刘禹锡的名诗

刘禹锡的名诗（通用8篇）

篇1：刘禹锡的名诗

刘禹锡的名诗

【原文】

和乐天春词⑴

新妆宜面下朱楼⑵，深锁春光一院愁⑶。

行到中庭数花朵⑷，蜻蜓飞上玉搔头⑸。

【注释】

⑴春词：春怨之词。“春词”为白居易原诗题目。

⑵宜面：脂粉涂抹得与容颜相宜，给人一种匀称和谐的美感。一作“粉面”。朱楼：髹以红漆的楼房，多指富贵女子的居所。

⑶春光：春天的风光、景致。南朝宋吴孜《春闺怨》诗：“春光太无意，窥窗来见参。”

⑷中庭：庭院;庭院之中。汉司马相如《上林赋》：“醴泉涌于清室，通川过于中庭。”

⑸蜻蜓：暗指头上之香。玉搔头：玉簪，可用来搔头，故称。

【白话译文】

浓妆艳抹打扮一新下红楼，深深庭院春光虽好只添愁。

走到庭中查数新开的花朵，蜻蜓有情飞到了玉簪上头。

【原文】

乌衣巷⑴

朱雀桥边野草花⑵，乌衣巷口夕阳斜。

旧时王谢堂前燕⑶，飞入寻常百姓家⑷。

【注释】

⑴乌衣巷：金陵城内街名，位于秦淮河之南，与朱雀桥相近。三国时期吴国曾设军营于此，为禁军驻地。由于当时禁军身着黑色军服，所以此地俗语称乌衣巷。在东晋时以王导、谢安两大家族，都居住在乌衣巷，人称其子弟为“乌衣郎”。入唐后，乌衣巷沦为废墟。

⑵朱雀桥：六朝时金陵正南朱雀门外横跨秦淮河的大桥，在今江苏省南京市江宁区。

⑶王谢：王导、谢安，晋相，世家大族，贤才众多，皆居巷中，冠盖簪缨，为六朝巨室。旧时王谢之家庭多燕子。至唐时，则皆衰落不知其处。

⑷寻常：平常。

【白话译文】

朱雀桥边长满丛丛野草，点点野花。乌衣巷口断壁残垣，正是夕阳西斜。从前在王谢大堂前筑巢的燕子，如今再来飞进平常百姓人家。

【原文】

酬1乐天2扬州初逢席上见赠3

巴山楚水4凄凉地，二十三年5弃置身6。

怀旧7空吟8闻笛赋9，到10乡翻似11烂柯人12。

沉舟13侧畔14千帆过，病树前头万木春。

今日听君歌一曲15，暂凭杯酒长精神16。

【注释】

酬：答谢，酬答，这里是指以诗相答的意思。用诗歌赠答。

乐天：指白居易，字乐天。

见赠：送给(我)。

巴山楚水：指四川、湖南、湖北一带。古时四川东部属于巴国，湖南北部和湖北等地属于楚国。刘禹锡被贬后，迁徙于朗州、连州、夔州、和州等边远地区，这里用“巴山楚水”泛指这些地方。

二十三年：从唐顺宗永贞元年(8)刘禹锡被贬为连州刺史，至宝历二年(826)冬应召，约22年。因贬地离京遥远，实际上到第二年才能回到京城，所以说23年。

弃置身：指遭受贬谪的诗人自己。置：放置。弃置：贬谪(zhé)。

怀旧：怀念故友。

吟：吟唱。

闻笛赋：指西晋向秀的《思旧赋》。三国曹魏末年，向秀的朋友嵇康 、吕安因不满司马氏篡权而被杀害。后来，向秀经过嵇康、吕安的旧居，听到邻人吹笛，不禁悲从中来，于是作《思旧赋》。 序文中说：自己经过嵇康旧居，因写此赋追念他。刘禹锡借用这个典故怀念已死去的王叔文、柳宗元等人。

