University lessons of English language

أشهر اسئلة المقابلات الشخصية باللغة الانجليزية وترجمتها

2015-09-02T02:24:00.000+01:00

The Most Important Questions in Interview

1. Tell me about yourself:
The most often asked question in interviews. You need to have a short
statement prepared in your mind. Be careful that it does not sound
rehearsed. Limit it to work-related items unless instructed otherwise.
Cover four topics: early years, education, work history, and recent career experience. Emphasize this last subject.Start with the item farthest
back and work up to the present.
Remember that this is likely to be a warm-up question. Don't waste your best points on it.

أخبرنا عن نفسك
هذا أكثر الأسئلة المنتشرة في المقابلات و عليك أن تجهز جوابا يكون حاضرا في ذهنك و دع إجابتك محصورة في الأمور المتعلقة بالعمل إلا إذا طلب منك غير ذلك. حاول أن تغطي في اجابتك الأمور التالية: السنوات الأولى- الدراسة - العمل و الخبرة المهنية الحالية و ولي اهتمامك لموضوع الخبرة و لكن باختصار و دع أفضل ما لديك لوقت لاحق لأنك لسه في البداية. و حاول ان تبدا بحديثك من الأقدم إلى الأحدث

2. Why did you leave your last job?
Stay positive regardless of the circumstances. Never refer to a major
problem with management and never speak ill of supervisors, co-*******
or the organization. If you do, you will be the one looking bad. Keep
smiling and talk about leaving for a positive reason such as an
opportunity, a chance to do something special or other forward-looking
reasons.

لماذا تركت عملك الأخير:
حاول عند هذا الإجابة ان تبتعد عن الأمور السلبية التي تتعلق بتركك العمل السابق أو المشاكل التي قد تكون حصلت معك في هذه الشركة و فقط دع إجابتك تنحصر بأمور تتعلق بطموحك و لآمالك المستقبلية

3. What experience do you have in this field?
Speak about specifics that relate to the position you are applying for.
If you do not have specific experience, get as close as you can.

ما الخبرة التي تملكها في هذا المجال
تحدث عن أمور محددة تتعلق بالوظيفة التي تتقدم لها

4. Do you consider yourself successful?
You should always answer yes and briefly explain why. A good
explanation is that you have set goals, and you have met some and are
on track to achieve the others.

هل تعتبر نفسك إنسان ناجح
يجب أن يكون جوابك نعم دائما و تحاول أن تعطي سببا مختصرا لذلك قد تكون الإجابة أنك قد وضعت لنفسك أهدافا و قد نجحت في تحقيق بعضا منها و في طريقك إلى تحقيق الباقي

5. What do co-******* say about you?
Be prepared with a quote or two from co-*******. Either a specific
statement or a paraphrase will work. Jill Clark, a co-worker at Smith
Company, always said I was the hardest ******* she had ever known.

ماذا يقول عنك زملاء العمل
حاول ان يكون لديك إجابة حاضرة في ذهنك تتضمن عبارة يقولها عنك بعض زملائك كالجملة المذكورة "زميلي .... دائما يخبرني بأنني من أنشط الأشخاص الذين عرفهم"

6. What do you know about this organization?
This question is one reason to do some research on the organization
before the interview. Find out where they have been and where they are
going. What are the current issues and who are the major players?
You might start your answer in this manner: "In my job search, I've investigated a number of companies.
Yours is one of the few that interests me, for these reasons

ماذا تعرف عن هذه المؤسسة
قبل أن تتقدم للمقابلة عليك أن تقوم ببعض البحث عن المؤسسة التي تتقدم للعمل فيها و تحاول أن تعرف عنها قدر المستطاع و خاصة أين كانت و إلى أين وصلت في مجال عملها و ما النجاحات التي حققنها
يمكنك بدء إجابتك بالتالي:
من خلال بحثي عن فرص للعمل، مؤسستكم كانت واحدة من المؤسسات القليلة التي لفتت إنتباهي للأسباب التالية .... (حاول أن تكون إيجابي)

7. What have you done to improve your knowledge in the last year?
Try to ******* improvement activities that relate to the job. A wide
variety of activities can be mentioned as positive self-improvement.

ماذا فعلت لتحسين معرفتك أو معلوماتك
حاول أن تذكر متابعتك لتطورات العمل و النشاطات التي قمت بها في إطار ذلك

8. Are you applying for other jobs?
Be honest but do not spend a lot of time in this area. Keep the focus
on this job and what you can do for this organization.

هل تتقدم إلى وظائف أخرى
كن صريحا في الإجابة على هذا السؤال و لكن من دون إطالة و دع تركيزك في العمل الحالي و ما الذي يمكنك فعله لهذه المؤسسة

9. Why do you want to work for this organization?
This may take some thought and certainly, should be ****d on the
research you have done on the organization. Sincerity is extremely
important here and will easily be sensed. Relate it to your long-term
career goals.
speak in terms of the company's needs. You might say that your research has shown that the company is doing things you would like to be involved with and that interest you.

لمذا ترغب في العمل لهذه المؤسسة
هذا سؤال يتطلب الكثير من الوقت للتفكير فيه مسبقا و لكن حاول أن تربط إجابتك بأهدافك المستقبلية و تحدث بحاجات المؤسسة. قد تتضمن إجابتك أن أبحاثك أظهرت لك أن المؤسسة تقوم بأعمال ترغب في الخوض بها و تهمك

10. Do you know anyone who works for us?
Be aware of the policy on relatives working for the organization. This
can affect your answer even though they asked about friends not
relatives.

هل تعرف أحد ممن يعمل لدينا
كن حذرا من قانون عمل الأقارب في المؤسسة فقد يؤثر ذلك على إجابتك حتى لو كان السؤال عن الرفاق و ليس الأقارب.

11. What kind of salary do you need?
A loaded question. So, do not answer it. Instead, say something like,
That’s a tough question. Can you tell me the range for this position?
or say that it can depend on the details of the job. Then give a wide
range.

ما هو الراتب الذي تحتاجه
سؤال ملغوم حاول ألاّ تجاوب عليه و دع إجابتك على هذا الشكل
سؤال صعب ! أيمكنكم إخباري بالمدى لهذا المركز
أو يمكنك القول بأن هذا يعتمد على تفاصيل العمل و تعطي مدى كبير للراتب من ---- الى ----

12. Are you a team player?
You are, of course, a team player. Be sure to have examples ready.
Specifics that show you often perform for the good of the team rather
than for yourself are good evidence of your team attitude.
هل انت لاعب ضمن فريق (المقصود هل انت ممن يحبون العمل ضمن فرق)
طبعا انت كذلك و حاول ان يكون لديك بعض الأمثلة لدعم إجابتك و تفاصيل تظهر أنك دائما تعمل لمصلحة الفريق و ليس لمصلحتك فقط و لكن ابتعد عن المباهاة

13. How long would you expect to work for us if hired?
Specifics here are not good. Something like this should work: I’d like
it to be a long time. Or As long as we both feel I’m doing a good job.

كم من المدة تتوقع ان تعمل لدينا لو قمنا بتعيينك
لا تعطي تفاصيل و حاول ان تكون اجابتك على الشكل التالي
أتمنى أن تكون أطول فترة ممكنة
أو أتمنى أن تطول المدة طالما نشعر سويا بأنني اقوم بعملي بشكل جيد

14. Have you ever had to fire anyone? How did you feel about that?
This is serious. Do not make light of it or in any way seem like you
like to fire people. At the same time, you will do it when it is the
right thing to do. When it comes to the organization versus the
individual who has created a harmful situation, you will protect the
organization.

هل اضطررت لطرد أحد يوما ما و ماذا كان شعورك حيال هذا
هذا جدي و ستقول بأنك ستفعل هذا الشيء عند اضطرارك لذلك لأنه عندما تكون المؤسسة مقابل الفرد المسيء عليك أن تقوم بحماية المؤسسة

15. What is your philosophy towards work?
Short and positive, showing a
benefit to the organization.

ما هي فلسفتك في العمل ؟
حاول أن تظهر اهتمامك بمصلحة المؤسسة في إجابتك

16. If you had enough money to retire right now, would you?
Answer yes if you would. But since you need to work, this is the type
of work you prefer. Do not say yes if you do not mean it.

لو كان لديك المال الكافي للتقاعد هل تفعل ذلك
لو أردت ان تحصل على العمل حاول أن لا تكون اجابتك بنعم

17. Have you ever been asked to leave a position?
If you have not, say no. If you have, be honest, brief and avoid saying
negative things about the people or organization involved.

هل طلب منك أن تترك مركز بعمل ما
كن صريحا و ابتعد عن قول الأشياء السلبية عن الأشخاص الذين عملت معهم

18. Explain how you would be an asset to this organization
You should be anxious for this question. It gives you a chance to
highlight your best points as they relate to the position being
discussed.
كيف ممكن أن تكون مفيدا للشركة
حاول أن تلقي الضوء على الأمور التي تتقنها

19. Why should we hire you?
Point out how your assets meet what the organization needs. Do not
mention any other candidates to make a com*****on.

لماذا علينا تعيينك
أظهر كيف تلتقي مقوماتك مع حاجات الشركة و لا تذكر أي من المرشحين للوظيفة على سبيل المقارنة

20. Tell me about a suggestion you have made
Have a good one ready. Be sure and use a suggestion that was accepted
and was then considered successful. One related to the type of work
applied for is a real plus.

أخبرنا عن قتراح لديك قمت بتنفيذه
قم بتحضير إقتراح تم قبوله و يتعلق بالعمل المقدم له

21. What irritates you about co-*******?
This is a trap question. Think real hard but fail to come up with
anything that irritates you. A short statement that you seem to get
along with folks is great.

ماذا يضايقك بزملاء العمل
حاول أن تكون الاجابة بأنك تتوافق مع الآخرين بشكل جيد

22. What is your greatest strength?
Numerous answers are good, just stay positive. A few good examples:
Your ability to prioritize, Your problem-solving skills, Your ability
to work under pressure, Your ability to focus on projects, Your positive attitude

ما هي أفضل نقاط القوة لديك
كن ايجابيا مثلا:
قدرتك في ترتيب أولوياتك
مهارتك في حل المشاكل
قدرتك على العمل تحت ضغط العمل
قدرتك في التركيز على المشاريع
موقفك الايجابي من الأمور

23. Tell me about your dream job.
Stay away from a specific job. You cannot win. If you say the job you
are contending for is it, you strain credibility.The best is to say something like: A job where I love the work, like the people, can contribute and
can’t wait to get to work.

أخبرنا عن عملك الذي تحلم به
ابتعد عن ذكر عمل محدد حتى و لو كان العمل الذي تتقدم له. و الأفضل أن تجيب بـ: هو العمل الذي أحب أن أعمل به و أحب العاملين فيه و حيث أستطيع أن أشارك و أنتظر بفارغ الصبر للذهاب إليه

24. Why do you think you would do well at this job?
Give several reasons and ******* skills, experience and interest.

لماذا تظن بأنك قد تكون بارعا في هذا العمل
أذكر بعض الأسباب و المهارات التي تملك و بعض الخبرة

25. What is more important to you: the money or the work?
Money is always important, but the work is the most important. There is
no better answer.

