乱世佳人简介及经典台词翻译-英文解读
《乱世佳人》经典台词
《乱世佳人》经典台词《乱世佳人》1.Cotton Fields called the Old South 人们称之为古老的南方……2.Age of Chivalry took its last bow 折射出骑士时代最后的光彩......3.Here was the last ever to be seen 这里有最后的骑士4.of knights and their Ladies Fair, 和他们的佳丽5.of Master and of Slaves 最后的奴隶主和奴隶.....6.Look for it only in books,for it 这一切只能在书中看到7.is no more than a dream remembered, 因为他们不过是记忆中的一场梦幻8.a Civilization gone with the wind... 一个业已随风而逝的文明……9.If I have to lie, steal, cheat or kill, as God as my witness, I’ll never be hungry again!即使让我撒谎,去偷,去骗,去杀人,上帝作证,我再也不要挨饿了。
10.Now I find myself in a world which for me is worse than death. A world in which there is no place for me.现在我发现自己活在一个比死还要痛苦的世界,一个无我容身之处的世界。
11.You’re throwing away happiness with both hands. And reaching out for something that will never make you happy.你把自己的幸福拱手相让,去追求一些根本不会让你幸福的东西。
12.Home. I’ll go home. And I’ll think of some way to get him back. After all, tomorrow is another day.家,我要回家.我要想办法让他回来.不管怎样,明天又是全新的一天。
电影《乱世佳人》 经典台词赏析
奥哈拉先生：你嫁给谁又有什么关系呢？只要他是南方人，并且和你合 得来。等我死了，我会把塔拉庄园留给你的。 斯佳丽：我不要塔拉庄园。农场又没什么用…… 奥哈拉先生：凯蒂·斯佳丽·奥哈拉，你是说，塔拉……这片土地对你没什 么用处？知道吗？土地是世界上惟一值得劳作、值得战斗、值得为它 而死的东西，因为它是惟一永存的。 斯佳丽：哦，爸爸，你说话的样子像个爱尔兰人。 奥哈拉先生：作为一名爱尔兰人，我很自豪。难道你忘记了，姑娘，你 也有一半是爱尔兰血统。对于那些身体中即使只流着一滴爱尔兰血液 的人来说，他们居住的土地就是他们的母亲
谢 谢！
影片的最后没有定论， 或许，也是在这儿片土地上，思嘉或许会和艾思礼 在一起， 也或许会和瑞得 ，因为他们俩在性格上是一类人 ，生活在一起会很 适合。 瑞德最后不也向往艾思礼和媚兰宽和理性，还有那片他说的优美平和的 世界吗 ？ 最后，红色土地，思嘉那种精神 ，才是最需要的， 没有它，一切都只不过 是幻想，永远是幻想！这种精神在思嘉身上 ，她无疑成为被塑造的首要人物 。 美好的梦谁都会有， 但现实却需要这种力量与精神去实现它！ 小说蕴涵了很多东西的 ，爱情故事是吸引人的 ，对爱情也有一些启迪。 更 深层的还有一些精神的东西，人类是斗争的 、变化的 、思考的动物，也正是有 了斗争、有了变化、有了思考，人类才在顽强不息中繁衍、生存！
电影《乱世佳人》
经典台词赏析
10新闻 陈应勇
影片介绍
《乱世佳人》（GONE WITH THE WIND）是好莱坞影史上最值得骄傲的一 部旷世巨片，影片放映时间长达4小时， 观者如潮。其魅力贯穿整个20世纪，因此 有好莱坞“第一巨片”之称。影片当年耗 资400多万美元，历时三年半完成，其间 数换导演，银幕上出现了60多位主要演员 和9000多名配角演员。在1939年的第12 届奥斯卡奖中一举夺得八项金像奖，轰动 美国影坛。这部耗资巨大，场景豪华，战 争场面宏大逼真的历史巨片，以它令人称 道的艺术成就成为美国电影史上一部经典 作品，令人百看不厌。
乱世佳人简介及经典台词翻译-英文解读PPT共27页
60、生活的道路一旦选定，就要勇敢地 走到底 ，决不 回头。 ——左
56、书不仅是生活，而且是现在、过 去和未 来文化 生活的 源泉。 ——库 法耶夫 57、生命不可能有两次，但许多人连一 次也不 善于度 过。— —吕凯 特 58、问渠哪得清如许，为有源头活水来 。—— 朱熹 59、我的努力求学没有得到别的好处， 只不过 是愈来 愈发觉 自己的 无知。 ——笛 卡儿
乱世佳人简介及经典台词翻译-英文解 读
11、用道德的示范来造就一个人，显然比用法律来约束他更有价值。—— 希腊
12、法律是无私的，对谁都一视同仁。在Hale Waihona Puke 件事上，她都不徇私情。—— 托马斯
13、公正的法律限制不了好的自由，因为好人不会去做法律不允许的事 情。——弗劳德
14、法律是为了保护无辜而制定的。——爱略特 15、像房子一样，法律和法律都是相互依存的。——伯克
乱世佳人剧本台词(中英文)-导游词模板
ROMAN HOLIDAY
TRANSCRIBED BY Graham (hepburn@)
(A newsreel begins:)ASH
(A mentator describes the newsreel showing Princess Ann at several ceremonies in various European locations.)
NEWSREEL
Paramount News brings you a special coverage of Princess Ann’s visit to London, the first stop on her much publicised goodwill tour of European capitals. She gets a royal wele from the British as thousands cheer the gracious young member of one of Europe’s oldest ruling families. After three days of continuous activity and a visit to Buckingham Palace, Ann flew to Amsterdam where Her Royal Highness dedicated the new International Aid Building and christened an ocean liner. Then went to Paris where she attended many official functions designed to cement trade relations between her country and the Western European nations. And so to Rome, the eternal city, where the Princess’ visit was marked by a spectacular military parade highlighted by the band of the crack Piersa Yeri Regiment. The smiling young Princess showed no sign of the strain of the week’s continuous public appearances. And at her country’s embassy that evening, a formal reception and ball in her honor was given by her country’s ambassador to Italy.
电影《乱世佳人》经典台词
电影《乱世佳人》经典台词《乱世佳人》是根据小说家玛格丽特·米切尔的小说《飘》改编的一部美国电影。
影片讲述美国南北战争期间郝思嘉与白瑞德的爱情故事。
今天店铺就给大家带来这一部著名小说电影里的经典台词，欢迎大家欣赏!电影《乱世佳人》经典台词nd is the only thing in the world worth working for, worth fighting for, worth dying for. Because it’s the only thing that lasts.土地是世界上唯一值得你去为之工作, 为之战斗, 为之牺牲的东西,因为它是唯一永恒的东西。
2.I wish I could be more like you.我要像你一样就好了。
3.Whatever comes, I’ll love you, just as I do now. Until I die.无论发生什么事,我都会像现在一样爱你,直到永远4.I think it’s hard winning a war with words.我认为纸上谈兵没什么作用。
5. Sir, you’re no gentleman. And you miss are no lady.先生,你可真不是个君子,小姐,你也不是什么淑女。
6.I never give anything without expecting something in return. I always get paid.我做任何事不过是为了有所回报,我总要得到报酬。
7.In spite of you and me and the whole silly world going to pieces around us, I love you.哪怕是世界末日我都会爱着你。
8.I love you more than I’ve ever loved any woman. And I’ve waited longer for you than I’ve waited for any woman.此句只可意会不可言传。
(乱世佳人)Gone_with_the_Wind_英文介绍及赏析
ARGARET ITCHELL WAS BORNlawyer and the president of the Atlanta Historical Society, and her mother was a suffragette (a woman in support of extending the right to vote, especially to women) and an advoc ate of women’s rights in general. Mitchell grew up listening to stories about Atlanta during the Civil War, stories often told by people who had lived through the war. Mitchell attended Smith College, a women’s college in Northampton, Massachusetts. In 1919, she returned to Atlanta and began to live a lifestyle considered wild by the standards of the 1920s. After a disastrous first marriage, Mitchell began a career as a journalist and married an advertising executive named John Robert Marsh. In 1926, encouraged by her husband, Mitchell began to write the novel that would become Gone with the Wind. She went through nine complete drafts of the thousand-page work, setting an epic romance against the Civil War background she knew so well. In the first ei ght drafts, the protagonist was called Prissy Hamilton, not Scarlett O’Hara (as the character was renamed in the final draft).Gone with the Wind differs from most Civil War novels by glorifying the South and demonizing the North. Other popular novels about the Civil War, such as Stephen Crane’s The Red Badge of Courage, are told from a Northern perspective and tend to exalt the North’s values. Mitchell’s novel is unique also for its portrayal of a strong-willed, independent woman, Scarlett O’Hara, who shares many characteristics with Mitchell herself. Mitchell frequently defied convention, divorcing her first husband and pursuing a career in journalism despite the disapproval of society.Gone with the Wind was published in 1936, ten years after Mitchell began writing it. A smash success upon publication, Gone with the Wind became—and remains even now—one of the best-selling novels of all time. It received the 1937 Pulitzer Prize. In the late 1930s a film version of the novel was planned, and David O. S elznick’s nationwide search for an actress to play Scarlett O’Hara captivated the nation’s attention. The resulting film starred Vivien Leigh and Clark Gable as Scarlett O’Hara and Rhett Butler, and it quickly became one of the most popular motion pictures of all time.Mitchell was less than thrilled by the sweeping popularity of her work. She found the spotlight uncomfortable and grew exhausted and ill. Gone with the Wind is her only novel, though she continued to write nonfiction. Mitchell volunteered extensively during World War II and seemed to regain her strength. In 1949 a car struck and killed Mitchell while she was crossing Peachtree Street in Atlanta.Many critics question the literary merit and outdated racial stances of Gone with the Wind. Some consider the novel fluffy, partly because women of Mitchell’s time rarely received credit for serious literary fiction and partly because the novel features a romance along with its historical plot. Both blacks and whites have harshly criticized Mitchell’s sympathetic depiction of slavery and the Ku Klux Klan and her racist depiction of blacks. The novel is most valuable ifread with an understanding of three historical contexts: our own, Mitchell’s, and Scarlett’s.Plot OverviewI T IS THE SPRING OF 1861.Scarlett O’Hara, a pretty Southern belle, lives on Tara, a large plantation in Georgia. She concerns herself only with her numerous suitors and her desire to marry Ashley Wilkes. One day she hears that Ashley is engaged to Melanie Hamilton, his frail, plain cousin from Atlanta. At a barbecue at the Wilkes plantation the next day, Scarlett confesses her feelings to Ashley. He tells her that he does love her but that he is marrying Melanie because she is similar to him, whereas he and Scarlett are very different. Scarlett slaps Ashley and he leaves the room. Suddenly Scarlett realizes that she is not alone. Rhett Butler, a scandalous but dashing adventurer, has been watching the whole scene, and he compliments Scarlett on being unladylike.The Civil War begins. Charles Hamilton, Melanie’s timid, dull brother, proposes to Scarlett. She spitefully agrees to marry him, hoping to hurt Ashley. Over the course of two months, Scarlett and Charles marry, Charles joins the army and dies of the measles, and Scarlett learns that she is pregnant. After Scarlett gives birth to a son, Wade, she becomes bored and unhappy. She makes a long trip to Atlanta to stay with Melanie and Melanie’s aun t, Pittypat. The busy city agrees with Scarlett’s temperament, and she begins to see a great deal of Rhett. Rhett infuriates Scarlett with his bluntness and mockery, but he also encourages her to flout the severely restrictive social requirements for mourning Southern widows. As the war progresses, food and clothing run scarce in Atlanta. Scarlett and Melanie fear for Ashley’s safety. After the bloody battle of Gettysburg, Ashley is captured and sent to prison, and the Yankee army begins bearing down on Atlanta. Scarlett desperately wants to return home to Tara, but she has promised Ashley she will stay with the pregnant Melanie, who could give birth at any time.On the night the Yankees capture Atlanta and set it afire, Melanie gives birth to her son, Beau. Rhett helps Scarlett and Melanie escape the Yankees, escorting them through the burning streets of the city, but he abandons them outside Atlanta so he can join the Confederate Army. Scarlett drives the cart all night and day through a dangerous forest full of deserters and soldiers, at last reaching Tara. She arrives to find that her mother, Ellen, is dead; her father, Gerald, has lost his mind; and the Yankee army has looted the plantation, leaving no food or cotton. Scavenging for subsistence, a furious Scarlett vows never to go hungry again.Scarlett takes charge of rebuilding Tara. She murders a Yankee thief and puts out a fire set by a spiteful Yankee soldier. At last the war ends, word comes that Ashley is free and on his way home, and a stream of returning soldiers begins pouring through Tara. One such soldier, a one-legged homeless Confederate named Will Benteen, stays on and helps Scarlett with the plantation. One day, Will brings terrible news: Jonas Wilkerson, a former employee at Tara and current government official, has raised the taxes on Tara, hoping to drive theO’Haras out so that he mig ht buy the plantation. Distraught, Scarlett hurries toAtlanta to seduce Rhett Butler so that he will give her the three hundred dollars she needs for taxes. Rhett has emerged from the war a fabulously wealthy man, dripping with earnings from his blockade-running operation and from food speculation. However, Rhett is in a Yankee jail and cannot help Scarlett. Scarlett sees her sister’s beau, Frank Kennedy, who now owns a general store, and forges a plan. Determined to save Tara, she betrays her sister and marries Frank, pays the taxes on Tara, and devotes herself to making Frank’s business more profitable.After Rhett blackmails his way out of prison, he lends Scarlett enough moneyto buy a sawmill. To the displeasure of Atlanta society, Scarlett becomes a shrewd businesswoman. Gerald dies, and Scarlett returns to Tara for the funeral. There, she persuades Ashley and Melanie to move to Atlanta and accept a share in her lumber business. Shortly thereafter, Scarlett gives birth to Frank’s child, Ella Lorena.A free black man and his white male companion attack Scarlett on her way home from the sawmill one day. That night, the Ku Klux Klan avenges the attack on Scarlett, and Frank ends up dead. Rhett proposes to Scarlett and she quickly accepts. After a long, luxurious honeymoon in New Orleans, Scarlett and Rhett return to Atlanta, where Scarlett builds a garish mansion and socializes with wealthy Yankees. Scarlett becomes pregnant again and has another child, Bonnie Blue Butler. Rhett