研究雪莱的论文

1、丢掉烦恼大千世界，无奇不有。人有形形色色的人，车有各种各样的车，但烦恼也是如此呢？我们生活在大千世界当中，有烦恼是正常事，它比吃饭、睡觉还正常。那为什么又有人可以丢掉烦恼，简单生活呢？有过这样一个故事：有人问禅师：“修行需要下什么功夫？”禅师说：“饿了就吃饭，困了就睡觉。”人又问：“世上的人一般都是如此，师父的功夫就是这样吗？”禅师：“别人该吃饭时不肯好好吃饭，偏要百般思索；有些人该睡觉 之时却又不好好好睡觉，却还要千般计较。所以，我和他们不同。”是的，生活就是一本书，而各形各色的烦恼则可以让生活变成一本五颜六色的画卷，让人看不清自己的人生航向，让人陷入那迷糊的色彩之中，不能自拨，而我们则需要手持一块橡皮擦，擦掉那些烦恼；或者我们需要手持一张垃圾袋，把烦恼丢进里面，然后扔得远远的，从此，简单生活。李白说：“借酒消愁愁更愁。”杜甫言：“白头搔更短，浑欲不胜簪。”无一不体现出他们的烦恼和苦恼。辛弃疾说：“郁孤台下清江水，中间多少行人泪。”李清照说：“满地黄花堆积，憔悴损，如今有谁堪摘？”秋瑾曾说：“秋风秋雨愁煞人。”秦观也说：“自在飞花轻似梦，无边丝雨细如愁。”范仲淹语：“酒入愁肠，化作相思泪。”古代的文人墨客有着各种各样的烦恼，但他们却从烦恼中体现也一种国恨家仇，亲人分别、相思之情，而古代的一切，在这高速发展的现代社会，早已不那么适用了，包括一切烦恼。今天的烦恼，早已不向古代那么简单、那么单一，这时的我们：有着学习的烦恼、有着交流的烦恼、有站考试的烦恼……这里的一切，无不让我们心寒，让我们讨厌，让我们不好受。有人曾说：“生活中许多的计较都是自己跟自己过不去，那是自寻烦恼。”是啊！现在不是常有人说：“拿得起，放得下吗？”我们有着烦恼，而我们就应该放下烦恼，用自己手中的那只编织袋，把烦恼装进去，顺便把它扔得远远的，让们的生活画卷更加美好、丰富。丢掉烦恼，简单生活。2.不可丢失的信念人生变数很多，没有人能承诺我们的一生永远是晴天，没有人能预测草莽中是否潜藏猛兽毒蛇，没有人能勾勒出命运的风刀霜剑……万事如意、心想事成都只是人们美好的愿望，人生路漫漫，现实生活中的困难、挫折、失败……都在所难免，如何以正确的心态去面对“挫折”，这是人生的一个极为重大的课题。懦弱者在“挫折”面前，丧失信心，失去勇气，眼前一片黑暗，最终被“挫折”压倒，坚强者在“挫折”面前，勇敢奋起，将“挫折”当作“动力”，最终赢得了成功的喜悦。正如英国富勒所说的那样：“挫折磨练一些人，也毁灭一些人。”明末清初着名史学家谈迁，29岁时编写《国榷》。经过27年的辛勤笔耕，前后修改6次，写出了长达500万字的初稿。不幸的是，书稿还未出版，便在一个深夜被人偷走。27年的心血付诸东流，谈迁心痛欲裂，悲愤地仰天长号。但是，沉重的打击没有动摇谈迁的志向，书稿丢了，可人还在，只要自己还有一口气，书就一定要出来。谈迁擦干泪水，重新拿起了笔。尽管年事已高，体弱多病，记忆衰退，行走不便，但是倔强的禀性和执着的信念支撑着他千里奔波搜寻史料，夜以继日，笔耕不辍。又经过9年，他谈迁终于完成了《国榷》这部巨着。这时，谈迁已经是一位65岁的白发苍苍的老人了。雪莱说：“冬天来了，春天还会远吗？”雪莱又说：“无论头上是怎样的天空，我都准备承受风雨。”一切经历都是财富，所有的遭遇都在充实我们自己。前苏联也有一位伟大的无产阶级革命家，被命运捉弄了一番。他在病榻上完成了长篇小说《暴风雨里的诞生》。可是，书稿被邮局不负责任的邮差在投递中丢失，作者的痛苦和愤怒无以复加，他心如槁木，想就此作罢。经过一番冷静思索，他选择了从零开始、从头做起。又经过两年的呕心沥血，名着《钢铁是怎样炼成的》终于问世。他的名字--奥斯特洛夫斯基，也就传遍全世界并流芳百世。外界虽不能把握，行动却可以产生力量。这力量的源泉就来自坚强的信念。真正的信念永远是不可战胜的，有了信念，人才会冷静地面对挫折和困难；有了信念，人才有足够的勇气克服阻碍。信念，可以让人透过失望看到希望；信念，可以让人从逆境中奋起；信念，可以让人从失败中走向成功。当遇到挫折、陷入困境时，只要心头有一个坚定的信念，努力拼搏，就一定会度过难关，取得成功。卡莱尔经过多年的艰辛耕耘，终于完成了《法国大革命史》的全部文稿。他将这本巨着的底稿全部托付给自己最信赖的朋友米尔，请米尔提出宝贵的意见，以求文稿的进一步完善。隔了几天，米尔脸色苍白、上气不接下气地跑来，万般无奈地向卡莱尔说出一个悲惨的消息：《法国大革命史》的底稿，除了少数几张散页外，已经全被他家里的女佣当做废纸，丢进火炉里烧为灰烬了。卡莱尔在突如其来的打击面前异常沮丧。当初他每写完一章，便随手把原来的笔记、草稿撕得粉碎。他呕心沥血撰写的这部《法国大革命史》，竟没有留下任何可以挽回的记录。但是，卡莱尔还是重新振作起来。他平静地说：“这一切就像我把笔记簿拿给小学老师批改时，老师对我我说：‘不行！孩子，你一定要写得更些！’”卡莱尔又买了一大沓稿纸，从头开始了又一次呕心沥血的写作。我们现在读到的《法国大革命史》，便是卡莱尔第二次写作的成果。信念根植于血液，信念的旗帜永远鲜红，信念是一种精神力量，是一个人、一个国家、一个社会站立起来并迈步向前的精神支柱。艰难困苦，玉汝于成。“挫折”成了砥砺人们意志的磨刀石，我们应当做一位生命的“强者”，在“挫折”面前，坚强不屈，扼住命运的咽喉，战胜挫折，阳光灿烂，从而造就辉煌灿烂的人生！

