elegy名词解释英文

"ELEGY WRITTEN INA COUNTRY CHURCH-YARD"The curfew tolls the knell of parting day,The lowing herd winds slowly o'er the lea,The ploughman homeward plods his weary way,And leaves the world to darkness and to me.Now fades the glimmering landscape on the sight,And all the air a solemn stillness holds,Save where the beetle wheels his droning flight,And drowsy tinklings lull the distant folds:Save that from yonder ivy-mantled towerThe moping owl does to the moon complainOf such as, wandering near her secret bower,Molest her ancient solitary reign.Beneath those rugged elms, that yew-tree's shade,Where heaves the turf in many a mouldering heap,Each in his narrow cell for ever laid,The rude Forefathers of the hamlet sleep.The breezy call of incense-breathing morn,The swallow twittering from the straw-built shed,The cock's shrill clarion, or the echoing horn,No more shall rouse them from their lowly bed.For them no more the blazing hearth shall burn,Or busy housewife ply her evening care:No children run to lisp their sire's return,Or climb his knees the envied kiss to share,Oft did the harvest to their sickle yield,Their furrow oft the stubborn glebe has broke;How jocund did they drive their team afield!How bow'd the woods beneath their sturdy stroke!Let not Ambition mock their useful toil,Their homely joys, and destiny obscure;Nor Grandeur hear with a disdainful smileThe short and simple annals of the Poor.The boast of heraldry, the pomp of power,And all that beauty, all that wealth e'er gave,Awaits alike th' inevitable hour:-The paths of glory lead but to the grave.Nor you, ye Proud, impute to these the faultIf Memory o'er their tomb no trophies raise,Where through the long-drawn aisle and fretted vaultThe pealing anthem swells the note of praise.Can storied urn or animated bustBack to its mansion call the fleeting breath?Can Honour's voice provoke the silent dust,Or Flattery soothe the dull cold ear of Death?Perhaps in this neglected spot is laidSome heart once pregnant with celestial fire;Hands, that the rod of empire might have sway'd,Or waked to ecstasy the living lyre:But Knowledge to their eyes her ample page,Rich with the spoils of time, did ne'er unroll;Chill Penury repress'd their noble rage,And froze the genial current of the soul.Full many a gem of purest ray sereneThe dark unfathom'd caves of ocean bear:Full many a flower is born to blush unseen,And waste its sweetness on the desert air.Some village-Hampden, that with dauntless breastThe little tyrant of his fields withstood,Some mute inglorious Milton here may rest,Some Cromwell, guiltless of his country's blood.Th' applause of list'ning senates to command,The threats of pain and ruin to despise,To scatter plenty o'er a smiling land,And read their history in a nation's eyes,Their lot forbad: nor circumscribed aloneTheir growing virtues, but their crimes confined;Forbad to wade through slaughter to a throne,And shut the gates of mercy on mankind,The struggling pangs of conscious truth to hide,To quench the blushes of ingenuous shame,Or heap the shrine of Luxury and PrideWith incense kindled at the Muse's flame.Far from the madding crowd's ignoble strife,Their sober wishes never learn'd to stray;Along the cool sequester'd vale of lifeThey kept the noiseless tenour of their way.Yet e'en these bones from insult to protectSome frail memorial still erected nigh,With uncouth rhymes and shapeless sculpture deck'd,Implores the passing tribute of a sigh.Their name, their years, spelt by th' unletter'd Muse,The place of fame and elegy supply:And many a holy text around she strews,That teach the rustic moralist to die.For who, to dumb forgetfulness a prey,This pleasing anxious being e'er resign'd,Left the warm precincts of the cheerful day,Nor cast one longing lingering look behind?On some fond breast the parting soul relies,Some pious drops the closing eye requires;E'en from the tomb the voice of Nature cries,E'en in our ashes live their wonted fires.For thee, who, mindful of th' unhonour'd dead,Dost in these lines their artless tale relate;If chance, by lonely contemplation led,Some kindred spirit shall inquire thy fate, --Haply some hoary-headed swain may say,"Oft have we seen him at the peep of dawnBrushing with hasty steps the dews away,To meet the sun upon the upland lawn;"There at the foot of yonder nodding beechThat wreathes its old fantastic roots so high.His listless length at noontide would he stretch,And pore upon the brook that babbles by."Hard by yon wood, now smiling as in scorn,Muttering his wayward fancies he would rove;Now drooping, woeful wan, like one forlorn,Or crazed with care, or cross'd in hopeless love."One morn I miss'd him on the custom'd hill,Along the heath, and near his favourite tree;Another came; nor yet beside the rill,Nor up the lawn, nor at the wood was he;"The next with dirges due in sad arraySlow through the church-way path we saw him borne,-Approach and read (for thou canst read) the layGraved on the stone beneath yon aged thorn."The EpitaphHere rests his head upon the lap of EarthA youth to Fortune and to Fame unknown.Fair Science frowned not on his humble birth,And Melacholy marked him for her own.Large was his bounty, and his soul sincere,Heaven did a recompense as largely send:He gave to Misery all he had, a tear,He gained from Heaven ('twas all he wish'd) a friend.No farther seek his merits to disclose,Or draw his frailties from their dread abode(There they alike in trembling hope repose),The bosom of his Father and his God.By Thomas Gray (1716-71).