第一篇：《煩憂》—戴望英文詩(shī)歌賞析

煩憂——戴望舒

說(shuō)是寂寞的秋的清愁，說(shuō)是遼遠(yuǎn)的海的相思。

假如有人問(wèn)我的煩憂，我不敢說(shuō)出你的名字，假如有人問(wèn)我的煩憂。

說(shuō)是遼遠(yuǎn)的海的相思，說(shuō)是寂寞的秋的清愁。

Boring –Daiwangshu

It is called gloomy mood of lone Autumn It is called miss of distant sea If someone ask what's my boring

I am afraid of throwing our you name.I am afraid of throwing our you name.If someone ask what's my boring

It is called miss of distant sea

It is called gloomy mood of lone Autumn

This poem comes from Dai's poems《Dai's grass》.As the 1930s Chinese poetry important factionsan important poet.Dai's poems focus on describing the insights of modern life and the emotional experience of the spiritual path.Journey in life, there are sunny like enlightened excited, but also rainy like distressed worries, then, at the moment stagnation worries in mind what the poet called it? Poet does not directly reveal.Clear autumn is a gloomy season , ignited the endless sea of Acacia.It makes people sad to read.The words “boring”, with “distant”, he gave the poet lonely frustration and unable to stop.However, the authors did whim, someone around to ask for your troubles, your sorrow, then how would you answer? Is to come clean, to tell each other all the melancholy of a cavity, or a closely guarded secret, kept it tight? Although the freedom to choose their own, but the face of love your friends ask, can you dumb it? So, how this psychological hesitantly expressed it? “I can not say your name.” This, “not” it is the exact word to express the author's ambivalence, and lead the reader into the endless reverie.The top four, just thirty six words, live draw a deep memory of the author, fierce struggle, the kind of “Unspoken” taste, only meaningful, but also a strong imperative.The top four for the reverse order, rough palindrome poem seems, on reflection is not a simple repetition, but not the style and no substance-like trick.But the author kind of an endless stream of increasingly turbulent thoughts of love in

indulgent catharsis.Sentence both as repeated, also deemed the top really, take care of airtight contact.Despite intense and contradictory “ afraid to speak ”.But want to feel hope and pour out so urgent, where the author provides us with a vast imagination, caring people may wish to make an emotional fugue there.The poem of “ Qingchou” as knot, but just to express a mature thinker type of language to express their often complex and unusual state of mind.

第二篇：煩憂——賞析（共）

煩憂

戴望舒

說(shuō)是寂寞的秋的清愁 ，說(shuō)是遼遠(yuǎn)的海的相思。

假如有人問(wèn)我的煩憂 ，我不敢說(shuō)出你的名字.我不敢說(shuō)出你的名字 ，假如有人問(wèn)我的煩憂.說(shuō)是遼遠(yuǎn)的海的相思 , 說(shuō)是寂寞的秋的清愁.本詩(shī)共有兩段,其實(shí)只有四個(gè)詩(shī)句,只不過(guò)在前后兩段中,四個(gè)詩(shī)句排列順序正好相反.在這樣一種顛倒的重復(fù)之中,既強(qiáng)化了詩(shī)歌的主旨,又形成回環(huán)往復(fù)的音樂(lè)效果.這是這首詩(shī)第一個(gè)方面的突出特點(diǎn).四句詩(shī)回環(huán)往復(fù)要表達(dá)怎樣的主旨呢?作者并沒(méi)有直接說(shuō)明.第一段的前兩句是打比方,只是兩個(gè)比喻句都省略了本體“煩憂”.如果表達(dá)完整,前兩句的意思大概是說(shuō)：有的人認(rèn)為煩憂像是寂寞的秋的清愁,而有的人認(rèn)為煩憂像是相隔遼遠(yuǎn)的海的人們之間的相思.這兩句前句從時(shí)間上落筆,而后一句從空間上落筆,暗示了“愁”、“思”之深之廣.而這“愁”“思”的具體內(nèi)涵又是什么呢?后兩句做了具體的回答：作者的“愁”與“思”是心中有“煩憂”,而“煩憂”的原因則是“不敢說(shuō)出你的名字”,而“不敢說(shuō)出你的名字”的原因,任憑生 活經(jīng)驗(yàn),讀者自然能明白“不敢說(shuō)”是因?yàn)樾闹杏袗?ài)：心中充滿對(duì)你的愛(ài)戀,卻沒(méi)有勇氣說(shuō)出口——這才是“煩憂”的原因所在!

