fā)生！

詞的上片，寫作者閑居家中心情苦悶，只能借酒澆愁；然而，就是在深夜酒醉之時(shí)，還一次又一次地?fù)芰翢艋?，久久地端詳著曾伴隨自己征戰(zhàn)殺敵的寶劍，渴望著重上前線，揮師北伐。作者帶著這樣的思念和渴望進(jìn)入夢(mèng)中。他恍惚覺得天已拂曉，連綿不斷的軍營里響起了一片嘹亮雄壯的號(hào)角聲。他把大塊的烤牛肉犒勞將士們，讓他們分享；軍樂隊(duì)奏著高亢激越的邊塞戰(zhàn)歌，以助興壯威。在秋風(fēng)獵獵的戰(zhàn)場(chǎng)上，他檢閱著各路兵馬，準(zhǔn)備出征。

詞的下片，緊接著描寫了壯烈的戰(zhàn)斗和勝利的結(jié)局：將士們騎駿馬飛奔，快如“的盧”，風(fēng)馳電掣；拉開強(qiáng)弓萬箭齊發(fā)，響如“霹靂”，驚心動(dòng)魄。敵人崩潰了，徹底失敗了。他率領(lǐng)將士們終于完成了收復(fù)中原、統(tǒng)一祖國的偉業(yè)，贏得了生前死后不朽的英名。到這里，我們看到了一個(gè)意氣昂揚(yáng)、抱負(fù)宏大的忠勇將軍的形象，他“金戈鐵馬，氣吞萬里如虎”！然而，在詞的最后，作者卻發(fā)出一聲長嘆：“可憐白發(fā)生！”從感情的高峰猛的跌落下來。原來，那壯闊盛大的軍容，橫戈躍馬的戰(zhàn)斗，以及輝煌勝利，千秋功名，不過全是夢(mèng)境。實(shí)際上，在茍安賣國的統(tǒng)治集團(tuán)的壓制下，作者報(bào)國無門，歲月虛度?！翱蓱z白發(fā)生”，包含著多少難以訴說的郁悶、焦慮、痛苦和憤怒??！

從全詞看，壯烈和悲涼、理想和現(xiàn)實(shí)，形成了強(qiáng)烈的對(duì)照。作者只能在醉里挑燈看劍，在夢(mèng)中馳騁殺敵，在醒時(shí)發(fā)出悲嘆。這是個(gè)人的悲劇，更是民族的悲劇。而作者的一腔忠憤，無論在醒時(shí)還是在醉里、夢(mèng)中都不能忘懷，是他高昂而深沉的愛國之情、獻(xiàn)身之志的生動(dòng)體現(xiàn)。

13《摸魚兒·更能消幾番風(fēng)雨》

辛棄疾

更能消幾番風(fēng)雨？匆匆春又歸去。惜春長怕花開早，何況落紅無數(shù)。春且住。見說道、天涯芳草無歸路。怨春不語。算只有殷勤，畫檐蛛網(wǎng)，盡日惹飛絮。

長門事，準(zhǔn)擬佳期又誤。蛾眉曾有人妒。千金縱買相如賦，脈脈此情誰訴？君莫舞，君不見、玉環(huán)飛燕皆塵土！閑愁最苦。休去倚危欄，斜陽正在、煙柳斷腸處。

《摸魚兒》這首詞創(chuàng)作于辛棄疾被南放之后的第十七年，當(dāng)時(shí)辛棄疾正再一次被當(dāng)時(shí)的朝廷調(diào)任，好友為其餞行時(shí)，辛棄疾有感而發(fā)，寫下了這首詞。

在上片中，作者心緒不寧，是哀惋，是嘆惜，更是一種迷惘與無可奈何。萬紫千紅的春，離我匆匆而去，一時(shí)萬樹枝頭，落花飛紅。這凋零衰敗的景色本就夠慘淡的了，它怎么能再經(jīng)得起風(fēng)風(fēng)雨雨的幾次摧殘呢？花是春天的象征，我生怕花落春去，而希望花兒遲開晚放，但這只不過是我的一廂情愿，一種幻想而已。然而盡管如此，我仍心有不甘，向春反問：“你且留步！聽說海角天涯并無你的歸處，你能去哪里呢！”春默默無語、依舊悄然離去。如果說，在人間還有什么春的痕跡，那只有畫檐蛛網(wǎng)上沾著些的柳絮，給我們一絲慰藉。

