A. 求《福爾摩斯》和《三個火槍手》的英文簡介
《三個火槍手》英文簡介
The Three Musketeers (Les Trois Mousquetaires) is a novel by Alexandre Dumas, père. It recounts the adventures of a young man named d'Artagnan after he leaves home to become a musketeer. D'Artagnan is not one of the musketeers of the title; those are his friends Athos, Porthos, and Aramis—inseparable friends who live by the motto, "One for all, and all for one".
The story of d'Artagnan is continued in Twenty Years After and The Vicomte de Bragelonne. Those three novels by Dumas are together known as the D'Artagnan Romances.
The Three Musketeers was first published in serial form in the magazine Le Siècle between March and July 1844.
《福爾摩斯》的英文簡介
Shylock Holmes is created by the novelist Conan Doyle's detective, GM has now become the world's best detectives were synonymous! He not only cool-headed Holmes, keen observation, reasoning ability and also no one can. (In addition, he's also very clever fencing) he usually leisurely pace in Baker Street, 211, the B room,Smoking Bucketawaiting commissioned by the door. But once received the case, he would immediately become a dog chasing a wolf, began locking the target and the entire incident boils, layers of filtration, until the final truth!
B. 《三個火槍手》讀後感
第一篇友誼——生活中的一盞明燈 ——讀《三個火槍手》有感 在古希臘人看，道德的偉大就在於對朋友有始終不渝的愛，對於敵人有不可磨滅的恨。 劍術超群的鄉下青年達達尼安，為了成為火槍手，便帶著父親寫的一封信，前往巴黎尋找國王的火槍衛隊隊長——德-特雷維爾——他的同鄉。 在巴黎，性急而又天不怕地不怕的達達尼安先後與「冷麵槍手」阿多斯、「紅斗篷」波爾托斯、「美男子」阿拉密斯不打不相識，並與他們結下了不解之緣。 期間，沒有一個人喊苦，沒有一個人叫屈，每一個人都是發自內心的開心。 莎士比亞說；「朋友間必須是患難相濟，那才能說得上真正友誼。」 這句話放在這里真的是再恰當不過了，主人公達達尼安與他的好朋友——阿多斯、波爾托斯、阿拉密斯就是四個「有福同享，有難同當」的莫逆之交，生死朋友。誰有錢都拿出來大家花，遇到事情也一起行動。不管是出入槍林彈雨，還是拿著腦袋去冒險，每一個人都毫無怨言，甚至積極主動。 