夜莺颂英文毕业论文

不确定性的狂欢——《达芬奇密码》的后现代主义解读从文学文体学角度浅析《汤姆叔叔的小屋》中的反奴斗争接受美学视角下《暮光之城》字幕翻译的审美再现策略针对“00后”学生特点的初中英语个性化教学研究

约翰.济慈(John Keats,1795-1821)，英国浪漫主义时期与拜伦、雪莱齐名的浪漫主义诗人，代表作品有《恩底弥瓮》（Endymion）、《伊莎贝拉》（Isabella）、《圣阿格尼斯之夜》（The Eve of Saint Agnes）等长诗以及《希腊古瓮颂》（Ode on a Grecian Urn）、《夜莺颂》（Ode to a Nightingale）等颂歌。

济慈在《希腊古瓮颂》中提出了“ Beauty is truth, truth beauty.”( 美即是真，真即是美)的美学理念，意思是生活的本真是艺术美的源泉，艺术美使生活之美得以永存。济慈的诗歌表达感情真挚，济慈虽然他英年早逝，但我觉得他是一位用生命写作才华横溢，追求诗歌的本真和美的诗人。

《夜莺颂》是一首颂歌。如果你看过电影《明亮的星》（Bright Star）,相信你会被济慈对诗歌的狂热和才华所折服。诗人对生命、美和自由的歌颂和赞美在《夜莺颂》这首诗歌中体现地淋漓尽致。

My heart aches, and a drowsy numbness pains

My sense, as though of hemlock I had drunk,

Or emptied some dull opiate to the drains

One minute past, and Lethe-wards had sunk:

‘Tis not through envy of thy happy lot,

But being too happy in thine happiness, –

That thou, light-winged Dryad of the trees,

In some melodious plot

Of beechen green and shadows numberless,

Singest of summer in full-throated ease.

O, for a draught of vintage! that hath been

Cool’d a long age in the deep-delved earth,

Tasting of Flora and the country green,

Dance, and Provençal song, and sunburnt mirth!

O for a beaker full of the warm South,

Full of the true, the blushful Hippocrene,

With beaded bubbles winking at the brim,

And purple-stained mouth;

That I might drink, and leave the world unseen,

And with thee fade away into the forest dim:

Fade far away, dissolve, and quite forget

What thou among the leaves hast never known,

The weariness, the fever, and the fret

Here, where men sit and hear each other groan;

Where palsy shakes a few, sad, last gray hairs,

Where youth grows pale, and spectre-thin, and dies;

Where but to think is to be full of sorrow

And leaden-eyed despairs,

Where Beauty cannot keep her lustrous eyes,

Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee,

Not charioted by Bacchus and his pards,

But on the viewless wings of Poesy,

Though the dull brain perplexes and retards:

Already with thee! tender is the night,

And haply the Queen-Moon is on her throne,

Cluster’d around by all her starry Fays;

But here there is no light,

Save what from heaven is with the breezes blown

Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet,

Nor what soft incense hangs upon the boughs,

But, in embalmed darkness, guess each sweet

Wherewith the seasonable month endows

The grass, the thicket, and the fruit-tree wild;

White hawthorn, and the pastoral eglantine;

Fast fading violets cover’d up in leaves;

And mid-May’s eldest child,

The coming musk-rose, full of dewy wine,

The murmurous haunt of flies on summer eves.

Darkling I listen; and, for many a time

I have been half in love with easeful Death,

Call’d him soft names in many a mused rhyme,

To take into the air my quiet breath;

Now more than ever seems it rich to die,

To cease upon the midnight with no pain,

While thou art pouring forth thy soul abroad

In such an ecstasy!

Still wouldst thou sing, and I have ears in vain –

To thy high requiem become a sod.

Thou wast not born for death, immortal Bird!

No hungry generations tread thee down;

The voice I hear this passing night was heard

In ancient days by emperor and clown:

Perhaps the self-same song that found a path

Through the sad heart of Ruth, when, sick for home,

She stood in tears amid the alien corn;

The same that oft-times hath

Charm’d magic casements, opening on the foam

Of perilous seas, in faery lands forlorn.

Forlorn! the very word is like a bell

To toll me back from thee to my sole self!

Adieu! the fancy cannot cheat so well

As she is fam’d to do, deceiving elf.

Adieu! adieu! thy plaintive anthem fades

Past the near meadows, over the still stream,

Up the hill-side; and now ’tis buried deep

In the next valley-glades:

Was it a vision, or a waking dream?

Fled is that music: – Do I wake or sleep?

