求遠(yuǎn)離塵囂 英語(yǔ)讀后感

遠(yuǎn)離塵囂 英語(yǔ)讀后感I have read a book named Harry Potter,the famous novel around the world.The writer created a wonderful and magical world,which is loved by all children in the world.What I gained from the book is that you should have a good heart and not be afried of any difficulties.To be a brave and good person,halping the one who is in trouble.Not only the people but the details in that book give me a deep image.I hope that if you have a chance to read it,you will like me,loving it.

遠(yuǎn)離塵囂的英文，遠(yuǎn)離塵囂的翻譯，怎么用英語(yǔ)翻譯遠(yuǎn)離

The novel opens with the famous line, It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.. and ends with two marriages: Jane and Bingley's, as well as Darcy and Elizabeth's. Both couples are assumed to live happily ever after.Elizabeth (Lizzy) Bennet is the core of the family. Elizabeth is the second of Mr. and Mrs. Bennet's five daughters, and is an intelligent, bold, attractive twenty-year-old when the story begins. In addition to being her father's favourite, Elizabeth is characterized as a sensible, yet stubborn, woman. Misled by his cold outward behaviour, Elizabeth originally holds Mr. Darcy in contempt. However, she finds that Mr. Darcy improves on acquaintance, more so than she would expect.Fitzwilliam Darcy (commonly known as Mr. Darcy) is the central male character and Elizabeth's second love interest in the novel. He is an intelligent, wealthy, extremely handsome and reserved 28-year-old man, who often appears haughty or proud to strangers but possesses an honest and kind nature underneath. Initially, he considers Elizabeth his social inferior, unworthy of his attention, but he finds that, despite his inclinations, he cannot deny his feelings for Elizabeth. His initial proposal of marriage is rejected because of his pride and Elizabeth's prejudice against him; however, at the end of the novel, after their relationship has blossomed, he is happily engaged to a loving Elizabeth.Role of women in the 18th centuryIn late-18th-century England, women were relegated to secondary roles in society with respect to property and social responsibilities. For example, women were not permitted to visit new arrivals to the neighbourhood (such as Mr. Bingley in Pride and Prejudice) until the male head of their household had first done so. Women were under enormous pressure to marry for the purpose of securing their financial futures and making valuable social connections for their families. Therefore, marriage, though romanticised, was in many ways a financial transaction and social alliance rather than a matter of love. Although Jane Austen did not condone loveless marriages (she stayed single all her life), she did approve of matches having equality in various respects, including wealth, social status, love and character. In Pride and Prejudice, wealth, social status, chastity (and the perception of chastity) and physical attractiveness are depicted as factors affecting a woman's chances for a good marriage.Published in 1925, The Great Gatsby became an immediate classic and propelled its young author to a fame he never again equalled. The novel captured the spirit of the Jazz Age, a post-World War I era in upper-class America that Fitzgerald himself gave this name to, and the flamboyance of the author and his wife Zelda as they moved about Europe with other American expatriate writers (such as Ernest Hemingway). However, Gatsby expresses more than the exuberance of the times. It depicts the restlessness of what Gertrude Stein (another expatriate modernist writer) called a lost generation. Recalling T. S. Eliot's landmark poem The Wasteland (1922), then, Gatsby also has its own valley of ashes or wasteland where men move about obscurely in the dust, and this imagery of decay, death, and corruption pervades the novel and infects the story and its hero too. Because the novel is not just about one man, James Gatz or Jay Gatsby, but about aspects of the human condition of an era, and themes that transcend time altogether, it is the stuff of myth. Gatsby's attempts to attain an ideal of himself and then to put this ideal to the service of another ideal, romantic love, are attempts to rise above corruption in all its forms. It is this quality in him that Nick Carraway, the novel's narrator, attempts to portray, and in so doing the novel, like its hero, attains a form of enduring greatness.The novel is narrated in retrospect; Nick is writing the account two years after the events of the summer he describes, and this introduces a critical distance and perspective which is conveyed through occasional comments about the story he is telling and how it must appear to a reader. The time scheme of the novel is further complicated as the history of that summer of 1922 contains within it the story of another summer, five years before this one, when Gatsby and Daisy first courted. This is the story that Jordan tells Nick. As that earlier summer ended with Gatsby's departure for the war in the fall, so the summer of Nick's experience of the East ends with the crisis on the last hot day (the day of mint juleps in the hotel and Myrtle Wilson's death) and is followed by Gatsby's murder by George Wilson on the first day of fall. This seasonal calendar is more than just a parallel, however. It is a metaphor for the blooming and blasting of love and of hope, like the flowers so often mentioned. Similarly, the novel's elaborate use of light and dark imagery (light, darkness, sunshine, and shadow, and the in-between changes of twilight) symbolizes emotional states as well.紅字The Scarlet Letter attained an immediate and lasting success because it addressed spiritual and moral issues from a uniquely American standpoint. In 1850, adultery was an extremely risqué subject, but because Hawthorne had the support of the New England literary establishment, it passed easily into the realm of appropriate reading. It has been said that this work represents the height of Hawthorne's literary genius; dense with terse descriptions. It remains relevant for its philosophical and psychological depth, and continues to be read as a classic tale on a universal theme.[6] Another consideration to note having to do with the book's popularity is that it was one of the first mass-produced books in America. Into the mid-nineteenth century, bookbinders of home-grown literature typically hand-made their books and sold them in small quantities. The first mechanized printing of The Scarlet Letter, 2,500 volumes, sold out immediately, was widely read and discussed to an extent not much experienced in the young country up until that time. Copies of the first edition are often sought by collectors as rare books, and may fetch up to around $6,000 USD.遠(yuǎn)離塵囂Much of the plot of Far from the Madding Crowd depends on unrequited love — love by one person for another that is not mutual in that the other person does not feel love in return. The novel is driven, from the first few chapters, by Gabriel Oak's love for Bathsheba. Once he has lost his farm, he is free to wander anywhere in search of work, but he heads to Weatherbury because it is in the direction that Bathsheba has gone. This move leads to Oak's employment at Bathsheba's farm, where he patiently consoles her in her troubles and supports her in tending the farm, with no sign he will ever have his love returned.This novel focuses on the way that catastrophe can occur at any time, threatening to change lives. The most obvious example occurs when Oak's flock of sheep is destroyed by an unlikely confluence of circumstances, including an inexperienced sheep dog, a rotted rail, and a chalk pit that happens to have been dug adjacent to his land. In one night, Oak's future as an independent farmer is destroyed, and he ends up begging just to secure the diminished position of a shepherd.This novel offers modern readers a clear picture of how important social position was in England in the nineteenth century and of the opportunities that existed to change class, in either direction. In the beginning, Oak and Bathsheba are social equals: he is an independent farmer who rents his land, and she lives on her aunt's farm next door to his, which is presumably similar in value. The only thing that keeps her from accepting his proposal of marriage is the fact that she just does not want to be married yet. After Oak loses his farm and Bathsheba inherits her uncle's farm, there is little question of whether they can marry — their social positions are too different. She is more socially compatible with Boldwood, who owns the farm next to hers and is in a similar social position.

