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~死海文书~第一天,上帝创造了昼夜第二天,上帝创造了天空第三天,上帝创造了陆、海及植物第四天,上帝创造了日月第五天,上帝创造了动物第六天,上帝创造了男人及女人第七天,上帝为他所创造的万物赐福上帝用了七天将混沌的宇宙创造为新的天地并为了一个可以爱的对象创造了人类他为那男子命名为ADAM他为那女子命名为LILITH并命他们看守他的园地-伊甸园----------------------------------------LILITH:我的父,为何我与ADAM有所不同?耶和华:因为他是你的配偶LILITH:为何他为男人,而我为女人?而我却又比他柔弱?耶和华:他能以男人的力量保护柔弱你LILITH:我不愿为柔弱,我要拥有力量!超越ADAM!耶和华:孩子!你的能力是被安排的,只要在这园里,你便是柔弱LILITH:我将离开这里,以追求我要的力量!----------------------------------------LILITH离开了伊甸园离开了ADAM离开了神的净土-白之月她来到了无垠的地狱-地球她遇上了SATAN为魔王产下了后嗣-LILIN成为了LILINS的母亲当她的生命竭尽时钉在最终教义区便成了背叛神的惩罚----------------------------------------ADAM:我的父,为何我配偶不见了?耶何华:明日你醒来时,你将看到她----------------------------------------上帝从ADAM的体内取出一根肋骨以泥土塑造为女人的形体让她躺在ADAM身边----------------------------------------背离上帝的堕落天使-SATAN回到了神的园地他在伊甸园中找寻生命之树他所种的树一棵被上帝诅咒的树SATAN以炽天使的面貌-蛇出现在那女子面前----------------------------------------SATAN:上帝可允许你们吃这园里的果?女子:上帝允许我们吃这园里的任何果实,除了中央树上的果.他不但禁止我们吃,甚至摸.如果不听从,我们将死SATAN:你们不会死!他这样说,是因为他知道如你们吃了那树上的果,眼将开,你们将像上帝一般能辨善恶----------------------------------------那女子吃了生命之树上的果也给了她的配偶当他们吃了那果他们的眼就开了他们发现他们赤[百du74]裸便以无花果树叶遮掩自己----------------------------------------耶和华走在园中呼唤着他的子民----------------------------------------耶和华:为何将身体藏起来?ADAM:我不敢见你,因为我全身赤[百du74]裸耶和华:谁人告诉你你是赤[百du74]裸的?你可吃了那树上的果?----------------------------------------此后人类离开了伊甸园离开了他的家他的父那男子为他的配偶命名为EVE他们必须耕作才能有食物必须依靠双手创造堡垒----------------------------------------无数的光阴流逝人类遍布於神所造的净土有些天使见了人类美丽的女子便娶她们做为妻子之后地上便出现巨人是天使与人类所生下的上帝见地上一片混浊、邪恶便后悔了创造万物他要用洪水淹没大地他命挪亚建造方舟并带着最初的人类----------------------------------------二月十七日天上的水闸开了四十天的雨水让方舟漂流从神的净土-白之月带至无垠的地狱-地球一年后的二月十七日ADAM的后裔与LILITH的后裔-LILIN相遇了身为后者的ADAM子嗣渐渐被LILINS取代LILINS自命为ADAM的后嗣----------------------------------------经过无尽的岁月流逝上帝的心渐渐的空虚他后悔让人类离开了天界他要将人类召回天界召回最初的人类召回拥有他所吹入的气息的人类----------------------------------------耶何华:我当将我的子民,带回我的国,在那应允之日,我要你们回归到最初的的生命,以最初的形态回到我的坐前。