dotes on the girl and begins a successful campaign to win back the good graces of the prominent Atlanta citizens in order to keep Bonnie from being an outcast like Scarlett.Scarlett and Rhett’s marriage begins happily, but Rhett becomes increasingly bitter and indifferent toward her. Scarlett’s feelings for Ashley have diminished into a warm, sympathetic friendship, but Ashley’s jea lous sister, India, finds them in a friendly embrace and spreads the rumor that they are having an affair. To Scarlett’s surprise, Melanie takes Scarlett’s side and refuses to believe the rumors.After Bonnie is killed in a horse-riding accident, Rhett nearly loses his mind, and his marriage with Scarlett worsens. Not long after the funeral, Melanie has a miscarriage and falls very ill. Distraught, Scarlett hurries to see her. Melanie makes Scarlett promise to look after Ashley and Beau. Scarlett realizes that she loves and depends on Melanie and that Ashley has been only a fantasy for her. She concludes that she truly loves Rhett. After Melanie dies, Scarlett hurries to tell Rhett of her revelation. Rhett, however, says that he has lost his love for Scarlett, and he leaves her. Grief-stricken and alone, Scarlett makes up her mind to go back to Tara to recover her strength in the comforting arms of her childhood nurse and slave, Mammy, and to think of a way to win Rhett back. Character ListScarlett O’Hara - The novel’s protagonist. Scarlett is a pretty, coquettish Southern belle who grows up on the Georgia plantation of Tara in the years before the Civil War. Selfish, shrewd, and vain, Scarlett inherits the strong will of her father, Gerald, but also desires to please her well-bred, genteel mother, Ellen. When hardships plague Scarlett, she shoulders the troubles of her family andfriends. Scarlett’s simultaneous desire for the Southern gentleman Ashley andthe opportunistic New Southerner Rhett Butler parallels the South’s struggle to cling to tradition and still survive in the new era.Scarlett O’Hara (In-Depth Analysis)Rhett Butler - Scarlett’s third husband, and a dashing, dangerous adventurer and scoundrel. Expelled from West Point and disowned by his prominent Charleston family, Rhett becomes an opportunistic blockade-runner during the war, emerging as one of the only rich Southern men in Atlanta after the war. Rhett proves himself a loving father and, at times, a caring husband. Though he loves Scarlett, his pride prevents him from showing her his love, and it even leads him to brutality. Candid, humorous, and contemptuous of silly social codes, Rhett exposes hypocrisy wherever he goes. He represents postwar society, a pragmatic, fast-paced world in which the strong thrive and the weak perish.Rhett Butler (In-Depth Analysis)Ashley Wilkes - The handsome, chivalrous, and honorable heir to the Twelve Oaks plantation near Tara. Ashley bewitches Scarlett through most of the novel. After the war, Ashley becomes resigned and sad, and he regrets not marrying Scarlett. Committed to his honor and Southern tradition, he cannot adjust to the postwar South. Ashley represents the values and nostalgia of the Old South.Ashley Wilkes (In-Depth Analysis)Melanie Hamilton Wilkes - The frail, good-hearted wife of Ashley Wilkes. Melanie provokes Scarlett’s jealous hatred throughout most of the novel. After the two women suffer together through the Civil War, however, a strong bond forms between them. Eventually, Scarlett understands that Melanie’s unflagging love and support has been a source of strength for her. Like Ashley, Melanie embodies the values of the Old South, but in contrast to Ashley’s futile dreaming, Melanie faces the world with quiet but powerful inner strength.Gerald O’Hara - Scarlett’s father. Gerald is a passionately loyal Confederate who immigrated to America from Ireland as a young man. His strong will, tendency to drink, and selfishness echo in Sca rlett’s nature. Scarlett also inherits Gerald’s love for the South and for his plantation, Tara.Ellen O’Hara - Scarlett’s mother, and a descendent of the aristocratic Robillard family. Ellen marries Gerald and devotes herself to running Tara after her father forbids her love affair with Philippe, her cousin. Refined and compassionate, strong and firm, Ellen serves as an impossible ideal for the willful Scarlett. Even after Ellen’s death, Scarlett struggles with the competing desires to please her mother and please herselfMammy - Scarlett’s childhood nurse. Mammy is an old, heavyset slave who was also nurse to Scarlett’s mother, Ellen. Loyal and well-versed in Southern etiquette, Mammy keeps Scarlett in line. After Ellen’s death, Mammy becomesfor Scarlett one of the only living reminders of the Old South.Frank Kennedy - Scarlett’s weak-willed but kind second husband. Frank is described as an ―old maid in britches.‖ Scarlett steals him away from her sister Suellen so that he will pay the taxes necessary to save Tara.Charles Hamilton - Melanie’s brother and Scarlett’s first husband. Charles is a timid and bland boy for whom Scarlett feels no love. Charles’s death early in the war confines Scarlett to the role of widow. Scarlett finds the social expectations surrounding widowhood—that she wear a black veil, for example, and refrain from laughter and pleasure—overly restrictive.Aunt Pittypat Hamilton - Melanie and Charles Hamilton’s aunt. Aunt Pittypat is a flighty old maid who faints from shock several times a day. Scarlett lives with Aunt Pittypat for much of her stay in Atlanta.Bonnie Blue Butler - Scarlett’s third and last child. Bonnie is the daughter of Rhett Butler. Spoiled and strong-willed like her mother, Bonnie elicits utter devotion from Rhett and eventually replaces Scarlett as the center of Rhett’s attention.Suellen O’Hara - Scarlett’s younger sister. Suellen is a selfish, petty girl who marries Will Benteen after Scarlett steals Frank from her.Carreen O’Hara - Scarlett’s youngest sister. Carreen is a good-natured girl who turns to religion after the war and joins a convent.India Wilkes - Ashley’s cold and jealous sister. India never forgives Scarlett for stealing Stuart Tarleton from her during their youth. At one point India catches Scarlett embracing Ashley and gossips about the sight, causing a great debate among all of Atlanta society.Big Sam - The gigantic slave and foreman of the field hands at Tara. Big Sam saves Scarlett from her attacker in Shantytown.Pork - Gerald O’Hara’s first slave. Pork is loyal and devoted to the O’Haras. Prissy - The daughter of Dilcey, a slave at Twelve Oaks. Prissy is a foolish, lazy young slave prone to telling lies. The late discovery of Prissy’s lie that she knows how to assist at childb irth compels Scarlett to deliver Melanie’s baby herself, which is one of Scarlett’s first significant acts of self-sufficiency.Emmie Slattery - A young woman whose poor white family lives in the swamp bottom near Tara. Emmie is considered ―white trash,‖and Scarlett’s class-conscious, genteel society dislikes Emmie, as does the narrator.Jonas Wilkerson - The Yankee overseer of Tara whom Gerald fires for impregnating Emmie Slattery. Jonas works for the Freedmen’s Bureau after the war and marries Emmie. He raises taxes on Tara to try to force out the O’Haras, prompting Scarlett’s marriage to Frank Kennedy.Belle Watling - An Atlanta prostitute with whom Rhett Butler has along-term affair. She wins the gratitude of the Atlanta Ku Klux Klan by providing them with an alibi for a murder.Will Benteen - A one-legged Confederate soldier who becomes a fixture at Tara after the war despite his lack of family or wealth. Will makes Tara a marginally profitable farm. His competence allows Scarlett to move to Atlanta and leave him in charge.Wade Hampton Hamilton - Scarlett’s oldest child. The son of Charles Hamilton, Wade inherits his father’s timid and bland disposition.Ella Lorena Kennedy - Scarlett’s second child. Ella Lorena is the ugly, silly daughter of Frank Kennedy.Analysis of Major CharactersScarlett O’HaraThe protagonist of Gone with the Wind, Scarlett is a dark-haired, green-eyed Georgia belle who struggles through the hardships of the Civil War and Reconstruction. Scarlett exhibits more of her fat her’s hard-headedness than her mother’s refined Southern manners. Although initially she tries to behave prettily, her instincts rise up against social restrictions. Determination defines Scarlett and drives her to achieve everything she desires by any means necessary. This determination first manifests itself in her narcissistic and sometimes backstabbing efforts to excite the admiration of every young man in the neighborhood. Later, under threat of starvation and even death, she is determined to survive and does so by picking cotton, running her entire plantation, forging a successful business, and even killing a man.Scarlett also aims to win Ashley Wilkes, and her failure to do so guides the plot of the novel. Ashley’s marriage to Melanie Hamilton and re jection of Scarlett drive nearly all of Scarlett’s important subsequent decisions. Scarlett marries Charles Hamilton to hurt Ashley, stays by Melanie’s side through the war because she promises Ashley she will, and loses her true love, Rhett Butler, because of her persistent desire to win Ashley. Scarlett possesses remarkable talent for business and leadership. She recovers her father’s plantation, Tara, after the war leaves it decimated, and she achieves great success with her sawmill in Atlanta. Despite her sharp intelligence, however, she has almost no ability to understand the motivations and feelings of herself or others. Scarlett lives her life rationally: she decides what constitutes success, finds the most effective means to succeed, and does not consider concepts like honor and kindness. She often professes to see no other choices than the ones she makes.Scarlett’s development precisely mirrors the development of the South. She changes from spoiled teenager to hard-working widow to wealthy opportunist, reflecting the South’s change from leisure society to besieged nation to compromised survivor. Scarlett embodies both Old and New South. She clings to Ashley, who symbolizes the idealized lost world of chivalry and manners, but she adapts wonderfully to the harsh and opportunistic world of the New South, ultimately clinging to dangerous Rhett, who, like Scarlett, symbolizes the combination of old and new.Rhett ButlerDark, dashing, and scandalous, Rhett Butler brings excitement to Scarlett’s life and encourages her impulse to change and succeed. Thrown out of both West Point and his aristocratic Charleston family for dishonorable behavior, Rhett, like Scarlett, goes after what he wants and refuses to take ‘no’ for an answer. He earns his fortune throug h professional gambling, wartime blockade-running, and food speculation, behavior that earns him the contempt and even hatred of what he terms the Old Guard—the old Southern aristocracy. Rhett sees through hypocrisy and self-delusion, horrifying people by cutting down their egos and illusions with agility and pleasure.Whereas Ashley cannot face reality and change, Rhett thrives on both. Because of his opportunism, Rhett symbolizes the New South. However, as the novel progresses, we see that Rhett does care about the Old South. At two critical points in the novel, Rhett abandons Scarlett to commit himself to the Old South. First, he leaves Scarlett in hostile territory and joins the Confederate army. Second, at the end of the novel he leaves Scarlett and goes in search of remnants of the Old South. This sentimentality complicates Rhett’s character and reveals that he is partially motivated by emotion. Ultimately, Rhett symbolizes pragmatism, the practical acceptance of the reality that the South must face in order to survive in a changed world. He understands that the U.S. government has overhauled the Southern economy and that the old way of life is gone forever. He adapts to the situation masterfully, but he does not fully abandon the idealized Southern past. Rhett falls in love with Scarlett, but, despite their eventual marriage, their relationship never succeeds because of Scarlett’s obsession with Ashley and Rhett’s reluctance to express his feelings. Because Rhett knows that