英语文学赏析 用英语写一篇外国文学作品赏析，800字左右
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Jane Eyre is the rare book that manages to be good by virtue of ineffable charm alone, despite not having very much going for it in terms of overall plot.
There is something more going on in Jane Eyre than mere charm, true, something authentically powerful--if, as will be see, brief. But the power of Jane Eyre has less to do with the conflict of great forces that typifies great works of literature, and more to do with the subtle irritation of a delayed resolution to its most important episode. Instead of a race between values through the people who represent those values, Jane Eyre tasks us with a race to turn its pages and find out its secrets--still a race, but a race whose victory, barring the boredom of the reader, is assured.
The word "episode" above is a clue to the larger problem. Jane Eyre is a novel built on episodes, loosely tied together by their common, likable and eponymous protagonist. Jane Eyre is an orphan in the care of her brutal relatives, who despise her due to her outspoken character combined with her low social station. They eventually foist her off on the grim boarding school of Lowood.
As a narrator, Jane is ideal: objective enough to provide us with a good account of events, outspoken enough to bump the plot along whenever it needs bumping, and virtuous enough never to frustrate our expectations. Often enough, our viewpoint is hers; only we're not quite so witty and we're without quite so apt an eye for injustice--again making Jane, in page-after-page of her revelations, a delight to read. The novel's rhetoric is also inventive, accomplishing its routine narrative tasks via devices more elaborate than are probably necessary, yet with something fresh about each.
Jane's attempt to chide herself into abandoning her interest in her brooding employer, Edward Rochester, takes the form of a contest between two mental pictures, and the inevitable attempt by Rochester to coax out Jane's feelings involves an elaborate and well-detailed ruse involving disguises and a gypsy fortuneteller. The book, and its narrator, both definitely have charm: we like Jane, we like what she says, and we want to see what she will say next.
What We Like About Jane Eyre
Where we like Jane the most is in the book's principal episode, which involves Jane working as a governess for a young charge of dark, Byronic Rochester amidst the mysteries of his dark, Byronic estate Thornfield--all revealed, of course, after many dark, Byronic outbursts of extreme sentiments that Charlotte Bronte probably enjoyed writing very much. And, Rochester is actually enjoyable: a match for Jane in terms of wit, impressive in his authority, and sympathetic in his vulnerability. He's likable enough, in fact, that once Jane begins to speculate on the possibility of becoming closer still to her employer, we realize that we like the idea of these two becoming a pair. Suddenly, the story floods with tension. We're no longer reading just because we happen to like Jane, but because we're invested in a likable outcome.
More: we're invested in a likable outcome that seems increasingly threatened by Rochester's secrets. Bronte hints at these with the facility of a mystery novelist: she knows the ideal times to drop a scream from the walls or a mysterious guest from the past into our laps. In her continued ability to strain, felicitously, at the bounds of rhetoric, she raises the novel to a level no mystery writer usually wants to attempt.
And the conclusion, when it finally hits, is worth the wait--not only raising the level of tension and rhetoric, but also the thematic level of the book as well. The Rochester episode is the story that everyone remembers from Jane Eyre, and the one part of the book that deserves to be called truly great.
But then there's the rest of the book, which isn't great; it's just there. Jane's school is infested with typhus, Jane meets her long-lost cousin, Jane is tempted to run off and become a missionary: really, how does this stack up to Thornfield? And why does it need to be there at all, other than filling in a necessary gap in time before Rochester can come storming back in on his black horse (figuratively, of course, considering certain events in the plot) and make the story interesting again?
It needs to be there, one might think, because the story isn't about Rochester and Jane; it's about Jane--which would be true. But, if the story is about Jane alone, relegating Rochester to a brief but important incident in Jane's life, then it's not a great story. With her her likable, narratorial qualities, Jane may be a great narrator, but she makes an extremely lousy dynamic character, even if she is involved in a typhus scare.
Jane is objective, outspoken, and virtuous throughout, which means she's not particularly susceptible to temptations (except those Rochester provides). That means that Rochester is crucial to the real, emotional conflict of the book--crucial to the power of the book. The rest is just Jane being Jane, which may be fun to read, but it doesn't intersect with any real threat, any real conflict of values that lends a great book its electric charge.
