簡愛電影英語觀後感

⑸ 《簡愛》的英語讀後感

This is a story about a special and unreserved woman who has been exposed to a hostile environment but continuously and fearlessly struggling for her ideal life. The story can be interpreted as a symbol of the independent spirit.It seems to me that many readers』 English reading experience starts with Jane Eyer. I am of no exception. As we refer to the movie 「Jane Eyer」, it is not surprising to find some differences because of its being filmized and retold in a new way, but the spirit of the novel remains----to be an independent person, both physically and mentally.

⑹ 簡愛 英文讀後感

人教版語文八年級下冊課後「讀一讀、寫一寫」歸納第一課《藤野先生》緋紅fēihóng：深紅色。標致biāo：漂亮。這里是反語，用來諷刺。（外表、風度等接近完美或理想境界,喚起美感上的極大享受的。）落第luòdì：原指科舉時代應試不中。這里指考試不及格。不遜bùxùn：無禮。遜，謙遜。（不恭敬,沒有禮貌;驕橫。）詰責jiézé： 質問並責備。托詞,托辭tuōcí,tuōcí： 找借口。油光可鑒yóuguāngkějiàn文中是說頭上抹油，梳得很光亮，像鏡子一樣可以照人。鑒，照。(油光，形容特別光滑亮澤。可鑒，清澈得可以照見人。鑒,這里是照的意思。)抑揚頓挫yìyáng-dùncuò：高低起伏,停頓轉折。形容音樂悅耳動聽或文章或詩文可讀性強,朗朗上口,音調鏗鏘有韻。深惡痛疾，深惡痛絕shēnwù-tòngjué：極端厭惡和痛恨。也作「深惡痛疾」。第二課《我的母親》翳yì：指引起黑睛(角膜)混濁或潰陷的外障眼病以及病變愈後遺留於黑睛的疤痕。凡眼內、外障眼病所生遮蔽視線影響視力的症狀皆可稱翳。責罰zéfá：處罰;懲處。氣量qìliàng:胸懷,度量。質問zhìwèn：根據事實提出疑問;責問。廣漠guǎngmò：廣大空曠。管束guǎnshù：遏制自由行動或言論;約束,使不越軌。寬恕kuānshù：寬容饒恕。文縐縐wénzhōuzhōu：形容人言談、舉止文雅的樣子。第三課《我的第一本書》幽默yōumò：詼諧風趣而又意味深長。凄慘qīcǎn：凄涼悲慘。奧秘àomì：深奧莫測的秘密;奧妙;隱秘。翻來覆去fānlái-fùqù∶指睡不著覺來回翻身。比喻事情一再重復。第四課《列夫 托爾斯泰》黝黑yǒuhēi∶皮膚暴露在太陽光下而曬成的青黑色。顏色深黑。滯留zhìliú： 停留不動。愚鈍yúdùn：愚笨;遲鈍。器宇qìyǔ(指人的胸襟和度量)氣概，風度。禁錮jìngù束縛，限制。軒昂xuānáng：形容精神飽滿，氣度不凡。犀利xīlì： 堅固銳利。