英語科幻小說摘抄精彩段落
『壹』 優美的英語段落 每篇100字左右
Life is full of confusing and disordering Particular time, a particular location, Do the arranged thing of ten million time in the brain, Step by step , the life is hard to avoid delicacy and stiffness No enthusiasm forever, No unexpected happening of surprising and pleasing So, only silently ask myself in mind Next happiness, when will come?
人生的紛紛擾擾，雜雜亂亂， 在一個特定的時間，特定的地點， 做腦海中安排了千萬遍的事， 一步一驟，人生難免精緻，卻也死板， 永遠沒有激情，沒有意料之外的驚喜。 於是，也只有在心裡默默地問： 下一班幸福，幾點開？
Dark light, just light each other. The responsibility that you and my shoulders take together, the such as one st covers up. Afraid only afraid the light is suddenly put out in theendless dark night and Countless loneliness
暗黃的燈光，僅僅也只能照射過彼此。 你、我肩上共同擔當的責任，猶如一片灰塵遮掩。 怕只怕燈絲的突然熄滅在這無盡的黑夜.數不盡的孤單
Always insisting. Use iron scoop is too cold; Use porcelain scoop is too weak; A wood scoop, engraved veins safely, engraved sky』s wasteland and glebe』s old. Just as happiness born in the years, not insolent, the every act and move blooms quietly
一直堅持著。用鐵勺太冰冷；用瓷勺又太脆弱； 一隻只木勺，刻出了紋理安然，刻出了天荒地老。 一如歲月中隱忍著的幸福，不張狂，舉手投足間悄然綻放
Then the wandering soul wild crane stands still the memory river Listen to whistle play tightly ring slowly, Water rises a ship to go medium long things of the past. Wait for a ship』s person Wait for one and other, But hesitate always should ascend which ship Missed Had to consign the hope to next time, Finally what to wait for until has no boats and ships to come and go, Sunset west .
再孤魂野鶴的佇立記憶河頭， 聽著哨子的緊奏慢響， 水漲船行中的悠悠往事。 等船的人兒， 等了一班又一班， 卻始終猶豫著該登哪一隻。 錯過的， 只好把希望寄託到了下一回， 終究等到的是沒有船隻的過往， 日落西頭 。
『貳』 Frankenstein的英文小說里的經典語句或段落
1、Nothing contributes so much to tranquillize the mind as a steady purpose--a point on which the soul may fix its intellectual eye.
翻譯：沒有什麼比一個穩定的目標更能使人平靜下來——一個靈魂可以用理智的眼光注視的點。
2、We are unfashioned creatures, but half made up.
翻譯：我們是未受驚嚇的生物，但有一半是虛構的。
3、You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been.
翻譯：你尋求知識和智慧，就像我曾經做的那樣；我熱切地希望，你的願望得到滿足，而不是像我的願望那樣，像毒蛇一樣刺痛你。
小說的特點
1、價值性
小說的價值本質是以時間為序列、以某一人物或幾個人物為主線的，非常詳細地、全面地反映社會生活中各種角色的價值關系（政治關系、經濟關系和文化關系）的產生、發展與消亡過程。非常細致地、綜合地展示各種價值關系的相互作用。
2、容量性
與其他文學樣式相比，小說的容量較大，它可以細致地展現人物性格和人物命運，可以表現錯綜復雜的矛盾沖突，同時還可以描述人物所處的社會生活環境。優勢是可以提供整體的、廣闊的社會生活。
『叄』 求經典英文小說里的經典句子
1、if God had gifted me with some beauty and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh: it is my spirit that addresses your spirit; just as if both had passed through the grave, and we stood at God』s feet, equal — as we are! 』 -------如果上帝賜予我財富和美貌，我會使你難於離開我，就像現在我難於離開你。上帝沒有這么做，而我們的靈魂是平等的，就彷彿我們兩人穿過墳墓，站在上帝腳下，彼此平等——本來就如此！」 《簡愛》
2、so he shall never know how I love him: and that, not because he's handsome, Nelly, but because he's more myself than I am. 我愛他，並不是因為他長得漂亮，而是因為他比我更像我自己。《呼嘯山莊》
3、The all of thine that cannot die
Through dark and dread Eternity
Returns again to me,
And more thy buried love endears
Than aught except its living years.
