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大伙在一起聊天，一女性朋友说:“找个开火车的老公好，开火车的不出轨。”一旁开火车的哥们偷偷的笑了:“我们开火车的，变轨比变天还快，哈哈哈。”
关键看道岔
你不是跑车的。
分享该糗事到糗友圈
我觉得这个女的是在向这个开火车的哥们示好。
变不好你就挂了
我愿来也是火车司机
回复 6楼：这是明示啊
回复23楼：机务的
单身狗……
人家女的这是在表白你们没看出来吗
火车不出轨也行会追尾，美人鱼不劈腿难免不用嘴
[哈哈]
[哈哈]
活该那个开火车的单身
哥当年挤过道岔
说这个的绝对是外行人
开火车不出轨不能说是不去找女人
回复 7楼：别介，我还没看够呢
回复 18楼：你真懂？
分享该糗事到糗友圈
火车不出轨难免不追尾，美人鱼不劈腿难免不用嘴
20楼的凯灰机喽
回复18楼：好吧
回复 16楼：从一道变二道，类似行车道变超车道，换一条路开开
变轨是什么意思
分享该糗事到糗友圈
怎么变都在轨道上，只能说姿势不同
lz鼻子真小
哈哈，虽然不能出轨，但还可能追尾啊！
分享该糗事到糗友圈
回复 4楼：我过两天准备换头像
你那哥们连这么明显的暗示都听不懂，等着吧，注孤生。
！！！！！
回复 1楼：人家都说大宝天天见，我只想说，你头像天天见
每台机车都配有复轨器，复轨器
一旦出轨，新闻联播一爆料，地球人都知道。
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&/b&&/p&&p&&b&从明天起，关心粮食和蔬菜 &/b&&/p&&p&&b&我有一所房子，面朝大海，春暖花开&/b&&/p&&br&&p&—— 海子· 《面朝大海，春暖花开》&/p&&br&&br&&p&其实相比这首，我更喜欢他的“以梦为马”。不过这首实在是所有文学青年，所向往的一种生活状态。但他真实的内心也因此暴露无遗，语句充满希望，内心却十分痛苦。何言明天也？因明天永不可达也！&/p&&br&&br&&br&&p&&b&28、远在远方的风比远方更远&/b&&/p&&p&&b&我的琴声呜咽 泪水全无&/b&&/p&&p&&b&我把这远方的远归还草原&/b&&/p&&br&&p&——海子· 《九月》&/p&&br&&p&这是一首让人心碎的诗，海子的诗中，“远方”出现的次数非常多。&/p&&p&《以梦为马》诗云：“我要做远方的忠诚的儿子，和物质的短暂情人。”&/p&&p&《远方》诗云：“远方除了遥远一无所有”、“更远的地方更加孤独”&/p&&p&“远方”和“明天”一样，你可以看成纯意象，也可以看成实指，都是想到达，却永远到达不了的境地。他用生命去追求，他说他是擦亮灯火的最后一位诗歌皇帝，他用生命冲击艺术的巅峰，最后终于被黄昏的众神抬入不朽的太阳。&/p&&br&&p&我早已不会为海子英年早逝伤感，因为海子说过，千年后，他会再重生于祖国的河岸。我信，因为会有人重新接过这火把，照亮茫茫黑夜。&/p&&br&&p&另：盲人歌手周云蓬有同名歌曲，歌词直接用的海子的诗句，我觉得这是一首不错的歌。&/p&&br&&br&&p&-------------------------------------------------------------------------------------------------------------------------------------------&br&&/p&&br&&br&&br&&br&&p&29、&b&也许在我们的灵魂中有一团热火，但没有人用它使自己暖和起来。&/b&——欧文·斯通 《渴望生活·梵高传》&/p&&br&&p&《渴望生活·梵高传》于我而言，是非常好的一部小说，让我感受很深。读这本书，就感觉在与一位高尚的灵魂对话。&/p&&br&&br&&p&30、&b&然后我就离开，也许到南方去。我不知道去哪儿，反正是个能让我独处的地方。画啊，画啊，画啊，就我自己。&/b&——《渴望生活·梵高传》&/p&&br&&br&&p&31、&b&我是个农民画家，我要回到我的田野上去。我要找到一个太阳，它炽热得把我心中除了绘画这种欲望以外的一切都烧光。&/b&——《渴望生活·梵高传》&/p&&br&&p&当初看完这本书后，我的心情是久久不能平复的，却又给我莫大的力量。梵高的苦难和痛苦的一生，并没有吓到我，反而坚定了我的理想。我突然发现，原来梵高和海子这么像，而巧合的是，海子的确又最崇拜的是梵高，两个人都以冲击太阳为最高艺术目标，都是短命天才，都是自杀。&/p&&br&&br&&br&&br&&p&-------------------------------------------------------------------------------------------------------------------------------------------&/p&&br&&p&32、&b&真正有气质的淑女，从不炫耀她所拥有的一切，她不告诉人她读过什么书，去过什么地方，有多少件衣服，买过什么珠宝，因为她没有自卑感。&/b&——亦舒·《圆舞》 &/p&&br&&p&话虽如此，然世间女子是做不到的。有脸的晒脸，没脸的晒身材，晒爹，晒化妆品，晒包包，晒脐下三寸，晒屁股，晒胸，晒美食，晒灯红酒绿，晒男人......&/p&&p&人之常情也，也没什么好指摘的。只不过，美颜成那个样，是几个意思？&/p&&br&&br&&p&33、&b&当爱情成了生活中的一种习惯，再要想改变这种习惯而不同时损害生活中其他所有方面的联系，似乎是不可能的。——&/b&《小仲马·茶花女》&/p&&br&&br&&p&34、&b&你以为我穷，低微，不漂亮，我就没有灵魂没有心吗？你想错了!我和你一样有灵魂，有一颗完整的心！——&/b&《简o爱》&/p&&br&&p&35、&b&除了你的侮辱是你始终爱我的证据外，我似乎觉得你越是折磨我，等到你知道真相的那一天，我在你眼中也就会显得越加崇高。——&/b&《小仲马·茶花女》&/p&&br&&p&完美诠释了什么是圣母“婊”。&/p&&br&&br&&p&36、&b&是你教会我怎样去爱，而我应该教会你怎样去生活。——&/b&《小仲马·茶花女》&/p&&br&&p&很多情侣既不会爱，也不会生活。稍微正常点，有点温情，便急着晒给众人，以此证明自己有人爱着。&/p&&br&&br&&br&&br&&p&-------------------------------------------------------------------------------------------------------------------------------------------&br&&/p&&br&&br&&p&&b&37、要生活得漂亮，需要付出极大忍耐，一不抱怨，二不解释，绝对是个人才。&/b&——弗兰兹·卡夫卡·《变形记》&/p&&br&&p&不忍耐的都成为了愤青，忍耐过了是麻木，不解释无所谓，反正没人听你解释，这个社会没人关心你到底为什么这么做，只看结果。结果好你就是人才，结果坏你就一文不名。所以，聪明的该怎么做？要么妥协，要么一条路走到底。&/p&&br&&br&&p&38、&b&当现实折过来严丝合缝地贴在我们长期的梦想上时，它盖住了梦想，与它混为一体，如同两个同样的图形重叠起来合而为一一样。&/b&——马塞尔·普鲁斯特 《追忆似水年华》 &/p&&br&&p&年纪越大，越能体会这句话。你以为还没忘记理想，你以为你走在的这条道路，没有偏离方向，然而现实是，你早就被现实同化了，与芸芸众生走在同一条道路上，但是你还不停的欺骗自己。不忘初心，方得始终。然而谁又做到了没失去初心？&/p&&br&&br&&p&39、&b&当一个人不能拥有的时候&/b&&b&，&/b&&b&他唯一能做的便是不要忘记&/b&&b&。&/b&——《追忆似水年华》 &/p&&br&&p&有点鸡汤的味道，却很深刻。我们怀念的常常是我们失去的，我们再也不能拥有的。无论是童年、青春、友谊、爱情还是别的什么。&/p&&br&&br&&p&40、&b&我终将遗忘梦境中的那些路径、山峦与田野，遗忘那些永远不能实现的梦。&/b&——《追忆似水年华》 &/p&&br&&p&所以，怀念也好，无论怎样铭记，终有一天，你会遗忘那些，因为越来越遥远了。&/p&&br&&br&&p&41、&b&远远看去优美而神秘的人和事，只要拉近了看，就会明白它们原来既不神秘又不优美。&/b&——《追忆似水年华》 &/p&&br&&p&用来形容现在的网恋是很合适的，而又不仅仅局限于网恋。比如，某个从未见面的文友，对其很是欣赏，见面之后，幻想破灭。&/p&&br&&br&&p&&b&42、就让料峭春风为一早就等在门口的彩蝶吹开耶路撒冷的第一朵玫瑰。&/b&——《追忆似水年华》 &/p&&br&&br&&p&&b&43、不爱我们的女人犹如失踪者，尽管我们知道再无任何希望，我们仍然期待。等待稍稍一点动静，稍稍一点声响。&/b&——《追忆似水年华》 &/p&&br&&p&追忆似水年华，真的很喜欢的一部文学作品，推荐男同胞一阅。&/p&&br&&br&&p&-------------------------------------------------------------------------------------------------------------------------------------------&br&&/p&&br&&br&&br&&br&&p&44、&b&有一个传说，说的是有那么一只鸟儿，它一生只唱一次，那歌声比世上所有一切生灵的歌声都更加优美动听。&/b&——考琳·麦卡洛《荆棘鸟》&/p&&br&&br&&p&45、&b&天才和我们相距仅仅一步。同时代者往往不理解这一步就是千里，后代又盲目相信这千里就是一步。同时代为此而杀了天才，后代又为此而在天才面前焚香。&/b&——《芥川龙之介·侏儒的话》&/p&&br&&br&&br&&p&46、&b&人的一生应当这样度过。当他回首往事时，不会因虚度年华而悔恨，也不会因碌碌无为而羞耻。这样，临终前他就可以自豪地说：“我已经把自己整个生命和全部精力都献给了世界上最壮丽的事业——为人类的解放而奋斗。”&/b&——《奥斯特洛夫斯基·钢铁是怎样炼成的》&/p&&br&&p&这本小说小学时就看了，但这段话，今天还没忘，哈哈！当然，在今天，这段话已经不被用来励志，主要用来恶搞。&/p&&br&&br&&p&47、&b&他不知道那个梦已经丢在他背后了，丢在这个城市那边那一片无垠的混沌之中不知什么地方了，那里合众国的黑黝黝的田野在夜色中向前伸展。&/b&——《菲茨杰拉德·了不起的盖茨比》&/p&&br&&br&&p&-------------------------------------------------------------------------------------------------------------------------------------------&br&&/p&&br&&br&&br&&p&48、&b&给岁月以文明，而不是给文明以岁月。&/b&——《刘慈欣·三体》&/p&&br&&p&对于刘慈欣，我是把他的所有长篇短篇看完了。比起“三体”，我更喜欢短篇。&/p&&br&&br&&br&&p&49、&b&长城和金字塔都是完全失败的超级工程，前者没能挡住北方骑马民族的入侵，后者也没能使其中的法老木乃伊复活，但时间使这些都无关紧要，只有凝结于其上的人类精神永远光彩照人！&/b&——《刘慈欣·地球大炮》&/p&&br&&p&的确如此，秦始皇修筑长城，更多可能出于追求功绩，还有心理安慰。但长城也不是完全没用，它让游牧民族多绕下路而已。在中原王朝强盛的时候，长城就有用，衰弱的时候，长城便无用。根本上来讲，并未改变中原朝代的更迭和命运。&/p&&br&&br&&p&50、&b&我们以后有很长的时间相处，有很多的事要谈，但不要再从道德的角度谈了，在宇宙中，那东西没意义。&/b&——《刘慈欣·吞食者》&/p&&br&&br&&br&&p&&b&51、在以后的岁月中，我到过很多地方，每到一个处，我都喜欢躺在那里的大地上。我曾经躺在海南岛的海滩上、阿拉斯加的冰雪上、俄罗斯的白桦林中、撒哈拉烫人的沙漠上......每到那个时刻，地球在我脑海中就变得透明了，在我下面六千多公里深处，在这巨大的水晶球中心，我看到了停汨在那里的“落日六号”地航飞船，感受到了从几千公里深的地球中心传出的她的心跳。我想象着金色的阳光和银色的月光透射到这个星球的中心,我听到了那里传出的她吟唱的《月光》，还听到她那轻柔的话音:
&/b&&/p&&p&&b&
“多美啊，这又是另一种音乐了......”
&/b&&/p&&p&&b&
有一个想法安慰着我：不管走到天涯海角，我离她都不会再远了。
&/b&&/p&&br&&p&——刘慈欣&&带上她的眼睛&&