Scarlett scorns men she can win easily, Rhett refuses to show her she was won him. He mocks her, argues with her, and eventually resorts to cruelty and indifference in order to win her. But his fondness for her is evident in his support of her, as he encourages her to shun social customs and gives her money to start her own business.Ashley WilkesBlond, dreamy, and honorable, Ashley Wilkes is the foil to Rhett’s dark, realistic opportunism. Ashley courts Scarlett but marries Melanie Hamilton, thus setting in motion Scarlett’s centra l conflict. Ashley is the perfect prewar Southern gentleman: he excels at hunting and riding, takes pleasure in the arts, and comes from an excellent family. Scarlett’s idealization of Ashley slowly fades as time goes on, and she finally sees that the Ashley she loves is not a real man but a man embellished and adorned by her imagination. Ashley admits to his love for Scarlett, but as a gentleman he ignores this love in order to marry Melanie, the more socially appropriate match for him. He excels at battle despite his doubts about the Southern cause. As the novel progresses, though, Ashley displays signs of weakness and incompetence. After the war he is worthless on the plantation and cannot adjust to the new world. Whereas Rhett and Scarlett survive by sacrificing their commitment to tradition, Ashley cannot or will not allow himself to thrive in a changed society. He sinks even lower as he sacrifices his honor—the only thing he still values in himself—by accepting charity from Scarlett in the form of a share in her mill and by kissing her twice.Ashley represents the Old South and Southern nostalgia for the prewar days. He epitomizes the old lifestyle and cannot function in the New South that emerges during and after the war. Scarlett clings to him like many Southerners cling to dreams of their old lives, but her eventual recognition of Ashley’s weakness and incompetence enables her to see that dreaming of a lost world makes one weak.Themes, Motifs & SymbolsThemesThemes are the fundamental and often universal ideas explored in a literary work.The Transformation of Southern CultureGone with the Wind is both a romance and a meditation on the changes that swept the American South in the 1860s. The novel begins in 1861, in the days before the Civil War, and ends in 1871, after the Democrats regain power in Georgia. The South changes completely during the intervening years, and Mitchell’s novel illustrates the struggles of the Southern people who live through the Civil War era.The novel opens in prewar Georgia, where tradition, chivalry, and pride thrive. As the Civil War begins, the setting shifts to Atlanta, where the war causes the breakdown of traditional gender roles and power structures. When the South loses the war and the slaves are freed, putting a stop to the Southern way of life, the internal conflict intensifies. White men fear black men, Southerners hate profiteering or domineering Northerners, and impoverished aristocrats resent the newly rich. Mitchell’s main characters embody the conflicting impulses of the South. Ashley stands for the Old South; nostalgic and unable to change, he weakens and fades. Rhett, on the other hand, opportunistic and realistic, thrives by planting one foot in the Old South and one foot in the New, sometimes even defending the Yankees.Overcoming Adversity with WillpowerScarlett manages to overcome adversity through brute strength of will. She emerges as a feminist heroine because she relies on herself alone and survives the Civil War and Reconstruction unaided. She rebuilds Tara after the Yankee invasion and works her way up in the new political order, taking care of helpless family members and friends along the way. Mitchell suggests that overcoming adversity sometimes requires ruthlessness. Scarlett becomes a cruel businesswoman and a domineering wife, willingly coarsening herself in order to succeed. Other characters succeed by exercising willpower, among them Old Miss Fontaine, who watched Indians scalp her entire family as a child and then gritted her teeth and worked to raise her own family and run a plantation. Rhett Butler also wills his way to success, although he covers up his bullheaded willpower with a layer of ease and carelessness.The Importance of LandIn Chapter II, Gerald tells Scarlett that ―[l]and is the only thing in the world that amounts to anything.‖ At critical junctures Scarlett usually remembers that land, specifically Tara, is the only thing that matters to her. When Scarlett escapes to Tara from Atlanta during the war, she lies sick and weak in the garden at neighboring Twelve Oaks and the earth feels ―soft and comfortable as a pillow‖ against her cheek. After feeling the comfort of the land, she resolves to look forward and continue the struggle with newfound vigor. Scarlett prizes land even over love. When Ashley rejects Scarlett’s proposed affair, he gives her a clump of Tara’s dirt and reminds her that she loves Tara more than she loves him. Feeling the dirt in her hand, Scarlett realizes that Ashley is right. At the end of the novel, when all else is lost, Scarlett thinks of Tara and finds strength and comfort in its enduring presence.MotifsMotifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.Female Intelligence and CapabilityDespite the severe gender inequality of their time, women in Gone with the Wind show strength and intelligence that equals or bests the strength and intelligence of men. Scarlett is cunning, and manipulates men with ease. She runs Tara when her father falls ill, and eventually realizes that she has a better head for business than most men. She becomes a very successful mill owner, running every aspect of the business and putting her weak, incompetent husband to shame. Melanie, although she is a subdued figure, exhibits increasing strength as the novel progresses, and she eventually emerges as the novel’s strongest female character. She provides much of Scarlett’s strength, although Scarlett realizes this only at the end of the novel. Melanie also protects Ashley from the world he cannot face. Despite her humble means, she single-handedly facilitates the restoration of Atlanta society. Old Miss Fontaine and Ellen also demonstrate strength and intelligence. Both women act as head of the family, and the narrator describes Ellen as the true mind and strength behind Tara.Alcohol AbuseAlcohol abuse occurs throughout the novel, as Gerald, Scarlett, and Rhett all rely heavily on drinking. Characters use alcohol to cope with stress, but when they abuse alcohol, disaster ensues. Drinking is partly responsible for Gerald’s death: he rides his horse while drunk, misses a jump, and is thrown to his death. Mitchell suggests that Scarlett cheapens herself unnecessarily by drinking. Gerald disapproves of her drinking, which begins only after she escapes Atlanta, because ladies never drink liquor in polite Southern society. Scarlett continues to drink at Tara whenever she feels overworked or troubled, and she brings her habit to Atlanta when she moves back. Rhet t’s drinking reveals his insecurity, a disaster for Rhett since he is obsessed with mastery and self-sufficiency. Rhett begins to drink heavily as his relationship with Scarlett deteriorates, and he drinks even more when their daughter, Bonnie, dies.ProstitutionProstitution threatens and embarrasses the characters, but it alsointrigues them. Scarlett first sees a prostitute in Atlanta and is instantly fascinated. The woman she sees is Belle Watling, and the fascination she feels persists throughout the novel. Belle is an exaggerated version of Scarlett, which perhaps explains Scarlett’s interest in her. Both women ignore social mandates, manipulate and seduce men, and trade sex for money. Scarlett offers to prostitute herself to Rhett in order to get money for taxes, putting herself in Belle’s moral camp. If Scarlett can be read as a high-class prostitute, Belle can be read as alow-class aristocrat. Belle has the ideal aristocrat’s impulse to help the needy; she saves Atlanta’s Ku Klux Klan members fr om prosecution by providing an alibi for them. Mitchell depicts Belle as human and generous and perhaps morally superior to the ruthless Scarlett she resembles.Symbols。
乱世佳人简介及经典台词翻译-英文解读
Author Margaret Munnerlyn Mitchell
Margaret Munnerlyn Mitchell (November 8, 1900 – August 16, 1949) was an American author and journalist. One novel by
思嘉：你凭什么让我不要说？你骗我，让我相信你想娶我
参考译文：希礼：请你不要这样说媚兰。 思嘉：你是谁，敢命令我？你骗我，让我相信你会娶我。
SCARLETT: Sir, you are no gentleman. RHETT: And you miss are no lady. Don‘t think that I hold that against you. Ladies have never held any charm for me. 翻译：思嘉：先生，你真不绅士
“mealy-mouthed”词典中的解释是说话拐弯抹角的不直率的，我翻译为 不会说话的，意思是像梅兰一样只会说是和不是，而参考译文中翻译为唇 青齿白的，感觉更符合语境，表明那些孩子会有多木讷。
ASHLEY: You mustn‘t say things like that about Melanie. SCARLETT: Who are you to tell me I mustn‘t? You led me on, you made me believe you wanted to marry me! 翻译：希礼：不要这样说梅兰
Margaret Mitchell began writing Gone with the Wind in 1926 to pass the time while recovering from an auto-crash injury that refused to heal. In April 1935, Harold Latham of Macmillan, an editor who was looking for new fiction, read what she had written and saw that it could be a best-seller. After Latham agreed to publish the book, Mitchell worked for another six months checking the historical references, and rewrote the opening chapter several times. Mitchell and her husband John Marsh, a copy editor by trade, edited the final version of the novel. Mitchell wrote the book's final moments first, and then wrote the events that led up to it. As to what became of her star-crossed lovers, Rhett and Scarlett, after the novel ended, Mitchell did not know, and said, "For all I know, Rhett may have found someone else who was less difficult." Gone with the Wind is the only novel by Mitchell published during her lifetime
乱世佳人经典英文台词
乱世佳人经典英文台词我要像你一样就好了。
I wish I could be like you.土地是世界上唯一值得你去为之工作，为之战斗，为之牺牲的东西，因为它是唯一永恒的东西。
Land is the only thing in the world worth working for, worth fighting for, worth dying for. Because it's the only thing that lasts.但是有一件事我明确地知道，那就是我爱你，斯卡莉。
哪怕是世界末日，我还是爱你。
But there is one thing I do know, that is I love you, Carly. Even if it is the end of the world, I still love you.上帝给我作证!上帝给我作证!他们休想打垮我!我一定要度过难关，之后我绝不再忍饥挨饿，包括我的亲人!我不惜为此去撒谎、偷窃、欺骗或者杀人!上帝给我作证!我决不再忍饥挨饿!God give me a witness! God give me a witness! They can't beat me! I'mgoing to live through this, then I will never go hungry, including my family!I'm willing to lie, steal, cheat or kill! God give me a witness! I 'll neverbe hungry again!花瓶碎了，怎么补裂痕都在。
Vase broken, how to fill the cracks are in the.我不要一个人去南洋，我的梦想是和重阳一起去南洋!I don't want a person to Nanyang, my dream is to go to the Nanyang and chongyang!你把自己的幸福拱手相让，去追求一些根本不会让你幸福的东西。
(乱世佳人)Gone_with_the_Wind_英文介绍及赏析
