有关爱情的英文诗

有关爱情的英文诗（通用8篇）

有关爱情的英文诗 篇1

关于爱情的英文诗

本网网精选十三首简易英文诗歌，全部来自英语诗歌大家之手，并配有中文翻译，希望能从这些诗歌的意境美和禅悦美中获取学习英语的乐趣，提高欣赏水平！

目录

【1】Rain>雨

【2】What Does The Bee Do?蜜蜂做些什么呢？

【3】O Sailor, Come Ashore

【4】THE WIND风

【5】THE CUCKOO布谷鸟

【6】COLORS颜色

【7】A House Of Cards纸牌堆成的房子

【8】What Does Little Birdie Say?

【9】The Star星星

【10】At The Seaside海边

【11】Boats Sail On The Rivers

【12】The Swing秋千

【13】The Blossom花儿

【1】Rain雨

Rain is falling all around, 雨儿在到处降落，It falls on field and tree, 它落在田野和树梢，It rains on the umbrella here, 它落在这边的雨伞上，And on the ships at sea.又落在航行海上的船只。

by R.L.Stevenson, 1850-1894

【2】What Does The Bee Do?

What does the bee do? 蜜蜂做些什么？

Bring home honey.把蜂蜜带回家。

And what does Father do? 父亲做些什么？

Bring home money.把钱带回家。

And what does Mother do? 母亲做些什么？

Lay out the money.把钱用光。

And what does baby do?婴儿做些什么？

Eat up the honey.把蜜吃光。

by C.G.Rossetti, 1830-1894

【3】O Sailor, Come Ashore啊！水手，上岸吧

（Part I）

O sailor, come ashore 啊！水手，上岸吧

What have you brought for me? 你给我带来什么？

Red coral , white coral, 海里的珊瑚，Coral from the sea.红的，白的。

（Part II）

I did not dig it from the ground 它不是我从地下挖的，Nor pluck it from a tree;也不是从树上摘的；

Feeble insects made it 它是暴风雨的海裹

In the stormy sea.弱小昆虫做成的。

by C.G.Rossetti

【4】THE WIND风

（Part I）

Who has seen the wind? 谁曾见过风的面貌？

Neither I nor you;谁也没见过，不论你或我；

But when the leaves hang trembling, 但在树叶震动之际，The wind is passing through.风正从那里吹过。

（Part II）

Who has seen the wind? 谁曾见过风的面孔？

Neither you nor I;谁也没见过，不论你或我；

But when the trees bow down their heads, 但在树梢低垂之际，The wind is passing by.风正从那里经过。

～by C.G.Rossetti

另一首诗人的风之歌

O wind , why do you never rest, 风啊！为何你永不休止

Wandering, whistling to and fro, 来来回回的漂泊，呼啸

Bring rain out of the west, 从西方带来了雨

From the dim north bringing snow? 从蒙眬的北方带来了>雪。

【5】THE CUCKOO布谷鸟

有关爱情的英文诗 篇2

Robert Lee Frost(1874-1963)is an American poet,a lyrical poet,and an authentic painter of local landscape.He was the most popular American poet from 1914 to his death.He won the Pulitzer Prize four times,received commendations by the American Academy of Arts and Letters and the poetry society of America respectively in 1938 and 1941,received honorary degrees from forty-four colleges and universities and became the nation’s unofficial Poet laureate when he was invited to read“The Gift Outright”at the inauguration of President John F.Kennedy in 1961.

Frost’s poetry is always a delightful experience to read.On the surface,his poems are very simple,but they are in fact profound and meaningful if considering them over and over,because most of his poems are endowed with philosophical meanings.Frost’s favorite subject matter was New England life and farming.But underneath the description of country life,there is often a deeper and wider meaning,some experience or truth about life itself.

2 Wisdom and Insights between Simple Lines

Frost was politically conservative,showing indifference to immediate political event either national or international,which left his verse unruffled.He stood aside from the literary movements of20th century since he showed little interest in experimentation in form.Yet he stood aloft among his contemporary poet,because of his modern thematic concern.In his poems he managed to construct a momentary stay against confusion.The New England landscape he portrayed in his poems reflects the fragmentation of modern society.The grotesque characters under his pen reveal the tension of modern life and alienation among modern people.He also wrote about something universal,about death and life,love and hate,war and peace,the good and the evil,for which his generally regarded as a poet of philosophy.

2.1 On human beings and nature

“Stopping by Woods on a Snowy Night”is perhaps the bes known of all his poems.Louis Untermeyer,American critic and poet,says that such a poem once in the mind of a reader will never leave it.Another critic calls this poem the supreme example o“Mr.Frost’s ability to enter into the life of nature.”As one o Frost’s most important writings,this poem is mainly a picture or an episode set within the picture.In classic Chinese landscape poems,a picture within a poem or a poem within a picture is not only the pursuit of the poet but also interesting and enjoyable for the reader.“Stopping by Woods on a Snowy Night”is also a good example for comparing American with Chinese poems of this type.

The basic image of this poem is a snowy scene that the speaker views and a series of implicit questions that the scene causes“Woods”in this poem stands for nature.Not all readers who like this poem are aware that this poem suggests deep thought abou death and about life.The strange attraction of death to man is symbolized by the dark woods silently filled up with the coldness o snow.The poem opens with the first question,who own the wood?The speaker seems uncertain about the owner,for he uses the linguistic hedge“I think”to moderate his statement“I know whose woods these are”.Symbolism is one of the techniques mos frequently used in Frost’s poetry.Some critics say that horse in this stanza stands for the animal world,symbolizing a king of life that does not understand man’s action.

The speaker begins the second stanza by mentioning that his horse is unaccustomed to stopping without a reason.Accordingly,another implicit question is raised:why does he stop?Or what attracts him?The hedge“must”in the first line indicates that the horse can really consider the man’s reason for stopping.It was not the horse but the man the was feeling“queer”,which is“saying one thing in terms of another”.

The third stanza continues the inquiry of the second one,and in a more direct way.The horse seems to“ask if there is some mistake”In this stanza the speaker emphasizes the stillness of the night,the isolation and privacy of the moment,It was so still that he could“hear”ever the“easy wind“flowing and the“downy flake”falling,Tension begins to build up in the speaker’s mind:though he seems to enjoy the still night,he also feels doubtful momentarily,as to what he is doing and what he is going to do.