&/p&&br&&br&&p&52、&b&每个人的生活都是合理的，没必要相互理解&/b&。——刘慈欣《朝闻道》&/p&&br&&p&53、&b&鲸歌在响着，这是大海的灵魂在歌唱。鲸歌中，上古的闪电击打着的原始的海洋，生命如荧火在混沌的海水中闪现；鲸歌中，生命睁着好奇而畏惧的眼睛，用带着鳞片的脚，第一次从大海踏上火山还没熄灭的陆地；鲸歌中，恐龙帝国在寒冷中灭亡，时光飞逝，沧海桑田，智慧如小草，在冰川过后的初暖中萌生；鲸歌中，文明幽灵般出现在各个大陆，亚特兰蒂斯在闪光和巨响中沉入洋底......一次次海战，鲜血染红了大海；数不清的帝国诞生了，又灭亡了，一切的一切都是过眼烟云......蓝鲸用它那古老得无法想象的记忆唱着生命之歌，全然没有感觉到它含在嘴中的渺小的罪恶......&/b&&/p&&br&&p&——刘慈欣《鲸歌》&/p&&p&-------------------------------------------------------------------------------------------------------------------------------------------&br&&/p&&br&&br&&p&&b&54、“04.24，和Sakura去东京天空树，世界上最暖和的地方在天空树的顶上。”&/b&&/p&&p&&b&“04.26，和Sakura去明治神宫，有人在那里举办婚礼。”&/b&&/p&&p&&b&“04.25，和Sakura去迪士尼，鬼屋很可怕，但是有Sakura在，所以不可怕。”&/b&&/p&&p&&b&“Sakura最好了。”&/b&&/p&&br&&p&——《龙族·绘梨衣》&/p&&br&&p&-------------------------------------------------------------------------------------------------------------------------------------------&br&&/p&&br&&br&&p&&b&未完·待续。后期继续更新中·欢迎关注，大家交个朋友。&/b&&/p&
1、清夜无尘，月色如银。酒斟时，须满十分。浮名浮利，虚苦劳神。叹隙中驹，石中火，梦中身。虽抱文章，开口谁亲。且陶陶，乐尽天真。几时归去，作个闲人。对一张琴，一壶酒，一溪云。 ——苏轼·《行香子》 此刻，月下依旧是那个“一樽还酹江月”的苏子瞻…
&img src=&/v2-ec557db5c888dae6b881cb5da8d86a9e_b.png& data-rawwidth=&795& data-rawheight=&291& class=&origin_image zh-lightbox-thumb& width=&795& data-original=&/v2-ec557db5c888dae6b881cb5da8d86a9e_r.png&&距离2017高考还剩40天，本专栏正式开始更新！&p&主要分为以下几个栏目：&/p&&p&【真题聚焦】：针对近年高考真题（主要是作文），提出分析，进行讨论。&/p&&p&【方法观念】：关于语文学习、应试、应用等的一些自己的看法。&/p&&p&【追本溯源】：语文课本、课文告诉我们的&/p&&p&【读书推荐】：以前或最近读到的有意思、有帮助的书。&/p&&p&【点滴发现】：语文之美，生活中无处不在。&/p&&br&&p&无规律交错循环更新。大家有什么想法或需求欢迎留言交流！&/p&
距离2017高考还剩40天，本专栏正式开始更新！主要分为以下几个栏目：【真题聚焦】：针对近年高考真题（主要是作文），提出分析，进行讨论。【方法观念】：关于语文学习、应试、应用等的一些自己的看法。【追本溯源】：语文课本、课文告诉我们的【读书推荐】…
&p&这16个app,让学霸欲罢不能！&/p&&p&小猿从300多位同学的开放性回答中，选出了一批最佳学习App，在这里推荐给大家，希望大对大家有用。 &/p&&p&&b&自律/时间管理&/b&&/p&&p&&b&Forest /&/b& 我要当学霸&/p&&p&@修： &/p&&p&推荐一个时间管理的软件“Forest”，设置好时间、种下一棵树后，然后就可以把手机搁一边了，等时间到了就可以收获一颗可爱的树了，要是时间不到就用手机里其他软件的话树就会枯萎。&/p&&p&@Esmer：&/p&&p&这个app主要是可以设定你想要专注的时间~如果在预设定的时间内没有玩手机就可以成功地种下一颗小树~界面特别小清新哒，推荐给学习的时候老想摸手机的小伙伴：打开手机发现正在种树，不忍心看可爱的小树枯萎的话就专注做完自己的事情吧~&/p&&p&@元气阿木木：&/p&&p&种树得到的金币可以用来买其他种类的树。主要是看到自己一天下来认真的时间就满满成就感呀！&/p&&p&@匿名：&/p&&p&像我这种强迫症完全不能忍受我种的小树枯萎啊orz。。。&/p&&p&@Uae许夫人：&/p&&p&“我要当学霸”或者“forest”都是用来帮助同学们摆脱手机的诱惑的。前者自带小社区，内容较多，比较杂乱，但是学习监督功能十分给力。后者功能简洁明了。&/p&&p&&b&Playtask&/b&&/p&&p&@芝叔打李：&/p&&p&“playtask”特别适合和“forest”一起用，设置种一棵树给1分，攒够一定积分之后可以换比如说玩手机，看视频之类的。&/p&&p&&b&OFFTIME&/b&&/p&&p&@GTM-绅士桑：&/p&&p&我毕竟是男生，有时候控制不住自己想玩游戏，有一个管理时间的app叫“OFFTIME”很实用，只要你启动并激活它，任何其他的app都不能启动（除了你设定的学习软件），如果你要取消启动它，你就要在屏幕上按15分钟，有一次我就控制不住自己要下游戏玩，然后就打算按15分钟，按着…等着…玩游戏的欲望就没了……&/p&&p&&b&潮汐&/b& @serene陈二：&/p&&p&潮汐，潮汐的第一个功能是冥想，每天十分钟可以让你变得更专注。大自然的声音真的可以让你放松。当然也可以选择关掉白噪音。那么就是第二个功能，可以监督学习。我一般会设置成60min休息10min，每次想玩手机就会显示专注要失败啦，强迫自己放下手机，这样有规律比较容易集中注意力，也有番茄工作法的啦！&/p&&p&&b&通用小技巧&/b&&/p&&p&@纸鸢：&/p&&p&下载一个猿题库老师版，这样可以分难度给自己布置题目。&/p&&p&@Tyler Young：&/p&&p&我大概就是把猿辅导放在原来经常玩的浏览器那个位置上，习惯性就点开啦。然后强迫自己看一点。&/p&&p&@梁小帅：&/p&&p&我的手机里有“学生模式”，可以限制某些APP的使用，所以我一般不会用手机来娱乐。或者我做作业总是把手机关机，遇到不会的题，全部记下，等作业完成以后打开手机查。&/p&&p&@Esmer：&/p&&p&“艾宾浩斯复习笔记”，利用艾宾浩斯记忆曲线的原理。好处是会定时提醒你复习。觉得很适合背诵，强推用来背文综和单词！要一直滚动强化才能真正熟悉~这个就是一个很智能的提醒器啦。&/p&&p&&b&语文&/b&&/p&&p&&b&有道语文达人&/b& &/p&&p&@陆皖：&/p&&p&我利用手机上的各种app复习、预习课内知识，再通过看电子书、新闻、杂志等了解大千世界，这让我对世界充满向往，并怀着一种积极乐观的心态面对生活。我要为大家安利的一款应用是“有道语文达人”，顾名思义，这款应用主要针对于语文学习。在刚开始进入应用时它会自动根据你所选择的年级进行初始化内置词典，以便于你后期的使用。这款应用支持使用者自己的“背诵检测”，使用者可以通过文字、语音的输入来检测自己文章的背诵水平。&/p&&p&&b&语文口袋书&/b&&/p&&p&@染漠尘：&/p&&p&语文口袋书包含了很多知识点，比如易望文生义的成语、古代文学常识什么的，每个都是一张附带美图的卡片，随时记几张～很方便。&/p&&p&&b&古诗词典&/b&&/p&&p&@Tyler Young：&/p&&p&一个软件叫做古诗词典，风格简约，从图标到内部UI全部透露着文化的气息，让人能静下心来。每天都会推送一些好诗好古文来阅读。而且有朗读功能，当然了，平时学习的古文毫无例外都找得到，而且涵盖了赏析，注释，译文等等，比课本还要全。&/p&&p&&b&数学&/b&&/p&&p&&b&Graph&/b&&/p&&p&@Uae许夫人：&/p&&p&Graph！理科生必备！遇到复杂函数，用它就对了。输入进去，秒出图像，数形结合，解题更方便。&/p&&p&&b&MyScript Calculator&/b&&/p&&p&@沐风：&/p&&p&一个叫MyScript Calculator的软件，一种计算器，手写数字自动识别，&/p&&p&&b&英语&/b&&/p&&p&&b&扇贝 & 百词斩&/b&&/p&&p&@匿名：&/p&&p&扇贝听力挺不错的，一款练耳朵的英语听力软件。扇贝出了很多英语学习软件，最喜欢这个，其他的，像扇贝炼句的，只要你有钱，也挺不错的。超级学团授课类的学习软件，就跟聊天似的，老师大多是大学生，通过开学团的方式授课。嗯~要花钱。不过会员免费。&/p&&p&@Esmer：&/p&&p&相比起百词斩我觉得扇贝更合我的心意。滚动复习+不是太花哨的界面……百词斩背单词有结合图片的功能，这个就看个人了，因为英语单词经常兼具很多差异蛮大的词义，如果结合图片可能会混乱+受图片联想的制约，而且很多图片跟单词完全对应不上，感觉质量不太够。背单词的软件有很多，主要还是看个人喜好啦。&/p&&p&@纸鸢：&/p&&p&百词斩更偏重于熟悉单词，真用来背单词效果一般。&/p&&p&@白浅：&/p&&p&百词斩，里面会有很详细的关于一个生词的释义啊例句啊图片之类的加深你的记忆，有的还会有百词斩他们拍摄的情景短剧或者制作的MV加深理解，不过不要太过度依赖，我都是作为平时课前的预习和课后的复习加深记忆。&/p&&p&&b&沪江开心词场&/b&&/p&&p&@柏嫦芷：&/p&&p&特别推荐沪江开心词场，语言学习背词的老大哥，至少现在还没发现能比这个软件效果更好的背词软件。尝试过许多背词学英语的软件，比如多邻国、扇贝等等，但要么复习巩固不到位、要么偏离课本太远。但有了沪江开心词场就没担心过，默写单词前都是用词场君过一遍，然后第二天听写准保满分～自从更新后，词场也大大提高了趣味性，闯关式的背词，一种玩游戏升级打怪练功下副本的感觉，简直停不下来！！！词场的词书囊括了从小学到大学四六级的所有词书，还有商业/工作英语等等，另外除了英语这个大项外，一些小语种的背诵也能够通过这个软件，感觉特别棒！！&/p&&p&@Luv：&/p&&p&以闯关的形式进行学习，让人有兴趣去学习。闯过一关又一关的自豪感让我有继续学习的动力。&/p&&p&&b&金山词霸&/b&&/p&&p&@橘子！：&/p&&p&在金山词霸可以背单词，根据遗忘曲线提醒你每天复习，日积月累单词量up up up~此外它还有一些语法视频挺不错的。还有英语阅读锻炼翻译文章和能力。&/p&&p&&b&新概念英语&/b&&/p&&p&@白若晽：&/p&&p&一款很好的英语学习APP“新概念英语”，这里不仅可以省心翻译，还可以和机器人英语聊天，锻炼口语，功能很多，推荐给大家。&/p&&p&&b&化学&/b&&/p&&p&&b&烧杯&/b&&/p&&p&@宇宝宝：&/p&&p&烧杯，可以学化学，目睹一些神奇的化学反应，很有意思。&/p&&p&&b&全科&/b&&/p&&p&&b&高考蜂背&/b&&/p&&p&@橘子！：&/p&&p&高考蜂背可以在你的碎片时间让你去听知识，随时随地，比较方便。&/p&&p&@苓沐：&/p&&p&晚上睡觉前，听一听高考蜂背，里面有学霸们分享的学习经验以及课本录音。&/p&&p&@于客来：&/p&&p&高考蜂背这个软件很好，我喜欢睡觉的时候定时听课本内容，据说和潜意识有关，但我的实际操作告诉我，这对背诵古诗文和书上的课本内容真的很有效果。&/p&&p&&b&高中知识宝典&/b&&/p&&p&@Uae许夫人：&/p&&p&高中知识宝典，软件小，内容全。以提纲的形式，将高中各个学科的知识整理汇编，并且里面有试卷作为练习。&/p&
这16个app,让学霸欲罢不能！小猿从300多位同学的开放性回答中，选出了一批最佳学习App，在这里推荐给大家，希望大对大家有用。 自律/时间管理Forest / 我要当学霸@修： 推荐一个时间管理的软件“Forest”，设置好时间、种下一棵树后，然后就可以把手机搁一…
