The Relativity of Wrong

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爱因斯坦英文名言

爱因斯坦英文名言

爱因斯坦英文名言导读:1、想象力比知识更为重要。

Imagination is more important than knowledge.2、一个人最完美和最强烈的情感来自面对不解之谜。

One of the most perfect and most intense emotion from the face of mystery.3、想象比知识更重要。

你的头脑是你最有用的资产,但如果使用不当,它会是你最大的负债。

Imagination is more important than knowledge. Your mind is your most valuable asset, but if used improperly, it will be your biggest liability.4、不要抱怨生活,那只能说明你的无能。

强者从来不抱怨生活。

Don't complain about life, it only means that you are incompetent. The strong never complain about life.5、踩着别人脚步走路的人,永远不会留下自己的脚印。

Walking on the footsteps of others who will never leave their footprints.6、窗外的每一片树叶,都使人类的科学显得那么幼稚无力。

Every leaf out of the window, so that human science seems so naive.7、我害怕有一天,科技会取代人与人之间的交流,我们的世界将会充斥着一群白痴。

I am afraid that one day, science and technology will replace the exchange of people, our world will be filled with a group of idiots.8、世界上最让我难以理解的就是所得税。

TheRelativityofWrong

TheRelativityofWrong

TheRelativityofWrong1 Isaac Asimov I s a a c A s i m o vThe Relativity of Wrongreceived a letter the other day. It was handwrit-ten in crabbed penmanship so that it was very diffi-cult to read. Nevertheless, I tried to make it out just in case it might prove to be important. In the first sentence, the writer told me he was majoring in En g lish literature, but felt he needed to teach me science. (I sighed a bit, for I knew very few En g lish Lit majors who are equipped to teach me science, but I am very aware of the vast state of my ignorance and I am prepared to learn as much as I can from anyone, so I read on.)It seemed that in one of my innumerable essays, I had expressed a certain gladness at living in a century in which we finally got the basis of the universe straight.I didn’t go into detail in the matter, but what I meant was that we now know the basic rules governing the universe, together with the gravitational inter-relationships of its gross components, as shown in the theory of relativity worked out between 1905 and 1916. We also know the basic rules governing the subatomic particles and their interrelationships, since these are very neatly described by the quantum theory worked out between 1900 and 1930. What’s more, we have found that the galaxies and clusters of galaxies are the basic units of the physical universe, as discovered between 1920 and 1930.1These are all twentieth- c entury discoveries, you see.The young specialist in En g lish Lit, having quoted me, went on to lectureme severely on the fact that in every century people have thought they under-stood the universe at last, and in every century they w ere proved to be wrong. It follows that the onething we can say about our modern “knowledge” is that it is wrong. The young man then quoted with approval what Socrates had said on learning that the Delphic oracle had proclaimed him the wisest man in Greece.2 “If I am the wisest man,” said Socrates, “it is because I alone know that I know nothing.” The implication was that I was very foolish because I was under the impression I knew a great deal.My answer to him was, “John, when people thought the earth was flat, they w ere wrong. When people thought the earth was spherical, they w ere wrong. But if you think that thinking the earth is spherical is just as wrong as thinking the earth is flat, then your view is wronger than both of them put together.”1. A lbert Einstein (1879–1955) announced the special theory of relativity in 1905 and developed the general theory of relativity over the next de c ade; physicist Maxwell Planck (1858–1947) and others developed quantum theory; astronomer Edwin Hubble (1889–1953) demonstrated the existence of external galaxies in 1924.2. S ocrates (c. 470–399 b.c.e.), ancient Greek phi l os o p her; Delphic oracle or Pythia, priestess of the Temple of Apollo on Mount Parnassus.I Published in the Skeptical Inquirer (1989), the journal of the Committee for Scientific Investigation of Claims of the Paranormal (CSICOP), now the Committee for Skeptical Inquiry.5The Relativity of Wrong 2 The basic trouble, you see, is that people think that “right” and “wrong” are absolute; that everything that isn’t perfectly and completely right is total ly and equally wrong.However, I don’t think that’s so. It seems to me that right and wrong are fuzzy concepts, and I will devote this essay to anexplanation of why I think so.When my friend the En g lish literature expert tells me that in every cen-tury scientists think they have worked out the universe and are always wrong, what I want to know is how wrong are they? Are they always wrong to the same degree? Let’s take an example.In the early days of civilization, the general feeling was that the earth was flat. This was not because people w ere stupid, or because they w ere intent on believing silly things. They felt it was flat on the basis of sound evidence. It was not just a matter of “That’s how it looks,” because the earth does not look flat. It looks chaotically bumpy, with hills, valleys, ravines, cliffs, and so on.Of course there are plains where, over limited areas, the earth’s surface does look fairly flat. One of those plains is in the Tigris- E uphrates area, where the first historical civilization (one with writing) developed, that of the Sumerians.Perhaps it was the appearance of the plain that persuaded the clever Sume-rians to accept the generalization that the earth was flat; that if you somehow evened out all the elevations and depressions, you would be left with flatness. Contributing to the notion may have been the fact that stretches of water (ponds and lakes) looked pretty flat on quiet days.Another way of looking at it is to ask what is the “curvature” of the earth’s surface. Over a considerable length, how much does the surface deviate (on the average) from perfect flatness. The flat- e arth theory would make it seem that the surface d oesn’t deviate from flatness at all, that its curvature is 0 to the mile.Nowadays, of course, we are taught that the flat- e arththeory is wrong; that it is all wrong, terribly wrong, absolutely. But it isn’t. The curvature of the earth is nearly 0 per mile, so that although the flat- e arth theory is wrong, it happens to be nearly right. That’s wh y the theory lasted so long.There w ere reasons, to be sure, to find the flat- e arth theory unsatisfactory and, about 350 B.C., the Greek phi l os o p her Aristotle summarized them. First, certain stars disappeared beyond the Southern Hemi s phere as one traveled north, and beyond the Northern Hemi s phere as one traveled south. Second, the earth’s shadow on the moon during a lunar eclipse was always the arc of a circle. Third, h ere on the earth itself, ships disappeared beyond the horizon hull- fi rst in what e ver direction they w ere traveling.All three observations could not be reasonably explained if the earth’s sur-face w ere flat, but could be explained by assuming the earth to be a sphere.What’s more, Aristotle believed that all solid matter tended to move toward a common center, and if solid matter did this, it would end up as a sphere. A given volume of matter is, on the average, closer to a common center if it is a sphere than if it is any other shape what e ver.About a century after Aristotle, the Greek phi l os o p her Eratosthenes noted that the sun cast a shadow of different lengths at different latitudes (all the 10 153 Isaac Asimov shadows would be the same length if the earth’s surface w ere flat). From the difference in shadow leng th, he calculated the size of the earthly sphere and it turned out to be 25,000 miles in circumference.The curvature of such a sphere is about 0.000126 per mile, a quantity very close to 0 per mile, as you can see, and one not easily mea s ured by the techniques atthe disposal of the ancients. The tiny difference between 0 and 0.000126 accounts for the fact that it took so long to pass from the flat earth to the spherical earth.Mind you, even a tiny difference, such as that between 0 and 0.000126, can be extremely important. That difference mounts up. The earth cannot be mapped over large areas with any accuracy at all if the difference isn’t taken into account and if the earth isn’t considered a sphere rather than a flat sur-face. Long ocean voyages c an’t be undertaken with any reasonable way of locat-ing one’s own position in the ocean unless the earth is considered spherical rather than flat.Furthermore, the flat earth presupposes the possibility of an infinite earth, or of the existence of an “end” to t he surface. The spherical earth, however, postulates an earth that is both endless and yet finite, and it is the latter pos-tulate that is consistent with all later findings.So, although the flat- e arth theory is only slightly wrong and is a credit to its inventors, all things considered, it is wrong enough to be discarded in favor of the spherical- e arth theory.And yet is the earth a sphere?No, it is not a sphere; not in the strict mathematical sense. A sphere has certain mathematical properties— f or instance, all diameters (that is, all straight lines that pass from one point on its surface, through the center, to another point on its surface) have the same length.That, however, is not true of the earth. Various diameters of the earth dif- fer in length.What gave people the notion the earth w asn’t a true sphere? T o begin with, the sun and the moon have outlines that are perfect circles within the limits of mea s ure m ent in the early days of the telescope. This is consistent with the sup-position that the sun and the moon are perfectly spherical in shape.However, when Jupiter and Saturn w ere observed by the first telescopic observers, it became quickly apparent that the outlines of those planets w ere not circles, but distinct ellipses. That meant that Jupiter and Saturn w ere not true spheres.Isaac Newton,3 toward the end of the seventeenth century, showed that a massive body would form a sphere under the pull of gravitational forces (exactly as Aristotle had argued), but only if it w ere not rotating. If it w ere rotating, a centrifugal effect would be set up that would lift the body’s substance against gravity, and this effect would be greater the closer to the equator you progressed. The effect would also be greater the more rapidly a spherical object rotated, and Jupiter and Saturn rotated very rapidly indeed.3. E n g lish mathematician and physicist (1642–1727).2025The Relativity of Wrong 4 The earth rotated much more slowly than Jupiter or Saturn so the effect should be smaller, but it should still be there. Actual mea s ure m ents of the cur-vature of the earth w ere carried out in the eigh t eenth century and Newton was proved correct.The earth has an equatorial bulge, in other words. It is flattened at the poles. It is an “oblate spheroid” rather than a sphere. This means that the vari-ous diameters of the earth differ in length. The longest diameters are any of those that stretch from one point on the equator to an opposite point on the equator. This “equatorial diameter” is 12,755 kilome ters (7,927 miles). The shortest diameter is from the North Pole to the South Pole and this “polar diam-eter” is 12,711 kilometers (7,900 miles).The difference between the longest and shortest diameters is 44 kilome-ters (27 miles), and that means that th e “oblateness” of the earth (its departure from true sphericity) is 44/12755, or 0.0034. This amounts to 1/3 of 1 percent.To put it another way, on a flat surface, curvature is 0 per mile everywhere. On the earth’s spherical surface, curvature is 0.000126 per mile everywhere (or 8 inches per mile). On the earth’s oblate spheroidal surface, the curvature var-ies from 7.973 inches to the mile to 8.027 inches to the mile.The correction in going from spherical to oblate spheroidal is much smaller than going from flat to spherical. Therefore, although the notion of the earth as a sphere is wrong, strictly speaking, it is not as wrong as the notion of the earth as flat.Even the oblate- s pheroidal notion of the earth is wrong, strictly speaking. In 1958, when the satellite Vanguard I was put into orbit about the earth, it was able to mea s ure the local gravitational pull of the earth— a nd therefore its shape— w ith unpre c e d ented precision. It turned out that the equatorial bulge south of the equator was slightly bulgier than the bulge north of the equator, and that the South Pole sea level was slightly nearer the center of the earth than the North Pole sea level was.There seemed no other way of describing this than by saying the earth was pear- s haped, and at once many people decided that the earth was nothing like a sphere but was shaped like a Bartlett pear dangling in space. Actually, the pear- like deviation from oblate- s pheroid perfect was a matter of yards rather than miles, and the adjustment of curvature was in the millionths of an inch per mile.In short, my En g lish Lit friend, living in a mental world ofabsolute rights and wrongs, may be imagining that because all theories are wrong, the earth may be thought spherical now, but cubical next century, and a hollow icosahe-dron the next, and a doughnut shape the one after.What actually happens is that once scientists get hold of a good concept they gradually refine and extend it with greater and greater subtlety as their instruments of mea s ure m ent improve. Theories are not so much wrong as incomplete.This can be pointed out in many cases other than just the shape of the earth. Even when a new theory seems to represent a revolution, it usually arises out of small refinements. If something more than a small refinement w ere needed, then the old theory would never have endured.30 355 Isaac Asimov Copernicus 4 switched from an earth- c entered planetary system to a sun- centered one. In doing so, he switched from something that was obvious to something that was apparently ridiculous. However, it was a matter of finding better ways of calculating the motion of the planets in the sky, and eventually the geocentric theory was just left behind. It was precisely because the old the-ory gave results that w ere fairly good by the mea s ure m ent standards of the time that kept it in being so long.Again, it is because the geological formations of the earth change so slowly and the living things upon it evolve so slowly that it seemed reasonable at first to suppose that there was no change and that the earth and life always existed as they do today. If that w ere so, it would make no difference whether the earth and life w ere billions of years old or thousands. Thousands w ere easier to grasp.But when careful observation showed that the earth and life w ere chang-ing at a rate that was very tiny but not zero, then it became clear that the earth and lifehad to be very old. Modern geology came into being, and so did the notion of biological evolution.If the rate of change w ere more rapid, geology and evolution would have reached their modern state in ancient times. It is only because the difference between the rate of change in a static universe and the rate of change in an evolutionary one is that between zero and very nearly zero that the creationists can continue propagating their folly.Since the refinements in theory grow smaller and smaller, even quite ancient theories must have been sufficiently right to allow advances to be made; advances that w ere not wiped out by subsequent refinements.The Greeks introduced the notion of latitude and longitude, for instance, and made reasonable maps of the Mediterranean basin even without taking sphericity into account, and we still use latitude and longitude today.The Sumerians w ere probably the first to establish the principle that plan-etary movements in the sky exhibit regularity and can be predicted, and they proceeded to work out ways of doing so even though they assumed the earth to be the center of the universe. Their mea s ure m ents have been enormously refined but the principle remains.Naturally, the theories we now have might be considered wrong in the sim-plistic sense of my En g lish Lit correspondent, but in a much truer and subtler sense, they need only be considered incomplete.4. N icolaus Copernicus (1473–1543), Polish astronomer.4045mla citationAsimov, Isaac. “The Relativity of Wrong.” 1989. The Norton Reader: An Anthology of Nonfiction . Ed. Melissa A. Goldthwaiteet al. 14th ed. New York: Norton,2016. 824–28. Print.Q u e s t i o n s1. I saac Asimov frames his essay as a response to a letter from a “young special-ist in En g lish Lit” (paragraph 5) whom he calls “wronger” (paragraph 6) than thoseThe Route to Normal Science 6 people of the past who thought the earth was flat or spherical. What does Asimov mean by “wronger”?2. H ow would you characterize the tone of Asimov’s essay? Does his tone make you more or less receptive to his argument?3. A simov illustrates his point that scientific theories “are not so much wrong as incomplete” (paragraph 37) with a single extended example: the history of hu -mans trying to determine the size and shape of the earth. Why does Asimov select this par t ic u l ar example?4. A simov frames his essay as a response to a letter from a “young specialist in En g lish Lit.” Continue the exchange by writing a letter of your own to Asimov.。

