美国20世纪20年代诗歌

英文经典诗歌以下是几首英文经典诗歌：1."The Waste Land" by T. S. Eliot: 这是一首20世纪最著名的诗歌，描写了战争和现代人的孤独感。

2."Do not go gentle into that good night" by Dylan Thomas: 这首诗讲述了一个人在面对死亡时的坚韧和勇气。

3."The Road Not Taken" by Robert Frost: 这首诗描述了一个人在面临抉择时的困惑和不安，让人思考生命中的选择和决策。

4."The Love Song of J. Alfred Prufrock" by T. S. Eliot: 这首诗以独特的语言和节奏表达了现代人的孤独和无力感。

5."Ode to a Nightingale" by John Keats: 这首诗歌颂了一只夜莺的美妙歌声，同时探讨了生命的短暂和永恒。

6."Howl" by Allen Ginsberg: 这首诗是1950年代美国反文化运动的代表作品之一，探讨了社会和文化的问题，以及对权威和传统的反叛。

7."Stopping by Woods on a Snowy Evening" by Robert Frost: 这首诗描述了一个人在冬日深夜独自走过林间的情景，表达了生命中的孤独和思考。

8."The Tyger" by William Blake: 这首诗以强烈的形象和节奏表现了人类面对恶势力时的矛盾和无力感。

9."Annabel Lee" by Edgar Allan Poe: 这首诗是爱伦坡最著名的诗之一，描述了一位青年男子对他逝去的爱人的悲痛和追思。

10."The Rime of the Ancient Mariner" by Samuel Taylor Coleridge: 这首史诗讲述了一名老水手的冒险和罪恶，以及他对自然和神秘的认识。

2021/3视野和厚重的生命内涵。

[10]20世纪末到新世纪初，诗歌口语化趋势蔚然成风，一些诗人沉湎于还原存在本质的书写，对日常事物进行全方位的细致描画。

这种拟真化写作的泛滥，同过去故作高雅的“靡靡之音”异曲同工。

这种诗歌过于精微的叙述手段，缺少大胆开阔的想象和真性情的加持，不过是“精美的平庸之作”罢了。

诗歌如果总是讲求精致的小技巧，难免流于平庸俗气。

而海洋诗歌却有着“剽悍的野性”，立于海边的诗人有着海岸渔民骨子里的“抗争性”。

诗中的这种率真自由往往来自浪尖生活的无拘无束，没有矫饰。

海洋诗歌可以说是一把利斧，劈开了中国当下诗歌“亲亲”向荣、相安无事的假象，与世界艺术理念接通。

海洋诗歌多追求情思的深邃与丰厚。

海洋诗人不光追求语言的及物性，还追求丰富多样的抒写方式和有深度的思想内涵。

当下真正优秀的诗歌肯定是立足于生活，展示人性并传递现实力量的作品。

当代诗歌需要大批优秀的海洋诗人，严谨地对待生活，直面诗艺大海，热爱诗歌，奉诗歌为一生志业，中国新诗必将扬帆远航。

注释：[1]黄礼孩：《找回大海的天赋》，海风出版社，2019年。

[2]袁晓红、刘进：《“海洋”之歌—当代诗歌中的海洋意象》，《西华师范大学学报》(哲学社会科学版)2009年第2期。

[3]余光中：《被诱于那一泓魔幻的蓝—〈二十世纪中国海洋诗精品赏析选集〉序》，《华中科技大学学报》（人文社会科学版）2002年第2期。

[4]尤佑：《擅长身体修辞的蝼蚁与潜心灵魂诗学的猛虎—评汤养宗诗集〈制秤者说〉》，/qxwx/ vip_doc/4499668.html，2017年5月19日。

[5]辛泊平：《谦恭内敛的人生姿态—读汤养宗〈致所有的陌生者〉》，辛泊平个人新浪博客，2013年12月21日。

[6]余峥：《最终的海：人类与诗的栖居家址—评汤养宗“海洋诗”》，《诗探索》1995年第2期。

[7]余峥：《最终的海：人类与诗的栖居家址—评汤养宗“海洋诗”》，《诗探索》1995年第2期。

第11章20世纪20年代•意象派•庞德I.Fill in the blanks.1.“In a Station of the Metro”by Ezra Pound goes like this:The apparition of these faces in the crowd;_____.（首师大2008研）【答案】Petals on a wet,black bough.【解析】这是意象派诗人庞德的名作，意为：人群中这些面孔幽灵一般显现，湿漉漉的黑色枝条上许多花瓣。

2._____,by Ezra Pound,employs the complex association of scholarly lore, anthropology,modern history and personages,private history and Witticism,and obscure literary interpolations in various languages.（人大2006研）【答案】The Cantos【解析】庞德的《诗章》包罗万象，是庞德的代表作。

3.Author_____Title_____.（南京大学2007研）The apparition of these faces in the crowd;Petals on a wet,black bough.【答案】Author:Ezra Pound Title:“In a Station of the Metro”【解析】题目节选自庞德的《在一个地铁车站》，该诗是以一个意象作为叙述语言的典型范例。

4.Ezra Pound’s lifelong endeavor had been devoted to the writing of_____,which contains_____poems.（国际关系学院2007研）【答案】The Cantos;117【解析】庞德把毕生精力都投入到写作《诗章》当中，《诗章》共包括117首诗。

1945年至1990年的美国诗歌：反传统潮流2008.05.03伊丽莎白•毕肖普（美联社图片）(此为《美国文学纲要》（Outline of American Literature）修订本第七章，由美国国务院国际信息局翻译。

