初中晨讀勵志英語美文精選

　　從20世紀20年代到40年代,對於美文亦即白話文藝術化的探索,主要有兩個大的階段。下面是小編帶來的初中晨讀勵志英語美文，歡迎閱讀!

　　There are two ways of thinking of history. There is, first, history regarded as a way of look¬ingat other things, really the temporal aspect of anything, from the universe to this nib withwhich I am writing. Everything has its history. There is the history of the universe, if only weknew 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 hasquite a considerable history. There is, to begin with, what has been written with it, and thatmight be something quite important. After all it was probably only one quill-pen or a couplethat wrote Hamlet. Whatever has been written with the pen-nib is part of its history. Inaddition 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 ofmanufacture. In fact a pen nib implies of universe, and the history of it implies its history. Wemay regard this way of looking at it—history as the time-aspect of all things: a pen-nib, theuniverse, 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.

　　歷史的思考方式有兩種。其一，歷史作為審視其它事物是一種，其實僅為所有事物暫時的面貌，從整個宇宙到有正在書寫的筆端。每一樣事物都有它的歷史。宇宙也有它的歷史，要是我們知道的話──雖然我們所知有限，總算知道一些;仔細想一下，宇宙和這筆端，其間的差異也不是那麼大。但即使僅是這筆端也有一段歷史。首先，透過它便有寫出來的東西，而這些可能相當重要。畢竟莎劇哈姆萊特也只靠一支鵝毛筆或二支便完成了。通過筆端所寫出來的變成了它自身的歷史。此外，還有製造過程的歷史：我這支筆尖其實是英國艾斯塔布禒克Esterbrook廠牌314號凸版型產品，專門供應米特蘭銀行用品，我是從那兒取得的───或許應該說是銀行的贈品。在這筆尖的北後有一連串的製造過程……。故此，這筆尖蘊含了一個宇宙，而它的歷史也蘊含了它自身的歷史。

　　我們可以把這種審視的方式看作──歷史就是所有事務的時間之面貌：一支筆尖、宇宙、眼前我寫作的領域……作為歷史的相對觀念。

　　其二，則為我們稱作實質觀念的歷史，就是我們通常所說的，歷史本身作為一個研究的科目。

　　初中晨讀勵志英語美文閱讀

　　The Props to Help Man Endure

　　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.

　　把情慾而不是把愛情當作寫作題材，把失敗當作寫作題材，描寫的是沒有任何人損失任何價值東西的微不足到的失敗，把勝利當作題材時，描寫的是沒有任何希望的勝利，而最糟糕的是沒有憐憫和同情。悲傷不是刻骨銘心的，而是清淡描寫。寫的不是心靈而是分泌腺體的器官。

　　在人們從新瞭解這些之前，他們的寫作態度就像無可奈何看著世界的末日到來。我拒絕接受世界末日的觀點。不是簡單地說人類能夠持續就說人類是永恆的;當命運的最後鐘聲敲響，當傍晚的最後一抹紅色從平靜無浪的礁石退去，甚至不在有其他聲音，人類的無盡的不倦聲音還在爭鳴，我不認輸。我認為人類不僅會延續還會勝利。他是永生的，不是因為只有他在萬物生靈中擁有不倦的聲音，而在於他有靈魂，能夠同情、犧牲和忍受的靈魂。

　　詩人和作家的職責就是歌頌這些。通過提升人類的心靈，提醒他們牢記勇敢、榮譽、希望、尊嚴和同情這些昔日的光榮，來幫助人類生存下去，這是作家的榮幸。詩人的聲音不僅是人類的簡單記錄，而且還是能夠幫助人類持續和獲勝的支柱之一。

　　初中晨讀勵志英語美文學習

　　I feel that this award was not made to me as a man, but to my work -- a life'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.

　　我認為這個獎項不是授給我個人而是授給我的工作---------一項艱辛而痛苦的畢生投入的人類精神的工作,既不為名也不土利,而是要從人類的精神原材料中創造一些前所未有的東西。因此這個獎項我只是代為保管。要該獎項的款項按照最初的目的和意義並不難。但我更歡迎這樣做，利用這一時機，把它作為一個頂點，向聽我話的有志於此的年輕人發出號召，他們中必定有人會站在我今天的位置。

　　我們的悲劇在於長期與來我們一直承受著肉體上的恐懼，不再有任何精神方面的問題。有的只是一個問題，我什麼時候會被炸的粉身碎骨?因此，如今年輕人的作品已經忘記了處於矛盾衝突中的人類心靈問題，而這本身就能夠創造出好作品，因為這值得去寫，值得為此辛勞。

　　人們一定要了解這些，一定要叫自己認識到最可鄙莫過於害怕，一定告戒自己永遠不要忘記，工作中除了心靈的正直誠實不要給任何東西留有空間，過去的那些正直誠實的普遍品質包括愛情、榮譽、憐憫、尊嚴、同情和犧牲，缺乏了它們任何作品都是短暫的和註定要失敗的。