遠(yuǎn)離塵囂怎么樣

知道Thomas hardy還是因?yàn)樽约旱挠⒄Z(yǔ)專(zhuān)業(yè)，曾經(jīng)背個(gè)什么時(shí)代著名作者的時(shí)候，隱隱約約記著他，但沒(méi)特別在意讀過(guò)的書(shū)里是否有他的名字。

直到開(kāi)始寫(xiě)這部書(shū)的書(shū)評(píng)，才發(fā)現(xiàn)《苔絲》和《無(wú)名的裘德》都是他寫(xiě)的。

這兩部書(shū)也都是我非常喜愛(ài)的書(shū)。

按介紹說(shuō)，這部《遠(yuǎn)離塵囂》是哈代的成名作。

我發(fā)現(xiàn)名著都有個(gè)特點(diǎn)，就是在一大堆看似嘮嘮叨叨的話(huà)的鋪墊下，總會(huì)有些發(fā)人深省的哲理句。

比如這部，“普通男人由于只有婚姻才能占有女人，而普通女人因?yàn)楸徽加胁拍艿玫交橐?，目的不同結(jié)果相同。

”（印象里的一句話(huà)，大概意思）這句話(huà)倒是讓我琢磨了很久，有趣啊有趣。

按照趣味性來(lái)講，《苔絲》>《無(wú)名的裘德》>《遠(yuǎn)離塵囂》(其余作品還沒(méi)看過(guò)暫不排名），其實(shí)《無(wú)名的裘德》快忘了講什么了，只記得裘德的滿(mǎn)腔熱血為學(xué)習(xí)，遙望哈佛懷揣夢(mèng)想，卻在夢(mèng)想的路上碰到了女人。

最終毀于女人身上，而且死的很悲慘。

蘇是這部里我唯一欣賞的女人，可是結(jié)果也是如此無(wú)奈。

《遠(yuǎn)離塵囂》的巴絲謝芭，她犯的也不過(guò)是現(xiàn)代普通女人都會(huì)犯的錯(cuò)。

在瓦倫汀節(jié)故意整人寫(xiě)的情書(shū)，沖動(dòng)下的結(jié)婚，這在現(xiàn)代例子可是多的去了。

但是在那個(gè)時(shí)代，她卻是一名敢于突破女性固有思想的女人，所以有人為她癡狂也是理所當(dāng)然。

發(fā)現(xiàn)哈代偏愛(ài)這一類(lèi)型的女人，卻不給她們好的結(jié)局，就像苔絲，蘇和巴絲謝絲，給了她們掙脫的翅膀，卻最終讓她們折翼。

也許哈代本人也是愛(ài)著這樣的女性甚至于他自己本身是這種性格的人，但卻被當(dāng)時(shí)的現(xiàn)實(shí)折磨的無(wú)可奈何，才會(huì)安排這樣無(wú)奈的結(jié)局吧。

哈代的小說(shuō)大都是描述悲慘的愛(ài)情。

《遠(yuǎn)離塵囂》結(jié)局雖好，剛開(kāi)始也許會(huì)感覺(jué)像是湊合的一對(duì)，但經(jīng)歷過(guò)風(fēng)雨的他們，這便是現(xiàn)實(shí)。

不會(huì)有《傲慢與偏見(jiàn)》那種轟轟烈烈，不會(huì)有《簡(jiǎn)愛(ài)》的癡狂臆想，有的只是同志般堅(jiān)定簡(jiǎn)單過(guò)著生活的心，在那蘇格蘭陰郁的草原農(nóng)場(chǎng)上，與大自然搏斗生存的原始的互相協(xié)助的夢(mèng)。

這，就是生活。

英語(yǔ)專(zhuān)業(yè)畢業(yè)論文寫(xiě)《遠(yuǎn)離塵囂》，誰(shuí)推薦個(gè)好點(diǎn)的題目

我問(wèn) 誰(shuí)去啊

遠(yuǎn)離塵囂的經(jīng)典語(yǔ)錄

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