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--五弦--
--琴杆--
--秦胡--
--尾枕--
--尾柱 --
--梆胡--
--双千斤--
--拂--
--凤沼--
--均准--
--分--
--泛--
--弦准--
--弦律--
--琴轴--
--琴轸--
--琴筒--
--晖--
--徽分--
--徽--
--山口--
--嘿胡--
--龙池--
--六弦琴--
--滚--
--冠角--
--拉弓--
--勾--
--空弦--
--逆琶音--
--猱--
--空侯--
--考姆孜--
--坎侯--
--拉瓦波--
--小分弓--
--拉布卜--
--弦轴--
--弦枕--
--弦乐器--
--弦钩--
--弦槽--
--弦--
--京房准--
--浑不似--
--进·退--
--进·复--
--琥珀词--
--虎拨思--
--胡呼--
--胡拨--
--葫芦独弦琴--
--和必斯--
--牛巴腿--
--南胡--
--哈尔扎克--
--绞--
--古琴--
--四弦--
--四股子--
--曲弦--
--自动提琴--
--缅甸竖琴--
--坠子--
--坠琴--
--坠胡--
--热瓦甫--
--热瓦普--
--筑--
--塞他尔--
--嵇琴--
--二弦--
--二胡--
--中提琴--
--中胡--
--马头琴--
--独弦琴--
--独它尔--
--都塔尔--
--侗族琵琶--
--冬不拉--
--筝--
--轸--
--吴拨四--
--瓦琴--
--轧筝--
--轧琴--
--扎木聂--
--马骨琴--
--马骨胡--
--七弦琴--
--瓢--
--色彩奏法--
--瑟--
--嘞胡--
--阮--
--乐弓--
--萨它尔--
--月琴--
--单瓢--
--粤胡--
--岳山--
--丹布尔--
--三胡--
--三弦--
--三弦胡琴--
--大弦--
--大筒--
--大擂--
--律准--
--打琴--
--五弦琵琶--
--音柱--
--龙龈--
--柳琴--
--连断弓--
--连弓--
--连顿弓--
--提琴--
--椰胡--
--弹布尔--
--洋琴--
--焦尾--
--扬琴--
--雁足--
--系弦板--
--雁柱箜篌--
--雷氏琴--
--擂琴--
--必巴--
--雷琴--
--牛腿琴--
--四胡--
--竖琴--
--火不思--
--箜篌--
--胡琴--
--克雅可--
--响篾--
--板胡--
--弦子--
--琴--
--柯布孜--
--秦琴--
--哈密胡琴--
--玄琴--
--京胡--
--京二胡--
--近指板弓--
--近马弓--
--艾捷克--
--根卡--
--革胡--
--高胡--
--琵琶--
--伽倻琴--
--奚琴--
--西塔尔--
--击跳弓--
--双吐--
--梆笛--
--大韶--
--长尖--
--叉手笛--
--草笛--
--哨嘴吹嘴--
--哨片箍--
--毕朗叨--
--律管--
--漏斗形号嘴--
--管--
--开管·闭管--
--喇叭--
--手风琴--
--胡笳--
--葫芦箫--
--葫芦丝--
--海笛--
--南音尺八--
--吉赣--
--竹笛--
--韶--
--洞箫--
--侗笛--
--笛子--
--笛--
--招军--
--吐任--
--马布--
--马补--
--曲笛--
--勒浪--
--芦笳--
--嘎笛--
--竽--
--尺八--
--篪--
--芦笙--
--笙--
--吐良--
--历音--
--夜箫--
--抒情双簧管--
--双笛--
--筚篥--
--唢呐--
--勒尤--
--斯布斯额--
--双管--
--竖笛--
--笔管--
--口弦--
--口琴--
--口簧--
--喉管--
--巴乌--
--埙--
--羌笛--
--箫--
--键盘口琴--
--笳--
--瓦--
--土--
--木--
--石--
--乳锣--
--双连击--
--道筒--
--扇鼓--
--双条鼓--
--九云锣--
--双磬--
--手摇风琴--
--手鼓--
--花盆鼓--
--横鼓--
--南梆子--
--木鱼--
--镯--
--柷--
--深波--
--铓锣--
--钟琴--
--钟--
--拊鼓--
--拊--
--蜂鼓--
--铎--
--方响--
--钲--
--杖鼓--
--铜钹--
--磬--
--同鼓--
--檀板--
--砂槌--
--云锣--
--云璈--
--犁铧片--
--萨巴依--
--单皮鼓--
--锣鼓经--
--锣--
--敔--
--渔鼓--
--碰钟--
--达卜--
--绰板--
--长鼓--
--镲--
--铃箍--
--丁宁--
--连击--
--铜鼓--
--十番鼓--
--十番--
--十番箫鼓--
--十番锣鼓--
--十面锣--
--堂鼓--
--腰鼓--
--搏拊--
--太平鼓--
--梨花片--
--编磬--
--编钟--
--铙钹--
--梆子--
--板鼓--
--盒梆--
--八角鼓--
--星--
--象脚鼓--
--架子鼓--
--碰铃--
--细腰鼓--
--缸鼓--
--排鼓--
--拍板--
--拉巴卜--
rabab，阿
--小提琴族系--
violin
--微调钩--
fine－tuner
--低音梁--
bass-bar
--低音提琴--
double
--电和声琴--
telharmonium
--谐振弦--
aliquot
--小型低音维奥尔琴--
division
--擒纵器--
escapement
--琴马--
bridge，ponticello
--换把--
shift
--拨子--
