简爱电影英语观后感

⑸ 《简爱》的英语读后感

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 简爱 英文读后感

人教版语文八年级下册课后“读一读、写一写”归纳第一课《藤野先生》绯红fēihóng：深红色。标致biāo：漂亮。这里是反语，用来讽刺。（外表、风度等接近完美或理想境界,唤起美感上的极大享受的。）落第luòdì：原指科举时代应试不中。这里指考试不及格。不逊bùxùn：无礼。逊，谦逊。（不恭敬,没有礼貌;骄横。）诘责jiézé： 质问并责备。托词,托辞tuōcí,tuōcí： 找借口。油光可鉴yóuguāngkějiàn文中是说头上抹油，梳得很光亮，像镜子一样可以照人。鉴，照。(油光，形容特别光滑亮泽。可鉴，清澈得可以照见人。鉴,这里是照的意思。)抑扬顿挫yìyáng-dùncuò：高低起伏,停顿转折。形容音乐悦耳动听或文章或诗文可读性强,朗朗上口,音调铿锵有韵。深恶痛疾，深恶痛绝shēnwù-tòngjué：极端厌恶和痛恨。也作“深恶痛疾”。第二课《我的母亲》翳yì：指引起黑睛(角膜)混浊或溃陷的外障眼病以及病变愈后遗留于黑睛的疤痕。凡眼内、外障眼病所生遮蔽视线影响视力的症状皆可称翳。责罚zéfá：处罚;惩处。气量qìliàng:胸怀,度量。质问zhìwèn：根据事实提出疑问;责问。广漠guǎngmò：广大空旷。管束guǎnshù：遏制自由行动或言论;约束,使不越轨。宽恕kuānshù：宽容饶恕。文绉绉wénzhōuzhōu：形容人言谈、举止文雅的样子。第三课《我的第一本书》幽默yōumò：诙谐风趣而又意味深长。凄惨qīcǎn：凄凉悲惨。奥秘àomì：深奥莫测的秘密;奥妙;隐秘。翻来覆去fānlái-fùqù∶指睡不着觉来回翻身。比喻事情一再重复。第四课《列夫 托尔斯泰》黝黑yǒuhēi∶皮肤暴露在太阳光下而晒成的青黑色。颜色深黑。滞留zhìliú： 停留不动。愚钝yúdùn：愚笨;迟钝。器宇qìyǔ(指人的胸襟和度量)气概，风度。禁锢jìngù束缚，限制。轩昂xuānáng：形容精神饱满，气度不凡。犀利xīlì： 坚固锐利。又形容语言、文辞、感觉、目光等的尖锐锋利。侏儒zhūrú：身材异常矮小的人;矮子。形容个子矮小。酒肆jiǔsì：酒店。尴尬gāngà：处于两难境地无法摆脱。行为、态度不正常的。鬼鬼祟祟,不正派。粗制滥造cūzhì-lànzào：质地不精而又过量制造。藏污纳垢cángwū-nàgòuwū比喻包容坏人坏事。藏垢纳污cánggòu-nàwū： 比喻包容肮脏丑恶的人和事。也作“藏污纳垢”。郁郁寡欢yùyù-guǎhuān：指不愉快,心中憋气。鹤立鸡群hèlì-jīqún： 比喻一个人的才能或仪表在一群人里头显得很突出。正襟危坐zhèngjīnwēizuò：整理好衣襟端端正正坐着。形容严肃庄重的样子。颔首低眉dīméihànshǒu低着头显得很谦卑恭顺的样子。诚惶诚恐chénghuáng-chéngkǒng：原是封建社会中臣子向皇帝上奏章时所用的套语,现在常用来形容小心谨慎,惶恐不安的样子。无可置疑wúkě-zhìyí： 大可不必持怀疑态度。形容证据确凿,事情明摆着。黯然失色ànránshīsè∶黯然，阴暗的样子。失色，因惊恐而面色变白。广袤无垠guǎngmàowúyín：广阔无边。古代以东西长度为“广”，南北长度为“袤”。第五课《再塑生命》搓捻cuōniǎn企盼qǐpàn：盼望;希望。繁衍fányǎn：繁殖衍生;逐渐增多。迁徙qiānxǐ∶迁移;搬家。变易;更改。为了觅食或繁殖周期性地从一地区或气候区迁移到另一地区或气候区。被征发而远途服役。觅食mìshí：指鸟兽到处搜寻食物吃。油然而生yóuránérshēng∶形容思想感情自然而然地产生。花团锦簇huātuán-jǐncù： 形容五彩缤纷、景象十分华丽。也比喻花色繁多,华美艳丽。美不胜收měibùshèngshōu：美景多得看不过来;艺术品太美而目不睱接。繁花似锦fánhuāsìjǐn： （盛开的花;）各种各样的花鲜艳华美。风云突变fēngyún-tūbiàn： 比喻局势突然发生巨大变化。不可名状bùkě-míngzhuàng： 不可用言语来形容(名:说出)。落英缤纷luòyīng bīnfēn：落红;落花繁多而杂乱。冥思遐想míngsīxiáxiǎng冥思(空想) 超越现实作高远的想象。