名诗（共6篇）
1.名诗 篇一
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
2.那些名诗背后的“意外” 篇二
“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。
3.名诗名篇谜语 篇三
名诗名篇谜语
1无可奈何花落去（打一常用词）感谢
不要和陌生人说话（打一常用词）熟语
烨（打一新兴词语）中国热
内秀（打一新兴词语）心灵美
勿上当（打一新兴词语）非典
新苗茁壮（打一新兴词语）小康
现代作品（打一新兴词语）非典
天女散花（打一新兴词语）高消费
华夏英姿（打一新兴词语）中国特色
同光阴赛跑（打一新兴词语）与时俱进
思想波动（打一文学名词）意识流
休得多言（打一文学名词）歇后语
垂涎三尺（打一文学名词）顺口溜
一表非凡（打一文学名词）神话
虚心话（打一文学名词）七言
加减乘除（打一文学名词）构成主义
何谓状元（打一文学名词）第一人称
谈笑风生（打一文学名词）即兴诗
一支香烟（打一文学名词）传奇人物
人微言轻（打一文学名词）小小说
平等待客（打一文学名词）主人公
逢人只说三句话（打一文学名词）七言绝句
夜半无人私语时（打一文学名词）黑色幽默小说
绞刑架下的报告（打一文学名词）悬念
龙舟（打一歌曲名）中国船
丹田（打一歌曲名）红土地
车谱（打一歌曲名）四季歌
玩儿房（打一歌曲名）游戏人间
天涯海角（打一歌曲名）在那遥远的地方
老式波音（打一歌曲名）涛声依旧
四方面军（打一歌曲名）东西南北兵
保持沉默（打一歌曲名）什么也不说
第一人称（打一歌曲名）那就是我黄河大合唱（打一歌曲名）摇篮曲
离别正堪悲（打一歌曲名）欢聚
新媳妇探亲（打一歌曲名）回娘家
竹林诸贤堪赞颂（打一歌曲名）七子之歌
两对情人互相思（打一歌曲名）好想好想
名诗名篇谜语
21、古都之首花如锦(打一诗句)
答案及解析：长安回望绣成堆(长安是西安的古称，列中国四大古都之首，世界四大古都之一。骊山遍植花木如锦绣，诗句“长安回望绣成堆”描写的正是此番景象，该句出自唐代诗人杜牧的《过华清宫》)
2、淡然看四季(打一诗句)
答案及解析：管他春夏与秋冬(淡然：常用义为淡泊，不趋名利，不去管任何东西。四季分为：春夏秋冬，诗句“管他春夏与秋冬”可形象解析此谜面，该句出自鲁迅的《自嘲》)
3、主人拒绝见客(打一诗句)
答案及解析：后不见来者(主人拒绝见客，那么即使是有心来访之人，也不会再屡次登门造访，诗句“后不见来者”可形象地解释此谜面，该句出自唐代诗人陈子昂的《登幽州台歌》)
4、排斥相亲(打一诗句)
答案及解析：人生不相见(相亲一般是两个素未谋面的人见面，既然是“排斥”，当然是“不希望彼此相见”，可缩减为“不相见”;诗句“人生不相见”正好符合谜面意思，该句出自唐代诗人杜甫的《赠卫八处士》)
5、销声匿迹(打一诗句)
答案及解析：千山鸟飞绝(销声匿迹是指：没有声音，不见踪影。而“绝”有绝迹、灭绝之意，诗句“千山鸟飞绝”可形象地解释此谜面，该句出自唐代诗人柳宗元的《江雪》)
6、脸面尽失(打一诗句)
答案及解析：人面不知何处去(失面子，即为：丢面子;既然失去了，便不可寻得其踪影，不知道去了哪里;诗句“人面不知何处去”可形象解释此谜面，词句出自唐代诗人崔护的《题都城南庄》)
7、全线飘绿(打一诗句)
答案及解析：万条垂下绿丝绦(“全线”两字说明是整体，而“飘绿”二字则说明物体表面均呈现出绿色，散发了春天的气息，诗句“万条垂下绿丝绦”可形象解析此谜面，该句出自唐代诗人贺知章的《咏柳》)
8、七仙女爱上董永(打一诗句)
答案及解析：只羡鸳鸯不羡仙(七仙女和董永的爱情故事是众所周知的，身为仙女的七仙女不奢求天上的生活，却喜欢人间似鸳鸯的眷侣生活。诗句“只羡鸳鸯不羡仙”可形象解析此谜面，该句出自唐代诗人卢照邻《长安古意》)
