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• 作者： 公子宿 发布时间：2024-02-16 09:10:20

  非完全基础自学，跳跃性思维，讲解不突出有些需要从例句中自行推导总结，在反复实践中总结理论，可查缺补漏。

• 作者： 月已馳兮 发布时间：2012-01-16 17:21:49

  资料

• 作者： 懒momo~ 发布时间：2022-10-25 23:31:49

  pua与奴化。

• 作者： 筷喜旺 发布时间：2015-01-10 17:54:24

  感觉和老版没啥差别啊内容排版啥的 装潢倒是真好！还能没事干临摹里面的小画

• 作者： 舞舞舞の奇鸟 发布时间：2020-06-27 19:08:14

  写通俗了说内容浅，写专业了说教科书

  可能豆瓣里真有蛮多把读书的数量当战绩来刷，不知道看完没有

• 作者： 闪闪发光的西 发布时间：2024-02-06 21:05:50

  啊就⋯⋯有其他選擇可以不看的那種感覺 2024018#

• To be sensible Or To be sensitive

  作者：蒜子 发布时间：2013-11-10 13:29:42

  It is a truth universally acknowledged ,that anyone existing in the world will be caught in an ineluctable dilemma, where you hesitate in the face of sense and sensibility. Actually, whenever l meets such crossroads, l naturally think of Jane Austen, an outstanding writer of British, whose masterpieces partake of the aesthetic cross-currents ahead of her time. As she created Elinor and Marianne, she might have never regarded them prominent and imperishable. However, the characters of these two sisters have made a glorious impression on generations after generations; their ineffable mental world has become an inexhaustible resource to lead us from intersections.

  The story mainly concerns two sisters, Elinor and Marianne Dashwood. Along with their mother and younger sister Margaret, they are left impoverished after the death of their father, and the family is forced to move to a country cottage offered by a generous relative. Elinor privately forms an attachment to the gentle and courteous Edward Ferrars, unaware that he is already secretly engaged. After their move, Marianne meets Willoughby, a dashing young man who leads her into undisciplined behavior, so that she ignores the faithful but mature Colonel Brandon. The contrast between two sisters' characters is eventually resolved as both find out their Mr. Right and everlasting idyll.

  Elinor, the eldest daughter, whose advice is so effectual, possesses a strength of understanding, and coolness of judgment, which qualifies her, though only nineteen, to be very mature for her age. When her father died, she behaves really like a true woman, swallow tears inside, losing girlish temper, but carry on the burden of life and strive to rouse her mother to similar forbearance. Luckily she meets Edward, a sensible man with integrity and delicacy. But she still exerts her affection and stays imperturbable, though Marianne bursts forth with indignation:” Esteem him! Like him! Cold-hearted Elinor!” After their moving home, Marianne falls in love with Willoughby. Among all their surrounding acquaintance, Elinor is the only sightful person to impugn his integrity, and to doubt whether they have got engaged even when no one suspects it. After knowing Willoughby’s innermost ethos, she thinks it time and again, and overdoes comforting her pure sister. Subsequently life gives her another horrific pang — her admiring Edward has engaged secretly. It seems nothing can save her sinking heart now. Facing Lucy’s fake emotion, what should she do? Can she feel herself in danger of a hysterical fit or a swoon? Or can she insult Lucy because she is a fickle hypocrite who destroys her idyll? No, Elinor stays sensible. She forgives Lucy, Edward and anyone ever hurt her mind. Unlike Marianne, she never tells anyone about her broken heart, instead, she imparts great patience and elegance. No wonder she can’t hold herself back the moment she learns great changes from Edward, and burst into ceaseless tears of joy. After all, she is simply a woman, a sensible lady with sensitive emotion, a seraphic girl who appears strong but yearns for love and care inside.