你那永不寂滅的靈魂,穿越幽暗冷晦的永恆,終於回到我身邊。你已埋葬的愛情勝過一切--只除了愛情活著的歲月。《你已長逝》（這個是拜倫的長篇詩，不過這幾句很好）
4、Money is a good servant but an evil master金錢是好僕人，壞主人《茶花女》
5、My love were some ordinary 我的相戀只是隨波逐流 《安娜卡列尼娜》
6、 But a man is not made for defeat. A man can be destroyed but not defeated.」一個人並不是生來要給打敗的，你盡可把它消滅掉，可就是打不敗他《老人與海》
7、 the future will belong to two types of people: those who thought and labor, in fact, two types of people is a people, because thought is labor.未來將屬於兩種人：思想的人和勞動的人，實際上，這兩種人是一種人，因為思想也是勞動。《悲慘世界》
8、愛情是什麼？ 是一道神奇的加法：一個思念加上一個思念，就能變成十五的月亮。 是一輪非凡的聽力：即使隔著千山萬水，也能聽到彼此的激動的心跳。 是一把牢固的鎖：它把親密戀人如情如語的話，鎖進記憶的夢里。 是一種特等的信函：裝在裡面的是一個甜甜的吻，寄出去的是一個親親的問候。What is love? Is a wonderful addition: a miss with a miss, 15 will be able to become the moon. Are an extraordinary hearing: Even across the mountains, but also exciting to hear each other's heartbeat. Are a bunch of wonderful languagebe, earth-shattering. Is a solid lock: it put the situation such as intimate lovers such as language, then lock into the memory of the dream. Is a letter from the Principal: inside are packed in a sweet kiss send a kiss to the greetings《巴黎聖母院》
9、Oh, love,」 she said, and her voice vibrated and her eyes shone, 「that is to be two and yet only one—a man and a woman blending into an angel—it is heaven!」(「喔！愛情，」她說道，聲音顫抖，目光炯炯。「那是兩個人卻又只有一個人。一個男人和一個女人融合為一個天使。那就是天堂！」)《巴黎聖母院》
10、There is neither happiness nor misery in the world; there is only the comparison of one state with another, nothing more. He who has felt the deepest grief is best able to experience supreme happiness. We must have felt what it is to die, Morrel, that we may appreciate the enjoyments of living.
在這世界上既無所謂幸福也無所謂不幸，只有一種狀況和另一種狀況的比較，如此而已。只有體驗過極度不幸的人，才能品嘗到極度的幸福。只有下過死的決心的人，莫雷爾，才能懂得活著有多快樂。《基督山伯爵》
11、never forget that until the day when God shall deign to reveal the future to man,all human wisdom is summed up in these two words, −− Wait and hope.
永遠不要忘記，直至天主垂允為人類揭示未來圖景的那一天來到之前，人類的全部智慧就包含在這五個字裡面：等待和希望。《基督山伯爵》
12、 But we will not admit that our modern artistic claim to absolute originality is really a claim to absolute unsociability; a claim to absolute loneliness.但我們不會承認，我們的現代藝術聲稱絕對原創絕對是一個真正的孤僻要求;一個絕對孤獨的索賠。《霧都孤兒》
其中《呼嘯山莊》和《你已長逝》里的名句是我最喜歡的，望對你有幫助。
『肆』 科幻小說精彩片段
1、宇宙就是一座黑暗森林，每個文明都是帶槍的獵人，像幽靈般潛行於林間，輕輕撥開擋路的樹枝，竭力不讓腳步發出一點兒聲音，連呼吸都小心翼翼。——劉慈欣《三體》
2、對三體世界而言，在他們的行星被三顆恆星吞噬之前，太陽系是唯一的希望，再沒有第二個可以及時移民的世界，這樣，繼人類之後，三體文明也必將徹底滅亡。這就是您的同歸於盡戰略。
