~贝多芬英文资料~（好的加分）

路德维希·冯·贝多芬出生在莱茵河畔波恩城的一个音乐世家里，是伟大的德国作曲家、维也纳古典乐派代表人物之一。

贝多芬一生坎坷，没有建立家庭。二十六岁开始耳聋，晚年全聋，只能通过谈话册与人交谈。但孤寂的生活并没有使他沉默和隐退，1789年法国资产阶级革命进步思想意识给他许多启发，奠定了他人文主义世界观的基础—人类平等、追求正义和个性自由，憎恨封建专制的压迫。他曾说：“一年的自由比一百年的专制主义对人类有用得多”。

尽管出生于音乐世家，而且从小就开始学习钢琴和提琴，但贝多芬并非莫扎特式的神童，他的创作并非一挥而就，而是孜孜不倦地修改草稿直至感到满意为止。其早期作品具有海顿和莫扎特的风格，但后来发展了一种完全属于他自己的形式，其作品个性鲜明，较前人有很大的发展。在音乐表现上，贝多芬几乎涉及当时所有的音乐体裁，大大提高了钢琴的表现力，使之获得交响性的戏剧效果；又使交响曲成为直接反映社会变革的重要音乐形式。

贝多芬一生的作品虽然不太多，但他却被公认为是世界上最伟大的音乐家。之所以赢得如此高的声誉，关键在于他集卓越的音乐天赋和热情奔放的性格于一身，有崇高的理想和强烈的社会责任感，有坚韧不拔的意志和不屈不挠的毅力。他以深刻、锐利的眼光，敏感地把握住了时代和社会的脉搏，他的作品不仅体现了他巨人般的性格，而且反映了人民的苦难、奋斗和希望，因而具备了鲜明的社会性和深刻的哲理性。他为人类留下了一笔永恒的宝藏，对世界音乐的发展产生了巨大的影响，被尊称为“乐圣”。

贝多芬的主要作品也是最重要的作品是交响音乐，其中又以九部交响曲占首要地位。这些家喻户晓的作品有：降E大调第3交响曲《英雄》、C大调第5交响曲《命运》、F大调第6交响曲《田园》、A大调第7交响曲、d小调第9交响曲《合唱》(《欢乐颂》)、序曲《爱格蒙特》、序曲《柯利奥兰》、降E大调第5号钢琴协奏曲《皇帝》、D大调小提琴协奏曲、C大调第9弦乐四重奏《拉祖莫夫斯基》第三号、c小调第8钢琴奏鸣曲《悲怆》、升c小调第14钢琴奏鸣曲《月光》、F大调第5钢琴奏鸣曲《春天》、F大调第2号浪漫曲。

路德维希凡贝多芬，1770年12月16日诞生于莱茵河畔的小城市波恩。

贝多芬的父亲是当地唱诗班的男高音，是一个经常醇酒的蠢汉。他的母亲是女仆，这是个清贫的家庭。

贝多芬是一个典型的神童音乐家。由于他在音乐上的早慧，十二岁时就被人拿来同名垂青史的音乐神童莫扎特相提并论。他愚蠢的父亲急切地想利用这一点来赚取名利，逼迫小贝多芬整天练琴和演出，稍不如意就毒打他。在贝多芬的记忆中，他根本就没有享受过父爱。

上天又偏偏赐给贝多芬一副粗陋的外表，外加身材矮小粗壮－即使成年后也不过158米，他的外貌使他从小就遭人讥笑，成年后也难于幸免。

清贫的家庭，粗暴愚蠢的父亲，不惹人喜欢的外貌，所有这些构成了贝多芬不愉快的童年，形成了他以后的反叛性格和强势作风，也造成了他成年后粗俗的言谈举止。贝多芬被许多同时代的人描述成“粗鲁、固执、脾气暴躁，只要心情稍有不好，就随时随地乱吐痰。”

大约在十二岁左右，小贝多芬在波恩遇见了一位相当好的导师－尼弗。正是尼弗扩大了贝多芬的艺术视野，使他在不幸的童年中没有厌恶音乐，并奠定了他的最初的音乐风格，使他十三岁就成为管风琴师，并创作了三首奏鸣曲。

1787年，贝多芬动身去当时的音乐之都维也纳，并拜见了莫扎特。当时十七岁的贝多芬默默无闻，而莫扎特早已名满欧洲。可能贝多芬的相貌太一般了，连莫扎特也看走了眼，对这个年经人并没有太大的兴趣。他给了一段音乐让他用钢琴即兴发挥，自己却到隔壁屋子和别人聊天。然而邻屋充满灵感和气势的音乐使得莫扎特不由自主地又跑回钢琴旁－作为伟大的音乐家，莫扎特对于音乐的感悟力是非凡的。他从这个年经人的琴声中听到了无穷的创造力和灵感，因此一俟演奏完毕，莫扎特便对屋内的人说：“注意这个年经人！有朝一日，他会震惊世界！”

接着似乎该是一段“千里马遇伯乐”的传世美谈，然而却什么都没有发生，因为随后传来了贝多芬的母亲辞世的噩耗。这使两位音乐史上最伟大的音乐家令人遗憾地分手，从此再未谋面。四年后，一代音乐大师莫扎特以35岁的年龄英年早逝，而此时二十一岁的贝多芬尚在波恩肩负着家庭的重担。

在贝多芬不幸的童年中，母爱可能是他唯一的美好记忆，十七岁丧母对贝多芬的打击非同一般。与此同时，他还要担起这个无人照管的家庭－－两个未成年的弟弟和一个不争气的父亲。

在艰辛的日子里，只有在与布朗宁一家的交往中，贝多芬才得到一点安慰和支持。伊丽奥诺布朗宁是他的学生，比他小两岁，贝多芬对她怀有温柔的感情。当她后来与一位善良的医生结婚后，贝多芬就将这种感情转为永恒的友谊并保持终生。贝多芬也从乡野景色中找到了安慰－－波恩那鲜花满枝，绿树成荫的小径，经及壮丽浩瀚的莱茵河，以宽广的胸怀接纳了这个日渐忧郁的年轻音乐家。贝多芬终生对大自然充满热爱的情感，他音乐中宽广的意境和淳朴的旋律直接发源于此。

1792年贝多芬被帝侯亲王派到维也纳继续深造，此后就在那里永久定居下来。

作为卓越的钢琴家，贝多芬受到维也纳上层社会的热情欢迎，同时他在维也纳拜师学艺，其中有著名作曲家海顿。海顿尽管喜欢贝多芬的才能，但心中并不十分喜欢他的性格，因为年轻的贝多芬有太多的热情和怪异的念头了。同时，贝多芬也并不喜欢海顿。这也难怪，全身都是叛逆的贝多芬，怎么能和幽默轻松的“海顿爸爸”谈到一起来呢？

