英文诗词从哪些方面赏析

英文诗词从哪些方面赏析

英文诗歌赏析技巧

Appreciation of English Poetry

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.

英诗浩如烟海,篇幅长短不一.为使大家了解英诗,并能欣赏,请大家学习以下四个方面的内容：诗的格律、诗的押韵、诗的体式、诗的评判.

一、 诗的格律

格律是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）,非重读音节为抑（轻）,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:

注: art=are thou=you luve=love thee[thou的宾格] bonnie=beautifl a`=all gang=go

上例中为四音步与三音步交叉.

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）.

Tiger!/ Tiger!/ burning / bright

In the / forests / of the / night

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

ˊTouch her not / scornfully,

ˊThink of her / mournfully.

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）

下例中双音步为抑扬格.

O hush thee / my baby / 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 ......更多唯美的句子：www.weimeidejuzi.cn

求Langston Hughes 诗歌Dreams 和 Me and the mule 的赏析?? Walt whitman 的One's Self I Sing 的赏析??

Dreams 梦想

---Langston Hughes兰斯顿·休斯

Hold fast to dreams 紧紧抓住梦想，

For if dreams die 梦想若是消亡

Life is a broken-winged bird 生命就象鸟儿折了翅膀

That can never fly. 再也不能飞翔

Hold fast to dreams 紧紧抓住梦想，

For when dreams go 梦想若是消丧

Life is a barren field 生命就象贫瘠的荒野，

Frozen only with snow 雪覆冰封，万物不再生长

1960年代黑人领袖马丁·路德·金那篇流传至今、脍炙人口的《我有个梦想》跟休斯的关于“梦想”的诗歌有直接的联系。他在1926年发表在《民族》杂志上的《黑人艺术家与种族大山》中大无畏地宣称:“我们这些正在从事创作的年轻黑人文艺家抱定宗旨要既不畏惧也不羞愧地表现各自的黑皮肤的自我。如果白人喜欢,我们很高兴;如果他们不喜欢也没有关系。 …… 如果黑人喜欢,我们很高兴;如果他们不喜欢,他们的不悦也没有任何关系……” 这篇文学宣言激励了无数黑人文学家,也确立了他在哈莱姆文艺复兴运动中的领袖地位。

Much is there to hold in this exact poem. It is short, but too concise. It might need care and attention. The lines may not differ as to worth, and they are employed faithfully. In fact, we are subjected to them and only because dreams do subject us to handsome ways.

To hold fast to dreams I shall commit some act such as sleep, and I shall be helpful to myself and others before I die, ‘for if dreams die’. I am especially finding words for such premises constantly in my existence, and I find the birds to carry a message of such privileged nature. They or it, the bird, is supposed to fly, so dreams even reside in this broken-winged bird to fly. It is only natural to die and dream.

It must carry a refrain of significance - ‘Hold fast to dreams’ - of such power that dreaming is inspired. It makes up for the bad dreams, and the wrong that may be committed by certain individuals. Those who are gone with dreams are always to be punished with no dreams.

It is interesting how the metaphor at the end is so strong for the entire meaning of this poem. Life is called a cold place, and not somewhere that contains dreams. To be frozen in sleep is warm enough for dreams to flourish in the mind of sleep and the wake of time: even the ice-age!

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Me and the mule

My old mule,

He's gota grin on his face.

He's been a mule so long

He's forgotten about his race.

I'm like that old mule --

Black -- and don't give a damn!

You got to take me

Like I am.

==================================================================

One's Self I Sing

ONE'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.

Walt Whitman was born on May 31, 1819, on the West Hills of Long Island, New York. His mother, Louisa Van Velsor, of Dutch descent and Quaker faith, whom he adored, was barely literate. She never read his poetry, but gave him unconditional love. His father of English lineage, was a carpenter and builder of houses, and a stern disciplinarian. His main claim to fame was his friendship with Tom Paine, whose pamphlet Common Sense (1776), urging the colonists to throw off English domination was in his sparse library. It is doubtful that his father read any of his son's poetry, or would have understood it if he had. The senior Walt was too burdened with the struggle to support his ever-growing family of nine children, four of whom were handicapped.

Young Walt, the second of nine, was withdrawn from public school at the age of eleven to help support the family. At the age of twelve he started to learn the printer's trade, and fell in love with the written and printed word. He was mainly self-taught. He read voraciously, and became acquainted with Homer, Dante, Shakespeare and Scott early in life. He knew the Bible thoroughly, and as a God-intoxicated poet, desired to inaugurate a religion uniting all of humanity in bonds of friendship.

In 1836, at the age of 17, he began his career as an innovative teacher in the one-room school houses of Long Island. He permitted his students to call him by his first name, and devised learning games for them in arithmetic and spelling. He continued to teach school until 1841, when he turned to journalism as a full-time career. He soon became editor for a number of Brooklyn and New York papers. From 1846 to 1847 Whitman was the editor of the Brooklyn Daily Eagle. Whitman went to New Orleans in 1848, where he was editor for a brief time of the "New Orleans Crescent". In that city he had become fascinated with the French language. Many of his poems contain words of French derivation. It was in New Orleans that he experienced at first hand the viciousness of slavery in the slave markets of that city.

On his return to Brooklyn in the fall of 1848, he founded a "free soil" newspaper, the "Brooklyn Freeman". Between 1848 and 1855 he developed the style of poetry that so astonished Ralph Waldo Emerson. When the poet's Leaves Of Grass reached him as a gift in July, 1855, the Dean of American Letters thanked him for "the wonderful gift" and said that he rubbed his eyes a little "to see if the sunbeam was no illusion." Walt Whitman had been unknown to Emerson prior to that occasion. The "sunbeam" that illuminated a great deal of Whitman's poetry was Music. It was one of the major sources of his inspiration. Many of his four hundred poems contain musical terms, names of instruments, and names of composers. He insisted that music was "greater than wealth, greater than buildings, ships, religions, paintings." In his final essay written one year before his death in 1891, he sums up his struggles of thirty years to write Leaves of Grass. The opening paragraph of his self-evaluation "A Backward Glance O'er Travel'd Road," begins with his reminiscences of "the best of songs heard." His concluding comments again return to thoughts about music, saying that "the strongest and sweetest songs remain yet to be sung."

"When Lilacs Last in the Dooryard Bloomed" and "O Captain! My Captain!" (1866) are two of his more famous poems. A poet who was ardently singing on life and himself, Whitman is today claimed as one of the few truly great American men of letters.