華閱文章網1. 用英文介紹中國古典詩詞
Poetry is a form of literary art in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, its apparent meaning. Poetry may be written independently, as discrete poems, or may occur in conjunction with other arts, as in poetic drama, hymns or lyrics. Poetry, and discussions of it, have a long history. Early attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from prose. From the mid-20th century, poetry has sometimes been more loosely defined as a fundamental creative act using language. Poetry often uses particular forms and conventions to suggest alternative meanings in the words, or to evoke emotional or sensual responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, metaphor, simile and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm. Some forms of poetry are specific to particular cultures and genres, responding to the characteristics of the language in which the poet writes. While readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz and Rumi may think of it as being written in rhyming lines and regular meter, there are traditions, such as those of Du Fu and Beowulf, that use other approaches to achieve rhythm and euphony. Much of modern British and American poetry is to some extent a critique of poetic tradition, playing with and testing (among other things) the principle of euphony itself, to the extent that sometimes it deliberately does not rhyme or keep to set rhythms at * today's globalized world, poets often borrow styles, techniques and forms from diverse cultures and languages.。
2. 宋詞的地位
詞在宋代創造了輝煌燦爛的成就， 成為宋代獨樹一幟的文學形式。
從而得到與唐 詩并峙的崇高地位。 宋詞作為中國文學一個階段的高峰， 蘊藏了無盡的審美價值 與藝術價值。
在宋詞中淺唱低吟，感受生活的韻味，美學的韻味。真率明朗、高 曠清雄、婉約清新、奇艷俊秀、典麗精工、豪邁奔放、騷雅清勁，異彩紛呈。
在 眾多文學巨匠們的筆下， 清雅脫俗的靈感把境界由隱性過渡到顯性， 營造出高妙 絕倫的意境，以一種跨時間、空間的方式塑造詞人理想中的精神家園。唐詩、宋詞、元曲，是我國古代詩歌發展史上三座并峙的高峰。
宋詞，就其規模 和影響來說，雖不及唐詩，但其價值卻不在唐詩之下。我們認為，在文學領域的 更新浪潮重， 人們所作的種種努力， 都是希求用一種最佳的審視角度， 來尋覓一 種最美的文學樣式，以反映他們的精神狀態。
眾所周知，唐代是詩國，但是到了 宋代， 人們并沒有積極地弘揚唐代遺風， 而是更多地選用了詞這種文學樣式來表 達他們地情感， 使詞在本朝代蔚然大觀， 成為一代代表文學， 能與唐詩相提并論， 這肯定有宋代文人特定的審美觀念的原因。 不僅如此， 這里面也肯定有某種歷史 的契機， 歷史的需要和某種歷史的必然性因素在內， 因此， 也就不乏其美的價值 存在。
