英国诗歌赏析1(本科)
英国诗歌赏析

英国诗歌赏析随着文艺复兴以及罗马教会的发展,英国诗歌种类活跃了。
英国的诗歌以它独特的风格,丰富的内容和强烈的感受性受到了许多读者的喜爱,占据了有影响力的位置。
英国诗歌的艺术可以追溯到古代。
古典时期,诗歌一般用于崇拜神明或歌颂英雄,以及其他有关宗教和历史的话题。
在中世纪,随着宗教改革,英国诗人开始发展更为多样的话题,包括现代的爱情,忧郁,乐观主义等。
英国的先驱诗人如温斯顿,哥伦布,莎士比亚等,他们的诗歌不仅表达了他们的思想,而且在今天的文学历史上仍留有灿烂的芳华。
17世纪是英国诗歌的全盛时期,出现了一批杰出的诗人,如安德鲁撒克逊,拜伦,埃弗拉姆,布莱克等。
它们以更加强烈的感情和深刻的思想,把英国诗歌发展到更高的水平。
安德鲁撒克逊对诗歌的赞美,拜伦的天性诗,埃弗拉姆的感伤等,都是他们诗歌特点的典范。
19世纪,英国诗歌出现了新的变化,新的浪潮。
神游古典神话,以及追求高尚的理想的诗歌也出现了。
这些诗人包括诗人布朗,拉米,斯莱恩等等,他们的作品,以及他们对英国诗歌的富有创造性的批评,对今天的诗歌写作有着深远的影响。
20世纪以来,英国的诗歌受到各种新潮流的影响。
具体而言,现代诗歌写作被认为是一种艺术形式,关注表达自我,讨论社会问题,以及追求更深远的见解。
现代英国诗歌的代表作家有威尔金斯,格雷厄姆,弗罗斯特,马克斯等。
他们的诗歌以其独特的艺术形式渗透了现代人的思想和情感,成为现实生活中的反映。
英国诗歌的演变是一个历史的过程,其不断发展的变化和不断增强的影响力,让它成为中外文学史上有重要地位和价值的文学作品。
从古代到现代,从宗教到现实,英国诗歌让我们感受到童真的梦想,令人难忘的感动,以及理想与现实中的平衡,从而让英国诗歌受到了无数赞美和欢迎。
优秀英文诗歌赏析三篇

优秀英文诗歌赏析三篇【篇一】优秀英文诗歌赏析罗密欧的经典爱情独白Romeo: My love! My wife!Death, that hath sucked the honey of thy breath, Hath had no power yet upon thy beauty.Thou are not conquered. Beauty's ensign yetIs crimson in thy lips and in thy cheeks,And death's pale flag is not advanced there. Dear Juliet,Why art thou yet so fair? Shall I believeThat unsubstantial Death is amorous,Keeps thee here in dark to be his paramour? Here. O, here will I set up my everlasting rest And shake the yoke of inauspicious starsFrom this world-wearied flesh.Eyes, look your last!Arms, take your last embrace! And, lips, O you The doors to breath, seal with a righteous kiss A dateless bargain to engrossing death!罗密欧:我的爱人!我的妻子!死神虽然吸干了你甜蜜的气息,却没有力量摧毁你的美丽。
你没有被征服,美丽的红旗仍然轻拂着你的嘴唇和面颊,死神的白旗还未插到那里。
亲爱的朱丽叶,你为什么依然如此美丽?难道要我相信无形的死神很多情,把你藏在这暗洞里做他的情妇?这儿,啊,我要在这儿永远安息从我这厌恶人生的躯体上挣脱厄运的奴役。
英国诗歌鉴赏

英国诗歌鉴赏英国诗歌作为世界文学的重要组成部分,以其深厚的文化底蕴和丰富的艺术表现力,为世界文化宝库增添了无数的瑰宝。
从古老的史诗到现代的自由诗,英国诗歌无不彰显着其独特的魅力和无限的艺术可能。
英国诗歌的魅力首先体现在其语言之美。
英国诗人善于运用语言的韵律、节奏和音韵,创造出优美的诗歌语言。
如莎士比亚的十四行诗,其独特的韵脚和节奏使得诗歌既有节奏感又有旋律感,给人以极大的美的享受。
在诗歌的主题方面,英国诗歌同样丰富多样。
无论是描绘自然风光的田园诗,还是表现人性复杂面貌的心理诗,英国诗人都能用独特的笔触展现出不同的情感和思考。
如华兹华斯的《我孤独地漫游,像一朵云》,以细腻的笔触描绘了自然的美丽与和谐,给人以心灵的慰藉。
此外,英国诗歌还善于运用象征、隐喻等修辞手法,赋予诗歌更深层次的内涵和寓意。
这些修辞手法不仅丰富了诗歌的艺术表现力,也使得诗歌更具深度和广度。
如T∙S∙艾略特的《荒原》中,通过象征和隐喻等手法,深刻揭示了现代社会的荒芜和人们的精神困境。
在英国诗歌的发展历程中,涌现出了许多杰出的诗人和作品。
从古老的史诗《贝奥武甫》到乔叟的《坎特伯雷故事集》,再到现代诗人如艾略特、休斯等人的作品,英国诗歌始终保持着旺盛的生命力和创造力。
这些诗人和作品不仅为英国诗歌史留下了宝贵的遗产,也为世界文学的发展做出了巨大的贡献。
英国诗歌的价值不仅在于其艺术成就,更在于其对社会和人类的深刻思考。
诗人们通过诗歌表达了对自然、人性、社会等问题的独到见解和思考,使得诗歌成为了人类智慧的重要载体。
这些思考和见解不仅为我们提供了认识世界和自身的新的视角和思路,也为我们提供了面对困境和挑战的勇气和力量。
总之,英国诗歌作为世界文学的瑰宝,以其深厚的文化底蕴、丰富的艺术表现力和深刻的社会思考,为我们展现了人类智慧的无穷魅力。
在未来的发展中,我们应该继续传承和发扬英国诗歌的优良传统,让其在新的时代背景下焕发出更加璀璨的光芒。
同时,我们也应该积极学习和借鉴英国诗歌的艺术手法和思考方式,不断提高自身的文化素养和审美能力,为推动人类文化的进步和发展贡献自己的力量。
英国文学期末考试-诗歌鉴赏分析部分

英国⽂学期末考试-诗歌鉴赏分析部分莎⼠⽐亚1.Sonnet 18(B1,P118)(theme:It talks about the poet’s faith in the permanence of poetry.The message is that in this world no beauty (in Nature) can stay except poetry or art; and your beauty can only last if I write it down in my poetry. Transiency of time is also the themes of Sonnet 18. Content: On the surface, the poem is a statement of praise about the beauty of the beloved woman. The beloved's "eternal summer" shall not fade precisely because it is embodied in the sonnet. To him, her beauty must be like the eternal summer, but he does not want it to fade with time. Thus the best way to preserve her beauty is to keep it in this poem. The final couplet explains that the beloved’s ―eternal summer‖ will continue as long as there are people alive to read this sonnet. Comments: Actually, the writer wanted to express his view that art can keep the beauty forever. Art not only can make people enjoy the beauty by reading it, but also be a beauty itself. Natural beauty would be knocked out with the passing of the time. Only the art brings the eternity. For the speaker, love transcends nature. The poet’s love is so powerful that even death is unable to curtail(减少) it. The speaker’s love lives on for future generations to admire through the power of the written word-through the sonnet itself.Figures of Speech:Rhetorical questioning: the 1st line, to used to create a tone of respect, and to engage the audience;Metaphor: Shakespeare opens the poem with a metaphor, comparing the woman he loves to all of the best characteristics of a summer's day and she is far more beautiful and even tempered than the most desirable summer weather; Personification:It is worth mentioning Shakespeare's use of personification here. He gives the sun an eye, a human attribute, and in the next line, a complexion.Parallelism:The final couplet, used to emphasize the message: the beauty of the subject will be immortalized by the power of his art.)2.Sonnet 29(B1,P119)(theme: The theme of Sonnet 29 is to show the importance of love which can overpower the feelings of self-hate. Content: it starts with the speaker talking about how much he dislikes his life. The speaker sites many examples of why this is how he feels. Then the speaker talks about how he by change thinks about his love and it lifts his spirits. The whole poem expresses the changes of the author's inner feelings,which are from disappoint to hopeful,from negative to positive ,from desperate to affectionate ,from self-abased to confident.Figures of Speech:Metaphors: It were used in lines 10-12. In these lines, he compares his love to the lark who sings songs to the heavens. Shakespeare uses this metaphor because he wants to show the reader how happy the thought of his true love makes him feel. Symbolizes: In the first three lines, he symbolizes that he is jealous of everything in society. He uses symbolism here because he wants the reader to know that the speaker feels like an outcast compared to the rest of society.symbolism In the eleventh line, the symbolism is that the speaker is describing his lover as a lark. He uses this symbolism because he is portraying that his lover is as lovely as a songbird singing to the heavens.Personification: It can be found in line 3. Shakespeare is giving Heaven human like characteristics, such as the ability to hear. He includes this in his sonnet because this adds to the lonesomeness the speaker is feeling, since even God will not answer his wishes.Repetition:―like him‖ and ―mans‖ in lines 6 and 7, This emphasizes that he wants to me like the other men other than remaining like himselfAlliteration(头韵): ―think, thee, then‖ in line 11Rhyme:follows pattern: abab cdcd ebeb ff, ex. ―state, fate, gate‖ and ―brings, kings‖ The use of rhyme is very common in sonnets.)弥尔顿3.On His Blindness(B1,P148)(Theme: Its theme is that people use their talent for God, and they serve him best so can endure the suffering best. This sonnet is written as a result of Milton’s grief, as he lost his eye sight at his middle age.Content:Lines 1-8: Milton gets rather impatient at the thought of his blindness in the middle age. Blindness prevents him from using his poetic talent by writing something great to glorify God. In an impatient mood Milton doubts if God would be just in demanding work from a blind man like him.Lines 8-14: Milton’s attitude of doubt passes off in a moment. His inner conscience rises up with its faith in God’s justice. He realizes that God does not need man’s work by way of service to him; nor does he care whether man uses His gifts. He has a lot of angels working for him. So, patient submission to His will is the best service to Him.Figures of Speech:Alliteration: my days in this dark world and wide (line 2)Metaphor: though my soul more bent / To serve therewith my Maker (lines 3-4). The author compares his soul to his mind. Personification/Metaphor: But Patience, to prevent / That murmur, soon replies . . . (lines 8-9).Paradox: They also serve who only stand and wait.Rhyme: This sonnet is written in iambic pentameter rhymed in abba abba cde cde, typical of Italian sonnet. )多恩4.Song(B1, P134)(Theme:Negative view about love. Content: The whole poem focus on the argument of whether beautiful women will be loyalty to love. In the first stanza, he use 6 impossible things to clarify his view that such women who both beautiful and loyalty do not exist in the world. In the second stanza, he describes the journey of a man who was born to strange sights and sware that there were no women true, and fair. In the last stanza, he agreed that it would be sweet if there were women true, and fair, but he won’t change his belief that there exist no women who are both true and fair. Figures of Speech: 第⼀节中⽤了imperative sentence祈使句,像在对话;metaphor将找到美丽⽽忠贞的⼥⼦⽐作第⼀节中的做那些离奇怪诞的事)5.Valediction: Forbidding Mourning: (B1,P135)(Theme:farewell and love. Content:In the first two stanzas the departure of the lovers is compared with the death of virtuous men. Then, he clarify that their love is high to the soul and the body departure cannot influence them any more. Their two souls are united into one like the gold that has excellent ductility. If souls are still two, then they will just like the compasses, separated but never really divided. At last, he asked his wife to take care of the family so that he can complete his missions without worries, just like the moving compass complete a full circle with the help of the fixed point.Figures of