上段的抒情順序是先描繪“愁”“思”之狀,然后一層層地剖析清原因；而下段則先交代自己面對(duì)“你”的猶豫和膽怯,而接著點(diǎn)明這樣的“不敢”使自己備覺(jué)“煩憂”,最后兩句從時(shí)空的角度分別打比方,烘托自己“相思”和“清愁”像隔海相望般“遼遠(yuǎn)”,像身處肅殺的秋天一樣“寂寞”.意象的選取既典型,又暗合中國(guó)文化傳統(tǒng)中以秋襯愁之廣、以海喻思之遠(yuǎn)的經(jīng)典審美,雖是現(xiàn)代詩(shī),卻充滿古典詩(shī)的意境和韻致.也正因此,前后兩段雖然只是相同的詩(shī)句在排列順序的不同,但在情感表達(dá)上卻絲毫沒(méi)有重復(fù)之嫌,這正是作者的高明之處.這是一首愛(ài)情詩(shī),但“愛(ài)”字在全詩(shī)中卻始終未直接出現(xiàn),而只是用“不敢說(shuō)出你的名字”的委婉表達(dá),含蓄地暗示出來(lái).含蓄之美,是這首小詩(shī)的另一個(gè)突出特點(diǎn)了.戴望舒是寫(xiě)作愛(ài)情詩(shī)的高手,其抒情詩(shī)《雨巷》奠定了他在中國(guó)現(xiàn)代詩(shī)壇不朽的地位.跟《雨巷》相比,這首描寫(xiě)愛(ài)情的小詩(shī),在內(nèi)容和主題上雖無(wú)不同,但在藝術(shù)手法方面卻表現(xiàn)出極具風(fēng)韻的獨(dú)到之處。

煩憂

戴望舒 說(shuō)是寂寞的秋的清愁，說(shuō)是遼遠(yuǎn)的海的相思。假如有人問(wèn)我的煩憂，我不敢說(shuō)出你的名字。我不敢說(shuō)出你的名字，假如有人問(wèn)我的煩憂。說(shuō)是遼遠(yuǎn)的海的相思，說(shuō)是寂寞的秋的清愁。

1．在這首小詩(shī)中，詩(shī)人借“秋”和“?！眱蓚€(gè)意象，營(yíng)造了怎樣的意境？

2．這首詩(shī)只由兩節(jié)組成，第二節(jié)正好是第一節(jié)的回文。這種形式有什么作用？

3．詩(shī)人說(shuō)“我不敢說(shuō)出你的名字”，“你”在詩(shī)中可能指代的是誰(shuí)？談?wù)勀愕睦斫狻?/p>

答案

1．示例：詩(shī)人借“秋”和“海”兩個(gè)意象營(yíng)造了寂寞、遼遠(yuǎn)的意境。

2．示例：這種巧妙的回環(huán)形式使詩(shī)的旋律循環(huán)往復(fù)，使詩(shī)人所抒發(fā)的情感顯得更強(qiáng)烈、更鮮明，更能表現(xiàn)詩(shī)人不敢說(shuō)的真實(shí)處境。

3．示例：我們可以理解為作者愛(ài)上了一個(gè)女子，又不敢向她表白的一種矜持、矛盾、排遣不開(kāi)的、纏綿的、剪不斷理還亂的情緒也可以理解為作者骨子里透出的憂傷、寂寞的心理氣質(zhì)。閱讀下面的詩(shī)歌，完成第9～10題。(7分)[

惠安女子

舒 婷

野火在遠(yuǎn)方，遠(yuǎn)方

在你琥珀色的眼睛里

以古老部落的銀飾

約束柔軟的腰肢

幸福雖不可預(yù)期，但少女的夢(mèng)

蒲公英一般徐徐落在海面上

啊，浪花無(wú)邊無(wú)際天生不愛(ài)傾訴苦難

并非苦難已經(jīng)永遠(yuǎn)絕跡[來(lái)源

當(dāng)洞簫和琵琶在晚照中

喚醒普遍的憂傷

你把頭巾一角輕輕咬在嘴里

這樣優(yōu)美地站在海天之間

令人忽略了：你的裸足

所踩過(guò)的堿灘和礁石

于是，在封面和插圖中

你成為風(fēng)景，成為傳奇。《惠安女子》是舒婷實(shí)現(xiàn)女性書(shū)寫(xiě)的代表性作品，它集中表達(dá)了作者對(duì)惠安女子優(yōu)秀品質(zhì)的贊美和對(duì)她們苦難人生的關(guān)懷。惠安女子是福建惠安沿海幾個(gè)村鎮(zhèn)漢民族婦女群體，那兒的男子長(zhǎng)年漂泊在海上，“留守”幾乎是那里所有惠安女子的現(xiàn)實(shí)處境。但長(zhǎng)期以來(lái)她們一直默默隱忍著生活的苦澀，以勤勞、溫良、孝順呼應(yīng)著傳統(tǒng)文化期待。舒婷通過(guò)她獨(dú)特的女性情感體驗(yàn)貼近這些女子，《惠安女子》是唱給她們的一首悲憫的歌。

