适合朗诵的英语文章（优秀3篇）-尊龙凯时最新z6com

阅读活动是从朗读开始的，朗读是中学语文教学的重要环节，而朗诵是朗读的升华。它山之石可以攻玉，以下内容是差异网为您带来的3篇《适合朗诵的英语文章》，希望能为您的思路提供一些参考。

适合朗诵的英语文章 篇一

the colour of life

red has been praised for its nobility as 。 but the true colour of life is not red. red is the colour of violence, or of life broken open, edited, and published. or if red is indeed ， it is so only on condition that it is not seen. once fully visible, red is the colour of life violated, and in the act of betrayal and of waste. red is the secret of life, and not the manifestation thereof. it is one of the things the value of which is secrecy, one of the talents that are to be hidden in a napkin. the true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. it is the modest colour of the unpublished blood.

so bright, so light, so soft, so mingled, the gentle colour of life is outdone by all the colours of the world. its very beauty is that it is white, but less white than milk; brown, but less brown than earth; red, but less red than sunset or dawn. it is lucid, but less lucid than the colour of lilies. it has the hint of gold that is in all fine colour; but in our latitudes the hint is almost elusive. under sicilian skies, indeed, it is deeper than old ivory; but under the misty blue of the english zenith, and the warm grey of the london horizon, it is as delicately flushed as the paler wild roses, out to their utmost, flat as stars, in the hedges of the end of june.

for months together london does not see in any mass. the human face does not give much of it, what with features, and beards, and the shadow of the top-hat and chapeau melon of man, and of the veils of woman. besides, the colour of the face is subject to a thousand injuries and accidents. the popular face of the londoner has soon lost its gold, its white, and the delicacy of its red and brown. we miss little beauty by the fact that it is never seen freely in great numbers out-of-doors. you get it in some quantity when all the heads of a great indoor meeting are turned at once upon a speaker; but it is only in the open air, needless to say, that is in perfection, in the open air, "clothed with the sun," whether the sunshine be golden and direct, or dazzlingly diffused in grey. the little figure of the london boy it is that has restored to the landscape the human colour of life. he is allowed to come out of all his ignominies, and to take the late colour of the midsummer north-west evening, on the borders of the serpentine. at the stroke of eight he sheds the slough of nameless colours - all allied to the hues of dust, soot, and fog, which are the colours the world has chosen for its boys - and he makes, in his hundreds, a bright and delicate flush between the grey-blue water and the grey-blue sky. clothed now with the sun, he is crowned by-and-by with twelve stars as he goes to bathe, and the reflection of an early moon is under his feet.

so little stands between a gamin and all the dignities of nature. they are so quickly restored. there seems to be nothing to do, but only a little thing to undo. it is like the art of eleonora duse. the last and most finished action of her intellect, passion, and knowledge is, as it were, the flicking away of some insignificant thing mistaken for art by other actors, some little obstacle to the way and liberty of nature.

all the squalor is gone in a moment, kicked off with the second boot, and the child goes shouting to complete the landscape with the lacking colour of life. you are inclined to wonder that, even undressed, he still shouts with a cockney accent. you half expect pure vowels and elastic syllables from his restoration, his spring, his slenderness, his brightness, and his glow. old ivory and wild rose in the deepening midsummer sun, he gives his colours to his world again.

it is easy to replace man, and it will take no great time, where nature has lapsed, to replace nature. it is always to do, by the happily easy way of doing nothing. the grass is always ready to grow in the streets - and no streets could ask for a more charming finish than your green grass. the gasometer even must fall to pieces unless it is renewed; but the grass renews itself. there is nothing so remediable as the work of modern man

-"a thought which is also," as mr pecksniff said, "very soothing." and by remediable i mean, of course, destructible. as the bathing child shuffles off his garments - they are few, and one brace suffices him - so the land might always, in reasonable time, shuffle off its yellow brick and purple slate, and all the things that collect about railway stations. a single night almost clears the air of london.

