英语翻译“《环游地球八十天》是儒勒.凡尔纳最富盛名...

精选知识

"Around the World in Eighty Days" is Jules. Verne's most famous work, it is a work familiar to most readers. According to this novel the movie is also deeply into the national audience.

This is a fun, engaging plot works, the author in a relaxed and humorous, not without exaggeration of the style description of a rigid, punctual, rigorous typical Englishman - Mr. Fogg, for the promise of a huge bet with a friend, bet to Around the World in 80 days, but I travel all the twists and turns along the way experienced risk.Although the hero as like winning the bet, but the way the process is often unexpected, causing wow.

The book also figures in several different temperament impressed me. Strict punctuality, Mr. Fogg, Passepartout capable humor, hapless detective Fix, their experiences along the way people can not help laughing.

------------------------希望能帮到你!

其他类似问题

问题1：求汉语名著的英文读后感700字以上如题[英语科目]

红楼梦：

The Chinese Qing Dynasty novel, The Story of the Stone (also known as The Dream of the Red Chamber), is among the greatest novels ever written (see our review). With near 2500 pages in its English translation (published in five volumes) it is a monumental work. While the main story -- of Bao-yu (the Stone incarnate) fulfilling his destiny, within the framework of a family saga -- is fairly straightforward and easily followed the sheer number of characters, the many complex themes interwoven in the story, and the setting that is foreign both in culture and time can appear daunting and make the novel something of a challenge for readers. Dore J. Levy's study serves as a useful introduction and guide to many of the novel's themes and subjects, as well as explaining stylistic and formal elements of the text.

As Levy reminds us, in China "The Story of the Stone is a recognized scholarly field (called hongxue, or Dream of the Red Chamber studies), with its own history and specialist journals, like Dante or Shakespeare studies in the West." A vast amount of scholarly material on the novel exists, even in English. Levy's book "is intended as an introduction for first-time readers" (though she hopes aspects of it "suggest new ways for more advanced students and scholars to approach the text"). Written in an approachable manner it is certainly a useful starting point and companion volume to the actual novel.

Levy addresses several major areas in the five chapters of her book. First and foremost (and carried throughout the rest) is the notion of "ideal and actual, real and not-real." Truth vs. fiction is one of the most significant threads through the novel, beginning with the Stone presenting the very text and continuing through the many dreams, poems, and other unreal aspects of the book. Similarly, the tension between the ideal -- the world as it should be -- and the actual -- specifically the fallible and often weak (morally, intellectually, and spiritually) Jia's -- is constantly shown.

The family ideal is of particular significance, and the large Jia family offers sufficient examples of the many ways not to live up to those ideals. Bao-yu is, of course, the future of the family, and he does prove its saviour, ultimately living up to the ideal. Along the way, however, he also challenges many of the traditions, neither remaining in his proper place (preferring to be in the company of the girls for example), nor shouldering responsibilities as he should (whether regarding his studies (finally taken up seriously only at the last possible moment) or marrying (he has to be tricked into marriage and fails, initially, as a husband)). He and Dai-yu, not meant to be of this world, are a bridge between ideal and actual; significantly they do not remain in the world of the actual.

In her chapter on "Preexisting Conditions" Levy usefully analyzes the medical aspects of the book. Given Dai-yu's terminal illness and various other instances of chills, blood-coughing, disease, and death it offers another useful perspective on the book, especially for an audience generally not familiar with Chinese medicine. Bao-yu is even diagnosed as suffering from Attention Deficit Disorder, a fairly convincing analysis that actually does provide some insight into aspects of his behaviour.

In the last two section Levy pays particular attention to the poetry in the novel. Many of the characters write poetry, and Cao Xueqin uses it effectively as part of the larger tale. It serves as another layer of the multi-layered novel, and Levy explains its role and application well.

Levy manages to bring across much of the novel in her brief, clearly written book. Though she concentrates only on a few larger themes she manages to cover a great deal of territory. The Story of the Stone can appear daunting, but Levy's broad introduction explains the most significant themes and currents running through the book and mentions many of the others. It is a useful overview and companion piece, and while The Story of the Stone can be enjoyed on its own Levy's insights can certainly help increase a reader's enjoyment and understanding. Her fascination with the novel (one that can be studied for a lifetime) certainly comes across.

红楼梦：

This is the second volume of Cao Xueqin’s story of the fortunes of the Jia dynasty in early eighteenth century China. The story focuses particularly on the bond between Bao-yu, the eldest son of the house, and his orphaned cousin Dai-yu.

Though the events of the book take place over a period of less than a year, the narrative goes into great depth about the lives of the family and their servants. Cao describes festivals, rituals and customs in a lot of detail so that anyone not familiar with the history of Manchu China gains some insight into it while reading the book. There are many very sumptuous descriptions here and we get a real sense of the decadence of this wealthy household.

