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Handout for the students of the appreciation of famous English poems

Sonnet 18 William Shakespeare

Shall I compare thee to a summer's day?

Thou art more lovely and more temperate :

Rough winds do shake the darling buds of May,

And summer's lease hath all too short a date:

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimmed,

And every fair from fair sometime declines,

By chance, or nature's changing course untrimmed:

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow'st,

Nor shall death brag thou wand'rest in his shade ,

When in eternal lines to time thou grow'st ,

So long as men can breathe or eyes can see,

So long lives this , and this gives life to thee.

What makes the poet think that “thou”can be more

Sonnet29 William Shakespeare

When, in disgrace with fortune and men’s eyes,

I all alone beweep my outcast state,

And trouble dead heaven with my bootless cries,

And look upon myself, and curse my fate,

Wishing me like to one more rich in hope,

Featured like him, like him with friends possessed,

Desiring this man’s art and that man’s scope,

With what I most enjoy contented least;

Y et in these thoughts myself almost despising,

Haply I think on thee—and then my state,

Like to the lark at break of day arising

From sullen earth, sings hymns at heaven’s gate;

For thy sweet love rememb’red such wealth brings

That then I scorn to change my state with kings.

Methought I Saw My Late Espoused Saint John Milton

Methought I saw my late espoused saint

Brought to me like Alcestis from the grave,

whom Jove’s great son to her glad husband gave,

Rescued from death by force though pale and faint,

Mine, as whom washed from spot of childbed taint,

Purification in the old law did save,

And such, as yet once more I trust to have

Full sight of her in Heaven without restraint,

Came vested all in white, pure as her mind.

Her face was veiled, yet to my fancied sight,

Love, sweetness, goodness, in her person shined

So clear, as in no face with more delight.

But O, as to embrace me she inclined,

I waked, she fled, and day brought back my night.

Sonnet from the Portuguese

E.B. Browning

How do I love thee? Let me count the ways.

I love thee to the depth and breadth and height

My soul can reach, when feeling out of sight,

For the ends of Being and ideal Grace.

I love thee to the level of every day?s

most quiet need, by sun and candlelight.

I love thee freely, as men strive for Right;

I love thee purely, as they turn from Praise,

I love thee with the passion put to use

In my old griefs, and with my childhood’s faith.

I love thee with a love I seemed to lose

With my lost saints,-- I love thee with the breath,

Smiles, tears, of all my life:--and, if God choose,

I shall but love thee better after death.

Farewell，Love

Thomas Wyatt Farewell, love, and all thy laws forever,

Thy baited hooks shall tangle me no more;

Senec and Plato call me from thy lore,

To perfect wealth my wit for to endeavor.

In blind error when I did persever,

Thy sharp repulse, that pricketh aye so sore,

Hath taught me to set in trifles no store

And ‘scape forth since liberty is lever,

Therefore farewell, go trouble younger hearts,

And in me claim no more authority;

With idle youth go use thy property,

And thereon spend thy many brittle darts.

For hitherto though I have lost all my time,

Me lusteth no longer rotten boughs to climb.

Composed upon W estminster Bridge

William Wordsworth

Earth has not anything to show more fair:

Dull would he be of soul who could pass by

A sight so touching in its majesty;

This city now doth, like a garment, wear

The beauty of the morning; silent, bare,

Ships, towers, domes, theaters, and temples lie

Open unto the fields, and to the sky;

All bright and glittering in the smokeless air.

Never did sun more beautifully steep

In his first splendor, valley, rock, or hill;

Ne’er saw I, never felt, a calm so deep!

The river glideth at his own sweet will:

Dear God! The very houses seem asleep;

And all that mighty heart is lying still.

Further reading: Meeting at Night

by Robert Browning

The gray sea and the long black land;

And the yellow half-moon large and low:

And the startled little waves that leap

In fiery ringlets from their sleep,

As I gain the cove with pushing prow,

And quench its speed i’ the slushy sand.

Then a mile of warm sea-scented beach;

Three fields to cross till a farm appears;

A tap at the pane, the quick sharp scratch

And blue spurt of a lighted match,

And a voice less loud, through joys and fears,

Than the two hearts beating each to each!

Parting at Morning By Robert Browning

Round the cape of a sudden came the sea, 红岬见碧海 And the sun looked over the mountain?s rim: 红日俯群山

And straight was a path of gold for him, 金光大道直 And the need of a world of men for me. 男儿志四方

A Red, Red Rose

Robert Burns

O, my luve’s like a red, red rose,

That’s newly sprung in June;

O, my luve’s like the melodie

That’s sweetly played in tune.

As fair are thou, my bonnie lass,

So deep in luve am I;

And I will luve thee still, my dear,

Till all the seas gang dry.

Till all the seas gang dry, my dear,

And the rocks melt with the sun:

I will luve thee still, my dear,

While the sands o’life shall run.

And fare thee weel, my only luve!

And fare thee weel awhile!

And I will come again, my luve,

Though it were ten thousand mile.

Get Up and Bar the Door

It feel about the Martinmas time, (圣马丁节）

And a gay time it was then,

When our goodwife got puddings to make,

And she’s boiled them in the pan.

The wind so cold blew south and north,

And blew into the floor;

Quoth our goodman (husband) to our good housewife, “Go out and bar the door.”

“ My hand is in my hussyfscap,

Goodman, as ye may see;

If it should not be barr’d this hundred year,

It?s not be barr?d by me.”

They made a paction ‘tween them two,

They made it firm and sure,

That the first word whoe’er should speak,

Should rise and bar the door.

Then by there came two gentlemen,

At twelve o’clock at night,

And they could neither see house nor ball,

Nor coal, nor candlelight.

“Now whether is this a rich man?s house,

Or whether is it a poor?”

But ne’er a word would one of them speak,

For barring of the door.

And first they ate white puddings,

And then they ate the black:

Tho’much thought the goodwife to herself,

Y et ne’er a word she spake.

Then said the one unto the other,

“ Here, man, take ye my knife;

Y ou Take off the old man’s beard,

And I?ll kiss the goodwife.”

“But there?s no water in the house,

And what shall we do then?”

“ What ails ye at the pudding broth,

That boils into the pan?”

O, up then started our goodman,

An angry man was he;

“ Will ye kiss my wife before my eye,

And scald me with pudding-broth?”

O, up then started our goodwife,

Made three skips on the floor;

“Goodman, you?ve spoken the foremost word;

Get up and bar the door.”

Blank verse: Blank verse is unrhymed poetry, typically in iambic pentameter, and, as such, the dominant verse form of English dramatic and narrative poetry since the mid-16th century. Blank verse is not written in stanza form. Instead, the poem is developed in verse paragraphs that vary in length. Blank verse is a flexible form of expression that gives the poet a choice of many variations within the metrical pattern.

Because of its flexibility, blank verse is especially appropriate for narrative and dramatic poetry and other longer kinds of poetry. Henry Howard, Earl of Surrey, adapted blank verse from Italian poetry to English in the early 1500’s. Christopher Marlowe and Shakespeare used this form with great power and variety in their plays. Many poets of the 1800’s and 1900’s wrote in blank verse. They include William Wordsworth, William Cullen Bryant, John Keats, Lord Tennyson, Edwin Arlington Robinson, Robert Frost, and Wallace Stevens.

