ShakespeareSonnet18(Book1P118)Notestemperate(2):i.e.,evenly-tempered;notovercomebypassion.theeyeofheaven(5):i.e.,thesun.everyfairfromfairsometimedeclines(7):i.e.,thebeauty(fair)ofeverythingbeautiful(fair)willfade(declines).nature'schangingcourse(8):i.e.,thenaturalchangesagebrings.thatfairthouow'st(10):i.e.,thatbeautyyoupossess.ineternallines...grow’st(12):Thepoetisusingagraftingmetaphorinthisline.Graftingisatechniqueusedtojoinpartsfromtwoplantswithcordssothattheygrowasone.Thusthebelovedbecomesimmortal,graftedtotimewiththepoet'scords(his"eternallines").Forcommentaryonwhetherthissonnetisreally"onelongexerciseinself-glorification",pleaseseebelow.FigureofSpeechRhetoricalquestioning:The1stline,tousedtocreateatoneofrespect,andtoengagetheaudienceMetaphor:Shakespeareopensthepoemwithametaphor,comparingthewomanhelovestoallofthebestcharacteristicsofasummer'sday.Whenwethinkaboutsummer,manyattributescometomind,suchaswarmth,sunshine,fun,andrelaxation.Itistheoppositeofwinteranditsfreezingtemperatures,consistentbadweatherandbleakskies.Summerrepresentsoptimism.Shakespearegoesontopointoutthatsummerhasitsdownside,aswell.Forinstance,sometimesthesunisfartoohot.Summerheatcanbeunbearable.Also,summerdayscanbefickle,inthattheyarecloudywhenwethinktheyshouldbewarm.Finally,summerdaysarejusttootransient.Hislovemayhavebeenconfusedatthispoint.Isitbeneficialtobecomparedtoasummer'sday?Shakespearesetshermindatrest,however,inexplainingthatsheisfarmorebeautifulandeventemperedthanthemostdesirablesummerweather.Personification:ItisworthmentioningShakespeare'suseofpersonificationhere.Hegivesthesunaneye,ahumanattribute,andinthenextline,acomplexion.Parallelism〔排比〕:Thefinalcouplet,usedtoemphasizethemessage:thebeautyofthesubjectwillbeimmortalizedbythepowerofhisartTheme：Aprofoundmeditationonthedestructivepoweroftimeandtheeternalbeautybroughtforthbypoetrytotheoneheloves.Anicesummer'sdayisusuallytransient,butthebeautyinpoetrycanlastforever.ThusShakespearehasafaithinthepermanenceofpoetry.Literaturewillkeeptransientbeautyeverlasting.Themessageisthatinthisworldnobeauty(inNature)canstayexceptpoetryorart;andyourbeautycanonlylastifIwriteitdowninmypoetry.Onthesurface,thepoemisastatementofpraiseaboutthebeautyofthebelovedwoman.Thebeloved's"eternalsummer"shallnotfadepreciselybecauseitisembodiedinthesonnet.Hedoesn'twantherbeautytobecomparedtoatransitoryperiodlikesummer.Transiency(短暫，稍縱即逝)oftimeisalsothethemesofSonnet18.Thepoetdoesnotwantthebeautytofadewithtime.Tohim,herbeautymustbeliketheeternalsummer.Beautyshouldbeappreciated.Thebestwaytopreserveherbeautyistokeepitinthispoem.Actually,thewriterwantedtoexpresshisviewthatartcankeepthebeautyforever.Artnotonlycanmakepeopleenjoythebeautybyreadingit,butalsobeabeautyitself.Naturalbeautywouldbeknockedoutwiththepassingofthetime.Onlycantheartbringtheeternity.Forthespeaker,lovetranscendsnature.Thepoet’sloveissopowerfulthatevendeathisunabletocurtail(減少)it.Thespeaker’slovelivesonforfuturegenerationstoadmirethroughthepowerofthewrittenword-throughthesonnetitself.Thefinalcoupletexplainsthatthebeloved’s“eternalsummer〞willcontinueaslongastherearepeoplealivetoreadthissonnet.Sonnet29(Book1P119)2.Iallalonebeweepmyoutcaststate,beweep=weepfor,bewail;Likebewailandbeseem,thewordhasanarchaicandbiblicalflavour.