)作者：凯瑟琳•文斯潘克仁（Kathryn VanSpanckeren）对于20世纪下半叶的许多美国诗人而言，传统的形式与思想似乎不再具有意义。

二战结束后的事件使许多作家萌生出历史断裂感：每个动作、每种情感和每一时刻都被视作独一无二。

风格和形式似乎普遍具有随机性，反映了创作过程和作者的自我意识。

熟悉的表达类型受到怀疑；独创性成为新的传统。

1957年，法院在涉及艾伦•金斯伯格（Allen Ginsberg）的诗歌《嚎叫》（Howl）的案件中裁定该作品并不属于淫秽出版物，使反传统趋势的影响迅速扩大。

该案件的起因是《嚎叫》被旧金山海关扣押，出版商劳伦斯•弗林盖蒂（Lawrence Ferlinghetti）的城市之光书店（City Lights）提起诉讼。

在那起臭名昭著的诉讼案件中，知名评论家以《嚎叫》具有救赎的文学价值为理由捍卫它对社会提出的激烈批判。

最后海关败诉，叛逆的“垮掉的一代”（Beat）诗人一举成名，尤其是金斯伯格及其友人杰克•凯鲁亚克（Jack Kerouac）及威廉•巴勒斯（William Burroughs）。

形成美国这种离析感的历史缘由并不难找。

二战本身、现代大城市中人与人之间的陌生感和大肆消费、20世纪60年代的抗议运动、延续10年的越南战争、冷战、环境威胁等各类冲击都对美国文化产生了影响。

然而，对美国社会转型影响最大的要属大众媒体和大众文化的兴起。

首先是广播，后来是电影，再后是威力巨大、无处不在的电视机，都从根本上改变了美国人的生活。

过去，美国文化是小范围的知识精英文化，其基本形式是书本和阅读，现在则转变为以广播、音乐磁带和光盘、电影及电视荧屏画面为主要形式的媒体文化。

梦想的延迟是一首由美国黑人诗人兰斯顿·休斯创作的诗歌，首次发表于1951年。

这首诗在20世纪50年代成为了美国民权运动的象征之一，探讨了黑人在美国社会中长期受到的压迫和剥夺，以及他们长久以来不屈的精神。

梦想的延迟一诗将黑人的梦想所受的压迫和剥夺比喻为一颗未成熟的果实，由于各种原因而一直没有得到实现。

在诗中作者提出了一系列关于这种延迟的问题，并向学生们提出了一系列反问，以引发读者的思考，引起对社会不公的关注。

下面，我们来分析一下这首诗的主要内容。

诗中作者用了很多比喻和隐喻来描绘梦想的延迟。

他比喻梦想像一颗未成熟的果实，由于各种原因一直没有成熟，导致它变坏了。

这种意象非常生动形象，通过这个比喻，读者可以清晰地感受到梦想被延迟的痛苦和失望。

诗中作者反复提出了一系列反问，引发读者的思考。

他问道：“如果梦想被延迟了，会发生什么呢？它会变得像葡萄干一样干瘪吗？它会像一个开了疮的伤口一样溃烂吗？它会像炸药一样爆炸吗？”这些问题无一不在暗示着梦想被延迟的严重后果，呼吁人们对这种社会不公感到愤慨和担忧。

诗中作者表达了对梦想的坚持和追求。

他说：“但我仍然坚信，梦想是如此美丽，梦想将会实现。

”通过这句话，作者表达了对梦想的坚定信念，以及对美好未来的向往。

即使面对各种困难和阻碍，他依然不放弃对梦想的追求，展现了黑人长久以来不屈的精神。

梦想的延迟这首诗在20世纪50年代的美国社会中引起了广泛的共鸣，成为了美国民权运动的一面旗帜。

它以其深刻的内涵和生动的形象成为了人们探讨社会不公的重要形式之一，鼓舞了一代又一代的黑人和其他受压迫的民族，激励他们勇敢地追求梦想，为自己的权利和尊严奋斗。

在当下，梦想的延迟这首诗依然具有重要的现实意义。

无论是在美国还是在其他国家，社会不公和种族歧视依然存在，许多人的梦想依然被延迟。

我们需要通过这首诗来反思社会的现状，关注少数族裔和弱势群体的权利和利益，共同努力创造一个更加公正和平等的社会。

现当代美国诗歌[威廉·卡洛斯·威廉斯诗选]18⾸现当代美国诗歌：威廉斯诗选18⾸ 威廉斯（1883-1963），美国后现代主义诗歌的⿐祖。

代表作是长诗《裴特森》。

威廉斯最初是意象派诗⼈，但后来转向客观主义。

他因对普通场景和物体的准确描写⽽著名。

威廉•卡洛斯•威廉斯是庞德的同窗好友，诗风很接近意象派，同时继承了惠特曼的浪漫主义传统，在意象派星散后，他是唯⼀对意象派坚持具体性原则并终⾝服膺的诗⼈，他的诗歌创作是意象派所产⽣的最有积极意义⽽且最持久的成果。

