The use of force
the use of force 的艺术特色
the use of force 的艺术特色《The Use of Force》(武力的应用)是一篇由威廉·卡尔洛斯·威廉斯(William Carlos Williams)创作的短篇小说,首次发表于1938年。
本文描述了一位医生在执行诊疗任务时,遭遇困难而不得不使用武力,以达到诊断与治疗的目的。
本文的艺术特色包括精细的人物刻画、紧凑的情节结构以及悖论的冲突。
首先,本文以医生和小女孩之间的角力为主要情节,通过对两个角色的深入刻画,展现了复杂且紧张的心理世界。
医生作为一位威望的医生,渴望帮助患者,但他也被小女孩的抵抗所激怒。
他在内心中产生了对小女孩的愤怒和冷酷的情绪。
与此同时,小女孩也展示出了坚强、顽强的一面。
她不屈服于医生的威胁和恐吓,而是坚持自己的想法。
两个角色之间的心理斗争展示了人性的复杂性和内心世界的纷扰。
其次,作者通过紧凑的情节结构,将读者带入紧张的场景,使其感受到武力行为所带来的紧迫感。
故事发生在医生家中的一间小房间里,这个狭小的空间不仅加剧了医生和小女孩之间的对抗,也凸显出冲突的紧张感。
小女孩抵抗医生的尝试,医生则不断升级武力,最终使得小女孩咳嗽出了她认为可能患有白喉的痰。
情节的紧凑与紧张,使读者在阅读过程中深刻体验到了医生与小女孩之间应对的紧迫感。
最后,本文中存在着悖论的冲突,体现了人性与道义、病痛与健康等问题之间的矛盾。
医生在使用武力的过程中,出于治疗患者的目的,但也可能伤害患者的身体与心灵。
医生在与小女孩的搏斗中,使用了各种手段,甚至动机稍有问题;而小女孩则因为医生的武力行动帮助了她,却也感到被侵犯和伤害。
这样的冲突体现了人性的复杂性,以及道义和实际行动之间的矛盾。
总之,《The Use of Force》通过精细的人物刻画、紧凑的情节结构以及悖论的冲突,展示了复杂而真实的人性世界。
小说揭示了人与人之间的斗争,以及道义与现实之间的冲突,引发读者对于医疗行业、伦理道德以及人与人之间关系的深思。
lesson 3 The use of force
威廉·卡洛斯·威廉斯出生于美国新泽西州鲁 瑟福德城的一个商人的家庭。在他少年时期随 同母亲和哥哥去往欧洲生活。1902年考入宾夕 法尼亚大学,结识了埃兹拉.庞德和希尔达.杜 利特尔,这段友谊给了他的诗歌创作的激情。 从宾夕法尼亚大学毕业后取得医学学位。又去 德国莱比锡大学进修。他的一生主要是行医, 直到50年代才退休。
Have you looked?
I tried to, said the mother, but I couldn't see.
departure
departure is the act of going away from somewhere to another place
动身 starting The approximate date of his departure is
被称为美国后现代主义诗歌的鼻祖。
William Carlos Williams (September 17, 1883 – March 4, 1963) was an American poet closely associated with modernism and imagism. Williams is often counted as being among a group of four major American poets who were all born in a twelve-year period that began in 1874. The group also consists of Robert Frost, who was born in 1874; Wallace Stevens, who was born in 1879; and Hilda "H.D." Doolittle, who was born in 1886. Of these four, Williams died last, several weeks after Frost. (Stevens was first to die, in 1955, while H.D. lived until 1961).
The use of force
The use of force大意: Mathilda had been ill for three days. Her mother had given her some medicine, but it didn’t do any good. So they had to ask the doctor to come. There had been a number of cases of diphtheria in Mathilda School and two of them had been dead. When the doctor arrived at Olson’s home, he wanted to examine Mathilda throat first. But no matter how he coaxed, She wouldn’t open her mouth. So the doctor had to get the tongue depressor into her mouth. But Mathilda reduced it to splinters. In orde r to protect Mathilda herself and other children, the doctor had to make sure whether she had diphtheria or not, so that he could treat her in time. Letting Mathilda‘s father hold her wrists he tried his best to open her mouth and found she really had diphtheria. This story made us can think such a question that something in life can’t only depend on self-willingness. Under some circumstances, certain force seems necessary.对医生的评价:After the doctor arrived at the girl’s home, he wanted to see her throat. As there had been a number of cases of diphtheria in the school to which the girl went during that month, the doctor also thought that of the girl. So he smiled to the girl and asked her to open her mouth and let him have a look at her throat. No matter how the doctor coaxed, the girl shut her mouth firmly.Thinking that the girl might have diphtheria and possibly die of it, the doctor decided to use force to open her mouth. He had seen at least two children lying dead in bed of neglect in such cases. He felt that he must get a diagnosis now. So he grasped the girl’s head with his left hand and tried to get the wooden tongue depressor between her teeth. But when the doctor got the wooden spatula behind her last teeth. She gripped the blade between her molars and reduced it to splinters. In the final unreasoning assault the doctor outer powered the girl. He forced the heavy silver spoon back of her teeth and down her throat till she gagged. Her both tonsils were covered with membrane.From that the doctor had done, I thought he was a responsible person. In order to save the lives of the patients, especially those children who did not know how to co-operate with the doctor, he had to take some measure. Otherwise a good or suitable time of treatment would be missed. The doctor appears to be compassionate and keen to human behavior, characteristic of a good doctor, though he is also undeniably blunt and slightly prejudiced.思想: Though there are reasons often justifiable, what compels the use of force against others isn't simply altruism alone. The overall theme of the story revolves around power and submission and the doctor's unnerved feeling following the forceful encounter.作者如何写的: The story is narrated in first person by a doctor, who is answering a house visit to see a sick girl. Williams uses interior monologue as a"stream-of-consciousness" tool reflects the narrator's experience of dialogue and gives insight into the character and his appraisal of the situations he encounters. The story is written without the use of quotation marks, and the dialogue is not distinguished from the narrator's comments. The story is rendered from the subjective point of view of the doctor, and explores his subdued enjoyment of forcefully subduing the stubborn child in an attempt to acquire the throat sample.。
the use of force
Language features
自由直接引语 指可在不用引号或不用引述动词的情况下,直接把要讲的 话或心理活动表达出来。时态则采取当时当地讲话时的时 态,句子形式也保持原形式不变。 自由间接引语不用引述动词,不用引号,但其意义与间接 引自由直接引语在形式上相对自由,它摆脱了引号的束缚, 有时甚至连提示人物思想的引述句也省略了。它呈现在读 者面前的是角色的思想内容,而非由作者用自己的话转述 或总结概括出来的思想,是完全不受作者控制的话语表达 方式语基本相同
The Use of Force
4 The child was fairly eating me up with her cold, steady eyes, and no expression to her face whatever. She did not move and seemed, inwardly, quiet; an unusually attractive little thing, and as strong as a heifer in appearance. But her face was flushed, she was breathing rapidly, and I realized that she had a high fever. She had magnificent blonde hair, in profusion. One of those picture children often reproduced in advertising leaflets and the photogravure sections of the Sunday papers. 5 She's had a fever for three days, began the father and we don't know what it comes from. My wife has given her things, you know, like people do, but it don't do no good. And there's been a lot of sickness around. So we tho't you'd better look her over and tell us what is the matter.
lesson 3 The use of force
profusion
If there is a profusion of something or if it occurs in profusion, there is a very large quantity or variety of it. Hundreds of flowers are blooming in profusion. 百花怒放。 A profusion of leaves bursts out on trees in the springtime. 春天许许多多的叶子从树上冒出来.
威廉· 卡洛斯· 威廉斯出生于美国新泽西州鲁瑟 福德城的一个商人的家庭。在他少年时期随同 母亲和哥哥去往欧洲生活。1902年考入宾夕法 尼亚大学,结识了埃兹拉.庞德和希尔达.杜利 特尔,这段友谊给了他的诗歌创作的激情。从 宾夕法尼亚大学毕业后取得医学学位。又去德 国莱比锡大学进修。他的一生主要是行医,直 到50年代才退休。
As doctors often do I took a trial shot at it as a point of departure. Has she had a sore throat? Both parents answered me together, No . . . No, she says her throat don't hurt her. Does your throat hurt you? added the mother to the child. But the little girl's expression didn't change nor did she move her eyes from my face. Have you looked? I tried to, said the mother, but I couldn't see.
the use of force人物解读
the use of force人物解读"The Use of Force" is a short story written by American author William Carlos Williams. It follows the perspective of a doctor who struggles to gain the cooperation of a young girl during a medical examination. Through this examination, the doctor's character is revealed, offering insight into his motivations, attitudes, and the ethics of using force in certain situations.The central character in "The Use of Force" is the doctor, who remains unnamed. He is depicted as a determined and professional physician who is genuinely concerned about his young patient's health. However, as the story progresses, it becomes apparent that the doctor's motivations extend beyond providing medical care.The doctor's character analysis reveals a complex and conflicting personality. On one hand, he is dedicated to his profession, passionate about bringing relief and healing to his patients. On the other hand, he displays signs of frustration and aggression when dealing with the uncooperative girl. This indicates a potential power struggle within him, as his desire to help clashes with his need to assert control.While the use of force is justified in certain medical situations, the doctor's approach raises ethical questions. His determination to examine the girl's throat, even against her will, raises concerns about patient autonomy and consent. This conflict between providing necessary medical care and respecting personal boundaries highlights the fine line that healthcare professionals often walk.In summary, "The Use of Force" provides a character study of a doctor struggling with the use of force in a medical setting. Through his actions and demeanor, the doctor's motivations and ethics are revealed. The story raises important questions about the balance between providing healthcare and respecting personal autonomy.。
高级英语-张中载-B1-L03 The Use of Force
红色手推车
那么多东西 依靠
一辆红色 手推车
晶莹闪亮于 雨水中
旁边有几只 白鸡
Lesson Three
That is Just to Say
I have eaten the plums that were in the icebox
and which you were probably saving for breakfast
In addition to his writing, Williams had a long career as a physician practicing both pediatrics and general medicine. He was affiliated with what was then known as Passaic General Hospital in Passaic, New Jersey, where he served as the hospital's chief of pediatrics from 1924 until his death.
