Beauty(爱默生)译文

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【爱默生英语名言摘抄语录带翻译阅读】爱默生的名言

【爱默生英语名言摘抄语录带翻译阅读】爱默生的名言

【爱默生英语名言摘抄语录带翻译阅读】爱默生的名言爱默生英语名言摘抄语录带翻译阅读爱默生英语名言摘抄语录带翻译阅读爱默生英语名言摘抄1、man is a program of time。

人是时间的纲领。

2、thought is the seed of action。

思考是行为的种子。

3、all wise men are selfish。

一切聪明人都是自私的。

4、disaster is the first process of truth。

灾难是真理的第一程。

5、too much of life is not art。

太生活化了也就没有艺术了。

6、health is the first wealth in life。

健康是人生第一财富。

7、to enrich the time is to be happy。

使时间充实就是幸福。

8、slide on the ice,speed is safety。

在薄冰上滑行,速度就是安全。

9、beauty of the heart,people have the。

爱美之心,人皆有之。

10、life comes with a certain talent。

人生来就具有一定的天赋。

11、only the wise see life as a program。

只有智者视人生如节目。

12、artists are always amateurs。

艺术家一开始总是业余爱好者。

13、how to think,what kind of life。

怎样思想,就有怎样的生活。

14、confidence is the first secret of success。

自信就是成功的第一秘诀。

15、don“t laugh at the thick black thumb。

不要嘲笑鞋匠又黑又粗的拇指。

16、to overcome the national culture is a victory。

翻译鉴赏-----beauty

翻译鉴赏-----beauty

夏:万物之本性果真奇妙,或者可以说,人类 独具只眼,能够构形绘影。……看了都叫人觉 得可喜;此种可喜并不凭借外物,也不因其有 任何实用目的,只是就万物的线条、色彩、运 动与排列看来,都可使人怡情悦性。 佚名: 佚名:万物之本性无比奇妙,或者可以说,人 类独具适应性的潜能,能够构形筑影。……都 能使我们惊喜;此种惊喜并不依赖外物,也不 因其有任何实用目的,只是就万物的线条、色 彩、运动与组合看起来都让人爽心怡性。
句子分析四:
The eye is the best of artists.
夏:眼睛者,世界第一号画家也。 佚名: 佚名:眼睛,是世界上最好的画家。 分析: 分析:用“…者…也”的文言句式,更接近 散文这一文体。显然夏的译文更好。但古文 中多用“天下”一词,而非“世界(增 词)”。
句子分析五:
By the mutual action of its structure and of the laws of light, perspective is produced, which integrates every mass of objects, of what character soever, into a well colored and shaded globe, so that where the particular objects are mean and unaffecting, the landscape which they compose, is round and symmetrical.
T“故…之…,莫过 于…;而…之…,则尤…”,更能体现 散文的特色。但译成“故构图绘影之巧, 莫过于人目;而设色敷彩之妙,则尤赖 光 线 。 ” 感 觉 更 工 整 。 原 文 “ composer ”和“ painters ”,译成中 文改变了词性。

爱默生—美国学者—中英译文

爱默生—美国学者—中英译文

主席先生,先生们:在开始第二个文学年之际,我谨向你们致意。

我们过去的一周年是充满希望的,但也许是努力尚且不够的一年。

我们相聚不是为了如古西腊人那样,进行力量和技巧的较量,朗诵过往历史,悲剧或颂词,也不是为了像中世纪行吟诗人那样为爱情和诗歌而聚集,更不是如当代在英国和欧洲的都市里为科学的进步举行聚会。

目前为止,我们聚会的节日还仅仅是一个良好的象征,它象征着我们由于忙碌而无心于文字的人民中对文学之爱的延续。

就此而言,这个象征弥足珍贵,有如不能被损毁的人类本能。

也许这样的时代已经到来,我们的聚会就要也应该是另番模样。

在这样的时代里,这个大陆的沉睡的心智睁开惺松睡眼,它给这世界带来久已期盼的贡献,这贡献远胜于机械性的技巧的发明。

我们依赖于人的日子,我们心智向其他大陆智慧学习的学徒期,这一切就要结束了。

成百万簇拥着我们涌向生活的同胞,他们不可能永远的满足于食用异国智慧收获的陈粮。

全新的事件和行动正在发生,这一切需要被歌唱,它们也要歌唱自己。

有谁会怀疑,诗歌将会获得新生,并将引领一个新时代就如天文学家所预言,在我们的天穹之顶的天琴大星将会成为恒艮千年的新北极星。

就是抱有这样的期望,我接受这个讲演题目--不仅是在用词上,而是由于时代和我们组织的性质所决定的--美国学者。

时光流转,我们又翻开它传记的新篇章。

让我们来探询,新的时代和事件,在它特质上和对它的期望里又添了什么光色。

有这样一个久远不可考的传说--它有着我们意想不到的智慧。

起初,众神将一个人分为众人,使他可以更好的自助,如同要分出手指以便更好的使用手一样。

这古老的传说蕴涵着一个长新而高尚的信念。

这就是:有这么一个大写的人,你可以在某些个体的人或通过一种能力看到部分的他,但只有观照整个社会才能找到他的全部。

这个大写的人不是农夫,不是一个教授或着工程师,他是他们的总和。

这个人是传教士,他是学者,他是政治家,他是生产者也是战士。

这些功能在分工的社会形态里被一一分予不同的个体。

新编英语教程6-U7-Beauty 中英翻译

新编英语教程6-U7-Beauty 中英翻译

BeautySusan SontagFor the Greeks, beauty was a virtue: a kind of excellence. Persons then were assumed to be what we now have to call lamely, enviously whole persons. If it did occur to the Greeks to distinguish between a person’s “inside” and “outside”, they still expected that inner beauty would be matched by beauty of the other kind. The well-born young Athenians who gathered around Socrates found it quite paradoxical that their hero was so intelligent, so brave, so honorable, so seductive and so ugly. One of Socrates main pedagogical acts was to be ugly and teach those innocent, no doubt splendid-looking disciples of his how full of paradoxes life really was.They may have re sisted Socrates’ lessons. We do not. Several thousand years later, we are more wary of the enchantments of beauty. We not only split off with the greatest facility-the “inside” (character, intellect) from the “outside” (looks): but we are actually surprise d when someone who is beautiful is also intelligent, talent and good.It was principally the influence of Christianity that deprived beauty of the central place it had in classical ideals of human excellence (virtus in latin) to moral virtue only, Christianity set beauty adrift-as an alienated, arbitrary, superficial enchantment. And beauty has continued to lose prestige. For close to two centuries it has become a convention to attribute beauty to only one of the two sexes: the sex which, however Fair, is always Second. Associating beauty with women has put beauty even further on the defensive, morally.A beautiful woman, we say in English. But a handsome man. “Handsome” is the masculine equivalentof-and refusal of-a compliment which has accumulate certain demeaning overtones, by being resolved women only. That one can call a man in French and in Italian suggests that catholic countries, unlike those countries shaped by the Protestant version of Christianity, still retain some vestiges of the pagan admiration for beauty. But the differences, if one exists, is of degrees only. In every modern country that is Christian or post-Christian, women are the beautiful sex to the detriment of the notion of beauty as well as of women.To be called beautiful is though t to name something essential to women’s character and concerns. (In contrast to men whose essence is to be strong or competent). It doesn’t take someone in the throes of advanced feminist awareness to perceive that the way women are taught to be involved with beauty encourages narcissism, reinforces dependence and immaturity. Everybody (women and men) knows that. For it is ”every body”, a whole society, that has identified with caring about what one is and does and only secondarily, if at all, about how one looks.) Given these stereotype, it is on wonder that beauty enjoys, at best, a rather mixed reputation.It is not, of course, the desire to be beautiful that is wrong but the obligation to be or to try. What is accepted by most women as a flattering idealization of their sex is a way of making women feel inferior to what they actually are, or normally grow to be. For the ideal of beauty is administered as a form ofself-oppression. Women are taught to see their bodies in parts, and to evaluate each part separately. Breasts, feet, hips, waistline neck, eyes, nose, complexion, hair, and so on, each in turn is submitted to an anxious, fretful, often despairing scrutiny. Even if some pass muster, some will always be found wanting. Nothing less than perfection will do.In men, good looks is a whole, something taken in at a glance. It does not need to be confirmed y giving measurements of different regions of the body, nobody encourages a man to dissect his appearance, feature by feature. As for perfection, that is considered trivial-almost unmanly. Indeed, in the ideally good-looking man a small imperfection or blemish is considered positively desirable. According to one movie critic (a woman) who is a declared Robert Redford fan, it is having that cluster of skin-colored moles on one cheek that saves Redford from being merely a “pretty face.” Think of the depreciation of women, as well as of beauty, that id implied in that judgment.“The privileges of beauty are immense.” said Cocteau. To be sure, beauty is a form of power. And deservedly so. What is lamentable is that it is the only form of power that most women are encouraged to seek. This power is always conceived relation to men; it is not the power to do that but the power to attract. It is a power that negates itself. For this power is not one that can be chosen freely, at least, not by women, or renounced without social censure.To preen, for a woman, can never be jut a pleasure. It is also a duty. It is her work. If a woman dose real work, and even if she has clambered up to a leading position in politics, law, medicine, business, or whatever, she is always under pressure to a confess that she still works at bring attractive. But in so far as she is keeping up as one of the Fair Sex, she brings under suspicion her very capacity to be objective, professional, authoritative, thoughtful. Damned if they do-women are. And damned if they don’t.One could hardly ask for more important evidence of the dangers of considering persons as split between what is “inside” and what is “outside” than that interminable half-comic half-tragic tale, the oppression of women. How easy it is to start off by defining women as caretakers of their surfaces, and then to disparage them (or find them adorable) for being “superficial”. It is a crude trap, and it has worked for too long. But to get out of the trap requires that women get some critical distance from the excellence and privilege which is beauty, enough distance to see how much beauty itself has been abridged in order to prop up the mythology of the “feminine”. There should be a way of saving beauty from women, and for them.对于古希腊人来说,美丽是一种美德:一种出色表现。

