“成功”的蛇足散文

电视台相亲节目火，最近多次看到相亲的男青年宣称：虽然我无房无车无存款，甚至没有稳定工作，但一定会顽强打拼，通过自己的努力，成为全球500强……我不说大家也想象得到，“全球500强”对一名普通青年来说，意味着怎样艰难漫长的道路。而这边到了年龄想嫁人的女孩可等不及，她们并不笨，不是随便画个“500强”的大饼就能骗上手的。

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青年有志当然很好，他们希望获得声名与财富也无可厚非，但人人都想当老板和企业巨头，对社会来说未必是好事。作为一种励志观，“成功论”的危害可能有限，而它作为一种评价观念出现在青年成长过程中时，有可能直接影响其价值观，让他们在不知不觉中自大或自卑，其危害将极为深远。一个社会，人人都应有各自的合理追求，同时靠诚实劳动辛勤工作去实现，这对人来说是幸福的，对社会来说应该是和谐的；倘若人人都要“500强”这种成功，那恐怕不是什么好的兆头。

可惜的是，如今的社会文化不断地给青年灌输“500强”式的“成功”意识，总有人要把“成功”列为唯一评价标准，用一个个“成功”故事激励青年。比如，说成功人士某甲创业艰难，如何遇上了不景气，生意一落千丈，流落街头，摆过地摊，但“功夫不负有心人”，终于东山再起，现在产业年产值多少多少个亿。又有成功人士某乙，十几年不看电影电视，没有任何娱乐活动，现在有了三个公司八个专利，受到什么级别的表彰，被谁谁谁接见。还有某丙，每天啃干面包，喝凉水，终于获得博士学位，被选为区政协委员。还有某丁，三十多岁当了副县长，前途无量……度长絜大，一把尺子，只量名和利。

一名劳动者能恪守本分，通过劳动养活自己，维持一家人的生活，做一个“普通人”，这怎么就算“不成功”呢？是不是一定要自己开家公司当老板，“手下有几百号人”，或是“在全国几十个城市有分店”，每年上缴利税多少多少万元？一个人为了生存，为了自己喜欢的事，走一条自己选择的路，他达到了目的，或他没能达到目的，无论如何，这是他个人的经历，只要能愉快地度过每一天，为什么非要添一条“成功”的蛇足呢？

每看到青年构想不切实际的人生蓝图，都很担心他将被那个所谓的“成功”束缚，而放弃他本当真正享有的幸福和愉悦。

Act at Once 立即行动

My dreams are worthless, my plans are dust, my goals are impossible. All are of no value unless they are followed by action.

Never has there been a map, however carefully executed to detail and scale, which carried its owner over even one inch of ground. Never has there been a parchment of law, however fair, which prevented one crime. Action alone, is the tinder which ignites the map the parchment, my dreams, my plans, my goals, into a living force. Action is the food and drink which will nourish my success.

My procrastination which has held me back was born of fear and now I recognize this secret mined from the depths of all courageous hearts. Now I know that to conquer fear I must always act without hesitation and the flutters in my heart will vanish. Now I know that action reduces the lion of terror to an ant of equanimity.

Henceforth, I will remember the lesson of firefly who gives off its light only when it is on the wing, only when it is in action. I will become a firefly and even in the day my glow will be seen in spite of the sun. Let others be as butterflies who preen theirs yet depend on the charity of a flower for life. I will be as the firefly and my light will brighten the world.

I will not avoid the tasks of today and charge them to tomorrow for I know that tomorrow never comes. Let me act now even through my actions may not bring happiness or success for it is better to act and fail than not to be act and flounder. Happiness, in truth, may not be the fruit plucked by my action yet without action all fruit will die on the vine.

I will act now. Henceforth, I will repeat these words again and again, each hour, each day, until the words become as much as a habit as my breathing and the actions which follow become as instinctive as the blinking of my eyelids. With these words I can condition my mind to perform every act necessary for my success. With these words I can condition my mind to meet every challenge which the failure avoids.

I will repeat these words, again and again and again. When I awake I will say them and leap from my cot while the failure sleeps yet another hour.

For now is all I have. Tomorrow is the day reserved for the labor of the lazy. I am not lazy. Tomorrow is the day when then evil become good. I am not evil. Tomorrow is the day when the weak become strong. I am not weak. Tomorrow is the day when the failure will succeed. I am not a failure.

When the lion is hungry he eats. When the eagle has thirst he drinks. Lest they act, both will perish. I hunger for success. I thirst for happiness and peace of mind. Lest I act I will perish in a life of failure, misery, and sleepless night.

Success will not wait. If I delay she will become betrothed to anther and lost to me forever. This is the time. This is the place. I am the man.