but if looks so well in the rather sham scenery of hyde park, it looks brilliant and grave indeed on a real sea- coast. to have once seen it there should be enough to make a colourist. o memorable little picture! the sun was gaining colour as it neared setting, and it set not over the sea, but over the land. the sea had the dark and rather stern, but not cold, blue of that aspect -the dark and not the opal tints. the sky was also deep. everything was very definite, without mystery, and exceedingly simple. the most luminous thing was the shining white of an edge of foam, which did not cease to be white because it was a little golden and a little rosy in the sunshine. it was still the whitest thing imaginable. and the next most luminous thing was the little child, also invested with the sun and 。

in the case of women, it is of the living and unpublished blood that the violent world has professed to be delicate and ashamed. see the curious history of the political rights of woman under the revolution. on the scaffold she enjoyed an ungrudged share in the fortunes of party. political life might be denied her, but that seems a trifle when you consider how generously she was permitted political death. she was to spin and cook for her citizen in the obscurity of her living hours; but to the hour of her death was granted a part in the largest interests, social, national, international. the blood wherewith she should, according to robespierre, have blushed to be seen or heard in the tribune, was exposed in the public sight unsheltered by her veins.

against this there was no modesty. of all privacies, the last and the innermost - the privacy of death - was never allowed to put obstacles in the way of public action for a public cause. women might be, and were, duly suppressed when, by the mouth of olympe de gouges, they claimed a "right to concur in the choice of representatives for the formation of the laws"； but in her person, too, they were liberally allowed to bear political responsibility to the republic. olympe de gouges was guillotined. robespierre thus made her public and complete amends.

适合朗诵的英语文章 篇二

cloud

during a part of the year london does not see the clouds. not to see the clear sky might seem her chief loss, but that is shared by the rest of england, and is, besides, but a slight privation. not to see the clear sky is, elsewhere, to see the cloud. but not so in london. you may go for a week or two at a time, even though you hold your head up as you walk, and even though you have windows that really open, and yet you shall see no cloud, or but a single edge, the fragment of a form.

guillotine windows never wholly open, but are filled with a doubled glass towards the sky when you open them towards the street. they are, therefore, a sure sign that for all the years when no other windows were used in london, nobody there cared much for the sky, or even knew so much as whether there were a sky.

but the privation of cloud is indeed a graver loss than the world knows. terrestrial scenery is much, but it is not all. men go in search of it; but the celestial scenery journeys to them. it goes its way round the world. it has no nation, it costs no weariness, it knows no bonds. the terrestrial scenery -the tourist's -is a prisoner compared with this. the tourist's scenery moves indeed, but only like wordsworth's maiden, with earth's diurnal course; it is made as fast as its own graves. and for its changes it depends upon the mobility of the skies. the mere green flushing of its own sap makes only the least of its varieties; for the greater it must wait upon the visits of the light. spring and autumn are inconsiderable events in a landscape compared with the shadows of a cloud.

the cloud controls the light, and the mountains on earth appear or fade according to its passage; they wear so simply, from head to foot, the luminous grey or the emphatic purple, as the cloud permits, that their own local colour and their own local season are lost and cease, effaced before the all-important mood of the cloud.

the sea has no mood except that of the sky and of its winds. it is the cloud that, holding the sun's rays in a sheaf as a giant holds a handful of spears, strikes the horizon, touches the extreme edge with a delicate revelation of light, or suddenly puts it out and makes the foreground shine.

every one knows the manifest work of the cloud when it descends and partakes in the landscape obviously, lies half-way across the mountain slope, stoops to rain heavily upon the lake, and blots out part of the view by the rough method of standing in front of it. but its greatest things are done from its own place, aloft. thence does it distribute the sun.

thence does it lock away between the hills and valleys more mysteries than a poet conceals, but, like him, not by interception. thence it writes out and cancels all the tracery of monte rosa, or lets the pencils of the sun renew them. thence, hiding nothing, and yet making dark, it sheds deep colour upon the forest land of sussex, so that, seen from the hills, all the country is divided between grave blue and graver sunlight.

and all this is but its influence, its secondary work upon the world. its own beauty is unaltered when it has no earthly beauty to improve. it is always great： above the street, above the suburbs, above the gas-works and the stucco, above the faces of painted white houses - the painted surfaces that have been devised as the only things able to vulgarise light, as they catch it and reflect it grotesquely from their importunate gloss. this is to be well seen on a sunny evening in regent street.

even here the cloud is not so victorious as when it towers above some little landscape of rather paltry interest - a conventional river heavy with water, gardens with their little evergreens, walks, and shrubberies; and thick trees impervious to the light, touched, as the novelists always have it, with "autumn tints." high over these rises, in the enormous scale of the scenery of clouds, what no man expected -an heroic sky. few of the things that were ever done upon earth are great enough to be done under such a heaven. it was surely designed for other days. it is for an epic world. your eyes sweep a thousand miles of cloud. what are the distances of earth to these, and what are the distances of the clear and cloudless sky? the very horizons of the landscape are near, for the round world dips so soon; and the distances of the mere clear sky are unmeasured - you rest upon nothing until you come to a star, and the star itself is immeasurable.