到：到达。

翻似：倒好像。翻：副词，反而。

烂柯人：指晋人王质。相传晋人王质上山砍柴，看见两个童子下棋，就停下观看。等棋局终了，手中的斧柄(柯)已经朽烂。回到村里，才知道已过了一百年。同代人都已经亡故。作者以此典故表达自己遭贬23年的感慨。刘禹锡也借这个故事表达世事沧桑，人事全非，暮年返乡恍如隔世的心情。

沉舟：这是诗人以沉舟、病树自比。

侧畔：旁边。

歌一曲：指白居易的《醉赠刘二十八使君》。

长(zhǎng)精神：振作精神。长：增长，振作。

【白话译文】

在巴山楚水这些凄凉的地方，度过了二十三年沦落的光阴。

怀念故友徒然吟诵闻笛小赋，久谪归来感到已非旧时光景。

沉船的旁边正有千帆驶过，病树的前头却是万木争春。

今天听了你为我吟诵的诗篇，暂且借这一怀美酒振奋精神。

【原文】

聚蚊谣

沉沉夏夜兰堂开⑴，飞蚊伺暗声如雷⑵。

嘈然歘起初骇听⑶，殷殷若自南山来⑷。

喧腾鼓舞喜昏黑⑸，昧者不分聪者惑⑹。

露华滴沥月上天⑺，利觜迎人看不得⑻。

我躯七尺尔如芒⑼，我孤尔众能我伤。

天生有时不可遏⑽，为尔设幄潜匡床⑾。

清商一来秋日晓⑿，羞尔微形饲丹鸟⒀。

【注释】

⑴沉沉：昏黑貌。兰堂：芳洁的厅堂。厅堂的美称。一作“闲堂”。

⑵伺：等待，趁着。

⑶嘈然：声音杂乱貌。歘(xū)：忽然。

⑷殷(yǐn)殷：震动声，形容雷声很大。南山：即终南山。

⑸喧腾：喧闹沸腾。鼓舞：鼓翅飞舞。

⑹昧者：糊涂人。

⑺露华：露水。滴沥：水下滴貌。

⑻利觜(zī)：尖利的嘴。看不得：看不清楚。

⑼芒：草木茎叶、果实上的小刺。

⑽遏：阻止。

⑾幄：帐幕，指蚊帐。匡床：安适的床。一说方正的床。

⑿清商：谓秋风。

⒀羞：进献食物。丹鸟：萤火虫的异名。《大戴礼记·夏小正》：“丹鸟羞白鸟。丹鸟者、谓丹良也;白鸟者，谓蚊蚋也。”

【白话译文】

夏夜沉沉，清静的堂屋门窗大开，飞蚊趁着黑暗，发出雷鸣般的声响。

喧闹声突然而来，起初听了吃惊，像是隆隆的雷声从南山传来一样。

蚊子喜欢在昏暗的.夜里嗡嗡地鼓翅飞舞，糊涂人分辨不清，聪明人也感到迷惘。

在露水下滴、月上中天的夏夜，尖嘴叮人，难于觉察提防。

虽然我有七尺之躯，你蚊子小如芒刺，但是我寡你众，所以你能把我伤。

天生蚊子有一定时节，我不可阻遏，为了避开你的叮刺，我只好躲进蚊帐。

等到凉风吹来，在秋天的拂晓，你这细微东西就要给丹鸟吃光!

【原文】

昏镜词(并引)

镜之工列十镜于贾奁⑴，发奁而视⑵，其一皎如，其九雾如。或曰：“良苦之不侔甚矣⑶。”工解颐谢曰⑷：“非不能尽良也，盖贾之意，唯售是念，今来市者⑸，必历鉴周睐⑹，求与己宜。彼皎者不能隐芒杪之瑕，非美容不合，是用什一其数也⑺。”予感之，作《昏镜词》。