當一切都准備完畢，所有氫彈都已在水星上就位時，您將以此來要挾三體世界，最終使人類贏得勝利。以上就是我，您的破壁人多年工作的結果。我並不想征詢您的意見和評價，因為我們都知道這是真的。在破壁人講述的過程中，雷迪亞茲一直默默聽著，他手上的雪茄已經抽了大半，現在他不停地轉動著雪茄，似乎在欣賞煙頭透出的火光。——劉慈欣《三體》
3、與外星文明的接觸一旦建立，人類社會將受到什麼樣的和何種程度的影響，這作為一個嚴肅的課題被系統深入地研究，還只是近兩年的事。但這項研究急劇升溫，得出的結論令人震驚。
以前天真的理想主義願望破滅了，學者們發現，與大多數人美好的願望相反，人類不可能作為一個整體與外星文明接觸，這種接觸對人類文化產生的效應不是融合而是割裂，對人類不同文明間的沖突不是消解而是加劇。
總之，接觸一旦發生，地球文明的內部差異將急劇拉大，後果可能是災難性的。最驚人的結論是：這種效應與接觸的程度和方式(單向或雙向)，以及所接觸的外星文明的形態和進化程度，沒有任何關系！——劉慈欣《三體》
4、太陽的運行之所以沒有規律，是因為我們的世界中有三顆太陽，它們在相互引力的作用下，做著無法預測的三體運動、當我們的行星圍繞著其中的一顆太陽做穩定運行時，就是恆紀元；
當另外一顆或兩顆太陽運行到一定距離內，其引力會將行星從它圍繞的太陽邊奪走，使其在三顆太陽的引力范圍內游移不定時，就是亂紀元；
一段不確定的時間後，我們的行星再次被某一顆太陽捕獲，暫時建立穩定的軌道，恆紀元就又開始了。這是一場宇宙橄欖球賽，運動員是三顆大陽，我們的世界就是球！——劉慈欣《三體》
5、兩個智子到達地球後，第一個任務就是定位人類用於物理學研究的高能加速器，然後潛伏於其中。在地球文明的科學水平上，對物質深層結構研究所採用的基本方法，就是用經過加速的高能粒子撞擊選定的靶標粒子，當靶標粒子被撞碎後；
對結果進行分析，以圖找出反映物質深層結構的信息。在實際的實驗中，是用含有靶標粒子的物質作為撞擊目標，物質的內部幾乎全是空的，如果一個原子有一座劇院那麼大，原子核則只是懸浮在劇院中的一個核桃。——劉慈欣《三體》
『伍』 求英文小說中描寫人物的精彩段落
1、大門開了，走進來一位年輕的郵遞員。只見他全身衣服濕透了，褲腿卷得高高的，從膝蓋到腳全沾滿了泥水，好像剛從泥地里爬起來似的。他手裡捧著一包用油布包著落郵件，顧不上抹臉上的雨水，對屋裡人說：「《兒童時代》來啦！」
2、姐姐身材苗條，長得很健壯，比我整整高了一個頭。她的脖子略長些，惹我生氣時，我就會喊她「長勁鹿」。她剪著挺有精神的運動頭，看起你來，兩眼忽閃忽閃的，好像會說話。
3、這個青年看上去不到二十歲，兩條彎彎的眉毛下有一雙機靈的眼睛，一看就知道是個能乾的人。在一隻挺標致的鼻子下面，卻是一張大嘴，生得兩片厚厚的嘴唇。人們常說：「厚嘴唇的人笨嘴拙舌。」可是他卻能說會道，是個健談的人。
4、哥哥的眼睛高度近視，處處離不開眼鏡，就像個「睜眼瞎子」一樣，只要把他的眼鏡摘下來，在我面前他就像綿羊一樣服服帖帖。一天下午，哥哥要洗頭了。他吩咐我給他拿肥皂換水。我得意地想：哼！我先給你跑跑腿，然後再治你。一會兒，哥哥伸長了脖子，把肥皂沫打得滿頭滿臉都是。我一看時機到了，就悄悄地把哥哥的盆拿走了。哥哥搓完後去洗頭，一捧水，捧了個空。他忙去找，可剛一睜眼，肥皂沫就殺得他直流眼淚。他像盲人摸路一樣，東摸摸，西摸摸，好容易才摸起了毛巾，把眼一擦，可眼睛還是模糊的，就去找他的眼鏡。
5、等她走近，我才有機會仔細地打量了她一番：只見她齊耳的短發，一雙眼睛大大的，嘴角還帶著笑。上身穿一件紅色衣服，別著「蘇州十中」的校微。她溫和地對我說：「小妹妹，坐我的車吧！」說著，她把自行車推了過來。
6、二哥是賣海產品的，他一年四季風里來雨里去，起早貪黑，非常辛苦。他個子不高，長相也不怎麼太好，有時讓人看了不像好人，但他賣的貨下得快，周圍的商販都佩服他。
7、車廂里，一位高挑個兒的姑娘，依窗眺望。她結實，健美。微微捲曲的黑發攏在腦後，紮成兩綹，輕巧地垂掛著。深紅色的運動衫領子，悄悄地露出深藍色的外套。可以感覺到，這個姑娘的身上充滿著青春的活力和蓬勃的朝氣。
8、我的叔叔二十來歲，是個碼頭工人，長方臉，臉色黑里透紅，個兒挺高，長得很結實，叫人一看就知道是個身強力壯的小夥子。
9、在老媽媽的左邊有一位秀麗端莊的姑娘，斜倚在椅子上。她一頭美麗的金發，一條大辮子一直拖到背部。一身黑裙更襯託了她白凈柔美的臉龐。她低著頭朝前面望著什麼，眼神中流露出悲憤和關懷。手中的綳帶已經卷好，卻忘記丟入筐中。
10、這是個二十歲出頭的姑娘，圓臉蛋潤潤的，眉很赤，細長的雙眼閃動著爽直的、熱乎乎的目光；老是未言先笑，語言也帶著笑，像唱歌似的。她走路時把身子的重心放在足尖上，總像要蹦跳、要飛。一眼就可以看出，她是個純真而歡樂的女孩子，奇怪的是她那過分素凈的打扮，與她的性格很不相稱，也和那些愛漂亮的繅絲姑娘迥然不同：藍布棉襖，黑粗呢短大衣，草綠色長褲，脖子上的紗巾是白的，扎小辮的頭繩是根黑毛線。
11、我哥哥剛滿二十歲，五大三粗的身材，勁鼓鼓的。頭發又黑又硬，一根根向上豎立著，兩道濃眉下襯著一雙大眼睛，瞪起眼看人就像小老虎。特別是那雙大腳板，穿上42碼的球鞋，走起路來蹬蹬響。
12、表姐剛來的時候，身穿一件方格襯衣，補了幾塊補丁，腳穿一雙沾著泥土的白涼鞋，走路說話都不敢大聲，我們都說她土裡土氣。可是現在，我們不敢說表姐了。你看她穿一件漂亮的上衣，一條緊身牛倉褲，一雙鋥亮的高跟鞋，脖子上戴著閃光的金項鏈，肩上披著長長的黑發，顯得神氣大方。回到家裡又說又笑，像生活在蜜糖中一樣。
13、說她是阿姨倒不如說她是大姐姐，她頂多不過二十歲，穿一件褪色的素花格上衣，短短的小辮齊到肩頭。她總是笑眯眯的，一會兒清晰地報站名，一會兒迅速地點錢、售票，耐心地回答外地乘客提出的種種問題。她那熱情、和藹的語言，使車廂里充滿了春意，這春意溫暖著每個乘客的心。
