神话的涅槃—对尼尔·盖曼《美国众神》的研究The Nirvana of Myth--A Research on Neil
Gaiman’s American Gods
Abstract: American Gods is more a present-day myth than a fantasy. The relationship between myth and literature has taken varying forms. The most obvious form
has been the use of myth in works of literature. Actually, myth is considered
to be the inner source of all fictions. In other words, it was the primitive form
of human literary works. Now and then there are a great number of first- rank
authors who are arrested in recomposing of ancient myth among which
Gaiman made his outstanding contributions. At the present day, the problems
authors are facing all over the seven seas, is that charming fictions cannot
stick up to people?s own flesh and blood any more. The traditional ways of
story writing were driven to the last ditch. Undertaking such pressure, the
revival of myth came into being, whereupon some of the story tellers pick
their imagination up from myth, and discovered the possibility of
transcending reality. American Gods was thus properly representative of the
nirvana of myth.
Key words: myth；fiction；literature；tradition；nirvana
摘要：《美国众神》乃是一部现代的神话。神话与文学之间的关系具有种种不同的形式，最显而易见的是在文学作品中使用神话。而事实上神话是所有小说的源泉，或者说，它
是人类历史最初的小说。伟大的作家往往都倾心于神话的创造与再创造，尼尔·盖曼
对此作出了新的贡献。如今，全世界的作家面临的一大问题，就是现实往往比小说更
加精彩，传统的小说叙事已陷入困局。面对这样的压力，回归神话就逐渐成为了一股
文学潮流。一些作家从神话中重新拾回了想象力，发现了超越现实的可能，使传统神
话重获新生。
关键词：神话；小说；文学；传统；涅槃
Contents
I.Introduction (1)
A. An Introduction to the Author (1)
B. A General View about the Story (1)
II. Exploration of the Significance of American Gods (2)
A.The Revival of Myth (2)
B. A Reorientation of America (3)
C.An Examination of American Spirit (6)
1.Descriptions of American Religion (6)
2.Finality of American Dream (6)
3.An Apocalypse of the Lost Gods (8)
III. Conclusion (8)
Works Cited (9)
I. Introduction
A. An Introduction to the Author
Neil Richard Gaiman was born November 10, 1960 in Portchester, England and now lives in the United States. During the course of twenty years as a writer, Neil Gaiman has been one of the top writers in modern comics. He is also a movie and television screenwriter, a journalist, and now a best-selling novelist. In the past 10 years, Gaiman has gained prominence as a novelist. He has authored five novels (Neverwhere [1996], Stardust [1999], American Gods [2001], Coralline [2002], Anansi Boys [2005], The Graveyard Books [2008]) and has co-authored one novel (Good Omens [1990] with Terry Pratchett).
Gaiman?s writings have won numerous awards, including the Hugo, Nebula, and Bram Stoker, as well as the 2009 Newbery Medal. Multiple award-winning author Neil Gaiman is listed as one of the "Top Ten Post Modern Writers in America" by the Dictionary of Literary Biography and is considered "a little intimidating" by Stephen King. The extreme enthusiasm of his fans has led some to call him a "rock star" of the literary world.
Gaiman?s work probes the worlds of myth, imagination, and creativity. With a deep understanding of the critical importance of storytelling and myth, he explores the metaphors by which we live our lives. And at a time when creativity is one of the most valuable assets to any business, Gaiman?s mastery of myth and legend make s his work unique.
B. A General View about American Gods
American Gods is one of Neil Gaiman?s representative works. The main character in the novel is a man named Shadow. Shadow gets out of prison early when his wife is killed in a car crash. At a loss, he takes up with a mysterious character called Wednesday, who is much more than he appears. In fact, Wednesday is an old god, once known as Odin the All-father, who is roaming America rounding up his forgotten fellows in preparation for an epic battle against the upstart deities of the Internet, credit cards, television, and all that is wired. Armed only with some coin tricks and a sense of purpose, Shadow travels through, around, and underneath the visible surface of things, digging up all the powerful myths Americans brought with them in their journeys to this land as well as the ones that were already here.
Shadow's road story is the heart of the novel, and it? s here that Gaiman offers up the details that make this such a cinematic book---the distinctly American foods and diversions, the amazing roadside attractions, the decrepit gods reduced to shell games and prostitution. "This is a bad land for Gods," says Shadow.
II. Exploration of the Significance of American Gods
A. The Revival of Myth
In classical Greek, “mythos” signified any story or plot, whether true or invented. In its central modern signification, however, a myth is one story in mythology---a system of hereditary stories of ancient origin which were once believed to be true by a particular cultural group, and which served to explain (in terms of the intentions and actions of deities of and other supernatural beings) why the world is as it is and things happen as they do, and provide a rational for social customs and observances, and establish the sanctions for the rules by which people conduct their lives.