James-Joyce-Araby-主题情节人物及背景分析

"Araby"Backgrounds IntroductionIreland's major religion, Roman Catholicism, dominated Irish culture, as it continues to do today although to a lesser extent. Many families sent their children to schools run by Jesuit priests (like the one the narrator in attends) and convent schools run by nuns (like the one Mangan's sister attends). Catholicism is often seen as a source of the frequent conflict in Irish culture between sensuality and asceticism, a conflict that figures prominently in Joyce's autobiographical novel A Portrait of the Artist as a Young Man . In many ways, Catholicism, particularly as practiced at the turn of the century, was an extremely sensuous religion, emphasizing intense personal spiritual experience and surrounding itself with such rich trappings as beautiful churches, elegant paintings and statues, otherworldly music, and sumptuous vestments and altar decorations. On the other hand, the Church's official attitude toward enjoyment of the senses and particularly toward sexuality was severe and restrictive. The ideal woman was the Virgin Mary, who miraculously combined virginal purity with maternity. Motherhood was exalted, but any enjoyment of sexuality, even in marriage, was considered a sin, as were the practice of birth control and abortion. The inability to reconcile the spiritual and sensual aspects of human nature can be seen in the boy's feelings toward Mangan's sister in He imagines his feelings for her as a "chalice"--a sacred religious object--and so worshipful is his attitude that he hesitates even to speak to her. Yet his memories of her focus almost exclusively on her body--her figure silhouetted by the light, the "soft rope of her hair," "the white curve of her neck," the border of her petticoat. Even the image of the chalice is ambivalent, since its cup-like shape and function suggests a sexual connotation. The boy never resolves this conflict between spirituality and sensuality. Instead, when confronted with the tawdriness of a shopgirl's flirtation at the bazaar, he abruptly dismisses all his feelings as mere "vanity."Introduction of the story and the author"Araby" is one of fifteen short stories that together make up James Joyce's collection, Dubliners.Although Joyce wrote the stories between 1904 and 1906, they were not published until 1914.Dubliners paints a portrait of life in Dublin, Ireland, at the turn of the 20th century. Its stories are arranged in an order reflecting the development of a child into a grown man. The first three stories are told from the point of view of a young boy, the next three from the point of view of an adolescent, and so on."Araby" is the last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.Joyce is one of the most famous writers of the Modernist period of literature, which runs roughly from 1900 to the end of World War II. Modernist works often include characters who are spiritually lost and themes that reflect a cynicism toward institutions the writer had been taught to respect, such as government and religion. Much of the literature of this period is experimental; Joyce's writing reflects this in the use of dashes instead of quotation marks to indicate that a character is speaking.Joyce had a very difficult time getting Dubliners published. It took him over ten years to find a publisher who was willing to risk publishing the stories because of their unconventional style and themes. Once he found a publisher, he fought very hard with the editors to keep the stories the way he had written them. Years later, these stories are heralded not only for their portrayal of life in Dublin at the turn of the century, but also as the beginning of the career of one of the most brilliant English-language writers of the twentieth century.Plot"Araby" opens on North Richmond street in Dublin, where "an uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground." The narrator, who remains unnamed throughout the story, lives with his aunt and uncle. He describes his block, then discusses the former tenant who lived in his house: a priest who recently died in the back room. This priest has a library that attracts the young narrator, and he is particularly interested in three titles: a Sir Walter Scott romance, a religious tract, and a police agent's memoirs.The narrator talks about being a part of the group of boys who play in the street. He then introduces Mangan's sister, a girl who captivates his imagination even though he rarely, if ever, speaks with her. He does stare at her from his window and follow her on the street, however, often thinking of her "even in places the most hostile to romance." While in the marketplace on Saturday nights, for example, he uses her image to guide him through the thronging crowd who yell their sales pitches and sing patriotic Irish ballads. He becomes misty-eyed just at the thought of her and retreats to the priest's dark room in order to deprive himself of other senses and think only of her.Finally, Mangan's sister speaks to him. She asks if he will be attending a church-sponsored fair that is coming soon to Dublin--a bazaar called "Araby." He is tongue-tied and cannot answer, but when she tells him that she cannot go because of a retreat that week in her convent, he promises to go and bring her a gift from the bazaar. From then on he can only think of the time when he will be at the fair; he is haunted by "the syllables of the word Araby." On the night he is supposed to attend the fair, his uncle is late returning home and he must wait to get money from him. He gets very anxious, and his aunt tells him that he may have to miss the bazaar, but his uncle does come home, apologetic that he had forgotten. After asking the boy if he knows a poem entitled "The Arab's Farewell to His Steed," the uncle bids the boy farewell.The boy takes a coin from his uncle and catches a train to the fair. Araby is closing down as he arrives and he timidly walks through the center of the bazaar. As he looks at the few stalls that are still open, he overhears a conversation between an English shop-girl and two young men. Their talk is nothing but idle gossip. The shop-girl pauses reluctantly to ask the boy if he wishes to buy anything, but he declines. As he walks slowly out of the hall amid the darkening of the lights, he thinks that he is a "creature driven and derided by vanity" and his "eyes burned with anguish and anger."CharactersNarrator: The narrator of this story is a young, sensitive boy who confuses a romantic crush and religious enthusiasm. All of the conflict in this story happens inside his mind. It is unlikely that the object of his crush, Mangan's sister, is aware of his feelings for her, nor is anybody else in this boy's small world. Because the boy's thoughts only reveal a part of the story, a careful reader must put together clues that the author gives. For example, the narrator mentions that the former tenant of the house he shares with his aunt and uncle was a priest, a representative of the Catholic church, who left behind three books which became important to the narrator. One is a romantic adventure by Sir Walter Scott; one is a religious pamphlet written by a Protestant; and the third is the exciting memoirs of a French policeman and master of disguise. These three books are not what a person would expect a Catholic priest to have in his library. So if this priest has non-religious literature in his library, then how devout can an average church-goer be expected to be? This turns out to be the case for the narrator, who confuses religious idealism with romance.The boy confuses the religious and secular worlds when he describes himself at the market with his aunt. He bears the chalice--the Communion cup--through a "throng of foes." He also describes Mangan's sister in terms often associated with the Virgin Mary. For the narrator, then, an ordinary grocery-shopping trip becomes a religious crusade, and a pretty girl down the street becomes a substitute for the Mother of God. The boy fuses together religious devotion for the Virgin Mary with his own romantic longing.Joyce is famous for creating characters who undergo an epiphany--a sudden moment of insight--and the narrator of "Araby" is one of his best examples. At the end of the story, the boy overhears a trite conversation between an English girl working at the bazaar and two young men, and he suddenly realizes that he has been confusing things. It dawns on him that the bazaar, which he thought would be so exotic and exciting, is really only a commercialized place to buy things. Furthermore, he now realizes that Mangan's sister is just a girl who will not care whether he fulfills his promise to buy her something at the bazaar.His conversation with Mangan's sister, during which he promised he would buy her something, was really only small talk--as meaningless as the one between the English girl and her companions. He leaves Araby feeling ashamed and upset. This epiphany signals a change in the narrator--from an innocent, idealistic boy to an adolescent dealing with harsh realities.Mangan's Sister: Mangan is one of the narrator's chums who lives down the street. His older sister becomes the object of the narrator's schoolboy crush. Mangan's sister has no idea how the narrator feels about her, however, so when they discuss "Araby," the bazaar coming to town, she is only being polite and friendly. She says she would like to go to the bazaar but cannot because she has to attend a school retreat that weekend. The narrator promises to buy her something at the bazaar if he goes, but it is unlikely that she takes this promise seriously. While on the one hand the narrator describes her romantically, he also describes her in reverential terms which call to mind the Virgin Mary. This dual image description of Mangan's sister represents the religious and romantic confusion of the narrator.Mangan: Mangan is the same age and in the same class at the Christian Brothers school as the narrator, and so he and the narrator often play together after school. His older sister is the object of the narrator's confused feelings.Narrator's Aunt: The narrator's aunt, who is a mother figure in the story, takes the narrator with her to do the marketing. When it seems as though the uncle has forgotten his promise to the narrator that he could go tothe bazaar, she warns the boy that he may have to "put off" the bazaar "for this night of Our Lord." While this statement makes her seem strict in a religious sense, she also exhibits empathy for the boy's plight. She pleads his case when the uncle forgets about the boy's plans to go to Araby.Narrator's Uncle: The narrator's uncle seems self-centered and very unreliable. When the narrator reminds him that he wants to go to the bazaar, he replies, "Yes, boy, I know." But on the Saturday evening of the bazaar, he has forgotten, which causes the narrator to arrive at the bazaar very late. When the uncle finally shows up, he has been drinking, and as the boy leaves for the bazaar he begins reciting the opening lines of the poem, "The Arab's Farewell to his Steed." Joyce's characterization of the uncle bears resemblance to his own father, who liked to drink and was often in debt. Joyce's inclusion of Mrs. Mercer, the pawnbroker's widow who waits for the uncle to return, suggests tha t the uncle owes money.ThemesThe narrator recalls a boyhood crush he had on the sister of a friend. He went to "Araby," a bazaar with an exotic Oriental theme, in order to buy a souvenir for the object of his crush. He arrived late, however, and when he overheard a shallow conversation between a female clerk and her male friends and saw the bazaar closing down, he was overcome with a sense of futility.Alienation and LonelinessThe theme of isolation is introduced early in the story by the image of a deserted, isolated house and the narrator's recollection of a priest who lived and died in their back room. The young protagonist seems isolated within his family. There is no mention of his parents; he lives with his aunt and uncle, and the uncle, in particular, appears insensitive to the boy's feelings, coming home late even though he knows the boy wants to go to the bazaar. The boy's crush on his friend Mangan's sister seems to isolate him even further. He is too tongue-tied to initiate a relationship with her, worshipping her from afar instead. Moreover, his crush appears to isolate him from his friends. Whereas early in the story he is depicted as part of a group of friends playing in the street, after his crush develops his separation from the others is emphasized: he stands by the railings to be close to the girl while the other boys engage in horseplay, and as he waits in the house for his uncle to return so he can go to the bazaar the noises from his friends playing in the street sound "weakened and indistinct." The story ends with him confronting his disillusionment alone in the nearly deserted bazaar.Change and TransformationThe narrator experiences an emotional transformation--changing from an innocent young boy to a disillusioned adolescent--in the flash of an instant, although the reader can look back through the story and trace the forces that lead to the transformation. This change occurs through what Joyce called an "epiphany," a moment of sudden and intense insight. Although the narrator suddenly understands that his romantic fantasies are hopelessly at odds with the reality of his life, this understanding leaves him neither happy nor satisfied; instead, he feels "anguish and anger." It is not clear what impact the narrator's epiphany will have on his future development, only that that development has begun.Fantasy and RealityThe story draws connections between the romantic idealism of the young protagonist's attitude toward Mangan's sister and romantic fantasies in the surrounding culture. Much of this romanticism seems to stem from religion, the pervasive presence of which is emphasized by mentions of the youngsters' parochial schools, repeated references to the dead priest, and the aunt 's fear that the bazaar might be a "Freemason" affair and her reference to "[T]his night of our Lord." The boy carries his thoughts of Mangan's sister like a "chalice through a throng of foes," and his crush inspires in him "strange prayers and praises." The way the girl herself is described--as an alluring but untouchable figure dramatically lit--and the boy's worshipful attitude give her something of the character of a religious statue. Popular culture is also suggested as a source of the boy's romanticism, in the references to Sir Walter Scott's The Abbot and the poem "The Arab's Farewell to His Steed." The contrast between fantasy and reality draws to a head at the Araby bazaar, whose exotic name is merely packaging for a crassly commercial venture. In the nearly deserted hall and the insipid flirtation he overhears between two men and a shopgirl, the protagonist is confronted with huge gap between his romantic fantasies of love and the mundane and materialistic realities of his life.ConstructionThrough the use of a first person narrative, an older narrator recalls the confused thoughts and dreams of his adolescent self. Joyce uses this familiarity with the narrator 's feelings to evoke in readers a response similar to the boy's "epiphany"--a sudden moment of insight and understanding--at the turning point of the story.Point of Viewis told from the first person point of view, but its perspective is complicated by the gap in age and perception between the older narrator and the younger self he remembers. The story takes the form of a reminiscence about an apparent turning point in the narrator 's growth, a partial explanation of how the young protagonist became the older self who is the narrator. The reader is given no direct information about the narrator, however, his relentless contrasting of his boyhood self's idealism with the tawdry details of his life, and the story 's closing line, create a somewhat bitter and disillusioned tone. It is left to the reader to decide how far the narrator has travelled toward a "true" understanding of reality.SymbolismJoyce's use of symbolism enriches the story 's meaning. The former tenant of the narrator's house, the Catholic priest, could be said to represent the entire Catholic church. By extension, the books left in hisroom--which include non-religious and non-Catholic reading--suggest a feeling of ambiguity toward religion in general and Catholicism in particular. The bazaar "Araby" represents the "East"--a part of the world that is exotic and mysterious to the Irish boy. It could also represent commercialism, since despite the boy's romantic imaginings its purpose is in fact to make money. Mrs. Mercer, the pawnbroker's widow, is another representative of materialism. To the narrator, Mangan's sister is a symbol of purity and feminine perfection. These qualities are often associated with the Virgin Mary, who also symbolizes the Catholic church. While the boy is at Araby, the various, and often contrasting, meanings of these symbols converge to produce his epiphany.ModernismJoyce is known as one of the leading authors of Modernism, a movement in art and literature in the first half of the twentieth century that emphasized experimentation and a break with traditional forms. In this early work Joyce's narrative technique is still fairly traditional and straightforward. However, several features of the story can be identified as experimental and modernist, particularly in the extent to which the reader is left to sort out the story 's meaning with little overt help from the author. The story concerns a relatively ordinary occurrence in the life of an ordinary person; we are never told directly how or why it might be important. We are given no direct information about the narrator, but must glean what we can about his character from the story he tells and the way in which he tells it; we are not even told what the age difference is between the narrator and his younger self. The story ends, as it begins, abruptly, with again no direct indication of thesignificance of the protagonist's "epiphany," his older self's attitude toward it, or what it meant for his further development. Much of the early criticism of -that the stories were "sordid" and lacked structure and a "point"--reflect the unfamiliarity and uneasiness of Joyce's contemporary readers with these innovations in storytelling.。

西比尔预言书

西比尔预言书当我造访Heidi人的部落时，他们呼唤着我。

远处的Volva的护身符闪烁着智慧的光芒。

巫师的咒语，狡诈的魔法，总是受到邪恶的女人的欢迎。

奥丁，是你赠予我这臂环和项链。

为了学习我的知识和魔法；在我的视野中变得越来越宽广。

你来的时候，我正独自在外坐着。

你注视着我的眼睛，表现出神才有的恐惧。

你想从我这儿了解什么，为什么引诱我。

Odhinn，我知道你的眼线隐匿在哪儿。

是隐匿在Mimir的井中，Mimir每天早晨喝他的蜂蜜酒。

也许从Valfather的誓言中你想了解更多。

我知道的也包括Heimdal和他的长角。

他们隐藏在圣树下。

一泉珍贵的溪流从Valfather的誓约中流向它。

那么，你是不是知道更多呢。

神秘的人们对我的提问保持沉默，Heidal的亲戚和家属也一片寂静，与你想象中的Valfather，我该和睦相处。

我记得最清楚的是人们的那些古老的歌。

不知从何时起，我讲述巨人的故事。

那是些从前喂养过我的人。

我可以估算9个世界的事，就是这棵树的9条根。

很久前Ymir活着时，是没有沙漠和海洋的，也没有汹涌的波涛。

没有土地，也没有天堂在上面。

Bur露齿一笑，没有了峡谷和草地。

接着，Bur的儿子创造了土地。

从宏伟的地心处开始扩张。

阳光从南面洒向他们大厅的石壁，青韭从地面冒了出来。

月亮的妹妹，太阳，从南面转来。

她的右臂搁在地狱的边缘。

她毫不清楚她的大厅在哪儿。

月亮不知道他需要什么，星辰也不明白它们该在哪儿。

大神们聚在一起举行会议，所有的统治者也在他们的决议厅中，创造了夜晚及黄昏，命名了早晨及中午，还有盛夏，寒冬，作为一年中的分配。

在Ida的领域遇见了Aesir，他正在准备木材以增加神庙和祭坛的数量。

建造一个熔炉来为铁匠锻造财富。

造出了钳子及各类精致器具。

在院落中边下棋边喝彩，他们不缺金银珠宝。

不一会儿，来了三位Thus少女，在巨人之家中庆祝他们的伟力。

大神们聚在一起举行会议。

矮人们也在自己的决议厅中，需要用杰出的手艺来创造人类吗，是从Brimir的血中还是Blain的翅膀中。

天之炽经典说说句子

天之炽经典说说句子（实用版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。

文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的实用资料，如唯美句子、经典句子、励志句子、名人名言、搞笑说说、个性说说、语录大全、祝福短语、生活短句、其他资料等等，想了解不同资料格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this store provides you with various types of practical data, such as aesthetical sentences, classic sentences, inspirational sentences, celebrity quotes, funny words, personalized words, quotations, blessing phrases, life sentences, other data, etc. If you want to know different data formats and writing methods, please pay attention!天之炽经典说说句子天之炽经典句子1、“有些人的凶狠是对强者，有些人的凶狠是对弱者，那不一样。

