literaryworkcontainsrich的简单介绍

巴尔扎克的英文名言

1、我们恋爱可能不感到快乐，也可能快乐而并非恋爱。

We may not be happy in love, or happy rather than in love.

2、爱情是种宗教，信奉这个宗教比信奉旁的宗教代价高得多；并且很快就会消失，信仰过去的时候像一个顽皮的孩子，还得到处闯些祸。

Love is a religion, which costs much more than other religions, and it will soon disappear. Belief in the past is like a naughty child, who has to make trouble everywhere.

3、一个母亲的心像海一样深，在母亲的心底总会发现宽恕。

A mother's heart is as deep as the sea, and there is always fiveness in her heart.

4、爱情抵抗不住繁琐的家务，必须至少有一方品质极坚强。

Love can not resist the tedious housework, must have at least one side of the quality is very strong.

5、在大自然的规划中，弱者或生不逢时的生命，就应该完蛋。

In the planning of nature, a weak person or an untimely life should be destroyed.

6、我们赞赏那种真正的政治家，就像赞赏那种给我们写下了人间最宏伟的的诗篇的人一样。永远放眼未来，赶在命运的前头，超越于权利之上。

We admire the real politicians, just as we admire the people who wrote us the most magnificent poems on earth. Always look to the future, catch up with the fate and surpass the rights.

7、言谈是衣着的精神部分，用上它、撇开它，就和戴上或摘下装饰着羽毛的女帽一样。

Speech is the spiritual part of clothing. To use it or leave it aside is like to wear or take off a woman's hat decorated with feathers.

8、忌妒的人或者愚蠢的人由于从来不知道才智高明者的行为的动机，总是马上抓住一些表面矛盾来提出指控，暂时将才智高的人列为被告。

Envy or foolish people, who never know the motive of the wise person's behavior, always immediately seize on some superficial contradictions to bring charges and temporarily list the wise person as the defendant.

9、怜悯是女子胜过男子的德性之一，是她愿意让人家感觉到的唯一情感。

Compassion is one of the virtues of a woman over a man, and the only emotion she wants to be felt by others.

10、一个能思想的人，才真是一个力量无边的人。

A man who can think is really a man of unlimited strength.

11、有些显而易见的笨重的举动，像出生证一样藏不了秘密。

Some obvious and cumbersome actions can't hide secrets like birth certificates.

12、她们希望你总是伟大，总是漂亮，她们根本不会想到，天才总是病态的。

They hope you are always great and beautiful. They never think that genius is always sick.

13、她象花萼深处的小虫一样，忧郁悲伤地爬着，隐藏在心中的异想天开的念头再也找不到食粮了。

Like insects deep in the calyx, she crawled sadly, and the fantastic ideas hidden in her heart could no longer find food.

14、柠檬皮榨干了，他的两个女儿就把柠檬皮扔在大街上。

When the lemon peel was squeezed dry, his o daughters threw it down the street.

15、献媚从来不会出自伟大的心灵，而是小人的伎俩，他们卑躬屈膝，把自己尽量的缩小，以便钻进他们趋附的人物的生活核心。

Flattery never es from great souls, but from the tricks of *** all people, who bow to their knees and minimize themselves in order to get into the core of the lives of the people they tend to attach.

16、感情冲动，可以说是一种既甜蜜又痛苦的错误，对于那些没有足够的经验来掌握自己未来幸福的少女们，将使她们一生受到不幸的影响。

Emotional impulse can be said to be a sweet and painful mistake, for those girls who do not have enough experience to master their future happiness, will make their lives affected by misfortune.

17、一个人要伟大，不能不付代价。天才的作品是用眼泪灌溉的。凡具有生命的东西，同一切生物一样有它多灾多病的童年。

To be great, one must pay the price. The works of genius are irrigated with tears. Everything that has life, like all living things, has its disastrous and sickly childhood.

18、痛苦跟欢乐一样，会创造一种气氛的。走进人家的屋子，你第一眼就可以知道它的基调是什么，是爱情还是绝望。

Pain, like joy, creates an atmosphere. When you walk into someone's house, you can know at first glance what its tone is, love or despair.

19、我认为人生最美好的主旨和人类生活最幸福的结果，无过于学习了。

I think that the best tenet of life and the happiest oute of human life are nothing more than learning.

20、时间是人的财富、全部财富，正如时间是国家的财富一样，因为任何财富都是时间与行动化合之后的成果。

Time is man's wealth and all his wealth, just as time is the national wealth, because any wealth is the result of the bination of time and action.

21、当一切的结局都已经准备就绪，一切情节都已经经过加工，这时再前进一步，惟有细节组成作品的价值。

When all the ending is ready, all the plots have been processed, and then a step forward, only the details constitute the value of the work.

22、一个人要严守诺言，比守卫他财产更重要；因为严守诺言就能得到财产，而无论多少财产都抹杀不了由于失约而造成的良心的上的污点。

It is more important for a man to keep his promise than to guard his property, because he can get it by keeping his promise, and no matter how much property he has, he can't erase the stain on his conscience caused by breaking his promise.