夜莺颂

我的心在痛，困顿和麻木

刺进了感官，有如饮过毒鸠，

又象是刚刚把鸦片吞服，

于是向着列斯忘川下沉：

并不是我嫉妒你的好运，

而是你的快乐使我太欢欣——

因为在林间嘹亮的天地里，

你呵，轻翅的仙灵，

你躲进山毛榉的葱绿和荫影，

放开歌喉，歌唱着夏季。

哎，要是有一口酒！那冷藏

在地下多年的清醇饮料，

一尝就令人想起绿色之邦，

想起花神，恋歌，阳光和舞蹈！

要是有一杯南国的温暖

充满了鲜红的灵感之泉，

杯沿明灭着珍珠的泡沫，

给嘴唇染上紫斑；

哦，我要一饮而离开尘寰，

和你同去幽暗的林中隐没：

远远地、远远隐没，让我忘掉

你在树叶间从不知道的一切，

忘记这疲劳、热病、和焦躁，

这使人对坐而悲叹的世界；

在这里，青春苍白、消瘦、死亡，

而“瘫痪”有几根白发在摇摆；

在这里，稍一思索就充满了

忧伤和灰色的绝望，

而“美”保持不住明眸的光彩，

新生的爱情活不到明天就枯凋。

去吧！去吧！我要朝你飞去，

不用和酒神坐文豹的车驾，

我要展开诗歌底无形羽翼，

尽管这头脑已经困顿、疲乏；去了！呵，

我已经和你同往！夜这般温柔，

月后正登上宝座，

周围是侍卫她的一群星星；

但这儿却不甚明亮，

除了有一线天光，被微风带过，

葱绿的幽暗，和苔藓的曲径。

我看不出是哪种花草在脚旁，

什么清香的花挂在树枝上；

在温馨的幽暗里，我只能猜想

这个时令该把哪种芬芳

赋予这果树，林莽，和草丛，

这白枳花，和田野的玫瑰，

这绿叶堆中易谢的紫罗兰，

还有五月中旬的娇宠，

这缀满了露酒的麝香蔷薇，

它成了夏夜蚊蚋的嗡萦的港湾。

我在黑暗里倾听，多少次

我几乎爱上了静谧的死亡，

我用深思的诗韵唤他的名字，

求他把我的一息散入空茫；

而现在，死更是多么富丽：

在午夜里溘然魂离人间，

当你正倾泻着你的心怀

发出这般的狂喜！

你仍将歌唱，但我却不再听见——

你的葬歌只能唱给泥草一块。

永生的鸟呵，你不会死去！

饥饿的世代无法将你蹂躏；

今夜，我偶然听到的歌曲

曾使古代的帝王和村夫喜悦；

或许这同样的歌也曾激荡

露丝忧郁的心，使她不禁落泪，

站在异邦的谷田里想着家；

就是这声音常常

在失掉了的仙域里引动窗扉：

一个美女望着大海险恶的浪花。

呵，失掉了！这句话好比一声钟

使我猛醒到我站脚的地方！

别了！幻想，这人的妖童，

不能老耍弄它盛传的伎俩。

别了！别了！你怨诉的歌声

流过草坪，越过幽静的溪水，

溜上山坡；而此时，它正深深

埋在附近的溪谷中：

噫，这是个幻觉，还是梦寐？

那歌声去了：——我是睡？是醒？

颂歌（Ode），属于诗歌形式的一种，颂歌是一首抒情诗，用来赞美一个人、一个事件或一个物体。英国颂歌最著名的代表作品是雪莱的《西风颂》（Ode to the West Wind），以及济慈的《夜莺颂》（Ode to a Nightingale）、《希腊古瓮颂》（Ode on a Grecian Urn）。

《夜莺颂》这首诗写于1819年。有一天，一只夜莺一棵树上筑巢，济慈被夜莺婉转而欢快的歌声所吸引，他在一棵李树下面的凳子上坐了2、3个小时，返回房间时，他的手中拿了4、5张诗稿。写这首诗的时候，济慈的弟弟刚刚去世，而济慈也被肺病困扰，夜莺代表着他忘却现实中的痛苦，去追求美好和自由的向往。

我国古代诗人中也有很多描写鸟鸣的古诗词。如：“月出惊山鸟，时鸣春涧中。；” “百啭千声随意移，山花红紫树高低。”；“蝉噪林逾静，鸟鸣山更幽。” 鸟鸣衬托出了周围环境的幽静，反映了作者闲适、享受大自然美好的心境。正所谓境由心生。山水田园诗人王维被称为“诗中有画，画中有诗”。而济慈的这首诗是诗中有画，画中有音乐。

这首颂歌共分为8小节，每小节10行，各小节诗行按照ABABCDECDE的形式押韵。诗人在整首诗中采取了对比和象征的表达方式。夜莺代表着诗人所向往的自由、美好的生活，但作者却不得不困于现实的痛苦中：弟弟刚刚去世；他自己又身患疾病；他和Fanny Brawn小姐相爱，但迫于现实的状况却不能长厢厮守。爱情的甜蜜，病痛的折磨，这些痛苦让诗人十分羡慕夜莺，并愿和夜莺一起飞去。

从下图我们可以看出诗人在描述中采用了对比的表达方式，体现了诗人的现实（negative）生活和夜莺(positive)代表的理想世界之间的矛盾，作者在诗中采用了不同的词汇，如诗人的pains和夜莺的happiness,诗人的dull和夜莺的melodious等等，反映了作者当时追求自由、摆脱痛苦但却又不得不面对现实的无奈心境。这也是济慈在这首诗中采用paradox手法的体现。

关于这首诗的朗诵，可以找本尼迪克特的版本来听。今天早上，听本尼朗诵济慈《夜莺颂》的时候，舒缓优美的音乐配上本尼纯正的英音简直是一种至高的艺术享受。

济慈有诗叫做《多少诗人把光阴镀成了黄金》，“多少诗人把光阴镀成了黄金，诗杰的神品永远是我的幻想......仿佛集聚在黄昏的无数声响......仿佛积聚在黄昏的无数声响：鸟儿歌唱，树叶飒飒地絮语，流水潺潺，洪钟沉重地叩出庄严的声音，还有那来自远方难以辩认的千种鸣响，合奏出

绝妙的音乐，而不是聒噪喧嚷。”

济慈写诗讲究感官感受，所以读他的诗，不仅仅是在看一幅精美的油画，而且还是在欣赏一首优美的古典音乐，完全沉浸在他的诗所描绘的美好情境中。所以读他的诗是一种享受，不仅仅因为他对诗歌的狂热，更由于他对美与真的尽情歌颂。

虽然济慈25岁就去世，但他在诗歌方面的影响力却是英国浪漫主义诗歌中最明亮耀眼的一颗星。他写诗讲究官能感受，唯美主义以及为艺术而艺术（Art's for arts' sake）的创作理念，他具有与莎士比亚的天才极为接近的艺术感应力。他的诗歌形式和风格也是多变的，颂歌、长诗、叙事诗、抒情诗、十四行诗。他的十四行诗与莎士比亚的诗风很像，读他的十四行诗也是一种美的感官享受。

我在想，如果英文诗歌可以像夜莺那样浸润现代社会中人们偶尔孤寂的心田，那将是人世间最美好的事。

这是我自己参考中文赏析写的，虽然不是很权威，但是这也是我交给老师的作业，我们老师给的评价还不错，所以分享一下^*^,觉得有价值的话，就参考一下吧~Reads “Ode to a Nightingale”“Old to a Nightingale” was written by Jhon Keats.It expresses poet’s stray and complex mood emerged after hearing a nightingale’s engaging voice and reflects poet’s desire of getting rid of the pressure from human suffering there, blending into the natural world and entering into the joyous nightingale kingdom, however, be trapped by realities where his inner pain comes from. Behinde the discribing of the nightingale’s happy voice, the poem is full of strong emotion with sadness and pain, and the mournful sentiment make it painful lingering for us.Keats cried out a painful lament at the beginning of the poem. “My heart aches”, poet cried out such a painful lament when listening so enchanting song from nightingale under such a soft night sky. The nightingale’s song which shoule make people feel happy originally make the poet feel heart aches. This is the specific reflection of Keats’ artistic idea of accepting things by the opposite side.In fact, we should comprehend the sentence of the fifth line in the first section of the poem—Tis not through envy of thy happy lot, But being too happy in thy happiness—from the opposite side according to the following sentences and the whole poem. So the true meaning of the sentence reffered before is that the touching nightingale voice make poet feel never-ending pain and as a result he is envious of the nightingale’s freedom and happiness.The four lines at the beginning of the first section describe that the poet’s heart was suffering from the felling of heavy-headed, numb and stepping into death. And the folloewing six sentences describe the nightingale’s happiness of singing freely in the shadow of the forest.The strongly contrast show poet’s contradictory mood.He is eager ro blend into the nature just like the nightingale in order to break away from the worry of the world. However, how can he enter to the nightingale’s freedom kingdom? In the senond section, the poet opens his imagination.He imagines the vintage wine made of grapes from the south world, and drinking it and then leaving the world silencely, hiding himself into the forest together with the nightingale. In the section, the poet makes a specific and deepgoing description of the vintage wine.”That hath been Cool’d a long age in the deep-delved earth, Tasting of Flora and the country green, Dance, and Provencal song, and sunburnt mirth!” This is a Chinese fictitious land of piace which is nothing else than the world the poet was looking forward to.And the literary quotation of Hippocrene make the vintage wine made of grapes more mysterious.He wants to drink the vintage wine here has double meanings.One is to enter into the nightingale’s free kingdom with the help of the mysterious power of the wine, and the other one is to forget the bad things in the world through drink to drunk. He describes his worry detailedly in the third section.In his view, there is none happiness but distressness, none hopes but hopelessness, none beauty or love, but ugly and hate because of his painful experience. So he said in the poem that “Fade away, dissolve, and quite forget. What thou among the leaves hast neve known,” so he is eager to fly to the nightingale’s kingdom where doesn’t have suffering and is filled with happiness and beauty.The fourth and the fifth sections are the important transition of Keats’ thoughts. He realizes that he can’t leave his world by drinking, so he can fly to the ninghtingale’s world though his poem. He make a new happy world in his poem which is nearly the same with the nightingale’s world.The last two sentences in the sixth section express his pity of can’t hear the beautiful voice in his world, and Keats’ contractory mind appears again.The seventh section is the transition of his coming back to the reality from his imagination. He realizes that nothing can live forever in the world. But ninghtingale’s voice can comfort the people who are sufferring misery in the world. The two literary quotations—the Ruth and the half-times hath—show that what he needs is being saved. But the fact that he is still live and suffer misery break his fancy and bring him back to reality just like what he said in his poem that “Forlorn! The very word is like a bell.To toll me back from thee to mysole self!” The Forlorn in the last section has double meanings one of which is being abandoned and the other one of which is loneliness. In this section,Keats can not distinguish weather it is a vision or a walking dream even after the ninghtingale’s voice has disappeared, which also reflect his unsure and doublful attitude to the reality.Old to a Ninghtingale deeply reflects Keats’ difficult position of failling to seek beauty, the sence of distressed lies in every word,and makes us think without ending.字数：814个

