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　　英語經(jīng)典美文朗讀：如何讀書

　　It is simple enough to say that since books have classes--fiction, biography, poetry--we should separate them and take from each what it is right that each should give us. Yet few people ask from books what books can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconceptions when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow-worker and accomplice. If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, the signs and hints of almost imperceptible fineness, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other. Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite. The thirty-two chapters of a novel—if we consider how to read a novel first--are an attempt to make something as formed and controlled as a building: but words are more impalpable than bricks; reading is a longer and more complicated process than seeing. Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write; to make your own experiment with the dangers and difficulties of words. Recall, then, some event that has left a distinct impression on you—how at the corner of the street, perhaps, you passed two people talking. A tree shook; an electric light danced; the tone of the talk was comic, but also tragic; a whole vision; an entire conception, seemed contained in that moment.

　　英語經(jīng)典美文朗讀：生命美于變化

　　To regard all things and principles of things as inconstant modes or fashions has more and more become the tendency of modern thought. Let us begin with that which is without——our physical life. Fix upon it in one of its more exquisite intervals, the moment, for instance, of delicious recoil from the flood of water in summer heat. What is the whole physical life in that moment but a combination of natural elements to which science gives their names? But these elements, phosphorus and lime and delicate fibers, are present not in the human body alone: we detect them in places most remote from it. Our physical life is a perpetual motion of them——the passage of the blood, the wasting and repairing of the lenses of the eye, the modification of the tissues of the brain under every ray of light and sound-processes which science reduces to simpler and more elementary forces. Like the elements of which we are composed, the action of these forces extends beyond us: it rusts iron and ripens corn. Far out on every side of us those elements are broadcast, driven in many currents; and birth and gesture and death and the springing of violets from the grave are but a few out of ten thousand resultant combinations. That clear, perpetual outline of face and limb is but an image of ours, under which we group them a design in a web, the actual threads of which pass out beyond it. This at least of flame——like our life has, that it is but the concurrence, renewed from moment to moment, of forces parting sooner or later on their ways.

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