the task任务电影,帮写篇300字的英语作文：livinginthepresent。

the more…, the more…句型叫比例句

The stronger the will, the more futile the task.

这种意志烈，这种尝试越徒劳。

will略了is，task后省略了will be。  追问

请问是不是只要是这种句型前后be动词都可以同时省略?

追答

你几年级啊 。
这个比较级是句型。
不是所有的句子随便省略啊。

追问

我问的是：是不是比较级句型中的前后be动词是不是可以省略

-

下面是更多关于the task任务电影的问答

the stronger the will, the more futile the task.

这种句型的特点是前后以省略.特别是谚语、俗语,只要意义,越简练越好.例如:

① The more ,the better.多多益善.

② The sooner,the better.越好. 追答

引用给你看看，太多了:
1."the more...,the more..."句型常表示"越……就越……",是一个复合句,其中前面的句子是状语从句,后面的句子是主句.the用在形容词或副词的比较级前,more代表形容词或副词的比较级.例如:
① The more he gets,the more he wants.他越来越贪.
② The more she learns,the more she wants to learn.她越学越想学.
2."the more...,the more..."句型,主从句的时态常用一般现在时或一般过去时.例如:
①The higher the ground is,the thinner air becomes.离地面越高,空气就越稀薄.
②The harder he worked,the more he got.他工作越努力,得到的就越多.
3.若主句的谓语动词用一般将来时,从句的谓语动词要用一般现在时表示将来.例如:
①The harder you work,the greater progress you will make.你越用功,进步就越大.
②The longer the war lasts,the more the people there will suffer.战争持续得越久,那里的人们受难就越多.
4.若比较级作表语且不位于句首时,可以不用the.例如:
When we are more in danger,we should be braver.越是危险,我们越应勇敢.
5.在这种句型中,主句在程度上随着从句变化而变化,常把被强调部分提前.例如:
The faster you run,the better it will be.你跑得越快越好.
6.这种句型的特点是前后都可以有所省略.特别是谚语、俗语,只要意义明确,越简练越好.例如:
① The more ,the better.多多益善.
② The sooner,the better.越早越好.
7.这种句型中的比较部分通常是状语、宾语、表语,也可以是主语.例如:
① The more English you practise,the better your English is.你练习英语越多,你的英语就越好.
② The busier he is,the happier he feels.他越忙越高兴.
③ The more air there is inside the tyre,the greater pressure there is in it.轮胎里空气越多,承受的压力就越大.
8.若表示"越……越不……"时,常用"the more...,the less..."句型.例如:
The more she flatters me,the less I like her.她越逢迎我,我越不喜欢她.
9.若表示"越不……就越……"时,常用"the less...,the more..."句型.例如:
The less he worried,the better he worked.他越不烦恼,工作就干得越好.

徒劳的意思

词目： ：tú láo 词义：地耗费劳力。 同义词：徒劳无功劳往返；徒劳而获， 例句：你这样做是徒劳的，没有任何收获的。 基本解释 [futile effort;fruitless labor] 空自劳苦;白费心力 徒劳跋涉 本回答被网友采纳

新概念英语第四册是什么水平？语速怎样？

这取决于你如握它。如完全理解在每个通道的一可以说你数的中国人真的很流利的英语之间。记录速度的确定。很像一个母语阅读英文报纸给你。你问水平。然后尝试阅读下面的短文。如果你完全理解它不使用字典，那么你可能不需要学习英语课程了，因为你已经对英语流利。这里是通道：一位天才的美国心理学家曾经说过，“烦恼是感情的发作；思想抓住什么，不让它走。”同处于这种情况的人争论是没有用的。这种意志越是强烈，更无意义的任务。你只能缓和禁锢某种别的东西。如果选得合适，如果它真的另一个领域的情趣的启迪，渐渐地，往往也是很顺利地，原先不适当的放松和恢复和修整的过程就会开始。

中学生英语美文 求一篇英语演讲的文章，初中水平滴，最好是抒情散文，难词少一点点，长短3分钟以内

给你推荐两篇，都是不而内容深刻地文章。

1. ·福克纳1950年获颁诺贝尔文学奖时的演讲

I feel that this award was not made to me as a man, but to my work--a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand where I am standing.

Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only one question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again. He must teach himself that the basest of all things is to be afraid: and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the universal truths lacking which any story is ephemeral and doomed--love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, and victories without hope and worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.

