美国文学诗歌
allan poe 最著名的诗
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《乌鸦》和《安娜贝尔·李》等是爱伦·坡最著名的诗。
1.爱伦·坡(Edgar Allan Poe,1809年1月19日-xxx),美国文学家、诗人、小说家、文学评论家和编辑,被誉为恐怖文学和侦探小说之父,以其心理恐怖文学作品著称。
2.《乌鸦》是爱伦·坡最著名的诗之一,它被认为是美国文学史上最伟大的作品之一,直到今天它仍然具有深远的影响力。
3.这首诗以诗人孤独和悲伤的内心世界为主题,描述了一个孤独哀伤的男子,因失去了心爱的女人琳达而陷入绝望之中。
4.诗中的“乌鸦”代表了逝去的象征,它不断地重复“从未更”这句话,无情地嘲讽诗人,使他更加绝望和绝望。
5.《乌鸦》采用了复杂的韵律和押韵,诗歌节奏感极强,语言精练而深刻,给人以极强烈的震撼。
6.另一首著名的爱伦·坡的诗是《安娜贝尔·李》,它也是他的代表作之一,被认为是恐怖文学史上的经典之作。
7.《安娜贝尔·李》以其超凡的想象力和深刻的洞察力,揭示了诗人对已故恋人的思念之情,以及对逝去爱情的深深怀念。
8.这首诗以其独特的想象力和对逝去的恐惧感,将爱情和逝去结合在一起,表现出了爱伦·坡深沉的内心世界和对恐怖的探索。
9.《乌鸦》和《安娜贝尔·李》都具有极强的艺术价值和文学价值,它们对后世的文学创作产生了深远的影响,成为了后世文学作品的重要源泉。
10.爱伦·坡最著名的诗《乌鸦》和《安娜贝尔·李》不仅在诗歌创作上具有极高的艺术价值,而且在文学史上还产生了深远的影响,成为了美国文学史上的经典之作。
爱伦·坡(Edgar Allan Poe)以其独特的文学风格和对人性黑暗面的深刻洞察而闻名。
在他那短暂而不幸的一生中,他留下了许多著名的作品,其中最著名的当属《乌鸦》和《安娜贝尔·李》这两首诗。
《乌鸦》中的主人公,原本是一个愉快的年轻人,然而他的丧偶给他带来了无尽的痛苦和绝望。
song of myself6诗歌鉴赏
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song of myself6诗歌鉴赏摘要:一、诗歌背景介绍1.诗人简介2.创作背景二、诗歌内容分析1.主题思想2.艺术特色3.修辞手法三、诗歌价值评价1.历史地位2.后世影响3.个人感悟正文:【诗歌背景介绍】《Song of Myself》是美国著名诗人Walt Whitman 的代表作之一,被誉为美国诗歌史上的一部杰作。
Walt Whitman 生于1819 年,逝于1892 年,是美国浪漫主义文学的代表人物之一,他的诗歌以豪放、奔放、大胆而著称。
《Song of Myself》创作于1855 年,是Whitman 的诗集《Leaves of Grass》中的第一首诗歌。
这首诗歌长达52 节,是Whitman 用长达20 年的时间思考和创作的结果。
在诗歌中,Whitman 歌颂了自我、自然和宇宙的统一,表达了对生命的热爱和对民主、自由的追求。
【诗歌内容分析】《Song of Myself》的主题思想是歌颂自我,表达了对生命的热爱和对民主、自由的追求。
在诗歌中,Whitman 将自己称为“我”,通过对自己的歌颂,表达了对生命的热爱和对自然的敬畏。
他将自己视为自然的一部分,与自然融为一体,表达了一种人与自然、宇宙的和谐统一。
在艺术特色方面,《Song of Myself》采用了自由体诗歌的形式,形式自由、不拘一格,充满了活力和创造力。
Whitman 在诗歌中使用了大量的比喻、象征等修辞手法,使诗歌充满了想象力和感染力。
【诗歌价值评价】作为美国诗歌史上的经典之作,《Song of Myself》在诗歌史上具有重要的地位。
Whitman 的诗歌风格和思想对后世诗人产生了深远的影响,是美国文学史上不可或缺的一部分。
同时,这首诗歌也给了我很多启示,让我更加热爱生命,珍惜每一个瞬间。
songofmyself全诗歌
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songofmyself全诗歌
《Song of Myself》是美国诗人沃尔特·惠特曼的一首长诗,
收录于他的诗集《Leaves of Grass》中。
这首长诗被认为是惠特曼
最具代表性的作品之一,也是美国文学史上的经典之一。
全诗长达
52节,涵盖了各种主题,包括个人主义、自然、宇宙和人类等,以
及对民主、自由和人类精神的探索。
《Song of Myself》以自我为中心,探讨了个体与整体的关系,表达了对自由、平等和人类内在精神的追求。
诗中充满了对自然的
赞美和对人类生活的热爱,展现了惠特曼对世界的深刻思考和对人
性的洞察。
这首长诗以自由的节奏和自由的形式展现,旨在打破传统的文
学规范,强调个体的独特性和包容性。
惠特曼运用了自由诗的形式,以及大量的修辞手法和象征意义,使得整个作品充满了力量和感染力。
《Song of Myself》被视为美国文学的里程碑之一,它不仅在
当时引起了轰动,也对后世的诗人和作家产生了深远的影响。
这首
诗通过对个人与整体、自然与人类、灵魂与身体等问题的探讨,展
现了惠特曼对世界和人类的独特见解,成为了一部永恒的文学经典。
美国文学诗歌翻译
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美国文学诗歌翻译黄鼠狼的时刻(为伊丽莎白?比肖普而作)鹦鹉螺岛上的隐士那个女继承人在简陋的屋子里过了一冬;她的羊群还在海边高地上吃草。
她儿子是个主教。
她的农场主是咱们村里的第一任村长;她如今年已老迈。
她渴望得到维多利亚女王时代那种等级森严的清静闲适,她收买了所有对岸看不顺眼的地方,任它去倾颓。
这季节出了毛病——我们丧失了夏天的百万富翁,他仿佛是从一个货目单上逃走了。
他那九英尺长的游艇拍卖给了一个捕虾的人了。
秋天的蓝山沾满狐狸皮的红斑点。
如今我们那仙子般的装饰家粉饰好店铺等着秋市开张,他的渔网挂满橘黄色的浮子,鞋匠的凳子,锥子也是橘色的;他干活,挣不了钱,他不如去结婚。
一个黑夜,我的福特车爬上山头,我注视情人们的车子。
灯黑了,车子并列着,机身捱着机身,坟场在市镇上空层层排列着。
我的脑袋不对头。
一辆车中的无线电在尖叫,“爱情,啊,轻率的爱情……”我听到每个血细胞中都有恶神在啜泣,仿佛我的手卡住了喉咙……我自己也像是座地狱;这里没有人——只有黄鼠狼,在月光下寻找一口食物,他们在大街上阔步行进;毛上的白条纹,狂乱的眼神吐出红的火光,在三一教堂那些白垩色,带横梁的尖顶下面。
我站在我家后门的台阶上,吸入浓烈的气味——一只黄鼠狼带着一群小的舐着废物箱中的食钵,她把尖尖的脑袋插进一个酸乳酪杯子,垂下她鸵鸟似的尾巴,什么也不怕。
1957【baiya评:两处明显的误译参见版本一评。
除此之外,尚有一些细节可以商榷:1、“在海边高地上”;2、“清静闲适”;3、“逃走”;4、“秋天的蓝山沾满狐狸皮的红斑点”;5、“机身捱着机身”;6、“白垩色,带横梁的尖顶”;7、“舐着废物箱中的食钵”;8、“什么也不怕”。
】注释:①袁可嘉先生此诗有译本,名为《黄鼠狼的时刻》。
黄鼠狼,学名黄鼬,英文名weasel,周身棕黄或橙黄,分布于亚洲地区;臭鼬,skunk,体大如家猫,毛皮黑白相间,分布在整个北美洲。
②鹦鹉螺,拉丁学名Nautilus Pompiplius,英文名Ammonite,头足动物纲软体贝类动物,与章鱼有亲缘关系,素有“活化石”之称。
huswifery诗歌鉴赏
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huswifery诗歌鉴赏
《Huswifery》是美国殖民地时期的一首诗,由Edward Taylor
创作。
这首诗是在17世纪晚期写的,被认为是美国文学的早期杰作
之一。
这首诗以一种宗教和田园诗的形式表达了对上帝的敬畏和对
人类生活的思考。
在这首诗中,作者使用了比喻和象征来表达他对上帝的虔诚和
对信仰的执着。
诗中的主题主要围绕着上帝对人类生活的塑造和引导。
作者将自己比作一件纺织品,请求上帝将他塑造成一件完美的
工艺品,以便为上帝效力。
这种比喻手法使诗歌充满了宗教意义,
表达了作者对信仰的虔诚和对上帝的顺从。
此外,诗中的用词和语言也展现了作者的诗意天赋和对形象的
巧妙运用。
作者使用了丰富的比喻和象征,将日常生活中的纺织活
动与灵性生活相联系,展现了他对信仰的深刻理解和对上帝的敬畏
之情。
总的来说,《Huswifery》这首诗歌以其宗教意义、比喻手法和
语言运用而著称。
它不仅是一首表达作者对上帝敬畏和信仰的诗歌,也是一首展现了作者诗意天赋和对形象运用的杰作。
这首诗歌在美
国文学史上具有重要的地位,对后世的诗人和文学创作产生了深远的影响。
现代主义诗歌 美国文学
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The Fugitives
Southern Renaissance John Crowe Ransom, Allen Tate, Donald Davidson, Robert Penn Warren The Fugitives (including Eliot and Pound’s modernist poems) Southern cultural tradition (different from the avant-gardes and the lost generation): southern prejudice, values, emotions Revolt against northern industrialism Revolt against the romantic sentimentality; both conservative and revolutionary (Tate more avantgarde)
Exaltation of nature, love and life Breach with reality Traditional form Classical literary and mythical allusion (Vachel Lindsay, E. A. Robinson, Robert Frost)
