英语诗歌鉴赏及名词解释(英文版)

第一篇：英语诗歌鉴赏及名词解释(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.―诗言志，歌咏言。‖

---《虞书》

―诗言志之所以也。在心为志，发言为诗。情动于中而行于言，言之不足，则嗟叹之；嗟叹之不足，故咏歌之；咏歌之不足，不知手之舞之，足之蹈之也。情发于声；声成文，谓之音。‖

---《诗·大序》

―诗是由诗人对外界所引起的感觉，注入了思想与情感，而凝结了形象，终于被表现出来的一种‗完成‘的艺术。‖

---艾青：《诗论》 2.The Sound System of English Poetry a.The prosodic features Prosody(韵律)---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(抑扬格)

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（扬抑格）

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

c)Dactyl;the dactylic foot（扬抑抑格）

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（抑抑扬格）

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(抑扬抑格)；

Spondee, the spondaic foot(扬扬格)；

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‖(辅音连缀)

―internal or hidden alliteration‖(暗头韵)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(腹韵/元音叠韵/半谐音)：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(假韵): 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(韵式)a)Running rhyme scheme(连续韵)

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(交叉韵)

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(首尾韵)

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(视觉意象)

---Philip Larkin

auditory image（听觉意象）

olfactory image（嗅觉意象）

tactile image（触觉意象）

gustatory image（味觉意象）

kinaesthetic image（动觉意象）

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（修辞意象）

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（稳定意象和自由意象）

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 本体 , vehicle 喻体)

B.conceit

C.personification

D.metonymy(换喻)

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

c)Deviation(变异)：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：英文诗歌鉴赏

英文诗歌赏析

导引

诗歌是一种精美的艺术，趣味高一点的人一般都喜欢诗歌。受过良好教育的中国人都会背诵若干首古诗。现在人们很重视学习英文，学习英文，视野也应宽阔一些，也应当对英文诗歌多少有些领略才好。中国文学中诗歌成就极大，英语文学中，诗歌也极其丰富多彩。语言艺术的最高表现形式在诗歌。如果只是知道实用性的英文，只学习商业英文、法律英文等英文，对英语文学毫无修养，对英文诗歌一无所知，那将是一个不小的遗憾，将会影响到审美能力的发展和提高，学英文而不懂英文诗歌，不仅从审美角度看是一个遗憾，而且从英语学习这一角度看，不学一些英文诗歌，其英语水平也达不到很高的层次。诗歌语言最精炼，语汇最丰富，表达形式最精美，语言的色调最细腻。如果对诗歌有一定修养，其语言表达能力会大大提高。试想一个学汉语的人，如果对唐诗宋词一无所知，其汉语水平不会很高。学英语者也是如此。如果他对莎士比亚、弥尔顿、华兹华斯、拜伦、雪莱、济慈等人的著名诗篇一窍不通，其英文水平也不会很高。

总之，有一定英语基础的人不能不更上一层楼，读一点英文诗。这不仅有助于提高我们的文学素养，丰富我们的审美能力，也有助于提高我们的英语水平。

英诗基础知识

读英文诗歌相当不容易。其中的主要原因是诗歌有其独特的语言特点和表达方式，与散文有明显区别。为更好地欣赏英文诗歌，很有必要了解一些相关的基本知识。这方面的知识极其细致，以下只介绍一些最基本的。

一节奏

诗歌是具有音乐性的语言。音乐作品的最大特点之一是音符的流动是有节奏的。所谓节奏就是强拍和弱拍按一定的形式配合起来，有规律地反复出现。懂点音乐的人都知道，音乐中基本的节奏有两种，即强——弱（2/4拍）和强——弱——弱（3/4拍）。举两个简单的例子：

《东方红》的节奏就是强——弱： 56│2 —│1 16│2 —│5 5│6i 65│1 16│2 —│

《新年好》（HAPPY NEW YEAR）这首儿歌的节奏是强——弱——弱： 11 1 5 │33 3 1│13 5 5 │43 2 —│23 4 4 │32 3 1│13 2 5│72 1 —│

中国古诗有节奏。其节奏主要是通过汉字特有的声调表现出来的。传统汉语中的声调有四：平、上、去、入。平声称“平声”，上、去、入三声统称仄声。平声与仄声结合起来反复出现，就是中国诗歌的节奏。如一首五言绝句，其最常见的节奏是：

仄仄平平仄，平平仄仄平。平平平仄仄，仄仄仄平平。

王之涣《等鹳雀楼》：白日依山尽，黄河入海流。欲穷千里目，更上一层楼。此诗即是这样的节奏。其中“欲”字是仄声，与格式不合。但根据格律要求，诗行中的第一字可平可仄。

英文诗歌也有节奏。英文没有平声、仄声之分，但有重读轻读音节之分，其节奏是通过重读音节与轻读音节表现出来的。一个重读音节与一个或两个轻读音节按一定的模式搭配起来，有规律地反复出现就是英文诗歌的节奏。

我们知道凡是有两个以上音节的英文单词，都有重读音节与轻读音节之分，在一句话中，根据语法、语调、语意的要求，有些词也要重读，有些要轻读。如he went to town to buy a book..I‟m glad to hear the news.英文中有重读和轻读之分，重读的音节和轻读的音节，按一定模式配合起来，反复再现，组成诗句，听起来起伏跌宕，抑扬顿挫，就形成了诗歌的节奏。多音节单词有重音和次重音，次重音根据节奏既可视为重读，也可视为轻读。读下面这两句诗：

Alone │she cuts │and binds│ the grain, And sings │a me│lancho│ly strain.这两行诗的重读与轻读的固定搭配模式是：轻——重。在每行中再现四次，这样就形成了这两行诗的节奏。某种固定的轻重搭配叫“音步”（foot），相当与乐谱中的“小节”。一轻一重，就是这两行诗的音步。一行诗中轻重搭配出现的次数叫音步数，这两行诗的音步数都是四，所以就称其为四音步诗。

二常见的音步类型

音步是轻读与重读构成的。根据重读与轻读搭配的方式的不同，可以划分出不同的音步类型。音步类型不同，节奏自然也不同。最常见的音步类型有以下四种：

（一）抑扬格

如果一个音步中有两个音节，前者为轻，后者为重，则这种音步叫抑扬格音步，其专业术语是（iamb, iambic.）。轻读是“抑”，重读是“扬”，一轻一重，故称抑扬格。

英语中有大量的单词，其发音都是一轻一重，如adore, excite, above, around, appear, besides, attack, supply, believe, return等，所以用英语写诗，用抑扬格就很便利。也就是说，抑扬格很符合英语的发音规律。因此，在英文诗歌中用得最多的便是抑扬格，百分之九十的英文诗都是用抑扬格写成的。前面的那两句诗就是抑扬格诗。

（二）扬抑格

如果一个音步中有两个音节，前者为重，后者为轻，则这种音步叫扬抑格音步，其专业术语是（trochee, trochaic.）。重读是“扬”，轻读是“抑”，一重一轻，故称扬抑格。与抑扬格恰好相反。

英语中也有一批其读音为一重一轻的单词，如Happy, many, holy, yonder, headlong, flaming, upper, grandeur, failing等。写扬抑格的诗，此类词正好合适。但这类词在英语中其数量不及前面的那些多，与英文的语言规律不十分吻合，所以扬抑格诗不多。举两句诗例：

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

（三）抑抑扬格

抑抑扬格含三个音节，即轻——轻——重，专门术语是：Anapaest, anapaestic 例词：

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

拜伦的以下四行诗是抑抑扬格：

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 这是拜伦写的描述古代亚述人围攻耶路撒冷，被瘟疫所袭的诗的一节。第四行第二音步中的waves 一词可轻可重。诗题中的Sennacherib 是亚述国王。fold 指羊群，purple and gold 描写亚述军队的服饰，Galilee，巴勒斯坦北部的加利利湖。cohorts军团，sheen，光芒。

（四）扬抑抑格

重——轻——轻是扬抑抑格，专门术语是：dactyl, dactylic.例词：

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

Dragging the │corn by her │golden hair.Davies: the villain.英文诗歌中的音步类型有十几种之多，常见者即此四种，第一种则最常见。此外诗句中也常有抑抑格（pyrrhic[/peirik]和扬扬格(spondee[/sp :ndi])出现。

需要说明的是，这些音步类型只是理论上的分析，实际上，一首诗仅用一种音步类型写，这种情况极少见，大多是以某一种为主，同时穿插其他类型。如果一首诗只含有一种音步，就会显得非常单调机械。一首诗只要是以某种类型为主的，尽管有其他类型穿插其中，也称此诗为某某格。如，以抑扬格为主要节奏写成的，就称此诗为抑扬格诗。现代兴起的一些自由诗（FREE VERSE），不受这些格律的限制。

三诗行

（一）一诗行不一定是一个完整的句字。

英文诗每行的第一个字母都大写，但是一诗行不一定是一个完整的句子，不一定能表达一个完整的意思。有时候，一行诗正好是一句，有时两行甚至许多行才构成一个意思完整的句子。前者叫end-stopped line（结句行），后者叫run-on line.（跨行句）。这是英文诗与中国诗的最大区别之一。中国诗歌都是一行表达一个完整的意思。看下面一节诗：

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.前两行是end-stopped line，后两行是run-on line。读跨行句诗，行末停顿较短。跨行句在英文诗歌中极其普遍，有时十来行才成一完整句子。刚学英文诗的人，对此往往不习惯。对此我们需加注意。

（二）诗行的长短以音步数目计算：

英文诗行的长度范围一般是一音步——五音步。六、七、八音步的诗行也有，但不多。最多的是四音步、五音步的诗。

（各种长短诗行的专门术语：一音步诗：monometer 二音步诗：dimeter三音步诗：trimeter四音步诗：tetrameter 五音步诗：pentameter 六音步诗：hexameter 七音步诗：heptameter八音步诗：octameter.）

在分析一首诗的格律时，既要考律此诗的基本音步类型，也要考律此诗中诗行的音步数目。看下面的一首短诗：

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.（你拍拍脑袋，以为灵感马上就来。可任你怎么敲打，也无人把门打开。pate，脑袋。fancy，动词：以为，想象。）

此诗的基本音步类型是抑扬格，每行五音步。因此称此诗的格律是“抑扬格五音步”（iambic pentameter）。一首诗的音步类型和诗行所含的音步数目构成此诗的格律（meter）。

四压韵（rhyme）英文诗一般都押运韵。

（一）全韵与半韵（full rhyme and half rhyme）。全韵是严格的押韵，其要求是：

（1）韵要押在重读音节上，其元音应相同；（2）元音前的辅音应不同；（3）如果元音之后有辅音，应相同。（4）重读音节之后如有轻读音节，也应相同。下面几对词都符合全韵的标准： why---sigh;ending---bending.如果仅是元音字母相同，读音不同，不符合全韵：如: blood----hood;there---here;gone---alone;daughter----laughter.这种情形被称为“眼韵”（eye rhyme），虽然诗人有时用之，但不是真正的押韵。仅是辅音相同或仅是元音相同的属半韵：