ARGARET ITCHELL WAS BORNlawyer and the president of the Atlanta Historical Society, and her mother was a suffragette (a woman in support of extending the right to vote, especially to women) and an advoc ate of women’s rights in general. Mitchell grew up listening to stories about Atlanta during the Civil War, stories often told by people who had lived through the war. Mitchell attended Smith College, a women’s college in Northampton, Massachusetts. In 1919, she returned to Atlanta and began to live a lifestyle considered wild by the standards of the 1920s. After a disastrous first marriage, Mitchell began a career as a journalist and married an advertising executive named John Robert Marsh. In 1926, encouraged by her husband, Mitchell began to write the novel that would become Gone with the Wind. She went through nine complete drafts of the thousand-page work, setting an epic romance against the Civil War background she knew so well. In the first ei ght drafts, the protagonist was called Prissy Hamilton, not Scarlett O’Hara (as the character was renamed in the final draft).Gone with the Wind differs from most Civil War novels by glorifying the South and demonizing the North. Other popular novels about the Civil War, such as Stephen Crane’s The Red Badge of Courage, are told from a Northern perspective and tend to exalt the North’s values. Mitchell’s novel is unique also for its portrayal of a strong-willed, independent woman, Scarlett O’Hara, who shares many characteristics with Mitchell herself. Mitchell frequently defied convention, divorcing her first husband and pursuing a career in journalism despite the disapproval of society.Gone with the Wind was published in 1936, ten years after Mitchell began writing it. A smash success upon publication, Gone with the Wind became—and remains even now—one of the best-selling novels of all time. It received the 1937 Pulitzer Prize. In the late 1930s a film version of the novel was planned, and David O. S elznick’s nationwide search for an actress to play Scarlett O’Hara captivated the nation’s attention. The resulting film starred Vivien Leigh and Clark Gable as Scarlett O’Hara and Rhett Butler, and it quickly became one of the most popular motion pictures of all time.Mitchell was less than thrilled by the sweeping popularity of her work. She found the spotlight uncomfortable and grew exhausted and ill. Gone with the Wind is her only novel, though she continued to write nonfiction. Mitchell volunteered extensively during World War II and seemed to regain her strength. In 1949 a car struck and killed Mitchell while she was crossing Peachtree Street in Atlanta.Many critics question the literary merit and outdated racial stances of Gone with the Wind. Some consider the novel fluffy, partly because women of Mitchell’s time rarely received credit for serious literary fiction and partly because the novel features a romance along with its historical plot. Both blacks and whites have harshly criticized Mitchell’s sympathetic depiction of slavery and the Ku Klux Klan and her racist depiction of blacks. The novel is most valuable ifread with an understanding of three historical contexts: our own, Mitchell’s, and Scarlett’s.Plot OverviewI T IS THE SPRING OF 1861.Scarlett O’Hara, a pretty Southern belle, lives on Tara, a large plantation in Georgia. She concerns herself only with her numerous suitors and her desire to marry Ashley Wilkes. One day she hears that Ashley is engaged to Melanie Hamilton, his frail, plain cousin from Atlanta. At a barbecue at the Wilkes plantation the next day, Scarlett confesses her feelings to Ashley. He tells her that he does love her but that he is marrying Melanie because she is similar to him, whereas he and Scarlett are very different. Scarlett slaps Ashley and he leaves the room. Suddenly Scarlett realizes that she is not alone. Rhett Butler, a scandalous but dashing adventurer, has been watching the whole scene, and he compliments Scarlett on being unladylike.The Civil War begins. Charles Hamilton, Melanie’s timid, dull brother, proposes to Scarlett. She spitefully agrees to marry him, hoping to hurt Ashley. Over the course of two months, Scarlett and Charles marry, Charles joins the army and dies of the measles, and Scarlett learns that she is pregnant. After Scarlett gives birth to a son, Wade, she becomes bored and unhappy. She makes a long trip to Atlanta to stay with Melanie and Melanie’s aun t, Pittypat. The busy city agrees with Scarlett’s temperament, and she begins to see a great deal of Rhett. Rhett infuriates Scarlett with his bluntness and mockery, but he also encourages her to flout the severely restrictive social requirements for mourning Southern widows. As the war progresses, food and clothing run scarce in Atlanta. Scarlett and Melanie fear for Ashley’s safety. After the bloody battle of Gettysburg, Ashley is captured and sent to prison, and the Yankee army begins bearing down on Atlanta. Scarlett desperately wants to return home to Tara, but she has promised Ashley she will stay with the pregnant Melanie, who could give birth at any time.On the night the Yankees capture Atlanta and set it afire, Melanie gives birth to her son, Beau. Rhett helps Scarlett and Melanie escape the Yankees, escorting them through the burning streets of the city, but he abandons them outside Atlanta so he can join the Confederate Army. Scarlett drives the cart all night and day through a dangerous forest full of deserters and soldiers, at last reaching Tara. She arrives to find that her mother, Ellen, is dead; her father, Gerald, has lost his mind; and the Yankee army has looted the plantation, leaving no food or cotton. Scavenging for subsistence, a furious Scarlett vows never to go hungry again.Scarlett takes charge of rebuilding Tara. She murders a Yankee thief and puts out a fire set by a spiteful Yankee soldier. At last the war ends, word comes that Ashley is free and on his way home, and a stream of returning soldiers begins pouring through Tara. One such soldier, a one-legged homeless Confederate named Will Benteen, stays on and helps Scarlett with the plantation. One day, Will brings terrible news: Jonas Wilkerson, a former employee at Tara and current government official, has raised the taxes on Tara, hoping to drive theO’Haras out so that he mig ht buy the plantation. Distraught, Scarlett hurries toAtlanta to seduce Rhett Butler so that he will give her the three hundred dollars she needs for taxes. Rhett has emerged from the war a fabulously wealthy man, dripping with earnings from his blockade-running operation and from food speculation. However, Rhett is in a Yankee jail and cannot help Scarlett. Scarlett sees her sister’s beau, Frank Kennedy, who now owns a general store, and forges a plan. Determined to save Tara, she betrays her sister and marries Frank, pays the taxes on Tara, and devotes herself to making Frank’s business more profitable.After Rhett blackmails his way out of prison, he lends Scarlett enough moneyto buy a sawmill. To the displeasure of Atlanta society, Scarlett becomes a shrewd businesswoman. Gerald dies, and Scarlett returns to Tara for the funeral. There, she persuades Ashley and Melanie to move to Atlanta and accept a share in her lumber business. Shortly thereafter, Scarlett gives birth to Frank’s child, Ella Lorena.A free black man and his white male companion attack Scarlett on her way home from the sawmill one day. That night, the Ku Klux Klan avenges the attack on Scarlett, and Frank ends up dead. Rhett proposes to Scarlett and she quickly accepts. After a long, luxurious honeymoon in New Orleans, Scarlett and Rhett return to Atlanta, where Scarlett builds a garish mansion and socializes with wealthy Yankees. Scarlett becomes pregnant again and has another child, Bonnie Blue Butler. Rhett dotes on the girl and begins a successful campaign to win back the good graces of the prominent Atlanta citizens in order to keep Bonnie from being an outcast like Scarlett.Scarlett and Rhett’s marriage begins happily, but Rhett becomes increasingly bitter and indifferent toward her. Scarlett’s feelings for Ashley have diminished into a warm, sympathetic friendship, but Ashley’s jea lous sister, India, finds them in a friendly embrace and spreads the rumor that they are having an affair. To Scarlett’s surprise, Melanie takes Scarlett’s side and refuses to believe the rumors.After Bonnie is killed in a horse-riding accident, Rhett nearly loses his mind, and his marriage with Scarlett worsens. Not long after the funeral, Melanie has a miscarriage and falls very ill. Distraught, Scarlett hurries to see her. Melanie makes Scarlett promise to look after Ashley and Beau. Scarlett realizes that she loves and depends on Melanie and that Ashley has been only a fantasy for her. She concludes that she truly loves Rhett. After Melanie dies, Scarlett hurries to tell Rhett of her revelation. Rhett, however, says that he has lost his love for Scarlett, and he leaves her. Grief-stricken and alone, Scarlett makes up her mind to go back to Tara to recover her strength in the comforting arms of her childhood nurse and slave, Mammy, and to think of a way to win Rhett back. Character ListScarlett O’Hara - The novel’s protagonist. Scarlett is a pretty, coquettish Southern belle who grows up on the Georgia plantation of Tara in the years before the Civil War. Selfish, shrewd, and vain, Scarlett inherits the strong will of her father, Gerald, but also desires to please her well-bred, genteel mother, Ellen. When hardships plague Scarlett, she shoulders the troubles of her family andfriends. Scarlett’s simultaneous desire for the Southern gentleman Ashley andthe opportunistic New Southerner Rhett Butler parallels the South’s struggle to cling to tradition and still survive in the new era.Scarlett O’Hara (In-Depth Analysis)Rhett Butler - Scarlett’s third husband, and a dashing, dangerous adventurer and scoundrel. Expelled from West Point and disowned by his prominent Charleston family, Rhett becomes an opportunistic blockade-runner during the war, emerging as one of the only rich Southern men in Atlanta after the war. Rhett proves himself a loving father and, at times, a caring husband. Though he loves Scarlett, his pride prevents him from showing her his love, and it even leads him to brutality. Candid, humorous, and contemptuous of silly social codes, Rhett exposes hypocrisy wherever he goes. He represents postwar society, a pragmatic, fast-paced world in which the strong thrive and the weak perish.Rhett Butler (In-Depth Analysis)Ashley Wilkes - The handsome, chivalrous, and honorable heir to the Twelve Oaks plantation near Tara. Ashley bewitches Scarlett through most of the novel. After the war, Ashley becomes resigned and sad, and he regrets not marrying Scarlett. Committed to his honor and Southern tradition, he cannot adjust to the postwar South. Ashley represents the values and nostalgia of the Old South.Ashley Wilkes (In-Depth Analysis)Melanie Hamilton Wilkes - The frail, good-hearted wife of Ashley Wilkes. Melanie provokes Scarlett’s jealous hatred throughout most of the novel. After the two women suffer together through the Civil War, however, a strong bond forms between them. Eventually, Scarlett understands that Melanie’s unflagging love and support has been a source of strength for her. Like Ashley, Melanie embodies the values of the Old South, but in contrast to Ashley’s futile dreaming, Melanie faces the world with quiet but powerful inner strength.Gerald O’Hara - Scarlett’s father. Gerald is a passionately loyal Confederate who immigrated to America from Ireland as a young man. His strong will, tendency to drink, and selfishness echo in Sca rlett’s nature. Scarlett also inherits Gerald’s love for the South and for his plantation, Tara.Ellen O’Hara - Scarlett’s mother, and a descendent of the aristocratic Robillard family. Ellen marries Gerald and devotes herself to running Tara after her father forbids her love affair with Philippe, her cousin. Refined and compassionate, strong and firm, Ellen serves as an impossible ideal for the willful Scarlett. Even after Ellen’s death, Scarlett struggles with the competing desires to please her mother and please herselfMammy - Scarlett’s childhood nurse. Mammy is an old, heavyset slave who was also nurse to Scarlett’s mother, Ellen. Loyal and well-versed in Southern etiquette, Mammy keeps Scarlett in line. After Ellen’s death, Mammy becomesfor Scarlett one of the only living reminders of the Old South.Frank Kennedy - Scarlett’s weak-willed but kind second husband. Frank is described as an ―old maid in britches.