贝多芬1802年以前的创作，被音乐史上称为贝多芬的第一期风格。这些作品大都是些小型曲目，著名的只有钢琴奏鸣曲《悲怆》，《月光》，小提琴奏鸣曲《克罗采》和《第三钢琴协奏曲》。此时的贝多芬处于创作的准备阶段－为了密切地观察生活中的伟大变革，为了总结18世纪的音乐成果并运用它来反映急剧变化的现实，为了选择适合于他的个性的新的创作手法，所有这些都需要花费时间和精力去进行紧张的探索。这个时期仿佛是“十年面壁”，是贝多芬音乐创作的酝酿期。

这种酝酿有外在的条件－1789年爆发了震惊世界的法国大革命。当时的波恩大学是各种进步思想的摇篮，贝多芬经常在波恩大学旁听，并如饥似渴地学习人类自古以来伟大的精神成果：从历史文献到哲学，从荷马、莎士比亚到席勒、歌德。在学习的岁月和革命的年代中，贝多芬奠定了他人文主义世界观的基础－－深信人类平等，追求正义和个性自由。

法国大革命催生了众多的历史巨人，贝多芬就是其中的卓越代表。法国大革命就象一条巨大的山脉，将贝多芬和另两位古典音乐大师海顿、莫扎特分隔开来。正是由于继承了前辈深厚的传统，同时又得到了自由气息的滋养，贝多芬得以创造出音乐史上又一风光无限的高峰。

路德维希·凡·贝多芬 (Ludwig van Beethoven, 17701217-1827326)

一七九二年，二十二岁的路德维希·凡·贝多芬从波恩来到维也纳，一直到他一八二七年逝世，他就从未离开过这座对音乐家特别有吸引力的城市。贝多芬的绝大部分作品是在这里创作的。他的九部交响曲全都在维也纳举行了首演式。一八零五年，他唯一的一部歌剧创作《费德里奥》也在维也纳的国家歌剧院举行了首演。贝多芬被后人认为是有史以来最伟大的交响曲作家。他的《英雄交响曲》充满了激情。他的第九部交响曲取材於德国诗人席勒的《欢乐颂》，如今已经成为欧盟的盟歌。

He studied first with his father, Johann, a singer and instrumentalist in the service of the Elector of Cologne at Bonn, but mainly with CG Neefe, court organist At 11 ½ he was able to deputize for Neefe; at 12 he had some music published In 1787 he went to Vienna, but quickly returned on hearing that his mother was dying Five years later he went back to Vienna, where he settled He pursued his studies, first with Haydn, but there was some clash of temperaments and Beethoven studied too with Schenk, Albrechtsberger and Salieri Until 1794 he was supported by the Elector at Bonn but he found patrons among the music-loving Viennese aristocracy and soon enjoyed success as a piano virtuoso, playing at private houses or palaces rather than in public His public debut was in 1795; about the same time his first important publications appeared, three piano trios opl and three piano sonatas op2 As a pianist, it was reported, he had fire, brilliance and fantasy as well as depth of feeling It is naturally in the piano sonatas, writing for his own instrument, that he is at his most original in this period; the Pathetique belongs to 1799, the Moonlight ('Sonata quasi una fantasia') to 1801, and these represent only the most obvious innovations in style and emotional content These years also saw the composition of his first three piano concertos, his first two symphonies and a set of six string quartets opl8

1802, however, was a year of crisis for Beethoven, with his realization that the impaired hearing he had noticed for some time was incurable and sure to worsen That autumn, at a village outside Vienna, Heiligenstadt, he wrote a will-like document, addressed to his two brothers, describing his bitter unhappiness over his affliction in terms suggesting that he thought death was near But he came through with his determination strengthened and entered a new creative phase, generally called his 'middle period' It is characterized by a heroic tone, evident in the Eroica Symphony (no3, originally to have been dedicated not to a noble patron but to Napoleon), in Symphony no5, where the sombre mood of the c Minor first movement ('Fate knocking on the door') ultimately yields to a triumphant C Major finale with piccolo, trombones and percussion added to the orchestra, and in his opera Fidelio Here the heroic theme is made explicit by the story, in which (in the post-French Revolution 'rescue opera' tradition) a wife saves her imprisoned husband from murder at the hands of his oppressive political enemy The three string quartets of this period, op59, are similarly heroic in scale: the first, lasting some 45 minutes, is conceived with great breadth, and it too embodies a sense of triumph as the intense f Minor Adagio gives way to a jubilant finale in the major embodying (at the request of the dedicatee, Count Razumovsky) a Russian folk melody

Fidelio, unsuccessful at its premiere, was twice revised by Beethoven and his librettists and successful in its final version of 1814 Here there is more emphasis on the moral force of the story It deals not only with freedom and justice, and heroism, but also with married love, and in the character of the heroine Leonore, Beethoven's lofty, idealized image of womanhood is to be seen He did not find it in real life he fell in love several times, usually with aristocratic pupils (some of them married), and each time was either rejected or saw that the woman did not match his ideals In 1812, however, he wrote a passionate love-letter to an 'Eternally Beloved' (probably Antonie Brentano, a Viennese married to a Frankfurt businessman), but probably the letter was never sent

With his powerful and expansive middle-period works, which include the Pastoral Symphony (no6, conjuring up his feelings about the countryside, which he loved), Symphony no7 and Symphony no 8, Piano Concertos nos4 (a lyrical work) and 5 (the noble and brilliant Emperor) and the Violin Concerto, as well as more chamber works and piano sonatas (such as the Waldstein and the Appassionata) Beethoven was firmly established as the greatest composer of his time His piano-playing career had finished in 1808 (a charity appearance in 1814 was a disaster because of his deafness) That year he had considered leaving Vienna for a secure post in Germany, but three Viennese noblemen had banded together to provide him with a steady income and he remained there, although the plan foundered in the ensuing Napoleonic wars in which his patrons suffered and the value of Austrian money declined

The years after 1812 were relatively unproductive He seems to have been seriously depressed, by his deafness and the resulting isolation, by the failure of his marital hopes and (from 1815) by anxieties over the custodianship of the son of his late brother, which involved him in legal actions But he came out of these trials to write his profoundest music, which surely reflects something of what he had been through There are seven piano sonatas in this, his 'late period', including the turbulent Hammerklavier op106, with its dynamic writing and its harsh, rebarbative fugue, and op110, which also has fugues and much eccentric writing at the instrument's extremes of compass; there is a great Mass and a Choral Symphony, no9 in d Minor, where the extended variation-finale is a setting for soloists and chorus of Schiller's Ode to Joy; and there is a group of string quartets, music on a new plane of spiritual depth, with their exalted ideas, abrupt contrasts and emotional intensity The traditional four-movement scheme and conventional forms are discarded in favour of designs of six or seven movements, some fugal, some akin to variations (these forms especially attracted him in his late years), some song-like, some martial, one even like a chorale prelude For Beethoven, the act of composition had always been a struggle, as the tortuous scrawls of his sketchbooks show; in these late works the sense of agonizing effort is a part of the music

