寫作《修改潤色》精選教學(xué)課件

1、寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件寫作修改潤色精選教學(xué)課件春開頭中間春草圖： 春風(fēng)圖： 爭春圖： 點題定位承上詳寫結(jié)尾 照應(yīng)深化開門見山直切主題重點突出詳略得當(dāng)中心明確內(nèi)容充實層次分明條理清楚首尾呼應(yīng)結(jié)構(gòu)完整春花圖： 春雨圖： 漲 朗潤 紅 張開 睡

2、醒 東風(fēng)來 春天近盼鉆 嫩 綠 滿 坐 讓開 趕 眨 摸帶 混響 下 織逼默 多 趕舒做 春天 像 娃娃 新 姑娘 美 青年壯 上前去 欣欣然鬧 唱 抖 撐 春開中間春草圖： 一、先回答我三個問？ 1.提問：什么是作文？ 2.請問：作文“什么樣？”即作文“長得”什么樣？ 3.再問，好作文“怎么寫？”也就是那些優(yōu)秀作文、高分作文、滿分作文、名人名家美文是怎么寫成的？ 寫作修改潤色精選教學(xué)課件1.告訴你：作文像什么？像人 1.告訴你：作文像什么？像人 題目：智慧伴我成長 順德一考生開頭： 成長是一札無字書卷，在素色的紙張上，我將一點點歷史寫下，一點一點文化寫下，一點一點成熟寫下。當(dāng)書卷成華章時，我

3、知道，這便是智慧。點題定位題目：智慧伴我成長點題定位 中間： 亭臺樓閣，煙重水榭，雕欄畫棟，龍吟鳳噦(yu)歷史將繁華排成一列古老的文字，勾起我無限幻想。那個年代，是酒醺出來的。云破月來花弄影，獨酌一杯最宜情，盛唐里的每首詩，仿佛都可以榨出一壺高粱酒。初時泰然，而后濃烈?？梢宰淼归L安詩意遍街，可以醉倒詩心嘯出俠氣。一劍在手平風(fēng)雷，群妖魑魅皆伏首，這是豪邁；灞橋惜別，看桃紅挽著柳腰低語，這是細膩。于是，又一串古老的文字從酒壺中瀉出?！叭ù蟮溃欢纷匀缓稀?，“金樽清酒斗十千”、“仰天大笑出門去”這是一種奢華的智慧，給人以精神富足之感！承上詳寫 中間：承上詳寫承上詳寫 金莼玉粒噎滿喉，化作青煙隨

4、水流。智慧不總是奢華雍容的，還有一點理性，一點冷酷。猶記佳人廣袖盈盈，蓮步顰顰，一曲霓裳讓多少君王釋懷，多少戰(zhàn)爭演繹。妝成嫉妒的顏容，終有門庭冷落車馬稀的失落，西湖歌舞幾時休的盛景，終有朱門狗肉俱臭，路有凍死骨之慘景.人心沉淪在街頭巷尾,躑躅著，看舊時王榭堂前燕，看昔日芳華宴，此時人已散。拭去歲月的華美，讓本質(zhì)漸現(xiàn)。智慧就是理性，如清風(fēng)明月般，冷看時光縱橫，只有如此，成長方在幼稚的貪婪享受中脫離。承上詳寫 金莼玉粒噎滿喉，化作青煙隨水流 靜夜里，則應(yīng)燃一支香，無論此時是在客舟中，亦或是僧廬下。心隨煙箢，獨枕鳴鳴，讓思緒隨黎明的到來而更清醒。此時，想起一位詩人所言：“明月松間照，清泉石上流”。此