值得，Orwell本人的写作方法很强，我找了一片Orwell谈写作的文章，他本人的这篇文章很长，认真读完，比你买一堆live，textbook都强&br&George Orwell&br&Politics and the English Language&br&Most people who bother with the matter at all would admit that the English language is in a bad way, but it is generally assumed that we cannot by conscious action do anything about it. Our civilization is decadent and our language — so the argument runs — must inevitably share in the general collapse. It follows that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes. Underneath this lies the half-conscious belief that language is a natural growth and not an instrument which we shape for our own purposes.&br&Now, it is clear that the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influence of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts. The point is that the process is reversible. Modern English, especially written English, is full of bad habits which spread by imitation and which can be avoided if one is willing to take the necessary trouble. If one gets rid of these habits one can think more clearly, and to think clearly is a necessary first step toward political regeneration: so that the fight against bad English is not frivolous and is not the exclusive concern of professional writers. I will come back to this presently, and I hope that by that time the meaning of what I have said here will have become clearer. Meanwhile, here are five specimens of the English language as it is now habitually written.&br&These five passages have not been picked out because they are especially bad — I could have quoted far worse if I had chosen — but because they illustrate various of the mental vices from which we now suffer. They are a little below the average, but are fairly representative examples. I number them so that I can refer back to them when necessary:&br&1. I am not, indeed, sure whether it is not true to say that the Milton who once seemed not unlike a seventeenth-century Shelley had not become, out of an experience ever more bitter in each year, more alien [sic] to the founder of that Jesuit sect which nothing could induce him to tolerate.&br&Professor Harold Laski (Essay in Freedom of Expression)&br&2. Above all, we cannot play ducks and drakes with a native battery of idioms which prescribes egregious collocations of vocables as the Basic put up with for tolerate, or put at a loss for bewilder.&br&Professor Lancelot Hogben (Interglossia)&br&3. On the one side we have the free personality: by definition it is not neurotic, for it has neither conflict nor dream. Its desires, such as they are, are transparent, for they are just what institutional approval keeps in the forefr another institutional pattern would alter their
there is little in them that is natural, irreducible, or culturally dangerous. But on the other side, the social bond itself is nothing but the mutual reflection of these self-secure integrities. Recall the definition of love. Is not this the very picture of a small academic? Where is there a place in this hall of mirrors for either personality or fraternity?&br&Essay on psychology in Politics (New York)&br&4. All the ‘best people’ from the gentlemen's clubs, and all the frantic fascist captains, united in common hatred of Socialism and bestial horror at the rising tide of the mass revolutionary movement, have turned to acts of provocation, to foul incendiarism, to medieval legends of poisoned wells, to legalize their own destruction of proletarian organizations, and rouse the agitated petty-bourgeoise to chauvinistic fervor on behalf of the fight against the revolutionary way out of the crisis.&br&Communist pamphlet&br&5. If a new spirit is to be infused into this old country, there is one thorny and contentious reform which must be tackled, and that is the humanization and galvanization of the B.B.C. Timidity here will bespeak canker and atrophy of the soul. The heart of Britain may be sound and of strong beat, for instance, but the British lion's roar at present is like that of Bottom in Shakespeare's A Midsummer Night's Dream — as gentle as any sucking dove. A virile new Britain cannot continue indefinitely to be traduced in the eyes or rather ears, of the world by the effete languors of Langham Place, brazenly masquerading as ‘standard English’. When the Voice of Britain is heard at nine o'clock, better far and infinitely less ludicrous to hear aitches honestly dropped than the present priggish, inflated, inhibited, school-ma'amish arch braying of blameless bashful mewing maidens!&br&Letter in Tribune&br&Each of these passages has faults of its own, but, quite apart from avoidable ugliness, two qualities are common to all of them. The first is
the other is lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose, and especially of any kind of political writing. As soon as certain topics are raised, the concrete melts into the abstract and no one seems able to think of turns of speech that are not hackneyed: prose consists less and less of words chosen for the sake of their meaning, and more and more of phrases tacked together like the sections of a prefabricated hen-house. I list below, with notes and examples, various of the tricks by means of which the work of prose-construction is habitually dodged.&br&DYING METAPHORS. A newly invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically ‘dead’ (e. g. iron resolution) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are: Ring the changes on, take up the cudgel for, toe the line, ride roughshod over, stand shoulder to shoulder with, play into the hands of, no axe to grind, grist to the mill, fishing in troubled waters, on the order of the day, Achilles’ heel, swan song, hotbed. Many of these are used without knowledge of their meaning (what is a ‘rift’, for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying. Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact. For example, toe the line is sometimes written as tow the line. Another example is the hammer and the anvil, now always used with the implication that the anvil gets the worst of it. In real life it is always the anvil that breaks the hammer, never the other way about: a writer who stopped to think what he was saying would avoid perverting the original phrase.