elegy是什么意思

elegy : a mournful poem; a lament for the dead中文意思是：悲歌, 哀歌, 挽歌

A requiem or a requiem mass is a Catholic church service in memory of someone who has recently died.2 N-COUNT oft in namesA requiem is a piece of music for singers and musicians that can be performed either as part of a requiem mass or as part of a concert. ...a performance of Verdi"s Requiem.more ..please go to English Di bar

下载一个刷车工具，然后打开游戏，再打开刷车工具，在一个对话框输入elegy，在按回车，回到游戏，你面前就有一个这样的车了

悲歌 内容 elegy 一种表现哀伤情绪的声乐曲或器乐曲。声乐曲如J.马斯内的《悲歌》(原为《复仇女神》的配剧音乐)，器乐曲如С.В.拉赫玛尼诺夫的钢琴曲（作品3之1）。 配图 所属分类 外国器乐 音乐体裁

悲歌 内容 elegy 一种表现哀伤情绪的声乐曲或器乐曲。声乐曲如J.马斯内的《悲歌》(原为《复仇女神》的配剧音乐)，器乐曲如С.В.拉赫玛尼诺夫的钢琴曲（作品3之1）。 配图 所属分类 外国器乐 音乐体裁

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悼亡诗（elegy or monody or mournful poem）也被译成挽歌，哀歌，是哀悼个人之死，群体之死，乃至整个人类之死的诗作。如弥尔顿的《黎西达斯》（Lyidas， 1637）是诗人对同学、密友爱德华·金（Edward King）的哀悼之作。金和弥尔顿就读于剑桥大学基督学院，两人都是诗人、学者和有事业心的好青年，是校方精心培养的牧师人才。金在1633年获得硕士学位后，继续在原校深造，准备做牧师，不幸的是，金于1637年夏天利用暑假去爱尔兰访友，在威尔斯港外船破人溺。弥尔顿非常伤心，写下了这首哀歌，其前面部分如下：Yet once more， O ye laurels， and once more，Ye myrtles brown， with ivy never sere，I come to pluck your berries harsh and crude，And with forced fingers rudeShatter your leaves before the mellowing year.Bitter constraint， and sad occasion dear，Compels me to disturb your season due；For Lycidas is dead， dead ere his prime，Young Lycidas， and hath not left his peer.翻译：我再一次来，月桂树啊，/ 棕色的番石榴和常青藤的绿叶啊，/ 在成熟之前，来强摘你们的果子，/ 我不得已伸出我这粗鲁的手指，/ 来震落你们这些嫩黄的叶子。/ 因为亲友的惨遇，痛苦的重压，/ 迫使我前来扰乱你正茂的年华；/ 黎西达斯死了，死于峥嵘岁月，/ 年轻的黎西达斯，从未离开过本家。(朱维之译)通过对亡友的哀悼，弥尔顿似乎成熟了许多，在结尾处暗示出要告别以前的诗歌创作风格，准备走向革命战斗的诗歌新草地： 　And now the sun had stretched out all the hills，And now was dropped into the western bay.At last he rose， and twitched his mantle blue：Tomorrow to fresh woods， and pastures new.翻译：夕阳西下，把群山的影子拉长，/ 射进西边深山中的凹地。/ 他终于站起来，抖抖蓝色的斗篷，/ 明天将奔向清鲜的树林和新的草地。（朱维之译）又如莎士比亚《无事生非》中的一段歌，这是阿拉冈亲王唐佩德娄的仆人巴尔萨泽的一段唱词。歌的特点是反复重复一些词句： 　Sigh no more， ladies， sigh no more，Men were deceivers ever；One foot in sea， and one on shore，To one thing constant never.Then sigh not so，But let them go，And be you blithe and bonny，Converting all your sounds of woeInto Hey nonny， nonny.Sing no more ditties， sing no moOf dumps so dull and heavy；The fraud of men was ever so，Since summer first was leavy.Then sigh not so，But let them go，And be you blithe and bonny，Converting all your sounds of woeInto hey nonny， nonny.（William Shakespeare：Much Ado About Nothing， Act II， Scene III）翻译：别再叹气，小姐们，别再叹气，/ 男人总是要欺骗；/ 一脚在海里，一脚在陆地，/ 永远不会专一不变。/ 那么就别长吁短叹，/ 让他们去胡搅乱干，/ 你自己要欢天喜地，/ 把你的哀声一变 / 而为“海侬呢，海侬呢。”//别再唱歌，别再唱 / 这样沉闷悲苦的歌；/ 男人的欺诈总是这样，/ 夏天叶子总是长得多。/ 那么就别长吁短叹，/ 让他们去胡搅乱干，/ 你自己要欢天喜地，/ 把你的哀声一变 / 而为“海侬呢，海侬呢。”(梁实秋译)

从中间里行间一起聚聚镀锌听工会。

“哀祭”和“悼亡”，就名目看，都是生者祭奠、悼念死者的文字，但从文体分类的角度看，“哀祭”属于文的范围，而“悼亡”则归于诗词。萧统《文选》有诔、哀、吊、祭四类，刘勰《文心雕龙》有《诔碑》、《哀吊》二章，都属于文类，大致都可以归入“哀祭”文一类。 　　哀祭文，一般是在祭奠时宣读，是古代的一种应用文，有大致相同的体式和结构。如题目，多是“祭××文”，少数也有用“吊××文”、“××哀辞”形式的，前者如贾谊《吊屈原赋》、李华《吊古战场文》，后者如韩愈《欧阳生哀辞》、方苞《宣左人哀辞》等；又如格式，多以“呜呼”“呜呼哀哉”开头，以“呜呼哀哉!尚飨”结束；祭文的语言，尽管可以不拘一格，但以四言韵语为常。少数碑志，不注重于死者事迹而重在抒情，也常常被视为哀祭文，如韩愈《柳子厚墓志铭》、欧阳修《泷冈阡表》、归有光《寒花葬志》等。“悼亡”则不同。“悼亡”不但多归诗词，还专指悼念亡去的妻妾而言，与文体分类无关而多约定俗成的成分在内。魏晋之前并无悼亡诗，西晋潘岳为悼念亡妻写《悼亡诗三首》，开悼亡诗题材之先，后世乃专以悼念亡去的妻子的诗词为“悼亡”。故悼亡诗词多为诗人即兴抒情之作，不像哀祭文有一定的格式。 　　朋友、亲旧去世，古人也有以诗相哭、以诗代祭文的，如李商隐《哭刘?》诗、张籍《祭退之》诗，这些诗习惯上并不被视作“悼亡”，亦与四言韵语的哀祭文不同。这类诗，可按萧统《文选》的标目，归于“哀伤”一类。??编辑本段悼亡诗词精选中国古代四大悼亡诗：　　1、江城子·乙卯正月二十日夜记梦 　　作者：苏轼 　　十年生死两茫茫，不思量，自难忘。千里孤坟，无处话凄凉。纵使相逢应不识，尘 　　满面，鬓如霜。 　　夜来幽梦忽还乡，小轩窗，正梳妆。相顾无言，唯有泪千行。料得年年断肠处，明 　　月夜，短松岗。 　　2、悼亡诗三首（其一） 　　作者：潘岳 　　荏苒冬春谢，寒暑忽流易。 　　之子归穷泉，重壤永幽隔。 　　私怀谁克从？淹留亦何益？ 　　僶俛恭朝命，回心反初役。 　　望庐思其人，入室想所历。 　　帏屏无仿佛，翰墨有余迹。 　　流芳未及歇，遗挂犹在壁。 　　怅恍如或存，回遑忡惊惕。 　　如彼翰林鸟，双栖一朝只。 　　如彼游川鱼，比目中路析。 　　春风缘隙来，晨溜承檐滴。 　　寝息何时忘？沈忧日盈积。 　　庶几有时衰，庄缶犹可击。 　　译文： 　　时光流逝，冬去春来，你去了碧落黄泉，层层的土壤将我们永远隔绝了。我自己也很矛盾到底走不走呢，想留在这里，但是你已经不在了，留在这里又有什么用呢?勉强遵从朝廷之命，转变念头，返回原来任职的地方.看着我们共同居住过的房子，走进去就想到了你以及和你的种种经历。可是，在罗帐、屏风之间再也见不到你的身影。可是墙上挂的你的笔墨遗迹，婉媚依旧，余香未歇。恍惚间，你还在我身边，直到看到你的遗像在墙上挂着，才想到你已经离开我了，心中怅然若失，还有点惊惧。我们就像翰林鸟一样，现在我却形单影只；如同在小河里一起遨游的比目鱼一样，你的中途离开让我再再难以前行。冬去春来，寒暑流易，你去世忽已逾周年。又是春风袭人之时，檐下晨溜点点滴滴，逗人哀思，难以入眠。深沉的忧愁，何时方能消却？如同三春细雨，绵绵无休，盈积心头。要想使哀思衰减，只有效法庄周敲击瓦盆了。 　　3、鹧鸪天·重过阊门万事非 　　作者：贺铸 　　重过阊门万事非，同来何事不同归？梧桐半死清霜后，头白鸳鸯失伴飞。 　　原上草，露初晞。旧栖新垅两依依。空床卧听南窗雨，谁复挑灯夜补衣？ 　　4、离思（其四） 　　作者：元稹 　　曾经沧海难为水， 　　除却巫山不是云。 　　取次花丛懒回顾， 　　半缘修道半缘君。其他：　　1、诗经·邶风·绿衣 　　绿兮衣兮，绿衣黄里。 　　心之忧矣，曷维其已！ 　　绿兮衣兮，绿衣黄裳。 　　心之忧矣，曷维其亡！ 　　绿兮丝兮，女所治兮。 　　我思古人，俾无訧兮！ 　　絺兮绤兮，凄其以风。 　　我思古人，实获我心！ 　　2、遣悲怀 　　作者：元稹 　　【其一】 　　谢公最小偏怜女，自嫁黔娄百事乖。 　　顾我无衣搜荩箧，泥他沽酒拨金钗。 　　野蔬充膳甘长藿，落叶添薪仰古槐。 　　今日俸钱过十万，与君营奠复营宅。 　　【其二】 　　昔日戏言身后意，今朝都到眼前来。 　　衣裳已施行看尽，针线犹存未忍开。 　　尚想旧情怜婢仆，也曾因梦送钱财。 　　诚知此恨人人有，贫贱夫妻百事哀。 　　【其三】 　　闲坐悲君亦自悲，百年都是几多时。 　　邓攸无子寻知命，潘岳悼亡犹费词。 　　同穴窅冥何所望，他生缘会更难期。 　　惟将终夜长开眼，报答平生未展眉。 　　3、为薛台悼亡 　　作者：白居易 　　半死梧桐老病身， 　　重泉一念一伤神。 　　手携稚子夜归院， 　　月冷空房不见人。 　　4、沈园二首 　　作者：陆游 　　【其一】 　　城上斜阳画角哀，沈园非复旧池台。 　　伤心桥下春波绿，曾是惊鸿照影来。 　　【其二】 　　梦断香消四十年，沈园柳老不吹绵。 　　此身行作稽山土，犹吊遗踪一泫然。 　　5、南乡子·为亡妇题照 　　作者：纳兰性德 　　泪咽却无声。只向从前悔薄情，凭仗丹青重省识，盈盈，一片伤心画不成。别语忒分明，午夜鹣鹣梦早醒。卿自早醒侬自梦，更更，泣尽风檐夜雨铃。 　　6、金缕曲·亡妇忌日有感 　　作者：纳兰性德 　　此恨何时已。滴空阶、寒更雨歇，葬花天气。三载悠悠魂梦杳，是梦久应醒矣。料也觉、人间无味。不及夜台尘土隔，冷清清、一片埋愁地。钗钿约，竟抛弃。 　　重泉若有双鱼寄。好知他、年来苦乐，与谁相倚。我自中宵成转侧，忍听湘弦重理。待结个、他生知已。还怕两人俱薄命，再缘悭、剩月零风里。清泪尽，纸灰起。 　　7、采桑子·当时错 　　作者：纳兰性德 　　而今才道当时错，心绪凄迷。红泪偷垂，满眼春风百事非。 　　情知此后来无计，强说欢期。一别如斯，落尽梨花月又西。 　　8、悼亡诗 　　作者：沈约 　　去秋三五月，今秋还照梁。今春兰蕙草，来春复吐芳。悲哉人道异，一谢永销亡。帘屏既毁撤，帷席更施张。游尘掩虚座，孤帐覆空床。万事无不尽，徒令存者伤。编辑本段俞氏三代悼亡诗　　在中国近现代史上，德清俞氏是江南赫赫有名的一个文化世家，俞樾、俞陛云、俞平伯的学术与文学成就素来受人敬仰。作为俞氏家族崛起的关键人物俞樾(1821～1907)，道光三十年(1850)进士，曾任翰林院编修，咸丰五年(1855)放河南学政，次年即被御史曹泽（登庸）弹劾试题割裂，革职回京。俞樾仕途生涯只有短短三年，凌云之志未能实现，然“拼命著书”的他为我们留下了近五百余卷的《春在堂全书》及其他著作，《群经平议》、《诸子平议》诸书奠定了俞樾清末朴学大师的地位。俞樾曾先后主讲苏州紫阳书院、上海求志书院、上海诂经精舍、归安龙湖书院等，并主杭州诂经精舍讲席三十一年之久，桃李遍天下，弟子中有徐琪、章太炎、吴昌硕诸名人，“晚年足迹不出江浙，声名溢于海内，远及日本，文士有来执业门下”。俞樾在近代日本是广受景仰和推崇的人物，日本人不但将之与晚清重臣李鸿章相提而论，甚至把他与其恩师曾国藩等而视之。而且“直到今天，俞樾之名在日本文学界，几乎无人不知”。 俞樾之孙俞陛云(1868～1950)，光绪二十四年(1898)以第三名探花及第，授编修。德清自清朝以来，状元榜眼各二，唯缺探花，俞陛云完成了三鼎甲，俞樾有云：“吾孙弥其缺，如鼎三其趺。遂令邑人口，藉藉南埭俞”(《曲园自述诗》)。二十八年出任四川副主考，翌年应经济特科复试，名列一等。民国元年(1912)俞陛云出任浙江省图书馆监督，三年(1914)聘为清史馆协修，任《清史稿》“兵志”和“列传”编撰官。俞陛云幼承家学，受祖父俞樾亲自指导，《曲园课孙草》一书就是俞樾为俞陛云所作。俞陛云在文学、书法等方面都有很高的建树，尤精于诗词，著有《小竹里馆吟草》、《乐青词》、《蜀?诗记》、《诗境浅说》、《诗境浅说续编》、《唐五代两宋词选释》。《诗境浅说》及《续编》和《唐五代两宋词选释》二书，是两部比较有特色的唐诗和词的选本，而且解释精辟，有功于初学，在当代仍盛行。 俞平伯(1900～1990)，俞陛云之子，俞樾曾孙，1915年入北平大学，毕业后曾在燕京大学、清华大学、北京大学、北平大学、中国学院等校任教。他不但“对于旧词曲的造诣极深，同时又是提倡新体诗的最早的一个人。所著《冬夜》、《西还》两集，风靡初期的白话诗坛”。除了文学创作，俞平伯在学术上也颇有建树。俞平伯“研究古典文学是从小说开始”，散文集中收有不少如《谈中国小说》、《谈〈水浒传〉七十回本之有无》、《〈三国演义〉与毛氏父子》等有关小说考述的文章。继胡适《红楼梦考证》之后，俞平伯发表了《红楼梦辨》(1923年初版，五十年代初改名《红楼梦研究》)，是“新红学”的代表作之一，之后终其一生，不断进行《红楼梦》研究。俞平伯在现代文学史上的地位亦是有目共睹。 俞氏一家不但在学术上堪为人范，斯文一脉，而且还有一个让人敬佩的地方，就是夫妇相敬如宾，伉俪情深。 道光七年(1827)，俞樾七岁，求婚于舅氏平泉公第四女。道光十九年(1839)，俞樾与外姊姚氏完婚，写诗志曰：“催妆诗赋小春天，莫怅秋风未著鞭。但使登堂得佳妇，何妨攀桂缓今年。”喜悦之情溢于言表。婚后二人夫唱妇随，感情深厚。曲园里有曲池，曲池中有小浮梅槛，“仅容二人促膝”，夏日时，俞樾与姚夫人坐其中闲话古今，出入诗史小说，《小浮梅闲话》就是二者夏日闲谈的成果。虽然《小浮梅闲话》的文字是枯燥的，但透过文字，我们看到的是俞樾与姚夫人的伉俪情深。俞樾后来虽名扬海内外，但在那个战乱频繁、社会动荡的年代，他的家庭饱受乱离之苦，在《春在堂词录》卷二《调笑令》中，俞樾提到自己四岁迁居临平镇，“辄数岁一徙井陵，仕宦迁移，兵戈奔走。越至今行年四十有九，而移居已三十一次，萍梗飘零，仍无定所”。而姚夫人就随着俞樾到处漂泊，患难与共。“蛩蹷相依四十秋，今年六十正平头。算来生日无多日，竟不人间两日留。”“日日寒厨数米炊，偶呼小婢助操持。至今头白门生在，及见当年作苦时。”“五张六角本来乖，多事行年为我排。自向丛辰问凶吉，累君逢午必持斋。”(《百哀篇》)姚夫人去世后，俞樾百般思念，以悲切的心情写下《百哀篇》(《俞楼杂纂》卷四十一)一百首感怀，取元稹“贫贱夫妻百事哀”之意。诗中追忆了姚夫人与自己患难与共以及二人生活的点点滴滴，思念与悲哀之情溢于字表：“莫向空帷哀永逝，相逢地下料非迟。”并“手书《金刚经》为内子资冥福”(《春在堂全书录要》)。姚夫人的去世对俞樾打击巨大，葬姚夫人于右台仙馆后，俞樾自营生圹于其左，并且筑屋其旁，曰“右台仙馆”，以此悼念姚夫人。“内子姚夫人卒，余感念不已，冀有所见，而竟杳然，虽每夕必梦，然止是《周礼》所谓思梦耳，非果其魂魄之入梦也”(《右台仙馆笔记》卷一二第三十六则)。俞樾终其身未置一妾，姚夫人逝世后也未续娶，这以俞樾的时代和地位来说，是相当难得的。元稹原配夫人韦蕙丛死后，“惟将终夜长开眼，报答平生未展眉”(《遣悲怀三首》之三)，发誓不再娶，但不久即再婚。与之相比，俞樾可谓言行一致，称得上是真正的至情之人。 俞陛云之偶彭见贞，为尚书彭玉麟长孙女，颇有才华，善书法，孝且贤。光绪三年(1877)，彭玉麟养疴西湖，俞樾携陛云相见，彭公大悦，同年勒少仲做媒，为聘之。后因姚夫人卒，俞樾意兴阑珊，体弱多病，十分盼望孙儿早日成婚，以慰晚年，遂一再向彭公要求早娶，在俞樾殷切要求下，彭公应允。二人于光绪七年(1881)拜堂成亲，但不圆房，陛云时年十三岁，彭氏大陛云两岁，“同拜堂前，长短略相等，亲友众观，以为佳话”。婚后，彭氏即回湖南彭公处居住，直至二三年后方正式成婚。据俞平伯之子俞润民书所言，二人刚成亲时，经常在闺房里像孩童般嬉耍，“情意相投，闺房静好，从无龊龉”。陛云本为俞樾次子祖仁子，因长子绍莱卒无子，遂为绍莱后。彭氏周旋二姑间，得二姑欢心，处置家事井井有条。彭氏生二女，因病不育，欲为陛云置妾，陛云不悦，遂用己资为置一妾(《孙妇彭氏传》，《春在堂杂文》五编卷三)。然红颜薄命，光绪二十年(1894)彭氏病故。彭氏葬于右台山麓墓地，安葬之次日，俞陛云在风雨中坐墓前竟日，纪以诗曰：“华屋山邱尽目前，深深埋玉锢重泉。红杉春影销胡蟪，黑月秋原响杜鹃。到此忍凭无鬼论，归根终遇有情天。霓衣风马还稍待，同穴心期盼暮年。”次年11月俞樾为陛云续娶次女绣孙之第六女许之仙为妻(即俞平伯生母)。俞陛云于夫人彭见贞去世后，写下悼亡诗《绚华室诗忆》，序云：“不有哀咏，胡达幽忱，芳篱郁郁，恸君于锦瑟弦旁，琼玖珊珊，迟我于华鬘天上。”回忆了彭见贞生前情景及自己的哀思。彭氏病笃时，俞陛云为作《病榻琐记》，以存其情貌：“妇之病久矣，人不能无病也，人又自有命也。余以其贤，谓命必相之，病不足虑，乃竟以病亡矣。当病革时，余不忍其人将亡而情状语言与之俱亡，为作《病榻琐记》，凡十有五日，今录成一册，告之以诗。天促其命而余永其情，情不能与命争，命亦不能强夺余情也。”压卷《情诗》有云：“情天不用娲皇补，留取情诗压千古。情随诗笔空中来，笔花香孕相思胎。诗是后天生，情是先天结。诗诚不破情不亡，情海不枯诗不灭。诗以情为根，沈沈黄壤追精魂；情以诗为翼，遮空纯作凄凉色。”在光绪二十年，发出这么强烈的情的呼喊，俞陛云对夫人的真情可见一斑。 俞平伯的夫人许宝驯，是俞平伯生母许之仙的侄女，幼随任高丽国仁川领事的父亲前往高丽国。回国后，曾居苏州，时常到俞家与俞平伯姐弟玩耍，可谓青梅竹马。二人于1917年在北京结婚，俞平伯时年十八，许宝驯长他四岁。出身名门的许宝驯琴棋书画皆能，而且会唱昆曲，也会制谱；中年以后，又自学工笔画，多才多艺且又温柔贤惠。结婚后夫妻感情深厚，从俞平伯的一篇日记可见出二人新婚的甜蜜：“乘早车入京，环(俞夫人)立楼前送我，想车行既远，尚倚立栏杆也。不敢回眸，惟催车速走。”俞平伯夫妇二人情趣相投，经常诗词唱和，而且许宝驯还经常为俞平伯的创作进行抄誊，夫妻二人的配合可谓默契。1922年，俞平伯创作出版的第一部新诗集《冬夜》，就曾由夫人亲手誊写过两遍。俞平伯在《〈冬夜〉自序》中感谢道：“我又承蒙长环君为我抄集原稿至于两次，这也是我应该致谢的。”俞平伯在散文中也多次回忆自己与夫人的甜蜜生活。1935春，俞平伯夫妇成为昆曲谷音社的成员。1956年，北京昆曲研习社成立，俞平伯任主任委员。闲暇时，俞平伯填词，许宝驯依照昆腔制谱并演唱，可谓是夫唱妇随的神仙眷侣。 十年动乱打破了俞平伯夫妇诗词唱和、曲画互娱的平静生活。1969年底，已七十高龄的俞平伯随中国科学院哲学社会科学部文学研究所，下放到河南干校。相濡以沫五十二年的许宝驯决定陪同在旁，这对久遭磨难的俞平伯是极大的安慰。在河南干校农家小住的日子，夫妇俩“负戴相依晨夕新，双鱼涸辙自温存。烧柴汲水寻常事，都付秋窗共讨论”。1971年初，在周恩来总理的关怀下，夫妇俩得以提前回到北京。许宝驯与俞平伯共同经历了欢乐，也渡过了许多艰辛，但二人始终不离不弃，荣辱与共。1977年，二人结婚六十周年之际，俞平伯写下一百句七言长诗《重圆花烛歌》，将夫妇“婉婉同心六十年”、“悲欢离合幻尘缘，寂寥情味还娱老，几见当窗秋月圆”的经历尽收诗中。1982年，许宝驯不幸先俞平伯而去。俞平伯突然失去朝夕相伴、患难与共的伴侣，悲痛之心不言而喻。同曾祖父和父亲一样，他亦用诗词来表达他的哀思，“自新丧逾百日，哀至即书”。夫人去世两月内，他写下悼亡诗词《半帷呻吟》，从他写的悼亡诗词中可以看出他对亡妻的怀念和悲哀，如《十一日惊蛰》：“瞢腾偎扁枕，浑不辨朝暮。反顾欲语谁，方知人已去。”《续潘岳悼亡诗句》有云：“庶几有时衰，庄缶犹可击。待我余年尽，与君同一寂。”从此，他不再为友人题诗题字，即使难却盛情题了字，也不再加盖红印章，以表示对夫人的怀念。 从俞氏三代人身上，我们不但看到了斯文一脉的延续，也看到了他们夫妻对感情的忠贞，从《百哀篇》到《绚华室诗忆》再到《半帷呻吟》，从“相逢地下料非迟”到“同穴心期盼暮年”再到“与君同一寂”，我们震撼于他们对夫人生死与共的真情。俞氏三代的悼亡诗可谓是文坛一段佳话，令我们敬佩。　（谢超凡 稿）编辑本段外国悼亡诗　　悼亡诗（elegy or monody or mournful poem）也被译成挽歌，哀歌，是哀悼个人之死，群体之死，乃至整个人类之死的诗作。 　　如弥尔顿的《黎西达斯》（Lyidas， 1637）是诗人对同学、密友爱德华·金（Edward King）的哀悼之作。金和弥尔顿就读于剑桥大学基督学院，两人都是诗人、学者和有事业心的好青年，是校方精心培养的牧师人才。金在1633年获得硕士学位后，继续在原校深造，准备做牧师，不幸的是，金于1637年夏天利用暑假去爱尔兰访友，在威尔斯港外船破人溺。弥尔顿非常伤心，写下了这首哀歌，其前面部分如下： 　　Yet once more， O ye laurels， and once more， 　　Ye myrtles brown， with ivy never sere， 　　I come to pluck your berries harsh and crude， 　　And with forced fingers rude 　　Shatter your leaves before the mellowing year. 　　Bitter constraint， and sad occasion dear， 　　Compels me to disturb your season due； 　　For Lycidas is dead， dead ere his prime， 　　Young Lycidas， and hath not left his peer. 　　翻译：我再一次来，月桂树啊，/ 棕色的番石榴和常青藤的绿叶啊，/ 在成熟之前，来强摘你们的果子，/ 我不得已伸出我这粗鲁的手指，/ 来震落你们这些嫩黄的叶子。/ 因为亲友的惨遇，痛苦的重压，/ 迫使我前来扰乱你正茂的年华；/ 黎西达斯死了，死于峥嵘岁月，/ 年轻的黎西达斯，从未离开过本家。(朱维之 译) 　　通过对亡友的哀悼，弥尔顿似乎成熟了许多，在结尾处暗示出要告别以前的诗歌创作风格，准备走向革命战斗的诗歌新草地： And now the sun had stretched out all the hills， 　　And now was dropped into the western bay. 　　At last he rose， and twitched his mantle blue： 　　Tomorrow to fresh woods， and pastures new. 　　翻译：夕阳西下，把群山的影子拉长，/ 射进西边深山中的凹地。/ 他终于站起来，抖抖蓝色的斗篷，/ 明天将奔向清鲜的树林和新的草地。（朱维之译） 　　又如莎士比亚《无事生非》中的一段歌，这是阿拉冈亲王唐佩德娄的仆人巴尔萨泽的一段唱词。歌的特点是反复重复一些词句： Sigh no more， ladies， sigh no more， 　　Men were deceivers ever； 　　One foot in sea， and one on shore， 　　To one thing constant never. 　　Then sigh not so， 　　But let them go， 　　And be you blithe and bonny， 　　Converting all your sounds of woe 　　Into Hey nonny， nonny. 　　Sing no more ditties， sing no mo 　　Of dumps so dull and heavy； 　　The fraud of men was ever so， 　　Since summer first was leavy. 　　Then sigh not so， 　　But let them go， 　　And be you blithe and bonny， 　　Converting all your sounds of woe 　　Into hey nonny， nonny. 　　（William Shakespeare：Much Ado About Nothing， Act II， Scene III） 　　翻译：别再叹气，小姐们，别再叹气，/ 男人总是要欺骗；/ 一脚在海里，一脚在陆地，/ 永远不会专一不变。/ 那么就别长吁短叹，/ 让他们去胡搅乱干，/ 你自己要欢天喜地，/ 把你的哀声一变 / 而为“海侬呢，海侬呢。”//别再唱歌，别再唱 / 这样沉闷悲苦的歌；/ 男人的欺诈总是这样，/ 夏天叶子总是长得多。/ 那么就别长吁短叹，/ 让他们去胡搅乱干，/ 你自己要欢天喜地，/ 把你的哀声一变 / 而为“海侬呢，海侬呢。”( 梁实秋 译)