Until he learns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

这篇文章用的句式比 Born to Win 的要简单很多，但是它所阐释的“作家的义务”却是英语文学文学中重要的思想，所以理解起来稍稍有点难。而且绝对的口语化，适合演讲。本身这篇文章就是福克纳演讲的誊写，后来经过作家自己的修改出版。

2. 飞蛾之死，Death of a Moth, Virginia Woolf 写的

Moths that fly by day are not properly to be called moths; they do not excite that pleasant sense of dark autumn nights and ivy-blossom which the commonest yellow-underwing asleep in the shadow of the curtain never fails to rouse in us. They are hybrid creatures, neither gay like butterflies nor sombre like their own species. Nevertheless the present specimen, with his narrow hay-coloured wings, fringed with a tassel of the same colour, seemed to be content with life. It was a pleasant morning, mid–September, mild, benignant, yet with a keener breath than that of the summer months. The plough was already scoring the field opposite the window, and where the share had been, the earth was pressed flat and gleamed with moisture. Such vigour came rolling in from the fields and the down beyond that it was difficult to keep the eyes strictly turned upon the book. The rooks too were keeping one of their annual festivities; soaring round the tree tops until it looked as if a vast net with thousands of black knots in it had been cast up into the air; which, after a few moments sank slowly down upon the trees until every twig seemed to have a knot at the end of it. Then, suddenly, the net would be thrown into the air again in a wider circle this time, with the utmost clamour and vociferation, as though to be thrown into the air and settle slowly down upon the tree tops were a tremendously exciting experience.

The same energy which inspired the rooks, the ploughmen, the horses, and even, it seemed, the lean bare-backed downs, sent the moth fluttering from side to side of his square of the window-pane. One could not help watching him. One was, indeed, conscious of a queer feeling of pity for him. The possibilities of pleasure seemed that morning so enormous and so various that to have only a moth’s part in life, and a day moth’s at that, appeared a hard fate, and his zest in enjoying his meagre opportunities to the full, pathetic. He flew vigorously to one corner of his compartment, and, after waiting there a second, flew across to the other. What remained for him but to fly to a third corner and then to a fourth? That was all he could do, in spite of the size of the downs, the width of the sky, the far-off smoke of houses, and the romantic voice, now and then, of a steamer out at sea. What he could do he did. Watching him, it seemed as if a fibre, very thin but pure, of the enormous energy of the world had been thrust into his frail and diminutive body. As often as he crossed the pane, I could fancy that a thread of vital light became visible. He was little or nothing but life.

Yet, because he was so small, and so simple a form of the energy that was rolling in at the open window and driving its way through so many narrow and intricate corridors in my own brain and in those of other human beings, there was something marvellous as well as pathetic about him. It was as if someone had taken a tiny bead of pure life and decking it as lightly as possible with down and feathers, had set it dancing and zig-zagging to show us the true nature of life. Thus displayed one could not get over the strangeness of it. One is apt to forget all about life, seeing it humped and bossed and garnished and cumbered so that it has to move with the greatest circumspection and dignity. Again, the thought of all that life might have been had he been born in any other shape caused one to view his simple activities with a kind of pity.

After a time, tired by his dancing apparently, he settled on the window ledge in the sun, and, the queer spectacle being at an end, I forgot about him. Then, looking up, my eye was caught by him. He was trying to resume his dancing, but seemed either so stiff or so awkward that he could only flutter to the bottom of the window-pane; and when he tried to fly across it he failed. Being intent on other matters I watched these futile attempts for a time without thinking, unconsciously waiting for him to resume his flight, as one waits for a machine, that has stopped momentarily, to start again without considering the reason of its failure. After perhaps a seventh attempt he slipped from the wooden ledge and fell, fluttering his wings, on to his back on the window sill. The helplessness of his attitude roused me. It flashed upon me that he was in difficulties; he could no longer raise himself; his legs struggled vainly. But, as I stretched out a pencil, meaning to help him to right himself, it came over me that the failure and awkwardness were the approach of death. I laid the pencil down again.