LLeesssoonnTOhnreee
WORDS AND EXPRESSIONS
profusion n.丰富,充沛; 慷慨 profuse a.丰富的;很多的;慷慨的
Olive groves, grapes, and citrus fruits grow in profusion. 橄榄、葡萄和柑橘类水果产量 丰富。
Lesson Three
Advanced English 高级英语
主讲:李世存 2019-2020-1
Lesson Three
WORDS AND EXPRESSIONS
The Magic of Words
The magic of words is a powerful force that has the ability to transform thoughts, emotions, and actions. Words have the potential to evoke strong emotions, inspire change, and create connections between individuals. Whether written or spoken, words can have a profound impact on the way we perceive the world and interact with others.When used effectively, words have the power to convey complex ideas, convey deep emotions, and ignite the imagination. They can be usedto tell stories, share knowledge, and express creativity. The magic of words lies in their ability to shape our understanding of the world and influence the way we communicate with one another.Words can be a source of comfort and solace in times of need,offering encouragement, empathy, and understanding. They can also be a catalyst for change, sparking movements, and inspiring people to take action. Through the power of words, individuals can find common ground, build bridges, and promote understanding and unity.In literature, poetry, and song, the magic of words is celebrated and revered. Writers and artists harness the power of language to create works that resonate with people on a deep and personal level. Words have the ability to transport us to new worlds, evoke vivid imagery, and stir our emotions.The magic of words also extends to the realm of persuasion and influence. Through compelling rhetoric and persuasive arguments, words can shape public opinion, sway beliefs, and effect change. Politicians, leaders, and activists use the power of words to rally support for causes, inspire action, and bring about social and political change.In everyday life, the magic of words is evident in the way we communicate with others. Kind words can brighten someone's day,while hurtful words can leave lasting scars. The language we use shapes our relationships, influences our interactions, and plays a crucial role in how we navigate the world around us.In conclusion, the magic of words is a profound and transformative force that has the ability to shape our thoughts, emotions, and actions. Whether through storytelling, persuasion, or everyday communication, words have the power to inspire, comfort, and connect us with one another. It is through the magic of words that we can find common ground, share our experiences, and create a more empathetic and understanding world.。
theuseofforce写作背景
theuseofforce写作背景
摘要:
1.引言:介绍写作背景
2.背景概述:解释"the use of force"的含义
3.写作目的:说明本文的目标
4.写作思路:介绍文章的结构和内容
5.结论:总结全文
正文:
在当今世界,武力作为一种解决问题的手段,时常出现在我们的生活中。
无论是国家间的冲突,还是个人之间的纷争,都可能涉及到武力的使用。
因此,了解武力的使用及其背景显得尤为重要。
这就是本文将要探讨的主题:“the use of force”的写作背景。
首先,我们需要明确“the use of force”的含义。
它不仅仅包括物理上的武力,如战争、暴力等,还包括经济、文化等方面的压力。
这种力量的使用,往往会对社会产生深远的影响。
那么,为何要讨论这个主题呢?这是因为,武力的使用不仅能够改变世界的格局,还能够影响到每一个人的生活。
了解武力的使用,能够让我们更好地理解世界,更好地保护自己。
因此,本文的目标就是深入探讨武力的使用,以及其背后的各种因素。
我们将从历史、政治、经济等多个角度,分析武力如何影响我们的生活,以及我们如何应对这种影响。
在接下来的文章中,我们将首先回顾历史,看看武力在过去是如何被使用
的。
然后,我们将探讨武力在现代世界中的使用,特别是它在政治和经济领域的应用。
最后,我们将讨论如何应对武力的使用,以便更好地保护自己和我们所关心的人。
总的来说,了解武力的使用及其背景,是我们理解世界、保护自己的重要途径。
游戏的武器写作文英语
In the realm of gaming, the arsenal of weapons available to players often plays a crucial role in shaping the gameplay experience. From the traditional swords and bows to futuristic laser guns, the variety of weapons can be as diverse as the games themselves. Heres a brief exploration of some common types of weapons found in video games and their impact on gameplay.Swords: Swords are a staple in many roleplaying games RPGs and actionadventure titles. They come in various forms, such as longswords, shortswords, and katanas, each with their own unique attributes and combat styles. Swords can be used for close combat, requiring players to engage in melee attacks. They often symbolize honor and skill, adding a layer of depth to the character wielding them.Bows and Arrows: Ranging from the simple shortbow to the powerful longbow, bows provide players with the ability to attack from a distance. They are especially popular in fantasy games, where archery is a valued skill. Arrows can be enchanted or crafted with special properties, adding an element of strategy to their use.Firearms: In firstperson shooter FPS games and modern action games, firearms are the goto choice for many players. They range from handguns and rifles to shotguns and machine guns, each with different ranges, damage outputs, and rates of fire. The use of firearms can be highly strategic, with players often needing to manage ammunition and choose the right weapon for the situation.Magical Staves and Wands: In games with a magical or mystical setting, staves and wands are often used to cast spells. These weapons allow players to harness the elements, summon creatures, or inflict various status effects on enemies. The versatility of magical weapons can make them a favorite among players who enjoy a more tactical approach to combat.Energy Weapons:常见于科幻游戏,能量武器如激光枪、等离子步枪和射线枪,为玩家提供了一种未来主义的战斗体验。
A3--The-Use-of-Force讲解学习
A3--T h e-U s e-o f-F o r c eLesson Three The Use of Forceby William Carlos Williams使用暴力威廉·卡洛斯·威廉斯○课文逐句翻译他们是我的新病人,我所知道的只有名字,奥尔逊。
They were new patients to me, all I had was the name, Olson.请您尽快赶来,我女儿病得很重。
“Please come down as soon as you can, my daughter is very sick.”当我到达时,孩子的母亲迎接了我,这是一位看上去惊恐不安的妇人,衣着整洁却一脸忧伤的神色她只是说,这位就是医生吗?When I arrived I was met by the mother, a big startled looking woman, very clean and apologetic who merely said, Is this the doctor?然后带我进了屋。
And let me in.在后面,她又说到,请你一定要原谅我们,医生,我们让她呆在厨房里,那儿暖和,这里有时很潮湿。
In the back, she added. You must excuse us, doctor, we have her in the kitchen where it is warm. It is very damp here sometimes.在厨房的桌子旁边,这个孩子穿得严严实实的,坐在她父亲的腿上。
The child was fully dressed and sitting on here father’s lap near the kitchen table. 他父亲试图站起来,但我向他示意不用麻烦,然后我脱下外套开始检查。
He tried to get up, but I motioned for him not to bother, took off my overcoat and started to look things over.我能够觉察出他们都很紧张,而且用怀疑的眼光上下打量着我。
brute and the use of force
汤姆斯医师于哈佛大学医学院最后一年在波士顿医院实习, 看到一位罹患脑性疟疾的病人,因未能及时诊断出来,而及 时给他奎宁,致使病人死去,造成严重的医疗疏失。 他说「这段记忆一直在我脑海中盘旋:一大群身穿白袍的 专家来来去去,争赌这个极为奇特的病症,血一抽再抽,讨 论再讨论,最后却什么也没做。对哈佛人来说,这真是令人 难过的一天。」。 他语重心长地说「现在的医学越来越发达,但也渐渐 失去了对病人的亲切,和温暖的抚触。如果我再做一个医学 生或实习医师,才刚踏出行医的第一步,这将会是我最忧心 的一点。我真正的工作应该是照顾病人,但现在我可能只顾 机器,我必须好好想办法,不要让这种事发生。」。
• 渡边淳一说:“我以前作医生,现在弃医 从文,其实这两项工作都是研究人的,只 是研究的角度不同方法不同,所谓医学是 从生理上刨析人,而文学是从精神上研究 人。用感性描写那些人们从常理上无法说 清楚的东西
• 郑安泰医师在《艺术.人生.医学》的序 言中说: • 「医学是一门科学,亦为一门艺术。表露 人生的各种艺术在涉及肉体和心灵的苦痛 时,必然采用医学为题材;
• also a pediatrician and general practitioner of medicine, received his MD from the University of Pennsylvania School of Medicine • "worked harder at being a writer than he did at being a physician" but excelled at both • "the most important literary doctor since Chekov.” • Williams' deep sense of humanity pervaded both his work in medicine and his writings. "He loved being a doctor, making house calls, and talking to people” • Williams lived a remarkably conventional life. • A doctor for more than forty years serving the New Jersey town of Rutherford, he relied on his patients, the America around him, and his own imagination to create a distinctively American verse.
魔兽争霸兵种介绍
魔兽争霸三之冰封王座Abomination (憎恶)Acolyte (侍僧)Altar of Darkness (黑暗祭坛) Altar of Elders (长者祭坛) Altar of Kings (王者祭坛)Altar of Storms (风暴祭坛) Ancient of Lore (智者古树) Ancient of War (战争古树) Ancient of Wind (风之古树) Ancient of wonders (奇迹古树) Ancient Protector (远古守护者) Arcane Sanctum (神秘圣地) Arcane Tower (神秘塔) Arcane Vault (神秘储藏室) Archer (弓箭手)Archmage (大法师)Banshee (女妖)Barracks (兵营) hum&orc Beastiary (兽栏) Beastmaster (兽王)Black Citadel (黑城堡) Blacksmith (铁匠铺) Blademaster (剑圣)Blood Mage (血法师) Boneyard (埋骨地)Cannon Tower (炮塔)Castle (城堡)Chimaera (奇美拉)Chimaera Roost (奇美拉栖木) Crypt (地穴)Crypt Fiend (地穴巨魔)Crypt Lord (地穴领主)Dark Ranger (黑暗游侠) Death Knight (死亡骑士) Demolisher (投石车)Demon Hunter (恶魔猎人)Destroyer (破坏者)Dragonhawk (龙鹰)Dreadlord (恐惧魔王)Druid of the Claw (利爪德鲁伊)Druid of the Claw-Bear (熊)Druid of the Talon (猛禽德鲁伊)Druid of the Talon-Crow (乌鸦)Dryad (树妖)Entangled Gold Mine (缠绕金矿)Faerie Dragon (仙女龙)Farseer (先知)Farm (农场)Fire Lord (火焰领主)Flying Machine (飞机)Footman (步兵)Fortness (要塞)Frost Wyrm (冰龙)Gargoyle (石象鬼)Ghoul (食尸鬼)Goblin Alchemist (炼金术师)Glaive Thrower (弩车) Globin Zeppelin (地精飞艇)Globin Laboratory (地精实验室)Globin Merchant (地精商店)Globin Shipyard (地精船坞)Globin Sapper (地精爆破者)Globin Shredder (地精收割机)Globin Tinker (地精修补匠)Graveyard (墓穴)Great Hall (大厅)Grunt (咕噜兵)Gryphon Aviary (狮鹫笼)Gryphon Rider (狮鹫骑士)Guard Tower (警卫塔)Halls of the Dead (亡者大厅)Haunt Gold Mine (污染金矿) Hippogryph (角鹰兽)Hippogryph Rider (角鹰兽骑士) Hunter's Hall (猎手大厅)Huntress (女猎手)Keep (城市)Keeper of the Grove (丛林守护者) Knight (骑士)Kodo Beast (科多兽)Lich (巫妖)Lumber Mill (伐木场)Meat Wagon (绞肉车)Militia (民兵)Moon Well (月亮井)Mortar Team (破击炮小队)Mountain Giant (山岭巨人)Mountain King (山丘之王)Naga Sea Witch (纳加海妖) Necromancer (亡灵巫师)Necropolis (埋葬地)Neutral Tavern (酒馆)Obsidian Statue (十胜石雕像)Orc Burrow (兽人地洞)Paladin (圣骑士)Pandaren Brewmaster (熊猫人酿酒师) Peasent (农民)Pit Lord (深渊领主)Peon (苦工)Priest (牧师)Priestess of the Moon (月之女祭祀)Raider (狼骑)Reinforced Orc Burrow (加固兽人地洞) Rifleman (火枪手)Sacrificial Pit (牺牲深渊)Scout Tower (侦察塔)Sea Transports (运输船)Shade (阴影)Shadow Hunter (暗影猎手)Shaman (撒满)Siege Engine (攻城坦克) Slaughterhouse (瘟疫之房) Sorceress (女巫)Spell Breaker (破法者)Spirit Lodge (灵魂小屋)Spirit Walker (灵魂行者)Tauren (牛头人)Tauren Chieftain (牛头人酋长) Tauren Totem (牛头人图腾)Temple of the Damned (诅咒神庙) Tomb of Relics (崩溃之墓)Town Hall (城镇)Tree of Ages (时代之树)Tree of Eternity (永恒之树)Tree of Life (生命之树)Troll Batrider (巨魔蝙蝠)Troll Berserker (巨魔狂战士)Troll Headhunter (巨魔猎头人)Voodoo Lounge (巫毒小屋)War Mill (战争磨坊)Warden (守望者)Watch Tower (观察塔)Wind Rider (双足飞龙)Wisp (精灵)Work Shop (工厂)Ziggurat (塔)魔兽争霸的英雄NE:Demon Hunter/恶魔猎手,猎魔者..........瞎子,我们家小D/小恶,王老五.........................DH Keeper of the Grove/丛林守护者.............老树精,老鹿...................................KOG Priestess of the Moon/月亮女祭祀....白虎MM,月女,有恋父情结的女子........................POMWarden/典狱长..........................SM女郎,看守,警察..................................WDORC:Blade Master/剑圣...........................小日本.........................................BMFar Seer/先知...................../(无特殊叫法或就用正名,下同)...........................FSTauren Chieftain/牛头人酋长..................老牛..........................................TCShadow Hunter/暗影猎手.................老枪,拐子,斗鸡眼..................................SHUD:Death Knight/死亡骑士...................死骑,47,大分头............................DK,ARTHAS Dread Lord/吸血鬼王,恐惧魔王.....喜剧魔王,搞笑领主,大白脸,蝙蝠侠.........................DL Lich/尸巫,巫妖..................尸巫之王,排骨精,穿裙子的BT,花蝴蝶........................./ Crypt Lord/地狱领主....................坦克,小强,大虫.....................................CLHUM:Archmage/大法师............................大法,书生........................................AMMountain King/山丘之王..........山王,小锤子(用绝招命名),矮老头..........................MK Paladin/圣骑士...................游侠,保姆,打不死的(双重意思)..........................PAL Blood Mage/血族魔法师...............血魔,火魔,风间火月...................................BMG三,Heros" Skills/英雄技能:[注]:光环无特殊叫法,所以全部跳过。
