其实狱中题壁谭嗣同赏析的问题并不复杂，但是又很多的朋友都不太了解狱中题壁原文及翻译，因此呢，今天小编就来为大家分享狱中题壁谭嗣同赏析的一些知识，希望可以帮助到大家，下面我们一起来看看这个问题的分析吧！
本文目录
一、《对酒》秋瑾和《狱中题壁》谭嗣同翻译及赏析
1、知道秋瑾的也许大都是从她那首《对酒》开始的，全诗如下：
2、Knew perhaps Qiu Jin mostly is"to Liquor" starts from her that, entire poem as follows:
3、Does not hesitate the daughter to buy the treasured sword, the dissolute life of the rich or celebrated also endures boldly. The doggedly sincere industriously treasures, sprinkles still can melt blue Tao.
4、在日本，她有时真的穿着“貂裘”，但绝不像今天的“貂裘小蜜”一族们那样，手里抱个沙皮哈巴狗。她的手里是真的拿着宝刀的，那宝刀今天存放在绍兴的纪念馆里。后来大概貂裘真的换酒了，她就穿男式和服，穿学生制服，有时又穿得像个浪人。她的穿衣不像现在大街上一些人因心灵空虚精神苍白而打扮得标新立异哗众取宠，而是与她的整个革命活动联为一体的。她发起过“共爱会”，“十人会”，加入过“光复会”，“同盟会”，而且还是“洪门天地会”横滨分舵的“白纸扇”，即大军师。
5、different wins favor by ostentation, but is and her entire revolutionary activity association is a body. She initiates"altogether has loved the meeting","ten human of meetings", has joined"the restoration society","the alliance association", moreover"Hongmen Secret Society heaven and earth society" Yokohama minute rudder"white paper fan", namely big military strategist.
6、秋瑾回国后的革命壮举和慷慨就义，是大多数人都知道的。这里只说秋瑾爱穿男装，是代表了当时中国最觉醒的女性的时装潮流。当时女性觉醒的标志，就是争取有与男人一样的权利。读她的《对酒》，不知道的会以为这是爷们写的。其实中国的男性写的东西，多数是女性化的。一千多年前的花蕊夫人早就痛骂过：“君王城上竖降旗，妾在深宫那得知？二十万人齐解甲，宁无一个是男儿！”九百年后，秋瑾又接着诘问：“肮脏尘寰，问几个男儿英哲？算只有蛾眉时闻杰出。”秋瑾生活的时代，人们已经痛感中国的极度女性化，因此涌现出一批豪侠刚烈女士，以夸张的男性化生活姿态向传统社会挑战。秋瑾身为女性，但她时时反抗命运加给自己的性别身份。她恨苍天“苦将侬，强派作蛾眉，殊未屑！”她说，“身不得男儿列，心却比男儿烈。”又宣称“休言女子非英物，夜夜龙泉壁上鸣！”
7、在当今文化界，葛红兵说过一句话我深表赞同，大意是中国现在流行两种散文，一种是小女人散文，另一种老男人散文。这种状况与社会风气总不能说是毫无关联吧，现在有些小男人如果不骂秋瑾是“疯子”、“变态”的话，真是连上吊都解不开裤腰带的。这是当代中国的男人们自当引以为深思的。
8、Qiu Jin returns to homeland the after revolutionary magnificent feat and died a martyr's death, is the majority people all knows. Here only said Qiu Jin likes putting on the men's clothing, has represented the feminine fashionable clothing tidal current which China most awakened at that time. At that time the female awakened the symbol, was strives for has with the man same right. Reads her"to Liquor", does not know can think this is the men writes. Actually China's male writes the thing, are most is the feminization. More than 1,000 year ago stamen and pistil madame already has given scolding:"In the king city the vertical stroke lowers a flag, the concubine knew in deep palace that? 200,000 people surrender together, rather does not have is the son!" After 900 years, Qiu Jin then questions:"The dirty world, asked several sons England is wise? Calculates when the eyebrows of a beautiful woman hears outstandingly." Qiu Jin lives time, people already pain China's extreme feminization, therefore emerges one group of chivalrous people staunch women, by virilized life posture which exaggerates to traditional society challenge. The Qiu Jin body is a female, but she revolts against the destiny to add at times for own sex status. She hates the heaven"painstakingly me, the strong faction makes the eyebrows of a beautiful woman, different not filings!" She said that,"the body does not have the son to arrange in order, the heart is actually fiercer than the son." Also declared"rests word female non- England, on the Longquan wall calls every night!" In now the cultural circle, Ge Hongbing had said a speech I express deeply the approval, the general idea am China now the popular two kind of proses, one kind is the concubine prose, another kind of old man prose. This kind of condition and the social convention cannot say is not connected, now some little men if do not scold Qiu Jin is"the lunatic","the metamorphosis", really is the company hangs oneself cannot untie waistband. This is the Contemporary China men from when引以 for thinks deeply.