14、星期天，我去排隊買米。在我前面的是一個男青年，他算不上胖，但也夠健壯的了。圓圓的臉龐上，兩道細眉，一雙大眼睛，配上稍小了點的鼻子，也還算勻稱。就是嘴唇厚了點，像非洲人似的。
15、哥哥只有二十多歲，一頭黑發，中等個子，身材勻稱。他說不上很漂亮，但是五官端正，從他眼睛裡可以看出他是個聰明而有精力的年輕人。他給人安靜與和善的感覺，而且臉上還帶著孩子般的稚氣。
16、哥哥在我們村農機隊開拖拉機。他個子高高的！身體很魁梧，黑紅的臉上有一塊塊傷疤，每當我抬起頭看到這些傷疤的時候，腦海里便浮現出了一位拖拉機手給我描述的動人故事……
17、姐姐十八九歲。由於奔跑和焦急，圓圓的臉上滲出了汗珠兒，彷彿一個沾著露水的熟透的蘋果。她的兩隻眼睛像黑寶石一樣，亮晶晶的，閃耀著聰敏、慧巧、活潑和剛毅的光芒；秀長的睫毛，好像清清的湖水旁邊的密密的樹林，給人一種深邃而又神秘的感覺。烏黑的長發，即柔軟又纖細，隨著河風在腦後飄拂著。
18、這時候，一個高個子青年人匆匆忙忙地朝了鋼口跑去。他頭上戴著鴨舌帽，鴨舌前吊著一副藍色的眼鏡，滿臉通紅，流著汗水，腳穿帆布襪子和厚鞋，手上戴著帆布手套。
19、一個十七八歲的姑娘，坐在旁邊的一塊石頭上。黑紅的臉頰上沾滿了灰塵。她並不像有些小販那樣起勁地吆喝，只是等有人來問時才答上幾句，說起話來總是低著頭，顯得有些靦腆。
20、看他年紀不過二十來歲，臉色蒼白，像沒有睡好覺似的皮泡臉腫。他老是皺著眉頭，不大說話。笑紋幾乎在他的臉上是絕了跡似的。他穿著一個褪了色的藍布大褂，好像永遠是穿著這么一個一樣。清瘦的下巴殼，亮聳的肩膀，顯得很沒生氣。
21、我的哥哥大方，熱情，開朗，大大咧咧，莽莽撞撞，長得像頭小牛犢似的，打籃球是中鋒；打排球是主攻手；游泳，更是「浪里蛟龍」，十歲時就橫渡長江，成為當年橫渡長江隊伍中年紀最小的選手，照片還登上了《長江日報》。不到十五歲，個子也長得一米七六，大夥兒都說這是塊運動員的料子。
22、靠近東窗，坐著一個年輕的解放軍戰士。被汗水浸透了洗得發白的軍衣，緊裹著他那健壯而勻稱的身軀。他那白中透紅的清秀的面孔，像塗了油彩似的閃閃發光。兩條漆黑的、細長的眉毛，有力地向上揚，將到頂端時，才彎成形。一雙像熟透了的葡萄一樣又黑又大的眼睛，機靈地、警覺地掃視著充滿汗味和傳出鼾聲的車廂。他的右手，很自然地伸到衣襟下面，汗濕的手掌，輕輕握著腰間的小手槍。
23、這個二十多歲的女司機，倒是有股生龍活虎的勁頭，那短短的頭發，那裹在脖子上的手巾，那被太陽曬和汗水漬得褪色的花布衣服，表明她常在露天的環境中工作。她沒有那種職業女司機戴著墨鏡灑脫高傲的神態，看那架勢，好像是開「東方紅」或者「鐵牛55」的。
24、這時，一陣熱烈的掌聲打斷了他的思緒，他猛的一抬頭，看見肖大名正從講台上走下來。他立馬又緊張起來。他的目光四處移動，似乎在搜尋什麼，他是那麼的不安，甚至不敢接觸任何人的目光。然後他又把頭低下去，好像怕被別人看見似的。他的十個手指頭不停地搓來搓去，一會兒便被汗水打濕了，滑滑的。
25、「怎麼辦呢，該不該上去呢？」唐明賊似的看看四周，比先前更緊張了，兩腿在桌底下直發抖。「去，一定得上去，這是最後一個競選項目了，為了以後同學們能對我另眼相看，我一定要競選到這勞動委員。……可是……」唐明深深地咽下一口口水，頭低得快貼到桌上了，呼吸更急促了。「李華一下來，我就上去……」他這么想。
『陸』 英語好段摘抄
A great many people, when they speak of home, tend to associate it with a certain atmosphere, certain physical surroundings, and certain emotional attitudes within themselves. This sentimentality toward home is something that has come down to us from the past. Many modern people do not have it, and I think it is a good thing that they do not.許多人在談到家的時候往往將它和某種氣氛,某種環境及內心的某些情感態度聯系在一起.這種對家的依戀情感古已有之,代代相傳.許多現代人不再有了,我認為這是件好事.In the old days life was difficult. Enemies could attack you and kill or rob you, and you had little protection against them. People did not live in well-built houses where doors could be locked. They did not have the protection of an organized police force or telephones which could summon the police instantly. How did this influence the way people felt about home? Small family groups clung tightly together for protection against beasts and against other men. Only the bravest went beyond the small