元音不同，其前后的辅音相同，这叫谐辅韵（consonance）如：black, block;creak, croak;reader, rider;despise, dispose.元音相同，其后的辅音相同者叫谐元韵（assonance），如lake, fate;time, mind.（二）尾韵与行内韵(end rhyme and internal rhyme)押在诗行最后一个重读音节上，叫尾韵。这是英文诗歌最常见的押韵部位。诗行中间停顿处的重读音节与该行最后一个重读音节押韵者，叫行内韵。如：

Spring, the sweet spring, is the year‟s pleasant king;Then blooms each thing, then maids dance in a ring，（三）男韵与女韵((masculine rhyme and feminine rhyme)所押的韵音局限于诗行中重读的末尾音节上，称男韵，也叫单韵，听起来强劲有力。如：late, fate;hill, fill;enjoy, destroy.押韵押在两个音节上，后一音节非重读音节，称女韵，也叫双韵，听起来或轻快，或幽婉。如：lighting, fighting;motion, ocean;wining, beginning.看下面一节诗：

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.前两行押女韵，后两行押男韵。

也有不少英文诗是不押韵的，不押韵的诗称无韵诗或白体诗（blank verse）。多用在戏剧和叙事诗中。莎士比亚的戏剧和弥尔顿的Paradise Lost 都是用blank verse写成的。押韵的诗叫rhymed verse。无韵诗不同与自由诗。无韵诗虽不押韵，但是有固定节奏，以扬抑格五音步最常见。自由诗节奏不固定，如同白话。

诗选及讲解

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

剧作家、诗人。一生创作三十七部戏剧，154首十四行诗。其十四行诗大部分是献给一位贵族青年，有二十余篇则是献给一位“黑肤女士”（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.注释: Compare ···to 把什么比做什么。

Thou, thee 第二人称单数代词，前者主格，后者宾格。现已为you 所取代。其所有格是thy，或thine, 即现代英语的your。

Art = are.16、17世纪时与thou连用。

Temperate: 来自拉丁文temperātus，读时为符合押韵规则，可将重音放后。Shake：shake off。

Lease 租借期限，此处指夏天的长度。

Hath 与第三人称单数连用，相当于现代英语的has。Dimmed: clouded.Fair form fair: beautiful thing from beauty.前后fair意义不同。Declines from beauty。Chance：极缘，时运，命运。

And every fair from fair sometimes declines,/By chance, or nature‟s changing course, untrimm‟d：每一个美人总要失去美貌，即使没有突发的以外事件，也逃不过自然界生老病死的变迁。Sometimes: 有的版本作“sometime”: at some unspecified time.Untrimm‟d: untrimmed.本意为剥去美观的衣服等，此处隐喻夺去美貌等。

Fair thou ow‟st: beauty you own.莎士比亚时代，owe与own通用。古英语第二人称单数后加-st或-est His shade：shadow of death.“Nor shall Death brag thou wander‟st in his shade”：“死神无从夸口，说你在他的阴影里徘徊”。

To time thou grow‟st: you grow as long as time lasts.与时间同寿。Grow to = be incorporated with.内容解析：

此诗的发展变化：以人比夏天开始，以人胜自然终结。前四行说明人比夏天更美更温和；中四行发展了这个意思，引到驻颜无术的感慨；第三组则新意突起，推翻前言，终于于胜利的末两行作结。此诗表达了这样一种思想：美丽的事物可以依靠文学的力量而永远不朽；文学是人所创造的，因此这有宣告了人的不朽。因此此诗不是一般的爱情诗。

形式解析：

sonnet：十四行诗，即“商籁体”诗。此诗体起源不明，最早的例子出现于13世纪，16世纪在英国出现。主要有意大利式和英国式两种变体。意大利诗人Petrarch [/petra:k]用此诗体最精熟，故意大利式又称Petrarchan sonnet。英国式由莎士比亚创立，又称 Shakespearean sonnet.意大利式分前八行、后六行。韵尾是abba, abba;cde, dcd.。莎士比亚式十四行诗，层次上分前四行，中四行，后四行和结尾两行。韵尾为：abab, cdcd, efef, gg。格律是抑扬格五音步。

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)参考译文：

能不能让我把你比拟作夏日？你可是更加温和，更加可爱：狂风会吹落五月的好花儿，夏季的生命又未免结束得太快：有时候苍天的巨眼照得太灼热，他那金彩的脸色也会被遮暗；每一样美呀，总会离开美而凋落，被时机或者自然的代谢所摧残；但是你永久的夏天决不会凋枯，你永远不会失去你美的仪态；死神夸不着你在他影子里踯躅，你将在不朽的诗中与时间同在；只要人类在呼吸，眼睛看得见，我这诗就活着，使你的生命绵延。（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 剧情：拿伐Navarre [n /va: ]国王与其几位朝臣立誓三年之内摒弃一切世俗的快乐，致力于研究学问。其中的一条是：三年之中不可与女子交谈一次。不久法国公主携几名侍女来办理国务，国王和朝臣门守不住自己的誓言，爱上了这几个女子。最后公主的父亲去世，公主要持戒三年，国王和朝臣们的求爱也化为泡影。此诗在此剧之结尾处。

注释：

daisies pied：杂色的雏菊。

lady-smock：也作lady‟s-smock 花名：布谷鸟剪秋罗。Smock：〈古〉女衬衣，罩衣。cuckoo-buds of yellow hue：黄色的杜鹃花。hue：颜色。

Cuckoo：[/kuku:] 布谷鸟的叫声，与/cuckold（奸妇的丈夫）一词谐音。shepherds [/ ep d] pipe on oaten straws：拿燕麦杆吹哨子。

turtles tread：斑鸠交配。Turtle：〈古〉斑鸠，=turtledove。Tread：（雄鸟）与（雌鸟）交配。

rooks and daws：白嘴鸦和穴鸟。内容解析：

春天里百花争艳，万象更新，情人们沉醉于甜蜜的爱情之中。但树梢上布谷鸟的叫声却似乎在不断提醒人们：爱情并不可考。此诗有反讽意味，与剧情一致。英国诗人甘贝尔（Thomas Campbell，1777—1844）在 Freedom and Love一诗中说：“Love has bliss, but love has ruining/ Other smiles may make you fickle/ Tears for other charm may trickle。”

形式解析：抑扬格四音步，韵式：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!参考译文：当杂色的雏菊开遍牧场，蓝的紫罗蓝，白的美人衫，还有那杜鹃花吐蕾娇黄，描出了一片广大的欣欢；听杜鹃在每一株树上叫，把那娶了妻的男人讥笑：咯咕！

咯咕！咯咕！啊，可怕的声音！害得做丈夫的肉跳心惊。当无愁的牧童口吹麦笛，清晨的云雀惊醒了农人，斑鸠乌鸦都在觅侣求匹，女郎们漂洗夏季的衣群；听杜鹃在每一株树上叫，把那娶了妻的男人讥笑：咯咕！

咯咕！咯咕！啊，可怕的声音！害得做丈夫的肉跳心惊。（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.剧情：

哈娒莱特》是莎士比亚重要剧作之一，写于1601年。剧中的主人公是丹麦王子Hamlit。哈姆莱特的父亲，即丹麦国王，被哈姆莱特的叔父Claudius秘密害死，不到两个月，又与哈姆莱特的母亲，即王后，结婚。还窃取了王位。哈姆莱特的叔父Caudius是个坏透顶了的人。哈姆莱特则是一位有理想、有道德的人，他决心要为父亲报仇。为了不被看出来，他装成疯子。哈姆莱特要为父亲报仇，但中间有其母亲穿插其间，这使他心情极其复杂，于是整日心情抑郁，产生了厌世情绪。于是真的有点疯疯颠颠了。剧情很曲折，大家可在课外找有关资料读。推荐读读英汉对照本《莎士比亚戏剧故事》（Tales from Shakespeare, by Charles Lamb and Mary Lamb, 萧乾、文洁若翻译。商务印书馆1984年出版。）

这段独白就是哈姆莱特在极度困惑、不知所措的心情下道出的，谈到了生与死、思考与行动、报复与宽容等等人生中的永恒矛盾，批判了现实世界的黑暗，富有深刻的哲理意味。出现在原剧第三幕第一场。

注释： slings and arrows of outrageous fortune: 狂暴命运的矢石交攻。sling: 投石器，弹弓；投掷，打击一击.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: 无数要承受的皮肉之苦，与“heartache”相对。Be heir to: 要继承或承受的。

‟tis a consummation/Devoutly to be wished.那正是求之不得的完美结局。Consummation：final settlement of everything.To sleep—perchance to dream: ay, there‟s the rub!睡眠也许要做梦，嗨，那就成问题了。Perchance：perhaps.Rub: 摩擦，障碍。

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” 这一名词从句是主语，give 是谓语。Shuffled off：摆脱，脱去。mortal coil：earthly turmoil.人世的纷扰。

There‟s the respect /That makes calamity of so long life.这一顾虑使漫长岁月成了灾难。Respect: attention, consideration.顾虑，考虑。”without respect to the results”不顾后果。

the whips and scorns of time: 人世的鞭挞和嘲弄。Time: the times, 时世

The oppressor‟s wrong, the proud man‟ contumely: 压迫者的凌辱，傲慢者的冷眼。do sb.Wrong, do wrong to sb.Contumely [/k ] insolent treatment.无礼对待。

The pangs of despised love：失恋的痛苦。Pang：痛苦。Despised 之重音在第一音节。the spurns/That patient merit of the unworthy takes：忍让的有德才者从小人那里受到的排挤。Of: from;spurn: contemptuous rejection，一脚踢开;the unworthy: 小人。

Quietus [kai/i:t s]: acquittance, release, 卸去（义务、责任）A bare bodkin: a mere poniard.短剑，匕首。Fardels: bundles, burdens.Grunt: groan, 哼，呻吟.Bourn: 领域

Conscience: 思考，顾虑，良心。sicklied o‟er：sickly: 使出现病态

the pale cast of thought: 惨白的一层思虑的病容。Cast：tinge, shade of color.Thought: 思虑，顾虑，melancholy, despondency.pith and moment：vigour and importance.Pith: 体力、气力、精力，（文章的）力。1604年版本中pith作pitch: height with this regard: on this account 内容分析：这断独白是倾诉人生的根本苦闷和基本矛盾。受到压迫了，应该反抗，但往往结果是适得其反。事事忍让，却又心中不能平衡。干事业需果断有魄力，但也得深思熟虑，三思而行。但是顾虑太多，缩手缩脚又会疲软，行动不起来。人生在世，烦恼苦难不一而足，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.）。人生就是这样充满了各种矛盾和无奈。