Musical taste in Vienna had changed during the first decades of the 19th century; the public were chiefly interested in light Italian opera (especially Rossini) and easygoing chamber music and songs, to suit the prevalent bourgeois taste Yet the Viennese were conscious of Beethoven's greatness: they applauded the Choral Symphony even though, understandably, they found it difficuit, and though baffled by the late quartets they sensed their extraordinary visionary qualities His reputation went far beyond Vienna: the late Mass was first heard in St Petersburg, and the initial commission that produced the Choral Symphony had come from the Philharmonic Society of London When, early in 1827, he died, 10,000 are said to have attended the funeral He had become a public figure, as no composer had done before Unlike composers of the preceding generation, he had never been a purveyor of music to the nobility he had lived into the age - indeed helped create it - of the artist as hero and the property of mankind at large

(以下是简单英语)

Ludwig van Beethoven (born 1770, died March 26, 1827) was a German composer He was born in Bonn and died in Vienna He wrote classical music for the piano, groups of instruments and orchestras His best-known works are his fifth and ninth symphonies and also the piano piece Für Elise which every pianist wants to learn to play He is considered to be one of the greatest classical composers When he was a young man, he was a talented pianist, popular with the rich and important people in Vienna, where he lived

However, around 1801, he began to become deaf His deafness became worse and in 1817, he was completely deaf Although he could no longer play in concerts, he continued to compose, and during this time composed some of his greatest works

He moved to Vienna in 1792 and lived there for the rest of his life He never married

Early years

We know very little about Beethoven’s childhood He was baptized on 17 December 1770 so he was probably born a few days before that His father was a fairly unimportant musician who worked at the court of the Elector of Cologne This court was in Bonn and it was here that he lived until he was a young man His father gave him his first lessons in piano and violin Beethoven was a child prodigy like Mozart, but while Mozart as a little boy was taken all over Europe by his father, Beethoven never travelled until he was 17 By that time his piano teacher was a man called Neefe who himself had learned the piano from Carl Philipp Emanuel Bach, who was a son of the great composer Johann Sebastian Bach Neefe said to the Elector that the young Beethoven should be given the chance to travel, so he was allowed to go to Vienna There he seems to have had one or two lessons from Mozart, but then Beethoven got a letter saying that his mother was dying, so he hurried back to Bonn Soon his mother died, and Beethoven had to work hard to earn money to look after her and his two brothers He played the viola in the orchestra of the Elector, started to compose, and made many friends Some of these friends were musicians, others were very important people, many of them aristocrats who would be able to help him in his career

In 1792 the Elector let Beethoven travel to Vienna again He expected him to return after a while, but Beethoven never left Vienna, staying there for the rest of his life He would have loved to have had some more composition lessons from Mozart, but Mozart had just died, so he had lessons from Haydn instead Haydn was a good teacher, but a year later he went off to England, so Beethoven took lessons from a man called Albrechtsberger who was not famous like Haydn, but he was a good teacher and he made him write lots of technical exercises He showed him how to write advanced counterpoint and fugues This helped him to be a great composer

Beethoven wanted to become famous as a pianist and composer, so he started to get to know important, aristocratic people Some of these people had already heard him in Bonn when they had travelled there, so his name was becoming known in Vienna It also helped that he could say he was the pupil of the famous Joseph Haydn There were a lot of aristocratic people in Vienna who like music, and many had their own private orchestras Some of them started to give Beethoven lodgings when the Elector of Bonn stopped sending him money in 1794 Beethoven started to perform in private houses and he became known for his improvisations In 1795 he performed one of his piano concertos at a concert He also had his first publication (his opus 1) This was a group of three Piano Trios Haydn had heard them at a private concert a year before and had advised Beethoven not to publish the third one However, he did publish it, and that was the one which became the most successful His opus 2 was a group of three piano sonatas which he played at the court of his friend Prince Lichnowsky When he published them he dedicated them to Haydn

Beethoven was starting to become famous, travelling to places like Prague and Pressburg He wrote a lot of chamber music He was, perhaps, a little jealous of the success that Haydn had had with his latest symphonies he had written for London In 1800 he gave his first public concert with his own music He conducted his First Symphony as well as the Septet By now several publishers were trying to persuade him to let them publish his new works

Deafness

In a letter dated 29 June 1801 Beethoven told a friend in Bonn about a terrible secret he had had for some time He knew that he was becoming deaf For some time he had had spells of fever and stomach pains A young man does not expect to become deaf, but now he was starting to admit it to himself He was finding it hard to hear what people were saying Just at the moment when he was starting to become known as one of the greatest of all composers, it was a terrible blow to realize that he was losing his hearing In 1802 he stayed for a time in Heiligenstadt which is now a suburb of Vienna but at that time it was outside the city There he wrote a famous letter which is known as the Heiligenstadt Testament It is dated 6 October and describes his increasing frustration at his deafness He asks people to forgive him if he cannot hear what they are saying He said that he had often thought of suicide, but that he had so much music in his head which had to be written down that he decided to continue his life This very emotional letter was found amongst his papers after his death It was never sent to anyone

Middle Period

Beethoven seems to have taken his mind off these terrible thoughts by working very hard He composed a lot more music, including his Third Symphony, called the Eroica Originally he gave it the title Bonaparte in honour of Napoleon whom he admired But when Napoleon crowned himself emperor in 1804 Beethoven realized that he was just a tyrant who wanted lots of power He went to the table where the score of the symphony was lying and tore up the title page Beethoven stayed in Vienna that year, working hard at an opera and giving piano lessons to Josephine von Brunsvik to whom he wrote passionate letters She was a young widow with four children It is impossible to know quite what her feelings were for Beethoven, but socially she belonged in higher society and probably thought that a wild musician was not a suitable husband In the end she married a Baron, but this marriage, like her first one, was not happy either

In 1805 Beethoven wrote his only opera The next spring it had two performances but was then not performed again for another eight years Beethoven had made several changes to the opera which became known as Fidelio The overture that he had written for the 1806 performance is now known as Leonore 3 and is usually performed separately at concerts The opera is a “rescue” opera, a