I don’t think you need to have read the first volume of the story to be able to follow what’s going on, but there are a lot of characters in the novel, so you might want to familiarise yourself with the list of characters and genealogical tables before you read it.

David Hawkes’ translation is very readable and entertaining, but I think it’s quite anglicised and doesn’t really give a flavour of Chinese expression.

Overall, I would recommend this book, especially if you’re interested in the Chinese way of life.

红楼梦：

I spend a lot of time wandering through bookstores. One particular book has caught my eye over the years, and the other day I bought it - Volume 1 of Cao Xueqin's eighteenth century epic, "The Story of the Stone: The Golden Days". As a developing eighteenth century scholar, I was doubly attracted to it. "The Golden Days" absolutely blew me away - used as I am to eighteenth century novels (British, French, American), this is wholly unlike anything I've read from the era. It bears structural similarities to the Laurence Sterne's "Tristram Shandy" and "Sentimental Journey," but aside from that bears more in common with ancient Greek novels like Longus's "Daphnis and Chloe" or Heliodorus's "Eithopian Romance," as well as the mysticism of the ancient Egyptian "Story of the Shipwrecked Sailor." And yet, Cao's attention to actual life experiences, and the detail he conveys about tradition and ceremony, along with frank dealings with human relationships and sexuality makes "The Golden Days" much more than any quick summary of style or content can relate.

"The Golden Days" begins in amusing, but sympathetic fashion: the goddess Nü-wa is repairing the sky with 36,501 stones. When she finishes, one remains, which is cast off. Having been touched by a goddess, this stone has magical properties, able to move, change size, and even talk. One day, a Buddhist monk and a Taoist come upon the stone, and promise to let the stone have an adventure - to become human. As the stone waits by a pond, it falls desperately in love with a Crimson Pearl Flower, which is also selected for incarnation by the Fairy Disenchantment. The stone and the flower are incarnated as the novel begins in earnest, as a young minor nobleman named Jia Bao-yu, and a commoner related to the family, a girl named Lin Dai-yu - both unaware of their heavenly origins. "The Golden Days" centers around the daily events and occurrences in the lives of these two teenagers, as they come to grips, as we all must, with human life.

The Rong and Ning branches of the Jia family, on opposite sides of Two Dukes Street, are the centerpieces of the novel's action. Like the "big house" fiction of the English eighteenth century, these ancestral manses provide a locus of activity, as the nobles, their extended families, friends, and servants mingle and interact constantly. Cao marks himself as a remarkable author by the way he handles a massive cast of characters, letting us into the private lives and concerns of all ranks of society, as well as the forms of etiquette that determine their relationships. Another terrific facet of the novel's construction is the almost stream of consciousness style Cao employs - as characters pass in and out of the immediate action of the novel, the narrative seems to choose the person it's most interested in and follow them for pages at a time, before seamlessly passing to the next character. It's really quite amazing, how, in this way, we come to understand the motivations, fears, and hopes of so many individuals. Time, distance, culture, Cao levels distinctions, making historical China accessible to even 21st century readers - he reduces people to their human concerns.

Cao Xueqin's novel is also remarkable for what I can only call it's pro(to)-feminist tone. While we are reminded by certain characters that male lineage is of major importance to the structure of the society, the narrative consistently shows the power, ability, and influence of women. At the novel's beginning, a Taoist named Vanitas finds the stone, and is asked to transcribe its story, but complains initially that it is about a "number of females". The stone obviously insists that the story be written out. Later, Bao-yu, the major male character, says he is more comfortable around women - that they are like water, while men are like mud, castoffs, unclean. One of the main characters of this volume is Wang Xi-feng, a young woman in her early twenties, who for an extended period, manages the affairs of both the Ning and Rong mansions. Cao's respect and admiration for the strong women in Bao-yu's life: Xi-feng, Dai-yu, and two particular servants, Aroma and Caltrop, is quite obvious and important to the novel.

If you are like me, and know tragically little about Chinese literature and culture, Cao takes care of that too - there is a heavy emphasis throughout the novel on the cultural productions of China. The book integrates a wide range of poetry, drama, fiction, folk wisdom, and mythology as a central part of Bao-yu and Dai-yu's upbringing. One can sense Cao's insistence in the novel that education and cultural production is of vital importance, particularly to children. While the Fairy Disenchantment seems to be the guiding spirit of the novel, hinting at the diappointments inevitable in the course of life, this is a novel about youth, and hope for the future, even in the midst of concern about how long prosperity can last. Taken altogether, "The Golden Days" cannot be recommended enough. David Hawkes's translation is first rate, and his introduction, pronunciation notes, and appendices are thorough and very helpful.