形式分析：

这是莎士比亚戏剧最著名独白(soliloquy)，用的是抑扬格五音步“白体诗”（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（以上三行多一音节，其到迟疑、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.参考译文：

“活下去还是不活：这是个问题” 活下去还是不活，这是个问题；要做到高贵，究竟该忍气吞声来容受狂暴的命运矢石交攻击呢，还是该挺身反抗无边的苦恼，扫它个干净？死，就是睡眠—— 就这样；而如果睡眠就等于了结了心痛以及千百种身体要担受的皮痛肉痛，那该是天大的好事，正求之不得啊！死，就是睡眠；睡眠也许要做梦，这就麻烦了！我们一旦摆脱了尘世的牵缠在死的睡眠里还会做些什么梦，一想到就不能不踌躇。这一点顾虑正好使灾难变成了长期的折磨。谁甘心忍受人世的鞭挞和嘲弄，忍受压迫者虐待、傲慢者凌辱，忍受失恋的痛苦、法庭的拖延、衙门的横暴、做埋头苦干的大才受座位的小人一脚踢出去，如果他只消自己来使一下尖刀就可以得到解脱啊？谁甘心挑担子，拖着疲累的生命，呻吟，流汗，要不是怕一死就去了没有人回来的那个从未发现的国土，怕那边还不知会怎样，因此意志动摇了，因此就宁愿忍受目前的灾殃，` 而不愿投奔另一些未知的苦难？这样子，顾虑使我们都成了懦夫，也就这样了，决断决行的本色蒙上了惨白的一层思虑的病容；本可以轰轰烈烈的大作大为，由于这一点想不通，就出了别扭，失去了行动的名份。（卞之琳）Thomas Nash(1567—1601)作者简介：剧作家、诗人，小说家，讽刺作家。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!注释：注释：

the year‟s pleasant king：一年四季中以春天为最欢乐的时期。King 即比喻欢乐之最，也兼指一岁之首。

Cold doth not sting：doth：古英语do 的第三人称现在事态形式。the pretty birds do thing：do 是为了韵律的需要而加进去的。

Cuckoo, jug-jug, pu-we, to-witta-woo： Cuckoo, 布谷鸟的叫声； jug-jug, 夜莺（nightingale）的叫声，pu-we, 田凫（pewit）的叫声，to-witta-woo，泛指各种鸟鸣。

Palm: 棕榈。其枝叶常作为胜利的象征。May：山楂花。因在五月盛开，故名 may。

And we hear aye birds tune this merry lay：aye：古英语副词，always，ever。Tune：动词：唱。Lay 歌曲。

old wives a-sunning sit：sit是谓语动词。a-sunning：晒太阳，作状语。a-作为特殊介词，后跟动名词，表示在进行什么活动。如 He went a-fishing.现代说法是：He went fishing.these tunes our ears do greet：these tunes do greet our ears.内容解析：此诗节奏明快，旋律强烈，生动地描绘出了一幅春回大地，生机昂然的画面。形式解析：主要是扬抑格五音步，韵式是aaab, cccb, dddb.三节最后一行是叠句（refrain）；每节除末一行外，其他三行都用行内韵（internal rhyme），即第二音步的第二个词同第五音步末尾的词谐韵。叠句（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!参考译文：（略。郭沫若有译文，意译，参考价值不不大。）John Milton(1608—1674)作者简介：英国诗人，思想家、政论家。从小好学，经常开夜车，四十余岁失明。晚年在失明的情况下，写成了伟大史诗《失乐园》（PARADISE LOST）。其内容是演述《圣经》故事。可与荷马的《伊利亚特》（Homer's Iliad）、但丁的《神曲》(Dante's Divine Comedy)相媲美。《五月晨歌》是早期作品，成于二十一岁时，格调十分清新。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.注释：

morning star: 启明星、太白星、长庚星等。早晨在东方出现。晚上在西方出现，叫长庚，英文作“evening star”.。同是一颗星，即Venus。

harbinger [/ha: bind ]先导，先兆 primrose [/primroz] 樱草花，报春花。Bounteous [/baunti s] 慷慨的

of thy dressing：dressed in thy fashion Dost：第二人称现在时单数。即do Doth: 一般用于第三人称单数，但弥尔顿也常常用于复数。在他的作品中很常见。著名英语专家陆佩弦总结弥尔顿的语言特点，其中一条就是 “singular verb for plural subject”。此种情况在莎士比亚的作品中也不时能遇见。

Long: long life.形式分析：抑扬格穿插扬抑格（7、8两行是扬抑格，女韵，显得十分轻快）。韵式为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.参考译文：

晶莹的晨星，白日的先驱，她舞蹈着从东方带来娇侣，百花的五月，从绿色的怀中撒下金黄色的九轮花和淡红的樱草花。欢迎，富丽的五月啊，你激扬欢乐、青春和热情的希望；林木、树丛是你的装束，山陵、溪谷夸说你的幸福。我们也用清晨的歌曲向你礼赞，欢迎你，并且祝福你永恒无边！Alexander Pope(1688—1744)作者简介：蒲伯是18世纪英国最重要的诗人。作品很多。他还用英雄双行体诗翻译了荷马史诗。文学上崇尚精雕细琢，是新古典主义的大师。身体不好，终身未婚。他的父母是天主教徒，当时天主教徒是受迫害的。一生基本上过的是隐居日子。《独处诵》是其早期作品。自称写于12岁时。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.注释: 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.其意思相当于《中庸》上所说的“君子素位而行，不愿乎其外。”Jude The Obscure 中有一句话说：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;前两行省略了“supply him with”。Attire：服装。

unconcern‟dly，即unconcernedly：漫不经心，无忧无虑，悠然自得。第三节可以改写成：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 相当于“ I see him leave.”这样的句子。

study and ease /Together mix‟d;sweet creation;/And innocence, which most does please/With meditation.他劳逸结合，有令人欢喜的娱乐活动，还有天真的性情。这天真的性情与沉思结合起来，最使他高兴。

内容解析：避开尘世的烦扰，与世无争，潜心学术，并悠然自得地享受田园生活，这是最幸福的。与《庄子》“恬淡寂寞，虚无无为”（《刻意》）之说有相似之处。陶渊明有几句诗可以与此诗相参：“息交游闲业，卧起弄书琴。园蔬有余滋（生长得很多。滋：生长），旧谷犹储今。营己良有极，过足非所钦。舂秫作美酒，酒熟吾自斟。弱子戏我侧，学语未成吟。此事真复乐，聊用忘华簪（比喻高官厚禄）。”（《和郭主薄》其一）

形式解析：此诗五节，每节四行。韵尾是abab。节奏主要是四音步抑扬格(i/ambic te/trameter)，每节四音步：

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.参考译文：人生如何方为乐，唯有知足不贪心。只守祖上数亩田，但吸故园气清新。绵羊产毛制衫袍，乳牛耕地供食饮。夏来密叶乘浓荫，冬至疏枝做柴薪。一任岁月轻轻去，那堪忧思处处寻。白日闲逸夜安眠，一身强健心气平。读书劳逸相结合，娱乐甜美悦人心。最佳胜景有冥思，极乐世界属天真。死后不受世哀悼，生时岂令人见闻。幽幽偷辞浊世去，不铭何处葬我身。（石瓃）Robert Burns(1759—1796)罗伯特·彭斯，苏格兰诗人。出身于偏僻乡村。他的诗歌充分吸收了苏格兰民歌成分，热情奔放，优美动听，被誉为伟大的苏格兰民族诗人。19世纪英国浪漫主义诗歌运动的先驱。他的一些诗歌被谱写成歌曲，广为流传。如《友谊地久天长》（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!注释：

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.可改写为：as you are fair, my bonnie lass, so I am deep in love.你那么美，我也那么爱你。我爱你的程度与你美的程度成正比。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。古代人们在时钟发明前，用玻璃器皿盛沙，使沙从小孔中漏过，以此计时。因此诗人常用沙漏中的沙比喻人生。

fare thee weel：goodbye.。Weel[wi:l] = well.Farewell: ”proceed happily“.Goodbye: 本来是”God be wy ye“(God be with you), 后缩写成”God-bye“, 后来为与”good day“、“good night” 一致, “God bye” 又改成了“goodbye”.Tho‟ = though 内容解析：这是彭斯最有名的爱情诗，节奏强烈，激情澎湃，很有感染力。但是此诗所表达的感情似乎不太深刻，其爱情似乎纯粹是建立在容美貌的础上的。容貌一衰退，很难保证海枯石烂不变心。另一英国诗人贾鲁(Thomas Carew, 1594---1640)有一首名The True Beauty的诗，可拿来对彭斯的这首诗作注脚：

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：性情温和、意志坚定。Hearts with equal love combined：正常语序为：hearts combined with equal love.能一视同仁的心灵。）

彭斯说他的爱人如同玫瑰花一样美，他的爱与其爱人的美丽成正比，贾鲁反过来说，谁追求玫瑰花一样的容貌，谁的爱情的衰退程度与就容貌衰老的程度成正比。贾鲁讲的虽然有道理，他的态度也很可取，但是世上的人像贾鲁那样的很少，相彭斯这样的人则多不胜数。（彭斯是个沉溺于美酒、诗歌和爱情的人）。人的感情往往能冲破理智的说教，即使这种爱情不一定能长久，人们往往也要追求它。所以不能以说教的心态否定诗歌的艺术价值。形式分析：基本上是抑扬格，每节二、四两行押韵。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)华兹华斯（渥滋渥斯），英国浪漫主义时期的大诗人，湖泮诗人（LAKE POETS）之首。1843年荣获桂冠诗人称号（Poet Laureate）。湖畔诗人是十九世纪英国的一个诗歌流派，这些人在英格兰西北部的湖区（Lake district）居住、写作。其主要成员除华兹华斯外，尚有柯勒律治（Samuel Taylor Coleridge）。华兹华斯对大自然情有独钟，经常去各地旅行漫游，对自然风光和田园生活有独特的感受。他的诗的特点是通过描写日常生活中的平凡场景激发心灵深处的感受，表现人性中真善美。素材多为自然风光、田园生活和素朴的农民。语言简明，情真意切。读之能使人产生无尽的遐思、精神上能受到有力的陶冶。

英国浪漫主义运动时间介于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.作品特点：形式比较自由，想象丰富，倾向描写孤独的个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.注释：o'er: over.Pronounced as [/o ], counted as one syllable.The waves beside them danced, but they Out-did the sparkling waves in glee: 虽然浪花也在起舞，但是水仙花的欢乐超过了浪花的欢乐。in glee, 就欢乐而言，在欢乐上。in 有as to, as regards 这样的用法, 表示'在···方面'。如：weak in judgment;they are equal in length.有人注解此诗，认为in glee是介词短语作定语修饰waves 的，这样也通，但不如视为状语修饰全句为好。