達達尼安多想當官，可當他拿到空白的火槍隊副隊長的委任令時，還是先去逐個請求了三個朋友的接受。在大家都拒絕，而阿多斯填上達達尼安的名字後，達達尼安禁不住流下了眼淚，說他今後再也沒有朋友了。 世界上最美好的東西，莫過於有幾個頭腦和心地都很正直的朋友。 是啊，友誼多麼珍貴啊！「萬兩黃金容易得，知心一個也難求。」我若能得到一份珍貴純潔的友情，讓我少活十年，我也干。 沒有了友誼，哪會有高山流水的佳話？俞伯牙若沒遇到知音——鍾子期，也許早就摔琴了，也許早就因憂郁而見閻王了。 沒有了友誼，哪會有管鮑之交的千古傳奇？管仲若沒遇到鮑叔牙這般知心朋友，這惟位有經天緯地之才、濟世匡時之略，幫助齊桓公建立霸主地位的英雄，也許早就成了刀下之鬼了。 友情是至清至純至美的，它像眼睛裡容不得沙子一樣容不得任何功利性的東西和一切虛假的，丑惡的東西。 最後，請讓我用偉大的別林斯基的話來結尾吧： 這個故事描寫的17世紀的法國，政治者爭權奪利，矛盾重重。主人工是一個法國小子達達利昂，他善良淳樸聰明，一次又一次把自己的朋友從危險中拯救出來，一次又一次打破紅衣主教的陰謀。說到這里就不得不提到達達利昂的三個朋友――三個火槍手：阿多斯，波爾多斯，和阿拉米斯。阿多斯，波爾多斯，阿拉米斯是三位非常好的朋友，他們正直，勇敢為了朋友可以不惜一切代價，還有著紳士風度，說到怎麼認識主人公達達利昂，那可真是一段奇遇，真可謂是不打不相識。達達利昂無意間分別冒犯了這三位火槍手，他們為了榮譽要和達達利昂決斗，達達利昂只好硬著頭皮接受了。本來達達利昂准備去送死，誰知道來了紅衣主教的衛士，他們人多勢眾，要和三個火槍手決斗，達達利昂則加入了火槍手這一邊，就這樣大家同仇敵忔。一起戰斗敵人。結果他們以勝利而告終，也正以為這次戰斗化解了大家彼此的誤會，成為了非常要好的朋友。達達利昂經過努力也加入了火槍隊，這樣三個火槍手認識了好友，達達利昂，四個人從此形影不離，有福同享有難同當。大家從此接受了反抗紅衣主教的人物……… 故事也就此展開。作者生動的描寫的以後的戰斗，一起高超的寫作水平烘托出了達達利昂，阿多斯，波爾多斯，和阿拉米斯，這四個個性迥然不同的四個人。看了這個小說我也受益匪淺，以個好漢三個幫，誰都需要幫助，朋友能給自己幫助，就像這四個朋友互相幫助，共渡難關，也正是這樣他門才能從一個又一個危險與困難中走出來。而且，人要證明自己就要以實際行動來證明。達達利昂也正以為如此最終才變成了火槍隊的隊長。 第三篇世界大文豪大仲馬手下的《三個火槍手》是如此精彩，三個性格各異，形影不離的好朋友阿多斯，波爾多斯和阿拉米斯。他們性格好強，因而與另一個主人公達達尼昂打了一架，可謂「不打不相識」，與達達尼昂交上了朋友,四個人成了著名的火槍手。 勇敢而朴實的達達尼昂和他三個多情善感的火槍手一起證明了「.拼才會贏」這句話。他們紅衣主教死亡的威脅，也不怕呆在巴士地獄。因法國王後和白金漢公爵之間的.情，所以紅衣主教一直想抓住王後與白金漢公爵的關系的把柄，來打擊和消弱國王的的力量，而達達尼昂與三個火槍手為了維護王後的尊嚴，粉碎了紅衣主教一個又一個的計劃，挫敗了紅衣主教一個又一個的陰謀。另外，為了營救他心.的波那雪太太-王後的貼身侍女，也是王後與白金漢公爵秘密約會的聯系人，因此紅衣主教綁架了她，為了救出波那雪太太，達達尼昂又一次與紅衣主教的爪牙展開了你死我活的較量。再一個紅衣主教一直把拉羅舍勒這個胡格諾派新教徒在法國的最後堡壘視為眼中釘，確切的說是拉羅舍勒得到了紅衣主教的死敵白金漢公爵的支持。也是白金漢派遣英軍艦艇和士兵在離法不遠的雷島登陸增援新教徒。所以當上了首相的紅衣主教黎塞留為了鞏固中央集權，決心徹底摧毀拉羅舍勒，派兵圍攻與佔領新教徒的主城拉羅舍勒，大挫了白金漢公爵。 這個故事是個悲劇，一切為了王後和白金漢，而紅衣主教竭力制止，導致了一個兩敗俱傷的結果，白金漢，波那雪被紅衣主教的手下暗殺，火槍手各奔東西，只留下了達達尼昂一個人。這又告訴我們，人與人之間的斗爭陰險狡詐的，危險無處不在。