TO AUTUMN 秋颂

by John Keats

(查良铮译)

SEASON of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss’d cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o’er-brimm’d their clammy cells.

雾气洋溢、果实圆熟的秋，

你和成熟的太阳成为友伴;

你们密谋用累累的珠球，

缀满茅屋檐下的葡萄藤蔓;

使屋前的老树背负着苹果，

让熟味透进果实的心中，

使葫芦胀大，鼓起了榛子壳，

好塞进甜核;又为了蜜蜂

一次一次开放过迟的花朵，

使它们以为日子将永远暖和，

因为夏季早填满它们的粘巢。

Who hasth not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind;

Or on a half-reap’d furrow sound asleep.

Drowsed with the fumes of poppies, while thy hook

Spares the next swath and all its twined flowers:

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cyder-press, with patient look,

Thou watchest the last oozings hours by hours.

谁不经常看见你伴着谷仓?

在田野里也可以把你找到，

弥有时随意坐在打麦场上，

让发丝随着簸谷的风轻飘;

有时候，为罂粟花香所沉迷，

你倒卧在收割一半的田垄，

让镰刀歇在下一畦的花旁;

或者.像拾穗人越过小溪，

你昂首背着谷袋，投下倒影，

或者就在榨果架下坐几点钟，

你耐心地瞧着徐徐滴下的酒浆。

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,-

While barred clouds bloom the soft-dying day,

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river shallows, borne aloft

Or sinking as the light wind lives or dies;

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The red-breast whistles from a garden-croft;

And gathering swallows twitter in the skies.

啊.春日的歌哪里去了?但不要

想这些吧，你也有你的音乐——

当波状的云把将逝的一天映照，

以胭红抹上残梗散碎的田野，

这时啊，河柳下的一群小飞虫

就同奏哀音，它们忽而飞高，

忽而下落，随着微风的起灭;

篱下的蟋蟀在歌唱，在园中

红胸的知更鸟就群起呼哨;

而群羊在山圈里高声默默咩叫;

丛飞的燕子在天空呢喃不歇。

Ode to Psyche 赛吉颂

O Goddess! Hear these tuneless numbers, wrung

女神呵!请听这些不成调的韵律——

By sweet enforcement and remembrance dear,

由倾心的执着和亲切的回忆所促成——

And pardon that thy secrets should be sung

请原谅，这诗句唱出了你的秘密，

Even into thine own soft-conched ear:

直诉向你那柔软的海螺状耳轮：

Surely I dreamt today, or did I see

无疑我今天曾梦见——我是否目睹

The winged Psyche with awakened eyes?

长着翅膀、睁着眼睛的赛吉?

I wandered in a forest thoughtlessly,

我在树林里无思无虑地漫步，

And, on the sudden, fainting with surprise,

突然，我竟惊奇得目眩神迷，

Saw two fair creatures, couched side by side

我见到两个美丽的精灵相依偎

In deepest grass, beneath the whispering roof

在深草丛里，上面有絮语的树叶

Of leaves and trembled blossoms, where there ran

和轻颤的鲜花荫庇，溪水流淌

A brooklet, scarce espied:

在其间，无人偷窥：

'Mid hushed, cool-rooted flowers, fragrant-eyed,

周围是宁静的、清凉的、芬芳的嫩蕊，

Blue, silver-white and budded Tyrian,

蓝色花、银色花，紫色的花苞待放，

They lay calm-breathing on the bedded grass;

他们躺卧在绿茵上，呼吸得安详;

Their arms embraced, and their pinions too;

他们的手臂拥抱，翅膀交叠;

Their lips touched not, but had not bade adieu,

他们的嘴唇没接触，也没告别，

As if disjoined by soft-handed slumber,

仿佛被睡眠的柔腕分开一时，

And ready still past kisses to outnumber

准备醒后再继续亲吻无数次

At tender eye-dawn of aurorean love:

在欢爱的黎明睁眼来到的时刻：

The winged boy I knew;

带翅的男孩我熟悉;

But who wast thou, O happy, happy dove?

可你是谁呀，幸福的、幸福的小鸽?

His Psyche true!

他的好赛吉!

O latest born and loveliest vision far

啊，出生在最后而秀美超群的形象

Of all Olympus' faded hierarchy!

来自奥林波斯山暗淡的神族!

Fairer than Phoebe's sapphire-regioned star,

蓝宝石一般的福柏减却清芒，

Or Vesper, amorous glow-worm of the sky;

天边威斯佩多情的萤光比输;

Fairer than these, though temple thou hast none,

你比他们美，虽然你没有神庙，

Nor altar heaped with flowers;

没堆满供花的祭坛;

Nor virgin-choir to make delicious moan

也没童男女唱诗班等午夜来到

Upon the midnight hours:

便唱出哀婉的咏叹;

No voice, no lute, no pipe, no incense sweet

没声音，没诗琴，没风管，没香烟浓烈

From chain-swung censer teeming;

从金链悬挂的香炉播散;

No shrine, no grove, no oracle, no heat

没神龛，没圣林，没神谕，没先知狂热，

Of pale-mouthed prophet dreaming.

