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新视野大学英语读写教程第四册第四单元B篇原文和翻译

来源:书路文学网   时间: 2019-05-17

篇一:新视野大学英语读写教程第四册第二单元A篇原文和翻译

unit2

Charlie Chaplin

He was born in a poor area of south London. He wore his mother's old red stockings cut down for ankle socks. His mother was temporarily declared mad. Dickens might have created Charlie Chaplin's childhood. But only Charle Chaplin could have created the great comic character of " the Tramp ", the little man in rags who gave his creator permanent fame. Other countries ― France, Italy, Spain, even Japan and Korea ― have provided more applause (and profit) where Chaplin is concerned than the land of his birth. Chaplin quit Britain for good in 1913 when he journeyed to America with a group of performers to do his comedy act on the stage where talent scouts recruited him to work for Mack Sennett, the king of Hollywood comedy films. Sad to say, many English people in the 1920's and 1930's thought Chaplin's Tramp a bit, well, " crude ". Certainly middle-class audiences did; the working-class audiences were more likely to clap for a character who revolted against authority, using his wicked little cane to trip it up, or aiming the heel of his boot for a well-placed kick at its broad rear. All the same, Chaplin's comic beggar didn't seem all that English or even working class. English tramps didn't sport tiny moustaches, huge pants or tail coats: European leaders and Italian waiters wore things like that. Then again, the Tramp's quick eye for a pretty girl had a coarse way about it that was considered, well, not quite nice by English audiences ― that's how foreigners behaved, wasn't it? But for over half of his screen career, Chaplin had no screen voice to confirm his British nationality. Indeed, it was a headache for Chaplin when he could no longer resist the talking movies and had to find "the right voice" for his Tramp. He postponed that day as long as possible: in Modern Times in 1936, the first film in which he was heard as a singing waiter, he made up a nonsense language which sounded like no known nationality. He later said he imagined the Tramp to be a college-educated gentleman who'd come down in the world. But if he'd been able to speak with an educated accent in those early short comedy movies, it's doubtful if he would have achieved world fame. And the English would have been sure to find it "odd". No one was certain whether Chaplin did it on purpose but this helped to bring about his huge success. He was an immensely talented man, determined to a degree unusual even in the ranks of Hollywood stars. His huge fame gave him the freedom ― and, more importantly, the money ― to be his own master. He already had the urge to explore and extend a talent he discovered in himself as he went along. "It can't be me. Is that possible? How extraordinary," is how he greeted the first sight of himself as the Tramp on the screen. But that shock roused his imagination. Chaplin didn't have his jokes written into a script in advance; he was the kind of comic who used his physical senses to invent his art as he went along.

feless objects especially helped Chaplin make "contact" with himself as an artist. He turned them into other kinds of objects. Thus, a broken alarm clock in the movie The Pawnbroker became a "sick" patient undergoing surgery; boots were boiled in his film The Gold Rush and their soles eaten with salt and pepper like prime cuts of fish (the nails being removed like fish bones). This physical transformation, plus the skill with which he executed it again and again, are surely the secrets of Chaplin's great comedy. He also had a deep need to be loved ― and a corresponding fear of being betrayed. The two were hard to combine and sometimes ― as in his early marriages ― the collision between them resulted in disaster. Yet even this painfully-bought self-knowledge found its way into his comic creations. The Tramp never loses his faith in the flower girl who'll be waiting to walk into the sunset with him; while the other side of Chaplin makes Monsieur Verdoux, the French wife killer, into a symbol of hatred for women. It's a relief to know that life eventually gave Charlie Chaplin the stable happiness it had earlier denied him. In Oona O'Neill Chaplin, he found a partner whose stability and affection spanned the 37 years age difference between them that had seemed so threatening that when the official who w湖北癫痫病治疗最佳时间as marrying them in 1942, turned to the beautiful girl of 17 who'd given notice of their wedding date and said, "And where is the young man?" ― Chaplin, then 54, had cautiously waited outside. As Oona herself was the child of a large family with its own problems, she was well-prepared for the battle that Chaplin's life became as unfounded rumors of Marxist sympathies surrounded them both ― and, later on, she was the center of rest in the quarrels that Chaplin sometimes sparked in their own large family of talented children. Chaplin died on Christmas Day 1977. A few months later, a couple of almost comic body-thieves stole his body from the family burial chamber and held it for money: the police recovered it with more efficiency than Mack Sennett's clumsy Keystone Cops would have done. But one can't help feeling Chaplin would have regarded this strange incident as a fitting memorial ― his way of having the last laugh on a world to which he had given so many.

