潘道尔之歌
英国文学简史期末考试资料
英国文学简史期末考试资料英国文学简史英美文学史名词翻译Neoclassicism (新古典主义) Renaissance (文艺复兴)Metaphysical poetry (玄学派诗歌) Classism (古典主义)EnlighteXXXent (启蒙运动) Romanticism (浪漫主义)Byronic Hero (拜伦式英雄) Aestheticism（美学主义）Stream of consciousness (意识流) the Age of Realism (现实主义阶段) Naturalism (自然主义) Local Colorist (乡土文学)Imagism (意象主义) The Lost Generation (迷惘的一代)Surrealism (超现实主义) The Beat Generation (垮掉的一代) Metaphysical poets (玄学派诗人）New Criticism (新批判主义)Feminism(女权主义) Hemingway Code Hero (海明威式英雄) Impressionism (印象主义) Post modernity (后现代主义)Realism (现实主义) Allegory (寓言)Romance (传说) epic(史诗)Blank Verse (无韵诗) Essay (随笔)Masques or Masks (假面剧) Spenserian Stanza (斯宾塞诗节)Three Unities (三一.原则) Meter (格律)Soliloquy (独白) Cavalier poets (骑士派诗人)Elegy (挽歌) . Action/plot (情节)Atmosphere (基调) Epigram (警句)The Heroic Couplet (英雄对偶句) Sentimentalism (感伤主义文学)Aside (旁白) Denouement (戏剧结局)parable (寓言) Genre (流派)Irony (反讽) Satire (讽刺)Lyric (抒情诗) Ode (颂歌)Pastoral (田园诗) Canto (诗章)Lake Poets (湖畔诗人) Image (意象)Dramatic monologue（戏剧独白）Psychological novel (心理小讲)Allusion (典故) Protagonist and Antagonist (正面人物与反面人物) Symbolism (象征主义) Existentialism (存在主义)Anti-hero (反面人物) Rhyme (押韵)Round Character (丰满的人物) Flat character (平淡的人物)Oedipus complex (俄狄浦斯情结/蛮母厌父情结) Iambic pentameter (抑扬格五音步)Poetic license (诗的破格) Legend (传奇)Myth (神话) Pessimism (悲观主义)Tragicomedy (悲喜剧) Comedy of manners (风俗喜剧)Free Verse (自由体诗歌) Magic realism (魔幻现实主义) Autobiography (自传) Biography (传记)Foot (足注) Protagonist (正面人物)Psychological Realism (心理现实主义) Setting (背景)Chronicle《编年史》Ballads 民谣consonant(协调,一致) repetition (反复)repeated initial(开头的)一、中世纪文学（约5世纪—1485）《贝奥武甫》（Beowulf）《高文爵士和绿衣骑士》（Sir Gawain and the Green Knight )杰弗利·乔叟（Geoffrey Chaucer) ―英国诗歌之父（Father of English Poetry）《坎特伯雷故事》（The Canterbury Tales ）二、文艺复兴阶段文学（15世纪后期—17世纪初）托马斯·莫尔（Thomas More ）《乌托邦》（Utopia）埃德蒙·斯宾塞（Edmund Spenser）《仙后》（The Faerie Queene)弗兰西斯·培根（Francis Bacon）《论讲文集》（Essays)克里斯托弗·马洛（Christopher Marlowe）《帖木儿大帝》（Tamburlaine）《浮士德博士的悲剧》（The Tragical History of the Life and Death of Dr. Faustus）《马耳他岛的犹太人》（The Jew of Malta ）威廉·莎士比亚(William Shakespeare ）四大悲剧: Hamlet（哈姆雷特）、Othello（奥瑟罗）、King Lear（李尔王）、Macbeth（麦克白）四大喜剧：A Midsummer Night's Dream《仲夏夜之梦》As you like it《皆大欢喜》Twelfth Night 《第十二夜》The merchant of Venice 《威尼斯商人》三、17世纪文学约翰·弥尔顿John Milton 《失乐园》（Paradise Lost）（诗人、政论家;失明后写《失乐园》、《复乐园》、《力士参孙》。
戈尔鲍第长笛20首
戈尔鲍第长笛20首戈尔鲍第长笛曲集，是古典音乐的经典之一。
这个曲集共收录了20首长笛曲，对练习长笛发音和培养音乐鉴赏能力有着极大的帮助。
下面就为大家介绍这20首曲目，让大家对这个经典的曲集有更深入的了解。
1. E小调：艺术的荣耀这是一首很有节奏和动感的曲目，体现了作曲家对音乐的独特见解。
演奏者需要注意节奏感，以保证演奏的流畅性和整齐性。
2. F大调：颤音之恋这首曲子体现了作曲家对长笛发音技艺的考察。
演奏者需要有较高的技巧，尤其是对颤音的掌握。
3. G小调：纯真时代的回忆这是一首悠扬动听的曲目，反映了作曲家对纯真和回忆的怀念。
演奏者需要注意表现音乐中的情感，让观众感受到音乐所传达的情感。
4. A大调：热情的告白这首曲子体现了作曲家对音乐的热情和追求。
演奏者需要通过音乐的表现力，让观众感受到自己的热情和追求。
5. B小调：孤独之旅这是一首颇具哲理和深沉的曲目，反映了作曲家对孤独和内心的探索。
演奏者需要注意通过乐器的声音，表现出曲子所反映的深沉思考。
6. C大调：灵魂之舞这首曲子体现了作曲家对音乐的独特见解和创造力。
演奏者需要注意发挥个人创意，表现出自己的音乐天赋和才华。
7. D小调：梦之旅程这是一首让人感到轻松和平静的曲目，反映了作曲家对梦境的探索。
演奏者需要使用柔和的音色和弱音，让音乐更加柔和舒适。
8. E大调：曙光之午这首曲子体现了作曲家对音乐的乐观和励志。
演奏者需要表现出自己的音乐能量和积极力，让乐曲更加具有表现力。
9. F小调：无限幻想这是一首具有梦幻气质的曲目，反映了作曲家对音乐灵魂的探索。
演奏者需要注意突出音调的变化，营造出梦幻般的氛围。
10. G大调：天堂之境这首曲子体现了作曲家对音乐的美好愿景。