  Marianne, sensitive and ill-concealed, can’t have any moderation. She is monstrously pretty, highbrow and ethereal: she is everything but prudent. As a girl of 17, she has potent enough sensibility to make sure “the more I know the world, the more I am convinced that I shall never see a man whom l can really love.” And many are the tears shed by her in her last adieus to their residence so much beloved. Ironically, after meeting Willoughby, she falls head over heels in love with him forthwith and they read, dance, even tour together. Such conduct makes them of course most exceedingly laughed at; but ridicule can not shame, and seems hardly to provoke them. With minutes ticking away, Marianne’s love affair grows torrid and incandescent but Willoughby’s is on the contrary. Having perceived him at a party, Marianne can’t help pronouncing his name in a tone of affection and instantly glinting her emotion in public. Being hurt by his inexcusable guilt, she is entirely lost in sobs but is so stubborn that she tries all means to make excuses for his inconstant affair. Eventually , poor Marianne , languid and low from the nature of her malady , and feeling herself universally ill , can no longer hope that tomorrow will find her recovered . Thanks to this putrid tendency, a sensitive Marianne sleeps forever, and lives a sensible female.

  Having finished reading the last word of Sense and Sensibility, I softly sigh in the darkness. After experiencing the narrow path zigzagging up the immutable love, both Elinor and Marianne find out Mr. Right whom they belong to. But which character should I choose? To be sensible or to be sensitive?

  I think Elinor ought to gain more understanding and sympathy. No matter in novel or in reality, Elinors actually suffer more burdens than Mariannes, as well as solitude. It’s impossible to read anything from their smooth appearance, thus we think their tough appearance means their tough spirits for granted. However, it turns out to be wrong when Elinor receives sudden proposing marriage from Edward and bursts into crying. At that time, Elinor is another Marianne, fragile and ingenuous. She badly needs love but never speaks it out. Perhaps it’s because she is the eldest sister in the family, she can’t count on any help from her sisters or mother. So when Marianne sheds for falling leaves, she has to pay attention to the cost of living. I always believe that under Elinor’s fortitude surface lives a beating heart. She only hides her passion for life and devotion to love, thus duty is the very thing she cares for. When hurt by love, she endures it alone, unlike Marianne yearning for everyone’s focus. When realized Lucy’s skullduggery, she still tolerates it for the sake of her Edward. Because of her sense, she has to sacrifice her passion and her unlimited girlhood.

  As for Marianne , she abhors all concealment where no real disgrace can attend unreserved ; and to aim at the restraint of sentiments which are not in themselves illaudable , appeared to her not merely an unnecessary effort , but a disgraceful subjection of reason to common-place and mistaken notions . In sacrificing general politeness to the enjoyment of undivided attention where her heart is engaged, and in slighting too easily the forms of worldly propriety, she displays a want of caution which Elinor can not approve. She , who has never much toleration for anything like impertinence , vulgarity , inferiority of parts , or even difference of taste from her spirits , to be pleased with the Miss Steeles . Such openness, such sincerity! Though substantially hating the dark side of morality, Marianne is condemned by such event and is nearly led to the grave. She innocently thinks she can live independently from the circumstance; actually she has been gradually changed by the circumstance. At the end of the story, Marianne submits to her sister’s sense as she firmly rejected initially, and accepts plain-featured Colonel Brandon. Does it mean she eventually grows up, or she is a victim of circumstance? Because of her sensibilities, she has to go through vicissitudes and abandon her romantic opinions towards life, and ultimately becomes intellectual, instead of falling a sacrifice to an irresistible passion as once fondly flattered herself with expecting.

  To be sensible or to be sensitive? The genius of Jane Austen lies in this thought-provoking ideology, one that reflects the wisdom of living. As Jane herself explained :”With strong affection it’s impossible , with calm ones it can have no merit “ , so no matter to be sensible or to be sensitive , we all have to sacrifice something . Maybe we will be forced to have a good head on your shoulders in this bitter process, maybe we will cultivate an air of sophistication, or maybe we lose our nature qualities to satisfy the society. But who knows? Probably our life should display a perfect fusion of sense and sensibility. That’s why I equally love Elinor and Marianne. They represent two sides of the personality, but both combine to a perfect morality. So it’s not necessary to argue whether sense is premier or not. I still remember a saying from William Butler Yeats:" In life courtesy and self-possession are the sensible impressions of the free mind, for both arise from never being swept away, whatever the emotion , into confusion or dullness?” Just like the novel undertoned, sense and sensibility are two sisters, they can’t live alone, but at most time, what we should do is more akin to empower our emotion than become emotionally involved.