人性善恶英语作文

人性善恶英语作文

人性善恶英语作文Throughout history, the debate on whether humans are inherently good or evil has been a subject of philosophical inquiry and literary exploration. This essay aims to delve into the complexities of human nature, examining theinterplay between the forces of good and evil within us.Firstly, it is essential to consider the influence of environment and upbringing on human behavior. The proverb "nurtured is nature" suggests that our actions and tendencies are shaped by our experiences. Children who grow up in loving and supportive environments are more likely to develop empathy and compassion, which are hallmarks of goodness. Conversely, those exposed to violence and neglect may struggle to form positive social bonds and may resort to harmful behaviors, which can be perceived as evil.However, the role of free will in determining our actions cannot be overlooked. Even in the most challenging circumstances, individuals have the capacity to choose between right and wrong. This autonomy is a testament to the complexity of human nature, where the potential for both good and evil coexists. The concept of free will allows for the possibility of redemption and growth, as people can learn from their mistakes and strive to become better versions of themselves.Moreover, the dichotomy of good and evil is not always clear-cut. Human actions are often driven by a mix of motivations, some altruistic and others self-serving. For instance, a charitable act may be motivated by a genuine desire to help others, but it can also be influenced by the performer's wish for social recognition or personal satisfaction. This ambiguity challenges the simplistic categorization of behavior as purely good or evil.Cultural and societal norms also play a significant role in defining what is considered good or evil. What is deemed virtuous in one culture may be seen as immoral in another, highlighting the relativity of moral judgments. As such, the understanding of human nature's善恶 (good and evil) is often filtered through the lens of cultural values and beliefs.In conclusion, human nature is a tapestry woven from the threads of environment, free will, and cultural influences. The capacity for both good and evil exists within each individual, and it is the choices we make and the actions we take that ultimately define our character. Recognizing this complexity allows us to approach the question of human nature with a deeper understanding and a more nuanced perspective.请注意,这篇作文是按照英语写作的标准来构建的,并且包含了对人性善恶的讨论。

云图听经典中英文对白

云图听经典中英文对白

1(I will never yield to violent crime.).我绝不会向暴力犯罪屈服。

2. (Our life is not our own, from the womb to the grave, and others are closely linked.Regardless of past life, an evil, each charity will determine our future rebirth.)我们的生命不是我们自己,从子宫到坟墓,我们和其他人紧紧相连。

无论前世还是今生,每一桩恶行,每一项善举,都会决定我们未来的重生。

3. (Who often transform the forces of time and space, who can decide to change the way we envisioned the power of good fate, to work for a long time before we were born, and be able to continue to function after we die, our lives and our choices,like quantum trajectories, only understand this moment, in order to understand the next moment.In each crosspoint, every encounter, involved a new potential direction.)那些经常改造时间和空间的力量,那些能够决定和改变我们设想好的命运的力量,在我们诞生前很久就起作用了,而且能够在我们死亡后继续起作用,我们的生命和我们的选择,就像量子轨迹,只有理解了这一刻,才能理解下一刻。

在每一个交叉点上,每一次遭遇,都蕴含了一个新的或者潜在的方向。

泰坦尼克 rose was wrong

泰坦尼克 rose was wrong

LuoJunpengMarcia KearAcademic writing2012/2/2861011318It Is Just Love“Every night in my dreams, I see you I feel you. That is how I know you go on.Far across the distance and spaces between us, you have come to show you go on.Near, far, wherever you are……I believe that the heart does go on.”When the familiar melody sung by Celine Dion rings again, people are flooding into cinemas to watch the 3D movie Titanic.The scene is so similar to that in 1997when the movie Titanic swept the whole world and became the biggest success in movie history. People all over the world have wept over the great love between Rose and Jack. However,some peoplein China argue thatRose and Jack’s love isimmoral since Rose is engaged to Cal.They say thatthe story can be seenfrom another angle—itwould have been something like a one-night stand that will be forgotten quickly, but it became a lifelong regret because of a ship disaster. Actually, Rose and Jack’s love is moral and true, regardless of fortune, background and secular vision.Love is just love, it should be simple. However, some Chineseare always used to judging things as right or wrong. When it comes to love, theymaintain this inertia. They usually tell ifit is wrong or right to love someone for many reasons. It seems to they know everything about love. They think that Rose is a lady with engagement, so it is acceptable that she has love affair withanother man. But they neglect that before Rose meets Jack;her life is terrible and boring. The unnecessary and overelaborateformalities of upper class make her upset all day.She even wants to commit suicide!Jack appears and brings sunshine to her dark life. Theybecome acquainted and Rose becomes more and more entranced by Jack' easy, free-spirited charm. She falls in love with him, totally forgetting her engagement to Cal.When Brad Pitt fell in love withAngelina Jolie, abandoning her wife Jennifer Aniston, people did notblame him. But why are they so cruel to Rose who has to engage to Cal to recuse her family’s honor.It’s not Rose’s fault.Just as Jobsonce said “Follow your heart!” what Rose does is just be herself.And shehas the freedom to find her love;moreover, she has not married Cal.Others have no right to blame their love.If Rose does not meet Jack, if the ship does not sink, if Rose marries Cal finally, what will happen? Their marriage will not be happy. It is another tragedy.Fortunately, this tragedy does not happen. But some people do not stop their blame.In addition to doubting on the correctness oflove, they also argue Rose and Jack’s love is not true. For Rose, she is just curious about the new and exciting life she has never experienced before. She is thirsty for the freedom. For Jack,they think that he is only attracted by Rose’s beautiful body, elegant charms and lovely nature.What Jack loves is Rose’s beauty and body. People who hold this view do not understand the meaning of true love.What is true love?“Being together, share your joy and sorrow, share your body, understand each other, provide space to each other, but always be there for each other’s need. And surely love will blossomtostrengthen your relationship with your matter of affection.”(“What is Love?”)When they stay together, they are happy and energetic all the time. Others cannot stop theirenthusiasm. They can sacrificeeverything for the other-even their life.as we all know, nothing in the world is more precious than life. In the movie, Roserescues Jack from beinglocked-up at the risk of her own death. At last, Jack helps Rose on the board and tells her to live bravely, and then he froze to death in the cold sea water. The whole world is moved to tears for what he does for Rose. If this is not true love, there is no love in the world.Jack is dead, but Rose’s heart will go on, their love will go on. The feeling of truelove is beautiful, but Rose cannot live on love!No bread, no love.Some people think it is strange that Rose does not choose Cal since he is so rich, tall, and handsome compared to Jack who is just a broke painter with no money, no house, and no car. It is strange that Cal loss her favorite woman to Jack. We admit it is true that Jack comes from nothing and has many shortcomings, buthe has a kind heart and he loves Rose so much.We admit it is true that Cal is rich, but he is so mean. Moreover, what he loves is just Rose’s beauty and body which can satisfy hisvanity. His love is so narrow for when he finds he will lose Rose, he wants to shoot her and Jack to death. It is not gentleman’s behavior!From the movie, we can also know that Cal loves his fortune far more than Rose.Although Jack has not money, he can make Rose happy. Money can buy materials but cannot buy love. If we are unable to control our own love, what are we able to control? If we betray our love just for money, then we will finally lose our souls.What worry us is that in current China, many people put money at the first place in their love. They want to find a partner who is wealthy rater than they love. Recently, it is very popular among young people that girls want to find a boyfriend who is tall, rich, and handsome while boys want to find a girlfriend who is white, rich, and beautiful. Pure love is rare in China.Since pure and simple love is so difficult to find, what Rose does is great and brave. She has her right to find her true love regardless of those common custom ideas. She is fortunate that she meets the most important person of her life on the ship and has a happy time with him. She isunfortunate because the happy time is so short and she loses her love forever. Once acritic talked about the book The Age of Innocence“This is a story, exquisite in its details, painful in its beauty.”( “Passion and the Outsider”) The sentence is very suitable for the story Titanic,exquisite in its details, painful in its beauty.They tell us thatlove is just love;it has nothing to do with money and background.Fortune is important in our life, but it is not everythingofour life. Be brave to love anyone we love no matter what others think of us. We expect more simple and pure love in this world. We expect more brave love in this world.Titanicsinks, but Rose’s heart will go on.They love will go on.Word cited:"What is Love." /whatislove.htm. N.p., n.d. Web. 24 Apr. 2012."passion andthe outsider."/The-Age-Innocence-Edith-Wharton/dp/B007F892HC/ref=sr_1_1 ?ie=UTF8&qid=1335278784&sr=8-1. N.p., n.d. Web. 24 Apr. 2012.。

