高手幫忙翻譯下 ~~

本文主要研究古典名劇王實(shí)甫《西廂記》中的主要人物張生的形象。

This paper studies of classical plays Wang-ShyrFuu "West Chamber", the main characters in the family's image.

劇中張生是一個(gè)溫文爾雅、執(zhí)著志誠(chéng)、略帶傻氣的形象，是一個(gè)熱情、執(zhí)著地追求愛(ài)情婚姻自由、勇于反抗封建禮教的叛逆者。

Chang play is a gentle nature and dedication of Northwest and slightly buffoonish image is a warm, dedicated to the pursuit of love freedom and the courage to resist the feudal ethics of the traitor.

他是極具生氣和活力的喜劇形象，他的形象具有極強(qiáng)的藝術(shù)生命力，并影響著后世的許多創(chuàng)作。"

He is a very lively and energetic comedy image, the image of a highly artistic vitality, and the impact on future generations of many creative. "

英文翻譯~關(guān)于文學(xué)的

雖然愛(ài)倫?坡與蘇軾兩人對(duì)亡妻的悲悼之情都是極其沉痛而且不可扼制的，但在作品中我們捕捉到的只是源于語(yǔ)言深層的情感共鳴，而非語(yǔ)言表層之上，有的只是作品細(xì)致委婉的抒寫(xiě)。華茲華斯指出：“我曾經(jīng)說(shuō)過(guò)，詩(shī)是強(qiáng)烈情感的自然流露。它起源于在平靜中回憶起來(lái)的情感。詩(shī)人沉思這種情感直到一種反應(yīng)使平靜逐漸消逝，就有一種與詩(shī)人所沉思的情感逐漸發(fā)生，確實(shí)存在于詩(shī)人的心中?！痹谶@里，我們不僅可以讀出詩(shī)人所表現(xiàn)的情感經(jīng)驗(yàn)的再體驗(yàn)，而且伴隨著這種體驗(yàn)有一種自覺(jué)的沉思，從而于內(nèi)心產(chǎn)生一種與過(guò)去情感同樣的有一定組織形式的情感體驗(yàn)。二者皆以悲情為勝，句句沉痛，而音響凄厲，千古之下，令人為之潸然。

Although Ellen ? slope and two of Su Shi's Mourning Becomes Electra亡妻are extremely painful feelings and can not contain, but in his works is that we capture the emotion stems from the language of deep resonance, not the language on the surface, there are Euphemism is the Writing and meticulous work. Wordsworth said: "I have said, poetry is very natural to us a strong emotion. It originated in China and recalled them in a calm feelings. Poet thought such an emotional reaction until calm gradually fade away, there is a poet Meditation by the gradual emotional indeed exist in the hearts of poets. "Here, we will not only poets read out by the performance of the re-experience the emotional experience, and experience along with that there is a conscious thought, thus resulting in a heart species of the same feelings with the past organizations have some form of emotional experience. Sadness for the two always wins sentence deep, and shrill sound, through the ages, the likelihood is it Shan.