演奏者需要突出音乐的美感和情感表现，让那些听到音乐的人感受到音乐的美好意境。
11. A小调：狂欢之夜这是一首充满活力和活跃的曲目，反映了作曲家对音乐的兴奋和热情。
演奏者需要用尽自己的力量，展示出音乐的活力和活跃表现。
拉美西斯二世
【简介】拉美西斯二世，全名乌瑟玛瑞·塞特潘利·拉美斯·米亚蒙，是伟大的领袖，勇猛的士兵，杰出的建筑家，生有100多个儿女，他的一生得到了许多称颂。
古埃及最著名的法老——拉美西斯的真实故事向我们展示了他人性化的一面，他的感情世界，他树立自身形象的过人本领，以及他如永恒史诗般的遗体。
在他所统治的67里，埃及成就了拉美西斯二世(Ramesses II，前1314年—前1237年）古埃及第十九王朝法老（前1289年—前1237年在位），其执政时期是埃及新王国最后的强盛年代。
法老塞提一世之子。
拉美西斯二世进行了一系列的远征，以恢复埃及对巴勒斯坦的统治。
他在叙利亚与同时代的另一强大帝国赫梯发生利益冲突。
双方在前1286年发生一次著名的战役（卡迭石战役），拉美西斯二世在战斗中处于下风，但他却命令将其说成是他的一次伟大胜利。
与赫梯的战争一直进行到公元前1270年，最终以拉美西斯二世与赫梯国王卡图西尔三世缔结和约结束。
这份文件可说是历史上第一个著名的国际协定，其埃及文本与赫梯文本均被保存下来，并为近代考古学者所发现。
可能是出于对赫梯军事力量的担心，拉美西斯二世下令在东北尼罗河三角洲新建一座城市为首都，并将其命名为比—拉美西斯（意为拉美西斯的家）。
它颠覆前的最后繁荣。
【10岁时即发号施令】他拥一段充满传奇色彩的人生。
古埃及历史上最著名的法老是一位强大的国王，一位战无不胜的将军，一位和蔼可亲的父亲，一位不知疲倦的建设者。
头顶着这些光环的拉美西斯二世（Ramses Ⅱ, Ramesses II, Ramesses the Great）在位67年（统治时间1279 BC ~1213 BC），直至今日，他依然享有这些盛誉。
敌人惧怕他，臣民爱戴他，神灵保佑他。
生活在古埃及第十九王朝的拉美西斯在人类历史上留下了不可磨灭的印迹。
拉美西斯二世的生日是2月21日，我们只大致知道他是在1290BC年左右出生于孟斐斯（Memphis）。
《尼伯龙根之歌》——一部伴随德国历史沉浮的中世纪英雄史诗
《尼伯龙根之歌》——一部伴随德国历史沉浮的中世纪英雄史诗德国中世纪的文学作品中，最为人称道的莫过于《尼伯龙根之歌》。
该文学巨著以其丰富的史诗形式，描绘了一个个英勇无畏的英雄形象和战争故事，同时也通过这些叙述，将德国历史的荣耀、悲恸和沉浮呈现得淋漓尽致。
《尼伯龙根之歌》的创作始于12世纪，取材于德国民族英雄听说和历史事件。
故事发生在公元5世纪前后，背景是德国境内的波河地区。
诗歌最初传唱于民间，后来被收录并加以整理成为一部正式的文学作品。
在这部史诗中，许多事件和角色都与历史上的真实人物和事情密不行分，因此被认为是中世纪德国文学的重要代表之一，同时也对后来的作品产生了深遥的影响。
故事的主线盘绕着尼伯龙根王国的命运展开。
王国的统治者是一位英勇而和善的君主，名叫尼伯龙根。
他与一位名叫布杜尔的领主发生了争斗，并最终战死。
随后，王国陷入混乱，内部纷争不息，外部敌人也趁机侵略。
这段时间里，德国历史上一系列的重大事件也被描绘其中，包括了阿提拉与汉尼拔的战争、神圣罗马帝国的创建等。
《尼伯龙根之歌》以多条情感纠葛的爱情线索贯穿始终。
其中最著名的是英勇的斯琪尔德与秀丽的瑟格林德之间的爱情故事。
他们两人之间的爱情经历了数不清的考验，包括了阴谋、背叛和悲恸。
他们的故事反映了当时德国的社会伦理观念，同时也映射了中世纪社会的道德习俗和人性的复杂性。
这部史诗作品还融入了宗教和玄妙的元素，例如对于命运和天命的谈论、对于奇异动物和魔法的描绘等。
这些描写使得故事充盈了玄妙感和奇幻颜色，给读者带来身临其境的感受。
这也体现了中世纪时期人们对未知和超自然力气的恐惊和向往。
《尼伯龙根之歌》除了是一部优秀的文学作品外，仍是一本重要的历史教材。
通过阅读这部史诗，我们可以了解到德国的中世纪社会结构、政治制度、战争冲突等方面的状况。
同时，其中一些情节和人物也与现实历史有着紧密的联系，例如阿提拉与汉尼拔的战争，反映了当时古罗马与日耳曼部落之间的斗争。
《尼伯龙根之歌》在德国历史和文化中占据着重要的地位。
中国音协第三套小提琴考级曲目
中国音协第三套小提琴考级曲目2008-1-11 16:24中国音乐家协会第三套小提琴考级曲目第一级音阶与琶音G大调D大调A大调练习曲1．练习曲No.10………………………………………………………………法拉拉曲2．练习曲No.16………………………………………………………………法拉拉曲3．练习曲No.17………………………………………………………………法拉拉曲4．*练习曲No.1………………………………………………………….. 沃尔法特曲5．*练习曲No.1 …………………………………………………………. 塞夫契克曲6．*练习曲No.6 ……………………………………………………………丹克拉曲外国乐曲1、很久很久以前………………………………………………………………贝里曲2．五月之歌……………………………………………………………………民歌3．G大调布列舞曲……………………………………………………………亨德尔曲4．G大调小步舞曲……………………………………………………………巴赫曲中国乐曲1．八月桂花遍地开………………………………………………………….. 江西民歌2．卖报歌…………………………………………………………………….. 聂耳曲3．大黄牛…………………………………………………………………….. 佚名曲4．小兔儿乖乖……………………………………………………………….. 韩德常曲5．晴天多么好……………………………………………………………….. 子牛曲第二级音阶与琶音C大调A旋律小调降B大调G旋律小调练习曲1．练习曲No.4……………………………………………………………沃尔法特曲2、练习曲No.14…………………………………………………………. 沃尔法特曲3．*练习曲No.16……………………………………………………………. 沃尔法特曲4．*练习曲No.17……………………………………………………………. 沃尔法特曲5．练习曲No.20…………………………………………………………. 沃尔法特曲6．*练习曲No.1…………………………………………………………….. 开塞曲外国乐曲1．G大调布列舞曲………………………………………………………….. 巴赫曲2．G大调加沃特舞曲……………………………………………………………马蒂尼曲3．B小调协奏曲第一乐章………………………………………………………. 里丁曲4．降B大调小奏鸣曲…………………………………………………巴克拉诺娃曲中国乐曲1．摇篮曲………………………………………………………………………宋军曲2．小松树……………………………………………………………傅晶李伟才曲3．校园里的小白杨……………………………………………………….. 樊祖荫曲4．我们的航模组……………………………………………………………马俊英曲5．