1 国外关于春天诗句

国外关于春天诗句 1描写春天的外国诗歌

第一首：

Spring（春天）

Sound the Flute！ 把笛子吹起！

Now it's mute 现在它无声无息。

Birds delight 白天夜晚

Day and Night 鸟儿们喜欢

Nightingale 有一只夜莺

In the dale， 在山谷深深，

Lark in Sky 天上的云雀，

Merrily 满心喜悦，

Merrily Merrily to welcome in the Year欢天喜地，迎接新年到。

Little Boy 小小的男孩

Full of joy 无比欢快。

Little Girl 小小的女孩

Sweet and small玲珑可爱。

Cock does crow，公鸡喔喔叫，

So do you 你也叫声高。

Merry voice， 愉快的嗓音，

Infant noise，婴儿的闹声，

Merrily Merrily to welcome in the Year欢天喜地，迎接新年到。

Little Lamb， 小小的羊崽，

Here I am， 这里有我在，

Come and lick走过来舔舐

My white neck 我白白的脖子。

Let me pull 你的毛柔软，

Your soft Wool让我牵一牵

Let me kiss 你的脸娇嫩，

Your soft face 让我吻一吻。

Merrily Merrily we welcome in the Year 欢天喜地，我们迎接新年到。

威廉·布莱克是十九世纪英国浪漫派诗人，主要诗作有诗集《天真之歌》、《经验之歌》等。 早期作品简洁明快，中后期作品趋向玄妙晦涩，充满神秘色彩。本诗选自《天真之歌》。

春天来了，万物复苏。这表现在动物的活动上：鸟儿欢腾，公鸡鸣叫，云雀在天上翻飞，夜莺在山谷间歌唱；也表现在孩子们的活动上：欢蹦乱跳，笑语喧哗，跟小动物一块儿玩耍。

这首诗的三节像三个变焦**镜头：由远而近依次是山谷树林、村庄农舍，然后聚焦在一个与羊羔相戏的儿童身上。意象鲜明、具体、生动，趣味盎然。而诗以儿童的口吻写出，反映了孩子们对春天的感受。诗行由片语和短句组成，注意押韵和反复，几近童谣，轻松自然，琅琅上口，读来颇有春天气息扑面而来的新鲜感。

第二首：

Spring Goeth All in White 春之女神着素装-Robert Bridges 罗伯特·布里季

Spring goeth all in white， 春之女神着素装，

Crowned with milk-white may； 山楂花冠乳白光；

in fleecy flocks of light， 天上分明一群羊，

o'er heaven the white clouds stray； 白云朵朵自来往；

white butterflies in the air； 粉蝶空中时蹁跹；

white daisies prank the ground； 廷命菊花饰郊原；

the cherry and hoary pear， 樱桃梨树共争艳，

scatter their snow around 四处非花如雪片。

2国外诗人描写春天的诗有哪些

描写春天的古诗和描写春天的名句 春日迟迟，卉木萋萋。

仓庚喈喈，采蘩祁祁。迟迟：缓慢。

卉木：草木。萋萋：草茂盛的样子。

仓庚：莺。喈喈：鸟鸣声众而和。

蘩：白蒿。祁祁：众多。

《诗经·小雅·出车》 时在中春，阳和方起阳和：春天的暖气《史记·秦始皇本纪》 阳春布德泽，万物生光辉汉乐府古辞《长歌行》 阳春白日风在香晋乐府古辞《晋白绮舞歌诗三首》 阳春二三月，草与水同色晋乐府古辞《盂珠》 春晚绿野秀，岩高白云屯秀：秀丽。屯：驻，聚集。

南朝宋谢灵运《入彭蠡湖口》 池塘生春草，园柳变鸣禽变鸣禽：鸣叫的鸟换了种类。两句写冬去春来，鸟儿已经替换了。

南朝宋谢灵运《登池上楼》 喧鸟覆春洲，杂英满芳甸覆春洲：落满了春天的沙洲。杂英；各种各样的花。

芳甸：郊野。南朝梁谢眺《晚登三山还望京邑》 寄语洛城风日道，明年春色倍还人洛城：洛阳城。

风日：春光风物。道：说。

唐杜审言《春日京中有怀》 云霞出海曙，梅柳渡江春。淑气催黄鸟，晴光转绿苹海曙：海上日出。

梅柳渡江春：梅柳渡过江来，江南一片春色。淑气：春天的和暖气息。

转绿苹浪：使水中苹草转绿。四句意谓：彩霞伴着朝日在海面升起，梅花绿柳把春意带过了江面，黄鸟在和煦的春光中歌唱，阳光催绿了苹草。

唐杜审言《和晋陵陆丞早春游望》 不知细对谁裁出，二月春风似剪刀唐贺知章《咏柳》：“碧玉妆成一树高，万条垂下绿丝线。不知细对谁裁出，二月春风似剪刀。”

林花扫更落，径草踏还生唐孟浩然《春中喜王九相寻》 二月湖水清，家家春鸟鸣唐盂浩然《春中喜王九相寻》 闻道春还未相识，走傍寒梅访消息唐李白《早春寄王汉阳》 寒雪梅中尽，春风柳上归唐李白《宫中行乐词八首》 东风随春归，发我枝上花唐李白《落日忆山中》 东风洒雨露，会人天地春唐李白《送祁昂滴巴中》 咸阳二三月，宫柳黄金枝唐李白《古风》 春草如有情，山中尚含绿唐李白《金门答苏秀才》 时有落花至，远随流水香唐刘昚虚《阙题》 飞雪伴春还，善庭晓自闲唐刘昚虚《积雪为小山》 道由白云尽，春与青溪长意为：道路被白云遮断，春景与青青的流水一样绵延不断。唐刘昚虚《阙题》 芳树无人花自落，春山一路鸟空啼唐李华《春行即兴》 肃肃花絮晚，菲菲红素轻。

日长雄鸟雀，春远独柴荆前两句形容花色红，柳絮素。后两句谓日色渐长春色淡远，唯听鸟雀调嗽，无人来往，独有柴门而已，唐杜甫《春运》 繁枝容易纷纷落，嫩蕊商量细细开唐杜甫《江畔独步寻花七绝句》 林花著雨燕支湿，水荇牵风翠带长燕支：胭脂。

荇：荇菜，一种水生草本植物。唐杜甫《曲江对雨》 侵陵雪色还萱草，漏泄春光有柳条萱草：一种古人以为可以使人忘忧的草。

此句说萱草萌芽，侵陵雪色。漏泄：透露。

唐杜甫《腊日》 江汉春风起，冰霜昨夜除唐杜《远怀舍弟颖观等》 春城而色动微寒唐杜甫《遣闷戏呈路十九曹长》：“江浦雷声喧昨夜，春城而色动微寒。” 朝来新火起新烟，湖色春光净客船朝：早晨。

