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smart guy

great great

Promo>SM

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Hi

cool

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Mr. Ha is awesome

💐 *promosm*

GO VICTORIA TANG

Hi Frank, do you have a wechat or other type of communication group? I'd like to get into the community and prep my son for the private school education. very much impressed by the session you led on SJS High School Student and Parent Discussion.

great sharing. May I get contacted with Frank Ha? I want to put my son into his education organization if possible.

这个书适合多大的小朋友开始学习呀？老师有联系方式么？

Great 👍

Animal Facts Scientific Name Varanus komodoensis Range Lesser Sunda Islands of Indonesia: islands of Komodo, Rintja, Flores, Gili Motang, and Gili Dasami Location in the Zoo Reptile and Amphibian House Cool Animal Fact Adults are ground-dwelling due to their size, but juveniles live in trees, feeding on insects and other small creatures for the first four to five years of their lives.

An aspect of this poem I really enjoy is the sense of irony that grows stanza by stanza. The more he says let us leave or let us go hence, the more I get the impression that he wants her to stop him from going. The more distance he threatens to put between himself and her, the closer he really wants to be. This irony is founded on repetitions of different kinds; in particular, anaphora and reiteration (repetition at the start of lines of poetry is called anaphora; a repetition of the same idea using different words is called reiteration); examples being let us go hence, let us rise up and let us go home, all of which essentially carry the same intentional meaning - ‘let’s get out of here’. Because of such frequent repetition, the poem is sometimes in danger of becoming a little one-note; you could certainly level this accusation against the fourth stanza which is almost a recap; she will not love… she shall not hear us… nor see love’s ways are all statements we have heard before. The same hyperbole characterises the speaker’s voice (though she saw all heaven in flower above… he really does think highly of his own gifts!), the same use of imperatives (come hence, let be, lie still). Repetition, though, is an effective way of encapsulating the Petrarchan lover’s propensity to wallow in the heightened pain of rejection. The fourth verse does develop the poem by introducing the lexical field of pain by describing the road to love as sore… and steep, equating love with pain using a beautiful metaphor: Love is a barren sea, bitter and deep. This is one of several lines where the poet’s craft emerges from beneath the bluster of speaker’s voice; Swinburne was especially partial to alliteration, and you can find plosive alliteration (made with the letters B and P) as well as dental (made with D and T) in this line. Both create hard, negative effects associated with pain. An interesting thematic line of inquiry followed by this poem is whether or not you can make or force someone else to fall in love with you - how one person might move another. The speaker certainly thinks he can, and he spares no effort in his seductions, evidenced by the sheer number of verbs in the poem. He has sang songs, given gifts, strove with all his might. We saw him reap, sow and mow in quick succession. I’m sure you can find many more. All this action is designed to elicit a reaction, one that she steadfastly refuses to give. Therefore go hence, leave, part and even his threats to drown himself (go down) can, in my opinion, be taken with a pinch of salt; faced with her continued stoicism, he just keeps upping the stakes trying to get her to react. Contrast all his frantic activity with her passivity, characterised by frequent negation (she will not hear, she will not see, she will not weep, she would not care) and symbolised by the way the fruit he gives her would not grow, as if her stoicism extends even to the objects around her.

It’s in the third stanza where things start to get weird and where Swinburne seems to be having most fun with his Petrarchan caricature. Firstly, diction (dreams) makes explicit what we have been suspecting all along - this relationship is a one-way fantasy. The speaker mentions giving his love impossible gifts; flowers with no scent and fruit that will not grow, both images that suggest any tangible love affair never got off the ground. Swinburne develops the metaphor of the speaker planting (sow) ‘seeds’ of love that he expects her to harvest (reap); when she doesn’t do so he prostrates himself before her (I picture him down on his knees, arms wide open) and begs her to bury her sickle, a small curved knife used to cut plants, in his heart and cut it out for herself. Truth to tell, the use of language here is quite erotic, and I wonder if the associations with sexual penetration are completely intentional - the reversal of the usual male-female parts of the image would certainly play into the satire of a foolish young man who lets his thoughts and feelings - as well as his words - get out of hand. Where it does succeed is in the picture of abstract desperation it conjures; as with all his gifts and songs, she completely ignores him (She would not weep) and he’s left looking pretty ridiculous making all these grandiloquent gestures to the unresponsive air.

Part of what makes his tone of voice so bathetic is the way the speaker addresses himself alongside a third party, referring to both himself and another as us and we. And it’s amusing when the realisation dawns… this third party is actually his own singing voice, personified as a kind of wingman helping the speaker serenade the woman of his dreams! Thus, the poem opens with the instruction let us go hence… let us go hence together without fear. In my mind’s ear, although he’s speaking to himself, I imagine him saying these words just loud enough for her to overhear - a ploy by which he hopes she might suddenly come to her senses and cry out, “Stop! I do love you after all.” To be honest, I’m not sure he sounds like such a catch. Look how the first three lines all position verbs (let and keep) at the beginning; this is an example of the imperative tense, otherwise called the command tense, and it makes me think that the speaker is used to getting his own way. He certainly sounds confident - after all, he compares his own singing voice to the sound of angels! - but the mention of fear betrays a touch of insecurity, a burden carried by young men who act tough, but are only really looking for recognition. The personification of his singing voice plays into this idea as well, as if it’s his only companion - in reality he might be alone or even lonely. Sound transmits feelings of melancholy, especially softer sounds like sibilant S (silence, singing, sang, she) and assonance (the repetition of vowel sounds): phrases such as over all old things and she loves not you nor me contain long, deep assonant sounds that easily convey sadness. After his initial ploy fails to catch her attention, the speaker ups his game, commanding his voice to go seawards as the great winds blow. This is one of those lines that seems to be very knowing on the part of the writer. Swinburne deliberately aligns his speaker’s voice with the wind, describing it as full of blown sand and foam - in other words, full of bluster but without much substance. The syntax of this line reminds me of Shakespeare’s famous words ‘full of sound and fury, yet signifying nothing’. As well, the image of an intangible wind is one of those clues that suggests the entire relationship is imaginary - there’s no solid foundation for his protestations of love. There’s ample hyperbole in this verse: great winds… full of… no help.. all these things are so… all the world is bitter as a tear. Hyperbole is deliberate exaggeration, here crossing over into melodrama, which the speaker no doubt intends to be moving, but Swinburne wants us to hear as posturing: being melodramatic is one of the traits of a Petrarchan lover and hyperbole almost always suggests a lack of emotional control or maturity. Skim your eyes over the whole poem to count the number of times the speaker uses the word all - you might be surprised how much hyperbole you can find. Technically though, Swinburne’s knowing, firm hand can always be sensed guiding the poem: a steady iambic rhythm, rhyme, and even the same sibilance / assonance combination that we heard at the end of the first stanza can be heard here: though ye strove to show, she would not know.