H. D.
Amy Lowell
RETURN
F. S. Flint
RETURN
Imagism and Imagist Poets
Principles of imagism
Pound’s “A Few Don’ts” F. S. Flint’s “Imagism”
Direct depiction of objects (images; form serves content) No useless words or phrases (without comment or explanation or exclamation, no descriptive language, even no verbs and conjuncts) Use of musical sentences instead of rhythmic beats
美国文学诗歌
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To My Dear and Loving HusbandBy Anne BradstreetIf ever two were one,then surely we.If ever man were loved by wife, then thee;If ever wife was happy in a man,Compare with me,ye women,if you can.I prize thy love more than whole mines of goldOr all the riches that East doth hold.My love is such that rivers cannot quench,Nor ought but love from thee,give recompense. Thy love is such I can no way repay,The heavens reward thee manifold,I pray.Then while we live,in love let’s so persevere That when we live no more,we may live ever. ContemplationsBy Anne BradstreetI heard the merry grasshopper then sing,The black-clad cricket bear a second part;They kept one tune and played on the same string Seeming to glory in their little art.Small creatures abject thus their voices raise, And in their kind resound their Maker’s praise, Whilst I, as mute, can warble forth no higher lays? The Yellow VioletBy William Cullen Byrant When beechen buds begin to swell,And woods the blue-bird's warble know,The yellow violet's modest bellPeeps from the last year's leaves below.Ere russet field their green resume,Sweet flower, I love, in forest bare,To meet thee, when thy faint perfumeAlone is in the virgin air.Of all her train, the hands of SpringFirst plant thee in the snowy mould,And I have seen thee blossomingBeside the snow-bank's edges cold.Thy parent sun, who bade thee view,Pale skies, and chilling moisture sip,Has bathed thee in his own bright hue,And streaked with jet thy glowing lip.Yet slight thy form, and low thy seat,And earthward bent thy gentle eye,Unapt the passing view to meetWhen loftier flowers are flaunting nigh.Oft, in the sunless April day,Thy early smile has stayed my walk;But midst the gorgeous blooms of May,I passed thee on my humble stalk.So, they, who climb to wealth, forgetThe friends in darker fortunes tried,I copied them - but I regretThat I should ape the ways of pride.And when again the genial hourAwakes the painted tribes of light,I'll not o'erlook the modest flowerThat made the woods of April bright.A Psalm of LifeBy Henry Wadsworth Longfellow What the Heart of the Young Man said to the Psalmist. Tell me not, in mournful numbers,"Life is but an empty dream! "for the soul is dead that slumbers,And things are not what they seem.Life is real! Life is earnest!And the grave is not its goal;"Dust thou art, to dust returnest, "Was not spoken of the soul.Not enjoyment, and not sorrow,Is our destined end or way;But to act, that each to-morrowFind us farther than to-day.Art is long , and Time is fleeting,And our hearts, though stout and brave,Still, like muffled drums, are beatingFuneral marches to the grave.In the world's broad field of battle,In the bivouac of Life,Be not like dumb, driven cattle!Be a hero in the strife!Trust no Future,howe'er pleasant!Let the dead Past bury its dead!Act, -act in the living Present!Heart within, and God o'erhead!Lives of great men all remind usWe can make our lives sublime,And , departing , leave behind usFootprints on the sands of time;Footprints, that perhaps another,Sailing o'er life's solemn main,A forlorn and shipwrecked brother ,Seeing, shall take heart again.Let us , then, be up and doing,With a heart for any face;Still achieving, still pursuing,Learn to labour and to wait.Wild Nights-Wild Nights!By Emily Elizabeth Dickinson Wild nights! Wild nights!Were I with theeWild nights should beOur luxury!Futile-the windsTo a heart in port—Done with the compass-Done with the chart!Rowing in Eden-Ah,the sea!Might I but moor-To-night in thee!I'm Nobody! Who are you?By Emily Dickinson I'm nobody! Who are you?Are you--Nobody--too?Then there's a pair of us!Don`st tell! they'd advertise--you know!How dreary--to be--Somebody!How public--like a Frog--To tell your name--the livelong June--To an admiring Bog!Success Is Counted SweetestBy Emily Dickinson Success is counted sweetestBy those who ne'er succeed.To comprehend a nectarRequires sorest need.Not one of all the purple hostWho took the flag to-dayCan tell the definition,So clear, of victory!As he, defeated, dying,On whose forbidden earThe distant strains of triumphBurst agonized and clear!O Captain! My Captain!By Walt WhitmanO Captain! my Captain! our fearful trip is done,The ship has weathered every rack, the prize we sought is won,The port is near, the bells I hear, the people all exulting,While follow eyes the steady keel, the vessel grim and daring;But O heart! heart! heart!O the bleeding drops of red,Where on the deck my Captain lies,Fallen cold and dead.O Captain! my Captain! rise up and hear the bells;Rise up--for you the flag is flung--for you the bugle trills,For you bouquets and ribboned wreaths--for you the shores accrowding, For you they call, the swaying mass, their eager faces turning;Here Captain! dear father!This arm beneath your head!It is some dream that on the deckYou've fallen cold and dead.My Captain does not answer, his lips are pale and still,My father does not feel my arm, he has no pulse nor will,The ship is anchored safe and sound, its voyage closed and done, From fearful trip the victor ship comes in with object won;Exult O shores, and ring O bells!But I, with mournful tread,Walk the deck my Captain lies,Fallen cold and dead.TearsBy Walt WhitmanTears! tears! tears!In the night, in solitude, tears,On the white shore dripping, dripping, suck'd in by the sand,Tears, not a star shining, all dark and desolate,Moist tears from the eyes of a muffled head;O who is that ghost? that form in the dark, with tears?What shapeless lump is that, bent, crouch'd there on the sand? Streaming tears, sobbing tears, throes, choked with wild cries;O storm, embodied, rising, careering with swift steps along the beach!O wild and dismal night storm, with wind--O belching and desperate!O shade so sedate and decorous by day, with calm countenance and regulated pace,But away at night as you fly, none looking--O then the unloosen'd ocean, Of tears! tears! tears!One's-Self I SingBy Walt WhitmanOne's-Self I sing, a simple separate person,Yet utter the word Democratic, the word En-Masse.Of physiology from top to toe I sing,Not physiognomy alone nor brain alone is worthy for the Muse,I say the Form complete is worthier far,The Female equally with the Male I sing.Of Life immense in passion, pulse, and power,Cheerful, for freest action form'd under the laws divine,The Modern Man I sing.To HelenBy Edgar Allan PoeHelen, thy beauty is to meLike those Nicean barks of yore,That gently, o'er a perfumed sea,The weary, wayworn wanderer boreTo his own native shore.On desperate seas long wont to roam,Thy hyacinth hair, thy classic face,Thy Naiad airs have brought me homeTo the glory that was GreeceAnd the grandeur that was Rome.Lo! in yon brilliant window-nicheHow statue-like I see thee stand,The agate lamp within thy hand!Ah, Psyche, from the regions whichAre Holy Land!The RavenBy Edgar Allan PoeOnce upon a midnight dreary, while I pondered, weak