人人心里都有一座无线电台，
只要接收到来自地球、人类和宇宙的美好、
希望、勇气、庄严及力量，
就会变得年轻。
当心灵的天线倒下，
心如大雪般的悲观、如冰块般的愤世嫉俗时，
那时，唯有那时，
我们将真正老去。
当时光已逝
When Day is Done
罗宾德拉纳德？泰戈尔 / Rabindranath Tagore
罗宾德拉纳特？泰戈尔，印度诗人、哲学家和印度民族主义者，1913年获得诺贝尔文学奖，是第一位获得诺贝尔文学奖的亚洲人。在他的诗中含有深刻的宗教和哲学见解。对泰戈尔来说，他的诗是他奉献给神的礼物，而他本人是神的求婚者。他的诗在印度享有史诗的地位。代表作《吉檀迦利》《飞鸟集》。
If the day is done，
If birds sing no more，
If the wind has flagged tired，
Then draw the veil of darkness thick upon me，
Even as thou hast wrapt the earth with
The coverlet of sleep and tenderly closed，
The petals of the drooping lotus at dusk.
From the traveler，
Whose sack of provisions is empty before the voyage is ended，
Whose garment is torn and dust-laden，
Whose strength is exhausted， remove shame and poverty，
And renew his life like a flower under
The cover of thy kindly night.
假如时光已逝，
鸟儿不再歌唱，
风儿也吹倦了，
那就用黑暗的厚幕把我盖上，
如同黄昏时节你用睡眠的衾被裹住大地，
又轻轻合上睡莲的花瓣。
路途未完，行囊已空，
衣裳破裂污损，人已精疲力竭。
你驱散了旅客的羞愧和困窘，
使他在你仁慈的夜幕下，
如花朵般焕发生机。
记忆填空
1. If the day is done，
If birds__ no more，
If the__ has flagged tired，
Then draw the veil of darkness thick__ me.
2. And renew his life like a__ under
The__ of thy kindly night.
佳句翻译
1. 假如时光已逝，鸟儿不再歌唱，风儿也吹倦了，那就用黑暗的厚幕把我盖上。
译__________________
2. 如同黄昏时节你用睡眠的衾被裹住大地，又轻轻合上睡莲的花瓣。
译__________________
3. 你驱散了旅客的羞愧和困窘，使他在你仁慈的夜幕下，如花朵般焕发生机。
译__________________
短语应用
1. If birds sing no more...
no more：不再
造__________________
2. The petals of the drooping lotus at dusk.
at dusk：黄昏时刻
造__________________
风 车
The Windmill
爱德华·凡尔拉莱？卢卡斯 / Edward Verrall Lucas
爱德华·凡尔拉莱？卢卡斯(1868—1938)，英国20世纪前半期文坛名士及重要散文作家，出生于英国南部布莱顿城，伦敦大学毕业后，长期从事编辑、出版与写作，历任《笨拙》杂志编辑、副主编。
Chance recently made me for a while the tenant of a windmill. Not to live in， and unhappily not to grind corn in， but to visit as the mood arose， and see the ships in the harbour from the topmost window， and look down on the sheep and the green world all around. For this mill stands high and white—so white， indeed， that when there is a thunder-cloud behind it， it seems a thing of polished aluminium.
From its windows you can see four other mills， all like itself， idle， and one merely a ruin and one with only two sweeps left. But just over the next range of hills， out of sight， to the northeast， is a windmill that still merrily goes， and about five miles away to the northwest is another also active； so that things are not quite so bad hereabouts as in many parts of the country， where the good breezes blow altogether in vain...
Thinking over the losses which England has had forced upon her by steam and the ingenuity of the engineer， one is disposed to count the decay of the windmill among the first. Perhaps in the matter of pure picture squeness the most serious thing that ever happened to England was the discovery of galvanized iron roofing； but， after all， there was never anything but quiet and rich and comfortable beauty about red roofs， whereas the living windmill is not only beautiful but romantic too： a willing， man-serving creature， yoked to the elements， a whirling monster， often a thing of terror. No one can stand very near the crashing sweeps of a windmill in half a gale without a tightening of the heart a feeling comparable to that which comes from watching the waves break over a wall in a storm. And to be within the mill at such a time is to know something of sound’ s very sources； it is the cave of noise itself. No doubt there are dens of hammering energy which are more shattering， but the noise of a windmill is largely natural， the product of wood striving with the good sou’ wester； it fills the ears rather than assaults them. The effect， moreover， is by no means lessened by the absence of the wind itself and the silent nonchalance of the miller and his man， who move about in the midst of this appalling racket with the quiet efficiency of vergers.
In my mill， of course， there is no such uproar； nothing but the occasional shaking of the cross-pieces of the idle sails. Everything is still； and the pity of it is that everything is in almost perfect order for the day’ s work. The mill one day some score years ago was full of life； the next， and ever after， mute and lifeless， like a stream frozen in a night or the palace in Tennyson’ s ballad of the “Sleeping Beauty” . There is no decay merely inanition. One or two of the apple-wood cogs have been broken from the great wheel； a few floor planks have been rotted； but that is all. A week’ s overhauling would put everything right. But it will never come， and the cheerful winds that once were to drive a thousand English mills so happily now bustle over the Channel in vain.
不久前，一个偶然的机会曾使我成为一座风车房的住客。但并不是真的住进去，而且说来遗憾，也不是进去磨点儿什么东西，只是兴致来时进去转转，从它最上端的窗户遥望港口的船只，或俯视周围的羊群和原野。这座风车又大又白——而且白得很厉害，每当雷雨云绕到它背后时，整个风车就像一件擦亮的铝器。
从风车的其他几个窗口往外看，你还可以看到另外的4个风车，这些风车和它一样，也都闲置着。其中一个已经破损得非常厉害，还有一个也只剩下了两块翼板。但就在下一道山冈，远得望不见的东北方向，有一个风车在那里欢快地转动着。另外，由此再折向西北四五英里的地方，也有一个风车在运转。所以，这个地方的情形还不至于像全国其他地方那么糟糕，任由阵阵好风从身边白白吹过……
一想起因蒸汽机以及工程师的聪明才智带给英国的种种损失，人们总会把风车的衰落列为其中的第一项。也许如果只从景物的美观别致来说，英国所遭遇的最大不幸是镀锌铁屋顶的发明。不过，毕竟红色屋顶的美好不只是安详富丽与舒适，转动着的风车不仅看起来美丽，而且非常浪漫：一个受制于自然的魔力但情愿为人类服务的温驯家伙，一个飞舞旋转的怪物，往往也是一个让人惧怕的东西。如果谁在风力正强的时候靠近一个风车轰鸣的翼板，心里都会骤然紧张起来——那感觉就像人们在暴风雨中望见水浪冲击堤岸的情景一样。此时待在风车房里面的话，就能对声音的来历有些体会，因为这里就是声音的洞穴。当然，有些孔洞中发出的轰鸣声震耳欲聋，具有很大的威力，但风车的声音大体来说是比较自然的，它们是木头与西南风搏斗时产生的，它充盈于人耳，而不会震耳欲聋。而且，这种效果并没有因为没有风或者磨坊主人及其用人的淡漠而有所减弱，这些人即使是在震耳欲聋的喧闹下，也总是一副文静样子，如同教堂管事人一般有条不紊地办事。
当然，我进入的磨坊并没有如此喧闹，我只是偶尔听到那些闲置的翼板上的横木做几下摆动罢了，一切都是如此寂静。更使人惆怅的是，一切又仿佛已完全就绪，就等着当天开工了。这个风车以前——大约几十年前——也曾是生气勃勃的，但是从那以后，它就永归沉寂，毫无生气，就像一条溪流在夜里突然遭遇封冻，或者像丁尼生《睡美人》诗中的宫殿那样寂寞。这风车并未损坏——它只是失去了魂魄。风车上几个苹果木的榫子已从轮机上脱落下来，地板上的木条也有几根烂掉了，但也仅是如此而已。只要一周的时间，就足以把这一切都修好。但永远没有这种可能了。因此，以前曾经使千千万万个英国风车一起欢舞的阵阵好风，而今只能在英吉利海峡上面徒劳地吹过。
心灵小语
转动着的风车不仅看起来美丽，而且非常浪漫：一个受制于自然的魔力但情愿为人类服务的温驯家伙，一个飞舞旋转的怪物，往往也是一个让人惧怕的东西。
记忆填空
1. Not to live__ ， and unhappily not to grind corn in， but to__ as the mood arose， and see the ships in the harbour from the topmost window， and look__ on the sheep and the green world all around.
2. Thinking over the losses__ England has had forced upon her by steam and the ingenuity of the engineer， one is disposed to__ the decay of the windmill among the first.
3. A week’s overhauling would put everything__ .
佳句翻译
1. 不久之前，一个偶然的机会曾使我成为一座风车房的住客。
译__________________
2. 令人惆怅的是，一切又仿佛已完全就绪，就等着当天开工了。
译__________________
3. 这风车并未损坏——它只是失去了魂魄。
译__________________
短语应用
1. The effect， moreover， is by no means lessened by the absence of the wind itself...
the absence of：缺乏
造__________________
2. But it will never come， and the cheerful winds that once were to drive a thousand English mills so happily now bustle over the Channel in vain.
in vain：无效地，徒然，白费力
造__________________
假如给我三天光明
Three Days to See
海伦？凯勒 / Helen Keller
海伦？凯勒（1880—1968），美国著名残疾人作家、教育家，生于美国亚拉巴马州。两岁时，一场疾病使她变成了盲、聋、哑人。后来，她的父母请来家庭教师莎莉文女士对其进行特殊教育。同时，凯勒通过自身顽强的努力，于1904年毕业于麻省波士顿的拉德克利夫学院。后来，凯勒专职于写作和残疾人教育事业。她一生共写了19本书，其中《我生活的故事》最为著名。
All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year； sometimes as short as twenty-four hours. But always we were interested in discovering just how the doomed man chose to spend his last days or his last hours. I speak， of course， of free men who have a choice， not condemned criminals whose sphere of activities is strictly delimited.
Such stories set us thinking， wondering what we should do under similar circumstances. What events， what experiences， what associations should we crowd into those last hours as mortal beings？ What happiness should we find in reviewing the past， what regrets？
Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live each day with gentleness， a vigor， and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come. There are those， of course， who would adopt the Epicurean motto of “Eat， drink， and be merry，” but most people would be chastened by the certainty of impending death.
In stories the doomed hero is usually saved at the last minute by some stroke of fortune， but almost always his sense of values is changed. He becomes more appreciative of the meaning of life and its permanent spiritual values. It has often been noted that those who live， or have lived， in the shadow of death bring a mellow sweetness to everything they do.
Most of us， however， take life for granted. We know that one day we must die， but usually we picture that day as far in the future. When we are in buoyant health， death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks， hardly aware of our listless attitude toward life.
The same lethargy， I am afraid， characterizes the use of all our faculties and senses. Only the deaf appreciate hearing， only the blind realize the manifold blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in adult life. But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily， without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it， of not being conscious of health until we are ill.
I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life.
Darkness would make him more appreciative of sight； silence would teach him the joys of sound.
Now and then I have tested my seeing friends to discover what they see.
Recently I was visited by a very good friend who had just returned from a long walk in the woods， and I asked her what she had observed...“Nothing in particular” she replied. I might have been incredulous had I not been accustomed to such reposes， for long ago I became convinced that the seeing see little.
How was it possible， I asked myself， to walk for an hour through the woods and see nothing worthy of note？ I who cannot see find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch， or the rough， shaggy bark of a pine. In the spring I touch the branches of trees hopefully in search of a bud the first sign of awakening nature after her winter’s sleep. I feel the delightful， velvety texture of a flower， and discover its remarkable convolutions； and something of the miracle of Nature is revealed to me. Occasionally， if I am very fortunate， I place my hand gently on a small tree and feel the happy quiver of a bird in full song. I am delighted to have the cool waters of a brook rush thought my open finger. To me a lush carpet of pine needles or spongy grass is more welcome than the most luxurious Persian rug. To me the page ant of seasons is a thrilling and unending drama， the action of which streams through my finger tips.
At times my heart cries out with longing to see all these things. If I can get so much pleasure from mere touch， how much more beauty must be revealed by sight. Yet， those who have eyes apparently see little. The panorama of color and action which fills the world is taken for granted. It is human， perhaps， to appreciate little that which we have and to long for that which we have not， but it is a great pity that in the world of light the gift of sight is used only as a mere conveniences rather than as a means of adding fullness to life.
If I were the president of a university I should establish a compulsory course in “How to Use Your Eyes”.The professor would try to show his pupils how they could add joy to their lives by really seeing what passes unnoticed before them. He would try to awake their dormant and sluggish faculties.