myoutcaststate=myconditionofbeingasocialoutcast.Theconditionisprobablyexaggeratedforthesakeofeffect,andtoemphasizethatthespeakerseeseverythinginagloomylight.Fortunehasturnedagainsthimandhefeelsthathedoesnotbelonganymoretosociety.FiguresofSpeechShakespeareusesliterarydevicestoconnectthereaderstothepoemandpossiblyhislife.Metaphorswereusedinlines10-12.Intheselines,hecompareshislovetothelarkwhosingssongstotheheavens.Shakespeareusesthismetaphorbecausehewantstoshowthereaderhowhappythethoughtofhistruelovemakeshimfeel.Eveninthetoughesttimes,thespeakerisbrightenedbythethoughtofhisloveandShakespearewantstodisplaythistohisreaders.Shakespeareusessymbolismmanytimesthroughoutthepoem,especiallyin1-3,7,11,and13.Inthefirstthreelines,Shakespearesymbolizesthatheisjealousofeverythinginsociety.Heusessymbolismherebecausehewantsthereadertoknowthatthespeakerfeelslikeanoutcastcomparedtotherestofsociety.Inline7,Shakespeareusessymbolismtodescribetheskillsofothermenandtheirfreedom.Heusessymbolisminthislinebecauseheisdescribinghiswantingofbetterskillsandmorefreedom.Intheeleventhline,thesymbolismisthatthespeakerisdescribinghisloverasalark.Heusesthissymbolismbecauseheisportrayingthathisloverisaslovelyasasongbirdsingingtotheheavens.Inline13,thewealththatisbroughttothespeakereverytimehethinksofhislovershowshowhappyshemakeshimfeel.Shakespeareusesthisassymbolismbecauseheisdisplayingthatlovehisstrongenoughtopullsomeoneoutoftheirdarkesthours.Lastly,personificationcanbefoundinline3.ShakespeareisgivingHeavenhumanlikecharacteristics,suchastheabilitytohear.Heincludesthisinhissonnetbecausethisaddstothelonesomenessthespeakerisfeeling,sinceevenGodwillnotanswerhiswishes.Repetition:“l(fā)ikehim〞and“mans〞inlines6and7,ThisemphasizesthathewantstomeliketheothermenotherthanremaininglikehimselfAlliteration:“think,thee,then〞inline11Rhyme:followspattern:ababcdcdebebff,ex.“state,fate,gate〞and“brings,kings〞Theuseofrhymeisverycommoninsonnets.Tone:Thetoneofthissonnetismelancholyandupset.Thismelancholy,upsettoneshowshowbadthespeakerfeels.Towardsthenendofthepoemthespeaker’smoodchangesandsodoesthetone.Thetownshiftsfrommelancholyandupsettohappyandgracious.Theme：ThethemeofSonnet29istoshowtheimportanceoflove.Money,society,andpossessionsaredisplayedasinferiorcomponentsofhumanity.Thespeakerchangestoembracethevalueoflovewhichmakeshimsuperiortoakingandthoseofhighersocialclasses.Thethemeofthissonnetisthefeelingoflovecanoverpowerthefeelingsofself-hate.Thepoemconveysthisthemewellbecauseitstartswiththespeakertalkingabouthowmuchhedislikeshislife.Thespeakersitesmanyexamplesofwhythisishowhefeels.Thenthespeakertalksabouthowhebychangethinksabouthisloveanditliftshisspirits.ThisisoneofShakespeare'smoreambiguoussonnets:onedoesnotknowwhothespeakerisreferringtooriftheword"love"inthissonnetreferstoaromanticloveoraplatoniclove.Thewholepoemexpressesthechangesoftheauthor'sinnerfeelings,whicharefromdisappointtohopeful,fromnegativetopositive,fromdesperatetoaffectionate,fromself-abasedtoconfident.disclosesthedesireofappetite,lustandpowerandproposesthatappetiteisthebasicdesire,lusthasitsownduality,thedesireforpowerisadangerandfinallythepapergivesawaytodealwiththedesires.Itisapoemwhichhelpsussensethegreatnessoflove,whichisthecenterofhislife,thesunshineonacloudyday.MiltonOnHisBlindness(Book1P148)Lines1-8:

Miltongetsratherimpatientatthethoughtofhisblindness.Heisblindinthemiddleage.BlindnesspreventshimfromusinghispoetictalentbywritingsomethinggreattoglorifyGod.HehasakeendesiretoserveGodbyusinghispoetictalent,becauseheknowsthatGodwantsmantousehisGod-givenpowerorhemaybepunished.InanimpatientmoodMiltondoubtsifGodwouldbejustindemandingworkfromablindmanlikehim.Lines8-14:

Milton’sattitudeofdoubtpassesoffinamoment.HisinnerconsciencerisesupwithitsfaithinGod’sjustice.HerealizesthatGoddoesnotneedman’sworkbywayofservicetohim;nordoeshecarewhethermanusesHisgifts.HeistheKingofkings;Hisdominionisovertheuniverse.HehasthousandsofangelsdoingHisbiddingsatalltimesflyingoverlandandsea.HehasthousandsofotherswhostandbyHisthroneandsingHispraise.Thelattertooareasgoodasbelovedastheactiveangels.So,patientsubmissiontoHiswillisthebestservicetoHim.Allthelinesinthepoemareiniambicpentameter.Inthismetricpattern,alinehasfivepairsofunstressedandstressedsyllables,foratotaloftensyllables.Thefirsttwolinesofthepoemillustratethispattern.Thissonnetiswritteniniambicpentameterrhymedinabbaabbacdecde,typicalofItaliansonnet.FiguresofSpeech:Alliteration:mydaysinthisdarkworldandwide(line2)Metaphor:thoughmysoulmorebent/ToservetherewithmyMaker(lines3-4).Theauthorcompareshissoultohismind.Personification/Metaphor:ButPatience,toprevent/Thatmurmur,soonreplies...(lines8-9).Paradox〔悖論〕:Theyalsoservewhoonlystandandwait.Theme:ItsthemeisthatpeopleusetheirtalentforGod,andtheyservehimbestsocanendurethesufferingbest.ThissonnetiswrittenasaresultofMilton’sgrief,ashelosthiseyesightathismiddleage.Godjudgeshumansonwhethertheylaborforhimtothebestoftheirability.Forexample,ifonecarpentercanmakeonlytwochairsadayandanothercarpentercanmakefive,theybothserveGodequallywellifthefirstcarpentermakeshistwochairsandthesecondmakeshisfive.Ifonecarpenterbecomesseverelydisabledandcannotmakeevenasinglechair,heremainsworthyinthesightofGod.For,asMiltonsaysinthelastlineofthepoem,"theyalsoservewhoonlystandandwait."Miltondecidestorationalizehisfearbyseekingsolutionsinhisfaith.ByronSonnetOnChillon(Book2P28)ThissonnetisessentiallyoftheItaliantype,withslightmodificationsintherimingpatternintheoctave(abba,acca,dedede).The“SonnetonChillon〞whichprecedesthetale,iscomposedinmemoryofBonnivard.Theme:Thissonnetiswritteninpraiseofliberty,inpraiseofthosewhoremaintruetotheidealsoffreedomevenwhenpersecutedbytheiroppressors.Itisaprotestagainstthepoliticalreactionofthattime.FiguresofSpeechandAnalysisThispoemdramatizestheconflictbetweenlibertyandtyranny,specificallyininstanceswheretyrannicalforcesattempttosquelchlibertybyimprisoningthosewhochampionhervirtues.Thespeakerpresentsaparadoxinthebeginningofthepoem,“EternalSpiritofthechainlessmind!