我们多么幸福……………………………………………………………郑律成曲第三级音阶与琶音D大调B旋律小调C大调A旋律小调练习曲1．*练习曲No.34 …………………………………………………………沃尔法特曲2．*练习曲No.5 ………………………………………………………….. 开塞曲3．练习曲No.8 ………………………………………………………….. 开塞曲4．*练习曲No.13 …………………………………………………………开塞曲5．*练习曲No.16 …………………………………………………………开塞曲6．练习曲Op.38 No.1 ………………………………………………….. 顿特曲外国乐曲1．G大调小步舞曲…………………………………………………………贝多芬曲2．牧歌………………………………………………………………….. 西蒙尼蒂曲3．A小调协奏曲第一乐章…………………………………………………维瓦尔迪曲4．A小调协奏曲第三乐章…………………………………………………维瓦尔迪曲5．D大调第五学生协奏曲第一乐章……………………………………塞茨曲中国乐曲1．听妈妈讲那过去的事情…………………………………………………. 瞿希贤曲2．让我们荡起双桨……………………………………………………….. 刘炽曲3．幸福的花朵…………………………………………………………….. 潘振声曲4．采蘑菇的小姑娘………………………………………………………谷建芬曲5．月儿弯弯像只船…………………………………………………………温崇哲曲第四级音阶与琶音F大调D旋律小调降E大调C旋律小调A大调（双音音阶准备练习）练习曲1．练习曲Op.32 No.15 ………………………………………………….. 西特曲2．练习曲No.14 ………………………………………………………....... 开塞曲3．*练习曲No.23 ……………………………………………………………. 开塞曲4．*练习曲No.25 ……………………………………………………………. 开塞曲5．*练习曲No.29 ……………………………………………………………. 开塞曲6．练习曲No.5 ……………………………………………………………马扎斯曲外国乐曲1．D大调加沃特舞曲……………………………………………………….. 戈塞克曲2．小步舞曲………………………………………………………………博凯里尼曲3．G大调第二学生协奏曲第一乐章………………………………………塞茨曲4．G大调第二学生协奏曲第三乐章………………………………………塞茨曲5．G大调协奏曲第一乐章………………………………………………维瓦尔迪曲中国乐曲1．摇篮曲…………………………………………………贺绿汀曲陈又新注弓指法2．秋收……………………………………………………………………. 靳延平曲3．四季调……………………………………………………青海民歌王家阳改编4．愉快的小牧民……………………………………………………………李自立曲5．旱天雷……………………………………………………吕文成曲蒋雄达改编6．步步高……………………………………………………吕文成曲蒋雄达改编第五级音阶与琶音F大调（在E线上演奏）降B大调（在A线上演奏）降E大调（在D线上演奏）降A大调（在G线上演奏）C大调简易双音音阶练习曲1．练习曲Op.38 Op.3 ………………………………………………………顿特曲2．*练习曲No.28 ……………………………………………………………….马扎斯曲3．*练习曲No.30 ……………………………………………………………….开塞曲4．练习曲No.33 …………………………………………………………….开塞曲5．练习曲No.35 ………………………………………………………………开塞曲6．*练习曲No.2 ………………………………………………………………克莱采尔曲外国乐曲1．D大调小步舞曲…………………………………………………………. 莫扎特曲2．主题与变奏曲第六首--梅尔卡丹特的主题…………………………….丹克拉曲3．G小调协奏曲第一乐章…………………………………………………维瓦尔迪曲4．D大调第一学生协奏曲第一乐章……………………………………………塞茨曲5．A小调协奏曲…………………………………………………………….阿科莱伊曲6．A大调第二协奏曲第一乐章………………………….................. 科玛洛夫斯基曲中国乐曲1．新春乐………………………………………………………………………. 茅沅曲2．山歌………………………………………………………………………. 马思聪曲3．牧歌…………………………………………………………………沙汉昆编曲4．海兰江畔……………………………………………………………………..金在清曲5．草原之夜……………………………………………………田歌曲蒋雄达改编6．良宵………………………………………………刘天华曲陈又新编订指法第六级音阶与琶音G大调E旋律小调降B大调G旋律小调练习曲1．练习曲No.7 …………………………………………………………马扎斯曲2．练习曲No.8 …………………………………………………………克莱采尔曲3．练习曲No.10 ……………………………………………………………克莱采尔曲4．练习曲No.12 ……………………………………………………………克莱采尔曲5．练习曲No.14 ……………………………………………………………克莱采尔曲6．练习曲No.16 ……………………………………………………………克莱采尔曲外国乐曲1．D大调小步舞曲(波波拉风格) ……………………………………克莱斯勒改编2．沉思………………………………………………………………马斯内曲3．G小调第三学生协奏曲第一乐章……………………………………. 塞茨曲4．D大调第四学生协奏曲第一乐章……………………………………塞茨曲5．E小调第一协奏曲第一乐章……………………………………. 科玛洛夫斯基曲6．A小调协奏曲第一乐章…………………………………………………. 巴赫曲中国乐曲1．新疆之春…………………………………………………马耀先李中汉曲2．新疆舞曲………………………………………………………………….. 靳延平曲3．民风舞曲……………………………………………………………………..张靖平曲4．夏夜……………………………………………………………………杨善乐曲5．二泉映月………………………………………华彦钧曲丁芷诺何占豪改编6．红军哥哥回来了………………………………张长城原野曲赵薇改编7．玛依拉……………………………………玛依拉·夏姆托迪诺娃曲蒋雄达改编第七级音阶与琶音A大调升F旋律小调B大调升G旋律小调练习曲1．练习曲No.19 …………………………………………………………克莱采尔曲2．*练习曲No.29 …………………………………………………………克莱采尔曲3．练习曲No.30 …………………………………………………………克莱采尔曲4．*练习曲No.37 …………………………………………………………克莱采尔曲5．练习曲No.16 …………………………………………………………菲奥里洛曲6．*练习曲No.28 …………………………………………………………菲奥里洛曲外国乐曲1．