他出生在伦敦南部的一个贫困地区。他穿的短袜是从妈妈的红色长袜上剪下来的。 他的妈妈一度被诊断为精神失常。狄更斯或许能创作出查理・卓别林的童年故事,

但只有查理・卓别林才能塑造出了不起的喜剧角色“流浪汉”,这个使其创作者声名永驻的衣衫褴褛的小人物。就卓别林而言,其他国家,如法国、意大利、西班牙,甚至日本,都比他的出生地给予了他更多的掌声(和更多的收益)。在1913年,卓别林永久地离开了英国,与一些演员一起启程到美国进行舞台喜剧表演。在那里,他被星探招募到好莱坞喜

剧片之王麦克・塞纳特的旗下工作。令人遗憾的是,20世纪二、三十年代的很多英国人认为卓别林的“流浪汉”多少有点“粗俗”。中产阶级当然这样认为。劳动阶层反倒更有可能为这样一个反抗权势的角色拍手喝彩:他以顽皮的小拐杖使绊子,或用皮靴后跟对准权势者肥大的臀部踢一下。尽管如此,卓别林的滑稽乞丐形象并不那么像英国人,甚至也不像劳动阶级的人。

英国流浪者并不留小胡子,也不穿肥大的裤子或燕尾服:欧洲的领导人和意大利的侍者才那样穿戴。另外,“流浪汉”瞟着漂亮女孩的眼神也有些粗俗,被英国观众认为不太正派──只有外国人才那样,不是吗? 而在卓别林大半的银幕生涯中,银幕上的他是不出声的,也就无从证明他是英国人。事实上,当卓别林再也无法抵制有声电影,不得不为他的“流浪汉”寻找“合适的声音”时,他确实很头疼。他尽可能地推迟那一天的到来:在 1936 的《摩登时代》里,他第一次在影片里发声唱歌。在片中,他扮演一名侍者,满口胡言乱语,听起来不像任何国家的语言。后来他说,他想象中的“流浪汉”是一位受过大学教育,但已经没落的绅士。但假如他在早期那些短小的喜剧电影中能操一口受教育人的口音,那么他是否会闻名世界就难说了,而英国人也肯定会觉得这很“古怪”。没有人知道卓别林这么干是不是有意的,但这促使他获得了巨大的成功。他是一个才能非凡的人,他的决心之大甚至在好莱坞明星中也十分少见。他的巨大名声为他带来了自由,更重要的是带来了财富,他因此得以成为自己的主人。在事业发展之初,他就感到一种冲动要去发掘并扩展自己身上所显露的天才。 当他第一次在银幕上看到自己扮演的“流浪汉”时,他说:“这不可能是我。那可能吗?瞧这角色多么与众不同啊!”这种震惊唤起了他的想象。卓别林并没有把他的笑料事先写成文字。他是那种边表演边根据感觉去创造艺术的喜剧演员。没有生命的物体特别有助于卓别林发挥自己艺术家的天赋。他将这些物体想象成其他东西。因此,在《当铺老板》中,一个坏闹钟变成了正在接受手术的“病人”;在《淘金记》中,靴子被放在锅里煮,靴底被蘸着盐和胡椒吃掉,就像上好的鱼片一样(鞋钉就像鱼骨那样被剔除)。这种对事物的转化,以及他一次又一次做出这种转化的技巧,正是卓别林伟大喜剧的奥秘所在。他也深切地渴望被爱,同时也害怕遭到背叛。这两者很难结合在一起,有时这种冲突导致了灾难,就像他早期的几次婚姻那样。然而即使是这种以沉重代价换来的自知之明也在他的喜剧创作中

得到了表现。

“流浪汉”始终没有失去对卖花女的信心,相信她正等待着与自己共同走进夕阳之中;而卓别林的另一面使他的凡尔杜先生,一个杀了妻子的法国人,成为了仇恨女人的象征。 令人宽慰的是,生活最终把卓别林先前没能获得的稳定和幸福给了他。

他找到了沃娜・奥尼尔・卓别林这个伴侣。她的沉稳和深情跨越了他们之间37岁的年龄差距。他们的年龄差别太大,以致当1942年他们要结婚时,新娘公布了他们的结婚日期后,为他们办理手续的官员问这位漂亮的17岁姑娘:“那个年轻人在哪儿?”──当时已经54岁的卓别林小心翼翼在外面等候着。

