经典散文背诵

英语经典散文 Life by Ralph Waldo Emerson From ESSAY II Experience Life will be imaged, but cannot be divided nor doubled. Any invasion of its unity would be chaos. The soul is not twin-born, but the only begotten, and though revealing itself as child in time, child in appearance, is of a fatal and universal power, admitting no co-life. Every day, every act betrays the ill-concealed deity. We believe in ourselves, as we do not believe in others. We permit all things to ourselves, and that which we call sin in others, is experiment for us. It is an instance of our faith in ourselves, that men never speak of crime as lightly as they think: or, every man thinks a latitude safe for himself, which is nowise to be indulged to another. The act looks very differently on the inside, and on the outside; in its quality, and in its consequences. Murder in the murderer is no such ruinous thought as poets and romancers will have it; it does not unsettle him, or fright him from his ordinary notice of trifles: it is an act quite easy to be contemplated, but in its sequel, it turns out to be a horrible jangle and confounding of all relations. Especially the crimes that spring from love, seem right and fair from the actor's point of view, but, when acted, are found destructive of society. No man at last believes that he can be lost, nor that the crime in him is as black as in the felon. Because the intellect qualifies in our own case the moral judgments. For there is no crime to the intellect. That is antinomian or hypernomian, and judges law as well as fact. Life(生命) [美国]爱默生 生命可以被想象，但是不能被割裂，也不能被复制。生命的整体一旦被破坏就会引起混乱。灵魂不是 孪生儿，而已独生苗。虽然早晚都要像婴儿那样被孕育成熟，长得也像婴儿，却有着一种无敌的力量能决 定命运，不能接受同一个生命。每一天在人们的举手投足之间都体现了一种无须掩饰的神性。我们对自己 深信不疑，同时去怀疑他人。我们可以让自己为所欲为，同样的事，别人做，我们称之为罪孽;我们只要 自己来实验。我们充满自信的一个例子是:人们从来不像他们想象的那样蔑视罪恶。换句话说，人人都为 自己想好一个安全维度，而这个安全是不能让别人来享用的。 行为从内在和外表，从性质和后果去看，各为不同。凶手行凶时所抱的意图决不像诗人以及传奇作家 所描述的那样伤天害理，日常里人们也觉察不出他心神不宁或诚惶诚恐的蛛丝马迹。行凶一事并不难策划， 但去考虑后果的话，它却能愈演愈烈，发出一系列叮当作响的恐慌声，把一切的关联都破坏。尤其是爱情 所激发的罪行，从施罪者的角度看，似乎一切都理所当然，但这罪毕竟贻害社会。然而，还是没有人会最 终相信犯罪的人是迷失了自我，还是没有人会认为那罪行如同重罪犯的所为那么罪不可赦。这是因为，就 我们自身的情形而言，智力修正着道义判断，在智力的眼中，世上万事并无罪过。智力是反法律主义或超 法律主义的，它判断着法律就像判断着事实一样。 作者介绍: 爱默生(1803-1882)，美国思想家，散文家，诗人，19世纪超验主义的代表人物。生于波士顿牧师家庭， 毕业于哈佛大学。1833年赴欧洲游历，遍访欧洲文化名人。1837年发表《论美国学者》，抨击美国社会中 灵魂从属于金钱的拜金主义和资本主义劳动分工使人异化为物的现象，强调人的价值，被誉为“思想上的 独立宣言”。1838年发表题为《神学院 致辞 升学宴致辞商会成立大会流程及致辞领导致辞稿签约仪式致辞运动会开幕式领导致辞 》的 演讲 办公室主任竞聘演讲中层竞聘演讲护士长竞聘演讲演讲比赛活动要求对演讲比赛的点评 ，充分发展了超验主义的思想，即反对权威，崇尚直 觉，主张人能超越感觉和理性而直接认识真理。 1 英语经典散文 Three passions by Bertrand Russell Three passions, simple but overwhelmingly strong, have governed my life: the longing for love, the search for knowledge, and unbearable pity for the suffering of mankind. These passions, like great winds, have blown me hither and thither, in a wayward course, over a deep ocean of anguish, reaching to the very verge of despair. I have sought love, first, because it brings ecstasy –ecstasy so great that I would often have sacrificed all the rest of life for a few hours of this joy. I have sought it, next, because it relieves loneliness--that terrible loneliness in which one shivering consciousness looks over the rim of the world into the cold unfathomable lifeless abyss. I have sought it, finally, because in the union of love I have seen, in a mystic miniature, the prefiguring vision of the heaven that saints and poet shave imagined. This is what I sought, and though it might seem too good for human life, this is what- at last- I have found. With equal passion I have sought knowledge. I have wished to understand the hearts of men. I have tried to apprehend the Pythagorean power by which number holds sway above the flu. A little of this, but not much, I have achieved. Love and knowledge, so far as they were possible, led upward toward the heavens. But always pity brought me back to earth. Echoes of cries of pain reverberate in my heart. Children in famine, victims tortured by oppressors, helpless old people a hated burden to their sons, and the whole world of loneliness, poverty, and pain make a mockery of what human life should be. I long to alleviate the evil, but I cannot, and I too suffer. This has been my life. I have found it worth living, and would gladly live it again if the chance were offered me. 三种激情 -罗素 三种激情虽然简单，却异常强烈，它们统治着我的生命，那便是:对爱的渴望，对知识的追求，以及 对人类苦难的难以承受的同情。这三种激情像变化莫测的狂风任意地把我刮来刮去，把我刮入痛苦的深海， 到了绝望的边缘。 我曾经寻找爱，首先是因为它能使我欣喜若狂——这种喜悦之情如此强烈，使我常常宁愿为这几个小 时的愉悦而牺牲生命中的其他一切。我寻求爱，其次是因为爱能解除孤独——在这种可怕的孤独中，一颗 颤抖的良心在世界的边缘，注视着下面冰凉、毫无生气、望不见底的深渊。我寻求爱还因为在爱的融合中， 我能以某种神秘的图像看到曾被圣人和诗人想象过的天堂里未来的景象。这就是我所追求的东西，虽然这 似乎对于人类的生命来说过于完美，但这确实是我最终发现的东西。 我怀着同样的激情去寻找知识，我曾渴望着理解人心，我曾渴望知道为何星星会闪烁，我还企图弄懂 毕达哥拉斯所谓的用数字控制变化的力量，但在这方面，我只知道一点点。 爱的力量和知识的力量引我接近天堂，但同情之心往往又把我拉回大地。痛苦的哭泣回响、震荡在我 的心中。饥饿的儿童，被压迫、受折磨的人们，成为儿孙们讨厌的包袱的、无助的老人们，充斥着整个世 界的孤独的气氛，贫穷和苦难，所有这一切都是对人类生活原本该具有的样子所作的讽刺。我渴望消除一 切邪恶，但我办不到，因为我自己也处于苦难之中。 这就是我的生活，我认为值得一过。而且，如果有第二次机会，我将乐意地再过一次. 作者介绍:伯特兰?罗素(Bertrand Russell，1872-1970)英国哲学家、数学家、社会学家，也是本世纪西 方最著名、影响最大的学者和社会活动家。 2 英语经典散文 The Strenuous Life by Theodore Roosevelt (1858–1919) A life of slothful ease, a life of that peace which springs merely from lack either of desire or of power to strive after great things, is as little worthy of a nation as of an individual. We do not admire the man of timid peace. We admire the man who embodies victorious effort; the man who never wrongs his neighbor, who is prompt to help a friend, but who has those virile qualities necessary to win in the stern strife of actual life. It is hard to fail, but it is worse never to have tried to succeed. In this life we get nothing save by effort. Freedom from effort in the present merely means that there has been stored up effort in the past. A man can be freed from the necessity of work only by the fact that he or his fathers before him have worked to good purpose. If the freedom thus purchased is used aright, and the man still does actual work, though of a different kind, whether as a writer or a general, whether in the field of politics or in the field of exploration and adventure, he shows he deserves his good fortune. But if he treats this period of freedom from the need of actual labor as a period, not of preparation, but of mere enjoyment, even though perhaps not of vicious enjoyment, he shows that he is simply a cumberer of the earth's surface, and he surely unfits himself to hold his own with his fellows if the need to do so should again arise. A mere life of ease is not in the end a very satisfactory life, and, above all, it is a life which ultimately unfits those who follow it for serious work in the world. As it is with the individual, so it is with the nation. It is a base untruth to say that happy is the nation that has no history. Thrice happy is the nation that has a glorious history. Far better it is to dare mighty things, to win glorious triumphs, even though checkered by failure, than to take rank with those poor spirits who neither enjoy much nor suffer much, because they live in the gray twilight that knows not victory nor defeat. 艰辛的人生 罗斯福 一种怠惰安逸的生活，一种仅仅是由于缺少追寻伟大事物的愿望或能力而导致的悠闲，这对国家与个 人都是没有价值的。 我们不欣赏那种怯懦安逸的人。我们钦佩那种表现出奋力向上的人，那种永不屈待邻人，能随时帮助 朋友，但是也具有那些刚健的性质，足以在实际生活的严酷斗争中获取胜利的人。失败是艰难的，但是从 不曾努力去争取成功，却更为糟糕。在人的一生中，任何的收获都要通过努力去得到。目前不用作任何的 努力，只是意味着在过去有过努力的积储。一个人不必工作，除非他或他的祖先曾经努力工作过，并取得 了丰厚的收获。如果他能把换取到的此类的自由加以正确地运用，仍然做些实际的工作，尽管那些工作是 属于另一类的，不论是作一名作家还是将军，不论是在政界还是在探险和冒险方面做些事情，都表明了他 没有辜负自己的好运。 但是，如果他将这段不需从事实际工作的自由时期，不用于准备，而仅仅是用于享乐(尽管他所从事 的或许并非邪恶的享乐)，那就表明了他只是地球表面上的一个赘疣;而且他肯定无法在同僚之中维持自 己的地位，如果那种需要再度出现的话。安逸的生活终究并不是一种令人很满意的生活，而且，最主要的 是，过那种生活的人最终肯定没有能力担当世上之重任。 于个人如此，对国家也是这样。有人说一个没有历史的国家是得天独厚的，这是卑鄙的谎言。一种得 天独厚的优越感来源于一个国家具有光荣的历史。冒险去从事伟大的事业，赢得光荣的胜利，即使其中掺 杂着失败，那也远胜于与那些既没有享受多大快乐也没有遭受多大痛苦的平庸之辈为伍(因为他们生活在 一个既享受不到胜利也遭遇不到失败的灰暗境界里)。 作者介绍:西奥多?罗斯福(Theodore Roosevelt，Jr.，人称老罗斯福，暱称泰迪(Teddy) 1858年10月 27日—1919年1月6日)，美国军事家、政治家，第26任总统(1901-1909)。曾任海军副部长，1900年当 选副总统。1901年总统威廉?麦金莱(William McKinley)被无政府主义者刺杀身亡，他继任成为美国总统， 时年42岁，是美国历史上最年轻的在任总统。他的独特个性和改革主义政策，使他成为美国历史上最伟 大的总统之一。 3 英语经典散文 The Human Story By Winston Churchill History with its flickering lamp stumbles along the trail of the past, trying to reconstruct its scenes, to revive its echoes, and kindle with the pale gleams the passion of the former days. As the great scroll of history unrolls, many complicated incidents occur which it is difficult to introduce effectively into the pattern of the likes and dislikes of the epoch in which we live. The human story does not always unfold like a mathematical calculation on the principle that two and two make four. Sometimes in life they make five or minus three; and sometimes the blackboard topples down in the middle of the sum and leaves the class in disorder and the pedagogue with a black eye. Science, which now offers us a golden age with one hand, offers at the same time with the other the doom of all that we have built up inch by inch since the Stone Age and the dawn of any human annals. My faith is in the high progressive destiny of man. I do not believe that we are to be flung back into abysmal darkness. It places in the healing of the sick, and in giving more food and leisure for life. When it helps the strong crush the weak, and rob those who are asleep, it is using truth for impious end. Those who are thus sacrilegious will suffer and be punished, for their own weapons will be turned against them. 人类的故事 温斯顿?丘吉尔 在摇曳灯光的照耀下，历史在过去的小路上蹒跚，试图重建过去的景象，恢复往日的回声，并想用微 弱的光芒点燃往日的激情。 当历史巨大的卷轴展开之时，许多错综复杂的事件出现了，而这些事件是很难有效地纳入我们这个时 代人们好恶模式之中。 人类的故事并不总是像数学运算一样根据二加二等于四的原则展开。人的一生中，有时可能等于五或 负三;有时，正算到一半，黑板倒塌，使全班陷于混乱，教师被砸得鼻青脸肿。 现在科学用一只手给我们奉献了一个黄金年代，但同时又用另一只手给我们制造了一个厄运，我们自 从石器时代以及任何人类历史开始以来一点点建造起来的一切都将陷入困境。但我们深信，人类的命运是 非常积极向上的。我不相信我们将被扔进黑暗的深渊中。 发明的用处应该是治愈病人，为生活提供更多的食物和娱乐。如果它被用来帮助强者压迫弱者，掠夺 熟睡的人们，它就是怀着不虔诚的动机去利用真理。以这种方式亵渎神灵的人们将遭到报应和惩罚，因为 他们的武器将反过来对付他们自己。 作者介绍: 温斯顿?伦纳德?斯宾塞?丘吉尔爵士(Sir Winston Leonard Spencer Churchill，1874年11月 30日—1965年1月24日)，政治家、演说家及作家以及记者，1953年诺贝尔文学奖得主，曾于1940,1945 年及1951,1955年期间两度任英国首相，被认为是20世纪最重要的政治领袖之一，带领英国获得第二次 世界大战的胜利。 