晨读唯美英文散文
晨读唯美英文散文 晨读唯美英文散文(一) There are two ways of thinking of history. There is, first, history regarded as a way of looking at other things, really the temporal aspect of anything, from the universe to this nib with which I am writing. Everything has its history. There is the history of the universe, if only we knew it-and we know something of it, if we do not know much. Nor is the contrast so great, when you come to think of it, between the universe and this pen-nib. A mere pen-nib has quite a considerable history. There is, to begin with, what has been written with it, and that might be something quite important. After all it was probably only one quill-pen or a couple that wrote Hamlet. Whatever has been written with the pen-nib is part of its history. In addition to that there is the history of its manufacture: this particular nib is a "Relief" nib, No. 314, made by R. Esterbrook and Co. in England, who supply the Midland Bank with pen-nibs, from whom I got it—a gift, I may say, but behind this nib there is the whole process of manufacture. In fact a pen nib implies of universe, and the history of it implies its history. We may regard this way of looking at it—history as the time-aspect of all things: a pen-nib, the universe, the fiddled before me as I write, as a relative conception of history. There is, secondly, what we mat call a substantive conception of history, what we usually mean by it, history proper as a subject of study in itself. 翻译：历史的思考方式有两种。其一，历史作为审视其它事物是一种， 其实仅为所有事物暂时的面貌，从整个宇宙到有正在书写的笔端。每一样事物都 有它的历史。宇宙也有它的历史，要是我们知道的话──虽然我们所知有限，总 算知道一些;仔细想一下，宇宙和这笔端，其间的差异也不是那么大。但即使仅 是这笔端也有一段历史。首先，透过它便有写出来的东西，而这些可能相当重要。毕竟莎剧(哈姆莱特)也只靠一支鹅毛笔或二支便完成了。通过笔端所写出来的变 成了它自身的历史。此外，还有制造过程的历史：我这支笔尖其实是英国艾斯塔 布禒克(Esterbrook)厂牌314号凸版型产品，专门供应米特兰银行用品，我是从那 儿取得的───或许应该说是银行的赠品。在这笔尖的北后有一连串的制造过程 ……。故此，这笔尖蕴含了一个宇宙，而它的历史也蕴含了它自身的历史。
我们可以把这种审视的方式看作──历史就是所有事务的时间之面 貌：一支笔尖、宇宙、眼前我写作的领域……作为历史的相对观念。
其二，则为我们称作实质观念的历史，就是我们通常所说的，历史本 身作为一个研究的科目。晨读唯美英文散文(二) Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands. Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet"s, the writer"s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet"s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail. 翻译：把情欲而不是把爱情当作写作题材，把失败当作写作题材，描 写的是没有任何人损失任何价值东西的微不足到的失败，把胜利当作题材时，描 写的是没有任何希望的胜利，而最糟糕的是没有怜悯和同情。悲伤不是刻骨铭心 的，而是清淡描写。写的不是心灵而是分泌腺体的器官。
在人们从新了解这些之前，他们的写作态度就像无可奈何看着世界的 末日到来。我拒绝接受世界末日的观点。不是简单地说人类能够持续就说人类是 永恒的;当命运的最后钟声敲响，当傍晚的最后一抹红色从平静无浪的礁石退去， 甚至不在有其他声音，人类的无尽的不倦声音还在争鸣，我不认输。我认为人类 不仅会延续还会胜利。他是永生的，不是因为只有他在万物生灵中拥有不倦的声 音，而在于他有灵魂，能够同情、牺牲和忍受的灵魂。
诗人和作家的职责就是歌颂这些。通过提升人类的心灵，提醒他们牢 记勇敢、荣誉、希望、尊严和同情这些昔日的光荣，来帮助人类生存下去，这是 作家的荣幸。诗人的声音不仅是人类的简单记录，而且还是能够帮助人类持续和 获胜的支柱之一。
晨读唯美英文散文(三) I feel that this award was not made to me as a man, but to my work -- alife"s work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing. Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again. He must teach himself that the basest of all things is to be afraid;
and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed -- love and honor and pity and pride and compassion and sacrifice. 翻译：我认为这个奖项不是授给我个人而是授给我的工作---------一项 艰辛而痛苦的毕生投入的人类精神的工作,既不为名也不土利,而是要从人类的精 神原材料中创造一些前所未有的东西。因此这个奖项我只是代为保管。要该奖项 的款项按照最初的目的和意义并不难。但我更欢迎这样做，利用这一时机，把它 作为一个顶点，向听我话的有志于此的年轻人发出号召，他们中必定有人会站在 我今天的位置。
我们的悲剧在于长期与来我们一直承受着肉体上的恐惧，不再有任何 精神方面的问题。有的只是一个问题，我什么时候会被炸的粉身碎骨因此，如今 年轻人的作品已经忘记了处于矛盾冲突中的人类心灵问题，而这本身就能够创造 出好作品，因为这值得去写，值得为此辛劳。
人们一定要了解这些，一定要叫自己认识到最可鄙莫过于害怕，一定 告戒自己永远不要忘记，工作中除了心灵的正直诚实不要给任何东西留有空间， 过去的那些正直诚实的普遍品质包括爱情、荣誉、怜悯、尊严、同情和牺牲，缺 乏了它们任何作品都是短暂的和注定要失败的。