The legs agitated themselves once more. I looked as if for the enemy against which he struggled. I looked out of doors. What had happened there? Presumably it was midday, and work in the fields had stopped. Stillness and quiet had replaced the previous animation. The birds had taken themselves off to feed in the brooks. The horses stood still. Yet the power was there all the same, massed outside indifferent, impersonal, not attending to anything in particular. Somehow it was opposed to the little hay-coloured moth. It was useless to try to do anything. One could only watch the extraordinary efforts made by those tiny legs against an oncoming doom which could, had it chosen, have submerged an entire city, not merely a city, but masses of human beings; nothing, I knew, had any chance against death. Nevertheless after a pause of exhaustion the legs fluttered again. It was superb this last protest, and so frantic that he succeeded at last in righting himself. One’s sympathies, of course, were all on the side of life. Also, when there was nobody to care or to know, this gigantic effort on the part of an insignificant little moth, against a power of such magnitude, to retain what no one else valued or desired to keep, moved one strangely. Again, somehow, one saw life, a pure bead. I lifted the pencil again, useless though I knew it to be. But even as I did so, the unmistakable tokens of death showed themselves. The body relaxed, and instantly grew stiff. The struggle was over. The insignificant little creature now knew death. As I looked at the dead moth, this minute wayside triumph of so great a force over so mean an antagonist filled me with wonder. Just as life had been strange a few minutes before, so death was now as strange. The moth having righted himself now lay most decently and uncomplainingly composed. O yes, he seemed to say, death is stronger than I am.

Virginia Woolf，美国文学史上最重要的女作家。这篇文章就是真正的“抒情散文”了，从一只飞蛾的死亡联想到了人生的重大问题，但是文章讨论的不仅限于此，你应该能看到 Woolf 极强的驾驭语言的能力，这才是写作啊。这篇文章词汇也不算难，除了第一段以外剩下随便挑两段读出来就有三分钟了，每一段都有独特的思考。

关于人生哲理的英语作文

It was on May 25, 1977, that Star Wars premiered1) and changed the world. Oh sure, you might have heard that it revolutionized special effects, ushered2) in the era of the modern blockbuster3) or any of a million things that are probably true but still downplay4) the film's massive impact. Star Wars changed the world by ultimately changing the way that we perceived5) it. It changed us.

就在1977年5月25天,《星球大战》首次公映,世因此改变。当然,你也许听说,这部影片革新了电影特开启了现代大片时代,还产生了其他许许多多的影响。这些说法或许都是真的,但却仍不足以描述这部电影巨大而深远的影响。通过从根本上改变我们认知世界的方式,《星球大战》改变了世界--改变了我们所有人。

1. Use the Force6).

...But the tools to our salvation lie within us as well. Discovering how to channel these forces is what makes our journey. Let it go. The greatest lesson Star Wars teaches us is that the hero is within.

2. The worst enemies you'll face are those you bring with you.

When Luke enters the forbidden tree cave on Dagobah, Yoda tells him that all he will face is what he fears inside. Evil doesn't come from some external trickster7) - it is a reflection of our own foul natures....

3. Life is better the first time around.

Often imitated, never duplicated8). The original is always the best.

4. No matter where you are or what you're doing, someone is going to have a bad feeling about it.

Go ahead, say it aloud: Admitting your fears is the first step toward overcoming them.

5. "Size matters not."

This is a cooler, more complicated way of saying, "Don't judge a book by its cover."

1. 使用原力。

……但能拯救我们的力量也同样存在于我们自身。我们历尽艰辛就是为了寻找利用自身力量的方法。顺其自然吧!《星球大战》教给我们的最伟大一课就是:英雄就在我们的心里。

2. 你要面对的最可怕的敌人,来自于你的内心。

当卢克进入达可巴星球上禁树的树洞时,尤达大师告诉他,他要面对的所有敌人其实就是他自己内心的恐惧。罪恶并不是外来的妖魔,而是我们自己邪恶天性的一种反映……

3. 生活中的第一次最美好。

常常可以模仿,但绝不能复制。最初的总是最好的。

4. 无论你在哪里、在做什么, 总有某些人会为此心中不快。

只管做你的!要大声对自己说:承认内心的恐惧是征服它的第一步。

5. "外表无关紧要。"

下面是一种更酷、更复杂的说法:"不要以封面来判断一本书的好坏。"

6. Never desert your friends.

The best we can hope for in our journeys across the galaxy are good, honest companions. They stick by you through thick and thin and won't judge you based on your crazy family. So next time you're debating leaving Jedi training to rescue your friends from Cloud City, remember who it was that shot down Darth Vader during the Death Star attack. You owe them.

7. Everybody means something to somebody.

Remember that scene at the beginning of Return of the Jedi when the Rancor9) dies and a guard comes in bawling10) after him? Even the most twisted11), deformed12) and evil beings can be loved for who they are. Everybody is somebody's child.