and weakry. Over many a quint and curious volume of forgotten lore.While I nodded, nearly napping, suddenly there came a tapping,As of some one rapping, rapping at my chamber door."'Tis some visitor," I muttered, "tapping at my chamber door--Only this, and nothing more."Ah, distinctly I remember it was in the bleak December,And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; -vainly I had tried to borrowFrom my books surcease of sorrow-sorrow for the lost Lenore-For the rare and radiant maiden whom the angels name Lenore- Nameless here for evermoreAnd the silken sad uncertain rustling of each purple curtain Thrilled me-filled me with fantastic terrors never felt before;So that now, to still the beating of my heart, I stood repeating" ' Tis some visitor entreating entrance at my chamber door-Some late visitor entreating entrance at my chamber door;-This it is and nothing more.Presently my soul grew stronger; hesitating then no longer, "Sir," said I, "or Madam, truly your forgiveness I implore;But the fact is I was napping, and so gently you came rapping,And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you"--here I opened wide the door; Darkness there, and nothing more.Deep into that: darkness peering, long I stood there wondering, fearingDoubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the darkness gave no token,And the only word there spoken was the whispered word, "Lenore!" This I whispered, and an echo murmured back the word, " Lenore! " Merely this, and nothing more.Then into the chamber turning, all my soul within me burning, Soon I heard again a tapping somewhat louder than before. "Surely," said I, "surely that is something at my window lattice;Let me see, then, what thereat is, and this mystery explore-Let my heart be still a moment and this mystery explore;'Tis the wind, and nothing more!Open here I flung the shutter, when, with many a flirt and flutter.In there stepped a stately raven of the saintly days of yore;Not the least obeisance made he; not an instant stopped or stayed he; But, with mien of lord or lady, perched above my chamber door- Perched upon a bust of Pallas just above my chamber door- Perched, and sat, and nothing more.Then this ebony bird beguiling my sad fancy into smiling,By the grave and stern decorum of the countenance it wore, "Though thy crest be shorn and shaven, thou," I said, "art sure no craven,Ghastly grim and ancient raven wandering from the Nightly shore- Tell me what thy lordly name is on the Night ' s Plutonian shore!" Quoth the raven, "Nevermore. "Much I marveled this ungainly fowl to hear discourse so plainly, Though its answer little meaning-little relevancy hore;For we cannot help agreeing that no sublunary beingEver yet was blessed with seeing bird above his chamber door-Bird or beast upon the sculptured bust above I us chamber door,With such mime as "Nevermore.”But the raven, sitting lonely on the placid bust, spoke onlyThat one word, as if his soul in that ill~ word he did outpour. Nothing farther then he uttered-not a feather then he fluttered-Till I scarcely more than muttered, "Other friends have flown before- On the morrow he will leave me, as my hopes have flown before. " Quoth the raven, "Nevermore. "Wondering at the stillness broken by reply so aptly spoken, "Doubtless," said I, "what it utters is its only stock and store," Caught from some unhappy master whom unmerciful Disaster Followed fast and followed fastel-so, when Hope he would adjure, Stern Despair returned, instead of the sweet Hope he dared adjure- That sad answer, "Nevermore!"But the raven still beguiling all my sad soul into smiling,Straight I wheeled a cushioned seat in front of bird, and bust, and door;Then upon the velvet sinking, I betook myself to linkingFancy unto fancy, thinking what this ominous bird of yore-What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking "Nevermore. "This I sat engaged in guessing, but no syllable expressingTo the fowl whose fiery eyes now burned into my bosom's core;This and more I sat divining, with my head at ease recliningOn the cushion's velvet lining that the lamplight gloated o'er,But whose velvet violet lining with the lamplight gloating o'er,She shall press, ah, nevermore!Then, methought, the air grew denser, perfumed from an unseen censer Swung by angels whose faint foot-falls tinkled on the tufted floor. "Wretch," I cried, "thy God hath lent thee-by these angels he hath sent theeRespite-respite and Nepenthe from thy memories of Lenore!Let me quaff this kind Nepenthe and forget this lost Lenore!"Quoth the raven, "Nevermore. ""Prophet!" said I, "thing of evil! -prophet still, if bird or devil! - Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate, yet all undaunted, on this desert land enchanted-On this home by Horror haunted-tell me truly, I implore-Is there-is there balm in Gilead?-tell me-tell me, I implore!"Quoth the raven, "Nevermore. ""Prophet!" said I, "thing of evil! -prophet still, if bird or devil!By that Heaven that bends above us-by that God we both adore-Tell this soul with sorrow laden if, within the distant Aidenn,It shall clasp a sainted maiden whom the angels name Lenore-Clasp a rare and radiant maiden whom the angels name Lenore.Quoth the raven, "Nevermore. ""Be that word our sign of parting, bird or fiend!" I shrieked, upstarting-"Get thee back into the tempest and the Night's plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! -quit the bust above my door!Take thy beak from out my heart, and take thy form from off my door! " Quoth the raven, "Nevermore. "And the raven, never flitting, still is sitting, still is sittingOn the pallid bust of Pallas just above my chamber door;And his eyes have all the seeming of a demon that is dreaming,And the lamp-light o' er him streaming throve his shadow on the floor; And my soul from out chat shadow that lies floating on the floorShall be lifted-nevermore!。
美国文学-文学诗歌期末考试赏析
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Emily Dickinson (1830-1886) I ' m Nobody!I ' m Nobody! Who are you? Are you Nobody too? Then there ' s a pair of us!Don' t tell, they ' d banish us, you know!How dreary to be Somebody! How public — like a Frog — To tell your name the livelong June To an admiring Bog!当个大人物多么的无趣, 就像只青蛙一在漫长的六月 公开地向赞扬它的沼泽 宣扬它的大名。
The author uses the first narration to have a secret talk with the readers. Thetheme of the talk is thefame burden. The author is happy that she is nobody and asked the reader not to unclose her identity. She is satisfied with her current life.The theme of the poem is that to live a peaceful life with no fame is a wise idea. The complicated society is not fit for the author.Simile : “ How public — like a frog …”The author compares the public person or somebody to frogs, they have no freedom, hypocritical and have to share with others their own things Questions 1. Who ar e the “ pair of us ” and “ they ” in this poem? 2. What does “ an admiring bog ” really mean? 3. What is the theme of this poem? 4.Do you want to be “nobody ” or“somebody ” ? Explain your reasons.Ezra Pound (1885 — 1972)In a Station of the MetroThe apparition of these faces in the crowd; Petals on a wet, black bough我是无名之辈,你是谁? 你也是无名之辈吗? 那我们不就是一对了! 不要张扬一你知道,他们会赶 走我们的。
美国文学选读第三版诗歌译文编辑
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惊闻遥远凯旋声
痛极而清晰。
我是无名之辈
艾米莉·狄金森
我是无名之辈,你是谁?