电影《黑客帝国》剧本 字幕文件 中英双译
[1439:30.00]=字幕制作:LRC中国 [00:07.61]片名:骇客任务DNA娱乐363[00:18.52]-Is everything in place? -You weren't supposed to relieve me. (启动通话)[00:18.83]-一切就绪了吗?-今天不是轮到你值班[00:22.06]I know. but I felt like taking a shift. 我知道,我只是想接班[00:25.23]You like him. don't you? You like watching him. 你喜欢他,对吧?喜欢看着他[00:27.90]-Don't be ridiculous. -We're gonna kill him. You understand? -别傻了-我们会害死他,你知道吗?[00:31.20]Morpheus believes he is the One. 莫斐斯相信他是救世主[00:33.91]-Do you? -It doesn't matter what I believe. -你信吗?-那并不重要[00:37.08]You don't. do you? 你不信,对吧?[00:38.91]-Did you hear that? -Hear what? -听到了吗?-什么?[00:41.25]Are you sure this line is clean? 你确定没被窃听?[00:43.15]Yeah. of course I'm sure. 我很确定[00:45.49]I better go. 我得走了[01:24.76]-Freeze! Police! -Hands on your head! -别动,警察-手举起来[01:27.09]Do it! Do it now! 快点,举起来[01:37.60](市中心旅馆)[01:49.72]-Lieutenant. -Oh. shit. -警官-可恶[01:53.19]Lieutenant. you were given specific orders. 警官,我给你的指令很明确[01:56.59]Hey. l'm just doing my job. 我只是公事公办[01:58.96]You give me that ''juris-my-dick-tion'' crap. you can cram it up your ass. 要是你给我摆臭架子你就去死吧[02:03.86]The orders were for your protection. 我是为了你们的安全[02:07.87]l think we can handle one little girl. 我们对付得了一个女人[02:15.17]l sent two units! 我派了两组警员[02:17.18]They're bringing her down now! 他们就要逮到她了[02:18.98]No. Lieutenant. your men are already dead. 才怪,警官,他们早就死了[02:51.31]Shit. 可恶[02:54.81]Morpheus. the line was traced. l don't know how. 莫斐斯,我的行踪暴露了[02:57.48]I know. They cut the hard line. 我知道,电话线被切断[02:59.35]There's no time. Get to another exit. 来不及了,你得找别的出口[03:01.79]-Are there any agents? -Yes. -附近有干员吗?-有[03:04.42]Goddamn it. 该死[03:05.86]You have to focus. Trinity. 崔妮蒂,你得专心[03:07.63]There's a phone at Wells and Lake. 威斯和雷克街口有电话[03:10.43]You can make it. 你赶得到[03:12.30]-All right. -Go. -好-去吧[04:16.00]That's impossible. 不可能[04:52.13]Get up. Trinity. Just get up. 起来,崔妮蒂快起来[04:54.80]Get up. 起来[05:41.91]She got out. 她逃走了[05:43.75]lt doesn't matter. 无所谓[05:45.25]The informant is real. 线人没说错[05:48.55]-We have the name of their next target. -The name isNeo. -我们知道下一个目标-名字是尼欧[05:55.53]We'll need a search running. 必须进行搜寻[05:57.36]lt has already begun. 已经开始了[06:09.34](搜寻中)[06:11.34](莫斐斯逃脱警方围捕)[06:22.15](展开追捕行动)[06:43.11](醒醒,尼欧)[06:54.02]What? 什么?[06:56.12](母体奴役着你)[07:01.03]What the hell? 搞什么?[07:07.27](跟随小白兔)[07:10.17]''Follow the white rabbit.'' 跟随小白兔?[07:14.71](退出)[07:18.31](有人敲门,尼欧)[07:23.92]Who is it? 什么人?[07:25.32]lt's Choi. 是乔伊[07:40.13]You're two hours late. 你迟到了两小时[07:41.93]-l know. lt's her fault. -You got the money? -我知道,都是她的错-钱呢?[07:46.97]Two grand. 两千元[07:48.97]Hold on. 等等[07:56.08]《拟像与仿真》[08:07.89]Hallelujah. 哈利路亚[08:09.56]You're my savior. man. My own personal JesusChrist. 你是救世主,老兄你是我的救星[08:12.63]You get caught using that.... 要是你被逮到[08:14.37]l know. This never happened. You don't exist. 我知道,不能把你抖出来[08:18.04]-Right. -Something wrong. man? -对-怎么了?[08:20.34]You look a little whiter than usual. 你的脸色很苍白[08:23.51]My computer. it.... 我的电脑[08:28.68]You ever have that feeling where you're not sure ifyou're awake or still dreaming? 你会不会觉得自己在半梦半醒之间?[08:34.12]All the time. lt's called mescaline. 每次嗑了药就有这种感觉[08:37.32]lt's the only way to fly. 让你腾云驾雾[08:39.69]Hey. look. it just sounds like you might need tounplug. man. 听起来你得发泄发泄[08:43.56]You know? Get some R and R? 休息一下吧[08:45.97]What do you think. Dujour? Should we take himwith us? 怎么样?带他去好吗?[08:51.70]Definitely. 当然好[08:53.21]No. l can't. l have work tomorrow. 不行,明天我得上班[08:56.84]Come on. 来吧[08:58.28]lt'll be fun. l promise. 一定会很好玩,我保证[09:07.42]Yeah. 好[09:09.79]Sure. l'll go. 我去[09:39.32]Hello. Neo. 你好,尼欧[09:41.79]How do you know that name? 你知道我名字?[09:43.52]l know a lot about you. 我知道的很多[09:46.23]-Who are you? -My name is Trinity. -你是谁?-我叫崔妮蒂[09:49.23]Trinity. 崔妮蒂[09:52.23]The Trinity? That cracked the lRS D-base? 不就是侵入国税局的电脑骇客[09:55.67]That was a long time ago. 那是很久以前[09:57.40]-Jesus. -What? -天啊-怎么了?[09:59.77]l just thought... 我以为[10:03.34]-...you were a guy. -Most guys do. -你是男的-男人都这么想[10:07.41]That was you on my computer. 你侵入我的电脑[10:10.25]-How did you do that? -Right now. all l can tell you... -怎么办到的?-现在我只能告诉你[10:15.29]...is that you're in danger. 你有危险[10:17.29]-l brought you here to warn you. -Of what? -我是来警告你-什么危险?[10:20.29]They're watching you. Neo. 他们在监视你,尼欧[10:22.73]-Who is? -Please. just listen. -谁?-听我说[10:28.50]l know why you're here. Neo. 我知道你来的目的[10:31.14]l know what you've been doing. 还有你在做什么[10:33.37]l know why you hardly sleep... 我知道你辗转难眠[10:35.54]...why you live alone. and why. night after night... 每天晚上都独自一个人[10:38.88]...you sit at your computer. 坐在电脑前工作[10:42.38]You're looking for him. 你在找他[10:44.68]l know. because l was once looking for the same thing. 我也曾找过同一个人[10:48.25]And when he found me... 当他找到我[10:50.99]...he told me l wasn't really looking for him... 他说其实我不是在找他[10:54.99]...l was looking for an answer. 而是寻找一个答案[10:57.36]lt's the question that drives us. Neo. 有个问题驱使着我们,尼欧[11:01.13]lt's the question that brought you here. 这问题把你带来这里[11:05.94]You know the question... 你我[11:07.57]...just as l did. 都知道这个问题[11:10.58]What is the Matrix? 母体是什么?[11:12.44]The answer is out there. Neo. 世上一定有答案,尼欧[11:15.58]lt's looking for you. 它在寻找你[11:18.42]And it will find you... 只要你愿意[11:20.35]...if you want it to. 它就会找到你[11:28.73]Shit. 该死[11:30.23]Shit. shit. 该死该死[11:41.71]You have a problem with authority. Mr. Anderson.安德森先生,你很叛逆[11:44.81]You believe that you are special. that somehow therules do not apply to you. 你自以为很特别可以不遵守公司的规定[11:49.58]Obviously. you are mistaken. 很显然,你错了[11:54.45]This is one of the top software companies in theworld... 这是世界顶尖的软体公司[11:57.66]...because every employee understands they are partof a whole. 每个员工都是小螺丝钉[12:01.29]Thus. if an employee has a problem. the companyhas a problem. 只要一个员工出错公司就会出毛病[12:08.20]The time has come to make a choice. Mr. Anderson.你现在有两个选择安德森先生[12:12.30]Either you choose to be at your desk on time fromthis day forth... 从今天起准时到公司上班[12:16.81]...or you choose to find yourself another job. 或是另谋高就[12:20.25]Do l make myself clear? 你明白吗?[12:21.81]Yes. Mr. Rhineheart. Perfectly clear. 是的,我完全明白[12:32.69]Thomas Anderson? 汤犸斯安德森吗?[12:35.83]Yeah. that's me. 我就是[12:45.20]Great. 太好了[12:47.81]Have a nice day. 祝你愉快[13:04.86]-Hello? -Hello. Neo. -喂?-尼欧[13:07.03]Do you know who this is? 你知道我是谁吗?[13:11.40]-Morpheus. -Yes. -莫斐斯-是的[13:13.40]I've been looking for you. Neo. 我一直在找你[13:15.63]I don't know if you're ready to see what I want toshow you... 我不知道你准备好了没有[13:19.07]...but. unfortunately. you and I have run out of time.不过我们恐怕没时间了[13:22.51]They're coming for you. Neo. and I don't know whatthey're going to do. 他们来抓你尼欧,后果不堪设想[13:26.48]Who's coming for me? 谁来抓我?[13:28.05]Stand up and see for yourself. 站起来自己看[13:30.38]What? Right now? 什么?现在吗?[13:32.15]Yes. Now. 对现在[13:35.52]Do it slowly. 慢慢站起来[13:37.86]The elevator. 电梯那边[13:43.96]-Oh. shit! -Yes. -糟糕-没错[13:50.44]-What do they want? -I don't know. -他们抓我干嘛?-不知道[13:52.34]But if you don't want to find out. get out of there. 如果不想被逮我建议你快逃[13:55.54]-How? -I can guide you... -怎么逃?-我教你[13:56.98]...but you must do exactly as I say. 不过你得听话[13:59.81]-Okay. -The cubicle across from you is empty. -好-对面是空的[14:05.58]-But what if they--? -Go. Now. -要是他们-快去[14:14.49]Stay here for just a moment. 先待在这里躲一下[14:24.10]When I tell you. go to the end of the row... 等我下令就走出去[14:27.01]...to the office at the end of the hall. 到走廊尽头的办公室[14:29.27]Stay as low as you can. 尽量趴低点[14:33.85]Go. Now. 去吧[14:49.56]Good. Now. outside there is a scaffold. 很好,现在外面有个洗窗架[14:55.67]-How do you know all this? -We don't have time. -你是怎么知道的?-来不及了,尼欧[14:58.30]To your left there's a window. Go to it. 左手边有窗户,快点[15:03.41]Open it. 打开[15:05.74]Use the scaffold to get to the roof. 用洗窗架上到屋顶[15:07.81]No way! No way! This is crazy! 不行,太疯狂了[15:10.65]There are two ways out of this building. 只有两个方法能出去[15:13.25]One is that scaffold. The other is in their custody. 爬上洗窗架或是被他们带走[15:17.36]You take a chance either way. I leave it to you. 都很危险,你自己决定[15:24.16]This is insane! 太疯狂了[15:27.07]Why is this happening to me? 怎么会有这种事?[15:29.23]What'd l do? 我干了什么?[15:31.24]l'm nobody. l didn't do anything. 我是小人物,什么也没干[15:34.57]l'm gonna die. 我死定了[15:45.75]Shit! 该死[16:07.07]Oh. shit! 该死[16:13.25]l can't do this. 我办不到[16:27.76]Shit. 可恶[17:17.98]As you can see. we've had our eye on you for some time now. Mr. Anderson. 如你所见我们已经注意你很久了[17:24.12]lt seems that you've been living... 看来你一直有[17:26.99]...two lives. 两种身份[17:30.56]ln one life. you're Thomas A. Anderson... 其中一个是汤犸斯安德森[17:33.29]...program writer for a respectable software company. 软体公司的程式工程师[17:37.70]You have a social security number. You pay your taxes. 你有社会安全号码,也纳税[17:41.40]And you... 还有[17:44.27]...help your landlady carry out her garbage. 你会帮房东太太倒垃圾[17:50.41]The other life is lived in computers... 另一个你活在电脑中[17:53.78]...where you go by the hacker alias ''Neo'' ... 使用的骇客代号是尼欧[17:57.02]...and are guilty of virtually every computer crime wehave a law for. 几乎犯下每项电脑犯罪[18:03.16]One of these lives... 你其中一个身份[18:05.32]...has a future. 有前瞻性的未来[18:07.49]And one of them does not. 另一个则没有[18:13.20]l'm going to be as forthcoming as l can be. Mr.Anderson. 我就直话直说吧,安德森[18:18.07]You're here... 找你来,是因为[18:19.74]...because we need your help. 我们需要你的协助[18:25.61]We know that you've been contacted by a certain...我们知道你常常联络[18:28.88]...individual. 