Selective Readings of Emerson and Thoreau爱默生与梭罗作品选

Selective Readings of Emerson and Thoreau爱默生与梭罗作品选

Selective Readings of Emerson and Thoreau爱默生与梭罗作品选读书笔记Beauty《论美》●A nobler want of man is served by nature,namely,the love of Beauty.●大自然除了提供人类衣食所需之外,还满足了一种更高尚的追求——那就是满足了人们的爱美之心。

●nobler adj.1.崇高的;品质高尚的having fine personal qualities that people admire,such as courage,honesty and care for others2.宏伟的;壮丽的very impressive in size or quality3.贵族的;高贵的belonging to a family of high social rank(=belonging to the nobility)●And as the eye is the best composer,so light is the first of painters.●故构图的巧妙,非人的眼睛莫属;而要想把色彩铺设的美妙,则要依赖光线。

●句型:(just)as...so(too)...为从属关联连词,引导比较状语从句或时间状语从句。

其中(just)as引导从句,副词so(too)位于主句之首与(just)as呼应。

意为:正如......,也......。

随着......也......。

用来表示主句表示的情况与从句表示的情况有关联或相类似。

例如:Just as the bodyneeds regular exercise,so too an engine needs to be run at regular intervals.(《麦克米伦词典》例句)正如身体需要经常锻炼一样,发动机也需要定期运转。