"every day" is a rough anagram for De Vere or Ed Vere or even Edy Vere

《第十二夜》（Twelfth Night, or What You Will），英国剧作家威廉·莎士比亚的浪漫喜剧，与莎士比亚许多其他剧作不同的是，它是唯一一个有另外一个名字的作者作品，又名《随心所欲》（What you will）。故事的主角隐藏了自己的身分，而引出许多笑话。这齣喜剧被认为是莎士比亚最优秀的喜剧之一。 《第十二夜》得名于西方的传统节日，基督教圣诞假期中的最后一夜为第十二夜，也就是一月六日的主显节（Epiphany）。不过在整个剧本中没有任何与这个节日或圣诞节有关的内容。到了伊莉莎白时期的英国，主显节已经演变成狂欢作乐的日子，所以《第十二夜》的剧名，或许暗示着一个脱离现实的嘉年华世界，任何离奇的事件都不需要合理的解释，所有不合常理的结局也都可以成立。比如故事一开始奥莉薇娅就那么坚定的说七年为其父兄守丧而七年不嫁也不见外人，刚见薇奥拉一面就爱上了她。奥西诺在几分钟前还以为薇奥拉是个男仆，却一下子就接受仍穿着男装的她，并决定娶他为妻子。 本剧的首演也确实在“第十二夜”。霍特森（Leslie Hotson）曾写了一本书名叫《第十二夜的首夜》（First Night of twelfth Nights），內容就是描述该剧首演的狀況。霍特森相信，作者是奉皇室之命，因应意大利伯恰诺公爵（Duke of Bracciao）奧西诺（Don Virginio Orsino）造访英国，而写下这个剧本，并在1600年的圣诞节后第十二夜（也就是隔年的1月6日）演出。但公爵來访的消息在12月26日才传至英国，若霍特森所言属实，那表示在短短的十一、二天之內，作者就写好剧本，所有演员也都熟记台词并完成排演。 故事主要叙述了几个相关人物的爱情故事。主要的剧情是：薇奥拉（Viola）和西巴斯辛（Sebastian）是孪生兄妹，两人长得很像，却在一次船难中分开了，两人都以为对方已经在船难中丧身。薇奥拉决定化妆成西萨里奥（Cesario），到伊利里亚（Illyria）当地的奥西诺公爵（Duke Orsino）的门下充当男仆。而当时奥西诺公爵疯狂地爱上了刚刚失去了哥哥的奥丽维娅伯爵小姐（Olivia）。已经爱上奥西诺的薇奥拉被公爵指派向奥丽维娅传达爱慕之意，但是被奥丽维娅拒绝了。奥丽维娅此时却又爱上了传口信的薇奥拉，当奥丽维娅向薇奥拉表达爱意时，薇奥拉明确地拒绝了。可是随后西巴斯辛出现，并巧遇奥丽维娅。奥丽维娅再次向西巴斯辛（她以为是薇奥拉）求爱，对奥丽维娅一见钟情的西巴斯辛立刻同意结婚，四个人最终相遇，才使得谜团解开，奥丽维娅与西巴斯辛结婚，而奥西诺也查觉到薇奥拉对自己的爱情，两人也最终接合。 除了薇奥拉和奥西诺等人的爱情纠葛，故事还有其他次要的剧情。整个故事围绕着伪装、幻觉、隐藏的身分等主题发展，剧情本身就十分有趣，再加上几个角色（如奥丽维娅的管家马伏里奥（Malvolio）、小丑费斯特（Feste）等）的行为、言语，更增添了喜剧效果。整齣喜剧最终在费斯特的歌声中完美结束。

Clown Song from Act V Scene I William Shakepeare�s Twelfth Night When that I was and a little tiny boy, With hey, ho, the wind and the rain; A foolish thing was but a toy, For the rain it raineth every day. But when I came to man's estate, &nbs; L5 With hey, ho, the wind and the rain; 'Gainst knaves and thieves men shut their gates, For the rain it raineth every day. But when I came, alas! to wive, With hey, ho, the wind and the rain; &nbs; L10 By swaggering could I never thrive, For the rain it raineth every day. But when I came unto my beds, With hey, ho, the wind and the rain; With toss-pots still had drunken heads, &nbs; L15 For the rain it raineth every day. A great while ago the world begun, With hey, ho, the wind and the rain; But that's all one, our play is done, And we'll strive to please you every day. &nbs; L20 ---William Shakespeare (1564-1616) Summary: This is not a poem, but is meant to be a song, concluding a play. It sings of life that as a child is Ok to be foolish, but as one gets older it gets tougher. It rains everyday. But one can find an escape occasionally. There is always the play, there to please, everyday. Form: There are 5 quatrains, predominantly iambic tetrameter, with an alternating rhyme scheme and repetitive lines. Lines 2 and 4 of the first stanza are repeated throughout the song, with a slight change to the last line. Epiphany: The pivot come at the beginning of the last stanza, changing from a litany of trials and rainy days, to an invitation to escape a while, come on down and see us, we are here to please you. Meaning and Themes: The song is reminder about the difficulty of everyday life but also a reminder that one can find pleasure, especially in a play. Speaker: The narrator is minor character, Feste, a kind of court jester, servant to one of the lead characters Olivia. Tone: The tone is light, with �a hey, ho and the wind and the rain� Title: Although the book uses the first line of the song as a title, there really is no title. Texture is lyrical, almost sing songy. A lot of little extra words are thrown in to accentuate the rhythm�eg. �When that I was and a little tiny boy� could have been simply When I was a boy. Muscle is in the repetition. Not only are lines repeated but stanzas 2-4 begin with �But then I came�. Sound Patterns, alliteration (hey,ho), consonance (knaves and thieves) and assonance (toss-pots) are all employed in this song. But repetition is the primary device used. Surprise Kinship, the words in this are written like a jingle, a song. The English is from the time of Shakespeare with raineth and alas, to wive�. Wording we would never use today. Imagery: the setting is created by the �wind and rain� �the rain it raineth every day� not terribly descriptive but through repetition sets us a dreary setting. The Poet: The �Bard� himself, William Shakespeare (1564-1616) is credited with writing 38 plays and countless poems. Ben Johnson wrote of him � He was not of an age, but for all time!� He wrote Twelfth Night or What You Will (a comedy) in 1602 at about the middle of his writing career. He was a well established playwrite and poet then, with Comedy of Errors, Merchant of Venice, The Taming of the Shrew, Romeo and Juliet, A Midsummer Night�s Dream and Hamlet plus several others already to his credit before writing Twelfth Night. Clown Song from Act V Scene I Shakepeare�s Twelfth Night When that I was and a little tiny boy, setting the stage with a little nostalgia, �when I was very young� With hey, ho, the wind and the rain; this is nursery rhymey, at this point, wind and rain are fun when you are very young A foolish thing was but a toy, my foolishness, my mischief wasn�t taken seriously For the rain it raineth every day. this is the beginning of a reminder of the hard times �in real life it rains everyday� But when I came to man's estate, &nbs; L5 now I am a man With hey, ho, the wind and the rain; but I am the same person I was when I was a small boy 'Gainst knaves and thieves men shut their gates, but as a man my mischief caused men to shut their gates on me. For the rain it raineth every day. and life is hard But when I came, alas! to wive, getting married changes things again With hey, ho, the wind and the rain; L10 but not entirely, I am still that little boy who wants to play By swaggering could I never thrive, my bullying and blustering didn�t work. For the rain it raineth every day. and life is hard But when I came unto my beds, I got old With hey, ho, the wind and the rain; but I still sing With toss-pots still had drunken heads, L15 I hung out with drunks For the rain it raineth every day. and life is still hard A great while ago the world begun, life began a long time ago With hey, ho, the wind and the rain; and there was song But that's all one, our play is done, and here is the end of our play. And we'll strive to please you every day. L20 and you can come here and find escape from the hard life, everyday.