plectrum
--拨簧盒--
lame
--玻璃琴--
glass－harmonica
--臂上中提琴--
viola
--琴弓--
bow
--姆比拉--
mbila，阿
--拇指钢琴--
thumb
--钉琴--
nail
--背板--
back
--共鸣弦--
sympathetic
--弓子--
弓子
--弓杆击弦--
col
--弓法--
bowing
--儿童用小提琴--
violin
--儿童用大提琴--
cello
--抒情维奥尔琴--
viola
--里拉维奥尔琴--
lyra
--拉弦维乌埃拉琴--
Vihuela
--W．E．希尔父子--
W．E．Hill
--混种维奥尔琴--
viola
--最高音维奥尔琴--
pardessus
--面板--
table，belly，soundboard
--腮托--
chin
--轴--
peg
--曼多林--
mandolin
--中音维奥尔琴--
tenor
--中音提琴--
viola
--鳄鱼琴--
chakhe，泰国
--指板--
fingerboard
--低音维奥尔琴--
viola
--低音维奥尔--
viola
--沙林达--
sarinda，印度
--琴颈--
neck
--高音维奥尔琴--
treble
--雷巴卜--
rebab
--萨朗吉--
sarangi
--三角琴--
balalaika
--三味线--
shamisen
--罗特琴--
rota
--大提琴--
cello，意；violoncello，英
--轮擦提琴--
hurdy-gurdy
--尤克里里琴--
ukulele
--潘哈莫尼康琴--
panharmonicon
--乌德琴--
‘ud，或oud，阿
--维乌埃拉琴--
vihuela，西
--琉特琴--
lute
--维纳--
vina，印度
--维奥尔琴--
viol
--弯琴--
arched
--义甲--
finger－picks
--品位卡--
capotasto，意
--品--
fret
--抛弓--
jete，ricochet，法
--一弦器--
monochord
--里拉琴--
lyra
--坦布拉--
tambura，印度
--波隆--
bolon
--拨弦扬琴--
psaltery
--宾--
bin，印度
--倍低音维奥尔琴--
double－bass
--倍大提琴--
contrabass
--克鲁斯琴--
crouth，crowd，cruit
--班卓--
banjo
--班多拉琴--
bandola，西
--班杜里亚琴--
bandurria，西
--班杜拉琴--
bandura，bandoura
--巴拉莱卡琴--
balalaika
--和琴--
Wa
--希尔--
Hill
--海号独弦琴--
tromba
--坎泰莱琴--
kantele，芬
--奥法里昂琴--
orpharion
--哈登格提琴--
hardanger
--袖珍提琴--
kit，pocket
--恰朗戈--
charango，波利维亚
--卡侬--
qanun，阿
--卡曼贾--
kamanche
--齐特琴--
zither
--古兹拉琴--
gusle，南
--古斯里琴--
gusli
--膝上中提琴--
viola
--西班牙吉他--
Spanish
--小提琴--
violino，意；violin，英
--阿帕拉契亚扬琴--
Appalachian
--哥拉--
cora
--阿马蒂，N．--
Nicola
--夏威夷吉他--
Hawaiian
--肩带大提琴--
viola
--西滕琴--
cittern
--潘朵拉琴--
bandora，pandora，pandore
--吉他--
guitar
--基萨拉琴--
cithara，英
--香肠大管--
sausage bassoon
--双簧吹嘴--
double－reed mouthpiece
--双调圆号--
double horn
--管口校正--
end
--降音阀键--
descending
--单簧吹嘴--
single－reed
--吹嘴--
mouthpiece
--吹奏乐器--
windinstruments
--吹孔--
embouchure，法；mouth－hole，英
--超吹键--
speaker
--音叉--
tuning
--大管--
fagotto，意；bassoon，英
--大号--
tuba，意，英
--阀键--
valve
--活塞阀键--
Piston
--拍簧--
beating
--全管乐器--
whole－tube
--回转阀键--
rotary
--长号--
Posaune，德；trombone，意、英
--长笛--
flauto，意；flute，英
--簧片--
reed
--滑管--
slide
--闭管--
closed
--木管乐器--
wood
--升音阀键--
ascending valve
--上低音维奥尔琴--
barytone
--上低音萨克斯管--
baritone
--木管号--
cornett
--定音管--
pitch
--号嘴--
mouthpiece
--号角--
horn
--滚吹--
flutter－tonguing
--杯形号嘴--
cupped
--喇叭口--
bell
--拉凯特大管--
racket
--拉管--
trombone
--半闭管--
semiclosed
--口风琴--
harmonica
--巴赛特单簧管--
basset
--巴赫小号--
Bach
--高音萨克斯管--
soprano
--俄罗斯木管大号--
Russian
--奥卡里纳--
ocarina，意
--奥菲克莱德号--
ophicleide