红楼梦：

Well, in my opinion anyway. David Hawkes has done an amazing job translating this brilliant 18th-century novel into colloquial modern English. I have read all the translations-- this is my favorite novel, and this is by far the best version for an English speaker who just wants a good book. I can imagine that a Chinese reader could pick holes in this translation, as I could nitpick at a translation of Shakespeare-- the wealth of the original is impossible to transfer whole into another language and culture. If you want a word-for-word translation so you can use this as a study guide while you read the Chinese, maybe the wooden Beijing Languages version could help you! But I have a hard time imagining any new translation being more vivid and fun to read than this one. Yes, it is littered with sometimes annoying Britishisms. That is the price of a colloquial translation! It's true that Hawkes does not explain all the references-- that would be another book in itself. And I am sure he made mistakes-- I help a French translator occasionally and even though he is very well-versed in English, it is so easy for him to miss something that only a cultured native speaker could pick up. But this translation is ALIVE. Until that perfect translation comes along one day, Hawkes's is still better than all the others. Be grateful to him!

三国演义：

First off, you have to read the full translation of this book. I read the 1976 abridged version of Three Kingdoms translated by Moss Roberts first and thought it was pretty good, but felt that the story wasn't developed enough and lacked cohesion. Then a few years ago I finally found and purchased the full unabridged version published by the University of California Press and also translated by Dr. Roberts. This is the full-blown epic from start to finish with all the details and many of the translation errors of the previous editions eliminated. The prose was also improved and flows eloquently throughout the book's entire 3000+ pages. Three Kingdoms is the tale (part historical, part legend and myth) of the fall of the Later Han Dynasty of China. It chronicles the lives of those feudal lords and their retainers who tried to either replace the empire or restore it. While the novel actually follows literally hundreds of characters, the focus is mainly on the 3 families who would eventually carve out the 3 kingdoms from the remnants of the Han. The Liu family in the Shu kingdom led by Liu Bei, The Cao family in Wei led by Cao Cao, and the Sun family in Wu eventually led by Sun Quan. The book deals with the plots, personal and army battles, intrigues, and struggles of these families to achieve dominance for almost 100 yrs. This book also gives you a sense of the way the Chinese view their history: cyclical rather than linear (as in the West). The first and last lines of the book sum this view up best: "The empire long united must divide..." and "The empire long divided must unite..." If you are at least a little interested in Chinese history (ancient or modern) and culture this book is a must read.

三国演义：

"Romance of the Three Kingdoms" is possibly the most famous and important novel in classic Chinese literature. Not only is it the earliest of the "Four Great Books" (as evidenced by its more archaic language), but it created a complete cultural phenomenon whose impact is still fresh today -- just ask all the young people today who, without having read a word of the book, still know the characters from the strategy and fighting video games released by the company Koei. And how many literary works can claim to have had a direct impact on history as this book, which was used as a strategy text by the great Manchurian leader Nurhachi and his son Hongtaiji?

I'd read the original archaic text when I was about eight years old, so obviously my views will be heavily slanted by my familiarity with this text. On approaching this translation, what I find is a well done, respectful and informative translation that doesn't quite nail the tone of the original text, but will be a good read for modern readers who don't read Chinese.

And to be honest, Chinese is extremely hard to translate into English. Just the fact that subjects, articles and pronouns are often omitted from a sentence is enough to cause nightmares for a Chinese-English translator. And even by Chinese standards, The Three Kingdoms is a work whose linguistic economy is staggering. In one page, this book can convey the deaths of half a dozen characters, three to four battles, multiple schemes, and include four or five "tribute" poems, to boot. Such is the style of this work, and it could not have been easy for translator Moss Roberts to adapt this style into English. And he has done the job remarkably, for though I don't think he was able to convey the flavour and rhythm of the original language (the question is, also, whether that would have been possible), his translation makes a good read, and strives to be faithful to the original text, down to the chapter divisions and the inclusion of the "tribute" poems which frequent the book. This was an essential piece in the style of the book and I was joyed to see the device retained.

There are instances scattered throughout where I felt the tone of the language may have been misinterpreted, or diluted by the language barrier. Obviously, I'm not a Chinese professor (as Prof. Roberts is), but as a native speaker, I felt his translations sometimes didn't quite hit the mark. For example, in the original text, one poem on the character Cao Cao distinctly used a word which meant "deception" or "guile", but Prof. Roberts adapted it to "craft", which dilutes the disapproving tone of the original. When Yuan Shao refused aid to Liu Bei on account of his son's illness, his advice to the messenger was "if he is in trouble, he may seek refuge with me", which suggests patronage, not "find refuge north of the river", which suggests a tactical manoeuvre related to geography. These are but two examples and you can certainly argue that the meaning of the original text is up for grabs, but as a Chinese native speaker and reader, one who has grown up with this text and re-read the book hundreds of times, I still find the translation a little off. There is also no attempt at creating period flavour in the language -- the translation is modern, not aiming to add archaic English flavour to try to reflect the age of the original Chinese text. This may be a good point, however, since the use of archaic English added to the language barrier might have resulted in a book that's very difficult to read. I think Prof. Roberts sacrificed flavour for clarity, a fair tradeoff to the benefit of the translation.