叙事曲………………………………………………………………. 波隆贝斯库曲2．辉煌的快板………………………………………………………………. 哈夫曲3．加沃特舞曲………………………………………………………………. 巴赫曲4．A小调第七协奏曲第一乐章………………………………………….. 罗德曲5．A小调第九协奏曲第一乐章………………………………………….. 贝里奥曲6．E大调第二协奏曲第一乐章……………………………………………巴赫曲7．G大调第二十三协奏曲第一乐章……………………………………维奥蒂曲8．G大调第二十三协奏曲第三乐章………………………………………维奥蒂曲中国乐曲1．牧歌……………………………………………………………………. 马思聪曲2．跳龙灯……………………………………………………………………. 马思聪曲3．红河山歌…………………………………………………………………廖胜京曲4．忆念曲…………………………………………………………………….. 王志杰曲5．送春肥…………………………………………………………………….. 赵薇曲6．节日的喜悦……………………………………………………………….. 权吉浩曲7．渔舟唱晚………………………………………………………..古曲黎国荃改编第八级音阶与琶音C大调A旋律小调降A大调F旋律小调练习曲1．练习曲No.6 ………………………………………………………菲奥里洛曲2．练习曲No.11 …………………………………………………………. 菲奥里洛曲3．*练习曲No.34 ………………………………………………………. …克莱采尔曲4．练习曲No.2 ……………………………………………………………. 罗德曲5．*练习曲No.8 ……………………………………………………………. 罗德曲6．*练习曲No,22 ……………………………………………………………罗德曲外国乐曲1．查尔达什舞曲……………………………………………………………蒙蒂曲2、旋律…………………………………………………………………. 柴可夫斯基曲3．无穷动………………………………………………………………………里斯曲4．A小调第二十二协奏曲第一乐章…………………………………………. 维奥蒂曲5．G大调第七协奏曲第一乐章………………………………………………贝利奥曲6．G大调第三协奏曲第一乐章……………………………………………莫扎特曲7．D大调第四协奏曲第一乐章………………………………………………莫扎特曲中国乐曲1．海滨音诗…………………………………………………………………. 秦咏诚曲2．思乡曲…………………………………………………………………….. 马思聪曲3．庆丰收…………………………………………………………………….. 张靖平曲4．忆延安…………………………………………………………………….. 李自立曲5．花儿为什么这样红………………………………..............雷振邦曲韩铁华改编6．伟大的北京…………………………………………. 奴尔买买提曲刘自力改编7．我像雪花天上来…………………………………………. 徐沛东曲蒋雄达改编第九级音阶与琶音D大调B旋律小调降E大调C旋律小调练习曲1．*练习曲No.35 ………………………………………………………………克莱采尔曲2．随想曲No.5 …………………………………………………………………罗德曲3．随想曲No.21 …………………………………………………………….. 罗德曲4．随想曲Op.35 No.14 ………………………………………………………顿特曲5．*随想曲Op.35 No.17 ……………………………………………………….顿特曲6．*随想曲Op.18 No.3 …………………………………………….. 维尼亚夫斯基曲外国乐曲1．前奏曲与快板…………………………………………………………克莱斯勒曲2．回旋曲………………………………………………………………….. 莫扎特曲3．传奇…………………………………………………………….. 维尼亚夫斯基曲4．C大调第一协奏曲第一乐章…………………………………………….. 海顿曲5．G小调第一协奏曲第一乐章……………………………………………布鲁赫曲6．G小调第一协奏曲第三乐章……………………………………………….布鲁赫曲7．升F小调第二协奏曲第一乐章………………………………………………维厄当曲8．A大调第五协奏曲第一乐章………………………………………………莫扎特曲中国乐曲1. 回旋曲………………………………………………………………………马思聪曲2．塞外舞曲……………………………………………………………………. 马思聪曲3. 丰收渔歌…………………………………………………………………李自立曲4. 喜见光明…………………………………………………………………李自立曲5. 黎家代表上北京…………………………………………………. .何东、李超然曲6. 小提琴协奏曲【梁山伯与祝英台】……………………………. 何占豪、陈钢曲7．千年铁树开了花………………………………………….. 尚德义曲阿克俭改编第十级音阶与琶音E大调升C旋律小调F大调D旋律小调练习曲1．随想曲Op.35 No.4 ………………………………………………………...顿特曲2．*随想曲Op.35 No.11 ……………………………………………………….顿特曲3．随想曲Op.35 No.12 ……………………………………………………….顿特曲4．随想曲OP.35 No.20 ………………………………………………………..顿特曲5．*随想曲Op.35 No.22………………………………………………………顿特曲6．*随想曲Op.10 No.5 ……………………………………………. 维尼亚夫斯基曲外国乐曲1．流浪者之歌……………………………………………………………萨拉萨蒂曲2．谐谑曲与塔兰泰拉……………………………………………….. 维尼亚夫斯基曲3．哈瓦奈斯…………………………………………………………………圣-桑斯曲4．西班牙交响曲第一乐章…………………………………………………. 拉罗曲5．A小调第五协奏曲第一乐章……………………………………………维厄当曲6．D小调第二协奏曲第一乐章………………………………………维尼亚夫斯基曲7．E小调协奏曲第一乐章………………………………………………. 门德尔松曲中国乐曲1．金色的炉台………………………………………………………………陈钢编曲2. 阳光照耀着塔什库尔干………………………………………………陈钢编曲3. 苗岭的早晨……………………………………………………………. 陈钢编曲4．中原畅想曲……………………………………………………………….. 薛澄潜曲5．瑞丽江边……………………………………………………………….. 施光南曲6．茨梨花………………………………………………………………….. 李自立曲7．喜相逢……………………………………………………河北民间乐曲杨宝智改编。
斗牛士之歌
斗牛士之歌斗牛士之歌是一首源自西班牙的经典传统歌曲，它以其激昂的旋律和深情的歌词而著称。
