Comment老歌精选s海阔天空图片 on Dover Beach
豆角土豆摘要:
多佛沙滩是一首由四个小节每个小节有十四行的抑扬诗，前两节每节有十四行，却又不是严格的十四行诗，这首诗可以被称为“一系列非独立的十四行诗”。这首诗在艺术上是一首忧沉的诗，作者采用“感情误置”这种方式，把人们那种悲哀之情付于无生命的物体上，在本诗中，他就把人们的这种感情寄托给了大海，读者可以在欢愉的节奏本身体会到那种忧郁。在本诗的主题和结构上来看，在诗的开头，作者描写了沙滩上夜晚的景色，然后把描写转移到了听觉上，以描写海波的声音，这种海波的声音引起一种悲伤的情绪。第二节介绍了Sophocles关于人类起伏而感到悲哀的观点，与前一节形成了一种对比的情景，在第三节中大海转向了大海的信仰，为那段时间做了个比喻，那段时间人们依然在崇拜着宗教，但是新时代的到来却带来了达尔文思想，工业革命等。总之，本诗运用不同的方式表达了一种悲伤的感情和对人类社会起伏的同情。
关键词：cad怎么倒圆角Form and structure theme and subject
Comments on Form and Structure
"Dover Beach" consists of four stanzas, each containing a variable number of vers. The first stanza has 14 lines, the cond 6, the third 8 and the fourth 9. As for the metrical scheme, there is no apparent rhyme scheme, but rather a free handling of the basic iambic pattern. In stanza 3 there is a ries of open vowels ("Its melancholy, long, withdrawing roar" (l. 25). A generally falling syntactical rhythm can be detected and continues into stanza 4. In this last stanza one can find ven lines of iambic pentameter (l.31-37), with the rhyme scheme of abbacddcc.
According to Ruth Pitman, this poem can be en as "a ries of incomplete sonnets", and David G. Riede adds:
The first two ctions each consist of 14 lines that suggest but do not achieve strict sonnet form, and except for a short (three foot) opening line, the last ction emulates the octave of a sonnet, but clos with a single, climactic line instead of a stet — as though the final five lines had been eroded. (197)
巫婆图片The thoughts do not appear as obviously structured and organized as in "Calais Sands",
which is accentuated by the fact that run-on lines are mixed with end-stopped lines. In the first stanza the rhythm of the poem imitates the "movement of the tide" (l.9-14). [Roy Thomas, How to read a Poem? (London: University of London Press Ltd, 1961) 102. Hereafter cited as "Thomas."
Terms of Art
"Dover Beach" is a melancholic poem. Matthew Arnold us the means of 'pathetic fallacy', when he attributes or rather projects the human feeling of sadness onto an inanimate object like the a. At the same time he creates a feeling of 'pathos'. The reader can feel sympathy for the suffering lyrical lf, who suffers under the existing conditions.
The repetition of "is" in lines 1-4 is ud to illustrate the nightly aside scenery:
The a is calm tonight, the tide is full, the moon lies fair Upon the straits; on the French coast the light Gleams and is gone; . . . [emphasis mine]
少儿节目主持人It leads up to an eventual climax with 'the light/ gleams and is gone’. The first two is portray what can be en. The last 'is' emphasizes that the light is not there, that it cannot be en any longer, but is gone and leaves nothing but darkness behind. In a metaphorical n of the word, not only the light is gone, but also certainty. The darkness makes it hard to define both one's own and somebody el's position, and one can never be certain that the light will ever return.
A repetition in stanza 4 underlines a ries of denials: ". . . neither joy, nor love, nor light/ nor certitude, nor peace, nor help for pain;" (l. 33-34) [emphasis mine]. All the are basic human values. If none of the do truly exist, this rais the question of what remains at all. With the lines, Arnold draws a very bleak and nihilistic view of the world he is living in.
情天孽海As in "Calais Sands", he us a lot of adjectives to enrich the poem's language, such as "tremulous cadence" (l.13) and "eternal note of sadness" (l.14). The help to increa the general melancholic feeling of the poem.
最新装修风格
Exclamations are ud at various points of the poem with quite opposite effects. In the first stanza, Arnold displays an outwardly beautiful nightly aside scenery, when the lyrical lf calls his love to the window ("Come. ..!" (l.6)) to share with him the renity of the evening. First she is asked to pay attention to the visual, then to the aural impression ("Listen!" (l.9)).
In the fourth stanza, however, after he has related his general disillusionment with the world, he pledges for his love to be faithful ('true') to him. ("Ah, love, let us be true/To one another! . . ." (l. 29-30))
A simile in stanza 3 ("like the folds of a bright girdle furled," l. 13)) contrasts with "Vast edges drear/and naked shingles of the world." (l. 27-28). Peter Hühn calls this "Kleidervergleich" and explains:
Es tritt andeutungswei noch ein weiteres Bild zur Meeresmetapher hinzu, der Kleidervergleich, der die Sinnentleerung als Prozess der Entblössung wiedergibt . . . Eine wichtige Implikation dies Bildes ist die Vorstellung, dass der Sinn nicht den Dingen lb
st innewohnt, sondern ihnen vom Menschen (inem "Glauben") erst übergezogen wird." [74]
Throughout the poem, the a is ud as an image and a metaphor. At first, it is beautiful to look at in the moonlight (ll.1-8), then it begins to make hostile sounds ("grating roar" (l. 9); "tremulous cadence" (l.13)) that evoke a general feeling of sadness. In the third stanza, the a is turned into a metaphoric "Sea of Faith" (l.21) — a symbol for a time when religion could still be experienced without the doubts brought about by progress and science (Darwinism). Now, the 'Sea of Faith' and thus the certainty of religion withdraw itlf from the human grasp and leaves only darkness behind.