文藝作品的風(fēng)格指的是一個(gè)時(shí)代、一個(gè)民族、一個(gè)流派或一個(gè)人的文藝作品所表現(xiàn)的主要思想特點(diǎn)和藝術(shù)特點(diǎn)?！辈煌臅r(shí)代有不同的風(fēng)格，不同民族的文學(xué)作品其風(fēng)格也會(huì)有諸多差異。愛(ài)倫?坡的詩(shī)歌風(fēng)格浪漫，追求尋找一種古典的、憂郁的、遙遠(yuǎn)的美。他崇尚的古典美在《安娜貝爾?李》中得到了充分的應(yīng)證，其詩(shī)中“kingkom by the sea”等背景材料明顯帶有濃郁的中世紀(jì)歐洲情調(diào)。愛(ài)倫?坡認(rèn)為，是轉(zhuǎn)瞬即逝使我憂郁，而憂郁在一切音調(diào)中最富有詩(shī)意。這種憂郁的情調(diào)和他的許多詩(shī)歌的意境是一脈相承的（如《致海倫》）。愛(ài)倫?坡在該詩(shī)中使用象征創(chuàng)造了意境的“憂郁”：“風(fēng)”（wind）象征疾病，預(yù)示少女以后不詳?shù)拿\(yùn)；“天使們”（jealous angles）象征超自然的力量；“高貴的親屬”（high-born kinsman）象征人間的強(qiáng)大勢(shì)力；海洋和陸岸象征生命和死亡、今生和來(lái)世、生者和死者的交匯和融合?！栋材蓉悹?李》對(duì)凄美的詠嘆和憂郁的吟唱為晚輩詩(shī)人所驚嘆和贊美。我們閱讀他的詩(shī)歌，處處都是感傷，有對(duì)飛花流云的沉思，也有對(duì)我們生與死的思索。愛(ài)倫?坡的創(chuàng)作風(fēng)格使《安娜貝爾?李》達(dá)到了空曠、高遠(yuǎn)和神秘的境界。而在北宋這個(gè)具體的文化環(huán)境中，蘇軾是一個(gè)富于浪漫氣質(zhì)和自由個(gè)性的人物，他在創(chuàng)作中所表現(xiàn)出來(lái)的灑脫無(wú)羈與無(wú)可奈何、隨緣自適與詩(shī)失意彷徨，深刻的反映了他的內(nèi)心苦悶。蘇軾推崇自然平淡的詩(shī)歌語(yǔ)言，他對(duì)陶淵明抱有一種近似崇拜的心理，認(rèn)為陶淵明的成就在其他所有詩(shī)人之上，這多少包含著他那追求平衡、淡遠(yuǎn)的精神狀態(tài)。他的詞同他的詩(shī)文一樣，往往以意為主，追求道家的“貴真”審美觀，任情流瀉，故其風(fēng)格也隨著內(nèi)容特點(diǎn)、情感基調(diào)的變化而變化。蘇軾寫(xiě)傷感的詞，委婉而細(xì)密?！督亲印酚纳钋褰^，每個(gè)意象都突現(xiàn)幽寒的氣氛，全詞籠罩了一層濃厚的孤獨(dú)與感傷，寫(xiě)出了蘇軾對(duì)去世十年的妻子的既真摯濃烈，又曲折多變的思念之情。在《江城子》中，蘇軾以虛寫(xiě)實(shí)，虛中見(jiàn)實(shí)，創(chuàng)造出不同于愛(ài)倫?坡的境界：既有超常的感情境界（生者與死者的感情交流），又有超前的思想境界（對(duì)女子的尊重）。

Refers to the style of literary and artistic works of an era, a nation, a school or a person's literary works have shown the characteristics of the main ideas and artistic characteristics. "Different times have different styles, different ethnic literature will have a lot of their differences in style. Ellen ? slope romantic style of poetry, the pursuit of looking for a classic, melancholy, the distant United States. He advocates the United States and the classical In "Annabel Lee ?" be sufficient to permit, the poem "kingkom by the sea" with an obvious background material, such as a strong atmosphere of medieval Europe. Ellen ? slope that is a very brief period I depression, and the melancholy tone in all the most poetic. this melancholy mood and many of his poems is the same strain of the mood (such as "To Helen"). Ellen ? slope in the use of a symbol of the poem created a mood of "melancholy" : "wind" (wind) a symbol of the disease, indicating the fate of young girls after the unknown; "Angels" (jealous angles) a symbol of supernatural power; "noble relatives" (high-born kinsman) a powerful symbol of human power; marine and land An symbol of life and death, this life and the afterlife, the living and the deceased's convergence and integration. "? Annabel Lee" on the melancholy beauty of the chant and sing for the younger generation of poets and praise the amazing. we read his poetry, there are sentimental, and the contemplation of the convective clouds fly, but also to our thinking about life and death. Ellen ? slope of the writing style of "? Annabel Lee" has reached the open, lofty and mysterious realm. and in the Northern Song Dynasty of the specific cultural environment, Su Shi is a very romantic personality temperament and free people, he manifested creation kept without the free and easy and do nothing, adaptive隨緣frustrated and helpless poetry, reflects his profound depression of the heart. Su Shi praised the poetry of natural plain language, he had a similar worship of Tao Yuan-ming's psychological, that the Tao Yuan-ming's achievements above all other poets, which includes a number of his pursuit of balance, mental state淡遠(yuǎn). his words with him Like the poems, often based in Italy, the pursuit of Taoist "your truth" aesthetic,任情pouring, so the characteristics of style with the content, emotional tone changes. Su Shi wrote sad words, euphemism and fine. "江城子" deep clearance must, for each image are cold conflict the atmosphere is quiet, all the words over a layer of deep loneliness and pathos, Su Shi wrote on the death of the wife of a decade of strong both sincere and twists and turns thinking of changing the situation. In "江城子" in Su Shi's realism to virtual, virtual in the See is to create a slope different from Ellen ? realm: the feelings of both extraordinary realm (of Health and the feelings of the deceased ), and ahead of the ideological level (respect for women).