下片借陳阿嬌的故事，寫愛國深情無處傾吐的苦悶。這一片可分三個(gè)層次，表現(xiàn)三個(gè)不同的內(nèi)容。從“長門事”至“脈脈此情誰訴”是第一層。這是詞中的重點(diǎn)。作者以陳皇后長門失寵自比，揭示自已雖忠而見疑，屢遭讒毀，不得重用和壯志難酬的不幸遭遇?！熬琛比涫堑诙樱髡咭詶钣癍h(huán)、趙飛燕的悲劇結(jié)局比喻當(dāng)權(quán)誤國、暫時(shí)得志的奸佞小人，向投降派提出警告，“閑愁最苦"至篇終是第三層，以煙柳斜陽的凄迷景象，象征南宋王朝昏庸腐朽，日落西山，岌岌可危的現(xiàn)實(shí)。

這首詞有著鮮明的藝術(shù)特點(diǎn)。一是通過比興手法，創(chuàng)造象征性的形象來表現(xiàn)作者對(duì)祖國的熱愛和對(duì)時(shí)局的關(guān)切。擬人化的手法與典故的運(yùn)用也都恰到好處。第二是繼承屈原《離騷》的優(yōu)良傳統(tǒng)，用男女之情來反映現(xiàn)實(shí)的政治斗爭。第三是纏綿曲折，沉郁頓挫，呈現(xiàn)出別具一格的詞風(fēng)。

14《揚(yáng)州慢·淮左名都》姜夔

淮左名都，竹西佳處，解鞍少駐初程。過春風(fēng)十里。盡薺麥青青。自胡馬窺江去后，廢池喬木，猶厭言兵。漸黃昏，清角吹寒。都在空城。

杜郎俊賞，算而今、重到須驚?？v豆蔻詞工，青樓夢(mèng)好，難賦深情。二十四橋仍在，波心蕩、冷月無聲。念橋邊紅藥，年年知為誰生。

詞的上闕，寫出了詞人親眼目睹的景象和自身心理感受。寫出了揚(yáng)州城在“胡馬窺江去后”令人痛心不已的凋殘和敗壞景象。詞人先從自己的行蹤寫起，寫自己初次經(jīng)過揚(yáng)州城，在著名的竹西亭解鞍下馬，稍作停留。走在漫長的揚(yáng)州道上，詞人所見到的全部是長得旺盛而齊整的薺麥。而昔日杜牧對(duì)揚(yáng)州城美景的由衷溢譽(yù)一去不復(fù)返。自金人入侵后，燒殺擄掠，揚(yáng)州城所剩下的也只是“廢池喬木”的了。人們說起那場(chǎng)戰(zhàn)爭，至今還覺得心有余悸和刻骨痛恨。詞的下闕，運(yùn)用典故，進(jìn)一步深化了“黍離之悲”的主題。昔日揚(yáng)州城繁華，詩人杜牧留下了許多關(guān)于揚(yáng)州城不朽的詩作?？墒牵偃邕@位多情的詩人今日再重游故地，他也必定會(huì)為今日的揚(yáng)州城感到吃驚和痛心。杜牧算是個(gè)俊才情種，他有寫“豆蔻”詞的微妙精當(dāng)，他有賦“青樓”詩的神乎其神。可是，當(dāng)他面對(duì)眼前的凋殘破敗景象，他必不能寫出昔日的款款深情來！揚(yáng)州的名勝二十四橋仍然存在，水波蕩漾，冷峻的月光下，四周寂籟無聲。唉，試想下，盡管那橋邊的芍藥花年年如期盛放，可是到底還有誰有情思去欣賞它們的艷麗呢？詞人用帶懸念的疑問作為詞篇的結(jié)尾，很自然地移情入景，今昔對(duì)比，催人淚下。

縱觀全詞，行文的基調(diào)都籠罩在一種悲涼凄愴的氛圍中。無論是詞人所見到的“薺麥青青”、“廢池喬木”還是在黃昏里聽到的“號(hào)角”和“空城”還是詞人自身所想到的杜牧“難賦深情”和不知亡國恨的“橋邊紅藥”，都是一種悲劇的寫照。