Speech:comparison⾼尚男⼈的死和他们的分离;Metaphor(Conceit):The two lovers are likened to the two points of a compass. The idea of the wife staying and minding the house while the husband goes away is old-fashioned now, but we can still comprehend it.Pun: Take the lines Thy firmness makes my circle just,/ And makes me end, where I begun.. Here the compass is doing two different things, and both have significance. "End where I begun" implies the finish of a circle as drawn by a compass; only through his wife's stability in the centre, Donne argues, can his circle be drawn correctly. However it also implies the closing of the compass - and Donne coming home to be with his wife.Symbolism: symbolism of gold is very important, as it is also the most precious and noble of all the metals. It is also the least reactive of all metals, which ties in with Donne's placing of the lovers above the emotional layer and makes their love difficult to destroy.Comments:Donne's basic argument was that most people's relationships are built on purely sensual things - if they are not together at all times, the relationship breaks down. I agree with him, because a real love should have no restrictions of distance or time, so long as lovers’ hearts and souls are bound to each other, there will be no reason for them to worry abouta temporary separation.)布莱德6.Songs of Innocence-The Chimney Sweeper(Theme: This poem protest the living working and conditions, and the overall treatment of youngchimney sweepers in the cities of England; also it expresses sympathy for these young chimney sweepers. Content:The first stanza tells the narrator's life story: abandoned by parents, working in thedark chimney and sleeping in dark, dirty soot. Probably it's the reflection of all the little chimney sweepers' life story. In the thir d line, the cry "'weep! 'weep! 'weep! 'weep!" is actually the child's attempt at saying "Sweep! Sweep! Sweep!", which was the c himney sweeper's street cry.The poem goes on to talk about Tom Dacre, one of the narrator's fellows in the second and third stanzas. The second stanza intr oduces Tom Dacre, who acts as a foil to the speaker. Tom is upset about his lot in life, then the narrator comforts little Tom, sha ving his curl white hair and getting bare, so that he needn't worry that his hair would get spoiled until Tom falls asleep. Here To m's family name "Dacre" is a homophone for the word "dark". In next three stanzas, the poem describes Tom's dream. He drea ms of an angel opening the coffins and freeing the sweepers. It shows the freeing of Tom and other sweeps from the oppressive lifestyle.When the angel tells Tom that ―if he’d be a good boy, He’d have God for his father and never want joy‖, he gives Tom hope that if he is good and does his job, God will be his father and bless him in the next life. Figures of Speech:symbolism,irony)7.Songs of Experience-The Chimney Sweeper(B1,P289)(Theme: This poem protest the living working and conditions, and the overall treatment of youngchimney sweepers in the cities of England; also it expresses sympathy for these young chimney sweepers.Content: In the first two lines, Blake gives us an image of an anguished child in a state of agony. In the second stanza, the child is pictured in a very more happier and playful mood. This soon changes when he decides to tell the stranger more about his parents. They are showed to be punishing their child for being so happy by "clothing in clothes of death and teaching him to sing notes of woe." It is very obvious the sweeper’s feels hate towards his parents for putting him in such sadness, but inst ead he chooses to hide it by making himself look happy and satisfied.It is clear in the last Stanza that Blake’s criticizing the Church, especially, and the state for letting a lot of these things happen. During this time many children were dying from being, either, worked to death or from malnutrition. Neither the state or the church did any thing to stop this and is obviously why Blake feels so much anger towards them. The sweeper’s parents are really no help towards their own child. This makes the reader wonder, if they are worshiping god, the source of good doings, why do they chose to ignore their own child. They would rather turn their heads the other way and instead find love at church. Figures of speech:partial tone:T he cry "'weep! 