威廉斯创作的特点是坚持使⽤⼝语，⽤简明清晰的描述性意象，⽤松散的短句，反对复杂沉重过于致密的内部结构和晦涩的象征体系。

20年代末他参加“客体主义”诗派，主张“要事物，不要概念”。

他认为⽇常⽣活中粗糙、丑恶、平凡的事物均可⼊诗，写作速度宜快，以使天籁得以⾃然记录。

他还强调美国本⼟风格，⽤普通美国⼈的语⾔，写美国题材，建⽴有美国本⼟特⾊的诗歌。

他说：“我相信⼀切艺术都从当地产⽣，⽽且必须如此，因为这样我们的感官才能找到素材。

威廉•卡洛斯•威廉斯（WilliamCarlosWilliams1883-1963）是20世纪美国最负盛名的⼏个诗⼈之⼀。

威廉斯在谈到《荒原》的⾯世对他个⼈的影响时说：“对于我，它特别像迎⾯射来的⼀颗嘲笑的⼦弹。

我⽴刻感到它使我后退了20年，我相信的确如此。

”在另⼀处威廉斯把《荒原》的发表看作是诗坛上的晴天霹雳，说“它好像是原⼦弹落下来，把我们的世界炸开，我们向未知领域作的种种勇敢的突击被化为灰尘”。

艾略特以诗歌创作开辟了西⽅现代诗坛，以他的美学思想创建起来的英美新批评理论更是雄霸英美诗评论坛和⼤学⽂学讲堂长达30年之久。

然⽽威廉斯却认为艾略特是在向后看，同时认为⾃⼰应该向前看，即他希望⾃⼰能够创作出纯粹美国化的诗歌以抵抗艾略特的创作路线。

威廉斯的⽗亲是英国⼈，⽗母移居美国，他算是⽣在美国的第⼀代美国⼈，他终⽣是个职业医⽣，重临床、重器械，职业与出⾝造就了这是个现实味⼗⾜的诗⼈。

美国文学史中的各时期作家及代表作品早期的美国文学是从欧洲文学的样式和风格中衍生出来的。

例如，维兰德和查尔斯·布罗克登·布朗的小说创作就是对英格兰哥特小说的模仿。

就连华盛顿·欧文的杰作《李伯大梦》和《沉睡谷传奇》也是十足的欧洲风格，只是故事发生的场景改为美国而已。

美国文学的诞生美国第一位在小说和诗歌创作领域取得显著成就的作家是艾德加·爱伦·坡（1809－1849），他于1835年开始短篇小说的创作，其作品包括《红死病》、《陷坑与钟摆》、《颓败之屋》和《莫尔格街凶杀案》。

他的创作触及了前人很少涉及的心理学领域，并且将神秘、幻想等元素融入小说创作之中。

1837年，年轻的作家纳撒尼尔·霍桑（1804－1864）将他的一些短篇小说集结成册出版，名为《重讲一遍的故事》。

这是一部包含了丰富的象征主义及神秘主义元素的作品。

后来，霍桑又开始写作长篇的传奇小说、类寓言小说，他的本土小说《新英格兰》以人类的内疚、荣耀和情感上的压抑为主题。

霍桑的代表作是《红字》，讲述一个因通奸行为而被驱逐出社区的女人的故事。

霍桑的小说创作对他的朋友，作家赫尔曼·梅尔维尔（1819年－1891年）产生了深远的影响。

赫尔曼·梅尔维尔以自己早期的水手经历为蓝本创作了许多富有异国情调的小说。

在霍桑的影响下，麦尔维尔的小说中也融入了很多哲学上的思索。

在其代表作《白鲸》中，作家通过对一场惊心动魄的捕鲸历程的描述，表达了对人类痴迷状态、人性中罪恶成分以及人类如何战胜这些天性的思索。

在他的另一部短篇杰作《比利·巴德》中，梅尔维尔则戏剧性的描写了战争时期一艘船上人们责任和同情心的主题。

梅尔维尔的那些涵义深远的杰作销量少得可怜，而梅尔维尔本人在有生之年也没有获得应有的声誉。

直到20世纪初期他的作品才重新被人发掘并被给予公正的评价。

1836年，曾经做过联邦政府部长的拉尔夫·沃尔多·爱默生（1803年－1882年）出版了一部散文作品《自然》，主张人类可以通过学习和研究自然世界来代替笃信宗教或试图达到某种玄妙的精神境界。