5、乃智慧之最高境界哪！蕭蕭秋寺，碧瓦飛甍；堂堂宮殿，金碧輝煌，這些都不過是被揮散的煙云，是一種“為賦新詞強說愁”的少年情懷。秦淮金粉隨水東逝，逝去的還有奢華與孤寂。裊裊的青煙徐徐上升，剩下的，則是生命的本質(zhì)，是人生的精華。靜對一顆菊，是隱士；靜對一輪月，是君子。只有這些人，這些生存智慧，方叫成熟。 承上詳寫 靜夜里，則應(yīng)燃一支香，無論此時是在客照應(yīng)深化 結(jié)尾： 讀書，悟史，透視人生，成長的書卷已是密必匝匝。我笑看門前花飛花落，天上云卷云舒。微微光粒在桌案躍動我笑，因為我明白了膚淺的華麗，消極的冷落和完美的成熟我笑，因為我知道我的成長不乏精彩，智慧在伴我成長。結(jié)尾照應(yīng)深化 結(jié)尾：結(jié)尾其一，作文形式

6、有規(guī)律。表達式=題目+開頭+中間+結(jié)尾（作文“像模像樣”，結(jié)構(gòu)完整）其二，作文寫作有規(guī)律。表達式= 開頭+中間+結(jié)尾其三，作文各部分有明確的任務(wù)：開頭有二個任務(wù)；中間有二個任務(wù)；結(jié)尾有二個任務(wù)。（作文“層次清楚，中心明確，重點突出）其四，告訴我們好作文不難，“作文如人”。這幅“作文大力士”包含著重要的作文原理其一，作文形式有規(guī)律。表達式=題目+開頭+中間+結(jié)尾（作文“簡快一般規(guī)律開頭：點題定位中間：承上詳寫結(jié)尾：照應(yīng)深化簡快一般規(guī)律開頭：點題定位 比如高爾基的海燕開頭： 在蒼茫的大海上，狂風(fēng)卷集著烏云，在烏云和大海之間，海燕像黑色的閃電，在高傲的飛翔。 定位點題 比如高爾基的海燕開頭：定位點題

7、語言描寫神態(tài)描寫 動作描寫 心理描寫外貌描寫寫人：寫景物：視覺描寫嗅覺描寫觸覺描寫聽覺描寫味覺描寫寫事情： 1. 步步追問+想象延伸 2. 使用傳神動詞方法提示：語言描寫寫人：寫景物：視覺描寫寫事情： 1. 步步追問+方法一：要學(xué)會多問幾個“怎么樣”來擴展情節(jié)方法探究例文：令人害怕的夜晚 今天夜里，家里人都出去了，留我一個人在家里看家，我非常害怕。直到媽媽回來了，我才松了一口氣。 我們可以這樣問：1、你為什么害怕？ 2、你當(dāng)時是怎么想的？ 3、你當(dāng)時的反應(yīng)如何？改后：在一天夜里，我一個人在家里。天要下雨了，電閃雷鳴，我害怕極了。那雷聲一陣接一陣，震耳欲聾，把窗子都震得嘩嘩作響。忽然，又一道電光

8、閃過，呀，媽呀，又要有一聲驚雷了！我趕快捂住耳朵。盡管如此，雷聲還是穿透我的手掌，震撼了我的耳膜，就好象在我的頭頂炸響了一樣。我更加害怕了，飛快地鉆入了被窩，用被子使勁地蒙著腦袋，心里不停地祈禱：爸爸媽媽，你們快回來吧！方法一：要學(xué)會多問幾個“怎么樣”來擴展情節(jié)方法探究例文：令方法二：學(xué)會把一個場面或片段分解開寫：例如：有個同學(xué)描寫一次足球賽中的射門動作“小剛帶著球，飛速沖向球門，猛地一腳，把球踢入網(wǎng)底?！?如果把這一進球過程分解為接球帶球過人射門進球。然后再想想每個動作的具體情景，最后把這一連串的動作連接起來，就會使描寫變得生動具體改后： “小剛在中場用胸部熟練地接住同伴傳來的球，習(xí)慣性地用

