1.我正在书法学科学到了很多知识，就是我知识的成长，这也是我知识的丰富，我一定会坚持书法的灵魂而行走下去，展现出自己最优美的自己！
2.一个人都有自己的成长，而我在书法方面真的收获颇丰，我觉得只有这样才能见证自己的实力，以见证自己所有努力而得到的回报，我相信自己可以坚持下去，一如既往！
《金缕曲·赠梁汾》
德也狂生耳！偶然间、淄尘京国，乌衣门第。有酒唯浇赵州土，谁会成生此意？不信道、竟逢知己。青眼高歌俱未老，向尊前、拭尽英雄泪。君不见，月如水。
共君此夜须沉醉。且由他、娥眉谣诼，古今同忌。身世悠悠何足问？冷笑置之而已！寻思起、从头翻悔。一日新期劫在，后生缘、恐结他生里。然诺重，君须记。
这首词不仅是为朋友的写照，也是自己的真实写照。纳兰性德借此表示自己并不是一个不近人情的迂腐文人，也是很鄙薄富贵家庭，希望友人不要因为身份、地位上的悬殊而不敢接近自己。
第三句中的“有酒唯浇赵州土”借用了李贺《浩歌》诗中的“买丝绣作平原君，有酒唯浇赵州土。”诗中意指赵国有众多的慷慨悲歌之士，赵平原君又是贤公子。天下贤士不仅是唐代诗人李贺景仰的，也是清代纳兰性德心之所向的，可惜没有人理解自己，心情十分抑郁。
京剧现代戏《智取威虎山》是一部历经千锤百炼的戏剧经典作品，由上海京剧院改编创演，是至今久演不衰的当家剧目。其中光彩照人的孤胆英雄杨子荣历经几代人传颂，鲜活的英雄形象久驻人们心底。著名谭派文武老生童祥苓在剧中成功地扮演杨子荣而一举成名，享誉国内海外。他在剧中乔装改扮土匪胡彪带着《秘密联络图》只身打入惯匪坐山雕的魔窟，凭过人的胆识，睿智的机敏，取得匪首们的信任，除夕夜，与战友里应外合将土匪全歼在威虎厅里。 他在只身打入匪巢的途中有一段脍炙人口的经典唱段――《穿林海跨雪原气冲霄汉》，以充沛的激情，高亢的声腔，激越的旋律，刀刻斧凿般地给人们留下难以磨灭的印象，至今传唱不衰。记得上个世纪九十年代在北滨河公园由市文化局、电视台联合举办“京评帮票友大赛”时，一晚上有五位参赛选手登台演唱此段，各展风采，气势夺人。难怪主持人风趣地说：“好家伙，今晚上一连打了五只虎！” 这其中的深厚内涵和艺术魅力可见一斑。 伴随着一连串铿锵有力的“长锤”，引出了气势如虹地前奏。乐曲明快清晰，时而轻重有序，时而缓急有致，裹挟着一段悠扬雄浑的号声，奏出该剧的主旋律《三大纪律八项注意》的变奏曲。随后惟妙惟肖的马蹄声由远而近，伴奏乐如波斓起伏，层层推进，为英雄出场作足铺垫。“二黄导板”“穿林海”一出口犹如异峰凸起，先声夺人。“跨雪原”尽显含蓄深沉，“气冲”二字不失委婉细腻。此时观众在聆听演唱时或通过荧屏的展现，或通过镜头的摇曳 欣赏到茫茫雪原、密密的林海那壮观的北国风光，衬托出英雄不惧艰险、勇往直前的气概。 “霄汉”则唱得响遏行云，始终在高八度音域里延展，以京剧中特有的“擞音”演唱得干净利落而不拖泥带水，展现杨子荣一往无前的大无畏的英雄情结。每每唱到此处，演员淋漓尽致地发挥必定得到观众的“满堂彩”和雷鸣般的掌声。 接下来在弹拨乐的引导下，伴随着顿挫有力的锣镲声和恢宏交响乐，改换装束的杨子荣扬鞭催马疾驶而出，观众眼前为之一亮，英雄形象羽翼丰满地呈现在台上。矫健的骑马舞蹈生动地表现英雄驰骋在林海雪原之上，此时有一个让人难以忘怀的剧照，那就是杨子荣在舞台上勒马、上山、等一系列舞蹈动作后，猛然大幅度跃起，右手持鞭，左手后甩并被敞亮的大衣雪白色羊皮里遮盖，在空中劈叉大跳的同时扭头回身亮相，造型潇洒，动作漂亮，再加上杨子荣背后那挺拔的参天青松，强烈的几缕阳光 穿过密匝匝的林海斜射下来，通过镜头的仰拍，情景交融，相得益彰，倍增英雄气概。 随着伴奏乐嘎然而止，只见英雄手一挥，传来一声清脆的鞭响，马的嘶鸣裹挟着锣响引出一句“回龙”。“抒豪情寄壮志面对群山”拖腔顿挫简洁，直抒胸臆。“原板”中“愿红旗五洲四海齐招展”中的“海”字唱得委婉含蓄，真情流露。“哪怕是火海刀山也扑上前！”唱得斩钉截铁，掷地有声，表现出英雄为了人民为了党甘愿赴汤蹈火的决心。 “我恨不得急令飞雪化春水”中的“恨”字稍有力度连带着“得”字唱得清新别致，引发出英雄为民剿匪的迫切希望。此句中间的过门及“散板”“迎来春色”后的伴奏交响乐如烘云托月般地奏出孱孱溪水声,仿佛将人们带进春光明媚、流水淙淙的美妙意境,让人心驰神往。“换人间”则从“人”字开始音调逐级上升，直至归韵到“间”字时拖长凸起，高亢悠扬，彰显英雄对美好世界的无限向往。 后半段的“西皮快板”可谓是声腔创作者对京剧声乐一大贡献，大段唱腔里由“二黄转西皮”是打破以往的程式化，独巨匠心的声腔革新，以节奏紧凑的“西皮快板”表现主人公坚定的剿匪信念。“党”字拉长但不拖沓，突出党的重要性。 “给我智慧给我胆，千难万险只等闲，围剿匪先把土匪扮，似尖刀插进威虎山。誓把坐山雕，埋葬在山涧，壮志撼山岳，雄心震深渊。待等到与战友会师百鸡宴，捣匪巢定教它”，这速度极快的68个字似大珠小珠落玉盘，声声清脆入耳，字字铿锵有力，传递着英雄人物内心激荡的情绪，听来动人心弦。“地覆天翻！”则唱散，节拍自由地拖长，起伏跌宕一气呵成而达到高潮，淋漓尽致地抒发了英雄的壮志情怀。 这段从童祥苓那慷慨激昂、高低自如的首唱到几十年后流派纷呈、名家荟萃 的今天，各名家对这段经典唱段都赋予不同的神韵。我品味过当红杨派老生于魁智的宽厚酣畅、隽永质朴；领略着余派名家耿其昌的委婉细腻、激越悠扬；也欣赏过“海派”著名老生关栋天那清朗高亢、潇洒飘逸。各自的韵味，不同的神采都使我如醉如痴，百听不厌，从而领略京剧那博大精深的深刻内涵与无穷魅力。不仅丰富和陶冶了我的文化生活，也增强了弘扬民族艺术，让国粹薪火相传的信心。
A Comparison between Two Nature Poems
