从你的全世界路过经典语录 英文版
我希望有个一般I hope someone like you如这山间一般明亮清爽的人Such as the mountain in the morning light and fresh如奔赴古城上阳光一般的人like to sun people on the road to the city温暖而不炙热，覆盖我所有肌肤It's warm but not hot and covering all my skin由起点到夜晚，由山野到书房from the starting point to the night ,From the mountain to the library一切问题的答案都很简单And all the answers are very simple我希望有个如你一般的人，贯彻未来，数遍生命的路牌I hope someone like you, Implement the future, The number of times the signs of life ——张嘉佳《从你的全世界路过》世事如书，我偏爱你这一句，愿做个逗号，待在你脚边。
但你有自己的朗读者，而我只是个摆渡人。
The world is like a book, but I prefer this one you, I would like to be a comma, To stay with you. but you have your own reader. I'm just a ferryman. ——张嘉佳《从你的全世界路过》在季节的车上，如果你要提前下车，请别推醒装睡的我，这样我可以沉睡到终点，假装不知道你已经离开。
In the season of the car, if you want to Get off ahead of schedule, please don't wake me up, So that I can sleep to the end, Pretend not to know that you're gone. ——张嘉佳《从你的全世界路过》一个人的记忆就是座城市，时间腐蚀着一切建筑，把高楼和道路全都沙化，如果你不往前走，就会被沙子掩埋。
所以我们泪流满面，步步回头，可是只能往前走。
A person's memory is just a city, the time is eroding all buildings, and All the buildings and roads are all in the sand. If you don't go straight ahead, you'll be buried in the sand. So we burst into tears, step by step, but we can just move forward.——张嘉佳《从你的全世界路过》我淋过的最大的雨，就是那一天你在烈日下的不回头。
The biggest rain I've ever had, Is that one day you do not look back under the hot sun.——张嘉佳《从你的全世界路过》你燃烧，我陪你焚成灰烬；你熄灭，我陪你低落尘埃；你出生，我陪你徒步人海；你沉默，我陪你一言不发；你欢笑，我陪你山呼海啸；你衰老，我陪你满目疮痍；你逃避，我陪你隐入夜晚；你离开，我只能默默等待。
you're burning, I accompany you to burn to ashes. you put out, I accompany you to the sea on foot. you're in silence, I accompany you to be silence. you're smiling, I accompany you to mountains and seas are whistling. you're aging, I accompany you devastated. you're running away, I'll be with you in the night. if you leave me,I can only wait for.——张嘉佳《从你的全世界路过》可不可以等等我，等我幡然醒悟，等我明辨是非，等我说服自己，等我爬出悬崖，等我缝好胸腔，来看你。
Can you waiting for me? when I wake up, when I can distinguish between the right and wrong, when I can convince myself, when I was Climbed out of the cliff, when I Sew up the chest. to see you.——张嘉佳《从你的全世界路过》所有人的坚强，都是柔然生的茧。
All the people's strong, it's All ROEN raw cocoon ——张嘉佳《从你的全世界路过》纯手工翻译，望采纳
你有自己的朗读者，而我只是个摆渡人 这段话用在感情上是什么意思
世事如书，我偏爱你这一句，愿做个逗号，呆在你的脚边。
但你有自己的朗读者，而我只是个摆渡人。
我本想安静做你的守护者，沉默爱你，但我却只是你生命里的一个过客，你却有相爱的人
老狼在朗读者中读的《晃晃悠悠》的具体内容是什么
有啊，李阳英语大多是以这种形式的，在网上很多
求电影《朗读者》的英文影评~~~~~~~~~~~~~~
The Reader is an exemplary piece of filmmaking, superbly acted by Kate Winslet, David Kross and Ralph Fiennes, beautifully lit by two of Britain's finest cinematographers (Roger Deakins and Chris Menges) and sensitively directed by Stephen Daldry from a screenplay by David Hare. In certain ways they sharpen Bernard Schlink's bestselling German novel of 1995 which deals with a subject - Nazi concentration camps and the Holocaust - that has hung over my generation since the outbreak of war in 1939, days after my sixth birthday. Since then, there has been an unending stream of Holocaust movies (nearly 300 are dealt with in the third edition of Indelible Shadows: Film and the Holocaust, Annette Insdorf's standard work on the subject), ranging in character and quality from scrupulous documentaries like Claude Lanzmann's Shoah and Alain Resnais's Night and Fog to, for me personally, the two most offensive, Liliana Cavani's near-pornographic The Night Porter and Roberto Benigni's sickly Oscar-winning Life is Beautiful.Ralph Fiennes made an unforgettable impression as Amon Goeth, the demonic commandant of the Plaszow forced labour camp in Schindler's List, the most widely shown movie on the Holocaust. So a provocative statement of some sort is being made by casting him as Michael Berg, the innocent narrator of The Reader. Born in Neustadt, Germany in 1944, the gifted son of a liberal intellectual, Berg is a successful lawyer who reviews his troubled life from the perspective of 1995 Berlin, and it's immediately clear that his experiences have left him secretive, inward-looking, emotionally stunted in a way that recalls