正义与邪恶 英语作文

正义与邪恶 英语作文

正义与邪恶英语作文Title: Justice and Evil。

Justice and evil are two fundamental concepts that have intrigued philosophers, theologians, and ordinary individuals throughout history. These concepts often evoke moral, ethical, and philosophical inquiries into the nature of good and bad, right and wrong. In this essay, we will delve into the complexities of justice and evil, exploring their definitions, manifestations, and implications in human society.Firstly, let us consider justice. Justice is commonly understood as the quality of being fair, impartial, and morally right. It encompasses notions of equality, equity, and the upholding of rights and laws. In a just society, individuals are treated fairly and equally before the law, regardless of their social status, wealth, or power. Justice seeks to ensure that wrongs are righted, and that individuals receive their due according to their actionsand merits.However, the concept of justice is not without its challenges and controversies. Different philosophical traditions and legal systems offer diverse interpretations of what constitutes justice. For instance, utilitarianism prioritizes the greatest good for the greatest number, while deontological ethics emphasize adherence to moral rules or duties. Moreover, cultural, social, and historical contexts shape perceptions of justice, leading to debates about its universality versus relativity.On the other hand, evil represents the antithesis of justice and goodness. Evil is often associated with moral depravity, malevolence, and the intentional infliction of harm or suffering upon others. It encompasses a wide spectrum of actions, ranging from minor transgressions to heinous atrocities. Evil manifests in various forms, including individual acts of cruelty, systemic injustices, and atrocities committed in the name of ideology or power.The nature of evil has been a subject of philosophicalinquiry for centuries. Philosophers and theologians have grappled with questions about the origins of evil, its existence alongside goodness, and the problem of evil in the presence of an omnipotent and benevolent deity. Some theories attribute evil to human nature, while others view it as a result of social, psychological, or cosmic forces beyond individual control.Moreover, the line between justice and evil is not always clear-cut. In certain circumstances, individuals or institutions may justify actions that are perceived as unjust or even evil in the name of a higher moral purpose or self-interest. This raises ethical dilemmas about the means used to achieve purportedly just ends and the potential for moral compromise in the pursuit of justice.In contemporary society, the quest for justice and the condemnation of evil remain pressing concerns. Issues such as social inequality, discrimination, corruption, and human rights abuses continue to challenge notions of justice and morality on a global scale. Movements advocating for social justice, human rights, and accountability strive to addresssystemic injustices and combat various forms of evil in society.In conclusion, justice and evil are complex and multifaceted concepts that have profound implications for individuals, societies, and the world at large. Whilejustice represents the pursuit of fairness, equality, and moral rightness, evil embodies moral depravity, malevolence, and the infliction of harm. Understanding and grapplingwith these concepts require nuanced reflection, ethical discernment, and collective action to foster a more justand humane society for all.。