9、望门投止（宿）思张俭，忍死须臾待杜根。我自横刀向天笑，去留肝胆两昆仑。
10、"In Prison Wall inscription" Tan Sitong
11、Seeks shelter wherever one sees a door(sleeps) thinks opens thriftily, endures to die the moment to treat the Du root. I smile from the horizontal knife to the day, remove or retain courage two Kunlun Mountains.
12、诗的前二句，表达了谭嗣同对在戊戌变法失败后逃亡在外的康有为、梁启超等同志的思念，他们正处在险恶、艰苦的环境中，希望他们能得到人们的帮助，度过险情；同时也对他们寄予了无限的期望，希望他们能等待时机，东山再起，以实现他们共同的理想。这里他运用了两个典故——东汉人张俭和杜根，贴切地表达他的这种心情。
13、Poem first two, expressed Tan Sitong to become a fugitive after the Reform Movement of 1898 defeat in the and so on outside Comrade Kang Youwei's, Liang Qichao missing, they were occupying dangerously, in the difficult environment, hoped they could obtain people's help, passed the dangerous situation; At the same time has also placed the infinite expectation to them, hoped they can wait for the opportunity, stages a comeback, by realizes their common ideal. Here he has utilized two literary references- Eastern Han Dynasty person Zhang Jian and the Du root, appropriately voices his this kind of feelings.
14、后两句，写出了他的英雄气概：“我自横刀向天笑，去留肝胆两昆仑。”面对死亡，他仰天大笑，这是何等的大无畏精神。戊戌变法失败后，他本是有时间出逃的，朋友们都劝他出去避一避，但他却下定决心以身殉难，但同时他也希望能保留一批同志，以图将来，所以他劝梁启超出逃，他说：“不有行者，无以图将来；不有死者，不以召后人！”就是说无论是去者还是留者，都是为着共同的事业，都是赤胆忠心的大英雄，所以说“去留肝胆两昆仑，“去”的指康有为、梁启超等人，“留”的指谭嗣同等戊戌六君子及其他死难者，他们各得其所，一样的崇高，一样的伟大。
15、Latter two, have written his heroic spirit:"I smile from the horizontal knife to the day, remove or retain courage two Kunlun Mountains." Facing the death, he has a good laugh, this is the what kind dauntless spirit. After the Reform Movement of 1898 defeat, he this has the time to flee, the friends all urge him to exit to evade, but he sets firm resolve by the body to die for a just cause actually, but at the same time he also hoped can retain one group of comrades, by chart future, therefore he urges Liang Qichao to flee, he said:"Does not have the traveler, will not have by the chart future; Does not have the dead, by does not summon the posterity!" Is said regardless of is going to keeping, all is for the common enterprise, all is the utter devotion big hero, therefore said"remove or retain courage two Kunlun Mountains," goes"refers to human and so on Kang Youwei, Liang Qichao," remains"refers to戊戌 six gentlemen and other victims and so on the Tan Sitong, they take their proper place, same lofty, same great.