ما الأهم بالنسبة لك العمل أم المال
لأ يوجد أفضل من هذه الاجابة
المال دائما مهم و لكن العمل هو الأهم

26. What would your previous supervisor say your strongest point is?
There are numerous good possibilities:
Loyalty, Energy, Positive attitude, Initiative, Patience, Creativity, Problem solver

ماذا هي نقاط القوة لديك التي يقولها رئيس عملك السابق عنك
أجوبة مثل: الوفاء - النشاط - الموقف الايجابي - المبادرة - الصبر - الابداع - حل المشاكل

27. Tell me about a problem you had with a supervisor
Biggest trap of all. This is a test to see if you will speak ill of
your boss. If you fall for it and tell about a problem with a former
boss, you may well below the interview right there. Stay positive and
develop a poor memory about any trouble with a supervisor.

أذكر مشكلة حصلت لك مع رئيس عملك السابق
هذا فخ ليختبروك إذا ما كنت تتحدث بالسوء عن الأشخاص الذين تعمل معهم. كن ايجابي و أدعي بأنك لا تذكر أية مشاكل حصلت

28. What has disappointed you about a job?
Don’t get trivial or negative. Safe areas are few but can *******:
Not enough of a challenge

ما الذي خيب أملك في العمل
قد تكون الاجابة: عدم وجود الكثير من المنافسة

29. Tell me about your ability to work under pressure.
You may say that you thrive under certain types of pressure. Give an
example that relates to the type of position applied for.

أخبرنا عن قدرتك على العمل تحت ضغط العمل
قد تقول [انك تبدع عند عملك تحت ضغط العمل و أعط مثال يتعلق بالوظيفة التي تتقدم لها]

30. Do your skills match this job or another job more closely?
Probably this one. Do not give fuel to the suspicion that you may want
another job more than this one.

هل قدراتك تتوافق مع هذا العمل أو مع عمل آخر أكثر
على الأرجح هذا العمل (جواب مناسب تماما)

31. What motivates you to do your best on the job?
This is a personal trait that only you can say, but good examples are:
Challenge, Achievement

ما الذي يحفزك للقيام بأفضل ما لديك في العمل
مثلا التحدي - تحقيق للاهدف

32. Are you willing to work overtime? Nights? Weekends?
This is up to you. Be totally honest.

هل ترغب في العمل لوقت إضافي او ليلا او في العطل
هذا يعتمد عليك و كن صريحا في الاجابة

33. How would you know you were successful on this job?
Your outcomes are a success.Your boss tell you that you are successful

كيف تعرف انك ستكون ناجحا في هذا العمل
نتائجك كانت دائما تكلل بالنجاح
رئيسك يقول لك بأنك ستنجح فيه

34. Would you be willing to relocate if required?
You should be clear on this with your family prior to the interview if
you think there is a chance it may come up. Do not say yes just to get
the job if the real answer is no

هل انت مستعد لنقلك إلى مكان آخر
عليك أن تكون مستعدا لهذا السؤال و لا تقول نعم فقط للحصول على العمل إذا كان جوابك الحقيقي "كلا"

35. Are you willing to put the interests of the organization ahead of your own?
Just say yes.

هل انت مستعد لتفضيل مصالح المؤسسة على مصالحك الشخصية
دع الاجابة تكون "نعم"

36. If you were hiring a person for this job, what would you look for?
Be careful to mention traits that are needed and that you have.

لو كنت ستقوم بتعيين شخص للوظيفة ما الذي ستبحث عنه؟
حاول أن تذكر الصفات التي يحتاج لها العمل و انت تملكها

37. Do you think you are overqualified for this position?
Regardless of your qualifications, state that you are very well
qualified for the position.

هل تعتقد بأنك ذو مؤهلات تزيد عن المطلوب لهذا المركز
قل بأنك مؤهل تماما لهذا العمل

38. How do you propose to compensate for your lack of experience?
First, if you have experience that the interviewer does not know about,
bring that up: Then, point out (if true) that you are a hard working
quick learner.

كيف تقترح بأن تعوض عن عدم امتلاكك للخبرة
لو كان لديك خبرة و لا يعلم بها المحاور أذكرها و اذا لم يكن لديك خبرة فقل بانك شخص نشيط و تتعلم بسرعة

39. What position do you prefer on a team working on a project?
Be honest. If you are comfortable in different roles, point that out.

أي مركز تفضل للعمل ضمن فريق يعمل على مشروع
كن صريح بالاجابة

40. Describe your work ethic.
Emphasize benefits to the organization. Things like, determination to
get the job done and work hard but enjoy your work are good.

صف مبادئك اتجاه العمل
شدد على مصالح الشركة مثل التصميم على انهاء العمل و العمل بنشاط و التمتع في القيام بعملك

41. Tell me about the most fun you have had on the job.
Talk about having fun by accomplishing something for the organization.

أخبرني عن أحلى لحظة فرح احسست بها في عملك
تحدث عن المتعة و الفرح لانجاز عمل ما للشركة

42. Do you have any questions for me?
Always have some questions prepared. How soon will I be able to be productive? and What type of projects will I be able to assist on? are
examples.

هل لديك أية أسئلة لي؟
حضر بعض الأسئلة مثل: كم من الوقت لدي حتى اكون مثمرا في عملي ما هي نوع المشاريع التي سأقوم بالمساعدة بها

جميع أسئلة الإنترفيو وإجابتها باللغة الإنجليزية

2015-09-02T02:22:00.003+01:00



عرف نفسك؟ اسمى (----) عندى(-----) خريج من (-) ساكن فى (----) ااشتغلت قبل كده فى (--------) / والدى بيشتغل (-----) وامى بتشتغل ( -) واخى بيشتغل ( --- Introduce your self My name is……., I am……. Years old ,graduated in, I live in………., I worked before in……., my father is working in……,mymother is working in………my brother is working in…….. ليه سبت شغلك اللي قبل كدة... لازم اقول حاجة مش موجوده فى الشغل القديم وموجوده فى الشغل الجديد مثلا( عشان هتعلم فى الشركة دى اشياء جديده هتساعدنى انى احقق طموحاتى ....Why you left your previous work searching for betterchance, learning many new things,gain experiences to help me to acheave my goals تعرف ايه عن خدمة العملاء؟ اعرف انها اهم قسم فى الشركة يعنى مثلا لو عميل واجهتة مشكلة مع المنتج ايه اول حاجة هيعملها , طبعا هيكلم خدمة العملاء ودورى انى افضل معاه لما يحل المشكلة ولاز كمان اتوقع المشكلة قبل حدوثها زى مثلا لو حد كلمنى من اسوان وعنده مشكلة وحد تانى كامنى من اسوان وعنده نفس المشكلة فاكيد هناك فى مشكلة وهبتدى ابلغ التيم ليدر بتاعى او المسئول عن الشبكات لانى قرات فى النت ان من كل 100 عميل فية 3 بس هما الى بيتصلو بخدمة العملاء وبيشتكو والباقى بيسيبو المنتج. What do you know about customerservice? I know that it is the most important department in the company, for example if a customer is having a problem with one of our product the firstthing he will do is calling the customer service and my mission is to stay withhim until I solve the problem. And also I have to expect the problembefore it happens for example if some one called from aswan and have a problemand some one else called from aswan and also ha has the same problem I have toexpect that there is a problem in the product or service in aswan and I willinform my team leader or the responsible for net work because I red in theinternet that from every 100 customer only 3 will call the customer service ifthey have a problem and the rest just leave the product. ليه عايز تشتغل فى خدمة العملاء؟ لازم اقول اجابة سوال (تعرف ايه عن خدمة العملاء) وبعدين اقول مواصفات الشخص الى بيشتغل فى خدمة العملاء زى ودود ومثقف وصوتى واضح واسلوبى كويس وهادى وخدوم ودورت جوايا ملقتش نفسى غير فى خدمة العملاء . Why do you want to work in customer service? The answer of (whatdo you know about customer service) And then I say the characteristics ofthe person who work in customer service such as friendly, educated, have a clearvoice, clever helpful, and I find my self in this field أذكر ثلاث عيوب فيك وصلحتهم؟ مكنتش منظم فى اهدافى يعنى كنت بقدم المهم على الاهم وكنت عايز اتعلم كل حاجة فى وقت واحد لكن الحمد لله نظمت نفسى وافكارى 2_ وكنت مستعجل لما كنت بدخل فى كورس كنت عايزه يخلس من قبل ما يهدى لكن نظمت افكارى وقرات عن التفكير الصحيح 3_ مكنت بحب اشتغل فى تيم لانى مجربتش لكنى دلوقتى اتمنى ذلك Say or mention 3 defects (disadvantage) in your character I wasnt orgnized in my goals that Iwas started by the important before the most importane. and I wanted to learnevery thing in the same time but now I orgnized all my ideas.Iwas hurried whenIstarted some thing (course) I want to finish it before it started but now Iorgnized my ideas and red how to think. I wouldnt like to work in team becouse Ididnt try before but now Ihope so. ايه الى يجبرنى انى اختارك؟ عشان انا ودود ومثقف وصوتى واضح واسلوبى كويس مع الناس وخدوم وغير كده انا اقدر اشتغل تحت اى ضغت وقدر اتعامل مع اى مستوى من مستويات الادارة وبتعلم القواعد بسرعة وممكن اكون مش احسن واحد اتقدملك لكن انا احسن واحد ممكن اشتغل Why I have to chose you to work Becouse I am cultured,friendly, havea clear voice I know how to treat the people, helpful, can work under pressure, work in any department and learn the rules shortly. may be I am not the best onehere but the best one can work. اشايف نفسك ايه بعد خمس سنين انا عندى اهداف حاليا اول شىء انى انجح فى الانترفيو وتانى انى اكون تيم ليدر وتالت( ممكن اكلم عن اى شئ نفسى احققة فى المستقبل او احلامى المستقبلية) How you seeyour self after five years I have many goals I want to acheave it, firstthing pass this interview and then I want to be a team leader...... ......... ......... .. لو عميل غضبان اتصل بيك هتتعامل معاه ازاى؟ اكيد طبعا العميل ده غضبان عشان عنده مشكلة ومش عارف يحلها ولازم اتفهم كده لان ولازم امتص غضبة و مش هسيبة غير لما مشكلتة تتحل وكمان لو المشكلة دى هتتحل مثلا فى اكتر من يوم لازم اتابع معاه لحد لما اتاكد ان مشكلتة اتحلت ومستحيل طبعا اغضب من عميل غضبان لانى هحت نفسى مكانة ولو كنت مكانة اكيد كنت هزعل زيه بظبط. If anangry customer called you what will you do Ofcourse he is angry becouse hehas a problem and he doesnt know how to solve it so I have to calm him down andI will not end the call until I solve his problem and if the problem will takemore than one day I have to fallow with him. and no way beeing angry with anycustomer, If I will Put my self in his place sure I will be angrytoo. ملحوظة: طبعا الاجابات دى قابلة للتعديل عشان لو حد عن اجابة افضل وبدور حول نفس الموضوع او عنده اسلوب افضل ممكن طبعا يقول وممكن كمان تكون تتسالو اسئلة مش وجوده فى الاسئلة دى فلازم نكون مستعدين لكن دى اشهر اسئلة بتسال فى خدمة العملاء و وان شاء الله ربنا يكرمكم

Parent/ Child Relationship

2013-05-25T03:54:00.001+01:00

Parent/ Child Relationship

Parents and their children hold a special relationship with each other. The relationship between parents and their children have a great effect on the child’s life. Through the readings, this is apparent in positive relationships, negative relationships, and in average relationships between the parent and the child.
A positive relationship between parents and their children helps with the up bringing of the child. This is seen in Theodore Roethke’s piece, “My Papa’s Waltz”, and in William Butler Yeats piece, “A Prayer for My Daughter”. In Roethke’s piece he writes, “We romped until the pans slid from the kitchens shelf; [My] mother’s countenance could not unfrown itself.”(202) Here he reflects on the good time that they had. It is also apparent in, “ You beat time on [my] head with a palm caked hard by dirt, then waltzed me off to bed still clinging to your shirt.”(202) This shows that he was having fun and he clung to his fathers shirt because he didn’t want to go to bed, he wanted to spend more time with his father. Throughout Yeat’s entire piece a positive relationship is seen as well. He prays for what he hopes his daughter will have while she grows and matures. What catches my eye the most

What do you know about american history? What do you want to know about american history?

