新東方美文背誦30篇mp3

新東方美文背誦30篇mp3篇一：英語背誦美文30篇(翻譯)

生而為贏（中文翻譯）

——新東方英語背誦美文30篇

目錄：

·第一篇：Youth 青春

·第二篇：Three Days to See(Excerpts)假如給我三天光明（節(jié)選）·第三篇：Companionship of Books 以書為伴（節(jié)選）

·第四篇：If I Rest, I Rust 如果我休息，我就會生銹

·第五篇：Ambition 抱負(fù)

·第六篇：What I have Lived for 我為何而生

·第七篇：When Love Beckons You 愛的召喚

·第八篇：The Road to Success 成功之道

·第九篇：On Meeting the Celebrated 論見名人

·第十篇：The 50-Percent Theory of Life 生活理論半對半

·第十一篇 What is Your Recovery Rate? 你的恢復(fù)速率是多少？ ·第十二篇：Clear Your Mental Space 清理心靈的空間

·第十三篇：Be Happy 快樂

·第十四篇：The Goodness of life 生命的美好

·第十五篇：Facing the Enemies Within 直面內(nèi)在的敵人

·第十六篇：Abundance is a Life Style 富足的生活方式

·第十七篇：Human Life a Poem 人生如詩

·第十八篇：Solitude 獨(dú)處

·第十九篇：Giving Life Meaning 給生命以意義

·第二十篇：Relish the Moment 品位現(xiàn)在

·第二十一篇：The Love of Beauty 愛美

·第二十二篇：The Happy Door 快樂之門

·第二十三篇：Born to Win 生而為贏

·第二十四篇：Work and Pleasure 工作和娛樂

·第二十五篇：Mirror, Mirror--What do I see鏡子,鏡子,告訴我 ·第二十六篇：On Motes and Beams 微塵與棟梁

·第二十七篇：An October Suise 十月的日出

·第二十八篇：To Be or Not to Be 生存還是毀滅

·第二十九篇：Gettysburg Address 葛底斯堡演說

·第三 十 篇：First Inaugural Address(Excerpts) 就職演講（節(jié)選）

1．青春-------------------------------------------------------------------------- 青春不是人生的一個(gè)階段，而是一種心境；青春不是指粉紅的面頰、鮮艷的嘴唇、富有彈性的膝蓋，而是指堅(jiān)定的意志、豐富的想象、充沛的情感；青春，它是清新的生命之泉。 青春是一種氣質(zhì)，勇敢勝過怯弱，渴求冒險(xiǎn)而不貪圖安逸。這樣的氣息60老者常常有，20青年恰恰無。年歲增添，未必使人垂老；理想不再，終于步入暮年。

歲月悠悠，衰微只及肌膚；熱忱拋卻，頹廢必致靈魂。憂煩、惶恐、自卑，使人心靈扭曲，心灰意冷。

無論60還是16歲，人人心中都懷著對新奇事物的向往，象孩童般對未來充滿憧憬，此情永不消退，在生活的游戲中汲取快樂。在你我的內(nèi)心深處都有一座無線電臺，只要它接收到人間和上帝發(fā)出的美好、希望、歡樂、勇氣和力量的信號，你就會青春永駐。

一旦你收攏天線，心靈即被憤世嫉俗和自暴自棄的冰霜覆蓋，即使年方二十，已經(jīng)步入垂暮之年；然而只要你豎起天線，接收積極樂觀的信號，你就有望在八十高齡過世時(shí)依然年輕。（黃亞萍）

2．假如給我三天光明(節(jié)選)-------------------------------------------------------- 我們都讀過震撼人心的故事，故事中的主人公只能再活一段很有限的時(shí)光，有時(shí)長達(dá)一年，有時(shí)卻短至一日。 但我們總是想要知道，注定將要離世的人會選擇如何度過自己最后的時(shí)光。當(dāng)然，我說的是那些有選擇權(quán)利的自由人，而不是那些活動范圍受到嚴(yán)格限定的死囚。 這樣的故事讓我們思考，在類似的處境下，我們該做些什么？作為終有一死的人，在臨終前的幾個(gè)小時(shí)內(nèi)我們應(yīng)該做什么事、經(jīng)歷些什么或做哪些聯(lián)想? 回憶往昔，什么使我們開心快樂? 什么又使我們悔恨不已?

有時(shí)我想，把每天都當(dāng)作生命中的最后一天來過，也不失為一個(gè)極好的生活法則。這種態(tài)度會使人格外重視生命的價(jià)值。我們每天都應(yīng)該以優(yōu)雅的姿態(tài)、充沛的精力、抱著感恩之心來生活。但當(dāng)時(shí)間以無休止的日、月和年在我們面前流逝時(shí)，我們卻常常沒有了這種感覺。 當(dāng)然，也有人奉行犬儒主義的“吃喝玩樂”信條，但絕大多數(shù)人還是會感受到即將到來的死亡的壓力。

在故事中，將死的主人公通常都在最后一刻因突降的幸運(yùn)而獲救，但他的價(jià)值觀通常都會改變，他變得更加理解生命的意義及其永恒的精神價(jià)值。我們常常注意到，那些生活在或曾經(jīng)生活在死亡陰影下的人無論做什么都會感到幸福。

然而，我們中的大多數(shù)人都把生命看成是理所當(dāng)然的。我們知道有一天我們必將面對死亡，但總認(rèn)為那一天還在遙遠(yuǎn)的將來。當(dāng)我們身強(qiáng)體健之時(shí)，死亡簡直不可想象，我們很少考慮到它。日子多得好象沒有盡頭。因此我們一味忙于瑣事，幾乎意識不到我們對待生活的麻木態(tài)度。

我擔(dān)心同樣的冷漠也存在于我們對自己官能和意識的運(yùn)用上。只有聾子才理解聽力的重要，只有盲人才明白視覺的可貴，這尤其適用于那些成年后才失去視力和聽力的人，但是那些從未受過喪失視力或聽力之苦的人很少充分利用這些寶貴的能力。他們的眼睛和耳朵模糊地感受著周圍的景物與聲音，心不在焉，也無所感激。這正如我們只有在失去后才懂得珍惜一樣，我們只有在生病后才意識到健康的可貴。

我經(jīng)常想，如果每個(gè)人在年輕的時(shí)候都有幾天失明失聰，也不失為一件幸事。黑暗將使他更加感激光明，寂靜將告訴他聲音的美妙。（李漢莉）

3．以書為伴 (節(jié)選)---------------------------------------------------------------

通�？匆粋�(gè)人讀些什么書就可知道他的為人，就像看他同什么人交往就可知道他的為人一樣，因?yàn)橛腥艘匀藶榘�，也有人以書為伴。無論是書友還是朋友，我們都應(yīng)該以最好的為伴。

好書就像是你最要好的朋友。它始終不渝，過去如此，現(xiàn)在如此，將來也永遠(yuǎn)不變。它是最有耐心、最令人愉悅的伴侶。在我們窮愁潦倒、臨危遭難時(shí)，它也不會拋棄我們，對我們總是一如既往地親切。在我們年輕時(shí)，好書陶冶我們的性情，增長我們的知識；到我們年老時(shí)，它又給我們以慰藉和勉勵(lì)。