  People at home and abroad always admire the way British behave. For example, when Princess Dianna met a car accident, Queen Elizabeth bravely held in her feelings and treated it calmly with dignity. To each individual, sense similarly plays the main role. Take a liberty to deliberate on how to adjust your impulsion instead of running in circles. Is what you do an engagement of your heart? Are you constantly reading and answering messages or checking on the latest stream of information? Are you always rushing through your schedule? Then be that vision. Value the sense. It’s a treasure and it’s available to us, always.

  In the end, by some freak of fate people extravagant or good-natured all have a happy ending. We don’t know whether the virtue will pay off while the wickedness will receive its revenge. However, it shows reality, that life is complicated full of unknown miseries. Jane Austen sets us a perfect balance between sense and sensibility, between moral duty and earthly pleasure, between obligation to the spirit and attention to the incredible beauty. As we think further and further , Margaret , the youngest sister in the family , has reached an age highly suitable for dancing and it’s not very ineligible for being supposed to have a lover . What a titanic choice will she make between sense and sensibility? Only your heart will tell.

• 再见，毛毛

  作者：抓虾女士 发布时间：2021-06-27 19:24:59

  

  1

  刚开始阅读的时候，我觉得毛毛的形象和皮皮非常相似。这种相似并不是说她们的性格一致，而是说米切尔·恩德和林格伦似乎都试图为了现实决定做一点什么。于是，他们笔下的皮皮和毛毛都迥异于人类的孩子，她们更像是理念的化身。为了不让人类的世界走向更为低落的时刻，人类需要她们的存在。

  也许正是由于理念的强烈存在，在我阅读的过程中，毛毛渐渐从原来的样貌中抽离了出来。“有点怪”、“望而生畏”、“头发乱蓬蓬”、“赤着脚”、“脚也是黑的”，这些词语勾勒出来的形象慢慢模糊了，飘渺在眼前的只是那双乌黑的大眼睛和沉默且神秘的轮廓，像是背景逐渐虚化般，我心中的毛毛是漂浮着无法坚实落地的。带着这样一个梦幻的身影，我瞥见了米切尔·恩德所画的封面，那个行走在时钟间的笨拙背影，转过身一定会是比较奇怪的形象。这真的是毛毛吗？这真的是毛毛的背影吗？宽大的成人外套以及打着补丁的衣服，头发乱蓬蓬地竖起来，这无论如何都无法和她给我的感觉进行重合。但她的确是恩德笔下毛毛的真实模样。

  为什么会产生这样的错位？毛毛寄居在圆形露天剧场废墟中，她是在废墟的守护神吗？每当她那双黑黑的大眼睛盯着人们看时，人们的心里话便会毫无保留地流淌出来，那种魔力就连灰先生也无法抑制。

  “走，找毛毛去！”恩德说，这句话像是人们的口头禅。其实在我看来，这不就和遇到无法解决的事情、烦恼都可以去神庙里找神，让神给予启示如出一辙吗？神从来不说话，更多的时候是倾听。但当神的目光凝视你时，你就获得了神启。毛毛的神之力让人们能够诚实地面对自己的内心，问题也就迎刃而解。将倾听作为一种神力，听起来的确可笑，因为它好像真的非常简单。就像毛毛和朋友们在冒险游戏中经历的风暴一般，如何才能使风暴停歇？“一只歌能使飓风平息！”古老的歌谣所具有的神力是无法想象的。这和游戏《火焰纹章》中的晓之巫女米卡娅有些像，为了唤醒封印在纹章中的女神，米卡娅唱起了那支女神流传下来的歌，便轻而易举地唤醒了沉睡了几百年的女神。也像是侯拉师傅给毛毛的那朵时间花，看似脆弱，但它却是毛毛拯救整个世界和人类的武器，它杀死了所有的灰先生，正如一把吉他能杀死法西斯。