又形容語言、文辭、感覺、目光等的尖銳鋒利。侏儒zhūrú：身材異常矮小的人;矮子。形容個子矮小。酒肆jiǔsì：酒店。尷尬gāngà：處於兩難境地無法擺脫。行為、態度不正常的。鬼鬼祟祟,不正派。粗製濫造cūzhì-lànzào：質地不精而又過量製造。藏污納垢cángwū-nàgòuwū比喻包容壞人壞事。藏垢納污cánggòu-nàwū： 比喻包容骯臟丑惡的人和事。也作「藏污納垢」。鬱郁寡歡yùyù-guǎhuān：指不愉快,心中憋氣。鶴立雞群hèlì-jīqún： 比喻一個人的才能或儀表在一群人里頭顯得很突出。正襟危坐zhèngjīnwēizuò：整理好衣襟端端正正坐著。形容嚴肅莊重的樣子。頷首低眉dīméihànshǒu低著頭顯得很謙卑恭順的樣子。誠惶誠恐chénghuáng-chéngkǒng：原是封建社會中臣子向皇帝上奏章時所用的套語,現在常用來形容小心謹慎,惶恐不安的樣子。無可置疑wúkě-zhìyí： 大可不必持懷疑態度。形容證據確鑿,事情明擺著。黯然失色ànránshīsè∶黯然，陰暗的樣子。失色，因驚恐而面色變白。廣袤無垠guǎngmàowúyín：廣闊無邊。古代以東西長度為「廣」，南北長度為「袤」。第五課《再塑生命》搓捻cuōniǎn企盼qǐpàn：盼望;希望。繁衍fányǎn：繁殖衍生;逐漸增多。遷徙qiānxǐ∶遷移;搬家。變易;更改。為了覓食或繁殖周期性地從一地區或氣候區遷移到另一地區或氣候區。被征發而遠途服役。覓食mìshí：指鳥獸到處搜尋食物吃。油然而生yóuránérshēng∶形容思想感情自然而然地產生。花團錦簇huātuán-jǐncù： 形容五彩繽紛、景象十分華麗。也比喻花色繁多,華美艷麗。美不勝收měibùshèngshōu：美景多得看不過來;藝術品太美而目不睱接。繁花似錦fánhuāsìjǐn： （盛開的花;）各種各樣的花鮮艷華美。風雲突變fēngyún-tūbiàn： 比喻局勢突然發生巨大變化。不可名狀bùkě-míngzhuàng： 不可用言語來形容(名:說出)。落英繽紛luòyīng bīnfēn：落紅;落花繁多而雜亂。冥思遐想míngsīxiáxiǎng冥思(空想) 超越現實作高遠的想像。期期艾艾qīqīàiài形容口吃。漢代周昌口吃，又一次與漢高祖爭論事情，說：「臣口不能言，然臣期期知其不可。」又三國魏鄧艾亦口吃，說到自己時連說「艾艾」。第六課《雪》博識bóshí：學識淵博,見多識廣。美艷měiyàn：美好艷麗。消釋xiāoshì： 消除、處理、解除。褪盡tuìjìn：消退盡。凜冽lǐnliè： 寒冷刺骨。升騰shēngténg∶升入天空;往上升。脂粉奩zhīfěnlián∶裝胭脂和香粉的盒子。第七課《雷電頌》睥睨pìnì∶眼睛斜著看,形容高傲的樣子。污穢wūhuì∶骯臟的;不潔凈的。不幹凈的物體。犀利xīlì： 堅固銳利。又形容語言、文辭、感覺、目光等的尖銳鋒利。迸射bèngshè： 四散噴射。播弄bōnong∶挑撥玩弄。擺布;支配。虐待nüèdài：用狠毒殘忍的手段對待人。雷霆léitíng∶疾雷。比喻人的盛怒或聲威極大。躊躇chóuchú∶猶豫不決。鞭撻biāntà： 鞭打;驅使。祈禱qídǎo;向神祝告求福。罪孽zuìniè∶佛教語。指應當受到報應的惡行。苦難。拖泥帶水tuōní-dàishuǐ：形容在泥濘道路上行走的狀貌。比喻辦事拖沓不爽快或語言不簡明扼要。