family area. Even in the Middle Ages only the most daring went to lands beyond sea. The human pursuit of security conditioned men to love their homes. I am sure that this feeling must have been very strong among the early settlers of the United States who were obliged, by famine and oppression, to take the plunge and go to the new land where they knew no one and where they were subject to Indian attack. We can see this even today in the attitudes of minority groups who, because of a feeling of insecurity, still preserve cohesive family ties.在遙遠的過去，人們生活十分艱難．敵人可能會攻擊你，殺害你或搶動你的財富，而你卻毫無還手之力．人們並不住在可以鎖門閉戶的構造堅固的房子里．他們沒有一支有組織的警察隊伍的保護，也不能隨時打電話報警．這些怎樣影響人們對於家的感情呢？小小家庭的成員緊密團結，聚在一起，共同抵禦野獸和敵人．只有最勇敢的人才離開小小的家族管轄區．甚至在中世紀也只有最勇敢的人才敢涉足海外．人類對安全的追求決定了人們對家的熱愛．我相信，美國的早期定居者對此一定深有感觸．他們被飢茺壓迫得走投無路，只好毅然決定冒險來到這個舉目元親．易愛印第安人攻擊的陌生的地方．甚至今天，我們從少數民族團體的態度也可以看出這一點．由於缺乏安全感，他們仍然保持著富有凝聚力的家庭紐帶．Today, thanks to modern transportation and well-organized societies, thousands of people willingly and eagerly leave the surroundings where they were born, and the oftener they do so, the less sentiment they are likely to have for those surroundings. I lived in England for three years, and I noticed that boys and girls left their parents』 homes and lived in dwellings of their own. There they could just telephone and ask an agency to provide them with a house or an apartment, which was their home. How has the meaning of this word home been altered by such activity? What does home mean to those people or to families who often move about, living in first one hotel and then another? I believe that for them home means a place where they can have privacy.今天，由於有了現代交通和組織良好的社會，成千上萬的人們願意並且渴望離開他們出生的環境．而且，他們離家外出越頻繁，對出生的環境的情感就可能越少．我曾經在英國，他們只需拿起電話，要求一家房地產經銷處提供一幢房子或一個套間，那就是他們的家了．家這個詞的意義是如何被這種行為改變的呢？家對於那些經常流動，從一家旅館到另一家旅館居住的人們或家庭成員又意味著什麼呢？我認為，家對他們來說是一個離群獨外不受干擾的地方．This idea of home as being a place of privacy is emerging in my country, Saudi Arabia, where the young are abandoning their parents』 homes to live their own life. As for me, the atmosphere and surroundings of the place where my parents live have no sentimental attachment. Home is where I can shut the door and be by myself. At the moment it is a room in Eaton Hall. When I left my parents several years ago, I was anxious to leave. You might call it unfeeling, but that was the way I felt. On the day of my departure for the United States, my grandmother sobbed and wept. My father, however, indicated that he understood how I felt. 