有關(guān)高中英語美文摘抄賞析
美文,是文質(zhì)兼美的文章。引導(dǎo)學(xué)生讀好讀美,誦讀悟情積累。學(xué)生對(duì)美的體驗(yàn)和領(lǐng)悟,來自感覺的整體性,一定要從語言材料的氛圍中去獲得。學(xué)習(xí)啦小編分享有關(guān)高中英語美文，希望可以幫助大家!
有關(guān)高中英語美文：藝術(shù)與生命
My parents owned six books between them. Two of those were Bibles and the third was a concordance to the Old and New Testaments. The fourth was The House At Pooh Corner. The fifth，The Chatterbox Annual 1923 and the sixth, Malory’s Morte d’Artliur.
I found it necessary to smuggle books in and of the house and I cannot claim too much for the provision of an outside toilet when there is no room of one’s own. It was on the toilet that I first read Freud and D. H. Lawrence, and perhaps that was the best place, after all. We kept a rubber torch hung on the cistern, and I had to divide my money from a Saturday job, between buying books and buying batteries. My mother knew exactly how long her Ever Readys would last if used only to illuminate the hap that separated the toilet paper from its .
Once I had tucked the book back down my knickers to get it indoors again, I find somewhere to hide it, and anyone with a single bed, standard size, and paperbacks, standard size, will discover that seventy seven can be accommodated per layer under the mattress. But as my collection grew, I began to worry that my mother might notice that her daughter’s bed was rising visibly. One day she did. She burned everything.
I had been brought up to memorize very long Bible passages, and when I left home and was supporting myself so that I could continue my education, I fought off loneliness and fear by reciting. In the funeral parlor I whispered Donne to the embalming fluids and Marvell to the corpses. Later, I found that Tennyson’ s ‘Lady of Shalott’ had a soothing, because rhythmic, effect on the mentally disturbed. Among the disturbed I numbered myself at that time.
The healing power of art is not a rhetorical fantasy. Fighting to keep language, language became my sanity and my strength. It still is, and I know of no pain that art cannot assuage. For some, music, for some, pictures, for me, primarily, poetry, whether found in poems or in prose, cuts through noise and hurt, opens the wound to clean it, and then gradually teaches it to heal itself. Wounds need to be taught to heal themselves.
The psyche and the spirit do not share the instinct of damaged body. Healing is automatically triggered nor is danger usually avoided. Since we put ourselves in the way of hurt it seems logical to put ourselves in the way of healing. Art has more work to do than ever before but it can do that work. In a self-destructive society like our own, it is unsurprising that art as a healing force is despised.
For myself, when I returned to my to my borrowed room night after night, and there were my books, I felt relief and exuberance, not hardship and exhaustion. I intended to avoid the fate of Jude the Obscure, although a reading of that book was a useful warning. What I wanted did not belong to me by right and whilst it could not be refused tome in quite same way, we still have subtle punishments for anyone who insists on what they are and what they want. Walled inside the little space marked out for by family and class, it was the limitless world of imagination that it possible for me to scale the sheer face of other people’s assumptions. Inside books there is perfect space and it is that space which allows the reader to escape from the problems of gravity.