第八課《短文兩篇》《日》《月》第九課《海燕》蒼茫cāngmáng：空曠遼遠。膽怯dǎnqiè:膽量小;畏縮;害怕。翡翠fěicuì∶一種單斜晶系的硅酸鈉鋁組成的礦物,加工後即成為有價值的玉器。動物名。又名赤翡翠。屬脊椎動物亞門,鳥綱,佛法僧目。精靈jīnglíng∶鬼怪;神靈。機靈;聰明機智。蜿蜒wānyán∶蛇類曲折爬行的樣子。曲折延伸。第十課《組歌（節選）》《浪之歌》《雨之歌》執拗zhíniù：堅持己見,固執任性。憔悴qiáocuì：黃瘦;瘦損.枯萎;凋零.困頓.煩惱。饋贈kuìzèng：贈送,也指贈送的東西、禮品。真諦zhēndì：真切的理論和精義;奧妙所在。璀璨cuǐcàn：形容光彩奪目。鑲嵌xiāngqiàn：以物嵌入,作為裝飾。酷肖kùxiào：極其相似。海誓山盟hǎishì-shānméng：男女之間發誓永遠相愛的話。又說「山盟海誓」。長吁短嘆chángxū-ǎntàn： 不停地唉聲嘆氣。千山萬壑qiānshān-wànhè∶無數的高山和深溝。路途遙遠險阻。盛氣凌人shèngqì-língrén： 以驕橫傲慢的氣勢壓人。第十一課《敬畏自然》蓬蒿péng hāo：（方）茼蒿。飛蓬和蒿子，借指野草。咫尺zhǐchǐ∶比喻相距很近。狼藉lángjí：亂七八糟;散亂、零散。也作「狼籍」。吶喊nàhǎn：大聲呼喊;尤指士兵在戰斗或追擊時大聲叫喊助威。不自量力bùzìliànglì自不量力zìbùliànglì：量:衡量,估計。不衡量自己的能力。形容對自己估計太高,多指做力不能及的事。相形見絀xiāngxíng-jiànchù：互相比較之下,一方顯得很遜色。精巧jīngqiǎo juélún：精細巧妙，沒有可以相比的。美味佳餚měiwèi-jiāyáo∶上等的、第一流的食品。精緻可口的飯菜。味道鮮美的食品。第十二課《羅布泊，消逝的仙湖》蕭瑟xiāosè∶草木被秋風吹襲的聲音.寂寞凄涼。和煦héxù： 溫暖的。乾涸gānhé： 河流、池塘等乾枯無水。沒有水的。吞噬tūnshì∶吞吃;吞咽。整個地吞下去。吞沒。裸露luǒlù：露在外頭;沒有東西遮蓋。戈壁灘gēbìtān：蒙語中稱沙漠,不同於一般沙漠,這種地區盡是沙子和石塊,地面上缺水,植物稀少。滄海桑田cānghǎi-sāngtián：大海變成了種桑樹的田地,種桑樹的田地變成了大海。比喻世事多變,人生無常;或喻世事變化的巨大迅速——略稱滄桑。第十三課《旅鼠之謎》媲美pìměi：美好的程度可以相比;比美。挑釁tiǎoxìn：故意挑起事端、企圖引起沖突的行動或過程。鼠目寸光shǔmù-cùnguāng：比喻目光短淺,缺乏遠見。相輔相成xiāngfǔxiāngchéng：互相補充，互相配合。第十四課《大雁歸來》緘默jiānmò： 閉口不言。窺視kuīshì： 暗中觀察;偷看。狩獵shòuliè：捕殺或獵取野生動物。顧忌gùjì：因某種顧慮而不願直言徑行。凋零diāolíng：草木凋謝零落。衰敗,不振。用來喻人的死傷離散。滑翔huáxiáng：指物體不依靠動力,只利用空氣的浮力在空中飄行。目空一切mùkōng-yīqiè：狂妄自大,蔑視一切的。第十五課《喂——出來》哂笑shěn xiào ：微笑。哂笑 shēnxiào：a.譏笑；b.微笑。拍板pāibǎn∶打拍子。舊時商行拍賣貨物成交時用拍打木板來表示。比喻主事的人作出某種決定。打擊樂器,用來打拍子,用幾片木板做成。也叫鼓板。牟取móuqǔ： 謀取,尤指以不正當的或非法的手段取得金錢。