23、有那么一些机灵的人，他们利用为政治服务的办法挽救自己私人生活的过错，而且也可以反过来加以利用。

There are so many *** art people who use political services to save their private lives, and they can use them in turn.

24、美貌是一层面纱，它常常用来遮掩许多缺点。

Beauty is a veil, which is often used to cover up many shortings.

25、不幸，是天才的进身之阶；信徒的洗礼之水；能人的无价之宝；弱者的无底之渊。

Unfortunately, it is the step of genius; the bapti *** of believers; the priceless treasure of the able; the bottomless pit of the weak.

26、持续不断地劳动是人生的铁律，也是艺术的铁律。

Continuous labor is the iron law of life and art.

27、我们的破灭的希望、流产的才能、失败的事业、受了挫折的雄心，往往积聚起来变为忌妒。

Our shattered hopes, abortive talents, failed undertakings and frustrated ambitions tend to accumulate into jealousy.

28、人是不完善的，多少有点虚伪，虚伪多的时候，傻瓜们便欢呼世道败坏。

People are imperfect, somewhat hypocritical, when hypocritical, fools will cheer the world is corrupt.

29、那朵蔷薇，就像所有的蔷薇一样，只开了一个早晨。

That rose, like all the roses, only opened one morning.

30、开诚布公与否和友情的深浅，不应该用时间的长短来衡量。

Openness and friendship should not be measured by the length of time.

31、志趣比一切人为的阻力都强。所谓志趣是上帝的号召，只有上帝看中的人才会有志趣！你的反对只能使孩子痛苦！

Interest is stronger than any man-made resistance. The so-called interest is God's call, only those who God sees will be interested! Your objection can only make the child miserable!

32、这种生活表面上光辉灿烂，内心却受到悔恨像寄生虫一般的啃噬，短暂欢乐的结果是得不偿失，带来长期的痛苦煎熬，痛苦一缠绕就不得脱身。

This kind of life is glorious on the surface, but it is gnawed by regret like a parasite in the heart. The result of short-term joy is not worth the loss. It brings long-term pain and suffering. Once the pain is entangled, it can not get away.

33、秘密像少女一样，你愈要看守它，它却愈容易找得到。

Secrets are like girls. The more you guard them, the easier it is to find them.

34、时间一长，人们就会发现，欢娱是灵魂的财产，为了欢娱受人爱恋，也并不比为了金钱受人爱恋更令人愉快。

Over time, people will find that pleasure is the property of the soul. To be loved for pleasure is not more pleasant than to be loved for money.

35、想升高，有两个办法，那就是必须做鹰，或者做爬行动物。

There are o ways to rise, that is, to be an eagle or a reptile.

36、人生是各种不同的变故循环不已的痛苦和欢乐组成的。那种永远不变的蓝天只存在于心灵中间，向现实的人生去要求未免是奢望。

Life is made up of endless cycles of pain and joy. The ever-changing blue sky only exists in the heart. It is a luxury to ask for real life.

37、世上没有原则，只有事件；没有法律，只有机遇；优秀的人把事件和机遇结合起来引导事态的发展。

There are no principles in the world, only events; no laws, only opportunities; excellent people bine events and opportunities to guide the development of events.

38、给一个忙碌的男人当妻子是多么幸福！而一个不担任职务，或因家庭富有、整天无所事事的丈夫，对女人说来简直是沉重的负担。

How happy it is to be a wife to a busy man! A hu *** and who does not hold a post, or who is wealthy and idle all day, is a heavy burden on women.

39、一个毫无嗜好，完全合乎中庸之道的人，简直是妖魔，是没有翅膀的半吊子天使。基督旧教的神话里，天使没有别的，只有头脑。

A man who has no hobbies and is pletely in line with the doctrine of the mean is a demon and a wingless half-dangling angel. In the mythology of the Old Christian religion, angels have nothing but brains.

40、他恭维人的方式，肤浅的人看来似乎很迷人；精细的人却觉得是一种冒犯，因为这种急不可耐的、过火的阿谀奉承，一听就能猜出他肚里的盘算。

The way he flatters people seems attractive to the superficial; the delicate person feels offensive, because this impatient and overheated flattery can guess at his calculations.

41、最高的艺术是把观念纳入形象。一个字包含无思想，一个画面概括整套的哲理。

The highest art is to incorporate ideas into images. A word contains no thought, a picture summarizes a whole set of philosophy.

42、女人堕落得有多深，男人可鄙的虚荣心有多大。

How deep is the degeneration of women, and how great is the contemptible vanity of men.

43、用自己目前的痛苦哄骗自己的希望，又用并不属于自己的前程，来欺骗目前的痛苦，人类的一切行为，无不打上自相矛盾和软弱的烙印。

To deceive one's hope with one's present pain, and to deceive one's present pain with a future that does not belong to one's own, all human actions are marked with self-contradiction and weakness.

44、许多人宁可去否定事情的结局，而不愿去从精神范畴来估量事与事之间的神秘关系、交叉点及内在的牵连。

Many people prefer to deny the oute of things rather than evaluate the mysterious relationship, intersection and intrinsic involvement beeen things from the spiritual perspective.