Sprightly: 轻快地，活泼地。

Could not but: but: other than, except.But 用在否定词后，构成双重否定。如：there is no one but hopes rich.（没有不想发财的人）There is no one but knows that.（那件事无人不知。）

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

And then my heart with pleasures fills：my heart fills with pleasures.Fill 可用为不及物动词，意思是“满”。如the house fills(with children).They flash upon that inward eye | Which is the bliss of solitude：湛然的心灵是幽居才能有的福分。因为心灵回归其自我是一种高级的精神享受，所以如此说。

内容：此诗是诗人1804年回忆两年前在英格兰湖区漫游时看到一大片水仙的情景时写成的。后经多此修该，到1815年才最终定型。当时的情景深深地因在了他心灵深处，幽居独处时，就在心中显现出来，给他带来慰籍。可见诗人对自然的向往。我们读之，犹如进入了空明洁净的世界。

Yon：yonder，那边的，远处的。

No Nightingale did ever chauntMore welcome notes to weary bands Of travellers in some shady haunt,Among Arabian sands;:即使在人际罕至的阿拉伯沙漠的幽暗之处，夜莺也不曾为疲惫的行人唱过如此动人的歌曲。Chaunt: chant的变体。

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]赫布里底群岛[英国苏格兰西部] 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? 也许这凄婉的歌声是咏叹古老的、遥远的悲欢离合，和很久以前的征战，要么是一只平凡的曲子，唱的是今天日常小事，或者是那些曾经有过而且可能继续出现的、常见的忧伤、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.到我登上了山岗时，虽然那歌声早已听不见了，但还是在我心底回响。Bear: 负担，担负，带上。

内容：此诗写的是苏格兰高原地区一农家少女独自在田间劳动歌唱的情景。此一情景深深地触动了诗人的心弦。为了让这淳朴勤劳的女孩尽情地歌唱、尽情地抒发她的内心的世界，诗人不忍心惊动她，他想，要么就此止步，要么悄悄走开。夜莺、布谷鸟的歌声是天籁之声，诗人说割麦女的歌声比夜莺、布谷鸟的歌声还要动人，表名其歌声是纯真而自然的。农家女孩没有受到城市生活的污染，如“清水出芙蓉，天然去雕饰”，独自一人在空旷的田野，向大自然倾诉衷情，当然会打动向往大自然的诗人。今天，浮伪之风比其一百多年前诗人所处的那个时代，更厉害不知多少倍，因而此诗所描写的情景更能引起人们的遐思神往。此诗的意境空灵飘逸，感情高洁真挚，极富浪漫气息，没有丝毫庸俗情调。

我们所选的这首《滑铁卢前夜》是《游记》中的片段(Canto III, stanzas 21, 22, 24, 25.)，记述的是滑铁卢之战爆发前夕比利时首都布鲁塞尔（Brussels, Belgium）上层人士盲目歌舞狂欢的场面。滑铁卢是位于比利时首都以南约20公里的一个村庄，1815年英军在此驻扎。吕希蒙公爵夫人设宴款待英军将士，拿破仑乘其不备，于当晚突然袭击。与英军共同与拿破仑战斗的还有荷兰、比利时、德等国。最后拿破仑寡不敌众，失败。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!‟ 注释：

Her Beauty and her Chivalry, and bright：布鲁塞尔的英雄美人。Her 指Brussels Voluptuous[v /l ptu s ]swell 华丽的音乐旋律。Swell 本指大浪，此指乐声荡漾。Soft eyes look‟d love to eyes which spake again look：温柔的眼睛与眼睛互相传情。Look love：Look with love。

And all went merry as a marriage bell;大家欢欣鼓舞，就像结婚打钟。

a deep sound strikes like a rising knell：一个沉闷的声音就像正在敲响的丧钟一样传来。Youth and Pleasure meetTo chase the growing hours with flying feet: 青春与欢乐结伴，用飞快的脚步追逐这焕发的时光。growing hours：令人起劲的时光。

As if the clouds its echo would repeat;天上的云好像又把它的回声有重复了一次：意即声音很大，会响很久。

Arm!arm!it is — it is —the cannon‟s opening roar!拿起武器，拿起武器！这是大炮在展开咆哮。

gathering tears：不断聚集的泪，越来越多的泪水。

cheeks all pale, which but an hour ago Blush‟d at the praise of their own loveliness: 一小时以前因受到夸奖而羞红的脸蛋儿，现在都发白了。

there were sudden partings, such as pressThe life from out young hearts, 使年轻的心灵痛不欲生的突然诀别。

choking sighs Which ne‟er might be repeated;很可能永远不会再有的抽搐叹息。因为可能是诀别，所很可能不会再有。

mustering squadron：集合的中队 swiftly forming in the ranks of war;快速排成作战队形。Rank：队列。

And the deep thunder peal on peal afar;And near, the beat of the alarming drumRoused up the soldier ere [e ]the morning star;远处是一阵一阵的沉闷的雷鸣，近处是报警的鼓声，不等启名星出现，就把士兵唤醒。

While throng‟d the citizens with terror dumb,市民们则挤在一起，被吓成了哑巴。此句可改成：the citizens thronged, dumb with terror.或者：The citizens dumb with terror thronged.内容：此诗极其生动地描绘了舞会上的欢乐场面和大战来临之际的惊慌景象。舞会上英雄们风度翩翩，美人们含情脉脉，婆娑起舞，尽情狂欢。没有想到，也不相信战争会在此时爆发。正在狂欢之际，大炮轰鸣起来。于是在惊恐和绝望之中告别。士兵门急速集合，市民们惊慌失措。整个城市乱作一团。此诗的成功之处在于生动的场景描写，极富戏剧性，读之如身临其境。英国小说家萨克雷（William Makepeace Thackeray）在起长篇小说《名利场》(Vanity Fair, 1847-48)第29章中对这场舞会也有非常出色的描写。

形式：

（1）One word is too often profanedFor me to profane it, 有一个词汇被人滥用得不像样子，我再也不忍心滥用它了。One word指love。Profane：亵渎。

（2）One feeling too falsely disdainedFor thee to disdain it;有一种情感总是错误地遭到蔑视，你不该狠下心，再去蔑视它。One feeling：指对所爱的人的崇敬之情。

（3）One hope is too like despairFor prudence to smother, 有一个希望，它太难实现，和绝望差不多，请你不要顾虑重重、缩手缩脚，把它熄灭。（4）And pity from thee more dear Than that form another,:对我来说，你的爱怜比别人的都珍贵。诗人对其情人无比崇敬，如果其情人对诗人的这种心情不视而不见，以爱怜之心作出反应，对诗人来说当然无比珍贵。

第二节

（1）I can give not what men call love,But wilt thou accept not: 我不能向你奉献世俗之人所谓的“爱”，但是难道你会忍心拒绝（以下几种情感吗）？wilt thou：you will.Wilt：第二人称单数现在时的古式。此句与第一节的“One word is too often profanedFor me to profane it”对应。

（2）The worship the heart lifts aboveAnd the Heavens reject not, 如果心灵将它奉献给苍天，苍天也不回绝的崇拜。意即这种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, 飞蛾对星星的期盼，以及黑夜对白昼的向往。Morrow ：〈文〉：tomorrow, morning.诗人把自己的处境比做黑夜，把所爱的人比做光明。

（4）The devotion to something afar Form the sphere of our sorrow? 在痛苦的尘世中对遥远梦景的追求。这与第一节“One hope is too like despair”相呼应。Sphere 本义为球体，此处指世俗世界。

内容：此诗与彭斯的那首风格不同。前者外漏而浅显，此诗深挚并有一定的哲理。雪莱认为爱情是从人的天性中自然流露出来的某种纯洁的、柔嫩的情感，崇高而神圣。就像飞蛾对星星的期盼、黑暗对光明的向往、痛苦中对美好未来的追求一样，是天地间自然而然产生的。这种情感一旦夹杂世俗生活中的庸俗观念，就会被扭曲、被亵渎。此与Plato哲学思想有关。实际情况也的确如此，人们基于世俗的考虑，这种高洁的东西经常被轻蔑、被亵渎，以至于追求纯洁爱情的希望几乎与绝望相等。看来，不仅从我们现在从周围的现实看是如此，在雪莱时代的英国，也是如此。可以说“爱情之难，难于上青天”。

形式：抑扬格与抑抑扬格相间。第二节最后四行显然是抑抑扬格，有向前冲的势头，与内容中的“向往”之意吻合。韵式是ababcdcd

第三篇：最新英语诗歌鉴赏

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：英文诗歌鉴赏-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 “love 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”: 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 [奁] 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], [奁] 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：中国古代文学史题库(名词解释和诗歌鉴赏)

名词解释（4个）1.古文运动：唐贞元元和年间，在韩愈的倡导下及柳宗元的支持下，出现了影响广泛的古代散文文体，史称古文运动。意在恢复先秦两汉以散文单句为特征的散文，推动散文的核心和发展，实质上是一次在文体，文风和文学语言诸方面都进行变革的散文革新运动。

2.唐传奇：唐代文言短篇小说的通称，因内容多传述奇闻异事，故称。唐传奇艺术构思奇异新颖，寓于变化，叙述事件简洁明快，人物对话生动传神，词汇丰富，句式多变。标志着我国文言小说发展到了成熟的阶段。

3.变文：唐代兴起的一种说唱文学，内容原为佛经故事后范围扩大，包括历史故事，变文的“变”的变是变更了佛经的文本成为俗讲的意思，“文”的体制是散文和韵文相连接，代表作品有伍子胥的《伍子胥变文》。

4.郊寒岛瘦：指中唐代著名诗人孟郊、贾岛。二人都以苦吟诗著称，因其平生遭际大体相当，诗风相似，被后世并称为“郊寒岛瘦”。郊、岛之诗风格清奇悲凄,幽峭枯寂,格局狭隘窄小,破碎迫促,且讲究苦吟推敲,锤字炼句,往往给人以寒瘦窘迫之感。5.“沉郁顿挫”：杜甫诗歌最具有特征性的艺术风格。所谓“沉郁”，主要指思想感情的博大深厚、深沉苍凉；所谓“顿挫”，主要指语言的刚健，遒劲，音调的铿锵有力，章法的曲折变幻等。“沉郁顿挫”概括了杜诗在思想内容方面的深广和表达上的波澜起伏的特点。

6.新乐府运动：指中唐时期，兴起的一场诗歌运动。自命新题，抒写实事，以白居易和元稹为主要诗人，用乐府诗形式进行创作、都提倡以现实和事实题材入诗，主要运用写实、比兴和讽喻的手法，重视诗歌的社会地位，也重视表达和语言的浅显通俗，这一运动的最高要求是把艺术写实和政教公立结合在一起。

7.上官体：是唐代诗歌史上第一个以个人命名的诗歌风格称号。指唐高宗龙朔年间以上官仪为代表的宫廷诗风。以绮错婉媚，讲究技巧、追求对仗工整，音韵协和，但音韵内容狭窄，他的诗被争相效仿，称上官体。