二、谭嗣同的狱中题壁抒发了怎样感情
1、我自横刀向天笑，去留肝胆两昆仑。是狱中题壁的名句由此可以看出作者的豁达胸襟以及为国捐躯的不畏生死的精神。谭嗣同说过：“嗣同闻变，竟日不出门，以待捕者”，并力劝梁启超出亡日本：“不有行者无以图将来，不有死者无有招后起。”日本使馆愿提供“保护”，被谭嗣同慨然回绝。“有心杀贼，无力回天”的谭嗣同，与林旭等其他5位维新志士于北京宣武门外菜市口英勇就义。
2、谭嗣同非为一人之江山，而是为终结中华民族上下五千年来治乱循环的悲剧，为天下苍生求得一个自由、平等，“我不入地狱，谁入地狱”，“虽千万人，我往矣”；“我自横刀向天笑”：谭嗣同气吞万里如虎的豪迈，实为华夏第一人杰，这颗划过暗黑夜空的流星，留下一道异常耀眼的轨迹，引导、激励着一个又一个为中华民族的前途命运而奋斗不息的热血儿郎。
3、个人认为他比梁启超康有为够爷们=-=是个铁骨铮铮的汉子，不给我们中华丢脸。
三、求戴望舒《狱中题壁》的赏析
1、戴望舒的《狱中题壁》这首诗是于1942年4月24日所作的一首爱国诗。这首诗是诗人在日本侵华、全民抗战的“灾难的日子”，在自己身陷狱中，面临酷刑和死亡时的自白。与前期诗作的灰颓、低沉相比，面对死亡，诗人大彻大悟了生命的真，为自由和光明，他宁愿赴死，他坚信自己的祖国会取得胜利，而“他的灵魂”也终将“高高扬起”。
2、诗人戴望舒在这首题壁诗中所运用的意象并不丰富，但每一个意象都有自己深刻的内涵。“曝着太阳，沐着飘风”这句诗中含有两个意象：“太阳”和“飘风”。“太阳”这个意象象征着光明与希望，它表达出诗人身陷黑暗幽湿的牢狱中，心中无比向往着牢狱之外的美好阳光。“飘风”这一意象充满了诗人对自由的渴望，希望自己能够像飘风一样，飘出牢狱，拥抱光明。这两个意象写出诗人就算死去，也希望自己的战友们能够让自己的尸体“曝着太阳，沐着飘风”，表达了诗人此时在牢狱中的煎熬以及对光明，对自由的极度渴望，写出了一个虽然身躯被囚禁但却依然热爱阳光与自由的灵魂。在这里，诗人运用了“背面铺粉”的抒情方法，用对“太阳”、“飘风”的光明与美好的幻想来反衬自己在现实中的凄惨遭遇，这种幻想和现实交融的艺术境界，把诗人那种坚贞不屈的意志和民族解放的信念表现得入木三分，达到令人难忘的程度。
3、如果说意象是诗歌的灵魂，那么诗歌的语言便是诗歌的血肉。诗人戴望舒在这首诗歌中巧妙的运用了多个不同的人称，生动巧妙的表达出来诗人内心的情感。“如果我死在这里”在诗的一开头，诗人就提到自己的死亡。在这里世人所运用的人称是第一人称“我”。诗人这样以第一视角来描写假如自己已经死在牢狱中，是诗歌一开头，就充满了悲伤的情感。但在此，诗人坚信自己为国而死，一定会被永远铭记，所以“我会永远地生存，在你们的心上”。“你们中的一个死了”在诗篇的第二节，诗人用了第二人称“你们”。这个“你们”指的不仅是诗人的战友们，同时也指那些同诗人一样坚贞不屈，视死如归的革命志士们。“他怀着的深深仇恨”在第二节中，诗人同样运用了第三人称“他”。这个“他”指的是未来的诗人的尸体，在这里，诗人巧妙的将自身一分为二，以活着的自己诉说死了的自己，表达出了自己内心对日本侵略者的深深的仇恨。第三四节，诗人的情感有了明显的变化。“用你们胜利的欢呼，把他的灵魂高高扬起。”和“曝着太阳，沐着飘风”这两句话，都表达了诗人此时视死如归，悲壮激昂的态度。面对死亡没有害怕与躲避，有的只是对祖国和战友们深深的信任。这里同样运用了“背面铺粉”的抒情方法，诗人用死之从容反衬生之坚强，文字于沉郁中显示力度，语调从舒缓里见出深沉，形象和画而平实、素朴而又飞扬着浪漫的激情。
4、有血肉和灵魂却没有骨架的人虽然有思想却不能站立。戴望舒的这首诗是一个典型的新月派诗人所写的诗歌。诗歌中共有四节，每节有四行，结构整齐，整首诗给读者一种流畅优美的感受，展现出了一种建筑美。每个小节的第二行和第四行最后一个字押韵，第一节中的“伤”、“上”；第二节中的“里”、“忆”；第三节中的“体”、“起”以及第四节中的“风”、“梦”。每节所用的韵脚都不相同，带给读者一种音乐美。而每一小节都能使读者联想到一幅画面，悲伤的；愤怒的；激昂的；悲壮的。语言生动形象富有画面感，带给读者一种绘画美。
5、《狱中题壁》一诗的情绪由伤感流向激愤再流向悲壮，真切地传达出诗人面临死亡时的心情，并以个体的境遇与心情映射了整个中华民族誓死抗战的精神。
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