[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。

1样卷I. Fill in the blanks in column A with the proper letters in column B. (20%)1 (a) Mosses from and Old Manse a:. HawthorneII. Explain the following briefly. (15%)Frame storyA frame story is one which contains either another tale , a story within a story, or a series of stories. Well-known instances are the Arabian Nights, Boaccacio‘s Decameron, Chaucer‘s Canterbury Tales, and Marguerite of Navarre‘s Heptameron. Much later Goethe used this Boccaccio technique. Mark Twain used this method in his The Celebrated Jumping Frog of the Calavares County.III. Answer the following five questions. (25%)Make a comparison between Walt Whitman and Emily Dickinson.They share a lot in common. Thematically, they both extolled, in their different ways, an emergent America, its expansion, its individualism and its Americanness, their poetry being part of ―American Renaissance.‖ Technically, they both added to the literary independence of the new nation by breaking free of the convention of the iambic pentameter and exhibiting a freedom in form unknown before: they were pioneers in American poetry.There are a lot of differences between them. Whitman seems to keep his eye on society at large; Dickinson explores the inner life of the individual. Whereas Wh itman is ―national‖ in his outlook, Dickinson is ―regional.‖Dickinson has the ―catalogue technique‖ (direct, simple style) which Whitman doesn‘t have.IV. Read the following quote carefully and answer the questions after it. (15%)Let me not to the marriage of true mindsAdmit impediments. Love is not loveWhich alters when it alteration finds,Or bends with the remover to remove.1. identify the poet and the title of the poem.2. Comment on the four lines.V. Read the following poem and write a commentary essay on the form and content of it. You essay should have a title, and be no less than 200 words. (25%)A. E. Housman (1859-1936)TO AN ATHLETE DYING YOUNGTHE time you won your town the raceWe chaired you through the market-place;Man and boy stood cheering by,And home we brought you shoulder-high.To-day, the road all runners come,Shoulder-high we bring you home,And set you at your threshold down,Townsman of a stiller town.Smart lad, to slip betimes awayFrom fields where glory does not stayAnd early though the laurel growsIt withers quicker than the rose.Eyes the shady night has shutCannot see the record cut,And silence sounds no worse than cheersAfter earth has stopped the ears:Now you will not swell the routOf lads that wore their honours out,Runners whom renown outranAnd the name died before the man.So set, before its echoes fade,The fleet foot on the sill of shade,And hold to the low lintel upThe still-defended challenge-cup.And round that early-laurelled headWill flock to gaze the strengthless dead,And find unwithered on its curlsThe garland briefer than a girl's.The poem To an Athlete Dying Young was written by a somewhat famous poet named Alfred Edward (A.E.) Housman. According to Twentieth Century Authors, he was born in 1859 and died in 1936, and was the oldest of seven children. His younger brother was also a well known poet, by the name of Laurence Housman. Something happened to Housman (A.E.) when he went to college, no one is quite sure of what it was, but there was a noticeable difference in his personality from when he left to when he came back. When he left for college, he was always cheerful, outgoing, quick and witty. When he returned, he was much different, he was much darker. Suddenly he was more reserved and quiet, and he preferred to be alone, rather than spend time with friends. According to , These changes remained permanent for the remainder of his life as he became incredibly secluded from his family, lost the ability to have friendships, and never married. He appeared to be an unpleasant man as he was a harsh critic of other poets' works; in fact, he was considered to be both ruthless and merciless in his criticism. One can tell that the way in which his poems were written were a direct reflection of what kind of a person he was. Most of his poems were either dark or sad, with some irony, as well as a great deal of intimate feelings. It's believed that because he had no friends, spouse, or family to talk to that the only way for him to express his feelings at all was to write about them through his poems. This poem, "To an Athlete Dying Young" falls under most of these categories as it has a good deal of sadness and irony to it. Undoubtedly, the change in Housman's character and personality was what caused his poems to be so exquisite, which is why he and they are still famous and known to this day. In my opinion, this is an absolutely perfect poem to use as an example of Housman's personality showing up in his work. In the poem, Housman begins by talking about a runner who won a race, in which he was representing his town. He then goes on to elaborate about the celebration that ensued. The image that Housman gives the reader is the townspeople all celebrating over this great victory, and carrying this young runner on their shoulders in celebration. There have been countless times in the course of the history of athletics where sports heroes who have just won a game or competition are carried on the shoulders of two other people. This is quite important, as the author will make a similar reference later in the poem. The author makes clear that this was a past event, as he is just remembering it. The reader gets the impression that there is a great deal of people standing and cheering for this athlete, perhaps even the majority of this small town. It would be a great moment, to have the winner and the spectators all cheering wildly in the town's center.The narrator begins the second stanza by changing the tense to the present. This concludes the fond memory of the race that was won by the young athlete. The narrator again says makes reference to the fact that the runner is being carried "shoulder-high". This time however, there is no celebration; instead, there is a funeral. The deceased is the same runner that one the race, and as the narrator puts it, he is being brought home. The town and the townspeople are no longer celebrating; they're not doing anything even close. Instead, they're in mourning of the passing of this great star. In some funerals, the casket is carried on people's shoulders. This is the irony that Housman uses and it is quite interesting considering the dramatic mood changes that everyone experiences between the two times when the runner was carried on shoulders. Housman usesirony in many of his poems; it is believed that this is because he had such a dark and secluded life. Normally, when he uses irony, it is to express something that is rather sad or disturbing, this is both.In the next stanza, the narrator refers to the runner as "smart", which is interesting considering he is dead. But when the observation is reflected upon, it becomes quite clear to the reader what Housman is intending to say. There are plenty of times in athletics where an athlete will achieve a great deal of glory and fame, but then that glory and fame dies off long before the athlete does. The difference here is that because this young athlete died young, he never has to give up that glory. The narrator uses the metaphor of a rose withering to express his message that glory doesn't last, usually. This