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《僵尸新娘》台词，这部电影单词挺简单的，而且都能听懂，很少见到我能听懂的电影，这个符合你要求
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- Good morning.
- Good morning.
Here ye, here ye, 10 minutes to go
till Van Dort's wedding rehearsal.
Watch it!
- It's a beautiful day
- It's a rather nice day
A day for a glorious wedding
A rehearsal, my dear
To be perfectly clear
A rehearsal for a glorious wedding
Assuming nothing happens
That we don't really know
That nothing unexpected
Interferes with the show
And that's why everything
Every last little thing
Every single, tiny, microscopic little thing
Must go
- According to plan
- Our son will be married
- According to plan
- Our family carried
Elevated to the heights of society
- To the costume balls
- In the hallowed halls
Rubbing elbows with the finest
Having crumpets with Her Highness
We'll be there, we'll be seen
Having tea with the queen
We'll forget everything
That we've ever, ever been
- Blimey! It's my dress is caught.
- Begging your pardon, ma'am.
- Come on, dear.
- It's not me. It's my dress is caught.
Where is Victor? We might be late.
Fish merchants.
- It's a terrible day
- Now, don't be that way
It's a terrible day for a wedding
It's a sad, sad state of affairs we're in
That has led to this ominous wedding
How could our family have come to this?
To marry off our daughter
To the nouveau riche
- They're so common
- So coarse
- Oh, it couldn't be worse
- Couldn't be worse? I'm afraid I disagree
They could be land-rich,
Bankrupt aristocracy
Without a penny to their name
Just like you and me
Oh, dear.
And that's why everything
Every last little thing
Every single, tiny, microscopic little thing
Must go
- According to plan
- Our daughter will wed
- According to plan
- Our family led
From the depths of deepest poverty
- To the noble realm
- Of our ancestry
And who would have guessed
In a million years
作者：维以不永伤08182006-7-24 21:06 回复此发言
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2 johnny depp配音的僵尸新娘台词！英文强的进！
- That our daughter with a face
- Of an otter in disgrace
Would provide our ticket
To a rightful place
Oh, Hildegarde.
What if Victor and I
don't like each other?
As if that has anything
to do with marriage.
Do you suppose your father and I
like each other?
Surely you must a little?
- Of course not.
- Of course not.
Get those corsets laced properly.
I can hear you speak without gasping.
You've certainly hooked a winner
this time, Victor.
- Now, all you have to do is reel her in.
- I'm already reeling, Mother.
Shouldn't Victoria Everglot
be marrying a lord or something?
Oh, nonsense! We're every bit
as good as the Everglots.
I always knew I deserved better
than a fish merchant's life.
But I've never even spoken to her.
Well, at least we have that
in our favor.
Mayhew! Silence that blasted coughing.
Marriage is a partnership,
a little tit for tat.
You'd think a lifetime watching us...
Might have taught her that
- Might have taught her that
- Everything must be perfect
- Everything must be perfect
- Everything must be perfect
Perfect
That's why everything
Every last little thing
Every single, tiny, microscopic little thing
Must go
According to plan
Look at the way you're standing.
You look like you got rickets
or something...
Oh, my goodness. Oh, such grandeur!
Such impeccable taste!
Oh, beautiful, innit?
It's not as big as our place, dear.
- Bit shabby really, isn't it?
- Shut up.
Lord and Lady Everglot...
...Mr. And Mrs. Van Dort.
Why, you must be Miss Victoria.
Yes, I must say, you don't look a day
over . No. Oh, yes.
Smile, darling, smile.
Well, hello. What a pleasure.
Welcome to our home.
Thank you.
We'll be taking tea
in the west drawing room.
Oh, do come this way,
it's just through there.
Oh, I love what you've done with the place.
Who is your decorator?
Nice tiles, shame about the drapes.
My husband says such foolish things.
Ignore him.
Yes, it's usually best.
作者：维以不永伤08182006-7-24 21:06 回复此发言
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3 回复：johnny depp配音的僵尸新娘台词！英文强的进！
- Do forgive me.
- You play beautifully.
I... I... I do apologize, Miss Everglot.
How rude of me to... Well...
Excuse me.
Mother won't let me near the piano.
Music is improper for a young lady.
Too passionate, she says.
If I may ask, Miss Everglot...
...where is your chaperon?
Perhaps, in...
In view of the circumstances...
...you could call me Victoria.
Yes, of course. Well...
- Victoria...
- Yes, Victor.
Tomorrow, we are to be m...
M... M...
- Married.
- Yes. Married.
Since I was a child, I've...
I've dreamt of my wedding day.
I always hoped to find someone
I was deeply in love with.
Someone to spend
the rest of my life with.
- Silly, isn't it?
- Yes, silly.
No. No, not at all, no.
Oh, dear. I'm sorry.
What impropriety is this?
You shouldn't be alone together.
Here it is, one minute before
and you're not at the rehearsal.
Pastor Galswells is waiting.
Come at once.
Master Van Dort,
from the beginning. Again.
"With this hand,
I will lift your sorrows.
Your cup will never empty,
for I will be your wine.
With this candle,
I will light your way in darkness.
With this ring, I ask you to be mine."
- Let's try it again.
- Yes. Yes, sir.
With this candle...
This candle...
This candle.
- Shall I get up there and do it for him?
