霍爾因斯基
人物传记记录了一个人的一生，英文中文都一样，不过只是相对客观的吧。下面是我给大家整理的英文人物传记 范文 ，供大家参阅!
Franklin's life is full of charming stories which all young men should know -- how he sold books in Boston, and became the guest of kings in Europe; how he was made Major General Franklin, only to quit because, as he said, he was no soldier, and yet helped to organize the army that stood before the trained troops of England and Germany.
This poor Boston boy, without a day's schooling1, became master of six languages and never stopped studying; this neglected apprentice2 conquered the lightning, made his name famous, received degrees and diplomas from many colleges, and became forever remembered as "Doctor Franklin", philosopher, scientist and political leader.
Self-made, self-taught, the candle maker's son gave light to all the world; the street bookseller set all men singing of liberty; the apprentice became the most sought after man across the world, and brought his native land to praise and honor him.
He built America, for what our nation is today is largely due to the management, the forethought, the wisdom, and the ability of Benjamin Franklin. He belongs to the world, but especially he belongs to America. The people around the world honored him while he was living; he is still regarded as the loftiest man by the common people today after his death. And he will live in people's hearts forever.
Washington was the first president of the U.S. He was very clever even when he was still a 12-year-old-boy.
Once a thief stole some money from Uncle Post, Washington's neighbor. The door of the house was not broken, and things in the room were in good order. Washington concluded that the thief must have been committed by one of the villagers.
That evening at the villagers' meeting the said, "We don't know who stole the money but God does. God sends his wasp1 to tell good from evil. Every night the wasp flies among us but few people notice it…" Then, all of a sudden Washington waved his hand and cried out, "Look! The wasp has landed on the thief's hat. It is going to sting2!"
The crowd burst into an uproar3. Everybody turned to look for the thief. But soon the noise died down. All eyes were fixed4 on a man who was trying hard to drive the "Wasp" off his hat.
"Now we know who stole the money," Washington said with a smile.
华盛顿是美国的第一任总统，他在12岁时就十分聪明。
有一次，一个小偷从他的邻居大叔皮斯特那里偷了一点钱，房屋是好好的，屋子里的东西很整齐。华盛顿得出结论窃案必定是村民中的某一个人干的。
晚上在村民大会上，他说：“虽然我们不知道是谁偷了钱，但神知道。神派他的黄蜂分辨善恶，每天晚上黄蜂虽然在我们之间飞，但很少人会察觉。”华盛顿突然挥了挥手喊道：“看黄蜂停在贼的帽子上了，贼要被刺到了。”
人群突然变得哗然，每个人都转过身找那个贼，但是不久喧哗声渐渐平息下来。所有的眼睛都盯着试图赶走帽子黄蜂的人。
“现在，我们知道了谁偷了钱。”华盛顿微笑着说。
Demades the orator1 was once speaking in the assembly at Athens; but the people were very inattentive to what he was saying, so he stopped and said, "Gentlemen, I should like to tell you one of Aesop's fables2." This made every one listen intently. Then Demades began: "Demeter, a swallow, and an eel3 were once travelling together, and came to a river without a bridge: the swallow flew over it, and the eel swam across", and then he stopped. "What happened to Demeter?" cried several people in the audience. "Demeter," he replied, "is very angry with you for listening to fables when you ought to be minding public business."
有一次，演说家狄马德斯在雅典的一次集会上演讲，但是没有一个人认真听，他便停下来，说：“先生们，我很想告诉你们一个伊索寓言里的 故事 。”这话受到了人们的重视。接着，他开始说：“有一次，德墨忒尔(掌管农业，结婚，丰饶的女神)和一只燕子，一只鳗鱼同行，他们要穿过一条没有桥的河，燕子飞过去，鳗鱼游过去了。”讲到这里，他便停下来，不再讲了。听众中有几个人问他：“那么德墨忒尔怎么过去的呢?”他回答说：“德墨忒尔正在生你们的气呢，因为你们对公共事务毫无兴趣，一心只喜欢听伊索寓言。”
Once a neighbor1 stole2 one of Washington4's horse. Washington horse back. But the neighbor refused to give the horse back. He said5 that it was3 his horse.
Suddenly6 Washington had7 a good idea. He put both of his hands over the eyes of the horse and said to the neighbor, xiaogushi8.com "If this is your horse, then you must tell us in which eye the horse is blind8."