is a terrific example of how something can be so great and beautiful, and then pretty soon, its dead and gone, forgotten.The fourth stanza is not easy to understand and interpret as the narrator makes a complex point. He starts off by further elaborating to the reader the fact that the runner is dead and that he has closed his eyes for the final time. Then, he tells the reader that the runner will never have to live to see the day where his record is beaten or broken in the race. There will never come a day when he will feel as though he's been beaten and his accomplishments have relinquished. He was lucky to a certain extent in the sense that he gets to die a champion, he gets to go out a hero. Housman then makes another reference to the change of moods between the day of the race and the day of the feeling. He exclaims that cheering turns into utter and complete silence as people pay their respects to the honored dead. As the next stanza elaborates even further, every athlete gets to a point where his glory days are long behind him and he no longer feels like royalty. The narrator explains how the runner will never have to be like so many other athletes that seemingly faded away, that wore out their honor in the eyes of the public and those who cheered them to victory. The next point that the author makes is quite interesting and something that one might not think about ordinarily even though it happens all the time. And that is that an athlete's fame, glory, and name recognition will be at its peak just after the athlete has achieved his or her athletic success. But there will come a time when all of that is gone, when most people don't know who that athlete is. A terrific example in current day culture is Mark Spitz. He was a swimmer that won seven gold medals in the 1972 Olympics. If asked today, more people than not probably wouldn't know who Mark Spitz is or what he accomplished, even though he is still alive. This is a classic case of an athlete's name dying before he or she does. The runner in the poem never had this happen to him as he died when he was still at the peak of his glory and fame. He was most likely still being praised up to the day he died, and far after that.In the beginning of the next stanza, the narrator once again tells the runner that it's at least somewhat good to die and end his life before the memory of his victory is forgotten. He uses the metaphor of standing on a cliff of shade, or shadows, which represent death. He shows that the runner is, or was on the edge of death. This is yet again a great example of Housman using a simile that grabs the reader and pulls him in. The narrator elaborates that the runner now gets to keep the "challenge-cup". What this means is that every year, the winner of the race that this runner won gets to have their name engraved on a trophy, a cup. The winner gets to keep the cup for the next year, until he loses the next race. If he wins, he gets to keep it for another year; this process goes on as long as he keeps winning. This is similar to the Stanley Cup, which is the trophy for the winner of the National Hockey League. Because the runner died before the race came around again, so he never had to give up the cup.The final stanza tells of the runner having an "early-laurelled head". A laurel is similar to an Olympic crown that is given to all of the medal winners in the Olympics. Obviously, the winner of this race receives one as well. The narrator then tells how all the townspeople, most of not all of whom were present when the runner won the race will all come to the funeral to pay their final respects to the deceased athlete. The last two lines of the poem are both interesting and complex. The laurel isn't withered as the rose was. This is symbolism for the fact that the runner will never have to lose his glory; it will last long after he has died.This is a poem of great sadness and tragedy. The young runner who became a champion was hoisted up on the shoulders of all of his fellow townspeople as the winner that he was. Hereceived the challenge-cup for his great ictory and was allowed to keep it for a year, until the next race. But unfortunately, he was never required to give it back, as he died before the next race took place. He, unlike most athletes will have his glory and accomplishments remembered long after his death. Most athletes are forgotten long before they actually pass from this earth. The author, Alfred Edward Housman, does a terrific job of using similes and ironies to get his points across to the reader, however dark and disturbing they may be. This poem is incredibly sad and unfortunate, but at the same time, it is a great piece of work by a great and famous poet, A.E. Housman.3 诗歌评析Page 55Henry Wadsworth Longfellow begins his poem "A Psalm of Life" with the same exuberance and enthusiasm that continues through most of the poem. He begs in the first stanza to be told "not in mournful numbers" about life. He states here that life doesn't abruptly end when one dies; rather, it extends into another after life. Longfellow values this dream of the afterlife immensely and seems to say that life can only be lived truly if one believes that the soul will continue to live long after the body dies.The second stanza continues with the same belief in afterlife that is present in the first. Longfellow states this clearly when he writes, "And the grave is not its goal, meaning that, life doesn't end for people simply because they die; there is always something more to be hopeful and optimistic for. Longfellow begins discussing how humans must live their lives in constant anticipation for the next day under the belief that it will be better than each day before it: "But to act that each to-morrow / Find us farther than to-day."In the subsequent stanza, Longfellow asserts that there is never an infinite amount of time to live, but art that is created during one's life can be preserved indefinitely and live on long after its creator dies. In the following stanzas, Longfellow likens living in the world to fighting on a huge field of battle. He believes that people should lead heroic and courageous lives and not sit idle and remain ineffectual while the world rapidly changes around them: "Be not like dumb, driven cattle! Be a hero in the strife!" His use of the word "strife" is especially interesting, since it clearly acknowledges that life is inherently difficult, is a constant struggle, and will never be easy. Longfellow then encourages everyone to have faith and trust the lord and not to rely on an unknown future to be stable and supportive.He advises people to seize the moments they have before them and act while thinking about their present situations. Longfellow continues his poem by citing the lives of great and important men who were able to lead incredible lives and leave their marks. He views these men as role models for people who have yet to live their lives; Longfellow encourages his readers to leave their own "footprints on the sands of time" and become important.The next stanza, the second to last in the poem, continues with this same point. It describes how successful people in the past have their lives copied, while those who failed serve as examples of ways of life to avoid.The final lines of the poem echo the beginning ones and offer perhaps the most important advice in a poem that is full of it. Longfellow encourages