Percy Bysshe Shelley雪莱(作品总)

《西风颂》共分五节。在第一节中，西风在陆地上以摧枯拉朽之势横扫落叶，同时又把种子吹入泥土，点出了西风既是毁灭者又是保护者的主题。第二节描写西风在空中扫荡残云，带出了暴雨雷霆。在第三节中，西风在海上劈波斩浪，大显神威，搅醒了沉睡的海洋。以上三节咏风，把西风在陆、空、海上的凛凛威风写得酣畅淋漓。接着诗人笔锋一转，由咏物而抒怀，在第四节中表达了自己愿随西风而舞的心愿，进而在第五节中发出了愿与西风合而为一的澎湃激情。在这首颂歌中，雪莱愿借西风之力，荡涤自己心中的沉暮之气，激发自己的灵感，并将自己的诗名传播四方，唤醒昏昏然的芸芸众生。《西风颂》的影响超越了文学、超越了国界，被革命者当作自由与革命的颂歌。既是毁灭者又是保护者的西风无疑是破坏旧世界、创造新世界的革命的极好象征，所向披靡、势不可挡的西风则成了革命精神的化身，尤其是诗歌末尾的“风啊，冬天来了，春天还会远吗？”，一直是革命乐观主义者的口号。

５) The Masque of Anarchy, 《专制者的假面游行》，a political lyrics,
written when in Italy.
A Song: Men of England
a
war cry calling on all working people to rise up against their political oppressors.
Ode to the West Wind

The west wind symbolizes both destroyer of the old and preserver of the new.
Note ： Written in the Autumn,
1819, and published in the following year, this poem has become one of the most popular and best-known of Shelley's verses.

タナトスの双子_1917(新抓翻译)

發售公司/日期Atis collection/2010.11.26聲優野島健児（ユーリ?ドミトリエヴィチ?オルロフ）近藤隆（ミハイル?アラモヴィチ?フロムシン）森川智之（ヴィクトール?イワノヴィチ?カヴェーリン）羽多野渉（アンドレイ?ニコライエヴィチ?グロトフ）小西克幸（マクシム?ヴァジリエヴィチ?ラジオノフ）STAFF翻译黑白哭笑 | akiratudou | chadan | tmvgvh | TDK5151校对 salem | TDK5151Disc 01Track 01尤里：我不要去了，米沙，这片森林好黑好恐怖哦。

米哈伊尔：没事的，尤里。

无论发生什么事，我都会保护尤里的。

尤里：真的？米哈伊尔：真的！我们来约定！而且，有尤里在，我们是不会迷路的。

你的头发一闪一闪的，很漂亮。

尤里：嗯……米沙的头发跟我的一样颜色。

米哈伊尔：那我们就可以做彼此的标记了。

尤里：嗯！米哈伊尔：（我，绝对不会离开尤里的！因为他是这世界上我最重要的，最爱的，唯一的弟弟。

）米哈伊尔：呃……啊……（这里是……哪里？我们的房子明明是木屋，可这里的天花板和墙壁都是雪白的……而且，很安静。

妈妈和尤里去了哪里？）呃……为什么手脚都上了夹板？……呃……啊……（头好痛。

）呃……啊！……好痛……尤里？在哪里？尤里？尤里！安德烈：米哈伊尔？啊……你从床上掉下来了呀？米哈伊尔：不要！安德烈：你放心，这里是医院。

米哈伊尔：医院？你是谁？安德烈：……米哈伊尔？米哈伊尔：为什么会知道我名字？尤里呢？安德烈：冷静点，米哈伊尔！你发生意外了。

米哈伊尔：那是什么，我不知道！安德烈：回到床上吧，好吗？米哈伊尔：……放我下来。

诶？（窗上映出的……是谁？和尤里有着同样的头发，蓝色的眼睛……）啊……（难道说……这个，是我？不对！我明明还是12岁！）尤里在哪里？回答我！安德烈：呃……这里是德国，米哈伊尔。

我叫安德烈，是你青梅竹马的朋友。

尤里不在这里。

米哈伊尔：……哈……安德烈：你，因为我的缘故遭遇车祸。

欲望号街车剧本初稿

A Streetcar Named DesireB: Blanche S2: Stella S1: Stanley M: Mitch P:Passer-by（卖花）ACT 1B: Just pull yourself together and face the facts. 别做梦了，面对现实！S2: What are they, in your opinion? 那你认为现实是什么？B: In my opinion? You're married to a mad man! 我？我认为你嫁了个疯子！S2: I wish you'd stop talking it for granted that I am in something that I want to get out of.我希望你别这么想当然，认为我在受苦，想逃走B: I can't believe you're in earnest. 我简直无法想象你会这样S2: No? 你没法想象？I'm not sure it would have made any difference where I saw him.那有什么关系？B: What you are talking about is desire- just brutal desire, Stella. …（停顿）你所谈的是欲望，强烈的欲望……（停顿）May I- speak-plainly? 我可以直说吗？S2: Yes, do. Go ahead, as plainly as you want to. 直说吧，想怎么说就怎么说B: If- you'll forgive me- he's common! 请原谅我，不过他就是个普通人罢了S2：Yes, I suppose he is. 是的，我就是这么认为的B:Suppose? Surely you can't have forgotten that much of our up-bring, Stella, that you just suppose that there's any part of a gentleman in his nature! Oh, you're hating me saying this, aren't you? 你认为？你还没有忘记我们的高贵血统吧，丝黛拉？你认为他品质中会有一点绅士风度吗？你肯定很恨我这么说，是不是？S2: Go on and say it all, Blanche. 说吧，都说出来，布兰奇B: He acts like an animal, has an animal's habits! 他好像个畜生，畜生的习惯There's even something- sub-human about him. Thousands of years have passed him right by, and there he is- Stanley Kowalski- survivor of the Stone Age!他甚至像个类人猿，成千上万年过去了而他，斯坦利.科瓦斯基，就好像石器时代的幸存者Bearing the raw meat home from the kill in the jungle! And you- you here- waiting for him!带着从森林杀死的动物的生肉回家！而你，你还在这里等着他！His poker night! -you call it- this party of apes! Maybe we are a long way from being made in God's image, but Stella- my sister- there have been some progress since then!他的扑克聚会！你能叫它什么呢？猿人派对！可能我们的确离上帝还差的很远，但是，丝黛拉，人类已经有很大进步了DON'T- DON'T HANG BACK WITH THE BRUTES! 别再和野蛮人待在一起了ACT2S2: Stanley Kowalski, did you- did you repeat what- what斯坦利.科瓦斯基，你再说一遍，你说...S1: You bet I told him! 没错，我告诉他了！S2: Stanley, Mitch was going to marry her. 斯坦利，米奇要和她结婚的啊S1: Well, he's not going to marry her now. 哼，他现在不会想和她结婚了He's got going to jump in a tank with a school of sharks. 他宁可跳到鲨鱼池子里去Hey, canary bird! Get OUT of the BATHROOM!嘿，金丝雀小姐，从浴室里出来吧…（停顿）S1: Sister Blanche, I've got a little birthday remembrance for you.I hope that you like it!布兰奇，我有件生日礼物要送给你！我希望你会喜欢！B: Why- Why, it's a - -哦，这是-S1: It's a ticket! Back to Auriol! On a bus! Tuesday! 那是车票，回奥里尔的车票！下周二的汽车！S2: Blanche! 布兰奇S2: You didn't need to do that. 你不需要对她这么过分吧S1: Don't forget all that I took off her. 别忘了我说的她的那些事情S2: You don't need to be so cruel to someone alone as she is.可是你不需要对她这么残酷啊，她已经这么孤独了S1: Delicate article as she is. 她脆弱吗S2:She is! She was! You didn't know Blanche as a girl. Nobody, nobody, was as tender and trusting as she was. But people like you abused her, and forced her to change.是的，她脆弱！她以前就是！你不知道她小时候的样子那时没人像她那么温柔那么可信,但是像你这样的人虐待她，让她变成现在这个样子S1: Oh, stop it!ACT3B: Who told you I wasn't- 'Straight'? My loving brother-in-law. And you believe him.谁告诉你我不诚实？我亲爱的妹夫吗，而你居然信他？M: No! No! I called him a liar at first. A nd then I checked on the story…不，不！一开始我说他说谎！但是我接着调查了整个事件……B: Yes, I've had many metting with strangers. 是的，我和很多陌生人相处过intimacies with strangers was all I seemed able to fill my empty heart with…和陌生人发生亲密关系...就是唯一可以填补我心灵空白的方法了M: I thought you were straight. 我以为你会对我诚实B: Straight? What's straight? 诚实？什么叫诚实？A line can be straight or a street, but the heart of a human being…线可以是直的，街也可以是直的（直和诚实是一个词）但是人心难道也可以...M: You lied to me, Blanche. 你骗了我，布兰奇B: Don't say I lied to you. 别说我骗你Lies, lies, inside and out, all lies. - Never inside, I never lied in my heart… （停顿）谎言，谎言，从里到外，彻头彻尾的谎言- 从来没有里面，我内心从来没有骗过你穿插小场景————————————卖死人花P: Flores! Flores para los muertos … - Flores!…Flores para los muertos…B: What? Oh! Someone outside. 什么？什么人在外面？P:Crona! Crona! Crones para los muertos… Flowers! Flowers for the dead.祭奠死者的花，要不要？B: No, no! not now! not now! 不，不要，现在不要！———————————————————————————————（此处表示稍微停顿）B:Marry me, Mitch! 娶我，米奇！M: No. I don't think I want to marry you any more. 不，我不想再娶你了No? - You're not clean enough to bring in the house with my mother.不？- 你不够纯洁，我没法带你回家见我的母亲B: Get out of here before I start screaming. Get out of here quick before I start screaming!趁我还没大叫之前，滚！快滚！。

