巴黎圣母院英文名句

合集下载

迪士尼经典名句

迪士尼经典名句1. "To infinity and beyond!" ——《玩具总动员》（Toy Story）2. "Hakuna Matata! It means no worries for the rest of your days." ——《狮子王》（The Lion King）3. "The flower that blooms in adversity is the most rare and beautiful of all." ——《花木兰》（Mulan）4. "All you need is faith, trust, and a little bit of pixie dust." ——《小飞侠》（Peter Pan）5. "The past can hurt. But the way I see it, you can either run from it, or learn from it." ——《狮子王》（The Lion King）6. "A dream is a wish your heart makes." ——《灰姑娘》（Cinderella）7. "Just keep swimming." ——《海底总动员》（Finding Nemo）8. "Ohana means family, family means nobody gets left behind or forgotten." ——《莉洛与斯奇》（Lilo & Stitch）9. "The very things that held you down are going to lift you up." ——《大象奇奇》（Dumbo）10. "You've got a friend in me." ——《玩具总动员》（Toy Story）11. "The seaweed is always greener in somebody else's lake." ——《美人鱼》（The Little Mermaid）12. "I can show you the world: shining, shimmering, splendid." ——《阿拉丁》（Aladdin）13. "Look for the bare necessities, the simple bare necessities." ——《森林王子》（The Jungle Book）14. "You are braver than you believe, stronger than you seem, and smarter than you think." ——《小熊维尼》（Winnie the Pooh）15. "I am never going back. The past is in the past." ——《冰雪奇缘》（Frozen）16. "Our fate lives within us. You only have to be brave enough to see it." ——《勇敢传说》（Brave）17. "Adventure is out there!" ——《飞屋环游记》（Up）18. "If you focus on what you left behind, you will never see what lies ahead." ——《美食总动员》（Ratatouille）19. "Sometimes the smallest things take up the most room in your heart." ——《小熊维尼》（Winnie the Pooh）20. "Remember, you're the one who can fill the world with sunshine." ——《白雪公主》（Snow White）21. "No matter how your heart is grieving, if you keep on believing, the dream that you wish will come true." ——《灰姑娘》（Cinderella）22. "Believe you can, then you will." ——《花木兰》（Mulan）23. "You don't have time to be timid. You must be bold and daring." ——《美女与野兽》（Beauty and the Beast）24. "Love is an open door!" ——《冰雪奇缘》（Frozen）25. "Your identity is your most valuable possession. Protect it." ——《超能陆战队》（Big Hero 6）26. "Life's not a spectator sport. If watchin' is all you're gonna do, then you're gonna watch your life go by without ya." ——《巴黎圣母院》（The Hunchback of Notre Dame）27. "Even miracles take a little time." ——《灰姑娘》（Cinderella）28. "When you're curious, you find lots of interesting things to do." ——《米老鼠》（Mickey Mouse）29. "To face the future with another, who means more than any other, is to be loved." ——《白雪公主》（Snow White）30. "Sometimes the right path is not the easiest one." ——《风中奇缘》（Pocahontas）这些迪士尼电影中的名句不仅富有深刻的内涵，还很具启发性，深受观众喜爱。

巴黎圣母院经典语段及赏析

巴黎圣母院经典语段及赏析巴黎圣母院，位于法国巴黎市中心的一座哥特式教堂，因其壮观的建筑风格和丰富的历史文化内涵而成为世界闻名的旅游胜地。

巴黎圣母院曾经是法国最重要的城堡，同时也是宗教、文化和艺术的中心。

下面就为大家介绍一些巴黎圣母院的经典语段及赏析。

经典语段：1. "Nothing is harder to overcome than a blank sheet of paper anda spinning pen." - Victor Hugo“没有什么能比一张空白的纸和一支旋转的笔更难克服的事情了。

”——雨果这句话出自于法国作家雨果的名著《巴黎圣母院》。

雨果在小说中写道：“当受信任的即兴恢复意识，那是一件很难的事情；它需要比得上拯救一个死亡病人的技术，甚至还要更难。

考虑到这点，我们不禁会为那些靠空白的纸笔和无处不在的旋转脚力来维持自己的信念和创造力而感到钦佩。

”2. "Architecture has recorded the great ideas of the human race.Not only every religious symbol, but every human thought has its page in that vast book." - Victor Hugo“建筑记录着人类伟大的思想。

不仅是每一个宗教符号，每一个人类思想都在那庞大的书中有它的一页。

”——雨果这句话充分体现了巴黎圣母院作为哥特式建筑的代表之一而具有的文化艺术价值。

在这里，人们可以通过建筑的线条、雕刻、灯光等元素感受到历史的厚重以及人类文明的进步和发展。

3. "Notre-Dame is not only a masterpiece of architecture but also one of the most important expressions of French civilization." - André Malraux“巴黎圣母院不仅是建筑巨作，更是法国文明最重要的表现之一。

雨果名言英文版带翻译

雨果名言英文版带翻译1.求雨果名言英文原文（巴黎圣母院）首先，这句话不是出自《巴黎圣母院》，而是雨果在《克伦威尔序言》中提出的浪漫主义创作原则，可以说《巴黎圣母院》中的卡西莫多就是根据这个原则创造出来的。

原文如下：It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light.2.雨果名言英文版“即使你成功地模仿了一个有天才的人，你也缺乏他的独创精神，这就是他的天才。

我们来赞美大师吧，但不要模仿他们。

还是让我们别出心裁吧，如果成功了，当然很好，如果失败，又有什么关系呢？” even if you have copied a genious, you still lack his uniqe spirit, this is why he is a genious. so let's praise the great men and do not copy them. let's come up with different ideas. if we succeed, that will be good, but if we fail, what will that matter？“生活好比旅行，理想是旅行的路线，失去了路线，只好停止前进了。

生活既然没有目的，精力也就枯竭了。

” Life is like to travel,ideal is its route,without which,one has to stop.If life has no aim,energy will be exhausted. 生活中最大的幸福就是有人爱我们。

《巴黎圣母院英文版》(3)

