Plan的过去式

plan的过去式：planned。

plan

n.  计划; 规划; 详图; 平面图; 分布图; 投资方式;

v.  计划; 期待; 设计

双语例句

1. Petroleum engineers plan and manage the extraction of oil.

石油工程师规划并管理石油的提炼。

2. This whole plan has been most carefully mapped out.

整个方案的规划极为精细。

3. For some buildings a vertical section is more informative than a plan.

有些建筑的立面图能比平面图提供更多的信息。

4. His plan is to spread the capital between various building society accounts.

他打算把资金分散存到不同的购房互助会的账户上。

5. The House of Representatives approved a new budget plan.

众议院批准了一项最新预算案。

6. The firm's top managers share the same open-plan office.

该公司的高层管理人员共用一间开敞式办公室。

7. God's plan is like a movie. All the good and bad things are arranged together for the good ending.

上天就像导演电影那样安排我们的人生，中间的起起伏伏，为的只是最后的完美收场。

8. Let's plan a big night next week.

我们下周组织一次盛大的晚会吧。

9. He is unlikely to alter his game plan.

他不大可能改变自己的策略。

10. That was my crafty little plan.

那是我的小妙计。

急需莎士比亚喜剧《无事生非》的英文情节简介和人物性格介绍

这个是英文名字：Much Ado About Nothing

情节简介：

At Messina, Don Pedro, an Italian prince from Aragon and his deputies, Claudio and Benedick have just returned from a successful military campaign. Leonato, the governor of Messina, welcomes them for passing by the city and invites them to stay for a month.

Benedick and Leonato's niece, Beatrice, longtime adversaries, carry on their "merry war of words". Claudio’s feelings for Hero, Leonato's young daughter, are kindled on his seeing her, and Claudio soon announces to Benedick his intention to court her. Benedick tries to dissuade his friend, but is unsuccessful in the face of Don Pedro’s encouragement. While Benedick teases Claudio, Benedick swears that he will never get married saying,

That a woman conceived me, I thank her; that she brought me up, I likewise give her most humble thanks: but that I will have a recheat winded in my forehead, or hang my bugle in an invisible baldrick, all women shall pardon me. Because I will not do them the wrong to mistrust any, I will do myself the right to trust none; and the fine is, for the which I may go the finer, I will live a bachelor. (Act 1 Scene 1)

To that Don Pedro says, "I shall see thee, ere I die, look pale with love," (Act 1 Scene 1). Later, Don Pedro says "Well, as time shall try: 'In time the savage bull/ doth bear the yoke," (Act 1 Scene 1). This exchange sets up the comical premise for the play.

A masquerade ball is planned in celebration, giving a disguised Don Pedro the opportunity to woo Hero on Claudio’s behalf. Don John uses this situation to get revenge on his brother Don Pedro and Claudio by telling young Claudio that Don Pedro is actually wooing Hero for himself. Claudio then becomes furious at Don Pedro and confronts him. The misunderstanding is quickly resolved and Claudio wins Hero's hand in marriage.

Don Pedro and his men, bored at the prospect of waiting a week for the matrimonial ceremony to take place, harbor a plan to matchmake Beatrice and Benedick. The men, led by Don Pedro, proclaim Beatrice’s love for Benedick while knowing he is eavesdropping on their conversation. The women, led by Hero, do the same likewise to Beatrice. Struck by the "revelations", Beatrice and Benedick, neither willing to bear the reputation of pride and scornfulness, each decide to requite the love of the other.

Meanwhile Don John, Don Pedro's bastard brother, is a malcontent who plots to ruin Claudio and Hero’s wedding plans by casting aspersions upon Hero’s character. His follower Borachio courts Margaret, Hero's chambermaid, calling her “Hero”, at Hero’s open bedroom window while Don John leads Don Pedro and Claudio to spy below. The latter two, mistaking Margaret for Hero, are convinced by what is evidence of Hero's infidelity.

The next day, during the wedding at the church, Claudio climactically refuses to marry Hero. He and Don Pedro humiliate Hero publicly before a stunned congregation. The two leave brusquely, leaving the rest in shock.

"Claudio, deceived by Don John, accuses Hero" by Marcus Stone

"Claudio, deceived by Don John, accuses Hero" by Marcus Stone

Hero, who has fainted from shock, revives after Don Pedro and Claudio leave, only to be reprimanded by her father. The presiding Friar interrupts, believing Hero to be innocent, and he convinces the family to feign Hero's death in order to exact the truth and Claudio’s remorse.

Leonato and Antonio, Hero's uncle, subsequently blame Don Pedro and Claudio for Hero’s death, and both challenge Claudio to duels. Benedick, forcefully prompted by Beatrice, does the same.