- Don't get all aflutter, dear.
With this candle...
Continue!
Get the door, Emil.
Let's just pick it up at the candle bit.
A Lord Barkis, sir.
I haven't a head for dates.
Apparently,
I'm a day early for the ceremony.
- Is he from your side of the family?
- I can't recall.
Emil, a seat for Lord Barkis.
Do carry on.
Let's try it again, shall we,
Master Van Dort?
- Yes. Yes, sir. Certainly.
- Right.
Right. Oh, right!
- With this... This...
With this hand...
...I... With...
Three steps, three!
Can you not count? Do you not wish
to be married, Master Van Dort?
- No! No.
- You do not?
No! I meant, no,
I do not not wish to be married.
That is, I want very much to...
Pay attention! Have you
even remembered to bring the ring?
The ring? Yes. Of course.
- Dropping the ring.
- Oh, no, he's dropped the ring!
- This boy doesn't want to get married.
- How disgraceful!
Excuse me. Got it!
Out of the way, you ninny.
Oh, dear! Oh, my! Giddy on, there's a
woman on fire! Help! Emergency!
- Oh, I hope it doesn't stain.
- Stop fanning it, you fool.
- Get a bucket, get a bucket.
- I'm on my way, dear. Yes. Oh, dear!
Enough! This wedding cannot take place
until he is properly prepared.
Young man, learn your vows.
Well, he's quite the catch, isn't he?
Oh, Victoria.
She must think I'm such a fool.
This day couldn't get any worse.
Hear ye, hear ye! Rehearsal in ruins
as Van Dort boy causes chaos!
Fishy fianc?could be canned!
Everglots all fired up
as Van Dort disaster ruins rehearsal!
It really shouldn't be all that difficult.
It's just a few simple vows.
With this hand, I will take your wine.
No.
With this hand...
...I will cup your...
Oh, goodness, no.
With this...
With this...
With this candle, I will...
I will...
I will set your mother on fire.
Oh, it's no use.
With this hand,
I will lift your sorrows.
Your cup will never empty,
for I will be your wine.
Mrs. Everglot.
You look ravishing this evening.
What's that, Mr. Everglot?
Call you "Dad"? If you insist, sir.
With this candle,
I will light your way in darkness.
With this ring...
...I ask you to be mine.
I do.
You may kiss the bride.
- A new arrival.
- He must've fainted.
- Are you all right?
- What..? What happened?
By Jove, man. Looks like
we've got ourselves a breather.
- Does he have a dead brother?
- He's still soft.
A toast, then.
To the newlyweds.
Newlyweds?
In the woods,
you said your vows so perfectly.
I did?
I did.
Wake up! Wake up! Wake up!
Coming through, coming through.
My name is Paul, I am the head waiter.
I will be creating your wedding feast.
Wedding feast! I'm salivating.
Maggots.
Keep away!
I've got a...
I've got a dwarf.
And I'm not afraid to use him.
I want some questions. Now!
- Answers. I think you mean "answers."
- Thank you, yes, answers.
I need answers.
What's going on here? Where am I?
作者：维以不永伤08182006-7-24 21:35 回复此发言
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6 回复：johnny depp配音的僵尸新娘台词！英文强的进！
Who are you?
Well, that's kind of a long story.
What a story it is.
A tragic tale of romance, passion...
...and murder most foul.
This is gonna be good.
Hit it, boys.
Hey, give me a listen
You corpses of cheer
At least those of you
Who still got an ear
I'll tell you a story
Make a skeleton cry
Of our own jubiliciously
Lovely Corpse Bride
Die, die, we all pass away
But don't wear a frown
Because it's really okay
You might try and hide
And you might try and pray
But we all end up
The remains of the day
That's right.
Well, our girl was a beauty
Known for miles around
When a mysterious stranger
Came into town
He was plenty good-looking
But down on his cash
And our poor little baby
She fell hard and fast
When her daddy said no
She just couldn't cope
So our lovers came up
With a plan to elope
Die, die, we all pass away
But don't wear a frown
Because it's really okay
You might try and hide
And you might try and pray
But we all end up
The remains of the day
That's right.
Okay. Oh, yeah.
Come on, boys, pick it up.
Yeah. Like it.
Okay, Chancy, take it.
Yeah.
Yeah!
That's nice.
So they conjured up a plan
To meet late at night
They told not a soul
Kept the whole thing tight
Now, her mother's wedding dress
Fit like a glove
You don't need much
When you're really in love
Except for a few things
Or so I'm told
Like the family jewels
And a satchel of gold
Then next to the graveyard
By the old oak tree
On a dark foggy night
At a quarter to
She was ready to go
But where was he?
And then?
- She waited
- And then?
- There in the shadows, was it her man?
- And then?
- Her little heart beat so loud
- And then?
And then, baby, everything went black
Now, when she opened her eyes
She was dead as dust
Her jewels were missing
And her heart was bust
So she made a vow
Lying under that tree
That she'd wait for her true love
To come set her free
Always waiting for someone
To ask for her hand
Then out of the blue
Comes this groovy young man
Who vows forever
To be by her side
And that's the story
Of our Corpse Bride
Die, die, we all pass away
But don't wear a frown,
Because it's really okay
You might try and hide
And you might try and pray
But we all end up
The remains of the day
Yeah.