So what the novel has to its name is rhetorical brilliance, a good episode that doesn't take up nearly a large enough percentage of the page count, and a lot of needless distractions.
There are great books that are structurally unbalanced, even structurally deranged, Don Quixote being maybe the prime example, but even Don Quixote is unusually good about keeping its Quixote chapters strictly separate from its "filler" chapters, allowing the knight to remain his untarnished self throughout its plot, and throughout our memories.
Whereas Bronte, in taking as her narrative logic an episodic structure united by an ideal protagonist, gives her book a larger measure of consistency at the expense of diluting its overall strength. Thus Jane Eyre remains a beautiful sandcastle while it's being experienced, but not one of which much (save its brief heart) remains after the tides of time and memory crash down over its Thornfieldean parapets.
by Heinrich Heine
I know not whence it rises, This thought so full of woe; --- But a tale of the times departed Haunts me --- and will not go.
The air is cool, and it darkens, And calmly flows the Rhine; The mountain peaks are sparkling In the sunny evening-shine.
And yonder sits a maiden, The fairest of the fair; With gold is her garment glittering, And she combs her golden hair.
With a golden comb she combs it, And a wild song singeth she, That melts the heart with a wondrous And powerful melody.
The boatman feels his bosom With a nameless longing move; He sees not the gulfs before him, His gaze is fixed above.
Till over boat and boatman The Rhine's deep waters run; And this with her magic singing The Lore-Lei hath done !
罗蕾莱
亨利希•海涅
不知道什么缘故， 我是这样的悲哀，一个古代的童话，我总是不能忘怀。
天色晚，空气清凉， 莱茵河静静地流， 落日的光辉 照耀着山头。
那最美丽的少女 坐在上边，神采焕发，金黄的首饰闪烁， 她梳理金黄的头发。
她用金黄的梳子梳，还唱着一支歌曲，这歌曲的声调， 有迷人的魅力。
小船上的船夫，感到狂想的痛苦；他不看水里的暗礁，却只是仰望高处。
