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Franz Liszt是这个吗？ Franz Liszt (Hungarian: Liszt Ferenc）(October 22, 1811 – July 31, 1886) was a Hungarian composer, teacher and virtuoso of the 19th century. He was a renowned performer throughout Europe, noted especially for his showmanship and great skill with the piano. To this day, he is considered by some to have been the greatest pianist in used both his technique and his concert personality not only for personal effect but also, through his transcriptions, to spread knowledge of other composers' music. As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind a huge oeuvre, including works from nearly all musical genres. In his compositions he developed new methods, both imaginative and technical, which influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. These included his inventing the symphonic poem for orchestra, evolving the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. Besides his musical works, Liszt wrote essays about many subjects. Most important for an understanding of his development is the article series "De la situation des artistes" ("On the situation of the artists") which 1835 was published in the Parisian Gazette musicale. In winter 1835-36, during Liszt's stay in Geneva, about half a dozen further essays were following. One of them, it should have been published under the name "Emm Prym", was about Liszt's own works and is lost. In the beginning of 1837, Liszt published a review of some piano works of Sigismond Thalberg. The review evoked a huge scandal. In this time Liszt also commenced the series of his "Baccalaureus-letters". After the series had ended in 1841, Liszt planned to publish a collection of revised versions of the "Baccalaureus-letters" as book. But the plan was not realized. During the Weimar years, Liszt wrote a series of essays about operas, leading from Gluck to Wagner. Also this series should have been published as book; and also this plan was not realized. Besides, Liszt wrote essays about Berlioz and the symphony "Harold in Italy", Robert and Clara Schumann, John Field's nocturnes, songs of Robert Franz, a planned Goethe-Foundation at Weimar, and other subjects. In addition to these essays, Liszt wrote a book about Chopin as well as a book about the Gypsies and their music in Hungary. While all of those literary works were published under Liszt's name, it is not quite clear which parts of them he had written himself. It is known from his letters that during the time of his youth there had been collaboration with Marie d'Agoult. During the Weimar years it was the Princess Wittgenstein who helped him. In most cases the manuscripts have disappeared so that it is difficult to decide which of Liszt's literary works actually were works of his own. However, until the end of his life it was Liszt's point of view that it was him who was responsible for the contents of those literary works. During the 1870s Lina Ramann collected the essays published under Liszt's name. Together with a new version of the book about Chopin, translated by La Mara (Maria Lipsius) from French to German, the essays and the book about the Gypsies were in six volumes published in translations by Ramann. After the edition had for a long time been used in Liszt research, it turned out that many translation errors and other defects had occurred. To this comes that Ramann had not detected all of the essays published under Liszt's name. In one case, a review of Charles Alkan's etudes , it is to be suspected that the essay was omitted because it did not suit to the picture Ramann had made herself of Liszt. For reasons of such kind, a new edition, under the leadership of Detlef Altenburg, Weimar, is in work In his youth, during his stay in Geneva, Liszt wrote a "Manual of Pianoforte Technique" for the Geneva Conservatoire. Although in newer time Alan Walker claimed that the Manual was unlikely to ever have existed,it is well known from Liszt's letters to his mother and further sources that he wrote and completed it. The work is nevertheless lost. In his later years Liszt wrote voluminous "Technische Studien" ("technical exercises") which are now in three volumes available at Editio musica, Budapest. Taking them as music, they are disappointing because Liszt gave nothing more than a collection of technical exercises. Lots of exercises of similar kind by composers such as Herz, Bertini and MacDowell existed besides. Carl Tausig's "Tägliche Studien" are, without doubt, of better use than Liszt's.[citations needed] Liszt also worked until at least 1885 on a treatise for modern harmony. Pianist Arthur Friedheim, who also served as Liszt's personal secretary, remembered seeing it among Liszt's papers at Weimar. Liszt told Friedheim that the time was not yet ripe to publish the manuscript, titled Sketches for a Harmony of the Future. Unfortunately, this treatise has been lost.