嘴唇苍白，沉迷于梦幻。

O brightest! Though too late for antique vows,

啊，至美者!你虽没赶上古代的誓约，

Too, too late for the fond believing lyre,

更没听到善男信女的祝歌，

When holy were the haunted forest boughs,

可神灵出没的树林庄严圣洁，

Holy the air, the water and the fire;

空气、流水、火焰纯净谐和;

Yet even in these days so far retired

即使在那些远古的日子里，远离开

From happy pieties, thy lucent fans,

敬神的虔诚，你那发光的翅膀

Fluttering among the faint Olympians,

仍然在失色的诸神间振羽飞翔，

I see, and sing, by my own eyes inspired.

我两眼有幸见到了，我歌唱起来。

So let me be thy choir and make a moan

就让我做你的唱诗班吧，等午夜来到

Upon the midnight hours—

便唱出哀婉的咏叹!

Thy voice, thy lute, thy pipe, thy incense sweet

做你的声音、诗琴、风管、香烟浓烈，

From swinged censer teeming;

从悬空摆动的香炉播散;

Thy shrine, thy grove, thy oracle, thy heat

做你的神龛、圣林、神谕、先知狂热，

Of pale-mouthed prophet dreaming.

嘴唇苍白，沉迷于梦幻。

Yes, I will be thy priest, and build a fane

是的，我要做你的祭司，在我心中

In some untrodden region of my mind,

未经践踏的地方为你建庙堂，

Where branched thoughts, new grown with pleasant pain,

有沉思如树枝长出，既快乐，又苦痛，

Instead of pines shall murmur in the wind:

代替了松树在风中沙沙作响：

Far, far around shall those dark-clustered trees

还有绿阴浓深的杂树大片

Fledge the wild-ridged mountains steep by steep;

覆盖着悬崖峭壁，野岭荒山。

And there by zephyrs, streams, and birds, and bees,

安卧苍苔的林仙在轻风、溪涧、

The moss-lain Dryads shall be lulled to sleep;

小鸟、蜜蜂的歌声里安然入眠;

And in the midst of this wide quietness

在这寂静的广阔领域的中央，

A rosy sanctuary will I dress

我要整修出一座玫瑰色的圣堂，

With the wreathed trellis of a working brain,

它将有花环形构架如思索的人脑，

With buds, and bells, and stars without a name,

点缀着花蕾、铃铛、无名的星斗

With all the gardener Fancy e'er could feign,

和“幻想”这园丁构思的一切奇妙，

Who breeding flowers will never breed the same:

雷同的花朵决不会出自他手：

And there shall be for thee all soft delight

将为你准备冥想能赢得的一切

That shadowy thought can win,

温馨柔和的愉悦欢快，

A bright torch, and a casement ope at night,

一支火炬，一扇窗敞开在深夜，

To let the warm Love in!

好让热情的爱神进来!

钢琴曲夜莺毕业论文

《夜莺》是一首充满中国古典音乐情调的现代电声音乐作品，它的特点是乐曲应用中国的竹笛模拟夜莺的声音。笛子的悠扬，清越，小提琴的婉转，飞扬，大提琴的低沉，肃穆，还有钢琴和电声乐队的雄浑，壮丽，最后还有人声的加入，充分显示了乐曲的独特魅力。淡淡的弦乐远远的响着，中国竹笛开始吹出柔美悠远的旋律。月夜下，空旷的原野中，夜莺开始歌唱。这一段，以竹笛模仿夜莺的鸣叫为终了，然后清朗的钢琴加入进来，略带迟疑，小心翼翼的奏响。如同一个深夜未眠的人，远远听见夜莺的歌唱，开始去寻访，又怕扰飞了夜莺。竹笛在钢琴奏完一段后再次响起。如同夜莺在听到些微的动静后，沉寂了片刻，又开始歌唱。钢琴间略的合奏，慢慢的，弦乐也加入进来，和钢琴汇合成了一道洪流，而竹笛的声音仍是清晰明亮的，象一只燕子飞舞在一条河流之上。如同夜莺的歌唱吸引了越来越多的人来倾听欣赏，发出感叹和赞美，而夜莺唱得越发好听了。乐曲从高亢嘹亮的巨响转入清空恬淡的寂静，如同从一条奔涌的河流来到了平静的湖面，我们的心一下子沉静了下来，来到了最华彩最动情的段落。明亮甜美的小提琴，深沉浑厚的大提琴，彼此开始眉目传情，互通款曲，音色和合奏都层次分明，炉火纯青，鸣珠奏玉般的钢琴漫不经心的敲打着，竹笛在遥远的地方轻轻的唱和。提琴，钢琴，竹笛配合的亲密无间。如同人们在聆听了夜莺的歌唱后，内心涌起了非常美丽非常动情的共鸣，提琴的弦，正如我们的心弦。曲子又从静美转向洪流，所有的乐器都加入进来，纵情的歌唱。我们发现奔涌的洪流中有人的合唱声，灼热嘹亮，人是造物主最精妙的设计，人的声带也是世间最好的乐器。贝多芬在他最伟大的第九交响乐中，除了近百人的交响乐团外，还加了一个很大的合唱团，因为只有人声，才能表达发自内心的巨大喜悦。雅尼也喜欢拿人声当乐器来用，或赞叹，或歌吟，或是呼喊，经常没有什么词句，只是单纯的美妙的人声。乐曲在结尾的时候反而越来越高，在一声轰然巨响中戛然而止，如同千百个烟花同时绽放注意：《夜莺Nightingale》和《夜间的鸟Nightbird》是两首乐曲

著名的乐曲《夜莺》是希腊作曲家雅尼作的；杨诚俊悲剧电影《破舱》的主题音乐。歌曲来源于安徒生创作的童话，在这个童话中，一只不起眼的夜莺的歌声让中国皇帝为之落泪，然而失去了自由的夜莺不能自由的歌唱，于是悄悄地离开了。当皇帝重病的时候，夜莺回来为皇帝歌唱。（西方文学里的“夜莺”意象，是悲伤的象征，相当于中国文学里的杜鹃。乐曲创作背景如下：雅尼一直喜欢夜莺。来到中国后，他一直想用一种乐器来模仿夜莺的声音，西方乐器却没这个功能，雅尼来到中国后，找到了一种叫"竹笛”的中国民间乐器，它的声音与夜莺简直无差别，在紫禁城的音乐会中，一首竹笛主奏的《夜莺Nightingale》感染了亿万人。《夜莺》是专门为中国人作的，符合东方人追求乐曲旋律和意境的审美特点。1997年雅尼创作完成《夜莺》后曾这样描述他的创作背景：“我时常聆听自然之声，因为我能从中学到平衡的法则。记得几年前（大约1994年），我在意大利威尼斯的时候，每当日落时分，这只小鸟（夜莺）就会来到我的窗前唱歌。它的歌声美妙如丝，令人陶醉，因为这鸟的歌声包含这么多词汇，节奏和旋律，我为我们之间无法用对方的语言交流而深感遗憾。直到几年后，当有人向我介绍中国笛子的时候，我才发现中国笛子与夜莺鸟的歌声在音调上有许多共同的地方，特别是在高音区。所以我决定为中国笛子谱写一首曲子。我想今天这只鸟如果能听懂我们的音乐语言并参加我们的音乐会，它一定会像这样和我们一起歌唱。”