The fourth stanza summarizes the implications of the details in the preceding stanzas.It seems that the speaker there answers the question why he stopped by the woods and by the snowy night.Three adjectives(lovely,dark and deep)in the first line of this stanza reinforce one another,not only do they present tow different aspects of nature,but they also reveal the speaker’s contradictory attitude towards nature.

This poem is well unified and coherent.It has a narrative quality in that the speaker accounts his moving,his stopping,his meditating,and his resolving to go on his journey.Another element of this poem’s coherence is its logic.The first three stanzas raise implicit questions and the final stanza gives the answer,though not so explicit.Thirdly,the regular rhythm and rhyme pattern help achieve coherence and cohesion,the rhyme pattern is not only a pleasure to ears but also a support to the poem’s meaning.In this poem a difficult rhyme scheme is used.Instead of using a-b-a-b,Frost uses a-a-b-a.He also picks up the unrhymed sound of each stanza(the third line)and links it with the rhyming sound of the stanza that follows it and become the main rhyme in the next stanza.In the final stanza,Frost uses d-d-d-d to replace d-d-e-d to terminate the rhyme scheme,which is the interlocking rhyme and in this way to suggest the end of the action in the poem as well as the end of life—death.The sense and the musical effect of the poem are also reinforced by the skillful use of alliteration and assonance.One thing must be pointed out:though the poem is regular in its iambic pentameter,Frost avoids metrical monotony by departing from the pattern slightly in the final stanza,and by his masterful control of tempo.The images in the poem can be divided into two kinds,visual images(e.g.woods house,village,Snow Lake,harness bell)and auditory images(e.g.shake of bells,the sweep of easy winds and downy flake).They correspond to the sensory feelings of the poet as well as the readers,and therefore create vividness.

The attraction of the beauty of nature makes the speaker stop in his journey.He finally turns away from it,with a certain weariness and yet with quiet determination to face the needs and demands of life.This stresses the central conflict of poem between man’s enjoyment of nature’s beauty and his responsibilities in society.Poems can have multiple themes and this poem is no exception.The theme here may be the necessity to face the responsibilities,inherent in adult or the seductiveness of death as an attractive way of escaping the weight of responsibility.This poem is about our lost connection with the natural world.Our ego bound activities take over our entire adult life.No time to appreciate the natural world.No time for activities that have no specific reason to admire nature.Even the horse senses there is wrong with stopping in these woods because the horse is trained by humans.“…..promises to keep……”is the abiding theme of all of our lives as urban dwellers.This poem may also tell us that duty and responsibility take precedence over beauty and pleasure.

2.2 On man and his internal world

“The Road Not Taken”is another one of his most importan philosophical poems.Some critics believe that the poem is set in some particular woods where the road diverges into two directions There is a little stream in western Canada where the Canadian Pacific Railway crosses the Continental Divide.The tourist trains all stop at that point,for the right hand branch of the stream flows into the Pacific Ocean,and the left hand branch into the Atlantic.Forks and crossroads are everywhere and confront everyone.We must make choices in front of them and take full responsibility for the consequences.By turning this concrete,common experience into poetry Frost raises this experience to a symbolic level of universal significance.With less colloquial speech rhythms than in“Mending Wall”,the poem is written in regular stanzas and rhyme schemes.

“And sorry I could not travel both.”is the second line o this poem.Here,a strong sense of regret is clearly demonstrated by the traveler before he makes a choice.In an attempt to make a decision,the traveler“looks down one as far as I could”.The road that will be chosen leads to the unknown,as does any choice in life As much he may strain his eyes to see as far the road stretches eventually it surpasses his vision and he can never see where it is going to lead.So,the future is a mystery,we cannot see it clearly but one choice must be made.Then he took the other,“as just as fair,and having perhaps the better claim.”What made“the other”has the better claim is that“it was grassy and wanted wear”which is mysterious and adventurous for the traveler.In this stanza the narrator took“the road less traveled by”exactly illustrates his personality and the kind of people the poet admires,that is,one who does not want to necessarily follow the crowd but do more o what has never been done,what is new and different.

“And both that morning equally lay in leaves no step had trodden black.”The leaves had covered the ground and since the time they had fallen no one had yet to pass by on this road.Perhaps Frost does this because each time a person comes to the poin where they have to make a choice,it is new to them,somewhere they have never been and they tend to feel as though no one else had ever been there either.“I kept the first for another day!”The desire to travel down both paths is expressed and it is not unusual but“knowing how way leads on to way”,the speaker of this poem realizes that the decision is not just a temporary one and he“doubted if I should ever come back.”This is his common sense speaking and acknowledging that what he chooses now will affec every other choice he makes afterward.

Once again,the regret hangs over the traveler like a heavy cloud about to burst at the end of the poem.He realizes that at the end of his life,“somewhere ages and ages hence”,he will have regrets about having never gone back and traveling down the roads he did not take.Yet he remains proud of his decision and he recognizes that it was this path that he chose that made him turn out the way and he did and lives his life the way in which he lived.“I took the road less traveled by and that had made all the difference.”To this man,what was most important,what really made the difference is that he did what he wanted.If he hadn’t,he wouldn’t be the same man he is now.

The poem seems to be about the poet,walking in the woods and coming upon a fork in the road,he feels sorry that he could no take both roads and he has to choose which road he should follow on his walk.In reality,it concerns the important decisions which one must make in life.Usually we are confronted with this dilemma and can not have thing worked in our own ideal way.But choices must be made and our decisions prove irrevocable,one must give up one desirable thing in order to possess another.Whatever the outcome,one must accept the consequences of one’s choice for i is impossible to go back and have another chance to choose differently.Everyone is a traveler,choosing the roads to follow on the map of their journey,life.There is never a straight path that leaves one with but a sole direction in which to head.Regardless of the original message that Robert Frost had intended to convey,his poem,“The Road Not Taken”,has left its readers with many different interpretations.In any case,however,this poem clearly demonstrates Frost’s belief,that is,the road one chooses to travel tha makes him the man who he is.

2.3 On the relation of human beings

Since literature is the reflection of the social life,in Frost’s volumes,what he displays is just the encyclopedic epitome of the society,which shows all aspects in New England,so the relationship between man and man would be an unavoidable topic.In Frost’s poems,a part of simple conversation or monologue often reflects some kind of phenomenon in the society,so to some extent,the meanings of his poems are usually thoughtful and profound.The environment where he lives in greatly influenced his creation of poems,therefore the people there and the relationship between them always inspired Frost.“Home Burial”is his masterpiece on dealing with the relationships among human beings.“Home Burial”is a poem discloses the relationship between husbands and wives the sweetest and most intimate one in the social relationship.