--捂手圆号--
hand
--克拉里诺--
clarino
--阀键小号--
valve
--猎号--
hunting
--康恩有限公司--
C．G．Conn
--坎特号--
Kent
--滑管小号--
slide
--横笛--
flauto
--佐尔顿双簧管--
sordune，意、英
--最高音萨克斯管--
sopranino
--自由簧--
free
--自然圆号--
natural
--弱音木管号--
mute
--弗拉佐莱管--
flageolet，法、英
--夫吕号--
flugelhorn
--风笛--
bagpipe
--风袋管--
bagpipe
--中音萨克斯管--
alto
--中音长笛--
flautone，意；alto
--短号--
cornet
--短笛--
flauto
--阀键圆号--
valve
--阀键长号--
valve
--低音萨克斯管--
bass
--瓦格纳大号--
Wagner
--沙吕莫管--
chalumeau，法
--低音单簧管--
clarone，意；bass
--低音大管--
contrafagotte，意；double
--低音长号--
trombone
--低次中音长号--
tenor-bass
--萨克斯管--
saxophone
--萨克斯号--
saxhorn
--萨吕双簧管--
sarrusophone
--单簧管--
clarinetto，意；clarinet，英
--圆号--
cor，法；corno，意；horn，French
--三孔管--
galoubet，法；pipe，英
--大管号--
bass
--尤风宁号--
euphonium
--次中音萨克斯管--
tenor
--次中音长号--
trombone
--英国管--
cor
--卢尔号--
Iur
--步号--
bugle
--布西纳号--
buccina，拉
--蛇形大号--
serpent，法、英
--移调乐器--
transposing
--铜管乐器--
brass
--抒情长笛--
flute
--抒情单簧管--
clarinette
--阿尔卑斯号--
alphorn，alpine
--接管--
crook，shank
--交叉指法--
cross－fingering
--别辛号--
buisine
--纳伊--
nay，阿
--苏萨大号--
sousaphone，意、英
--双簧管--
oboe，意
--拉凯特双簧管--
racket
--库塔尔双簧管--
Curtal
--倍低音萨克斯管--
contrabass
--倍低音长号--
trombone
--sausage bassoon--
sausage bassoon
--克鲁姆双簧管--
crumhorn
--巴赫制造厂--
Bach
--海克尔双簧管--
heckelphone
--海克尔单簧管--
heckelclarina
--海利康大号--
helikon
--凯那--
kena
--绪任克斯--
syrinx
--小横笛--
fife
--小号--
tromba，意；trumpet，英
--肖姆双簧管--
shawm
--键孔小号--
keyed
--键孔步号--
key
--朋吉--
Pungi，印度
--排箫--
panpipes
--阿夫洛斯管--
aulos，希
--中断收束--
discontinue cadence
--竹筒琴--
angklung
--中鼓--
tenor drum
--刷槌--
wire
--道夫--
dof，波斯
--打击乐器--
percussion
--槌--
mallet
--叉铃--
sistrum，拉丁
--奥尔夫乐器--
Orff
--木丹加鼓--
mrdanga，印度
--杜夫--
duff，希
--滚奏--
roll
--安格隆--
angklung，印尼
--鼓--
drum
--手指小钹--
finger－cymbals
--拉纳特--
ranat
--管琴--
tubaphone
--古钹--
ancient
--木琴--
xilofono，意；xylophone，英
--竹排琴--
pat—tala，缅甸
--方手鼓--
adufe，西
--咚咚鼓--
tom－tom
--吊钹--
suspended
--玛林巴--
marimba
--塔尔--
tar，阿
--三角铁--
triangle
--大鼓--
bass
--帕卡瓦吉--
pakhavaj
--颤音琴--
vibraharp，vibraphone
--铃杖--
jingling
--铃鼓--
tambourine，英
--围锣--
khōng
--围鼓--
drum－chime
--定音鼓--
timpani，意；Kettle
--踩钹--
hi－hat
--桶子鼓--
tom－tom
--铜排琴--
saron
--钹--
piatti，意；cymbals，英
--铁排琴--
ranateklek，印尼
--里克鼓--
riqq，阿
--博那排锣--
bonang，印尼
--济尔德日亚恩--
Zildjian
--塔布拉－巴亚鼓--
tabla－baja印度
--纳嗄拉鼓--
naqqara
--巴亚--
baja，印度
--巴特瓦因--
Pat－waing，缅甸
--管钟--
campane，意；chimes，tubular
--卡洪--
Cajon，古巴
--共鸣筒铜排琴--
Gender，爪哇
--小鼓--
tamburo
--响板--
castanets
--钢片琴--
celesta，意
--塔波鼓--
tambourin，法；tabor，英
--踏板--
pedal
--水力管风琴--
hydraulos
--英国指法--
