篇一：《英语诗歌欣赏》小论文范文
e EssayStudent’s Name: Class Number: Date: 2015/12/21
Wordsworth’s View on Nature
Based on the Reading of I Wandered Lonely as
a Cloud
Che Hongyu
Wordsworth was a British poet in the 19 century and the poet laureate since th
1843 till his death in 1850. He was born and grew up in the English Lake District and the beautiful scenery of his hometown nurtured his deep love for nature and his purpose of praising nature in his work. He called himself “Prophet of Nature” in The Prelude, and claimed that prophets of nature “will speak a lasting inspiration, sanctified by reason, blest by faith: what we have loved, others will love and we will teach them how” (Wordsworth, 1979: 482), by which he means he, as a nature worshipper, will write about his love for nature in his work and show the readers what he loves about nature, so as to teach them how to love nature and evoke their love for nature.
This essay will analyze the poem I wandered Lonely as a Cloud from the aspects of writing background, metrical patterns, figures of speech and images so as to examine William Wordsworth’s view on nature.
I Wandered Lonely as a Cloud was written in 1804 and believed to be one of the most beautiful poems written on nature. The poet wrote this poem based on his experience on April 15th, 1802. That day, Wordsworth and his sister Dorothy Wordsworth were walking in the Lake District, to quote Dorothy in Grasmere Journals, “It was a threatening misty morning-but mild. We set off after dinner…The wind was furious & we thought we must have returned…We first rested in the large
Boat-house, then under a furze Bush…The wind seized our breath the Lake was rough. We rested again in the Water Millock Lane…We got over into a field to avoid some cows…When we were in the woods beyond Gowbarrow park we saw a few daffodils close to the water side” (Abrams, 2000: 391). It was clear that that day was a windy one, Wordsworth and his sister set off for a walk after dinner but was frustrated by furious wind. They rested in the Boathouse, under a bush, and in the Water Millock Lane and they walked on against the wind and when they arrived at the woods, they saw the daffodils. The daffodils were beautiful and vast, “there was a long belt of them along the shore, about the breadth of a country turnpike road (Abrams, 2000: 391)”. They did not expect to see such beautiful daffodils in such a multitude on such a rough day. “I never saw daffodils so beautiful they grew among the mossy stones about & about them, some rested their heads upon these stones as on a pillow for weariness & the rest tossed & reeled & danced & seemed as if they verily laughed with the wind that blew upon them over the lake, they looked so gay ever glancing ever changing (Abrams, 2000: 391)”. The daffodils are not only beautiful but also cheerful, such natural beauty cheered up the two travelers on such a windy cold day. Two years later, Wordsworth wrote the poem I Wandered Lonely as a Cloud to praise nature.
Obviously, the theme of the poem is “nature is beautiful and wise” as shown in daffodils. To show the beauty and charm of daffodils, the poet creates a musically beautiful poem. This poem was written in iambic tetrameter, with a rhyme scheme of ababcc. All the four stanzas follow the same metrical pattern, and the whole poem is actually an ode to daffodils of the Horatian type. Tetrameter, shorter than pentameter, creates a cheerful rhythm and the use of traditional iambic meter ensures the soothing effect of musicality of the poem. The long vowels of au, i:, ai, ei, a: also create a comforting, calming effect on the readers, beautifully soothing. The repetition of the lateral l sound adds to this loving and peaceful effect. The poet’s use of the euphony shows how much he wants to show and convey to the readers the beauty of daffodils, which is also the beauty of nature.
Apart from the musical beauty, the poet uses various figures of speech and images to further show the beauty and cheerfulness of the daffodils. At the beginning of the poem, the speaker was seen as a lonely wanderer in the hill, who was compared to “a cloud that floats on high o’er vales and hills”. But the appearance of the daffodils greatly changed his melancholy mood. He did not see just one or two
daffodils, but a great many, “a crowd, a host, of golden daffodils”, “continuous as the stars…on the milky way”, “they stretched in never-ending line”, “ten thousand saw I at a glance”. The images of “crowd”, “host”, “never-ending line” showed the non-loneliness of the flowers which instantly impressed the speaker. The daffodils are not only impressive in number, but also extremely cheerful, happy and inspiring. The kinesthetic images of “fluttering”, “dancing’, “shine and twinkle”, “tossing their heads in spritely dance” depicted vivid pictures of this “jocund” company.
