济慈的墓志铭是甚么意思济慈为什么要以这句话为墓室名我的同学说他是淡薄名利,我觉得不对,希望大家给我正确的理解

生存手
这只生存手,现在温暖和可胜任
会认真掌握,假如 它是老的
并且在坟茔的冰冷的沈默
如此困扰thy 天和冷颤thy 作的夜
那thou wouldst 愿望thine 拥有心脏干燥血液
如此在我的静脉里红色生活也许再流出
并且thou 是良心镇定看见这里这是

面朝阳光 我愿是一朵向日葵
就这样静静的望着天空
哪怕阴沉的心已背负得够重
也迎着狂风 沙尘 伸展我
欢愉的羽翼 在阳光下生长
当你滑落山岗 作别亲赖的大地
把最后一丝灿烂映在我脸庞
呵 我不愿目送你离去的背影
留下忧伤 傍徨 沉醉不眠的夜
我只待你升起 象你从未隐没
哦 我要告诉世界 以及所有人
面朝阳光 和向日葵一样坚定
于是在无尽的黑暗 我独自站立
惊慌 焦虑 迷惘都化为虚无

济慈很早就尝试写作诗歌,他早期的作品多是一些仿作,1817年,他在雪莱的帮助下,出版了第一本诗集《诗歌》.这本诗集受到了一些好的评论,但也有一些极为苛刻的攻击性评论刊登在当时很有影响力的一本杂志（Blackwood`s magazine）上.济慈没有被吓倒,他在来年的春天复印了新诗集《安迪密恩》（“Endymion”）.

雪莱好懂 不过济慈写得更好

就是说不在乎名利,他的名字就如同是写在水上,转瞬就无影无踪,但是他曾经生活过

这和诗人特定的生活感受有关,在某个时候触发了诗人的创作热情,就有了这首诗.

第一个画面：农场秋收图关键字句：饱食稻香丰满的果实
第二个画面：霜和雪归渔关键词句：寒雾,霜,归泊
第三个画面：荒野的沉默,畜牧业句关键词：牧羊女
2不能改变,去写宁静而美丽的,但回去,不写
写渔民欢乐,愉快的心情
4是一个可爱,凉爽,安静

《蝈蝈与蛐蛐》这首诗的中心：(1)大地的诗歌从来不会死亡
《夜》这首诗的中心：(2)夜来临,四下一片寂静
《蝈蝈与蛐蛐》一诗中,作者把蝈蝈和蛐蛐的叫声称为“大地的诗歌”,你是如何理解的?(3)因为它们是大自然的动物,而且叫声很动听
《蝈蝈与蛐蛐》一诗的构思有什么特点?(4)这首诗构思巧妙,短小精致而又十分大气.
《夜》这首诗,最后一节再次写到夜的寂静和月光的美丽,这与上文是否重复?（5）不重复
《夜》这首诗传达出诗人怎样的心境（6）传达出诗人对大自然的热爱和他安适,宁静的心境.

大地的诗啊永远不会死：
当骄阳炎炎使百鸟昏晕,
躲进了树荫,却有个声音
在草地边、树篙闻飘荡不止；
那是蝈蝈在领喝,在奢华的夏日
它的欢乐永远消耗不尽,
因为如果它唱得疲倦过分,
就在草寸下享受片刻的闲适.
大地的诗啊永远不会停：
在寂寞的冬夜里,当霜雪
织出一片静寂,炉边的蛐蛐
尖声吟唱,歌声随着温度上升,
使人在睡意朦胧中恍惚听得,
绿草如茵的山坡上蝈蝈的歌曲.

　　约翰·济慈一直被认为是英国浪漫主义运动中最杰出的诗人代表之一.他的诗歌体现了济慈对大自然的强烈感受和热爱.其中他的颂歌一直被学术界所推崇,留下了不少脍炙人口的诗篇如颂歌《夜莺颂》《希腊古瓮颂》《忧郁颂》《秋颂》十四行诗《白天逝去了》等.尤其是其代表作《希腊古瓮颂》被认为是济慈写作天赋最自然的和最高超的体现之一.
其代表作《希腊古瓮颂》写于1819年于1820年出版它与《夜莺颂》一起经常被视为济慈诗歌成就的杰出体现.