45、很小的一件事就会吓坏爱情，很小的件事情也会使爱情欢愉起来。对爱情来说，任何事情都有意义，任何事情都可以构成吉光或者凶光。

A very *** all thing will frighten love, and a very *** all thing will make love happy. For love, everything is meaningful, and everything can constitute a good or bad light.

46、有钱的人是不会买到我的时间的。我的光阴只属于这山里的人。我不荣誉，也不要财富，我不要我的病人称赞我，也不要他们感激我。

Rich people don't buy my time. My time belongs only to the people in this mountain. I don't want honor, nor wealth. I don't want my patients to praise me, nor do they appreciate me.

47、对于浪费的人，金钱固然是圆的；可是，对于节俭的人，金钱是扁平的，是可以一块块地堆积起来的。

Money is round for the waster, but for the thrifty, it is flat and can be accumulated piece by piece.

48、口腹之欲的专横，从来没有被描写过，因为每个人都得生存，所以连文学批语都把它放过了。但为了吃喝而断送掉的人你真想象不到有多少。

The arbitrariness of appetite has never been described, because everyone has to survive, so even literary critici *** has let it go. But you can't imagine how many people have been cut off for food and drink.

49、真正的学者真正了不起的地方，是暗暗做了许多伟大的工作而生前并不因此出名。

What really makes a real scholar great is that he secretly does a lot of great work and is not famous for it in his lifetime.

50、人的本性就是善于将时间和耐心相结合，强者则既要有志向，又要会瞄准时机。

Human nature is good at bining time with patience, while the strong have both ambition and timing.

绿山墙的安妮英文好句摘抄

绿山墙的安妮英文好句：

1、 Isn't it romantic to hide in the blooming cherry blossoms and sleep in the moonlight? It's like sleeping in a living room made of marble. If you don't come tonight, I'm sure you'll come tomorrow morning.

躲在盛开的樱花里，睡在月光下，不是很浪漫吗？这就像睡在大理石做的客厅里。如果你今晚不来，我肯定你明天早上会来。

2、The bright sunshine came in through the window. In the orchard on the slope under the house, there were white and pink flowers, just like the blush on the bride's cheek. Thousands of bees were buzzing around the flowers.

明亮的阳光从窗户射进来。在房子下面斜坡上的果园里，有白色和粉色的花，就像新娘脸上的红晕。成千上万的蜜蜂在花丛中嗡嗡叫。

3、The big eyes are full of vigor and vitality. The lips are cute and funny, the emotions are rich, the forehead is wide, and the body contains a different temperament.

大眼睛充满活力。嘴唇可爱有趣，情感丰富，前额宽阔，身体包含着不同的气质。

4、The spring water is clear and deep, as cool as ice. The bottom of the spring is covered with smooth red sandstone.

泉水清澈深邃，冰凉如冰。泉水底部覆盖着光滑的红色砂岩。

The water fern as wide as coconut leaves grows around the spring. There is a single wooden bridge across the river opposite the spring. Walking across the single log bridge, you will see the woods on the hill.

像椰子叶一样宽的水蕨在春天生长。在泉水对面的河上有一座木桥。走过独木桥，你会看到山上的树林。

5、In the distance is the undulating sea, and a group of seagulls fly around on the blue sea. The wings of seagulls shine golden in the sun. They look so beautiful.

远处是波涛汹涌的大海，一群海鸥在蓝色的海面上飞来飞去。海鸥的翅膀在阳光下闪闪发光。它们看起来很漂亮。

It is reported that this wild plant is rich in/contains/has a lot of vitamins.翻译

据报道，这种野生植物富含维生素。

be rich in，contains，has a lot of 都是含有丰富的……的意思

高分！八百字的自我介绍，帮忙翻译成英语，真心感谢！！！

我的名字是xxx，意思是初生的朝阳温暖的照耀人间。而我的朝阳，是文学。文学浓缩和提炼了人类对自身精神的不懈追求。其中所蕴含的灿烂文化，给我带来难以言喻的美感，其中所包含的深刻思想，给我以人生的教益和启迪。

My name is xxx, it means the rising sun warmly shinning on the world. As for me, my rising sun is literature. Literature condenses and refines mankind’s relentless pursuit of personal essence or spirit and the splendid culture that embodies with it, gives me an aesthetic feeling that is indescribable and the profound thoughts within have educated and edified my life.

最初，我的父亲带领我进入文学的世界。父亲曾是《北京晚报》的一名记者，儿时每晚父亲俯桌笔耕的背影，连同那盏台灯发出的桔色灯光，让我觉得文学和写作有着温暖的气息，也使我生出对它的向往。三岁识字，五岁诵诗，七岁作文。初中一年级，北京市作文比赛二等奖，初中三年级，全国中学生作文比赛二等奖。从小，注定了我与文学解不开的缘分。

From the early beginning, it was my father who led me into the world of literature. My dad was a journalist of ‘Beijing Wan Bao’; every night, the view of his back bending over the table and writing furiously, coupled with the orange light illuminated from that reading lamp, they let me feel a sense of warmth in literature and writing which triggered my longing for it. I could read at three, recite poems at five and write essays at seven. I scored a second prize in a Beijing composition contest when I was in junior middle one; and at junior three, I collected another second prize in the National Middle School Students’ Essay Writing Contest. So my inextricable attachment to literature was predetermined in early childhood.