由于沃娜本人出生在一个被各种麻烦困扰的大家庭,她对卓别林生活中将面临的挑战也做好了充分准备,因为当时关于他俩有很多毫无根据的流言。后来在他那个有那么多天才孩子的大家庭中,卓别林有时会引发争吵,而她则成了安宁的中心。卓别林死于1977年圣诞节。 几个月后,几个近乎可笑的盗尸者从他的家庭墓室盗走了他的尸体以借此诈钱。

警方追回了他的尸体,其效率比麦克・塞纳特拍摄的启斯东喜剧片中的笨拙警察要高得多。但是人们不禁会感到,卓别林一定会把这一奇怪的事件看作是对他的十分恰当的纪念──他以这种方式给这个自己曾为之带去这么多笑声的世界留下最后的笑声。

篇二:新视野大学英语读写教程(第二版)第四册课文及翻译

The Temptation of a Respectable Woman

Mrs.Baroda was a little annoyed to learn that her husband expected his friend, Gouvernail, up to spend a week or two on the plantation.

Gouvernail's quiet personality puzzled Mrs.Baroda. After a few days with him, she could understand him no better than at first. She left her husband and his guest, for the most part, alone together, only to find that Gouvernail hardly noticed her absence. Then she imposed her company upon him, accompanying him in his idle walks to the mill to press her attempt to penetrate the silence in which he had unconsciously covered himself. But it hardly worked.

"When is he going ― your friend?" she one day asked her husband. "For my part, I find him a terrible nuisance."

"Not for a week yet, dear. I can't understand; he gives you no trouble.""No. I should like him better if he did ― if he were more like others, and I had to plan somewhat for his comfort and enjoyment."

Gaston pulled the sleeve of his wife's dress, gathered his arms around her waist and looked merrily into her troubled eyes.

"You are full of surprises," he said to her. "Even I can never count upon how you are going to act under given conditions. Here you are," he went on, "taking poor Gouvernail seriously and making a fuss about him, the last thing he would desire or expect."

"Fuss!" she hotly replied. "Nonsense! How can you say such a thing! Fuss, indeed! But, you know, you治癫痫病的偏方 said he was clever."

"So he is. But the poor fellow is run down by too much work now. That's why I asked him here to take a rest."

"You used to say he was a man of wit," she said, still annoyed. "I expected him to be interesting, at least. I'm going to the city in the morning to have my spring dresses fitted. Let me know when Mr.Gouvernail is gone; until that time I shall be at my aunt's house."

That night she went and sat alone upon a bench that stood beneath an oak tree at the edge of the walk. She had never known her thoughts to be so confused; like the bats now above her, her thoughts quickly flew this way and that. She could gather nothing from them but the feeling of a distinct necessity to leave her home in the next morning.

Mrs.Baroda heard footsteps coming from the direction of the barn; she knew it was Gouvernail. She hoped to remain unnoticed, but her white gown revealed her to him. He seated himself upon the bench beside her, without a suspicion that she might object to his presence.

"Your husband told me to bring this to you, Mrs.Baroda," he said, handing her a length of sheer white fabric with which she sometimes covered her head and shoulders. She accepted it from him and let it lie in her lap.

He made some routine observations upon the unhealthy effect of the night breeze at that season. Then as his gaze reached out into the darkness, he

began to talk.

Gouvernail was in no sense a shy man. His periods of silence were not his basic nature, but the result of moods. When he was sitting there beside Mrs.Baroda, his silence melted for the time.

He talked freely and intimately in a low, hesitating voice that was not unpleasant to hear. He talked of the old college days when he and Gaston had been best friends, of the days of keen ambitions and large intentions. Now, all there was left with him was a desire to be permitted to exist, with now and then a little breath of genuine life, such as he was breathing now.

Her mind only vaguely grasped what he was saying. His words became a meaningless succession of verbs, nouns, adverbs, and adjectives; she only drank in the tones of his voice. She wanted to reach out her hand in the darkness and touch him ― which she might have done if she had not been a respectable woman.

The stronger the desire grew to bring herself near him, the further, in fact, did she move away from him. As soon as she could do so without an appearance of being rude, she pretended to yawn, rose, and left him there alone.

Mrs.Baroda was greatly tempted that night to tell her husband ― who was also her friend ― of this foolishness that had seized her. But she did not yield to the temptation. Besides being an upright and respectable woman she was also a very sensible one.

When Gaston arose the next morning, his wife had already departed, without even saying farewell. A porter had carried her trunk to the station and she had taken an early morning train to the city. She did not return until Gouvernail was gone from under her roof.