1.Percy Bysshe Shelley's ODE to THE WEST WIND这首诗表达了作者对自由与春天的渴望,对美好未来的憧憬.雪莱是英国历史上最伟大的诗人之一,他的诗歌语言清新别致,文化底蕴深厚,含有丰富的典故并多用拟人与隐喻,将我们看到或感到的事物完全生动描绘出来,感人至深.2.John Keats' TO AUTUMN 济慈的想象力及幻觉丰富,而且善于将视听嗅味触等感觉都转化为绝美的文字,能够写透人乃至动物的心灵.建议购买英国浪漫主义的书籍,上面有很多内容可供参考.

《蝈蝈与蛐蛐》是选自济慈的第一步诗集《诗歌》,绝对没错.

1.D
2.C
3.C

1.A，C意思说反了，B言出无据。
2.①②⑤属科学发展范畴，是文中“桑榆”所指内容。
3.C 项“古典美将会逐渐消失”文中无根据。

增加或减少一份明与暗
　　就会损害这难言的美。
美波动在她乌黑的发上，
　　或者散布淡淡的光辉
在那脸庞，恬静的思绪
　　指明它的来处纯洁而珍贵。

我只知道2,写出了秋天的清寂,使人有一种清爽的感觉　　　,不知道是不是对的阿,

我觉得“你”应该是指“秋天”,也就是《秋颂》里的“秋”
修辞手法是“拟人”
表达了作者对秋天的赞美之情

《蝈蝈与蛐蛐》是选自济慈的第一步诗集《诗歌》,绝对没错.

美好的诗歌是动人心弦的,因为它是生命的歌吟.诗人把蝈蝈和蛐蛐当做大自然的歌手,把它们的鸣唱当做大自然的诗歌,借以歌颂大自然的无限美好和勃勃生机,表达了诗人对大自然的无限热爱和由衷赞美之情.

“挂住累累果实绕茅檐攀走”,“让苹果压弯农家苔绿的果树”.“教每只水果都打心子里熟透”,“教葫芦变大”,“榛子的外壳胀鼓鼓”,“使迟到的花儿这时候／开放．不断地开放,把蜜蜂牵住"等

本诗首写秋色,再写秋人,最后写秋声,而始终以丰硕温暖为总气氛,首尾完具,效果统一,是首完美的好诗.

主流的版本是穆旦先生所译,其他的我也不知道.
如果你英文不错的话,还是读原版好.有些词语和意象表达的意义很微妙,翻译成其他语言意思会有偏差.

1. 1820年3月,济慈第一次咳血,之后不久,因为迅速恶化的肺结核,1821年2月23日,济慈于去意大利疗养的途中逝世.
2. 拜伦的棺材是放在家族地下墓室的,Hucknall Torkard教堂外面的石碑上是恰尔德哈罗德中的诗句：
But there is that within me which shall tire
Torture and Time, and breathe when I expire
3. 雪莱的墓志铭：
Percy Bysshe Shelley, Cor Cordium.
翻译成英语是：
The Heart of Hearts.

我比较喜欢济慈~!这是他的简介：约翰·济慈 姓名：约翰·济慈 （可参见 济慈 词条）性别：男出生年月：1795～1821出生地：伦敦国籍：英国里程碑济慈（1795～1821）英国诗人,他出生于伦敦,父亲是马厩的雇工领班.济慈...

