诗的

"Acacia Love: Northwest have high-rise," Brief Introduction: China is a country of poetry.

相思·爱情：西北有高楼》内容简介：中国是一个诗的国家。

Confucianism, Taoism and the ideas of three Chivalric, has reflected in his possession.

我在撰写论文《浅论李白和他的诗歌》中，主要参考了《全唐诗》、李晖的《李白诗选读》、王许林的《论李白山水诗的内在意蕴》、龚自珍的《最录李白集》以及张厚余的《太白诗传》等著作，从中获得了大量有益的营养，对我完成论文起了重要的作用。

During the 19th and 20th centuries there were huge achievements on philosophy literature art and music; a variety of activities were also booming at that time Richard Strauss(1864-1949) born at that era when the social phenomena influenced his music learning process combined the classical and romantic music styles and further developed his unique composing style There were 5 chapters in the dissertation The research motivation purposes methodology and the literature review were included in Chapter One Chapter 2 focused on understanding how the history background and personal attitude influenced Richard Strauss' composing style Through the study of the romantic musicians like Franz Schubert1797-1828 Robert Schumann(1810-1856 Johannes Brahms(1833-1897) Hugo Wolf(1860-1903) Gustav Mahler(1860-1911) and etc I attempted to get a complete picture of musical evolution in Chapter 3 In addition Richard's classic compositions were categorized and organized in order to gain a deep understanding of his music From the study and the analysis of Strauss'"Vier letzte Lieder" the features styles the format and the life of the two poets Hermann Hesse1877-1962）and Joseph von Eichendorff(1788-1857 were explored and the relationship between the music of this composition and the poetry were also discussed Chapter 5 summarized the main arguments to give a short account of Strauss' lifetime rich experiences and thinking in his eighties

横跨十九、二十世纪的理察·史特劳斯（Richard Strauss，1864-1949）正是欧洲人文发展空前灿烂的年代，无论在哲学思想、文学、美术以及音乐方面，都有辉煌的成就。在他音乐学习历程中，结合了古典时期及浪漫时期两种音乐风格，发展出独特的作曲风格。本论文分成五章：第一章绪论包括研究动机、研究目的、研究方法及步骤以及文献探讨；第二章则从对理查史特劳斯生平的详实记载中，了解他创作作品的时代背景和心情；第三章则就浪漫时期艺术歌曲作家舒伯特（Franz Schubert1797-1828）、舒曼（Robert Schumann1810-1856）、布拉姆斯（Johannes Brahms1833-1897）、沃尔夫（Hugo Wolf1860-1903）及马勒（Gustav Mahler1860-1911）等，以诗人、旋律、伴奏型态及曲式和声，稍加整理并说明，以便了解艺术歌曲在此时期之演变过程。并将理查史特劳斯艺术歌曲作品分类统整，藉此对他的艺术歌曲能有更深一步的了解。第四章《四首最后的歌》之音乐探究与分析，则探讨此部作品诗人赫塞（Hermann Hesse 1877 - 1962）及艾辛朵夫（Joseph von Eichendorff﹐1788-1857）的生平和作品特色，以及诗的结构与格式，和此部作品音乐与诗的关系。第五章结语说明史特劳斯一生丰富经历与晚年想法，创作出一组宁静感人又深刻的终曲。

About two weeks ago when I was head over heels in love with Neruda's poetry, I came across this poem. It was written for his object of affection, Albertina Rosa Azócar in his youth. They met when studying French in Santiago's Pedagogical Institute at the age of 16 or 17. Soon the morose and quiet Albertina sparked passionate flames in the young boy. She was his muse for many lyrical texts and poems for more than 10 years. The most famous ones would be Veinte Poemas de Amor y Une Cancion Desesperada, Twenty Love Poems and a Desperate Song . Even in 1927, after he traveled to countries like Burma, Ceylon, Java and Singapore to work in dark consular positions, he kept writing to Albertina in postcards, hotel letter paper, napkins, loose-leaf pages. She didn't respond to his love with as much passion. In 1930, he began to form a friendship with Mary Antoinette Haagenar from Holland when transferred to Java. Despite her coldness and lack of interest in poetry, he decided to marry her in December of the same year out of solitude in the remote island. It was not known how Albertina felt about Neruda's marriage, but she was married to ngel Cruchaga Santamaría, who was also a poet, five years later.