Perhaps I can best illustrate by imagining what I should most like to see if I were given the use of my eyes, say, for just three days. And while I am imagining, suppose you, too, set your mind to work on the problem of how you would use your own eyes if you had only three more days to see. If with the on-coming darkness of the third night you knew that the sun would never rise for you again, how would you spend those three precious intervening days? What would you most want to let your gaze rest upon?
I, naturally, should want most to see the things which have become dear to me through my years of darkness. You, too, would want to let your eyes rest on the things that have become dear to you so that you could take the memory of them with you into the night that loomed before you.
If, by some miracle, I were granted three seeing days, to be followed by a relapse into darkness, I should divide the period into three parts.
The First Day
On the first day, I should want to see the people whose kindness and gentleness and companionship have made my life worth living. First I should like to gaze long upon the face of my dear teacher, Mrs.Anne Sullivan Macy, who came to me when I was a child and opened the outer world to me. I should want not merely to see the outline of her face, so that I could cherish it in my memory, but to study that face and find in it the living evidence of the sympathetic tenderness and patience with which she accomplished the difficult task of my education. I should like to see in her eyes that strength of character which has enabled her to stand firm in the face of difficulties, and that compassion for all humanity which she has revealed to me so often.
I do not know what it is to see into the heart of a friend through that “window of the soul”, the eye. I can only “see” through my finger tips the outline of a face. I can detect laughter, sorrow, and many other obvious emotions. I know my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, through other means, through the thoughts they express to me, through whatever of their actions are revealed to me. But I am denied that deeper understanding of them which I am sure would come through sight of them, through watching their reactions to various expressed thoughts and circumstances, through noting the immediate and fleeting reactions of their eyes and countenance.
Friends who are near to me I know well, because through the months and years they reveal themselves to me in all their phases; but of casual friends I have only an incomplete impression, an impression gained from a handclasp, from spoken words which I take from their lips with my finger tips, or which they tap into the palm of my hand.
How much easier, how much more satisfying it is for you who can see to grasp quickly the essential qualities of another person by watching the subtleties of expression, the quiver of a muscle, the flutter of a hand. But does it ever occur to you to use your sight to see into the inner nature of a friend or acquaintance? Do not most of you seeing people grasp casually the outward features of a face and let it go at that?
For instance can you describe accurately the faces of five good friends? some of you can, but many cannot. As an experiment, I have questioned husbands of long standing about the color of their wives’eyes, and often they express embarrassed confusion and admit that they do not know. And, incidentally, it is a chronic complaint of wives that their husbands do not notice new dresses, new hats, and changes in household arrangements.
The eyes of seeing persons soon become accustomed to the routine of their surroundings, and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately “eyewitnesses” see. A given event will be “seen” in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision.
Oh, the things that I should see if I had the power of sight for just three days!
The first day would be a busy one. I should call to me all my dear friends and look long into their faces, imprinting upon my mind the outward evidences of the beauty that is within them. I should let my eyes rest, too, on the face of a baby, so that I could catch a vision of the eager, innocent beauty which precedes the individual’s consciousness of the conflicts which life develops.
And I should like to look into the loyal, trusting eyes of my dogs—the grave, canny little Scottie, Darkie, and the stalwart, understanding Great Dane Helga, whose warm, tender, and playful friendships are so comforting to me.
On that busy first day I should also view the small simple things of my home. I want to see the warm colors in the rugs under my feet, the pictures on the walls, the intimate trifles that transform a house into home. My eyes would rest respectfully on the books in raised type which I have read, but they would be more eagerly interested in the printed books which seeing people can read, for during the long night of my life the books I have read and those which have been read to me have built themselves into a great shining lighthouse, revealing to me the deepest channels of human life and the human spirit.
In the afternoon of that first seeing day, I should take a long walk in the woods and intoxicate my eyes on the beauties of the world of Nature, trying desperately to absorb in a few hours the vast splendor which is constantly unfolding itself to those who can see. On the way home from my woodland jaunt my path would lie near a farm so that I might see the patient horses ploughing in the field(perhaps I should see only a tractor!) and the serene content of men living close to the soil. And I should pray for the glory of a colorful sunset.
When dusk had fallen, I should experience the double delight of being able to see by artificial light which the genius of man has created to extend the power of his sight when Nature decrees darkness.
In the night of that first day of sight, I should not be able to sleep, so full would be my mind of the memories of the day.
The Second Day
The next day—the second day of sight—I should arise with the dawn and see the thrilling miracle by which night is transformed into day. I should behold with awe the magnificent panorama of light with which the sun awakens the sleeping earth.
This day I should devote to a hasty glimpse of the world, past and present. I should want to see the pageant of man’s progress, the kaleidoscope of the ages. How can so much be compressed into one day? Through the museums, of course. Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there animals and the races of men pictured in their native environment; gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared, with his tiny stature and powerful brain, to conquer the animal kingdom; realistic presentations of the processes of development in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet; and a thousand and one other aspects of natural history.
I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. There, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on.
My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here, in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled bearded features of Homer are dear to me, for he, too, knew blindness.
My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo’s inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me.
So on this, my second day of sight, I should try to probe into the soul of man through this art. The things I knew through touch I should now see. More splendid still, the whole magnificent world of painting would be opened to me, from the Italian Primitives, with their serene religious devotion, to the Moderns, with their feverish visions. I should look deep into the canvases of Raphael, Leonardo Da Vinci, Titian, Rembrandt. I should want to feast my eyes upon the warm colors of Veronese, study the mysteries of E1 Greco, catch a new vision of Nature from Corot. Oh, there is so much rich meaning and beauty in the art of the ages for you who have eyes to see!
Upon my short visit to this temple of art I should not be able to review a fraction of that great world of art which is open to you. I should be able to get only a superficial impression. Artists tell me that for deep and true appreciation of art one must educated the eye. One must learn through experience to weigh the merits of line, of composition, of form and color. If I had eyes, how happily would I embark upon so fascinating a study! Yet I am told that, to many of you who have eyes to see, the world of art is a dark night, unexplored and unilluminated. It would be with extreme reluctance that I should leave the Metropolitan Museum, which contains the key to beauty—a beauty so neglected. Seeing persons, however, do not need a metropolitan to find this key to beauty. The same key lies waiting in smaller museums, and in books on the shelves of even small libraries. But naturally, in my limited time of imaginary sight, I should choose the place where the key unlocks the greatest treasures in the shortest time.
The evening of my second day of sight I should spend at a theatre or at the movies. Even now I often attend theatrical performances of all sorts, but the action of the play must be spelled into my hand by a companion. But how I should like to see with my own eyes the fascinating figure of Hamlet, or the gusty Falstaff amid colorful Elizabethan trappings! How I should like to follow each movement of the graceful Hamlet, each strut of the hearty Falstaff! And since I could see only one play, I should be confronted by a many-horned dilemma, for there are scores of plays I should want to see. You who have eyes can see any you like. How many of you, I wonder, when you gaze at a play, a movie, or any spectacle, realize and give thanks for the miracle of sight which enables you to enjoy its color, grace, and movement?
I cannot enjoy the beauty of rhythmic movement except in a sphere restricted to the touch of my hands. I can vision only dimly the grace of a Pavlowa, although I know something of the delight of rhythm, for often I can sense the beat of music as it vibrates through the floor. I can well imagine that cadenced motion must be one of the most pleasing sights in the world. I have been able to gather something of this by tracing with my fingers the lines in sculptured marble; if this static grace can be so lovely, how much more acute must be the thrill of seeing grace in motion.
One of my dearest memories is of the time when Joseph Jefferson allowed me to touch his face and hands as he went through some of the gestures and speeches of his beloved Rip Van Winkle. I was able to catch thus a meager glimpse of the world of drama, and I shall never forget the delight of that moment. But, oh, how much I must miss, and how much pleasure you seeing ones can derive from watching and hearing the interplay of speech and movement in the unfolding of a dramatic performance! If I could see only one play, I should know how to picture in my mind the action of a hundred plays which I have read or had transferred to me through the medium of the manual alphabet.
So, through the evening of my second imaginary day of sight, the great figures of dramatic literature would crowd sleep from my eyes.
The Third Day
The following morning, I should again greet the dawn, anxious to discover new delights, for I am sure that, for those who have eyes which really see, the dawn of each day must be a perpetually new revelation of beauty.
This, according to the terms of my imagined miracle, is to be my third and last day of sight. I shall have no time to waste in regrets or longings; there is too much to see. The first day I devoted to my friends, animate and inanimate. The second revealed to me the history of man and Nature. Today I shall spend in the workaday world of the present, amid the haunts of men going about the business of life. And where can one find so many activities and conditions of men as in New York? So the city becomes my destination.
I start from my home in the quiet little suburb of Forest Hills, Long Island. Here, surrounded by green lawns, trees, and flowers, are neat little houses, happy with the voices and movements of wives and children, havens of peaceful rest for men who toil in the city. I drive across the lacy structure of steel which spans the East River, and I get a new and startling vision of the power and ingenuity of the mind of man. Busy boasts chug and scurry about the river racy speed boat, stolid, snorting tugs. If I had long days of sight ahead, I should spend many of them watching the delightful activity upon the river.
I look ahead, and before me rise the fantastic towers of New York, a city that seems to have stepped from the pages of a fairy story. What an awe, inspiring sight, these glittering spires. These vast banks of stone and steel-structures such as the gods might build for themselves! This animated picture is a part of the lives of millions of people every day. How many, I wonder, give it so much as a seconds glance? Very few, I fear. Their eyes are blind to this magnificent sight because it is so familiar to them.
I hurry to the top of one of those gigantic structures, the Empire State Building, for there, a short time ago, I “saw” the city below through the eyes of my secretary. I am anxious to compare my fancy with reality. I am sure I should not be disappointed in the panorama spread out before me, for to me it would be a vision of another world.
Now I begin my rounds of the city. First, I stand at a busy corner, merely looking at people, trying by sight of them to understand something of their live. I see smiles, and I am happy. I see serious determination, and I am proud, I see suffering, and I am compassionate.
I stroll down Fifth Avenue. I throw my eyes out of focus, so that I see no particular object but only a seething kaleidoscope of colors. I am certain that the colors of women’s dresses moving in a throng must be a gorgeous spectacle of which I should never tire. But perhaps if I had sight I should be like most other women—too interested in styles and the cut of individual dresses to give much attention to the splendor of color in the mass. And I am convinced, too, that I should become an inveterate window shopper, for it must be a delight to the eye to view the myriad articles of beauty on display.
From Fifth Avenue I make a tour of the city—to Park Avenue, to the slums, to factories, to parks where children play. I take a stay-at-home trip abroad by visiting the foreign quarters. Always my eyes are open wide to all the sights of both happiness and misery so that I may probe deep and add to my understanding of how people work and live. My heart is full of the images of people and things. My eye passes lightly over no single trifle; it strives to touch and hold closely each thing its gaze rests upon. Some sights are pleasant, filling the heart with happiness; but some are miserably pathetic. To these latter I do not shut my eyes, for they, too, are part of life. To close the eye on them is to close the heart and mind.
My third day of sight is drawing to an end. Perhaps there are many serious pursuits to which I should devote the few remaining hours， but I am afraid that on the evening of that last day I should again run away to the theater， to a hilariously funny play， so that I might appreciate the overtones of comedy in the human spirit.
At midnight my temporary respite from blindness would cease， and permanent night would close in on me again. Naturally in those three short days I should not have seen all I wanted to see. Only when darkness had again descended upon me should I realize how much I had left unseen. But my mind would be so crowded with glorious memories that I should have little time for regrets. Thereafter the touch of every object would bring a glowing memory of how that object looked.
Perhaps this short outline of how I should spend three days of sight does not agree with the program you would set for yourself if you knew that you were about to be stricken blind. I am， however， sure that if you actually faced that fate your eyes would open to things you had never seen before， storing up memories for the long night ahead. You would use your eyes as never before. Everything you saw would become dear to you. Your eyes would touch and embrace every object that came within your range of vision. Then， at last， you would really see， and a new world of beauty would open itself before you.
I who am blind can give one hint to those who see—one admonition to those who would make full use of the gift of sight： Use your eyes as if tomorrow you would be stricken blind. And the same method can be applied to the other senses. Hear the music of voices， the song of a bird， the mighty strains of an orchestra， as if you would be stricken deaf tomorrow. Touch each object you want to touch as if tomorrow your tactile sense would fail. Smell the perfume of flowers， taste with relish each morsel， as if tomorrow you could never smell and taste again. Make the most of every sense： glory in all the facets of pleasure and beauty which the world reveals to you through the several means of contact which Nature provides. But of all the senses， I am sure that sight must be the most delightful.