韦姆萨特《意图谬误》英文版The Intentional Fallacy

韦姆萨特《意图谬误》英文版The Intentional Fallacy

W.K.韦姆萨特和门罗·比尔兹利:意图谬误The Intentional Fallacy 1W . K . Wimsatt , Jr .Monroe BeardsleyIThe claim of the author's "intention" upon the critic's judgment has been challenged in a number of recent discussions, notably in the debate entitled The Personal Heresy[1939], between Professor Lewis and Tillyard. But it seems doubtful if this claim and most of its romantic corollaries are as yet subject to any widespread questioning. The present writers, in a short article entitled "Intention" for a Dictionary2 of literary criticism, raised the issue but were unable to pursue its implications at any length. We argued that the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art, and it seems to us that this is a principle which goes deep into some differences in the history of critical attitudes. It is a principle which accepted or rejected points to the polar opposites of classical "imitation" and romantic expression. It entails many specific truths about inspiration, authenticity, biography, literary history and scholarship, and about some trends of contemporary poetry, especially its allusiveness. There is hardly a problem of literary criticism in which the critic's approach will not bequalified by his view of "intention"."Intention", as we shall use the term, corresponds to what he intended in a formula which more or less explicitly has had wide acceptance. "In order to judge the poet's performance, we must know what he intended." Intention is design or plan in the author's mind. Intention has obvious affinities for the author's attitude towards his work, the way he felt, what made him write.We begin our discussion with a series of propositions summarized and abstracted to a degree where they seem to us axiomatic.1. A poem does not come into existence by accident. The words of a poem, as Professor Stoll has remarked, come out of a head, not out of a hat. Yet to insist on the designing intellect as a cause of a poem is not to grant the design or intention as a standard by which the critic is to judge the worth of the poet's performance.2. One must ask how a critic expects to get an answer to the question about intention. How is he to find out what the poet tried to do? If the poet succeeded in doing it, then the poem itself shows what he was trying to do. And if the poet did not succeed, then the poem is not adequate evidence, and the critic must go outside the poem—for evidence of an intention that did not become effective in the poem. "Only one caveat must be borne in mind," says an eminent intentionalist 3 in a moment when his theory repudiates itself; "the poet's aim must be judged at themoment of the creative act, that is to say, by the art of the poem itself".3. Judging a poem is like judging a pudding or a machine. One demands that it work. It is only because an artifact works that we infer the intention of an artificer. "A poem should not mean but be." A poem can be only through its meaning—since its medium is words—yet it is, simply is, in the sense that we have no excuse for inquiring what part is intended or meant. Poetry is a feat of style by which a complex of meaning is handled all at once. Poetry succeeds because all or most of what is said or implied is relevant; what is irrelevant has been excluded, like lumps from pudding and "bugs" from machinery. In this respect poetry differs from practical messages, which are successful if and only if we correctly infer the intention. They are more abstract than poetry.4. The meaning of a poem may certainly be a personal one, in the sense that a poem expresses a personality or state of soul rather than a physical object like an apple. But even a short lyric poem is dramatic, the response of a speaker (no matter how abstractly conceived) to a situation (no matter how universalized ). We ought to impute the thoughts and attitudes of the poem immediately to the dramatic speaker, and if to the author at all, only by an act of biographical inference.5.There is a sense in which an author, by revision, may better achieve his original intention. But it is a very abstract sense. He intended to write a better work, or a better work of a certain kind, and now hasdone it. But it follows that his former concrete intention was not his intention, "He's the man we were in search of, that's true," says Hardy's rustic constable, "and yet he's not the man we were in search of. For the man we were in search of was not the man we wanted.""Is not a critic," asks Professor Stoll, "a judge, who does not explore his own consciousness, but determines the author's meaning or intention, as if the poem were a will, a contract, or the constitution? The poem is not the critic's own." He has accurately diagnosed two forms of irresponsibility, one of which he prefers. Our view is yet different. The poem is not the critic's own and not the author's (it is detached from the author at birth and goes about the world beyond his power to intend about it or control it). The poem belongs to the public. It is embodied in language, the peculiar possession of the public, and it is about the human being, an object of public knowledge. What is said about the poem is subject to the same scrutiny as any statement linguistics or in the general science of psychology.A critic of our Dictionary article, Ananda K. Coomaraswamy, has argued that there are two kinds of inquiry about a work of art: (1) whether the artist achieved his intentions; (2) whether the work of art "ought ever to have been undertaken at all" and so "whether it is worth preserving". Number (2), Coomaraswamy maintains, is not "criticism of any work of art qua work of art", but is rather moral criticism; number (1) is artisticcriticism. But we maintain that (2) need not be moral criticism: that there is another way of deciding whether works of art are worth preserving and whether, in a sense, they "ought" to have been undertaken, and this is the way of objective criticism of works of art as such, the way which enables us to distinguish between a skilful murder and a skilful poem. A skilful murder is an example which Coomaraswamy uses, and in his system the difference between murder and the poem is simply a "moral" one, not an "artistic" one, since each if carried out according to plan is "artistically" successful. We maintain that (2) is an inquiry of more worth than (1), and since (2) and not (1) is capable of distinguishing poetry from murder, the name "artistic criticism" is properly given to (2).IIIt is not so much a historical statement as a definition to say that the intentional fallacy is a romantic one. When a rhetorician of the first century A. D. writes: "Sublimity is the echo of a great soul", or when he tells us that "Homer enters into the sublime actions of his heroes" and "shares the full inspiration of the combat", we shall not be surprised to find this rhetorician considered as a distant harbinger of romanticism and greeted in the warmest terms by Saintsbury. One may wish to argue whether Longinus should be called romantic, but there can hardly be adoubt that in one important way he is.Goethe's three questions for "constructive criticism" are "What did the author set out to do? Was his plan reasonable and sensible, and how far did he succeed in carrying it out?" If one leaves out the middle question, one has in effect the system of Croce 4—the culmination and crowning philosophic expression of romanticism. The beautiful is the successful intuition expression, and the ugly is the unsuccessful; the intuition or private part of art is the aesthetic fact, and the medium or public part is not the subject of aesthetic at all.The Madonna of Cimabue is still in the Church of Santa Maria Novella; but does she speak to the visitor of today as to the Florentines of the thirteenth century?Historical interpretation labours. . . to reintegrate in us the psychological conditions which have changed in the course of history.It. . . enables us to see a work of art (a physical object) as its author saw it in the moment of production.5The first italics are Croce's, the second ours. The upshot of Croce's system is an ambiguous emphasis on history. With such passages as apoint of departure a critic may write a nice analysis of the meaning or "spirit" of a play by Shakespeare or Corneille—a process that involves close historical study but remains aesthetic criticism—or he may, with equal plausibility, produce an essay in sociology, biography, or other kinds of non-aesthetic history.IIII went to the poets; tragic, dithyrambic, and all sorts. . . I took them some of the most elaborate passages in their own writings, and asked what was the meaning of them. . . Will you believe me?. . . there is hardly a person present who would not have talked better about their poetry than they did themselves. Then I knew that not by wisdom do poets write poetry, but by a sort of genius and inspiration.That reiterated mistrust of the poets which we hear from Socrates may have been part of a rigorously ascetic view in which we hardly wish to participate, yet Plato's Socrates saw a truth about the poetic mind which the world no longer commonly sees—so much criticism, and that the most inspirational and most affectionately remembered, has proceeded from the poets themselves.Certainly the poets have had something to say that the critic andprofessor could not say; their message has been more exciting: that poetry should come as naturally as leaves to a tree, that poetry is the lava of the imagination, or that it is emotion recollected in tranquillity. But it is necessary that we realize the character and authority of such testimony. There is only a fine shade of difference between such expressions and a kind of earnest advice that authors often give. Thus Edward Young , Thomas Carlyle, Walter Pater 6:I know two golden rules from ethics, which are no less golden in Composition, than in life. 1. Know thyself. 2. Reverence thyself. This is the grand secret for finding readers and retaining them: let him who would move and convince others, be first moved and convinced himself. Horace's rule, Si vis me flere, is applicable in a wider sense than the literal one. To every poet to every writers, we might say: Be true, if you would be believed.Truth! there can be no merit, no craft at all, without that. And further, all beauty is in the long run only fineness of truth, or what we call e-xpression, the finer accommodation of speech to that vision within.And Housman's little handbook to the poetic mind yields this illustration:Having drunk a pint of beer at luncheon —beer is a sedative to the brain, and my afternoons are the least intellectual portion of my life—I wouldgo out for a walk of two or three hours. As I went along, thinking of nothing in particular, only looking at things around me and following the progress of the seasons, there would flow into my mind, with sudden and unaccountable emotion, sometimes a line or two of verse, sometimes a whole stanza at once.This is the logical terminus of the series already quoted. Here is a confession of how poems were written which would do as a definition of poetry just as well as "emotion recollected in tranquility"—and which the young poet might equally well take to heart as a practical rule. Drink a pint of beer, relax, go walking, think on nothing in particular, look at things, surrender yourself to yourself, search for the truth in your own soul, listen to the sound of your own inside voice, discover and express the vraie vérité ["true truth"].It is probably true that all this is excellent advice for poets. The young imagination fired by Wordsworth and Carlyle is probably closer to the verge of producing a poem than the mind of the student who has been sobered by Aristotle or Richards. The art of inspiring poets, or at least of inciting something like poetry in young persons, has probably gone further in our day than ever before. Books of creative writing such as those issued from the Lincoln School are interesting evidence of what a child can do.7 All this, however, would appear to belong to an art separate from criticism—to a psychological discipline, a system ofself-development, a yoga, which the young poet perhaps does well to notice, but which is something different from the public art of evaluating poems.Coleridge and Arnold were better critics than most poets have been, and if the critical tendency dried up the poetry in Arnold and perhaps in Coleridge, it is not inconsistent with our argument, which is that judgment of poems is different from the art of producing them. Coleridge has given us the classic "anodyne" story, and tells what he can about the genesis of a poem which he calls a "psychological curiosity", but his definitions of poetry and of the poetic quality "imagination" are to be found elsewhere and in quite other terms.It would be convenient if the passwords of the intentional school, "sincerity", "fidelity", "spontaneity", "authenticity", "genuineness", "originality", could be equated with terms such as "integrity", "relevance", "unity", "function", "maturity", "subtlety", "adequacy", and other more precise terms of evaluation —in short, if "expression" always meant aesthetic achievement. But this is not so."Aesthetic" art, says Professor Curt Ducasse, an ingenious theorist of expression, is the conscious objectification of feelings, in which an intrinsic part is the critical moment. The artist corrects the objectification when it is not adequate. But this may mean that the earlier attempt was not successful in objectifying the self, or "it may also mean that it was asuccessful objectification of a self which, when it confronted us clearly, we disowned and repudiated in favour of another". What is the standard by which we disown or accept the self? Professor Ducasse does not say. Whatever it may be, however, this standard is an element in the definition of art which will not reduce to terms of objectification. The evaluation of the work of art remains public; the work is measured against something outside the author.IVThere is criticism of poetry and there is author psychology, which when applied to the present or future takes the form of inspirational promotion; but author psychology can be historical too, and then we have literary biography, a legitimate and attractive study in itself, one approach, as Professor Tillyard would argue, to personality, the poem being only a parallel approach. Certainly it need not be with a derogatory purpose that one points out personal studies, as distinct from poetic studies, in the realm of literary scholarship. Yet there is danger of confusing personal and poetic studies; and there is the fault of writing the personal as if it were poetic.There is a difference between internal and external evidence for the meaning of a poem. And the paradox is only verbal and superficial thatwhat is (1) internal is also public: it is discovered through the semantics and syntax of a poem, through our habitual knowledge of the language, through grammars, dictionaries, and all the literature which is the source of dictionaries, in general through all that makes a language and culture; while what is (2) external is private or idiosyncratic; not a part of the work as a linguistic fact: it consists of revelations (in journals, for example, or letters or reported conversations) about how or why the poet wrote the poem—to what lady, while sitting on what lawn, or at the death of what friend or brother. There is ( 3 ) an intermediate kind of evidence about the character of the author or about private or semi-private meanings attached to words or topics by an author or by a coterie of which he is a member. The meaning of words is the history of words, and the biography of an author, his use of a word, and the associations which the word had for him, are part of the word's history and meaning. 8 But the three types of evidence, especially (2) and (3), shade into one another so subtly that it is not always easy to draw a line between examples, and hence arises the difficulty for criticism. The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance. On the other hand, it may not be all this. And a critic who is concerned with evidence of type (1) and moderately with that of type (3) will in the long run produce adifferent sort of comment from that of the critic who is concerned with (2) and with (3) where it shades into (2).The whole glittering parade of Professor Lowes' Road to Xanadu, for instance, runs along the border between types (2) and (3) or boldly traverses the romantic region of (2). "'Kubla Khan'," says Professor Lowes, "is the fabric of a vision, but every image that rose up in its weaving had passed that way before. And it would seem that there is nothing haphazard or fortuitous in their return." This is not quite clear—not even when Professor Lowes explains that there were clusters of associations, like hooked atoms, which were drawn into complex relation with other clusters in the deep well of Coleridge's memory, and which then coalesced and issued forth as poems. If there was nothing "haphazard or fortuitous" in the way the images returned to the surface, that may mean (1) that Coleridge could not produce what he did not have, that he was limited in his creation by what he had read or otherwise experienced, or (2) that having received certain clusters of associations, he was bound to return them in just the way he did, and that the value of the poem may be described in terms of the experiences on which he had to draw. The latter pair of propositions (a sort of Hartleyan associationism which Coleridge himself repudiated in the Biographia) may not be assented to. There were certainly other combinations, other poems, worse or better, that might have been written by men who had read Bartram andPurchas and Bruce and Milton. And this will be true no matter how many times we are able to add to the brilliant complex of Coleridge's reading. In certain flourishes (such as the sentence we have quoted) and in chapter headings like "The Shaping Spirit", "The Magical Synthesis", "Imagination Creatrix", it may be that Professor Lowes pretends to say more about the actual poems than he does. There is a certain deceptive variation in these fancy chaptertitles; one expects to pass on to a new stage in the argument, and one finds—more and more sources, more and more about "the streamy nature of association"."Wohin der Weg?" quotes Professor Lowes for the motto of his book. "Kein Weg! Ins Unbetretene." Precisely because the way is unbetreten, we should say, it leads away from the poem. Bartram's Travels contain a good deal of the history of certain words and of certain romantic Floridian conceptions that appear in "Kubla Khan". And a good deal of that history has passed and was then passing into the very stuff of our language. Perhaps a person who has read Bartram appreciates the poem more than one who has not. or, by looking up the vocabulary of "Kubla Khan" in the Oxford English Dictionary, or by reading some of the other books there quoted, a person may know the poem better. But it would seem to pertain little to the poem to know that Coleridge had read Bartram. There is a gross body of life, of sensory and mental experience, which lies behind and in some sense causes every poem, but can never beand need not be known in the verbal and hence intellectual composition which is the poem. For all the objects of our manifold experience, for every unity, there is an action of the mind which cuts off roots, melts away context—or indeed we should never have objects or ideas or anything to talk about.It is probable that there is nothing in Professor Lowes' vast book which could detract from anyone's appreciation of either "The Ancient Mariner" or "Kubla Khan". We next present a case where preoccupation with evidence of type (3) has gone so far as to distort a critic's view of a poem (yet a case not so obvious as those that abound in our critical journals).In a well-known poem by John Donne ["A Valediction: Forbidding Mourning"] appears this quatrain:Moving of th' earth brings harmes and feares,Men reckon what it did and meant,But trepidation of the spheares,Though greater farre, is innocent.A recent critic in an elaborate treatment of Donne's learning haswritten of this quatrain as follows:He touches the emotional pulse of the situation by a skilful allusion to the new and the old astronomy. . . Of the new astronomy, the "moving of the earth" is the most radical principle; of the old, the "trepidation of the spheres" is the motion of the greatest complexity. . . The poet must exhort his love to quietness and calm upon his departure; and for this purpose the figure based upon the latter motion (trepidation) , long absorbed into the traditional astronomy, fittingly suggests the tension of the moment without arousing the "harmes and feares" implicit in the figure of the moving earth.The argument is plausible and rests on a well substantiated thesis that Donne was deeply interested in the new astronomy and its repercussions in the theological realm. In various works Donne shows his familiarity with Kepler's De Stella Nova, with Galileo's Siderius Nuncius, with William Gilbert's De Magnete, and with Clavius' commentary on the De Sphaera of Sacrobosco. He refers to the new science in his Sermon at Paul's Cross and in a letter to Sir Henry Goodyer. In the First Anniversary he says the "new philosophy calls in doubt". In the Elegy on Prince Henryhe says that the "least moving of the centre" makes "the world to shake".It is difficult to answer argument like this, and impossible to answer it with evidence of like nature. There is no reason why Donne might not have written a stanza in which the two kinds of celestial motion stood for two sorts of emotion at parting. And if we become full of astronomical ideas and see Donne only against the background of the new science, we may believe that he did. But the text itself remains to be dealt with, the analysable vehicle of a complicated metaphor. And one may observe: (1) that the movement of the earth according to the Copernican theory is a celestial motion, smooth and regular, and while it might cause religious or philosophic fears, it could not be associated with the crudity and earthiness of the kind of commotion which the speaker in the poem wishes to discourage; (2) that there is another moving of the earth, an earthquake, which has just these qualities and is to be associated with the tear-floods and sigh-tempests of the second stanza of the poem; (3) that "trepidation" is an appropriate opposite of earthquake, because each is a shaking or vibratory motion; and "trepidation of the spheres" is "greater far" than an earthquake, but not much greater (if two such motions can be compared as to greatness) than the annual motion of the earth; (4) that reckoning what it "did and meant" shows that the event has passed, like an earthquake, not like the incessant celestial movement of the earth. Perhaps a knowledge of Donne's interest in the new science may addanother shade of meaning, an overtone to the stanza in question, though to say even this runs against the words. To make the geocentric and heliocentric antithesis the core of the metaphor is to disregard the English language, to prefer private evidence to public, external to internal.VIf the distinction between kinds of evidence has implications for the historical critic, it has them no less for the contemporary poet and his critic. or, since every rule for a poet is but another side of a judgment by a critic, and since the past is the realm of the scholar and critic, and the future and present that of the poet and the critical leaders of taste, we may say that the problems arising in literary scholarship from the intentional fallacy are matched by others which arise in the world or progressive experiment.The question of "allusiveness", for example, as acutely posed by the poetry of Eliot, is certainly one where a false judgment is likely to involve the intentional fallacy. The frequency and depth of literary allusion in the poetry of Eliot and others has driven so many in pursuit of full meanings to the Golden Bough and the Elizabethan drama that it has become a kind of commonplace to suppose that we do not know what a poet means unless we have traced him in his reading—a suppositionredolent with intentional implications. The stand taken by F. O. Matthiessen is a sound one and partially forestalls the difficulty.If one reads these with an attentive ear and is sensitive to their sudden shifts in movement, the contrast between the actual Thames and the idealized vision of it during an age before it flowed through a megalopolis is sharply conveyed by that movement itself, whether or not one recognizes the refrain to be from Spenser.Eliot's allusions work when we know them—and to a great extent even when we do not know them, through their suggestive power.But sometimes we find allusions supported by notes, and it is a nice question whether the notes function more as guides to send us where we may be educated, or more as indications in themselves about the character of the allusions. "Nearly everything of importance. . . that is apposite to an appreciation of 'The Waste Land'," writes Matthiessen of Miss Weston's book [From Ritual to Romance], "has been incorporated into the structure of the poem itself, or into Eliot's notes." And with such an admission it may begin to appear that it would not much matter if Eliot invented his sources (as Sir Walter Scott invented chapter epigraphs from"old plays" and "anonymous" authors, or as Coleridge wrote marginal glosses for The Ancient Mariner). Allusions to Dante, Webster, Marvell, or Baudelaire doubtless gain something because these writers existed, but it is doubtful whether the same can be said for an allusion to an obscure Elizabethan:The sound of horns and motors, which shall bringSweeney to Mrs Porter in the spring."Cf. Parliament of Bees," says Eliot,When of a sudden, listening, you shall hear,A noise of horns and hunting, which shall bringActaeon to Diana in the spring,Where all shall see her naked skin.The irony is completed by the quotation itself; had Eliot, as is quite conceivable, composed these lines to furnish his own background, there would be no loss of validity. The conviction may grow as one reads Eliot's next note: "I do not know the origin of the ballad from which these lines are taken: it was reported to me from Sydney, Australia." The important word in this note—on Mrs Porter and her daughter who washed their feet in soda water—is "ballad". And if one should feel from the lines。