「Son,」 he said, 「I am not sorry that you are leaving us. I only hope that you make the most of your time.在我的國家沙特陳拉伯，年輕人放棄父母的家去過他們自己的生活．這種把家作為私人獨處這地的看法正在我的國家形成．我對父母居住之地的氣氛，環境沒有眷戀的情感．家就是一個我能關起門來獨處的地方．現在我的家就是伊登宿舍的一個房間．幾年前當我離開父母時，我沒有戀戀不舍，巴不得快快離開．你也許會覺得這是無情無義，然而那確實是我的感受．我離家去美國尋衛，祖母嗚咽，淚流不止．但我的父親卻表時他能理解我的心情．」孩子」他說」我對於你的離去並覺得悲傷．我只希望你能充分利用時間．」 Youth
Youth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees; it is a matter of the will, a quality of the imagination, a vigor of the emotions; it is the freshness of the deep springs of life.
Youth means a temperamental predominance of courage over timidity, of the appetite for adventure over the love of ease. This often exists in a man of 60 more than a boy of 20. Nobody grows old merely by a number of years. We grow old by deserting our ideals.
Years may wrinkle the skin, but to give up enthusiasm wrinkles the soul. Worry, fear, self-distrust bows the heart and turns the spirit back to st.
Whether 60 or 16, there is in every human being』s heart the lure of wonders, the unfailing appetite for what』s next and the joy of the game of living. In the center of your heart and my heart, there is a wireless station; so long as it receives messages of beauty, hope, courage and power from man and from the infinite, so long as you are young.
When your aerials are down, and your spirit is covered with snows of cynicism and the ice of pessimism, then you』ve grown old, even at 20; but as long as your aerials are up, to catch waves of optimism, there』s hope you may die young at 80.
·第二篇： Three Days to See(Excerpts)假如給我三天光明（節選）
Three Days to See
All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year, sometimes as short as 24 hours. But always we were interested in discovering just how the doomed hero chose to spend his last days or his last hours. I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly delimited.
Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations should we crowd into those last hours as mortal beings, what regrets?
Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live each day with gentleness, vigor and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come. There are those, of course, who would adopt the Epicurean motto of 「Eat, drink, and be merry」. But most people would be chastened by the certainty of impending death.
