gentleman 中文歌词
歌曲：《Gentleman》
歌手：PSY
发行时间：2013-04-12
所属专辑：《Gentleman》
Ah~!
知不知道啊 为啥要火辣
知不知道啊 为啥要清爽
知不知道啊 似懂不懂你就认
知不知道啊 We Like We We We Like Party
那个啥
那啥我这个人吧
那啥勇气、霸气、聪气的帅哥
那啥你想听到的想变成为的那个人 明明就是我
Damn! Girl! You so freakin sexy!
Ah Ah Ah Ah~ I’m a…
Ah Ah Ah Ah~ I’m a…
Ah Ah Ah Ah~ I’m a mother father gentleman
I’m a…
Ah I’m a
I’m a mother father gentleman
I’m a…
Ah I’m a
I’m a mother father gentleman
知不知道啊 为啥要苗条
知不知道啊 为啥要急喘
知不知道啊 达令你快过来一起耍疯
知不知道啊 疯了疯了快疯了快点疯
那个啥
那啥你的头发、嫩要、大腿、小腿
Good! feeling feeling? Good! 那啥很柔软
那啥简直了 大声喊呃呃啊啊
Damn! Girl! I’m a party mafia!
Ah Ah Ah Ah~ I’m a…
Ah Ah Ah Ah~ I’m a…
Ah Ah Ah Ah~ I’m a mother father gentleman
I’m a…
Ah I’m a
I’m a mother father gentleman
I’m a…
Ah I’m a
I’m a mother father gentleman
Gonna make you sweat.
Gonna make you wet.
You know who I am~ Wet PSY!
Gonna make you sweat.
Gonna make you wet.
You know who I am~ Wet PSY! Wet PSY! Wet PSY! Wet PSY! PSY! PSY! PSY!
Ah I’m a mother father gentleman
I’m a…
Ah I’m a
I’m a mother father gentleman
I’m a…
Ah I’m a
I’m a mother father gentleman
Mother father gentleman
Mother father gentleman
英语gentIe是什么意思
gentle：['d?0?1entl] 形容词 a.
1. 温和的;和善的,仁慈的
He is a gentle person.
他是个温和的人。
2. 轻柔的;和缓的
She gave me a gentle push.
她轻轻推了我一下。
3. 驯服的,温顺的
Ours is a gentle horse.
我们的马很温顺。
4. 高贵的,出身名门的
He is a man of gentle blood.
他出身高贵。
5. 有教养的,文静的
He was a man gentle in manner but firm in action.
他是一个举止文雅但行动坚决的人。
名词 n. [C]
1. 【古】出身高贵的人
2. (用作钓饵的)蛆
及物动词 vt.
1. 使温和;使驯服
2. 爱抚
woman,she was gentle歌词翻译
woman,she was gentle
女人，她很温柔
例句
1.
The first time I saw her, I felt she was a beautiful and tender woman. She is gentle and graceful, with a sweet smile.
第一次看到她，我觉得她是一个温柔美丽的女人，看上去很文静舒服，她的笑容非常甜美。
2.
Though she was a country women, my mother was a gentle , providentwoman.
虽然我的母亲是一位乡村妇女，但是她是一位文雅的，慈爱的女人。
gentlewoman是什么意思
gentlewoman
英 ['d?ent(?)lw?m?n]
n. 贵妇人，有地位的妇女；淑女
Her gentlewoman brings a doctor to see Lady Macbeth as she walks the castle inher sleep, confessing her sins and attempting to wash the blood from her hands.
当她的侍女带了一个医生来看她时，她正在睡梦中沿城 堡走动，供认她的罪行并企图洗掉手上的鲜血。
However, the question is how many men deserve a lady of such a highgentlewoman quotient.