期期艾艾qīqīàiài形容口吃。汉代周昌口吃，又一次与汉高祖争论事情，说：“臣口不能言，然臣期期知其不可。”又三国魏邓艾亦口吃，说到自己时连说“艾艾”。第六课《雪》博识bóshí：学识渊博,见多识广。美艳měiyàn：美好艳丽。消释xiāoshì： 消除、处理、解除。褪尽tuìjìn：消退尽。凛冽lǐnliè： 寒冷刺骨。升腾shēngténg∶升入天空;往上升。脂粉奁zhīfěnlián∶装胭脂和香粉的盒子。第七课《雷电颂》睥睨pìnì∶眼睛斜着看,形容高傲的样子。污秽wūhuì∶肮脏的;不洁净的。不干净的物体。犀利xīlì： 坚固锐利。又形容语言、文辞、感觉、目光等的尖锐锋利。迸射bèngshè： 四散喷射。播弄bōnong∶挑拨玩弄。摆布;支配。虐待nüèdài：用狠毒残忍的手段对待人。雷霆léitíng∶疾雷。比喻人的盛怒或声威极大。踌躇chóuchú∶犹豫不决。鞭挞biāntà： 鞭打;驱使。祈祷qídǎo;向神祝告求福。罪孽zuìniè∶佛教语。指应当受到报应的恶行。苦难。拖泥带水tuōní-dàishuǐ：形容在泥泞道路上行走的状貌。比喻办事拖沓不爽快或语言不简明扼要。第八课《短文两篇》《日》《月》第九课《海燕》苍茫cāngmáng：空旷辽远。胆怯dǎnqiè:胆量小;畏缩;害怕。翡翠fěicuì∶一种单斜晶系的硅酸钠铝组成的矿物,加工后即成为有价值的玉器。动物名。又名赤翡翠。属脊椎动物亚门,鸟纲,佛法僧目。精灵jīnglíng∶鬼怪;神灵。机灵;聪明机智。蜿蜒wānyán∶蛇类曲折爬行的样子。曲折延伸。第十课《组歌（节选）》《浪之歌》《雨之歌》执拗zhíniù：坚持己见,固执任性。憔悴qiáocuì：黄瘦;瘦损.枯萎;凋零.困顿.烦恼。馈赠kuìzèng：赠送,也指赠送的东西、礼品。真谛zhēndì：真切的理论和精义;奥妙所在。璀璨cuǐcàn：形容光彩夺目。镶嵌xiāngqiàn：以物嵌入,作为装饰。酷肖kùxiào：极其相似。海誓山盟hǎishì-shānméng：男女之间发誓永远相爱的话。又说“山盟海誓”。长吁短叹chángxū-ǎntàn： 不停地唉声叹气。千山万壑qiānshān-wànhè∶无数的高山和深沟。路途遥远险阻。盛气凌人shèngqì-língrén： 以骄横傲慢的气势压人。第十一课《敬畏自然》蓬蒿péng hāo：（方）茼蒿。飞蓬和蒿子，借指野草。咫尺zhǐchǐ∶比喻相距很近。狼藉lángjí：乱七八糟;散乱、零散。也作“狼籍”。呐喊nàhǎn：大声呼喊;尤指士兵在战斗或追击时大声叫喊助威。不自量力bùzìliànglì自不量力zìbùliànglì：量:衡量,估计。不衡量自己的能力。形容对自己估计太高,多指做力不能及的事。相形见绌xiāngxíng-jiànchù：互相比较之下,一方显得很逊色。精巧jīngqiǎo juélún：精细巧妙，没有可以相比的。美味佳肴měiwèi-jiāyáo∶上等的、第一流的食品。精致可口的饭菜。味道鲜美的食品。第十二课《罗布泊，消逝的仙湖》萧瑟xiāosè∶草木被秋风吹袭的声音.寂寞凄凉。和煦héxù： 温暖的。干涸gānhé： 河流、池塘等干枯无水。没有水的。吞噬tūnshì∶吞吃;吞咽。整个地吞下去。吞没。裸露luǒlù：露在外头;没有东西遮盖。戈壁滩gēbìtān：蒙语中称沙漠,不同于一般沙漠,这种地区尽是沙子和石块,地面上缺水,植物稀少。沧海桑田cānghǎi-sāngtián：大海变成了种桑树的田地,种桑树的田地变成了大海。比喻世事多变,人生无常;或喻世事变化的巨大迅速——略称沧桑。第十三课《旅鼠之谜》媲美pìměi：美好的程度可以相比;比美。挑衅tiǎoxìn：故意挑起事端、企图引起冲突的行动或过程。鼠目寸光shǔmù-cùnguāng：比喻目光短浅,缺乏远见。相辅相成xiāngfǔxiāngchéng：互相补充，互相配合。第十四课《大雁归来》缄默jiānmò： 闭口不言。窥视kuīshì： 暗中观察;偷看。狩猎shòuliè：捕杀或猎取野生动物。顾忌gùjì：因某种顾虑而不愿直言径行。凋零diāolíng：草木凋谢零落。衰败,不振。用来喻人的死伤离散。滑翔huáxiáng：指物体不依靠动力,只利用空气的浮力在空中飘行。目空一切mùkōng-yīqiè：狂妄自大,蔑视一切的。第十五课《喂——出来》哂笑shěn xiào ：微笑。