草叶集英文赏析
大抵如下《草叶集》包含了丰富而深刻的思想内容，诗人站在激进的资产阶级民主主义立场上讴歌美国这块“民主的大地”：In leaves of grass contains rich and profound ideological content, the poet stands on a radical bourgeois democratic standpoint singing American this democratic earth:那里没有奴隶，也没有奴隶的主人，There are no slaves, nor the master of the slaves,那里人民立刻起来反对被选人的无休止的胡作非为，There are people immediately against the selection of endless play the gangster,那里男人女人勇猛地奔赴死的号召，有如大海汹涌的狂浪，Where men and women to die bravely calls, there are violent waves surging like sea,那里外部的权利总是跟随在内部的权利之后，Where the right is always following the right of the interior,那里公民总是头脑和理想，总统，市长，州长只是有报酬的雇用人，Where citizens are always on the minds and ideals, the president, the mayor, the governor is just a paid employment,那里孩子们被教育着自己管理自己，并自己依靠自己，Where children are taught to manage themselves, and to rely on their own,那里事件总是平静地解决，Where events are always settled,那里对心灵的探索受到鼓励，There is encouragement to the exploration of the soul,那里妇女在大街上公开游行，如同男子一样，There are women on the streets, like men,那里她们走到公共集会上，如同男子一样取得席次。
There they go to a public meeting, as men get seats.《草叶集》中对大自然、对自我有着泛神主义的歌颂，泛神主义是崇拜大自然，以自然万物为神的；诗中极力赞美大自然的壮丽、神奇和伟大：Leaves of grass in nature, and the self has a celebration of pantheism, pantheism is the worship of nature and all things in the nature of God; poem strongly praise nature of the magnificent and wonderful and great:攀登高山，我自己小心地爬上，握持着低桠的细瘦的小枝，Climb the mountain, I carefully climbed up, holding a low Sam thin twig,行走过长满青草，树叶轻拂着的小径，Walking the long grass, leaves the breeze path,那里鹌鹑在麦田与树林之间鸣叫，Where quail call between the fields and woods,那里蝙蝠在七月的黄昏中飞翔，那里巨大的金甲虫在黑夜中降落，Where bats flying in the evening of July, where huge Reaver in night landing,那里溪水从老树根涌出流到草地上去。
Where the stream from the old root out flow on the grass.《草叶集》是长满美国大地的芳草，永远生气蓬勃并散发着诱人的芳香。
它是世界闻名的佳作，开创了美国民族诗歌的新时代。
作者在诗歌形式上有大胆的创新，创造了“自由体”的诗歌形式，打破了传统的诗歌格律，以断句作为韵律的基础，节奏自由奔放，汪洋恣肆，舒卷自如，具有一泻千里的气势和无所不包的容量。
Leaves of grass is covered with earth American grass, always vibrant and exudes seductive fragrance. It is a world famous masterpiece, created a new era of USA national poetry. Author in the form of poetry is bold innovation, create forms of poetry free body, breaking the traditional poetry, to punctuate as a basis for the rhythm, rhythm, free spirited, unrestrained, free writing, has plummeted in the momentum and the all encompassing capacity.《草叶集》涉及的领域十分广泛，思想十分丰富，庞杂，但其基本的主题可大致归结为：自我，创造和民族。
The grass set involves a wide range of areas, thinking is very rich, complex, but its basic theme can roughly summed up: self, and create and national.自我是《草叶集》中反复渲染，反复歌咏的一大主题。
诗人在强调自我、相信自己在超验主义思想的影响下，对自我进行了无以复加的赞颂，把它刻画成顶天立地的巨人。
但诗人笔下的这个自我，不同于欧洲浪漫主义传统中那种感伤纤弱、自怨自艾的自我，而是一个强健有力，甚至有些粗鲁的自我：Self is the leaves of grass in repeated rendering, a major theme of repeatedly singing. The poet in the stressed self, believe that their in the transcendental thoughts under the influence, the self of the utmost praise. It portrayed the indomitable spirit of the giant. But the poet of the self, different from European romantic tradition in the kind of sentimental, delicate, self pity self, but a strong, even some rude self:“我，惠特曼，一个美国人，一个粗鲁汉，一个世界，纵情声色……饥餐，渴饮，传种接代（《自我之歌》）”I, Whitman, an American, a rude Chinese, a world of debauchery...... Meal hunger, thirst, reproduction (song of myself)《草叶集》的成功更在于诗集里的每一片草叶都注入了鲜活的时代精神，正如诗人的心灵，时时随着时代的脉搏而跳动。
而19世纪中后期的美国正处于一个自由，平等和民主精神想草叶一样传遍天下的时期，这不仅对当时的美国意义非凡，而且对整个人类冲破封建观念和专制压迫的双重枷锁，走向民主，自由的光明未来，都有深远的意义。
Leaves of grass success lies in poetry each a piece of grass into a fresh spirit of the times, as the poet's mind, always with the pulse of the times beating. And in the latter half of the 19th century in the United States is in a free, equal and democratic spirit to grass the same throughout the world, which not only the significance of the United States at the time extraordinary, but also to the entire human break feudal ideas and oppressive double yoke, to democracy, freedom of the bright future, far-reaching significance.