下面是赏析Commentary by Ian Lancashire(2002/9/9) Critics have spent entire books interpreting Gray's "Elegy." Is it ironic, as Cleanth Brooks would have us believe, or is it sentimental, as Samuel Johnson might say? Does it express Gray's melancholic democratic feelings about the oneness of human experience from the perspective of death, or does Gray discuss the life and death of another elegist, one who, in his youth, suffered the same obscurity as the "rude forefathers" in the country graveyard? Should Gray have added the final "Epitaph" to his work? Readers whose memories have made Gray's "Elegy" one of the most loved poems in English -- nearly three-quarters of its 128 lines appear in the Oxford Book of Quotations -- seem unfazed by these questions. What matters to readers, over time, is the power of "Elegy" to console. Its title describes its function: lamenting someone's death, and affirming the life that preceded it so that we can be comforted. One may die after decades of anonymous labour, uneducated, unknown or scarcely remembered, one's potential unrealized, Gray's poem says, but that life will have as many joys, and far fewer ill effects on others, than lives of the rich, the powerful, the famous. Also, the great memorials that money can buy do no more for the deceased than a common grave marker. In the end, what counts is friendship, being mourned, being cried for by someone who was close. "He gave to Mis'ry all he had, a tear, / He gain'd from Heav'n ('twas all he wish'd) a friend" (123-24). This sentiment, found in the controversial epitaph, affirms what the graveyard's lonely visitor says earlier: "On some fond breast the parting soul relies, / Some pious drops the closing eye requires" (89-90). Gray's restraint, his habit of speaking in universals rather than particulars, and his shifting from one speaker to another, control the powerful feelings these lines call up. They frame everything at some distance from the viewer. The poem opens with a death-bell sounding, a knell. The lowing of cattle, the droning of a beetle in flight, the tinkling of sheep-bells, and the owl's hooting (stanzas 1-3) mourn the passing of a day, described metaphorically as if it were a person, and then suitably the narrator's eye shifts to a human graveyard. From creatures that wind, plod, wheel, and wander, he looks on still, silent "mould'ring" heaps, and on turf under a moonlit tower where "The rude forefathers" "sleep" in a "lowly bed." Gray makes his sunset a truly human death-knell. No morning bird-song, evening family life, or farming duties (stanzas 5-7) will wake, welcome, or occupy them. They have fallen literally under the sickle, the ploughshare, and the axe that they once wielded. They once tilled glebe land, fields owned by the church, but now lie under another church property, the parish graveyard. This scene remains in memory as the narrator contrasts it with allegorical figures who represent general traits of eighteenth-century humanity: Ambition (29), Grandeur (31), Memory (38), Honour (43), Flattery and Death (44), Knowledge (49), Penury (51), Luxury and Pride (71), Forgetfulness (85), and Nature (91). In shifting from individuals to universal types that characterize the world at large, the poem exchanges country "darkness" for civic and national life. Yet, against expectations, the narrator defends the dead in his remote churchyward cemetery from the contempt of abstractions like Ambition and Grandeur. He makes four arguments. First, the goals of the great, which include aristocratic lineage, beauty, power, wealth, and glory, share the same end as the "rude forefathers," the grave. Human achievements diminish from the viewpoint of the eternal. The monuments that Memory erects for them ("storied urn or animated bust"), the church anthems sung at their funeral, and the praise of Honour or Flattery before or after death also cannot ameliorate that fate. The narrator reduces the important, living and deceased, to the level of the village dead. Secondly, he asks pointedly why, were circumstances different, were they to have been educated with Knowledge's "roll" and released from "Chill Penury," would they not have achieved as much in poetry and politics as did figures like Hampden, Milton, and Cromwell? Thirdly, the narrator suggests that his unimportant, out-of-power country dead lived morally better lives by being untempted to commit murder or act cruelly. Last, "uncouth rhymes," "shapeless sculpture," and "many a holy text" that characterize their "frail" cemetery memorials, and even those markers with only a simple name and age at death, "spelt by th' unlettered muse" (81), serve the important universal human needs: to prompt "the passing tribute of a sigh" (80) and to "teach the rustic moralist to die" (84). In the next three stanzas, the narrator -- the "me" who with darkness takes over the world at sunset (4) -- finally reveals why he is in the cemetery, telling the "artless tale" of the "unhonour'd Dead" (93). He is one of them. Like the "rude Forefathers" among whom he is found, the narrator ghost is "to Fortune and to Fame unknown" (118). Like anyone who "This pleasing anxious being e'er resigned," he -- in this narrative itself -- casts "one longing, ling'ring look behind" to life (86-88). As he says, "Ev'n from the tomb the voice of Nature cries" (91). He tells us the literal truth in saying, "Ev'n in our ashes live their wonted fires" (92). These fires appear in his ashes, which speak this elegy. He anticipates this astounding confession earlier in saying: Perhaps in this neglected spot is laid Some heart once pregnant with celestial fire;Hands, that the rod of empire might have sway'd,or wak'd to ecstasy the living lyre. As Nature's voice from the dead, the "living