这首歌曲与斗牛士这一西班牙文化符号紧密相连，代表了斗牛运动的荣耀和英勇。
在这篇文章中，我将为大家介绍斗牛士之歌的背景和意义，并探讨它在西班牙文化中的重要性。
斗牛士之歌起源于19世纪晚期的西班牙，当时正值斗牛运动的鼎盛时期。
斗牛运动是西班牙文化的重要组成部分，而斗牛士被视为勇敢和荣耀的象征。
斗牛士之歌是为了赞美这些勇敢的斗牛士而创作的，歌曲中融入了对斗牛士的赞美、对斗牛运动的赞扬以及对西班牙热情的表达。
斗牛士之歌的旋律激昂且富有激情，它通过独特的音乐语言展现出斗牛士在擂台上勇敢战斗的场景。
歌曲开头节奏鲜明，仿佛在模拟斗牛士登场的过程，接着音乐渐渐升华，仿佛在模拟斗牛士与公牛的激烈对决。
歌声中透露出一股豪情壮志，让人在听歌的同时也仿佛亲临斗牛场上，感受到了斗牛士们的英勇和荣耀。
斗牛士之歌的歌词同样充满了战斗的英勇与荣耀。
歌词中反复强调了斗牛士的勇敢和胜利，歌颂了他们在斗牛场上的英勇表现。
歌词中的每一个词句都展现了作者对斗牛士的赞美之情，同时也展示了西班牙人民对斗牛运动的热爱和对斗牛士的尊重。
斗牛士之歌不仅在西班牙国内广为流传，也在世界各地赢得了极高的声誉。
它被广泛地演唱和演奏，成为西班牙文化的重要象征之一。
歌曲中所传递的热情和激情，让人们能够感受到西班牙人民对斗牛运动的热爱与对斗牛士的敬仰。
然而，斗牛运动自从诞生以来就备受争议。
一些人认为，斗牛运动涉及对动物的残忍和虐待，违背了人类对待其他生物的伦理原则。
这一争议也使得斗牛士之歌在现代社会的地位受到了一定的质疑。
尽管如此，斗牛运动还是保留了一定程度的传统性和文化价值，并且在某种程度上仍然受到了一部分人的喜爱和支持。
斗牛士之歌作为西班牙文化的重要组成部分，既传达了斗牛士勇敢战斗的精神，也反映了西班牙人民热情奔放的性格特点。
它不仅仅是一首歌曲，更是一种文化符号，代表了一种精神追求和价值观念。
尼伯龙根之歌的故事
尼伯龙根之歌的故事尼伯龙根之歌是一首古老而史诗性的德国诗歌，由德国作曲家瓦格纳改编为歌剧。
这个故事源自北欧神话和德国传说，它讲述了许多英勇和悲剧的人物所经历的故事，以及他们与命运和命运女神的斗争。
故事的主要情节发生在伊斯特凡（Isenstein）城堡和邻近的尼伯龙根山。
威尔哈尔姆（Siegfried）是主角，他是一个英勇而勇敢的战士，被寄养在尼伯龙根山的女巫养母命运女神布里德姆修鲁德（Brünnhilde）的护送下成长。
威尔哈尔姆在成年后离开了布里德姆修鲁德，前往伊斯特凡城堡，决心保护属于他的尼伯龙根之戒。
然而，他最终被背叛，被邪恶的对手亨斯特（Hagen）谋杀。
威尔哈尔姆的妻子基利尔但因他的死而悲伤，她最终也因爱而自愿进入火海与丈夫相聚。
尼伯龙根之戒是故事的中心，它是一枚有着巨大力量和诅咒的黄金戒指。
这个戒指的所有权带来了诸多灾难，人们为了争夺它而相互残杀。
英雄威尔哈尔姆最终被背叛和杀害，这使得尼伯龙根之戒成为了诅咒的象征。
除了威尔哈尔姆和布里德姆修鲁德之外，故事中的其他重要角色还包括诗人辛（Sieglinde），他的妻子塞壬林德（Sieglinde），塞壬林德的父亲齐格堡（Hunding）以及尼伯龙根的国王古涅特（Günter）和他的姐姐古涅特莱（Gutrune）、亨特和他的父亲阿尔特修鲁德（Alberich）等。
尼伯龙根之歌是一系列歌剧的合集，通常由瓦格纳四部歌剧《尼伯龙根的黄金》、《歌剧的神庙》、《范那的默默克》和《天鹰》组成。
歌剧以壮丽的音乐，内涵丰富的情感和深刻的道德触动，讲述了尼伯龙根之戒的传说以及人性和命运的复杂关系。
尼伯龙根之歌的故事深深吸引着观众和音乐爱好者，它不仅是一部著名的歌剧作品，也是一部对人性和道德的深刻思考。
通过这个古老的故事，我们可以思考人类对权力的贪欲和贪婪的后果，以及个人勇气和牺牲精神的价值。
TheCanterburyles的译文
The Canterbury tales 的译文夏雨给大地带来了喜悦，送走了土壤干裂的三月，沐浴着草木的丝丝经络，顿时百花盛开，生机勃勃。
西风轻吹留下清香缕缕，田野复苏吐出芳草绿绿；碧蓝的天空腾起一轮红日，青春的太阳洒下万道金辉。
小鸟的歌喉多么清脆优美，迷人的夏夜怎好安然入睡——美丽的自然撩拨万物的心弦，多情的鸟儿歌唱爱情的欣欢。
香客盼望膜拜圣徒的灵台，僧侣立愿云游陌生的滨海。
信徒来自全国东西南北，众人结伴奔向坎特伯雷，去朝谢医病救世的恩主，以缅怀大恩大德的圣徒。
那是个初夏方临的日子，我到泰巴旅店投宿歇息；怀着一颗虔诚的赤子心，我准备翌日出发去朝圣。
黄昏前后华灯初上时分，旅店院里涌入很多客人；二十九人来自各行各业，不期而遇都到旅店过夜。
这些香客人人虔心诚意，次日要骑马去坎特伯雷。
客房与马厩宽敞又洁净，店主的招待周到而殷勤。
夕阳刚从地平线上消失，众人同我已经相互结识；大家约好不等鸡鸣就起床，迎着熹微晨光干燥把路上。
可是在我叙述故事之前，让我占用诸位一点时间，依我之见似乎还很必要，把每人的情况作些介绍。
谈谈他们从事什么行业，社会地位属于哪个阶层，容貌衣着举止又是如何，那么我就先把骑士说说。
骑士的人品出众而且高尚，自从军以来就驰骋于疆场，待人彬彬有礼，大度而豪爽，珍惜荣誉节操和骑士风尚。
为君主效命创辉煌战绩，所到国家之远无人能比，转战于基督和异教之邦，因功勋卓著缕缕受表彰。
他攻打过亚历山大利亚；在普鲁士庆功宴上有他，这位佼佼者多次坐首席；从立陶宛直打到俄罗斯，同级的骑士都大为逊色；攻克阿给西勒有他一个，还出征到过柏尔玛利亚；夺取烈亚斯和萨塔利亚；他还多次游弋于地中海，跟随登陆大军将敌战败。
十五次比武他大显身手，为捍卫信仰而浴血奋斗；在战场上三次杀死敌将，高贵的武士美名传四方。
他还侍奉过柏拉西亚国君，讨伐另一支土耳其异教军；没有一次不赢得最高荣誉，他骁勇善战，聪慧而不痴愚。
他温柔顺从像个大姑娘，一生无论是在什么地方，对谁也没有讲过半个脏字：堪称一个完美的真骑士。
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潘道爾之歌Egyptian Account of the Battle of Kadesh (Ramesseum)Following is the text known as the "Poem of the Pentaur".Beginning of the victory of King Usermare-Setepnere Ramses II, who is given life, forever, which he achieved in the land of Kheta and Naharin, in the land of Arvad, in Pedes, in the Derden, in the land of Mesa, in the land of Kelekesh, Carchemish, Kode, the land of Kadesh, in the land of Ekereth, and Mesheneth.Behold, his majesty prepared his infantry and his chariotry, the Sherden of the captivity of his