這就要求我們傳統的觀念，透過現像看本質，比較全面的看待宋詞。 詞應時代的需要，躋身于文學的“大雅之堂”，首先反映文人活躍的思想心態為 特色，優于詩而顯示它獨有的美學特質。
隨著社會的繁榮與發展， 宋詞逐步形成豪放和婉約兩個流派， 即美學上的 “剛性 美與柔性美” 。 自然界有兩種美， 提到 “駿馬秋風冀北” ， 大家會想到 “雄渾” 、“勁健”；提到 “杏花春雨江南” ， 大家會想到“秀麗” 、“纖濃”。
前者是“氣 概”，后者是“神韻”；前者是剛性美，后者是柔性美。豪放派代表人物有蘇軾、辛棄疾等，婉約派代表人物有李清照、柳永等。
歷史上 詞風初始婉約，經蘇軾等人的進一步發展才得來豪放詞。正如《念奴嬌?赤壁懷 古》 —— “大江東去， 浪淘盡， 千古風流人物。
故壘西邊， 人道是三國周郎赤壁。 亂石穿空，驚濤拍岸，卷起千堆雪。
江山如畫，一時多少豪杰。遙想公瑾當年， 小喬初嫁了。
羽扇綸巾， 談笑間檣櫓灰飛煙滅。 多情應笑我早生華發。
人生如夢， 一尊還酹江月。”這首詞最能體現豪放的特征。
大江東去、亂石穿空、驚濤拍岸 等詞給人以雄渾之感。
3. 宋詞的影響和地位
唐詩宋詞是中國文學史上的兩顆明珠，唐代被稱為詩的時代，而宋代則被稱為詞的時代。
詞源于民間，始于唐，興于五代，盛于兩宋。在宋代，隨著城市的發展和市民階層的興起，物質生活的豐富，人們對文化生活的追求也更加強烈。
其時，不但宮廷內設有教場，在許多城市也都有歌樓伎館，甚至有些官僚豪紳家里也有歌伎舞女，這種社會風尚為宋詞的普遍發展提供了條件。宋詞數量巨大，近人唐圭章編的《全宋詞》，含著名詞人1330多家、作品19900多首。
在宋詞的發展繁榮過程中，整個社會的導向作用同樣十分明顯。如果說唐代的詩人在某種程度上還只是供皇室及其統治者御用的工具和玩物而已，那么宋代的詞人已由被別人欣賞而一躍登上了政治舞臺，并成為宋代政治舞臺上的主角。
宋代皇帝個個愛詞，宋代大臣則個個是詞人。宋代政治家范仲淹、王安石、司馬光、蘇軾等都是當時的著名詞人。
在封建社會中從不出頭露面的女子李清照也成為一代詞宗，名垂千古。在當時的科舉考試中，流傳著這樣的諺語：“蘇文熟，吃羊肉；蘇文生，吃菜羹。”
由此足見詞人蘇軾被崇拜的程度。正是全社會的認同和推崇，宋詞才得以佳篇疊出，影響久遠。
原因如下： ① 兩宋城市手工業、商業經濟的繁榮，是宋詞興盛的物質基礎. ② 市民階層的擴大，生活水平的提高，要求豐富的文化娛樂生活. ③ 兩宋社會矛盾尖銳，文學家用詞更能表達自己的思想情感 宋詞的繁榮與宋代特殊的時代背景和詞的文體特點有密切的關系。詞產生于民間，本身就帶有濃厚的娛樂色彩。
宋代由于實行重文輕武的政策，文官享受的待遇非常優厚。宋太祖在“杯酒釋兵權”時，就公開鼓勵大臣們“多買歌兒舞女”。
上有所好，下必甚焉，于是整個社會形成了競相追求享樂的風氣。又由于宋代（特別是北宋）社會相對安定，政局相對穩定。
詞這種帶著濃厚的娛樂色彩，幾乎沒有傳統的政治、道德負荷的文學形式，在宋代終于找到了最為適宜的生長環境，所以便以異乎尋常的速度發展起來了。
4. 介紹一下英語在世界上的地位
As we all know, English is widely used in the world. Although English is not the language with the largest number of native or first language speakers, it has really become a lingua franca. Then what is a lingua franca? The term refers to a language which is widely adopted for communication between two speakers whose native languages are different from each others and where one or both speakers are using it as a second language . For example, when an Indian talks to a Singapore?an using English, then English is the lingua franca.
Then actually how many people speak English as either a first or a second language? Some re?searches suggested that a few years ago that between 320 , 000 , 000 to 380 , 000 , 000 people spoke English as a first language. And anyway between 250 , 000 , 000 to 350 , 000 , 000 as a second lan?guage .