There was some talk of having him back during the summer that followed. That is, Gaston greatly desired it; but this desire yielded to his honorable wife's vigorous opposition.

However, before the year ended, she proposed, wholly from herself, to have Gouvernail visit them again. Her husband was surprised and delighted with the suggestion coming from her.

"I am glad, my dear, to know that you have finally overcome your dislike for him; truly he did not deserve it."

"Oh," she told him, laughingly, after pressing a long, tender kiss upon his lips, "I have overcome everything! You will see. This time I shall be very nice to him."

一个正派女人受到的诱惑

得知丈夫请了他的朋友古韦内尔来种植园小住一两周,巴罗达太太有点不快。

古韦内尔生性沉默,这令巴罗达太太颇为不解。 在一起待了几天,她仍感到对他很陌生。 她只得大部分时间让丈夫陪着客人, 但发现自己不在场几乎并未引起古韦内尔的注意。 而后她执意要陪他散步到磨坊去, 试图打破他这种并非有意的沉默, 但仍不奏效。"你的朋友,他什么时候走?" 有一天她问丈夫,"我觉得他太讨厌了。"

"还不到一周呢,亲爱的。 我真不明白,他并没给你添麻烦呀。"

"是没有。他要是真能添点麻烦,我倒喜欢他一些了。真希望他能像别人一样,那样我倒可以做点什么使他过得舒心。"

加斯顿拉了拉妻子的衣袖,双手搂着她的腰,快乐地望着她那充满困惑的眼睛。

"你可真让人吃惊," 他说,"我都说不准你什么时候会怎么做。 瞧你对古韦内尔顶真的样子,对他那么大惊小怪,这可是他最不希望的。"

"大惊小怪!" 她急急回道,"瞎说,你怎么这么说! 大惊小怪,真是!但你可说过他挺聪明的。"

"他是聪明。但工作太多,这可怜的家伙累垮了, 所以我才请他来这儿休息一阵。""你常说他是个风趣的人,"太太仍在生气,"我以为他至少该风趣点。 明早我进城去试春装。 古韦朝阳市幼儿癫痫病医院朝阳市幼儿癫痫病医院内尔走了你告诉我。他走之前我就住姑妈家。"

那晚她独自一人坐在路边橡树下的长凳上, 思绪从未这么乱过,就像头顶飞着的蝙蝠一样,忽东忽西。 她理不出丝毫头绪,只感到有一点很明确:她必须第二天一早就离开这里。

巴罗达太太听到从谷仓那边传来了脚步声,她知道那是古韦内尔。 她不想让他看见自己,但她的白色长袍泄露了踪迹。 他在她身旁的长凳上坐下,丝毫不曾想到她可能会反对他坐在那儿。

"您丈夫要我把这个带给您,巴罗达太太,"说着,他递上一块白色纱巾,这是她有时用来做披肩的。 她接了过来,放在腿上。

他照例说了些诸如这个季节的夜风对身体不好之类的话。 后来,望着茫茫夜色,他开始谈了起来。

古韦内尔可不是个腼腆的人。 他的沉默寡言决非天性,而是情绪使然。 坐在巴罗达太太身边,他的沉默暂时消失了。

他以低沉迟缓的嗓音亲切而无拘束地娓娓而谈, 谈他在大学里与加斯顿是好朋友,谈那时曾雄心勃勃,志向高远。 而现在他只求能生存,只是偶尔才体验到一丝真正的生活的气息,就像此刻。

巴罗达太太只是模模糊糊地感到他在说些什么。 他的话变成了一串毫无意义的动词、名词、副词和形容词;她陶醉在他的声音里。 她想在夜色里伸出手去触摸他--要不是个正派女子,她真会这么做。

她越想靠近他,结果却越往后退。 为使自己不显得失礼,她借机假装打了个哈欠,起身离开了他。

那晚,巴罗达太太很想把自己的一时荒唐告诉丈夫--也是她的朋友,但还是忍住了。 她是个正派体面的女人,也是个非常明智的女人。

第二天早晨加斯顿起床时,妻子已经走了,也没有跟他道别。 脚夫把她的箱子送到火车站,她搭早班车进的城。 直到古韦内尔离开后她才回去。

那年夏天,他们有时会谈到再请古韦内尔来种植园一事。 也就是说,加斯顿很希望这样,但经不住他那品行高洁的妻子的强烈反对。

然而,快到年底时,妻子主动提出邀请古韦内尔再来。 听到妻子的建议,丈夫真是又惊又喜。

"我真高兴,亲爱的,你终于不再讨厌他了。说真的,他不应该使你觉得讨厌。"