Hamlet：To be, or not to be-that is the question:

Whether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune

Or to take arms against a sea of troubles,

And by opposing end them. To die-to sleep-

No more; and by a sleep to say we end

The heartache, and the thousand natural shocks

That flesh is heir to. 'Tis a consummation

Devoutly to be wish'd. To die-to sleep.

To sleep- perchance to dream : ay, there's the rub!

For in that sleep of death what dreams may come

When we have shuffled off this mortal coil,

Must give us pause. There's the respect

That makes calamity of so long life.

For who would bear the whips and scorns of time,

Th' oppressor's wrong, the proud man's contumely,

The pangs of despis‘d love, the law’s delay,

The insolence of office, and the spurns

That patient merit of th‘unworthy takes,

When he himself might his quietus make

With a bare bodkin? Who would these fardels bear,

To grunt and sweat under a weary life,

But that the dread of something after death-

The undiscover’d country, from whose bourn

No traveller returns-puzzles the will,

And makes us rather bear those ills we have

Than fly to others that we know not of?

Thus conscience does make cowards of us all,

And thus the native hue of resolution

Is sicklied o‘er with the pale cast of thought,

And enterprises of great pitch and moment

With this regard their currents turn awry

And lose the name of action .

Metaphysical：

It refers to the school of poets that appeared in the revolutionary period in England by using quite unconventional and often surprising conceits; the metaphysical poets wrote poems full of wit and humor. But sometimes the logic argument and conceits become pervasive, going to preposterous dimensions. The language is colloquial but very powerful, creating unorthodox images on the reader’s mind. John Donne and Andrew Marvell are the representative metaphysical poets.

Conceit:奇想；别出心裁的比喻。（爱情比作坟墓、太阳、海洋等

From the Italian concetto, “concept”or “idea”; used in renaissance poetry to mean a precise and detailed comparison of something more remote or abstract with something more present or concrete, and often detailed through a chain of metaphors or similes. In Petrarchan poetry, certain conceits became conventionalized and were used again and again in various versions. The connection between the Lady’s eyes and the Sun, so typical of these, was based on the proportion her gaze: love’s life and day; sun’s shining; world’s life and daylight. Conceits were closely linked to emblems, to the degree that verbal connection between the emblem picture and its meaning, was detailed in an interpretative conceit

The Flea by John Donne

Mark but this flea, and mark in this,

How little that which thou deniest me is;

Me it sucked first, and now sucks thee,

And in this flea our two bloods mingled be;

Thou know’st that this cannot be said

A sin, or shame, or loss of maidenhead,

Y et this enjoys before it woo,

And pampered swells with one blood made of two,

And this, alas, is more than we would do.

Oh stay, three lives in one flea spare,

Where we almost, nay more than married are.

This flea is you and I, and this

Our marriage bed and marriage temple is;

Though parents grudge, and you, we are met,

And cloistered in these living walls of jet.

Though use make you apt to kill me,

Let not to that, self-murder added be,

And sacrilege, three sins in killing three.

Cruel and sudden, hast thou since

Purpled thy nail in blood of innocence?

Wherein could this flea guilty be,

Except in that drop which it sucked from thee?

Y et thou triump’st, and say’st that thou

Find'st not thy self nor me the weaker now;

…Tis true; then learn how false fears be:

Just so much honor, when thou yield'st to me,

Will waste, as this flea's death took life from thee.

Questions:

1.Why does the poet say that “this cannot be said a sin, or shame, or loss of

maidenhead”?

2.What do you think is the addressee’s parents’attitude toward the poet’s wooing?

3.What is the real purpose of the poet to say that in killing the flea “thou”are actually

killing three lives?

Song

John Donne

Go, and catch a falling star,

Get with child a mandrake root,

Tell me, where all past years are,

Or who cleft the Devil’s foot,

Teach me to hear mermaids’singing,

Or to keep off envy’s stinging,

And find

What wind

Serves to advance an honest mind.

It thou beest born to strange sights,

Things invisible to see,

Ride ten thousand days and nights,

Till age snow white hairs on thee,

Thou, when thou return’st, wilt tell me

All strange wonders that befell thee,

And swear

No where

Lives a woman true, and fair.

If thou findst one, let me know,

Such a pilgrimage were sweet;

Y et do not, I would not go,

Though at next door we might meet;

Though she were true when you met her,

And last till you write your letter,

Y et she

Will be

False, ere I come, to two, or three.

Questions:

In what way is Donne’s poems different from the love poems written by other Elizabethan poets?

What is the central idea of this poem?

To His Coy Mistress

Andrew Marvell

Had we but world enough, and time,

This coyness, Lady, were no crime.

We would sit down, and think which way

To walk, and pass our long love’s day.

Thou by the Indian Ganges’tide

Should’st rubies find, I by the tide

Of Humber would complain, I would

Love you ten years before the Flood,

As you should, if you please, refuse

Till the conversion of the Jews.

My vegetable love should grow

V aster than empire and more slow.

An hundred years should go to praise

Thine eyes, and on thy forehead gaze;

Two hundred to adore each breast,

But thirty thousand to the rest;

An age at least to every part,

And the last age should show your heart?

For, Lady, you deserve this state,

Nor would I love at lower rate.

But at my back I always hear

Time’s winged chariot hurrying near;

And yonder all before us lie

Deserts of vast eternity.

Thy beauty shall no more be found;

Nor, in thy marble vault, shall sound

My echoing song; then worms shall try

That long-preserv’d virginity

And your quaint honor turn to dust,

And into ashes all my lust.

The grave’s a fine and private place,

But none I think do there embrace.

Now therefore, while the youthful hue

Sits on thy skin like morning dew,

And while thy willing soul transpires

At every pore with instant fires,

Now let us sport us while we may;

And now, like am’rous birds of prey,

Rather at once our time devour,

Than languish in his slow-chapped power.

Let us roll all our strength, and all

Our sweetness, up into one ball,

And tear our pleasures with rough strife,

Through the iron gates of life.

Thus, though we cannot make our sun

Stand still, yet we will make him run.

Dramatic Monologue

It is a lyrical poem reveals “ a soul in action”through the conversation of one character in a dramatic situation. The character is speaking to an identifiable but silent listener at a dramatic moment in the speaker’s life. The circumstances surrounding the conversation are made by implication in the poem, and a deep insight into the character of the speaker is given. Although quite an old form, it was brought to a very high level by Robert Browning. His poems. “ My Last Duchess”, “ Pippa Passes”, and T.S. Eliot?s “ The Love Song of P rufrock” are in this form too.

My Last Duchess

Ferrara Robert Browning

That's my last Duchess painted on the wall,

Looking as if she were alive. I call

That piece a wonder, now: FràPandolf 's hands

Worked busily a day, and there she stands.

