写作《修改润色》精选教学课件

1、写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件写作修改润色精选教学课件春开头中间春草图： 春风图： 争春图： 点题定位承上详写结尾 照应深化开门见山直切主题重点突出详略得当中心明确内容充实层次分明条理清楚首尾呼应结构完整春花图： 春雨图： 涨 朗润 红 张开 睡

2、醒 东风来 春天近盼钻 嫩 绿 满 坐 让开 赶 眨 摸带 混响 下 织逼默 多 赶舒做 春天 像 娃娃 新 姑娘 美 青年壮 上前去 欣欣然闹 唱 抖 撑 春开中间春草图： 一、先回答我三个问？ 1.提问：什么是作文？ 2.请问：作文“什么样？”即作文“长得”什么样？ 3.再问，好作文“怎么写？”也就是那些优秀作文、高分作文、满分作文、名人名家美文是怎么写成的？ 写作修改润色精选教学课件1.告诉你：作文像什么？像人 1.告诉你：作文像什么？像人 题目：智慧伴我成长 顺德一考生开头： 成长是一札无字书卷，在素色的纸张上，我将一点点历史写下，一点一点文化写下，一点一点成熟写下。当书卷成华章时，我

3、知道，这便是智慧。点题定位题目：智慧伴我成长点题定位 中间： 亭台楼阁，烟重水榭，雕栏画栋，龙吟凤哕(yu)历史将繁华排成一列古老的文字，勾起我无限幻想。那个年代，是酒醺出来的。云破月来花弄影，独酌一杯最宜情，盛唐里的每首诗，仿佛都可以榨出一壶高粱酒。初时泰然，而后浓烈。可以醉倒长安诗意遍街，可以醉倒诗心啸出侠气。一剑在手平风雷，群妖魑魅皆伏首，这是豪迈；灞桥惜别，看桃红挽着柳腰低语，这是细腻。于是，又一串古老的文字从酒壶中泻出。“三杯通大道，一斗自然合”，“金樽清酒斗十千”、“仰天大笑出门去”这是一种奢华的智慧，给人以精神富足之感！承上详写 中间：承上详写承上详写 金莼玉粒噎满喉，化作青烟随

4、水流。智慧不总是奢华雍容的，还有一点理性，一点冷酷。犹记佳人广袖盈盈，莲步颦颦，一曲霓裳让多少君王释怀，多少战争演绎。妆成嫉妒的颜容，终有门庭冷落车马稀的失落，西湖歌舞几时休的盛景，终有朱门狗肉俱臭，路有冻死骨之惨景.人心沉沦在街头巷尾,踯躅着，看旧时王榭堂前燕，看昔日芳华宴，此时人已散。拭去岁月的华美，让本质渐现。智慧就是理性，如清风明月般，冷看时光纵横，只有如此，成长方在幼稚的贪婪享受中脱离。承上详写 金莼玉粒噎满喉，化作青烟随水流 静夜里，则应燃一支香，无论此时是在客舟中，亦或是僧庐下。心随烟箢，独枕鸣鸣，让思绪随黎明的到来而更清醒。此时，想起一位诗人所言：“明月松间照，清泉石上流”。此

5、乃智慧之最高境界哪！萧萧秋寺，碧瓦飞甍；堂堂宫殿，金碧辉煌，这些都不过是被挥散的烟云，是一种“为赋新词强说愁”的少年情怀。秦淮金粉随水东逝，逝去的还有奢华与孤寂。袅袅的青烟徐徐上升，剩下的，则是生命的本质，是人生的精华。静对一颗菊，是隐士；静对一轮月，是君子。只有这些人，这些生存智慧，方叫成熟。 承上详写 静夜里，则应燃一支香，无论此时是在客照应深化 结尾： 读书，悟史，透视人生，成长的书卷已是密必匝匝。我笑看门前花飞花落，天上云卷云舒。微微光粒在桌案跃动我笑，因为我明白了肤浅的华丽，消极的冷落和完美的成熟我笑，因为我知道我的成长不乏精彩，智慧在伴我成长。结尾照应深化 结尾：结尾其一，作文形式

6、有规律。表达式=题目+开头+中间+结尾（作文“像模像样”，结构完整）其二，作文写作有规律。表达式= 开头+中间+结尾其三，作文各部分有明确的任务：开头有二个任务；中间有二个任务；结尾有二个任务。（作文“层次清楚，中心明确，重点突出）其四，告诉我们好作文不难，“作文如人”。这幅“作文大力士”包含着重要的作文原理其一，作文形式有规律。表达式=题目+开头+中间+结尾（作文“简快一般规律开头：点题定位中间：承上详写结尾：照应深化简快一般规律开头：点题定位 比如高尔基的海燕开头： 在苍茫的大海上，狂风卷集着乌云，在乌云和大海之间，海燕像黑色的闪电，在高傲的飞翔。 定位点题 比如高尔基的海燕开头：定位点题