"噢,"她笑着,在他唇上印了长长的温柔的一吻,"我一切都已经克服了! 你会看到的,这次我会对他很好。

Charlie Chaplin

He was born in a poor area of south London. He wore his mother's

篇三:新视野大学英语 读写教程4课文翻译

UNIT 1

艺术家追求成名,如同狗自逐其尾,一旦追到手,除了继续追逐不知还能做些什么。

成功之残酷正在于它常常让那些追逐成功者自寻毁灭。

对一名正努力追求成功并刚刚崭露头角的艺术家,其亲朋常常会建议“正经的饭碗不能丢!”他们的担心不无道理。

追求出人头地,最乐观地说也困难重重,许多人到最后即使不是穷困潦倒,也是几近精神崩溃。

尽管如此,希望赢得追星族追捧和同行赞扬之类的不太纯洁的动机却在激励着他们向前。

享受成功的无上光荣,这种诱惑不是能轻易抵挡的。

成名者之所以成名,大多是因为发挥了自己在歌唱、舞蹈、绘画或写作等方面的特长,并能形成自己的风格

为了能迅速走红,代理人会极力吹捧他们这种风格。他们青云直上的过程让人看不清楚。

他们究竟是怎么成功的,大多数人也都说不上来。

尽管如此,艺术家仍然不能闲下来。

若表演者、画家或作家感到无聊,他们的作品就难以继续保持以前的吸引力,也就难以保持公众的注意力。

公众的热情消磨以后,就会去追捧下一个走红的人。

有些艺术家为了不落伍,会对他们的写作、跳舞或唱歌的风格稍加变动,但这将冒极大的失宠的危险。

公众对于他们藉以成名的艺术风格以外的任何形式都将不屑一顾。

知名作家的文风一眼就能看出来,如田纳西・威廉斯的戏剧、欧内斯特・海明威的情节安排、罗伯特・弗罗斯特或 T.S.艾略特的诗歌等。

同样,像莫奈、雷诺阿、达利这样的画家,希区柯克、费里尼、斯皮尔伯格、陈凯歌或张艺谋这样的电影制作人也是如此。 他们鲜明独特的艺术风格标志着与别人不同的艺术形式上的重大变革,这让他们名利双收,

但也让他们付出了代价,那就是失去了用其他风格或形式表现自我的自由。

名气这盏聚光灯可比热带丛林还要炙热。

骗局很快会被揭穿,过多的关注带来的压力会让大多数人难以承受。

它让你失去自我。你必须是公众认可的那个你,而不是真实的你或是可能的你。

艺人,就像政客一样,必须常常说些违心或连自己都不完全相信的话来取悦听众

一滴名气之水有可能玷污人的心灵这一整口井,因此一个艺术家若能保持真我,会格外让人惊叹。

你可能答不上来哪些人没有妥协,却仍然在这场名利的游戏中获胜。

一个例子就是爱尔兰著名作家奥斯卡・王尔德,他在社交行为和性行为方面以我行我素而闻名于世。虽然他的行为遭到公众的反对却依然故我,他也因此付出了惨痛的代价。

在一次宴会上,他一位密友的母亲当着他的朋友和崇拜者的面,指责他在性方面影响了她的儿子。

他听了她的话以后大为光火,起诉了这个年轻人的母亲,声称她毁了自己的“好”名声。

但是,他真该请一个更好的律师。

结果是,法官不仅不支持他提出的让这个女人赔偿他名声损失费的请求,反而对他本人进行了罚款。

他由于拒交罚款最终还被送进了监狱。更糟糕的是,他再也无法获得更多公众的宠爱。

在最糟糕的时候,他发现没有一个人愿意拿自己的名声冒险来替他说话。

为保持真我,他付出的代价是,在最需要崇拜者时,谁也不理他。

奇怪的是,收获最大的恰恰是失败者。他们收获了自由!