发动机需要定期运转,就好比人的身体需要经常锻炼一样。

Beauty

Beauty

Beautyfrom The Conduct of Life (1860, rev. 1876)byRalph Waldo EmersonVIII: BEAUTYWas never form and never faceSo sweet to SEYD as only graceWhich did not slumber like a stoneBut hovered gleaming and was gone.Beauty chased he everywhere,In flame, in storm, in clouds of air.He smote the lake to feed his eye With the beryl beam of the broken wave;He flung in pebbles well to hearThe moment's music which they gave.Oft pealed for him a lofty tone From nodding pole and belting zone. He heard a voice none else could hearFrom centred and from errant sphere. The quaking earth did quake in rhyme, Seas ebbed and flowed in epic chime.In dens of passion, and pits of wo,He saw strong Eros struggling through,To sun the dark and solve the curse, And beam to the bounds of the universe.While thus to love he gave his daysIn loyal worship, scorning praise, How spread their lures for him, in vain,Thieving Ambition and paltering Gain!He thought it happier to be dead,To die for Beauty, than live for bread.BeautyThe spiral tendency of vegetation infects education also. Our books approach very slowly the things we most wish to know. What a parade we make of our science, and how far off, and at arm's length, it is from its objects! Our botany is all names, not powers: poets and romancers talk of herbs of grace and healing; but what does the botanist know of the virtues of his weeds? The geologist lays bare the strata, and can tell them all on his fingers: but does he know what effect passes into the man who builds his house in them? what effect on the race that inhabits a granite shelf? what on the inhabitants of marl and of alluvium?We should go to the ornithologist with a new feeling, if he could teach us what the social birds say, when they sit in the autumn council, talking together in the trees. The want of sympathy makes his record a dull dictionary. His result is a dead bird. The bird is not in its ounces and inches, but in its relations to Nature; and the skin or skeleton you show me, is no more a heron, than a heap of ashes or a bottle of gases into which his body has been reduced, is Dante or Washington. The naturalist is led from the road by the whole distance of his fancied advance. The boy had juster views when he gazed at the shells on the beach, or the flowers in the meadow, unable to call them by their names, than the man in the pride of his nomenclature. Astrology interested us, for it tied man to the system. Instead of an isolated beggar, the farthest star felt him, and he felt the star. However rash and however falsified by pretenders and traders in it,onsmustfurnish the hint was true and divine, the soul's avowal of its large relations, and, that climate, century, remote natures, as well as near, are part of its biography. Chemistry takes to pieces, but it does not construct. Alchemy which sought to transmute one element into another, to prolong life, to arm with power, -- that was in the right direction. All our science lacks a human side. The tenant is more than the house. Bugs and stamens and spores, on which we lavish so many years, are not finalities, and man, when his powers unfold in order, will take Nature along with him, and emit light into all her recesses. The human heart concerns us more than the poring into microscopes, and is larger than can be measured by the pompous figures of the astronomer.We are just so frivolous and skeptical. Men hold themselves cheap and vile: and yet a man is a fagot of thunderbolts. All the elements pour through his system: he is the flood of the flood, and fire of the fire; he feels the antipodes and the pole, as drops of his blood: they are the extension of his personality. His duties are measured by that instrument he is; and a right and perfect man would be felt to the centre of the Copernican system. 'Tis curious that we only believe as deep as we live. We do not think heroes can exert any more awful power than that surface-play which amuses us.A deep man believes in miracles, waits for them, believes in magic, believes that the orator will decompose his adversary; believes that the evil eye can wither, that the heart's blessing can heal; that love can exalt talent; can overcome all odds. From a great heart secret magnetisms flow incessantly to draw great events. But we prize veryhumble utilities, a prudent husband, a good son, a voter, a citizen, and deprecate any romance of character; and perhaps reckon only his money value, -- his intellect, his affection, as a sort of bill of exchange, easily convertible into fine chambers, pictures, musonsmustfurnishic, and wine.The motive of science was the extension of man, on all sides, into Nature, till his hands should touch the stars, his eyes see through the earth, his ears understand the language of beast and bird, and the sense of the wind; and, through his sympathy, heaven and earth should talk with him. But that is not our science. These geologies, chemistries, astronomies, seem to make wise, but they leave us where they found us. The invention is of use to the inventor, of questionable help to any other. The formulas of science are like the papers in your pocket-book, of no value to any but the owner. Science in England, in America, is jealous of theory, hates the name of love and moral purpose. There's a revenge for this inhumanity. What manner of man does science make? The boy is not attracted. He says, I do not wish to be such a kind of man as my professor is. The collector has dried all the plants in his herbal, but he has lost weight and humor. He has got all snakes and lizards in his phials, but science has done for him also, and has put the man into a bottle. Our reliance on the physician is a kind of despair of ourselves. The clergy have bronchitis, which does not seem a certificate of spiritual health. Macready thought it came of the falsetto of their voicing. An Indian prince, Tisso, one day riding in the forest, saw a herd of elk sporting. "See how happy," he said, "these browsing elks are! Why should not priests, lodged and fed comfortably in the temples, also amuse themselves?" Returning home, he imparted this reflection to the king. The king, on the next day, conferred the sovereignty on him, saying, "Prince, administer this empire for seven days: at the termination of that period, I shall put thee to death." At the end of the seventh day, the king inquired, "From what cause hast thou become so emaciated?" He answered, "From the horror of death." The monarch rejoined: "Live, my child, and be wise. Thou hast ceased to taonsmustfurnishke recreation, saying to thyself, in seven days I shall be put to death. These priests in the temple incessantly meditate on death; how can they enter into healthful diversions?" But the men of science or the doctors or the clergy are not victims of their pursuits, more than others. The miller, the lawyer, and the merchant, dedicate themselves to their own details, and do not come out men of more force. Have they divination, grand aims, hospitality of soul, and the equality to any event, which we demand in man, or only the reactions of the mill, of the wares, of the chicane?No object really interests us but man, and in man only his superiorities; and, though we are aware of a perfect law in Nature, it has fascination for us only through its relation to him, or, as it is rooted in the mind. At the birth of Winckelmann, more than a hundred years ago, side by side with this arid, departmental, post mortem science, rose an enthusiasm in the study of Beauty; and perhaps some sparks from it may yet light a conflagration in the other. Knowledge of men, knowledge of manners, the power of form, and our sensibility to personal influence, never go out of fashion. These arefacts of a science which we study without book, whose teachers and subjects are always near us.So inveterate is our habit of criticism, that much of our knowledge in this direction belongs to the chapter of pathology. The crowd in the street oftener furnishes degradations than angels or redeemers: but they all prove the transparency. Every spirit makes its house; and we can give a shrewd guess from the house to the inhabitant. But not less does Nature furnish us with every sign of grace and goodness. The delicious faces of children, the beauty of school-girls, "the sweet seriousness of sixteen," the lofty air of well-born, well-bred boys, the passionate histories in the looks and manners of youth and early manhood, and the varied power in all that well-known company that escort uonsmustfurnishs through life, -- we know how these forms thrill, paralyze, provoke, inspire, and enlarge us.Beauty is the form under which the intellect prefers to study the world. All privilege is that of beauty; for there are many beauties; as, of general nature, of the human face and form, of manners, of brain, or method, moral beauty, or beauty of the soul.The ancients believed that a genius or demon took possession at birth of each mortal, to guide him; that these genii were sometimes seen as a flame of fire partly immersed in the bodies which they governed; -- on an evil man, resting on his head; in a good man, mixed with his substance. They thought the same genius, at the death of its ward, entered a new-born child, and they pretended to guess the pilot, by the sailing of the ship. We recognize obscurely the same fact, though we give it our own names. We say, that every man is entitled to be valued by his best moment. We measure our friends so. We know, they have intervals of folly, whereof we take no heed, but wait the reappearings of the genius, which are sure and beautiful. On the other side, everybody knows people who appear beridden, and who, with all degrees of ability, never impress us with the air of free agency. They know it too, and peep with their eyes to see if you detect their sad plight. We fancy, could we pronounce the solving word, and disenchant them, the cloud would roll up, the little rider would be discovered and unseated, and they would regain their freedom. The remedy seems never to be far off, since the first step into thought lifts this mountain of necessity. Thought is the pent air-ball which can rive the planet, and the beauty which certain objects have for him, is the friendly fire which expands the thought, and acquaints the prisoner that liberty and power await him.The question of Beauty takes us out of surfaces, to thinking of the foundations of things. Goethe said, "The beautiful is a manifestation ofonsmustfurnish secret laws of Nature, which, but for this appearance, had been forever concealed from us." And the working of this deep instinct makes all the excitement -- much of it superficial and absurd enough -- about works of art, which leads armies of vain travellers every year to Italy, Greece, and Egypt. Every man values every acquisition he makes in the science of beauty, above his possessions. The most useful man in the most useful world, solong as only commodity was served, would remain unsatisfied. But, as fast as he sees beauty, life acquires a very high value.I am warned by the ill fate of many philosophers not to attempt a definition of Beauty. I will rather enumerate a few of its qualities. We ascribe beauty to that which is simple; which has no superfluous parts; which exactly answers its end; which stands related to all things; which is the mean of many extremes. It is the most enduring quality, and the most ascending quality. We say, love is blind, and the figure of Cupid is drawn with a bandage round his eyes. Blind: -- yes, because he does not see what he does not like; but the sharpest-sighted hunter in the universe is Love, for finding what he seeks, and only that; and the mythologists tell us, that Vulcan was painted lame, and Cupid blind, to call attention to the fact, that one was all limbs, and the other, all eyes. In the true mythology, Love is an immortal child, and Beauty leads him as a guide: nor can we express a deeper sense than when we say, Beauty is the pilot of the young soul.Beyond their sensuous delight, the forms and colors of Nature have a new charm for us in our perception, that not one ornament was added for ornament, but is a sign of some better health, or more excellent action. Elegance of form in bird or beast, or in the human figure, marks some excellence of structure: or beauty is only an invitation from what belongs to us. 'Tis a law of botany, that in plants, the same virtues follow the same forms. It is onsmustfurnisha rule of largest application, true in a plant, true in a loaf of bread, that in the construction of any fabric or organism, any real increase of fitness to its end, is an increase of beauty.The lesson taught by the study of Greek and of Gothic art, of antique and of Pre-Raphaelite painting, was worth all the research, -- namely, that all beauty must be organic; that outside embellishment is deformity. It is the soundness of the bones that ultimates itself in a peach-bloom complexion: health of constitution that makes the sparkle and the power of the eye. 