形容人高贵品质的词语

形容人品质的词语有大公无私、高风亮节、光明磊落、助人为乐、德才兼备、克己奉公、德高望重、豁达大度、冰清玉洁、两袖清风。1、大公无私：完全为人民利益着想，毫无自私自利之心；办事公正，不偏袒任何一方。出自《汉书·贾谊传》：“为人臣者；主而忘身；国而忘家；公而忘私。”清·龚自珍《龚定庵集·论私》：“且今之大公无私者；有杨；墨之贤耶？”2、高风亮节：形容人品格高尚，有坚贞的节操。出自胡仔《苕溪渔隐丛话后集》：“余谓渊明高风峻节；固已无愧于四皓；然犹仰慕之；尤见其好贤尚友之心也。”3、光明磊落：磊落：胸怀坦荡。形容胸怀坦荡，光明正大。也作“磊落光明”。出自朱熹《朱子语类》：“譬如人；光明磊落底便是好人；昏昧迷暗底便不是好人。”4、助人为乐：把帮助别人作为快乐。出自把帮助别人作为快乐。5、德才兼备：德：品德。才：才能。兼备：都具备。指既有好的品德，又具有才能。也作“才德兼备”。出自《元史·丰臧梦解传》：“乃举梦解才德兼备；宜擢清要；以展所蕴。”6、克己奉公：严格要求自己，全心全意为集体。出自《后汉书·祭遵传》：“遵为人廉约小心；克己奉公。”7、德高望重：品德高尚，很有声望。出自《晋书·司马元显传》：“元显因讽礼官下仪；称己德隆望重；既录百揆；内外群僚皆应尽敬。”8、豁达大度：豁达：胸襟开阔。大度：气量大。形容胸襟开阔，气量大，能够容人。出自潘岳《西征赋》：“观夫汉高之兴也；非徒聪明神武；豁达大度而已也。”9、冰清玉洁：比喻品质高尚纯洁。出自司马迁《与挚伯陵书》：“伏唯伯陵材能绝人；高尚其志；以善厥身；冰清玉洁；不以细行。”10、两袖清风：指做官廉洁。出自魏初《送杨季梅》：“交亲零落鬓如丝；两袖清风一束诗。”

　　形容人品质的词语 　　1) 以容取人：只凭容貌来衡量人的品质和才能。 　　2) 洁清自矢：谓保持自身清廉正直。 　　3) 砥节奉公：磨砺名节，奉行公事。 　　4) 克己奉公：克己：约束自己;奉公：以公事为重。克制自己的私心，一心为公。 　　5) 刚正不阿：刚：刚直;直：正直;不阿：不逢迎。刚直方正而不逢迎附合 　　6) 大法小廉：旧时指大臣尽忠，小臣尽职。 　　7) 造谣中伤：中伤：攻击和陷害别人。制造谣言，陷害别人。 　　8) 不磷不缁：磨不薄，染不黑。比喻坚贞高洁的品质，不因外界影响而有所改变。 　　9) 聪明正直：头脑聪明，行为正直无私。形容词人的品质优秀。 　　10) 卑鄙无耻：卑鄙：指品质行为恶劣。品行恶劣，不顾羞耻。 　　11) 薮中荆曲：比喻品质不好的人，处在恶劣的环境中会变得更坏。 　　12) 新人新事：具有新的道德品质的人和体现新的高尚社会风尚的事。 　　13) 德才兼备：德：品德;才：才能;备：具备。既有好的思想品质，又有工作的才干和能力。 　　14) 苍松翠柏：苍：青色。翠：青绿色。指四季常青的松柏。比喻具有高贵品质坚定节操的人。 　　15) 心口如一：心里想的和嘴里说的一样。形容诚实直爽。 　　16) 龙生九子：古代传说，龙生有九子，九子不成龙，各有所好。比喻同胞兄弟品质爱好各不相同。 　　17) 蕙心纨质：心灵如蕙草芬芳，品质似纨素洁白。比喻品行高洁。 　　18) 遇人不淑：淑：善，美。指女子嫁了一个品质不好的丈夫。 　　19) 偷工减料：原指商人为了牟取暴利而暗中降低产品质量，削减工料。现也指做事图省事，马虎敷衍。 　　20) 淑质英才：淑：善良;英：非凡。善良的品质，非凡的才能。 　　21) 以貌取人：根据外貌来判别一个的的品质才能。 　　22) 卑鄙龌龊：形容品质恶劣，导心不正，言行肮脏。 　　23) 先人后己：首先考虑别人，然后想到自己。 　　24) 冰魂雪魄：冰雪：如冰的透明，雪的洁白。比喻人品质高尚纯洁。 　　25) 良金美玉：比喻文章十分完美。也比喻人道德品质极好。 　　26) 材德兼备：材：通“才”。既有工作的才干和能力，又有好的思想品质。 　　27) 刚毅木讷：刚：坚强;毅：果决;木：质朴;讷：说话迟钝，此处指言语谨慎。孔子称颂人的四种品质。 　　28) 八府巡按：巡按之名，起于明代，非固定职官，临时由朝廷委派监察御史担任，分别巡视各省，考核吏治。“八府巡按”常见于戏曲小说，民间多视为清廉而有权势的大官。 　　29) 抱诚守真：抱：存在心里。志在真诚，恪守不违。 　　30) 一清如水：形容为官廉洁，不贪污不受贿。也形容十分清洁。 　　31) 临财不苟：面对钱财不随便求取，廉洁自好。 　　32) 清风峻节：清廉正直的风尚，高尚峻伟的气节。 　　33) 台阁生风：台阁：东汉尚书的办公室。泛指官府大臣在台阁中严肃的风气。比喻官风清廉。 　　34) 守正不阿：正：公正;阿：偏袒。处理事情公平正直，不讲情面。 　　35) 明镜高悬：传说秦始皇有一面镜子，能照人心胆。比喻官员判案公正廉明。 　　36) 廉明公正：廉明：清廉，不贪污受贿。不贪污受贿，清明公正。 　　37) 臣心如水：心地洁净如水。比喻为官清廉。 　　38) 甑尘釜鱼：甑里积了灰尘，锅里生了蠹鱼。形容穷困断炊已久。也比喻官吏清廉自守。 　　39) 分文不取：一个钱也不要。比喻不计报酬 　　40) 一字千金：形容文辞精妙，不可更改。 　　形容人品质的词语精选 　　1) 金玉其质：质：本质，品质。指人的品质高洁。 　　2) 真金烈火：比喻经过严重考验而品质不变。 　　3) 矢志不移：发誓立志，决不改变。 　　4) 金相玉质：比喻文章的形式和内容都完美。也形容人相貌端美。 　　5) 璞玉浑金：比喻天然美质，未加修饰。多用来形容人的品质淳朴善良。 　　6) 冰魂素魄：形容清白纯洁的品质。 　　7) 浑金璞玉：比喻天然美质，未加修饰。多用来形容人的品质淳朴善良。 看了形容人品质的词语的人也喜欢： 1. 描写人物品质的词语汇总 2. 表示人特品质的成语及解释 3. 描写人物品质的成语 4. 描写品德高尚的词语大全 5. 描写品德高尚的词语集锦