我的梦想毫无价值，我的计划渺如尘土，我的目标无法达到。一切的一切都毫无意义——除非我们付诸行动。

一张地图，不论标注多么详尽，比例多么精确，它也决不能带着它的主人在地面上移动半步。一部法律，不论多么公正，也决不能制止哪怕一宗罪恶。惟有行动才能使地图、法律以及我的梦想、计划和目标具有现实意义。行动，就像食物和水一样，为我们的成功提供滋养。

拖延使我裹足不前，它生于恐惧，现在我从所有勇敢的心灵深处，挖掘出并领悟到这一秘密。我知道，想克服恐惧，必须毫不犹豫，雷厉风行，唯有如此，心中的慌乱方能得以平定。现在我知道，行动可将猛狮般的恐惧，减缓为蚂蚁般的平静。

从此我要记住萤火虫的启示：只有振翅而飞的时候，只有在行动中，才能发出光芒。我要成为一只萤火虫，即使艳阳高照，也无法掩盖我的光芒。让别人像蝴蝶一样吧，精心装扮双翅，却靠花朵的施舍生活；我要做萤火虫，我的光芒照亮整个世界。

我不会把今天的事情留给明天，因为我知道明天永远不会来。让我现在就行动吧！即便我的行动不会带来幸福或成功，但是行动而失败总比坐以待毙好。坦白讲，我的行动也许不会采摘到幸福的果实，但没有行动，就算有果实也都烂在藤上。

立即行动，从今往后，我要一遍又一遍，每时每刻重复这句话，知道这几个字成为习惯，好比呼吸一般；直到随后的行动成为本能，好比眨眼一样。有了这句话，我就能调节心态，做出成功所需的每一分努力。有了这句话，我就能调节心态，迎接失败者避而远之的每一次挑战。

我将一遍一遍地重复这句话，清晨醒来时，失败者流连于床榻，我却要默诵这句话，一跃而起。

现在是我的所有。明日是懒汉为自己留的工作日，而我并不懒惰；明日是弃恶从善的日子，而我并不邪恶；明日是弱者变强者的日子，我并不软弱；明日是失败者成功的日子，而我并非失败者。

狮饥而食，鹰渴即饮，除非行动，否则它们死路一条。我因成功而饥，我为幸福安心而渴，除非行动，否则我将在失败、悲惨、夜不成寐的日子中了结此生。

成功不等人。如果我迟疑，她就会投入别人的怀抱，永远弃我而去。此时便是良辰，此时便可为洞房，我便是“成功”的新郎。

跳蚤人生

失败常常不是因为我们不具备这样的实力，而是在心理上默认了一个“不可跨越”的高度限制。

六年前，一位朋友南下求职，根据她的专长和才华，负责一个部门运行不成问题。

我给一家电信公司的.余总工程师写了一封推荐信，然后让朋友约定时间面试。没想到她却说自己从来没有在这样大的电信公司做过主管，恐怕面试无法通过，或者做不好工作，影响朋友的面子，只好“退而求其次”。

她先给几家用人单位寄去简历，足足等了半个月，结果石沉大海无消息；接着，她又去找区级人才市场或者职业介绍所，见了几家用人单位，结果是“高不成而低不就”。最后，她打电话给电信公司余总工程师，总工办秘书接过电话问道：“请问您找哪一位？”她回答说：“请找余总。”秘书说：“对不起，余总正在开会，可以请您留下口信吗？”她又不好意思留口信。

一周后，我给她讲了一个“跳蚤的故事”：有人做过这样一个实验：把一只跳蚤放进玻璃杯，发现跳蚤跳的高度一般可达到它身体的400倍，如果再增加一些高度，跳蚤就跳不出来了。但是当你把一盏酒精灯拿到杯底，跳蚤热得受不了的时候，它就会“嘣”地一下，跳了出去。正如兵法上所说“置之死地而后生”。

朋友很快领悟，第二天一上班，她就给余总打电话，又是秘书接的电话，但她直呼余总的名字，秘书不敢怠慢，很快接通电话……

现在我这位朋友早已成为该公司的设计室主管。余总多次对我说：“我真该感谢你，你给我们公司介绍的这位同事诚实、能干、进步最快。”

其实我们许多人也在重复着这样的“跳蚤人生”：因为在心理上默认了一个“不可跨越”的高度极限，而甘愿忍受失败者的生活。（《青年知识报》张强/文）

Never give up hope 永不放弃希望

有个青年总是愤世嫉俗，在学习、生活、工作中遭遇了许多误解和挫折，由于得不到别人的理解，渐渐地养成了以戒备和仇恨的心态看待他人的习惯。在压抑郁闷的环境中，他感觉整个世界都在排斥他，因此度日如年，几乎要崩溃。

有一天为了散心，他登上了一座景色宜人的大山。坐在山上，他无心欣赏幽雅的风景，想想自己这些年的遭遇，内心的仇恨像开闸的洪水一样，忍不住大声对着空荡幽深的山谷喊：“我恨你们！我恨你们！我恨你们！”话一出口，山谷里传来同样的回音：“我恨你们！我恨你们！我恨你们！”他越听越不是滋味，又提高了喊叫的声音。他骂得越厉害回音越大越长，扰得他更恼怒。

就在他再次大声叫骂后，从身后传来了“我爱你们！我爱你们！我爱你们！”的声音，他扭头一看，只见不远处寺庙里一方丈在冲着他喊。

片刻后方丈微笑着向他走来，他见方丈面善目慈，便一股脑说出了自己所遭遇的一切。

听了他的讲述，方丈笑着说：“晨钟暮鼓惊醒多少山河名利客，经声佛号唤回无边苦海梦中人。我送你4句话。其一，这世界上没有失败，只有暂时没成功。其二，改变世界之前，需要改变的是你自己。其三，改变从决定开始，决定在行动之前。其四，是自己的决心，而不是环境在决定你的命运。你不妨先改变自己的习惯，试着用友善的心态去面对周围的一切，你会有意想不到的快乐。”