Another influential contribution to the theory of myths is the German intellectual historian Hans Blumenberg?s Work on Myth (1979). Among other things, Blumenberg proposes that the function of myth is to help human beings cope with the inexorability of given reality, a need that is not outmoded by scientific advances and rationality; that myths evolve according to a “Darwinism of words,”with those forms and variations surviving that prove able to cope most effectively with the changing social environment; and that myth is best conceived not as a collection of fixed and final stories, but as “a work”--- an ongoing and ever-changing process that is expressed in oral and written narratives and includes the diverse ways in which these narratives are received and appropriated.
It can be said that a myth is a religion in which we no longer believe. Poets, however, after having ceased to believe in them, have persisted in using the myths of Jupiter, Venus, Prometheus, Wotan, Adam and Eve, and Johan for their plots, episodes, or allusions. The term “myth” has also been extended to denote supernatural tales that are deliberately invented by their authors. Plato in the fourth century B.C. used such invented myths in order to project philosophical speculation beyond the point at which certain knowledge is possible. The German romantic authors F. W. Schelling and Friedrich Schlegel proposed that to write great literature, modern poets must develop a new unifying mythology which will synthesize the insights of the myths of the western past with the new discoveries of philosophy and the physical science. In the same period
in England William Blake, who felt “I must create a system or be enslaved by another man?s,”incorporated in his poems a mythology he had himself created by fusing hereditary myths, biblical history and prophecy, and himself own intuitions, visions, and intellection. A number of modern writers have also asserted that an integrative mythology, whether inherited or invented, is essential to literature. James Joyce in Ulysses and Finnegans Wake, T. S .Eliot in The Waste Land, Eugene O?Neill in Mourning Becomes Electra, and many other writers have deliberately woven their modern materials on the pattern of ancient myths, while W. B. Yeats, like his admired predecessor Blake, undertook to construct his own systematic mythology, which he expounded in A Vision and embodied in a number of remarkable lyric poems such as “The Second Coming” and “Byzantium.”
To be general, the relationship between myth and literature has taken varying forms. The most obvious form has been the use of myth in works of literature. Actually, myth is considered to be the inner source of all fictions. In other words, it was the primitive form of human literary works. Now and then there are a great number of first- rank authors who are arrested in recomposing of ancient myth among which Gaiman has made his outstanding contributions. At the present day, the problems authors are facing all over the world, is that charming fictions cannot stick up to people?s own flesh and blood any more. The traditional ways of story writing have been being driven to the last ditch. Undertaking such pressure, the revival of myth came into being, whereupon some of the story tellers pick their imagination up from myth, and discovered the possibility of transcending reality.
When it comes to the inward nature, American Gods is more a present- day myth than a fantasy. Neil Gaiman?s story can be reduced to a kind of modern myth which has gained its renascence in the ashes of ancient Norse myth. In a way, his work represents the revival of classical or pagan mythology. The pervasiveness of such kind of myth is even more of a feat than that of biblical mythology, for classical mythology has survived the demise of the religion of which, two thousand years ago, it was originally apart.
B. A Reorientation of America
Technically, the plot of American Gods is not so complicated. It focuses on the curious cases of Shadow when he?s on his adventure across America after he was released from prison. Briefly, it tells us a series of fascinating stories which are elicited during a casual encounter between Shadow and the gods who live in America but maintain various culture traits throughout the world. In this way, Neil Gaiman traces out
a picture of American folk life in which gods live together with human being.
The first time Shadow meets the mysterious Mr. Wednesday is on his flight home from prison. Due to an overbooking he is seated in first class where the weird old man who somehow knows so much about him offers him a job. The man is so persistent that when the plane is forced to land due to inclement weather, instead of waiting for it to clear Shadow rents a vehicle to complete the trip by car.
But those whom the gods have selected, or however the saying goes, don't find it that easy to give them the slip. So it goes for Shadow, for who should be waiting for him at the diner he stops at for lunch but Mr. Wednesday (Woden's Day, V otan, Odin, all father of the Norse Gods). It's over lunch that Shadow first learns about the war that's in the offing between the Gods of the Old World and the Gods of New World. Even though the old ones are dying out, the new ones are impatient and can't wait to shuffle them off this immortal coil.
As Mr. Wednesday explains it to Shadow, the problem is that the New Gods feel threatened because they are afraid of being replaced and going out of fashion. They are the products of people's ever-changing desires, but they, like the things they represent, are coming to obsoleteness.When anyone is scared, be they Gods or mortals, they look for a target they can lash out at, so they feel like they are accomplishing something.
The view that the old world is declining was put forward by Gaiman as he quoted a passage from Richard Dorson, “One question that has always intrigued me is what happens to demonic beings when immigrants move from their homelands. Irish-Americans remember the fairies, Norwegian-Americans the nisser, Greek-Americans the vrykólakas, but only in relation to the events remembered in the old country. When once I asked why such demons are not seen in America, my informants giggled confusedly and said …They're scared to pass the ocean, it's too far,? po inting out that Christ and the apostles never came to America”(Gaiman 2) .