前几周当我不可自拔地沉迷於聂鲁达的诗作之际，偶然发现了这首诗，这是诗人写给年少时爱恋的对象阿贝蒂娜(Albertina Rosa Azócar)，他们在十六七岁就读於圣地牙哥师院的法文系时相识，之后聂鲁达便展开了长达十多年的爱恋，他为阿贝蒂娜写下许多情诗、文章和信件，其中包括最有名的「二十首情诗和一首悲歌」，甚至在1927年之后，他去到许多亚洲国家如缅甸、锡兰、爪哇和新加坡担任秘密外交特使，他把对阿贝蒂娜的思念写在明信片、餐巾纸、活页纸、旅馆信纸上，但是内向沉静的阿贝蒂娜并未回以同等的热情，於是在1930年，身处异乡的聂鲁达遇见来自荷兰的玛莉哈格纳，虽然她是冰山美女，也无法分享聂鲁达对诗的喜爱，他们在同年12月结婚，阿贝蒂娜对聂鲁达婚事的反应没有任何记载，不过五年之后她也迈入婚姻，嫁给同为诗人的圣塔马利亚(ngel Cruchaga Santamaría)。

In the poetic field, he has toiled for over 30 years, publishing short poetry collection of Stars, Eyes of Mother, 70 Romantic Poems by Qiao Yan, The Green Romantic Poems, Double-mast Sail of Love, Romantic Career in the Army, and Selection of Poems by Qiao Yan; narrative long poems like The Silent Woods of Birch, The Noble-minder, and The Song of a Soldier and an Era; long autographic work Wei Wei, 28 volumes of prosaic collection like Love being Forgotten, The Passion of Soldiers, and Stepping into The Alps.

在诗的园地里，他辛勤劳作三十余载，出版了《星星，母亲的眼睛》、《峭岩情诗70首》、《绿色的情诗》、《爱的双桅帆》、《浪漫军旅》、《峭岩诗选》等短诗集；《静静的白桦林》、《高尚的人》、《一个士兵和一个时代的歌》等叙事长诗；《中国西部摄影诗》、《我的祖国》、以及长篇传记文学专著《魏巍》、散文集《被遗忘的爱》、《士兵的情愫》、《走进阿尔卑斯山》等著作28部。

Usual, a lot of the time, wealways rush, no time to explain their feelings, when left alone toface a lot of time before the emergence of anxiety and regret, ifthat, of those buried in between the word and sentence Theintention is the life of poetry, it is better to say that, in fact,in a certain time the text of the poem is the heart., And here ismy sincere.

平常，很多的时候我们总是非常的匆忙，没有时间去解释自己的心情，等到独自必须要面对的时候才会涌现许多的不安与歉意，假如说，那些深藏在字与句之间的意向，是诗的生命，那么不如说，其实是在某个时段，是文者的诗心。，而在这里，便是我的真心。

Apart from school work, I wrote vers d' occasion, semicomic poems which I could turn out at what now seems to me astonishing speed -- at fourteen I wrote a whole rhyming play, in imitation of Aristophanes, in about a week -- and helped to edit school magazines, both printed and in manuscript.

除了学校的写作任务，我还写些半诙谐的&应景诗&。我写这些诗的速度现在看来真使我吃惊。14岁时我模仿亚里斯多芬的笔调写了整整一出押韵诗剧，才用了一个星期。我还参加编辑校刊，这些有印刷的，也有以手稿的形式传阅的。

The contrary words expand language's extension, the contrast of narrating provides an effect of twists and turns in a limited space and his departure from daily experience renders his poem with more reflective senses and philosophic coloring.

语词的矛盾可使诗的语言扩大张力，叙述的反差使得诗歌在短小的篇幅中有一波三折的效果，而对日常经验感知的偏离又使徐玉诺的诗带有更多的思索意义和哲学色彩。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The rhyme scheme has played an important role in traditional Chinese poetry. But the role has been changed in modern Chinese poetry, which is no more the essential rule to evaluate modern poetry.

在中国传统诗学中，韵律一直是人们关注的话题，是作为诗歌文体构成的必要条件来看待的，甚至有无韵不成诗的观念，并以此作为探讨诗与文或者韵文与散文的文体差别的重要方面。

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。