唐杜甫《清明二首》 恰似春风相欺得，夜来吹折数枝花唐杜甫《绝句漫兴九首》 东风好作阳和使，逢草逢花报发生阳和：春天的和暖之气。唐钱起《春郊》 燕子不归春事晚，一汀烟雨杏花寒汀：水岸平地。

唐戴叔伦《苏溪亭》 诗家清景在新春，绿柳才黄半未匀半；多数。未匀：参差不齐。

唐杨巨源《城东早春》 长江春水绿堪染，莲叶出水大如钱唐张籍《春别曲》 有时三点两点雨，到处十枝五枝花此是清明时节的景色描写。唐李山甫《寒食二首》 新年都未有芳华，二月初惊见草芽。

白雪却嫌春色晚，故穿庭树作飞花两句写白雪等不及春天到来，已穿树飞花装点早春之景。唐韩愈《春雪》 天街小雨润如酥，草色遥看近却无。

最是一年春好处，绝胜烟柳满皇都 天街：京城里的街道。草色遥看；春草始生，微微露出一点细芽，远看一片新绿，近看却似不见。

绝胜；远远胜过。唐韩愈《早春呈水部张十八员外》 草树知春不久归，百般红紫斗芳菲芳菲：美盛的花草。

唐韩愈《晚春》 洛阳东风几时来，川波岸柳春全回唐韩愈《感春五首》 狂风落尽深红色，绿叶成阴子满枝唐杜牧《怅诗》：“自是寻春去校迟，不须惆怅怨芳时。狂风落尽深红色，绿叶成阴子满枝。”

万树江边杏，新开一夜风。满园深浅色，照在绿波中一夜风：一夜春风。

唐王涯《春游曲》 飒飒东风细雨来，芙蓉塘外有轻雷飒飒：风声。唐李商隐《无题四首》 寒随一夜去，春还五更来唐史青《应诏赋得除夜》 东风何时至，已绿湖上山唐丘为《题农父庐舍》 不觉春风换柳条唐韩滉《晦日呈诸判官》：“年年老向江城寺，不觉春风换柳条。”

春风贺喜无言语，排比花枝满杏园唐赵嘏《喜张沨及第》 春雪满空来，触处似花开。不知园里树，若个是真梅若个：哪个？唐·东方虬《春雪》 马踏春泥半是花唐·窦巩《襄阳寒食寄宇文籍》 烟水初销见万家，东风吹柳万条斜见：显现。

唐·窦巩《襄阳寒食寄宇文籍》 庭前时有东风入，杨柳千条尽向西唐·刘方平《代春怨》 今夜偏知春气暖，虫声新透绿窗纱唐·刘方平《夜月》 一夜好风吹，新花一万枝唐·令狐楚《春游曲三首》 落花满春光，疏柳映新塘唐·储光羲《答王十三维》 野渡花。

3有关春天的外国诗歌

春

花如霞 芳草吐新

辗转三季

你 依然如旧

清风拂面 细雨润眉

失眠三宿

我 红颜似衰

不是清纯 亦非妩媚

凝神三秒

心情 有如美酒般沉醉

为你降临 为你无眠

岂止三秋

回忆 那胜似古龙的馨香

辞旧迎新 新亦如故

我和春天有个约会

桃花如霞 芳草吐新

辗转三季

你 依然如旧

清风拂面 细雨润眉

失眠三宿

我 红颜似衰

不是清纯 亦非妩媚

凝神三秒

心情 有如美酒般沉醉

为你降临 为你无眠

岂止三秋

回忆 那胜似古龙的馨香

辞旧迎新 新亦如故

庆幸三生

只因 你我永远有个约会

4有哪些写春外国诗句

第一首：

Spring（春天）

Sound the Flute！ 把笛子吹起！

Now it's mute 现在它无声无息。

Birds delight 白天夜晚

Day and Night 鸟儿们喜欢

Nightingale 有一只夜莺

In the dale， 在山谷深深，

Lark in Sky 天上的云雀，

Merrily 满心喜悦，

Merrily Merrily to welcome in the Year欢天喜地，迎接新年到。

Little Boy 小小的男孩

Full of joy 无比欢快。

Little Girl 小小的女孩

Sweet and small玲珑可爱。

Cock does crow，公鸡喔喔叫，

So do you 你也叫声高。

Merry voice， 愉快的嗓音，

Infant noise，婴儿的闹声，

Merrily Merrily to welcome in the Year欢天喜地，迎接新年到。

Little Lamb， 小小的羊崽，

Here I am， 这里有我在，

Come and lick走过来舔舐

My white neck 我白白的脖子。

Let me pull 你的毛柔软，

Your soft Wool让我牵一牵

Let me kiss 你的脸娇嫩，

Your soft face 让我吻一吻。

Merrily Merrily we welcome in the Year 欢天喜地，我们迎接新年到。

第二首：

Spring Goeth All in White 春之女神着素装-Robert Bridges 罗伯特·布里季

Spring goeth all in white， 春之女神着素装，

Crowned with milk-white may； 山楂花冠乳白光；

in fleecy flocks of light， 天上分明一群羊，

o'er heaven the white clouds stray； 白云朵朵自来往；

white butterflies in the air； 粉蝶空中时蹁跹；

white daisies prank the ground； 廷命菊花饰郊原；

the cherry and hoary pear， 樱桃梨树共争艳，

scatter their snow around 四处非花如雪片。

5关于春天的外国现代诗

春之歌

当杂色的雏菊开遍牧场，

蓝的紫罗兰，白的美人衫，

还有那杜鹃花吐蕾娇黄，

描出了一片广大的欣欢；

听杜鹃在每一株树上叫，

把那娶了妻的男人讥笑：

咯咕！

咯咕！咯咕！啊，可怕的声音！

害得做丈夫的肉跳心惊。

当无愁的牧童口吹麦笛，

清晨的云雀惊醒了农人，

斑鸠乌鸦都在觅侣求匹，

女郎们漂洗夏季的衣裙；

听杜鹃在每一株树上叫，

把那娶了妻的男人讥笑：

咯咕！

咯咕！咯咕！啊，可怕的声音！

害得做丈夫的肉跳心惊。

（《爱的徒劳》第五幕第二场）

朱生豪译

6外国描写春天的散文或诗歌

第一首： Spring（春天） Sound the Flute！ 把笛子吹起！ Now it's mute 现在它无声无息。

Birds delight 白天夜晚 Day and Night 鸟儿们喜欢 Nightingale 有一只夜莺 In the dale， 在山谷深深， Lark in Sky 天上的云雀， Merrily 满心喜悦， Merrily Merrily to welcome in the Year欢天喜地，迎接新年到。 Little Boy 小小的男孩 Full of joy 无比欢快。