Summary The Odyssey Chapter 19-24

Summary: Book 19When the suitors retire for the night, Telemachus and Odysseus remove the arms as planned. Telemachusretires and Odysseus is joined by Penelope. She has come from the women’s quarters to question her curious visitor. She knows that he has claimed to meet Odysseus, and she tests his honesty by asking him to describeher husband. Odysseus describes the Greek hero—himself, capturing each detail so perfectly that it reducesPenelope to tears. He tells Penelope that, essentially, Odysseus had a long ordeal but is alive and freely travelingthe seas, and predicts that Odysseus will be back within the month. Penelope offers the beggar a bed to sleep in, but he is used to the floor, he says, and declines. Only reluctantly does he allow Eurycleia to wash his feet. As she is putting them in a basin of water, she notices a scar on one of his feet. She immediately recognizes it as the scar that Odysseus received when he went boar hunting with his grandfather Autolycus. She throws her arms around Odysseus, but he silences her while Athena keeps Penelope distracted so that Odysseus’s secret will not be carried any further. Before she retires, Penelope describes to Odysseus a dream that she has had in which an eagle swoops down upon her twenty pet geese and kills them all; it then perches on her roof and, in a human voice, says that he is her husband who has just put her lovers to death. Penelope declares that she has no idea what this dream means. Rising to the challenge, Odysseus explains it to her. But Penelope decides that she is going to choose a new husband nevertheless: she will marry the first man who can shoot an arrow through the holes of twelve axes set in a line.Summary: Book 20Penelope and Odysseus both have trouble sleeping that night. Odysseus worries that he and Telemachus will never be able to conquer so many suitors. Tormented by the loss of her husband and her commitment to remarry, Penelope wakes and prays for Artemis to kill her. As the palace springs to life the next day, Odysseus and Telemachus meet, in succession, the swineherd Eumaeus, the foul Melanthius, and Philoetius, a kindly and loyal herdsman who says that he has not yet given up hope of Odysseus’s return. The suitors enter, once again plotting Telemachus’s murder. Amphinomus convinces them to call it off, however, when a portent of doom appears in the form of an eagle carrying a dove in its talons. But Athena keeps the suitors antagonistic all through dinner to prevent Odysseus’s anger from losing its edge. Ctesippus, a wealthy and arrogant suitor, throws a cow’s hoof at Odysseus, in response to which Telemachus threatens to run him through with his sword.Summary: Book 21Penelope gets Odysseus’s bow out of the storeroom and announces that she will marry the suitor who can string it and then shoot an arrow through a line of twelve axes. Telemachus sets up the axes and then tries his own hand at the bow, but fails in his attempt to string it. The suitors warm and grease the bow to make it supple, but one by one they all try and fail. Meanwhile, Odysseus follows Eumaeus and Philoetius outside. He assures himself of their loyalty and then reveals his identity to them by means of the scar on his foot. He promises to treat them as Telemachus’s brothers if they fight by his side against the suitors.When Odysseus returns, Eurymachus has the bow. He feels disgraced that he cannot string it, because he knows that this failure proves his inferiority to Odysseus. Antinous suggests that they adjourn until the next day, when they can sacrifice to Apollo, the archer god, before trying again. Odysseus, still disguised, then asks for the bow. All of the suitors complain, fearing that he will succeed. Antinous ridicules Odysseus, saying that the wine has gone to his head and that he will bring disaster upon himself, just like the legendary drunken Centaur Eurytion. Telemachus takes control and orders Eumaeus to give Odysseus the bow, & he easily strings it and sends the first arrow he grabs whistling through all twelve axes.Summary: Book 22Before the suitors realize what is happening, Odysseus shoots a second arrow through the throat of Antinous. The suitors are confused and believe this shooting to be an accident. Odysseus finally reveals himself, and the suitors become terrified. They have no way out, since Philoetius has locked the front door and Eumaeus has locked the doors to the women’s quarters. Eur ymachus tries to calm Odysseus down, insisting that Antinous was the only bad apple among them, but Odysseus announces that he will spare none of them. Eurymachus then charges Odysseus, but he is cut down by another arrow. Amphinomus is the next to fall, at the spear of Telemachus. Telemachus gets more shields and swords from the storeroom to arm Eumaeus and Philoetius, but he forgets to lock it on his way out. Melanthius soon reaches the storeroom and gets out fresh arms for the suitors. He isn’t so luc ky on his second trip to the storeroom, however, as Eumaeus and Philoetius find him there, tie him up, and lock him in.A full battle now rages in the palace hall. Athena appears disguised as Mentor and encourages Odysseus but doesn’t participate immediately, preferring instead to test Odysseus’s strength. Volleys of spears are exchanged,and Odysseus and his men kill several suitors while receiving only superficial wounds themselves. Finally, Athena joins the battle, which then ends swiftly. Odysseus spares only the minstrel Phemius and the heraldMedon, unwilling participants in the suitors’ profligacy. The priest Leodes begs uns uccessfully for mercy.Odysseus has Eurycleia come out. She openly rejoices to see the suitors dead, but Odysseus checks herimpropriety. She rounds up the disloyal servant women, who are first made to clear the corpses from the hall and wash the blood from the furniture; they are then sent outside and executed. Odysseus tells Telemachus to cut them down with a sword, but Telemachus decides to hang them—a more disgraceful death. Last of all, the traitor Melanthius is tortured and killed. After the bloodbath, Odysseus has the house fumigated. Summary: Book 23Eurycleia goes upstairs to call Penelope, who has slept through the e ntire fight. Penelope doesn’t believeanything that Eurycleia says, and she remains in disbelief even when she comes downstairs and sees herhusband with her own eyes. Telemachus rebukes her for not greeting Odysseus more lovingly after his long absence, but Odysseus has other problems to worry about. He has just killed all of the noble young men of Ithaca—their parents will surely be greatly distressed. He decides that he and his family will need to lay low at their farm for a while. In the meantime, a minstrel strikes up a happy song so that no passersby will suspect what has taken place in the palace.Penelope remains wary, afraid that a god is playing a trick on her. She orders Eurycleia to move her bridal bed,and Odysseus suddenly flares up at her that their bed is immovable, explaining how it is built from the trunk ofan olive tree around which the house had been constructed. Hearing him recount these details, she knows thatthis man must be her husband. They get reacquainted and, afterward, Odysseus gives his wife a brief accountof his wanderings. He also tells her about the trip that he must make to fulfill the prophecy of Tiresias in Book11. The next day, he leaves with Telemachus for Laertes’ orchard. He gives Penelope instructions not to l eaveher room or receive any visitors. Athena cloaks Odysseus and Telemachus in darkness so that no one will seethem as they walk through the town.Summary: Book 24The scene changes abruptly. Hermes leads the souls of the suitors, crying like bats, into Hades. Agamemnonand Achilles argue over who had the better death. Agamemnon describes Achilles’ funeral in detail. They see the suitors coming in and ask how so many noble young men met their end. The suitor Amphimedon, whom Agamemnon knew in life, gives a brief account of their ruin, pinning most of the blame on Penelope and her indecision. Agamemnon contrasts the constancy of Penelope with the treachery of Clytemnestra.Back in Ithaca, Odysseus travels to Laertes’ farm. He sends his servants into the house so that he can be alone with his father in the gardens. Odysseus finds that Laertes has aged prematurely out of grief for his son and wife. He doesn’t recognize Odysseus, and Odysseus doesn’t immediately reveal himself, pretending instead that he is someone who once knew and befriended Odysseus. But when Laertes begins to cry at the memory of Odysseus, Odysseus throws his arms around Laertes and kisses him. He proves his identity with the scar and with his memories of the fruit trees that Laertes gave him when he was a little boy. He tells Laertes how he has avenged himself upon the suitors.Laertes and Odysseus have lunch together. Dolius, the father of Melanthius and Melantho, joins them. Whilethey eat, the goddess Rumor flies through the city spreading the news of the massacre at the palace. The parents of the suitors hold an assembly at which they assess how to respond. Halitherses, the elder prophet, argues that the suitors merely got what they deserved for their wickedness, but Eupithes, Antinous’s father, encourages the parents to seek revenge on Odysseus. Their small army tracks Odysseus to Laertes’ house, but Ath ena, disguised again as Mentor, decides to put a stop to the violence. Antinous’s father is the only one killed, felled by one of Laertes’ spears. Athena makes the Ithacans forget the massacre of their children and recognize Odysseus as king. Peace is thus restored.。

unit 2 all the cabbie had was a letter

考和感悟。
故事背后的启示
重视人与人之间的沟通与交流
珍惜身边的人和事
不要轻易放弃，努力追求自己的梦想
关注社会现实，传递正能量和温暖
05
总结与反思
故事总结
故事背景：主人公收到一封信，引发对过去的回忆
人物关系：出租车司机与主人公之间的互动与关系
故事情节：出租车司机讲述自己的经历，主人公反思自己的生活
起伏
03
故事情节
出租车司机的来信
故事背景：出租车司机收到一封来自未知人的信件
信件内容：描述了出租车司机与寄信人之间的过去和情感纠葛
出租车司机的反应：对信件内容的震惊、疑惑和感动
故事高潮：出租车司机决定去寻找寄信人，揭开过去的秘密
信件的内容
信件来源：来自一个陌生人信件内容：讲述了一个令人感动的故事信件的影响：对出租车司机产生了深远的影响信件的结尾：留下了悬念和思考
信件的影响
信件的内容：揭示了主人公的过去和内心世界信件对主人公的影响：唤起了他的回忆和情感信件对其他角色的影响：改变了他们的态度和行为信件对整个故事情节的影响：推动了情节的发展和转折
04
主题思考
信件的意义
信件作为沟通工具：信件是人们之间沟通交流的一种方式，可以传达信息、情感和意愿。
出租车司机的动机
添加标题
添加标题
添加标题
添加标题
信件的重要性：信件对于出租车司机来说可能具有特殊的意义，可能是他与家人或朋友之间的联系，也可能是他生活中的重要
事件。
信件的内容：信件的内容可能涉及到出租车司机的生活经历、情感经历或个人信仰等，这些内容可能激发了他内心的情感和

