英文。
　　Respected the country small time to read "Young Prince"
　　Only then knew person's memory is this unreliable thing
　　Except started that snake to swallow elephant's picture and theyoung prince and fox's impression
　　I was really forget smoothly
　　Only spend approximately end for half hour to look has beenlight "Young Prince"
　　Is edition which all phenomena on earth newly turns
　　Had forgotten it is such sad book young prince pure thereforeis immortal
　　Unexpectedly is the affiliation dies is aloof completes
　　I unable to restrain a little in consternation
　　A page of pages sad papers sentence I turn very am very muchanxiously heavy
　　Such child really really was a little brutal!
　　Let so-called only know the right liquor wealth fantasy and duty"adult",
　　One each one all sadly does not keep silent the language....
　　The young prince roams about in the desert, lonely and isexhausted
　　Is the most atrocious accusation loses the child really at thesame time
　　They also let in the heart the young prince had died....
　　Or said the young prince's death originally is inevitable?
　　He inevitably must change to makes another kind invisible and thelither form
　　He only then has the possibility in this world existence alsoto be able the eternal
　　So he can "forever" accompany that arrogantly but the frailrose,
　　Even if is in such not compared to the house big star on,
　　Even if in there him may look 44 times of sunsets melt go toin the heart to be sad,
　　He is very easily punctured because he is such frailly issimilar to white paper same "child"....
　　Therefore I said the author very cruelly has stolen alaziness,
　　Enable us to arrive the impulse which here all had totransform cannot bear is going to neigh stops,
　　Then was saying the "young prince energy band his heavy bodyis not departing"
　　However he spend then the multi- words to write Huang She'sterror and the enticement,
　　But finally does not forget to write that fearful venom to letthe cold and dreary scene which the young prince died....
　　I want to let us say like this!
　　The young prince understood he is going to face is any,
　　Only is he in this "heavy" wilderness even more understood allhe passes,
　　Is cannot retrieve in here...
　　Therefore he seeks another kind of life the existence
　　In order to go back he 锺爱 rose side
　　He has accepted god of death pitying.....
　　He in during the long term journey thought very weary and issad
　　He sad is the world is sad because such world only has theentirely alike person and the flowers
　　Does not have the fox the young prince not young prince'srose....
　　When that has the ultimate significance to oneself the thingno longer to exist (or presses plant root not)
　　Then here is only left over meets the golden color the wheatfield and a garden immaterial rose
　　For see the wheat field thought of the fox is intelligent
　　A company wheat field missing all no heart wilderness
　　Is in the world the saddest soil
　　A young prince year journey trod all "barren land"
　　Also should be tired.....
　　Only is I always thought such returned the law too coldly tobe sad
　　I always am imagining a more variegated method.......
　　希望楼主满意。给分。。

Made less satirical than Mark Twain's classic and simplified for younger readers, this retelling is still a lively romp. A beggar and a prince look so alike that they change places but then cannot immediately switch back. Mayer's (The Unicorn and the Lake) adaptation is serviceable if not sparkling; she retains all the key scenes of the story but flattens Twain's archaisms. While some of the original's sophisticated humor gets lost in the translation, much of it remains. For example, when Edward, the prince, tries telling pauper Tom's parents that he is really the Prince of Wales, Tom's mother responds, "Oh, poor Tom, it's all those books you read that's done this to you." And in court, when Tom is given a finger bowl, he drinks from it, announcing, "This is a very flavorless soup." Lippincott (Bruce Coville's Magic Shop series) vibrantly renders the ragged features of the paupers, and his tableaux are full of life. His palace scenes are ornate, light-filled watercolors of splendor in which the boys' homely, toothy faces seem like the only real and honest things. For readers not yet ready for Twain, this version, like its model, will make them think about their places in the world.