昏镜非美金⑻，漠然丧其晶。

陋容多自欺，谓若他镜明。

瑕疵自不见⑼，妍态随意生。

一日四五照，自言美倾城⑽。

饰带以纹绣，装匣以琼瑛⑾。

秦宫岂不重⑿，非适乃为轻。

【注释】

⑴贾奁：商人的柜。

⑵皎如：洁白明亮的样子。

⑶良苦(gǔ)：好坏。侔(móu)：相称。

⑷解颐：微笑。

⑸市：买。

⑹历鉴：一个一个地照。周睐(lài)：全部看个遍。

⑺是用：因此。什一：十分之一。

⑻美金：质地好的金属。

⑼瑕疵(xiá cī)：毛病。

⑽倾城：旧以形容女子极其美丽。

⑾琼瑛(qióng yīng)：美玉。

⑿秦宫：咸阳宫。这里指咸阳宫的宝镜。

【白话译文】

制镜工陈列十面镜子于商人的柜中。在柜中看上去，只有一枚清澈，九枚都是雾茫茫的。有人说，好坏的区别太大了，制镜工微笑着说：不是每面镜子都不能做到清澈。因为商人的意愿，仅仅是能卖出镜子而已，现在来市集的人，一定是细心周到的挑选，选择与自己容貌相宜者。那清澈的镜子不能掩盖瑕疵，不是面目姣好的人就不能用，故喜昏镜者十居其九，而喜明镜者十难有一。我对此深有感慨，作出了《昏镜词》。

昏镜不是用优质的青铜所制，它模糊不清，光泽已经消失。

容貌丑陋的人往往自欺欺人，说这昏镜竟与其他明镜无异。

在昏镜中既看不到自己的缺陷，就可以随心想象自己是如何美丽。

陋容者一日照它四五次，自以为漂亮得全城人都倾慕不已。

他用有花纹的锦绣制成这镜带，又用美玉做的匣子来盛放这镜子。

像秦宫宝镜那样的明镜难道不贵重吗?但因它不合心意，反而被陋容者所弃。

【原文】

西塞山怀古⑴

王濬楼船下益州⑵，金陵王气黯然收⑶。

千寻铁锁沉江底⑷，一片降幡出石头⑸。

人世几回伤往事⑹，山形依旧枕寒流⑺。

今逢四海为家日⑻，故垒萧萧芦荻秋⑼。

【注释】

⑴西塞山：位于今湖北省黄石市，又名道士洑，山体突出到长江中，因而形成长江弯道，站在山顶犹如身临江中。

⑵王濬：晋益州刺史。一作“西晋”。益州：晋时郡治在今成都。晋武帝谋伐吴，派王濬造大船，出巴蜀，船上以木为城，起楼，每船可容二千余人。

⑶金陵：今南京，当时是吴国的都城。王气：帝王之气。黯然：一作“漠然”。

⑷千寻铁锁沉江底：东吴末帝孙皓命人在江中轧铁锥，又用大铁索横于江面，拦截晋船，终失败。寻：长度单位。

⑸一片降幡(fān)出石头：王濬率船队从武昌顺流而下，直到金陵，攻破石头城，吴主孙皓到营门投降。

⑹人世几回伤往事：一作“荒苑至今生茂草”。

⑺枕寒流：一作“枕江流”。

⑻四海为家：即四海归于一家，指全国统一。今逢：一作“从今”。

⑼故垒：旧时的壁垒。萧萧：秋风的声音。

【白话译文】

王濬的战船从益州出发，东吴的王气便黯然消逝。

千丈长的铁链沉入江底，一片降旗挂在石头城头。

人生中多少次伤怀往事，山形依然不变靠着寒流。

从今以后天下归为一同，芦荻在旧垒上萧萧飘摇。

篇2：刘禹锡的名诗

州名诗

作者：范云朝代：南北 司春命初铎。

青耦肆中樊。

逸豫诚何事。

稻粱复宜敦。

徐步遵广隰。

冀以写忧源。

杨柳垂场圃。

荆棘生庭门。

交情久所见。

篇3：那些名诗背后的“意外”

锄禾日当午,

汗滴禾下土。

谁知盘中餐,

粒粒皆辛苦。

唐代李绅的这首《锄禾》感情真挚, 落笔自然, 字里行间渗透着诗人对百姓疾苦的关心。可谁曾想到, 就是这位有着“悯农诗人”之称的李绅发迹之后, 穷奢极欲, 受人诟病。据说, 李绅好吃鸡舌, 一次就杀鸡300多只, 弄得满院尽是鸡飞狗跳。更让人不齿的是, 李绅这人为非作歹, 品行低劣。在“牛李党争”时, 他都已年逾古稀了, 还徇私枉法、草菅人命。