Nature is beautiful, as shown in the poem, but not only so. Nature teaches people about the wisdom of life too. The daffodils are blooming in the rough wind, dancing, shining, fluttering against the bad weather, which tells the speaker a truth about nature: nature is naturally merry. The wind is rough, that is what the wind is; this does not stop the daffodils from remaining happy and celebrating life. The speaker was influenced by the cheerfulness of
To conclude, Wordsworth loves nature and believes nature is not only beautiful, but also wise. He, as a poet, takes “praising nature” as his mission and tries to be the “prophet of nature”. He uses the persona to express his faith in and love for nature in this poem. He believes if people try to appreciate nature’s beauty, take in nature’s wisdom, humbly accept nature’s nurturing, people will be wise and happy.
Note: All the quotations of the poem I Wandered Lonely as a Cloud are from《英语诗歌欣赏》，蒲度戎主编，2008，重庆：重庆大学出版社。
References
1. Abrams, M. H., 2000, The Norton Anthology of English Literature, 7th edition, volume 2. New York: W. W. Norton & Company, Inc.
2. Wordsworth, W., 1979, The Prelude: 1799, 1805, 1850. New York: W. W. Norton & Company, Inc.
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篇二：浅论舒婷诗歌的思想意蕴和意象特点
位心中永远充满希望的诗人，在十年动乱的异化的年代，她紧紧裹住自己的骄傲。深入人的内心世界，进行着对自我的反思，作为一位女性诗人她深入探讨女性的本体，从人的尊严和人的价值出发发表爱情宣言，毅然否定数千年来压迫女性的虚假陈腐的爱情观，在人际关系紧张人性泯灭的日子，她呼唤人性寻找着真善美，用无限的爱的真情寻找理解和尊重，作为动乱年代的诗人她没有仅仅叹息和忧伤，而是勇敢地担负起时代赋予的沉重的责任，用她不屈的信念扬起理想的风帆，她歌唱祖国，表达出爱国主义情怀。她的诗充满着爱的激情而由于悲剧性时代的烙印使她的诗流露出淡淡的哀愁，呈现着美丽的忧伤的基调。关键词舒婷诗歌自我人性 爱情
Abstract
ShuTing, a heart full of hope of poet, the turmoil of the alienation of s in ten years, she tightly wrapped his own pride. Into people's inner world, is a reflection of self, as a female poet she dives into women's ontology, starting from the value of human dignity and issued a