形容人品质优秀的四字成语有哪些1.描写人物优秀品质的四字词语（100个）高风亮节、拾金不昧、助人为乐、任劳任怨、勤勤恳恳、扶贫济困、除暴安良、扶老携幼尊老爱幼、虚怀若谷、平易近人、诲人不倦、学而不厌、谆谆教诲、和蔼可亲、鞠躬尽瘁兢兢业业、一丝不苟、专心致志、聚精会神、全神贯注、大公无私、铁面无私、清正廉洁两袖清风、一尘不染、刚直不阿、无私无畏、公而忘私、不卑不亢、不骄不躁、淡泊名利克勤克俭、勤俭节约、戒骄戒躁、威武不屈、自强不息、艰苦奋斗、自食其力、奋发图强奋起直追、令行禁止、为人师表、德高为范、学高为师、宽宏大量、克己奉公、安分守己洁身自好、守身如玉、肝胆相照、团结互助、万众一心、众志成城、励精图治、浩然正气。2.表示人物品质优秀的四字成语有哪些一马当先一身正气万夫不当无所畏惧气冲牛斗气冲霄汉气壮山河气宇轩昂气吞山河正气凛然龙骧虎步百战百胜冲锋陷阵英姿焕发奋不顾身奋勇当先顶天立地昂首挺胸昂首阔步赴汤蹈火挺身而出战无不胜临危不惧威震天下面不改色勇冠三军骁勇善战镇定自若慷慨就义大智大勇仰不愧天一视同仁一清二白大义灭亲大公无私义无反顾正气凛然正直无私执法如山刚正不阿冰清玉洁克己奉公严于律己两袖清风忍辱负重奉公守法表里如一斩钉截铁忠心耿耿忠贞不渝贫贱不移高风亮节涓滴归公虚怀若谷堂堂正正深明大义童叟无欺谦虚谨慎廉洁奉公毅然决然豁达大度鞠躬尽瘁，死而后已3.形容人优秀品质的4字词语12个气冲牛斗气冲霄汉气壮山河气宇轩昂气吞山河正气凛然龙骧虎步百战百胜冲锋陷阵英姿焕发奋不顾身奋勇当先顶天立地昂首挺胸昂首阔步赴汤蹈火挺身而出战无不胜临危不惧威震天下面不改色勇冠三军骁勇善战镇定自若慷慨就义大智大勇仰不愧天一视同仁一清二白大义灭亲大公无私义无反顾正气凛然正直无私执法如山刚正不阿冰清玉洁克己奉公严于律己两袖清风忍辱负重奉公守法表里如一斩钉截铁忠心耿耿忠贞不渝贫贱不移高风亮节涓滴归公虚怀若谷堂堂正正深明大义童叟无欺谦虚谨慎廉洁奉公毅然决然豁达大度鞠躬尽瘁，死而后已襟怀坦白。4.形容人优秀品质的四字词语细心谨慎、兢兢业业、任劳任怨、无私奉献、乐于助人、忠于职守、等等。很多的。大公无私大公无私平易近人轻财重义清风劲节高风亮节襟怀坦白两袖清风公事公办公正无私公而忘私顾全大局国尔忘家毫不利已以义割恩专门利人涓滴归公开诚布公克己奉公嫠不恤纬摩顶放踵舍己为人舍已救人舍己从人先人后己修身洁行一秉至公衣被群生以义割恩冰魂雪魄冰清玉润冰清玉洁冰壶秋月心如古井一片冰心投梭折齿高风亮节古井无波黄花晚节坚贞不屈俭可养廉见利思义屈节辱命三贞九烈丧身失节岁寒松柏守身如玉先天下之忧而忧，后天下之乐而乐宁为玉碎，不为瓦全描写人的品质：平易近人，宽宏大度，冰清玉洁，持之以恒，锲而不舍，废寝忘食，大义凛然，临危不俱，光明磊落，不屈不挠，鞠躬尽瘁，死而后已描写人的智慧：料事如神足智多谋融会贯通学贯中西博古通今才华横溢出类拔萃博大精深集思广益举一反三描写人物仪态、风貌：憨态可掬文质彬彬风度翩翩相貌堂堂落落大方斗志昂扬意气风发威风凛凛容光焕发神采奕奕描写人物神情、情绪：悠然自得眉飞色舞喜笑颜开神采奕奕欣喜若狂呆若木鸡喜出望外垂头丧气无动于衷勃然大怒描写人的口才：能说会道巧舌如簧能言善辩滔滔不绝伶牙俐齿出口成章语惊四座娓娓而谈妙语连珠口若悬河大公无私平易近人轻财重义清风劲节高风亮节襟怀坦白两袖清风公事公办公正无私公而忘私顾全大局国尔忘家毫不利已以义割恩专门利人涓滴归公开诚布公克己奉公嫠不恤纬摩顶放踵舍己为人舍已救人舍己从人先人后己修身洁行一秉至公衣被群生以义割恩冰魂雪魄冰清玉润冰清玉洁冰壶秋月心如古井一片冰心投梭折齿一马当先一身正气万夫不当无所畏惧。5.描写人物品质的四字词语有哪些细心谨慎、兢兢业业、任劳任怨、无私奉献、乐于助人、忠于职守、等等。很多的。大公无私大公无私平易近人轻财重义清风劲节高风亮节襟怀坦白两袖清风公事公办公正无私公而忘私顾全大局国尔忘家毫不利已以义割恩专门利人涓滴归公开诚布公克己奉公嫠不恤纬摩顶放踵舍己为人舍已救人舍己从人先人后己修身洁行一秉至公衣被群生以义割恩冰魂雪魄冰清玉润冰清玉洁冰壶秋月心如古井一片冰心投梭折齿高风亮节古井无波黄花晚节坚贞不屈俭可养廉见利思义屈节辱命三贞九烈丧身失节岁寒松柏守身如玉先天下之忧而忧，后天下之乐而乐宁为玉碎，不为瓦全描写人的品质：平易近人，宽宏大度，冰清玉洁，持之以恒，锲而不舍，废寝忘食，大义凛然，临危不俱，光明磊落，不屈不挠，鞠躬尽瘁，死而后已描写人的智慧：料事如神足智多谋融会贯通学贯中西博古通今才华横溢出类拔萃博大精深集思广益举一反三描写人物仪态、风貌：憨态可掬文质彬彬风度翩翩相貌堂堂落落大方斗志昂扬意气风发威风凛凛容光焕发神采奕奕描写人物神情、情绪：悠然自得眉飞色舞喜笑颜开神采奕奕欣喜若狂呆若木鸡喜出望外垂头丧气无动于衷勃然大怒描写人的口才：能说会道巧舌如簧能言善辩滔滔不绝伶牙俐齿出口成章语惊四座娓娓而谈妙语连珠口若悬河大公无私平易近人轻财重义清风劲节高风亮节襟怀坦白两袖清风公事公办公正无私公而忘私顾全大局国尔忘家毫不利已以义割恩专门利人涓滴归公开诚布公克己奉公嫠不恤纬摩顶放踵舍己为人舍已救人舍己从人先人后己修身洁行一秉至公衣被群生以义割恩冰魂雪魄冰清玉润冰清玉洁冰壶秋月心如古井一片冰心投梭折齿一马当先一身正气万夫不当无所畏惧。6.表示人物优秀品质的四字词语有1、聪明正直：头脑聪明，行为正直无私。形容词人的品质优秀。2、淑质英才：淑：善良；英：非凡。善良的品质，非凡的才能。3、廉洁奉公：廉洁：清白；奉公：奉行公事。廉洁不贪，忠诚履行公职，一心为公。4、德才兼备：德：品德；才：才能；备：具备。既有好的思想品质，又有工作的才干和能力。5、两袖清风：衣袖中除清风外，别无所有。比喻做官廉洁。也比喻穷得一无所有。6、金玉其质：质：本质，品质。指人的品质高洁。7、冰魂素魄：形容清白纯洁的品质。8、无私奉献：无私：不求回报，奉献：给予，付出，形容不求回报的付出。7.写人优秀品质的四字词语品学兼优蕙质兰心德才兼备高风亮节见义勇为乐于助人拾金不昧鞠躬尽瘁淡泊名利古道热肠铁血丹心文韬武略文武双全出类拔萃谈吐不凡见多识广、博闻广识学富五车才高八斗高瞻远瞩明察秋毫虚怀若谷胸怀天下心胸坦荡与人为善谦谦君子谈吐不凡出口成章兢兢业业尽职尽责恪尽职守克己奉公叹为观止光明磊落两袖清风刚正不阿堂堂正正忠心耿耿兢兢业业志高意远大公无私舍己为人勤俭节约助人为乐智勇双全内外兼备情操高尚大公无私才比宋玉高山景行厚德载物良金美玉怀瑾握瑜蕙心纨质精金良玉敬老尊贤尊老爱幼年高德勋玉洁松贞志士仁人云中白鹤铁骨铮铮头角峥嵘盖世无双伏龙凤雏矫矫不群鹤鸣之士加人一等举世无双首屈一指无出其右德高望重人中龙凤庸中佼佼宅心仁厚虚怀若谷。

形容人物品质的。1、视死如归：意思：把死看得像回家一样平常，形容不怕牺牲。出处：郭沫若《如火如荼的恐怖》：我们已经是视死如归，我们大踏步地走着我们的大路。2、刚正不阿：意思：刚强正直，不阿谀奉迎，无偏私。出处：浦安修《赤子之心》：“他刚正不阿的品质，时时牵动着我的心。”3、铁面无私：意思：形容公正严明，不怕权势，不讲情面。出处：清代曹雪芹《红楼梦》第四十五回：我想必得你去做个“监社御史”，铁面无私才好。扩展资料：近义词：1、视死如归近义词：舍生取义意思：舍：舍弃；生：生命；取：求取；义：正义。舍弃生命以取得正义。指为正义而牺牲生命。出处：《孟子·告子上》：生，亦我所欲也，义，亦我所欲也。二者不可得兼，舍生而取义者也。意思是生命是我所想要的，道义也是我所想要的，如果这两样东西不能同时都具有的话，那么我就只好牺牲生命而选取道义了。2、刚正不阿近义词：奉公不阿意思：奉行公事而不去迎合别人。出处：《东观汉记·李恂》：恂奉公不阿，为宪所奏免。意思是李恂廉洁奉公不趋炎附势，被窦宪上奏免了官。3、铁面无私近义词：大公无私意思：指办事公正，没有私心。现多指从集体利益出发，毫无个人打算。出处：郭沫若《屈原》第一幕：要把你的志向拿定，而且要抱着一个光明磊落、大公无私的心怀。

聪明正直】头脑聪明,行为正直无私。形容词人的品质优秀。德才兼备】德：品德；才：才能；备：具备。既有好的思想品质，又有工作的才干和能力。刚毅木讷】刚：坚强；毅：果决；木：质朴；讷：说话迟钝，此处指言语谨慎。孔子称颂人的四种品质。蕙心纨质】心灵如蕙草芬芳，品质似纨素洁白。比喻品行高洁。浑金璞玉】比喻天然美质，未加修饰。多用来形容人的品质淳朴善良。金玉其质】质：本质，品质。指人的品质高洁。良金美玉】比喻文章十分完美。也比喻人道德品质极好。龙生九子】比喻同胞兄弟品质、爱好各不相同。璞玉浑金】比喻天然美质，未加修饰。多用来形容人的品质淳朴善良。淑质英才】淑：善良；英：非凡。善良的品质，非凡的才能。薮中荆曲】比喻品质不好的人，处在恶劣的环境中会变得更坏。岁寒知松柏】寒冬腊月，方知松柏常青。比喻只有经过严峻的考验，才能看出一个人的品质。

忠心耿耿、舍己为人、正直无私、执法如山、堂堂正正、深明大义、见义勇为、奋不顾身、拾金不昧、默默无闻、视死如归、锲而不舍、持之以恒、高瞻远瞩、舍生忘死。我就知道这么多了，你一定要选我呦！