like the Abbey of Tournus, the grave and massive frame, the large and round vault, the glacial bareness, the majestic simplicity of the edifices which have the rounded arch for their progenitor. It is not, like the Cathedral of Bourges, the magnificent, light, multiform, tufted, bristling efflorescent product of the pointed arch. Impossible to class it in that an- cient family of sombre, mysterious churches, low and crushed as it were by the round arch, almost Egyptian, with the exception of the ceiling; all hieroglyphics, all sacerdotal, all symbolical, more loaded in their orna- ments, with lozenges and zigzags, than with flowers, with flowers than with animals, with animals than with men; the work of the architect less than of the bishop; first transformation of art, all impressed with theo- cratic and military discipline, taking root in the Lower Empire, and stop- ping with the time of William the Conqueror. Impossible to place our Cathedral in that other family of lofty, aerial churches, rich in painted windows and sculpture; pointed in form, bold in attitude; communal and bourgeois as political symbols; free, capricious, lawless, as a work of art; second transformation of architecture, no longer hieroglyphic, im- movable and sacerdotal, but artistic, progressive, and popular, which be- gins at the return from the crusades, and ends with Louis IX. Notre- Dame de Paris is not of pure Romanesque, like the first; nor of pure Ara- bian race, like the second.It is an edifice of the transition period. The Saxon architect completed the erection of the first pillars of the nave, when the pointed arch, which dates from the Crusade, arrived and placed itself as a conqueror upon the large Romanesque capitals which should support only round arches. The pointed arch, mistress since that time, constructed the rest of the church. Nevertheless, timid and inexperienced at the start, it sweeps out, grows larger, restrains itself, and dares no longer dart upwards in spires and lancet windows, as it did later on, in so many marvellous cathedrals. One would say that it were conscious of the vicinity of the heavy Romanesque pillars.However, these edifices of the transition from the Romanesque to the Gothic, are no less precious for study than the pure types. They express a shade of the art which would be lost without them. It is the graft of the pointed upon the round arch.Notre-Dame de Paris is, in particular, a curious specimen of this vari- ety. Each face, each stone of the venerable monument, is a page not only of the history of the country, but of the history of science and art as well. Thus, in order to indicate here only the principal details, while the little Red Door almost attains to the limits of the Gothic delicacy of the110fifteenth century, the pillars of the nave, by their size and weight, go back to the Carlovingian Abbey of Saint-Germain des Prés. One would suppose that six centuries separated these pillars from that door. There is no one, not even the hermetics, who does not find in the symbols of the grand portal a satisfactory compendium of their science, of which the Church of Saint-Jacques de la Boucherie was so complete a hieroglyph. Thus, the Roman abbey, the philosophers’ church, the Gothic art, Saxon art, the heavy, round pillar, which recalls Gregory VII., the hermetic symbolism, with which Nicolas Flamel played the prelude to Luther, papal unity, schism, Saint-Germain des Prés, Saint-Jacques de la Boucherie,—all are mingled, combined, amalgamated in Notre-Dame. This central mother church is, among the ancient churches of Paris, a sort of chimera; it has the head of one, the limbs of another, the haunches of another, something of all.We repeat it, these hybrid constructions are not the least interesting for the artist, for the antiquarian, for the historian. They make one feel to what a degree architecture is a primitive thing, by demonstrating (what is also demonstrated by the cyclopean vestiges, the pyramids of Egypt, the gigantic Hindoo pagodas) that the greatest products of architecture are less the works of individuals than of society; rather the offspring of a nation’s effort, than the inspired flash of a man of genius; the deposit left by a whole people; the heaps accumulated by centuries; the residue of successive evaporations of human society,— in a word, species of forma- tions. Each wave of time contributes its alluvium, each race deposits its layer on the monument, each individual brings his stone. Thus do the beavers, thus do the bees, thus do men. The great symbol of architecture, Babel, is a hive.Great edifices, like great mountains, are the work of centuries. Art of- ten undergoes a transformation while they are pending, pendent opera in- terrupta; they proceed quietly in accordance with the transformed art. The new art takes the monument where it finds it, incrusts itself there, assimilates it to itself, develops it according to its fancy, and finishes it if it can. The thing is accomplished without trouble, without effort, without reaction,—following a natural and tranquil law. It is a graft which shoots up, a sap which circulates, a vegetation which starts forth anew. Certainly there is matter here for many large volumes, and often the uni- versal history of humanity in the successive engrafting of many arts at many levels, upon the same monument. The man, the artist, the indi- vidual, is effaced in these great masses, which lack the name of their111author; human intelligence is there summed up and totalized. Time is the architect, the nation is the builder.Not to consider here anything except the Christian architecture of Europe, that younger sister of the great masonries of the Orient, it ap- pears to the eyes as an immense formation divided into three well- defined zones, which are superposed, the one upon the other: the Romanesque zone20, the Gothic zone, the zone of the Renaissance, which we would gladly call the Greco-Roman zone. The Roman layer, which is the most ancient and deepest, is occupied by the round arch, which re- appears, supported by the Greek column, in the modern and upper layer of the Renaissance. The pointed arch is found between the two. The edi- fices which belong exclusively to any one of these three layers are per- fectly distinct, uniform, and complete. There is the Abbey of Jumiéges, there is the Cathedral of Reims, there is the Sainte-Croix of Orleans. But the three zones mingle and amalgamate along the edges, like the colors in the solar spectrum. Hence, complex monuments, edifices of gradation and transition. One is Roman at the base, Gothic in the middle, Greco- Roman at the top. It is because it was six hundred years in building. This variety is rare. The donjon keep of d’Etampes is a specimen of it. But monuments of two formations are more frequent. There is Notre-Dame de Paris, a pointed-arch edifice, which is imbedded by its pillars in that Roman zone, in which are plunged the portal of Saint-Denis, and the nave of Saint-Germain des Prés. There is the charming, half-Gothic chapter-house of Bocherville, where the Roman layer extends half way up. There is the cathedral of Rouen, which would be entirely Gothic if it did not bathe the tip of its central spire in the zone of the Renaissance.21 Facies non omnibus una,No diversa tamen, qualem, etc.Their faces not all alike, nor yet different, but such as the faces of sis- ters ought to be.However, all these shades, all these differences, do not affect the sur- faces of edifices only. It is art which has changed its skin. The very con- stitution of the Christian church is not attacked by it. There is always the 20.This is the same which is called, according to locality, climate, and races, Lombard, Saxon, or Byzantine. There are four sister and parallel architectures, each having its special character, but derived from the same origin, the round arch.21.This portion of the spire, which was of woodwork, is precisely that which was consumed by lightning, in 1823.112same internal woodwork, the same logical arrangement of parts. Whatever may be the carved and embroidered envelope of a cathedral, one always finds beneath it— in the state of a germ, and of a rudiment at the least— the Roman basilica. It is eternally developed upon the soil ac- cording to the same law. There are, invariably, two naves, which inter- sect in a cross, and whose upper portion, rounded into an apse, forms the choir; there are always the side aisles, for interior processions, for chapels,—a sort of lateral walks or promenades where the principal nave discharges itself through the spaces between the pillars. That settled, the number of chapels, doors, bell towers, and pinnacles are modified to infinity, according to the fancy of the century, the people, and art. The service of religion once assured and provided for, architec- ture does what she pleases. Statues, stained glass, rose windows, ar- abesques, denticulations, capitals, bas-reliefs,— she combines all these imaginings according to the arrangement which best suits her. Hence, the prodigious exterior variety of these edifices, at whose foundation dwells so much order and unity. The trunk of a tree is immovable; the fo- liage is capricious.113Chapter 2A BIRD’S-EYE VIEW OF PARISWe have just attempted to restore, for the reader’s benefit, that admirable church of Notre-Dame de Paris. We have briefly pointed out the greater part of the beauties which it possessed in the fifteenth century, and which it lacks to-day; but we have omitted the principal thing,—the view of Paris which was then to be obtained from the summits of its towers.That was, in fact,— when, after having long groped one’s way up the dark spiral which perpendicularly pierces the thick wall of the belfries, one emerged, at last abruptly, upon one of the lofty platforms inundated with light and air,— that was, in fact, a fine picture which spread out, on all sides at once, before the eye; a spectacle sui generis, of which those of our readers who have had the good fortune to see a Gothic city entire, complete, homogeneous,— a few of which still remain, Nuremberg in Bavaria and Vittoria in Spain,— can readily form an idea; or even smal- ler specimens, provided that they are well preserved,— Vitré in Brittany, Nordhausen in Prussia.The Paris of three hundred and fifty years ago—the Paris of the fif- teenth century—was already a gigantic city. We Parisians generally make a mistake as to the ground which we think that we have gained, since Paris has not increased much over one-third since the time of Louis XI. It has certainly lost more in beauty than it has gained in size.Paris had its birth, as the reader knows, in that old island of the City which has the form of a cradle. The strand of that island was its first boundary wall, the Seine its first moat. Paris remained for many centur- ies in its island state, with two bridges, one on the north, the other on the south; and two bridge heads, which were at the same time its gates and its fortresses,— the Grand-Châtelet on the right bank, the Petit-Châtelet on the left. Then, from the date of the kings of the first race, Paris, being too cribbed and confined in its island, and unable to return thither, crossed the water. Then, beyond the Grand, beyond the Petit-Châtelet, a114first circle of walls and towers began to infringe upon the country on the two sides of the Seine. Some vestiges of this ancient enclosure still re- mained in the last century; to-day, only the memory of it is left, and here and there a tradition, the Baudets or Baudoyer gate, “Porte Bagauda”. Little by little, the tide of houses, always thrust from the heart of the city outwards, overflows, devours, wears away, and effaces this wall. Philip Augustus makes a new dike for it. He imprisons Paris in a circular chain of great towers, both lofty and solid. For the period of more than a century, the houses press upon each other, accumulate, and raise their level in this basin, like water in a reservoir. They begin to deepen; they pile story upon story; they mount upon each other; they gush forth at the top, like all laterally compressed growth, and there is a rivalry as to which shall thrust its head above its neighbors, for the sake of getting a little air. The street glows narrower and deeper, every space is over- whelmed and disappears. The houses finally leap the wall of Philip Augustus, and scatter joyfully over the plain, without order, and all askew, like runaways. There they plant themselves squarely, cut them- selves gardens from the fields, and take their ease. Beginning with 1367, the city spreads to such an extent into the suburbs, that a new wall be- comes necessary, particularly on the right bank; Charles V. builds it. But a city like Paris is perpetually growing. It is only such cities that become capitals. They are funnels, into which all the geographical, political, mor- al, and intellectual water-sheds of a country, all the natural slopes of a people, pour; wells of civilization, so to speak, and also sewers, where commerce, industry, intelligence, population,— all that is sap, all that is life, all that is the soul of a nation, filters and amasses unceasingly, drop by drop, century by century.So Charles V.’s wall suffered the fate of that of Philip Augustus. At the end of the fifteenth century, the Faubourg strides across it, passes bey- ond it, and runs farther. In the sixteenth, it seems to retreat visibly, and to bury itself deeper and deeper in the old city, so thick had the new city already become outside of it. Thus, beginning with the fifteenth century, where our story finds us, Paris had already outgrown the three concent- ric circles of walls which, from the time of Julian the Apostate, existed, so to speak, in germ in the Grand-Châtelet and the Petit-Châtelet. The mighty city had cracked, in succession, its four enclosures of walls, like a child grown too large for his garments of last year. Under Louis XI., this sea of houses was seen to be pierced at intervals by several groups of ruined towers, from the ancient wall, like the summits of hills in an in- undation,—like archipelagos of the old Paris submerged beneath the115new. Since that time Paris has undergone yet another transformation, unfortunately for our eyes; but it has passed only one more wall, that of Louis XV., that miserable wall of mud and spittle, worthy of the king who built it, worthy of the poet who sung it,—Le mur murant Paris rend Paris murmurant.22In the fifteenth century, Paris was still divided into three wholly dis- tinct and separate towns, each having its own physiognomy, its own spe- cialty, its manners, customs, privileges, and history: the City, the University, the Town. The City, which occupied the island, was the most ancient, the smallest, and the mother of the other two, crowded in between them like (may we be pardoned the comparison) a little old wo- man between two large and handsome maidens. The University covered