English
--强音踏板--
damper
--斯坦韦父子公司--
Steinway
--电钢琴--
electric
--簧管--
reed
--滑奏--
glissando
--手摇钢琴--
barrel
--手键盘--
manual
--哨管--
flue
--上·下--
上·下
--色彩风琴--
colour
--红十月钢琴厂--
Red
--电子乐器--
electronic
--马特诺电琴--
Ondes
--哈蒙德风琴公司--
Hammond
--六角手风琴--
concertina
--利肯贝--
likembe，阿
--扩展指法--
expanded
--鸟风琴--
bird
--班多纽手风琴--
bandoneon，西
--巴扬手风琴--
bayan
--格罗特里安-施泰因韦格--
Grotrian－Steinweg，德
--儿童合奏用手风琴--
accordion
--新和弦电子琴--
Novachord
--立式钢琴--
upright
--楔槌--
tangent
--脚键盘羽管键琴--
pedal
--脚键盘--
pedal
--加料钢琴--
prepared
--自动钢琴--
pianola，player
--弱音踏板--
soft
--制音器--
damper
--电子琴--
electronic
--电子风琴--
electronic
--特劳特琴--
trautonium
--三角钢琴--
grand
--羽管键琴--
harpsichord
--散扎--
sanza，扎伊尔
--长岛斯坦韦钢琴制造厂--
Longisland
--维吉那琴--
virginal
--音栓--
stop
--布罗德伍德钢琴厂--
Broadwood
--布罗德伍德父子钢琴制造厂--
John
--布吕特纳公司--
Bluthner
--普莱耶尔--
Pleyel，法
--特调钢琴--
prepared
--键盘--
Keyboard
--键盘乐器--
keyboard
--键--
key
--斯皮耐琴--
Spinet
--簧乐器--
reed
--簧风琴--
harmonium，reed
--管风琴--
organ
--古钢琴--
clavichord
--埃拉尔--
Erard，法
--钢琴--
pianoforte，意；piano，英
--帕蒂塔--
partita，意，英
经典的100首歌：
1 爱的代价（张艾嘉） 2 爱就一个字（张信哲） 3 爱情的故事（方季惟） 4 爱我的人和我爱的人（裘海正） 5 爱相随(周华健)
6 爱一回伤一回（游鸿明） 7 安妮（王杰） 8 暗香(沙宝亮） 9 把悲伤留给自己（陈升） 10 被遗忘的时光(蔡琴)
11 边走边爱（谢霆锋） 12 不了情(徐小凤) 13 沉默是金（张国荣） 14 痴心绝对（李圣杰） 15 出塞曲(蔡琴)
16 穿过你的黑发的我的手（罗大佑） 17 大地(beyond) 18 大海(张雨生） 19 大约在冬季(齐秦） 20 东风破（周杰伦）
21 懂你（满文军） 22 读你（费翔） 23 非同寻常（陆毅） 24 风继续吹（张国荣） 25 风铃（周惠）
26 风中的承诺（李翎君） 27 孤枕难眠(周华健) 28 光辉岁月（BEYOND） 29 光阴的故事（罗大佑） 30 寄给你一朵玫瑰（小刚）
31 来生缘（刘德华） 32 离别（阿杜） 33 龙卷风(周杰伦） 34 旅程（羽泉） 35 你爱不爱我（零点乐队）
36 你不会了解（谢霆锋） 37 你的眼神(蔡琴) 38 你怎么舍得我难过(黄品源) 39 其实你不懂我的心(童安格) 40 恰似你的温柔（邓丽君）
41 千千阙歌（陈慧娴） 42 牵手（苏芮） 43 情网（张学友） 44 让我一次爱个够（庚澄庆） 45 容易受伤的女人（王菲）
46 如果有一天（刘德华） 47 如果云知道（许如云） 48 伤痕（林忆莲） 49 是否（苏芮） 50 谁的眼泪在飞（孟庭苇）
51 水中花(谭咏麟) 52 撕夜（阿杜） 53 似是故人来（梅艳芳） 54 他一定很爱你（阿杜） 55 天天看到你（阿杜）
56 甜蜜蜜（邓丽君） 57 忘不了(童安格) 58 味道（辛晓琪） 59 吻别（张学友） 60 我的心好乱（赵传）
61 我悄悄地蒙上你的眼睛 62 我是不是该安静地走开(郭富城) 63 我是不是你最疼爱的人（潘越云） 64 我是一只小小鸟（赵传） 65 我相信 《我的野蛮女友》主题曲（孙楠）
66 我这个你不爱的人（迪克牛仔） 67 我只在乎你（邓丽君） 68 我终于失去了你 69 无地自容（黑豹） 70 乡间小路
71 想你的时候（千百惠） 72 心如刀割（张学友） 73 心手相连（谭咏麟） 74 心太软（任贤齐） 75 新长征路上的摇滚（崔健）
76 星星点灯（郑智化） 77 幸福的瞬间（许昭洋） 78 烟火的季节(F4) 79 野百合也有春天（罗大佑） 80 一场游戏一场梦（王杰）
81 一个人的精彩（萧亚轩） 82 一生何求（陈百强） 83 一生一次(谭咏麟) 84 一无所有（崔健） 85 一言难尽(张宇)
86 驿动的心（姜育恒） 87 雨蝶 李翊君 88 原来你什么都不要（张惠妹） 89 缘分的天空（孙楠） 90 月亮代表我的心（邓丽君）
91 在他乡（水木年华） 92 在我生命中的每一天（成龙 陈淑桦） 93 找一个字代替（邰正宵） 94 真的爱你（BEYOND） 95 真的好想你（周冰倩）
96 真心英雄（群星） 97 执著（田震） 98 只有我(F4) 99 最浪漫的事(赵咏华) 100 ANDY(阿杜)
著名歌手：
① Mariah Carey (拥有16首Billboard冠军单曲的流行天后，仅次于披头士和猫王，音域可跨5个八度，唱功一流!)