lyre," he addresses himself in the past tense as having passed on, as of course he did. Should some "kindred spirit" ask about his "fate," that of the one who describes the dead "in these lines," an old "swain" (shepherd) might describe his last days. If so, he would have seen, with "another" person, the narrator's bier carried towards the church and his epitaph "Grav'd on the stone" (116). Only a ghost would know, with certainty, that "The paths of glory lead but to the grave" (36). Little wonder that the poem ends with the swain's invitation to the "kindred spirit" to read the text of the narrator's own epitaph. The narrator ghost gave "all he had, a tear," and did get the only good he wished for, "a friend." He affirms the value of friendship above all other goods in life. His wish is granted by the kindred spirit who seeks out his lost companion. Critics have gone to some lengths to explain the narrator's address to himself as "thee" (93). Some believe Gray slipped and meant "me" instead (despite "thy" at 96). Others argue that the dead narrator is "the' unlettered muse," the so-called "stonecutter-poet" who wrote simple epitaphs with "uncouth rhymes" (79-81), although the dead youth's knowledge of "Fair Science" (119) clearly rules that out. Still others believe that Gray himself is the narrator, but his age at the poem's completion was 35, hardly a youth. The "Elegy" is spoken, not by Gray but by a dramatic persona. The simplest explanation is that the poem is a ghost's monologue with the living about death. "Elegy" belongs to the so-called "graveyard" school of poetry. It follows Churchill's "The Ghost" and anticipates the gothic movement. Gray adopts and refines a regular poetics typical of his period. His iambic pentameter quatrains are self-contained and end-stopped. They do not enjamb with the next stanza but close with terminal punctuation, except for two passionate sequences. Stanzas 16-18 express the narrator's crescendo of anger at the empowered proud whose virtues go hand-in-hand with crimes: slaughter, mercilessness, and lying. Stanzas 24-25 introduce the dead youth who, I suggest, narrates the poem. Quatrains also regularly consist of end-stopped lines, equally self-contained and even interchangeable. For example, in the first stanza, lines 1-3 could be in any order, and lines 2 and 4 could change places. Gray builds his lines, internally, of units just as regular. Often lines are miniature clauses with balanced subject and predicate, such as "The curfew" (subject) and "tolls the knell of parting day" (predicate; 1), or "No children" (subject) and "run to lisp their sire's return" (predicate; 23). Within both subject and predicate units, Gray inserts adjective-noun pairs like "parting day," "lowing herd," "weary way," "glimm'ring landscape," "solemn stillness," "droning flight," "drowsy tinklings," and "distant fold" (1-8). By assembling larger blocks from these smaller ones, Gray builds symmetry at all levels. He also links sequences of these regular blocks. Alliteration, unobtrusively, ties successive lines together: for example, "herd wind" and "homeward" (2-3), "droning flight" and "distant folds" (7-8), and "mantl'd tow'r" and "moping owl" (9-10). Gray rhymes internally in "slowly o'er the lea" (2) or "And all the air ... / Save where" (6-7), or he exploits an inconspicuous initial assonance or consonance in "Beneath ... / Where heaves" (12-14), and "The cock's shrill ... / No more shall" (19-20). Parallel syntactic construction across line and stanza boundaries links sequences of such larger units. For example, twinned clauses appear with "Save" (7, 9), "How" (27-28), "Can" (41, 43), "Full many a" (53, 55), "forbade" (65, 67), and "For who" and "For thee" (85, 93), among others. Semantically, Gray's "Elegy" reads like a collage of remembered experiences. Some are realized in both image and sound. "The swallow twitt'ring from the straw-built shed" (18) vividly and sharply conveys one instant in the awakening process on a farm. At other times, the five senses blur, as in "the madding crowd's ignoble strife" (73), or "This pleasing anxious being" (86), but these remain snapshots, though of feelings, not images. They flow from a lived life remembering its keenest moments in tranquillity. Some of these moments are literary. In 1768, Gray added three notes to "Elegy" that identify where he adopts lines in by Dante and Petrarch. "Elegy" is rife with other, unacknowledged echoes of poems by contemporaries, famous and obscure: Robert Colvill, Paul Whitehead, Henry Needler, Richard West, Alexander Pope, Samuel Whyte, Joseph Trapp, Henry Jones, John Oldmixon, and doubtless many others contributed phrases to Gray's poem. These formal elements in Gray's poetics beautifully strengthen the poem's content. "Elegy" gives us a ghost's perspective on his life, and ours. The old swain describes him as a melancholic loner who loved walking by hill, heath, trees, and stream. The epitaph also reveals that he was well-educated, a youth who died unknown. These are the very qualities we might predict in the writer, from the style of his verse. "Elegy" streams with memories of the countryside where the youth walked. The firm, mirrored linguistic structures with which he conveys those recalled moments belong to someone well-educated in Latin, "Fair Science," and well-read in English poetry. Gray did not just give his readers succinct aphorisms about what Isaac Watt would term, "Man Frail, God Eternal," but recreated a lost human being. In reading "Elegy," we recreate a person, only to find out that he died, too young, too kind, and too true to a melancholy so many share.