Elegy Written in a Country Churchyard墓园挽歌网络释义Nor is it written in a country"s stars. 这也没被写进一个国家必然的命运中。

挽歌 挽歌(Elegy)是写给死者的诗歌。朽年通年朽，老年。两个词叠加，加强悲凉的意境。

      《HillbillyElegy》是耶鲁大学法学院毕业生J.D. Vance的回忆录。J.D. Vance自幼生活在美国阿巴拉契亚山区的Kentucky，这里居住着一群称之为“Hillbilly”（中译为“乡巴佬”）的美国白人劳工阶层，他们的生活图景与我们所熟知的美国中产阶级白人印象相去甚远。这里民风彪悍，在法律之外自有一套道德体系，人们崇尚用暴力解决纠纷，极力维护持枪权；贫困、家庭暴力、毒品就如同遗传病，在一代代人中不断复发，像一个漩涡，限制了眼界，摧毁了心智，让人不敢对生活有丝毫的信心，如此往复，恶性循环。        J.D. Vance无疑是Hillbilly中的幸运儿。他的家庭有着Hillbilly典型的特征：长辈们酗酒、暴力，从未接受过高等教育；母亲在高中毕业即怀孕、结婚、离婚，紧接着出现了无数个短暂的男友，也毫无意外地成为一个瘾君子。作者自小在家庭暴力中成长，因为母亲频繁更换男友而时常搬家、居无定所，曾亲眼目睹母亲被警察逮捕，他本应和其他人一样，带着幼时的各种创伤，也成为一个贫穷、懒惰、暴力的Hillbilly。让他有机会摆脱这一切的是他的外婆，作者称她为Mamaw。虽然Mamaw也是举止粗鲁、崇尚暴力，但却能够让作者在动荡的成长历程中有一个安定的庇护所，让他感受到持续的安全感和爱；更重要的是，Mamaw始终认为教育是Hillbilly们改变命运的少数选择之一，她鼓励作者无论如何也要进入大学深造。在Mamaw的庇护和鼓励下，J.D. Vance顺利地完成了高中学业，随后进入了美国海军陆战队并参加了伊拉克战争，战后进入俄亥俄州立大学及耶鲁大学法学院学习，是耶鲁大学法学院极少数来自底层阶层的学生之一。他的人生轨迹可以说是屌丝逆袭，是美国梦的典型。       《HillbillyElegy》原本只是作者比较私人的回忆录，但却在2017年特朗普当选为美国总统后，一跃登上《纽约时报》畅销书排行榜榜首，因为人们认为这本书所描写的美国底层白人劳工阶层的生活状况，正是特朗普当选的背后推动力，很多人希望通过该书来读懂美国真实的样子从而理解特朗普提出的“重燃美国梦”的含义。        过去几十年中我们常听到美国梦，但《Hillbilly Elegy》让我们看到，美国梦的光环下，有多少美国底层白人陷入泥淖无法自拔。J.D. Vance在书中表示，这些底层白人对生活缺乏信心，他们从来不认为自己和中产白人是同一类人，他们也不信任任何代表精英阶层的政客，痛恨这些政客所推行的全球化政策，因为正是这些政策，让美国的制造业岗位不断减少，塑造了现在的“铁锈”地带，而失业是生活崩溃的根源。所以，特朗普的反全球化政策自然是正中他们下怀，他们便用手中的选票和精英阶层相抗衡，特朗普总统才有机会横空出世。        除了宏观的大环境，《HillbillyElegy》更多的笔墨还是放在个人的成长路径上。J.D. Vance回忆他的逆袭之路，除了个人努力外，他还强调了让他得以避免重走Hillbilly们阴暗的老路的两个重要因素：人际支持、教育。所谓人际支持（social capital），并不是我们常说的混圈子，而是我们和周围的人的关系，以及通过周围的人看到更多的可能性，看向更远的世界。现在有种流行的口号叫“做自己”，但其实我们对人生本应该怎么过一无所知。人类是模仿的动物，我们对人生道路的所有计划都是一种模仿，我们想做医生、老师，是因为生活中熟识的某人是医生、老师；我们想辞职旅行，是因为我们听说了某人辞职旅行。我们是通过周围的人的眼睛看到另一边的世界，从而形成了我们自己的世界观。所谓“良师益友”是也，所谓“近朱者赤近墨者黑”是也。教育的重要性就更加不容置疑了，尽管读书无用论甚嚣尘上。教育并不是人生的独木桥，但确是留给陷入绝境的人走出困境的最后道路。        美国阿巴拉契亚山区遥远而陌生，面临的困境和生活的方向也与我们截然不同，但对美好生活的追求却是人类永恒的主题。美国梦和中国梦都是人类文明的荣光，但当两者相互纠缠相互竞争时，我们也丝毫不能低估Hillbilly们打破生活牢笼向上努力的决心和能量。

我找了大半天，还是没找到，这么一点资料不知对有用否？万能土豆泥-莱纳·维尔纳·法斯宾德既然土豆泥这么迷恋德国，那么我也就顺水推舟地把他端上我心目中耽美界的法斯宾德的位置罢。说实话，法斯宾德的大部分作品比大卫·芬奇的还叫我不能忍受。太残酷太冷血，用他一部著名电影的题目作个总结就是“爱比死更冷”。法斯宾德一生只活了37岁，又吸毒又搞同性恋，还残酷地逼死了自己的情人，最后自己也死于用药（说这么好听其实就是吸毒啦）过量，简直是个亚神经病。他信奉卑鄙的爱情等级论，认为被爱的就是可以对爱人的为所欲为，单方面付出的感情既然这么义无返顾，被残酷地践踏也就心安理得理所当然了。不过这不妨碍他在短短的人生中拍出了43部作品拿了成堆的奖杯，成为德国乃至世界最有名的导演之一。当然，土豆大人绝对没那么糟，他顶多是有点糟。不过我怀抱着最美好的愿望相信他会好起来，跟法斯宾德先生一样多产，却不像他这么短命。不管法斯宾德在人生上干得有多失败，他的事业毋庸置疑是成功了。目前看来土豆离他的距离还有些远，不过只要“是金子就会发光”这句俗套话不是谎言，那么这位作者还是很值得期待的。BTW，我希望他能在写多尔夫上尉的故事时，不要把MV的修缮放任掉，另外，我也很好奇什么时候棉布会出新章，如果觉得继续不下去干嘛不把它了结了呢？万能土豆泥代表作：《Reinhard"s Elegy》（待修）《MeinVerbrechen》（待修）《再见列宁》莱纳·维尔纳·法斯宾德代表作： 《爱比死更冷》《当心圣妓》《莉莉玛莲》《水手奎雷尔》关键字：错乱，冷酷，意识流

