茶花女英文
❶ 求《茶花女》的英文简介和内容介绍
La Dame aux camélias
[Francesco Maria Piave's libretto for La traviata is based upon the novel La Dame aux camélias by Alexandre Dumas, fils. The following article traces the creation of that work. - NMR]
Alexandre Dumas, fils (son), born in Paris in 1824, is considered one of the foremost French dramatists of the nineteenth century. He was the illegitimate son of Alexandre Dumas, pére (father), the author of such novels as The Count of Monte Cristo and The Three Musketeers.
Dumas was raised by his seamstress mother, Catherine Labay, until his father legally recognized him and assumed responsibility for his care. He attended college but left before receiving a degree. His illegitimacy caused him much unhappiness, both in private school and in college where he had few friends. At age seventeen, he moved in with his father, soon adopted his extravagant lifestyle and fell into debt. At the theatre one evening he first saw Marie Duplessis, already famous in the demimonde for her beauty and ability to get men to spend money on her. In an episode reflected in the opera, he was at her home one day when a coughing episode resulted in her spitting up blood. He urged her to change her way of life, but she replied, "I should die. This life of excitement is what keeps me alive". He offered the kind of life she would need to get well, and she finally agreed upon the condition. "You are not to spy on me, you are not to ask questions; I shall live exactly as I please without giving you any account of what I do." Thus began liaison, as a result of which Dumas was soon deeply in debt. Finally, he decided he must break with her and sent her the following letter.
My dear Marie, I am neither rich enough to love you as I should like, nor poor enough to be loved by you as you would like. There is nothing for us to do but forget — you a name which must mean very little to you; I a happiness which is no longer possible for me. Needless to tell you how miserable I am, since you know how I love you. So, this is goodbye. You are too tenderhearted not to understand the reason for this letter, too intelligent not to forgive me. A thousand souvenirs, — A.D.
He was on a trip to Spain and North Africa when he learned that she was gravely ill. He wrote to her, telling her he would return and ask for her forgiveness. But he waited too long. Duplessis died of tuberculosis in 1846. Her tragic death, along with bitterness over his illegitimacy, inspire Dumas to write the novel La Dame aux camélias (The Lady of the Camellias), portions of which are based on the Duplessis-Dumas affair. The name of the hero, Armand Duval, is a thin disguise for the author. Actually, Dumas tells the story in the third person as it was related to him by Armand Duval.
Dumas ends his novel with great admiration for his heroine: "I do not draw from this story the conclusion that all women like Marguerite are capable of doing all that she did...far from it; but I have discovered that one of them experienced a serious love in the course of her life, that she suffered for it, and that she died of it". In life, Dumas had tried to save her; in the novel he tried to redeem her memory by making her a much less self-centered and more sympathetic character. This is the Marie best known today in her manifestations as Violetta, Camille and Marguerite.
Dumas's greatest triumph came in 1852 with the proction of the stage adaptation of the play based on this novel. It faithfully portrayed the life of a Parisian courtesan and brought realism to the French stage. His father was at first skeptical of the proposal to convert the novel to a play but so moved by the result that he agreed to proce it. Censors feared audiences would recognize characters as admirers of Duplessis and create a scandal, delaying the opening for four years. A powerful member of the nobility, the Duc de Morny, half brother of Napoleón III, supported Dumas, and the play was a success. It enabled Duma to pay off his debts, many incurred with Marie. Henry James later observed, "Some tender young men and some coughing young women have only to speak the lines to give it a great place among the love stories of the world". Giuseppe Verdi apparently heartily agreed because he based his popular opera La traviata on Dumas's work.
The success of La traviata did not quiet the critics of Dumas's La Dame aux camélias. Some considered the story poor and clumsy and said it cast a very thin veil over the most immoral acts. The same critics said Marguerite Gautier (the name given to the Duplessis in the play) is totally corrupt and in real life would not have given up her lover until he had no money left to support her. One wrote, "We are bound to protest against the false halo which he has shed round Marquerite to render her attractive to the undiscriminating reader".
The critics and essayists have continued to evaluate Dumas's work. In a 1972 essay, Roger Clark wrote, "It is a society from which there can be no escape, in which the penalty for non-conformity is death". In 1874, Dumas was elected to the illustrious L'Academie Française, an act which also prompted severe criticism. It was said, "In comedies inherently vicious he pauses to preach virtue but with language shocking even to vice, yet he has been elected a member of the French Academy, constituted to be a tribunal of taste".
Clayton Hamilton attempted to explain why the play has held the stage for over a century. He believes that it is because every celebrated actress desires to play the role of Marguerite Gautier.