一视同仁 一清二白 大义灭亲 大公无私 义无反顾 正气凛然 正直无私 执法如山 刚正不阿 冰清玉洁 克己奉公 严于律己 两袖清风 忍辱负重 奉公守法 表里如一 斩钉截铁 忠心耿耿 忠贞不渝 贫贱不移 高风亮节 涓滴归公 虚怀若谷 堂堂正正 深明大义 童叟无欺 谦虚谨慎 廉洁奉公 毅然决然 豁达大度 鞠躬尽瘁,死而后已 襟怀坦白 舍己为人 舍生忘死 舍生取义 义薄云天 忠心耿耿 刚直不阿 见义勇为 疾恶如仇 虚怀若谷 芝兰其心 洁身自好 光明磊落 襟怀坦荡 坚强 坚苦卓绝 姜桂之性 宁死不屈 铁石心肠 威武不屈 节操 冰魂雪魄 冰清玉润 冰清玉洁 冰壶秋月 高风亮节 古井无波 黄花晚节 坚贞不屈 俭可养廉 见利思义 宁为玉碎,不为瓦全 屈节辱命 三贞九烈 丧身失节 岁寒松柏 守身如玉 投梭折齿 心如古井 一片冰心 ⑷真诚 真诚 抱诚守真 诚心诚意 讲信修睦 金石为开 开心见诚 悃愊无华 披心相付 披肝沥胆 璞玉浑金 拳拳服膺 全心全意 推诚相信 推诚相见 推心置腹 推襟送抱 信及豚鱼 信誓旦旦 一寸丹心 允执其中 真心实意 诚实 表里如一 开诚相见 恪守不渝 倾心吐胆 杀彘教子 实心实意 拭面容言 天人共鉴 闭邪存诚 心口如一 胸无宿物 胸无城府 言而有信 言行一致 坐言起行 肝胆相照 ⑸谦虚 虚心 不耻下问 不骄不躁 不矜不伐 不露圭角 辞尊居卑 功成不居 功薄蝉翼 好问则裕 戒骄戒操 礼贤下士 满招损,谦受益 抛砖引玉 谦让末遑 谦虚谨慎 犬马之劳 深藏若虚 损之又损 闻过则喜 洗耳恭听 虚怀若谷 逊志时敏 言者无罪,闻者足戒 移樽就教 以莛叩钟 有则改之,无则加勉 愚者千虑,必有一得 载酒问字 择善而从 知之为知之 自知之明 律已 防意如城 非异人任 修心养性 引咎自责 知过必改 自愧弗如 自怨自艾 ⑹廉洁 廉洁 不忮不求 澹泊寡欲 奉公守法 富贵浮云 廉洁奉公 两袖清风 先公后私 纤尘不染 洗手奉职 枵腹从公 一尘不染 一介不取 一琴一鹤 饮马投钱 澡身浴德 无私 大公无私 公事公办 公正无私 公而忘私 顾全大局 国尔忘家 毫不利已,专门利人 涓滴归公 开诚布公 克己奉公 嫠不恤纬 摩顶放踵 舍己为人 舍已救人 舍己从人 先人后己 先天下之忧而忧,后天下之乐而乐 修身洁行 一秉至公 衣被群生 以义割恩

顽强的词语

【才人行短】：才人：有才学的人；行：品行；短：缺陷。有才学的人在品行上不免有所缺陷。【大行受大名】：行：品行，德行。有大的德行，一定有大的名声。【大人君子】：大人：古代尊称；君子：指品行好的人。指才德兼备的人。【德薄才疏】：薄：浅；疏：空虚。品行和才能都很差。常作谦辞。【德高毁来】：品德高尚却招来毁谤。形容坏人总是嫉妒和毁谤品行高尚的人。【德浅行薄】：行：德行、品行。指品德、操行浅薄。【砥节厉行】：指磨砺操守和品行。同“砥节励行”。【砥节励行】：指磨砺操守和品行。砥，磨练。励，振奋；振作。【砥砺名行】：砥砺：磨砺；名行：名誉和品行。砥砺磨炼自己的名誉和品行。【砥廉峻隅】：峻：高峭。通过磨砺，使可分解更加分明。比喻磨炼自己使品行更加端正。【砥身砺行】：犹言砥节砺行。指磨砺操守和品行。【方正不阿】：方正：品行正直；阿：阿谀，诌媚。指为人品行正直，不逢迎诌媚。【方正不苟】：方正：正直；苟：苟且，不正派。指为人品行正直，不逢迎诌媚。【方正之士】：方正：品行端正。品行端正不阿的读书人。【高躅大年】：躅：足迹，引申为行为，品行。品德高尚而年纪高迈。【狗鼠不食汝余】：食：吃。狗猪都不吃他剩下的东西。形容人的品行极其卑鄙龌龊。【狗彘不如】：彘：猪。形容品行卑劣到连猪狗都不如的程度。同“狗彘不若”。【狗彘不若】：彘：猪。连猪狗都不如。形容品行卑劣到连猪狗都不如的程度。【狗彘不食】：连狗猪都不吃他的肉。形容其人的品行极端恶劣。【狗彘不食汝余】：食：吃。狗猪都不吃他剩下的东西。形容人的品行极其卑鄙龌龊。【狗猪不食其余】：食：吃。狗猪都不吃他剩下的东西。形容人的品行极其卑鄙龌龊。【规规矩矩】：指人的品行方正，谨守礼法。【诡谲无行】：诡谲：欺诈；无行：无德行。形容欺诈成性，品行不端。【含霜履雪】：比喻品行高洁。【行比伯夷】：行：品德；伯夷：商末孤竹君长子。品行可与伯夷相比拟。形容品德高洁。【行同能偶】：品行相同，才能相等。【好汉惜好汉】：惜：爱惜。指才能品行相同的人互相敬重。望采纳，谢谢

一视同仁 一清二白 大义灭亲 大公无私 义无反顾 正气凛然 正直无私 执法如山 刚正不阿 冰清玉洁 克己奉公 严于律己 两袖清风 忍辱负重

形容个人品质的词语忠心耿耿、舍己为人、正直无私、执法如山、堂堂正正、深明大义、见义勇为、奋不顾身、拾金不昧、默默无闻、视死如归、锲而不舍、持之以恒、高瞻远瞩、舍生忘死。我就知道这么多了，你一定要选我呦！

形容人物品质的词语如下：1、大公无私：完全为人民利益着想，毫无自私自利之心；办事公正，不偏袒任何一方。出自《汉书·贾谊传》：“为人臣者；主而忘身；国而忘家；公而忘私。”清·龚自珍《龚定庵集·论私》：“且今之大公无私者；有杨；墨之贤耶？”2、高风亮节：形容人品格高尚，有坚贞的节操。出自胡仔《苕溪渔隐丛话后集》：“余谓渊明高风峻节；固已无愧于四皓；然犹仰慕之；尤见其好贤尚友之心也。”3、光明磊落：磊落：胸怀坦荡。形容胸怀坦荡，光明正大。也作“磊落光明”。出自朱熹《朱子语类》：“譬如人；光明磊落底便是好人；昏昧迷暗底便不是好人。”4、助人为乐：把帮助别人作为快乐。出自把帮助别人作为快乐。5、德才兼备：德：品德。才：才能。兼备：都具备。指既有好的品德，又具有才能。也作“才德兼备”。出自《元史·丰臧梦解传》：“乃举梦解才德兼备；宜擢清要；以展所蕴。”6、克己奉公：严格要求自己，全心全意为集体。出自《后汉书·祭遵传》：“遵为人廉约小心；克己奉公。”7、德高望重：品德高尚，很有声望。出自《晋书·司马元显传》：“元显因讽礼官下仪；称己德隆望重；既录百揆；内外群僚皆应尽敬。”

形容人品质的词语1) 以容取人：只凭容貌来衡量人的品质和才能。2) 洁清自矢：谓保持自身清廉正直。3) 砥节奉公：磨砺名节，奉行公事。4) 克己奉公：克己：约束自己;奉公：以公事为重。克制自己的私心，一心为公。5) 刚正不阿：刚：刚直;直：正直;不阿：不逢迎。刚直方正而不逢迎附合6) 大法小廉：旧时指大臣尽忠，小臣尽职。7) 造谣中伤：中伤：攻击和陷害别人。制造谣言，陷害别人。8) 不磷不缁：磨不薄，染不黑。比喻坚贞高洁的品质，不因外界影响而有所改变。9) 聪明正直：头脑聪明，行为正直无私。形容词人的品质优秀。10) 卑鄙无耻：卑鄙：指品质行为恶劣。品行恶劣，不顾羞耻。11) 薮中荆曲：比喻品质不好的人，处在恶劣的环境中会变得更坏。12) 新人新事：具有新的道德品质的人和体现新的高尚社会风尚的事。13) 德才兼备：德：品德;才：才能;备：具备。既有好的思想品质，又有工作的才干和能力。14) 苍松翠柏：苍：青色。翠：青绿色。指四季常青的松柏。比喻具有高贵品质坚定节操的人。15) 心口如一：心里想的和嘴里说的一样。形容诚实直爽。16) 龙生九子：古代传说，龙生有九子，九子不成龙，各有所好。比喻同胞兄弟品质爱好各不相同。17) 蕙心纨质：心灵如蕙草芬芳，品质似纨素洁白。比喻品行高洁。18) 遇人不淑：淑：善，美。指女子嫁了一个品质不好的丈夫。19) 偷工减料：原指商人为了牟取暴利而暗中降低产品质量，削减工料。现也指做事图省事，马虎敷衍。20) 淑质英才：淑：善良;英：非凡。善良的品质，非凡的才能。21) 以貌取人：根据外貌来判别一个的的品质才能。22) 卑鄙龌龊：形容品质恶劣，导心不正，言行肮脏。23) 先人后己：首先考虑别人，然后想到自己。24) 冰魂雪魄：冰雪：如冰的透明，雪的洁白。比喻人品质高尚纯洁。25) 良金美玉：比喻文章十分完美。也比喻人道德品质极好。26) 材德兼备：材：通“才”。既有工作的才干和能力，又有好的思想品质。27) 刚毅木讷：刚：坚强;毅：果决;木：质朴;讷：说话迟钝，此处指言语谨慎。孔子称颂人的四种品质。28) 八府巡按：巡按之名，起于明代，非固定职官，临时由朝廷委派监察御史担任，分别巡视各省，考核吏治。“八府巡按”常见于戏曲小说，民间多视为清廉而有权势的大官。29) 抱诚守真：抱：存在心里。志在真诚，恪守不违。30) 一清如水：形容为官廉洁，不贪污不受贿。也形容十分清洁。31) 临财不苟：面对钱财不随便求取，廉洁自好。32) 清风峻节：清廉正直的风尚，高尚峻伟的气节。33) 台阁生风：台阁：东汉尚书的办公室。泛指官府大臣在台阁中严肃的风气。比喻官风清廉。34) 守正不阿：正：公正;阿：偏袒。处理事情公平正直，不讲情面。35) 明镜高悬：传说秦始皇有一面镜子，能照人心胆。比喻官员判案公正廉明。36) 廉明公正：廉明：清廉，不贪污受贿。不贪污受贿，清明公正。37) 臣心如水：心地洁净如水。比喻为官清廉。38) 甑尘釜鱼：甑里积了灰尘，锅里生了蠹鱼。形容穷困断炊已久。也比喻官吏清廉自守。39) 分文不取：一个钱也不要。比喻不计报酬40) 一字千金：形容文辞精妙，不可更改。形容人品质的词语精选1) 金玉其质：质：本质，品质。指人的品质高洁。2) 真金烈火：比喻经过严重考验而品质不变。3) 矢志不移：发誓立志，决不改变。4) 金相玉质：比喻文章的形式和内容都完美。也形容人相貌端美。5) 璞玉浑金：比喻天然美质，未加修饰。多用来形容人的品质淳朴善良。6) 冰魂素魄：形容清白纯洁的品质。7) 浑金璞玉：比喻天然美质，未加修饰。多用来形容人的品质淳朴善良。