你,也是,无名之辈?
这就凑成一双,别声张!
你知道,他们会大肆张扬!
做个,显要人物,好不无聊!
像个青蛙,向仰慕的泥沼——
在整个六月,把个人的姓名
聒噪——何等招摇!
庞德《地铁车站》的18种译文
1.在地铁站
人潮中这些面容的忽现;
一片树林里分出两条路——
而我选择了人迹更少的一条,
从此决定了我一生的道路。
梦想
兰斯顿•休斯
紧紧地抓住梦想,
因为一旦梦想幻灭,
人生将是断翅的鸟儿,
再也不能飞翔。
紧紧地抓住梦想,
因为一旦梦想消失,
人生犹如一片荒原,
终年雪地冰天。
思想感情是热忱,激烈的。
特点是运用比拟的手法,把梦想对人生的重要凸显出来。
含义是告诫人们,不要失去梦想,拥有梦想才能拥有明天。
湿黝枝干上片片花瓣(张错)
坛子轶事
斯蒂文斯
我曾把一只坛子放在田纳西,
它是圆形的,在一座山上。
它让那未开垦的荒野
围绕着那座小山。
那荒野向它升起,
在它周围蔓延,不再野蛮。
那坛子是圆的,立在地上,
高耸如同空气中的港口。
它拥有所有地方的主权。
那是个灰色、赤裸的坛罐。
它没有奉献出小鸟或树丛,
不象田纳西州任何别的东西。
好像月亮爬上天空。
诗应当确实等于:
不仅仅真实。
代替悲哀历史的
是空荡的门口,是一叶红枫。
代替爱情的
是芳草欠身,是日月临(D―
诗不应隐有所指,
应当直接就是。
你不是已把狄安娜拖下了马车?
[美]弗罗斯特诗歌13首
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[美]弗罗斯特诗歌13首[转载][美]弗罗斯特诗歌13首[美]弗罗斯特诗歌13首罗伯特·弗罗斯特(1874年3月26日——1963年1月29日)是20世纪最受欢迎的美国诗人之一。
他的诗歌从农村生活中汲取题材,与19世纪的诗人有很多共同之处,相比之下,却较少具有现代派气息。
他曾赢得4次普利策奖和许多其他的奖励及荣誉,被称之为“美国文学中的桂冠诗人”。
只是在他的下半生才赢得大众对其诗歌作品的承认。
在此后的年代中,他树立起了一位伟大的文学家的形象。
罗伯特·弗罗斯特(RobertFrost,1874-1963)是最受人喜爱的美国诗人之一,留下了《林间空地》、《未选择的路》、《雪夜林边小驻》等许多脍炙人口的作品。
1874年3月26日,罗伯特·弗罗斯特出生于圣弗朗西斯科(旧金山)。
他11岁丧父,之后随母亲迁居新英格兰。
此后,他就与那块土地结下了不解之缘。
弗罗斯特16岁开始学写诗,20岁时正式发表第一首诗歌。
他勤奋笔耕,一生中共出了10多本诗集。
他一生历尽艰辛和痛苦,幼年丧父,中年丧妻,老年丧子(女)。
成名后的弗罗斯特受聘于多所大学,经常外出读诗和演讲,“经常拖着病体疲惫不堪地回家。
”他诗歌中常常出现与孤独、绝望、死亡等关联的意象如冬、雪、冰、霜、枯然以及整个宇宙的直接关系,以某种方式说明他的深刻宗教信仰所依据的价值观。
尽管他诗歌中相当一部分描写恐惧和疑虑,但总的倾向还是积极向上的。
他晚年是美国的一个非官方的桂冠诗人。
在他75岁与85岁诞辰时,美国参议院作出决议向他表示敬意。
他在约翰·肯尼迪1961年的就职仪式上十分引人注目,朗诵了他特地为这一场合写的诗篇《全才》。
他的诗歌在形式上与传统诗歌相近,但不像浪漫派、惟美派诗人那样矫揉造作。
他不追求外在的美。
他的诗往往以描写新英格兰的自然景色或风俗人情开始,渐渐进入哲理的境界。
他的诗朴实无华,然而细致含蓄,耐人寻味。
著名的《白桦树》一诗,写一般人总想逃避现实,但终究要回到现实中来。
民主的挽歌--惠特曼《啊,船长,我的船长》赏析
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民主的挽歌--惠特曼《啊,船长,我的船长》赏析《啊,船长,我的船长》是美国著名诗人沃尔特·惠特曼为纪念美国南北战争时期的林肯总统所写的诗歌,被誉为美国近现代诗歌的典范。
下面是对这首诗的赏析:一、主题思想这首诗歌表达了诗人对林肯总统的崇敬和赞扬,同时也表达了对美国南北战争的反思和对未来的期许。
通过描绘林肯总统的形象和功绩,诗人展现了林肯作为一位伟大领袖所具备的品质和精神,同时也表达了对美国人民在南北战争中所经历的苦难和斗争的敬意。
二、艺术手法1.象征手法:这首诗歌运用了大量的象征手法,如“船长”、“航船”、“海洋”等意象都具有深刻的象征意义。
“船长”象征着林肯总统的领导能力和智慧,“航船”则象征着美国人民在南北战争中的历程,“海洋”则象征着美国社会的困难和挑战。
这些意象的交融,使得诗歌具有深刻的艺术感染力。
2.抒情与叙事结合:这首诗歌将抒情和叙事巧妙地结合在一起,既有对林肯总统的崇敬和赞扬,也有对南北战争的反思和回顾。
这种结合方式使得诗歌既有情感的表达,也有历史的叙事,使得诗歌具有更强的表现力和感染力。
3.独特的韵律和节奏:这首诗歌采用了独特的韵律和节奏,使得诗歌具有鲜明的音乐性和节奏感。
这种韵律和节奏的运用,使得诗歌在朗读时更具表现力和感染力。
三、文学价值《啊,船长,我的船长》是美国文学史上的经典之作,具有极高的文学价值。
首先,这首诗歌以其深刻的主题思想和独特的艺术手法成为了美国近现代诗歌的典范之一。
其次,这首诗歌在文学史上具有重要地位,它不仅是对林肯总统的纪念,也是对美国南北战争的反思和对未来的期许,具有深远的历史意义和社会价值。
总之,《啊,船长,我的船长》是一首充满情感、历史感和音乐性的诗歌,它以其深刻的主题思想和独特的艺术手法成为了美国文学史上的经典之作。
美国文学诗歌名篇翻译赏析[修改版]
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第一篇:美国文学诗歌名篇翻译赏析I shot an arrow……我射出一支箭……---Henry Wadsworth LongfellowI shot an arrow into the air,我把一支箭射向空中It fell to earth I knew not where;不知它落在何方For so swiftly it flew the sight飞得那么快Could not follow it in its fight.眼睛难以追寻它的方向I breathed a song into the air,我对着天空轻轻唱歌It fell to earth I knew not where;不知它消逝在何方For who has the sight so keen and strong谁的眼光能如此敏锐犀利That can follow the flight of a song.能跟上歌声的翅膀Long, long afterwards in an oak,很久很久以后,在一棵橡树上I found the arrow still unbroke;我找到了那支箭,仍未折断And the song, from beginning to end,也发现了那支歌,自始自终I found again in the heart of a friend.在朋友的心中欢唱This poem is written in a traditional iambic form with the feet “aabb aacc ddee”. In the poem, Longfellow sings the friendship implicitly and skillfully. The arrow and the song in this poem stand for the friendship. When he shot an arrow and breathed a song into the air, he did not expect to find them any more. But many years later, he came across with the arrow and found that his song was always in the heart of his friend. This suggests that the friendship is everlasting.I’m Nobody!我是无名之辈Emily DickinsonI’m nobody! Who are you?我是无名之辈!你是谁?Are you nobody, too?你也是无名之辈吗?Then there’s a pair of us----don’t tell!那么我们就是一对儿了!千万不要透露出去They’d banish us, you know!不然我们都会被他们驱逐,你知道。
song of myself6诗歌鉴赏
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song of myself6诗歌鉴赏
摘要:
1.诗歌概述
2.诗歌主题
3.诗歌形式与技巧
4.诗歌的价值与影响
5.总结
正文:
【诗歌概述】
《Song of Myself》是美国著名诗人Walt Whitman 创作的一首诗歌,收录于他的诗集《Leaves of Grass》中。
这首诗歌是惠特曼最著名的作品之一,也是美国文学史上的一部经典之作。
【诗歌主题】
《Song of Myself》的主题是关于自我认同和自我价值的探索。
惠特曼在诗中描绘了一个复杂、矛盾的自我形象,他对自己的肉体、心灵、过去和未来进行了深入的思考和探索。
同时,他也表达了对美国民主、自由、平等的理想社会的向往和追求。
【诗歌形式与技巧】
《Song of Myself》采用了自由诗体的形式,没有固定的韵律和节奏,也没有明显的押韵。
这种形式使得惠特曼可以自由地表达他的思想和情感,也反映了他的民主和自由的诗歌理念。
在技巧方面,惠特曼运用了大量的比喻、象征和排比等修辞手法,使得诗歌语言生动形象,富有感染力。
【诗歌的价值与影响】
《Song of Myself》的价值在于它对自我认同和自我价值的探索,对美国民主、自由、平等的理想社会的向往和追求,以及其独特的诗歌形式和技巧。
这首诗歌对后世产生了深远的影响,它被认为是美国诗歌史上的一部经典之作,对现代主义和后现代主义等文学思潮产生了重要的影响。
C2 美国文学 殖民地时期 ---现代主义诗歌