2002年，我以北京市xx区第一名（全区应届考生4000余人）的成绩通过高考，进入xx大学中国语言文学系学习。教授都是中文领域的大师，跟随大师学习，我掌握了更深厚的文艺理论知识，提高了学术能力。

毕业时，我写的毕业论文得到了A，并被评为优秀学士论文。专业课总平均分87.1分（指除英语，数学等基础课程以外的中文专业课程），班级排名12％。

In 2002, I entered xx University majoring in Chinese Language Literature with a credential of the highest college examination scores in xxx District of Beijing (there were more than 4000 students). My professors were all masters in the field of Chinese Literature, and I had learnt from them a vast knowledge of literature and arts theories which enhanced my academic ability. I obtained an ‘A’ in my graduation thesis which was judged to be an outstanding bachelor thesis. My total average score in the specialized subject was 87.1points ( excluding basic courses like English, Maths, etc.) and I was ranked 12th in the class.

大学期间，在校内，我担任了校报《中文新天地》的编辑，并和同学一起创建了中文系第一份文艺系刊《太阳石》。 在校外，2005年7月－2006年2月，我被北京电视台《身边》栏目组录取，成为一名实习编辑。高强度的工作锻炼出了我更强的耐力，也让我更好的把专业与实践相结合，对学习有了新的认识。半年的实习结束后，我以优秀的工作成绩得到了上级的嘉奖。

During my college years, I was the editor of our college newspapers ‘The Chinese New world ’, and with the help of some fellow students, I also founded the first literature and arts publication of the Chinese Studies Department called ‘The Sun Rock’. Between July 2005 and February 2006, I was recruited by Beijing TV’s program ‘Shen Bian’ production group to be a trainee editor. The training derived from the strong demands of the job had enhanced my fortitude, enabled me to better combine my profession with practice and refreshed my cognition in learning. After the half-year training stint, I was commended by my superior for the excellent achievements in my work.

大学时我的时间都用来研究专业课和阅读书籍，忽视了对英语的学习，导致了英语成绩不高，并影响了我的GPA最遗憾的事。我意识到人需要全面的发展，所以毕业后一直自学英语，并于今年参加了xxx的考试。

2006年6月毕业后，我应聘《3。15商品与质量》周刊社，成为了一名记者，继续已过逝父亲的新闻理想和事业，这也是母亲对我的愿望。然而，我心中的梦想仍然是继续学习，并对文化的传播与各国文化比较产生了兴趣。2007年1月，我终于得到了母亲的同意，如愿来到贵国。在xx大学国际语学院学习期间，我获得了平均分87.3的优秀成绩和出勤率满勤的奖状，并得到了语学院老师的赞扬。

During my college years, I concentrated on studying my specialized subject and reading, totally neglected my English studies and ended up with poor results which had subsequently affected my GPA. This was really a great pity. I finally realized that an individual should have an all-round development; so I took up self-studied English after my graduation and I had entered XXX Examination this year.

After my graduation in June 2006, I became a journalist of ‘315 Weekly’ to continue my father’s journalistic ideal and career, this was the wish of my mother as well. However, my aspiration was to continue my studies; and I became interested in cultural diffusion and the comparisons of different countries’ cultures. My wish was answered in January 2007 when I finally came to your country with the blessings of my mother. During the period in International Language Institute of XX University, I had attained a high score of 87.3 points average as well as a full attendance award; I had also received commendation from teachers of the institute.

雨果的英文简介——急求！！

Hugo, Victor

born Feb. 26, 1802, Besançon, Fr.

died May 22, 1885, Paris

poet, novelist, and dramatist who was the most important of the French Romantic writers. Though regarded in France as one of that country's greatest poets, he is better known abroad for such novels as Notre-Dame de Paris (1831) and Les Misérables (1862).

Early years (1802–30).

Victor was the third son of Joseph-Léopold-Sigisbert Hugo, a major and, later, general in Napoleon's army. His childhood was coloured by his father's constant traveling with the imperial army and by the disagreements that soon alienated his parents from one another. His mother's royalism and his father's loyalty to successive governments—the Convention, the Empire, the Restoration—reflected their deeper incompatibility. It was a chaotic time for Victor, continually uprooted from Paris to set out for Elba or Naples or Madrid, yet always returning to Paris with his mother, whose royalist opinions he initially adopted. The fall of the empire gave him, from 1815 to 1818, a time of uninterrupted study at the Pension Cordier and the Lycée Louis-le-Grand, after which he matriculated at the law faculty at Paris, where his studies seem to have been purposeless and irregular. Memories of his life as a poor student later inspired the figure of Marius in his novel Les Misérables.

From 1816, at least, Hugo had conceived ambitions other than the law. He was already filling notebooks with verses, translations—particularly from Virgil—two tragedies, a play, and elegies. Encouraged by his mother, Hugo founded a review, the Conservateur Littéraire (1819–21), in which his own articles on the poets Alphonse de Lamartine and André de Chénier stand out. His mother died in 1821, and a year later Victor married a childhood friend, Adèle Foucher, with whom he had five children. In that same year he published his first book of poems, Odes et poésies diverses, whose royalist sentiments earned him a pension from Louis XVIII. Behind Hugo's concern for classical form and his political inspiration, it is possible to recognize in these poems a personal voice and his own particular vein of fantasy.