9、大腿輕輕一顛，將球巧妙地挑過對方防守隊員的頭頂，以靈活的動作晃過后衛(wèi)的阻擊，又避開已經(jīng)撲到跟前的守門員，一腳抽射進啦！” 方法二：學(xué)會把一個場面或片段分解開寫：例如：有個同學(xué)描寫一次方法三：把事情的經(jīng)過部分寫具體例如：表弟在河里一上一下，我非常著急，伸手去拉他，可幾次都沒有成功，我更急了，一點辦法也沒有。這時，河對岸一個過路的老人沖我喊：“找根樹枝讓他抓住！”我照老人的話做了，終于把表弟拉上了岸。 急得怎么樣? 急的程度有什么不同？怎么會由“急”到”更急”的？怎么“拉”的？拉了幾次？為什么不成功？樹枝是哪里來的？我是怎樣把表弟拉上岸的？這些都要展開寫改后：表弟在小河里一上一下，我急得像熱鍋上的

10、螞蟻，慌忙伸手去拉，可我另一只手沒有抓住東西，身子向前一沖，差點也掉進河里，好容易才穩(wěn)住身子。表弟在河里嗆了幾口水。我不敢耽誤，蹲下身子，一手抓住河邊的一棵小樹，一手又伸向表弟，可他夠不著，表弟害怕得哭了。我也害怕得眼淚直流，怎么辦呢？這時，河對岸一個過路的老人沖我喊：“找根樹枝讓他抓?。　闭媸且徽Z驚醒夢中人。我抬頭看去，河岸上有許多長長短短的樹枝呢！我趕緊止住了哭，順手揀了一根長一些的樹枝，急忙伸向表弟。這下他夠著了！我咬緊牙，一手抓牢小樹，一手使勁拉樹枝，終于把表弟拉上了岸。 方法三：把事情的經(jīng)過部分寫具體例如：表弟在河里一上一下，我方法四：寫人物不下“評語”而要讓事實說話。這段文字幾乎都

11、是“評語”，沒有一點具體的事例。 例文：白求恩從小熱愛學(xué)習(xí)。他勤于鉆研，不怕吃苦。他甘于寂寞，不貪玩。他積極思考，敢于求證。他對動物的身體充滿了好奇心。他小時候也不知做了多少解剖實驗。正是他的這種探究精神使他日后成為一名出色的外科大夫。改后：白求恩從小熱愛學(xué)習(xí)。六七歲的時候，他就自動學(xué)習(xí)解剖甲蟲、青蛙和小鳥。有一天，他悄悄躲進樓上一個房間里，關(guān)上門不知在干什么。過了一會兒，他媽媽聞到一股血腥氣味，趕緊推開門進去，只見白求恩一本正經(jīng)地站在桌子旁，桌上大盤子里盛著一條剛從食品店買來的牛腿，他正聚精會神地用小刀解剖著牛腿呢?！拔蚁胫肋@里面血管、肌肉和骨頭的位置?！彼虺泽@的母親這樣解釋著，“我愿意

12、長大能像爺爺和爸爸一樣，成為一個外科大夫?！蹦赣H疼愛地說：“好孩子，你年紀還小，等你長大再學(xué)吧!”白求恩嚴肅地回答說：“應(yīng)該從小開始!”說著又認真地解剖起來。 方法四：寫人物不下“評語”而要讓事實說話。這段文字幾乎都是“方法五：要學(xué)會按一定的順序、從不同的角度描寫事物例如：有位同學(xué)寫看菊展中對菊花的描寫“紅的、黃的、紫的這里的菊花不僅顏色各異，而且姿態(tài)萬千有的彬彬有禮，有的羞羞答答，有的倒掛枝頭，有的昂首怒放。瞧！那一株象美麗的少女安詳自若，那一株又象翩翩少年笑迎秋風(fēng)一陣微風(fēng)吹來，芳香四溢，沁人心脾?！?在作文中對事物的描寫要依據(jù)一定的順序，要么從上到下，要么從左到右，要么先主要再次要還要學(xué)會