"In the left, "said the neighbor. Washington took9 his hand from the left eye of the horse and showed the policeman that the horse was not blind in the left eye.
"Oh , I have made10 a mistake," said the neighbor. "He is blind in the right eye." Washington then showed that the horse was not blind in the right eye, either11.
"I have made another mistake," said the neighbor.
"Yes," said the policeman, " and you have also proved12 that the horse isn't yours. You must return13 it to Mr Washington. "
有一次，一个邻居偷了华盛顿的一匹马。华盛顿带着一名警察到邻居家去把马要回来，但是邻居不愿还给他，硬说这匹马是他的。
华盛顿灵机一动，计上心来。他用双手遮住了马的双眼，对邻居说：“如果这匹马是你的，那么你应该告诉我们它的哪一只眼睛是瞎的?”
“左眼是瞎的，”邻居说。华盛顿放开遮在左眼的那只手，给警察看马的左眼并没有瞎掉。
“哦，我说错了，”邻居说。“右眼是瞎的。”然后华盛顿展示了右眼同样也没有瞎。
“我又说错了。”邻居说。
“是的，”警察说，“你已证明这匹马不是你的。你必须把他还给华盛顿先生。”
MidnightAngel
上google里面搜索Edward Hopper 维基百科（Wikipedia）里就有介绍或"Edward Hopper, the best-known American realist of the inter-war period, once said: 'The man's the work. Something doesn't come out of nothing.' This offers a clue to interpreting the work of an artist who was not only intensely private, but who made solitude and introspection important themes in his painting. "He was born in the small Hudson River town of Nyack, New York State, on 22 July 1882. His family were solidly middle-class: his father owned a dry goods store where the young Hopper sometimes worked after school. By 1899 he had already decided to become an artist, but his parents persuaded him to begin by studying commercial illustration because this seemed to offer a more secure future. He first attended the New York School of Illustrating (more obscure than its title suggests), then in 1900 transferred to the New York School of Art. Here the leading figure and chief instructor was William Merritt Chase (1849-1916), an elegant imitator of Sargent. He also worked under Robert Henri (1869-1929), one of the fathers of American Realism - a man whom he later described as 'the most influential teacher I had', adding 'men didn't get much from Chase; there were mostly women in the class.' Hopper was a slow developer - he remained at the School of Art for seven years, latterly undertaking some teaching work himself. However, like the majority of the young American artists of the time, he longed to study in France. With his parents' help he finally left for Paris in October 1906. This was an exciting moment in the history of the Modern movement, but Hopper was to claim that its effect on him was minimal: Whom did I meet? Nobody. I'd heard of Gertrude Stein, but I don't remember having heard of Picasso at all. I used to go to the cafés at night and sit and watch. I went to the theatre a little. Paris had no great or immediate impact on me. "In addition to spending some months in Paris, he visited London, Amsterdam, Berlin and Brussels. The picture that seems to have impressed him most was Rembrandt's The Night Watch (in the Rijksmuseum, Amsterdam). Hopper was able to repeat his trip to Europe in 1909 and 1910. On the second occasion he visited Spain as well as France. After this, though he was to remain a restless traveller, he never set foot in Europe again. Yet its influence was to remain with him for a long time: he was well read in French literature, and could quote Verlaine in the original, as his future wife discovered (he was surprised when she finished the quotation for him). He said later: '[America] seemed awfully crude and raw when I got back. It took me ten years to get over Europe.' For some time his painting was full of reminiscences of what he had seen abroad. This tendency culminates in Soir Bleu of 1914, a recollection of the Mi-Caréme carnival in Paris, and one of the largest pictures Hopper ever painted. It failed to attract any attention when he showed it in a mixed exhibition in the following year, and it was this failure which threw him back to working on the American subjects with which his reputation is now associated. In 1913 Hopper made his first sale - a picture exhibited at the Armory Show in New York which brought together American artists and all the leading European modernists. In 1920 he had his first solo exhibition, at the Whitney Studio Club, but on this occasion none of the paintings sold. He was already thirty-seven and beginning to doubt if he would achieve any success as an artist - he was still forced to earn a living as a commercial illustrator. One way round this dilemma was to make prints, for which at that time there was a rising new market. These sold more readily than his paintings, and Hopper then moved to making watercolours, which sold more readily still. "Hopper had settled in Greenwich Village, which was to be his base for the rest of his life, and in 1923 he renewed his friendship with a neighbour, Jo Nivison, whom he had known when they were fellow students under Chase and Henri. She was now forty; Hopper was forty-two. In the following year they married. Their long and complex relationship was to be the most important of the artist's life. Fiercely loyal to her husband, Jo felt in many respects oppressed by him. In particular, she felt that he did nothing to encourage her own development as a painter, but on the contrary did everything to frustrate it. 