Again, the question is whether an English translation (or any other translation) could ever be accurate in this way to the original. Personally, I do think many of the discrepancies in meaning could have been avoided, or ameliorated. However, as aforementioned, for a reader who's never read the original, this issue won't affect his/her enjoyment of the text. Just the fact that there is a translation of this extremely important work of Chinese literature is a cause for celebration, and for those people new to this realm, this set of books is a great discovery.

问题2：求一篇3000字的英文名著读后感 英文的谁有啊 联系我

《傲慢与偏见》英文读后感 Then man treat great event in one's life with punishing,Demonstrate different attitudes to the love question of the marriage of young girl of the family origin of middle class of villages and towns,Thus reflected authors oneself's marriage view:It is wrong to get married for the property,money and position; Get married and does not consider that above-mentioned factors are unwise too .So,she objects to getting married for money ,objecting to regarding the marriage as a trifling matter .She emphasizes the importance of the ideal marriage ,and regard men and women's emotion as the foundation stone which concludes the ideal marriage .

The woman protagonist in the book Elizabeth comes from the little landlord's family,reaches the west to have deep love for for the rich and powerful people sons and younger brothers.Reach the disparity of ignoring family status and wealth of the west,propose to her,but is refused.Elizabeth's misunderstanding and prejudice to him are a reason,but a main one is the arrogance that she dislikes him.Reach the thes of the west in fact status' the reflections of difference,exist this kind arrogant,Not having common thoughts and feelings between he and Elizabeth,the marriage that can not have lofty ideals .Elizabeth watches conducting oneself in society and a series of behavior of reaching the west personally afterwards,See he change the proud conceited expressions of passing by,dispel misunderstanding and prejudice to him,Thus concluded the happy marriage with him.

《呼啸山庄》英文读后感

Published in 1847,WUTHERING HEIGHTS was not well received by the reading public,many of whom condemned it as sordid,vulgar,and unnatural--and author Emily Bronte went to her grave in 1848 believing that her only novel was a failure.It was not until 1850,when WUTHERING HEIGHTS received a second printing with an introduction by Emily's sister Charlotte,that it attracted a wide readership.And from that point the reputation of the book has never looked back.Today it is widely recognized as one of the great novels of English literature.

Even so,WUTHERING HEIGHTS continues to divide readers.It is not a pretty love story; rather,it is swirling tale of largely unlikeable people caught up in obsessive love that turns to dark madness.It is cruel,violent,dark and brooding,and many people find it extremely unpleasant.And yet--it possesses a grandeur of language and design,a sense of tremendous pity and great loss that sets it apart from virtually every other novel written.

The novel is told in the form of an extended flashback.After a visit to his strange landlord,a newcomer to the area desires to know the history of the family--which he receives from Nelly Deans,a servant who introduces us to the Earnshaw family who once resided in the house known as Wuthering Heights.It was once a cheerful place,but Old Earnshaw adopted a "Gipsy" child who he named Heathcliff.And Catherine,daughter of the house,found in him the perfect companion:wild,rude,and as proud and cruel as she.But although Catherine loves him,even recognizes him as her soulmate,she cannot lower herself to marry so far below her social station.She instead marries another,and in so doing sets in motion an obsession that will destroy them all.

WUTHERING HEIGHTS is a bit difficult to "get into;" the opening chapters are so dark in their portrait of the end result of this obsessive love that they are somewhat off-putting.But they feed into the flow of the work in a remarkable way,setting the stage for one of the most remarkable structures in all of literature,a story that circles upon itself in a series of repetitions as it plays out across two generations.Catherine and Heathcliff are equally remarkable,both vicious and cruel,and yet never able to shed their impossible love no matter how brutally one may wound the other.

As the novel coils further into alcoholism,seduction,and one of the most elaborately imagined plans of revenge it gathers into a ghostly tone:Heathcliff,driven to madness by a woman who is not there but who seems reflected in every part of his world--dragging her corpse from the grave,hearing her calling to him from the moors,escalating his brutality not for the sake of brutality but so that her memory will never fade,so that she may never leave his mind until death itself.Yes,this is madness,insanity,and there is no peace this side of the grave or even beyond.

It is a stunning novel,frightening,inexorable,unsettling,filled with unbridled passion that makes one cringe.Even if you do not like it,you should read it at least once--and those who do like it will return to it again and again

问题3：找一篇外国名著读后感（英文）400词左右,高一中上等英语水平,语法别太高级了.不要有太多错误.[英语科目]

1.伊索寓言

Aesop's Fables, "Du Hougan

If the world is a Marine, then I this is a small fish in the ocean, despite the sea in my book free to travel. One day, I found a bright Linlang Shanzhao as shiny pearl, this pearl is "Aesop's Fables."