the left bank of the Seine, from the Tournelle to the Tour de Nesle, points which correspond in the Paris of to-day, the one to the wine market, the other to the mint. Its wall included a large part of that plain where Julian had built his hot baths. The hill of Sainte-Geneviève was enclosed in it.The culminating point of this sweep of walls was the Papal gate, that is to say, near the present site of the Pantheon. The Town, which was the largest of the three fragments of Paris, held the right bank. Its quay, broken or interrupted in many places, ran along the Seine, from the Tour de Billy to the Tour du Bois; that is to say, from the place where the granary stands to-day, to the present site of the Tuileries. These four points, where the Seine intersected the wall of the capital, the Tournelle and the Tour de Nesle on the right, the Tour de Billy and the Tour du Bois on the left, were called pre-eminently, “the four towers of Paris.”The Town encroached still more extensively upon the fields than the University. The culminating point of the Town wall (that of Charles V.) was at the gates of Saint-Denis and Saint-Martin, whose situation has not been changed.As we have just said, each of these three great divisions of Paris was a town, but too special a town to be complete, a city which could not get along without the other two. Hence three entirely distinct aspects: churches abounded in the City; palaces, in the Town; and colleges, in the University. Neglecting here the originalities, of secondary importance in old Paris, and the capricious regulations regarding the public highways, we will say, from a general point of view, taking only masses and the22.The wall walling Paris makes Paris murmur.116whole group, in this chaos of communal jurisdictions, that the island be- longed to the bishop, the right bank to the provost of the merchants, the left bank to the Rector; over all ruled the provost of Paris, a royal not a municipal official. The City had Notre-Dame; the Town, the Louvre and the Hôtel de Ville; the University, the Sorbonne. The Town had the mar- kets (Halles); the city, the Hospital; the University, the Pré-aux-Clercs. Offences committed by the scholars on the left bank were tried in the law courts on the island, and were punished on the right bank at Mont- fauçon; unless the rector, feeling the university to be strong and the king weak, intervened; for it was the students’ privilege to be hanged on their own grounds.The greater part of these privileges, it may be noted in passing, and there were some even better than the above, had been extorted from the kings by revolts and mutinies. It is the course of things from time imme- morial; the king only lets go when the people tear away. There is an old charter which puts the matter naively: apropos of fidelity: Civibus fidelitas in reges, quoe tamen aliquoties seditionibus interrypta, multa peperit privileyia. In the fifteenth century, the Seine bathed five islands within the walls of Paris: Louviers island, where there were then trees, and where there is no longer anything but wood; l’ile aux Vaches, and l’ile Notre-Dame, both deserted, with the exception of one house, both fiefs of the bishop—in the seventeenth century, a single island was formed out of these two, which was built upon and named l’ile Saint-Louis— , lastly the City, and at its point, the little islet of the cow tender, which was afterwards en- gulfed beneath the platform of the Pont-Neuf. The City then had five bridges: three on the right, the Pont Notre-Dame, and the Pont au Change, of stone, the Pont aux Meuniers, of wood; two on the left, the Petit Pont, of stone, the Pont Saint-Michel, of wood; all loaded with houses.The University had six gates, built by Philip Augustus; there were, be- ginning with la Tournelle, the Porte Saint-Victor, the Porte Bordelle, the Porte Papale, the Porte Saint-Jacques, the Porte Saint-Michel, the Porte Saint-Germain. The Town had six gates, built by Charles V.; beginning with the Tour de Billy they were: the Porte Saint-Antoine, the Porte du Temple, the Porte Saint-Martin, the Porte Saint-Denis, the Porte Mont- martre, the Porte Saint-Honoré. All these gates were strong, and also handsome, which does not detract from strength. A large, deep moat, with a brisk current during the high water of winter, bathed the base of the wall round Paris; the Seine furnished the water. At night, the gates117were shut, the river was barred at both ends of the city with huge iron chains, and Paris slept tranquilly.From a bird’s-eye view, these three burgs, the City, the Town, and the University, each presented to the eye an inextricable skein of eccentric- ally tangled streets. Nevertheless, at first sight, one recognized the fact that these three fragments formed but one body. One immediately per- ceived three long parallel streets, unbroken, undisturbed, traversing, al- most in a straight line, all three cities, from one end to the other; from North to South, perpendicularly, to the Seine, which bound them togeth- er, mingled them, infused them in each other, poured and transfused the people incessantly, from one to the other, and made one out of the three. The first of these streets ran from the Porte Saint-Martin: it was called the Rue Saint-Jacques in the University, Rue de la Juiverie in the City, Rue Saint-Martin in the Town; it crossed the water twice, under the name of the Petit Pont and the Pont Notre-Dame. The second, which was called the Rue de la Harpe on the left bank, Rue de la Barillerié in the island, Rue Saint-Denis on the right bank, Pont Saint-Michel on one arm of the Seine, Pont au Change on the other, ran from the Porte Saint-Michel in the University, to the Porte Saint-Denis in the Town. However, under all these names, there were but two streets, parent streets, generating streets,—the two arteries of Paris. All the other veins of the triple city either derived their supply from them or emptied into them. Independently of these two principal streets, piercing Paris diametric- ally in its whole breadth, from side to side, common to the entire capital, the City and the University had also each its own great special street, which ran lengthwise by them, parallel to the Seine, cutting, as it passed, at right angles, the two arterial thoroughfares. Thus, in the Town, one descended in a straight line from the Porte Saint-Antoine to the Porte Saint-Honoré; in the University from the Porte Saint-Victor to the Porte Saint-Germain. These two great thoroughfares intersected by the two first, formed the canvas upon which reposed, knotted and crowded to- gether on every hand, the labyrinthine network of the streets of Paris. In the incomprehensible plan of these streets, one distinguished likewise, on looking attentively, two clusters of great streets, like magnified sheaves of grain, one in the University, the other in the Town, which spread out gradually from the bridges to the gates.Some traces of this geometrical plan still exist to-day.118Now, what aspect did this whole present, when, as viewed from the summit of the towers of Notre-Dame, in 1482? That we shall try to describe.For the spectator who arrived, panting, upon that pinnacle, it was first a dazzling confusing view of roofs, chimneys, streets, bridges, places, spires, bell towers. Everything struck your eye at once: the carved gable, the pointed roof, the turrets suspended at the angles of the walls; the stone pyramids of the eleventh century, the slate obelisks of the fifteenth; the round, bare tower of the donjon keep; the square and fretted tower of the church; the great and the little, the massive and the aerial. The eye was, for a long time, wholly lost in this labyrinth, where there was noth- ing which did not possess its originality, its reason, its genius, its beauty,—nothing which did not proceed from art; beginning with the smallest house, with its painted and carved front, with external beams, elliptical door, with projecting stories, to the royal Louvre, which then had a colonnade of towers. But these are the principal masses which were then to be distinguished when the eye began to accustom itself to this tumult of edifices.In the first place, the City.—“The island of the City,” as Sauval says, who, in spite of his confused medley, sometimes has such happy turns of expression,—“the island of the city is made like a great ship, stuck in the mud and run aground in the current, near the centre of the Seine.”We have just explained that, in the fifteenth century, this ship was anchored to the two banks of the river by five bridges. This form of a ship had also struck the heraldic scribes; for it is from that, and not from the siege by the Normans, that the ship which blazons the old shield of Paris, comes, according to Favyn and Pasquier. For him who under- stands how to decipher them, armorial bearings are algebra, armorial bearings have a tongue. The whole history of the second half of the Middle Ages is written in armorial bearings,—the first half is in the symbolism of the Roman churches. They are the hieroglyphics of feudal- ism, succeeding those of theocracy.Thus the City first presented itself to the eye, with its stern to the east, and its prow to the west. Turning towards the prow, one had before one an innumerable flock of ancient roofs, over which arched broadly the lead-covered apse of the Sainte-Chapelle, like an elephant’s haunches loaded with its tower. Only here, this tower was the most audacious, the most open, the most ornamented spire of cabinet-maker’s work that ever let the sky peep through its cone of lace. In front of Notre-Dame, and119very near at hand, three streets opened into the cathedral square,— a fine square, lined with ancient houses. Over the south side of this place bent the wrinkled and sullen façade of the Hôtel Dieu, and its roof, which seemed covered with warts and pustules. Then, on the right and the left, to east and west, within that wall of the City, which was yet so contrac- ted, rose the bell towers of its one and twenty churches, of every date, of every form, of every size, from the low and wormeaten belfry of Saint- Denis du Pas (Carcer Glaueini) to the slender needles of Saint-Pierre aux Boeufs and Saint-Landry.Behind Notre-Dame, the cloister and its Gothic galleries spread out to- wards the north; on the south, the half-Roman palace of the bishop; on the east, the desert point of the Terrain. In this throng of houses the eye also distinguished, by the lofty open-work mitres of stone which then crowned the roof itself, even the most elevated windows of the palace, the Hôtel given by the city, under Charles VI., to Juvénal des Ursins; a little farther on, the pitch-covered sheds of the Palus Market; in still an- other quarter the new apse of Saint-Germain léVieux, lengthened in 1458, with a bit of the Rue aux Febves; and then, in places, a square crowded with people; a pillory, erected at the corner of a street; a fine fragment of the pavement of Philip Augustus, a magnificent flagging, grooved for the horses’ feet, in the middle of the road, and so badly re- placed in the sixteenth century by the miserable cobblestones, called the “pavement of the League;” a deserted back courtyard, with one of those diaphanous staircase turrets, such as were erected in the fifteenth cen- tury, one of which is still to be seen in the Rue des Bourdonnais. Lastly, at the right of the Sainte-Chapelle, towards the west, the Palais de Justice rested its group of towers at the edge of the water. The thickets of the king’s gardens, which covered the western point of the City, masked the Island du Passeur. As for the water, from the summit of the towers of Notre-Dame one hardly saw it, on either side of the City; the Seine was hidden by bridges, the bridges by houses.And when the glance passed these bridges, whose roofs were visibly green, rendered mouldy before their time by the vapors from the water, if it was directed to the left, towards the University, the first edifice which struck it was a large, low sheaf of towers, the Petit-Chàtelet, whose yawning gate devoured the end of the Petit-Pont. Then, if your view ran along the bank, from east to west, from the Tournelle to the Tour de Nesle, there was a long cordon of houses, with carved beams, stained-glass windows, each story projecting over that beneath it, an in- terminable zigzag of bourgeois gables, frequently interrupted by the120mouth of a street, and from time to time also by the front or angle of a huge stone mansion, planted at its ease, with courts and gardens, wings and detached buildings, amid this populace of crowded and narrow houses, like a grand gentleman among a throng of rustics. There were five or six of these mansions on the quay, from the house of Lorraine, which shared with the Bernardins the grand enclosure adjoining the Tournelle, to the Hôtel de Nesle, whose principal tower ended Paris, and whose pointed roofs were in a position, during three months of the year, to encroach, with their black triangles, upon the scarlet disk of the setting sun.This side of the Seine was, however, the least mercantile of the two. Students furnished more of a crowd and more noise there than artisans, and there was not, properly speaking, any quay, except from the Pont Saint-Michel to the Tour de Nesle. The rest of the bank of the Seine was now a naked strand, the same as beyond the Bernardins; again, a throng of houses, standing with their feet in the water, as between the two bridges.There was a great uproar of laundresses; they screamed, and talked, and sang from morning till night along the beach, and beat a great deal of linen there, just as in our day. This is not the least of the gayeties of Paris.The University presented a dense mass to the eye. From one end to the other, it was homogeneous and compact. The thousand roofs, dense, an- gular, clinging to each other, composed, nearly all, of the same geomet- rical element, offered, when viewed from above, the aspect of a crystal- lization of the same substance.The capricious ravine of streets did not cut this block of houses into too disproportionate slices. The forty-two colleges were scattered about in a fairly equal manner, and there were some everywhere. The amus- ingly varied crests of these beautiful edifices were the product of the same art as the simple roofs which they overshot, and were, actually, only a multiplication of the square or the cube of the same geometrical figure. Hence they complicated the whole effect, without disturbing it; completed, without overloading it. Geometry is harmony. Some fine mansions here and there made magnificent outlines against the pictur- esque attics of the left bank. The house of Nevers, the house of Rome, the house of Reims, which have disappeared; the Hôtel de Cluny, which still exists, for the consolation of the artist, and whose tower was so stupidly deprived of its crown a few years ago. Close to Cluny, that Roman121。