黑咕隆咚hēigulōngdōng∶很黑暗。漆黑的。顫顫巍巍chànchànwēiwēi：震顫而動作不準確的樣子。莫衷一是mòzhōngyīshì：意見分歧,難有一致的定論。胸有成竹xiōngyǒu-chéngzhú：胸有成算。比喻作事之先已有成算在胸。不容置疑bùróngzhìyí：不容許有什麼懷疑，指真實可信。慷慨大方kāngkǎidàfāng：對於財物不計較、不吝嗇。一視同仁yīshì-tóngrén：不加區別;相同對待。任勞任怨rènláo-rènyuàn： 工作不辭勞苦,不怕受埋怨。第十六課《雲南的歌會》蹲踞dūnjù：蹲坐。酬和chóuhè：酬對奉和;用詩詞應答。熹微xīwēi：微明,光未盛的樣子。譬喻pìyù∶比喻,例如。勸說。淳樸chúnpǔ：敦厚質朴。即物起興jíwùqǐxìng看見眼前事物引起興致、興趣。引經據典yǐnjīng-jùdiǎn《後漢書·荀爽傳》:「引據大義,正之經典。」指引用經典著作中的語句或故事。也說「引經據古」悠遊自在yōu yóu zìzài：快活的樣子。龍吟鳳噦lóng yín fèng huì第十七課《端午的鴨蛋》腌、腌yān ：形聲。從肉,奄聲。本義:用鹽浸漬食物。門楣ménméi∶門框上部的橫梁。門第。莧菜xiàncài：一年生草本植物,分布較廣泛,有細而長的莖和暗紫色或綠色的橢圓形的葉子,開綠白色花,結黑色種子。葉和莖常作蔬菜食用。籍貫jíguàn：祖居或本人出生的地方。城隍廟chénghuáng miào∶城隍，道教指城池的守護神。古時供奉城池的守護神的處所。肅然起敬sùrán-qǐjìng：形容由於受感動而產生的恭敬和欽佩。囊螢映雪nángyíngyìngxuě（囊螢，晉車胤家貧,夏夜讀書,以囊盛螢火照明。映雪，晉時孫康家貧,常映雪讀書。）囊螢和映雪分別指晉朝車胤和孫康利用螢火蟲的光和雪的反光刻苦讀書的故事。第十八課《吆喝》囿yòu：拘泥。鈸、鈸bó打擊樂器。銅質圓形的樂器,中心鼓起,兩片相擊作聲 [cymbals]。古稱「銅鈸」、「銅盤」。初流行西域,南北朝時傳至內地。招徠zhāolái：招攬。鐵鉉tiěxuàn餑餑bōbo [方]∶糕點或用雜糧面製成的塊狀食物。饅頭。秫秸稈shújiēgǎn：摘了穗的高粱桿。隨機應變suíjīyìngbiàn：跟著情況的變化，掌握時機，靈活應付。合轍押韻hézhéyāyùn：文中指押韻。油嘴滑舌yóuzuǐ-huáshé∶用花言巧語討好。現在常用來形容一個人輕浮、油滑、善於迎合(有貶義)。第十九課《春酒》家醅jiāpēi：自家釀的酒。醅，這里泛指酒。一馬當先yīmǎ-dāngxiān：形容帶頭,領先,作榜樣。顧名思義gùmíng-sīyì： 觀其名稱就可推想其含義。第二十課《俗世奇人》《泥人張》《好嘴楊巴》怵chù摳kōu逢場作戲féngchǎng-zuòxì：原指賣藝人遇到合適的演出場地,就開場表演。後用作隨俗應酬,湊熱鬧的意思。八面玲瓏bāmiàn-línglóng:原指窗戶寬敞明亮,後形容待人處事機巧圓滑,各方面都敷衍周到,誰也不得罪.看風使舵kànfēng-shǐò: 看著風向掌握船舵。比喻隨著形勢轉變方向,調整對策.左右逢源zuǒyòu-féngyuán∶比喻做事情得心應手。比喻辦事圓滑。孤陋寡聞gūlòu-guǎwén： 比喻學識淺薄、見聞貧乏。人情練達rénqíngliàndá:熟悉人情世故。練達，指閱歷豐富，通曉世故人情。