人們常常因?yàn)橄矚g同一本書而結(jié)為知己，就像有時(shí)兩個(gè)人因?yàn)榫茨酵�一個(gè)人而成為朋友一樣。有句古諺說道：“愛屋及烏�！逼鋵�(shí)“愛我及書”這句話蘊(yùn)涵著更多的哲理。書是更為真誠而高尚的情誼紐帶。人們可以通過共同喜愛的作家溝通思想、交流感情，彼此息息相通，并與自己喜歡的作家思想相通、情感相融。

好書常如最精美的寶器，珍藏著人生思想的精華，因?yàn)槿松�的境界主要就在于其思想的境界。因此，最好的書是金玉良言和崇高思想的寶庫，這些良言和思想若銘記于心并多加珍視，就會成為我們忠實(shí)的伴侶和永恒的慰藉。

書籍具有不朽的本質(zhì)，是人類努力創(chuàng)造的最為持久的成果。寺廟會倒坍，神像會朽爛，而書卻經(jīng)久長存。對于偉大的思想來說，時(shí)間是無關(guān)緊要的。多年前初次閃現(xiàn)于作者腦海的

偉大思想今日依然清晰如故。他們當(dāng)時(shí)的言論和思想刊于書頁，現(xiàn)在依然生動如初。時(shí)間惟一的作用是淘汰不好的作品，因?yàn)橹挥姓嬲�的佳作才能�?jīng)世長存。

書籍介紹我們與最優(yōu)秀的人為伍，使我們置身于歷代偉人巨匠之間，如聞其聲、如觀其行、如見其人，同他們情感交融、悲喜與共、感同身受。我們覺得自己仿佛在作者所描繪的舞臺上和他們一起粉墨登場。

即使在人世間，偉大杰出的人物也永生不滅。他們的精神被載入書冊，傳于四海。書是人們至今仍在聆聽的智慧之聲，永遠(yuǎn)充滿著活力。（傅琳娜）

4．如果我休息，我就會生銹---------------------------------------------------------

在一把舊鑰匙上發(fā)現(xiàn)了一則意義深遠(yuǎn)的銘文——如果我休息，我就會生銹。對于那些為懶散而苦惱的人來說，這將是至理名言。甚至是最為勤勉的人也可以此為警示：如果一個(gè)人有才而不用，就像廢棄鑰匙上的鐵一樣，這些才能很快就會生銹，并最終無法完成安排給自己的工作。

有些人想取得偉人所獲得并保持的成就，他們就必須通過不斷運(yùn)用自身才能，以便開啟知識的大門，即那些通往人類努力探求的各個(gè)領(lǐng)域的大門，這些領(lǐng)域包括各種職業(yè)：科學(xué)、藝術(shù)、文學(xué)、農(nóng)業(yè)等。

勤奮使開啟成功寶庫的鑰匙保持光亮。休?米勒如果在采石場勞作一天后，晚上的時(shí)光用來休息消遣的話，他就不會成為名垂青史的地質(zhì)學(xué)家。著名數(shù)學(xué)家愛德蒙?斯通如果閑暇時(shí)無所事事，就不會出版數(shù)學(xué)詞典，也不會發(fā)現(xiàn)開啟數(shù)學(xué)之門的鑰匙。如果蘇格蘭青年弗格森在山坡上放羊時(shí)，讓自己那思維活躍的大腦處于休息狀態(tài)，而不是借助一串珠子計(jì)算星星的位置，他就不會成為著名的天文學(xué)家。

勞動征服一切。這里所指的勞動不是斷斷續(xù)續(xù)的、間歇性的或方向偏差的勞動，而是堅(jiān)定的、不懈的、方向正確的每日勞動。正如要想擁有自由就必須時(shí)刻警惕一樣，要想取得偉大的、持久的成功，就必須堅(jiān)持不懈地努力。（杜朝玉）

5．抱負(fù)--------------------------------------------------------------------------

一個(gè)缺乏抱負(fù)的世界將會怎樣，這不難想象。或許，這將是一個(gè)更為友善的世界：沒有渴望，沒有摩擦，沒有失望。人們將有時(shí)間進(jìn)行反思。他們所從事的工作將不是為了他們自身，而是為了整個(gè)集體。競爭永遠(yuǎn)不會介入；沖突將被消除。人們的緊張關(guān)系將成為過往云煙。創(chuàng)造的重壓將得以終結(jié)。藝術(shù)將不再惹人費(fèi)神，其功能將純粹為了慶典。人的壽命將會更長，因?yàn)橛杉ち移礌幰�起的心臟病和中風(fēng)所導(dǎo)致的死亡將越來越少。焦慮將會消失。時(shí)光流逝，抱負(fù)卻早已遠(yuǎn)離人心。

啊，長此以往人生將變的多么乏味無聊！

有一種盛行的觀點(diǎn)認(rèn)為，成功是一種神話，因此抱負(fù)亦屬虛幻。這是不是說實(shí)際上并不存在成功？成就本身就是一場空？與諸多運(yùn)動和事件的力量相比，男男女女的努力顯得微不足道？顯然，并非所有的成功都值得景仰，也并非所有的抱負(fù)都值得追求。對值得和不值得的選擇，一個(gè)人自然而然很快就能學(xué)會。但即使是最為憤世嫉俗的人暗地里也承認(rèn)成功確實(shí)存在，成就的意義舉足輕重，而把世上男男女女的所作所為說成是徒勞無功才是真正的無稽之談。認(rèn)為成功不存在的觀點(diǎn)很可能造成混亂。這種觀點(diǎn)的本意是一筆勾銷所有提高能力的動機(jī)、求取業(yè)績的興趣和對子孫后代的關(guān)注。

我們無法選擇出生，無法選擇父母，無法選擇出生的歷史時(shí)期與國家，或是成長的周遭環(huán)境。我們大多數(shù)人都無法選擇死亡，無法選擇死亡的時(shí)間或條件。但是在這些無法選擇之中，我們的確可以選擇自己的生活方式：是勇敢無畏還是膽小怯懦，是光明磊落還是厚顏無恥，是目標(biāo)堅(jiān)定還是隨波逐流。我們決定生活中哪些至關(guān)重要，哪些微不足道。我們決定，用以顯示我們自身重要性的，不是我們做了些什么，就是我們拒絕做些什么。但是不論世界對我們所做的選擇和決定有多么漠不關(guān)心，這些選擇和決定終究是我們自己做出來的。我們決定，我們選擇。而當(dāng)我們決定和選擇時(shí)，我們的生活便得以形成。最終構(gòu)筑我們命運(yùn)的就是抱負(fù)之所在。（葉雅珍）

6．為何而生----------------------------------------------------------------------

我的一生被三種簡單卻又無比強(qiáng)烈的激情所控制：對愛的渴望，對知識的探索和對人類苦難難以抑制的同情。這些激情像狂風(fēng)，把我恣情吹向四方，掠過苦難的大海，迫使我瀕臨絕望的邊緣。