No woman has ever failed as Camille (the name later given the heroine in this country for no explicable reason). It is kept alive because it contains a very easy and celebrated part that every ambitious actress wants to play. La Dame aux camélias is brought back decade after decade, not by reason of the permanent importance of the suthor but by reason of recurrent aspirations of an ever-growing group of emotional actresses.
Among the famous actresses who have had successes as Camille were Eleanora Duse, Sarah Bernhardt and Greta Garbo, who starred in the 1937 film with Robert Taylor. Bernhardt first played the role in her thirties and continued it until a number of her 'farewell' tours when she was seventy and had only one leg.
Dumas had a relationship with a Russian princess in 1859. A daughter was born, but they did not acknowledge her as theirs until the princess was widowed. He continued to write material that shocked his contemporaries — eleven of his plays have illicit love as a theme — yet he was admitted to the Legion d'honneur. His wife died in 1895 and, after marrying his long-time mistress, he died that same year.
In 1929, the Chicago Civic Opera proced a new work, Camille by a young American composer, Hamilton Forrest, and commissioned by the famous soprano, Mary Garden. It was to be sung in French with a contemporary setting. After many delays, it finally opened to mixed reviews. Mary Garden was acclaimed, the music less so. One critic called it a masterpiece, another saw no future for it. It had a few more performances, and parts were broadcast on the radio; then it disappeared. Despite some recent attempts to revive interest in it, Camille is probably doomed to obscurity, while Verdi's La traviata continues to be one of the most popular and frequently performed operas.
茶花女》是法国亚历山大·仲马（Alexandre Dumas，年7月27日-1895年11月27日）的代表作，他为了与同为作家的父亲作区别，多称小仲马（Dumas, fils）。他本身是法国剧作家、小说家。《茶花女》是小仲马的代表作。 《茶花女》（La traviata）亦是朱塞佩·威尔第（Giuseppe Verdi）作曲的四幕歌剧。意大利文剧本由皮亚威（Francesco Maria Piave）编写，改编自亚历山大·仲马於1848年出版的小说《茶花女》（The Lady of the Camellias，La dame aux Camélias）。歌剧於1853年3月6日在威尼斯凤凰歌剧院（Teatro la Fenice）首演。作品名称「La traviata」解作「流浪的妇人」，或「失落的人」。 故事的原著小说，亦被改拍成电影《茶花女》（Camille）（1936）。《情陷红磨坊》（Moulin Rouge!）（2001）亦是以茶花女作蓝本改编。
剧本简介
剧本。法国小仲马作于1848年。巴黎名妓玛格丽特为青年阿尔芒的真挚爱情所感动，毅然离开社交生活，与阿尔芒同居乡间。阿尔芒之父责备玛格丽特毁了儿子的前程，玛格丽特被迫返回巴黎重操旧业。阿尔芒盛怒之下，在社交场合当众羞辱她。玛格丽特一病不起，含恨而死。阿尔芒读了玛格丽特的遗书，方知真相，追悔莫及。
作者简介
小仲马（1824~1895），19 世纪法国著名小说家、戏剧家。他的父亲是以多产闻名于世的杰出作家大仲马。在大仲马奢侈豪华而又飘浮不定的生活影响下，小仲马最初“觉得用功和游戏都索然寡味”。20岁时，他就结识了一些有夫之妇，过着纸醉金边的生活。另一方面，小仲马就热切地期望着自己也能像父亲一样，扬名于文坛。于是，他也开始从现实中取材，从妇女、婚姻等问题中寻找创作的灵感。
剧情详介
玛格丽特原来是个贫苦的乡下姑娘，来到巴黎后，开始了卖笑生涯。由于生得花容月貌，巴黎的贵族公子争相追逐，成了红极一时的“社交明星”。她随身的装扮总是少不了一束茶花，人称“茶花女”。