In stories the doomed hero is usually saved at the last minute by some stroke of fortune, but almost always his sense of values is changed. He becomes more appreciative of the meaning of life and its permanent spiritual values. It has often been noted that those who live, or have lived, in the shadow of death bring a mellow sweetness to everything they do.
Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.
The same lethargy, I am afraid, characterizes the use of all our faculties and senses. Only the deaf appreciate hearing, only the blind realize the manifold blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in alt life. But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it, of not being conscious of health until we are ill.
I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time ring his early alt life. Darkness would make him more appreciative of sight; silence would teach him the joys of sound.
·第三篇：Companionship of Books 以書為伴（節選）
Companionship of Books
A man may usually be known by the books he reads as well as by the company he keeps; for there is a companionship of books as well as of men; and one should always live in the best company, whether it be of books or of men.
A good book may be among the best of friends. It is the same today that it always was, and it will never change. It is the most patient and cheerful of companions. It does not turn its back upon us in times of adversity or distress. It always receives us with the same kindness; amusing and instructing us in youth, and comforting and consoling us in age.
Men often discover their affinity to each other by the mutual love they have for a book just as two persons sometimes discover a friend by the admiration which both entertain for a third. There is an old proverb, 『Love me, love my dog.」 But there is more wisdom in this:」 Love me, love my book.」 The book is a truer and higher bond of union. Men can think, feel, and sympathize with each other through their favorite author. They live in him together, and he in them.
A good book is often the best urn of a life enshrining the best that life could think out; for the world of a man』s life is, for the most part, but the world of his thoughts. Thus the best books are treasuries of good words, the golden thoughts, which, remembered and cherished, become our constant companions and comforters.
Books possess an essence of immortality. They are by far the most lasting procts of human effort. Temples and statues decay, but books survive. Time is of no account with great thoughts, which are as fresh today as when they first passed through their author』s minds, ages ago. What was then said and thought still speaks to us as vividly as ever from the printed page. The only effect of time have been to sift out the bad procts; for nothing in literature can long survive e but what is really good.