I上上下下"Daliang" End The "pearl", also found that these "pearls of a major feature - on the one moving story, the story of Huanbaohanzhe all kinds of profound truth. I found a "The monkeys lying", the story is this: a love of monkeys lying to Athens on board, the boat was on the storm's attack, turned the boat. Dolphins are very much like a human conversation, access to knowledge. Dolphins to Monkeys as human care on the surface of the water, and chat with monkeys, monkeys and in conversations with the lying, exposed the dolphins were indignant after the dolphins, monkeys put up sea, drowned. This is fable to tell us that life, must not lie , Lying and who will therefore be retribution! Therefore, we have to do an honest person, so that we can into it, the lives of the masses, so that would not be despised by the people of the world! As the saying goes well: "Honesty is the golden key to the door of knowledge. "So, honestly treat people, equivalent to respect other people!

"Aesop's Fables" is a world known as "the King" of a novel, moving it to one interesting story, describing the text included in a number of knowledge and truth, I see a return to taste, Aha ! Not blowing, this book and China's four famous are evenly matched, can really Niua! I still remember the author of the book "Aesop" said such a sentence: "the United States over the wisdom of the body of the United States." Yes Ah, some people devoted to the appearance of the axis origin, the United States is now the one, the ugly one is negative, they absolutely do not know is that the U.S. is the real heart of the United States. I think that, like "Aesop's Fables" symbolic of this knowledge, better than the aesthetic, you say which »

Now, I have long to The "pearl" Treasures in mind, the impression that it is always reverberated in my mind!

I love you - "Aesop's Fables"!

译；伊索寓言》读后感

若书的世界是一片海洋,那我便是这片海洋中的一条小鱼,任凭我在书海中自由自在地遨游.有一天,我发现了一颗闪着璀璨琳琅般光泽的珍珠,这颗珍珠便是《伊索寓言》!

我上上下下“打量”完这颗“珍珠”时,又发现了这“珍珠的一大特点——讲述着一个个动人的故事,故事中还包含着种种深刻的道理.我找到了一篇《说谎的猴子》,故事是这样的：一个爱说谎的猴子上船去雅典,可船在路上遭到了暴风雨的袭击,翻了船.有一条海豚十分喜欢与人类交谈,从而获取知识.海豚把猴子当作人类托上水面,并与猴子交谈,交谈中猴子又在说谎,被海豚揭穿后海豚愤愤不平,便把猴子弄下海,淹死了.这则寓言要告诉我们,做人,千万不能说谎,说谎的人也会因此而受到报应!所以我们要做一个诚实的人,这样,才能使其融入到大家、群众的生活中去；这样,才不会被世人鄙视!俗话说得好：“诚实是通往知识大门的金钥匙.”所以,诚实待人,等于尊重别人!

《伊索寓言》是一本世人称之为“书王”的一本名著,它以其中动人有趣的故事,述说了包含在文内的一些知识与道理,我亲身品味了一回,啊哈!不是吹的,这本书与我国的四大名著势均力敌,可真牛啊!我还记得本书的作者“伊索”说过这么一句话：“智慧的美胜过形体的美.”不错啊,有些人专门以外表为数轴上的原点,美的是正的一列,丑的是负的一列,可他们万万不知道的是内心的美才是真正的美.我认为,像《伊索寓言》这种知识象征性书,胜过于美学,您说哪?

如今,我早已把这颗“珍珠”珍藏在心,可它的印象,却时时在我的脑中回荡!

我爱你——《伊索寓言》!

2.Peter Pan 彼得 潘

Recently,I have read one of the stories of Peter Pan, which is called

Peter Pan in Kensington Gardens.This story is about Peter is a seven-day-old infant who, "like all infants", used to be part bird. Peter has complete faith in his flying abilities, so, upon hearing a discussion of his adult life, he is able to escape out of the window of his London home and return to Kensington Gardens. Upon returning to the Gardens, Peter is shocked to learn from the crow Solomon Caw that he is not still a bird, but more like a human - Solomon says he is crossed between them as a "Betwixt-and-Between". Unfortunately, Peter now knows he cannot fly, so he is stranded in Kensington Gardens. At first, Peter can only get around on foot, but he commissions the building of a child-sized thrush's nest that he can use as a boat to navigate the Gardens by way of the Serpentine River.

Although he terrifies the fairies when he first arrives, Peter quickly gains favor with them. He amuses them with his human ways, and agrees to play the panpipes at the fairy dances. Eventually, Queen Mab grants him the wish of his heart and he decides to return home to his mother. The fairies reluctantly help him to fly home, where he finds his mother is asleep in his old bedroom.

Peter feels rather guilty for leaving his mother, mostly due to the fact that he believes she misses him terribly. He considers returning to live with her and decides to go back to the Gardens to say his last good-byes. Unfortunately, Peter stays too long in the Gardens and when he uses his second wish to go home permanently he is devastated to learn that, in his absence, his mother has given birth to another boy she can love. Peter returns, heartbroken, to Kensington Gardens.