Unbeknownst to everyone, however, on the night of Don John's treachery, the local Watch has apprehended Borachio and his ally Conrade. Despite the Watch's comic ineptness (headed by constable Dogberry, a master of malapropi**s), they have overheard the duo discussing their evil plans. The Watch arrest them and eventually obtain the villains' confession, whilst informing Leonato of Hero's innocence. Though Don John has meanwhile fled the city, a force is sent to capture him. Claudio, though maintaining he made an honest mistake, is repentant; he agrees to not only post a proper epitaph for Hero, but to marry a substitute, Hero's cousin, in her place.

During Claudio’s second wedding, however, as the dancers enter, the "cousin" is unmasked as Hero herself, to a most surprised and gratified Claudio. An impromptu dance is announced. Beatrice and Benedick, prompted by their friends’ interference, finally confess their love for each other. As the play draws to a merry close, a messenger arrives with news of Don John’s capture – but his punishment is postponed another day so that the couples can enjoy their newfound happiness.

人物性格：

Beatrice is the niece of Leonato, a wealthy governor of Messina. Though she is close friends with her cousin Hero, Leonato’s daughter, the two could not be less alike. Whereas Hero is polite, quiet, respectful, and gentle, Beatrice is feisty, cynical, witty, and sharp. Beatrice keeps up a “merry war” of wits with Benedick, a lord and soldier from Padua. The play suggests that she was once in love with Benedick but that he led her on and their relationship ended. Now when they meet, the two constantly compete to outdo one another with clever insults.

Although she appears hardened and sharp, Beatrice is really vulnerable. Once she overhears Hero describing that Benedick is in love with her (Beatrice), she opens herself to the sensitivities and weaknesses of love. Beatrice is a prime example of one of Shakespeare’s strong female characters. She refuses to marry because she has not discovered the perfect, equal partner and because she is unwilling to eschew her liberty and submit to the will of a controlling hu**and. When Hero has been humiliated and accused of violating her chastity, Beatrice explodes with fury at Claudio for mistreating her cousin. In her frustration and rage about Hero’s mistreatment, Beatrice rebels against the unequal status of women in Renaissance society. “O that I were a man for his sake! Or that I had any friend would be a man for my sake!” she passionately exclaims. “I cannot be a man with wishing, therefore I will die a woman with grieving” (IV.i.312–318).

Benedick

Benedick is the willful lord, recently returned from fighting in the wars, who vows that he will never marry. He engages with Beatrice in a competition to outwit, out**art, and out-insult the other, but to his observant friends, he seems to feel some deeper emotion below the surface. Upon hearing Claudio and Don Pedro discussing Beatrice’s desire for him, Benedick vows to be “horribly in love with her,” in effect continuing the competition by outdoing her in love and courtship (II.iii.207). Benedick is one of the most histrionic characters in the play, as he constantly performs for the benefit of others. He is the entertainer, indulging in witty hyperbole to express his feelings. He delivers a perfect example of his inflated rhetoric when Beatrice enters during the masked ball. Turning to his companions, Benedick grossly exaggerates how Beatrice has misused him, bidding his friends to send him to the farthest corners of the earth rather than let him spend one more minute with his nemesis: “Will your grace command me any service to the world’s end? I will go on the slightest errand now to the Antipodes that you can devise to send me on. I will fetch you a toothpicker from the furthest inch of Asia . . . do you any embassage to the pigmies, rather than hold three words’ conference with this harpy” (II.i.229–235).

Of course, since Benedick is so invested in performing for the others, it is not easy for us to tell whether he has been in love with Beatrice all along or falls in love with her suddenly during the play. Benedick’s adamant refusal to marry does appear to change over the course of the play, once he decides to fall in love with Beatrice. He attempts to conceal this transformation from his friends but really might enjoy shocking them by shaving off his beard and professing undying love to Beatrice. This change in attitude seems most evident when Benedick challenges Claudio, previously his closest friend in the world, to duel to the death over Claudio’s accusation as to Hero’s unchaste behavior. There can be no doubt at this point that Benedick has switched his allegiances entirely over to Beatrice.

Don Pedro, Prince of Aragon

Of all the main characters in Much Ado About Nothing, Don Pedro seems the most elusive. He is the noblest character in the social hierarchy of the play, and his friends Benedick and Claudio, though equals in wit, must always defer to him because their positions depend upon his favor. Don Pedro has power, and he is well aware of it; whether or not he abuses this power is open to question. Unlike his bastard brother, the villain Don John, Don Pedro most often uses his power and authority toward positive ends. But like his half-brother, Don Pedro manipulates other characters as much as he likes. For instance, he insists on wooing Hero for Claudio himself, while masked, rather than allowing Claudio to profess his love to Hero first. Of course, everything turns out for the best—Don Pedro’s motives are purely in the interest of his friend. But we are left wondering why Don Pedro feels the need for such an elaborate dissimulation merely to inform Hero of Claudio’s romantic interest. It seems simply that it is Don Pedro’s royal prerogative to do exactly as he wishes, and no one can question it. Despite his cloudy motives, Don Pedro does work to bring about happiness. It is his idea, for instance, to convince Beatrice and Benedick that each is in love with the other and by doing so bring the two compe*****s together. He orchestrates the whole plot and plays the role of director in this comedy of wit and manners.