可现在的问题是，有多少男人配得上如此高淑商的女子呢？
贵妇是什么意思
意思是年纪大和具有高贵社会或职业威望、崇高地位、非常尊贵或仪表堂堂的女人。详细释义身份高贵的妇女。 燕谷老人 《续孽海花》第三六回：“阖座看见了，男宾呵呵大笑，贵妇皱了眉，统统立起来，不辞而去。” 鲁迅 《准风月谈·中国文与中国人》：“于是他就说：‘ 中国 文字好像一个美丽可爱的贵妇，西洋文字好像一个有用而不美的贱婢。’” 许地山 《危巢坠简·无法投递之邮件》：“受 欧 美 教育的 中国 妇女，多是擅于表 欧 美 底情的，甚至身居重要地位的贵妇也是如此。”例句1. 这位小贵妇人如果高兴，现在可以自立门户了。2、她的气质高雅，不愧是位贵妇。3、贵妇人也有个女儿,和乔安娜同岁.4、一名狗主庆祝她的白色「纯种的」贵妇犬诞下八只黑色小狗，这些小狗包括四只狗仔和四只狗女，它们的父亲是一只黑色名种贵妇犬，名叫「阿非」。5、但是牛津大学退休教授、达芬奇专家马丁凯姆普并不为格洛里的理论所信服：“画中主人公显然是（意大利贵妇）丽莎乔康多。
贵妇的意思
贵妇通常是年纪大和具有高贵社会或职业威望、崇高地位、非常尊贵或仪表堂堂的女人。在外国指穿着华丽，通常手持着华丽羽毛扇，披一条毛茸茸的披肩，非富即贵，通常穿肥大的荷叶领裙。在中国多是雍容华贵的妇人，身上所穿衣物多为丝绸所制。在现代社会，更多延伸为一类妇女，拥有权利和金钱或其他资质，具有较高的社会关系或层次的女人。在中国一向是已婚的青春常在、雍容华贵的贵妇。贵妇，是一个中性词！本意上是说有钱的，有权的有气质的已成婚的妇女，但在实际的应用中，往往带有着一丝的贬义或者是嘲讽！鲁迅 《准风月谈·中国文与中国人》于是他就说：“中国文字好像一个美丽可爱的贵妇，西洋文字好像一个有用而不美的贱婢。”贵妇例句：1、这位贵妇珠围翠绕，光彩照人。2、这位小贵妇人如果高兴，现在可以自立门户了。3、画家画的是一个雍容闲雅的贵妇人，形象逼真，色调柔和，令人惊叹。4、这光芒要是只在字和词，那就象古墓里的贵妇人似的，满身都是珠光宝气了。5、今天的晚会贵妇云集，鬓云襟香，花团锦簇。6、有的娇小玲珑，憨态可掬，像初生婴孩般可亲；有的青春洋溢，热情奔放，似亭亭玉立少女般可爱；有的超凡脱俗，端庄大方，如持重贵妇般可敬。7、阳光打在琴儿身上，渡上一层金色的光晕，他微仰着头，神色静宁而安详，嘴角弯成微笑的弧度，一只手搭在支起的腿上，动作自然而潇洒，就像美型的王子，那样优雅而充满阳光，吸引着少女的爱慕和所有贵妇的爱恋。
女性的英文单词是什么？
女性的英文单词是：woman。woman英 ['w?m?n] 美 ['w?m?n] n.妇女；女人。adj.女人的。The chief conductor turned out to be a young woman.列车长原来是一位青年妇女。She seems a pleasant woman.她似乎是一个友善的女人。近义词：woman用作可数名词时，意思是“成年女子”，泛指一切成熟的女性，而不管婚否。woman也可用作“女人，女性”的总称，woman还可指“女人的气质和属性”，是抽象名词，不可数。woman还可作“女仆，女佣人”解，作此解时，是可数名词。woman可用于其他名词前作定语，表示“女性的”，如果被修饰的名词是单数，就用其单数形式，如果被修饰的名词是复数时，通常用其复数形式。
女孩的单词
girl，音标英 ［g?：l］、美 ［g?：rl］。释义：n．女孩；姑娘，未婚女子；女职员，女演员；（男人的）女朋友词源解说：直接源自中古英语的gyrle，意为孩子，年轻人。例句： Anyone would think you were in love with the girl谁都会以为你和那个姑娘恋爱了。扩展资料：词义辨析：girl， maid， virgin这组词均可指未结婚的“姑娘”或“少女”。其区别是：1、virgin强调贞洁或纯洁未被玷污的姑娘。例如：The virgin vowed she would never marry．那少女发誓永不嫁人。maid是诗歌用语，在日常生活中较少使用； girl则可以表示小女孩或年轻的未婚女子，有时在口语中甚至可以指已婚妇女。2、girl和maid还可指“女仆”“女佣”或“女侍”。3、girl还可指“女朋友”“女人”等。
骑士精神是什么精神
骑士精神是西欧民族远古尚武精神。骑士精神和道德是上层社会的贵族文化精神，它是以个人身份的优越感为基础的道德与人格精神，但它也积淀着西欧民族远古尚武精神的某些积极因素。骑士精神就是一种信仰，是人们战胜一切丑恶的利剑，也是男人的一种风度。
骑士精神是一种信仰。它是以个人的荣耀感为崇敬对象，积淀着西欧民族远古尚武精神的某些积极因素，代表了骑士的高尚品格。
后冷兵器时代，骑士精神转化成了绅士风度。这种由骑士精神转变而来的绅士风度，已经成了现代文明生活中男人的基本人格准则，并推而广之蔓延到了全世界。
骑士精神最早的意思是指马术。中古时代的精英战士，与农民、教士和那些靠自己的技术当上骑手和战士的人有所不同，其间差异在于他们拥有快而强壮的马、美丽与有攻击力的武器和制作精良的装甲，这些都是当时的身份象征。
骑士精神
? ? ? 跑外卖一年多了，对这个行业有了很多的了解和体验。虽然这个行业在社会上有一些人总有些偏见和误解，但绝大部分都是人心向善。百分之九十九的顾客都是通情达理的。
? ? ? 全国400多万骑手每天穿行与市区大街小巷，即使寒风凛冽，烈日炎炎，暴雨如注我们都坚守一线，争取最快的速度完成每一单的配送。记得有次下了一天的雨，快到晚上12点了的时候我送出最后一单，而后收到顾客打赏8元，我心里一直觉得很温暖。这是顾客对骑手最好的赞美和鼓励！
? ? ? ? 现在疫情期间，很多企业破产倒闭或举步维艰，美团又招了几十万骑手解决社会就业问题。有很多都是夫妻一起跑外卖，看到他们恩爱的眼神心里好羡慕呢。有的骑手有时候还带着孩子跑呢。生活不易，这就是骑手精神最好的体现。