8.文章四友：武后时期的宫廷诗人李峤、杜审言、苏味道、崔融的并称。内容不外歌功颂德、宫苑游宴，但在他们的其他一些作品中，却有时透露了诗歌变革的消息，有的还对诗歌体制的建设做出了积极的贡献。四人中，以杜审言成就最高。

9.盛唐山水田园诗派：盛唐兴起的一个诗歌流派。在陶渊明以来的田园诗和谢灵运以来的山水诗的基础之上。偏重于写山水风光和田园生活，大多表现自然之美和闲适心情，偶或反映农家生活现实。所作以五言为主，风格多清淡恬静，具有较高的艺术技巧和审美价值。代表诗人有储光羲、裴迪、丘为、常建等，而以王维、孟浩然为首，故后世又称“王孟诗派”。

10.辛派词人：这是南宋受辛弃疾的影响而产生的一个词派。主要有陈亮、刘过、刘克庄等。他们在辛弃疾的影响下，用词来抒发爱国情感，豪放慷慨如辛弃疾，但题材不如辛词广，风格不如辛词多样。多以议论为词，以文为词，过于直率，不如辛词蕴藉。

11.小李杜：晚唐诗人李商隐、杜牧的合称，二人皆晚唐杰出诗人，又生于李白、杜甫之后，故称，李商隐以爱情诗为代表。

12.盛唐气象：所指的是诗歌中蓬勃的气象，这蓬勃不只由于它发展的盛况，更重要的乃是一种蓬勃的思想感情所形成的时代性格。

13.韩孟诗派：唐贞元年间，韩愈和孟郊在丽都高踞盛唐巅峰，后代诗人难以为继的情况下，以艰险、力矫大力诗风的平庸，勇于创新，开创了以新奇横放为特色的新诗派，代表诗人孟郊、韩愈、李贺、贾岛、姚合。文学史上称韩孟诗派。这一诗派不重视客观写实，重视主观感受。形式上创新出其，创作上讲究苦吟。他们创作各有所失，但都为诗歌做出了贡献。

14.宋初三体：一以当时的一些达官贵人如徐铉、李昉等为代表，以白居易为师，诗风平易浅俗，是当时的主流诗歌，此为白体诗。一以稍后的杨亿、刘筠、钱惟演为代表，以李商隐为师，辞藻华丽，讲究用典，是白体之后的诗坛主流，因诗集《西昆酬唱集》得名，此为西昆体。一以魏野、林逋等隐士为代表，以贾岛、姚合为师，多用白描手法写隐逸生活，诗风清苦，此为晚唐体。宋初三体内容上均离政治、社会较远，形式上多为近体诗。

15.王安石体：王安石体称半世体或半山绝句，王安石的晚年罢官隐居后生活和心情发生了变化，引起了诗风的变化，创作了较多的描写湖光山色的小诗，这些诗风格趋于含蓄深沉，注重对艺术的锤炼。其特点是下字工，用事切，对偶精，既有深婉不迫，也有生硬奇绝之处，成为江南诗派的先驱。16.大厉十才子：“十才子”之名，最初见于中唐诗人姚合编的《极玄集》，即李端、卢纶、吉中孚、韩翊、钱起、司空曙、苗发、崔峒、耿湋、夏侯审。“十才子”齐名的重要原因是，因大历初年在长安参加重要的唱和活动而为世人所瞩目，创作倾向和诗风相近。他们诗歌的主要内容是歌颂升平、吟咏山水和称道隐逸成为基本主题；擅长写送别诗和隐居的诗歌。诗歌艺术上：讲究格律辞藻，追求清雅闲淡，工于白描写景。

17.前赤壁赋：是苏轼的一篇散文作品，历来为人们所传诵。它写的是秋夜泛舟游赤壁的情景。文章通过物描写和主客对答，表现了作者政治上受挫后的惆怅苦闷和抑郁心情，同时也显示出作者自我解脱的旷达胸襟。

18.山谷体：指北宋诗人黄庭坚的诗，他的诗歌特征是生奇瘦硬，其艺术特色是：一以学杜诗为宗旨，重视句法发展了拗句﹑拗律的体制；二强调“无一字无来处”，用典以故为新，变俗为雅，点铁成金，夺胎换骨；三好奇尚硬，造语洗净铅华，独标隽旨，风格生新瘦峭峻，但兼有软绵的一面。19.江西诗派：是宋代著名的诗歌流派。北宋年末，吕本中作的《江西诗社宗派图》，将黄庭坚、陈师道等二十余人列为江西诗派。元代人方回提出一祖三宗之谈，认为江西诗派以杜甫为祖，以黄庭坚、陈师道和陈与义为三宗。标榜学习杜甫的艺术技巧，模仿七律形式，但忽视杜甫的情感特征，以黄的诗歌理论和创作理论作为学习和模仿的关键，作诗强调“无一字无一处”。

20.“大晟词”派：北宋婉约词派。宋徽宗崇宁年间（公元1102—1107）创立大晟府，并以周帮彦为提举，招集词人、乐师整理古音、古调，创作新乐，名“大晟乐”；词人按调填词，世称“大晟词”；在“大晟府”形成的以周帮彦为首的词派即为“大晟词派”。他们的词格律严密善铺叙，章法细密曲折，回环往复，描绘工巧，语言典雅精致，善于炼字，为婉约词的发展做出了贡献。

21.中兴四大指南宋诗人尤袤、杨万里、范成大、陆游。因宋室南渡在度中兴，故名。他们早年都有学习江西诗派的经历但后来摆脱了江西诗派的束缚。‘师法自然，面向现实生活，抒写感时忧世之情，自承一格打开宋诗新局面’。

22.以诗为词:手法是苏轼变革词风的主要武器及把诗的手法移植到诗中，突破音乐对词体的制约和束缚,把词从音乐的附属品变为一种独立的抒情诗体．苏词中比较成功的表现是用题序和用典。

23.沈宋：初唐时期两位宫廷诗人沈佺期、宋之问的合称，与“四友”先后，闻名于武周、中宗之时，因其声望相当，故世称“沈宋”。两人诗歌多是宫廷应制之作，主要成就是对声律的积极探索和实践，把四声分为平仄，在几代诗人取得的经验之上，他们完成了律诗定型化的任务，使“篇有定句，句有定字”，律诗创作规范化，从此，古体诗和近体诗有了明显的区分。

24.梦窗词：是宋代词人吴文英，号梦窗，他彻底改变了正常的思维习惯，将常人眼中的实景化为虚幻，通过奇特的艺术想象和联想，创造出如梦如幻的艺术境界。其词远承周清真，近承姜白石，讲究音律，追求典雅，意境深远含蓄，以密丽取胜，注重练字炼句。代表作《风人松》等。

25.永嘉四灵：指永嘉地区的四位诗人：徐照、徐玑、翁卷、赵师秀。这四人都出于叶适之门且字中都带有一个“灵”字，所以合称“四灵”，曾有《四灵诗选》。四灵都是命运落拓的贫寒之士。“永嘉四灵”是南宋诗坛独树一帜的诗歌流派。对前人，他改造江西诗派，去除其弊端；对后来，他启动江湖诗派而再创新、发展。

26.格律派词：是南宋的一个严守格律的词派。此派以姜夔为首，其它代表作家有史达祖、吴文英、高观国、王沂孙、周密、张炎等。他们作此讲究格律，追求典雅、含蓄、柔婉和“清空”，是南宋后期同“辛派”相对的一个词派。

27.边塞诗派：盛唐诗歌流派之一。代表作家有高适，岑参等人。他们大多有边塞生活的经历，其诗多采用七言歌行或七绝的形式，抒发建功立业的抱负，从多角度描写了边塞风光和征戍生涯。

28.三吏三别：三吏：潼关吏新安吏石壕吏

三别：新婚别垂老别无家别。是杜甫一组“即事名篇”的新乐府诗。

29.柳永：北宋词人.原名三变, 字景庄.后改名永,崇安人.景佑元年进士.官屯田员外郎.世称柳

七、柳屯田.为人放荡不羁, 终身潦倒.其词多描绘城市风光和歌妓生活, 尤长于抒写羁旅行役之情.创作慢词独多.铺叙刻画, 情景交融, 语言通俗, 音律谐婉, 在当时流传很广, 对宋词的发展有一定影响.代表作《雨霖铃》、《八声甘州》、《望海潮》等。

30.易安体：因李清照号易安居士，故其词称为“易安体”，其特点有三，其一，用通俗易懂的文学语言和明白流畅的音律声调作词其二，“易安体”融入了国家兴亡的深悲巨痛，又不失婉约词的本色，具有凄婉悲怆的格调其三，“易安体”有倜傥丈夫气。31.诚斋体：南宋词人杨万，字诚斋，因其诗自成一格，故严羽在《沧浪诗话》中称之为‘杨诚斋体’。诚斋体的风格是活泼自然，饶有谐趣，浅近明白的语言和流畅直致的章法。近于口语。代表作《小池》，《晓行望云山》。

32.珠玉词：晏殊的词名叫珠玉词，指晏殊的词集。主要表现优渥生活，具有珠圆玉润，丰腴雍容的特点，词作之中融入了自己的主观情感和哲理领悟，努力表现了深邃的内心世界，使其词作赋予了浓厚的士大夫气，语言自然清新，音律婉转和谐。

33.王荆公体：即半山诗或半山绝句，指王安石晚年的诗歌创作。其晚年诗作雅丽精绝，既有清新闲适之作，又有沉郁悲壮之作。主要体裁是绝句。它的长处是下字工、用事切、对偶精，既有深婉不迫处，也有生硬奇绝处，为江西诗派的先驱。

诗歌鉴赏（2个）

1《送杜少府之任蜀州》王勃

城阙辅三秦，风烟望五津。与君离别意，同是宦游人。海内存知己，天涯若比邻。无为在歧路，儿女共沾巾

《送杜少府之任蜀州》，出自《全唐诗》，是唐代诗人王勃的作品。此诗意在慰勉友人勿在离别之时悲哀。首联描画出送别地与友人出发地的形势和风貌，隐含送别的情意，严整对仗；颔联为宽慰之辞，点明离别的必然性，以散调相承，以实转虚，文情跌宕；颈联奇峰突起，高度地概括了“友情深厚，江山难阻”的情景，使友情升华到一种更高的美学境界；尾联点出“送”的主题，而且继续劝勉、叮咛朋友，也是自己情怀的吐露。此诗开合顿挫，气脉流通，意境旷达，堪称送别诗中的不世经典，全诗仅仅四十个字，却纵横捭阖，变化无穷，仿佛在一张小小的画幅上，包容着无数的丘壑，有看不尽的风光，至今广泛流传。

