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下面是读文网小编整理的英美小诗选读,欢迎大家阅读!
Twelve good hours in every day,
一日十二时,
Time for work and time for play
学习与游玩;
Twenty一four for day and night,
二十四点钟,
Some for darkness,some for light,
昼夜一循环。
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Who has seen the wind?
有谁见过风?
Neither I nor you.
你我都没见。
But when the leaves hang trembling,
但见树叶打哆嗦,
The wind is passing through.
便知风儿穿期间。
Who has seen the wind?
有谁见过风?
Neither you nor I.
你我都没见。
But when the trees bow down their heads,
但见树儿把头点,
The wind is passing by.
便知风儿过身边。
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下面是读文网小编整理的一些英美文学常用术语及解释,希望对大家有帮助。
Romance is a popular literary form in the medic England.
2>it sings knightly adventures or other heroic deeds.
3>chivalry is the spirit of the romance.
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To Helen——Edgar Allan Poe
Helen, thy beauty is to me
Like those Nicean barks of yore,
That gently, o'er a perfumed sea,
The weary, way-worn wanderer bore
To his own native shore.
On desperate seas long wont to roam,
Thy hyacinth hair, thy classic face,
Thy Naiad airs have brought me home
To the glory that was Greece.
And the grandeur that was Rome.
Lo! in yon brilliant window-niche
How statue-like I see thee stand!
The agate lamp within thy hand,
Ah! Psyche from the regions which
Are Holy Land!
海倫,我視你的美貌
如昔日尼西的小船
于芬芳的海上輕輕漂泛
疲憊勞累的遊子
轉舵駛向故鄉的岸
久經海上風浪,慣于浪跡天涯
海倫,你的艷麗面容,你那紫藍的秀髮
你那仙女般的丰采令我深信
光榮屬於希臘
偉大屬於羅馬
看呀,在遠遠明亮的壁窗裏
你站立著,如同一尊雕塑
手上提著一盞光亮的明燈
塞姬女神啊,那些神聖的土地
才是你的宿地
Whither, midst falling dew,
While glow the heavens with the last steps of day,
Far, through their rosy depths, dost thou pursue
Thy solitary way?
Vainly the fowler's eye
Might mark thy distant flight to do thee wrong,
As, darkly seen against the crimson sky,
Thy figure floats along.
Seek'st thou the plashy brink
Of weedy lake, or marge of river wide,
Or where the rocking billows rise and sink
On the chafed ocean-side?
There is a Power whose care
Teaches thy way along that pathless coast
The desert and illimitable air
Lone wandering, but not lost.
All day thy wings have fanned,
At that far height, the cold, thin atmosphere,
Yet stoop not, weary, to the welcome land,
Though the dark night is near.
And soon that toil shall end;
Soon shalt thou find a summer home, and rest,
And scream among thy fellows; reeds shall bend,
Soon, o'er thy sheltered nest.
Thou 'rt gone, the abyss of heaven
Hath swallowed up thy form; yet, on my heart
Deeply hath sunk the lesson thou hast given,
And shall not soon depart.
He who, from zone to zone,
Guides through the boundless sky thy certain flight,
In the long way that I must tread alone,
Will lead my steps aright.
威廉•库伦•布莱恩特《致水鸟》
你要去往何方?露珠正在坠落,
天穹闪耀着白昼最后的脚步,
远远地,穿过玫瑰色的深处,
你求索着孤独的道路。
也许,猎鸟者的眼睛
徒劳地看着你远飞,想要伤害你,
当红色的天空衬着你的身影,
你飘摇而去。
你想要飞往何处?
要寻觅杂草丛生、潮湿的湖岸?
大河的边沿,还是磨损的海滩?
那里有动荡的巨浪起起落落
有一种力量关照着你,
教导你在无路的海滨,
荒漠和浩淼的长空,
独自漫游,不会迷失。
你整天拍打着翅膀,
扇着远天那寒冷的稀薄大气,
尽管黑夜已靠近,你已疲惫
也不肯屈尊降落安全的大地。
不久那折磨就会结束;
不久你就会找到夏天的家,歇下,
在同伴间欢叫;不久
芦苇将弯下,在你隐蔽的巢上。
你消失了,天空的深渊
吞噬了你的身影;但在我心上
已深深留下你教给我的一课,
它不会很快遗忘。
谁引导你穿过无垠的天空,
从一个领域到另一个领域,
也会在我必须独自跋涉的长途上,
正确地引导我的脚步。
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下面是读文网小编整理的一些英美文学术语大全,欢迎大家阅读!
1.Atmosphere (氛围)
The prevailing mood or feeling of a literary work.
2. Autobiography (自传)
A person‘s account of his or her own life.
3. Ballad (民谣)
A narrative poem in short stanzas, with or without music,often of folk origin and intended to be sung. The term derives by way of French ballade from Latin ballare, "to dance," and once meant a simple song of any kind, lyric or narrative, especially one to accompany a dance. As ballads evolved, most lost their association with dance, although they kept their strong rhythms. Modern usage distinguishes three major kinds: the anonymous traditional ballad (popular ballad or folk ballad), transmitted orally; the broadside ballad, printed and sold on single sheets; and the literary ballad (or art ballad), a sophisticated imitation of the traditional ballad.
4. Ballad Stanza (民谣诗节)
A type of four-line stanza, the first and the third lines have four stressed words or syllables; the second and fourth lines have three stresses.
5. Biography (传记)
A detailed account of a person‘s life written by another person.
传记:由他人篆写的关于某人生平的详细记录。
6. Antithesis (对仗)
The balancing of two contrasting ideas, words, or sentences.
对仗:两组相对的思想,言辞,词句的平衡。
7. Aphorism (警句)
A concise, pointed statement expressing a wise or clever observation about life.
警句:蕴含关于人生真理的明智的看法的精练的语句。
8. Aside (旁白)
A piece of dialogue intended for the audience and supposedly not heard by other actors on stage.
旁白:只说给观众而认为不会让台上其他演员听到的一段对话。
9.Apostrophe (呼语)
The direct address of an absent or imaginary person or of a personified abstraction, especially as a digression in the course of a speech or composition.
呼语:直接称呼不在场或虚构的人物或称呼拟人的事物,尤指作为演讲或作文过程中的离题话。
10.Assonance (类韵)
The repetition of similar vowel sounds, especially in poetry.
类音,类韵:相同或相似元音的重复,尤其指在诗歌中的重复。
11.Allegory (寓言)
A tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities.
A story suggests another story. An allegory is present in literature whenever it is clear that the author is saying, "By this I also mean that." In practice, allegory appears when a progression of events or images suggests a translation of them into conceptual language. Allegory is thus a technique of aligning imaginative constructs, mythological or poetic, with conceptual or moral models. During the Romantic era a distinction arose between allegory and symbol. With Coleridge, symbol took precedence: "an allegory is but a translation of abstract notions into picture-language," but "a symbol always partakes of the reality which it makes intelligible."
寓言,讽喻:一种文学、戏剧或绘画的艺术手法,其中人物和事件代表抽象的观点、原则或支配力。
12.Alliteration (头韵)
Alliteration is the repetition of the same initial consonant sound within a line or a group of words.Alliteration is thus the opposite of rhyme, by which the similar sounds occur at the ends of the syllables.
头韵:在一组词的开头或重读音节中对相同辅音或不同元音的重复。
13.Allusion (典故)
A reference to a person, a place, an event, or a literary work that a writer expects the reader to recognize and respond to.
典故:作者对某些读者熟悉并能够作出反映的特定人物,地点,事件,文学作品的引用。
14.Analogy (类比)
A comparison made between two things to show the similarities between them.
类比:为了在两个事物之间找出差别而进行的比较。
15. Antagonist (反面主角)
The principal character in opposition to the protagonist or hero or heroine of a narrative or drama.
反面主角:叙事文学或戏剧中与男女主人公或英雄相对立的主要人物。
16.Blank Verse (无韵体诗)
Verse written in Unrhymed iambic pentameter. See also Meter. In the 1540s Henry Howard, Earl of Surrey, seems to have originated it in English as the equivalent of Virgil's unrhymed dactylic hexameter. In Gorboduc (1561), Thomas Sackville and Thomas Norton introduced blank verse into the drama, whence it soared with Marlowe and Shakespeare in the 1590s. Milton forged it anew for the epic in Paradise Lost (1667).
17. Caesura (休止)
A break or pause in a line of poetry.
18. Canto (章)
One of the principal divisions of a long poem..
诗章:一首长诗的主要部分之一。
19. Caricature (夸张讽刺)
The use of exaggeration or distortion to make a figure appear comic or ridiculous.
夸张讽刺:为了使文中的人物显得可笑而使用的夸张或扭曲人物形象的手法。
20. Characterization (人物刻画)
The means by which a writer reveals the personality of a character.
人物刻画:作者表现作品中人物性格的方法。
21. Classicism (古典主义)
A movement or tendency in art, literature, or music that reflects the principles manifested in the art of ancient Greece and Rome.
