随着全球化与多元文化的发展，英语正跻身为一种国际语言被广泛使用。下面是小编带来的英语六级晨读美文，欢迎阅读!

英语六级晨读美文篇一

SHADOWS

Another good reason that we ought to leave blank, unvexed, and unencumbered with paper patterns the ceiling and walls of a simple house is that the plain surface may be visited by the unique designs of shadows. The opportunity is so fine a thing that it ought oftener to be offered to the light and to yonder handful of long sedges and rushes in a vase. Their slender grey design of shadows upon white walls is better than a tedious, trivial, or anxious device from the shop.

The shadow has all intricacies of perspective simply translated into line and intersecting curve, and pictorially presented to the eyes, not to the mind. The shadow knows nothing except its flat designs. It is single; it draws a decoration that was never seen before, and will never be seen again, and that, untouched, varies with the journey of the sun, shifts the interrelation of a score of delicate lines at the mere passing of time, though all the room be motionless. Why will design insist upon its importunate immortality? Wiser is the drama, and wiser the dance, that do not pause upon an attitude. But these walk with passion or pleasure, while the shadow walks with the earth. It alters as the hours wheel.

Moreover, while the habit of your sunward thoughts is still flowing southward, after the winter and the spring, it surprises you in the sudden gleam of a north-westering sun. It decks a new wall; it is shed by a late sunset through a window unvisited for a year past; it betrays the flitting of the sun into unwonted skies——a sun that takes the midsummer world in the rear, and shows his head at a sally-porte, and is about to alight on an unused horizon. So does the grey drawing, with which you have allowed the sun and your pot of rushes to adorn your room, play the stealthy game of the year.

You need not stint yourself of shadows, for an occasion. It needs but four candles to make a hanging Oriental bell play the most buoyant jugglery overhead. Two lamps make of one palm-branch a symmetrical countercharge of shadows, and here two palm-branches close with one another in shadow, their arches flowing together, and their paler greys darkening. It is hard to believe that there are many to prefer a "repeating pattern."

It must be granted to them that a grey day robs of their decoration the walls that should be sprinkled with shadows. Let, then, a plaque or a picture be kept for hanging on shadowless clays. To dress a room once for all, and to give it no more heed, is to neglect the units of the days.

Shadows within doors are yet only messages from that world of shadows which is the landscape of sunshine. Facing a May sun you see little except an infinite number of shadows. Atoms of shadow—— be the day bright enough——compose the very air through which you see the light. The trees show you a shadow for every leaf, and the poplars are sprinkled upon the shining sky with little shadows that look translucent. The liveliness of every shadow is that some light is reflected into it; shade and shine have been entangled as though by some wild wind through their million molecules.

The coolness and the dark of night are interlocked with the unclouded sun. Turn sunward from the north, and shadows come to life, and are themselves the life, the action, and the transparence of their day.

To eyes tired and retired all day within lowered blinds, the light looks still and changeless. So many squares of sunshine abide for so many hours, and when the sun has circled away they pass and are extinguished. Him who lies alone there the outer world touches less by this long sunshine than by the haste and passage of a shadow. Although there may be no tree to stand between his window and the south, and although no noonday wind may blow a branch of roses across the blind, shadows and their life will be carried across by a brilliant bird.

To the sick man a cloud-shadow is nothing but an eclipse; he cannot see its shape, its color, its approach, or its flight. It does but darken his window as it darkens the day, and is gone again; he does not see it pluck and snatch the sun. But the flying bird shows him wings. What flash of light could be more bright for him than such a flash of darkness?

It is the pulse of life, where all change had seemed to be charmed. If he had seen the bird itself he would have seen less——the bird's shadow was a message from the sun. There are two separated flights for the fancy to follow, the flight of the bird in the air, and the flight of its shadow on earth. This goes across the window blind, across the wood, where it is astray for a while in the shades; it dips into the valley, growing vaguer and larger, runs, quicker than the wind, uphill, smaller and darker on the soft and dry grass, and rushes to meet its bird when the bird swoops to a branch and clings.