Peter later meets a little girl named Maimie Mannering who is lost in the Gardens. He and Maimie become fast friends, and little Peter asks her to marry him. Maimie is going to stay with him, but realizes that her mother must be missing her dreadfully, so she leaves Peter to return home. Maimie does not forget Peter, however, and when she is older she makes presents and letters for him. She even gives him an imaginary goat which he rides around every night. Maimie is the literary predecessor to the character Wendy Darling in Barrie's later Peter and Wendy story.

Throughout the novel, Peter misunderstands simple things like children's games. He does not know what a pram is, mistaking it for an animal, and he becomes extremely attached to a boy's lost kite. It is only when Maimie tells him, that he discovers he plays all his games incorrectly. When Peter is not playing, he likes to make graves for the children who get lost at night, burying them with little headstones in the Gardens.

问题4：跪求一篇1000字以上的英文读后感,要名著哦[英语科目]

After reading "A tale of two cities"

"A tale of two cities" is one of Dickens's most important representative works.The novel profoundly exposed the society contradiction before the French Revolution,intensely attacks the aristocratic social class is dissolute and cruel,and sincerely sympathizes with the depressed classes.The novel also described many magnificent scenes like the revolt people attacked Bastille and so on,which displayed people's great strength.

The novel has portrayed many different people.Doctor Manette is honest and kind but suffers the persecution actually ,Lucie is beautiful and gentle ,Charles is graceful and noble,Lorry is upright and honest ,Sydney is semblance of indifferent,innermost feelings of warm,unconventional but also selfless and lofty,Miss Pross is straightforward and loyal,Evremonde brothers are cruel and sinister.The complex hatred is hard to solve,the cruel revenge has made more hatreds,loves rebirth in the hell edge,but take the life as the price.

As an outstanding writer,in Dickens's work,the language skill is essential.Each kind of rhetoric technique,like the analogy,the exaggeration,the contrast,the humorous,and the taunt are handled skillfully,and the artistry of the work is also delivered the peak."A tale of two cities" has its difference with the general historical novel,its character and the main plot are all fictionalizes.With the broad real background of the French Revolution,the author take the fictional character Doctor Manette's experience as the main clue,interweaves the unjust charge,love and revenge three independences but also incident cross-correlation stories together,the plot is criss-crossed,and the clue is complex.The author use insert narrates,foreshadowing,upholstery and so many techniques,causes the structure integrity and strictness,the plot winding anxious and rich of theatrical nature,it displayed the remarkable artistic skill.the style "A tale of two cities" is solemnity and melancholy,fills indignantion,but lacks the humor of the early works.

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问题5：名著读后感,或英语电影影评,1000字以上,要英文的,三篇……谢谢[英语科目]

　　你不给我加分,怎么对得起我!

　　英文影评:千与千寻(Spirited Away)

　　Animated feature from Japanese master Hayao Miyazaki. A young girl finds herself trapped in a mystical realm, where she must find a way to save her parents - who have been turned into pigs

　　There's something almost criminal about the way Spirited Away took over two years to reach Britain after its original Japanese release. In Japan, Hayao Miyazaki is both commercially successful (his films regularly beat box office records) and highly respected (Akira Kurosawa said: "I am somewhat disturbed when critics lump our works together. One cannot mimimise the importance of Miyazaki's work by comparing it to mine."). In Britain, however, his work has barely got more than a few cursory arts venue screenings. At least Spirited Away - which took the Berlin Golden Bear in 2002 and the Best Animated Film Oscar in 2003 - made it. Better late than never.

　　After the stress of making his last film, 1997's Princess Mononoke, Miyazaki had a breakdown and retired. But he came out of retirement when an idea to create another, lighter film began to take shape. Princess Mononoke was an action-packed epic that ranged across 15th century Japan. For Spirited Away he returned to the quieter - but no less serious - themes that he addressed to a degree in 1988's My Neighbor Tortoro. Both films feature a family moving house, girls getting used to upheaval, and elements of 'Alice In Wonderland'. But where the 1988 film used a few specific motifs from Carroll's book (a plunge into a 'rabbit hole', a version of the Cheshire cat), Spirited Away casts its 10-year-old protagonist, Chihiro (H?ragi; or Chase in the US dub), fully into a Wonderland, a mystical otherworld populated by animal spirits and gods. Chihiro arrives in this realm by accident. Her parents, heading for their new home, take a road that leads into the woods. Arriving at a dead end, they walk down a corridor through a building and emerge in what dad takes to be "an abandoned theme park". It's something like a Japanese Portmeirion, but eerily deserted. While her parents greedily help themselves to food, Chihiro wanders off and meets Haku (Irino; or Marsden), a boy who warns her to leave before dark. She's too late though - a lake has appeared, blocking her route, ghostly forms have populated the town and her parents have turned into pigs. She's trapped.