English playwright and poet whose body of works is considered the greatest in English literature. His plays, many of which were performed at the Globe Theatre in London, include historical works, such as Richard II, comedies, including Much Ado about Nothing and As You Like It, and tragedies, such as Hamlet, Othello, and King Lear. He also composed 154 sonnets. The earliest collected edition of his plays, the First Folio, contained 36 plays and was published posthumously (1623). (莎士比亚）
Percy Bysshe Shelley (1792-1827), English Romantic poet who rebelled against English politics and conservative values. Shelley drew no essential distinction between poetry and politics, and his work reflected the radical ideas and revolutionary optimism of the era.
Percy Bysshe Shelley was born on August 4, 1792, at Field Place, near Horsham in Sussex, into an aristocratic family. His father, Timothy Shelley, was a Sussex squire and a member of Parliament. Shelley attended Syon House Academy and Eton and in 1810 he entered the Oxford University College.
In 1811 Shelley was expelled from the college for publishing The Necessity Of Atheism, which he wrote with Thomas Jefferson Hogg. Shelley's father withdrew his inheritance in favor of a small annuity, after he eloped with the 16-year old Harriet Westbrook, the daughter of a London tavern owner. The pair spent the following two years traveling in England and Ireland, distributing pamphlets and speaking against political injustice. In 1813 Shelley published his first important poem, the atheistic Queen Mab.
The poet's marriage to Harriet was a failure. In 1814 Shelley traveled abroad with Mary Wollstonecraft Godwin, the daughter of the philosopher and anarchist William Godwin (1756-1836). Mary's young stepsister Claire Clairmont was also in the company. During this journey Shelley wrote an unfinished novella, The Assassins (1814). Their combined journal, Six Weeks' Tour, reworked by Mary Shelley, appeared in 1817. After their return to London, Shelley came into an annual income under his grandfather's will. Harriet drowned herself in the Serpentine in 1816. Shelley married Mary Wollstonecraft and his favorite son William was born in 1816.
Shelley spent the summer of 1816 with Lord Byron at Lake Geneva, where Byron had an affair with Claire. Shelley composed the "Hymn To Intellectual Beauty" and "Mont Blanc". In 1817 Shelley published The Revolt Of Islam and the much anthologized "Ozymandias" appeared in 1818. Among Shelley's popular poems are the Odes "To the West Wind" and "To a Skylark" and Adonais, an elegy for Keats.
In 1818 the Shelleys moved to Italy, where Byron was residing. In 1819 they went to Rome and in 1820 to Pisa. Shelley's works from this period include Julian And Maddalo, an exploration of his relations with Byron and Prometheus Unbound, a lyrical drama. The Cenci was a five-act tragedy based on the history of a 16th-century Roman family, and The Mask Of Anarchy was a political protest which was written after the Peterloo massacre. In 1822 the Shelley household moved to the Bay of Lerici. There Shelley began to write The Triumph Of Life.
To welcome his friend Leigh Hunt, he sailed to Leghorn. During the stormy return voyage to Lerici, his small schooner the Ariel sank and Shelley drowned with Edward Williams on July 8, 1822. The bodies were washed ashore at Viareggio, where, in the presence of Lord Byron and Leigh Hunt, they were burned on the beach. Shelley was later buried in Rome. （雪莱）
John Keats
In his short life, John Keats wrote some of the most beautiful and enduring poems in the English language. Among his greatest achievements is his sequence of six lyric odes, written between March and September 1819--astonishingly, when Keats was only twenty-four years old. Keats's poetic achievement is made all the more miraculous by the age at which it ended: He died barely a year after finishing the ode "To Autumn," in February 1821. Keats was born in 1795 to a lower-middle-class family in London. When he was still young, he lost both his parents. His mother succumbed to tuberculosis, the disease that eventually killed Keats himself. When he was fifteen, Keats entered into a medical apprenticeship, and eventually he went to medical school. But by the time he turned twenty, he abandoned his medical training to devote himself wholly to poetry. He published his first book of poems in 1817; they drew savage critical attacks from an influential magazine, and his second book attracted comparatively little notice when it appeared the next year. Keats's brother Tom died of tuberculosis in December 1818, and Keats moved in