9、一人自驾游(打一诗句)
答案及解析：寂寞开无主(一个人的自驾游，说明旅途中很寂寞，很茫然，诗句“寂寞开无主”可形象解释此谜面，该句出自南宋诗人陆游的《卜算子·咏梅》)
10、安息香(打一诗句)
答案及解析：春眠不觉晓(从谜面上看，可引申为：睡觉睡得格外安稳、香甜，诗句“春眠不觉晓”的意思为：春天的夜晚一直甜甜地睡到天亮，与谜面意思相近，该句出自唐代诗人孟浩然的《春晓》)
11、探头迎春(打一诗句)
答案及解析：一枝红杏出墙来(探头，可理解为：伸出头来，春天是百花齐放的季节，诗句“一枝红杏出墙来”意为：一枝红杏探出墙头，向人们炫耀着春天的美丽，可生动形象地解释此谜面，此句出自宋代诗人叶绍翁的《游园不值》)
12、绿卡(打一诗句)
答案及解析：春风不度玉门关(绿色是春天的象征，“卡”有“卡住”之意，可引申为：“过不去，无法度过”。诗句“春风不度玉门关”可解释此谜面，此句出自唐朝王之涣的《凉州词》)
13、热恋中的情侣(打一诗句)
答案及解析：相看两不厌(人们常说：热恋中的人智商都比较低，不论是对方的优点还是缺点，都能接受，绝无讨厌之意。诗句“相看两不厌”正好能够解析此谜面。此句出自唐代诗人李白的《独坐敬亭山》)
14、此生不为草莽(打一诗句)
4.易写错的一些名诗佳句 篇四
1.江山代有才人出，各领风骚数百年。诗句出自清代赵翼的《论诗》，句中的“才人”常常被误写作“人才”。
2.两情若是久长时，又岂在朝朝暮暮。词句出自北宋秦观的《鹊桥仙》，句中的“久长”不能误作“长久”。
3.天不生仲尼，万古如长夜。诗句出自北宋强幼安的《唐子西文录》，句中的“如长夜”不能误作“长如夜”。诗句的意思是：假如没有孔子的诞生，那么人类社会就像黑夜一样没有光明。倘若说“万古长如夜”，则语义不通，难道说万古仅仅如同一夜那么长？
4.江南忆。最忆是杭州。词句出自唐代白居易的《忆江南》，句中的“江南忆”不能误作“忆江南”。
5.欲把西湖比西子，淡妆浓抹总相宜。诗句出自北宋苏轼的《饮湖上初晴后雨》，句中的“淡妆浓抹”不能误作“浓妆淡抹”。
6.腰缠十万贯，骑鹤上扬州。语句出自南朝梁殷芸的 《殷芸小说》 ： “有客相从，各言所志，或愿为扬州刺史，或愿多资财，或愿骑鹤上升。其一人曰：‘腰缠十万贯，骑鹤上扬州。’欲兼三者。”句中的“上扬州”不能误作“下扬州”。
7.长风破浪会有时，直挂云帆济沧海。诗句出自唐代李白的《行路难》，句中的“长风破浪”不能误作“乘风破浪”。
8.海上生明月，天涯共此时。诗句出自唐代张九龄的《望月怀远》，句中的“生”不能误作“升”。
9.天生我材必有用，千金散尽还复来。诗句出自唐代李白的《将进酒》，句中的“天生我材”不能写作“天生我才”。
10.抽刀断水水更流，举杯销愁愁更愁。诗句出自唐代李白的《宣州谢朓楼饯别校书叔云》，句中的“销愁”不能写作“消愁”。同样，《将进酒》中“与尔同销万古愁”也不能写作“与尔同消万古愁”。
11.问渠那得清如许，为有源头活水来。诗句出自南宋朱熹的《观书有感》，句中的“那”不能误作“哪”。同样，陆游《书愤》中的“早岁那知世事艰”和柳永《雨霖铃》中的“多情自古伤离别，更那堪、冷落清秋节”，“那”均不能误作“哪”。
12.问世间情是何物，直教生死相许？词句出自金代元好问的《摸鱼儿》，句中的“教”不能误作“叫”。
13.三顾频烦天下计，两朝开济老臣心。诗句出自唐代杜甫的《蜀相》，概括了诸葛亮一生的辅国功业。“频烦”是指屡屡、多次，指刘备常跟诸葛亮商讨统一天下的策略，这里的“烦”不能写作“繁”。
5.春天的佳句名诗 篇五
● 春到三分暖。
● 春天三日晴。
● 春雨贵如油。