sing sadly

sad melodyelegydirgethrenode

1、poem，作名词时意思是“诗”。

发音：英[ˈpəʊɪm]；美[ˈpoʊəm]

词组搭配：

Winter Poem冬日之诗 ; 冬日诗篇 ; 冬日的诗 ; 唱片名

Narrative Poem叙述诗 ; 叙事长诗 ; 叙事性

tone poem交响诗 ; 音诗

2、magazine，释义杂志。

发音：英 [ˌmægəˈzi:n] 美 [ˈmægəzi:n]

例子：

Herfaceisonthecoverofadozenormoremagazines.

她的面孔出当前十几种杂志的封面上。

3、newspaper，意为“报纸，报社，旧报纸”。

发音：英[ˈnjuːzpeɪpə(r)]美[ˈnuːzpeɪpər]

例子：

Yes, I read about that in the newspaper.

是的，我在报纸上读过这条消息。

4、encyclopedia，作名词时意为“百科全书。

发音：英[ɪnˌsaɪkləˈpiːdiə]美[ɪnˌsaɪkləˈpidiɚ]

例子：

I have looked it up in the enc铵yclopedia.

我已经在百科全书中查到它了。

5、dictionary，词典，工具书的一种，是收集词汇按某种顺序排列并加以解释供人检查参考的工具书。

例子：

He's bought a Chinese-English dictionary.

他买到了一本汉英词典。

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花费了整个书解释灰色的“挽歌的评论家”。 是否是讽刺的，因为Cleanth溪将让我们相信，或者是它感伤的，塞缪尔・约翰逊也许说？ 从死亡的角度它明确关于人的经验的统一性的灰色的忧郁的民主感觉或者灰色谈论另一名挽歌作者生与死，一谁，他的青年时期的，遭受了朦胧和“粗鲁的祖先一样”在国家坟园？ 灰色应该增加了最后的“墓志铭”到他的工作？ 记忆做了灰色的“挽歌”一被爱的诗用英语的Readers -- 它的128条线的几乎四分之三出现于引文牛津书 -- 似乎平静由这些问题。 什么，随着时间的推移，事关给读者是“挽歌的”力量慰问。 它的标题描述它的作用： 哀叹某人的死亡和肯定在它之前的生活，以便可以安慰我们。 一也许在数十年匿名劳方，无知，未知数以后死或缺乏地记住，你潜在未实现，灰色的诗说，但是那生活比富有的生活将有许多喜悦和在其他的少量不良后果，强有力，著名。 并且，金钱比一个共同的坟墓标志可能买做没有已故的伟大的纪念品。 最后，什么计数是友谊，哀悼，哭泣为由是接近的人。 “他给了Mis'ry他有的全部，泪花，/他从Heav'n (‘twas全部的gain'd他wish'd)朋友” (123-24)。 这种情绪，找到在有争议的墓志铭，肯定什么坟园的孤独的访客及早说： “一些喜欢乳房分开灵魂依靠，/闭合值的眼睛要求”的一些虔诚下落(89-90)。 灰色的克制、他的习性讲话在普遍性而不是特殊性和他的从一位报告人的转移到另一个，控制这些线召集的强有力的感觉。 他们构筑一切在从观察者的某一距离。 The诗打开与听起来的死亡响铃，丧钟。 lowing牛，在飞行中甲虫的声音低沉单调的，发叮当声绵羊响铃和呵斥的猫头鹰的(诗节1-3)哀悼通过一天，被描述隐喻地，好象它人，解说员的眼睛适宜地然后转移到一个人的坟园。 从绞的生物，苦干，转动，并且漫步，他仍然看，沈默“mould'ring的”堆，和在草皮在“粗鲁的祖先” “睡眠”在“贫贱床上的一个被月光照亮塔之下”。 灰色做一位真实地人死亡敲丧钟的他的日落。 早晨鸟鸣声，平衡家庭生活或者种田责任(诗节5-7)不会醒来，欢迎或者占领他们。 他们逐字地属于镰刀，犁耙，并且那的轴他们曾经挥动了。 他们曾经耕种了glebe土地，教会拥有的领域，但是现在说谎在另一教会财产，教区坟园之下。