From the title,the relationship between the couple and their neighbors could be found.Subjectively they bear their own ideas about his or her spouse.In our common sense,no matter when the death happens,the people alive would get together to discuss how to deal with the funeral.At the same time,they would send the unfortunate news to their relatives,their acquaintances to be presen at the funeral.For the rich family,they would hold decent funerals to bury the deceased,even for the poor;they would get their relatives or neighbors,friends together to help them.But the title of the poem“Home Burial”implies that the couple finishes the funera by themselves.Although they live in a country,some of the villagers should have assisted them.

In this poem,the main stage is merely designed in the couple’s house.It shows that the husband and the wife quarreled resentfully on the day when the man buries their little son,who died a few days ago.The wife,Amy,stands by the window discerns the whole process of the burial.His coming is out of her expectation and his commanding interrogation makes her seethe the rage in the deep heart.She feels depressed for her husband’s attitude towards their son’s death.So she warns her husband not to mention the death in front of her for fear of breaking her heart,all her warnings are in vain.On the contrary,he mentions it over and over again.A last,she makes the determination to leave the house.Seeing this the husband tries to persuade her to stay,but his consolation is absolutely wrong.His pretext to stop her from leaving is that the quarrel between them may be overheard by passers-by.By and by,the smoldered rage bursts out like the erupting volcano.She departs her husband and rushes out.

By analyzing this poem,Frost’s opinion about the relation o human beings is exposed.He thought,between man and man,especially for modern people,there is always a kind of barrier existing in their hearts.No matter whom,the couple,friends or neighbors this kind of phenomenon would be found.It seems that there aren’t any true or pure emotions but the barriers,the contradictions and the suspects in their souls.When something unhappy happens though they have established very well-built relationship before they begin to build walls in their hearts and refuse to communicate with others;moreover,they stop others from approaching or getting in their lives.

3 Conclusion

In Robert Frost,the American people found their poet,their singer and their seer.Frost is a philosophical poet as well as a poe of profound simplicity.In the ripeness of his years,Robert Fros was acclaimed as few artists have been during their lifetime:his government officially recognized his greatness as man and poet,and critics hailed his poems as modern classics.Frost deliberately tries to make his blank verse smooth,easy,informal,and as much like common speech as possible,which can be understood by the average person.Frost holds that the idea should unfold as the poem progresses.Readers may discover that many of his poems begin as a seemingly simple narration of a seemingly simple incident,but end by suggesting meanings far beyond anything specifically referred to in the narrative.All of these things illustrate Frost’s belief that a poem begins in delight and ends in wisdom.His poems are shining stars in the sky of literature and philosophy which can arouse people’s enthusiasm to love the nature and illuminate modern peo-ple’s lives,though they are simple.

摘要：如果从20世纪美国推出一位民族诗人的话,那就是罗伯特·弗罗斯特。该文从语言、风格以及主题对他的几首哲理诗进行了简要分析,旨在展示其诗中蕴含的真理、智慧以及对现代生活的启示。

关键词：罗伯特·弗罗斯特,诗歌,哲理,智慧,寓深刻于简单

参考文献

[1]Cunliffe,Marcus.The Literature of Untied States[M].New York:Penguin,1986.

[2]Isaacs J.The Background of Modern Poetry[M].New York:E.P.Dutton,1992.

[3]程爱民.美国文学选读[M].南京:南京师范大学出版社,2004.

[4]金莉,张剑.文学原理教程[M].北京:外语教学与研究出版社,2004.

与诗有关的笔记 篇3

文学创作依赖于什么样的时代氛围？历数吾国历史，文学的辉煌时期，像魏晋南北朝、唐宋，以及晚明，似乎都是动荡不宁的，问题多多的。也许正是在复杂与变化的未知中，文学成立的可能性才出现在写作者面前。从没有中寻找有，从恶中体会善，这可能是文学的任务，或曰宿命吧。

白居易晚年越写越简单，平白，因而很多诗显得特别没意思。他带给人的启示是：纵使有千般功力，也不要以为能把什么都弄成诗。

我们今天还能够在这里谈论对事物的基本认识，我相信那些过去时代留下的伟大作品是产生了作用的，它们或许在自己被生产出来的时代并没有改变或推进什么，但是它们肯定起到了保存一个民族的记忆的作用。从这一点来说，哪怕仅仅是记录，只要它真实，并坚持了对人类真善美之原则的恪守，就有意义。

所谓的光明与黑暗，虽然可以从绝对的人类宿命的角度去理解，但这种宿命仍然要建立在对自身处境的真实体悟上。太多地去求证它们的绝对性，已经是前人做过，并做得太多的事情。如果我们只是再证明一次，并以放弃与现实联系为代价，其结果很可能就是空泛，或者被置于抽象之中，并不能真正产生彻骨之感。

当代诗创作领域内普遍存在着的现象：标新立异、故弄玄虚、小情小调、无事生非，如果把这些归结到写诗者对诗的认识出了问题，应该不会有错。认识决定方向，同时也决定着技艺，诗之成否全赖于此。

对道德承担的放弃，并假借诗是关于语言的艺术，仅仅将之落实为对修辞学的发现，还美其名曰，是从纯艺术的角度推进了对诗的认识，这不能不说是一种谎言。

我之所以坚持写诗，是发现它是让我不必与人打交道，自己与自己较劲，又能够度过时日的方式，它最终训练出来的孤癖，是我一开始没有想到的。

自从古典诗完成律、绝的形式化后，写作在章法严密控制的情况下，也就套路化了，一般都是一二句写什么，三四句，五六句写什么，最后又怎么结束。但现代诗的形式控制却需要依势而行，起承转合全由写者自己控制，从这一点看，现代诗要写得法度谨严，并非一般人想象的那么容易。当代诗大多数作品之所以有文而无体，就在于对形式的讲究不够，而且不单是形式讲究不够，如果细究起来还会发现其文也粗疏。这恰好违反了诗之为诗作为语言艺术的要旨。很显然，无体之文难以呈现美，真正有意思的诗应该是文体浑然。

对创新的强调，近几十年来已经成为当代诗领域疏离传统、不要规范的口舌利器。但创新实在是一种复杂的事，因为新并不等于好。如果单单只是为新而新，很可能得到的是新而无趣。