我尋求愛，首先因?yàn)樗�使我心為之著迷，這種難以名狀的美妙迷醉使我愿意用所有的余生去換取哪怕幾個(gè)小時(shí)這樣的幸福。我尋求愛，還因?yàn)樗�能緩解我心理上的孤�?dú)，在這種可怕的孤獨(dú)中，我感覺心靈的戰(zhàn)栗，仿如站在世界的邊緣而面前是冰冷、無底的死亡深淵。我尋求愛，因?yàn)樵谖宜�目睹的愛的結(jié)合中，我仿佛看到了圣賢和詩人們所向往的天堂之景。這就是我所尋找的，雖然對人的一生而言似乎有些遙不可及，但至少是我用盡一生所領(lǐng)悟到的。 我用同樣的激情去尋求知識。我希望能夠理解人類的心靈，希望能夠知道群星閃爍的緣由。我試圖領(lǐng)悟畢達(dá)哥拉斯所景仰的“數(shù)即萬物”思想。我已經(jīng)悟出了其中的一點(diǎn)點(diǎn)道理，盡管并不是很多。

愛和知識，用它們的力量把人引向天堂。但是同情卻總把人又拽回到塵世中來。痛苦的呼喊聲回蕩在我的內(nèi)心。饑餓中的孩子、受壓迫的難民、被兒女們當(dāng)作負(fù)擔(dān)的無助的老人，還有這整個(gè)充滿了孤獨(dú)、貧窮和痛苦的世界，都是對人類所憧憬的美好生活無情的無情嘲弄。我渴望能夠減少邪惡，但是我無能為力，我也難逃其折磨。

這就是我的一生。我已經(jīng)找到了它的價(jià)值。而且如果有機(jī)會，我很愿意能再活它一次。 （陳敏芬）

7．愛的召喚----------------------------------------------------------------------

當(dāng)愛召喚你時(shí)，請追隨她，盡管愛的道路艱難險(xiǎn)峻。當(dāng)愛的羽翼擁抱你時(shí)，請順從她，盡管隱藏在其羽翼之下的劍可能會傷到你。當(dāng)愛向你訴說時(shí)，請相信她，盡管她的聲音可能會打破你的夢想，就如同北風(fēng)吹落花園里所有的花瓣。

愛會給你戴上桂冠，也會折磨你。愛會助你成長，也會給你修枝。愛會上升到枝頭，撫愛你在陽光下顫動的嫩枝，也會下潛至根部，撼動你緊抓泥土的根基。

但是，如果你在恐懼之中只想尋求愛的平和與快樂，那你就最好掩蓋住真實(shí)的自我，避開愛的考驗(yàn)，進(jìn)入不分季節(jié)的世界，在那里你將歡笑，但并非開懷大笑，你將哭泣，但并非盡情地哭。愛只將自己付出，也只得到自己。愛一無所有，也不會為誰所有，因?yàn)閻郾旧砭鸵炎宰恪?/p>

愛除了實(shí)現(xiàn)自我別無他求。但是如果你愛而又不得不有所求，那就請期望：

將自己融化并像奔流的溪水一般向夜晚吟唱自己優(yōu)美的曲調(diào)。

明了過多的溫柔所帶來的苦痛。

被自己對愛的理解所傷害；

并情愿快樂地悲傷。

在黎明帶著輕快的心醒來并感謝又一個(gè)有愛的日子；

在中午休息并品味愛的喜悅；

在黃昏懷著感恩之心回家；

然后為內(nèi)心所愛之人祈禱，吟唱贊美之歌，并帶著禱告和歌聲入眠。（張亞芳）

8．成功之道----------------------------------------------------------------------

年輕人創(chuàng)業(yè)之初，應(yīng)該從最底層干起，這是件好事。匹茲堡有很多商業(yè)巨頭，在他們創(chuàng)業(yè)之初，都肩負(fù)過“重任”：他們與掃帚相伴，以打掃辦公室的方式度過了他們商業(yè)生涯中最初的時(shí)光。我注意到我們現(xiàn)在辦公室里都有工友，于是年輕人就不幸錯(cuò)過了商業(yè)教育中這個(gè)有益的環(huán)節(jié)。如果碰巧哪天上午，專職掃地的工友沒有來，某個(gè)具有未來合伙人氣質(zhì)的年輕人會毫不猶豫地試著拿起掃帚。在必要時(shí)新來的員工掃掃地也無妨，不會因此而有什么損失。我自己就曾經(jīng)掃過地。

假如你已經(jīng)被錄用，并且有了一個(gè)良好的開端，我對你的建議是：要志存高遠(yuǎn)。一個(gè)年輕人，如果不把自己想象成一家大公司未來的老板或是合伙人，那我會對他不屑一顧。不論

職位有多高，你的內(nèi)心都不要滿足于做一個(gè)總管、領(lǐng)班或者總經(jīng)理。要對自己說：我要邁向頂尖！要做就做你夢想中的國王！

成功的首要條件和最大秘訣就是：把你的精力、思想、資金集中投入到你所從事的行業(yè)里去，無論從事哪個(gè)職業(yè)，就要下定決心在那一領(lǐng)域闖出一片天地來；做這一行的領(lǐng)導(dǎo)人物，采納每一點(diǎn)改進(jìn)之處，采用最優(yōu)良的設(shè)備，對專業(yè)知識熟稔于心。

一些公司的失敗就在于他們分散了資金，因?yàn)檫@就意味著分散了他們的精力。他們向這方面投資，又向那方面投資；在這里投資，在那里投資，到處都投資。“不要把所有的雞蛋都放在一個(gè)籃子里”的說法大錯(cuò)特錯(cuò)。我要對你說：“把所有的雞蛋都放在一個(gè)籃子里，然后小心地看好那個(gè)籃子�！笨纯茨阒車�，你會注意到：這么做的人其實(shí)很少失敗�？垂芎蛿y帶一個(gè)籃子并不太難。人們總是試圖提很多籃子，所以才打破這個(gè)國家的大部分雞蛋。提三個(gè)籃子的人，必須把一個(gè)頂在頭上，而這個(gè)藍(lán)子很可能倒下來，把他自己絆倒。美國商人的一個(gè)缺點(diǎn)就是不夠?qū)Ｗⅰ?/p>

把我的話歸納一下：要志存高遠(yuǎn)；不要出入酒吧；要滴酒不沾，或要喝也只在用餐時(shí)喝少許；不要做投機(jī)買賣；不要寅吃卯糧；要把公司的利益當(dāng)作你自己的利益；取消訂貨的目的永遠(yuǎn)是為了挽救貨主；要專注；把所有的雞蛋放在一個(gè)籃子里，然后小心地看好它；要量入為出；最后，要有耐心，正如愛默生所言，“誰都無法阻止你最終成功，除非你承認(rèn)自己失敗�！保ㄖx繼華）

9．論見名人----------------------------------------------------------------------

許多人熱衷于見名人，我始終不得其解。在朋友面前吹噓自己認(rèn)識某某名人，由此而來的聲望只能證明自己的微不足道。名人個(gè)個(gè)練就了一套處世高招，無論遇上誰，都能應(yīng)付自如。他們給世人展現(xiàn)的是一副面具，常常是美好難忘的面具，但他們會小心翼翼地掩蓋自己的真相。他們扮演的是大家期待的角色，演得多了，最后都能演得惟妙惟肖。如果你以為他們在公眾面前的表演就是他們的真實(shí)自我，那你就傻了。