《堂·吉诃德》DON QUIXOTE米盖尔·台·塞万提斯 Cervantes, Miguel de《欧也妮·葛朗台》EUGENIE GRANDET奥诺瑞·德·巴尔扎克 Balzac，Honore de《包法利夫人》MADAME BOVARY居斯塔夫·福楼拜 Flaubert，Gustave《福尔摩斯回忆录》 MEMOIRS OF SHERLOCK HOLMES 阿瑟·柯南道尔 Doyle，Sir Arthur Conan《巴黎圣母院》THE HUNCHBACK OF NOTRE DAME 维克多·雨果 Hugo, Victor《汤姆·索耶历险记》THE ADVENTURES OF TOM SAWYER 马克·吐温 Twain，Mark《神秘岛》THE MYSTERIOUS ISLAND儒勒·凡尔纳 Verne，Jules《浮士德》FAUSTUS歌德 Johann，Wolfgang， von，Goethe《红与黑》BLACK AND RED司汤达 Stendhal《战争与和平》WAR AND PEACE列夫·托尔斯泰 Tolstoy，Leo《呼啸山庄》WUTHERING HEIGHTS艾米莉·勃朗特 Bronte，Emily《三个火枪手》THE THREE MUSKETEERS大仲马 Dumas, Alexandre, pere《仲夏夜之梦》A MIDSUMMER NIGHT'S DREAM 威廉·莎士比亚 Shakespeare，William《威尼斯商人》THE MERCHANT OF VENICE威廉·莎士比亚 Shakespeare，William《灰姑娘》CINDERELLA格林兄弟 Grimm Brothers《小红帽》LITTLE RED － CAP格林兄弟 Grimm Brothers《白雪公主》LITTLE SNOW－WHITE格林兄弟 Grimm Brothers《皇帝的新装》THE EMPEROR'S NEW SUIT汉斯·C·安徒生 Andersen, Hans C.《青蛙王子》THE FROG KING，OR IRON HENRY 格林兄弟 Grimm Brothers《卖火柴的小女孩》THE LITTLE MATCH－SELLER 汉斯·C·安徒生 Andersen, Hans C.《小美人鱼》THE LITTLE MERMAID汉斯·C·安徒生 Andersen, Hans C.1/5《丑小鸭》THE UGLY DUCKLING------汉斯·C·安徒生 Andersen, Hans C.A Farewell to Arms《别了,武器》(海明威,美国)A Thousand and One Nights《一千零一夜》Adam Bede《亚当·贝德》(乔治·艾略特,英国)All's Well That Ends Well《终成眷属》(莎士比亚，英国）Anna Karenina《安娜·卡列尼娜》(列夫·托尔斯泰,俄国) As You Like it《皆大欢喜》(莎士比亚，英国）Bel-Ami《漂亮朋友》(基·德·莫泊桑,法国)Canterbury Tales《坎特伯雷故事集》(杰弗里·乔叟,英国) Childe Harold's Pilgrimage《查尔德·哈罗德游记》(拜伦,英国)Crime and Punishment《罪与罚》(陀斯妥也夫斯基,俄国〕David Copperfield《大卫·科波菲尔》(查尔斯·狄更斯,英国) Don Juan《唐璜》(乔治·戈登·拜伦,英国)Elegy Written in a Country Churchyard 《墓地衰歌》(托马斯·格雷,英国)Emma《爱玛》(简·奥斯汀,英国)Essays《培根论说文集》(弗郎西斯·培根,英国) Fairy Tales《安徒生童话》(安徒生,丹麦)For Whom the Bell Tolls《丧钟为谁而鸣》(海明威,美国)Gone with the Wind《乱世佳人》/《飘》Good Wives《好妻子》(露易莎·梅·奥尔科特,美国) Great Expectations《远大前程》(查尔斯·狄更斯,英国)Gulliver's Travels《格利佛游记》(乔纳森·斯威福特,英国)2/5《哈姆雷特》（莎士比亚，英国）Jane Eyre《简·爱》(夏洛特·勃朗特,英国)Jean-Christophe《约翰·克利斯朵夫》(罗曼·罗兰,法国) King Lear《李尔王》(莎士比亚，英国）Lady Chatterlay's Lover《查太莱夫人的情人》(劳伦斯,英国)Les Miserables《悲惨世界》(雨果,法国)Little Women《小妇人》(露易莎·梅·奥尔科特,美国) Love of Life《热爱生命》(杰克.