Three days to see All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year; sometimes as short as twenty-four hours. But always we were interested in discovering just how the doomed man chose to spend his last days or his last hours. I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly confined. Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations should we crowd into those last hours as mortal beings? What happiness should we find in reviewing the past, what regrets? Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live
each day with a gentleness, a vigor, and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come. There are those, of course, who would adopt the motto of "Eat, drink, and
be merry," but most people would be punished by the certainty of death. Most of us take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in good health, death is all but unimaginable. unimaginable We seldom think of it. The days stretch out endlessly. So we go about our petty tasks, hardly aware of our listless attitude toward life.
The same listlessness , I am afraid, characterizes the use of all our faculties and senses.
Only the deaf appreciate hearing, only the blind realize the blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in adult life. But those who have never suffered loss of sight or hearing damage seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it, of not being conscious of health until we are ill. I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life. Darkness would make him more appreciative of sight; silence would tech him the joys of sound. Now and then I have tested my seeing friends to discover what they see. Recently I was visited by a very good friend who had just returned from a long walk in the woods, and I asked her what she had observed. "Nothing in particular, " she replied. I might have been
incredulous had I not been accustomed to such responses, for long ago I became convinced that the seeing see little
How was it possible, I asked myself, to walk for an hour through the woods and see nothing worthy of note? I who cannot see find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch, or the rough, shaggy bark of a pine. In the spring I touch the branches of trees hopefully in search of a bud, the first sign of awakening Nature after her winter's sleep. I feel the delightful texture of a flower, and discover its remarkable folds; and something of the miracle of Nature is revealed to me. Occasionally, if I am very fortunate, I place my hand gently on a small tree and feel the happy quiver of a bird in full song. I am delighted to have the cool waters of a brook rush through my open fingers. To me a thick carpet of pine needles or soft grass is more welcome than the most luxurious Persian rug To rug. me the colorful seasons are a thrilling and unending drama, the action of which streams through my finger tips. At times my heart cries out with longing to see all these things. If I can get so much pleasure from mere touch, how much more beauty must be revealed by sight. Yet, those who have eyes apparently see little. the panorama of color and action which fills