desiree's baby主要内容

desiree's baby主要内容在19世纪的新奥尔良，有一个名叫阿贝尔的年轻男子，他与家人雇佣的年轻女仆戴瑞尔坠入了爱河。

尽管两人身份悬殊，但他们的爱情真挚而深厚。

不久后，戴瑞尔怀孕了，这让两人无比欣喜。

然而，在孩子出生后，一家人的生活发生了翻天覆地的变化。

戴瑞尔生下的孩子肤色偏深，与两人白皙的肤色形成了鲜明对比。

这让孩子成为了邻里间谈论的焦点，也让阿贝尔家族的传统观念受到了挑战。

夫妇俩对孩子的爱并未因此减退，但他们无法摆脱内心的困惑。

为了给孩子一个正常的成长环境，他们决定寻找解决方案。

在孩子出生后不久，阿贝尔和戴瑞尔带着孩子搬到了一个偏远的农场。

在那里，他们努力为孩子创造一个美好的生活环境。

然而，随着时间的推移，夫妇俩发现孩子在农场的生活并不幸福。

他们开始质疑自己的决定，并意识到唯一的解决办法就是让孩子回归正常的生活。

在一次偶然的机会下，夫妇俩决定将孩子遗弃在离家不远的一个小屋里。

他们希望有好心人收养孩子，让孩子过上幸福的生活。

然而，这一决定让他们的内心充满了愧疚。

戴瑞尔因此病倒，阿贝尔深感痛苦。

在孩子被遗弃后，一位善良的妇女发现了这个可怜的孩子。

她收养了孩子，并用自己的爱心为孩子营造了一个温馨的家。

随着时间的流逝，孩子渐渐长大，过上了幸福的生活。

多年后，戴瑞尔和阿贝尔重逢了被遗弃的孩子。

在孩子认出他们后，一家人重获幸福。

阿贝尔和戴瑞尔为自己的过错付出了代价，但他们也体会到了真正的幸福。

在这段曲折的经历中，他们学会了宽容和理解，最终赢得了美满的家庭生活。

这个故事告诉我们，爱情和家庭的力量是无穷的。

在面对困难和挑战时，我们要有勇气去面对，用爱与理解去化解矛盾。

《《铁血女王_成吉思汗背后的女人们》(第22-24章)英汉翻译实践报告》范文

《《铁血女王_成吉思汗背后的女人们》（第22-24章）英汉翻译实践报告》篇一《铁血女王_成吉思汗背后的女人们》（第22-24章）英汉翻译实践报告铁血女王：成吉思汗背后的女人们第22章征战沙场的勇士背后——三位特殊的女子这一章节我们将目光投向历史中不可忽视的女性群体——在铁血战歌背后默默支持的英雄女性们。

从性格刚强的贤后、机敏智慧的母妃，到深沉沉稳的权臣，三位女子与成吉思汗之间的联系不仅仅因为血缘关系，更是战争、决策与宫廷纷争的纽带。

本章内容将从这三位特殊的女子着手，探寻她们如何作为权力的中心人物，影响着成吉思汗的征战历程。

从家族历史到政治斗争，从战场上的智谋到皇宫内的宫斗，以第一人称叙述与事件展开的细致描绘手法，呈现出女性在铁血统治下不容忽视的力量。

一、细节的精准呈现：在描述这三位女子的性格特点时，我们采用了生动的语言和具体的细节来展现她们的独特之处。

例如，贤后之刚毅，通过她对成吉思汗决策的坚定支持与她如何平息宫廷内乱的具体事例来展现；母妃之智慧，则通过她在战争中为成吉思汗出谋划策、化解危机的情节来刻画；而权臣的深沉，则体现在她如何在纷繁复杂的政治环境中巧妙操纵、化危为机。

二、多元的文化背景：在叙述中，我们不仅关注了这三位女性的个人经历，还深入探讨了她们所处的多元文化背景。

她们不仅在蒙古文化中扮演重要角色，也影响了与其他国家文化的交流和融合。

她们在战场上的策略选择，宫廷内的政治手段，以及家族的历史传统等都在不同的文化背景中得到了体现。

三、情感与权力的交织：在权力斗争的背后，我们也关注到了这些女性们的情感世界。

她们的权力之路并不平坦，但她们依然能维持自己的情感生活与人际关系。

这种情感的表达与权力的平衡之间的张力构成了本章节的另一大看点。

四、篇章的结构和表达：从宏观结构来看，这一章运用了平行叙述和交错的叙事手法，使得三位女性的故事得以并行展开，同时又相互交织。

同时，我们还运用了多种修辞手法和表达方式来增加内容的生动性和可读性。

西泽尔

浮生——记西泽尔·波尔金熊窝三周年之我爱熊窝游园会浮生——记西泽尔·波尔金红心公牛号角连绵，你戴着黑色的面罩骤然而至，出场便是踢踏军队万马纵横卷起狂风暴雨。

我仿佛听到遥远时空中平地起的一声威武雄狮吼。

规则被推倒被建立，形形色色一干人等上演一出正剧，无所谓悲喜。

切断了身体发肤父母之恩儿女之情，戏里戏外哭的哪里分得清是真情还是假意。

堕落的天堂，腐朽的灵魂焚烧幸福醉生梦死，交错的人世尔虞我诈，欲望横流张张丑恶嘴脸里，你却是盛开，极至妖娆的美丽。

你，并非脆弱王子天生华贵，但却是意大利独一无二的君王。

凌厉的眼神浸淫杀戮锻造坚硬，饱满的额头飞扬着张狂。

十九岁亲眼目睹沦亡，你便决心亲手建立一个理想强大的国度。

毫不掩饰自己的野心，你拿起利剑，争夺权势和地位。

年轻的自信跳跃意大利的天上地下，铁骑踏破山山水水。

灰色的眼睛满是冷酷的神采。

背景是血色黄昏。

飞扬跋扈轻薄笑脸不外乎人情冷暖，你深知这个道理，所以竖起重重屏障保卫自己。

征战是你的存在方式，唯有沙场厮杀才能沸腾你的热血。

黑发弥漫惨烈的剧毒，席卷了整个天下。

身处动荡乱世，你不择手段，要的不是立足而已。

但你也不是没有柔情似水，只是你无法尽情展露。

不被祝福的爱情，不被承认的身份，都筑起你日益扭曲的心。

一生的戎马生涯颠沛流离，求的或许仅仅是一个证明。

望着深爱的女人再次远嫁重洋，四下里是那些无奈的叹息和冻僵的伤感。

漫天风雪飞扬，吹散你绝望的呼喊。

你的眼泪还未落下已经结成了寒冰。

嗜血的信仰轰鸣过耳，银发碧瞳传说中的少女，耳畔一枚红石擅自决定大地前程。

人人趋之若骛，独你桀骜，不甘心被愚昧和盲从轻易左右。

可你难免好奇向往。

掠夺和追逐反复纠缠，你渐显露温柔神色。

那柄璀璨宝剑照亮了你深邃的黑暗，和她无邪的双眸。

“满身罪恶的恶魔，也憧憬着善良的天使。

你是我黑暗中的光芒。

”你执起她的手烙下一吻。

你的眼睛坦坦荡荡，第一次虔诚的弯曲双膝低下了自己高贵的头颅。

四周开出一片甜美的玫瑰。

Boote in der Nacht文本歌词

Boote in der Nacht - Sylvester Levay Composed by：Sylvester LevayLiebe kann vielesDoch manchmal ist liebe nicht genug Glaube ist starkDoch manchmal ist glaube selbstbetrugWir wollten wunderDoch sie sind nicht geschehnEs wird zeit dass wir uns endlich eingesteh'n Wir sind wie zwei boote in der nachtJedes hat sein eig'nes zielUnd seine eig'en frachtWir begegnen uns auf dem meerUnd dann fällt der abschied uns schwer Doch was uns treibtLiegt nicht in uns'rer machtDu möchtest allesDoch manchmal ist wenig schon sehr viel Dein traum ist mir zu kleinSich nah zu sein im dunkelnGenügt das nicht als zielIch will nicht dein schatten seinKönntest du einmal nur durch meine augen sehn Dann würdest du mich nicht länger missverstehn Wir sind wie zwei boote in der nachtJedes hat sein eig'nes zielUnd seine eigne frachtWir begegnen uns auf dem meerUnd oft fällt der abschied uns schwerWarum wird uns das glück so schwer gemacht Du und ich wir sind zwei boote in der nacht Downloadjedes hat sein eig'nesZiel und seine eigene frachtWarum sind wir alleinWir begegnen uns auf dem meerUnd sind mehr allein als vorherWarum wird uns das glück so schwer gemacht Ich lieb' dichBegreif' dochWas nicht sein kann kann nicht sein。