伦敦,美国)Mansfiela Park《曼斯菲尔德庄园》(简·奥斯汀,英国) Measure for Measure《自作自受》(莎士比亚，英国）Moby Dick《大白鲨》(赫尔曼·梅尔维尔,美国)Mrs. Warren's Profession《沃伦夫人的职业》(乔治·伯纳德·肖,英国) Much ado about Nothing《无事生非》(莎士比亚，英国）Nature《自然》(拉尔夫·沃尔多·爱默生,美国) Ode to the West Wind《西风颂》(雪莱,英国)Of Studies《论学习》(弗郎西斯·培根,英国)Othello《奥赛罗》(莎士比亚，英国）Paradise Lost《失乐园》(约翰·弥尔顿,英国)Persuasion《劝说》(简·奥斯汀,英国)Pride and Prejudice《傲慢与偏见》(简·奥斯汀,英国)Prometheus Unbound《被释的普罗米修斯》(雪莱,英国)Resurrection《复活》(列夫·托尔斯泰,俄国)3/5《罗伯·罗伊》(沃尔特·斯科特,英国) Robinson Crusoe《鲁滨逊飘流记》(丹尼尔·笛福,英国) Romeo and Juliet《罗密欧与朱丽叶》(莎士比亚，英国） Sense and Sensibility《理智与情感》(简·奥斯汀,英国)Sister Carrie《嘉莉姐妹》(西奥多·德莱塞,美国)Tender is the Night《夜色温柔》(斯科特·菲茨杰拉德,美国) Tess of the D'Urbervilles《德伯家的苔丝》(托马斯·哈代,英国) The Beautiful and the Damned《漂亮冤家》(斯科特·菲茨杰拉德,美国) The Canterbury Tales《坎特伯雷故事》The Comedy of Errors《错见错觉》(莎士比亚，英国）the Count of Monte《基督山伯爵》(大仲马,法国)The Faerie Queene《仙后》(埃德蒙·斯宾塞,英国)The Grapes of Wrath《愤怒的葡萄》(约翰·斯坦贝克,美国) The Great Gatsby《了不起的盖茨比》(斯科特·菲茨杰拉德,美国) The Hairy Ape《毛猿》(尤金·奥尼尔,美国)The History of Tom Jones, a Foundling 《弃儿汤姆传》(亨利·菲尔丁)The Holy War《圣战》(约翰·班杨,英国)The House of Seven Gables《有七个尖角阁的房子》(纳撒尼尔·霍桑,美国) The Legend of Sleepy Hollow《睡谷的传说》(华盛顿·欧文,美国)The Merchant of Venice《威尼斯商人》(莎士比亚，英国）The Merry Wives of Windsor《温莎的风流娘儿们》(莎士比亚，英国） The Old Curiosity Shop《老古玩店》(查尔斯·狄更斯,英国)4/5The Old Man and the Sea《老人与海》(海明威,美国)The Passionate Pilgrim《爱情的礼赞》(莎士比亚，英国） The Phoenix and the Turtle《凤凰和斑鸠》(莎士比亚，英国） The Pilgrim's Progress《天路历程》(约翰·班杨,英国)The Rainbow《彩虹》(劳伦斯,英国)The Scarlet Letter《红字》(纳撒尼尔·霍桑,美国)The School for Scandal《造谣学校》(谢里丹,英国)The Sea-Wolf《海狼》(杰克.伦敦,美国)The Sun Also Rises《太阳照样升起》(海明威,美国)The Tempest《暴风雨》(莎士比亚，英国）The Twelfth Night《第十二夜》(莎士比亚，英国）The Waster Land《荒原》(艾略特,英国)The White Fang《白牙》(杰克.伦敦,美国)Twice-Told Tales《尽人皆知的故事》(纳撒尼尔·霍桑,美国) Ulysses《尤利西斯》(詹姆斯·乔伊斯,英国) Uncle Tom's Cabin《汤姆叔叔的小屋》(哈里特·斯托,美国) Vanity Fair《名利场》