If the child has made a sadly unnoticed start in life, the second verse brings no redemption. Attaining adulthood, he remains an outsider, one of the "knaves and thieves" who will never enter the gates of inheritance and power (a further manifestation of "man's estate"). The life story goes from under-achievement to under-achievement. Each verse, every "but", knocks down another hope. But (alas!) there's no fooling the wife. Does she throw out her swaggering husband between the verses? The strange plural of "beds" lends it a hovering association with the guest-house dormitory - perhaps also with hospitals and Bedlam. The beds could be harlots' beds, or, as the Shakespeare scholar Leslie Hotson says, "the various spots he is likely to fall". By now, the clown is an old man, infirm, perhaps a drunk. In the third line, the narrator seems to omit a first person pronoun: "With tosspots still" (I) "had drunken heads". He might be alluding to past carouses with Sir Toby and his pals, or merely generalising. The tosspots, whoever they are, will simply go on boozing, whatever happens. Finally, he seems about to embark on a mock-history of the world. But it's a tease and he shifts quickly to real time and real identities, with a courteous farewell to the relieved audience. "Come back for more" might be the gist of the last line, "We put on a great show every day!" Meanwhile, "that's all one" and the fooling is over. "All's one" is a phrase Feste uses several times during the play, and, again, it reminds us of that little existential shadow the character (or Shakespeare himself?) so often casts. "When that I was and a little tiny boy…" When that I was and a little tiny boy,   With hey, ho, the wind and the rain, A foolish thing was but a toy,   For the rain it raineth every day.

A recent displacement in the clown's fortunes is hinted at early in the play. Feste - "a fool that the Lady Olivia's father took much delight in" - has outlived his first master, and seems to wander freely between the houses of Olivia and the Duke Orsino. Jester, singer, psychologist, philosopher, informal physician and spoof priest, Feste knows his own superior worth: "Those wits that think they have thee do very oft prove fools." Twelfth Night is full of music, and explores different attitudes to it. For Orsino, music is "the food of love" and even Sir Toby Belch prefers a love-song to "a song of good life". The forlorn realism and mock-ballad-form of "When that I was…" make it unique among the seven songs in the play. The double refrains in each verse are relentless, yet their touch is light. "Hey, ho, the wind and the rain" shrugs a wry weariness at life's weather. The play has delivered the requisite happy endings to its nobly-born leads, but Feste and the rain go on telling a different story. Their epilogue points a sly finger at privilege, and, perhaps, at the whole device of happy endings. The first line offers a charming image, almost a Nativity scene, and an unexpected conjunction: "When that I was and a little tiny boy" (my italics). Why the word "and" rather than the equally metrical "but"? It's oddly effective, fencing off the first part of the sentence to give it existential bite - "When that I was… " It's the kind of enigma Feste loves. However, the answer is probably that three subsequent verses, and the penultimate line, begin with a "But" (almost as in a nonsense poem). Another would be excessive. "A foolish thing was but a toy" could be a joking reference to masturbation; the actor can make the appropriate gesture and get an easy laugh. The price of the double entendre is the pathos of imagining the clown as an innocent child, not yet officially a clown, not blamed for foolish acts, simply licensed to play. Some commentaries interpret the "foolish thing" as the child himself, in which case he would also be the worthless "toy" or "trifle".