We Belong Together(2005年最新Billboard冠军单曲)
One Sweet Day(与Boy II Men合作创造了连续16周Billboard冠军的奇迹)
Hero(Billboard冠军单曲)
With out you(经典代表作)
② Whitney Houston (声音饱满雄厚，同样音域可跨5个八度，唱功一流!)
When You Believe (与Mariah Carey的经典合唱，奥斯卡最佳电影歌曲)
I Will Always Love You (《保镖》经典主题曲)
If i told you that
③ Christina Aguilera (声音急具爆发力，唱功很棒!)
Reflection(迪士尼经典动画《花木兰》主题曲)
Beautiful
Genie In A Bottle
Fighter
④ Shania Twain (加拿大著名乡村天后，不仅外貌美的脱俗，嗓音也很甜美)
You're Still the One
I'm Gonna Getcha Good!
⑤ Alicia Keys (灵魂乐小天后，创作才华一流，钢琴也弹得不错)
You don't know my name
Fallin'
A Woman's Worth
⑥ Dido (英伦美声天后，她的歌很有韵味)
White Flag
Thank you
⑦ Madonna (乐坛大姐大!麦当劳的“亲戚”)
Die Another Day(007主题曲)
You must love me
⑧ Beyonce (性感的巧克力美人，有一定创作能力)
Crazy In Love
Brown Eyes(S.H.E原曲)
⑨ Avril Lavigne (加拿大朋克摇滚歌手，个性十足，有一定创作能力)
Complicated
Anything but ordinary
Tomorrow
⑩ Lene Marlin (一位创作型女歌手!嗓音很甜美，音乐很纯净!)
Sitting down here(林忆莲《我坐在这里》英文原曲)
Another day
Unforgivable Sinner
⑾ Celine Dion (凭借《泰坦尼克号》主题曲迅速成为流行天后，唱功很棒)
Because You Loved Me
The power of Love
⑿ Sarah Brightman (跨界天籁美声天后，游走于流行、美声、歌剧艺术之间)
Time to say goodbye (与盲人歌手Andrea Bocelli合唱的经典歌曲,张惠妹也曾翻唱过这首歌)
There for me(与Josh Groban 现场合唱版)
All i ask of you
Just show me how to love you
欧美男歌手篇[12位]:
① Ronan Keating (原Boyzone(男孩地带)主唱，嗓音很有磁性!)
First time
She believes(in me)
二 50 Cent (美国当红Hip-Pop/Rap黑人歌手，其2005年新专辑在美国上半年销量第一)
In Da Club
Candy Shop
Just A Lil Bit
③ Robbie Williams (原Take That组合成员，单飞后更加成功，成为欧洲的流行天王)
Better Man (林忆莲翻唱过这首歌)
Singing For The Lonely
④ Craig David (英国RB小天王，真假声转换自如)
Johnny
7 Days
Walking Away
⑤ Gareth Gates (英国近两年比较红的男歌手，擅长演绎抒情歌曲)
nyone of us
⑥ Usher (亚瑟小子是美国目前最当红的男艺人，创作才能
关于冬天雪的英语诗句
1.描写冬天雪景的英语句子
冬天是个美丽的季节，尤其是下雪的日子。
雪花像玲珑剔透的小精灵，调皮地飘落下来。
它们落在树枝上，屋顶上和麦田里。很快整个大地都银妆素裹起来。太阳出来后，万物都闪烁着光芒。
Winter is a beautiful season, especially when it snows.
Snowflakes fall down naughtily. They fall on branches of trees, on roofs of houses and on wheat fields.
2.关于雪或雪花的英文诗
SNOW-FLAKES
雪花
Out of the bosom of the Air,
Out of the cloud-folds of her garments shaken,
Over the woodlands brown and bare,
Over the harvest-fields forsaken,
Silent, and soft, and slow
Descends the snow.
挣脱苍天的怀抱
冲出她摇摆的云叠衣衫
飘过棕色赤裸的林地
飞越被遗弃的丰收田
悄悄轻轻慢慢地
雪花飘落
Even as our cloudy fancies take
Suddenly shape in some divine expression,
Even as the troubled heart doth make
In the white countenance confession,
The troubled sky reveals
The grief it feels.
仿佛我们朦胧的幻想
突然变成某种神圣的愿望
仿佛心中的忧郁
呈现在我们苍白的脸上
正如烦恼的天空
流露出她所感受的忧伤
This is the poem of the air,
Slowly in silent syllables recorded;
This is the secret of despair,
Long in its cloudy bosom hoarded,
Now whispered and revealed
To wood and field.
这是苍天以无声的音节
缓缓泻下的诗篇
这是长久郁结在其胸间
那绝望的秘密
正对着森林和田野
低诉宣泄
3.急求关于雪的英文小诗
In winter Snow often visits us.
My life is full of hexagon flakes.