像天空之城、卡农、少女的祈祷都还蛮好听的。

　　 英语诗歌 是英语语言文学学习中的难点,其中主要原因是诗歌有其独特的语言特点和表达方式,与 散文 有明显的区别。下面是我带来的优秀英语诗歌欣赏，欢迎阅读!　　优秀英语诗歌欣赏篇一 　　Ode on a Grecian Urn 　　希腊古瓮颂 　　JohnKeats 　　约翰·济慈 　　THOU still unravish"d bride of quietness, 　　你委身“寂静”的、完美的处子， 　　Thou foster-child of Silence and slow Time, 　　受过了“沉默”和“悠久”的抚育， 　　Sylvan historian, who canst thus express 　　呵，田园的史家， 　　A flowery tale more sweetly than our rhyme: 　　你竟能铺叙一个如花的 故事 ，比诗还瑰丽: 　　What leaf-fringed legend haunts about thy shape 　　在你的形体上，岂非缭绕着古老的 传说 ， 　　Of deities or mortals, or of both, 　　以绿叶为其边缘; 　　In Tempe or the dales of Arcady? 　　讲着人，或神，敦陂或阿卡狄? 　　What men or gods are these? What maidens loth? 　　呵，是怎样的人，或神! 　　What mad pursuit? What struggle to escape? 　　在舞乐前多热烈的追求!少女怎样地逃躲! 　　What pipes and timbrels? What wild ecstasy? 　　怎样的风笛和鼓谣!怎样的狂喜! 　　Heard melodies are sweet, but those unheard 　　听见的乐声虽好，但若听不见却更美; 　　Are sweeter; therefore, ye soft pipes, play on; 　　所以，吹吧，柔情的风笛; 　　Not to the sensual ear, but, more endear"d, 　　不是奏给耳朵听，而是更甜， 　　Pipe to the spirit ditties of no tone: 　　它给灵魂奏出无声的乐曲; 　　Fair youth, beneath the trees, thou canst not leave 　　树下的美少年呵，你无法中断你的歌， 　　Thy song, nor ever can those trees be bare; 　　那树木也落不了叶子; 　　Bold Lover, never, never canst thou kiss, 　　卤莽的恋人，你永远、永远吻不上， 　　Though winning near the goal—yet, do not grieve; 　　虽然够接近了——但不必心酸; 　　She cannot fade, though thou hast not thy bliss, 　　她不会老，虽然你不能如愿以偿， 　　For ever wilt thou love, and she be fair! 　　你将永远爱下去，她也永远秀丽! 　　Ah, happy, happy boughs! that cannot shed 　　呵，幸福的树木! 　　Your leaves, nor ever bid the Spring adieu; 　　你的枝叶不会剥落，从不曾离开春天; 　　And, happy melodist, unwearièd, 　　幸福的吹笛人也不会停歇， 　　For ever piping songs for ever new; 　　他的歌曲永远是那么新鲜; 　　More happy love! more happy, happy love! 　　呵，更为幸福的、幸福的爱! 　　For ever warm and still to be enjoy"d, 　　永远热烈，正等待情人宴飨， 　　For ever panting, and for ever young; 　　永远热情地心跳，永远年轻; 　　All breathing human passion far above, 　　幸福的是这一切超凡的情态: 　　That leaves a heart high-sorrowful and cloy"d, 　　它不会使心灵餍足和悲伤， 　　A burning forehead, and a parching tongue. 　　没有炽热的头脑，焦渴的嘴唇。 　　Who are these coming to the sacrifice? 　　这些人是谁呵，都去赶祭祀? 　　To what green altar, O mysterious priest, 　　这作牺牲的小牛，对天鸣叫， 　　Lead"st thou that heifer lowing at the skies, 　　你要牵它到哪儿，神秘的祭司? 　　And all her silken flanks with garlands drest? 　　花环缀满着它光滑的身腰。 　　What little town by river or sea-shore, 　　是从哪个傍河傍海的小镇， 　　Or mountain-built with peaceful citadel, 　　或哪个静静的堡寨山村， 　　Is emptied of its folk, this pious morn? 　　来了这些人，在这敬神的清早? 　　And, little town, thy streets for evermore 　　呵，小镇，你的街道永远恬静; 　　Will silent be; and not a soul, to tell 　　再也不可能回来一个灵魂告诉人， 　　Why thou art desolate, can e"er return. 　　你何以是这么寂寥。 　　O Attic shape! fair attitude! with brede 　　哦，希腊的形状!唯美的观照! 　　Of marble men and maidens overwrought, 　　哦，希腊的形状!唯美的观照! 　　With forest branches and the trodden weed; 　　上面缀有石雕的男人和女人，还有林木，和践踏过的青草; 　　Thou, silent form! dost tease us out of thought 　　沉默的形体呵，你象是“永恒”使人超越思想: 　　As doth eternity: Cold Pastoral! 　　呵，冰冷的牧歌! 　　When old age shall this generation waste, 　　等暮年使这一世代都凋落，只有你如旧; 　　Thou shalt remain, in midst of other woe 　　在另外的一些忧伤中， 　　Than ours, a friend to man, to whom thou say"st, 　　你会抚慰后人说: 　　"Beauty is truth, truth beauty,—that is all 　　“美即是真，真即是美，” 　　Ye know on earth, and all ye need to know. 　　这就包括你们所知道、和该知道的一切。 　　优秀英语诗歌欣赏篇二 　　Elegy Written in a Country Churchyard 　　乡村墓园挽歌 　　Thomas Gray 　　托马斯·格雷 　　The curfew tolls the knell of parting day, 　　晚钟为告别的白昼敲起了丧钟， 　　The lowing herd wind slowly o"er the lea, 　　咩咩羊群在草地上慢慢盘桓, 　　The plowman homeward plods his weary way, 　　农夫疲惫地蹒跚在回家途中， 　　And leaves the world to darkness and to me. 　　把整个世界留给我与黑暗。 　　Now fades the glimmering landscape on the sight, 　　此刻的大地闪着微光慢慢消退， 　　And all the air a solemn stillness holds, 　　四周弥漫着一片寂静和庄严， 　　Save where the beetle wheels his droning flight, 　　只听见甲壳虫在空中嗡嗡乱飞， 　　And drowsy tinklings lull the distant folds; 　　沉沉铃声为远处的羊圈催眠。 　　Save that from yonder ivy-mantled tower, 　　只听见那边披着常春藤的塔楼上, 　　The moping owl does to the moon complain, 　　有只忧郁的猫头鹰对月抱怨， 　　Of such, as wandering near her secret bower, 　　怨有人在她秘密的深闺附近游逛， 　　Molest her ancient solitary reign. 　　打扰了她古老而幽静的庭院。 　　Beneath those rugged elms, that yew-tree"s shade, 　　老苍的榆树下，紫杉的荫影里， 　　Where heaves the turf in many a mouldering heap, 　　许多荒冢在烂草堆中隆起， 　　Each in his narrow cell forever laid, 　　一个个在小窖里永远躺下躯体， 　　The rude forefathers of the hamlet sleep. 　　村里的粗鄙先辈在此安息。 　　The breezy call of incense-breathing Morn, 　　芬芳四溢的晨风轻轻的呼唤， 　　The swallow twittering from the straw-built shed, 　　茅草棚上燕子的细语呢喃， 　　The cock"s shrill clarion, or the echoing horn, 　　回荡的号角，或公鸡的高声鸣啼 　　No more shall rouse them from their lowly bed. 　　再也不能把他们从床上唤起。 　　For them no more the blazing hearth shall burn, 　　熊熊炉火再也不会为他们燃烧， 　　Or busy housewife ply her evening care; 　　主妇夜里也不会再为他们操劳， 　　No children run to lisp their sire"s return, 　　孩子不再喊着跑去迎接爸爸回家， 　　Or climb his knees the envied kiss to share. 　　不再趴到膝上去抢着亲吻撒娇。 　　Often did the harvest to their sickle yield, 　　昔日，他们用镰刀去夺取丰收， 　　Their furrow oft the stubborn glebe has broke; 　　板结的土块被犁成一条条垄沟; 　　How jocund did they drive their team afield! 　　赶着牲口下地，他们何等欢欣! 　　How bowed the woods beneath their sturdy stroke! 　　有力的砍伐使一根根树木低头! 　　Let not Ambition mock their useful toil, 　　别让“雄心”嘲笑他们有用的辛劳， 　　Their homely joys, and destiny obscure; 　　家常的欢乐和默默无闻的命运; 　　Nor Grandeur hear with a disdainful smile, 　　也别让“华贵”带着蔑视的冷笑 　　The short and simple annals of the poor. 　　来倾听穷人简朴短暂的生平。 　　The boast of heraldry, the pomp of power, 　　炫耀的门第，显赫的权势， 　　And all that beauty, all that wealth e"er gave, 　　美和财富赋予的一切事物, 　　Awaits alike the inevitable hour. 　　都同样等待着不可避免之时: 　　The paths of glory lead but to the grave. 　　光辉的道路终将导致坟墓。 　　优秀英语诗歌欣赏篇三 　　The Love Song of J. Alfred Prufrock 　　阿尔福瑞德·普鲁弗洛克的情歌 　　T.S.Eliot 　　艾略特 　　S"io credesse che mia risposta fosse 　　假如我认为，我是回答， 　　A persona che mai tornasse al mondo, 　　一个能转回阳世间的人， 　　Questa fiamma staria senza piu scosse. 　　那么，这火焰就不会再摇闪。 　　Ma perciocche giammai di questo fondo 　　但既然，如我听到的果真。 　　Non torno vivo alcun, s"i"odo il vero, 　　没有人能活着离开这深渊， 　　Senza tema d"infamia ti rispondo. 　　我回答你就不必害怕流言。 　　Let us go then, you and I, 　　那么我们走吧，你我两个人， 　　When the evening is spread out against the sky 　　正当朝天空慢慢铺展着黄昏 。 　　Like a patient etherized upon a table; 　　好似病人麻醉在手术桌上; 　　Let us go, through certain half-deserted streets, 　　我们走吧，穿过一些半清冷的街， 　　The muttering retreats 　　那儿休憩的场所正人声喋喋; 　　Of restless nights in one-night cheap hotels 　　有夜夜不宁的下等歇夜旅店. 　　And sawdust restaurants with oyster-shells: 　　和满地蚌壳的铺锯末的饭馆; 　　Streets that follow like a tedious argument 　　街连着街，好象一场讨厌的争议. 　　Of insidious intent 　　带着阴险的意图. 　　To lead you to an overwhelming question ... 　　要把你引向一个重大的问题…… 　　Oh, do not ask, “What is it?” 　　唉，不要问，“那是什么?” 　　Let us go and make our visit. 　　让我们快点去作客。 　　In the room the women come and go 　　在客厅里女士们来回地走， 　　Talking of Michelangelo. 　　谈着画家米开朗基罗。 　　The yellow fog that rubs its back upon the window-panes, 　　黄色的雾在窗玻璃上擦着它的背， 　　The yellow smoke that rubs its muzzle on the window-panes, 　　黄色的烟在窗玻璃上擦着它的嘴， 　　Licked its tongue into the corners of the evening, 　　把它的舌头舐进黄昏的角落， 　　Lingered upon the pools that stand in drains, 　　徘徊在快要干涸的水坑上; 　　Let fall upon its back the soot that falls from chimneys, 　　让跌下烟囱的烟灰落上它的背， 　　Slipped by the terrace, made a sudden leap, 　　它溜下台阶，忽地纵身跳跃， 　　And seeing that it was a soft October night, 　　看到这是一个温柔的十月的夜， 　　Curled once about the house, and fell asleep. 　　于是便在房子附近蜷伏起来安睡。

佩内洛普·克鲁兹 (Penélope Cruz ) 的个人介绍： 佩内洛普·克鲁兹 (Penélope Cruz ) 最初进入娱乐圈，是通过与音乐人纳乔卡诺合作拍摄录像片《命运的力量》，1991年，佩内洛普·克鲁兹 (Penélope Cruz ) 出演了自己的第一部影片由拉菲尔阿尔卡萨尔执导的《希腊迷宫》，1992年又出演毕卡斯卢纳的《火腿、火腿》，为自己在西班牙影坛确立了一席之地。1999年，佩内洛普·克鲁兹 (Penélope Cruz ) 与阿莫多瓦合作的《我的母亲》为她带来莫大荣誉，佩内洛普·克鲁兹 (Penélope Cruz ) 的身影出现在戛纳、柏林、威尼斯和奥斯卡等众多奖项的领奖台上，佩内洛普·克鲁兹 (Penélope Cruz ) 也成为继同胞安东尼班德拉斯之后，又一位成功进军好莱坞的西班牙人。 08年，对于佩内洛普·克鲁兹 (Penélope Cruz ) 来说，是有趣的一年。这位女演员先是在戏剧《挽歌》(Elegy) 中上身真空上阵。接着她在伍迪·艾伦 (Woody Allen) 执导的《午夜巴塞罗那》(Vicky Cristina Barcelona) 与斯嘉丽·约翰逊 (Scarlett Johansson) 分享了“蕾丝边”一吻。不过佩内洛普·克鲁兹 (Penelope Cruz) 最后还是“穿起了衣服”，和妹妹莫妮卡·克鲁兹 (Monica Cruz) 一起为西班牙时装企业芒果 (Mango) 代言宣传最新的秋冬系列。 佩内洛普·克鲁兹 (Penélope Cruz ) 的个人档案： 英文名：Penelope Cruz 中文名：佩内洛普·克鲁兹 英文原名：Penélope Cruz Sánchez 生日：1974年4月28日 出生地：西班牙 马德里 身高：168cm 星座：金牛座 教育：西班牙国家音乐学院，主修古典芭蕾。 佩内洛普·克鲁兹 (Penélope Cruz ) 出演的电影及参与颁奖： 《情遇巴塞罗那 Vicky Cristina Barcelona 》(2008) 《挽歌 Elegy 》 (2008) 《晚安好梦 The Good Night 》(2007) 《斗牛士 Manolete 》(2007) 《回归 Volver 》(2006) 《侠盗魅影 Bandidas 》(2006) 《Almodóvar que nadie conoce, El 》(2006) 《职场新丁 The Loop 》(2006) 《XX premios Goya 》(2006) 《Cannes 2006: Crónica de Carlos Boyero 》(2006) 《Alberto Iglesias, el músico fiel 》(2006) 《Cinco caras de David LaChapelle, Las 》(2006) 《Hécuba, un sueo de pasión 》(2006) 《撒哈拉 Sahara 》(2005) 《第77届奥斯卡金像奖颁奖典礼 The 77th Annual Academy Awards 》(2005) 《XIX premios Goya 》(2005) 《The 47th Annual Grammy Awards 》(2005) 《恐色症 Chromophobia 》(2005) 《In Search of Ted Demme 》(2005) 《圣诞夜奇迹 Noel 》(2004) 《巴黎烟云 Head in the Clouds 》(2004) 《别动 Non ti muovere 》(2004) 《The 2004 European Film Awards 》(2004) 《芳芳郁金香 Fanfan la tulipe 》(2003) 《鬼影人 Gothika 》(2003) 《蒙面与匿名 Masked and Anonymous 》(2003) 《Masked & Anonymous" Exposed 》(2003) 《Women on Top: Hollywood and Power 》(2003) 《Sex at 24 Frames Per Second 》(2003) 《XVII premios Goya 》(2003) 《两对冤家一张床 Waking Up in Reno 》(2002) 《Hitting It Hard 》(2002) 《Paul McCartney: Back in the U.S. 》(2002) 《Prelude to a Dream 》(2002) 《香草天空 Vanilla Sky 》(2001) 《柯莱利上尉的曼陀林 Captain Corelli"s Mandolin 》(2001) 《大毒枭 Blow 》(2001) 《没有上帝的消息 Sin noticias de Dios 》(2001) 《第73届奥斯卡金像奖颁奖典礼 The 73rd Annual Academy Awards 》(2001) 《美利坚向英雄致敬 America: A Tribute to Heroes 》(2001) 《Sin vergüenza 》(2001) 《Italian Soldiers 》(2001) 《All About Desire: The Passionate Cinema of Pedro Almodovar (2001) 《脱缰野马 All the Pretty Horses 》(2000) 《女人在上 Woman on Top 》(2000) 《第72届奥斯卡金像奖颁奖典礼 The 72nd Annual Academy Awards (2000) 《2000 Blockbuster Entertainment Awards (2000) 《赤祼贵妇 Volavérunt 》(1999) 《关于我的母亲 Todo sobre mi madre 》(1999) 《XIII premios Goya 》(1999) 《天使之恋 Talk of Angels 》(1998) 《迷幻人生终是情 Man with Rain in His Shoes, The 》(1998) 《非恋不可 Hi-Lo Country, The 》(1998) 《你梦中的姑娘 Nia de tus ojos, La 》(1998) 《睁开你的双眼 Abre los ojos 》(1997) 《颤抖的欲望 Carne trémula 》(1997) 《爱情有害健康 Amor perjudica seriamente la salud, El 》(1997) 《女巫 Brujas 》(1996) 《Más que amor, frenesí 》(1996) 《塞莱斯蒂娜 Celestina, La 》(1996) 《Alegre ma non troppo 》(1994) 《Todo es mentira 》(1994)