去年今日此门中,

人面桃花相映红。

人面不知何处去,

桃花依旧笑春风。

这首《题都城南庄》是崔护的一首七言绝句。该诗脍炙人口, 尤其后两句流传甚广, 被喻为佳句, 可诗歌却因“艳遇”而作。据记载, 崔护容貌清秀, 性情孤洁, 应考进士及第。清明节这一天, 他独自去郊游, 结果遇见了—位姿色艳丽、神态妩媚的女子, 两人情投意合, 却各有顾忌, 只好怅惘告别。第二年清明, 崔护又想起了那位极有风韵的女子, 思念难耐, 于是再去南庄, 只见门庭庄园一如既往, 可“人面”不知何处。崔护感慨万分, 便有了这首名诗。

曾经沧海难为水,

除却巫山不是云。

取次花丛懒回顾,

半缘修道半缘君。

这首《离思》是元稹的悼亡诗, 他用世间至大至美的形象来表达对亡妻的无限怀念, 感人至深。同样有名的还有《遣悲怀》中的“诚知此恨人人有, 贫贱夫妻百事衷”。原以为任何女子都不能取代元大诗人的妻子韦丛, 孰料韦氏去世不到半年, 元稹就在江陵唐纳了妾。而且, 这个男人的一生有两条“线索”:一条是走门阀路线, 攀龙附凤娶贵族之妻的婚史;另一条是在宦游途中, 与各地风流才女谈情说爱的情史。那些曾与他情深似海的女人, 在短暂的欢娱之后, 无一例外地在蒙羞的寂寞中度过余生。

鼎湖当日弃人间,

破敌收京下玉关。

恸哭六军俱缟素,

冲冠一怒为红颜。

吴伟业的《圆圆曲》, 一开场就见诗人的义愤填膺, 而这首长诗也成了吴三桂背叛大明的一个铁证。吴三桂被钉在了历史的耻辱柱上, 而吴伟业自己呢?对清朝政权, 吴伟业起初采取的是消极不合作的态度, 在明亡以后长达10年的时间内, 他一直隐居乡里, 保持名节, 可后来还是“应诏入都, 授秘书院侍讲, 寻升国子监祭酒”。对此, 吴伟业深感耻辱, 晚年更是以仕清为“误尽平生”之憾事。

九州生气恃风雷,

万马齐喑究可哀。

我劝天公重抖擞,

不拘一格降人才。

这首《己亥杂诗》的作者龚自珍是清代思想家、文学家和改良主义的先驱者。可龚自珍不曾想到的是, 自己的儿子龚半伦居然是个十足的洋奴。在火烧圆明园这场巨大的民族惨剧中, 龚半伦推波助澜, 引狼入室, 充当了汉奸的角色。君子之泽, 五世而斩。如果龚自珍知道儿子这一代彻底走向了自己的反面, 这首著名的诗歌也许是另一种写法了。

篇4：那些名诗背后的“意外”

“锄禾日当午，汗滴禾下土。谁知盘中餐，粒粒皆辛苦。”唐代李绅的这首《锄禾》感情真挚，落笔自然，字里行间渗透着诗人对百姓疾苦的关心。可谁曾想到，就是这位有着“悯农诗人”之称的李绅发迹之后，穷奢极欲，习性龌龊。据说，李绅好吃鸡舌，一次就杀鸡三百多只，弄得满院尽是。更让人不齿的是，李绅这人为非作歹，品行低劣。在“牛李党争”时，他都已年逾古稀了，还徇私枉法、草菅人命，最后人死还被削去三官，累及子孙，实在匪夷所思!