某个人[18:31.55]A man who calls himself ''Morpheus.'' 这个人称呼他自己为莫斐斯[18:36.62]Whatever you think you know about this man isirrelevant. 你对他了解多少都不重要[18:40.83]He is considered by many authorities... 警方都把他视为[18:43.56]...to be the most dangerous man alive. 世上最危险的人物[18:49.27]My colleagues... 我的同事[18:50.97]...believe that l am wasting my time with you. 认为我是在浪费时间[18:54.17]But l believe you wish to do the right thing. 不过我相信你想改过自新[18:57.88]We're willing to wipe the slate clean... 我们愿意删除你的不良纪录[19:01.75]...give you a fresh start. 让你重新做人[19:04.42]All that we're asking in return is your cooperation...你只要跟我们合作[19:07.55]...in bringing a known terrorist to justice. 把这名恐怖份子绳之以法[19:12.42]Yeah. 是啊[19:14.86]Well. that sounds like a really good deal. 这条件听起来很棒[19:18.70]But l think l got a better one. 但我有更棒的想法[19:20.67]How about... 这样吧[19:22.63]...l give you the finger... 我向你伸中指[19:27.24]...and you give me my phone call. 你就让我打电话[19:31.44]Mr. Anderson... 安德森先生[19:37.28]...you disappoint me. 你让我很失望[19:38.75]You can't scare me with this gestapo crap. 你这样是吓不倒我的[19:41.59]l know my rights. 我有权利[19:43.22]l want my phone call. 我要打电话[19:45.32]Tell me. Mr. Anderson... 请你告诉我,安德森[19:48.36]...what good is a phone call if you're unable to speak?开不了口打电话有什么用?[20:27.40]You're going to help us. Mr. Anderson... 你一定要帮我们[20:30.27]...whether you want to or not. 不管你要或不要[21:30.70]This line is tapped. so I must be brief. 电话被监控,我长话短说[21:34.20]They got to you first. but they've underestimatedhow important you are. 他们逮到你却低估你的重要性[21:38.77]If they knew what I know... 要是他们知道[21:40.84]...you would probably be dead. 你或许早就没命了[21:43.88]What are you talking about? What is happening tome? 你在说什么?我是什么人?[21:47.81]You are the One. Neo. You see. you may have spentthe last few years... 你是救世主,尼欧[21:52.85]...looking for me. but I've spent my entire life... 这几年来你在找我但是我这辈子[21:56.05]...looking for you. 都在找你[21:59.12]Now. do you still want to meet? 现在,你还想见我吗?[22:02.29]-Yes. -Then go to the Adams Street bridge. -想-那就到亚当街桥[22:15.31]Get in. 上车[22:28.89]-What the hell is this? -lt's necessary. Neo. -这是干嘛?-是必须的[22:31.72]-For our protection. -From what? -这是为了保护我们的安全-你们怕谁?[22:33.96]From you. 怕你[22:36.39]-Take off your shirt. -What? -脱掉上衣-什么[22:38.50]Stop the car. 停车[22:43.77]Listen to me. coppertop. 给我听好,你最好废话少说[22:45.24]We don't have time for 20 Questions. 我们没时间慢慢的回答你所有的问题[22:47.77]Right now. there's only one rule: 现在,你只有两个选择[22:50.41]Our way... 不听我们的[22:51.91]...or the highway. 就滚下车[22:59.82]Fine. 好吧[23:02.65]Please. Neo. you have to trust me. 拜托,尼欧请你相信我[23:05.69]-Why? -Because you have been down there. Neo. -为什么?-因为你活在这虚拟世界[23:09.09]You know that road. 对它很清楚[23:11.30]You know exactly where it ends. 只有一个后果[23:15.10]And l know that's not where you want to be. 那不是你想要的[23:31.58]Apoc. lights. 开灯[23:35.69]Lie back. Lift up your shirt. 躺下来,掀开上衣[23:39.86]-What is that thing? -We think you're bugged. -那是什么?-你肚子里有虫[23:49.73]Try and relax. 试着放轻松[23:57.41]Come on. 现身吧[23:59.78]Come on. 快点[24:02.55]lt's on the move. 它在动[24:05.25]Come on. you shit. 可恶[24:08.32]-You're gonna lose it. -No. l'm not. -你抓不到它-才怪[24:10.82]Clear! 让开[24:20.27]Jesus Christ! That thing is real?! 天啊,那玩意是真的[24:56.30]This is it. 我们到了[25:00.97]Let me give you one piece of advice. 我给你一个建议[25:04.41]Be honest. 老实点[25:07.65]He knows more than you can imagine. 他几乎无所不知[25:18.59]At last. 我们终于见面[25:21.33]Welcome. Neo. 尼欧,欢迎[25:23.73]As you no doubt have guessed... 你一定猜到[25:25.93]...l am Morpheus. 我就是莫斐斯[25:28.20]lt's an honor to meet you. 见到你是我的荣幸[25:30.17]No... 不[25:31.87]...the honor is mine. 这是我的荣幸[25:34.07]Please. come. Sit. 请过来坐[25:51.69]l imagine... 我猜[25:53.73]...that right now you're feeling a bit like Alice. 你现在一定觉得有点像爱丽丝[25:58.20]Tumbling down the rabbit hole? 梦游到了仙境[26:01.53]You could say that. 有点像[26:03.43]l can see it in your eyes. 从你的眼神,我看得出来[26:06.67]You have the look of a man who accepts what hesees... 你对这一切逆来顺受[26:10.17]...because he's expecting to wake up. 你想从梦中惊醒[26:13.88]lronically. this is not far from the truth. 老实说,你会醒过来[26:17.18]Do you believe in fate. Neo? 尼欧,你相信命运吗?[26:20.08]-No. -Why not? -不信-为什么?[26:22.62]Because l don't like the idea that l'm not in control ofmy life. 我相信我能掌控自己的生命[26:26.36]l know exactly what you mean. 我了解你所说的意思[26:34.03]Let me tell you why you're here. 让我告诉你来的原因[26:37.27]You're here because you know something. What youknow. you can't explain. 你知道有些事虽然你无法解释[26:41.61]But you feel it. 却能感觉到[26:43.81]You felt it your entire life: 你这一生都感觉到[26:46.34]There's something wrong with the world. You don'tknow what. but it's there. 这世界很不对劲你说不出个所以然来[26:50.95]Like a splinter in your mind... 就像心头有根刺[26:53.45]...driving you mad. 会把你逼疯[26:56.22]lt is this feeling that has brought you to me. 所以你才会找上我[27:01.49]Do you know what l'm talking about? 你知道是什么吗?[27:05.23]The Matrix? 母体吗?[27:09.00]Do you want to know... 你想知道[27:11.04]...what it is? 它是什么吗?[27:15.57]The Matrix is everywhere. 母体无所不在[27:17.68]lt is all around us. 随处可见[27:19.64]Even now. in this very room. 它甚至在这房间[27:22.35]You can see it when you look out your window... 你从窗户外可以看到它[27:24.95]...or when you turn on your television. 或在电视上也会看到它[27:27.62]You can feel it when you go to work... 上班时感觉它的存在[27:31.69]...when you go to church... 当你上教堂[27:33.83]...when you pay your taxes. 或纳税时也一样[27:37.00]lt is the world that has been pulled over your eyes...它是虚拟世界[27:40.16]...to blind you from the truth. 在你眼前制造假象蒙蔽真相[27:43.97]What truth? 什么真相?[27:49.47]That you are a slave. Neo. 你是个奴隶[27:52.34]Like everyone else. you were born into bondage... 每个人呱呱落地后[27:55.11]...born into a prison that you cannot smell or taste or touch. 就活在一个没有知觉的牢狱[28:00.08]A prison for your mind. 一个心灵的牢笼[28:09.73]Unfortunately. no one can be... 很不幸,我无法告诉你[28:12.36]...told what the Matrix is. 母体到底是什么?[28:18.27]You have to see it for yourself. 你必须亲眼目睹[28:29.65]This is your last chance. 这是你最后一次机会[28:32.12]After this. there is no turning back. 决定了就不能反悔[28:34.99]You take the blue pill... 吞下蓝色药丸的话[28:36.75]...the story ends. you wake up in your bed and believe... 幻境结束,起床后[28:40.06]...whatever you want to believe. 想信什么就信什么[28:42.09]You take the red pill... 吞下红色药丸的话[28:43.63]...you stay in Wonderland... 就留在幻境[28:46.16]...and l show you how deep the rabbit hole goes. 而我就带你去见识见识[28:58.71]Remember... 记住[29:00.78]...all l'm offering is the truth. Nothing more. 我只能告诉你真相[29:18.16]Follow me. 跟我来[29:21.97]Apoc. are we online? 艾巴,上线了吗?[29:23.94]Almost. 快了[29:28.67]Time is always against us. 时间老是不够[29:31.08]Please. take a seat there. 请坐下来[29:50.76]You did all this? 你也这么做过?[29:56.60]The pill you took is part of a trace program. 药丸里有追踪程式[29:59.44]lt disrupts your input/output carrier signals so we can pinpoint your location. 用来追踪你身体所在的位置[30:04.38]What does that mean? 什么意思?[30:06.14]lt means buckle your seat belt. Dorothy... 系好安全带,菜鸟[30:08.65]...because Kansas is going bye-bye. 跟老家说再见吧[30:49.19]Did you...? 你们?[31:01.57]Have you ever had a dream. Neo. that you were sosure was real? 你曾做过一种梦仿佛实实在在的发生过?[31:07.14]What if you were unable to wake from that dream?要是你醒不过来呢?[31:09.91]How would you know the difference between thedream world... 你该怎么分辨梦世界[31:13.21]...and the real world? 和真实世界?[31:16.21]-This can't be. -Be what? -不可能-什么?[31:19.18]Be real? 不可能是真的?[31:24.69]lt's going into replication. 开始复制程序[31:26.32]Still nothing. 找不到[31:27.99]lt's cold. lt's cold! 好冷好冷[31:34.57]Tank. we're going to need a signal soon. 坦克,赶快找到讯号[31:37.37]l got a fibrillation. 心脏衰很[31:38.90]Apoc. location. 艾巴,快找到位置[31:40.67]Targeting almost there. 就快找到了[31:45.48]He's going into arrest. 他的心跳停止[31:47.08]-Lock. l got him! -Now. Tank. now! -找到了-坦克,快动手[34:46.86]Welcome... 欢迎[34:48.33]...to the real world. 来到真实世界[34:51.66]We've done it. Trinity. 我们成功了,崔妮蒂[34:53.70]We found him. 我们找到他了[34:55.50]-l hope you're right. -l don't have to hope. -希望你没错-不用怀疑[34:58.87]l know it. 我很确定[35:05.51]Am l dead? 我死了吗?[35:07.14]Far from it. 正好相反[35:23.26]He still needs a lot of work. 他需要很多复健[35:26.16]What are you doing? 你在做什么?[35:27.57]Your muscles have atrophied. We're rebuilding them.你的肌肉萎缩,得重新锻炼[35:30.53]Why do my eyes hurt? 我的眼睛好痛[35:32.67]You've never used them before. 你从来都没用过[35:38.48]Rest. Neo. The answers are coming. 休息吧,尼欧你会知道答案的[36:55.85]Morpheus. what's happened to me? 莫斐斯,我发生什么事?[36:58.16]-What is this place? -More important than ''what'' is''when.'' -这是哪里?-更重要的是这是几时[37:02.86]-''When''? -You believe it's the year 1 999... -几时?-你以为是1999年[37:06.06]...when. in fact. it's closer to 21 99. 其实是2199年左右[37:09.43]l can't tell you exactly what year it is because wehonestly don't know. 我无法告诉你确定的年份因为我不知道[37:14.61]There's nothing l can say that will explain it for you.我怎么说你都不会懂,尼欧[37:17.71]Come with me. See for yourself. 跟我来,你自己看吧[37:20.95]This is my ship. 这是我的船[37:23.05]The Nebuchadnezzar. lt's a hovercraft. 《尼布加尼撒号》,是艘气垫船[37:28.79]This is the main deck. 这是主舱[37:36.56]This is the core... 核心地带[37:38.03](2060年制造)[37:40.06]...where we broadcast our pirate signal and hack intothe Matrix. 我们非法向母体传播讯号[37:47.20]Most of my crew you already know. 这些人你都认识[37:55.38]This is Apoc... 这是艾巴[37:57.55]...Switch... 苏哩琪[38:00.48]-...and Cypher. -Hi. -塞佛-你好[38:01.89]The ones you don't know. Tank and his big brother.Dozer. 你不认识的是坦克和他大哥道瑟[38:06.46]The little one behind you is Mouse. 在你后面的是茂史[38:13.26]You wanted to know what the Matrix is. Neo? 你想知道母体是什么吗?[38:17.53]Trinity. 崔妮蒂[38:39.79]Try to relax. 放轻松[38:46.23]This will feel a little weird. 你会觉得有点怪[38:52.14](辅助磁碟机)[39:00.08]This... 这里[39:01.61]...is the Construct. 是主架构[39:03.75]lt's our loading program. 资料载入程式[39:06.05]We can load anything. from clothing... 应有尽有[39:08.82]...to equipment... 包括有衣服器材[39:10.49]...weapons... 武器[39:12.42]...training simulations... 模拟训练[39:14.66]...anything we need. 要什么有什么[39:20.00]Right now we're inside a computer program? 我们已在电脑程式中?[39:22.67]ls it really so hard to believe? 这么难以置信吗?[39:25.10]Your clothes are different. The plugs in your body are gone. 你的穿着不同,插孔不见了[39:28.91]Your hair has changed. 发型也不一样[39:31.44]Your appearance now is what we call ''residual self-image.'' 这是所谓的“残留自我影像”:[39:35.48]lt is the mental projection of your digital self. 你在虚拟世界的投影[39:43.99]-This isn't real? -What is ''real''? -这都不是真的?-什么是真实?[39:47.29]How do you define ''real''? 真实该怎么定义?[39:49.73]lf you're talking about what you can feel. what you can smell. taste and see... 