A rose is rose which by any other name will smell the same.从

I have found the paradox that if I love until it hurts than there is no hurt, only more love
假如你爱至成伤,你会发现,伤已殆尽,唯有更多的爱.
Rose until it hurts than there is no hurt
玫瑰伤至最终,伤已殆尽.
求采纳.谢谢.

“送艾米丽的玫瑰”的主题是什么?

建议先从语法区分
各个部分的主、状语不同
主语 状语
the wind as the night fell
the night as the wind rose
因此在表达意思河传达的意境各有所侧重
1句 强调风骤然吹起
2句 强调夜色顿时暗了下来
翻译的意思来区分呢
可以看上下文 大概可以这样
天色渐渐暗了随之刮起一阵风（从视觉到触觉）
风吹了起来天色也暗了下来（从触觉到视觉）
在实际运用时
其实是根据作者想表达的意思或者某种情绪来选择用句的 不过文学作品中才这么讲究呵呵
也可以自己举例子试试

选B、
看到last year就确定用一般过去时、就可以排除C
又因为get married是固定短语、所以选B

D

此题重点考查介词past和through的区别，前者表示从旁边穿过，而后者表示从内部穿过。罗斯经过玩具店时，经常透过橱窗看那些小熊。

D, 作后置定语，修饰homework

A

本题考查时态。后面句子补全为but I’ll go to see her in case she is upset about it. in case引导的从句主句用一般将来时，从句用一般现在时代替将来时。故选A。

选C,固定用法,Kate也是的意思.比如我也是就是So do I

B

这是gaga说的吧
我觉得他的意思就是 比如 玫瑰就是玫瑰 不要联想其他的
现在很多人都因为一句话而想很多 但是其实 大家没必要想这么多
rose is a rose
后面那句应该就是 我愿意和大家分享我现在的感情（positive）

1 D do you think 是插入语 what 是句子的主语 所以 应填一个可以做谓语的结构 只有D 对
2 C

D

Rose（罗斯）是一个五岁的小女孩儿~

正因为你为你的玫瑰花费了时间,才使你的玫瑰变得如此重要

Rose can't go with us. let's ask mary instead.
为什么要加 "to" ? Instead 不是动词.
(1) Having planned to drive, we walked instead.
(2) Forget about dieting and eat normally instead.
(3) I don't like coffee. Could I please have tea instead?

被我们用任何其他名字称呼的玫瑰会闻起来一样甜美
结合语境 再看看是否有其他的特殊含义

A

考查省略结构。Roses put in place完成的句式应为roses will be put in place，roses与put是被动关系，所以选择A，D表示动作正在发生

C.with
buy .with the money 用这笔钱去买.

C

赠人玫瑰手有余香

答案：B1、这里考察的是主谓一致的原则.2、当主语有with,together with,like,except,but,no less than,as well as 等词组成的短语时,谓语动词与前面的主语部分一致.例如：The teacher together with some students i...

D.So is Kate

直译是：你分享玫瑰,得到乐趣!
翻译过来就是：赠人玫瑰,手有余香

Rose can't go with us.Let's ask Mary_instead_____
这里instead表示叫玛丽代替的意思

C和B不是一样的么.
正确答案是
who write
首先,先行词是复数,所以动词不要加s
然后先行词代入从句作主语,
又是人,
所以应该用who来引导从句.
所以是who write
有问题继续问,
希望能够帮到楼主哈~

is that rose or cindy?

1.What's that?
2.What's your name?
3.Who's she?
4.Where's my(your) pen?
5.What does Jim do?
50.What's in the bag?
51.What does he eat?
53.What is he doing(eatting)?
55.What will he eat(do)?
56.What's he going to do?