古典主义:一种在文学,艺术,音乐领域体现古代希腊,罗马风格的运动。
22. Climax (高潮)
The point of greatest intensity, interest, or suspense in a narrative.
23. Comedy (喜剧)
A dramatic work that is often humorous or satirical in tone and usually contains a happy resolution of the thematic conflict.
喜剧:轻松的和常有幽默感的或在调子上是讽刺的戏剧作品,常包括主题冲突的愉快解决
24. Conceit (奇想)
A kind of metaphor that makes a comparison between two startlingly different things. Any fanciful, ingenious expression_r_r or idea, especially one in the form of an extended metaphor.
奇想:一种在截然不同的事物之间建立起的比喻。
25. Conflict (冲突)
A struggle between two opposing forces or characters in a short story, novel, play, or narrative poem.
冲突:故事,小说,戏剧中相对的力量和人物之间的对立。
26. Connotation (外延)
All the emotions and associations that a word or phrase may arouse.
外延:包括单词字面意思之外的或被该词汇唤起的全部内涵的意义。
27. Consonance (辅音韵)
The repetition of consonants or a consonant pattern, especially at the ends of words.
辅音韵:辅音或辅音模式的重复,尤指位于词尾的。
28. Couplet (双韵体)
A unit of verse consisting of two successive lines, usually rhyming and having the same meter and often forming a complete thought or syntactic unit.
双韵体:包括两个相连的诗行的一种诗的单位,通常压韵并具有同样的格律,经常组成一个完整的意思和句法单位
29. Heroic couplet (英雄双韵体)
A couplet written in iambic pentameter is called a heroic couplet.
英雄双韵体:五步抑扬格的双韵体称英雄双韵体。
30. Denotation (内涵)
The literal or dictionary meaning of a word.
直接意义:一个词的字面意义或词典意义。
31. Denouement (结局)
The final resolution or clarification of a dramatic or narrative plot.
结局:戏剧或叙事场景的最后结果。
32. Diction (措辞)
A writer‘s choice and use of words in speech or writing, particularly for clarity, effectiveness, and precision.
措词:讲话或书写中,出于表述清晰,言简意赅对词语的使用或选择。
33. Dissonance (不协和)
A harsh or disagreeable combination of sounds; discord.
34. Dramatic monologue (戏剧独白)
A kind of narrative poem in which one character speaks to one or more listeners whose replies are not given in the poem.
35. Elegy (挽歌)
A poem or song composed especially as a lament for a deceased person.
挽歌,挽诗:专门为悼念某一死者所写的诗或歌.
36. Emblematic Image (象征)
A verbal picture of figure with a long tradition of moral or religious meaning attached to it.
37. Epic (史诗)
An extended narrative poem in elevated or dignified language, celebrating the feats of a legendary or traditional hero and of reflecting the values of the society from which it originated. Many epics were drawn from an oral tradition and were transmitted by song and recitation before they were written down. Later on this literary genre was written down by the poets, such as Paradise Lost, Paradise Regained. Two of the greatest epics are Homer’s Iliad and Odyssey. While in British literary history, the national epic is Beowulf. During the Renaissance, critical theory emphasized two assumptions:
史诗:用严肃或庄重的语言写成的叙事长诗,歌颂传奇中或历史上英雄的丰功伟绩
38. Epigram (隽语)
A concise, clever, often paradoxical statement, susally in the form of a poem.
隽语:一个简明,机智,常常似是而非的陈述,经常以诗的形式出现
39. Epigraph (引语/开场白)
A motto or quotation at the beginning of a literary composition, setting forth a theme.
引语:在一部文学作品开头的引言,警句,阐明主题
40. Epilogue (结语/收场白)
A short addition or concluding section at the end of a literary work, often dealing with the future of its characters. Also called In this sense, also called afterword
结语:文学作品结束时简短的附加或总结性章节,常常关于作品人物的未来也作 在此意义上也可称作 afterword.
41. Epiphany(顿悟)
A moment of illumination, usually occurrs at or near the end of a work.
顿悟:对现实真谛的顿悟或洞察,通常出现在作品的结尾.
42. Epitaph(墓志铭)
An inscription on a tombstone or in a short poem in memory of someone who has been dead.
墓志铭:刻于墓碑上用以怀念死者的碑铭.
43. Epithet (表述词语)
A term used to characterize a person or thing。
表述词语:用来表示某人某物特性的一个表达。
44. Essay (散文)
A short literary composition on a single subject, usually presenting the personal view of the author.
散文:内容通常论及一个主题的短小文章,通常表达作者个人的观点
45. Exemplum (说教故事)
A tale, usually inserted into the text of a sermon, that illustrates a moral principle.
说教故事:一种短小的体现某种道德原则的故事性文章,通常出现在布道文中。
46. Fable (寓言)
A brief story that is told to present a moral, or practical lesson.
寓言:一种体现某种道德观念或实用价值的说教性文章。
47. Farce (轻喜剧)
A kind of comedy based on a ridiculous situation, often with stereotyped characters.
轻喜剧: 一种以可笑的情节的为基础的喜剧,通常包含固定的角色。
48. Figurative Language (象征性语言)
Language that is not intended to be interpreted in a literal sense.
象征性语言:不能直接用字面意义来理解的语言。
49. Figure of Speech (比喻)
A word or an expression that is not meant to be interpreted in literal sense.
比喻:不能直接按照字面意义理解的词语或表述方法。
50. Flashback(倒叙)
A literary device in which an earlier event is inserted into a narrative.
倒叙,闪回镜头:一种文学或电影的表现手法,往往在一段按正常时间顺序记叙的叙事中插入一件以前发生过的事情
51. Foil (陪衬)
A character who sets off another character by contrast.
陪衬:用来反衬其他人物的人物。
52. Foreshadowing (铺垫)
The use of hints or clues in a narrative to suggest what will happen later.
铺垫:用来预示将要发生的事情的线索或暗示。
53. Free verse (自由诗体)
Verses that has neither a metrical pattern or an regular pattern.
自由诗体:既不具格式韵律又不具常规格律的诗体。
54. hyperbole (夸张法)
A figure of speech in which exaggeration is used for emphasis or effect
夸张法:一种比喻,使用夸张来强调或产生某种效果。
55. Iambic pentameter (五步抑扬格)
A poetic line consisting of five verse feet, with each foot an iamb--that is, an unstressed syllable followed by a stressed syllable.
五步抑扬格:一种诗句形式,每行诗句包含五个抑扬格音步。
56. Imagery(意象)
Words or phrases that create pictures, or images, in readers‘ mind.
意象:用来在读者的思维中唤起某种图示或形象的词汇。
57. Incremental repetition (递进重复)
The repetition of a previous line or lines, but with a slight variation each time that advances the narrative stanza by stanza.
递进重复:诗歌中对上文中一行或几行的重复,但每次重复都有一定的变化,而且每一节的重复中的叙述都有所强化。
58. Inversion (倒装句)
The technique of reversing, or inverting the normal word order of a sentence.
倒装句:一种将句子正常的表达方法倒置的技巧。
59. Invocation (开篇祷告)
A call to a muse, god or spirit for inspiration at the beginning of an epic or other poem.
开篇祷告:在史诗或诗歌的开篇企求神灵给予启示的文字。
60. Irony (反语)
A contrast between what is stated and what is really meant, or between what is expected to happen and what actually happened.
反语:一种建立在字面表述和真实意义上或期待产生的结果和真实的结果之间的对比。
61.Kenning (隐喻语)
A figurative, usually compound expression used in place of a name or noun, especially in Old English and Old Norse poetry. for example, storm of swords is a kenning for battle.
隐喻语:尤指古英语和古斯堪的纳维亚语诗中,一种比喻性的,在表名字或名词时常用的复合表达方式,如“剑的风暴” 是 “战争” 的隐喻语
62. Lyric (抒情诗)
A poem, usually a short one, that expresses a speaker‘s personal thoughts or feelings.
抒情诗:一种用来抒发作者感情或思想的短诗。
63. Masque (假面剧)
A dramatic entertainment, usually performed by masked players representing mythological or allegorical figures, that was popular in England in the 16th and early 17th centuries.
假面剧:一种戏剧性娱乐,由代表神话或寓言中人物的佩戴面具者表演,该娱乐形式在16世纪和17世纪早期的英国很流行.
64. Melodrama (情节剧)
A drama that has stereotyped characters, exaggerated emotions, and a conflict that pits an all-good hero or heroine against an all-evil villain.
65. Metaphor (隐喻)
A figure of speech in which a word or phrase that ordinarily designates one thing is used to designate another, thus making an implicit comparison.
隐喻:一种语言表达手法,通常用指某物的词或词组来指代他物,从而暗示它们之间的相似之处.
66.Metaphysical Poetry (玄学派诗歌)
The poems of 17th-century English poets, whose verse is characterized by an intellectually challenging style and extended metaphors comparing very dissimilar things.It is also featured by verbal wit and excess, ingenious structure, irregular meter, colloquial language, elaborate imagery, and a drawing together of dissimilar ideas.