我知道，最后波浪 吞没了船夫和小船；罗累莱用她的歌唱 造下了这场灾难。
背景知识
罗蕾莱（德语：Loreley或Lorelei）是一座莱茵河中游东岸高132米的礁石，坐落在德国莱茵兰-普法尔茨州境内。
罗蕾莱礁石处的莱茵河深25米，却只有113米宽，是莱茵河最深和最窄的河段，险峻的山岩和湍急的河流曾使得很多船只在这里发生事故遇难，如今仍有信号灯指引过往船只注意安全。关于罗蕾莱最出名的传说是，在罗蕾莱礁石上坐着一个名叫罗蕾莱的女人，她用一把金色的木梳梳理着她的金色长发，过往莱茵河的船员被她美妙的歌声所吸引，因为没有注意到危险的湍流和险峻的礁石，而不幸与船只一起沉入河底。
德国著名的浪漫主义诗人海因里希•海涅在1824年创作了叙事诗“罗蕾莱”（德语：Die Lore-Ley），1837年德国作曲家弗里德里希•西尔歇尔（Friedrich Silcher，1789年6月27日—1860年8月26日）为这首诗歌谱曲，从而成为一首世代相传的德国民歌。海涅这首伤感的抒情诗在19世纪成为了德国民歌，它在德国是如此的脍炙人口，以至于德意志第三帝国时期，虽然海涅是犹太人，他的作品都被纳粹禁止和烧毁，但唯独这首“罗蕾莱之歌”仍被保留，只不过作者被改成了“匿名”
诗人简介
亨利希•海涅 (或海因里希•海涅 Heinrich Heine, 1797-1856)
德国革命民主主义诗人。1797年12月13日出生于杜塞尔多夫一个犹太商人家庭。父亲萨姆荪•海涅经营呢绒生意失败，家道中落；母亲贝蒂•海涅是一位医生的女儿，生性贤淑，富有教养，喜好文艺。在她的影响下，诗人早早地产生了对文学的兴趣，十五岁还在念中学时就写了第一首诗，可是他却不得不遵从父命走上经商的道路，十八岁时去法兰克福的一家银行当见习生，第二年又转到他叔父所罗门•海涅在汉堡开的银行里继续实习。在富有的叔父家中，海涅不仅尝到了寄人篱下的滋味(《屈辱府邸》一诗便反映他当时的经历)，更饱受恋爱和失恋的痛苦折磨，因为他竟不顾门第悬殊，痴心地爱上了堂妹阿玛莉——一位他在诗里形容的“笑脸迎人，胸存诡诈”的娇小姐。1819年，因为前一年在叔父资助下兴办的哈利•海涅纺织品公司经营失败，同时在杜塞尔多夫做生意的父亲也破了产。年轻的海涅完全失去了经商的兴趣和勇气，遂接受叔父的建议进入波恩大学学习法律，准备将来做一名律师，然而从小爱好文艺的他无心研究法学，却常去听奥古斯特•威廉•施勒格尔的文学课，并经常与之来往，因而受浪漫派的影响。接下来他又到哥廷根大学和柏林大学学习。在柏林时他听过黑格尔的哲学课程，结识了浪漫派作家沙米索、富凯等，并积极参加争取犹太人解放的工作。 1825年获法学博士学位。 在1821至1830年期间，海涅曾到德国各地和波兰、英国、意大利旅行。1822年出版第一部“诗集”，次年又出版“悲剧—抒情插曲”。1827年他把早期抒情诗汇集在一起出版，题名“歌集”，引起轰动，奠定了他在文坛上的地位。这期间，他还创作了“哈尔茨山游记”等散文作品，也引起巨大反响。海涅这个时期的抒情诗和游记，大多抒写他个人的经历、感受、憧憬，感情真挚，语言优美，具有明显的浪漫 主义色彩。 1830年法国爆发七月革命，海涅深受鼓舞，决定前往巴黎。在这儿他结识了大仲马、贝朗瑞、乔治•桑、巴尔扎克、雨果等作家和李斯特、肖邦等音乐家，并与空想主义者圣西门的信徒交往，也受到这方面的影响。这时期他写了“论德国宗教和的历史”（1835）和“论浪漫派”（1836）两本著作。为了和激进派诗人内容空洞的“倾向诗”进行斗争，他写了长诗“阿塔•特罗尔，一个仲夏夜的梦”（1843）。1843年底，海涅和马克思在巴黎结识。这个时期，他的诗歌创作达到了新的高峰，他发表了“新诗集”（1844），其中包括一部分以“时代的诗”命名的政治诗，和长诗“德国，一个冬天的童话”（1844）。这些诗歌在思想内容和艺术两方面都取得很高的成就，成为1848年革命前夕时代的最强音。