15《一剪梅·紅藕香殘玉簟秋》李清照

紅藕香殘玉簟秋。輕解羅裳，獨(dú)上蘭舟。云中誰寄錦書來，雁字回時(shí)，月滿西樓?；ㄗ燥h零水自流。一種相思，兩處閑愁。此情無計(jì)可消除，才下眉頭，卻上心頭。

這首詞作于清照和丈夫趙明誠遠(yuǎn)離之后，寄寓著作者不忍離別的一腔深情，是一首工巧的別情詞作

詞的起句“紅藕香殘玉簟秋”，領(lǐng)起全篇，對(duì)清秋季節(jié)起了點(diǎn)染作用。全句設(shè)色清麗，意象蘊(yùn)藉，不僅刻畫出四周景色，而且烘托出詞人情懷。意境清涼幽然，頗有仙風(fēng)靈氣?；ㄩ_花落，既是自然界現(xiàn)象，也是悲歡離合的人事象征；枕席生涼，既是肌膚間觸覺，也是凄涼獨(dú)處的內(nèi)心感受。起句為全詞定下了幽美的抒情基調(diào)。

接下來的五句順序?qū)懺~人從晝到夜一天內(nèi)所作之事、所觸之景、所生之情。前兩句“輕解羅裳，獨(dú)上蘭舟”，寫的是白晝?cè)谒娣褐壑?，以“?dú)上”二字暗示處境，暗逗離情。下面“云中誰寄錦書來”一句，則明寫別后的懸念。接以“雁字回時(shí)，月滿西樓”兩句，構(gòu)成一種目斷神迷的意境。按順序，應(yīng)是月滿時(shí)，上西樓，望云中，見回雁，而思及誰寄錦書來?！罢l”字自然是暗指趙明誠。但是明月自滿，人卻未圓；雁字空回，錦書無有。而這一望斷天涯、神馳象外的情思和遐想，無時(shí)無刻不縈繞于詞人心頭。

下片。“花自飄零水自流”，詞人的思緒又由想象回到現(xiàn)實(shí)，并照映上片首句的句意。眼前的景象是落花飄零，流水自去。由盼望書信的到來，到眼前的抒寫流水落花，詞人的無可奈何的傷感油然而生，尤其是兩個(gè)“自”字的運(yùn)用，更表露了詞人對(duì)現(xiàn)狀的無奈。“一種相思，兩處閑愁”，次寫詞人自己思念丈夫趙明誠，也設(shè)想趙明誠同樣在思念自己。這樣的斷語，這樣的心有靈犀，是建立在夫妻相知相愛的基礎(chǔ)上的。末三句，“此情無計(jì)可消除，才下眉頭，卻上心頭?！痹~人以逼近口語的詞句，描述自己不僅無法暫時(shí)排遣相思之情，反而陷入更深的思念境地。兩個(gè)副詞“才”、“卻”的使用，很真切形象地表現(xiàn)了詞人揮之又來、無計(jì)可消除的相思之情。

這是一首相當(dāng)富有詩情畫意的詞作。詞人越是把她的別情抒寫得淋漓盡致，就越能顯出她的夫妻恩愛的甜蜜，也越能表現(xiàn)出她對(duì)生活的熱愛。此外，這首詞在意境的刻畫，真摯、深沉情感的表述，以及語言運(yùn)用的藝術(shù)上，無不給人留下深刻的印象。

16蘇軾《水調(diào)歌頭》

明月幾時(shí)有，把酒問青天。不知天上宮闕，今夕是何年？我欲乘風(fēng)歸去，又恐瓊樓玉宇，高處不勝寒。起舞弄清影，何似在人間！

轉(zhuǎn)朱閣，低綺戶，照無眠。不應(yīng)有恨，何事長向別時(shí)圓？人有悲歡離合，月有陰晴圓缺，此事古難全。但愿人長久，千里共嬋娟。

這首詩是蘇詞豪放詞代表作之一。享有“中秋詞，自東坡《水調(diào)歌頭》一出，余詞盡廢?！钡拿蕾?，本詞仿佛是與明月的對(duì)話，在對(duì)話中探討著人生的意義。既有理趣，又有情趣，耐人尋味。意境豪放而闊大，情懷樂觀而曠達(dá)，對(duì)明月的向往之情，對(duì)人間的眷戀之意，以及那浪漫的色彩，瀟灑的風(fēng)格和行云流水一般的語言，給我們以健康的美學(xué)享受和心靈的啟示。