13、從視覺、聽覺、嗅覺、觸覺等不同的方面進行描寫，這樣寫出的文章才會有聲有色、有情有景、內(nèi)容具體充實。 這段描寫就是從視覺到嗅覺，從顏色到形態(tài)，把菊花的美麗具體生動地描繪了出來。方法五：要學(xué)會按一定的順序、從不同的角度描寫事物例如：有位同方法六：詞語添加法例如：遇到名詞（表示名稱的詞），想辦法在前面加上“什么樣的”修飾語。如“一身羽毛、一對翅膀，加上尾巴，湊成燕子”這句話對不對？對，但是不具體，不生動?？囱嘧舆@篇文章怎么修飾名詞的：一身（烏黑光亮）的羽毛，一對（俊俏輕快的）翅膀，加上（剪刀似的）尾巴，湊成（活潑機靈的）小燕子。 再如：遇到動詞（表示動作的詞），想辦法在前面加上“怎么樣地”。如“他走

14、了?！?， 要使這句話變具體，可這樣寫：“他背著書生氣地走了?！被颉八p手捧著書，一蹦一跳地走了。”等等。 方法六：詞語添加法例如：遇到名詞（表示名稱的詞），想辦法在前方法七：用上比喻、擬人、夸張、排比使句子更具體更生動例如：描寫月亮，僅僅寫成“月亮彎彎的”，就顯得太籠統(tǒng)，可以用上比喻，寫成“彎彎的月亮像小船”，“柿子紅紅的”可以寫成“紅紅的柿子像一個個燈籠。”這樣就更具體更生動了。 再如： 再如，排比。大家可以看看這個句子?！胺孔涌梢再I，家不可以買；鐘表可以買，時間不可以買；關(guān)心可以買，愛心不可以買；奢華可以買，優(yōu)雅不可以買。尊重可以賣，尊嚴不能賣；忠心可以賣，良心不能賣；風(fēng)格可以賣，人格不能

15、賣?！边@個句子通過排比和對比就把中心意思表達得更具體更明確了。 多用熟語、諺語、名言，化用熟語、廣告語、歌詞、諺語。方法七：用上比喻、擬人、夸張、排比使句子更具體更生動例如：方法八：豐富內(nèi)容有需要，聯(lián)想想象不可少作業(yè)：“升格訓(xùn)練父親的笛聲” 方法八：豐富內(nèi)容有需要，聯(lián)想想象不可少作業(yè)：“升格訓(xùn)練父作業(yè)：修改與潤色 父親的笛聲 1依稀想來，已有幾年未踏上這一條灑滿月光的小路了。路的那頭，連著河邊的小屋，連著我的父親。 2父親愛好吹笛，他的笛聲伴我度過了童年。父親很疼我這個惟一的兒子。每天日暮，父親都帶我到河邊的草地上放牛，牛自己吃草，我則靠在他的腿上，他為我吹笛。我愛父親，父親的笛聲最美。 3隨

16、著年齡的增長，我開始討厭起父親來。我和父親逐漸隔膜了，在被我吼了幾次后，父親不再打著赤腳去學(xué)?？次遥辉賴Z叨著讓我好好學(xué)習(xí)。他保持沉默，而打破沉默的惟一方式就是吹笛，如怨如慕，而在我看來，這又成了他不務(wù)正業(yè)的標志。作業(yè)：修改與潤色 4我要到外地上學(xué)去了。離去的前一天晚上，我走上那條熟悉的小路，感覺到一絲眷戀與不舍。幾年時間里，我未回過一次家。母親在電話里告訴我，我走后，父親整日像掉了魂似的，茶飯不思，只知去河邊吹笛子。最終，我應(yīng)母親的請求回到了家。到家里已是夜晚，月剛升起，當(dāng)我懷著無盡的思緒在小路上行走時，遇到了等我的父親。我忽地一下子哭出來，抱住了他。我請求父親給我吹笛，他答應(yīng)了。笛聲又在耳

