三样火枪手白勺英文读后感67

三样火枪手白勺英文67 三个火枪手的英文读后感,Afterreadingit,thefirstf, OverallSummaryTheThreeMu,Cardinal--theCardinalwho, adulation,andgavetheFren,三个火枪手英文读后感, Fouryoungmusketeershelpe,(1847)theMarieAntoinette, 三样火枪手白勺英文读后感 After reading it,the first feeling happened to my heart is that it just likes a fairy.Though it may constructed basing on current century,it appears a certain happiness which seldom seemed in that world like. Alexandre Dumas Pere's works show us his wonderful narratives and his hopes (maybe) to his world.So heros with great power always be seen in his works.So maybe I can't believe he is a very very good writer whoes works didn't give much importance of reality though I like him and his works very much. This novel's four actors must leave a deep impression on us I think.Athos'reason,Melady's viciousion...all these consists of a beautiful world(with justice and evil)____can love ,can hate ,can angery,can happy...with loyalty and nature.So clearly a world! Overall Summary The Three Musketeers is a marvelous journey and should be appreciated foremost for its engaging story. The techniques Dumas employed to such success in 1840-- particularly his mastery of the form of the Romance--still work today. As we saw in the closing portions of the book, Dumas gives us a fully developed Romance within his historical framework. He starts with levity and confidence, and ends with moroseness and doubt. The ending, indeed, seems to question many of the books dearly held values. D'Artagnan becomes a lieutenant in the Musketeers, but his promotion comes from the Cardinal--the Cardinal whom he and his four friends had fought so valiantly against for the first half of the novel. In the epilogue, d'Artagnan befriends the Comte de Rochefort, a Cardinalist agent. Was all that earlier fighting really worth it, then? Or was there something futile in all the Musketeers' efforts? Both the possibility of futility and this return to the normal at the end of a great Quest, characterize the form of the Romance as much as do its lighter aspects. Dumas sees the form through. With Dumas's historical context in mind, the melancholy of the Romance becomes even more pronounced. It is almost as though Dumas presents this wonderful Romantic adventure, providing people with a chance to escape day to day toil and immerse themselves in better thoughts about their country, and then spurns it. He cannot bring himself to see the lie of Romanticism through to the end. Even bearing in mind that this turn to ambiguity is typical for the end of the Romance, it is hard not to interpret the ending of the novel as Dumas's rejection of Romantic values. There are two sequels to The Three Musketeers, which Dumas wrote to capitalize on the success of the novel. They are entitled Vingt ans apres, published in 10 volumes in 1845, and Dix ans plus tard, ou le vicomte de Bragelonne, published in 26 parts from 1848-1850. The latter opens in 1660, and tells of a matured, powerful d'Artagnan, captain of the Musketeers. It also contains the account of Porthos's heroic death. But despite these sequels, Dumas never fully recaptured his success of 1844. His estate and his health declined until, after a period of furious attempted productivity to recoup his debts, he died in 1870. The Romance left his life as well. But The Three Musketeers is not merely a Romance; it is also a great historical novel, and Dumas's interesting approach to history also contributes to the success of his book. While he keeps his characters away from being major players in national events, he is not afraid of brazenly attributing human motives to history. In Dumas's version, France and England very nearly fight a war simply because the Duke of Buckingham loves Anne of Austria: John Fenton assassinates Buckingham because of personal reasons provided by Milady, and so on. Part of the entertainment of The Three Musketeers is that, in seeming to avoid the great events and focus on petty affairs, Dumas explains the great events more satisfyingly and entertainingly than any direct explanation of affairs of state could hope to do. History does not have a face-- d'Artagnan has a face, and a handsome one at that. Dumas's formula serves his story well. His incorporation of Romanticism into the historical novel lifted an entire genre of literature into public adulation, and gave the French people a story that reassured them about their country even as it brought them away from their country's troubles. Popular literature must be considered on two fronts: aesthetically and socially, as literature and as a popular artifact. The best popular literature, like the work of Alexandre Dumas, supercedes the latter category to come into our minds as a work of literature in its own right. It is not necessary to know about Dumas's life, or about French history, or about the genre of Romance, to enjoy The Three Musketeers. The superlative entertainment of the novel speaks for itself--which is why it remains so important and so interesting to study it. 三样火枪手英文读后感 Four young musketeers helped the empress of France to get the necklace. The empress gives the necklace to Buckingham as a present. Now the king asks the empress to wear the necklace on the evening party. So Dartagnan and his friends went to Britain and met Buckingham. Buckingham gave the necklace to them and protected them on the way to France. Finally, Dartagnan and his friends received the present from Buckingham and empress. Alexandre Dumas, père, born Dumas Davy de la Pailleterie (July 24, 1802 – December 5, 1870) was a French writer, best known for his numerous historical novels of high adventure which have made him the most widely read French author in the world. Many of his novels, including The Count of Monte Cristo and the D'Artagnan Romances, were serialized, and he also wrote plays, magazine articles, and was a prolific correspondent. His paternal grandmother was a black slave. Alexandre Dumas père wrote stories and historical chronicles of high adventure that captured the imagination of the French public who eagerly waited to purchase the continuing sagas. A few of these works are: Charles VII at the Homes of His Great Vassals (Charles VII chez ses grands vassaux), drama, adapted for the opera The Saracen by Russian composer César Cui the D'Artagnan Romances: The Three Musketeers (Les Trois Mousquetaires, 1844) Twenty Years After (Vingt Ans Après, 1845) The Vicomte de Bragelonne (Le Vicomte de Bragelonne, ou Dix ans plus tard, 1847): when published in English it was usually split into three parts "The Vicomte de Bragelonne", "Louise de la Valliere" and "The Man in the Iron Mask" , of which the last part is the most known. The Count of Monte Cristo (1845–1846) The Fencing Master (Le ma?tre d'armes, 1840) The Regent's Daughter (1845) The Two Dianas (1846) the Valois romances Queen Margot (1845) La Dame de Monsoreau (1846) The Forty-Five Guardsmen (1847) the Marie Antoinette romances: Joseph Balsamo (1846–1848) (aka "Memoirs of a Physician", "Cagliostro", "Madame Dubarry", "The Countess Dubarry", or "The Elixir of Life") The Queen's Necklace (1849–1850) Ange Pitou (1853) (aka "Storming the Bastille", or "Six Years Later") The Countess de Charny (1853– 1855) (aka "Andrée de Taverney", or "The Mesmerist's Victim") The Knight of the Red House (1845) The Black Tulip (1850) The Nutcracker (1844): a revision of Hoffmann's story, later adapted by Tchaikovsky as a ballet The Gold Thieves (after 1857): a play that was lost, and rediscovered by the Canadian Reginald Hamel researcher in the Bibliothèque nationale de France in 2004 The Knight of Sainte-Hermine (Le Chier de Sainte-Hermine, 1869): the novel was his last major work and was lost until its rediscovery by Claude Schopp was announced in 2005 优游资料库包含各类专业文献、高等教育、各类资格考 试、文学作品欣赏、专业论文、生活休闲娱乐、行业资料、 应用写作文书等内容。