'weep! " is actually the child's attempt at saying "Sweep! Sweep! ‖,whichwas the chimney sweeper's direct cry. The use of the partial tone creates an ironic effect. It makes readers feel that the chimney children are weeping for their living and working conditions.symbolism,Contrast:In the first two lines, t he color black seems to be very important because it is used to represent sin against innocence, the color of the white snow.)8.Holy Thursday --From Songs of Innocence'(Theme: portrays unfortunate children as blessings to society and shows their gratitude towards God for all that he has done. Figures of speech: simile, metaphor, symbolismBlake tries to express an optimistic and hopeful image of innocent children singing to Christ onthe day of ascension. The poem’s rhythm is playful and childish and effectively carries out Blake’s image.In the first four lines, colorful children are marching into St Paul’s cathedral for the celebration of the ascension of Christ. From the footnote, one learns that these children are from the charity s chools in London, meaning that they are very poor and probably don’t have a family. Despite their hardships, the children are still described in a joyful, harmonic wayWith an ABAB rhyming pattern, the poem starts with a bouncing, nursery rhyme quality. The children’s problems are not an iss ue; they are still cute, innocent, and alive, like a river. The beadles that must keep the kids in order are portrayed as old and lifel ess men who have lost their childhood innocence. Even though these children are poor and homeless, they are showing hopeful ness and optimism when they go to sing the Lord’s praisesIn the next stanza, the children are again portrayed as sweet and innocent, and there is no mention of the hardships they must fa ce every other day in their life. There are a few different images that Blake gives the reader to express his idea that children are pure and free–flowing characters:Here, the children are a beautiful and vital part of the London society. They are ―flowers‖ that give pleasure to all men and wom en. Blake fails to mention that these children are a blight and burden to mankind. They are victims of a cruel and harsh world, a nd as a result, they reflect images of misery and poverty. However, in this stanza, the children are innocent lambs who have a ―r adiance all their own.‖ They are beautiful flowers and are pleasing to the entire world.In the final stanza, the children are singing to the heavens with songs of joy. They are singing the praises of the Lord to heaven on this glorious day.Here, the children are powerful and mighty and are capable of communicating with the heavens above. They believe that God tr uly loves them in spite of the fact that they are really the wretched of the earth. Even though they are penniless and homeless, the children raise their hands and sing their praise and thanks to Jesus.)9.Holy Thursday---From Songs of Experience(Theme: the condemn for the church or the god; sympathy for the poor childrenFigures of speech: contrast, irony, metaphorThis poem is negative and pessimistic and it questions the nature or existence of a God. The children are rejected and abused by society and they are exactly the opposite of the children in the first poem.This procession into the cathedral has religious intentions, but the speaker wonders how holy it is to have so many pitiful and m iserable children in a world that is so rich and prosperous. It doesn’t seem possible to him that these children are singing to the Lord out of pure happiness and thanksgivingThe speaker finds it hard to believe that these children are actually singing out praises of the Lord. He sees them so unhappy an d so poor, and yet they are thanking Jesus for all that he has done for them. The series of questions by the speaker in this stanza implies a tone of disbelief and amazement that heightens throughout the poem.In the last two stanzas, the speaker offers an explanation as to why these children are so poor and pitiful.The speaker believes that the life of the children is always dark, bleak, and bare. It will always be difficult, cold, and barren. He believes that the children are poor because they never have any sunshine or any rain. In other words, these kids don’t have the wonderful and plentiful eye of the Lord upon them. Blake believes that man could not decline into such a pitiful state if God is constantly watching over him. Throughout the ceremony, the children are praising God and all of His works. This prai se now seems very ironic since these children are not under the watchful eye of the Lord)10.The Lamb" --From Songs of Innocence(Theme: the origin of human, blessing for the human and GodContent: The poem begins with the question, ―Little Lamb, who made thee?