一、有没有人知道英国诗人Kipling的诗If------By Joseph Rudyard KiplingIf you can keep your head when all about you Are losing theirs and blaming it on you;I f you can trust yourself when all men doubt you, But make allowance for their doubting too;If you can wait and not be tired by waiting, Or, being lied about, don't deal in lies, Or, being hated, don't give away to hating, And yet don't look too good, nor talk too wise; If you can dream---and not make dreams your master;If you can think--- and not make thoughts your aim;I f you can meet with Triumph and DisasterAnd treat those two imposters just the same;If you can bear to hear the truth you've spokenTwisted by knaves to make a trap for fools, Or watch the things you gave your life to broken, And stoop and build 'em up with worn-out tools; If you can make one heap of all your winnings And risk it on one turn of pitch-and tossAnd lose, and start again at your beginningsAnd never breathe a word about your loss;I f you can force your heart and nerve and sinew To serve your turn long after they are gone,And so hold on when there is nothing in youExcept the Will, which says to them: “hold on!” If you can talk with crows and keep your virtue,Or walk with kings---nor lose the common touch;If neither foes nor loving friends can hurt you;If all men count with you, but none too much;If you can fill the unforgiving minuteWith sixty seconds' worth of distance run---Yours is the Earth and everything that's in it, And---which is more---you'll be a Man, my son！ 英国现代作家吉卜林（Joseph Rudyard Kipling,1865-1936） ，是一位讲故事的高手，他长期生活在印度，作品大多取材于生活在印度的英国殖民主义者的家庭生活，书中的人物多是生活在中下层的普通人，很能引起读者的兴趣和共鸣。 这使得他在19世纪90年代的英国声名显赫，成为家喻户晓的人物。吉卜林还是一个多产的作家，他的作品既有反映他的印度生活的现实主义小说《山中故事》（Plain Tales From The Hills,1888）， 也有为儿童创作的充满神奇色彩的童话《从林故事》（The Jungle Books,1894），和《如此故事》（Just So Stories, 1902）等。 他的诗词创作同样丰富多彩， 感情真挚， 这首在英国脍炙人口的《假如---》就是其中的代表作。怎样才能称得上是一个真正的人？恐怕千人千论，标准无法统一。 吉卜林却凭手中妙笔，勾勒出一幅毕加索式的立体画， 使人生种种境遇，跃然纸上。做人最重要的是要有自信和持久的耐心。 在面临考验时， 要百折不挠，顽强拼搏；与人交往时不俾不亢，以智者的胸襟包容一切；更要珍惜时光， 奋斗不息。短短的一首诗，语言质朴，风格简约，与平平淡淡之中蕴含着深邃的哲理，如一杯清茶，在心田里留下几缕清香，令人久久回味。 假如——假如你能——在别人不知所措却对你横加指责的时候，保持清醒的头脑；假如你能——在所有人都怀疑你的时候仍然相信自己，并能体谅别人对你的怀疑；假如你能等待且又充满耐心，或者，从不用谎言去应付谎言，也不用仇恨去回击仇恨，既不故作正经也不夸夸其谈。假如你充满梦想——但绝不做梦想的奴仆；假如你勤于思考——却不把思想当作目标；假如你能——在遇到胜利和困难时态度同样平静；假如你能容忍你所说的真理，被无赖用作捕捉愚人的陷阱，或看着你所献身的事业轰然倒塌，你能屈身拾起残破的工具把它们重建。 假如你能——把所有赢来的筹码都押在一把赌注上，输光后仍能重新再来，且对输赢只字不提。假如你能——在运气不佳身心俱疲之时，仍能全力以赴抓住机遇，在一无所有只剩意志支撑的时刻，咬牙坚持到底。 假如你能——与三教九流为伍而独善其身，与王公贵族同行而不忘本色；假如无论是敌是友不能伤害到你；假如所有的人对你来说用等重要；假如你能把每一分宝贵的光阴化作六十秒的奋斗——你就拥有了整个世界，最重要的是——你就成了一个真正的人，我的孩子！。 二、有没有一些经典的英文句子1我的世界不允许你的消失，不管结局是否完美。 Nomattertheendingisperfectornot,youcannotdisappearfrommyworld。2为什么幸福总是擦肩而过，偶尔想你的时候…。 就让…。回忆来陪我。 WhyIhavenevercatchedthehappiness?WheneverIwantyou,Iwillbeaccompanyedbythememoryof。 。 。3爱情…在指缝间承诺指缝…。 在爱情下交缠。Love,promisedbetweenthefingersFingerrift,twistedinthelove4与你保持着一种暖昧的关系，怕自己会爱上你，怕你离开后，我会流泪Whenkeepingtheambiguitywithyou,IfearIwillfallinlovewithyou,andIfearIwillcryafteryourleaving。 5当香烟爱上（_火柴时，就注定受到伤害Whenacigarettefallsinlovewithamatch,itisdestinedtobehurt6Loveislikeabutterfly。Itgoeswhereitpleasesanditpleaseswhereitgoes。 爱情就像一只蝴蝶，它喜欢飞到哪里，就把欢乐带到哪里。7IfIhadasingleflowerforeverytimeIthinkaboutyou,Icouldwalkforeverinmygarden。 假如每次想起你我都会得到一朵鲜花，那么我将永远在花丛中徜徉。 8WithinyouIlosemyself,withoutyouIfindmyselfwantingtobelostagain。 有了你，我迷失了自我。失去你，我多么希望自己再度迷失。 9IneedhimlikeIneedtheairtobreathe。 我需要他，正如我需要呼吸空气。 10Ifequalaffectioncannotbe,letthemorelovingbeme。如果没有相等的爱，那就让我爱多一些吧。 11Loveisavinethatgrowsintoourhearts。爱是长在我们心里的藤蔓。 