　　The only way to survive, Haku tells her, is to get work in the bath house that dominates the town. Here "eight million gods rest their weary bones", according to Yubaba (Natsuki; or Pleshette), the witch who runs the establishment. Chihiro makes her way to meet Yubaba with the help of Kamajii (Sugawara; Ogden Stiers), a multi-limbed codger who runs the boiler house, Lin (Tamai; Egan), a serving woman with a taste for "roasted newt", and even a 'Radish God', a giant sumo of a chap with tuber-like appendages. Yubaba is hardly forthcoming - her realm is "no place for humans" - but she's forced to give Chihiro work, thanks to an oath she swore. Chihiro gets work helping Lin. But the management give them the worst jobs - such as assisting a hideous oozing creature they take to be a "Stink God; an extra large stinker at that". It's an entity so foul its smell makes food rot instantaneously, while its suppurations fill the room with a noxious gloop.

　　Chihiro - or Sen as she becomes when Yubaba takes her name as part of her contract - does get by in the bath house, but it's not without further incident. She may lose her identity, but she retains her decency. One act of kindness results in a dangerous spirit, No Face, getting into the bath house and wreaking havoc by playing on the greed of the other employees ("Gold springs from his palms!"). She even gets involved in an adventure that reveals her mysterious bond with Haku. But can she save her parents? It's often said that Katsuhiro Otomo's Akira (1988) is the greatest anime ever. That's as maybe, but every one of Miyazaki's films is a masterpiece, so it's hard to pick just one that stands out. It's also tricky to compare his works with the more traditionally received notion of anime (giant robots, demons with phallic tentacles, telekinetic fighting, atom bomb-style explosions etc).

　　Although Miyazaki insists it's not his role to be didactic, all of his work (notably his second feature Nausicaa Of The Valley Of The Wind and Princess Mononoke) has strong messages about ecology and the human relationship with the natural world. But he's also fascinated with coming-of-age stories, notably about how girls (many of his protagonists are young females) can not only face up to adult responsibility, but also how they can become strong, principled members of society. Here Chihiro is forced to grow up fast, but the process, while gruelling, is not without real benefits, as her understanding of the way society functions and experience of adult emotions develops exponentially.

　　Some aspects of the film are likely to be too foreign for Westerners - we're ignorant of Japanese belief systems, with their hierarchies of entities - but Miyazaki's work has the power to transcend such culturally specific elements. While many of his earlier films drew on European stories (such as 1986's Castle In The Sky, from Swift), the folkloric features he reworks are often universal. But most of all, his team's animation - here utilising more digital techniques, while still being grounded in 2D traditions - is always beautiful and, in places, breathtaking. Locations are atmospheric, details are immaculate (you can identify the flower species in the gardens) and characters are diverse. Yubaba, for example, is a bizarre creation, a stocky woman with a huge head and even bigger hairdo; the bath house itself is stocked with all sorts of weird and wonderful creatures, from a Kermit-like assistant, to creatures reminiscent of his cuddly woodland deity from My Neighbor Tortoro, to troll-like beasts that look related to Maurice Sendak's 'Wild Things'). The only factor that could be seen as mildly misjudged is J? Hisaishi's score, which is overbearing in places.

　　It's no wonder the likes of Pixar's John Lasseter (who executive produced the US dub) are so full of praise for Miyazaki. He's a true genius, an artist and great filmmaker who happens to work in animation - a medium often belittled as childish in the West. Spirited Away is wonderful.

　　蜜蜂总动员 Bee Movie review by Roger Ebert

　　From each according to his ability, to each according to his need.

　　-- Karl Marx

　　Applied with strict rigor, that's how bee society works in Jerry Seinfeld's "Bee Movie" and apparently in real life. Doesn't seem like much fun. You are born, grow a little, attend school for three days, and then go to work for the rest of your life. "Are you going to work us to death?" a young bee asks during a briefing. "We certainly hope so!" says the smiling lecturer, to appreciative chuckles all around.

　　One bee, however, is not so thrilled with the system. His name is Barry B. Benson, and he is voiced by Seinfeld as a rebel who wants to experience the world before settling down to a lifetime job as, for example, a Crud Remover. He sneaks into a formation of ace pollinators, flies out of the hive, has a dizzying flight through Central Park, and ends up (never mind how) making a friend of a human named Vanessa (voice of Renee Zellweger). Then their relationship blossoms into something more, although not very much more, given the physical differences. Compared to them, a Chihuahua and a Great Dane would have it easy.

　　This friendship is against all the rules. Bees are forbidden to speak to humans. And humans tend to swat bees (there's a good laugh when Barry explains how a friend was offed by a rolled-up copy of French Vogue). What Barry mostly discovers from human society is, gasp!, that humans rob the bees of all their honey and eat it. He and Adam, his best pal (Matthew Broderick), even visit a bee farm, which looks like forced labor of the worst sort. Their instant analysis of the human-bee economic relationship is pure Marxism, if only they knew it.

