律三郎 的英文怎麼說
中文拼音 [lǜsānláng]
律三郎
英文
ritsuzaburo-
I call those first - rate which are composed of treasures one possesses under one s hand, such as mines, lands, and funded property, in such states as france, austria, and england, provided these treasures and property form a total of about a hundred millions ; i call those second - rate fortunes, that are gained by manufacturing enterprises, joint - stock companies, viceroyalties, and principalities, not drawing more than 1, 500, 000 francs, the whole forming a capital of about fifty millions ; finally, i call those third - rate fortunes, which are composed of a fluctuating capital, dependent upon the will of others, or upon chances which a bankruptcy involves or a false telegram shakes, such as banks, speculations of the day - in fact, all operations under the influence of greater or less mischances, the whole bringing in a real or fictitious capital of about fifteen millions
凡是手中有寶藏，在法國奧地利和英國這種國家裡擁有礦產田地不動產，而且這種寶藏和財產的總數約為一萬萬左右的，我把他們叫作頭等富翁。凡是製造業或股份公司的大股東，負有某重任的總督，小國王公，年收入達一百五十萬法郎，總資產在五千萬左右的，就把他們叫作二等富翁。最後，凡是資產分散在各種企業上的小股東，靠他的意志或機遇賺錢，經受不起銀行倒閉的，經受不起時局急變的，財產的增減單純靠搞投機，受自然規律中大魚吃小魚定律的支配，虛實資本總共約莫在一千五百萬左右的，我稱他們為三等富翁。With the near advent of his death in sha h bei g, li wenlong tells his younger brother erlang in front of the sand river that he eventually " knows what is vigor and fugue " and further realizes that " a pursuit of mastery and art will eventually lead to a sense of self - finding " among which the entertained signification of playing gets the three melodies of sand river, playing and self - awareness to reemerge the development of thematic original tune with the musical forms of starting off, passaggio and change of tune, thus composing one melancholy and appealing tune of " art of vigor. " this essay deems it the key to interpret sha h bei g and have a glimpse of qi deng sheng ' s views over arts as well as to have a retrospect over the meaning of " art of vigor " betoken by the source of artistic creation
《沙河悲歌》中，李文龍在死亡臨近前，在沙河前告訴其弟二郎，他終于懂得什麼是生活和賦格，並領悟：追求技藝藝術到最後會轉來發現自我，其中所賦予的吹奏之義，讓沙河、吹奏與自我的三股旋律，以音樂曲式的：出發、轉調、變調而再現主題原調之發展，譜就了一曲悲愴而動人的生命藝術性之歌，本文以為這是解讀《沙河悲歌》 ，與七等生對藝術看法的重要關鍵，更是對藝術創作所觸及的生命藝術性本源之反思。
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