埃德加·爱伦·坡 Edgar Allan Poe 《烏鴉》 （The Raven） (1845) 敘事詩 恐怖故事 中文翻译 从前一个阴郁的子夜，我独自沉思，慵懒疲竭， 沉思许多古怪而离奇、早已被人遗忘的传闻-- 当我开始打盹，几乎入睡，突然传来一阵轻擂， 仿佛有人在轻轻叩击，轻轻叩击我的房门。 “有人来了，”我轻声嘟喃，“正在叩击我的房门-- 唯此而已，别无他般。” 哦，我清楚地记得那是在萧瑟的十二月； 每一团奄奄一息的余烬都形成阴影伏在地板。 我当时真盼望翌日；--因为我已经枉费心机 想用书来消除悲哀--消除因失去丽诺尔的悲叹-- 因那被天使叫作丽诺尔的少女，她美丽娇艳-- 在这儿却默默无闻，直至永远。 那柔软、暗淡、飒飒飘动的每一块紫色窗布 使我心中充满前所未有的恐怖--我毛骨惊然； 为平息我心儿停跳．我站起身反复叨念 “这是有人想进屋，在叩我的房门--。 更深夜半有人想进屋，在叩我的房门；-- 唯此而已，别无他般。” 很快我的心变得坚强；不再犹疑，不再彷徨， “先生，”我说，“或夫人，我求你多多包涵； 刚才我正睡意昏昏，而你来敲门又那么轻， 你来敲门又那么轻，轻轻叩击我的房门， 我差点以为没听见你”--说着我拉开门扇；-- 唯有黑夜，别无他般。 凝视着夜色幽幽，我站在门边惊惧良久， 疑惑中似乎梦见从前没人敢梦见的梦幻； 可那未被打破的寂静，没显示任何迹象。 “丽诺尔？”便是我嗫嚅念叨的唯一字眼， 我念叨“丽诺尔！”，回声把这名字轻轻送还， 唯此而已，别无他般。 我转身回到房中，我的整个心烧灼般疼痛， 很快我又听到叩击声，比刚才听起来明显。 “肯定，”我说，“肯定有什么在我的窗棂； 让我瞧瞧是什么在那里，去把那秘密发现-- 让我的心先镇静一会儿，去把那秘密发现；-- 那不过是风，别无他般！” 我猛然推开窗户，。心儿扑扑直跳就像打鼓， 一只神圣往昔的健壮乌鸦慢慢走进我房间； 它既没向我致意问候；也没有片刻的停留； 而以绅士淑女的风度，栖在我房门的上面-- 栖在我房门上方一尊帕拉斯半身雕像上面-- 栖坐在那儿，仅如此这般。 于是这只黑鸟把我悲伤的幻觉哄骗成微笑， 以它那老成持重一本正经温文尔雅的容颜， “虽然冠毛被剪除，”我说，“但你肯定不是懦夫， 你这幽灵般可怕的古鸦，漂泊来自夜的彼岸-- 请告诉我你尊姓大名，在黑沉沉的冥府阴间！” 乌鸦答日“永不复述。” 听见如此直率的回答，我惊叹这丑陋的乌鸦， 虽说它的回答不着边际--与提问几乎无关； 因为我们不得不承认，从来没有活着的世人 曾如此有幸地看见一只鸟栖在他房门的面-- 鸟或兽栖在他房间门上方的半身雕像上面， 有这种名字“水不复还。” 但那只独栖于肃穆的半身雕像上的乌鸦只说了 这一句话，仿佛它倾泻灵魂就用那一个字眼。 然后它便一声不吭--也不把它的羽毛拍动-- 直到我几乎是哺哺自语“其他朋友早已消散-- 明晨它也将离我而去--如同我的希望已消散。” 这时那鸟说“永不复还。” 惊异于那死寂漠漠被如此恰当的回话打破， “肯定，”我说，“这句话是它唯一的本钱， 从它不幸动主人那儿学未。一连串无情飞灾 曾接踵而至，直到它主人的歌中有了这字眼-- 直到他希望的挽歌中有了这个忧伤的字眼 ‘永不复还，永不复还。’” 但那只乌鸦仍然把我悲伤的幻觉哄骗成微笑， 我即刻拖了张软椅到门旁雕像下那只鸟跟前； 然后坐在天鹅绒椅垫上，我开始冥思苦想， 浮想连着浮想，猜度这不祥的古鸟何出此言-- 这只狰狞丑陋可怕不吉不祥的古鸟何出此言， 为何聒噪‘永不复还。” 我坐着猜想那意见但没对那鸟说片语只言。 此时，它炯炯发光的眼睛已燃烧进我的心坎； 我依然坐在那儿猜度，把我的头靠得很舒服， 舒舒服服地靠在那被灯光凝视的天鹅绒衬垫， 但被灯光爱慕地凝视着的紫色的天鹅绒衬垫， 她将显出，啊，永不复还！ 接着我想，空气变得稠密，被无形香炉熏香， 提香炉的撒拉弗的脚步声响在有簇饰的地板。 “可怜的人，”我呼叫，“是上帝派天使为你送药， 这忘忧药能中止你对失去的丽诺尔的思念； 喝吧如吧，忘掉对失去的丽诺尔的思念！” 乌鸦说“永不复还。” “先知！”我说“凶兆！--仍是先知，不管是鸟还是魔！ 是不是魔鬼送你，或是暴风雨抛你来到此岸， 孤独但毫不气馁，在这片妖惑鬼崇的荒原-- 在这恐怖萦绕之家--告诉我真话，求你可怜-- 基列有香膏吗？--告诉我--告诉我，求你可怜！” 乌鸦说“永不复还。” “先知！”我说，“凶兆！--仍是先知、不管是鸟是魔！ 凭我们头顶的苍天起誓--凭我们都崇拜的上帝起誓-- 告诉这充满悲伤的灵魂。它能否在遥远的仙境 拥抱被天使叫作丽诺尔的少女，她纤尘不染-- 拥抱被天使叫作丽诺尔的少女，她美丽娇艳。” 乌鸦说“永不复还。” “让这话做我们的道别之辞，鸟或魔！”我突然叫道-- “回你的暴风雨中去吧，回你黑沉沉的冥府阴间！ 别留下黑色羽毛作为你的灵魂谎言的象征！ 留给我完整的孤独！--快从我门上的雕像滚蛋！ 从我心中带走你的嘴；从我房门带走你的外观！” 乌鸦说“永不复还。” 那乌鸦并没飞去，它仍然栖息，仍然栖息 在房门上方那苍白的帕拉斯半身雕像上面； 而它的眼光与正在做梦的魔鬼眼光一模一样， 照在它身上的灯光把它的阴影投射在地板； 而我的灵魂，会从那团在地板上漂浮的阴暗 被擢升么--永不复还！ …

《烏鴉》（英語：The Raven），又譯作《渡鴉》，是美國作家埃德加·愛倫·坡所著的一首敘事詩，於1845年1月首次出版。它的音調優美，措辭獨具風格，詩句並有著超自然的氛圍。它講述了一隻會說話的渡鴉對一名發狂的戀人的神祕拜訪，描繪了這個男人緩慢陷入瘋狂的過程。這名戀人，普遍被認為是一名學生[1][2]，因失去他的所愛勒諾（Lenore）而深感悲痛。渡鴉坐在帕拉斯胸像上，似乎在進一步煽動著他的憂傷，不斷重複著話語：「永不復焉。」此詩使用了眾多民間與古典的文獻。 愛倫·坡自認此詩寫得十分有邏輯與條理。他的目的是創作一首能皆在評論與大眾兩方引起共鳴的詩，同他在他1846年的後續評論《創作哲學》中所解釋的。此詩說話渡鴉的部分的靈感來自於查爾斯·狄更斯的《巴納比·拉奇：八零年代暴動的故事》[3]。愛倫·坡亦模仿了白朗寧的詩作《傑拉丁女士的求婚》的複雜節奏與韻律。全詩並使用句中韻以及頭韻法。 《烏鴉》於1845年1月29日進行首次印刷，由《紐約鏡像晚報》發行。它的出版使得愛倫·坡終身受到歡迎，儘管這並沒有為他帶來巨大的財富。此詩不久後便再版、受諧仿及加上插圖。儘管評論對其地位的見解並不一致，它仍是史上最著名的詩作之一。