　　Barry and Adam end up bringing a lawsuit against the human race for its exploitation of all bees everywhere, and this court case (with a judge voiced by Oprah Winfrey) is enlivened by the rotund, syrupy voiced Layton T. Montgomery (John Goodman), attorney for the human race, who talks like a cross between Fred Thompson and Foghorn Leghorn. If the bees win their case, Montgomery jokes, he'd have to negotiate with silkworms for the stuff that holds up his britches.

　　All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off. We learn at the outset of the movie that bees theoretically cannot fly. Unfortunately, in the movie, that applies only to the screenplay. It is really, really, really hard to care much about a platonic romantic relationship between Renee Zellweger and a bee, although if anyone could pull if off, she could.

　　Barry and Adam come across as earnest, articulate young bees who pursue logic into the realm of the bizarre, as sometimes happened on the "Seinfeld" show. Most of the humor is verbal, and tends toward the gently ironic rather than the hilarious. Chris Rock scores best, as a mosquito named Mooseblood, but his biggest laugh comes from a recycled lawyer joke.

　　In the tradition of many recent animated films, several famous people turn up playing themselves, including Sting (how did he earn that name?) and Ray Liotta, who is called as a witness because his brand of Ray Liotta Honey profiteers from the labors of bees.

　　Liotta's character and voice work are actually kind of inspired, leaving me to regret the absence of B.B. King, Burt's Bees, Johnny B. Goode, and the evil Canadian bee slavemaster Norman Jewison, who -- oh, I forgot, he exploits maple trees.

　　贫民富翁(Slumdog Millionaire)

　　An orphaned Mumbai slum kid tries to change his life by winning TV's 'Who Wants To Be A Millionaire?' in a feelgood fable from director Danny Boyle and the writer of The Full Monty, Simon Beaufoy

　　Jamal Malik ('Skins' star Dev Patel) is being beaten by Mumbai police for allegedly cheating on hit TV show 'Who Wants To Be A Millionaire?' One question away from the ultimate 20 million rupee prize, no one, including slick show host Prem (Anil Kapoor), believes a chai wallah (teaboy) like Jamal could know all the answers. As the tough inspector (Irfan Khan) replays Jamal's appearance on the show, it's revealed that each question corresponds to a specific life lesson from Jamal's tragic past.

　　Raised in abject poverty in Mumbai's grimmest slum along with older brother Salim, then orphaned by a Hindu mob attack, Jamal and Salim are forced to fend for themselves on the streets through opportunistic petty crime. They pick up a young girl, fellow orphan Latika (Freida Pinto), escape the clutches of a vicious Fagin-like crime boss, lose Latika, and continue their picaresque adventures, one step ahead of the law. As adolescents, however, Salim becomes entranced by a life of crime and Latika's unexpected return sets brother against brother. Will Jamal salvage his girl, his fortune and his life on 'Millionaire'?

　　Adapted by Full Monty writer Simon Beaufoy from Vikas Swarup's hit novel 'Q&A', Slumdog is an underdog tale. Beaufoy's lively screenplay scampers after Swarup's self-consciously Dickensian storytelling tradition, and is even built around the 'Millionaire' show, as iconic a symbol of Western capitalist entertainment as exists.

　　Director Danny Boyle and cinematographer Anthony Dod Mantle have evidently immersed themselves in India's sensory overload. The film revels in the sub-continent's chaotic beauty and raging colours, from Mumbai shantytowns to Agra's regal Taj Mahal. The thrillingly off-the-cuff digital imagery reflects a nation in a state of explosive flux, looming skyscrapers erupting from wasteland, slum kids turning into overnight millionaires through the kiss of television. The film's uniquely vibrant, headlong 21st century rush is that of the infinite possibilities of modern India itself.

　　Slumdog's such a crowd-pleaser that some critics might brand it Boyle's best since Trainspotting . It even echoes a couple of that film's classic set pieces, notably a slum chase reminiscent of Renton and Co's opening Edinburgh dash and a lavatorial incident so stomach-churning (yet hilarious), it makes Trainspotting's infamous toilet scene seem like Ewan McGregor took an Evian bath.

　　In fact, the likable Boyle has been on great form for some time - 28 Days Later revamped the zombie movie, Millions is perhaps the best kids film of recent years. No other current British director makes such thrillingly current (all his films are set in either the present or future), kinetic, inherently visual films and proper recognition is long overdue - though, true to form, he's insistent here on crediting co-director Loveleen Tandan, whose major contribution seems to have been unearthing the wonderfully naturalistic kids to play Jamal, Salim and Latika.

　　Verdict

　　A spirited underdog fable marinated in modern India's melting pot. Danny Boyle's still the master of spices.