LINGO软件求解运输问题与表上作业法的比较

LINGO软件求解运输问题与表上作业法的比较张家善【摘要】作为一类特殊的线性规划问题,运输问题的求解传统上采用表上作业法,但是其求解过程复杂、繁琐,求解维数受到很大限制.随着计算机技术的发展,LINGO 软件在求解运输问题中逐步得到了广泛应用,该文通过实例求解,对两种求解方法进行了对比.【期刊名称】《湛江师范学院学报》【年(卷),期】2010(031)003【总页数】4页(P137-140)【关键词】运输问题;表上作业法;LINGO;对比【作者】张家善【作者单位】湛江师范学院,商学院,广东,湛江,524048【正文语种】中文【中图分类】F252.5作为一类特殊的线性规划问题，运输问题约束方程组的系数矩阵具有特殊的结构，传统上求解运输问题多采用表上作业法.表上作业法是求解运输问题的一种简便的方法，实质仍是单纯形法[1].计算步骤如下：1) 找出初始基可行解，即在产销平衡表上给出m+n-1个数字格.确定初始基可行解常用的方法：最小元素法和伏格尔法(Vogel).2) 求各非基变量的检验数，即在表上计算空格的检验数，判别是否达到最优解.如果已是最优解，则停止计算，否则转入下一步.但表上作业法求解过程复杂、繁琐，求解维数也受到很大限制[2].随着计算机技术的发展，LINGO软件在求解运输问题中逐步取代了表上作业法.下面以一个运输问题为例，来比较表上作业法求解与使用LINGO软件求解的差异.1 表上作业法求解设有5个产地A1、A2、A3、A4、A5和4个销地B1、B2、B3、B4的运输问题，他们的供应量和需求量及单位运费如表1，试求其最优运输规划及最小运输成本.(单位：百元；t)表1 运费表B1B2B3B4供应量A110205710A213912820A34157930A41471040A531251950需求量60602010150这是供需平衡问题，下面直接用最小元素法求出初始调运方案.在所有运价中，找出最小运价为0，该运价对应的需求量为10，供应量为40，即需求量可以得到全部满足.将调运数量和A4、B4的剩余供需数量在表上做出记号，同时由于B4的需求已经满足，可以划去该列其他的各个运价.计算结果如表2所示：表2 第1轮求解表B1B2B3B4供应量A110205710A213912820A34157930A414710/1040/30A531251950需求量60602010/0150表3 初始调运方案表B1B2B3B4A11020/1057A2139/20128A34/1015/2079A4147/101/200/10A53 /5012519以此类推，经过8轮求解，求得初始调运方案如表3所示：即X12=10, X22=20, X31=10, X32=20, X42=10,X43=20, X44=10, X51=50;这只是运输问题的基可行解.在此，用位势法检验初始方案是否为最优.设有调运数量的运价Dij=Ui+Vj，i为行数，j为列数.可以列出如下方程组：20=U1+V2；9=U2+V2；4=U3+V1；15=U3+V2；7=U4+V2；1=U4+V3；0=U4+V4；3=U5+V1；设U4=0，分别求出U1～U5和V1～V4，如表4所示.表4 第1轮检验表B1B2B3B4A11020/1057U1=13A2139/20128U2=2A34/1015/2079U3=8A41 47/101/200/10U4=0A53/5012519U5=7V1=-4V2=7V3=1V4=0表5 最优调运方案表最优方案B1B2B3B4A110205/107A2139/20128A34/301579A4147/3010/10A53/3012/ 105/1019设没有调运量的运价为Cij，如果Cij不小于Ui+Vj，检验通过；否则在该运价上做记号，等待下一步调整.以此类推，经过4轮调整后，通过检验，所有的Cij均大于Ui+Vj，此调运方案为最优方案，如表5所示.求解结果：X13=10, X22=20, X31=30, X42=30,X44=10, X51=30，X52=10，X53=10; 即产地1向销地3运输10 t，产地2向销地2运输20 t，产地3向销地1运输30 t，产地4向销地2运输30 t，产地4向销地4运输10 t，产地5向销地1运输30 t，产地5向销地2和销地3各运输10 t.其最小总运输成本=5×10+9×20+4×30+7×30+0×10+3×30+12×10+5×10=820 百元2 LINGO软件求解：在LINGO软件中，新打开一个窗口，输入以下程序代码：model:!5发点4收点运输问题;sets:warehouses/wh1..wh5/: capacity;vendors/v1..v4/: demand;links(warehouses,vendors): cost, volume; endsets!目标函数;min=@sum(links: cost*volume);!需求约束;@for(vendors(J):@sum(warehouses(I): volume(I,J))=demand(J)); !产量约束;@for(warehouses(I):@sum(vendors(J): volume(I,J))<=capacity(I)); !这里是数据;data:capacity=10,20,30,40,50;demand=60,60,20,10;cost=10,20,5,7,13,9,12,8,4,15,7,9,14,7,1,0,3,12,5,19;enddataend点击工具栏上的执行按钮，可得到以下计算结果(节选)：Objective value: 820.0000 VariableValue Reduced Cost …………………………VOLUME( WH1, V1) 0.000000 7.000000 VOLUME( WH1, V2) 0.000000 8.000000 VOLUME( WH1, V3) 10.00000 0.000000 VOLUME( WH1, V4) 0.000000 2.000000 VOLUME( WH2, V1) 0.000000 13.00000 VOLUME( WH2, V2) 20.00000 0.000000 VOLUME( WH2, V3) 0.000000 10.00000 VOLUME( WH2, V4) 0.000000 6.000000 VOLUME( WH3, V1) 30.00000 0.000000 VOLUME( WH3, V2) 0.000000 2.000000 VOLUME( WH3, V3) 0.000000 1.000000 VOLUME( WH3, V4) 0.000000 3.000000 VOLUME( WH4, V1) 0.000000 16.00000 VOLUME( WH4, V2) 30.00000 0.000000 VOLUME( WH4, V3) 0.000000 1.000000 VOLUME( WH4, V4) 10.00000 0.000000 VOLUME( WH5, V1) 30.00000 0.000000 VOLUME( WH5, V2) 10.00000 0.000000 VOLUME( WH5, V3) 10.00000 0.000000 VOLUME( WH5, V4) 0.000000 14.00000…………………………即X13=10,X22=20, X31=30, X42=30,X44=10, X51=30，X52=10，X53=10;目标函数值为 820 百元，与使用表上作业法求解结果完全相同.3 结论通过对比两种方法的求解过程，我们发现：1)表上作业法计算繁琐，方案调整的工作量大，容易出错.在上例中，第1阶段要经过8轮求解，而这得到的是初始调运方案；第2阶段，对初始解检验，进行4轮调整后才能得到最优解.使用LINGO软件只需要输入集合定义、目标函数、约束条件和初始数据，就可以一步到位计算出最优解，省却了中间计算、检验环节，所有计算工作交给计算机实现.2)表上作业法只适合变量数量较少情况下的求解，若本例中变量数量较大时，表上作业法求解只具有理论上的可行性，无法实际操作.利用软件求解线性规划问题非常简单,而且速度很快,不会随着模型中变量数量的增加,给求解带来巨大的问题,即所谓的“维数障碍”.3)一般线性规划(如本例)中决策变量可以整数或者分数,但是在实际中,有一些问题要求决策变量必须是整数,如机器的台数,网络节点中节点的个数等问题,只有当决策变量是整数才有意义.LINGO 的最大特色就在于可以允许决策变量是整数(即整数规划,包括0-1整数规划),对这类问题求解方便灵活,而且执行速度非常快.4)LINGO软件语法非常简洁，具有良好的可读性，易于被用户掌握.必要时，通过添加注释(即代码中以”!”开头的文字，程序中以绿色区分显示)来提高代码的可读性.同时，LINGO软件提供了丰富的函数库，用户可以直接调用，而无需再累述，本例中使用到了@sum()函数求和.参考文献:【相关文献】[1] 胡运权. 运筹学[M]. 北京：清华大学出版社, 2002.[2] 袁新生. LINGO和Excel在数学建模中的应用[M]. 北京：科学出版社，2007．[3] 刘茂华. 线性规划在运输问题中的应用[J]. 大庆师范大学学报：自然科学版，2007(4)：76-80.。

【课件】《百年孤独(节选)》 2023-2024学年统编版高中语文选择性必修上册

资料二：《拉丁美洲的孤独》
• 拉丁美洲不情愿，也没有理由成为任人摆布的棋子，此外也不会去幻想西方国家能打心眼儿里支持我们独立、独特的发展计划。历史上众多的战乱与伤痛，源于世世代代的不公和无休止的苦难，而非千里之外的诡计阴谋。瞧，我们有多孤独！面对压迫、掠夺和遗弃，我们的回答是：活下去。无论洪水、瘟疫、饥荒、灾难，还是连绵不绝、永不停息的战火，都无法战胜生命的顽强，生命对死亡的优势。
一个伟大的母亲。她顽强、识睿，智开展、了执草着药、治独疗。立她，以并全不部逊的色心力于经营着整她的丈夫，是布恩迪亚家族个的家灵族魂。，是整个家族的支撑者
肆
PART FOUR
魔幻现实主义及对中国的影响
这部作品的表现手法称为“魔幻现实主义”，你觉得“魔幻”吗？
课本例子
• 第6段，丽贝卡的帆布口袋里装着她父母的骨殖，“一刻不停地发出咯啦咯啦的响声”；
叁
PART TWO
分析人物形象理解题目含义
何塞·阿尔卡蒂奥·布恩迪亚
①做事执着而有魄力。他是村子里富有进取心和事业心的男人，他规划全村的布局和街道的设计，带领大家共同建设马孔多，让马孔多成为幸福的村庄； ②极有责任心。意识到失眠症入侵了镇子，便召集各家家长，把自己所知的失眠症情形讲给他们听，并且将疫情控制在村镇之内； ③易于接受新事物。“他着迷于眼前的现实，认为这比自己广袤的幻想世界更为神奇”是因为马孔多的新气象。为了避免遗忘，奥雷里亚诺为器物贴标签，布恩迪亚先在家中实行，而后推广到全镇。一个身材健壮、智慧过人、想象力丰富、极富号召力和超人
“他创造了一个独特的天地，即围绕着那个由他虚构出来的马孔多小镇的世界。自20世纪50年代末，他的小说就把我们引入了这个奇特的地方。那里汇聚了不可思议的奇迹和最纯粹的现实生活。作者的想象力在驰骋翱翔：荒诞不经的传说、具体的村镇生活、比拟与影射、细腻的景物描写，都以新闻报道般的准确性再现出来。”