Whenever north winds blow
I begin to expect snow
The snow that whitens the whole world,
But brings trouble to our friend bird
The trees putting on caps overnight,
The roofs covered by white blanket.
Last night came the first snow of the year;
We're living in a new world.
At the snow my heart lept,
The snow before the door well kept.
I rode to school by bike,
Pedaled hard, but felt happier.
Some people slipped,
But no one quarrelled or cursed.
The girls play snow on the playground,
Running after one another like wild,
With gigles in their wake
Thowing snowballs they make.
I wish I were young and fast
Throwing snow to whoever runs last;
Or I could write in the snow
My beautiful lines to praise Snow.
这首诗是冬天下了第一场雪时，诗人怀着激动的心情写下的。
虽然简单但很有感情。
4.关于雪的英文诗
A Snowy Sunset
Snow Snow on the ground
Sun is sinking down down down
Trees trees covered in Wight
People gasp at the sight
Snow Snow on the ground
Animals scurry all around
Snow Snow in your hair
Stiffness and cold in the air
Snow Snow on the ground
People sledding down down down
Hot Coco and coffee inside
Why not go for another sled ride
Snow Snow on the ground
The sun has set past the ground
Lights light up the city bright
People every where say what a sight
5.关于雪花的英语句子
只要你愿意，当你失落失意的时候，最需要一个肩膊的时候，告诉我，我会立即出现满天星云下，感到无边的落寞。也许流星能体会。我期待，飘飘雪花的日子，你的心带来了一屡芬芳。
As long as you are willing, please let me know what I can do for you. When you are unhappy and want to cry on somebody's shoulder, I will stand before you immediately. I feel so lonely under the sky full of stars and clouds. I expect your love will give me something sweet on a snowing day.
6.关于冬天的英文小诗
1.Blow, Blow, Thou Winter Wind Poem lyrics of Blow, Blow, Thou Winter Wind by Shakespeare. Blow, blow, thou winter wind, Thou art not so unkind As man's ingratitude; Thy tooth is not so keen Because thou art not seen, Although thy breath be rude. Heigh-ho! sing heigh-ho! unto the green holly: Most friendship is feigning, most loving mere folly: Then, heigh-ho! the holly! This life is most jolly. Freeze, freeze, thou bitter sky, Thou dost not bite so nigh As benefits forgot: Though thou the waters warp, Thy sting is not so sharp As friend remember'd not. Heigh-ho! sing heigh-ho! unto the green holly: Most friendship is feigning, most loving mere folly: Then, heigh-ho! the holly! This life is most jolly. 2.Stopping by Woods on a Snowy Evening by Robert Frost Whose woods these are I think I know. His house is in the village, though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound's the sweep Of easy wind and downy flake. The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep 貌似长了一点点 下面一个有中文的 Stopping by Woods on a Snowy Evening By Robert Frost Whose woods these are I think I know. His house is in the village though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound's the sweep Of easy wind and downy flake. The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. 雪夜林畔驻马 罗伯特.弗罗斯特 我想我知道这是谁的树林. 他的家虽在那边乡村； 他看不到我驻足在此地， 伫望他的树林白雪无垠. 我的小马一定会觉得离奇， 停留于旷无农舍之地， 在这树林和冰湖中间 一年中最昏暗的冬夕. 它将它的佩铃朗朗一牵 问我有没有弄错了地点. 此外但闻微风的拂吹 和纷如鹅毛的雪片 这树林真可爱，黝黑而深邃. 可是我还要赶好几英里路才能安睡， 还要赶好几英里才能安睡.。
7.描写雪的英语的优美句子
Description snow good sentence: 1) snow, the snow like Xu general, as general Luhua snow, the snow like dandelion general dance in the air, blown by the wind. 2) the air, the glistening snow-like lightweight butterfly in Dance. 3) overnight snow, the roof of city plot has a thickness of snow, stood on the flat-topped tower Wangchuqu, like rolling snow-capped mountains. 4) along highways, sidewalks snow has melted, only the roofs of back-also left Canxue, like wearing a small white top hat. 5) Air was showing a fluttering snowflakes, small white feathers, like the pear Chuila petals, in-yo. 6) Small snowflakes fluttering in the gentle sounds of the long left behind. Gradually, the small snowflakes changed in a big way, thickening, and crowded. 7) a round, a fall Chuochuo the Xuefei, like countless Chesui a cotton ball rolling down from the sky. 8) window with snowflakes dancing in the sky, just like hundreds of butterflies like toward the window panes, glass and hit some mischievous, Pianpian flying toward the side. 9) glistening snow Whispering in my Shouzhangxin, appears to be transparent, and gradually, it melted. 10) snow, the first on the small Duo Duo snowflakes, as gently fluttering Xu then the heavier, a while Jinshi a while. 11) snow finally stopped, a vast field of white, buildings, mountains covered by snow. Paragraph: "Snow!" Children of the snow as good news to report. The people will lay down their hands could not live, come to the front of the windows, ornamental nature of the gift - snow. Especially in the South, Snow difficult intake, many families regardless of cold, snow seize the opportunity to shoot in the snow-Carnival, in a Snow Memorial. Children are busy with formation of snowman, pinch snowball, Daxuezhang. Clearly, many people like snow. Compared to people encountered heavy rain killed that day, a succession of squally rang out under the scorching sun at the heart of the suffering, Snow is a joy. Snow early, often雪片little too dense, such as wind Qingpiao Xu, with the wind blowing the fierceness of the attack, under the snow of the more, snow is also growing, such as woven into a white net, the height of the far What is invisible on the [/ b]. Like continuous Curtain，直落onto the ground, a return to the light. Fisher, Gaiman the roof, road, breaking the branches, Subduction various objects appearance, blocked roads and transport, the雪片filled fly to the white world dissolved into one. If you are walking on the streets, and soon, it will become a living snowman. Mountain snow has been blown in, as to encapsulate this Bengshan buried the small rooms like. Xiaojiao trees, snow cover kept to the small rooms down. Chawai a hillside in the