17、畔響起，勾起我的回憶。我感覺到父親眷眷的愛子之心，感到愧對父親的笛聲，父親愛我，愛著自己的兒子。他為我吹了十年的笛子，而我此刻才發(fā)現(xiàn)它和我的心竟產(chǎn)生如此強烈的共鳴。 5父親的笛聲讓我明白，原來父愛一直都在。 4我要到外地上學(xué)去了。離去的前一天晚上，我走上那條熟【總評及修改意見】 【總評】本文內(nèi)容總體切合中心，以“父親的笛聲”為線索行文，敘述了自己在不同時期與父親的感情親屬關(guān)系，由親密無間到逐漸隔膜再到相愛相融，思路清晰，語言精練。 但第1節(jié)作者的情感體現(xiàn)不濃厚；第2節(jié)“父親很疼我”表現(xiàn)不夠充分；第3節(jié)沒有 “我開始討厭起父親來”，討厭父親的什么？表述不夠具體 ；第4節(jié)“我忽地一下哭出來，抱住了

18、他”表達有些突兀；最后一節(jié)卒章顯志，但語言過于直白，不夠深刻。另外本文字數(shù)不夠也影響了得分檔次。 【總評及修改意見】父親的笛聲 1依稀想來，已有幾年未踏上這一條灑滿月光的小路了。小路是父親親手用鵝卵石鋪成的、在月下泛著朦朧柔和的光。路的那頭，連著河邊的小屋，連著我的父親。父親呵，你是否依然執(zhí)著地坐在岸邊，哀怨地吹著笛子，等著兒子歸來? 升格展示評析 加上對“小路”與“月光”的景物細節(jié)描寫，既點明了父親與路的關(guān)系，又烘托了濃厚的抒情氛圍，后面的感情自然就噴薄而出了。父親的笛聲升格展示評析 加上對“小路”與“月光”的景 2父親愛好吹笛。小的時候，父親的笛聲載滿了我童年的樂趣，像那條絲帶一樣的小河，

19、牽引著我的童心在父親愛的港灣里晃悠，父親很疼我這個惟一的兒子，老喜歡用粗糙的雙手捏我的臉蛋，不顧我疼得哭起來，還幾自傻呵呵地笑。每天日暮，父親帶我到河邊的草地上放牛，父親常常放開牛繩讓牛自己去吃草，他便從背后的草簍里摸出笛子，鼓起腮，吹出世間最美妙的音樂。我靠在父親腿上，看著天邊的夕陽將父親的頭發(fā)染上點點金色。我愛父親，父親的笛聲最美。評析 1對“父親笛聲”的細節(jié)描寫，表現(xiàn)我的童年在父愛中度過；2用一些生活小事表現(xiàn)父親對我的疼愛，具體可感；3細節(jié)描寫，表現(xiàn)我對父親的依賴于愛。 2父親愛好吹笛。小的時候，父親的笛聲載滿了我童 3隨著年齡的增長，我開始討厭起父親來，討厭他滿嘴煙味，討厭他的黃牙;討

20、厭他背個草簍到學(xué)校找我，還從窗外傻傻地盯著我看;我還討厭他沒有本事，只知侍弄幾畝薄地，連我的學(xué)費也沒能賺回。我和父親逐漸隔膜了，在被我吼了兒次后，父親不再打著赤腳去學(xué)?？次?，不再嘮叨著讓我好好學(xué)習(xí)。他保持沉默，而打破沉默的惟一方式就是吹笛，如怨如慕，而在我看來，這又成了他不務(wù)正業(yè)的標志。評析 此處增加了一些生活小事的描寫，很好的體現(xiàn)了對父親的“討厭”以及與父親的“逐漸隔膜”。 3隨著年齡的增長，我開始討厭起父親來，討厭 4我要到外地上學(xué)去了。離去的前一天晚上，我走上那條熟悉的小路，感覺到一絲眷戀與不舍，路像是月光在地上劃過的痕，也劃過我的心。-我走后，父親整日像掉了魂似的，茶飯不思，只知去河邊