4 英语经典散文 Of study By Francis Bacon Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment, and disposition of business. For expert men can exe-cute, and perhaps judge of particulars, one by one; but the general counsels, and the plots and marshalling of affairs, come best, from those that are learned. To spend too much time in studies is sloth; to use them too much for ornament, is affectation; to make judgment wholly by their rules, is the humor of a scholar. They perfect nature, and are perfected by experience: for natural abilities are like natural plants, that need proyning, by study; and studies themselves, do give forth directions too much at large, except they be bounded in by experience. Crafty men contemn studies, simple men admire them, and wise men use them; for they teach not their own use; but that is a wisdom without them, and above them, won by observation. Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider. Some books are to be tasted, others to be swallowed, and some few to be chewed and digested; that is, some books are to be read only in parts; others to be read, but not curiously; and some few to be read wholly, and with diligence and attention. Some books also may be read by deputy, and extracts made of them bothers; but that would be only in the less important arguments, and the meaner sort of books, else distilled books are like common distilled waters, flashy things. Reading make a full man; conference a ready man; and writing an exact man. And therefore, if a man write little, he had need have a great memory; if he confer little, he had need have a present wit: and if he read little, he had need have much cunning, to seem to know, that he doth not. Histories make men wise; poets witty; the mathematics subtitle; natural philosophy deep; moral grave; logic and rhetoric able to contend. Abeunt studia in mores. Nay, there is no stand or impediment in the wit, but may be wrought out by fit studies; like as diseases of the body, may have appropriate exercises. Bowling is good for the stone and reins; shooting for the lungs and breast; gentle walking for the stomach; riding for the head; and the like. So if a man's wit be wandering, let him study the mathematics; for in demonstrations, if his wit be called away never so little, he must begin again. If his wit be not apt to distinguish or find differences, let him study the Schoolmen; for they are cymini sectors. If he be not apt to beat over matters, and to call up one thing to prove and illustrate another, let him study the lawyers' cases. So every defect of the mind, may have a special receipt 论读书 弗兰西斯?培根 读书足以怡情，足以博彩，足以长才。其怡情也，最见于独处幽居之时;其傅彩也，最见于高谈阔论 之中;其长才也，最见于处世判事之际。练达之士虽能分别处理细事或一一判别枝节，然纵观统筹、全局 策划，则舍好学深思者莫属。读书费时过多易惰，文采藻饰太盛则矫，全凭条文断事乃学究故态。读书补 天然之不足，经验又补读书之不足，盖天生才干犹如自然花草，读书然后知如何修剪移接;而书中所示， 如不以经验范之，则又大而无当。有一技之长者鄙读书，无知者羡读书，唯明智之士用读书，然书并不以 用处告人，用书之智不在书中，而在书外，全凭观察得之。读书时不可存心诘难作者，不可尽信书上所言， 亦不可只为寻章摘句，而应推敲细思。书有可浅尝者，有可吞食者，少数则须咀嚼消化。换言之，有只须 读其部分者，有只须大体涉猎者，少数则须全读，读时须全神贯注，孜孜不倦。书亦可请人代读，取其所 作摘要，但只限题材较次或价值不高者，否则书经提炼犹如水经蒸馏、淡而无味矣。 读书使人充实，讨论使人机智，笔记使人准确。因此不常作笔记者须记忆特强，不常讨论者须天生聪 颖，不常读书者须欺世有术，始能无知而显有知。读史使人明智，读诗使人灵秀，数学使人周密，科学使 人深刻，伦理学使人庄重，逻辑修辞之学使人善辩:凡有所学，皆成性格。人之才智但有滞碍，无不可读 适当之书使之顺畅，一如身体百病，皆可借相宜之运动除之。滚球利睾肾，射箭利胸肺，慢步利肠胃，骑 术利头脑，诸如此类。如智力不集中，可令读数学，盖演题须全神贯注，稍有分散即须重演;如不能辨异， 可令读经院哲学，盖是辈皆吹毛求疵之人;如不善求同，不善以一物阐证另一物，可令读律师之案卷。如 此头脑中凡有缺陷，皆有特药可医。(王佐良先生译) 作者介绍:弗兰西斯?培根(Francis Bacon ，1561—1626)是英国哲学家和科学家。 5 英语经典散文 On Motes and Beams By William Somerset Maugham It is curious that our own offenses should seem so much less heinous than the offenses of others. I suppose the reason is that we know all the circumstances that have occasioned them and so manage to excuse in ourselves what we cannot excuse in others. We turn our attention away from our own defects, and when we are forced by untoward events to consider them, find it easy to condone them. For all I know we are right to do this; they are part of us and we must accept the good and bad in ourselves together. But when we come to judge others, it is not by ourselves as we really are that we judge them, but by an image that we have formed of ourselves from which we have left our everything that offends our vanity or would discredit us in the eyes of the world. To take a trivial instance: how scornful we are when we catch someone out telling a lie; but who can say that he has never told not one, but a hundred? There is not much to choose between men. They are all a hotchpotch of greatness and littleness, of virtue and vice, of nobility and baseness. Some have more strength of character, or more opportunity, and so in one direction or another give their instincts freer play, but potentially they are the same. For my part, I do not think I am any better or any worse than most people, but I know that if I set down every action in my life and every thought that has crossed my mind, the world would consider me a monster of depravity. The knowledge that these reveries are common to all men should inspire one with tolerance to oneself as well as to others. It is well also if they enable us to look upon our felllows, even the most eminent and respectable, with humor, and if they lead us to take ourselves not too seriously. 微尘与栋梁 威廉 萨默塞特 毛姆 (英国) 令人好奇的是，与他人的过失相比，我们自己的过失往往不是那么的可憎。我想，原因是我们了解一 切导致过失出现的情况，因而，能够想法原谅自己犯了一些不容许他人犯的过错。我们不关注自己的缺点， 即使身陷困境，不得不正视它们时，我们也会很容易就宽恕自己。据我所知，我们这样做是正确的。缺点 是我们自己的一部分，我们必须接纳自己的好与坏。 但当我们评判别人时，情况就不一样了。我们不是通过真正的自我而是用另外一种自我形象来判断， 完全摒除了在任何人眼中，会伤害到自己的虚荣或者体面的事物。举一个小例子:当觉察到别人说谎时， 我们是多么地不屑啊～但是有谁可以说自己从未说过谎,可能还不止一百次呢～ 人与人之间没什么大的区别。他们皆是伟大与渺小，善良与邪恶，高贵与低贱的混合体。有些人性格 比较坚毅，机会也较多，因此在这个或者那个方向上，更能自由地发挥自己的天资，但是人类潜质都是同 样的。至于我自己，我不认为自己会比多数人更好或更差，但是我知道，如果我记下我生命中每一个行动 和每一个掠过我心头的想法的话，世人将会把我看成一个邪恶的怪物。每个人都会有这样的怪念头，这样 的认识应该能启发我们宽容自己，也宽容他人。同时，若因此使我们在看待他人时，即使是对天下最优秀 最令人尊敬的人，也可以有幽默感的话，而且也不太苛求自己，那也是很有益的。 作者介绍: 威廉?萨姆塞特?毛姆生平简介 英国小说家威廉-萨姆塞特毛姆(William Somerset Maugham，1874-1965)英国著名小说家，剧作家， 散文家。威廉?萨默塞特?毛姆原是医学系学生，后转而致力写作。他的文章常在讥讽中潜藏对人性的怜 悯与同情。《人性枷锁》是其毕业生心血巨著，也为他奠定了伟大小说家的不朽的地位。他是一位成功且 多产的作家，在长篇小说、短篇小说和戏剧领域里都有建树。不过毛姆本人对自己的评价却很谦虚:“我 只不过是二流作家中排在前面的一个。”作为奥斯卡?王尔德风化案之后的一代英国作家，毛姆在自己的 作品中小心避免了与同性恋有关的各种题材，尽管他本人也曾拥有一段长达三十年的同性恋情。 6 英语经典散文 Nobel Prize Acceptance Speech The spirit of man by William Faulkner I feel that this award was not made to me as a man, but to my work -- a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing. Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed -- love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands. Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail. 人类的精神 威廉?福克纳 我以为这个奖不是颁给我个人，而是给我的作品??一本既不为名，更不为利，而是用我毕生心血去 创造以前没有的东西的结晶;因此我只是受托来接受这份奖品，要把这笔奖金贡献在能够符合诺贝尔奖始 创用意的有意义的事业上。其实并不难，而我也会这样做;但同时，我还要利用这个机会，向已经献身于 写作事业的先生们、女士们??这些人中有人将会像我一样站在这里受奖??说几句我的感受。 我们目前的悲剧是，每个人都只惧怕肉体的痛苦，但时间久了，对此惧怕也习以为常，而全然不考虑 到精神问题，只是老想着:我什么时候会被炸,由于这点，现今的男女写作时，就完全忘了惟有描写人类 内心的自我冲突才能成为上乘之作，也惟有那种主题才值得花心力去写。 所以每位作家都应该了解，世界上最怯懦的事情就是害怕;应该忘了恐惧感，而把全部心力放在属于 人类情感的真理上，如爱、荣誉感、同情心、自尊心，以及牺牲的精神。如果作品里缺乏这些世界性的真 理，则将无法留传久远，并且会遭人责骂。因为作者写的不是爱而是欲;所谓挫败也不是指某人丢失了任 何极具价值之物;胜利却不带有任何希望;更糟的是，根本就没有怜悯在内，为不值得悲伤的事情哭泣， 7 英语经典散文 其哀伤之情只是短暂而虚假的罢了，因此他写的东西并非发乎至情。 如果他能先认清那些真理，才能俨然以万古不朽之躯来创作。我是不以为人类会灭亡的，因为你只要想想人可以世世代代不停地繁衍下去，就这点我们即可说人类是不朽的。但是我觉得这样还不够，人不仅要生存下去，而且更要出众，人类之不朽并非只因他在万物之中有着无穷尽的声音，主要的是因为他有心灵、有同情、牺牲以及忍耐的精神;而诗人、作家的责任就在于写这些事情，他们有权利帮助人类升华精神世界，提醒人们过去有的光荣，如勇气、荣誉、希望、自尊、同情及牺牲精神，诗人的作品不只是人类的记录，也可以说是帮助人类生存及超越一切的支柱。 8 英语经典散文 Nobel Prize Acceptance Speech Ernest Hemingway Members of the Swedish Academy, Ladies and Gentlemen: Having no facility for speech-making and no command of oratory nor any domination of rhetoric, I wish to thank the administrators of the generosity of Alfred Nobel for this Prize. No writer who knows the great writers who did not receive the Prize can accept it other than with humility. There is no need to list these writers. Everyone here may make his own list according to his knowledge and his conscience. It would be impossible for me to ask the Ambassador of my country to read a speech in which a writer said all of the things which are in his heart. Things may not be immediately discernible in what a man writes, and in this sometimes he is fortunate; but eventually they are quite clear and by these and the degree of alchemy that he possesses he will endure or be forgotten. Writing, at its best, is a lonely life. Organizations for writers palliate the writer's loneliness but I doubt if they improve his writing. He grows in public stature as he sheds his loneliness and often his work deteriorates. For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day. For a true writer each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed. How simple the writing of literature would be if it were only necessary to write in another way what has been well written. It is because we have had such great writers in the past that a writer is driven far out past where he can go, out to where no one can help him. I have spoken too long for a writer. A writer should write what he has to say and not speak it. Again I thank you. 海明威诺贝尔奖致答辞 我不善辞令，缺乏演说的才能，只想感谢阿弗雷德?诺贝尔评奖委员会的委员们慷慨授予我这项奖金。 没有一个作家，当他知道在他以前不少伟大的作家并没有获得此项奖金的时候，能够心安理得领奖而 不感到受之有愧。这里无须一一列举这些作家的名字。在座的每个人都可以根据他的学识和良心提出自己 的名单来。 要求我国的大使在这儿宣读一篇演说，把一个作家心中所感受到的一切都说尽是不可能的。一个人作 品中的一些东西可能不会马上被人理解，在这点上，他有时是幸运的;但是它们究竟会十分清晰起来，根 据它们以及作家所具有的点石成金本领的大小，他将青史留名或者被人遗忘。 写作，在最成功的时候，是一种孤寂的生涯。作家的组织固然可以排遣他们的孤独，但是我怀疑它们 未必能够促进作家的创作。一个在稠人广众之中成长起来的作家，自然可以免除孤苦寂寥之虑，但他的作 品往往流于平庸。而一个在孤寂中独立工作的作家，假如他确实不同凡响，就必须天天面对永恒的东西， 或者面对缺乏永恒的状况。 对于一个真正的作家来说，每一本书都应该成为他继续探索那些尚未到达的领域的一个新起点。他应 该永远尝试去做那些从来没有人做过或者他人没有做成的事。这样他就有幸会获得成功。 如果已经写好的作品，仅仅换一种 方法 快递客服问题件处理详细方法山木方法pdf计算方法pdf华与华方法下载八字理论方法下载 可以重新写出来，那么文学创作就显得太轻而易举了。我们的 前辈大师们留下了伟大的业绩，正因为如此，一个普通作家常被他们逼人的光辉驱赶到远离他可能到达的 地方，陷入孤立无助的境地。 作为一个作家，我已经讲得太多了。作家应当把他要说的东西写出来，而不是讲出来。我再一次谢谢 大家。 