娃娃的英语
娃娃的英语child。n. 儿童，小孩；子女；深受（某时期思想）影响的人；孩子气的人，幼稚的人；缺乏经验的人短语Destiny's Child 天命真女 ; 天命真女合唱团 ; 真命天女 ; 天命真女组合child prodigy 神童 ; 台球神童 ; 中原神童 ; 华夏神童illegitimate child 非婚生子女 ; 私生子 ; 非婚生子WILD CHILD 野孩子 ; 自然之子 ; 野蛮公主 ; 野生儿Julia Child 茱莉亚·蔡尔德 ; 茱莉亚·查尔德 ; 柴尔德child process 子进程 ; 子女进程 ; 子行程 ; 子处理序同根词词根： childadj.childish 幼稚的，孩子气的childlike 天真烂漫的；孩子似的childless 无子女的childly 孩子似的adv.childly 孩子似地n.childhood 童年时期；幼年时代childishness 童心；幼稚
娃娃的英文
洋娃娃的英文单词有：dolly、doll。1、dolly读音：英 ['dɒli]美 ['dɑːli] n. 洋娃娃；摄影车；手推车；洗衣棒；多莉（人名）v. 移动摄影车The little girl kept asking for her dolly.这个小女孩一次又一次地要她的洋娃娃。2、doll 读音：英 [dɒl] 美 [dɑːl] n. 玩具娃娃；美貌女子；有吸引力的人v. 打扮My daughter has many beautiful dolls.我女儿有许多漂亮的洋娃娃。词汇搭配：1、rag doll读音：英[ræg dɔl]美[ræɡ dɑl]n.碎布制玩偶，布洋娃娃My favourite toy was a rag doll. 我心爱的玩具是布娃娃。2、barbie doll读音：英 [ˈbɑːbi dɔl] 美 [ˈbɑːrbi dɑl] 芭比娃娃The little girl was tickled pink to receive a Barbie doll for her birthday. 生日时收到芭比娃娃，令小女孩喜出望外。
威廉·华兹华斯的简介及其主要作品
威廉·华兹华斯
华兹华斯（1770～1850）英国诗人，与柯尔律治、骚塞同被称为“湖畔派”诗人。华兹华斯生于律师之家，少孤，就学于剑桥大学，1790年和1791年两次赴法。当时正是法国大革命的年代，年轻的华兹华斯对革命深表同情与向往。回国后不久，局势剧变，华兹华斯对法国大革命的态度渐趋保守，最后，终于成为安享“桂冠诗人”称号的前浪漫主义诗人。
华兹华斯的诗以描写自然风光、田园景色、乡民村姑、少男少女闻名于世。文笔朴素清新，自然流畅，一反新古典主义平板、典雅的风格，开创了新鲜活泼的浪漫主义诗风。1798年华兹华斯与柯尔律治共同发表的《抒情歌谣集》宣告了浪漫主义新诗的诞生。华兹华斯在1800年《抒情歌谣集》第二版的序言中详细阐述了浪漫主义新诗的理论，主张以平民的语言抒写平民的事物、思想与感情，被誉为浪漫主义诗歌的宣言。此后，华兹华斯的诗歌在深度与广度方面得到进一步的发展，在描写自然风光、平民事物之中寓有深意，寄托着自我反思和人生探索的哲理思维。完成于1805年、发表于1850年的长诗《序曲》则是他最具有代表性的作品。
华兹华斯诗才最旺盛的时期是1797至1807年的10年。其后佳作不多，到1843年被任命为“桂冠诗人”时已经没有什么作品了。然而纵观他的一生，其诗歌成就是突出的，不愧为继莎士比亚、弥尔顿之后的一代大家。华兹华斯诗歌的艺术成就 他不仅创立理论，而且本人就实践理论。他与柯尔律治合作的《抒情歌谣集》这本小书所开始的，不止是他们两人的文学生涯，而是一整个英国浪漫主义诗歌运动。对于中国读者，华兹华斯却不是一个十分熟悉的名字。能读英文的人当然都看过他的若干小诗，如《孤独的割麦女》，但不懂英文的人却对他的诗没有多少印象，原因之一是他的诗不好译——哲理诗比叙事诗难译，而华兹华斯写得朴素、清新，也就更不好译了。原因之二是，他曾被评为“反动的浪漫主义”的代表，因此不少人未读他的作品，就已对其人有了反感。还有一个原因可能是：他那类写大自然的诗在我国并不罕见，他的思想也类似老庄，因此人们对他无新奇感。但他是值得一读的。除了历史上的重要性之外，他有许多优点，例如写得明白如话，但是内容并不平淡，而是常有神来之笔，看似普通的道理，却是同高度的激情结合的。法国大革命就曾深深激动了他，使他后来写下这样的名句： 幸福呵，活在那个黎明之中， 年轻人更是如进天堂！ ——《序曲》第十一章 他的山水诗极其灵秀，名句如：我好似一朵孤独的流云。他的爱情诗，如与一位名叫露西的姑娘有关的几首，也是极其真挚，极其动人，无一行俗笔，用清新的文字写出了高远的意境。他能将复杂深奥的思想准确地、清楚地表达出来，民歌体的小诗写得精妙，白体无韵诗的运用更在他的手里达到了新的高峰，出现了宛转说理的长长诗段。用这样的诗段他写出了长诗《丁登寺旁》，表达了大自然给他的安慰和灵感；接着又经营多年，写出了一整本诗体自传，题名《序曲——一个诗人心灵的成长》，开创了自传诗的新形式。在十四行诗方面，他将密尔顿的豪放诗风发扬光大，用雄迈的笔调写出了高昂的激情，例如这样的呼唤： 啊，回来吧，快把我们扶挽， 给我们良风，美德，力量，自由！ 你的灵魂是独立的明星， 你的声音如大海的波涛， 你纯洁如天空，奔放，崇高…… 这是过去以写爱情为主的十四行诗中罕见之笔，也说明两位爱好自由的大诗人如何心心相印！总之，华兹华斯诗路广，意境高，精辟，深刻，令人沉思，令人向上，而又一切出之于清新的文字，确是英文诗里三或四个最伟大的诗人之一。只是他后期诗才逐渐枯竭，所作变得冗长沉闷，又使人无限惋惜。
请问william wordsworth 的简介及创作the daffodils 这首诗的背景，，如何对这首诗进行分析
Notes about this poem:
1. Wordsworth made use of the description in his sister's diary, as well as
of his memory of the daffodils in Gowbarrow Park, by Ullswater. Cf. Dorothy
Wordsworth's Journal, April 15, 1802: "I never saw daffodils so beautiful.
They grew among the mossy stones . . .; some rested their heads upon these
stones, as on a pillow for weariness; and the rest tossed and reeled and
danced, and seemed as if they verily laughed with the wind, that blew upon
them over the lake; they looked so gay, ever glancing, ever changing."
2. 'They flash upon that inward eye... ': Wordsworth said that these were
the two best lines in the poem and that they were composed by his wife.
Biography and Assessment:
Wordsworth was born in the Lake District of northern England[...]The