关于人物品质的词语：1、才貌双全：学识和相貌都很好。多用于称赞女子有才能、样子长得美丽。2、绰约多姿：柔弱美丽，仪态万方。多用于形容女性的姿态美方面。3、惠心纨质：纨，洁白的细绢，形容女子姿质美好，心灵纯净。4、惠质兰心：惠、兰，香草名，比喻女子心地纯洁，温柔雅静。5、巾帼英雄：比喻勇敢而有英雄气概的女人。专用于形容有英雄气概的女人。6、林下风气（致）：林下幽静的境界，风气，风致风度，比喻女子闲雅超逸的气度。7、直道而行：直道：正路。沿着直的道路走。比喻办事公正。8、女中豪杰：妇女中杰出人士。近义词还有：女中尧舜、女中丈夫。9、守正不阿：正：公正；阿：偏袒。处理事情公平正直，不讲情面。10、千娇百媚：比喻女子或花朵姿态娇媚人见人爱，专用于形容女子或花朵的风度仪态。11、秀外慧中：外表秀美，内心聪明，常用于形容女子美丽而聪明。12、窈窕淑女：比喻女子秀外慧中，凡女子外貌美内心聪明可用此语赞美。13、仪态万方：仪态，容貌姿态，万方，多方面多种多样，形容千姿百态，非常美好。

平易近人、宽宏大度、冰清玉洁、持之以恒、锲而不舍、废寝忘食、大义凛然、临危不俱、光明磊落、不屈不挠、鞠躬尽瘁、死而后已、浩气长存、见义勇为、拾金不昧、乐于助人、坚强不屈、大义凛然、视死如归、坚贞不屈、两袖清风、拔刀相助、雪中送炭、精忠报国、舍己为人、舍生取义、两面三刀、营私舞弊、明哲保身、循规蹈矩、盛气凌人、落井下石、忠心耿耿、不同流俗、不欺暗室、不忘沟壑、赤子之心、德厚流光、高情远致、高山景行、功德无量、厚德载物、怀瑾握瑜、蕙心纨质、见危授命、鞠躬尽瘁，死而后已、精金良玉、敬老慈幼、良金美玉、明德惟馨、年高德劭、前人栽树，后人乘凉、青天白日、山高水长、拾金不昧、

一马当先一身正气万夫不当无所畏惧气冲牛斗气冲霄汉气壮山河气宇轩昂气吞山河正气凛然龙骧虎步百战百胜冲锋陷阵英姿焕发奋不顾身奋勇当先顶天立地昂首挺胸昂首阔步赴汤蹈火挺身而出战无不胜临危不惧威震天下面不改色勇冠三军骁勇善战镇定自若慷慨就义大智大勇仰不愧天一视同仁一清二白大义灭亲大公无私义无反顾正气凛然正直无私执法如山刚正不阿冰清玉洁克己奉公严于律己两袖清风忍辱负重奉公守法表里如一斩钉截铁忠心耿耿忠贞不渝贫贱不移高风亮节涓滴归公虚怀若谷堂堂正正深明大义童叟无欺谦虚谨慎廉洁奉公毅然决然豁达大度鞠躬尽瘁，死而后已襟怀坦白一视同仁一清二白大义灭亲大公无私义无反顾正气凛然正直无私执法如山刚正不阿冰清玉洁克己奉公严于律己两袖清风忍辱负重奉公守法表里如一斩钉截铁忠心耿耿忠贞不渝贫贱不移高风亮节涓滴归公虚怀若谷堂堂正正深明大义童叟无欺谦虚谨慎廉洁奉公毅然决然豁达大度鞠躬尽瘁，死而后已襟怀坦白舍己为人舍生忘死舍生取义平易近人、舍己救人、先人后己、助人为乐杰出补天浴日风流人物风华正茂伏龙凤雏盖世英雄盖世无双桂林一枝鹤立鸡群鹤鸣之士加人一等矫矫不群金榜题名举世无双绝世超伦昆山片玉人中之龙首屈一指铁中铮铮头角峥嵘无出其右裒然举首一代风流一世龙门庸中佼佼尊贵不虞之誉不言而信不恶而严荣华富贵山中宰相师道尊严著名草木知威驰名中外大名鼎鼎德高望重风云人物功成名遂功标青史赫赫有名举世闻名如雷贯耳声振寰宇威望素著宽容海阔天空含垢纳污呼牛呼马豁达大度既往不咎宽大为怀宽宏大量网开一面网开三面息事宁人下不为例下车泣罪胸怀祖国，放眼世界严以律己，宽以待人以直报怨以德报怨宰相肚里能撑船知情达理中庸之道助人将伯之助解衣推食救死扶伤绝甘分少普度众生起死人，肉白骨轻财好施设身处地疏财仗义为民除害为民请命雪中送炭与人为善云行雨施仗义疏财助人为乐荣耀生荣死哀死得其所万古千秋万古流芳为国捐躯⑵志气有志不耻最后乘风破浪顶天立地鸿鹄之志九天揽月夸父追日老骤伏枥老当益壮力争上游陵云之志猛志常在磨杵成针穷而后工三户亡秦十载寒窗铁杵成针韦编三绝心小志大胸怀大志雄飞雌伏雄心壮志燕雀安知鸿鹄之志移山倒海迎头赶上有志者事竟成愚公移山争强好胜知难而进治国安民志在四方中流击楫壮志凌云自力更生自强不息自求多福自食其力有为大显神通大显身手大有作为大器晚成非池中物奋发有为公才公望后生可畏龙跃凤鸣鹏程万里前程万里如日方升奋发发愤图强奋发图强奋发蹈厉披荆斩棘闻鸡起舞我武惟扬

1) 以容取人：只凭容貌来衡量人的品质和才能。　　2) 洁清自矢：谓保持自身清廉正直。　　3) 砥节奉公：磨砺名节，奉行公事。　　4) 克己奉公：克己：约束自己;奉公：以公事为重。克制自己的私心，一心为公。　　5) 刚正不阿：刚：刚直;直：正直;不阿：不逢迎。刚直方正而不逢迎附合　　6) 大法小廉：旧时指大臣尽忠，小臣尽职。　　7) 造谣中伤：中伤：攻击和陷害别人。制造谣言，陷害别人。　　8) 不磷不缁：磨不薄，染不黑。比喻坚贞高洁的品质，不因外界影响而有所改变。　　9) 聪明正直：头脑聪明，行为正直无私。形容词人的品质优秀。　　10) 卑鄙无耻：卑鄙：指品质行为恶劣。品行恶劣，不顾羞耻。　　11) 薮中荆曲：比喻品质不好的人，处在恶劣的环境中会变得更坏。　　12) 新人新事：具有新的道德品质的人和体现新的高尚社会风尚的事。　　13) 德才兼备：德：品德;才：才能;备：具备。既有好的思想品质，又有工作的才干和能力。　　14) 苍松翠柏：苍：青色。翠：青绿色。指四季常青的松柏。比喻具有高贵品质坚定节操的人。　　15) 心口如一：心里想的和嘴里说的一样。形容诚实直爽。　　16) 龙生九子：古代传说，龙生有九子，九子不成龙，各有所好。比喻同胞兄弟品质爱好各不相同。　　17) 蕙心纨质：心灵如蕙草芬芳，品质似纨素洁白。比喻品行高洁。　　18) 遇人不淑：淑：善，美。指女子嫁了一个品质不好的丈夫。　　19) 偷工减料：原指商人为了牟取暴利而暗中降低产品质量，削减工料。现也指做事图省事，马虎敷衍。　　20) 淑质英才：淑：善良;英：非凡。善良的品质，非凡的才能。

Ciao/xia:u/ = Chiao/chi:au/ 在拉丁语系里都是再见(短暂的)的意思..

是.形如y=x^a的函数都是幂函数；1/x=^(-1),当然就是幂函数。否认1/x是幂函数，就和否认x·x幂函数一样是不对的，因为x·x=x².

2.44948972.64575132.82842713.1622776

CIAO是国潮品牌，蛮受现在的年轻人喜欢。

补充一下，是用前面字的声母和后面字的韵母和声调

ciao 再见

亲切切身切记密切贴切急切真切殷切恳切凄切余切痛切

切 qiē qiè（切字有两个读音。）切 qiē通“砌”。台阶 。切皆铜沓黄金涂。——《汉书·外戚·孝成赵皇后传》词性变化◎ 切 qiē〈动〉(1) (形声。从刀,七声。本义:用刀把物品分成若干部分)(2) 同本义 。如:切花(从植株上剪下的花枝或枝叶);切心(比喻痛切);切象(切,割取。取象以作比喻);切菜;切肉(3) 治骨。加工珠宝骨器的工艺名称 。如:切错(治理器物);切玉(割玉);切镂(镂刻;雕刻)(4) 切磋。指学行上切磋相正 。如:切切(相互敬重切磋勉励的样子);切正(切磋相正);切直(切磋相正);切摩(切磋相正);切磨(切磋相正);切责(互相切磋责勉);切厉(切磋砥砺)(5) 直线、曲线或面等与圆、弧或球相交于一点 。如:切面;切球;切圆切 qiè〈动〉(1) 摩擦;接触 切,摩也。——《广雅》不待切脉。——《史记·扁鹊仓公传》可切循把握。——《淮南子·原道》(2) 又如:切齿(咬紧牙齿。形容痛恨);切磨(摩擦;摩搓);切摩(摩擦);切循(抚摩)(3) 契合。与…相一致 。如:不切实际;译文不切原意;切正(恰切平正);切用(切合实用);切至(犹切当);切事(切合情事);切病(切中弊病)(4) 一定要 诸位切不可乱动。——《老残游记》(5) 又如:切照(依照;按照);切须(必须;切要);切不可骄傲;切勿吸烟;切勿(务必不要);切戒(务须避免);切莫(务必不要);切须(务必)(6) 靠近;贴近 切于身心。——清· 刘开《问说》(7) 又如:切倚(相依相偎,十分亲昵);切邻(近邻);切心(贴身);亲切(亲近;密切)词性变化◎ 切 qiè〈形〉(1) 急切;急迫 切问而近思。——《论语》。皇疏:“犹急也。”饥冻虽切,违己交病。——晋· 陶渊明《归去来兮辞》迨诉频切。——唐· 李朝威《柳毅传》其切如是。——清· 袁枚《黄生借书说》(2) 又如:出国心切;激切(言语直而急);心切(心情急迫);切峻(急切严厉);切事(迫切的事);切问(急切问难);切紧(迫切、要紧)(3) 深;深切 切,深也。——《汉书·霍光传》注(4) 又如:切恐(深怕);切爱(深深的爱);痛切(悲痛而深切);切究(深究);切怛(深切悲伤);切谢(深切感谢)(5) 恳切;率直 直言世谏。——《汉书·东方朔传》(6) 又如:切谓(恳切地说);切劝(诚恳地相劝);热切(热烈恳切);切至(恳切周至)(7) 严厉 故为政以苛为察,以切为明…大败大裂之道也。——《文子·上礼》(8) 又如:切责(严厉谴责);切让(严厉责备);切厉(严厉)(9) 激烈 旋以论事过切,为宰臣所非。——韩愈《为裴相公让官表》(10) 又如:切论(激切的议论);切愕(谓激切直言)(11) 严重 。如:切手(致人死命的招数)（本文摘自《汉典》）

《露洲湿沙壁,暮幽萧寂寂》 CIAO 是意大利语中 你好的意思 不过 初次见面不认识的人 不能说CIAO 只有认识的 才说CIAO不认识的 应该说 早上好 下午 晚上好 !CIAO 也是意大利语中 你好和再见的意思 !