9 英语经典散文 The world as I see it By Albert Einstein How strange is the lot of us mortals! Each of us is here for a brief sojourn; for what purpose be knows not, though he sometimes thinks he senses it. But without deeper reflection one knows from daily life that one exists for other people-first of all for those upon whose smiles and well-being our own happiness is wholly dependent, and then for the many, unknown to us, to whose destinies we are bound by the ties of sympathy. A hundred times every day I remind myself that my inner and outer life are based on the labors of other men, living and dead, and that I must exert myself in order to give in the same measure as I have received and am still receiving. I am strongly drawn to a frugal life and am often oppressively aware that I am engrossing an undue amount of the labor of my fellow-men. I regard class distinctions as unjustified and, in the last resort, based on force. I also believe that a simple and unassuming life is good for everybody, physically and mentally. I do not at all believe in human freedom in the philosophical sense. Everybody acts not only under external compulsion but also in accordance with inner necessity. Schopenhauer's saying, "A man can do what he wants, but not want what he wants," has been a very real inspiration to me since my youth; it has been a continual consolation in the face of life's hardships, my own and others', and an unfailing well-spring of tolerance. This realization mercifully mitigates the easily paralyzing sense of responsibility and prevents us from taking ourselves and other people all too seriously; it is conducive to a view of life which, in particular, gives humor its due. To inquire after the meaning or object of one's own existence or that of all creatures has always seemed to me absurd from an objective point of view. And yet everybody has certain ideals which determine the direction of his endeavors and his judgments. In this sense I have never looked upon ease and happiness as ends in themselves-this ethical basis I call the ideal of a pigsty. The ideals which have lighted my way, and time after time have given me new courage to face life cheerfully, have been Kindness, Beauty, and Truth. Without the sense of kinship with men of like mind, without the occupation with the objective world, the eternally unattainable in the field of art and scientific endeavors, life would have seemed to me empty. The trite objects of human efforts-possessions, outward success, luxury-have always seemed to me contemptible. My passionate sense of social justice and social responsibility has always contrasted oddly with my pronounced lack of need for direct contact with other human beings and human communities. I am truly a "lone traveler" and have never belonged to my country, my home, my friend, or even my immediate family, with my whole heart; in the face of all these ties, I have never lost a sense of distance and a need for solitude-feelings which increase with the years. One becomes sharply aware, but without regret, of the limits of mutual understanding and consonance with other people. No doubt, such a person loses some of his innocence and unconcern; on the other hand, he is largely independent, of the opinions, habits, and judgments of his fellows and avoids the temptation to build his inner equilibrium upon such insecure foundations. My political ideal is democracy. Let every man be respected as an individual and no man idolized. It is an irony of fate that I myself have been the recipient of excessive admiration and reverence from my fellow-being, through no fault, and no merit, of my own. The cause of this may well be the desire, unattainable for many, to understand the few ideas to which I have with my feeble powers attained through ceaseless struggle. I am quite aware that it is necessary for the achievement of the objective of an organization that one man should do the thinking and directing and generally bear the responsibility. But the led must not be coerced, they must be able to choose their leader. An autocratic system of coercion, in my opinion, soon degenerates. For force always attracts men of low morality, and I believe it to be an invariable rule that tyrants of genius are succeeded by scoundrels, For this reason I have always been passionately opposed to systems such as we see in Italy and Russia today. The thing that has brought discredit upon the form of democracy as it exists in Europe today is not to be laid to the door of the democratic principle as such, but to the lack of stability of governments and to the impersonal character of the electoral system. I believe that in this respect the United States of America have found the right way. They have a President powers really to exercise his responsibility. What I value, on the other hand, in the 10 英语经典散文 German political system is the more extensive provision that it makes for the individual in case of illness or need. The really valuable thing in the pageant of human life seems to me not the political state, but the creative, sentient individual, the personality; it alone creates the noble and the sublime, while the herd as such remains dull in thought and dull in feeling. This topic brings me to that worst outcrop of herd life, the military system, which I abhor. That a man can take pleasure in marching in fours to the strains of a band is enough to make me despise him. He has only been given his big brain by mistake; unprotected spinal marrow was all he needed. This plaguespot of civilization ought to be abolished with all possible speed. Heroism on command, senseless violence, and all the loathsome nonsense that goes by the name of patriotism - how passionately I hate them! How vile and despicable seems war to me! I would rather be hacked in pieces than take part in such an abominable business. My opinion of the human race is high enough that I believe this bogey would have disappeared long ago, had the sound sense of the peoples not been systematically corrupted by commercial and political interests acting through the schools and the Press. The most beautiful experience we can have is the mysterious. It is the fundamental emotion which stands at the cradle of true art and true science . Whoever does not know it and can no longer wonder, no longer marvel, is as good as dead, and his eyes are dimmed. It was the experience of mystery - even if mixed with fear - that engendered religion. A knowledge of the existence of something we cannot penetrate, our perceptions of the profoundest reason and the most radiant beauty, which only in their most primitive forms are accessible to our minds - it is this knowledge and this emotion that constitute true religiosity; in this sense, and in this alone, I am a deeply religious man. I can not conceive of a God who rewards and punishes his creatures, or has a will of the kind that we experience in ourselves. Neither can I nor would I want to conceive of an individual that survives his physical death; let feeble souls, from fear or absurd egoism, cherish such thoughts. I am satisfied with the mystery of the eternity of life and with the awareness and a glimpse of the marvelous structure of the existing world, together with the devoted striving to comprehend a portion, be it ever so tiny, of the Reason that manifests itself in nature 我的世界观 阿尔伯特?爱因斯坦 我们这些总有一死的人的命运多么奇特～我们每个人在这个世界上都只作一个短暂的逗留;目的何在， 却无从知道，尽管有时自以为对此若有所感。但是，不必深思，只要从日常生活就可以明白:人是为别人 而生存的??首先是为那样一些人，我们的幸福全部依赖于他们的喜悦和健康;其次是为许多我们所不认 识的人，他们的命运通过同情的纽带同我们密切结合在一起。我每天上百次的提醒自己:我的精神生活和 物质生活都是以别人(包括生者和死者)的劳动为基础的，我必须尽力以同样的分量来报偿我所领受了的 和至今还在领受着的东西。我强烈地向往着俭朴的生活。并且时常发觉自己占用了同胞的过多劳动而难以 忍受。我认为阶级的区分是不合理的，它最后所凭借的是以暴力为根据。我也相信，简单淳朴的生活，无 论在身体上还是在精神上，对每个人都是有益的。 我完全不相信人类会有那种在哲学意义上的自由。每一个人的行为不仅受着外界的强制，而且要适应 内在的必然。叔本华说:“人虽然能够做他所想做的，但不能要他所想要的。”这句格言从我青年时代起就 给了我真正的启示;在我自己和别人的生活面临困难的时候，它总是使我们得到安慰，并且是宽容的持续 不断的源泉。这种体会可以宽大为怀地减轻那种容易使人气馁的责任感，也可以防止我们过于严肃地对待 自己和别人;它导致一种特别给幽默以应有地位的人生观。 要追究一个人自己或一切生物生存的意义或目的，从客观的观点看来，我总觉得是愚蠢可笑的。可是 每个人都有一些理想，这些理想决定着他的努力和判断的方向。就在这个意义上，我从来不把安逸和享乐 看作生活目的本身??我把这种伦理基础叫做猪栏的理想。照亮我的道路，是善、美和真。要是没有志同 道合者之间的亲切感情，要不是全神贯注于客观世界??那个在艺术和科学工作领域里永远达不到的对 象，那么在我看来，生活就会是空虚的。我总觉得，人们所努力追求的庸俗目标??财产、虚荣、奢侈的 生活??都是可鄙的。 11 英语经典散文 我有强烈的社会正义感和社会责任感，但我又明显地缺乏与别人和社会直接接触的要求，这两者总是形成古怪的对照。我实在是一个“孤独的旅客”，我未曾全心全意地属于我的国家、我的家庭、我的朋友，甚至我最为接近的亲人;在所有这些关系面前，我总是感觉到一定距离而且需要保持孤独??而这种感受正与年俱增。人们会清楚地发觉，同别人的相互了解和协调一致是有限度的，但这不值得惋惜。无疑，这样的人在某种程度上会失去他的天真无邪和无忧无虑的心境;但另一方面，他却能够在很大程度上不为别人的意见、习惯和判断所左右，并且能够避免那种把他的内心平衡建立在这样一些不可靠的基础之上的诱惑。 我的政治理想是民主政体。让每一个人都作为个人而受到尊重，而不让任何人成为被崇拜的偶像。我自己一直受到同代人的过分的赞扬和尊敬，这不是由于我自己的过错，也不是由于我自己的功劳，而实在是一种命运的嘲弄。其原因大概在于人们有一种愿望，想理解我以自已微薄的绵力，通过不断的斗争所获得的少数几个观念，而这种愿望有很多人却未能实现。我完全明白，一个组织要实现它的目的，就必须有一个人去思考，去指挥、并且全面担负起责任来。但是被领导的人不应当受到强迫，他们必须能够选择自己的领袖。在我看来，强迫的专制制度很快就会腐化堕落。因为暴力所招引来的总是一些品德低劣的人，而且我相信，天才的暴君总是由无赖来继承的，这是一条千古不易的规律。就是由于这个缘故，我总强烈地反对今天在意大利和俄国所见到的那种制度。像欧洲今天所存在的情况，已使得民主形式受到怀疑，这不能归咎于民主原则本身，而是由于政府的不稳定和选举制度中与个人无关的特征。我相信美国在这方面已经找到了正确的道路。他们选出了一个任期足够长的总统，他有充分的权力来真正履行他的职责。另一方面，在德国政治制度中，为我所看重的是它为救济患病或贫困的人作出了可贵的广泛的规定。在人生的丰富多彩的表演中，我觉得真正可贵的，不是政治上的国家，而是有创造性的、有感情的个人，是人格;只有个人才能创造出高尚的和卓越的东西，而群众本身在思想上总是迟钝的，在感觉上也总是迟钝的。 讲到这里，我想起了群众生活中最坏的一种表现，那就是使我厌恶的军事制度。一个人能够洋洋得意的随着军乐队在四列纵队里行进，单凭这一点就足以使我对他鄙夷不屑。他所以长了一个大脑，只是出于误会;光是骨髓就可满足他的全部需要了。文明的这种罪恶的渊薮，应当尽快加以消灭。任人支配的英雄主义、冷酷无情的暴行，以及在爱国主义名义下的一切可恶的胡闹，所有这些都使我深恶痛绝～在我看来，战争是多么卑鄙、下流～我宁愿被千刀万剐，也不愿参与这种可憎的勾当。尽管如此，我对人类的评价还是十分高的，我相信，要是人民的健康感情没有遭到那些通过学校和报纸而起作用的商业利益和政治利益的蓄意败坏，那么战争这个妖魔早就该绝迹了。 我们所能有的最美好的经验是奥秘的经验。它是坚守在真正艺术和真正科学发源地上的基本感情。谁要体验不到它，谁要是不再有好奇心，也不再有惊讶的感觉，谁就无异于行尸走肉，他的眼睛便是模糊不清的。就是这样奥秘的经验??虽然掺杂着恐惧??产生了宗教。我们认识到有某种为我们所不能洞察的东西存在，感觉到那种只能以其最原始的形式接近我们的心灵的最深奥的理性和最灿烂的美??正是这种认识和这种情感构成了真正的宗教感情;在这个意义上，而且也只是在这个意义上，我才是一个具有深挚的宗教感情的人。我无法想象存在这样一个上帝，它会对自己的创造物加以赏罚，会具有我们在自己身上所体验到的那种意志。我不能也不愿去想象一个人在肉体死亡以后还会继续活着;让那些脆弱的灵魂，由于恐惧或者由于可笑的唯我论，去拿这种思想当宝贝吧～我自己只求满足于生命永恒的奥秘，满足于觉察现存世界的神奇结构，窥见它的一鳞半爪，并且以诚挚的努力去领悟在自然界中显示出来的那个理性的一部分，倘若真能如此，即使只领悟其极小的一部分，我也就心满意足了。 