the world is taken for granted. It is human, perhaps, to appreciate little that which we have and to long for that which we have not, but it is a great pity that in the world of light the gift of sight is used only as a mere conveniences rather than as a means of adding fullness to life. Oh, the things that I should see if I had the power of sight for three days! 我们大家都读过一些令人激动的故事,这些故事里的主人公仅仅活在有限并且特定的 时间内,有时长达一年,有时短到24小时。但我们总是有兴趣发现,那命中注定要死的是 那些有选择自由的人,而不是那些活动范围被严格限定了的判了刑的犯人。 这样的故事让我们思考,在相似的情况下,我们该怎么办,作为终有一死的人,在那最 终的几个小时内安排什么事件, 什么经历, 什么交往?在回顾往事时, 我们该找到什么快乐? 什么悔恨? 有时我想到,过好每一天是个非常好的习惯,似乎我们明天就会死去。这种态度鲜明地 强调了生命的价值。我们应该以优雅、精力充沛、善知乐趣的方式过好每一天。而当岁月推 移,在经常瞻观未来之时日、未来之年月中,这些又常常失去。当然,也有人愿按伊壁鸠鲁 的信条“吃、喝和欢乐”去生活。(译注:伊壁鸠鲁是古希腊哲学家,他认为生活的主题目 的是享乐,而最高的享受唯通过合理的生活,如自我控制才能得到。因为生活享受的目的被 过分强调,而达此目的之手段被忽视,所以伊壁鸠鲁的信徒现今变为追求享乐的人。他们的 信条是:“让我们吃喝,因为明天我们就死亡”),但绝大多数人还是被即将面临死亡的必 然性所折磨。 但是,我们大多数人把生活认为是理所当然的。我们知道,某一天我们一定会死,但通 常我们把那天想象在遥远的将来。当我们心宽体健时,死亡几乎是不可想象的,我们很少想
到它。时日在无穷的展望中延展着,于是我们干着琐碎的事情,几乎意识不到我们对生活 的倦怠态度。 恐怕,同倦的懒散也成为利用我们所有的本能和感觉的特点。只有聋子才珍惜听力,唯有 瞎子才体会到能看见事物的种种幸福, 这种结论特别适合于那些在成年阶段失去视力和听力 的人们, 而那些从没有遭受视觉或听觉损伤之苦的人却很少充分利用这些天赐的官能。 他们 模模糊糊地眼观八方,耳听各音,毫无重点,不会鉴赏,还是那相同的老话,对我们所有的 官能不知珍惜,直至失去它,对我们的健康意识不到,直至生病时。 我常常想,如果每个人在他成年的早期有一段时间致瞎致聋,那会是一种幸事,黑暗会 使他更珍惜视力,寂静会教导他享受声音。 我不时地询问过我的能看见东西的朋友们,以了解他们看到什么。最近,我的一个很好 的朋友来看我,她刚从一片森林里散步许久回来,我问她看到了什么,她答道:“没什么特 别的。”如果我不是习惯了听到这种回答,我都可能不相信,因为很久以来我已确信这个情 况:能看得见的人却看不到什么。 我独自一人, 在林子里散步一小时之久而没有看到任何值得注意的东西, 那怎么可能呢? 我自己,一个不能看见东西的人,仅仅通过触觉,都发现许许多多令我有兴趣的东西。我感 触到一片树叶的完美的对称性。 我用手喜爱地抚摸过一株白桦那光潮的树皮, 或一棵松树的 粗糙树皮。春天,我摸着树干的枝条满怀希望地搜索着嫩芽,那是严冬的沉睡后,大自然苏 醒的第一个迹象。我抚摸过花朵那令人愉快的天鹅绒般的质地,感觉到它那奇妙的卷绕,一 些大自然奇迹向我展现了。有时,如果我很幸运,我把手轻轻地放在一棵小树上,还能感受 到一只高声歌唱的小鸟的愉快颤抖, 我十分快乐地让小溪涧的凉水穿过我张开的手指流淌过 去。 对我来说, 一片茂密的地毯式的松针叶或松软而富弹性的草地比最豪华的波斯地毯更受 欢迎。对我来说四季的壮观而华丽的展示是一部令人激动的、无穷尽的戏剧。这部戏剧的表 演,通过我的手指尖端涌淌出来。 有时,由于渴望能看到这一切东西,我的内心在哭泣。如果说仅凭我的触觉我就能感受 到这么多的愉快,那么凭视觉该有多少美丽的东西显露出来。然而,那些能看见的人明显地 看得很少,充满世间的色彩和动作的景象被当成理所当然,或许,这是人性共有的特点;对 我们具有的不怎么欣赏,而对我们不具有的却渴望得到。然而,这是一个极大的遗憾,在光 明的世界里,视力的天赋仅仅作为一种方便之用,而没有作为增添生活美满的手段。
The Shadowland of Dreams
By Alex Haley
Many a young person tells me he wants to be a writer. I always encourage such people, but I also explain that there's a big difference between "being a writer" and writing. In most cases these individuals are dreaming of wealth and fame, not the long hours alone at the typewriter. "You've got to want to write," I say to them, "not want to be a writer." The reality is that writing is a lonely, private and poor-paying affair. For every writer kissed by fortune, there are thousands more whose longing is never rewarded. Even those who succeed often know long periods of neglect and poverty. I did. When I left a 20-year career in the Coast Guard to become a freelance writer, I had no prospects at all. What I did have was a friend with whom I'd grown up in Henning Tennessee. George found me my home?a cleaned-out storage room in the Greenwich Village apartment building where he worked as superintendent. It didn't even matter that it was cold and had no bathroom. Immediately I bought a used manual typewriter and felt like a genuine writer. After a year or so, however, I still hadn't received a break and began to doubt