similes诗歌

篇一：Emily Dickinson 诗歌鉴赏

《美国文学》Emily Dickinson 通用模板：

I Die for Beauty

Form

修辞

This poem follows many of Dickinson’s typical formal patterns—the ABCB rhyme scheme, the rhythmic use of the dash to interrupt the flow—but has a more regular meter, so that the first and third lines in each stanza are iambic tetrameter, while the second and fourth lines are iambic trimeter, creating a four-three-four-three stress pattern in each stanza.

Commentary

主题背景

This bizarre, allegorical death fantasy recalls Keats (“Beauty is Truth, Truth Beauty,” from Ode on a Grecian Urn), but its manner of presentation belongs uniquely to Dickinson. In this short lyric, Dickinson manages to include a sense of the ①macabre physicality of death (“Until the Moss had reached our lips—”), ②the high idealism of martyrdom(“I died for Beauty. . . One who died for Truth”), ③a certain kind of romantic yearning combined with longing for Platonic companionship (“And so, as Kinsmen, met a Night—”), and

④an optimism about the afterlife (it would be nice to have a like-minded friend) with barely sublimated terror about the fact of death (it would be horrible to lie in the cemetery having a conversation through the walls of a tomb).

As the poem progresses, the high idealism and yearning for companionship gradually give way to mute, cold death, as the moss creeps up the speaker’s corpse and her headstone, obliterating both her capacity to speak (covering her lips) and her identity (covering her name).

The ultimate effect of this poem is to show that every aspect of human life—ideals, human feelings, identity itself—is erased by death. But by making the erasure gradual—something to be “adjusted” to in the tomb—and by portraying a speaker who is untroubled by her own grim state, Dickinson creates a scene that is, by turns, grotesque and compelling, frightening and comforting. It is one of her most singular statements about death, and like so many of Dickinson’s poems, it has no parallels in the work of any other writer.

I Heard a Fly Buzz-When I Died 作家类型

Emily Dickinson’s poems are usually based on her own experiences, her sorrows and joys. The poems include observations of nature, accounts of a moment’s revelation, descriptions of sexual stirrings, and meditations on the nature of life and death. Dickinson’s poetry is unique and unconventional in its own way. Her poems have no titles. And her poetic idiom is noted for its laconic brevity, directness and plainness.

主题背景

Emily Dickinson's poem "I heard a Fly buzz- when I died" is told by a narrator who uses past tense to describe the final moments of their life. The poem gives the reader an inside look into the final moments of death from someone who has already died. The fly is the central figure representing the oncoming of death. The poem is full of many metaphors and similes, such as the king mentioned in the poem who represents a belief in religion. The wording of the poem affirms Emily Dickinson's belief in life after death. The poem has a short title but is deep in meaning. Death is inevitable to all who are born, although not all deaths are disturbed by a pesky fly.

（2）In 1863, Emily Dickinson wrote the slant rhyme poem "I heard a Fly buzz - when I died-," which gives the reader a rare glimpse of dying from the view point of someone who is already dead. Death is a part of life no matter what personal belief one has, and according to Emily Dickinson, life may continue after death.

修辞

“I heard a Fly buzz” employs all of Dickinson’s formal patterns: trimeter and tetrameter iambic lines (four stresses in the first and third lines of each stanza, three in the second and fourth, a pattern Dickinson follows at her most formal); rhythmic insertion of the long dash to interrupt the meter; and an ABCB rhyme scheme. Interestingly, all the rhymes before the final stanza are half-rhymes (Room/Storm, firm/Room, be/Fly), while only the rhyme in the final stanza is a full rhyme (me/see). Dickinson uses this technique to build tension; a sense of true completion comes only with the speaker’s death.

My Life Closed Twice before Its Close 作家类型

A. American best-known female poet and one of the foremost authors in American literature .

B. The only woman poet of the whole 19th century who enjoys high academic esteem today;

背景

On a personal level, the speaker is telling of the losses he or she has suffered, so painful that they were like death itself.

On a universal level, the poem poignantly describes the great tragedy of human life, for to be human is to suffer loss.