Victoria, come away from the window.
Oh, I'm sure he'll be back shortly.
He's terrified of the dark.
In fact, when he was a boy...
...he used to wet his combinations
作者：维以不永伤08182006-7-24 21:35 回复此发言
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7 回复：johnny depp配音的僵尸新娘台词！英文强的进！
regularly, didn't he, William?
Enter.
Lord Barkis.
I trust the room is to your liking.
Thank you,
you are a most gracious hostess.
Which is why it pains me
to be the bearer of such bad news.
Would you care
to repeat tonight's headline for us?
Hear ye, hear ye!
Victor Van Dort seen this night on the
bridge in the arms of a mystery woman!
The dark-haired temptress and Master
Van Dort slipped away into the night!
And now, the weather.
Scattered showers...
Enough! That will be all.
Mystery woman?
He doesn't even know any women!
Or so you thought.
Do call for me
if you need my assistance...
...in any way.
Good heavens, Finis,
what should we do?
Fetch me musket.
William, do something.
The town crier
probably just had a slow news day.
You know how it is,
you need a little something to cry about.
Regardless, we are one groom short
for the wedding tomorrow.
Not to mention
the financial implications.
A most scandalous embarrassment
for us all.
Oh, give us a chance to find him,
we beg of you.
- Just give us until dawn.
- Very well. Till dawn.
Victor, darling, where are you?
If you ask me,
your boyfriend is kind of jumpy.
He's not my boyfriend,
he's my husband.
Victor, where have you gone?
I'll keep an eye out for him.
Victor?
There he goes, there he goes!
He's... He's getting away!
Quick, quick, after him!
-- By Helen Keller
Three Days to See
All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year; sometimes as short as twenty-four hours.But always we were interested in discovering just how the doomed man chose to spend his last days or his last hours. I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly delimited.
Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations should we crowd into those last hours as mortal beings? What happiness should we find in reviewing the past, what regrets?
Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live each day with a gentleness, a vigor, and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come. There are those, of course, who would adopt the Epicurean motto of "Eat, drink, and be merry," but most people would be chastened by the certainty of impending death.
In stories the doomed hero is usually saved at the last minute by some stroke of fortune, but almost always his sense of values is changed. he becomes more appreciative of the meaning of life and its permanent spiritual values. It ahs often been noted that those who live, or have lived, in the shadow of death bring a mellow sweetness to everything they do.
Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.
The same lethargy, I am afraid, characterizes the use of all our faculties and senses. Only the deaf appreciate hearing, only the blind realize the manifold blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in adult life. But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it, of not being conscious of health until we are ill.
I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life. Darkness would make him more appreciative of sight; silence would tech him the joys of sound.
Now and them I have tested my seeing friends to discover what they see. Recently I was visited by a very good friends who had just returned from a long walk in the woods, and I asked her what she had observed.. "Nothing in particular, " she replied. I might have been incredulous had I not been accustomed to such reposes, for long ago I became convinced that the seeing see little.
How was it possible, I asked myself, to walk for an hour through the woods and see nothing worthy of note? I who cannot see find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch, or the rough, shaggy bark of a pine. In the spring I touch the branches of trees hopefully in search of a bud the first sign of awakening Nature after her winter's sleep. I feel the delightful, velvety texture of a flower, and discover its remarkable convolutions; and something of the miracle of Nature is revealed to me. Occasionally, if I am very fortunate, I place my hand gently on a small tree and feel the happy quiver of a bird in full song. I am delighted to have the cool waters of a brook rush thought my open finger. To me a lush carpet of pine needles or spongy grass is more welcome than the most luxurious Persian rug. To me the page ant of seasons is a thrilling and unending drama, the action of which streams through my finger tips.
At times my heart cries out with longing to see all these things. If I can get so much pleasure from mere touch, how much more beauty must be revealed by sight. Yet, those who have eyes apparently see little. the panorama of color and action which fills the world is taken for granted. It is human, perhaps, to appreciate little that which we have and to long for that which we have not, but it is a great pity that in the world of light the gift of sight is used only as a mere conveniences rather than as a means of adding fullness to life.
If I were the president of a university I should establish a compulsory course in "How to Use Your Eyes". The professor would try to show his pupils how they could add joy to their lives by really seeing what passes unnoticed before them. He would try to awake their dormant and sluggish faculties.
Perhaps I can best illustrate by imagining what I should most like to see if I were given the use of my eyes, say, for just three days. And while I am imagining, suppose you, too,set your mind to work on the problem of how you would use your own eyes if you had only three more days to see. If with the on-coming darkness of the third night you knew that the sun would never rise for you again, how would you spend those three precious intervening days? What would you most want to let your gaze rest upon?
I, naturally, should want most to see the things which have become dear to me through my years of darkness. You, too, would want to let your eyes rest on the things that have become dear to you so that you could take the memory of them with you into the night that loomed before you.
If, by some miracle, I were granted three seeing days, to be followed by a relapse into darkness, I should divide the period into three parts.
The First Day
On the first day, I should want to see the people whose kindness and gentleness and companionship have made my life worth living. First I should like to gaze long upon the face of my dear teacher, Mrs. Anne Sullivan Macy, who came to me when I was a child and opened the outer world to me. I should want not merely to see the outline of her face, so that I could cherish it in my memory, but to study that face and find in it the living evidence of the sympathetic tenderness and patience with which she accomplished the difficult task of my education. I should like to see in her eyes that strength of character which has enabled her to stand firm in the face of difficulties, and that compassion for all humanity which she has revealed to me so often.