我自己就喜歡一些人，非常喜歡他們。但我對人感興趣一般不是因?yàn)樗麄冏陨淼木壒�，而是出于我工作的需求。正如康德勸告的那樣，我從來沒有把認(rèn)識某人作為目的，而是將其當(dāng)作對一個(gè)作家有用的創(chuàng)作素材。比之名流顯土，我更加關(guān)注無名小卒。他們常常顯得較為自然真實(shí)，他們無須再創(chuàng)造另一個(gè)人物形象，用他來保護(hù)自己不受世人干擾，或者用他去感動世人。他們的社交圈子有限，自己的種種癖性也就越有可能得到滋長。因?yàn)樗麄儚膩頉]有引起公眾的關(guān)注，也就從來沒有想到過要隱瞞什么。他們會表露他們古怪的一面，因?yàn)樗麄儚膩砭蜎]有覺得有何古怪�？傊�，作家要寫的是普通人。在我們看來，國王，獨(dú)裁者和商界大亨等都是不符合條件的。去撰寫這些人物經(jīng)常是作家們難以抗拒的冒險(xiǎn)之舉，可為此付出的努力不免以失敗告終，這說明這些人物都過于特殊，無法成為一件藝術(shù)作品的創(chuàng)作根基，作家也不可能把他們寫得真真切切。老百姓才是作家的創(chuàng)作沃土，他們或變幻無常，或難覓其二，各式人物應(yīng)有盡有，這些都給作家提供了無限的創(chuàng)作素材。大人物經(jīng)常是千人一面，小人物身上才有一組組矛盾元素，是取之不盡的創(chuàng)作源泉，讓你驚喜不斷。就我而言，如要在孤島上度過一個(gè)月，我寧愿和一名獸醫(yī)相守，也不愿同一位首相做伴。（楊婷婷）

10．生活理論半對半---------------------------------------------------------------

我信奉對半理論。生活時(shí)而無比順暢，時(shí)而倒霉透頂。我覺得生活就像來回?cái)[動的鐘擺。讀懂生活的常態(tài)需要時(shí)間和閱歷，而讀懂它也練就了我面對未來的生活態(tài)度。

讓我們來確定一下好壞的基準(zhǔn)：是的，我注定會死去。我已經(jīng)經(jīng)歷了雙親、一位好友、一位敬愛的老板和心愛寵物的死亡。有些突如其來，近在眼前，有些卻緩慢痛苦。這些都是糟糕的事情，它們屬于最壞的部分。

生活中也不乏高潮：墜入愛河締結(jié)良緣；身為人父養(yǎng)育幼子，諸如訓(xùn)練指導(dǎo)兒子的棒球隊(duì)，當(dāng)他和狗在小河中嬉戲時(shí)搖槳?jiǎng)澊�，感受他如此�?qiáng)烈的同情心——即使對蝸牛也善待有加，發(fā)現(xiàn)他如此豐富的想象力——即使用零散的樂高玩具積木也能堆出太空飛船。

但在生活最好與最壞部分之間有一片巨大的中間地帶，其間各種好事壞事像耍雜技一樣

新東方美文背誦30篇mp3篇二：篇篇精彩新東方必背背誦80篇

>01 The Language of Music

A painter hangs his or her finished picture on a wall, and everyone can see it. A composer writes a work, but no one can hear it until it is performed. Professional singers and players have great responsibilities, for the composer is utterly dependent on them. A student of music needs as long and as arduous a training to become a performer as a medical student needs to become a doctor. Most training is concerned with technique, for musicians have to have the muscular proficiency of an athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be inadequate without controlled muscular support. String players practice moving the fingers of the left hand up and down, while drawing the bow to and fro with the right arm -- two entirely different movements.

Singers and instrumentalists have to be able to get every note perfectly in tune. Pianists are spared this particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner's responsibility to tune the instrument for them. But they have their own difficulties: the hammers that hit the strings have to be coaxed not to sound like percussion, and each overlapping tone has to sound clear.

This problem of getting clear texture is one that confronts student conductors: they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sounds with fanatical but selfless authority.

Technique is of no use unless it is combined with musical knowledge and understanding. Great artists are those who are so thoroughly at home in the language of music that they can enjoy performing works written in any century.

01 音樂的語言

畫家將已完成的作品掛在墻上，每個(gè)人都可以觀賞到。 作曲家寫完了一部作品，得由 演奏者將其演奏出來，其他人才能得以欣賞。因?yàn)樽髑�家是如此完全地依賴于職業(yè)歌手和職 業(yè)演奏者，所以職業(yè)歌手和職業(yè)演奏者肩上的擔(dān)子可謂不輕。 一名學(xué)音樂的學(xué)生要想成為 一名演奏者，需要經(jīng)受長期的、嚴(yán)格的訓(xùn)練，就象一名醫(yī)科的學(xué)生要成為一名醫(yī)生一樣。 絕 大多數(shù)的訓(xùn)練是技巧性的。 音樂家們控制肌肉的熟練程度，必須達(dá)到與運(yùn)動員或巴蕾舞演 員相當(dāng)?shù)乃�平�?歌手們每天都練習(xí)吊嗓子，因?yàn)槿绻�不能有效地控制肌肉的話，他們的�?帶將不能滿足演唱的要求。 弦樂器的演奏者練習(xí)的則是在左手的手指上下滑動的同時(shí)，用 右手前后拉動琴弓--兩個(gè)截然不同的動作。歌手和樂器演奏者必須使所有的音符完全相同協(xié) 調(diào)。 鋼琴家們則不用操這份心，因?yàn)槊總�(gè)音符都已在那里等待著他們了。 給鋼琴調(diào)音是調(diào) 音師的職責(zé)。 但調(diào)音師們也有他們的難處： 他們必須耐心地調(diào)理敲擊琴弦的音錘，不能讓 音錘發(fā)出的聲音象是打擊樂器，而且每個(gè)交疊的音都必須要清晰。如何得到樂章清晰的紋理 是學(xué)生指揮們所面臨的難題：他們必須學(xué)會了解音樂中的每一個(gè)音及其發(fā)音之道。 他們還 必須致力于以熱忱而又客觀的權(quán)威去控制這些音符。除非是和音樂方面的知識和悟性結(jié)合起 來，單純的技巧沒有任何用處。 藝術(shù)家之所以偉大在于他們對音樂語言駕輕就熟，以致于 可以滿懷喜悅地演出寫于任何時(shí)代的作品。

>02 Schooling and Education

It is commonly believed in the United States that school is where people go to get an education. Nevertheless, it has been said that today children interrupt their education to go to school. The distinction between schooling and education implied by this remark is important. Education is much more open-ended and all-inclusive than schooling. Education knows no bounds. It can take place anywhere, whether in the shower or in the job, whether in a kitchen or on a tractor. It includes both the formal learning that takes place in schools and the whole universe of informal learning. The agents of education can range from a revered grandparent to thepeople debating politics on the radio, from a child to a distinguished scientist.

Whereas schooling has a certain predictability, education quite often produces surprises. A chance conversation with a stranger may lead a person to discover how little is known of other religions. People are engaged in education from infancy on. Education, then, is a very broad, inclusive term. It is a lifelong process, a process that starts long before the start of school, and one that should be an integral part of one's entire life.

Schooling, on the other hand, is a specific, formalized process, whose general pattern varies little from one setting to the next. Throughout a country, children arrive at school at approximately the same time, take assigned seats, are taught by an adult, use similar textbooks, do homework, take exams, and so on. The slices of reality that are to be learned, whether they are the alphabet or an understanding of the workings of government, have usually been limited by the boundaries of the subject being taught. For example, high school students know that they are not likely to find out in their classes the truth about political problems in their communities or what the newest filmmakers are experimenting with. There are definite conditions surrounding the formalized process of schooling.