declaration of love, resolutely denied for thousands of years oppression of women fake of love, in the days of interpersonal tension humanity she calls for looking for true human nature, with infinite love feelings looking for understanding and respect, as uest s poet, she not only sigh with sadness, but bravely shoulder the heavy responsibility of the era have entrusted to, unyielding faith raise the ideal sail with her, she's ode to the motherland, to express patriotic feelings. Her poetry is full of the passion of love and because of the time stamp of the tragic makes her poems reveals melancholy, rendering the beautiful sad tone.
Keywords ShuTingself human love poetry
目录
摘要???????????????????????1 英文摘要????????????????????2 目录??????????????????????3 前言??????????????????????4
一、 舒婷诗歌的思想意蕴?????????????5
二、 彰显对人的价值及社会权利的追求???????7
三、 呼唤女性追求????????????????9
四、融入了丰富的社会性内涵???????????11
五、舒婷诗中的意象特点?????????????12 参考文献????????????????????15
前言
舒婷，出生于1952年，是朦胧诗派的代表作家之一。《致橡树》是她朦胧思潮的代表作之一，与北岛、顾城齐名，事实上，她的诗歌更接近上一代载道意味较浓的传统诗人，反抗性淡漠了许多。
主要著作有诗集《双桅船》、《会唱歌的鸢尾花》、《始祖鸟》散文集《心烟》等。舒婷擅长于自我情感律动的内省，在把握复杂细致的情感体验方面特别表现出女性独有的敏感。情感的复杂性、丰富性常常通过假设、让步等特殊句式表现得曲折尽致。舒婷又能在一些常常被人们漠视的常规现象中发现尖锐深刻的诗化哲理《神女峰》、《惠安女子》，并把这种发现写得既富有思辩力量，又楚楚动人。舒婷的诗真挚、柔婉、朦胧，以曲折的方式表现对人生的思考和探索，曾被称为“崛起的诗群”中的代表因而引起争论。她的诗有明丽隽美的意象，缜密流畅的思维逻辑，积极向上的思想。从这方面说，她的诗并不“朦胧”。只是多数诗的手法采用隐喻、局部或整体象征，很少以直抒告白的方式，表达的意象有一定的多义性。笔者无力走进这样一位杰出诗人真正的内心世界，只能以粗陋的笔尖就舒婷诗歌的思想意蕴和意象特点两方面谈谈自己浅显的认识。
一、 舒婷诗歌的思想意蕴
舒婷的诗歌大多以“爱”为内核、忧伤与憧憬并存。其诗歌由于失落、悲哀、迷惘所带来的忧伤、痛苦。却蕴籍着对人生道路的思考、探索、对未来的憧憬和向往。笔者认为：舒婷诗歌的思想意蕴，主要表现在以下几个方面：一体现对真善美的人性回归的追求，朦胧诗人们的人生历程中，都有一个共同的生活经历，即都经历过惨绝人寰的文化大革命。它使他们失去的金色的童年，失去了温暖与友爱，甚至推动了正常教育和就业的机会。他们目睹了“一系列威胁着残害着人和心灵的历史事件”的不断出现，人性被湮没，人与人之间竖起了一层愈来愈厚实的障壁，于是，这些怀着被愚弄和被遗弃的心态的一代人，便成长为冷峻、深刻而又特别赋有创新意识的一代新人。他们痛恨人与人之间的冷漠，他们仇视人性被埋没的无理。他们痛苦地反思着昨日历史的疯狂，他们欣悦地展望着明天世界的美丽。
于是，他们的借着战斗的芦笛，吹奏出了追求友爱和谐的人际关系、追求真诚善良的人性回归的笛音。他们期盼着人类纯真的爱。舒婷作为现代朦胧诗的代表人物，诗歌处处呈现出与传统诗歌不同的思想意蕴。对人的自我价值的重新确认，对人道主义和人性复归的呼唤，对人的自由心灵奥秘的探索构成了她诗歌的核心思想。