“城阙辅三秦，风烟望五津。”开头两句分别点出送别的地点和行人的去向。“城阙”，指京城长安，阙是宫门两边的望楼。“三秦”，泛指长安附近。千里迢迢，风烟渺渺，极目望去不免产生几分惆怅。这两句通过一近一远两处景物的对照，衬托出行者、送行者双方依依惜别的感情。“与君离别意，同是宦游人”，这两句诗把两人之间感情的共鸣写了出来。这两句的大意是：我和你都是离乡远游以求仕宦的人，你去蜀州，我留长安，去和留虽有不同，但此刻的惜别之意却是一样的啊!这两句表现的感情很真挚，态度很诚恳，一种体贴关注的语气，从字里行间自然而然地流露出来，是很动人的。五六句忽然将笔锋一转，转而去宽慰那即将远行的友人：“海内存知己，天涯若比邻。”意思是说：我们分手之后，虽然天各一方，但是不必悲伤。海内有知心的朋友，即使远隔天涯，也像是近邻一样。最后两句就此再推进一层说：“无为在岐路，儿女共沾巾。”意思是，不要在分手的岐路上因离别而悲伤，就像那些青年男女一样地别泪沾巾。

2《山居秋暝》王维

空山新雨后，天气晚来秋。明月松间照，清泉石上流。竹喧归浣女，莲动下渔舟。随意春芳歇，王孙自可留。

这首诗写出了清新、幽静、恬淡、优美的山中秋季的黄昏美景。王维所居辋川别墅在终南山下，故称山居。一场秋雨过后，秋山如洗，清爽宜人。时近黄昏，日落月出，松林静而溪水清，浣女归而渔舟从。如此清秋佳景，风雅情趣，自可令王孙公子流连陶醉，忘怀世事。此诗以一“空”字领起，格韵高洁，为全诗定下一个空灵澄净的基调。全诗动静结合，相辅相成，相得益彰。月照松林是静态，清泉流溢是动态。前四句写秋山晚景之幽静，五六句写浣女渔舟之喧哗。诗之四联分别写感觉、视觉、听觉、感受，因象得趣，因景生情。这首山水名篇，于诗情画意之中寄托着诗人高洁的情怀和对理想境界的追求。

王维《山居秋暝》是山水田园诗的代表作之一，它唱出了隐居者的恋歌。全诗描绘了秋雨初晴后傍晚时分山村的旖旎风光和山居村民的淳朴风尚，表现了诗人寄情山水田园，对隐居生活怡然自得的满足心情。首联写山居秋日薄暮之景，山雨初霁，幽静闲适，清新宜人。颔联写皓月当空，青松如盖，山泉清冽，流于石上，清幽明净的自然美景。颈联写听到竹林喧声，看到莲叶分披，发现了浣女、渔舟。末联写此景美好，是洁身自好的所在。全诗通过对山水的描绘寄慨言志，含蕴丰富，耐人寻味。

3《出塞》王昌龄

秦时明月汉时关，万里长征人未还。但使龙城飞将在，不教胡马渡阴山。王昌龄的这首边塞诗倍受历代诗家推崇，明代诗坛领袖李攀龙甚至推其为“唐代七绝压卷之作”。诗人以雄劲的笔触，对当时的边塞战争生活作了高度的艺术概括，虽然只有短短的四句，但意境雄浑深远，耐人寻味。诗人从写景入手，首句勾勒出一幅冷月照边关的苍凉景象。

“秦时明月汉时关”秦、汉、关、月四字交错使用，“互文见义”，意思是秦汉时的明月，秦汉时的关。诗人暗示，这里的战事自秦汉以来一直未间歇过，突出了时间的久远。次句“万里长征人未还”，“万里”指边塞和内地相距万里，虽属虚指，却突出了空间辽阔。“人未还”使人联想到战争给人带来的灾难，表达了诗人悲愤的情感。怎样才能解脱人民的困苦呢？诗人寄希望于有才能的将军。“但使龙城飞将在，不教胡马度阴山。”只要镇守龙城的飞将军李广还活着，就不会让胡人的骑兵跨越过阴山。

综观全诗：首句写景,勾勒出一派明月照边关的苍凉景象；次句叙事，极言距离之远战争给人们带来的灾难之深；“秦汉”、“万里”，时空交织，突出了时间的久远和战事的频繁，扩大了诗歌的意境；

三、四句抒情，表达了诗人期望朝廷任用良将，早日平息战争，使人民过上安定生活的美好愿望，“但使”、“不教”，含蓄委婉，将厌恶战争、同情百姓、不满朝廷等诸多情绪尽蕴其中，加深了诗歌的蕴藉。“巧妙互文，灵活用典，精妙炼字”是这首诗最突出的艺术特色。

4《行路难其一》李白

金樽清酒斗十千，玉盘珍羞直万钱。停杯投箸不能食，拔剑四顾心茫然。欲渡黄河冰塞川，将登太行雪满山。闲来垂钓碧溪上，忽复乘舟梦日边。行路难，行路难，多歧路，今安在。长风破浪会有时，直挂云帆济沧海。

《行路难》全诗一共十四句，八十二个字，是诗人在离开长安时的心情写怀。这首诗特出的一个特点就是诗人的情感波澜起伏、跌宕变化。诗人的情怀时而失落苦闷，迷惘不知所措;时而充满希望，信心倍增，继尔又彷徨无据感时伤逝，最后又能豪情万丈，豁达自信。

诗的前四句写朋友出于对李白的深厚友情，出于对这样一位天才被弃置的惋惜，不惜金钱，设下盛宴为之饯行。“嗜酒见天真”的李白，要是在平时，因为这美酒佳肴，再加上朋友的一片盛情，肯定是会“一饮三百杯”的。然而，这一次他端起酒杯，却又把酒杯推开了；拿起筷子，却又把筷子撂下了。他离开座席，拔下宝剑，举目四顾，心绪茫然。停、投、拔、顾四个连续的动作，形象地显示了内心的苦闷抑郁，感情的激荡变化。接着两句紧承“心茫然”，正面写“行路难”。诗人用“冰塞川”、“雪满山”象征人生道路上的艰难险阻，具有比兴的意味。一个怀有伟大政治抱负的人物，在受诏入京、有幸接近皇帝的时候，皇帝却不能任用，被“赐金还山”，变相撵出了长安，这正像是遇到了冰塞黄河、雪拥太行。“行路难，行路难，多歧路，今安在？”吕尚、伊尹的遇合，固然增加了对未来的信心，但当他的思路回到眼前现实中来的时候，又再一次感到人生道路的艰难。离筵上瞻望前程，只觉前路崎岖，歧途甚多，不知道他要走的路，究竟在哪里。他那种积极用世的强烈要求，终于使他再次摆脱了歧路彷徨的苦闷，唱出了充满信心与展望的强音：“长风破浪会有时，直挂云帆济沧海！”他相信尽管前路障碍重重，但仍将会有一天要像南朝宋时宗悫所说的那样，乘长风破万里浪，挂上云帆，横渡沧海，到达理想的彼岸。

5杜甫——《登高》

风急天高猿啸哀，渚清沙白鸟飞回。天边落木萧萧下，不尽长江滚滚来。万里悲秋常作客，百年多病独登台。艰难苦恨繁霜鬓，潦倒新停浊酒杯。

本诗系杜甫于代宗大历二年重阳节登高望远、触景生情之作，亦为杜诗中最能表现大气盘旋、悲凉沉郁之作。前四句是一幅雄迈壮美的“秋景图”，意境载阔，气势磅礴；后四句并只是个人的叹老嗟贫。而是感叹世事多艰难，人民多灾祸。

天高风急，秋气肃杀，猿啼哀啸，十分悲凉；清清河洲，白白沙岸，鸥鹭低空回翔。首联两句，对举之中仍复用韵，且句中自对，无一虚设。这是诗人登高看到的景象，构成一幅悲凉的秋景图画，为全诗定下了基调。落叶飘零，无边无际，纷纷扬扬，萧萧而下；奔流不尽的长江，汹涌澎湃，滚滚奔腾而来。颔联为千古名句，写秋天肃穆萧杀、空旷辽阔的景色，一句仰视，一句俯视，有疏宕之气。我万里漂泊，常年客居他乡，对此秋景，更觉伤悲；有生以来，疾病缠身，今日独自登临高台。颈联是诗人一生颠沛流离生活的高度概括，有顿挫之神。时世艰难，生活困苦，我常恨鬓如霜白；浊酒销忧，却怎奈潦倒，以至需要停杯。尾联转入对个人身边琐事的悲叹，与开篇《楚辞》般的天地雄浑之境，形成惨烈的对比。“苦恨”，甚恨，意思是愁恨很深。这是一首最能代表杜诗中景象苍凉阔大、气势浑涵汪茫的七言律诗。前两联写登高闻见之景，后两联抒登高感触之情。由情选景，寓情于景，浑然一体，充分表达了诗人长年飘泊、忧国伤时、老病孤愁的复杂感情。而格调却雄壮高爽，慷慨激越，高浑一气，古今独步。

6《雁门太守行》李贺

黑云压城城欲摧，甲光向日金鳞开。角声满天秋色里，塞上燕脂凝夜紫。半卷红旗临易水，霜重鼓寒]声不起。报君黄金台上意，提携玉龙为君死。

诗共八句，前四句写日落前的情景。首句既是写景，也是写事，成功地渲染了敌军兵临城下的紧张气氛和危急形势。“黑云压城城欲摧”，一个“压”字，把敌军人马众多，来势凶猛，以及交战双方力量悬殊、守军将士处境艰难等等，淋漓尽致地揭示出来。次句写城内的守军，以与城外的敌军相对比，忽然，风云变幻，一缕日光从云缝里透射下来，映照在守城将士的甲衣上，只见金光闪闪，耀人眼目。此刻他们正披坚执锐，严阵以待。这里借日光来显示守军的阵营和士气，情景相生，奇妙无比。

后四句写驰援部队的活动。“半卷红旗临易水”，“半卷”二字含义极为丰富。黑夜行军，偃旗息鼓，为的是“出其不意，攻其不备”；“临易水”既表明交战的地点，又暗示将士们具有“风萧萧兮易水寒，壮士一去兮不复还”那样一种壮怀激烈的豪情。接着描写苦战的场面：驰援部队一迫近敌军的营垒，便击鼓助威，投入战斗。无奈夜寒霜重，连战鼓也擂不响。面对重重困难，将士们毫不气馁。“报君黄金台上意，提携玉龙为君死。”黄金台是战国时燕昭王在易水东南修筑的，传说他曾把大量黄金放在台上，表示不惜以重金招揽天下士。诗人引用这个故事，写出将士们报效朝廷的决心。