12 英语经典散文 My approach to life By Linyutang IN what follows I am presenting the Chinese point of view, because I cannot help myself.I am interested only in presenting a view of life and of things as the best and wisest Chinese minds have seen it and expressed it in their folk wisdom and their literature.It is an idle philosophy born of an idle life, evolved in a different age, I am quite aware. But I cannot help feeling that this view of life is essentially true, and since we are alike under the skin, what touches the human heart in one country touches all. I shall have to present a view of life as Chinese poets and scholars evaluated it with their common sense, their realism and their sense of poetry. I shall attempt to reveal some of the beauty of the pagan world, a sense of the pathos and beauty and terror and comedy of life, viewed by a people who have a strong feeling of the limitations of our existence, and yet somehow retain a sense of the dignity of human life. The Chinese philosopher is one who dreams with one eye open, who views life with love and sweet irony, who mixes his cynicism with kindly tolerance, and who alternately wakes up from life's dream and then nods again, feeling more alive when he is dreaming than when he is awake, thereby investing his waking life with a dream-world quality. He sees with one eye closed and with one eye opened the futility of much that goes on around him and of his own endeavours, but barely retains enough sense of reality to determine to go through with it. He is seldom disillusioned because he has no illusions, and seldom disappointed because he never had extravagant hopes. In this way, his spirit is emancipated. For, after, surveying the field of Chinese literature and philosophy, I come to the conclusion that the highest ideal of Chinese culture has always been a man with a sense of detachment toward life based on a sense of wise disenchantment. From this detachment comes high-mindedness, a high-mindedness which enables one to go through life with tolerant irony and escape the temptations of fame and wealth and achievement, and eventually makes him take what comes. And from this detachment arise also his sense of freedom, his love of vagabondage and his pride and nonchalance. It is only with this sense of freedom and nonchalance that one eventually arrives at the keen and intense joy of living." 对人生的态度 林语堂 在下面的文章里，我要表现中国人的观点，因为我没有办法不这样做。我只想表现一种为中国最优越 最睿智的哲人们所知道，并且在他们的民间智慧和文学里表现出来的人生观和事物观。我知道这是一种在 与现代不同的时代里发展出来的，从闲适的生活中产生出来的闲适哲学。可是，我终究觉得这种人生观根 本是真实的;我们的心性既然是相同的，那么在一个国家里感动人心的东西，自然也会感动一切的人类。 我得表现中国诗人和学者用他们的常识，他们的现实主义，与他们的诗的情绪所估定的一种人生观。 我打算显示一些异教徒的世界之美，一个民族所看到的人生的悲哀、美丽、恐怖和喜剧;这一个民族对于 我们生命的有限发生强烈的感觉，然而不知何故却保持着一点人生庄严之感。 中国哲学家是一个睁着一只眼睛做梦的人，是一个用爱及温和的嘲讽来观察人生的人，是一个把他的 玩世主义和慈和的宽容心混合起来的人，是一个有时由梦中醒来，有时又睡了过去的，在梦中比在醒时更 觉得生气蓬勃，因而在他清醒的生活中放进了梦意的人。 他睁着一只眼，闭着一只眼，看穿了他周遭所发生的事情和他自己的努力的徒然，可是还保留着充分 的现实感去走完人生的道路。他很少幻灭，因为他没有虚幻的憧憬，很少失望，因为他从来没有怀着过度 的希望。他的精神就是这样解放了的。 因为在研究了中国的文学和哲学以后，我得到了这样的结论:中国文化的最高理想始终是一个对人生 有一种建筑在明慧的悟性上的达观的人。这种达观产生了宽怀，使人能够带着宽容的嘲讽度其一生，逃开 功名利禄的诱惑，而且终于使他接受命运给他的一切东西。 这种达观也使他产生了自由的意识，放浪的爱好，与他的傲骨和淡漠的态度。一个人只有具着这种自 由的意识和淡漠的态度，结果才能深切地热烈地享受人生的乐趣。 13 英语经典散文 Rural Life in England By Washington Irving Nothing can be more imposing than the magnificence of English park scenery. Vast lawns that extend like sheets of vivid green, with here and there clumps of gigantic trees, heaping up rich piles of foliage. The solemn pomp of groves and woodland glades, with the deer trooping in silent herds across them; the hare, bounding away to the covert; or the pheasant, suddenly bursting upon the wing. The brook, taught to wind in natural meanderings, or expand into a glassy lake—the sequestered pool, reflecting the quivering trees, with the yellow leaf sleeping on its bosom, and the trout roaming fearlessly about its limpid waters; while some rustic temple, or sylvan statue, grown green and dank with age, gives an air of classic sanctity to the seclusion. These are but a few of the features of park scenery; but what most delights me, is the creative talent with which the English decorate the unostentatious abodes of middle life. The rudest habitation, the most unpromising and scanty portion of land, in the hands of an Englishman of taste, becomes a little paradise. With a nicely discriminating eye, he seizes at once upon its capabilities, and pictures in his mind the future landscape. The sterile spot grows into loveliness under his hand; and yet the operations of art which produce the effect are scarcely to be perceived. The cherishing and training of some trees; the cautious pruning of others; the nice distribution of flowers and plants of tender and graceful foliage; the introduction of a green slope of velvet turf; the partial opening to a peep of blue distance, or silver gleam of water;—all these are managed with a delicate tact, a pervading yet quiet assiduity, like the magic touchings with which a painter finishes up a favorite picture. The residence of people of fortune and refinement in the country, has diffused a degree of taste and elegance in rural economy that descends to the lowest class. The very laborer, with his thatched cottage and narrow slip of ground, attends to their embellishment. The trim hedge, the grass-plot before the door, the little flower-bed bordered with snug box, the woodbine trained up against the wall, and hanging its blossoms about the lattice; the pot of flowers in the window; the holly, providently planted about the house, to cheat winter of its dreariness, and to throw in a semblance of green summer to cheer the fireside; all these bespeak the influence of taste, flowing down from high sources, and pervading the lowest levels of the public mind. If ever Love, as poets sing, delights to visit a cottage, it must be the cottage of an English peasant. 英国的农村生活 [美国]华盛顿.欧文 没有任何景物能比英国公园壮丽的景色更吸引人。广阔的草地就像一块鲜明的绿毯伸展开来，到处都 是巨树丛林，它们聚成一簇簇丰厚的树叶:矮树林壮观严肃的盛景，林中空地，有鹿群静静走过，野兔跳 进藏身之所，或是雉鸟突然振翅高飞。小溪流顺着天然曲折的道路蜿蜒前行或延展成平镜般的湖泊:退隐 的水塘映出颤动树影，黄叶静静地躺在塘心，鳟鱼无惧地悠游于清水中，而一些乡间的庙宇及森林中的雕 像，则因时间长远的原因变绿阴湿，给这种隐蔽蒙上了一层古典淡雅的气氛。 这只不过是公园景观特色一个很小的部分，最令我欣赏的还是英国人装饰他们朴实无华的中产阶级生 活时的那种创造性才智。在有品味的英国人手中，最粗陋的住宅，前景不好而又贫乏的土地，也能成为一 个小小天堂。 在他(英国人)的手中，再贫瘠的土地也会变成可爱之地，而产生这种效果的艺术操作，几乎看不出什 么迹象。对某些树要精心爱护和培育;对另一些树要谨慎地修剪;很好地分配花朵及长满娇嫩而优雅叶子 的植物，引进一片天鹅绒似的绿色斜地;给出一个空隙，从那可以瞥见远处蔚蓝且银光闪烁的水色。这一 切都是以精巧的机智、无处不在又不露痕迹的勤勉来安排的，就像一位画家以神来之笔完成一幅心爱的画 作。 在乡间经济中，富有且教养良好的乡绅居处散发出的某一程度的品位及优雅，已经下传至最低的阶层。 即使是只拥有茅顶小屋及狭长空地的工人，也注意装饰的问题。整洁的篱笆，门前的绿草地，环绕着温暖 14 英语经典散文 盒子的小花床，修过枝的墙上忍冬花将花朵缀满了格子窗以及窗台上的花盆，冬青则被巧妙地种植在房子周围。即使到了冬天，也满是夏天的样子，充满温暖，鼓舞着屋内围炉而坐的人们，这都是品味的影响力在起作用。它从高处汨汨流下，一直流到公众认为是最低的阶层中。如果诗人所歌颂的爱，愿意拜访农舍的话，则非英国农人的村舍莫属。 作者介绍: 华盛顿.欧文(Washington Irving, 1783-1859) 是美国文学的奠基人之一。他是第一个得到欧洲承认的美国作家，被称为“美国文学之父”。 欧文的作品反映了美国文学从18世纪的理性主义到19世纪浪漫主义的转变。他的文笔优美，语言生动，能够在描述中恰如其分地运用幽默与夸张的艺术手法。他的浪漫主义气息为作品增添了魅力。他的作品对北美早期殖民者的残酷剥削和屠杀印第安人的罪行也进行了讽刺和揭露。欧文的一些优秀作品已成为典范，他的风格对埃德加.爱伦.坡、霍桑等后代作家都有一定的影响。欧文虽然蜚声欧洲，而且美国人也认为这标志着美国文学的开端，但是真正反映美国生活、具有民族特色的美国文学作品还需要至少一代人的努力才会出现。这主要是因为欧文的作品多以欧洲为题材，具有较明显的模仿的痕迹。 15 英语经典散文 Late summer From A Farewell to Arms By Ernest Hemingway In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving and blue in the channels. Troops went by the house and down the road and the dust they raised powdered the leaves of the trees. The trunks of the trees too were dusty and the leaves fell early that year and we saw the troops marching along the road and the dust rising and leaves, stirred by the breeze, falling and the soldiers marching and afterward the road bare and white except for the leaves. The plain was rich with crops; there were many orchards of fruit trees and beyond the plain the mountains were brown and bare. There was fighting in the mountains and at night we could see the flashes from the artillery. In the dark it was like summer lightning, but the nights were cool and there was not the feeling of a storm coming. Sometimes in the dark we heard the troops marching under the window and guns going past pulled by motor-tractors. There was much traffic at night and many mules on the roads with boxes of ammunition on each side of their pack-saddles and gray motor trucks that carried men, and other trucks with loads covered with canvas that moved slower in the traffic. There were big guns too that passed in the day drawn by tractors, the long barrels of the guns covered with green branches and green leafy branches and vines laid over the tractors. To the north we could look across a valley and see a forest of chestnut trees and behind it another mountain on this side of the river. There was fighting for that mountain too, but it was not successful, and in the fall when the rains came the leaves all fell from the chestnut trees and the branches were bare and the trunks black with rain. The vineyards were thin and bare-branched too and all the country wet and brown and dead with the autumn. There were mists over the river and clouds on the mountain and the trucks splashed mud on the road and the troops were muddy and wet in their capes; their rifles were wet and under their capes the two leather cartridge-boxes on the front of the belts, gray leather boxes heavy with the packs of clips of thin, long 6.5 mm. cartridges, bulged forward under the capes so that the men, passing on the road, marched as though they were six months gone with child. There were small gray motor cars that passed going very fast; usually there was an officer on the seat with the driver and more officers in the back seat. They splashed more mud than the camions even and if one of the officers in the back was very small and sitting between two generals, he himself so small that you could not see his face but only the top of his cap and his narrow back, and if the car went especially fast it was probably the King. He lived in Udine and came out in this way nearly every day to see how things were going, and things went very badly. At the start of the winter came the permanent rain and with the rain came the cholera. But it was checked and in the end only seven thousand died of it in the army. 夏末 选自《永别了，武器》 海明威 那一年夏末，我们住在村庄中的一幢房子里，望得见隔着河流和平原的那些山野。河床中的圆石和砂 砾，在太阳下显得又干又白。河水在河道里澄蓝明净，湍流不息。军队从房边走上大路，扬起漫天尘沙， 使树叶上蒙一层灰尘，树干也脏稀稀的。那年树叶提早调落，我们眼看着军队开过大道，尘土飞扬，树叶 被微风一吹，纷纷坠落。军队开过之后，白色的路面上空荡荡的，只留下调零的树叶。 ------------------------------------------------------------------------------------------------------------- 那年晚夏，我们住在乡间的一栋房子里，隔着河流和平原可以望见高山。河床里的鹅卵石和圆石，在 阳光的照耀下干燥白皙，清澈的河水湍急地流过，河道里一汪蔚蓝。部队沿着房子向大路挺进，扬起滚滚 尘土，覆盖了树叶和枝干。树叶那年落得早，我们看着部队行进在路上，所过之处，尘土飞扬。微风吹得 16 英语经典散文 树叶纷然而落，士兵们踏过的路上只剩下哗哗的落叶，一眼望去白晃晃、空荡荡的。 平原上的庄稼长势良好，有许多果园，而平原处的山峦，则是满目褐黄，光秃一片。山谷里战斗正打得紧，夜里我们还能看到炮火的闪现。黑暗中，这番情景酷似夏季的闪电，只是现在夜里凉快些，人们觉察不到夏天暴风雨来临前的那种闷热罢了。 有时在夜色中，我们能听见部队从窗下走过，摩托牵引机拖着大炮发出的声响也声声入耳。夜里的交通颇为繁忙，路上有很多驮弹药箱的骡子，运送士兵的灰色卡车，还有一种开得稍微缓慢的卡车，运载的东西被帆布盖着。白天也有用牵引车运送的重炮，翠绿的树枝遮盖着长长的炮管，郁郁葱葱、繁茂的枝条和葡萄藤把整个车身都覆盖了。朝北望是片山谷，山谷后面有一片栗树树林，林子后面，也就是在河的这一边，又有一座高山。在这座高山里也曾经发生过交战，只是没有成功。一到秋天，雨水就连绵而止。山上栗树的叶子掉得精光，只剩下赤裸的树枝，还有那被雨打得漆黑的树干。葡萄园中也是枯枝败叶，稀疏光秃;乡里的每一样东西都是湿润的，触目所至，一片萧瑟的秋意。