As a matter of fact, people of different cultures like Chinese aren?t totally unacquainted with the American spirit which Neil Gaiman probes into. When an up-to-date Chinese reminds something about the basic concepts of America, it will probably be “an ethical melting pot”or an “ethical museum. This kind of view was proved sufficient in American Gods. Through the descriptions of varied derivations of the gods, Neil Gaiman tells his readers that America is indeed an immigrant country. No one in this country is native-born, even the gods. Thus it is a nation cake which was formed by immigrants, exotic religions and cultures. However, a large number of Americans were up against such reality together with their disrespect.
America was brought to birth by the Puritan immigrants who settled in North America. Thereby, though the Americans especially the classes announced that they believe in pluralism, cosmopolitanism and multinationalism orally, they posed as Anglo Protestants in their hearts. As the saying goes that, “professors and Christians, that?s the people you can trust in America”. From the view of a number of foreigners especially the Chinese, it looks as if the shape of America or even the world in modern times is formed because the Americans avowed themselves to be Christians. By the name of God, they demand to save this world, and to spread the so-called American belief. Also, besides actual benefits, they have a strong sense of obligation in religion. This fetched out the topic of cultural clash. Thus we know that only the gods from America are omnipotent, and only the culture of America is superlative. Consequently, pagan gods are destined to be destroyed and burnt in hell. The system of American gods is unitary, by the name of God.
The Americans seem to be serious, whereas we found it ridiculous in Neil Gaiman?s American Gods. In this story, there is not any …only exclusive god?. What we?ve found is a pluralistic setting. Here come gods who belong to entirely different mythical systems like Greek, Nordic or Egyptian. Essentially, America is the world composed of pagans and pluralistic cultures but not a world of pure Christians. While the truth is debunked, the American?s world-saving plan exposes its ridiculous, hypocritical and sanguinary face. That?s the essence of the final battle for which the gods are prepared. During the battle, the gods are bogged down in hot water boiled by themselves like what America does nowadays. By this Neil Gaiman gives us a hint about the absurdness and silliness of American diplomatism and politics. Based on the fact Gaiman points out in his story that America is established by pagans,we can assume that in the first instance, conflicts of different cultures arise in America internally, and the American themselves are already in confusion and chaos.
To sum up, America is just a collection of dissimilar nations lacking overall homogeneity. From this point of view, American Gods is absolutely an ironic story, and it?s subversive indeed. It helps the Americans to rebuild their acquaintanceship with themselves, though such acquaintance might be in severe anguish. It is just about the significance for which people are interested in this novel---because it touches the hearts of the Americans who have come from different cultural backgrounds, and it makes them rediscover their nature and the truth of the world. To be sure, Gaiman is attempting to apprehend American faith and ideology on his own as an English native.
C.An Examination of American Spirit
1. Descriptions of American Religion
More than a tourist in America, Neil Gaiman offers an outside-in and inside-out perspective on the soul and spirituality of the country—the America?s obsessions with money and power, its jumbled religious heritage and its societal outcomes, and the decisions America face about what's real and what's not.
Neil Gaiman is an author with a unique perception on the world that surrounds us, and even when he travels down the paths that are familiar he is able to show us things in a manner we may not have thought of before. In American Gods he examines the way in which we believe, and poses questions about religion that may cause some people disquiet. Religion is a very powerful weapon that can be exploited and used against those who are most devout, but it can also provide solace and comfort in need.
Perhaps it's not so important what you believe in, but more important that you believe at all. In American Gods we see how strong the power of faith can be. Without it Gods become just another collection of old immigrants bemoaning their lost opportunities, but with it they are omnipotent.
At the beginning of Chapter 12 Gaiman has quoted a paragraph from Agnes Repplier to prove his view about American beliefs, “America has invested her religion as well as her morality in sound income- paying securities. She has adopted the unassailable position of a nation blessed because it deserves to be blessed; and her sons, whatever other mythologies they may affect or disregard, subscribe unreservedly to this national creed.”(Gaiman 249)
2. Finality of American Dream
There are two divine systems existing in American Gods. One is represented by old gods like Wednesday or Odin who used to make a noise in the old world.They stand for the founding fathers of America. Two hundred years ago when they landed up on the east coast of America, they were in possession of overwhelming power at one time. Pioneers who sailed to the New World in a ship called Mayflower inaugurated a fresh civilization as well as an advanced institution. Finally, they turned youthful America into a very country of the most mightiness in the world. However, in Gaiman?s description, all of them are just outdated derelicts. In America where Shadow lives, worship and sacrifice to the old gods has ceased. Therefore they are turning quite weak. Compare with normal folks, they have no other differences. They have to do a butcher?s job, or to run a funeral
home to keep the pot boiling. Even when they have committed a crime, they are thrown in jail wretchedly. Though the author depicts the evilness and ferocity of these old geezers that the readers realize that they are just part of a shell game played by the gods at the end of the story, Gaiman doesn?t put his curse on them. He pays them more profound commiseration. Affirmatively, it?s also author?s commiseration for American society.