I do not know what it is to see into the heart of a friend through that "Window of the soul", the eye. I can only "see" through my finger tips the outline of a face. I can detect laughter, sorrow, and many other obvious emotions. I know my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, through other means, through the thoughts they express to me, through whatever of their actions are revealed to me. But I am denied that deeper understanding of them which I am sure would come through sight of them, through watching their reactions to various expressed thoughts and circumstances, through noting the immediate and fleeting reactions of their eyes and countenance.
Friends who are near to me I know well, because through the months and years they reveal themselves to me in all their phases; but of casual friends I have only an incomplete impression, an impression gained from a handclasp, from spoken words which I take from their lips with my finger tips, or which they tap into the palm of my hand.
How much easier, how much more satisfying it is for you who can see to grasp quickly the essential qualities of another person by watching the subtleties of expression, the quiver of a muscle, the flutter of a hand. But does it ever occur to you to use your sight to see into the inner nature of a friends or acquaintance/ Do not most of you seeing people grasp casually the outward features of a face and let it go at that?
For instance can you describe accurately the faces of five good friends? some of you can, but many cannot. As an experiment, I have questioned husbands of long standing about the color of their wives' eyes, and often they express embarrassed confusion and admit that they do not know. And, incidentally, it is a chronic complaint of wives that their husbands do not notice new dresses, new hats, and changes in household arrangements.
The eyes of seeing persons soon become accustomed to the routine of their surroundings, and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately "eyewitnesses" see. A given event will be "seen" in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision.
Oh, the things that I should see if I had the power of sight for just three days!
The first day would be a busy one. I should call to me all my dear friends and look long into their faces, imprinting upon my mind the outward evidences of the beauty that is within them. I should let my eyes rest, too, on the face of a baby, so that I could catch a vision of the eager, innocent beauty which precedes the individual's consciousness of the conflicts which life develops.
And I should like to look into the loyal, trusting eyes of my dogs - the grave, canny little Scottie, Darkie, and the stalwart, understanding Great Dane, Helga, whose warm, tender, and playful friendships are so comforting to me.
On that busy first day I should also view the small simple things of my home. I want to see the warm colors in the rugs under my feet, the pictures on the walls, the intimate trifles that transform a house into home. My eyes would rest respectfully on the books in raised type which I have read, but they would be more eagerly interested in the printed books which seeing people can read, for during the long night of my life the books I have read and those which have been read to me have built themselves into a great shining lighthouse, revealing to me the deepest channels of human life and the human spirit.
In the afternoon of that first seeing day. I should take a long walk in the woods and intoxicate my eyes on the beauties of the world of Nature trying desperately to absorb in a few hours the vast splendor which is constantly unfolding itself to those who can see. On the way home from my woodland jaunt my path would lie near a farm so that I might see the patient horses ploughing in the field 9perhaps I should see only a tractor!) and the serene content of men living close to the soil. And I should pray for the glory of a colorful sunset.
When dusk had fallen, I should experience the double delight of being able to see by artificial light which the genius of man has created to extend the power of his sight when Nature decrees darkness.
In the night of that first day of sight, I should not be able to sleep, so full would be my mind of the memories of the day.
The Second Day
The next day - the second day of sight - I should arise with the dawn and see the thrilling miracle by which night is transformed into day. I should behold with awe the magnificent panorama of light with which the sun awakens the sleeping earth.
This day I should devote to a hasty glimpse of the world, past and present. I should want to see the pageant of man's progress, the kaleidoscope of the ages. How can so much be compressed into one day? Through the museums, of course. Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there - animals and the races of men pictured in their native environment;gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared, with his tiny stature and powerful brain, to conquer the animal kingdom; realistic presentations of the processes of development in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet; and a thousand and one other aspects of natural history.
I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. there, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on.
My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here, in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled, bearded features of Homer are dear to me, for he, too, knew blindness.
My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me.
泰戈尔经典英语诗歌:当时光已逝
When Day Is Done，If the day is done ,If birds sing no more .If the wind has fiagged tired .
当一天结束的时候，如果一天结束了，如果鸟儿不再歌唱。
Then draw the veil of darkness thick upon me ,Even as thou hast wrapt the earth with The coverlet of sleep and tenderly closed .
那就把黑暗的面纱拉在我身上，就像你用睡衣裹住大地，温柔地合上。
The petals of the drooping lotus at dusk.From the traverer,Whose sack of provisions is empty before the voyage is ended ,Whose garment is torn and dustladen ,Whose strength is exhausted,remove shame and poverty .
黄昏时垂莲的花瓣。从旅人那里，谁的粮食袋在航行结束前是空的，谁的衣服被撕破，满是灰尘，谁的力量耗尽，谁的羞愧和贫穷就消失了。
And renew his life like a flower underThe cover of thy kindly night .