埃德加·爱伦·坡是美国最著名也是最具争议的作家之一。他首先提出了“为艺术而艺术”观点，他是象征主义的创始人，审美主义的开端，并且还崇尚古典浪漫主义。在他的所有作品中，《乌鸦》无疑是他最好的样品来呈现诗的美丽，即他所遵循的“诗的原则”。 首次出版于1845年1月的《乌鸦》使爱伦坡名声大振。这首诗讲述了一个会说话的乌鸦对一个心神不宁的情人的神秘拜访，见证了这个人从精神萎靡到疯狂整个过程。栖息在帕拉斯半身像是身上，乌鸦不断地重复“永远不会”，似乎进一步触动了他的痛苦。这首诗获得了与爱伦坡同时代的著名作家的欣赏与赞美，包括伊丽莎白·芭蕾特·布朗宁。一个半世纪已经过去了，我们仍然可以从许多方面来欣赏这首诗的美，特别是象征主义，韵律和哥特式。 一、象征主义 象征主义者们都遵循“为艺术而艺术”的审美原则，他们认为诗歌应该是自给自足的，独立于外部世界，寻求一种纯粹的诗歌的美。“为艺术而艺术”的观点是爱伦坡在他的名为“诗的原则”的文章中提出来的。在《乌鸦》中，毫无疑问，乌鸦是最重要的形象。据爱伦坡自己解释，他使用乌鸦来象征“哀伤和永无止境的回忆”。在前十六节中，乌鸦作为一只真正的鸟存在，人们可以看到它是一只家养宠物，它只能说一个字“永远不会”。然而在倒数第二节中，主人公叫乌鸦“让你的嘴离开我的心”，读者开始怀疑这只鸟是否真实存在，“从我心里”这个词涉及到诗中的第一个隐喻表达。最后一节的最后几句“照在它身上的灯光把它的阴影投射在地板/而我的灵魂，会从那团在地板上漂浮的阴影中/解脱么--永不复焉！”明确地揭示了乌鸦的象征意义。爱伦坡也谈到了他选择乌鸦而不是鹦鹉的原因。他认为乌鸦是不祥之鸟，主人公说鸟是一个“严峻的，笨拙的，苍白的，憔悴的，不祥的鸟”，感觉“火热的眼睛”烧到他的“内心”，所以，乌鸦更适合于预期的色调。 本诗中，还有另一个重要的形象，我们不能忽视，即房门上方苍白的帕拉斯半身雕像。帕拉斯是雅典娜的另一个名字，智慧的女神。爱伦坡把这样的雕像放在门上，是为了暗示主人公的学者身份。在这首诗中，乌鸦恰好栖息在它上面，建立了一套出色的比较。首先是视觉方面，白色的雕像和黑色的乌鸦，形成了颜色的对比，在诗中体现了两个世界--光明和黑暗。其次是听觉方面，乌鸦不停地在说“永远不会”，而雕塑则一直很沉默。鲜明的对比使读者很容易理解这两个形象的象征意义：乌鸦代表了内心的阴影和永远不能摆脱的不幸，而帕拉斯的雕像代表了安静的智慧和理性。在整首诗中，乌鸦都栖息在雕像上，暗示黑暗在光明之上，失丧的悲伤超越了智慧的平静。无论主人公多想沉浸于书本中，从而忘却爱情的失落，他都不能摆脱这份悲伤。 二、韵律之美 诗歌和音乐自古以来往往彼此密切相关。许多古诗以民谣的形式流传下来。无论在哪个时代，当一首诗歌使人产生共鸣，人们就会喜欢上它。因此，音乐有一个终极的目标，就是触摸并打动人的心。同样地，诗歌也预期达到相同的效果。 爱伦坡喜欢用具有声音效果的词语来传达主题。他的母亲是一位演员，偶尔会唱轻歌剧，他的爷爷是科芬园皇家剧院的一位著名歌手，爱伦坡继承了这两位的音乐天赋，在语言的音乐方面更为出色。事实上，爱伦坡意识到音乐比词语表达得更好，并且声音不受材料的影响。他在他的诗中探究了最大的音乐效果。他的诗歌的音乐性不仅通过机械节奏表达，还通过内部韵律和旋律表达。 在确定这首诗的主题是死亡之后，爱伦坡就开始思考用什么音调。什么是最忧郁的语气？他认为，长元音[：]加辅音[r]能产生强烈的震撼力。在这首诗中，爱伦坡特别注重头韵和内韵，这能丰富其音乐性并且增强艺术魅力，比如“great-grew， send- sit ”。爱伦坡经常使用头韵来表达悲伤和不可抑制的绝望，头韵的变化反映了情感变化。例如，在第一节中，诗人所选择的大部分音符是软辅音，例如[w]，[l]，[s]。使用[w]，爱伦坡创造了一个生动的画面，一个失去了他的爱人，在寒冷的午夜黑暗中哭泣的男人。 三、哥特式 爱伦坡较少关注哥特式故事的传统元素，而是更多地关注角色的心理，因为这些角色经常陷入疯狂。他的哥特式风格更倾向于心理哥特式，因为他总是把主角放在他特别设计的环境中，把大部分的努力放在心理过程的描述上。毫无疑问，死亡是爱伦坡作品的永恒主题。爱伦坡身边的女性很多都在年轻的最漂亮时候死亡，这使他对死亡有深刻的了解，并发现了死亡的美。这种对死亡的精神探索体现在其作品的主题或创作手法上，奠定了爱伦坡作为现代西方文学先驱的基础。 根据爱伦坡的说法，死亡并不是生命的结束。死后的生命是绚烂绚烂的，美的尽头是死亡。死亡本身就是一个悲剧美，具有经久不衰的魅力。它始终是艺术创作的中心问题。此外，死亡的奥秘赋予美丽魅力，通过死亡，理性世界中的美丽可以升华为永恒的美丽。