On the opposite side of the old gods, there is another divine system which is organized by the new-born American gods, including god of televisions, god of credit cards, and god of the internet, etc. They were born out of modern rituals and people?s dependence on high-technologies. They seem to maintain more formidable powers. As a result, they have more believers than their opponents who scramble to win the driver?s seat of the world. To a degree, this new divine system is a symbol of modern America. A substantial fortune, a vigorous martial strength and an advanced technological civilization is their fundamental capital in the battle. Actually, the people who worship these new gods are not only the American, but also people of different cultures and nationalities from the whole world. It makes American Gods transcend the limit of a certain nation and possess cosmopolitan significance. As a result, this land turns out to be heaven for immigrants to swarm into constantly in search of a new American dream.
Neil Gaiman, however, points out that even the new gods cannot dominate the future of America and the world. The gods of new divine system appear to be barbarous and merciless. It?s no other than Gaiman?s animadversion against American society, and the absurdness of saying that “Americanization is globalization”. Gaiman also points out that the new gods cannot be immortal. As is written in the novel, “There was an arrogance to the new ones. Shadow could see that. But there was also a fear. They were afraid that unless they kept pace with a changing world, unless they remade and redrew and rebuilt the world in their ima ge, their time would already be over” (Gaiman 400). This is truly something about the American?s doubt and fear facing the uncertainty of the future. America has been boosted into “a world trade centre”, “a model of security, freedom and democracy”by itself. Unfortunately, such saying is proved to be just a joke for April Fools. At the end of the 20th Century, the so-called “century of America”, “new order of the world”finally came to an end. To a majority of people, it?s just a finality of their American dreams. To the others, it?s a nightmare, probably the worst one they?ve ever had. At the beginning of a new century, to be or not to be, that?s really a question for the people whose beliefs are declining now.
3. An Apocalypse of the Lost Gods
It is considered that the time line of human civilization can be divided into three stages---the age of gods, the age of heroes, and the age of people. The age of people refers to the age when people?s democratic republics were established. In this era, myth and heroes in the past was questioned and sentenced. This is one of the possible causes that the old gods were declining. If there is a god who survived such decline, it should be the Statue of Liberty who is standing still in the offing of New York. But the problem is that there are also drawbacks and obstructions in the age of democracy. However, it?s impossible for us to go back to the old age, or to convert to heroism. The author is not so optimistic as well. From the time human nature was rebuilt by people after renaissance; to the time Nietzsche announced that God is dead; and finally to the present day when a post modernist society comes, people?s doubts are not banished; on the contrary, they have kept growing up.
Well then, what can we do to search after a way out of all this? Neil Gaiman is trying to find a certain kind of humanity which is propitious to the modern world in order to disabuse people of their confused notions. Consequently, he creates Shadow---a virtuous self-sacrificing “small potato”. The drop scene is that Shadow has prevented the war of doom between the old gods and the new gods from breaking out and brought peace back to America. The author endeavors to infuse a new type of American spirit into Shadow. That is to abandon all pretence of trying to be a god. Moreover, try to be a man with ideality, humility, and all over volition to pursue peace and justice.
Thus Gaiman has drawn a blue print for the reconstruction of American belief. At the end of the story, Shadow said that “I think I wou ld rather be a man than a god. We don't need anyone to believe in us. We just keep going anyhow. It's what we do”(Gaiman 402) .From his view we knew the essence of the story. All gods are, in the final analysis, merely shadows.
III. Conclusion
Today, the term “myth” is often used in a negative way to refer to something that is exaggerated or untrue. In ancient cultures, myth did not have this negative connotation; myths could be regarded as stories that contain poetic rather than literal truths. Some scholars have separated myths from other types of traditional tales by classifying them as stories featuring deities.
Myths are generally set in a remote time or place where humans and deities can
interact. They are stories imbued with meaning and power. Myth could be used to explain or justify the way the world is. Even in modern times we acknowledge that a myth can take on a life of its own and become more influential than the original facts on which it was based.
Generally speaking, American Gods is nothing short of an odyssey; Shadow's journey is an epic one. For the most part, the narrative alternates between the story of Wednesday's and Shadow's many travels and travails as the war between the gods brews, and various "coming-to-America" stories, which are Gaiman?s ways of exploring and explaining the fantastical and ugly America he's envisioned. The tone of the novel varies from insightful and meditative to gruesome and chilling and Gaiman shows readers that wisdom can be found in all kinds of tales. Moreover, the strong, silent and thoughtful Shadow is an appealing and approachable vessel for all of the novel's mundane and sublime considerations, someone many readers won't mind following all around the country and all around existence itself. Reading American Gods gives the feeling of having really gone somewhere - and back.
As a post modernist writer, with an admirable trick Neil Gaiman has created an extramundane fantasy which represents the revival of myth in modern times, a magnificent fiction which added to the resplendency of literary world.
Works Cited
Gaiman, Neil. American Gods. 2001.
Dorson, Richard. A Theory for American Folklore, American Folklore and the Historian.
University of Chicago Press, 1971
Gayley, Charles Mills. The Classic Myths in English Literature and in Art. Boston: Ginn and Company, 1911.
Kirk, G. S. Myth. Berkeley: University of California Press, 1970.
