朱自清荷塘月色英语全文

2024-08-23 朱自清

　　荷塘月色是美妙温馨的，这样的景色当然能给人以喜悦。以下是小编帮大家整理的朱自清荷塘月色英语全文，仅供参考，希望能够帮助到大家。

　　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

　　这几天心里颇不宁静。今晚在院子里坐着乘凉，忽然想起日日走过的荷塘，在这满月的光里，总该另有一番样子吧。月亮渐渐地升高了，墙外马路上孩子们的欢笑，已经听不见了；妻在屋里拍着闰儿，迷迷糊糊地哼着眠歌。我悄悄地披了大衫，带上门出去。

　　沿着荷塘，是一条曲折的小煤屑路。这是一条幽僻的路；白天也少人走，夜晚更加寂寞。荷塘四面，长着许多树，蓊蓊郁郁的。路的一旁，是些杨柳，和一些不知道名字的树。没有月光的晚上，这路上阴森森的，有些怕人。今晚却很好，虽然月光也还是淡淡的。

　　路上只我一个人，背着手踱着。这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。我爱热闹，也爱冷静；爱群居，也爱独处。像今晚上，一个人在这苍茫的月下，什么都可以想，什么都可以不想，便觉是个自由的人。白天里一定要做的事，一定要说的话，现在都可不理。这是独处的妙处，我且受用这无边的荷香月色好了。

　　曲曲折折的荷塘上面，弥望的是田田的叶子。叶子出水很高，像亭亭的舞女的裙。层层的叶子中间，零星地点缀着些白花，有袅娜地开着的，有羞涩地打着朵儿的；正如一粒粒的明珠，又如碧天里的星星，又如刚出浴的美人。微风过处，送来缕缕清香，仿佛远处高楼上渺茫的歌声似的。这时候叶子与花也有一丝的颤动，像闪电般，霎时传过荷塘的那边去了。叶子本是肩并肩密密地挨着，这便宛然有了一道凝碧的波痕。叶子底下是脉脉的流水，遮住了，不能见一些颜色；而叶子却更见风致了。

　　月光如流水一般，静静地泻在这一片叶子和花上。薄薄的青雾浮起在荷塘里。叶子和花仿佛在牛乳中洗过一样；又像笼着轻纱的梦。虽然是满月，天上却有一层淡淡的云，所以不能朗照；但我以为这恰是到了好处——酣眠固不可少，小睡也别有风味的。月光是隔了树照过来的，高处丛生的灌木，落下参差的斑驳的黑影，峭楞楞如鬼一般；弯弯的杨柳的稀疏的倩影，却又像是画在荷叶上。塘中的月色并不均匀；但光与影有着和谐的旋律，如梵婀玲上奏着的名曲。

　　荷塘的四面，远远近近，高高低低都是树，而杨柳最多。这些树将一片荷塘重重围住；只在小路一旁，漏着几段空隙，像是特为月光留下的。树色一例是阴阴的，乍看像一团烟雾；但杨柳的丰姿，便在烟雾里也辨得出。树梢上隐隐约约的是一带远山，只有些大意罢了。树缝里也漏着一两点路灯光，没精打采的，是渴睡人的眼。这时候最热闹的，要数树上的蝉声与水里的蛙声；但热闹是它们的，我什么也没有。

　　忽然想起采莲的事情来了。采莲是江南的旧俗，似乎很早就有，而六朝时为盛；从诗歌里可以约略知道。采莲的是少年的女子，她们是荡着小船，唱着艳歌去的。采莲人不用说很多，还有看采莲的人。那是一个热闹的季节，也是一个风流的季节。

　　梁元帝《采莲赋》里说得好：于是妖童媛女，荡舟心许；鷁首徐回，兼传羽杯；欋将移而藻挂，船欲动而萍开。尔其纤腰束素，迁延顾步；夏始春余，叶嫩花初，恐沾裳而浅笑，畏倾船而敛裾。

　　可见当时嬉游的光景了。这真是有趣的事，可惜我们现在早已无福消受了。

　　于是又记起《西洲曲》里的句子：

　　采莲南塘秋，莲花过人头；低头弄莲子，莲子清如水。今晚若有采莲人，这儿的莲花也算得“过人头”了；只不见一些流水的影子，是不行的。这令我到底惦着江南了。——这样想着，猛一抬头，不觉已是自己的门前；轻轻地推门进去，什么声息也没有，妻已睡熟好久了。