8. All things are true ... from a particular point of view.

This is what Obi-Wan tells Luke when asked why he didn't reveal the truth about Darth Vader. But truth is a delicate13) and malleable14) thing: Is Luke Skywalker a freedom fighter or a terrorist? I guess it depends on what side of the Death Star you happen to be on when he blows it up.

9. "Do or do not. There is no try."

Any task worth doing is worth doing right.

10. Fear and anger always lead to the dark side.

Even if you're facing certain death at the hands of a playful sadist15) (who just happens to be threatening your sister), releasing your anger will only please him more. Relax - victory can only be achieved through calmness.

11. "These are not the droids we are looking for."

Searching is futile16) when you don't know what you're looking for.

6. 永不抛弃朋友。

在穿越星系的漫漫征途中,我们所能期望的最好事物就是陪伴身边的忠诚好友。他们与你同甘共苦,不会因为你疯狂的家人而对你产生偏见。所以,下次你们辩论要不要离开绝地训练营去营救云城的朋友时,可别忘了是谁在进攻死星的战斗中击倒了达斯·维德。你欠他们的。

7. 每个人都有存在的意义。

还记得《绝地归来》开头的那个场景吗?在地牢怪兽兰柯死后,一个守卫冲进来号啕大哭。每个人都会以自己的本来面目赢得他人的喜爱,即便是最古怪、最丑陋、最邪恶的生物也不例外。每个人都会是某个人的宠儿。

8. 从某个特定的角度来看……所有的东西都是真的。

当卢克问欧比王为什么不揭穿达斯·维德的真面目时,欧比王就说了上面这句话。真相是个微妙且容易变化的东西:天行者卢克是自由战士还是恐怖分子?我想,这取决于卢克炸掉"死星"时你所处的位置。

9. "要么做,要么就不做。没有'尝试'可言。"

任何值得做的事情都值得全力以赴去做。

10. 恐惧和愤怒总会带来黑暗。

即使你落到了一个饶有兴致的虐待狂手里(他正在威胁你的妹妹),死亡已经无可避免,表现得怒气冲天也只会让他更为满足。放松--只有沉着冷静才能取得胜利。

11. "这些不是我们在找的机器人。"

若你连自己要找的是什么都不清楚,那么这种寻找就只是徒劳

1.Whenever I think of this humorous bit of wisdom,it reminds me to not take my life so seriously.

每当我想起这颇有点幽默的人生哲理，它便提醒我不要把我的生活看得那么严肃。收藏指正

2.I now sing to my own daughter and only hope she feels the love and learns the valuable lessons my songs have to offer.

现在我给我的女儿唱歌，只是希望她能够感受到我对她的爱，领会歌中所传达的人生哲理。收藏指正

3.Balzac, the great master of realism in literature, was also excellent in the art field of romanticism. He wrote the novel The Magic Donkey Skin with fantastic and mysterious means of expression, bringing to light the philosophic theory of human life.

现实主义的文学大师巴尔扎克 ,在浪漫主义的艺术领域也毫不逊色 ,他采用荒诞神秘的艺术手法 ,写下了揭示人生哲理的著名长篇《驴皮记》。收藏指正

4.Record of a Journey to the West, with the change and development of the whole story, switches from the statement and praise of the saints and Buddha to the probe into the life and life philosophy;

《西游记》在现实的取经故事的不断演变过程中,从述圣颂佛发展到对生命、人生哲理的探讨; 从对个人奋斗历险的记述扩展成为对于一个民族甚至整个人类悲剧命运的概括;收藏指正

5.Pray and Meditation—On the Poem Creation of Allen.Ginsberg from Kaddish

苦难人生的祈祷 生死哲理的冥想——从《卡迪什》看艾伦·金斯伯格诗歌的创新精神收藏指正

6.His poems full of philosophical arguments abound in profound reflections on the history and life of mankind.

而那些深含哲理的议论之诗,字里行间充满着对历史、人生的深刻思考。收藏指正

7.As the head and front of Tibetan culture,Tibetan Beaux-arts is related to vernacular original culture,Buddhist culture of Tibetan-strain and folk-customs. Essentially speaking,the mainstream of Tibetan Beaux-arts is Tibetan-strained Buddhist Beaux-arts,which reflects philosophical connotations of Buddhism in the form of arts so as to express the visions and ideals of life.

藏族美术作为藏族文化的主要部分,它自始至终与本土原始文化,藏传佛教文化和民间民俗文化联系在一起,究其实质而言,藏族美术的主流是藏传佛教美术,是将佛教的哲理内涵用美术的形式手段表达出来,借以抒发人生的愿望和理想.收藏指正

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