玄学派诗歌:17世纪英国诗人的诗歌,这种诗歌的特点是风格极具智慧,引人深思,善用引申的暗喻来对比极其不同的事物.
67. Meter (格律)
A generally regular pattern of stressed and unstressed syllables in poetry.
格律:诗歌中通常的重读音节和非重读音节的排列模式。
68. Metonymy (转喻)
A figure of speech in which one word or phrase is substituted for another with which it is closely associated.
转喻:一种一个词或词组被另一个与之有紧密联系的词或词组替换的修辞方法.
69. Mock epic (讽刺史诗)
A comic literary from that treats a trivial subject in the grand, heroic style of the epic.
讽刺史诗:一种用史诗的宏大风格来描写微不足道的事情的喜剧形式。
70. Motif (主旨)
A recurrent thematic element in an artistic or literary work.
主题:艺术品或文学作品中反复体现的、揭示主题的部分。
71. Motivation (动机)
The reasons, either stated or implied, for a character‘s behavior.
动机: 引发作品中人物行为的理由。
72. Myth (神话)
A story, often about immortals and sometimes connected with religious rituals, that is intended to give meaning to the mysteries of the world.
神话:一种解释世界上的神秘现象的关于神灵或同宗教仪式有联系的故事。
73. Narrative Poem (叙事诗)
A poem that tells a story.
叙事诗:讲述一个故事的诗歌。
74. Narrator (叙述者)
One who narrates or tells a story.
叙述者:讲述或叙述一个故事的人。
75. Naturalism (自然主义)
The practice of describing precisely the actual circumstances of human life in literature, it is the extreme form of realism.
自然主义:在文学中精确地描述人类现实环境的实践,现实主义的最高表现形式。
76. Neoclassicism (新古典主义)
A revival in literature in the late 17th and 18th centuries, characterized by a regard for the classical ideals of reason, form, and restraint styles.
新古典主义:17、18世纪晚期的文学复兴,以尊重古代典型的推理形式和严谨文体为特征
77. Novel (小说)
A book length fictional prose narrative, having many characters and often a complex plot.
小说:虚构的叙述性文章,有一定长度,较多的人物,和思想复杂的情节。
78. Octave (八行诗)
An eight-line poem or stanza.
79. Ode (颂)
A complex and often lengthy lyric poem, written in a dignified formal style on some lofty or serious subject.
颂:一种复杂的,具有一定长度的诗歌,通常以高贵的风格写成,用来表述一些高尚或严肃的主题。
80. Onomatopoeia (拟声)
The formation or use of words by imitating the sounds associated with the objects or actions they refer to.
拟声:通过模仿事物或行动的声音构词的方法。
81. Oxymoron (矛盾修饰法)
A rhetorical figure in which combines or contradictory terms are combined, as in a deafening silence and a mournful optimist.
矛盾修饰法:一种把互相矛盾或不调和的词合在一起的修辞手法,如在"震耳欲聋的沉默"和"悲伤的乐观"
82. Paradox (似非而是)
A statement that reveals a kind of truth, although it seems at first to be self-contradictory and untrue./An apparently untrue or self-contradictory statement or circumstance that proves true upon reflection or when examined in another light.
似非而是:一种在字面上看起来自相矛盾,却体现着一定的真理的说法。
83. Parallelism (并行)
The use of phrases, clauses, or sentences that are similar or complementary in structure or in meaning.
并行:结构或意义相近的词汇,子句,句子的并用。
84.Parody (模仿诗文)
A humorous imitation of a work of art for comic effect or ridicule./Originally, "a song sung beside" another. From this idea of juxtaposition arose the two basic elements of parody, comedy and criticism. As comedy, parody exaggerates or distorts the prominent features of style or content in a work. As criticism, it mimics the work, borrowing words or phrases or characteristic turns of thought in order to highlight weaknesses of conception or expression_r_r.
模仿诗文:一种为取得喜剧或嘲讽效果,而对某一艺术作品进行的滑稽模仿。
85. Pastoral (田园诗)
A kind of poem, that deals in an idealized way with shepherds and rustic life.
田园诗:一种用理想的手法来体现牧羊人的乡村生活的诗歌。
86. Pathos (悲怅)
The quality in a work of literature or art that arouses the reader‘s feelings of pity, sorrow, or compassion for a character.
悲怅:文学艺术作品的一种引发读者怜悯,同情或伤感的特质。
87. Personification (拟人)
A figure of speech in which inanimate objects or abstractions are endowed with human qualities or are represented as possessing human form./The technique of treating abstractions, things, or animals as persons. A kind of metaphor, personification turns abstract ideas, like love, into a physical beauty named Venus, or conversely, makes dumb animals speak and act like humans.
拟人:给无生命的东西或者抽象的东西赋予人的个性或绘以人的形象.
88. Plot (情节)
The plan of events or main story in a novel, narrative or drama.
情节:在小说,故事,或戏剧中事件的概要或主要故事.
89. Point of view (视角)
A point from which an author presents a story.
视角:作者阐述故事的角度。
90. protagonist (主角)
The main character in a drama or other literary work.
主角:戏剧或其他文学作品中的主要人物.
91. Psalm (赞美诗)
A song or lyric poem in praise of God.
赞美诗:用来颂扬上帝的诗歌或抒情诗。
92. Pun (双关语)
The use of a word or phrase to suggest two or more meanings at the same time.
双关语:用一个词来同时表示两个内涵。
93. Quatrain (四行诗)
A stanza or poem of four lines.
94. Realism (现实主义)
The representation in art or literature of objects, actions, or social conditions as they actually are, without idealization or presentation in abstract form./The theory that reason, rather than revelation or authority, provides knowledge, truth, the choice of good over evil, and an adequate understanding of God and the universe.
现实主义:在艺术或文学中将事物,行为或社会状况按其起初情况进行的表现,而不用模糊的形式来表现或理想化
95. Refrain (副句)
A phrase, verse, or group of verses repeated at intervals throughout a song or poem, especially at the end of each stanza.
副句,副歌:一个短语、一句诗或一组诗句在一首歌或诗中每隔一段重复一次, 尤其在每个诗节的结尾处
96. Rhyme (压韵)
The repetition of sounds in two or more words or phrases that appear close to each other in a poem. /(sometimes Rime, an older spelling) The effect created by matching sounds at the ends of words. The functions of rhyme are essentially four: pleasurable, mnemonic, structural, and rhetorical. Like meter and figurative language, rhyme provides a pleasure derived from fulfillment of a basic human desire to see similarity in dissimilarity, likeness with a difference.
压韵:音在两个或两个以上的词汇或短语中的重复。
97. Rhythm (格律)
The arrangement of stressed and unstressed syllables into a pattern.
重读音节和非重读音节的固定排列模式。
98. Romance (传奇故事)
An imaginative literature that is set in an idealized world and that deals with heroic adventures and battles between good and devil.
传奇故事:设定在想象世界中的以英雄冒险和善恶之间的斗争为题材的文学作品。
99. Romanticism (浪漫主义)
An artistic and intellectual movement originating in Europe in the late 18th century which emphasis on the individual‘s expression of emotion and imagination, departure from the attitudes and forms of classicism.
浪漫主义:起源于18世纪末期欧洲的一种注重个人情感和想象力的表达的艺术和知识上的运动,它与古典主义的观点和形式相悖.
100. Satire (讽刺文)
A kind of writing that holds up to ridicule or contempt the weakness and wrongdoings of individuals, institutions or humanity in general./Poking corrective ridicule at persons, types, actions, follies, mores, and beliefs
讽刺:一种讽刺个人,习俗或人性中的缺点或错误的文体。
101. Scansion(韵律分析)
The analysis of verse into meter patterns.
韵律分析:将诗划分成音步的分析方法。
102.Sestet (六行诗)
A six-line poem or stanza.
103. Setting (背景)
The time, place, and circumstances in which a narrative, drama, or novel takes place.
背景:记叙文、戏剧或小说发生的时间、地点和环境.
104. Simile (明喻)
A comparison made between two things through the use of a specific word of comparison.
明喻:两种事物之间借助于比喻词汇进行的比较。
105. Soliloquy (独白)
A dramatic or literary form of discourse in which a character reveals a character‘s thoughts when alone or unaware of the presence of other characters.
独白:一种戏剧或文学的说话形式,其中某角色在独自一人或不知道其他角色存在的情况下展示角色的思想。
106. Song (歌)
A short lyric poem with distinct musical qualities, normally written to be set to music.
歌:一种具有典型的音乐特征的抒情诗体,通常为谱曲而作。
107. Sonnet (十四行诗)
A 14-line verse form usually written in iambic pentameter.
十四行诗:一种由十四行组成的诗歌形式,通常以五步抑扬格为押韵形式。
108. Spenserian Stanza (斯宾塞诗体)
A nine line stanza with the following rhyme scheme ababbcbcc.
109. Stream of consciousness (意识流)
The style of writing that attempts to imitate the natural flow of a character‘s thoughts, feelings reflections, and mental images as the character experiences them.