‖ The speaker, a child, asks the lamb about its origins: how it came into being, how it acquired its particular manner of feeding, its ―clothing‖ of wool, its ―tender voice.‖ In the next stanza, the speaker attempts a riddling answer to his own question: the lamb was made by one who ―calls himself a Lamb,‖ one who resembles in his gentleness both the child and the lamb. The poem ends with the child be stowing a blessing on the lamb.Figures of speech:repetition:Repetition in the first and last couplet of each stanza makes these lines into a refrain, and helps to give the poem its song-like quality.rhetoric questionsSymbolism:The lamb symbolizes Jesus and the image of the child is also associated with Jesus.Comment:The poem is a child’s song, in the form of a question and answer. The first stanza is rural and descriptive, while the second focuses on abstract spiritual matters and contains explanatio n and analogy. The child’s question is both naive and profound. The question (―who made thee?‖) is a simple one, and yet the child is also tapping into the deep and timeless questions that all human beings have, about their own origins and the nature of cr eation. The poem’s apostrophic form contributes to the effect of naivety, since the situation of a child talking to an animal is a believable one, and not simply a literary contrivance. Yet by answering his own question, the child converts it into a rhetorical one, thus counteracting the initial spontaneous sense of the poem. The answer is presented as a puzzle or riddle, and even though it is an easy one—child’s play—this also contributes to an underlying sense of ironic knowingness or artifice in the poem. The child’s answer, however, reveals his confidence in his simple Christian faith and his innocent acceptance of its teachings.)11.The Tiger(B1,P288)(Theme:humans are incapable of fully understanding the mind of God and the mystery of his handiwork.But considering the social background of this poem, It could destroy the old system and establish a new one.Content:This poem begins with the author presents a series of questions that embodies the central problem: Who created the tiger? Or w as it Satan? Blake presents his question in Lines 3 and 4: What immortal hand or eye/ Could frame thy fearful symmetry? However, to express his bewilderment that the God who created the gentle lamb also created the terrifying tiger, he includes Satan as a possible creator while raising his rhetorical questions, the one he asks in Lines 5 and 6: In what distant deeps orskies/Burnt th e fire of thy eyes?Figures of speech:Symbolism:The tiger is symbolic of the revolutionary forces:the French people in the French Revolution to which Blake was a s upporter and it can also symbolizes evil, or the incarnation of evil.And that the lamb represents goodness, or Christ. Metaphor&alliteration:In Lines 3 and 4the author uses alliteration and metaphor to make comparison the tiger and his eyes to fi re.Symbol&Allusion:In Lines 5 and 6: In what distant deeps or skies/Burnt the fire of thy eyes? In these sentences, “Deeps” ap pears to refer to hell and “skies” refer to heaven which is the expression of symbol and Allusion.Comments:It is said that human souls have two sides: a good side, and an evil side."The Lamb" and "The Tyger," by William B lake, are both poems of deep meaning. They seem to explain both sides of human nature: the light and the dark, the yin and the yang, the good and the evil. They can also represent the transition from a child to an adult or even Heaven and Hell. "The Lamb " is a poem that is referring to the good side of the human soul, while "The Tyger" is referring to the dark side. The lamb brings to mind innocence,purity,children,or Jesus; the tiger brings to mind viciousness, cunning, danger, or death. )彭斯12.John Anderson my jo, John(B1, P294)(theme: love. Content:It’s a simple but warm poem about the commonplace feeling of a ordinary couple. The old wife recalls their encounter at their young ages and compare her husband’s young appearance with that of now. They has gone through so many years, and she blesses her husband and wishes joint happiness until their death.Figures of Speech:Metaphor/contrast: In line3 and line6, John’s locks are said to be as black as the raven when young but as white as snow now. The metaphor is so properly used, while the contrast between John’s young and aged years is also very vivid in delivering the massage of their peaceful and lasting marriage.Rhyme:Comments: This poem is very simple, but it remind me of a Chinese saying, ― I’ll take your hand and grow old with you.