trees, inverted folded down. Hanru fear all broken voice flutter like, to retreat to the horizon! Wind increasingly larger. Naduo Xiaoyun become a white Nongyun gradually rise up, expanding, and gradually cover over the sky. Coming from under the snow. Suddenly, down from the large pieces of雪片came. Wu Wu and roar of the wind, the storm came. An instant, the Diablo sky became a fight with Xuehai, the all invisible. Increasingly fierce snowstorm, the cold days, the nose and cheek Dongde more powerful, more frequent cold air bottles to skin jacket, the clothes need to wrap a tighter more. Sled sometimes Guangliuliu Lulu scrolled off the ice surface because the ground snow have been blown away. …… I seem to feel that there is a strong light shining on the white wilderness greatly broaden the horizon, low and black roof suddenly disappeared, only to see in all directions Luoxue Formation of a slash of white. …… In the wilderness, and the wind obdurate to all blowing in one direction. …… Right, left, everywhere failed, the ambiguous gray. I would like to find the eyes of the same things fresh, but no: no signs, not a pile of hay, not一堵fence, and nothing can not be everywhere is a snow. …… Seems to be a change in wind direction; while blowing head, going live from the eyes of snowflakes paste; next moment from the coat collar hate to turn heads, and make a mockery of拿它Fumo of my face; while from behind by What holes whirring and yelling. …… When I wanted to stand up and bodies wrapped some more closely, landed on the collar and hat from the snow on the neck, sliding into the Lengde I tremble. Snow has been charged for a couple of days, just to stop the morning, a strong sense of the infinite frozen solidification of the snow surface. …… In the snow underneath, 240 Village Yan Wozhao mine, it seems has disappeared. …… No fire house, and the stones on the same cold, not melting tiles on the thick layer of snow。
大作文 假如给我三天光明
-- By Helen Keller
Three Days to See
All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year; sometimes as short as twenty-four hours.But always we were interested in discovering just how the doomed man chose to spend his last days or his last hours. I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly delimited.
Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations should we crowd into those last hours as mortal beings? What happiness should we find in reviewing the past, what regrets?
Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live each day with a gentleness, a vigor, and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come. There are those, of course, who would adopt the Epicurean motto of "Eat, drink, and be merry," but most people would be chastened by the certainty of impending death.
In stories the doomed hero is usually saved at the last minute by some stroke of fortune, but almost always his sense of values is changed. he becomes more appreciative of the meaning of life and its permanent spiritual values. It ahs often been noted that those who live, or have lived, in the shadow of death bring a mellow sweetness to everything they do.
Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.
The same lethargy, I am afraid, characterizes the use of all our faculties and senses. Only the deaf appreciate hearing, only the blind realize the manifold blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in adult life. But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it, of not being conscious of health until we are ill.
I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life. Darkness would make him more appreciative of sight; silence would tech him the joys of sound.
Now and them I have tested my seeing friends to discover what they see. Recently I was visited by a very good friends who had just returned from a long walk in the woods, and I asked her what she had observed.. "Nothing in particular, " she replied. I might have been incredulous had I not been accustomed to such reposes, for long ago I became convinced that the seeing see little.
How was it possible, I asked myself, to walk for an hour through the woods and see nothing worthy of note? I who cannot see find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch, or the rough, shaggy bark of a pine. In the spring I touch the branches of trees hopefully in search of a bud the first sign of awakening Nature after her winter's sleep. I feel the delightful, velvety texture of a flower, and discover its remarkable convolutions; and something of the miracle of Nature is revealed to me. Occasionally, if I am very fortunate, I place my hand gently on a small tree and feel the happy quiver of a bird in full song. I am delighted to have the cool waters of a brook rush thought my open finger. To me a lush carpet of pine needles or spongy grass is more welcome than the most luxurious Persian rug. To me the page ant of seasons is a thrilling and unending drama, the action of which streams through my finger tips.
At times my heart cries out with longing to see all these things. If I can get so much pleasure from mere touch, how much more beauty must be revealed by sight. Yet, those who have eyes apparently see little. the panorama of color and action which fills the world is taken for granted. It is human, perhaps, to appreciate little that which we have and to long for that which we have not, but it is a great pity that in the world of light the gift of sight is used only as a mere conveniences rather than as a means of adding fullness to life.
If I were the president of a university I should establish a compulsory course in "How to Use Your Eyes". The professor would try to show his pupils how they could add joy to their lives by really seeing what passes unnoticed before them. He would try to awake their dormant and sluggish faculties.