Sissi剧本

Sissi – Die junge Kaiserin第一幕：2’ 10 (国王、格林那伯爵、大臣2个)国王：Nun, Graf Grünne!格林那伯爵：Majestät？国王：Sind Sie auch froh, dass die anstrengenden Hochzeitsfeierlichkeiten vorbei sind?格林那伯爵：Gewiss, Majestät.国王：Nur zu viel Arbeit hat sich angehäuft. Es bleibt mir kaum mehr Zeit für die Majestät.格林那伯爵：Majestät, die Herren Minister sind vollzählig versammelt.国王：Ja, lassen Sie eintreten.------伯爵去开门，国王看SISSI照片, 大臣进房，行礼------国王：Bitte, meine Herren.!大臣：Sind der Auffassung, dass diese Amnestie eine neue, unabsehbare Gefahr für Österreich bedeuten würde.国王：Eine weitaus größere Gefahr bedeutet es, wenn man ein Land ständig als Feind betrachtet. Ich werde die Amnestie auch gegen den Willen meiner Minister erlassen.大臣：Majestät!国王：...und wünsche, dass sie unverzüglich verlautbart werde.第二幕：3’ 30 (皇太后、埃斯特哈萨夫人)皇太后：Gräfin Esterhazy. Ich wünsche über alles, was ihre Majestät tun, genauest informiert zu werden. Nicht aus Neugierde, sondern weil ich finde, dass Ihre Majestät, schon in Anbetracht ihrer Jugend, meiner Lenkung bedarf.埃斯特哈萨夫人：Ich werde mich des Vertrauens, das Kaiserliche Hoheit in mich setzen, bestimmt würdig erweisen.皇太后：Was haben Sie mir zu berichten?埃斯特哈萨夫人：Es ist schon wieder ein neuer Papagei angekommen. Ich möchte Kaiserliche Hoheit un die Erlaubnis bitten, die Vögel in Menagerie abliefern zu dürfen. Das Geschrei ist unerträglich.皇太后：Wenn Ihre Majestät Gefallen an diesen Tieren findet, so mag sie sie halten, wo es ihr beliebt. Und wenn Ihnen das Geschrei auf die Nerven geht, empfehle ich Ihnen, Watte in die Ohren zu stopfen. Bitte öffnen Sie diese Lade. Was ist das für ein Buch?埃斯特哈萨夫人：Das Tagebuch Ihrer Majestät.皇太后：Geben Sie es mir. Haben Sie mir sonst noch etwas zu berichten?埃斯特哈萨夫人：Ihre Majestät hat sich über die primitiven Badegelegenheiten im Schloss beklagt.皇太后：Hier hat Maria Theresia gelebt und gebadet, es wirdauch für eine kleine bayrische Prinzessin, die zufällig Kaiserin geworden ist, gut genug sein. Noch etwas?埃斯特哈萨夫人：Ihre Majestät hat sich mehrmals erkundigt, ob sich ein Oberst Böckl aus Ischl noch nicht zur Audienz gemeldet hat.皇太后：Oberst Böckl? Ischl? Kenne ich nicht.第三幕：5’ 10 (伯克尔上校、邮务员)Böckl ：Na, dann schauen Sie mich doch etwas genauer an! Fällt Ihnen nichts auf an mir, Herr Postmeister?邮务员：Hast du dir vielleicht die Haare schneiden lassen?Böckl ：Blicken Sie etwas tiefer!邮务员：Der Schnurrbart ist weg!Böckl ：Noch tiefer!邮务员：Böckl, du bist zum Oberst avanciert.Böckl ：Mehr noch, ich bin nach Wien versetzt.邮务员：Ja, wirklich, ich gratuliere dir! Ja, wieso denn?Böckl ：Erinnerst du den Ring, den die Kaiserin hier verpfändet hat?邮务员：Wie sie das Telegramm hat nicht bezahlen können.Böckl ：Richtig. Diesen Ring habe ich ihr persönlich in einer Audienz überreicht. Woraufhin Seine Majestät meine Versetzung nach Wien angeordnet hat, wo ich nur Ihrer Majestät zurpersönlichen Verfügung zu stehen habe. Meiner lieben Elisabeth. 邮务员：Unsere Elisabeth.Böckl ：Nein, meine, meine Elisabeth. Lieber Freund, mir ist etwas Entsetzliches passiert.邮务员：Was ist dir denn passiert?Böckl ：Stell dir vor, ich habe mich in die Kaiserin verliebt.邮务员：Böckl!Böckl ：Wenn sie mich ansieht, setyt mein Gehirn aus. Spricht sie mit mir, so stottere ich. Und wenn sie mich anlächelt, dann bin ich einer Ohnmacht nahe.邮务员：Böckl…….Böckl ：Ja, dieses Lächeln.第四幕：9’ 27 (皇太后、国王)皇太后：Du hast den Belagerungszustand in Ungarn auffehoben und eine Amnestie erlassen?国王：Ja, Mama.皇太后：Gilt diese Amnestie auch für den Anführer der Rebellen, für diesen Grafen Andrassy?国王: Aber gewiss! Es soll niemand in meinem Land trautig sein, wo ich selber so glücklich bin.皇太后: Aber Franz! Man kann doch nicht aus einerSentimentalität heraus regieren!国王：Wie kommen Sie yu Sissis Tagebuch, Mama?皇太后：Das ist gleichgültig. Schau es dir an!国王：Ich möchte es nicht lesen, bevor sie es gestattet hat.皇太后：Dann werde ich dir eines ihrer Gedichte vorlesen. Es kehrt der junge Frühling wieder und schmückt den Baum mit frischem Grün. Und lehrt den Vöglein neue Lieder und macht die Blumen Schön erblüh´n.国王：Das ist doch sehr hübsch, Mama.皇太后：Doch was ist mir die Frühlingswonne hier in dem fernen, fremden Land? Ich sehn` mich nach der Heimatsonne, ich sehn´mich nach der Isar Strand. Soll ich weiterlesen?国王：Ich möchte Sie bitten, mich jetzt allein zu lassen, Mama.第五幕：11’25 (SISSI、国王、格林那伯爵)（弗兰茨看书，茜茜进门，手捧一束红花）SISSI:Servus,Franz.(国王起身) 国王: Sissi!SISSI: Ich gehe gleich wieder.Ich habe nur so Sehnsuche nach dir gehabt.Sag mir,magst du mich überhaupt noch?国王: Mu-mm,gar nicht mehr.SISSI:Und warum nicht?国王: Weil du dich gar nicht un mich kümmerst.SISSI: Geh!Ich?Du kümmerst dich nicht um mich.Ich sitzt du da an deinem Schreibtisch und regierst.（SISSI拿花走向蜡台，把花盆里的黄花换成她带来的红花）SISSI: Oft weiß ich gar nicht mehr,wie du aussiehst.（国王走向SISSI）Die sind ohnehim nicht mehr frisch.SISSI:（乐）Ja,ja,ich bin eifersüchtig.国王:（乐）Eifersüchtig?Auf wen?SISSI:Auf diesen Schreibtisch.（转身走向桌子）Mein Tagebuch? 国王:Ja,Mama hat’s hergebracht.SISSI:（拿起日记本）Dann hat sie es aus meinem Schreibtisch genommen.国王: Ich weiß es nicht.Ich habe es nicht berührt.SISSI: Das hätte mich auch gewundert.国王: Mama hat mir ein Gedicht vorgelesen,ein sehr hübsches Gedicht…Du hast Heimweh nach Bayern,Sissi.SISSI: Ja,wenn ich allein bin.国王: Sissi,deine Heimat ist doch Österreich.SISSI: Sicher,aber…ich kann doch nichts dafür,wenn ich mich manchmal nach Possenhofen sehne.Nach den Bergen,meinen Geschwistern und den Eltern.Verstehst du das nicht?国王: Ja,Sissi,ich verstehe es.Und doch auch wieder nicht.Ich tuedoch alles,um esdie hier so schön wie möglich zu machen.Ich dachte,du bist glüklich.SISSI: Bin ich auch.Aber nur,wenn du bei mir bist.Und du bist so selten bei mir.（门开了，弗兰茨与茜茜向门望去，格林那伯爵进门）格林那伯爵：Der österreichische Gesandte in Paris,Freiherr von Hübner.国王: Ich lasse bitten.（格林那伯爵出）国王: Wir sehen uns bei Tisch.Was machst du bis dahin?SISSI:Auf dich warten,wie immer.Vielleicht werde ich reiten.Bevor wir nachher zu Tisch gehen,muss ich die noch etwas Wichtiges sagen.第六幕：13’ 49 (侍医官、伯克尔上校、皇太后、SISSI)侍医官：Herr Oberst,wie stellen Sie sich das eigentlich vor?Sie kommen aus Ischl und sagen,Sie wollen mit der Kaiserin sprechen.Sie glauben, das geht so mir nichts dir nichts?伯克尔上校：Lieber Herr Zeremonienmeister,ich bin ja dienstlich hier.侍医官：Ja,glauben Sie,ich bin zu meinem Vergnügen hier?Herr Oberst,Sie werden sich müssen umstellen.Bis jetzt waren Sie imMilitärdienst.Aber hier herrscht Hofdienst.Hier ist alles Etikette.Und darum haben Sie erstens um eine Audienz bei Ihrer Majestät anzusuchen und zweitens zu warten,ob Ihre Majestät die Audienz überhaupt bewilligt. Und drittens haben Sie zu warten,bis ich Ihnen sage,ob Ihre Majestät…（女王进，侍医官起身示意伯克尔上校起身）司：Auf!（伯克尔上校起立撞到侍医官）上校：Entschuldigung.侍医官：Drehen Sie sich um！皇太后：Sein Gesicht habe ich schon einmal gesehen.伯克尔上校：Mehrmals,Kaiserliche Hoheit.皇太后：Außerdem steht er auf meinem Kleid.侍医官：Herr Oberst!伯克尔上校：Verzeihung,Kaiserliche Hoheit!(皇太后走，侍医官与伯克尔上校低头致意)侍医官：Also bei der Kaiserinmutter…haben Sie keinen Stein im Brett.伯克尔上校：Sie bei mir auch nicht.侍医官：Herr Oberst!Sie haben an den allerhöchsten Personen…keinerlei Kritik zu üben.伯克尔上校：Das war keine Kritik,das war eine Feststellung.侍医官：Acuh Feststellungen kommen Ihnen hier bei Hof nicht zu. Bei Hof kommt Ihnen überhaupt nichts zu.伯克尔上校：Keine Angst,passiert nicht mehr!(SISSI进)侍医官：Nein,Ihre Majestät! Ihre Majestät!SISSI：Ich freue mich,dass Seine Majestät meinen Wunsch,Sie in meiner Nähe zu haben,so schnell erfüllt hat.伯克尔上校：Majestät.Ich bitte sagen zu dürfen,dass…SISSI：Ja?伯克尔上校：Ich…SISSI：Nun,was wollten Sie sagen?伯克尔上校：Es ist mir entfallen.Ich weiß schon!Ich bitte sagen zu dürfen,dass Eure Majestät keinen treueren Diener haben werden…als meine Weungkeit.SISSI：Davon bin ich überzeugt.（SISSI走）伯克尔上校：（站不稳）Um Gottes willen,ah…侍医官：Was haben Sie,Herr Oberst?伯克尔上校：Herr Zeremonienmeister,ein Glas Wasser!侍医官：Ist Ihnen schlecht?伯克尔上校：Dieses Lächeln. Dieses Lächeln!侍医官：Was für ein Lächeln?伯克尔上校：Ihr Lächeln.第七幕：18’50 (SISSI、国王)国王：Sissi?SISSI：Ja!（SISSI入场）Du bist schon fertig?国王：Ich habe mich beeilt,weil ich neugierig war,was du mir so Wichtiges zu sagen hast.SISSI：Ja,äh,ich wollte dich fragen,ob du schon weißt,dass wir einen neuen Papagei haben?国王：Oh,den roten?SISSI：Ja!国王：Von wem ist er denn?SISSI：Von Tante Marie.Und ich wollte dich fragen..ob du weißt,was heute für ein Tag ist?国王：Heute?Donnerstag?SISSI：Na ja,du hast so viel zu tun, du darfst so etwas vergessen.Heute sind wir vier Wochen verheiratet.国王：Tatsächlich?So lange ist das schon her?SISSI：Ja!Ein kleines Hochzeitsgeschenk.Ich hoffe,es macht dir Freude.国王：Das ist sehr lieb,dass du daran gedacht hast.SISSI：Das habe ich am Kohlmarkt entdeckt.国王：Was?Du warst am Kohlmarkt?SISSI：Ja.Ich wäre beinahe nicht mehr nach Hause gekommen.SISSI：（SISSI背身，国王给SISSI戴上项链）Was ist das?国王：Das ist mein Hochzeitsgeschenk.SISSI：Du hast also doch nicht vergessen.国王：Ich werde nie vergessen,wie glücklich du mich in jeder Minute gemacht hast.Nie.SISSI：Ich bin auch sehr glücklich.第八幕：22’ 35 (SISSI的爸妈)SISSI妈妈：Max!SISSI爸爸: JA?SISSI妈妈: Ob es so ein Glueck fuer sie war?SISSI爸爸: Die Haupttsache ist , dass sie den Franzl mag. SISSI妈妈: Und er sie.Sie schreibt:“Franz liest mir jeden am Wunsch…Von den Augen ab und traegt mich auf Haenden.”Und du,trink nicht so viel!SISSI爸爸:Also du traegt mich nicht auf Haenden! Du schimpfst allweil mit mir!SISSI妈妈: Aber geh!SISSI爸爸: Schaul,Vickerl,ich glaube, das ist alles Schicksal.Ich meine nicht.,dass ich gerne ein Bier trinke.Sondern dass unsere Sissi.Kaiserin gwodern ist.Um gesonst geschieht nichts auf dieser Welt.Wahrscheinlich…hat sieirgendeine Mission zu erfuellen.第九幕：23’ 45 (格林那伯爵、欧立斯安德拉希伯爵、SISSI) SISSI: Wer ist naecheste Audienzbesucher?格林那伯爵: Graf Julius Andrassy.SISSI: Lassen Sie den Grafen eintreten.格林那伯爵: Graf Julius Andrassy.欧立斯安德拉希伯爵: war der zu Euerer Majestaet um Euerer Majestaet zu danken fuer das, was Eure Majestaet fuer Ungarn getan haben.SISSI:Stehen sie auf, Graf Andrassy.Die Amnestie hat der Kaiser erlassen,ihm muessen Sie danken.欧立斯安德拉希伯爵:Ich spreche nicht von der Amnestie, Majestaet.Eine Amnestie kann den Hingerichteten nicht das Leben und den heimgesuchten Familien nicht das Glueck zurueckgeben.Aber ein Herz,das fuer eine Nation schlaegt,kann alles wieder gut machen.Und fuer diese Liebe moechte ich Eurer.Und fuer diese Liebe mochete ich Eurer Majestaet danken. SISSI: Ich werde auch im Zukunft alles tun,um Ungarn Oesterreich und damit auch dem Kaiser naeher zu bringen und um Ihrem Land die Gleichberechtigung wiederzugeben.Damit aber das Wort Gleichberechtigung kein leeres Wort sei,zum naechsten Hofballeinladen.Wir wollen an diesem Tag die Stunde feiern,die unsere Herzen einander naehergeberacht hat.第十幕：31’ 29 (伯克尔上校、皇太后、女佣3人、医生、SISSI、国王、大臣)（伯克尔上校发现SISSI晕倒）伯克尔上校：Um Gottes willen!皇太后：Was ist geschehen? Ein Attentat?伯克尔上校：Die Kaiserin ist ohnmächtig geworden.皇太后：Was?（国王把SISSI抱走，场景切换到女佣们在门外议论）女佣A：Was sagt der Arzt?女佣B：Das wissen wir noch nicht. Er ist noch bei ihr.女佣A：Was kann es bloß sein?女佣D：Sicher ist Ihre Majestät vom Pferd gestürzt.女佣C：Das hätte ich doch sehen müssen.女佣D：Wie die Kaiserin im Prater geritten ist, war sie nicht dabei. 女佣A：Es ist bestimmt der Blinddarm. Ich bin überzeugt, dass nur die Auseinandersetzungen mit Erzherzogin Sophie daran schuld waren.女佣D：Sollte man nicht seine Majestät verstandigen?（皇太后入场）皇太后：Nein.Seine Majestät darf jetzt nicht gestörtwerden. Der russische Gesandte ist in Audienz. Der Kaiser steht vor schweren Entscheidungen, die möglicherweise Krieg bedeuten könnten.Ist Hofrat Seeburger noch bei Ihrer Majestät?女佣D：Ja. Kaiserliche Hoheit.（SISSI与医生的对话）医生：Ja...SISSI: Bin ich sehr krank, Herr Hofrat?医生：Ich glaube nicht, Majestät.Nur das Reiten, das müssen Majestät in der nächsten Zeit lassen. Großes Opfer. Es muss aber sein, Majestät!SISSI: Ja, hat es mir denn so geschadet?医生：Geschadet? Nein, nein, nein.SISSI: Was fehlt mir denn dann?医生：Majestaet sind guter Hoffnung.SISSI: Nein...nein!医生：Ja, Majestät!SISSI: Herr Doktor! Herr Doktor! Nein, so was! Herr Doktor! （SISSI跑出去，去找国王）皇太后：Was hat denn das zu bedeuten?（国王与大臣谈话，SISSI闯入，大家起身）SISSI：Franz, ich muss dich dringend sprechen!国王：(对大臣们说) Entschuldigen Sie, Exzellenz.（大臣退下）SISSI：Franz. Wir bekommen ein Kind!国王：SISSI! Ist das wahr? Ist das wirklich wahr?SISSI: Ja, ja!国王：SISSI!第十一幕：34’ 18 (SISSI的爸妈)SISSI妈妈: Max!SISSI爸爸: Ja!SISSI妈妈: Eine Neuigkeit! Eine schoene Neuigkeit!SISSI爸爸: Was ist denn geschehen?SISSI妈妈: Aus Wien!Von der Sissi!SISSI爸爸: Sissi?!SISSI妈妈: Na,na? Na?SISSI爸爸: Die Sissi kriegt ein Kind!SISSI妈妈: Ich gratuliere dir, du wirst Grossvater!第十二幕：36’ 25 (SISSI、国王)SISSI: Ist es ein Bub?国王: Eine Prinzessin. Ich bin sehr, sehr gluecklich.SISSI: Wie gluecklich wuerdest du erst sein, wenn es ein kleiner Kronprinz waere.第十三幕：42’00 (SISSI、国王、皇太后)SISSI: Jetzt besuchen wir unseren Schatz .国王：Ja. – Komm!SISSI:Wir duerfen keinen Laerm machen, vielleicht schlaeft sie. (进入房间后发现孩子不在屋内。