/Brightestindungeons,Liberty,thouart,--Fortherethyhabitationistheheart,--〞(1,2,3).Thespeakerpersonifieslibertyandexplainstheparadoxasthepoemcontinues.Libertyisdescribedasalivingwomanwhose“sons〞(5)are“consigned,to...daylessgloom〞(5/6).Inthisgloomhowever,“l(fā)oveoftheealonecanbind〞(4).Thespeakercreatesalongmetaphorinwhichtowin,tyrannymustmakementurntheirheartsagainsttheirmother.SonnetonChillonisanItalianSonnet.Thisformisimportantbecauseconflictissettledattheendoftheoctet.Aftersettinguptheconflictandparadox,andpresentingthemetaphoroflibertyasabelovedmotherwhomustbebetrayedbyherchildreninorderfortyrannytotriumph,thespeakerendstheoctetsaying“Theircountryconquerswiththeirmartyrdom,Andfreedom'sfamefindswingsoneverywind.〞(7/8).Tyranny,bylockingupliberty'ssonsin“dampvaults〞(6)succeedsonlyincreatingmartyrswhoseexampleinspiresthepeople,leadingtotheirdownfall.TherhymeschemeintheoctetfollowsthepatternofatypicalItalianSonnet,A,B,B,A,B,C,C,B.Thefirstquatrainusesauditoryrhymes“Mind!〞(1)and“bind〞(4),“art〞(2)and“heart〞(3).Thesecondquatrainthough,isallsiterhymes,“consigned〞(5)and“wind〞(8),“gloom〞(6)and“martyrdom〞(7).Thisauditorydissonanceforcesthereadertoslowdownbybreakingtherhythmofofthepoem,makingthereaderthinkmoreaboutthespeaker'smessageandacknowledgetheseriousnessofthespeakersintent.Afterplacingthereaderinapositionoffinality,withtheconflictalreadyresolvedandthespeakersviewsmadeclear,theuseoftheItalianFormallowsthespeakertocontinue.Thesextetbegins,“Chillon!〞(9).Theexclamationgrabsthereadersattention,tellinghimthatthespeakerhasmoretosay;“...thyprisonisaholyplace〞(9).Afterusingtheoctettoillustratewhatcouldbeahypotheticalsituationoftyrannicaloppression,thespeakerdeclaresboldlyasthepoemgoesonthatthesituationisreal,describingtheprisonasa“holyplace〞(9)whose“altar〞(10)wasconsecratedbythe“steps〞(11)that“l(fā)eftatrace...asifthycoldpavementwereasod,〞(11/12).Thereadernowknowsthattheprisonisreal,andthatthemartyrisrealandhasbeenimprisonedsolongastowearthroughstonebywalkinguponit'ssurface.Thespeakerthennameshismartyr;“...Bonnivard!〞(13).Thesextetfollowsassimplerhymescheme,D,E,D,E,D,Ewithallrhymesbeingauditory“place〞(9)“trace〞(11)“efface〞(13)and“trod〞(10)“sod〞(12)“God〞(14).Thestraightforwardrhymescheme,combinedwiththeexclamationpointsatthebeginningoflines9,13and14givethesextetaquickrisingrhythmthatcreatesexcitement,enticingthereadertothespeakerscause.Thespeakerendswith“Fortheyappeal!FromtyrannytoGod.