Shelley's Poetry PERCY BYSSHE SHELLEY "Ozymandias" Summary The speaker recalls having met a traveler "from an antique land," who told him a story about the ruins of a statue in the desert of his native country. Two vast legs of stone stand without a body, and near them a massive, crumbling stone head lies "half sunk" in the sand. The traveler told the speaker that the frown and "sneer of cold command" on the statue's face indicate that the sculptor understood well the passions of the statue's subject, a man who sneered with contempt for those weaker than himself, yet fed his people because of something in his heart ("The hand that mocked them and the heart that fed"). On the pedestal of the statue appear the words: "My name is Ozymandias, king of kings: / Look on my works, ye Mighty, and despair!" But around the decaying ruin of the statue, nothing remains, only the "lone and level sands," which stretch out around it, far away. Form "Ozymandias" is a sonnet, a fourteen-line poem metered in iambic pentameter. The rhyme scheme is somewhat unusual for a sonnet of this era; it does not fit a conventional Petrarchan pattern, but instead interlinks the octave (a term for the first eight lines of a sonnet) with the sestet (a term for the last six lines), by gradually replacing old rhymes with new ones in the form ABABACDCEDEFEF. Commentary This sonnet from 1817 is probably Shelley's most famous and most anthologized poem--which is somewhat strange, considering that it is in many ways an atypical poem for Shelley, and that it touches little upon the most important themes in his oeuvre at large (beauty, expression, love, imagination). Still, "Ozymandias" is a masterful sonnet. Essentially it is devoted to a single metaphor: the shattered, ruined statue in the desert wasteland, with its arrogant, passionate face and monomaniacal inscription ("Look on my works, ye Mighty, and despair!"). The once-great king's proud boast has been ironically disproved; Ozymandias's works have crumbled and disappeared, his civilization is gone, all has been turned to dust by the impersonal, indiscriminate, destructive power of history. The ruined statue is now merely a monument to one man's hubris, and a powerful statement about the insignificance of human beings to the passage of time. Ozymandias is first and foremost a metaphor for the ephemeral nature of political power, and in that sense the poem is Shelley's most outstanding political sonnet, trading the specific rage of a poem like "England in 1819" for the crushing impersonal metaphor of the statue. But Ozymandias symbolizes not only political power--the statue can be a metaphor for the pride and hubris of all of humanity, in any of its manifestations. It is significant that all that remains of Ozymandias is a work of art and a group of words; as Shakespeare does in the sonnets, Shelley demonstrates that art and language long outlast the other legacies of power. Of course, it is Shelley's brilliant poetic rendering of the story, and not the subject of the story itself, which makes the poem so memorable. Framing the sonnet as a story told to the speaker by "a traveller from an antique land" enables Shelley to add another level of obscurity to Ozymandias's position with regard to the reader--rather than seeing the statue with our own eyes, so to speak, we hear about it from someone who heard about it from someone who has seen it. Thus the ancient king is rendered even less commanding; the distancing of the narrative serves to undermine his power over us just as completely as has the passage of time. Shelley's description of the statue works to reconstruct, gradually, the figure of the "king of kings": first we see merely the "shattered visage," then the face itself, with its "frown / And wrinkled lip and sneer of cold command"; then we are introduced to the figure of the sculptor, and are able to imagine the living man sculpting the living king, whose face wore the expression of the passions now inferable; then we are introduced to the king's people in the line, "the hand that mocked them and the