我们都读过一些令人兴奋激动的故事，故事中的主人公只能再活一段很有限的时间。有时是一年这么长，有时却只有短短的24小时。但是在探究这个将要离世的人选择怎样度过他最后岁月的问题上，我们都充满兴趣。当然，我说的是有选择权利的自由人，而不是死刑犯。死刑犯的活动范围是受到严格限制的。
这样的故事使我们思索，想知道如果我们自己在相似的情况下，应该做什么？临死之时，什么样的事情、体验、关系应该被放入最后的时光中呢？回忆往昔，什么使我们快乐开心，什么又使我们抱憾呢？
有时，我常这样想，每天活得就像明天就死去一样，这或许是一个非常好的规则。这样的态度可以鲜明地强调生命的价值。我们应该生活得优雅从容，朝气蓬勃，观察敏锐，而这些将会日复一日、月复一月、年复一年慢慢丢失。当然，也有一些人一生只是“吃、喝、享受”，然而，大多数人在得知死亡的确切存在时，都会有所收敛。
在故事中，将死的主人公通常都在最后的时刻由于幸运的突然降临而获救，并且从此以后他的价值观就改变了。他变得更加理解生命的意义及其永恒的精神价值。经常可以看到一些人，即使生活在死亡的阴影下，仍然对他所做的每件事情充满了甜美的感情。
然而，我们中的大多数人认为生活是理所当然的。我们知道总有一天我们要面对死亡，但总认为那一天还在遥远的将来。当我们身强体健时，死亡似乎是不愿想象的，我们很少考虑它。日子多得好像没有尽头。因此，我们一味忙于琐事，却没意识到这样对待生活的态度太盲目。
我担心同样的冷漠也存在于我们对自己所有官能和意识的使用上。只有聋子感激听力，只有瞎子才能体会到看见事物的乐趣。这种研究特别适合那些在成年期丧失了视力与听力的人。而那些从未体会过丧失视力和听力之苦的人，很少能充分使用这些美好的官能。他们心不在焉，也不太感兴趣用眼睛和耳朵模糊地看着和听着周围的一切。正如人们不知道珍惜自己拥有的，直到失去了才明白它的价值一样。人们只有在病的时候，才意识到健康的好处。
我经常这样想，如果每个人在他的早期成年生活中有一段时间变瞎变聋了，这将是一件非常好的事情。
黑暗将使他更加感激光明，寂静将告诉他声音的美妙。
我经常测验我那些视力完好的朋友，探究他们看到了什么。
最近，我的一位好友来拜访我，她刚从森林里散步了很长的时间归来，我问她都看到了些什么。“没什么特别的东西。”她回答说。如果不是习惯了这样的回答，那我一定会对此觉得不可思议，因为我早就相信，眼睛是看不到什么东西的。
我问自己，在森林里走了一个多小时，竟然没有看到任何可看的东西，这怎么可能？就连我这个看不见东西的人，只靠触摸都能发现许许多多令我感兴趣的事物。我感到一片叶子的娇嫩与匀称，我充满爱意地抚摸着白桦树银色光滑的外皮，或者松树粗糙的表皮。春天，我满怀希望地抚摸着树枝，寻找着大自然冬眠苏醒后的第一个标志——花蕾。我感觉到花儿那令人愉悦的如天鹅绒般光滑的质感，同时又发现了它那引人注目的卷曲。大自然中千奇百怪的事物就这样展现在我面前。偶尔，如果幸运的话，我轻轻地将手放在一棵小树上，就能感到小鸟放声歌唱时的快乐的跳跃。我喜欢让清凉的溪水从我张开的指间滑过。就我个人而言，芬芳的松针地毯或轻软的草地要比最奢华的波斯地毯更受欢迎；对我来说，四季的变迁，就像一场令人激动万分并且没有休止的戏剧，它们的行动像溪水一样流过我的指间。
有时，我在内心呐喊，渴望能看看所有的事物。只是摸一摸就给我带来了如此多的快乐，如果能看到的话，我将发现多少美丽啊！然而，那些视力完好的人很少看见什么。他们认为，世界上千姿百态的行为以及丰富多彩的颜色，是理所当然的事情。这就是人类，很少关注已有的东西，却渴望得到自己没有的东西。然而，在明亮的世界里，将视力的天赋只看做一种方便之举，而不看做充实生活的手段，这是非常可惜的。
如果我是一所大学的校长，我将设这样一门必修课：“怎样利用你的眼睛？”教授应当试着向他的学生揭示，他们可以将新的快乐带入生活，只要他们能真正看清那些他们不曾注意过的事物。教授还应当努力唤醒他们身上那些沉睡懒散的官能。
我可以用想象来很好地描述一下，如果我能重见光明，哪怕只有3天时间，我最想看到什么。而且，我在幻想，假设是你自己，你只有3天多的时间来看这个世界的话，你将怎样利用你的眼睛呢？假如随着第3天黑夜的到来，太阳将永远不会再从你面前升起，你将如何度过这短暂的、宝贵的3天呢？你最有可能将目光停留在什么上面？
很自然的，那些在我的黑暗岁月中对我最亲切的东西是我最想看到的。我想，你也希望将目光停留在那些使你感到最亲切的东西上。这样，你就可以把它化为回忆带进无尽的黑夜中去。
如果靠某种奇迹我能恢复3天光明，然后再回到黑暗里去的话，我将把这3天分为3个阶段。
第一天
在第一天，我要看到那些善良的、温和的、友好的人，是他们使我的生活变得有价值。首先，我想长久地凝望我亲爱的教师——安妮？莎莉文？麦西夫人的脸。当我还是孩子的时候，她就来到我家，给我打开了外面的世界。为了将她珍藏在我的记忆中，我不仅要看她脸部的轮廓，还要仔细研究那张脸，找出同情的温柔和耐心的活生生的例子，她就是靠这些完成了教育我的困难任务。我想从她的眼睛里，看出使她能坚定地面对困难的坚强个性和她经常向我展露出的对于人类的同情心。
我不知道怎样通过“心灵的窗户”——眼睛去探索一个朋友的内心世界。我只能通过指尖，“看到”一张脸的轮廓。我能感觉到高兴、悲伤和许多其他明显的情感。通过触摸他们的脸，我可以了解我的朋友们。但是，我无法通过触摸来明确说出他们的个人特征来。当然可以通过其他方法，例如通过他们对我表达的思想，通过他们对我显示的一切行为，来探究他们的个性。但是，我不认为对他们能有更深的了解，只能通过亲眼见到他们，亲眼看见他们对各种思想和环境的反应，亲眼看到他们的眼神和表情即时瞬间的反应来实现。
对于我身边的朋友，我很了解，因为，经过多年的交往，他们已向我显示了自己的各个方面。但是，对于那些偶然遇到的朋友，我只有一个不完整的印象，这个印象还是从一次握手，我用手指触摸他们的嘴唇，或他们拍我的手掌的暗语中得到的。
而对于视力完好的你们来说，这就容易得多，并且也比较令人满意。你们只要观察他表情的微妙变化、肌肉的颤动、手的摇晃，就可以迅速地抓住这人的基本个性。然而，你曾经想过用你的眼睛刺探一个朋友或是熟人的内在本质吗？你们那些视力完好的大多数人只是随便看看一张脸的轮廓，并且到此为止，这难道不是事实吗？
举个例子，你能准确地描绘出5个好朋友的面貌吗？有些人可以做到，但多数人是做不到的。根据一个试验，我问过许多结婚几年的丈夫，他们妻子的眼睛是什么颜色的？他们通常很尴尬，也很困惑，老实承认自己确实不知道。顺便提一句，妻子们大多抱怨他们的丈夫不注意新衣服、新帽子和房间布置的改变。
正常的人们很快就会习惯他们周围的环境，事实上他们只注意奇迹和壮观景象。然而，即使在看最壮观的景色时，他们的眼睛也是懒惰的。法庭的记录每天都表明“目击证人”看到的是多么不准确。不同的证人可以从不同的角度来看同一事件。有些人可以看得更多些，但很少有人能将自己视力范围内的每件事情都收入眼底。
啊，如果我有3天光明的话，我该看些什么东西呢？
第一天将是很繁忙的一天。我要把所有的好朋友都叫来，好好端详他们的面容，将他们外貌下的内在美深深地刻在我的脑海里。我还要看一个婴儿的面孔，这样我就能欣赏到一种充满渴望、天真无邪的美，它是一种没有经历过生活斗争的美。
我还应该看看我那群忠诚的值得信赖的狗的眼睛——严肃而机警的小斯科第？达基和那高大健壮而又善解人意的大戴恩？海尔加，它们热情、温柔而淘气的友谊使我感到惬意。
在那紧张的第一天里，我还要仔细观察我家里那些简朴的小东西。看看脚下地毯那热情奔放的颜色，墙上美丽的壁画和那些把一所房屋变成一个家的熟悉的小东西。我会充满敬意地凝视我所读过的那些盲文书，不过，我将更热切地盼望看到那些供正常人读的印刷书籍。因为在我那漫长的黑夜生活里，我读过的以及别人读给我听的书已经在我面前筑成一座伟大光明的灯塔，向我揭示人类生命和人类精神的最深源泉。
在恢复光明的第一天下午，我将在森林里进行一次长时间的散步，让自己的眼睛陶醉在自然界的美丽风景中，我将在这有限的几小时内，如痴如醉地享受那永远只向视力正常的人展露的壮观美景。在结束森林散步返回家的路旁如果有一个农场，我便能看到耐心的马儿在田间犁地（也许我只能看到拖拉机了）和那些依靠土地生存的人宁静满足的生活。我还要为绚丽多彩而又壮观辉煌的日落祈祷。
当夜幕降临之后，通过人类天才发明的人造灯光，我应该体会到双重的快乐。这是当大自然的黑夜来临时，人类为增强自己的视力而发明的。
在恢复光明的第一天夜里，我不可能睡着，脑海里满是对白天的回忆。
第二天
翌日——也就是恢复光明的第二天，我将黎明即起，看那由黑夜变成白天的激动人心的奇观。我将怀着敬畏的心情去观赏那壮观莫测的变幻景象，太阳正是用它唤醒了沉睡的大地。
我想利用这一天对整个世界的历程作一瞥。我想看看人类进步的壮观景象以及历史的沧桑巨变。如此多的东西怎样才能压缩到一天内看完呢？当然，这只能通过历史博物馆了。我经常参观纽约自然历史博物馆，用手触摸过那里展出的许多物品。但是，我多么渴望能用自己的眼睛看一看这经过浓缩的地球历史，以及陈列在那里的地球居民——各种动物以及处于本土环境对不同种族的描摹；看看恐龙巨大的骨架和早在人类出现以前就漫游在地球上的柱牙象，人类就是靠渺小的身躯和发达的大脑征服了动物王国；看看那些展现动物和人类进化过程的逼真画面，和人类用来为自己在这个星球上建造安全居所的那些工具；还有自然历史中许许多多其他方面的东西。
我怀疑有多少本文读者曾仔细观察过在那个激动人心的博物馆里展出的那些栩栩如生的展品的全貌。当然，许多人可能没有这样的机会。不过，我敢肯定，许多有这种机会的人却没有好好地善用它。那儿确实是一个用眼的好地方。视力正常的人们可以在那里度过无数个充实的日子。而在我的想象中，短短的3天光明，只能匆匆一瞥便得离去。
我的下一站将是大都会艺术博物馆。就像自然历史博物馆向我们揭示世界的物质方面一样，大都会艺术博物馆将展现出人类精神的各个侧面。在人类历史中，对艺术表达方法的渴望几乎和人类对于食物、住房、生育的热望同等强烈。在这里，在大都会博物馆的巨型大厅里，埃及、希腊、罗马的精神思想通过他们的艺术表达出来。通过我双手的触摸，我很熟悉古埃及男女诸神的雕像，能感觉到复制的巴特农神庙的中楣，也能感觉出还在发起进攻的雅典武士那种节奏美。阿波罗、维纳斯以及萨摩德拉斯岛的胜利女神都是我指尖的朋友。多瘤而又蓄有长须的荷马让我感觉尤为亲切。因为他了解盲人。
我的手曾逗留在罗马时代以及更晚期的那些栩栩如生的大理石雕塑上，我的手曾经抚摸过米开朗琪罗那激动人心的石膏像英雄摩西，我也能感知到罗丹的才能，对哥特式木刻的奉献精神深感敬佩。这些能用手触摸的艺术品，我能理解它们的意义，而那些只能看到不能摸到的东西，我只能通过猜测来领悟那一直远避我的美。我可以欣赏希腊花瓶那简朴的线条，然而，它的图案装饰我无法得知。
就这样，在我恢复光明的第二天，我就试图通过艺术去刺探人类的灵魂。通过触摸可以了解的东西，现在可以用眼睛来看了。宏伟而又壮观的绘画世界将在我的面前展开，从带有宁静宗教风险色彩的意大利原始艺术到具有狂热想象意味的现代派艺术。我要细细观察拉斐尔、列奥纳多？达？芬奇、提香、伦勃朗的油画，也想让眼睛享受一下委罗涅塞那绚丽的色彩，研究一下埃尔？格里柯的神秘，并从柯罗那里体会自然的新意。啊，这么多世纪以来的艺术，为视力正常的人们提供了多少绚丽的美和深广的意义啊！
凭着对艺术圣殿的短暂造访，我不可能把只向你们打开的伟大艺术世界里的每个部分都考虑得很清楚，我得到的只能是一个表面肤浅的印象。艺术家们告诉我，如果想真实而深刻地评价艺术，就必须培养自己的眼睛，一个人必须从品评线条、构图、形式和色彩的经历中去学习。如果我能看见东西的话，我是多么乐意去着手这件令人着迷的研究啊！然而我被告知，对于你们大多数视力正常者来说，艺术世界是一个沉沉的黑夜，无法探索也难以找到光明。我无可奈何，不情愿地离开大都会博物馆，那儿收藏着发现美的钥匙——这种美已经被人们所忽略。然而，视力正常的人并不需要从大都会博物馆里去寻找发现美的钥匙。人们在较小的博物馆里，甚至在那些小图书馆书架上的书本里也能找到同样的钥匙。当然了，在我想象中能看见东西的有限时光里，我将选择这样一个地方，在那里发现美的钥匙可以在最短的时间内打开最伟大的宝库。
第二个恢复光明的夜晚，我想去戏院看一场电影。虽然我现在经常出席各种戏剧表演，可剧情得让一位陪同人员拼写在我的手上。我多想用自己的眼睛看一看哈姆雷特那迷人的形象，或者穿梭于绚丽多彩的伊丽莎白式服装的人物之中的福斯塔夫。我多么想模仿优雅的哈姆雷特的每一个动作和健壮的福斯塔夫的每一次昂首阔步。因为我只能看一场戏，这使我进退两难，但是我想看的戏实在太多了。你们视力正常的人可以看你们想看的任何戏，不过，我怀疑你们之中究竟有多少人在全神贯注于一场戏、一部电影或别的壮观景象的时候，是否意识到并感激那让你享受其色彩、优美和动作的视力的奇迹呢？
除了在触摸的有限范围内，我无法享受节奏感动作的美。尽管我明白节奏欢快的奥妙，因为我经常通过地板的颤动去感受音乐的节拍，但是我也只能模糊地领略帕芙洛娃的魅力。我可以想象出那富于节奏感的动作，一定是世间最赏心悦目的奇景之一。我可以通过手指去触摸大理石雕像的线条来感悟这一点。如果静止的美可以如此可爱，那么看到运动中的美肯定更令人振奋和激动！
我最深切的回忆之一是在排练可爱的《瑞普？凡？温克尔》，约瑟夫？杰斐逊做着动作讲着台词的时候，他允许我触摸他的脸和手。这使我对戏剧世界有了贫乏的一瞥，我将永远不会忘记那一刻的兴奋和欢乐。但是，我肯定还遗漏了许多东西。你们视力正常的人能从戏剧表演中通过看动作和听台词获得多么高的享受啊。就算我只能看一场戏，我也能明白我读过或通过手语字母而进入我脑海的一百场戏的情节。
所以，我想象中恢复光明的第二天的夜晚，戏剧文学中的许多伟大形象将挤进我的梦想。
第三天
第三天的清晨，我将再次去迎接那初升的旭日，希望发现新的欢乐。因为我确信，那些视力正常的人肯定会发现，每个黎明都充满了千姿百态、变幻无穷的美。
根据我想象中奇迹的日期，这是我恢复光明的第三天，也是最后一天。我没有时间去遗憾或渴望了，那儿有太多的东西要去看。我把第一天给了我的朋友，给了那些有生命和没有生命的人间万物；第二天展现在我面前的，是人类和自然的历史。今天我要在现实世界里，在从事日常生活的人们中间度过。除了纽约，你还能在别的什么地方发现人类这么多的活动和这样纷繁的情景呢？于是，纽约成为我的目的地。