第二人稱的運(yùn)用拉近了作者和惠安女子之間的情感距離，她們并不是“被看”的對(duì)象，而是作者心心相印的姐妹。

全詩(shī)共四小節(jié)第一小節(jié)短短兩句將惠安女子望眼欲穿的雙眼定格，眼睛是心靈的窗戶，那似火的目光傳遞的是惠安女子對(duì)丈夫或戀人刻骨的思念和無(wú)限的牽掛。

第二小節(jié)頭兩句描繪了惠安女子獨(dú)特的外形服飾，但詩(shī)人隨即將筆觸輕輕一提，轉(zhuǎn)向了惠安女子對(duì)幸福的追尋。表面上看，詩(shī)人將女子的外貌和幸福相連似乎有些簡(jiǎn)單化，但事實(shí)上惠安女子的服飾確實(shí)相當(dāng)獨(dú)特且裝飾性較強(qiáng)，惠安女子的典型裝束是：黃斗笠、花頭巾、藍(lán)短衫、銀腰鏈、寬筒褲。她們?nèi)绱说卣玖⒃诤＿?，眺望大海，期盼著親人早日歸來(lái)。無(wú)數(shù)次希望的破滅也并沒(méi)有動(dòng)搖她們的信心?！捌压ⅰ?、“海面”、“浪花”這些意象的使用暗示了她們最終的失落。在美麗服飾的襯托下，悲劇意味更突顯了出來(lái)。

第三小節(jié)是詩(shī)人對(duì)惠安女子堅(jiān)忍個(gè)性的刻畫(huà)?！岸词挕?、“琵琶”、“晚照”等意象為惠安女子的憂傷增添了古韻，使這份憂傷有了歷史 的縱深感。“你把頭巾一角輕輕咬在嘴里”，一個(gè)“咬”字寫(xiě)出了一種動(dòng)感，包含了惠安女子對(duì)所有不幸的飲吞和她們的自制。

第四小節(jié)中，詩(shī)人表達(dá)了她對(duì)世人以獵奇心態(tài)關(guān)注惠安女子的不滿?；莅才营?dú)特的生活狀態(tài)下所鑄就的美使她們吸引了眾多的目光，她們奇異的生活習(xí)俗和裝束成為了人們口口相傳的故事。他們?cè)趯?duì)惠安女子產(chǎn)生興趣的同時(shí)恰恰忽略了她們的苦難，這就使她們得不到應(yīng)有的關(guān)懷。在這背景下，舒婷對(duì)她們苦難的抒寫(xiě)就有了意義，也顯示出作者強(qiáng)烈的女性意識(shí)。

在詩(shī)歌形式上，除了第一節(jié)，其余的小節(jié)都是五行，結(jié)構(gòu)安排比較均勻；此外，本篇詩(shī)歌注意押韻，具有音樂(lè)美。

9.《惠安女子 》顯示了詩(shī)人善于從客觀生活中提煉詩(shī)歌意象的能力。請(qǐng)你擷取詩(shī)中的意象，描述詩(shī)中所表現(xiàn)的情景。(3分)

意象：_______________________________________

情景：________________________________________

10.有 人說(shuō)，詩(shī)的最后一句“于是，在封面和插圖中/你成為風(fēng)景，成為傳奇”揭示了惠安女子的優(yōu)美形象和真實(shí)命運(yùn)。說(shuō)說(shuō)你對(duì)這一評(píng)價(jià)的理解。(4分)

9.解析：第一問(wèn)只要弄清楚了意象的概念就比較容易回答。第二問(wèn)屬于對(duì)詩(shī)歌內(nèi)容的還原。在尊重詩(shī)歌思想的基礎(chǔ)上，語(yǔ)言要流暢、精練。

參考答案：意象：銀飾、腰肢、海面、浪花、洞簫和琵琶。

情景：夕陽(yáng)的余暉投射到海面，海面的浪花仍舊無(wú)止息地飛揚(yáng)，系著古老銀飾的惠安女站在岸邊，眺望海的另一邊。不知什么地方傳來(lái)隱隱的洞簫聲，在幽怨的洞簫聲中，惠安女一句話也不說(shuō)，只是默默地把頭巾一角輕輕咬在嘴里。