上學(xué)與受教育

在美國，人們通常認(rèn)為上學(xué)是為了受教育。 而現(xiàn)在卻有人認(rèn)為孩子們上學(xué)打斷了他們 受教育的過程。 這種觀念中的上學(xué)與受教育之間的區(qū)別非常重要。 與上學(xué)相比，教育更具 開放性，內(nèi)容更廣泛。 教育不受任何限制。 它可以在任何場合下進(jìn)行，在淋浴時(shí)，在工作 時(shí)，在廚房里或拖拉機(jī)上。 它既包括在學(xué)校所受的正規(guī)教育，也包括一切非

正規(guī)教育。 傳 授知識的人可以是德高望重的老者，可以是收音機(jī)里進(jìn)行政治辯論的人們，可以是小孩子， 也可以是知名的科學(xué)家。 上學(xué)讀書多少有點(diǎn)可預(yù)見性，而教育往往能帶來意外的發(fā)現(xiàn)。 與 陌生人的一次隨意談話可能會使人認(rèn)識到自己對其它宗教其實(shí)所知甚少。 人們從幼時(shí)起就 開始受教育。 因此，教育是一個(gè)內(nèi)涵很豐富的詞，它自始至終伴隨人的一生，早在人們上 學(xué)之前就開始了。 教育應(yīng)成為人生命中不可缺少的一部分。然而，上學(xué)卻是一個(gè)特定的形 式化了的過程。 在不同場合下，它的基本形式大同小異。 在全國各地，孩子們幾乎在同一 時(shí)刻到達(dá)學(xué)校，坐在指定的座位上，由一位成年人傳授知識，使用大致相同的教材，做作業(yè)， 考試等等。 他們所學(xué)的現(xiàn)實(shí)生活中的一些片斷，如字母表或政府的運(yùn)作，往往受到科目范 圍的限制。 例如，高中生們知道，在課堂上他們沒法弄清楚他們社區(qū)里政治問題的真情， 也不會了解到最新潮的電影制片人在做哪些嘗試。 學(xué)校教育這一形式化的過程是有特定的 限制的。

>03 The Definition of "Price"

Prices determine how resources are to be used. They are also the means by which products and services that are in limited supply are rationed among buyers. The price system of the United States is a complex network composed of the prices of all the products bought and sold in the economy as well as those of a myriad of services, including labor, professional, transportation, and public-utility services. The interrelationships of all these prices make up the"system" of prices. The price of any particular product or service is linked to a broad, complicated system of prices in which everything seems to depend more or less upon everything else. If one were to ask a group of randomly selected individuals to define "price", many would reply that price is an amount of money paid by the buyer to the seller of a product or service or, in other words, that price is the money value of a product or service as agreed upon in a market transaction. This definition is, of course, valid as far as it goes. For a complete understanding of a price in any particular transaction, much more than the amount of money involved must be known. Both the buyer and the seller should be familiar with not only the money amount, but with the amount and quality of the product or service to be exchanged, the time and place at which the exchange will take place and payment will be made, the form of money to be used, the credit terms and discounts that apply to the transaction, guarantees on the product or service, delivery terms, return privileges, and other factors. In other words, both buyer and seller should be fully aware of all the factors that comprise the total "package" being exchanged for the asked-for amount of money in order that they may evaluate a given price.

"價(jià)格"的定義 價(jià)格決定資源的使用方式。 價(jià)格也是有限的產(chǎn)品與服務(wù)在買方中的配給 手段。 美國的價(jià)格系統(tǒng)是復(fù)雜的網(wǎng)狀系統(tǒng)，包括經(jīng)濟(jì)生活中一切產(chǎn)品買賣的價(jià)格，也包括 名目繁多的各種服務(wù)，諸如勞動力、專職人員、交通運(yùn)輸、公共事業(yè)等服務(wù)的價(jià)格。 所有 這些價(jià)格的內(nèi)在聯(lián)系構(gòu)成了價(jià)格系統(tǒng)。 任何一種個(gè)別產(chǎn)品或服務(wù)的價(jià)格都與這個(gè)龐大而復(fù) 雜的系統(tǒng)密切相關(guān)，而且或多或少地受到系統(tǒng)中其它成份的制約。如果隨機(jī)挑選一群人，問 問他們?nèi)绾味�義"價(jià)格"，許多人會回答價(jià)格就是根據(jù)賣方提供的產(chǎn)品或服務(wù)，買方向其付出 的錢數(shù)。 換句話說，價(jià)格就是市場交易中大家認(rèn)同的產(chǎn)品或服務(wù)的貨幣量。 該定義就其本 身來說自有其道理。 但要獲得對價(jià)格在任何一樁交易中的完整認(rèn)識，就必須考慮到大量" 非貨幣"因素的影響。 買賣雙方不但要清楚交易中的錢數(shù)，而且要非常熟悉交易物的質(zhì)量和 數(shù)量，交易的時(shí)間、地點(diǎn)，采用哪種形式付款，有怎樣的緩付和優(yōu)惠，對交易物的質(zhì)量保證、 交貨條款、退賠權(quán)利等等。 也就是說，為了能估算索價(jià)，買賣雙方必須通曉構(gòu)成交易物價(jià) 格的通盤細(xì)節(jié)。

>04 Electricity

The modern age is an age of electricity. People are so used to electric lights, radio, televisions, and telephones that it is hard to imagine what life would be like without them. When there is a power failure, people grope about in flickering candlelight, cars hesitate in the streets because there are no traffic lights to guide them, and food spoils in silent refrigerators.Yet, people began to understand how electricity works only a little more than two centuries ago. Nature has apparently been experimenting in this field for millions of years. Scientists are discovering more and more that the living world may hold many interesting secrets of electricity that could benefit humanity.

All living cells send out tiny pulses of electricity. As the heart beats, it sends out pulses of record; they form an electrocardiogram, which a doctor can study to determine how well the heart is working. The brain, too, sends out brain waves of electricity, which can be recorded in an electroencephalogram. The electric currents generated by most living cells are extremely small -- often so small that sensitive instruments are needed to record them. But in some animals, certain muscle cells have become so specialized as electrical generators that they do not work as muscle cells at all. When large numbers of these cells are linked together, the effects can be astonishing.

The electric eel is an amazing storage battery. It can send a jolt of as much as eight hundred volts of electricity through the water in which it lives. (An electric house current is only one hundred twenty volts.) As many as four-fifths of all the cells in the electric eel's body are specialized for generating electricity, and the strength of the shock it can deliver corresponds roughly to the length of its body.

