巴爾扎克的英文名言

1、我們戀愛可能不感到快樂，也可能快樂而并非戀愛。

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

2、愛情是種宗教，信奉這個(gè)宗教比信奉旁的宗教代價(jià)高得多；并且很快就會(huì)消失，信仰過去的時(shí)候像一個(gè)頑皮的孩子，還得到處闖些禍。

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、一個(gè)母親的心像海一樣深，在母親的心底總會(huì)發(fā)現(xiàn)寬恕。

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

4、愛情抵抗不住繁瑣的家務(wù)，必須至少有一方品質(zhì)極堅(jiān)強(qiáng)。

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

5、在大自然的規(guī)劃中，弱者或生不逢時(shí)的生命，就應(yīng)該完蛋。

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

6、我們贊賞那種真正的政治家，就像贊賞那種給我們寫下了人間最宏偉的的詩篇的人一樣。永遠(yuǎn)放眼未來，趕在命運(yùn)的前頭，超越于權(quán)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、言談是衣著的精神部分，用上它、撇開它，就和戴上或摘下裝飾著羽毛的女帽一樣。

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從來不知道才智高明者的行為的動(dòng)機(jī)，總是馬上抓住一些表面矛盾來提出指控，暫時(shí)將才智高的人列為被告。

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、憐憫是女子勝過男子的德性之一，是她愿意讓人家感覺到的唯一情感。

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

10、一個(gè)能思想的人，才真是一個(gè)力量無邊的人。

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

11、有些顯而易見的笨重的舉動(dòng)，像出生證一樣藏不了秘密。

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

12、她們希望你總是偉大，總是漂亮，她們根本不會(huì)想到，天才總是病態(tài)的。

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

13、她象花萼深處的小蟲一樣，憂郁悲傷地爬著，隱藏在心中的異想天開的念頭再也找不到食糧了。

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

14、檸檬皮榨干了，他的兩個(gè)女兒就把檸檬皮扔在大街上。

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

15、獻(xiàn)媚從來不會(huì)出自偉大的心靈，而是小人的伎倆，他們卑躬屈膝，把自己盡量的縮小，以便鉆進(jìn)他們趨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、感情沖動(dòng)，可以說是一種既甜蜜又痛苦的錯(cuò)誤，對(duì)于那些沒有足夠的經(jīng)驗(yàn)來掌握自己未來幸福的少女們，將使她們一生受到不幸的影響。

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、一個(gè)人要偉大，不能不付代價(jià)。天才的作品是用眼淚灌溉的。凡具有生命的東西，同一切生物一樣有它多災(zāi)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、痛苦跟歡樂一樣，會(huì)創(chuàng)造一種氣氛的。走進(jìn)人家的屋子，你第一眼就可以知道它的基調(diào)是什么，是愛情還是絕望。

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、我認(rèn)為人生最美好的主旨和人類生活最幸福的結(jié)果，無過于學(xué)習(xí)了。

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

20、時(shí)間是人的財(cái)富、全部財(cái)富，正如時(shí)間是國家的財(cái)富一樣，因?yàn)槿魏呜?cái)富都是時(shí)間與行動(dòng)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、當(dāng)一切的結(jié)局都已經(jīng)準(zhǔn)備就緒，一切情節(jié)都已經(jīng)經(jīng)過加工，這時(shí)再前進(jìn)一步，惟有細(xì)節(jié)組成作品的價(jià)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、一個(gè)人要嚴(yán)守諾言，比守衛(wèi)他財(cái)產(chǎn)更重要；因?yàn)閲?yán)守諾言就能得到財(cái)產(chǎn)，而無論多少財(cái)產(chǎn)都抹殺不了由于失約而造成的良心的上的污點(diǎn)。

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、有那么一些機(jī)靈的人，他們利用為政治服務(wù)的辦法挽救自己私人生活的過錯(cuò)，而且也可以反過來加以利用。

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

24、美貌是一層面紗，它常常用來遮掩許多缺點(diǎn)。

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

25、不幸，是天才的進(jìn)身之階；信徒的洗禮之水；能人的無價(jià)之寶；弱者的無底之淵。

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

26、持續(xù)不斷地勞動(dòng)是人生的鐵律，也是藝術(shù)的鐵律。

Continuous labor is the iron law of life and art.