ponder reflect deeply on a subject Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore- quaint strange in an interesting or pleasing way Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore- chamber a room used primarily for sleeping While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. bleak unpleasantly cold and damp Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. entreat ask for or request earnestly “’Tis some visitor entreating entrance at my chamber door- Some late visitor entreating entrance at my chamber door;- This it is and nothing more.” implore beg or request earnestly and urgently Presently my soul grew stronger; hesitating then no longer, “Sir,” said I, “or Madam, truly your forgiveness I implore..." lattice framework consisting of an ornamental wood or metal design “Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore- Let my heart be still a moment and this mystery explore;- ’Tis the wind and nothing more!” stately refined or imposing in manner or appearance Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore yore time long past Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore obeisance bending the head or body in reverence or submission Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door- Perched upon a bust of Pallas just above my chamber door- Perched, and sat, and nothing more. mien a person's appearance, manner, or demeanor Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door- Perched upon a bust of Pallas just above my chamber door- Perched, and sat, and nothing more. bust a sculpture of the head and shoulders of a person Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door- Perched upon a bust of Pallas just above my chamber door- Perched, and sat, and nothing more. In Greek mythology, Pallas is another name for Athena, goddess of wisdom and warfare. beguile influence by slyness Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore stern serious and harsh in manner or behavior Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore decorum propriety in manners and conduct Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore countenance the appearance conveyed by a person's face Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore craven an abject coward “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore- Tell me what thy lordly name is on the Night’s Plutonian shore!” ghastly shockingly repellent; inspiring horror “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore- Tell me what thy lordly name is on the Night’s Plutonian shore!” ungainly lacking grace in movement or posture Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning-little relevancy bore placid not easily irritated But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. aptly in a competent capable manner Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore- Till the dirges of his Hope that melancholy burden bore Of ‘Never-nevermore’.” burden the central meaning or theme of a speech or literary work Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore- Till the dirges of his Hope that melancholy burden bore Of ‘Never-nevermore’.” In this line, burden literally means "the refrain or chorus of a musical composition." dirge a song or hymn of mourning as a memorial to a dead person Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore- Till the dirges of his Hope that melancholy burden bore Of ‘Never-nevermore’.” melancholy grave or even gloomy in character Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore- Till the dirges of his Hope that melancholy burden bore Of ‘Never-nevermore’.” ominous threatening or foreshadowing evil or tragic developments Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore- What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.” gaunt very thin especially from disease or hunger or cold Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore- What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.” divine perceive through some inexplicable perceptive powers This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore! gloat gaze at or think about something with self-satisfaction This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore! seraph an angel of the first order Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. respite a relief from harm or discomfort “Wretch,” I cried, “thy God hath lent thee-by these angels he hath sent thee Respite- respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Nepenthe is a potion that allows the drinker to forget his or her suffering. quaff swallow hurriedly or greedily or in one draught “Wretch,” I cried, “thy God hath lent thee-by these angels he hath sent thee Respite-respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” undaunted unshaken in purpose “Prophet!” said I, “thing of evil!-prophet still, if bird or devil!- Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted- On this home by Horror haunted-tell me truly, I implore- Is there-is there balm in Gilead?-tell me-tell me, I implore!” balm an aromatic resinous substance used for healing and soothing “Prophet!” said I, “thing of evil!-prophet still, if bird or devil!- Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted- On this home by Horror haunted-tell me truly, I implore- Is there-is there balm in Gilead?-tell me-tell me, I implore!” laden burdened psychologically or mentally “Prophet!” said I, “thing of evil!-prophet still, if bird or devil! By that Heaven that bends above us-by that God we both adore- Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore- Clasp a rare and radiant maiden whom the angels name Lenore.” pallid deficient in color suggesting physical or emotional distress And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door

America By Allen Ginsberg America I’ve given you all and now I’m nothing. America two dollars and twentyseven cents January 17, 1956. I can’t stand my own mind. America when will we end the human war? Go fuck yourself with your atom bomb. I don’t feel good don’t bother me. I won’t write my poem till I’m in my right mind. America when will you be angelic? When will you take off your clothes? When will you look at yourself through the grave? When will you be worthy of your million Trotskyites? America why are your libraries full of tears? America when will you send your eggs to India? I’m sick of your insane demands. When can I go into the supermarket and buy what I need with my good looks? America after all it is you and I who are perfect not the next world. Your machinery is too much for me. You made me want to be a saint. There must be some other way to settle this argument. Burroughs is in Tangiers I don’t think he’ll come back it’s sinister. Are you being sinister or is this some form of practical joke? I’m trying to come to the point. I refuse to give up my obsession. America stop pushing I know what I’m doing. America the plum blossoms are falling. I haven’t read the newspapers for months, everyday somebody goes on trial for murder. America I feel sentimental about the Wobblies. America I used to be a communist when I was a kid I’m not sorry. I smoke marijuana every chance I get. I sit in my house for days on end and stare at the roses in the closet. When I go to Chinatown I get drunk and never get laid. My mind is made up there’s going to be trouble. You should have seen me reading Marx. My psychoanalyst thinks I’m perfectly right. I won’t say the Lord’s Prayer. I have mystical visions and cosmic vibrations. America I still haven’t told you what you did to Uncle Max after he came over from Russia. I’m addressing you. Are you going to let your emotional life be run by Time Magazine? I’m obsessed by Time Magazine. I read it every week. Its cover stares at me every time I slink past the corner candystore. I read it in the basement of the Berkeley Public Library. It’s always telling me about responsibility. Businessmen are serious. Movie producers are serious. Everybody’s serious but me. It occurs to me that I am America. I am talking to myself again. Asia is rising against me. I haven’t got a chinaman’s chance. I’d better consider my national resources. My national resources consist of two joints of marijuana millions of genitals an unpublishable private literature that jetplanes 1400 miles an hour and twentyfive-thousand mental institutions. I say nothing about my prisons nor the millions of underprivileged who live in my flowerpots under the light of five hundred suns. I have abolished the whorehouses of France, Tangiers is the next to go. My ambition is to be President despite the fact that I’m a Catholic. America how can I write a holy litany in your silly mood? I will continue like Henry Ford my strophes are as individual as his automobiles more so they’re all different sexes. America I will sell you strophes $2500 apiece $500 down on your old strophe America free Tom Mooney America save the Spanish Loyalists America Sacco & Vanzetti must not die America I am the Scottsboro boys. America when I was seven momma took me to Communist Cell meetings they sold us garbanzos a handful per ticket a ticket costs a nickel and the speeches were free everybody was angelic and sentimental about the workers it was all so sincere you have no idea what a good thing the party was in 1835 Scott Nearing was a grand old man a real mensch Mother Bloor the Silk-strikers’ Ewig-Weibliche made me cry I once saw the Yiddish orator Israel Amter plain. Everybody must have been a spy. America you don’t really want to go to war. America its them bad Russians. Them Russians them Russians and them Chinamen. And them Russians. The Russia wants to eat us alive. The Russia’s power mad. She wants to take our cars from out our garages. Her wants to grab Chicago. Her needs a Red Reader’s Digest. Her wants our auto plants in Siberia. Him big bureaucracy running our fillingstations. That no good. Ugh. Him make Indians learn read. Him need big black niggers. Hah. Her make us all work sixteen hours a day. Help. America this is quite serious. America this is the impression I get from looking in the television set. America is this correct? I’d better get right down to the job. It’s true I don’t want to join the Army or turn lathes in precision parts factories, I’m nearsighted and psychopathic anyway. America I’m putting my queer shoulder to the wheel. Berkeley, January 17, 1956