‖The love I dreamed of is just like this, more stability and less impulsion.)华兹华斯13.The Solitary Reaper(B2,P22)(theme:T he poet is fascinated with a Scottish peasant girl’s beautiful song.Content: Stanza 1: The poet heard a Scottish girl singing while reaping in the wheat field.Stanza 2: The poet is surprised to hear such a beautiful song in so remote aplace.Stanza 3: The poet doesn’t understand her song but knows it is about something sad. Stanza 4: The poet was so moved by her song that he could never forget it.Figures of Speech:Contrast:反衬⽤夜莺和杜鹃反衬少⼥歌声的优美Metaphor/synaesthesia:暗喻、通感声⾳在作者眼中变为有形的事物Vocative:呼语BEHOLD HER /O LISTEN,像在与⼈对话,拉近读者和说话者的距离Repetition:反复同源词反复Analogy:少⼥的歌声与夜莺和杜鹃的歌唱诗⼈与旅⼈及赫布⾥群岛Symbolism: 象征MOUNT UP THE HILL象征着⼈⽣的旅途Rhyme:iniambic tetrameter with the rhyme of ababccdd (except lines 1 & 3 In stanzas 1 and 4)Comments:⽣活中有时停下匆匆的脚步可能会有惊喜。
英国经典诗歌欣赏

英国经典诗歌欣赏《英国经典诗歌欣赏:丁尼生〈《尤利西斯》〉》一、原文:《尤利西斯》长昼将尽,月升日落;我听到,岸边涛声渐弱。
滩上暗沙,被海水洗过,我的航海者伙伴们,划桨击水,驶向归途;他们卸下肩头的桨,终止漂泊。
漫长的旅途,劳顿的身心,赢得了什么?港湾中的歇息,还有这黄昏时平静的海滨;并非什么丰功伟绩。
嗨,只保存这点精力,还经得起几次风雨?终点就在眼前,可生命的旅程,似乎才刚刚起步;我生命的黄昏太孤寂,我想利用这最后的时机。
我永不停止这狂野的游历,将我的生命付诸万里波涛;我曾享受过人世恩遇,也吃过不少苦头;且让我作最后一次远航,看黄昏星在西天的余光。
我怀着一种强烈的渴望,不达目的地决不下战场;也许浪涛会把我吞噬,也许我会到达幸福岛。
虽然我老迈,但我还有余力,风浪不动摇我坚定的意志。
我的水手们——意志与我相同,他们既受辛苦也享光荣;尽管被时光和命运削弱,但仍有坚强意志去斗争!岸和洋,也许是隔开我们的尸首,但是,无论如何,我的意向不变。
那时候,也许一息尚存的我发现,那未见的世界就在大洋彼岸;也许海水会把我淹没,也许会踏上异域的沙滩;那时候我看到的灯光,是佩涅洛佩手中的灯盏;她坐在家中心神不安,等待她丈夫归还——我迟归的灵魂呀,见到灯光就心安。
来吧,我的朋友们,去追寻一个更新的世界。
还来得及,趁着未老龙钟;虽然被拿走许多东西,但还有许多留存。
因为岁月虽然驯服了我们,但我们仍然豪迈英勇。
去奋斗,去探索,去追求,永不倒下。
二、衍生注释:1. “尤利西斯”:在希腊神话中是奥德修斯的拉丁名,他是伊塔卡岛的国王,以智慧、坚韧和历经漫长冒险旅程归家而著名。
诗中以尤利西斯象征着不甘寂寞、渴望冒险与探索的勇者形象。
2. “佩涅洛佩”:尤利西斯的妻子,她以忠贞著称,在尤利西斯征战与漂泊他乡的漫长岁月里,苦苦守在家中等待他归来。
三、赏析:1. 主题:这首诗的主题是关于对冒险、探索与生命意义的追求。
尤利西斯尽管年事已高,经历了众多的磨难和游历,但他依然渴望新的旅程,拒绝安于现状。
英国诗歌赏析

英国诗歌赏析导言英国文学在世界文学史上占有重要地位,其诗歌作品更是为人所推崇。
从中世纪的古老诗歌传统到维多利亚时代的浪漫时期,英国诗人通过他们的作品传达了各种情感和思想。
本文将从几个重要的英国诗人入手,进行一些具体的赏析和分析。
一、威廉·莎士比亚威廉·莎士比亚(William Shakespeare)被公认为英国最伟大的文学家之一,同时也是最伟大的戏剧家之一。
在他较短的生命中,他写下了许多著名的戏剧作品,其中有许多包含着令人难忘的诗歌。
莎士比亚的诗歌展现了他独特的才华和创造力。
在他的诗歌中,我们可以看到对爱情、人性和权力等主题的深入剖析。
例如,在他的著名爱情悲剧《罗密欧与朱丽叶》中,他运用了美妙的诗句表达了两位年轻恋人之间的激情和悲伤。
其中一句“但愿这种荣耀是夏季最少的鸟儿,飞得最高的鸟儿”深深触动了无数读者的心弦。
莎士比亚的诗歌才华使他的作品经久不衰,并成为世界各地戏剧演员和诗歌爱好者的珍藏。
二、约翰·基茨约翰·基茨(John Keats)是浪漫主义时期的杰出诗人之一。
他的诗歌以其优美的形象、深情和富有感知力的文字而闻名。
基茨的诗歌表达了对自然、艺术和爱情的热情。
他的一首著名诗歌《秋夜长诗》描述了一个富有画面感的秋天夜晚。
他通过细腻的描写和富有感情的语言,让读者真切地感受到了秋天的美丽与温暖。
基茨的诗歌作品也探讨了许多深刻的主题,例如生死、时间和美的本质。
他的作品常常将寻找内心世界与对外部世界的观察和体验相结合,给人留下深刻的印象。
三、威廉·华兹华斯威廉·华兹华斯(William Wordsworth)是著名的浪漫主义诗人,也被誉为英国浪漫主义诗歌运动的领袖之一。
他的诗歌作品被誉为具有启发性和敏感性的杰作。
华兹华斯的诗歌作品主要表达了对自然和人类内心的关注。
他强调人与自然之间的亲密关系,并倡导人们回归大自然和内心的平静与安宁。
他的著名诗歌《世界太多吵闹》以诗人的视角观察现实世界,描述了城市生活的嘈杂和丛林中的宁静。
英美诗歌赏析(英文版)

1墓园挽歌:托马斯·格雷(Thomas Gray,1716-1771)是感伤主义诗歌的代表诗人。
他最著名的诗歌是便是《墓园挽歌》,并因此同写过《夜吟死亡》(Nitht-Piece on Death,1721)的托马斯·帕达尔(Thomas Parnell, 1679-1718),写过《坟墓》(The Grave, 1743)的罗伯特·布莱尔(Robert Blair,1699-1746)和写过《夜思》(Night Thoughts,1742)的爱德华·杨格(Edward Yong,1683-1765)等人一道被称为“墓园派诗人”。
《墓园挽歌》是“感伤主义”的代表作,常被批评家誉为十八世纪乃至英国历来最好的诗歌。
这首诗有着这样独特的地位,主要是因为它凝聚了每个时期中的某种社会情绪,用比较完美的形式表达了这种情绪,在一定程度上解决了如何革新旧传统的问题,具有较高的艺术成就。
这首诗写诗人流连在乡村的墓园里,望着一座座平民百姓的墓石,他思考了狠毒。
这些人默默无闻,劳作终身,死后埋葬简陋的墓地里,他们身前也有过报复,经历过悲欢离合。
回忆中,诗人对他们寄予深切的同情,对骄奢淫逸的权贵做了温和的批评,并指出:不论身前多么荣华富贵,死亡对于每个人来说都是平等的。
既然大家殊途同归,人们就应该以一种豁达的态度来面对人生。
这首诗共32 节,每节有四行五步抑扬格组成,以abab 押韵。
总体上来说,这首诗在形式上采用了古典主义的格式,但在内容上却显示了感伤主义和浪漫主义的新特征。
诗人在晚钟时分步入墓园:晚钟殷殷响,夕阳已西沉。
群牛呼叫归,迂回走草径。
农夫荷锄犁,倦倦回家门。
唯我立狂野,独自对黄昏。
(The curfew tolls the knell of parting day,The lowing herd winds slowly o'er the lea,The ploughman homeward plods his weary way,And leaves the world to darkness and to me.)开头一段描写了天黑时分牧人赶着牛群徐徐入村,农人们经历了一天的劳累拖着疲惫的步伐回家的景象,把恬静的乡村生活如风景画般的呈现在了我们面前。
英文诗歌赏析

English poetry appreciation: essay 1Chris Chang [4-2] Student number: 2014012644May 18th, 2015The Evaluation Of Ballad Form——An example of how a literary ballad takes the traditional balladform and uses it in more complex and innovative waysCenturies-old in practice, the composition of ballads began in the European folk tradition, in many cases accompanied by musical instruments. Ballads were not originally transcribed, but rather preserved orally for generations, passed along through recitation.A typical ballad is a plot-driven song, with one or more characters hurriedly unfurling events leading to a dramatic conclusion. To convey that sense of emotional urgency, the ballad is often constructed in quatrain stanzas, each line containing