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　　下面是我整理的一些英美文学常用术语及解释，希望对大家有帮助。 　　01. Allegory(寓言) 　　Allegory is a story told to explain or teach something. Especially a long and complicated story with an underlying meaning different from the surface meaning of the story itself.2>allegorical novels use extended metaphors to convey moral meanings or attack certain social evils. characters in these novels often stand for different values such as virtue and vice.3>Bunyan"s Pilgrim"s Progress, Melville"s Moby Dick are such examples. 　　02. Alliteration(头韵) 　　Alliteration means a repetition of the initial sounds of several words in a line or group. 　　2>alliteration is a traditional poetic device in English literature. 　　3>Robert Frost"s Acquainted with the Night is a case in point:” I have stood still and stopped the sound of feet” 　　03. Ballad(民谣) 　　Ballad is a story in poetic from to be sung or recited. in more exact literary terminology, a ballad is a narrative poem consisting of quatrains of iambic tetrameter alternating with iambic trimester.(抑扬格四音步与抑扬格三音步诗行交替出现的四行叙事诗) 　　2>.ballads were passed down from generation to generation. 3>Coleridge"s The Rime of the Ancient Mariner is a 19th century English ballad. 　　04. epic(史诗) 　　Epic, in poetry, refers to a long work dealing with the actions of goods and heroes. 　　2>Epic poems are not merely entertaining stories of legendary or historical heroes; they summarize and express the nature or ideals of an entire nation at a significant or crucial period of its history. 　　3>Beowulf is the greatest national Epic of the Anglo-Saxons. 　　05. Lay(短叙事诗) 　　It is a short poem, usually a romantic narrative, intended to be sung or recited by a minstrel. 　　06. Romance(传奇) 　　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. 　　07. Alexandrine(亚历山大诗行) 　　The name is derived from the fact that certain 12th and 13th century French poems on Alexander the Great were written in this meter. 　　2>it is an iambic line of six feet, which is the French heroic verse. 　　08. Blank Verse(无韵诗或素体广义地说) 　　Blank verse is unrhymed poetry. Typically in iambic pentameter, and as such, the dominant verse forms of English dramatic and narrative poetry since the mid-16th century. 　　09. Comedy(喜剧) 　　Comedy is a light form of drama that aims primarily to amuse and that ends happily. Since it strives to provoke smile and laughter, both wit and humor are utilized. In general, the comic effect arises from recognition of some incongruity of speech, action, or character revelation, with intricate plot. 　　10. Essay( 随笔 ) 　　The term refers to literary composition devoted to the presentation of the writer"s own ideas on a topic and generally addressing a particular aspect of the subject. Often brief in scope and informal in style, the essay differs from such fomal forms as the thesis, dissertation or treatise. 　　11. Euphuistic style(绮丽体) 　　Its principle characteristics are the excessive use of antithesis, which is pursued regardless of sense, and emphasized by alliteration and other devices; and of allusions to historical and mythological personages and to natural history drawn from such writers as Plutarch(普卢塔克), Pliny(普林尼), and Erasmus(伊拉兹马斯).2>it is the peculiar style of Euphues(优浮绮斯) 　　12. History Plays(历史剧) 　　History plays aim to present some historical age or character, and may be either a comedy or a tragedy. They almost tell stories about the nobles, the true people in history, but not ordinary people. the principle idea of Shakespeare"s history plays is the necessity for national unity under a mighty and just sovereign. 　　13. Masques or Masks(假面剧) 　　Masques (or Masks) refer to the dramatic entertainments involving dances and disguises, in which the spectacular and musical elements predominated over plot and character. As they were usually performed at court, often at very great expense, many have political overtones. 　　14. Morality plays(道德剧) 　　A kind of medic and early Renaissance drama that presents the conflict between the good and evil through allegorical characters. The characters tend to be personified abstractions of vices and virtues, which can be named as Mercy. Conscience, etc. unlike a mystery or a miracle play, morality play does not necessarily use Biblical or strictly religious material because it takes place internally and psychologically in every human being. 　　15.Sonnet(十四行诗) 　　It is a lyric poem of 14 lines with a formal or recited and characterized by its presentation of a dramatic or exciting episode in simple narrative form. 　　2>it is one of the most conventional and influential forms of poetry in Europe. 　　3>Shakespeare"s sonnets are well-known. 　　16. Spenserian Stanza(斯宾塞诗节) 　　Spenserian Stanza is the creation of Edmund spenser.2>it refers to a stanza of nine lines, with the first eight lines in iambic pentameter(五音步抑扬格) and the last line in iambic hexameter(六音步抑扬格),rhyming ababbcbcc. 3>Spenser"s the Faerie Queen was written in this kind of stanza. 　　17. Stanza(诗节) 　　Stanza is a group of lines of poetry, usually four or more, arranged according to a fixed plan.2>the stanza is the unit of structure in a poem and poets do not vary the unit within a poem. 　　18. Three Unities(三一原则) 　　Three rules of 16th and 17th century Italian and French drama, broadly adapted from Aristotle"s Poetics<诗学>: 　　2>the unity of time, which limits a play to a single day; the unity of place, which limits a play"s setting in a single location; and the unity of action, which limits a play to a single story line. 　　19. Tragedy(悲剧) 　　In general, a literary work in which the protagonist meets an unhappy or disastrous end. Unlike comedy, tragedy depicts the actions of a central character who is usually dignified or heroic. 　　20.Conceit(奇特比喻) 　　Conceit is a far-fetched simile or metaphor, a literary conceit occurs when the speaker compares two highly dissimilar things.2>conceit is extensively employed in John Donne"s poetry. 　　21.Metar(格律) 　　The word”meter” is derived from the Greek word”metron” meaning”measure”. 　　2>in English when applied to poetry, it refers to the regular pattern of stressed and unstressed syllables. 　　3>the analysis of the meter is called scansion(格律分析) 　　22. University Wits(大学才子) 　　University Wits refer to a group of scholars during the Elizabethan Age who graduated from either oxford or Cambridge. They came to London with the ambition to become professional writers. Some of them later became famous poets and playwrights. They were called” University Wits” 　　23.Foreshadowing(预兆) 　　Foreshadowing, the use of hints or clues in a novel or drama to suggest what will happen next. Writers use Foreshadowing to create interest and to build suspense. 　　method used to build suspense by providing hints of what is to come. 　　24. Soliloquy(独白) 　　Soliloquy, in drama, means a moment when a character is alone and speaks his or her thoughts aloud..2>the line“to be, or not to be, that is the question”, which begins the famous soliloquy from Shakespeare"s Hamlet. 　　25.Narrative Poem(叙述诗) 　　Narrative Poem refers to a poem that tells a story in verse, 　　2>three traditional types of narrative poems include ballads, epics, metrical romances. 　　3>it may consist of a series of incidents, as John Milton"s paradise lost. 　　26.Robin Hood(罗宾.豪) 　　Robin hood is a legendary hero of a series of English ballads, some of which date from at least the 14th century. 　　2>the character of Robin Hood is many-sided. Strong, brave and intelligent, he is at the same time tender-hearted and affectionate. 　　3>the dominant key in his character is his hatred for the cruel oppression and his love for the poor and downtrodden.4>another feature of Robin"s view is his reverence for the king, Robin Hood was a people"s hero. 　　27. Beowulf(贝奥武甫) 　　Beowulf, a typical example of old English poetry, is regarded as the greatest national epic of t he Anglo-Saxons. 2>the epic describes the exploits of a Scandinavian hero, Beowulf, in fighting against the monster Grendel, his revengeful nother, and a fire-breathing dragon in his declining years. While fight against the dragon, Beowulf was mortally wounded, however, he killed the dragon at the cost of his life, Beowulf is shown not only as a glorious hero but also as a protector of the people. 　　28. Baroque(巴罗克式风格) 　　This is originally a term of abuse applied to 17th century Italian art and that of other countries. It is characterized by the unclassical use of classical forms, in a literary context; it is loosely used to describe highly ornamented verse or prose, abounding in extravagant conceits. 　　这原本是用来指17世纪的意大利艺术和其他国家艺术滥用的一个术语.这种风格主要是指对古典形式的非古典运用.在文学领域,这种风格松散地用来指十分雕饰的,大量运用奇思妙想的诗歌或 散文 . 　　29. Cavalier poets(骑士派诗人) 　　A name given to supporters of Charles I in the civil war. These poets were not a formal group, but all influenced by Ben Jonson and like him paid little attention to the sonnet. Their lyrics are distinguished by short lines, precise but idiomatic diction, and an urbane and graceful wit. 　　30. Elegy(挽歌) 　　Elegy has typically been used to refer to reflective poems that lament the loss of something or someone, and characterized by their metrical form. 　　31. Restoration Comedy(复辟时期喜剧) 　　Restoration Comedy, also the comedy of manners, developed upon the reopening of the theatres after the re-establishment of monarchy with the return of Charles II.. Its predominant tone was witty, bawdy, cynical, and amoral. Standard characters include fops, bawds, scheming valets, country squires, and sexually voracious young widows and older women. The principle theme is sexual intrigue, either for its own sake or for money. 　　复辟时期的喜剧,又称社会习俗讽刺喜剧,是在查理二世君主复辟后剧院重新开业的基础上发展起来的,其主要的基调是诙谐,淫秽,挖苦和非道德.标准的角色包括花花公子,鸨母,诡计多端的仆人,乡绅,性欲旺盛的年轻寡妇和老女人.主要的主题是奸情,有的是为了性,有的是为了钱.   相关 文章 ： 1. 英美文学术语大全 2. 常用英美文学术语 3. 英美文学论文

常用的音乐术语 　　在学习音乐的过程中，如果我们连一些常用的术语都不知道，那可就是闹笑话了，那么为了避免闹笑话，一些常见的音乐术语，我们是必须知道的，下面我就来和大家介绍一下，希望能够帮助到大家! 　　1.套曲Cycle 　　一种由多乐章组合而成的大型器乐曲或声乐器 　　2.组曲Suite 　　由几个具有相对独立性的器乐曲组成的乐曲 　　3.奏鸣曲Sonata 　　指类似组曲的器乐合奏套曲.自海顿.莫扎特以后，其指由3-4个乐章组成的器乐独奏套曲(钢琴奏鸣曲)或独奏乐器与钢琴合奏的器乐曲(小提琴奏鸣曲) 　　4.交响曲symphony 　　大型管弦乐套曲，通常含四个乐章.其乐章结构与独奏的奏鸣曲相同 　　5.协奏曲concerto 　　由一件或多件独奏乐器与管弦乐团相互竞奏，并显示其个性及技巧的大型器乐套曲.分独奏协奏曲、大协奏曲、小协奏曲等 　　6.交响诗symphonicpoem 　　单乐章的标题****响音乐 　　7.音诗poeme 　　单乐章管弦乐曲，与交响诗相类似 　　8.序曲overture 　　歌剧、清唱剧、舞剧、其他戏剧作品和声乐、器乐套曲的开始曲。十九世纪又出现独立的音乐会序曲 　　9.前奏曲prelude 　　带有即兴曲的性质、有独立的乐思、常放在具有严谨结构的乐曲或套曲之前作为序引的中、小型器乐曲。 　　10.托卡塔toccata 　　节奏紧凑、快速触键的富有自由即兴性的键盘乐曲 　　11.幻想曲fantasia 　　形式自由，给人以即兴创作或自由幻想之感的器乐曲 　　12.随想曲capriccio 　　形式自由的赋格式的幻想曲，19世纪后是一种富于幻想的即兴性器乐曲 　　13.狂想曲rhapsody 　　始于19世纪初以民族或民间曲调为主要素材的具有鲜明民族特色的.器乐幻想曲 　　14.练习曲study 　　为提高乐器演奏者技术水平而写的乐曲 　　15.无词歌songswighout 　　抒情的小型器乐曲，有伴奏声部，旋律声部象歌曲样的钢琴曲 　　16.浪漫曲Romance 　　罗曼司，主要指具有抒情性的声乐曲和富有歌唱性的器乐曲 　　17.叙事曲ballade 　　富于叙事性、戏剧性的钢琴独奏曲 　　18.夜曲nocturne 　　流行于18世纪西洋贵族社会中的器乐套曲，常在夜间露天演奏 　　19.小夜曲serenade 　　晨歌的对称。起源于中世纪欧洲吟唱诗人在恋人窗前所唱的情歌 　　20.谐谑曲scherzo 　　诙谐曲。节奏强烈，速度较快、轻松活泼的三拍子器乐曲或声乐曲 　　21.间奏曲intermezzo 　　为歌剧或戏剧中的过场音乐或幕间曲;另一种为形式较自由篇幅较小的器乐曲 　　22.赋格曲fugue 　　拉丁文音译意为遁走。以复调手法写成的大型乐曲 　　23.卡农canon 　　纯以模仿手法构成的复调音乐形式 　　24.轮唱曲round 　　用同度或八度卡农手法写成的声乐曲 　　25.创意曲invention 　　复调结构的钢琴小曲。类似前奏曲或小赋格曲。巴赫始用此名称 　　26.练声曲vocalization 　　没有歌词而用韵母、音节或唱名演唱的声乐练习曲 　　27.回旋曲rondo 　　由相同的主部和几个不同的插部交替出现而构成的乐曲 　　28.变奏曲variation 　　主题及其一系列变化反复，并按照统一的艺术构思而组成的乐曲 　　29.进行曲march 　　用步伐节奏写成的乐曲 　　30.特性曲characterpiece 　　指富于诗情画意和生活情趣的器乐小曲，主要是钢琴小曲 　　31.晨歌alborada 　　起源于西班牙西北部的加利西亚的田园风味乐曲 　　32.田园曲pastorable 　　原为欧洲16-17世纪一种乡村题材的戏剧表演，歌剧的前身之一。近代音乐中是模仿牧人所吹肖姆管曲调和圣诞吹奏乐的器乐曲或声乐曲，源于意大利。 　　33.船歌barcarolle 　　威尼斯船工所唱的歌曲以及模仿这种歌曲的声乐曲和器乐曲 　　34.悲歌elegy 　　表现哀伤情绪的声乐曲或器乐曲 　　35.摇篮曲berceuse 　　抒情声乐曲或器乐曲。描写摇篮摆动的节奏，近似船歌。 　　36.嬉游曲divertimento 　　18世纪欢娱宾客的一种器乐重奏组曲 　　37.即兴曲impromptu 　　偶发创作的抒情特性曲，19世纪成为器乐短曲曲名，形式类似歌曲 　　38.无穷动perpetuummobile 　　从头至尾贯穿着急速节奏的乐曲 　　39.小品bagatelle 　　轻快，幽默的特性曲，常为钢琴小曲 　　40.幽默曲humoreske 　　富于幽默风趣或表现恬淡朴素、明朗愉快情致的器乐曲 　　41.新事曲novellette 　　始创于R.舒曼的一种钢琴特性曲 　　42.演绎曲paraphrase 　　14--16世纪教会音乐中的演绎曲是自由加工的素歌旋律。F.李斯特借用此名称称其为著名声乐曲和器乐曲，特别是为歌剧选曲所作的钢琴改编曲为演绎曲 　　43.舞曲dancemusic 　　根据舞蹈节奏写成的器乐曲或声乐曲 　　44.小步舞曲menuet 　　起源于法国民间的三拍子舞曲，因舞步极小而得名 　　45.加沃特gavotte 　　起源于法国民间的中速、四拍子舞曲 　　46.塔兰泰拉tarantella 　　起源于意大利的速度迅急、情绪热烈的舞曲 　　47.波尔卡polka 　　起源于捷克的速度较快的二拍子舞曲 　　49.华尔兹waltz 　　圆舞曲。一种起源于奥地利民间的三拍子舞曲。 　　50.马祖卡mazurka 　　起源于波兰民间的情绪活泼热烈的三拍子双人舞曲 　　51.波罗乃兹polonaise 　　波兰舞曲。起源于波兰民间的庄重，缓慢的三拍子舞曲 　　52.哈巴涅拉habanera 　　阿伐奈拉。由非洲黑人传入古巴的中速二拍子舞曲 　　53.探戈tango 　　起源非洲后传入阿根廷的中速、二拍子或四拍子的舞曲 　　54.独唱solo 　　由一人演唱，常用乐器或乐队伴奏的演唱形式，有时也用人声伴唱 　　55.齐唱unison 　　两人以上的歌唱者，按同度或八度音程关系同时演唱同一旋律的演唱形式 　　56.重唱ensemble 　　每个声部均由一人演唱的多声部声乐曲及演唱形式。按声部或人数分二重唱、三重唱、四重唱 　　57.领唱leadachorus 　　由一人唱众人和的演唱形式 　　58.合唱chorus 　　两组以上的演唱者，各按本组所担任的声部演唱同一乐曲的演唱形式 　　59.无伴奏合唱acappella 　　纯粹由人声演唱不用乐器伴奏的合唱形式 　　60.合奏ensemble 　　由多种乐器组成，常按乐器种类的不同而分为若干组，各组分别担任某些声部，演奏同一乐曲的演奏形式 　　61.伴奏accompaniment 　　由一件或多件乐器奏出，用以衬托主要的歌唱或器乐演奏部分。用以烘托舞蹈的器乐配乐也常称为伴奏 　　62.独奏solo 　　由一人演奏某一乐器，常用其他乐器或乐队伴奏 　　63.齐奏unison 　　两个以上的演奏者，按同度或八度音程关系同时演奏同一曲调 　　64.室内乐chambermusic 　　通常指由少数人演奏，演唱的重奏曲、重唱曲。 　　65.二重奏Duet 　　由两件乐器分奏两个声部的室内乐 　　66.三重奏Trio 　　由三件乐器分奏三个声部的室内乐 　　67.弦乐三重奏stringtrio 　　由小提琴、中提琴、大提琴分奏三个声部的室内乐 　　68.钢琴三重奏pianotrio 　　由钢琴与另两件乐器(弦乐器或管乐器)演奏的室内乐 　　69.四重奏quartet 　　由四件乐器分奏四个声部的室内乐 　　70.弦乐四重奏stringquartet 　　由两个小提琴，一个中提琴、一个大提琴演奏的室内乐 　　71.钢琴四重奏pianoquartet 　　由小提琴、中提琴、大提琴、钢琴演奏的室内乐 ;

花费了整个书解释灰色的“挽歌的评论家”。 是否是讽刺的，因为Cleanth溪将让我们相信，或者是它感伤的，塞缪尔・约翰逊也许说？ 从死亡的角度它明确关于人的经验的统一性的灰色的忧郁的民主感觉或者灰色谈论另一名挽歌作者生与死，一谁，他的青年时期的，遭受了朦胧和“粗鲁的祖先一样”在国家坟园？ 灰色应该增加了最后的“墓志铭”到他的工作？ 记忆做了灰色的“挽歌”一被爱的诗用英语的Readers -- 它的128条线的几乎四分之三出现于引文牛津书 -- 似乎平静由这些问题。 什么，随着时间的推移，事关给读者是“挽歌的”力量慰问。 它的标题描述它的作用： 哀叹某人的死亡和肯定在它之前的生活，以便可以安慰我们。 一也许在数十年匿名劳方，无知，未知数以后死或缺乏地记住，你潜在未实现，灰色的诗说，但是那生活比富有的生活将有许多喜悦和在其他的少量不良后果，强有力，著名。 并且，金钱比一个共同的坟墓标志可能买做没有已故的伟大的纪念品。 最后，什么计数是友谊，哀悼，哭泣为由是接近的人。 “他给了Mis"ry他有的全部，泪花，/他从Heav"n (‘twas全部的gain"d他wish"d)朋友” (123-24)。 这种情绪，找到在有争议的墓志铭，肯定什么坟园的孤独的访客及早说： “一些喜欢乳房分开灵魂依靠，/闭合值的眼睛要求”的一些虔诚下落(89-90)。 灰色的克制、他的习性讲话在普遍性而不是特殊性和他的从一位报告人的转移到另一个，控制这些线召集的强有力的感觉。 他们构筑一切在从观察者的某一距离。 The诗打开与听起来的死亡响铃，丧钟。 lowing牛，在飞行中甲虫的声音低沉单调的，发叮当声绵羊响铃和呵斥的猫头鹰的(诗节1-3)哀悼通过一天，被描述隐喻地，好象它人，解说员的眼睛适宜地然后转移到一个人的坟园。 从绞的生物，苦干，转动，并且漫步，他仍然看，沈默“mould"ring的”堆，和在草皮在“粗鲁的祖先” “睡眠”在“贫贱床上的一个被月光照亮塔之下”。 灰色做一位真实地人死亡敲丧钟的他的日落。 早晨鸟鸣声，平衡家庭生活或者种田责任(诗节5-7)不会醒来，欢迎或者占领他们。 他们逐字地属于镰刀，犁耙，并且那的轴他们曾经挥动了。 他们曾经耕种了glebe土地，教会拥有的领域，但是现在说谎在另一教会财产，教区坟园之下。