**HAMLET** 1 [73] This is that Hamlet the Dane whom we read of in our youth, and whom we may be said almost to remember in [74] our after years; he who made that famous soliloquy on life, who gave the advice to the players, who thought "this goodly frame, the earth," a sterile promontory, and "this brave o"er-hanging firmament, the air, this majestical roof fretted with golden fire," "a foul and pestilent congregation of vapours;" whom "man delighted not, nor woman neither;" he who talked with the grave-diggers, and moralised on Yorrick"s skull; the school-fellow of Rosencraus and Guildenstern at Wittenburg; the friend of Horatio; the lover of Ophelia; he that was mad and sent to England; the slow avenger of his father"s death; who lived at the court of Horwendillus five hundred years before we were born, but all whose thoughts we seem to know as well as we do our own, because we have read them in Shakespear. Hamlet is a name; his speeches and sayings but the idle coinage of the poet"s brain. What then, are they not real? They are as real as our own thoughts. Their reality is in the reader"s mind. It is we who are Hamlet. This play has a prophetic truth, which is above that of history. Whoever has become thoughtful and melancholy through his own mishaps or those of others; whoever has borne about with him the clouded brow of reflection, and thought himself "too much i" th" sun;" whoever has seen the golden lamp of day dimmed by envious mists rising in his own breast, and could find in the world before him only a dull blank with nothing left remarkable in it; whoever has known "the pangs of despised love, the insolence of office, or the spurns which patient merit of the unworthy takes;" he who has felt his mind sink within him, and sadness cling to his heart like a malady, who has had his hopes blighted and his youth staggered by the apparitions of strange things; who cannot well be at ease, while he sees evil hovering near him like a spectre; whose powers of action have been eaten up by thought, he to whom the universe seems infinite, and himself nothing; whose bitterness [75] of soul makes him careless of consequences, and who goes to a play as his best resource is to shove off, to a second remove, the evils of life by a mock representation of them - this is the true Hamlet. We have been so used to this tragedy that we hardly know how to criticise it any more than we should know how to describe our own faces. But we must make such observations as we can. It is the one of Shakespear"s plays that we think of the oftenest, because it abounds most in striking reflections on human life, and because the distresses of Hamlet are transferred, by the turn of his mind, to the general account of humanity. Whatever happens to him we apply to ourselves, because he applies it so himself as a means of general reasoning. He is a great moraliser; and what makes him worth attending to is, that he moralises on his own feelings and experience. He is not a common-place pedant. If "Lear" is distinguished by the greatest depths of passion, "Hamlet" is the most remarkable for the ingenuity, originality, and unstudied development of character. Shakespear had more magnanimity than any other poet, and he has shown more of it in this play than in any other. There is no attempt to force an interest: everything is left for time and circumstances to unfold. The attention is excited without effort, the incidents succeed each other as matters of course, the characters think and speak and act just as they might do if left entirely to themselves. There is no set purpose, no straining at a point. The observations are suggested by the passing scene - the gusts of passion come and go like sounds of music borne on the wind. The whole play is an exact transcript of what might be supposed to have taken place at the court of Denmark, at the remote period of time fixed upon, before the modern refinements in morals and manners were heard of. It would have been interesting enough to have been admitted as a bystander in such a scene, at such a time, to have heard and witnessed [76] something of what was going on. But here we are more than spectators. We have not only "the outward pageants and the signs of grief;" but "we have that within which passes show." We read the thoughts of the heart, we catch the passions living as they rise. Other dramatic writers give us very fine versions and paraphrases of nature; but Shakespear, together with his own comments, gives us the original text, that we may judge for ourselves. This is a very great advantage. The character of Hamlet stands quite by itself. It is not a character marked by strength of will or even of passion, but by refinement of thought and sentiment. Hamlet is as little of the hero as a man can well be : but he is a young and princely novice, full of high enthusiasm and quick sensibility - the sport of circumstances, questioning with fortune and refining on his own feelings, and forced from the natural bias of his disposition by the strangeness of his situation. He seems incapable of deliberate action, and is only hurried into extremities on the spur of the occasion, when he has no time to reflect, as in the scene where he kills Polonius, and again, where he alters the letters which Rosencraus and Guildenstern are taking with them to England, purporting his death. At other times, when he is most bound to act, he remains puzzled, undecided, and sceptical, dallies with his purposes, till the occasion is lost, and finds out some pretence to relapse into indolence and thoughtfulness again. For this reason he refuses to kill the King when he is at his prayers, and by a refinement in malice, which is in truth only an excuse for his own want of resolution, defers his revenge to a more fatal opportunity, when he shall be engaged in some act "that has no relish of salvation in it." "Now might I do it pat now he is praying; And now I"ll do "t; - and so he goes to heaven; And so am I reveng"d? - that would be scanned: A villain kills my father; and for that [77] I, his sole son, do this same villain send To heaven. O, this is hire and salary, not revenge ... Up sword; and know thou a more horrid hent, When he is drunk asleep, or in his rage." 2 He is the prince of philosophical speculators; and because he cannot have his revenge perfect, according to the most refined idea his wish can form, he declines it altogether. So he scruples to trust the suggestions of the ghost, contrives the scene of the play to have surer proof of his uncle"s guilt, and then rests satisfied with this confirmation of his suspicions, and the success of his experiment, instead of acting upon it. Yet he is sensible of his own weakness, taxes himself with it, and tries to reason himself out of it: "How all occasions do inform against me, And spur my dull revenge! What is a man, If his chief good and market of his time Be but to sleep and feed? A beast; no more. Sure he that made us with such a large discourse, Looking before and after, gave us not That capability and god-like reason To fust in us unus"d. Now whether it be Bestial oblivion, or some craven scruple Of thinking too precisely on th" event, - A thought which, quarter"d, hath but one part wisdom, And ever three parts coward, - I do not know Why yet I live to say, This thing"s to do; Sith I have cause, and will, and strength, and means To do "t. Examples, gross as earth, exhort me: Witness this army of such mass and charge, Led by a delicate and tender prince, Whose spirit with divine ambition puff"d, Makes mouths at the invisible event, Exposing what is mortal and unsure To all that fortune, death, and danger dare, Even for an egg-shell. Rightly to be great Is not to stir without great argument; But greatly to find quarrel in a straw, [78] When honour"s at the stake. How stand I, then, That have a father kill"d, a mother stain"d, Excitements of my reason and my blood, And let all sleep? while, to my shame, I see The imminent death of twenty thousand men, That for a fantasy and trick of fame, Go to their graves like beds, fight for a plot Whereon the numbers cannot try the cause, Which is not tomb enough and continent To hide the slain? - O, from this time forth, My thoughts be bloody, or be nothing worth. "3 Still he does nothing; and this very speculation on his own infirmity only affords him another occasion for indulging it. It is not from any want of attachment to his father or of abhorrence of his murder that Hamlet is thus dilatory; but it is more to his taste to indulge his imagination in reflecting upon the enormity of the crime and refining on his schemes of vengeance, than to put them into immediate practice. His ruling passion is to think, not to act: and any vague pretext that flatters this propensity instantly diverts him from his previous purposes. The moral perfection of this character has been called in question, we think, by those who do not understand it. It is more interesting than according to rules; amiable, though not faultless. The ethical delineations of that "noble and liberal casuist" (as Shakespear has been well called) do not exhibit the drab-coloured quakerism of morality. His plays are not copied either from the "Whole Duty of Man," or from "The Academy of Compliments!" 4 We confess we are a little shocked at the want of refinement in Hamlet. The neglect of punctilious exactness in his behaviour either partakes of the "licence of the time," or else belongs to the very excess of intellectual [79] refinement in the character, which makes the common rules of life, as well as his own purposes, sit loose upon him. He may be said to be amenable only to the tribunal of his own thoughts, and is too much taken up with the airy world of contemplation to lay as much stress as he ought on the practical consequences of things. His habitual principles of action are unhinged and out of joint with the time. His conduct to Ophelia is quite natural in the circumstances. It is that of assumed severity only. It is the effect of disappointed hope, of bitter regrets, of affections suspended, not obliterated, by the distractions of the scene around him! Amidst the natural and preternatural horrors of his situation, he might be excused in delicacy from carrying on his regular courtship. When "his father"s spirit was in arms," it was not a time for the son to make love in. He could neither marry Ophelia, nor wound her mind by explaining the cause of his alienation, which he durst hardly trust himself to think of. It would have taken him years to have come to a direct explanation on the point. In the harassed state of his mind, he could not have done much otherwise than he did. His conduct does not contradict what he says when he sees her funeral, "I loved Ophelia: forty thousand brothers Could not with all their quantity of love Make up my sum" - 5 Nothing can be more affecting or beautiful than the Queen"s apostrophe to Ophelia on throwing flowers into the grave. "Sweets to the sweet farewell [Scattering flowers] I hop"d thou should"st have been my Hamlet"s wife I thought thy bride-bed to have deck"d, sweet maid, And not to have strew"d thy grave. "6 Shakespear was thoroughly a master of the mixed motives of human character, and he here shows us the Queen, who was so criminal in some respects, not without sensibility [80] and affection in other relations of life. - Ophelia is a character almost too exquisitely touching to be dwelt upon. Oh rose of May, oh flower too soon faded! Her love, her madness, her death, are described with the truest touches of tenderness and pathos. it is a character which nobody but Shakespear could have drawn in the way that he has done, and to the conception of which there is not even the smallest approach, except in some of the old romantic ballads. Her brother, Laertes, is a character we do not like so well: he is too hot and choleric, and somewhat rhodomontade. Polonius is a perfect character in its kind; nor is there any foundation for the objections which have been made to the consistency of this part. It is said that he acts very foolishly, and talks very sensibly. There is no inconsistency in that. Again, that he talks wisely at one time and foolishly at another; that his advice to Laertes is very excellent, and his advice to the King and Queen on the subject of Hamlet"s madness very ridiculous. But he gives the one as a father, and is sincere in it; he gives the other as mere courtier, a busy-body, and is accordingly officious, garrulous, and impertinent. In short, Shakespear has been accused of inconsistency in this and other characters, only because he has kept up the distinction which there is in nature, between the understandings and the moral habits of men, between the absurdity of their ideas and the absurdity of their motives. Polonius is not a fool, but he makes himself so. His folly, whether in his actions or speeches, comes under the head of impropriety of intention. We do not like to see our author"s plays acted, and least [81] of all "Hamlet". There is no play that suffers so much in being transferred to the stage. Hamlet himself seems hardly capable of being acted. Mr. Kemble unavoidably fails in this character from a want of ease and variety. The character of Hamlet is made up of undulating lines; it has the yielding flexibility of "a wave o" th" sea." Mr. Kemble plays it like a man in armour, with a determined inveteracy of purpose, in one undeviating straight line, which is as remote from the natural grace and refined susceptibility of t