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20111013 Thursday整个文学脉络美国:1. The literature of colonial America (1590-1750)2. The literature of Reason and Revolution (the war of Independence 1750 - 1810)3. Romanticism (1810 - 1860 civil war)4. Realism and naturalism (latter half of 19th cen.)5. 20th century literature1. Literature in stage I/ IINot wonderful , no special featuresSimple literary works:personal letters, historical records, journals, sermons, political pamphletsserved for the religious and political purposeStyle: followed the example of its English counterpart e.g. FranklinKey points:the first American writer, the father of American poetry the first important American writerPuritanism [features/ influences]Franklin Autobiography the American dream3. Romanticism (1810 - 1860 civil war)From the end of the 18th century (after the War for Independence ) through the outbreak of the Civil War.(1798the preface of Lyrical Ballads-1832 the death of Scott)a.1st phase: Early Romanticismnovel ----Irving (local events ) Cooper (the West) poetry--- Bryant, Poe(rose to the same level of its English literature to some degree)b. 2nd phase: New England Renaissance (summit) developed its distinct style and formoptimism T ranscendentalism [Emerson/ Thoreau; pessimism ( Hawthorne, Melville)Irving:position, The Sketch Book[two masterpieces{main ideas, theme, etc.}, his attitude towards the change and European culture]Cooper:The frontier SagaCentral figure [features, special image of Indians] Permanent theme:desire for an escape from society and a return to nature= conventionBryant:Title, masterpiecesimilarity with WordsworthPoe:Writing principle:Brevity, beauty; Unity of Effect or Atmosphere[Vs Oscar Wilde’s Aesthetic movement]Favorite topics/tone:Masterpiece:Poetry: T o Helen, Annabel Lee, The RavenShort story: The Cask of amontillado, the fall of the house of usherT ranscendentalism:I.Features1.the transcendence of oversoul2.divinity of men, importance of individualism3.nature –symbol of spirit/God;restorativeinfluence4.focus in intuition (irrationalism andsubconsciousness)II.Influence1.It served as an ethical guide to life for a youngnation and brought about the idea that humancan be perfected by nature. It stressed religioustolerance, called to throw off shackles ofcustoms and traditions and go forward to thedevelopment of a new and distinctly Americanculture.2.It advocated idealism that was great needed in arapidly expanded economy where opportunityoften became opportunism [Emerson:Americans—newborn Adam, standing simpleand sincere before the world ]3.It helped to create the first Americanrenaissance –one of the most prolific period inAmerican literature.Representatives:[1]Ralph Waldo Emerson1.life2.works(1)Nature [manifesto/ Bible](2) speech: The American Scholar[intellectualDeclaration of Independence]3.opinions(1)One major element of his philosophy is hisfirm belief in the transcendence of the―oversoul‖.(2)He regards nature as the purest, and the mostsanctifying moral influence on man, andadvocated a direct intuition of a spiritual andimmanent God in nature.(3)If man depends upon himself, cultivateshimself and brings out the divine in himself,he can hope to become better and evenperfect. This is what Emerson means by ―theinfinitude of m an‖. [self-reliance]4.aesthetic ideas about the poet [The Poet, TheNature and The American Scholar](1) definition of poetno ordinary person. He is a complete man, an eternal man. He should be able to see into the depths of infinite time, comprehend the path of things and the divine unity of the Universe by intuition and communicate the feelings of contact with nature to his fellowmen.[Whitman: envisioned the poet as a hero, a savior and a prophet, one who leads the community byhis expression of the truth.▪In ―The Defense of Poetry,‖ Shelley claims that ―poets are the unacknowledged legislators of the world.‖ Poets hold up a mirror to society challenging us (readers) to question our behavior, our morals, our philosophy.▪Vs Plato (liars should be banished from Republic) Wordsworth, Eliot ](2)T rue poetry and true art should ennoble. Itshould serve as a moral purification and apassage toward organic unity and higherreality.(3)The poet should express his thought insymbols. [as for him, symbolism is a universalthing. Influence of Puritanism](4)As to theme, Emerson called upon Americanauthors to celebrate America which was tohim a long poem in itself, to celebrate the lifeof today. American intellectuals should haveindependent mind, stop imitating andtransplanting European tradition, shouldfocus on here and present.[attitude toward American culture: Irving{TheAuthor’s Account of Himself: praise the sublimeand beautiful natural scenery of America,America was full of youthful promise, whichEurope was rich in the accumulated treasures ofage.