意识流:一种模仿作品中人物思想,思维,精神活动的自然过程的写作技巧。
110.Style(风格)
An author‘s characteristic way of writing ,determined by the choice of words, the arrangement of words in sentences, and the relationship of sentences to one and another.
风格:由词汇的选择,句子中词汇的安排,句子之间的关系形成的某一作家的特定的写作方式。
111. Suspense (悬念)
The quality of a story, novel, or drama that makes readers uncertain or tense about the outcome of events.
悬念:小说,故事,戏剧所具有的使读者对结局产生不安或紧张的感觉的特质。
112. Symbol (象征)
Any object, person, place, or action that has a meaning in itself and also stands for something larger than itself, such as a quality, attitude, or belief.
象征:本身具有意义,用来体现高于自身意义的思想的,观点的人,物,行为,地点。
113. Symbolism (象征主义)
A literary movement in the late19th century, characterized by the use of symbols to represent things.
象征主义:十九世纪的一种文学潮流,运用象征来体现事物。
114. Synecdoche (提喻法)
A figure of speech in which a part is used for the whole.
提喻法:一种以局部代表整体的修辞方法。
115. Terza rima (三行体)
An Italian verse form consisting of a series of three line stanzas in which the middle line of each stanza rhymes with the first and the third lines of the following stanza.(aba bcb cde, ect.)
116. Theme (主题)
The general idea or insight about life that a writer wishes to express in a literary work.
作者在作品中表现的对于生活的总的观点或看法。
117.Tone (调子)
The attitude a writer takes toward his or her subject, characters, or audience.
调子:作者对于作品的主题,人物和读者所持的态度。
118. Tragedy (悲剧)
In general, a literary work in which the protagonist meets an unhappy or disastrous end.
悲剧:以主人公可悲的或灾难性的结局结束的故事。
119.Wit (睿智)
A brilliance and quickness of perception combined with a cleverness of expression.
睿智:巧妙的思维和睿智的表达的结合。
120.Exposition (评注)
The part of a narrative or drama, in which important background information is revealed.
评注:记叙文章或戏剧中向读者介绍主要的背景情况的部分。
121. Sentimentalism
Sentimentalism originated in the 18th century, and was a direct reaction against the cold, hard commercialism and rationalism that had dominated people’s life since the last decades of the 17th century. Besides, it seemed to have appeared hand in hand with the rise of realistic English novel. Sentimentalism often relates to sentimentality and sensibility in some literary works such as Richardson’s Pamela; Goldsmith’s The Vicar of Wakefield; Sterne’s A Sentimental Journey through France and Italy. In Poetry, we have Thomas Gray’s “An Elegy Written in a Country Churchyard”, Goldsmith’s “The Deserted Village”, and Cowper’s “Task”, not mention the various odes of sensibility which flourished in the later half of the century.
122. Humanism
Humanism refers to the main literary trend and is the keynote of English Renaissance. Humanists took interest in human life and human activities and gave expression_r_r to the new feeling of admiration for human beauty, human achievement.
123. Renaissance
It is a cultural movement of the rising bourgeoisie. The key word for it is humanism, which emphasizes the belief in human beings, his environment and doings and his brave fight for the emancipation of man from the tyranny of the church and religious dogmas. It originally indicates a revival of classical arts and learning after the dark ages of medi obscurantism. Its aim is to get rid of those old feudalist ideas in medi time and introduce new ideas that express the interests of the rising bourgeoisie. Shakespeare, Spenser, and Marlowe are all famous literary figures in this period.
124. Enlightenment
Enlightenment is a progressive intellectual movement, which swept over England and other lands in Western Europe in the 18th century. Enlightenment freed and reformed the thinking of man. Enlighteners strove to clear away the feudal remnants and replace them by bourgeois ideologue.
125. Run-on Line
A line of poetry whose sense does not stop at the end, with punctuation, but runs on to the next line.
126. End Rhyme
Rhyme at the end of a line of verse (the usual placement), as distinguished from initial rhyme, at the beginning, or internal rhyme, within the line.
127. Foot
The metrical unit; in English, an accented syllable with accompanying light syllable or syllables.
128. Genre
A term often applied loosely to the larger forms of literary convention, roughly analogous to "species" in biology. The Greeks spoke of three main genres of poetry-lyric, epic, and drama. Within each major genre, there are sub-genres. In written forms dominated by prose, for example, there is a broad distinction between works of fiction (e.g., the novel) and thematic works (e.g., the essay). Within the fictional category, we note a distinction between novel and romance, and other forms such as satire and confession. The object of making these distinctions in literary tradition is not simply to classify but to judge authors in terms of the conventions they themselves chose.
129. Humor
A humor is a theory used by Ben Jonson in his play writing. A humor, according to the physiology and the psychology of the time, was one of the liquid constituents of the body, each of which had its peculiar emotional propensity. Every character in Jonson’s comedies personifies a definite humor, so his characters are like caricatures.
130. Internal Rhyme
Rhyme within a line, rather than at the beginning (initial rhyme) or end (end rhyme); also, rhyme matching sounds in the middle of a line with sounds at the end.
131.Cavalier Poets
Cavalier poets were often courtiers who stood on the side of the king, and called themselves “sons” of Ben Jonson. The Cavalier poets wrote light poetry, polished and elegant, amorous and gay, but often superficial. They mostly dealt in short songs on the flitting joys of the day, but underneath their light-heartedness lays some foreboding of impending doom. This spirit of pessimism and cynicism is typical of the aristocratic class in decline.
132.Platoism
Any reflection of Plato's philosophy, particularly the belief in the eternal reality of ideal forms, of which the diversities of the physical world are but transitory shadows.
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英国文学源远流长,经历了长期、复杂的发展演变过程。在这个过程中,文学本体以外的各种现实的、历史的、政治的、文化的力量对文学发生着影响。那么你知道英国文学用英语怎么说吗?接下来跟着读文网小编来学习一下吧。
英国文学作品选读 Selected Readings of British Literature
英国文学选读 selected readings in british literature
英国文学讲座 Lecture on English Lite
英国文学及写作 English Literature and Composition
中古时期英国文学 Old and Medieval British Literature
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英语诗歌是我们练习英语阅读的很好阅读材料,那么你想欣赏一些经典的英美英语诗歌吗?下面是读文网小编为大家带来经典英美诗歌欣赏,希望大家喜欢!
I carry your heart with me
我将你的心带上
I carry it in my heart
放进我心里
I am never without it
从未分离
anywhere I go you go, my dear;
无论我前往何方都有你伴我身旁
and whatever is done by only me is your doing,
即便我单独成事
my darling
那也是出于我的爱人,你的力量
I fear no fate
面对命运我从不恐慌
for you are my fate, my sweet
只因你就是我命运的方向
I want no world for beautiful
万千世界于我皆如浮云
you are my world, my true
只因你在我眼中就是天地四方
and it’s you are whatever a moon has always meant
你永远是月亮所想表达的
and whatever a sun will always sing is you
太阳所想歌唱的
here is the deepest secret nobody knows
这秘密无人知晓,在我心底埋藏
here is the root of the root
它是根本中的根本
and the bud of the bud
稚嫩中的稚嫩
and the sky of the sky
是天上天
and of a tree called life;
是生命之树在生长
which grows higher than the soul can hope
这棵树高于灵魂之期盼,
or mind can hide
高于思想之所
and this is the wonder that’s keeping the stars apart
及是造化的奇迹,能够隔离参商
I carry your heart
我将你的心带上
I carry it in my heart
放进我心里
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诗的最美之处就在于表达感情,让人有无限的想象,而这些想象永远是那么的美好。下面是读文网小编为大家带来英美经典英文诗歌欣赏,希望大家喜欢!
When we two parted In silence and tears,
昔日依依惜别,默默无言地流着泪,
Half broken-hearted, To sever for years,
要分开好几个年头,我们忍不住心碎,
Pale grew thy cheek and cold, Colder thy kiss;
你的脸冰凉、发白,你的吻更似冷冰;
Truly that hour foretold Sorrow to this.
呵,那一刻正预兆了我今日的悲痛。
The dew of the morning Sank chill on my brow— It felt like the warning Of what I feel now.
清早凝结着寒露,冷彻了我的额角-是对我此刻的警告,悲伤在今天。
Thy vows are all broken, And light is thy fame:
你的誓言全破碎了,你的行为如此轻浮:
I hear thy name spoken, And share in its shame.
人家提起你的名字,我听了也感到羞辱。
They name thee before me, A knell to mine ear;
他们当着我讲到你,一声声有如丧钟;
A shudder comes o'er me— Why wert thou so dear?
我的全身一阵颤栗-为什么对你如此情重?
They know not I knew thee, Who knew thee too well:
没有人知道我熟识你,呵,熟识得太过了:
Long, long shall I rue thee Too deeply to tell.
我将长久、长久地悔恨,这深处难以为外人道。
In secret we met— In silence I grieve That thy heart could forget, Thy spirit deceive.