heart that fed." The kingdom is now imaginatively complete, and we are introduced to the extraordinary, prideful boast of the king: "Look on my works, ye Mighty, and despair!" With that, the poet demolishes our imaginary picture of the king, and interposes centuries of ruin between it and us: "'Look on my works, ye Mighty, and despair!' / Nothing beside remains. Round the decay / Of that colossal wreck, boundless and bare, / The lone and level sands stretch far away." Shelley's PoetryPERCY BYSSHE SHELLEY "Ode to the West Wind" Summary The speaker invokes the "wild West Wind" of autumn, which scatters the dead leaves and spreads seeds so that they may be nurtured by the spring, and asks that the wind, a "destroyer and preserver," hear him. The speaker calls the wind the "dirge / Of the dying year," and describes how it stirs up violent storms, and again implores it to hear him. The speaker says that the wind stirs the Mediterranean from "his summer dreams," and cleaves the Atlantic into choppy chasms, making the "sapless foliage" of the ocean tremble, and asks for a third time that it hear him. The speaker says that if he were a dead leaf that the wind could bear, or a cloud it could carry, or a wave it could push, or even if he were, as a boy, "the comrade" of the wind's "wandering over heaven," then he would never have needed to pray to the wind and invoke its powers. He pleads with the wind to lift him "as a wave, a leaf, a cloud!"--for though he is like the wind at heart, untamable and proud--he is now chained and bowed with the weight of his hours upon the earth. The speaker asks the wind to "make me thy lyre," to be his own Spirit, and to drive his thoughts across the universe, "like withered leaves, to quicken a new birth." He asks the wind, by the incantation of this verse, to scatter his words among mankind, to be the "trumpet of a prophecy." Speaking both in regard to the season and in regard to the effect upon mankind that he hopes his words to have, the speaker asks: "If winter comes, can spring be far behind?" Form Each of the seven parts of "Ode to the West Wind" contains five stanzas--four three-line stanzas and a two-line couplet, all metered in iambic pentameter. The rhyme scheme in each part follows a pattern known as terza rima, the three-line rhyme scheme employed by Dante in his Divine Comedy. In the three-line terza rima stanza, the first and third lines rhyme, and the middle line does not; then the end sound of that middle line is employed as the rhyme for the first and third lines in the next stanza. The final couplet rhymes with the middle line of the last three-line stanza. Thus each of the seven parts of "Ode to the West Wind" follows this scheme: ABA BCB CDC DED EE. Commentary The wispy, fluid terza rima of "Ode to the West Wind" finds Shelley taking a long thematic leap beyond the scope of "Hymn to Intellectual Beauty," and incorporating his own art into his meditation on beauty and the natural world. Shelley invokes the wind magically, describing its power and its role as both "destroyer and preserver," and asks the wind to sweep him out of his torpor "as a wave, a leaf, a cloud!" In the fifth section, the poet then takes a remarkable turn, transforming the wind into a metaphor for his own art, the expressive capacity that drives "dead thoughts" like "withered leaves" over the universe, to "quicken a new birth"--that is, to quicken the coming of the spring. Here the spring season is a metaphor for a "spring" of human consciousness, imagination, liberty, or morality--all the things Shelley hoped his art could help to bring about in the human mind. Shelley asks the wind to be his spirit, and in the same movement he makes it his metaphorical spirit, his poetic faculty, which will play him like a musical instrument, the way the wind strums the leaves of the trees. The thematic implication is significant: whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience, the younger generation largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, quality, and ultimate effect of aesthetic expression.