格林卡的《夜莺》创作背景：钢琴变奏曲《夜莺》主题旋律根据俄罗斯民间音调写成，朴素生动。四个变奏中，主题旋律以不同面目在不同声部出现，伴奏织体逐渐加密，整个乐曲情绪明朗欢快，是典型的俄罗斯抒情浪漫曲。夜莺是俄罗斯作曲家格林卡创作的，李斯特的是一个改编版本。格林卡在1833年根据俄罗斯歌曲作家阿拉比耶夫（Aliabiev）的歌曲《夜莺》创作的。主题旋律根据俄罗斯民间音调写成，朴素生动。四个变奏中，主题旋律以不同面目在不同声部出现。引子宽广响亮，从强到弱，结束在三级和弦上。主题为二段体，A：行板，优美纯朴；B：稍快，较活泼。同样结束于三级和弦。第一变奏，A1开始主题在低声部，高声部犹如夜莺啼鸣。继而主题移到高声部。B1也结束于三级和弦；第二变奏，A2过段，头两句上方声部的六连音模仿夜莺啼鸣，后两句如歌的主题移至低声部。上方声部的三连音音型为B2作了准备。B2为12/16拍，速度稍快，主题在上方声部；第三变奏，转入同名大调，回到2/4拍，A3如歌的旋律好比对唱。B3主题在上方声部模仿夜莺啼鸣；第四变奏，又转回原调，6/8拍。A4过段，主题在高低声部交替出现，坚定有力。尾声，采用了主题的素材，由小调转至同名大调后，又回到原调。逐渐增速至极为活泼地，最后以丰满响亮的和弦结束。