你我秘密地相会-我又默默地悲伤,你竟然把我欺骗,你的心终于遗忘。
If I should meet thee After long years, How should I greet thee? — With silence and tears.
偶尔再相会,多年后万一在陌路,我跟你该怎么打招呼?—用沉默,用眼泪。
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新月集是由印度著名诗人、作家泰戈尔所著。诗集中,诗人生动描绘了儿童们的游戏,巧妙地表现了孩子们的心理,以及他们活泼的想象。它的特殊的隽永的艺术魅力,把我们带到了一个纯洁美丽的儿童世界,勾起了我们对于童年生活的美好回忆和向往。下面是读文网小编为大家带来泰戈尔《新月集》经典诗歌三首,希望大家喜欢!
WHY do you sit there on the floor so quiet andsilent, tell me, mother dear?
你为什么坐在那边地板上不言不动的,告诉我呀,亲爱的妈妈?
The rain is coming in through the open window,making you all wet, and you don't mind it.
雨从开着的窗口打进来了,把你身上全打湿了,你却不管。
Do you hear the gong striking four? It is time for my brother to come home from school.
你听见钟已打四下了么?正是哥哥从学校里回家的时候了。
What has happened to you that you look so strange?
到底发生了什么事,你的神色这样不对?
Haven't you got a letter from father to-day?
你今天没有接到爸爸的信么?
I saw the postman bringing letters in his bag for almost everybody in the town.
我看见邮差在他的袋里带了许多信来,几乎镇里的每个人都分送到了。
Only, father's letters he keeps to read himself. I am sure the postman is a wicked man.
只有爸爸的信,他留起来给他自己看。我确信这个邮差是个坏人。
But don't be unhappy about that, mother dear.
但是不要因此不乐呀,亲爱的妈妈。
To-morrow is market day in the next village. You ask your maid to buy some pens and papers.
明天是邻村市集的日子。你叫女仆去买些笔和纸来。
I myself will write all father's letters; you will not find a single mistake.
我自己会写爸爸所写的一切信;使你找不出一点错处来。
I shall write from A right up to K.
我要从A字一直写到K字。
But, mother, why do you smile?
但是,妈妈,你为什么笑呢?
You don't believe that I can write as nicely as father does!
你不相信我能写得同爸爸一样好!
But I shall rule my paper carefully, and write all the letters beautifully big.
但是我将用心画格子,把所有的字母都写得又大又美。
When I finish my writing, do you think I shall be so foolish as father and drop it into the horridpostman's bag?
当我写好了时,你以为我也像爸爸那样傻,把它投入可怕的邮差的袋中么?
I shall bring it to you myself without waiting, and letter by letter help you to read my writing.
我立刻就自己送来给你,而且一个字母,一个字母地帮助你读。
I know the postman does not like to give you the really nice letters.
我知道那邮差是不肯把真正的好信送给你的。
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文学包括诗歌、散文、小说、剧本、寓言童话等,是文化的重要表现形式,那么你知道文学用英语怎么说吗?下面跟读文网小编一起学习一下关于文学的英语知识吧。
晋太元中,武陵人捕鱼为业,缘溪行,忘路之远近。忽逢桃花林,夹岸数百步,中无杂树,芳草鲜美,落英缤纷;渔人甚异之。复前行,欲穷其林。林尽水源,便得一山。山有小口,仿佛若有光,便舍船,从口入。初极狭,才通人;复行数十步,豁然开朗。土地平旷,屋舍俨然。有良田美池,桑竹之属,阡陌交通,鸡犬相闻。其中往来种作,男女衣着,悉如外人;黄发垂髫,并怡然自乐。见渔人,乃大惊,问所从来;具答之。便要还家,设酒、杀鸡、作食。村中闻有此人,咸来问讯。自云:先世避秦时乱,率妻子邑人来此绝境,不复出焉;遂与外人间隔。问今是何世?乃不知有汉,无论魏、晋!此人一一为具言所闻,皆叹惋。余人各复延至其家,皆出酒食,停数日,辞去。此中人语云:“不足为外人道。”
During the reign of Taiyuan of Chin, there was a fisherman of Wuling. One day he was walking along a bank. After having gone a certain distance, he suddenly came upon a peach grove which extended along the bank for about a hundred yards. He noticed with surprise that the grove had a magic effect, so singularly free from the usual mingling of brushwood, while the beautifully grassy ground was covered with its rose petals. He went further to explore, and when he came to the end of the grove, he saw a spring which came from a cave in the hill, Having noticed that there seemed to be a weak light in the cave, he tied up his boat and decided to go in and explore. At first the opening was very narrow, barely wide enough for one person to go in. After a dozen steps, it opened into a flood of light. He saw before his eyes a wide, level valley, with houses and fields and farms. There were bamboos and mulberries; farmers were working and dogs and chickens were running about. The dresses of the men and women were like those of the outside world, and the old men and children appeared very happy and contented. They were greatly astonished to see the fisherman and asked him where he had come from. The fisherman told them and was invited to their homes, where wine was served and chicken was killed for dinner to entertain him. The villagers hearing of his coming all came to see him and to talk. They said that their ancestors had come here as refugees to escape from the tyranny of Tsin Shih-huang (builder of Great Wall) some six hundred years ago, and they had never left it. They were thus completely cut off from the world, and asked what was the ruling dynasty now. They had not even heard of the Han Dynasty (two centuries before to two centuries after Christ), not to speak of the Wei (third century A.D.) and the Chin (third and fourth centuries). The fisherman told them, which they heard with great amazement. Many of the other villagers then began to invite him to their homes by turn and feed him dinner and wine.After a few days, he took leave of them and left. The villagers begged him not to tell the people outside about their colony.
既出,得其船,便扶向路,处处志之。及郡下,诣太守,说如此。太守即遣人随其往,寻向所志,遂迷不复得路。南阳刘子骥,高尚士也,闻之,欣然规往,未果,寻病终。后遂无问津者。
The man found his boat and came back, marking with signs the route he had followed. He went to the magistrate’s office and told the magistrate about it. The latter sent someone to go with him and find the place. They looked for the signs but got lost and could never find it again. Liu Tsechi of Nanyang was a great idealist. He heard of this story, and planned to go and find it, but was taken ill and died before he could fulfill his wish. Since then, no one has gone in search of this place.
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下面是读文网小编整理的英语文学论文范文,希望对大家有帮助。
Being distinguished form many greatest American writers, Hemingway is noted for his writing style. Among all his work , The Old Man and the Sea is a typical one to his unique writing style and technique. The language is simple and natural on the surface , but actually deliberate and artificial. Sometimes the simple style is made a little different. The dialogue is combined with the realistic and the artificial. The simplicity is highly suggestive , and often reflects the strong undercurrent of emotion. Occasionally , the author uses some figures of speech. Hemingway’s style is related to his experience as a journalist, his learning form many famous writers, and most importantly, his conscientious effort in looking for a style of his own, The influence of his style is great all over the world. The Old Man and the Sea is full of facts, most of which comes form Hemingway’s own experience. So the way to use facts is a very important writing technique in this novel. The fact in the novel are selected and used as a device to make the fictional world accepted. In the forepart of the novel, the are used to show the quality of Santiago’s life, and are narrated simply and naturally; while in the latter part of the novel, they are used form inside Santiago’s own consciousness and form part of a whole scheme of the novel.
Keywords: Facts; Simplicity; Artificial; Iceberg; Theory
中文摘要
在伟大的美国作家中,海明威以独特的写作风格而著称。在他所有的作品中,《老人与海》最能体现他独特的写作风格和手法。这部小说语言看似简单自然,其实包含了作者的精心揣摩和润色加工。有时为了突出某一部分,作者会采用长句代替短句。文中的对话内容真实、贴近生活,而表达形式则经过了艺术加工。小说简洁自然的语言背后隐藏了深刻的意义和感情。文中还运用了比喻、拟人等修辞手法,还名位的这种独特风格与他当过新闻记者的经历有关,这种风格对整个世界文坛产生了重要的影响。
《老人与海》这部小说运用了大量的事实,他们大多来自于作者亲身经历。海明威对这些事实精心选择,从而吸引读者的兴趣并使读者有一种身临其境的感觉。小说一开始用大量事实描写了主人公生活的环境,叙述风格简单自然,未加任何感情色彩。随着情节的发展,大量的事实主要被运用于主人公的心理活动中,而不是主要由作者来叙述。同时,这些事实构成了整个小说体系中不可缺少的一部分。
关键词:事实;简洁;加工;冰山理论#p#副标题#e#
Introduction
1. Writing characteristics of the Old Man and the Sea
1.1 Hemingway’s Writing Style and Techniques in The Old Man and the Sea
The Old Man and the Sea (1952) comes round at the finish of Hemingway’s writing career. With its vivid characterization, its simple language, and the profound implicating it carries, it stands out as one of the excellent books Hemingway’s former stature as the word’s preeminent novelist after Hemingway’s unsuccessful novel Across the River and into the trees (1950). The Old Man and the Sea earned its author the Pulitzer Prize in fiction for 1952, and was instrumental in winning him the Nobel Prize for Literature two years later. It is a short novel about Santiago, an old Cuban fisherman who has gone for 84 days without catch. Therefore the boy, Mandolin, who used to sail with him, is forced to leave him and catch in another ship. The old man insists on fishing alone and at last, he hooks an eighteen-foot, giant marlin, the largest he has ever known. But the fish is very powerful and disobedient. It tows the old man and his boat out to sea for 48 hours, with the old man bearing the whole weight of the fish through the line on his back. The old man, with little food and sleep, has to endure much pain and fights against his treacherous hand cramp. To his great excitement, on his third day at sea, he succeeds in drawing the weakened marlin to the surface and harpoons it. On his way home, he lashes marlin alongside his boat because it is too big to be pulled into the boat. But, unfortunately, the come across sharks in different numbers for four times. The old man fights to kill the sharks with as much might and many weapons as he can summon, but only to find a giant skeleton of his marlin left after his desperate defense. At last, Santiago, having lost what he fought for, reaches the shore and struggles to his shack. He falls into sound sleep, dreaming of Africa, and the lions again. His struggle wins him much respect.