Little Girl 小小的女孩 Sweet and small玲珑可爱。 Cock does crow，公鸡喔喔叫， So do you 你也叫声高。

Merry voice， 愉快的嗓音， Infant noise，婴儿的闹声， Merrily Merrily to welcome in the Year欢天喜地，迎接新年到。 Little Lamb， 小小的羊崽， Here I am， 这里有我在， Come and lick走过来舔舐 My white neck 我白白的脖子。

Let me pull 你的毛柔软， Your soft Wool让我牵一牵 Let me kiss 你的脸娇嫩， Your soft face 让我吻一吻。 Merrily Merrily we welcome in the Year 欢天喜地，我们迎接新年到。

威廉·布莱克是十九世纪英国浪漫派诗人，主要诗作有诗集《天真之歌》、《经验之歌》等。 早期作品简洁明快，中后期作品趋向玄妙晦涩，充满神秘色彩。

本诗选自《天真之歌》。 春天来了，万物复苏。

这表现在动物的活动上：鸟儿欢腾，公鸡鸣叫，云雀在天上翻飞，夜莺在山谷间歌唱；也表现在孩子们的活动上：欢蹦乱跳，笑语喧哗，跟小动物一块儿玩耍。 这首诗的三节像三个变焦**镜头：由远而近依次是山谷树林、村庄农舍，然后聚焦在一个与羊羔相戏的儿童身上。

意象鲜明、具体、生动，趣味盎然。而诗以儿童的口吻写出，反映了孩子们对春天的感受。

诗行由片语和短句组成，注意押韵和反复，几近童谣，轻松自然，琅琅上口，读来颇有春天气息扑面而来的新鲜感。 第二首： Spring Goeth All in White 春之女神着素装-Robert Bridges 罗伯特·布里季 Spring goeth all in white， 春之女神着素装， Crowned with milk-white may； 山楂花冠乳白光； in fleecy flocks of light， 天上分明一群羊， o'er heaven the white clouds stray； 白云朵朵自来往； white butterflies in the air； 粉蝶空中时蹁跹； white daisies prank the ground； 廷命菊花饰郊原； the cherry and hoary pear， 樱桃梨树共争艳， scatter their snow around 四处非花如雪片。

7有哪些有关春天的名言

一朵鲜花打扮不出美丽的春天，一个人先进总是单q匹马，众人先进才能移山填海。

—— 雷锋 If winter comes, can spring be far behind ( P B Shelley, British poet ) 冬天来了，春天还会远吗？（ 英国诗人， 雪莱 P B） 一燕不能成春。 —— 克雷洛夫 落红不是无情物，化作春泥更护花。

—— 龚自珍If we had no winter, the spring would not be so pleasant: if we did not sometimes taste of adversity, prosperity would not be so welcome Anne Bradstreet (1612 - 1672), 'Meditations Divine and Moral,' 1655 [Spring is] when life's alive in everything Christina Rossetti (1830 - 1894) If there comes a little thaw, Still the air is chill and raw, Here and there a patch of snow,Dirtier than the ground below, Dribbles down a marshy flood; Ankle-deep you stick in mud In the meadows while you sing, "This is Spring" Christopher Pearce Cranch, A Spring Growl Well, spring sprang We've had our state of grace and our little gift of sanctioned madness, courtesy of Mother Nature Thanks, Gaia Much obliged I guess it's time to get back to that daily routine of living we like to call normal David Assael, Northern Exposure, Spring Break, 1991 Listen, can you hear it Spring's sweet cantata The strains of grass pushing through the snow The song of buds swelling on the vine The tender timpani of a baby robin's heart Spring Diane Frolov and Andrew Schneider, Northern Exposure, Wake Up Call, 1992 Spring is when you feel like whistling even with a shoe full of slush Doug Larson A little Madness in the Spring Is wholesome even for the King Emily Dickinson (1830 - 1886), No 1333 To be interested in the changing seasons is a happier state of mind than to be hopelessly in love with spring George Santayana (1863 - 1952) [Spring is] a true reconstructionist Henry Timrod If winter comes, can spring be far behind Percy Bysshe Shelley (1792 - 1822) An optimist is the human personification of spring Susan J Bissonette Winter is on my head, but eternal spring is in my heart Victor Hugo (1802 - 1885) O, how this spring of love resembleth The uncertain glory of an April day! William Shakespeare (1564 - 1616), "The Two Gentlemen of Verona", Act 1 scene 3。

8中外描写春的诗文

春晓 之类的就不说了。下面这些，我都把描写春天的句子给你挑出了，我的电子书是繁体的，你将就吧。

全诗你可以在google里搜，反正题目都有。

唐·白居易《忆江南》日出江花红胜火，春来江水绿如蓝

宋·苏轼《惠崇春江晓景》竹外桃花三两枝，春江水暖鸭先知

明·罗洪先《后园咏》：“东风吹雨衣不湿，我在桃花深处行”

唐·李白《金陵酒肆留别》“风吹柳花满店香”

五代·冯延巳《谒金门》“风乍起，吹皱一池春水”

元代诗人刘因《探春》：“道边残雪护颓墙，城外柔丝弄浅黄。春色虽微已堪惜，轻寒休近柳梢旁。”

唐代诗人杨巨源《城东早春》：“诗家清景在新春，绿柳才黄半未匀。若待上林花似锦，出门俱是看花人。”

韩愈《早春呈水部张十八员外二首》：“天街小雨润如酥，草色遥看近却无。最是一年春好处，绝胜烟柳满皇都。”

“桃花一簇开无主，可爱深红与浅红”唐·杜甫《江畔独步寻花七绝句》

“两个黄鹂鸣翠柳，一行白鹭上青天”唐·杜甫《绝句》

“几处早莺争暖树，谁家新燕啄春泥”（唐·白居易《钱塘湖春行》

唐代诗人张若虚的《春江花月夜》（全诗）

再给你一首：

《春》

——秋 瑾

寒梅报道春风至，莺啼翠帘，

蝶穿锦慢，杨柳依依绿似烟。

再给你一首一般找不到的：

《初春济南作》王士祯（清朝）： 山郡逢春复乍晴，陂〔bēi读杯〕塘分出几泉清。郭边万户皆临水，雪后千峰半入城。

这是描写泉城济南的春色。陂塘即池塘。春天阴晴多变，此时突然放晴，阳光下的池塘里流出一股股清凉的泉水。济南素有"家家泉水，户户垂杨"之称。春雪过后城南千佛山的山影映入城中，无处不赏心悦目。