27、我們的破滅的希望、流產(chǎn)的才能、失敗的事業(yè)、受了挫折的雄心，往往積聚起來變?yōu)榧啥省?/p>

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

28、人是不完善的，多少有點(diǎn)虛偽，虛偽多的時(shí)候，傻瓜們便歡呼世道敗壞。

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

29、那朵薔薇，就像所有的薔薇一樣，只開了一個(gè)早晨。

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

30、開誠布公與否和友情的深淺，不應(yīng)該用時(shí)間的長(zhǎng)短來衡量。

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

31、志趣比一切人為的阻力都強(qiáng)。所謂志趣是上帝的號(hào)召，只有上帝看中的人才會(huì)有志趣！你的反對(duì)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、這種生活表面上光輝燦爛，內(nèi)心卻受到悔恨像寄生蟲一般的啃噬，短暫歡樂的結(jié)果是得不償失，帶來長(zhǎng)期的痛苦煎熬，痛苦一纏繞就不得脫身。

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、秘密像少女一樣，你愈要看守它，它卻愈容易找得到。

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

34、時(shí)間一長(zhǎng)，人們就會(huì)發(fā)現(xiàn)，歡娛是靈魂的財(cái)產(chǎn)，為了歡娛受人愛戀，也并不比為了金錢受人愛戀更令人愉快。

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，有兩個(gè)辦法，那就是必須做鷹，或者做爬行動(dòng)物。

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

36、人生是各種不同的變故循環(huán)不已的痛苦和歡樂組成的。那種永遠(yuǎn)不變的藍(lán)天只存在于心靈中間，向現(xiàn)實(shí)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、世上沒有原則，只有事件；沒有法律，只有機(jī)遇；優(yōu)秀的人把事件和機(jī)遇結(jié)合起來引導(dǎo)事態(tài)的發(fā)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、給一個(gè)忙碌的男人當(dāng)妻子是多么幸福！而一個(gè)不擔(dān)任職務(wù)，或因家庭富有、整天無所事事的丈夫，對(duì)女人說來簡(jiǎn)直是沉重的負(fù)擔(dān)。

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、一個(gè)毫無嗜好，完全合乎中庸之道的人，簡(jiǎn)直是妖魔，是沒有翅膀的半吊子天使。基督舊教的神話里，天使沒有別的，只有頭腦。

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、他恭維人的方式，膚淺的人看來似乎很迷人；精細(xì)的人卻覺得是一種冒犯，因?yàn)檫@種急不可耐的、過火的阿諛奉承，一聽就能猜出他肚里的盤算。

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、最高的藝術(shù)是把觀念納入形象。一個(gè)字包含無思想，一個(gè)畫面概括整套的哲理。

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

42、女人墮落得有多深，男人可鄙的虛榮心有多大。

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騙自己的希望，又用并不屬于自己的前程，來欺騙目前的痛苦，人類的一切行為，無不打上自相矛盾和軟弱的烙印。

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、許多人寧可去否定事情的結(jié)局，而不愿去從精神范疇來估量事與事之間的神秘關(guān)系、交叉點(diǎn)及內(nèi)在的牽連。

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、很小的一件事就會(huì)嚇壞愛情，很小的件事情也會(huì)使愛情歡愉起來。對(duì)愛情來說，任何事情都有意義，任何事情都可以構(gòu)成吉光或者兇光。

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、有錢的人是不會(huì)買到我的時(shí)間的。我的光陰只屬于這山里的人。我不榮譽(yù)，也不要財(cái)富，我不要我的病人稱贊我，也不要他們感激我。