海涅在1848年革命失败后，忍受瘫痪的痛苦，在“床褥墓穴”用口授方式创作了许多优秀诗篇，其中包括“罗曼采罗”（1851）、“1853至1854年诗集”和一些遗诗。这些中虽有悲愤忧郁之作，但大多数仍充满战斗的豪情、对祖国和人类的未来具有坚定的信心。1856年2月17日，海涅在巴黎逝世，葬于蒙马特公墓。在巴黎这个革命中心和国际文化大都会，海涅结识了巴尔扎克、仲马、维克多•雨果和乔治•桑等法国大作家，以及肖邦、李斯特、柏辽兹等著名的音乐家和艺术家，经常有机会参加各种文艺聚会，观看演出和参观美术展览，过着紧张而充实的生活，眼界进一步地开阔了，思想也进一步地活跃起来。在随后的十多年里，他虽也继续诗歌创作，但更多的时间和精力却用于为德国国内的报刊撰写通讯和时事评论，及时而又如实地报道法国和巴黎的各方面情况，想让法兰西革命的灿烂阳光去驱散笼罩着封建分裂的德意志帝国的浓浓黑暗，让资产阶级进步意识形态的熏风去冲淡弥漫在那儿的陈腐之气，于是产生了《法兰西现状》、《论法国画家》、《论法国戏剧》以及《路台齐亚》等一大批报道和文论。与此同时，他也向法国读者介绍德国的宗教、历史、文化、哲学以及社会政治现状，写成了《论浪漫派》、《德国宗教和哲学的历史》等重要论著，帮助法国人民对德国精神生活的方方面面产生比较深刻的认识。这样，海涅便开始了他写作生涯更紧密地联系现实和富有革命精神的第三个阶段。 在这个阶段，除去时评和文论，海涅还发表了小说《施纳波勒沃普斯基回忆录》、《佛罗伦萨之夜》和《巴哈拉赫的法学教师》。只可惜这些作品全都是一些片断，而诗歌创作也几乎陷于停顿。这大概是因为时事过于动荡，诗人已无法静下心来从事纯文学的创作，拿德国著名的马克思主义文学批评家弗朗茨•梅林的话来说就是：“海涅在三十年代极其严肃地对待他的‘使徒的职责’和‘护民官’的任务，因而他的诗歌创作就退居相当次要的地位了。”这意味着，海涅把自己革命战士的职责看得比他诗人的成就和荣誉还重，然而也多亏如此，他才得以充分展示在游记作品里已初露锋芒的社会观察家和批评家的才华，让后世能一睹其博大深邃的思想家和英勇善战、坚强不屈的战士的风采。 一八四四年，海涅在巴黎遇见马克思，与这位比自己年轻的革命家及其周围的同志结下了亲密的友谊，受到了他们的共产主义理想的影响。这一年十一月，诗人在流亡十三年后第一次短时间回祖国探望母亲，心情异常激动，以致一到边界心脏就“跳动得更加强烈，泪水也开始往下滴”。待到发现德国封建、落后的状况依旧，诗人更加悲愤难抑，于是怀着沉痛的心情写成了长诗《德国，一个冬天的童话》。在诗里，他不仅痛斥和鞭笞形形色色的反动势力，而且发出了“要在大地上建立起天上的王国”的号召。这部作品与合在一起出版的《新诗集》，也和前面提到的那些时评和文论一样，都具有紧密联系社会现实、有力针砭时弊和富有革命精神的特点。也就难怪恩格斯会兴奋地宣告“德国当代最杰出的诗人亨利希•海涅也参加了我们的队伍”，公开承认了他乃是一名革命战士。 进入十九世纪四十年代，特别是在《德国，一个冬天的童话》写作成功以后，海涅的诗歌之泉在干涸了近十年后又迅速而激越地流淌、喷涌起来，从而开始了他文学生涯的第四个阶段。在这个阶段，他写了大量如投枪匕首般锋利尖锐的“时事诗”，如被誉为“德国工人阶级的马赛曲”的《西里西亚的纺织工人》等等，对各式各样的反动势力进行无情的揭露和讽刺。也就是说，与早年的抒情诗相比，诗人这时的作品已发生了质的变化，不再是抒发个人喜怒哀乐的低吟浅唱，而成了战场上震撼心魄的鼓角和呐喊。可惜的是，在一八四八年法国爆发二月革命，整个欧洲都掀起了革命高潮之际，海涅的诗歌创作又中断了一两年。原因是诗人在年前罹患脊髓痨，到一八四八年已经卧床不起，正苦苦地与死亡进行着抗争。 进入十九世纪五十年代以后病情稍有缓和，海涅在创作“时事诗”的同时，也写了不少音调沉郁、愤世嫉俗的抒情诗，哀叹自身不幸的命运和遭遇。他身为犹太人而倾向进步和革命，因而长期受到德国政府的迫害。自一八三五年起，他的作品就列入了德国官方的查禁名单，且高踞榜首，新作更难在国内出版，稿费来源几近枯竭。与此同时，叔父所罗门•海涅对他的接济也早已断绝，在流亡中的诗人经济十分拮据，不得已而领取了法国政府发给的救济金。这事在一八四八年被国内的论敌知道了，海涅因此遭到恶毒攻击，再加上生活艰苦辛劳等原因，致使他患的脊髓痨进一步恶化。一八五一年，在妻子玛蒂尔德陪同下，海涅好不容易支撑着病体，最后一次外出参观了卢浮宫博物馆，从此以后便长年地痛苦挣扎在他所谓的“床褥墓穴”中。可是尽管如此，诗人仍然像一位临死仍坚持战斗的战士一样坚持写作，直至一八五六年二月十七日在巴黎逝世，葬于蒙马特公墓。他在逝世前一年为自己的散文集《路台齐亚》法文版撰写的那篇序言，表明这位战士诗人至死不悔，始终忠于自己的共产主义的信念和革命理想。
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