从二十几年前开口闭口西方现代主义到近年反复阅读中国典籍，中国诗人的这一学习历程很耐人寻味。这里面有对自身文化性格的重新认识，甚至可能包含了文化血缘的再次认定。当然，这并不是说曾经让人激动不已的西方诗人不再受到尊敬，他们的作品我们不喜欢了，而是我们需要从自己的文化传统中更清楚地认清自己。由是，当看到仍有同行将自己置放在单方面对西方诗人的慕拜，言辞中充溢着过度阐释的作法，我不以为然。当代中国文化语境的各种问题，如果仅将之看作追求现代性而生成的问题，肯定是忽视了传统造就的民族认知方式所起到的作用。如果不解决，或者说不厘清这一点，我们的写作便很难获得人们所说的见证性质。

近代以来，尤其是新文化运动以来，文学变革最显要的特征是文学的平民化。由此一切评说都放在了“政治正确”的基点上，虽然所依恃的是唐人的“绮丽不足珍”。近世对六朝文学的态度亦是从此基点出发。这从另一个面可以看出精英文学的命运。虽然精英文学不是没问题，但事情也应两分法来看，近代以前批评六朝文学，其大要多与社会情势有关。几千年来，这块土地上总是处于国忧其体，民忧其命的紧张情势之中，更多的人要求文学能够有所担当，或解忧或造喜。六朝文学从这点说来也算逆动了。但就文体自觉而言，六朝的确有非常明确的要求。只是让人比较困惑的是，在六朝动荡的形势下，当时的文人还那么心平气静地搞形式主义，把心力用在遣词炼句上。难道这仅仅是因为像萧绎、萧统、陈叔宝等人都是皇族吗？但问题是像沈约这样侍奉过几朝皇帝，一辈子活得如履薄冰之人，不也是如此？

对文学的态度说到底仍然与对欲望的态度有关。当一个写作者还在暗中期待自己在文学写作中更进一步，说明的是他还没有真正做到在人世间荣辱不惊地看待一切。尤其是有时候，当一种羞辱就出现在眼前时。

多数论家谈六朝文学一般都会将之与厌儒兴道之风挂在一起，但是似乎六朝的形式主义走向又与道家的放浪不羁、任性狂诞、无为无束很难扯到一起。因为形式主义恰恰讲究的是法度、规矩，发展到极致则是精雕细琢，尽极炫技，甚至有时候到了刻板的程度。所以诗歌的发展问题并非思想时风所能拘限。

任何诗都必然在文化序列中发生效应，存在的价值是文化比较的结果。我曾经写过“一首诗是另一首诗的政治”。我的意思是：对诗的价值判定，是由另外的诗作为支撑的，从来没有仅仅依靠其内部要素支撑的孤立的诗。所以，在共同的时代状况中，一首诗与另一些诗既是在相互认同也是在相互否定中呈现出自己的面貌。

对当代诗的误读是从上一个世纪八十年代到现在一直存在着的现象。正是如此，我们才看到了对“朦胧诗”的命名，将诗分为“口语诗”与“非口语诗”，以及将很多诗人谈论创作变化的言论简单分类。虽然误读已成为阅读的合理构成，被称为正常现象，但有时候仍然让人感到，它是对诗人写作努力的破坏性解构。

对诗的认同，在具体的时代环境，与人们对文化的认识程度有关。所以我们才会看到历史上有些诗人在活着时毫无影响，死后几十年，甚或几百年后才赢得必要的肯定。想来这也是正常的现象。如果没有做到在一般人无法进入的精神领域有所发现，又怎么能体现被后世誉为伟大诗人的那些不同凡响之处呢？

nlc202309080913

专注作为一种人生态度，似乎在今天这个时代已经变得罕有，但专注却是做成一件事的最必要的态度。我不能设想的是，在当代诗这样的领域，一个哪怕才情高迈如李白的人，其写诗没有专注的态度，不是把全部心力投放在写作奥秘的探究上，仅仅是依仗才情，能够写出什么有意思的作品。

陆机、谢灵运、谢朓、鲍照……，魏晋南北朝几百年，死于非命的诗人很多。在那么恶劣的社会环境中，在为前途劳心费神的经营中，他们还写出了那么多流传千古的伟大诗篇，真是不可思议的事情。或许我们只能这样认为，写诗成为了他们人世争斗过程中精神自我调节的一种方式，于歌吟中逐赶内心的恐惧，求得对现实的战胜或忘却。

对外在现实的观照如果不与内心的孤独、寂寞相映照，几乎难以写出细腻、彰显、沉痛、深入之作。古往今来的诗歌大家其实都印证了这一点。我一直把杜甫作为这一说法的最佳例证，当然也可以加上李商隐。近代以来，中国诗对社会现实的关注被赋予了道德、伦理的公共责任，内心的映照被置于凉阁，因而多数诗在轻浅、平淡、虚浮的层面上滑行，让人看不到真正的力量。

如果没有比较，我们从哪里知道某人比他的同代人写得更深入、有力呢？就是一部文学史，当我们选择某些诗人作为叙述的对象时，其实已经否定了更多的他们的同代诗人，甚至当一位诗人成为一个民族文化史上的经典人物时，那些次于他的诗人所起到的作用，就成为众星拱月了。他是在与他们的比较中赢得声誉的。

庾信未羁留北方前所作诗文亦如当时齐梁时风，去国成为人质后，一改而变得苍凉、遒劲，具有对现实人生的深切触及。其变化之实质，或许可言为：早年之作乃风流中求写之欢愉，后来的写作则是在内心悲苦中寻找慰藉。从某种意义上讲，庾信的经历清楚地表明了个人处境的变化如何影响到作品的生成。

我一直想写得更平静一些，但无奈社会现实与个人处境的双重挤压，每一提笔便控制不住动荡的心绪，因而所写作品有时让人觉得向绝对处走，戾气很重，限制了格局的扩大。说到底，这仍然是修为不到所造成。想想自己亦写不少年了，仍然没有做到以静制动，以理性求纵横捭阖，自由深入，内心不免惭愧。

人活在世上能真正交往的人有限，基本上只能与同代或年龄差距不大的人建立对话关系。这样说来，同样是活着的人实际上并非活在同一个世界。其间的隔膜甚至比与已死者的还大。死者我们还可以通过阅读谬托知音，但活着的人因为年龄差距沟通起来几乎不可能。就是有所谓的沟通也常常以失败告终。