'Ed,' she confided to her diary, 'is the very centre of my universe... If I'm on the point of being very happy, he sees to it that I'm not.' The couple often quarrelled fiercely (an early subject of contention was Jo's devotion to her cat Arthur, whom Hopper regarded as a rival for her attention). Sometimes their rows exploded into physical violence, and on one occasion, just before a trip to Mexico, Jo bit Hopper's hand to the bone. On the other hand, her presence was essential to his work, sometimes literally so, since she now modelled for all the female figures in his paintings, and was adept at enacting the various roles he required. "From the time of his marriage, Hopper's professional fortunes changed. His second solo show, at the Rehn Gallery in New York in 1924, was a sell-out. The following year, he painted what is now generally acknowledged to be his first fully mature picture, The House by the Railroad. With its deliberate, disciplined spareness, this is typical of what he was to create thereafter. His paintings combine apparently incompatible qualities. Modern in their bleakness and simplicity, they are also full of nostalgia for the puritan virtues of the American past - the kind of quirky nineteenth-century architecture Hopper liked to paint, for instance, could not have been more out of fashion than it was in the mid-192OS, when he first began to look at it seriously. Though his compositions are supposedly realist they also make frequent use of covert symbolism. Hopper's paintings have, in this respect, been rather aptly compared to the realist plays of Ibsen, a writer whom he admired. "One of the themes of The House by the Railroad is the loneliness of travel, and the Hoppers now began to travel widely within the United States, as well as going on trips to Mexico. Their mobility was made possible by the fact that they were now sufficiently prosperous to buy a car. This became another subject of contention between the artist and his wife, since Hopper, not a good driver himself, resisted Jo's wish to learn to drive too. She did not acquire a driving licence until 1936, and even then her husband was extremely reluctant to allow her control of their automobile. "By this time Hopper, whose career, once it took off, was surprisingly little affected by the Depression, had become extremely well known. In 1929, he was included in the Museum of Modern Art's second exhibition, Paintings by Nineteen Living Americans, and in 1930 The House by the Railroad entered the museum's permanent collection, as a gift from the millionaire collector Stephen Clark. In the same year, the Whitney Museum bought Hopper's Early Sunday Morning, its most expensive purchase up to that time. In 1933 Hopper was given a retrospective exhibition at the Museum of Modern Art. This was followed, in 1950, by a fuller retrospective show at the Whitney. "Hopper became a pictorial poet who recorded the starkness and vastness of America. Sometimes he expressed aspects of this in traditional guise, as, for example, in his pictures of lighthouses and harsh New England landscapes; sometimes New York was his context, with eloquent cityscapes, often showing deserted streets at night. Some paintings, such as his celebrated image of a gas-station, Gas (1940), even have elements which anticipate Pop Art. Hopper once said: 'To me the most important thing is the sense of going on. You know how beautiful things are when you're travelling.' "He painted hotels, motels, trains and highways, and also liked to paint the public and semi-public places where people gathered: restaurants, theatres, cinemas and offices. But even in these paintings he stressed the theme of loneliness - his theatres are often semideserted, with a few patrons waiting for the curtain to go up or the performers isolated in the fierce light of the stage. Hopper was a frequent movie-goer, and there is often a cinematic quality in his work. As the years went on, however, he found suitable subjects increasingly difficult to discover, and often felt blocked and unable to paint. His contemporary the painter Charles Burchfield wrote: 'With Hopper the whole fabric of his art seems to be interwoven with his personal character and manner of living.' When the link between the outer world he observed and the inner world of feeling and fantasy broke, Hopper found he was unable to create. "In particular, the rise of Abstract Expressionism left him marooned artistically, for he disapproved of many aspects of the new art. He died in 1967, isolated if not forgotten, and Jo Hopper died ten months later. His true importance has only been fully realized in the years since his death."