myself. It was so hard to sell a story that I barely made enough to eat. But I knew I wanted to write. I had dreamed about it for years. I wasn't going to be one of those people who die wondering, "What if?" I would keep putting my dream to the test?even though it meant living with uncertainty and fear of failure. This is the Shadowland of hope, and anyone with a dream must learn to live there. Then one day I got a call that changed my life. It wasn't an agent or editor offering a big contract. It was the opposite?a kind of siren call tempting me to give up my dream. On the phone was an old acquaintance from the Coast Guard, now stationed in San Francisco. He had once lent me a few bucks and liked to egg me about it. "When am I going to get the $15, Alex?" he teased. "Next time I make a sale." "I have a better idea," he said. "We need a new public-information assistant out here, and we're paying $6,000 a year. If you want it, you can have it." Six thousand a year! That was real money in 19
  60. I could get a nice apartment, a used car, pay off debts and maybe save a little something. What's more, I could write on the side. As the dollars were dancing in my head, something cleared my senses. From deep inside a bull-headed resolution welled up. I had dreamed of being a writer?full time. And that's what I
was going to be. "Thanks, but no," I heard myself saying. "I'm going to stick it out and write." Afterward, as I paced around my little room, I started to feel like a fool. Reaching into my cupboard?an orange crate nailed to the wall?I pulled out all that was there: two cans of sardines. Plunging my hands in my pockets, I came up with 18 cents. I took the cans and coins and jammed them into a crumpled paper bag. There Alex, I said to myself. There's everything you've made of yourself so far. I'm not sure I ever felt so low. I wish I could say things started getting better right away. But they didn't. Thank goodness I had George to help me over the rough spots. Through him I met other struggling artists, like Joe Delaney, a veteran painter from Knoxville, Tennessee. Often Joe lacked food money, so he'd visit a neighborhood butcher who would give him big bones with small pieces of meat, and a grocer who would hand him some withered vegetables. That's all Joe needed to make his favorite soup. Another Village neighbor was a handsome young singer who ran a struggling restaurant. Rumor had it that if a customer ordered steak, the singer would dash to a supermarket across the street to buy one. His name was Harry Belafonte. People like Delaney and Belafonte became role models for me. I learned that you had to make sacrifices and live creatively to keep working at your dreams. That's what living in the Shadowland is all about. As I absorbed the lesson, I gradually began to sell my articles ,I was writing about what many people were talking about then: civil rights, black Americans and Africa. Soon, like birds flying south, my thoughts were drawn back to my childhood. In the silence of my room, I heard the voices of Grandma, Cousin Georgia , Aunt Plus, Aunt Liz and Aunt Till as they told stories about
 