● 一年四季春为首。
● 一年之计在于春。
● 春风不刮，草芽不发。
● 春天孩子面，一日三变脸。
● 肥不过春雨，苦不过秋霜。
● 季节不等人，春日胜黄金。
● 春天人们起得早，秋后人马吃得饱。
● 春天深耕一寸土，秋天多打万石谷。
● 十年老不了一个人，一天误掉了一个春。
● 青年是人类的春天。——郭沫若
● 春城无处不飞花。——韩愈
● 红杏枝头春意闹。——宋祁
● 东方风来满眼春。——李贺
● 春到人间万物鲜。——冯梦龙
● 春到人间草木知。——张拭
● 春色满园关不住，一枝红杏出墙来。——叶绍翁
● 日出江花红似火，春来江水绿如蓝。——白居易
● 春风又绿江南岸，明月何时照我还?——王安石
● 不知细叶谁裁出，二月春风似剪刀。——贺知章
● 竹外桃花三两枝，春江水暖鸭先知。——苏轼
● 沉舟侧畔千帆过，病树前头万木春。——刘禹锡
6.元稹名诗名句 篇六
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。
初除浙东
今日双旌上越州，会稽旁带六诸侯。
海楼翡翠闲相逐，镜水鸳鸯暖共游。
再酬复言和夸州宅
会稽天下本无俦，任取苏杭作辈流。
断发仪刑千古学，奔涛翻动万人忧。
石缘类鬼名罗刹，寺为因坟号虎丘。
莫著诗章远牵引，由来北郡似南州。
重夸州宅旦暮景色
仙都难画亦难书，暂合登临不合居。
绕郭烟岚新雨后，满山楼阁上灯初。
以州宅夸于乐天
州城迥绕拂云堆，镜水稽山满眼来。
我是玉皇香案吏，谪居犹得住蓬莱。
送王十一郎游剡中
越州都在浙河湾，尘土消沉景象闲。
想得玉郎乘画舸，几回明月坠云间。
叹卧龙
拨乱扶危主,殷勤受托孤。
英才过管乐,妙策胜孙吴。
凛凛出师表，堂堂八阵图。
如公全盛德，应叹古今无!
行宫
寥落古行宫，宫花寂寞红。
白头宫女在，闲坐说玄宗。
离思五首
自爱残妆晓镜中，环钗漫篸绿丝丛。
须臾日射燕脂颊，一朵红苏旋欲融。
山泉散漫绕阶流，万树桃花映小楼。
闲读道书慵未起，水晶帘下看梳头。
红罗著压逐时新，吉了花纱嫩麹尘。
第一莫嫌材地弱，些些纰缦最宜人。
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。
寻常百种花齐发，偏摘梨花与白人。
今日江头两三树，可怜和叶度残春。
遣悲怀三首
谢公最小偏怜女，嫁与黔娄百事乖。
顾我无衣搜荩箧，泥他沽酒拔金钗。
野蔬充膳甘长藿，落叶添薪仰古槐。
今日俸钱过十万，与君营奠复营斋。
昔日戏言身后意，今朝皆到眼前来。
衣裳已施行看尽，针线犹存未忍开。
尚想旧情怜婢仆，也曾因梦送钱财。
诚知此恨人人有，贫贱夫妻百事哀。
闲坐悲君亦自悲，百年都是几多时。
邓攸无子寻知命，潘岳悼亡犹费词。
同穴窅冥何所望，他生缘会更难期。
唯将终夜长开眼，报答平生未展眉。
春鸠
春鸠与百舌，音响讵同年。如何一时语，俱得春风怜。
犹知化工意，当春不生蝉。免教争叫噪，沸渭桃花前。
芳树
芳树已寥落，孤英尤可嘉。可怜团团叶，盖覆深深花。
游蜂竞钻刺，斗雀亦纷拏。天生细碎物，不爱好光华。
非无歼殄法，念尔有生涯。春雷一声发，惊燕亦惊蛇。
清池养神蔡，已复长虾蟆。雨露贵平施，吾其春草芽。
兔丝
人生莫依倚，依倚事不成。君看兔丝蔓，依倚榛与荆。
荆榛易蒙密，百鸟撩乱鸣。下有狐兔穴，奔走亦纵横。
樵童斫将去，柔蔓与之并。翳荟生可耻，束缚死无名。
桂树月中出，珊瑚石上生。俊鹘度海食，应龙升天行。
灵物本特达，不复相缠萦。缠萦竟何者，荆棘与飞茎。
种竹
昔公怜我直，比之秋竹竿。秋来苦相忆，种竹厅前看。
失地颜色改，伤根枝叶残。清风犹淅淅，高节空团团。
鸣蝉聒暮景，跳蛙集幽阑。尘土复昼夜，梢云良独难。
丹丘信云远，安得临仙坛。瘴江冬草绿，何人惊岁寒。