2013-05-25T03:51:00.002+01:00

What do you know about american history? What do you want to know about american history?

What I know:
Columbus discovered America on his boot called “mayflower”.
In a civil war the north states fight against the south states because the north states want to abolish the slavery.
The americans fought against germany and austria in the first world war.
The americans fought against the germans in the second world war.
What I want to know:
I’m interested in the young american history. What happens the last 50m years in america. What is the political history in america, for example how was the american government originated. Always I’m interested in the hole american history because you don’t learn so much about american history in germany.

Why do we need to teach civic education, engagement and democracy values in Moroccan Universities?

2013-05-25T03:51:00.000+01:00

Why do we need to teach civic education, engagement and democracy values in Moroccan Universities?

By Halima Ouamouch
Morocco World News
Casablanca, March 11, 2012

The democratization process in Morocco faces many challenges related, among others, to a feeble democratic culture and practice and civic engagement. Without educating the student community –the most vital component of society – on these values and practices, the process will remain slow, fragile and unsustainable. This community can be a reliable agent of change though it suffers from several challenges. Clearly there is a weak political and civic engagement; lack of perspective in terms of career visibility; identity and belonging crisis and over-fascination with Western living standards.

Hence, our democratic deficiency is partially due to the lack of civic values and practices at the grass-root levels. The student community feeds all spheres and contributes consequently to the reproduction of the same underlying values (most of them are not civically-oriented). Unless this community is empowered, Morocco will remain weak and vulnerable. Consequently, mainstreaming civic engagement and democracy values in curriculum and research, along with related decision-making processes and advocacy, is certainly one of the recommended paths toward an open and democratic Moroccan society.

This educational strategy has the potential to create a certain momentum for change towards the mainstreaming of civic engagement and democracy by research and education in Moroccan universities. It is noteworthy that no robust and comprehensive initiative has been undertaken in this direction so far. Even in social sciences teaching affiliations, civic engagement is not systematically incorporated.

It is important to initiate relevant research and develop more synergy between involved actors and final users of inputs. The university will serve as a dynamic source of creative ideas, a space for free interaction and exchange with all stakeholders, and a training and advocacy-based instrument. Also, it will serve as an incubator for innovative ideas, leadership cultivation and civic-oriented initiatives. The use of ICTs as a leverage and platform will make our universities and their policy more inclusive.

It is high time to face and deal with the low rates of participation in the civic life of Morocco in voting, in advocacy, in local grassroots associations, and in other forms of civic engagement that are necessary for the vitality of our democratization process.

By increasing the number of students who understand and are committed to engaging in meaningful civic actions, it will be possible to overcome the current deficient situation.

Moroccan universities are invited to open up on each other regardless of their different specializations, hence reinforcing the interdisciplinary character of their education programs. They will certainly refresh their attractiveness by reorienting their missions and agenda via the incorporation of civic education dimension. If we complain about the crisis, if not failure, of our educational system, I think we need to bring the university down from its ivory tower to embrace a large and active community through service learning and civic engagement-oriented activities.

Halima Ouamouch is Professor of English studies at the University of Hassan II, Casablanca.

Define “civic value”

2013-05-25T03:47:00.001+01:00

Define “civic value”

“Civic Values” are values, which help the population to live a better, and saver life. All people who want to live together in a community should respect these values. It is possible that different countries have some different values. A value is something what the people can control without the influence of the government, that’s the reason why some people don’t respect it because nothing can happen to you if you don’t follow the values. I think “civic values” are very good if everyone respect and follows them.

تثبيت الويندوز عن طريق الفلاش

2013-05-21T21:50:00.000+01:00

WinSetupFromUSB

برنامج صغير تستطيع عن طريقه عمل وندوز فلاشة
usb
يحل مشاكل تآكل السى درووم وبطئها ويجعل تسطيب الويندوز كما لو كان من على درايف مما يجعل التسطيب اسرع

- 1تنصيب البرنامج وتشغيله

2- وضع الـ usb flash فاضية او لا تحتاج الى البرامج المخزنة بها لانها سوف تفرمت الفلاشه
3- اضغط على كلمة refresh بالقائمة التي بالصوررة كي يقرأ الفلاشة
4- فعّل خانة removable
5- ضع قرص الوندوز المراد نسخه على الفلاشة في مشغل الاقـــــــراص أو قم باختيار صورة الايزو اذا كنت محتفظ بها في جهازك من خانة browes
6 - مثال :

7- ثم اضغط على PE2USBسيقوم الان بفرمتة الفلاشة ونسخ الملفات اليها وستفتفح لك هذه النافذة :

8- اضغط على Enable Disk Format ليقوم بفتح القامة المقابلة
9- اختر الخيار : Quick Format و الخيار Enable LBA (FAT16X)هكذا :

10- اضغط Start وانتظر حتى تخرج لك رسالة تطلب منك ان تضغط على continue ثم رسالة تطلب منك الضفط على OK
11- بعد ان ينتهي اضغط على close
12- سيتبقى معك النافذة الاولى

13- اضغط على goسيقوم باذن الله بعمل وندوز على الفلاشة
بعد ان ينتهي سيخبرك بذلك وسيأخذ تقريبا نصف ساعة
انا شخصيا جربتها على جهاز hp هاردسك ساتا بعد ان دمجت التعاريف مع الوندوز ببرنامج elite والنتيجة ممتازة وسهلة جدا
النهاية

شرح كيفية تثبيت الاكسبي عن طريق الاقلاع من الفلاش ميموري

وهنا نبدأ الموضوع
1- المتطلبات المطلوبه لعمل النسخه
1- نسخه ويندوزأصليه
2- نسخه من برنامج winsetupfromusb
3- فلاشه لا يقل حجمه عن 1 جيجا
هنا الشرح بالصور

1- بعد تحميل برنامج winsetupfromusb تقوم بإختيار نسخه الويندوز من brows

2- تنقسم إلى
1- تقوم بالضغط على petousb وهنا لفرمته الفلاشه لتكون جاهزه لإستقبال ملفات الويندوز
2- إضغط على enable format
3- أضغط ريستارت

3- أضغط go لنقل الملفات إلى الفلاشه

النهاية

هل تريد تتبيت الويندوز على حاسوب لا يمتلك قارئ السيدي ّّّ

نبذة عن البرنامج
البرنامج ينسخ ملفات الويندوز على الفلاش ديسك وذلك لتثبيت الويندوز على الحواسيب التي لا تمتلك قارئ أقراص.الشرح
افتح ملف التثبيت وحدد I gree with the above terms and conditionsتم اظغط على Next

2- حدد مسار التثبيت واظغط على Next

3- اظغط على Start

4- انتظر ريثما ينتهي التثبيت

5- اظغط على Next

6- اظغط على Exit

7- اضغط على Hp Format

8- اختر الفلاش ميموري خاصتك ثم حدد Quick Format

9- اظغط على Start ثم انتظر انتهاء الفرمطة

10- ستظهر هذه النافذة اظغط على OUI

11- اظغط على Ok

12- اختر مكان الويندوز (ليست مشكلة إذا كان الويندوز ليس على قرص "سيدي" المهم أن تكون بملفاتها الكاملة (

13- الآن اضغط على GO

14- انتظر انتهاء عملية نقل الملفات

15- اظغط على Ok

Les Misérables, Volume 1

2013-03-12T21:24:00.001+00:00

Les Misérables, Volume 1

by Victor Hugo (1802-1885)
Translated by Isabel Florence Hapgood (1850-1928)

This is volume 1 of 5. – An ex-convict breaks parole and starts a new life as a righteous man, but is pursued by a police inspector. Along the way, the ex-convict joins a revolution, adopts a daughter, and beats people up. Hooray. (Summary by smileyman457)

CD booklet
Album Art

Gutenberg e-text #135
Wikipedia – Victor Hugo
Wikipedia – Isabel Florence Hapgood
Wikipedia – Les Misérables
Get a standard or slim CD case insert for this book
M4B format available
LibriVox’s Les Miserables, Volume 01 Internet Archive page
Zip file of the entire book 397MB
RSS feed · Subscribe in iTunes