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、對(duì)于浪費(fèi)的人，金錢固然是圓的；可是，對(duì)于節(jié)儉的人，金錢是扁平的，是可以一塊塊地堆積起來的。

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

48、口腹之欲的專橫，從來沒有被描寫過，因?yàn)槊總€(gè)人都得生存，所以連文學(xué)批語都把它放過了。但為了吃喝而斷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、真正的學(xué)者真正了不起的地方，是暗暗做了許多偉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、人的本性就是善于將時(shí)間和耐心相結(jié)合，強(qiáng)者則既要有志向，又要會(huì)瞄準(zhǔn)時(shí)機(jī)。

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

綠山墻的安妮英文好句摘抄

綠山墻的安妮英文好句：

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.

躲在盛開的櫻花里，睡在月光下，不是很浪漫嗎？這就像睡在大理石做的客廳里。如果你今晚不來，我肯定你明天早上會(huì)來。

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.

明亮的陽光從窗戶射進(jìn)來。在房子下面斜坡上的果園里，有白色和粉色的花，就像新娘臉上的紅暈。成千上萬的蜜蜂在花叢中嗡嗡叫。

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.

大眼睛充滿活力。嘴唇可愛有趣，情感豐富，前額寬闊，身體包含著不同的氣質(zhì)。

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，冰涼如冰。泉水底部覆蓋著光滑的紅色砂巖。

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.

像椰子葉一樣寬的水蕨在春天生長(zhǎng)。在泉水對(duì)面的河上有一座木橋。走過獨(dú)木橋，你會(huì)看到山上的樹林。

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.

遠(yuǎn)處是波濤洶涌的大海，一群海鷗在藍(lán)色的海面上飛來飛去。海鷗的翅膀在陽光下閃閃發(fā)光。它們看起來很漂亮。

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

據(jù)報(bào)道，這種野生植物富含維生素。

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

高分！八百字的自我介紹，幫忙翻譯成英語，真心感謝?。?！

我的名字是xxx，意思是初生的朝陽溫暖的照耀人間。而我的朝陽，是文學(xué)。文學(xué)濃縮和提煉了人類對(duì)自身精神的不懈追求。其中所蘊(yùn)含的燦爛文化，給我?guī)黼y以言喻的美感，其中所包含的深刻思想，給我以人生的教益和啟迪。

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，我的父親帶領(lǐng)我進(jìn)入文學(xué)的世界。父親曾是《北京晚報(bào)》的一名記者，兒時(shí)每晚父親俯桌筆耕的背影，連同那盞臺(tái)燈發(fā)出的桔色燈光，讓我覺得文學(xué)和寫作有著溫暖的氣息，也使我生出對(duì)它的向往。三歲識(shí)字，五歲誦詩，七歲作文。初中一年級(jí)，北京市作文比賽二等獎(jiǎng)，初中三年級(jí)，全國中學(xué)生作文比賽二等獎(jiǎng)。從小，注定了我與文學(xué)解不開的緣分。

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區(qū)第一名（全區(qū)應(yīng)屆考生4000余人）的成績(jī)通過高考，進(jìn)入xx大學(xué)中國語言文學(xué)系學(xué)習(xí)。教授都是中文領(lǐng)域的大師，跟隨大師學(xué)習(xí)，我掌握了更深厚的文藝?yán)碚撝R(shí)，提高了學(xué)術(shù)能力。

畢業(yè)時(shí)，我寫的畢業(yè)論文得到了A，并被評(píng)為優(yōu)秀學(xué)士論文。專業(yè)課總平均分87.1分（指除英語，數(shù)學(xué)等基礎(chǔ)課程以外的中文專業(yè)課程），班級(jí)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.