〞(14),haltingtherisingrhythmatahighplaceandpurposelyendingboththepoemandhisappealtothereaderwithanappealtoGod.Thespeakerleavesthereaderswayedtohiscause,ifnotbytherisingferventpaceofthesextet,thenbyappealtoahighermetaphysicalauthority.SheWalksinBeauty(Book2P27)ThepoemwasinspiredbyactualeventsinByron’slife.OncewhileataballByronhappeneduponabeautifulwoman,hiscousin'swife,asshewalkedby.Itisanarrativepoemthatdescribesthewomanofmuchbeautyandelegance.StanzaOneInthefirststanzaofthepoem,we'reintroducedtothewomanthespeakeriswritingabout,andaregivenadescriptionofthewaysshe'sbeautiful.Thepoemitselfisanextendeddescriptionofthatbeauty(acommonRomanticpractice),butitisinthisfirststanzathatwe'regiventhetermsofherbeauty.Justwhatisitaboutthiswomanthathasmovedthespeakertowriteabouther?First,let'slookattheimagerythespeakerassociatesherwith.Inthefirsttwolines,welearnthatshe'…walksinbeauty,likethenight/Ofcloudlessclimesandstarryskies…'Thatshe'sassociatedwithanightskyissignificant.ForRomantics,themeasureofathing'sbeautyisitsnearnesstonature.Shecertainlyisnearit-sheeven,asthespeakertellsus,hasitssamewayofwalking.Asthestanzacontinues,weseeitgoesfurtherthanthat,though.Notonlyisthewomannearnature,but'allthat'sbestof[night's]darkandbright/meetinheraspectandhereyes…'Inotherwords,natureispartofher.Sheistheplacewherenature'sbeautifulfeaturesmeetandarefused.Furthermore,thestanzacloseswiththedeclarationthatthemixtureofbeautyinhereyesinfactattainsalevelofbeautyhigherthanthatwhichnaturebestowson'gaudyday.'ForaRomantic,thisishighpraiseindeed.Thespeakerhastoldusthatthiswoman'sbeautyexceedsthatofnature.StanzaTwoInthesecondstanza,thespeakerextendsthebeauty'argument'he'ssetupinthefirst.Notonlyarethewoman'sfeaturesabeautifulmixtureofnaturalelements,theyinfacthaveattainedsomeperfect,delicatebalancethattheslightestadjustmentwouldupset.Hewrites,'Oneshadethemore[or]oneraytheless'andhergracewouldbe'impaired.'But,asthestanzaimplies,hergraceisn'timpaired.Ratherhernaturalelementsarearrangedinjustsuchaproportionthat'thoughtsserenelysweet'canbeexpressedonthem.Whilethismightseemlikejustmoreadoration,itinfactissettinguptheargument'simportantfinalphase,whichisthatnotonlyisthiswomanbeautiful-herbeautyissoperfectthatitinfactmovesinward.Itworksintoherskinandmakesherinnerpersonpureandperfectaswell.StanzaThreeThefinalstanza,andinparticularthelastthreelinesofthefinalstanza,iswherethepoetdriveshomethisfinalclaim,thathisbeloved'soutwardbeautyhasenactedwithinherakindofinwardcorrectness,orpurity.Hedeclares(myitalics),'thesmilesthatwin,thetintsthatglow/buttellofdaysingoodnessspent…amindatpeace…aheartwhoseloveisinnocent.'Inotherwords,herbeautybothenactsherpurityandisevidencethatshewasperfectallalong,thatsomehowherbeautywasbestowedonherasakindofaffirmationofgoodcharacter.FiguresofSpeech/RhetoricalDevicesAlliterationoccursfrequentlytoenhancetheappealofthepoemtotheear.Themostobviousexamplesofthisfigureofspeechincludethefollowing:Line2:....cloudlessclimes;starryskies.