在你慈爱的夜幕的掩护下，重新开始他的生命。
扩展资料
拉宾德拉纳特·泰戈尔（1861年—1941年），印度诗人、文学家、社会活动家、哲学家和印度民族主义者。代表作有《吉檀迦利》、《飞鸟集》、《眼中沙》、《四个人》、《家庭与世界》、《园丁集》、《新月集》、《最后的诗篇》、《戈拉》、《文明的危机》等。
1861年5月7日，拉宾德拉纳特·泰戈尔出生于印度加尔各答一个富有的贵族家庭，13岁即能创作长诗和颂歌体诗集。1878年赴英国留学，1880年回国专门从事文学活动。1884至1911年担任梵 社秘书，20年代创办国际大学。
1913年，他以《吉檀迦利》成为第一位获得诺贝尔文学奖的亚洲人。1941年写作控诉英国殖民统治和相信祖国必将获得独立解放的遗言《文明的危机》。
参考资料：百度百科-泰戈尔
自学前端其实很辛苦，需要有强大的自制力和坚持下去的学习心，并且做好详细的学习规划严格执行；如果你想学前端，下面的学习路线或许对你有帮助。
前端完整学习路线
第一阶段:
HTML CSS:HTML进阶、CSS进阶、div css布局、HTML css整站开发。
JavaScript基础:Js基础教程、js内置对象常用方法、常见DOM树操作大全、ECMAscript、DOM、BOM、定时器和焦点图。
JS基本特效:常见特效、例如:tab、导航、整页滚动、轮播图、JS制作幻灯片、弹出层、手风琴菜单、瀑布流布局、滚动事件、滚差视图。
JS高级特征:正则表达式、排序算法、递归算法、闭包、函数节流、作用域链、基于距离运动框架、面向对象基础。
JQuery:基础使用悬着器、DOM操作、特效和动画、方法链、拖拽、变形、JQueryUI组件基本使用。
第二阶段:HTML5和移动Web开发
HTML5:HTML5新语义标签、HTML5表单、音频和视频、离线和本地存储、SVG、Web Socket、Canvas。
CSS3:CSS3新选择器、伪元素、脸色表示法、边框、阴影、background系列属性改变、Transition、动画、景深和深透、3D效果制作、Velocity.js框架、元素进场、出场策略、炫酷CSS3网页制作。
Bootstrap:响应式概念、媒体查询、响应式网站制作、删格系统、删格系统原理、Bootstrap常用模板、LESS和SASS。
移动Web开发:跨终端WEB和主流设备简介、视口、流式布局、弹性盒子、rem、移动终端JavaScript事件、手机中常见JS效果制作、Zepto.js、手机聚划算页面、手机滚屏。
第三阶段:HTTP服务和AJAX编程
WEB服务器基础:服务器基础知识、Apache服务器和其他WEB服务器介绍、Apache服务器搭建、HTTP介绍。
PHP基础:PHP基础语法、使用PHP处理简单的GET或者POST请求。
AJAX上篇:Ajax简介和异步的概念、Ajax框架的封装、XMLHttpRequest对象详细介绍方法、兼容性处理方法、Ajax框架的封装、Ajax中缓存问题、XML介绍和使用。
AJAX下篇:JSON和JSON解析、数据绑定和模板技术、JSONP、跨域技术、图片预读取和lazy-load技术、JQuery框架中的AjaxAPI、使用Ajax实现爆布流案例额。
第四阶段:面向对象进阶
面向对象终极篇:从内存角度到理解JS面向对象、基本类型、复杂类型、原型链、ES6中的面向对象、属性读写权限、设置器、访问器。
面向对象三大特征:继承性、多态性、封装性、接口。
设计模式:面向对象编程思维、单例模式、工厂模式、策略模式、观察者模式、模板方法模式、代理模式、装饰者模式、适配器模式、面向切面编程。
第五阶段:封装一个属于自己的框架
框架封装基础:事件流、冒泡、捕获、事件对象、事件框架、选择框架。
框架封装中级:运动原理、单物体运动框架、多物体运动框架、运动框架面向对象封装。
框架封装高级和补充:JQuery框架雏形、可扩展性、模块化、封装属于传智自己的框架。
第六阶段:模块化组件开发
面向组件编程:面向组件编程的方式、面向组件编程的实现原理、面向组件编程实战、基于组件化思想开发网站应用程序。
面向模块编程:AMD设计规范、CMD设计规范、RequireJS，LoadJS、淘宝的SeaJS。
第七阶段:主流的流行框架
Web开发工作流:GIT/SVN、Yeoman脚手架、NPMer依赖管理工具、Grunt/Gulp/Webpack。
MVC/MVVM/MVW框架:Angular.js、Backbone.js、Knockout/Ember。
常用库:React.js、Vue.js、Zepto.js。
第八阶段:HTML5原生移动应用开发
Cordova:WebApp/NativeApp/HybirdApp简介、Cordova简介、与PhoneGap之间的关系、开发环境搭建、Cordova实战(创建项目，配置，编译，调试，部署发布)。
Ionic:Ionic简介和同类对比、模板项目解析、常见组件及使用、结合Angular构建APP、常见效果(下拉刷新，上拉加载，侧滑导航，选项卡)。
React Native:React Native简介、React Native环境配置、创建项目，配置，编译，调试，部署发布、原生模块和UI组件、原生常用API。
HTML5 :HTML5 中国产业联盟、HTML5 Plus Runtime环境、HBuilder开发工具、MUI框架、H5 开发和部署。
第九阶段: Node.js全栈开发:
快速入门:Node.js发展、生态圈、Io.js、Linux/Windows/OS X环境配置、REPL环境和控制台程序、异步编程，非阻塞I/O、模块概念，模块管理工具、开发流程，调试，测试。
核心模块和对象:全局对象global，process，console，util、事件驱动，事件发射器、加密解密，路径操做。
祝你学有所成！
对于零基础想要学习web前端的小伙伴来说，不知道从哪学起，也不知道该掌握哪些知识，这里蜗牛学院就给大家整理了一份系统全面的web前端学习路线，希望可以给想要学习web前端的小伙伴带来一些帮助。
