朱自清荷塘月色英語全文

　　荷塘月色是美妙溫馨的，這樣的景色當然能給人以喜悅。以下是小編幫大家整理的朱自清荷塘月色英語全文，僅供參考，希望能夠幫助到大家。

　　The last few days have found me very restless. This evening as I sat in the yard to enjoy the cool, it struck me how different the lotus pool I pass every day must look under a full moon. The moon was sailing higher and higher up the heavens, the sound of childish laughter had died away from the lane beyond our wall, and my wife was in the house patting Juner and humming a lullaby to him. I quietly slipped on a long gown, and walked out leaving the door on the latch.

　　A cinder - path winds along by the side of the pool. It is off the beaten track and few pass this way even by day, so at night it is still more quiet. Trees grow thick and bosky all around the pool, with willows and other trees I cannot name by the path. On nights when there is no moon the track is almost terrifyingly dark, but tonight it was quite clear, though the moonlight was pale.

　　Strolling alone down the path, hands behind my back, I felt as if the whole earth and sky were mine and I had stepped outside my usual self into another world. I like both excitement and stillness, under the full moon, I could think of whatever I pleased or of nothing at all, and that gave me a sense of freedom. All daytime duties could be disregarded. That was the advantage of solitude: I could savour to the full that expanse of fragrant lotus and the moonlight.

　　As far as eye could see, the pool with its winding margin was covered with trim leaves, which rose high out of the water like the flared skirts of dancing girls. And starring these tiers of leaves were white lotus flowers, alluringly open or bashfully in bud, like glimmering pearls, stars in an azure sky, or beauties fresh from the bath. The breeze carried past gusts of fragrance, like the strains of a song faintly heard from a far-off tower. And leaves and blossoms trembled slightly, while in a flash the scent was carried away. As the closely serried leaves bent, a tide of opaque emerald could be glimpsed. That was the softly running water beneath, hidden from sight, its colour invisible, though the leaves looked more graceful than ever.

　　Moonlight cascaded like water over the lotus leaves and flowers, and a light blue mist floating up from the pool made them seem washed in milk or caught in a gauzy dream. Though the moon was full, a film of pale clouds in the sky would not allow its rays to shine through brightly; but I felt this was all to the good - though refreshing sleep is indispensable, short naps have a charm all their own. As the moon shone from behind them, the dense trees on the hills threw checkered shadows, dark forms loomed like devils, and the sparse, graceful shadows of willows seemed painted on the lotus leaves. The moonlight on the pool was not uniform, but light and shadow made up a harmonious rhythm like a beautiful tune played on a violin.

　　Far and near, high and low around the pool were trees, most of them willows. These trees had the pool entirely hemmed in, the only small clearings left being those by the path, apparently intended for the moon. All the trees were somber as dense smoke, but among them you could make out the luxuriant willows, while faintly above the tree-tops loomed distant hills - their general outline only. And between the trees appeared one or two street lamps, listless as the eyes of someone drowsy. The liveliest sounds at this hour were the cicadas chirruping on the trees and the frogs croaking in the pool; but this animation was theirs alone, I had no part in it.

　　Then lotus-gathering flashed into my mind. This was an old custom south of the Yangtse, which apparently originated very early and was most popular in the period of the Six Kingdoms,* as we see from the songs of the time. The lotus were picked by girls in small boats, who sang haunting songs as they padded. They turned out in force, we may be sure, and there were spectators too, for that was a cheerful festival and a romantic one. We have a good account of it in a poem by Emperor Yuan of the Liang dynasty called Lotus Gatherers:

　　Deft boys and pretty girls

　　Reach an understanding while boating;

　　Their prows veer slowly,

　　But the winecups pass quickly;

　　Their oars are entangled,

　　As they cut through the duckweed,

　　And girls with slender waists

　　Turn to gaze behind them.

　　Now spring and summer meet,

　　Leaves are tender, flowers fresh;

　　With smiles they protect their silks,

　　Drawing in their skirts, afraid lest the boat upset.

　　There we have a picture of these merry excursions. This must have been a delightful event, and it is a great pity we cannot enjoy it today.

　　I also remember some lines from the poem West Islet:

　　When they gather lotus at Nantang in autumn

　　The lotus blooms are higher than their heads;

　　They stoop to pick lotus seeds,

　　Seeds as translucent as water.

　　If any girls were here now to pick the lotus, the flowers would reach above their heads too -- ah, rippling shadows alone are not enough! I was feeling quite homesick for the south, when I suddenly looked up to discover I had reached my own door. Pushing it softly open and tiptoeing in, I found all quiet inside, and my wife was fast asleep.