2013年《神医》（Der Medicus）2013年《安德的游戏》（Ender"s Game）2013年《钢铁侠3》 （Iron man 3)2012年《独裁者》（The Dictator）2011年 《雨果》（“Georges Méliès”）2010年《波斯王子：时之沙》（“Prince of Persia: The Sands of Time”）2009年《禁闭岛》（shutter Island）2008年《战争公司》（“War,Inc.”）2008年《禁欲》（“elegy”）2006年《横穿西伯利亚》（"Transsiberian"）2006年 《幸运数字斯莱文》（又名：神鬼运转，饰演The Rabbi）2005年 《吸血莱恩》2005年 《雾都孤儿》2004年《零号嫌疑犯》（“Suspect Zero”）2002年《不老泉》（“Tuck Everlasting”）2002年《爱的胜利》（“The Triumph of Love”）2001年《安妮-弗兰克》（“Anne Frank: The Whole Story”）2001年《性感野兽》（“Sexy Beast”）2001年《人工智能》2000年《交火规则》（“Rules Of Engagement”）2000年《外星人的使命》（“What Planet Are You From?”）1999年《鬼屋》（“Spooky House”）1999年《爱丽丝漫游奇境》（“Alice In Wonderland”）1999年《忏悔》（“The Confession”）1998年《临别狂想曲》（“Parting Shots”）1998年《斯威尼-托德的传说》（“The Tale of Sweeney Todd”）1997年《照片中的精灵》（“Photographing Fairies”）1997年《魔鬼谍报员》（“The Assignment”）1997年《大亨争霸战》（“Weapons of Mass Distraction”）1996年《第十二夜》（“Twelfth Night”）1996年《摩西》（“Moses”）1995年《异种》（“Species”）1994年《不道德的审判》（“Death And The Maiden”)1993年《辛德勒的名单》（“Schindler"s List”）1993年《王者之旅》（“Searching For Bobby Fischer”）1993年《冒牌总统》（“Dave”）1992年《通天神偷》（“Sneakers”）1991年《巴格西》（“Bugsy”）1990年《孩子们》（“The Children”）1990年《第五只猴子》（“The Fifth Monkey”）本·金斯利出席活动(6张)1989年《越空追击》（“Slipstream”）1988年《列车》（“Lenin: The Train”）1988年《帕斯卡尔岛》（“Pascali"s Island”）1988年《证据》（“Testimony”）1988年《福尔摩斯外传》(“Without a Clue”）1987年《莫里斯》（“Maurice”）1985年《赛拉斯-马勒》（“Silas Marner: The Weaver Of Raveloe”）1985年《后宫》（“Harem”）1985年《海龟日记》（“Turtle Diary”）1983年《背叛者》（“Betrayal”）1982年《甘地》（“Gandhi”）1973年《苦力》（“Hard Labour”）1972年《急先锋》（“Fear Is The Key”）

《金色琴弦》嘿嘿~日野香穗子： 柴可夫斯基 旋律 TCHAIKOVSKY - Melody Op. 42 No. 乘着歌声的翅膀 （门德尔松） 2.卡农 （帕海贝尔（Johann Pachelbel）《Canon and Gigue in D》3.加伏特舞曲 （Gossec戈赛克的 Gavotte加伏特舞曲） 4.离别曲 （土浦梁太郎在第四话的录象中弹奏的曲子 土浦梁太郎 日野香穗子在第五话比赛中也是演奏此曲） 5.斗牛士之歌 6.小狗圆舞曲 （肖邦 降D大调,op.64,no.1 小狗圆舞曲 第四话土浦梁太郎录象中演奏） 7.圣母颂 （舒伯特《Ave Maria》《圣母颂》 月森莲在第二话中演奏的作品。） 8.自新大陆 （Dvorak德沃夏克Op.09 的 From the New World 自新大陆 第二乐章 王崎信武在公园演奏的） 9. 晨景 （Grieg(格里格)的 Morning from "Peer Gynt"(培尔·金组曲之"晨景") 柚木梓马比赛曲目） 10.双鹰旗下进行曲 （Wagner(瓦格纳)的 Under the Double Eagle《双鹰旗下进行曲》 火原和树） 11.D大调第一波兰舞曲 （维尼亚夫斯基 D大调第一波兰舞曲 月森莲的第一次比赛曲） 12.降B大调大提琴协奏曲 （志水桂一在第一话里演奏的 Bocherini(博凯里尼)的 Concerto B flat Major《降B大调大提琴协奏曲》） 13.圣桑 天鹅 （法国作曲家圣桑《动物狂想曲》中,第十三首大提琴作品《天鹅》为其最为知名的代表作。 志水桂一第十话比赛曲目） 14.爱的礼赞 （《爱的礼赞》亦译作《爱的问候》及《情人的问候》，是小提琴独奏曲。本曲是英国作曲家爱德华－埃尔加（Edward Elgar,1857－1934）的代表作之一，而且是小提琴独奏曲中的名篇。 金色琴弦OP完整版中出现的伴奏） 15.G小调恰空 （Tomaso Antonio Vitali托马索·安东尼奥·维塔利《G小调恰空》（Chaconne in G Minor） 第8话月森莲在家拉的曲子……） 16.升c小调幻想即兴曲 （升c小调幻想即兴曲 肖邦Fantasie Impromptu In C Sharp Minor OP 66 Chopin 土浦梁太郎第三话末演奏曲子） 17.马斯奈 泰伊思冥想曲 （马斯涅的《沉思》小提琴独奏曲， 原曲为马斯涅的歌剧《泰伊思》第二幕第一场与第二场中间所奏的间奏曲，故又称为”泰伊思冥想曲”，常被单独演奏，成为小提琴独奏曲中经久不衰的名篇，也是马斯涅的代表作品。 柚木梓马第十话比赛曲目） 18.G大调浪漫曲 （雷格《G大调浪漫曲》 冬海笙子的第一次比赛曲目） 19.g小调柔板 （Adagio 舒缓曲 托马索·阿尔比诺尼（Tomaso Albinoni, 1671-1750） 第11话柚木梓马在天台上演奏的……） 20.圣桑 浪漫曲 （Op. 37, Romance in D-flat major for flute and orchestra 冬海笙子第2次比赛曲目） 21.美丽的夕阳 （Beau soir, for vl. and pno -Debussy 德彪西 美丽的夕阳 金色琴弦12话王崎信武） 22.旋律 （TCHAIKOVSKY - Melody Op. 42 No. 3 柴可夫斯基 旋律 日野第13话） 23.G大调弦乐小夜曲 （莫扎特《G大调弦乐小夜曲 K.525》 第一乐章 Eine Kleine Nachtmusik，1.Allegro 16话四重奏） 24.小夜曲 （Schudert 舒伯特小夜曲Serenade 火原和树第3次比赛曲目） 25.西西里舞曲 （西西里舞曲 佛瑞Gabriei Faure Siciliano 志水桂一第三次比赛曲目） 26.茨冈狂想曲 （Maurice Ravel Poeme, Op. 25拉威尔-茨冈狂想曲 月森莲第三次比赛曲目） 27.3首浪漫曲 （舒曼 Schumann _3首浪漫曲 3 Romances Op 94 冬海笙子第三次比赛曲目） 28.革命 （c小调第12号练习曲 革命 肖邦 Etude Revolutionary In C Minor OP 10 12 Chopin 土浦梁太郎第三次比赛曲目） 29.Elegy （Massenet, Jules Elegy, Op.10, No.5 火原和树15话） 要下载地址可以加我

佩内洛普-克鲁兹 最近的看得她的片子是午夜巴塞罗那 女三号吧算英文名：Penelope Cruz 其他译名：潘妮洛普、帕尼洛普-克鲁兹 原名：Penélope Cruz Sánchez 生日：1974年4月28日 昵称：Madonna of Madrid Pe 身高：166cm 所属国家：西班牙 获奖情况： 1998年西班牙影后(The Girl of Your Dreams) 1993年《Belle Epoque》获得奥斯卡最佳外语片 1999年《有关我母亲的一切》获得奥斯卡最佳外语片[编辑本段]演艺历程 1974年4月28日，佩内洛普·克鲁兹出生在西班牙首都马德里。她最初进入娱乐圈，是通过与音乐人纳乔卡诺合作拍摄录像片《命运的力量》，1991年，她出演了自己的第一部影片由拉菲尔阿尔卡萨尔执导的《希腊迷宫》，1992年又出演毕卡斯卢纳的《火腿、火腿》，为自己在西班牙影坛确立了一席之地，随后她片约不断，同年又拍摄了《美丽的季节》、《反叛者》及《因为有爱》。 1994年，克鲁兹到美国发展，1995年与尼克汉姆合作了《天使之恋》，1997年她第一次与著名导演阿莫多瓦合作，在其执导的《抖动的肉体》中饰演一个小角色。而1998年她主演的《你眼中的女孩》赢得了影迷的一致赞誉并一跃成为国际明星。而1999年她再次与阿莫多瓦合作的《我的母亲》为她带来莫大荣誉，她的身影出现在戛纳、柏林、威尼斯和奥斯卡等众多奖项的领奖台上，佩内洛普·克鲁兹也成为继同胞安东尼班德拉斯之后，又一位成功进军好莱坞的西班牙人。2006年，她和阿莫多瓦又一次合作影片《回归》，这是她在好莱坞打拼多年之后对祖国,对自己的一次回归。 克鲁兹的美貌也为人们带来了不少谈资，先是和马特·达蒙传出绯闻，然后是尼古拉斯·凯奇，而后又是大情圣汤姆·克鲁斯，两人已经要谈婚论嫁，后又忽然宣告分手。再后来是《撒哈拉》的男主角马修麦康纳，亦终究劳雁分飞。最近的是她的同乡贾维尔·巴登。 趣闻琐事： ·在拍完《骏马》之后，佩内洛普成为了一名素食者。 ·曾在位于加尔格达的修女特雷萨开办的儿童避难所义务劳动一周，之后她把自己拍摄《乡间高低路》的片酬全部捐献给了避难所。[编辑本段]电影列表 《破碎的拥抱》Los Abrazos rotos (2009年电影） 《午夜巴塞罗那》Vicky Cristina Barcelona（2008年电影） 《晚安好梦》The Good Night（2007年电影） 《斗牛士》Manolete（2007年电影） 《挽歌》 Elegy (2007年电影) 《回归 》Volver (2006年电影) 《侠盗魅影/女抢匪 》Bandidas (2006年电影) 《撒哈拉 》Sahara (2005年电影) 《 Chromophobia 》(2005年电影) 《圣诞夜奇迹 》Noel (2004年电影) 《胡思乱想/乱世三人行/巴黎烟云》Head in the Clouds (2004年电影) 《别动 》Non ti muovere (2004年电影) 《芳芳郁金香》Fafan la Tulipe (2003年电影) 《鬼影人/哥西卡》Gothika (2003年电影) 《蒙面与匿名》Masked and Anonymous (2003年电影) 《两对冤家一张床》Waking Up in Reno (2002年电影) 《香草天空》Vanilla Sky (2001年电影) 《柯莱利上尉的曼陀林》Captain Corelli"s Mandolin (2001年电影) 《大毒枭》Blow (2001年电影) 《没有上帝的消息》Sin noticias de Dios (2001年电影) 《脱缰野马》All the Pretty Horses (2000年电影) 《女人在上》Woman on Top (2000年电影) 《赤裸贵妇/宫廷怨史》Volavérunt (1999年电影) 《关于我的母亲/我的母亲》Todo sobre mi madre (1999年电影) 《天使之恋 》Talk of Angels (1998年电影) 《你梦中的姑娘》 La niña de tus ojos (1998年电影) 《睁开你的双眼》 Abre los ojos (1997年电影) 《颤抖的欲望》 Carne trémula (1997年电影) 《天堂颜色》A Corner of Paradise (1997年电影) 《塞莱斯蒂娜》La Celestina (1996年电影) 《爱情有碍健康》El amor perjudica seriamente la salud (1996年电影) 《 Alegre ma non troppo 》(1994年电影) 《蝴蝶效应》El efecto mariposa (1994年电影) 《女巫》Brujas (1994年电影) 《全是谎言》Todo es mentira (1994年电影) 《Entre rojas》(1994年电影) 《反叛者》La rebelde (1993年电影) 《因为爱你》Por amor, sólo por amor (1993年电影) 《四千金的情人》Belle Époque (1992年电影) 《同妻共夫》Jamón, Jamón (1992年电影) 《希腊迷宫》El laberinto griego (1991年电影)[编辑本段]电影奖项 英国学院奖（BAFTA)最佳女配角Penélope Cruz《午夜巴塞罗纳》Vicky Cristina Barcelona 奥斯卡金像奖 2007 Nominated Academy Award Best Performance by an Actress in a Leading Role for: Volver (2006) ALMA Awards 1999 Nominated ALMA Award Outstanding Actress in a Feature Film for: The Hi-Lo Country (1998) 2002 Nominated ALMA Award Outstanding Actress in a Motion Picture for: Vanilla Sky (2001) 英国电影和电视艺术学院 2007 Nominated BAFTA Award Best Actress in a Leading Role for: Volver (2006) Blockbuster Entertainment Awards 2001 Nominated Blockbuster Entertainment Award Favorite Actress - Drama/Romance for: All the Pretty Horses (2000) 戛纳电影节 - 最佳女演员 : Volver (2006) avec Carmen Maura; Lola Dueñas; Blanca Portillo; Yohana Cobo et Chus Lampreave David di Donatello Awards 2004 Won David Best Actress (Migliore Attrice Protagonista) for: Non ti muovere (2004) European Film Awards 1999 Nominated European Film Award Best Actress for: La Niña de tus ojos (1998) 2001 Nominated Audience Award Best Actress for: Captain Corelli"s Mandolin (2001) 2003 Nominated Audience Award Best Actress for: Fanfan la tulipe (2003) 2004 Nominated European Film Award Best Actress for: Non ti muovere (2004) 2004 Won Audience Award Best Actress for: Non ti muovere (2004) 2006 Won European Film Award Best Actress for: Volver (2006) Fotogramas de Plata 1999 Mejor Actriz de Cine por: La Niña de tus ojos (1998) 2007 Mejor Actriz de Cine por Volver (2006) 金球奖 2007 Nominated Golden Globe Best Actress in a Dramatic Role for: Volver (2006) Goya Awards 1993 (Mejor Actriz Principal) por: Jamón, jamón (1992) 1999 (Mejor Actriz Principal) por: La Niña de tus ojos (1998) 2005 (Mejor Actriz Principal) nominada por: Non ti muovere (2004) 2007 (Mejor Actriz Principal) por: Volver (2006) Imagen Foundation Awards 2003 - Creative Achievement Award MTV Movie Awards 2002 Nominated MTV Movie Award Breakthrough Female Performance for: Blow (2001) Ondas Awards 1993 Won Film Award Best Acting (Mejor Interpretación) Tied with Javier Bardem (No award category given officially). Festival de cine de Peñíscola 1995 Mejor actriz por Todo es mentira (1994) 金酸莓奖 2002 Nominated Razzie Award Worst Actress for: Blow (2001), Captain Corelli"s Mandolin (2001) and Vanilla Sky (2001). Unión de actores 1993 nominada a actriz novel por Jamón, jamón (1992) 1993 Mejor actriz secundaria por Belle époque (1992) 1998 Nominada a actriz secundaria por Carne trémula (1997) 1999 Mejor actriz principal por La Niña de tus ojos (1998) 2007 Mejor actriz principal por Volver (2006)

ELERGY WRITTEN IN A COUNTRY CHURCHYARD The curfew tolls the knell of parting day; The lowing herd wind slowly o"er the lea; The ploughman homeward plods his weary way, And leaves the world to darkness and to me. 墓园挽歌 白昼将残尽，晚钟促落晖。 黄犊鸣草原，逶迤缓缓归。 田夫荷锄走，赴家意沉昏。 玄冥盈天地，孤影立乾坤。 Now fades the glimmering landscape on the sight, And all the air a solemn stillness holds, Save where the beetle wheels his droning flight, And drowsy tinklings lull the distant folds; 夕曛逐黯淡，晚景渐暝灭。 万化皆偃息，阴肃笼四野。 唯见虫旋舞，但闻语切切。 牧铃声思睡，催羊入圈歇。 Save that, from yonder ivy-mantled tower, The moping owl does to the moon complain Of such as, wandering near her secret bower, Molest her ancient solitary reign. 薜荔摇青气，蒙络罩尖顶。 栖栖枝上枭，磔磔怨蟾光： 窥我私巢久，徘徊未离休。 古已长居此，何事扰清幽。 Beneath those rugged elms, that yew-tree"s shade Where heaves the turf in many a mouldering heap, Each in his narrow cell for ever laid, The rude forefathers of the hamlet sleep. 峥嵘耸青榆，蔼蔼立紫杉。 翳下多荒坟，隆冒蒿草间。 隘隘见方穴，寂寂长眠人。 欲问谁偃卧，野夫与村氓。 The breezy call of incense-breathing morn, The swallow twittering from the straw-built shed, The cock"s shrill clarion, or the echoing horn, No more shall rouse them from their lowly bed. 侵晓花香郁，翦翦风轻唤。 茅庐草堂下，家燕语呢喃。 司晨雄鸡啼，行猎号角鸣。 陋塌一已卧，万声莫能醒。 For them no more the blazing hearth shall burn, Or busy housewife ply her evening care; No children run to lisp their sire"s return, Or climb his knees the envied kiss to share. 炉膛火烁烁，主妇忙夜活。 烧饭兼添火，此景已不复。 娇儿尚学语，哑哑迎父归。 爬膝争宠爱，斯景亦难追。 Oft did the harvest to their sickle yield; Their furrow oft the stubborn glebe has broke; How jocund did they drive their team afield! How bowed the woods beneath their sturdy stroke! 昔往镰刀利，行处皆披靡。 瘠土硗薄地，犁沟亦能理。 驱驾于南亩，耦耕欢时务。 千斤挥巨斧，群林纷鞠伏。 Let not ambition mock their useful toil, Their homely joys, and destiny obscure; Nor grandeur hear with a disdainful smile The short and simple annals of the poor. 妄者莫嘲讽，劳碌终有功。 微贱无须叹，家乐可颂扬。 蓬户家史短，简略不足耀。 权贵或有闻，无为相讥诮。 The boast of heraldry, the pomp of power, And all that beauty, all that wealth e"er gave, Awaits alike the inevitable hour: The paths of glory lead but to the grave. 炫炫之豪族，煌煌之王侯， 美貌所招徕，财货所添购， 最终皆难免，灰飞烟灭时。 荣华何足道，百年归丘垄。