　　朱自清荷塘月色结构

　　《荷塘月色》是朱自清先生在1927年7月创作的一篇脍炙人口的经典美文。文章以作者内心“颇不宁静”开始，到“超越了现实的自己”，最后又回归现实，“猛一抬头，不觉已到了自己家门前”作结。从文章整体结构来看，作者经历了“不宁静—宁静—不宁静”的过程。

　　《桃花源记》描述的是一个人人平等，富足和谐的理想社会境界，与现实世界相比，恍如隔世，“寻向所志，遂迷，不复得路。”可就是这样一个理想化的、乌托邦式的社会，最能凸显作者想要超越现实，超越自我，超越困苦，寻求内心世界那一片诗意的栖息的心灵港湾。在结构模式上，两篇散文的作者均在“现实世界—理想世界—现实世界”的模式下，苦苦寻求，想借助外力超越现实带来的苦恼与惆怅，但最终回避不了现实的羁绊，不得不带着些许的惆怅与淡淡的愁绪离去，终了还是魂牵梦萦，津津乐道，难以忘情。这不同于一般的虚构，而是作者潜意识里的一种理想，一种美的象征。

　　一、现实世界——理想世界——现实世界

　　《荷塘月色》一文精心营造了一种超越现实的凝重氛围，开篇第一句：“这几天心里颇不宁静”道出了朱自清烦乱不安、犹豫彷徨的心态。“心上常觉有一点除不去的阴影，这却是真的。我是要找一条自己好走的路……我所彷徨的就是这个。”在腥风血雨的时代浪潮的鼓动下，作者找不到一条适合自己的路可走，时代也不会量身定做一条路给他走，“我既不能参加革命或反革命，总得找一个依据，才可姑作安心地过日子。我是想找一件事，钻了进去，消磨了这一生。”[1]这是作者惶惑不安，寻求超脱现实，释放内心烦忧的写照，想找一块可供暂时消遣的港湾，让自己不宁静的心宁静下来。所以，作者就在这个愁肠千结之时想到了“日日走过的荷塘”，“这一片天地好像是我的；我也像超出了平常的自己，到了另一个世界。”作者心目中的“另一个世界”或许就是他的理想世界，抑或是曲径通幽处的避风港。因为腥风血雨荡涤着作者身为一介文人所无法容忍的残酷的现实，加之作者在此关键的历史时刻还没找到自己所要走的路，所以彷徨、失落、无措也就可想而知，闹中取静，实属必然。寂静的月色下，饶有风趣的荷塘，零星地点缀些许蛙声、蝉鸣就是作者以闹衬静的真情流露。“江南采莲”本是一场热闹的活动，这里不在于作者联想到了什么，深层次的内心写照是“求静”，一味地专注“荷香月色”已不能满足作者“此时此刻”的情感需求，他要“化腐朽为神奇”，“化变炼钢为绕指柔”，在静中超然物化。看似了无轻重的一笔，实则是举轻若重。文章的4—6自然段就是顺应作者寻求刹那间的“宁静”，排解心绪的忧愁而生的。在此“理想世界”中，作者提及“热闹是他们的，我什么也没有”，这样的一个世外桃源，超现实的影像，只能荡起他内心的一点涟漪而已。最终还是要回到现实当中，“猛一抬头，不觉已是自己的门前”作者所苦心经营的“理想世界”其实正是其内心的真实写照。散文最关键的是情景交融，用王国维的话来诠释就是“一切景语皆情语”。作者在现实与理想间纠结、交缠，完成了一次思想与情感的空前净化，也表现出了一代知识分子在时代洪流中的彷徨与困惑：一是找不到路可走的迷茫；二是找到了路后的彷徨。作者此时的心态正值前者，所以，折射到文章中，其生活轨迹就似画了一个圆圈。

　　二、不宁静——宁静——不宁静

　　形散而神不散是散文的特点，《荷塘月色》中的客观景物时刻都映射着作者的主观感情。无论是现实世界，还是理想世界，总是与作者的情感相伴。体现在文章结构上就是“不宁静—宁静—不宁静”的模式。