　　荷塘月色

　　朱自清

　　這幾天心里頗不寧靜。今晚在院子里坐著乘涼，忽然想起日日走過的荷塘，在這滿月的光里，總該另有一番樣子吧。月亮漸漸地升高了，墻外馬路上孩子們的歡笑，已經(jīng)聽不見了；妻在屋里拍著閏兒，迷迷糊糊地哼著眠歌。我悄悄地披了大衫，帶上門出去。

　　沿著荷塘，是一條曲折的小煤屑路。這是一條幽僻的路；白天也少人走，夜晚更加寂寞。荷塘四面，長著許多樹，蓊蓊郁郁的。路的一旁，是些楊柳，和一些不知道名字的樹。沒有月光的晚上，這路上陰森森的，有些怕人。今晚卻很好，雖然月光也還是淡淡的。

　　路上只我一個人，背著手踱著。這一片天地好像是我的；我也像超出了平常的自己，到了另一世界里。我愛熱鬧，也愛冷靜；愛群居，也愛獨處。像今晚上，一個人在這蒼茫的月下，什么都可以想，什么都可以不想，便覺是個自由的人。白天里一定要做的事，一定要說的話，現(xiàn)在都可不理。這是獨處的妙處，我且受用這無邊的荷香月色好了。

　　曲曲折折的荷塘上面，彌望的是田田的葉子。葉子出水很高，像亭亭的舞女的裙。層層的葉子中間，零星地點綴著些白花，有裊娜地開著的，有羞澀地打著朵兒的；正如一粒粒的明珠，又如碧天里的星星，又如剛出浴的美人。微風過處，送來縷縷清香，仿佛遠處高樓上渺茫的歌聲似的。這時候葉子與花也有一絲的顫動，像閃電般，霎時傳過荷塘的那邊去了。葉子本是肩并肩密密地挨著，這便宛然有了一道凝碧的波痕。葉子底下是脈脈的流水，遮住了，不能見一些顏色；而葉子卻更見風致了。

　　月光如流水一般，靜靜地瀉在這一片葉子和花上。薄薄的青霧浮起在荷塘里。葉子和花仿佛在牛乳中洗過一樣；又像籠著輕紗的夢。雖然是滿月，天上卻有一層淡淡的云，所以不能朗照；但我以為這恰是到了好處——酣眠固不可少，小睡也別有風味的。月光是隔了樹照過來的，高處叢生的灌木，落下參差的斑駁的黑影，峭楞楞如鬼一般；彎彎的楊柳的稀疏的倩影，卻又像是畫在荷葉上。塘中的月色并不均勻；但光與影有著和諧的旋律，如梵婀玲上奏著的名曲。

　　荷塘的四面，遠遠近近，高高低低都是樹，而楊柳最多。這些樹將一片荷塘重重圍住；只在小路一旁，漏著幾段空隙，像是特為月光留下的。樹色一例是陰陰的，乍看像一團煙霧；但楊柳的豐姿，便在煙霧里也辨得出。樹梢上隱隱約約的是一帶遠山，只有些大意罷了。樹縫里也漏著一兩點路燈光，沒精打采的，是渴睡人的眼。這時候最熱鬧的，要數(shù)樹上的蟬聲與水里的蛙聲；但熱鬧是它們的，我什么也沒有。

　　忽然想起采蓮的事情來了。采蓮是江南的舊俗，似乎很早就有，而六朝時為盛；從詩歌里可以約略知道。采蓮的是少年的女子，她們是蕩著小船，唱著艷歌去的。采蓮人不用說很多，還有看采蓮的人。那是一個熱鬧的季節(jié)，也是一個風流的季節(jié)。

　　梁元帝《采蓮賦》里說得好：于是妖童媛女，蕩舟心許；鷁首徐回，兼?zhèn)饔鸨�；欋將移而藻掛，船欲動而萍開。爾其纖腰束素，遷延顧步；夏始春余，葉嫩花初，恐沾裳而淺笑，畏傾船而斂裾。

　　可見當時嬉游的光景了。這真是有趣的事，可惜我們現(xiàn)在早已無福消受了。

　　于是又記起《西洲曲》里的句子：

　　采蓮南塘秋，蓮花過人頭；低頭弄蓮子，蓮子清如水。今晚若有采蓮人，這兒的蓮花也算得“過人頭”了；只不見一些流水的影子，是不行的。這令我到底惦著江南了�！�—這樣想著，猛一抬頭，不覺已是自己的門前；輕輕地推門進去，什么聲息也沒有，妻已睡熟好久了。

　　朱自清荷塘月色結(jié)構(gòu)