Don Pedro is the only one of the three gallants not to end up with a wife at the end. Benedick laughingly jokes in the final scene that the melancholy prince must “get thee a wife” in order to enjoy true happiness (V.iv.117). The question necessarily arises as to why Don Pedro is sad at the end of a joyous comedy. Perhaps his exchange with Beatrice at the masked ball—in which he proposes marriage to her and she jokingly refuses him, taking his proposal as mere sport—pains him; perhaps he is truly in love with Beatrice. The text does not give us a conclusive explanation for his melancholy, nor for his fascination with dissembling. This uncertainly about his character helps to make him one of the most thought-provoking characters in the play.

你可以来这里看到图片：

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莎士比亚作品《无事生非》的英文评价

这个是英文名字：Much Ado About Nothing

情节简介：

At Messina, Don Pedro, an Italian prince from Aragon and his deputies, Claudio and Benedick have just returned from a successful military campaign. Leonato, the governor of Messina, welcomes them for passing by the city and invites them to stay for a month.

Benedick and Leonato's niece, Beatrice, longtime adversaries, carry on their "merry war of words". Claudio’s feelings for Hero, Leonato's young daughter, are kindled on his seeing her, and Claudio soon announces to Benedick his intention to court her. Benedick tries to dissuade his friend, but is unsuccessful in the face of Don Pedro’s encouragement. While Benedick teases Claudio, Benedick swears that he will never get married saying,

That a woman conceived me, I thank her; that she brought me up, I likewise give her most humble thanks: but that I will have a recheat winded in my forehead, or hang my bugle in an invisible baldrick, all women shall pardon me. Because I will not do them the wrong to mistrust any, I will do myself the right to trust none; and the fine is, for the which I may go the finer, I will live a bachelor. (Act 1 Scene 1)

To that Don Pedro says, "I shall see thee, ere I die, look pale with love," (Act 1 Scene 1). Later, Don Pedro says "Well, as time shall try: 'In time the savage bull/ doth bear the yoke," (Act 1 Scene 1). This exchange sets up the comical premise for the play.

A masquerade ball is planned in celebration, giving a disguised Don Pedro the opportunity to woo Hero on Claudio’s behalf. Don John uses this situation to get revenge on his brother Don Pedro and Claudio by telling young Claudio that Don Pedro is actually wooing Hero for himself. Claudio then becomes furious at Don Pedro and confronts him. The misunderstanding is quickly resolved and Claudio wins Hero's hand in marriage.

Don Pedro and his men, bored at the prospect of waiting a week for the matrimonial ceremony to take place, harbor a plan to matchmake Beatrice and Benedick. The men, led by Don Pedro, proclaim Beatrice’s love for Benedick while knowing he is eavesdropping on their conversation. The women, led by Hero, do the same likewise to Beatrice. Struck by the "revelations", Beatrice and Benedick, neither willing to bear the reputation of pride and scornfulness, each decide to requite the love of the other.

Meanwhile Don John, Don Pedro's bastard brother, is a malcontent who plots to ruin Claudio and Hero’s wedding plans by casting aspersions upon Hero’s character. His follower Borachio courts Margaret, Hero's chambermaid, calling her “Hero”, at Hero’s open bedroom window while Don John leads Don Pedro and Claudio to spy below. The latter two, mistaking Margaret for Hero, are convinced by what is evidence of Hero's infidelity.

The next day, during the wedding at the church, Claudio climactically refuses to marry Hero. He and Don Pedro humiliate Hero publicly before a stunned congregation. The two leave brusquely, leaving the rest in shock.

"Claudio, deceived by Don John, accuses Hero" by Marcus Stone

"Claudio, deceived by Don John, accuses Hero" by Marcus Stone

Hero, who has fainted from shock, revives after Don Pedro and Claudio leave, only to be reprimanded by her father. The presiding Friar interrupts, believing Hero to be innocent, and he convinces the family to feign Hero's death in order to exact the truth and Claudio’s remorse.

Leonato and Antonio, Hero's uncle, subsequently blame Don Pedro and Claudio for Hero’s death, and both challenge Claudio to duels. Benedick, forcefully prompted by Beatrice, does the same.