怀旧是人的本能，不管是对自己的过去的怀念，还是怀念自己并没有经历但有所耳闻的时代。而文学实际上具有这种怀旧特性，所以我们才看到历史上经常出现文学的复古主义运动。不过有意思的是个人的怀旧是衰老的表现，文学中的怀旧则带有变革意味。与文学怀旧相伴的，基本上都是对文学现实的批判，并带来革命性的成果。

写作是游戏，这是近代认识文学的观念之一。但对我而言写作从来不是游戏，它是与世界建立关系的方式。因此，写作于我从来都是严肃而沉重的事。但它与一般人理解的人的价值体现无关。说到价值，它终归是社会对于人存在意义的认定。我并不需要这种认定，我需要的是知道自己应该怎样看待生命本身。

对我而言，写作到底有什么意义？在心中作为问题一直像个病灶一样存在，而一旦碰上来自现实生活的挫折，这病灶便会以弥漫的方式将我笼罩。在这种时候，所谓的虚无感总是一下子就将写作的意义彻底否定。既然这样，我为什么还要写作呢？是啊！我到底为了什么还要写作呢？

有几个作家的生平让人感慨，卡夫卡、佩索阿、卡瓦菲斯。这几个人都是一边当小职员，一边利用业余时间从事创作。除了卡瓦菲斯因为同性恋的原因写了不少这方面的题材，卡夫卡与佩索阿写下的作品几乎都是述说生命的孤独。怎么可能不孤独？单调、机械的办公室生活不可能满足想要洞悉生命奥秘的巨大激情。

中国到处能看到供奉着各种神的庙宇，连一些真实的历史人物最后都在供奉中变成了具有法力的神祗。由此让人看到中国可能是神最多的国家。我甚至在山西长治一个村子里参观过一个儒、释、道被供奉在一起的小庙。只不过中国的大多数神被供奉，与人的精神诉求无关。而且大多数老百姓并不在乎一所庙宇里供奉的是什么神，他们上香拜祀，完全是为了获得现世福报——求子、祈福、消灾、祛病、发财。虽然这种没有宗教情怀的举动多少让人看着不舒服，但其中存在着的改变现实生活处境的愿望仍然让人不能不感慨。

就对诗的要求而言，李商隐或可被看作古典诗中最具有形式感的诗人。正是如此，当多数六朝以后的诗人都以批判“宫体诗”另起炉灶时，他却能从中找到自己需要的有利因子，并写出非凡的诗篇。如果要说李商隐的写作给了我什么启发，这启发就是：如何面对传统，的确是需要自我辩识力的。

在这个时代把一生押在写诗上，有人将之看作是自虐行为，也有人将之看作具有殉道精神。写诗是自己的选择。既然是自己的选择，又怎么自虐了，殉了哪门子的道呢？我不喜欢有人一谈到自己在这个时代写诗就慷慨悲壮，一股“风萧萧兮易水寒”的调调……

每个有抱负的诗人都致力用写作建立能够被别人说成是“语言的王国”的疆域，但一个时代能做到的不会有几个人。不少人在写作取得了一些成绩后总是错觉地以为自己已经如此。这样我们看到了太多大言不惭地谈论自己写作如何如何的言辞。

把写诗看作对于民族文化，或更大一点，人类文明承续的使命感驱动下的，我们不得不做之事，有一个时期我亦这样认识。但现在有些不一样的想法。对个体而言，写作没有那么重大的责任感压着，或许我们能更深入地找到它与生命的关系，主要是与我们自身生命的关系。就活着而言，也许这一点更重要……

东欧诗，主要是20世纪50-90年代的东欧诗，给人最大的启发是：面对极端的意识形态如何处理诗与现实的关系。可以肯定地说，这里面不仅仅是怎样去意识形态化，还存在着对语言道德的重新考量。

任何关于诗的言论，换个角度看，都可以看作是诗人对自身写作合法性的辩解。这也是从来没有一种关于诗的言论能够被看作是真理的原因。因此，信不信某类关于诗是什么的言论，完全取决于每个人对诗的要求。从这个意义来讲，诗不是共识的产物，它很可能是共识的反面，是一种可以称作“差异”的存在。

英文诗的押韵 篇4

英文诗一般都押运韵。

（一）全韵与半韵（full rhyme and half rhyme）。

全韵是严格的押韵，其要求是：

（1）韵要押在重读音节上，其元音应相同；

（2）元音前的辅音应不同；

（3）如果元音之后有辅音，应相同。

（4）重读音节之后如有轻读音节，也应相同。

下面几对词都符合全韵的标准：

why---sigh;hate---late;fight---delight;powers---flowers;today---away;ending---bending.如果仅是元音字母相同，读音不同，不符合全韵：如:

blood----hood;there---here;gone---alone;daughter----laughter.这种情形被称为“眼韵”（eye rhyme），虽然诗人有时用之，但不是真正的押韵。

仅是辅音相同或仅是元音相同的属半韵：

元音不同，其前后的辅音相同，这叫谐辅韵（consonance）如：black, block;creak, croak;reader, rider;despise, dispose.元音相同，其后的辅音相同者叫谐元韵（assonance），如lake, fate;time, mind.（二）尾韵与行内韵(end rhyme and internal rhyme)

押在诗行最后一个重读音节上，叫尾韵。这是英文诗歌最常见的押韵部位。诗行中间停顿处的重读音节与该行最后一个重读音节押韵者，叫行内韵。如：

Spring, the sweet spring, is the year’s pleasant king;

Then blooms each thing, then maids dance in a ring，（三）男韵与女韵((masculine rhyme and feminine rhyme)

所押的韵音局限于诗行中重读的末尾音节上，称男韵，也叫单韵，听起来强劲有力。如：late, fate;hill, fill;enjoy, destroy.押韵押在两个音节上，后一音节非重读音节，称女韵，也叫双韵，听起来或轻快，或幽婉。如：lighting, fighting;motion, ocean;wining, beginning.看下面一节诗：

I am coming, little maiden，With the pleasant sunshine laden;