2.3. 情感基调方面 两首诗虽都表现了否定与反抗，但情感基调却同中有异。《美国》一诗中，开头第一句“America I’ve given you all and now I’m nothing.”(美国，我已经给了你一切，可现在我一无所有)便奠定了诗人疲惫且阴郁的情感基调。艾伦·金斯堡多次以“美国”开头，“美国，我在和你说”，像是艾伦·金斯堡将“美国”拟人化后进行的一场质问与审判。诗人极具愤怒的谴责着美国的军事行动“go fuck yourself with your atom bomb”(用你的原子弹去搞你自己吧)，同时他似乎也在提醒着美国在当时的政治混乱中及冷战热潮中不要忘记昔日那个包容又美好的“美国梦”愿景(when will you be angelic?)，他在呼唤着美国睁开眼睛看看冷战政策对共产主义者的盲目压迫和迫害对社会的荼毒。对同时也而这场对峙，似乎也将艾伦·金斯堡与美国分离出来，他像是以责备孩子的家长的口吻，超脱于社会之外且对其深恶痛绝，他想回到过去，回到那个曾经想让他成为圣人的国度。然而如今这个充斥着暴力的社会并不能满足他的期盼，但他似乎并没有将希望寄予下个时代或未来诗的末尾，他写道：“America after all it is you and I who are perfect not the next world.”(归根结底，美国，只有你和我现在才是完美的，不要寄希望于来世)，诗人认为渴望来世的拯救毫无意义。随后的诗节中又带有一丝消极攻击的意味，诗人宛如忏悔般的列举他的种种罪行：“曾是共产党”“抽大麻”“酗酒”但他却并不感到抱歉。他不接受现实且玩世不恭，作为反主流文化的先锋，艾伦·金斯堡正是通过对社会的这种疏离，以性，毒品为工具来彰显反叛与逃离。之后几节中，他似乎又意识到自己也是美国的一部分，这让前文中他的种种批判显得更加悲凉，因为他无法挣脱社会的禁锢于影响，他正身处在这种政治文化环境下。包括将自己与国家资源相提并论也是一种将自己与国家界限模糊化的手法。本诗结尾“美国，我把我柔弱的肩头靠在轮子上”，像是诗人最后略带悲凉与无奈的劝诫，他想做出努力却总觉力不从心。这种脆弱性并非来源于对美国的恨而是出于热爱，想承担起自己对社会应有的责任 [4]。整首诗火山般迸发的愤恨逃离背后是诗人不假思索而自然流露的爱国情感。 在《回答》中，北岛在第一节中描绘社会现实，基调悲愤沉重。随后，诗人进一步表达了自己对社会的怀疑态度以及对旧时代的厌弃。诗人接着用自我抒情，将自己放于挑战者的位置，彰显浪漫英雄主义气概来抵抗灰暗现实守护崇高信念 [5]。诗人希望可以通过自我的义无反顾的精神来唤起世人的觉醒。“如果海洋注定要决堤/如果陆地注定要上升”从第六节的这几句可以看出诗人其实对未来并没有那么乐观，但他作为社会的一部分愿意承担，这是一个诗人的社会良心与责任担当。随后第七节又寄希望于时间，北岛最后看到的是光明是希冀。这同时也是中国的文人与同时代西方学者不同之处：中国文人还是对新时代怀有向往且相信伟大的中华民族终会用光明驱散暂时的黑暗，而以艾伦·金斯堡为首的垮掉的一代则更关注于推翻现状。 2.4. 呈现形式之时代荒唐性 时代的荒唐也在两诗中有所体现，但不同的是：《美国》一诗中，艾伦·金斯堡用了大量假装严肃的嘲讽，例如“时代周刊真让我着迷，它教会我什么叫责任”，诗人不直接表达自己的反对，而是假意严肃的顺从，一个放荡不羁，反抗叛逆，在社会边缘的诗人竟然谈起了责任，竟然赞扬时代杂志上所传播的政治理念。此外，美国让人们通过杂志获得对事件对社会的看法，获得一种政治主张，获得可能错误片面的信息，时代周刊作为媒介就这样在不知不觉中控制了人们的思想，控制了人们的情感。领导者们做决策时也开始担心媒体们会如何描绘他们的政策和他们的形象。这样一来，杂志的功能便被放大到近乎可笑的地步。除此之外，诗人还故作严肃地将大麻，生殖器，精神病院类比为自己的国家资源来嘲讽当时社会等等，这些句子透露着孩子气般的严肃，让读者感到时代的荒唐与可笑。本诗的黑色嘲讽更是体现在最后一个诗节中，例如“Them Russians them Russians and them Chinamen”(是他们俄国人还有中国人！是他们俄国人)这种口语化的言论，以及后面故意用错的语法都是诗人用来讽刺那些被盲目爱国情绪驱动的无知群众的手法。同时也表现了对尚未学会阅读，没受过多少教育的盲目民粹主义者的嘲讽。艾伦·金斯堡看到当时社会在偏执仇恨中沦落而感到荒谬可笑。 《回答》一诗，则利用二元对立的对比来总结荒谬 [6]。最负盛名的开头两句“卑鄙是卑鄙者的通行证高尚是高尚者的墓志铭”中将“高尚”“卑鄙”“通行证”“墓志铭”对比对调，凸显那个年代的颠倒黑白的荒唐扭曲价值观：当时社会，卑鄙的小人的一路绿灯，而多少高尚的心灵却慷慨赴义，作者借此讥讽这黑白不分的社会现实。以及后面将“好望角”与“死海”并列形成鲜明对照也有异曲同工之妙：最困难的时光已经过去，我们明明已经看到希望，为何还要做无谓的争抢使社会阴霾密布，这不讽刺吗？ 3. 结语 这两首诗在半个世纪后的今日仍是脍炙人口的佳作，离不开诗中所呈现的自我意识与其独特开创性与深刻性。两位诗人饱含人文精神，以自己的对自由对国家的满腔热血鞭笞着黑暗，试图以诗歌为武器唤起世人的觉醒。但通过本文也可轻易看出，两位诗人的行诗风格和表现形式也存在着巨大的差异：艾伦·金斯堡的诗中处处彰显着年轻诗人对当代政治风波的赤裸裸的愤慨与充满野性的驳斥，而作为朦胧诗派代表人物的北岛则充分利用了借景抒情、整体象征、高度概括等手法来表示诗人对当时极权社会的强烈不满与怀疑。尽管处在如此相似的历史坏境中，两位诗人仍体现出这种种的差异，这与两国的国情性质、诗人的生活环境与成长背景及性格有着千丝万缕的联系。但不可否认的是，才华横溢的北岛和艾伦·金斯堡都怀揣着诗人的社会良心，追随着光明，谱写着那个年代的最强音。