夜莺与玫瑰论文文献

玫瑰长久以来就象征着美丽和爱情。古希腊和古罗马民族用玫瑰象征他们的爱神阿芙罗狄蒂(en:Aphrodite Aphrodite)、维纳斯(en:Venus Venus)。玫瑰在希腊神话中是宙斯所创造的杰作，用来向诸神夸耀自己的能力。英国有名的Lancaster与York的玫瑰战争(1455-1485)，也是各以红、白玫瑰各为象征。最后以亨利七世与伊丽莎白通婚收场，为了纪念英格兰以玫瑰为国花，并把皇室徽章改为红白玫瑰。美国、英国、西班牙、卢森堡、保加利亚的国花。美国国花经百年争论，于1986年9月23日国会众议院通过玫瑰为国花。他们认为玫瑰是爱情、和平、友谊、勇气和献身精神的化身。美国人还认为红色月季花象征爱、爱情和勇气。淡粉色传递赞同或赞美的信息，粉色代表优雅和高贵的风度，深粉色表示感谢，白色象征纯洁，黄色象征喜庆和快乐。保加利亚是誉满天下的“玫瑰之国”，每年六月初的第一个星期日为传统民族节日玫瑰节，人们到玫瑰谷举行盛大的庆祝活动。他们认为绚丽、芬芳、雅洁的玫瑰花象征着保加利亚人民的勤劳、智慧和酷爱大自然的精神。玫瑰遍身芒刺是保加利亚人民在奥斯曼帝国、德国法西斯面前英勇不屈与坚韧不拔的化身。爱情、和平、友谊、勇气和献身精神的化身在希腊神话中，玫瑰既是美神的化身，又溶进了爱神的鲜血，它集爱与美于一身，这在花的国度里，可是相当幸运的了。可以说，在世界范围内，玫瑰是用来表达爱情的通用语言。俄国俄国皇帝尼古拉一世于1825年继位后，派了一名将军护送母后玛丽亚·费奥多罗夫娜回皇家离宫皇村（即今普希金城）。事毕，将军在附近散步，见一名持枪哨兵肃立路旁，可是在他守卫的地方却空无一物，将军甚感诧异．他问遍了所有的官员，但谁也说不清楚，只是说，那是宫廷礼仪的规定．后来他在圣彼得堡得知，皇家花园这个岗哨设立已经有50年历史。设岗的根据是一纸命令“距东厢500步处设一岗哨”。由于将军每次来皇村都要去看一下这个神秘的岗哨，这样就使廷臣甚至于母后本人也感兴趣了。设岗的秘密终于是水落石出。原来最早命令设岗的是女皇叶卡捷琳娜二世。当年女皇经常在花园里散步，一天，她发现一株盛开的玫瑰，美艳动人，就想留给自己的一个孙子，因此她下了一道命令，在花旁设岗看守，以免给被别人摘去，可是翌日，她把此事忘得一干二净，而岗哨从此就年复一年地保留下来。女皇死后，玫瑰花丛当然早就枯萎无存，但哨兵却在原地不断的轮换着。早在俄罗斯花园中出现玫瑰花之前，世界各地便有许多关于玫瑰的绚烂多彩。美丽动人的传说。印度古印度童话中说，玫瑰在印度享有殊荣，甚至法律中竟明文规定：凡向皇上呈献玫瑰者，有权向皇上恳请自己想要获得的一切。当时最高种姓婆罗门就用玫瑰来装饰自己的庙宇，在祭祀主神的大道上撒上鲜艳的玫瑰花。在皇帝寝宫的饰物中也少不了玫瑰的光彩，因而玫瑰是最受欢迎的贡花。婆罗门教和印度教中司美和幸福的女神，公认的绝代佳人拉克什米，据说就是由108片大花瓣、1008片小花瓣构成的玫瑰花蕾所生。吠陀教中的太阳神、宇宙的主宰毗湿奴见到了这位迷人的美女，立即以亲吻使之苏醒而成了自己的妻子。伊朗古代伊朗有关玫瑰的传说犹如迷雾般笼罩着整个东方，由于古伊朗诗人对娇美的玫瑰卷帙浩繁的歌颂，古伊朗成了生长繁衍的乐土。波斯的一位诗人说，玫瑰是真主给人间的恩赐。有一次所有的植物都来请求真主任命一个新的主宰来替代睡莲，因为睡莲一到晚间就忘了自己作为主宰的职责。真主应植物的请求，委派了身带自卫武器的白玫瑰为植物的女王。有些白玫瑰花的外层花瓣还带有粉红色调，这在波斯的传说中也由一则美丽的故事。据说夜莺对新上任的女花王一见钟情，忘情的紧抱娇美的女花王，尖刺一下子刺入了他的心脏，殷红的鲜血从他的胸中涌出，染红了玫瑰花瓣，因此白玫瑰的外层花瓣至今仍保留着粉红色调。波斯人对玫瑰花的喜爱和景仰也感染了土耳其人，更确切的说，感染了所有的穆斯林。埃及据说公元前41年，美艳的埃及女王克娄巴特拉借助玫瑰花瓣神奇的力量征服了多疑的罗马统帅马库斯.安东尼。事情的经过是这样的：在罗马人的习俗中，宴会上将玫瑰花环上的小花瓣撒入酒内，饮下这种酒就表示自己对撒花瓣的人深表敬意。安东尼对克娄巴特拉怀有戒心，担心她背信弃义，因此让侍从先尝遍席上所有的美酒佳肴。当时，女王命令在玫瑰花环上撒上剧毒汁，安东尼在酣醉中，对女王的爱情山盟海誓，随即把她花环的花瓣撒入酒杯中，当他举杯欲饮时，女王一把夺下了他的酒杯，并命令即将被处死的俘虏饮下安东尼的酒，俘虏当场被毒死。克娄巴特拉深情的对安东尼说：“亲爱的，你瞧，如果没有你，我能够活下去，我是可以轻而易举地置你于死地的……”安东尼被征服了。希腊希腊，这个古代世界文明的中心，也把玫瑰奉为上帝的恩赐。在希腊诗人的笔下，玫瑰的出现渲染着美丽的神话色彩。据诗人们说，玫瑰是司爱与美的女神阿佛洛狄忒（即罗马神话中的维纳斯）从海水泡沫中诞生时，她身上雪白的泡沫变成的。众神女看到女神身上的玫瑰花，美艳不逊于女神，为之惊羡不已，纷纷撒以使人长生不老的琼浆。琼浆使玫瑰获得芳香，但并没有因此而永不凋萎，这是由于神祗中有人心怀嫉妒的结果。红玫瑰的由来，希腊神话中有一则缠绵悱恻的传说。阿佛洛狄忒的情人、主宰自然界之神、美男子阿多尼斯打猎时，不幸被野猪所伤，女神闻讯后丧魂失魄地向阿多尼斯遇难处奔去，途中玫瑰花刺刺伤了她的双脚。鲜血滴在花上，于是白玫瑰变成了红玫瑰。玫瑰在拉丁语系中的读音为“洛斯”。此名的由来在罗马神话中有这样的传说：花神佛洛拉对爱神阿摩尔并没有感情，而且长期以来躲着他。一天，狡猾的爱神用爱情之箭射中了她，从此佛洛拉为之倾心，可是阿摩尔喜新厌旧，抛弃了佛洛拉。女神失望之余决心自己创造一种会哭会笑，集悲喜于一身的花来自慰。女神看到自己神奇的造物，惊喜得不禁喊出心爱的人的名字“厄洛斯”（这是希腊人对爱神的称呼）。但由于生性腼腆，心情激动，她讷讷喊成了“洛斯”，把“厄”喊漏了，从此这种花就得名“洛斯”（英语为“ROSE”）。除了神话中绚丽多彩的传说外，古希腊人还认为玫瑰花具有实用价值。据说，公元前5世纪，雅典的著名艺伎、聪慧出众、资色动人的阿帕西娅童年时，脸颊上长了个疣子，虽经名医治疗，也未见效。疣子越来越毁坏她美丽的容貌，使她痛不欲生。有幸的是，有一天她梦见阿佛洛狄忒的一只心爱的鸽子飞来，建议她搜集女神雕像前额上枯萎的花瓣（希腊人通常给女神戴上玫瑰花环），做成软膏，敷帖到疣子上就颗治愈，果然，帕西娅照办后，成了希腊最艳丽的美人和著名的雅典战略家、统帅伯里克利的妻子。意大利在希腊，玫瑰在神祗中是爱和美的象征，而在人间则用来表达人类的欢乐和悲哀。当玫瑰在罗马生根繁衍后又获得了新的功能和象征。共和国时期，玫瑰体现崇高的道德，对功勋的奖励；到了罗马衰败时期，它变成了最恶的象征是使豪门显贵倾家荡产的奢侈品。当时要在海面上撒满鲜花。在赫利奥加巴拉皇帝的一次盛宴上，为了使暴君得到最大的满足，从天花板上撒下玫瑰花瓣，无数花瓣纷纷飘落到赴宴者身上，有不少宾客竟被深埋花中以窒息身亡。甚至产生了一个特殊的行业：玫瑰花环编制者；还开设了独一无二的玫瑰交易所，有专职从事玫瑰交易的经纪人。罗马人对待玫瑰的态度影响了西欧早期的基督徒们，他们起先把玫瑰看做是淫乱和毁灭的象征。但随着时光的流逝，玫瑰终于以其美丽和芬芳改变了人们的成见。几百年后，神父们忘了罗马帝国衰败时玫瑰所起的作用，宣布玫瑰为天国之花。一篇有关耶稣受难的传说中记述了苔藓玫瑰的故事。当耶稣被钉在十字架上时，鲜血染红了十字架。小天使们把血搜集到金樽中，有几滴鲜血滴到苔藓上。苔藓立即吸收了这些血滴，以免救世主的血被亵渎。艳丽的苔藓玫瑰今从此而来到人间，使人们永远铭记救世主为人间罪孽而流尽了自己的鲜血。中国这是个发生在距今三千五百四十四年前的古老东方国度中国的一个故事，佛祖的众多徒弟中有着这样的一对男女…… 男的性格热情；正如名字一样：爱人！女的性格温柔，也如名字一般：情人！一天，他们一起研究佛理的时候；在一个小山中发现了两朵含苞待放的鲜花，因为从来没见过这样的花也不知道它叫什么名字；他们都很好奇。男的想去摘来看看，一不小心被鲜花的刺刺到了，鲜红的血即刻流了出来；女的见了很心痛的拿起他的手，不经意地流下一滴眼泪，与男的手上的那一滴血同时掉下，分别掉在那两朵鲜花中…… 他们都是佛教徒；他们不可能在一起所以他们微笑的分开了；男的走向天上；女的走下地底！再回来他和她都有了更好的名字……男的把名字变为：月老，他希望女的不要记得他，他的工作却是让一对对男女记得彼此；用他手中的那一条小小的红线；可是又有多少人知道那一条条小小的红线其实是他的一滴滴鲜红的血……女的把名字变为：孟婆，她希望男的忘记她，而她的工作比较幸运是熬汤，就是俗称的“孟婆汤”用她的一碗碗“孟婆汤”让一对对男女忘记彼此，可是又有多少人知道那一碗碗“孟婆汤”其实是她一滴滴的眼泪…… 当爱人和情人在一起时，造就了爱情。爱情一定要有鲜花，所以那两朵花都是，虽然他们离开后开出来的花朵，一朵是代表热情的爱人的红色，一朵是代表温柔的情人的白色，但它们有同一个名字——玫瑰花。

人都听说过的童话故事，并且简短的童话故事

1、《快乐王子》

《快乐王子》是英国唯美主义作家奥斯卡·王尔德创作的童话作品，收录于《快乐王子及其他故事》。故事讲述了生前不知忧愁为何物的快乐王子死后目睹种种人世间的苦难，和燕子牺牲自我帮助他人的故事。