With the honey for the bee，With the blossom for the tree.前两行押女韵，后两行押男韵。

见与不见的英文诗 篇5

你见，或者不见我

It doesn’t matter if you see me or not

我就在那里

I am standing right there

不悲不喜

With no emotion

你念，或者不念我

It doesn’t matter if you miss me or not

情就在那里

The feeling is right there

不来不去

And it isn’t going anywhere

你爱或者不爱我

It doesn’t matter if you love me or not

爱就在那里

Love is right there

不增不减

It is not going to change

你跟，或者不跟我

It doesn’t matter if you are with me or not

我的手就在你的手里

My hand is in your hand

不舍不弃

And I am not going to let go

来我怀里

Let me embrace you

或者

or

让我住进你的心里

Let me live in your heart

默然相爱

Silent Love

寂静喜欢

形容爱情的现代诗 篇6

1、《爱情是什么》

作者/skyblue

爱情是什么

就是一张空白纸中

记载着两个人甜蜜故事

就像两只蝴蝶来自不同的世界

飞到同一片花园里

从刚开始的不认识，没话语

渐渐地从陌生到熟悉

从不了解到相互了解

从不喜欢到喜欢，甚至爱上对方

在爱情路途中

有时感受到白开水的无色无味

有时感受到巧克力的甜味

有叶的喜悦，有大海的愤怒

有白天的黎明，有夜的黑暗

有火炉的温暖，有寒风的刺骨

正因为爱情有这些

填满了爱情那张空白纸

在爱情的尾端画上圆满的句号

让人感到花的盛开

让人感到阳光的温馨

让人感到夜空里还有星星的存在

正因为有爱情

对爱的疯狂，对爱的执着

世界上变得更加美丽而精彩

2、《仰望爱情》

作者/孙广科

我们是否曾来到过江边

站着，在滚滚江水中

舀取一瓢，并随身携带

在这瓢江水中

我们是否曾长久凝视

找到渴望已久的

那双手、那句话、那个眼神

那个

已经模糊不清的

背影。

然后转过身来

在滚滚红尘中，孑然一生

3、《爱情》

作者/舟中人

在一加一的简单运算中

常有第三个数字

出来捣乱

在柴火的熊熊燃烧中

油盐酱醋的味道

越来越淡

身与身的融合

需要的理智最短暂

心与心的磨合

所需的时间最漫长

字典里的爱情

解释过于简单

生活中的爱情

却变得越来越麻烦

4、《再别康桥》

轻轻的我走了，

正如我轻轻的来;

我轻轻的招手，

作别西天的云彩。

那河畔的金柳，

是夕阳中的新娘;

波光里的艳影，

在我的心头荡漾。

软泥上的青荇，

油油的在水底招摇：

在康河的柔波里，

我甘心做一条水草!

那榆阴下的一潭，

不是清泉，是天上虹

揉碎在浮藻间，

沉淀着彩虹似的梦。

寻梦撑一支长篙，

向青草更青处漫溯，

满载一船星辉，

在星辉斑斓里放歌。

但我不能放歌，

悄悄是别离的笙箫;

夏虫也为我沉默，

沉默是今晚的康桥!

悄悄的我走了，

正如我悄悄的来;

我挥一挥衣袖，

不带走一片云彩。

5、《只要彼此爱过一次》

文/汪国真

如果不曾相逢

也许 心绪永远不会沉重

如果真的失之交臂

恐怕一生也不得轻松

一个眼神

便足以让心海 掠过飓风

在贫瘠的土地上

更深地懂得风景

一次远行

便足以憔悴了一颗羸弱的心

每望一眼秋水微澜

便恨不得 泪水盈盈

死怎能不 从容不迫

爱又怎能 无动于衷

只要彼此爱过一次

就是无憾的人生

6、《遇见潜行的爱情》

我遇见潜行着的爱情，和全然凋谢的笑容

遇见他又在梦里独步，打了一个手势

仿如在将未来接听，云朵奇形怪状

音乐逃得太远，只有寂寞在回旋中，从不设防

回忆总和时间亲热，沉默比星光还要瞩目

别去想距离，陌生的火在熊熊燃烧

他说忙，说压力，说一切都由不得自己

我誓言，那种形式表达就如同天在下雨

我永在原地，原地，任由洪流掀至

旋涡成为最终的密室，他会寻找

在某个夜晚，他听到血管中的呻吟

听到指间的愤懑，听到皱纹裂隙在增加

听到坟墓的开启，却也听到爱情，原来就在顶空

紧紧跟随，和着世界数万的谎言，永世飘浮

7、《爱情玫瑰花》

散发着醉人的浓香

却还隔着深深的栅栏

世间无上的美丽

却还带着扎手的尖刺

多少生命 为她凋零

你这掌管宇宙的女神

多少梦想 为她点燃

你这主宰万物的魔鬼

毁灭与重生

未来和过去

都逃不过你的手心

你颠覆着善与恶美和丑

你演绎着人世鼓吹着奋进

你将最美好的撕毁

爱，可以忘记一切

恨，可以消灭一切

玫瑰散发着醉人的浓香

我种下一棵火热的爱情

看她生根发芽开花

玫瑰虽美，却还有凋谢的时候

8、《心中的百合花》

你是一朵初绽的百合 开在深山

却妆点了我的世界

你不与万花争宠 却独让我魂牵梦萦 你从不招枝显摆 却是如此脱俗出尘

静静地

你流淌着你的芳香 雅雅地

你舞动着洁白的裙裳

你是百合花仙吧?

文静而儒雅

端庄而贤淑

丽质而显美

空灵而圣洁的百合花魂 我愿化身诗人

把我对你满腔的爱恋 凝注笔端

为你写出世界上最美的诗集 我愿化身歌手

将我对你的真心

交付青春的歌喉

为你唱响宇宙间最动听的旋律

然而()

我更希望化身百合 守在你的身旁

常伴你的左右

和你一起走在时间的轴上 共数着年轮的悲欢

百合啊百合

有关爱情的英文诗 篇7

关键词：《国风》,爱情赠答诗,巫术,瓜果,情比玉坚

爱情诗几乎占据了《诗经》的四分之一, 而在公认为最有价值的《国风》中就有近一半是情诗, 大大超过其他题材的作品。这些情诗来源于民间, 不仅反映了劳动人民最朴素真挚的情感, 也映射出周代社会的礼俗风貌。