Unbeknownst to everyone, however, on the night of Don John's treachery, the local Watch has apprehended Borachio and his ally Conrade. Despite the Watch's comic ineptness (headed by constable Dogberry, a master of malapropi**s), they have overheard the duo discussing their evil plans. The Watch arrest them and eventually obtain the villains' confession, whilst informing Leonato of Hero's innocence. Though Don John has meanwhile fled the city, a force is sent to capture him. Claudio, though maintaining he made an honest mistake, is repentant; he agrees to not only post a proper epitaph for Hero, but to marry a substitute, Hero's cousin, in her place.

During Claudio’s second wedding, however, as the dancers enter, the "cousin" is unmasked as Hero herself, to a most surprised and gratified Claudio. An impromptu dance is announced. Beatrice and Benedick, prompted by their friends’ interference, finally confess their love for each other. As the play draws to a merry close, a messenger arrives with news of Don John’s capture – but his punishment is postponed another day so that the couples can enjoy their newfound happiness.

人物性格：

Beatrice is the niece of Leonato, a wealthy governor of Messina. Though she is close friends with her cousin Hero, Leonato’s daughter, the two could not be less alike. Whereas Hero is polite, quiet, respectful, and gentle, Beatrice is feisty, cynical, witty, and sharp. Beatrice keeps up a “merry war” of wits with Benedick, a lord and soldier from Padua. The play suggests that she was once in love with Benedick but that he led her on and their relationship ended. Now when they meet, the two constantly compete to outdo one another with clever insults.

Although she appears hardened and sharp, Beatrice is really vulnerable. Once she overhears Hero describing that Benedick is in love with her (Beatrice), she opens herself to the sensitivities and weaknesses of love. Beatrice is a prime example of one of Shakespeare’s strong female characters. She refuses to marry because she has not discovered the perfect, equal partner and because she is unwilling to eschew her liberty and submit to the will of a controlling hu**and. When Hero has been humiliated and accused of violating her chastity, Beatrice explodes with fury at Claudio for mistreating her cousin. In her frustration and rage about Hero’s mistreatment, Beatrice rebels against the unequal status of women in Renaissance society. “O that I were a man for his sake! Or that I had any friend would be a man for my sake!” she passionately exclaims. “I cannot be a man with wishing, therefore I will die a woman with grieving” (IV.i.312–318).

越狱 剧情简介 英文

一篇用英语介绍wentworth miller 或 prison break

The amoral premise of the Fox series Prison Break would have you root for murders, rapists and thieves to escape their incarceration. Predictably, a nihilistic cloak descends over events at Fox River State Penitentiary as inmates spend a season's worth of episodes planning their escape. On the heels of serialized prime-time television successes like 24 or Lost (and failures such as Surface and Invasion), Prison Break presents a complicated, lengthy story arc that will leave non-consistent viewers more than a little flummoxed. Absurdly implausible though it may be, the reward for keeping up with this show obsessively is a well-crafted production, with clever plot twists that more often than not succeeds as a taut thriller.

As the series opens, Michael Scofield (Wentworth Miller) gets the finishing touches of a tattoo applied to his upper torso and both arms. Then he robs a bank. But things don't add up as he surrenders too easier, and shows utter disinterest in saving his own skin at his arraignment. Attorney and family friend Veronica Donovan (Robin Tunney) can't figure out why he's essentially giving up. He more or less requests to be incarcerated at Fox River State Penitentiary and the judge obliges him with a five year sentence. Once he's enrolled at the Joliet, Illinois penal facility, he scouts out Lincoln Burrows (Dominic Purcell) who has been convicted of murdering the Vice President抯 brother. That's right -- the Vice President of the United States. It turn's out Lincoln is Michael's brother. Things begin to add up.

You see, Michael has launched an audacious plan to spring his brother out of prison. Having exhausted every effort of the legal system to free his wrongly convicted brother, Michael has planned a highly detailed prison break scenario. How could he know so much about the inner workings of the prison? you may ask yourself. It seems Michael is a structural engineer whose firm was contracted to retrofit this very prison a few years back He's borrowed the blueprints of the facilities and hidden the details in his intricate tattoo. Trust me, it's the first of many suspensions of belief you will need to endure throughout the series to swallow the far-fetched goings-on you will encounter. If you can handle that, you'll have no problem with him cutting out pills secreted in his body, having regular insulin shots (though he's not diabetic) and building unlikely alliances among the prison population. These include Michael's cellmate Fernando Sucre (Amaury Nolasco), mobster John Abruzzi (Peter Stormare) who's in charge of work detail, C-Note (Rockmond Dunbar) who's first mission is to obtain medication that counteracts Michael's insulin intact, and rapist and child murderer -- not to mention violent homosexual -- Theodore "T-Bag" Bagwell (Robert Knepper). Also in the mix is Charles Westmorland (Muse Watson) who, rumor has it, is the infamous D.B. Cooper, 1971 airliner hijacker who parachuting out over the Pacific Northwest with a load of cash. Ex-psychiatric ward resident Charles "Haywire" Patoshik (Silas Weir Mitchell) becomes Michael's cellmate later on in the season, and David "Tweener" Apolskis (Lane Garrison) schemes his way into the plan as well.