9有哪些写春外国诗句

第一首：

Spring（春天）

Sound the Flute！ 把笛子吹起！

Now it's mute 现在它无声无息。

Birds delight 白天夜晚

Day and Night 鸟儿们喜欢

Nightingale 有一只夜莺

In the dale， 在山谷深深，

Lark in Sky 天上的云雀，

Merrily 满心喜悦，

Merrily Merrily to welcome in the Year欢天喜地，迎接新年到。

Little Boy 小小的男孩

Full of joy 无比欢快。

Little Girl 小小的女孩

Sweet and small玲珑可爱。

Cock does crow，公鸡喔喔叫，

So do you 你也叫声高。

Merry voice， 愉快的嗓音，

Infant noise，婴儿的闹声，

Merrily Merrily to welcome in the Year欢天喜地，迎接新年到。

Little Lamb， 小小的羊崽，

Here I am， 这里有我在，

Come and lick走过来舔舐

My white neck 我白白的脖子。

Let me pull 你的毛柔软，

Your soft Wool让我牵一牵

Let me kiss 你的脸娇嫩，

Your soft face 让我吻一吻。

Merrily Merrily we welcome in the Year 欢天喜地，我们迎接新年到。

第二首：

Spring Goeth All in White 春之女神着素装-Robert Bridges 罗伯特·布里季

Spring goeth all in white， 春之女神着素装，

Crowned with milk-white may； 山楂花冠乳白光；

in fleecy flocks of light， 天上分明一群羊，

o'er heaven the white clouds stray； 白云朵朵自来往；

white butterflies in the air； 粉蝶空中时蹁跹；

white daisies prank the ground； 廷命菊花饰郊原；

the cherry and hoary pear， 樱桃梨树共争艳，

scatter their snow around 四处非花如雪片。

Ludwig van Beethoven

Ludwig van Beethoven,he is not only good at playing the piano and conducting a concert, but also a famous composer His works have a rare originality, emotional depth, and expressive power and he was known for his nine symphonies, piano concertos, sonatas, and string quartets

He started to learn the music when he was a boy and fallowed his farther As the saying goes, interest is the best teacher By 1795 he had earned a name for himself as a pianist of great fantasy and verve, admired in particular for his brilliant improvisations

Unfortunately, around the year 1798 Beethoven noticed that he was suffering from a hearing disorder But he didn’t give up what he liked He continued to produce notable masterpieces throughout his life, even when his deafness was almost total Although the great man has gone, his soul will live in his music and last forever

译文：

贝多芬路德维希·凡·贝多芬，他不仅擅长d钢琴和指挥音乐会，而且是一位著名的作曲家。他的作品具有罕见的独创性、情感的深度和表达能力，他以他的九部交响曲、钢琴协奏曲、奏鸣曲和弦乐四重奏而闻名。当他还是个孩子的时候，他就开始学习音乐，并把他的父亲休了下来。

俗话说，兴趣是最好的老师。到1795年，他已经为自己赢得了一个伟大的幻想和神韵的钢琴家的名字，特别是钦佩他出色的即兴演奏。

不幸的是，大约在1798年，贝多芬发现自己患有听力障碍。但是他没有放弃他喜欢的。在他的一生中，即使他的耳朵几乎全聋了，他仍然不断创作着著名的杰作。虽然这位伟人已经去世了，但他的灵魂仍将活在他的音乐中，并将永存。

扩展资料：

主要作品：

贝多芬的一生创作体裁广泛，数量众多。在器乐领域，包括9部交响曲、11首管弦乐曲和戏剧配乐、5首钢琴协奏曲、1首小提琴协奏曲、16首弦乐四重奏和其他形式的重奏曲、32首钢琴奏鸣曲以及小提琴、大提琴奏鸣曲、变奏曲等。

在声乐领域，涉及歌剧、清唱剧、弥撒、康塔塔、合唱幻想曲和大量的艺术歌曲，声乐领域的代表作品包括歌剧《费德里奥》、《D大调弥撒》、声乐套曲《致远方的爱人》等

人物经历：

早年经历

1770年12月16日，路德维希·凡·贝多芬出生于德国波恩。1775年左右，4岁的贝多芬被父亲逼着学习钢琴、小提琴，其父愚蠢地想用强制性手段将他培养成莫扎特式的神童。

1778年，8岁的贝多芬师从宫廷老管风琴师H·伊登学习音乐基础理论及管风琴，同年8月26日第一次登台演出。

1781年，11岁的贝多芬辍学，进入波恩剧院乐队当小乐师，有机会师从选帝侯宫廷管风琴师、指挥家和作曲家克里斯蒂安·戈特洛布·聂弗，聂弗是位启蒙运动的参与者，对贝多芬一生影响很大。

1783年，13岁的贝多芬担任宫廷乐队的古钢琴独奏与伴奏，但无薪俸；同年根据德雷斯勒的进行曲改编为《钢琴变奏曲》（woO63），这是他正式发表的第一首作品，由德国音乐出版家J·M·格茨予以出版。

1785年至1786年，贝多芬转向弗兰兹·安东·里斯学习小提琴，完成《三首钢琴奏鸣曲》（woO36）。

1787年春天，贝多芬第一次访问维也纳，见到31岁的莫扎特，其d奏技术受到莫扎特的赞赏；同年结识比自己大9岁的华尔斯坦伯爵，他是贝多芬在艺术事业与经济上的重要支持者。

1790年，作曲家海顿去伦敦途经波恩，贝多芬结识海顿；同年受委托完成了两部清唱剧：《为约瑟夫二世逝世所作的悼念清唱剧》（woO87），这也是贝多芬第一部与政治沾上边的作品；以及《为利奥波德二世登基而作的清唱剧》（woO88）。

1792年11月，22岁的贝多芬在海顿等人的鼓励支持下离开故乡，开始拜海顿为师学习作曲，定居于维也纳。

维也纳初期

1793年，贝多芬改向莫扎特挚友，作曲家与教师J·B·申克学习对位法及音乐理论 [1]  。1794年，开始师从圣斯蒂芬大教堂阿尔布莱兹贝格学习对位法，向宫廷音乐总监安东尼奥·萨列里免费学习作曲；由于海顿忙于作第二次赴英演出的创作准备，师生两人性格不同又有音乐思想上的分歧，贝多芬向海顿的学习终于1794年中止。

1796年8月，在《维也纳杂志》上发表了贝多芬赠送给海顿的三首钢琴奏鸣曲（Op2）；同年开始出现耳聋现象。

1796至1797年创作完成《C大调第一钢琴协奏曲》（Op15），并于1798年在捷克布拉格首演。1799年，霍夫敏斯托于年底将贝多芬的《c小调第八（悲怆）钢琴奏鸣曲》（Op13）予以出版。