Abstract: William Wordsworth, the representative of the romantic writers and great writers of nature. His great imagination, with the poet’s philosophical and somewhat mystical thought, is deeply rooted in the poetical creation. ‘To Autumn” written by John Keats also is an excellent poem about nature. In “To Autumn”, a superficial reading would suggest that John Keats writes about a typical day of this season, describing all kind of colourful and detailed images. In this paper, the two representative poems are examined in terms of figures of speech, imagery skills and theme to appreciate the nature poems.
Key words: William Wordsworth; daffodils; nature; to autumn
Nature poems are an important part of poetry. It chants all creatures great and small in the nature, such as four seasons, plants, animals, mountains and rivers and clouds and rains. Poem writers rooted their great imagination, philosophical and somewhat mystical thought in their creations. By analyzing nature poems, we can appreciate the beauty of poems.
1. Figures of Speech Used in Daffodils
Personification is successfully used in both poems. In the poem “I wandered lonely as a cloud”, the first line makes nice use of personification and simile. The poet assumes himself to be a cloud (simile) floating in the sky. When Wordsworth says in the second line 'I' (poet as a cloud) look down at the valleys and mountains and appreciate the daffodils; it's the personification, where an inanimate object (cloud) possesses the quality of a human enabling it to see the daffodils. The line "Ten thousand saw I at a glance" is an exaggeration and a hyperbole, describing the scene of ten thousand daffodils, all together. Alliteration is the repetition of similar sounds, is applied for the word 'h', in the words - high and hills. In “To Autumn” personification is wildly used. Take the second stanza for example, autumn personified as a harvester, crosses a brook and watches a cider press. Otherwise autumn is listless and even falls asleep. The furrow is "half-reap'd," the winnowed hair refers to ripe grain still standing, and apple cider is still being pressed. However, the end of the cycle is near. The press is squeezing out "the last oozings." Find other words that indicate slowing down. Notice that Keats describes a reaper who is not harvesting and who is not turning the press. Personification here is very successful. It gives autumn a personality and the autumn is no longer abstract.