10.解析：注意原詩(shī)中“令人忽略了：你的裸足/所踩過(guò)的堿灘和礁石”這句話。

參考答案：這個(gè)評(píng)價(jià)是片面的。詩(shī)的最后一節(jié)雖寫(xiě)了惠安女子的優(yōu)美形象和真實(shí)命運(yùn)，但詩(shī)人是為了提醒人們：不要只注意到惠安女子立于海天之間，上了封面，成了插圖，成為風(fēng)景，成為傳奇，而忽略了她的“裸足”和她“所踩過(guò)的堿灘和礁石”。在這里，詩(shī)人對(duì)那些把“苦難”作為對(duì)象來(lái)欣賞的人作出了淡淡的卻又是極為有力的反諷。

第三篇：英文詩(shī)歌賞析

英語(yǔ)詩(shī)歌賞析方法

英詩(shī)的欣賞：詩(shī)的格律、詩(shī)的押韻、詩(shī)的體式、詩(shī)的評(píng)判。

詩(shī)以高度凝結(jié)的語(yǔ)言表達(dá)著人們的喜怒哀樂(lè)，用其特有的節(jié)奏與方式影響著人們的精神世界。詩(shī)講究聯(lián)想，運(yùn)用象征、比喻、擬人等各種修辭手法，形成了獨(dú)特的語(yǔ)言藝術(shù)。

一、詩(shī)的格律

“格律是指可以用腳打拍子的節(jié)奏”，是每個(gè)音步輕重音節(jié)排列的格式，也是朗讀時(shí)輕重音的依據(jù)。而音步是由重讀音節(jié)和非重讀音節(jié)構(gòu)成的詩(shī)的分析單位。重讀音節(jié)為揚(yáng)（重），在音節(jié)上用“－”或“?”標(biāo)示，非重讀音節(jié)為抑（輕），在音節(jié)上用“?”標(biāo)示，音步之間可用“／”隔開(kāi)。以下是五種常見(jiàn)格式：

1.抑揚(yáng)格（輕重格）Iambus：是最常見(jiàn)的一種格式，每個(gè)音步由一個(gè)非重讀音節(jié)加一個(gè)重讀音節(jié)構(gòu)成。

As fair / art thou / my bon/nie lass，So deep / in luve / am I ：

And I / will luve / thee still，/ my dear，Till a` / the seas / gang dry：

Robert Burns（1759-1796）： My Luve Is like a Red，Red Rose

注；art=are luve=love bonnie=beautiful a`=all gang=go

上例中為四音步與三音步交叉，可標(biāo)示為：?－／?－／?－／（?－）

2.揚(yáng)抑格（重輕格）Trochee：每個(gè)音步由一個(gè)重讀音節(jié)加一個(gè)非重讀音節(jié)構(gòu)成。

下例中為四音步揚(yáng)抑格（少一個(gè)輕音節(jié)），可標(biāo)示為：－?／－?／－?／－

Tyger！/ Tyger！/ burning / bright In the / forests / of the / night William Blake： The Tyger 3.抑抑揚(yáng)格（輕輕重格）Anapaestic foot： 每個(gè)音步由兩個(gè)非重讀音節(jié)加一個(gè)重讀音節(jié)構(gòu)成。如：三音步抑抑揚(yáng)格??－／??－／??－

Like a child / from the womb，Like a ghost / from the tomb，I arise / and unbuild / it again.4.揚(yáng)抑抑格（重輕輕格）Dactylic foot： 每個(gè)音步由一個(gè)重讀音節(jié)加兩個(gè)非重讀音節(jié)構(gòu)成。如：兩音步揚(yáng)抑抑格－??／－??

?Touch her not / ?scornfully，?Think of her / ?mournfully.-Thomas Hood

5.抑揚(yáng)抑格（輕重輕格）Amphibrach：每個(gè)音步由一個(gè)非重讀音節(jié)加一個(gè)重讀音節(jié)再加一個(gè)非重讀音節(jié)構(gòu)成。如：三音步抑揚(yáng)抑格?－?／?－?／?－?下例中最后一個(gè)音步為抑揚(yáng)格。

O ?hush thee / my ?babie / thy ?sire was / a knight.在同一首詩(shī)中常會(huì)出現(xiàn)不同的格律，格律解析對(duì)朗讀詩(shī)歌有一定參考價(jià)值?，F(xiàn)代詩(shī)中常不遵守規(guī)范的格律。

二、詩(shī)的押韻

押韻是指通過(guò)重復(fù)元音或輔音以達(dá)到一定音韻效果的詩(shī)歌寫(xiě)作手法。

1.尾韻：最常見(jiàn)，最重要的押韻方式。

1）聯(lián)韻：aabb型。

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.Henry Wadsworth Longfellow： The Arrow and the Song