如果你指的是触觉嗅觉、味觉和视觉[39:54.63]...then ''real'' is simply electrical signals interpreted by your brain. 那全是大脑接收的电子讯号[40:02.71]This is the world that you know. 这是你熟悉的世界[40:06.54]The world as it was at the end of the 20th century.就是二十世纪末的世界[40:11.95]lt exists now only as part of a neural-interactivesimulation... 其实这是互动的虚拟世界[40:16.55]...that we call the Matrix. 我们所谓的母体[40:22.33]You've been living in a dream world. Neo. 你一直活在梦世界,尼欧[40:26.10]This is the world as it exists today. 这才是真实的世界[40:42.38]Welcome to the desert... 欢迎来到[40:46.15]...of the real. 真实世界[40:51.16]We have only bits and pieces of information. 我们只有残缺的资料[40:53.76]But what we know for certain is that in the early 21st century... 不过我们知道在21世纪初[40:57.80]...all of mankind was united in celebration. 全人类都欢欣鼓舞[41:01.30]We marveled at our own magnificence as we gavebirth to Al. 庆祝我们伟大的成就AI终于研发成功[41:06.77]Al. AI?[41:08.81]You mean artificial intelligence. 你是说人工智慧?[41:10.61]A singular consciousness that spawned an entire raceof machines. 这个人工智慧繁衍出电脑人[41:15.95]We don't know who struck first. us or them. 谁先攻击谁已经不可考[41:19.78]But we know that it was us that scorched the sky. 不过人类却遮蔽了天空[41:24.72]They were dependent on solar power... 当时电脑人只能依靠太阳能[41:27.06]...and it was believed that they would be unable tosurvive... 人类以为电脑人只要[41:30.79]...without an energy source as abundant as the sun.失去太阳的能量就会灭亡[41:34.50]Throughout human history. we have been dependenton machines to survive. 在近代的历史人类一直仰赖电脑生存[41:40.90]Fate. it seems. is not without a sense of irony. 命运,它似乎充满了反讽[41:48.31]The human body generates more bioelectricity than a1 20-volt battery. 电脑人身体发出的生化电力超过120伏特[41:52.92]And over 25.000 BTUs of body heat. 产生25000热量单位[41:58.99]Combined with a form of fusion... 只要经过核翰合[42:01.53]...the machines had found all the energy they wouldever need. 电脑人就有用之不尽的能量[42:10.43]There are fields. Neo. endless fields... 它们开发出一望无际的场地[42:14.44]...where human beings are no longer born. 人类不再从娘胎出生[42:18.38]We are grown. 而是被栽培出来[42:26.22]For the longest time. l wouldn't believe it. 我一直不肯相信[42:29.09]And then l saw the fields with my own eyes... 直到我亲眼看见它们[42:32.99]...watched them liquefy the dead... 将死人融化[42:35.03]...so they could be fed intravenously to the living. 融化的液体用来喂食新生儿[42:38.86]And standing there. facing the pure. horrifyingprecision... 我眼睁睁看着它们规律的运作[42:43.30]...l came to realize the obviousness of the truth. 终于知道残酷的真相[42:48.91]What is the Matrix? 母体是什么?[42:51.74]Control. 一种控制方法[42:54.31]The Matrix is a computer-generated dream world...母体是电脑模拟的梦世界[42:58.45]...built to keep us under control... 为了控制所有的人类[43:02.75]...in order to change a human being... 把我们从人[43:06.52]...into this. 变成这玩意[43:09.03]No. 不字幕制作:LRC中国[43:11.86]l don't believe it. 我不相信[43:13.80]lt's not possible. 不可能[43:15.60]l didn't say it would be easy. Neo. 我没说这很容易相信,尼欧[43:19.00]-l just said it would be the truth. -Stop! -我只说这是真相-别说了[43:22.21]Let me out! 让我出去[43:24.21]Let me out! l want out! 放开我,我要出去[43:28.08]-Easy. Neo. Easy. -Get this thing out of me. -尼欧,冷静点-把这玩意弄掉[43:30.95]Get this thing out of me! 把这玩意弄掉[43:34.45]Don't touch me! Get away from me! Stay away from me! 别碰我,走开离我远一点[43:38.26]l don't believe it. 我不信[43:40.42]l don't believe it. 我不相信你[43:41.99]-l don't believe it. -He's gonna pop. -我不信-他会发疯[43:45.00]Breathe. Neo. Just breathe. 深呼吸,尼欧[44:05.58]l can't go back. can l? 我回不去了,对吧?[44:08.19]No. 没错[44:10.42]But if you could... 要是你能[44:12.46]...would you really want to? 你真想回去吗?[44:16.46]l feel l owe you an apology. We have a rule: 我向你道歉我们有个规矩[44:20.30]We never free a mind once it's reached a certain age. 绝对不能解放成人的心灵[44:23.90]lt's dangerous. 非常危险[44:25.57]The mind has trouble letting go. 会无法接受真相[44:27.47]l've seen it before. and l'm sorry. 我见过,很抱歉这么说[44:30.77]l did what l did because... 我这么做是因为[44:33.61]...l had to. 别无选择[44:43.49]When the Matrix was first built. there was a man born inside... 当母体成形时有一个人在里面出生[44:48.03]...who had the ability to change whatever he wanted... 他有能力随意改变母体[44:52.26]...to remake the Matrix as he saw fit. 重新创造真实世界[44:56.90]lt was he who freed the first of us... 他解放了第一批反抗份子[45:01.27]...taught us the truth. 告诉我们真相[45:04.34]As long as the Matrix exists... 只要母体存在一天[45:07.71]...the human race will never be free. 人类就没有自由[45:14.02]After he died... 他死后[45:16.35]...the Oracle prophesied his return... 祭师预言他将再度降临[45:19.42]...and that his coming would hail the destruction ofthe Matrix... 他将带来母体的毁灭[45:23.06]...end the war... 战争的终结[45:25.00]...bring freedom to our people. 和全人类的自由[45:27.63]That is why there are those of us who have spent ourentire lives searching the Matrix... 所以我们终其一生游走母体中[45:32.60]...looking for him. 寻找救世主[45:36.61]l did what l did because... 我这么做是因为[45:40.34]...l believe that search is over. 我相信我找到了[45:47.55]Get some rest. 好好休息[45:49.59]You're going to need it. 你需要体力[45:54.39]For what? 做什么?[45:58.43]Your training. 接受训练[46:17.65]Morning. Did you sleep? 早,睡得好吗?[46:20.22]You will tonight. 我保证[46:21.82]l guarantee it. 你今晚一定睡得好[46:24.92]l'm Tank. l'll be your operator. 我是坦克,你的总机[46:27.26]-You don't-- You don't have any-- -Holes? Nope. -你身上没有-插孔?没有[46:30.56]Me and my brother Dozer. we're both 1 00 percentpure... 我和我老哥道瑟我们是百分之百的[46:33.60]...old-fashioned. homegrown human. 纯种人类[46:35.57]Born free right here... 土生土长的自由人[46:37.37]...in the real world. 在真实世界出生的[46:38.94]Genuine child of Zion. 锡安之子[46:41.44]-Of Zion? -lf the war was over tomorrow... -锡安?-要是战争结束[46:44.11]-...Zion's where the party would be. -lt's a city? -锡安就热闹了-那是个城市?[46:47.48]The last human city. The only place we have left. 硕果仅存的人类城市[46:52.35]Where is it? 在哪里?[46:55.32]Deep underground. near the Earth's core. where it'sstill warm. 在地底,靠近温热的地心[47:00.39]You live long enough. you might even see it. 你活得够久就能看到[47:04.49]Goddamn! l gotta tell you. l'm excited to see whatyou're capable of... 老实说,要是莫斐斯说得没错[47:09.70]...if Morpheus is right and all. 我很想见识你的本事[47:11.84]We're not supposed to talk about this. but... 我们不该谈这档事[47:14.87]...if you are... 不过如果你是[47:17.34]...it's a very exciting time. 真令人兴奋[47:20.44]We got a lot to do. We gotta get to it. 今天会很忙,我们快开始吧[47:25.42]Now.... 那么[47:27.05]We're supposed to start with these operationprograms first. 本来要从这些程式先开始[47:30.95]That's major boring shit. Let's do something a littlemore fun. 不过太无聊了先来点好玩的[47:34.76]How about... 搏击训练[47:37.83]bat training? 怎么样?[47:45.60]''Jujitsu''? 柔道?[47:47.97]l'm going to learn jujitsu? 我要学柔道?[48:00.95]Holy shit! 我的天[48:02.45]''Hey. Mikey. l think he likes it.'' 乖乖,他很喜欢[48:05.12]How about some more? 再来吗?[48:06.62]Hell. yes. 好呀[48:10.19]Hell. yeah. 太棒了[48:11.86]“少林拳”“跆拳道”、“醉拳”。
萧伯纳简介(中英文)
George Bernard Shaw 简介George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings deal sternly with prevailing social problems, but have a vein of comedy to make their stark themes more palatable. Shaw examined education, marriage, religion, government, health care and class privilege.He was most angered by what he perceived as the exploitation of the working class, and most of his writings censure that abuse. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles.Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They settled in Ayot St. Lawrence in a house now called Shaw's Corner. Shaw died there, aged 94, from chronic problems exacerbated by injuries he incurred by falling.He is the first person to have been awarded both a Nobel Prize for Literature(1925) and an Oscar(1938), for his contributions to literature and for his work on the film Pygmalion (adaption of his play of the same name), respectively.[1] Shaw wanted to refuse his Nobel Prize outright because he had no desire for public honors, but accepted it at his wife's behest: she considered it a tribute to Ireland. He did reject the monetary award, requesting it be used to finance translation of Swedish books to English.[2]LifeEarly years and familyGeorge Bernard Shaw was born in Synge Street, Dublin in 1856 to George Carr Shaw (1814–85), an unsuccessful grain merchant and sometime civil servant, and Lucinda Elizabeth Shaw, née Gurly (1830–1913), a professional singer. He had two sisters, Lucinda Frances (1853–1920), a singer of musical comedy and light opera, and Elinor Agnes (1855–76).[edit] EducationShaw briefly attended the Wesleyan Connexional School, a grammar school operated by the Methodist New Connexion, before moving to a private school near Dalkey and then transferring to Dublin's Central Model School. He ended his formal education at the Dublin English Scientific and Commercial Day School. He harbored a lifelong animosity toward schools and teachers, saying: "Schools and schoolmasters, as we have them today, are not popular as places of education and teachers, but rather prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents".[3]In the astringent prologue to Cashel Byron's Profession young Byron's educational experience is a fictionalized description of Shaw's own schooldays. Later, he painstakingly detailed the reasons for his aversion to formal education in his Treatise on Parents and Children.[4] In brief, he considered the standardized curricula useless, deadening to the spirit and stifling to the intellect. He particularly deplored the use of corporal punishment, which was prevalent in his time.When his mother left home and followed her voice teacher, George Vandeleur Lee, to London, Shaw was almost sixteen years old. His sisters accompanied their mother[5] but Shaw remained in Dublin with his father, first as a reluctant pupil, then as a clerk in an estate office. He worked efficiently, albeit discontentedly, for several years.[6] In 1876, Shaw joined his mother's London household. She, Vandeleur Lee, and his sister Lucy, provided him with a pound a week while he frequented public libraries and the British Museum reading room where he studied earnestly and began writing novels. He earned his allowance by ghostwriting Vandeleur Lee's music column,[7][8] which appeared in the London Hornet. His novels were rejected, however, so his literary earnings remained negligible until 1885, when he became self-supporting as a critic of the arts.[edit] Personal life and political activismThe front of Shaw's Corner as it stands todayInfluenced by his reading, he became a dedicated Socialist and a charter member of the Fabian Society,[9] a middle class organization established in 1884 to promote the gradual spread of socialism by peaceful means.