相关内容

大学英语综合教程课文课文

   Three days to see All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year; sometimes as short as twenty-four hours. But always we were interested in discovering just ...

大学体验英语综合教程课文翻译

   大学体验英语综合教程课文翻译 1-4册 1 第一册1A学无止境 故事发生在一所东部大学里。那是终考的最后一天。一幢教学楼的台阶上围着一群大四的工科生,都在谈论即刻就要 开始的考试。他们脸上都带着自信。这是毕业前的最后一场考试了,考完后,即是毕业典礼。然后他们将各奔前程。 话题转到了工作上,有的谈起了找好的工作,有的则谈论着要找的工作。4 年的大学学习给了他们自信,使他们觉得 自己足以征服世界。 眼前这场考试,不过是一碟小菜罢了。老师已经说过可以携带所需的任何书本或笔记,只要不在考试时交头接耳 ...

英语综合教程 课文6 网上复习时间

   课文 6 网上复习时间 课后学习对考试的成功十分关键, 而电脑业正加强家庭与学校之间的联系。 在家免费上 网是使人人都可获得网上教育 方面的一大进展。当学生紧张地准备考试时,他们中很多人 转向网络,来补充他们的知识,以下课文描述英国一些这样的网址。 凯利家中的气氛渐渐紧张起来。5 月 22 日和 6 月 19 日这两个日子深深根植在一家人集 体意识之中。这两个日子标志着波拉的普通教育证书第一门和最后一门考试。 贝尔法斯特 维多利亚学院的 15 岁学生波拉说,“我一直觉得我需要更多的复习。我知 ...

新潮研究生英语综合教程课文翻译

   UNIT 1 TEXT A 没有舞台的表演: 没有舞台的表演:文学翻译的艺术 Robert Wechsler 胡兴文 巫阿苗译 文学翻译是一门奇特的艺术。当你坐在书桌旁,所译的是已经完成、署着别人大名 的小说或诗歌时,这便是文学翻译。 这种工作性质似乎具有衍生性,不值一提。 谁愿意为坐在 博物馆里描摹别人画作的人著书立说呢?摹仿者不是艺术家,他们是学徒、 造假者、 名人崇拜 者和骗子。 然而,文学翻译却是一门艺术。 它所以奇特,是因为译者实际上和作家做着完全相同的事 情。假如演员也像剧作家、 ...

大学体验英语综合教程2课后答案及课文翻译

   3. Elected Minimum Distinct Pursue Exploit Restrict Equip Granted Awarded 4 at large on the basis of in support of apply for is aiming at 7 Anyone over the age of 18 is eligible to vote. A form to apply for the scholarships is sent by the universit ...

全新版大学英语综合教程3 unit2 课文翻译

   Unit 2 给人以自由者 ??弗格斯?M?博得威奇 2004年,一个纪念“地下铁路”的中心将在辛辛那提市成立。这条铁路不同寻常,它不出售车票,也无火车行驶。然而,它将成千上方的乘客送往他们梦想中的目的地。 我步出这幢两层小屋,加拿大平原上轻风微拂。我身边是一位苗条的黑衣女子,把我带回到过去的向导。那时,安大略省得雷斯顿这一带住着美国历史上的一位英雄。我们前往一座普普通通的灰色教堂,芭芭拉?卡特自豪地谈论着其高祖乔赛亚?亨森。“他坚信上帝要所有人生来平等。他从来没有停止过争取这一自由权利的奋斗 ...

大学英语综合教程2课文翻译

   Unit One 中国式的学习风格 霍华德加德纳 1987 年春,我和妻子埃伦带着我们 18 个月的儿子本杰明在繁忙的中国东部城市南京住 了一个月,同时考察中国幼儿园和小学的艺术教育情况.然而,我和埃伦获得的有关中美教 育观念差异的最难忘的体验并非来自课堂,而是来自我们在南京期间寓居的金陵饭店的大 堂. 我们的房门钥匙系在一块标有房间号的大塑料板上. 酒店鼓励客人外出时留下钥匙, 可 以交给服务员,也可以从一个槽口塞入钥匙箱.由于口子狭小,你得留神将钥匙放准位置才 塞得进去. 本杰明爱拿着钥 ...

大学英语综合教程(三)课文翻译

   1A 关注地球母亲 ( 《意识》杂志的麦肯立博士就环境问题对几位专家进行采访。 ) 麦肯立博士: 您认为目前环境面临的最大威胁是什么? 阿曼?莫特万: 现在环境面临的最大威胁来自我们人类对环境的态度。 我们对环境的看法决定着我们周围世 界的环境。 大多数人认为万物是彼此孤立的。但事实上,每一个个体都是一个息息相关、相互联系的整 体的组成部分。比如,一颗树看上去或许是孤立的,但它却对其周围环境中的一切--日光、 雨水、风、鸟、矿物质、其它植物和树木、你、我等--施加影响,同时又处于环境的的影响 ...

