適合英語(yǔ)口語(yǔ)練習(xí)美文
口語(yǔ)交際是人類重要的交際工具。重視口語(yǔ)交際教學(xué)是世界各地語(yǔ)文教學(xué)的共同趨勢(shì)。 下面是學(xué)習(xí)啦小編帶來(lái)的適合英語(yǔ)口語(yǔ)練習(xí)美文，歡迎閱讀!
適合英語(yǔ)口語(yǔ)練習(xí)美文篇一
AT MONASTERY GATES
No woman has ever crossed the inner threshold, or shall ever cross it, unless a queen, English or foreign, should claim her privilege. Therefore, if a woman records here the slighter things visible of the monastic life, it is only because she was not admitted to see more than beautiful courtesy and friendliness were able to show her in guest-house and garden.
The Monastery is of fresh-looking Gothic, by Pugin - the first of the dynasty： it is reached by the white roads of a limestone country, and backed by a young plantation, and it gathers its group of buildings in a cleft high up among the hills of Wales. The brown habit is this, and these are the sandals, that come and go by hills of finer, sharper, and loftier line, edging the dusk and dawn of an Umbrian sky. Just such a Via Crucis climbs the height above Orta, and from the foot of its final crucifix you can see the sunrise touch the top of Monte Rosa, while the encircled lake below is cool with the last of the night. The same order of friars keep that sub- Alpine Monte Sacro, and the same have set the Kreuzberg beyond Bonn with the same steep path by the same fourteen chapels, facing the Seven Mountains and the Rhine.
Here, in North Wales, remote as the country is, with the wheat green over the blunt hill-tops, and the sky vibrating with larks, a long wing of smoke lies round the horizon. The country, rather thinly and languidly cultivated above, has a valuable sub-soil, and is burrowed with mines; the breath of pit and factory, out of sight, thickens the lower sky, and lies heavily over the sands of Dee. It leaves the upper blue clear and the head of Orion, but dims the flicker of Sirius and shortens the steady ray of the evening star. The people scattered about are not mining people, but halfhearted agriculturists, and very poor. Their cottages are rather cabins; not a tiled roof is in the country, but the slates have taken some beauty with time, having dips and dimples, and grass upon their edges. The walls are all thickly whitewashed, which is a pleasure to see. How willingly would one swish the harmless whitewash over more than half the colour - over all the chocolate and all the blue - with which the buildings of the world are stained! You could not wish for a better, simpler, or fresher harmony than whitewash makes with the slight sunshine and the bright grey of an English sky.
The grey-stone, grey-roofed monastery looks young in one sense - it is modern; and the friars look young in another - they are like their brothers of an earlier time. No one, except the journalists of yesterday, would spend upon them those tedious words, "quaint," or "old world." No such weary adjectives are spoken here, unless it be by the excursionists.
With large aprons tied over their brown habits, the Lay Brothers work upon their land, planting parsnips in rows, or tending a prosperous bee-farm. A young friar, who sang the High Mass yesterday, is gaily hanging the washed linen in the sun. A printing press, and a machine which slices turnips, are at work in an outhouse, and the yard thereby is guarded by a St Bernard, whose single evil deed was that under one of the obscure impulses of a dog's heart -atoned for by long and self-conscious remorse he bit the poet; and tried, says one of the friars, to make doggerel of him. The poet, too, lives at the monastery gates, and on monastery ground, in a seclusion which the tidings of the sequence of his editions hardly reaches. There is no disturbing renown to be got among the cabins of the Flintshire hills. Homeward, over the verge, from other valleys, his light figure flits at nightfall, like a moth.
To the coming and going of the friars, too, the village people have become well used, and the infrequent excursionists, for lack of intelligence and of any knowledge that would refer to history, look at them without obtrusive curiosity. It was only from a Salvation Army girl that you heard the brutal word of contempt. She had come to the place with some companions, and with them was trespassing, as she was welcome to do, within the monastery grounds. She stood, a figure for Bournemouth pier, in her grotesque bonnet, and watched the son of the Umbrian saint -the friar who walks among the Giotto frescoes at Assisi and between the cypresses of Bello Sguardo, and has paced the centuries continually since the coming of the friars. One might have asked of her the kindness of a fellow-feeling. She and he alike were so habited as to show the world that their life was aloof from its "idle business." By some such phrase, at least, the friar would assuredly have attempted to include her in any spiritual honours ascribed to him. Or one might have asked of her the condescension of forbearance. "Only fancy," said the Salvation Army girl, watching the friar out of sight, "only fancy making such a fool of one's self!"