[6] In the course of his political activities he met Charlotte Payne-Townshend, an Irish heiress and fellow Fabian; they married in 1898. In 1906 the Shaws moved into a house, now called Shaw's Corner, in Ayot St. Lawrence, a small village in Hertfordshire; it was to be their home for the remainder of their lives, although they also maintained a residence at 29 Fitzroy Square in London.Shaw's plays were first performed in the 1890s. By the end of the decade he was an established playwright. He wrote sixty-three plays and his output as novelist, critic, pamphleteer, essayist and private correspondent was prodigious. He is known to have written more than 250,000 letters.[10]Along with Fabian Society members Sidney and Beatrice Webb and Graham Wallas, Shaw founded the London School of Economics and Political Science in 1895 with funding provided by private philanthropy, including a bequest of £20,000 from Henry Hunt Hutchinson to the Fabian Society. One of the libraries at the LSE is named in Shaw's honor; it contains collections of his papers and photographs.[11][edit] Final yearsDuring his latter years, Shaw enjoyed attending to the grounds at Shaw's Corner. He died at the age of 94, of renal failure precipitated by injuries incurred by falling while pruning a tree.[12] His ashes, mixed with those of his wife, Charlotte Payne-Townshend, were scattered along footpaths and around the statue of Saint Joan in their garden.[13][edit] Career[edit] WritingsThe International Shaw Society provides a detailed chronological listing of Shaw's writings.[14]See also George Bernard Shaw, Unity Theatre.[15]View Shaw's Works for listings of his novels and plays, with links to their electronic texts, if those exist.[edit] CriticismShaw became a critic of the arts when, sponsored by William Archer, he joined the reviewing staff of the Pall Mall Gazette in 1885.[16] There he wrote under the pseudonym "Corno di Bassetto" ("basset horn")—chosen because it sounded European and nobody knew what a corno di bassetto was. In a miscellany of other periodicals, including Dramatic Review (1885–86), Our Corner (1885–86), and the Pall Mall Gazette (1885–88) his byline was "GBS".[17] From 1895 to 1898, Shaw was the drama critic for Frank Harris' Saturday Review, in which position he campaigned brilliantly to displace the artificialities and hypocrisies of the Victorian stage with a theater of actuality and thought. His earnings as a critic made him self-supporting as an author and his articles for the Saturday Review made his name well-known.He had a very high regard for both Irish stage actor Barry Sullivan's and Johnston Forbes-Robertson's Hamlets, but despised John Barrymore's. Barrymore invited him to see a performance of his celebrated Hamlet, and Shaw graciously accepted, but wrote Barrymore a withering letter in which he all but tore the performance to shreds. Even worse, Shaw had seen the play in the company of Barrymore's then wife, but did not dare voice his true feelings about the performance aloud to her.[18]Much of Shaw's music criticism, ranging from short comments to the book-length essay The Perfect Wagnerite, extols the work of the German composer Richard Wagner.[19]Wagner worked 25 years composing Der Ring des Nibelungen, a massive four-part musical dramatization drawn from the Teutonic mythology of gods, giants, dwarves and Rhine maidens; Shaw considered it a work of genius and reviewed it in detail. Beyond the music, he saw it as an allegory of social evolution where workers, driven by "the invisible whip of hunger", seek freedom from their wealthy masters. Wagner did have socialistic sympathies, as Shaw carefully points out, but made no such claim about his opus. Conversely, Shaw disparaged Brahms, deriding A German Requiem by saying "it could only have come from the establishment of a first-class undertaker".[20] Although he found Brahms lacking in intellect, he praised his musicality, saying "...nobody can listen to Brahms' natural utterance of the richest absolute music, especially in his chamber compositions, without rejoicing in his natural gift". In the 1920s, he recanted, calling his earlier animosity towards Brahms "my only mistake".[19] Shaw's writings about music gained great popularity because they were understandable to the average well-read audience member of the day, thus contrasting starkly with the dourly pretentious pedantry of most critiques in that era.[21] All of his music critiques have been collected in Shaw's Music.[22] As a drama critic for the Saturday Review, a post he held from 1895 to 1898, Shaw championed Henrik Ibsen whose realistic plays scandalized the Victorian public. His influential Quintessence of Ibsenism was written in 1891.[23][edit] NovelsShaw wrote five unsuccessful novels at the start of his career between 1879 and 1883. Eventually all were published.Shaw in 1925, when he was awarded the Nobel Prize for LiteratureThe first to be printed was Cashel Byron's Profession(1886),[24]which was written in 1882. Its eponymous character, Cashel, a rebellious schoolboy with an unsympathetic mother, runs away to Australia where he becomes a famed prizefighter. He returns to England for a boxing match, and falls in love with erudite and wealthy Lydia Carew. Lydia, drawn by sheer animal magnetism, eventually consents to marry despite the disparity of their social positions. This breach of propriety is nullified by the unpresaged discovery that Cashel is of noble lineage and heir to a fortune comparable to Lydia's. With those barriers to happiness removed, the couple settles down to prosaic family life with Lydia dominant; Cashel attains a seat in Parliament. In this novel Shaw first expresses his conviction that productive land and all other natural resources should belong to everyone in common, rather than being owned and exploited privately. The book was written in the year when Shaw first heard the lectures of Henry George who advocated such reforms.Written in 1883, An Unsocial Socialist was published in 1887.[25]The tale begins with a hilarious description of student antics at a girl's school then changes focus to a seemingly uncouth laborer who, it soon develops, is really a wealthy gentleman in hiding from his overly affectionate wife. He needs the freedom gained by matrimonial truancy to promote the socialistic cause, to which he is an active convert. Once the subject of socialism emerges, it dominates the story, allowing only space enough in the final chapters to excoriate the idle upper class and allow the erstwhile schoolgirls, in their earliest maturity, to marry suitably.Love Among the Artists was published in the United States in 1900 and in England in 1914,[26]but it was written in 1881. In the ambiance of chit-chat and frivolity among members of Victorian polite society a youthful Shaw describes his views on the arts, romantic love and the practicalities of matrimony. Dilettantes, he thinks, can love and settle down to marriage, but artists with real genius are too consumed by their work to fit that pattern. The dominant figure in the novel is Owen Jack, a musical genius, somewhat mad and quite bereft of social graces. From an abysmal beginning he rises to great fame and is lionized by socialites despite his unremitting crudity.The Irrational Knot was written in 1880 and published in 1905.[27] Within a framework of leisure class preoccupations and frivolities Shaw disdains hereditary status and proclaims the nobility of workers. Marriage, as the knot in question, is exemplified by the union of Marian Lind, a lady of the upper class, to Edward Conolly, always a workman but now a magnate, thanks to his invention of an electric motor that makes steam engines obsolete. The marriage soon deteriorates, primarily because Marian fails to rise above the preconceptions and limitations of her social class andis, therefore, unable to share her husband's interests. Eventually she runs away with a man who is her social peer, but he proves himself a scoundrel and abandons her in desperate circumstances. Her husband rescues her and offers to take her back, but she pridefully refuses, convinced she is unworthy and certain that she faces life as a pariah to her family and friends. The preface, written when Shaw was 49, expresses gratitude to his parents for their support during the lean years while he learned to write and includes details of his early life in London.Shaw's first novel, Immaturity, was written in 1879 but was the last one to be printed in 1931.[28]It relates tepid romances, minor misfortunes and subdued successes in the developing career of Robert Smith, an energetic young Londoner and outspoken agnostic. Condemnation of alcoholic behavior is the prime message in the book, and derives from Shaw's familial memories. This is made clear in the books's preface, which was written by the mature Shaw at the time of its belated publication. The preface is a valuable resource because it provides autobiographical details not otherwise available.[edit] Short storiesShaw writing in a notebook at the time of first production of his play Pygmalion.A collection of Shaw's short stories, The Black Girl in Search of God and Some Lesser Tales, was published in 1934.[29]The Black Girl, an enthusiastic but misguided convert to Christianity, goes searching for God, whom she believes to be an actual person. Written as an allegory,somewhat reminiscent of Bunyan's The Pilgrim's Progress, Shaw uses her adventures to expose flaws and fallacies in the religions of the world. At the story's happy ending, the Black Girl quits her searchings in favor of rearing a family with the aid of a red-haired Irishman who has no metaphysical inclination.One of the Lesser Tales is The Miraculous Revenge (1885), which relates the misadventures of an alcoholic investigator while he probes the mystery of a graveyard—full of saintly corpses—that migrates across a stream to escape association with the body of a newly buried sinner. The story is wildly different from Shaw's usual style.