他半信半疑，表情很复杂。方丈看透了他的心思，接着说道：“倘若世界是一堵墙壁，那么爱是世界的回音壁。就像刚才我们的回音，你以什么样的心态说话，它就会以什么样的语气给你回音。爱出者爱返，福往者福来。为人处世许多烦恼都是因为对外界苛求得太多而产生的。你热爱别人，别人也会给你爱；你去帮助别人，别人也会帮助你。世界是互动的，你给世界几份爱，世界就会回你几份爱。爱给人的收获远远大于恨带来的暂时的满足。”

听了方丈的话他顿悟，愉快地下山了。

回去后他以积极、健康、友爱的心态对待身边的一切，他和同事之间的误解没有了，没有人和他过不去，工作上他比以往顺利了，他发现自己比以前快乐多了。（《知识窗》/马国福文）

Never give up hope 永不放弃希望

Life doesn't always give us the joys we want. We don't always get our hopes and dreams, and we don't always get our own way. But don't give up hope, because you can make a difference one situation and one person at a time.

Look for the beauty around you--in nature, in others, in yourself--and believe in the love of friends, family, and humankind. You can find love in a smile or a helping hand, in a thoughtful gesture or a kind word. It is all around, if you just look for it.

Give love, for in giving it you will find the power in life along with the joy, happiness, patience and understanding. Believe in the goodness of others and remember that anger and depression can be countered by love and hope.

Even when you feel as though there isn't a lot you can do to change unhappiness or problems, you can always do a little--and a little at a time eventually makes a big difference.

生活并非总是如你所愿。希望有时会落空，梦想有时会破灭，我们不能一切随心所愿。但别放弃希望，因为事物并非一成不变;不同时间，不同场合，你会呈现不同的面貌。

处处留心你身边的美丽：自然中的美，他人的美，你自己的美。请相信，美来自朋友、家庭乃至全人类的融融爱意。一个微笑，一双援助之手，一个关心的举止，一句友善的话语，无不传达着爱。如果你有心去寻找，爱无所不在。

奉献爱心吧，从中你会发现生活的力量，感受生活带来的幸福快乐，学会忍耐和理解。相信人性本善。记住，爱心和希望能化解一切愤怒和沮丧。哪怕生活中挥之不去的不快和困难将你重重包围，让你力不从心，但你仍可以尽力而为。累积点滴努力，最终你将扭转乾坤。

没有道路通罗马

托德·库姆斯是纽约市中心小学的一名学生，按照他父母从小对他的掌控，他目前的专业功课放在绘画上，因为他出生于绘画世家，但他好像对父母的安排不是太感兴趣，往往超越父母的期望值去做一些投资方面的工作。

在学校里，他偷偷地做投资贷款，这在学生中尚属首次，他暗箱操作着一家小型的投资公司，专业地收取学生们的贷款费用，这一度让校长十分无奈，他甚至几度让他的父母过来领他回家，但每次，他都会痛下决心地表达自己的意愿，说自己唯一的长处是绘画。

在绘画方面，他的确有天份，他的画作十分吸引人注意，并且一直是绘画老师眼中的天才，这一定是一位了不起的绘画大师。

但他前行的道路并非坦途，他的画作虽然在校园里引人注目，可就是无法吸引大师们的注意力，几次大奖都与他擦肩而过。

时间来到了他25岁那年，他在全美的一次绘画大赛中又一次败北，他一怒之下烧毁了自己全部的画作，并且发誓不再手握画笔。他喝了许多的酒，直至困醉于柏油马路上。

他醒来时，发现自己的身边有一个老头子，他面目和善，见他醒来，他笑着说道：你这小鬼，我早就注意你了，你在校园里的恶作剧我可全知道，我是一家贷款公司的负责人，要知道，我正在寻找一位投资方面的天才。

可我只是一个画画的人，不是什么投资方面的天才。

给你讲个故事吧，古时候，许多人慕名前往罗马，那儿是高手云集的地方，只要到达那儿，也就是到达了天堂。但去罗马的路太挤了，一个小伙子苦苦寻找了多年时间，仍然没有成功，一日，他路过一个十字路口，问一位老者，这条路是通往罗马吗？老者说，不，通往佛罗伦萨，你去吗？