In 1732, she wrote this poem to memory her two important friends :Benjamin Newton and Charles Wadsworth, there “twice” means the death of them .One was Emily’s most respectful “tutors”, the other was the man she loved ,his death meant the end of her passionate affairs.

We can find that Emily described death vividly, just like she had been dead once. She said death actually is a bridge toward immortality and eternity.

主题

Emily Dickinson is talking about herself. That she has lost two people whom she loved very much. She cannot forget this and remembers her old life.

Another theme is that “closing life” does not represent death but is the symbol of lost love. “My life closed twice before its close.” This first line is an image for Adam’s fall into sin, his fall was the first close. The second “close” is man’s personal sin. So in other words, to join the two ideas together, man sins twice.

修辞

Rhythm: abcb, defe

Perfect word chosen: Immortality, before, unveil, conceive, befall

Simplicity in language but profound in meaning

Metaphor: powerful, paradoxical

Written in two quatrains, or stanzas of four lines each

Arranging in iambus(抑扬格), in which the first syllable is unstressed and the second stressed. In each quatrain:

The first and third lines: iambic tetrameter(四音步抑扬格)

The second and fourth lines: iambic trimeter(三音步抑扬格)

I like to see it lap the miles

主题背景（未找到英文资料）

修辞

一、头韵和半谐音（Alliteration and Assonance）

1）迪金森这首诗的第1、2行的like, lap 和lick 即第6、8行的peer 和pare 就属于这种压头韵的现象。

2）词首或词中的元音重复谓之半谐音（Assonance）

在迪金森的这首诗中读者会发现在第一和第二诗节中lap, up, stop, step 等含有[p] 辅音的单词不时的出现，惟妙惟肖的模仿火车喷气的声音。而在第三诗节的末尾，即第16行出现的stop, docile, 和omnipotent 三个单词又都有重读音 [ō]，同时从stop到 docile到omnipotent, 其后的弱读音节越来越长。

二、词汇的重复（Repetition of Words）

在迪金森的这首诗中我们会发现第2，3，4，6，8，10，13行的 “And”这个词重复了多次，而且都位于该行之首。同样，“ And”与 “Then” 的搭配在第4，8，13，14，15行也重复多次。

三、变异（Deviation）

1、在整首诗中，我们只发现了一个标点符号，即破折号。这样的标点符号使用当然是不符合常理的，诗人就是采用这样的方式体现其诗作的独到之处，制造一种不同寻常的押韵形式。

2、在这首诗中，除每句诗行的第一个单词首字母是大写之外，诗行中的Miles, Valleys, Tanks, Pile, Mountains, Shanties, Roads, Quarry, Hill, Star 等单词的首字母也都采用大写形式。这也属于变异，这些大写字母的应用更加烘托了火车之雄伟，充分体现了北美大铁路给诗人的强烈震撼。

篇二：英诗欣赏王莉

池州学院

学期论文

课程：英语诗歌欣赏

学期：2015-2015第一学期

题目：How Does a Poem Make the Metaphor work?

姓名：王莉

专业班级：师范英语英本二班

授课教师：刘胜 A metaphor is described as “a figure of speech that makes a comparison between two things that are basically dissimilar”. In other words, it describes one thing in terms of another. It is comparative, and thus goes beyond a mere descriptive adjective . A metaphor describes one object as being or having the characteristics of a second object. Unlike a simile, a metaphor “does not use

connective words such as like, as, or resembles in making the comparison”.

A metaphor that is extended throughout a poem or story, and may involve further related comparisons, is an extended metaphor. If we use a metaphor so often that we don't realize it, the phrase may become a “dead” metaphor .

Sometimes metaphor is defined in very broad terms, and is used as another term for “figurative language”or “figure of speech”. In this sense, “metaphorical language”

incorporates all comparative language, including similes and symbols. For your English exams, however, it is safer to use the more formal phrase “figurative language”.