第一阶段：专业核心基础
阶段目标：
1. 熟练掌握HTML5、CSS3、Less、Sass、响应书布局、移动端开发。
2. 熟练运用HTML+CSS特性完成页面布局。
4. 熟练应用CSS3技术，动画、弹性盒模型设计。
5. 熟练完成移动端页面的设计。
6. 熟练运用所学知识仿制任意Web网站。
7. 能综合运用所学知识完成网页设计实战。
知识点：
1、Web前端开发环境，HTML常用标签，表单元素，Table布局，CSS样式表，DIV+CSS布局。熟练运用HTML和CSS样式属性完成页面的布局和美化，能够仿制任意网站的前端页面实现。
2、CSS3选择器、伪类、过渡、变换、动画、字体图标、弹性盒模型、响应式布局、移动端。熟练运用CSS3来开发网页、熟练开发移动端，整理网页开发技巧。
3、预编译css技术：less、sass基础知识、以及插件的运用、BootStrap源码分析。能够熟练使用 less、sass完成项目开发，深入了解BootStrap。
4、使用HTML、CSS、LESS、SASS等技术完成网页项目实战。通过项目掌握第一阶段html、css的内容、完成PC端页面设计和移动端页面设计。
第二阶段：Web后台技术
阶段目标:
1. 了解JavaScript的发展历史、掌握Node环境搭建及npm使用。
2. 熟练掌握JavaScript的基本数据类型和变量的概念。
3. 熟练掌握JavaScript中的运算符使用。
4. 深入理解分之结构语句和循环语句。
5. 熟练使用数组来完成各种练习。
6.熟悉es6的语法、熟练掌握JavaScript面向对象编程。
7.DOM和BOM实战练习和H5新特性和协议的学习。
知识点：
1、软件开发流程、算法、变量、数据类型、分之语句、循环语句、数组和函数。熟练运用JavaScript的知识完成各种练习。
2、JavaScript面向对象基础、异常处理机制、常见对象api，js的兼容性、ES6新特性。熟练掌握JavaScript面向对象的开发以及掌握es6中的重要内容。
3、BOM操作和DOM操作。熟练使用BOM的各种对象、熟练操作DOM的对象。
4、h5相关api、canvas、ajax、数据模拟、touch事件、mockjs。熟练使用所学知识来完成网站项目开发。
第三阶段：数据库和框架实战
阶段目标：
1. 综合运用Web前端技术进行页面布局与美化。
2. 综合运用Web前端开发框架进行Web系统开发。
3. 熟练掌握Mysql、Mongodb数据库的发开。
4. 熟练掌握vue.js、webpack、elementui等前端框技术。
5. 熟练运用Node.js开发后台应用程序。
6. 对Restful，Ajax，JSON，开发过程有深入的理解,掌握git的基本技能。
知识点：
1、数据库知识，范式，MySQL配置，命令，建库建表，数据的增删改查，mongodb数据库。深入理解数据库管理系统通用知识及MySQL数据库的使用与管理，为Node.js后台开发打下坚实基础。
2、模块系统，函数，路由，全局对象，文件系统，请求处理，Web模块，Express框架，MySQL数据库处理，RestfulAPI，文件上传等。熟练运用Node.js运行环境和后台开发框架完成Web系统的后台开发。
3、vue的组件、生命周期、路由、组件、前端工程化、webpack、elementui框架。Vue.js框架的基本使用有清晰的理解，能够运用Vue.js完成基础前端开发、熟练运用Vue.js框架的高级功能完成Web前端开发和组件开发，对MVVM模式有深刻理解。
4、需求分析，数据库设计，后台开发，使用vue、node完成pc和移动端整站开发。于Node.js+Vue.js+Webpack+Mysql+Mongodb+Git，实现整站项目完整功能并上线发布。
第四阶段：移动端和微信实战
阶段目标：
1.熟练掌握React.js框架，熟练使用React.js完成开发。
2.掌握移动端开发原理，理解原生开发和混合开发。
3.熟练使用react-native和Flutter框架完成移动端开发。
4.掌握微信小程序以及了解支付宝小程序的开发。
5.完成大型电商项目开发。
知识点：
1、React面向组件编程、表单数据、组件通信、监听、声明周期、路由、Redux基本概念。练使用react完成项目开发、掌握Redux中的异步解决方案Saga。
2、react-native、开发工具、视图与渲染、api操作、Flutter环境搭建、路由、ListView组件、网络请求、打包。练掌握react-native和Flutter框架，并分别使用react-native和Flutter分别能开发移动端项目。
3、微信小程序基本介绍、开发工具、视图与渲染、api操作、支付宝小程序的入门和api学习。掌握微信小程序开发了解支付宝小程序。
4、大型购物网站实战，整个项目前后端分离开发；整个项目分为四部分：PC端网页、移动端APP、小程序、后台管理。团队协作开发，使用git进行版本控制。目期间可以扩展Three.js 、TypeScript。
最喜欢这一段
Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.
by Hellen Keller
以下是全文
假如给我三天光明(海伦·凯勒 Helen Keller)
All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year; sometimes as short as twenty-four hours. But always we were interested in discovering just how the doomed man chose to spend his last days or his last hours. I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly delimited.
Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations should we crowd into those last hours as mortal beings? What happiness should we find in reviewing the past, what regrets?
Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live each day with a gentleness, a vigor, and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come. There are those, of course, who would adopt the Epicurean motto of "Eat, drink, and be merry," but most people would be chastened by the certainty of impending death.
In stories the doomed hero is usually saved at the last minute by some stroke of fortune, but almost always his sense of values is changed. he becomes more appreciative of the meaning of life and its permanent spiritual values. It ahs often been noted that those who live, or have lived, in the shadow of death bring a mellow sweetness to everything they do.
Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.
The same lethargy, I am afraid, characterizes the use of all our faculties and senses. Only the deaf appreciate hearing, only the blind realize the manifold blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in adult life. But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it, of not being conscious of health until we are ill.
I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life. Darkness would make him more appreciative of sight; silence would tech him the joys of sound.
Now and then I have tested my seeing friends to discover what they see. Recently I was visited by a very good friends who had just returned from a long walk in the woods, and I asked her what she had observed.. "Nothing in particular, " she replied. I might have been incredulous had I not been accustomed to such reposes, for long ago I became convinced that the seeing see little.
How was it possible, I asked myself, to walk for an hour through the woods and see nothing worthy of note? I who cannot see find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch, or the rough, shaggy bark of a pine. In the spring I touch the branches of trees hopefully in search of a bud the first sign of awakening Nature after her winter's sleep. I feel the delightful, velvety texture of a flower, and discover its remarkable convolutions; and something of the miracle of Nature is revealed to me. Occasionally, if I am very fortunate, I place my hand gently on a small tree and feel the happy quiver of a bird in full song. I am delighted to have the cool waters of a brook rush thought my open finger. To me a lush carpet of pine needles or spongy grass is more welcome than the most luxurious Persian rug. To me the page ant of seasons is a thrilling and unending drama, the action of which streams through my finger tips.
At times my heart cries out with longing to see all these things. If I can get so much pleasure from mere touch, how much more beauty must be revealed by sight. Yet, those who have eyes apparently see little. the panorama of color and action which fills the world is taken for granted. It is human, perhaps, to appreciate little that which we have and to long for that which we have not, but it is a great pity that in the world of light the gift of sight is used only as a mere conveniences rather than as a means of adding fullness to life.
If I were the president of a university I should establish a compulsory course in "How to Use Your Eyes". The professor would try to show his pupils how they could add joy to their lives by really seeing what passes unnoticed before them. He would try to awake their dormant and sluggish faculties.
Perhaps I can best illustrate by imagining what I should most like to see if I were given the use of my eyes, say, for just three days. And while I am imagining, suppose you, too, set your mind to work on the problem of how you would use your own eyes if you had only three more days to see. If with the on-coming darkness of the third night you knew that the sun would never rise for you again, how would you spend those three precious intervening days? What would you most want to let your gaze rest upon?
I, naturally, should want most to see the things which have become dear to me through my years of darkness. You, too, would want to let your eyes rest on the things that have become dear to you so that you could take the memory of them with you into the night that loomed before you.
If, by some miracle, I were granted three seeing days, to be followed by a relapse into darkness, I should divide the period into three parts.
The First Day
On the first day, I should want to see the people whose kindness and gentleness and companionship have made my life worth living. First I should like to gaze long upon the face of my dear teacher, Mrs. Anne Sullivan Macy, who came to me when I was a child and opened the outer world to me. I should want not merely to see the outline of her face, so that I could cherish it in my memory, but to study that face and find in it the living evidence of the sympathetic tenderness and patience with which she accomplished the difficult task of my education. I should like to see in her eyes that strength of character which has enabled her to stand firm in the face of difficulties, and that compassion for all humanity which she has revealed to me so often.
I do not know what it is to see into the heart of a friend through that "Window of the soul", the eye. I can only "see" through my finger tips the outline of a face. I can detect laughter, sorrow, and many other obvious emotions. I know my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, through other means, through the thoughts they express to me, through whatever of their actions are revealed to me. But I am denied that deeper understanding of them which I am sure would come through sight of them, through watching their reactions to various expressed thoughts and circumstances, through noting the immediate and fleeting reactions of their eyes and countenance.
Friends who are near to me I know well, because through the months and years they reveal themselves to me in all their phases; but of casual friends I have only an incomplete impression, an impression gained from a handclasp, from spoken words which I take from their lips with my finger tips, or which they tap into the palm of my hand.
How much easier, how much more satisfying it is for you who can see to grasp quickly the essential qualities of another person by watching the subtleties of expression, the quiver of a muscle, the flutter of a hand. But does it ever occur to you to use your sight to see into the inner nature of a friends or acquaintance/ Do not most of you seeing people grasp casually the outward features of a face and let it go at that?