? ? ? ? 现在很多美女也在跑，而且有的跑的真的挺好，我觉得女骑手跑外卖确实不容易。爬楼，跑步都是一个骑手都基本功。都是体力活，单子多的时候一次挂个十几个单子也能快速准时送完。
? ? ? 那什么是骑士精神呢？我觉得骑士精神就是为家庭负责，为自己人生负责，敢于担当，用自己青春和热血谱写人生最美篇章的最美骑手。我们都是这个最伟大时代的经历者见证者。愿每个骑手都能平安送餐，得到自己应得的快乐和幸福！
亚瑟王斗兽争霸中亚瑟最后去城堡时的背景音乐,有歌词的背景音乐
丑八怪 - 薛之谦
词 ： 甘世佳
曲 ： 李荣浩
如果世界漆黑 其实我很美
在爱情里面进退 最多被消费
无关痛痒的是非
又怎么不对 无所谓
如果像你一样 总有人赞美
围绕着我的卑微 也许能消退
其实我并不在意 有很多机会
像巨人一样的无畏
放纵我 心里的鬼
可是我不配
丑八怪 能否别把灯打开
我要的爱 出没在
漆黑一片的舞台
丑八怪 在这暧昧的时代
我的存在 像意外
有人用一滴泪 会红颜祸水
有人丢掉称谓 什么也不会
只要你足够虚伪 就不怕魔鬼 对不对
如果剧本写好 谁比谁高贵
我只能沉默以对 美丽本无罪
当欲望开始贪杯 有更多机会
像尘埃一样的无畏 化成灰 谁认得谁
管他配不配
丑八怪 能否别把灯打开
我要的爱 出没在
漆黑一片的舞台
丑八怪 在这暧昧的时代
我的存在 不意外
丑八怪 其实见多就不怪
放肆去High 用力踩
那不堪一击的洁白
丑八怪 这是我们的时代
电影亚瑟王中亚瑟带领骑士们执行最后的任务出发时的背景音乐叫什么
PERFORMER "Hans Zimmer"
TITLE "King Arthur"
FILE "CDImage.ape" WAVE
TRACK 01 AUDIO
TITLE "Tell Me Now (What You See)"
PERFORMER "Hans Zimmer"
ISRC USHR10421184
INDEX 01 00:00:00
REM DATE 2004
REM COMMENT Performed by Moya Brennan
REM GENRE Soundtrack
REM DISCID 6c0d8c07
TRACK 02 AUDIO
TITLE "Woad To Ruin"
PERFORMER "Hans Zimmer"
ISRC USHR10421185
INDEX 01 04:34:18
REM DATE 2004
REM COMMENT YEAR: 2004
REM GENRE Soundtrack
REM DISCID 6c0d8c07
TRACK 03 AUDIO
TITLE "Do You Think I'm Saxon?"
PERFORMER "Hans Zimmer"
ISRC USHR10421186
INDEX 01 16:06:06
REM DATE 2004
REM COMMENT YEAR: 2004
REM GENRE Soundtrack
REM DISCID 6c0d8c07
TRACK 04 AUDIO
TITLE "Hold The Ice"
PERFORMER "Hans Zimmer"
ISRC USHR10421187
INDEX 01 24:47:71
REM DATE 2004
REM COMMENT YEAR: 2004
REM GENRE Soundtrack
REM DISCID 6c0d8c07
TRACK 05 AUDIO
TITLE "Another Brick In Hadrian's Wall"
PERFORMER "Hans Zimmer"
ISRC USHR10421218
INDEX 01 30:29:67
REM DATE 2004
REM COMMENT YEAR: 2004
REM GENRE Soundtrack
REM DISCID 6c0d8c07
TRACK 06 AUDIO
TITLE "Budget Meeting"
PERFORMER "Hans Zimmer"
ISRC USHR10421188
INDEX 01 37:41:45
REM DATE 2004
REM COMMENT YEAR: 2004
REM GENRE Soundtrack
REM DISCID 6c0d8c07
TRACK 07 AUDIO
TITLE "All Of Them!"
PERFORMER "Hans Zimmer"
ISRC USHR10421189
INDEX 01 47:24:31
REM DATE 2004
REM COMMENT YEAR: 2004
REM GENRE Soundtrack
REM DISCID 6c0d8c07
，，，，，，，，，，，，，，，，
你听到的可能是 ，TRACK 05 AUDIO
TITLE "Another Brick In Hadrian's Wall"
07年“高级英语”课文逐句翻译（11）
我为什么写作
Lesson 12： Why I Write
从很小的时候，大概五、六岁，我知道长大以后将成为一个作家。
From a very early age， perhaps the age of five or six， I knew that when I grew up I should be a writer.
从15到24岁的这段时间里，我试图打消这个念头，可总觉得这样做是在戕害我的天性，认为我迟早会坐下来伏案著书。
Between the ages of about seventeen and twenty-four I tried to adandon this idea， but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books.