底线
An outstanding book that gives newcomers the basics while it provides specific details for anyone who wishes to build a straw bale home.一个优秀的书，让新人的基本知识，同时它提供的人谁希望建立一个稻草家的具体细节。

Pros优点
•Authors give options for all building techniques discussed.作者给出所有建筑讨论的技术方案。
•In-depth coverage of topics.深入报道的主题。
•Good photos and illustrations.好照片和插图。
Cons缺点
•None from my point of view没有从我的角度来看
Description说明
•A look at the history of straw bale homes and how the craft has progressed worldwide.一个在历史上的稻草屋的外观和工艺已取得进展如何全世界。
•Answers to common concerns, including fire safety, moisture, odors, pests and rodents, and more.对共同关心的问题，包括防火安全，防潮，气味，害虫，老鼠和更多的答案。
•Discussions about building codes, insurance, and financing.讨论有关建筑法规，保险和融资。
•Extensive information about working with bales to create the structure.与工作有关的广泛的信息来创建包的结构。
•Information to help you incorporate passive solar principles.信息可以帮助您整合被动式太阳能的原则。
•A variety of options for building foundations, roofs, floors, and finishing walls.一，供建筑地基，屋顶，地板的选择，以及各种精加工墙。
Guide Review - "The Straw Bale House" by Athena Swentzell Steen et al指南回顾 - “的稻草屋”雅典娜Swentzell施特恩等
This book was my first real glimpse at straw bale houses.这本书是我第一次在稻草房屋真实的一瞥。 It lead me through the basics in an easily understandable, non-intimidating manner, laying the foundation for the more detailed information ahead.它带领我的基础知识在一个容易理解的，非威胁的方式，奠定了更详细的信息未来的基础。 I especially appreciated the authors' obvious desire to give readers options for nearly every aspect of the building and finishing process.我特别欣赏作者的明显愿望，让读者对几乎每一个方面的建设和整理工艺的选择。
Photos and illustrations throughout the text point out that straw bale homes are definitely not all alike, and that we can indeed inject our own needs and tastes into the layout of our home designs.照片和插图整个文本的点出，稻草屋，绝对不是都一样，而且我们的确可以注入我们的家园我们自己的设计布局的需要和口味。
Learn what works -- and what doesn't.了解什么作品 - 以及什么没有。 "The Straw Bale House" is one of those rare reference books that cross over to provide us with a healthy dose of inspiration.说：“稻草屋”是罕见的参考书跨越提供一个健康的剂量我们的启示之一。

Lord Macaulay 评论
SHAKESPEARE has had neither equal nor second. But among the writers who, in the point which we have noticed, have approached nearest to the manner of the great master we have no hesitation in placing Jane Austen, a woman of whom England is justly proud. She has given us a multitude of characters, all, in a certain sense, commonplace, all such as we meet every day. Yet they are all as perfectly discriminated from each other as if they were the most eccentric of human beings. There are, for example, four clergymen, none of whom we should be surprised to find in any parsonage in the kingdom—Mr. Edward Ferrars, Mr. Henry Tilney, Mr. Edmund Bertram, and Mr. Elton. They are all specimens of the upper part of the middle class. They have all been liberally educated. They all lie under the restraints of the same sacred profession. They are all young. They are all in love. Not one of them has any hobby-horse, to use the phrase of Sterne. Not one has a ruling passion, such as we read of in Pope. Who would not have expected them to be insipid likenesses of each other? No such thing. Harpagon is not more unlike to Jourdain, Joseph Surface is not more unlike to Sir Lucius O'Trigger, than every one of Miss Austen's young divines to all his reverend brethren. And almost all this is done by touches so delicate that they elude analysis, that they defy the powers of description, and that we know them to exist only by the general effect to which they have contributed.—From essay on "Madame D'Arblay," 1843.