年轻人说我是去罗马的，不去佛罗伦萨。

老者却意外地说道，没有道路通罗马，只有一条路去佛罗伦萨。

年轻人后来想了想：好吧，我去佛罗伦萨。他后来到了佛罗伦萨后，意外地找到了自己失散多年的亲人，后来安居在那儿，成家立业，安度晚年。

库姆斯大悟着说道：是呀，如果没有道路到达罗马，去佛罗伦萨也是情理之中的事情。

这个叫库姆斯的年轻人，毅然放弃了经营十多年的绘画作业，开始经营股票与投资，他摸爬滚打了十多年时间，终于成了一家小型基金公司的负责人。

但在2010年底，库姆斯却意外地成就了一片辉煌，股神巴菲特选中了他成为自己的接班人，这个家伙声名雀起，一下子变成了金凤凰。

巴菲特选取他的理由是：他是个投资方面的天才，就像自己年轻时候一样。这也许是对他最高的褒奖。

人生的许多境地便是：没有道路通罗马，我们该如何选择？也许另外一座城市也有鸟语花香、姹紫嫣红。

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英文原文：

"Notes Synthetiques", by Paul Gauguin

From the manuscript, c. 1888

Excerpted from "Theories of Modern Art", by Herschel B. Chipp

"Painting is the most beautiful of all arts. In it, all sensations are condensed; contemplating it, everyone can create a story at the will of his imagination and-with a single glance-have his soul invaded by the most profound recollections; no effort of memory, everything is summed up in one instant. -A complete art which sums up all the others and completes them. -Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sounds. But in painting a unity is obtained which is not possible in music, where the accords follow one another, so that the judgment experiences a continuous fatigue if it wants to reunite the end with the beginning. The ear is actually a sense inferior to the eye. The hearing can only grasp a single sound at a time, whereas the sight takes in everything and simultaneously simplifies it at will.

"Like literature, the art of painting tells whatever it wishes, with the advantage that the reader immediately knows the prelude, the setting, and the ending. Literature and music require an effort of memory for the appreciation of the whole; the last named is the most incomplete and the least powerful of arts.

"You can dream freely when you listen to music as well as when looking at a painting. When you read a book, you are a slave of the author's thought. The author is obliged to address himself to the mind before he can impress the heart, and God knows how little power a reasoned sensation has. Sight alone produced an instantaneous impulse. But then, the men of letters alone are art-critics; they alone defend themselves before the public. Their introductions are always a justification of their work, as if really good work does not defend itself on its own.

"These gentlemen flutter about the world like bats which flap their wings in the twilight and whose dark mass appears to you in every direction; animals disquieted by their fate, their too heavy bodies preventing them from rising. Throw them a handkerchief full of sand and they will stupidly make a rush at it.

"One must listen to them judging all human works. God has created man after his own image which, obviously, is flattering for man. "This work pleases me and is done exactly the way I should have conceived it." All art criticism is like that: to agree with the public, to seek a work after one's own image. Yes, gentlemen of letters, you are incapable of criticizing a work of art, be it even a book. Because you are already corrupt judges; you have beforehand a ready-made idea-that of the man of letters-and have too high an opinion of your own thoughts to examine those of others. You do not like blue, therefore you condemn all blue paintings. If you are a sensitive and melancholy poet, you want all compositions to be in a minor key. -Such a one likes graciousness and must have everything that way. Another one likes gaiety and does not understand a sonata.

"it takes intelligence and knowledge in order to judge a book. To judge painting and music requires special sensations of nature besides intelligence and artistic science; in a word, one has to be a born artist, and few are chosen among all those who are called. Any idea can be formulated, but not so the sensation of the heart. What efforts are not needed to master fear or a moment of enthusiasm! Is not love often instantaneous and nearly always blind? And to say that thought is called spirit, whereas the instincts, the nerves, and the heart are part of matter. What irony!

"The vaguest, the most undefinable, the most varied is precisely matter. Thought is a slave of sensations. I have always wondered why one speaks of "noble instincts." . . .

"Above man is nature.

"Literature is human thought described by words.

"Whatever talent you may have in telling me how Othello appears, his heart devoured by jealousy, to kill Desdemona, my soul will never be as much impressed as when I have seen Othello with my own eyes entering the room, his forehead presaging the storm. That is why you need the stage to complement your work.

"You may describe a tempest with talent-you will never succeed in conveying to me the sensation of it.

"Instrumental music as well as numbers are based on a unit. The entire musical system derives from this principle, and the ear has become used to all these divisions. The unit is established through the means of an instrument, yet you may choose some other basis and the tones, half-tones, and quarter-tones will follow each other. Outside of these you will have dissonance. The eye is used less than the ear to perceive these dissonances, but then divisions [of color] are more numerous, and for further complication there are several units.

"On an instrument, you start from one tone. In painting you start from several. Thus, you begin with black and divide up to white-the first unit, the easiest and the most frequently used one, hence the best understood. But take as many units as there are colors in the rainbow, add those made up by composite colors, and you will reach a rather respectable number of units. What an accumulation of numbers, truly a Chinese puzzle! No wonder then that the colorist's science has been so little investigated by the painters and is so little understood by the public. Yet what richness of means to attain an intimate relationship with nature!

"They reprove our colors which we put [unmixed] side by side. In this domain we are perforce victorious, since we are powerfully helped by nature which does not proceed otherwise. A green next to a red does not produce a reddish brown, like the mixture [of pigments], but two vibrating tones. If you put chrome yellow next to this red, you have three tones complementing each other and augmenting the intensity of the first tone: the green. Replace the yellow by a blue, you will find three different tones, though still vibrating through one another. If instead of the blue you apply a violet, the result will be a single tone, but a composite one, belonging to the reds.

"The combinations are unlimited. The mixture of colors produces a dirty tone. Any color alone is a crudity and does not exist in nature. Colors exist only in an apparent rainbow, but how well rich nature took care to show them to you side by side in an established and unalterable order, as if each color was born out of another!