2）交叉韻：abab型。

Sunset and evening star，And one clear call for me！

And may there be no moaning of the bar，When I put out to sea，Alfred Tennyson（1809-1892）： Crossing the Bar

3）同韻：有的詩(shī)押韻，一韻到底，大多是在同一節(jié)詩(shī)中共用一個(gè)韻腳。

如下例就共用／i：p／為韻腳。

The woods are lovely，dark and deep，But I have promises to keep，And miles to go before I sleep，And miles to go before I sleep.Robert Frost（1874-1963）： Stopping by Woods on a Snowy Evening

2.頭韻：是指一行（節(jié)）詩(shī)中幾個(gè)詞開(kāi)頭的輔音相同，形成押韻。下例中運(yùn)用／f／、／b／與／s／頭韻生動(dòng)寫(xiě)出了船在海上輕快航行的景象。

The fair breeze blew，the white foam flew，The furrow followed free，We were the first that ever burst Into that silent sea.T.S.Coleridge： Rime of the Acient Mariner 3.內(nèi)韻（同元音）：指詞與詞之間原因的重復(fù)形成的內(nèi)部押韻。

下面一節(jié)詩(shī)中／i／及／iη／重復(fù)照應(yīng)，呈現(xiàn)出一派歡樂(lè)祥和的氣氛。

Spring，the sweet spring，is the year?s pleasant king；

Then blooms each thing，then maids dance in a ring，Cold dath not sting，the pretty birds do sing：

Cuckoo，jug-jug，pu-we，to-witta-woo！

Thomas Nashe（1567-1601）： Spring，the Sweet Spring

三、詩(shī)的體式

有的詩(shī)分成幾節(jié)（stanza），每節(jié)由若干詩(shī)行組成（每行詩(shī)均以大寫(xiě)字母開(kāi)頭）；有的詩(shī)則不分節(jié)。目前我們常見(jiàn)的詩(shī)體有：

1.十四行詩(shī)（Sonnet），源于中世紀(jì)民間抒情短詩(shī)，十三、十四世紀(jì)流行于意大利，意大利彼特拉克（Petrarch）為代表人物，每行十一個(gè)音節(jié)，全詩(shī)一節(jié)八行，加一節(jié)六行，韻腳用abba，abba，cdcdcd（cdecde）。前八行提問(wèn)，后六行回答。

后來(lái)，懷亞特（ThomasWyatt，1503-1542）將十四行詩(shī)引人英國(guó)，五音步抑揚(yáng)格，全詩(shī)三個(gè)四行一個(gè)二行，前三節(jié)提問(wèn)，后二句結(jié)論。斯賓塞（EdmundSpenser，1552-1599）用韻腳 abab，bcbc，cdcd，ee.莎士比亞（WilliamShakespeare，1564-1616）用韻腳abab，cdcd，dfdf，gg，稱英國(guó)式或莎士比亞式。舉例見(jiàn)本文第四部分。

2.打油詩(shī)（Limericks）：通常是小笑話甚至是胡謅，一般沒(méi)有標(biāo)題也無(wú)作者姓名，含有幽默諷刺性，常運(yùn)用雙關(guān)，內(nèi)韻等手法。每首詩(shī)五個(gè)詩(shī)行，押韻為aabba，格律以抑揚(yáng)格和抑抑揚(yáng)格為主。

1）There was a young lady of Nigger

Who smiled as she rode on a tiger；

They returned from the ride

With the lady inside，And the smile on the face of the tiger.2）A tutor who taught on the flute

Tried to teach two tooters to toot，“Is it harder to toot，or

Said the two to the tutor，To tutor two tooters to toot？“

3.無(wú)韻體（Blank Verse）：五音步抑揚(yáng)格，不押韻詩(shī)體。

Across the watery bale，and shout again，Responsive to his call，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；

Ans then my heart with pleasure fills，And dances with the daffodils.Notes： a crowd，a host of： many sprightly：happy glee：joy

jocund：happy bliss：complete happiness pensive：sadly thoughtful

華茲華斯（WilliamWordsworth，1770-1850），十九世紀(jì)初英格蘭北部湖區(qū)三大“湖畔派詩(shī)人”（浪漫主義）之一。此詩(shī)向我們描繪了一幅美好的自然景象，同時(shí)抒發(fā)作者對(duì)自然美景的喜歡。黃水仙據(jù)說(shuō)是威爾士國(guó)花（1282年，威爾士歸順英格蘭，被封公國(guó)），在英國(guó)廣泛栽種，春季開(kāi)花，花期不長(zhǎng)。有許多關(guān)于黃水仙的詩(shī)歌，這首詩(shī)無(wú)疑是脫穎而出的。