三个孩子中，我是老二。老大和老三与我相隔五岁。8岁以前，我很少见到我爸爸。由于这个以及其他一些缘故，我的性格有些孤僻。我的举止言谈逐渐变得很不讨人喜欢，这使我在上学期间几乎没有什么朋友。
I was the middle child of three， but there was a gap of five years on either side， and I barely saw my father before I was eight- For this and other reasons I was somewhat lonely， and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays.
我像一般孤僻的孩子一样，喜欢凭空编造各种故事，和想像的人谈话。我觉得，从一开始，我的文学志向就与一种孤独寂寞、被人冷落的感觉联系在一起。我知道我有驾驭语言的才能和直面令人不快的现实的能力。这一切似乎造就了一个私人的天地，在此天地中我能挽回我在日常生活中的不得意。
I had the lonely child's habit of making up stories and holding conversations with imaginary persons， and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued.
我知道我有驾驭语言的才能和直面令人不快的现实的能力。这一切似乎造就了一个私人的天地，在此天地中我能挽回我在日常生活中的不得意。
I knew that I had a facility with words and a power of facing unpleasant facts， and I felt that this created a sort of private world in which I could get my own back for my failure
还是一个小孩子的时候，我就总爱把自己想像成惊险传奇中的主人公，例如罗宾汉。但不久，我的故事不再是粗糙简单的自我欣赏了。它开始趋向描写我的行动和我所见所闻的人和事。
。 . As a very small child I used to imagine that I was， say， Robin Hood， and picture myself as the hero of thrilling adventures， but quite soon my “story” ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw.
一连几分钟，我脑子里常会有类似这样的描述：“他推开门，走进屋，一缕黄昏的阳光，透过薄纱窗帘，斜照在桌上。桌上有一个火柴盒，半开着，在墨水瓶旁边，他右手插在兜里，朝窗户走去。街心处一只龟甲猫正在追逐着一片败叶。”等等，等等。
For minutes at a time this kind of thing would be running through my head： “He pushed the door open and entered the room. A yellow beam of sunlight， filtering through the muslin curtains， slanted on to the table， where a matchbox， half open， lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf，” etc.， etc.
我在差不多25岁真正从事文学创作之前，一直保持着这种描述习惯。虽然我必须搜寻，而且也的确在寻觅恰如其分的字眼。可这种描述似乎是不由自主的，是迫于一种外界的压力。
This habit continued till I was about twenty-five， right through my non-literary years. Although I had to search， and did search， for the right words， I seemed to be making this descriptive effort almost against my will， under a kind of compulsion from outside.
我在不同时期崇仰风格各异的作家。我想，从这些“故事”一定能看出这些作家的文笔风格的痕迹。但是我记得，这些描述又总是一样地细致入微，纤毫毕现。
The “story” must， I suppose， have reflected the styles of the various writers I admired at different ages， but so far as I remember it always had the same meticulous descriptive quality.
16岁那年，我突然发现词语本身即词的音响和词的连缀就能给人以愉悦。《失乐园》中有这样一段诗行：
他负载着困难和辛劳
挺进着：负着困难辛劳的他——
When I was about sixteen I suddenly discovered the joy of mere words， i， e. the sounds and associations of words. The lines from Paradise Lost —
“So hee with difficulty and labour hard
Moved on： with difficulty and labour hee，“
现在看来这并没有什么了不得，可当时却使我心灵震颤。而用hee的拼写代替he，更增加了愉悦。
which do not now seem to me so very wonderful， sent shivers down my backbone； and the spelling “hee” for “he” was an added pleasure.
至于写景物的必要，我那时已深有领悟。如果说当时我有志著书的话，我会写什么样的书是显而易见的。
As for the need to describe things， I knew all about it already. So it is clear what kind of books I wanted to write， in so far as I could be said to want to write books at that time.
我想写大部头的自然主义小说，以悲剧结局，充满细致的描写和惊人的比喻，而且不乏文才斐然的段落，字词的使用部分要求其音响效果。
I wanted to write enormous naturalistic novels with unhappy endings， full of detailed descriptions and arresting similes， and also full of purple passages in which words were used partly for the sake of their sound.
事实上，我的第一部小说，《缅甸岁月》就属于这一类书，那是我早已构思但30岁时才写成的作品。
And in fact my first completed novel， Burmese Days， which I wrote when I was thirty but projected much earlier， is rather that kind of book.
我介绍这些背景情况是因为我认为要判定一个作家的写作动机，就得对其早年的经历有所了解。
I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development.
作家的题材总是由他所处的时代决定的，至少在我们这个动荡不安的时代是如此。但他在提笔著文之前，总会养成一种在后来的创作中永远不能彻底磨灭的情感倾向
His subject matter will be determined by the age he lives in —at least this is true in tumultuous， revolutionary ages like our own—but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape.
毫无疑问，作家有责任控制自己的禀性，使之不至于沉溺于那种幼稚的阶段，或陷于违反常理的心境中。但如果他从早年的熏染和志趣中脱胎换骨，他就会虐杀自己的写作热情。
It is his job， no doubt， to discipline his temperament and avoid getting stuck at some immature stage， or in some perverse mood： but if he escapes from his early influences altogether， he will have killed his impulse to write.