Among many great American writers, Hemingway is famous for his objective and terse prose style. As the last novel Hemingway published in his life, The Old Man and the Sea typically reflects his unique writing style. This paper aims to discuss the writing style and techniques in The Old Man and the Sea. Of course, Hemingway has used many techniques in this novel, such as realism, the creation of suspense, monologue, etc. And this paper focuses especially on the language style and one of the important techniques-the way to use facts in this novel.
2.Writing of the Old Man and the Sea
2.1 Unique language style Old Man and the Sea
Hemingway is famous for his language. With much care and effort, he created a very influential and immediately recognizable style. “The style he created in his early work, such as In Our Time and The Sun also Rises, was almost too good. Like the style of certain painters, it tended to become a manner, rather than a flexible way of responding to experience and conveying fresh insights through words.” Among all his works, The Old Man and the Sea is the most typical one to his unique language style. Its language is simple and natural, and has the effect of directness, clarity and freshness. This is because Hemingway always manages to choose words “`concrete, specific, more commonly found, more Anglo-Saxon, casual and conversational.” He seldom uses adjectives and abstract nouns, and avoids complicated syntax. Hemingway’s strength lies in his short sentences and very specific details. His short sentences are powerfully loaded with the tension, which he sees in life. Where he does not use a simple and short sentence, he connects the various parts of the sentence in a straightforward and sequential way, often linked by “and”. In his task of creating real people, Hemingway uses dialogue as an effective device. It is presented in a form “as close to the dramatic as possible, with a minimum of explanatory comment.”Here is an example chosen from The Old Man and the Sea:
‘What do you have to eat?’ the boy asked.
‘No, I will eat at home. Do you want me to make the fire?’
‘No, I will make it later on. Or I may eat the rice cold.’
Here we can see that such interpolations as “he said” have frequently been omitted and the words are very colloquial. Thus the speech comes to the reader as if he were listening. Hemingway has captured the immediacy of dialogue skillfully and has made the economical speech connotative. But it is good to note that Hemingway’s style is deliberate and artificial, and is never as natural as it seems to be. The reasons are as follows. Firstly, in some specific moments, in order to stand out by contrast and to describe an important turning point or climax, the style is made a little different:
He took all his pain and what was left of his long gone pride and he put it against the fish’s agony and the fish came over on to his side and swam gently on his side, his bill almost touching the planking of the skiff, and started to pass the boat, long, deep, wide, silver and barred with purple and interminable in the water. The language in this one-sentence paragraph is different from other parts of the novel. Kenneth Graham has commented that the sentence builds up its parts in a carefully laborious sequence-“all his pain and what was left of his strength and his long gone pride”. It emulates the movement of the exhausted marlin and the physical strain of the old man. And it mounts to a heavy crescendo in the very un-prosaic inversion of adjectives-“long, deep, wide”-ending in the virtually poetic cadence, “interminable in the water.”The dialogue, too, is combined with the realistic and the artificial. Usually the content contains and the expression contains the artificial. In The Old Man and the Sea, the language style is very peculiar from Hemingway’s other writings. This is because the novel is an English version of the Spanish that Santiago and Mandolin would speak in real life. “Since we are meant to realize that Santiago and Mandolin could not possibly speak like this, since English is not his tongue anyway, we are more likely to accept other artificialities of the dialogue. Using the device of a pretended ‘translation’, which would be bound to stilt in any case, Hemingway can ‘poetize’ the dialogue as he wishes.”The speakers are distanced from readers to a certain degree. And while their language taking on a kind of epic dignity, it does not lose its convincingness. Even slightly strange exchanges like the following become fairly acceptable. For example:#p#副标题#e#
‘You’re my alarm clock’, the boy said.
‘Age is my alarm clock’, the old man said. ‘Why do old man wake so early? Is it to have one longer day?’
‘I don’t know’, the boy said. ‘All I know is that young boys sleep late and hard’.
‘I can remember it’, the old man said. ‘ I’ll waken you in time.’
The simple sentences and the repeated rhythms hit at the profundities that the surface of the language tries to ignore. Its simplicity is highly suggestive and connotative, and often reflects the strong undercurrent of emotion. Indeed, the more closely the reader watches, the less rough and simple the characters appear. In Death in the Afternoon, Hemingway uses an effective metaphor to describe his writing style: If a writer of the prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water.Among all the works of Hemingway, the saga of Santiago is thought as the most typical one to this Iceberg Theory. The author seldom expresses his own feelings directly, nor does he make any comments or explanations. On the contrary, he tries to narrate and describe things objectively and blend his own feelings harmoniously to the natural narration and description this gives readers a pictures compression, from which-the 1/8 of the iceberg above water, they can learn the implying meaning and feelings of the author- 7/8 of the iceberg under water. When Hemingway said of this story, “I tried to make a real old man, a real sea and real sharks”, he then went on to say, “But if I made them good and true enough they would mean many things.” So this novel has a great and significance conveyed by a compressed action. The core of the novel’s action is fishing. To the hero, fishing is not simply of contest in life. It contains profound philosophic meaning. In addition, two details-the baseball match and the hand wresting with the Negro, like fishing, symbolize the contention in life. They compensate and enrich the inner meaning of the main plot of fishing. So the simplicity of the novel is highly suggestive.
2.2 The Old Man and the Sea Writing Methods
Occasionally, the author uses such figures of speech as metaphor, personification, etc to describe details. Hemingway likes to us natural things to make metaphors. For example, he describes Santiago’s eyes as “the same color as the sea and were cheerful and undefeated.”The metaphor reveals that the old man is closely linked with nature. At the beginning of the novel, a simile is used: “the sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.” Here Santiago’s eyes are contrasted with the patched sail, which symbolize defeat, as reveals Santiago’s unyielding character. So Hemingway has formed of narrative and dialogue, though natural and simple on the surface, is actually deliberated and artificial. It combines elements that are realistic with elements that are stylized and heightened. How Hemingway has formed such a writing style? The reason is related to his own experiences. “His use of short sentences and paragraphs and vigorous and positive language, and the deliberate avoidance of gorgeous adjectives are some of the traces of his early journalistic practices.” After leaving school at 17, he went to the Kansas City Star, which was one of the best newspapers in America at that time. He served as its eager and energetic reporter. As a journalist, Hemingway trained himself in the economy of expression. He once said that, during his working in Star, he had to learn to use simple sentences, which is very useful to him; and that the experience of working as a journalist would not do harm to a young writer, instead it is very helpful if he could cast it off timely. He laid stress on “speaking” with facts and objected groundless concoction in writing. His descriptions of details are full of factuality, and are as precise as news reports.
3.The import on Hemingway’s Old Man and the Sea
The influence of Hemingway’s language style is great. In the latter part of his life, Hemingway was known as “Papa Hemingway.” It refers mainly to his contribution to the development of a new writing style in America-the colloquial style. His simple word, short sentences and vividly colloquial language purity American novel. In England, which Miss Storm Jameson discussing “The Craft of the Novelist” in the January 1934 issue of The English Review, she advanced an explanation of Hemingway’s popularity:
It is this simplicity, this appeal to our crudest interests, which explains Hemingway’s success…In English at least his success has been largely with the intellectuals. Thy have praised his simplicity, his directness…When Hemingway’s death was reported on 3 July 1961, the obituary in The Tines pronounced pontifically: No history of the literature of our time will be able to ignore his achievement or his far-reaching influence…his last masterpiece, The Old Man and The Sea, he remained a solitary both in achievement and style…And Hemingway’s influence as a stylist was “neatly expressed in the praise of the Noble Prize Committee about ‘his powerful style-forming mastery of the art’ of writing modern fiction.”