12IfIknowwhatloveis,itisbecauseofyou。因为你，我懂得了爱。 三、求一首英国或美国的诗A Grain of SandTo see a world in a grain of sand, And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.一粒沙子从一颗沙里看到整个世界，一朵野花就是一座天堂，把无限放在你的手掌上，永恒就在那一瞬间。 英国第一位重要的浪漫主义诗人威廉·布莱克（ WilliamBlake,1757 —1827 ）威廉·布莱克活着的时候没人知道，直到20世纪初才被挖掘出来。这几行诗在欧美并不是那么有名，讲起布莱克的时候，也不把这看作他的代表作。 似乎只有中国人才特别迷恋这几句话，我猜想也许因为这首诗跟佛教思想有相通之处有关系。这四行诗选自一首长达132行、名为《天真的预兆》（Auguries of Innocence）的长诗，是开头四行。 四、有没有人有关于英国浪漫派诗人的一些资料,最好是英文的给你发来微软百科的说明.Romanticism (literature)I INTRODUCTION Romanticism (literature), a movement in the literature of virtually every country of Europe, the United States, and Latin America that lasted from about 1750 to about 1870, characterized by reliance on the imagination and subjectivity of approach, freedom of thought and expression, and an idealization of nature. The term romantic first appeared in 18th-century English and originally meant “romancelike”—that is, resembling the fanciful character of medieval romances.II ORIGINS AND INSPIRATION By the late 18th century in France and Germany, literary taste began to turn from classical and neoclassical conventions (see Classic, Classical, and Classicism). Inspiration for the romantic approach initially came from two great shapers of thought, French philosopher Jean Jacques Rousseau and German writer Johann Wolfgang von Goethe.A The Romantic Spirit Rousseau established the cult of the individual and championed the freedom of the human spirit; his famous announcement was “I felt before I thought.” Goethe and his compatriots, philosopher and critic Johann Gottfried von Herder and historian Justus Möser, provided more formal precepts and collaborated on a group of essays entitled Von deutscher Art und Kunst (Of German Style and Art, 1773). In this work the authors extolled the romantic spirit as manifested in German folk songs, Gothic architecture, and the plays of English playwright William Shakespeare. Goethe sought to imitate Shakespeare's free and untrammeled style in his Götz von Berlichingen (1773; translated 1799), a historical drama about a 16th-century robber knight. The play, which justifies revolt against political authority, inaugurated the Sturm und Drang (storm and stress) movement, a forerunner of German romanticism. Goethe's novel The Sorrows of Young Werther (1774; translated 1779) was also in this tradition. One of the great influential documents of romanticism, this work exalts sentiment, even to the point of justifying committing suicide because of unrequited love. The book set a tone and mood much copied by the romantics in their works and often in their personal lives: a fashionable tendency to frenzy, melancholy, world-weariness, and even self-destruction.B The Romantic Style The preface to the second edition of Lyrical Ballads (1800), by English poets William Wordsworth and Samuel Taylor Coleridge was also of prime importance as a manifesto of literary romanticism. Here, the two poets affirmed the importance of feeling and imagination to poetic creation and disclaimed conventional literary forms and subjects. Thus, as romantic literature everywhere developed, imagination was praised over reason, emotions over logic, and intuition over science—making way for a vast body of literature of great sensibility and passion. This literature emphasized a new flexibility of form adapted to varying content, encouraged the development of complex and fast-moving plots, and allowed mixed genres (tragicomedy and the mingling of the