[edit] PlaysThe texts of plays by Shaw mentioned in this section, with the dates when they were written and first performed can be found in Complete Plays and Prefaces.[30]Shaw began working on his first play destined for production, Widowers' Houses, in 1885 in collaboration with critic William Archer, who supplied the structure. Archer decided that Shaw could not write a play, so the project was abandoned. Years later, Shaw tried again and, in 1892, completed the play without collaboration. Widowers' Houses, a scathing attack on slumlords, was first performed at London's Royalty Theatre on 9 December 1892. Shaw would later call it one of his worst works, but he had found his medium. His first significant financial success as a playwright came from Richard Mansfield's American production of The Devil's Disciple(1897). He went on to write 63 plays, most of them full-length.Often his plays succeeded in the United States and Germany before they did in London. Although major London productions of many of his earlier pieces were delayed for years, they are still being performed there. Examples include Mrs. Warren's Profession(1893), Arms and the Man(1894), Candida (1894) and You Never Can Tell (1897).Shaw's plays, like those of Oscar Wilde, were fraught with incisive humor, which was exceptional among playwrights of the Victorian era; both authors are remembered for their comedy.[31] However, Shaw's wittiness should not obscure his important role in revolutionizing British drama. In the Victorian Era, the London stage had been regarded as a place for frothy, sentimental entertainment. Shaw made it a forum for considering moral, political and economic issues, possibly his most lasting and important contribution to dramatic art. In this, he considered himself indebted to Henrik Ibsen, who pioneered modern realistic drama, meaning drama designed to heighten awareness of some important social issue.Significantly, Widowers' Houses— an example of the realistic genre —was completed after William Archer, Shaw's friend, had translated some of Ibsen's plays to English and Shaw had written The Quintessence of Ibsensism.[32]As Shaw's experience and popularity increased, his plays and prefaces became more voluble about reforms he advocated, without diminishing their success as entertainments. Such works, including Caesar and Cleopatra (1898), Man and Superman (1903), Major Barbara (1905) and The Doctor's Dilemma (1906), display Shaw's matured views, for he was approaching 50 when he wrote them. From 1904 to 1907, several of his plays had their London premieres in notable productions at the Court Theatre, managed by Harley Granville-Barker and J. E. Vedrenne. The first of his new plays to be performed at the Court Theatre, John Bull's Other Island (1904), while not especially popular today, made his reputation in London when King Edward VII laughed so hard during a command performance that he broke his chair.[33]By the 1910s, Shaw was a well-established playwright. New works such as Fanny's First Play (1911) and Pygmalion (1912)—on which the famous, award-winning musical My Fair Lady(1956) is based—had long runs in front of large London audiences. A musical adaptation of Arms and the Man (1894)—The Chocolate Soldier by Oscar Straus (1908)—was also very popular, but Shaw detested it and, for the rest of his life, forbade musicalization of his work, including a proposed Franz Lehár operetta based on Pygmalion; the Broadway musical My Fair Lady could be produced only after Shaw's death. There is, however, a sharp difference between The Chocolate Soldier and My Fair Lady which Shaw never anticipated, and perhaps never could have; The Chocolate Soldier uses none of Shaw's own dialogue, while My Fair Lady, despite having a few speeches entirely written by librettist Alan Jay Lerner, uses generous chunks of Shaw's dialogue unchanged.Shaw's outlook was changed by World War I, which he uncompromisingly opposed despite incurring outrage from the public as well as from many friends. His first full-length piece, presented after the War, written mostly during it, was Heartbreak House(1919). A new Shaw had emerged—the wit remained, but his faith in humanity had dwindled. In the preface to Heartbreak House he said:"It is said that every people has the Government it deserves. It is more to the point that every Government has the electorate it deserves; for the orators of the front bench can edify or debauch an ignorant electorate at will. Thus our democracy moves in a vicious circle of reciprocal worthiness and unworthiness."[34]The movable hut in the garden of Shaw's Corner, where Shaw wrote most of his works after 1906, including Pygmalion.Shaw had previously supported gradual democratic change toward socialism, but now he saw more hope in government by benign strong men. This sometimes made him oblivious to the dangers of dictatorships. Near his life's end that hope failed him too. In the first act of Buoyant Billions(1946–48), his last full-length play, his protagonist asks:"Why appeal to the mob when ninetyfive per cent of them do not understand politics, and can do nothing but mischief without leaders? And what sort of leaders do they vote for? For Titus Oates and Lord George Gordon with their Popish plots, for Hitlers who call on them to exterminate Jews, for Mussolinis who rally them to nationalist dreams of glory and empire in which all foreigners are enemies to be subjugated."[35]In 1921, Shaw completed Back to Methuselah, his "Metabiological Pentateuch". The massive, five-play work starts in the Garden of Eden and ends thousands of years in the future; it showcases Shaw's postulate that a "Life Force" directs evolution toward ultimate perfection by trial and error. Shaw proclaimed the play a masterpiece, but many critics disagreed. The theme of a benign force directing evolution reappears in Geneva(1938), wherein Shaw maintains humans must develop longer lifespans in order to acquire the wisdom needed for self-government.Methuselah was followed by Saint Joan (1923), which is generally considered to be one of his better works. Shaw had long considered writing about Joan of Arc, and her canonization in 1920 supplied a strong incentive. The play was an international success, and is believed to have led to hisNobel Prize in Literature.[36]The citation praised his work as "...marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty". At this time Prime Minister David Lloyd George was considering recommending to the King Shaw's admission to the Order of Merit, but the place was instead given to J. M. Barrie.[36] Shaw rejected a knighthood.[36]It was not until 1946 that the government of the day arranged for an informal offer of the Order of Merit to be made: Shaw declined, replying that "merit" in authorship could only be determined by the posthumous verdict of history.[36]He wrote plays for the rest of his life, but very few of them are as notable—or as often revived—as his earlier work. The Apple Cart(1929) was probably his most popular work of this era. Later full-length plays like Too True to Be Good (1931), On the Rocks (1933), The Millionairess (1935), and Geneva (1938) have been seen as marking a decline. His last significant play, In Good King Charles Golden Days has, according to St. John Ervine,[37] passages that are equal to Shaw's major works.Shaw's published plays come with lengthy prefaces. These tend to be more about Shaw's opinions on the issues addressed by the plays than about the plays themselves. Often his prefaces are longer than the plays they introduce. For example, the Penguin Books edition of his one-act The Shewing-up Of Blanco Posnet(1909) has a 67-page preface for the 29-page playscript.[edit] PolemicsIn a letter to Henry James dated 17 January 1909,[38] Shaw said:"I, as a Socialist, have had to preach, as much as anyone, the enormous power of the environment. We can change it; we must change it; there is absolutely no other sense in life than the task of changing it. What is the use of writing plays, what is the use of writing anything, if there is not a will which finally moulds chaos itself into a race of gods."[39]Thus he viewed writing as a way to further his humanitarian and political agenda. His works were very popular because of their comedic content, but the public tended to disregard his messages and enjoy his work as pure entertainment. He was acutely aware of that. His preface to Heartbreak House (1919) attributes the rejection to the need of post-World War I audiences for frivolities, after four long years of grim privation, more than to their inborn distaste of instruction. His crusading nature led him to adopt and tenaciously hold a variety of causes, which he furthered with fierce intensity, heedless of opposition and ridicule. For example,Common Sense about the War (1914) lays out Shaw's strong objections at the onset of World War I.[40] His stance ran counter to public sentiment and cost him dearly at the box-office, but he never compromised.[41]Shaw joined in the public opposition to vaccination against smallpox, calling it "a particularly filthy piece of witchcraft",[42][43] despite having nearly died from the disease when he contracted it in 1881. In the preface to Doctor’s Dilemma he made it plain he regarded traditional medical treatment as dangerous quackery that should be replaced with sound public sanitation, good personal hygiene and diets devoid of meat. Shaw became a vegetarian while he was twenty-five, after hearing a lecture by H.F. Lester.[44] In 1901, remembering the experience, he said "I was a cannibal for twenty-five years. For the rest I have been a vegetarian."[45] As a staunch vegetarian, he was a firm anti-vivisectionist and antagonistic to cruel sports for the remainder of his life. The belief in the immorality of eating animals was one of the Fabian causes near his heart and is frequently a topic in his plays and prefaces. His position, succinctly stated, was "A man of my spiritual intensity does not eat corpses."