茶花女得了肺病，在接受矿泉治疗时，疗养院里有位贵族小姐，身材、长相和玛格丽特差不多，只是肺病已到了第三期，不久便死了。小姐的父亲摩里阿龙公爵在偶然发现玛格丽特很像他女儿，便收她做了干女儿。玛格丽特说出了自己的身世，公爵答应只要她能改变自己过去的生活，便负担她的全部日常费用。但玛格丽特不能完全做到，公爵便将钱减少了一半，玛格丽特入不敷出，到现在已欠下几万法郎的债务。
一天晚上10多钟，玛格丽特回来后，一群客人来访。邻居普律当丝带来两个青年，其中一个是税务局长迪瓦尔先生的儿子阿尔芒·迪瓦尔，他疯狂地爱着茶花女。
一年前，玛格丽特生病期间，阿尔芒每天跑来打听病情，却不肯留下自己的姓名。普律当丝向玛格丽特讲了阿尔芒的一片痴情，她很感动。玛格丽特和朋友们跳舞时，病情突然发作，阿尔芒非常关切地劝她不要这样残害自己，并向玛格丽特表白自己的爱情。他告诉茶花女，他现在还珍藏着她六个月前丢掉的纽扣。玛格丽特原已淡薄的心灵再次动了真情，她送给阿尔芒一朵茶花，以心相许。
阿尔芒真挚的爱情激发了玛格丽特对生活的热望，她决心摆脱百无聊赖的巴黎生活，和阿尔芒到乡下住一段时间。她准备独自一人筹划一笔钱，就请阿尔芒离开她一晚上。阿尔芒出去找玛格丽特时，恰巧碰上玛格丽特过去的情人，顿生嫉妒。他给玛格丽特写了一封措辞激烈的信，说他不愿意成为别人取笑的对象，他将离开巴黎。
但他并没有走，玛格丽特是他整个希望和生命，他跪着请玛格丽特原谅他，玛格丽特对阿尔芒倾述“你是我在烦乱的孤寂生活中所呼唤的一个人”。
经过努力，玛格丽特和阿尔芒在巴黎郊外租把一间房子。公爵知道后，断绝了玛格丽特的经济来源。她背着阿尔芒，典当了自己的金银首饰和车马来支付生活费用。阿尔芒了解后，决定把母亲留给他的一笔遗产转让，以还清玛格丽特所欠下的债务。经纪人要他去签字，他离开玛格丽特去巴黎。
那封信原来是阿尔芒的父亲迪瓦尔先生写的，他想骗阿尔芒离开，然后去找玛格丽特。告诉玛格丽特，他的女儿爱上一个体面的少年，那家打听到阿尔芒和玛格丽特的关系后表示：如果阿尔芒不和玛格丽特断绝关系，就要退婚。玛格丽特痛苦地哀求迪瓦尔先生，如果要让她与阿尔芒断绝关系，就等于要她的命，可迪瓦尔先生毫不退让。为阿尔芒和他的家庭，她只好作出牺牲，发誓与阿尔芒绝交。
玛格丽特非常悲伤地给阿尔芒写了封绝交信，然后回到巴黎，又开始了昔日的荒唐的生活。她接受了瓦尔维勒男爵的追求，他帮助她还清了一切债务，又赎回了首饰和马车。阿尔芒也怀着痛苦的心情和父亲回到家乡。
阿尔芒禁仍深深地怀念着玛格丽特，他又失魂落魄地来到巴黎。他决心报复玛格丽特的“背叛”。他找到了玛格丽特，处处给她难堪。骂她是没有良心、无情无义的娼妇，把爱情作为商品出卖。玛格丽特面对阿尔芒的误会，伤心地劝他忘了自己，永远不要再见面。阿尔芒却要她与自己一同逃离巴黎，逃到没人认识他们的地方，紧紧守着他们的爱情。玛格丽特说她不能那样，因为她已经起过誓，阿尔芒误以为她和男爵有过海誓山盟，便气愤地给玛格丽特写信侮辱她，并寄去了一叠钞票 玛格丽特受了这场刺激，一病不起。新年快到了，玛格丽特的病情更严重了，脸色苍白，没有一个人来探望她，她感到格外孤寂。迪瓦尔先生来信告诉她，他感谢玛格丽特信守诺言，已写信把事情的真象告诉了阿尔芒，现在玛格丽特唯一的希望就是再次见到阿尔芒。
临死前，债主们都来了，带着借据，逼她还债。执行官奉命来执行判决，查封了她的全部财产，只等她死后就进行拍卖。弥留之际，她不断地呼喊着阿尔芒的名字，“从她的睛里流出了无声的眼泪”。她始终没有再见到她心爱的人。 死后只有一个好心的邻居米利为她入殓。当阿尔芒重回到巴黎时，她把玛格丽特的一本日记交给了她。从日记中，阿尔芒才知道了她的高尚心灵。“除了你的侮辱是你始终爱我的证据外，我似乎觉得你越是折磨我，等到你知道真相的那一天，我在你眼中也就会显得越加崇高。”
阿尔芒怀着无限的悔恨与惆怅，专门为玛格丽特迁坟安葬，并在她的坟前摆满了白色的茶花。
❷ 急求一篇《茶花女》读后感（英文版）
圣洁的灵魂
----《茶花女》读后感
墙角里钻出一朵茶花。一个阴冷、黑暗、潮湿、没有阳光的墙角，糜烂是它的养料。然而，这茶花却比别的茶花，甚至别的任何一种花都美丽，美得脱俗，美得惊人，美得如痴如醉。可凡是花都是向往阳光的。努力、再努力一点，在茶花碰触到阳光那一刹那，在它因阳光的滋润而娇艳欲滴的那一刹那，无情的风折断了花枝，让它又倒在了阴冷的角落，无力再爬起，再去触摸那伸手可及的阳光。上帝是仁慈的，为了弥补命运对它的不公，没让它凋零后再死，而是让它保持着美貌离开了世间。
玛格丽特的爱情悲剧故事就是这样的。一介弱质女流在放荡且无目的的生命中找寻到了真爱，为此放弃了自己习以为常的大量物质享受，放弃了一切能使自己暂时快乐的糜烂生活习惯，只为求能和最爱的人呆在一起。要从深陷的泥潭中爬出来，是要花很大的力气和决心的，况且还要使自己最小程度地被泥水污染。玛格丽特做到了，而且做的非常出色。可如此巨大的付出，换回的仍是人们的不理解和排挤，还有自私的人们的恶意中伤。巨大的阻力最终还是使玛格丽特和爱人分开了，误会使最爱的人再自己最需要安慰的时候羞辱她，这是何等痛苦的事情？也许真的只有死亡可以拯救她。是的，玛格丽特死了，孤独的死去，再也没了活着时的奢华，以前无数的情人也忘了她。生前的生活愈是轰动，死的时候就愈是冷清。
亦或许，玛格丽特并不是个完全的悲剧人物，至少，她得到了真爱，她的灵魂得到了净化。贵妇人们只看到了她生活的奢侈和物质的享受，却不知道她高尚的情操也是自己所望尘莫及的。奇怪的资本主义上流社会的人们，明明鄙视放荡的妓女，却又要逼良为娼。如果玛格丽特没有生在这样一个肮脏、虚伪、残忍的资本主义时代，或许她就是圣母玛利亚。可惜那样的社会，那样的时代，连圣母也会被玷污。而在玛格丽特被玷污的躯壳下，顽强而又圣洁的灵魂正是读者们暗暗哭泣的原因。