1800年4月，《第一交响曲》（Op21）、《降E大调七重奏》（Op20）在维也纳皇家宫廷音乐会首演 [1]  。

1801年，创作完成《升c小调第十四（月光）钢琴奏鸣曲》（Op27 no2），题献给朱丽塔·吉米尔茨伯爵夫人；同年还完成了《弦乐五重奏》（Op29）、《弦乐四重奏》（Op18）。

1802年，到海利根施塔特度夏，贝多芬已完全听不见声音，同年10月初给自己的兄弟写下著名的《海利根施塔特遗嘱》；经过激烈的思想斗争完成《第二交响曲》，并重返维也纳。

成熟时期

1803年，神剧《基督在橄榄山》、《A大调克鲁采小提琴奏鸣曲》首演；同年完成《第三钢琴协奏曲》。

1805年4月，《第三（英雄）交响曲》首演，贝多芬亲自担任指挥，此作是贝多芬进入创作成熟时期的重要标志；同年11月20日，歌剧《费德里奥》在维也纳皇家剧院首演。

1806年，创作完成《拉兹莫夫斯基弦乐四重奏》、《第四钢琴协奏曲》、《第四交响曲》，以及小提琴协奏曲。

1808年12月，《第六（田园）交响曲》在维也纳剧院举行了首演。1809年，《科里奥兰序曲》、《第五（命运）交响曲》、《C大调弥撒》相继问世。

1810年11月，《第五钢琴协奏曲》在莱比锡首演并取得了巨大成功，同时贝多芬因耳聋已与许多亲友疏远。

1812年，创作完成《第七交响曲》与《第八交响曲》；翌年夏天创作完成《战争交响曲》。

创作晚期

1814年2月—3月，《第七交响曲》、《战争交响曲》相继再度上演，成为维也纳狂热事件。

1824至1825年，首次公演《第九交响曲》及其合唱；1825年3月，创作完成《庄严弥撒曲》。

1826年，《降B大调弦乐四重奏》完成并公演，歌剧《费德里奥》最后版本予以发行。

1827年，伦敦爱乐乐团赠予贝多芬100英镑，邀请他为乐团谱写《第十交响曲》，未及完成，贝多芬于同年3月26日与世长辞，终年57岁。

参考资料来源：百度百科-路德维希·凡·贝多芬

以下有外国诗篇3段，都是跟转变、改变有关的，可以试试选择来朗诵。加上感情、语调、停顿等等，时间应该足够：

1．Letting Go

（By Fay Zwicky）

“Tell the truth of experience

they say they also

say you must let

go learn to let go

let your children go

and they go

and you stay

letting them go

because you are obedient and

respect everyone’s freedom

to go and you stay

and you want to tell the truth

because you are yours truly

its obedient servant

but you can’t because

you’re feeling what you’re not

supposed to feel you have

let them go and go and

you can’t say what you feel

because they might read

this poem and feel guilty

and some post-modern hack

will back them up

and make you feel guilty

and stop feeling which is

post-modern and what

you’re meant to feel

so you don’t write a poem

you line up words in prose

inside a journal trapped

like a scorpion in a locked

drawer to be opened by

your children let go

after lived life and all the time

a great wave bursting

howls and rears and

you have to let go

or you’re gone you’re

gone gasping you

let go

till the next wave

towers crumbles

shreds you to lace—

When you wake

your spine is twisted

like a sea-bird

inspecting the sky,

stripped by lightning“

2．Change

By Letitia Elizabeth Landon 1802–1838

“And this is what is left of youth!

There were two boys, who were bred up together,

Shared the same bed, and fed at the same board;

Each tried the other’s sport, from their first chase,

Young hunters of the butterfly and bee,

To when they followed the fleet hare, and tried

The swiftness of the bird They lay beside

The silver trout stream, watching as the sun

Played on the bubbles: shared each in the store

Of either’s garden: and together read

Of him, the master of the desert isle,

Till a low hut, a gun, and a canoe,

Bounded their wishes Or if ever came

A thought of future days, ’twas but to say

That they would share each other’s lot, and do

Wonders, no doubt But this was vain: they parted

With promises of long remembrance, words

Whose kindness was the heart’s, and those warm tears,

Hidden like shame by the young eyes which shed them,

But which are thought upon in after-years

As what we would give worlds to shed once more

They met again, — but different from themselves,

At least what each remembered of themselves:

The one proud as a soldier of his rank,

And of his many battles: and the other

Proud of his Indian wealth, and of the skill

And toil which gathered it; each with a brow

And heart alike darkened by years and care

They met with cold words, and yet colder looks:

Each was changed in himself, and yet each thought

The other only changed, himself the same

And coldness bred dislike, and rivalry

Came like the pestilence o’er some sweet thoughts

That lingered yet, healthy and beautiful,

Amid dark and unkindly ones And they,

Whose boyhood had not known one jarring word,

Were strangers in their age: if their eyes met,

’Twas but to look contempt, and when they spoke,

Their speech was wormwood!

And this, this is life! “

3．The Change

（Tony Hoagland’s poem）

“The season turned like the page of a glossy fashion magazine

In the park the daffodils came up

and in the parking lot, the new car models were on parade

Sometimes I think that nothing really changes—

The young girls show the latest crop of tummies,

and the new president proves that he’s a dummy

But remember the tennis match we watched that year

Right before our eyes

some tough little European blonde

pitted against that big black girl from Alabama,

cornrowed hair and Zulu bangles on her arms,

outrageous name like Vondella Aphrodite—

We were just walking past the lounge

and got sucked in by the screen above the bar,

and pretty soon

we started to care about who won,

putting ourselves into each whacked return

as the volleys went back and forth and back

like some contest between

the old world and the new,

and you loved her complicated hair

and her to-hell-with-everybody stare,

and I,

I couldn’t help wanting

the white girl to come out on top,

because she was one of my kind, my tribe,

with her pale eyes and thin lips

and because the black girl was so big

and so black,

so unintimidated,

hitting the ball like she was driving the Emancipation Proclamation

down Abraham Lincoln’s throat,

like she wasn’t asking anyone’s permission

There are moments when history

passes you so close

you can smell its breath,

you can reach your hand out

and touch it on its flank,

and I don’t watch all that much Masterpiece Theatre,

but I could feel the end of an era there

in front of those bleachers full of people

in their Sunday tennis-watching clothes

as that black girl wore down her opponent

then kicked her ass good

then thumped her once more for good measure

and stood up on the red clay court

holding her racket over her head like a guitar

And the little pink judge

had to climb up on a box

to put the ribbon on her neck,

still managing to smile into the camera flash,

even though everything was changing

and in fact, everything had already changed—

Poof, remember It was the twentieth century almost gone,

we were there, and when we went to put it back where it belonged,

it was past us

and we were changed“

希望帮到你。

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