“锦城丝管日纷纷，半入江风半入云。此曲只应天上有，人间能得几回闻。”这首《赠花卿》是伟大诗人杜甫的作品。乍一听，俨然是一曲关于音乐的赞美诗。可花卿其人，花敬定也，因为平叛有功而骄恣不法、目无朝廷，还僭用天子之乐，杜甫实际上是柔中带刚，绵里藏针，寓讽于谀，言在意外，含蓄而有力地“刺”了花敬定这厮。

“去年今日此门中，人面桃花相映红。人面不知何处去。桃花依旧笑春风。”这首《题都城南庄》是崔护的一首七言绝句。诗歌脍炙人口，尤其后两句流传甚广，被喻为佳句，可诗歌却因“艳遇”而作。据记载，崔护资质甚美，性情孤洁，应举进士及第。清明节这天，他独自去郊游，结果遇见了一位姿色艳丽、神态妩媚的女子，两人情投意合，却各有顾忌，只好怅惘告别。第二年清明，崔护又想起了那位极有风韵的女子，思念难耐，于是再去南庄，只见门庭庄园一如既往，可“人面”不知何处。崔护感慨万分，便有了这首名诗。

“曾经沧海难为水，除却巫山不是云。取次花丛懒回顾。半缘修道半缘君。”这首《离思》是元稹的悼亡诗，他用世间至大至美的形象来表达对亡妻的无限怀念，感人至深。同样有名的还有《遣悲怀》中的“诚知此恨人人有，贫贱夫妻百事哀，”原以为任何女子都不能取代元大诗人的妻子韦丛，孰料韦氏去世不到半年，元稹就在江陵府纳了妾。而且，这个男人的一生有两条“线索”：一条是走门阀路线，攀龙附凤娶贵族之妻的婚史，另一条是在宦游途中，与各地风流才女谈情说爱的情史。那些曾与他情深似海的女人，在短暂的欢娱之后，无一例外地在蒙羞的寂寞中度过余生。

“鼎湖当日弃人间，破敌收京下玉关，恸哭六军俱缟素。冲冠一怒为红颜。”吴伟业的《圆圆曲》，一开场就见诗人的义愤填膺，而这首长诗也成了吴三桂背叛大明的一个铁证。吴三桂被钉在了历史的耻辱柱上，而吴伟业自己呢?对清朝政权，吴伟业起初采取的是消极的不合作的态度，在明亡以后长达十年的时间内，吴伟业一直屏居乡里，保持名节，可后来还是“应诏人都，授秘书院侍讲，寻升国子监祭酒”。对此，吴伟业深感耻辱，晚年更是以仕清为“误尽平生”之憾事。

“九州生气恃风雷，万马齐喑究可哀。我劝天公重抖擞。不拘一格降人才。”这首《己亥杂诗》的作者龚自珍是清代思想家、文学家及改良主义的先驱者。可龚自珍不曾想到的是，自己的儿子龚半伦居然是个十足的洋奴。在火烧圆明园这场巨大的民族惨剧中，龚半伦推波助澜，引狼入室，充当了汉奸的角色。君子之泽，五世而斩。如果龚自珍知道儿子这一代彻底走向了自己的反面，这首著名的诗歌也许是另一种写法了。

篇5：刘禹锡的名诗

卦名诗

作者：权德舆朝代：唐体裁：五古 节变忽惊春，临风骋望频。支颐倦书幌，步履整山巾。

时鸟渐成曲，杂芳随意新。曙霞连观阙，绮陌丽咸秦。

篇6：刘禹锡的名诗

答鄱阳客药名诗

作者：张籍朝代：唐体裁：七古 江皋岁暮相逢地，黄叶霜前半夏枝。

篇7：刘禹锡的名诗

和陆慧晓百姓名诗

作者：沈约朝代：南北 建都望淮海。

树阙表衡稽。

井干风云出。

柏梁星汉齐。

皇王临万宇。

惠化覃黔黎。

吉士服仁义。

宿昔秉华圭。

庸贤起幽谷。

钦言非象犀。

端委康国步。

偃息召邦携。

举政方分策。

易纪粲金泥。

伊余沐嘉幸。

由是别园畦。

曾微涓露答。

光景遂云西。

方随炼丹子。

篇8：刘禹锡的名诗

关键词：忽必烈汗,想象,语言,意义

Introduction

Kubla Khan is a famous poem by Samuel Taylor Coleridge, which is one of Coleridge’s most haunting and beautiful poems.Some critics argue that it is unique in English poetry or one of the greatest English poems.Furthermore, this visionary poem is one of the most famous poems of the Romantic Period.A manuscript copy of Coleridge's“fragmentary vision”is a permanent exhibit at the British Museum (London) .[1]All of these fames deeply attract us, and we will try to reveal the veil in the following aspects:fantastic vision, rhymed language and profound theme.