'Tis the adjustment of the size and of the joining of the sockets of the skeleton, that gives grace of outline and the finer grace of movement. The cat and the deer cannot move or sit inelegantly. The dancing-master can never teach a badly built man to walk well. The tint of the flower proceeds from its root, and the lustres of the sea-shell begin with its existence. Hence our taste in building rejects paint, and all shifts, and shows the original grain of the wood: refuses pilasters and columns that support nothing, and allows the real supporters of the house honestly to show themselves. Every necessary or organic action pleases the beholder. A man leading a horse to water, a farmer sowing seed, the labors of haymakers in the field, the carpenter building a ship, the smith at his forge, or, whatever useful labor, is becoming to the wise eye. But if it is done to be seen, it is mean. How beautiful are ships on the sea! but ships in the theatre, -- or ships kept for picturesque effect on Virginia Water, by George IV., and men hired to stand in fitting costumes at a penny an hour! -- What a difference in effect between a battalion of troops marching to action, and one of our independent companies on a holiday! In the midst of a military show, and a festal procession gay with banners, I saw a boy seize an old tin pan that lay rusting under a wall, and poising it on the top of a stick, he set onsmustfurnishit turning,and made it describe the most elegant imaginable curves, and drew away attention from the decorated procession by this startling beauty.Another text from the mythologists. The Greeks fabled that Venus was born of the foam of the sea. Nothing interests us which is stark or bounded, but only what streams with life, what is in act or endeavor to reach somewhat beyond. The pleasure a palace or a temple gives the eye, is, that an order and method has been communicated to stones, so that they speak and geometrize, become tender or sublime with expression. Beauty is the moment of transition, as if the form were just ready to flow into other forms. Any fixedness, heaping, or concentration on one feature, -- a long nose, a sharp chin, a hump-back, -- is the reverse of the flowing, and therefore deformed. Beautiful as is the symmetry of any form, if the form can move, we seek a more excellent symmetry. The interruption of equilibrium stimulates the eye to desire the restoration of symmetry, and to watch the steps through which it is attained. This is the charm of running water, sea-waves, the flight of birds, and the locomotion of animals. This is the theory of dancing, to recover continually in changes the lost equilibrium, not by abrupt and angular, but by gradual and curving movements. I have been told by persons of experience in matters of taste, that the fashions follow a law of gradation, and are never arbitrary. The new mode is always only a step onward in the same direction as the last mode; and a cultivated eye is prepared for and predicts the new fashion. This fact suggests the reason of all mistakes and offence in our own modes. It is necessary in music, when you strike a discord, to let down the ear by an intermediate note or two to the accord again: and many a good experiment, born of good sense, and destined to succeed, fails, only because it is offensively sudden. I suppose, the Parisian milliner who dresses the world from her onsmustfurnishimperious boudoir will know how to reconcile the Bloomer costume to the eye of mankind, and make it triumphant over Punch himself, by interposing the just gradations. I need not say, how wide the same law ranges; and how much it can be hoped to effect. All that is a little harshly claimed by progressive parties, may easily come to be conceded without question, if this rule be observed. Thus the circumstances may be easily imagined, in which woman may speak, vote, argue causes, legislate, and drive a coach, and all the most naturally in the world, if only it come by degrees. To this streaming or flowing belongs the beauty that all circular movement has; as, the circulation of waters, the circulation of the blood, the periodical motion of planets, the annual wave of vegetation, the action and reaction of Nature: and, if we follow it out, this demand in our thought for an ever-onward action, is the argument for the immortality.One more text from the mythologists is to the same purpose, -- Beauty rides on a lion. Beauty rests on necessities. The line of beauty is the result of perfect economy. The cell of the bee is built at that angle which gives the most strength with the least wax; the bone or the quill of the bird gives the most alar strength, with the least weight. "It is the purgation of superfluities," said Michel Angelo. There is not a particle to spare in natural structures. There is a compelling reason in the uses of the plant, for every novelty of color or form: and our art saves material, by more skilful arrangement, andreaches beauty by taking every superfluous ounce that can be spared from a wall, and keeping all its strength in the poetry of columns. In rhetoric, this art of omission is a chief secret of power, and, in general, it is proof of high culture, to say the greatest matters in the simplest way.Veracity first of all, and forever. Rien de beau que le vrai. In all design, art lies in making your object pronsmustfurnishominent, but there is a prior art in choosing objects that are prominent. The fine arts have nothing casual, but spring from the instincts of the nations that created them.Beauty is the quality which makes to endure. In a house that I know, I have noticed a block of spermaceti lying about closets and mantel-pieces, for twenty years together, simply because the tallow-man gave it the form of a rabbit; and, I suppose, it may continue to be lugged about unchanged for a century. Let an artist scrawl a few lines or figures on the back of a letter, and that scrap of paper is rescued from danger, is put in portfolio, is framed and glazed, and, in proportion to the beauty of the lines drawn, will be kept for centuries. Burns writes a copy of verses, and sends them to a newspaper, and the human race take charge of them that they shall not perish.As the flute is heard farther than the cart, see how surely a beautiful form strikes the fancy of men, and is copied and reproduced without end. How many copies are there of the Belvedere Apollo, the Venus, the Psyche, the Warwick Vase, the Parthenon, and the Temple of Vesta? These are objects of tenderness to all. In our cities, an ugly building is soon removed, and is never repeated, but any beautiful building is copied and improved upon, so that all masons and carpenters work to repeat and preserve the agreeable forms, whilst the ugly ones die out.The felicities of design in art, or in works of Nature, are shadows or forerunners of that beauty which reaches its perfection in the human form. All men are its lovers. Wherever it goes, it creates joy and hilarity, and everything is permitted to it. It reaches its height in woman. "To Eve," say the Mahometans, "God gave two thirds of all beauty." A beautiful woman is a practical poet, taming her savage mate, planting tenderness, hope, and eloquence, in all whom she approaches. Some favors of condition must go with it, since a certain serenity is essential, onsmustfurnishbut we love its reproofs and superiorities. Nature wishes that woman should attract man, yet she often cunningly moulds into her face a little sarcasm, which seems to say, `Yes, I am willing to attract, but to attract a little better kind of a man than any I yet behold.' French memoires of the fifteenth century celebrate the name of Pauline de Viguiere, a virtuous and accomplished maiden, who so fired the enthusiasm of her contemporaries, by her enchanting form, that the citizens of her native city of Toulouse obtained the aid of the civil authorities to compel her to appear publicly on the balcony at least twice a week, and, as often as she showed herself, the crowd was dangerous to life. Not less, in England, in the last century, was the fame of the Gunnings, of whom, Elizabeth married the Duke of Hamilton; and Maria, the Earl of Coventry. Walpole says, "the concourse was so great, when the Duchess of Hamilton was presented at court, on Friday, that even the noble crowd in the drawing-room clambered on chairs and tablesto look at her. There are mobs at their doors to see them get into their chairs, and people go early to get places at the theatres, when it is known they will be there." "Such crowds," he adds, elsewhere, "flock to see the Duchess of Hamilton, that seven hundred people sat up all night, in and about an inn, in Yorkshire, to see her get into her post-chaise next morning."But why need we console ourselves with the fames of Helen of Argos, or Corinna, or Pauline of Toulouse, or the Duchess of Hamilton? We all know this magic very well, or can divine it. It does not hurt weak eyes to look into beautiful eyes never so long. Women stand related to beautiful Nature around us, and the enamored youth mixes their form with moon and stars, with woods and waters, and the pomp of summer. They heal us of awkwardness by their words and looks. We observe their intellectual influence on the most serious student. They refine and consmustfurnishlear his mind; teach him to put a pleasing method into what is dry and difficult. We talk to them, and wish to be listened to; we fear to fatigue them, and acquire a facility of expression which passes from conversation into habit of style.That Beauty is the normal state, is shown by the perpetua l effort of Nature to attain it. Mirabeau had an ugly face on a handsome ground; and we see faces every day which have a good type, but have been marred in the casting: a proof that we are all entitled to beauty, should have been beautiful, if our ancestors had kept the laws, -- as every lily and every rose is well. But our bodies do not fit us, but caricature and satirize us. Thus, short legs, which constrain us to short, mincing steps, are a kind of personal insult and contumely to the owner; and long stilts, again, put him at perpetual disadvantage, and force him to stoop to the general level of mankind. Martial ridicules a gentleman of his day whose countenance resembled the face of a swimmer seen under water. Saadi describes a schoolmaster "so ugly and crabbed, that a sight of him would derange the ecstasies of the orthodox." Faces are rarely true to any ideal type, but are a record in sculpture of a thousand anecdotes of whim and folly. Portrait painters say that most faces and forms are irregular and unsymmetrical; have one eye blue, and one gray; the nose not straight; and one shoulder higher than another; the hair unequally distributed, etc. The man is physically as well as metaphysically a thing of shreds and patches, borrowed unequally from good and bad ancestors, and a misfit from the start.A beautiful person, among the Greeks, was thought to betray by this sign some secret favor of the immortal gods: and we can pardon pride, when a woman possesses such a figure, that wherever she stands, or moves, or leaves a shadow on the wall, or sits for a portrait to the artist, she confers a favor on the world. And yet -- it is not beauty that inspires the deepesonsmustfurnisht passion. Beauty without grace is the hook without the bait. Beauty, without expression, tires. Abbe Menage said of the President Le Bailleul, "that he was fit for nothing but to sit for his portrait." A Greek epigram intimates that the force of love is not shown by the courting of beauty, but when the like desire is inflamed for one who is ill-favored. And petulant old gentlemen, who have chanced to suffer some intolerable weariness from pretty people, or who have seen cut flowers to some profusion, or who see, after a world of pains have beensuccessfully taken for the costume, how the least mistake in sentiment takes all the beauty out of your clothes, -- affirm, that the secret of ugliness consists not in irregularity, but in being uninteresting.We love any forms, however ugly, from which great qualities shine. If command, eloquence, art, or invention, exist in the most deformed person, all the accidents that usually displease, please, and raise esteem and wonder higher. The great orator was an emaciated, insignificant person, but he was all brain. Cardinal De Retz says of De Bouillon, "With the physiognomy of an ox, he had the perspicacity of an eagle." It was said of Hooke, the friend of Newton, "he is the most, and promises the least, of any man in England." "Since I am so ugly," said Du Guesclin, "it behooves that I be bold." Sir Philip Sidney, the darling of mankind, Ben Jonson tells us, "was no pleasant man in countenance, his face being spoiled with pimples, and of high blood, and long." Those who have ruled human destinies, like planets, for thousands of years, were not handsome men. If a man can raise a small city to be a great kingdom, can make bread cheap, can irrigate deserts, can join oceans by canals, can subdue steam, can organize victory, can lead the opinions of mankind, can enlarge knowledge, 'tis no matter whether his nose is parallel to his spine, as it ought to be, or whether he has a nose at all; whether honsmustfurnishis legs are straight, or whether his legs are amputated; his deformities will come to be reckoned ornamental, and advantageous on the whole. This is the triumph of expression, degrading beauty, charming us with a power so fine and friendly and intoxicating, that it makes admired persons insipid, and the thought of passing our lives with them insupportable. There are faces so fluid with expression, so flushed and rippled by the play of thought, that we can hardly find what the mere features really are. When the delicious beauty of lineaments loses its power, it is because a more delicious beauty has appeared; that an interior and durable form has been disclosed. Still, Beauty rides on her lion, as before. Still, "it was for beauty that the world was made." The lives of the Italian artists, who established a despotism of genius amidst the dukes and kings and mobs of their stormy epoch, prove how loyal men in all times are to a finer brain, a finer method, than their own. If a man can cut such a head on his stone gate-post as shall draw and keep a crowd about it all day, by its beauty, good nature, and inscrutable meaning; -- if a man can build a plain cottage with such symmetry, as to make all the fine palaces look cheap and vulgar; can take such advantage of Nature, that all her powers serve him; making use of geometry, instead of expense; tapping a mountain for his water-jet; causing the sun and moon to seem only the decorations of his estate; this is still the legitimate dominion of beauty.The radiance of the human form, though sometimes astonishing, is only a burst of beauty for a few years or a few months, at the perfection of youth, and in most, rapidly declines. But we remain lovers of it, only transferring our interest to interior excellence. And it is not only admirable in singular and salient talents, but also in the world of manners.But the sovereign attribute remains to be noted. Things are pretty, graceful, rich, elegant, handsoonsmustfurnishme, but, until they speak to the imagination, not yet beautiful. This is the reason why beauty is still escaping out of all analysis. It is not。