5. 簡述人們對宋詞的地位的認識的歷史過程
宋詞的變遷：
詞的初期極盡艷麗浮華，流行于市井酒肆之間，是一種通俗的藝術形式，五代時期的《花間集》就很明顯地展露了詞美麗絢爛的文采，但是這期間的詞題材還僅限于描寫閨情花柳、笙歌飲宴等方面，可以說還顯得很“小氣”。雖然藝術成就上已經達到了相當的水準，但是在思想內涵上層次還不夠。宋代初期的詞一開始也是沿襲這種詞風，追求華麗詞藻和對細膩情感的描寫。像曾因寫過“忍把浮名，換了淺斟低唱”而得罪了仁宗皇帝的柳永，郁郁不得志，一生就流連于歌坊青樓之間，給歌妓們寫寫詞。所謂“凡有井水飲處，即能歌柳詞”。當時的詞被認為是一種粗俗的民間藝術，不登大雅之堂，以至于宋朝的晏殊在當上宰相之后，對于他以前所做的詞都不承認是自己寫的。宋朝的艷妓之多，水平之高為其它朝代所罕有，她們和宋朝的才子們一起共同推動了詞這一新興藝術形式在民間的廣泛流傳。
但是，隨著詞在宋代的文學中占據越來越重要的地位，詞的內涵也在不斷地充實和提高。“人不寐，將軍白發征夫淚。”奠定了邊塞詞在宋詞中的地位，使只聞歌筵酒席、宮廷豪門、都市風情、脂粉相思之類的世人一新耳目。到蘇軾詞首開豪放詞風，宋詞已經不僅限于文人士大夫寄情娛樂和表達兒女之情的玩物，更寄托了當時的士大夫對時代、對人生乃至對社會政治等各方面的感悟和思考。宋詞徹底跳出了歌舞艷情的巢窠，升華為一種代表了時代精神的文化形式。
宋詞的價值和影響：
遠從《詩經》、《楚辭》及《漢魏六朝詩歌》里汲取營養，又為后來的明清戲劇小說輸送了養分。直到今天，她仍在陶冶著人們的情操，給人們帶來很高的藝術享受。
詞是一種音樂文學，它的產生、發展，以及創作、流傳都與音樂有直接關系。詞所配合的音樂是所謂燕樂，又叫宴樂，其主要成分是北周和隋以來由西域胡樂與民間里巷之曲相融而成的一種新型音樂，主要用於娛樂和宴會的演奏，隋代已開始流行。而配合燕樂的詞的起源，也就可以上溯到隋代。宋人王灼《碧雞漫志》卷一說：“蓋隋以來，今之所謂曲子者漸興，至唐稍盛。”詞最初主要流行于民間，《敦煌曲子詞集》收錄的一百六十多首作品，大多是從盛唐到唐末五代的民間歌曲。大約到中唐時期，詩人張志和、韋應物、白居易、劉禹錫等人開始寫詞，把這一文體引入了文壇。到晚唐五代時期，文人詞有了很大的發展，晚唐詞人溫庭筠以及以他為代表的“花間派”詞人以李煜、馮延巳為代表的南唐詞人的創作，都為詞體的成熟和基本抒情風格的建立作出了重要貢獻。詞終于在詩之外別樹一幟，成為中國古代最為突出的文學體裁之一。進入宋代，詞的創作逐步蔚為大觀，產生了大批成就突出的詞人，名篇佳作層出不窮，并出現了各種風格、流派。《全宋詞》共收錄流傳到今天的詞作一千三百三十多家將近兩萬首，從這一數字可以推想當時創作的盛況。詞的起源雖早，但詞的發展高峰則是在宋代，因此后人便把詞看作是宋代最有代表性的文學，與唐代詩歌并列，而有了所謂“唐詩、宋詞”的說法。
6. 介紹唐詩的英語作文
題目：請閱讀唐朝詩人李白的《贈汪倫》，體會它的意境，談談你的看法。
贈 汪 倫
李 白
李白乘舟將欲行，忽聞岸上踏歌聲。 桃花潭水深千尺，不及汪倫送我情。
To Wang Lun
I'm on board; We're about to sail,
When there's stamping and singing on shore;
Peach Blossom Pool is a thousand feet deep,
Yet not so deep, Wang Lun, as your love for me.
要求：
1. 不得照抄短詩原文；
2. 必須結合短詩的內容，發揮想象， 適當展開；
3. 必須突出短詩主題，結構完整，語意邊貫；
4. 短文不能寫成詩歌形式；
5. 詞數：100左右.
To Wang Lun is written by Li Bai who among other poets stands out in the halls of glory.
One day, Li Bai goes on abroad. He is about to sail when there's stamping and singing on shore.
Oh! Here comes Wang Lun to see him off, who is Li Bai's best friend. Li Bai is very excited to see his best friend at this leaving moment. But he is sad, either. So he can't say a simple sentence. He knows that words can't express their friendship. Although the Peach Blossom Pool is one thousand feet deep, it can't match Wang Lun's love for him.
I love this poem, because it makes me realize that friendship is valuable and we need true friendship. I hope everyone can find true friends.