1. Summary

The poem is different in style and form from other poems composed by Coleridge.Kubla Khan is subtitled a“fragment”, but it lacks aspects of Coleridge's other fragmentary poems.Instead, its incomplete nature represents aspects of the creative process through its form and message.Its language is highly stylised with a strong emphasis on sound devices that change between the poem's original two stanzas.The first stanza of the poem describes Khan's pleasure dome built alongside a sacred river fed by a powerful fountain.The second stanza of the poem is the narrator's response to the power and effects of an Abyssinian maid's song, which enraptures him but leaves him unable to act on her inspiration unless he could hear her once again.Together, they form a comparison of creative power that does not work with nature and creative power that is harmonious with nature.

The poem begins with a description of a magnificent palace built by the Mongolian ruler Kubla Khan during the thirteenth century.The enormous“pleasure-dome”of the poem's first few lines reflects the Khan's sovereign power, and the description of the palace and its surroundings convey the grandiosity and imperiousness of his character.In contrast to the structured dome and its gardens, the landscape surrounding Kubla's domain is wild and untamed, covered by ancient forests and cut by a majestic river.While it initially appears that harmony and cohesion exist between these two worlds, the narrator then describes a deep crack in the earth, hidden under a grove of dense trees.In the second stanza, the tenor of the poem shifts from the balance and tranquility in the first few lines to an uneasy suggestion of the preternatural.A woman calls to her daemonic lover and the Khan hearkens to“Ancestral voices prophesying war.”Soon, the vast distance between the ordered domain of Kubla's palace and the savagery of nature—the source of the fountain that feeds the river flowing through the rocks, forests, and ultimately, the stately garden of Kubla Khan—becomes apparent.As the river moves from the deep, uncontrolled chasm of the earlier lines back into Kubla's world, the narrative shifts from third to first person.Afterwards, the poet relates his vision of a dulcimerplaying Abyssinian maiden and recounts the sense of power that exudes from successful poetic creation.

2. Fantastic Vision

Kubla Khan is romantic in the sense that, we can see distant lands and far-off places in this poem, Xanadu, Alph, mount Abora-belong to the geography of romance and Our attention is almost shifted from the pleasure-dome of Kubla Khan to the poet and his extravagant fancy, imagination and poetic creation.The speaker describes the“stately pleasure-dome”built in Xanadu according to the decree of Kubla Khan, in the place where Alph, the sacred river, ran“through caverns measureless to man/Down to a sunless sea.”Walls and towers were raised around“twice five miles of fertile ground, ”filled with beautiful gardens and forests.A“deep romantic chasm”slanted down a green hill, occasionally spewing forth a violent and powerful burst of water, so great that it flung boulders up with it“like rebounding hail.”The river ran five miles through the woods, finally sinking“in tumult to a lifeless ocean.”Amid that tumult, in the place“as holy and enchanted/As e’er beneath a waning moon was haunted/By woman wailing to her demon-lover, ”Kubla heard“ancestral voices”bringing prophesies of war.The pleasure-dome’s shadow floated on the waves, where the mingled sounds of the fountain and the caves could be heard.The picture of the divinely inspired poet in the closing lines can be considered a work of pure fancy, the result of imagination, the dream-like atmosphere.“It was a miracle of rare device, ”the speaker says, “A sunny pleasure-dome with caves of ice!”

opium dream.The poem was inspired by the poet's dream of the pleasure-dome.The bright gardens, the incense bearing trees with sweet blossom, the sunny spots of greenery, rocks vaulting like rebounding hail, the sunless caverns-these are highly sensuous images.In addition to that the second part of the poem mainly deals with the poet himself.He could see an Abyssinian maid in his vision who en-kindle his imagination.The speaker says that he once saw a“damsel with a dulcimer, ”an Abyssinian maid who played her dulcimer and sang“of Mount Abora.”He says that if he could revive“her symphony and song”within him, he would rebuild the pleasure-dome out of music, and all who heard him would cry“Beware!”of“His flashing eyes, his floating hair!”The hearers would circle him thrice and close their eyes with“holy dread”, knowing that he had tasted honeydew, “and drunk the milk of Paradise.”