Perhaps I can best illustrate by imagining what I should most like to see if I were given the use of my eyes, say, for just three days. And while I am imagining, suppose you, too,set your mind to work on the problem of how you would use your own eyes if you had only three more days to see. If with the on-coming darkness of the third night you knew that the sun would never rise for you again, how would you spend those three precious intervening days? What would you most want to let your gaze rest upon?
I, naturally, should want most to see the things which have become dear to me through my years of darkness. You, too, would want to let your eyes rest on the things that have become dear to you so that you could take the memory of them with you into the night that loomed before you.
If, by some miracle, I were granted three seeing days, to be followed by a relapse into darkness, I should divide the period into three parts.
The First Day
On the first day, I should want to see the people whose kindness and gentleness and companionship have made my life worth living. First I should like to gaze long upon the face of my dear teacher, Mrs. Anne Sullivan Macy, who came to me when I was a child and opened the outer world to me. I should want not merely to see the outline of her face, so that I could cherish it in my memory, but to study that face and find in it the living evidence of the sympathetic tenderness and patience with which she accomplished the difficult task of my education. I should like to see in her eyes that strength of character which has enabled her to stand firm in the face of difficulties, and that compassion for all humanity which she has revealed to me so often.
I do not know what it is to see into the heart of a friend through that "Window of the soul", the eye. I can only "see" through my finger tips the outline of a face. I can detect laughter, sorrow, and many other obvious emotions. I know my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, through other means, through the thoughts they express to me, through whatever of their actions are revealed to me. But I am denied that deeper understanding of them which I am sure would come through sight of them, through watching their reactions to various expressed thoughts and circumstances, through noting the immediate and fleeting reactions of their eyes and countenance.
Friends who are near to me I know well, because through the months and years they reveal themselves to me in all their phases; but of casual friends I have only an incomplete impression, an impression gained from a handclasp, from spoken words which I take from their lips with my finger tips, or which they tap into the palm of my hand.
How much easier, how much more satisfying it is for you who can see to grasp quickly the essential qualities of another person by watching the subtleties of expression, the quiver of a muscle, the flutter of a hand. But does it ever occur to you to use your sight to see into the inner nature of a friends or acquaintance/ Do not most of you seeing people grasp casually the outward features of a face and let it go at that?
For instance can you describe accurately the faces of five good friends? some of you can, but many cannot. As an experiment, I have questioned husbands of long standing about the color of their wives' eyes, and often they express embarrassed confusion and admit that they do not know. And, incidentally, it is a chronic complaint of wives that their husbands do not notice new dresses, new hats, and changes in household arrangements.
The eyes of seeing persons soon become accustomed to the routine of their surroundings, and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately "eyewitnesses" see. A given event will be "seen" in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision.
Oh, the things that I should see if I had the power of sight for just three days!
The first day would be a busy one. I should call to me all my dear friends and look long into their faces, imprinting upon my mind the outward evidences of the beauty that is within them. I should let my eyes rest, too, on the face of a baby, so that I could catch a vision of the eager, innocent beauty which precedes the individual's consciousness of the conflicts which life develops.
And I should like to look into the loyal, trusting eyes of my dogs - the grave, canny little Scottie, Darkie, and the stalwart, understanding Great Dane, Helga, whose warm, tender, and playful friendships are so comforting to me.
On that busy first day I should also view the small simple things of my home. I want to see the warm colors in the rugs under my feet, the pictures on the walls, the intimate trifles that transform a house into home. My eyes would rest respectfully on the books in raised type which I have read, but they would be more eagerly interested in the printed books which seeing people can read, for during the long night of my life the books I have read and those which have been read to me have built themselves into a great shining lighthouse, revealing to me the deepest channels of human life and the human spirit.
In the afternoon of that first seeing day. I should take a long walk in the woods and intoxicate my eyes on the beauties of the world of Nature trying desperately to absorb in a few hours the vast splendor which is constantly unfolding itself to those who can see. On the way home from my woodland jaunt my path would lie near a farm so that I might see the patient horses ploughing in the field 9perhaps I should see only a tractor!) and the serene content of men living close to the soil. And I should pray for the glory of a colorful sunset.
When dusk had fallen, I should experience the double delight of being able to see by artificial light which the genius of man has created to extend the power of his sight when Nature decrees darkness.
In the night of that first day of sight, I should not be able to sleep, so full would be my mind of the memories of the day.
The Second Day
The next day - the second day of sight - I should arise with the dawn and see the thrilling miracle by which night is transformed into day. I should behold with awe the magnificent panorama of light with which the sun awakens the sleeping earth.
This day I should devote to a hasty glimpse of the world, past and present. I should want to see the pageant of man's progress, the kaleidoscope of the ages. How can so much be compressed into one day? Through the museums, of course. Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there - animals and the races of men pictured in their native environment;gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared, with his tiny stature and powerful brain, to conquer the animal kingdom; realistic presentations of the processes of development in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet; and a thousand and one other aspects of natural history.
I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. there, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on.
My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here, in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled, bearded features of Homer are dear to me, for he, too, knew blindness.
My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me.
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