The great hood of the friars, which is drawn over the head in Zurbaran's ecstatic picture, is turned to use when the friars are busy. As a pocket it relieves the over-burdened hands. A bottle of the local white wine made by the brotherhood at Genoa, and sent to this house by the West, is carried in the cowl as a present to the stranger at the gates. The friars tell how a brother resolved, at Shrovetide, to make pancakes, and not only to make, but also to toss them. Those who chanced to be in the room stood prudently aside, and the brother tossed boldly. But that was the last that was seen of his handiwork. Victor Hugo sings in La Legende des Siecles of disappearance as the thing which no creature is able to achieve： here the impossibility seemed to be accomplished by quite an ordinary and a simple pancake. It was clean gone, and there was an end of it. Nor could any explanation of this ceasing of a pancake from the midst of the visible world be so much as divined by the spectators. It was only when the brother, in church, knelt down to meditate and drew his cowl about his head that the accident was explained.
Every midnight the sweet contralto bells call the community, who get up gaily to this difficult service. Of all duties this one never grows easy or familiar, and therefore never habitual. It is something to have found but one act aloof from habit. It is not merely that the friars overcome the habit of sleep. The subtler point is that they can never acquire the habit of sacrificing sleep. What art, what literature, or what life but would gain a secret security by such a point of perpetual freshness and perpetual initiative? It is not possible to get up at midnight without a will that is new night by night. So should the writer's work be done, and, with an intention perpetually unique, the poet's.
The contralto bells have taught these Western hills the "Angelus" of the French fields, and the hour of night - l'ora di notte - which rings with so melancholy a note from the village belfries on the Adriatic littoral, when the latest light is passing. It is the prayer for the dead： "Out of the depths have I cried unto Thee, O Lord."
The little flocks of novices, on paschal evenings, are folded to the sound of that evening prayer. The care of them is the central work of the monastery, which is placed in so remote a country because it is principally a place of studies. So much elect intellect and strength of heart withdrawn from the traffic of the world! True, the friars are not doing the task which Carlyle set mankind as a refuge from despair. These "bearded counsellors of God" keep their cells, read, study, suffer, sing, hold silence; whereas they might be "operating" - beautiful word! - upon the Stock Exchange, or painting Academy pictures, or making speeches, or reluctantly jostling other men for places. They might be among the involuntary busybodies who are living by futile tasks the need whereof is a discouraged fiction.
There is absolutely no limit to the superfluous activities, to the art, to the literature, implicitly renounced by the dwellers within such walls as these. The output - again a beautiful word - of the age is lessened by this abstention. None the less hopes the stranger and pilgrim to pause and knock once again upon those monastery gates.
適合英語(yǔ)口語(yǔ)練習(xí)美文篇二
THE HONOURS OF MORTALITY
The brilliant talent which has quite lately and quite suddenly arisen, to devote itself to the use of the day or of the week, in illustrated papers - the enormous production of art in black and white - is assuredly a confession that the Honours of Mortality are worth working for. Fifty years ago, men worked for the honours of immortality; these were the commonplace of their ambition; they declined to attend to the beauty of things of use that were destined to be broken and worn out, and they looked forward to surviving themselves by painting bad pictures; so that what to do with their bad pictures in addition to our own has become the problem of the nation and of the householder alike. To-day men have began to learn that their sons will be grateful to them for few bequests. Art consents at last to work upon the tissue and the china that are doomed to the natural and necessary end - destruction; and art shows a most dignified alacrity to do her best, daily, for the "process," and for oblivion.
Doubtless this abandonment of hopes so large at once and so cheap costs the artist something; nay, it implies an acceptance of the inevitable that is not less than heroic. And the reward has been in the singular and manifest increase of vitality in this work which is done for so short a life. Fittingly indeed does life reward the acceptance of death, inasmuch as to die is to have been alive. There is a real circulation of blood-quick use, brief beauty, abolition, recreation. The honour of the day is for ever the honour of that day. It goes into the treasury of things that are honestly and - completely ended and done with. And when can so happy a thing be said of a lifeless oil-painting? Who of the wise would hesitate? To be honourable for one day - one named and dated day, separate from all other days of the ages - or to be for an unlimited time tedious?
適合英語(yǔ)口語(yǔ)練習(xí)美文篇三
WINDS OF THE WORLD
Every wind is, or ought to be, a poet; but one is classic and converts everything in his day co-unity; another is a modern man, whose words clothe his thoughts, as the modern critics used to say prettily in the early sixties, and therefore are separable. This wind, again, has a style, and that wind a mere manner. Nay, there are breezes from the east-south-east, for example, that have hardly even a manner. You can hardly name them unless you look at the weather vane. So they do not convince you by voice or colour of breath; you place their origin and assign them a history according as the hesitating arrow points on the top of yonder ill-designed London spire.
The most certain and most conquering of all is the south-west wind. You do not look to the weather-vane to decide what shall be the style of your greeting to his morning. There is no arbitrary rule of courtesy between you and him, and you need no arrow to point to his distinctions, and to indicate to you the right manner of treating such a visitant.
