(完整word版)如何欣赏英语诗歌.pdf

如何欣赏英语诗歌英诗浩瀚，篇幅长短不一，长至成集，短至仅句。为使英语学习者了解英诗，特拟此文，从实用角度阐述英诗的欣赏：诗的格律、诗的押韵、诗的体式、诗的评判。诗以高度凝结的语言表达着人们的喜怒哀乐，用其特有的节奏与方式影响着人们的精神世界。诗讲究联想，运用象征、比喻、拟人等各种修辞手法，形成了独特的语言艺术。（有关修辞手法可参考相关书籍）。一、诗的格律“格律是指可以用脚打拍子的节奏”，是每个音步轻重音节排列的格式，也是朗读时轻重音的依据。而音步是由重读音节和非重读音节构成的诗的分析单位。重读音节为扬（重），在音节上用“”或“”标示，非重读音节为抑（轻），在音节上用“”标示，音步之间可用“”隔开。以下是五种常见格式：1 抑扬格（轻重格）Iambus：是最常见的一种格式，每个音步由一个非重读音节加一个重读音节构成。As fair/art thou/my bon/nie lass,So deep/in luve/am I:And I/will luve/thee still,/my dear,Till a/the seas/gang dry:Robert Burns(1759-1796):My Luve Is like a Red,Red Rose 注；art=are luve=love bonnie=beautiful a=all gang=go 上例中为四音步与三音步交叉，可标示为：（）2扬抑格（重轻格）Trochee：每个音步由一个重读音节加一个非重读音节构成。下例中为四音步扬抑格（少一个轻音节），可标示为：Tyger!/Tyger!/burning/bright In the/forests/of the/night William Blake:The Tyger 3 抑抑扬格（轻轻重格）Anapaestic foot:每个音步由两个非重读音节加一个重读音节构成。如：三音步抑抑扬格Like a child/from the womb,Like a ghost/from the tomb,I arise/and unbuild/it again.4 扬抑抑格（重轻轻格）Dactylic foot:每个音步由一个重读音节加两个非重读音节构成。如：两音步扬抑抑格Touch her not/scornfully,Think of her/mournfully.-Thomas Hood 5 抑扬抑格（轻重轻格）Amphibrach：每个音步由一个非重读音节加一个重读音节再加一个非重读音节构成。如：三音步抑扬抑格下例中最后一个音步为抑扬格。O hush thee/my babie/thy sire was/a knight.在同一首诗中常会出现不同的格律，格律解析对朗读诗歌有一定参考价值。现代诗中常不遵守规范的格律。二、诗的押韵押韵是指通过重复元音或辅音以达到一定音韵效果的诗歌写作手法。1 尾韵：最常见，最重要的押韵方式。1）联韵：aabb型。I shot an arrow into the air,It fell to earth,I knew not where;For,so swiftly it flew,the sight Could not follow it in its flight.文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5Henry Wadsworth Longfellow:The Arrow and the Song 2）交叉韵：abab 型。Sunset and evening star,And one clear call for me!And may there be no moaning of the bar,When I put out to sea,Alfred Tennyson(1809-1892):Crossing the Bar 3）同韵：有的诗押韵，一韵到底，大多是在同一节诗中共用一个韵脚。如下例就共用 i:p 为韵脚。The woods are lovely,dark and deep,But I have promises to keep,And miles to go before I sleep,And miles to go before I sleep.Robert Frost(1874-1963):Stopping by Woods on a Snowy Evening 2 头韵：是指一行（节）诗中几个词开头的辅音相同，形成押韵。下例中运用 f、b与 s头韵生动写出了船在海上轻快航行的景象。The fair breeze blew,the white foam flew,The furrow followed free,We were the first that ever burst Into that silent sea.T.S.Coleridge:Rime of the Acient Mariner 3内韵（同元音）：指词与词之间原因的重复形成的内部押韵。文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5下面一节诗中 i 及 i 重复照应，呈现出一派欢乐祥和的气氛。Spring,the sweet spring,is the years pleasant king;Then blooms each thing,then maids dance in a ring,Cold dath not sting,the pretty birds do sing:Cuckoo,jug-jug,pu-we,to-witta-woo!Thomas Nashe(1567-1601):Spring,the Sweet Spring 三、诗的体式有的诗分成几节（stanza），每节由若干诗行组成（每行诗均以大写字母开头）；有的诗则不分节。目前我们常见的诗体有：1 十四行诗 (Sonnet)，源于中世纪民间抒情短诗，十三、十四世纪流行于意大利，意大利彼特拉克（Petrarch）为代表人物，每行十一个音节，全诗一节八行，加一节六行，韵脚用abba,abba,cdcdcd(cdecde)。