"Yet you have fewer means than nature, and you condemn yourself to renounce all those which it puts at your disposal. Will you ever have as much light as nature, as much heat as the sun? And you speak of exaggeration-but how can you exaggerate since you remain below nature?

"Ah! If you mean by exaggerated any badly balanced work, then you are right in that respect. But I must draw your attention to the fact that, although your work may be timid and pale, it will be considered exaggerated if there is a mistake of harmony in it. Is there then a science of harmony ? Yes.

"In that respect the feeling of the colorist is exactly the natural harmony. Like singers, painters sometimes are out of tune, their eye has no harmony. Later there will be, through study, an entire method of harmony, unless people neglect it, as is done in the academies and most of the time also in studios. Indeed, the study of painting has been divided into two categories. One learns to draw first and then to paint, which means that one applies color within a pre-established contour, not unlike a statue that is painted after it is finished. I must admit that until now I have understood only one thing about this practice, namely that color is nothing but an accessory. I 'Sir, you must draw properly before painting"-this is said in a pedantic manner; but then, all great stupidities are said that way.

"Does one wear shoes instead of gloves? Can you really make me believe that drawing does not derive from color, and vice-versa? To prove this, I commit myself to reduce or enlarge one and the same drawing, according to the color with which I fill it up. Try to draw a head by Rembrandt in his exact proportions and then put on the colors of Rubens-you will see what misshapen product you derive, while at the same time the colors will have become unharmonious.

"During the last hundred years large amounts have been spent for the propagation of drawing and the number of painters is increasing, yet no real progress has been made. Who are the painters we admire at the present? All those who reproved the schools, all those who drew their science from the personal observation of nature. Not one ..."

[manuscript not completed].

我能容忍自己每个字都是错的，但是却不能容忍其中任何一个字不是真诚的。

祝好运～～

高中英语佳句积累

1. 高中英语佳句

高中英语佳句 1.高中英语优美句子

1. Life was like a box of chocolates, you never know what you're gonna get. 生命就像一盒巧克力，结果往往出人意料 2. Stupid is as stupid does. 蠢人做蠢事，也可理解为傻人有傻福 3. Miracles happen every day. 奇迹每天都在发生 4. Wisdom in the mind is better than money in the hand. 脑中有知识，胜过手中有金钱。

5. Not every morning wake up your alarm clock, but dream！ 每天早上叫醒你的不是闹钟，而是梦想 6. Only few people know that life is beautiful for lacking something. The so-called turning-around is that you not only miss the sun in day time but also the stars at night. 只有很少的人才懂得，人生是因为缺憾而美丽，而所谓的回头，只不过是丢掉了白天的太阳之后，又错过了夜晚的星星。 7. True friends see your tears before they even fall. 真正的朋友总在你的眼泪滑落之前，就看到了眼里的泪水。

8. Be alike flower. Spread beauty and happiness wherever you stay; irrespective of your surroundings. 像花儿一样，无论身在何处，不管周遭环境如何，都依然潇洒的绽放自己的美丽，活出自己的精彩 9. All problems are ultimately a matter of time. All the troubles, they are actually asking for trouble！ 一切问题，最终都是时间问题。一切烦恼，其实都是自寻烦恼！ 10. You can't have a better tomorrow if you're still thinking about yesterday 如果你无法忘掉昨天，就不会有一个更好的明天。

11. 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. 青春不是年华，而是心境；青春不是桃面、丹唇、柔膝，而是深沉的意志、宏伟的想象、炽热的感情；青春是生命的深泉在涌流。 12. 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. 无论年届花甲，抑或二八芳龄，心中皆有生命之欢乐，奇迹之诱惑，孩童般天真久盛不衰。

人人心中皆有一台天线，只要你从天上人间接受美好、希望、欢乐、勇气和力量的信号，你就青春永驻，风华常存。 13. It cannot emphasize the importance of protecting our eyes too much. 再怎么样强调保护眼睛的重要性都不为过。

14. I will live up to my end of the deal/ I'll never break my promise. 我要兑现我的承诺。 15. To the world you may be one person,but to one person you may be the world. 对于世界而言，你是一个人；但是对于某人而且，你是他的整个世界。

16. Weeping may endure through the night ,but joy comes in the morning. 夜晚也许会蒙受悲伤，但是欢愉总在清晨来临。 17. Be kind to one another, tender- hearted, forgiving each other. 要以恩慈相待，存怜悯的心，彼此饶恕。

18. Never frown, even when you are sad,because you never know who is falling in love your smile. 纵然伤心，也不要愁眉不展，因为你不知是谁会爱上你的笑容。 19. A friend in need is a friend indeed. 患难朋友才是真正的朋友。

20. Actions speak louder than words. 事实胜于雄辩。 21. Every man has his fault;/ No one is perfect. 人非圣贤，谁能无过。

22. He who teaches you one day is your father for life. 一日为师，终身为父。 23. knowledge is power。

知识就是力量。 24. No gains,no pains. 吃得苦中苦，方为人上人。

25. Where there is a will ,there is a way. 留得青山在，不怕没柴烧。 26. Time and tide wait for on man. 岁月不饶人。

27. Well begun is half done. 好的开始就是成功的一半。（还可译为：事半功倍）。

2.【高中英语连句子

1.The teacher gave us many exercise books and new books .2.We all felt very happy at the party last Tuesday .3.His friends and John were doing their homework this time yesterday .4.The students of that class will have a meeting next Wednesday .5.The weather has been fine for two weeks now.example里的第一句中to keep fit 在句型中属于目的状语.。