with a friend in Hampstead. In Hampstead, he fell in love with a young girl named Fanny Brawne. During this time, Keats began to experience the extraordinary creative inspiration that enabled him to write, at a frantic rate, all his best poems in the time before he died. His health and his finances declined sharply, and he set off for Italy in the summer of 1820, hoping the warmer climate might restore his health. He never returned home. His death brought to an untimely end one of the most extraordinary poetic careers of the nineteenth century--indeed, one of the most extraordinary poetic careers of all time. Keats never achieved widespread recognition for his work in his own life (his bitter request for his tombstone: "Here lies one whose name was writ on water"), but he was sustained by a deep inner confidence in his own ability. Shortly before his death, he remarked that he believed he would be among "the English poets" when he had died. Keats was one of the most important figures of early nineteenth-century Romanticism, a movement that espoused the sanctity of emotion and imagination, and privileged the beauty of the natural world. Many of the ideas and themes evident in Keats's great odes are quintessentially Romantic concerns: the beauty of nature, the relation between imagination and creativity, the response of the passions to beauty and suffering, and the transience of human life in time. The sumptuous sensory language in which the odes are written, their idealistic concern for beauty and truth, and their expressive agony in the face of death are all Romantic preoccupations--though at the same time, they are all uniquely Keats's. Taken together, the odes do not exactly tell a story--there is no unifying "plot" and no recurring characters--and there is little evidence that Keats intended them to stand together as a single work of art. Nevertheless, the extraordinary number of suggestive interrelations between them is impossible to ignore. The odes explore and develop the same themes, partake of many of the same approaches and images, and, ordered in a certain way, exhibit an unmistakable psychological development. This is not to say that the poems do not stand on their own--they do, magnificently; one of the greatest felicities of the sequence is that it can be entered at any point, viewed wholly or partially from any perspective, and still prove moving and rewarding to read. There has been a great deal of critical debate over how to treat the voices that speak the poems--are they meant to be read as though a single person speaks them all, or did Keats invent a different persona for each ode? There is no right answer to the question, but it is possible that the question itself is wrong: The consciousness at work in each of the odes is unmistakably Keats's own. Of course, the poems are not explicitly autobiographical (it is unlikely that all the events really happened to Keats), but given their sincerity and their shared frame of thematic reference, there is no reason to think that they do not come from the same part of Keats's mind--that is to say, that they are not all told by the same part of Keats's reflected self. In that sense, there is no harm in treating the odes a sequence of utterances told in the same voice. The psychological progress from "Ode on Indolence" to "To Autumn" is intimately personal, and a great deal of that intimacy is lost if one begins to imagine that the odes are spoken by a sequence of fictional characters. When you think of "the speaker" of these poems, think of Keats as he would have imagined himself while writing them. As you trace the speaker's trajectory from the numb drowsiness of "Indolence" to the quiet wisdom of "Autumn," try to hear the voice develop and change under the guidance of Keats's extraordinary language.（济慈)
Charlotte Brontë (April 21, 1816 – March 31, 1855) was an English novelist, the eldest of the three Brontë sisters whose novels have become enduring classics of English literature. Life and worksCharlotte Brontë was born at Thornton, in Yorkshire, England, the third of six children, to Patrick Brontë (formerly "Patrick Brunty"), an Irish Anglican clergyman, and his wife, Maria Branwell. In April 1820 the family moved to Haworth, where Patrick had been appointed Perpetual Curate. Maria Branwell Brontë died of cancer on 15 September 1821, leaving five daughters and a son to the care of her sister Elizabeth Branwell. In August 1824, Charlotte was sent with three of her sisters to the Clergy Daughters' School at Cowan Bridge in Lancashire (which she would describe as Lowood School in Jane Eyre). Its poor conditions, Charlotte maintained, permanently affected her health and physical development, and hastened the deaths of her two elder sisters, Maria (born 1814) and Elizabeth (born 1815), who died of tuberculosis in 1825 soon after they were removed from the school.