Overseeing the correctional institution is Warden Henry Pope (Stacy Keach). He may run the place by day, but crooked Captain Brad Bellick (Wade Williams), as he will tell you, runs it by night. Outside the prison walls, Veronica dives right into a vast conspiracy, with tentacles reaching up to the highest levels of power in the federal government. Not only did Lincoln not commit the murder he was sent to the slammer for, by his "victim" may very well still be alive. Hopefully by now you have disengaged your brain, content to wallow in the intrigue without trying to have it make sense.

The show is executive produced by Brett Ratner ("X-Men: The Last Stand"), who also directed the pilot episode, and created by writer Paul T. Scheuring. They have indicated that the entire story will be told in a two-season arc, though ratings will no doubt have an effect on that decision. A standout episode, 揃rother抯 Keeper,?unfolds in compelling flashback the background on the characters, detailing exactly how they ended up in jail. It's a welcome departure from the typical episodes (which tend to be repetitive in structure), and really helps to flesh out the supporting characters. Cliffhanger endings to each episode (and nearly to every commercial break) are well executed.

All the upcoming prime-time serials set to debut in the fall (including Vanished, The Nine, and Kidnapped) would seem to indicate a peak in popularity for this method of storytelling. Preposterous situations aside, Prison Break provides the addictive suspense expected of it, though not without its faults. In particular, it's very cynical of religion, holding particular disdain for Catholici**. For example, Abruzzi is threatened by one of his mob associates: "Our wives are friends; our kids go to the same Catholic school. It would be a shame if anything were to happen to your kids." Additionally, Sucre and his girlfriend make plans -- during conjugal visits -- to get married in a Catholic church. Oh yeah, and it's implied that a bishop is circumventing tax law, but he's bumped off early on, so we don't get the details. What's your impression of Catholics now? Religious symbols (and people) are only used as props or plot devices -- that's all. Once again, a character solves their problems through *******. A nice twist against type has the warden as a good guy. The season ends with a mother of all cliffhangers, as a handful of escapees literally run for their lives.

The twenty-two episodes are divided onto six discs. The discs are housed in three thin, clear keepcases, each of which holds a pair of discs. The front of each case features the same close-up photo of Michael on their top halves. Smaller color photos of Michael, Lincoln, and Sucre are featured on the bottoms of cases one, two, and three, respectively. The back of each case features a listing of episode titles, airdates, and brief synopses. The cases slide into a cardboard outer sleeve.

===========

===========

The first season is about Lincoln Burrows (Dominic Purcell), who is accused of murdering Terrence Steadman (Jeff Perry), the brother of the Vice President of the United States. Because of convincing evidence, Lincoln is sentenced to death. He is incarcerated in Fox River State Penitentiary where he awaits his execution. Lincoln's brother, brilliant structural engineer Michael Scofield (Wentworth Miller), is convinced of Lincoln's innocence and formulates an escape plan. In order to gain access to Fox River, Michael commits armed robbery intentionally in order to receive a five year sentence. While incarcerated he must race against the clock and make important connections with other inmates and staff. One staff member in particular is the prison doctor, Sara Tancredi (Sarah Wayne Callies). Michael befriends her when he pretends to suffer from Type 1 diabetes in order to gain daily access to the prison's infirmary. The brothers' fight to ward off the execution is aided by their lifelong friend Veronica Donovan (Robin Tunney), who begins to investigate the conspiracy that put Lincoln in jail. However, they are hindered by covert agents, members of an organization known as The Company. The Company was responsible for framing Lincoln, and they did so because of Lincoln's father, Aldo Burrows, and his former connections to the company. The brothers, along with six other inmates, Fernando Sucre (Amaury Nolasco), Theodore "T-Bag" Bagwell (Robert Knepper), Benjamin Miles "C-Note" Franklin (Rockmond Dunbar), David "Tweener" Apolskis (Lane Garrison), John Abruzzi (Peter Stormare), and Charles "Haywire" Patoshik (Silas Weir Mitchell) who come to be known as the Fox River Eight finally escape in the season finale because of the help of Dr. Sara Tancredi who has been convinced by Michael to leave the infirmary door unlocked. Because of her involvement, Sara overdoses on ********.