In 1823 he published his first novel, Han d'Islande, which in 1825 appeared in an English translation as Hans of Iceland. The journalist Charles Nodier was enthusiastic about it and drew Hugo into the group of friends, all devotees of Romanticism, who met regularly at the Bibliothèque de L'Arsenal. While frequenting this literary circle, which was called the Cénacle, Hugo shared in launching a new review of moderate tendencies, the Muse Française (1823–24). In 1824 he published a new verse collection, Nouvelles Odes, and followed it two years later with an exotic romance, Bug-Jargal (Eng. trans. The Slave King). In 1826 he also published Odes et ballades, an enlarged edition of his previously printed verse, the latest of these poems being brilliant variations on the fashionable Romantic modes of mirth and terror. The youthful vigour of these poems was also characteristic of another collection, Les Orientales (1829), which appealed to the Romantic taste for Oriental local colour. In these poems it can be remarked that the poet, while skillfully employing a great variety of metres in his verse and using ardent and brilliant imagery, was also gradually shedding the legitimist royalism of his youth. It may be noted, too, that “Le Feu du ciel,” a visionary poem, forecast those he was to write 25 years later. The fusion of the contemporary with the apocalyptic was always a particular mark of Hugo's genius.

Hugo emerged as a true Romantic, however, with the publication in 1827 of his verse drama Cromwell and a once-famous preface. The subject of this play, with its near-contemporary overtones, is that of a national leader risen from the people who seeks to be crowned king; but the play's reputation rested largely on the long, elaborate preface, in which Hugo proposed a doctrine of Romanticism that for all its intellectual moderation was extremely provocative. He demanded a verse drama in which the contradictions of human existence—good and evil, beauty and ugliness, tears and laughter—would be resolved by the inclusion of both tragic and comic elements in a single play. Such a type of drama would abandon the formal rules of classical tragedy for the freedom and truth to be found in the plays of William Shakespeare. Cromwell itself, though immensely long and almost impossible to stage, was written in verse of great force and originality.

Success (1830–51).

The defense of freedom and the cult of an idealized Napoleon in such poems as the ode “À la Colonne” and “Lui” brought Hugo into touch with the liberal group of writers on the newspaper Le Globe, and his move toward liberalism was strengthened by the French king Charles X's restrictions on the liberty of the press as well as by the censor's prohibiting the stage performance of his play Marion de Lorme (1829), in which the character of Louis XIII was portrayed unfavourably. Hugo immediately retorted with Hernani, the first performance of which, on Feb. 25, 1830, gained victory for the young Romantics over the traditional Classicists in a now-famous literary battle. In this play he extolled the Romantic hero in the form of a noble outlaw at war with society, dedicated to a passionate love and driven on by inexorable fate. The actual impact of the play owed less to the plot than to the sound and beat of the verse, which was softened only in the elegiac passages spoken by Hernani and Doña Sol.

Hugo had derived his early renown from his plays; he gained wider fame in 1831 with his historical novel Notre-Dame de Paris (Eng. trans. The Hunchback of Notre-Dame), an evocation of life in medieval Paris during the reign of Louis XI. The novel condemns a society that, in the persons of Frollo the archdeacon and Phoebus the soldier, heaps misery on the hunchback Quasimodo and the gypsy girl Esmeralda. The theme touched the public consciousness more deeply than had that of his previous novel, Le Dernier Jour d'un condamné (1829; The Last Days of a Condemned), the story of a condemned man's last day, in which Hugo launched a humanitarian protest against the death penalty. While Notre-Dame was being written, Louis-Philippe, a constitutional king, had been brought to power by the July Revolution. Hugo composed a poem in honour of this event, Dicté aprés juillet 1830; it was a forerunner of much of his political verse.

Four books of poems came from Hugo in the period of the July Monarchy: Les Feuilles d'automne (1831; “Autumn Leaves”), intimate and personal in inspiration; Les Chants du crépuscule (1835; Songs of Twilight), overtly political; Les Voix intérieures (1837; “Inner Voices”), both personal and philosophical; and Les Rayons et les ombres (1840; “Sunlight and Shadows”), in which the poet, renewing these different themes, indulges his gift for colour and picturesque detail. But Hugo was not content merely to express personal emotions; he wanted to be the “sonorous echo” of his time. In his verse political and philosophical problems were integrated with the religious and social disquiet of the period; one poem evoked the misery of the workers, another praised the efficacy of prayer. He addressed many poems to the glory of Napoleon, though he shared with his contemporaries the reversion to republican ideals. Hugo restated the problems of his century and the great and eternal human questions, and he spoke with a warmhearted eloquence and reasonableness that moved people's souls.