電 當(dāng)今時(shí)代是電氣時(shí)代。 人們對電燈、收音機(jī)、電視和電話早已司空見慣以致很難想 象沒有它們生活會變成什么樣。 當(dāng)停電時(shí)，人們在搖曳不定的燭光下暗中摸索； 因沒有紅 綠燈的指示，汽車在道路上遲疑不前；冰箱也停止工作，導(dǎo)致食物變質(zhì)。人們只是在兩個(gè)世 紀(jì)前一點(diǎn)才開始了解電的使用原理，自然界卻顯然在這方面經(jīng)歷過了數(shù)百萬年。 科學(xué)家不 斷發(fā)現(xiàn)許多生物世界里可能有益于人類的關(guān)于電的有趣秘密。所有生物細(xì)胞都會發(fā)出微小的 電脈沖。 當(dāng)心臟跳動時(shí)，把它發(fā)出的脈沖記錄下來就成了心電圖，這可讓醫(yī)生了解心臟的 工作狀況。大腦也發(fā)出腦電波，這可在腦電圖上記錄下來。 許多生物細(xì)胞發(fā)出的電流都是 極微小的，小到要用靈敏儀器才能記錄和測量。 但一些動物的某些肌肉細(xì)胞能轉(zhuǎn)化成一個(gè) 個(gè)發(fā)電機(jī)，以致完全失去肌肉細(xì)胞的功能。 這種細(xì)胞大量地連接在一起時(shí)產(chǎn)生的效果將是 非常令人吃驚的。電鰻就是一種令人驚異的蓄電池。 它可以在水中發(fā)出相當(dāng)于 800 伏特電 壓電流(家庭用戶的電壓只有 120 伏特)。 在電鰻的身體里，多至五分之四的細(xì)胞都專門用 來發(fā)電，而且發(fā)出的電流的強(qiáng)度大約和它身體的長度成正比。

>05 The Beginning of Drama

There are many theories about the beginning of drama in ancient Greece. The one most widely accepted today is based on the assumption that drama evolved from ritual. The argument for this view goes as follows. In the beginning, human beings viewed the natural forces of the world - even the seasonal changes - as unpredictable, and they sought through various means to control these unknown and feared powers. Those measures which appeared to bring the desired results were then retained and repeated until they hardened into fixed rituals. Eventually stories arose which explained or veiled the mysteries of the rites. As time passed some rituals were abandoned, but the stories, later called myths, persisted and provided material for art and drama.

Those who believe that drama evolved out of ritual also argue that those rites contained the seed of theater because music, dance, masks, and costumes were almost always used. Furthermore, a suitable site had to be provided for performances and when the entire community

did not participate, a clear division was usually made between the "acting area" and the

"auditorium." In addition, there were performers, and, since considerable importance was attached to avoiding mistakes in the enactment of rites, religious leaders usually assumed that task. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mimed the desired effect -- success in hunt or battle, the coming rain, the revival of the Sun -- as an actor might. Eventually such dramatic representations were separated from religious activities.

Another theory traces the theater's origin from the human interest in storytelling. According to this view tales (about the hunt, war, or other feats) are gradually elaborated, at first through the use of impersonation, action, and dialogue by a narrator and then through the assumption of each of the roles by a different person. A closely related theory traces theater to those dances that are primarily rhythmical and gymnastic or that are imitations of animal movements and sounds.

戲劇的起源 關(guān)于古希臘戲劇的起源存在著多種理論，其中一個(gè)最普遍為人接受的理論 假設(shè)認(rèn)為戲劇從儀式演化而來。 這個(gè)觀點(diǎn)是這樣進(jìn)行論證的：一開始，人類把世界上的自 然力量，甚至季節(jié)的變化都看成是不可預(yù)料的。 他們試圖通過各種方式去控制這些未知的、 令人恐懼的力量。 那些似乎帶來了滿意結(jié)果的手段就被保留下來并且重復(fù)直到這些手段固 化為不變的儀式，最后產(chǎn)生了能夠解釋或者掩蓋這些儀式神秘性的故事。 隨著時(shí)間的推移， 一些儀式被廢棄了，但這些后來被稱作神話的故事流傳下來并且為藝術(shù)和戲劇提供了素材。 認(rèn)為戲劇從儀式演化而來的人們還認(rèn)為那些儀式包含了戲劇的基本因素，因?yàn)橐魳�、舞蹈�?面具和服裝幾乎經(jīng)常被使用，而且，必須為演出提供一個(gè)合適的地點(diǎn)；如果不是整個(gè)社區(qū)共 同參加演出，經(jīng)常在"演出區(qū)"和"觀眾席"之間劃分出明顯的分界。 另外，儀式中還有演員， 而且宗教領(lǐng)袖通常承擔(dān)演出任務(wù)，因?yàn)樵趦x式的執(zhí)行中避免錯(cuò)誤的發(fā)生被認(rèn)為有相當(dāng)大的重 要性；他們經(jīng)常帶著面具，穿著服裝象演員那樣扮演其它人、動物或超自然的生靈，用動作 來表演以達(dá)到所需要的效果，比如打獵的成功或戰(zhàn)斗的勝利、將至的雨、太陽的復(fù)活。 最 后這些戲劇性的表演從宗教活動中分離了出來。 另一個(gè)追溯戲劇起源的理論認(rèn)為它來自人 們對敘述故事的興趣。 根據(jù)這個(gè)觀點(diǎn)，故事(關(guān)于狩獵、戰(zhàn)爭或者其它偉績)是逐漸豐富起 來的。 首先通過一個(gè)講解人來運(yùn)用模仿、表演和對話，然后再由不同的人扮演各自的角色； 另一個(gè)與之緊密相關(guān)的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節(jié)奏感的和體操 式的那一類，或者是對動物動作和聲音的模仿。>06 Television

Television -- the most pervasive and persuasive of modern technologies, marked by rapid change and growth -- is moving into a new era, an era of extraordinary sophistication and versatility, which promises to reshape our lives and our world. It is an electronic revolution of sorts, made possible by the marriage of television and computer technologies.

The word "television", derived from its Greek (tele: distant) and Latin (visio: sight) roots, can literally be interpreted as sight from a distance. Very simply put, it works in this way: through a sophisticated system of electronics, television provides the capability of converting an image

(focused on a special photoconductive plate within a camera) into electronic impulses, which can be sent through a wire or

cable. These impulses, when fed into a receiver (television set), can then be electronically reconstituted into that same image. Television is more than just an electronic

system, however. It is a means of expression, as well as a vehicle for communication, and as such becomes a powerful tool for reaching other human beings.

The field of television can be divided into two categories determined by its means of transmission. First, there is broadcast television, which reaches the masses through broad-based airwave transmission of television signals. Second, there is nonbroadcast television, which provides for the needs of individuals or specific interest groups through controlled transmission techniques.

Traditionally, television has been a medium of the masses. We are most familiar with broadcast television because it has been with us for about thirty-seven years in a form similar to what exists today. During those years, it has been controlled, for the most part, by the broadcast networks, ABC, NBC, and CBS, who have been the major purveyors of news, information, and entertainment. These giants of broadcasting have actually shaped not only television but our perception of it as well. We have come to look upon the picture tube as a source of entertainment, placing our role in this dynamic medium as the passive viewer.