At home in Haworth Parsonage, Charlotte and the other surviving children — Branwell, Emily, and Anne — were influenced by their father's library of Walter Scott, Byron, Tales of the Genii and The Arabian Nights. They began chronicling the lives and struggles of the inhabitants of their imaginary kingdoms. Charlotte and Branwell wrote stories about their country — Angria — and Emily and Anne wrote articles and poems about theirs — Gondal. The sagas were elaborate and convoluted (and still exist in part manuscripts) and provided them with an obsessive interest in childhood and early adolescence, which prepared them for their literary vocations in adulthood.
Charlotte continued her education at Roe Head school in Mirfield from 1831 to 1832, where she met her lifelong friends and correspondents, Ellen Nussey and Mary Taylor. Charlotte returned as a teacher from 1835 to 1838. In 1839 she took up the first of many positions as governess to various families in Yorkshire, a career she pursued until 1841. In 1842 she and Emily travelled to Brussels to enroll in a pensionnat run by Constantin Heger (1809–1896) and his wife Claire Zoë Parent Heger (1804–1890). In return for board and tuition, Charlotte taught English and Emily taught music. Their time at the pensionnat was cut short when Elizabeth Branwell, their aunt who joined the family after the death of their mother to look after the children, died of internal obstruction in October 1842. Charlotte returned alone to Brussels in January 1843 to take up a teaching post at the pensionnat. Her second stay at the pensionnat was not a happy one; she became lonely, homesick, and deeply attached to Constantin Heger. She finally returned to Haworth in January 1844 and later used her time at the pensionnat as the inspiration for some of The Professor and Villette.
In May 1846, Charlotte, Emily, and Anne published a joint collection of poetry under the assumed names of Currer, Ellis, and Acton Bell. Although the book failed to attract interest (only two copies were sold) the sisters decided to continue writing for publication and began work on their first novels. Charlotte continued to use the name 'Currer Bell' when she published her first two novels.
Cover page of the first edition of Jane EyreHer novels are:
Jane Eyre, published 1847
Shirley, published 1849
Villette, published 1853
The Professor, written before Jane Eyre and rejected by many publishing houses, was published posthumously in 1857
Her novels were deemed coarse by the critics. Much speculation took place as to who Currer Bell really was, and whether Bell was a man or a woman.
Charlotte's brother, Branwell, the only son of the family, died of chronic bronchitis and marasmus exacerbated by heavy drinking, in September 1848, although Charlotte believed his death was due to tuberculosis. Emily and Anne both died of pulmonary tuberculosis in December 1848 and May 1849, respectively.
Portrait of Charlotte Brontë, 1873
Charlotte and her father were now left alone. In view of the enormous success of Jane Eyre, she was persuaded by her publisher to visit London occasionally, where she revealed her true identity and began to move in a more exalted social circle, becoming friends with Harriet Martineau, Elizabeth Gaskell, William Makepeace Thackeray and G. H. Lewes. However, she never left Haworth for more than a few weeks at a time as she did not want to leave her aging father's side.
In June 1854, Charlotte married Arthur Bell Nicholls, her father's curate. She died nine months later during her first pregnancy. Her death certificate gives the cause of death as phthisis (tuberculosis), but there is a school of thought that suggests she may have died from her excessive vomiting caused by severe morning sickness in the early stages of pregnancy. There is also evidence to suggest that Charlotte died from typhus she may have caught from Tabitha Ackroyd, the Bronte household's oldest servant, who died shortly before her. Charlotte was interred in the family vault in The Church of St. Michael and All Angels, Haworth, West Yorkshire, England.
The posthumous biography by Elizabeth Gaskell, for a long time a standard source on her life, has been much criticised by feminists such as Elaine Showalter, for suppressing details of Charlotte's life and her apparently passionate nature. （勃朗特）
我能帮的也就只有这么多了,至于200字嘛······