常见逻辑谬误(中英对照Fallacy)

常见逻辑谬误(中英对照Fallacy)

分散注意力的谬误(Fallacies of Distraction)两难推理(False Dilemma)错谬:为多于一个答案的问题提供不足(通常两个)的选择,即是隐藏了一些选择,最典型的表现是非黑即白观点。

例子:萨达姆是邪恶的,所以美军是正义之师。

解释:除正邪之争外,还有邪邪之争及许多难分正邪的纷争,所以不能单以萨达姆邪恶便认定美军正义。

诉诸无知(From Ignorance)错谬:因为不能否定,所以必然肯定,反之亦然。

例子:没有人能证明鬼不存在,那么鬼肯定存在。

解释:总有些事是既不能否定,亦不能肯定的。

除了肯定和否定,我们还可以存疑吧!滑坡谬误(Slippery Slope)错谬:不合理使用连串因果关系。

例子:迟到的学生要判死刑。

因为迟到是不用功的表现;将来工作也不勤力;不勤力导致公司损失;公司损失就会倒闭;公司倒闭会使人失业;失业造成家庭问题;家庭问题导致自杀率上升,为了防止自杀率上升,我们应判迟到的学生死刑。

解释:滑坡谬误中假定了连串“可能性”为“必然性”。

比方说,迟到是否“必然”是不用功的表现?将来工作又是否“必然”不勤力?答案可想而知。

例子虽然夸张,但其实许多时候大家亦会犯相同错误而不自知。

复合问题(Complex Question)错谬:一条问题内包含两个无关的重点。

例子:你还有没有干那非法勾当?(你有干非法勾当吗?是否还有继续?)解释:简单的一句提问,其实隐藏了两个问题。

你给予其中一条问题的答案,并不一定和另外一条的一样。

例如你有干非法勾当,但未必等于你还有继续。

诉诸其他支持(Appeals to Motives in Place of Support)诉诸势力(Appeal to Force)错谬:以势力服人。

例子:若你不想被解雇,你必须认同公司的制度。

解释:这是以工作机会强迫员工认同制度,员工不是依据制度好坏来决定认同与否。

诉诸怜悯(Appeal to Pity)错谬:以别人的同情心服人。

新编英语教程unit1,2,3,4,5,8,9,10,11 课文翻译

新编英语教程unit1,2,3,4,5,8,9,10,11 课文翻译

翻译Unit111、他暗示John是肇事者的企图是徒劳的。

(insinuate,futile)暗示,无用的;无效的His attempt at insinuating that John was the culprit turned out to be futile.2、当他未能完成期望他做的事时,他很善于临时找个借口来为自己开脱。

(improvise)临时做He is very clever at improvising excuses when he fails to do what is expected of him.3、他此行去西藏可以满足他想参观布达拉宫的愿望了。

(gratify)使满足;使满意,使高兴His trip to Tibet will gratify his desire to see Potala. (the Potala Palace)4、这个公司拥有雄厚的人力资源。

(command)命令,指挥;控制This corporation commands excellent/rich/abundant human resources.5、另外想个办法去款待你的客人。

不要老是请他们看影视光碟。

(alternative)二中择一;供替代的选择Think of an alternative way of entertaining your guests. Don’t always show them VCDs.6、沉溺于胡思乱想和心血来潮是有害的。

(caprice)任性,反复无常;随想曲It is harmful to indulge in whims and caprices.7、不属于你的东西不要作非分之想。

(lay one’s hands on,be entitled to)2有权;有…的资格Try not to lay your hands on anything that you are not entitled to.8、他没有来参加竞赛。

短小精悍的优美散文3篇

短小精悍的优美散文3篇

短小精悍的优美散文3篇篇一:短小精悍美文集锦短小精悍美文集锦Describe dapper highlights简单是一种方法橄榄树嘲笑无花果树说:“你的叶子到冬天时就落光了,光秃秃的树枝可真难看,哪像我终年翠绿,美丽无比。

”不久,一场大雪降临了,橄榄树身上都是翠绿的叶子,雪堆积在上面,最后由于重量太大把树枝压断了,橄榄树的美丽也遭到了破坏。

而无花果树由于叶子已经落尽了,全身简单,雪穿过树枝落在地上,结果无花果树安然无恙。

外表的美丽不一定适应环境有时是一种负担,而且往往会因为生存带来麻烦或灾难。

相反,平平常常倒能活得自由自在。

所以,不如放下你外表虚荣的美丽,或者是不实的身份和地位,踏踏实实地去体会真实简单的生活,相信这样你将获得更多的乐趣。

(摘自《最伟大的管理思想》)A method is simple(翻译)Olive ridicule the FIG tree say: "you of the leaves to the winter when it falls bare branches, which can really ugly like green, round my beauty." Soon, a heavy snow falls, olive green leaves were all above, snow accumulation in the final result of weight is too big, the olivebranches broke, the beauty is damaged. But the FIG tree leaves have lost due to the body, simple, snow fell on the ground, through the branches of the FIG tree unscathed. The beautiful appearance, sometimes not adapt to the environment is a kind of burden, and often because of trouble or disaster survival. Instead, often can live in freedom. So, let your appearance is beautiful, or the vanity is not real identity and status, builders to feel real simple life,believe that you will get more fun. The greatest (" management idea"许多人不明白的浅显道理1930年,德国出了一本批判相对论的书,书名叫《一百位教授出面证明爱因斯坦错了》。

爱因斯坦名言英文

爱因斯坦名言英文

爱因斯坦名言英文导读:1、Only a life lived for others is a life worthwhile。

只有无私的生命才值得活。

2、Subtle is the Lord,but malicious He is not。

我们的主很狡猾,好在他不怀歹意。

3、It is harder to crack a prejudice than an atom。

要打破人的偏见比崩解一个原子还难。

4、I am convinced that He (God) does not play dice。

我确信上帝不玩**游戏。

5、Truth is what stands the test of experience。

真理就是在实践面前站得住脚的东西。

6、Intellectuals solve problems;geniuses prevent them。

智者解决问题,天才预防问题。

7、I never think of the future。

It comes soon enough。

我从不展望未来。

它来得够快的了。

8、Only a life lived for others is a life worthwhile。

只有利他的生活才是值得过的生活。

9、I love to travel,but hate to arrive。

我喜欢旅行,但我不喜欢到达。

10、Science without religion is lame,religion without science is blind。

科学没有宗教是瘸子,宗教没有科学是瞎子。

11、Anyone who has never made a mistake has never tried anything new。

一个人从未犯错是因为他不曾尝试新鲜事物。

12、The value of a man resides in what he gives and not in what he is capable of receiving。