、话说公元前817年，鲁武公带着他的长子公子括和次子公子戏朝见周宣王。这显然违背了周礼，毕竟嫡长子才是法定的继承人，而且立太子是鲁国自己的事情，现在周宣王居然想替鲁武公立太子，而且还无视嫡长子公子括的存在，这明显是给鲁国惹祸。周宣王问仲山甫：“还有谁适合做鲁国的国君呢？”不过，正如仲山甫所言，周宣王干涉鲁国太子的事件，在国际上影响非常恶劣，许多诸侯国认为周宣王自己都不遵守周礼，于是不肯再朝拜他。2、庞涓是狭隘的，他不愿孙膑胜于他，施加毒手，最后兵败身亡；周瑜是狭隘的，他不肯诸葛亮胜于他，百般暗算，最后被诸葛亮三气吐血而死；慈禧下棋，别人吃他一马，她杀对方一家，死后为人们所辱骂……。这都是有了狭隘之心的结果，告别狭隘之心，以宽容的胸襟包容他人，则取信于他人，也成就了自己。3、有一次楚庄王邀众大臣共饮，请嫔妃助兴，风把烛火吹灭时，一武将醉酒失态拉了妃子的衣襟，但楚庄王以一颗宽广的心宽容了他，巧妙解围。这位武将由是感激在下一次战役中奋勇杀敌。这便是宽容的价值。4、刘秀大败王郎，攻入邯郸，检点前朝公文时发现大量讨好王郎，辱骂甚至谋划刺杀刘秀的公文。但刘秀不听众臣劝阻，全部付之一炬，他说：“如果追查，必会引起人们的慌乱，甚至成为我们的死敌。如果宽容他们，则能化敌为友，壮大自己的队伍。”是刘秀的宽容才使他终成帝业，统一全国。5、齐国君王，无诡的父亲齐桓公是很有作为的国君，在位43年间（前685-前643），重用管仲、鲍叔、隰朋、高傒等人内修法政，外行义兵，尊王攘夷，九合诸侯， 使得齐国一跃成为霸主。桓公四十三年即前643年秋，齐桓公病危，诸公子得知消息后于宫外互相攻伐，齐桓公无人照顾，遂于这年十月死去。齐国是春秋五霸中首个称霸的超级大国， 但是在齐桓公死后却因五个儿子争斗而由盛转衰，霸主地位一去不复返。

1850年，李斯特将自己创作的三首歌曲改编为一组三首钢琴曲，题为《爱之梦》，第一首是《崇高的爱》，二是《幸福的》，三是《爱吧》以第三首最著名，一般提到李斯特的《爱之梦》就是指第三首。 这首作品原歌词是第一句：爱吧！能爱多久，愿爱多久就爱多久吧，你守在墓前哀诉的时刻快要来到了。 钢琴曲与上述的歌词有一定的联系，但李斯特创作这首钢琴曲时，并没有局限于原歌词内容，歌词原表现生离别的伤感情绪，情调低沉，而钢琴曲则焕发出是纯洁炽热的情感。 这首作品刻画了一颗沉浸在幻梦之中的纯洁的情感，这无限爱恋的情况，难以用言语来表达，它将所爱的对象化成一个理想中圣洁而美好的形象，用音乐来表白，激起人们内心的共鸣，这共鸣就是——柔情蜜意，纯洁高尚的爱情。 乐曲分三段： 一段：在模仿竖琴分解式音响背景下，出现了一个在钢琴中音区轻声吟诵，情意绵绵的旋律，这是一个含蓄深沉，含情脉脉的内心独白。 二段：无题旋律不断高涨，原来含情脉脉的内心独白，在这一段终于发展成炽热的爱情倾诉，难以抑制的热情终于在这一段中爆发出来行成了火一般的热烈情感。 乐谱 之间不断地运用转调手法B、C、E、bA以示情感的不断发展，华彩段那一连串音型，好比爱情主题镶嵌了一个闪闪发光的蓝宝石。 三段（再现）：把主题旋律提高八度，加上高音区明亮的和弦伴奏，把一种纯真、高尚的爱情推到了境界，使这种爱的情感散发出更加动人心弦的光辉。

费里德里希·李斯特（1789～1846）是德国资产阶级经济学家。主要著作有：《美国政治经济学大纲》（1827）、《政治经济学的国民体系》（1841）、《德国政治经济的国民统一》（1846），其中《政治经济学大纲》是其代表作。李斯特的税收思想，主要体现于他对保护关税的论述中。他认为德国资本主义经济具有自己的特殊性，应采取保护主义。李斯特抨击了英国古典学派的自由放任和“世界主义”政策，认为它忽视了国家的作用和不同国家经济发展的民族特点，因而竭力反对自由贸易政策，主张实行保护关税制度。李斯特认为，财富的生产比财富本身重要得多。向国外购买廉价商品，似乎可以增加财富，看起来比较划算。但从长远来看，将会阻碍德国工业发展，使德国长期处于从属国地位。为了培养德国的生产力，政府必须采取保护关税政策。他说：“保护关税如果使价值有所牺牲的话，它却使生产力有了增长，足以抵偿损失而有余。由此使国家不但在物质财富的量上获得无限增进，而且一旦发生战争，可以保有工业的独立地位。工业独立以及由此带来的国内发展，使国家获得了力量，可以顺利经营国外贸易，可以扩张航运事业，由此变化可以提高，国内制造业可以发展，对外贸易可以加强”。（《政治经济学的国民体系》商务印书馆1981年版，第128～129页）。为了发展德国的制造业，李斯特建议征收进口关税来建立保护制度。不过，他认为，在采用这种制度时要逐渐进行，以免不正当地损失现有利益。而且，当受到保护的工业建立起来以后，应将进口税率降低。他提出，最初的保护税率可以定为40～60%，待到新工业建立以后，继续课征的保护关税税率为20～30%，而当这种发展完成之后，应终止执行保护关税政策。为了发展德国的制造业，李斯特建议征收进口关税来建立保护制度。不过，他认为，在采用这种制度时要逐渐进行，以免不正当地损失现有利益。而且，当受到保护的工业建立起来以后，应将进口税率降低。他提出，最初的保护税率可以定为40～60%，待到新工业建立以后，继续课征的保护关税税率为20～30%，而当这种发展完成之后，应终止执行保护关税政策。