&br&OPERATORS OR VERBAL FALSE LIMBS. These save the trouble of picking out appropriate verbs and nouns, and at the same time pad each sentence with extra syllables which give it an appearance of symmetry. Characteristic phrases are render inoperative, militate against, make contact with, be subjected to, give rise to, give grounds for, have the effect of, play a leading part (role) in, make itself felt, take effect, exhibit a tendency to, serve the purpose of, etc., etc. The keynote is the elimination of simple verbs. Instead of being a single word, such as break, stop, spoil, mend, kill, a verb becomes a phrase, made up of a noun or adjective tacked on to some general-purpose verb such as prove, serve, form, play, render. In addition, the passive voice is wherever possible used in preference to the active, and noun constructions are used instead of gerunds (by examination of instead of by examining). The range of verbs is further cut down by means of the -ize and de- formations, and the banal statements are given an appearance of profundity by means of the not un- formation. Simple conjunctions and prepositions are replaced by such phrases as with respect to, having regard to, the fact that, by dint of, in view of, in the interests of, on and the ends of sentences are saved by anticlimax by such resounding commonplaces as greatly to be desired, cannot be left out of account, a development to be expected in the near future, deserving of serious consideration, brought to a satisfactory conclusion, and so on and so forth.&br&PRETENTIOUS DICTION. Words like phenomenon, element, individual (as noun), objective, categorical, effective, virtual, basic, primary, promote, constitute, exhibit, exploit, utilize, eliminate, liquidate, are used to dress up a simple statement and give an air of scientific impartiality to biased judgements. Adjectives like epoch-making, epic, historic, unforgettable, triumphant, age-old, inevitable, inexorable, veritable, are used to dignify the sordid process of international politics, while writing that aims at glorifying war usually takes on an archaic colour, its characteristic words being: realm, throne, chariot, mailed fist, trident, sword, shield, buckler, banner, jackboot, clarion. Foreign words and expressions such as cul de sac, ancien regime, deus ex machina, mutatis mutandis, status quo, gleichschaltung, weltanschauung, are used to give an air of culture and elegance. Except for the useful abbreviations i. e., e. g. and etc., there is no real need for any of the hundreds of foreign phrases now current in the English language. Bad writers, and especially scientific, political, and sociological writers, are nearly always haunted by the notion that Latin or Greek words are grander than Saxon ones, and unnecessary words like expedite, ameliorate, predict, extraneous, deracinated, clandestine, subaqueous, and hundreds of others constantly gain ground from their Anglo-Saxon numbers(1). The jargon peculiar to Marxist writing (hyena, hangman, cannibal, petty bourgeois, these gentry, lackey, flunkey, mad dog, White Guard, etc.) consists largely of words translated from Russian, German, or F but the normal way of coining a new word is to use Latin or Greek root with the appropriate affix and, where necessary, the size formation. It is often easier to make up words of this kind (deregionalize, impermissible, extramarital, non-fragmentary and so forth) than to think up the English words that will cover one's meaning. The result, in general, is an increase in slovenliness and vagueness.&br&MEANINGLESS WORDS. In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning(2). Words like romantic, plastic, values, human, dead, sentimental, natural, vitality, as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly ever expected to do so by the reader. When one critic writes, ‘The outstanding feature of Mr. X's work is its living quality’, while another writes, ‘The immediately striking thing about Mr. X's work is its peculiar deadness’, the reader accepts this as a simple difference opinion. If words like black and white were involved, instead of the jargon words dead and living, he would see at once that language was being used in an improper way. Many political words are similarly abused. The word Fascism has now no meaning except in so far as it signifies ‘something not desirable’. The words democracy, socialism, freedom, patriotic, realistic, justice have each of them several different meanings which cannot be reconciled with one another. In the case of a word like democracy, not only is there no agreed definition, but the attempt to make one is resisted from all sides. It is almost universally felt that when we call a country democratic we are praising it: consequently the defenders of every kind of regime claim that it is a democracy, and fear that they might have to stop using that word if it were tied down to any one meaning. Words of this kind are often used in a consciously dishonest way. That is, the person who uses them has his own private definition, but allows his hearer to think he means something quite different. Statements like Marshal Petain was a true patriot, The Soviet press is the freest in the world, The Catholic Church is opposed to persecution, are almost always made with intent to deceive. Other words used in variable meanings, in most cases more or less dishonestly, are: class, totalitarian, science, progressive, reactionary, bourgeois, equality.