切字多音字组词：亲切、切记、切身、密切、贴切、急切、真切、殷切、恳切、凄切、余切、一切、切近、迫切、痛切、切实、切割、热切、切磋、切糕、切音、哀切、切中、关切、清切、切脉、切片、切切、切当、悲切、

3次方的因式分解的方法 例如X^3 + 2x -3 极限的运用范围..还有给我讲讲泰勒公式 x³ + 2x -3 观察发现当 x = 1 时,代数式为 0 ,所以分解因式 应该包含 (x - 1) = x³ - x² + x² - x + 3x - 3 = x²(x - 1) + x(x - 1) + 3(x - 1) = (x - 1)*(x² + x + 3) 极限的运用范围：尽量转换为 x →0的形式,因为这是你最熟悉的,方法很多,无法列举 泰勒公式： f(x) = f(x0) + f"(x0)(x - x0) + f""(x0)/2 *(x - x0)² + …… +f{^n}(x0)/n!*(x - x0)^n + …… = f(x0) + f"(x0)(x - x0) + f""(x0)/2 *(x - x0)² + …… +f{^n}(x0)/n!*(x - x0)^n + o{(x - x0)^n} 当x0 = 0,称为麦克劳林展开： f(x) = f(0) + f"(0)x + f""(0)/2 *x² + …… + f{^n}(0)/n!*x ^n + …… = f(0) + f"(0)x + f""(x0)/2 *x² + …… +f{^n}(0)/n!*x^n + o{(x^n)} 其中 f{^n}(x0) 表示f(x)在x0处的n阶导数； n!表示 n 的阶乘,也就是从1开始,一直连乘到 n； o{(x^n)} 表示 x 的高阶无穷小

Paris:One of the most romantic cities this is a fantastic city that is the capital city of France. It is one of the most attractive cities that give you a feeling of love and romance. The city is well known for its appetizing tastes of wines and lip smacking desserts. It is due to these reasons that people find it to be one of the most romantic cities. There are a lot of places to visit that bring everyone into the most romantic mood. Hotels and shopping malls in the city are a major attraction. You can purchase the gift of your choice from the malls. The museums and other historical places are a must see. The Eiffel tower is a gigantic structure that must not be missed out on your visit here. Besides the romantic city of Paris also has scenic views that make it the most romantic city. Venice:Situated in Italy this romantic city has lots to offer. There are a lot of places for sightseeing that is sure to make you have a fantastic time. Ranging from churches, museums and historical monuments this romantic city has it all. Gondola ride is the most thrilling ride for people of all age groups. This is the best opportunity for you to get a view of the romantic city. The Ca"D"Oro is a palace that has ornaments trimmed in pure gold. It is believed that in the year 1434 this marvelous palace was beautifully designed and created by Marino Contarini for his wife. The city also boasts of its picturesque views and shopping malls. Get into the most romantic mood on your visit to this city and have a great time here. San Francisco:This is just the most romantic city to visit. The couples are sure to get into the most vivacious spirits throughout their visit to this amazing city. You can go for shopping throughout the day and the nighttime can be spent watching a romantic movie together. It is amazing to take a carriage ride through the central park. Your visit to this most romantic city would be incomplete without witnessing the nightlife here. The nightlife comprises of lovely music, a romantic movie, dancing and singing. Besides the hotels offer a great ambiance to dine in and have a wonderful time with your dearest one. There are also a wide variety of shopping malls and museums. Have the most enticing time visiting this romantic city. Boston:There are a lot of major attractions in this beautiful and romantic city. The city has various romantic places that will allow you to spend your time in each other"s company. The American Repertory Theater is known to be the cities most renowned resident theatres that is nestled in the Loeb Center in Harvard Square. The theatre portrays a combination of the various forms of art like drama, music and comedy. There are various parks and museums that are sure to make your journey to this attractive place interesting. The city also has parks and other secluded places for having a romantic time and enjoying your time spent in this amazing city. New York:This is a perfect romantic city to visit for those who want to have an exciting time or just want to keep themselves occupied during a vacation. The people are in vivacious spirits throughout. You can shop for your favorite things during the day and a late night romantic movie with your dearest one would be an excellent idea. A lovely carriage ride through the central park is amazing. You can opt for the best hotels to lodge and dine in. The visit to this romantic city would be incomplete without witnessing the nightlife that comprises of a movie in the theatre, dancing and singing. The hotels provide a perfect ambiance to dine in and have a great time. The Pierre hotel provides excellent service that will allow you to have a comfortable stay here. The best hotel to opt for your stay here would be the Peninsula since it is very close to the major attractions in New York and shopping malls and museums too are easily accessible. Vienna:One of the major cities located in Austria this is one place that mingles together in ethnicity, style and sophistication. The city is sure to bring a lasting impression to anyone who pays a visit the very first time. With numerous churches and museums your trip to this fantastic city is sure to be amazing. Besides these if you want to spend an evening in tranquility then the parks are the best places you must visit. The city hall park is a famous and massive park that has a wonderful decoration that is worthwhile. The central tower is the most outstanding feature of the park. The city also has famous restaurants for a comfortable stay. Have a fun filled time in this romantic city. New Orleans:The city of New Orleans is famous for its colors and festivities. Besides food, music and cruises provide great entertainment to all. There could be nothing more romantic than going on a cruise with your loved one. There are also fascinating boat trips that are sure to have the most romantic time. Museums and parks are a common sight to see in this romantic city. A carriage ride along with your beloved would be the most thrilling. The carriage takes you to the French Quarter and many other landmarks of New Orleans. The city also offers you the most attractive visit to the river swamps. Majority of the part is covered in wildlife area. Come to this beautiful place and have a great time. Monte – Carlo, Monaco:This is an attractive place that has a unique history of its own. It is one of the most important places of Monaco. Dotted with scenic beauty and beaches this is a romantic city that should not be missed out. It is due to this reason that people from all over come to visit this beautiful city. There are a lot of places to visit here. Some of them include the old town of Monaco – Ville that envelops the palace on the southwest side of the Monaco Harbor. The visit to this city is sure to have a lasting impression on you forever. The city being extended into the rock and the sea allows one to spend time amidst tranquility and have a romantic time. There are some buildings that are built on the water and this is one of the most idealistic places. London:Nestled in the heart of England London is the major hub for tourist attractions. The romantic city is dotted with number of castles, churches and villages and cathedrals. This is a great city to visit during your holidays and if you want to get out of your busy schedules. London is the capital city of England and is one of the most happening cities. The Buckingham Palace, Tower of London and the Windsor Palace are worth a visit. Manchester is the center of attention for different tiny villages and towns and is one of the romantic places to visit. There are the beaches that are sure to bring you into the most romantic mood. So have a fantastic time here. Melbourne:The second largest city in Australia, Melbourne has a large number of shopping malls that enable you to purchase the perfect gift for your loved one. Besides malls the romantic city also has boutiques that offer a wide variety of daily use articles and trendy clothes and other things. The art and architecture are a major attraction. Well known for its sporting events the city also has people who are often a part of the various festivities that take place in the city. The Australian football league a well-known event is often staged in this beautiful city. The rising and setting sun can be captured in your cameras. So don"t miss out on this romantic city on your visit to Australia and have a fabulous time.