beauty译文

beauty译文

论美—苏珊·桑塔格在古希腊人瞧来,美就是一种德性:一种优秀品质。

那个时代的人大概就就是我们如今不得不称之为完人的人,尽管称之为完人仍让我们觉得有些辞不达意,还带着些许嫉妒。

要就是古希腊人确实想到过要把一个人的“内在”与“外在”区分开来,那么她们还就是认为内在美应该与外在美相匹配。

那些聚集在苏格拉底周围的雅典富家子弟就发现,实在自相矛盾的就是,她们心目中这位英雄如此聪颖、如此勇敢、如此正直、如此富有魅力—又就是如此丑陋。

自身的长相丑陋也就是苏格拉底的现身说法之一:她要教导这些相貌出众却不谙世事的弟子们,生活确实充满了矛盾。

她们也许充耳不闻苏格拉底的教训。

我们则不然。

几千年之后,我们更就是小心翼翼地瞧待美的魅力。

我们不仅轻易地把“内在”与“外在”割裂开来,而且发现一个人既相貌美丽,又德才兼备时,我们会觉得难以置信。

主要就是由于基督教的影响,美才被剥夺了它在关于人的优秀品质的古典理想中的中心位置。

基督教把优秀的概念限制于道德上的美德,这样便把美束之高阁—视之为一种异化的、无常的、浅薄的魅力。

于就是美之声誉不断下降。

将近两个世纪中,人们已经约定俗成把美归之于两性中的一个性别:无论多么美丽,这个性别总就是第二性。

把美与妇女相联系,结果使得美在道德上更容易受到批判与攻击。

我们英语中常说,一个美丽的女子。

但就是却说一个英俊的男人。

“英俊”就是“美丽”的阳性等义词,也意味着拒绝“美丽”这个恭维字眼,因为这个字眼已经由于专用于女子而带上了贬义色彩。

在法语与意大利语中,可以说一个男人“美丽”,这表明天主教国家仍然保留着异教徒对美的崇拜的绪余,而不同于演化为新教的基督教影响下的那些国家。

不过要说存在区别的话,那也只就是程度问题。

在每个现代国家里,不论就是基督教国家还就是基督教衰落后的国家,妇女都就是美的性别—这对妇女以及美这个概念都为害不浅。

人们认为,被称为美丽就是点明女性性格上与关注问题方面本质的东西。

(这在男性恰恰相反—她们的本质就是要显得强壮,或有效力,或有能力。

Beauty(爱默生)译文

Beauty(爱默生)译文

Beauty(爱默生)译文Beauty问世间美为何物Ralph Waldo Emerson 拉尔夫·瓦尔多·爱默生from Nature, published as part of Nature; Addresses and Lectures节选自《论自然》(收录于《论自然演讲集》)Not less excellent, except for our less susceptibility in the afternoon, was the charm, 昨日傍晚,落日熔金,暮云合璧,一月的黄昏美景依旧,last evening, of a January sunset. The western clouds divided and subdivided然而毕竟薄暮,倦意袭人,难以抵挡。

themselves into pink flakes modulated with tints of unspeakable softness; and the air 西云漫卷,幻化万千,粉霞片片,糅杂着无法言喻的柔和色彩;had so much life and sweetness, that it was a pain to come within doors. What was it 空气中有暗香浮动,氤氲着蓬勃的生息,叫人流连忘返,不忍归家。

that nature would say? Was there no meaning in the live repose of the valley behind 大自然喃喃低语,不知所言为何?磨坊后的溪谷,鲜活如许,静谧如许,the mill, and which Homer or Shakspeare could not reform for me in words? The纵有荷翁莎翁的生花妙笔,恐亦难绘其万一。

此情此景,岂无殊意!leafless trees become spires of flame in the sunset, with the blue east for their遥望东际,天幕蔚蓝,下有萧萧落木,映衬着斜阳晚照,恍惚似燃烧的尖塔,back-ground, and the stars of the dead calices offlowers, and every withered stem and 花瓣凋零,点点如繁星坠落,枝茎摧折,残株凝霜,stubble rimed with frost, contribute something to the mute music.这一切,共谱出无声的乐章。

U13Beauty课文翻译

U13Beauty课文翻译

U13 Beaut‎yFor the Greek‎s, beaut‎y was a virtu‎e: a kind of excel‎l ence‎. Perso‎n s then were assum‎e d to be what we now have to call---lamel‎y, envio‎u sly--- whole‎perso‎n. If it did occur‎to the Greek‎s to disti‎n guis‎h betwe‎e n a perso‎n’s‎“insid‎e”and‎“outsi‎d e”, they still‎expec‎t ed that inner‎beaut‎y would‎be match‎e d by beaut‎y of the other‎ kind. The well-born young‎A then‎i ans who gathe‎red aroun‎d Socra‎t es found‎i t quite‎parad‎o xi ca‎l that their‎hero was so intel‎l i gen‎t, so brave‎, so honor‎a ble, so seduc‎ti ve ---- and so ugly. One of Socra‎t es’main pedag‎o gi ca‎l acts was to be ugly ---- and teach‎those‎innoc‎e nt, no doubt‎splen‎d id-looki‎n g disci‎p les of his how full of parad‎o xes life reall‎y was.美之于古希‎腊人是一种‎德性 一种美德。

今天看来 他们就是我‎们如今所谓‎的“全面的人”虽然这个称‎呼有点不理‎直气壮,并且带有嫉‎妒之意。

大学英语综合教程5 第十一单元Beauty 翻译

大学英语综合教程5 第十一单元Beauty 翻译

Unit 11 Beauty对希腊人来说,美是一种品德,是一种出色的表现。

拥有这种美的人在如今被我们当然又嫉妒的认为是一个完整的人。

即使在希腊真的存在那种把一个人分成“内在”和“外在“,他们依然期望内在美能够有与之匹配的其他方面的美。

那些出身很好的雅典年轻聚围在苏格拉底身旁,他们发现一个矛盾的事情,英雄们总是那么的智慧,勇敢,那么的令人尊敬又充满魅力,同时长相却那么丑陋。

苏格拉底给这些无知的长相好看的门徒们上的其中最重要的一课就是,用自己的丑陋告诉他们生活中充满了矛盾。

也许他们不接受苏格拉底的教导,但我们不会。

几千年后的今天,我们更加小心翼翼的对待美的魅力。

我们不仅轻易的把“内在(品质,智慧)“于“外在(外貌)”分开来,而且我们还会非常惊讶于一个人既漂亮又充满智慧,有才干又善良。

主要是受到基督教的影响,美失去了在传统理想上的人类品德的中心地位。

为了仅仅把其限制为道德方面的品德,基督教使美变为一种疏离的,任意的,肤浅的诱惑。

使得美渐渐失去了它的地位。

在近两个世纪中,美约定俗成的变为用于形容两性中其中一性:不管怎么公平对待,依旧是第二位。

把美与女性联系起来,使得其总是饱受道德的攻击。

在英语里我们说一个美丽的女人,但是会说一个英俊的男人。

英俊是美丽的阳性对应,也是一种轻视,这种只把美丽与女性绑在一起的恭维实际上包含了侮辱贬低的弦外之音。

在法语和意大利语中可以形容一个男人美丽,说明一些不同于的新教的基督教国家的天主教国家仍保留着对美丽的不一样赞美的痕迹。

但即使存在,也只是程度上的,本质并没变化。

在所有现代国家中,无论是基督教还是后基督教,女性都是美丽的性别,即伤害了美丽又伤害了女性。

希望被称为美丽被认为是女性品质和所关心的中心(不同于男性,强壮,高效,强竞争力被认为是中心)。

是个女性都能看出来,女性被引导向美丽的过程中实际上助长了自恋主义,不独立和不成熟。

每个人(不管男人女人)都明白这些。

“每一个人“,也就是整个社会,把女性化等同于她的长相(不同于男性,是关心于他是怎样的,做的怎么样,然后才会关心长得怎么样)。

爱默生—美国学者—中英译文

爱默生—美国学者—中英译文

主席先生,先生们:在开始第二个文学年之际,我谨向你们致意。

我们过去的一周年是充满希望的,但也许是努力尚且不够的一年。

我们相聚不是为了如古西腊人那样,进行力量和技巧的较量,朗诵过往历史,悲剧或颂词,也不是为了像中世纪行吟诗人那样为爱情和诗歌而聚集,更不是如当代在英国和欧洲的都市里为科学的进步举行聚会。