前八行提问，后六行回答。后来，怀亚特（Thomas Wyatt,1503-1542）将十四行诗引人英国，五音步抑扬格，全诗三个四行一个二行,前三节提问，后二句结论。斯宾塞（Edmund Spenser,1552-1599）用 韵 脚abab,bcbc,cdcd,ee。莎 士 比 亚（William Shakespeare,1564-1616）用韵脚 abab,cdcd,dfdf,gg，称英国式或莎士比亚式。举例见本文第四部分。2 打油诗（Limericks）：通常是小笑话甚至是胡诌，一般没有标题也无作者姓名，含有幽默讽刺性，常运用双关，内韵等手法。每首诗五个诗行，押韵为 aabba，格律以抑扬格和抑抑扬格为主。1)There was a young lady of Nigger Who smiled as she rode on a tiger;They returned from the ride 文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5With the lady inside,And the smile on the face of the tiger.2)A tutor who taught on the flute Tried to teach two tooters to toot,“Is it harder to toot,orSaid the two to the tutor,To tutor two tooters to toot?”3 无韵体（Blank Verse）：五音步抑扬格，不押韵诗体。Across the watery bale,and shout again,Responsive to his call,-with quivering peals,And long halloos,and screams,and echoes loud.Redoubled and redoubled:concourse wild Of jocund din!William Wordsworth:There Was a Boy 4 自由诗（Free Verse）:现代诗中常见的体式，长短不同的诗行存在于同一首诗中，不讲究押韵与格律，只注重诗歌所表达的意象和传递的情感。美国诗人 Walt Whitman 的（Leaves of Grass）中，就采用此格式。例子见第四部分。四、诗的评判对一首诗，个人的感受会有不同。节奏流畅，语言精炼，联想新颖的诗可算是好诗。堆砌词藻，一味抒发感情而无实际内容的诗，只能是下乘的诗。二十世纪英美诗歌大量采用自由诗体，接近口语，可谓大胆创新，大概也是诗歌发展的大势所趋吧。以下通过三首诗的分析看诗的评判。1That Time of Year That time of year thou mayst in me behold 文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5When yellow leaves,or none,or few,do hang Upon those boughs which shake against the cold,Bare ruined choirs where late the sweet birds sang,In me thou seest the twilight of such dayAs after sunset fadeth in the west,When by and by black night doth take away,Deaths second self,that seals up all in rest.In me thou seest the glowing of such fire,That on the ashes of his youth doth lie.As the deathbed whereon it must expire,Consumed with that which it was nourished by.This you perceivest,which makes thy love more strong,To love that well which thou must leave ere long.Notes:mayst:maybehold:see late:no long ago thou:you seest:seefadeth:fades doth:does seals up all at rest:彻底埋葬thy:your perceivest:perceive ere long:before long 此诗是莎士比亚（William Shakespeare,1564-1616）的一首十四行诗。作为英国文学巨匠，他以37 部剧作和 154 首十四行诗屹立于世界文坛。此诗为五音步抑扬格，每个诗行格律为：。全诗涉及衰老、死亡及爱情问题。前十二行：通过描写深秋的树枝黄叶凋零，曾是百鸟争鸣的歌坛，联想到自身青春会如夕阳消逝在远方，被黑夜吞没；自身的青春会如将尽的柴火奄奄一息，被曾滋养过它的火焰焚化。其中choirs（歌坛），deathbed（灵床）使用暗喻手法，同时又用夕阳和柴火象征人的衰文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5文档编码:CK10X5I9U3B8 HV2L4C6F9H5 ZE9X10X7S3P5老死亡。最后两行：点题，人们对即将永别的东西会更珍惜。本文动词变化具有明显的伊利沙白时代的特点。2The Daffodils I wandered lonely as a cloud That floats on high oer 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 bree