　外貌描写的句子如下：1、她的头发很浓密，而且好像马鬃毛一样的粗硬。却带着小孩子一样的骚乱和柔美，卷曲地绕着她的小小的耳朵。2、她的黑发像轻纱一样垂在肩上。3、浓眉下面深藏着一对炯灼的眼睛，那里面饱含着无边的慈爱。4、她的头发颜色漆黑，带有反光，像乌鸦的翅膀一样，又黑又亮。5、小女儿真像一株海棠似的袅娜。6、眉不太宽厚却浓密真切，横横的两条，永远像新经剔拔过或描画过。7、他的脚趾头差不多同手指头一样长，一样灵活，他能够用脚趾头夹着一支钢笔流利地签名，还能用脚趾头剥豌豆。8、他的脸盘不大，瘦削而有雀斑，下巴尖尖的，像松鼠一样。9、他的一双手很大，骨节突出，颜色发达。手掌上全是茧子，看上去好像被铁锈分成一条条似的。10、她娇艳的脸上有一层新鲜的绒毛，如刚摘下的水蜜桃一样。11、他的红的近乎赭色的脸像是用泥士塑成的，又像是在窑里边被烧炼过，显得结实，坚硬。12、纳赛尔是个高大而坚实的人，很容易使人联想到埃及遍野的椰枣树，挺得住暴风雨的。13、风磨前站着一个矮个的、整个身子活像用铅捶成的人。14、他的脸红彤彤的。瘦瘦的。活像一块风干了的老木头。15、她那黑亮黑亮的头发像柳丝一样轻柔。16、他浅眉细眼，白净的小圆脸。常带着一对生动的笑窝儿。是个模样挺招人喜欢的孩子。17、他的头发和平时一样，乱得像一把破笤帚。18、眉毛高高在上，跟眼睛远隔得彼此要害相思病。19、他把两条愁云紧锁的灰色眉毛更加紧蹙在眼睛上面，这两条眉毛像繁生的高耸的山岭上的灌木丛，山顶上盖满了银针一般的北国寒霜。20、他原来有些弯曲的背，现在越驼越厉害，如同背着一口锅。21、背上那条黑长的大辫子，沉甸甸的，巴掌宽的红辫根儿，远远看去，好像茂林中的一团野火。22、她脱下帽子，比丝更细更软的淡黄色的头发，照着树隙中透下来的阳光，像黄金一般闪耀。23、她那道浓厚而且长得异样的花白眉毛，是卷起的和倒立的，筒直像是两撇搁错了位置的髭须。24、爷爷就像一棵给河浪卷来扔到这儿沙滩上的干桔老树。25、她那柔软好看的脚上穿着足踝处绣着灰蓝色花朵的纱袜，一只脚正在轻轻地拍着地面，好像故意要展露她那丰满匀称的小腿似的。

组租祖阻诅俎柤珇鉏爼砠驵驵岨姐，粗，蛆，宜，组，租，祖，阻，俎，诅，鉏，爼，伹，柤，砠，诅，珇，怚等.组长，租房，祖母，阻止，诅咒,租，组，祖，阻，诅，柤，俎，珇，鉏，砠，爼，靻，驵，岨，驵，组祖，阻，俎，姐，粗，蛆，伹，柤，砠，咀，趄，助，锄，诅，鉏，爼，珇，怚，狙，砠，驵,组,租,祖,阻,诅,俎,柤,珇,鉏,爼,砠,驵,靻,伹,岨,咀,沮,狙,龃,疽,蛆,姐,粗,殂,徂

一元三次方程的标准形是ax^3+bx^2+cx+d=0。三次方程的解法思想是通过配方和换元，使三次方程降次为二次方程，进而求解。其他解法还有因式分解法、另一种换元法、盛金公式解题法等。注：三次方程至少有一个实数根，但形式可能比较复杂。

一般是这样。习惯上n看作自然数，即经典的教科书上都是这样约定俗成。

是的，他们是杭州的一家企业。

切字打五笔的话分解成一个七和一个刀，所以应该是a和v ，再加一个末笔识别t。

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这是美国那边搜索引擎搜索安利，除了安利自己的网页第一条就是警报信息。Is Amway a Scam? Hear from Top Pyramid Scheme Experts 中文翻译 安利是不是骗局？顶级传销专家为你解读，如果你打开后面的网页都是负面新闻，你会失去亲情 失去友谊更会失去金钱 比如这个连接It"s pretty hard to get to the top front page of a search engine amidst all ofthe company"s own advertising unless there"s some serious traffic going to thatsite.打开以后是美国人的留言So I clicked it and read about product-based pyramid schemes (multi-levelmarketing models) and how apparently the FTC legally allows it because it"s notsolely about recruiting other people. (Just because it"s legal doesn"t meanit"s good for you though: smoking is legal.) I read about how 99% of peoplelost money, lost friends, etc.中文翻译就是接下来，我又读到了为什么FTC（联邦贸易委员会）会允许它，是因为安利并不仅仅会招募其他的人进来。（但，合法并不意味着没有害处，例如：吸烟是合法的，但是却是有害的），我读到，大约99%的人损失了金钱，失去了朋友，等等。安利在美国属于没人买的山寨杂牌。其次美国那边也不卖安利 纽崔莱的标签，统一用捷星，是九十年代末二十一世纪初，安利母公司因为安利名声太臭不得不改名在美国销售，捷星在美国属于几乎没什么知名度的杂牌

以Word2003为例，在Word菜单中选择“插入”中的“对象”，在弹出的对话框中的“对象类型”内下拉移动条，找到“Microsoft 公式 3.0”，选中后按确定退出。通过公式选择框来进行构建自己所需要的数学公式。

ciao int. [意](见面问候语或告别语)你好! 再见!

一切：妈妈所做的一切都是为了我好。切菜：妈妈在厨房切菜。

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Tiziano Vecelli or Tiziano Vecellio (c. 1485 – August 27, 1576), better known as Titian, (TISH-uhn), was the leader of the 16th-century Venetian school of the Italian Renaissance. He was born in Pieve di Cadore, in the Cadore territory, near Belluno (Veneto), in Most Serene Republic of Venice, and died in Venice. During his lifetime he was often called Da Cadore, taken from the place of his birth.Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante"s Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. Had he died at the age of forty, he would still have to be regarded as one of the most influential artists of his time. But he lived on for a further half century, changing his manner so drastically that some critics refuse to believe that his early and later pieces could have been produced by the same man. What unites the two parts of his career is his deep interest in colour. His later works may not contain vivid, luminous tints as his early pieces do, yet their loose brushwork and subtlety of polychromatic modulations have no precedents in the history of Western art.BiographyEarly yearsNo one is sure of the exact date of Titian"s birth; when he was old he claimed it was 1477 in a letter to Philip II, but this seems most unlikely.[1] Other writers contemporary to his old age give figures for his age which would equate to birth-dates between 1473 to after 1482, but most modern scholars believe a date nearer 1490 is more likely. He was the eldest of a family of four and son of Gregorio Vecelli, a distinguished councillor and soldier, and of his wife Lucia. His father was superintendent of the castle of Pieve di Cadore and also managed local mines for their owners.[2] Many relatives, including Titian"s grandfather, were notaries, and the family were well-established in the area, which was ruled by Venice.At the age of about ten to twelve he and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find an apprenticeship with a painter. The minor painter, Sebastian Zuccato, whose sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to enter the studio of the elderly Gentile Bellini, from which they later transferred to that of his brother Giovanni Bellini.[2] At that time the Bellinis, especially Giovanni, were the leading artists in the city. There he found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, and Giorgio da Castelfranco, nicknamed Giorgione. Francesco Vecellio, his younger brother, later became a painter of some note in Venice.A fresco of Hercules on the Morosini Palace is said to have been one of his earliest works; others were the Virgin and Child (the Bellini-esque so-called Gypsy Madonna), in Vienna, and the Visitation of Mary and Elizabeth (from the convent of S. Andrea), now in the Accademia, Venice.Titian joined Giorgione as an assistant, but many contemporary critics already found his work more impressive, for example in the exterior frescoes (now lost) that they did for the Fondacio dei Tedeschi, and their relationship evidently had a significant element of rivalry. Distinguishing between their work at this period remains a subject of scholarly controversy, and there has been a substantial movement of attributions from Giorgione to Titian in the 20th century, with little traffic the other way. One of the earliest known works of Titian, the little Ecce Homo of the Scuola di San Rocco, was long regarded as the work of Giorgione.The two young masters were likewise recognized as the two leaders of their new school of "arte moderna", that is of painting made more flexible, freed from symmetry and the remnants of hieratic conventions still to be found in the works of Giovanni Bellini.In 1507-1508 Giorgione was commissioned by the state to execute frescoes on the re-erected Fondaco dei Tedeschi. Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione. Some of their work is known, in part, through the engravings of Fontana. After Giorgione"s early death in 1510, Titian continued to paint Giorgionesque subjects for some time, though his style developed its own trademarks, including bold and expressive brushwork.Titian"s talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in the Scuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, and three scenes from the life of St. Anthony of Padua, the Murder of a Young Woman by Her Husband, A Child Testifying to Its Mother"s Innocence, and The Saint Healing the Young Man with a Broken Limb.From Padua in 1512, Titian returned to Venice; and in 1513 he obtained a broker"s patent in the Fondaco dei Tedeschi (state-warehouse for the German merchants), termed La Sanseria or Senseria (a privilege much coveted by rising or risen artists), and became superintendent of the government works, being especially charged to complete the paintings left unfinished by Giovanni Bellini in the hall of the great council in the ducal palace. He set up an atelier on the Grand Canal at S. Samuele, the precise site being now unknown. It was not until 1516, upon the death of Bellini, that he came into actual enjoyment of his patent. At the same time he entered an exclusive arrangement for painting. The patent yielded him a good annuity of 20 crowns and exempted him from certain taxes — he being bound in return to paint likenesses of the successive Doges of his time at the fixed price of eight crowns each. The actual number he executed was five.GrowthGiorgione died in 1510 and the aged Bellini, 1516, leaving Titian unrivaled in the Venetian School. For sixty years he was to be the undisputed master of Venetian painting, and as it were, the painter laureate of the Republic Serenissime. As early as 1516 he succeeded his old master Bellini in receiving a pension from the Senate.During this period (1516-1530), which may be called the period of his mastery and maturity, the artist moved on from his early Giorgionesque style, undertook larger and more complex subjects and for the first time attempted a monumental style.In 1518 he produced for the high altar of the church of the Frari, his famous masterpiece, the Assumption of the Virgin, still in situ. This extraordinary piece of colorism, executed on a grand scale rarely before seen in Italy, excited a sensation. The Signoria took note, and observed that Titian was neglecting his work in the hall of the great council.The pictorial structure of the Assumption — that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite — was continued in a series of works such as the retable of San Domenico at Ancona (1520), the retable of Brescia (1522), and the retable of San Niccolò (1523), in the Vatican Museum), each time attaining to a higher and more perfect conception, finally reaching a classic formula in the Pesaro Madonna, (c. 1519-1526), at Santa Maria Gloriosa dei Frari in Venice. This perhaps is his most studied work, whose patiently developed plan is set forth with supreme display of order and freedom, originality and style. Here Titian gave a new conception of the traditional groups of donors and holy persons moving in aerial space, the plans and different degrees set in an architectural framework.Titian was now at the height of his fame, and towards 1521, following the production of a figure of St. Sebastian for the papal legate in Brescia (a work of which there are numerous replicas), purchasers pessed for his work.To this period belongs a more extraordinary work, The Death of St. Peter Martyr (1530), formerly in the Dominican Church of San Zanipolo, and destroyed by an Austrian shell in 1867. Only copies and engravings of this proto-Baroque picture remain; it combined extreme violence and a landscape, mostly consisting of a great tree, that pressed into the scene and seems to accentuate the drama in a way that looks forward to the Baroque.The artist simultaneously continued his series of small Madonnas which he treated amid beautiful landscapes in the manner of genre pictures or poetic pastorals, the Virgin with the Rabbit in the Louvre being the finished type of these pictures. Another work of the same period, also in the Louvre, is the Entombment. This was also the period of the large mythological scenes for the studiolo of Alfonso d"Este in Ferrara, such as the famous Bacchanals of the Prado, and the Bacchus and Ariadne of London, "...perhaps the most brilliant productions of the neo-pagan culture or "Alexandrianism" of the Renaissance, many times imitated but never surpassed even by Rubens himself."[3] Finally this was the period when the artist composed the half-length figures and busts of young women, probably courtesans, such as Flora of the Uffizi, or The Young Woman at Her Toilet in the Louvre.In 1525 he married a lady named Cecilia, thereby legitimizing their first child, Pomponio, and two (or perhaps three) others followed, including Titian"s favorite, Orazio, who became his assistant. About 1526 he became acquainted, and soon exceedingly intimate, with Pietro Aretino, the influential and audacious figure who features so strangely in the chronicles of the time. Titian sent a portrait of him to Gonzaga, duke of Mantua.In August 1530 his wife died giving birth to a daughter, Lavinia, and with his three children he moved house, and got his sister Orsa to come from Cadore and take charge of the household. The mansion, difficult to find now, is in the Bin Grande, then a fashionable suburb, at the extreme end of Venice, on the sea, with beautiful gardens and a view towards Murano.MaturityDuring the next period (1530-1550), Titian developed the style introduced by his dramatic Death of St. Peter Martyr. The Venetian government, dissatisfied with Titian"s neglect of the work for the ducal palace, ordered him in 1538 to refund the money which he had received, and Pordenone, his rival of recent years, was installed in his place. However, at the end of a year Pordenone died, and Titian, who meanwhile applied himself diligently to painting in the hall the Battle of Cadore, was reinstated. This major battle scene, was lost along with so many other major works by Venetian artists by the great fire which destroyed all the old pictures in the great chambers of the Doge"s Palace in 1577. It represented in life-size the moment at which the Venetian general, D"Alviano attacked the enemy with horses and men crashing down into a stream, and was the artist"s most important attempt at a tumultuous and heroic scene of movement to rival Raphael"s Battle of Constantine and the equally ill-fated Battle of Cascina of Michelangelo and The Battle of Anghiari of Leonardo (both unfinished). There remains only a poor, incomplete copy at the Uffizi, and a mediocre engraving by Fontana. The Speech of the Marquis del Vasto (Madrid, 1541) was also partly destroyed by fire. But this period of the master"s work is still represented by the Presentation of the Blessed Virgin (Venice, 1539), one of his most popular canvasses, and by the Ecce Homo (Vienna, 1541). Despite its loss, the painting had a great influence on Bolgnese art and Rubens, both in the handling of details and the general effect of horses, soldiers, lictors, powerful stirrings of crowds at the foot of a stairway, lit by torches with the flapping of banners against the sky.Less successful were the pendentives of the cupola at Sta. Maria della Salute (Death of Abel, Sacrifice of Abraham, David and Goliath). These violent scenes viewed in perspective from below — like the famous pendentives of the Sistine Chapel — were by their very nature in unfavorable situations. They were nevertheless much admired and imitated, Rubens among others applying this system to his forty ceilings (the sketches only remain) of the Jesuit church at Antwerp.At this time also, the time of his visit to Rome, the artist began his series of reclining Venuses (The Venus of Urbino of the Uffizi, Venus and Love at the same museum, Venus and the Organ-Player, Madrid), in which is recognized the effect or the direct reflection of the impression produced on the master by contact with ancient sculpture. Giorgione had already dealt with the subject in his Dresden picture, finished by Titian, but here a purple drapery substituted for a landscape background changed, by its harmonious coloring, the whole meaning of the scene.Titian had from the beginning of his career shown himself to be a masterful portrait-painter, in works like La Bella (Eleanora de Gonzaga, Duchess of Urbino, at the Pitti Palace). He painted the likenesses of princes, or Doges, cardinals or monks, and artists or writers. "...no other painter was so successful in extracting from each physiognomy so many traits at once characteristic and beautiful," according to the Catholic Encyclopedia. Among portrait-painters Titian is compared to Rembrandt and Velásquez, with the interior life of the former, and the clearness, certainty, and obviousness of the latter.The last-named qualities are sufficiently manifested in the Portrait of Paul III of Naples, or the sketch of the same pope and his two nephews, the Portrait of Aretino of the Pitti Palace, the Eleanora of Portugal (Madrid), and the series of King Charles V of the same museum, the Charles V with a Greyhound (1