  但毛毛绝对不是神，她和神是交叠的，却并非完全重合。当毛毛坐在废墟里，请求吉吉讲个童话，这时她只是个爱听故事的孩子。这可能是米切尔·恩德在人们对神的崇拜中进行了一些儿童的位移。他要写的的确是一个孩子，而不是一个高高在上的神灵。但他必须要借助于神的外衣，因为要让人类得到一些启示，儿童可能暂时还没有办法做到。更多的时候人们只相信神，而不是儿童。他们会向神灵祷告，向神灵告解，向神灵说出自己心里的秘密，但却不会把自己的话告诉孩子。在孩子面前，他可能要遮掩着嘴巴，贴紧耳朵，将秘密或一切认为不适合小孩知道的事情偷偷交接。但毛毛不一样，人们喜欢毛毛，在毛毛面前，没有大人和孩子的区分，而是朋友关系。在我看来，毛毛是神和儿童的混合体或者说是结合体。当然，这也是因为恩德承认了儿童本身的力量。不需要是一个完完全全的神，毫无条件地被毛毛吸引，那是一种来自童年的力量。

  2

  因为主题的相似性，写的是现代人的精神困境，《毛毛》使我联想到《小约翰》。从可读性上来看，自然是《毛毛》更胜一筹，它不痛苦，它是明朗的。哪怕有那么多给人带来寒冷气息的灰先生在场，只要毛毛在身边，我们就会觉得暂时还没有那么糟糕。灰先生和穿凿相比，都能够进行精密冷酷的科学计算。灰先生对毛毛的全力搜捕不正像穿凿对约翰的严密管控吗？只不过，毛毛是幸运的，她有乌龟卡西欧佩亚的指引，也有侯拉师傅的帮助，她的朋友心里都有她，只是暂时被灰先生控制了，无法自由地使用自己的时间。但约翰不一样，他几乎没有朋友，旋儿是属于天空的。他只有一个永恒的“父亲”——穿凿，那个只会带他去目睹世界的痛苦的穿凿，穿凿带给约翰的是一种窒息的命令和改造。他是一，灰先生是无数。但在那次董事会中，作为谈判者的灰先生们比起穿凿来，显得过于幼稚，它们只是人类体内的一个个慢慢吞噬自我的灰点子。所以二者相比，《毛毛》还是显得更加温情，更加纯真一些，没有约翰的世界那么残酷沉重。

  《毛毛》这本书可以说是寓言，但又没有那么凝练的语言；说它是儿童小说，但又不那么生活化。所以人们给了它一个新的归类——幻想小说。可是在这样的小说里情节性并不是很强，只有在和灰先生的角逐中才产生了一些光彩。当那只身上能显示字的乌龟带着毛毛来到从没巷时，毛毛没办法继续往前走，不知道如何才能到达小巷尽头的那幢楼房跟前，毛毛喊道：“我过不去！”乌龟身上显示：“退着走！”这一部分让整个小说开始变得神秘。然而这种神秘总是被打破，“总之——她的生命也正在往回倒退。”米切尔·恩德把应该藏起来的东西全都直白地说出来了，也许他想让读者能够明白他的讲述。

  包括世俗的观念“时间就是金钱”。他会直接在文中说：“时间就是生命。”在彭懿的评论里看到这句话，我还以为是彭懿自己说的，没想到这些都明明白白出现在了文本里。也许，恩德的部分写作完成了读者的功能。

  恩德会花费很多的笔墨去书写每一个角色，不论是毛毛，还是灰先生，或者是吉吉、清道夫贝波。他交代得很清楚，我们也能够很明确的得知作者的意图。但是他留给人们的想象或者说是反思空间却太局限了。他完成的不是一个谜，而是教你如何破解谜的一本书。毛毛与侯拉师傅的对话完全失去了个性，毛毛成为了一个工具人，为了完成恩德幻想闭合的工具人。从这个层面来看，《毛毛》失去了一定的诗性和开放性。

  “再见，小毛毛。”他说，“你仔细地倾听了我的话，对我来说这也是一种莫大的快乐。”米切尔·恩德《毛毛》

  我们不也一直在倾听米切尔·恩德的话吗？听他讲述时间的概念。再见，米切尔·恩德，我认真听完了你的话，不是很好听。