Will't please you sit and look at her? I said

"FràPandolf" by design, for never read

Strangers like you that pictured countenance,

The depth and passion of its earnest glance,

But to myself they turned (since none puts by

The curtain I have drawn for you, but I)

And seemed as they would ask me, if they durst,

How such a glance came there; so, not the first

Are you to turn and ask thus. Sir, 'twas not

Her husband's presence only, called that spot

Of joy into the Duchess' cheek: perhaps

FràPandolf chanced to say, "Her mantle laps

Over my Lady's wrist too much," or "Paint

Must never hope to reproduce the faint

Half-flush that dies along her throat"; such stuff

Was courtesy, she thought, and cause enough

For calling up that spot of joy. She had

A heart . . . how shall I say? . . . too soon made glad,

Too easily impressed; she liked whate'er

She looked on, and her looks went everywhere.

Sir, 'twas all one! My favour at her breast,

The dropping of the daylight in the West,

The bough of cherries some officious fool

Broke in the orchard for her, the white mule

She rode with round the terrace--all and each

Would draw from her alike the approving speech,

Or blush, at least. She thanked men,--good; but thanked Somehow . . . I know not how . . . as if she ranked

My gift of a nine-hundred-years-old name

With anybody's gift. Who'd stoop to blame

This sort of trifling? Even had you skill

In speech--(which I have not)--to make your will

Quite clear to such an one, and say, "Just this

Or that in you disgusts me; here you miss,

or there exceed the mark ;-- and if she let

Herself be lessoned so, nor plainly set

Her wits to yours, forsooth, and made excuse ,

--E'en then would be some stooping; and I choose

Never to stoop. Oh, sir, she smiled, no doubt,

Whene'er I passed her; but who passed without

Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands

As if alive. Will 't please you rise? We'll meet

The company below, then. I repeat,

The Count your Master's known munificence

Is ample warrant that no just pretence

Of mine for dowry will be disallowed;

Though his fair daughter's self, as I avowed

At starting, is my object. Nay, we'll go

Together down, Sir! Notice Neptune, though,

Taming a sea-horse, thought a rarity,

Which Claus of Innsbruck cast in bronze for me.

（1842）

Questions

1.Why does the Duke want to show his guest his art collection?

2.Why is the Duke dissatisfied with his last Duchess? What can you say about the

Duchess’personality from the Duke’s monologue?

3.The Duke hints that his commands have something to do with his last Duchess. Why

does he give his guest such a clue?

Ulysses Alfred T ennyson

IT little profits that an idle king,

By this still hearth, among these barren crags,

Match’d with an aged wife, I mete and dole

Unequal laws unto a savage race,

That hoard and sleep, and feed, and know not me. 5

I cannot rest from travel: I will drink

Life to the lees: all times I have enjoy’d

Greatly, have suffer’d greatly, both with those

That loved me, and alone; on shore, and when

Thro’scudding drifts the rainy Hyades 10

V ext the dim sea: I am become a name;

For always roaming with a hungry heart

Much have I seen and known; cities of men

And manners, climates, councils, governments,

Myself not least, but honour’d of them all; 15

And drunk delight of battle with my peers,

Far on the ringing plains of windy Troy.

I am a part of all that I have met;

Y et all experience is an arch wherethro?

Gleams that untravell’d world, whose margin fades 20

For ever and for ever when I move.

How dull it is to pause, to make an end,

To rust unburnish’d, not to shine in use!

As tho’to breathe were life. Life piled on life

Were all too little, and of one to me 25

Little remains: but every hour is saved

From that eternal silence, something more,

A bringer of new things; and vile it were

For some three suns to store and hoard myself,

And this gray spirit yearning in desire 30

To follow knowledge, like a sinking star,

Beyond the utmost bound of human thought.

This is my son, mine own Telemachus,

To whom I leave the sceptre and the isle—

Well-loved of me, discerning to fulfil 35

This labour, by slow prudence to make mild

A rugged people, and thro’soft degrees

Subdue them to the useful and the good.

Most blameless is he, centred in the sphere

Of common duties, decent not to fail 40

In offices of tenderness, and pay

Meet adoration to my household gods,

When I am gone. He works his work, I mine.

There lies the port: the vessel puffs her sail:

There gloom the dark broad seas. My mariners, 45

Souls that have toil’d, and wrought, and thought with me— That ever with a frolic welcome took

The thunder and the sunshine, and opposed

Free hearts, free foreheads—you and I are old;

Old age hath yet his honour and his toil; 50

Death closes all: but something ere the end,

Some work of noble note, may yet be done,

Not unbecoming men that strove with Gods.

The lights begin to twinkle from the rocks:

The long day wanes: the slow moon climbs: the deep 55

Moans round with many voices. Come, my friends,

?Tis not too late to seek a newer world.

Push off, and sitting well in order smite

The sounding furrows; for my purpose holds

To sail beyond the sunset, and the baths 60

Of all the western stars until I die.

It may be that the gulfs will wash us down:

It may be we shall touch the Happy Isles,

And see the great Achilles, whom we knew.

Tho’much is taken, much abides; and tho’65

We are not now that strength which in old days

Moved earth and heaven; that which we are, we are;

One equal temper of heroic hearts,

Made weak by time and fate, but strong in will

To strive, to seek, to find, and not to yield. 70

Ode on a Grecian Urn–John Keats

Thou still unravish'd bride of quietness,

Thou foster-child of silence and slow time,

Sylvan historian, who canst thus express

A flowery tale more sweetly than our rhyme:

What leaf-fring'd legend haunts about thy shape

Of deities or mortals, or of both,

In Tempe or the dales of Arcady?

What men or gods are these? What maidens loth?

What mad pursuit? What struggle to escape?

What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard

Are sweeter; therefore, ye soft pipes, play on;

Not to the sensual ear, but, more endear'd,

Pipe to the spirit ditties of no tone:

Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare;

Bold Lover, never, never canst thou kiss,

Though winning near the goal yet, do not grieve;

She cannot fade, though thou hast not thy bliss,

For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed

Y our leaves, nor ever bid the Spring adieu;

And, happy melodist, unwearied,

For ever piping songs for ever new;

More happy love! more happy, happy love!

For ever warm and still to be enjoy'd,

For ever panting, and for ever young;

All breathing human passion far above,

That leaves a heart high-sorrowful and cloy'd,

A burning forehead, and a parching tongue.

Who are these coming to the sacrifice?

To what green altar, O mysterious priest,

Lead'st thou that heifer lowing at the skies,

And all her silken flanks with garlands drest?

What little town by river or sea shore,

Or mountain-built with peaceful citadel,

Is emptied of this folk, this pious morn?

And, little town, thy streets for evermore

Will silent be; and not a soul to tell

Why thou art desolate, can e'er return.

O Attic shape! Fair attitude! with brede

Of marble men and maidens overwrought,

With forest branches and the trodden weed;

Thou, silent form, dost tease us out of thought

As doth eternity: Cold Pastoral!

When old age shall this generation waste,

Thou shalt remain, in midst of other woe

Than ours, a friend to man, to whom thou say'st,

"Beauty is truth, truth beauty,--that is all

Y e know on earth, and all ye need to know."