7. 用英語介紹一下唐詩和宋詞 再介紹一下梁祝的故事
The Poems of the T'ang Dynasty （唐詩）As many a dynasty in Chinese history is marked by some phase of success representing the thought and life of that period, the T'ang Dynasty is commonly recognized as the golden age of poetry. Beginning with the founder of the dynasty, down to the last ruler, almost every one of the emperors was a great lover and patron of poetry, and many were poets themselves. A special tribute should be paid to the Empress Wu Chao or the "Woman Emperor" (684-704), through whose influence poetry became a requisite in examinations for degrees and an important course leading to official promotion. This made every official as well as every scholar a poet. The poems required in the examination, after long years of gradual development, followed a formula, and many regulations were established. Not only must the length of a line be limited to a certain number of the characters, usually five or seven, but also the length of a poem was limited to a certain number of lines, usually four or eight or twelve. The maintenance of rhymes, the parallelism of characters, and the balance of tones were other rules considered essential. This is called the "modern" or "ruled" poetry. In the Ch'ing or Manchu Dynasty the examination poem was standardized as a five-character-line poem of sixteen lines with every other line rhymed. This "eight-rhyme" poem was accompanied by the famous "eight-legged" literature ( a form of literature divided into eight sections ) as a guiding light for entrance into mandarin * above-mentioned rules of poetry applied first only to examination poems. But afterwards they became a common exercise with "modern" or "ruled" poems in general. Chinese poetry since the T'ang Dynasty has followed practically only two forms, the "modern" or "ruled" form and the "ancient" or "unruled" form. A poet usually writes both. The "eight-rhyme" poem, however, was practised for official examinations * most famous writers are Li Bai 李白 （Li Taibai 李太白）， Du Fu 杜甫， Du Mu 杜牧， Meng Haoran 孟浩然， Wang Wei 王維， Bai Juyi 白居易 （Bo Juyi）, Li Shangyin 李商隱， Yuan Zhen 元稹， and many more. Several thousand Tang poems are collected in the Qing time compilation Quan Tang Shi (Quantangshi) 全唐詩. The second half of Tang Dynasty saw the rise of a new poetry style. A poet should fill a traditional melody pattern with new words (ci 詞). This ci style poem was more complicated like the old shi style poems and reached its maturity during Song Dynasty. The most important representant of Tang ci poetry was Li Yu 李煜， emperor of Southern Tang (937-975).-------The Lyrics of the S'ong Dynasty （宋詞）The ci 詞 lyric is very different from the shi type. Today the term ci simply means "word". While the older Tang Dynasty shi lyric can be read without minding the underlying melodies - even if there existed some underlying melodies - ci poetry must be seen as written songs. Most of the poems do not even have their own title, but they are named after an original melody. Composers and writers used this melody to write a new poem that could be sung to the original famous melody or tune pattern (cipai 詞牌)， a technique called contrafactury. This is the reason why we often see the same title for a ci poem, like Die lian hua 蝶戀花 "Butterflies love blossoms", Man ting fang 滿庭芳 "Scent fills the hall", or Yu meiren 虞美人 "Lady Yu". There are more than 800 tune patterns. Ci lyric emerged during the Tang Dynasty in response to the popularity of foreign musical tunes imported from Inner Asia. During Song Dynasty, two different styles of ci poetry developed, the haofang 豪放 "heroic abandon", and the wanyue 婉約 "delicate restraint". Like shi poetry was still in use during the Song Dynasty (see an example of a Lu You shi), ci lyric again became very popular during the Qing Dynasty. Even the communist chairman Mao Zedong is considered to be a great ci poet. The "Three Hundred Song poems" (Song ci sanbai shou 宋詞三百首) anthology was compiled by the "Jiangcun ci club" Shangjiang Cunmin 上強村民 under the guidance of Zhu Zumou (1859-1931) 朱祖謀. Except the examples below, there are some famous Song poets, like Wang Yucheng 王禹偁 （954-1101）, Liu Yong 劉永 （980-1053）, Yan Shu 晏殊 （991-1055）, Mei Yaochen 梅堯臣 （1002-1060）, Shao Yong 邵雍 （1011-1077）, Wang Anshi 王安石 （1021-1086）, Huang Tingjian 黃庭堅 （1045-1105）, Qin Guan 秦觀 （1049-1100）, Zhao Buzhi 晁補之 （105。
8. 介紹中國古詩的英語短文 初中英語作文
So hard for us to meet, Harder still to part.
Languid though the east wind, Faded flowers are blown apart.
The silkworm's silk is exhausted Only when its life is spent;
The candle's tears are dried, When itself to cinder's burnt.
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