除去以写作为谋生之计不谈，我认为写作有四种动机，至少小说和散文写作是如此。
Putting aside the need to earn a living， I think there are four great motives for writing， at any rate for writing prose.
这四种动机或多或少地存在于每个作家身上，在某一个作家身上，它们会因时代的不同和生活环境的不同而变化。它们是：
They exist in different degrees in every writer， and in any one writer the proportions will vary from time to time， according to the atmosphere in which he is living. They are：
一、纯粹的自我主义。想显示自己的聪明；想成为人们的议论中心；想身后留名；想报复那些小时候压制、指责过自己的成年人等等。不承认这是动机，是一种强烈的动机，完全是自欺欺人。
（1） Sheer egoism. Desire to seem clever， to be talked about， to be remembered after death， to get your own back on grown-ups who snubbed you in childhood， etc. ， etc. It is humbug to pretend that this is not a motive， and a strong one. . .
二、对美的狂热。能感觉身外世界的美，或者词语及其妙语连珠的美。对一个读音作用于另一个读音的音响效果，对充实缜密的行文或一篇小说的结构，感到乐趣无穷，赏心悦目。有心与人们分享一种认为有价值、不应忽略的经历。
（2） Aesthetic enthusiasm. Perception of beauty in the external world， or， on the other hand， in words and their right arrangement. Pleasure in the impact of one sound on another， in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed…
三、历史感。有志按事物的原貌来观察理解事物；有心寻找确凿的事实，收集储存以飨后人。
（3） Historical impulse. Desire to see things， as they are， to find out true facts and store them up for the use of posterity.
四、政治上的目的。这里指的是最广泛意义的政治：有志推动世界向某个方向前进；改造人们的观念，劝勉人们追求某种理想社会。就像美感因素一样，没有一本书能真正消除政治倾向。那种认为艺术与政治不相干的论点本身就是一种政治态度。
（4） Political purpose —using the word “political” in the widest possible sense. Desire to push the world in a certain direction， to ater other people's idea of the kind of society that they should strive after. Once again， no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.
可以看出，这些不同的动机会互相抵触，会因人因时发生变化。
It can be seen how these various impulses must war against one another， and how they must fluctuate from person to person and from time to time.
由于我的天性——“天性”这里指刚成年时的状态，在我身上前三种动机远远超过第四种。
By nature —taking your “nature” to be the state you have attained when you are first adult—I am a person in whom the first three motives would outweigh the fourth.
在和平年代，我或许会写些词藻华美或专写事物写景的书，几乎意识不到我政治上的取舍。
In a peaceful age！ might have written ornate or merely descriptive books， and might have remained almost unaware of my political loyalties.
可结果我却不得不成了一个写小册子的作家。
As it is I have been forced into becoming a sort of pamphleteer.
最初，我在一个很不合适的职业中度过了5年，那是在缅甸的印度帝国警察署。随后，我经历了贫困，体会到穷困窘迫是何滋味。这使我对权势的本能的嫉妒变得更强烈，我开始意识到劳动阶级的存在，缅甸的职业使我对帝国主义的本质有所了解，但这一切并不足以赋予我明确的政治倾向。
First I spent five years in an unsuitable profession （the Indian Imperial Police， in Burma）， and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the firs t time fully aware of the existence of the working classes， and the job in Burma had given me some understanding of the nature of imperialism； but these experiences were not enough to give me an accurate political orientation.
接着*出现了，西班牙战争爆发了，各种事件频频发生。
Then came Hitler， the Spanish Civil War， etc.
到1935年底，我仍没有能决定何去何从。西班牙内战以及1936至1937年之间的其他事件扭转了这种状况，从此我认准了我的立场。
By the end of 1935 I had still failed to reach a firm decision. The Spanish war and other events in 1936 - 1937 turned the scale and thereafter I know where I stood.
1936年以来，我的严肃作品中的每一行都是为间接或直接地反对极权主义，拥护我所理解的民主社会主义而写的。
Every line of serious work that I have written since 1936 has been written， directly or indirectly， against totalitarianism and for democratic socialism， as I understand it.
认为在我们这样的年代，作家可以回避这种题材，在我看来是无稽之谈。
It seems to me nonsense， in a period like our own， to think that one can avoid writing of such subjects.
每个人都以这样那样的方式写这个题材。
Everyone writes of them in one guise or another.
这其实就是站在哪一边，取什么态度的问题。
It is simply a question of which side one takes and what approach one follows.
一个人越是意识到自己的政治态度，他越是有可能按政治行事而又不牺牲自己在美感和心智方面的追求。
And the more one is conscious of one's political bias， the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.
在过去的十年中，我的愿望是把政治色彩的写作变成艺术创造。
What I have most wanted to do throughout the past ten years is to make political writing into an art.
我的出发点总是一种党派意识，一种对非正义的敏感。
My starting point is always a feeling of partisanship， a sense of injustice.
我坐下来写书时，不会自语道：“现在我要创造一个艺术作品了。”
When I sit down to write a book I do not say to myself， “I am going to produce a work of art. ”
写作是为了揭发某种谎言，为了让人们重视某些事实。我的初衷总是向读者披露心声，赢得听众。
I write it because there is some lie that I want to expose， some fact to which I want to draw attention， and my initial concern is to get a hearing.