爱你不是我的错

是2. 笛福

建议你到专业网站上咨询一下吧。

《初读贾浦曼译荷马有感》
　　我游历了很多金色的国度，
　　看过不少好的城邦和王国，
　　还有多少西方的海岛，歌者
　　都已使它们向阿波罗臣服。
　　我常听到有一境域，广阔无垠，
　　智慧的荷马在那里称王，
　　我从未领略的纯净、安详，
　　直到我听见贾浦曼的声音
　　无畏而高昂。于是，我的情感
　　有如观象家发现了新的星座，
　　或者像科尔特斯，以鹰隼的眼
　　凝视着大平洋，而他的同伙
　　在惊讶的揣测中彼此观看，
　　尽站在达利安高峰上沉默。
　　(查良铮译)
On First Looking into Chapman's Homer
Much have I traveled in the realms of gold
And many goodly states and kingdoms seen;
Round many western islands have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-browed Homer ruled as his demesne;
Yet never did I breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He stared at the Pacific—and all his men
Looked at each other with a wild surmise—
Silent, upon a peak in Darien.

莎士比亚： Sonnets of William Shakespeare Since all alike my songs and praises be To one, of one, still such, and ever so. Kind is my love to-day, to-morrow kind, Still constant in a wondrous excellence; Therefore my verse to constancy confined, One thing expressing, leaves out difference. 'Fair, kind and true' is all my argument, 'Fair, kind, and true' varying to other words; And in this change is my invention spent, Three themes in one, which wondrous scope affords. 'Fair, kind, and true,' have often lived alone, Which three till now never kept seat in one. 不要把我的爱叫作偶像崇拜, 也不要把我的爱人当偶像看, 既然所有我的歌和我的赞美 都献给一个、为一个,永无变换. 我的爱今天仁慈,明天也仁慈, 有着惊人的美德,永远不变心, 所以我的诗也一样坚贞不渝, 全省掉差异,只叙述一件事情. "美、善和真",就是我全部的题材, "美、善和真",用不同的词句表现； 我的创造就在这变化上演才, 三题一体,它的境界可真无限. 过去"美、善和真"常常分道扬镳, 到今天才在一个人身上协调. 莎士比亚： Would I were dead,if God's good will were so, For what is in this world but grief and woe? O God! me thinks it were a happy life To be no better than a homely swain; To sit upon a hill,as I do now, To carve out dials quaintly,point by point, There by to see the minutes how they run- How many makes the hours full complete, How many hours brings about the day, How many days will finish up the year, How many years a mortal man may live; When this is known,then to divide the times- So many hours must I tend my flock, So many hours must I take my rest, So many hours must I contemplate, So many hours must I sport myself; So many days my ewes have been with young, So many weeks ere the poor fools will ean, So minutes,hours,weeks,mounths,and years, Passed over to the end they were created, Would bring white hairs upto a quiet grave. Ah,what a life were this! how sweet,how lovely! Gives no the hawthorn bush a sweeter shade To shepherds looking on their silly sheep Than doth a rich embroidered canopy To kings that fear their subjects's treachery? 不如死了,如果那是神的懿旨： 人世间除了愁苦还有什么? 神啊!那当是更轻松的生涯 假如我不外是个乡民, 像我现在坐在山上, 细致地刻出个日晷 凭它看出时光的流逝—— 看几分钟完成一小时, 看几小时是一天, 看几天满一年, 看凡人一生能活几岁； 有了答案,才再把时间分配—— 有若干小时要看管我的羊群, 有若干小时要歇息, 有若干小时要祷告沉思, 有若干小时要消遣自娱； 等这数天母羊有了娠, 等这数星期老货们生下了小羊, 等这数月我再给老货们剪羊毛. 如此分秒、钟点、昼夜、星期、月和年； 运行到注定的尽头, 把白发带进恬静的坟墓. 啊,那是多好的一辈子,多顺溜,多如意! 那山楂给予看管着纯真的绵羊的 牧人们的树荫,可不远胜于 忧惧着臣民谋反的帝王们 顶上的缎华盖? 泰戈尔： I long to speak the deepest words I have to say to you; but I dare not, for fear you should laugh. That is why I laugh at myself and shatter my secret in jest. I make light of my pain, afraid you should do so. I long to tell you the truest words I have to say to you; but I dare not, being afraid that you would not believe them. That is why I disguise them in untruth, saying the contrary of what I mean. I make my pain appear absurd, afraid that you should do so. I long to use the most precious words I have for you; but I dare not, fearing I should not be paid with like value. That is why I gave you hard names and boast of my callous strength. I hurt you, for fear you should never know any pain. I long to sit silent by you; but I dare not lest my heart come out at my lips. That is why I prattle and chatter lightly and hide my heart behind words. I rudely handle my pain, for fear you should do so. I long to go away from your side; but I dare not, for fear my cowardice should become known to you. That is why I hold my head high and carelessly come into your presence. Constant thrusts from your eyes keep my pain fresh for ever. 泰戈尔 园丁集 我想要对你说出我要说我的最深的话语,我不敢,我怕你哂笑. 因此我嘲笑自己,把我的秘密在玩笑中打碎. 我把我的痛苦说得轻松,因为怕你会这样做. 我想对你说出我要说的最真的话语,我不敢,我怕你不信. 因此我弄假成真,说出和我的真心相反的话. 我把我的痛苦说得可笑,因为我怕你会这样做. 我想用宝贵的名词来形容你,我不敢,我怕得不到相当的酬报. 因此我给你苛刻的名字,而夸示我的硬骨. 我伤害你,因为怕你永远不知道我的痛苦. 我渴望静默地坐在你的身旁,我不敢,怕我的心会跳到我的唇上. 因此我轻松地说东道西,把我的心藏在语言的后面. 我粗暴地对待我的痛苦,因为我怕你会这样做. 我渴望从你身边走开,我不敢,怕你看出我的懦怯. 因此我随随便便地昂着走到你的面前. 从你眼里频频掷来的刺激,使我的痛苦永远新鲜. 拜伦： I Saw Thee Weep by George Gordon Byron I saw thee weep---the big bright tear Came o'er that eye of blue; And then methought it did appear A violet dropping dew: I saw thee smile---the sapphire's blaze Beside thee ceased to shine; It could not match the living rays That filled that glance of thine. As clouds from yonder sun receive A deep and mellow dye, Which scarce the shade of coming eve Can banish from the sky, Those smiles unto the moodiest mind Their own pure joy impart; Their sunshine leaves a glow behind That lightens o'er the heart. 我看过你哭 乔治·戈登·拜伦 我看过你哭——一滴明亮的泪 涌上你蓝色的眼珠； 那时候,我心想,这岂不就是 一朵紫罗兰上垂着露； 我看过你笑——蓝宝石的火焰 在你之前也不再发闪； 呵,宝石的闪烁怎么比得上 你那灵活一瞥的光线. 仿佛是乌云从远方的太阳 得到浓厚而柔和的色彩, 就是冉冉的黄昏的暗影 也不能将它从天空逐开； 你那微笑给我阴沉的脑中 也灌注了纯洁的欢乐； 你的容光留下了光明一闪, 恰似太阳在我心里放射.
满意请采纳