majesty from the victories of his word - they gave the plan of battle. His majesty proceeded northward, his infantry and his chariotry being with him. He began the goodly way to march. Year 5, the second month of the third season tenth month, on the ninth day, his majesty passed the fortress of Tharu, like Montu when he goes forth. Every country trembled before him, fear was intheir hearts; all the rebels came bowing down for fear of the fame of his majesty, when his army came upon the narrow road, being like one who is upon the highway.Now, after many days after this, behold, his majesty was in Usermare-Meriamon, the city of cedar. His majesty proceeded northward, and he then arrived at the highland of Kadesh. Then his majesty marched before, like his father, Montu lord of Thebes, and crossed over the channel of the Orontes, there being with him the first division of Amon named: "Victory-of-King-Usermare-Setepnere."When his majesty reached the city, behold, the wretched, vanquished chief of Kheta had come, having gathered together all countries from the ends of the sea to the land of Kheta, which came entire: the Naharin likewise, and Arvad, Mesa, Keshkesh, Kelekesh, Luka, Kezweden, Carchemish, Ekereth, Kode, the entire land of Nuges, Mesheneth, and Kadesh. He left not a country which was not brought together with theirchiefs who were with him, every man bringing his chariotry, an exceeding great multitude, without its like. They covered the mountains and the valleys; they were like grasshoppers with their multitudes. He left not silver nor gold in his land but he plundered it of all its possessions and gave to every country, in order to bring them with him to battle.Behold, the wretched, vanquished chief of Kheta, together with numerous allied countries, were stationed in battle array, concealed on the northwest of the city of Kadesh, while his majesty was alone by himself, with his bodyguard, and the division of Amon was marching behind him. The division of Re crossed over the river-bed on the south side of the town of Shabtuna, at the distance of an iter from the division of Amon; the division of Ptah was on the south of the city of Aranami; and the division of Sutekh was marching upon the road. His majesty had formed the first rank of all the leaders of his army, while they were on the shore in the land of the Amor. Behold, the wretched vanquished chief of Kheta was stationed in the midstof the infantry which was with him, and he came not out to fight, for fear of his majesty. Then he made to go the people of the chariotry, an exceedingly numerous multitude like the sand, being three people to each span. Now, they had made their combinations thus: among every three youths was one man of the vanquished of Kheta, equipped with all the weapons of battle. Lo, they had stationed them in battle array, concealed northwest of the city of Kadesh.They came forth from the southern side of Kadesh, and they cut through the division of Re in its middle, while they were marching without knowing and