21、吹笛子。-到家里已是夜晚，月剛升起，當(dāng)我懷著無盡的思緒在小路上行走時，遇到了等我的父親。我忽地一下子哭出來，緊緊抱住了他，我的父親。我請求父親給我吹笛，他答應(yīng)了。硬咽的笛聲又在耳畔響起，響在灑滿月光的小路上，勾起我的回憶。我感覺到父親眷眷的愛子之心，感到愧對父親的笛聲，父親愛我，愛著自己的兒子。他為我吹了十年的笛子，而我此刻才發(fā)現(xiàn)它和我的心竟產(chǎn)生如此強烈的共鳴。 路很美，很美，是月劃過的痕。月是路的魂，父親的笛聲是我的心魂!評析 1此處景物描寫，襯托了內(nèi)心的傷感，為后文“哭”和“抱” 鋪墊；2此處細節(jié)，能更好體現(xiàn)父子相愛相融的情形。3此處帶有抒情的描寫，首尾呼應(yīng)，含蓄深刻。 4我要到外地上學(xué)去

22、了。離去的前一天晚上，我走上那多問幾個“怎么樣”分解場面或片段具體些好事情經(jīng)過學(xué)會讓事實說話以序多角度描寫巧為詞語添枝加葉妙用修辭使之具體生動具有豐富的聯(lián)想想象方法歸納多問幾個“怎么樣”分解場面或片段具體些好事情經(jīng)過學(xué)會讓事實說按要求作文。（60分） 請以獎勵自己為題目寫一篇文章 要求：自選文體（詩歌除外）；600字以上；文中不能出現(xiàn)考生的姓名和所在學(xué)校的名稱。寫作修改潤色精選教學(xué)課件 作業(yè)題：運用“簡快作文”規(guī)律完成以下作文。 請以“我心中的你”為題寫一篇文章，立意自定，文體自選（除詩歌外），不少于600字。 作業(yè)題：運用“簡快作文”規(guī)律完成以下作文。 Reader, I married h

23、im. A quiet wedding we had: he and I, thmore or less Constance Chatterleys position. The war had brought the roof down over her head. And she had realized that one must live and learn.She married Clifford Chatterley in 1917, when he was home for a month on leave. They had a months honeymoon6. Then h

24、e went back to Flanders: to be shipped over to England again six months later, more or less in bits. Constance, his wife, was then twenty-three years old, and he was twenty-nine.His hold on life was marvellous. He didnt die, and the bits seemed to grow together again. For two years he remained in th

25、e doctors hands. Then he was pronounced a cure, and could return to life again, with the lower half of his body, from the hips7 down, paralysed for ever.This was in 1920. They returned, Clifford and Constance, to his home, Wragby Hall, the family seat. His father had died, Clifford was now a baronet

26、, Sir Clifford, and Constance was Lady Chatterley. They came to start housekeeping and married life in the rather forlorn home of the Chatterleys on a rather inadequate9 income. Clifford had a sister, but she had departed. Otherwise there were no near relatives. The elder brother was dead in the war

27、. Crippled for ever, knowing he could never have any children, Clifford came home to the smoky Midlands to keep the Chatterley name alive while he could.He was not really downcast. He could wheel himself about in a wheeled chair, and he had a bath-chair with a small motor attachment10, so he could d

28、rive himself slowly round the garden and into the line melancholy11 park, of which he was really so proud, though he pretended to be flippant about it.Having suffered so much, the capacity for suffering had to some extent left him. He remained strange and bright and cheerful, almost, one might say,