全詩(shī)語(yǔ)言精煉，通俗易懂，四音步抑揚(yáng)格，分四節(jié)（stanza），每節(jié)6行，每節(jié)押韻均為ababcc.第一節(jié)寫(xiě)詩(shī)人孤寂時(shí)外出散步，偶遇水仙；第二節(jié)寫(xiě)水仙爭(zhēng)相開(kāi)放，千姿百態(tài)；第三節(jié)，詩(shī)人看到這景象感到欣喜異常；第四節(jié)寫(xiě)詩(shī)人在日后憂郁時(shí)，回想當(dāng)時(shí)情景，又讓他心中充滿了歡樂(lè)，隨著水仙跳起舞來(lái)。

3.Song of Myself

I celebrate myself，and sing myself，And what I assume you shall assume，F(xiàn)or every atom belonging to me as good belongs to you.I loafe and invite my soul，I learn and loafe at my ease observing a spear of summer grass.My tongue，every atom of my blood，form?d from this soil，this air，Born ere of parents born here from parents the same，and their parents the same，I，now thirty seven years old in perfect health begin，Hoping to cease not till death.Creeds and schools in abeyance，Retiring back a while sufficed at what they are，but never forgotten.I harbor for good or bad，I permit to speak at every hazard.Nature without check with original energy.Notes： a spear of： a piece of school：學(xué)說(shuō)，流派 hazard：chance

abeyance： the condition of not being in use for a certain time

惠特曼（Walt Whitman，1819-1892），美國(guó)詩(shī)人。此詩(shī)選自其巨著。本文是Song of Myself 一詩(shī)的第一部分，采用自由詩(shī)體，語(yǔ)言接近當(dāng)時(shí)的美國(guó)口語(yǔ)。

文中I指作者，you指讀者，這種寫(xiě)法使讀者身臨其境，進(jìn)入作者描寫(xiě)的世界。作者在文中表明人的價(jià)值是平等的，同時(shí)他把自己融入到自然帶給他的啟發(fā)思考中。

從上看出，詩(shī)歌的欣賞評(píng)判并非可望而不可及，關(guān)鍵要抓住詩(shī)中的意象，了解其語(yǔ)義，以便把握詩(shī)的大意?？v然每個(gè)人的讀后感會(huì)有不同，但每個(gè)人都會(huì)在閱讀過(guò)程中感受到詩(shī)歌帶來(lái)的美和精神上的共鳴。

第四篇：《望洞庭》的詩(shī)歌賞析

《望洞庭》是唐代詩(shī)人劉禹錫所作的一首七言絕句?！锻赐ァ份d于《全唐詩(shī)》卷三百六十五。此詩(shī)通過(guò)對(duì)洞庭湖高曠清超的描寫(xiě)，充分表現(xiàn)出詩(shī)人的奇思異采。表達(dá)了詩(shī)人對(duì)洞庭湖的喜愛(ài)和贊美之情。下面是小編收集整理的《望洞庭》的詩(shī)歌賞析，希望對(duì)您有所幫助！

望洞庭

劉禹錫

湖光秋月兩相和，潭面無(wú)風(fēng)鏡未磨。

遙望洞庭山水翠，白銀盤(pán)里一青螺。

翻譯/譯文

洞庭湖上月光和水色交相融和，湖面風(fēng)平浪靜如同未磨拭的銅鏡。

遠(yuǎn)遠(yuǎn)眺望洞庭湖山水蒼翠如墨，好似潔白銀盤(pán)里托著青青的螺。

注釋

洞庭：湖名，在今湖南省北部。

湖光：湖面的波光。兩：指湖光和秋月。和：和諧。指水色與月光互相輝映。

潭面：指湖面。鏡未磨：古人的鏡子用銅制作、磨成。這里一說(shuō)是湖面無(wú)風(fēng)，水平如鏡；一說(shuō)是遠(yuǎn)望湖中的景物，隱約不清，如同鏡面沒(méi)打磨時(shí)照物模糊。

山水翠：也作“山水色”。山：指洞庭湖中的君山。

白銀盤(pán)：形容平靜而又清的洞庭湖面。白銀：一作“白云”。青螺：這里用來(lái)形容洞庭湖中的君山。

賞析/鑒賞

詩(shī)中描寫(xiě)了秋夜月光下洞庭湖的優(yōu)美景色。微波不興，平靜秀美，分外怡人。詩(shī)人飛馳想像，以清新的筆調(diào)，生動(dòng)地描繪出洞庭湖水寧?kù)o、祥和的朦朧美，勾畫(huà)出一幅美麗的洞庭山水圖。表現(xiàn)了詩(shī)人對(duì)大自然的熱愛(ài)，也表現(xiàn)了詩(shī)人壯闊不凡的氣度和高卓清奇的情致。