序章遗迹的阴影

在桑瑞王国的北方，被人遗忘的土地，一队士兵正在行进。

当遗迹要塞的废墟出现在视野中时，其中一人抬手示意，他们停下了脚步，举目眺望。

“渥拉顿陛下，我们就快到了。

”队长说道。

渥拉顿端坐马上，望着远方的残垣断壁，陷入对往事的回忆中。

三个月前，王宫接到了北方传来的战争警报。

阴影邪魔西斯在爪牙恶魔领主的帮助下，蛊惑北方的大批民众为他们效劳，加入他们的反叛军队，公开向王国宣战。

西斯的目的在于夺取勇气神殿、智慧神殿和生命神殿的三颗水晶，利用它们的力量控制桑瑞王国。

格拉玛与渥拉顿分头行动，追踪敌军，保护水晶，却仍被西斯将水晶尽数夺走。

之后西斯无心恋战，退至远古遗迹，开始他行动计划的最后一步。

格拉玛与渥拉顿此时集合了所能号召的所有力量，赶赴遗迹要塞，率部与叛军展开决战，意图夺回水晶。

就在那时，人类见识到了他们无法想象的魔法破坏力：西斯利用水晶的魔法能量，召唤“天堂之怒”攻击王国的军队。

从天而降的火雨令士兵们惊慌失措，阵脚大乱，眼看就要被叛军击溃。

关键时刻，国王挺身而出，亲自领军冲锋。

国王督战，军队士气高涨，打败了叛军的主力，最终把西斯和他的残兵败将围困在要塞中。

西斯负隅顽抗，坚守不出，格拉玛便指挥军队开始攻城。

弓箭手射出的箭遮蔽了天空，巨龙在城堡上空盘旋喷吐火焰。

经过三天三夜不间断的猛攻，守军伤亡殆尽，遗迹城轰然倒塌，西斯又一次消失在黑暗中。

但是战场上的胜利并没有带给格拉玛想要的东西——三颗水晶。

遗迹的废墟如同一座墓地，不仅埋葬了叛军堆积如山的尸体，也把水晶埋在残砖碎瓦之中。

三颗水晶一直被视为国家繁荣昌盛的标志，王国不能失去它们。

战争结束后，格拉玛和渥拉顿只好兵分两路：格拉玛先返回都城总领国事；渥拉顿则留在北方安置因战乱而逃亡的群众，并寻找水晶的下落。

原本渥拉顿差遣一名亲信将领带着手下负责清理遗迹废墟，自己忙于在北方各个城镇之间巡视，消灭叛军残余势力，安顿民众。

三个月来，北方大部分地区已经恢复了秩序。

渥拉顿稍稍清闲了些，这才想起留守遗迹要塞的部队久无音讯，大为惊疑，立刻带上一支部队，赶往遗迹古城，探明原因，来到现在这个地方。