&br&Now that I have made this catalogue of swindles and perversions, let me give another example of the kind of writing that they lead to. This time it must of its nature be an imaginary one. I am going to translate a passage of good English into modern English of the worst sort. Here is a well-known verse from Ecclesiastes:&br&I returned and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet fa but time and chance happeneth to them all.&br&Here it is in modern English:&br&Objective considerations of contemporary phenomena compel the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account.&br&This is a parody, but not a very gross one. Exhibit (3) above, for instance, contains several patches of the same kind of English. It will be seen that I have not made a full translation. The beginning and ending of the sentence follow the original meaning fairly closely, but in the middle the concrete illustrations — race, battle, bread — dissolve into the vague phrases ‘success or failure in competitive activities’. This had to be so, because no modern writer of the kind I am discussing — no one capable of using phrases like ‘objective considerations of contemporary phenomena’ — would ever tabulate his thoughts in that precise and detailed way. The whole tendency of modern prose is away from concreteness. Now analyze these two sentences a little more closely. The first contains forty-nine words but only sixty syllables, and all its words are those of everyday life. The second contains thirty-eight words of ninety syllables: eighteen of those words are from Latin roots, and one from Greek. The first sentence contains six vivid images, and only one phrase (‘time and chance’) that could be called vague. The second contains not a single fresh, arresting phrase, and in spite of its ninety syllables it gives only a shortened version of the meaning contained in the first. Yet without a doubt it is the second kind of sentence that is gaining ground in modern English. I do not want to exaggerate. This kind of writing is not yet universal, and outcrops of simplicity will occur here and there in the worst-written page. Still, if you or I were told to write a few lines on the uncertainty of human fortunes, we should probably come much nearer to my imaginary sentence than to the one from Ecclesiastes.&br&As I have tried to show, modern writing at its worst does not consist in picking out words for the sake of their meaning and inventing images in order to make the meaning clearer. It consists in gumming together long strips of words which have already been set in order by someone else, and making the results presentable by sheer humbug. The attraction of this way of writing is that it is easy. It is easier — even quicker, once you have the habit — to say In my opinion it is not an unjustifiable assumption that than to say I think. If you use ready-made phrases, you not only don't have to hunt you also don't have to bother with the rhythms of your sentences since these phrases are generally so arranged as to be more or less euphonious. When you are composing in a hurry — when you are dictating to a stenographer, for instance, or making a public speech — it is natural to fall into a pretentious, Latinized style. Tags like a consideration which we should do well to bear in mind or a conclusion to which all of us would readily assent will save many a sentence from coming down with a bump. By using stale metaphors, similes, and idioms, you save much mental effort, at the cost of leaving your meaning vague, not only for your reader but for yourself. This is the significance of mixed metaphors. The sole aim of a metaphor is to call up a visual image. When these images clash — as in The Fascist octopus has sung its swan song, the jackboot is thrown into the melting pot — it can be taken as certain that the writer is not seeing a mental image of the
in other words he is not really thinking. Look again at the examples I gave at the beginning of this essay. Professor Laski (1) uses five negatives in fifty three words. One of these is superfluous, making nonsense of the whole passage, and in addition there is the slip — alien for akin — making further nonsense, and several avoidable pieces of clumsiness which increase the general vagueness. Professor Hogben (2) plays ducks and drakes with a battery which is able to write prescriptions, and, while disapproving of the everyday phrase put up with, is unwilling to look egregious up in the dictionary a (3), if one takes an uncharitable attitude towards it, is simply meaningless: probably one could work out its intended meaning by reading the whole of the article in which it occurs. In (4), the writer knows more or less what he wants to say, but an accumulation of stale phrases chokes him like tea leaves blocking a sink. In (5), words and meaning have almost parted company. People who write in this manner usually have a general emotional meaning — they dislike one thing and want to express solidarity with another — but they are not interested in the detail of what they are saying. A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly? But you are not obliged to go to all this trouble. You can shirk it by simply throwing your mind open and letting the ready-made phrases come crowding in. The will construct your sentences for you — even think your thoughts for you, to a certain extent — and at need they will perform the important service of partially concealing your meaning even from yourself. It is at this point that the special connection between politics and the debasement of language becomes clear.