Let's face it - there is no such thing as a poem that is NOT a metaphor. But people keep asking me about metaphor poems, what they are, and to give examples of metaphor poetry.So for the beginners among us, let's start with the observation that some poems are one single metaphor all the way through, and others use a variety of different metaphors to describe one single thing.Remember that all language, symbol and metaphor are seeking to describe a reality that exists for real and outside any one single human being. If you try and reach through the words and the images the metaphor is calling up to the reality beyond those things, you can get the drift of the essence of what is being transmitted in a metaphor poem.

In the following examples from "For You, A Star", I have taken a word, usually a concept or nominalisation, and created a

metaphor poem to not just describe the concept, but to evoke the essence.

Now that is not a conscious thing, something you can figure out in your head with a measuring stick; it something that you FEEL instead, quite literally. The rule is as follows. If something has an energetic reality behind it, it will create an IMPACT on your energy body and you can actually FEEL that impact as an emotion or sensation - a sensation of heat in your stomach, pressure in your head, tingling in your fingertips.

So we are not talking about imaginary emotions but real feelings that a human has in direct response to some thing that is in essence invisible, but must be there, or else it would not create this sensation.

Metaphor Poem Tranquility by StarFields

Tranquility

Time slides

a gentle ocean

waves upon waves,

washing the shore,

loving the shore.

Can you see that ocean?

Can you feel the slow rhythm of the waves?

Can you sense the essence of tranquility?

Do you understand the concept of tranquility better now? Do you feel more tranquil in having touched this?

Once you really understand that it isn't the words, but that the event of the poem or message lies beyond the words, you will be able to make sense of metaphor in general and open up your world in a significant way.

From there, you can then begin to try and describe such things for which there are no words, because they are events across time and space in your own way, using your own metaphors. When you do that, you are considered to be "an artist".

篇三：英美诗歌鉴赏

1. Blank Filling: Figures of Speech, common knowledge (10 points)（填空：1—8根据老师所给诗句所运用的修辞填空。）

(1) Personification(拟人)

(2) Metaphor（暗喻）

(3) Parallelism（排比）

(4) Anaphora (Repetition)（反复）

(5) Simile（明喻）

(6) Paradox（矛盾）

(7) Hyperbole（夸张）

(8) Metonymy（转喻）

(9) Father of English Literature（英语文学之父）：

Geoffrey Chaucer（杰弗雷·乔叟）

The Canterbury Tales （坎特伯雷故事集）

The first tenant of the Poets’ Corner

英语最早使用Iambic pentameter

(10) Westminster Abbey, Poets’ Corner（诗人角）：

威斯敏斯特大教堂：（其中著名的“诗人角”就位于教堂中央往南的甬道上。在这儿长眠着许多著名的诗人和小说家。如英国14世纪的“诗圣”乔叟，就安葬于此。陵墓周围还有一扇专门的“纪念窗”，上面描绘着他的名作《坎特伯雷故事集》里的情景。伴他长眠的有丁尼生和布朗宁，他俩都是名噪一时的大诗人。著名的小说家哈代和1907年诺贝尔文学奖获得者吉卜林也葬在这里。“诗人角”中央，并排埋葬着德国著名的作曲家亨德尔和19世纪最杰出的现实主义作家狄更斯。还有些文学家死后虽葬身别处，但在这里仍为他们竖碑立传，如著名的《失乐园》的作者弥尔顿和苏格兰诗人彭斯，就享受着这种荣耀。）

London

Alfred, Lord Tennyson （丁尼生）

Robert Browning （布朗宁）

Rudyard Kipling （吉普林）

(11)Beowulf（《贝奥武夫》）：《贝奥武夫》（Beowulf）(转载于:www.Zw2.cN 爱 作 文 网) 一译贝奥武甫。完成于公元九世纪的英雄叙事长诗。 全诗凡3182行，以斯堪的纳维亚（Scandinavia）的英雄贝奥武夫（Beowulf）的英勇事迹构成主要内容。虽然历史上并未证实确有贝奥武夫其人，但诗中所提及的许多其他人物与事迹却得到印证。 本诗以西撒克斯（Wessex）方言写成，押头韵而不押尾韵，用双字隐喻而不用明喻。是现存古英语文学中最古老的作品，也是欧洲最早的方言史诗。在语言学方面也是相当珍贵的文献。