W. F. Pollock 评论
MISS AUSTEN never attempts to describe a scene or a class of society with which she was not herself thoroughly acquainted. The conversations of ladies with ladies, or of ladies and gentlemen together, are given, but no instance occurs of a scene in which men only are present. The uniform quality of her work is one most remarkable point to be observed in it. Let a volume be opened at any place: there is the same good English, the same refined style, the same simplicity and truth. There is never any deviation into the unnatural or exaggerated; and how worthy of all love and respect is the finely disciplined genius which rejects the forcible but transient modes of stimulating interest which can so easily be employed when desired, and which knows how to trust to the never-failing principles of human nature! This very trust has sometimes been made an objection to Miss Austen, and she has been accused of writing dull stories about ordinary people. But her supposed ordinary people are really not such very ordinary people. Let anyone who is inclined to criticise on this score endeavor to construct one character from among the ordinary people of his own acquaintance that shall be capable of interesting any reader for ten minutes. It will then be found how great has been the discrimination of Miss Austen in the selection of her characters, and how skillful is her treatment in the management of them. It is true that the events are for the most part those of daily life, and the feelings are those connected with the usual joys and griefs of familiar existence; but these are the very events and feelings upon which the happiness or misery of most of us depends; and the field which embraces them, to the exclusion of the wonderful, the sentimental, and the historical, is surely large enough, as it certainly admits of the most profitable cultivation. In the end, too, the novel of daily real life is that of which we are least apt to weary: a round of fancy balls would tire the most vigorous admirers of variety in costume, and the return to plain clothes would be hailed with greater delight than their occasional relinquishment ever gives. Miss Austen's personages are always in plain clothes, but no two suits are alike: all are worn with their appropriate differences, and under all human thoughts and feelings are at work.—From "Fraser's Magazine," January, 1860.
Anne Thackeray Ritchie 评论
NOTWITHSTANDING a certain reticence and self control which seems to belong to their age, and with all their quaint dresses, and ceremonies, and manners, the ladies and gentlemen in "Pride and Prejudice" and its companion novels seem like living people out of our own acquaintance transported bodily into a bygone age, represented in the half-dozen books that contain Jane Austen's works. Dear books! bright, sparkling with wit and animation, in which the homely heroines charm, the dull hours fly, and the very bores are enchanting....
She has a gift of telling a story in a way that has never been surpassed. She rules her places, times, characters, and marshals them with unerring precision. Her machinery is simple but complete; events group themselves so vividly and naturally in her mind that, in describing imaginary scenes, we seem not only to read them but to live them, to see the people coming and going—the gentlemen courteous and in top-boots, the ladies demure and piquant; we can almost hear them talking to one another. No retrospects; no abrupt flights, as in real life: days and events follow one another Last Tuesday does not suddenly start into existence all out of place; nor does 1790 appear upon the scene when we are well on in '21. Countries and continents do not fly from hero to hero, nor do long and divergent adventures happen to unimportant members of the company. With Miss Austen, days, hours, minutes, succeed each other like clockwork; one central figure is always present on the scene; that figure is always prepared for company....
Some books and people are delightful, we can scarce tell why; they are not so clever as others that weary and fatigue us. It is a certain effort to read a story, however touching, that is disconnected and badly related. It is like an ill-drawn picture, of which the coloring is good. Jane Austen possessed both gifts of color and drawing. She could see human nature as it was—with near-sighted eyes, it is true; but having seen, she could combine her picture by her art, and color it from life....
It is difficult, reading the novels of succeeding generations, to determine how much each book reflects of the time in which it was written; how much of its character depends upon the mind and mood of the writer. The greatest minds, the most original, have the least stamp of the age, the most of that dominant natural reality which belongs to all great minds. We know how a landscape changes as the day goes on, and how the scene brightens and gains in beauty as the shadows begin to lengthen. The clearest eyes must see by the light of their own hour. Jane Austen's hour must have been a midday hour—bright, unsuggestive, with objects standing clear without relief or shadow. She did not write of herself, but of the manners of her age. This age is essentially an age of men and women of strained emotion, little remains of starch, or powder, or courtly reserve. What we have lost in calm, in happiness, in tranquillity, we have gained in intensity. Our danger is now, not of expressing and feeling too little, but of expressing more than we feel....