感谢小仲马塑造了茶花女这样一个可悲却又可敬的美丽女子。然而，希望那已死去的花朵再次从泥土中萌芽、重生的时候，远离那阴暗的墙角，能每天和阳光为伴，即使不再那么美丽，也不要重复前世的悲剧。 Holy soul ----La Deme Aux Camelias" impressions of after-reading In the corner drills a camellia. Cloudy and cold, dark, moist, does not have the sunlight corner, the erosion is its nourishment. However, this camellia actually compared to other camellia, even other any one plants flowers beautifully, US refinedly, US astonishingly, US as if deluded. But every flower yearns for the sunlight. A spot, bumps diligently again diligently, in the camellia touches sunlight that flash, because in it the sunlight moistens, but tender and beautiful desire drop's that flash, the heartless wind has broken off the flowering branch, let it pour in the cloudy and cold corner, crawled again incapable, touched that sunlight again at arm's length. God is benevolent, to make up the destiny to its unfair, after has not let it on the wane, dies again, but let it maintains the beautiful appearance was leaving in society. the Marguerite's love tragedy story is this. As soon as lies between the feeble constitution women in profligately, and in the non-goal's life pursued has loved really, for this reason gave up massive creature comfort which one became accustomed to, gave up all being able to cause itself temporarily the joyful erosion habits and customs, only to strive for to be able with the human who most loved to stay in the same place. Must crawl from the depth mire, is must make the very big effort and the determination, moreover must cause the most mild degree by the spate pollution. Marguerite has achieved, moreover does is splendid. Might so huge payout, receive in exchange was still the people does not understand and pushes aside, but also had the selfish people's evil intention to stab. The huge resistance caused Marguerite and the spouse finally has separated, the time which the misunderstanding caused most to love person which most needs to comfort again shames her, this was the what kind painful matter? Perhaps really, only then dies may save her. Yes, Marguerite has died, lonely dying, also did not have again has been living the time luxury, before the innumerable sweetheart have also forgotten her. Before death life is the stir, dies time is lonely. also perhaps, Marguerite is not the complete tragedy character, at least, she obtained has loved really, her soul obtained the purification. The woman of quality people only saw she has lived luxurious and material enjoyment, actually did not know that her noble sentiment is also can not hold a candle. The strange capitalism upper circles of society's people, despise the profligate prostitute obviously, actually must force girls into prostitution. If Marguerite has not lived dirtily in such one, false, the cruel capitalism time, perhaps she is Virgin mother. What a pity such society, such time, also will be tarnished including Mary. But in Marguerite is tarnished under the body, tenacious and the holy soul is precisely the readers secret sob reason.