So intense was Hugo's creative activity during these years that he also continued to pour out plays. There were two motives for this: first, he needed a platform for his political and social ideas, and, second, he wished to write parts for a young and beautiful actress, Juliette Drouet, with whom he had begun a liaison in 1833. Juliette had little talent and soon renounced the stage in order to devote herself exclusively to him, becoming the discreet and faithful companion she was to remain until her death in 1883. The first of these plays was another verse drama, Le Roi s'amuse (1832; Eng. trans. The King's Fool), set in Renaissance France and depicting the frivolous love affairs of Francis I while antithetically revealing the noble character of his court jester. This play was at first banned but was later used by Giuseppe Verdi as the libretto of his opera Rigoletto. Three prose plays followed: Lucrèce Borgia and Marie Tudor in 1833 and Angelo, tyran de Padoue (“Angelo, Tyrant of Padua”) in 1835. Ruy Blas, a play in verse, appeared in 1838 and was followed by Les Burgraves in 1843.

Hugo's literary achievement was recognized in 1841 by his election, after three unsuccessful attempts, to the French Academy and by his nomination in 1845 to the Chamber of Peers. From this time he almost ceased to publish, partly because of the demands of society and political life but also as a result of personal loss: his daughter Léopoldine, recently married, was accidentally drowned with her husband in September 1843. Hugo's intense grief found some mitigation in poems that later appeared in Les Contemplations, a volume that he divided into “Autrefois” and “Aujourd'hui,” the moment of his daughter's death being the mark between yesterday and today. He found relief above all in working on a new novel, which became Les Misérables, published in 1862 after work on it had been set aside for a time and then resumed.

With the Revolution of 1848, Hugo was elected a deputy for Paris in the Constituent Assembly and later in the Legislative Assembly. He supported the successful candidacy of Prince Louis-Napoléon for the presidency that year. The more the president evolved toward an authoritarianism of the right, however, the more Hugo moved toward the assembly's left. When in December 1851 a coup d'état took place, which eventually resulted in the Second Empire under Napoleon III, Hugo made one attempt at resistance and then fled to Brussels.

Exile (1851–70).

Hugo's exile was to last until the return of liberty and the reconstitution of the republic in 1870. Enforced at the beginning, exile later became a voluntary gesture and, after the amnesty of 1859, an act of pride. He remained in Brussels for a year until, foreseeing expulsion, he took refuge on British territory. He first established himself on the island of Jersey, in the English Channel, where he remained from 1852 to 1855. When he was expelled from there, he moved to the neighbouring island of Guernsey. During this exile of nearly 20 years he produced the most extensive part of all his writings and the most original.

Immersed in politics as he was, Hugo devoted the first writings of his exile to satire and recent history: Napoléon le Petit (1852), an indictment of Napoleon III, and Histoire d'un crime, a day-by-day account of Louis Bonaparte's coup. Hugo's return to poetry was an explosion of wrath: Les Châtiments (1853; “The Punishments”). This collection of poems unleashed his anger against the new emperor and, on a technical level, freed him from his remaining classical prejudices and enabled him to achieve the full mastery of his poetic powers. Les Châtiments ranks among the most powerful satirical poems in the French language. All Hugo's future verse profited from this release of his imagination: the tone of this collection of poems is sometimes lyrical, sometimes epic, sometimes moving, but most often virulent, containing an undertone of national and personal frustration.

Despite the satisfaction he derived from his political poetry, Hugo wearied of its limitations and, turning back to the unpublished poems of 1840–50, set to work on the volume of poetry entitled Les Contemplations (1856). This work contains the purest of his poetry—the most moving because the memory of his dead daughter is at the centre of the book, the most disquieting, also, because it transmits the haunted world of a thinker. In poems such as “Pleurs dans la nuit” and “La Bouche d'ombre,” he reveals a tormented mind that struggles between doubt and faith in its lonely search for meaning and significance.

Hugo's apocalyptic approach to reality was the source of two epic or metaphysical poems, La Fin de Satan (“The End of Satan”) and Dieu (“God”), both of them confrontations of the problem of evil. Written between 1854 and 1860, they were not published until after his death because his publisher preferred the little epics based on history and legend contained in the first installment (1859) of the gigantic epic poem La Légende des siècles (The Legend of the Centuries), whose second and third installments appeared in 1877 and 1883, respectively. The many poems that make up this epic display all his spiritual power without sacrificing his exuberant capacity to tell a story. Hugo's personal mythology of the human struggle between good and evil lies behind each of the legends: Eve's motherhood is exalted in “Le Sacre de la femme”; mankind liberating itself from all religions in order to attain divine truth is the theme of “Le Satyre”; and “Plein Ciel” proclaims, through utopian prediction of men's conquest of the air, the poet's conviction of indefinite progress toward the final unity of science with moral awareness.

After the publication of three long books of poetry, Hugo returned to prose and took up his abandoned novel, Les Misérables. Its extraordinary success with readers of every type when it was published in 1862 brought him instant popularity in his own country, and its speedy translation into many languages won him fame abroad. The novel's name means “the wretched,” or “the outcasts,” but English translations generally carry the French title. The story centres on the convict Jean Valjean, a victim of society who has been imprisoned for 19 years for stealing a loaf of bread. A hardened and astute criminal upon his release, he eventually softens and reforms, becoming a successful industrialist and mayor of a northern town. Yet he is stalked obsessively by the detective Javert for an impulsive, regretted former crime, and Jean Valjean eventually sacrifices himself for the sake of his adopted daughter, Cosette, and her husband, Marius. Les Misérables is a vast panorama of Parisian society and its underworld, and it contains many famous episodes and passages, among them a chapter on the Battle of Waterloo and the description of Jean Valjean's rescue of Marius by means of a flight through the sewers of Paris. Les Misérables's plot is basically that of a detective story, but by virtue of its characters, who are sometimes a little larger than life yet always vital and engaging, and by its re-creation of the swarming Parisian underworld, the main theme of man's ceaseless combat with evil clearly emerges while the whole gives a faithful picture of the ebb and flow of life.