Line6:....daydenies

Line8:....Hadhalf

Line9:....Whichwaves

Line11...serenelysweet

Line14...Sosoft,so

Line18...HeartWhoseSimileLines1,2:......comparingthemovementofthebeautifulwomantothemovementoftheskiesMetaphorLines8-10:......comparinggrace,aquality,toaperceivablephenomenon

MetaphorandpersonificationLines11-12:....comparingthoughtstopeople;metaphorandpersonificationcomparingthemindtoahome(dwelling-place)

Lines13-16:....comparingthewoman'scheekandbrowtopersonswhotellofdaysingoodnessspent.Imagery:LightandDarkness(意象)Byronpresentsanetherealportraitoftheyoungwomaninthefirsttwostanzasbycontrastingwhitewithblackandlightwithshadowinthesamewaythatnaturepresentsaportraitofthefirmament—andthelandscapebelow—onacloudlessstarlitevening.Hetellsthereaderinline3thatshecombines“thebestofdarkandbright〞(brighthereservingasannounratherthananadjective)andnotesthatdarknessandlighttempereachotherwhentheymeetinherravenhair.Byron'swordsthusturnoppositesintocompeersworkingtogethertocelebratebeauty.Theme:Oneofthemajorthemealludestowoman’snature:

“Amindatpeacewithallbelow,/Aheartwhoseloveisinnocent〞

(lines17-18reflectsthisthemethatthewoman’sphysicalbeautyisareflectionofherinnerbeauty(asByronhasexplainedbeforeinthesecondstanza,lines11,12,13and14).).Byronrelatesthatifhermindisatpeacewithall,andherheartisfullofinnocentlove.Inthatsense,Byronisexplainingthattheinnerandouterbeautyarereflectionandaconnectiontoeachother.Thethemeofthepoemisthewoman'sexceptionalbeauty,internalaswellasexternal.Thefirststanzapraisesherphysicalbeauty.Thesecondandthirdstanzaspraisebothherphysicalandspiritual,orintellectual,beauty.BeautyLordByron'spoem"SheWalksinBeauty"waswritteninpraiseofabeautifulwoman.Historyholdsthathewroteitforafemalecousin,Mrs.Wilmot,whomheranintoatapartyinLondononenightwhenshewasinmourning,wearingablackdresswithglitteringsequins.Thepoemusesimagesoflightanddarknessinteractingtodescribethewidespectrumofelementsinabeautifulwoman'spersonalityandlooks.Unlikecommonlovepoetry,whichmakestheclaimthatitssubjectisfilledwithbeauty,thispoemdescribesitssubjectasbeingpossessedbybeauty.Thiswomandoeshavebeautywithinher,butitistosuchagreatdegreethatsheisactuallysurroundedbyit,likeanaura.Tosomeextent,herpositiveattributescreateherbeauty,andsothepoemmakesapointofmentioninghergoodness,herserenity,andherinnocence...WhenWeTwoParted(Book2P25)Theme1.alovestorybetweenamanandawoman,anexpressionoffeelingsofhatefromthemantowardsthewomanbecauseshelefthim.It’saverytypicalRomanticpoem,typicalofaRomanticwriterlikeLordByron,whoexpresseshisfeelingsoflove,atypicalissueofRomanticism.2.Therearetwothemes;thestrongfeelingthatsurrounduswhichislove,(i.e:inthefirststanza,inthethirdverse,“Halfbroken-hearted〞,or“Whywertthousodear?〞inthethirdstanza,fourthverse,“Thatthyheartcouldforget〞inthefourthstanza,thirdverse).Alsoabigbetrayalbasedonadeceit,(i.e:inthesecondstanza,fifthverse“Thyvowsareallbroken〞or“Thyspiritdeceive〞fourthstanza,fourthverse.Infact,thereisapreviousthemethatistheregretcausedbythethemesmentionedbefore.Thisthemeisshowedduringthepoem:tears,sorrow(firststanza,secondandeightverse),shudder,rue(thirdstanza,thirdandseventhverse),“Toodeeplytotell〞,(thirdstanza,eigthverse);“Igrieve〞,tears(fourthstanza,secondandeightverse).Tone：Thepoem’stoneisverygloomybecauseitrefersalwaystoastrongregret,thepoetfeelssadandrepentance,infactthemoodisverydramatic.Structure:Thepoemiswritteninthefirstperson。Thepoemcontainsfourstanzasofeightverseseachone.Thereare,also,fourkindsofrhymeineachstanza.Inthefirstfourversesofeachstanza,oddverseshavearhyme,andevenverseshaveanotherrhyme,andthismethodisusedbythewriterinthelastfourversesofeachstanzawitharhymeforeachpairofversesasIsaidbefore.Thepoemisstructuredinfourstanzasofeightverseseachone.Thepoem’structureisthefollowing;a-b-a-b-c-d-c-d,e-f-e-f-g-h-g-h…Ithinkthatthepoemisanoctave.InsidethepoemwecanobserveseveralimagesthathelpustoimaginethedifferentsituationswhichByrontransmittous,i.e;“Palegrewthycheekandcold〞(1ststanza),withthat,Byronshowusthegoodbye’sindifference.Alsoheusesmetaphorstoexpressthefeelings,i.e.“Halfbroken-hearted〞“Colderthykiss〞(1ststanza),“Andlightisthyfame〞(2ndstanza),“Thyspiritdeceive〞(4thstanza)...FiguresofSpeechImagery:visuallydescriptiveorfigurativelanguage“Thedewofthemorningsuckchillonmybrow〞