電視電視--以快速變化與發(fā)展為標(biāo)志的最普遍、最具有影響力的一項(xiàng)現(xiàn)代技術(shù)，正在步 入一個(gè)極端復(fù)雜化與多樣化的新時(shí)代。 這個(gè)時(shí)代承諾重新塑造我們的生活和我們的世界。 這可以稱得上是又一次電子革命，其關(guān)鍵在于電視技術(shù)與計(jì)算機(jī)技術(shù)的結(jié)合。"電視"這個(gè)詞 來源于希臘語詞根(tele：遠(yuǎn))和拉丁語詞根(vision：景象)，可以從字面上理解為來自遠(yuǎn)處的 景象。 簡單說來，電視是以這種方式工作的，通過一個(gè)復(fù)雜的電子系統(tǒng)，電視能夠?qū)⒁环?圖像(這幅圖像被聚焦在一部攝像機(jī)內(nèi)的一塊特殊的光導(dǎo)底片上)轉(zhuǎn)換成能經(jīng)過導(dǎo)線或電纜 發(fā)送出去的電子脈沖信號。 當(dāng)這些電子脈沖信號被輸入一部接收機(jī)(電視機(jī))時(shí)，就可以用 電子學(xué)的方法把脈沖信號重新恢復(fù)成同一幅圖像。但是，電視不僅僅是一個(gè)電子系統(tǒng)，它還 是一種表達(dá)工具和傳播渠道。 因此，電視成了一個(gè)對其他人發(fā)生影響的強(qiáng)大工具。電視這 個(gè)領(lǐng)域可以根據(jù)其發(fā)射方式分為兩類。 第一類為廣播電視，通過電視信號的寬帶無線電波 發(fā)射展現(xiàn)在大眾面前；第二類為非廣播電視，使用受控的發(fā)射技術(shù)來滿足個(gè)人以及某些特殊 利益群體的需要。電視早已成為大眾媒介。 我們熟悉廣播電視，因?yàn)閺V播電視已經(jīng)以類似 目前的方式存在了大約 37 年。 在那些年頭中，電視絕大部分一直由 ABC、NBC、CBS 這 些廣播電視公司控制著，這些廣播電視公司一直是新聞、信息和娛樂的主要提供者。 這些 廣播業(yè)的巨頭實(shí)際上不僅塑造了電視，而且也塑造了我們對電視的理解。 我們漸漸把顯像 管看作是娛樂的來源，讓自己成為這個(gè)生動的媒介的被動觀眾。

>07 Andrew Carnegie

Andrew Carnegie, known as the King of Steel, built the steel industry in the United States, and, in the process, became one of the wealthiest men in America. His success resulted in part from his ability to sell the product and in part from his policy of expanding during periods of economic decline, when most of his competitors were reducing their investments.

Carnegie believed that individuals should progress through hard work, but he also felt strongly that the wealthy should use their fortunes for the benefit of society. He opposed charity, preferring instead to provide educational opportunities that would allow others to help themselves. "He who dies rich, dies disgraced, " he often said.Among his more noteworthy contributions to society are those that bear his name, including

the Carnegie Institute of Pittsburgh, which has a library, a museum of fine arts, and a museum of national history. He also founded a school of technology that is now part of Carnegie-Mellon University. Other philanthropic gifts are the Carnegie Endowment for International Peace to promote understanding between nations, the Carnegie Institute of Washington to fund scientific research, and Carnegie Hall to provide a center for the arts.

Few Americans have been left untouched by Andrew Carnegie's generosity. His contributions of more than five million dollars established 2,500 libraries in small communities throughout the country and formed the nucleus of the public library system that we all enjoy today.

安德魯·卡內(nèi)基 被稱作鋼鐵大王的安德魯·卡內(nèi)基在美國建立了鋼鐵工業(yè)。 在這個(gè)過 程中，他變成了美國最富有的人之一。 他的成功，部分來自于他銷售產(chǎn)品的能力，部分來 自于經(jīng)濟(jì)蕭條時(shí)期的擴(kuò)充策略。 在蕭條時(shí)期，他的多數(shù)對手都在縮減投資�？▋�(nèi)基認(rèn)為個(gè) 人應(yīng)該通過努力工作來獲得進(jìn)展，但他也強(qiáng)烈地感到有錢人應(yīng)該運(yùn)用他們的財(cái)富來為社會謀 取福利。 他反對施舍救濟(jì)，更愿意提供教育機(jī)會，使別人自立。 卡內(nèi)基經(jīng)常說："富有著 死去的人死得可恥。"他對社會的較重要的貢獻(xiàn)都以他的名字命名。 這些貢獻(xiàn)包括匹茲堡卡 內(nèi)基學(xué)校。 這個(gè)學(xué)校有一個(gè)圖書館，一個(gè)美術(shù)館和一個(gè)國家歷史博物館；他還創(chuàng)立了一所 技術(shù)學(xué)校，這所學(xué)�，F(xiàn)在是卡內(nèi)基 梅隆大學(xué)的一部分；其他的慈善捐贈有為促進(jìn)國家間了 解的"卡內(nèi)基國際和平基金"，為科學(xué)研究提供經(jīng)費(fèi)的華盛頓卡內(nèi)基學(xué)院以及給各種藝術(shù)活動 提供活動中心的卡內(nèi)基音樂廳。安德魯·卡內(nèi)基的慷慨大度幾乎影響到每個(gè)美國人的生活。 由于他超過五百萬美元的捐款，2500 個(gè)圖書館得以建立起來，遍布在美國各地的小村鎮(zhèn)， 形成了我們今天還在享用的公共圖書館系統(tǒng)的核心。

>08 American Revolution

The American Revolution was not a revolution in the sense of a radical or total change. It was not a sudden and violent overturning of the political and social framework, such as later occurred in France and Russia, when both were already independent nations. Significant changes were ushered in, but they were not breathtaking. What happened was accelerated evolution rather than outright revolution. During the conflict itself people went on working and praying, marrying and playing. Most of them were not seriously disturbed by the actual fighting, and many of the more isolated communities scarcely knew that a war was on. America's War of Independence heralded the birth of three modern nations. One was Canada, which received its first large influx of English-speaking population from the thousands of loyalists who fled there from the United States. Another was Australia, which became a penal colony now that America was no longer available for prisoners and debtors. The third newcomer -- the United States -- based itself squarely on republican principles.

Yet even the political overturn was not so revolutionary as one might suppose. In some states, notably Connecticut and Rhode Island, the war largely ratified a colonial self-rule already existing. British officials, everywhere ousted, were replaced by a home-grown governing class, which promptly sought a local substitute for king and Parliament.

美國革命 美國革命其實(shí)并不算是一場革命，因?yàn)樗�并未�?dǎo)致完全的和徹底的變化。 這 次革命并不是對政治和社會框架的一次突然和猛烈的顛覆，象后來在已經(jīng)是獨(dú)立國家的法國 和俄國所爆發(fā)的革命那樣。 革命帶來了重大的變化，但并非翻天覆地，所發(fā)生的只是進(jìn)化 的加速，而不是一場徹底的革命；在沖突期間，人們?nèi)匀簧习唷⒆龆Y拜、結(jié)婚、玩耍。 多

數(shù)人并沒有受到實(shí)際戰(zhàn)斗的嚴(yán)重影響。 許多較閉塞的社區(qū)對這場戰(zhàn)爭幾乎一無所知。美國 獨(dú)立戰(zhàn)爭宣布了三個(gè)現(xiàn)代國家的誕生，其中一個(gè)是加拿大。 加拿大的第一大批講英語的流 入人口來自于成千上萬英王的效忠者， 這些人從美國逃到了加拿大。 另一個(gè)國家是澳大利 亞，因?yàn)槊绹�不再是容納罪犯和欠債者的國度了，澳大利亞就變成了一個(gè)懲治罪犯的殖民地