7、语言描写神态描写 动作描写 心理描写外貌描写写人：写景物：视觉描写嗅觉描写触觉描写听觉描写味觉描写写事情： 1. 步步追问+想象延伸 2. 使用传神动词方法提示：语言描写写人：写景物：视觉描写写事情： 1. 步步追问+方法一：要学会多问几个“怎么样”来扩展情节方法探究例文：令人害怕的夜晚 今天夜里，家里人都出去了，留我一个人在家里看家，我非常害怕。直到妈妈回来了，我才松了一口气。 我们可以这样问：1、你为什么害怕？ 2、你当时是怎么想的？ 3、你当时的反应如何？改后：在一天夜里，我一个人在家里。天要下雨了，电闪雷鸣，我害怕极了。那雷声一阵接一阵，震耳欲聋，把窗子都震得哗哗作响。忽然，又一道电光

8、闪过，呀，妈呀，又要有一声惊雷了！我赶快捂住耳朵。尽管如此，雷声还是穿透我的手掌，震撼了我的耳膜，就好象在我的头顶炸响了一样。我更加害怕了，飞快地钻入了被窝，用被子使劲地蒙着脑袋，心里不停地祈祷：爸爸妈妈，你们快回来吧！方法一：要学会多问几个“怎么样”来扩展情节方法探究例文：令方法二：学会把一个场面或片段分解开写：例如：有个同学描写一次足球赛中的射门动作“小刚带着球，飞速冲向球门，猛地一脚，把球踢入网底。” 如果把这一进球过程分解为接球带球过人射门进球。然后再想想每个动作的具体情景，最后把这一连串的动作连接起来，就会使描写变得生动具体改后： “小刚在中场用胸部熟练地接住同伴传来的球，习惯性地用

9、大腿轻轻一颠，将球巧妙地挑过对方防守队员的头顶，以灵活的动作晃过后卫的阻击，又避开已经扑到跟前的守门员，一脚抽射进啦！” 方法二：学会把一个场面或片段分解开写：例如：有个同学描写一次方法三：把事情的经过部分写具体例如：表弟在河里一上一下，我非常着急，伸手去拉他，可几次都没有成功，我更急了，一点办法也没有。这时，河对岸一个过路的老人冲我喊：“找根树枝让他抓住！”我照老人的话做了，终于把表弟拉上了岸。 急得怎么样? 急的程度有什么不同？怎么会由“急”到”更急”的？怎么“拉”的？拉了几次？为什么不成功？树枝是哪里来的？我是怎样把表弟拉上岸的？这些都要展开写改后：表弟在小河里一上一下，我急得像热锅上的

10、蚂蚁，慌忙伸手去拉，可我另一只手没有抓住东西，身子向前一冲，差点也掉进河里，好容易才稳住身子。表弟在河里呛了几口水。我不敢耽误，蹲下身子，一手抓住河边的一棵小树，一手又伸向表弟，可他够不着，表弟害怕得哭了。我也害怕得眼泪直流，怎么办呢？这时，河对岸一个过路的老人冲我喊：“找根树枝让他抓住！”真是一语惊醒梦中人。我抬头看去，河岸上有许多长长短短的树枝呢！我赶紧止住了哭，顺手拣了一根长一些的树枝，急忙伸向表弟。这下他够着了！我咬紧牙，一手抓牢小树，一手使劲拉树枝，终于把表弟拉上了岸。 方法三：把事情的经过部分写具体例如：表弟在河里一上一下，我方法四：写人物不下“评语”而要让事实说话。这段文字几乎都

11、是“评语”，没有一点具体的事例。 例文：白求恩从小热爱学习。他勤于钻研，不怕吃苦。他甘于寂寞，不贪玩。他积极思考，敢于求证。他对动物的身体充满了好奇心。他小时候也不知做了多少解剖实验。正是他的这种探究精神使他日后成为一名出色的外科大夫。改后：白求恩从小热爱学习。六七岁的时候，他就自动学习解剖甲虫、青蛙和小鸟。有一天，他悄悄躲进楼上一个房间里，关上门不知在干什么。过了一会儿，他妈妈闻到一股血腥气味，赶紧推开门进去，只见白求恩一本正经地站在桌子旁，桌上大盘子里盛着一条刚从食品店买来的牛腿，他正聚精会神地用小刀解剖着牛腿呢。“我想知道这里面血管、肌肉和骨头的位置。”他向吃惊的母亲这样解释着，“我愿意