2)Metaphor:afigureofspeechinwhichawordorphraseisappliedtoanobjectoractiontowhichitisnotliterallyapplicable“Andlightisthyfame〞Personification:theattributionofapersonalnatureorhumancharacteristicstosomethingnonhuman,ortherepresentationofanabstractqualityinhumanform“Thatthyheartcouldforget〞Images(FiguresofSpeechinit)Thecoldisaveryimportantmetaphoricalelementatthebeginningofthesecondandthethirdstanzas:Thedewofthemorning/Sunkchillonmybrow:herethecoldisshownasametaphorofthefeelingsthatthemanhastowardsthewoman,asithappenstooinAknelltomineear/Ashuddercomeso’erme:dew,chill,knellandshudderarewordsthatsymbolizecoldinmanydifferentways.Inthelaststanza,thetwofirstverseshavetwowordsthatmaybesynonyms,buttheymeanatotallydifferentthing,theyarethecontrastofthepoem:Insecretwemet,hereByronwantstotransmitthepassionoftwoloversintheirfirstsecretencounter.AndInsilenceIgrievesymbolizesthatnobodycanhelpthismantocomebacktosmileafterhavingbeenleftbythewomanheloved.Thetwofollowingverses,Thatthyheartcouldforget/Thyspiritdeceivesaywhatshemadehim:sheforgothimandshedeceivedhim.IwanderedLonelyasaCloud1.Thepoemis24lineslong,consistingoffoursix-linestanzas.Eachstanzaisformedbyaquatrain.Andthepoetalsomakesgreatuseofthe“music〞ofthelanguagetoachievesoundbeautyinadditiontoconveymeaning.Heemploysmasculinerhymein“a,b,a,b,c,c〞patterntoreceiveemphasisasamusicaleffectThepoetwanderedlonelyasacloudattheverybeginningofthepoem,wecanfeelhisdepressionanddisconsolatenessasacloud.Thenheencounteredahostofgoldendaffodils“flutteringanddancinginthebreeze〞andhislonelinessturnsintorelaxationandjoy.Thustheshiftofthepoet’smoodfromsadnesstohappiness.Itwasinspiredbyaneventon15April1802,inwhichWordsworthandhissisterDorothycameacrossa"longbelt"ofdaffodils.2.Wordsworthlatersaid“TheyflashuponthatinwardeyeWhichistheblissofsolitude〞werethetwobestlinesinthepoem,recallingthe"tranquilrestoration"ofTinternAbbey,〔TinternAbbeyisanabbeyabandonedin1536andlocatedinthesouthernWelshcountyofMonmouthshire.WordsworthfirstvisitedTinternAbbeyin1793whenhewas23yearsold.FiveyearslaterherevisitedtheplacewithhissisterDorothy.Fromthebeautifulnaturalscenehemeditatesontheeffectofnatureonthegrowthofhismind.〕3.manifeststhetheme---thegreatinfluenceofnatureuponhumanbeing.Itisapoemaboutnature.Wecometorealizethegreatpowerofnatureatthedelightmomenthisheart“withpleasurefills〞.Thepoetfullyappreciatedthecheerfulsightofthedancingdaffodils.Theimageof"Dance"isdistinctinthepoem,almostthroughoutthewholePsalm:thedancingdaffodilsinthefirststanza;ThesheernumberofdaffodilsinstanzaIIthesparklingwavesandthedancingdaffodilsjointlydrewintoapleasingsceneinstanzaIII.TheSolitaryReaper"TheSolitaryReaper"isaballadbyEnglishRomanticpoetWilliamWordsworth,andoneofhisbest-knownworks.'"TheSolitaryReaperisoneofWordsworth'smostfamouspost-LyricalBalladslyrics.[1]Thewordsofthereaper'ssongareincomprehensibletothespeaker,sohisattentionisfreetofocusonthetone,expressivebeauty,andtheblissfulmooditcreatesinhim.Thepoemfunctionsto'praisethebeautyofmusicanditsfluidexpressivebeauty,the"spontaneousoverflowofpowerfulfeelings"thatWordsworthidentifiedattheheartofpoetry.'Genre:：lyricpoem抒情詩(shī)four8-linestanzas共四節(jié)每節(jié)八句ababccdd(exceptlines1&3Instanzas1and4)Meters：iniambictetrameter四音步抑揚(yáng)格FIGURESOFSPEECH反襯用夜鶯和杜鵑反襯少女歌聲的優(yōu)美暗喻、通感聲音在作者眼中變?yōu)橛行蔚氖挛锖粽Z(yǔ)BEHOLDHER/OLISTEN反復(fù)同源詞反復(fù)類比少女的歌聲與夜鶯和杜鵑的歌唱詩(shī)人與旅人及赫布里群島象征MOUNTUPTHEHILL象征著人生的旅途THEME:ThepoetisfascinatedwithaScottishpeasantgirl’sbeautifulsong.Stanza1:ThepoetheardaScottishgirlsingingwhilereapinginthewheatfield.恰似在IWanderedLonelyasaCloud〔《詠水仙》〕里。用例如lonely,wander,cloud,solitary,highland,alone,melancholy等詞語(yǔ)表達(dá)一種孤獨(dú)感。

Stanza2:Thepoetissurprisedtohearsuchabe