d

B

C
客观真理,用一般现在时.再由于the sun 是三人称单数,谓语也得用单三形式

RICHARD CROOKSSongs from Operetta, Musical Comedy and FilmsOriginal Recordings 1924—1933Probably the finest lyric tenor America ever produced — and in the 1930s on radio and in opera and concert certainly the most popular — Richard Crooks was born into a family of modest means, of Scottish and English ancestry, in Trenton, New Jersey on 26 June, 1900. His mother, Elizabeth Gore, herself a gifted amateur singer, gave Richard the boy-soprano his earliest musical education until 1910, when his first serious engagement, as soprano soloist in Mendelssohn’s Elijah in his native town, before a 10,000-strong audience, pro-vided the necessary spur to his talent. His stage-partner at that baptism of fire, Ernestine Schumann-Heink (1861-1936), the German-American contralto star of the Metropolitan Opera, predicted great things for her ten-year-old colleague, all of which duly came to pass. Having reached puberty, Crooks began to re-train as a tenor. At fourteen he was already earning his own living, and financed his studies by manual occupations until 1917 when, with the US entry into World War I, he entered the US Armed Forces flying corps. A year later Crooks was on active service with the US Airforce over France but, the war over, he returned to the USA and continued his vocal studies with vigour, principally (from 1920 onwards) with Schumann-Heink’s accompanist, the influential, New York-based pianist-composer and vocal coach Frank La Forge (1879-1953), whose illustrious pupils included Crooks’ fellow-Americans Marian Anderson and Lawrence Tibbett as well as the much-admired Spanish soprano import, Lucrezia Bori. Under La Forge’s tutelage Crooks first won fame in oratorio (the curriculum in which he would also end his career) and in 1922 the hopeful young tenor sang in nine concerts with the New York Symphony Orchestra under its prestigious conductor Walter Damrosch. The success of these led to a further series of engagements across the States and, indirectly, to his first Victor recording contract, in 1923. In an item from an early session, Red, Red Rose (from incidental music to Rudolph Valentino’s 1924 Paramount silent-screen vehicle Monsieur Beaucaire) Crooks simultaneously offers us a fine sample of his youthful voice and a prime early example of recorded film-music.During 1925 Crooks made his first European concert tour. His venues included London, Belgium, Holland and Germany, where his lieder recitals won him particular acclaim. On his return to the States in 1926 the European reputation he had gained appears to have excited considerable further interest. His voice already had passion and thrust and a certain endearing lyrical quality which most — if not quite all — of his records seem to have preserved for posterity. At home, the public took him to their hearts and further concert successes followed, crowned by two performances of Beethoven’s Choral Symphony at Carnegie Hall, under Toscanini, in 1927. Later that same year he embarked on the first of several recital tours of Great Britain, Scandinavia, the Low Countries and Germany which would continue until 1932. Meanwhile, Crooks’ growing list of recordings, which hitherto at least comprised mostly popular ballads and items from operetta, distributed on both sides of the Atlantic, were already beginning to sell in such quantities that Victor saw in him an inexpensive replacement in their Red Seal catalogue for McCormack as well as a viable promoter of the latest in film-ballads. Although comprehensive in his art as a recitalist, on records he veered, predictably, towards the popular repertoire. Richard Crooks made his opera début in Hamburg, in Puccini’s Tosca, in May 1927, and his subsequent accounts of the tenor leads in Faust, Carmen and La traviata, as well as in Wagner’s Meistersinger and Lohengrin, left a lasting impression on his German audiences. Back in New York, in 1928, he was chosen by Mengelberg for the New York première of Mahler’s Das Lied von der Erde and in 1930, with the Philadelphia Company, made so resounding a US opera début that he was at once offered a contract by the New York Metropolitan Opera. Sensing himself unprepared for such a step, however, Crooks passed up the offer in favour of further European tours and weekly guest appearances on the coast-to-coast radio programme Firestone Hour, which was to be his intermittent Monday evening niche for several years to come. He first trod the boards of the Met as Des Grieux in Massenet’s Manon in February 1933 (at this début he reportedly took 37 curtain-calls) and thereafter appeared at intervals with the company, between concert tours to Australia, Canada and elsewhere, until his retirement in 1946.The Crooks discography of the late 1920s and early 1930s reflects a rebirth of interest in operetta, on both stage and screen. In Overhead the moon is beaming, the Serenade from the long-running 1924 escapist best-seller The Student Prince by the Hungarian Sigmund Romberg (1887-1951) — later famously revived in a film starring Mario Lanza — Crooks is joined by the Rounders male chorus headed by sometime Reveler Lewis James. In this Crooks gives us a tantalising aftertaste of a Broadway show which he all but premiered, while in I bring a love song, a charming albeit now neglected item from the pioneering film-musical Viennese Nights — a 1930 collaboration by Romberg and Oscar Hammerstein II (1895-1960) — the tenor complements his soprano colleague to perfection. The Student Prince’s long-running "twin" rival on Broadway, the 1925 hit Vagabond King by the Czechoslovakian-American Rudolf Friml (1879-1972) also affords him a golden opportunity to show off his superbly-managed head voice in Only a rose.Similar qualities are brought to bear by Crooks on gems from a wide range of other operetta landmarks, both contemporary and of older vintage. Especially fine are his selections from the shows of the Irish-American Victor Herbert (1859-1924), including Ah, sweet mystery of life and I’m falling in love with someone (from Naughty Marietta, 1910; filmed by MGM, 1935), When you’re away (a lingering waltz from The Only Girl, 1914) and Neapolitan Love Song (from The Princess Pat, 1915). He also displays an endearingly lyrical quality in Rio Rita (the title-song of a long-running Broadway musical of 1927 by Harry Tierney (1890-1965), filmed by RKO in 1929) and One alone (hit-song of Romberg’s mega-hit 1926 show The Desert Song — filmed by Warner Brothers in 1929, 1943 and 1953). In selections recorded simultaneously with the 1932 Broadway revival of The Dubarry by the Austrian Karl Mill?cker (1842-1899 — Crooks’ partner on disc Grace Moore appeared in this show, Crooks did not) he shows something of the imaginativeness of tone-colouring which made him famous, while his treatment of other generically ‘Viennese’ favourites place him stylistically on an easy par with Richard Tauber, including Just two hearts and a waltz refrain (a translation of the title waltz-song from the 1931 German film Zwei Herzen in Dreivierteltakt, by the Austrian Robert Stolz — 1880-1975), Yours is my heart alone (American translation of "Dein is mein ganzes Herz", hit-song from Das Land des L?chelns — Berlin, 1929; produced in London in 1931, as Land of Smiles — by the Hungarian Franz Lehár, 1870-1948), Castles in the air (from Frau Luna (1899) by the German Paul Lincke (1866-1946) and I walked in the blossoming garden (the famous Waltz Song from A Waltz Dream, in the 1908 London version by Felix Doerman and Leopold Jacobson, with lyrics by Adrian Ross and music by the Viennese Oskar Straus, 1870-1954). Crooks concludes the recital with Tell me tonight (in this title-song from the 1932 film-musical landmark (US title Be Mine Tonight) in which Polish tenor Jan Kiepura sang the music of the Russian-born pianist-composer and conductor Mischa Spoliansky (1898-1984), he is ably backed by a fine orchestral adaptation under the baton of HMV’s then house-conductor Ray Noble). Richard Crooks died in Portola Valley, California, on 29 September, 1972.Peter Dempsey, 2002The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.Peter DempseyA tenor singer of wide range and performing experience, Peter Dempsey specialises in Victorian and Edwardian genre ballads and art-song, and has recorded various CDs, including Love’s Garden Of Roses for Moidart. Quite apart from his personal enthusiasm for music in the broadest sense, through his assiduous collecting and study of 78s over many years, Peter has acquired not only a wide knowledge of recorded musical performance but also a heartfelt awareness of the need to conserve so many "great masters" who — were it not for CD — might now be lost for future generations. A recognised authority on old recordings, Peter now regularly researches and produces CD albums from 78s.