--May 1819

Questions:

1.Describe, in your own words, the scenes on the Grecian Urn. Who are they in the

pictures? And what are they doing?

2.Who is the speaker of the last two lines in the ode?

Ode to the W est Wind Shelly

O wild West Wind, thou breath of Autumn's being,

Thou, from whose unseen presence the leaves dead

Are driven, like ghosts from an enchanter fleeing,

Y ellow, and black, and pale, and hectic red,

Pestilence-stricken multitudes: O thou,

Who chariotest to their dark wintry bed

The winged seeds, where they lie cold and low,

Each like a corpse within its grave, until

Thine azure sister of the Spring shall blow

Her clarion o'er the dreaming earth, and fill

(Driving sweet buds like flocks to feed in air)

With living hues and odours plain and hill:

Wild Spirit, which art moving everywhere;

Destroyer and preserver; hear, oh hear!

Thou on whose stream, mid the steep sky's commotion,

Loose clouds like earth's decaying leaves are shed,

Shook from the tangled boughs of Heaven and Ocean,

Angels of rain and lightning: there are spread

On the blue surface of thine aery surge,

Like the bright hair uplifted from the head

Of some fierce Maenad, even from the dim verge Of the horizon to the zenith's height,

The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night

Will be the dome of a vast sepulchre,

V aulted with all thy congregated might

Of vapours, from whose solid atmosphere

Black rain, and fire, and hail will burst: oh hear!

III

Thou who didst waken from his summer dreams The blue Mediterranean, where he lay,

Lulled by the coil of his crystalline streams,

Beside a pumice isle in Baiae's bay,

And saw in sleep old palaces and towers

Quivering within the wave's intenser day,

All overgrown with azure moss and flowers

So sweet, the sense faints picturing them! Thou For whose path the Atlantic's level powers

Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know

Thy voice, and suddenly grow gray with fear,

And tremble and despoil themselves: oh hear!

If I were a dead leaf thou mightest bear;

If I were a swift cloud to fly with thee;

A wave to pant beneath thy power, and share

The impulse of thy strength, only less free

Than thou, O uncontrollable! If even

I were as in my boyhood, and could be

The comrade of thy wanderings over Heaven,

As then, when to outstrip thy skiey speed

Scarce seem'd a vision; I would ne'er have striven As thus with thee in prayer in my sore need.

Oh, lift me as a wave, a leaf, a cloud!

I fall upon the thorns of life! I bleed!

A heavy weight of hours has chain'd and bow'd One too like thee: tameless, and swift, and proud. III

Thou who didst waken from his summer dreams The blue Mediterranean, where he lay,

Lulled by the coil of his crystalline streams,

Beside a pumice isle in Baiae's bay,

And saw in sleep old palaces and towers

Quivering within the wave's intenser day,

All overgrown with azure moss and flowers

So sweet, the sense faints picturing them! Thou

For whose path the Atlantic's level powers

Cleave themselves into chasms, while far below

The sea-blooms and the oozy woods which wear

The sapless foliage of the ocean, know

Thy voice, and suddenly grow gray with fear,

And tremble and despoil themselves: oh hear!

If I were a dead leaf thou mightest bear;

If I were a swift cloud to fly with thee;

A wave to pant beneath thy power, and share

The impulse of thy strength, only less free

Than thou, O uncontrollable! If even

I were as in my boyhood, and could be

The comrade of thy wanderings over Heaven,

As then, when to outstrip thy skiey speed

Scarce seem'd a vision; I would ne'er have striven

As thus with thee in prayer in my sore need.

Oh, lift me as a wave, a leaf, a cloud!

I fall upon the thorns of life! I bleed!

A heavy weight of hours has chain'd and bow'd

One too like thee: tameless, and swift, and proud.

Make me thy lyre, even as the forest is:

What if my leaves are falling like its own!

The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,

Sweet though in sadness. Be thou, Spirit fierce,

My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe

Like wither'd leaves to quicken a new birth!

And, by the incantation of this verse,

Scatter, as from an unextinguish'd hearth

Ashes and sparks, my words among mankind!

Be through my lips to unawaken'd earth

The trumpet of a prophecy! O Wind,

If Winter comes, can Spring be far behind?

Questions:

1.In what way is the West Wind both a destroyer and a preserver?

2.What is the relationship between the West Wind and the poet?

3.As “the trumpet of prophecy”, what does the West Wind predict in physical reality?

How do you understand it symbolically?

Elegy

An elegy is a poem of lamentation that probably originated as the cry of mourning at ancient funerals. In classical Greece poets were engaged to inscribe elegiac lyrics on tombstones. The death song has evolved over the centuries into a highly sophisticated, diverse literary form, capable of expressing not only the grief of modern elegy, an exquisite personal statement of grief. Elegiac poets often describe the most vital qualities and scenes from the life of the decreased in order to emphasize their feelings of loss.

Elegy written in a country churchyard (Thomas Gray)

THE Curfew tolls the knell of parting day,

The lowing herd wind slowly o'er the lea,

The plowman homeward plods his weary way,

And leaves the world to darkness and to me.

Now fades the glimmering landscape on the sight,

And all the air a solemn stillness holds,

Save where the beetle wheels his droning flight,

And drowsy tinklings lull the distant folds;

Save that from yonder ivy-mantled tow'r

The moping owl does to the moon complain

Of such as, wand'ring near her secret bow'r,

Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,

Where heaves the turf in many a mould'ring heap,

Each in his narrow cell for ever laid,

The rude Forefathers of the hamlet sleep.

The breezy call of incense-breathing Morn,

The swallow twitt'ring from the straw-built shed,

The cock's shrill clarion, or the echoing horn,

No more shall rouse them from their lowly bed

For them no more the blazing hearth shall burn,

Or busy housewife ply her evening care:

No children run to lisp their sire's return,

Or climb his knees the envied kiss to share.

Oft did the harvest to their sickle yield,

Their furrow oft the stubborn glebe has broke: How jocund did they drive their team afield!

How bow'd the woods beneath their sturdy stroke!

Let not Ambition mock their useful toil,

Their homely joys, and destiny obscure;

Nor Grandeur hear with a disdainful smile

The short and simple annals of the poor.

The boast of heraldry, the pomp of pow'r,

And all that beauty, all that wealth e'er gave,

A waits alike th' inevitable hour:

The paths of glory lead but to the grave.

Nor you, ye Proud, impute to These the fault,

If Memory o'er their Tomb no Trophies raise,

Where through the long-drawn aisle and fretted vault The pealing anthem swells the note of praise.

Can storied urn or animated bust

Back to its mansion call the fleeting breath?

Can Honour's voice provoke the silent dust,

Or Flatt'ry soothe the dull cold ear of death?

Perhaps in this neglected spot is laid

Some heart once pregnant with celestial fire;

Hands, that the rod of empire might have sway'd,

Or waked to ecstasy the living lyre.

But Knowledge to their eyes her ample page

Rich with the spoils of time did ne'er unroll;

Chill Penury repress'd their noble rage,

And froze the genial current of the soul

Full many a gem of purest ray serene

The dark unfathom'd caves of ocean bear:

Full many a flower is born to blush unseen,

And waste its sweetness on the desert air.