mp3 and ogg files

00 – Book 1, Preface – 00:01:03
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Read by: Ryan T.
01 – Book 01, ch.01: M. Myriel – 00:07:03
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Read by: Sarah Jennings
02 – Book 01, ch. 02: M. Myriel becomes M. Welcome – 00:11:38
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03 – Book 01, ch. 03: A Hard Bishopric for a Good Bishop – 00:04:54
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04 – Book 01, ch. 04: Works Corresponding to Words – 00:17:46
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05 – Book 01, ch. 05: Monsieur Bienvenu Made His Cassocks Last Too Long – 00:06:47
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06 – Book 01, ch. 06: Who Guarded His House for Him – 00:13:04
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07 – Book 01, ch. 07: Cravatte – 00:08:12
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Read by: Kalynda
08 – Book 01, ch. 08: Philosophy after Drinking – 00:08:56
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Read by: Kalynda
09 – Book 01, ch. 09: The Brother as depicted by the Sister – 00:08:49
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Read by: Kalynda
10 – Book 01, ch. 10: The Bishop in the Presence of an Unknown Light – 00:35:19
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Read by: Peter Eastman
11 – Book 01, ch. 11: A Restriction – 00:10:51
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Read by: Melissa
12 – Book 01, ch. 12: The Solitude of Monsigneur Welcome – 00:07:37
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Read by: Melissa
13 – Book 01, ch. 13: What He Believed – 00:10:40
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Read by: Melissa
14 – Book 01, ch. 14: What He Thought – 00:07:09
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Read by: Zachary Brewster-Geisz
15 – Book 02, ch. 01: The Evening of a Day of Walking – 00:28:01
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Read by: Ancilla
16 – Book 02, ch 02: Prudence Counselled to Wisdom – 00:10:52
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17 – Book 02, ch. 03:The Heroism of Passive Obedience – 00:14:26
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Read by: Melissa
18 – Book 02, ch. 04: Details concerning the Cheese-Dairies of Pontarlier – 00:08:57
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19 – Book 02, ch. 05: Tranquillity – 00:03:46
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Read by: Charlene V. Smith
20 – Book 02, ch. 06: Jean Valjean – 00:14:24
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Read by: Charlene V. Smith
21 – Book 02, ch. 07: The Interior of Despair – 00:18:23
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Read by: David Jaquay
22 – Book 02, ch. 08: Billows and Shadows – 00:07:39
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Read by: Peter Eastman
23 – Book 02, ch. 09: New Troubles – 00:03:45
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Read by: Garrett Fitzgerald
24 – Book 02, ch. 10: The Man Aroused – 00:08:41
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Read by: Garrett Fitzgerald
25 – Book 2, ch. 11: What He Does – 00:11:23
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Read by: B. Grebe
26 – Book 02, ch. 12: The Bishop Works – 00:09:03
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27 – Book 02, ch. 13: Little Gervais – 00:25:32
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28 – Book 03, ch. 01: The Year 1817 – 00:19:48
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Read by: B. Grebe
29 – Book 03, ch. 02: A Double Quartette – 00:11:20
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30 – Book 03, ch. 03: Four and Four – 00:08:51
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Read by: Sean O’Hara
31 – Book 03, ch. 04: Tholomyes is so Merry that he sings a Spanish Ditty – 00:06:18
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32 – Book 03, ch. 05: At Bombardas – 00:07:10
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33 – Book 03, ch.06: A Chapter In Which They Adore Each Other – 00:03:42
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34 – Book 03, ch. 07: The Wisdom of Thomlomyes – 00:14:58
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35 – Book 03, ch. 08: The Death of a Horse – 00:05:49
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36 – Book 03, ch. 09: A Merry End to Mirth – 00:06:50
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37 – Book 04, ch. 01: One Mother Meets Another Mother – 00:18:57
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38 – Book 04, ch. 02: First Sketch of Two Unprepossesing Figures – 00:05:11
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39 – Book 04, ch. 03: The Lark – 00:06:13
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40 – Book 05, ch. 01: the History of a Progress in Black Glass Trinkets – 00:04:02
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41 – Book 05, ch. 02: Madeleine – 00:08:51
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42 – Book 05, ch. 03: Sums Deposited With Laffitte – 00:07:18
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43 – Book 05, ch. 04: Madeleine in Mourning – 00:05:54
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44 – Book 05, ch. 05: Vague Flashes on the Horizon – 00:14:05
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45 – Book 05, ch. 06: Father Fauchelevent – 00:06:51
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46 – Book 05, ch. 07: Fauchelevent becomes a Gardener in Paris – 00:04:15
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47 – Book 05, ch. 08: Madame Victurnien Expends Thirty Francs on Morality – 00:07:29
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48 – Book 05, ch. 09: Madame Victurnien’s Success – 00:06:28
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49 – Book 05, ch. 10: Result of the Success – 00:12:36
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50 – Book 05, ch. 11: Christus nos Liberavit – 00:03:04
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51 – Book 05, ch. 12: M. Bamatabois’s Inactivity – 00:06:27
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52 – Book 05, ch. 13: The Solution of Some Questions Connected with the Municipal Police – 00:26:11
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53 – Book 06, ch. 01: The Beginning of Repose – 00:10:28
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54 – Book 06, ch. 02: How Jean May Become Champ – 00:23:30
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55 – Book 07, ch. 01: Sister Simplice – 00:09:41
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56 – Book 07, ch. 02: The Perspicacity of Master Scaufflaire – 00:12:23
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57 – Book 07, ch. 03: A Tempest In A Skull – 00:48:49
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58 – Book 07, ch. 04: Forms Assumed by Suffering During Sleep – 00:08:32
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59 – Book 07, ch. 05: Hindrances – 00:22:39
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60 – Book 07, ch. 06: Sister Simplice put to the Proof – 00:14:38
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61 – Book 07, ch. 07: The Traveller on his Arrival takes Precautions for Departure – 00:09:46
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62 – Book 07, ch. 08 – An Entrance by Favor – 00:07:08
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63 – Book 07, ch. 09: The Champmathieu Affair – 00:20:55
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64 – Book 07, ch. 10: The System of Denials – 00:21:31
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65 – Book 07, ch. 11: Champmathieu More and More Astonished – 00:10:44
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66 – Book 08, ch. 01: In What Mirror M. Madeleine Contemplates his Hair – 00:06:33
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67 – Book 08, ch. 02: Fantine Happy – 00:11:13
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68 – Book 08, ch. 03: Javert Satisfied – 00:10:30
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69 – Book 08, ch. 04: Authority reasserts its Rights – 00:09:55
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70 – Book 08, ch. 05: A Suitable Tomb – 00:13:45
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AUDIOBOOK MP3 THE ART OF FICTION

2013-03-09T00:45:00.000+00:00

AUDIOBOOK MP3 THE ART OF FICTION

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The Art of Fiction

by Walter Besant (1836-1901) and Henry James (1843-1916)

A lecture on the art of fiction, given by the English critic Walter Besant on April 25, 1884, and an answer to the lecture by American writer Henry James in the same year.
(Summary by Julie VW)

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01 – [ogg vorbis - 26MB]
03 – Response to the Lecture by Henry James – 01:03:26
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THE ART OF FICTION by Henry James

2013-03-09T00:39:00.002+00:00

THE ART OF FICTION
by Henry James

[Published in Longman's Magazine 4 (September 1884), and reprinted in Partial Portraits (Macmillan, 1888); paragraphing and capitalization follow the Library of America edition.]

I SHOULD not have affixed so comprehensive a title to these few remarks, necessarily wanting in any completeness, upon a subject the full consideration of which would carry us far, did I not seem to discover a pretext for my temerity in the interesting pamphlet lately published under this name by Mr. Walter Besant. Mr. Besant's lecture at the Royal Institution--the original form of his pamphlet--appears to indicate that many persons are interested in the art of fiction and are not indifferent to such remarks as those who practise it may attempt to make about it. I am therefore anxious not to lose the benefit of this favourable association, and to edge in a few words under cover of the attention which Mr. Besant is sure to have excited. There is something very encouraging in his having put into form certain of his ideas on the mystery of story-telling.

It is a proof of life and curiosity--curiosity on the part of the brotherhood of novelists, as well as on the part of their readers. Only a short time ago it might have been supposed that the English novel was not what the French call discutable. It had no air of having a theory, a conviction, a consciousness of itself behind it-of being the expression of an artistic faith, the result of choice and comparison. I do not say it was necessarily the worse for that; it would take much more courage than I possess to intimate that the form of the novel, as Dickens and Thackeray (for instance) saw it had any taint of incompleteness. It was, however, naïf (if I may help myself out with another French word); and, evidently, if it is destined to suffer in any way for having lost its naïveté it has now an idea of making sure of the corresponding advantages. During the period I have alluded to there was a comfortable, good-humoured feeling abroad that a novel is a novel, as a pudding is a pudding, and that this was the end of it. But within a year or two, for some reason or other, there have been signs of returning animation-the era of discussion would appear to have been to a certain extent opened. Art lives upon discussion, upon experiment, upon curiosity, upon variety of attempt, upon the exchange of views and the comparison of standpoints; and there is a presumption that those times when no one has anything particular to say about it, and has no reason to give for practice or preference, though they may be times of genius, are not times of development, are times possibly even, a little, of dulness. The successful application of any art is a delightful spectacle, but the theory, too, is interesting; and though there is a great deal of the latter without the former, I suspect there has never been a genuine success that has not had a latent core of conviction. Discussion, suggestion, formulation, these things are fertilizing when they are frank and sincere. Mr. Besant has set an excellent example in saying what he thinks, for his part, about the way in which fiction should be written, as well as about the way in which it should be published; for his view of the "art," carried on into an appendix, covers that too. Other labourers in the same field will doubtless take up the argument, they will give it the light of their experience, and the effect will surely be to make our interest in the novel a little more what it had for some time threatened to fail to be--a serious, active, inquiring interest, under protection of which this delightful study may, in moments of confidence, venture to say a little more what it thinks of itself.

It must take itself seriously for the public to take it so. The old superstition about fiction being "wicked" has doubtless died out in England; but the spirit of it lingers in a certain oblique regard directed toward any story which does not more or less admit that it is only a joke. Even the most jocular novel feels in some degree the weight of the proscription that was formerly directed against literary levity; the jocularity does not always succeed in passing for gravity. It is still expected, though perhaps people are ashamed to say it, that a production which is after all only a "make believe" (for what else is a "story"?) shall be in some degree apologetic--shall renounce the pretension of attempting really to compete with life. This, of course, any sensible wide-awake story declines to do, for it quickly perceives that the tolerance granted to it on such a condition is only an attempt to stifle it, disguised in the form of generosity. The old evangelical hostility to the novel, which was as explicit as it was narrow, and which regarded it as little less favourable to our immortal part than a stage-play, was in reality far less insulting. The only reason for the existence of a novel is that it does compete with life. When it ceases to compete as the canvas of the painter competes, it will have arrived at a very strange pass. It is not expected of the picture that it will make itself humble in order to be forgiven; and the analogy between the art of the painter and the art of the novelist is, so far as I am able to see, complete. Their inspiration is the same, their process (allowing for the different quality of the vehicle) is the same, their success is the same. They may learn from each other, they may explain and sustain each other. Their cause is the same, and the honour of one is the honour of another. Peculiarities of manner, of execution, that correspond on either side, exist in each of them and contribute to their development. The Mahometans think a picture an unholy thing, but it is a long time since any Christian did, and it is therefore the more odd that in the Christian mind the traces (dissimulated though they may be) of a suspicion of the sister art should linger to this day. The only effectual way to lay it to rest is to emphasize the analogy to which I just alluded--to insist on the fact that as the picture is reality, so the novel is history. That is the only general description (which does it justice) that we may give the novel. But history also is allowed to compete with life, as I say; it is not, any more than painting, expected to apologize. The subject-matter of fiction is stored up likewise in documents and records, and if it will not give itself away, as they say in California, it must speak with assurance, with the tone of the historian. Certain accomplished novelists have a habit of giving themselves away which must often bring tears to the eyes of people who take their fiction seriously. I was lately struck, in reading over many pages of Anthony Trollope, with his want of discretion in this particular. In a digression, a parenthesis or an aside, he concedes to the reader that he and this trusting friend are only "making believe." He admits that the events he narrates have not really happened, and that he can give his narrative any turn the reader may like best. Such a betrayal of a sacred office seems to me, I confess, a terrible crime; it is what I mean by the attitude of apology, and it shocks me every whit as much in Trollope as it would have shocked me in Gibbon or Macaulay. It implies that the novelist is less occupied in looking for the truth (the truth, of course I mean, that he assumes, the premises that we must grant him, whatever they may be) than the historian, and in doing so it deprives him at a stroke of all his standing-room. To represent and illustrate the past, the actions of men, is the task of either writer, and the only difference that I can see is, in proportion as he succeeds, to the honour of the novelist, consisting as it does in his having more difficulty in collecting his evidence, which is so far from being purely literary. It seems to me to give him a great character, the fact that he has at once so much in common with the philosopher and the painter; this double analogy is a magnificent heritage.