3.高中的英语句子和篇章的结构怎么样去学句子的结构还有篇章的结构,

1 句子的结构很简单，先抓主谓宾，然后再抓定状2 文章上主要抓住文章的主旨，英语跟中文不一样，每段的意思都很清楚，不会拐弯抹角，每段都有一句主旨句，找到这句主旨句就可以把握文章主旨了.3 英语方面，肯定是大量阅读，培养语感，看得多了，语感养成了，做题写文章都会自然而然的做好.当然同时还要注意积累词汇.这是基本功方面.还有就是把握一些技巧，比如阅读题中如果不是主旨题和词义题，其余在文章中都会有告诉你答案的句子，有的甚至是原句；语法题要抓主谓宾；CLOZE千万不要拿来题就做，至少要先看一遍，再做，做完了一定要再看一遍.4 另外上课的时候一定一定要好好听，无论是练基本功还是学技巧，上课是最好的时候，课后看十遍书也比不过上课认真听45分钟.要注意记笔记，一篇课文笔记没有填满留白的80%就不算听好课.5 要多做题，多做模拟题，高二的话建议下半学期开始就可以做难度较低的高考模拟题了.做完后要把自己错的题搞懂，（常备一本中学语法书和一本牛津或朗文的双解字典是必要的）还要弄明白自己错的原因.尤其重要的是要注意好好复习自己的错题，对英语学习来说这是极其重要的.英语学习没有捷径可言，只看你比别人快多少，多做多少.只有比别人快一步，高考时才可以脱颖而出.。

4.高中英语连句子.Example:1.Johnisill.Iamsorrytohearthat.2

1)I felt unhappy and nervous on the first day.2）直接用but3)but4）也许是年长的学生让我有这样的感觉也许是高大的图书馆大楼让我有这样的感觉我也这样想feel so见句子I throught it might be the older students and the big library buliding that made me feel so.5)At the end of that day,I was both happy and excited.。

5.【高中英语句子翻译1.虽然我不是现代艺术方面的学者,但是去看展览

1.虽然我不是现代艺术方面的学者，但是去看展览的主意对我很有吸引力 （scholar ,contemporary ,exhibition ,appeal to ） Although I am not a scholar of contemporaty art,the exhibiton still appeals to me.2.你知道几何学在传统的西方艺术中，曾被用来勾画绘画作品吗（geometry） Do you know that geometry was once used to sketch some drawings in the tradional western art?3.陶土罐非常脆弱 所以需要小心处理 （clay ,fragile ） The clay jar is fragile.Therefore,it must be carefully handled with.4.文艺复兴时期的壁画作品的视觉效果到今天仍让人印象深刻 （wall painpings ,visual ,impressive ） The visual effect in the wall paintings of the Renaissance is still imprssive for us today.5.埃及文明吸引着来自全世界各地的旅游者（civilization ,Egypt ）The Egypt civilization attarcts tourists from all over the world.6.我不仅见过那个伟大的雕塑家本人，我还亲眼目睹他如何雕刻大理石像 （in the flesh ,carve ,marble ,figure ）Not olny did I meet the great sculptor,but also I witnessed how he carved the marble figures in the flesh.。

6.经典英语句子

(1) I love you not because of who you are, but because of who I am when I am with you.

我爱你，不是因为你是一个怎样的人，而是因为我喜欢与你在一起时的感觉。

(2) No man or woman is worth your tears, and the one who is, won't make you cry.

没有人值得你流泪，值得让你这么做的人不会让你哭泣。

(3) The worst way to miss someone is to be sitting right beside them knowing you can't have them.

失去某人，最糟糕的莫过于，他近在身旁，却犹如远在天边。

(4) Never frown, even when you are sad, because you never know who is falling in love with your smile.

纵然伤心，也不要愁眉不展，因为你不知是谁会爱上你的笑容。l+cvz

(5) To the world you may be one person, but to one person you may be the world.

对于世界而言，你是一个人；但是对于某个人，但是对于某个人，你是他的整个世界。

(6) Don't waste your time on a man/woman, who isn't willing to waste their time on you.

不要为那些不愿在你身上花费时间的人而浪费你的时间。

(7) Just because someone doesn't't love you the way you want them to, doesn't't mean they don't love you with all they have.

爱你的人如果没有按你所希望的方式来爱你，那并不代表他们没有全心全意地爱你。

(8) Don't try so hard, the best things come when you least expect them to.f.H0

不要着急，最好的总会在最不经意的时候出现。

(9) Maybe God wants us to meet a few wrong people before meeting the right one, so that when we finally meet the person, we will know how to be grateful.;

在遇到梦中人之前，上天也许会安排我们先遇到别的人；在我们终于遇见心仪的人时，便应当心存感激。

(10) Don't cry because it is over, smile because it happened.