我从位于静谧的长岛森林山郊区的家中出发。许多整洁的小屋在绿地、树木、鲜花的拥抱中，四周回荡着妇女儿童说笑走动的欢乐声音，这里真是城市劳动者安静的休息之所。当我驱车穿越横跨东河的钢式网状桥时，感觉到了新的激动，感受到人类内心的智慧和力量。河上千帆竞发、百舸争流。如果我以前能看见东西的话，我将用很多时间来欣赏河上的热闹活动。
举目前望，面前耸立着奇异的纽约塔，这城市就像是从神话故事的书页中跳出来似的。这是多么令人激动敬畏的奇景啊！这些闪闪发光的尖塔，这些钢和石块构筑的巨大堤岸，就像神为自己修建的一样。这幅有生气的画卷是千百万人每日生活的一部分，我担心很少有人能够注意这些。他们的眼睛经常无视这些壮丽景观的存在，因为他们对这些已经太熟悉了。
我匆匆忙忙登上那些大型建筑之一——帝国大厦的顶层，就在不久前，我在那里通过秘书的眼睛“看到”了脚下的城市。我急于把我的想象和真实世界作一次比较。我坚信展现在我面前的这幅画卷绝不会使我失望，因为对于我来说它将是另一个世界的景况。
现在我开始周游这个城市。首先我站在繁忙的一隅，只是看来往的人群，试着从观察中去了解他们生活中的一些东西。看到他们微笑，我也开心；看到他们如此果断，我感到骄傲；看到他们遭受痛苦，我深感同情。
我漫游到第五大道，将视野从聚精会神的注视中解放出来，以便不留意特殊的事物而只看一看瞬息万变的色彩。我相信人流中妇女衣着的色彩，肯定是我最看不厌的灿烂奇观。不过，假如我能看见的话，可能我也会像大多数妇女一样，过分地注重服装的个性化风格和个性化的剪裁式样，而忽略宏观色彩的壮美。我还确信我会变成一个橱窗前的常客，因为观看橱窗中五光十色的美丽商品一定会令眼睛愉悦。
从第五大道开始游览整个城市——我要到花园大街去，到贫民区去，到工厂去，到孩子们嬉戏的公园去。通过访问外国居民，我作了一次不离本土的境外旅行。对于开心和伤痛等一切东西，我都睁大眼睛去关心，以便能深刻探索和进一步了解人们是如何工作和生活的。我的心里充满了对人和物的想象，我的目光将轻轻地滑过但不漏下任何一个细小的东西，它力图紧紧抓住它所凝视的每一件事物。有些场景是令人愉快的，内心充满了喜悦，可有些情景使我感到悲哀和忧郁。我不会对后者闭上眼睛，因为它们也是生活的一部分，对它们闭上眼睛就等于关闭了心灵，禁锢了思想。
我恢复光明的第三天就要结束了，可能我应该把这剩下的几小时用于许多重要的探索上，可是我担心在这最后一夜，我会再次跑到剧院去看一出狂喜的滑稽戏，以便能欣赏人类精神世界里喜剧的弦外之音。
到午夜，刚刚从盲人痛苦中得到的临时解脱就要结束了，永久的黑暗将重新回到我的身边。很自然短暂的3天时间，不可能让我看完我要看的全部事物，只有当黑暗重新降临在我的身上时，我才会感到我没有看到的东西实在太多了。不过，我的脑海中已经充满了那壮丽景色的回忆，很少有时间去遗憾。今后无论摸到什么物体，都会给我带来它是什么形状的鲜明回忆。
如果有朝一日你也将变成一个盲人的话，你或许对我这如何度过三天可见时光的简短提纲提出异议，并作出自己的安排。但是，我相信，如果你真的面临如此命运的话，你的眼睛将会向以前从不注意的事物睁开，为即将到来的漫漫黑夜储存记忆。你将会一反常态地去利用自己的眼睛，你所看到的东西都是那么的亲切，你的目光将捕捉和拥抱任何你视野所及的东西，最后你会真正看到一个美丽的新世界在你面前打开。
我作为一个盲人，给你们视力正常的人们一个暗示，给那些充分利用眼睛的人提一个忠告：好好使用你的眼睛，就好像明天你就会突然变瞎。这样的办法也可使用于别的官能。认真地去聆听各种声响、鸟儿的鸣唱、管弦乐队铿锵的旋律，就好像你明天有可能变成聋子。去抚摸你想触及的那一切吧，就像明天你的触觉神经就要失灵一样；去嗅闻所有鲜花的芬芳，品尝每一口食物的滋味吧，如同明天你就再也不能闻也不能尝一样。充分发挥每一种官能的最大作用，为这个世界向你展示的多种多样的欢乐和美而高兴吧，这些美是通过大自然提供的各种接触的途径所获得的。不过在所有的官能中，我敢保证视力是最令人兴奋和高兴的。
心灵小语
只有3天的光明，却悟出了生命的哲理。
记忆填空
1. What__ ， what experiences， what associations should we crowd into those last__ as mortal beings？ What happiness should we find in reviewing the__ ， what regrets？
2. On the__ day， I should want to see the people whose kindness and gentleness and companionship have made my life__ living.
3. Perhaps this short outline of how I should__ three days of sight does not agree__ the program you would set for yourself if you knew that you were about to be stricken__ .
佳句翻译
1. 正如人们不知道珍惜自己拥有的，直到失去了才明白它的价值一样。人们只有在病的时候，才意识到健康的好处。
译__________________
2. 黑暗将使他更加感激光明，寂静将告诉他声音的美妙。
译__________________
3. 我想利用这一天对整个世界的历程作一瞥。
译__________________
短语应用
1. Most of us， however， take life for granted.
take for granted：认为……理所当然
造__________________
2. The days stretch out in an endless vista.
stretch out：延伸；绵延
造__________________
梦中儿女
Dream Children
查尔斯·兰姆 / Charles Lamb
查尔斯·兰姆（1775—1834），英国最杰出的小品文作家、散文家。因家境贫寒，15岁便辍学谋生，供职于东印度公司长达32年之久。兰姆十分赞赏浪漫主义思潮中人性主义的主张，并把这些用于自己温情款款的个性化散文创作。同时，他也热爱城市生活，善于用敏锐独特的眼光捕捉市井生活中变幻的都市风情。他对英国文学的真正贡献来自于他后期的《伊里亚随笔》，其丰富的情趣和精妙的表述为兰姆赢得了英国散文创作中首屈一指的地位。
Children love to listen to stories about their elders， when they were children； to stretch their imagination to the conception of a traditionary great-uncle or great-aunt， whom they never saw. It was in this spirit that my little ones crept about me the other evening to hear about their great-grandmother Field， who lived in a great house in Norfolk (a hundred times bigger than that in which they and papa lived) which had been the scene — so at least it was generally believed in that part of the country — of the tragic incidents which they had lately become familiar with from the ballad of the Children in the Wood. Certain it is that the whole story of the children and their cruel uncle was to be seen fairly carved out in wood upon the chimney-piece of the great hall， the whole story down to the Robin Redbreasts； till a foolish rich person pulled it down to set up a marble one of modern invention in its stead， with no story upon it. Here Alice put out one of her dear mother’ s looks， too tender to be called upbraiding.
Then I went on to say， how religious and how good their great-grandmother Field was， how beloved and respected by everybody， though she was not indeed the mistress of this greenhouse， but had only the charge of it (and yet in some respects she might be said to be the mistress of it too) committed to her by the owner， who preferred living in a newer and more fashionable mansion which he had purchased somewhere in the adjoining county； but still she lived in it in a manner as if it had been her own， and kept up the dignity of the great house in a sort while she lived， which afterwards came to decay， and was nearly pulled down， and all its old ornaments stripped and carried away to the owner’ s other house， where they were set up， and looked as awkward as if some one were to carry away the old tombs they had seen lately at the Abbey， and stick them up in Lady C.’ s tawdry gilt drawing-room. Here John smiled， as much as to say， “that would be foolish indeed.” And then I told how， when she came to die， her funeral was attended by a concourse of all the poor， and some of the gentry too， of the neighborhood for many miles round， to show their respect for her memory， because she had been such a good and religious woman’ s good indeed that she knew all the Psaltery by heart， aye， and a great part of the Testament besides. Here little Alice spread her hands.
Then I told what a tall， upright， graceful person their great-grandmother Field once was； and how in her youth she was esteemed the best dancer — here Alice’ s little right foot played an involuntary movement， till upon my looking grave， it desisted — the best dancer， I was saying， in the county， till a cruel disease， called a cancer， came， and bowed her down with pain； but it could never bend her good spirits， or make them stoop， but they were still upright， because she was so good and religious. Then I told how she was used to sleep by herself in a lone chamber of the great lone house； and how she believed that an apparition of two infants was to be seen at midnight gliding up and down the great staircase near where she slept， but she said “hose innocents would do her no harm；” and how frightened used to be， though in those days I had my maid to sleep with me， because I was never half so good or religious as she — and yet I never saw the infants. Here John expanded all his eyebrows and tried to look courageous.