詩(shī)從一個(gè)“望”字著眼，“水月交融”、“湖平如鏡”，是近望所見(jiàn)；“洞庭山水”、“猶如青螺”，是遙望所得。雖都是寫(xiě)望中景象，差異卻顯而易見(jiàn)。近景美妙、別致；遠(yuǎn)景迷瀠、奇麗。潭面如鏡，湖水如盤(pán)，君山如螺。銀盤(pán)與青螺相映，明月與湖光互襯，更覺(jué)情景相容、相得益彰。詩(shī)人筆下的君山猶如鑲嵌在明鏡洞庭湖上一顆精美絕倫的翡翠，令人美不勝收。其用詞也極精到。

首句描寫(xiě)澄徹空明旳湖水與素月青光交相輝映，儼如瓊田玉鑒，是一派空靈、縹緲、寧?kù)o、和諧旳境界。表現(xiàn)出天水一色，玉字無(wú)塵旳融和畫(huà)面?！昂汀弊窒碌霉?，表現(xiàn)出了水天一色、玉宇無(wú)塵旳融和旳畫(huà)境。而且，似乎還把一種水國(guó)之夜旳節(jié)奏——演漾旳月光與湖水吞吐旳韻律，傳達(dá)給讀者了。

第二句描繪湖上無(wú)風(fēng)，迷迷蒙蒙旳湖面宛如未經(jīng)磨拭旳銅鏡。“鏡未磨”三字十分形象貼切地表現(xiàn)了千里洞庭風(fēng)平浪靜、安寧溫柔旳景象，在月光下別具一種朦朧美。因?yàn)橹挥小疤睹鏌o(wú)風(fēng)”，波瀾不驚，湖光和秋月才能兩相協(xié)調(diào)。否則，湖面狂風(fēng)怒號(hào)，濁浪排空，湖光和秋月便無(wú)法輝映成趣，也就無(wú)有“兩相和”可言了。

第三、四句詩(shī)人旳視線從廣闊旳湖光月色旳整體畫(huà)面集中到君山一點(diǎn)。在皓月銀輝之下，洞庭山愈顯青翠，洞庭水愈顯清澈，山水渾然一體，望去如同一只雕鏤透剔旳銀盤(pán)里，放了一顆小巧玲瓏旳青螺，十分惹人喜愛(ài)。詩(shī)人筆下秋月之中旳洞庭山水變成了一件精美絕倫旳工藝美術(shù)珍品，給人以莫大旳藝術(shù)享受?！鞍足y盤(pán)里一青螺”，真是匪夷所思旳妙句。此句旳擅勝之處，不止表現(xiàn)在設(shè)譬旳精警上，還表現(xiàn)了詩(shī)人壯闊不凡旳氣度和寄托了詩(shī)人高卓清奇旳情致。在詩(shī)人眼里，千里洞庭不過(guò)是妝樓奩鏡、案上杯盤(pán)而已。舉重若輕，自然湊泊，毫無(wú)矜氣作色之態(tài)，這是十分難得旳。把人與自然旳關(guān)系表現(xiàn)得這樣親切，把湖山旳景物描寫(xiě)得這樣高曠清超，這正是詩(shī)人性格、情操和美學(xué)趣味旳反映。沒(méi)有蕩思八極、納須彌于芥子旳氣魄，沒(méi)有振衣千仞、涅而不緇旳襟抱，極富有浪漫色彩旳奇思?jí)巡伞?/p>

第五篇：雪萊詩(shī)歌英文賞析

雪萊，是英國(guó)文學(xué)史上最有才華的抒情詩(shī)人之一。以下是小編整理的雪萊詩(shī)歌英文賞析，歡迎閱讀！

Ozymandias

I met a traveller from an antique land

Who said: "Two vast and trunkless legs of stone

Stand in the desert.Near them on the sand,Half sunk, a shattered visage lies, whose frown

And wrinkled lip and sneer of cold command

Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,The hand that mocked them and the heart that fed.And on the pedestal these words appear:

'My name is Ozymandias, King of Kings:

Look on my works, ye mighty, and despair!'