In the great bird country of the north-eastern littoral of England, about Holy Island and the basaltic rocks, the shadows of the high birds are the movement and the pulse of the solitude. Where there are no woods to make a shade, the sun suffers the brilliant eclipse of flocks of pearl-white sea birds, or of the solitary creature driving on the wind. Theirs is always a surprise of flight. The clouds go one way, but the birds go all ways： in from the sea or out, across the sands, inland to high northern fields, where the crops are late by a month. They fly so high that though they have the shadow of the sun under their wings, they have the light of the earth there also. The waves and the coast shine up to them, and they fly between lights.

Black flocks and white they gather their delicate shadows up, "swift as dreams," at the end of their flight into the clefts, platforms, and ledges of harbourless rocks dominating the North Sea. They subside by degrees, with lessening and shortening volleys of wings and cries until there comes the general shadow of night wherewith the little shadows close, complete.

The evening is the shadow of another flight. All the birds have traced wild and innumerable paths across the mid-May earth; their shadows have fled all day faster than her streams, and have overtaken all the movement of her wingless creatures. But now it is the flight of the very earth that carries her clasped shadow from the sun.

英语六级晨读美文篇二

HABITS AND CONSCIOUSNESS

Education might do somewhat to control the personal habits for which ungenerous observant men are inclined to dislike one another. It has done little. As to literature, this has had the most curiously diverse influence upon the human sensitiveness to habit. Tolstoi's perception of habits is keener than a child's, and he takes them uneasily, as a child does not. He holds them to be the occasion, if not the cause, of hatred. Anna Karenina, as she drank her coffee, knew that her sometime lover was dreading to hear her swallow it, and was hating the crooking of her little finger as she held her cup. It is impossible to live in a world of habits with such an apprehension of habits as this.

It is no wonder that Tolstoi denies to other men unconsciousness, and even preoccupation. With him perception never lapses, and he will not describe a murderer as rapt away by passion from the details of the room and the observation of himself; nor will he represent a theologian as failing——even while he thinks out and decides the question of his faith——to note the things that arrest his present and unclouded eyes. No habits would dare to live under those glances. They must die of dismay.

Tolstoi sees everything that is within sight. That he sees this multitude of things with invincible simplicity is what proves him an artist; nevertheless, for such perception as his there is no peace. For when it is not the trivialities of other men's habits but the actualities of his own mind that he follows without rest, for him there is no possible peace but sleep. To him, more than to all others, it has been said, "Watch!" There is no relapse, there is no respite but sleep or death.

To such a mind every night must come with an overwhelming change, a release too great for gratitude. What a falling to sleep! What a manumission, what an absolution! Consciousness and conscience set free from the exacted instant replies of the unrelapsing day. And at the awakening all is ready yet once more, and apprehension begins again： a perpetual presence of mind.

Dr. Johnson was "absent." No man of "absent" mind is without some hourly deliverance. It is on the present mind that presses the burden of the present world.

英语六级晨读美文篇三

THE HORIZON

To mount a hill is to lift with you something lighter and brighter than yourself or than any meaner burden. You lift the world, you raise the horizon; you give a signal for the distance to stand up. It is like the scene in the Vatican when a Cardinal, with his dramatic Italian hands, bids the kneeling groups to arise. He does more than bid them. He lifts them, he gathers them up, far and near, with the upward gesture of both arms; he takes them to their feet with the compulsion of his expressive force. Or it is as when a conductor takes his players to successive heights of music. You summon the sea, you bring the mountains, the distances unfold unlooked-for wings and take an even flight. You are but a man lifting his weight upon the upward road, but as you climb the circle of the world goes up to face you.

Not here or there, but with a definite continuity, the unseen unfolds. This distant hill outsoars that less distant, but all are on the wing, and the plain raises its verge. All things follow and wait upon your eyes. You lift these up, not by the raising of your eyelids, but by the pilgrimage of your body. "Lift thine eyes to the mountains." It is then that other mountains lift themselves to your human eyes.

It is the law whereby the eye and the horizon answer one another that makes the way up a hill so full of universal movement. All the landscape is on pilgrimage. The town gathers itself closer, and its inner harbours literally come to light; the headlands repeat themselves; little cups within the treeless hills open and show their farms. In the sea are many regions. A breeze is at play for a mile or two, and the surface is turned. There are roads and curves in the blue and in the white. Not a step of your journey up the height that has not its replies in the steady motion of land and sea. Things rise together like a flock of many-feathered birds.