29、chirpy, with his ruddy, healthy-looking face, arid12 his pale-blue, challenging bright eyes. His shoulders were broad and strong, his hands were very strong. He was expensively dressed, and wore handsome neckties from Bond Street. Yet still in his face one saw the watchful13 look, the slight vacancy

30、14 of a cripple.He had so very nearly lost his life, that what remained was wonderfully precious to him. It was obvious in the anxious brightness of his eyes, how proud he was, after the great shock, of being alive. But he had been so much hurt that something inside him had perished, some of his fee

31、lings had gone. There was a blank of insentience.Constance, his wife, was a ruddy, country-looking girl with soft brown hair and sturdy body, and slow movements, full of unusual energy. She had big, wondering eyes, and a soft mild voice, and seemed just to have come from her native village. It was n

32、ot so at all. Her father was the once well-known R. A., old Sir Malcolm Reid. Her mother had been one of the cultivated Fabians in the palmy, rather pre-Raphaelite days. Between artists and cultured socialists16, Constance and her sister Hilda had had what might be called an aesthetically17 unconven

33、tional upbringing. They had been taken to Paris and Florence and Rome to breathe in art, and they had been taken also in the other direction, to the Hague and Berlin, to great Socialist15 conventions, where the speakers spoke18 in every civilized19 tongue, and no one was abashed20.The two girls, the

34、refore, were from an early age not the least daunted21 by either art or ideal politics. It was their natural atmosphere. They were at once cosmopolitan22 and provincial23, with the cosmopolitan provincialism of art that goes with pure social ideals.They had been sent to Dresden at the age of fifteen

35、, for music among other things. And they had had a good time there. They lived freely among the students, they argued with the men over philosophical24, sociological and artistic25 matters, they were just as good as the men themselves: only better, since they were women. And they tramped off to the

36、forests with sturdy youths bearing guitars, twang-twang! They sang the Wandervogel songs, and they were free. Free! That was the great word. Out in the open world, out in the forests of the morning, with lusty and splendid-throated young fellows, free to do as they liked, and-above all-to say what t

37、hey liked. It was the talk that mattered supremely26: the impassioned interchange of talk. Love was only a minor27 accompaniment.Both Hilda and Constance had had their tentative love-affairs by the time they were eighteen. The young men with whom they talked so passionately28 and sang so lustily and

38、 camped under the trees in such freedom wanted, of course, the love connexion. The girls were doubtful, but then the thing was so much talked about, it was supposed to be so important. And the men were so humble29 and craving30. Why couldnt a girl be queenly, and give the gift of herself?So they had

39、 given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connexion were only a sort of primitive31 reversion and a bit of an anti-climax. One was less in love with the boy after

40、wards, and a little inclined to hate him, as if he had trespassed32 on ones privacy and inner freedom. For, of course, being a girl, ones whole dignity and meaning in life consisted in the achievement of an absolute, a perfect, a pure and noble freedom. What else did a girls life mean? To shake off

41、the old and sordid33 connexions and subjections.And however one might sentimentalize it, this sex business was one of the most ancient, sordid connexions and subjections. Poets who glorified34 it were mostly men. Women had always known there was something better, something higher. And now they knew

42、it more definitely than ever. The beautiful pure freedom of a woman was infinitely35 more wonderful than any sexual love. The only unfortunate thing was that men lagged so far behind women in the matter. They insisted on the sex thing like dogs.And a woman had to yield. A man was like a child with h

43、is appetites. A woman had to yield him what he wanted, or like a child he would probably turn nasty and flounce away and spoil what was a very pleasant connexion. But a woman could yield to a man without yielding her inner, free self. That the poets and talkers about sex did not seem to have taken s

44、ufficiently36 into account. A woman could take a man without really giving herself away. Certainly she could take him without giving herself into his power. Rather she could use this sex thing to have power over him. For she only had to hold herself back in sexual intercourse37, and let him finish a

45、nd expend38 himself without herself coming to the crisis: and then she coulde parson and clerk, were alone present. When we got back from church, I went into the kitchen of the manor-house, where Mary was cooking the dinner and John cleaning the knives, and I said -Mary, I have been married to Mr. R