Then I told how good she was to all her grand-children, having us to the great house in the holidays, where I in particular used to spend many hours by myself, in gazing upon the old busts of the Twelve Caesars, that had been Emperors of Rome, till the old marble heads would seem to live again, or I to be turned into marble with them, how I never could be fired with roaming about that huge mansion, with its vast empty moms, with their worn-out hangings, fluttering tapestry and carved oaken panicle, with the gilding almost rubbed out — sometimes in the spacious old— fashioned gardens, which I had almost to myself, unless when now and then a solitary gardening man would cross me — and how the nectarines and peaches hung upon the walls, without my ever offering to pluck them, because they were forbidden fruit, unless now and then, — and because I had more pleasure in strolling about among the old melancholy-looking yew trees, or the firs, and picking up the red berries, and the firapples, which were good for nothing but to look at — or in lying about upon the fresh grass, with all the fine garden smells around me — or basking in the orangery, till I could almost fancy myself ripening, too; along with the oranges and the limes in that grateful warmth — or in watching the dace that darted to and fro in the fish pond, at the bottom of the graven, with here and there a great sulky pike hanging midway down the water in slient state, as if it mocked at their impertinent frisking, — I had more pleasure in these busy-idle diversions than in all the sweet flavors of peaches, nectarines, oranges, and such like common baits of children. Here John slyly deposited back upon the plate a bunch of grapes, which, not unobserved by Alice, he had meditated dividing with her, and both seemed willing to relinquish them for the present as irrelevant.
Then, in somewhat a more heightened tone, I told how, though their great-grandmother Field loved all her grand-children, yet in an especial manner she might be said to love their uncle, John L.— because he was so handsome and spirited a youth, and a king to the rest of us; and, instead of moping about in solitary comers, like some of us, he would mount the most mettlesome horse he could get, when but an imp no bigger than themselves, and make it carry him half over the county in a morning, and join the hunters when there were any out — and yet he loved the old great house and gardens too, but had too much spirit to be always pent up within their bounties — and how their uncle grew up to man’ s estate as brave as he was handsome, to the admiration of everybody, but of their great-grandmother Field most especially; and how he used to carry me upon his back when I was a lame — footed boy— for he was a good bit older than me — many a mile when I could not walk for pain; — and how in after life he became lame-footed too, and I did not always (I fear) make allowances enough for him when he was impatient and in pain, nor remember sufficiently how considerate he had been to me when I was lame-footed; and how when he died, though he had not been dead an hour, it seemed as if he had died a great while ago, such a distance there is betwixt life and death; and how I bore his death ask thought pretty well at first, but afterwards it haunted and haunted me; and though I did not cry or take it to heart as some do, and as I think he would have done if I had died, yet I missed him all day long, and knew not till then how much I had loved him, I missed his kindness, and I missed his crossness, and wished him to be alive again, to be quarrelling with him (for we quarreled sometimes), rather than not have him again, and was as uneasy without him, as he their poor uncle must have been when the doctor took off his limbo Here the children fell a crying, and asked if their little mourning which they had on was not for uncle John, and they looked up, and prayed me not to go on about their uncle, but to tell them some stories about their pretty dead mother.
Then I told how for seven long years, in hope sometimes, sometimes in despair, yet persisting ever, I courted the fair Alice W. and, as much as children could understand, I explained to them what coyness, and difficulty, and denial meant in madness — when suddenly turning to Alice, the soul of the first Alice looked out at her eyes with such a reality of representment, that I became in doubt which of them stood there before me, or whose that bright hair was; and while stood gazing, both the children gradually grew fainter to my view, receding, and still receding, fill nothing at last but two mournful features were seen in the utter most distance, which, without speech, strangely impressed upon me the effects of speech: “We are not of Alice, nor of thee, nor are we children at all. The children of Alice call Barman father. We are nothing; less than nothing, and dreams. We are only what might have been, and must wait upon the tedious shores of Lethe millions of ages before we have existence, and a name” and immediately awaking, I found myself quietly seated in my bachelor armchair, where I had fallen asleep, with the faithful Bridget unchanged by my side — but John L.(or James Elia) was gone forever.
孩子们都爱听长辈们年少时的故事，他们会对素未谋面的叔公或老祖母展开想象。在一个夜晚，正是带着这种精神，我的孩子们围在我身边，听他们老祖母菲尔德的故事。菲尔德住在诺福克郡的一所大房子里（要比我们现在住的大100倍）。那是一个发生过悲剧的地方——至少当地人都这样认为。孩子们最近从《林中的孩子》这首民谣中知道了诺福克郡大房子里的故事。实际上，孩子们、凶残叔叔和知更鸟的整个故事，竟然被雕刻在那所房子客厅的壁炉架上，直到一个愚蠢而又富有的人把它变成一块现代的大理石。故事讲到这里时，艾丽丝脸上表现出酷似她亲爱的母亲的神情，温柔得让人不忍心再去责难。
接着，我开始讲他们的老祖母是多么虔诚、多么善良，多么受人爱戴与尊敬，尽管她并不是那所房子的主人，而只是一名管家（然而，从某种意义上讲，她也算是女主人），效忠于她的主人。房子的主人更喜欢住在已经买下的附近的那所房子里，它更新、更时髦。而他们的老祖母仍住在那里，好像那房子已成为她自己的一样。在她的有生之年，她尽量维护着那所老房子的体面，后来房子颓败不堪，几乎要倒塌了，而且房屋中古旧的装饰物都被拆卸下来，装到了主人的另一所房子里。这些装饰物竖在那里，像是有人把最近他们看到的被盗古墓里的东西，堆放在贵妇人华丽的镀金客厅里一样。讲到这里，约翰笑了，似乎在说“那的确够愚蠢”。然后，我告诉他们老祖母是怎样、什么时候去世的，方圆数英里的穷人和一些贵族都参加了她的葬礼，以表达对她的怀念与尊敬之情。因为他们的老祖母是那样一个善良、虔诚的女人，她熟记所有的赞美诗，以及《新约》的大部分内容。这时，艾丽丝不禁伸开双手表示敬仰。
再后来，我告诉他们菲尔德老祖母曾经多么的高挑、美丽，年轻时被公认为是最出色的舞者——这时，艾丽丝的小右脚不由自主地踏起了节奏，直到看到我神情严肃，才停止——我正在说他们的老祖母曾是村里跳舞跳得最好的。后来，她得了一种叫癌症的可怕疾病，疾病的痛苦给了她很大打击，然而，从来没有击倒她的精神，也没有使她屈服。她的精神依旧高昂，因为她是那样的善良和虔诚。我还告诉孩子们，她过去是怎样习惯于一个人睡在那所空荡荡的大房子里的。她相信，午夜的时候能看见两个孩子的灵魂，它们在她房间附近的楼梯上滑上滑下。但是，她说：“那两个天真的幽灵并不会伤害我。”尽管现在女佣会陪我睡，但是我还是常常感到害怕，因为我连她的一半善良和虔诚都没有，从来都是。不过，我也从来没有见过那两个鬼魂。这时，约翰挑起他的眉毛，想要表现得很勇敢。
接着，我谈到菲尔德祖母对孙子、孙女有多好。宗教节日的时候，她总会接我们到那所大院里去。在那里，我尤其喜欢一个人待上几个小时，凝视着那12个古老的恺撒——古罗马皇帝的半身像，直到这些古旧的大理石似乎复活了，或者我也同他们一样变成了大理石。那所巨宅里有大而空的房间、破旧的帷帐、舞动的织锦和雕刻的橡木面板（上面的镀金几乎剥蚀干净了）。我曾不知疲倦地在那里游荡。有时，我也会到古式的大花园里去，那里几乎也只是我一个人，除了偶尔会有一个园丁从我身边经过。那里油桃与蜜桃挂满了围墙，可是我从来没有勇气去采摘，因为那些都是禁果，除非偶尔为之。
还因为我更喜欢在古老而略显忧郁的紫杉或冷杉间穿行，摘一些红浆果或冷杉球果。除了欣赏，这些东西什么用处都没有。或者躺在鲜嫩的草地上，让花园中各种美好的气息围绕在我身边；或者在橘园晒太阳，在那暖洋洋的阳光里，我幻想着自己同橘子一起慢慢成熟；或者看雅罗鱼在鱼塘里急速地游来游去，在池底，随处可以看到一只阴沉的梭子鱼傲慢地停在水中央，似乎在嘲笑雅罗鱼的鲁莽行为。比起蜜桃、油桃、橘子，以及其他这类对孩子有诱惑的东西，我更喜欢这忙中有闲的娱乐。这时，约翰把一串葡萄偷偷放回盘中，艾丽丝也一定看到了葡萄，约翰原本是想要和她一起分享的，而此刻两人都若无其事地抛弃了它。
然后，我稍稍提高了声音继续讲下去。我告诉他们，尽管他们的曾祖母非常疼爱所有的孙子孙女，但是她更宠爱他们的伯伯——约翰，因为他是一个非常英俊、非常勇敢的小伙子，也是我们的孩子王。他不像我们闷闷不乐地独自待在凄凉的角落。在像我们这样大的时候，他就会骑上能找到的最狂野的马，早晨驾驭着它跑遍半个村子，在猎人们出发的时候加入他们的队伍。不过，他也喜欢那座古老的房子和花园，只是他的精力过于旺盛，忍受不了那里的束缚。他们的伯伯成年后，依旧那样英俊神武，让每个人都钦慕不已，他们的曾祖母更是引以为荣。当我由于疼痛不能走路，也就是跛脚的时候，年长于我的伯父便常常背着我走上数英里。
再后来，他也瘸了腿，而我恐怕在他烦躁、痛苦的时候，不能总是给他足够的照顾，也不能记起在我腿瘸时，他是怎样悉心呵护我的。而当他死的时候，尽管只过了一个小时，我却觉得过了好久，这就是生与死的距离。起初，我还能让自己平静地接受他的离去，但是后来，这种痛苦时时折磨着我。尽管我没有像其他人那样伤心落泪，幻想自己可以代替他去死，但是我整日整夜地思念他，直到那时我才知道我多么爱他。我想念他的善良，想念他的固执，希望他能活过来，再跟他吵吵架（因为我们有时会吵），而不想失去他。失去他，我的不安就像他被大夫手术时一样令人痛苦。——这时，孩子们哭了。他们问他们身上的丧服是否是为约翰伯伯穿的。他们抬着头，请求我不要再讲述有关伯伯的事情，而是谈谈他们已故的漂亮妈妈。
于是，我给孩子们讲道，在追求那个精灵般的女子七年的时间里，我时而充满希望，时而又失望不已，然而始终不渝。我尽量以孩子们能理解的程度，向他们解释少女身上的羞怯、敏感与回绝——当我突然转向艾丽丝时，第一个艾丽丝的灵魂在小艾丽丝的眼里活生生地出现了，以至于我有些怀疑是谁站在我的面前。而当我定睛看去时，两个孩子在我的视野中渐渐地变得模糊，越来越远，直到消失，只在最远的地方剩下哀伤的面孔。尽管她们什么也没说，但我仿佛听到了他们的话：“我们不是艾丽丝的孩子，不是你的孩子，我们也不是孩子。艾丽丝的孩子叫巴尔曼爸爸。我们什么也不是，连梦幻都不是。我们只是可能存在的人物，在真实存在之前，我们必须要遗忘河边苦苦等上数百万年，然后才有一个名字。”——我突然惊醒，发现自己静静地坐在我的轮椅上。原来，我在那里睡着了，忠诚的布里吉特还守在我身边，但是约翰（或者詹姆斯）永远失去了踪影。
记忆填空
1. Children love to listen to__ about their elders，__ they were children； to stretch their imagination to the conception of a traditionary great-uncle or great-aunt， whom they__ saw.
2. Here John slyly deposited back__ the plate a bunch of grapes， which， not unobserved by Alice， he had meditated dividing__ her， and both seemed willing__ relinquish them for the present as irrelevant.