all to work and try their hardest to make their lives great and accomplish as much as they can. Longfellow conveys his message the same way he did in the rest of the poem: by speaking directly to the reader and providing his reasoning for believing in something more, in something better. Longfellow ensures his followers that the rewards for what they achieve will come eventually-if not in this lifetime, then, certainly, in the next.Page 57"Sonnet—To Science" is a poet's lament over the dangers of scientific development and its negative implications for poetry and creativity. Poe lived and wrote in the early nineteenth century as the European Industrial Revolution was crossing the Atlantic and transforming the technological landscape of the eastern United States, and his poem reflects an artistic backlash to the potential problems of the emerging America.Poe's concerns have been relevant at every stage of scientific progress, from the Renaissance to the current day, as each series of technological changes awakens the eternal fear that man will destroy his own humanity during his excited search for better machinery.In particular, "Sonnet—To Science" hints at the tension between the forward-looking advances of the Industrial Revolution and the nature-oriented tendencies of the Romantic era.Romanticism had appeared as a counterargument to the Enlightenment philosophy of embracing and celebrating progress. Members of this movement sought to return to a purer, more innocent state of nature because they felt that society had corrupted man's innate goodness.Poe was a member of the American Romantic movement, and the poet of Poe's sonnet accordingly explores the inevitable clash between the Romantic outlook on life and the comparative thoughtlessness of industrialism.The poet of Poe's sonnet worries about and rejects scientific dogmatism because he regards it as too unimaginative and stagnating. For him, science is a predator or, like a vulture, a carrion-eater, and it has damagingly crippled his imagination with "dull realities."In his apostrophe to science, he alludes to characters from Greek and Roman mythology, such as the Hamadryad and Naiad nymphs and Diana, the Roman goddess of the hunt, describing their forced banishment as evidence that humanity is too willing to discard its creative soul. To reinforce the value of the past over the value of the thoughtless future, Poe uses a traditional English sonnet form to arrange his thoughts.A sonnet consists of fourteen lines, which in the Shakespearean form can be divided into three heroic quatrains and one heroic couplet, where the overall rhyme scheme is ABAB CDCD EFEF GG. The lines are heroic because they use iambic pentameter, or a series of five iambs, where each iamb is an unstressed followed by a stressed syllable. The sonnet form has existed for centuries, and when combined with the archaic diction, the narrator tries to show the beauty of old forms as a structural contrast to the ugliness of scientific realities.Despite the apparent message of the sonnet, some details of "To Science" could serve to undermine the poet's words. He ironically personifies science in the first line, which may suggest that he unconsciously recognizes some humanity even in what he perceives as the stultifying influence of science. In addition, the use of a rigid sonnet form may also indicate that poetry is itself not as free-formed as the poet characterizes it to be, or alternatively it may suggest that some constraints do not necessarily indicate the strangulation of the imagination.Page 61The speaker sings of a simple separate person, but the alliteration lends more powerful symbolism to the words. The repetition seems to indicate that perhaps what he sings is not so simple at all. While he is one voice, he is speaking for lot of people.When he sings of himself, he uses the ―word En-masse‖ to show that he represents the modern democratic man. In the second stanza, Whitman tells us that he speaks for all colors, classes and creeds. He seems to be telling us to live together like one, accepting all. All organs in the body need others to function properly. No person can live without relying on the complete system.In the last stanza, the poet hammers us with alliteration. Though modern man fights for his freedom and individuality, the greatest freedom he has is his right to live. It celebrates the simple separate person as a physical, moral, intellectual, emotional, and aesthetic being.Page 62The poem's rhythm is created by the varying line lengths. Stanza 1 begins with two happy couplets; Stanza 2 begins with two celebrating couplets, but something isn‘t quite right as demonstrated by the off rhyme 半韵of "bells" and "trills." Stanza 3 reestablishes the rhyming couplet pattern, but the message is as clear as the rhyme: the captain is dead. There is no fixed meter. There is, however, a pattern of four long lines followed by four short lines in each stanza. The shortened lines emphasize the personal grief experienced by the poet against the backdrop of a broader victory.An apostrophe is a form of personification in which an individual addresses someone who is dead, someone who is not there, or an inanimate object. "O Captain! My Captain!" at the start of the first two stanzas are examples of apostrophe, as is "Exult O shores, and ring O bells!" in the third stanza.There are a lot of metaphors. (1) Lincoln is the captain who has "fallen cold and dead," having been assassinated shortly after the Civil War had ended; (2) the "fearful trip" is the Civil War; (3) "the prize we sought" is the preservation of the Union, something which both Whitman and Lincoln felt was the supreme reason for fighting the war. (4) "the ship" is the United States.The repetition of "heart" in line 5 emphasizes the poet's grief at the death of his captain. "Fallen cold and dead" is repeated at the end of each stanza to emphasize the poet's deep loss. Thepoet's grief is accentuated by the contrasting celebrations of victory and lamentations of death. The poet recognizes the importance of victory, calling out "Exult O shores, and ring O bells!" (23), but his "mournful tread" prevents him from truly taking part in the festivities. The image of the dead captain, "O heart! heart! heart! O bleeding drops of red" (5-6), haunts the poem and the reader is constantly reminded that he has "fallen cold and dead." The poet refers to the fallen captain as "father," representing his deep respect for president Lincoln and Lincoln's role as father of the Union. Words and phrases such as "grim and daring," "weathered every rack," "fearful trip," "flag is flung," "bugle trills," "ribboned wreaths," and "swaying mass" cast a shadow over the celebration, much in the same way the dead cast a shadow over any victory in war celebration.Page 64This little poem expresses Dickinson‘s continuing love affair with the spiritual level of being. She begins by claiming that to make a physically large item, ―a prairie,‖ all one needs is two small physical items, ―a clover and one bee.