交响曲(Symphony)广义的来说，交响曲是为管弦乐所写的奏鸣曲。这个曲式源自於巴洛克时期，当时对此名称的解释相当於现在的歌剧「序曲」，也就是由快板-慢板-快板形式所组成的三个乐章的器乐曲。古典时期以后一般公认的模式是第一乐章：快板、奏鸣曲式；第二乐章：慢板；第三乐章：小步舞曲或诙谐曲；第四乐章：快板，轮旋曲式。古典时期的海顿将交响曲带向一个新高峰，莫扎特遵循其榜样又突破，1788年最后三百的交响曲尤其出色。贝多芬史将交响曲在表现情感的能力上提升至一新局面，九首交响曲不仅扩大了乐团的编制及乐曲的长度，第九号「合唱」交响曲更把人声引进由席勒(Schiller)作词的「快乐颂」大合唱终乐章中。十九世纪浪漫乐派之后，交响曲更被广泛的创作，但形式上开始有了些微改变，或是改变乐章的数目，或是加入了声乐，此外，受了标题音乐作曲手法的影响，更发展出「标题交响曲」之类型。如贝多芬《第六号田园交响曲》作品68。交响诗(Symphonic poem)是一种以标题音乐手法完成的单乐章管弦乐作品，与多乐章的标题交响曲有别，交响诗是李斯特首先在作品中引用，柏辽兹的「幻想交响曲」大有与其影响。交响诗是在音乐中发展诗的理念，用音乐来营造情绪抒发感情，表现诗的意境，气氛和内容。交响诗的题材自由，手法不受限制，作曲家得以自由表达乐念，是在标题音乐中最发达的乐种。浪漫派后期德国音乐家理查．施特劳斯(R. Strauss，1864~1949)在交响诗方面堪称一代宗师，他将交响诗改称为「音诗」。组曲(Suite)十八世纪中期之后舞曲组曲不再受到作曲家的重视，主要是因为音乐逐渐平民化，宫廷内的舞曲不再那麼的流行。浪漫乐派以后流行具有描写性质的舞曲，通常是管弦乐曲及器乐曲的作品。大多由很多小曲组合而成，没有一定规则可循，作曲家可自由创作，如圣桑「动物狂欢节」、舒曼「儿时情景」、穆索斯基「展览会之画」。另外有芭蕾舞剧中精彩的管弦管配乐，单独用於演奏会上时的芭蕾组曲，如柴科夫斯基「睡芙人」、「天鹅湖」、「胡桃钳」组曲。协奏曲(Concerto)协奏曲起源於16世纪，最初是指有乐器伴奏的声乐曲，以别於当时盛行的无伴奏合唱(A capplla)，到巴洛克时代才指附有伴奏的器乐独奏之意。巴洛克时期的协奏曲，大都是大协奏曲(Concerto grosso)，这是由小协奏群(Concertino)对著全体乐团(Tutti)同时演奏或是交替出现，音乐间成了一种竞奏的模式。独奏乐器协奏曲到了巴洛克后期才出现，而现在最常听到的协奏曲式在古典时期才臻於完美。巴洛克时期著名的大协奏曲，如巴赫「勃兰登堡协奏曲」，古典时期的协奏曲通常有三个乐章－快板、慢板、快板。序曲(Overture)一般都在大型音乐如歌剧、神剧、芭蕾舞剧之前演奏，具有开场及将观众导人戏剧气氛的功能。古典时期，歌剧的序曲采用了奏鸣曲式，与歌剧内容紧密连结，其中莫札特的序曲最常被演奏，十九世纪时出现了独立为演奏会用的序曲，如门德尔松「芬格尔岩洞」、柴科夫斯基「一八一二」等序曲。小夜曲(Serenade)小夜曲原本的解释是夜晚时站在爱慕的女性窗下示爱所唱的情歌，古典时期盛行器乐作品的小夜曲，是一种夜间在户外的演奏曲，供贵族王侯休闲遣兴之用。小夜曲以小型合奏型态演出，一般由小型弦乐队或管乐组乐器演奏。如：莫扎特 G大调弦乐小夜曲K525。十九世纪后小夜曲继续发展、勃拉姆斯、德沃夏克、柴科夫斯基、理查施特劳斯、埃尔加等皆有优良作品。进行曲(March)原本是要使一队士兵能够有秩序的前进时伴奏用的一种曲式。通常使用简单、鲜明有力的节奏与整齐规律的乐句。如贝多芬『英雄交响曲』第二乐章「葬礼进行曲」、门德尔松「仲夏夜之梦」序曲中的结婚进行曲。室内乐(Chamber Music)现代室内乐概念的形成始自古典时期，以海顿为首、莫扎特、贝多芬开拓了许多室内乐的新天地。最常见的演奏型式有三重奏、四重奏、五重奏，此外六重奏、七重奏、八重奏、九重奏等也有，只是数量较少。如舒伯特等。奏鸣曲(Sonata)专为一或二件独奏乐器而编写的乐曲，是古典乐派最重要和有价值的贡献，奏鸣曲产生於十六世纪，十七世纪早期发展出巴洛克式的奏鸣曲。十七世纪后期出现了海顿、莫扎特、贝多芬的维也纳古典奏鸣曲。奏鸣曲曲式与交响乐相近，分为三或四乐章。 1. 三个乐章 第一乐章 快板，奏鸣曲式 第二乐章 慢板或行板 第三乐章 快板或急板，轮旋曲式 2. 四个乐章 第一乐章 快板，奏鸣曲式 第二乐章 慢板或行板 第三乐章 小步舞曲或诚谐曲 第四乐章 快板或急板，轮旋曲式奏鸣曲式由海顿完成，莫扎特、贝多芬将此形式推展至极限，并增加其流利优美的表现。