本詞通篇詠月，構(gòu)思奇拔，畦徑獨(dú)辟，它運(yùn)用形象描繪的手法，勾勒出一種皓月當(dāng)空、美人千里、孤高曠遠(yuǎn)的意境氛圍，把自己遺世獨(dú)立意緒和往昔的神話傳說融合一處，在月的陰晴圓缺當(dāng)中，滲進(jìn)濃厚的哲學(xué)意味，上片借明月自喻孤高，下片用圓月襯托別情，月是詞的中心形象，卻處處契合人事?？梢哉f是一首將自然和社會(huì)高度契合的感喟作品，本詞意境虛虛實(shí)實(shí)：文字在幻想與現(xiàn)實(shí)中穿梭，思緒在天上與人間中徘徊。孤獨(dú)的作者終于求得出路：離合的悲歡，政途的苦悶，只可借自寬自慰來消解，只能曠達(dá)的一笑而過，極富浪漫主義色彩。從表現(xiàn)方面來說，詞的前半縱寫，后半橫敘。上片高屋建瓴，下片峰回路轉(zhuǎn)。前半是對(duì)歷代神話傳說的推陳出新，也是對(duì)魏晉六朝游仙詩的遞嬗發(fā)展。后半純用白描，人月雙及。它名為演繹物理，實(shí)則闡釋人事。筆致錯(cuò)綜回環(huán)，搖曳多姿。從布局方面來說，上片凌空而起，入處似虛，下片波瀾層疊，返虛轉(zhuǎn)實(shí)。最后虛實(shí)交錯(cuò)，紆徐作結(jié)，是歷來公認(rèn)的中秋詞中的絕唱。

17《和子由澠池懷舊》蘇軾

人生到處知何似？恰似飛鴻踏雪泥。泥上偶然留指爪，鴻飛哪復(fù)計(jì)東西？老僧已死成新塔，壞壁無由見舊題；往日崎嶇還記否，路長人困蹇驢嘶。

人生在世，總是到處流浪漂泊，這像什么呢？就恰似那飛來飛去的鴻雁一樣，偶然在雪地上停留片刻，也許會(huì)留下一些指爪的痕跡，但等到鴻雁飛去以后，又有誰知道它是在東方還是在西方呢？當(dāng)年曾經(jīng)熱情招待過我們的老僧已經(jīng)死去，變成了寺院里的一座新塔；而我們?cè)?jīng)題的那堵墻壁也已經(jīng)破敗，所題之詩也不見了痕跡。還記得我們當(dāng)日在路上行走的情景吧？漫漫前路，人困驢蹇，嘶鳴聲聲。這首詩的理趣主要體現(xiàn)在前四句，“雪泥鴻爪”由此成為一個(gè)被后世廣泛傳誦的成語。這四句是針對(duì)蘇轍原詩中的人生感慨更進(jìn)一步發(fā)表的議論。在蘇軾看來，不僅具體的生活行無定蹤，整個(gè)人生也充滿了不可知，就像鴻雁在飛行過程中，偶一駐足雪上，留下印跡，而鴻飛雪化，一切又都不復(fù)存在。老僧新塔，壞壁舊題，也都水過是泥上爪印而已。這樣的持論似乎帶了虛無主義的色彩，和佛教所說的“諸法亦如是，因緣合乃成，因緣離散即滅”、“凡所有相，皆是虛妄”并無本質(zhì)的不同。

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英語詩歌鑒賞及名詞解釋(英文版)

第一篇：英語詩歌鑒賞及名詞解釋(英文版)

第二篇：英文詩歌鑒賞

第三篇：最新英語詩歌鑒賞

第四篇：英文詩歌鑒賞-Annabel Lee

第五篇：中國古代文學(xué)史題庫(名詞解釋和詩歌鑒賞)

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