‖ Then she qualifies that by saying, ―One clover, and a bee / And revery‖; then she qualifies that claim further, by saying if you don‘t have one of those physical components, ―bees,‖ (and by implication, the clover as well), then you can still make the prairie by revery alone. ―Revery‖ means dream, thought, extended concentration on any su bject, or even day-dreaming wherein the mind is allowed to roam free over the landscape of unlimited expansion, but to the speaker in this poem, ―revery‖ is more like meditation which results in a true vision. The speaker‘s power of revery demonstrates an advanced achievement, far beyond ordinary day-dreaming or cogitation. Ultimately, this speaker is claiming that without any physical objects at all, the mind of one advanced in the art of revery can produce any object that mind desires. Other Dickinson poe ms that focus on a similar themes are ―The Brain is wider than the sky,‖ ―One need not be a Chamber—to be Haunted,‖ ―The Soul that hath a Guest,‖ and many others.Page 65Emily Dickinson's "Success Is Counted Sweetest" is a three-stanza lyric poem written in 1859. Author Helen Hunt Jackson, with whom Dickinson corresponded, published the poem in 1878 in a collection, A Masque of Poets. The poem uses third-person narration in which the speaker (narrator) observes a battle and concludes that only the defeated warrior, hearing the enemy's noisy victory celebration, completely understands success. The tone is unemotional and impersonal; the speaker is reporting and interpreting what she sees but refrains from expressing sympathy or compassion. Only failures fully understand the meaning of success. Appreciating a boon requires privation. In common usage, a nectar is any delectable drink or, figuratively, any uplifting experience.Except for line 5, the lines in the poem are in iambic trimiter, often with an extra (catalectic 以不完整音步结尾，最后的音步缺少音节的) syllable, as in lines 1 and 3........1................ ..2.................. .3.......... .extra syllableSuc CESS..|. .is COUNT..|.. ed SWEET..|. .est...... .1................ . .2................. ..3...........By THOSE..|.. who NE'ER..| ..suc CEED.......1.............. ..2............... 3........ extra syllableTo COM..| ..pre HEND..|. .a NEC..|. .tar.....1.......... ....2.............. .3...........Re QUI..|. .res.SOR.|. .est NEED......"requires" is pronounced as three syllables.•L ine 5 is in iambic tetrameter, as indicated here:•......1........... ...2............. .3............ ..4Not ONE..| ..of ALL..|.. the PUR..| ..ple Host The rhyme scheme is abcb—that is, in each stanza the last syllable of the second line rhymes with the last syllable of the fourth line.\Paradox is the controlling figure of speech in the poem. It expresses the main theme: The person best qualified to evaluate the impact of success is the vanquished rather than the victor. Implicit in this paradoxical observation is that it can apply to anyone: the failed author, the defeated boxer, the election loser, the rejected job applicant, the bankrupt businessman.This poem introduces military imagery: purple Host (army), took the Flag (captured the flag, signifying victory), purple: (1) Bloodstained; (2) purple attire, emblematic of high rank. Thethird stanza completes the second, saying that a defeated soldier, dying, fully comprehends the meaning of victory when he hears the enemy celebrating.Page 66The speaker exclaims that she is ―Nobody,‖ and asks, ―Who are you? / Are you—Nobody—too?‖ If so, she says, then they are a pair of nobodies, and she admonishes her addressee not to tell, for ―they‘d banish us—you know!‖ She says that it would be ―dreary‖ to be ―Somebody‖—it would be ―public‖ and require that, ―like a Frog,‖ one tell one‘s name ―the livelong June—To an admiring Bog!‖ The two stanzas of ―I‘m Nobody!‖ are highly typical for Dickinson, constituted of loose iambic trimeter occasionally including a fourth stress (―To tell your name—the livelong June—―).They follow an ABCB rhyme scheme (though in the first stanza, ―you‖ and ―too‖ rhyme, and ―know‖ is only a half-rhyme, so the scheme could appear to be AABC), and she frequently uses rhythmic dashes to interrupt the flow. Ironically, one of the most famous details of Dickinson lore today is that she was utterly un-famous during her lifetime—she lived a relatively reclusive life in Amherst, Massachusetts, and though she wrote nearly 1,800 poems, she published fewer than ten of them. This poem is her most famous and most playful defense of the kind of spiritual privacy she favored, implying that to be a Nobody is a luxury incomprehensible to the dreary Somebodies—for they are too busy keeping their names in circulation, croaking like frogs in a swamp in the summertime.This poem is an outstanding early example of Dickinson‘s often jaunty approach to meter (she uses her trademark dashes quite forcefully to interrupt lines and interfere with the flow of her poem, as in ―How dreary—to be—Somebody!‖). F urther, the poem vividly illustrates her surprising way with language. The juxtaposition in the line ―How public—like a Frog—‖ shocks the first-time reader, combining elements not typically considered together, and, thus, more powerfully conveying its mean ing. (frogs are ―public‖ like public figures—or Somebodies—because they are constantly ―telling their name‖—croaking—to the swamp, reminding all the other frogs of their identities).Page 188The apparition of these faces in the crowdPound was once in a Paris subway station and was struck by the sight of the faces of a few beautiful women and children in a crowd hurrying out of the dim, damp and somber station. So impressed was he by the spectacle that he resolved to bring it out into poetic language. It is written in a Japanese haiku style and contains not a single verb. The words in this poem is distributed with eight in the first line and six in the second, mirroring the octet-sestet 八行诗-六行诗form of the Italian sonnet. It is an embodiment of the imagist movement, a poetic movement of England and the United States that flourished from 1909 to 1917. Its credo included the use of the language of common speech, percision, the creation of new rhythms, absolute freedom in choice of subject matter, the evocation of images in hard, clear poetry, and concentration. The imagists found value in Chinese poetry because Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagistic poetry. The word ―apparition‖ is considered crucial as it evokes a mystical and supernatural sense. The plosive word ―petals‖ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ―wet, black bough.‖Page 189 (185-187)The jar, whose image is at the centre of the poem, is a very ordinary one. It would seem ―gray and bare,‖ a crock jar presumably. But the peom is rather odd, and the oddness begins with the first line. To say you have placed a jar on a hill is an odd way to talk. A jar is small; you set it on the ground or on a stump or rock; you don‘t ―place‖ it ‗upon a hill.‖ This jar is somhow made to loop up like a tree, or a great boulder, or a monument. The jar has some mysterious quality.The poem seems to be talking about the relationship between art and nature. The world of nature, shapeless and slovenly, takes shape and order from the presence of the jar. The world of art and imagination gives form and meaning to that of nature and reality. Stevens seems to suggest that any society without art is one without order and that man makes the order he perceives, and the world he inhabits is one he half creates. Stevens firmly believes that the poet is the archetype of creative power on which all human understanding depends. His poet is the necessary angel of the earth, in whose sight man sees the earth again. The poet is, in other words, an instrument by。