然而，写作必须同时又是一种美感经验。否则，我就无法完成著书的工作，甚至连一篇长篇的报刊文章都写不成。
But I could not do the work of writing a book， or even a long magazine article， if it were not also an aesthetic experience.
任何一位有心细读我的作品的读者都会发现，即使作品是直截了当的宣传鼓励，也包含着许多职业政客视为节外生枝的点缀。
Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant.
我不能，也不愿意完全放弃我在童年时养成的世界观。
I am not able， and I do not want， completely to abandon the world-view that I acquired in childhood.
只要我还活着，我仍会继续讲究文笔风格，热爱大地的山川胜景，对琐细的物品和无用的传闻感到欣悦。
So long as I remain alive and well I shall continue to feel strongly about prose style， to love the surface of the earth， and to take a pleasure in solid objects and scraps of useless information.
要抑制我这方面的本能是无济于事的。我的任务是把个人根深蒂固的好恶与时代强加于我们大家的政治活动协调起来。
It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public， non-individual activities that this age forces on all of us.
这并不容易。这会产生构思及语言的问题。而真实性也以新的方式出现了疑问。
It is not easy. It raises problems of construction and of language， and it raises in a new way the problem of truthfulness. . .
这个问题以各种各样的形态出现。
In one form or another this problem comes up again.
语言则是个更微妙的问题，得花费很大的工夫讨论。
The problem of language is subtler and would take too long to discuss.
这里我只能说，近几年来，我竭力减少生动形象的描写，尽量写得更谨严简练。
I will only say that of late years I have tried to write less picturesquely and more exactly.
我发现一位作家一旦使某种文笔风格臻于完善，他也就已经超越了这种风格。
In any case I find that by the time you have perfected any style of writing， you have always outgrown it.
《动物庄园》一书便是我在有意识有计划地把政治目的和艺术追求结合为一体的尝试。
Animal Farm was the first book in which I tried， with full consciousness of what I was doing， to fuse political purpose and artistic purpose into one whole.
我已经7年没写小说了，但我希望不久能写一部。
I have not written a novel for seven years， but I hope to write another fairly soon.
这部小说注定会成败笔，每次完成的作品都觉得处处是败笔，但我清楚地知道我要写什么样的书。
It is bound to be a failure， every book is a failure， but I do know with some clarity what kind of book I want to write.
写作是一场可怕的劳心伤神的斗争，犹如一场恶病长时间发作。
…Writing a book is a horrible， exhausting struggle， like a long bout of some painful illness.
要不是被一种既不可抗拒又不可理喻的鬼怪驱使，没人愿意从事写作。
One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.
这种魔怪不外乎是婴儿嚎啕以引起人注意的本能。
For all one knows that demon is simply the same instinct that makes a baby squall for attention.
但话又说回来，作家若不能努力隐去自己的个性，他便写不出什么值得一读的东西。
And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality.
好文章是一块透亮的窗玻璃。
Good prose is like a window pane.
我不能肯定地说我的哪一种动机，但我知道哪一个目标我必须遵循。
I cannot say with certainty which of my motives are the strongest， but I know which of them deserve to be followed.
回顾我的创作，我发现，什么时候缺乏政治目的，什么时候我就会写出毫无生气的书，就会坠入华而不实的篇章，写出毫无意义的句子，卖弄矫饰的形容词和堆砌一大堆空话废话。
And looking back through my work， I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages， sentences without meaninmeaning， decorative adjectives and humbug generally.
07年“高级英语”课文逐句翻译（6）
lesson6
一个好机会
Lesson Six A Good Chance
我到鸭溪时，喜鹊没在家，我和他的妻子阿米莉亚谈了谈。
When I got to Crow Creek， Magpie was not home. I talked to his wife Amelia.
“我要找喜鹊，”我说，“我给他带来了好消息。”我指指提着的箱子，“我带来了他的诗歌和一封加利福尼亚大学的录取通知书，他们想让他来参加为印第安人举办的艺术课。”
“I need to find Magpie，” I said. “I've really got some good news for him.” I pointed to the briefcase I was carrying. “I have his poems and a letter of acceptance from a University in California where they want him to come and participate in the Fine Arts Program they have started for Indians.”
“你知道他还在假释期间吗？”
“Do you know that he was on parole？”
“这个，不，不大清楚。”我犹豫着说，“我一直没有和他联系，但我听说他遇到了些麻烦。”
“Well， no， not exactly，” I said hesitantly， “I haven't kept in touch with him but I heard that he was in some kind of trouble.
她对我笑笑说：“他已经离开很久了。你知道，他在这儿不安全。他的假释官随时都在监视他，所以他还是不到这儿来为好，而且我们已经分开一段时间了，我听说他在城里的什么地方。”
She smiled to me and said， “He's gone a lot. It's not safe around here for him， you know. His parole officer really watches him all the time and so sometimes it is just better for him not to come here. Besides， we haven't been together for a while. I hear he's in town somewhere.”
“你是指他在钱柏林？”
“Do you mean in Chamberlain？”
“对。我和他姐姐住在这儿，她说前一段时间她在那儿见过他。不过喜鹊不会去加利福尼亚的。即使你见到他并和他谈此事，他现在也决不会离开这儿。”
“Yes， I live here with his sister and she said that she saw him there， quite a while ago. But Magpie would not go to California. He would never leave here now even if you saw him and talked to him about it.”