关于智慧与成功的英文名言【3篇】

关于智慧与成功的英文名言【3篇】

关于智慧与成功的英文名言【3篇】【导语】咬定青山不放松,立根原在破岩中。

千磨万击还坚劲,任尔东南西北风。

以下是由整理的关于智慧与成功的英文名言【3篇】,欢迎阅读关注!【篇一】关于智慧与成功的英文名言1、人的智慧不用就会枯萎。

A man’s wisdom without will wither.2、人的智慧就是快乐的源泉。

A man’s wisdom is the source of happiness.3、诚实是智慧之书的第一章。

Honesty is the first chapter of the book of wisdom.4、谨慎和自制是智慧的源泉。

Cautious and homemade is the source of wisdom.5、智慧首先教人们辨别是非。

Wisdom first teaches people to tell right from wrong.6、理想的书籍是智慧的钥匙。

Ideal books are the key to wisdom.7、爱情的萌芽是智慧的结束。

The bud of love is the end of wisdom.8、愚人通过不幸而得到智慧。

A fool get wisdom by misfortune.9、谁没有耐心,谁就没有智慧。

Who don’t have the patience, there is no wisdom.10、智慧属于成人,单纯属于儿童。

Wisdom belongs to adult, pure belong to children.11、打破常规的道路指向智慧之宫。

Road to the palace of wisdom to break all the rules.12、的决心会产生的智慧。

The greatest determination can produce the highest wisdom.13、真正的智慧从来不使我们发笑。

典范英语8-7The Wrong Letter送错的信

典范英语8-7The Wrong Letter送错的信

典范英语8-7The Wrong Letter送错的信第一章一天早晨,邮递员来到榆树路。

他的袋子里两封信,他们看起来是这个样子:Miss P Jones 10 Elm Road BiltonMiss F Jones 10 Elm Road Bilton有两位琼斯小姐住在榆树路,皮帕琼斯住在10号,她特别喜欢矮脚马。

福娄琼斯住在79号,她特别喜欢足球。

但是那天早晨,邮递员的眼镜碎了,他看不太清楚,差错就这样发生了。

当信送来时,爱马迷在马厩外面,皮帕有一匹马叫花朵,特别会跳,跳得特别好。

她给花朵一些一麦片,亲了亲它的鼻子。

然后,他的爸爸从后门探出头。

“皮帕,有一封你的信。

”当信送来时,足球迷福娄在花园里,福娄在红土流浪者队踢足球,她像平常那样穿着她的队服。

她带球经过猫绕过秋千。

“砰!”球打中后门。

“进球!”福娄喊着。

“福娄!”她妈妈叫着,“别在那儿闹了,回屋里来,有一封你的信。

”福娄撕开她的信,上面写着:亲爱的琼斯小姐:少年杯赛在星期六栗树场,希望你来参加。

“哇!”福娄说,“星期六总决赛我要踢,红土流浪者队肯定赢。

”在榆树路10号,皮帕也在读她的信。

亲爱的琼斯小姐,少年杯总决赛在星期六,在红土公园,希望在那儿见到你。

“棒极了!”皮帕说,“我要骑着花朵参加少年杯赛,我们一定赢。

”第二章皮帕和福娄恨不得周六马上就到,她们没注意到她们拿错了信,她们都走错了地方。

星期六早晨,皮帕骑着花朵去红土公园。

她们经过的路上,福娄在去栗树场。

皮帕瞪着眼睛看穿着红白队服的福娄。

“乖乖,竟然穿成那样去踢一场傻乎乎的足球赛,”她心里想。

福娄瞪着眼睛看戴着黑马术帽穿着靴子的皮帕。

“乖乖,竟然穿成那样去骑一匹无聊的老马。

”她心里想。

皮帕来到红土公园,但是其他的马匹在哪儿?她满眼看到的是红土流浪者队在踢足球。

“打扰了,”皮帕说,“障碍栏在哪儿?”流浪者队大笑起来。

“这是足球比赛,小马不能玩,”一个人说。

流浪者队队长走近皮帕。

“你见过福娄琼斯吗?她还没有来,我们少一个队员。

罗素名言英文版

罗素名言英文版

罗素名言英文版导读:本文是关于罗素名言英文版,如果觉得很不错,欢迎点评和分享!1、在世界上一切道德品质之中,善良的本性是最需要的。

In all the moral qualities of the world, the nature of goodness is most needed.2、我逐渐学会对自己和自己的缺点漠不关心,逐渐学会把注意力更多的放在外界的事物上。

I gradually learn to be indifferent to their own shortcomings, and gradually learn to focus more on the outside world of things.3、宇宙可能是有个目的,即使如此,我们所知道的一切也不能说明它的目的和我们的目的有任何相似之处。

The universe may be a purpose, even so, all we know is not to show that it has any resemblance to what we have.4、我们面临这样一个进退两难的境地,那就是教育已经成为智慧和自由思想最主要的障碍之一。

We are faced with the dilemma that education has become one of the most important obstacles to wisdom and free thought.5、那种寻求麻醉的人,无论采用何种形式,除了希望遗忘,再无别的希望。

The kind of people who seek anesthesia, no matter what form, in addition to want to forget, and no other hope.6、真正的预料是不可言说的,而可以被语言表达的则参与了推理。

The real expected is unspeakable, but may be involved in the reasoning of language expression.7、婚姻就像金色的鸟笼,在外面的想进去,在里面的却想出来。

朋友之间的误会如何处理英语作文HowtoSolveMisunderstandings

朋友之间的误会如何处理英语作文HowtoSolveMisunderstandings

朋友之间的误会如何处理英语作文HowtoSolveMisunderstandings13 Ways on How to Solve Misunderstandings between Friends 朋友之间的误会如何解决?Problems can happen in friendship. The causes vary and it can be difficult to solve them. The quicker you work on the problem, the better it will be for everyone. You don’t want to lose your friends over an issue that can be taken care of.How to Solve Misunderstandings between FriendsSo what exactly can you do to solve the misunderstandings? Below are some solutions that you can try.1. Know the Cause of the ProblemThe first step in knowing how to solve misunderstandings between friends is knowing the cause of it. The Sad Reasons Why Your Best Friend is Ignoring You could give you a clue. By knowing the problem, you can then start to work on thinking for the right solutions.But remind yourself that you must be open to the consequences if the fault lies within you.You must be willing to apologize and make it up for it. The key here is to maintain the strong relationship that you’ve established. You don’t want that to be ruined for n othing.2. Find the Right Time and PlaceWhen you want to talk to your friends, then make sure you’re doing it at the right time. It can he lp in settling the misunderstanding in a more effective way. You have to work smarter to get the timing right. For example, you can’t talk to your friends about it if they’re having other urgent problems. Avoid solving it when the emotions still run high. Finding aprivate and calm place to talk about it is a must as well.3. Control Your EmotionsBefore solving the misu nderstanding with your friends, it’s better for you to learn how to control your emotions. Discussing it with intense emotions won’t lead to a good outcome. It may cause the problem to become more complicated. Even worse, it could cause new issues toappear. You and your friends need to put aside any anger or other intense feelings before meeting each other. This will create an effective talk between all of you.4. Openly Talk about the ProblemThis is why it’s so important to have a good control of your emotion first before getting together to solve the problem. When you have a sound mind, you can openly talk about the problem. You can think logically which can lead to a solution.When you’re still emotional, it won’t be so easy to talk about the issue. Everybody should have the chance to pour their hearts out so there won’t be any bad blood left behind. Use these Things to Say to Your Best Friend after a Fight to make things better.5. Self ReflectTake some time to think this problem through and through. By having the chance to do some self reflection, you may have a clearer look at the root of the problem. You may be able to see that you we re the cause of it all. There’s nothing wrong with a bit of self reflection. After all, youwant the problem as soon as possible as you value the friendship.6. Change Your PerspectiveA friend is someone that you trust and never want todisappoint, especially if has lasted for such a long time. But problems do come up once in a while. Leaving it untouched will only cause more hurt for everyone. It’s better to take care of it right away. Try to change your perspective in case you’re feeling upset or disappointed by your friend. See things from their point of view and have a clear understanding of the whole problem.7. ThrowbackAnother way on how to solve misunderstandings between friends is by having a bit of a throwback. You can do this while you’re talking with your friends about the problem. Make the mood better by talking about the fun moments that all of you have had together. These are some Funny Ways to Tell Your Friends You Love Them.Share each other’s favourite moments. Cry and laugh a little again with one another. You and your friends willrealise how precious the friendship is and it’s not worth to fight for too long.8. Be a Good ListenerAs a friend, being a good listener is a friend. Not only do you have to hear them talk about the troubles in their lives. You must be willing to hear out all the things that they may not like about you. This is a good thing as long as you keep an open mind. It can create connection and understanding towards each other. The more you know about your friends, the easier it is to get overa problem together.9. Admit Your FaultsIf you’ve realised that the problem comes from you then you must be willing to admit your faults. Genuinely apologise for your wrongdoings. Even if you don’t feel you’ve made any mistak es, it’s still okay to say that you’re sorry to your friends.According to Greg Baker, a counselor and writer of Filthy Spoken, it’s be tter to focus on making up with your friends rather than always looking for the mistakes.10. Accept DifferencesAccept all the good and the bad qualities of your friends. Differences are normal, after all. Each of you have different personalities. The differing personalities should be a good thing. They can be use to create a stronger bond of friendship.11. Make Some SpaceIt’s okay to take some time and space for yourself. Pull yourself back from your friends for a while until things have calmed down. There’s no need to force on solving the problem if it seems that there isn’t any good solution. Sometimes friendships just d on’t work out.12. Forget the PastIt’s important to forget the past if you really want to make up with your friends. Move on to better things rather than focusing on past mistakes. Take the misunderstandings as a lesson learned and aim to grow together.13. Fight for the FriendshipThis could be an effective way on how to solve misunderstandings between friends. You must be willing to fight for the friendship. Express your love for your friends. Tell them that all you want is peace. You don’t want the f riendship to be wasted away on a negative issue. Here are the Reasons Why Your High School Best Friends are for Life.Those are some of the easiest ways that you can do to solve the misunderstandings between your friends. Hopefully, these tips are useful for you.。

罗素名言英文版

罗素名言英文版

罗素名言英文版导读:本文是关于罗素名言英文版,如果觉得很不错,欢迎点评和分享!1、在世界上一切道德品质之中,善良的本性是最需要的。

In all the moral qualities of the world, the nature of goodness is most needed.2、我逐渐学会对自己和自己的缺点漠不关心,逐渐学会把注意力更多的放在外界的事物上。

I gradually learn to be indifferent to their own shortcomings, and gradually learn to focus more on the outside world of things.3、宇宙可能是有个目的,即使如此,我们所知道的一切也不能说明它的目的和我们的目的有任何相似之处。