雾气弥漫着河流，浮云在山涧萦绕，路上卡车驶过处泥浆飞溅，士兵们顶着湿漉漉的披肩，浑身都是烂泥;他们对待来福枪也被淋湿了，每个人身前的皮带都挂着两个皮夹子弹盒，里面排满了又长又窄的六点五毫米口径的子弹，鼓鼓囊囊地盖在披肩下，他们走在路上，猛地一看，就象是一群怀胎六月的妇人。 17 英语经典散文 Under the Power of Nature By Edgar Allen Poe During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung up pressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I knew not how it was---but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment with which the mind usually receives even the sternest natural images of the desolate or terrible, I looked upon the scene before me---upon the mere house, and the simple landscape features of the domain, upon the bleak walls, upon the vacant eye-like windows, upon a few randy sedges, and upon a few white trunks of decayed trees---with an utter depression of soul which I can compare to no earthly sensation more properly than to the afterdream of the reveler upon opium; the bitter lapse into everyday life ,the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart, an unredeemed torture into ought of the sublime. What was it I paused to think what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forded to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. 在自然威力之下 埃德加•爱伦坡 那年秋天某日，天气阴沉、昏暗而又寂静，云层低压，令人窒息。整整一天，我独自一人策马行进， 穿过一条异常沉闷的乡间小路;暮色降临时分，我已经不知不觉来到那幢举目可望的凄凉的厄谢尔宅第这 个地方。但是，不知怎的——头一眼望见这幢房子，就被一种令人难以忍受的阴郁窒闷住我的心。我说难 以忍受，那是因为即使人们看到最最严峻、荒凉或可怕的自然景象时，头脑里通常还有某种由景象的富有 诗意所产生的几分快感，但此情此景却丝毫引不起此种感情。我看着眼前的情景——宅第本身，房子周围 单调的景象，光秃秃的墙壁，空空的、眼睛窟窿似的窗户，几丛杂乱的菅茅，几株灰白的枯树——心情十 分沮丧，同人世间任何心情相比，把它比作过足鸦片烟瘾的人，从梦幻中醒来，回到现实生活里的痛苦心 情，最为适当了。心中一凉，只觉得往下沉，难受极了。还有一种不可驱除的凄凉之感，无论作何设想也 不能激起我的兴致。那么，究竟是什么——我停下来考虑——究竟是什么使我在凝望厄谢尔宅第时如此心 烦意乱呢?这完全是一个无法解答的谜;在我考虑的时候，我脑海里充满了模模糊糊的想法，却无法弄清 是怎么回事。我只好回到那个不能令人满意的结论上来，即:尽管一些非常简单的自然景物结合在一起， 也无疑具有影响我们的威力，但要 分析 定性数据统计分析pdf销售业绩分析模板建筑结构震害分析销售进度分析表京东商城竞争战略分析 这种威力却超过了我们思考的深度。 作者介绍: 埃德加•爱伦•坡(1809—1849)，美国作家，其诗歌和小说受到推崇。本文节选自其短篇小说《厄 谢尔宅第的倒塌》。 18 英语经典散文 The scenery of Walden by Henry David Thoreau The scenery of Walden is on a humble scale, and, though very beautiful, does not approach to grandeur, nor can it much concern one who has not long frequented it or lived by its shore; yet this pond is so remarkable for its depth and purity as to merit a particular description. It is a clear and deep green well, half a mile long and a mile and three quarters in circumference, and contains about sixty-one and a half acres; a perennial spring in the midst of pine and oak woods, without any visible inlet or outlet except by the clouds and evaporation. The surrounding hills rise abruptly from the water to the height of forty to eighty feet, though on the southeast and east they attain to about one hundred and one hundred and fifty feet respectively, within a quarter and a third of a mile. They are exclusively woodland. All our Concord waters have two colors at least; one when viewed at a distance, and another, more proper, close at hand. The first depends more on the light, and follows the sky. In clear weather, in summer, they appear blue at a little distance, especially if agitated, and at a great distance all appear alike. In stormy weather they are sometimes of a dark slate-color. The sea, however, is said to be blue one day and green another without any perceptible change in the atmosphere. I have seen our river, when, the landscape being covered with snow, both water and ice were almost as green as grass. Some consider blue "to be the color of pure water, whether liquid or solid." But, looking directly down into our waters from a boat, they are seen to be of very different colors. Walden is blue at one time and green at another, even from the same point of view. Lying between the earth and the heavens, it partakes of the color of both. Viewed from a hilltop it reflects the color of the sky; but near at hand it is of a yellowish tint next the shore where you can see the sand, then a light green, which gradually deepens to a uniform dark green in the body of the pond. In some lights, viewed even from a hilltop, it is of a vivid green next the shore. Some have referred this to the reflection of the verdure; but it is equally green there against the railroad sandbank, and in the spring, before the leaves are expanded, and it may be simply the result of the prevailing blue mixed with the yellow of the sand. Such is the color of its iris. 瓦尔登湖美景 亨利•大卫•梭罗 瓦尔登的风景是卑微的，虽然很美，却并不是宏伟的，不常去游玩的人，不住在它岸边的人未必能被 它吸引住:但是这一个湖以深邃和清澈著称，值得给予突出的描写。这是一个明亮的深绿色的湖，半英里 长，圆周约一英里又四分之三，面积约六十一英亩半;它是松树和橡树林中央的岁月悠久的老湖，除了雨 和蒸发之外，还没有别的来龙去脉可寻。四周的山峰突然地从水上升起，到四十至八十英尺的高度，但在 东南面高到一百英尺，而东边更高到一百五十英尺，其距离湖岸，不过四分之一英里及三分之一英里。山 上全部都是森林。所有我们康科德地方的水波，至少有两种颜色，一种是站在远处望见的，另一种，更接 近本来的颜色，是站在近处看见的。第一种更多地靠的是光，根据天色变化。在天气好的夏季里，从稍远 的地方望去，它呈现了蔚蓝颜色，特别在水波荡漾的时候，但从很远的地方望去，却是一片深蓝。在风暴 的天气下，有时它呈现出深石板色。海水的颜色则不然，据说它这天是蓝色的，另一天却又是绿色了，尽 管天气连些微的可感知的变化也没有。我们这里的水系中，我看到当白雪覆盖这一片风景时，水和冰几乎 都是草绿色的。有人认为，蓝色“乃是纯洁的水的颜色，无论那是流动的水，或凝结的水”。可是，直接 从一条船上俯看近处湖水，它又有着非常之不同的色彩。甚至从同一个观察点，看瓦尔登是这会儿蓝，那 忽儿绿。置身于天地之间，它分担了这两者的色素。从山顶上看，它反映天空的颜色，可是走近了看，在 你能看到近岸的细砂的地方，水色先是黄澄澄的，然后是淡绿色的了，然后逐渐地加深起来，直到水波一 律地呈现了全湖一致的深绿色。却在有些时候的光线下，便是从一个山顶望去，靠近湖岸的水色也是碧绿 得异常生动的。有人说，这是绿原的反映;可是在铁路轨道这儿的黄沙地带的衬托下，也同样是碧绿的， 而且，在春天，树叶还没有长大，这也许是太空中的蔚蓝，调和了黄沙以后形成的一个单纯的效果。这是 它的虹色彩圈的色素。 19 英语经典散文 August By Charles Dickens There is no month in the whole year in which nature wears a more beautiful appearance than in the month of August. Spring has many beauties, and May is a fresh and blooming month, but the charms of this time of year are enhanced by their contrast with the winter season. August has no such advantage. It comes when we remember nothing but clear skies, green fields, and sweet-smelling flowers--when the recollection of snow, and ice, and bleak winds, has faded from our minds as completely as they have disappeared from the earth--and yet what a pleasant time it is! Orchards and cornfields ring with the hum of labour; trees bend beneath the thick clusters of rich fruit which bow their branches to the ground; and the corn, piled in graceful sheaves, or waving in every light breath that sweeps above it, as if it wooed the sickle, tinges the landscape with a golden hue. A mellow softness appears to hang over the whole earth; the influence of the season seems to extend itself to the very wagon, whose slow motion across the well-reaped field is perceptible only to the eye, but strikes with no harsh sound upon the ear. As the coach rolls swiftly past the fields and orchards which skirt the road, groups of women and children, piling the fruit in sieves, or gathering the scattered ears of corn, pause for an instant from their labour, and shading the sun-burned face with a still browner hand, gaze upon the passengers with curious eyes, while some stout urchin, too small to work, but too mischievous to be left at home, scrambles over the side of the basket in which he has been deposited for security, and kicks and screams with delight. The reaper stops in his work, and stands with folded arms, looking at the vehicle as it whirls past; and the rough cart-horses bestow a sleepy glance upon the smart coach team, which says as plainly as a horse's glance can, 'It's all very fine to look at, but slow going, over a heavy field, is better than warm work like that, upon a dusty road, after all.' You cast a look behind you, as you turn a corner of the road. The women and children have resumed their labour; the reaper once more stoops to his work; the cart-horses have moved on; and all are again in motion. 八月 查尔斯•狄更斯 一年之中，没有任何一个月的自然风光比得过八月的风采。春天美不胜收，而五月也是一个清新花开 的月份，由于有冬季的对比，所以每年的此刻更显得魅力四射。八月就没有这样的优势。它来的时候，我 们只记得明朗的天空，绿绿的田野，还有芬芳四溢的花朵,,记忆中的冰雪，寒风都已经完全消失，仿佛 它们再地球上了无踪迹,,然而八月是多么愉快的季节啊～果园和麦田到处都充溢着工作的声响;串串硕 果压得果树都弯下了腰，枝条低垂到地面:还有玉米，有的一捆捆优雅的堆在一起，有的则迎着微风招展， 仿佛等待收割，把景致染上淡淡的金黄色。整个大地似乎笼罩着醇美的柔和;季节的影响，似乎伸展至那 辆马车，让它缓慢地越过收割好的田地，这一切只有用肉眼才察觉得到，耳朵听不到刺耳得声音. 马车摇晃着，轻快地经过路边的田野与果园，一群群的妇女和孩子们，有的正将水果往筛子上堆。 有的则在捡散落得玉米穗子，他们稍停了会儿手中的活，用深褐色得手遮在晒黑的脸上，以好奇得眼睛望 着乘客:一些结实得小顽童，太小还不能上学，但又不能把他们留在家中胡闹，原先被安置在篮子里是出 于安全的考虑，这时也爬过了篮边，高兴得又踢又叫。收割的人停下了手里的活，双臂交叉地站着看马车 通过，而毛茸茸的拖货车的马也睡眼惺忪地向那灵巧地马车队看了一眼，它地眼神很明白地表露出:“看 看倒是不错，但在崎岖的田地上慢慢走，总比那么辛苦的工作要好，尤其是在尘土飞扬的路上”。当你拐 过路角时，回头瞧瞧你的身后吧～妇女和孩子们又开始干活了:收割的人又弯下了腰，拖货车的马已经继 续前进。所有的一切又恢复了工作。 20 英语经典散文 Westminster Abbey by Washington Irving On one of those sober and rather melancholy days in the latter part of autumn when the shadows of morning and evening almost mingle together, and throw a gloom over the decline of the year, I passed several hours in rambling about Westminster Abbey. There was something congenial to the season in the mournful magnificence of the old pile, and as I passed its threshold it seemed like stepping back into the regions of antiquity and losing myself among the shades of former ages. I entered from the inner court of Westminster School, through a long, low, vaulted passage that had an almost subterranean look, being dimly lighted in one part by circular perforations in the massive walls. Through this dark avenue I had a distant view of the cloisters, with the figure of an old verger in his black gown moving along their shadowy vaults, and seeming like a spectre from one of the neighboring tombs. The approach to the abbey through these gloomy monastic remains prepares the mind for its solemn contemplation. The cloisters still retain something of the quiet and seclusion of former days. The gray walls are discolored by damps and crumbling with age; a coat of hoary moss has gathered over the inscriptions of the mural monuments, and obscured the death’s heads and other funeral emblems. The sharp touches of the chisel are gone from the rich tracery of the arches; the roses which adorned the keystones have lost their leafy beauty; everything bears marks of the gradual dilapidations of time, which yet has something touching and pleasing in its very decay. The sun was pouring down a yellow autumnal ray into the square of the cloisters, beaming upon a scanty plot of grass in the centre, and lighting up an angle of the vaulted passage with a kind of dusky splendor. From between the arcades the eye glanced up to a bit of blue sky or a passing cloud, and beheld the sun-gilt pinnacles of the abbey towering into the azure heaven. 