　　《荷塘月色》是朱自清先生在1927年7月創(chuàng)作的一篇膾炙人口的經(jīng)典美文。文章以作者內(nèi)心“頗不寧靜”開始，到“超越了現(xiàn)實的自己”，最后又回歸現(xiàn)實，“猛一抬頭，不覺已到了自己家門前”作結(jié)。從文章整體結(jié)構(gòu)來看，作者經(jīng)歷了“不寧靜—寧靜—不寧靜”的過程。

　　《桃花源記》描述的是一個人人平等，富足和諧的理想社會境界，與現(xiàn)實世界相比，恍如隔世，“尋向所志，遂迷，不復(fù)得路�！笨删褪沁@樣一個理想化的、烏托邦式的社會，最能凸顯作者想要超越現(xiàn)實，超越自我，超越困苦，尋求內(nèi)心世界那一片詩意的棲息的心靈港灣。在結(jié)構(gòu)模式上，兩篇散文的作者均在“現(xiàn)實世界—理想世界—現(xiàn)實世界”的模式下，苦苦尋求，想借助外力超越現(xiàn)實帶來的苦惱與惆悵，但最終回避不了現(xiàn)實的羈絆，不得不帶著些許的惆悵與淡淡的愁緒離去，終了還是魂牽夢縈，津津樂道，難以忘情。這不同于一般的虛構(gòu)，而是作者潛意識里的一種理想，一種美的象征。

　　一、現(xiàn)實世界——理想世界——現(xiàn)實世界

　　《荷塘月色》一文精心營造了一種超越現(xiàn)實的凝重氛圍，開篇第一句：“這幾天心里頗不寧靜”道出了朱自清煩亂不安、猶豫彷徨的心態(tài)�！靶纳铣ＳX有一點除不去的陰影，這卻是真的。我是要找一條自己好走的路……我所彷徨的就是這個�！痹谛蕊L血雨的時代浪潮的鼓動下，作者找不到一條適合自己的路可走，時代也不會量身定做一條路給他走，“我既不能參加革命或反革命，總得找一個依據(jù)，才可姑作安心地過日子。我是想找一件事，鉆了進去，消磨了這一生。”[1]這是作者惶惑不安，尋求超脫現(xiàn)實，釋放內(nèi)心煩憂的寫照，想找一塊可供暫時消遣的港灣，讓自己不寧靜的心寧靜下來。所以，作者就在這個愁腸千結(jié)之時想到了“日日走過的荷塘”，“這一片天地好像是我的；我也像超出了平常的自己，到了另一個世界�！弊髡咝哪恐械摹傲硪粋�世界”或許就是他的理想世界，抑或是曲徑通幽處的避風港。因為腥風血雨蕩滌著作者身為一介文人所無法容忍的殘酷的現(xiàn)實，加之作者在此關(guān)鍵的歷史時刻還沒找到自己所要走的路，所以彷徨、失落、無措也就可想而知，鬧中取靜，實屬必然。寂靜的月色下，饒有風趣的荷塘，零星地點綴些許蛙聲、蟬鳴就是作者以鬧襯靜的真情流露�！敖�南采蓮”本是一場熱鬧的活動，這里不在于作者聯(lián)想到了什么，深層次的內(nèi)心寫照是“求靜”，一味地專注“荷香月色”已不能滿足作者“此時此刻”的情感需求，他要“化腐朽為神奇”，“化變煉鋼為繞指柔”，在靜中超然物化。看似了無輕重的一筆，實則是舉輕若重。文章的4—6自然段就是順應(yīng)作者尋求剎那間的“寧靜”，排解心緒的憂愁而生的。在此“理想世界”中，作者提及“熱鬧是他們的，我什么也沒有”，這樣的一個世外桃源，超現(xiàn)實的影像，只能蕩起他內(nèi)心的一點漣漪而已。最終還是要回到現(xiàn)實當中，“猛一抬頭，不覺已是自己的門前”作者所苦心經(jīng)營的“理想世界”其實正是其內(nèi)心的真實寫照。散文最關(guān)鍵的是情景交融，用王國維的話來詮釋就是“一切景語皆情語”。作者在現(xiàn)實與理想間糾結(jié)、交纏，完成了一次思想與情感的空前凈化，也表現(xiàn)出了一代知識分子在時代洪流中的彷徨與困惑：一是找不到路可走的迷茫；二是找到了路后的彷徨。作者此時的心態(tài)正值前者，所以，折射到文章中，其生活軌跡就似畫了一個圓圈。

　　二、不寧靜——寧靜——不寧靜

　　形散而神不散是散文的特點，《荷塘月色》中的客觀景物時刻都映射著作者的主觀感情。無論是現(xiàn)實世界，還是理想世界，總是與作者的情感相伴。體現(xiàn)在文章結(jié)構(gòu)上就是“不寧靜—寧靜—不寧靜”的模式。