}, Hawthorne, Henry James, T.S. Eliot ]II.Henry David Thoreau1.works: Walden2.ideas(1)He did not like the way a materialisticAmerica was developing and was vehementlyoutspoken on the point. very critical ofmodern civilization.(2) Practical T ranscendentalism: nature as agenuine restorative, healthy influence onman’s spiritual well-being.(3)He has faith in the inner virtue and inward,spiritual grace of man.Nathaniel Hawthorne1.works(1)Two collections of short stories: T wice-toldT ales, Mosses from and Old Manse(2)The Scarlet Letter [main ideas, characters,theme, features](3)The House of the Seven Gables(4)The Marble Faun2/ Setting: Puritan New EnglandT opic: Evil & sinIdeas: “black vision‖ toward human beings Features: AmbiguityT echniques: symbolism3. ideas:[1]mixed attitude towards Puritanism[2]Hawthorne’s view of sin/evilguilt, sin, and evil are the most inherent natural qualities of humanity.all his life, Hawthorne seems to be haunted by his sense of _sin___ and __evil_____. It illustrates to some extent the influence of the Calvinist doctrine of _original sin___& total depravity__.e.g. The Minister’s Black Veil―I look around me, and lo! On every visage a Black veil.‖瞧啊,你们每一个人脸上都有一块黑面纱!描写社会和人性的阴暗面是霍桑作品的突出特点,这与加尔文教关于人的―原罪‖和―内在堕落‖的理论的影响是分不开的。
惠特曼最有名的一首诗
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惠特曼最有名的一首诗惠特曼,美国著名诗人,被誉为美国诗歌史上的巨人,他的诗歌以其直白、自由的风格,成为美国文学中的经典之作,其中最有名的一首诗莫过于《草叶集》中的《我闻到新鲜的血香》。
这首诗以其超现实、狂热、自由、充满生命力的特点,为惠特曼的文学创作打下了坚实的基础,并影响了整个西方现代诗歌的发展。
它在其中表达出的生命力和自由的精神,为惠特曼成为美国诗歌史上的代表人物,也为他获得了“美国草根诗人之王”的称号,这也是众所周知的。
《我闻到新鲜的血香》是一首由六十个不规则的节奏组成的自由诗,旋律起伏,岁月沉淀,生命舞蹈,具有极强的音乐性,一度被认为是一首超越语言和文学的音乐作品。
此诗讲述的是惠特曼身临其境地感受到的新鲜血液的气味,他认为,血液和身体一样是生命的源泉,它包含了人类的一切经历和感受,它是自由的、永恒的,因此惠特曼将血液看作是最宝贵的自然财富。
“我坐在树底下,闻到了新鲜的血香,这是谁的血液?”“这是无数的、不知名的、生命精神的血液。
”惠特曼回答道。
在《我闻到新鲜的血香》中,惠特曼以超现实的手法,将血液的气味与无数的生命的精神融为一体,寓意着所有的生命都在血液中融合在了一起,它使我们有了连贯的历史和文化。
而血液的气味,则是一种超越世俗、成就精神的意识体验。
在惠特曼的诗歌中,血液不仅仅是一个象征,更是一种至关重要的生命的体现。
《我闻到新鲜的血香》中,血液不仅单纯地象征生命,还表现了一种复杂的情感和热情,体现了惠特曼“我是我,你就是你”的生命观。
《我闻到新鲜的血香》在表达了惠特曼独特的生命观后,同时也表达了对社会的批判和对生命的赞颂。
它是一首反叛的诗歌,充满了自由的气息,为惠特曼自由独立的生命态度树立了光辉的形象。
总之,《我闻到新鲜的血香》充满了惠特曼的痕迹,一种反叛的自由精神和追求生命的热情,是他生命和意志的结晶。
它也成为了一首代表惠特曼文学风格的诗歌,也是美国诗歌史上最具有代表性的一首作品。
allan poe to helen赏析
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allan poe to helen赏析【诗歌背景和作者简介】埃德加·爱伦·坡(Edgar Allan Poe)是美国19世纪著名的作家、诗人和文艺评论家。
他的诗歌作品以神秘、忧郁和浪漫主义风格著称,对后世美国文学产生了深远的影响。
这首《致海伦》(To Helen)是他创作于1831年的一首抒情诗,表达了诗人对美丽、优雅和纯洁的向往。
【诗歌的结构和形式】《致海伦》共分为四节,每节五行,采用抑扬格五音步(iambic pentameter)的诗歌形式。
这种形式使得诗歌在朗读时具有优美的节奏感,为诗人表达内心情感提供了恰当的载体。
诗中还运用了丰富的修辞手法,如比喻、拟人、象征等,增强了诗歌的艺术效果。
【诗歌的主题和情感】这首诗的主题是对美丽、优雅和纯洁的赞美。
诗人将海伦比喻为古希腊神话中的美丽女神,表达了对她的倾慕之情。
通过描绘海伦的眼睛、笑容和名字,诗人展示了她的魅力和神秘。
同时,诗人在诗中抒发了自己对生活的感慨,透露出一种忧郁、孤独的气质。
【诗歌的艺术价值和影响力】《致海伦》是埃德加·爱伦·坡诗歌的代表作之一,展现了诗人独特的审美观和诗歌风格。
这首诗通过对美丽女神的赞美,表达了诗人对生活的热爱和对美的追求。
同时,诗中还蕴含着一种深邃的哲理,启发读者思考生活中的美好与悲伤。
这首诗在当时和后世受到了广泛赞誉,对美国文学产生了深远的影响。
总结:通过对《致海伦》的赏析,我们可以看到埃德加·爱伦·坡作为一位杰出的诗人,以独特的艺术手法表达了自己对美丽、优雅和纯洁的向往。
这首诗不仅具有很高的艺术价值,还对后世文学产生了深远的影响。
[美]弗罗斯特诗歌13首
![[美]弗罗斯特诗歌13首](https://img.taocdn.com/s3/m/43603cf5e009581b6bd9eb42.png)
[转载][美]弗罗斯特诗歌13首[美]弗罗斯特诗歌13首罗伯特·弗罗斯特(1874年3月26日——1963年1月29日)是20世纪最受欢迎的美国诗人之一。
他的诗歌从农村生活中汲取题材,与19世纪的诗人有很多共同之处,相比之下,却较少具有现代派气息。
他曾赢得4次普利策奖和许多其他的奖励及荣誉,被称之为“美国文学中的桂冠诗人”。
只是在他的下半生才赢得大众对其诗歌作品的承认。
在此后的年代中,他树立起了一位伟大的文学家的形象。
罗伯特·弗罗斯特(RobertFrost,1874-1963)是最受人喜爱的美国诗人之一,留下了《林间空地》、《未选择的路》、《雪夜林边小驻》等许多脍炙人口的作品。
1874年3月26日,罗伯特·弗罗斯特出生于圣弗朗西斯科(旧金山)。
他11岁丧父,之后随母亲迁居新英格兰。
此后,他就与那块土地结下了不解之缘。
弗罗斯特16岁开始学写诗,20岁时正式发表第一首诗歌。
他勤奋笔耕,一生中共出了10多本诗集。
他一生历尽艰辛和痛苦,幼年丧父,中年丧妻,老年丧子(女)。
成名后的弗罗斯特受聘于多所大学,经常外出读诗和演讲,“经常拖着病体疲惫不堪地回家。
”他诗歌中常常出现与孤独、绝望、死亡等关联的意象如冬、雪、冰、霜、枯叶等。
因此,弗罗斯特常常以凋零的玫瑰、干枯的花朵等以喻体以映衬孤独、悲哀、寂寞的内心世界。
1895年12月19日结婚,其后两年,与妻子帮助母亲管理一所私立学校。
其间,写诗投稿给各种刊物,但很少得以发表。
他卖出的第一首诗《我的蝴蝶:一首哀歌》1894年发表在文学周刊《独立》上。
他的诗对异常广泛的各式各样的读者都有吸引力,因为它可以用那么多的不同方式来欣赏。
在诗歌创作手法上,同20世纪多数诗人截然不同。
他不进行诗歌形式的试验与改革,而是反复声称满足于用“旧形式表达新内容”。
他学习19世纪英国浪漫主义诗人华兹华斯,用贴近普通男女使用的语言抒发感情,描述日常生活的事件与情景。
美国文学史诗歌重点赏析
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咏黄水仙花 罗伯特·何丽克 美的黄水仙,凋谢得 太快, 我们感觉着悲哀; 连早晨出来的太阳 都还没有上升到天盖。 停下来,停下来, 等匆忙的日脚 跑进 黄昏的暮霭; 在那时共同祈祷着, 在回家的路上徘徊。
以黄水仙凋谢得太快来感叹 人生匆忙而短暂
WWAAWsseeeyqhhdouaiauiecvv,keeoarashsagonrsoryhtwtohtitrimhnt gaeto.stompr我 停青 我 和 一seitnea们留春们你切gty;也,的方们都d, ea只易生一要csa有逝也样罢yyo短堪就,休,u暂忧方。, 的;死, As your hours do, and 你dr们y 谢了,
我们能在微小事物中看 到美丽,
短暂的生命也可以达到 完善的境地。
Robert Herrick:To Daffodils
Fair Daffodils, we weep to see You haste away so soon; As yet the early-rising sun Has not attain'd his noon. Stay, stay, Until the hasting day Has run But to the even-song; And, having pray'd together, we Will go with you along.