7《锦瑟》李商隐

锦瑟无端五十弦，一弦一柱思华年。庄生晓梦迷蝴蝶，望帝春心托杜鹃。沧海月明珠有泪，蓝田日暖玉生烟。此情可待成追忆？只是当时已惘然。

“锦瑟无端五十弦，一弦一柱思华年。”作者写自己思恋已逝的岁月，思恋美好的年华。这种感情往往是悲苦交加，然而句中无一“悲”字，“苦”字。五十弦，一弦一思念，可见思念苦之多，而且一发不可收拾。“庄生晓梦迷蝴蝶”，似水年华恍如梦，又像美丽的蝴蝶，却更苦于无奈的现实，于是“望帝春心托杜鹃”，望帝死后化成杜鹃悲啼，自己又该怎样面对现实，又将把一切托付何物呢？人们尽可能传诵。但谁也不会轻易说出这是句的悲，于是他迷惘了。

“沧海明月珠有泪，蓝天日乱玉生烟”想的多了，悲伤滚滚而来，自然有泪了。作者也许有点绕性心理，人太悲伤了，就需要一点安慰。想想将来，或许今天的泪水将成为明日的珍珠。美玉总伴随好运而来，运气好了，说不定蓝田的玉„„还没有想完，想象中的“玉山”却生烟渺茫，自己有一次跌入现实的苦闷中，“此情可待成追忆”，“唉！”李商隐叹息着流走的时间里，我惋惜！“只是当时已惘然”作者扪心自问，“当时已惘然”，那么现在就不能再“惘然”了，要做些有意义的事，不能就这样一直沉浸在悲哀之中。

整个篇幅的感情基调是深沉的，但给人的感觉却飘然脱俗，用传说来写感情，诗句的优雅更显露出柔和凄美。情悲而不失美，静而又波澜，有后悔更有勇气，无不表达作者最深切的感受。

8《虞美人·春花秋月何时了》李煜

春花秋月何时了，往事知多少。小楼昨夜又东风，故国不堪回首月明中。雕栏玉砌应犹在，只是朱颜改。问君能有几多愁，恰似一江春水向东流。

全词以问起，以答结；由问天、问人而到自问，通过凄楚中不无激越的音调和曲折回旋、流走自如的艺术结构，使作者沛然莫御的愁思贯穿始终，形成沁人心脾的美感效应。

诚然，李煜的故国之思也许并不值得同情，他所眷念的往事离不开“雕栏玉砌”的帝王生活和朝暮私情的宫闱秘事。但这首脍炙人口的名作，在艺术上确有独到之处：

“春花秋月”人多以美好，作者却殷切企盼它早日“了”却；小楼“东风”带来春天的信息，却反而引起作者“不堪回首”的嗟叹，因为它们都勾发了作者物是人非的枨触，跌衬出他的囚居异邦之愁，用以描写由珠围翠绕，烹金馔玉的江南国主一变而为长歌当哭的阶下囚的作者的心境，是真切而又深刻的。

结句“一江春水向东流”，是以水喻愁的名句，含蓄地显示出愁思的长流不断，无穷无尽。同它相比，刘禹锡的《竹枝调》“水流无限似侬愁”，稍嫌直率，而秦观《江城子》“便作春江都是泪，流不尽，许多愁”，则又说得过尽，反而削弱了感人的力量。9《浣溪沙》晏殊

一曲新词酒一杯，去年天气旧亭台。夕阳西下几时回？

无可奈何花落去，似曾相识燕归来。小园香径独徘徊。

这是晏殊词中最为脍炙人口的篇章。词的上片通过对眼前景物的咏叹，将怀旧之感、伤今之情与惜时之意交织、融合在一起。“一曲新词酒一杯”，所展示的是“对酒当歌”的情景，似乎主人公十分醉心于宴饮涵咏之乐。的确，作为安享尊荣而又崇文尚雅的“太平宰相”，以歌侑酒，是作者习于问津、也乐于问津的娱情遣兴方式之一。然而在作者的记忆中，最难忘怀的却是去年的那次歌宴。“去年天气”句，点出眼前的阳春烟景既与去年无异，而作者置身的亭台也恰好是昔日饮酒听歌的场所。故地重临，怀旧自不可免。此句中正包蕴着一种景物依旧而人事全非的怀旧之感。在这种怀旧之感中又糅合着深婉的伤今之情。这样，作者纵然襟怀冲澹，又怎能没有些微的伤感呢？“夕阳西下”句，不仅是惋惜时光的匆匆流逝，同时也是慨叹昔日与伊人同乐的情景已一去不返。细味“几时回”三字，所折射出的似乎是一种企盼其返、却又情知难返的纡细心态。下片仍以融情于景的笔法申发前意。“无可奈何”二句，属对工切，声韵和谐，寓意深婉，一向称为名对。唯其如此，作者既用于此词，又用于《示张寺丞王校勘》一诗。上句对春光的流逝示惋惜之情，下句对巢燕的归来兴怀旧之感。人间生死，同花开花落一样，不由自主，所以说“无何奈何”。旧地重游，前尘影事，若幻若真，所以说“似曾相识”。渗透在句中的是一种混杂着眷恋和怅惆，既似冲澹又似深婉的人生怅触。因此，此词不但以词境胜，还兼以理致胜。后来苏轼的词，就大畅此风了。

10《踏莎行》秦观

雾失楼台，月迷津渡，桃源望断无寻处。

可堪孤馆闭春寒，杜鹃声里斜阳暮。驿寄梅花，鱼传尺素，砌成此恨无重数。郴江幸自绕郴山，为谁流下潇湘去？

这是一首寄托个人身世之感的抒情词。上片写孤独的处境。上片写谪居中寂寞凄冷的环境。开头三句，缘情写景，劈面推开一幅凄楚迷茫、黯然销魂的画面：漫天迷雾隐去了楼台，月色朦胧中，渡口显得迷茫难辨。“雾失楼台，月迷津渡。”互文见义，不仅对句工整，也不只是状写景物，而是情景交融的佳句。“失”、“迷”二字，既准确地勾勒出月下雾中楼台、津渡的模糊，又恰切地写出了作者无限凄迷的意绪。“雾失”、“月迷”，皆为下句“望断”出力。“桃源望断无寻处”。词人站在旅舍观望应该已经很久了，他目寻当年陶渊明笔下的那块世外桃源。桃源，其地在武陵（今湖南常德），离郴州不远。词人由此生联想：即是“望断”，亦为枉然。着一“断”字，让人体味出词人久伫苦寻幻想境界的怅惘目光及其失望痛苦心情。

晏殊的这首词有一种对时光年华的流逝的深切的慨叹和惋惜存在，而且更在极幽微的情思的叙写中，流露出了很深挚又很高远的一份追寻向往的心意，这种情思，虽然表面看来也许只不过是伤春怀人之情而已，但是隐然间却可以使读者的心灵感情感受到一种提升的作用。

11《雨霖铃》柳永

寒蝉凄切，对长亭晚。骤雨初歇，都门帐饮无绪.留恋处，兰舟催发。执手相看泪眼，竟无语凝噎。念去去，千里烟波，暮霭沉沉楚天阔。

多情自古伤离别，更那堪，冷落清秋节。今宵酒醒何处?杨柳岸，晓风残月。此去经年，应是良辰好景虚设。便纵有千种风情，更与何人说!此词为抒写离情别绪的千古名篇，也是柳词和有宋一代婉约词的杰出代表。词中，作者将他离开汴京与恋人惜别时的真情实感表达得缠绵悱恻，凄婉动人。词的上片写临别时的情景，下片主要写别后情景。全词起伏跌宕，声情双绘。

上片纪别，从日暮雨歇，送别都门，设帐饯行，到兰舟摧发，泪眼相对，执手告别，依次层层描述离别的场面和双方惜别的情态，犹如一首带有故事性的剧曲，展示了令人伤心惨目的一幕。下片述怀，承“念”字而来，设想别后情景。‘多情自古伤离别，那堪冷落清秋节。念宵酒酲何处，杨柳岸、晓风残月’。上二句点出离别冷落，‘今宵”二句，乃就上二句意染之”。“今宵酒醒何处”，遥接上片“帐饮”，足见虽然“无绪”却仍借酒浇愁以致沉醉；“杨柳岸、晓风残月”，则集中了一系列极易触动离愁的意象，创造出一个凄清冷落的怀人境界。“此去”以下，以情会景，放笔直写，不嫌重拙，由“今宵”想到“经年”，由“千里烟波”想到“千种风情”，由“无语凝噎”想到“更与何人说”，回环往复又一气贯注地抒写了“相见时难别亦难”的不尽愁思。

12《破阵子》辛弃疾醉里挑灯看剑，梦回吹角连营。八百里分麾下炙，五十弦翻塞外声。沙场秋点兵。

马作的卢飞快，弓如霹雳弦惊。了却君王天下事，赢得生前身后名。可怜白发生！

词的上片，写作者闲居家中心情苦闷，只能借酒浇愁；然而，就是在深夜酒醉之时，还一次又一次地拨亮灯火，久久地端详着曾伴随自己征战杀敌的宝剑，渴望着重上前线，挥师北伐。作者带着这样的思念和渴望进入梦中。他恍惚觉得天已拂晓，连绵不断的军营里响起了一片嘹亮雄壮的号角声。他把大块的烤牛肉犒劳将士们，让他们分享；军乐队奏着高亢激越的边塞战歌，以助兴壮威。在秋风猎猎的战场上，他检阅着各路兵马，准备出征。

词的下片，紧接着描写了壮烈的战斗和胜利的结局：将士们骑骏马飞奔，快如“的卢”，风驰电掣；拉开强弓万箭齐发，响如“霹雳”，惊心动魄。敌人崩溃了，彻底失败了。他率领将士们终于完成了收复中原、统一祖国的伟业，赢得了生前死后不朽的英名。到这里，我们看到了一个意气昂扬、抱负宏大的忠勇将军的形象，他“金戈铁马，气吞万里如虎”！然而，在词的最后，作者却发出一声长叹：“可怜白发生！”从感情的高峰猛的跌落下来。原来，那壮阔盛大的军容，横戈跃马的战斗，以及辉煌胜利，千秋功名，不过全是梦境。实际上，在苟安卖国的统治集团的压制下，作者报国无门，岁月虚度。“可怜白发生”，包含着多少难以诉说的郁闷、焦虑、痛苦和愤怒啊！

从全词看，壮烈和悲凉、理想和现实，形成了强烈的对照。作者只能在醉里挑灯看剑，在梦中驰骋杀敌，在醒时发出悲叹。这是个人的悲剧，更是民族的悲剧。而作者的一腔忠愤，无论在醒时还是在醉里、梦中都不能忘怀，是他高昂而深沉的爱国之情、献身之志的生动体现。