John Lowes claimed that“with a picture of unimpaired and thrilling vividness, the fragment ends.And with it ends, for all save Coleridge, the dream.'The earth hath bubbles as the water has, and this is of them.'For'Kubla Khan'is as near enchantment, I suppose, as we are like to come in this dull world.And over it is cast the glamour, enhanced beyond all reckoning in the dream, of the remote in time and space–that visionary presence of a vague and gorgeous and mysterious Past which brooded, as Coleridge read, above the inscrutable Nile, and domed pavilions in Cashmere, and the vanished stateliness of Xanadu.”[2]

3 Rhymed Language

The poem according to Coleridge's account, is a fragment of what it should have been, amounting to what he was able to jot down from memory:54 lines.Originally, his dream included between 200 and 300lines, but he was only able to compose the first 30before he was interrupted.The second stanza is not necessarily part of the original dream and refers to the dream in the past tense.The rhythm of the poem, like its themes and images, is different from other poems Coleridge wrote during the time, and it is organized in a structure similar to 18th-century odes.

“Kubla Khan”is famously incomplete, and thus cannot be said to be a strictly formal poem--yet its use of rhythm and the echoes of end-rhymes is masterful, and these poetic devices have a great deal to do with its powerful hold on the reader’s imagination.The chant-like, musical incantations of“Kubla Khan”result from Coleridge’s masterful use of iambic tetrameter and alternating rhyme schemes.The first stanza is written in tetrameter with a rhyme scheme of ABAABCCDEDE, alternating between staggered rhymes and couplets.The second stanza expands into tetrameter and follows roughly the same rhyming pattern, also expanded—ABAABCCDDFFGGHIIHJJ.The third stanza tightens into tetrameter and rhymes ABABCC.The fourth stanza continues the tetrameter of the third and rhymes ABCCBDEDEFGFFFGHHG.

The poem relies on many sound-based techniques, including cognate variation and chiasmus.In particular, the poem emphasizes the use the“æ”sound and similar modifications to the standard“a”sound to make the poem sound Asian.Its rhyme scheme found in the first seven lines is repeated in the first seven lines of the second stanza.There is a heavy use of assonance, the reuse of vowel sounds, and a reliance on alliteration, repetition of the first sound of a word, within the poem including the first line:“In Xanadu did Kubla Khan”.The stressed sounds, “Xan”, “du”, “Ku”, “Khan”, contain assonance in their use of the sounds a-u-u-a, have two rhyming syllables with“Xan”and“Khan”, and employ alliteration with the name“Kubla Khan”and the reuse of“d”sounds in“Xanadu”and“did”.To pull the line together, the"i"sound of"In"is repeated in“did”.Later lines do not contain the same amount of symmetry but do rely on assonance and rhymes throughout.The only word that has no true connection to another word is“dome”except in its use of a“d”sound.Though the lines are interconnected, the rhyme scheme and line lengths are irregular.

“Kubla Khan”is a poem clearly meant to be spoken.So many early readers and critics found it literally incomprehensible that it became a commonly accepted idea that this poem is“composed of sound rather than sense.”John Bowring stated“The tale is extraordinary, but'Kubla Khan'is much more valuable on another account, which is, that of its melodious versification.It is perfect music.The effect could scarcely have been more satisfactory to the ear had every syllable been selected merely for the sake of its sound.And yet there is throughout a close correspondence between the metre, the march of the verse, and the imagery which the words describe.”[3]Its sound is beautiful--as will be evident to anyone who reads it aloud.