　　作者置身于月下荷塘的良辰美景中，旨在排遣心緒的“不寧靜”，“披了長衫，帶上門出去”，踽踽獨行于荷香月色的“世界”，暫時離開了混沌的現(xiàn)實世界，心靈上獲得短暫的釋懷，“什么都可以想，什么都可以不想”“白天里一定要做的事，一定要說的話，現(xiàn)在都可不理”“受用這無邊的荷香月色了”。但作者真能做到超然物外嗎？真能逃避現(xiàn)實的紛紛擾擾嗎？在這個“世界”里，作者所能做的也許就剩下曲曲折折地吐露出抑郁的心緒了，因為終歸還要回到魂牽夢縈的現(xiàn)實世界，眼前的世界才是最終的歸宿。也正是這些情思，才表露了那個破碎的年代里不甘隨波逐流、同流合污卻又懷揣著救世無路的知識分子的苦悶心境。這時的“荷塘月色圖”仿佛沾染了作者的情愫，如同“感時花濺淚，恨別鳥驚心”一般，“一切景語皆情語”，處處彰顯著一層淡淡的朦朧之美。荷塘上隱隱約約地浮著“薄薄的輕霧”，葉子和花就像在“牛乳”中洗過一樣，天上還有一層“淡淡的云”荷塘四周的樹木也是“陰陰的”。仿佛看得清卻又隱隱約約地看不清。在這蒼茫的月色下，“以我觀物，物皆著我之色彩”，作者的心緒從不寧靜到尋靜，可在得靜之時，卻又回到了不寧靜。

　　三、拆開來看，拆穿來看

　　若以上論述是從文章的整體布局而言，那么下面來看《荷塘月色》的內(nèi)部構(gòu)造。在作者苦心經(jīng)營的荷香月色的“理想世界”中（即文本中的第4—6自然段精華部分），作者表露了他對待生活的態(tài)度：“于每事每物，必要拆開來看，拆穿來看；無論錙銖之別，緇澠之辨，總要看出而后已，正如顯微鏡一樣。這樣可以辯出許多新異的滋味，”這三段中，都以荷塘和月色為主要景物，第一幅畫面荷塘是主景，月色是背景�！昂商辽厦鎻浲�的是田田的葉子”“零星地點綴些白花”“送來縷縷清香”“宛然有了一道凝碧的波痕”。這里是按荷葉、荷花、荷香、荷波的順序婉婉道來。第二幅畫面荷塘成了背景，月色變成了主景。“月光如流水一般”，月下的荷葉“仿佛在牛乳中洗過一樣”“又像籠著輕紗的夢”。作者把荷塘月色這一審美對象拆開來分別描述，“并不是生硬地割裂描寫對象，因為他始終是把被分成的兩個部分的月色與荷塘聯(lián)結(jié)在一起描寫的，不過兩次描寫的角度不同，即作為主景和背景的地位相互調(diào)換一下罷了�！�

　　四、荷月意象

　　盡管《荷塘月色》寫得非常漂亮，然而，我們讀后還是感覺好像缺了點什么東西似的——“掙扎和戰(zhàn)斗的力量”。作者創(chuàng)作這篇散文時正值白色恐怖籠罩整個中華大地，革命前途未卜，而作者卻在月下夜游，原因何在？一個可能是作者無視血淋淋的現(xiàn)實；另一個可能是作者雖正視現(xiàn)實，可無法至少一時無法接受這種現(xiàn)實，不滿之余，流露出超脫塵世的感喟。此說之依據(jù)，就是荷花，明月這兩個意象。荷花本是高潔的象征，“出淤泥而不染，濯清漣而不妖”；明月的意象復(fù)雜多變，多與作者的心境，外物的情境共榮共生，“明月松間照，清泉石上流”“露從今夜白，月是故鄉(xiāng)明”“舉杯邀明月，對影成三人”，她可以是純潔，思鄉(xiāng)，孤獨的象征等等，借此分析作者筆下的荷塘月色：孤芳自賞，潔身自好的朱自清先生迫于環(huán)境的限制，在人生十字路口處的孤獨、徘徊的心態(tài)也就成為了一種必然的選擇�！疤锾锏摹薄巴ねさ摹薄懊}脈的”仿佛玉女姍姍來遲；“清香”飄飄忽忽宛若“歌聲”悠揚；“蟬聲”“蛙聲”“采蓮”熱熱鬧鬧如同“嫻靜”中獨處，好一幅現(xiàn)代版的“世外桃源”景象，讓我們仿佛看到一位披著長衫，步履嫻熟，幽靜中透露帶著點感傷的學子“飄飄乎如遺世而獨立”，行走于“荷塘月色”間。

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