Franz LisztFranz Liszt (Hungarian: Liszt Ferenc）(October 22, 1811 – July 31, 1886) was a Hungarian composer, teacher and virtuoso of the 19th century. He was a renowned performer throughout Europe, noted especially for his showmanship and great skill with the piano. To this day, he is considered by some to have been the greatest pianist in used both his technique and his concert personality not only for personal effect but also, through his transcriptions, to spread knowledge of other composers' a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind a huge oeuvre, including works from nearly all musical genres. In his compositions he developed new methods, both imaginative and technical, which influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. These included his inventing the symphonic poem for orchestra, evolving the concept of thematic transformation as part of his experiments in musical form and making radical departures in his musical works, Liszt wrote essays about many subjects. Most important for an understanding of his development is the article series "De la situation des artistes" ("On the situation of the artists") which 1835 was published in the Parisian Gazette musicale. In winter 1835-36, during Liszt's stay in Geneva, about half a dozen further essays were following. One of them, it should have been published under the name "Emm Prym", was about Liszt's own works and is lost. In the beginning of 1837, Liszt published a review of some piano works of Sigismond Thalberg. The review evoked a huge scandal. In this time Liszt also commenced the series of his "Baccalaureus-letters". After the series had ended in 1841, Liszt planned to publish a collection of revised versions of the "Baccalaureus-letters" as book. But the plan was not the Weimar years, Liszt wrote a series of essays about operas, leading from Gluck to Wagner. Also this series should have been published as book; and also this plan was not realized. Besides, Liszt wrote essays about Berlioz and the symphony "Harold in Italy", Robert and Clara Schumann, John Field's nocturnes, songs of Robert Franz, a planned Goethe-Foundation at Weimar, and other subjects. In addition to these essays, Liszt wrote a book about Chopin as well as a book about the Gypsies and their music in all of those literary works were published under Liszt's name, it is not quite clear which parts of them he had written himself. It is known from his letters that during the time of his youth there had been collaboration with Marie d'Agoult. During the Weimar years it was the Princess Wittgenstein who helped him. In most cases the manuscripts have disappeared so that it is difficult to decide which of Liszt's literary works actually were works of his own. However, until the end of his life it was Liszt's point of view that it was him who was responsible for the contents of those literary the 1870s Lina Ramann collected the essays published under Liszt's name. Together