By Jeanette Winterson
藝術(shù)與生命
我父母兩人共有六本書。其中兩本是圣經(jīng)、第三本是新舊約用語索引、第四本是《噗噗熊街角的屋子》(TheHouse at Pooh Corner)、第五本是《1923年話匣子年鑒》(The Chatterbox 1923 Annual)，而第六本是馬洛禮(Malory)的《阿瑟王之死》(Mortd’Arthur)。
我發(fā)現(xiàn)有必要把書偷運(yùn)進(jìn)出家里，而且沒有屬于自己的房間時(shí)，對(duì)于于屋外廁所的供應(yīng)品，我不能要求太多。我第一次讀到弗洛依德和D. H. 勞倫斯，是坐在馬桶上的，而或許，那終究是最佳之處。我們?cè)隈R桶水箱上懸吊了一個(gè)橡膠手電筒，而我必須將周六那份工作賺來的錢，平分花在買書和買電池上面。我母親清楚知道，她那些永備牌電池，如果光是用來照明區(qū)分衛(wèi)生紙和其功能的空隙，可以維持多久。
有一回我又把書塞在內(nèi)褲里，好帶進(jìn)屋里。我必須找個(gè)地方把書藏起來，而任何人，若擁有一張單人床，標(biāo)準(zhǔn)尺寸的，以及平裝書籍，標(biāo)準(zhǔn)尺寸的，就會(huì)發(fā)現(xiàn)，床墊底下每一層可容納七十七本?？墒钱?dāng)我的收集品增加時(shí)，便開始擔(dān)心母親會(huì)注意到，用眼睛就看得出女兒的床正逐漸升高。有一天她真的發(fā)現(xiàn)了。她全給燒了…。
……我成長過程中，必須背下很長的圣經(jīng)段落。到我離開家庭，自己賺錢以便繼續(xù)求學(xué)時(shí)，便靠背誦來抵擋寂寞和恐懼。在殯儀館里，我稍稍對(duì)著防腐香料液念約翰 ?多恩(Donne)、對(duì)著尸體念安德魯?馬維爾(Marvel)。后來，我發(fā)現(xiàn)丁尼生(Tennyson)的〈夏洛特〉(“Lady of Shalott”)，因?yàn)橛泄?jié)焰感，對(duì)于心智失衡者具有一種安撫作用。在那個(gè)時(shí)候我把自己也算在失衡者之列。
藝術(shù)的療愈力量并非夸大其詞的幻想。我奮力留住語言，語言因而讓我心智正常，具有力量。到現(xiàn)在仍是如此，而且我所知道的痛苦，無一不透過藝術(shù)而得到舒緩。對(duì)某此人來說，是音樂，另一些人，是繪畫，對(duì)我來說，是主要的是，不論出現(xiàn)在詩歌或散文中，詩能夠切穿嘈雜和傷痛，將傷口打開以清理之，然后逐漸教導(dǎo)它自我療愈。
心靈和精神不像受損了的身體具有一種本能。療愈不會(huì)自動(dòng)給引發(fā)，而危險(xiǎn)也通常無以避免。既然我們會(huì)讓自己受傷，那么讓自己得到療愈也是合乎邏輯的。比起以往任何時(shí)候，藝術(shù)要做更多的工作，但是這份工作它是做得來的。像我們這樣一個(gè)自我毀滅的社會(huì)里，藝術(shù)之為一種療愈的力量，會(huì)受到鄙視，并不令人感到訝異。
對(duì)我自己而言，夜復(fù)一夜回到借來的房里時(shí)，我感到放心且滿溢，而非困苦和疲憊，我意圖避免《無名裘德》(Jude the Obscure)的命運(yùn)，雖然閱讀那本書是很有用的警告。我所想要的，并不理當(dāng)屬于我，而雖然它也不能以完全同樣的方式拒我于外，但是任何人若堅(jiān)持要做某種人或是想要某些東西，我們?nèi)匀粫?huì)給他很微妙的懲罰。當(dāng)我被關(guān)在家庭和階級(jí)為我所劃定的小小空間里，是想象力那片無限的天地，讓我得以刮除他人那些假設(shè)的表層。書中自有完美的空間，就是這個(gè)空間，讓讀者能夠逃避地心引力的諸般問題。
詹涅特.溫特森 著
有關(guān)高中英語美文：關(guān)于命運(yùn)
Most people complain of fortune, few of nature; and the kinder they think the latter has beento them, the more they murmur at what they call the injustice of the former.
Why have not I the riches, the rank, the power, of such and such, is the commonexpostulation with fortune; but why have not I the merit, the talents, the wit, or the beauty, ofsuch and such others, is a reproach rarely or never made to nature.The truth is, that nature,seldom profuse, and seldom niggardly, has distributed her gifts more equally than she isgenerally supposed to have done. Education and situation make the great difference. Cultureimproves, and occasions elicit, natural talents I make no doubt but that there are potentially,if I may use that pedantic word, many Bacons, Lockes, Newtons, Caesars, Cromwells, andMariboroughs at the ploughtail behind counters, and, perhaps, even among the nobility; but thesoil must be cultivated, and the season favourable, for the fruit to have all its spirit andflavour.
If sometimes our common parent has been a little partial, and not kept the scales quite even; ifone preponderates too much, we throw into the lighter a due counterpoise of vanity, whichnever fails to set all right. Hence it happens, that hardly any one man would, without reverse,and in every particular, change with any other.
Though all are thus satisfied with the dispensations of nature, how few listen to her voice! Howto follow her as a guide! In vain she points out to us the plain and direct way to truth, vanity,fancy, affection, and fashion assume her shape and wind us through fairy-ground to folly anderror.