the form and moral tenor of the Losey-Pinter film of The Go-Between.The movie is in three sections, with a couple of codas. In the first chapter, set in 1958, the 15-year-old Michael (David Kross) meets the voluptuous Hanna Schmitz (Kate Winslet), a kindly tram conductress more than twice his age. She provides his sexual initiation and sentimental education in the manner of such celebrated Continental novels as Raymond Radiguet's Le Diable au corps. In return she asks him to read to her before and after sex, and he regales her with The Odyssey, Huckleberry Finn, War and Peace and (a book she thinks disgusting) Lady Chatterley's Lover. The eroticism of reading brings to mind Michel Deville's La Lectrice, and the lovers' activities at their trysts complement each other. If you left the film after 45 minutes at the point when Hanna mysteriously disappears from Michael's life, and were unacquainted with the novel, you'd have thought it a wistful rite of passage, rather like Summer of '42 or The Graduate. But there are carefully planted clues to the tale's subsequent surprises. First, there is Hanna's reluctance to look at any text, be it a book, a travel brochure or a menu, or to write anything. What is she avoiding? The second is the emphasis placed on her uniform as a public transport employee. This gives her an official, military look.The second chapter unfolds in 1966 when Michael is a law student at Heidelberg, still yearning for Hanna. A sympathetic teacher, Professor Rohl (played by Bruno Ganz, who brings to this impeccable liberal figure a whiff of his Hitler in Downfall) launches a seminar for bright pupils to scrutinise the issues of guilt and crimes against humanity and takes them to a trial in a nearby town. There, Michael discovers to his horror that Hanna and other Auschwitz guards are in the dock, accused of appalling conduct at the camp and a callous atrocity while escorting a death march of Jewish prisoners away from the advancing Russians. Ironically, it is a book by a Jewish survivor that has occasioned the trial.Hanna does little to clear her name and it becomes evident to us and to Michael that this is in some way connected - I will say no more - with literacy. She is, apparently out of pride and shame, willing to accept greater blame than her co-defendants, a frumpy collection of middle-aged women, quite unlike the comely Hanna. Moreover, for a congeries of reasons, Michael doesn't come to her assistance. He feels betrayed, morally tainted, ethically disoriented and unforgiving. The third chapter covers Hanna's lengthy jail sentence, during which Michael communicates with her fervently but only via cassettes of great literary works. Thereafter comes a pair of codas, one concerning the divorced Michael's reconciliation with his estranged daughter, the other a visit he makes to New York to see an Auschwitz survivor, one of the witnesses at Hanna's trial She's played with an icy moral superiority by Lena Olin and most of her excellent dialogue is provided by Hare. What do you think those places were - universities? she asks the anguished Michael. What are you looking for? Forgiveness for her or to feel better about yourself? If you are looking for catharsis, go to the theatre or literature. Don't go to the camps. This double-edged statement brings into question much of what has gone before. The reflections on guilt, responsibility and the relationship between generations are betrayed by the contrived fiction into which they've been inserted by Schlink, a lawyer born in 1944 who writes detective stories. Scene by scene, we're gripped, but the metaphor is elusive, the narrative unconvincing and the overall effect vague and unpersuasive. The key clicks smoothly in the lock but no doors of perception open up. I'm also a little troubled by the movie being made in English. And, disconcertingly, the books Michael reads from are English versions. Won't this be odd when, as almost certainly it will be, the movie is dubbed into German?