Unable to find closed form solution表示方程没有解析解,最后答案不能用k表示

切部首：刀　　切笔顺：一フフノ　　[拼音][qiē，qiè]　　[释义][qiē]：用刀从上往下用力：～菜。～除。～磋（本义是把骨角玉石加工制成器物，引申为在业务、思想各方面互相吸取长处，纠正缺点，如“～～琢磨”）。[qiè]：1.密合，贴近：～当（dàng）。～肤（切身）。～己。亲～。2.紧急：急～。迫～。3.实在：～忌。恳～。4.旧时汉语标音的一种方法，用两个字，取上一字的声母与下一字的韵母拼成一个音。亦称“反切”。

c语言中有两种方式可以表示10的n次方：1、直接用浮点数表示：10的n次方为1e10也可写成1e+10(如果是负n次方的话就把加号变成减号）。e大小写都可以，需要注意的是e前面必须有一个数字，不然的话就非法表达。2、用幂函数表示：在c语言中，求x的y次方可用pow(x,y)表示，所以10的n次方也可表示为pow(10,n)。其中pow函数在头文件math.h中，所以调用该函数的时候，必须将math.h加进来，即#include原型：externfloatpow(floatx,floaty);功能：计算x的y次幂。说明：x应大于零，返回幂指数的结果。

无论是一元几次多项式的因式分解，一般只要出题要你因式分解，一般都可以分解。1）公式法：主要看未知数的系数是否可以套用公式：比如完全立方公式x^3+3ax^2+3a^2x+a^3=（x+a）^3,和x^3-3ax^2+3a^2x-a^3=（x-a）^3；还有公式：x^3-a^3=(x-a)(x^2+ax+a^2);当然，一般增加难度时，打乱排列的顺序，增加个公共系数另外加个常数项负1，例如对：8x^3+24x^2+24x+7的因式分解。整个式子表面看没有公因式，就需要你动手变形，变为：8x^3+24x^2+24x+7+1-1=8*(x^3+3x^2+3x+1)-1=8*(x+1)^3-1=[2(x+1)]^3-1=[2(x+1)-1]*{[2(x+1)]^2+2(x+1)+1}=(2x+1)(4x^2+8x+4+2x+2+1)=(2x-1)(4x^2+10x+7)。2）降幂法：看提取一元公因式后，是否可以变为二次方程的应用公式：完全平方公式和二数和乘以二数差等于二数平方差。3）组合法：不能利用公式的，可以两两组合，看是否有公因式，如果有公因式，分别提取公因式，进行因式分解。4）拆分法：一般一元三次方程在没有其它代数的情况下是四个项，有时为了因式分解，要把四项变为六项，看两两组合是否有公因式可以提取，再因式分解。因式分解题型很多，不是我靠三言两语就能说清楚的，你必须多做题，题做的多了，你自然就会了；你会比我总结的还要好。

包含有“切”字的全部成语及解释： 确切不移——形容真实可靠，不容怀疑。 切中时弊——切：切合；中：恰好对上；弊：害处。指发表的言论正好击中当时社会的弊病。 切切私语——指私下小声说话。 切切此布——旧时布告末尾的套语。 切骨之仇——形容仇恨极深。 切肤之痛——切肤：切身，亲身。亲身经受的痛苦。比喻感受深切。 切齿痛恨——形容愤恨到极点。 切齿腐心——切齿：咬紧牙齿；腐心：形容心中极恨。形容愤恨到极点。 切树倒根——比喻彻底。 切磋琢磨——将骨、角、玉、石加工制成器物。比喻学习或研究问题时彼此商讨，互相吸取长处，改正缺点。 睥睨一切——形容非常高傲，看不起任何人。 怒目切齿——怒目：怒视的样子；切齿：咬紧牙齿。形容极其愤恨。 目空一切——什么都不放在眼里。形容极端骄傲自大。 寒蝉凄切——寒蝉：冷天里的知了。天冷时，知了发出凄惨而低沉的声音。文艺作品中多用以烘托悲凉的气氛和情调。 直言切谏——谓以正直的言论谏诤。古时多用于臣下对君主。同“直言极谏”。 浮声切响——浮声：平声；切响：仄声。指古汉语中的平仄声。 斩钉切铁——比喻坚定不移或果断利落。亦比喻雄健有力。同“斩钉截铁”。 引绳切墨——木工拉墨线裁直。用以比喻刚直不阿。 倚闾望切——闾：古代里巷的门。靠在里巷的门口向远处殷切地望着。形容父母盼望子女归来的心情十分殷切。亦作“倚闾而望”、“倚门而望”、“倚门倚闾”、“倚门之望”、“倚门而望”、 一切万物——宇宙间所有的事物。 相切相磋——指相互研讨。 望闻问切——中医用语。望，指观气色；闻，指听声息；问；指询问症状；切；指摸脉象。合称四诊。 痛心切骨——伤痛透到骨头里。形容悲愤之至。亦形容痛苦的程度极深。 铄古切今——犹言融贯古今。形容学识渊博。 深切着明——指深刻而显明。 深切着白——指深刻而显明。同“深切着明”。 深切着明——深刻而显明。 深切着白——深刻而显明。同“深切着明”。 入理切情——指合乎道理，切合实情。 如切如磋——比喻互相商讨砥砺。 情真意切——指情意十分真切。

ciao的意思是你好,再见的意思. CIAO这词语用在朋友或者亲热以及同龄人之间..