⑺ 簡愛英文版觀後感

Jane Eyre — A Beautiful Soul Jane Eyre, is a poor but aspiring, small in body but huge in soul, obscure but self-respecting girl. After we close the covers of the book, after having a long journey of the spirit, Jane Eyre, a marvelous figure, has left us so much to recall and to think: We remember her goodness: for someone who lost arms and blinded in eyes, for someone who despised her for her ordinariness, and even for someone who had hurt her deeply in the past. We remember her pursuit of justice. It』s like a companion with the goodness. But still, a virtuous person should promote the goodness on one side and must check the badness on the other side. We remember her self-respect and the clear situation on equality. In her opinion, everyone is the same at the God』s feet. Though there are differences in status、in property and also in appearance, but all the human being are equal in personality. We also remember her striving for life, her toughness and her confidence… When we think of this girl, what she gave us was not a pretty face or a transcendent temperament that make us admire deeply, but a huge charm of her personality. Actually, she wasn』t pretty, and of course, the ordinary appearance didn』t make others feel good of her, even her own aunt felt disgusted with it. And some others even thought that she was easy to look down on and to tease, so when Miss Ingram met Jane Eyre, she seemed quite contemptuous, for that she was obviously much more prettier than 『the plain and ugly governess』. But as the little governess had said: 『Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!』 This is the idea of equality in Jane Eyre』s mind. God hadn』t given her beauty and wealth, but instead, God gave her a kind mind and a thinking brain. Her idea of equality and self-respect impress us so much and let us feel the power inside her body. In my mind, though a person』s beauty on the face can make others once feel that one is attractive and charming, if his or her mind isn』t the same beautiful as the appearance, such as beauty cannot last for, when others find that the beauty which had charmed them was only a falsity, it』s not true, they will like the person no more. For a long time, only a person』s GREat virtue, a noble soul, a beautiful heart can be called as AN EVERLASTING BEAUTY, just as Kahill Gibran has said, that 『Beauty is a heart enflamed and a soul enchanted』. I can feel that how beauty really is, as we are all fleshly men, so we can』t distinguish whether a man is of nobleness or humbleness, but fleshly men, so we can』t distinguish whether a man is of nobleness or humbleness, but as there are great differences in our souls, and from that, we can know that whether a man is noble or ordinary, and even obscure, that is, whether he is beautiful or not.

⑻ 簡愛的英文讀後感

Jane Eyre — A Beautiful Soul

Jane Eyre, is a poor but aspiring, small in body but huge in soul, obscure but self-respecting girl. After we close the covers of the book, after having a long journey of the spirit, Jane Eyre, a marvelous figure, has left us so much to recall and to think:

We remember her goodness: for someone who lost arms and blinded in eyes, for someone who despised her for her ordinariness, and even for someone who had hurt her deeply in the past.

We remember her pursuit of justice. It』s like a companion with the goodness. But still, a virtuous person should promote the goodness on one side and must check the badness on the other side.

We remember her self-respect and the clear situation on equality. In her opinion, everyone is the same at the God』s feet. Though there are differences in status、in property and also in appearance, but all the human being are equal in personality.

We also remember her striving for life, her toughness and her confidence…

When we think of this girl, what she gave us was not a pretty face or a transcendent temperament that make us admire deeply, but a huge charm of her personality.

Actually, she wasn』t pretty, and of course, the ordinary appearance didn』t make others feel good of her, even her own aunt felt disgusted with it. And some others even thought that she was easy to look down on and to tease, so when Miss Ingram met Jane Eyre, she seemed quite contemptuous, for that she was obviously much more prettier than 『the plain and ugly governess』. But as the little governess had said: 『Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!』 This is the idea of equality in Jane Eyre』s mind. God hadn』t given her beauty and wealth, but instead, God gave her a kind mind and a thinking brain. Her idea of equality and self-respect impress us so much and let us feel the power inside her body.