grotesque and the sublime) and freer style.No longer tolerated, for example, were the fixed classical conventions, such as the famous three unities (time, place, and action) of tragedy. An increasing demand for spontaneity and lyricism—qualities that the adherents of romanticism found in folk poetry and in medieval romance—led to a rejection of regular meters, strict forms, and other conventions of the classical tradition. In English poetry, for example, blank verse largely superseded the rhymed couplet that dominated 18th-century poetry. The opening lines of the swashbuckling melodrama Hernani (1830; translated 1830), by the great French romantic writer Victor Hugo, are a departure from the conventional 18th-century rules of French versification; and in the preface to his drama Cromwell (1827; translated 1896), a famous critical document in its own right, Hugo not only defended his break from traditional dramatic structure but also justified the introduction of the grotesque into art. In their choice of heroes, also, the romantic writers replaced the static universal types of classical 18th-century literature with more complex, idiosyncratic characters; and a great deal of drama, fiction, and poetry was devoted to a celebration of Rousseau's “common man.”III THE GREAT ROMANTIC THEMES As the romantic movement spread from France and Germany to England and then to the rest of Europe and across to the western hemisphere, certain themes and moods, often intertwined, became the concern of almost all 19th-century writers.A 。 五、为什么英国没被少数民族统治过非也，非也。 英国在历史上曾经多次被少数民族统治。 古罗马时期，恺撒征服不列颠，居少数的罗马人曾经统治占多数的凯尔特达数百年。 后来盎格鲁-撒克逊人占据不列颠南部建立英格兰国家。此后，英格兰又受到丹麦人的入侵，居少数的丹麦人曾经在相当长的一段时间里统治过英格兰。 1066年来自法国的诺曼第人入侵英国，诺曼第大公成为英国的威廉一世，讲法语的诺曼第人成为又一个统治英国的少数民族。 曾经统治英国的丹麦人和诺曼第人后来都被同化到英格兰人中，英格兰人从此一直是英国的统治民族。 六、有没有一些优美的英语句子1 我的世界不允许你的消失，不管结局是否完美。 No matter the ending is perfect or not, you cannot disappear from my world3 承诺常常很像蝴蝶，美丽的飞盘旋然后不见 Promises are often like the butterfly, which disappear after beautiful hover。 4 凋谢是真实的 盛开只是一种过去 Fading is true while flowering is past5 为什么幸福总是擦肩而过，偶尔想你的时候…。 就让…。回忆来陪我。 Why I have never catched the happiness? Whenever I want you ,I will be accompanyed by the memory of。 。 。6 如果你为着错过夕阳而哭泣，那么你就要错群星了 If you weeped for the missing sunset,you would miss all the shining stars7 如果只是遇见，不能停留，不如不遇见 If we can only encounter each other rather than stay with each other,then I wish we had never encountered 。 8 宁愿笑著流泪，也不哭著说后悔心碎了，还需再补吗？ I would like weeping with the smile rather than repenting with the cry,when my heart is broken ,is it needed to fix?9 天空没有翅膀的痕迹，而鸟儿已飞过 There are no trails of the wings in the sky, while the birds has flied away。 10 当香烟爱上火柴时，就注定受到伤害 When a cigarette falls in love with a match,it is destined to be hurt。 七、有没有关于人生哲理的英语句子Without encouragement of ideals, human activities become empty and trifling。 人的行为如果没有理想的鼓舞，就会变得空虚而渺小。 To a person in the world, the most important thing is to be able to love, not to be loved。 人活在世上，最重要的是有爱人的能力，而不是被爱。 The whole course of human historymay depend on a change of heartin one solitaryand even humbe individual-for it is in the solitary mind and soul of the individual that the battle between good and evil is waged and ultimately won or lost。 人类历史的整个进程或许依赖于寂寞的甚至卑微的个人心中的变化——因为善恶之战是在个人寂寞的心灵和灵魂中发起并最终决定输赢的。 Art is a jealous mistress。 艺术是一位充满嫉妒的情人。 It takes at least two to make a peace,but one can make a war。 和平需双方共同谋求，但一方就可以挑起战争。 The proper of man is to live, but not to exist。 人应该生活，而非单纯生存。 |