but in the sky of "sunny alps" of clouds the sight goes farther, with conscious flight, than it could ever have journeyed otherwise. man would not have known distance veritably without the clouds. there are mountains indeed, precipices and deeps, to which those of the earth are pigmy. yet the sky-heights, being so far off, are not overpowering by disproportion, like some futile building fatuously made too big for the human measure. the cloud in its majestic place composes with a little perugino tree. for you stand or stray in the futile building, while the cloud is no mansion for man, and out of reach of his limitations.

the cloud, moreover, controls the sun, not merely by keeping the custody of his rays, but by becoming the counsellor of his temper. the cloud veils an angry sun, or, more terribly, lets fly an angry ray, suddenly bright upon tree and tower, with iron-grey storm for a background. or when anger had but threatened, the cloud reveals him, gentle beyond hope. it makes peace, constantly, just before sunset.

it is in the confidence of the winds, and wears their colours. there is a heavenly game, on south-west wind days, when the clouds are bowled by a breeze from behind the evening. they are round and brilliant, and come leaping up from the horizon for hours. this is a frolic and haphazard sky.

all unlike this is the sky that has a centre, and stands composed about it. as the clouds marshalled the earthly mountains, so the clouds in turn are now ranged. the tops of all the celestial andes aloft are swept at once by a single ray, warmed with a single colour. promontory after league-long promontory of a stiller mediterranean in the sky is called out of mist and grey by the same finger. the cloudland is very great, but a sunbeam makes all its nations and continents sudden with light.

all this is for the untravelled. all the winds bring him this scenery. it is only in london, for part of the autumn and part of the winter, that the unnatural smoke-fog comes between. and for many and many a day no london eye can see the horizon, or the first threat of the cloud like a man's hand. there never was a great painter who had not exquisite horizons, and if corot and crome were right, the londoner loses a great thing.

he loses the coming of the cloud, and when it is high in air he loses its shape. a cloud-lover is not content to see a snowy and rosy head piling into the top of the heavens; he wants to see the base and the altitude. the perspective of a cloud is a great part of its design - whether it lies so that you can look along the immense horizontal distances of its floor, or whether it rears so upright a pillar that you look up its mountain steeps in the sky as you look at the rising heights of a mountain that stands, with you, on the earth.

the cloud has a name suggesting darkness; nevertheless, it is not merely the guardian of the sun's rays and their director. it is the sun's treasurer; it holds the light that the world has lost. we talk of sunshine and moonshine, but not of cloud-shine, which is yet one of the illuminations of our skies. a shining cloud is one of the most majestic of all secondary lights. if the reflecting moon is the bride, this is the friend of the bridegroom.

needless to say, the cloud of a thunderous summer is the most beautiful of all. it has spaces of a grey for which there is no name, and no other cloud looks over at a vanishing sun from such heights of blue air. the shower-cloud, too, with its thin edges, comes across the sky with so influential a flight that no ship going out to sea can be better worth watching. the dullest thing perhaps in the london streets is that people take their rain there without knowing anything of the cloud that drops it. it is merely rain, and means wetness. the shower-cloud there has limits of time, but no limits of form, and no history whatever. it has not come from the clear edge of the plain to the south, and will not shoulder anon the hill to the north. the rain, for this city, hardly comes or goes; it does but begin and stop. no one looks after it on the path of its retreat.

适合朗诵的英语文章 篇三

a point of biography

there is hardly a writer now - of the third class probably not one - who has not something sharp and sad to say about the cruelty of nature; not one who is able to attempt may in the woods without a modern reference to the manifold death and destruction with which the air, the branches, the mosses are said to be full.

but no one has paused in the course of these phrases to take notice of the curious and conspicuous fact of the suppression of death and of the dead throughout this landscape of manifest life. where are they - all the dying, all the dead, of the populous woods? where do they hide their little last hours, where are they buried? where is the violence concealed? under what gay custom and decent habit? you may see, it is true, an earthworm in a robin's beak, and may hear a thrush breaking a snail's shell; but these little things are, as it were, passed by with a kind of twinkle for apology, as by a well-bred man who does openly some little solecism which is too slight for direct mention, and which a meaner man might hide or avoid. unless you are very modern indeed, you twinkle back at the bird.