literary works 和literature 有區(qū)別嗎？區(qū)別是什么啊？

前者單指文學(xué)作品，后者即可指文學(xué)作品，又可指文學(xué)，包含一切文學(xué)作品，此時(shí)為抽象概念。

要一篇關(guān)于英美文學(xué)作家生平及其作品的英語(yǔ)文章

Emily Bront was born on July 30th, 1818, the 5th child of the Reverend Patrick Bront?, a stern Evangelical curate, and his wife Maria. When Emily was three years old, her mother died of cancer, and her Aunt Branwell, a strict Calvinist, moved in to help raise the six children (another daughter, Anne, was born soon after Emily). They lived in a parsonage in Haworth with the bleak moors of Yorkshire on one side and the parish graveyard on the other. When Emily was 6 years old she went to a boarding school run by charity, the Clergy Daughters' School at Cowan Bridge, where her older sisters Maria, Elizabeth, and Charlotte were already enrolled. The school was in no sense a material improvement over her home environment: it was run with the intention of punishing the pupils' bodies that their souls might be saved. The students were kept hungry, cold, tired, and often ill: Maria in particular, who at her young age did her best to mother her sisters, was treated extremely harshly. In 1825 Maria and Elizabeth both died of tuberculosis, the disease that was later to claim Emily's own life, and that of her younger sister Anne. Following these new bereavements, the surviving sisters Charlotte and Emily were taken home, but they would never forget the terrors and the hardship of their lives at school. Charlotte made it the model for the charity school Lowood, which figures so prominently in the life of her heroine Jane Eyre.

Life at home was much better for Emily and her siblings: in their isolated childhood on the moors, they developed an extremely close relationship partly based on their mutual participation in a vibrant game of make-believe. In 1826 their father brought Branwell a box of wooden soldiers, and each child chose a soldier and gave him a name and character: these were to be the foundation of the creation of a complicated fantasy world, which the Bront?s actively worked on for 16 years. They made tiny books containing stories, plays, histories, and poetry written by their imagined heros and heroines. Unfortunately, only ones written by Charlotte and Branwell survive: of Emily's work we only have her poetry, and indeed her most passionate and lovely poetry is written from the perspectives of inhabitants of "Gondal." For Emily, it seems that the fantastic adventures in imaginary Gondal coexisted on almost an equal level of importance and reality with the lonely and mundane world of household chores and walks on the moor. One would be mistaken, however, to conclude that the poetic beauty of Gondal was essentially different from that which Emily saw in the world around her. This becomes clear in her novel Wuthering Heights, in which her familiar Yorkshire surroundings become the setting for a tragedy whose passion and beauty is equal to anything that could be imagined elsewhere. Passion is in no way inconsistent with empty moors, cold winters, and brown hills.

As might be imagined from her intense emotional and artistic attachment to the country of her childhood, Emily Bront? very rarely spent any time away from home: indeed she could hardly do so at all. In 1835, at the age of seventeen she went to school at Roe Head where Charlotte was teaching, but became so pale and thin that her sister was convinced she would die unless she returned home. She left home again to be a governess in 1837 (a failure) and to study in Belgium in 1842, but both times she found she was unable to bear being away from home and her beloved, wild countryside. She could not adapt to playing the role of a genteel Victorian lady, or deal with the intrusion of strangers into her life ? she could never fit in. Emily never made any close friends outside of her family circle.

In 1845 Charlotte came across Emily's Gondal poems and read them, which made Emily furious when she found out. However, the discovery led to the publication of a volume of Charlotte, Emily, and Anne's poetry under the names of Currer, Ellis, and Acton Bell. They sold only two copies, but did not give up writing: Wuthering Heights was probably written in 1845-6, while Charlotte was working on The Professor and Jane Eyre, and Anne wrote Agnes Grey. Wuthering Heights (by Ellis Bell), was published in 1847, and attracted considerable critical attention: many people were shocked and horrified by sheer violence of Emily's novel.

While his sister were on their way to becoming famous authors, Branwell had failed as a painter and lapsed into alcoholism and drug abuse. He died in September of 1848, and his death marked the beginning of Emily's own illness. Tuberculosis killed her rapidly, perhaps because she stoically refused to make any concession to her ill health, continuing to get up early every day to feed her numerous animals even when she could barely walk. She died with heroic fortitude on December 19th, 1848, at the age of 30, and did not have time to appreciate the last flowering sprig of heather which Charlotte had found on the moors for her wild sister. Emily Bront?'s stern self-discipline and passionate creative vision have continued to entrance modern readers through her poetry and especially her masterpiece, Wuthering Heights.

你看看行不行，要不行我再改改

literary works是什么意思

literary works

[釋義][法] 文學(xué)作品;

[網(wǎng)絡(luò)]文學(xué)創(chuàng)作;

[例句]More and more foreign literature researchers have applied this theory

to their analyses of all kinds of literary works.

同時(shí)，廣大的外國(guó)文學(xué)研究者則把這一理論應(yīng)用于各類文學(xué)作品的批評(píng)實(shí)踐中