Some village Hampden that with dauntless breast The little tyrant of his fields withstood,

Some mute inglorious Milton here may rest,

Some Cromwell guiltless of his country's blood.

Th' applause of list'ning senates to command, The threats of pain and ruin to despise,

To scatter plenty o'er a smiling land,

And read their history in a nation's eyes,

Their lot forbade: nor circumscribed alone

Their glowing virtues, but their crimes confined; Forbade to wade through slaughter to a throne, And shut the gates of mercy on mankind,

The struggling pangs of conscious truth to hide, To quench the blushes of ingenuous shame,

Or heap the shrine of Luxury and Pride

With incense kindled at the Muse's flame.

Far from the madding crowd's ignoble strife, Their sober wishes never learn'd to stray;

Along the cool sequester'd vale of life

They kept the noiseless tenor of their way.

Y et ev'n these bones from insult to protect

Some frail memorial still erected nigh,

With uncouth rhymes and shapeless sculpture deck'd, Implores the passing tribute of a sigh.

Their name, their years, spelt by th' unletter'd muse, The place of fame and elegy supply:

And many a holy text around she strews,

That teach the rustic moralist to die.

For who, to dumb Forgetfulness a prey,

This pleasing anxious being e'er resign'd, Left the warm precincts of the cheerful day,

Nor cast one longing ling'ring look behind?

On some fond breast the parting soul relies,

Some pious drops the closing eye requires;

Ev'n from the tomb the voice of Nature cries, Ev'n in our Ashes live their wonted Fires.

For thee, who, mindful of th' unhonour'd dead, Dost in these lines their artless tale relate;

If chance, by lonely contemplation led,

Some kindred spirit shall inquire thy fate,

of与for的用法以及区别

of与for的用法以及区别 for 表原因、目的 of 表从属关系介词of的用法（1）所有关系 this is a picture of a classroom （2）部分关系 a piece of paper a cup of tea a glass of water a bottle of milk what kind of football，American of soccer？（3）描写关系 a man of thirty 三十岁的人 a man of shanghai 上海人（4）承受动作 the exploitation of man by man．人对人的剥削。（5）同位关系 It was a cold spring morning in the city of London in England．（6）关于，对于 What do you think of Chinese food？你觉得中国食品怎么样？介词 for 的用法小结 1. 表示“当作、作为”。如: I like some bread and milk for breakfast. 我喜欢把面包和牛奶作为早餐。What will we have for supper? 我们晚餐吃什么?

2. 表示理由或原因,意为“因为、由于”。如: Thank you for helping me with my English. 谢谢你帮我学习英语。 Thank you for your last letter. 谢谢你上次的来信。 Thank you for teaching us so well. 感谢你如此尽心地教我们。 3. 表示动作的对象或接受者,意为“给……”、“对…… (而言)”。如: Let me pick it up for you. 让我为你捡起来。 Watching TV too much is bad for your health. 看电视太多有害于你的健康。 4. 表示时间、距离,意为“计、达”。如: I usually do the running for an hour in the morning. 我早晨通常跑步一小时。We will stay there for two days. 我们将在那里逗留两天。 5. 表示去向、目的,意为“向、往、取、买”等。如: let’s go for a walk. 我们出去散步吧。 I came here for my schoolbag.我来这儿取书包。 I paid twenty yuan for the dictionary. 我花了20元买这本词典。 6. 表示所属关系或用途,意为“为、适于……的”。如: It’s time for school. 到上学的时间了。 Here is a letter for you. 这儿有你的一封信。 7. 表示“支持、赞成”。如: Are you for this plan or against it? 你是支持还是反对这个计划? 8. 用于一些固定搭配中。如: Who are you waiting for? 你在等谁? For example, Mr Green is a kind teacher. 比如,格林先生是一位心地善良的老师。

to与for的用法和区别

to与for的用法和区别一般情况下, to后面常接对象; for后面表示原因与目的为多。 Thank you for helping me. Thanks to all of you. to sb.表示对某人有直接影响比如，食物对某人好或者不好就用to; for表示从意义、价值等间接角度来说，例如对某人而言是重要的，就用for. for和to这两个介词，意义丰富，用法复杂。这里仅就它们主要用法进行比较。 1. 表示各种“目的” 1. What do you study English for? 你为什么要学英语？ 2. She went to france for holiday. 她到法国度假去了。 3. These books are written for pupils. 这些书是为学生些的。 4. hope for the best, prepare for the worst. 作最好的打算，作最坏的准备。 2．对于 1．She has a liking for painting. 她爱好绘画。 2．She had a natural gift for teaching. 她对教学有天赋/ 3．表示赞成同情，用for不用to. 1. Are you for the idea or against it? 你是支持还是反对这个想法？ 2. He expresses sympathy for the common people.. 他表现了对普通老百姓的同情。 3. I felt deeply sorry for my friend who was very ill. 4 for表示因为，由于（常有较活译法） 1 Thank you for coming. 谢谢你来。 2. France is famous for its wines. 法国因酒而出名。 5．当事人对某事的主观看法，对于（某人），对…来说（多和形容词连用）用介词to，不用for.. He said that money was not important to him. 他说钱对他并不重要。 To her it was rather unusual. 对她来说这是相当不寻常的。 They are cruel to animals. 他们对动物很残忍。 6．for和fit, good, bad, useful, suitable 等形容词连用，表示适宜，适合。 Some training will make them fit for the job. 经过一段训练，他们会胜任这项工作的。 Exercises are good for health. 锻炼有益于健康。 Smoking and drinking are bad for health. 抽烟喝酒对健康有害。 You are not suited for the kind of work you are doing. 7. for表示不定式逻辑上的主语，可以用在主语、表语、状语、定语中。 1．It would be best for you to write to him. 2．The simple thing is for him to resign at once. 3．There was nowhere else for me to go. 4．He opened a door and stood aside for her to pass.

常用介词用法(for to with of)

For的用法 1. 表示“当作、作为”。如: I like some bread and milk for breakfast. 我喜欢把面包和牛奶作为早餐。 What will we have for supper? 我们晚餐吃什么? 2. 表示理由或原因,意为“因为、由于”。如: Thank you for helping me with my English. 谢谢你帮我学习英语。 3. 表示动作的对象或接受者,意为“给……”、“对…… (而言)”。如: Let me pick it up for you. 让我为你捡起来。 Watching TV too much is bad for your health. 看电视太多有害于你的健康。 4. 表示时间、距离,意为“计、达”。如: I usually do the running for an hour in the morning. 我早晨通常跑步一小时。 We will stay there for two days. 我们将在那里逗留两天。 5. 表示去向、目的,意为“向、往、取、买”等。如: Let’s go for a walk. 我们出去散步吧。 I came here for my schoolbag.我来这儿取书包。 I paid twenty yuan for the dictionary. 我花了20元买这本词典。 6. 表示所属关系或用途,意为“为、适于……的”。如: It’s time for school. 到上学的时间了。 Here is a letter for you. 这儿有你的一封信。 7. 表示“支持、赞成”。如: Are you for this plan or against it? 你是支持还是反对这个计划? 8. 用于一些固定搭配中。如: Who are you waiting for? 你在等谁? For example, Mr Green is a kind teacher. 比如,格林先生是一位心地善良的老师。尽管for 的用法较多，但记住常用的几个就可以了。 to的用法: 一：表示相对，针对 be strange (common, new, familiar, peculiar) to This injection will make you immune to infection. 二：表示对比，比较 1：以-ior结尾的形容词，后接介词to表示比较，如：superior ,inferior,prior,senior,junior 2: 一些本身就含有比较或比拟意思的形容词，如equal，similar，equivalent，analogous A is similar to B in many ways.