‖ Scarlett steals him away from her sister Suellen so that he will pay the taxes necessary to save Tara.Charles Hamilton - Melanie’s brother and Scarlett’s first husband. Charles is a timid and bland boy for whom Scarlett feels no love. Charles’s death early in the war confines Scarlett to the role of widow. Scarlett finds the social expectations surrounding widowhood—that she wear a black veil, for example, and refrain from laughter and pleasure—overly restrictive.Aunt Pittypat Hamilton - Melanie and Charles Hamilton’s aunt. Aunt Pittypat is a flighty old maid who faints from shock several times a day. Scarlett lives with Aunt Pittypat for much of her stay in Atlanta.Bonnie Blue Butler - Scarlett’s third and last child. Bonnie is the daughter of Rhett Butler. Spoiled and strong-willed like her mother, Bonnie elicits utter devotion from Rhett and eventually replaces Scarlett as the center of Rhett’s attention.Suellen O’Hara - Scarlett’s younger sister. Suellen is a selfish, petty girl who marries Will Benteen after Scarlett steals Frank from her.Carreen O’Hara - Scarlett’s youngest sister. Carreen is a good-natured girl who turns to religion after the war and joins a convent.India Wilkes - Ashley’s cold and jealous sister. India never forgives Scarlett for stealing Stuart Tarleton from her during their youth. At one point India catches Scarlett embracing Ashley and gossips about the sight, causing a great debate among all of Atlanta society.Big Sam - The gigantic slave and foreman of the field hands at Tara. Big Sam saves Scarlett from her attacker in Shantytown.Pork - Gerald O’Hara’s first slave. Pork is loyal and devoted to the O’Haras. Prissy - The daughter of Dilcey, a slave at Twelve Oaks. Prissy is a foolish, lazy young slave prone to telling lies. The late discovery of Prissy’s lie that she knows how to assist at childb irth compels Scarlett to deliver Melanie’s baby herself, which is one of Scarlett’s first significant acts of self-sufficiency.Emmie Slattery - A young woman whose poor white family lives in the swamp bottom near Tara. Emmie is considered ―white trash,‖and Scarlett’s class-conscious, genteel society dislikes Emmie, as does the narrator.Jonas Wilkerson - The Yankee overseer of Tara whom Gerald fires for impregnating Emmie Slattery. Jonas works for the Freedmen’s Bureau after the war and marries Emmie. He raises taxes on Tara to try to force out the O’Haras, prompting Scarlett’s marriage to Frank Kennedy.Belle Watling - An Atlanta prostitute with whom Rhett Butler has along-term affair. She wins the gratitude of the Atlanta Ku Klux Klan by providing them with an alibi for a murder.Will Benteen - A one-legged Confederate soldier who becomes a fixture at Tara after the war despite his lack of family or wealth. Will makes Tara a marginally profitable farm. His competence allows Scarlett to move to Atlanta and leave him in charge.Wade Hampton Hamilton - Scarlett’s oldest child. The son of Charles Hamilton, Wade inherits his father’s timid and bland disposition.Ella Lorena Kennedy - Scarlett’s second child. Ella Lorena is the ugly, silly daughter of Frank Kennedy.Analysis of Major CharactersScarlett O’HaraThe protagonist of Gone with the Wind, Scarlett is a dark-haired, green-eyed Georgia belle who struggles through the hardships of the Civil War and Reconstruction. Scarlett exhibits more of her fat her’s hard-headedness than her mother’s refined Southern manners. Although initially she tries to behave prettily, her instincts rise up against social restrictions. Determination defines Scarlett and drives her to achieve everything she desires by any means necessary. This determination first manifests itself in her narcissistic and sometimes backstabbing efforts to excite the admiration of every young man in the neighborhood. Later, under threat of starvation and even death, she is determined to survive and does so by picking cotton, running her entire plantation, forging a successful business, and even killing a man.Scarlett also aims to win Ashley Wilkes, and her failure to do so guides the plot of the novel. Ashley’s marriage to Melanie Hamilton and re jection of Scarlett drive nearly all of Scarlett’s important subsequent decisions. Scarlett marries Charles Hamilton to hurt Ashley, stays by Melanie’s side through the war because she promises Ashley she will, and loses her true love, Rhett Butler, because of her persistent desire to win Ashley. Scarlett possesses remarkable talent for business and leadership. She recovers her father’s plantation, Tara, after the war leaves it decimated, and she achieves great success with her sawmill in Atlanta. Despite her sharp intelligence, however, she has almost no ability to understand the motivations and feelings of herself or others. Scarlett lives her life rationally: she decides what constitutes success, finds the most effective means to succeed, and does not consider concepts like honor and kindness. She often professes to see no other choices than the ones she makes.Scarlett’s development precisely mirrors the development of the South. She changes from spoiled teenager to hard-working widow to wealthy opportunist, reflecting the South’s change from leisure society to besieged nation to compromised survivor. Scarlett embodies both Old and New South. She clings to Ashley, who symbolizes the idealized lost world of chivalry and manners, but she adapts wonderfully to the harsh and opportunistic world of the New South, ultimately clinging to dangerous Rhett, who, like Scarlett, symbolizes the combination of old and new.Rhett ButlerDark, dashing, and scandalous, Rhett Butler brings excitement to Scarlett’s life and encourages her impulse to change and succeed. Thrown out of both West Point and his aristocratic Charleston family for dishonorable behavior, Rhett, like Scarlett, goes after what he wants and refuses to take ‘no’ for an answer. He earns his fortune throug h professional gambling, wartime blockade-running, and food speculation, behavior that earns him the contempt and even hatred of what he terms the Old Guard—the old Southern aristocracy. Rhett sees through hypocrisy and self-delusion, horrifying people by cutting down their egos and illusions with agility and pleasure.Whereas Ashley cannot face reality and change, Rhett thrives on both. Because of his opportunism, Rhett symbolizes the New South. However, as the novel progresses, we see that Rhett does care about the Old South. At two critical points in the novel, Rhett abandons Scarlett to commit himself to the Old South. First, he leaves Scarlett in hostile territory and joins the Confederate army. Second, at the end of the novel he leaves Scarlett and goes in search of remnants of the Old South. This sentimentality complicates Rhett’s character and reveals that he is partially motivated by emotion. Ultimately, Rhett symbolizes pragmatism, the practical acceptance of the reality that the South must face in order to survive in a changed world. He understands that the U.S. government has overhauled the Southern economy and that the old way of life is gone forever. He adapts to the situation masterfully, but he does not fully abandon the idealized Southern past. Rhett falls in love with Scarlett, but, despite their eventual marriage, their relationship never succeeds because of Scarlett’s obsession with Ashley and Rhett’s reluctance to express his feelings. Because Rhett knows that Scarlett scorns men she can win easily, Rhett refuses to show her she was won him. He mocks her, argues with her, and eventually resorts to cruelty and indifference in order to win her. But his fondness for her is evident in his support of her, as he encourages her to shun social customs and gives her money to start her own business.Ashley WilkesBlond, dreamy, and honorable, Ashley Wilkes is the foil to Rhett’s dark, realistic opportunism. Ashley courts Scarlett but marries Melanie Hamilton, thus setting in motion Scarlett’s centra l conflict. Ashley is the perfect prewar Southern gentleman: he excels at hunting and riding, takes pleasure in the arts, and comes from an excellent family. Scarlett’s idealization of Ashley slowly fades as time goes on, and she finally sees that the Ashley she loves is not a real man but a man embellished and adorned by her imagination. Ashley admits to his love for Scarlett, but as a gentleman he ignores this love in order to marry Melanie, the more socially appropriate match for him. He excels at battle despite his doubts about the Southern cause. As the novel progresses, though, Ashley displays signs of weakness and incompetence. After the war he is worthless on the plantation and cannot adjust to the new world. Whereas Rhett and Scarlett survive by sacrificing their commitment to tradition, Ashley cannot or will not allow himself to thrive in a changed society. He sinks even lower as he sacrifices his honor—the only thing he still values in himself—by accepting charity from Scarlett in the form of a share in her mill and by kissing her twice.Ashley represents the Old South and Southern nostalgia for the prewar days. He epitomizes the old lifestyle and cannot function in the New South that emerges during and after the war. Scarlett clings to him like many Southerners cling to dreams of their old lives, but her eventual recognition of Ashley’s weakness and incompetence enables her to see that dreaming of a lost world makes one weak.Themes, Motifs & SymbolsThemesThemes are the fundamental and often universal ideas explored in a literary work.The Transformation of Southern CultureGone with the Wind is both a romance and a meditation on the changes that swept the American South in the 1860s. The novel begins in 1861, in the days before the Civil War, and ends in 1871, after the Democrats regain power in Georgia. The South changes completely during the intervening years, and Mitchell’s novel illustrates the struggles of the Southern people who live through the Civil War era.The novel opens in prewar Georgia, where tradition, chivalry, and pride thrive. As the Civil War begins, the setting shifts to Atlanta, where the war causes the breakdown of traditional gender roles and power structures. When the South loses the war and the slaves are freed, putting a stop to the Southern way of life, the internal conflict intensifies. White men fear black men, Southerners hate profiteering or domineering Northerners, and impoverished aristocrats resent the newly rich. Mitchell’s main characters embody the conflicting impulses of the South. Ashley stands for the Old South; nostalgic and unable to change, he weakens and fades. Rhett, on the other hand, opportunistic and realistic, thrives by planting one foot in the Old South and one foot in the New, sometimes even defending the Yankees.Overcoming Adversity with WillpowerScarlett manages to overcome adversity through brute strength of will. She emerges as a feminist heroine because she relies on herself alone and survives the Civil War and Reconstruction unaided. She rebuilds Tara after the Yankee invasion and works her way up in the new political order, taking care of helpless family members and friends along the way. Mitchell suggests that overcoming adversity sometimes requires ruthlessness. Scarlett becomes a cruel businesswoman and a domineering wife, willingly coarsening herself in order to succeed. Other characters succeed by exercising willpower, among them Old Miss Fontaine, who watched Indians scalp her entire family as a child and then gritted her teeth and worked to raise her own family and run a plantation. Rhett Butler also wills his way to success, although he covers up his bullheaded willpower with a layer of ease and carelessness.The Importance of LandIn Chapter II, Gerald tells Scarlett that ―[l]and is the only thing in the world that amounts to anything.