He prepares the dawn. While it is still dark the air is warned of his presence, and before the window was opened he was already in the room. His sun - for the sun is his - rises in a south-west mood, with a bloom on the blue, the grey, or the gold. When the south- west is cold, the cold is his own cold - round, blunt, full, and gradual in its very strength. It is a fresh cold, that comes with an approach, and does not challenge you in the manner of an unauthorised stranger, but instantly gets your leave, and even a welcome to your house of life. He follows your breath in at your throat, and your eyes are open to let him in, even when he is cold. Your blood cools, but does not hide from him.
He has a splendid way with his sky. In his flight, which is that, not of a bird, but of a flock of birds, he flies high and low at once： high with his higher clouds, that keep long in the sight of man, seeming to move slowly; and low with the coloured clouds that breast the hills and are near to the tree-tops. These the south- west wind tosses up from his soft horizon, round and successive. They are tinted somewhat like ripe clover-fields, or like hay-fields just before the cutting, when all the grass is in flower, and they are, oftener than all other clouds, in shadow. These low-lying flocks are swift and brief; the wind casts them before him, from the western verge to the eastern.
Corot has painted so many south-west winds that one might question whether he ever painted, in his later manner at least, any others. His skies are thus in the act of flight, with lower clouds outrunning the higher, the farther vapours moving like a fleet out at sea, and the nearer like dolphins. In his "Classical Landscape： Italy," the master has indeed for once a sky that seems at anchor, or at least that moves with "no pace perceived." The vibrating wings are folded, and Corot's wind, that flew through so many springs, summers, and Septembers for him (he was seldom a painter of very late autumn), that was mingled with so many aspen-leaves, that strewed his forests with wood for the gatherer, and blew the broken lights into the glades, is charmed into stillness, and the sky into another kind of immortality. Nor are the trees in this antique landscape the trees so long intimate with Corot's south-west wind, so often entangled with his uncertain twilights. They are as quiet as the cloud, and such as the long and wild breezes of Romance have never shaken or enlaced.
Upon all our islands this south-west wind is the sea wind. But elsewhere there are sea winds that are not from the south-west. They, too, none the less, are conquerors. They, too, are always strong, compelling winds that take possession of the light, the shadow, the sun, moon, and stars, and constrain them all alike to feel the sea. Not a field, not a hillside, on a sea-wind day, but shines with some soft sea-lights. The moon's little boat tosses on a sea-wind night.
The south-west wind takes the high Italian coasts. He gathers the ilex woods together and throngs them close, as a sheep-dog gathers the sheep. They crowd for shelter, and a great wall, leaning inland also, with its strong base to the sea, receives them. It is blank and sunny, and the trees within are sunny and dark, serried, and their tops swept and flattened by months of sea-storms. On the farther side there are gardens - gardens that have in their midst those quietest things in all the world and most windless, box-hedges and ponds. The gardens take shelter behind the scared and hurried ilex woods, and the sea-wind spares them and breaks upon the mountain. But the garden also is his, and his wild warm days have filled it with orange-trees and roses, and have given all the abundant charm to its gay neglect, to its grass-grown terraces, and to all its lapsed, forsaken, and forgotten dainties.
Nothing of the nature in this seaward Italy would be so beautiful without the touch of man and of the sea gales.
When the south-west wind brings his rain he brings it with the majestic onset announced by his breath. And when the light follows, it comes from his own doorway in the verge. His are the opened evenings after a day shut down with cloud. He fills the air with innumerable particles of moisture that scatter and bestow the sun. There are no other days like his, of so universal a harmony, so generous.
The north wind has his own landscape, too; but the east wind never. The aspect which he gives to the day is not all his own. The sunshine is sweet in spite of him. The clouds go under his whip, but they have kinder greys than should be the colours of his cold. Not on an east-wind day are these races in heaven, for the clouds are all far off. His rain is angry, and it flies against the sunset. The world is not one in his reign, but rather there is a perpetual revolt or difference. The lights and shadows are not all his. The waxing and waning hours are disaffected. He has not a great style, and does not convince the day.
All the four winds are brave, and not the less brave because, on their way through town, they are betrayed for a moment into taking part in any paltriness that may be there. On their way from the Steppes to the Atlantic they play havoc with the nerves of very insignificant people. A part, as it were, of every gale that starts in the far north-east finds its goal in the breath of a reluctant citizen.
You will meet a wind of the world nimble and eager in a sorry street. But these are only accidents of the way - the winds go free again. Those that do not go free, but close their course, are those that are breathed by the nostrils of living creatures. A great flock of those wild birds come to a final pause in London, and fan the fires of life with those wings in the act of folding. In the blood and breath of a child close the influences of continent and sea.
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