佳句翻译
1. 这时，艾丽丝不禁伸开双手表示敬仰。
译__________________
2. 我还告诉孩子们，她过去是怎样习惯于一个人睡在那所空荡荡的大房子里的。
译__________________
3. 除了欣赏，这些东西什么用处都没有。
译__________________
短语应用
1. …as if some one were to carry away the old tombs they had seen lately at the Abbey， and stick them up in Lady C.’s tawdry gilt drawing-room.
carry away：带走（冲走，搬走，冲昏……的头脑）
造__________________
2. ...and I did not always (I fear) make allowances enough for him when he was impatient and in pain...
in pain：在痛苦中，在苦恼中
造__________________
论青年与老年
Of Youth and Age
弗朗西斯·培根 / Francis Bacon
弗朗西斯·培根（1561—1626），英国著名的唯物主义哲学家和科学家。在文艺复兴时期的巨人中，他被尊称为哲学史和科学史上划时代的人物。马克思称他是“英国唯物主义和整个现代实验科学的真正始祖”。他是第一个提出“知识就是力量”的人。培根生于伦敦一个官宦世家，12岁时，被送入剑桥大学三一学院深造。在校学习期间，他对传统的观念和信仰产生了怀疑，开始独自思考社会和人生的真谛。培根是近代哲学史上首先提出经验论原则的哲学家，对近代科学的建立起了积极的推动作用，对人类哲学史、科学史都作出了重大的历史贡献。为此，罗素尊称培根为“给科学研究程序进行逻辑组织化的先驱”。1626年，在伦敦北郊，培根由于支气管炎复发，病情恶化，于4月9日清晨病逝。
A man that is young in years， may be old in hours， if he have lost no time. But that happened rarely. Generally， youth is like the first cogitations， not so wise as the second. For there is a youth in thoughts， as well as in ages.
And yet the invention of young men， is more lively than that of old； and imaginations stream into their minds better， and， as it were， more divinely. Natures that have much heat， and great and violent desires and perturbations， are not ripe for action， till they have passed the meridian of their years； as it was with Julius Caesar and Septimius Severus...
Young men are fitter to invent， than to judge； fitter for execution， than for counsel； and fitter for new projects， than for settled business. For the experience of age， in things that fall within the compass of it， directeth them； but in new things， abuseth them.
The errors of young men， are the ruin of business； but the errors of aged men， amount but to this， that more might have been done， or sooner. Young men， in the conduct and manage of actions， embrace more than they can hold； stir more than they can quiet； fly to the end， without consideration of the means and degrees； pursue some few principles， which they have chanced upon absurdly care not to innovate， which draws unknown inconveniences； use extreme remedies at first； and， that which doubleth all errors， will not acknowledge or retract them； like an unready horse， that will neither stop nor turn. Men of age object too much， consult too long， adventure too little， repent too soon， and seldom drive business home to the full period， but content themselves with a mediocrity of success. Certainly it is good to compound employments of both； for that will be good for the present， because the virtues of either age， may correct the defects of both； and good for succession， that young men may be learners， while men in age are actors； and， lastly， good for extern accidents， because authority followeth old men， and favor and popularity， youth. But for the moral part， perhaps youth will have the pre-eminence， as age hath for the politic.
一个人假使不曾虚度生活，年岁不大也可以表现得成熟老练，只不过这种情况少有发生罢了。深思未必出自风霜，岁月同样可见年轻，可一般的青年毕竟谋划不过长辈，智慧也不及他们少年老成的同龄人。
但青年的创造性是更为丰富的，想象力也如涌泉一样奔放灵活，这似乎更得益于神助。天性刚烈、心怀热望、情绪敏感的人不历经中年，行事总是青涩，恺撒和塞维拉斯即为例证……
青年擅长创造却缺乏判断，擅长行动却缺乏商讨，擅长革新却缺乏对经验的借鉴。日积月累的经验可以引导他们掌握旧事物，但也会遮盖他们看见新事物的视线。
青年人犯错往往毁坏大局，而老年人的错则是迈步太小或行动太缓。无论谋事还是操行，青年都骛远喜功，基调高，动幅大，好走极端，他们藐视前例，目空一切，革新的勇气绰绰有余，而欠方式和分寸上的考虑，结果反而招致意外的麻烦。他们有如不羁的野马，行事极端而不自知自救，一旦开蹄犯错，就泻至千里，不可复回。老年人呢？他们顾忌太多，议论过长，宁求安稳，不愿冒险，总是满足于平平成绩而不向往极致的辉煌。毫无疑问，最好是将两者特点结合。就现在来说，青年和老年可以互相取长补短。就发展来说，老年人是主事者，而青年可以学习取经。最后就社会来说，老年人以权威之姿指引方向，青年人则能振奋民心、鼓舞士气。但如果从政治上讲，老人的阅历是珍贵的，那么，青年人的纯真则在人性中熠熠闪光。
心灵小语
在人生的不同阶段，上帝赐予人不同的智慧，这智慧不分高下优劣，其价值在于彼此配合，往往能发挥出意想不到的力量。
记忆填空
1. Generally， youth is like the first cogitations， not so wise as the__ . For there is a youth in thoughts， as well as in__ .
2. Young men are fitter to invent，__ to judge； fitter for execution， than for counsel； and__ for new projects， than for settled business.
3. Men of age object too much， consult too long，__ too little， repent too soon， and__ drive business home to the full period， but content themselves__ a mediocrity of success.
佳句翻译
1. 深思未必出自风霜，岁月同样可见年轻。
译__________________
2. 青年人犯错往往毁坏大局，而老年人的错则是迈步太小或行动太缓。
译__________________
3. 老年人呢？他们顾忌太多，议论过长，宁求安稳，不愿冒险，总是满足于平平成绩而不向往极致的辉煌。
译__________________
短语应用
1. ...the errors of aged men， amount but to this， that more might have been done， or sooner.
amount to：等于；相当于
造__________________
2. Pursue some few principles， which they have chanced upon absurdly care not to innovate， which draws unknown inconveniences.
chance upon：偶然遇见；偶然发现
造__________________
青 春
Youth
塞缪尔·乌尔曼 / Samuel Ullman
塞缪尔·乌尔曼（1840—1920），犹太人，出生于德国，1851年随家人移民到美国密西西比。乌尔曼虽以教育家和社会活动家而闻名于世，但在文学创作方面也很有才华。他的《青春》因为麦克阿瑟将军的推崇而广为传颂。
Youth is not entirely a time of life； it is a state of mind； it is not a matter of rosy cheeks， red lips and supple knees； it is a temper of the will， a quality of the imagination， a vigor of the emotions； it is the freshness of the deep springs of life.
Youth means the temperamental predominance of courage over timidity， of the appetite of adventure over the love of ease. This often exists in a man of sixty more than in a boy of twenty. Nobody grows old by merely living a number of years. We grow old by deserting our ideals.
Years may wrinkle the skin， but to give up enthusiasm wrinkles the soul. Worry， doubt， self-distrust， fear and despair—these bow the heart and turn the spirit back to dust.
Whether sixty or sixteen， there is in every human being’ s heart the love of wonder， the sweet amazement at the stars and the star like things， the undaunted challenge of events， the unfailing child-like appetite for what-next， and the joy of the game of living.
You are as young as your faith， as old as your doubt； as young as your self-confidence， as old as your fear； as young as your hope， as old as your despair.
In the central place of your heart there is a wireless station， so long as it receives message of beauty， hope， courage， grandeur and power from the earth， from man and from the Infinite， so long are you young.
When the wires are all down， and all the central places of your heart are covered with the snows of pessimism and the ice of cynicism， then， and only then， are you grown old indeed.
青春不是年华，而是一种心态；不是玫瑰般的脸庞、红润的嘴唇和敏捷的双腿，而是坚韧的意志、丰富的想象力，以及无穷的激情；青春是生命深处的一股清泉。
青春意味着勇气多于怯懦，青春意味着喜欢冒险而讨厌安逸。拥有此种品质的人之中，60岁的老人往往多于20岁的年轻人。没有人只因年龄的增长而变老，人们往往因放弃理想而迈入年老。
岁月可使肌肤长满皱纹，但放弃激情则使心灵布满灰尘。焦虑、疑惑、畏缩、恐惧和沮丧都会挫伤心灵，磨损意志。
不管是白发老人还是青春少年，每个人的心里对新奇事物皆充满着喜爱，对星星和类似星星的东西皆有好奇之心，敢于挑战，对未知事物的孩子般的渴求之心，乐于享受生活带来的乐趣。
我们因充满信心而变得年轻，因心存疑虑而变得年老；因自信而年轻，因心存恐惧而年老；因充满希望而年轻，因满怀沮丧而年老。
人人心里都有一座无线电台，只要接收到来自地球、人类和宇宙的美好、希望、勇气、庄严及力量，就会变得年轻。
当心灵的天线倒下，心如大雪般的悲观、如冰块般的愤世嫉俗时，那时，唯有那时，我们将真正老去。
心灵小语
青春是一种品质，每当你睁开双眼，决定以微笑迎接崭新的一天，青春就像小鸟，已经落在你心里了。
记忆填空
1. Nobody grows old by merely living a number of__ . We grow old by deserting our__ .
2. Years may wrinkle the skin， but to__ up enthusiasm wrinkles the soul. Worry，__ ， self-distrust， fear and despair—these bow the heart and__ the spirit back to dust.
3. You are as young as your faith， as__ as your doubt； as young as your self-confidence， as old as your__ ； as young as your hope， as old as your despair.
佳句翻译
1. 没有人只因年龄的增长而年老，人们往往因放弃理想而迈入年老。
译__________________
2. 岁月可使肌肤长满皱纹，但放弃激情则使心灵布满灰尘。
译__________________
3. 我们因充满信心而变得年轻，因心存疑虑而变得年老。
译__________________
短语应用
1. These bow the heart and turn the spirit back to dust.
turn back：往回走；阻挡；翻回到
造__________________
2. When the wires are all down， and all the central places of your heart are covered with the snows of pessimism and the ice of cynicism.
be covered with：被……盖满；充满着……
造__________________
快乐吧！
Be Happy！
劳埃德·莫里斯 / Lloyd Morris
劳埃德·莫里斯（1613-1680），英国作家，作品富于机智幽默。著有《格言集》等。
本文以演绎的手法论述快乐对人的影响。作者先借梅斯菲尔德的诗引出“快乐”与“智慧”的关系，接着以人在快乐时的种种心理反应，点出快乐无处不在。最后再给予肯定的结论：快乐是智慧的开端。
“The days that make us happy make us wise.”
________ —John Masefield
When I first read this line by England’ s Poet Laureate， it startled me. What did Masefield mean？ Without thinking about it much， I had always assumed that the opposite was true. But his sober assurance was arresting. I could not forget it.
Finally， I seemed to grasp his meaning and realized that here was a profound observation. The wisdom that happiness makes possible lies in clear perception， not fogged by anxiety nor dimmed by despair and boredom， and without the blind spots caused by fear.
Active happiness—not mere satisfaction or contentment—often comes suddenly， like an April shower or the unfolding of a bud. Then you discover what kind of wisdom has accompanied it. The grass is greener， bird songs are sweeter， the shortcomings of your friends are more understandable and more forgivable. Happiness is like a pair of eyeglasses correcting your spiritual vision.
Nor are the insights of happiness limited to what is near around you.Unhappy， with your thoughts turned in upon your emotional woes， your vision is cut short as though by a wall. Happy， the wall crumbles.
The long vista is there for the seeing. The ground at your feet， the world about you—people， thoughts， emotions， pressures—are now fitted into the larger scene. Every thing assumes a fairer proportion. And here is the beginning of wisdom.
“快乐的日子，使我们聪明。”
——约翰？梅斯菲尔德
第一次读到英国桂冠诗人梅斯菲尔德这行诗的时候，我非常惊讶，它真正的寓意是什么呢？不仔细考虑的话，我一直认为这句诗倒过来才对。不过他的冷静与自信却俘获了我，所以我一直无法忘记这句诗。
终于，我好像领会了他的意思，意识到其中蕴含着深刻的观察思考。快乐带来的智慧存在于清晰的心灵感觉中，不因忧虑、担心而困惑，不因绝望、厌烦而迟钝，不因惶恐而出现盲点。
跳动的快乐——不仅是满足或惬意——会突然到来，就像四月的春雨或是花蕾的绽放，然后你发觉智慧已随快乐而来。草儿更绿，鸟儿的歌声更加美妙，朋友的缺点也变得更加可以理解、原谅。快乐就像一副眼镜，可以修正你精神的视力。
快乐的视野并不受你周围事物的局限。只不过当你不快乐的时候，思想便转向你感情上的苦恼，眼界也就被心灵之墙隔断了。而当你快乐的时候，这道墙便崩塌了。
你的眼界更宽了。脚下的大地，身旁的世界——人们、思想、情感、压力——现在都溶进了一个更加宏伟的情境中，每件事都恰如其分。这就是智慧的开端。
心灵小语
在千万种品德里，有谁敢说是智慧的开端？只有快乐，它开启眼睛、开启头脑、开启心灵，这不是智慧吗？
记忆填空
1. Without thinking about it much， I had always assumed that the__was true.__ his sober assurance was arresting. I could____ forget it.
2. The wisdom that__ makes possible lies in clear perception， not fogged by anxiety__ dimmed by despair and boredom， and without the blind spots caused by__ .