大學(xué)期間，在校內(nèi)，我擔(dān)任了校報(bào)《中文新天地》的編輯，并和同學(xué)一起創(chuàng)建了中文系第一份文藝系刊《太陽石》。 在校外，2005年7月－2006年2月，我被北京電視臺(tái)《身邊》欄目組錄取，成為一名實(shí)習(xí)編輯。高強(qiáng)度的工作鍛煉出了我更強(qiáng)的耐力，也讓我更好的把專業(yè)與實(shí)踐相結(jié)合，對(duì)學(xué)習(xí)有了新的認(rèn)識(shí)。半年的實(shí)習(xí)結(jié)束后，我以優(yōu)秀的工作成績(jī)得到了上級(jí)的嘉獎(jiǎng)。

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.

大學(xué)時(shí)我的時(shí)間都用來研究專業(yè)課和閱讀書籍，忽視了對(duì)英語的學(xué)習(xí)，導(dǎo)致了英語成績(jī)不高，并影響了我的GPA最遺憾的事。我意識(shí)到人需要全面的發(fā)展，所以畢業(yè)后一直自學(xué)英語，并于今年參加了xxx的考試。

2006年6月畢業(yè)后，我應(yīng)聘《3。15商品與質(zhì)量》周刊社，成為了一名記者，繼續(xù)已過逝父親的新聞理想和事業(yè)，這也是母親對(duì)我的愿望。然而，我心中的夢(mèng)想仍然是繼續(xù)學(xué)習(xí)，并對(duì)文化的傳播與各國文化比較產(chǎn)生了興趣。2007年1月，我終于得到了母親的同意，如愿來到貴國。在xx大學(xué)國際語學(xué)院學(xué)習(xí)期間，我獲得了平均分87.3的優(yōu)秀成績(jī)和出勤率滿勤的獎(jiǎng)狀，并得到了語學(xué)院老師的贊揚(yáng)。

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.

雨果的英文簡(jiǎn)介——急求??！

Hugo, Victor

born Feb. 26, 1802, Besan?on, 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 Fran?aise (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 Do?a 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 Chatiments (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 Chatiments 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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書名：Oliver Twist

作者：Charles Dickens

豆瓣評(píng)分：8.3

出版社：Wordsworth Editions Ltd

出版年份：1997-9-1

頁數(shù)：400

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查爾斯·狄更斯，十九世紀(jì)英國最著名的現(xiàn)實(shí)議作家，一生寫有十多部長(zhǎng)篇小說。他寫作《霧都孤兒》時(shí)，年僅二十五歲。這部小說曾被改編、拍攝成多種電影、電視片，放映和播映，影響廣泛、深遠(yuǎn)。他一生寫有十多部長(zhǎng)篇小說，被稱為杰出的語言大師。他擅長(zhǎng)運(yùn)用諷刺、幽默和夸張的手法，他筆下的人物風(fēng)貌和語言風(fēng)格，都富有濃厚的浪漫主義特色。《霧都孤兒》（即《奧立弗·退斯特》）是狄更斯的一部偉大的社會(huì)小說，在世界文學(xué)史上占有重要的位置。

《霧都孤兒》是狄更斯的第一部社會(huì)批判小說。富人的棄嬰奧利佛在孤兒院里掙扎了9年，又被送到棺材店老板那兒當(dāng)學(xué)徒。難以忍受的饑餓、貧困和侮辱，迫使奧利佛逃到倫敦，又被迫無奈當(dāng)了扒手。他曾被富有的布萊羅先生收留，不幸讓小扒手發(fā)現(xiàn)又入賊窩。善良的女扒手南希為了營救奧利佛，不顧賊頭的監(jiān)視和威脅，向布萊羅報(bào)信，說奧利佛就是他找尋已久的外孫兒。南希被賊窩頭目殺害，警察隨即圍剿了賊窩。奧利佛終于得以與親人團(tuán)聚。

卓越亞馬遜為您帶來英文原版《霧都孤兒》。

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.