Richardson, Robert D. The Rise of Modern Mythology. Bloomington: Indiana University Press, 1972.
Segal, Robert A. Myth. Oxford:Oxford University Press, 2004.
Seznec, Jean. The Survival of the Pagan Gods. New York: Pantheon Books, 1953.
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The scars of your love, they leave me breathless 你的爱情伤痕让我窒息 I can't help feeling 我不禁心生感触 We could have had it all 我们本该拥有一切 (You're gonna wish you never had met me) （你会祈祷要是从未遇见我该有多好）Rolling in the deep 内心深处爱恨交织 (Tears are gonna fall, rolling in the deep) （眼泪快要掉下来，内心深处爱恨交织）You had my heart inside your hand 你俘虏了我的芳心 (You're gonna wish you never had met me) （你会祈祷要是从未遇见我该有多好）And you played it to the beat 但是你玩弄它伴着每一次心跳 (Tears are gonna fall, rolling in the deep) （眼泪快要掉下来，内心深处爱恨交织）Baby, I have no story to be told 宝贝我没有故事可讲
一般过去式 时间状语：yesterday just now (刚刚) the day before three days ag0 a week ago in 1880 last month last year 1. I was in the classroom yesterday. I was not in the classroom yesterday. Were you in the classroom yesterday. 2. They went to see the film the day before. Did they go to see the film the day before. They did go to see the film the day before. 3. The man beat his wife yesterday. The man didn’t beat his wife yesterday. 4. I was a high student three years ago. 5. She became a teacher in 2009. 6. They began to study english a week ago 7. My mother brought a book from Canada last year. 8.My parents build a house to me four years ago . 9.He was husband ago. She was a cooker last mouth. My father was in the Xinjiang half a year ago. 10.My grandfather was a famer six years ago. 11.He burned in 1991
My love---西域男孩 An empty street, an empty house, 空空的街道,空空的房, a hole inside my heart, 心里也是个空空的洞, I'm all alone, the rooms are getting smaller, 我孤独的一个人,房间也变得越来越小, I wonder how, I wonder why, 我不知道怎么回事,也不知道为什么, I wonder where they are, 我不知道它们哪去了, the days we had, 我们有过的好时光, the songs we sang together, oh yeah. 我们一起唱过的歌,oh,yeah. and oh my love, 还有你－－我的最爱, I'm holding on forever, 我一直在坚持, reaching for a love that seems so far. 想得到那份似乎遥不可及的爱. all:(合唱) So I say a little prayer, 所以我低声祈祷, hope my dreams will take me there, 希望我的梦会带我到那儿, where the skies are blue, 那儿天空湛蓝, to see you once again ,my love, 再次见到你,我的爱, over seas from coast to coast, 漂洋过海,从一个海岸到到另一个海 岸 find the place I love the most, 找到我最爱的地方, where the fields are green, 那儿田野葱郁, i see you once again, my love. 我再一次见到你,我的爱. bryan:(Bryan唱) I try to read, I go to work 我设法去读书,去工作, i'm laughing with my friends, 我和朋友们一起说说笑笑, but I can't stop to keep myself from thinking, oh no, 可我没法不想你,oh,no, I wonder how, i wonder why, 我不知道怎么回事,我不知道为什 么, I wonder where they are, 我不知道它们哪去了, the days we had, 我们有过的好时光, the songs we sang together, oh yeah. 我们一起唱过的歌,oh yeah. and oh my love, 和你－－我的最爱, I'm holding on forever, 我一直在坚持, reaching for a love that seems so far. 想要得到那份似乎遥不可及的爱. all:(合唱) so I say a little prayer, 所以我低声音祈祷, hope my dreams will take me there, 希望我的梦会带我去那儿, where the skies are blue, 那儿天空湛蓝, to see you once again my love, 再一次见到你,我的爱, over seas from coast to coast, 穿洋过海,从一个海岸到另一个海岸 find the place i love the most, 找到我最爱的地方, where the fields are green, 那儿田野葱郁, see you once again 再一次见到你. mark:(马克唱) to hold you in my arms, 把你拥在怀里,
Dance Monkey歌词完整版下载，Dance Monkey原唱歌词中文翻译,Dance Monkey简谱Tones And I ====== Dance Monkey歌词完整版如下==== Dance Monkey -Tones And I They say oh my god I see the way you shine 他们都说天呐我看到你光芒尽现 Take your hand my dear and place them both in mine 亲爱的牵起你的手把它们都交给我 You know you stopped me dead when I was passing by 你知道在我与你擦肩时你结束了我的消沉 And now I beg to see you dance just one more time 现在我渴望看你再一次摇曳起来 Ooh I see you see you see you every time 我见到你见到你每一次我见到你 And oh my I I I I like your style 天呐我喜欢你的范儿 You you make me make me make me wanna cry 你让我让我让我想潸然泪下 And now I beg to see you dance just one more time 现在我渴望看到你再一次摇曳起来 So I say 所以我对你说