不要因为结束而哭泣，微笑吧，为你的曾经拥有

7.英语优美句子

Love is photogenic. It needs darkness to develop.《英语优美句子》《2011年最新学习范文》 关于《2011年最新学习范文》的文章《英语优美句子》正文开始 - - - Love is photogenic. It needs darkness to develop. 爱情就象照片，需要大量的暗房时间来培养."Your future depends on your dreams." So go to sleep. "现在的梦想决定着你的将来"，所以还是再睡一会吧. There should be a better way to start a day than waking up every morning. 应该有更好的方式开始新一天，而不是千篇一律的在每个上午都醒来."Hard work never kills anybody." But why take the risk？ " 努力工作不会导致死亡！"不过我不会用自己去证明."Work fascinates me." I can look at it for hours！ " 工作好有意思耶！"尤其是看着别人工作.God made relatives; Thank God we can choose our friends. 神决定了谁是你的亲戚，幸运的是在选择朋友方面他给了你留了余地。

When two's company, three's the result！ 两个人的状态是不稳定的，三个人才是！ The more you learn, the more you know, The more you know, the more you forget. The more you forget, the less you know. Sowhy bother to learn. 学的越多，知道的越多， 知道的越多；忘记的越多， 忘记的越多；知道的越少， 为什么学来着？！Money is not everything. There's Mastercard Visa.钞票不是万能的，有时还需要信用卡.One should love animals. They are so tasty. 每个人都应该热爱动物，因为它们很好吃. Love the neighbor. But don't get caught. 要用心去爱你的邻居，不过不要让她的老公知道.Behind every successful man, there is a woman. And behind every unsuccessful man, there are two. 每个成功男人的背后都有一个女人，每个不成功男人的背后都有两个女人。Every man should marry. After all, happiness is not the only thing in life. 再快乐的单身汉迟早也会结婚，幸福不是永久的嘛.A dress is like a barbed fence. It protects the premises without restricting the view. 服饰就象铁丝网，它阻止你冒然行动，但并不妨碍你尽情地观看. 夏天的飞鸟，飞到我的窗前唱歌，又飞去了。

秋天的黄叶，它们没有什么可唱，只叹息一声，飞落在那里。stray birds of summer come to my window to sing and fly away.and yellow leaves of autumn, which have no songs, flutter and fall there with a sign.世界上的一队小小的漂泊者呀，请留下你们的足印在我的文字里。

o troupe of little vagrants of the world, leave your footprints in my words.世界对着它的爱人，把它浩翰的面具揭下了。它变小了，小如一首歌，小如一回永恒的接吻。

the world puts off its mask of vastness to its lover.it becomes small as one song, as one kiss of the eternal. 是大地的泪点，使她的微笑保持着青春不谢。it is the tears of the earth that keep here smiles in bloom.无垠的沙漠热烈追求一叶绿草的爱，她摇摇头笑着飞开了。

the mighty desert is burning for the love of a bladeof grass who shakes her head and laughs and flies away.如果你因失去了太阳而流泪，那么你也将失去群星了。if you shed tears when you miss the sun, you also miss the stars.跳舞着的流水呀，在你途中的泥沙，要求你的歌声，你的流动呢。

你肯挟瘸足的泥沙而俱下么？the sands in your way beg for your song and your movement, dancing water. will you carry the burden of their lameness？ 她的热切的脸，如夜雨似的，搅扰着我的梦魂。her wishful face haunts my dreams like the rain at night.有一次，我们梦见大家都是不相识的。

我们醒了，却知道我们原是相亲相爱的。once we dreamt that we were strangers.we wake up to find that we were dear to each other.忧思在我的心里平静下去，正如暮色降临在寂静的山林中。

sorrow is hushed into peace in my heart like the evening among the silent trees.A good name keeps lustre in the dark.好的名声在黑暗中也会光芒四射。A good name is sooner lost than won.美誉难得而易失。

A good name is earlier lost than won.失去美名易，得到美名难。 A good name is better than riches.好名誉胜过有财富。

A good medicine tastes bitter.良药苦口，忠言逆耳。A good maxim is never out of season.至理名言不会过时。

A good marksman may miss.智者千虑，必有一失。A good horse often needs a good spur.好马常要好靴刺。

A good horse cannot be of a bad colour.良马的毛色不会差。A good heart conquers ill fortune.善心克厄运。

A good healthy body is worth more a crown in gold.健康的身体贵於黄金铸成的皇冠。A good head and an industrious hand are worth gold in any land.聪明脑袋勤劳手，走遍天下贵如金。

A good friend is my nearest relation.良友如近亲。A good fame is better than a good face.好的名望胜於好的相貌。

A good face is a letter of recommendation.好的相貌就是一封推荐的介绍信。A good dog deserves a good bone.有劳得奖。

A good example is the best sermon.身教胜似言教。A good conscience is a 。

大作文 假如给我三天光明

-- By  Helen Keller

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 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 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 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 ahs 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 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 them I have tested my seeing friends to discover what they see. Recently I was visited by a very good friends 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 reposes, 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, velvety texture of a flower, and discover its remarkable convolutions; 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 thought my open finger. To me a lush carpet of pine needles or spongy grass is more welcome than the most luxurious Persian rug. To me the page ant of seasons is 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.