全新版大学英语综合教程6课文翻译

   One Writer's Beginnings 作家起步时 我从两三岁起就知道,家中随便在哪个房间里,白天无论在什么时间,都可以念书或听人念书。母亲念书给我听。上午她都在 那间大卧室里给我念,两人一起坐在她那把摇椅里,我们摇晃时,椅子发出有节奏的滴答声,好像有只唧唧鸣叫的蟋蟀在伴着读故 事。冬日午后,她常在餐厅里烧着煤炭的炉火前给我念,布谷鸟自鸣钟发出“咕咕”声时,故事便结束了;晚上我在自己床上睡下后 她也给我念。想必我是不让她有一刻清静。有时她在厨房里一边坐着搅制黄油一边给我念,故事情节就 ...

新世纪大学英语综合教程3课文翻译

   Unit2 textA 你的爱有多深| 你的爱有多深 1, 有人认为爱如浮云,有人认为爱坚强如铁,有人认为爱是一种生活方式, 有人认为爱如浮云,有人认为爱坚强如铁,有人认为爱是一种生活方式,有 人认为爱是一种感觉,有人说爱要执着,有人说爱不要约束, 人认为爱是一种感觉,有人说爱要执着,有人说爱不要约束,有人说爱是生命的全 部,有人说不知道爱为何物。 有人说不知道爱为何物。 2 在我们生命中的某个阶段,我们会经历难以名状的情 感。这种情感只能体会, 在我们生命中的某个阶段, 这种情感只能体会, ...

热门内容

初中英语副词习题

   初中英语语法专项习题-副词 1( ) 1 He speaks Englishhis aunt. A. as good as B. as well as C. as better as D. as best as ( ) 2. Which do you like, skating, swimming or fishing? A. more B. most C. better D. best ( ) 3 Who sings, Rose or Kate? A. well B. good C. be ...

考研英语面试

   考研复试英语口试前你要准备什么 一. 了解报考院校专业往年的英语口试形式 各院校各专业的复试口试形式各不相同, 一定要对症下药. 可以通过询问以前考过的师 兄,师姐们来了解复试口试的形式,可能的话,了解一下口试中常出现的问题. 总的来说,复试口试有这样几种类型:自我介绍;读某篇英文文章,然后进行翻译或回 答相关问题;抽到某个话题进行演讲,阐述;两三人就同一个话题进行讨论,辩论(多人一起复 试的情况);自由问答(可能是专业或与专业相关的时事热点问题, 也可能只是了解个人情况). 了解导师/考官 ...

医学考博英语语法笔记

   语法重点总结 独立主格 虚拟语气 非谓语动词 主谓一致 倒装 2008-1-18 1 独立主格特征 1. 充当句子的状语。 2. 有自己的主语,同句子的主语不一致。 3. 名词(代词,形容词,副词,介词)+ 分词 4. With + 名词 (代词) + 分词 (形容词) 例:a) It being raining, I decided to stay at home. b) Speech having been delivered, discussion started. c) he ent ...

高三英语单项选择题精心挑选的题

   选校网 www.xuanxiao.com 高考频道 专业大全 历年分数线 上万张大学图片 大学视频 院校库 选校网 www.xuanxiao.com 高考频道 专业大全 历年分数线 上万张大学图片 大学视频 院校库 高三英语单项选择题精选 第一课时: 1. I won’t think of him because of his shortcomings. He is a good boy after all. A. much 2. B. little C. any less D. any m ...

英语四级词汇带音标自己整理

   英语四级词汇表 acre/‘eikY/n.英亩(=6.07 亩) A adapt/Y’d?t/vt.使适应;改编 abandon/Y’b?dYn/vt.丢弃;放弃,抛 addition/Y’di? Yn/n.加,加法;附加物 弃 additional/Y’di? Ynl/a.附加的,追加的 aboard/Y’b? :d/ad.在船(车)上;上船 address/Y’dres/n.地址;演说;谈吐 absolute/‘?sYlu:t/a.绝对的;纯粹的 adequate/‘?ikwit/a.足 ...