威斯敏斯特角 华盛顿•欧文 正值深秋时节，这种天气让人感觉庄重而抑郁，早晨的阴影几乎和傍晚的相互连接，给这岁末的幽情 更加笼罩了一层灰蒙蒙的色彩。就是在这样一天，我一个人在西敏大寺走了几个小时。在这古老的建筑群 中，有一种凄凉的感觉刚好与这个季节的色调相吻合;我跨进门槛，似乎一脚迈进了古老的年代，将自己 融入到那些前人的阴影当中了。 我是从西敏学校的内庭进去的，穿过一条低矮的有着弧顶的长廊，感觉像是在地下室里。周围是厚厚 的墙壁，只有墙上的小孔透出丝丝光线，反而显得这里更加幽暗了。穿过这条长廊，我可以远远地看见前 方的拱廊;一个上了年纪的教堂司事，身着黑色长袍，正从阴影里走过，那模样就像是一个刚刚从附近的 墓中爬出来的幽灵。这条路正是古修道院的遗址，景色分外凄凉，我的头脑也因此陷入了庄严地沉思默想 之中。这条道路一如既往地寂静，与世隔绝。灰色的墙壁因为受到潮湿空气的侵蚀，早已褪了色，而且由 于年代久远，也逐渐呈现出崩溃的迹象。墙壁上覆盖了一层灰白的苔衣，让人无法辨认清楚上面的碑文、 骷髅像和各种丧葬的标识。弧顶上本来雕刻有华丽富贵的花纹，可如今早已不见了那些斧凿的痕迹;当年 拱形石上枝繁叶茂的玫瑰花也不见了往日的风采。这里所有的事物都刻上了岁月流逝的痕迹，然而就是在 这样的颓废之中，依然有一种让人怦然心动、欢喜愉悦的感觉。一道秋意绵绵的金色阳光从拱廊的方场上 空倾泻下来，照耀着场上稀稀拉拉的小草，也给拱廊的一角披上一层阴郁的光线。从拱廊中间抬头远望， 可以看见一小片蓝天或时不时飘过的白云，还有那扑撒了金子般阳光的塔尖;塔尖正笔直地向蓝天延伸。 21 英语经典散文 Accepting The Command of The Army From A Letter to His Wife, 1775 by George Washington You may believe me, when I assure you in the most solemn manner that, so far from seeking this employment, I have used every effort in my power to avoid it, not only from my unwillingness to part with you and the family, but from a consciousness of its being a trusty too great for my capacity; and I should enjoy more real happiness in one month with you at home than I have the most distant prespect of finding abroad, if my stay were to be seven times seven years. But as it has been a kind of destiny that has thrown me upon this service, I shall hope that my undertaking it is designed to answer some good purpose... I shall rely confidently on that Providence which has heretofore preserved and been bountiful to me, not doubting but that I shall return safe to you in the fall. I shall feel no pain from the toil or danger of the campaign; my unhappy pines will flow from the uneasiness I know you will feel from being left alone. I therefore beg that you will summon your whole fortitude, and pass your time as agreeably as possible. Nothing will give me so much sincere satisfaction as to hear this, and to hear it from your own pen. 受命统率全军 乔治•华盛顿 你可以相信我，我极其庄严地向你保证我根本没有追求过这项任命，而是竭尽全力，千方百计地 回避它。这不仅是因为我不愿意同你以及全家人分别，而且因为我深知责任重大，非我力所能及。另外， 倘若我出门数十载寻求前景非常遥远的幸福，那还比不上在家中与你相聚一个月那样真正幸福。但是，既 然命运已赋予我这个使命，我希望，安排我来承担这个任务是为了使我有所建树...... 我将信赖一直保佑我和降福于我的上帝，深信到秋天我将平安地回到你身边。对出征所带来的艰辛 和危险，我不会感到痛苦;使我难过的是我知道你独自一人留在家中必然感到焦虑不安。因此，我恳求你 鼓起全部勇气，尽量愉快地过日子。没有什么比听到你过得愉快的消息——并且是从你的笔下听到这消息， 能使我感到更大的欣慰了。 【作者简介】 乔治•华盛顿:出生于1732年2月22日，美国第一届总统(1789年4月,1797年3月)。 22 英语经典散文 O Love By James Joyce Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of laborers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs cheeks, the nasal chanting of streetsingers, who sang a come-all-you about O’Donovan Rosa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the footer. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. Buttery body was like a harp and her words and gestures were like fingers running upon the wires. One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: :―O love! O love!‖ many times. 啊，爱情 詹姆斯?乔伊斯 即使是在最不可能勾起浪漫之情的境地里，她的形象也始终陪伴着我。星期六晚上，我婶婶要上街 去买东西，我得跟着去帮她拿购买的物品，灯火通明的大街上熙熙攘攘，我和婶婶在醉汉和讨价还价的妇 人们中间挤来挤去。苦力们在咒骂着;年轻的店员们站在装着猪头肉的木桶边上，一边看护着货物，一边 尖声地招揽生意;街头的歌手们反复单调地哼着一首有关“奥唐纳凡•萝莎”的，叫做“你们都来吧”的 歌曲，或者唱根据我们当地人的忧愁而编成的民歌;在我心目中，这各色各样的声响汇成了一股生活的激 情:我想象着自己捧着圣餐酒杯，安全通过了一大群敌人的包围。有时候，我在祈祷时连自己也不知道在 念些什么，可是她的名字却跳到了嘴边。泪水常常充满我的眼眶(我也说不出是何原故)。有时，我内心一 阵激动，泪水如潮，似乎从心脏涌流遍了整个胸膛。我很少想到未来，也不知道是否会与她交谈;即使与 她交谈，我又如何向她倾吐我对她敬慕的复杂矛盾的心情呢?然而，我的身子仿佛是一把竖琴，她的言行 举止就象是手指，拨动着我的心弦。 一天傍晚，我来到了教士去世的那间后客厅。这是一个阴雨绵绵、漆黑的夜晚。整幢房子一片寂静。 透过一块破碎的窗玻璃，传来了雨水着地的声响。连绵的细雨犹如行行绣针，洒向湿透的花圃。低头望去， 远处不知是路灯还是住家的灯火在闪烁着光芒。看不到什么东西反使我感到欣慰。我的全部感官似乎都愿 与外界隔绝，便把手掌紧合在一起，直到双手微微颤动起来，嘴里多次喃喃念着:“啊，爱情!啊，爱情!” 作者介绍: 詹姆斯•乔埃斯(1882,1941)，著名小说家，名作有《尤利西斯》。本文节选自其短篇小说《初 恋》。 23 英语经典散文 Turning-point of our Life By Sherwood Anderson My father was, I am sure, intended by nature to be a cheerful, kindly man. Until he was thirty-four years old he worked as a farm-hand for a man named Thomas Butterworth whose place lay near the town of Biddable, Ohio. He had then a horse of his own and on Saturday evenings drove into town to spend a few hours in social intercourse with other farm-hands. In town he drank several glasses of beer and stood about in Ben Head’s saloon-crowded on Saturday evenings with visiting farm-hands. Songs were sung and glasses thumped on the bar. At ten o’clock my father drove home along a lonely country road, made his horse comfortable for the night and himself went to bed, quite happy in his position in life. He had at that time no notion of trying to rise in the world. It was in the spring of his thirty-fifth year that father married my mother, then a country schoolteacher, and in the following spring I came wriggling and crying into the world. Something happened to the two people. They became ambitious. The American passion for getting up in the world took possession of them. It may have been that mother was responsible. Being a schoolteacher she had no doubt read books and magazines. She had, I presume, read of how Garfield, Lincoln, and other Americans rose from poverty to fame and greatness and as I lay beside her---in the days of her lying-in---she may have dreamed that I would some day rule men and cities. At any rate she induced father to give up his place as a farm-hand, sell his horse and embark on an independent enterprise of his own. She was a tall silent woman with a long nose and troubled Grey eyes. For herself she wanted nothing. For father and myself she was incurably ambitious. 生活的转折点 舍伍德•安德生 我相信父亲天生就是一个快活、和善的人。他当过农场雇工，在俄亥俄州比德韦尔镇附近为一个名叫 托马斯•马特活斯的人干活，一直干到三十四岁。那时他自己有一匹马。星期六晚上，他总要骑着它到镇 上去，跟其他雇工们一起聊上几个小时。在镇上，他总泡在本•黑兹酒吧间里，喝上几杯啤酒。每适星期 六晚上，酒吧间里总是挤满了前来消遣的雇工，到处是歌声和酒杯碰击酒吧的声音。一到十点，父亲就沿 着一条人迹稀少的乡间小道骑马回家。安顿好马以后，自己也就上床睡觉了。他对他所处的地位是相当满 意的。那时他还没有要在这个世道上向上爬的念头。 在他三十五岁那年的春天，他和我母亲结婚了。当时母亲是乡村学校的一名教师。第二年春天，我就 呱呱坠地了。从那时起，他俩也发生了变化，开始变得雄心勃勃了。美国人的那种要出人头地的强烈欲望 占据了他们的心灵。 可能这要怪我母亲。她是一个教师，肯定读过一些书和杂志。我猜想，她读过有关伽菲尔德、林肯和 其他一些美国人是怎样从穷苦人变成有声望的伟人的书籍;或许，在她的产期里，她也梦想过躺在她身边 的我，有朝一日也会去统治人们和城市。不管怎么说，是她劝说父亲辞掉雇工工作，卖掉那匹马，去从事 一项独立的事业。她个子挺高，沉默寡言，长长的鼻子，一双灰眼睛，流露出忧郁的神情。她为她自己并 无所求，可为父亲和我，却有着无法遏制的勃勃野心。 作者介绍: 舍伍德•安德生(1876—1941)，美国小说家，著名作品有《俄亥俄州温涅斯堡镇》。本文节选自 短篇小说《蛋》。 24 英语经典散文 The Charm By Henry James By the time they at last came to speech they were alone in one of the rooms-remarkable for a fine portrait over the chimneyplace-out of which their friends had passed, and the charm of it was that even before they had spoken they had practically arranged with each other to stay behind to talk. The charm, happily, was in other things too-partly in there being scarce a spot at Weathered without something to stay behind for. It was in the way the autumn day looked into the hilt windows as it waned; the way the red light, breaking at the close from under a low somber sky, reached out in a long shaft and played over old wainscots, old tapestry, old gold, old color. It was most of all perhaps in the way she came to him as if ,since she had been turned on to deal with the simpler sort, he might, should he choose to keep the whole thing down, just take her mild attention for a part of her general business. As soon as he heard her voice, however, the gap was filled up and the missing link supplied, the slight irony he divined in her attitude lost its advantage. He almost jumped at it to get there before her. "I met you years and years ago in Rome. I remember all about it." She confessed to disappointment---she had been so sure he didn’t; and to prove how well he did he began to pour forth the particular recollections that popped up as he called for them. Her face and her voice, all at his service now, worked the miracle---the impression operating like the torch of a lamplighter who touches into flame, one by one, a long row of gas jets. 妙 亨利•詹姆斯 到了他们最后开始对话时，一间屋子里只有他们两个人——壁炉架上着一幅精美的画像，显得很别致 ——他们的朋友都走出屋子了，妙就妙在他们还没有讲话，实际上双方已约定要留下来谈谈。妙的是妙处 不仅于此，部分妙处还在于韦瑟恩德没有一处不是值得留下来的。还妙在秋日西斜，那样照在高高的窗子 上;还妙在红霞在低低的、暗淡的上空尽头断裂，化成一长道光泽，在年代悠久的护壁和挂毯上，在陈旧 的镶金和色彩上闪动。最最妙的是她向他走来的样子，她既然被用来应付比较简单的游客，如果他想把整 个事情遮掩过去，他满可以把她对他的适度的照顾当作她一般职责的一部分。然而，他一听到她的声音， 空白就填满了，失去的那一环也补足了，他觉察到她态度中带有的轻微的嘲弄成分也不起作用了。他几乎 对她的嘲弄感到欣尉，这样好先开口。“好多好多年前，我在罗马见到过您，这一切我都记得。”她承认她 很失望——她一直肯定他不记得了;为了证明他记得清清楚楚，他开始滔滔不绝地讲一桩桩召之即来的具 体的回忆。她的脸、她的声音，现在都听从他的使唤，出现了奇迹——其效果就象点灯人所用的火炬，把 一长排的煤气喷嘴一个个地点燃了。 作者介绍: 亨利•詹姆斯(1843—1916)，美国文学家，后移居伦敦。重要作品有:《美国人》(1877)，《戴西 •米勒》(Daisy Miller)等等。本文节先自其小说《丛林中的野兽》。 25 英语经典散文 Nothing but an Assumption By Herman Melville As I walked home in a pensive mood, my vanity got the better of my pity. I could not but highly plume myself on my masterly management in getting rid of Bartleby. Masterly I call it, and such it must appear to any dispassionate thinker. The beauty of my procedure seemed to consist in its perfect quietness. There was no vulgar bullying,no bravado of any sort, no choleric hectoring, and striding to and fro across the apartment, jerking out vehement commands for Bartleby to bundle himself off with his beggarly traps. Nothing of the kind. Without loudly bidding Bartleby depart as an inferior genius might have done I assumed the grown that depart he must; and upon that assumption built all I had to say. The more I thought over my procedure, the more I was charmed with it. Nevertheless, next morning, upon awakening, I had my doubts I had somehow slept off the fumes of vanity. One of the coolest and wisest hours a man has, is just after he awakes in the morning. My procedure seemed as sagacious as ever but only in theory. How it would prove in practice---there was the rub. It was truly a beautiful thought to have assumed Bartleby’s departure; but, after all, that assumption was simply my own, and none of Bartleby’s. The great point was, not whether I had assumed that he would quit me, but whether he would repress so to do. He was more a man of preferences than assumptions. 不过是个设想 赫尔曼•梅尔维尔 我走在回家的路上，沉思着，我的虚荣心胜过了怜悯之心。我撵走巴特比，安排得十分高明到家，禁 不住自鸣得意起来。我称之为高明到家，任何不带偏见看问题的人也定然抱有同感。整个过程的妙处似乎 就在于绝对的心平气和。没有低级庸俗的持强欺弱，没有任何形式的虚张声势，没有怒气冲冲的威胁恐吓， 也没有在室内大步踱来踱去，气势汹汹地嚷着，命令巴特比连同他那叫化子般的随身物一同滚蛋。这样的 事儿丝毫没有。我没有高声命令巴特比走——才能低下一点的就可能那么干了——我的假设是他非走不 可，我讲的每一句话都是以这一假设为依据的。对于这个过程，我越想越觉得陶醉其中了。但是，第二天 早晨我一醒就感到怀疑——不知怎的，这一觉睡走了那虚荣心的迷雾。一个人最冷静最明智的时刻就是早 晨刚刚醒来以后。我的做法似乎仍象以前一样高超精明——但那只是从理论上讲。实践证明如何呢——定 会有冲突。认为巴特比已离去，这确实是一个很美的想法;但这毕竟是我自己的设想，不是巴特比的。根 本的问题不在于我是不是假设他愿意离开我，而是他愿不愿这样做。 