Miss Austen's heroines have a stamp of their own. They have a certain gentle self-respect and humor and hardness of heart in which modern heroines are a little wanting. Whatever happens they can for the most part speak of gayly and without bitterness. Love with them does not mean a passion so much as an interest—deep, silent, not quite incompatible with a secondary flirtation. Marianne Dashwood's tears are evidently meant to be dried. Jane Bennet smiles, sighs, and makes excuses for Bingley's neglect. Emma passes one disagreeable morning making up her mind to the unnatural alliance between Mr. Knightley and Harriet Smith. It was the spirit of the age, and perhaps one not to be unenvied. It was not that Jane Austen herself was incapable of understanding a deeper feeling. In the last written page of her last written book there is an expression of the deepest and truest experience. Anne Elliot's talk with Captain Harville is the touching utterance of a good woman's feelings. They are speaking of men and women's affections. "You are always laboring and toiling," she says, "exposed to every risk and hardship. Your home, country, friends, all united; neither time nor life to call your own. It would be hard indeed (with a faltering voice) if a woman's feelings were to be added to all this."
Farther on she says eagerly: "I hope I do justice to all that is felt by you, and by those who resemble you. God forbid that I should undervalue the warm and faithful feelings of any of my fellow-creatures. I should deserve utter contempt if I dared to suppose that true attachment and constancy were known only by woman. No! I believe you capable of everything great and good in your married lives. I believe you equal to every important exertion, and to every domestic forbearance, so long as—if I may be allowed the expression—so long as you have an object; I mean while the woman you love lives, and lives for you. All the privilege I claim for my own (it is not a very enviable one, you need not court it) is that of loving longest when existence or when hope is gone."
She could not immediately have uttered another sentence—her heart was too full, her breath too much oppressed.
Dear Anne Elliot! sweet, impulsive, womanly, tender-hearted!—one can almost hear her voice pleading the cause of all true women. In those days, when perhaps people's nerves were stronger than they are now, sentiment may have existed in a less degree, or have been more ruled by judgment; it may have been calmer and more matter-of-fact; and yet Jane Austen, at the very end of her life, wrote thus. Her words seem to ring in our ears after they have been spoken. Anne Elliot must have been Jane Austen herself, speaking for the last time. There is something so true, so womanly about her, that it is impossible not to love her. She is the bright-eyed heroine of the earlier novels matured, chastened, cultivated, to whom fidelity has brought only greater depth and sweetness instead of bitterness and pain.—From "The Cornhill Magazine," August, 1871.
Goldwin Smith 评论
AS we should expect from such a life, Jane Austen's view of the world is genial, kindly, and, we repeat, free from anything like cynicism. It is that of a clear-sighted and somewhat satirical onlooker, loving what deserves love, and amusing herself with the foibles, the self-deceptions, the affectations of humanity. Refined almost to fastidiousness, she is hard upon vulgarity; not, however, on good-natured vulgarity, such as that of Mrs. Jennings in "Sense and Sensibility," but on vulgarity like that of Miss Steele, in the same novel, combined at once with effrontery and with meanness of soul....
To sentimentality Jane Austen was a foe. Antipathy to it runs through her works. She had encountered it in the romances of the day, such as the works of Mrs. Radcliffe and in people who had fed on them. What she would have said if she had encountered it in the form of Rousseauism we can only guess. The solid foundation of her own character was good sense, and her type of excellence as displayed in her heroines is a woman full of feeling, but with her feelings thoroughly under control. Genuine sensibility, however, even when too little under control, she can regard as lovable. Marianne in "Sense and Sensibility" is an object of sympathy, because her emotions, though they are ungoverned and lead her into folly, are genuine, and are matched in intensity by her sisterly affection. But affected sentiment gets no quarter....
Jane Austen had, as she was sure to have, a feeling for the beauties of nature. She paints in glowing language the scenery of Lyme. She speaks almost with rapture of a view which she calls thoroughly English, though never having been out of England she could hardly judge of its scenery by contrast. She was deeply impressed by the sea, on which, she says, "all must linger and gaze, on their first return to it, who ever deserves to look on it at all." But admiration of the picturesque had "become a mere jargon," from which Jane Austen recoiled. One of her characters is made to say that he likes a fine prospect, but not on picturesque principles; that he prefers tall and flourishing trees to those which are crooked and blasted; neat to ruined cottages, snug farmhouses to watchtowers, and a troop of tidy, happy villagers to the finest banditti in the world....