DestingIcefire Stopain Alsacecoser 情禁 Zene▋ StrAng3 终陌、 Scofild Ashily 万念 mannen Elegy Guard╯寂寞 Perfect -Emotiona°要珍惜 蓝颜 Memorie▲ 玩情desire ▲ 刺痛enough※ 血灵栀° Marvel Allure Love 倾城恋 侵蚀Emotiona° Gsexuality Grsrfegt Vengeance 失控▍Insane Angelwei Vurtnel Celerys 温存迷醉 Sexy 若凌° Provence - DyNAmIte 心如 Mo Maek 莫陌 旖旎 ecstAsy 别挽留▎ Letitgo Dreamspirit 丿Kiss灬 芋头 Glmlaoda

mei zhe hong

/car 556到564之间吧。/car 560是sultan。因为这6个车ID排在一起了。

"ELEGY WRITTEN INA COUNTRY CHURCH-YARD"The curfew tolls the knell of parting day,The lowing herd winds slowly o"er the lea,The ploughman homeward plods his weary way,And leaves the world to darkness and to me.Now fades the glimmering landscape on the sight,And all the air a solemn stillness holds,Save where the beetle wheels his droning flight,And drowsy tinklings lull the distant folds:Save that from yonder ivy-mantled towerThe moping owl does to the moon complainOf such as, wandering near her secret bower,Molest her ancient solitary reign.Beneath those rugged elms, that yew-tree"s shade,Where heaves the turf in many a mouldering heap,Each in his narrow cell for ever laid,The rude Forefathers of the hamlet sleep.The breezy call of incense-breathing morn,The swallow twittering from the straw-built shed,The cock"s shrill clarion, or the echoing horn,No more shall rouse them from their lowly bed.For them no more the blazing hearth shall burn,Or busy housewife ply her evening care:No children run to lisp their sire"s return,Or climb his knees the envied kiss to share,Oft did the harvest to their sickle yield,Their furrow oft the stubborn glebe has broke;How jocund did they drive their team afield!How bow"d the woods beneath their sturdy stroke!Let not Ambition mock their useful toil,Their homely joys, and destiny obscure;Nor Grandeur hear with a disdainful smileThe short and simple annals of the Poor.The boast of heraldry, the pomp of power,And all that beauty, all that wealth e"er gave,Awaits alike th" inevitable hour:-The paths of glory lead but to the grave.Nor you, ye Proud, impute to these the faultIf Memory o"er their tomb no trophies raise,Where through the long-drawn aisle and fretted vaultThe pealing anthem swells the note of praise.Can storied urn or animated bustBack to its mansion call the fleeting breath?Can Honour"s voice provoke the silent dust,Or Flattery soothe the dull cold ear of Death?Perhaps in this neglected spot is laidSome heart once pregnant with celestial fire;Hands, that the rod of empire might have sway"d,Or waked to ecstasy the living lyre:But Knowledge to their eyes her ample page,Rich with the spoils of time, did ne"er unroll;Chill Penury repress"d their noble rage,And froze the genial current of the soul.Full many a gem of purest ray sereneThe dark unfathom"d caves of ocean bear:Full many a flower is born to blush unseen,And waste its sweetness on the desert air.Some village-Hampden, that with dauntless breastThe little tyrant of his fields withstood,Some mute inglorious Milton here may rest,Some Cromwell, guiltless of his country"s blood.Th" applause of list"ning senates to command,The threats of pain and ruin to despise,To scatter plenty o"er a smiling land,And read their history in a nation"s eyes,Their lot forbad: nor circumscribed aloneTheir growing virtues, but their crimes confined;Forbad to wade through slaughter to a throne,And shut the gates of mercy on mankind,The struggling pangs of conscious truth to hide,To quench the blushes of ingenuous shame,Or heap the shrine of Luxury and PrideWith incense kindled at the Muse"s flame.Far from the madding crowd"s ignoble strife,Their sober wishes never learn"d to stray;Along the cool sequester"d vale of lifeThey kept the noiseless tenour of their way.Yet e"en these bones from insult to protectSome frail memorial still erected nigh,With uncouth rhymes and shapeless sculpture deck"d,Implores the passing tribute of a sigh.Their name, their years, spelt by th" unletter"d Muse,The place of fame and elegy supply:And many a holy text around she strews,That teach the rustic moralist to die.For who, to dumb forgetfulness a prey,This pleasing anxious being e"er resign"d,Left the warm precincts of the cheerful day,Nor cast one longing lingering look behind?On some fond breast the parting soul relies,Some pious drops the closing eye requires;E"en from the tomb the voice of Nature cries,E"en in our ashes live their wonted fires.For thee, who, mindful of th" unhonour"d dead,Dost in these lines their artless tale relate;If chance, by lonely contemplation led,Some kindred spirit shall inquire thy fate, --Haply some hoary-headed swain may say,"Oft have we seen him at the peep of dawnBrushing with hasty steps the dews away,To meet the sun upon the upland lawn;"There at the foot of yonder nodding beechThat wreathes its old fantastic roots so high.His listless length at noontide would he stretch,And pore upon the brook that babbles by."Hard by yon wood, now smiling as in scorn,Muttering his wayward fancies he would rove;Now drooping, woeful wan, like one forlorn,Or crazed with care, or cross"d in hopeless love."One morn I miss"d him on the custom"d hill,Along the heath, and near his favourite tree;Another came; nor yet beside the rill,Nor up the lawn, nor at the wood was he;"The next with dirges due in sad arraySlow through the church-way path we saw him borne,-Approach and read (for thou canst read) the layGraved on the stone beneath yon aged thorn."The EpitaphHere rests his head upon the lap of EarthA youth to Fortune and to Fame unknown.Fair Science frowned not on his humble birth,And Melacholy marked him for her own.Large was his bounty, and his soul sincere,Heaven did a recompense as largely send:He gave to Misery all he had, a tear,He gained from Heaven ("twas all he wish"d) a friend.No farther seek his merits to disclose,Or draw his frailties from their dread abode(There they alike in trembling hope repose),The bosom of his Father and his God.By Thomas Gray (1716-71).下面是赏析Commentary by Ian Lancashire(2002/9/9) Critics have spent entire books interpreting Gray"s "Elegy." Is it ironic, as Cleanth Brooks would have us believe, or is it sentimental, as Samuel Johnson might say? Does it express Gray"s melancholic democratic feelings about the oneness of human experience from the perspective of death, or does Gray discuss the life and death of another elegist, one who, in his youth, suffered the same obscurity as the "rude forefathers" in the country graveyard? Should Gray have added the final "Epitaph" to his work? Readers whose memories have made Gray"s "Elegy" one of the most loved poems in English -- nearly three-quarters of its 128 lines appear in the Oxford Book of Quotations -- seem unfazed by these questions. What matters to readers, over time, is the power of "Elegy" to console. Its title describes its function: lamenting someone"s death, and affirming the life that preceded it so that we can be comforted. One may die after decades of anonymous labour, uneducated, unknown or scarcely remembered, one"s potential unrealized, Gray"s poem says, but that life will have as many joys, and far fewer ill effects on others, than lives of the rich, the powerful, the famous. Also, the great memorials that money can buy do no more for the deceased than a common grave marker. In the end, what counts is friendship, being mourned, being cried for by someone who was close. "He gave to Mis"ry all he had, a tear, / He gain"d from Heav"n ("twas all he wish"d) a friend" (123-24). This sentiment, found in the controversial epitaph, affirms what the graveyard"s lonely visitor says earlier: "On some fond breast the parting soul relies, / Some pious drops the closing eye requires" (89-90). Gray"s restraint, his habit of speaking in universals rather than particulars, and his shifting from one speaker to another, control the powerful feelings these lines call up. They frame everything at some distance from the viewer. The poem opens with a death-bell sounding, a knell. The lowing of cattle, the droning of a beetle in flight, the tinkling of sheep-bells, and the owl"s hooting (stanzas 1-3) mourn the passing of a day, described metaphorically as if it were a person, and then suitably the narrator"s eye shifts to a human graveyard. From creatures that wind, plod, wheel, and wander, he looks on still, silent "mould"ring" heaps, and on turf under a moonlit tower where "The rude forefathers" "sleep" in a "lowly bed." Gray makes his sunset a truly human death-knell. No morning bird-song, evening family life, or farming duties (stanzas 5-7) will wake, welcome, or occupy them. They have fallen literally under the sickle, the ploughshare, and the axe that they once wielded. They once tilled glebe land, fields owned by the church, but now lie under another church property, the parish graveyard. This scene remains in memory as the narrator contrasts it with allegorical figures who represent general traits of eighteenth-century humanity: Ambition (29), Grandeur (31), Memory (38), Honour (43), Flattery and Death (44), Knowledge (49), Penury (51), Luxury and Pride (71), Forgetfulness (85), and Nature (91). In shifting from individuals to universal types that characterize the world at large, the poem exchanges country "darkness" for civic and national life. Yet, against expectations, the narrator defends the dead in his remote churchyward cemetery from the contempt of abstractions like Ambition and Grandeur. He makes four arguments. First, the goals of the great, which include aristocratic lineage, beauty, power, wealth, and glory, share the same end as the "rude forefathers," the grave. Human achievements diminish from the viewpoint of the eternal. The monuments that Memory erects for them ("storied urn or animated bust"), the church anthems sung at their funeral, and the praise of Honour or Flattery before or after death also cannot ameliorate that fate. The narrator reduces the important, living and deceased, to the level of the village dead. Secondly, he asks pointedly why, were circumstances different, were they to have been educated with Knowledge"s "roll" and released from "Chill Penury," would they not have achieved as much in poetry and politics as did figures like Hampden, Milton, and Cromwell? Thirdly, the narrator suggests that his unimportant, out-of-power country dead lived morally better lives by being untempted to commit murder or act cruelly. Last, "uncouth rhymes," "shapeless sculpture," and "many a holy text" that characterize their "frail" cemetery memorials, and even those markers with only a simple name and age at death, "spelt by th" unlettered muse" (81), serve the important universal human needs: to prompt "the passing tribute of a sigh" (80) and to "teach the rustic moralist to die" (84). In the next three stanzas, the narrator -- the "me" who with darkness takes over the world at sunset (4) -- finally reveals why he is in the cemetery, telling the "artless tale" of the "unhonour"d Dead" (93). He is one of them. Like the "rude Forefathers" among whom he is found, the narrator ghost is "to Fortune and to Fame unknown" (118). Like anyone who "This pleasing anxious being e"er resigned," he -- in this narrative itself -- casts "one longing, ling"ring look behind" to life (86-88). As he says, "Ev"n from the tomb the voice of Nature cries" (91). He tells us the literal truth in saying, "Ev"n in our ashes live their wonted fires" (92). These fires appear in his ashes, which speak this elegy. He anticipates this astounding confession earlier in saying: Perhaps in this neglected spot is laid Some heart once pregnant with celestial fire;Hands, that the rod of empire might have sway"d,or wak"d to ecstasy the living lyre. As Nature"s voice from the dead, the "living lyre," he addresses himself in the past tense as having passed on, as of course he did. Should some "kindred spirit" ask about his "fate," that of the one who describes the dead "in these lines," an old "swain" (shepherd) might describe his last days. If so, he would have seen, with "another" person, the narrator"s bier carried towards the church and his epitaph "Grav"d on the stone" (116). Only a ghost would know, with certainty, that "The paths of glory lead but to the grave" (36). Little wonder that the poem ends with the swain"s invitation to the "kindred spirit" to read the text of the narrator"s own epitaph. The narrator ghost gave "all he had, a tear," and did get the only good he wished for, "a friend." He affirms the value of friendship above all other goods in life. His wish is granted by the kindred spirit who seeks out his lost companion. Critics have gone to some lengths to explain the narrator"s address to himself as "thee" (93). Some believe Gray slipped and meant "me" instead (despite "thy" at 96). Others argue that the dead narrator is "the" unlettered muse," the so-called "stonecutter-poet" who wrote simple epitaphs with "uncouth rhymes" (79-81), although the dead youth"s knowledge of "Fair Science" (119) clearly rules that out. Still others believe that Gray himself is the narrator, but his age at the poem"s completion was 35, hardly a youth. The "Elegy" is spoken, not by Gray but by a dramatic persona. The simplest explanation is that the poem is a ghost"s monologue with the living about death. "Elegy" belongs to the so-called "graveyard" school of poetry. It follows Churchill"s "The Ghost" and anticipates the gothic movement. Gray adopts and