秘密地 私下地
小爱神丘比特为了维护其母的声誉,给沉默之神Harpocrates送了一束玫瑰花,请他守口如瓶不要把维纳斯的风流韵事传播出去.Harpocrates接受了玫瑰花就缄默不语了,成为名副其实的"沉默之神"

Rose不喜欢肉,她喜欢--
选A.
A 西兰花和葡萄
B 鸡肉和鱼
C汉堡包和牛肉

Rose's 璐丝的,名词所有格

考查动词非谓语形式的用法。句意是“我有好多作业要做”。I have much homework是一个完整的句子。后面的挖空部分只能用作定语修饰homework，使用不定式to do。故选D。

主要是考察名词阴阳性和代词
1 tes T-shirt, mes T-shirt
2 c'est votre clé?, c'est votre clé
3 ce sont vos portables?, ce ne sont pas nos portables, leurs portables
4 C'est ton casque, ce n'est pas mon casque
5 C'est ta lettre, ce n'est pas ma lettre(不是letter,法语的信件是lettre)
6 cherchent leurs micros?, ce ne sont pas leurs micros
7 ce sont vos cartes d'identité?, ta carte d'identité.

attacked

答案：pretty 美丽的
There is a pretty rose.
有一朵美丽的玫瑰花.

相当于A rose by any other name would smell as sweet.
意思是What matters is what something is,not what it is called.
就是一个东西,它就是它本身,和它叫什么名字无关.

B

答案选B,他说过太阳东升西落.
他说过的这个内容是真理性的,事实就是这样子的,所以用一般现在时,并且两个动词的时代一致,所以答案选B.

at 后面接具体的时间 这里表示太阳在6点升起,所以选择D哦
in 接地点或者月份,on 接具体日期

B

选B。surprise本来是不可数名词，但含有“一个，一场，一次”之意时可加a。

Snow：雪
Heavy:重
Edge:边缘
rose:玫瑰
rudy:n.鲁迪（男子名,Rudolf的昵称）
yoke n.轭；束缚；牛轭 vt.结合；给…上轭 vi.结合；匹配

your nose with

冉冉升起的太阳

more than one white rose ,词组中的rose是单数,所以前面的谓语动词与他保持一致,也应该用单数形式.

这应该是从一句话里截取的吧!网上帮你查了,没有相关的谚语之类的咯.

C