It is of all this evidently that Mr. Besant is full when he insists upon the fact that fiction is one of the fine arts, deserving in its turn of all the honours and emoluments that have hitherto been reserved for the successful profession of music, poetry, painting, architecture. It is impossible to insist too much on so important a truth, and the place that Mr. Besant demands for the work of the novelist may be represented, a trifle less abstractly, by saying that he demands not only that it shall be reputed artistic, but that it shall be reputed very artistic indeed. It is excellent that he should have struck this note, for his doing so indicates that there was need of it, that his proposition may be to many people a novelty. One rubs one's eyes at the thought; but the rest of Mr. Besant's essay confirms the revelation. I suspect, in truth, that it would be possible to confirm it still further, and that one would not be far wrong in saying that in addition to the people to whom it has never occurred that a novel ought to be artistic, there are a great many others who, if this principle were urged upon them, would be filled with an indefinable mistrust. They would find it difficult to explain their repugnance, but it would operate strongly to put them on their guard. "Art," in our Protestant communities, where so many things have got so strangely twisted about, is supposed, in certain circles, to have some vaguely injurious effect upon those who make it an important consideration, who let it weigh in the balance. It is assumed to be opposed in some mysterious manner to morality, to amusement, to instruction. When it is embodied in the work of the painter (the sculptor is another affair!) you know what it is; it stands there before you, in the honesty of pink and green and a gilt frame; you can see the worst of it at a glance, and you can be on your guard. But when it is introduced into literature it becomes more insidious--there is danger of its hurting you before you know it. Literature should be either instructive or amusing, and there is in many minds an impression that these artistic preoccupations, the search for form, contribute to neither end, interfere indeed with both. They are too frivolous to be edifying, and too serious to be diverting; and they are, moreover, priggish and paradoxical and superfluous. That, I think, represents the manner in which the latent thought of many people who read novels as an exercise in skipping would explain itself if it were to become articulate. They would argue, of course, that a novel ought to be "good," but they would interpret this term in a fashion of their own, which, indeed would vary considerably from one critic to another. One would say that being good means representing virtuous and aspiring characters, placed in prominent positions; another would say that it depends for a "happy ending" on a distribution at the last of prizes, pensions, husbands, wives, babies, millions, appended paragraphs and cheerful remarks. Another still would say that it means being full of incident and movement, so that we shall wish to jump ahead, to see who was the mysterious stranger, and if the stolen will was ever found, and shall not be distracted from this pleasure by any tiresome analysis or "description." But they would all agree that the "artistic'" idea would spoil some of their fun. One would hold it accountable for all the description, another would see it revealed in the absence of sympathy. Its hostility to a happy ending would be evident, and it might even, in some cases, render any ending at all impossible. The "ending" of a novel is, for many persons, like that of a good dinner, a course of dessert and ices, and the artist in fiction is regarded as a sort of meddlesome doctor who forbids agreeable aftertastes. It is therefore true that this conception of Mr. Besant's of the novel as a superior form encounters not only a negative but a positive indifference. It matters little that, as a work of art, it should really be as little or as much concerned to supply happy endings, sympathetic characters, and an objective tone, as if it were a work of mechanics; the association of ideas, however incongruous, might easily be too much for it if an eloquent voice were not sometimes raised to call attention to the fact that it is at once as free and as serious a branch of literature as any other.

Certainly, this might sometimes be doubted in presence of the enormous number of works of fiction that appeal to the credulity of our generation, for it might easily seem that there could be no great substance in a commodity so quickly and easily produced. It must be admitted that good novels are somewhat compromised by bad ones, and that the field, at large, suffers discredit from overcrowding. I think, however, that this injury is only superficial, and that the superabundance of written fiction proves nothing against the principle itself. It has been vulgarised, like all other kinds of literature, like everything else, to-day, and it has proved more than some kinds accessible to vulgarisation. But there is as much difference as there ever was between a good novel and a bad one: the bad is swept, with all the daubed canvases and spoiled marble, into some unvisited limbo or infinite rubbish-yard, beneath the back-windows of the world, and the good subsists and emits its light and stimulates our desire for perfection. As I shall take the liberty of making but a single criticism of Mr. Besant, whose tone is so full of the love of his art, I may as well have done with it at once. He seems to me to mistake in attempting to say so definitely beforehand what sort of an affair the good novel will be. To indicate the danger of such an error as that has been the purpose of these few pages; to suggest that certain traditions on the subject, applied a priori, have already had much to answer for, and that the good health of an art which undertakes so immediately to reproduce life must demand that it be perfectly free. It lives upon exercise, and the very meaning of exercise is freedom. The only obligation to which in advance we may hold a novel without incurring the accusation of being arbitrary, is that it be interesting. That general responsibility rests upon it, but it is the only one I can think of. The ways in which it is at liberty to accomplish this result (of interesting us) strike me as innumerable and such as can only suffer from being marked out, or fenced in, by prescription. They are as various as the temperament of man, and they are successful in proportion as they reveal a particular mind, different from others. A novel is in its broadest definition a personal impression of life; that, to begin with, constitutes its value, which is greater or less according to the intensity of the impression. But there will be no intensity at all, and therefore no value, unless there is freedom to feel and say. The tracing of a line to be followed, of a tone to be taken, of a form to be filled out, is a limitation of that freedom and a suppression of the very thing that we are most curious about. The form, it seems to me, is to be appreciated after the fact; then the author's choice has been made, his standard has been indicated; then we can follow lines and directions and compare tones. Then, in a word, we can enjoy one of the most charming of pleasures, we can estimate quality, we can apply the test of execution. The execution belongs to the author alone; it is what is most personal to him, and we measure him by that. The advantage, the luxury, as well as the torment and responsibility of the novelist, is that there is no limit to what he may attempt as an executant--no limit to his possible experiments, efforts, discoveries, successes. Here it is especially that he works, step by step, like his brother of the brush, of whom we may always say that he has painted his picture in a manner best known to himself. His manner is his secret, not necessarily a deliberate one. He cannot disclose it, as a general thing, if he would; he would be at a loss to teach it to others. I say this with a due recollection of having insisted on the community of method of the artist who paints a picture and the artist who writes a novel. The painter is able to teach the rudiments of his practice, and it is possible, from the study of good work (granted the aptitude), both to learn how to paint and to learn how to write. Yet it remains true, without injury to the rapprochement, that the literary artist would be obliged to say to his pupil much more than the other, "Ah, well, you must do it as you can!" It is a question of degree, a matter of delicacy. If there are exact sciences there are also exact arts, and the grammar of painting is so much more definite that it makes the difference.

I ought to add, however, that if Mr. Besant says at the beginning of his essay that the "laws of fiction may be laid down and taught with as much precision and exactness as the laws of harmony, perspective, and proportion," he mitigates what might appear to be an over-statement by applying his remark to "general" laws, and by expressing most of these rules in a manner with which it would certainly be unaccommodating to disagree. That the novelist must write from his experience, that his "characters must be real and such as might be met with in actual life;" that "a young lady brought up in a quiet country village should avoid descriptions of garrison life," and "a writer whose friends and personal experiences belong to the lower middle-class should carefully avoid introducing his characters into Society;" that one should enter one's notes in a common-place book; that one's figures should be clear in outline; that making them clear by some trick of speech or of carriage is a bad method, and "describing them at length" is a worse one; that English Fiction should have a "conscious moral purpose;" that "it is almost impossible to estimate too highly the value of careful workmanship-that is, of style;" that "the most important point of all is the story," that "the story is everything"--these are principles with most of which it is surely impossible not to sympathise. That remark about the lower middle-class writer and his knowing his place is perhaps rather chilling; but for the rest, I should find it difficult to dissent from any one of these recommendations. At the same time I should find it difficult positively to assent to them, with the exception, perhaps, of the injunction as to entering one's notes in a common-place book. They scarcely seem to me to have the quality that Mr. Besant attributes to the rules of the novelist--the "precision and exactness" of "the laws of harmony, perspective, and proportion." They are suggestive, they are even inspiring, but they are not exact, though they are doubtless as much so as the case admits of; which is a proof of that liberty of interpretation for which I just contended. For the value of these different injunctions--so beautiful and so vague--is wholly in the meaning one attaches to them. The characters, the situation, which strike one as real will be those that touch and interest one most, but the measure of reality is very difficult to fix. The reality of Don Quixote or of Mr. Micawber is a very delicate shade; it is a reality so coloured by the author's vision that, vivid as it may be, one would hesitate to propose it as a model; one would expose one's self to some very embarrassing questions on the part of a pupil. It goes without saying that you will not write a good novel unless you possess the sense of reality; but it will be difficult to give you a recipe for calling that sense into being. Humanity is immense and reality has a myriad forms; the most one can affirm is that some of the flowers of fiction have the odour of it, and others have not; as for telling you in advance how your nosegay should be composed, that is another affair. It is equally excellent and inconclusive to say that one must write from experience; to our supposititious aspirant such a declaration might savour of mockery. What kind of experience is intended, and where does it begin and end? Experience is never limited and it is never complete; it is an immense sensibility, a kind of huge spider-web, of the finest silken threads, suspended in the chamber of consciousness and catching every air-borne particle in its tissue. It is the very atmosphere of the mind; and when the mind is imaginative--much more when it happens to be that of a man of genius--it takes to itself the faintest hints of life, it converts the very pulses of the air into revelations. The young lady living in a village has only to be a damsel upon whom nothing is lost to make it quite unfair (as it seems to me) to declare to her that she shall have nothing to say about the military. Greater miracles have been seen than that, imagination assisting, she should speak the truth about some of these gentlemen. I remember an English novelist, a woman of genius, telling me that she was much commended for the impression she had managed to give in one of her tales of the nature and way of life of the French Protestant youth. She had been asked where she learned so much about this recondite being, she had been congratulated on her peculiar opportunities. These opportunities consisted in her having once, in Paris, as she ascended a staircase, passed an open door where, in the household of a pasteur, some of the young Protestants were seated at table round a finished meal. The glimpse made a picture; it lasted only a moment, but that moment was experience. She had got her impression, and she evolved her type. She knew what youth was, and what Protestantism; she also had the advantage of having seen what it was to be French; so that she converted these ideas into a concrete image and produced a reality. Above all, however, she was blessed with the faculty which when you give it an inch takes an ell, and which for the artist is a much greater source of strength than any accident of residence or of place in the social scale. The power to guess the unseen from the seen, to trace the implication of things, to judge the whole piece by the pattern, the condition of feeling life, in general, so completely that you are well on your way to knowing any particular corner of it--this cluster of gifts may almost be said to constitute experience, and they occur in country and in town, and in the most differing stages of education. If experience consists of impressions, it may be said that impressions are experience, just as (have we not seen it?) they are the very air we breathe. Therefore, if I should certainly say to a novice, "Write from experience, and experience only," I should feel that this was a rather tantalising monition if I were not careful immediately to add, "Try to be one of the people on whom nothing is lost!"