3. Happiness is like a pair of eyeglasses__ your spiritual vision.
佳句翻译
1. 快乐的日子，使我们聪明。
译__________________
2. 快乐就像一副眼镜，可以修正你精神的视力。
译__________________
3. 快乐的视野并不受你周围事物的局限。
译__________________
短语应用
1. The wisdom that happiness makes possible lies in clear perception.
lie in：在于
造__________________
2. The ground at your feet， the world about you—people， thoughts， emotions， pressures—are now fitted into the larger scene.
fit into：适合；符合
造__________________
我生命中最重要的一天
The Most Important Day in My Life
海伦·凯勒/Helen Keller
海伦·凯勒（1880—1968），美国著名残疾人作家、教育家，生于美国亚拉巴马州。两岁时，一场疾病使她变成了盲、聋、哑人。后来，她的父母请来家庭教师莎莉文女士对其进行特殊教育。同时，凯勒通过自身顽强的努力，于1904年毕业于麻省波士顿的拉德克利夫学院。后来，凯勒专职于写作和残疾人教育事业。她一生共写了19本书，其中《我生活的故事》最为著名。
The most important day I remember in all my life is the one on which my teacher， Anne Mansfield Sullivan， came to me. I am filled with wonder when I consider the immeasurable contrasts between the two lives which it connects. It was the third of March， 1887， three months before I was seven years old.
On the afternoon of that eventful day， I stood on the porch， dumb， expectant. I guessed vaguely from my mother’ s signs and from the hurrying to and fro in the house that something unusual was about to happen， so I went to the door and waited on the steps. The afternoon sun penetrated the mass of honeysuckle that covered the porch， and fell on my upturned face. My fingers fingered almost unconsciously on the familiar leaves and blossoms which had just come forth to greet the sweet southern spring. I did not know what the future held of marvel or surprise for me. Anger and bitterness had preyed upon me continually and a deep languor had succeeded this passionate struggle.
Have you ever been at sea in a dense fog， when it seemed as if a tangible white darkness shut you in， and the great ship， tense and anxious， groped her way toward the shore with plummet and sounding-line， and you waited with beating heart for something to happen？ I was like that ship before my education began， only I was without compass or sounding-line， and had no way of knowing how near the harbour was. “Light！ Give me light！” was the wordless cry of my oil， and the light of love shone on me in that very tour.
I felt approaching footsteps， I stretched out my hand as I supposed to my mother. Some one took it， and I was caught up and held close in the arms of her who had come to reveal all things to me， and， more than all things else， to love me.
The morning after my teacher came she led me into her room and gave me a doll. The little blind children at the Perkins Institution had sent it and Laura Bridgman had dressed it； but I did not know this until afterward. When I had played with it a little while， Miss Sullivan slowly spelled into my hand the word “d-o-l-l”. I was at once interested in this finger play and tried to imitate it. When I finally succeeded in making the letters correctly I was flushed with childish pleasure and pride. Running downstairs to my mother I held up my hand and made the letters for doll. I did not know that I was spelling a word or even that words existed； I was simply making my fingers go in monkey-like imitation. In the days that followed I learned to spell in this uncomprehending way a great many words， among them pin， hat， cup and a few verbs like sit， stand and walk. But my teacher had been with me several weeks before I understood that everything has a name.
One day， while I was playing with my new doll， Miss Sullivan put my big rag doll into my lap also， spelled “d-o-l-l” and tried to make me understand that “d-o-l-l” applied to both. Earlier in the day we had had a tussle over the words “m-u-g” and “w-a-t-e-r.” Miss Sullivan had tried to impress it upon me that "m-u-g" is mug and that "w-a-t-e-r" is water， but I persisted in confounding the two. In despair she had dropped the subject for the time， only to renew it at the first opportunity. I became impatient at her repeated attempts and， seizing the new doll， I dashed it upon the floor. I was keenly delighted when I felt the fragments of the broken doll at my feet. Neither sorrow nor regret followed my passionate outburst. I had not loved the doll. In the still， dark world in which I lived there was no strong sentiment or tenderness. I felt my teacher sweep the fragments to one side of the hearth， and I had a sense of satisfaction that the cause of my discomfort was removed. She brought me my hat， and I knew I was going out into the warm sunshine. This thought， if a wordless sensation may be called a thought， made me hop and skip with pleasure.
We walked down the path to the well-house， attracted by the fragrance of the honeysuckle with which it was covered. Some one was drawing water and my teacher placed my hand under the spout. As the cool stream gushed over one hand she spelled into the other the word water， first slowly， then rapidly. I stood still， my whole attention fixed upon the motions of her fingers. Suddenly I felt a misty consciousness as of something forgotten — a thrill of returning thought： and somehow the mystery of language was revealed to me. I knew then that “w-a-t-e-r” meant the wonderful cool something that was flowing over my hand. That living word awakened my soul， gave it light， hope， joy， set it free！ There were barriers still， it is true， but barriers that could in time be swept away.
我有生以来最重要的一天，就是安妮？曼斯菲尔德？莎莉文老师来到我身边的那天。那是1887年3月3日，还差3个月我就7岁了。从这一天起，我将开始全新的生活，一想到这儿，我的心中满是惊奇。
那个重要日子的午后，我站在走廊上，一声不吭，满怀期待。从母亲的手势和其他人忙来忙去的样子，我隐约感到要有不同寻常的事情发生。于是，我来到门口，站在台阶上默默地期待着。午后的阳光穿透覆盖在门廊上的一大片金银花，洒在我微微仰起的脸上。我的手指不经意间触到那熟知的花叶上——南方的花朵绽放着来迎接可爱的春天。我不清楚自己的未来会有什么惊喜和奇迹，愤怒和苦痛折磨了我已有一段时间，这种经历过后，我感到心力交瘁。
朋友，你是否曾在茫茫大雾的情况下，还在海上航行？如同一层可以触摸到的白色黑暗将你包围，大船凭借着测深锤和探深绳，紧张忧虑地在大海中探索着上岸的道路。你的心怦怦直跳，期待这将要发生的一切？在我没有接受教育之前，我就如同这样的航船，只不过我既没有指南针，也没有探深绳，无法知道距离岸边还有多远。“光明！光明！快给我光明！”我在心灵深处无声地呼喊。刚好在此时，爱的光明照耀到我的身上。
我听到有脚步向我走来。本以为是母亲，我便马上伸出双手。有个人握住了我的手，把我紧紧地拥在怀里。她就是让我领悟世界万物的人，更重要的是她给予了我爱。
第二天早晨，莎莉文老师把我领到她的房间，然后送给我一个洋娃娃。洋娃娃是珀金斯盲童学校的小学生送的，衣服是劳拉？布里奇曼亲手制作的。不过，这些都是我后来得知的。我和洋娃娃玩了一会儿后，莎莉文小姐抓住我的手，一笔一画地慢慢地在我的手掌上写下了“doll” 这个词。我立刻对这个手指游戏产生了兴趣，跟着去模仿她的动作。当我最后成功地拼对这个词时，我露出孩子般的自豪和喜悦，兴奋得满脸通红。我立刻跑下楼找到母亲，伸出自己的手拼写“doll” 这个词让她看。我当时并不知道自己在拼写单词，甚至不知道世界上还有文字，我仅仅是用手指模仿莎莉文老师的动作。从那以后，我在懵懵懂懂中，学会拼写好些单词，像“针”、“帽子”、“杯子”什么的，还有像“坐”、“站”、“行” 这样的动词。老师来到我身边几个星期后，我才知道原来世间万物都有名称。
有一天，当我正在玩我的新洋娃娃时，莎莉文小姐走了过来，她把那个旧的洋娃娃拿来放在我的膝上，然后在我手上拼写“doll”这个词，试图让我知道新洋娃娃和旧洋娃娃一样都叫做“doll”。那天早上，我和莎莉文小姐刚刚因为“杯”和“水”这两个字发生过争执。她想让我明白“杯”是“杯”、“水”是“水”，可我老是把两个词弄错。她束手无策，只好先把问题放在一边， 等以后有机会再说。当她叫我再一次练习拼写“doll”这个词时，我不胜其烦，抓起新洋娃娃，猛地摔在了地上。我能感觉到脚边摔碎的玩具娃娃的碎片，心中十分畅快。出完气后，我没感到一丝惭愧或后悔，我根本不爱洋娃娃。在我那个沉静而黑暗的私人世界里，根本不存在温柔和同情。我觉察到莎莉文小姐把可怜的洋娃娃的碎片扫到炉子边。想到那个给我带来麻烦的东西被移走了，我感到十分满意。 莎莉文小姐给我拿来了帽子，我明白又可以去享受外面暖和的阳光了。这一想法——如果无言的感觉可以称作想法的话——让我快活得活蹦乱跳。
我们沿着小路来到井房，房顶上大片盛开的金银花散发出扑鼻的芳香，我们深深地陶醉其中。有人正在那儿取水，莎莉文老师把我的一只手放在喷水口下。随着一股清凉的水从我手上流过，她在我的另一只手上拼写“water”。开始写得很慢，第二次就快了很多。我站在那一动不动， 聚精会神地感受她手指的动作。突然间，我茅塞顿开，我模糊地感到心中某种遗忘的东西被唤醒了——恍然大悟的美妙感觉让我情绪高涨。不经意间，我知道了语言文字的奥秘。我随后就明白了“water”这个字意味着正在我手上流过的这种凉爽而神奇的东西。这个活生生的单词唤醒了我的灵魂，并给予我光明、希望、快乐和自由。毫无疑问，生活依旧困难重重，但我始终坚信自己能排除一切障碍。
心灵小语
明亮的眼睛不一定看得到光明，对生活充满希望的人才能看见最美的阳光。假如你看到了你黑黑的影子，不要害怕，那是因为你背后有阳光。
记忆填空
1. My fingers fingered almost unconsciously on the familiar__ and blossoms which had just come__ to greet the sweet southern spring.
2. I was__ that ship before my education began， only I was without compass or sounding-line， and had no__ of knowing how near the harbour was.
3. She brought me my hat， and I knew I was going out into the warm__ . This thought， if a wordless sensation may be called a__ ， made me hop and skip with__ .
佳句翻译
1. 刚好在此时，爱的光明照耀到我的身上。
译__________________
2. 老师来到我身边几个星期后，我才知道原来世间万物都有名称。
译__________________
3. 在我那个沉静而黑暗的私人世界里，根本不存在温柔和同情。
译__________________
短语应用
1. The afternoon sun penetrated the mass of honeysuckle.
the mass of：大部分（大多数）
造__________________
2. I stretched out my hand.
stretch out：伸出，把……拉长，（使）能维持，延长
造__________________
热爱生活
Love Your Life
亨利·大卫·梭罗 / Henry David Thoreau
亨利·大卫·梭罗（1817—1862），散文家、超验主义哲学家。出生于美国以超验主义中心著称的康科德，并在那儿度过了大半生。梭罗毕生以超验主义作为自己的生活原则，并将之发挥到极致；他一生未娶，曾隐居瓦尔登湖两年有余，过着与世隔绝的生活，并在湖边的木屋里写下了著名的《瓦尔登湖》一书。
However mean your life is， meet it and live it； do not shun it and call it hard names. It is not so bad as you are. It looks poorest when you are richest. The fault， finder will find faults even in paradise. Love your life， poor as it is. You may perhaps have some pleasant， thrilling， glorious hours， even in a poor-house. The setting sun is reflected from the windows of the alms-house as brightly as from the rich man’ s abode； the snow melts before its door as early in the spring. I do not see but a quiet mind may live as contentedly there， and have as cheering thoughts， as in a palace. The town’ s poor seem to me often to live the most independent lives of any. Maybe they are simply great enough to receive without misgiving. Most think that they are above being supported by the town； but it often happens that they are not above supporting themselves by dishonest means， which should be more disreputable. Cultivate poverty like a garden herb， like sage. Do not trouble yourself much to get new things， whether clothes or friends. Turn the old， return to them. Things do not change； We change. Sell your clothes and keep your thoughts.