Books introce us into the best society; they bring us into the presence of the greatest minds that have ever lived. We hear what they said and did; we see the as if they were really alive; we sympathize with them, enjoy with them, grieve with them; their experience becomes ours, and we feel as if we were in a measure actors with them in the scenes which they describe.
The great and good do not die, even in this world. Embalmed in books, their spirits walk abroad. The book is a living voice. It is an intellect to which on still listens.
『柒』 摘抄科幻小說
《海底兩萬里》是一部科幻小說，於一八七0年問世，暨今已逾百年，而仍能以多種文字的各種版本風行世界，廣有讀者，僅此一端，即可見其生命力之強，吸引力之大。主張書不及百歲不看的讀者，是大可放心一閱的。 書中人物寥寥，有名有姓的只有四個半——「亞伯拉罕·林肯」號驅逐艦艦長法拉格特，只在小說開頭部分曇花一現，姑且算半個；內景只是一艘潛水艇。但就是這么四個半人，這么一艘潛水艇，在將近一年的時間中，縱橫海底兩萬里，為我們演繹出一個個故事，展現出一幅幅畫面；故事曲折驚險，引人入勝，畫面多姿多彩，氣象萬千。這樣一部小說，讀來既使人賞心悅目，也令人動魄驚心。 故事並不復雜：法國人阿羅納克斯，一位博物學家，應邀赴美參加一項科學考察活動。其時，海上出了個怪物，在全世界鬧得沸沸揚揚。科考活動結束之後，博物學家正准備束裝就道，返回法國，卻接到美國海軍部的邀請，於是改弦更張，登上了一艘驅逐艦，參與「把那個怪物從海洋中清除出去 」的活動。經過千辛萬苦，「怪物」未被清除，驅逐艦反被「怪物」重創，博物學家和他的僕人以及為清除「怪物」被特意請到驅逐艦上來的一名捕鯨手，都成了「怪物」的俘虜!「怪物」非他，原來是一艘尚不為世人所知的潛水艇，名「鸚鵡螺」號。潛艇對俘虜倒也優待；只是，為了保守自己的秘密，潛艇艇長內莫從此。永遠不許他們離開。阿羅納克斯一行別無選擇，只能跟著潛水艇周遊各大洋。十個月之後，這三個人終於在極其險惡的情況下逃脫，博物學家才得以把這件海底秘密公諸於世。《海底兩萬里》寫的主要是他們在這十個月里的經歷。 《海底兩萬里》已經有幾種中譯本，「兩萬里」也就成了個約定俗成的說法；究其實，這里的「里」指的是法國古里，而古法里又有海陸之分，一古海里約合5.556公里，一古陸里約合4.445公里；既然是在海底周遊，這里的兩萬里，理應為兩萬古海里。如此說來，他們在海底行駛的路程，就應該在十一萬公里以上了。這是要說明的。 十一萬公里的行程，是個大場面，一路所見，可以說無奇不有。誰見過海底森林?誰見過海底煤礦?誰見過「養」在貝殼里、價值連城的大珍珠?當了俘虜的阿羅納克斯和他的朋友們都見到了，而且曾經徜徉其間。他們在印度洋的珠場和鯊魚展開過搏鬥，捕鯨手蘭德手刃了一條凶惡的巨鯊；他們在紅海里追捕過一條瀕於絕種的儒艮，儒艮肉當晚就被端上了餐桌；他們在大西洋里和章魚進行過血戰，一名船員慘死；這些場面，都十分驚心動魄。此外，書中還描寫了抹香鯨如何殘殺長須鯨，「鸚鵡螺」號潛艇又是如何殺死成群的抹香鯨的，那情景也十分罕見。 阿羅納克斯是個博物學家，博古通今，乘潛艇在水下航行，使他飽覽了海洋里的各種動植物；他和他那位對分類學入了迷的僕人孔塞伊，將這些海洋生物向我們做了詳實的介紹，界、門、綱、目、科、屬、種，說得井井有條，使讀者認識了許多海洋生物；阿羅納克斯還把在海洋中見到的種種奇觀，一一娓娓道來，令讀者大開眼界，知道了什麼是太平洋黑流，什麼是墨西哥暖流，颶風是怎樣形成的，馬尾藻海又是什麼樣……我們知道珊瑚礁是怎樣形成的嗎?知道海洋究竟有多深嗎?知道海水傳播聲音的速度有多快嗎?這一類知識，書中比比皆是。 「鸚鵡螺」號也曾遇險，在珊瑚礁上擱過淺，受到過巴布亞土著的襲擊，最可怕的是，在南極被厚厚的冰層困住，艇內缺氧，艇上的人幾乎不能生還。但是，憑著潛艇的精良構造和艇長的超人智慧，種種險境，均被化解，終於完成了十一萬公里的海底行程。 凡爾納時代，潛水艇剛剛面世，還是一種神秘的東西；「鸚鵡螺」號艇長內莫又是個身世不明之人，他逃避人類，蟄居海底，而又隱隱約約和陸地上的某些人有一種特殊聯系。凡此種種，都給小說增加了一層神秘色彩。既是小說，人物當然是虛構的，作家給「鸚鵡螺」號艇長取的拉丁文名字，更明白無誤地指出了這一點——「內莫」，在拉丁文里是子虛烏有的意思。但這並沒有妨礙作者把他描寫成一個有血有肉、讓讀者覺得可信的人物。 本書作者儒勒·凡爾納(1828—1905)是法國科幻小說家，現代科幻小說的重要奠基人。他出生在一個律師家庭，很小的時候就產生了強烈的探索慾望和豐富的想像力。他博覽群書，厚積薄發，第一部科幻小說《氣球上的五星期》，一炮打響，引起轟動，使他成了個家喻戶曉的人物。他後來一發而不可收，又寫了一系列科學幻想冒險小說，卷帙浩繁，不下六七十種，被收入一套名為《奇異的旅行》的叢書。《海底兩萬里》是凡爾納著名三部曲的第二部，前有《格蘭特船長的兒女》，後有《神秘島》。作者想像力豐富，文筆細膩，構思奇巧，其作品既引人人勝，又很有教育意義，適合各種年齡的讀者。而且，凡爾納的幻想不是異想天開，都以科學為依據；他所預見到的很多器械，後來都變成了現實生活中的實有之物。
『捌』 求英文版《傲慢與偏見》小說中的經典段落，150詞左右~
However little known the feelings or views of such a man may be on his first entering a neighbourhood，分析下這句子結構，介詞 of 起什麼作用，此句子是不是倒裝句，
『玖』 英語段落摘抄10
惹我忽然福建省