In my mind, though a person』s beauty on the face can make others once feel that one is attractive and charming, if his or her mind isn』t the same beautiful as the appearance, such as beauty cannot last for, when others find that the beauty which had charmed them was only a falsity, it』s not true, they will like the person no more. For a long time, only a person』s GREat virtue, a noble soul, a beautiful heart can be called as AN EVERLASTING BEAUTY, just as Kahill Gibran has said, that 『Beauty is a heart enflamed and a soul enchanted』. I can feel that how beauty really is, as we are all fleshly men, so we can』t distinguish whether a man is of nobleness or humbleness, but fleshly men, so we can』t distinguish whether a man is of nobleness or humbleness, but as there are great differences in our souls, and from that, we can know that whether a man is noble or ordinary, and even obscure, that is, whether he is beautiful or not.

Her story makes us thinking about life and we learn much from her experience, at least, that is a fresh new recognition of the real beauty

⑼ 簡愛英文讀後感

這是我轉貼的，你看行不行

An Analysis of Jane Eyre

The novel is rich in poetry, symbolism and metaphor. It does not fit easily into a definite pattern, being neither a novel of "manners" in the tradition of Austen, or a straightforward Gothic Romance in the style of Mrs Radcliffe. What Charlotte Bronte did was to create a work which cleverly blends elements of the two styles, and which remains uniquely independent of them at the same time, since it addresses issues which were at the time rather controversial.

The novel is written in the first person, and thus magnifies the central character - the reader enters the world of Jane Eyre and is transported through her experiences at first hand. This at once makes the work subjective, especially since we know that Charlottes Brontes own life and experiences were so closely interwoven with the heroine's. As well as this we learn only at the end of the novel that the events are being related to us ten years after the reconciliation with Rochester - thus the narrative is RETROSPECTIVE (looking back). CB is clever in blending the narrative so that at times Jane seems to be speaking as an alt with alt hindsight , while at others she she is "in the middle" of them, as a child or young woman. The indecision which is a central issue in the book, is heightened by this device. We never know, as readers, whether to be entirely trustful of Janes actions and thoughts, because we are never sure wheher she is speaking impulsively or maturely.

This intensifies the readers dilemma as to what is "right" and "wrong" in the dramatic relationships which are part of JE's life. Can we believe what the heroine says, or is she deceiving herself? The novel is primarily a love story and a "romance" where wishes come true but only after trials and suffering. The supernatural has its place, as do dreams, portents and prophesies. The heroine begins poor and lonely and ends up rich and loved; the orphan finds a good family to replace the wicked one; all the basic ingredients of classic romantic fairytale are present.

⑽ 《簡愛》的英文影評

A thoroughly engaging adaption of the brooding classic, this film rises above the turgid tone often imposed on other classics brought to the screen. Joan Fontaine turns in a brilliantly deceptively understated performance, and Orson Welles restrains from the scenery chewing that marred some of his own projects; there is surprising chemistry between them. At times, Welles is a downright "sexy" leading man! The script (credited to John Houseman and Aldous Huxley) captures the right "tone" of Victorian cruelty and repression.

Under Robert Stevenson's direction Fontaine/Welles seem to capture the essence of two abused outsiders resisting their attraction for one another, trying to adhere to convention. A strong supporting cast. There are brief though memorable appearances by Agnes Moorehead, Elizabeth Taylor and Peggy Ann Garner as "young" Jane.

George Barnes' camera captures appropriately stark images of Ross Dowd and Thomas Little's sets. Charlotte Bronte's grim novel is well suited to the excellent B/W, cinematography: a memorable scene early in the film has young Jane being punished by being forced to stand on a stool that is nearly in the center of a fan of shadows cast by the stair railing, It is almost reminiscent of expressionist German films of the Weimar years.

The film manages to entertain as well as inform. Purists may object to the last 3 lines of the film which hint at a slightly happier denouement than the book offered. In spite of that, Jane Eyre is still a nearly flawless film.