他是一个凭意愿办事的人，而不是 一个凭假设办事的人。 作者介绍: 赫尔曼•梅尔维尔(1819—1891)，美国小说家，名作有《莫比—迪克》。本文节选自其小说《缮 写员—华尔街的一个故事》。 26 英语经典散文 The Power Is Unlimited By Thomas De Quincey Besides which, there is a rarer thing than truth-namely power, or deep sympathy with truth. What is the effect, for instance, upon society, of children? By the pity, by the tenderness, and by the peculiar modes of admiration which connect themselves with the helplessness, with the innocence, and with the simplicity of children, not only are the primal affections strengthened and continually renewed, but the qualities which are dearest in the sight of heaven---the frailty, for instance, which appeals to forbearance, the simplicity which is most alien from the worldly---are kept up in perpetual remembrance, and their ideals are continually refreshed. A purpose of the same nature is answered by the higher literature, viz., the literature of power. What do you learn from Paradise Lost? Nothing at all .What do you learn from a cookery-book? Something new, something that you did not know before, in every paragraph. But would you therefore put the wretched cookery-book on a higher level of estimation than the divine poem? What you owe to Milton is not any knowledge, of which a million separate items are still but a million of advancing steps on the same earthly level; what you owe is power---that is, exercise and expansion to your own latent capacity of sympathy with the infinite, where every pulse and each separate influx is a step upward, a step ascending as upon a Jacob’s ladder from earth to mysterious altitudes above the earth. All the steps of knowledge, from first to last, carry you further on the same plane, but could never raise you one foot above your ancient level of earth; whereas the very first step in power is a flight---is an ascending movement into another element where earth is forgotten. 力量无限 德•昆西 此外，还有一种东西比真理更为神奇——那就是力量，或者说，对真理的深切感应。譬如，想一想儿 童对于社会的影响吧。由于儿童的幼弱无依、天真无邪、纯朴无伪而引起的种种特殊的赞叹怜爱之情，不 仅使人的至情至性不断地得到巩固和更新，而且，由于脆弱唤醒了宽容，天真象征着天堂，纯朴远离开世 俗，因此，这些在上帝面前最可宝贵的品质也就经常受到忆念，对它们的理想便可不断地重温。高级的文 学，即力量的文学，作用与此相类。从《失乐园》你能学到什么知识呢?什么也学不到。从一本食谱里又 能学到什么呢?从每一段都能学到你过去所不知道的某种新知识。然而，在评定甲乙的时候，难道你会因 此就把这本微不足道的食谱看得比那部超凡入圣的诗篇还高明吗?我们从弥尔顿那里学来的并不是什么知 识，因为知识，哪怕有一百万条，也不过是在尘俗的地面上开步一百万次罢了;而弥尔顿所给予我们的是 力量——也就是说，运用自己潜在的感应能力，向着无际的领域扩张，在那里，每一下脉动，每一次注入， 都意味着上升一步，好似沿着雅各的天梯，从地面一步一步登上那奥秘莫测的苍穹。知识的一切步伐，从 开始到终结，只能在同一水平面上将人往前运载，但却无法使人从原来的地面上提高一步;然而，力量所 抬出的第一步就是飞升，就是飞向另一种境界——在那里，尘世的一切全被忘却。 作者介绍: 德•昆西(1785-1859)，英国浪漫主义散文名家，其代表作为《一个英国吸鸦片者的陈述》。本 文节选自其文章《知识的文学与力量的文学》 27 英语经典散文 Aesthetic Criticism By Walter Pater To see the object as in itself it really is , "has been justly said to be the aim of all true criticism whatever; and in aesthetic criticism the first step towards seeing one’s object as it really is, is to know one’s own impression as it really is, to discriminate it, to realize it distinctly. The objects with which aesthetic criticism deals---music, poetry, artistic and accomplished forms of human life---are indeed receptacles of so many powers or forces: they possess like the products of nature, so many virtues or qualities. What is this song or picture, this engaging personality presented in life or in a book, to me ? What effect does it really produce on me ? Does it give me pleasure? And if so, what sort or degree of pleasure? How is my nature modified by its presence, and under its influence? The answers to these questions are the original facts with which the aesthetic critic has to do; and ,as in the study of light, of morals, of number, one must realize such primary data for one’s self, or not at all. And he who experiences these impressions strongly, and drives directly at the discrimination and analysis of them, has no need to trouble himself with the abstract question what beauty is in itself, or what its exact relation to truth or experience---metaphysical questions, as unprofitable as metaphysical questions elsewhere. He may pass them all by as being, answerable or not, of no interest to him. 审美批评 沃尔特•佩特 “发现某一事物本身的确切内容”，曾被人恰当地说成是一切真正的批评的目标;而在审美批评中， 要想发现自己评论对象的确切内容，第一步必须了解个人印象的确切内容，必须对它加以辨别，对它清晰 地认识。审美批评所讨论的对象——音乐，诗歌，人类生活的种种艺术的、完美的表现形式——实际上都 是纷纷纭纭、各种动力和力量的凝聚，它们象大自然的一切产物那样，具备着各种不同的美质和特性。这 么一首短歌，这么一幅图画，生活中或书本上出现的这么一个引人喜爱的人物，对我自己来说究竟意味着 什么呢?它究竟在我身上产生了什么样的影响?它是否给我提供了乐趣?如果提供了，那么，又是哪一类和何 等程度的乐趣?另外，由于它的出现，并在它影响下，我自己的性情又受到了怎样的陶冶?——对于这些问 题的答案便是审美批评家所要讨论的根本事实;而且，正象对于光、对于伦理、对于数字的研究那样，我 们首先必须了解上述那些原始 材料 关于××同志的政审材料调查表环保先进个人材料国家普通话测试材料农民专业合作社注销四查四问剖析材料 ，否则，就等于什么也不了解。一个人只要强烈地感受着这种种印象， 并且直截了当地对它们加以辨别和分析，就不必再为了“什么是美”或者“它与真理或经验的确切关系如 何”这一类抽象的问题而去费神——因为，这些形而上学的问题，如同其他的形而上学问题一样，都是不 实际的。对它们答复与否无关宏旨，可以统统放过不管。 作者介绍: 沃尔特•佩特(1839-1894)，英国文艺批评家其成名之作《文艺复兴史研究》贯穿唯美主义思 想。本文便节选自此书。 28 英语经典散文 Change Makes Life Beautiful By Walter Pater To regard all things and principles of things as inconstant modes or fashions has more and more become the tendency of modern thought. Let us begin with that which is without-our physical life. Fix upon it in one of its more exquisite intervals, the moment，for instance, of delicious recoil from the flood of water in summer heat. What is the whole physical life in that moment but a combination of natural elements to which science gives their names? But these elements, phosphorus and lime and delicate fibers, are present not in the human body alone : we detect them in places most remote from it. Our physical life is a perpetual motion of them ---the passage of the blood, the wasting and repairing of the lenses of the eye , the modification of the tissues of the brain under every ray of light and sound---processes which science reduces to simpler and more elementary forces. Like the elements of which we are composed, the action of these forces extends beyond us: it rusts iron and ripens corn. Far out on every side of us those elements are broadcast, driven in many currents; and birth and gesture and death and the springing of violets from the grave are but a few out of ten thousand resultant combinations. That clear, perpetual outline of face and limb is but an image of ours, under which we group thema design in a web, the actual threads of which pass out beyond it . This at least of flame---like our life has, that it is but the concurrence, renewed from moment to moment, of forces parting sooner or later on their ways. 生命美于变化 沃尔特•佩特 将一切事物和事物的原则统统看作经常变化着的形态或风尚，日益成为近代思想界的趋势。让我们从 表面的事情——我们的生理活动说起。譬如说，选取这么一个微妙的时刻，即在酷暑中猛然浸入滔滔清流 的那一刹那和极其愉快的感觉。在那一刹那间的全部生理活动，难道不是具有科学名称的各种元素的一种 化合作用吗?不过，这些元素，象磷、石灰、微细的纤维质，不仅存在于人体之中，而且在与人体毫不相 干的地方也能检查出它们的存在。我们的生理活动——血液的流通，眼睛中水晶体的消耗和恢复，每一道 光波、每一次声浪对于脑组织所引起的变异——都不外是这些元素的永久的运动，而科学把这些运动过程 还原为更为简单和基本的力量的作用。正象我们身体所赖以构成的元素一样，这些力量在我们身体以外也 同样发挥着作用——它可以使铁生锈，使谷物成熟。这些元素，在种种气流吹送之下，在我们身外向四面 八方传播:人的诞生，人的姿态，人的死亡，以及在人的坟头上生长出紫罗兰——这不过是成千上万化合 结果的点滴例子而己。人类那轮廓分明、长久不变的面颜和肢体，不过是一种表象，在它那框架之内，我 们好把种种化合的元素凝聚一团——这好象是蛛网的纹样，那织网的细丝从网中穿出，又引向他方。在这 一点上，我们的生命有些象那火焰———它也是种种力量会合的结果，这会合虽不断延续，那些力量却早 晚要各自飘散。 【作者简介】 沃尔特•佩特(1839-1894)，英国文艺批评家，其成名之作《文艺复兴史研究》贯穿唯美主义思想。本文便 节选自此书。 29 英语经典散文 Breaking Habit By Walter Pater To burn always with this hard , gem-like flame, to maintain this ecstasy, is success in life. In a sense it might even be said that our failure is to form habits: for , after all, habit is relative to a stereotyped world, and meantime it is only the roughness of the dye that makes any two persons, things, situations, seem alike, While all melts under our feet, we may well grasp at any exquisite passion, or any contribution to knowledge that seems by a lifted horizon to set the spirit free for a moment, or any stirring of the senses, strange dyes, strange colors, and curious odors, or work of the artist’s hands, or the face of one’s friend. Not to discriminate every moment some passionate attitude in those about us, and in the very brilliancy of their gifts some tragic dividing of forces on their ways, is, on this short day of frost and sun, to sleep before evening. With this sense of the splendor of our experience and of its awful brevity, gathering all we are into one desperate effort to see and touch, we shall hardly have time to make theories about the things we see and touch. What we have to do is to be for ever curiously testing new opinions and courting new impressions, never acquiescing in a facile orthodoxy of Comet, or of Hegel, or of our own . Philosophical theories or ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unrecorded by us. "Philosophy is the microscope of thought". 打破习惯 沃尔特•佩特 闪耀着宝石般的光焰炽烈地燃烧，并且不断保持着这种精神亢奋的状态，乃是生命的胜利。在某种 意义上，甚至可以说:一旦形成某种习惯，即意味着自己的失败。因为，归根结底，习惯总附于一个定了 型的事态，而在粗疏的眼光下，两个人、两件事、两种情境常常会被看得彼此相似。只有当一切在我们脚 下熔化，我们才能看清种种强烈的激情，种种似乎能提高人的眼界、使人精神豁然开朗的知识进步，种种 感官的刺激，例如奇色异彩，奇香异味，以及艺术家的匠艺，或者自己某位朋友的面容。我们与周围的人 们相处，在任何时刻，如果一点看不出某种受激情支配的姿态，从人们的光辉才华中竟然看不出某种力量 分配方面的悲剧，那么，在我们这既有冰霜、又有阳光的短暂时日中，就意味着不待黄昏来临便昏昏睡去。 感到了人生经验的五色缤纷及倏忽无常，我们拼出全部力气进行观察和接触，哪里还有时间去为自己观察 和接触到的事物制订出一套一套的理论?我们必需做的，是要不断地检验新的意见、博取新的印象，而无 论如何不能轻易接受不管是康德、黑格尔或是我们自己的什么泛泛的正统学说。哲学理论、哲学概念，作 为立论观点、批评工具，可以帮助我们把那些可能习焉不察、轻轻放过的事物进行搜集、纳入眼底。因为， “哲学是思想的显微镜”。 作者介绍: 沃尔特•佩特(1839-1894)，英国文艺批评家，其成名之作《文艺复兴史研究》贯穿唯美主义思 想。本文便节选自此书 30 英语经典散文 Tragedy By Thomas Henry Huxley To make a tragedy the artist must isolate a single element out of the totality of human experience and use that exclusively as his material. Tragedy is something that is separated out from the Whole Truth, distilled from it, so to speak, as an essence is distilled from the living flower. Tragedy is chemically pure. Hence its power to act quickly and intensely on our feelings. All chemically pure art has this power to act upon us quickly and intensely. It is because of its chemical purity that tragedy so effectively performs functions of catharsis. It refines and corrects and gives a style to our emotional life, and does so swiftly, with power. Brought into contact with tragedy, the elements of our being fall, for the moment at any rate, into an ordered and beautiful pattern, as the iron filings arrange themselves under the influence of the magnet.Through all its individual variations, this pattern is always fundamentally of the same kind. From the reading or the hearing of a tragedy we rise with the feeling that: Our friends are exultations, agonies, And love, and man’s unconquerable mind; With the heroic conviction that we too would be unconquerable if subjected to the agonies, that in the midst of the agonies we too should continue to love, might even learn to exult. It is because it does these things to us that tragedy is felt to be so valuable. What are the values of Wholly Truthful art? What does it do to us that seems worth doing? Let us try to discover. 