‖ At critical junctures Scarlett usually remembers that land, specifically Tara, is the only thing that matters to her. When Scarlett escapes to Tara from Atlanta during the war, she lies sick and weak in the garden at neighboring Twelve Oaks and the earth feels ―soft and comfortable as a pillow‖ against her cheek. After feeling the comfort of the land, she resolves to look forward and continue the struggle with newfound vigor. Scarlett prizes land even over love. When Ashley rejects Scarlett’s proposed affair, he gives her a clump of Tara’s dirt and reminds her that she loves Tara more than she loves him. Feeling the dirt in her hand, Scarlett realizes that Ashley is right. At the end of the novel, when all else is lost, Scarlett thinks of Tara and finds strength and comfort in its enduring presence.MotifsMotifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.Female Intelligence and CapabilityDespite the severe gender inequality of their time, women in Gone with the Wind show strength and intelligence that equals or bests the strength and intelligence of men. Scarlett is cunning, and manipulates men with ease. She runs Tara when her father falls ill, and eventually realizes that she has a better head for business than most men. She becomes a very successful mill owner, running every aspect of the business and putting her weak, incompetent husband to shame. Melanie, although she is a subdued figure, exhibits increasing strength as the novel progresses, and she eventually emerges as the novel’s strongest female character. She provides much of Scarlett’s strength, although Scarlett realizes this only at the end of the novel. Melanie also protects Ashley from the world he cannot face. Despite her humble means, she single-handedly facilitates the restoration of Atlanta society. Old Miss Fontaine and Ellen also demonstrate strength and intelligence. Both women act as head of the family, and the narrator describes Ellen as the true mind and strength behind Tara.Alcohol AbuseAlcohol abuse occurs throughout the novel, as Gerald, Scarlett, and Rhett all rely heavily on drinking. Characters use alcohol to cope with stress, but when they abuse alcohol, disaster ensues. Drinking is partly responsible for Gerald’s death: he rides his horse while drunk, misses a jump, and is thrown to his death. Mitchell suggests that Scarlett cheapens herself unnecessarily by drinking. Gerald disapproves of her drinking, which begins only after she escapes Atlanta, because ladies never drink liquor in polite Southern society. Scarlett continues to drink at Tara whenever she feels overworked or troubled, and she brings her habit to Atlanta when she moves back. Rhet t’s drinking reveals his insecurity, a disaster for Rhett since he is obsessed with mastery and self-sufficiency. Rhett begins to drink heavily as his relationship with Scarlett deteriorates, and he drinks even more when their daughter, Bonnie, dies.ProstitutionProstitution threatens and embarrasses the characters, but it alsointrigues them. Scarlett first sees a prostitute in Atlanta and is instantly fascinated. The woman she sees is Belle Watling, and the fascination she feels persists throughout the novel. Belle is an exaggerated version of Scarlett, which perhaps explains Scarlett’s interest in her. Both women ignore social mandates, manipulate and seduce men, and trade sex for money. Scarlett offers to prostitute herself to Rhett in order to get money for taxes, putting herself in Belle’s moral camp. If Scarlett can be read as a high-class prostitute, Belle can be read as alow-class aristocrat. Belle has the ideal aristocrat’s impulse to help the needy; she saves Atlanta’s Ku Klux Klan members fr om prosecution by providing an alibi for them. Mitchell depicts Belle as human and generous and perhaps morally superior to the ruthless Scarlett she resembles.Symbols。
乱世佳人精彩片段中英对照
乱世佳人Gone with the Wind佳片档案导演：维克多·弗莱明V ictor Fleming（曾导演《绿野仙踪》1939）主演：费雯·丽V ivien Leigh（凭此片及《欲望号街车》两度获得奥斯卡最佳女主角）克拉克·盖博Clark Gable（好莱坞的电影皇帝），类型：剧情、爱情、战争上映时间：1939年12月15日好评：囊括第十二届奥斯卡金像奖（1939）八项大奖，被誉为“好莱坞第一巨片”。
留声机1、"As God is my witness, I'll never be hungry again.”“上帝为我作证，我将不再饥饿。
”——斯佳丽在回到被毁的家园后,手捧泥土，对天发誓说：“上帝为我作证，上帝为我作证，北佬休想将我整垮，等熬过了这一关，我决不再忍饥挨饿，也决不再让我的亲人忍饥挨饿了，哪怕让我去偷、去抢、去杀人，请上帝为我作证，我无论如何都不再忍饥挨饿了!”2、"Frankly, my dear, I don't give a damn.”“坦白讲，亲爱的，我一点也不在乎。
”——盖博的这句台词被人们在不同的场合引用，无论男女，当他们陷入一种并没有完全投入的恋爱关系时，想要控制局面，就会用到这句话。
3、"Tara! Home. I'll go home, and I'll think of some way to get him back! After all, tomorrow is another day!”“塔拉庄园，我的家！我要回家。
总有一天我会让他回来的！毕竟，明天又是新的一天！”——影片最后，面对瑞德的离去，斯佳丽伤心欲绝，但并没有一蹶不振，而是燃起了新的希望。
明天又是新的一天成为脍炙人口的经典名句。
剧情介绍美国南北战争期间，南方塔拉庄园的千金小姐斯嘉丽因自己所爱阿希礼娶了温柔善良的枚兰妮，一气之下嫁给了枚兰妮的哥哥查尔斯。
电影乱世佳人(Gone with The Wind)经典台词
电影乱世佳人(GonewithTheWind)经典台词1).Landistheonlythingintheworldworthworkingfor,worthfightingfor,worthdyingf or.Becauseit’stheonlythingthatlasts.(土地是世界上唯一值得你去为之工作,为之战斗,为之牺牲的东西,因为它是唯一永恒的东西)2).IwishIcouldbemorelikeyou.(我要像你一样就好了)4).Ithinkit’shardwinningawarwithwords.(我认为纸上谈兵没什么作用)5).Sir,you’renogentleman.Andyoumissarenolady.(先生,你可真不是个君子,小姐,你也不是什么淑女)6).Inevergiveanythingwithoutexpectingsomethinginreturn.Ialwaysgetpaid.(我做任何事不过是为了有所回报,我总要得到报酬)7).Inspiteofyouandmeandthewholesillyworldgoingtopiecesaroundus,Iloveyou.(哪怕是世界末日我都会爱着你)8).IloveyoumorethanI’veeverlovedanywoman.AndI’vewaitedlongerforyouthanI’v ewaitedforanywoman.此句只可意会不可言传9).IfIhavetolie,steal,cheatorkill,asGodasmywitness,I’llneverbe hungryagain!(即使让我撒谎,去偷,去骗,去杀人,上帝作证,我再也不要挨饿了)10).NowIfindmyselfinaworldwhichformeisworsethandeath.Aworldinwhichthereisn oplaceforme.(现在我发现自己活在一个比死还要痛苦的世界,一个无我容身之处的世界)11).You’rethrowingawayhappinesswithbothhands.Andreachingoutforsomething thatwillnevermakeyouhappy.(你把自己的幸福拱手相让,去追求一些根本不会让你幸福的东西)12).Home.I’llgohome.AndI’llthinkofsomewaytogethimback.Afterall,tomorrowisa notherday.(家,我要回家.我要想办法让他回来.不管怎样,明天又是全新的一天)1/ 1。
乱世佳人英文经典句子
乱世佳人英文经典句子1. 乱世佳人经典语句*我没有资格评论你小时候受的教育。
告诉我你做错什么了，让地狱打开大门了？*如果我跪下来，是否更有说服力呢？原谅我，我情感的放任吓着你了，我亲爱的思嘉，我是说我亲爱的肯尼迪太太。
不过你不会没有注意到，在过去这段时间里，我对你的友谊已经发展成为一种更深的感情。
一种更美丽，更纯洁，更神圣的感情----允许我给它一个名字吗？可以叫它“爱”吗？*这是很荣幸的求婚，在这个我以为最适合的时候。
我不能拿一辈子，看者你嫁完又嫁。
*不要说了，你听到了吗？思嘉，不要说了，不要再讲那种话了。
我希望如此，应该让你这样。
你知道的那些傻瓜都不会这样吻你。
你的查理，或者弗兰克，或者是你那个傻瓜希礼.威尔克斯。
说你要和我结婚。
答应我，答应我。
*你以为你和他会幸福吗？你从来不知道他的心，从来不理解他，就象你不明白任何事，只懂得钱。
*别想过去，希礼，别想。
它伤你的心，让你除了回顾什么也做不了。
*我怎么能不爱你呢？你有我缺乏的生命热情。
但这种爱不足以让你我如此不同的两个人成就一次成功的婚姻。
*我是想赞美你，而且我希望你从这位高尚的威尔克斯先生的魔咒下解脱后会多多见到你。
在我看来，你这样的女孩，他一半也配不上你那种，可以说那种，生命的热情？2. 乱世佳人的句子你好楼主！给你介绍如下句子：上天没给你想要的，不是你不配，而是你值得拥有更好的。
有时候走错了一步，就会离原来的路越来越远。
花瓶碎了，怎么补裂痕都在。
无论发生什么，我都会像现在一样爱你，直到永远。
莲心：“董事长，您曾经跟我说过，攀登事业顶峰最为重要，可我更看重一起爬山的人，事业可以重来，但人和感情一旦没有了，就再也回不来了”“从前我不知道我爱他，知道上次生死关头我才知道，我不能没有他”莲心：“重阳，别人都说我坚强，可我的脆弱只有你知道”But there 's one thing I do know,and that is I love you,Scarlett.In spite of you and me and the whole silly world going to pieces around us.但是有一件事我明确地知道，那就是我爱你，斯卡莉。
(乱世佳人)Gone with the Wind 英文介绍及赏析
Gone with the Winddiffers from most Civil War novels by glorifying the South and demonizing the North. Other popular novels about the Civil War, such as Stephen Crane’sThe Red Badge of Courage,are told from a Northern perspective and tend to exalt the North’s values. Mitchell’s novel is unique also for its portrayal of a strong-willed, independent woman, Scarlett O’Hara, who shares many characteristics with Mitchell herself. Mitchell frequently defied convention, divorcing her first husband and pursuing a career in journalism despite the disapproval of society.
礼仪用词-乱世佳人剧本台词(中英文) 精品
乱世佳人剧本台词(中英文)ROMAN HOLIDAYTRANSCRIBED BY Graham (hepburn@unforgettable.)(A newsreel begins:)--PARAMOUNT NEWS--NEWS FLASH(A mentator describes the newsreel showing Princess Ann at several ceremonies in various European locations.)NEWSREELParamount News brings you a special coverage of Princess Ann\'s visit to London, the first stop on her much publicised goodwill tour of European capitals. She gets a royal wele from the British as thousands cheer the gracious young member of one of Europe\'s oldest ruling families. After three days of continuous activity and a visit to Buckingham Palace, Ann flew to Amsterdam where Her Royal Highness dedicated the new International Aid Building and christened an ocean liner. Then went to Paris where she attended many official functions designed to cement trade relations between her country and the Western European nations. And so to Rome, the eternal city, where the Princess\' visit was marked by a spectacular military parade highlighted by the band of the crack Piersa Yeri Regiment. The smiling young Princess showed no sign of the strain of the week\'s continuous public appearances. And at her country\'s embassy that evening, a formal reception and ball in her honor was given by her country\'s ambassador to Italy.--------------------------------------------------------------------------------(The Embassy ballroom. People fill the floor of the room. A fanfare sounds. The Master of Ceremonies appears and the people clear a path down the middle of the hall in front of him. The Master of Ceremonies announces "Her Royal Highness"--first in Italian, then in English.)(The orchestra starts playing as the Master of Ceremonies walks down the newly-formed aisle. Princess Ann, resplendent in her ballgown, diamond tiara, and necklace, appears at the door acpanied by the Ambassador in formal military dress. Behind them follow together the Countess Vereberg and General Provno, and others. As the pany walks slowly down the aisle, Princess Ann smiles and nods her head to acknowledge the guests who line their path. They bow as the Princess walks past them.)(As they reach the front, the Princess and the others step onto the dais as the orchestra finishes playing. The dais is furnished with chairs--a large one in the center. The Princess and the others stand, facing the guests. Princess Ann is about to sit when the Ambassador discreetly stops her with a hand on her arm.)(As they stand waiting, the guests form in a line in front. The Master of Ceremonies announces them as they walk forward to greet her, in turn.)MASTER OF CEREMONIESHis Excellency, the Papal Nuntius, Monsignor Altomonto.(Ann greets him warmly in Italian, shaking his hand; he replies, in Italian.)MASTER OF CEREMONIESSir Hugo Macy de Farmington.ANN(he bows to her)Good evening, Sir Hugo.SIR HUGO(shaking her hand)Good evening, Your Royal Highness.MASTER OF CEREMONIESHis Highness, The Maharajah of Kalipur; and The Rajkumari.ANN(shaking the Rajkumari\'s hand)I\'m so glad that you could e.THE RAJKUMARIThank you.THE MAHARAJA(shaking Ann\'s hand)Thank you, madame.(The Master of Ceremonies announes the next couple, in German.)ANN(hidden beneath her dress, she takes her right foot out of its shoe and stretches it)Guten Abend.MASTER OF CEREMONIES(as Ann puts her foot back)Prince Istvan Barossy Nagyavaros.ANNHow do you do?(he kisses her hand)(The Master of Ceremonies announces the long German name and title of the next guest.)ANN(holding the woman\'s hand as she curtsies)Guten Abend.(She greets the man as he kisses her hand.)(The Master of Ceremonies announces the next couple. As she greets them, Ann rubs her tired right foot against her leg.)(Much later on and Ann is still greeting the guests.)ANN(greeting another couple)So happy.MASTER OF CEREMONIESThe Count and Countess von Marstrand.ANNGood evening, Countess(holding her hand the woman curtsies. To the Count.)Good evening.COUNT(kissing her hand)Good evening.(Suddenly, Princess Ann loses her balance as her foot slips over her shoe, knocking it over. The Count\'s eyeglass pops out in surprise and he smiles back as she regathers herself. The Ambassador looks down in disappointment at her error. The Master of Ceremonies introduces the next couple--a Senor and Senora.)ANN(she tries to manipulate her shoe back into position which has been knocked over and she greets the couple, disguising her disfort)Good evening(the man kisses her hand.)(The Master of Ceremonies announces the next guest as Ann pushes her shoe again in an effort to right it.)ANN(as the man bends, gesturing with his hand in greeting)How do you do?(As the last guest moves back Ann looks around anxiously, trying again to right her shoe, resulting in her pushing it further away. The Ambassador then motions her to sit down. As she sits back into the chair with the Ambassador and the Countess on either side her dress pulls back, revealing the shoe.)(The orchestra starts playing a waltz. Ann tries as inconspicuously as possible to drag her shoe back with her foot. The General, standing behind her frowning, motions to the Countess to look at the shoe. She looks down at it and closes her eyes in horror. The Princess stirs in her seat trying to get her shoe back, fiddling with her gloves as cover. A man standing behind the Ambassador motions to him and he shrugs and gets up, bowing and presenting his arm to the Princess. The Princess rises and, pausing for time to regather her shoe, is lead onto the ballroom floor by the Ambassador. Taking her up to dance he looks at the area in front of the eat and, relieved that the shoe isn\'t to be seen, continues dancing with her as the other guests watch. )(Later on and the dance floor is filled people. Princess Ann dances with a short, lively gentleman who rattles off rapid Spanish phrases to her. She listens, nodding and smiling politely. Still later and she dances with a short, elderly gentlemen. They smile and nod to each other silently. Later again and Ann dances with a somewhat remote gentlemen. She almost speaks so as to strike up a conversation, but thinks better of it.)