1、①作者羡慕秋的“洒脱”和“不加修饰”,向往这样的人生态度②“启迪”必须由文章内容生发而来,不可天马行空,不着边际.示例：为人处事不可过分计较,不妨洒脱一些,自然会感到生活的美好
2、①内容：从全文来看,作者不仅仅是颂秋,更是歌颂这些“具有秋之美”的人,第⑵段这样写则凸显了作者的这层意思；改后意蕴全无；②结构：第⑵段和第⑾段前后照应,第⑵段是为后文伏笔；改后则缺少这种前后照应的结构美
3、秋之菊,美在孤傲,不与百花争艳,绽放于霜寒时节,孤傲地为世间妆扮

你可以直接找它的原声大碟！上http://www.***.com/搜“原声大碟 《人间四月天》”即可找到……

1.作者笔下的秋具有充实、不加修饰、闲逸的特点.
2.写这幅画能够表现出秋的清寂,使人有一种清爽的感觉.
3.（1）表达了作者羡慕秋的洒脱和不加修饰,十分自然的感情.
（2)我们可以从中领悟到：为人处事不可以过分计较,做人洒脱些,自然会感到生活的美好.
老师虽然还没讲,但应该是对的,望LZ采纳!

Sandra Cisneros英式读法[ 'sa:ndrə 'sisnərəs]美式大概差不多
William Wordsworth [ 'wiljəm 'wə(r)dz,wə(r)θ ]
John Keats [ dʒɔ:n ki:ts ]
Rabindranath Tagore [ rə'bain,'drənəθ tei'gwɔ:(r)]
话说这么高难度的东西您也不出点分……