&br&In our time it is broadly true that political writing is bad writing. Where it is not true, it will generally be found that the writer is some kind of rebel, expressing his private opinions and not a ‘party line’. Orthodoxy, of whatever colour, seems to demand a lifeless, imitative style. The political dialects to be found in pamphlets, leading articles, manifestos, White papers and the speeches of undersecretaries do, of course, vary from party to party, but they are all alike in that one almost never finds in them a fresh, vivid, homemade turn of speech. When one watches some tired hack on the platform mechanically repeating the familiar phrases — bestial, atrocities, iron heel, bloodstained tyranny, free peoples of the world, stand shoulder to shoulder — one often has a curious feeling that one is not watching a live human being but some kind of dummy: a feeling which suddenly becomes stronger at moments when the light catches the speaker's spectacles and turns them into blank discs which seem to have no eyes behind them. And this is not altogether fanciful. A speaker who uses that kind of phraseology has gone some distance toward turning himself into a machine. The appropriate noises are coming out of his larynx, but his brain is not involved, as it would be if he were choosing his words for himself. If the speech he is making is one that he is accustomed to make over and over again, he may be almost unconscious of what he is saying, as one is when one utters the responses in church. And this reduced state of consciousness, if not indispensable, is at any rate favourable to political conformity.&br&In our time, political speech and writing are largely the defence of the indefensible. Things like the continuance of British rule in India, the Russian purges and deportations, the dropping of the atom bombs on Japan, can indeed be defended, but only by arguments which are too brutal for most people to face, and which do not square with the professed aims of the political parties. Thus political language has to consist largely of euphemism, question-begging and sheer cloudy vagueness. Defenceless villages are bombarded from the air, the inhabitants driven out into the countryside, the cattle machine-gunned, the huts set on fire with incendiary bullets: this is called pacification. Millions of peasants are robbed of their farms and sent trudging along the roads with no more than they can carry: this is called transfer of population or rectification of frontiers. People are imprisoned for years without trial, or shot in the back of the neck or sent to die of scurvy in Arctic lumber camps: this is called elimination of unreliable elements. Such phraseology is needed if one wants to name things without calling up mental pictures of them. Consider for instance some comfortable English professor defending Russian totalitarianism. He cannot say outright, ‘I believe in killing off your opponents when you can get good results by doing so’. Probably, therefore, he will say something like this:&br&‘While freely conceding that the Soviet regime exhibits certain features which the humanitarian may be inclined to deplore, we must, I think, agree that a certain curtailment of the right to political opposition is an unavoidable concomitant of transitional periods, and that the rigors which the Russian people have been called upon to undergo have been amply justified in the sphere of concrete achievement.’&br&The inflated style itself is a kind of euphemism. A mass of Latin words falls upon the facts like soft snow, blurring the outline and covering up all the details. The great enemy of clear language is insincerity. When there is a gap between one's real and one's declared aims, one turns as it were instinctively to long words and exhausted idioms, like a cuttlefish spurting out ink. In our age there is no such thing as ‘keeping out of politics’. All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred, and schizophrenia. When the general atmosphere is bad, language must suffer. I should expect to find — this is a guess which I have not sufficient knowledge to verify — that the German, Russian and Italian languages have all deteriorated in the last ten or fifteen years, as a result of dictatorship.&br&But if thought corrupts language, language can also corrupt thought. A bad usage can spread by tradition and imitation even among people who should and do know better. The debased language that I have been discussing is in some ways very convenient. Phrases like a not unjustifiable assumption, leaves much to be desired, would serve no good purpose, a consideration which we should do well to bear in mind, are a continuous temptation, a packet of aspirins always at one's elbow. Look back through this essay, and for certain you will find that I have again and again committed the very faults I am protesting against. By this morning's post I have received a pamphlet dealing with conditions in Germany. The author tells me that he ‘felt impelled’ to write it. I open it at random, and here is almost the first sentence I see: ‘[The Allies] have an opportunity not only of achieving a radical transformation of Germany's social and political structure in such a way as to avoid a nationalistic reaction in Germany itself, but at the same time of laying the foundations of a co-operative and unified Europe.’ You see, he ‘feels impelled’ to write — feels, presumably, that he has something new to say — and yet his words, like cavalry horses answering the bugle, group themselves automatically into the familiar dreary pattern. This invasion of one's mind by ready-made phrases (lay the foundations, achieve a radical transformation) can only be prevented if one is constantly on guard against them, and every such phrase anaesthetizes a portion of one's brain.