一、《国风》中的爱情赠答诗

来源于民间的风诗, 满载着周代平民百姓的生活点滴与情感体验, 悠远而缠绵。苏霍姆林斯基曾说“爱情是人的永恒的美, 永恒的力量。……人只有当他真正懂得人的爱时, 他才能真正成为人。”《国风》中收录了大量情诗。然而, 由于赋比兴手法的局限及反复咏叹的行文习惯, 以物为载体的爱情赠答诗却不多见。笔者略作统计, 在《国风》的爱情诗中, 明确提到以物相赠的有八首, 分别是《召南·野有死麕》《邶风·静女》《卫风·木瓜》《王风·丘中有麻》《郑风·女曰鸡鸣》《郑风·溱洧》《陈凤·东门之枌》《秦风·渭阳》。这些爱情赠答诗, 反映了周代社会的不同风貌。

二、《国风》爱情赠答诗的礼俗风尚

分析《国风》中八首爱情赠答诗, 根据其所赠之物, 我们可以将它们分为三类:其一, 赠香草以求爱;其二, 赠食物以定情;其三, 赠玉器表忠贞。所赠之物虽然简单, 但其所蕴含的意义却并不普通。

1、赠香草以求爱

《国风》中有78首诗歌提及花草树木, 涉及植物近百种, 其中出现次数最多的要数“草”这个意象了。《国风》中的爱情赠答诗有三首, 共提及了四种香草, 分别是《召南·野有死麕》中的白茅草, 《邶风·静女》中的彤管和夷草, 《郑风·溱洧》中的芍药等。下面以《召南·野有死麕》这首诗为例进行说明。这首诗被《毛诗序》释为“恶无礼也。”《郑笺》与《三家诗》评注大体不脱离“刺淫”的主旨。朱熹则认为是情诗, “言美士以白茅包死麕而诱怀春之女也。”笔者以为然, 这是一首男子向心仪女子的求爱歌。文中的“白茅包之”, 与下一章的“白茅纯束”意思相同, 是用白茅草包裹野味, 这一小细节也许不为多数人关注, 笔者却认为, 相对于野味, 白茅草才是男子要送给女子的真正礼物。“白茅包之”并非《召南·野有死麕》的男主角独有的行为, 在《小雅·白华》中也有“白华菅草, 白茅束之”的句子。今天我们当作诗来看的《诗经》, 从另一个角度看, 是周民为了达到某种功利性目的的巫术咒诗。关于原始社会的爱情巫术与咒诗, 社会人类学家马林诺夫斯基曾做过如下论断:“在一个尚未与科学结缘的原始社区, 巫术是无数信仰和活动的根基。……在所有与爱情有关的事物中, 它是至关重要的。巫术可以赋予魅力、触发爱情;巫术可以使伉俪情侣感情疏远;巫术可以产生和增加个人美。”《诗经》中的爱情咒诗功利目的十分明显, 就是帮助自己征服所爱的异性。据马林诺夫斯基研究, 一般爱情咒语常从增强自身的性吸引力开始, 通常是采集某种植物的叶子清洗身体, 伴随诵念采叶洗濯的咒语。从这个角度, 也许可以重新考查《诗经》中所有“采摘草叶”的母题诗。“采摘母题”便是马林诺夫斯基所说的攻心术第一轮。他所说的咒术攻心战第二轮, 便是投赠母题。不必拘泥于食物的话, 《诗经》中所有爱情赠答诗皆可看作巫术性的投赠。回到《召南·野有死麕》这首诗, 笔者以为它是将两轮爱情巫术攻心战结合起来的强咒诗。男子先巫术性地采集白茅草, 利用其增强自身的魅力, 再将这已带有巫术功利性的草叶, 裹上野味以掩人耳目, 送给心爱的女子, 以求“双重保险”, “双管齐下”, 达到令女子倾慕的效果。

2、赠食物以定情

以食物相赠可以从马林诺夫斯基所说的咒术攻心战第二轮来理解。《卫风·木瓜》中便有木瓜, 木桃, 木李三种水果。你送我木瓜、木桃、木李, 我用美玉 (琼琚、琼瑶、琼玖) 报答你, 不是报答, 而是永远作为相好的凭证。从咒术攻心战角度, 可以看作男女二人互相施咒以达到令对方钟情的目的。这里解决一个主要的分歧和疑问, 那就是男女互赠性别的定位问题。在学术界, 有的学者认为投木瓜等瓜果的是女子, 报之以琼据等玉器的是男子, 有的学者观点恰恰与此相反。所以, 互赠者的性别至今未加确切定位。民族学学者林惠祥先生有过一段论述:“人类自有火之后便发生男女间的分工, 男子出外从事狩猎和战争, 女子则在家守火, 并于近地寻觅植物的果实根茎皮叶等作食物。”又《礼记·曲礼下》“凡挚, 天子鬯, 诸侯圭, 卿羔, 大夫雁, 士雉, 庶人之挚匹, 童子委挚而退。……妇人之挚, 椇、榛、脯、脩、枣、栗。”也可知女子送礼一般是干果和干肉类。通过援引以上材料, 我们了解到男女互赠这种礼俗的特点是男赠女一般是玉器珠宝等, 而女赠男一般是瓜果等。可以用此来确定《木瓜》中互赠性别的定位, 并进一步对周代男女互赠礼俗加以初步探究。

3、赠玉器表忠贞

“玉, 石之美者。”玉至周不但仍然保留了几千年来积淀在它身上的贵重成分, 而且随着周人崇尚精神, 品德文化的特点, 它又被赋予了新的高贵、典雅而完美的品格。许慎以“五德”来界定玉, 提倡“君子比德于玉”, 将玉道德化, 人格化, 大大加强了玉的文化价值, 使玉文化在中国传统文化中具有至高无上的地位。《诗经》中所提饰物最多的就是玉, 在诗人们眼中, 玉不仅具有装饰美, 更有一种德性美、人格美。它可表尊贵、表赞美, 表馈赠……, 正如美学大师宗白华先生所言:“中国向来把玉作为美的理想。玉的美, 即‘绚烂之极归于平淡’的美, 可以说, 一切艺术的美, 以至于人格的美, 都趋向玉的美:内部有光彩, 但是含蓄的光彩, 这种光彩是极绚烂, 又极平淡。”可见玉在人们心中的完美形象。《诗经》中以玉相赠的有四首诗, 《王风·丘中有麻》“彼留之子, 贻我佩玖”, 《郑风·女曰鸡鸣》“知子之来之, 杂佩以赠之;知子之顺之, 杂佩以问之;知子之好之, 杂佩以报之”;《秦风·渭阳》“何以赠之, 琼瑰玉佩”和《卫风·木瓜》“投我以木瓜, 报之以琼琚”, “投之以木桃, 报之以琼瑶”, “投之以木李, 报之以琼玖”。除了爱情攻心战说和民俗说, 以一件如此完美, 拥有全面品德的礼物相送, 也表达了男女双方对爱情的忠贞和彼此之间的深厚情谊。可谓“情比玉坚”了。由此可见, 温润美玉在周代社会不仅是权力与身份的象征, 也被天下有情人当作爱情信物相互赠与, 象征忠贞不渝的爱情。

参考文献

[1]苏霍姆林斯基, 著.关于爱的思考[M].张金长, 等译.桂林:广西师范大学出版社, 2005:174.