For instance can you describe accurately the faces of five good friends? some of you can, but many cannot. As an experiment, I have questioned husbands of long standing about the color of their wives' eyes, and often they express embarrassed confusion and admit that they do not know. And, incidentally, it is a chronic complaint of wives that their husbands do not notice new dresses, new hats, and changes in household arrangements.
The eyes of seeing persons soon become accustomed to the routine of their surroundings, and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately "eyewitnesses" see. A given event will be "seen" in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision.
Oh, the things that I should see if I had the power of sight for just three days!
The first day would be a busy one. I should call to me all my dear friends and look long into their faces, imprinting upon my mind the outward evidences of the beauty that is within them. I should let my eyes rest, too, on the face of a baby, so that I could catch a vision of the eager, innocent beauty which precedes the individual's consciousness of the conflicts which life develops.
And I should like to look into the loyal, trusting eyes of my dogs - the grave, canny little Scottie, Darkie, and the stalwart, understanding Great Dane, Helga, whose warm, tender , and playful friendships are so comforting to me.
On that busy first day I should also view the small simple things of my home. I want to see the warm colors in the rugs under my feet, the pictures on the walls, the intimate trifles that transform a house into home. My eyes would rest respectfully on the books in raised type which I have read, but they would be more eagerly interested in the printed books which seeing people can read, for during the long night of my life the books I have read and those which have been read to me have built themselves into a great shining lighthouse, revealing to me the deepest channels of human life and the human spirit.
In the afternoon of that first seeing day. I should take a long walk in the woods and intoxicate my eyes on the beauties of the world of Nature trying desperately to absorb in a few hours the vast splendor which is constantly unfolding itself to those who can see. On the way home from my woodland jaunt my path would lie near a farm so that I might see the patient horses ploughing in the field 9perhaps I should see only a tractor!) and the serene content of men living close to the soil. And I should pray for the glory of a colorful sunset.
When dusk had fallen, I should experience the double delight of being able to see by artificial light which the genius of man has created to extend the power of his sight when Nature decrees darkness.
In the night of that first day of sight, I should not be able to sleep, so full would be my mind of the memories of the day.
The Second Day
The next day - the second day of sight - I should arise with the dawn and see the thrilling miracle by which night is transformed into day. I should behold with awe the magnificent panorama of light with which the sun awakens the sleeping earth.
This day I should devote to a hasty glimpse of the world, past and present. I should want to see the pageant of man's progress, the kaleidoscope of the ages. How can so much be compressed into one day? Through the museums, of course. Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there - animals and the races of men pictured in their native environment; gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared, with his tiny stature and powerful brain, to conquer the animal kingdom; realistic presentations of the processes of development in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet; and a thousand and one other aspects of natural history.
I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. there, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on.
My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here , in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled, bearded features of Homer are dear to me, for he, too, knew blindness.
My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me.
So on this, my second day of sight, I should try to probe into the soul of man through this art. The things I knew through touch I should now see. More splendid still, the whole magnificent world of painting would be opened to me, from the Italian Primitives, with their serene religious devotion, to the Moderns, with their feverish visions. I should look deep into the canvases of Raphael, Leonardo da Vinci, Titian, Rembrandt. I should want to feast my eyes upon the warm colors of Veronese, study the mysteries of E1 Greco, catch a new vision of Nature from Corot. Oh, there is so much rich meaning and beauty in the art of the ages for you who have eyes to see!
Upon my short visit to this temple of art I should not be able to review a fraction of that great world of art which is open to you. I should be able to get only a superficial impression. Artists tell me that for deep and true appreciation of art one must educated the eye. One must learn through experience to weigh the merits of line, of composition, of form and color. If I had eyes, how happily would I embark upon so fascinating a study! Yet I am told that, to many of you who have eyes to see, the world of art is a dark night, unexplored and unilluminated.
It would be with extreme reluctance that I should leave the Metropolitan Museum, which contains the key to beauty -- a beauty so neglected. Seeing persons, however, do not need a metropolitan to find this key to beauty. The same key lies waiting in smaller museums, and in books on the shelves of even small libraries. But naturally, in my limited time of imaginary sight, I should choose the place where the key unlocks the greatest treasures in the shortest time.
The evening of my second day of sight I should spend at a theatre or at the movies. Even now I often attend theatrical performances of all sorts, but the action of the play must be spelled into my hand by a companion. But how I should like to see with my own eyes the fascinating figure of Hamlet, or the gusty Falstaff amid colorful Elizabethan trappings! How I should like to follow each movement of the graceful Hamlet, each strut of the hearty Falstaff! And since I could see only one play, I should be confronted by a many-horned dilemma, for there are scores of plays I should want to see. You who have eyes can see any you like. How many of you, I wonder, when you gaze at a play, a movie, or any spectacle, realize and give thanks for the miracle of sight which enables you to enjoy its color , grace, and movement?
I cannot enjoy the beauty of rhythmic movement except in a sphere restricted to the touch of my hands. I can vision only dimly the grace of a Pavlowa, although I know something of the delight of rhythm, for often I can sense the beat of music as it vibrates through the floor. I can well imagine that cadenced motion must be one of the most pleasing sights in the world. I have been able to gather something of this by tracing with my fingers the lines in sculptured marble; if this static grace can be so lovely, how much more acute must be the thrill of seeing grace in motion.