Dance for me dance for me dance for me oh oh oh 为我摇摆起来为我摇摆起来为我摇摆起来 I've never seen anybody do the things you do before 我从未看到任何人完成过你做的这些事情 They say move for me move for me move for me 他们都说为我舞动吧为我舞动吧 Ay ay ay And when you're done I'll make you do it all again 在你跳完后我会让你再跳一遍 I said oh my god I see you walking by 我说过天呐我看到你从我身边走过 Take my hands my dear and look me in my eyes 牵起我的手亲爱的凝望我的双眼 Just like a monkey I've been dancing my whole life 像猴子般灵动我这一生都在尽情舞动 And you just beg to see me dance just one more time 你只是渴望看到我再舞动一回 Ooh I see you see you see you every time 我见到你见到你每一次我见到你 And oh my I I I I like your style 天呐我喜欢你的范儿 You you make me make me make me wanna cry
●I wonder if it’s because I have been at school for so long that I’ve grown so crazy about going home. ●It is because she wasn’t well that she fell far behind her classmates this semester. ●I can well remember that there was a time when I took it for granted that friends should do everything for me. ●In order to make a difference to society, they spent almost all of their spare time in raising money for the charity. ●It’s no pleasure eating at school any longer because the food is not so tasty as that at home. ●He happened to be hit by a new idea when he was walking along the riverbank. ●I wonder if I can cope with stressful situations in life independently. ●It is because I take things for granted that I make so many mistakes. ●The treasure is so rare that a growing number of people are looking for it. ●He picks on the weak mn in order that we may pay attention to him. ●It’s no pleasure being disturbed whena I settle down to my work. ●I can well remember that when I was a child, I always made mistakes on purpose for fun. ●It’s no pleasure accompany her hanging out on the street on such a rainy day. ●I can well remember that there was a time when I threw my whole self into study in order to live up to my parents’ expectation and enter my dream university. ●I can well remember that she stuck with me all the time and helped me regain my confidence during my tough time five years ago. ●It is because he makes it a priority to study that he always gets good grades. ●I wonder if we should abandon this idea because there is no point in doing so. ●I wonder if it was because I ate ice-cream that I had an upset student this morning. ●It is because she refused to die that she became incredibly successful. ●She is so considerate that many of us turn to her for comfort. ●I can well remember that once I underestimated the power of words and hurt my friend. ●He works extremely hard in order to live up to his expectations. ●I happened to see a butterfly settle on the beautiful flower. ●It’s no pleasure making fun of others. ●It was the first time in the new semester that I had burned the midnight oil to study. ●It’s no pleasure taking everything into account when you long to have the relaxing life. ●I wonder if it was because he abandoned himself to despair that he was killed in a car accident when he was driving. ●Jack is always picking on younger children in order to show off his power. ●It is because he always burns the midnight oil that he oversleeps sometimes. ●I happened to find some pictures to do with my grandfather when I was going through the drawer. ●It was because I didn’t dare look at the failure face to face that I failed again. ●I tell my friend that failure is not scary in order that she can rebound from failure. ●I throw my whole self to study in order to pass the final exam. ●It was the first time that I had made a speech in public and enjoyed the thunder of applause. ●Alice happened to be on the street when a UFO landed right in front of her. ●It was the first time that I had kept myself open and talked sincerely with my parents. ●It was a beautiful sunny day. The weather was so comfortable that I settled myself into the