(注：獨(dú)立戰(zhàn)爭前，英國政府將罪犯流放到美國)。 第三個(gè)國家就是美國，它完全建立在共 和原則基礎(chǔ)上。即使政治上的顛覆也不如人們可能想象的那樣具有革命性。 在一些州，特 別是康涅狄格和羅德島，戰(zhàn)爭基本上只是承認(rèn)了已經(jīng)存在的殖民地的自治。 四處被驅(qū)逐的 英國官員都被本土的統(tǒng)治階級所替代，這個(gè)統(tǒng)治階級迅速地以地方權(quán)力機(jī)關(guān)來替代國王和議 會。

>09 Suburbanization

If by "suburb" is meant an urban margin that grows more rapidly than its already developed interior, the process of suburbanization began during the emergence of the industrial city in the second quarter of the nineteenth century. Before that period the city was a small highly compact cluster in which people moved about on foot and goods were conveyed by horse and cart. But the early factories built in the 1830's and 1840's were located along waterways and near railheads at the edges of cities, and housing was needed for the thousands of people drawn by the prospect of employment. In time, the factories were surrounded by proliferating mill towns of apartments and row houses that abutted the older, main cities. As a defense against this encroachment and to enlarge their tax bases, the cities appropriated their industrial neighbors. In

1854, for example, the city of Philadelphia annexed most of Philadelphia County. Similar municipal maneuvers took place in Chicago and in New York. Indeed, most great cities of the United States achieved such status only by incorporating the communities along their borders.

With the acceleration of industrial growth came acute urban crowding and accompanying social stress -- conditions that began to approach disastrous proportions when, in 1888, the first commercially successful electric traction line was developed. Within a few years the horse-drawn trolleys were retired and electric streetcar networks crisscrossed and connected every major urban area, fostering a wave of suburbanization that transformed the compact industrial city into a dispersed metropolis.This first phase of mass-scale suburbanization was reinforced by the simultaneous emergence of the urban Middle Class, whose desires for homeownership in neighborhoods far from the aging inner city were satisfied by the developers of single-family housing tracts.

郊區(qū)的發(fā)展 如果"郊區(qū)"指的是比已建好的城市內(nèi)部發(fā)展更為迅速的城市邊緣地帶，那 么郊區(qū)化可以說始于 1825 年至 1850 年工業(yè)化城市出現(xiàn)期間。 在這之前，城市只是高度密 集的小聚居群。 在其中，人們步行走動，商品靠馬車來運(yùn)送。 但是建于 18 世紀(jì)三四十年 代的早期工廠位于城邊的航道和鐵路附近，被工作機(jī)會吸引到這里的成千上萬的人們需要住 房。 漸漸地，在與舊有的主要城區(qū)相毗鄰的地方，不斷涌現(xiàn)出由排房和公寓樓組成的工人 聚居區(qū)，包圍了工廠。作為對這種侵蝕的自衛(wèi)，也為了擴(kuò)大它們收稅的地域范圍，城市吞并 了工業(yè)化的臨近地帶，比如 1854 年費(fèi)城的城區(qū)就兼并了費(fèi)縣的絕大部分地區(qū)。 相似的城市 化也發(fā)生在芝加哥和紐約。 今天很多美國的大城市其實(shí)就是靠吞并它們附近的邊緣地區(qū)而 變成大都會的。隨著工業(yè)化的加速發(fā)展，城市里出現(xiàn)了嚴(yán)重?fù)頂D和相伴而來的社會壓力。 當(dāng)1888 年第一條商業(yè)上成功的電氣化鐵軌被制造出來時(shí)，壓力開始接近危機(jī)的程度。 幾年之

新東方美文背誦30篇mp3篇三：生而為贏 新東方讀背30篇文本

生而為贏

——新東方英語背誦美文30篇

目錄：

·第一篇：Youth 青春

·第二篇： Three Days to See(Excerpts)假如給我三天光明（節(jié)選）·第三篇：Companionship of Books 以書為伴（節(jié)選）

·第四篇：If I Rest, I Rust 如果我休息，我就會生銹

·第五篇：Ambition 抱負(fù)

·第六篇：What I have Lived for 我為何而生

·第七篇：When Love Beckons You 愛的召喚

·第八篇：The Road to Success 成功之道

·第九篇：On Meeting the Celebrated 論見名人

·第十篇：The 50-Percent Theory of Life 生活理論半對半

·第十一篇：What is Your Recovery Rate? 你的恢復(fù)速率是多少？ ·第十二篇：Clear Your Mental Space 清理心靈的空間

·第十三篇：Be Happy 快樂

·第十四篇：The Goodness of life 生命的美好

·第十五篇：Facing the Enemies Within 直面內(nèi)在的敵人

·第十六篇：Abundance is a Life Style 富足的生活方式

·第十七篇：Human Life a Poem 人生如詩

·第十八篇：Solitude 獨(dú)處

·第十九篇：Giving Life Meaning 給生命以意義

·第二十篇：Relish the Moment 品位現(xiàn)在

·第二十一篇：The Love of Beauty 愛美

·第二十二篇：The Happy Door 快樂之門

·第二十三篇：Born to Win 生而為贏

·第二十四篇：Work and Pleasure 工作和娛樂

·第二十五篇：Mirror, Mirror--What do I see鏡子,鏡子,告訴我 ·第二十六篇：On Motes and Beams 微塵與棟梁

·第二十七篇：An October Suise 十月的日出

·第二十八篇：To Be or Not to Be 生存還是毀滅

·第二十九篇：Gettysburg Address 葛底斯堡演說

·第三十篇：First Inaugural Address(Excerpts) 就職演講（節(jié)選）

·第一篇：Youth 青春

Youth

Youth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees; it is a matter of the will, a quality of the imagination, a vigor of the emotions; it is the freshness of the deep springs of life.

Youth means a temperamental predominance of courage over timidity, of the appetite for adventure over the love of ease. This often exists in a man of 60 more than a boy of 20. Nobody grows old merely by a number of years. We grow old by deserting our ideals.

Years may wrinkle the skin, but to give up enthusiasm wrinkles the soul. Worry, fear, self-distrust bows the heart and turns the spirit back to dust.

Whether 60 or 16, there is in every human being?s heart the lure of wonders, the unfailing appetite for what?s next and the joy of the game of living. In the center of your heart and my heart, there is a wireless station; so long as it receives messages of beauty, hope, courage and power from man and from the infinite, so long as you are young.

When your aerials are down, and your spirit is covered with snows of cynicism and the ice of pessimism, then you?ve grown old, even at 20; but as long as your aerials are up, to catch waves of optimism, there?s hope you may die young at 80.

·第二篇： Three Days to See(Excerpts)假如給我三天光明（節(jié)選）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 24 hours. But always we were interested in discovering just how the doomed hero 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 delimited.

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 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 gentleness, 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 Epicurean motto of “Eat, drink, and be merry”. But most

people would be chastened by the certainty of impending death.

In stories the doomed hero is usually saved at the last minute by some stroke of fortune, but almost always his sense of values is changed. He becomes more appreciative of the meaning of life and its permanent spiritual values. It has often been noted that those who live, or have lived, in the shadow of death bring a mellow sweetness to everything they do.

Most of us, however, 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 buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.

The same lethargy, I am afraid, characterizes the use of all our faculties and senses. Only the deaf appreciate hearing, only the blind realize the manifold 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 impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without

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