12、长大能像爷爷和爸爸一样，成为一个外科大夫。”母亲疼爱地说：“好孩子，你年纪还小，等你长大再学吧!”白求恩严肃地回答说：“应该从小开始!”说着又认真地解剖起来。 方法四：写人物不下“评语”而要让事实说话。这段文字几乎都是“方法五：要学会按一定的顺序、从不同的角度描写事物例如：有位同学写看菊展中对菊花的描写“红的、黄的、紫的这里的菊花不仅颜色各异，而且姿态万千有的彬彬有礼，有的羞羞答答，有的倒挂枝头，有的昂首怒放。瞧！那一株象美丽的少女安详自若，那一株又象翩翩少年笑迎秋风一阵微风吹来，芳香四溢，沁人心脾。” 在作文中对事物的描写要依据一定的顺序，要么从上到下，要么从左到右，要么先主要再次要还要学会

13、从视觉、听觉、嗅觉、触觉等不同的方面进行描写，这样写出的文章才会有声有色、有情有景、内容具体充实。 这段描写就是从视觉到嗅觉，从颜色到形态，把菊花的美丽具体生动地描绘了出来。方法五：要学会按一定的顺序、从不同的角度描写事物例如：有位同方法六：词语添加法例如：遇到名词（表示名称的词），想办法在前面加上“什么样的”修饰语。如“一身羽毛、一对翅膀，加上尾巴，凑成燕子”这句话对不对？对，但是不具体，不生动。看燕子这篇文章怎么修饰名词的：一身（乌黑光亮）的羽毛，一对（俊俏轻快的）翅膀，加上（剪刀似的）尾巴，凑成（活泼机灵的）小燕子。 再如：遇到动词（表示动作的词），想办法在前面加上“怎么样地”。如“他走

14、了。”， 要使这句话变具体，可这样写：“他背着书生气地走了。”或“他双手捧着书，一蹦一跳地走了。”等等。 方法六：词语添加法例如：遇到名词（表示名称的词），想办法在前方法七：用上比喻、拟人、夸张、排比使句子更具体更生动例如：描写月亮，仅仅写成“月亮弯弯的”，就显得太笼统，可以用上比喻，写成“弯弯的月亮像小船”，“柿子红红的”可以写成“红红的柿子像一个个灯笼。”这样就更具体更生动了。 再如： 再如，排比。大家可以看看这个句子。“房子可以买，家不可以买；钟表可以买，时间不可以买；关心可以买，爱心不可以买；奢华可以买，优雅不可以买。尊重可以卖，尊严不能卖；忠心可以卖，良心不能卖；风格可以卖，人格不能

15、卖。”这个句子通过排比和对比就把中心意思表达得更具体更明确了。 多用熟语、谚语、名言，化用熟语、广告语、歌词、谚语。方法七：用上比喻、拟人、夸张、排比使句子更具体更生动例如：方法八：丰富内容有需要，联想想象不可少作业：“升格训练父亲的笛声” 方法八：丰富内容有需要，联想想象不可少作业：“升格训练父作业：修改与润色 父亲的笛声 1依稀想来，已有几年未踏上这一条洒满月光的小路了。路的那头，连着河边的小屋，连着我的父亲。 2父亲爱好吹笛，他的笛声伴我度过了童年。父亲很疼我这个惟一的儿子。每天日暮，父亲都带我到河边的草地上放牛，牛自己吃草，我则靠在他的腿上，他为我吹笛。我爱父亲，父亲的笛声最美。 3随

16、着年龄的增长，我开始讨厌起父亲来。我和父亲逐渐隔膜了，在被我吼了几次后，父亲不再打着赤脚去学校看我，不再唠叨着让我好好学习。他保持沉默，而打破沉默的惟一方式就是吹笛，如怨如慕，而在我看来，这又成了他不务正业的标志。作业：修改与润色 4我要到外地上学去了。离去的前一天晚上，我走上那条熟悉的小路，感觉到一丝眷恋与不舍。几年时间里，我未回过一次家。母亲在电话里告诉我，我走后，父亲整日像掉了魂似的，茶饭不思，只知去河边吹笛子。最终，我应母亲的请求回到了家。到家里已是夜晚，月刚升起，当我怀着无尽的思绪在小路上行走时，遇到了等我的父亲。我忽地一下子哭出来，抱住了他。我请求父亲给我吹笛，他答应了。笛声又在耳

17、畔响起，勾起我的回忆。我感觉到父亲眷眷的爱子之心，感到愧对父亲的笛声，父亲爱我，爱着自己的儿子。他为我吹了十年的笛子，而我此刻才发现它和我的心竟产生如此强烈的共鸣。 5父亲的笛声让我明白，原来父爱一直都在。 4我要到外地上学去了。离去的前一天晚上，我走上那条熟【总评及修改意见】 【总评】本文内容总体切合中心，以“父亲的笛声”为线索行文，叙述了自己在不同时期与父亲的感情亲属关系，由亲密无间到逐渐隔膜再到相爱相融，思路清晰，语言精练。 但第1节作者的情感体现不浓厚；第2节“父亲很疼我”表现不够充分；第3节没有 “我开始讨厌起父亲来”，讨厌父亲的什么？表述不够具体 ；第4节“我忽地一下哭出来，抱住了