Adam Levine - Lost Stars 迷失的星星 Please don't see 我恳求你不要只是在意 Just a boy caught up in dreams and fantasies 那个陷入美梦和幻想的我 Please see me 也请求你能看到一次 Reaching out for someone I can't see 我竭力去碰触那遥不可及的人 Take my hand, let's see where we wake up tomorrow 握紧我的手,守候我们未知的明天 Best laid plans sometimes are just one night stand 最好的策划,有时不过只是短短良辰 I'll be damned, Cupid's demanding back his arrow 我终将失去爱神的眷恋,悲哀地陷入诅咒 So let's get drunk on our tears and... 所以不如沉浸在眼泪中,然后...... God, tell us the reason 万能的神,难道不能告诉我们 Youth is wasted on the young 为何年少总在轻狂中虚度 It's hunting season 狩猎的盛季中 And the lambs are on the run 软弱的羔羊无止境地逃避着 Searching for the meaning 却也幻想找到自己的价值 But are we all lost stars 我们也都是失落的星辰 Trying to light up the dark 却也企图照亮这无止境的夜空 Who are we 我们再怎么追求 Just a speck of dust within the galaxy 也不过是宇宙长河的沧海一粟
高中英语~词性~句子成分~语法构成 第一章节：英语句子中的词性 1.名词：n. 名词是指事物的名称，在句子中主要作主语.宾语.表语.同位语。 2.形容词;adj. 形容词是指对名词进行修饰~限定~描述~的成份，主要作定语.表语.。形容词在汉语中是（的）.其标志是: ous. Al .ful .ive。. 3.动词：vt. 动词是指主语发出的一个动作，一般用来作谓语。 4.副词：adv. 副词是指表示动作发生的地点. 时间. 条件. 方式. 原因. 目的. 结果.伴随让步. 一般用来修饰动词. 形容词。副词在汉语中是（地）.其标志是：ly。 5.代词：pron. 代词是指用来代替名词的词，名词所能担任的作用，代词也同样.代词主要用来作主语. 宾语. 表语. 同位语。 6.介词：prep.介词是指表示动词和名次关系的词，例如：in on at of about with for to。其特征：
介词后的动词要用—ing形式。介词加代词时，代词要用宾格。例如：give up her（him）这种形式是正确的，而give up she（he）这种形式是错误的。 7.冠词：冠词是指修饰名词，表名词泛指或特指。冠词有a an the 。 8.叹词：叹词表示一种语气。例如：OH. Ya 等 9.连词：连词是指连接两个并列的成分，这两个并列的成分可以是两个词也可以是两个句子。例如：and but or so 。 10.数词：数词是指表示数量关系词，一般分为基数词和序数词 第二章节：英语句子成分 主语：动作的发出者，一般放在动词前或句首。由名词. 代词. 数词. 不定时. 动名词. 或从句充当。 谓语：指主语发出来的动作，只能由动词充当，一般紧跟在主语后面。 宾语：指动作的承受着，一般由代词. 名词. 数词. 不定时. 动名词. 或从句充当. 介词后面的成分也叫介词宾语。 定语：只对名词起限定修饰的成分，一般由形容
Fearless 无以为惧 there's somethin''bout the way 此之景致拥路， the street looks when it's just rained 雨后街道湿漉 there's a glow off the pavement 行道恋上微晕。 walk me to the car 闲步静入车内 and you know i wanna ask you to dance right there 而你可知，我只想与你此地共舞。 in the middle of the parking lot 共舞于车场中央，是我内心渴足。 yeah we're drivin' down the road 我们沿路而行， i wonder if you know 我不知你是否可知 i'm tryin' so hard not to get caught up now 我此时极力克制的悸动 but you're just so cool 然你镇静魅力如你 run your hands through your hair 颀长手指撩入发丝 absent mindedly makin' me want you 不以为意地让我为之想疯狂拥有。 and i don't know how it gets better than this 我不知何以甚于此时。 you take my hand and drag me head first 你紧握我的手，无惧而来。 Fearless 我已无以为惧。 and i don't know why when with you i dance
M A: Has the case been closed yet? B: No, the magistrate still needs to decide the outcome. magistrate n.地方行政官，地方法官，治安官 A: I am unable to read the small print in the book. B: It seems you need to magnify it. magnify vt.１．放大，扩大；２．夸大，夸张 A: That was a terrible storm. B: Indeed, but it is too early to determine the magnitude of the damage. magnitude n.１．重要性，重大；２．巨大，广大 A: A young fair maiden like you shouldn’t be single. B: That is because I am a young fair independent maiden. maiden n.少女，年轻姑娘，未婚女子 a.首次的，初次的 A: You look majestic sitting on that high chair. B: Yes, I am pretending to be the king! majestic a.雄伟的，壮丽的，庄严的，高贵的 A: Please cook me dinner now. B: Yes, your majesty, I’m at your service. majesty n.１．［Ｍ－］陛下（对帝王，王后的尊称）；２．雄伟，壮丽，庄严 A: Doctor, I traveled to Africa and I think I caught malaria. B: Did you take any medicine as a precaution? malaria n.疟疾 A: I hate you! B: Why are you so full of malice? malice n.恶意，怨恨 A: I’m afraid that the test results have come back and your lump is malignant. B: That means it’s serious, doesn’t it, doctor? malignant a.１．恶性的，致命的；２．恶意的，恶毒的 A: I’m going shopping in the mall this afternoon, want to join me? B: No, thanks, I have plans already. mall n.（由许多商店组成的）购物中心 A: That child looks very unhealthy. B: Yes, he does not have enough to eat. He is suffering from malnutrition.