草叶集读后感300-400字
《叶集》初版问世至今已一百三十七年，它的作者惠特曼逝世也整整一百年了。
从某些方面说，世界文学史上还找不到另一个范例，能像《草叶集》和惠特曼这样体现一部作品同它的作者呼吸与共、生死相连的关系。
正如惠特曼在诗集(正编)结尾的《再见!》中向我们招呼的：“同志，这不是书本，\\\/谁接触它，就是接触一个人。
”这个人便是诗人自己。
惠特曼生当美国独立后约半个世纪，也就是那个资产阶级共和国在新大陆蒸蒸日上的时代。
他出生于长岛亨廷顿区西山村一个农民兼手工艺者的家庭，十一岁即离开学校开始独立谋生，先在律师事务所和医生诊所当勤杂工，后来到印刷厂当学徒和排字工，当乡村学校教师、报纸编辑和地方党报撰稿人。
他在青少年时代接受了民-主思想，成为一个杰斐逊和杰克逊式的激进民-主主义者，同时开始学习写作，写些带伤感情调的小品、小说和诗歌。
但是，正如他在政治上、在地方民-主党内部斗争中频频被人利用和受到打击一样，他的文学创作也长期停滞在因袭模仿的阶段，没有什么成就。
这样，到一八四九年三十岁的时候，他才改弦易辙，毅然宣布退出政治活动，并下决心在文学事业中奋斗一番。
经过好几年的默默探索，他于一八五五年推出了《草叶集》。
草叶集一些经典语录的英文
我希望我能变成鸟兽,能和它们相处，它们是那么的宁静，那样的知足。
我伫立着，久久地凝望着它们。
它们不会劳碌无度，也不杞人忧天，它们不会在黑夜中惊醒，为自己的罪过哭泣，也不会喋喋不休地讨论令人茫然的对上帝的义务，没有一个贪得无厌，没有一个有疯狂的占有欲，没有一个向另一个屈膝，也不向几千年前的祖宗跪拜在整个地球上没有一个有特殊身份，也没有一个忧郁寡欢。
惠特曼 的《草叶集》英文名字是什么
《草叶集 Leaves of Grass》惠特曼（1819-1892），1855年《草叶集》的第1版问世,共收诗12首，最后出第9版时共收诗383首，其中最长的一首《自己之歌》共1,336行。
这首诗的内容几乎包括了作者毕生的主要思想，是作者最重要的诗歌之一。
惠特曼诗歌的艺术风格和传统的诗体大不相同。
他一生热爱意大利歌剧、演讲术和大海的滔滔浪声。
西方学者指出这是惠特曼诗歌的音律的主要来源。
他的诗歌从语言和题材上深刻地影响了二十世纪的美国诗歌。
英文论文中注释怎么加?书名号在英文中用什么表示呀
比如《草叶集》万分感谢
我希望我能变成鸟兽,能和它们相处，它们是那么的宁静，那样的知足。
我伫立着，久久地凝望着它们。
它们不会劳碌无度，也不杞人忧天，它们不会在黑夜中惊醒，为自己的罪过哭泣，也不会喋喋不休地讨论令人茫然的对上帝的义务，没有一个贪得无厌，没有一个有疯狂的占有欲，没有一个向另一个屈膝，也不向几千年前的祖宗跪拜在整个地球上没有一个有特殊身份，也没有一个忧郁寡欢。
自由诗集草叶集的英文版里是古英语吗
怎么看不懂
《草叶集》是世界闻名的佳作.作者在诗歌形式上有大胆的创新，创造了“自由体”的诗歌形式，打破了传统的诗歌格律，以断句作为韵律的基础，节奏自由奔放，汪洋恣肆，舒卷自如，具有一泻千里的气势和无所不包的容量。
惠特曼 草叶集的一部分附带英文翻译
WHOEVER you are, I fear you are walking the walks of dreams, I fear these supposed realities are to melt from under your feet and hands; Even now, your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you, Your true Soul and Body appear before me, They stand forth out of affairs—out of commerce, shops, law, science, work, forms, clothes, the house, medicine, print, buying, selling, eating, drinking, suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem; I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb; I should have made my way straight to you long ago;I should have blabb’d nothing but you, I should have chanted nothing but you. I will leave all, and come and make the hymns of you; None have understood you, but I understand you; None have done justice to you—you have not done justice to yourself; None but have found you imperfect—I only find no imperfection in you;None but would subordinate you—I only am he who will never consent to subordinate you; I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself. Painters have painted their swarming groups, and the centre figure of all; From the head of the centre figure spreading a nimbus of gold-color’d light; But I paint myriads of heads, but paint no head without its nimbus of gold-color’d light;From my hand, from the brain of every man and woman it streams, effulgently flowing forever. O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber’d upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries;(Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?) The mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom’d routine, if these conceal you from others, or from yourself, they do not conceal you from me;The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform’d attitude, drunkenness, greed, premature death, all these I part aside. There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you;No pleasure waiting for others, but an equal pleasure waits for you. As for me, I give nothing to any one, except I give the like carefully to you; I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you. Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you;These immense meadows—these interminable rivers—you are immense and interminable as they; These furies, elements, storms, motions of Nature, throes of apparent dissolution—you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution. The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself;Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.BEGINNING my studies, the first step pleas’d me so much, The mere fact, consciousness—these forms—the power of motion, The least insect or animal—the senses—eyesight—love; The first step, I say, aw’d me and pleas’d me so much, I have hardly gone, and hardly wish’d to go, any farther,But stop and loiter all the time, to sing it in extatic songs.FOR him I sing, (As some perennial tree, out of its roots, the present on the past:) With time and space I him dilate—and fuse the immortal laws, To make himself, by them, the law unto himself.