&br&I said earlier that the decadence of our language is probably curable. Those who deny this would argue, if they produced an argument at all, that language merely reflects existing social conditions, and that we cannot influence its development by any direct tinkering with words and constructions. So far as the general tone or spirit of a language goes, this may be true, but it is not true in detail. Silly words and expressions have often disappeared, not through any evolutionary process but owing to the conscious action of a minority. Two recent examples were explore every avenue and leave no stone unturned, which were killed by the jeers of a few journalists. There is a long list of flyblown metaphors which could similarly be got rid of if enough people would interest t and it should also be possible to laugh the not un- formation out of existence(3), to reduce the amount of Latin and Greek in the average sentence, to drive out foreign phrases and strayed scientific words, and, in general, to make pretentiousness unfashionable. But all these are minor points. The defence of the English language implies more than this, and perhaps it is best to start by saying what it does not imply.&br&To begin with it has nothing to do with archaism, with the salvaging of obsolete words and turns of speech, or with the setting up of a ‘standard English’ which must never be departed from. On the contrary, it is especially concerned with the scrapping of every word or idiom which has outworn its usefulness. It has nothing to do with correct grammar and syntax, which are of no importance so long as one makes one's meaning clear, or with the avoidance of Americanisms, or with having what is called a ‘good prose style’. On the other hand, it is not concerned with fake simplicity and the attempt to make written English colloquial. Nor does it even imply in every case preferring the Saxon word to the Latin one, though it does imply using the fewest and shortest words that will cover one's meaning. What is above all needed is to let the meaning choose the word, and not the other way around. In prose, the worst thing one can do with words is surrender to them. When you think of a concrete object, you think wordlessly, and then, if you want to describe the thing you have been visualising you probably hunt about until you find the exact words that seem to fit it. When you think of something abstract you are more inclined to use words from the start, and unless you make a conscious effort to prevent it, the existing dialect will come rushing in and do the job for you, at the expense of blurring or even changing your meaning. Probably it is better to put off using words as long as possible and get one's meaning as clear as one can through pictures and sensations. Afterward one can choose — not simply accept — the phrases that will best cover the meaning, and then switch round and decide what impressions one's words are likely to make on another person. This last effort of the mind cuts out all stale or mixed images, all prefabricated phrases, needless repetitions, and humbug and vagueness generally. But one can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases:&br&Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.&br&Never use a long word where a short one will do.&br&If it is possible to cut a word out, always cut it out.&br&Never use the passive where you can use the active.&br&Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.&br&Break any of these rules sooner than say anything outright barbarous.&br&These rules sound elementary, and so they are, but they demand a deep change of attitude in anyone who has grown used to writing in the style now fashionable. One could keep all of them and still write bad English, but one could not write the kind of stuff that I quoted in those five specimens at the beginning of this article.&br&I have not here been considering the literary use of language, but merely language as an instrument for expressing and not for concealing or preventing thought. Stuart Chase and others have come near to claiming that all abstract words are meaningless, and have used this as a pretext for advocating a kind of political quietism. Since you don't know what Fascism is, how can you struggle against Fascism? One need not swallow such absurdities as this, but one ought to recognise that the present political chaos is connected with the decay of language, and that one can probably bring about some improvement by starting at the verbal end. If you simplify your English, you are freed from the worst follies of orthodoxy. You cannot speak any of the necessary dialects, and when you make a stupid remark its stupidity will be obvious, even to yourself. Political language — and with variations this is true of all political parties, from Conservatives to Anarchists — is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind. One cannot change this all in a moment, but one can at least change one's own habits, and from time to time one can even, if one jeers loudly enough, send some worn-out and useless phrase — some jackboot, Achilles’ heel, hotbed, melting pot, acid test, veritable inferno, or other lump of verbal refuse — into the dustbin where it belongs.&br&1946
值得，Orwell本人的写作方法很强，我找了一片Orwell谈写作的文章，他本人的这篇文章很长，认真读完，比你买一堆live，textbook都强 George Orwell Politics and the English Language Most people who bother with the matter at all would admit that the …
说点冷门的吧。涨知识又有意思的小说，我首推阿瑟黑利。这爷爷多产，每部小说都是一个行业，写饭店的，写机场的，写汽车厂的，每本看完了都能知道不少事儿。而且他的书都是五六十年代写的，你会发现那会儿的美国很多社会矛盾和现在的中国差不多。&br&&br&阿瑟黑利的书中文版现在没有实体版本了，网上能下到PDF，没辙，实在是没出版社出，那一版还是80年代的。&br&&br&弗.弗塞斯的军事小说也不错，首推《战争猛犬》，雇佣兵建国，前面99%都是准备过程，结尾1%雷霆一击。很是过瘾。比汤姆克兰西更“冷酷”一些，汤姆克兰西后面还是更通俗化一些。&br&&br&迈克尔克莱顿，虽然也有神棍之处，但是基本功还是扎实的。他的《侏罗纪公园》你们肯定都知道，其实他还写过《刚果惊魂》，也有电影。