I am far from intending by this to minimise the importance of exactness-of truth of detail. One can speak best from one's own taste, and I may therefore venture to say that the air of reality (solidity of specification) seems to me to be the supreme virtue of a novel--the merit on which all its other merits (including that conscious moral purpose of which Mr. Besant speaks) helplessly and submissively depend. If it be not there, they are all as nothing, and if these be there, they owe their effect to the success with which the author has produced the illusion of life. The cultivation of this success, the study of this exquisite process, form, to my taste, the beginning and the end of the art of the novelist. They are his inspiration, his despair, his reward, his torment, his delight. It is here, in very truth, that he competes with life; it is here that he competes with his brother the painter in his attempt to render the look of things, the look that conveys their meaning, to catch the colour, the relief, the expression, the surface, the substance of the human spectacle. It is in regard to this that Mr. Besant is well inspired when he bids him take notes. He cannot possibly take too many, he cannot possibly take enough. All life solicits him, and to "render" the simplest surface, to produce the most momentary illusion, is a very complicated business. His case would be easier, and the rule would be more exact, if Mr. Besant had been able to tell him what notes to take. But this I fear he can never learn in any hand-book; it is the business of his life. He has to take a great many in order to select a few, he has to work them up as he can, and even the guides and philosophers who might have most to say to him must leave him alone when it comes to the application of precepts, as we leave the painter in communion with his palette. That his characters "must be clear in outline," as Mr. Besant says--he feels that down to his boots; but how he shall make them so is a secret between his good angel and himself. It would be absurdly simple if he could be taught that a great deal of "description" would make them so, or that, on the contrary, the absence of description and the cultivation of dialogue, or the absence of dialogue and the multiplication of "incident," would rescue him from his difficulties. Nothing, for instance, is more possible than that he be of a turn of mind for which this odd, literal opposition of description and dialogue, incident and description, has little meaning and light. People often talk of these things as if they had a kind of internecine distinctness, instead of melting into each other at every breath and being intimately associated parts of one general effort of expression. I cannot imagine composition existing in a series of blocks, nor conceive, in any novel worth discussing at all, of a passage of description that is not in its intention narrative, a passage of dialogue that is not in its intention descriptive, a touch of truth of any sort that does not partake of the nature of incident, and an incident that derives its interest from any other source than the general and only source of the success of a work of art-that of being illustrative. A novel is a living thing, all one and continuous, like every other organism, and in proportion as it lives will it be found, I think, that in each of the parts there is something of each of the other parts. The critic who over the close texture of a finished work will pretend to trace a geography of items will mark some frontiers as artificial, I fear, as any that have been known to history. There is an old-fashioned distinction between the novel of character and the novel of incident, which must have cost many a smile to the intending romancer who was keen about his work. It appears to me as little to the point as the equally celebrated distinction between the novel and the romance- to answer as little to any reality. There are bad novels and good novels, as there are bad pictures and good pictures; but that is the only distinction in which I see any meaning, and I can as little imagine speaking of a novel of character as I can imagine speaking of a picture of character. When one says picture, one says of character, when one says novel, one says of incident, and the terms may be transposed. What is character but the determination of incident? What is incident but the illustration of character? What is a picture or a novel that is not of character? What else do we seek in it and find in it? It is an incident for a woman to stand up with her hand resting on a table and look out at you in a certain way; or if it be not an incident, I think it will be hard to say what it is. At the same time it is an expression of character. If you say you don't see it (character in that-allons donc!) this is exactly what the artist who has reasons of his own for thinking he does see it undertakes to show you. When a young man makes up his mind that he has not faith enough, after all, to enter the Church, as he intended, that is an incident, though you may not hurry to the end of the chapter to see whether perhaps he doesn't change once more. I do not say that these are extraordinary or startling incidents. I do not pretend to estimate the degree of interest proceeding from them, for this will depend upon the skill of the painter. It sounds almost puerile to say that some incidents are intrinsically much more important than others, and I need not take this precaution after having professed my sympathy for the major ones in remarking that the only classification of the novel that I can understand is into the interesting and the uninteresting.

The novel and the romance, the novel of incident and that of character--these separations appear to me to have been made by critics and readers for their own convenience, and to help them out of some of their difficulties, but to have little reality or interest for the producer, from whose point of view it is, of course, that we are attempting to consider the art of fiction. The case is the same with another shadowy category, which Mr. Besant apparently is disposed to set up-that of the "modern English novel;" unless, indeed, it be that in this matter he has fallen into an accidental confusion of standpoints. It is not quite clear whether he intends the remarks in which he alludes to it to be didactic or historical. It is as difficult to suppose a person intending to write a modern English, as to suppose him writing an ancient English, novel; that is a label which begs the question. One writes the novel, one paints the picture, of one's language and of one's time, and calling it modern English will not, alas! make the difficult task any easier. No more, unfortunately, will calling this or that work of one's fellow artist a romance-unless it be, of course, simply for the pleasantness of the thing, as, for instance, when Hawthorne gave this heading to his story of Blithedale. The French, who have brought the theory of fiction to remarkable completeness, have but one word for the novel, and have not attempted smaller things in it, that I can see, for that. I can think of no obligation to which the 'romancer' would not be held equally with the novelist; the standard of execution is equally high for each. Of course it is of execution that we are talking-that being the only point of a novel that is open to contention. This is perhaps too often lost sight of, only to produce interminable confusions and cross-purposes. We must grant the artist his subject, his idea, what the French call his donnée; our criticism is applied only to what he makes of it. Naturally I do not mean that we are bound to like it or find it interesting: in case we do not our course is perfectly simple--to let it alone. We may believe that of a certain idea even the most sincere novelist can make nothing at all, and the event may perfectly justify our belief; but the failure will have been a failure to execute, and it is in the execution that the fatal weakness is recorded. If we pretend to respect the artist at all we must allow him his freedom of choice, in the face, in particular cases, of innumerable presumptions that the choice will not fructify. Art derives a considerable part of its beneficial exercise from flying in the face of presumptions, and some of the most interesting experiments of which it is capable are hidden in the bosom of common things. Gustave Flaubert has written a story about the devotion of a servant-girl to a parrot, and the production, highly finished as it is, cannot on the whole be called a success. We are perfectly free to find it flat, but I think it might have been interesting; and I, for my part, am extremely glad he should have written it; it is a contribution to our knowledge of what can be done or what cannot. Ivan Turgénieff has written a tale about a deaf and dumb serf and a lap-dog, and the thing is touching, loving, a little masterpiece. He struck the note of life where Gustave Flaubert missed it-he flew in the face of a presumption and achieved a victory.

Nothing, of course, will ever take the place of the good old fashion of "liking" a work of art or not liking it; the more improved criticism will not abolish that primitive, that ultimate, test. I mention this to guard myself from the accusation of intimating that the idea, the subject, of a novel or a picture, does not matter. It matters, to my sense, in the highest degree, and if I might put up a prayer it would be that artists should select none but the richest. Some, as I have already hastened to admit, are much more substantial than others , and it would be a happily arranged world in which persons intending to treat them should be exempt from confusions and mistakes. This fortunate condition will arrive only, I fear, on the same day that critics become purged from error. Meanwhile, I repeat, we do not judge the artist with fairness unless we say to him, "Oh, I grant you your starting point, because if I did not I should seem to prescribe to you, and heaven forbid I should take that responsibility. If I pretend to tell you what you must not take, you will call upon me to tell you then what you must take; in which case I shall be nicely caught! Moreover, it isn't till I have accepted your data that I can begin to measure you. I have the standard; I judge you by what you propose, and you must look out for me there. Of course I may not care for your idea at all; I may think it silly, or stale, or unclean; in which case I wash my hands of you altogether. I may content myself with believing that you will not have succeeded in being interesting, but I shall of course not attempt to demonstrate it, and you will be as indifferent to me as I am to you. I needn't remind you that there are all sorts of tastes: who can know it better? Some people, for excellent reasons, don't like to read about carpenters; others, for reasons even better, don't like to read about courtesans. Many object to Americans. Others (I believe they are mainly editors and publishers) won't look at Italians. Some readers don't like quiet subjects; others don't like bustling ones. Some enjoy a complete illusion; others revel in a complete deception. They choose their novels accordingly, and if they don't care about your idea they won't, a fortiori, care about your treatment."

So that it comes back very quickly, as I have said, to the liking; in spite of M. Zola, who reasons less powerfully than he represents, and who will not reconcile himself to this absoluteness of taste, thinking that there are certain things that people ought to like, and that they can be made to like. I am quite at a loss to imagine anything (at any rate in this matter of fiction) that people ought to like or to dislike. Selection will be sure to take care of itself, for it has a constant motive behind it. That motive is simply experience. As people feel life, so they will feel the art that is most closely related to it. This closeness of relation is what we should never forget in talking of the effort of the novel. Many people speak of it as a factitious, artificial form, a product of ingenuity, the business of which is to alter and arrange the things that surround us, to translate them into conventional, traditional moulds. This, however, is a view of the matter which carries us but a very short way, condemns the art to an eternal repetition of a few familiar clichés, cuts short its development, and leads us straight up to a dead wall. Catching the very note and trick, the strange irregular rhythm of life, that is the attempt whose strenuous force keeps Fiction upon her feet. In proportion as in what she offers us we see life without rearrangement do we feel that we are touching the truth; in proportion as we see it with rearrangement do we feel that we are being put off with a substitute, a compromise and convention. It is not uncommon to hear an extraordinary assurance of remark in regard to this matter of rearranging, which is often spoken of as if it were the last word of art. Mr. Besant seems to me in danger of falling into this great error with his rather unguarded talk about "selection." Art is essentially selection, but it is a selection whose main care is to be typical, to be inclusive. For many people art means rose-coloured windows, and selection means picking a bouquet for Mrs. Grundy. They will tell you glibly that artistic considerations have nothing to do with the disagreeable, with the ugly; they will rattle off shallow commonplaces about the province of art and the limits of art, till you are moved to some wonder in return as to the province and the limits of ignorance. It appears to me that no one can ever have made a seriously artistic attempt without becoming conscious of an immense increase--a kind of revelation--of freedom. One perceives, in that case-by the light of a heavenly ray-that the province of art is all life, all feeling, all observation, all vision. As Mr. Besant so justly intimates, it is all experience. That is a sufficient answer to those who maintain that it must not touch the painful, who stick into its divine unconscious bosom little prohibitory inscriptions on the end of sticks, such as we see in public gardens--"It is forbidden to walk on the grass; it is forbidden to touch the flowers; it is not allowed to introduce dogs, or to remain after dark; it is requested to keep to the right." The young aspirant in the line of fiction, whom we continue to imagine, will do nothing without taste, for in that case his freedom would be of little use to him; but the first advantage of his taste will be to reveal to him the absurdity of the little sticks and tickets. If he have taste, I must add, of course he will have ingenuity, and my disrespectful reference to that quality just now was not meant to imply that it is useless in fiction. But it is only a secondary aid; the first is a vivid sense of reality.