哂笑 shēnxiào：a.讥笑；b.微笑。拍板pāibǎn∶打拍子。旧时商行拍卖货物成交时用拍打木板来表示。比喻主事的人作出某种决定。打击乐器,用来打拍子,用几片木板做成。也叫鼓板。牟取móuqǔ： 谋取,尤指以不正当的或非法的手段取得金钱。黑咕隆咚hēigulōngdōng∶很黑暗。漆黑的。颤颤巍巍chànchànwēiwēi：震颤而动作不准确的样子。莫衷一是mòzhōngyīshì：意见分歧,难有一致的定论。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：不容许有什么怀疑，指真实可信。慷慨大方kāngkǎidàfāng：对于财物不计较、不吝啬。一视同仁yīshì-tóngrén：不加区别;相同对待。任劳任怨rènláo-rènyuàn： 工作不辞劳苦,不怕受埋怨。第十六课《云南的歌会》蹲踞dūnjù：蹲坐。酬和chóuhè：酬对奉和;用诗词应答。熹微xīwēi：微明,光未盛的样子。譬喻pìyù∶比喻,例如。劝说。淳朴chúnpǔ：敦厚质朴。即物起兴jíwùqǐxìng看见眼前事物引起兴致、兴趣。引经据典yǐnjīng-jùdiǎn《后汉书·荀爽传》:“引据大义,正之经典。”指引用经典著作中的语句或故事。也说“引经据古”悠游自在yōu yóu zìzài：快活的样子。龙吟凤哕lóng yín fèng huì第十七课《端午的鸭蛋》腌、腌yān ：形声。从肉,奄声。本义:用盐浸渍食物。门楣ménméi∶门框上部的横梁。门第。苋菜xiàncài：一年生草本植物,分布较广泛,有细而长的茎和暗紫色或绿色的椭圆形的叶子,开绿白色花,结黑色种子。叶和茎常作蔬菜食用。籍贯jíguàn：祖居或本人出生的地方。城隍庙chénghuáng miào∶城隍，道教指城池的守护神。古时供奉城池的守护神的处所。肃然起敬sùrán-qǐjìng：形容由于受感动而产生的恭敬和钦佩。囊萤映雪nángyíngyìngxuě（囊萤，晋车胤家贫,夏夜读书,以囊盛萤火照明。映雪，晋时孙康家贫,常映雪读书。）囊萤和映雪分别指晋朝车胤和孙康利用萤火虫的光和雪的反光刻苦读书的故事。第十八课《吆喝》囿yòu：拘泥。钹、钹bó打击乐器。铜质圆形的乐器,中心鼓起,两片相击作声 [cymbals]。古称“铜钹”、“铜盘”。初流行西域,南北朝时传至内地。招徕zhāolái：招揽。铁铉tiěxuàn饽饽bōbo [方]∶糕点或用杂粮面制成的块状食物。馒头。秫秸秆shújiēgǎn：摘了穗的高粱杆。随机应变suíjīyìngbiàn：跟着情况的变化，掌握时机，灵活应付。合辙押韵hézhéyāyùn：文中指押韵。油嘴滑舌yóuzuǐ-huáshé∶用花言巧语讨好。现在常用来形容一个人轻浮、油滑、善于迎合(有贬义)。第十九课《春酒》家醅jiāpēi：自家酿的酒。醅，这里泛指酒。一马当先yīmǎ-dāngxiān：形容带头,领先,作榜样。顾名思义gùmíng-sīyì： 观其名称就可推想其含义。第二十课《俗世奇人》《泥人张》《好嘴杨巴》怵chù抠kōu逢场作戏féngchǎng-zuòxì：原指卖艺人遇到合适的演出场地,就开场表演。后用作随俗应酬,凑热闹的意思。八面玲珑bāmiàn-línglóng:原指窗户宽敞明亮,后形容待人处事机巧圆滑,各方面都敷衍周到,谁也不得罪.看风使舵kànfēng-shǐò: 看着风向掌握船舵。比喻随着形势转变方向,调整对策.左右逢源zuǒyòu-féngyuán∶比喻做事情得心应手。比喻办事圆滑。孤陋寡闻gūlòu-guǎwén： 比喻学识浅薄、见闻贫乏。人情练达rénqíngliàndá:熟悉人情世故。练达，指阅历丰富，通晓世故人情。

⑺ 简爱英文版观后感

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 简爱的英文读后感

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 简爱英文读后感

这是我转贴的，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 《简爱》的英文影评

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.