Season 2 begins eight hours after the escape, focusing mainly on the escapees. Series creator Paul Scheuring describes the second season as "The Fugitive times eight" and likens it to the "second half of The Great Escape".[9] The fugitives split up and journey to locations across the country with the authorities close behind them as they each pursue their individual goals. Brad Bellick (Wade Williams) gets fired from the prison where he worked as a guard in season 1 and chases after the inmates himself for the reward money . Several of the escapees reunite in search of a large cache of money buried long ago by another prisoner who is rumored to be D. B. Cooper. T-Bag manages to escape with the money, and the brothers spend the rest of the season tracking him down, both for the money which they need to escape the country, and because Scofield feels responsible for releasing the murderer.

Federal agent Alexander Mahone (William Fichtner) is assigned to track down and capture the eight fugitives, but is revealed to be working for The Company; The group wants all eight men - especially Lincoln - dead. Several of the escapees are killed or recaptured, but the brothers make it to Panama. During the brothers' flight, Sara's father, Governor Frank Tancredi, is murdered because he discovers the truth behind Lincoln's innocence. After discovering him dead, Sara returns to her apartment only to have to flee for her life. She meets up with Michael on two different occasions, remaining with him as the brothers try to bring down the current President, a Company member. To ensure the brothers' safety, Sara allows herself to be arrested and faces a trial. During the trial, the testimony of former Secret Service agent Paul Kellerman, who used to work for the Company-controlled President, exonerates Lincoln and Sara. Meanwhile Michael, T-Bag and Mahone are arrested by the Panamanian authorities and are imprisoned at the Penitenciaría Federal de Sona where they find Bellick who had been arrested earlier that episode.

Season 3 follows both Michael inside Sona and Lincoln on the outside in Panama. Sona is a prison that has been run by the inmates and guarded only from the outside since a riot the year before. Burrows is quickly contacted by The Company who have kidnapped his son LJ (Marshall Allman) and Sara Tancredi (Sarah Wayne Callies), the woman Michael loves. He is told that they want Scofield to break James Whistler (Chris Vance) out of Sona. The season follows Michael and Whistler's trials in formulating an escape plan, as Michael has to deal with extreme tension and as Lincoln deals with the Company's operative Gretchen Morgan (Jodi Lyn O'Keefe). Sucre gets a job at the prison to aid Michael in his escape plan.

When Lincoln attempts to rescue Sara and LJ following a clue provided by Sara, Morgan "beheads Sara" and sends Lincoln a head in a box as a warning. As the season ends, the pair manage to escape along with Mahone leaving behind several accomplices including T-Bag and Bellick. Sucre's identity is discovered by a prison guard and is thrown into Sona just after the escape. LJ is traded for Whistler, and Michael is out for revenge against Gretchen for "Sara's death".

Season 4 starts with Michael avenging Sara's death, before learning that Gretchen did not kill her as he thought. Michael also learns the truth about Whistler, that he has secretly been working alongside Mahone to take down the Company. A Company operative takes Whistler's life shortly after this. Sona has burned down and Sucre, Bellick, and T-Bag have escaped during the chaos. After returning to Chicago to look for Sara, Michael is arrested and recruited by Don Self (Michael Rapaport), a Department of Homeland Security agent, to help bring down the Company in exchange for his freedom. Lincoln, who was arrested in Panama is transferred to Chicago, and along with Mahone, Sucre, and Bellick with whom a deal is made. Also joining the group are Sara, who escaped from Gretchen which resulted in Gretchen's own captivity by the Company, having failed to secure a valuable item, and Roland (James Hiroyuki Liao), a hacker who was assigned to help them after getting arrested for identity theft. Together, they devise a plan to retrieve Scylla, thought of as the Company's 'little black book', from the Company that will help to destroy them. In the meantime, Wyatt (Cress Williams), an agent from the Company, attempts to track Michael and Lincoln down and T-Bag heads North to the US with the "Birds" book in his possession. Michael also begins to experience some troubling health problems.

plan的过去式

plan的过去式：planned。

plan

n.  计划; 规划; 详图; 平面图; 分布图; 投资方式;

v.  计划; 期待; 设计

双语例句

1. Petroleum engineers plan and manage the extraction of oil.

石油工程师规划并管理石油的提炼。

2. This whole plan has been most carefully mapped out.

整个方案的规划极为精细。

3. For some buildings a vertical section is more informative than a plan.

有些建筑的立面图能比平面图提供更多的信息。

4. His plan is to spread the capital between various building society accounts.

他打算把资金分散存到不同的购房互助会的账户上。

5. The House of Representatives approved a new budget plan.

众议院批准了一项最新预算案。

6. The firm's top managers share the same open-plan office.

该公司的高层管理人员共用一间开敞式办公室。

7. God's plan is like a movie. All the good and bad things are arranged together for the good ending.

上天就像导演电影那样安排我们的人生，中间的起起伏伏，为的只是最后的完美收场。

8. Let's plan a big night next week.

我们下周组织一次盛大的晚会吧。

9. He is unlikely to alter his game plan.

他不大可能改变自己的策略。

10. That was my crafty little plan.

那是我的小妙计。

英美文学常用术语及解释

下面是我整理的一些英美文学常用术语及解释，希望对大家有帮助。

01. Allegory(寓言)

Allegory is a story told to explain or teach something. Especially a long and complicated story with an underlying meaning different from the surface meaning of the story itself.2allegorical novels use extended metaphors to convey moral meanings or attack certain social evils. characters in these novels often stand for different values such as virtue and vice.3Bunyan’s Pilgrim’s Progress, Melville’s Moby Dick are such examples.