Jane Austen held the mirror up to her time, or at least to a certain class of the people of her time; and her time was two generations and more before ours. We are reminded of this as we read her works by a number of little touches of manners and customs belonging to the early part of the century, and anterior to the rush of discovery and development which the century has brought with it. There are no railroads, and no lucifer matches. It takes you two days and a half, even when you are flying on the wings of love or remorse, to get from Somersetshire to London. A young lady who has snuffed her candle out has to go to bed in the dark. The watchman calls the hours of the night. Magnates go about in chariots and four with outriders, their coachmen wearing wigs. People dine at five, and instead of spending the evening in brilliant conversation as we do they spend it in an unintellectual rubber of whist, or a round game. Life is unelectric, untelegraphic; it is spent more quietly and it is spent at home. If you are capable of enjoying tranquillity, at least by way of occasional contrast to the stir and stress of the present age, you will find in these tales the tranquillity of a rural neighborhood and a little country town in England a century ago....
That Jane Austen held up the mirror to her time must be remembered when she is charged with want of delicacy in dealing with the relations between the sexes, and especially in speaking of the views of women with regard to matrimony. Women in those days evidently did consider a happy marriage as the best thing that destiny could have in store for them. They desired it for themselves and they sought it for their daughters. Other views had not opened out to them; they had not thought of professions or public life, nor had it entered into the mind of any of them that maternity was not the highest duty and the crown of womanhood. Apparently they also confessed their aims to themselves and to each other with a frankness which would be deemed indelicate in our time. The more worldly and ambitious of them sought in marriage rank and money, and avowed that they did, whereas they would not avow it at the present day. Gossip and speculation on these subjects were common and more unrefined than they are now, and they naturally formed a large part of the amusement of the opulent and idle class from which Jane Austen's characters were drawn. Often, too, she is ironical; the love of irony is a feature of her mind, and for this also allowance must be made. She does not approve or reward matchmaking or husband-hunting. Mrs. Jennings, the great matchmaker in "Sense and Sensibilty," is also a paragon of vulgarity. Mrs. Norris's matchmaking in "Mansfield Park" leads to the most calamitous results. Charlotte Lucas in "Pride and Prejudice," who unblushingly avows that her object is a husband with a good income, gets what she sought, but you are made to see that she has bought it dear....
The life which Jane Austen painted retains its leading features, and is recognized by the reader at the present day with little effort of the imagination. It is a life of opulent quiet and rather dull enjoyment, physically and morally healthy compared with that of a French aristocracy, though without much of the salt of duty; a life uneventful, exempt from arduous struggles and devoid of heroism, a life presenting no materials for tragedy and hardly an element of pathos, a life of which matrimony is the chief incident, and the most interesting objects are the hereditary estate and the heir.
Such a life could evidently furnish no material for romance. It could furnish materials only for that class of novel which corresponds to sentimental comedy. To that class all Jane Austen's novels belong.—From "Life of Jane Austen," in "Great Writers," 1890.

A hat frightening? If you see it as a snake to swallow the elephant? In this full of utilitarian world, the big people's eyes Forever only the number of children has long been the world, they have overlooked. It has already lost a child-like purity gone? In order to find the answer to that question, I won the "Little Prince."
"Little Prince" is a clear spiritual books, is an adult fairy tale written for adults, is a book about life and the lives of the fable. As the book said, the water on the heart is beneficial. And "Little Prince" on the water like a thorough clarification of people feel warmth and tranquility.
The story of the little prince of life with a serious attitude, he diligently to clear the crater, pulling the monkey bread tree seedlings. However, The Little Prince is a lonely, depressed mood in his time, he would mention a stool chasing the sun to see the sunset. Only enjoy the sunset when the twilight Feelings tenderness that is his only pleasure. He had read 43 times a day sunset, because his heart is full of endless loneliness and sorrow. Fortunately a Rose entered his life, Rose has a quiet tenderness, she will lie was exposed repeatedly cough, she is a beautiful and very proud of flowers. She恋着sad little prince, little prince also sincerely love roses. A trivial matter, however they eventually made to separate the sensitive Little Prince as an angry Rose of Love from doubt, he got out of their own stars, leaving behind Rose and started their own travel alone.