他们可以自由地表达,独辟蹊径,不落窠臼,不用担心失去崇拜者的支持。

失败的艺术家寻求安慰时,可以想想许多伟大的艺术家都是过世多年以后才成名,或是他们没有出卖自己。

他们也可以为自己的失败辩解:自己的才华实在过于高深,不是当代听众或观众所理解得了的。

那些失败了却仍不肯放弃的顽固派也许会乐于知道,某些名人曾经如何越挫越勇,直至成功。

美国小说家托马斯・伍尔芙的第一本小说《向家乡看吧,安琪儿》被拒39次后,才最终得以出版。

贝多芬战胜了父亲认为他毫无音乐家潜质的偏见,成为世界上最伟大的音乐家。

19世纪瑞士著名教育家裴斯泰洛齐原先干的工作没有一件成功,直到他想到去教小孩子,并研究出一种新型教育模式的基础理论托马斯・爱迪生在四年级时被赶出了学校,因为老师觉得他似乎太迟钝。

但不幸的是,对大多数人而言,失败是奋斗的结束,而不是开始。

对那些孤注一掷的追名逐利之徒,我要说:祝你们好运。

但是,遗憾的是,你会发现这不是你想得到的。

狗自逐其尾所得到的只是一条尾巴而已。

获得成功的人常常发现成功对他来说弊大于利。

所以要为真实的你、为自己的所为感到高兴,而不是拼命去获得成功。

做那些你为之感到骄傲的事情。

可能在有生之年你默默无闻,但你可能创作了更好的艺术。

UNIT 2

他出生在伦敦南部的一个贫困地区。

他穿的短袜是从妈妈的红色长袜上剪下来的。

他的妈妈一度被诊断为精神失常。

狄更斯或许能创作出查理・卓别林的童年故事,

但只有查理・卓别林才能塑造出了不起的喜剧角色“流浪汉”,这个使其创作者声名永驻的衣衫褴褛的小人物。

就卓别林而言,其他国家,如法国、意大利、西班牙,甚至日本,都比他的出生地给予了他更多的掌声(和更多的收益)。 在1913年,卓别林永久地离开了英国,与一些演员一起启程到美国进行舞台喜剧表演。在那里,他被星探招募到好莱坞喜剧片之王麦克・塞纳特的旗下工作。

令人遗憾的是,20世纪二、三十年代的很多英国人认为卓别林的“流浪汉”多少有点“粗俗”。

中产阶级当然这样认为。劳动阶层反倒更有可能为这样一个反抗权势的角色拍手喝彩:他以顽皮的小拐杖使绊子,或用皮靴后跟对准权势者肥大的臀部踢一下。

尽管如此,卓别林的滑稽乞丐形象并不那么像英国人,甚至也不像劳动阶级的人。

英国流浪者并不留小胡子,也不穿肥大的裤子或燕尾服:欧洲的领导人和意大利的侍者才那样穿戴。

另外,“流浪汉”瞟着漂亮女孩的眼神也有些粗俗,被英国观众认为不太正派──只有外国人才那样,不是吗?

而在卓别林大半的银幕生涯中,银幕上的他是不出声的,也就无从证明他是英国人。

事实上,当卓别林再也无法抵制有声电影,不得不为他的“流浪汉”寻找“合适的声音”时,他确实很头疼。

他尽可能地推迟那一天的到来:在 1936 的《摩登时代》里,他第一次在影片里发声唱歌。在片中,他扮演一名侍者,满口胡言乱语,听起来不像任何国家的语言。

后来他说,他想象中的“流浪汉”是一位受过大学教育,但已经没落的绅士。

但假如他在早期那些短小的喜剧电影中能操一口受教育人的口音,那么他是否会闻名世界就难说了,

而英国人也肯定会觉得这很“古怪”。没有人知道卓别林这陕西中际脑病脑科医院怎么样?好不好?么干是不是有意的,但这促使他获得了巨大的成功。

他是一个才能非凡的人,他的决心之大甚至在好莱坞明星中也十分少见。

他的巨大名声为他带来了自由,更重要的是带来了财富,他因此得以成为自己的主人。

在事业发展之初,他就感到一种冲动要去发掘并扩展自己身上所显露的天才。

当他第一次在银幕上看到自己扮演的“流浪汉”时,他说:“这不可能是我。那可能吗?瞧这角色多么与众不同啊!” 这种震惊唤起了他的想象。

卓别林并没有把他的笑料事先写成文字。他是那种边表演边根据感觉去创造艺术的喜剧演员。

没有生命的物体特别有助于卓别林发挥自己艺术家的天赋。

他将这些物体想象成其他东西。

因此,在《当铺老板》中,一个坏闹钟变成了正在接受手术的“病人”;在《淘金记》中,靴子被放在锅里煮,靴底被蘸着盐和胡椒吃掉,就像上好的鱼片一样(鞋钉就像鱼骨那样被剔除)。