02. Alliteration(头韵)

Alliteration means a repetition of the initial sounds of several words in a line or group.

2alliteration is a traditional poetic device in English literature.

3Robert Frost’s Acquainted with the Night is a case in point:” I have stood still and stopped the sound of feet”

03. Ballad(民谣)

Ballad is a story in poetic from to be sung or recited. in more exact literary terminology, a ballad is a narrative poem consisting of quatrains of iambic tetrameter alternating with iambic trimester.(抑扬格四音步与抑扬格三音步诗行交替出现的四行叙事诗)

2.ballads were passed down from generation to generation. 3Coleridge’s The Rime of the Ancient Mariner is a 19th century English ballad.

04. epic(史诗)

Epic, in poetry, refers to a long work dealing with the actions of goods and heroes.

2Epic poems are not merely entertaining stories of legendary or historical heroes; they summarize and express the nature or ideals of an entire nation at a significant or crucial period of its history.

3Beowulf is the greatest national Epic of the Anglo-Saxons.

05. Lay(短叙事诗)

It is a short poem, usually a romantic narrative, intended to be sung or recited by a minstrel.

06. Romance(传奇)

Romance is a popular literary form in the medic England.

2it sings knightly adventures or other heroic deeds.

3chivalry is the spirit of the romance.

07. Alexandrine(亚历山大诗行)

The name is derived from the fact that certain 12th and 13th century French poems on Alexander the Great were written in this meter.

2it is an iambic line of six feet, which is the French heroic verse.

08. Blank Verse(无韵诗或素体广义地说)

Blank verse is unrhymed poetry. Typically in iambic pentameter, and as such, the dominant verse forms of English dramatic and narrative poetry since the mid-16th century.

09. Comedy(喜剧)

Comedy is a light form of drama that aims primarily to amuse and that ends happily. Since it strives to provoke **ile and laughter, both wit and humor are utilized. In general, the comic effect arises from recognition of some incongruity of speech, action, or character revelation, with intricate plot.

10. Essay( 随笔 )

The term refers to literary composition devoted to the presentation of the writer’s own ideas on a topic and generally addressing a particular aspect of the subject. Often brief in scope and informal in style, the essay differs from such fomal forms as the thesis, dissertation or treatise.

11. Euphuistic style(绮丽体)

Its principle characteristics are the excessive use of antithesis, which is pursued regardless of sense, and emphasized by alliteration and other devices; and of allusions to historical and mythological personages and to natural history drawn from such writers as Plutarch(普卢塔克), Pliny(普林尼), and Era**us(伊拉兹马斯).2it is the peculiar style of Euphues(优浮绮斯)

12. History Plays(历史剧)

History plays aim to present some historical age or character, and may be either a comedy or a tragedy. They almost tell stories about the nobles, the true people in history, but not ordinary people. the principle idea of Shakespeare’s history plays is the necessity for national unity under a mighty and just sovereign.

13. Masques or Masks(假面剧)

Masques (or Masks) refer to the dramatic entertainments involving dances and disguises, in which the spectacular and musical elements predominated over plot and character. As they were usually performed at court, often at very great expense, many have political overtones.

14. Morality plays(道德剧)

A kind of medic and early Renaissance drama that presents the conflict between the good and evil through allegorical characters. The characters tend to be personified abstractions of vices and virtues, which can be named as Mercy. Conscience, etc. unlike a mystery or a miracle play, morality play does not necessarily use Biblical or strictly religious material because it takes place internally and psychologically in every human being.

15.Sonnet(十四行诗)

It is a lyric poem of 14 lines with a formal or recited and characterized by its presentation of a dramatic or exciting episode in simple narrative form.

2it is one of the most conventional and influential forms of poetry in Europe.

3Shakespeare’s sonnets are well-known.

16. Spenserian Stanza(斯宾塞诗节)

Spenserian Stanza is the creation of Edmund spenser.2it refers to a stanza of nine lines, with the first eight lines in iambic pentameter(五音步抑扬格) and the last line in iambic hexameter(六音步抑扬格),rhyming ababbcbcc. 3Spenser’s the Faerie Queen was written in this kind of stanza.