And then he came to Earth, he encountered a small fox, and the request of a small fox domestication her. She believes that if the Little Prince domesticate her, her life will be happy. Little Prince, together with a small fox days, the little prince to understand the unique Rose, and he began to think that Rose tamed him, he must assume responsibility for the roses. Little Prince, where the foxes learned to love, aware of what he wants to pursue things, he is going to leave a small fox to assume his responsibility. Little Prince finally found themselves unable to go back, he places on Earth hovering repeatedly and deeply miss his flowers. Can not go back in the days to come, The Little Prince will be looking at their own stars, he said: "If you fell in love with a grown up in a star on the flowers, then at night, do you feel looking at a pleasant sweetness. All the stars both seem to blooming. "distressed fragile little prince could not bear to miss the pain that he would eagerly go back, and finally he chose to snake venom end their lives, even though he was afraid of the pain, but he think it will be able to cast off their bulky body to go back.
Every time, "Little Prince", have been such a child-like attitude about the world moving, how naive, childish, could also how pure and sincere. In real life, we are busy throughout the day, such as groups of flies without a soul. The passage of time, childhood away, we have gradually grown up and taken away many years of memories, but also eroded the bottom of my heart to have, That childish innocence.
Because the little prince little story, we live in quiet, the heart has a hope and tenderness, have touched on the responsibility of domestication
中文翻译： 一顶帽子可怕吗？如果把它看成是一条吞了大象的蟒蛇呢?在这个充满着功利的世界里，大人们的眼中永远只有数字,孩子们的世界早已被他们忽略。那早已丢失的孩童般的纯净去了哪里？为了找寻问题的答案，我捧起了《小王子》。
《小王子》是一本清澈心灵的书，是一本成年人写给成年人的童话，是一本关于生活和生命的寓言。正如书中所说的，水对心是有益处的。而《小王子》就如水般澄清透彻，使人安宁并且心生暖意。
故事中的小王子对生活抱着认真的态度，他勤勉地疏通火山口，拔着猴面包树的幼苗。然而小王子是孤独的，在他心情低落的时候，他会提着凳子追着太阳看日落。只有欣赏日落时那脉脉含情的余晖，才是他唯一的乐趣。他曾一天看了四十三次日落，因为他心里充满了无尽的孤独和忧伤。有幸的是一朵玫瑰进入了他的生活，玫瑰有着沉静的柔情，她在谎言被揭穿后会反复咳嗽，她是一朵美丽而且非常骄傲的花。她恋着忧伤的小王子，小王子也真诚地爱着玫瑰。然而一件小事最终却使他们分开，敏感的小王子因为玫瑰的一次恼怒而对爱生起怀疑，他离开了自己的星星，抛下了玫瑰，开始了自己孤单的旅行。
而然后他来到地球，他碰到了小狐狸，并且在小狐狸的要求下驯养了她。她认为，如果小王子驯养了她，她的生活一定会是欢快的。小王子在与小狐狸一起的日子，小王子懂得了玫瑰的独一无二，并且他开始认为玫瑰驯服了他，他必须对玫瑰承担起责任。小王子在狐狸那里学会了爱，认识到了他所要追求的东西，他要离开小狐狸去承担他的责任。 小王子最后发现自己无法回去，他在降临地球的地方反复徘徊，并且深深想念着他的花儿。在不能回去的日子里，小王子会望着自己的星星，他说：“如果你爱上了一朵生长在一颗星星上的花，那么夜间，你看着就感到甜蜜愉快。所有的星星上都好象开着花。”忧伤脆弱的小王子无法忍受想念的痛苦，他要急切地回去，最后他选择了以蛇的毒液结束自己的生命，尽管他害怕痛苦，但是他认为这样就能抛下自己笨重的身体回去。
每一次读《小王子》，都被这种孩子式的看待世界的态度感动，多么天真、幼稚，可又多么纯洁、真诚。在现实生活中，我们整天忙忙碌碌，像一群群没有灵魂的苍蝇.时光流逝，童年远去，我们渐渐长大，岁月带走了许许多多的记忆，也消蚀了心底曾经拥有的那份童稚的纯真。
因为小王子小小的故事，我们在静静的生活时，心中有着希望和温存，有着感动和关于驯养的责任。