说点冷门的吧。涨知识又有意思的小说，我首推阿瑟黑利。这爷爷多产，每部小说都是一个行业，写饭店的，写机场的，写汽车厂的，每本看完了都能知道不少事儿。而且他的书都是五六十年代写的，你会发现那会儿的美国很多社会矛盾和现在的中国差不多。 阿瑟黑利…
&p&一、&br&你做了个梦，梦到自己年老体衰。&/p&&p&醒来后，你发现自己仍年轻着，于是欢呼着冲出家门，把脏衣服丢到洗衣机上，让奶奶今晚做最拿手的回锅肉，因为你要带朋友回来。&/p&&p&接着你穿上潮流衣服，出门，呼吸新鲜空气，大吼一声：我没老，年轻真好！&/p&&p&可你或许忘了，你那尚在屋里劳作的奶奶，已经老了。&/p&&p&二、&/p&&p&老头颤巍着走在夜色中。&/p&&p&突然，路灯一阵闪灭，几个混混冲了出来，将老头按倒在地。&/p&&p&“把钱都交出来！”一阵拳打脚踢后，混混掏空老头衣兜，扬长而去。&/p&&p&老头奄奄一息躺在地上，放在胸前的拳头紧紧攥着。&/p&&p&那是抗美援朝时的一枚勋章。&/p&&p&曾几何时，老头也是个英雄。&/p&&p&三、&/p&&p&小道士奉命猎妖。&/p&&p&师父说妖怪在山顶，山腰可能有个桃花妖，如果——&/p&&p&师父停下，随即叹了口气，道：她怎可能还在等我。&/p&&p&翌日，道士回归，手中提着妖怪头颅。&/p&&p&师父接过头颅，却发现道士衣袖中沾有花瓣。&/p&&p&“桃花妖，顺手斩了。”道士说，“很蠢，一直傻站着，动也不动。”&/p&&p&师父掩面痛哭。&/p&&p&四、&/p&&p&男人难得起早，为家人做了顿丰盛早餐。&/p&&p&“到学校要听话。”男人轻柔地为孩子背上书包，目送他远去。&/p&&p&“这是我做的便当，别点外卖了，不健康。”男人将便当递给妻子，接着与之吻别。&/p&&p&砰！防盗门关上，屋里又只剩男人一人。&/p&&p&男人叹了口气，打开了煤气。&/p&&p&股市暴跌，生意亏本，男人明白，只有一笔巨额保险，才能挽救这个家庭。&/p&&p&为了妻儿，他只能死。&/p&&p&五、&/p&&p&张三很惨。&/p&&p&辛苦考上大学，却又在毕业时找不到工作，以为能厮守一身的人，却给他带了帽子。&/p&&p&后来事业婚姻稳定了，突然出生的孩子却又令他头疼不已。&/p&&p&再接着，亲人离世，朋友远去，甚至于张三的内心也在一次次生离死别中硬了起来。&/p&&p&最后，张三躺在病床上，于孤独中死去。&/p&&p&惨么？虐么？&/p&&p&可这不就是你我的一生吗？&/p&
一、 你做了个梦，梦到自己年老体衰。醒来后，你发现自己仍年轻着，于是欢呼着冲出家门，把脏衣服丢到洗衣机上，让奶奶今晚做最拿手的回锅肉，因为你要带朋友回来。接着你穿上潮流衣服，出门，呼吸新鲜空气，大吼一声：我没老，年轻真好！可你或许忘了，你…
&p&1.圆锥曲线硬解定理&/p&&p&（对于认为难记和没有用的同学我想说几点&/p&&ul&&li&在刚开始学解析几何，开始联立方程的时候我就在想是否有通用公式避免我一次又一次重复同样的计算。虽然随着水平的提升计算的速度越来越快，一笔出方程，但是还是想找到一套通式。于是我找到了圆锥曲线硬解定理，但是我刚开始接触到硬解定理的时候还是非常抵触它的，看起来非常繁琐，尤其是百度百科上还引入了一些新的符号，没有统一使用字母&img src=&///equation?tex=a%2Fb& alt=&a/b& eeimg=&1&& 等，但是最后发现它还是十分方便的.（浙江考纲无仿射变换等，遇到面积问题若不复杂还是直接写比较保险）&/li&&li&使用硬解定理来写方程速度是不如直接写快的，但是计算&img src=&///equation?tex=%E3%80%81& alt=&、& eeimg=&1&& 来求参数&img src=&///equation?tex=k& alt=&k& eeimg=&1&& 的范围的时候，表达弦长&img src=&///equation?tex=%7CAB%7C& alt=&|AB|& eeimg=&1&& 的时候，可以快速写出最终表达式。如&img src=&///equation?tex=%7CAB%7C%3D%5Csqrt%7Bk%5E2%2B1%7D%7Cx_1-x_2%7C& alt=&|AB|=\sqrt{k^2+1}|x_1-x_2|& eeimg=&1&&或 &img src=&///equation?tex=%3D%5Csqrt%7Bk%5E2%2B1%7D%5Cfrac%7B%5Csqrt%7B%E3%80%81%7D%7D%7B%7Ca%7C%7D& alt=&=\sqrt{k^2+1}\frac{\sqrt{、}}{|a|}& eeimg=&1&&
假装你一步一步代入了，但是直接写出了最后的结果。平时作业可以秒杀一部分面积题，你可以用30s求出答案，再补写过程。&/li&&li&观察硬解定理，主要由以下部分组成：&img src=&///equation?tex=%5Csqrt%7BA%5E2%2BB%5E2%7D& alt=&\sqrt{A^2+B^2}& eeimg=&1&& 也即平常公式中的&img src=&///equation?tex=%5Csqrt%7Bk%5E2%2B1%7D& alt=&\sqrt{k^2+1}& eeimg=&1&&
&img src=&///equation?tex=A%5E2a%5E2%2BB%5E2b%5E2& alt=&A^2a^2+B^2b^2& eeimg=&1&& 也即联立后方程的二次项系数////&img src=&///equation?tex=2ab%2A%5Csqrt%7BA%5E2a%5E2%2BB%5E2b%5E2-C%5E2%7D& alt=&2ab*\sqrt{A^2a^2+B^2b^2-C^2}& eeimg=&1&& 也即&img src=&///equation?tex=%5Csqrt%7B%E3%80%81%7D& alt=&\sqrt{、}& eeimg=&1&& 实际并不难记，只有几部分。&/li&&li&不建议初学解析几何的同学使用，因为解析几何旨在培养我们的计算能力，只有你在有一定计算能力的基础上了之后再使用它去来加快解题速度。一定要保证自己的计算能力不能落后。&/li&&/ul&&br&&br&&img src=&/v2-7ee31dea00d69aa565e65b_b.png& data-rawwidth=&734& data-rawheight=&189& class=&origin_image zh-lightbox-thumb& width=&734& data-original=&/v2-7ee31dea00d69aa565e65b_r.png&&&p&实际上&/p&&p&对于直线&img src=&///equation?tex=%E5%AF%B9%E4%BA%8E%E7%9B%B4%E7%BA%BF+Ax%2BBy%2BC%3D0& alt=&对于直线 Ax+By+C=0& eeimg=&1&& 有：&/p&&img src=&/v2-6b7cb1b0ee38eba6e7d6cc4_b.png& data-rawwidth=&1318& data-rawheight=&1095& class=&origin_image zh-lightbox-thumb& width=&1318& data-original=&/v2-6b7cb1b0ee38eba6e7d6cc4_r.png&&&p&硬解定理可以用来秒杀面积类问题，口算△＞0，同理可得韦达定理的通式.&/p&&p&对于&img src=&///equation?tex=x%3Dmy%2Bt& alt=&x=my+t& eeimg=&1&& 形式的直线 只需要将A与B a与b交换即可得到关于y的通式.&/p&&p&进一步：&/p&&p&对于一般的直线&img src=&///equation?tex=AB%3Ay%3Dkx%2Bm& alt=&AB:y=kx+m& eeimg=&1&& 与椭圆&img src=&///equation?tex=C%3A%5Cfrac%7Bx%5E2%7D%7Ba%5E2%7D%2B%5Cfrac%7By%5E2%7D%7Bb%5E2%7D%3D1& alt=&C:\frac{x^2}{a^2}+\frac{y^2}{b^2}=1& eeimg=&1&&交于AB两点&/p&&p&有&img src=&///equation?tex=%28a%5E2k%5E2%2Bb%5E2%29x%5E2%2B2a%5E2kmx%2Ba%5E2%28m%5E2-b%5E2%29%3D0& alt=&(a^2k^2+b^2)x^2+2a^2kmx+a^2(m^2-b^2)=0& eeimg=&1&&&/p&&p&其中 &img src=&///equation?tex=%E3%80%81%3D4a%5E2b%5E2%28a%5E2k%5E2%2Bb%5E2-m%5E2%29%3E0& alt=&、=4a^2b^2(a^2k^2+b^2-m^2)&0& eeimg=&1&&&/p&&img src=&///equation?tex=S_%7B%E2%96%B3AOB%7D%3Dab%C2%B7%5Csqrt%7B%5Cfrac%7Bm%5E2%7D%7Ba%5E2k%5E2%2Bb%5E2%7D%281-%5Cfrac%7Bm%5E2%7D%7Ba%5E2k%5E2%2Bb%5E2%7D%7D%29%5Cleq+%5Cfrac%7B1%7D%7B2%7Dab& alt=&S_{△AOB}=ab·\sqrt{\frac{m^2}{a^2k^2+b^2}(1-\frac{m^2}{a^2k^2+b^2}})\leq \frac{1}{2}ab& eeimg=&1&&&p&当且仅当&img src=&///equation?tex=%5Cfrac%7Bm%5E2%7D%7Ba%5E2k%5E2%2Bb%5E2%7D%3D1-%5Cfrac%7Bm%5E2%7D%7Ba%5E2k%5E2%2Bb%5E2%7D& alt=&\frac{m^2}{a^2k^2+b^2}=1-\frac{m^2}{a^2k^2+b^2}& eeimg=&1&& 时成立&/p&&p&即&img src=&///equation?tex=a%5E2k%5E2%2Bb%5E2%3D2m%5E2& alt=&a^2k^2+b^2=2m^2& eeimg=&1&& 时成立&/p&&p&若AB与C相切，则有&img src=&///equation?tex=a%5E2k%5E2%2Bb%5E2%3Dm%5E2& alt=&a^2k^2+b^2=m^2& eeimg=&1&&&/p&&img src=&///equation?tex=x_%7B0%7D%3D%5Cfrac%7Bx_1%2Bx_2%7D%7B2%7D%3D-%5Cfrac%7Bka%5E2%7D%7Bm%7D& alt=&x_{0}=\frac{x_1+x_2}{2}=-\frac{ka^2}{m}& eeimg=&1&&&img src=&///equation?tex=y_%7B0%7D%3Dkx_0%2Bm%3D%5Cfrac%7Bb%5E2%7D%7Bm%7D& alt=&y_{0}=kx_0+m=\frac{b^2}{m}& eeimg=&1&&&p&&img src=&///equation?tex=k_%7BOP%7D%3D-%5Cfrac%7Bb%5E2%7D%7Bka%5E2%7D%3D%5Cfrac%7By_0%7D%7Bx_0%7D& alt=&k_{OP}=-\frac{b^2}{ka^2}=\frac{y_0}{x_0}& eeimg=&1&& (椭圆垂径定理，在11中有涉及)&/p&&p&于是得到切线方程&img src=&///equation?tex=%5Cfrac%7Bx_0x%7D%7Ba%5E2%7D%2B%5Cfrac%7By_0y%7D%7Bb%5E2%7D%3D%5Cfrac%7Bx_0%5E2%7D%7Ba%5E2%7D%2B%5Cfrac%7By_0%5E2%7D%7Ba%5E2%7D%3D1& alt=&\frac{x_0x}{a^2}+\frac{y_0y}{b^2}=\frac{x_0^2}{a^2}+\frac{y_0^2}{a^2}=1& eeimg=&1&&&/p&&p&可由此引出极线方程（点&img src=&///equation?tex=%28x_0%2Cy_0%29& alt=&(x_0,y_0)& eeimg=&1&& 在椭圆上时，极线方程即切线方程）：&img src=&///equation?tex=%5Cfrac%7Bx_0x%7D%7Ba%5E2%7D%2B%5Cfrac%7By_0y%7D%7Bb%5E2%7D%3D1& alt=&\frac{x_0x}{a^2}+\frac{y_0y}{b^2}=1& eeimg=&1&&&/p&&p&（午睡 有空再更&/p&&p&----------------------------------------------------------------&/p&&p&日 17:37:35 &/p&&p&2.关