舒婷以“搁浅的船”概括一代人的悲剧命运《船》面对神女峰这千年流传的人间神话“煽动新的背叛”《神女峰》诗人在觉醒与叛逆、迷惘与清醒、痛苦与庄严、失落与寻找、追悔与重建的感伤诗情中试图建构一个新的诗学主题。
在《雨别》等作品里，舒婷真切地呼唤爱者与被爱者之间的真情和人性美
篇三：古典诗词鉴赏论文
近时代造就的才女 屈原在充满爱国激情的抒忧发愤之作《离骚》中写道“路漫漫其修远兮，吾将上下而求索。”在追寻真理方面，前方的道路还很漫长，但我将百折不挠，不遗余力地去追求和探索。中华上下五千年历史长河的积淀中，无数风流人物所留下脍炙人口的篇章深深震撼着后人。在古典诗词的赏析中，我们又何尝不是慢慢积累，斟酌古代诗人的用词技巧，联系当时的生活背景，国家，仕途命运，品析诗词中所寄予的情怀。古典诗词之所以散发着无穷的诱惑力，很大程度上正源自古代文人用笔的高超，以及对现实生活、仕途、国家命运的深刻品寓。高中时代，忙于备战高考，少有时间品读李清照的作品，泛读中感受到她的情怀，婉转缠绵的笔作，内心世界的强大，婉约派的巅峰之作深深地打动着我。老师在课堂上也曾赏析了李清照的词并分析了她生活的时代背景，生活遭遇。出生于书香门第，父亲李格非精通经史，长于散文，母亲王氏也知书能文。在家庭的熏陶下，她小小年纪便文采出众。李清照对诗、词、散文、书法、绘画、音乐，无不通晓，而以词的成就为最高。词的风格委婉、清新，感情真挚，给人一种莫名的安静的感觉，或清新明丽、意境优美，或沉重忧虑、沉郁感伤，自然的语言、抑扬顿挫的音律、至情感性的感情代代流传着，带给人美的感染、带给人至高的艺术氛围，引起历代文人难以忘怀的共鸣。写的是自己亲身感受与内心体验，显得格外真挚细腻、委婉动人。她从女性特有的心理出发，挑选怅惘悲愁时所容易联想到的事物，用女性独有细腻的笔法加以组织，因而更加别有风致，独树一帜。其文学创作具有鲜明独特的艺术风格，居婉约派之首，对后世影响巨大，在词坛中独树一帜，人称"易安体"。
下面就赏析其《醉花阴》"薄雾浓云愁永昼，瑞脑销金兽。佳节又重阳，玉枕纱橱，半夜凉初透。东篱把酒黄昏后，有暗香盈袖。莫道不销魂，帘卷西风，人比黄花瘦。"
1、【词的整体把握】
稀薄的雾气浓密的云层掠起烦愁直到白昼，龙脑的香料早已烧完了在炉金兽。美好的节日又到重阳，洁白的瓷枕，轻纱笼罩的床厨，昨日半夜的凉气刚刚浸透。
在东篱饮酒直饮到黄昏以后，淡淡的黄菊清香飘满双袖。别说不会消损神魂，
珠帘卷起是由于被受西风，闺中少妇比黄花更加消瘦。
2、【词中名词释义】 词中出现的名词解释：永昼：漫长，悠长的白天。瑞脑：即龙脑，是一种香料名。金兽：兽形的铜香炉，用于焚烧香料。玉枕：瓷枕的美称。纱厨：纱帐，一称碧纱帐。东篱：语出陶渊明《饮酒》诗：“采菊东篱下，悠悠见南山”。后即以东篱指代赏菊之处。暗香：幽香。这里指菊花的香气。帘卷西风：“西风卷帘”的倒文。黄花：指菊花。
3、【全词具体赏析】
这首词的创作背景是作者早期和丈夫赵明诚分别之后所写，九月重阳，登高怀旧，倍加思亲，此时的她与丈夫分隔两地，孤苦伶仃，整首词通过悲秋伤别来抒写词人的寂寞与相思情怀。
上片"薄雾浓云愁永昼，瑞脑销金兽。佳节又重阳，玉枕纱橱，半夜凉初透。”主要描写秋凉情景。“薄雾浓云愁永昼”，薄雾浓云布满整个天际，更罩满词人心头。一天从早到晚，这种阴沉沉的天气最使人感到愁闷难捱。外面天气不佳，只好待在屋里，烦闷的情绪涌上心头，可惜至爱的丈夫不在身边，孤苦伶仃更与谁人说。“瑞脑消金兽”一句，转写室内情景：她独自看着香炉里瑞脑香的袅袅青烟出神，侧面道出了时间的漫长以及生活的百无聊赖，又烘托出环境的凄寂。“佳节又重阳，玉枕纱橱，半夜凉初透。”又是重阳佳节了，天气骤凉，睡到半夜，凉意透入帐中枕上，对比夫妇团聚时闺房的温馨，真是不可同日而语。上片寥寥数句，便把一个闺中少妇心事重重的愁态描摹出来。她走出室外，天气不好；待在室内又闷得慌；白天不好过，黑夜更难挨；坐不住，睡不宁，真是难以将息。“佳节又重阳”在中华这片热土上有着深刻寓意，古人对重阳节十分重视，盼望家人团圆，游子能够回到父母亲身边，亲友团聚，相携登高怀旧，佩茱萸，饮菊酒，共享天伦之乐。从天气到瑞脑金兽、玉枕纱厨、帘外菊花，词人用她愁苦的心情来看这一切，由环境深入到内心世界，无不涂上一层愁苦的感情色彩。
下片“东篱把酒黄昏后，有暗香盈袖。莫道不销魂，帘卷西风，人比黄花瘦。"写重阳节这天赏菊饮酒的情景。把酒赏菊本是重阳佳节的一个重要习俗，无奈丈夫游玩未归，孤身一人，李清照在屋里闷坐了一天，直到傍晚，才强打精神“东篱把酒”。可是，酒意渐浓信未解，忧伤压抑的情怀并没有得到一丝宽解，反而