高尚的品质 本·琼森 提高人的品质
In bulk, doth make man better be;
并不要长得魁梧像棵树; 或者一棵耸立三百年的
Or standing long an oak, three hundred year, 栎树,
To fall a log at last, dry, bald, and sere:
惠特曼《我自己的歌》_一首抒情史诗
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惠特曼《我自己的歌》_一首抒情史诗惠特曼《我自己的歌》:一首抒情史诗惠特曼是19世纪美国著名的诗人,他的诗作富有激情和自由的精神,对于美国文学界产生了深远的影响。
在他众多的作品中,《我自己的歌》无疑是一首抒情史诗,展现了他对自然、人生和个人经历的追求与思考。
《我自己的歌》这首长诗通过一系列的自传形式,深入而感性地描绘了惠特曼的人生积淀和感悟。
诗中的他将自己的灵魂与自然统一起来,通过诗中```多次出现的“我”,惠特曼不仅可以代表个体,也通过他的经历和思考,表达了整个人类的渴望和力量。
他以个体为核心,从宏观的角度去思考和揭示人与自然之间的紧密联系。
惠特曼在《我自己的歌》中将自然描述为一种完美的存在,他以独特的视角诠释了自然的美和力量。
他观察到了生活的微妙之处,体验到了自然的神秘和奥妙,他说:“逐一寻味,每一样都美好。
”他用平凡的语言,将自然的细微之处赋予了无尽的意义,并通过这种自然和人的融合,表达了对生命的肯定和对美的追求。
他坚信人与自然是一个整体,人需要回归自然,与其和谐共处,这也是他一直倡导的。
在《我自己的歌》中,惠特曼展现了他对人生和个体的思考,以及对死亡的接纳和理解。
他写道:“警觉地站起来,为生者而战,而我无怨无悔,因为热爱生活。
”他用经历和感悟告诉我们,面对死亡,我们应该珍惜当下,积极活在当下,并为自己和他人创造美好的回忆。
他用这种坦然和宽容的态度,告诉我们生命的可贵和美丽,以及死亡不可怕而应被接纳。
惠特曼在《我自己的歌》中还表达了对社会和人类命运的思考。
他关注社会中的各个阶层和群体,并以自身的经历抒发了他对不同群体的关怀和同情。
他用一种平等和包容的态度对待所有人,不分高低贵贱,他说:“我的灵魂与大地同在,与天空同在,与所有生物共鸣。
”他认为每个人都是平等的,每个人都应该受到尊重和关怀,而不应该因为社会地位的不同而造成差异。
惠特曼的《我自己的歌》是他一生中最重要的作品之一,这首长诗无疑是一部抒情史诗。
美国文学-诗歌
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When Day is Doneby TagoreIf the day is done ,If birds sing no more .If the wind has fiagged tired ,Then draw the veil of darkness thick upon me ,Even as thou hast wrapt the earth with the coverlet of sleep and tenderly closed ,The petals of the drooping lotus at dusk .From the traverer ,Whose sack of provisions is empty before the voyage is ended ,Whose garment is torn and dust-laden ,Whose strength is exhausted, remove shame and poverty ,And renew his life like a flower underThe cover of thy kindly night .拉宾德拉纳特·泰戈尔(1861年—1941年),印度著名诗人、文学家、社会活动家、哲学家和印度民族主义者。
《当时光已逝》这首诗不算是泰戈尔的代表作,但是他的作品中的比较著名的一首。
诗歌为自由体诗歌。
诗歌开篇假设,假如日光消逝,又用鸟儿、风儿来描写日光消逝时诗人周围事物的表现,借而引出诗人面对日光消逝时的理想反应。
诗人写道“当日光消逝时就用黑暗的厚幕把我盖上”,又写道“路途未完,行囊已空,衣裳破损,精疲力竭。
”描绘了“天色将暗,孤独的行人,背着空空的行囊,穿着破烂的衣衫,步履蹒跚”的景象。
令人产生萧条之感。
但后几句又转而描写行人在夜幕下没有了羞愧和困窘,如获新生。
这首诗中的“day”指的不仅仅是日光,也是时光。
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To My Dear and Loving HusbandBy Anne BradstreetIf ever two were one,then surely we.If ever man were loved by wife, then thee;If ever wife was happy in a man,Compare with me,ye women,if you can.I prize thy love more than whole mines of goldOr all the riches that East doth hold.My love is such that rivers cannot quench,Nor ought but love from thee,give recompense. Thy love is such I can no way repay,The heavens reward thee manifold,I pray.Then while we live,in love let’s so persevere That when we live no more,we may live ever. ContemplationsBy Anne BradstreetI heard the merry grasshopper then sing,The black-clad cricket bear a second part;They kept one tune and played on the same string Seeming to glory in their little art.Small creatures abject thus their voices raise, And in their kind resound their Maker’s praise, Whilst I, as mute, can warble forth no higher lays? The Yellow VioletBy William Cullen Byrant When beechen buds begin to swell,And woods the blue-bird's warble know,The yellow violet's modest bellPeeps from the last year's leaves below.Ere russet field their green resume,Sweet flower, I love, in forest bare,To meet thee, when thy faint perfumeAlone is in the virgin air.Of all her train, the hands of SpringFirst plant thee in the snowy mould,And I have seen thee blossomingBeside the snow-bank's edges cold.Thy parent sun, who bade thee view,Pale skies, and chilling moisture sip,Has bathed thee in his own bright hue,And streaked with jet thy glowing lip.Yet slight thy form, and low thy seat,And earthward bent thy gentle eye,Unapt the passing view to meetWhen loftier flowers are flaunting nigh.Oft, in the sunless April day,Thy early smile has stayed my walk;But midst the gorgeous blooms of May,I passed thee on my humble stalk.So, they, who climb to wealth, forgetThe friends in darker fortunes tried,I copied them - but I regretThat I should ape the ways of pride.And when again the genial hourAwakes the painted tribes of light,I'll not o'erlook the modest flowerThat made the woods of April bright.A Psalm of LifeBy Henry Wadsworth Longfellow What the Heart of the Young Man said to the Psalmist. Tell me not, in mournful numbers,"Life is but an empty dream! "for the soul is dead that slumbers,And things are not what they seem.Life is real! Life is earnest!And the grave is not its goal;"Dust thou art, to dust returnest, "Was not spoken of the soul.Not enjoyment, and not sorrow,Is our destined end or way;But to act, that each to-morrowFind us farther than to-day.Art is long , and Time is fleeting,And our hearts, though stout and brave,Still, like muffled drums, are beatingFuneral marches to the grave.In the world's broad field of battle,In the bivouac of Life,Be not like dumb, driven cattle!Be a hero in the strife!Trust no Future,howe'er pleasant!Let the dead Past bury its dead!Act, -act in the living Present!Heart within, and God o'erhead!Lives of great men all remind usWe can make our lives sublime,And , departing , leave behind usFootprints on the sands of time;Footprints, that perhaps another,Sailing o'er life's solemn main,A forlorn and shipwrecked brother ,Seeing, shall take heart again.Let us , then, be up and doing,With a heart for any face;Still achieving, still pursuing,Learn to labour and to wait.Wild Nights-Wild Nights!By Emily Elizabeth Dickinson Wild nights! Wild nights!Were I with theeWild nights should beOur luxury!Futile-the windsTo a heart in port—Done with the compass-Done with the chart!Rowing in Eden-Ah,the sea!Might I but moor-To-night in thee!I'm Nobody! Who are you?By Emily Dickinson I'm nobody! Who are you?Are you--Nobody--too?Then there's a pair of us!Don`st tell! they'd advertise--you know!How dreary--to be--Somebody!How public--like a Frog--To tell your name--the livelong June--To an admiring Bog!Success Is Counted SweetestBy Emily Dickinson Success is counted sweetestBy those who ne'er succeed.To comprehend a nectarRequires sorest need.Not one of all the purple hostWho took the flag to-dayCan tell the definition,So clear, of victory!As he, defeated, dying,On whose forbidden earThe distant strains of triumphBurst agonized and clear!O Captain! My Captain!By Walt WhitmanO Captain! my Captain! our fearful trip is done,The ship has weathered every rack, the prize we sought is won,The port is near, the bells I hear, the people all exulting,While follow eyes the steady keel, the vessel grim and daring;But O heart! heart! heart!O the bleeding drops of red,Where on the deck my Captain lies,Fallen cold and dead.O Captain! my Captain! rise up and hear the bells;Rise up--for you the flag is flung--for you the bugle trills,For you bouquets and ribboned wreaths--for you the shores accrowding, For you they call, the swaying mass, their eager faces turning;Here Captain! dear father!This arm beneath your head!It is some dream that on the deckYou've fallen cold and dead.My Captain does not answer, his lips are pale and still,My father does not feel my arm, he has no pulse nor will,The ship is anchored safe and sound, its voyage closed and done, From fearful trip the victor ship comes in with object won;Exult O shores, and ring O bells!But I, with mournful tread,Walk the deck my Captain lies,Fallen cold and dead.TearsBy Walt WhitmanTears! tears! tears!In the night, in solitude, tears,On the white shore dripping, dripping, suck'd in by the sand,Tears, not a star shining, all dark and desolate,Moist tears