[46]As well as plays and prefaces, Shaw wrote long political treatises, such as Fabian Essays in Socialism(1889),[47]and The Intelligent Woman's Guide to Socialism and Capitalism (1912),[48] a 495-page book detailing all aspects of socialistic theory as Shaw interpreted it. Excerpts of the latter were republished in 1928 as Socialism and Liberty,[49] Late in his life he wrote another guide to political issues, Everybody's Political What's What (1944).[edit] CorrespondenceShaw corresponded with an array of people, many of them well-known. His letters to and from Mrs. Patrick Campbell were adapted for the stage by Jerome Kilty as Dear Liar: A Comedy of Letters,[50]as was his correspondence with the poet Lord Alfred 'Bosie' Douglas (the intimate friend of Oscar Wilde), into the drama Bernard and Bosie: A Most Unlikely Friendship by Anthony Wynn. His letters to the prominent actress, Ellen Terry,[51]to the boxer Gene Tunney,[52] and to H.G. Wells,[53] have also been published. Eventually the volume of his correspondence became insupportable, as can be inferred from apologetic letters written by assistants.[54] Shaw campaigned against the executions of the rebel leaders of the Easter Rising, and he became a personal friend of the Cork-born IRA leader Michael Collins, whom he invited to his home for dinner while Collins was negotiating the Anglo-Irish Treaty with Lloyd George in London. After Collins's assassination in 1922, Shaw sent a personal message ofcondolence to one of Collins's sisters. He had an enduring friendship with G. K. Chesterton, the Roman Catholic-convert British writer.[55]Shaw also enjoyed a personal friendship with T.E. Lawrence, known most notably for his book Seven Pillars of Wisdom and his role as liaison for the Arab revolt during World War I. Lawrence even took the name Shaw sometime after the war.Another friend was the composer Edward Elgar. The latter dedicated one of his late works, Severn Suite, to Shaw; and Shaw exerted himself (eventually with success) to persuade the BBC to commission from Elgar a third symphony, though this piece remained incomplete at Elgar's death. Shaw's correspondence with the motion picture producer Gabriel Pascal, who was the first to successfully bring Shaw's plays to the screen and who later tried to put into motion a musical adaptation of Pygmalion, but died before he could realize it, is published in a book titled Bernard Shaw and Gabriel Pascal.,[56] A stage play by Hugh Whitemore, The Best of Friends, provides a window on the friendships of Dame Laurentia McLachlan, OSB (late Abbess of Stanbrook) with Sir Sydney Cockerell and Shaw through adaptations from their letters and writings. A television adaptation of the play, aired on PBS, starred John Gielgud as Cockerell, Wendy Hiller as Laurentia, and Patrick McGoohan as Shaw. It is available on DVD.[edit] PhotographyShaw bought his first camera in 1898 and was an active amateur photographer until his death in 1950. Prior to 1898 Shaw had been an early supporter of photography as a serious art form and includes reviews of photographic exhibitions among his writings.The photographs document a prolific literary and political life - Shaw's friends, travels, politics, plays, films and home life. It also records his experiments with photography over 50 years and for the photographic historian provides a record of the development of the photographic and printing techniques available to the amateur photographer between 1898 and 1950.[edit] PoliticsShaw asserted that each social class strove to serve its own ends, and that the upper and middle classes won in the struggle while the working class lost. He condemned the democratic system of his time, saying that workers, ruthlessly exploited by greedy employers, lived in abject poverty and were too ignorant and apathetic to vote intelligently.[57] He。
theuseofforce写作背景
theuseofforce写作背景摘要:一、使用武力的背景1.社会不安定因素增加2.维护社会秩序的需求3.武力在解决冲突中的作用二、武力使用的现状1.各国武力使用情况2.武力使用的法律和道德约束3.武力使用对国际和平与稳定的影响三、武力使用的合理性探讨1.武力使用的定义和分类2.武力使用的合法性和必要性3.武力使用与和平解决冲突的平衡四、对武力使用的建议和展望1.加强国际法律和道德规范的制定和执行2.促进和平解决冲突的方式3.建立有效的国际安全合作机制正文:一、使用武力的背景随着全球化的推进,世界各地的社会不安定因素不断增加,恐怖主义、犯罪活动、民族和地区冲突时有发生。
这些冲突往往给社会秩序带来严重威胁,导致无辜平民遭受严重伤害。
在这种情况下,武力成为维护社会秩序、保护人民生命财产安全的重要手段。
二、武力使用的现状各国在面临社会不安定因素时,都会根据自身情况和需求使用武力。
然而,武力使用在各国之间存在很大差异,既有合理使用武力维护国家安全和秩序的例子,也有滥用武力侵犯他国主权和人权的情况。
为了规范武力使用,各国在国际法的框架下,对武力使用进行了一定程度的限制和约束。
三、武力使用的合理性探讨在探讨武力使用的合理性时,首先需要明确武力使用的定义和分类。
武力使用包括自卫、维和、执法等多种形式,其使用需遵循合法性和必要性的原则。
合法性意味着武力使用必须符合国际法和国内法的规定;必要性则要求武力使用在解决冲突时,应作为最后手段,并符合比例原则。
在实际冲突解决中,武力使用与和平解决冲突之间需要寻求平衡。
武力使用可能在短期内有效,但长期来看,和平解决冲突才是根本之道。
因此,各国应努力寻求通过外交、谈判、合作等和平方式解决冲突,减少武力使用的必要。
四、对武力使用的建议和展望针对当前武力使用的现状,我们应加强国际法律和道德规范的制定和执行,以约束和规范各国的武力使用行为。
同时,应促进和平解决冲突的方式,例如加强国际安全合作,建立有效的国际安全合作机制,共同应对全球性安全挑战。
小说The Use of Force的叙述特点分析
一 、 叙 述 视 角 与 引 语
(一 )叙述视 角及第一人称 视角 叙述视 角(或称叙事角度 )是指 叙述 者与叙 事文本 中的 事件相对应 的位 置和状态 。通俗 一点说 ,就 是叙述者从 什么 角度去观察并传递有 关事 件的信 息。作 者正 是通过 他所 选 定的叙述角度将 故事 、事 件 、人 物 以及相 关 的一切告 诉读 者 的。不 同的叙述角度会影 响到所述 内容 的“质 量 ”。2O世纪 初 以来 ,出现 了各种 有关 视 角的分 类 。弗 里 德曼 (N.Fried- fnan)在 《小说 中的视角》一 文 中提 出的分类 最为 详尽 ,他 区 分 了八种不 同的类型 ,如编 辑性 的全 知 ;第 一人 称见 证人叙 述 ;第一人称主人 公叙 述等 等呤J2盯I2 。本 文着 重介 绍其 中 的第 一 人 称 主 人 公 叙 述 视 角 。 第一人称主人公叙述 是指小 说 中的 主人公 作为 叙述者 以第一人称进行 的叙述 。一般来说 ,此 类叙述都是 回顾性 的 叙述。在 这一类 型中潜存 两种不同 的叙述 眼光 :一 是叙述者
赵 君 胜 ,张 凡 2
(1.东北林业 大学 外国语学院 ,哈尔滨 150040;2.东北农业 大学 英 语系 ,哈尔滨 150030)
摘 要 :从 语 言的 角度 讲 ,小说 主 要 由叙 述 和 引语 两部 分 组 成 ,即叙 述 、描 写 或 评 论 和 直接 或 间接 引语 。 叙 述 是 小说 的 主 线 ,引语 则 是 叙 述 的主 要 组 成 部 分 。 美 国短 篇 小 说 The Use ofForce篇 幅 虽短 ,但 在 叙 述视 角 和 引语 的使 用 方面具有鲜明的特 色。基 于此 ,试从 叙述和引语的使 用两方面对 e Use ofForce进行分析 ,旨在 总结 出该小说的叙 述 特 点 ,奥尔森家的女儿玛 蒂尔达被怀疑染上 了白喉病 。医生 在为玛蒂尔达检查时遇 到 了困难 。医生想尽 办法让小 女孩 屈 服 并 接受 检 查 ,但 小 女 孩 出 于某 种 倔 犟 的 心 理 ,不 想 让 自 己得病的秘 密泄露 ,拼命 地 反抗 。双方 的矛盾 由此不 断升 级 。医生在这种矛盾 的斗争 中产生 了强烈的征服欲望 ,面对 弱小而又十分顽强的病人 ,他最终 动用武力 ,粗暴 地完成 了 检查任务 J。
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孩子。
Does your throat hurt you? Added the mother to the child.女孩的表情没有任何变化,而她的目光却一直没有从我的脸上移开。
But the little girl’s expression didn’t change nor did she move her eyes from my face.你看过她的嗓子了吗?Have you looked?我想看,孩子的母亲说,但看不见。
I tried to, said the mother but II couldn’t see.这个月碰巧她上学的那个学校已经有好几例白喉病。
虽然到目前为止没有人说出这件事,但很显然,我们心里都想到了。
As it happens we had been having a number of cases of diphtheria in the school to which this child went during that month and we were all, quite apparently, thinking of that, though no one had as yet spoken of the thing.好了,我说,我们先看看嗓子吧。
Well, I said, suppose we take a look at the throat first.我以医生特有的职业方式微笑着,叫着孩子的名字。
我说,来吧,玛蒂尔达,张开嘴,让我看一下你的嗓子。
I smiled in my best professional manner and asking for the child’s first name I said, come on, Mathilda, open your mouth and let’s take a look at your throat.没有任何反应。
Nothing doing.哦,来吧,我劝道,张大你的嘴,让我看看。
看,我说着把两只手伸开,我的手里没有东西,张大嘴,让我看看。
Aw, come on, I coaxed, just open your mouth wide and let me take a look. Look, I said opening both hands wide, I haven’t anything in my hands. Just open up and let me see.他是一个多好的人呀,她的母亲插话道。
你看他对你多好呀,来,听话。
他不会伤害你的。
Such a nice man, put in the mother. Look how kind he is to you. Come on, do what he tells you to. He won’t hurt you.听到这里我狠狠地咬了咬牙,要是他们没用“伤害”这个词,我也许能做点什么,但是我没有着急或恼怒,而是慢声细语地说着话,一边再次靠近这个孩子。
As that I ground my teeth in disgust. If only they wouldn’t use the word “hurt”I might be able to get somewhere. But I did not allow myself to be hurried or disturbed but speaking quietly and slowly I approached the child again.我刚将椅子拉近一点,突然,她像猫一样双手本能地朝我的两眼抓去,我差一点被她抓到。
As I moved my chair a little nearer suddenly with one catlike movement both her hands clawed instinctively for my eyes and she almost reached them too.好在她只是打掉了我的眼镜,虽然眼镜没有碎,但已落到了离我几英尺远的厨房地板上。
In fact she knocked my glasses flying and they fell, though unbroken, several feet away from me on the kitchen floor.父母两人都非常尴尬,充满歉意,你这个坏孩子,母亲一边说,一边抓着她,并摇晃着她的一只手,你看看你做的事。
这么一个好人。
Both the mother and father almost turned themselves inside out in embarrassment and apology. You bad girl, said the mother, taking her and shaking here by one arm. Look what you’ve done. The nice man…看在上帝的份上,我打断了她的话,请不要再在她面前说我是一个好人。
For heaven’s sake, I broke in. Don’t call me a nice man to her.我来是看看她的嗓子,也许她患了白喉,而且很可能会死于这种病。
I’m here to look at her throat on the chance that she might have diphtheria and possibly die of it.但这一切她都不在乎,看这儿,我对女孩说,我们想看看你的嗓子,你不小了,应该明白我说的话,你是自己张开嘴呢,还是我们帮你张开?But that’s nothing to her. Look here, I said to the child, we’re going to look at your throat. You’re old enough to understand what I’m saying. Will you open itnow by yourself or shall we have to open it for you?她仍然一动不动,甚至连表情都没有任何变化。
Not a move. Even her expression hadn’t changed.但是她的呼吸却越来越急促。
Her breaths, however, were coming faster and faster.接着一场战役开始了,我不得不这样做。
Then the battle began. I had to do it.由于她的自我保护,我必须检查一下她的嗓子。
I had to have a throat culture for her own protection.可是我首先告诉家长这完全取决于他们。
But first I told the parents that it was entirely up to them.我说明了其危险性,但同时提出只要他们承担责任我就不会坚持做这次喉咙检查。
I explained the danger but said that I would not insist on a throat examination so long as they would take the responsibility.如果你不按大夫说的去做,你就要去医院了,母亲严厉地警告她。
If you don’t do what the doctor says you’ll have to go to the hospital, the mother admonished her severely.是吗?我只好暗自笑了笑。
毕竟我已经喜欢上了这个野蛮的小东西,但却看不起这对父母。
Oh yeah? I had to smile to myself. After all, I had already fallen in love with the savage brat, the parents were contemptible to me.在接下来的“战斗”中他们越来越难堪,被摧垮了,直至精疲力竭。
而这个女孩由于恐惧,她对我的抗拒达到了惊人的地步。
In the ensuing struggle they grew more and more abject, crushed, exhausted while she surely rose to magnificent heights of insane fury of effort bred of her terror of me.父亲尽了最大的努力,他块头很大,然而事实上他面对着的是他的女儿,由于对她的所作所为感到愧疚和担心伤到她,他每次在我几乎就要成功了的关键时刻放开了她,我真恨不得杀了他。
The father tried his best, and he was a big man but the fact that she was his daughter, his shame at her behavior and his dread of hurting her made him release her just at the critical times when I had almost achieved success, till I wanted to kill him.可是,因为又担心她真会患上白喉,尽管他自己就快昏到了,他又告诉我继续,继续,而她的母亲在我们的身后走来走去,忧愁万分地抖着双手。
But his dread also that she might have diphtheria made him tell me to go on, go on though he himself was almost fainting, while the mother moved back and forth behind us raising and lowering her hands in an agony of apprehension. 把她放在你的大腿上,我命令道,抓住她的两个手腕。
Put her in front of you on your lap, I ordered, and hold both her wrists.然而他刚一动手,女孩就尖叫了一声。
But as soon as he did the child let out a scream.别这样,你会弄疼我的.Don’t, you’re hurting me.放开我的手,放手,我告诉你。