巴黎圣母院英文版好句

巴黎圣母院英文版好句导读：1、奋斗需要坚持！Struggle needs to adhere to!2、穷困不假，潦倒未必。

Poverty is not false, not down.3、生活，就是昂首前瞻。

Life is looking up.4、时光盲目，人则愚昧。

Time is blind, man is stupid.5、智者嗜酒也会放弃学业。

A wise man will give up their alcohol.6、痛苦总是守在欢乐旁边。

The pain is always on the side of joy.7、疯狂的人民，拥挤的疯狂。

Crazy people, crowded crazy.8、重大事件必有难以估量的后果。

Significant events must have a hard to predict consequences.9、不美的人生来就错！美只爱美。

Life is not beautiful, it is wrong! Beauty only beauty.10、孤立状态能促进一切事物成长。

Isolated state can promote the growth of all things.11、时间施虐烝民，民则暴殄天物。

By the time the sadistic people, Bo Tim Tin Mat.12、种子已然撒进犁沟，将来必定丰收。

The seed is planted in furrows, will harvest.13、树干总是一成不变，树叶却时落时生。

The tree trunk is always the same, but the leaves fall.14、时间一久，最好的肥肉也要哈喇变味。

For a long time, the best meat to rancid taste.15、我听见了她的呼吸，我看见了她的梦。

巴黎圣母院英文名句

巴黎圣母院英文名句导读：本文是关于巴黎圣母院英文名句的文章，如果觉得很不错，欢迎点评和分享！1、丑在美的旁边，畸形靠近优美，丑怪藏在崇高背后，美与丑并存，光明与黑暗相共。

Ugly is next to beauty, deformity is close to beauty, ugliness hides behind sublime, beauty and ugliness coexist, light and darkness coexist.2、是的，爱情犹如树木能够自生自长，深深扎根于我们的周身，在一颗心的废墟上还是枝繁叶茂。

Yes, love is like a tree growing on its own, deeply rooted in all of us, and still flourishing on the ruins of a heart.3、友谊就像兄妹俩，就像两颗灵魂，相互接触，却不合在一起，又像手上的两根指头。

Friendship is like brothers and sisters, like two souls, touching each other, but not together, and like two fingers on the hand.4、无法又无天，无家又无业，王不管，天不怜。

There is no law, no home and no job. No matter what the king does, heaven has no pity.5、人处于什么情况，都不如身上一文不名这样富于冒险精神。

People in any situation are not as adventurous as being penniless.6、小树往往辜负园丁的苦心，固执地朝空气和阳光的方向伸展。

Trees often fail to live up to the gardener's pains and stubbornly stretch in the direction of air and sunshine.7、安抚观众最好的办法，就是让他们知道戏即将开始。