Hand in Hand 手拉手 See the fire in the sky 天空中闪耀火光 We feel the beating of our hearts together 我们千千万万颗也在跳荡。 This is our time to rise above 时刻来到快快奋进， We know the chance is here to live forever for all time 全人类世世代代友好，同生活，同成长。 Hand in hand we stand 我们手拉手 All across the land 友谊传四方。
We can make this world a better place in which to live 让那生活一天天更美好，更欢畅。 Hand in hand we can start to understand 我们手执手友谊传四方。 Breaking down the walls that come between us for all time 推倒一切障碍 A li la 啊 Every time we give it all 让那理解的歌声永飞扬。 We feel the flame eternally inside us 我们勇敢拚搏，熊熊的火焰燃烧在我们胸膛。 Lift our hands up to the sky 我们高举双手
The morning calm helps us to live in harmony for all time 共用迎接清晨带来的和平曙光。 beating ['bi:ti?] 想想再看 adj. 打败,败北,责打,笞打n.…… across [?'kr?s] 想想再看 adv. 横过 prep. 穿过,横过understand [.?nd?'st?nd] 想想再看 v. 理解,了解,领会,闻知 更多英语学习方法：必克英语https://www.doczj.com/doc/e75186028.html,/
意见应以事实为根据. 3 来自辞典例句 192. The bombers swooped ( down ) onthe air base. 轰炸机 突袭 空军基地. 来自辞典例句 193. He mounted their engines on a rubber base. 他把他们的发动机装在一个橡胶垫座上. 14 来自辞典例句 194. The column stands on a narrow base. 柱子竖立在狭窄的地基上. 14 来自辞典例句 195. When one stretched it, it looked like grey flakes on the carvas base. 你要是把它摊直, 看上去就象好一些灰色的粉片落在帆布底子上. 18 来自辞典例句 196. Economic growth and human well - being depend on the natural resource base that supports all living systems. 经济增长和人类的福利依赖于支持所有生命系统的自然资源. 12 1 来自辞典例句 197. The base was just a smudge onthe untouched hundred - mile coast of Manila Bay. 那基地只是马尼拉湾一百英里长安然无恙的海岸线上一个硝烟滚滚的污点. 6 来自辞典例句 198. You can't base an operation on the presumption that miracles are going to happen. 你不能把行动计划建筑在可能出现奇迹的假想基础上.
Never Say Never - Justin Bieber 歌词及中文翻译see i never thought that i could walk through fire 知道么我从没想过自己能够穿过炎炎烈火 i never thought that i could take the burn 也从没想过自己能够发光发亮 i never had the strength to take it higher 更没想过自己能够变得更强 until i reached the point of no return 直到破釜沉舟那一秒 and there's just no turning back 我知道我已无回头路可走 when your hearts under attack 当危难袭击你胸口 gonna give everything i have 我会义无反顾地倾我所有 it's my destiny 此乃我之命运！ Repeat* i will never say never!(i will fight) 我绝不言败！（我会战斗）
i will fight till forever!(make it right) 直到最后！（一定成功） whenever you knock me down 无论你什么时候将我击倒 i will not stay on the ground 我绝不会在原地彷徨 pick it up pick it up pick it up pick it up up up 振作振作再振作！ never say never 绝不言败！ * ne~never say never ne~never say never and never say never 绝不绝不 never say it never never say it 绝不言败！ i never thought that i could feel this power 我从没想过自己能此般强大 i never thought that i could feel this free 也从没想过自己能此般自由 i'm strong enough to climb the highest tower
英语造句大全English sentence 在句子中，更好的记忆单词！ 1、(1)、able adj. 能 句子：We are able to live under the sea in the future. (2)、ability n. 能力 句子：Most school care for children of different abilities. (3)、enable v. 使。。。能句子：This pass enables me to travel half-price on trains. 2、(1)、accurate adj. 精确的句子：We must have the accurate calculation. (2)、accurately adv. 精确地 句子：His calculation is accurately. 3、(1)、act v. 扮演 句子：He act the interesting character. （2）、actor n. 演员 句子：He was a famous actor. (3)、actress n. 女演员 句子：She was a famous actress. (4)、active adj. 积极的 句子：He is an active boy. 4、add v. 加 句子：He adds a little sugar in the milk. 5、advantage n. 优势 句子：His advantage is fight. 6、age 年龄n. 句子：His age is 15. 7、amusing 娱人的adj. 句子：This story is amusing. 8、angry 生气的adj. 句子：He is angry. 9、America 美国n.
主语+谓语 1. 理解主谓结构 1) The students arrived. The students arrived at the park. 2) They are listening. They are listening to the music. 3) The disaster happened. 2．体会状语的位置 1) Tom always works hard. 2) Sometimes I go to the park at weekends.. 3) The girl cries very often. 4) We seldom come here. The disaster happened to the poor family. 3. 多个状语的排列次序 1) He works. 2) He works hard. 3) He always works hard. 4) He always works hard in the company. 5) He always works hard in the company recently. 6) He always works hard in the company recently because he wants to get promoted. 4. 写作常用不及物动词 1. ache My head aches. I’m aching all over. 2. agree agree with sb. about sth. agree to do sth. 3. apologize to sb. for sth. 4. appear (at the meeting, on the screen) 5. arrive at / in 6. belong to 7. chat with sb. about sth. 8. come (to …) 9. cry 10. dance 11. depend on /upon 12. die 13. fall 14. go to … 15. graduate from 16. … happen 17. laugh 18. listen to... 19. live 20. rise 21. sit 22. smile 23. swim 24. stay (at home / in a hotel) 25. work 26. wait for 汉译英： 1.昨天我去了电影院。 2.我能用英语跟外国人自由交谈。 3.晚上7点我们到达了机场。 4.暑假就要到了。 5.现在很多老人独自居住。 6.老师同意了。 7.刚才发生了一场车祸。 8.课上我们应该认真听讲。9. 我们的态度很重要。 10. 能否成功取决于你的态度。 11. 能取得多大进步取决于你付出多少努力。 12. 这个木桶能盛多少水取决于最短的一块板子的长度。