13《摸鱼儿·更能消几番风雨》

辛弃疾

更能消几番风雨？匆匆春又归去。惜春长怕花开早，何况落红无数。春且住。见说道、天涯芳草无归路。怨春不语。算只有殷勤，画檐蛛网，尽日惹飞絮。

长门事，准拟佳期又误。蛾眉曾有人妒。千金纵买相如赋，脉脉此情谁诉？君莫舞，君不见、玉环飞燕皆尘土！闲愁最苦。休去倚危栏，斜阳正在、烟柳断肠处。

《摸鱼儿》这首词创作于辛弃疾被南放之后的第十七年，当时辛弃疾正再一次被当时的朝廷调任，好友为其饯行时，辛弃疾有感而发，写下了这首词。

在上片中，作者心绪不宁，是哀惋，是叹惜，更是一种迷惘与无可奈何。万紫千红的春，离我匆匆而去，一时万树枝头，落花飞红。这凋零衰败的景色本就够惨淡的了，它怎么能再经得起风风雨雨的几次摧残呢？花是春天的象征，我生怕花落春去，而希望花儿迟开晚放，但这只不过是我的一厢情愿，一种幻想而已。然而尽管如此，我仍心有不甘，向春反问：“你且留步！听说海角天涯并无你的归处，你能去哪里呢！”春默默无语、依旧悄然离去。如果说，在人间还有什么春的痕迹，那只有画檐蛛网上沾着些的柳絮，给我们一丝慰藉。

下片借陈阿娇的故事，写爱国深情无处倾吐的苦闷。这一片可分三个层次，表现三个不同的内容。从“长门事”至“脉脉此情谁诉”是第一层。这是词中的重点。作者以陈皇后长门失宠自比，揭示自已虽忠而见疑，屡遭谗毁，不得重用和壮志难酬的不幸遭遇。“君莫舞”三句是第二层，作者以杨玉环、赵飞燕的悲剧结局比喻当权误国、暂时得志的奸佞小人，向投降派提出警告，“闲愁最苦"至篇终是第三层，以烟柳斜阳的凄迷景象，象征南宋王朝昏庸腐朽，日落西山，岌岌可危的现实。

这首词有着鲜明的艺术特点。一是通过比兴手法，创造象征性的形象来表现作者对祖国的热爱和对时局的关切。拟人化的手法与典故的运用也都恰到好处。第二是继承屈原《离骚》的优良传统，用男女之情来反映现实的政治斗争。第三是缠绵曲折，沉郁顿挫，呈现出别具一格的词风。

14《扬州慢·淮左名都》姜夔

淮左名都，竹西佳处，解鞍少驻初程。过春风十里。尽荠麦青青。自胡马窥江去后，废池乔木，犹厌言兵。渐黄昏，清角吹寒。都在空城。

杜郎俊赏，算而今、重到须惊。纵豆蔻词工，青楼梦好，难赋深情。二十四桥仍在，波心荡、冷月无声。念桥边红药，年年知为谁生。

词的上阙，写出了词人亲眼目睹的景象和自身心理感受。写出了扬州城在“胡马窥江去后”令人痛心不已的凋残和败坏景象。词人先从自己的行踪写起，写自己初次经过扬州城，在著名的竹西亭解鞍下马，稍作停留。走在漫长的扬州道上，词人所见到的全部是长得旺盛而齐整的荠麦。而昔日杜牧对扬州城美景的由衷溢誉一去不复返。自金人入侵后，烧杀掳掠，扬州城所剩下的也只是“废池乔木”的了。人们说起那场战争，至今还觉得心有余悸和刻骨痛恨。词的下阙，运用典故，进一步深化了“黍离之悲”的主题。昔日扬州城繁华，诗人杜牧留下了许多关于扬州城不朽的诗作。可是，假如这位多情的诗人今日再重游故地，他也必定会为今日的扬州城感到吃惊和痛心。杜牧算是个俊才情种，他有写“豆蔻”词的微妙精当，他有赋“青楼”诗的神乎其神。可是，当他面对眼前的凋残破败景象，他必不能写出昔日的款款深情来！扬州的名胜二十四桥仍然存在，水波荡漾，冷峻的月光下，四周寂籁无声。唉，试想下，尽管那桥边的芍药花年年如期盛放，可是到底还有谁有情思去欣赏它们的艳丽呢？词人用带悬念的疑问作为词篇的结尾，很自然地移情入景，今昔对比，催人泪下。

纵观全词，行文的基调都笼罩在一种悲凉凄怆的氛围中。无论是词人所见到的“荠麦青青”、“废池乔木”还是在黄昏里听到的“号角”和“空城”还是词人自身所想到的杜牧“难赋深情”和不知亡国恨的“桥边红药”，都是一种悲剧的写照。

15《一剪梅·红藕香残玉簟秋》李清照

红藕香残玉簟秋。轻解罗裳，独上兰舟。云中谁寄锦书来，雁字回时，月满西楼。花自飘零水自流。一种相思，两处闲愁。此情无计可消除，才下眉头，却上心头。

这首词作于清照和丈夫赵明诚远离之后，寄寓着作者不忍离别的一腔深情，是一首工巧的别情词作

词的起句“红藕香残玉簟秋”，领起全篇，对清秋季节起了点染作用。全句设色清丽，意象蕴藉，不仅刻画出四周景色，而且烘托出词人情怀。意境清凉幽然，颇有仙风灵气。花开花落，既是自然界现象，也是悲欢离合的人事象征；枕席生凉，既是肌肤间触觉，也是凄凉独处的内心感受。起句为全词定下了幽美的抒情基调。

接下来的五句顺序写词人从昼到夜一天内所作之事、所触之景、所生之情。前两句“轻解罗裳，独上兰舟”，写的是白昼在水面泛舟之事，以“独上”二字暗示处境，暗逗离情。下面“云中谁寄锦书来”一句，则明写别后的悬念。接以“雁字回时，月满西楼”两句，构成一种目断神迷的意境。按顺序，应是月满时，上西楼，望云中，见回雁，而思及谁寄锦书来。“谁”字自然是暗指赵明诚。但是明月自满，人却未圆；雁字空回，锦书无有。而这一望断天涯、神驰象外的情思和遐想，无时无刻不萦绕于词人心头。

下片。“花自飘零水自流”，词人的思绪又由想象回到现实，并照映上片首句的句意。眼前的景象是落花飘零，流水自去。由盼望书信的到来，到眼前的抒写流水落花，词人的无可奈何的伤感油然而生，尤其是两个“自”字的运用，更表露了词人对现状的无奈。“一种相思，两处闲愁”，次写词人自己思念丈夫赵明诚，也设想赵明诚同样在思念自己。这样的断语，这样的心有灵犀，是建立在夫妻相知相爱的基础上的。末三句，“此情无计可消除，才下眉头，却上心头。”词人以逼近口语的词句，描述自己不仅无法暂时排遣相思之情，反而陷入更深的思念境地。两个副词“才”、“却”的使用，很真切形象地表现了词人挥之又来、无计可消除的相思之情。

这是一首相当富有诗情画意的词作。词人越是把她的别情抒写得淋漓尽致，就越能显出她的夫妻恩爱的甜蜜，也越能表现出她对生活的热爱。此外，这首词在意境的刻画，真挚、深沉情感的表述，以及语言运用的艺术上，无不给人留下深刻的印象。

16苏轼《水调歌头》

明月几时有，把酒问青天。不知天上宫阙，今夕是何年？我欲乘风归去，又恐琼楼玉宇，高处不胜寒。起舞弄清影，何似在人间！

转朱阁，低绮户，照无眠。不应有恨，何事长向别时圆？人有悲欢离合，月有阴晴圆缺，此事古难全。但愿人长久，千里共婵娟。

这首诗是苏词豪放词代表作之一。享有“中秋词，自东坡《水调歌头》一出，余词尽废。”的美赞，本词仿佛是与明月的对话，在对话中探讨着人生的意义。既有理趣，又有情趣，耐人寻味。意境豪放而阔大，情怀乐观而旷达，对明月的向往之情，对人间的眷恋之意，以及那浪漫的色彩，潇洒的风格和行云流水一般的语言，给我们以健康的美学享受和心灵的启示。

本词通篇咏月，构思奇拔，畦径独辟，它运用形象描绘的手法，勾勒出一种皓月当空、美人千里、孤高旷远的意境氛围，把自己遗世独立意绪和往昔的神话传说融合一处，在月的阴晴圆缺当中，渗进浓厚的哲学意味，上片借明月自喻孤高，下片用圆月衬托别情，月是词的中心形象，却处处契合人事。可以说是一首将自然和社会高度契合的感喟作品，本词意境虚虚实实：文字在幻想与现实中穿梭，思绪在天上与人间中徘徊。孤独的作者终于求得出路：离合的悲欢，政途的苦闷，只可借自宽自慰来消解，只能旷达的一笑而过，极富浪漫主义色彩。从表现方面来说，词的前半纵写，后半横叙。上片高屋建瓴，下片峰回路转。前半是对历代神话传说的推陈出新，也是对魏晋六朝游仙诗的递嬗发展。后半纯用白描，人月双及。它名为演绎物理，实则阐释人事。笔致错综回环，摇曳多姿。从布局方面来说，上片凌空而起，入处似虚，下片波澜层叠，返虚转实。最后虚实交错，纡徐作结，是历来公认的中秋词中的绝唱。

17《和子由渑池怀旧》苏轼

人生到处知何似？恰似飞鸿踏雪泥。泥上偶然留指爪，鸿飞哪复计东西？老僧已死成新塔，坏壁无由见旧题；往日崎岖还记否，路长人困蹇驴嘶。

人生在世，总是到处流浪漂泊，这像什么呢？就恰似那飞来飞去的鸿雁一样，偶然在雪地上停留片刻，也许会留下一些指爪的痕迹，但等到鸿雁飞去以后，又有谁知道它是在东方还是在西方呢？当年曾经热情招待过我们的老僧已经死去，变成了寺院里的一座新塔；而我们曾经题的那堵墙壁也已经破败，所题之诗也不见了痕迹。还记得我们当日在路上行走的情景吧？漫漫前路，人困驴蹇，嘶鸣声声。这首诗的理趣主要体现在前四句，“雪泥鸿爪”由此成为一个被后世广泛传诵的成语。这四句是针对苏辙原诗中的人生感慨更进一步发表的议论。在苏轼看来，不仅具体的生活行无定踪，整个人生也充满了不可知，就像鸿雁在飞行过程中，偶一驻足雪上，留下印迹，而鸿飞雪化，一切又都不复存在。老僧新塔，坏壁旧题，也都水过是泥上爪印而已。这样的持论似乎带了虚无主义的色彩，和佛教所说的“诸法亦如是，因缘合乃成，因缘离散即灭”、“凡所有相，皆是虚妄”并无本质的不同。

英语诗歌鉴赏及名词解释(英文版)

第一篇：英语诗歌鉴赏及名词解释(英文版)

第二篇：英文诗歌鉴赏

第三篇：最新英语诗歌鉴赏

第四篇：英文诗歌鉴赏-Annabel Lee

第五篇：中国古代文学史题库(名词解释和诗歌鉴赏)

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