2. Imagery Skill
The poem “In Daffodils” paints images of lakes, fields, trees, stars in Ullswater. Wordsworth continuously praises the daffodils, comparing them to the Milky Way galaxy (in the second stanza), their dance (in the third stanza) and in the concluding stanza, dreams to join the daffodils in their dance. John Keats's “Ode to Autumn” is replete with imagery, each eleven-line stanza of iambic pentameter emphasizing different types of images and different times of day and periods of the personified season. John Keats's “Ode to Autumn” is replete with imagery, each eleven-line stanza of iambic pentameter emphasizing different types of images and different times of day and periods of the personified season. Take stanza one for example, it abounds with visual images all of which suggest linked ideas of fullness and ripeness. To enumerate, the opening line concludes with "fruitfulness," which evokes images both of trees and other vegetation loaded and heavy with each's particular variety of produce. Readers also sense the juicy ripeness that fills and swells to bursting each different item of fruition. Vines are loaded and blessed with fruit; apple tree branches bend under the weight of fruit ready to be picked; gourds swell, hazel nuts are "plump" with developed kernels; beehives "o'erbrim" with the nectar of a riot of blossoms.
3. Title and Theme
The title, 'Daffodils' is a simple word that reminds us about the arrival of the spring season, when the field is full of daffodils. Daffodils are yellow flowers, having an amazing shape and beautiful fragrance. A bunch of daffodils symbolize the joys and happiness of life. The theme of the poem 'Daffodils' is a collection of human emotions inspired by nature that we may have neglected due to our busy lives. The daffodils imply rebirth, a new beginning for human beings, blessed with the grace of nature. The arrival of daffodils in the month of March is welcome and an enjoyable time to appreciate them! To Autumn has three stanzas. Each of three stanzas shows us different time of a day and different time of autumn. I thought this poem exhibited two kinds of progression of time. First is the time of day. The first stanza is the morning with the "mists". The second is late afternoon, when the hot sun is beating down and makes everyone drowsy. The third is at sunset with the "barred clouds" piercing the sky with its "rosy hue".
In the poem “To Autumn”, it shows a progression in the season of autumn itself. The first stanza is early autumn because "summer has o'er brimmed. It shows the maturing of summer’s bounty. The second is mid-autumn, because it's time for harvest. The third is late autumn because the birds are headed south for winter. From the above, we can see the optimism in the poetry.
“Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility” (Shelley), Poetry teaches us music, metaphor, condensation and specificity. Though the analysis of the nature poems, we can see the beautiful of poems and root the fountain that forever overflowing with the waters of wisdom and delight in mind.
Works Cited
Roger Gilbert. The Walker’s Literature Companion. New York: Breakwaw Books; 2000: 93.
J O Hendry. Rhythm and muse : your friendly guide to English poetry. Johannesburg (56 Chaucer Rd., Lombardy East 2090): Wordsmiths Pub., 1998.
R K Sadler; T A S Hayllar; C J Powell. Appreciating Poetry. South Melbourne: Macmillan Education, 1986.
李正栓;吴晓梅. 英美诗歌教程[M]. 北京: 清华大学出版社, 2004: 97-99,140-142
孙华祥. 美国文学选读[M]. 北京: 中国社会科学出版社, 2010: 151-155.
《渔光曲》以板凳蒲扇舞的呈现出上海弄堂女人的生活细节。从平平淡淡的生活细节中入手，生动刻画了上海女人生火，做饭，发呆等等的普通的生活状态，体现了东方女人的独特的神秘的美，更是刻画了一段静谧美好的弄堂生活。
“云儿飘在海空，鱼儿藏在水中”，不夸张地说，无论神韵、神韵和气韵，这支舞蹈都将东方女性的美展示得淋漓尽致。
悠扬舒缓的《渔光曲》旋律响起，一群身着旧式旗袍的女舞者踏在小板凳上，摇着竹扇，身段颀长，恍惚间把观众带回到1940年代的上海。
整个舞蹈中很多动作是在小板凳上完成的。尤其是这个动作，看似简单，但其实特别考验舞者的功底。首先单脚站立，舞者要把所有的重心都放到主力腿上，并且不可以有任何晃动，这既需要找准重心，又需要腿部肌肉有非常强的控制能力。其次，立半脚尖也不简单，需要靠腰力和软开度的共同作用。再次看看这些舞者们的脚背，什么叫如钩，这就叫如钩的脚背。最后想想这一系列的动作都被限制在一个小板凳上，然后这些舞者们大概坚持了有五秒吧，真真是台上一分钟，台下十年功。
只要功夫深铁杵磨成针。小舞者们一起期间在家练习可千万不要松懈哦，基本功与体能的训练一定要坚持练习，良好的体能可以让我们在跳舞的过程中气息更稳定。
其实舞蹈中往往看似简单的动作，要想把它做美做好看了并不是一件容易的事。它对舞者综合素质的要求非常高。注意你才能把难度系数高的动作把控的严谨、轻松。
《渔光曲》将舞蹈的灵动性展现的淋淋尽致。
985免费论文网友情提示：本网站所有内容为共享上传提供，仅限学习分享，如产生版权问题，请联系我们及时删除！
Copyright © www.csmayi.cn Corporation, All Rights Reserved 共享时代 共享你我他 版权所有