巴黎圣母院名句

巴黎圣母院名句
1.'巴黎圣母院，是一座永恒的诗篇。

'——维克多·雨果
2. '每一座建筑都有它的灵魂，而巴黎圣母院就是巴黎灵魂的代表。

'——保罗·克劳德尔
3. '巴黎圣母院是一部历史的百科全书。

'——保罗·莱维
4. '巴黎圣母院像是一首无言的诗，散发着它永恒的美丽和神秘的力量。

'——伊莎贝尔·阿吉利斯
5. '巴黎圣母院是一项世界遗产，它以无与伦比的艺术和建筑价值闻名于世。

'——联合国教科文组织
6. '巴黎圣母院是一座历史的见证者，它见证了人类文明的发展和进步。

'——安德烈·马尔罗
7. '巴黎圣母院是一座信仰的象征，它代表着人们对上帝和宗教的虔诚和敬畏。

'——雅克·赫贝尔
8. '巴黎圣母院是一座永恒的奇迹，它让人们感受到人类智慧和创造力的辉煌。

'——乔治·桑德
9. '巴黎圣母院是一座宏伟的建筑，它屹立于时间的洪流中，向世界展示着法国的文化和精神。

'——弗朗西斯·库斯托
10. '巴黎圣母院是一座永不落幕的剧场，它让人们在内心深处感受到生命的意义和价值。

- 1 -。

巴黎圣母院英文版歌词

Act 11 - The Age Of The Cathedrals2 - The Refugees3 - Intervention of Frollo4 - Bohemienne5 - Esmeralda You See6 - So Look No More For Love7 - The Feast Of Fools8 - The King Of Fools9 - The Sorceress10 - The Foundling11 - The Doors Of Paris12 - Kidnap Attempt13 - The Court Of The Miracles14 - The Word Phoebus15 - Shining Like The Sun16 - Torn Apart17 - Anarchy18 - Water Please19 - Belle Is The Only Word20 - Home In The Sky21 - Ave Maria22 - If you can see inside me23 - Your Love Will Kill me24 - The Shadow25 - At Val D'amour26 - The Voluptuary27 - DestinyAct 228 - Talk To Me Of Florence29 - The Bells30 - Where Is She31 - The Birds They Put In Cages32 - Cast Away33 - The Trial34 - The Torture35 - I Am A Priest36 - Phoebus If You Can Hear37 - To Get Back To You38 - My Heart If You Will Swear39 - Frollo's Visit To Esmeralda40 - One Bright Morning You Danced41 - Free Today42 - Moon43 - This Small Whistle I Leave You44 - God You Made The World All Wrong45 - Live For The One I Love46 - Attack On Notre Dame47 - By Royal Law48 - My Master My Saviour49 - Give her to me50 - Dance My EsmeraldaAct 1The Age Of The CathedralsGringoire:This is a tale that takes its place. In Paris fair, this year of grace. Fourteen hundred eighty two. A tale of lust and love so true.We are the artists of the time, we dream in sculpture dream in rhyme. For you we bring our world alive, so something will survive.From nowhere came the age of the cathedrals.The old world began.A new unknown thousand years.For man just has to climb up where the stars are.And live beyond life.Live in glass and live in stone.Stone after stone, day after day. From year to year man had his way. Men had built with faith and love. These cathedrals rose above.We troubadours and poets sing. That love is all and everything.We promise you, all human kind. Tomorrow will be fine.From nowhere came the age of the cathedrals.The old world began.A new unknown thousand years.For man just has to climb up where the stars are.And live beyond life.Live in glass and live in stone.From nowhere came the age of the cathedrals.The old world began.A new unknown thousand years.For man just has to climb up where the stars are.And live beyond life.Live in glass and live in stone.But it is doomed the age of the cathedrals.Barbarians wait.At the gates of Paris fair.Oh let them in, these pagans and these vandals.A wise man once said.In two thousand, this world ends.In two thousand, this world ends.The RefugeesClopin and Refugees:We are the strangers here, the refugees the women and men. Without a home, Oh Notre dame we come and ask of you. Asylum. Asylum.We are the strangers here, the refugees the women and men. Without a home, Oh Notre dame we come and ask of you. Asylum. Asylum.At Paris gates we stand, ten thousand in our band.And one day soon we'll be, a million in this land.We wonder what you'll do, the day we ask of you. Asylum. Asylum.We are the strangers here, the refugees the women and men. Without a home, Oh Notre dame we come and ask of you. Asylum. Asylum.We are the down-and-outs, here at the city gates.And all of Paris waits, to see what we're about.The world will change someday; We'll make it work someway. The day we come to stay, with you.We are the strangers here, the refugees the women and men.Without a home.We are the strangers here, the refugees the women and men.Without a home.The refugees.Without a home.We are the strangers here, the refugees the women and men.Without a home.We are the strangers here, the refugees.We are the strangers here, the refugees the women and men.Without a home.We are the strangers here, the refugees the women and men.Without a home, Oh Notre dame we come and ask of you.Asylum. Asylum.We are the strangers here, the refugees the women and men.Without a home, Oh Notre dame we come and ask of you.Asylum. Asylum. Asylum. Asylum.Intervention of FrolloFrollo:Monsieur Phoebus de Chateaupers, captain of the archers of the crown.I order you to arrest, these strangers disturbing the town.Disperse now at any cost this rabble of the lost.Who come to disturb the peace, All Paris demand they cease.Phoebus:At your order's monsignor Frollo. In god's name my men will strike a blow.We'll clear this riff raff from your sight, these beggar thieves that live by night.Phoebus:Beautiful girl why are you here, is it from heaven you appear?Paradise must be your home, you're like no one I've ever known.BohemienneEsmeralda:My mother told me tales of Spain, I think that's where she longed to be. Of mountain bandits she once sang, Andalusia's memory.There in the mountains she was free, my mother, father all are gone. And I've made Paris be my home.I dream of oceans rolling on, they take my heart where I must come. Andalusia mountain home.Bohemienne.No one knows where my story begins.Bohemienne.I was born on a road that bends.Bohemienne, bohemienne.Come tomorrow, I'll wander again.Bohemienne, bohemienne.Here's my fate in the lines of my hand.When I was a child in Provence, Bare foot in the hills I danced once. But the gypsy road is so long, the roads so long.Everyday I see a new chance, maybe some road will lead from France.I will follow till I come home, Till I come home.Andalusia's streams, run through my blood, run through my daydreams. Andalusia's sky, when it calls me, I feel my heart fly.Bohemienne.No one knows where my story begins.Bohemienne.I was born on a road that bends.Bohemienne, bohemienne.Come tomorrow I'll wander again.Bohemienne, bohemienne.Here's my fate in the lines of my hand.Here's my fate in the lines of my hands.Esmeralda You SeeClopin:Esmerada you see, you're no longer a child.And this world is so wild, that you must hear me a little while.You were not yet eight years, your mother died so young.Still hearing as she died, Andalusia's song.Esmeralda:She left me here with you, and you watched over me.Did all that you could do, to help me make it through.Clopin:Esmeralda you see, some men can hurt you so.Esmeralda:In the streets where I run, out there anything goes.Clopin:Do you understand me, and the things I speak of?You are a child no more.You've reached the age of love!Esmeralda:I've reached the age of love.So Look No More For LoveFleur-de-Lys:My tender years I bring here to you, like diamonds on a string all for you.Just promise anything, anything I'll believe it's truePhoebus:Your heart say's it is time for us two, your eyes look into mine and I'm through. Not all the stars that shine will outdo, the diamonds they're in you.Fleur-de-Lys:The man I've come to love, this handsome cavalier.Won't know how I can love, until I hold him near.Phoebus:You say that I don't know, but when you look at me.Your eyes have such a glow; I know how it will be.Fleur-de-Lys:So look no more for love.Phoebus:Love is you.Fleur-de-Lys:Love's all I am made of.Phoebus:Oh so true.Fleur-de-Lys:The sun will shine above on our love the day I marry you.Phoebus:I'll find you in the night, when all the moonlight streams. Will cover you in light, and I will touch my dreams.Fleur-de-Lys:And all the words you'll say, will fill my heart with fire. As night turns into day, I'll do all you desire.Phoebus & Fleur-de-Lys:So look no more for love, love is you.Loves all I am made of, Oh so true.The sun will shine above on our love the day I marry you. The sun will shine above on our love the day I marry you. The day I marry you.The Feast Of FoolsGringoire:and Ensemble.The feast of fools, the feast of fools.The feast of fools, the feast of fools.I'll show you how to run, this noble feast of fool.I know we'll have some fun, I'll show you all the rules. The feast of fools, the feast of fools.Pick out the ugliest, amongst the faces here.The worst face is the best, the face that children fear.Of all the ones who try, the one who make us sick.From lips to nose to eye that's who we'll have to pick.The king of fools, the king of fools.That's who we'll have to pick, that's who we'll have to pick The king of foolsTheFeastOfFoolsThe feast of fools, the feast of fools.The feast of fools, the feast of fools.The feast of fools, the feast of fools.Those eyes that nose so thick, that tongue that hangs and licks. The face that makes us sick, that's who we'll have to pick.The king of fools, the king of fools.That's who we'll have to pick, that's who we'll have to pick. The king of fools.The ringer of the bells, that hump upon his back.That face right out of hell, Quasimodo we like.It's Esmeralda's name that makes his poor heart tick.He's twisted deaf and lame that's who we'll have to pickThe king of fools, the king of fools.That's who we'll have to pick, that's who we'll have to pick. Quasimodo!That's who we'll have to pick, that's who we'll have to pick. The king of foolsThat's who we'll have to pick, that's who we'll have to pick. Quasimodo! The king of fools!The King Of FoolsQuasimodo:Little girls, don't come laughing in my tracks.On this day you can't attack, Quasimodo the hunchback.The people choose, the king of fools.We celebrate today, the festival of kings.And for today they say I can have anything.Will you love me, Esmeralda?Will you love me?But I won't do, Esmeralda.I'm not for you, you look right through.The king of fools.The king of fools.The king of fools.The SorceressFrollo:Be aware she is not one of us.She's a bohemienne and sorceress.She's unclean she's a creature of lust.And she wanders obscene with a dark hair like fur.It is a mortal sin if you watch her.That's why we must cage her up.Where her evil won't disrupt.All the pure souls that come here to worship at Notre dame.Tonight, we'll wait for her as she goes by, and we'll take her away. We will lock her up in a tower high, and we'll teach her to pray. Our Jesus Christ will lead her on, and mother mary holy one.Quasimodo:You know, anything you will ask I'll do, I'll do it all for you. What do you want me to do, Don't you know what you want me to do.I'll do it all for you, I'll do it all for you!The FoundlingQuasimodo:You who gathered me in, kept me close as your kin.You who heard me cry, abandoned to die.By those who will not stay, having brought today; A monster.You who watched while I grew, my suffering you knew.You who always stood guard, when the world was so hard.And the greatest of things, you let me be him who rings; The bells.But you who taught me so much, to speak and read and write.I never can catch sight, of your thoughts in the light.A dog obeys his master's call, whatever you say I will do it all.A dog obeys his master's call, whatever you say, I will do it all.The Doors Of ParisGringoire:The doors of Paris close, and in the streets the darkness grows.The night takes of her clothes, and laughs and cries and wakes all our desires. At night, the dark dreams ride on Paris heights, till dreams are satisfied.Till we have found all we require.On the bridge of dreams, A girl I saw, an angel seemed.The angel smiled, and then she disappeared, as I grew near.Through Paris streets I ran, the angel flew right through my hands.I thought of Paris night, I laughed and cried 'night, opened up my eyes'.Kidnap AttemptPhoebus:Arrest that man, it's the hunchback of Notre dame.Hold onto him, show that monster his time has come.I am the captain here; I must keep all the streets secure.For all the citizens, and for the pretty girls like you.Please allow me to take you home, outside the city gates.The hour is getting late, for a gypsy girl to wait.Esmeralda:Please understand, before you take me by the hand.Esmeralda, does not go with just any man.Phoebus:Let me call on you, tomorrow when nights at the door.We'll make a rendezvous, at the cabaret Val d'amour.Esmeralda:At the cabaret Val d'amour.Gringoire:At the cabaret Val d'amour.Frollo:At the cabaret Val d'amourThe Court Of The MiraclesClopin:We are brothers forever, pain and joy we share together.For the outcasts of the earth, there's no heaven there's no hell.There's no heaven or hell.We are the ones no one sees; we are the ones who can eat, through the world as we please.The blood and the wine are always running red.(At the court of the miracles, the court of the miracles).By thieves and by whores you know the dance is led.(At the court of the miracles, the court of the miracles).The blind man will see and all the cripples dance.(At the court of the miracles, the court of the miracles).We're born to be hung and so we take a chance.(At the court of the miracles, the court of the miracles).(Court of the miracles, court of the miracles).We are all of the same race here, the same invisible face here.For the outcasts of the world, there's no country there's no god.There's no country or god.These rags we wear are our flags, It is the shade of my skin, and it's that of your skin. The gypsies and tramps they sing the same old song.