悲剧 奥尔德斯•赫胥黎 为了做成一部悲剧，艺术家就得把某种单一的元素从人类经验的总体中分解出来，并且把它当作独一 无二的材料来使用。悲剧，是从全面的真实中分离出来，或者说，从那里提炼出来，就象从鲜花中提炼的 香精来。悲剧是有化学纯度的东西，所以它才能具备那种迅速而强烈地影响我们的力量。一切有化学纯度 的艺术都具备这种迅速而强烈地影响我们的力量。——正是由于悲剧的这种化学纯度，它才非常有效地完 成着它那净化感情的作用。它迅速而有力的澄清着、矫正着我们的感情生活，赋予它以一种正当的模式。 一旦与悲剧相接触，我们生命中的种种因素，至少在这短短时刻，便纳入一种井然有序、异常美好的规范 之中，正如铁屑在磁体的吸引下聚拢起来一样。尽管会有各种特殊变化，这个规范从分配上说总是保持不 变的。读罢或看完一部悲剧，我们心里恍然大悟，觉得—— 极大的欢欣、强烈的痛苦都变成良友， 爱情和不可征服的人心也分外亲切。 我们豪迈地相信:一旦自己身遭苦难，同样也是不可征服的;处在苦难之中，我们仍应胸怀热情， 甚至还要效法前人，意气昂扬。正因为悲剧能对我们起到这些作用，我们才觉得它非常宝贵。那么，什么 又是具有全面真实性的艺术的价值呢?它究竟能对我们起到什么作用，才显出它的价值呢?让我们来尝试着 考察一下。 作者介绍: 奥尔德斯•赫胥黎(1894-1963)，英国著名文学家。本文节选自其文章《悲剧与全面的真实性》。 31 英语经典散文 Suit Is Best By William Hazlitt The proper force of words lies not in the words themselves, but in their application. A word may be a fine sounding word, of an unusual length, and very imposing from its learning and novelty, and yet in the connection in which it is introduced may be quite pointless and irrelevant, It is not pomp or pretension, but the adaptation of the expression to the idea, that clenches a writer’s meaning: as it is not the size or glossiness of the materials, but their being fitted each to its place, that gives strength to the arch; or as the pegs and nails are as necessary to the support of the building as the larger timbers, and more so than the mere showy, unsubstantial ornaments. I hate anything that occupies more space than it is worth. I hate to see a load of bandboxes go along the street, and I hate to see a parcel of big words without anything in them. A person who dews not deliberately dimples of all his thoughts alike in cumbrous draperies and flimsy disguises may strike out twenty varieties of familiar everyday language, each coming somewhat nearer to the feeling he wants to convey, and at last not hit upon that particular and only one which may be said to be identical with the exact impression in his mind. This would seem to show that Mr. Cobalt is hardly right in saying that the first word that occurs is always the best. It may be a very good one ; and yet a better may present itself on reflection or from time to time . It may be suggested naturally, however, and spontaneously, from a fresh and lively conception of the subject . 适合的才是最好的 威廉•赫兹里特 词汇的力量不在词汇本身，而在词汇的应用。一个音节嘹亮的长字，就其本身的学术性和新奇感来说， 可能是令人叹赏的，然而，把它放在某句上下文之中，说不定倒会牛头不对马嘴。这是因为要确切表达作 者的意思，关键并不在文词是否华丽，堂皇，而在于文词是否切合内容;正象在建筑中，要使拱门坚固， 关键不在于材料的大小和光泽，而在于它们用在那里是否恰好严丝合缝。因此，在建筑物中，砂木钉有时 竟与大件木料同等重要，而其支撑作用肯定远远胜过那些徒有其表、不切实用的装饰部件。我讨厌那些白 占地方的东西，讨厌一大堆空纸盒装在车上招摇过市，也讨厌那些写在纸面上的大而无实际内容的字眼。 一个人写文章，只要他不是立志要把自己的真意用重重锦绣帐幔、层层多余伪装完全遮掩起来，他总会从 熟悉的日常用语中想出一二十种说法，一个比一个更接近他所要表达的情感，只怕到了最后，他竟会拿不 定主意要用哪一种说法才能恰如其分地表达自己的心意哩～如此说来，考拜特先生所谓最先闪现脑际之词 自然是最好的说法未必可靠。这样出现的字眼也许很好，然而经过一次又一次推敲，还会发现更好的字眼。 这种字眼，要经过围绕内容进行清醒而活泼的构思，才能够自自然然的想到。 作者介绍: 威廉•赫兹里特(1778—1830)，威廉?赫兹里特(William Hazlitt，1778,1830)。十九世纪初英 国著名的浪漫主义散文家，与兰姆齐名。他重感性和想象，张扬个性，反对权威和陈规陋习;主张多样和 宽容，反对狭隘和专制;支持进步和革命，反对保守和停滞，是19世纪浪漫主义运动中的一位重要代表。 本文节选自其名篇《论平易的文体》。 32 英语经典散文 Ignorance Make One Happy By Robert S.Lyn The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype ,the airplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day’s work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all---about life after death or about such questions as that which is said to have puzzled Aristotle, "why sneezing from noon to midnight was good, but from night to noon unlucky." One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jewell ,who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. 无知常乐 罗伯特•林德 普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然 之事，就象我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不 去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作 以外的一切知识统统当作花哨无用的玩意儿。然而，对于我们的无知，我们还是时时抗拒着。我们有时振 作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些 据说亚里士多德也感到大惑不解的问题，例如:“打喷嚏，从中午到子夜则吉，从子夜至中午则凶，其故 安在?”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出 问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头 脑已经开始僵化了。我们羡慕象裘伊这样的勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。 我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚至对自己一点点浅薄的知识感到 沾沾自喜，而把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了:苏格拉底之所以以智慧名 垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 作者介绍: 罗伯特•林德(1879-1949)，英国随笔作家。本文节选自其名篇《无知常乐》。 33 英语经典散文 The Arts of Informal Essay Writers By Arthur Christopher Benson We may follow any mood, we may look at life in fifty different ways---the only thing we must not do is to despise or deride,because of ignorance or prejudice, the influences which affect others; because the essence of all experience is that we should perceive something which we do not begin by knowing, and learn that life has a fullness and a richness in all sorts of diverse ways which we do not at first even dream of suspecting. The essayist, then, is in his particular fashion an interpreter of life, a critic of life. He does not see life as the historian, or as the philosopher, or as the poet, or as the novelist, and yet he has a touch of all these. He is not concerned with discovering a theory of it all, or fitting the various parts of it into each other. He works rather on what is called the analytic method, observing, recording, interpreting, just as things strike him, and letting his fancy play over their beauty and significance;the end of it all being this; that he is deeply concerned with the charm and quality of things, and gentlest light, so that at least he may make others love life a little better, and prepare them for its infinite variety and alike for its joyful and mournful surprises. 随笔作家的艺术 亚瑟•克里斯托夫•本森 我们可以遵循任何一条思绪，也可以从几十个角度来看待人生——但千万不可由于无知和偏见而鄙视 或嘲笑别人所接受的种种影响;因为，全部人生经验的精髓即在于:我们要想了解什么事物，总要从不知 道开始 ;而且，还要知道，我们原来从未梦想过的千变万化的生活方式，恰恰体现了人生的充实和丰满。 因此，随笔作家以其特殊的方式充当了人生的解说员，人生的评论家。他观察人生，不象历史家，不 象哲学家，不象诗人，也不象小说家，然而这些人的特点他又都有一点儿。他所关切的并非发现全部人生 的哲理，或者把人生各个不同的方面凑在一起，进行装配。他工作时所采用的是所谓分析的方法，即按照 事物在自己心里留下的印象，观察着，记录着，解说着。随着兴之所至去体察万事万物的美好和意义，而 这一切又是为了这样一个目的:随笔作家所深切关心的乃是事物的魅力和特性，并想把它呈现在最明净、 最柔和的光亮之下，好使得别人更加热爱人生，并对于人生当中无穷的变化在思想上有所准备，不管那是 意外的欢乐或是意外的悲伤。 作者介绍: 亚瑟•克里斯托夫•本森(1862-1925)，英国作家。本文节选自其散文《随笔作家的艺术》。 34 英语经典散文 Open Your Eyes He who has much looked on at the childish satisfaction of other people in their hobbies, will regard his own with only a very ironical indulgence. He will not be heard among the dogmatists. He will have a great and cool allowance for all sorts of people and opinions. If he finds no out -of -the- way truths, he will identify himself with one very burning falsehood. His way takes him along a by-road, not much frequented, but very even and pleasant, which is called Commonplace Lane, and leads to the Belvedere of Common-sense. Thence he shall command an agreeable, if no very noble prospect; and the Sunrise, he will be contentedly aware of a sort of morning hour upon all sublunary things ,with an army of shadows running speedily and in many different directions into the great daylight of eternity. The shadows and the generations, the shrill doctors and the plangent wars, go by into ultimate silence and emptiness; but underneath all this, a man may see, out of the Belvedere windows, much green and peaceful landscape; many fire-lit parlors; good people laughing, drinking , and making love as they did before the Flood or the Errant Revolution; and the old shepherd telling his tale under the hawthorn. 你能看到一切 罗伯特•路易斯•斯蒂文森 一个人如果常常观察别人对于个人兴趣爱好所流露出的孩子气般的满足，那他也会以一种幽默的宽容 态度来对待自己的兴趣爱好。这样的人不会变成一个教条主义者。他对于各种人、种种意见都会采取一种 宽容大度的体谅态度。尽管他发现不出什么石破天惊的真理，他也不会去附和什么荒谬绝伦的错误。他的 一生走的是一条虽非熙来攘往、但却平坦愉快的偏僻小路——它叫做平凡无奇之小巷，通向普通常识的望 楼。从那里，他虽看不到什么宏伟的壮观，却能俯瞰一片赏心的小景。当别人都在观看东方与西方、恶魔 之王与黎明之神，他却怡然自得地注意:当清晨降于大地万物，大群阴暗的幽灵都向着四面八方仓皇逃入 永恒的白昼之中。那些阴暗的幽灵，已逝的世代，尖声叫喊的博士，轰轰烈烈的战争，都匆匆过去，永远 消失。然而，我们从望楼的窗口中，透过这一切还看到了一片青葱的和平景象，看到灯火辉煌的客厅;看 到象在洪水到来之前或是法国革命前夕那样善良的人们在欢笑、在饮酒、在求爱;也看到了牧羊老人在山 楂树下讲述着他自己的故事。 作者介绍: 罗伯特•路易斯•斯蒂文森(1850-1894)，英国著名小说家和诗人。本文节选自其文章《为闲人 一辩》。 35 英语经典散文 The Literature of Knowledge And The Knowledge of Power By Thomas De Quincey All the literature of knowledge builds only groundnuts, that are swept away by sloops, or confounded by the plow; but the literature of power builds nests in aerial altitudes of temples sacred from violation, or of forests inaccessible to fraud. This is a great prerogative of the power literature, and it is a greater which lies in the mode of its influence. The knowledge literature, like the fashion of this world, passes away. An encyclopaedia is its abstract ;and ,in this respect, it may be taken for its speaking symbol---that before one generation has passed, an encyclopaedia is superannuated; for it speaks through the dead memory and unimpassioned understanding, which have not the repose of higher faculties, but are continually enlarging and varying their phylacteries. But all literature properly so called---literature par excellence---for the very reason that it is so play, and the combinations into which the poetry of this planet has thrown our human passions of love and hatred, of admiration and contempt, exercise a power for bad or good over human life that cannot be contemplated, when stretching through many generations, without a sentiment allied to awe. 知识的文学与力量的文学 德•昆西 一切知识的文学都在地面上筑巢，结果不被洪水所冲堤，就被耕犁所掀翻;只有力量的文学在那巍巍 苍穹间的圣殿之内，或在那高入云际的森林之巅营造自己的安身之处，那是神圣不可侵犯、也是欺诈所无 法企及的。这是力量的文学所独有的重大特权，而它影响于人类的方式尤为特殊。知识的文学，如时尚一 样，与时俱逝。百科全书正是此种文学的缩影，从这方面来看，似乎可以说是它活生生的象征:一个世代 尚未过去，一部百科全书就陈旧过时了;因为，在它那里面所讲的不外是虽然存留在记忆中、却已失去新 意的东西，以及不带任何感情色彩的推理，因此，犹如经匣中的教条，即使补充几句、略变花样，仍无法 使得人的高尚精神恬然宁息。但是，一切当之无愧的文学——最优秀的文学——由于它比知识的文学更能 垂之永久，它的影响与此形成相应比例，也就远为深邃，而象电光石火一般无孔不入。一方面，我们这个 星球上的悲剧培养着人的感情，使之朝着某些方向发展;另一方面，我们这个星球上的诗歌又把人的爱与 憎、赞美与鄙薄等激情组成种种的结合;这样共同形成强大的力量，对人类生活产生了或消极、或积极的 作用，而这些作用往往会延续许许多多世代，令人考虑之下不能不感到肃然起敬。 作者介绍:德•昆西(1785-1859)，英国浪漫主义散文名家，其代表作为《一个英国吸鸦片者的陈述》。本 文节选自其文章《知识的文学与力量的文学》。 36