Epic （史诗）

(12)Poet Laureate （桂冠诗人）:

Alfred, Lord Tennyson（阿尔弗雷德·丁尼生）

William Wordsworth（华兹华斯）

(13)First Nobel Prize winner:（第一位诺贝尔文学奖获得者）:

Rudyard Kipling（吉普林）

诗歌作品：

2. Matching: Poets and Their Works (20 points)（连线）

（1）William Shakespeare(莎士比亚): Sonnet 130

Sonnet 18

（2）Edmund Spenser（斯宾塞）：Sonnet 75

（3）John Donne（多恩）：Death Be Not Proud

A Valediction Forbidding Mouring

SONG

The Flea

The Bait

Meditation 17

（4）William Wordsworth（华兹华斯）：I WANDERED Lonely as a Cloud

The Solitary Reaper

（5）John Keats（济慈）：Ode to a Nightingale

（6）Alfred, Lord Tennyson（阿尔弗雷德·丁尼生，桂冠诗人）：Ulysses

（7）Robert Browning（罗伯特·布朗宁）：My Last Duchess

（8）Rudyard Kipling（吉普林）：If

（9）Seamus Heaney（谢默斯·希尼）：Digging

（10）Ralph Waldo Emerson(拉尔夫·沃尔多·爱默生)：The Rhodora

The Chartist’s Complaint

（11）Walt Whitman（惠特曼）：O CAPTAIN! My Captain!

O ME! O life!

I Hear America Singing

When I Heard the Learn’d Astronomer

Sun at Sunset

（12）Emily Dickinson（艾米丽·迪金森）：Because I Could Not Stop for Death

It Was Not Death

For I Stood Up、

（13）Robert Frost（罗伯特·弗罗斯）：The Road Not Taken

Mending Wall

（14）Langston Hughes（蓝斯顿·休斯）: The Negro Speaks of Rivers

Let America Be America Again

（15）Countee Cullen(): Yet Do I Marvel

（16）Claude McKay（）：The Harlem Dancer

（17）Robert Haydon（）：Those Winter Sundays

（18）Allen Ginsberg's（艾伦·金斯堡）: Howl

（19）Christopher Marlowe(克利斯托弗·马洛):The Passionate Shapherd to His Love

3. Cloze (10 points)(完形填空)：根据老师所给诗句，根据格律韵脚，找到合适的诗句填空。

4. Terms and Definitions (10 points)（名词解释）

(1)Iambic pentameter（五音步抑扬格）：is a commonly used metrical line in traditional verse and verse drama. The term describes the particular rhythm that the words establish in that line. That rhythm is measured in small groups of syllables; these small groups of syllables are called "feet". The word "iambic" describes the type of foot that is used (in English, an unstressed syllable followed by a stressed syllable). The word "pentameter"

indicates that a line has five of these "feet." Iambic rhythms come relatively naturally in English. Iambic pentameter is the most common meter in English poetry; it is used in many of the major English poetic forms, including blank verse, the heroic couplet, and some of the traditional rhymed stanza forms. William Shakespeare used iambic pentameter in his plays and sonnets.

(2)Sonnet（十四行诗）：A lyric poem consisting of a single stanza of fourteen iambic pentameter lines linked by an intricate rhyme scheme. There are two major patterns of rhyme in sonnets written in the English language: (1) The Italian or Petrarchan sonnet falls into two main parts: an octave (eight lines) rhyming abbaabba followed by a sestet (six lines) rhyming cdecde or some variant, such as cdccdc. (2) The Earl of Surrey and other English experimenters in the sixteenth century also developed a stanza form called the English

sonnet, or else the Shakespearean sonnet, after its greatest practitioner。This verse form was introduced into English poetry by William Shakespeare，and has been in constant use ever since

(3)Ode（颂）：Ode is consisting of ten lines of many of iambic pentameter linked by an intricate Rhyme scheme such as ababcdecde. In praise of or dedicated to someone or some particular thing 。 It representative is Keats's Five Great Odes of 1819 which included Ode to a Nightingale, Ode on Melancholy, Ode on a Grecian Urn, Ode to Psyche, and Ode to Autumn.

