背起行囊走四方英語作文

　　在平平淡淡的學習、工作、生活中，大家都不可避免地會接觸到作文吧，作文是經過人的思想考慮和語言組織，通過文字來表達一個主題意義的記敘方法。如何寫一篇有思想、有文采的作文呢？下面是小編精心整理的背起行囊走四方英語作文，僅供參考，大家一起來看看吧。

　　背起行囊走四方，踏著是歷史，背著是書箱，縱身幾千年，橫跨幾萬里。——究竟是什么有這么大的威力呢？對了，這就是文學，是古代的寫景詩歌。

　　Carrying bags, walking around, following history, carrying a bookcase, thousands of years, across tens of thousands of miles. ——What is so powerful? By the way, this is literature. It's ancient landscape poetry.

　　而又因為其情景交融，故不僅可以使人見景，又可使人通情，可謂是世上最劃算的旅行了。

　　And because of the combination of the scenery, it can not only make people see the scenery, but also make people empathy, which is the most cost-effective travel in the world.

　　在這里有張九齡《望月懷遠》中“海上升明月，天涯共此時”的戀戀念情；有王維《使至塞上》中“大漠孤煙直，長河落日圓”的雄奇風光；有李白《早發白帝城》中“兩岸猿聲啼不住，輕舟已過萬重山”的疾濟喜情；有青蓮《論詩》中“清水出芙蓉，天然去雕飾”的詩情雅韻；有太白《送孟浩然之廣陵》中“孤帆遠影碧空盡，唯見長江天際流”的依依離情；有李商隱《晚情》中“天意憐幽草，人間重晚情”的珍老惜時；有張繼《風橋夜泊》中“孤蘇城外寒山寺，夜半鐘聲到客船”綿綿旅情；有俞文豹《清夜錄》中“近水樓臺先得月，向陽花木易為春”的天然哲思；有柳宗元《漁翁》中“煙銷日出不見人，欸乃一聲山水綠”的鄉村剪影；還有孔尚任《桃花扇·哀江南》中“白鳥飄飄，綠水滔滔”的冶情佳境……

　　Here are Zhang Jiuling's love thoughts of "the sea rises, the moon rises, and the ends of the earth are at this time"; Wang Wei's magnificent scenery of "the desert is straight, the river falls yen"; Li Bai's Ji Ji joy of "the apes on both sides cannot sing, and the light boat has passed the mountains"; Qinglian's "the poem of Confucius" the clear water comes out of the lotus, and the natural decoration is done ”In Taibai's "sending Meng Haoran to Guangling", there is "the lonely sail far away, the shadow in the blue sky, and only the flow of the Yangtze River in the sky". In Li Shangyin's "late love", there is "Heaven's love for the grass, and the world's love for the late". In Zhang Ji's "wind bridge and Night Mooring", there is "cold mountain temple outside the city of Gushu, and the bell goes to the passenger ship at night". In Yu Wenbao's "clear night record", there is "near water" The natural philosophy of "the moon comes before the tower, and the sunflowers and trees are easy to spring"; the village silhouette of "the rising of smoke and the rising of sun is a sound of landscape green" in Liu Zongyuan's "Fisherman"; the beautiful scene of "white birds fluttering and green water surging" in Kong Shangren's "Peach Blossom Fan and mourning for the south of the Yangtze River"

　　面對這些美妙的詩句，我們似乎可以研究一下古詩詞中“情，思，景”的關系。明代的袁宏道在《敘小修詩》中曾說：“情隨境變，字逐情生。”同時代的學者袁枚也說：“品畫先神韻，論詩重性情。”

　　In the face of these wonderful verses, it seems that we can study the relationship of "feeling, thinking and scenery" in ancient poetry. Yuan Hongdao of the Ming Dynasty once said in the poem of Xu Xiaoxiu, "emotion changes with the environment, and words grow with emotion." Yuan Mei, a scholar at the same time, also said that "painting begins with verve and poetry focuses on temperament."

　　那么，在對古代詩詞的管中窺豹中，似乎可以得到一個關于“情，思，景”的這樣的結論：以情觀景或因景生情，然后又由景而思。這或許是大多數作品的寫作模式，我們把這種寫作模式叫做“即興寫作”。那么，在“即興寫作”中應偏情呢，還是偏景呢？

　　Then, from the perspective of ancient poetry, it seems that we can get a conclusion about "feeling, thinking, and scenery": to view scenery by feeling or by scenery, and then by scenery. This may be the writing mode of most works, which we call "improvisation". So, in the "improvisation" should be partial to the situation, or partial to the scene?

　　清代的吳喬這樣說：“古詩多言情，后世之詩多言景。如《十九首》之中：‘孟冬寒氣至’，建安中之子建《贈丁儀》：‘初秋涼氣發’者無幾；日盛一日，梁陳大盛，至唐末而有清空如話之說，絕無關于性情，畫也非詩也。夫詩以情為主，景為賓。景物無自生，惟情所化，情哀則景哀，情樂則景樂。唐詩能融景入情，寄情于景，如子美之：‘近淚無乾土，低空有斷云’；沈下賢之：‘梨花寒食夜，深閉翠微宮’；嚴維之：‘柳塘春水漫，花塢夕陽遲’；祖詠之：‘遲日園林好，清明煙火新’；景中哀樂之情宛然，唐人勝場也。宏嘉人依盛唐皮毛以造句者，本自無意，不能融景，況其敘景惟欲闊大高遠，于情全不相關，如寒夜以板為被，赤身而掛鐵甲。”

　　In the Qing Dynasty, Wu Qiao said, "the ancient poems are full of love, and the later poems are full of scenery.". For example, in the nineteen poems, Meng Dong is cold, and in the book of giving Ding Yi, the son of Jian'an, there are few people who are cool in the early autumn; in the day of prosperity, Liang and Chen are prosperous, and in the end of Tang Dynasty, there is no such thing as emptiness, which is nothing about temperament, and painting is not poetry. Fu Poetry is based on emotion and the scenery is the object. The scenery is not self-sustaining, but the emotion is changed. When the emotion is sad, the scenery is sad. When the emotion is happy, the scenery is happy. Tang poetry can integrate the scenery into the sentiment, and place the sentiment on the scenery, such as Zimei's: "there is no dry land near the tears, and clouds are broken in the low sky"; shenxiaxian '. Hongjia people, who made sentences based on the fur of the Tang Dynasty, had no intention of merging with the scenery. What's more, they wanted to describe the scenery in a broad and far-reaching way, which had nothing to do with their feelings. For example, they used boards as covers in cold nights and hung iron armour naked. "

　　這其中便揭示了詩的創作原則：“情為主，景為賓”，“景物無自生，惟情所化”，“融景入情，寄情于景”。至于孰輕孰重，不言而明。

　　This reveals the creation principle of the poem: "the emotion is the main, the scenery is the object", "the scenery does not have its own life, but the emotion is changed", "melts the scenery into the emotion, places the emotion in the scenery". As for which is more important, it is clear without saying.

　　本著這些原則，繼續賞析古代景的詩，璣珠與瑕疵便會自生。

　　In line with these principles, if we continue to appreciate the poems of ancient landscape painting, the Abas and defects will come into being.

　　應該說，這是確是一場劃算的旅行，不僅領略了天下風光，更了解了詩人的心胸情懷，還能小試牛刀品頭論足，快哉快哉！

　　It should be said that this is indeed a cost-effective trip, not only to appreciate the scenery of the world, but also to understand the poet's mind and feelings, as well as to make a small test of NiuDao's comments, so fast!

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