without being drawn up for battle. The infantry and chariotry of his majesty retreated before them. Now, his majesty had halted on the north of the city of Kadesh, on the western side of the Orontes. Then came one to tell it to his majesty.His majesty shone like his father Montu, when he took the adornments of war; as he seized his coat of mail, he was like Baal in his hour. The great span which borehis majesty called: "Victory-in-Tebes," from the great stables of Ramses II, was in the midst of the leaders. His majesty halted in the rout; then he charged into the foe, the vanquished of Kheta, being alone by himself and none other with him. When his majesty went to look behind him, he found 2,500 chariotry surrounding him, in his way out, being all the youth of the wretched Kheta, together with its numerous allied countries: from Arvad, from Mesa, from Pedes, from Keshkesh, from Erwenet, from Kezweden, from Aleppo, Eketeri, Kadesh, and Luka, being three men to a span, acting in unison.Year 5, third month of the third season, day 9; under the majesty of Horus: Mighty Bull, Beloved of Truth; King of Upper and Lower Egypt: Usermare-Setepnere; Son of Re; Ramses-Meriamon, given life forever.Lo, his majesty was in Zahi on his second victorious campaign. The goodly watch in life, prosperity and health, in the tent of his majesty, was on the highland south of Kadesh.When his majesty appeared like the rising of Re, he assumed the adornments of his father, Montu. When the king proceeded northward, and his majesty had arrived at the locality south of the town of Shabtuna, there came two Shasu, to speak to his majesty as follows: "Our brethren, who belong to the greatest of the families with the vanquished chief of Kheta, have made us come to his majesty, to say: 'We will be subjects of Pharaoh and we will flee from the vanquished chief of Kheta; for the vanquished chief of Kheta sits in the land of Aleppo, on the north of Tunip. He fears because of Pharaoh to come southward.'" Now, these Shasu spake these words, which they spake to his majesty, falsely, for the vanquished chief of Kheta made them come to spy where his majesty was, in order to cause the army of his majesty not to draw up for fighting him, to battle with the vanquished chief of Kheta.Lo, the vanquished chief of Kheta came with every chief of every country, their infantry and their chariotry, which he had brought with him by force, and stood,equipped, drawn up in line of battle behind Kadesh the Deceitful, while his majesty knew it not. Then his majesty proceeded northward and arrived on the northwest of Kadesh; and the army of his majesty made camp there.Then, as his majesty sat upon a throne of gold, there arrived a scout who was in the following of his majesty, and he brought two scouts of the vanquished chief of Kheta. They were conducted into the presence, and his majesty said to them: "What are ye?" They said: "As for us, the vanquished chief of the Kheta has caused that we should come to spy out where his majesty is."Said his majesty