C. 三個火槍手英文讀後感 200詞左右!!!
Four young musketeers helped the empress of France to get the necklace. The empress gives the necklace to Buckingham as a present. Now the king asks the empress to wear the necklace on the evening party. So Dartagnan and his friends went to Britain and met Buckingham. Buckingham gave the necklace to them and protected them on the way to France. Finally, Dartagnan and his friends received the present from Buckingham and empress. Alexandre Dumas, père, born Dumas Davy de la Pailleterie (July 24, 1802 – December 5, 1870) was a French writer, best known for his numerous historical novels of high adventure which have made him the most widely read French author in the world. Many of his novels, including The Count of Monte Cristo and the D'Artagnan Romances, were serialized, and he also wrote plays, magazine articles, and was a prolific correspondent. His paternal grandmother was a black slave. Alexandre Dumas père wrote stories and historical chronicles of high adventure that captured the imagination of the French public who eagerly waited to purchase the continuing sagas. A few of these works are: Charles VII at the Homes of His Great Vassals (Charles VII chez ses grands vassaux), drama, adapted for the opera The Saracen by Russian composer César Cui the D'Artagnan Romances: The Three Musketeers (Les Trois Mousquetaires, 1844) Twenty Years After (Vingt Ans Après, 1845) The Vicomte de Bragelonne (Le Vicomte de Bragelonne, ou Dix ans plus tard, 1847): when published in English it was usually split into three parts "The Vicomte de Bragelonne", "Louise de la Valliere" and "The Man in the Iron Mask" , of which the last part is the most known. The Count of Monte Cristo (1845–1846) The Fencing Master (Le maître d'armes, 1840) The Regent's Daughter (1845) The Two Dianas (1846) the Valois romances Queen Margot (1845) La Dame de Monsoreau (1846) The Forty-Five Guardsmen (1847) the Marie Antoinette romances: Joseph Balsamo (1846–1848) (aka "Memoirs of a Physician", "Cagliostro", "Madame Dubarry", "The Countess Dubarry", or "The Elixir of Life") The Queen's Necklace (1849–1850) Ange Pitou (1853) (aka "Storming the Bastille", or "Six Years Later") The Countess de Charny (1853–1855) (aka "Andrée de Taverney", or "The Mesmerist's Victim") The Knight of the Red House (1845) The Black Tulip (1850) The Nutcracker (1844): a revision of Hoffmann's story, later adapted by Tchaikovsky as a ballet The Gold Thieves (after 1857): a play that was lost, and rediscovered by the Canadian Reginald Hamel researcher in the Bibliothèque nationale de France in 2004 The Knight of Sainte-Hermine (Le Chevalier de Sainte-Hermine, 1869): the novel was his last major work and was lost until its rediscovery by Claude Schopp was announced in 2005
D. 《三個火槍手》《傲慢與偏見》《大衛科波菲爾》得英文讀後感
先讓我准備三十年，然後才有資格回答你！
E. 《三個火槍手》的英文讀後感
Overall Summary
The Three Musketeers is a marvelous journey and should be appreciated foremost for its engaging story. The techniques Dumas employed to such success in 1840-- particularly his mastery of the form of the Romance--still work today.
As we saw in the closing portions of the book, Dumas gives us a fully developed Romance within his historical framework. He starts with levity and confidence, and ends with moroseness and doubt. The ending, indeed, seems to question many of the books dearly held values. D'Artagnan becomes a lieutenant in the Musketeers, but his promotion comes from the Cardinal--the Cardinal whom he and his four friends had fought so valiantly against for the first half of the novel. In the epilogue, d'Artagnan befriends the Comte de Rochefort, a Cardinalist agent. Was all that earlier fighting really worth it, then? Or was there something futile in all the Musketeers' efforts? Both the possibility of futility and this return to the normal at the end of a great Quest, characterize the form of the Romance as much as do its lighter aspects. Dumas sees the form through.
With Dumas's historical context in mind, the melancholy of the Romance becomes even more pronounced. It is almost as though Dumas presents this wonderful Romantic adventure, providing people with a chance to escape day to day toil and immerse themselves in better thoughts about their country, and then spurns it. He cannot bring himself to see the lie of Romanticism through to the end. Even bearing in mind that this turn to ambiguity is typical for the end of the Romance, it is hard not to interpret the ending of the novel as Dumas's rejection of Romantic values.
There are two sequels to The Three Musketeers, which Dumas wrote to capitalize on the success of the novel. They are entitled Vingt ans apres, published in 10 volumes in 1845, and Dix ans plus tard, ou le vicomte de Bragelonne, published in 26 parts from 1848-1850. The latter opens in 1660, and tells of a matured, powerful d'Artagnan, captain of the Musketeers. It also contains the account of Porthos's heroic death. But despite these sequels, Dumas never fully recaptured his success of 1844. His estate and his health declined until, after a period of furious attempted proctivity to recoup his debts, he died in 1870. The Romance left his life as well.
But The Three Musketeers is not merely a Romance; it is also a great historical novel, and Dumas's interesting approach to history also contributes to the success of his book. While he keeps his characters away from being major players in national events, he is not afraid of brazenly attributing human motives to history. In Dumas's version, France and England very nearly fight a war simply because the Duke of Buckingham loves Anne of Austria: John Fenton assassinates Buckingham because of personal reasons provided by Milady, and so on. Part of the entertainment of The Three Musketeers is that, in seeming to avoid the great events and focus on petty affairs, Dumas explains the great events more satisfyingly and entertainingly than any direct explanation of affairs of state could hope to do. History does not have a face-- d'Artagnan has a face, and a handsome one at that.