Thanks mas fils have molded La Deme Aux Camelias such one pitifully actually the respectable beautiful female. However, hoped that has died flowers once more from soil seed, rebirth time, is far away from that gloomy corner, can with the sunlight be the partner every day, even if so is no longer beautiful, also do not plicate the previous generation the tragedy.
❸ 茶花女作者介绍(英语+中文)
亚历山大·小仲马 Alexandre Dumas fils （1824～1895）是法国著名小说家大仲马当公务员时与一女裁缝所生的私生子。受父亲影响，他也热爱文学创作，并且和他父亲一样勤奋，成为法国戏剧由浪漫主义向现实主义过渡期间的重要作家。大仲马很为有这样的儿子而自豪。传说曾经有人问大仲马一生中最得意的作品是哪部，大仲马自豪地回答：小仲马。和大仲马侧重表现历史，专写历史剧和历史小说不同，小仲马则专写现代剧。小仲马幼年饱尝家庭不幸带来的种种辛酸和痛苦，亲眼看到大仲马一生受累于种种桃色事件，并因此落得晚景贫困凄凉。所以小仲马在他的作品中大力宣扬家庭及婚姻的神圣，对资产阶级社会风气、家庭生活和伦理道德做了比较细致的描绘和揭露，抨击了娼妓社会对家庭婚姻的威胁，歌颂了纯洁高尚的爱情，成为社会问题剧的创始人之一。
小仲马的代表作是《茶花女》，开始为小说，后被改编为话剧，它赞颂了玛格莉特出自淤泥而不染的高尚情操。话剧一上演，立即轰动了整个巴黎。小仲马从此后专门从事话剧创作，其他比较有名的作品有《私生子》、《金钱问题》、《放荡的父亲》《欧勃雷夫人的见解》《半上流社会》《阿尔丰斯先生》《福朗西雍》等。大都以妇女、婚姻、家庭为题材，真实地反映出社会生活的一个侧面。他的作品富有生活气息，感情真切自然，语言通俗流畅。
Dumas was born in Paris, France, the illegitimate child of Marie-Laure-Catherine Labay (1794-1868), a dressmaker, and novelist Alexandre Dumas. During 1831 his father legally recognized him and ensured that the young Dumas received the best ecation possible at the Institution Goubaux and the Collège Bourbon. At that time, the law allowed the elder Dumas to take the child away from his mother. Her agony inspired Dumas fils to write about tragic female characters. In almost all of his writings, he emphasized the moral purpose of literature and in his play The Illegitimate Son (1858) he espoused the belief that if a man fathers an illegitimate child then he has an obligation to legitimize the child and marry the woman.
Dumas' paternal great-grandparents were a French nobleman and a Haitian woman. In boarding schools, Dumas fils was constantly taunted by his classmates. These issues all profoundly influenced his thoughts, behaviour, and writing.
During 1844 Dumas moved to Saint-Germain-en-Laye to live with his father. There, he met Marie Duplessis, a young courtesan who would be the inspiration for his romantic novel The Lady of the Camellias. Adapted into a play, it was titled in English (especially in the United States) as Camille and is the basis for Verdi's 1853 opera, La Traviata. Although he admitted that he had done the adaptation because he needed the money, he had a great success with the play. Thus began the career of Dumas fils as a dramatist, which was not only more renowned than that of his father ring his lifetime but also dominated the serious French stage for most of the second half of the 19th century. After this, he virtually abandoned writing novels (though his semi-autobiographical L'Affaire Clemenceau (1867) achieved some success).
Tomb of Dumas fils in Montmartre Cemetery.On 31 December 1864, Dumas married Nadjeschda von Knorring (1826 – April 1895), daughter of Johan Reinhold von Knorring and wife, and widow of Alexander, Prince Naryschkine, whom he married at Moscow and with whom he had two daughters: Marie-Alexandrine-Henriette Dumas, born 20 November 1860, who married Maurice Lippmann and was the mother of Serge Napoléon Lippmann (1886–1975) and Auguste Alexandre Lippmann (1881–1960); and Jeanine Dumas (3 May 1867–), who married Ernest d' Hauterive (1864–1957), son of George Lecourt d' Hauterive and wife (married in 1861) Léontine de Leusse. After Naryschkine's death, he married in June 1895 Henriette Régnier de La Brière (1851–1934), without issue.
During 1874, he was admitted to the Académie française and in 1894 he was awarded the Légion d'honneur.
Alexandre Dumas fils died at Marly-le-Roi, Yvelines, on November 27, 1895 and was interred in the Cimetière de Montmartre in Paris. His grave is, perhaps coincidentally, only some 100 metres away from that of Marie Duplessis.