--------------------------------------------------------------------------------(Later that night in Princess Ann\'s bedchamber. She stands on her bed dressed in her nightgown, her hair let down. She picks up the skirt of her nightgown and drops it.)ANN(brushing her hair)I hate this nightgown. I hate all my nightgowns. And I hate all my underwear too.COUNTESS(ing over to tend to her bed, dressed in a bedrobe and wearing glasses)My dear, you have lovely things.ANNBut I\'m not two hundred years old!(Dropping down on the bed)Why can\'t I sleep in pyjamas?COUNTESS(looking up as she folds the sheets into place)Pyjamas!ANN(Just)the top half.(The Countess takes off her glasses, shocked, then walks over to the window. Ann pulls the covers over her, sitting up)Did you know there are people who sleep with absolutely(nothing)on at all?COUNTESS(opening the window)I rejoice to say that I did not.ANN(lying against the headboard, smiling as she hears distant music ing in through the window)Listen.(She jumps up out of bed and runs over to the window, looking out.)COUNTESSOh, and your slippers.(She goes to fetch them from beside the bed as Ann looks out with pleasure at the dancing going on far below in the distance)Please put on your slippers and e away at the window.(Ann walks back to the bed, dejected, as the Countess shuts the window. The Countess holds a tray)Your milk and crackers.ANN(taking the tray; as the Countess helps her pull the covers over her) Everything we do is so wholesome.COUNTESSThey\'ll help you to sleep.ANN(stubbornly)I\'m too tired to sleep--can\'t sleep a wink.COUNTESS(putting on her glasses, taking a diary from the bedtable)Now my dear, if you don\'t mind: tomorrow\'s schedule--or schedule((skedule),)whichever you prefer--both are correct.(Running through the items with a pen)Eight thirty, breakfast here with the Embassy staff; nine o\'clock, we leave for the Polinory Automotive Works where you\'ll be presented with a small car.ANN(disinterested; absently playing with a napkin)Thank you.COUNTESSWhich you will not accept.ANNNo, thank you.COUNTESSTen thirty-five, inspection of food and agricultural organisation will present you with an olive tree.ANNNo, thank you.COUNTESSWhich you(will)accept.ANNThank you.COUNTESSTen fifty-five, the Newfoundling Home For Orphans. You will preside over the laying of the cornerstone; same speech as last Monday.ANNTrade relations?COUNTESSYes.ANN(chewing a cracker)For the orphans?COUNTESSNo, no, the other one.ANN\'Youth and progress\'.COUNTESSPrecisely. Eleven forty-five, back here to rest. No, that\'s wrong... eleven forty-five, conference here with the press.ANN\'Sweetness and decency\'(she rolls her eyes.)COUNTESSOne o\'clock sharp, lunch with the Foreign Ministry. You will wear your white lace and carry a small bouquet of ( ANN) very small pink roses.(The Countess looks up, unimpressed. Continuing, as Ann drinks her milk from a glass)Three-o five, presentation of a plaque.(ANN (to an imagined guest:) Thank you.)Four-ten, review special guard of * Police.(ANN No, thank you.)Four forty-five (ANN How do you do?) back here to change (ANN (being distressed) Charmed.) to your uniform (ANN So happy.) to meet the international--.ANN(screaming at the Countess)STOP!!!(Looking away, her hair covering her face)Please stop! stop...!COUNTESS(retrieving the tray)It\'s alright, dear, it didn\'t spill(she places the tray on the table.)ANNI don\'t care if it\'s spilled or not. I don\'t care if I(throws her head into the pillow)drown in it!COUNTESS(putting her hands on her shoulders to fort her)My dear, you\'re ill. I\'ll send for Doctor Bonnachoven.ANN(turning over, facing the opposite way)I don\'t want Doctor Bonnachoven; please let me die in peace!COUNTESSYou\'re not dying.ANN(facing the Countess)Leave me.(Sitting up, shouting at her)Leave me!COUNTESSIt\'s nerves; control yourself Ann.ANN(throwing herself on the pillow, beating it with her fist) I don\'t want to!COUNTESS(standing up straight, speaking with authority)Your Highness(Ann continues blubbing.)I\'ll get Doctor Bonnachoven(she heads for the door.)ANN(looking up as she leaves)It\'s no use; I\'ll be dead before he gets here(she gives a defiant blub.)(Later, the Countess enters the bedchamber, followed by Doctor Bonnachoven and the General. They walk to her bed and the doctor looks at Ann, who doesn\'t move.)DOCTOR(to the Countess, puzzled)She is asleep.COUNTESSShe was in hysterics three minutes ago, Doctor.DOCTOR(he puts his Doctor\'s bag on the table and bends over to her; quietly)Are you asleep, ma\'am?ANN(without moving)No!DOCTOROh.(He feels her forehead then takes a thermometer from his bag)I\'ll only disturb Your Royal Highness a moment, ah?ANNI\'m very ashamed, Doctor Bonnachoven; I-(the Doctor places the thermometer in her mouth)suddenly I was crying.DOCTOR(reassuring)To cry--a perfectly normal thing to do.GENERALIt most important she be calm and relaxed for the press conference, Doctor.ANNDon\'t worry, Doctor: I-(takes the thermometer out)I\'ll be calm and relaxed and I-I\'ll bow and I\'ll smile and- I\'ll improve trade relations and I, and I will..(she throws herself onto the pillow, in hysterics again.)COUNTESSThere she goes again. Give her something, Doctor, please.DOCTOR(holding up a syringe from the bag)Uncover her arm, please, hmm?(The Countess uncovers her arm as the General looks away.)ANN(calming down; without looking up)What\'s that?DOCTORSleep and calm. This will relax you and make Your Highness feel a little happy. It\'s a new drug, quite harmless.(As he injects her the General faints behind them, unnoticed)There.ANNI don\'t feel any different.DOCTORYou will; it may take a little time to take hold. Just now, lie back, ah?ANNCan I keep just one light on?DOCTOROf course. Best thing I know is to do exactly what you wish for a while.ANN(smiling)Thank you, Doctor.COUNTESS(the Countess looks round at the General on the floor) Oh, the General! Doctor, quick!DOCTOROh!ANN(sitting up)Hah!(she puts her hand over her mouth, covering her smile.)GENERAL(embarrassed; straightening his bedrobe)I\'m perfectly alright.(To the Princess)Goodnight, ma\'am.(He bows and leaves.)DOCTOR(bowing, smiling at the Princess)Goodnight, ma\'am.ANNGoodnight, Doctor.(The Doctor leaves, followed by the Countess, who turns off the light and, looking back at the Princess, shuts the door behind her.)(Alone, the Princess looks around the large room at the lavish, ancient ornamentation on the ceiling and the huge sculpted headboard. She lies back, and then, remembering, eagerly climbs out of bed and runs to the window.She looks out longingly at the dancing below, the breeze blowing in herface then out over the city, the buildings lit up in the night far in the distance. Thinking, she looks back at the door and then back out the window, then she runs to her wardrobe, and starts rummaging in the clothes hung there.)--------------------------------------------------------------------------------(Later, dressed in a plain white blouse and skirt and picking up her gloves from the dresser, she peers out the door of the bedchambers. She sees a guard sat at the end of the wall stir in his semi-sleep. Pausing as she closes the door, she goes out of the side window onto the balcony outside. She walks along to the edge of the adjacent balcony, jumping down with a slight noise onto the ground. Glancing furtively around she goes inside toa large, empty room. She pauses for moment to look around on either sideand then continues. Going through the door she finds herself on a corridor upstairs, encircling the large central area. She runs along to the end, turning the corner and then onto the other side. She continues on, reachesa staircase and goes down it towards the exit.)(Outside, still in the grounds of the Embassy, she runs along a courtyard area. The shadow of a man walking appears where she has just e from but she reaches safety at the other end before he can see her.)(Running through the buildings further she pauses, her back against a wall. Looking round the corner she sees a man jump out of a small supply truck. While he is gone she runs over and quietly hops into the back of the truck. The man es back and throws a couple of bags into the back where she is hiding. He then gets in, starts the motor, and drives off. Guards at the entrace of the Embassy grounds open the doors and the little truck drives out. Ann peers back over the top of a bag to see the guards closing the doors again as the Embassy recede into the distance. She looks round with delight, moving the bag out of the way, leaning her arm on some goods tosee out the back better. She watches the truck go past a sidewalk cafe,busy with people, then waves to a couple driving behind on a scooter; thewoman waves back at her. The goods rattle in the back as the truck bounces around, and Ann rests on a box, closing her eyes.)(The truck continues through the city but Ann is awakened when the truck stops for a couple walking across the street in front. As it is stopped she hops out, running to the footpath as the truck screeches away. She leans against a tree, yawning then continues on.)(Crossing a street, she walks straight across the passenger cabin of a horse-drawn carriage parked alongside the pavement, to the bewilderment of the passengers and driver. The cab drives away as Ann continues on.)(A light pours from the window of a room on the second floor of thebuilding the carriage was parked in front of...)--------------------------------------------------------------------------------(Inside the room are sat Joe Bradley, Irving Radovich, and several other men around a poker table.)CARD PLAYER 1Bet five hundred.JOE(placing his bet down, firmly)Five hundred. How many?IRVING(placing his bet)One.(The others still in the game place theirs.)CARD PLAYER 1I\'ll take one.CARD PLAYER 2Three.JOEFool, boy.(Checks his cards; bets more)Two for papa.CARD PLAYER 1(places a note in the pool)Five hundred more.JOE(following)Without lookin\'.IRVINGFive hundred; and, er(clears his throat,)raise you a thousand.(Joe looks at him suspiciously. Irving rubs his beard but stays unemotional. Joe places his money in the pool.)CARD PLAYER 1(laying his cards down)Two pairs.JOEOh, well I got three(shy)little sevens.IRVINGEr, a nervous straight(lays his cards down; Then, with relish)e home, you beauties.(Counting his money as he picks it up; Joe looks on grimly)Now, look at that: six thousand five hundred--ah, not bad, that\'s ten bucks.(As the dealer gathers the cards back and Joe does up his tie)Er, one more round and I\'m gonna throw you gents right out in the snow... (The remaining players objective to his leaving:)Say-; what-; wait a minute-, etc.IRVINGI got to get up early: date with Her Royal Highness who will(dramatically)graciously pose for some pictures.JOEWhat do you mean, early? My personal invitation says eleven forty-five.CARD PLAYER 1Couldn\'t be anything to do with the fact that you\'re ahead?IRVING(smiling)It could.JOEIt works out fine for me: this is my last five thousand and you hyenas are not gonna get it.(Putting his money in his pocket, patting Irving on the back)Thanks a lot, Irving.IRVINGYeah.JOE(getting up)See you at Annie\'s little party in the morning.IRVINGCiao, Joe.JOE(picking up his jacket off the back of the chair)Yeah, ciao.(The other men say goodbye: )Goodnight, Joe; Ciao; Stay sober, etc.IRVING(as Joe leaves)Alright! a little seven card stud.CARD PLAYER 1Ok with me.--------------------------------------------------------------------------------(Joe Bradley walks along the street, hands in pockets. He slows down by a park bench. Princess Ann is lying on it and Joe glances at her curiously as he walks by.)ANN(sounding drunk because of the drug\'s effect)Sooooo happy.(Joe stops, turning round to look at her. Interrupting, as Joe almost walks on)How are you this evening?(She stirs on the bench, luxuriously)Mmmmmmmmm.... hmmmmm.... mmmmmmmmmmm..."JOE(rushing over to prevent her from falling off)Hey! hey, hey, hey.(Turning her on her back)Hey, wake up!ANNThank you very much, delighted.JOEWake up.ANNNo, thank you.(Raising her gloved hand to him)Charmed.JOE(tentatively, shaking her hand)Charmed too.ANN(after a pause)You may sit down.JOEI think you better sit up; much too young to get picked up by the police.ANN(as he straightens her)Police?JOEYep, po-lice.ANNTwo-fifteen and back here to change. Two forty-five..