Dumas's formula serves his story well. His incorporation of Romanticism into the historical novel lifted an entire genre of literature into public alation, and gave the French people a story that reassured them about their country even as it brought them away from their country's troubles. Popular literature must be considered on two fronts: aesthetically and socially, as literature and as a popular artifact. The best popular literature, like the work of Alexandre Dumas, supercedes the latter category to come into our minds as a work of literature in its own right. It is not necessary to know about Dumas's life, or about French history, or about the genre of Romance, to enjoy The Three Musketeers. The superlative entertainment of the novel speaks for itself--which is why it remains so important and so interesting to study it.
F. 一篇《三個火槍手》的英文讀後感。400詞左右。
Overall Summary The Three Musketeers is a marvelous journey and should be appreciated foremost for its engaging story. The techniques Dumas employed to such success in 1840-- particularly his mastery of the form of the Romance--still work today. As we saw in the closing portions of the book, Dumas gives us a fully developed Romance within his historical framework. He starts with levity and confidence, and ends with moroseness and doubt. The ending, indeed, seems to question many of the books dearly held values. D'Artagnan becomes a lieutenant in the Musketeers, but his promotion comes from the Cardinal--the Cardinal whom he and his four friends had fought so valiantly against for the first half of the novel. In the epilogue, d'Artagnan befriends the Comte de Rochefort, a Cardinalist agent. Was all that earlier fighting really worth it, then? Or was there something futile in all the Musketeers' efforts? Both the possibility of futility and this return to the normal at the end of a great Quest, characterize the form of the Romance as much as do its lighter aspects. Dumas sees the form through. With Dumas's historical context in mind, the melancholy of the Romance becomes even more pronounced. It is almost as though Dumas presents this wonderful Romantic adventure, providing people with a chance to escape day to day toil and immerse themselves in better thoughts about their country, and then spurns it. He cannot bring himself to see the lie of Romanticism through to the end. Even bearing in mind that this turn to ambiguity is typical for the end of the Romance, it is hard not to interpret the ending of the novel as Dumas's rejection of Romantic values. There are two sequels to The Three Musketeers, which Dumas wrote to capitalize on the success of the novel. They are entitled Vingt ans apres, published in 10 volumes in 1845, and Dix ans plus tard, ou le vicomte de Bragelonne, published in 26 parts from 1848-1850. The latter opens in 1660, and tells of a matured, powerful d'Artagnan, captain of the Musketeers. It also contains the account of Porthos's heroic death. But despite these sequels, Dumas never fully recaptured his success of 1844. His estate and his health declined until, after a period of furious attempted proctivity to recoup his debts, he died in 1870. The Romance left his life as well. But The Three Musketeers is not merely a Romance; it is also a great historical novel, and Dumas's interesting approach to history also contributes to the success of his book. While he keeps his characters away from being major players in national events, he is not afraid of brazenly attributing human motives to history. In Dumas's version, France and England very nearly fight a war simply because the Duke of Buckingham loves Anne of Austria: John Fenton assassinates Buckingham because of personal reasons provided by Milady, and so on. Part of the entertainment of The Three Musketeers is that, in seeming to avoid the great events and focus on petty affairs, Dumas explains the great events more satisfyingly and entertainingly than any direct explanation of affairs of state could hope to do. History does not have a face-- d'Artagnan has a face, and a handsome one at that. Dumas's formula serves his story well. His incorporation of Romanticism into the historical novel lifted an entire genre of literature into public alation, and gave the French people a story that reassured them about their country even as it brought them away from their country's troubles. Popular literature must be considered on two fronts: aesthetically and socially, as literature and as a popular artifact. The best popular literature, like the work of Alexandre Dumas, supercedes the latter category to come into our minds as a work of literature in its own right. It is not necessary to know about Dumas's life, or about French history, or about the genre of Romance, to enjoy The Three Musketeers. The superlative entertainment of the novel speaks for itself--which is why it remains so important and so interesting to study it.
G. 急求三個火槍手英文讀後感！！！（60詞）
After reading it,the first feeling happened to my heart is that it just likes a fairy.Though it may constructed basing on current century,it appears a certain happiness which seldom seemed in that world like<The count of Monte Cristo>. Alexandre Dumas Pere's works show us his wonderful narratives and his hopes (maybe) to his world.So heros with great power always be seen in his works.So maybe I can't believe he is a very very good writer whoes works didn't give much importance of reality though I like him and his works very much.