Apart from the language style, which The Old Man and the Sea is famous for, the writing techniques in this novel are also worth paying close attention to. A very important one of them is the way to use facts. The main events of the story seem to be based on a real incident, which is described by Hemingway in an article about fishing in the Gulf Stream in Esquire for April 1936. So the novel of full facts, such as the habit of fish, the technique of catching marlin, the weather, the sea, and so on. But the power of the novel lies in the way to use these facts. Firstly the facts are selected. “Hemingway’s old man, boy, sea, fish, and sharks are not so much built up in our minds, detail by detail, facts by facts, as drive into our mind by the force and the sympathy with which the author himself shares in their imaginary existence.” Like any realist, he relies on selection. When the giant marlin finally surfaces, his tail “was higher than a big scythe blade and a very pale lavender above the dark blue water.” Sargasso weed is bleached and yellow by day; Tuna are silver when they jump out if the water, but blue-backed and gold-sides when swimming. Hemingway never described them with excessively, but choose some effective ones. He uses them with a sense of how colors shift and change in their relationship. Without selection, there can be no intensity, and compression.
4.The philosophical significance Old Man and The Sea
4.1The Old Man and The Sea by the message to people’s moods#p#副标题#e#
Secondly, the facts are used as a device to make the fictional word accepted. The novel is not simply a manual for us to study the technique to catch a fish or how to survive in a boat. The author tries to implicate people’s imagination in what is happening by appealing to our love of practical knowledge. This shows “the facts are fundamentally a device, a technique of reassuring our sense of everyday values.”So they can help to make us accept more readily what the author has invented and made more dramatic than in everyday life. Still take the use of color as example: The clouds over the land now rose like mountains and the coast was only a long green line with the gray-blue hills behind it. The water was a dark blue now, so dark that it was almost purple. As he looked down into it he saw the red sifting of the plankton in the dark water and the strange light the sun made now. These facts show readers the process of fishing, which mostly comes from the author’s own experience. From these facts, which are vivid, precise and terse, readers can learn a lot about how to catch a fish and can also feel as if they themselves were catching a fish. Then they will have the sense that what the author describes is real and believable. Therefore, as Kenneth Graham has said, many facts in the novel about fishing and about the sea have a double function: they satisfy people’s sense of the real word. And this is what underlies Hemingway’s famous statement that his intention was always to convey to the reader “the way it was.”
4.2The influence of the Old Man and the Sea
All in all, Hemingway’s language in The Old Man and the Sea is simple and natural on the surface, but actually deliberate and artificial. “The language is rarely emotional. Rather, it controls emotions: it holds them in.”The forming of this distinct style is related to Hemingway’s own experience. And the influence of this style is not only within America but also all over the world. The facts in the novel are selected and used as a device to make the fictional world accepted. Unlike other novelists who add allegorical meanings to their facts, Hemingway uses the facts simply and naturally, without any emotion. In the latter part of the novel, instead of being narrated by the author, the facts are used from inside Santiago’s own consciousness, and form part of a whole scheme of the novel. Besides what have been mentioned above, other techniques in The Old Man and the Sea, such as realism, monologue, the creation of suspense and so on, are also very successful. All these show Hemingway’s superb artistic attainments as a Nobel Prize winner.
Bibliography
1. Chang Yaoxin, “Chapter 14” in A Survey of American Literature. TianJin: Nankai University Press, 1987
2. Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea. Beijing: world Publishing Corporation, 1991
3. Ernest Hemingway, The Old Man and the Sea. Beijing: world Publishing Corporation, 1998
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学习是人在生活过程中,通过获得经验而产生的行为或行为潜能的相对持久的行为方式。学习是贯穿每个人的一生,需要养成终生学习的好习惯。下面读文网小编为大家带来英文学习名人名言,欢迎大家阅读!
1、不动笔墨不读书。——徐特立
pen and ink is not reading。
2、必须有所知,否则不如死。——罗曼·罗兰
something must be known, or dead。
3、不读书的人,思想就会停止。——狄德罗
people who do not read, thinking will stop。
4、读书忌死读,死读钻牛角。——叶圣陶
one avoid is dead read, read drill horn to death。
5、为中华之崛起而读书。——周恩来
reading for the rise of the chinese。
6、读书也像开矿一样“沙里淘金”。——赵树理
reading is like mining "informed"。
7、书籍是人全人类的营养品。——莎士比亚
books are the nourishment of all mankind。
8、立志宜思真品格,读书须尽苦功夫。——阮元
aspire to appropriate's character, reading must try hard。
9、没有求知欲的学生,就像没有翅膀的鸟儿。——萨迪
no students curiosity, like a wingless bird。
10、只有天才和科学结了婚才能得到最好的结果。——斯宾塞
only genius married science can get the best results。
11、距离已经消失,要么创新,要么死亡。——托马斯·彼得斯
distance has disappeared, innovation, or death。
12、求学犹植树,春天开花朵,秋天结果实。——爱因斯坦
study of plant trees, spring flowers, autumn fruit。
13、天才就是这样,终身劳动,便成天才!——门捷列夫
genius is such, life work, then into a genius!
14、人的知识愈广,人的本身也愈臻完善。——高尔基
man's knowledge more wide, the person's itself also will be。
15、所谓天才,那就是假话,勤奋的工作才是实在的。——爱迪生
the so-called genius, that is untrue, hard work is the reality。
16、优秀的作品无论你怎样去探测它,都是探不到底的。——歌德
best work no matter how you to detect it, are not exactly。
17、天才的悲剧地于被小而舒适的名望所束缚。——芥川龙之介
the tragedy of genius to be tied down by a small and comfortable fame。
18、哪里有天才,我是把别人喝咖啡的工夫都用在了工作上了。——鲁迅
where there is a genius, i'm with all the others drink coffee time on the job。
19、在知识的山峰上登得越高,眼前的景色越壮阔。——拉吉舍夫
in knowledge in the higher the mountain,the view is spectacular。
20、如果试图改变一些东西,首先应该接受许多东西。——萨特
if you try to change something, first of all should accept many things。
21、天才就是百分之九十九的汗水加百分之一的灵感。——爱迪生
genius is ninety-nine percent perspiration plus one percent inspiration。
22、饭可以一日不吃,觉可以一日不睡,书不可以一日不读。——毛泽东
rice can a day don't eat, sleep can't sleep a day, don't read books can't a day。
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下面是读文网小编为大家带来英美经典小诗欣赏,希望大家喜欢!
Put by your books and slates today!
六月天阳光多么灿烂,
This is the sunny month of June,
放下你们的写字板和课本,
And we shall go this afternoon
今天下午我们要翻山越岭,
Over the hills and far away.
到遥远的地方去旅行。
Hurrahl Wef 11 have a holiday,
好啊!假日已经来临,
And through the wood, across the plain
我们要跨过平原,穿过森林,
We’ll go, in sunshine and in rain,
在阳光下,在风雨中,
Over the hills and far away.
翻过一座座小山去远方旅行。
Not one of us behind must stay,
我们中谁也不许留下,
But little ones and all-must go
甚至连小家伙们,
Where summer breezes gently blow,
都得翻过山头去远方,
Over the hills and far avayl
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下面是读文网小编为大家带来英美名家经典诗歌欣赏,希望大家喜欢!
IF yet I have not all thy love,
如果我还不曾得到你的全部的爱,
Dear, I shall never have it all ;
这全部我将永远无法获取;
I cannot breathe one other sigh, to move,
我不能吐出另一声动人的磋叹,
Nor can intreat one other tear to fall ;
也不能让另外一滴眼泪滚落,
And all my treasure, which should purchase thee,
叹息,眼泪,誓辞,一封封情书,
Sighs, tears, and oaths, and letters I have spent ;
这些原应换取你的珍宝已是白费,
Yet no more can be due to me,
而假如你的爱不肯全部付出,
Than at the bargain made was meant.
只是按照交易定下的份额分配,
If then thy gift of love were partial,
既分给我一些,又匀给别人一些,
That some to me, some should to others fall,
你的这份爱的礼物碎损残缺,
Dear, I shall never have thee all.
亲爱的,我永远无法全部获得。
Or if then thou gavest me all,
而你如果把全部的爱赐与了我,
All was but all, which thou hadst then ;
那也不过是从前的全部爱,
But if in thy heart since there be or shall
假如有别的男子向你的芳心潜入,
New love created be by other men,
让你现在或将来产生新的爱,
Which have their stocks entire, and can in tears,
他们的资本齐全,更能在眼泪,叹息
In sighs, in oaths, and letters, outbid me,
誓辞,和情书上满足你的虚荣,
This new love may beget new fears,
那新的爱会导致新的惊悸,
For this love was not vow'd by thee.
因为这种爱背离了你的初衷。
And yet it was, thy gift being general ;
既然如此,你的礼物对众人广施,
The ground, thy heart, is mine ; what ever shall
你的芳心属我,无论这土地上生长什么,
Grow there, dear, I should have it all.
我都应该拥有那全部。
Yet I would not have all yet.