感觉还有点挽留的意思噢！

Introduction.Background and Text. Lycidas first appeared in a 1638 collection of elegies entitled Justa Edouardo King Naufrago. This collection commemorated the death of Edward King, a collegemate of Milton"s at Cambridge who drowned when his ship sank off the coast of Wales in August, 1637. Milton volunteered or was asked to make a contribution to the collection. The present edition follows the copy of Poems of Mr. John Milton(1645) in the Rauner Collection at Dartmouth College known as Hickmott 172. Milton made a few significant revisions to Lycidas after 1638. These revisions are noted as they occur.Form and Structure. The structure of Lycidas remains somewhat mysterious. J. Martin Evansargues that there are two movements with six sections each that seem to mirror each other. Arthur Barker believes that the body of Lycidas is composed of three movements that run parallel in pattern. That is, each movement begins with an invocation, then explores the conventions of the pastoral, and ends with a conclusion to Milton"s emotional problem (quoted in Womack).Voice. Milton"s epigram labels Lycidas a monody: a lyrical lament for one voice. But the poem has several voices or personae, including the uncouth swain (the main narrator), who is interrupted first by Phoebus (Apollo), then Camus (the river Cam, and thus Cambridge University personified), and the Pilot of the Galilean lake (St. Peter). Finally, a second narrator appears for only the last eight lines to bring a conclusion in ottava rima (see F. T. Prince). Before the second narrator enters, the poem contains the irregular rhyme and meter characteristic of the Italian canzone form. Canzone is essentially a polyphonic lyrical form, hence creating a serious conflict with the monody. Milton may have meant monody in the sense that the poem should be regarded more as a story told completely by one person as opposed to a chorus. This person would presumably be the final narrator, who seemingly masks himself as the uncouth swain. This concept of story-telling ties Lycidas closer to the genre of pastoral elegy.Genre. Lycidas is a pastoral elegy, a genre initiated by Theocritus, also put to famous use by Virgil and Spenser. Christopher Kendrickasserts that one"s reading of Lycidas would be improved by treating the poem anachronistically, that is, as if it was one of the most original pastoral elegies. Also, as already stated, it employs the irregular rhyme and meter of an Italian canzone. Stella Revardsuggests that Lycidas also exhibits the influence of Pindaric odes, especially in its allusions to Orpheus, Alpheus, and Arethusa. The poem"s arrangement in verse paragraphs and its introduction of various voices and personae are also features that anticipate epic structures. Like the form, structure, and voice of Lycidas, its genre is deeply complex. James SitarMonody.A lyrical lament for one voice.height.The headnote — In this Monody ... height. — did not appear in 1638 (Justa Edouardo King). This addition might be due to the less strict laws regarding published texts. The Trinity MS has the headnote but without the final sentence: And by occasion ... height. The clergy Milton refers to is the clergy of the English Church as ruled by William Laud, Archbishop of Canterbury, a champion of traditional liturgy and the bane of reformist Puritans. Bishops fell out of power in 1642, between the two editions.Friend.Edward King, a schoolmate of Milton"s at Cambridge who drowned when his ship sank off the coast of Wales in August, 1637. King entered Christ"s College in 1626 when he was 14 years old. Upon finishing his studies, King was made a Fellow of Christ"s thanks to his patron King Charles I. The Trinity MS of Lycidas is dated Nov. 1637, three months after King"s death.Never-sear.Never withered. 1638 has never-sere. Laurel was considered the emblem of Apollo, myrtle of Venus, and ivy of Bacchus.Lycidas.The name Lycidas is common in ancient Greek pastorals, establishing the style Milton imitates for this poem. William Collins Wattersonnotes that in Theocritus" pastoral, Lycidas loses a singing competition. Watterson asserts that Milton is aligning King with Lycidas in an attempt to portray himself as victorious over King. Virgil"s ninth Eclogueis spoken in part by the shepherd Lycidas, a scene that includes, as Balachandra Rajanpoints out, a reference to social injustice. Lucan"s Civil Wars 3.657-58 also tells the story of a Lycidas pulled to pieces during a sea battle by a grappling hook.Lycidas?An echo of Virgil; Who would not sing for Gallus? (Eclogue 10.5).bear.Bier, or funeral platform. 1638 has biere.Begin then, Sisters.Following the pastoral tradition of Theocritus, Moschus, and Virgil, Milton invokes the muses to begin the lament. See Virgil"s Eclogue 4.1. The sisters are the nine muses, daughters of Zeus and Mnemosyne (memory). Their sacred well is called Aganippe on Mount Helicon, just a bit lower than the seat of Jove.lucky.It would certainly be bad luck to refuse an invitation to sing for the dead. Virgil"s persona implies as much in Eclogue 10.5-6. See also OED2.opening.1638 has glimmering instead of opening; The Trinity MS replaces glimmering with opening.Batt"ning.Feeding.Star.Venus as Hesperus, the evening star. 1638 has ev"n-starre in place of Star that rose, at Ev"ning,. The Trinity MS corrected the 1638 reading to Oft till the star that rose in evening bright.westering.1638 has burnisht in place of westering; Trinity MS initiated the change to westering.th"Oaten Flute.A Panpipe, or the flute used by Pan, traditionally associated with the songs of shepherds. See Virgil"s Ecologues10.64-5. Spenser calls him God of shepheards all in The Shepheardes Calendar, December, 7. Drawingof Pan playing a panpipe.Satyrs.Mythical goat-men renowned for lust. Milton is probably referring to his (and King"s) classmates at Christ"s. Picture.Damoetas.A traditional pastoral name, see Virgil"s Eclogue 3. Also a clownish shepherd named Damoetas appears in Sidney"s Arcadia. Search Dartmouth"s Library catalog.Milton might be referring to Christ"s College tutor William Chappel.to hear our song.The narrator imagines that he and King were shepherds (poets and students) in the same pasture (Christ"s College, Cambridge) and learned from the same master, William Chappel (perhaps personified here as Old Damoetas).gadding.Wandering, unruly.Canker.Cankerworm, a garden pest.Taint-worm.Intestinal parasite that afflicts young calves, that is, weanlings.weanling.Young livestock, recently weaned from mother"s milk.wardrop.Wardrobe. 1638 has wardrobe.blows.Blossoms.Bards.Ancient Druid poet-singers: An ancient Celtic order of minstrel-poets, whose primary function appears to have been to compose and sing (usually to the harp) verses celebrating the achievements of chiefs and warriors, and who committed to verse historical and traditional facts, religious precepts, laws, genealogies, etc. (OED2).Mona.Anglesey, an Island off the west coast of Britain, once the home of Celtic druids.Deva.The river Dee, where Chester, King"s destination, stands. Spenser"s Faerie Queene 4.11.39 refers to the Dee as divine.fondly.Foolishly, idly.Lesbian shore.Calliope, daughter of Jupiter and Mnemosyne was Orpheus"s mother and a muse. Orpheus, according to legend, could charm animals, birds, and even inanimate bits of nature with his music. For Milton, as for many others, he serves as a personified symbol of the power of poetic song. For the story of the death of Orpheus, see Ovid"s Metamorphoses 11.1-66. Also see Albrecht Dürer"s 1494 engraving, Death of Orpheus.strictly.1638 misprints this as stridly.Or with.1638 has Hid in the in place of Or with. Or with is a Trinity MS correction.Amaryllis.The names of the nymphs, Amaryllis and Neaera, are conventional, borrowed from Virgil"s Eclogues 1.4-5and Eclogues 3.3.Guerdon.Reward.Fury.Milton refers to fate or destiny here as a Fury, as if one of the Eumendies from classical Greek drama. Some traditions personify the Fates as three sisters, the sisters of destiny; one spins the thread of life, one measures out its length, and the third snips it with shears. Hughes asserts that this figure is Atropos. See Plato"s Republic 620e.Phoebus.Apollo. Virgil, in Eclogues 6.5-6,imagines the Cynthian god plucking at his ear.foil.Hughesnotes that a foil is the setting of a gem.Arethuse.A fountain in Sicily associated with poetic inspiration (see Arcades 30-31). Mincius is the river of Virgil"s hometown, Mantua. Virgil associates the Mincius with his own pastoral verse in Eclogues 7. 15-16 and Georgics 3. 20-21.higher mood.Epic poetry was considered to be a more elevated form than pastoral, thus in a higher mode.Herald.Triton, a sea-god usually pictured with a trumpet.plea.That is, at Neptune"s request, to testify in his defence.swain.A shepherd; a word frequently used by Theocritus, Virgil, and Spenser.Hippotades.Homeric epithet for Aeolus, the wind-god, son of Hippotas. See Odyssey 10.3.Panope.A sea nymph.Bark.Small ship.th"eclipse.A ship built during an eclipse might be imagined to be either cursed with bad luck or simply ill-built as a result.Camus.Personification of the river Cam, which runs through Cambridge. This personification draws comparisons to Virgil"s personification of Mincius, the river that runs through his home town.sanquine flower.The Hyacinth. Apollo made this flower from the blood of his beloved Hyacinthus, whom he accidentally killed. The story is in Ovid"s Metamorphoses 10.214-16.The Pilot.It is commonly accepted that this refers to St. Peter, to whom Christ gave the keys of the kingdom of heaven (Matthew 16:19). Peter"s first meeting with Jesus is told in Luke 5:2-4.Miter"d.A miter is a liturgical headress worn by bishops.Line 113.1645 has a period at the end of this line, but that appears to be an error, especially since the line is the last on the page in 1645.Anow.Enough. 1638 has Enough.into the fold.See John 10:1.Blind mouthes!John Ruskin suggests that a bishop means a person who sees and a pastor means one who feeds. The most unbishoply character...is therefore to be blind. The most unpastoral is, instead of feeding, to want to be fed,—to be a mouth (quoted in Orgel and Goldberg).scrannel.Thin, shriveled.Lines 121-127. An echo of Menalcas" sentiments in Virgil"s Ecologues 3.81, 4-9, 30-4.Woolf.The Roman Catholic Church.privy.Secret. See 2 Peter 2:1. Perhaps also a pun on the Privy Council.nothing.Critics dispute whether little should stand. In accordance with 1645, most modern editions use nothing.sed.1638 has said.two-handed engine.The meaning of this phrase has generated much commentary. Orgel"s assertion, that it is a sword large enough to require two hands to use, is commonly accepted.smite once, and smite no more.See Matthew 26:31 and Mark 14: 27-9.Alpheus.Personification of a river in Greece and also the god who fell in love with Arethusa and pursued her until she was turned into a fountain. See Ovid"s Metamorphoses 5.865-875.swart Star.Sirius, the dog star, is ascendant during the hottest days of the year; hence the term, dog days.rathe.Ready to bloom.Crow-toe.Wild hyacinth.Gessamine.Jasmine, a climbing shrub with fragrant flowers.freakt.Flecked or streaked whimsically or capriciously; variegated. See OED2. Freakt with jeat (jet, black) means flecked with black streaks or spots.wan.Pale.Amaranthus.In the garden of Eden, an immortal flower (Paradise Lost 3.353-57). See also Spenser"s Faerie Queene 3.6.45 (search Amaranthus).Daffadillies.This flower list, a typical pastoral element, was first added to the Trinity MS on a separate sheet of paper and marked for insertion here. Sackscontrasts this section with the plucking at the beginning of the poem (line 3). He asserts, the anger has been purged, and the rewards (the undying flowers of praise) have been established.Hebrides.The Hebrides lie off the west coast of Scotland.whelming.Overwhelming, or drowning. 1638 has humming. Trinity MS also has humming, changed to whelming by marginal hand in BM and Cambridge copies of Justa Eduardo King (Carey & Fowler).moist.Tear-dampened.Bellerus.A giant for whom Land"s End was called Bellerium in Roman times.guarded Mount.Mount St. Michael"s, near Land"s End on the Cornish coast, across the Channel from Mont St. Michel. Milton imagines the patron saint of England looking out from here to guard England from overseas (Catholic) religion. Namancos is in Spain and Bayona a fortress near Cape Finisterre.Look homeward.The Angel could refer to either St. Michael, whose mount it is, or Lycidas. In either case, the injunction is for him to turn his eye from the threat of Spain (represented by Namancos and Bayona) and instead to look homeward, where Lycidas has drowned (Orgel & Goldberg). Lawrence Lipkingasserts that the angel is in fact Lycidas, who is looking not to where he drowned but to his destination, Ireland. He further asserts that Milton demands a change of attention from Spain to Ireland because he felt the pagans in Ireland were a serious threat to England.Dolphins.Dolphins were thought by sailors to be a good omen at sea, looking after the ship and guarding it from peril.him that walk"d the waves.Alluding to Jesus, who walked on water according to Matthew 14:25-26.weep no more.Recalls the opening line of the poem Yet once more, O ye Laurels, and once more. The invocation to begin the lament is repeated as the invitation to end the lament.unexpressive nuptial Song.According to Hughes, the unutterable nuptial Song is sung at t

Elegy

Sorrow 悲哀 Run away 逃走 Feel sad 心酸 Core plug 心塞 Wry smile 苦笑 Impasse 僵局 Distant 遥远 Though. 割舍。 Distance 疏远 Destiny 宿命 Pretend 假装 Lonely 寂寞 Elegy 悲歌 A loser 输不起 The wound 伤口 The reason 理由 Me weak 我懦弱 Tired 累了 Afflictive 难受 Soon followed 骤变 Far-fetched 牵强 Distractions 分心 Frustrated 失落 No forever 没有永远 Empty Heart °心空 Dodder along 跌跌撞撞 Old drawer 旧抽屉 Make zero 归零 Stay up late 熬夜 See through 看透 Depressed heart 压抑的心 That person 那个人 Floating dream 浮梦 Can not let go 放不下 A monologue 独白 Memory of fish 鱼的记忆 Chilly breeze 凉风 Console themselves 自我安慰 Misunderstanding 误解 Nothin"s wrong 谁都没有错 Rejoice too soon°空欢喜 Truth Or Lies 真相或谎言 Different scenery 不一样的风景 Last dance 最后一支舞 Plain boiled water 白开水 No place to hide 无处躲 Don"t say goodbye 不说再见 May not love you 可能不会爱你 Be of no importance 无关痛痒 Cry on my shoulders 在我肩上哭泣 All my pain comes from you 我所有的痛都来自于你

1、encounter(邂逅) 2、primary (最初) 3、Late autumn(晚秋) 4、Phantom 幽灵 5、Ring color.(戒*色) 6、Pickle 泡菜 7、Elegy 挽歌 8、Pixie 小仙子 9、Chafferer 迷心 10、Potentate 君主 11、Insane(疯癫) 12、Unique（唯一） 13、Juvenile(少年) 14、Fairy flavor (仙女味) 15、Break feeling断情 16、Estrus（动情） 17、Midnight(夜半) 18、Pussy 猫咪 19、Arrogant【狂傲】 20、Raccon浣熊 21、Healer（治愈者) 22、Darlin 亲爱的 23、indulge(沉溺) 24、Kitty 凯蒂 25、Mentos 曼妥思 26、Desire 渴望 27、Enchanted魔咒 28、Heart-rending-(撕心) 29、Sugar 糖 30、Unrestrained【潇洒】 31、Alice 爱丽丝 32、cute(可爱) 33、Traveler（过客） 34、Fall into him沦陷于他 35、Blasphemy【亵渎】 36、Sapphire（蓝宝石） 37、Bonnenult浅时光 38、Amnesia（失忆） 39、Absurd(荒唐) 40、Deepsea（深海） 41、hildishness(稚气)

The Game is on

托马斯 灰色挽歌 写作于郊外墓地准确的说法。

529是那个呀麻烦你下次记得带数字

529是那个呀麻烦你下次记得带数字

A Tale of Two Cities 《双城记》(查尔斯·狄更斯,英国)

John Milton (December 9, 1608 – November 8, 1674) was an English poet, prose polemicist, and civil servant for the English Commonwealth. Most famed for his epic poem Paradise Lost, Milton is celebrated as well for his eloquent treatise condemning censorship, Areopagitica. Long considered the supreme English poet, Milton experienced a dip in popularity after attacks by T.S. Eliot and F.R. Leavis in the mid-twentieth century; but with multiple societies and scholarly journals devoted to his study, Milton"s reputation remains as strong as ever in the twenty-first century.Very soon after his death – and continuing to the present day – Milton became the subject of partisan biographies, confirming T.S. Eliot"s belief that “of no other poet is it so difficult to consider the poetry simply as poetry, without our theological and political dispositions…making unlawful entry.”[1] Milton"s radical, republican politics and heretical religious views, coupled with the perceived artificiality of his complicated Latinate verse, alienated Eliot and other readers; yet by dint of the overriding influence of his poetry and personality on subsequent generations--particularly the Romantic movement--the man whom Samuel Johnson disparaged as “an acrimonious and surly republican” must be counted one of the most significant writers and thinkers of all time.have a good day

片头曲Opening Titles其他音乐原声：发行时间：2012-01-30艺术家：大卫·阿诺德&迈克尔·派斯曲目列表：01.Opening Titles（开场主题曲）[00:40]02.The Game is On（游戏开始）[03:40]03.War（战斗）[03:19]04.Pink（粉红）[03:47]05.Security Cameras（安全的照相机）[03:02]06.Pursuit（追踪）[01:49]07.Which Bottle?（哪一个瓶子？）[02:11]08.Targets（目标）[02:26]09.Library Books（图书馆的书）[03:19]10.Number Systems（数字系统）[03:01]11.Light-fingered（明亮的指针）[03:41]12.Elegy（哀歌）[03:13]13.Cratesof Books（装箱的书）[03:03]14.Sandbag（沙袋）[04:42]15.On the Move（移动）[02:43]16.Back to Work（回归工作）[03:50]17.Woman on the Slab（平板上的女人）[02:51]18.A Man Who Can（一个人能??）[03:13]19.Final Act（最终行动）[03:08]扩展资料：剧情简介：夏洛克·福尔摩斯（本尼迪克特·康伯巴奇饰）不仅是著名大侦探更是一名时尚潮人，和他的好友兼得力助手约翰·H·华生（马丁·弗瑞曼饰）陆续经历了离奇市民自杀案件、黑帮走私事件和倒计时炸弹杀人案。每一个案件看似独立，其实都有联系，两人每解决一个案子，就又会出现新的难题和无辜的受害者。经过抽丝剥茧，幕后黑手吉姆·莫里亚蒂（安德鲁·斯科特饰）终于浮出水面。在最后一集的交锋中，被炸弹和狙击枪威胁的夏洛克和华生该如何脱身呢？

QQ音乐里面搜索 Sherlock (Original Television Soundtrack Music From Series One)-David Arnold然后点专辑名， 进去里面是神探夏洛克的所有原声音乐哦！   谢谢。  另外你也可以搜索单曲01. Opening Titles02. The Game Is On03. War04. Pink05. Security Cameras06. Pursuit07. Which Bottle 08. Targets09. Library Books10. Number Systems11. Light-Fingered12. Elegy13. Crates Of Books14. Sandbag15. On The Move16. Back To Work17. Woman On The Slab18. A Man Who Can19. Final Act20.La_Gazza_Ladra21.Stayin_Alive-Bee_Gees这些是里面的所有单曲。

blank verse, free verse, sonnet, ballads, odes, elegy, epigram, couplets, epic, lyric这些是英文诗歌的主要几种类别