from the eyes of a muffled head;O who is that ghost? that form in the dark, with tears?What shapeless lump is that, bent, crouch'd there on the sand? Streaming tears, sobbing tears, throes, choked with wild cries;O storm, embodied, rising, careering with swift steps along the beach!O wild and dismal night storm, with wind--O belching and desperate!O shade so sedate and decorous by day, with calm countenance and regulated pace,But away at night as you fly, none looking--O then the unloosen'd ocean, Of tears! tears! tears!One's-Self I SingBy Walt WhitmanOne's-Self I sing, a simple separate person,Yet utter the word Democratic, the word En-Masse.Of physiology from top to toe I sing,Not physiognomy alone nor brain alone is worthy for the Muse,I say the Form complete is worthier far,The Female equally with the Male I sing.Of Life immense in passion, pulse, and power,Cheerful, for freest action form'd under the laws divine,The Modern Man I sing.To HelenBy Edgar Allan PoeHelen, thy beauty is to meLike those Nicean barks of yore,That gently, o'er a perfumed sea,The weary, wayworn wanderer boreTo his own native shore.On desperate seas long wont to roam,Thy hyacinth hair, thy classic face,Thy Naiad airs have brought me homeTo the glory that was GreeceAnd the grandeur that was Rome.Lo! in yon brilliant window-nicheHow statue-like I see thee stand,The agate lamp within thy hand!Ah, Psyche, from the regions whichAre Holy Land!The RavenBy Edgar Allan PoeOnce upon a midnight dreary, while I pondered, weak and weakry. Over many a quint and curious volume of forgotten lore.While I nodded, nearly napping, suddenly there came a tapping,As of some one rapping, rapping at my chamber door."'Tis some visitor," I muttered, "tapping at my chamber door--Only this, and nothing more."Ah, distinctly I remember it was in the bleak December,And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; -vainly I had tried to borrowFrom my books surcease of sorrow-sorrow for the lost Lenore-For the rare and radiant maiden whom the angels name Lenore- Nameless here for evermoreAnd the silken sad uncertain rustling of each purple curtain Thrilled me-filled me with fantastic terrors never felt before;So that now, to still the beating of my heart, I stood repeating" ' Tis some visitor entreating entrance at my chamber door-Some late visitor entreating entrance at my chamber door;-This it is and nothing more.Presently my soul grew stronger; hesitating then no longer, "Sir," said I, "or Madam, truly your forgiveness I implore;But the fact is I was napping, and so gently you came rapping,And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you"--here I opened wide the door; Darkness there, and nothing more.Deep into that: darkness peering, long I stood there wondering, fearingDoubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the darkness gave no token,And the only word there spoken was the whispered word, "Lenore!" This I whispered, and an echo murmured back the word, " Lenore! " Merely this, and nothing more.Then into the chamber turning, all my soul within me burning, Soon I heard again a tapping somewhat louder than before. "Surely," said I, "surely that is something at my window lattice;Let me see, then, what thereat is, and this mystery explore-Let my heart be still a moment and this mystery explore;'Tis the wind, and nothing more!Open here I flung the shutter, when, with many a flirt and flutter.In there stepped a stately raven of the saintly days of yore;Not the least obeisance made he; not an instant stopped or stayed he; But, with mien of lord or lady, perched above my chamber door- Perched upon a bust of Pallas just above my chamber door- Perched, and sat, and nothing more.Then this ebony bird beguiling my sad fancy into smiling,By the grave and stern decorum of the countenance it wore, "Though thy crest be shorn and shaven, thou," I said, "art sure no craven,Ghastly grim and ancient raven wandering from the Nightly shore- Tell me what thy lordly name is on the Night ' s Plutonian shore!" Quoth the raven, "Nevermore. "Much I marveled this ungainly fowl to hear discourse so plainly, Though its answer little meaning-little relevancy hore;For we cannot help agreeing that no sublunary beingEver yet was blessed with seeing bird above his chamber door-Bird or beast upon the sculptured bust above I us chamber door,With such mime as "Nevermore.”But the raven, sitting lonely on the placid bust, spoke onlyThat one word, as if his soul in that ill~ word he did outpour. Nothing farther then he uttered-not a feather then he fluttered-Till I scarcely more than muttered, "Other friends have flown before- On the morrow he will leave me, as my hopes have flown before. " Quoth the raven, "Nevermore. "Wondering at the stillness broken by reply so aptly spoken, "Doubtless," said I, "what it utters is its only stock and store," Caught from some unhappy master whom unmerciful Disaster Followed fast and followed fastel-so, when Hope he would adjure, Stern Despair returned, instead of the sweet Hope he dared adjure- That sad answer, "Nevermore!"But the raven still beguiling all my sad soul into smiling,Straight I wheeled a cushioned seat in front of bird, and bust, and door;Then upon the velvet sinking, I betook myself to linkingFancy unto fancy, thinking what this ominous bird of yore-What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking "Nevermore. "This I sat engaged in guessing, but no syllable expressingTo the fowl whose fiery eyes now burned into my bosom's core;This and more I sat divining, with my head at ease recliningOn the cushion's velvet lining that the lamplight gloated o'er,But whose velvet violet lining with the lamplight gloating o'er,She shall press, ah, nevermore!Then, methought, the air grew denser, perfumed from an unseen censer Swung by angels whose faint foot-falls tinkled on the tufted floor. "Wretch," I cried, "thy God hath lent thee-by these angels he hath sent theeRespite-respite and Nepenthe from thy memories of Lenore!Let me quaff this kind Nepenthe and forget this lost Lenore!"Quoth the raven, "Nevermore. ""Prophet!" said I, "thing of evil! -prophet still, if bird or devil! - Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate, yet all undaunted, on this desert land enchanted-On this home by Horror haunted-tell me truly, I implore-Is there-is there balm in Gilead?-tell me-tell me, I implore!"Quoth the raven, "Nevermore. ""Prophet!" said I, "thing of evil! -prophet still, if bird or devil!By that Heaven that bends above us-by that God we both adore-Tell this soul with sorrow laden if, within the distant Aidenn,It shall clasp a sainted maiden whom the angels name Lenore-Clasp a rare and radiant maiden whom the angels name Lenore.Quoth the raven, "Nevermore. ""Be that word our sign of parting, bird or fiend!" I shrieked, upstarting-"Get thee back into the tempest and the Night's plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! -quit the bust above my door!Take thy beak from out my heart, and take thy form from off my door! " Quoth the raven, "Nevermore. "And the raven, never flitting, still is sitting, still is sittingOn the pallid bust of Pallas just above my chamber door;And his eyes have all the seeming of a demon that is dreaming,And the lamp-light o' er him streaming throve his shadow on the floor; And my soul from out chat shadow that lies floating on the floorShall be lifted-nevermore!。