Nothing beside remains.Round the decay

Of that colossal wreck, boundless and bare,The lone and level sands stretch far away.中文譯文

奧茲曼迪亞斯（楊絳 譯）

我遇見(jiàn)一位來(lái)自古國(guó)的旅人

他說(shuō)：有兩條巨大的石腿

半掩于沙漠之間

近旁的沙土中，有一張破碎的石臉

抿著嘴，蹙著眉，面孔依舊威嚴(yán)

想那雕刻者，必定深諳其人情感

那神態(tài)還留在石頭上

而斯人已逝，化作塵煙

看那石座上刻著字句：

“我是萬(wàn)王之王,奧茲曼斯迪亞斯

功業(yè)蓋物,強(qiáng)者折服”

此外，蕩然無(wú)物

廢墟四周，唯余黃沙莽莽

寂寞荒涼，伸展四方

賞析

Before reading Ozymandias, I glanced at the writer’s name, Percy Bysshe Shelley, one of the major Romantic poets, whom is not unfamiliar to me.When it comes to Shelley, a famous sentence flashed upon my mind, “If Winter comes, can Spring be far behind?”

Personally speaking, I really admire Shelley because of his romantic life experience.Also, William Wordsworth appraise Shelley as “One of the best artists of us all”, and Lord Byron, Shelley’s close friend once said of him “Without exception the best and least selfish man I ever knew”.From the French writer André Maurois’s Biography of Shelley, Shelley is regarded as a character who has strongly tragic fate, he is a rebel by nature, he will not fit into any environment, but his works still concerns the reality.From all of the lectures, Ozymandias is the poem whom I really admire.When I first read this poem, I seem to enter into a totally different world.It is a scene of utter desolation, only a bust of Ozymandias on a pedestal among the bleak desert.By means of imagination, I seemed like to stand in the desert, watching the colossal, it is a great masterpiece, still reveals the vigor and strength when Ozymandias ruled his country.The stone must have witnessed many dynasty changes in the course of history.Meanwhile, this historical impression extensively expresses some description which are highly capable of creating mental pictures.Then I heard the sound, “My name is Ozymandias, king of kings: Look on my works, ye Might, and despair!” the voice whistled through the fierce wind, and makes a person shiver.There is no doubt that the monologue brings out the arrogant and overconfident side of Ozymandias.Ozymandias, who was the king of kings before, was obsessed by power.Even now he became a stone and would be impossible to move, he still remembered his own brilliant merits.Besides the strong images and imagination, there are also some reason why I like Ozymandias.To some degree, the theme of this poem is ambiguous, which covers many dimensions, and that is why I really admire Ozymandias.Firstly, this poem can be regarded as the satire aimed at magnates.The king who had absolute power inevitably was in his last throes, and his country drew on rapidly towards destruction in the end, “Nothing beside remains”, “The lone and level sands stretch far away”.At the same time, I think that Shelley wrote this poem for the sake of mocking people who were in authority.As I know, “Ozymandias” was written in 1818, at which time Shelley may be forced to Italy with Mary and Clare Claremont, the cast off lover of Byron, showing a total disregard to other people and their feelings.On the one hand, Shelley hated so-called conservative rules.On the other hand, he considered that this prejudice was bound to fade away.However, Shelley was able to only represent it to readers by metaphors.In this poetry the king’s voice was a metaphor for the attack.Similarly, these kind of rules and bondage would wear down in the end.Secondly, this poem reflects that art and beauty can not be everlasting.The sculpture of Ozymandias, as a symbol of beauty, was hard to bear the exposure of rain and wind day after day, only leaving the broken and lifeless debris.By the way, how long could the Ozymandias existed in the desert, and who knew? Faced with the power of time, every perfect thing would become imperfect, time is so strong that can ruin everything.Thirdly, this poem demonstrates that only time is perpetual, everything including power, artistic beauty even human beings, as time goes by will all be gone.Time is so powerful that it destroys everyone’s brilliant victories.But eventually, no one will escape the fate.No one has the capacity to transcend time.As the proverb goes: There are a thousand Hamlets in a thousand people's eyes.There are just three of the ambiguous themes that I have came up with.As for other themes, I do think that Ozymandias likes a highlight, throw off many different aspects which give readers space of imagination to fill in the gap.Reading some reference materials, I realized that Ozymandias was a Greek name for the Egyptian king Ramesses II(1304-1237 BC.)Records the inscription on the pedestal of his statue(at the Ramesseum, on the other side of Nile river from Luxor)as “King of kings am I, Ozymandias.If anyone would know how great I am and where I lie, let him surpass one of my works”.Horace Smith once also wrote a poem describing Ozymandias.Someone considered that they took the same subject, told the same story, even made the same moral point.But from my own perspective, Shelley’s sonnet is more refined than Smith’s.There were different voices appeared in Shelley’s poem.For instance, the king’s voice was high, representing he took charge of power;the sculptor said nothing but he may discern everything;the traveller told the narrator the whole story, and the narrator witnessed the story.To some degree, it's also a suggestive story of people facing an uncertain future, and of a country searching for a new sense of patriotic identity.