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×÷Õß¼ò½é£º°Â˹¿¨¡¤Íõ¶ûµÂ(Oscar Wilde, 1854-1900)£¬Ó¢¹úά¶àÀûÑÇʱ´úÖøÃû×÷¼Ò£¬ ¡°Î¨ÃÀÖ÷ÒåÔ˶¯¡±µÄÁì¾üÈËÎ³«µ¼¡°ÎªÒÕÊõ¶øÒÕÊõ¡±(Art for art's sake)¡£ËûµÄ´ú±í×÷ÓÐ Ï·¾ç¡¶É¯ÀÖÃÀ¡·(Salome)¡¶ÈÏÕæµÄÖØÒªÐÔ¡·(The Importance of Being Earnest)£¬Í¯»°¡¶¿ìÀÖÍõ×Ó¡·(The Happy Prince) ¡¶Ò¹ÝºÓëõ¹å¡·(The Nightingale and the Rose)£¬Ð¡Ëµ¡¶µÀÁ¬¡¤¸ñÀ׵ĻÏñ¡·(The Picture of Dorian Gray)£¬ ÒÔ¼°ÊéÐÅ¡¶×ÔÉîÉî´¦¡·(De Profundis)µÈ¡£
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You send me a very nice poem, of the undergraduate school of verse, for my approval: I reply by a letter of fantastic literary conceits: I compare you to Hylas, or Hyacinth, Jonquil or Narcisse, or someone whom the great god of Poetry favoured, and honoured with his love. The letter is like a passage from one of Shakespeare¡¯s sonnets, transposed to a minor key. It can only be understood by those who have read the Symposium of Plato, or caught the spirit of a certain grave mood made beautiful for us in Greek marbles. It was, let me say frankly, the sort of letter I would, in a happy if wilful moment, have written to any graceful young man of either University who had sent me a poem of his own making, certain that he would have sufficient wit or culture to interpret rightly its fantastic phrases.
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1¡¢conceit ³ýÁË×î³£Óõġ°×Ô¸º¡¢½¾°Á×ÔÂú¡±µÄÒâ˼Í⣬conceit»¹¿ÉÒÔ±íʾ¡°±ð³öÐIJÃ/ǣǿ¸½»áµÄ´ë´Ç¡¢±ÈÓ÷£»Ïë·¨£¬¸öÈËÒâ¼û¡±¡£
¡¾¾ÙÀý¡¿He is full of conseit. ËûÊ®·Ö×Ô¸º¡£
His writings are full of conceits. ËûµÄ×÷Æ·³äÂúÁ˱ð³öÐIJõıÈÓ÷¡£
He expressed his conceits fluently. ËûÁ÷³©µØ±í´ïÁË×Ô¼ºµÄÏë·¨¡£
2¡¢Hylas, Hyacinth,Jonquil, Narcisse ¶¼ÊÇÏ£À°Éñ»°ÖеÄÃÀÉÙÄê¡£ÆäÖÐHyacinthËÀºó»¯×÷·çÐÅ×Ó£¬NarcisseËÀºó»¯×÷Ë®ÏÉ»¨£¬ËùÒÔ·çÐÅ×ÓºÍË®ÏÉ»¨µÄÓ¢ÎľÍÊÇhyacinthºÍnarcissus¡£
3¡¢transpose ʹ(ÒôÀÖ)±äµ÷£¬×ªµ÷£»»¥»»¡¡µÄλÖã»°Ñ¡¡¸Äд³ÉÁíÒ»ÖÖÓïÑÔ(»òÌå²Ã)
¡¾¾ÙÀý¡¿I inadvertently transposed the e and the i in "weird". ÎÒһʱÊèºö°Ñ¡°weird¡±ÖеÄeºÍi»¥»»ÁËλÖá£
Transpose the Latin into English. °ÑÀ¶¡ÎÄÒë³ÉÓ¢ÎÄ¡£
Transpose the verse into prose. °ÑÔÏÎĸÄд³ÉÉ¢ÎÄ¡£
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