The remaining works Hugo completed in exile include the essay William Shakespeare (1864) and two novels: Les Travailleurs de la mer (1866; The Toilers of the Sea), dedicated to the island of Guernsey and its sailors; and L'Homme qui rit (1869; The Man Who Laughs), a curious baroque novel about the English people's fight against feudalism in the 17th century, which takes its title from the perpetual grin of its disfigured hero. Hugo's last novel, Quatrevingt-treize (1874; Ninety-three), centred on the tumultuous year 1793 in France and portrayed human justice and charity against the background of the French Revolution.

Last years (1870–85).

The defeat of France in the Franco-German War and the proclamation of the French Third Republic in 1871 brought Hugo back to Paris. He became a deputy in the National Assembly (1871) but resigned the following month. Though he still fought for his old ideals, he no longer possessed the same energies. The trials of recent years had aged him, and there were more to come: in 1868 he had lost his wife, Adèle, a profound sadness to him; in 1871 one son died, as did another in 1873. Though increasingly detached from life around him, the poet of L'Année terrible (1872), in which he recounted the siege of Paris during the “terrible year” of 1870, had become a national hero and a living symbol of republicanism in France. In 1878 Hugo was stricken by cerebral congestion, but he lived on for some years in the Avenue d'Eylau, renamed Avenue Victor-Hugo on his 80th birthday. In 1885, two years after the death of his faithful companion Juliette, Hugo died and was given a national funeral; his body lay in state under the Arc de Triomphe and was buried in the Panthéon.

Reputation.

Victor Hugo's enormous output is unique in French literature; it is said that he used to write each morning 100 lines of verse or 20 pages of prose. “The most powerful mind of the Romantic movement,” as he was described in 1830, laureate and peer of France in 1845, he went on to assume the role of an outlawed sage who, with the easy consciousness of authority, put down his insights and prophetic visions in prose and verse, becoming at last the genial grandfather of popular literary portraiture and the national poet who gave his name to a street in every town in France.

This instinctive recognition of Hugo as a great poet at the time of his death was followed by a period of critical neglect. A few of his poems were remembered, and Les Misérables continued to be widely read. The generosity of his ideas and the warmth of their expression still moved the public mind, for Hugo was a poet of the common man and knew how to write with simplicity and power of common joys and sorrows. But there was another side to him—what Paul Claudel called his “panic contemplation” of the universe, the numinous fear that penetrates his sombre poems La Fin de Satan and Dieu. Hugo's knowledge of the resources of French verse and his technical virtuosity in metre and rhyme, moreover, rescued French poetry from the sterility of the 18th century. André Gide, when asked whom he considered the greatest French poet, replied “Victor Hugo, alas,” explaining that if it was a regrettable fact at least it was fact.

Jean-Bertrand Barrère

Additional Reading

Biographies include Andre Maurois, Olympio: The Life of Victor Hugo (1956, reissued 1985); Joanna Richardson, Victor Hugo (1976); and Elliott M. Grant, The Career of Victor Hugo (1945, reprinted 1969). John Porter Houston, Victor Hugo, rev. ed. (1988), is an introduction, focusing especially on his poetry and its technical aspects. An analysis of Hugo's romantic drama is found in Charles Affron, A Stage for Poets: Studies in the Theatre of Hugo Musset (1971). Victor Brombert, Victor Hugo and the Visionary Novel (1984), explores the symbolic and mythological character of Hugo's works and is illustrated with Hugo's drawings.

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书名：Oliver Twist

作者：Charles Dickens

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出版年份：1997-9-1

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查尔斯·狄更斯，十九世纪英国最著名的现实议作家，一生写有十多部长篇小说。他写作《雾都孤儿》时，年仅二十五岁。这部小说曾被改编、拍摄成多种电影、电视片，放映和播映，影响广泛、深远。他一生写有十多部长篇小说，被称为杰出的语言大师。他擅长运用讽刺、幽默和夸张的手法，他笔下的人物风貌和语言风格，都富有浓厚的浪漫主义特色。《雾都孤儿》（即《奥立弗·退斯特》）是狄更斯的一部伟大的社会小说，在世界文学史上占有重要的位置。

《雾都孤儿》是狄更斯的第一部社会批判小说。富人的弃婴奥利佛在孤儿院里挣扎了9年，又被送到棺材店老板那儿当学徒。难以忍受的饥饿、贫困和侮辱，迫使奥利佛逃到伦敦，又被迫无奈当了扒手。他曾被富有的布莱罗先生收留，不幸让小扒手发现又入贼窝。善良的女扒手南希为了营救奥利佛，不顾贼头的监视和威胁，向布莱罗报信，说奥利佛就是他找寻已久的外孙儿。南希被贼窝头目杀害，警察随即围剿了贼窝。奥利佛终于得以与亲人团聚。

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The Wordsworth Classics covers a huge list of beloved works of literature in English and translations. This growing series is rigorously updated, with scholarly introductions and notes added to new titles.