[2]周振甫.诗经译注[M].北京:中华书局, 2010.

[3]马林诺夫斯基, 著.野蛮人的性生活[M].刘文远, 等译.北京:团结出版社, 1989:246.

[4]林慧祥.文化人类学[M].上海:上海文艺出版社, 1991:122.

[5]陈戍国.周礼·仪礼·礼记[M].长沙:岳麓书社, 2006:252.

有关爱情的英文诗 篇8

关键词：西方简体英文诗童谣清单诗五行诗俳句

唐诗

在人类漫长的历史过程中，随着语言的产生和发展，人们慢慢学会唱歌、背诗。这是人类表达各种感情的一种手段。由于汉语和英语的差别较大，掌握英语的节奏感是英语学习的一个难题。下面结合选修六第二单元“Poems”谈一下教学中英文简体诗在文化中的渗透。本单元的中心话题是诗，READING部分主要介绍了几种形式的小诗及它们的特点。文章开头阐述了人们为什么要写诗，有些诗是用能给读者留下强烈印象的形式讲述一个故事或描述一件事情，有一些诗则是想要表达某种感情。下面我们就介绍一下几种简体英文诗。

一、Nursery rhyme 童谣

童谣是为儿童作的短诗，强调格律和韵脚，形式比较简短，通常以口头形式流传。世界各国、各民族都有童谣，甚至于没有文字的族群都有童谣。凡是民谣中适合孩童听与唱的都可以归类为童谣。童谣通常旋律动听，节奏明快，诙谐幽默，音节和谐，形式简短，读来朗朗上口。有些童谣可能意义上讲不通，但它们很容易学习和背诵。童谣的特点:一是朗朗上口，通俗易懂；二是有趣、好玩，孩子们感兴趣。童谣的内容选择有三个基准点：1.童谣的内容取材贴近生活和自然，内容浅显，思想单纯。2.童谣的内容想象丰富，富有情趣；整首篇幅简短，结构划一。3.童谣语言活泼，富于音韵，朗朗上口。如：

The little cat is mad.

The little cat is sad.

The little cat feels very bad.

“Little cat， little cat，

Why are you so mad and so sad?”

“I have broken my leg，

I have broken my neck，

And I have a pain in my head.”

“Sorry， sorry， little cat，

That's really too bad.”

二、List poems 清单诗

列举事物的清单诗是英文诗歌中最简单的一种。清单诗可长可短，可以重复一些短语，较为灵活，形成固定句型和诗的节奏。有些清单诗有韵脚，但有一些则没有。如：

If I were you， I would rather stay at home.

If I were you， I would finish the work myself.

If I were you， I would definitely do that for him.

If I were you， I would travel on foot.

If I were you， I would go to the movies.

If I were you， I would pick that restaurant.

If I were you， I would go send her a letter.

If I were you， I would go overseas to enrich my horizon.

三、Cinquain 五行诗

五行诗由五行组成并且遵循一定的规则。第一行：一个名词（或名词词组）点出这首诗的主题。第二行：两个描述这个主题的形容词。第三行：三个以-ing结尾的能够描述主题动作的动词。第四行：四个词给出作者对这一主题的观点或感受。第五行：一个能够给出这个主题另一个名字的词。如：

Theme park

Big， fun

Playing， laughing， running

Forgetting problems， enjoying yourself

Happy

四、Haiku 俳句

俳句是以十七个音节为一首诗歌的日本短诗。俳句是有特定格式的。俳句的创作一般遵循两个基本规则：第一，俳句由五、七、五的三行十七个音节组成。第二，俳句中一般要有一个季语。所谓季语是指用以表示春、夏、秋、冬及新年的季节用语。在季语中除“夏季的骤雨”“雪”等表现气候的用语外，还有像“樱花”“蝉”等动物、植物名称。另外，如“压岁钱”“阳春面”这样的风俗习惯也多有应用。这些“季语”通常带着现代日本人民对于幼小时代或故乡的一种怀念眷恋之情。它虽然不属英文诗的传统形式，但是在用英语写作的人们中间，这种诗也是很流行的，它可以用最少的词语呈现出一幅清晰的画面，表达一种特殊的感情。如：

A fallen blossom

A /fa/llenblo/ssom（5）

Is coming back to the branchIs / co/ming / back / to / the /branch （7）

Look，a butterfly

Look，/ a/bu/tter/fly（5）

(By Moritake) （By Moritake）

五、Tang poems 唐诗

说英语的人也喜欢其他类型的亚洲诗，尤其是中国的唐诗。唐诗泛指创作于唐代的诗。唐诗是我国优秀的文学遗产之一，也是全世界文学宝库中一颗灿烂的明珠。唐诗的形式是多种多样的。唐代的古体诗，主要有五言和七言两种。近体诗也有两种，一种叫做绝句，一种叫做律诗。绝句和律诗又各有五言和七言之不同。所以唐诗的基本形式有这样六种：五言古体诗、七言古体诗、五言绝句、七言绝句、五言律诗、七言律诗。现代，许多唐诗已经被翻译成英文，因为是唐诗的翻译，诗的特点就是浓缩而蕴含深意。所以英语不可能用很少的词翻译清楚的。这也是中华古典文化的魅力所在。

Thought in the Silent Night (Li Bai)静 夜 思 （李 白）

Beside my bed a pool of light， 床 前 明 月 光，

Is it hoarfrost on the ground?疑 是 地 上 霜，

I lift my eyes and see the moon， 举 头 望 明 月，

I bend my head and think of home. 低 头 思 故 乡。

参考文献：

[1] 袁行霈，《中国诗歌艺术研讨》[M]，北京大学出版社，2009

[2] 范秀华、朱朝晖，《英美诗歌鉴赏入门》[M]，东华大学出版社，2006