4. Profound Theme

Kubla Khan is about poetry and the two sections discuss two types of poems.The power of the imagination is an important component to this theme.The poem celebrates creativity and how the poet is able to experience a connection to the universe through inspiration.As a poet, Coleridge places himself in an uncertain position as either master over his creative powers or a slave to it.The dome city represents the imagination and the second stanza represents the relationship between a poet and the rest of society.The poet is separated from the rest of humanity after they are exposed to the power to create and are able to witness visions of truth.This separation causes a combative relationship between the poet and the audience as the poet seeks to control his listener through a mesmerising technique.The Preface, when added to the poem, connects the idea of the paradise as the imagination with the land of Porlock, and that the imagination, though infinite, would be interrupted by a“person on business”.The Preface then allows for Coleridge to leave the poem as a fragment, which represents the inability for the imagination to provide complete images or truly reflect reality.The poem would not be about the act of creation but a fragmentary view revealing how the act works:how the poet crafts language and how it relates to himself.

Through use of the imagination, the poem is able to discuss issues surrounding tyranny, war, and contrasts that exist within paradise.Part of the war motif could be a metaphor for the poet in a competitive struggle with the reader in order to push his own vision and ideas upon his audience.As a component to the idea of imagination in the poem is the creative process by describing a world that is of the imagination and another that is of understanding.The poet, in Coleridge's system, is able to move from the world of understanding, where men normally are, and enter into the world of the imagination through poetry.When the narrator describes the“ancestral voices prophesying war”, the idea is part of the world of understanding, or the real world.As a whole, the poem is connected to Coleridge's belief in a secondary Imagination that can lead a poet into a world of imagination, and the poem is both a description of that world and a description of how the poet enters the world.

Hence, despite the plentiful criticism it has elicited, most assessments of“Kubla Khan”remain unable to answer with any degree of certainty the question of the poem's ultimate meaning.In part due to its status as a verse fragment and the continued controversy surrounding its origins, “Kubla Khan”has tended to discourage final interpretation.Nevertheless, most critics acknowledge that the juxtaposed images, motifs, and ideas explored in the poem are strongly representative of Romantic poetry.As such, critics have found numerous indications of a thematic reconciliation of opposites in the poem.Similarly, “Kubla Khan”is thought to be principally concerned with the nature and dialectical process of poetic creation.The work is dominated by a lyrical representation of landscape—a common feature of Romantic poetry, in which landscape is typically viewed as the symbolic source and keeper of the poetic imagination.Guided by Coleridge's complex rhyming and metrical structure, “Kubla Khan”first describes the ordered world of Kubla's palace and then—with an abrupt change in meter and rhyme immediately following—depicts the surrounding natural world that the Khan cannot control, even as it provides the foundation of his power.This pattern of contrast between worlds continues throughout the poem, lending it both a purpose and structure that, critics suggest, represents Coleridge's ideal of a harmonious blend of meaning and form in poetic art.

5. Conclusion

Kubla Khan is a dream poem and related to works describing visions common to the Romantic poets.Though it is only a piece of fragment, the poem was endowed with ever-lasting charm for its fantastic vision, rhymed language and profound theme, which got to an art of ecstasy that“willing suspension of disbelief for the moment”.[4]Particularly the rhymed language is highly praiseworthy by the Western literary critics.When talking about the poem, Leigh Hunt claimed it“is a voice and a vision, an everlasting tune in our mouths, a dream fit for Cambuscan and all his poets, a dance of pictures such as Giotto or Cimabue, revived and reinspired, would have made for a Storie of Old Tartarie, a piece of the invisible world made visible by a sun at midnight and sliding before our eyes...”[5]

参考文献

[1]飞白.世界名诗鉴赏辞典[Z].桂林:漓江出版社, 1989.

[2]王佐良.英国浪漫主义诗歌史[M].北京:人民文学出版社, 1991.

[3]杨德豫.神秘诗!怪诞诗!——柯尔律治三篇代表作[M].北京:人民 文学出版社, 1992.

[4]http://www.phrases.org.uk/meanings/suspension-of-disbelief.html