This novel contains many of the classic Dickensian themes of grinding poverty, the eventual triumph of good in the face of great adversity, the lures of temptation and the terrors of fear, desperation and menace. It presents some of Dickens's most enduring characters, such as Fagin.

A Twist of Beauty An inviting design may inspire readers of a newly abridged edition of Charles Dickens's classic Oliver Twist to join the hero in asking, please sir, for more. Christian Birmingham spots nearly every page of text with a small, charcoal-gray image, and complements important scenes with full-page color illustrations. Birmingham's hues are predominantly deep, somber and gritty, but not without occasional flashes of royal blues and golds. Text is shaded in the faintest yellow, soft on the eye.

Let's face it, there are dreary passages in Dickens and convoluted sentences that are impenetrable for young readers and that put them off a great story. This retelling works well: it gets rid of a lot of the padding while keeping the narrative tension of the original. Oliver's stark request, "Please, sir, I want some more," will thrill kids today as it always has, and the story of the street boy on the run, who lives with outlaws and then finds a safe home, is an archetypal adventure. The problem here is the illustrations. Dickens' novel is scary. Cruickshank's original pictures were true to the terror as well as the comic absurdity of the story, but Birmingham's large, soft pastel pictures are sunny and sweet and angelic, with no hint of darkness and grime. Yes, Dickens' story does end in sentimental togetherness, but the terror is always there. Fagin's crowd was never this cute.

Hazel Rochman

Oliver Twist was Dickens's second novel and one of his darkest, dealing with burglary, kidnapping, child abuse, prostitution, and murder. Alongside this gallery of horrors are the corrupt and incompetent institutions of 19th-century England set up to address social problems and instead making them worse. The author's moral indignation drives the creation of some of his most memorably grotesque characters: squirming, vile Fagin; brutal Bill Sykes; the brooding, sickly Monks; and Bumble, the pompous and incorrigibly dense beadle. Clearly, a reading of this work must carry the author's passionate narrative voice while being flexible and broad enough to define the wide range of character voices suggested by the text. John Wells's capable but bland reading only suggests the rich possibilities of the material. Restraint and Dickens simply don't go together. The abridgment deftly and seamlessly manages to deliver all major characters and plot lines, but there are many superior audiobook versions of this material, both abridged and unabridged. Not recommended.

-John Owen, Advanced Micro Devices, Sunnyvale, CA

This abridged version of the trials of Oliver Twist makes the tale quite accessible to young listeners. Dick Cavett does an excellent job of moving from his familiar, level voice in the narrative passages to the true vibrancy of the dialogue. He handles British accents of the more lowly characters quite well, his characterization of Fagin being especially insidious and distinct. Mr. Brownlow and Monks are less developed, and their characterizations rely more on the text. The abridgment is quite a feat, having reduced a tumultuous tale into a tight storyline. However, some of the final sequences require more careful listening to absorb plot developments. E.S.B.

Novel by Charles Dickens, published serially from 1837 to 1839 in Bentley's Miscellany and in a three-volume book in 1838. The novel was the first of the author's works to depict realistically the impoverished London underworld and to illustrate his belief that poverty leads to crime. Written shortly after adoption of the Poor Law of 1834, which halted government payments to the poor unless they entered workhouses, Oliver Twist used the tale of a friendless child, the foundling Oliver Twist, as a vehicle for social criticism. While the novel is Victorian in its emotional appeal, it is decidedly unsentimental in its depiction of poverty and the criminal underworld, especially in its portrayal of the cruel Bill Sikes, who kills his kindly girlfriend Nancy for helping Oliver and who is himself accidentally hung by his own rope.

Founded in 1906 by J.M. Dent, the Everyman Library has always tried to make the best books ever written available to the greatest number of people at the lowest possible price. Unique editorial features that help Everyman Paperback Classics stand out from the crowd include: a leading scholar or literary critic's introduction to the text, a biography of the author, a chronology of her or his life and times, a historical selection of criticism, and a concise plot summary. All books published since 1993 have also been completely restyled: all type has been reset, to offer a clarity and ease of reading unique among editions of the classics; a vibrant, full-color cover design now complements these great texts with beautiful contemporary works of art. But the best feature must be Everyman's uniquely low price. Each Everyman title offers these extensive materials at a price that competes with the most inexpensive editions on the market-but Everyman Paperbacks have durable binding, quality paper, and the highest editorial and scholarly standards.

Charles Dickens was born in Portsea, England in 1812. With The Pickwick Papers, he achieved immediate fame; in a few years, he was the most popular and respected author of his time. Oliver Twist, Nicholas Nickleby, and The Old Curiosity Shop were all huge successes for Dickens. A Christmas Carol, Bleak House, and Hard Times reveal his deepening concern for the injustices of British society, while A Tale of Two Cities and Great Expectations complete his major works.