不管你的生活有多卑微，面对它吧，把生活进行下去，不可逃脱，也不能报以恶言，生活还不及你坏。你最富的时候，它反而最贫瘠。人若爱找茬儿，天堂也能被他挑出毛病。哪怕贫穷，你也要热爱生活。快活、激动和光荣的时光甚至在济贫院里也享受的到。反射在那里窗上的落日光芒，和照在有钱人家窗上的阳光是一样的亮堂，门前的积雪也同样都是在早春融化。在我的眼里，一个心态平和的人，他思想乐观，处世泰然，居住在济贫院里就像居住在皇宫里一样。在我看来，镇上的穷人们往往过着最独立自在的生活。他们一定足够伟大，不然岂能欣然接受。大多数人以为自己不依靠城镇养活，认为自己超凡脱俗，但情况往往是，他们利用不正当的手段作为谋生之计，这些让他们更加声名狼藉。像圣人那样，对待贫穷就像对待园子里的草木，耕耘它吧！不要自找麻烦地去寻求新事物、新朋友或者是新衣服。去找旧的，回归旧有之物。万物并没有改变，变的是我们。衣帽可以卖掉，但思想应该保留。
不管你的生活如何卑微，你都要严肃认真地对待它，不要逃避生活，做一个心态平和，思想乐观的人。
记忆填空
1. However__ your life is， meet it and live it； do not shun it and call it hard names. It is not so__ as you are.
2. I do not see but a quiet__ may live as contentedly there， and have as cheering thoughts， as in a__ .
3. Do not trouble__ much to get new things， whether clothes or friends. Turn the__ ， return to them. Things do__ change； We change.
佳句翻译
1. 人若爱找茬儿，天堂也能被他挑出毛病。
译__________________
2. 在我的眼里，一个心态平和的人，他思想乐观，处世泰然，居住在济贫院里就像居住在皇宫里一样。
译__________________
3. 衣帽可以卖掉，但思想应该保留。
译__________________
短语应用
1. The setting sun is reflected from the windows of the alms-house as brightly as from the rich man's abode.
as...as：像……一样
造__________________
2. Most think that they are above being supported by the town.
be supported by sb.：受到某人的支持
造__________________
我的人生已逝
My Life Is Over
乔治·吉辛 / George Gissing
乔治·吉辛（1857—1903），英国小说家、散文家。出身贫寒，曾在曼彻斯特读书，毕业后去伦敦谋生。1880年后以教书为生，同时编辑撰写小说，内容多是描写下层贫苦群众，是最善于写阴暗面的一个作家。生前赏识他的人不多，直到20世纪，其作品的价值才渐渐为人所发掘。
Nevertheless， my life is over.
What a little thing！ I knew how the philosophers had spoken； I repeated their musical phrases about the mortal span—yet never till now believed them. And this is all？ A man’ s life can be so brief and so vain？ Idly would I persuade myself that life， in the true sense， is only now beginning； that the time of sweat and fear was not life at all， and that it now only depends upon my will to lead a worthy existence. That may be a sort of consolation， but it does not obscure the truth that I shall never again see possibilities and promises opening before me. I have “retired，” and for me as truly as for the retired tradesman， life is over. I can look back upon its completed course， and what a little thing！ I am tempted to laugh； I hold myself within the limit of a smile.
And that is best， to smile not in scorn， but in all forbearance， without too much self-compassion. After all， that dreadful aspect of the thing never really took hold of me；I could put it by without much effort. Life is done—and what matter？ Whether it has been， in sum， painful or enjoyable， even now I cannot say—a fact which in itself should prevent me from taking the loss too seriously. What does it matter？ Destiny with the hidden face decreed that I should come into being， play my little part， and pass again into silence； is it mine either to approve or to rebel？ Let me be grateful that I have suffered no intolerable wrong， no terrible woe of flesh or spirit， such as others—alas！ alas！ —have found in their lot. Is it not much to have accomplished so large a part of the mortal journey with so much ease？ If I find myself astonished at its brevity and small significance， why， that is my own fault； the voices of those gone before had sufficiently warned me. Better to see the truth now， and accept it， than to fall into dread surprise on some day of weakness， and foolishly to cry against fate. I will be glad rather than sorry， and think of the thing no more.
然而，我的人生已经逝去。
生命是多么渺小！我知道哲学家们曾说过的话，我曾反复吟诵他们关于人生苦短的如歌语句——但，时至今日我才相信他们的话。这就是一切吗？一个人的生命怎可如此短暂，如此空虚？我徒然说服自己：真正意义上的生活才刚刚起步，汗水和恐惧相随的日子根本不是生活，是否让生活变得很有价值现在仍然取决于我。也许这是自我安慰，但它不能把这样一个事实变得含糊不清，那就是：机会和前途之门将不会再向我敞开。时至当前，我已“退居二线”，实实在在无异于一个退休商人，生命已经结束。我可以回顾已走完的人生历程，感叹它的渺小！我忍不住想要大笑一番，可我控制住自己，只是微微一笑。
微笑，一方面带着竭力的忍耐而不是轻视，另一方面又不可过分地自怨自怜，这样便是最好的。毕竟，我从未真正地被困在事情最糟的境遇里，我尚且可以轻松地脱身在外。生命完结了——那又怎样？它究竟是苦是乐，我现在都得不出个结论。是不是事实本身就不需要我这般患得患失呢？有什么关系呢？命运永远不会显露真面目，它召令我的降生，要我扮演那小小角色，然后一切重归沉寂。对此我是顺从，还是叛逆？我心存感激，感激自己没有像别人一样遭遇不可吞忍的冤屈，还有那肉体或心灵上惨重的创伤——唉！唉！我在他们身上所瞥见的这种种冤屈和创伤！人生大部分旅程都安宁地走过，难道还不能让我知足吗？假使我惊诧于生命的短促和空虚，这错误也是我自己亲手酿就的啊！先逝的人们对我敲响警钟：最好现在就看清并接受真理，不然，日后必将陷入惊恐，但却软弱得束手无策，只能愚蠢地呼天抢地，哀怨连连。我宁愿高兴，而不愿悔恨，我也将不再胡思乱想。
心灵小语
我的人生已经逝去。生命完结了，它究竟是苦是乐？一个人的生命怎可如此短暂？这就是一切吗？
记忆填空
1. I have“retired，”and for me as truly as for the retired tradesman， life is__ . I can look__ upon its completed course， and what a little thing！ I am tempted to__ ； I hold myself within the limit of a smile.
2.__ it has been， in sum， painful or enjoyable， even now I cannot say—a fact which in itself should prevent me__ taking the loss too seriously.
3. Is it not much to have accomplished so large a part of the mortal journey with so much__ ？
佳句翻译
1. 汗水和恐惧相随的日子根本不是生活，是否让生活变得很有价值现在仍然取决于我。
译__________________
2. 我从未真正地被困在事情最糟的境遇里，我尚且可以轻松地脱身在外。
译__________________
3. 最好现在就看清并接受真理，不然，日后必将陷入惊恐，但却软弱得束手无策，只能愚蠢地呼天抢地，哀怨连连。
译__________________
短语应用
1. ...that the time of sweat and fear was not life at all， and that it now only depends upon my will to lead a worthy existence.
depend upon：依靠，信赖
造__________________
2. Whether it has been， in sum， painful or enjoyable， even now I cannot say...
in sum：总而言之，大体上
造__________________
童年与诗
Childhood and Poetry
巴勃罗·聂鲁达 / Pablo Neruda
巴勃罗·聂鲁达 (1904—1973)，20世纪最伟大的拉丁美洲诗人，智利外交官。1945年获智利国家文学奖。1950年获得国际和平奖。1953年获国际列宁和平奖。1971年获诺贝尔文学奖。第一部诗集《霞光》和成名作《二十首情诗和一支绝望的歌》带有浓厚的浪漫主义色彩。聂鲁达最重要的诗作是1950年完成的《诗歌总集》，此后陆续发表诗集《要素之歌》《葡萄和风》《一百首爱情十四行诗》等。
在拉丁美洲文学史上，聂鲁达是现代主义思潮兴盛之后崛起的诗人，他的作品具有高度的思想性和艺术力量，对拉丁美洲诗歌产生了深刻影响。
One time， investigating in the backyard of our house in Temuco the tiny objects and minuscule beings of my world， I came upon a hole in one of the boards of the fence. I looked through the hole and saw a landscape like that behind our house， uncared for， and wild. I moved back a few steps， because I sensed vaguely that something was about to happen. All of a sudden a hand appeared — a tiny hand of a boy about my own age. By the time I came close again， the hand was gone， and in its place there was a marvelous white sheep.
The sheep’ s wool was faded. Its wheels had escaped. All of this only made it more authentic. I had never seen such a wonderful sheep. I looked back through the hole but the boy had disappeared. I went into the house and brought out a treasure of my own： a pinecone， opened， full of odor and resin， which I adored. I set it down in the same spot and went off with the sheep.
I never saw either the hand or the boy again. And I have never again seen a sheep like that either. The toy I lost finally in a fire. But even now， in 1954， almost fifty years old， whenever I pass a toy shop， I look furtively into the window， but it’ s no use. They don’ t make sheep like that anymore.
I have been a lucky man. To feel the intimacy of brothers is a marvelous thing in life. To feel the love of people whom we love is a fire that feeds our life. But to feel the affection that comes from those whom we do not know， from those unknown to us， who are watching over our sleep and solitude， over our dangers and our weaknesses — that is something still greater and more beautiful because it widens out the boundaries of our being， and unites all living things.
That exchange brought home to me for the first time a precious idea： that all of humanity is somehow together. That experience came to me again much later； this time it stood out strikingly against a background of trouble and persecution.
It won’ t surprise you then that I attempted to give something resiny， earthlike， and fragrant in exchange for human brotherhood. Just as I once left the pinecone by the fence， I have since left my words on the door of so many people who were unknown to me， people in prison， or hunted， or alone.
That is the great lesson I learned in my childhood， in the backyard of a lonely house. Maybe it was nothing but a game two boys played who didn’ t know each other and wanted to pass to the other some good things of life. Yet maybe this small and mysterious exchange of gifts remained inside me also， deep and indestructible， giving my poetry light.
有一次，在特木科我家后院里，我检查自己那些小物件和零零碎碎的东西时，发现围墙的挡板上有个洞，透过这个洞，我看到了外面一处荒凉的风景。我向后退了几步，隐约觉得有什么事情要发生。突然间，出现了一只手—— 一个与我年龄相仿的男孩的小手。这时，我再次走上前，那只手却拿开了，留在那里的是一只漂亮的白色绵羊玩具。
绵羊的毛褪色了，轮子也脱落了，但这一切都使它更加逼真。我还从没见过这么好看的绵羊。我又从洞里向外看，男孩已不见了。我回到屋里，拿出我自己的一件心爱之物：一枚裂开的松果，我非常喜欢它四溢的香气。我把它放在同一个地方，然后拿着绵羊走开了。
后来，我再也没见过那个男孩和那只手，再也没有见过那样漂亮的一只绵羊，因为在一场火灾中我失去了那个绵羊玩具。直到现在，1954年，年近50的我，每当路过玩具店时，总是偷偷地向橱窗里张望，但是没有用。他们再也做不出那样的绵羊了。
我是个幸运的人。感受兄弟间的亲情是人生的一件快事，感受我们所爱的人对我们的关爱，是点燃我们生命的火。而那些与我们完全不相识，也一无所知的人，在我们睡着或孤独时看护着我们，监视我们面临的危险和弱点。他们给予我们的温情则更伟大、更美好，因为他们拓展了我们的空间，把所有的生命维系在一起。
那次交换第一次让我明白了这样一个珍贵的道理：不管怎样，人类是一个整体。后来，我再一次体会到这一点。这一次，在动乱与迫害的背景下，它被醒目地表现了出来。
那么，我试图用散发着松香和泥土芳香的东西换取人类的手足之情，就让你感到惊讶。就像我在栅栏旁留下松果一样，我曾把激励的话语留在很多人的门上，他们与我素昧平生，或者在狱中服刑，或者被追捕，或者是孤独的。
这是我在童年时期学到的重要一课，就在一所房子的后院中。也许这只不过是两个互不相识的孩子的一场游戏，只是想要传递生活中某些美好的东西给对方。然而，或许这一次渺小却又奇妙的礼物互换，会在我们内心深深地、永不泯灭地留存，为我的诗赋予光亮。
心灵小语
孩提时代的美好，不管时隔多么久远，我们依旧无法忘怀。不管是珍藏这份回忆，还是偶尔回到那种心态，都是幸福的！
记忆填空
1. The sheep’s wool was faded. Its__ had escaped. All of this only made it__ authentic. I had never__ such a wonderful sheep.
2. The toy I lost finally in a__ . But even now， in 1954， almost fifty__ old， whenever I pass a toy__ ， I look furtively into the window， but it’s no use.
3. That is the great__ I learned in my__ ， in the backyard of a lonely house.
佳句翻译
1. 我是个幸运的人。
译__________________
2. 不管怎样，人类是一个整体。
译__________________
3. 然而，或许这一次渺小却又奇妙的礼物互换，会在我们内心深深地、永不泯灭地留存，为我的诗赋予光亮。
译__________________
短语应用
1. I moved back a few steps， because I sensed vaguely that something was about to happen.
be about to：刚要，即将
造__________________
2. Then that I attempted to give something resiny earthlike， and fragrant in exchange for human brotherhood.
attempt to：试图，尝试，企图
造__________________
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