十九世纪作曲家们虽然以同样方式写奏鸣曲、交响曲、室内乐等，但对原来模式并不十分依循。或只有单一乐章的乐曲，甚至有五个乐章的组合。古典时期的奏鸣曲以钢琴奏鸣曲、小提琴奏鸣曲、大提琴奏鸣曲的作品居多，如贝多芬小提琴奏鸣曲「春天」、「克鲁采」，钢琴奏鸣曲「月光」、「热情」、「悲怆」等。变奏曲(Variation)变奏曲是将一结构完整的音乐主题加以变化，使其节奏、旋律、和声、调性、配器等有所改变。亦称「主题与变奏」，长曲子的变奏，甚至可达三十个以上。变奏曲的主题不一定是原创，时常采自他人作品。如贝多芬「狄亚贝里变奏曲」(采自Diabelli所写的一首圆舞曲旋律)。幻想曲(Fantasie)依作曲家自由的乐想而作的钢琴曲。其具有即兴及浪漫派性格的小品，或形式自由的奏鸣曲，如舒伯特「流浪者幻想曲」、舒曼「幻想曲」作品 17等。练习曲(Etude)以练习器乐演奏技巧为目的而写的乐曲，如彻尔尼写的钢琴练习曲、帕加尼尼写的小提琴练习曲；也有演奏会用的练习曲，如李斯特的十二首音乐会练习曲、萧邦C小调第十二号练习曲「革命」。即兴曲(Impromptu)把作曲家心中的乐想，以即兴创作的方式将快速连续性的音符及抒情性对比所描绘的作品表现出来。如：舒伯特降G大调即兴曲、肖邦幻想即兴曲。前奏曲(Prelude)顾名思义是一种当做序曲使用，具有前奏功能的乐曲。位於主体音乐之前。浪漫时期小品曲兴盛，前奏曲是指一首独立的钢琴小曲，形式自由。肖邦、拉赫玛尼诺夫、德彪西等都有此类作品。夜曲(Nocturne)夜曲 (Nocturne)一词源自於拉丁文的 NOX，原意为罗马神话的「夜神」。这种形式自由，旋律高雅而浪漫的器乐小曲适合在夜间气氛下弹奏。十九世纪初由费尔德(J. Field，1782~1837)首创将「夜曲」当作钢琴作品，其后的肖邦二十一首夜曲足可作为此类作品的典范，钢琴演奏用的夜曲其特徵是低音部的左手以波动的伴奏音型，衬托出右手甜美的主旋律。狂想曲(Rhapsody)常见於十九世纪中一种具有叙事、英雄、民族色彩的乐曲。如李斯特「匈牙利狂想曲」、勃拉姆斯「女低音狂想曲」、德沃夏克「斯拉夫狂想曲」、格什温「蓝色狂想曲」、拉赫玛尼诺夫「帕加尼尼主题狂想曲」等。奇想曲(Capriccio)是指十九世纪轻松愉快、幽默有趣的钢琴小品。如门德尔松、勃拉姆斯的奇想曲。叙事曲(Ballade)源自义大利语 "ballare"为跳舞之意，中世初期原指边舞边唱的歌曲，十三世纪时逐渐与舞蹈分离，走向由吟游诗人主导的纯文学与音乐形式。十六世纪开始此语已应用於任何有叙事性的通俗歌曲。十九世纪萧邦首先创作纯器乐叙事曲，将此名词借用到篇幅较长且富有戏剧性的钢琴小品上。此外勃拉姆斯、李斯持、格里格、弗雷等皆有叙事曲的作品。诙谐曲(Scherzo)原义为「戏谑」「玩笑」，十七世纪时首先应用於声乐曲上，贝多芬则於奏鸣曲与交响曲等乐曲中代替小步舞曲在第三章使用。诙谐曲的特色是快速、活泼的节奏，通常是全曲中最轻快的乐章。萧邦使用这个名词於钢琴作品上，曲中无任何戏谑性质，特徵是感情强烈气势磅礴，其中多少带有阴郁的味道，抒情与活泼的曲风轮流交替。波兰舞曲(Polonaise)「波兰舞曲」也称“波罗乃兹”是源自波兰的一种游行典礼舞曲，节奏是中速度的三拍子，较圆舞曲稍慢，风格威严堂皇。很多作曲家包括巴赫、亨德尔、莫扎特、贝多芬、舒伯特、李斯特等都写过此类作品。肖邦将波兰舞曲推上更高艺术层次，他的作品具有波兰英雄主义及民族精神特色，表达了其浓厚的爱国情操。赋格曲(Fugue)巴洛克音乐的一种乐曲的组织，属於复音音乐，「赋格」指的是声部间彼此模仿之意，主要结构包括：主题(Subject)：乐曲一开始出现短而精的部分。答句(Answer)：比主题晚数小节出现，且移高五度或移低四度的模仿乐句。主题乐句(Counter Subject)：与主题互相对立。插句(Episode)：中段用来联络主题及答句。如：巴赫平均律古钢琴曲集第一、二册中的赋格曲。托卡塔（Toccata）一种即兴式的节奏紧促、快速的键盘乐曲。如巴赫：托卡塔。无词歌（Songs without words）一种抒情的小型乐曲，有旋律声部和伴奏声部，这种音乐体裁由门德尔松首创。如门德尔松的八卷无词歌。其实古典音乐的体裁还有很多如：安魂曲、弥撒曲、受难曲、康塔塔、波尔卡、加洛普、圆舞曲（华尔兹）等等，在这里我就不一一介绍了。希望通过我的介绍可以让一些新乐迷们了解这些基本知识。