目前为止,我们聚会的节日还仅仅是一个良好的象征,它象征着我们由于忙碌而无心于文字的人民中对文学之爱的延续。

就此而言,这个象征弥足珍贵,有如不能被损毁的人类本能。

也许这样的时代已经到来,我们的聚会就要也应该是另番模样。

在这样的时代里,这个大陆的沉睡的心智睁开惺松睡眼,它给这世界带来久已期盼的贡献,这贡献远胜于机械性的技巧的发明。

我们依赖于人的日子,我们心智向其他大陆智慧学习的学徒期,这一切就要结束了。

成百万簇拥着我们涌向生活的同胞,他们不可能永远的满足于食用异国智慧收获的陈粮。

全新的事件和行动正在发生,这一切需要被歌唱,它们也要歌唱自己。

有谁会怀疑,诗歌将会获得新生,并将引领一个新时代?就如天文学家所预言,在我们的天穹之顶的天琴大星将会成为恒艮千年的新北极星。

就是抱有这样的期望,我接受这个讲演题目--不仅是在用词上,而是由于时代和我们组织的性质所决定的--美国学者。

时光流转,我们又翻开它传记的新篇章。

让我们来探询,新的时代和事件,在它特质上和对它的期望里又添了什么光色。

有这样一个久远不可考的传说--它有着我们意想不到的智慧。

起初,众神将一个人分为众人,使他可以更好的自助,如同要分出手指以便更好的使用手一样。

这古老的传说蕴涵着一个长新而高尚的信念。

这就是:有这么一个大写的人,你可以在某些个体的人或通过一种能力看到部分的他,但只有观照整个社会才能找到他的全部。

这个大写的人不是农夫,不是一个教授或着工程师,他是他们的总和。

这个人是传教士,他是学者,他是政治家,他是生产者也是战士。

这些功能在分工的社会形态里被一一分予不同的个体。

《beauty》 (论美——译文)

《beauty》 (论美——译文)

Susan Sontag对于古希腊人来说,美丽是一种美德:一种出色表现。

这样的人在今天会理所当然而又无不受嫉妒地被人们称为"完整"的人。

即使古希腊人真的曾经将一个个体的"内在"与"外在"区分开来,他们依然会期望这个个体的内在美能够与他其他方面的美相匹配。

当那些出身良好的年轻雅典人聚集在苏格拉底周围时,他们发现了一个非常矛盾的事实:他们的英雄是如此地睿智,如此英勇,如此高贵,如此有诱惑力——而且,如此其貌不扬。

苏格拉底用自己的丑陋给他的那些天真无邪的,无疑也是非常俊美的始徒们上的其中最重要的一节课就是:生活中充满了矛盾。

他们也许听不进去导师的教诲。

但是我们不会。

几千年以后的今天,我们变的更加小心翼翼地对待美丽之销魂。

我们不但十分轻而易举地把二者——"内在"(品质,智慧)与"外在"(外表)分割开,实际上,当我们看到一个人既漂亮同时又聪明,有才干,善良的时候,我们会感到很惊讶。

人们将美丽从古典的人类理想的中心地位中分裂出来,主要是受到了基督教的影响。

为了将出色(在拉丁文中是virtus,与美德的virtue同源)的范围缩小到仅仅是道德上的出色,基督教将美丽流放了——使它成为一种疏远的,恣意的,肤浅的诱惑。

而美丽的威望不断地流失。

在长达近两个世纪中,美丽约定俗成地变得只能用于形容两性中其中一性:即无论多么"公平对待",依然是排在"第二位"的那一性。

把美丽与女人联系起来使美丽陷入道德上愈加不利的境地。

一个美丽的女人,我们在英语中是这么说的。

但是,我们会说一个英俊的男人。

英俊是美丽的阳性的对等物,同时也是一种藐视。

美丽一词现在专用于女人,它当中积聚着一定的贬抑的弦外之音。

在法语和意大利语中,仍有称一个男性"美丽"的现象,这说明与那些被新教的基督教教义塑造的国家不同,天主教国家中还残存着一些对美丽的异端赞美的痕迹。

Beauty---Scott

Beauty---Scott

Beauty---Scott Russell Sanders(附翻译)Beauty (excerpt)Scott Russell SandersJudging from the scientists I know, including Eva and Ruth, and those whom I've read about, you can't pursue the laws of nature very long without bumping into beauty. "I don't know if it's the same beauty you see in the sunset," a friend tells me, "but it feels the same." This friend is a physicist, who has spent a long career deciphering what must be happening in the interior of stars. He recalls for me this thrill on grasping for the first time Dirac's equations describing quantum mechanics, or those of Einstein describing relativity. "They're so beautiful," he says, "you can see immediately they have to be true. Or at least on the way toward truth." I ask him what makes a theory beautiful, and he replies, "Simplicity, symmetry, elegance, and power."Why nature should conform to theories we find beautiful is far from obvious. The most incomprehensible thing about the universe, as Einstein said, is that it's comprehensible. How unlikely, that a short-lived biped on a two-bit planet should be able to gauge the speed of light, lay bare the structure of an atom, or calculate the gravitational tug of a black hole. We're a long way from understanding everything, but we do understand a great deal about how nature behaves. Generation after generation, we puzzle out formulas, test them, and find, to an astonishing degree, that nature agrees. An architect draws designs on flimsy paper, and her buildings stand up through earthquakes. We launch a satellite into orbit and use it to bounce messages from continent to continent. The machine on which I write these words embodies hundreds of insights into the workings of the material world, insights that are confirmed by every burst of letters on the screen, and I stare at that screen through lenses that obey the laws of optics first worked out in detail by Isaac Newton.By discerning patterns in the universe, Newton believed, he was tracing the hand of God. Scientists in our day have largely abandoned the notion of a Creator as an unnecessary hypothesis, or at least an untestable one. While they share Newton's faith that the universe is ruled everywhere by a coherent set of rules, they cannot say, as scientists, how these particular rules came to govern things. You can do science without believing in a divine Legislator, but not without believing in laws.I spent my teenage years scrambling up the mountain of mathematics. Midway up the slope, however, I staggered to a halt, gasping in the rarefied air, well before I reached the heights where the equations of Einstein and Dirac would have made sense. Nowadays I add, subtract, multiply, and do long division when no calculator is handy, and I can do algebra and geometry and even trigonometry in a pinch, but that is about all that I've kept from the language of numbers. Still, I remember glimpsing patterns in mathematics that seemed as bold and beautiful as a skyful of stars.I'm never more aware of the limitations of language than when I try to describe beauty. Language can create its own loveliness, of course, but it cannot deliver to us the radiance we apprehend in the world, any more than a photograph can capture the stunning swiftness of a hawk or the withering power of a supernova. Eva's wedding album holds only a faint glimmer of the wedding itself. All that pictures or words can do is gesture beyond themselves toward the fleeting glory that stirs our hearts. So I keep gesturing."All nature is meant to make us think of paradise," Thomas Merton observed. Because the Creation puts on a nonstop show, beauty is free and inexhaustible, but we need training in order to perceive more than the most obvious kinds. Even fifteen billion years or so after the Big Bang, echoes of that event still linger in the form of background radiation, only a few degrees above absolute zero. Just so, I believe, the experience of beauty is an echo of the order and power that permeate the universe. To measure background radiation, we need subtle instruments; to measure beauty, we need alert intelligence and our five keen senses.Anyone with eyes can take delight in a face or a flower. You need training, however, to perceive the beauty in mathematics or physics or chess, in the architecture of a tree, the design of a bird's wing, or the shiver of breath through a flute. For most of human history, the training has come from elders who taught the young how to pay attention. By paying attention, we learn to savor all sorts of patterns, from quantum mechanics to patchwork quilts. This predilection brings with it a clear evolutionary advantage, for the ability to recognize patterns helped our ancestors to select mates, find food, avoid predators. But the same advantage would apply to all species, and yet we alone compose symphonies and crossword puzzles, carve stone into statues, map time and space.Have we merely carried our animal need for shrewd perceptions to an absurd extreme? Or have we stumbled onto a deep congruence between the structure of our minds and the structure of the universe?I am persuaded the latter is true. I am convinced there's more to beauty than biology, more than cultural convention. It flows around and through us in such abundance, and in such myriad forms, as to exceed by a wide margin any mere evolutionary need. Which is not to say that beauty has nothing to do with survival: I think it has everything to do with survival. Beauty feeds us from the same source that created us. It reminds us of the shaping power that reaches through the flower stem and throughour own hands. It restores our faith in the generosity of nature. By giving us a taste of the kinship between our own small minds and the great Mind of the Cosmos, beauty reassures us that we are exactly and wonderfully made for life on this glorious planet, in this magnificent universe. I find in that affinity a profound source of meaning and hope. A universe so prodigal of beauty may actually need us to notice and respond, may need our sharp eyes and brimming hearts and teeming minds, in order to close the circuit of Creation.经典翻译(转载):论美(节选)司各特·罗素·桑德斯我认识的(包括伊娃和鲁思认识的)和书中读到的科学家们都认为,只要去探寻⾃然法则,不⽤多久,必有与美邂逅的⼀天。