2、《夜莺与玫瑰》

《夜莺与玫瑰》是英国唯美主义作家王尔德创作的童话作品之一，首次出版于1888年，收录于《快乐王子及其他故事》。故事以一只夜莺受到大学生的爱情感动，培育玫瑰为主线。作品赞扬了爱情的可贵，鞭挞了世间的拜金主义。

3、《自私的巨人》

《自私的巨人》是英国唯美主义作家奥斯卡·王尔德创作的童话作品，讲述了自私的巨人从自私变得慷慨，最终在上帝的指引下走入了天堂故事温馨感人。该篇是王尔德创作的童话作品中最短的一篇，收录于童话集《快乐王子及其他故事》。

4、《忠实的朋友》

《忠实的朋友》是英国作家奥斯卡·王尔德创作的童话，收录于童话集《快乐王子及其他故事》中，首次出版于1888年。

《忠实的朋友》讲述了善良的小汉斯为了所谓的“朋友”磨坊主无私地付出，却没有得到相应的回报，最终还因为自私的磨坊主而淹死在水塘里。这篇童话有着对纯真忠诚的颂扬，对弱小善良的悲悯，对虚伪自私的否定，对贪婪吝啬的讽刺。

5、《西班牙公主的生日》

《西班牙公主的生日》是英国唯美主义作家王尔德创作的童话集《石榴之家》中的一篇童话。《西班牙公主的生日》描写的是西班牙公主十二岁生日宴会上为公主表演舞蹈的小矮人由于在镜子中看到自己的丑陋并意识到小公主原来是在拿他的丑陋取乐时心碎而死的故事。

参考资料来源：百度百科-西班牙公主的生日

参考资料来源：百度百科-忠实的朋友

参考资料来源：百度百科-自私的巨人

参考资料来源：百度百科-夜莺与玫瑰

参考资料来源：百度百科-快乐王子

《快乐王子和其他故事》

收录童话：

《快乐王子（The happy prince）》

《夜莺与玫瑰（Thenightingale and the rose）》

《自私的巨人（The selfish Giant）》

《忠实的朋友（The devoted friend）》

《了不起的火箭（The remarkable rocket）》

童话集

1888年

《石榴屋/石榴之家》

收录童话：

《少年国王（The young king）》

《西班牙公主的生日（The birthday of the infanta）》

《渔人和他的灵魂（The fisherman and his soul）》

《星孩（The star-child）》

1891年

奥斯卡·王尔德（英国作家、诗人、散文家）

奥斯卡·王尔德（Oscar Wilde，1854年10月16日—1900年11月30日），出生于爱尔兰都柏林，19世纪英国（准确来讲是爱尔兰，但是当时由英国统治）最伟大的作家与艺术家之一，以其剧作、诗歌、童话和小说闻名，唯美主义代表人物，19世纪80年代美学运动的主力和90年代颓废派运动的先驱。

音乐系毕业论文李斯特夜莺赏析

格林卡那个是他自己改成钢琴变奏曲的，要比李斯特的简单。个人认为音乐性和趣味性更高。

雅尼：《夜莺》听后感雅尼的《夜莺》想必大家都是很熟悉的，有人评论说这首曲子是一首忧伤的曲子，听后泪流满面，我却感觉这首曲子无论如何应该和忧伤不沾边儿，同样的一首曲子，听后的感受竟然如此不同，我不想说孰是孰非，在此我只想谈一谈我自己听这首曲子的一点粗浅的理解和感受。那是夏天的一个中午，为了写一篇东西在网上搜寻资料，无意间就碰到了这首曲子，打开来试听，一听便喜欢，于是就下载了存到硬盘里了，工作之余常常打开来听，特别当心情不快，或者感觉疲惫的时候，打开来听一回儿，心中的郁闷便会自然消散，疲惫的神经也得到了缓解，感觉这是一首难得的好曲子。这首曲子我已听了无数遍了，并不因稔熟而感到厌倦，听来依然是那么的清新可喜。我觉得这首曲子既高雅脱俗，又通俗易懂，既有古典韵味，又有刚健清朗的现代之风，清亮如潺潺流水，明媚如春日暖阳，令你血液升温，情绪激扬，催人奋进。总的来说，它带给我的决不应该是忧伤，而是一种愉悦、欢快、清澈、明亮的好心情。让我们打开windowsMediaPlayer，带上耳机，再一次聆听这首曲子吧！舒缓的弦乐由远及近渐起，西洋箫开始从容地奏出夜莺的歌声，钢琴与弦乐简略的合奏、时远时近的西洋箫模仿夜莺的鸣叫，共同合奏出一段柔美、悠远的旋律。微闭上双眼，用心聆听，那情景，像月夜下漫步在林间小路，听夜莺时断时续的歌唱。西洋箫模仿夜莺的叫声方才终了，钢琴再次加入，迟迟疑疑地奏响。远处复又传来了夜莺的歌声，仔细聆听，意欲寻找它的方位，轻手轻脚地切近，又怕惊扰了夜莺。西洋箫在钢琴奏完一段后再次响起，如同夜莺在听到些微的响动后，沉寂片刻，继而又开始歌唱，而且这次唱得更加嘹亮，动听。钢琴间略有致的合奏，慢慢的，弦乐也加入进来，和钢琴汇合成了一道洪流，清晰明亮的西洋箫声，时断时续，如夜莺在悠然地歌唱。夜莺的歌声似乎引来了更多的漫步者，有人还发出赞美和感叹。乐曲从高亢嘹亮的峰端突然转入清幽的寂谷，夜莺暂时停止了歌唱，人们屏息静听，心也一下子沉了下来，突然，最华彩的乐章奏响，明亮甜美的小提琴，深沉浑厚的大提琴，各种音色的合奏，既和谐又层次分明。钢琴漫不经心扣动心门，夜莺在远处动情地吟唱，提琴，钢琴，西洋箫疏密有致地配合，让你的心湖涌动起涟漪，心门被打开，心弦被拨动，音乐与心弦在胸腔里发出阵阵共鸣。曲子从恬静转向激越，所有的乐器都加入进来，如滚滚洪流，奔涌而来，在奔涌的洪流中似又加入了人声，形成了人与自然的大合唱。嘹亮的和声，激扬的旋律，将乐章推向高潮。乐曲在一声轰然巨响中嘎然而止，如同千百个烟花同时绽放，让你在美的震撼中悚然，片刻，才发出会心的微笑。雅尼不愧为是用音乐讲述生活的人，他既可以用乐符营造优雅恬适的氛围引领你陶醉其间，又可以用电声乐器的强烈的节奏和乐感带动你的心灵产生共振，让你情绪激扬，热血沸腾，产生一种振奋向上的感觉。雅尼（Yanni）是NEWAGE音乐的代表人物之一，据说他并没有受过正规的音乐训练，但却有着超常的音乐天赋，（仅凭记忆准确无误地记下听过的任何音乐中的每一个音符）曾从事广告片和电视片制作的配乐，他集创作，电子合成及钢琴演奏于一身，在美国NEWAGE音乐界是引领时代潮流的著名音乐家。这首在中国广为传唱的《夜莺》是雅尼专为在中国举办“紫禁城个人作品音乐会”而谱写的，里面融进了中国笛子的曲调，虽然用西洋箫演奏，但也极具中国民乐的神韵。聆听这首中西合璧的曲子，不由得会让你想起安徒生的童话——《中国夜莺》，雅尼让飞走的《夜莺》又一次飞回了紫禁城，继安徒生之后，雅尼用优美的乐曲再次向世人讲述了关于《中国夜莺》这一美丽动人的故事。雅尼的〈夜莺〉是NewAge音乐的一个代表曲目之一。NewAge音乐具有时代感，贴近自然，贴近生活，它既不像交响乐那样高高在上，又不像流行音乐那么平庸浮躁，它既有古典音乐的风骨气派；又有流行音乐的通俗平易的特点，它很容易走进生活，和我们亲近，它是真正的平民音乐，大众音乐。听音乐，需要心灵的参与，而且欣赏的过程又是一个再造的过程，同一首曲子，不同的人，不同的心境，会产生不同的效果。对于音乐的理解，见仁见智吧！音乐是属于每一个人的，当你静心聆听时，它又只属于你自己，只要用心体味，每个人都会从中品出属于自己的东西，体味出属于自己的那份由衷的心灵感动。