(完整版)介词for用法归纳

介词for用法归纳用法1：(表目的)为了。如： They went out for a walk. 他们出去散步了。 What did you do that for? 你干吗这样做？ That’s what we’re here for. 这正是我们来的目的。 What’s she gone for this time? 她这次去干什么去了？ He was waiting for the bus. 他在等公共汽车。【用法说明】在通常情况下，英语不用for doing sth 来表示目的。如：他去那儿看他叔叔。误：He went there for seeing his uncle. 正：He went there to see his uncle. 但是，若一个动名词已名词化，则可与for 连用表目的。如： He went there for swimming. 他去那儿游泳。(swimming 已名词化) 注意：若不是表目的，而是表原因、用途等，则其后可接动名词。(见下面的有关用法) 用法2：(表利益)为，为了。如： What can I do for you? 你想要我什么？ We study hard for our motherland. 我们为祖国努力学习。 Would you please carry this for me? 请你替我提这个东西好吗？ Do more exercise for the good of your health. 为了健康你要多运动。【用法说明】(1) 有些后接双宾语的动词(如buy, choose, cook, fetch, find, get, order, prepare, sing, spare 等)，当双宾语易位时，通常用for 来引出间接宾语，表示间接宾语为受益者。如： She made her daughter a dress. / She made a dress for her daughter. 她为她女儿做了件连衣裙。 He cooked us some potatoes. / He cooked some potatoes for us. 他为我们煮了些土豆。注意，类似下面这样的句子必须用for： He bought a new chair for the office. 他为办公室买了张新办公椅。 (2) 注意不要按汉语字面意思，在一些及物动词后误加介词for：他们决定在电视上为他们的新产品打广告。误：They decided to advertise for their new product on TV. 正：They decided to advertise their new product on TV. 注：advertise 可用作及物或不及物动词，但含义不同：advertise sth＝为卖出某物而打广告；advertise for sth＝为寻找某物而打广告。如：advertise for a job=登广告求职。由于受汉语“为”的影响，而此处误加了介词for。类似地，汉语中的“为人民服务”，说成英语是serve the people，而不是serve for the people，“为某人的死报仇”，说成英语是avenge sb’s death，而不是avenge for sb’s death，等等。用法3：(表用途)用于，用来。如： Knives are used for cutting things. 小刀是用来切东西的。 This knife is for cutting bread. 这把小刀是用于切面包的。 It’s a machine for slicing bread. 这是切面包的机器。 The doctor gave her some medicine for her cold. 医生给了她一些感冒药。用法4：为得到，为拿到，为取得。如： He went home for his book. 他回家拿书。 He went to his friend for advice. 他去向朋友请教。 She often asked her parents for money. 她经常向父母要钱。

of和for的用法

of 1....的,属于 One of the legs of the table is broken. 桌子的一条腿坏了。 Mr.Brown is a friend of mine. 布朗先生是我的朋友。 2.用...做成的;由...制成 The house is of stone. 这房子是石建的。 3.含有...的;装有...的 4....之中的;...的成员 Of all the students in this class,Tom is the best. 在这个班级中,汤姆是最优秀的。 5.(表示同位) He came to New York at the age of ten. 他在十岁时来到纽约。 6.(表示宾格关系) He gave a lecture on the use of solar energy. 他就太阳能的利用作了一场讲演。 7.(表示主格关系) We waited for the arrival of the next bus. 我们等待下一班汽车的到来。

I have the complete works of Shakespeare. 我有莎士比亚全集。 8.来自...的;出自 He was a graduate of the University of Hawaii. 他是夏威夷大学的毕业生。 9.因为 Her son died of hepatitis. 她儿子因患肝炎而死。 10.在...方面 My aunt is hard of hearing. 我姑妈耳朵有点聋。 11.【美】(时间)在...之前 12.(表示具有某种性质) It is a matter of importance. 这是一件重要的事。 For 1.为,为了 They fought for national independence. 他们为民族独立而战。 This letter is for you. 这是你的信。

双宾语 to for的用法

1.两者都可以引出间接宾语，但要根据不同的动词分别选用介词to 或for：(1) 在give, pass, hand, lend, send, tell, bring, show, pay, read, return, write, offer, teach, throw 等之后接介词to。如：请把那本字典递给我。正：Please hand me that dictionary. 正：Please hand that dictionary to me. 她去年教我们的音乐。正：She taught us music last year. 正：She taught music to us last year. (2) 在buy, make, get, order, cook, sing, fetch, play, find, paint, choose,prepare, spare 等之后用介词for 。如：他为我们唱了首英语歌。正：He sang us an English song. 正：He sang an English song for us. 请帮我把钥匙找到。正：Please find me the keys. 正：Please find the keys for me. 能耽搁你几分钟吗(即你能为我抽出几分钟吗)? 正：Can you spare me a few minutes? 正：Can you spare a few minutes for me? 注：有的动词由于搭配和含义的不同，用介词to 或for 都是可能的。如：do sb a favour＝do a favour for sb 帮某人的忙 do sb harm＝do harm to sb 对某人有害

for和of的用法

for的用法： 1. 表示“当作、作为”。如: I like some bread and milk for breakfast. 我喜欢把面包和牛奶作为早餐。 What will we have for supper? 我们晚餐吃什么? 2. 表示理由或原因,意为“因为、由于”。如: Thank you for helping me with my English. 谢谢你帮我学习英语。 Thank you for your last letter. 谢谢你上次的来信。 Thank you for teaching us so well. 感谢你如此尽心地教我们。 3. 表示动作的对象或接受者,意为“给……”、“对…… (而言)”。如: Let me pick it up for you. 让我为你捡起来。 Watching TV too much is bad for your health. 看电视太多有害于你的健康。 4. 表示时间、距离,意为“计、达”。如:

I usually do the running for an hour in the morning. 我早晨通常跑步一小时。 We will stay there for two days. 我们将在那里逗留两天。 5. 表示去向、目的,意为“向、往、取、买”等。如: Let’s go for a walk. 我们出去散步吧。 I came here for my schoolbag.我来这儿取书包。 I paid twenty yuan for the dictionary. 我花了20元买这本词典。 6. 表示所属关系或用途,意为“为、适于……的”。如: It’s time for school. 到上学的时间了。 Here is a letter for you. 这儿有你的一封信。 7. 表示“支持、赞成”。如: Are you for this plan or against it? 你是支持还是反对这个计划? 8. 用于一些固定搭配中。如:

for和to区别

1.表示各种“目的”，用for （1）What do you study English for 你为什么要学英语？（2）went to france for holiday. 她到法国度假去了。（3）These books are written for pupils. 这些书是为学生些的。（4）hope for the best, prepare for the worst. 作最好的打算，作最坏的准备。 2．“对于”用for （1）She has a liking for painting. 她爱好绘画。（2）She had a natural gift for teaching. 她对教学有天赋/ 3．表示“赞成、同情”，用for （1）Are you for the idea or against it 你是支持还是反对这个想法？（2）He expresses sympathy for the common people.. 他表现了对普通老百姓的同情。（3）I felt deeply sorry for my friend who was very ill. 4. 表示“因为，由于”（常有较活译法），用for （1）Thank you for coming. 谢谢你来。

（2）France is famous for its wines. 法国因酒而出名。 5．当事人对某事的主观看法，“对于（某人），对…来说”，（多和形容词连用），用介词to，不用for. （1）He said that money was not important to him. 他说钱对他并不重要。（2）To her it was rather unusual. 对她来说这是相当不寻常的。（3）They are cruel to animals. 他们对动物很残忍。 6．和fit, good, bad, useful, suitable 等形容词连用，表示“适宜，适合”，用for。（1）Some training will make them fit for the job. 经过一段训练，他们会胜任这项工作的。（2）Exercises are good for health. 锻炼有益于健康。（3）Smoking and drinking are bad for health. 抽烟喝酒对健康有害。（4）You are not suited for the kind of work you are doing. 7. 表示不定式逻辑上的主语，可以用在主语、表语、状语、定语中。（1）It would be best for you to write to him. （2） The simple thing is for him to resign at once.

常用介词用法(for-to-with-of)

5. 表示去向、目的,意为“向、往、取、买”等。如: Let’s go for a walk. 我们出去散步吧。 I came here for my schoolbag.我来这儿取书包。 I paid twenty yuan for the dictionary. 我花了20元买这本词典。 6. 表示所属关系或用途,意为“为、适于……的”。如: It’s time for school. 到上学的时间了。 Here is a letter for you. 这儿有你的一封信。 7. 表示“支持、赞成”。如: Are you for this plan or against it? 你是支持还是反对这个计划? 8. 用于一些固定搭配中。如: Who are you waiting for? 你在等谁? For example, Mr Green is a kind teacher. 比如,格林先生是一位心地善良的老师。

英语形容词和of for 的用法

加入收藏夹主题：介词试题It’s + 形容词 + of sb. to do sth.和It’s + 形容词 + for sb. to do sth.的用法区别。内容： It's very nice___pictures for me. A.of you to draw B.for you to draw C.for you drawing C.of you drawing 提交人：杨天若时间：1/23/2008 20:5:54 主题：for 与of 的辨别内容：It's very nice___pictures for me. A.of you to draw B.for you to draw C.for you drawing C.of you drawing 答：选A 解析：该题考查的句型It’s + 形容词+ of sb. to do sth.和It’s +形容词+ for sb. to do sth.的用法区别。 “It’s + 形容词+ to do sth.”中常用of或for引出不定式的行为者，究竟用of sb.还是用for sb.，取决于前面的形容词。 1) 若形容词是描述不定式行为者的性格、品质的，如kind，good，nice，right，wrong，clever，careless，polite，foolish等，用of sb. 例： It’s very kind of you to help me. 你能帮我，真好。 It’s clever of you to work out the maths problem. 你真聪明，解出了这道数学题。 2) 若形容词仅仅是描述事物，不是对不定式行为者的品格进行评价，用for sb.，这类形容词有difficult，easy，hard，important，dangerous，（im）possible等。例： It’s very dangerous for children to cross the busy street. 对孩子们来说，穿过繁忙的街道很危险。 It’s difficult for u s to finish the work. 对我们来说，完成这项工作很困难。 for 与of 的辨别方法：用介词后面的代词作主语，用介词前边的形容词作表语，造个句子。如果道理上通顺用of，不通则用for. 如： You are nice.(通顺，所以应用of)。 He is hard.(人是困难的，不通，因此应用for.) 由此可知，该题的正确答案应该为A项。提交人：f7_liyf 时间：1/24/2008 11:18:42

双宾语tofor的用法

1. 两者都可以引出间接宾语，但要根据不同的动词分别选用介词to 或for： (1) 在give, pass, hand, lend, send, tell, bring, show, pay, read, return, write, offer, teach, throw 等之后接介词to。如：请把那本字典递给我。正：Please hand me that dictionary. 正：Please hand that dictionary to me. 她去年教我们的音乐。正：She taught us music last year. 正：She taught music to us last year. (2) 在buy, make, get, order, cook, sing, fetch, play, find, paint, choose,prepare, spare 等之后用介词for 。如：他为我们唱了首英语歌。正：He sang us an English song. 正：He sang an English song for us. 请帮我把钥匙找到。正：Please find me the keys. 正：Please find the keys for me. 能耽搁你几分钟吗(即你能为我抽出几分钟吗)? 正：Can you spare me a few minutes? 正：Can you spare a few minutes for me? 注：有的动词由于搭配和含义的不同，用介词to 或for 都是可能的。如： do sb a favou r do a favour for sb 帮某人的忙 do sb harnn= do harm to sb 对某人有害

to和for的用法有什么不同(一)

to和for的用法有什么不同（一）一、引出间接宾语时的区别两者都可以引出间接宾语，但要根据不同的动词分别选用介词to 或for，具体应注意以下三种情况： 1. 在give, pass, hand, lend, send, tell, bring, show, pay, read, return, write, offer, teach, throw 等之后接介词to。如：请把那本字典递给我。正：Please hand me that dictionary. 正：Please hand that dictionary to me. 她去年教我们的音乐。正：She taught us music last year. 正：She taught music to us last year. 2. 在buy, make, get, order, cook, sing, fetch, play, find, paint, choose, prepare, spare 等之后用介词for 。如：他为我们唱了首英语歌。正：He sang us an English song. 正：He sang an English song for us. 请帮我把钥匙找到。正：Please find me the keys. 正：Please find the keys for me. 能耽搁你几分钟吗(即你能为我抽出几分钟吗)? 正：Can you spare me a few minutes?