《雪莱政治论文选》（[英]雪莱）电子书网盘下载免费在线阅读

链接:

书名：雪莱政治论文选

作者：[英]雪莱

译者：杨熙龄

豆瓣评分：

出版社：商务印书馆

出版年份：1981-4

页数：182

内容简介：

作者雪莱(1792一1822)是世界闻名的诗人，也是一位激进的思想家。过去在国内只介绍过他的诗作，末翻译过足以代表他的社会政治思想的论文和散文。本书收集了他的九篇文章和八篇诗，反映了他反对封建暴政、反对宗教迷信和同情劳苦人民的政治态度和思想感情。

作者简介：

雪莱 Shelley，Percy Bysshe

1792～1822

英国诗人 。 1792 年8月4日生于英格兰萨塞克斯郡霍舍姆附近的菲尔德庄园，1822年7月8日卒于意大利斯佩西亚海湾。

生平

出身于贵族家庭，与父辈格格不入。在伊顿公学就读期间，其不屈不挠的个性和对这所贵族学校陈规陋习的蔑视与反抗造成他与周围环境的巨大抵触。雪莱对自然科学感兴趣，并热衷于阅读法国启蒙主义思想家伏尔泰、卢梭等人的著作，尤其深受同时代英国哲学家威廉·戈德温的《社会正义论》一书的影响。1810年10月进入牛津大学，半年后，因与好友杰佛逊·霍格印发《无神论的必然性》小册子并拒绝回答校方向他们提出的问题而被开除。为此也与父亲决裂，失去经济来源。后来，结识了在女子学校就读的16岁少女哈丽雅 特·韦斯特布鲁克 ，二人私奔到苏格兰的爱丁堡 ， 在那里结婚 。婚后一起到湖区的凯锡克居住 ， 并结识了骚塞。后又与戈德温通信并结识 。1812 ～1813年间 ，雪莱与妻子到爱尔兰游历，以充满热情的实际行动投入到加快天主教徒解放、改善爱尔兰穷人命运的计划中，曾亲自散发由他撰写的《告爱尔兰同胞书》。然而这一充满空想色彩的社会改革计划最后以失败告终。1813年，雪莱完成长诗《麦布女王》，展现他对现实社会的认识和对自由平等的理想社会的憧憬。

1814 年 7月雪莱与 妻子哈 丽雅特的关 系因破裂而分手。后与戈德温的女儿玛丽·沃斯登克拉夫特·戈德温结合，二人先到了法国，不久因经济窘困回国。1915年1月 ，雪莱承祖父遗嘱，得到每年1000英镑的年金。1815年8月，完成抒情长诗《阿拉斯特，或孤独的精神》。1816年5月，前往瑞士，在那里与拜伦结识并建立亲密友谊。还结识另一好友利·亨特。前妻哈丽雅特投水自杀的消息，最高法院判决剥夺他与哈丽雅特所生子女的教养权一事，更使他的精神受到严重打击 。1817年2月 ，经亨特介绍与济慈会面。同年完成长诗《伊斯兰起义》 。1818年4月 ，与玛丽和克莱尔一起前往意大利定居。在此后的4年里，创作了一系列不朽的杰作。

创作

雪莱的早期作品深受哥特式文学作家如刘易斯等人的影响。第一部引人注目的作品是童话诗《麦布女王 》，展示人类社会悲惨的过去、可怕的现在和乌托邦式自由平等的未来。长诗《阿拉斯特，或孤独的精神》、《伊斯兰起义》和对话诗《朱利安与马达罗》等确立了雪莱的创作风格。写于1819年的5幕诗剧《钦契一家》，以 16世纪罗马贵族钦契奸污自己的女儿后被女儿杀死的史实为情节基础，表现压迫与复仇、罪恶与正义的激烈冲突，发扬了莎士比亚戏剧的优秀传统。同一时期创作的抒情诗剧 《解放了的普罗米修斯》是他最优秀的作品之一，它以古希腊神话为素材，创造性地再现了英雄普罗米修斯为人类窃取天上火种、传授技艺而遭主神宙斯迫害的故事，表达了诗人想象中的革命哲学，被公认为浪漫主义文学的代表作之一。1819年，雪莱还写了最著名的诗篇《西风颂》，以及长诗《暴政的假面游行》和《阿特拉斯的女巫》、《云》、《致云雀》等脍炙人口的抒情诗。在生命的最后两年里，他还创作了悼念济慈的著名哀歌《阿多尼斯》、讴歌理想美的抒情诗《灵中之灵》和受希腊人民争取独立斗争的激发而写的抒情诗剧《希腊》等。因去世而未完成的意大利三环韵体长诗《生命的胜利》在一定意义上否定了他以前的创作，是诗人诗艺发展的新开端。

雪莱用散文写作的《为诗辩护》（亦即《诗辩》）是一部文论，作者不同意他的朋友皮科克在《诗的四个时代》中提出的诗是一种过时艺术的观点，他肯定诗人的社会作用 ，肯定同时代诗人的历史贡献及进步的历史观点。此文不仅以其分析的透辟和语言的优美为人所称道，而且其深刻的思想内涵至今仍具有现实意义。