求一篇适合朗读的英文资料（短文）
YOUTHSamuel UllmanYouth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees; it is a matter of the will, a quality of the imagination, a vigor of the emotions; it is the freshness of the deep springs of life.Youth means a tempera-mental predominance of courage over timidity, of the appetite for adventure over the love of ease.This often exists in a man of 60 more than a boy of 20. Nobody grows old merely by a number of years. We grow old by deserting our ideals.Years may wrinkle the skin, but to give up enthusiasm wrinkles the soul.Worry, fear, self-distrust bows the heart and turns the spring back to dust.Whether 60 or 16, there is in every human being’s heart the lure of wonder,the unfailing childlike appetite of what’s next and the joy of the game of living. In the center of your heart and my heart there is a wireless station: so long as it receives messages of beauty, hope, cheer, courage and power from men and from the Infinite, so long are you young.When the aerials are down, and your spirit is covered with snows of cynicism and the ice of pessimism, then you are grown old, even at 20, but as long as your aerials are up, to catch waves of optimism, there is hope you may die young at 80.青春塞缪尔·厄尔曼青春不是年华，而是心境；青春不是桃面、丹唇、柔膝，而是深沉的意志，恢宏的想象，炙热的恋情；青春是生命的深泉在涌流。
青春气贯长虹，勇锐盖过怯弱，进取压倒苟安。
如此锐气，二十后生而有之，六旬男子则更多见。
年岁有加，并非垂老，理想丢弃，方堕暮年。
岁月悠悠，衰微只及肌肤；热忱抛却，颓废必致灵魂。
忧烦，惶恐，丧失自信，定使心灵扭曲，意气如灰。
无论年届花甲，拟或二八芳龄，心中皆有生命之欢乐，奇迹之诱惑，孩童般天真久盛不衰。
人人心中皆有一台天线，只要你从天上人间接受美好、希望、欢乐、勇气和力量的信号，你就青春永驻，风华常存。
一旦天线下降，锐气便被冰雪覆盖，玩世不恭、自暴自弃油然而生，即使年方二十，实已垂垂老矣；然则只要树起天线，捕捉乐观信号，你就有望在八十高龄告别尘寰时仍韶华不逝。
再来一篇[IF] --By Rudyard Kipling If you can keep your head when all about youAre losing theirs and blaming it on you,If you can trust yourself when all men doubt youBut make allowance for their doubting too,If you can wait and not be tired by waiting,Or being lied about, don't deal in lies,Or being hated, don't give way to hating,And yet don't look too good, nor talk too wise: If you can dream--and not make dreams your master,If you can think--and not make thoughts your aim;If you can meet with Triumph and DisasterAnd