Mr. Besant has some remarks on the question of "the story," which I shall not attempt to criticise, though they seem to me to contain a singular ambiguity, because I do not think I understand them. I cannot see what is meant by talking as if there were a part of a novel which is the story and part of it which for mystical reasons is not--unless indeed the distinction be made in a sense in which it is difficult to suppose that anyone should attempt to convey anything. "The story," if it represents anything, represents the subject, the idea, the data of the novel; and there is surely no "school"--Mr. Besant speaks of a school--which urges that a novel should be all treatment and no subject. There must assuredly be something to treat; every school is intimately conscious of that. This sense of the story being the idea, the starting-point, of the novel is the only one that I see in which it can be spoken of as something different from its organic whole; and since, in proportion as the work is successful, the idea permeates and penetrates it, informs and animates it, so that every word and every punctuation-point contribute directly to the expression, in that proportion do we lose our sense of the story being a blade which may be drawn more or less out of its sheath. The story and the novel, the idea and the form, are the needle and thread, and I never heard of a guild of tailors who recommended the use of the thread without the needle or the needle without the thread. Mr. Besant is not the only critic who may be observed to have spoken as if there were certain things in life which constitute stories and certain others which do not. I find the same odd implication in an entertaining article in the Pall Mall Gazette, devoted, as it happens, to Mr. Besant's lecture. "The story is the thing!" says this graceful writer, as if with a tone of opposition to another idea. I should think it was, as every painter who, as the time for 'sending in' his picture looms in the distance, finds himself still in quest of a subject-as every belated artist, not fixed about his donnée, will heartily agree. There are some subjects which speak to us and others which do not, but he would be a clever man who should undertake to give a rule by which the story and the no-story should be known apart. It is impossible (to me at least) to imagine any such rule which shall not be altogether arbitrary. The writer in the Pall Mall opposes the delightful (as I suppose) novel of Margot la Balafrée to certain tales in which "Bostonian nymphs" appear to have "rejected English dukes for psychological reasons." I am not acquainted with the romance just designated, and can scarcely forgive the Pall Mall critic for not mentioning the name of the author, but the title appears to refer to a lady who may have received a scar in some heroic adventure. I am inconsolable at not being acquainted with this episode, but am utterly at a loss to see why it is a story when the rejection (or acceptance) of a duke is not, and why a reason, psychological or other, is not a subject when a cicatrix is. They are all particles of the multitudinous life with which the novel deals, and surely no dogma which pretends to make it lawful to touch the one and unlawful to touch the other will stand for a moment on its feet. It is the special picture that must stand or fall, according as it seems to possess truth or to lack it. Mr. Besant does not, to my sense, light up the subject by intimating that a story must, under penalty of not being a story, consist of "adventures." Why of adventures more than of green spectacles? He mentions a category of impossible things, and among them he places "fiction without adventure." Why without adventure, more than without matrimony, or celibacy, or parturition, or cholera, or hydropathy, or Jansenism? This seems to me to bring the novel back to the hapless little rôle of being an artificial, ingenious thing-bring it down from its large, free character of an immense and exquisite correspondence with life. And what is adventure, when it comes to that, and by what sign is the listening pupil to recognise it? It is an adventure--an immense one--for me to write this little article; and for a Bostonian nymph to reject an English duke is an adventure only less stirring, I should say, than for an English duke to be rejected by a Bostonian nymph. I see dramas within dramas in that, and innumerable points of view. A psychological reason is, to my imagination, an object adorably pictorial; to catch the tint of its complexion-I feel as if that idea might inspire one to Titianesque efforts. There are few things more exciting to me, in short, than a psychological reason, and yet, I protest, the novel seems to me the most magnificent form of art. I have just been reading, at the same time, the delightful story of Treasure Island, by Mr. Robert Louis Stevenson, and the last tale from M. Edmond de Goncourt, which is entitled Chérie. One of these works treats of murders, mysteries, islands of dreadful renown, hairbreadth escapes, miraculous coincidences and buried doubloons. The other treats of a little French girl who lived in a fine house in Paris and died of wounded sensibility because no one would marry her. I call Treasure Island delightful, because it appears to me to have succeeded wonderfully in what it attempts; and I venture to bestow no epithet upon Chérie, which strikes me as having failed in what it attempts-that is, in tracing the development of the moral consciousness of a child. But one of these productions strikes me as exactly as much of a novel as the other, and as having a 'story' quite as much. The moral consciousness of a child is as much a part of life as the islands of the Spanish Main, and the one sort of geography seems to me to have those 'surprises' of which Mr. Besant speaks quite as much as the other. For myself (since it comes back in the last resort, as I say, to the preference of the individual), the picture of the child's experience has the advantage that I can at successive steps (an immense luxury, near to the 'sensual pleasure' of which Mr. Besant's critic in the Pall Mall speaks) say Yes or No, as it may be, to what the artist puts before me. I have been a child, but I have never been on a quest for a buried treasure, and it is a simple accident that with M. de Goncourt I should have for the most part to say No. With George Eliot, when she painted that country, I always said Yes.

The most interesting part of Mr. Besant's lecture is unfortunately the briefest passage--his very cursory allusion to the "conscious moral purpose" of the novel. Here again it is not very clear whether he is recording a fact or laying down a principle; it is a great pity that in the latter case he should not have developed his idea. This branch of the subject is of immense importance, and Mr. Besant's few words point to considerations of the widest reach, not to be lightly disposed of. He will have treated the art of fiction but superficially who is not prepared to go every inch of the way that these considerations will carry him. It is for this reason that at the beginning of these remarks I was careful to notify the reader that my reflections on so large a theme have no pretension to be exhaustive. Like Mr. Besant, I have left the question of the morality of the novel till the last, and at the last I find I have used up my space. It is a question surrounded with difficulties, as witness the very first that meets us, in the form of a definite question, on the threshold. Vagueness, in such a discussion, is fatal, and what is the meaning of your morality and your conscious moral purpose? Will you not define your terms and explain how (a novel being a picture) a picture can be either moral or immoral? You wish to paint a moral picture or carve a moral statue; will you not tell us how you would set about it? We are discussing the Art of Fiction; questions of art are questions (in the widest sense) of execution; questions of morality are quite another affair, and will you not let us see how it is that you find it so easy to mix them up? These things are so clear to Mr. Besant that he has deduced from them a law which he sees embodied in English Fiction and which is "a truly admirable thing and a great cause for congratulation." It is a great cause for congratulation, indeed, when such thorny problems become as smooth as silk. I may add that, in so far as Mr. Besant perceives that in point of fact English Fiction has addressed itself preponderantly to these delicate questions, he will appear to many people to have made a vain discovery. They will have been positively struck, on the contrary, with the moral timidity of the usual English novelist; with his (or with her) aversion to face the difficulties with which, on every side, the treatment of reality bristles. He is apt to be extremely shy (whereas the picture that Mr. Besant draws is a picture of boldness), and the sign of his work, for the most part, is a cautious silence on certain subjects. In the English novel (by which I mean the American as well), more than in any other, there is a traditional difference between that which people know and that which they agree to admit that they know, that which they see and that which they speak of, that which they feel to be a part of life and that which they allow to enter into literature. There is the great difference, in short, between what they talk of in conversation and what they talk of in print. The essence of moral energy is to survey the whole field, and I should directly reverse Mr. Besant's remark, and say not that the English novel has a purpose, but that it has a diffidence. To what degree a purpose in a work of art is a source of corruption I shall not attempt to inquire; the one that seems to me least dangerous is the purpose of making a perfect work. As for our novel, I may say, lastly, on this score, that, as we find it in England to-day, it strikes me as addressed in a large degree to "young people," and that this in itself constitutes a presumption that it will be rather shy. There are certain things which it is generally agreed not to discuss, not even to mention, before young people. That is very well, but the absence of discussion is not a symptom of the moral passion. The purpose of the English novel--"a truly admirable thing, and a great cause for congratulation"--strikes me, therefore, as rather negative.

There is one point at which the moral sense and the artistic sense lie very near together; that is, in the light of the very obvious truth that the deepest quality of a work of art will always be the quality of the mind of the producer. In proportion as that mind is rich and noble will the novel, the picture, the statue, partake of the substance of beauty and truth. To be constituted of such elements is, to my vision, to have purpose enough. No good novel will ever proceed from a superficial mind; that seems to me an axiom which, for the artist in fiction, will cover all needful moral ground; if the youthful aspirant take it to heart it will illuminate for him many of the mysteries of "purpose." There are many other useful things that might be said to him, but I have come to the end of my article, and can only touch them as I pass. The critic in the Pall Mall Gazette, whom I have already quoted, draws attention to the danger, in speaking of the art of fiction, of generalizing. The danger that he has in mind is rather, I imagine, that of particularizing, for there are some comprehensive remarks which, in addition to those embodied in Mr. Besant's suggestive lecture, might, without fear of misleading him, be addressed to the ingenuous student. I should remind him first of the magnificence of the form that is open to him, which offers to sight so few restrictions and such innumerable opportunities. The other arts, in comparison, appear confined and hampered; the various conditions under which they are exercised are so rigid and definite. But the only condition that I can think of attaching to the composition of the novel is, as I have already said, that it be interesting. This freedom is a splendid privilege, and the first lesson of the young novelist is to learn to be worthy of it. "Enjoy it as it deserves," I should say to him; "take possession of it, explore it to its utmost extent, reveal it, rejoice in it. All life belongs to you, and don't listen either to those who would shut you up into corners of it and tell you that it is only here and there that art inhabits, or to those who would persuade you that this heavenly messenger wings her way outside of life altogether, breathing a superfine air and turning away her head from the truth of things. There is no impression of life, no manner of seeing it and feeling it, to which the plan of the novelist may not offer a place; you have only to remember that talents so dissimilar as those of Alexandre Dumas and Jane Austen, Charles Dickens and Gustave Flaubert, have worked in this field with equal glory. Don't think too much about optimism and pessimism; try and catch the colour of life itself. In France to-day we see a prodigious effort (that of Emile Zola, to whose solid and serious work no explorer of the capacity of the novel can allude without respect), we see an extraordinary effort vitiated by a spirit of pessimism on a narrow basis. M. Zola is magnificent, but he strikes an English reader as ignorant; he has an air of working in the dark; if he had as much light as energy his results would be of the highest value. As for the aberrations of a shallow optimism, the ground (of English fiction especially) is strewn with their brittle particles as with broken glass. If you must indulge in conclusions let them have the taste of a wide knowledge. Remember that your first duty is to be as complete as possible-to make as perfect a work. Be generous and delicate, and then, in the vulgar phrase, go in!"