7.2 英语的押韵(The Rhythm of English) 任何关于“押韵”的讨论，其背后都有一个周期性节拍(beat)的概念；而确切的事实是，我们将“节拍”这一概念应用于语言，意味着在从语言属性与钟表的滴答、心脏跳动、走路步伐、以及其它在时间上有规律地重现的动作之间抽取出类似的东西。在 音韵学 的讨论中，这个宏伟的(grandiose)术语“(等时性)isochronism(equal-time-ness))”被附加到这个简单的原则上。把等时性归因于语言，其前提是假设在一定的分析层面上，用那种语言表达的一句话“在等时间隔的某种意义上”可以分成若干段。在某些语言中，例如，在法语中，这种分段就是音节。在其它语言中，例如在英语中，这种分段是一个单元，通常比音节大，且其包括一个重读音节，标识了重现的节拍，以及可选的，若干非重读音节。 因此 ， 英语和法语是两种分类语言的代表 ， 分别是 “ 重音节拍 (stress-timed)” 和 “ 音节节拍 (syllable-timed)”。 我已经强调了这种限制(qualification)“在等时间间隔(下称“间隔”)的某种意义上”，因为语言的押韵没有按照粗略的物量节拍那么具有等时性。而是，这种相等是在于心理上的，且依赖于耳朵解析与言语的重音相关联的重现的方式。此处，在言语和音乐之间有一个有用的类比。一段音乐从来不会在公共场所用节拍器(metronome)的机械押韵来演奏，然而，尽管节拍(tempo)有各种变化，有一些很明显并且是故意的，有一些极不易被感知，但是，人们仍然觉得韵律性(rhythmicality)音乐及其演奏的基本原则。在语言上，确实也存在严格的节拍器韵律和松散的“心理上的”韵律的间隙，甚至有更多的因素干扰理想的语言押韵等时性(isochronism)。例如，节拍间隔(对应于音乐的小节(bar))往往根据在一个重读音节和下一个重读章音节之间插入的非重读音节的数量以及那些音节的复杂度被压缩或拉长。在这一点上，说英语的人更像是一个想成为(would-be)演奏家(virtuoso)的人，当他遇到困难的、快速移动的半八分音符(semi-quavers)时会放慢速度，而在到达轻松的钩针(quarter note，四分音符，音乐术语，乐谱图上的勾针状的图)和小节(minims)时会加速。尽管一些人拒绝等时性原则，因为缺乏客观的理论支撑，在这里，我将它视为合理的假设(postulate)，如果没有这个前提，就不能对押韵做出有意义的分析。按这种方式，我们所称的“重音(stress)”，不仅仅是归于响度(loudness)这个单一的物理因素：重音是一个抽象的、语言学的概念，不是一个纯粹的声学(acoustic)概念。 7.2.1 节拍或小节(The Measure)：押韵单位(the Unit of Rhythm ) 由于英语的押韵是基于一个重读音节与另一个重读音节之间的一段大致相等的时间，要进一步与音乐比较，是很方便的，考虑将一句言辞分成“小节(bars)”或者(正如前面我已经称呼过的)“节拍(measures)”，其每一个都始于一个重读章节，对应于音乐的下拍(downbeat)。许多非重读音节，从零(nil)到四变化，可以在一个重读音节和下一个重读音节之间发生，任何一个单独的重读音节的间隔很大程度上取决于按同一节拍的其它音节的数量。假如我们将每个钩针(crochet)的值赋予每个节拍，则三个音节的一个节拍可以近似地用四分音符(quavers)的三连音(triplet)表示，四音节的一个节拍可近似地用四个半八分音符表示，等等。这种押韵的分析方法，不会被认为是一种通常可以理解的“韵律节奏分析方法(scansion)”，在这两段节奏上自由的诗歌中都有说明：这些符号仅给了每一句诗行的一个可能的渲染，在我看来，在相当缓慢的交互中最自然的一种。(本章中所有押韵分析的例子仅展示所讨论的议题一种演奏的可能性。) 7.2.2 哪些音节是重读音节？(Which Syllables are Stressed?) 按照这种方式将一段文字分析成节拍，我们必须要能够判断哪些音节通常是重读音节。尽管有很多异常情况， 一个有用的通用规则是 ： 专用名词和词典词汇(大部分名词、动词、形容词、和副词)在相关联的言语中承载着重读音节，而语法词汇（前置词、助动词、冠词、代词、等等），特别是对于单音节语法词汇，通常都不是重读音节 。大声朗读这个句子“John is the manager”，关于重读音节应该放在那个位置，我们几乎没有任何选择：它们大部分落在两个位置——即，落在John和manager的第一个音节。因此，押韵的符号是现在，如果将这个句子重新组织，读作“The manager is John”，重音仍旧落在Manager和John上，押韵发生了根本性的变化，类似于这样的形状在每一种情况中，语法词汇is和the仍然是非理读。 因此，英语中重读的位置，受语法和词汇的强烈制约(虽然不是绝对地由语法和词汇的决定) 。 一些多音节词汇，类似trépiDÁtion和CÓUNterféiter这样。在这个主题的某些处理中，这种额外的凸出被描述为额外的重读(an extra degree of stress)。然而，为了讲解韵律学之目的，我们在这里忽略这种额外的重读，满足于将trepidation和counterfeiter视为押韵类似的结构。通常没有重读的单词由于某些特别的目的可以重读；在我的认知中，Hopkins是唯一的一位在他的著作中标识特别重读的主要英语诗人；例如，“Yes I cán tell such a key”(The Leaden Echo and the golden Echo)。在其它地方，除非上下文明确要求，通常人们不会在诗中读到这种不寻常的重音。 到目前为止，发展起来的音乐标记系统仅给了我们一幅音乐押韵值的粗略图景。加进各种改良元素是可能的，这些内容将在下面两章节考察。 7.2.3 停顿(Pauses) 在音乐中，停顿用长短不一的各种休止符(rests)()标识，很容易将这种标记适配到诗歌中的韵律值。通常感觉是，在更大的句法单元的末尾(句子、从句、和一些短语)，停顿是必要的——实际上是在语气单元(intonation units)的边界。在中间和句末必须允许有停顿。例如“静重音(silent stresses)”(ʌ)可以出现在一首诗的诗行中，在一个点上，传统的韵律学家会标一个节律的停顿(caesura):因为它保留了五个重音(five-stress)的五步格诗(pentameter)模式，这种阅读可能优于省略停顿并将重音的数量减少到四个：“Éyeless in Gáza at the mill which sláves”。 7.2.4 音节长度(Syllable Length) 从目前所给出的例子可以清楚地看出，在同一个节拍中的音节，并非都必须有相同的长度。在写三音节(这儿有个图)的节拍的时候，例如，我们可以稍微有点误差地一个表示押韵将忽略三连音符号(triplet-sign)。) Ezra Pound在他的<<A.B.C of Reading>>著作中指出，音节具有“原始的权重的间隔(original weights and durations)”，以及“重量和间隔似乎很自然地被它们周围的音节组强加在它们身上。” 我们可以将这种观察结果转换成当前讨论主题的合适术语为 ： 一个单音节可以比另一个更长 [a] 因为它在节拍上包括了更少的音节，或者 [b] 因为其内部结构是基于元音或辅音 。 一些元音核 (nuclei)， 包括所有双元音 ， 往往更长 (例如，在bite、bait、beat、bought中)， 而其它的 ， 往往更短 (例如，在bit、bet、bat、but中)。甚至，词尾辅音类型也影响元音的长度：beat比bead更短、bead比bees更短、等等。假如有多余一个词尾辅音，这又有助于音节的长度：相对而言，bend比bed或Ben长。所有这些因素表明，音节内在长度和押韵节拍施加的长度各不相同。因此，节拍的间隔并非均分，而是按照它们的相对权重在其音节中分配。例如，考虑词汇boldly、second、以及comfort之间押韵的差异，当每一个单独说时(每一个都组成一个完整的节拍)。音节的句法对音节数量也有重要的影响。 一个几乎通行的规则是：一个非重读音节在句法上越是靠近紧随其后的重读音节，则它就越短 。 这就意味着，非重读前缀和单词诸如the、a和is，与非重读后缀相比，往往发音更快 。我们可以称呼在句法上的向前看(forward-looking)的非重读音节为“引导音节(leading syllables)”，称呼在句法上向后看(back-looking)的非重读音节为“拖尾音节(trailing syllables)”。 在这两个短语“some addresses”和“summer dresses”中，发现了令人信服的这种对比的说明，这两个短语，除了押韵的区别以外，至少，在缓慢演说风格下，由于词边界的位置不同，其发音是等效的。addresses的a-是一个引导音节，而summer的-er是一个拖尾音节；由于这个原因，“some addresses”的前两个音节是长+短，而“summer dresses”的前两个音节是相等+相等。 一些儿歌押韵，由于它们的押韵具有极度的机械化式的规律，作为句法的韵律效果的说明是非常有用的：正如连奏线(slur lines)所示，在这个对句中(couplet)每个非重读音节在句法上都与其随后的音节组成一组，并不是前向(the preceding stress)重读音节。因此，每个非重读章节，是一个前导的音节，且朗读(recitation)很自然地就是波动的如下(1)形式的长+短的押韵结构： (1) ♩ ♪ | ♩ ♪ | ♩ ♪ | ♩ (2) ♫| ♫ | ♫ | ♫ 另一方面，“Peter Peter pumpkin-cater”仅有一个扫尾音，如(2)所示的偶押韵。 这么明显的完全一样的押韵模式的反复在严格的诗歌中极少出现，而是通过在押韵上有细微变化的各种可能的模式来产生更为精细的效果。然而，探寻下面这首简短的换歌(elegy hinges)的韵律(movement)是如何基于所描述的(1)和(2)之间押韵的对比的，这是很有趣的事情：在这首诗的分析中，Winifred Nowottny观察到，尽管(for all)它看起来很简单，但是，它却产生了非常强烈的情感；“来自于发生在单词‘Death"上的态度的一种突然逆转，生命(life)、激情(passion)、赞美(compliment)和肯定(affirmation)的猛烈爆发(violent exposion)”的力量。她也指出了在实现这种效果的过程中押韵所起的重要作用；第四行的开头转换点是如何通过韵律流(rhythmic movement)的切换来标记的，似乎诗人正在和死亡的权重作搏斗，这正如前三行的严肃的(solemn)换歌韵律流(elegiac movement)所表达的那样。 经检查，这种有节奏的“改变(volte-face)”，被证明是从前三行以拖尾音节占主导(特别是第三行的拖尾音节，其准确的押韵对应上面的(2)的图标)转变为后三行中导到音节的实际独占(monopoly)。就效果而言， 它是从诗歌的前半段平稳的葬礼(funeral)“缓慢行进(slow-march)”到后半段颠簸的(jerky)，动画节奏的变化。 而从一个节拍到下一个节拍，时间因素即相对固定，我们看到，音节长度的自由度(latitude)为诗人提供了在节拍的范围内扩展诗歌情感范围(range)的空间(scope)。

神探夏洛克原声音乐曲目集01.OpeningTitles02.TheGameIsOn03.War04.Pink05.SecurityCameras06.Pursuit07.WhichBottle08.Targets09.LibraryBooks10.NumberSystems11.Light-Fingered12.Elegy13.CratesOfBooks14.Sandbag15.OnTheMove16.BackToWork17.WomanOnTheSlab18.AManWhoCan19.FinalAct这是莫里亚蒂在剧中播放的曲子1.La_Gazza_Ladra2.Stayin_Alive-Bee_Gees

月光

"ELEGY WRITTEN INA COUNTRY CHURCH-YARD"The curfew tolls the knell of parting day,The lowing herd winds slowly o"er the lea,The ploughman homeward plods his weary way,And leaves the world to darkness and to me.Now fades the glimmering landscape on the sight,And all the air a solemn stillness holds,Save where the beetle wheels his droning flight,And drowsy tinklings lull the distant folds:Save that from yonder ivy-mantled towerThe moping owl does to the moon complainOf such as, wandering near her secret bower,Molest her ancient solitary reign.Beneath those rugged elms, that yew-tree"s shade,Where heaves the turf in many a mouldering heap,Each in his narrow cell for ever laid,The rude Forefathers of the hamlet sleep.The breezy call of incense-breathing morn,The swallow twittering from the straw-built shed,The cock"s shrill clarion, or the echoing horn,No more shall rouse them from their lowly bed.For them no more the blazing hearth shall burn,Or busy housewife ply her evening care:No children run to lisp their sire"s return,Or climb his knees the envied kiss to share,Oft did the harvest to their sickle yield,Their furrow oft the stubborn glebe has broke;How jocund did they drive their team afield!How bow"d the woods beneath their sturdy stroke!Let not Ambition mock their useful toil,Their homely joys, and destiny obscure;Nor Grandeur hear with a disdainful smileThe short and simple annals of the Poor.The boast of heraldry, the pomp of power,And all that beauty, all that wealth e"er gave,Awaits alike th" inevitable hour:-The paths of glory lead but to the grave.Nor you, ye Proud, impute to these the faultIf Memory o"er their tomb no trophies raise,Where through the long-drawn aisle and fretted vaultThe pealing anthem swells the note of praise.Can storied urn or animated bustBack to its mansion call the fleeting breath?Can Honour"s voice provoke the silent dust,Or Flattery soothe the dull cold ear of Death?Perhaps in this neglected spot is laidSome heart once pregnant with celestial fire;Hands, that the rod of empire might have sway"d,Or waked to ecstasy the living lyre:But Knowledge to their eyes her ample page,Rich with the spoils of time, did ne"er unroll;Chill Penury repress"d their noble rage,And froze the genial current of the soul.Full many a gem of purest ray sereneThe dark unfathom"d caves of ocean bear:Full many a flower is born to blush unseen,And waste its sweetness on the desert air.Some village-Hampden, that with dauntless breastThe little tyrant of his fields withstood,Some mute inglorious Milton here may rest,Some Cromwell, guiltless of his country"s blood.Th" applause of list"ning senates to command,The threats of pain and ruin to despise,To scatter plenty o"er a smiling land,And read their history in a nation"s eyes,Their lot forbad: nor circumscribed aloneTheir growing virtues, but their crimes confined;Forbad to wade through slaughter to a throne,And shut the gates of mercy on mankind,The struggling pangs of conscious truth to hide,To quench the blushes of ingenuous shame,Or heap the shrine of Luxury and PrideWith incense kindled at the Muse"s flame.Far from the madding crowd"s ignoble strife,Their sober wishes never learn"d to stray;Along the cool sequester"d vale of lifeThey kept the noiseless tenour of their way.Yet e"en these bones from insult to protectSome frail memorial still erected nigh,With uncouth rhymes and shapeless sculpture deck"d,Implores the passing tribute of a sigh.Their name, their years, spelt by th" unletter"d Muse,The place of fame and elegy supply:And many a holy text around she strews,That teach the rustic moralist to die.For who, to dumb forgetfulness a prey,This pleasing anxious being e"er resign"d,Left the warm precincts of the cheerful day,Nor cast one longing lingering look behind?On some fond breast the parting soul relies,Some pious drops the closing eye requires;E"en from the tomb the voice of Nature cries,E"en in our ashes live their wonted fires.For thee, who, mindful of th" unhonour"d dead,Dost in these lines their artless tale relate;If chance, by lonely contemplation led,Some kindred spirit shall inquire thy fate, --Haply some hoary-headed swain may say,Oft have we seen him at the peep of dawnBrushing with hasty steps the dews away,To meet the sun upon the upland lawn;"There at the foot of yonder nodding beechThat wreathes its old fantastic roots so high.His listless length at noontide would he stretch,And pore upon the brook that babbles by."Hard by yon wood, now smiling as in scorn,Muttering his wayward fancies he would rove;Now drooping, woeful wan, like one forlorn,Or crazed with care, or cross"d in hopeless love."One morn I miss"d him on the custom"d hill,Along the heath, and near his favourite tree;Another came; nor yet beside the rill,Nor up the lawn, nor at the wood was he;"The next with dirges due in sad arraySlow through the church-way path we saw him borne,-Approach and read (for thou canst read) the layGraved on the stone beneath yon aged thorn."The EpitaphHere rests his head upon the lap of EarthA youth to Fortune and to Fame unknown.Fair Science frowned not on his humble birth,And Melacholy marked him for her own.Large was his bounty, and his soul sincere,Heaven did a recompense as largely send:He gave to Misery all he had, a tear,He gained from Heaven ("twas all he wish"d) a friend.No farther seek his merits to disclose,Or draw his frailties from their dread abode(There they alike in trembling hope repose),The bosom of his Father and his God.By Thomas Gray (1716-71).

带u的单词：umbrella，unbelievable，unit，unity，cup，plug，rush，much，US带e的单词：egg，each，ear，elect，elegy，elephant，epaulet

　　ELEGY ON THYRZA　　Byron　　And thou art dead, as young and fair　　As aught of mortal birth;　　And form so soft and charms so rare　　Too soon return"d to Earth!　　Though Earth received them in her bed,　　And o"er the spot the crowd may tread　　In carelessness or mirth,　　There is an eye which could not brook　　A moment on that grave to look.　　I will not ask where thou liest low,　　Nor gaze upon the spot;　　There flowers or weeds at will may grow,　　So I behold them not:　　It is enough for me to prove　　That what I loved and long must love　　Like common earth can rot;　　To me there needs no stone to tell　　"Tis Nothing that I loved so well.　　Yet did I love thee to the last,　　As fervently as thou,　　Who didst not change through all the past　　And canst not alter now.　　The love where Death has set his seal　　Nor age can chill, nor rival steal,　　Nor falsehood disavow:　　And, what were worse, thou canst not see　　Or wrong, or change, or fault in me.　　The better days of life were ours;　　The worst can be but mine:　　The sun that cheers, the storm that lours,　　Shall never more be thine.　　The silence of that dreamless sleep　　I envy now too much to weep;　　Nor need I to repine　　That all those charms have pass"d away　　I might have watch"d through long decay.　　The flower in ripen"d bloom unmatch"d　　Must fall the earliest prey;　　Though by no hand untimely snatch"d,　　The leaves must drop away.　　And yet it were a greater grief　　To watch it withering, leaf by leaf,　　Than see it pluck"d to-day;　　Since earthly eye but ill can bear　　To trace the change to foul from fair.　　I know not if I could have borne　　To see thy beauties fade;　　The night that follow"d such a morn　　Had worn a deeper shade:　　Thy day without a cloud hath past,　　And thou wert lovely to the last,　　Extinguish"d, not decay"d;　　As stars that shoot along the sky　　Shine brightest as they fall from high.　　As once I wept, if I could weep,　　My tears might well be shed,　　To think I was not near, to keep　　One vigil o"er thy bed:　　To gaze, how fondly! on thy face,　　To fold thee in a faint embrace,　　Uphold thy drooping head;　　And show that love, however vain,　　Nor thou nor I can feel again.　　Yet how much less it were to gain,　　Though thou hast left me free,　　The loveliest things that still remain　　Than thus remember thee!　　The all of thine that cannot die　　Through dark and dread Eternity　　Returns again to me,　　And more thy buried love endears　　Than aught except its living years.　　你已经长逝——年轻，美艳　　人世间谁能比拟　　绰约的倩影，绝代的芳颜　　这样快回到土里！　　大地的眠床已将你接纳，　　游人就在那上面践踏，　　嬉笑着，不以为意；　　有一双眼睛却万难忍受　　哪怕只一霎，瞥见那坟头！　　我不想探听你潜寐何方，　　不想瞧那儿一眼；　　让那儿花草随意生长，　　反正我不会看见。　　这已经够了：我终于明白　　我从前，今后，长期所挚爱　　象万类一样朽烂；　　以难道还需要墓碑来提醒　　我所眷恋的原来是幻影？　　一直到最后，我依然爱你，　　正如你对我情深；　　悠长的往日，你始终如一，　　如今更不会变心。　　死亡把爱情严封密罩，　　岁月冻不冷，情敌偷不掉，　　谎言也断难否认。　　我再有变化，过失，或错处，　　你岂能知悉？——好教人凄楚！　　生命的良辰你与我同享，　　苦难留给我一人；　　愠怒的风暴，和悦的阳光，　　跟你再没有缘份。　　那无梦的睡乡，安恬静谧，　　我心驰神往，决不会哭泣；　　我也无需乎悔恨　　娇美的容华竟毁于一旦，　　我本当守着它渐次凋残。　　花枝染上最瑰丽的色泽　　必然衰败得最早；　　尽管并没有手儿去攀折，　　花瓣也纷纷落掉。　　宁愿它蓦地被人采撷；　　若见它一瓣一瓣工萎谢，　　岂不更令人伤悼。　　世人的目光怎忍追随　　浓丽的芳华渐趋憔悴？　　我也不知我能否禁受　　目睹你红颜消褪；　　晨光愈明艳，那么随后　　夜色就愈加幽晦。　　你的日子里没一片阴云，　　你直到最后还那样迷人；　　是熄灭，不是衰萎。　　飞射的流星从高空坠下，　　这时才闪耀最亮的光华。　　若能象从前那样悲恸，　　我热泪就会涌出：　　想到我不在近旁，未能　　到你病榻前守护，　　怜惜地把你的脸庞细觑，　　拥抱你恹恹无国和的身躯，　　托起你低俯的头颅，　　把心底的爱情向你表白——　　这空幻的爱情而今安在！　　留在世上的异宝奇珍，　　你让我随意赏玩；　　但是，它们又能值几文，　　怎比对你的忆念！　　你那永不泯灭的精神，　　通过威严、幽晦的“永恒”，　　终于回到我心间。　　你已葬的爱情胜过一切——　　只除了爱情活着的岁月。　　翻译：杨德豫

特殊案件专案组TEN》的第二季 第8集 盲女杀人