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The Lady of the Camellias (Camille) (1848)
L'affaire Clemenceau (The Clemenceau Case) (1867)
[edit] Opera
Verdi's La Traviata based on the novel The Lady of the Camellias
[edit] Plays
Atala (1848)
The Lady of the Camellias (1852)
Diane de Lys (1853)
Le Bijou de la reine (1855)
Le Demi-monde (1855)
La Question d'argent (1857)
Le Fils naturel (The Illegitimate Son) (1858)
Un Père prodigue (1859)
Un Mariage dans un chapeau (1859) coll. Vivier
L'Ami des femmes (1864)
Le Supplice d'une femme (1865) coll. Emile de Girardin
Heloise Paranquet (1866) coll. Durentin
Les Idees de Madame Aubray (1867)
Le Filleul de Pompignac (1869) coll. Francois
Une Visite de noces (1871)
La Princesse Georges (1871)
La Femme de Claude (1873)
Monsieur Alphonse (1873)
L'étrangère (1876)
Les Danicheff (1876) coll. de Corvin
La Comtesse Romani (1876) coll. Gustave Fould
La Princesse de Bagdad (1881)
Denise (1885)
Francillon (1887)
La Route de Thebes (unfinished)
英语和中文内容出自不同地方，所以不能完全一致，请参考
❹ 茶花女的50个经典的英文句子
罗切斯特：Jane.简。
简：Do you think, because I am poor,obscure,plain,and little,I am soulless and heartless?You think wrong!-I have as much soul as you-and full as much heart!And if God had gifted me with some beauty and much wealth,I should have made it as hard for you to leave me,as it is now for me to leave you. I am not talking to you now through the medium of custom,conventionalities,nor even of mortal flesh:it is my spirit that addresses your spirit;just as if both had passed through the grave,and we stood at God’s feet,equal-as we are!
[译文]
你以为我穷，低微，不漂亮，我就没有灵魂没有心吗？你想错了! 我和你一样有灵魂，有一颗完整的心！要是上帝赐予我一点姿色和充足的财富，我会使你难以离开我就如同我现在难以离开你一样，我现在不是依据习俗、常规，甚至也不是通过血肉之躯同你说话，而是我的灵魂同你的灵魂在对话，就仿佛我们两人穿过坟墓，站在上帝脚下，彼此平等—— 本来就如此！”
简：Let me go, sir.让我走，先生。
罗切斯特：I love you. I love you!我爱你。我爱你！
简：No, don''t make me foolish.别，别让我干傻事。
罗切斯特：Foolish? I need you. What''s Blanch to me? I know what I am to her. Money to manure her father''s land with. Marry me, Jane. Say you marry me.傻事？我需要你，布兰奇(英格拉姆小姐)有什么？我知道我对她意味着什么，是使她父亲的土地变得肥沃的金钱。嫁给我，简。说你嫁给我。
简：You mean it?你是说真的？
罗切斯特：You torture me with your doubts.Say yes,say yes(He takes hersintoshis arm and kisser her.)God forgive me.And let no men meddle with me.She is mine.Mine.你的怀疑折磨着我，答应吧，答应吧。(他把她搂在怀里，吻她。)上帝饶恕我，别让任何人干涉我，她是我的，是我的。
After Jane finds out Mr. Rochester has an insane wife. 简发现罗切斯特先生有个精神失常的妻子之后。
罗切斯特：So come out at last. You shut yourself in your room and grieve alone. Not one word of reproach.Nothing.Is that to be my punishment? I didn''t mean to wound you like this. Do you believe that?I wouldn''t hurt you not for the world.What was I to do? Confess everything I might as well have lost my life.总算出来了。你把自己关在房间里一个人伤心。一句责难的话也没有。什么都没有。这就是对我的惩罚？我不是有心要这样伤你，你相信吗？我无论如何也不会伤害你，我怎么办？都对你说了我就会失去你，那我还不如去死。
简：You have lost me, Edward.And I''ve lost you.你已经失去我了，爱德华。我也失去了您。
罗切斯特：Why did you say that to me? To punish me a little longer? 为什么跟我说这些？继续惩罚我吗？
简，Jane, I''ve been though! For the first time I have found what I can truly love. Don''t take if away from me.我已经受够了！我生平第一次找到我真正的爱，你不要把她拿走。
简：I must leave you.我必须离开您。
【罗切斯特求婚】
罗切斯特先生：
Jane,Jane,
简，简，
strange,
真奇怪，
It's almost 。。。.
这好象是上天安排的，
I love as my own flesh,
我觉得你好象和我心血相连，
简:
Don't mock.
别开玩笑了。
罗切斯特先生：
What love have I for Branch?
我和布兰奇完了。
Now I want you,
现在我要你，
Jane,quickly say,
简，快说，
say "I'll marry you."