17. Stanza(诗节)

Stanza is a group of lines of poetry, usually four or more, arranged according to a fixed plan.2the stanza is the unit of structure in a poem and poets do not vary the unit within a poem.

18. Three Unities(三一原则)

Three rules of 16th and 17th century Italian and French drama, broadly adapted from Aristotle’s Poetics诗学:

2the unity of time, which limits a play to a single day; the unity of place, which limits a play’s setting in a single location; and the unity of action, which limits a play to a single story line.

19. Tragedy(悲剧)

In general, a literary work in which the protagonist meets an unhappy or disastrous end. Unlike comedy, tragedy depicts the actions of a central character who is usually dignified or heroic.

20.Conceit(奇特比喻)

Conceit is a far-fetched simile or metaphor, a literary conceit occurs when the speaker compares two highly dissimilar things.2conceit is extensively employed in John Donne’s poetry.

21.Metar(格律)

The word”meter” is derived from the Greek word”metron” meaning”measure”.

2in English when applied to poetry, it refers to the regular pattern of stressed and unstressed syllables.

3the ****ysis of the meter is called scansion(格律分析)

22. University Wits(大学才子)

University Wits refer to a group of scholars during the Elizabethan Age who graduated from either oxford or Cambridge. They came to London with the ambition to become professional writers. Some of them later became famous poets and playwrights. They were called” University Wits”

23.Foreshadowing(预兆)

Foreshadowing, the use of hints or clues in a novel or drama to suggest what will happen next. Writers use Foreshadowing to create interest and to build suspense.

method used to build suspense by providing hints of what is to come.

24. Soliloquy(独白)

Soliloquy, in drama, means a moment when a character is alone and speaks his or her thoughts aloud..2the line“to be, or not to be, that is the question”, which begins the famous soliloquy from Shakespeare’s Hamlet.

25.Narrative Poem(叙述诗)

Narrative Poem refers to a poem that tells a story in verse,

2three traditional types of narrative poems include ballads, epics, metrical romances.

3it may consist of a series of incidents, as John Milton’s paradise lost.

26.Robin Hood(罗宾.豪)

Robin hood is a legendary hero of a series of English ballads, some of which date from at least the 14th century.

2the character of Robin Hood is many-sided. Strong, brave and intelligent, he is at the same time tender-hearted and affectionate.

3the dominant key in his character is his hatred for the cruel oppression and his love for the poor and downtrodden.4another feature of Robin’s view is his reverence for the king, Robin Hood was a people’s hero.

27. Beowulf(贝奥武甫)

Beowulf, a typical example of old English poetry, is regarded as the greatest national epic of t he Anglo-Saxons. 2the epic describes the exploits of a Scandinavian hero, Beowulf, in fighting against the monster Grendel, his revengeful nother, and a fire-breathing dragon in his declining years. While fight against the dragon, Beowulf was mortally wounded, however, he killed the dragon at the cost of his life, Beowulf is shown not only as a glorious hero but also as a protector of the people.

28. Baroque(巴罗克式风格)

This is originally a term of abuse applied to 17th century Italian art and that of other countries. It is characterized by the unclassical use of classical forms, in a literary context; it is loosely used to describe highly ornamented verse or prose, abounding in extravagant conceits.

这原本是用来指17世纪的意大利艺术和其他国家艺术滥用的一个术语.这种风格主要是指对古典形式的非古典运用.在文学领域,这种风格松散地用来指十分雕饰的,大量运用奇思妙想的诗歌或 散文 .

29. Cavalier poets(骑士派诗人)

A name given to supporters of Charles I in the civil war. These poets were not a formal group, but all influenced by Ben Jonson and like him paid little attention to the sonnet. Their lyrics are distinguished by short lines, precise but idiomatic diction, and an urbane and graceful wit.

30. Elegy(挽歌)

Elegy has typically been used to refer to reflective poems that lament the loss of something or someone, and characterized by their metrical form.

31. Restoration Comedy(复辟时期喜剧)

Restoration Comedy, also the comedy of manners, developed upon the reopening of the theatres after the re-establishment of monarchy with the return of Charles II.. Its predominant tone was witty, bawdy, cynical, and amoral. Standard characters include fops, bawds, scheming valets, country squires, and sexually voracious young widows and older women. The principle theme is sexual intrigue, either for its own sake or for money.

复辟时期的喜剧,又称社会习俗讽刺喜剧,是在查理二世君主复辟后剧院重新开业的基础上发展起来的,其主要的基调是诙谐,淫秽,挖苦和非道德.标准的角色包括****,鸨母,诡计多端的仆人,乡绅,**旺盛的年轻寡妇和老女人.主要的主题是**,有的是为了性,有的是为了钱.

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