46、ochester this morning. The housekeeper2 and her husband were both of that decent phlegmatic3 order of people, to whom one may at any time safely communicate a remarkable4 piece of news without incurring5 the danger of having ones ears pierced by some shrill6 ejaculation, and subsequently stunned7 by

47、 a torrent8 of wordy wonderment. Mary did look up, and she did stare at me: the ladle with which she was basting9 a pair of chickens roasting at the fire, did for some three minutes hang suspended in air; and for the same space of time Johns knives also had rest from the polishing process: but Mary,

48、 bending again over the roast, said only -Have you, Miss? Well, for sure!A short time after she pursued-I seed you go out with the master, but I didnt know you were gone to church to be wed1; and she basted10 away. John, when I turned to him, was grinning from ear to ear.I telled Mary how it would b

49、e, he said: I knew what Mr. Edward (John was an old servant, and had known his master when he was the cadet of the house, therefore, he often gave him his Christian11 name)-I knew what Mr. Edward would do; and I was certain he would not wait long neither: and hes done right, for aught I know. I wish

50、 you joy, Miss! and he politely pulled his forelock.Thank you, John. Mr. Rochester told me to give you and Mary this. I put into his hand a five-pound note. Without waiting to hear more, I left the kitchen. In passing the door of that sanctum some time after, I caught the words -Shell happen do bett

51、er for him nor ony ot grand ladies. And again, If she bent one o th handsomest, shes noan faal and varry good-natured; and i his een shes fair beautiful, onybody may see that.I wrote to Moor12 House and to Cambridge immediately, to say what I had done: fully13 explaining also why I had thus acted. D

52、iana and Mary approved the step unreservedly. Diana announced that she would just give me time to get over the honeymoon14, and then she would come and see me.She had better not wait till then, Jane, said Mr. Rochester, when I read her letter to him; if she does, she will be too late, for our honeym

53、oon will shine our life long: its beams will only fade over your grave or mine.How St. John received the news, I dont know: he never answered the letter in which I communicated it: yet six months after he wrote to me, without, however, mentioning Mr. Rochesters name or alluding15 to my marriage. His

54、 letter was then calm, and, though very serious, kind. He has maintained a regular, though not frequent, correspondence ever since: he hopes I am happy, and trusts I am not of those who live without God in the world, and only mind earthly things.You have not quite forgotten little Adele, have you, r

55、eader? I had not; I soon asked and obtained leave of Mr. Rochester, to go and see her at the school where he had placed her. Her frantic16 joy at beholding17 me again moved me much. She looked pale and thin: she said she was not happy. I found the rules of the establishment were too strict, its cour

56、se of study too severe for a child of her age: I took her home with me. I meant to become her governess once more, but I soon found this impracticable; my time and cares were now required by another-my husband needed them all. So I sought out a school conducted on a more indulgent system, and near e

57、nough to permit of my visiting her often, and bringing her home sometimes. I took care she should never want for anything that could contribute to her comfort: she soon settled in her new abode18, became very happy there, and made fair progress in her studies. As she grew up, a sound English educati

58、on corrected in a great measure her French defects; and when she left school, I found in her a pleasing and obliging companion: docile19, good-tempered, and well-principled. By her grateful attention to me and mine, she has long since well repaid any little kindness I ever had it in my power to offe

59、r her.My tale draws to its close: one word respecting my experience of married life, and one brief glance at the fortunes of those whose names have most frequently recurred20 in this narrative21, and I have done.I have now been married ten years. I know what it is to live entirely22 for and with wha

60、t I love best on earth. I hold myself supremely23 blest-blest beyond what language can express; because I am my husbands life as fully is he is mine. No woman was ever nearer to her mate than I am: ever more absolutely bone of his bone and flesh of his flesh. I know no weariness of my Edwards societ