说：我要嫁给你。
say
说
简：
I can't see your face,
我看不见你的脸。
罗切斯特先生：
say,quickly,
说，快说。
say:Edward,I'll marry you.
说：爱德华，我要嫁给你。
简：
Edward,I'll marry you.
爱德华，我要嫁给你。
罗切斯特先生：
God ,pardon me.
上帝，原谅我。
❺ <茶花女>的英文名字是什么
1、英文名：复The Lady of the Camellias。
制2、作品简介
《茶花女》是法国著名作家亚历山大·小仲马的代表作。故事讲述了一个青年人与巴黎上流社会一位交际花曲折凄婉的爱情故事。作品通过一个妓女的爱情悲剧，揭露了法国七月王朝上流社会的糜烂生活。对贵族资产阶级的虚伪道德提出了血泪控诉。在法国文学史上，这是第一次把妓女作为主角的作品。
3、作者简介
小仲马，法国小说家，戏剧家。大仲马的私生子。7岁时大仲马才认其为子，但仍拒不认其母为妻。私生子的身世使小仲马在童年和少年时代受尽世人的讥诮。成年后痛感法国资本主义社会的淫靡之风造成许多像他们母子这样的被侮辱与被损害者，决心通过文学改变社会道德。他曾说：“任何文学，若不把完善道德、理想和有益作为目的，都是病态的、不健全的文学。”这是他文学创作的基本指导思想。而探讨资产阶级的社会道德问题，则是贯穿其文学创作的中心内容。
❻ 茶花女英文是什么
La Traviata
❼ 《茶花女》英文简介
原文贴不上来，请见以回下网答址
http://jssgallery.org/Letters/Notes/Lady_of_the_Camellias.htm
❽ 茶花女小说的英文名
《茶花女》(中文)
《The Lady of the Camellias》(英文)
《La dame aux Camélias》 (法文)
《茶花女》是法国亚历山大·小仲马 (Alexandre Dumasfils 1824年7月27日-1895年11月27日）的代表作，他为了与同名作家的父亲作区别，多称小仲马（Dumas, fils）。他本身是法国剧作家、小说家。《茶花女》是小仲马的代表作。 《茶花女》（La traviata）亦是朱塞佩·威尔第（Giuseppe Verdi）作曲的三幕歌剧。意大利文剧本由皮亚威（Francesco Maria Piave）编写，改编自亚历山大·仲马於1848年出版的小说《茶花女》（The Lady of the Camellias，La dame aux Camélias）。歌剧於1853年3月6日在威尼斯凤凰歌剧院（Teatro la Fenice）首演。作品名称"La traviata"译作“流浪的妇人”，或“失落的人”。 故事的原著小说，亦被改拍成电影《茶花女》（Camille）（1936）。《情陷红磨坊》（Moulin Rouge!）（2001）亦是以茶花女作蓝本改编。 《茶花女》最早由林纾（即林琴南）译作汉语。
❾ 求茶花女 以及里面主要人物的英文名
玛格丽特·戈蒂耶 Marguerite Gautier
阿尔芒 Armand
阿尔芒的父亲 Mr. Duval
阿尔丰西娜•普莱内西 Al Pacino Plessis（这个不大容确定）
❿ 需要《茶花女》的英文简介
La Dame aux camé
[Francesco Maria Piave's libretto for La traviata is based upon the novel La Dame aux camélias by Alexandre Dumas, fils. The following article traces the creation of that work. - NMR]
Alexandre Dumas, fils (son), born in Paris in 1824, is considered one of the foremost French dramatists of the nineteenth century. He was the illegitimate son of Alexandre Dumas, pére (father), the author of such novels as The Count of Monte Cristo and The Three Musketeers.
Dumas was raised by his seamstress mother, Catherine Labay, until his father legally recognized him and assumed responsibility for his care. He attended college but left before receiving a degree. His illegitimacy caused him much unhappiness, both in private school and in college where he had few friends. At age seventeen, he moved in with his father, soon adopted his extravagant lifestyle and fell into debt. At the theatre one evening he first saw Marie Duplessis, already famous in the demimonde for her beauty and ability to get men to spend money on her. In an episode reflected in the opera, he was at her home one day when a coughing episode resulted in her spitting up blood. He urged her to change her way of life, but she replied, "I should die. This life of excitement is what keeps me alive". He offered the kind of life she would need to get well, and she finally agreed upon the condition. "You are not to spy on me, you are not to ask questions; I shall live exactly as I please without giving you any account of what I do." Thus began liaison, as a result of which Dumas was soon deeply in debt. Finally, he decided he must break with her and sent her the following letter.