with a new version of the book about Chopin, translated by La Mara (Maria Lipsius) from French to German, the essays and the book about the Gypsies were in six volumes published in translations by Ramann. After the edition had for a long time been used in Liszt research, it turned out that many translation errors and other defects had occurred. To this comes that Ramann had not detected all of the essays published under Liszt's name. In one case, a review of Charles Alkan's etudes , it is to be suspected that the essay was omitted because it did not suit to the picture Ramann had made herself of Liszt. For reasons of such kind, a new edition, under the leadership of Detlef Altenburg, Weimar, is in workIn his youth, during his stay in Geneva, Liszt wrote a "Manual of Pianoforte Technique" for the Geneva Conservatoire. Although in newer time Alan Walker claimed that the Manual was unlikely to ever have existed,it is well known from Liszt's letters to his mother and further sources that he wrote and completed it. The work is nevertheless lost. In his later years Liszt wrote voluminous "Technische Studien" ("technical exercises") which are now in three volumes available at Editio musica, Budapest. Taking them as music, they are disappointing because Liszt gave nothing more than a collection of technical exercises. Lots of exercises of similar kind by composers such as Herz, Bertini and MacDowell existed besides. Carl Tausig's "Tägliche Studien" are, without doubt, of better use than Liszt's.[citations needed]Liszt also worked until at least 1885 on a treatise for modern harmony. Pianist Arthur Friedheim, who also served as Liszt's personal secretary, remembered seeing it among Liszt's papers at Weimar. Liszt told Friedheim that the time was not yet ripe to publish the manuscript, titled Sketches for a Harmony of the Future. Unfortunately, this treatise has been lost.

一只脚踩扁了紫罗兰，它却把香味留在那脚跟上，这就是宽恕。———安德鲁•马修斯 历史上有多少人具有宽容，又有多少人具有狭隘呢？庞涓不愿孙膑胜于他，施加毒手，最后兵败身亡；周瑜不肯诸葛亮胜于他，百般暗算，最后被诸葛亮三气吐血而死；慈禧被别人吃他一马，她杀对方一家，死后为人们所辱骂……这都是有了狭隘之心的结果，告别狭隘之心，以宽容的胸襟包容他人，则取信于他人，也成就了自己。 有一次楚庄王邀众大臣共饮，请嫔妃助兴，风把烛火吹灭时，一武将醉酒失态拉了妃子的衣襟，但楚庄王以一颗宽广的心宽容了他，巧妙解围。这位武将由是感激在下一次战役中奋勇杀敌。鲍叔荐管仲春秋时，齐襄公被杀后，公子小白和公子纠为争夺王位而战。鲍叔牙帮小白，管仲助纠。双方交战中，管仲曾用箭射中了小白衣带上的钩子，小白险遭丧命。后来小白做了齐桓公。齐桓公执政后，任命鲍叔牙为相国。可鲍叔牙心胸宽广，有智人之明，坚持把管仲推荐给桓公。齐桓公也是宽容大度的人，不记前仇，采纳了鲍叔牙的建议。管仲担任相国后，协助桓公进行改革，使齐转弱为强，成为春秋时中原强国。林肯对政敌素以宽容著称，这引起了一位议员的不满。他说：“你不该试图和那些人交朋友，应该消灭他们。”林肯笑着回答：“当我们把他们变成自己朋友时，不正是消灭了自己的敌人吗？”古语说：“知错就改，善莫大焉。”那么一个人犯下了错误，我们为何不能宽容一下呢？无论面对朋友还是仇人，我们都应赠以微笑和大度。宽容可以交友，当你以豁达的心去宽容别人时，你的朋友自然也就多了。让我们多一份宽容，让生活更轻松愉快，让我们有更多的朋友当一只脚踏在紫罗兰的花瓣上时，他却将香味留在了那只脚上，这就是宽容。