这种对事物的转化,以及他一次又一次做出这种转化的技巧,正是卓别林伟大喜剧的奥秘所在。

他也深切地渴望被爱,同时也害怕遭到背叛。

这两者很难结合在一起,有时这种冲突导致了灾难,就像他早期的几次婚姻那样。

然而即使是这种以沉重代价换来的自知之明也在他的喜剧创作中得到了表现。

“流浪汉”始终没有失去对卖花女的信心,相信她正等待着与自己共同走进夕阳之中;而卓别林的另一面使他的凡尔杜先生,一个杀了妻子的法国人,成为了仇恨女人的象征。

令人宽慰的是,生活最终把卓别林先前没能获得的稳定和幸福给了他。

他找到了沃娜・奥尼尔・卓别林这个伴侣。她的沉稳和深情跨越了他们之间37岁的年龄差距。他们的年龄差别太大,以致当194年他们要结婚时,新娘公布了他们的结婚日期后,为他们办理手续的官员问这位漂亮的17岁姑娘:“那个年轻人在哪儿?”──当时已经54岁的卓别林小心翼翼在外面等候着。

由于沃娜本人出生在一个被各种麻烦困扰的大家庭,她对卓别林生活中将面临的挑战也做好了充分准备,因为当时关于他俩有很多毫无根据的流言。后来在他那个有那么多天才孩子的大家庭中,卓别林有时会引发争吵,而她则成了安宁的中心。

卓别林死于1977年圣诞节。

几个月后,几个近乎可笑的盗尸者从他的家庭墓室盗走了他的尸体以借此诈钱。

警方追回了他的尸体,其效率比麦克・塞纳特拍摄的启斯东喜剧片中的笨拙警察要高得多。但是人们不禁会感到,卓别林一定会把这一奇怪的事件看作是对他的十分恰当的纪念──他以这种方式给这个自己曾为之带去这么多笑声的世界留下最后的笑声。 UNIT 3

人人都觉得福利救济对象是在骗人。

当我认识的许多坐轮椅的人面临与宠物猫分吃生猫食的窘境时,都会向福利机构多骗取几美元。

为了能领到一点额外的福利款,他们告诉政府说他们实际上少拿了200美元的养老金,或告诉社会工作者,说房东又将房租涨了100 美元。

我选择了过一种完全诚实的生活,因此我不会那样做,而是四处找活,揽些画漫画的活。

我甚至还告诉福利机构我赚了多少钱!哦,私下里领一笔钱当然对我挺有吸引力,但即使我挡不住这种诱惑,我投稿的那些大杂志也不会去给自己惹麻烦。

他们会保留我的记录,而这些记录会直接进入政府的电脑。真是态度鲜明,毫不含糊。

作为一名福利救济对象,我必须在社会工作者面前卑躬屈膝。

社会工作者心里知道,许多救济对象在欺骗他们,因此他们觉得,作为补偿,他们有权让救济对象向他们点头哈腰。

我并不是故意感到忿忿不平。

大多数社会工作者刚开始时都是些大学毕业生,有理想,而且思想开明。

可是,在这个实际上是要人撒谎的体制里干了几年后,他们就变得与那个叫“苏珊娜”的人一样了──一个穿运动短裤的侦探。去年圣诞节过后不久,苏珊娜到我家来了解情况,看到墙上贴着新的宣传画,便想知道:“你从哪儿弄到钱来买这些?”“从朋友和家人那儿。”

“那么,你最好要张收据,真的,你接受任何捐献或礼物都要报告。”她这是在暗示我:得哀求她了。但是我却将她顶了回去。“那天在马路上有人给我一根烟,我也得报告吗?”“对不起,卡拉汉先生,可是规定不是我制订的。”

苏珊娜试图就修理轮椅的问题训斥我。由于福利部门不愿意花钱好好地修理,所以它总是坏。

“您是知道的,卡拉汉先生,我听说您的那辆轮椅比一般人用得多得多。”

我当然用得多,我是个工作很积极的人,又不是植物人。

我住在闹市区附近,可以坐着轮椅到处走走。我真想知道如果她突然摔坏臀部,不得不爬着去上班时,会是什么感受。

政府削减福利开支已经导致许多人挨饿受苦,我只是其中之一。但它对脊柱伤残的人的影响更为突出:政府已经不管我们的轮椅了每次我的轮椅出问题,掉了螺丝,需要换个新轴承,或刹车不灵时,我都打电话给苏珊娜,但每次都要挨训。

她最后总会说:“好吧,如果今天我能抽出时间的话,我会找医务人员的。”