But it is the horizon, more than all else, you have come in search of. That is your chief companion on your way. It is to uplift the horizon to the equality of your sight that you go high. You give it a distance worthy of the skies. There is no distance, except the distance in the sky, to be seen from the level earth; but from the height is to be seen the distance of this world. The line is sent back into the remoteness of light, the verge is removed beyond verge, into a distance that is enormous and minute.

So delicate and so slender is the distant horizon that nothing less near than Queen Mab and her chariot can equal its fineness. Here on the edges of the eyelids, or there on the edges of the world——we know no other place for things so exquisitely made, so thin, so small and tender. The touches of her passing, as close as dreams, or the utmost vanishing of the forest or the ocean in the white light between the earth and the air; nothing else is quite so intimate and fine. The extremities of a mountain view have just such tiny touches as the closeness of closed eyes shuts in.

On the horizon is the sweetest light. Elsewhere colour mars the simplicity of light; but there colour is effaced, not as men efface it, by a blur or darkness, but by mere light. The bluest sky disappears on that shining edge; there is not substance enough for colour. The rim of the hill, of the woodland, of the meadow-land, of the sea——let it only be far enough——has the same absorption of colour; and even the dark things drawn upon the bright edges of the sky are lucid, the light is among them, and they are mingled with it. The horizon has its own way of making bright the pencilled figures of forests, which are black but luminous.

On the horizon, moreover, closes the long perspective of the sky. There you perceive that an ordinary sky of clouds——not a thunder sky——is not a wall but the underside of a floor. You see the clouds that repeat each other grow smaller by distance; and you find a new unity in the sky and earth that gather alike the great lines of their designs to the same distant close. There is no longer an alien sky, tossed up in unintelligible heights above a world that is subject to intelligible perspective.

Of all the things that London has foregone, the most to be regretted is the horizon. Not the bark of the trees in its right colour; not the spirit of the growing grass, which has in some way escaped from the parks; not the smell of the earth unmingled with the odour of soot; but rather the mere horizon. No doubt the sun makes a beautiful thing of the London smoke at times, and in some places of the sky; but not there, not where the soft sharp distance ought to shine. To be dull there is to put all relations and comparisons in the wrong, and to make the sky lawless.

A horizon dark with storm is another thing. The weather darkens the line and defines it, or mingles it with the raining cloud; or softly dims it, or blackens it against a gleam of narrow sunshine in the sky. The stormy horizon will take wing, and the sunny. Go high enough, and you can raise the light from beyond the shower, and the shadow from behind the ray. Only the shapeless and lifeless smoke disobeys and defeats the summer of the eyes.

Up at the top of the seaward hill your first thought is one of some compassion for sailors, inasmuch as they see but little of their sea. A child on a mere Channel cliff looks upon spaces and sizes that they cannot see in the Pacific, on the ocean side of the world. Never in the solitude of the blue water, never between the Cape of Good Hope and Cape Horn, never between the Islands and the West, has the seaman seen anything but a little circle of sea. The Ancient Mariner, when he was alone, did but drift through a thousand narrow solitudes. The sailor has nothing but his mast, indeed. And but for his mast he would be isolated in as small a world as that of a traveller through the plains.

Round the plains the horizon lies with folded wings. It keeps them so perpetually for man, and opens them only for the bird, replying to flight with flight.

A close circlet of waves is the sailor's famous offing. His offing hardly deserves the name of horizon. To hear him you might think something of his offing, but you do not so when you sit down in the centre of it.

As the upspringing of all things at your going up the heights, so steady, so swift, is the subsidence at your descent. The further sea lies away, hill folds down behind hill. The whole upstanding world, with its looks serene and alert, its distant replies, its signals of many miles, its signs and communications of light, gathers down and pauses. This flock of birds which is the mobile landscape wheels and goes to earth. The Cardinal weighs down the audience with his downward hands. Farewell to the most delicate horizon.