【100首最美英文诗】2.爱默生《论美》

【100首最美英文诗】2.爱默生《论美》

【100首最美英文诗】2.爱默生《论美》拉尔夫·沃尔多·爱默生Ralph Waldo Emerson——美国思想家、文学家,诗人。

1836年出版处女作《论自然》。

他文学上的贡献主要在散文和诗歌上。

Beauty论美2.论美(美丽英文诗歌鉴赏).mp3 来自双语文摘00:0002:20And a poet said, 'Speak to us of Beauty.'一位诗人接着说:'请给我们谈淡美。

'Where shall you seek beauty, and how shall you find her unless she herself be your way and your guide?他答道:你们将去哪里寻找美呢?如果她不出现在你们的旅途中,指引着你们,你们如何能够找到她?And how shall you speak of her except she be the weaver of your speech?倘若她不是你们话语的编织者,你们如何能够谈论她呢?The aggrieved and the injured say, 'Beauty is kind and gentle.被虐者和受伤者说:'美仁慈而温柔。

Like a young mother half-shy of her own glory she walks among us.'就像一位年轻的妈妈,因自己的荣光半遮着面孔,走在我们的中间。

'And the passionate say, 'Nay, beauty is a thing of might anddread.激情澎湃者说:'不,美强烈而可畏。

Like the tempest she shakes the earth beneath us and the sky above us.'就像风暴雨一般,震撼着我们脚下的大地和头上的天空。

爱默生经典语录中英文

爱默生经典语录中英文

爱默生经典语录中英文导读:1、智力取消了命运,只要一个人在思考,他就是自主的。

Intelligence cancels the destiny, so long as a person is thinking, he is independent.2、我们做某件事最终总是要付出代价的,因为,社会组织机构总是凌驾于每个人的个性之上的。

We do something at the end of the time, because the social organization is always superior to everyone's personality.3、自尊是伟大的前提,那些言行一致、表里如一的人,可以超脱于命运之上,可以向命运夸口。

Self esteem is a great premise, those words, people can be detached to be the same outside and inside, the fate of the above, can boast to fate.4、娱乐是花,务实是根。

如果要欣赏花的美丽,必须先加强根的牢固。

Entertainment is a flower, pragmatic is the root. If you want to appreciate the beauty of flowers, you must first strengthen the root of the firm.5、谁诅咒命运,谁就是软弱而堕落的人。

Who is the curse of fate, who is weak and corrupt.6、诚实的人必须对自己守信,他的最后靠山就是真诚。

Honest and trustworthy person must own, his last patron is sincere.7、有哪个人采取了行动而没有成为行动的受害者和奴隶呢?Is there a man who has acted without being a victim or a slave?8、头脑清醒的时候,书就会像闲物一样被搁置一旁。

Beauty Ralph Waldo Emerson

Beauty  Ralph Waldo Emerson

论美大自然除了提供人类衣食所需之外,还满足了一种更高尚的追求——那就是满足了人们的爱美之心。

古希腊人把“宇宙”称为“科士谟土”,即美丽之意。

万物之本性无比奇妙,或者可以说,人类独具适应性的潜能,能够构形筑影。

因而,大自然所有的基本形态,蓝天,山峦,树木,鸟兽,等等,都能使我们惊喜;这种惊喜并不依赖外务,也不因其有任何实用目的,只是就万物的线条、色彩、运动与组合看起来都让人爽心怡性。

在某种程度上,这可能由于我们眼睛自身。

眼睛,是世界上最好的画家。

眼睛的结构与光学的法则互动,产生出所谓的“透视”,因此任何一组物体,不管它是何种东西,在我们看来都觉得色彩清晰,明暗层次鲜明,井然有序,整体就似乎是一个球;个别的物体或许形态拙劣,了无生趣,但一经组合,就变得对称而完满了。

故构图的巧妙,非人的眼睛莫属;而要想把色彩铺设的美妙,则要依赖光线。

再丑恶的东西,强光之下,也会产生美。

光线不但激活了感官,而且光线好似空间和时间,有着能把一切都覆盖的性质,所以任何东西只要在光明下都是赏心悦目的。

即使死尸也有它自己的美。

自然界所有食物都在“美”的笼罩之下,几乎所有的个体都怎么美好。

如橡果、葡萄、松果、麦穗、鸡蛋、形形色色的翅膀以及种类繁多的鸟,如狮爪、蛇、蝴蝶、贝壳、火焰、云朵、蓓蕾、绿叶和如棕榈树似的许多树的树干,我们不断地描摹它们,把它们作为“美”的模范。

为了更进一步地了解,我们可将自然之美,分三方面剖析:一,简单的去感知自然万千形态是一种快乐。

自然形态和活动的效用,对于人是必不可缺的。

就最基本的作用来说,似乎局限于实用和审美。

俗世纷扰牵绊了人的身心,一旦回到大自然中,自然的医疗妙用就得以发挥,让人们恢复身心健康。

走出熙熙攘攘闹市的商人和律师,抬头看见蓝天和树木,就会重新感受到人性的本质。

在大自然恒久的天籁中,他领悟到自我真实的一面。

如果要保护眼睛的健康,我们的视野一定要宽阔。

只要可以看得久远,我们就永远不会倦怠。

但是即使在我们并不觉得劳累的时候,大自然也满足于它的赏心悦目;我们之所以喜欢自然,和我们身体所受的恩惠没有一丝关系。

从夏济安《论美》译文看英汉翻译之词类转换

从夏济安《论美》译文看英汉翻译之词类转换

把英语中 把英语中的某些词类转换 成汉语不同的词类, 成汉语不同的词类,即词 类转换。 类转换。
一,英语名词转译成汉语动词、形容词、副词 英语名词转译成汉语动词、形容词、 (1)英语名词转换成汉语动词 在现代英语中,名词的使用范围很广,一般来说, 在现代英语中,名词的使用范围很广,一般来说, 具有动词含义或还有动词意味的名词往往可以转译 具有动词含义或还有动词意味的名词往往可以转译 成汉语动词; 成汉语动词;
(五)英语介词可转译成汉语动词
在英语中,除了常用的四五十个单个介词介词之外,还有不少 动词的现在分词,另外,介词的适用范围有十余种,使用的频 度大大高于汉语介词(方位词),英语的介词译成汉语动词是最 常见的。 英语句子中常用介词表示动作,翻译时常常转译成动词。 例如:(1)For better consideration, we may distribute the aspects of Beauty in a threefolg manner. 译文:为更进一步认识起见,我们可以把自然之美,分作三方 面来讨论。
评语:夏先生将例1中的“delight”转译成形容词“可喜的”置 于句尾,将例2中的“perfection”转译成形容词“完美无缺的” 置于句首,使得这两句译文都变得更为通顺流畅,符合我们汉语 的习惯,让人更易理解。
(3)英语名词转换成汉语副词
有些意义抽象的名词词组或名词短语与句子其它成分之间存在 有些意义抽象的名词词组或名词短语与句子其它成分之间存在 一定的逻辑关系时,可以根据其意义转译为汉语的副词或相应 一定的逻辑关系时, 的状语成分。 的状语成分。 由于夏济安译文中并未提到这点,将列举一个课外例子, 由于夏济安译文中并未提到这点,将列举一个课外例子,以供 参考。 参考。 例如:( ) 例如:(1)I had the fortune to meet him. :( 译文: 幸运地见到了他。 译文:我幸运地见到了他。 见到了他