The universe may be a purpose, even so, all we know is not to show that it has any resemblance to what we have.4、我们面临这样一个进退两难的境地,那就是教育已经成为智慧和自由思想最主要的障碍之一。

We are faced with the dilemma that education has become one of the most important obstacles to wisdom andfree thought.5、那种寻求麻醉的人,无论采用何种形式,除了希望遗忘,再无别的希望。

The kind of people who seek anesthesia, no matter whatform, in addition to want to forget, and no other hope.6、真正的预料是不可言说的,而可以被语言表达的则参与了推理。

The real expected is unspeakable, but may be involved inthe reasoning of language expression.7、婚姻就像金色的鸟笼,在外面的想进去,在里面的却想出来。

善良与邪恶英语作文

善良与邪恶英语作文

善良与邪恶英语作文The Duality of Human Nature: The Complex Dance between Goodness and Evil.The concept of goodness and evil has fascinated philosophers, theologians, and ordinary individuals for centuries. It is a fundamental aspect of human nature that often finds expression in our daily lives, shaping our actions, decisions, and interactions with others. The question of whether human beings are inherently good orevil has been debated for ages, with no clear consensus reached. This essay delves into the complexity of this dichotomy, exploring the grey areas that exist between absolute good and evil.The Nature of Goodness.Goodness is often associated with kindness, compassion, fairness, and morality. It represents the positive aspects of human nature, the urge to do what is right, and thedesire to benefit others. Goodness is seen in actions like helping a stranger, volunteering for community service, or speaking out against injustice. It is the force that drives us to be our better selves, to strive for excellence, and to create a more harmonious world.However, the definition of goodness is not absolute. What one person considers good might be completelydifferent from what another person believes. For instance, one person might believe that it is good to donate to charity, while another might believe that it is good to prioritize family over all else. This relativity of goodness highlights the subjective nature of morality and ethics.The Nature of Evil.On the other hand, evil is often associated with cruelty, selfishness, unfairness, and immorality. It represents the negative aspects of human nature, the urge to do what is wrong, and the desire to harm others. Evil manifests in actions like bullying, stealing, or committingviolent crimes. It is the force that drives us to be our worse selves, to indulge in selfish desires, and to create conflict and disharmony.However, similar to goodness, the definition of evil is also subjective. What one person considers evil might not be seen as such by another. For example, one person might believe that it is evil to lie, while another might believe that it is sometimes necessary to lie to protect oneself or others. This subjectivity of evil underscores the complexity of morality and ethics.The Grey Areas.The complexity of human nature lies in the grey areas that exist between absolute good and evil. Often, we find ourselves in situations where it is not clear what theright action is. We might be faced with ethical dilemmas where doing what is good for one person might harm another. Or we might find ourselves caught between conflicting moral obligations, unsure of which one to prioritize.In these grey areas, it is crucial to exercise critical thinking and empathy. We need to consider the consequences of our actions not only for ourselves but also for others. We need to ask ourselves if our actions align with our values and principles. And we need to be willing to accept that there might not always be a clear answer, and that it is okay to make mistakes as long as we learn from them.Conclusion.The dichotomy of goodness and evil is a fundamental aspect of human nature that cannot be simplified into black and white categories. The grey areas that exist between absolute good and evil highlight the complexity of morality and ethics. It is crucial that we recognize this complexity and strive to act in accordance with our values and principles while remaining open to learning and成长. By doing so, we can hope to create a more harmonious and understanding world where different viewpoints and perspectives are respected and valued.。

短小精悍的优美散文3篇

短小精悍的优美散文3篇

短小精悍的优美散文3篇篇一:短小精悍美文集锦短小精悍美文集锦Describe dapper highlights简单是一种方法橄榄树嘲笑无花果树说:“你的叶子到冬天时就落光了,光秃秃的树枝可真难看,哪像我终年翠绿,美丽无比。

”不久,一场大雪降临了,橄榄树身上都是翠绿的叶子,雪堆积在上面,最后由于重量太大把树枝压断了,橄榄树的美丽也遭到了破坏。

而无花果树由于叶子已经落尽了,全身简单,雪穿过树枝落在地上,结果无花果树安然无恙。

外表的美丽不一定适应环境有时是一种负担,而且往往会因为生存带来麻烦或灾难。

相反,平平常常倒能活得自由自在。

所以,不如放下你外表虚荣的美丽,或者是不实的身份和地位,踏踏实实地去体会真实简单的生活,相信这样你将获得更多的乐趣。

(摘自《最伟大的管理思想》)A method is simple(翻译)Olive ridicule the FIG tree say: "you of the leaves to the winter when it falls bare branches, which can really ugly like green, round my beauty." Soon, a heavy snow falls, olive green leaves were all above, snow accumulation in the final result of weight is too big, the olivebranches broke, the beauty is damaged. But the FIG tree leaves have lost due to the body, simple, snow fell on the ground, through the branches of the FIG tree unscathed. The beautiful appearance, sometimes not adapt to the environment is a kind of burden, and often because of trouble or disaster survival. Instead, often can live in freedom. So, let your appearance is beautiful, or the vanity is not real identity and status, builders to feel real simple life,believe that you will get more fun. The greatest (" management idea"许多人不明白的浅显道理1930年,德国出了一本批判相对论的书,书名叫《一百位教授出面证明爱因斯坦错了》。

怎么看待火车难题英语作文

怎么看待火车难题英语作文

The Trolley Problem is a hypothetical ethical dilemma that has been a subject of intense debate among philosophers, ethicists, and even in the realm of artificial intelligence. As a high school student, I find this thought experiment both intriguing and perplexing, as it challenges our fundamental understanding of morality and decisionmaking.The problem presents a scenario where a runaway trolley is speeding down a track. On one track, there are five people tied up and unable to move, and on the other track, there is one person. You are standing by a lever that can switch the trolley to the other track, thereby saving the five people but killing the one person. The dilemma is whether to pull the lever or do nothing, and the moral implications of either choice.At first glance, the decision seems straightforward: save the greater number of lives by sacrificing one. This approach is often referred to as utilitarianism, which prioritizes the greatest good for the greatest number. However, the problem is not so simple. The act of pulling the lever involves a direct intervention that results in the death of the one person, which some argue is morally wrong.I remember discussing this problem in my ethics class, and the room was filled with a mix of emotions ranging from frustration to empathy. Some argued that the responsibility of the one persons death would weigh heavily on the decisionmaker, making it an act of murder. Others contended that inaction, in this case, is equally culpable, as it allows the death of five people to occur.The complexity of the Trolley Problem extends beyond the initial scenario. Variations of the problem introduce additional layers of moral complexity. For example, what if the one person on the track is a close relative, or if the five people are strangers? What if the person on the other track is an elderly individual, or a child? These variations force us to confront our biases and the relativity of our moral judgments.Moreover, the Trolley Problem has realworld implications, particularly in the development of autonomous vehicles. How should a selfdriving car behave in a situation where it must choose between two potential accidents? Should it prioritize the safety of its passengers or the pedestrians outside? These questions are not just theoretical but are becoming increasingly relevant as technology advances.In my opinion, the Trolley Problem is a powerful tool for exploring the complexities of moral decisionmaking. It forces us to consider the consequences of our actions and the ethical principles that guide us. While I lean towards the utilitarian perspective, recognizing the value of saving the greater number of lives, I also acknowledge the emotional and moral burden that comes with such a decision.Furthermore, I believe that the Trolley Problem highlights the importance of empathy and understanding in ethical decisionmaking. It reminds us that our choices can have profound impacts on others lives and that we must consider the perspectives and wellbeing of all involved parties.In conclusion, the Trolley Problem is not just an abstract philosophicalconundrum but a reflection of the moral challenges we face in our daily lives. It encourages us to think deeply about our values, our responsibilities, and the nature of ethical decisionmaking. As we continue to grapple with these questions, we must strive to make choices that are informed, compassionate, and just.。