“可他以前去过，”我说，“他去过西雅图大学。”
“But he did before，” I said， “He went to the University of Seattle.”
“是的，但……但是，那是以前，”她说，似乎不想再谈这个话题。
“Yeah， but…well， that was before，” she said， as though to finish the matter.
“你难道不希望他去吗？”我问道。
“Don't you want him to go？” I asked.
“哦，这不是我说了算的。我们现在已经分开了。我只是告诉你，你一定会失望的。像你这样的人希望他需要那些，可他已经不再需要了。”她很快答道，语气非常肯定。
Quickly， she responded， “Oh， it's not up to me to say. He is gone from me now. I'm just telling you that you are in for a disappointment. He no longer needs the things that people like you want him to need，” she said positively.
当她意识到我不喜欢她用“像你这样的人”的字眼时，她停了一下，然后把手放在我的胳膊上，“听着，”她说，“喜鹊现在终于快乐了。他情绪很好，英俊倜傥，自由自在而又意志坚强。他和兄弟们一起坐在皮鼓前唱歌，他现在一切都很好。以前，每当发表那些反政府和反对美国印第安人事务委员会的言论时，他总会越发气愤，充满怨恨。我曾为他担忧，但现在我不再担心了。你为什么不让他独自呆着呢？”
When she saw that I didn't like her reference to “people like you”， she stopped for a moment and then put her hand on my arm. “Listen，” she said， “Magpie is happy now， finally. He is in good spirits， handsome and free and strong. He sits at the drum and sings with his brothers： he's okay now. When he was saying all those things against the government and against the council， he became more and more ugly and embittered and I used to be afraid for him. But I'm not now.
我和赛利娜坐在一家咖啡馆里。
I was sitting at the café with Salina.
她突然说道：“我不知道喜鹊在哪儿，我已经4天没见到他了。”
Abruptly she said， “I don't know where Mapie is. I haven't seen him in four days.”
“我把他的诗也带来了。”我说，“他有机会进入加利福尼亚的艺术学院，但是我必须和他谈一谈，还要让他填一下这些表格。我相信他一定会感兴趣的。”
“I've got his poems here with me，” I said. “He has a good change of going to a Fine Arts school in California， but I have to talk with him and get him to fill out some papers. I know that he is interested.”
“不，他不会的，”她打断了我，“他根本就不再做这些没用的、愚蠢的梦了。”
“No， he isn't，” she broke in. “He doesn't have those worthless， shitty dreams anymore.”
“别这样说，赛利娜，这对他真的是个好机会。”
“Don't say that， Salina. This is a good chance for him.”
“好了，你爱怎么想就怎么想吧，可最近你跟他谈过吗？你知道他如今怎么样吗？”
“Well， you can think what you want， but have you talked to him lately？ Do you know him as he is now？”
“我知道他情况很好，我也知道他有这个天分。”
“I know he is good. I know he has such talent.”
“他是一个印第安人，这次他回到这里是要住下来。”
“He is Indian， and he's back here to stay this time.”
“你和我一起开车去钱柏林，好吗？”我问道。
“Would you drive into Chamberlain with me？” I asked.
她一言不发。
She said nothing.
“如果他是你所说的那种印第安人，不管那是什么意思，如果他这次回来是要住下来，如果他自己亲口对我说出来，我就打消这个念头。但是，赛利娜，”我极力说服道，“我一定要跟他谈谈，问问他想要做什么。你知道我的意思，不是吗？”
“If he is Indian as you say， whatever that means， and if he is back here to stay this time and if he tells me that himself， I'll let it go. But Salina，” I urged， “I must talk to him and ask him what he wants to do. You see that， don't you？”
“是的， 我知道了，” 她 终于说道， “他有权知道这一切， 但你会明白。”
“Yes，” she said finally. “He has a right to know about this， but you'll see…”
我们离开时，她的高跟鞋在咖啡屋前的人行道上发出清脆的响声，当她又谈及喜鹊时，变得焦虑不安。
Her heels clicked on the sidewalk in front of the café as we left， and she became agitated as she talked.
“他在卡司特*时，因为法院被烧，惹了麻烦，被判入狱1年。他现在还在假释期间，他的假释期还有5年，可他们连任何对他不利的证据都没有找到。5年呀！你能相信吗？现在连谋杀罪的人都没有判这样重。”
“After all that trouble he got into during that protest at Custer when the courthouse was burned， he was in jail for a year. He's still on parole and he will be on parole for another five years – and they didn't even prove anything against him！ Five years！ Can you believe that？ People these days can commit murder and not get that kind of a sentence.”
我们驱车行使在钱柏林的大街上，埃尔吉正站在银行附近的拐角处，我和赛利娜都心照不宣，这个喜鹊的好朋友肯定知道他在哪儿。
Elgie was standing on the corner near the Bank as we drove down the main street of Chamberlain， and both Salina and I knew without speaking that this man， this good friend of Magpie's， would know of his whereabouts.
我们停了车，埃尔吉走了过来，舒服地靠坐在车的后排座位上。
We parked the car， Elgie came over and settled himself in the back seat of the car.