(4)Blank verse（无韵诗）Blank verse is poetry written in uhymed iambic pentameter. It has been described as "probably the most common and influential form that English poetry has taken since the sixteenth century"and Paul Fussell has claimed that "about

three-quarters of all English poetry is in blank verse." The first documented use of blank verse in the English language was by Hey Howard，and also established it as the dominant verse form for English drama in the age of Elizabeth I and James I. The major achievements in English blank verse were made by William Shakespeare, who wrote much of the content of his plays in uhymed iambic pentameter, and Milton, whose Paradise Lost is written in blank verse。

(5)Dramatic monologue（戏剧独白）：1. A single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment. 诗歌由一个人 的言语构成 2. This person addresses and interacts with one or more other people; but we know of the auditors' presence, and what they say and do, only from clues in the discourse of the single speaker. 有一个或多个听众的存在，但其语言及行为只能 有一个或多个听众的存在， 从这单个说话人的话语中显示 3. The main principle controlling the poet's choice and formulation of what the lyric speaker says is to reveal to the reader, in a way that enhances its interest, the speaker's temperament and character. 说话者的话语显示出其性格 (M. H. Abrams) Robert Browning is usually credited with

perfecting the form; certainly, Browning is the poet who, above all, produced his finest and most famous work in this form. While My Last Duchess is the most famous of his

monologues, the form dominated his writing career.

(6)Romantic period（浪漫主义时期）：English Romanticism is generally said to have begun in 1798 with the publication of Wordsworth and Coleridge’s Lyrical Ballads and to have ended in 1832 with Sir Walter Scott’s death and the passage of the first Reform Bill in the Parliament。The Romantic period is an age of poetry. Blake, Wordsworth, Coleridge, Byron, Shelley and Keats are the major Romantic poets. They started a rebellion against the neoclassical literature, which was later regarded as the poetic revolution. They explored new theories and innovated new techniques in poetry writing. They saw poetry as a healing energy, the believed that poetry could purify both individual souls and the society.

Wordsworth’s theory of poetry is calling for simple themes drawn from humble life. He defines the poet as a “man speaking to men,” and poetry as “the spontaneous overflow of powerful feelings”.

(7)Metaphysical poets：（形而上学的诗人）The metaphysical poets is a term coined by the poet and critic Samuel Johnson to describe a loose group of British lyric poets of the 17th century, who shared an interest in metaphysical concerns and a common way of investigating them, and whose work was characterized by inventiveness of metaphor (these involved comparisons being known as metaphysical conceits). These poets were not formally affiliated; most of them did not even know or read each other. Their poetry was influenced greatly by the changing times, new sciences and the new found debauched scene of the 17th century。Their style was characterized by wit and metaphysical conceits—far-fetched or unusual similes or metaphors, such as in Andrew Marvell’s comparison of the soul with a drop of dew; in an expanded epigram format, with the use of simple verse forms, octosyllabic couplets, quatrains or stanzas in which length of line and rhyme scheme enforce the sense.

(8)Harlem renaissance：The Harlem Renaissance was a cultural movement that spanned the 1920s and 1930s. At the time, it was known as the "New Negro Movement", named after the 1925 anthology by Alain Locke. Though it was centered in the Harlem neighborhood of New York City, many French-speaking black writers from African and Caribbean colonies who lived in Paris were also influenced by the Harlem Renaissance. Historians disagree as to when the Harlem Renaissance began and ended. The Harlem Renaissance is unofficially recognized to have spanned from about 1919 until the early or mid 1930s. Many of its ideas lived on much longer. The zenith of this "flowering of Negro literature", as James Weldon Johnson preferred to call the Harlem Renaissance, was placed between 1924 (the year that Opportunity: A Journal of Negro Life hosted a party for black writers where many white publishers were in attendance) and 1929 (the year of the stock market crash and the beginning of the Great Depression).