18、他”表达有些突兀；最后一节卒章显志，但语言过于直白，不够深刻。另外本文字数不够也影响了得分档次。 【总评及修改意见】父亲的笛声 1依稀想来，已有几年未踏上这一条洒满月光的小路了。小路是父亲亲手用鹅卵石铺成的、在月下泛着朦胧柔和的光。路的那头，连着河边的小屋，连着我的父亲。父亲呵，你是否依然执著地坐在岸边，哀怨地吹着笛子，等着儿子归来? 升格展示评析 加上对“小路”与“月光”的景物细节描写，既点明了父亲与路的关系，又烘托了浓厚的抒情氛围，后面的感情自然就喷薄而出了。父亲的笛声升格展示评析 加上对“小路”与“月光”的景 2父亲爱好吹笛。小的时候，父亲的笛声载满了我童年的乐趣，像那条丝带一样的小河，

19、牵引着我的童心在父亲爱的港湾里晃悠，父亲很疼我这个惟一的儿子，老喜欢用粗糙的双手捏我的脸蛋，不顾我疼得哭起来，还几自傻呵呵地笑。每天日暮，父亲带我到河边的草地上放牛，父亲常常放开牛绳让牛自己去吃草，他便从背后的草篓里摸出笛子，鼓起腮，吹出世间最美妙的音乐。我靠在父亲腿上，看着天边的夕阳将父亲的头发染上点点金色。我爱父亲，父亲的笛声最美。评析 1对“父亲笛声”的细节描写，表现我的童年在父爱中度过；2用一些生活小事表现父亲对我的疼爱，具体可感；3细节描写，表现我对父亲的依赖于爱。 2父亲爱好吹笛。小的时候，父亲的笛声载满了我童 3随着年龄的增长，我开始讨厌起父亲来，讨厌他满嘴烟味，讨厌他的黄牙;讨

20、厌他背个草篓到学校找我，还从窗外傻傻地盯着我看;我还讨厌他没有本事，只知侍弄几亩薄地，连我的学费也没能赚回。我和父亲逐渐隔膜了，在被我吼了儿次后，父亲不再打着赤脚去学校看我，不再唠叨着让我好好学习。他保持沉默，而打破沉默的惟一方式就是吹笛，如怨如慕，而在我看来，这又成了他不务正业的标志。评析 此处增加了一些生活小事的描写，很好的体现了对父亲的“讨厌”以及与父亲的“逐渐隔膜”。 3随着年龄的增长，我开始讨厌起父亲来，讨厌 4我要到外地上学去了。离去的前一天晚上，我走上那条熟悉的小路，感觉到一丝眷恋与不舍，路像是月光在地上划过的痕，也划过我的心。-我走后，父亲整日像掉了魂似的，茶饭不思，只知去河边

21、吹笛子。-到家里已是夜晚，月刚升起，当我怀着无尽的思绪在小路上行走时，遇到了等我的父亲。我忽地一下子哭出来，紧紧抱住了他，我的父亲。我请求父亲给我吹笛，他答应了。硬咽的笛声又在耳畔响起，响在洒满月光的小路上，勾起我的回忆。我感觉到父亲眷眷的爱子之心，感到愧对父亲的笛声，父亲爱我，爱着自己的儿子。他为我吹了十年的笛子，而我此刻才发现它和我的心竟产生如此强烈的共鸣。 路很美，很美，是月划过的痕。月是路的魂，父亲的笛声是我的心魂!评析 1此处景物描写，衬托了内心的伤感，为后文“哭”和“抱” 铺垫；2此处细节，能更好体现父子相爱相融的情形。3此处带有抒情的描写，首尾呼应，含蓄深刻。 4我要到外地上学去

22、了。离去的前一天晚上，我走上那多问几个“怎么样”分解场面或片段具体些好事情经过学会让事实说话以序多角度描写巧为词语添枝加叶妙用修辞使之具体生动具有丰富的联想想象方法归纳多问几个“怎么样”分解场面或片段具体些好事情经过学会让事实说按要求作文。（60分） 请以奖励自己为题目写一篇文章 要求：自选文体（诗歌除外）；600字以上；文中不能出现考生的姓名和所在学校的名称。写作修改润色精选教学课件 作业题：运用“简快作文”规律完成以下作文。 请以“我心中的你”为题写一篇文章，立意自定，文体自选（除诗歌外），不少于600字。 作业题：运用“简快作文”规律完成以下作文。 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