但就此得到全部井非我之所愿,
He that hath all can have no more ;
因为一经获取便不再会增添,
And since my love doth every day admit
既然我的爱每天都有新的进展,
New growth, thou shouldst have new rewards in store ;
你也得为此准备下新的酬谢,
Thou canst not every day give me thy heart,
你不能每天都交给我一颗心,
If thou canst give it, then thou never gavest it ;
倘若说能给出,便意味前此的不是。
Love's riddles are, that though thy heart depart,
爱情真是个谜团,尽管你的已出门,
It stays at home, and thou with losing savest it ;
却依然在家,拣回也就是丢失;
But we will have a way more liberal,
可是我们的办法却更为变通,
Than changing hearts, to join them ; so we shall
无须换心,只要将两颗心儿合拢,
Be one, and one another's all.
便能将对方的全部拥入怀中。
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下面是读文网小编为大家带来莎士比亚经典英语诗歌选集,希望大家喜欢!
Lo, in the orient when the gracious light
看呵,普照万物的太阳在东方
Lifts up his burning head, each under eye
抬起了火红的头颅,人间的眼睛
Doth homage to his new-appearing sight,
就都来膜拜他这初生的景象,
Serving with looks his sacred majesty;
注视着他,向他的圣驾致敬;
And having climbed the steep-up heavenly hill,
正像强壮的小伙子,青春年少,
Resembling strong youth in his middle age,
他又爬上了峻峭的天体的山峰,
Yet mortal looks adore his beauty still,
世人的目光依然爱慕他美貌,
Attending on his golden pilgrimage;
侍奉着他在他那金色的旅途中;
But when from highmost pitch, with weary car,
但是不久他疲倦地乘着车子
Like feeble age he reeleth from the day,
从白天的峰顶跌下,像已经衰老,
The eyes, 'fore duteous, now converted are
原先忠诚的人眼就不再去注视
From his low tract and look another way:
他怎样衰亡而改换了观看的目标:
So thou, thyself outgoing in thy noon,
你如今好比是丽日当空放光彩,
Unlooked on diest unless thou get a son.
将来要跟他一样——除非有后代。
Music to hear, why hear'st thou music sadly?
你是音乐,为什么悲哀地听音乐?
Sweets with sweets war not, joy delights in joy.
甜蜜不忌甜蜜,欢笑爱欢笑。
Why lov'st thou that which thou receiv'st not gladly,
为什么你不愉快地接受喜悦?
Or else receiv'st with pleasure thine annoy?
要不然,你就高兴地接受苦恼?
If the true concord of well tuned sounds,
假如几种入调的声音合起来
By unions married, do offend thine ear,
成了真和谐,教你听了不乐,
They do but sweetly chide thee, who confounds
那它只是美妙地责备你不该
In singleness the parts that thou shouldst bear.
守独身而把你应守的本分推脱。
Mark how one string, sweet husband to another,
听一根弦儿,另一根的好丈夫,听,
Strikes each in each by mutual ordering;
一根拨响了一根应,琴音谐和;
Resembling sire, and child, and happy mother,
正如父亲、儿子和快乐的母亲,
Who all in one, one pleasing note do sing;
合成一体,唱一支动听的歌:
Whose speechless song, being many, seeming one,
他们那没词儿的歌,都异口同声,
Sings this to thee, 'Thou single wilt prove none.'
对你唱:“你独身,将要一事无成。”
Is it for fear to wet a widow's eye
是为了怕教寡妇的眼睛哭湿,
That thou consum'st thyself in single life?
你才在独身生活中消耗你自己?
Ah, if thou issueless shalt hap to die,
啊!假如你不留下子孙就去世,
The world will wail thee like a makeless wife;
世界将为你哭泣,像丧偶的妻:
The world will be thy widow and still weep,
世界将做你的未亡人,哭不完,
That thou no form of thee hast left behind,
说你没有把自己的形影留下来,
When every private widow well may keep,
而一切个人的寡妇却只要看见
By children's eyes, her husband's shape in mind.
孩子的眼睛就记住亡夫的神态。
Look what an unthrift in the world doth spend,
浪子在世间挥霍的任何财产
Shifts but his place, for still the world enjoys it;
只换了位置,仍能为世人享用;
But beauty's waste hath in the world an end,
而美的消费在世间可总有个完,
And kept unused, the user so destroys it:
守着不用,就毁在本人的手中。
No love toward others in that bosom sits
对自己会作这么可耻的谋害,
That on himself such murd'rous shame commits.
这种心胸不可能对别人有爱。
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下面是读文网小编为大家带来英美名家诗歌欣赏,希望大家喜欢!
As virtuous men pass mildly away
正如贤人安然辞世
And whisper to their souls to go
轻声呼唤灵魂离去
Whilst some of their sad friends do say
悲伤的有人或伤逝
"Now his breath goes," and some say "no"
叹其气绝魂离,亦又说不然
So let me melt, and make no noise
就让我们悄然别离,不要喧哗
No tear-floods, nor sigh-tempests move
不要泪涌如潮,不要凄声叹息
They were profanation of our joys
那是对我们欢乐的亵渎
To tell the laity of our love
向俗人宣示我们的爱
Moving of the earth brings harms and fears
地动带来伤害与恐惧
Men reckon what it did, and meant
人们推其为断其义
But trepidation of the spheres
而天体运转震动, 威力虽大
Though greater far, is innocent
却对什么都没损伤
Dull sublunary lovers' love
乏味的烦情俗爱
-whose soul is sense- cannot admit
建立在感官之上,无法承受
Of absense, 'cause it doth remove
别离,因为别离
The things which elemented it
使爱的根基破碎支离
But we by a love so much refined
但我和你拥有如此纯洁的爱
Though ourselves know not what it is
连我们都无法理解
Inter-assured of the mind
心心相印、相许
Careless,eyes,lips and hands to miss
岂在乎眼、唇和手的交融
Our two souls therefore, which are one
我们俩的灵魂合而为一
Tought I must go, endure not yet
我纵须远离
A breach, but an expansion
非违爱诺,实是延展
Like gold aery thinness beat
宛若黄金锤炼成轻飘韧箔
If there be two, they are two so
若我们的灵魂一分为二
As stiff twin compasses are two
应如坚定的圆规般
Thy suol, the fied foot, makes no show
你的心灵是定脚,坚守不移
To move, but doth, if the other do
但另一只脚起步,你便随之旋转
And though it in the centre sit
尽管一直端坐中央
Yet, when the other far doth roam
但当另一只脚四周漫游
It leans, and hearkens after it
它亦会侧身,细听周详
And grows erect, when that comes home
待它归来,便挺直如旧
Such wilt thou be to me, who must
这便是你之于我,我一直
Like the other foot, obliquely run
如同那另一只脚,侧身转圈
Thy firmness makes my circle just
你的坚贞使我的轨迹浑圆
And makes me end where it begun
也让我的漫游在起跑线终止
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许多英美人的姓名都包含有一定的意义。女孩子的常用名一般都与美丽、纯雅、爱情、幸福等美好字眼有关;而男孩子的常用名多与勇敢、富有、胜利、诚实等字眼有关。下面是一些常见的英文名字及其含义。
女孩常用名及其含义:
Agnes阿格尼斯 纯洁
Alice艾丽斯真理,美丽
Diana黛安娜月亮女神
Anna安娜优雅,仁慈
Lily 莉莉百合花
Catherine凯瑟琳纯洁,真诚
Elizabeth伊丽莎白 献身于上帝的人
Mary玛丽海上明星
Helen海伦光明的使者
Dorothy多萝西珍贵的礼物
Susanna苏珊娜纯洁,可爱
Sarah萨拉公主
Ruth 露丝美丽
Emily埃米莉勤劳
Jane 简 神之爱
Jenny珍妮文静
Joan 琼 温柔
Judy 朱迪珍宝
Karen卡伦纯洁
Margaret玛格丽特 珍珠
Nancy南希高雅
Susan苏珊小百合
Anne安妮高雅
David戴维(大卫) 被爱的人
Donald唐纳德世界之主
Richard理查德勇敢的人
John 约翰上帝的礼物
Alan 艾伦英俊的人
Stephen斯蒂芬王冠
Robert罗伯特名声赫赫的人
Edward爱德华财富的守卫者
Victor维克托胜利者
Harold哈罗德英勇善战者
William威廉强大的捍卫者
Charles查尔斯男子汉
Michael迈克尔上帝的使者
Alexander 亚历山大 人类救星
Arthur阿瑟高贵的
Andrew安德鲁刚强
Benjamin本杰明得力助手的儿子
Abraham亚伯拉罕 犹太人的祖先
Edgar埃德加荣幸
Daniel丹尼尔卓越的法官
Francis弗兰西斯 自由
George乔治农夫,耕作者
Henry亨利富有的贵族
Lewis刘易斯人民的保护者
Peter彼得岩石
Paul 保罗小的
Mark马克战胜者
Rose 罗斯美丽的
Philip菲利普爱马的人
Roland罗兰国家的声誉
Solomon所罗门和平的
Thomas托马斯一对
Victoria维多利亚 胜利
Frank弗兰克自由
Fred 弗雷德和平
Jack 杰克刚强
James詹姆斯愿神保佑
Ronald罗纳得忠告,权力
Walter沃尔特强有力的统治者
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