　　作者置身于月下荷塘的良辰美景中，旨在排遣心绪的“不宁静”，“披了长衫，带上门出去”，踽踽独行于荷香月色的“世界”，暂时离开了混沌的现实世界，心灵上获得短暂的释怀，“什么都可以想，什么都可以不想”“白天里一定要做的事，一定要说的话，现在都可不理”“受用这无边的荷香月色了”。但作者真能做到超然物外吗？真能逃避现实的纷纷扰扰吗？在这个“世界”里，作者所能做的也许就剩下曲曲折折地吐露出抑郁的心绪了，因为终归还要回到魂牵梦萦的现实世界，眼前的世界才是最终的归宿。也正是这些情思，才表露了那个破碎的年代里不甘随波逐流、同流合污却又怀揣着救世无路的知识分子的苦闷心境。这时的“荷塘月色图”仿佛沾染了作者的情愫，如同“感时花溅泪，恨别鸟惊心”一般，“一切景语皆情语”，处处彰显着一层淡淡的朦胧之美。荷塘上隐隐约约地浮着“薄薄的轻雾”，叶子和花就像在“牛乳”中洗过一样，天上还有一层“淡淡的云”荷塘四周的树木也是“阴阴的”。仿佛看得清却又隐隐约约地看不清。在这苍茫的月色下，“以我观物，物皆着我之色彩”，作者的心绪从不宁静到寻静，可在得静之时，却又回到了不宁静。

　　三、拆开来看，拆穿来看

　　若以上论述是从文章的整体布局而言，那么下面来看《荷塘月色》的内部构造。在作者苦心经营的荷香月色的“理想世界”中（即文本中的第4—6自然段精华部分），作者表露了他对待生活的态度：“于每事每物，必要拆开来看，拆穿来看；无论锱铢之别，缁渑之辨，总要看出而后已，正如显微镜一样。这样可以辩出许多新异的滋味，”这三段中，都以荷塘和月色为主要景物，第一幅画面荷塘是主景，月色是背景。“荷塘上面弥望的是田田的叶子”“零星地点缀些白花”“送来缕缕清香”“宛然有了一道凝碧的波痕”。这里是按荷叶、荷花、荷香、荷波的顺序婉婉道来。第二幅画面荷塘成了背景，月色变成了主景。“月光如流水一般”，月下的荷叶“仿佛在牛乳中洗过一样”“又像笼着轻纱的梦”。作者把荷塘月色这一审美对象拆开来分别描述，“并不是生硬地割裂描写对象，因为他始终是把被分成的两个部分的月色与荷塘联结在一起描写的，不过两次描写的角度不同，即作为主景和背景的地位相互调换一下罢了。”

　　四、荷月意象

　　尽管《荷塘月色》写得非常漂亮，然而，我们读后还是感觉好像缺了点什么东西似的——“挣扎和战斗的力量”。作者创作这篇散文时正值白色恐怖笼罩整个中华大地，革命前途未卜，而作者却在月下夜游，原因何在？一个可能是作者无视血淋淋的现实；另一个可能是作者虽正视现实，可无法至少一时无法接受这种现实，不满之余，流露出超脱尘世的感喟。此说之依据，就是荷花，明月这两个意象。荷花本是高洁的象征，“出淤泥而不染，濯清涟而不妖”；明月的意象复杂多变，多与作者的心境，外物的情境共荣共生，“明月松间照，清泉石上流”“露从今夜白，月是故乡明”“举杯邀明月，对影成三人”，她可以是纯洁，思乡，孤独的象征等等，借此分析作者笔下的荷塘月色：孤芳自赏，洁身自好的朱自清先生迫于环境的限制，在人生十字路口处的孤独、徘徊的心态也就成为了一种必然的选择。“田田的”“亭亭的”“脉脉的”仿佛玉女姗姗来迟；“清香”飘飘忽忽宛若“歌声”悠扬；“蝉声”“蛙声”“采莲”热热闹闹如同“娴静”中独处，好一幅现代版的“世外桃源”景象，让我们仿佛看到一位披着长衫，步履娴熟，幽静中透露带着点感伤的学子“飘飘乎如遗世而独立”，行走于“荷塘月色”间。

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