在她的心中掀起了更大的感情波澜。重阳是菊花节，菊花开得极盛极美，她一边饮酒，一边赏菊，染得满身花香。然而，她又不禁触景伤情，菊花再美，再香，也无法送给远在异地的亲人。“有暗香盈袖”一句，暗写她无法排遣的对丈夫的思念。她实在情不自禁，再无饮酒赏菊的意绪，于是匆匆回到闺房。深秋的节候、物态、人情，已宛然在目。佳节依旧，赏菊依旧，但人的情状却有所不同。这是构成“人比黄花瘦”的原因。“莫道不销魂，帘卷西风，人比黄花瘦”，末尾三句设想奇妙，比喻精彩。“消魂”极喻相思愁绝之情。“帘卷西风”即“西风卷帘”，暗含凄冷之意。匆匆离开东篱，回到闺房，瑟瑟西风把帘子掀起，人感到一阵寒意，联想到把酒相对的菊花，顿感人生不如菊花之意。上下对比，大有物是人非，今昔异趣之感。为末句“人比黄花瘦”作环境气氛的渲染，联想到刚才把酒相对的菊花，菊瓣纤长，菊枝瘦细，黄色的菊花不止外形上雅淡、清秀，与作者因相思而消瘦的体态相近，在菊花品格的传统象征意义上，也酷似作者清高、淡泊的精神，这样的比喻正比较恰切地反映了当时作者由于离开丈夫而孤独、愁闷的生活状态和内心情感。取义新奇传神，言情含蓄。菊花即使形态凋残而斗风傲霜，人则悲秋伤别，消愁无计，顿生人不如菊的悲催落寞之感。以“人比黄花瘦”作结，取譬多端，含蕴丰富。这三句直抒胸臆，写出了抒情主人公憔悴的面容和愁苦的神情，共同创造出一个凄清寂寥的深秋怀人的境界。工稳精当，是词人艺术匠心之所在：先以“消魂”点神伤，再以“西风”点凄景，最后落笔结出一个“瘦”字。词人巧妙地将思妇与菊花相比，展现出两个镜头：一边是萧瑟的秋风摇撼着羸弱的瘦菊，一边是思妇布满愁云的憔悴面容，情景交融，创设出了一种凄苦绝伦的境界。
“愁”、“凉”二字。深秋的节候、物态、人情，已宛然在目。这便是构成下片“人比黄花瘦”的原因。下片写重阳感怀。首二句写重九赏菊饮酒。古人在旧历九月九日这天，有赏菊饮酒的风习。唐代诗人孟浩然《过故人庄》中就有“待到重阳日，还来就菊花”之句。宋时，此风不衰。重阳节这天，词人照样要“东篱把酒”直饮到“黄昏后”，菊花的幽香盛满了衣袖。这两句写的是佳节依旧，赏菊依旧，但人的情状却截然不同了：“莫道不消魂，帝卷西风，人比黄花瘦”。上下对比，大有物是人非，今昔异趣之感。就上下片之间的关系来说，这上片写的是原因，下片写的是结果。
4、【词中表现主题的手法】
词中巧妙地运用到比喻的手法，以花喻人瘦，由于菊花的体态瘦削，一派凋残的形象，人老花黄，作者把自己与菊花的整体形象结合得十分紧密，极合女词的情致，耐人寻味。也可说是运用了烘云托月的手法，有藏而不露的韵味。下片写菊，并以菊喻人。但全篇却不见一“菊”字。“东篱’，化用陶渊明‘采菊东篱下”诗意，但却隐去了“采菊”二字，实际是藏头。“把酒”二字也是如此，“酒”字之前，本来有“菊花”二字，因古人于九月九日有饮菊花酒的风习，这里也省略了“菊花”二字。再如“暗香”，这里的“暗香”指的是菊花花蕊的香气。“黄花”，也就是“菊花”。由上可见，全词不见一个“菊”字，但“菊”的色、香、形态却俱现纸上。词中多此一层转折，吟味时多了一层思考，诗的韵味更加浑沉。设问手法也是词中饱受后人称赞的艺术特点。“莫道”句带有反诘与激问的成分。
全词开篇点“愁”，结句言“瘦”。“愁”是“瘦”的原因，“瘦”是“愁”的结果。贯穿全词的愁绪因“瘦”而得到了最集中最形象的体现。可以说，全篇画龙，结句点睛，巧妙结合，相映成辉，创设出了“情深深，愁浓浓”的情境。
5、【个人感悟】 通过全面学习《醉花阴》这首词，李清照用清丽的语言，写的是思亲，但却没有出现思亲或相思之苦的语句，用叙事的方式，表达了内心世界深深的思亲的愁苦，显的很沉重高雅。通过深秋环境的渲染，描述了重阳佳节把酒赏菊的情景，更烘托了一种凄凉寂寥的氛围，抒发了作者思念丈夫的寂寞与孤寂的心情。整首词宛如一幅忧愁而美丽的画面。词人的愁情，能穿透时空，盾破天际，引起每个人内心的共鸣。李清照的词美，美在含蓄，美在幽婉，美在词法用功之妙。在今后的学习生活中，想必李清照的词将陪伴我左右，欣赏的不仅是她傲人的才华，更是她豁达的胸襟，闲看庭前花开花落。作为一个封建时代的女性，她一生经历了无数苦难和坎坷，国破，家亡，财散，再嫁，离婚，还没有子嗣。她凭借顽强的意志挺住了，她现在留存下来的文学作品，诗，词，和文，全部加起来也就不过七八十篇，但其地位与多少大作家，文豪在中国的文学史上平起平坐，她无疑是中国古代文学史上一道亮丽的风景，过去如此，现在如此，以后也将如此。