but otherwise there is nothing visible of the havoc and the prey and plunder. it is certain that much of the visible life passes violently into other forms, flashes without pause into another flame; but not all. amid all the killing there must be much dying. there are, for instance, few birds of prey left in our more accessible counties now, and many thousands of birds must die uncaught by a hawk and unpierced. but if their killing is done so modestly, so then is their dying also. short lives have all these wild things, but there are innumerable flocks of them always alive; they must die, then, in innumerable flocks. and yet they keep the millions of the dead out of sight.

now and then, indeed, they may be betrayed. it happened in a cold winter. the late frosts were so sudden, and the famine was so complete, that the birds were taken unawares. the sky and the earth conspired that february to make known all the secrets; everything was published. death was manifest. editors, when a great man dies, are not more resolute than was the frost of `。

the birds were obliged to die in public. they were surprised and forced to do thus. they became like shelley in the monument which the art and imagination of england combined to raise to his memory at oxford.

frost was surely at work in both cases, and in both it wrought wrong. there is a similarity of unreason in betraying the death of a bird and in exhibiting the death of shelley. the death of a soldier - passe encore. but the death of shelley was not his goal. and the death of the birds is so little characteristic of them that, as has just been said, no one in the world is aware of their dying, except only in the case of birds in cages, who, again, are compelled to die with observation. the woodland is guarded and kept by a rule. there is no display of the battlefield in the fields. there is no tale of the game-bag, no boast. the hunting goes on, but with strange decorum. you may pass a fine season under the trees, and see nothing dead except here and there where a boy has been by, or a man with a trap, or a man with a gun. there is nothing like a butcher's shop in the woods.

but the biographers have always had other ways than those of the wild world. they will not have a man to die out of sight. i have turned over scores of "lives," not to read them, but to see whether now and again there might be a "life" which was not more emphatically a death. but there never is a modern biography that has taken the hint of nature. one and all, these books have the disproportionate illness, the death out of all scale.

even more wanton than the disclosure of a death is that of a mortal illness. if the man had recovered, his illness would have been rightly his own secret. but because he did not recover, it is assumed to be news for the first comer. which of us would suffer the details of any physical suffering, over and done in our own lives, to be displayed and described? this is not a confidence we have a mind to make; and no one is authorised to ask for attention or pity on our behalf. the story of pain ought not to be told of us, seeing that by us it would assuredly not be told. there is only one other thing that concerns a man still more exclusively, and that is his own mental illness, or the dreams and illusions of a long delirium. when he is in common language not himself, amends should be made for so bitter a paradox; he should be allowed such solitude as is possible to the alienated spirit; he should be left to the "not himself," and spared the intrusion against which he can so ill guard that he could hardly have even resented it.

the double helplessness of delusion and death should keep the door of rossetti's house, for example, and refuse him to the reader. his mortal illness had nothing to do with his poetry. some rather affected objection is taken every now and then to the publication of some facts (others being already well known) in the life of shelley. nevertheless, these are all, properly speaking, biography. what is not biography is the detail of the accident of the manner of his death, the detail of his cremation. or if it was to be told - told briefly - it was certainly not for marble. shelley's death had no significance, except inasmuch as he died young. it was a detachable and disconnected incident. ah, that was a frost of fancy and of the heart that used it so, dealing with an insignificant fact, and conferring a futile immortality. those are ill-named biographers who seem to think that a betrayal of the ways of death is a part of their ordinary duty, and that if material enough for a last chapter does not lie to their hand they are to search it out. they, of all survivors, are called upon, in honour and reason, to look upon a death with more composure. to those who loved the dead closely, this is, for a time, impossible. to them death becomes, for a year, disproportionate. their dreams are fixed upon it night by night. they have, in those dreams, to find the dead in some labyrinth; they have to mourn his dying and to welcome his recovery in such a mingling of distress and of always incredulous happiness as is not known even to dreams save in that first year of separation. but they are not biographers.

if death is the privacy of the woods, it is the more conspicuously secret because it is their only privacy. you may watch or may surprise everything else. the nest is retired, not hidden. the chase goes on everywhere. it is wonderful how the perpetual chase seems to cause no perpetual fear. the songs are all audible. life is undefended, careless, nimble and noisy.

it is a happy thing that minor artists have ceased, or almost ceased, to paint dead birds. time was when they did it continually in that british school of water-colour art, stippled, of which surrounding nations, it was agreed, were envious. they must have killed their bird to paint him, for he is not to be caught dead. a bird is more easily caught alive than dead.

a poet, on the contrary, is easily - too easily - caught dead. minor artists now seldom stipple the bird on its back, but a good sculptor and a university together modelled their shelley on his back, unessentially drowned; and everybody may read about the sick mind of dante rossetti.

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