treat those two impostors just the same;If you can bear to hear the truth you've spokenTwisted by knaves to make a trap for fools,Or watch the things you gave your life to, broken,And stoop and build 'em up with worn-out tools:If you can make one heap of all your winningsAnd risk it all on one turn of pitch-and-toss,And lose, and start again at your beginningsAnd never breath a word about your loss;If you can force your heart and nerve and sinewTo serve your turn long after they are gone,And so hold on when there is nothing in youExcept the Will which says to them: Hold on!If you can talk with crowds and keep your virtue,Or walk with kings--nor lose the common touch,If neither foes nor loving friends can hurt you;If all men count with you, but none too much,If you can fill the unforgiving minuteWith sixty seconds' worth of distance run,Yours is the Earth and everything that's in it,And--which is more--you'll be a Man, my son!I've received a lot of nice feedback from folks about this particular poem. I'm glad that I could contribute something useful to the Internet, even if the words are Kipling's and not mine. Enjoy.Here's a reciprocal link back to an Information Week column that referenced this work.如果如果所有人都失去理智，咒骂你， 你仍能保持头脑情形；如果所有人都怀疑你， 你仍能坚信自己，让所有的怀疑动摇；如果你要等待，不要因此厌烦， 为人所骗，不要因此骗人， 为人所恨，不要因此抱恨， 不要太乐观，不要自以为是；如果你是个追梦人——不要被梦主宰；如果你是个爱思考的人——光想会达不到目标；如果你遇到骄傲和挫折 把两者当骗子看待；如果你能忍受，你曾讲过的事实 被恶棍扭曲，用于蒙骗傻子； 看着你用毕生去看护的东西被破坏， 然后俯身，用破烂的工具把它修补；如果在你赢得无数桂冠之后‘ 突遇颠峰下跌之险， 失败过后，东山再起， 不要抱怨你的失败；如果你能迫使自己， 在别人走后，长久坚守阵地， 在你心中已空荡荡无一物’ 只有意志告诉你“坚持
”；如果你与人交谈，能保持风度， 伴王行走，能保持距离；如果仇敌和好友都不害你；如果所有人都指望你，却无人全心全意；如果你花六十秒进行短程跑， 填满那不可饶恕的一分钟——你就可以拥有一个世界， 这个世界的一切都是你的，更重要的是，孩子，你是个顶天立地的人
美国电影《朗读者》谁能评论一下，谢谢。
谢谢了，大神帮忙啊
对美国电影《朗读者》的评论： 影片中，麦克对自己的女儿说，“其实一直以来我都不够坦诚。
”不管对别人还是对自己。
《朗读者》在一代对又一代的“坦诚”中，让我们洞悉了一个时代的真相。
宣泄也是窝藏了一种难以言明的情感。
如今的我们在重新面对一些我们总是规避的历史时，到底要坦诚到何种程度才会令人信服
令人理解呢
只不过拂去历史的尘埃，沉甸甸的真相却总无法让你我坦然接受。
那么这种坦诚，又将置于何地呢
影片中大卫和凯特的多场激情戏的确是以性为切入口，那么大的年龄差距却发生地似乎合情合理。
两个演员的表演丝毫不会让人产生异样的感觉，在我看来这是影片营造的特殊氛围的原因。
在这样一种即便是夏天也感到潮湿干冷的环境中，一个情窦初开的少年和一个单纯冷练的少妇，以纯粹情欲萌发的情感，在温良的澡盆中，在赤裸的交欢中，甚至在那次外人眼中的“母子”郊游中，都不会显得别扭，相反，正如这段情感对两个人一生的影响，他们在此后的一生中，似乎都在怀念和支撑着这份情感。