正：Can you spare a few minutes for me? 3. 有的动词由于用法和含义不同，用介词to 或for 都是可能的。如： do sb a favor＝do a favor for sb 帮某人的忙 do sb harm＝do harm to sb 对某人有害在有的情况下，可能既不用for 也不用to，而用其他的介词。如： play sb a trick＝play a trick on sb 作弄某人请比较： play sb some folk songs＝play some folk songs for sb 给某人演奏民歌有时同一个动词，由于用法不同，所搭配的介词也可能不同，如leave sbsth 这一结构，若表示一般意义的为某人留下某物，则用介词for 引出间接宾语，即说leave sth for sb；若表示某人死后遗留下某物，则用介词to 引出间接宾语，即说leave sth to sb。如： Would you like to leave him a message? / Would you like to leave a message for him? 你要不要给他留个话？ Her father left her a large fortune. / Her father left a large fortune to her. 她父亲死后给她留下了一大笔财产。二、表示目标或方向的区别两者均可表示目标、目的地、方向等，此时也要根据不同动词分别对待。如： 1. 在come, go, walk, move, fly, ride, drive, march, return 等动词之后通常用介词to 表示目标或目的地。如： He has gone to Shanghai. 他到上海去了。 They walked to a river. 他们走到一条河边。

keep的用法及of 、for sb.句型区别

keep的用法 1. 用作及物动词 ①意为"保存；保留；保持；保守"。如： Could you keep these letters for me, please? 你能替我保存这些信吗？ ②意为"遵守；维护"。如： Everyone must keep the rules. 人人必须遵守规章制度。 The teacher is keeping order in class.老师正在课堂上维持秩序。 ③意为"使……保持某种(状态、位置或动作等)"。这时要在keep的宾语后接补足语，构成复合宾语。其中宾语补足语通常由形容词、副词、介词短语、现在分词和过去分词等充当。如：例：We should keep our classroom clean and tidy.(形容词) 我们应保持教室整洁干净。 You'd better keep the child away from the fire.(副词)你最好让孩子离火远一点。 The bad weather keeps us inside the house.(介词短语)坏天气使我们不能出门。 Don't keep me waiting for long.(现在分词)别让我等太久。 The other students in the class keep their eyes closed.(过去分词) 班上其他同学都闭着眼睛。 2. 用作连系动词构成系表结构：keep＋表语，意为"保持，继续(处于某种状态)"。其中表语可用形容词、副词、介词短语等充当。如：例：You must look after yourself and keep healthy.(形容词) 你必须照顾好自己，保持身体健康。 Keep off the grass.(副词)请勿践踏草地。 Traffic in Britain keeps to the left.(介词短语)英国的交通是靠左边行驶的。注意：一般情况下，keep后接形容词较为多见。再如： She knew she must keep calm.她知道她必须保持镇静。 Please keep silent in class.课堂上请保持安静。 3. ①keep doing sth. 意为"继续干某事"，表示不间断地持续干某事，keep后不能接不定式或表示静止状态的v-ing形式，而必须接延续性的动词。例：He kept working all day, because he wanted to finish the work on time. 他整天都在不停地工作，因为他想准时完成工作。 Keep passing the ball to each other, and you'll be OK.坚持互相传球，你们就

202X中考英语：to和for的区别与用法.doc

202X中考英语：to和for的区别与用法中考栏目我为考生们整理了“202X中考英语：to和for的区别与用法”，希望能帮到大家，想了解更多考试资讯，本网站的及时更新哦。 202X中考英语：to和for的区别与用法 to和for的区别与用法是什么一般情况下, to后面常接对象; for后面表示原因与目的为多。 Thank you for helping me. Thanks to all of you. to sb. 表示对某人有直接影响比如，食物对某人好或者不好就用to; for 表示从意义、价值等间接角度来说，例如对某人而言是重要的，就用for. for和to这两个介词，意义丰富，用法复杂。这里仅就它们主要用法进行比较。 1. 表示各种“目的” 1. What do you study English for? 你为什么要学英语? 2. She went to france for holiday. 她到法国度假去了。 3. These books are written for pupils. 这些书是为学生些的。 4. hope for the best, prepare for the worst. 作最好的打算，作最坏的准备。

2.对于 1.She has a liking for painting. 她爱好绘画。 2.She had a natural gift for teaching. 她对教学有天赋。 3.表示赞成同情，用for不用to. 1. Are you for the idea or against it? 你是支持还是反对这个想法? 2. He expresses sympathy for the common people.. 他表现了对普通老百姓的同情。 3. I felt deeply sorry for my friend who was very ill. 4 for表示因为，由于(常有较活译法) 1.Thank you for coming. 谢谢你来。 2. France is famous for its wines. 法国因酒而出名。 5.当事人对某事的主观看法，对于(某人)，对?来说(多和形容词连用)用介词to，不用for.. He said that money was not important to him. 他说钱对他并不重要。 To her it was rather unusual. 对她来说这是相当不寻常的。 They are cruel to animals. 他们对动物很残忍。

to of和for的区别

to , of 和for的区别 1.to有到的意思，常常和go，come，get连用引出地点。Go to school , go to the shop , go to the cinema. 常见的短语：the way to 去---的路 On one’s way to 在某人去---的路上以上的用法中，当地点是副词home，here，there等是to 要去掉。如：get home，the way here To后跟动词原形，是不定式的标志 It is +形容词+(for/of +人+)to do sth.(括号内部分可以省略) It is easy for me to learn English. It is very kind of you to lend me your money. 当形容词表示人的行为特征时用of表示to do的性质时用for Want, hope ,decide, plan , try , fail等词后跟to do I want to join the swimming club. Would like to do I’d like to play basketball with them. It is time to have a break. Next to , close to , from ---to--- 2.for 为，表示目的。 Thank you for Buy sth for sb =buy sb sth It is time for bed. Here is a letter for you.

I will study for our country. 3.of表示所属关系意思是：---的 a map of the world a friend of mine

for和of引导的不定式结构的区别

for和of引导的不定式结构的区别不定式是一种非谓语动词，不能单独作谓语，因此没有语法上的主语。但由于不定式表示的是动作，在意义上可以有它的主体。我们称之为逻辑主语。提起不定式逻辑主语，人们首先想到的会是“for+名词（宾格代词）+不定式”的复合结构。如：It is important for us to study English well．然而，有时不定式的逻辑主语须要用“of+名词（代词宾格）”才行。例如：It is kind of you to help me．而不能说：It is kind for you to help me．在选择介词“for”还是“of”时，人们往往总是凭感觉而定。有时受习惯影响，多选介词“for”。于是常出现这样的错误：It was careless for him to lose his way．It is cruel for you to do so．由于众多语法书对这种结构中使用“for”与“of”的区别介绍甚少，一些人对其概念认识尚不完全清楚，笔者认为有必要就这一问题作些探讨与介绍。一、在句中的语法作用不同 a．不定式for结构在句中可以作主、宾、表、定、状、同位语： 1．It is easy for Tom to do this work．（主语）汤姆做此工作是容易的。 2．I'd like for him to come here．（宾语）我喜欢他来这里。 3．His idea is for us to travel in two different groups．（表语）他的想法是：我们分成两组旅行。 4．Have you heard about the plan for you to go abroad．（定语）你听到让你出国的计划吗？ 5．The word is too difficult for him to pronounce well．（状语）这单词太难，他念不准。 6．In the most schools，it is the custom for the headmaster to declare the newterm start．在大部分学校，校长宣布新学期开始是一个习惯。 b．不定式of结构只能在句中作主语。 1．It was careless of him to leave his umbrella in the train．他把伞丢在火车上真是太粗心了。 2．It is awfully good of you to come to see me off at the station．谢谢你来车站送我。二、逻辑主语的名词有所不同