尽管经历了两次世界大战的洗礼，20世纪后半叶仍然是个动荡与不稳定的时代。在特定的政治文化年代里，大批文人以振聋发聩之势，或批判或怀疑或反思揭露着现实，他们的诗篇也就此打下了时代的烙印，具有浓厚的政治意识形态色彩。北岛和艾伦·金斯堡正是在这样的混沌动荡中走向文坛，痛斥着黑暗。《回答》和《美国》两诗不仅在当时震撼寰宇，它们如今仍余音绕梁。但两诗尽管是相似环境下的产物，却大相径庭，在语言表达、形式、情感基调等都存在些许不同。例如：艾伦·金斯堡的诗是激奋燃烧的疯狂，而北岛在掷地有声中又显朦胧隐晦；艾伦·金斯堡想回到过去而北岛最后在未来中发现希望等等。

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Stories and Poems for Extremely Intelligent Children of All Ages

This is me

In Western culture, we are particularly likely to associate the word “myth” with Ancient Greek civilization. Stories such as the myth of Icarus are so embedded in our culture that sometimes people incorrectly assume contemporary literature is based on them. This is true, for example, of Toni Morrison’s Song of Solomon (1977), which contains flying people that are based on the “flying African” myth and not the myth of Icarus. On the other hand, many literary works can be traced back to this myth, such as W.H. Auden’s poem “Musée des Beaux Arts” (1940) and William Carlos Williams’ “Landscape with Fall of Icarus” (1966), which are themselves inspired by a 16th century painting of Icarus.

Like Shakespeare, the Bible appears in all kinds of literary and cultural contexts, many of which are far from obvious. By giving their work a Biblical title, authors convey a similar literary “authority” as quoting from Shakespeare. This is not the same as religious authority, but rather results from widespread familiarity with the Bible.

Writers don’t just borrow figures, symbols, and plots from the Bible, but also passages and phrases that might show up as titles, such as in John Steinbeck’s East of Eden, Tim Parks’ Tongues of Flame (1985), Ernest Hemingway’s The Sun Also Rises (1926) and William Faulkner’s Absalom, Absalom! (1936) and Go Down Moses (1942). Often, these titles illuminate subtle Biblical themes found within the text, such as the cycle of life, death, and renewal.

Again, it may at first seem tenuous to compare the minor romantic failure of a young Irish boy to the expulsion of Adam and Eve from the Garden of Eden. However, Foster’s connection of the two suggests that everyone has experiences that resonate with Biblical or mythical stories, even if they appear far less dramatic.

Meanwhile, James Joyce’s short story “Araby” (1914) depicts a young Irish boy who tries (and fails) to buy a gift for the girl he has a crush on from a bazaar. This failure constitutes a humiliating loss of innocence akin to Adam and Eve’s fall in the Garden of Eden. In Joyce’s story, childhood is the metaphorical garden from which the young boy is expelled and to which he can never return.

writers everywhere have been reworking and responding to Shakespeare’s work since his death, so too has the Bible played a fundamental role in the Western literary canon. Texts that seemingly could not be further from the Jewish or Christian religious traditions are often filled with Biblical references. Films such as East of Eden (1955) and Pulp Fiction (1994) don’t exactly have a holy message, but nonetheless prominently feature Biblical symbols and quotations.

Here Foster returns to the idea that Shakespeare deals with themes that are universally resonant. On the surface, 1950s South Africa and medieval England are very different places, facing completely different issues. However, by alluding to “Henry IV, Part II,” Fugard shows that the political climate that led to Apartheid was plagued by many of the same problems that have afflicted humanity throughout history.

One example of a writer reworking Shakespeare is the South African writer Athol Fugard in his play Master Harold… and the Boys (1982). Fugard explores similar themes to Shakespeare’s Henry IV, Part II, invoking the figure of a young man who must become mature in order to assume power within an unjust system. In doing so, Fugard suggests that the South African Apartheid regime emerged from the same misguided, immoral thinking that stated monarchs had a “divine right” to rule. This connection both deepens our understanding of Master Harold and simultaneously presents Henry IV, Part II in a critical new light.

Shakespeare’s plays provide a great example of the impact literature can have on society. The English language is full of Shakespearean “neologisms,” meaning words or phrases that Shakespeare invented himself. Furthermore, Shakespeare’s place in our collective memory has helped shape a sense of Western cultural identity, and can connect our current society with those who lived centuries before us.

Of all the Shakespearean-inflected works, Foster declares that his favorite is Angela Carter’s Wise Children (1992), which he first referenced at the end of the previous chapter. The novel follows a dynasty of famous Shakespearean actors, and allusions to Shakespeare’s plays come in the form of a spousal murder-suicide, death by drowning, women dressed as men, and more. However, Shakespeare’s influence is not only found within works of art and literature. Quotations from Shakespeare’s plays are so commonplace that there’s a large chance you might have already heard one today.

The plays of William Shakespeare have been endlessly adapted, transformed, and used loosely as inspiration for a countless number of artistic works, from TV shows to Broadway musicals. Shakespeare is “everywhere, in every literary form you can imagine,” although sometimes this can be difficult to see, as many versions of Shakespeare depart drastically from the original. Not all adaptations retain the same title, not all use Elizabethan English, and many move beyond the stage or screen, appearing in forms such as an opera or a novel.

If people are ‘purpose driven’ (dr Quinn). Kids who are faster (precocity in children) often display a talent. If such a talent is not recognised the kids learning may stop. Dyscalculie is a symptom. Wich we should not adress with forming the kid but by reviewing with the kid what it needs (extra).

有空说说几个共产国际的话题 尤其第四国际 说的人很少

Moby Dick is about existentialist but the beauty of nature.

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hi. time to do my homework

Good presentation