导演对于这样一种情感的坦诚把握，三个演员对于这样一种情感的微妙诠释，都淡化了这份畸恋本身不协调的作祟，反而让我们感动。
然而真正带我们穿越情感命题的是影片真正主题的引入和升华。
在这份畸恋不可避免地出现失和冲突时，汉娜选择了悄无声息地离开。
而在多年后，麦克作为法学院学生参加审判二战中纳粹罪行的听证会时，他惊愕地发现汉娜竟然是被指控谋杀300名犹太人的战犯。
至此，支撑影片后半部也是带领整部影片升华的两大主题出现，其一是对那段黑暗历史的人文反思，另一个便是对于知识这一命题本身的思考。
法庭上的汉娜，她并没有像其它一同被指认的罪犯一样，否认自己的罪行，而是坚定异常地坦诚一切。
“是的，是我做得”。
我们在惊异于她“冷酷”“无知”的态度时，也不免跟随她一同回望那个所有人看来都愤懑的黑暗时代。
在奥斯维辛集中营，多少无辜的犹太人被纳粹分子惨绝人寰地屠戮。
汉娜也是侩子手之一。
的确，看过电影，我们不能因为她当时的无知就原谅她，像影片中那个幸存的作家一样，绝对不会宽恕她。
然而突破个人的道德情感规范，而上升到一个狂热时代的集体无意识来说，汉娜自身不也是一个悲剧和受害者么
她执拗遵循的规范，她坚守的职责，竟然是她眼睁睁看着300人被大火烧死的辩词。
她那句诘问大法官的话，换了你，你会怎么做
其实是会让所有人无语的。
习惯了站在一定道德高度和“他人”视角来批判审视别人的集体，难倒不是我们的悲剧被一次次复制的源泉么
想必导演和观众，包括你我也绝对不会宽恕和原谅汉娜的作为，可是她却是能够被理解的。
而且她的例子也是能够被我们，被时代警醒的。
然而相比与她一同坐在被告席，却昧着良心将所有罪责扣到汉娜身上的真正的罪犯来说，汉娜冒着傻气的执拗却显得那样坦诚和真实。
影片出来后，导演斯蒂芬·达尔德里接到的最大批评便是他用一种艺术化的手法给残酷的历史披上了温情的外衣，甚至站到理解罪恶的立场上来描绘汉娜这个人物。
然而我倒觉得，导演恰是真正理解了那个时代，那些沾满鲜血的手中，也有这样一种被无意识推搡裹挟的人物。
他并没有理解罪恶，而是理解人性和时代的无奈；他也没有要为汉娜们拨乱反正，而是希望我们在缅怀、批判、挞伐那些我们不堪回望的岁月时，需要有一种警醒，一种坦诚的正视。
因此如果说导演真的在批判唾弃谁的话，那肯定是那些被判了4年刑期的黠笑流泪的“忏悔者”。
麦克这个角色其实是夹在历史、情感、道德、理性之间的感知者。
他与汉娜的那种情感让他相信汉娜的为人，他对历史的理性认识却又让他无法回避对于汉娜们的道德批判和法律批判。
因此影片中在宣判汉娜无期徒刑时，麦克难以掩抑地留下两行热泪，以及他目睹审判过程中的慌乱无措神伤，还有他去探望汉娜可最终转身离去，这都让整部影片提升了人文关怀的力量。
像是蒙着眼睛的象征着法律的女神一样。
我不想附和说这是导演身披的温情的外衣，因为在我看来，这恰是这个导演在坦诚面对历史时心中怀有的爱和力量。
关于影片的另一个主题，也是贯穿影片始终的表象上的主题：朗读，却让我们得以从更多一层和另一个侧面来看待汉娜和麦克这两个人物，以及整部电影寄予的深思。
汉娜和麦克认识时，让麦克给她朗读小说，只有这样才和他做爱。
而当初她在看守犹太人时，也选小女孩给她读小说。
其实汉娜是个文盲，可是她渴求着知识，她会听小说时开心、哭泣。
然而这样一个人在面对共犯的栽赃时，为了不让别人知道自己是文盲，保有最后的尊严，她宁愿选择终身监禁。
导演这种设置一来是给无知一种批判，也是给知识一种崇高的寄托。
无知本身并不是罪恶，可知识却往往给别有用心的人利用。
像守卫的汉娜，她也许只是想好好地本分地做个守卫，可却在时代个狂热中成为了阶下囚。
而我国在文革时期，不也有很多汉娜稀里糊涂地做了侩子手么
求采纳
关于朗读者的英语作文
There is no denying that,most optimists have a high happiness index,which can hardly be experienced by pessimists.Therefore,we must read our life with a positive attitude.What‘s more,the optimistic attitude can infect others strongly,meaning that we will find that all the friends around us are optimistic if we observe them in the same perspective.As a result,an atmosphere of optimism and happiness could be naturally set up.Therefore,let’s keep the famous line of Shelley,the well-known poet,in mind for ever