(At the court of the miracles, the court of the miracles).You know none of us, will be alive too long.(At the court of the miracles, the court of the miracles).The killers and thieves all share a loving curse.(At the court of the miracles, the court of the miracles)We make one mistake and then the game is up.(At the court of the miracles, the court of the miracles).(Court of the miracles, court of the miracles).Poet Gringoire, now you must be hung, you've come where you don't belong. To the most secret circle of the court of the miracles.(To the most secret circle).Gringoire:To the most secret circle of the court of the miracles.Clopin:Unless there's a girl, say's that she'll be your wife you've no life.I will proclaim: All the poets in France, from a rope ought to dance. (All the poets in France)Gringoire:All the poets in France from a rope ought to dance.Clopin:And you sweet Esmeralda, my belle Esmeralda.Tell me, do you want to save this poor man from his grave?If you don't wed Gringoires dead!Esmeralda:If I can save him, make him mine.Gringoire:See how love comes, just in time.Esmeralda:Although I've saved your head, I won't sleep in your bed!Clopin:The blood and the wine are always running red.(At the court of the miracles, the court of the miracles).By thieves and by whores you know the dance is led.(At the court of the miracles, the court of the miracles)The blind man will see and all the cripples dance.(At the court of the miracles, the court of the miracles)We're born to be hung and so we take our chance.(At the court of the miracles, court of the miracles).(Court of the miracles, court of the miracles).The killers and thieves they sing the same old song.(At the court of the miracles, the court of the miracles).You know none of us will be alive too long.(At the court of the miracles, the court of the miracles).The killers and thieves will share a loving cup.(At the court of the miracles, the court of the miracles)We make one mistake and then the game is up.(At the court of the miracles, the court of the miracles).(Court of the miracles, court of the miracles).At the court of the miracles.At the court of the miracles.At the court of the miracles.The Word PhoebusEsmeralda:Now I hope you'll tell me please, who I'm honoured to be married to.Gringoire:Gringoire poet please be at ease. Prince of Paris streets don't you know.Esmeralda:Prince of Paris streets, is that so?Gringoire:I am not a ladies man, but if you want you can be my.Inspiration, muse to the end.Esmeralda:You who can read and can write. I know you can show me the light.What means this name Phoebus?Gringoire:Who on earth could dare to wear, a name so fine.Who has such pride?Esmeralda:He's the one my heart's beating for.Gringoire:If I recall my Latin, the word Phoebus it means the sun.Esmeralda:Phoebus, it means the sun.Shining Like The SunEsmeralda:He is shining like the sun, born of kings a royal one.I feel love awaken me, deep down in me too strong for me.In his hand I saw the line that told me this man is mine.This man, is mine.Fleur-de-Lys:He is shining like the sun, but he's tough as anyone.When I'm in his soldier's arms, I want to run, but he's too warm. Close to him I feel so fine, my heart knows that he is mine.This man, is mine.Esmeralda & Fleur-de-Lys:He is shining like the sun, he's my dream my only one.He'll protect me all my life, I'll be so proud to be his wife. He is shining like the sun, he's my dream my only one.He is shining like the sun, shining like the sun.Torn ApartPhoebus:Torn apart, I am a man divided.Torn apart, I want two women's love.Two women want my love; I don't know how to cut my heart in two.Torn apart, I am a man in pieces.Torn apart, I want two women's love.Two women want my love, I'm just glad I have love enough for two.One for the day, the other for the night.One just for now, the other all my life.One for always, until the end of time.The other soon will find, my love won't stay.Torn apart, I am a man in dividedTorn apart, I want two women's love.Two women want my love, and they'll just have to love the man I am.Torn apart, I am a man in pieces.Torn apart, I want two women's love.Two women want my love, is it my fault that I'm a normal man.One's honey sweet, the other has a bite.One's heaven sent, the other rules the night.And to the one I swear my love is true.And to the other one I break the rules.Torn apart, I am a man divided.Torn apart, I want two women's love.Two women want my love; I don't know how to cut my heart in two.Torn apart, I am a man divided.Torn apart, I want two women's love.Two women want my love; I don't know how to cut my heart in two.Torn apart.Torn apart.Torn apart, I am a man in pieces.Torn apart, I want two women's love.Two women want my love, I'm just glad I have love enough for two.Torn apart.Torn apart.Torn apart.AnarchyFrollo:Who is that girl who dares to dance her evil dance before Notre dame?Gringoire:That girl is my wife; she was given to me by the king of a tribe.Frollo:Did you touch the girl, you creature of sin?Gringoire:She never let me near.Frollo:Don't touch her you hear.Gringoire:Father do you recall, this word carved on the wall.Gringoire:Do you know what this word means, this word anarchy?Frollo:Why do you bother me, the Greek anarchy means destiny.Gringoire:Is that Quasimodo, those men have led away?Frollo:My poor hunchback has fallen low, lets hear what these men say.Water PleaseFrollo:Hunchback cripple, you are to blame.Ringer of bells you bear the shame.Pray for his soul this child of sin.God in your mercy, take him in.Quasimodo:Someone take pity on Quasimodo, the weight of the world brings him low. Does no one listen there, is there any water here, oh I need it soI pray you, I pray.Water please I pray.Quasimodo:Belle, belle.Belle Is The Only WordQuasimodo:Belle, is the only word I know that suits her well.When she dances oh the stories she can tell.A free bird trying out her wings to fly away.And when I see her move I see hell to pay.She dances naked in my soul and sleep won't come.And it's no use to pray these prayers to Notre dame.Tell, who'd be the first to raise his hand and throw a stone.I'd hang him high and laugh to see him die alone.Oh Lucifer please let me go beyond god's law.And run my fingers through her hair, Esmeralda.Frollo:Belle, there's a demon inside her who came from hell.And he turned my eyes from god and oh, I fell.She put this heat inside me I'm ashamed to tell.Without my god inside I'm just a burning shell.The sin of eve she has in her I know so well.For want of her I know I'd give my soul to sell.Belle, this gypsy girl is there a soul beneath her skin.And does she bear the cross of all our human sin.Oh Notre dame please let me go beyond gods law.Open the door of love inside, Esmeralda.Phoebus:Belle, Even though her eyes seem to lead us to hell.She may be more pure, more pure than words can tell.But when she dances feelings come no man can quell.Beneath her rainbow coloured dress there burns the well.My promised one, please let me one time be untrue.Before in front of god and man I marry you.Who would be the man who'd turn from her to save his soul.To be with her I'd let the devil take me whole.Oh Fleur-de-lys I am a man who knows no law.I go to open up the rose, EsmeraldaQuasimodo, Frollo & Phoebus:She dances naked in my soul and sleep won't come.And it's no use to pray these prayers to Notre dame.Tell, who'd be the first to raise his hand and throw a stone. I'd hang him high and laugh to see him die alone.Oh Lucifer please let me go beyond god's law.And run my fingers through her hair, Esmeralda.Esmeralda.Home In The SkyQuasimodo:These gargoyles my friends, watch over you.They will keep you safe, from all the harm men do.If you need a place you can come to.Ask asylum of us, we'll take care of you.Here in my home so high, the weather's always nice.Where summers pass us by, we're safe from winter's ice.Notre dame de Paris, it's my home in the sky.Where I think about why, we must live and must die.Esmeralda:These gargoyles your friends, now they are my friends too.It's they who make me laugh, the days I can't get through. Sometimes they make me happy, they look just like you. Though your face frightens me no matter what I do.Quasimodo:Notre dame de Paris, it is all part of me.It's my world where I'm free, where I'm happy to be.When you need a place you can come to.Ask asylum of us, we'll take care of you.Quasimodo & Esmeralda:Here in my home so high, the weather's always nice.Where summers pass us by, we're safe from winter's ice.If you're wondering still, summer winter you'll come.(Esmeralda:I'll come)And my home if you will.(Esmeralda:And your home if I will).You can call it your home.Esmeralda:I can call it my home.Ave MariaEsmeralda:Ave maria, please pardon me.If in your house I come stealing.Ave maria, no one ever taught me about kneeling.Ave maria, please will you keep me.From this misery madness and fools.Who rule this evil world.Ave maria, I'm a stranger and you're my last recourse. Ave maria, please can't you hear me.Please take down all these walls between us.We all should be as one.Ave maria, please watch over my life night and day. Ave maria, Oh please protect me.Please guard me and my love now I pray.Ave maria.If you can see inside meQuasimodo:If you can see inside of me, as I can see inside them.You will know of all these men, which of them really loves you. Esmeralda you'll see, that only my love is true.Your Love Will Kill meFrollo:I feel a wave of passion, move through my heart with such pain.I have no time for reason, so I just let passion reign.I let go so easily, on a night as warm as sin.Midnight swimmer, midnight sea I will not come back again.Your love will kill me; your love will kill me.And you will bear my curse as long as my life will beYour love will kill me.Your love will kill me.Your love will kill me.My sin and my obsession, crazy desire you bring.I know there's no salvation, I see our bodies burning.Your gypsy dreams all haunt me, I live to see your dances.Please raise your eyes and want me, please give me all the chances.Your love will kill me; your love will kill me.And I saw it would be when I looked at you when you looked at me.Your love will kill me.Your love will kill me.Your love will kill me.You brought the springtime to fill, my heart in it's winter chill.I lost my strength and my will, and now my tears start to spill.I never knew such desire, just looking into your eyes.And now the soul in me cries, and now the night is on fire.Your love will kill me; your love will kill me.And you will bear my curse as long as my life will beYour love will kill me; your love will kill me.And I saw it would be when I looked at you when you looked at me.Your love will kill me.Your love will kill me.Your love will kill me.Your love will kill me.Your love will kill me.The ShadowPhoebus:Who follows me?Is it my shadow drained of light is it a phantom of the night.My shadow grows.His druid's hat obscures his face, a long black cape around him falls. Say who you are, show who you are.Come here to me, so I can see!Frollo:Your conscience follows you, listen to me.For else I will see you hanged before you're through.Soldier come near!Just go from here there's more to fear than to your eyes it may appear.Phoebus:I am a soldier sir, I serve the king.But here that does not mean, anything.And are you not a man of god?By god!At Val D'amourGringoire:Upon the streets of St Denis.There is a place for you and me.And when it gets to dark to see, look for the lights, knock on the door.If you have loving on your mind.This is the place you have to find.You will be back time after time, back to the house called Val d'amour.At Val d'amour they close the door, they give you what you're looking for.No pretty words no diamond rings, but you can buy most anything.Just pay the price and love is yours, behind the doors of Val d'amour.From every corner of the world, they come to take their choice of girls.The captain's and the sailor boys, they come to find their little joys.No matter what the tongue they speak, their money talks week after week.Ladies of love my heart is sore, I am Gringoire the troubadour.I'm sick with love you have the cure behind the doors at Val d'amour.Guitars implore come one come all, come take your tour of Val d'amour.At Val d'amour they play a part, give them your money not your heart.Beneath the sheets your love will flower, it'll last the night or last an hour.Phoebus:When sick with love I know the cure; I take a trip to Val d'amour.It takes all night, but be assured they get it right at Val d'amour. Mesdemoiselles excusez-moi, I'll wait for my Esmeralda.She read her fate here in my hand; tonight she'll make me understand.Gringoire:Just north of Paris on the square, off Popincourt you'll find us there.The lowlifes come from everywhere, Oh nothings pure at Val d'amour.And gentlemen in courtly dress, they fall in drunk and make a mess.At Val d'amour we close the door, and give you what you're looking for.No pretty words no diamond rings, but you can buy most anything.Just pay the price and love is yours, behind the doors of Val d'amour.Behind the doors of Val d'amour.Behind the doors of Val d'amour.The VoluptuaryPhoebus:。