This novel's four actors must leave a deep impression on us I think.Athos'reason,Melady's viciousion...all these consists of a beautiful world(with justice and evil)____can love ,can hate ,can angery,can happy...with loyalty and nature.So clearly a world!
H. 有《三個火槍手》英文簡介
Four young musketeers helped the empress of France to get the necklace. The empress gives the necklace to Buckingham as a present. Now the king asks the empress to wear the necklace on the evening party. So Dartagnan and his friends went to Britain and met Buckingham. Buckingham gave the necklace to them and protected them on the way to France. Finally, Dartagnan and his friends received the present from Buckingham and empress.
I. 求三個火槍手最新版電影英文介紹
Overall Summary
The Three Musketeers is a marvelous journey and should be appreciated foremost for its engaging story. The techniques Dumas employed to such success in 1840-- particularly his mastery of the form of the Romance--still work today.
As we saw in the closing portions of the book, Dumas gives us a fully developed Romance within his historical framework. He starts with levity and confidence, and ends with moroseness and doubt. The ending, indeed, seems to question many of the books dearly held values. D'Artagnan becomes a lieutenant in the Musketeers, but his promotion comes from the Cardinal--the Cardinal whom he and his four friends had fought so valiantly against for the first half of the novel. In the epilogue, d'Artagnan befriends the Comte de Rochefort, a Cardinalist agent. Was all that earlier fighting really worth it, then? Or was there something futile in all the Musketeers' efforts? Both the possibility of futility and this return to the normal at the end of a great Quest, characterize the form of the Romance as much as do its lighter aspects. Dumas sees the form through.
With Dumas's historical context in mind, the melancholy of the Romance becomes even more pronounced. It is almost as though Dumas presents this wonderful Romantic adventure, providing people with a chance to escape day to day toil and immerse themselves in better thoughts about their country, and then spurns it. He cannot bring himself to see the lie of Romanticism through to the end. Even bearing in mind that this turn to ambiguity is typical for the end of the Romance, it is hard not to interpret the ending of the novel as Dumas's rejection of Romantic values.
There are two sequels to The Three Musketeers, which Dumas wrote to capitalize on the success of the novel. They are entitled Vingt ans apres, published in 10 volumes in 1845, and Dix ans plus tard, ou le vicomte de Bragelonne, published in 26 parts from 1848-1850. The latter opens in 1660, and tells of a matured, powerful d'Artagnan, captain of the Musketeers. It also contains the account of Porthos's heroic death. But despite these sequels, Dumas never fully recaptured his success of 1844. His estate and his health declined until, after a period of furious attempted proctivity to recoup his debts, he died in 1870. The Romance left his life as well.
But The Three Musketeers is not merely a Romance; it is also a great historical novel, and Dumas's interesting approach to history also contributes to the success of his book. While he keeps his characters away from being major players in national events, he is not afraid of brazenly attributing human motives to history. In Dumas's version, France and England very nearly fight a war simply because the Duke of Buckingham loves Anne of Austria: John Fenton assassinates Buckingham because of personal reasons provided by Milady, and so on. Part of the entertainment of The Three Musketeers is that, in seeming to avoid the great events and focus on petty affairs, Dumas explains the great events more satisfyingly and entertainingly than any direct explanation of affairs of state could hope to do. History does not have a face-- d'Artagnan has a face, and a handsome one at that.
Dumas's formula serves his story well. His incorporation of Romanticism into the historical novel lifted an entire genre of literature into public alation, and gave the French people a story that reassured them about their country even as it brought them away from their country's troubles. Popular literature must be considered on two fronts: aesthetically and socially, as literature and as a popular artifact. The best popular literature, like the work of Alexandre Dumas, supercedes the latter category to come into our minds as a work of literature in its own right. It is not necessary to know about Dumas's life, or about French history, or about the genre of Romance, to enjoy The Three Musketeers. The superlative entertainment of the novel speaks for itself--which is why it remains so important and so interesting to study it.
J. 三個火槍手英文讀後感100字急求
《三個火槍手》英文讀後感
Overall Summary
The Three Musketeers is a marvelous journey and should be appreciated foremost for its engaging story. The techniques Dumas employed to such success in 1840-- particularly his mastery of the form of the Romance--still work today.