My dear Marie, I am neither rich enough to love you as I should like, nor poor enough to be loved by you as you would like. There is nothing for us to do but forget — you a name which must mean very little to you; I a happiness which is no longer possible for me. Needless to tell you how miserable I am, since you know how I love you. So, this is goodbye. You are too tenderhearted not to understand the reason for this letter, too intelligent not to forgive me. A thousand souvenirs, — A.D.
He was on a trip to Spain and North Africa when he learned that she was gravely ill. He wrote to her, telling her he would return and ask for her forgiveness. But he waited too long. Duplessis died of tuberculosis in 1846. Her tragic death, along with bitterness over his illegitimacy, inspire Dumas to write the novel La Dame aux camélias (The Lady of the Camellias), portions of which are based on the Duplessis-Dumas affair. The name of the hero, Armand Duval, is a thin disguise for the author. Actually, Dumas tells the story in the third person as it was related to him by Armand Duval.
Dumas ends his novel with great admiration for his heroine: "I do not draw from this story the conclusion that all women like Marguerite are capable of doing all that she did...far from it; but I have discovered that one of them experienced a serious love in the course of her life, that she suffered for it, and that she died of it". In life, Dumas had tried to save her; in the novel he tried to redeem her memory by making her a much less self-centered and more sympathetic character. This is the Marie best known today in her manifestations as Violetta, Camille and Marguerite.
Dumas's greatest triumph came in 1852 with the proction of the stage adaptation of the play based on this novel. It faithfully portrayed the life of a Parisian courtesan and brought realism to the French stage. His father was at first skeptical of the proposal to convert the novel to a play but so moved by the result that he agreed to proce it. Censors feared audiences would recognize characters as admirers of Duplessis and create a scandal, delaying the opening for four years. A powerful member of the nobility, the Duc de Morny, half brother of Napoleón III, supported Dumas, and the play was a success. It enabled Duma to pay off his debts, many incurred with Marie. Henry James later observed, "Some tender young men and some coughing young women have only to speak the lines to give it a great place among the love stories of the world". Giuseppe Verdi apparently heartily agreed because he based his popular opera La traviata on Dumas's work.
The success of La traviata did not quiet the critics of Dumas's La Dame aux camélias. Some considered the story poor and clumsy and said it cast a very thin veil over the most immoral acts. The same critics said Marguerite Gautier (the name given to the Duplessis in the play) is totally corrupt and in real life would not have given up her lover until he had no money left to support her. One wrote, "We are bound to protest against the false halo which he has shed round Marquerite to render her attractive to the undiscriminating reader".
The critics and essayists have continued to evaluate Dumas's work. In a 1972 essay, Roger Clark wrote, "It is a society from which there can be no escape, in which the penalty for non-conformity is death". In 1874, Dumas was elected to the illustrious L'Academie Française, an act which also prompted severe criticism. It was said, "In comedies inherently vicious he pauses to preach virtue but with language shocking even to vice, yet he has been elected a member of the French Academy, constituted to be a tribunal of taste".
Clayton Hamilton attempted to explain why the play has held the stage for over a century. He believes that it is because every celebrated actress desires to play the role of Marguerite Gautier.
No woman has ever failed as Camille (the name later given the heroine in this country for no explicable reason). It is kept alive because it contains a very easy and celebrated part that every ambitious actress wants to play. La Dame aux camélias is brought back decade after decade, not by reason of the permanent importance of the suthor but by reason of recurrent aspirations of an ever-growing group of emotional actresses.
Among the famous actresses who have had successes as Camille were Eleanora Duse, Sarah Bernhardt and Greta Garbo, who starred in the 1937 film with Robert Taylor. Bernhardt first played the role in her thirties and continued it until a number of her 'farewell' tours when she was seventy and had only one leg.
Dumas had a relationship with a Russian princess in 1859. A daughter was born, but they did not acknowledge her as theirs until the princess was widowed. He continued to write material that shocked his contemporaries — eleven of his plays have illicit love as a theme — yet he was admitted to the Legion d'honneur. His wife died in 1895 and, after marrying his long-time mistress, he died that same year.
In 1929, the Chicago Civic Opera proced a new work, Camille by a young American composer, Hamilton Forrest, and commissioned by the famous soprano, Mary Garden. It was to be sung in French with a contemporary setting. After many delays, it finally opened to mixed reviews. Mary Garden was acclaimed, the music less so. One critic called it a masterpiece, another saw no future for it. It had a few more performances, and parts were broadcast on the radio; then it disappeared. Despite some recent attempts to revive interest in it, Camille is probably doomed to obscurity, while Verdi's La traviata continues to be one of the most popular and frequently performed operas.
http://www.operapaedia.org/Opera.aspx?article=1166&id=4014