(للرد على الشكــر)

2013-02-20T16:26:00.001+00:00

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‎(للرد على الشكــر)

عفوا ! - ! Not at all

العفو !- ! Pray don't mention it

العفو !- ! That's all right

مرحبا بك جدا ! - ! You are most welcome

مرحبا بك !- ! You are welcome

مرحبا !- ! Welcome

انه ليسرني ! - ! It's a pleasure

ما أكرمك !-! How kind of you

اشكرك كثيرا جدا . منتهى الكرم - Oh, thank you. That's very kind of you

شكرا ! انه لكرم منك عظيم -Thank you very much. It was most kind of you

اني شاكر لك جدا - I,m very grateful to you

اني عاجز عن الشكر - I don't know how to thank you

شكرا لله ! - ! Thank God

حمدا لله !- ! Thank goodness

عبارات انجليزية

2013-02-19T20:03:00.000+00:00

1- هل تعرفان بعضكما ؟ ?Do you two know each other
2- هل تقابلتما ؟ ?Have you met
3- أنتما الاثنان لديكما أشياء كثيرة مشتركة
You two have a lot in common
4- كنت أرغب في لقائك منذ وقت
I've been wanting to meet you for sometime
5 - أخبرتني سلمي كل شيء عنك
Salma has told me all about you
6 - سمعت الكثير عنك I've heard so much about you

7 - أشعر أنني أعرفك بالفعل I feel I know you already
8 - كيف الحال ؟ How is everything? / ?How's it going
9- كيف كان حالك ؟ ?How've you been
10- ما الجديد ؟ ?What's up

11- ماذا يجري ؟ ?What's going on
12 – لم أرك منذ دهر I haven't seen you in an age
13- لم أرك منذ مدة طويلة I haven't seen you in a month of Sundays
14- يالها من مفاجأة أن أراك هنا What a surprise to meet you here
15 - لم أكن أظن أبدا أن أقابلك هنا Neverthought I'd see you here
16 - هل تقابلنا من قبل ؟ ? Haven't we met before
17 – كنت أحسن حالا I've been better
18 – غارق في العمل I'm swamped
19 – مشغول جدا I don't have time to think
20 – ليس لدي دقيقة واحدة لأهدرها Not a moment to spare

21 – كيف حال عائلتك ؟ ?How is your family
22 – كيف حالك اليوم ؟ ?How are you doing today
23 – كيف حالك ؟ ( كيف تشعر ؟ ) ?How are you feeling
24 – كيف تسير الأمور معك ؟ ?How're things with you
25 – هل سمعت آخر الأخبار ؟ ?Have you heard the latest
26 – لن تخمن أبدا ما سمعت You'll never guess what I heard
27 – خمن ما اكتشفته توا Guess what I just found out
28 – لن تصدق ذلك You won't believe this
29 – أنصت لي Hear me out
30 – هل أنت مستعد لما سأقوله ؟ ?Are you ready for this

31 – هل تنصت لي ؟ ?Are you listening to me
32 – انظر ماذا لدينا Look what we have here
33- أنا لا أصدق عيناي I don't believe my eyes
34 - هل تخدعني عيناي ؟ ?Do my eyes deceive me
35- إنني سمعتك I have you
36 – كلي آذان صاغية I'm all ears
37 – دعني أكرر ما قلت Let me repeat myself
38- كم مرة يجب أن أقول لك ذلك ؟
?How many times do I have to tell you
39 - هكذا قلت So you said
40 – توقف عن الحديث في هذا الموضوع
?Must you belabor the point

42- هل لي بكلمة معك ؟ ?May I have a word with you
43 – ما الذي تريد أن تصل إليه ؟ ?What's your point
44- عن ماذا يسفر ذلك ؟ What's the upshot ?
45 – لا تخبيء شيئا ( قل كل شيء) Spare me nothing
46 – هذا خارج الموضوع That's beside the point
47 – لا علاقة لذلك بالموضوع That has nothing to do with it
48 – لا علاقة لذلك بما أتحدث عنه
That has nothing to do with what I'm talking about
49 – هذه قصة أخري That's another story
50 - هذه قصة أخري تماما That's a whole another story

51- إنها معلومات عامة It's a common knowledge
52- هذا ليس من شأنك None of your business
53 – هل تفهم ما أقول ؟ ?Do you understand what I'm saying
54- سأتركك الآن I'll let you go now
55- حقيقة يجب أن أذهب الآن . سنتحدث أحيانا
I really have to go now . We'll talk sometime
56 – هل يمكنني أن أعاود الاتصال بك ؟ شيء ما جد
Can I call you back ? Something has come up
57 – جرس الباب يدق ، سأتصل بك ثانية
The door bell is ringing . I'll call you back
58 – هناك شخص ما علي الطرف الأخر . يجب أن أقول وداعا الآن
There is someone on the other line. I must say goodbye now
59 – لن أعطلك أكثر من ذلك I won't keep you any longer
60 – يجب أن أعود للعمل قبل أن يراني المدير
I have to go back to work before the boss sees me

كيف تعتذر ؟

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كيف تعتذر ؟
ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ
اســـــــــــــــــــــــــــــــــــــف sorry
اعذرنى للحظه Excuse me a moment
لحظة من فضلك Just amoment please
ذلك خطئى That's my fault
كان سهوا منى It was careless of me
لم أقصد ذلك I didn't mean that
المرة القادمة سأقوم بما ينبغى Next time i'll get it right
اعذرنى على التأخير Forgive me for being late
اسف لانى جعلتك تنتظر i'm sorry to have kept you waiting
هل أزعجك؟ am i disturbing you؟
هل لى بدقيقة من وقتك؟ May i bother you for amoment

عبارات للدعوة شخص

2013-02-19T19:58:00.002+00:00

عبارات للدعوة شخص
ـــــــــــــــــــــــــــــــ

Would you like to come with me?
هل ترغب بمرافقتي؟

Do you like going shopping with me?
أتود الذهاب معي للتسوق؟

How about having a picnic?
ما رأيك في أن نقوم بنزهة؟

On foot.
سيراً على الأقدام.

Will you accompany me to…
أترافقني إلى ...

Let us go swimming.
لنذهب للسباحة.

Do you like to eat something?
هـل ترغب بـأكـل شيء؟

What do you like to drink?
ماذا ترغب أن تشرب؟

Do you have anything tomorrow.
ألـديـك أي ارتبـاط غـداً؟

دعوة شخص ما 2

2013-02-19T19:57:00.005+00:00

دعوة شخص ما 2
ـــــــــــــــــــــــــــــــ

I would like to have more tea.
أود المزيد من الشاي.

Would you like to have breakfast at my place?
أترغب بـأن تتنـاول الفطور عندي؟

Let us share the bill.
لنتقاسم دفع الفاتورة.

He will pay the bill.
هو سيدفع الحساب.

The diner is on me tonight.
العشاء على حسابي الليلة.

Do you have free time tomorrow morning?
هل لديك وقت فراغ في صباح الغد؟

I would like to visit you tomorrow.
أرغب في زيارتك غدا.ً

Thank you for the visit.
شكراً على الزيارة

مجاملات :

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مجاملات :

This is nice of you!
هذا لطف منك!

You are so generous!
أنت في غاية الكرم!

It seems good!
إنها تبدو جيدة

Thank you for the compliment!
شكراً على هذا الإطراء.

Have a nice meal!
صحة و عافية!

Have a nice evening!
أتمنى لك أمسية سعيدة!

We wish you a happy vacation!
نتمنى لكم إجازة سعيدة!

Cheers!
في صحتك!

You have a wonderful taste

2013-02-19T19:56:00.002+00:00

You have a wonderful taste!
ذوقك رائـع!

What a beautiful hairstyle!
ما أجمل تسريحة شعرك!

You are handsome today!
أنت وسيم هذا اليوم!

You are very kind!
أنت لطيف جدا!

Your eyes are enchanting!
عيناك ساحرتان , فاتنتان.

Have a good trip!
أتمنى لك رحلة موفقة!

I like your perfume!
أحب عطرك!

I will never forget you!
لن أنساك أبداً.

عذر

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عذر :

Excuse me!
عذراً.

Am I bothering you?
هل أزعجك؟

Never mind.
لا بأس.

It is nothing.
ليس بالأمر المهم.

It is my fault.
إنها غلطتي.

I did not mean it.
لم أقصد ذلك.

Excuse me for being late.
أعذرني لتأخري.

عذر 2

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عذر 2

Sorry for keep you waiting.
آسف لجعلك تنتظر.

Excuse me, I have to go.
أستأذن, عليّ أن أذهب.

Why not?
لما لا؟

Sorry, I can not stay.
أعتذر, لا أستطيع البقاء.

Sorry I can not go out tonight.
عذرا لا أستطيع الخروج الليلة.

Sorry for not being helpful.
أعتذر لعدم تمكني لخدمتك.

Sorry for not being there yesterday.
أعتذر لعدم حضوري البارحة

طلب :

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طلب :

One moment please!
لحظة من فضلك!

What does this mean?
ما معنى هذا؟

May I take some of your time?
هل لي أن آخذ من وقتك؟

May I borrow your pen?
هل لي أن أستعير قلمك؟

Hurry up please!
أسرع لو سمحت!

Come with me.
تعال معي.

May I have a look?
هل لي أن ألقي نظرة؟

طلب 2

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طلب 2
ــــــــــــــــــــــــــــــــــــــــــــــ

Would you help me in carrying this , please?
هلا ساعدتني في حمل هذا من فضلك؟

Would you help me in solving this problem?
هل لك أن تساعدني في حل هذه المشكلة؟

Would you do me a favor?
هل تسدي لي معـروفاً؟

Can I have your address?
هلا أعطيتني عنوانك؟

Where is the toilet?
أين دورة المياه؟

Can you lend me some money?
هلا أقرضتني بعض النقود؟

Again, please.
أعد لو سمحت.

Write your name here, please.
اكتب اسمك هنا لو سمحت

مشاعر :

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مشاعر :

What a loss!
يا للأسف!

I am not sure.
لست متأكداً.

I do not think so.
لا أعتقد ذلك.

Calm down, everything will be all right.
اهدأ فكل شيء سيكون على ما يرام.

Do not be nervous.
لا تكن عصبياً.

It is disgusting!
إنه مقرف!

You make me sick!
أنت تثير اشمئزازي!

It is unbelievable!
هذا لا يصدق!

مشاعر 2

2013-02-19T19:52:00.002+00:00

مشاعر 2
ــــــــــــــــــــــــــــــ

What a surprise!
يا لها من مفاجأة!

You must be kidding!
لا بد أنك تمزح!

I think you are wrong.
أعتقد أنك مخطئ.

Do not be upset of what he said.
لا تكن منزعج مم قاله.

This is so bad!
هذا سيء للغاية!

Good luck!
حظاً طيباً!

Best wishes!
أفضل الأمنيات.

I feel depressed.
أشعر بالاكتئاب.

Oh my god, what a mess!
يا إلهي ما هذه الفوضى!

I can not bear it!
لست أحتمل هذا!

What a disaster!
يا للمصيبة!

With pleasure.
بكل سرور.

!Fie
يا للعار!

حوار 3

2013-02-19T19:51:00.003+00:00

1- وداعا إلي وقت لاحق Good-bye until next time
2- سأحاول أن أتصل بك لاحقا I'll try to catch you later
3- دعنا نتقابل في أقرب فرصة Let's get together soon
4- سألتقي بك ( هنا أو هناك ) See you around
5- سأراك في أقرب وقت See you in a little while
6- كان الحديث معك ممتعا It has been fun talking to you
7- دعنا نتناول الغذاء سويا أحيانا let's do lunch sometimes
8- إن الوقت يتأخر It's getting later
9- حان الوقت المناسب للرحيل Let's go while the going's good
10- دعنا نرحل Let's head out

حوار2

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21 – أنت لست في وعيك You're out of your head
22- لست جادا You can't be serious
23- هل فقدت عقلك ؟ ? Are you out of your mind
24- هل جننت ؟ ? Have you got crasy
25- لا تقلق نفسك Don't trouble yourself
26 – لا تنفعل Don't get excited
27- أنت بلا قلب You're heartless
28 – حاول أن تكون مكاني
Think what it is like to be in my situation
29- هذه المنطقة ممنوع التدخين فيها This is non-smoking area
30 – عليك أن تغادر المكان You'll have to step outside