西风颂英语毕业论文

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The vast night sky, in western poetry has countless stars shine, shine.The life course only thirty spring and autumn period of British poet Shelley has past tianyu resplendent in a meteor, glowing with singular and dazzling brilliance.We hear of his poetry is more like the song of life, not always singing poet immortal life, echoes in eternity of time and space.Shelley was born in a hereditary noble family, since childhood to the families of the conservative atmosphere and the kind of gentleman poise filled with disgust affectation.In school, he accepted the eighteenth century enlightenment thought, and the utopian socialism of early British trend more give him with profound effect.He once said: I will not with selfishness, company image, curse people together, and I will be attacked.I swear will pour out my whole life contribute to worship of beauty.Shelley's young life is such a spirit of rebellion and struggle at the beginning, from his ode to the west wind ", the first thing we feel is a peaceful soul, one erases all the destruction of the ugly forces:It should be said that Shelley is conditional enjoy praised the secular life, he became his family as the eldest son of the rank of nobility and property of the inevitable successor, boyhood into Eaton his noble school, youth he studied at Oxford University, he should follow the rules from nation, Ann keepeth his.However he lent his family expenses were all used to buy books, he was reluctant to sacrifice his spirit in the presence of the title and heritage.Shelley to s, Europe in the age of darkness, the reactionary forces gathered together and formed a "holy alliance", under the coercion of the bourgeois regime, the democratic and national revolution in the trough, the atmosphere of choking on the society at that time, more make the Shelley to burst all mental quality.So, in order to get rid of the bound and obstacles of mental anguish, Shelley with "west wind" such a male of powerful artistic image to an outlet his pent-up resentment in the heart.To say the "west wind" the precision wild, uninhibited, wanton destruction force is just what Shelley's desire to pursue life force, was his strong resistance by the currents of life.West wind comes, "all saddened discoloration, bravery afraid lose, shuddering litter" itself, it went through the cloud in the sky, the long wave short waves in the sea to rise, its hands to have swept away all things that do not belong to the autumn, the damage and refreshes fun, this energetic male pleasure forever, is just the most real Shelley's life consciousness.In the past, we in the understanding of Shelley's poem, the "west wind" of this kind of destructive power as more of a social revolutionary force, it is certainly not wrong.Because Shelley is a always pay attention to politics, the study of politics, and engaged in political poet, he is the dark social reality detest evil, to hate everything ugly power, he is going to change all the old, a strong desire to create a new society are reflected in many of his poems.And strong west wind, of course, can be interpreted as a symbol of revolutionary spirit.It is said that the the lu xun's "ode to west wind" is introduced to China, with particular emphasis on the poems that misfits and destruction of the time spirit, because the Chinese have many forms of bondage and obstacles of the society, need to "destruction" and "new".But like today we can't take only a single understanding of lu xun for a political "revolutionary fighters" (where lu xun once accept Nietzsche's "superman philosophy", according to Nietzsche's view, "destruction and power" is reflected as a "superman" life vigor), Shelley "west wind" this image also borrow xuan yu on such a philosophy of life: the power of life is to destroy.Here the "destruction" of both destroy meaning, has a profound connotation of struggles against, more.Actually in Shelley's life, always embodies the resistance and struggle, he was expelled from school, was expelled from the family, his against the tide with a civilian woman private life and his eldest daughter eloped with teacher Switzerland and his adventure, etc., all in the bowels of the character indicates that Shelley restless and struggle, and his tireless, YongWangZhiQian the pursuit of the spirit.Therefore shape through the "west wind" this great art image, we should see more was the "superman" Shelley himself as the embodiment of the life force. 终于打好了，打字好累。望接纳~

Analysis of Percy Shelley’s “Ode to the West Wind” In 'Ode to the West Wind,' Percy Bysshe Shelley tries to show his desire for transcendence, by explaining that his thoughts and ideas, like the 'winged seeds' are trapped. The West Wind acts as a force for change and forward movement in the human and natural world. Shelley sees winter not just as the last season of vegetation but as the last phase of life. Shelley observes the changing of the weather from autumn to winter and its effects on the environment. Shelley is trying to show that a man’s ideas can spread and live on beyond his lifetime by having the wind carry his 'dead thoughts' which through destruction, will lead to a rebirth in the imagination, and in the natural world. Shelley begins his poem by addressing the 'Wild West Wind'. He then introduces the theme of death and compares the dead leaves to 'ghosts'. The imagery of 'Pestilence-stricken multitudes' makes the reader aware that Shelley is addressing more than a pile of leaves. His claustrophobic mood is shown when he talks about the 'wintry bed' and 'The winged seeds, where they lie cold and low/ Each like a corpse within its grave, until/ Thine azure sister of the Spring shall blow'. In the first line, Shelley used the phrase 'winged seeds' which presents i . . . The 'closing night' is used also to mean the final night. The 'pumice' shows destruction and creation because when the volcano erupts it destroys. This acts as an introduction and a foreshadow of what is to come later. ' also helps the reader prepare for the climax which Shelley intended. It seems that it is only in his death that the 'Wild Spirit' could be lifted 'as a wave, a leaf, a cloud' to blow free in the 'Wild West Wind'. The 'pumice' is probably Shelley's best example of rebirth. As the rising action continues, Shelley talks about the 'Mediterranean' and its 'summer dreams'. Again, he uses soft sounding words to calm the reader into the same dream-like state of the Mediterranean. He then writes like a mourning song 'Of the dying year, to which this closing night/ Will be the dome of a vast sepulchre/ Vaulted with all they congregated might'. Percy sees his ‘dome’ as a volcano and when the 'dome' does 'burst,' it will act as a 'Destroyer and Preserver' and creator. In 'Ode to the West Wind,' Shelley uses the wind to represent driving change and a carrier for his ideas.

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.

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夜莺颂英文毕业论文