中国现代诗歌三百首·20世纪20年代中国现代诗歌三百首·20世纪20年代徐志摩闻一多李金发穆木天冯至徐志摩〖再别康桥〗〖偶然〗〖我等候你〗闻一多〖幻中之邂逅〗〖孤雁〗〖死水〗李金发〖夜之歌〗〖爱憎〗〖时之表现〗穆木天〖苍白的钟声〗〖苏武〗〖落花〗冯至〖十四行集（节选）〗〖蚕马〗〖帷幔——乡间的故事〗·徐志摩〖再别康桥〗〖偶然〗〖我等候你〗徐志摩,1897-1931,于二十年代成立了“新月社”并加入了文学研究会。

他曾担任《新月》月刊的主编,之后与陈梦家方玮德等创办了季刊。

徐志摩的诗集包括《志摩的诗》（1925）、《翡冷翠的一夜》（1927）、《猛虎集》（1931）、《云游》（1932）等。

并有散文集《落叶》(1926)、《自剖》(1928)、《巴黎的鳞爪》(1927)、《秋》(1931),小说集《轮盘》(1930)、戏剧《卞昆冈》（1928,与陆小曼合作）,日记《爱眉小札》（1936）、《志摩日记》(1947)。

译著有《涡堤孩》(1923)、《死城》(1925)、《曼殊斐尔小说集》(1927)、《赣第德》(1927)、《玛丽玛丽》（1927,与沈性仁合译）。

〖再别康桥〗轻轻的我走了,正如我轻轻的来;我轻轻的招手,作别西天的云彩。

那河畔的金柳,是夕阳中的新娘;波光里的艳影,在我的心头荡漾。

软泥上的青荇,油油的在水底招摇;在康桥的柔波里,我甘心做一条水草！那榆荫下的一潭,不是清泉,是天上虹揉碎在浮藻间,沉淀着彩虹似的梦。

寻梦？撑一支长蒿,向青草更青处漫溯,满载一船星辉,在星辉斑斓里放歌。

但我不能放歌,悄悄是别离的笙箫;夏虫也为我沉默,沉默是今晚的康桥！悄悄的我走了,正如我悄悄的来;我挥一挥衣袖,不带走一片云彩。

〖偶然〗我是天空里的一片云,偶尔投影在你的波心──你不必讶异,更无须欢喜──在转瞬间消灭了踪影。

你我相逢在黑夜的海上,你有你的,我有我的,方向;你记得也好,最好你忘掉在这交会时互放的光亮！〖我等候你〗我等候你。

被孤立的生命：《波士顿以北》的主题分析弗罗斯特的《波士顿以北》这本诗集展现了十九世纪后期新英格兰地区的时代风貌。

诗人主要采用戏剧性质的叙事诗，刻画了许多在工业化、商业化和城市化过程中忍受孤独的生命。

这些叙事诗也表现了诗人对于时代变迁以独立的姿态进行反思和求索的精神标签：弗罗斯特《波士顿以北》孤独；叙事诗罗伯特·弗罗斯特于1914年在英国出版了他的第二本诗集《波士顿以北》（North of Boston）。

该诗集中的大部分属于戏剧性质的叙事诗，它们通过简洁生动的对话或者独白，展现了“十九世纪后期新英格兰地区现实主义的生活画卷”（黄宗英190）。

这本诗集使得弗罗斯特在伦敦文学圈内的名声继续提高。

庞德这样评论道：“弗罗斯特始终热爱新英格兰人民……他始终是诚实而认真地刻画他们的生活。

他从来没有改变主意而去取笑他们的生活。

他把他们的悲剧当作剧，他把他们的倔强当作倔强”（Pound 384）。

在成名之前弗罗斯特在故乡过了二十年清贫的生活。

他一边务农，一边阅读写作，成了“农民诗人”。

新英格兰地区的农村风景优美，树木葱郁，当地农民以经营农场为生。

但是，在这种表面上宁静的田园劳作之外，却有着来自外在世界的威胁和侵蚀，即美国当时高速发展的工业化、商业化以及城市化进程。

电力和机器广泛应用于农业生产，改造和破坏自然的同时，间接导致劳动关系紧张，劳动伤残或死亡的风险不断增加；商品经济向农村席卷而来，农产品价格贬值，农民的消费能力降低；城市生活嘈杂混乱，人与人之间相互戒备。

诗人的故乡距离波士顿等大中城市都不算远，因而也避免不了卷入其中。

弗罗斯特的诗歌在其优美简约的外衣下，透露出来的是萧条的农村生活面貌，例如，破败的农舍、残损的篱笆、弃置不用的田地、日益消退的森林、冷漠的邻里关系和濒临破裂的婚姻。

所以，昂特迈耶于六十年代认为这本诗集中的绝大多数诗歌是“被孤立的生命的戏剧化描写”（转引自黄宗英355）。

《波士顿以北》中间的《雇员之死》（“The Death of the Hired Man”）、《谋求私利的人》（“The Self-Seeker”）以及《规矩》（“The Code”）三首诗最为直接地呈现出工业化背景下农场工人面临伤残或死亡的情景。