to them: "He! Where is he, the vanquished chief of Kheta? Behold, I have heard, saying: 'He is in the land of Aleppo,'" Said they: "See, the vanquished chief of Kheta is stationed, together with many countries, which he has brought with him by force, being every country which is in the districts of the land of Kheta, the land of Naharin, and all Kode. They are equipped with infantry and chariotry, bearing their weapons; more numerous are they than the sandof the shore. See, they are standing, drawn up for battle, behind Kadesh the Deceitful."Then his majesty had the princes called into the presence, and had them hear every word which the two scouts of the vanquished chief of Kheta, who were in the presence, had spoken. Said his majesty to them: "See ye the manner wherewith the chiefs of the peasantry and the officials under whom is the land of Pharaoh have stood, daily, saying to the Pharaoh: 'The vanquished chief of Kheta is in the land of Aleppo; he has fled before his majesty, since hearing that, behold, he came.' So spake they to his majesty daily. But see, I have held a hearing in this very hour, with the two scouts of the vanquished chief of Kheta, to the effect that the vanquished chief of Kheta is coming, together with the numerous countries that are with him, being people and horses, like the multitudes of the sand. They are stationed behind Kadesh the Deceitful. But the governors of the countries and the officials under whose authority is the land of Pharaoh were not able to tell it to us."Said the princes who were in the presence of his majesty: "It is a great fault, which the governors of the countries and the officials of Pharaoh have committed in not informing that the vanquished chief of Kheta was near the king; and in that they told his report to his majesty daily."Then the vizier was ordered to hasten the army of his majesty, while they were marching on the south of Shabtuna, in order to bring them to the place where his majesty was.Lo, while his majesty sat talking with the princes, the vanquished chief of Kheta came, and the numerous countries, which were with him. They crossed over the channel on the south of Kadesh, and charged into the army of his majesty while they were marching, and not expecting it. Then the infantry and chariotry of his majesty retreated before them, northward to the place where his majesty was. Lo, the foes of the vanquished chief of Kheta surrounded the bodyguard of his majesty, who were by his side.When his majesty saw them, he was enraged against them, like his father, Montu, lord of Thebes. He seized the adornments of battle, and arrayed himself in his coat of mail. He was like Baal in his hour. Then he betook himself to his horses, and led quickly on, being alone by himself. He charged into the foes of the vanquished chief of Kheta, and the numerous countries which were with him. His majesty was like Sutekh, the great in strength, smiting and slaying among them; his majesty hurled them headlong, one upon another into the water of the Orontes.。