(she wavers slightly, not fully awake.)JOE(putting a foot up on the bench)You know: people who can\'t handle liquor shouldn\'t drink it.ANN(she looks up at him)If I were dead and buried and I heard your voice beneath the sod my heartof dust would still rejoice. Do you know that poem?JOEHuh, what do you know?(Sitting down)You\'re well-read, well-dressed; you\'re snoozing away in a public street. Would you care to make a statement?ANNWhat the world needs is a return to sweetness and decency in the souls ofits young men and--(unable to support it, her head falls on his shoulder) mmmmmhhhhhhhhmmmmm.....JOE(he takes his money from his breast pocket and puts it into his trouser one) Yeah, I er, couldn\'t agree with you more, but erm--(hears a car approaches and whistles. A taxi pulls up. Joe gets up, patsher on the shoulder.)Get yourself some coffee; you\'ll be alright.(He goes over to the cab, looks back to see her lying back down. The driver notices too and looks away innocently when he sees Joe looking at him. Joe goes back over to Ann, trying to stir her)Look: you take the cab.ANN(without stirring)Mmmmm.(Joe looks back at the driver who rests his arm against the window, impatiently.)JOEe on;(takes her up by the arm)climb in the cab and go home.ANN(as she drags herself to her feet, helped by Joe)Mmmmm...mmmmmm, so happy.JOEYou got any money?ANNNever carry money.JOEThat\'s a bad habit.ANNMm.JOEAlright, I\'ll drop you off; e on.(He leads her to the taxi.)ANN(brightly; noticing it for the first time) It\'s a taxi!JOEWell, it\'s not the superchief.(He follows her into the cab.)CAB DRIVER(says something in Italian)Where are we going?JOE(to Ann)Where do you live?ANNMmmmmm?(Closing her eyes)Colliseum.JOENow, e on, you\'re not that drunk.ANN(laughing)If you\'re so smart I\'m not drunk at all. I\'m just being(her head falls against his chest)verrrrry haaaappy......JOEHey, now, don\'t fall asleep again.CAB DRIVER(first speaks something in Italian)Where are we- we going?(Joe says something in Italian, impatiently.)Ok.(Turns back around.)JOELook, now where do you wanna to go? Hmmm? Where shall I take you?(Holding her jaw, shaking her head; Ann moans in annoyance)Where do- where do- where do you live? Huh? huh? e on. e on,(lightly slapping her face with his hand)where do you live?(The driver looks back, unimpressed)e on, where do you live?!ANN(mumbling, half-asleep)I....ohhhhh....Colliseum.JOE(hopelessy; to the cab driver)She lives in the Colliseum.CAB DRIVER(shakes his head)It\'s wrong address. Now look, senor: for me it is very late tonight ...(some Italian)... wife ...(more Italian)... I have three bambinos--three bambinos, you know, bambino?(he pretends to cry like a small child)My- my taxi go home, I- I go home er to- together. Senor--.JOE(giving up, sitting back)Villa Marguta, fifty-one.CAB DRIVER(pleased, finally)Villa Marguta, fifty-one.(Pleased)Oh, some Italian!(The taxi drives off. The cab arrives outside the address.)CAB DRIVERYes, Villa Marguta fifty-one.some Italian I am very happy.(Joe looks grimly at Ann, asleep beside him)Thousand lira some Italian.(Joe responds in Italian. He reaches into his breast pocket then, remembering, his trouser one and gives the driver the money.)CAB DRIVEROne, two, three, four mila*.(Gives him back some.)JOEOk.(Says something in Italian then gives him back the money. The driver thanks him in Italian.)Ok, ok. Now look: take a little bit of that; take her wherever she wants to go.(The cabbie thinks for a moment, unsure)Hmmm? Capito? Capito.(Some Italian. The driver nods and they say goodbye to each other. The driver takes one look at Ann sitting asleep and quickly calls out to Joe as he leaves.)CAB DRIVEROh- no, no; moment, moment, moment! No, no, no(the cabbie pulls him over by the arm)(JOE Alright). No, no, no.JOE(leaning down to the window)Alright, alright; look: as soon as she wakes up, see? she tell you where she want to go. Ok.CAB DRIVERMoment, moment: my taxi not for sleep; my taxi--no sleep. You understand? you understand?JOELook, look, pal: this is not my problem, see? I never see her before. Huh? Ok.CAB DRIVERIt\'s not your problem, it\'s not my problem. What you want: you don\'t want girl, yeah? Me don\'t want girl--. Police: maybe she want girl.JOE(he relents)Stay calmo, stay calmo, ok, ok, ok.(some Italian, reassuring him as he opens the cab door and drags Ann out.)--------------------------------------------------------------------------------(Joe walks up the steps, followed by Ann, head down barely able to keep awake. He arrives at the front door. As he stops, leaning forward to open it, Ann rests her head on his shoulder. Before going through he straightens causing her to stand up, balancing herself, and then goes through; Ann follows. He shuts the door behind her, taking her by the hand up the steps. Without thinking she walks around the outside of the small spiral stairwell instead of following him up so Joe turns her around with his hand, leaning over the railing from above (ANN blissfully unaware as he leads her around So happy.), and leads her back around to the bottom of the steps (ANN So happy.) and up the right way.)(She staggers up steps after him, stopping by a door as Joe goes to unlock his one a few steps up. In her stupor, she raises her hand and is about to knock on the neighbour\'s door when Joe sees her, running over to catch herhand just in time. He leads her to the door and unlocks it. He goes in and turns on the light.)JOE(muttering as Ann follows him in)Out of my head.(He shuts the door behind her.)ANNIs this the elevator?JOE(offended)It\'s my room.(He turns on a lamp at the other end of the room, by the bathroom door.)ANN(she almost topples over, walking to the bed and putting a gloved hand on the endboard to steady herself)I\'m terribly sorry to mention it, but the dizziness is getting worse.(Looking around)Can I sleep here?JOEThat\'s the general idea.(He walks over and opens a wardrobe on the landing next to the front door.)ANN(poetically)Can I have a silk nightgown with rosebuds on it?JOE(walking over to Ann, presenting her with some pyjamas)I\'m afraid you\'ll have to rough it tonight--in these.ANN(with delight, taking them)Pyjamas!JOESorry, honey, but I haven\'t worn a nightgown in years.(He goes over to open another cupboard by the lamp.)ANNWill you help me get undressed, please?(she stands ready, head raised expectantly.)JOE(pauses, unsure, then goes to her)Er...ok.(He undoes her necktie, sliding it away fom her neck; presenting it to her) Er, there you are; you can handle the rest.(She looks at it, blankly, then takes it.)(Joe walks over to the table by the front door, pouring a drink into a glass from a bottle, and swallowing it.)ANN(just putting down her last glove)May I have some?JOE(firmly)No.(Puts his glass down, going over to her)Now look--.ANN(shaking her head)This is very unusual.(Unbuttoning her cuffs, then the bottom button of her blouse)I\'ve never been alone with a man before, even with my dress on.。
乱世佳人简介及经典台词翻译-英文26页共28页文档
60、生活的道路一旦选定，就要勇敢地 走到底 ，决不 回头。 ——左
乱世佳人简介及经典台 词翻译-英文26页
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
56、书不仅是生活，而且是现在、过 去和未 来文化 生活的 源泉。 ——库 法耶夫 57、生命不可能有两次，但许多人连一 次也不 善于度 过。— —吕凯 特 58、问渠哪得清如许，为有源头活水来 。—— 朱熹 59、我的努力求学没有得到别的好处， 只不过 是愈来 愈发觉 自己的 无知。 ——笛 卡儿
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ASHLEY: How could I help loving you? You have all the passion for life that I lack. But that kind of love isn‘t enough to make a successful marriage for two people who are as different as we are. SCARLETT: Why don‘t you say it, you coward? You‘re afraid to marry me. You‘d rather live with that silly little fool who can‘t open her mouth except to say "yes", "no",and raise a houseful of mealy-mouthed brats just like her! 翻译：希礼：我怎么能够不爱你？你拥有我所缺少的生活的热情。但是这样的爱并 不足以让我们两个如此不同的人有一个成功的婚姻。
The film received ten Academy Awards (eight competitive, two honorary), a record that stood for 20 years until Ben-Hur surpassed it in 1960. In the American Film Institute's inaugural Top 100 Best American Films of All Time list of 1998, it was ranked fourth, and in 1989 was selected to be preserved by the National Film Registry. The film was the longest American sound film made up to that time – 3 hours 44 minutes, plus a 15-minute intermission – and was among the first of the major films shot in color (Technicolor), winning the first Academy Award for Best Cinematography in the category for color films. It became the highest-grossing film of all-time shortly after its release, holding the position until 1966. After adjusting for inflation, it has still earned more than any other film in box office history.
瑞德：小姐你也不是淑女。别认为我会因此讨厌你，因为我对淑女从不 感兴趣。
参考译文：思嘉：先生，你可真不是一个君子。 瑞德：小姐，你也不是淑女。不过我不会以此要挟你的。我对淑女
从不感兴趣
这是乱世佳人里的经典对话，“Don‘t think that I hold that against you ” 这句话我的理解是“别以为我会因此讨厌你”但是参考译文将“hold that against”译成“以此要挟”，感觉句子不够连贯。
思嘉：你凭什么让我不要说？你骗我，让我相信你想娶我
参考译文：希礼：请你不要这样说媚兰。 思嘉：你是谁，敢命令我？你骗我，让我相信你会娶我。
SCARLETT: Sir, you are no gentleman. RHETT: And you miss are no lady. Don‘t think that I hold that against you. Ladies have never held any charm for me. 翻译：思嘉：先生，你真不绅士
as a teenager, Lost Laysen, have been published. A collection of
articles written by Mitchell for The Atlanta Journal was republished in book form. These additional works have enabled scholars and the public to more fully comprehend the richness and depth of Margaret Mitchell's writing.
“mealy-mouthed”词典中的解释是说话拐弯抹角的不直率的，我翻译为 不会说话的，意思是像梅兰一样只会说是和不是，而参考译文中翻译为唇 青齿白的，感觉更符合语境，表明那些孩子会有多木讷。
ASHLEY: You mustn‘t say things like that about Melanie. SCARLETT: Who are you to tell me I mustn‘t? You led me on, you made me believe you wanted to marry me! 翻译：希礼：不要这样说梅兰
Gone with the Wind is a 1939 American historical epic film adapted from Margaret Mitchell's Pulitzer-winning 1936 novel of the same name. It was produced by David O. Selznick and directed by Victor Fleming from a screenplay by Sidney Howard. Set in the 19th-century American South, the film stars Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland, and Hattie McDaniel, among others, and tells a story of the American Civil War and Reconstruction era from a white Southern point of view.
Author Margaret Munnerlyn Mitchell
Margaret Munnerlyn Mitchell (November 8, 1900 – August 16, 1949) was an American author and journalist. One novel by
Mitchell was published during her lifetime, the American Civil War-era novel, Gone with the Wind. For it she won the National
Book Award for Most Distinguished Novel of 1936 and the Pulitzer Prize for Fiction in 1937. In more recent years, a collection of Mitchell's girlhood writings and a novella she wrote
思嘉：你怎么不说了，你怕了？你不敢和我结婚。你宁愿和那个只会说是和 不是的傻子生活然后生一屋子像她一样不会说话的孩子。
参考译文：希礼：我怎么能不爱你呢？你有我缺乏的生命热情。但这种爱不足以让 你我如此不同的两个人成就一次成功的婚姻。
思嘉：那你怎么不说了？胆小鬼？不敢娶我，你宁可娶那个只会说"是"或" 不是"的傻瓜结婚。然后生一堆她那样面青唇白的傻孩子。
Gone With The Wind 乱世佳人电影经典台词
Brief introduction Author Classic Байду номын сангаасines
The book The film
Gone with the Wind, first published in 1936, is a romance novel written by Margaret Mitchell, who received the Pulitzer Prize for Fiction for the book in 1937. The story is set in Clayton County, Georgia, and Atlanta during the American Civil War and Reconstruction, and depicts the experiences of Scarlett O'Hara, the spoiled daughter of a well-to-do plantation owner, who must use every means at her disposal to come out of the poverty she finds herself in after Sherman's March to the Sea.
Margaret Mitchell began writing Gone with the Wind in 1926 to pass the time while recovering from an auto-crash injury that refused to heal. In April 1935, Harold Latham of Macmillan, an editor who was looking for new fiction, read what she had written and saw that it could be a best-seller. After Latham agreed to publish the book, Mitchell worked for another six months checking the historical references, and rewrote the opening chapter several times. Mitchell and her husband John Marsh, a copy editor by trade, edited the final version of the novel. Mitchell wrote the book's final moments first, and then wrote the events that led up to it. As to what became of her star-crossed lovers, Rhett and Scarlett, after the novel ended, Mitchell did not know, and said, "For all I know, Rhett may have found someone else who was less difficult." Gone with the Wind is the only novel by Mitchell published during her lifetime