巴黎圣母院(维克多·雨果)语录

巴黎圣母院（维克多·雨果）语录以下是巴黎圣母院（维克多·雨果）中的一些语录：1. "Love is like a tree: it grows by itself, roots itself deeply in our being and continues to flourish over a heart in ruin." (爱情就像一棵树：它自己生长，在我们的内心深处扎根，并在破碎的心中继续茁壮。

)2. "To love beauty is to see light." (热爱美就是看到光明。

)3. "Love is a portion of the soul itself, and it is of the same nature as the celestial breathing of the atmosphere of paradise." (爱是灵魂的一部分，它与天堂大气的神圣呼吸具有相同的本质。

)4. "The greatest products of architecture are less the works of individuals than of society; rather the offspring of a nation's effort, than the inspired flash of a man of genius..." (建筑的伟大作品不仅仅是个体的作品，更是整个社会的产物；它们是一个国家努力的结晶，而不仅仅是一个天才的灵感闪现...)5. "There is always more misery among the lower classes than there is humanity in the higher." (较低阶层总是比上层阶级更加痛苦，而上层阶级则更加缺乏人性。

巴黎圣母院英语介绍

她坐落在巴黎市中⼼、塞纳河的西岱岛上，她玫瑰⾊窗户上的斑驳玻璃、⼯艺讲究的尖顶造型集中了哥特式建筑的全部精华……In thinking of Gothic architecture, our thoughts always ascend. For that which embodies Gothic style most is lofty； Rose windows of stained glass, ornately crafted spires, and the guardians of grand cathedrals, the Gargoyles. Each is distinctly Gothic, and all distinctly Notre Dame de Paris.Notre Dame de Paris, more than seven hundred years old, is only the most recent of holy houses to occupy this ancient sacred ground. The Celts held their services on this island in the Seine, and atop their sacred groves the Romans built their own temple to Jupiter.In the early years of Christianity, a basilica dedicated to St. Etienne was constructed around 528 by Childebert. A church in the Romanesque manner replaced the basilica, and this stood until 1163 when work began on the structure which stands today.重点词汇Gothic architecture n. 哥特式建筑lofty a. ⾼级的，⾼傲的，⾼⾼的stained a. 褪⾊的ornate a. 装饰华丽的，绚丽的spire n. 尖顶cathedral n. ⼤教堂gargoyle n. 怪兽状的滴⽔嘴sacred a. 庄严的，神圣的Notre Dame de Paris n. 巴黎圣母院Celt n. 凯尔特⼈Seine n. 塞纳河atop prep. 在……顶上grove n. ⼩树林Christianity n. 基督教basilica n. 长⽅形基督教堂Romanesque n. 罗马式。

巴黎圣母院优美句子英文版

巴黎圣母院优美句子英文版1. 《巴黎圣母院》的英文版好词好句fig-油脂对国内观众而言，美国社会的“油脂现象”（Grease）是很难理解的，要去观看这部过时电影的最大动力，无非就是如今吨位升级成“肥尊”的约翰·特拉沃尔塔（John Travolta）在26年前的骨感以及当年他电动马达般的矫健身姿。

而这部色彩鲜艳、没心没肺、片如其名显得有些甜腻的电影又何以会成为一代美国人的情结？也许《油脂》对于美国人的意义也就像是《少林寺》之于我们，电影里约翰·特拉沃尔塔扮演的丹尼（Danny），他那油光锃亮的飞机头俨然就是美国一个时代的象征，代表着激动人心的迪斯科舞步、花团锦簇的青春以及一代美国人在年少时迷恋过的一切事物。

这样的青春虽然找不到内涵，但就像油脂轻轻地漂浮在水面上，叫人忍不住会羡慕这种年少优游。

电影《油脂》改编自百老汇同名音乐剧，导演朗戴尔·克利瑟（Randal Kleiser）原本只是想拍一部针对青少年观众的青春校园歌舞片，但没想到竟然成就了几个“第一”：约翰·特拉沃尔塔主演的第一部大制作、奥莉维亚·纽顿·强（Olivia Newton-John）（片中扮演女主角珊迪Sandy）的银幕处女作、影史上最赚钱的歌舞片之一、美国销量最高的电影原声专辑……而《油脂》的音乐剧同名原型也并非泛泛之辈，它以一出实验剧的身份慢慢渗入外百老汇，最终攻克百老汇舞台，直到1980年4月下档，以3388场演出的成绩，成为当时百老汇有史以来最长寿的音乐剧，这个纪录后来被音乐剧《歌舞线上》（A chorus line）打破。

电影《油脂》的剧情很简单，高中生丹尼和珊迪两情相悦，但就像歌舞片中任何一对小儿女一样，他们在进入最终的和谐境界前总要经历一些无伤大雅的小波折：矜持、猜忌、患得患失……最后在高中毕业嘉年华会上，丹尼与珊迪终于重归于好，他们俩乘着一辆鲜红的跑车，竟然就像是童话结局一般飞上了天空。

《巴黎圣母院》名句摘抄

《巴黎圣母院》名句摘抄巴黎圣母院（Notre-Dame de Paris）是法国巴黎的一座著名的哥特式教堂，它不仅具有重要的宗教意义，还是维克多·雨果的名著《巴黎圣母院》的背景之一。

以下是《巴黎圣母院》中的一些经典名句摘抄，带给读者深奥而动人的思考。

1. "Love is like a tree, it grows of itself, roots itself deeply in our being and continues to flourish over a heart in ruin. The inexplicable fact is that the blinder it is, the more tenacious it is. It is never stronger than when it is completely unreasonable."（爱情就像是一棵树，它自生自长，深深扎根于我们的内心，并在悲伤的心中继续茁壮。

不可思议的是，它越是盲目，就越是坚韧。

它从来不会比在完全不理智的时候更强大。

）这句话揭示了爱情的力量和无法理解的因素，它把爱情比作一棵生命力强大的树，即使在困境中依然能够顽强生长。

2. "To love beauty is to see light."（热爱美是看见光明。

）这句名言表达了维克多·雨果对于美的独特理解，他认为爱美之心就是看到世界真正的光明。

3. "The true division of humanity is this: the luminous and the dark."（人类真正的划分是：明亮和黑暗。

）这句名言是对人类的精神状态进行的分析。

作者认为人类可以被分为那些光明、善良的人和那些黑暗、邪恶的人。

4. "Great buildings, like great mountains, are the work of centuries."（伟大的建筑，如伟大的山脉，均是世纪累积的成果。

巴黎圣母院英文介绍notredamedeparis

巴黎圣母院英⽂介绍notredamedeparis⽤英语介绍巴黎圣母院巴黎圣母院的英语是：notre dame de parisNotre Dame de Paris, known simply as Notre Dame in English, is a Gothic cathedral on the eastern half of the ?le de la Citéin Paris, France, with its main entrance to the west. It is still used as a Roman Catholic cathedral and is the seat of the Archbishop of Paris. Notre Dame de Paris is widely considered one of the finest examples of French Gothic architecture. It was restored and saved from destruction by Viollet-le-Duc, one of France's most famous architects. Notre Dame translates as "Our Lady" from French. Notre Dame de Paris was one of the first Gothic cathedrals, and its construction spanned the Gothic period. Its sculptures and stained glass show the heavy influence of naturalism, giving them a more secular look that was lacking from earlier Romanesque architecture. Notre Dame de Paris was among the first buildings in the world to use the flying buttress. The building was not originally designed to include the flying buttresses around the choir and nave. After the construction began and the thinner walls (popularized in the Gothic style) grew ever higher, stress fractures began to occur as the walls pushed outward. So, naturaly, they built supports around the building and later additions continued as such. At the end of the 18th century, during the French Revolution, many of the treasures of the cathedral were either destroyed or plundered. The statues of biblical kings of Judea (erroneously thought to be kings of France) were beheaded. Many of the heads were found during a 1977 excavation nearby and are on display at the Musée de Cluny. Only the great bells avoided being melted down, and the cathedral was dedicated first to the Cult of Reason, and to the Cult of the Supreme Being. The church interior was used as a warehouse for the storage of forage and food. 巴黎圣母院（notredamedeparis）建成于1345年。

巴黎圣母院-中英对照版共20页

谢谢！
51、天下之事常成于困约，而败于奢靡。——陆游 52、生命不等于是呼吸，生命是活动。——卢梭
53、伟大的事业，需要决心，能力，组织和责任感。 ——易卜生 54、唯书籍不朽。——乔特
55、为中华之崛起而读书。 ——周 பைடு நூலகம்来
巴黎圣母院-中英对照版
6、纪律是自由的第一条件。——黑格尔 7、纪律是集体的面貌，集体的声音，集体的动作，集体的表情，集体的信念。 ——马卡连柯
8、我们现在必须完全保持党的纪律，否则一切都会陷入污泥中。 ——马克思 9、学校没有纪律便如磨坊没有水。— —夸美纽斯
10、一个人应该：活泼而守纪律，天真而不幼稚，勇敢而鲁莽，倔强而有原则，热情而不冲动，乐观而不盲目。 ——马克思