natural scenery of the English lakes could terrify as well as nurture, as
Wordsworth would later testify in the line "I grew up fostered alike by
beauty and by fear," but its generally benign aspect gave the growing boy
the confidence he articulated in one of his first important poems, "Lines
Composed a Few Miles Above Tintern Abbey . . . ," namely, "that Nature
never did betray the heart that loved her."
[...]
Wordsworth moved on in 1787 to St. John's College, Cambridge. Repelled by
the competitive pressures there, he elected to idle his way through the
university, persuaded that he "was not for that hour, nor for that place."
The most important thing he did in his college years was to devote his
summer vacation in 1790 to a long walking tour through revolutionary
France. There he was caught up in the passionate enthusiasm that followed
the fall of the Bastille, and became an ardent republican sympathizer.
[...]
The three or four years that followed his return to England were the
darkest of Wordsworth's life. Unprepared for any profession, rootless,
virtually penniless, bitterly hostile to his own country's opposition to
the French, he knocked about London in the company of radicals like
William Godwin and learned to feel a profound sympathy for the abandoned
mothers, beggars, children, vagrants, and victims of England's wars who
began to march through the sombre poems he began writing at this time.
This dark period ended in 1795, when a friend's legacy made possible
Wordsworth's reunion with his beloved sister Dorothy--the two were never
again to live apart--and their move in 1797 to Alfoxden House, near
Bristol. There Wordsworth became friends with a fellow poet, Samuel Taylor
Coleridge, and they formed a partnership that would change both poets'
lives and alter the course of English poetry.
[...]
Through all these years Wordsworth was assailed by vicious and tireless
critical attacks by contemptuous reviewers; no great poet has ever had to
endure worse. But finally, with the publication of The River Duddon in
1820, the tide began to turn, and by the mid-1830s his reputation had been
established with both critics and the reading public.
Wordsworth's last years were given over partly to "tinkering" his poems,
as the family called his compulsive and persistent habit of revising his
earlier poems through edition after edition. The Prelude, for instance,
went through four distinct manuscript versions (1798-99, 1805-06, 1818-20,
and 1832-39) and was published only after the poet's death in 1850. Most
readers find the earliest versions of The Prelude and other heavily
revised poems to be the best, but flashes of brilliance can appear in
revisions added when the poet was in his seventies.
Wordsworth succeeded his friend Robert Southey as Britain's poet laureate
in 1843 and held that post until his own death in 1850. Thereafter his
influence was felt throughout the rest of the 19th century, though he was
honoured more for his smaller poems, as singled out by the Victorian
critic Matthew Arnold, than for his masterpiece, The Prelude. In the 20th
century his reputation was strengthened both by recognition of his
importance in the Romantic movement and by an appreciation of the darker
elements in his personality and verse.