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1 Isaac Asimov I s a a c A s i m o vThe Relativity of Wrongreceived a letter the other day. It was handwrit-ten in crabbed penmanship so that it was very diffi-cult to read. Nevertheless, I tried to make it out just in case it might prove to be important. In the first sentence, the writer told me he was majoring in En g lish literature, but felt he needed to teach me science. (I sighed a bit, for I knew very few En g lish Lit majors who are equipped to teach me science, but I am very aware of the vast state of my ignorance and I am prepared to learn as much as I can from anyone, so I read on.)It seemed that in one of my innumerable essays, I had expressed a certain gladness at living in a century in which we finally got the basis of the universe straight.I didn’t go into detail in the matter, but what I meant was that we now know the basic rules governing the universe, together with the gravitational inter-relationships of its gross components, as shown in the theory of relativity worked out between 1905 and 1916. We also know the basic rules governing the subatomic particles and their interrelationships, since these are very neatly described by the quantum theory worked out between 1900 and 1930. What’s more, we have found that the galaxies and clusters of galaxies are the basic units of the physical universe, as discovered between 1920 and 1930.1These are all twentieth- c entury discoveries, you see.The young specialist in En g lish Lit, having quoted me, went on to lectureme severely on the fact that in every century people have thought they under-stood the universe at last, and in every century they w ere proved to be wrong. It follows that the one thing we can say about our modern “knowledge” is that it is wrong. The young man then quoted with approval what Socrates had said on learning that the Delphic oracle had proclaimed him the wisest man in Greece.2 “If I am the wisest man,” said Socrates, “it is because I alone know that I know nothing.” The implication was that I was very foolish because I was under the impression I knew a great deal.My answer to him was, “John, when people thought the earth was flat, they w ere wrong. When people thought the earth was spherical, they w ere wrong. But if you think that thinking the earth is spherical is just as wrong as thinking the earth is flat, then your view is wronger than both of them put together.”1. A lbert Einstein (1879–1955) announced the special theory of relativity in 1905 and developed the general theory of relativity over the next de c ade; physicist Maxwell Planck (1858–1947) and others developed quantum theory; astronomer Edwin Hubble (1889–1953) demonstrated the existence of external galaxies in 1924.2. S ocrates (c. 470–399 b.c.e.), ancient Greek phi l os o p her; Delphic oracle or Pythia, priestess of the Temple of Apollo on Mount Parnassus.I Published in the Skeptical Inquirer (1989), the journal of the Committee for Scientific Investigation of Claims of the Paranormal (CSICOP), now the Committee for Skeptical Inquiry.5The Relativity of Wrong 2 The basic trouble, you see, is that people think that “right” and “wrong” are absolute; that everything that isn’t perfectly and completely right is totally and equally wrong.However, I don’t think that’s so. It seems to me that right and wrong are fuzzy concepts, and I will devote this essay to an explanation of why I think so.When my friend the En g lish literature expert tells me that in every cen-tury scientists think they have worked out the universe and are always wrong, what I want to know is how wrong are they? Are they always wrong to the same degree? Let’s take an example.In the early days of civilization, the general feeling was that the earth was flat. This was not because people w ere stupid, or because they w ere intent on believing silly things. They felt it was flat on the basis of sound evidence. It was not just a matter of “That’s how it looks,” because the earth does not look flat. It looks chaotically bumpy, with hills, valleys, ravines, cliffs, and so on.Of course there are plains where, over limited areas, the earth’s surface does look fairly flat. One of those plains is in the Tigris- E uphrates area, where the first historical civilization (one with writing) developed, that of the Sumerians.Perhaps it was the appearance of the plain that persuaded the clever Sume-rians to accept the generalization that the earth was flat; that if you somehow evened out all the elevations and depressions, you would be left with flatness. Contributing to the notion may have been the fact that stretches of water (ponds and lakes) looked pretty flat on quiet days.Another way of looking at it is to ask what is the “curvature” of the earth’s surface. Over a considerable length, how much does the surface deviate (on the average) from perfect flatness. The flat- e arth theory would make it seem that the surface d oesn’t deviate from flatness at all, that its curvature is 0 to the mile.Nowadays, of course, we are taught that the flat- e arth theory is wrong; that it is all wrong, terribly wrong, absolutely. But it isn’t. The curvature of the earth is nearly 0 per mile, so that although the flat- e arth theory is wrong, it happens to be nearly right. That’s why the theory lasted so long.There w ere reasons, to be sure, to find the flat- e arth theory unsatisfactory and, about 350 B.C., the Greek phi l os o p her Aristotle summarized them. First, certain stars disappeared beyond the Southern Hemi s phere as one traveled north, and beyond the Northern Hemi s phere as one traveled south. Second, the earth’s shadow on the moon during a lunar eclipse was always the arc of a circle. Third, h ere on the earth itself, ships disappeared beyond the horizon hull- fi rst in what e ver direction they w ere traveling.All three observations could not be reasonably explained if the earth’s sur-face w ere flat, but could be explained by assuming the earth to be a sphere.What’s more, Aristotle believed that all solid matter tended to move toward a common center, and if solid matter did this, it would end up as a sphere. A given volume of matter is, on the average, closer to a common center if it is a sphere than if it is any other shape what e ver.About a century after Aristotle, the Greek phi l os o p her Eratosthenes noted that the sun cast a shadow of different lengths at different latitudes (all the 10 153 Isaac Asimov shadows would be the same length if the earth’s surface w ere flat). From the difference in shadow length, he calculated the size of the earthly sphere and it turned out to be 25,000 miles in circumference.The curvature of such a sphere is about 0.000126 per mile, a quantity very close to 0 per mile, as you can see, and one not easily mea s ured by the techniques at the disposal of the ancients. The tiny difference between 0 and 0.000126 accounts for the fact that it took so long to pass from the flat earth to the spherical earth.Mind you, even a tiny difference, such as that between 0 and 0.000126, can be extremely important. That difference mounts up. The earth cannot be mapped over large areas with any accuracy at all if the difference isn’t taken into account and if the earth isn’t considered a sphere rather than a flat sur-face. Long ocean voyages c an’t be undertaken with any reasonable way of locat-ing one’s own position in the ocean unless the earth is considered spherical rather than flat.Furthermore, the flat earth presupposes the possibility of an infinite earth, or of the existence of an “end” to the surface. The spherical earth, however, postulates an earth that is both endless and yet finite, and it is the latter pos-tulate that is consistent with all later findings.So, although the flat- e arth theory is only slightly wrong and is a credit to its inventors, all things considered, it is wrong enough to be discarded in favor of the spherical- e arth theory.And yet is the earth a sphere?No, it is not a sphere; not in the strict mathematical sense. A sphere has certain mathematical properties— f or instance, all diameters (that is, all straight lines that pass from one point on its surface, through the center, to another point on its surface) have the same length.That, however, is not true of the earth. Various diameters of the earth dif-fer in length.What gave people the notion the earth w asn’t a true sphere? To begin with, the sun and the moon have outlines that are perfect circles within the limits of mea s ure m ent in the early days of the telescope. This is consistent with the sup-position that the sun and the moon are perfectly spherical in shape.However, when Jupiter and Saturn w ere observed by the first telescopic observers, it became quickly apparent that the outlines of those planets w ere not circles, but distinct ellipses. That meant that Jupiter and Saturn w ere not true spheres.Isaac Newton,3 toward the end of the seventeenth century, showed that a massive body would form a sphere under the pull of gravitational forces (exactly as Aristotle had argued), but only if it w ere not rotating. If it w ere rotating, a centrifugal effect would be set up that would lift the body’s substance against gravity, and this effect would be greater the closer to the equator you progressed. The effect would also be greater the more rapidly a spherical object rotated, and Jupiter and Saturn rotated very rapidly indeed.3. E n g lish mathematician and physicist (1642–1727).2025The Relativity of Wrong 4 The earth rotated much more slowly than Jupiter or Saturn so the effect should be smaller, but it should still be there. Actual mea s ure m ents of the cur-vature of the earth w ere carried out in the eigh t eenth century and Newton was proved correct.The earth has an equatorial bulge, in other words. It is flattened at the poles. It is an “oblate spheroid” rather than a sphere. This means that the vari-ous diameters of the earth differ in length. The longest diameters are any of those that stretch from one point on the equator to an opposite point on the equator. This “equatorial diameter” is 12,755 kilometers (7,927 miles). The shortest diameter is from the North Pole to the South Pole and this “polar diam-eter” is 12,711 kilometers (7,900 miles).The difference between the longest and shortest diameters is 44 kilome-ters (27 miles), and that means that the “oblateness” of the earth (its departure from true sphericity) is 44/12755, or 0.0034. This amounts to 1/3 of 1 percent.To put it another way, on a flat surface, curvature is 0 per mile everywhere. On the earth’s spherical surface, curvature is 0.000126 per mile everywhere (or 8 inches per mile). On the earth’s oblate spheroidal surface, the curvature var-ies from 7.973 inches to the mile to 8.027 inches to the mile.The correction in going from spherical to oblate spheroidal is much smaller than going from flat to spherical. Therefore, although the notion of the earth as a sphere is wrong, strictly speaking, it is not as wrong as the notion of the earth as flat.Even the oblate- s pheroidal notion of the earth is wrong, strictly speaking. In 1958, when the satellite Vanguard I was put into orbit about the earth, it was able to mea s ure the local gravitational pull of the earth— a nd therefore its shape— w ith unpre c e d ented precision. It turned out that the equatorial bulge south of the equator was slightly bulgier than the bulge north of the equator, and that the South Pole sea level was slightly nearer the center of the earth than the North Pole sea level was.There seemed no other way of describing this than by saying the earth was pear- s haped, and at once many people decided that the earth was nothing like a sphere but was shaped like a Bartlett pear dangling in space. Actually, the pear- like deviation from oblate- s pheroid perfect was a matter of yards rather than miles, and the adjustment of curvature was in the millionths of an inch per mile.In short, my En g lish Lit friend, living in a mental world of absolute rights and wrongs, may be imagining that because all theories are wrong, the earth may be thought spherical now, but cubical next century, and a hollow icosahe-dron the next, and a doughnut shape the one after.What actually happens is that once scientists get hold of a good concept they gradually refine and extend it with greater and greater subtlety as their instruments of mea s ure m ent improve. Theories are not so much wrong as incomplete.This can be pointed out in many cases other than just the shape of the earth. Even when a new theory seems to represent a revolution, it usually arises out of small refinements. If something more than a small refinement w ere needed, then the old theory would never have endured.30 355 Isaac Asimov Copernicus 4 switched from an earth- c entered planetary system to a sun- centered one. In doing so, he switched from something that was obvious to something that was apparently ridiculous. However, it was a matter of finding better ways of calculating the motion of the planets in the sky, and eventually the geocentric theory was just left behind. It was precisely because the old the-ory gave results that w ere fairly good by the mea s ure m ent standards of the time that kept it in being so long.Again, it is because the geological formations of the earth change so slowly and the living things upon it evolve so slowly that it seemed reasonable at first to suppose that there was no change and that the earth and life always existed as they do today. If that w ere so, it would make no difference whether the earth and life w ere billions of years old or thousands. Thousands w ere easier to grasp.But when careful observation showed that the earth and life w ere chang-ing at a rate that was very tiny but not zero, then it became clear that the earth and life had to be very old. Modern geology came into being, and so did the notion of biological evolution.If the rate of change w ere more rapid, geology and evolution would have reached their modern state in ancient times. It is only because the difference between the rate of change in a static universe and the rate of change in an evolutionary one is that between zero and very nearly zero that the creationists can continue propagating their folly.Since the refinements in theory grow smaller and smaller, even quite ancient theories must have been sufficiently right to allow advances to be made; advances that w ere not wiped out by subsequent refinements.The Greeks introduced the notion of latitude and longitude, for instance, and made reasonable maps of the Mediterranean basin even without taking sphericity into account, and we still use latitude and longitude today.The Sumerians w ere probably the first to establish the principle that plan-etary movements in the sky exhibit regularity and can be predicted, and they proceeded to work out ways of doing so even though they assumed the earth to be the center of the universe. Their mea s ure m ents have been enormously refined but the principle remains.Naturally, the theories we now have might be considered wrong in the sim-plistic sense of my En g lish Lit correspondent, but in a much truer and subtler sense, they need only be considered incomplete.4. N icolaus Copernicus (1473–1543), Polish astronomer.4045mla citationAsimov, Isaac. “The Relativity of Wrong.” 1989. The Norton Reader: An Anthology of Nonfiction . Ed. Melissa A. Goldthwaite et al. 14th ed. New York: Norton,2016. 824–28. Print.Q u e s t i o n s1. I saac Asimov frames his essay as a response to a letter from a “young special-ist in En g lish Lit” (paragraph 5) whom he calls “wronger” (paragraph 6) than thoseThe Route to Normal Science 6 people of the past who thought the earth was flat or spherical. What does Asimovmean by “wronger”?2. H ow would you characterize the tone of Asimov’s essay? Does his tone make you more or less receptive to his argument?3. A simov illustrates his point that scientific theories “are not so much wrong as incomplete” (paragraph 37) with a single extended example: the history of hu -mans trying to determine the size and shape of the earth. Why does Asimov select this par t ic u l ar example?4. A simov frames his essay as a response to a letter from a “young specialist in En g lish Lit.” Continue the exchange by writing a letter of your own to Asimov.。

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