巴黎圣母院精美语句

巴黎圣母院精美语句(中英文实用版)Section 1: The External Grandeur of Notre-DameThe external appearance of Notre-Dame Cathedral is a magnificent display of Gothic architecture.The grandiose structure features towering spires, intricate stone carvings, and majestic stained glass windows.As visitors approach the cathedral, they are immediately captivated by its awe-inspiring presence.巴黎圣母院的的外观是哥特式建筑的壮丽展示。

这座宏伟的建筑拥有高耸的尖塔、复杂的石雕和华丽的彩绘玻璃窗。

当游客靠近教堂时，他们立刻被它令人敬畏的气势所吸引。

Section 2: The Inside Beauty of Notre-DameStep inside Notre-Dame Cathedral, and you"ll be greeted by the breathtaking beauty that lies within.The vastness of the nave, the intricate patterns on the ribbed vaults, and the ethereal light filtering through the stained glass windows create an atmosphere of tranquility and awe.走进巴黎圣母院，你将被内部令人叹为观止的美丽所震撼。

主厅的辽阔、肋状拱顶上的复杂图案以及透过彩绘玻璃窗滤过的幽灵般的光线，营造出一种宁静和敬畏的氛围。

巴黎圣母院英文名句

Friendship is like brothers and sisters, like two souls, touching each other, but not together, and like two fingers on the hand.4、无法又无天，无家又无业，王不管，天不怜。

There is no law, no home and no job. No matter what the king does, heaven has no pity.5、人处于什么情况，都不如身上一文不名这样富于冒险精神。

People in any situation are not as adventurous as being penniless.6、小树往往辜负园丁的苦心，固执地朝空气和阳光的方向伸展。

Trees often fail to live up to the gardener's pains and stubbornly stretch in the direction of air and sunshine.7、安抚观众最好的办法，就是让他们知道戏即将开始。

英语六级必读美文：巴黎圣母院

英语六级必读美文：巴黎圣母院As a testament to the correlation between glorious spaces and heavenly thoughts, the Notre Dame de Paris has stood for 750 years as the apex of European religious architecture.作为荣光之地与神圣思想互相关联的证明，巴黎圣母院至今已有750年的历史了它是欧洲宗教建筑登峰造极之作。

Seeking to liberate their creation from the sepulchral atmos of the plague-ridden medieval era, the Notre Dame architects conceived of a design more spacious than that of their predecessors. New developments in arched doorways and supports allowed for thinner outer walls and larger windows, including the famous Rose Windows on thecathedrals north, south, and west sides.寻求把他们的创作从中世纪黑死病蔓延的死寂气氛中摆脱出来，圣母院的'建筑师们构思出比他们的前人更宽阔的设计。

而拱形门道和支柱的崭新设计，为较薄的外墙和较大的窗户，包括教堂北、南、西三面著名的蔷薇花瓣小圆窗的建造作了准备。

The west window is 9.75 meters in diameter and depicts the infant Jesus surrounded by 16 prophets, 32 0ld Testament kings, and 32 high priests, in concentric circles. With the added light and color provided by these windows, the architects created an ethereal ambience with structural integrity.西窗直径长9.75米，上面描绘了16位先知、旧约全书里的32位列王以及32位大祭司，他们呈同心圆围绕着襁褓中的耶稣。

巴黎圣母院英文片段节选

《巴黎圣母院》（Notre-Dame de Paris）是法国作家雨果的一部著名的历史小说，以中世纪的巴黎圣母院为背景，讲述了教堂钟楼上的驼背敲钟人卡西莫多、美丽的吉普赛女郎埃斯梅拉达、牧师克洛德·弗罗洛和骑士菲比斯·德·沙特尔之间的悲惨爱情故事。

这部小说描绘了中世纪巴黎的风貌和社会生活，展现了人性的光明与黑暗，反映了作者对自由、平等、人权的思想和情感。

这部小说被多次改编成电影、音乐剧、动画等形式，广受读者和观众的喜爱。

下面是这部小说的一些英文片段节选：•“Love is like a tree: it grows by itself, roots itself deeply in our being and continues to flourish over a heart in ruin. The inexplicable fact is thatthe blinder it is, the more tenacious it is. It is never stronger than whenit is completely unreasonable.”（爱情就像一棵树：它自己生长，深深地扎根在我们的内心，即使心灵遭到破坏也依然茁壮。

令人难以理解的事实是，它越是盲目，越是顽强。

它在完全不合理的时候，从来没有比这更强大。

）•“The cathedral was not only a company, it was a crowd.”（大教堂不仅是一座建筑，它是一群人。

）•“Great edifices, like great mountains, are the work of centuries. Art often undergoes a transformation while they are pending, pendentopera interrupta; they proceed quietly in accordance with thetransformed art. The new art takes the monument where it finds it,incrusts itself there, assimilates it to itself, develops it according to itsfancy, and finishes it if it c an.”（伟大的建筑物，就像伟大的山峰，都是几个世纪的作品。

《巴黎圣母院》好词好句

《巴黎圣母院》好词好句【名著简介】：巴黎圣母院(Notre-Dame de Paris，港译钟楼驼侠，台译钟楼怪人)是法国文学家维克多·雨果所著，于1831年1月14日初版的小说。

故事的场景设定在1482年的巴黎圣母院，内容环绕一名吉卜赛少女(爱斯美拉达)和由副主教(克诺德·弗罗洛)养大的圣母院驼背敲钟人(卡西莫多)。

此故事曾多次被改编成电影、电视剧及音乐剧。

好词：奋发向上茁壮成长三五成群热闹欢腾款款清歌光彩照人春色满园洒满阳光人声鼎沸书声琅琅热闹非凡垂柳依依林荫小道你追我赶欢声笑语环境幽雅清香四溢景色迷人眼花缭乱心醉神迷生机勃勃好句：1.他突然转身向着那吉卜西女郎，脸上带着难以描画的痛苦。

2.她刚才因为害怕而闭上的眼睛，又因为好奇而睁开了。

3.这一切都是如此迅速，假若是在黑夜，只要电光一闪便能全部看清楚了。

4.在他忍受着极大痛苦的这段时间里，他竟然没有产生过死的念头，这倒是一桩怪事。

不幸的人往往如此。

5.天空是一片白，河水是一片白，在这两片白色之间，他的眼睛盯着塞纳河的左岸。

那黑黑的一大片地方逐渐在视野中消失，好像一支黑箭钻进了天边的云雾里一样。

6.好像有一只看不见的手，把那长久将她的眼泪压制在心里的东西拿开了，她哭泣起来。

当她的眼泪流下来的时候，她觉得好像她最辛酸最沉重的痛苦也跟着眼泪流去了。

7.她亲眼看见那个流浪姑娘同那聋子之间的成千个小插曲，那些从远处看到并且由他的热情添了注解的哑剧。

8.保持健康的秘密就是适当的节制食物饮料睡眠和爱情。

9.人的心只容得下一定程度的绝望，海绵已经吸够了水，即使大海从它上面流过，也不能再给它增添一滴水了。

10.时间所给予它的，也许倒要比从它夺去的些。

11.加西莫成了的锺乐奏家。

12.他的性格使他有一套他的逻辑，就象我们的性格使我们有一套我们的逻辑一般。

13.一滴眼泪在的眼睛里滚动，却没有落下来，他好像努力在往肚里吞。

14.极端的痛苦，象极端的欢乐一样不会经久，因为它过于猛烈。

The Hunchback of Notre Dame (巴黎

⑥haggard
hag· gard /ˈhægəd US-ərd/ adj [Date: 1500-1600; Language: French; Origin: hagard 'wild'] someone who looks haggard has lines on their face and dark marks around their eyes, especially because they are ill, worried, or tired Sam looked tired and haggard. a haggard face
The Hunchback of Notre Dame （巴黎圣母院）
1、Author---Summer
Victor Hugo (Victor Hugo, 1802.2.26 ~ 1885.5.22)19 century Romantic literary movement leaders, representatives of humanitarian, had been referred to as "the Shakespeare of France." , novelist, and dramatist who was the most important of the French Romantic writers. Though regarded in France as one of that country's greatest poets, he is better known abroad for such novels as The Hunchback of Notre Dame (1831)
③exterior /ɪkst'ɪəriər/ (exteriors) 1 [N-COUNT] usu sing The exterior of something is its outside surface. In one ad the viewer scarcely sees the car's exterior... The exterior of the building was elegant and graceful. = outside 2 [N-COUNT] usu sing, usu with supp, oft poss N You can refer to someone's usual appearance or behaviour as their exterior, especially when it is very different from their real character. According to Mandy, Pat's tough exterior hides a shy and sensitive soul. = facade 3 [ADJ] ADJ n You use exterior to refer to the outside parts of something or things that are outside something. The exterior walls were made of pre-formed concrete. = outer, outside ④insatiable /ɪnˈse ɪʃəbəl/ adj [Date: 1400-1500; Language: Old French; Origin: Latin insatiabilis, from satiare 'to satisfy'] always wanting more and more of something insatiable appetite/desire/demand etc (for sth) his insatiable appetite for power our insatiable thirst for knowledge