她该通知医务人员,由医务人员来确认问题确实存在,然后打电话给各家轮椅维修公司,拿到最低的报价。

接着医务人员就通知州政府的福利总部,他们再花几天时间考虑这件事。而这期间我只能躺在床上,动弹不得。

最后,如果我幸运的话,他们会给我回电话,同意维修。

当福利部门获悉我画漫画赚钱时,苏珊娜就开始每两个星期“拜访”我一次,而不再是每两个月一次了。

她寻遍每个角落,想找出我未上报的电器,或者是女仆、烤炉里的烤猪、停在房后新买的直升飞机什么的。

她从来都是一无所获,但最后我总要填厚厚的一叠表格,说明每一分钱的来历。

如何逐渐脱离福利照顾,这在法律条款中没有明确规定。我是一个独立的生意人,正在慢慢建立起自己的市场。

要脱离福利救济,一下子每月挣2, 000美元是不可能的。但我很想自己负担部分生活费用,不必在每次需要为轮椅买点配件时都去尴尬地求人。

真需要有一位律师来捍卫福利救济对象的权利,因为这一福利体制不仅容易使福利提供者滥用权力,也很容易使救济对象滥用权力前几天,由于药剂师说我使用的医疗用品超出常量,于是福利部门派苏珊娜到我的住所调查。

我确实多用了,因为外科手术中切的排尿孔的大小改变了,尿袋的连接处发生渗漏。

她正做着记录,我家的电话铃响了。苏珊娜接听了电话,是一位州议员打来的,这使她慌了一下。

数以千计像我这样的福利救济对象,如果允许的话,可以慢慢地负担自己的一部分甚至全部生活费用,对此,我要不要在州政府的委员会里尝试着做点儿什么呢?

还用说吗?我当然要!总有一天,像我这样的福利救济对象将在一种新的福利制度下过上好日子,这种制度不会千方百计证明福利救济对象在欺骗,而是要鼓励他们自立。

他们将能自由地、毫无愧疚、毫不担忧地发挥他们的才干,或拥有一份稳定的好工作。

UNIT 4

一个将会大大提高发展中国家生活水准的转变正方兴未艾。

一些不久前还是信息闭塞的地方正在迅速获得最新的通信技术,这将促进他们吸纳国内外投资。

亚洲、拉丁美洲和东欧的许多国家也许需要10年时间来改善其交通、电力供应和其他公用设施。

但是只一根直径小于半毫米的光纤电缆就可以比由铜丝制成的粗电缆承载更多的信息。

由于安装了光纤电缆、数字转换器和最新的无线传输系统,从北京到布达佩斯的一系列城区和工业区正在直接步入信息时代。 一个蛛网般的数字和无线通信网络已经发展到亚洲的大部分地区和东欧的部分地区。

所有这些发展中地区都把先进的通信技术看作一种跨越经济发展诸阶段的途径。

例如,信息技术的广泛应用有望缩短劳动密集型的组装工业转向涉及工程、营销和的那些产业所需的时间。

现代通信技术“将使中国、越南这样的国家比那些困于旧技术的国家拥有巨大的优势”。

这些国家应以多快的速度向前发展是人们争论的一个问题。

许多专家认为,越南在目前急需电话的情况下,却要求所有的移动电话都必须是昂贵的数字型电话,这种做法太超前了。 一位专家说:“这些国家缺乏成本估算和选择技术的经验。”

然而毋庸争辩,通信技术将是区分输赢的关键因素。

看一看俄罗斯的情况吧。

由于其坚实的数学和科学基础,它应该在信息时代有繁荣的发展。

问题是,它的国内电话系统是一堆生锈的20世纪30年代的老古董。

为了解决这一问题,俄罗斯已经开始铺设光纤电缆,并制定了投入400亿美元建设多项通信工程的战略。

但是由于其经济陷于低迷,几乎没有资金来着手解决最基本的问题。

与俄罗斯相比,在未来10年中,中国大陆计划对通信设备投入1,000亿美元。

从某种意义上说,中国的落后成了一种有利因素,因为这一发展正好发生在新技术比铜线电缆系统更便宜的时候。

到1995年底,中国除了拉萨以外的省会都将有数字转换器和高容量的光纤网,

这意味着其主要城市正在具备必需的基础设施,成为信息高速公路的主要部分,使人们能够进入系统,获得最先进的服务。

新视野大学英语读写教程第四册第二单元A篇原文和翻译unit2CharlieChaplinHewasborninapoorareaofsouthLondon Heworehismothersoldredstockingscutdownforanklesocks Hismotherw...

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