很多人抱怨命運(yùn)，卻很少有人抱怨自然;人們?cè)绞钦J(rèn)為自然對(duì)他們?nèi)蕫塾屑?，便越是嘀咕命運(yùn)對(duì)他們的所謂不公。
人們常常對(duì)命運(yùn)發(fā)出詰難：我為何沒有財(cái)富、地位、權(quán)力以及諸如此類的東西;但人們卻很少或從不這樣責(zé)怪過自然：我為何沒有長處、天賦、機(jī)智或美麗以及諸如此類的東西。事實(shí)是，自然總是將天賦公平地分配給人們，比人們通常認(rèn)為的還要不偏不倚，很少過分地慷慨!也很少吝嗇。人與人之間的巨大差異是由于教育和環(huán)境使然。文化修養(yǎng)改良了天賦，機(jī)遇環(huán)境誘發(fā)了天賦。我們并不懷疑在農(nóng)田耕作，在柜臺(tái)后營業(yè)，甚至在豪門貴族中間有很多潛在的培根們、洛克們、牛頓們、凱撒們、克倫威爾們和馬爾伯勒們，如果允許我用“潛在的”這個(gè)學(xué)究味濃重的詞的話;但是要使果實(shí)具有它全部的品質(zhì)和風(fēng)味，還必須有耕耘過的泥土，必須有適宜的季節(jié)。
倘若大自然有時(shí)候有那么一點(diǎn)偏心，沒有將天平擺正;倘若有一頭過重，我們就會(huì)在輕的一頭投上一枚大小適當(dāng)?shù)奶摌s的砝碼，它每次都會(huì)將天平重新調(diào)平，從不出差錯(cuò)。因此就出現(xiàn)了這種情況：幾乎沒有人會(huì)毫無保留地和另一個(gè)人里里外外全部對(duì)換一下。
雖然對(duì)于自然的分配，人人都感到滿意;然而肯聽聽她的忠告的人卻是如此之少!能將她當(dāng)作向?qū)ФS其后的人又是如此之少!她徒然地為我們指出一條通向真理的筆直的坦途;而虛榮、幻想、矯情、時(shí)髦卻儼然以她的面貌出現(xiàn)，暗中將我們引向虛幻的歧途，走向愚笨和謬誤。
Excerpt: from Upon Affectation
By Lord Chesterfield(切斯特菲爾德勛爵)
有關(guān)高中英語美文：The Joys of Writing
The fortunate people in the world—the only reallyfortunate people in the world, in my mind, are those whose work is also their pleasure. The class is not a large one, not nearly so large as it is often represented to be; and authors are perhaps one of the most important elements in its composition.They enjoy in this respect at least a real harmony of life. To my mind, to be able to make your work your pleasure is the one class distinction in the world worth striving for; and I do not wonder that others are inclined to envy those happy human beings who find their livelihood in the gay effusions of their fancy, to whom every hour of labour is an hour of enjoyment, to whom repose—however necessary—is a tiresome interlude. And even a holiday is almost deprivation. Whether a man writes well or ill, has much to say or little, if he cares aboutwriting at all, he will appreciate the pleasures of composition. To sit at one's table on a sunny morning, with four clear hours of uninterruptible security, plenty of nice white paper, and a Squeezer pen—that is true happiness. The complete absorption of the mind upon an agreeable occupation—what more is there than that to desire? What does it matter what happens outside?The House of Commons may do what it likes, and so may the House of Lords. The heathen may rage furiously in every part of the globe. The bottom may be knocked clean out of the American market. Consols may fall and suffragettes may rise. Nevermind, for four hours, at any rate, we will withdraw ourselves from a common, ill-governed, and disorderly world, and with the key of fancy unlock that cupboard where all the good things of the infinite are put away.
by Winston Churchill
寫作的樂趣--溫斯頓·丘吉爾
在我看來，世上幸運(yùn)的人——世上唯一真正幸運(yùn)的人，是那些以工作為樂的人。這個(gè)階層的人并不多，還沒有人們常說的那樣多。也許，作家是其中最重要的組成部分之一。就幸運(yùn)而言，他們至少享受著生活中真正的和諧美。依我看，能使工作成為樂趣，是世人值得為之奮斗的一種崇高的榮譽(yù);而且，我毫不懷疑別人會(huì)羨慕這些幸福的人，因?yàn)樗麄冊(cè)诳鞓返貒娪康幕孟胫姓业搅松?jì)，對(duì)他們來說，每勞動(dòng)一小時(shí)，就是享受一小時(shí)，而休息——無論多么有必要——是令人討厭的插曲，甚至度假也幾乎成了一種損失。無論寫得好壞，寫成多少，只要在意，就可嘗到謀章布局的樂趣。在一個(gè)陽光明媚的早晨，臨桌而坐，整整四個(gè)小時(shí)不受打擾，有足夠數(shù)量的雪白稿紙，還有一支“擠壓式”妙筆——那才叫真正的幸福。全心全意地投入一項(xiàng)令人愉快的職業(yè)——此愿足矣!外面發(fā)生什么事又有何妨?下院想干什么就干什么吧，上院也可如此。異教徙可以在全球各地大發(fā)作。美國市場(chǎng)可以徹底崩潰。證券可以下跌;女權(quán)運(yùn)動(dòng)可以興起。沒有關(guān)系，不管怎么說，我們有四個(gè)小時(shí)可以躲開這俗氣的、治理不善的、雜亂無章的世界，并且用想象這把鑰匙，去開啟藏有大千世界一切寶物的小櫥。
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