William Wordsworth was the central figure in the English Romantic
revolution in poetry. His contribution to it was threefold. First, he
formulated in his poems and his essays a new attitude toward nature. This
was more than a matter of introducing nature imagery into his verse; it
amounted to a fresh view of the organic relation between man and the
natural world, and it culminated in metaphors of a wedding between nature
and the human mind, and beyond that, in the sweeping metaphor of nature as
emblematic of the mind of God, a mind that "feeds upon infinity" and
"broods over the dark abyss." Second, Wordsworth probed deeply into his
own sensibility as he traced, in his finest poem, The Prelude, the "growth
of a poet's mind." The Prelude was in fact the first long autobiographical
poem. Writing it in a drawn-out process of self-exploration, Wordsworth
worked his way toward a modern psychological understanding of his own
nature, and thus more broadly of human nature. Third, Wordsworth placed
poetry at the centre of human experience; in impassioned rhetoric he
pronounced poetry to be nothing less than "the first and last of all
knowledge--it is as immortal as the heart of man," and he then went on to
create some of the greatest English poetry of his century. It is probably
safe to say that by the late 20th century he stood in critical estimation
where Coleridge and Arnold had originally placed him, next to John
Milton--who stands, of course, next to William Shakespeare.
Some comments:
1.We often go through life as if we were unconscious of what is going on
around us - like clouds. We notice many things some of which are beautiful
and some ordinary. But being distracted - not poets, who would naturally
notice and be gay at the sight - we fail to be lifted by the simple but
awesome beauty that surrounds us. WW was not being a poet at the time and
so he "little thought what wealth to him the show had wrought." He was
forced to try to re-experience it from memory - his inward eye - in order to
fill his heart with the pleasure he missed when he actually saw the daffodils.
To me, the poem serves as a reminder that our happiness is best served if we
live our lives as poets and notice the simple beauty that nature gives us
daily. Where ordinary people see flowers, the poet sees stars, dancers,
happy celebrations of nature's miracles and is pleasured. Live as a
poet!!!!!
2.I always thought
of the poem as a simple poem of yellow gay springtime. Having really
looked at the poem something clicked and I have a profound understanding
that I had overlooked -
The word 'DANCE' is in every stanza - Dance the cosmic creative energy
that transforms space into time, is the rhythm of the universe. Round
dancing, was a dance that imitated the sun's course in the heavens and
enclosed a sacred space. The round, yellow, golden cups of the daffodil
can easily symbolize the sun, the sacred sun of incorruptibile wisdom,
superior and noble.
Dancing as the Dance of Siva is the eternal movement of the universe the
'play' of creatio, or the 'fluttering' frenzy emotional chaos of
Dionysian/Bacchic.
The stars, messengers of the gods, the eyes of night, and hope, toss
their 'head,' the seat of both our intelligence and folly, honor and
dishonor.
Lying on a couch in a vacant pensive mood could easily be a way to
discribe a meditative state where the forces of the universe and our
connection with the ceaseless movement, the ebb and flow of life as a
wave dances could be pondered.
That last line "And dances with the Daffodils." could it be the dance of
angels round the throne of God. If this is a poem of the cycle of
existence and the circling of the sun/God of course what wealth and
glee.
3.A poem can stir all of the senses, and the subject matter of a poem can range from being funny to being sad.
英语人称代词
如下图所示形容词性物主代词的用法：1、形容词性物主代词相当于形容词，在句中只能用作定语,后面必须跟名词。名词性物主代词常用来避免和前面已提及的名词重复。相当于【形容词性物主代词+名词】。例如： Is that your bike? 那是你的自行车吗? My pen is quite different from his.2、如果名词前用了形容词性物主代词，就不能再用冠词(a, an, the)、指示代词(this, that, these, those)等修饰词了。例如： 这是他的书桌。This is his desk.3、与形容词一起修饰名词时，形容词性物主代词要放在形容词的前面。如：his English books他的英语书，their Chinese friends他们的中国朋友。扩展资料人称代词的排列顺序1、两个或两个以上的人称代词并列使用时，对于单数人称代词，按“二三一”的顺序排列；对于复数人称代词，按“一二三”的顺序排列。如：You, he and I must obey the rules. 你，他和我都得遵守规则。We, you and they should stay here. 我们，你们和他们都应该留在这。2、若要承担责任或过失时，则通常将第一人称放在前面。如：It was I and Tom who were late. 迟到的是我和汤姆。3、表示男女的代词并排使用时，通常是先男后女。如：Nobody likes such things except him and her. 除了他和她，没有喜欢那样的东西。参考资料来源：百度百科-人称代词