If I were the president of a university I should establish a compulsory course in "How to Use Your Eyes". The professor would try to show his pupils how they could add joy to their lives by really seeing what passes unnoticed before them. He would try to awake their dormant and sluggish faculties.

Perhaps I can best illustrate by imagining what I should most like to see if I were given the use of my eyes, say, for just three days. And while I am imagining, suppose you, too,set your mind to work on the problem of how you would use your own eyes if you had only three more days to see. If with the on-coming darkness of the third night you knew that the sun would never rise for you again, how would you spend those three precious intervening days? What would you most want to let your gaze rest upon?

I, naturally, should want most to see the things which have become dear to me through my years of darkness. You, too, would want to let your eyes rest on the things that have become dear to you so that you could take the memory of them with you into the night that loomed before you.

If, by some miracle, I were granted three seeing days, to be followed by a relapse into darkness, I should divide the period into three parts.

The First Day

On the first day, I should want to see the people whose kindness and gentleness and companionship have made my life worth living. First I should like to gaze long upon the face of my dear teacher, Mrs. Anne Sullivan Macy, who came to me when I was a child and opened the outer world to me. I should want not merely to see the outline of her face, so that I could cherish it in my memory, but to study that face and find in it the living evidence of the sympathetic tenderness and patience with which she accomplished the difficult task of my education. I should like to see in her eyes that strength of character which has enabled her to stand firm in the face of difficulties, and that compassion for all humanity which she has revealed to me so often.

I do not know what it is to see into the heart of a friend through that "Window of the soul", the eye. I can only "see" through my finger tips the outline of a face. I can detect laughter, sorrow, and many other obvious emotions. I know my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, through other means, through the thoughts they express to me, through whatever of their actions are revealed to me. But I am denied that deeper understanding of them which I am sure would come through sight of them, through watching their reactions to various expressed thoughts and circumstances, through noting the immediate and fleeting reactions of their eyes and countenance.

Friends who are near to me I know well, because through the months and years they reveal themselves to me in all their phases; but of casual friends I have only an incomplete impression, an impression gained from a handclasp, from spoken words which I take from their lips with my finger tips, or which they tap into the palm of my hand.

How much easier, how much more satisfying it is for you who can see to grasp quickly the essential qualities of another person by watching the subtleties of expression, the quiver of a muscle, the flutter of a hand. But does it ever occur to you to use your sight to see into the inner nature of a friends or acquaintance/ Do not most of you seeing people grasp casually the outward features of a face and let it go at that?

For instance can you describe accurately the faces of five good friends? some of you can, but many cannot. As an experiment, I have questioned husbands of long standing about the color of their wives' eyes, and often they express embarrassed confusion and admit that they do not know. And, incidentally, it is a chronic complaint of wives that their husbands do not notice new dresses, new hats, and changes in household arrangements.

The eyes of seeing persons soon become accustomed to the routine of their surroundings, and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately "eyewitnesses" see. A given event will be "seen" in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision.

Oh, the things that I should see if I had the power of sight for just three days!

The first day would be a busy one. I should call to me all my dear friends and look long into their faces, imprinting upon my mind the outward evidences of the beauty that is within them. I should let my eyes rest, too, on the face of a baby, so that I could catch a vision of the eager, innocent beauty which precedes the individual's consciousness of the conflicts which life develops.

And I should like to look into the loyal, trusting eyes of my dogs - the grave, canny little Scottie, Darkie, and the stalwart, understanding Great Dane, Helga, whose warm, tender, and playful friendships are so comforting to me.

On that busy first day I should also view the small simple things of my home. I want to see the warm colors in the rugs under my feet, the pictures on the walls, the intimate trifles that transform a house into home. My eyes would rest respectfully on the books in raised type which I have read, but they would be more eagerly interested in the printed books which seeing people can read, for during the long night of my life the books I have read and those which have been read to me have built themselves into a great shining lighthouse, revealing to me the deepest channels of human life and the human spirit.

In the afternoon of that first seeing day. I should take a long walk in the woods and intoxicate my eyes on the beauties of the world of Nature trying desperately to absorb in a few hours the vast splendor which is constantly unfolding itself to those who can see. On the way home from my woodland jaunt my path would lie near a farm so that I might see the patient horses ploughing in the field 9perhaps I should see only a tractor!) and the serene content of men living close to the soil. And I should pray for the glory of a colorful sunset.

When dusk had fallen, I should experience the double delight of being able to see by artificial light which the genius of man has created to extend the power of his sight when Nature decrees darkness.

In the night of that first day of sight, I should not be able to sleep, so full would be my mind of the memories of the day.

The Second Day

The next day - the second day of sight - I should arise with the dawn and see the thrilling miracle by which night is transformed into day. I should behold with awe the magnificent panorama of light with which the sun awakens the sleeping earth.

This day I should devote to a hasty glimpse of the world, past and present. I should want to see the pageant of man's progress, the kaleidoscope of the ages. How can so much be compressed into one day? Through the museums, of course. Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there - animals and the races of men pictured in their native environment;gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared, with his tiny stature and powerful brain, to conquer the animal kingdom; realistic presentations of the processes of development in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet; and a thousand and one other aspects of natural history.

I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. there, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on.

My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here, in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled, bearded features of Homer are dear to me, for he, too, knew blindness.

My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me.

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