as few as three or four stresses and rhyming either the second and fourth lines, or all alternating lines. Both traditional ballads and literary ballads use this form to express the ideas and feelings of the poets, but the literary ballads tend to be more organized and effective.The form of ballads keeps evolving up with the time, and actually all the ballads do not have the same formal consistency as some other poetic forms. Ballads emphasize strong rhythms, repetition of key phrases, and rhymes; if you hear a traditional ballad, you will know that you are hearing a poem. Ballads are meant to be song-like and to remind readers of oral poetry. Though we can always identify a ballad by these certain characteristics, the traditional ballads and literary ones still differ from each other type. Here are some analysis of the differences between the forms of traditional poets and literary ones, which are based on the contrast of the traditional ballad She Moved Through the Fair and the literary one Two Red Roses Across the Moon.1.Simple language. Most ballads are composed for audiences of non-specialist hearers orreaders. Therefore, they feature language that people can understand without specialist training or repeated readings. When we see the ballad She Moved Through the Fair, there are many everyday words in the lines, especially the description of the movement of the beloved: She stepped away from me / And she moved through the fair / And fondly I watched her / Move here and move there.All the descriptions are just plain and modest, which is accessible to every reader.Comparing to the literary one Two Red Roses Across the Moon, the poet William Morris used more complicated and meaningful words. For instance, You scarce could see for the scarlet and blue / A golden helm or a golden shoe / So he cried, as the fight grew thick at the noon / Two red roses across the moon! In this stanza, William used more colorful words to express the feelings andemotions.Regardless of their intended audience, the choice of the ballad form generally implies a weaker emphasis on simple language. But as ballads, simple language is one of the most important characters, so even in the literary ballad Two Red Roses Across the Moon, William Morris just used a few complicated words to make the poet more colorful and well-designed. But overly intellectual or obscure is never used to describe a ballad, even the literary ones.2. Stories. Ballads tend to be narrative poems, poems that tell stories, as opposed to lyric poems, whichemphasize the emotions of the speaker and are less dramatic. This is a tradition of ballads. For example, in the traditional ballad She Moved Through the Fair, which tells a story about a poor young boy who is obsessed with a rich girl. This is a love story full of sorrow, in the model of Romeo & Juliet, and the narrator is just the boy. As for Two Red Roses Across the Moon, it tells a story between a lady with impressive voice and a knight who is going for a war. But in this ballad, the narrator changes into a person who is not involved in the relationship, just like the poet himself.As we can see, poets play different roles in this two types of ballads. In the traditional ballads, poets(maybe even no poets) are often part of the stories while the poets of literary ballads are more likely to be a by-stander. But this is not so typical.3. Repetition. A ballad often has a refrain, a repeated section that divides segments of the story. Many ballads also employ incremental repetition, in which a phrase recurs with minor differences as the story progresses.In the traditional ballad, the repetition is simple, mocking the way people talk, which is actually less logical. The repetition in the folk ballads tends to be a way to express the emotions and feelings, which makes the narration more believable. As for the later literary ballad, the repetition is better organized and designed(the example of this is the repetition of “Two red roses across the moon”), the repetitions are mostly used to make the poets and the rhymes organized. The repetition is more technical in the folk ballad.4. Dialogue. As you might expect in a narrative genre, ballads often incorporate multiple characters into their stories. Often, since changes of voice were communicated orally, written transcriptions of oral ballads give little or no indication that the speaker has changed. So as you can see, dialogues are not so normal in folk ballads because the folk ballads are a nearly