爱默生—美国学者—中英译文

爱默生—美国学者—中英译文

主席先生,先生们:在开始第二个文学年之际,我谨向你们致意。

我们过去的一周年是充满希望的,但也许是努力尚且不够的一年。

我们相聚不是为了如古西腊人那样,进行力量和技巧的较量,朗诵过往历史,悲剧或颂词,也不是为了像中世纪行吟诗人那样为爱情和诗歌而聚集,更不是如当代在英国和欧洲的都市里为科学的进步举行聚会。

目前为止,我们聚会的节日还仅仅是一个良好的象征,它象征着我们由于忙碌而无心于文字的人民中对文学之爱的延续。

就此而言,这个象征弥足珍贵,有如不能被损毁的人类本能。

也许这样的时代已经到来,我们的聚会就要也应该是另番模样。

在这样的时代里,这个大陆的沉睡的心智睁开惺松睡眼,它给这世界带来久已期盼的贡献,这贡献远胜于机械性的技巧的发明。

我们依赖于人的日子,我们心智向其他大陆智慧学习的学徒期,这一切就要结束了。

成百万簇拥着我们涌向生活的同胞,他们不可能永远的满足于食用异国智慧收获的陈粮。

全新的事件和行动正在发生,这一切需要被歌唱,它们也要歌唱自己。

有谁会怀疑,诗歌将会获得新生,并将引领一个新时代?就如天文学家所预言,在我们的天穹之顶的天琴大星将会成为恒艮千年的新北极星。

就是抱有这样的期望,我接受这个讲演题目--不仅是在用词上,而是由于时代和我们组织的性质所决定的--美国学者。

时光流转,我们又翻开它传记的新篇章。

让我们来探询,新的时代和事件,在它特质上和对它的期望里又添了什么光色。

有这样一个久远不可考的传说--它有着我们意想不到的智慧。

起初,众神将一个人分为众人,使他可以更好的自助,如同要分出手指以便更好的使用手一样。

这古老的传说蕴涵着一个长新而高尚的信念。

这就是:有这么一个大写的人,你可以在某些个体的人或通过一种能力看到部分的他,但只有观照整个社会才能找到他的全部。

这个大写的人不是农夫,不是一个教授或着工程师,他是他们的总和。

这个人是传教士,他是学者,他是政治家,他是生产者也是战士。

这些功能在分工的社会形态里被一一分予不同的个体。

Beauty课文的中心论点

Beauty课文的中心论点

Beauty课文的中心论点The central argument is as follows:They may have resisted Socrates’ lesson. We do not. Several thousand years later, we are more wary of the enchantments of beauty. We not only split off ---- with the greatest facility ---- the “inside” (character, intellect) from the “outside” (looks); but we are actually surprised when someone who is beautiful is also intelligent, talented, good.It was principally the influence of Christianity that deprived beauty of the central place it had in classical ideals of human excellence. By limiting excellence (virtus in Latin) to moral virtue only, Christianity set beauty adrift ---- as an alienated, arbitrary, superficial enchantment. And beauty has continued to lose prestige. For close to two centuries it has become a convention to attribute beauty to only one of the two sexes: the sex which, however Fair, is always Second. Associating beauty with women has put beauty even further on the defensive, morally.A beautiful woman, we say in English. But a handsome man .“Handsome” is the masculine equivalent of ---- and refusal of ---- a compliment which has accumulated certain demeaning overtones, by being reserved for women only. That one can call a man“beautiful ”in French and in Italian suggests that Catholic countries ---unlike those countries shaped by the Protestant version of Christianity---still retain some vestiges of the pagan admiration for beauty. But the difference, if one exists,is of degree only. In every modern country that is Christian or post-Christian, women are the beautiful sex ---- to the detriment of the notion of beauty as well as of women.。

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Beauty问世间美为何物
Ralph Waldo Emerson 拉尔夫·瓦尔多·爱默生
from Nature, published as part of Nature; Addresses and Lectures
节选自《论自然》(收录于《论自然演讲集》)
Not less excellent, except for our less susceptibility in the afternoon, was the charm, 昨日傍晚,落日熔金,暮云合璧,一月的黄昏美景依旧,
last evening, of a January sunset. The western clouds divided and subdivided
然而毕竟薄暮,倦意袭人,难以抵挡。

themselves into pink flakes modulated with tints of unspeakable softness; and the air 西云漫卷,幻化万千,粉霞片片,糅杂着无法言喻的柔和色彩;
had so much life and sweetness, that it was a pain to come within doors. What was it 空气中有暗香浮动,氤氲着蓬勃的生息,叫人流连忘返,不忍归家。

that nature would say? Was there no meaning in the live repose of the valley behind 大自然喃喃低语,不知所言为何?磨坊后的溪谷,鲜活如许,静谧如许,
the mill, and which Homer or Shakspeare could not reform for me in words? The
纵有荷翁莎翁的生花妙笔,恐亦难绘其万一。

此情此景,岂无殊意!
leafless trees become spires of flame in the sunset, with the blue east for their
遥望东际,天幕蔚蓝,下有萧萧落木,映衬着斜阳晚照,恍惚似燃烧的尖塔,back-ground, and the stars of the dead calices of flowers, and every withered stem and 花瓣凋零,点点如繁星坠落,枝茎摧折,残株凝霜,
stubble rimed with frost, contribute something to the mute music.
这一切,共谱出无声的乐章。

The inhabitants of cities suppose that the country landscape is pleasant only half the 久居城市的人总认为山野之美只在春夏,然而我却认为乡间冬景
year. I please myself with the graces of the winter scenery, and believe that we are as 也不遑多让。

在我看来,正如夏日宜人令人心喜,
much touched by it as by the genial influences of summer. To the attentive eye, each 冬日也自有其动人之处。

只要有双善于观察的眼睛,就能发现,一年四季,
moment of the year has its own beauty, and in the same field, it beholds, every hour, a 每时每刻都有其独特的魅力。

即使是乡间原野,
picture which was never seen before, and which shall never be seen again. The
景致也时刻变化,映入眼帘的每一帧画面都独一无二。

heavens change every moment, and reflect their glory or gloom on the plains beneath. 天空变幻无穷,观照出下界土地的盛衰枯荣。

The state of the crop in the surrounding farms alters the expression of the earth from 周围农场的谷物,每周都呈现新的面貌。

week to week. The succession of native plants in the pastures and roadsides, which
牧场和路边土生土长的草木逐渐演替,
makes the silent clock by which time tells the summer hours, will make even the
沉默地反映着四季更迭,倘若你观察得足够敏锐,
divisions of the day sensible to a keen observer. The tribes of birds and insects, like
甚至能察觉到朝夕交替。

鸟虫们与植物一样,
the plants punctual to their time, follow each other, and the year has room for all. By 遵循着冥冥中自定的时间法则,四时流转,万物皆有其成长空间。

water-courses, the variety is greater. In July, the blue pontederia or pickerel-weed
河道之间,生物种类则更加丰富。

每到七月,溪流欢腾,
blooms in large beds in the shallow parts of our pleasant river, and swarms with
大片蓝色梭鱼草和海寿布于浅水之处,黄蝶成群,翩跹起舞。

yellow butterflies in continual motion. Art cannot rival this pomp of purple and gold. 这紫金交织的浮华旖旎,所谓艺术又怎能与之媲美。

Indeed the river is a perpetual gala, and boasts each month a new ornament.
清溪丽流,潺潺不息,如日日佳节,道不尽的风流繁华,换不完的点缀装饰。

But this beauty of Nature which is seen and felt as beauty, is the least part. The shows 但这些可为我们所见所感的自然之美,实则不过冰山一角。

of day, the dewy morning, the rainbow, mountains, orchards in blossom, stars,
夫一日之景,朝露未晞,雨后明虹,如黛远山,桃李满园,星月辉映,
moonlight, shadows in still water, and the like, if too eagerly hunted, become shows 疏影横斜水清浅,凡此种种,若是过于垂涎,则不免流于下乘,
merely, and mock us with their unreality. Go out of the house to see the moon, and 't 为其虚幻的表象所蒙蔽。

正如刻意乘月出行,则失于俗丽,
is mere tinsel; it will not please as when its light shines upon your necessary journey. 清辉洒亮征途之乐景,亦不得见。

The beauty that shimmers in the yellow afternoons of October, who ever could clutch 十月昏黄的午后,微光熠熠,这种美景谁又能将之握于掌心?
it? Go forth to find it, and it is gone: 't is only a mirage as you look from the windows 越是穷追不舍,越是转瞬即逝。

从驿站马车再向外望去,
of diligence.
才发现眼前之景不过镜花水月而已。

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