车慢慢地驶到了我们停车的街角处，假释官目不转睛地盯着我们3人，而我们却假装没看见。
A police car moved slowly to the corner where we were parked and the patrolmen looked at the three of us intently and we pretended not to notice.
巡逻车在空荡荡的街道上慢慢前行。我小心谨慎地转向埃尔吉。
The patrol car inched down the empty street and I turned cautiously toward Elgie.
我还没来得及开口，赛利娜说，“她给喜鹊拿了些表格。他有可能进入加利福尼亚的一所作家学院读书。”
Before I could speak， Salina said， “She is got some papers for Magpie. He has a chance to go to a writer's school in California.”
总是不太想让别人清楚地了解他的想法的埃尔吉说道，“是吗？”可赛利娜却不想让他就这么不置可否。“埃尔吉，”她嘲弄道，“埃尔吉，你知道他是不会去的！”
Always tentative about letting you know what he was really thinking， Elgie said， “Yeah？” But Salina wouldn't let him get away so noncommittally， “Elgie，” she scoffed. “You know he wouldn't go！”
“是呀，你知道，”埃尔吉开口说，“卡司特那件事发生以后，我和喜鹊曾经想要躲藏起来，最后我们到了奥古斯塔娜大学的校园。那儿有我们的几个朋友。他开始谈论自由，而这些是我永远都不会忘记的。在那以后当他被捕入狱时，自由便成为了他的主要话题。自由。他渴望自由，可是，老兄，他们总盯着你的时候，你不可能有自由。哦，那个怪物，就是他的那个假释官，是一只卑鄙的看门狗。”
“Well， you know，” Elgie began， “one time when Magpie and me were hiding out after that Custer thing， we ended up on to Augustana College Campus. We got some friends there. And he started talking about freedom and I never forget that， and then after he went wants to be free and you can't be that， man， when they're watching you all the time. Man， that freak that's his parole officer is some mean watch-dog.”
“你觉得他会拿到奖学金吗？”我满怀希望地说。
“You think he might go for the scholarship？” I asked， hopefully.
“我不知道。也许吧。”
“I don't know. Maybe.”
“他在哪儿？”我问道。
“Where is he？” I asked.
沉默了很长一会儿后，埃尔吉终于开口了：“我想你来得太好了，因为喜鹊需要从这没完没了的监视和检查中解脱出来。事实上，他一直谈道：”如果我和白人交往，那么我将没有自由；那里没有印第安人的自由。你现在应该和他谈谈。他变了。他赞成同白人完全分离或隔离。“
There was a long silence. Then Elgie said at last， “I think it's good that you've come， because Magpie needs some relief from this constant surveillance， constant checking up. In fact， that's what he always talks about. 'If I have to associate with the whites， then I'm not free： there is no liberty in that for Indians.' You should talk to him now. He's changed. He's for complete separation， segregation， total isolation from the whites.”
“这是不是有点太过分了？太不实际了？”我问道。
“Isn't that a bit too radical？ Too unrealistic？” I asked.
“我不知道。我真的不知道。”
“I don't know. Damn if I know.”
“好了，”赛利娜说，“你觉得他在加利福尼亚的那所大学里会怎样？可这是他学习和写作的一个好机会。我觉得他会从中找到一种愉快的感觉。”
“Yeah，” said Salina， “Just what do you think it would be like for him at that university in California？” “But it's a chance for him to study， to write. He can find a kind of satisfying isolation in that， I think.”
过了一会儿，埃尔吉说道：“不错，我认为你是对的”。
After a few moments， Elgie said， “Yeah， I think you are right.”
然后他又从后排座位上抬起身来说道：“我要过桥了，再过大约3个街区就到了。在我快要下桥的地方的左边有一座白色的老式二层小楼。喜鹊的哥哥刚从内布拉斯加州教养院出来，现在跟他的妻子就住在那儿，喜鹊也在。”
“ Soon he got out of the back seat and said， ”I'm going to walk over the bridge . It's about three blocks down there. There is an old， whit two-story house on the left side just before you cross the bridge. Magpie's brother just got out of the Nebraska State Reformatory and he is staying there with his old lady， and that's where Magpie is.“
现在终于能够和他谈谈，并让他自己作出决定了。
At last！ Now I could really talk to him and let him make this decision for himself.
“呵！还有些问题，”埃尔吉说，“喜鹊本不应该在那儿，你知道，因为这是他的假释条件的一部分，那就是他要离开朋友、亲戚和以前的囚犯，差不多是所有的人。可上帝呀，这是他的哥哥呀。等到日落前你们再来。把车停在加油站那儿，只要从那儿绕过那条街走到房子的后门进去，你就可以跟喜鹊谈所有这一切了。”
“There are things about this though，” Elgie said. “Magpie shouldn't have been there， see， because it's a part of the condition of his parole that he stays away from friends and relatives and ex-convicts and just about everybody. But Jesus， this is his brother. Wait until just before sundown and then come over. Park your car at the service station just around the block from there and walk to the back entrance of the house and then you can talk to Magpie about all this.”
赛利娜跟我讲述着喜鹊在背井离乡数月后返回鸭溪的