literally record of a narration, so the dialogues are not so appropriate to appear in a folk ballad.But in a literary ballad, the dialogues are more common, this is a great method to explain the relationships between the roles in the ballads, so it’s often used as a technical add to the narration to make the ballads a little more intelligent and colorful.The folk ballad belongs to the oral tradition. It is anonymous, and it is transmitted from singer to singer by word of mouth. The ballad form is quite ancient. In fact, the pre-existing oral materials that were integrated into the Homeric epics probably consisted largely of ballads and other closely related forms.Ballad poets drew their material from community life, from local and national history, and from legends and folklore. Their tales are usually of adventure, war, love, death, violence, betrayal, and the supernatural.In places where the folk ballad remains as a living tradition, the bards not only recite ballads handed down through countless generations, but also compose new ballads along the familiar narrative pattern, though dealing with recent events.As a conclusion, the traditional ballads are natural and less decorated or polished, it’s mostly based on the reality and little involved with technical methods. And as the result of evolution of ballads, literary ballads are more organized and complex to tell a story and deliver the emotions, while the poets keep using simple language and other skills to make the ballads seem like traditional ones.references1./~simpsone/Connections/Poetry/Forms/ode1.html2./folk-ballads-broadside-ballads-literary-ballads-61808.html3./poetsorg/text/poetic-form-ballad4.The British Literary Ballad。
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Sonnet 18
William Shakespeare
S hall 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: Sometime too hot the eye of heaven shines,
And of ten is his gold complexion dimm’d;
And every fair from fair sometime declines,
By chance, or n ature’s changing course untrimm’d; But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
N or 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 Selected Metaphysical poems by John Donne I.
THE FLEA
Mark but this flea, and mark in this,
How little that which thou deniest me is ;
It suck'd me first, and now sucks thee,
And in this flea our two bloods mingled be.
Thou know'st that this cannot be said
A sin, nor shame, nor loss of maidenhead;
Yet this enjoys before it woo,
And pamper'd swells with one blood made of two ; And this, alas ! is more than we would do.
O stay, three lives in one flea spare,
Where we almost, yea, more than married are. This flea is you and I, and this
Our marriage bed, and marriage temple is. Though parents grudge, and you, we're met,
And cloister'd in these living walls of jet. Though use make you apt to kill me,
Let not to that self-murder added be,
And sacrilege, three sins in killing three.
Cruel and sudden, hast thou since
Purpled thy nail in blood of innocence?
Wherein could this flea guilty be,
Except in that drop which it suck'd from thee?
Yet thou triumph'st, and say'st that thou
Find'st not thyself nor me the weaker now.
'Tis true; then learn how false fears be;
Just so much honour, when thou yield'st to me,
Will waste, as this flea's death took life from thee.
II.
A V ALEDICTION: FORBIDDING MOURNING
AS virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say,
"Now his breath goes," and some say, "No." So let us melt, and make no noise, 5 No tear-floods, nor sigh-tempests move;
'Twere profanation of our joys
To tell the laity our love.
Moving of th' earth brings harms and fears;
Men reckon what it did, and meant; 10 But trepidation of the spheres,
Though greater far, is innocent.
Dull sublunary lovers' love
—Whose soul is sense—cannot admit
Of absence, 'cause it doth remove 15 The thing which elemented it.
But we by a love so much refined,
That ourselves know not what it is,
Inter-assurèd of the mind,
Care less, eyes, lips and hands to miss. 20 Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to aery thinness beat.
If they be two, they are two so 25 As stiff twin compasses are two;
Thy soul, the fix'd foot, makes no show
To move, but doth, if th' other do.
And though it in the centre sit,
Yet, when the other far doth roam, 30
It leans, and hearkens after it,
And grows erect, as that comes home.
Such wilt thou be to me, who must,
Like th' other foot, obliquely run;
Thy firmness makes my circle just, 35 And makes me end where I begun.。