惊喜打扮英文

1 基督教的教育理论与民族主义是不相容的。一种恰当的教育理论应该包括一些良好的道德品质比如说公正，仁爱和一定的自控能力。2 在一个没有成人干涉的儿童社区里，会有一种强者为尊的统治规则，这种规则往往会比成人社会的统治规则还要残酷。3 那种有欲望的兴趣一般会包含在儿童世界中自发产生的乐趣，没有任何不明目的。4 不论多么明智的规则，都无法代替理智与情感。1 当契约人告诉我可以参加一个暑期的建筑工程时我很快的兴奋起来并且对它充满向往。但是最终我发现这项工作不外乎大量的挖掘、筛以及打扫。2 我开始工作那天的一大早，我会对每一个动作保持警觉并小心翼翼的做好。慢慢地，我开始学会站直身体，让我的头后仰，享受那疲倦至极时休息的奢侈感觉。3 令我感到惊讶的是，工地上的工人会在他们将工地上的垃圾废物运走来为建材腾出空间的时候探讨汽车并且比较不同品牌的耗油量。5 在一所犹太人的学校，我看到来自穷人家的女孩子们模仿最流行的模特。那一刻她们在学校走廊里的样子好像在跳舞，一队人在性感的假面下摆弄姿态、6 我发现我可以表现得如同一个公众人物——能够维护我的利益，去团结，去请愿，去大声的讲话，去挑战以及要求。1 真正的朋友必须在对方须要得知哪怕是最残酷的现实的时候告诉对方。相比之下，一般的朋友可以是你任何时间认识的任何人：从隔壁的邻居到和你共乘一辆车的妇女。2 对于一般的朋友来说，你或许允许发狂，但是不能对愤怒视而不见（这句话我也没理解），或者你可以说这个月你的生活很拮据但是绝对不能说对钱担心的要命。5 作为女儿，我们通常会表现的比自我表现的本性还要多一点；而作为母亲，我们更趋向于接收女儿所传达的信息。6 上周在家，我一边吹着电吹风，往脸上涂着染眉剂和口红，一边完全放松的坐下来与我的一个同事Peter交谈。1 作者的争论是基于这样一个前提：爱是需要知识和努力的。它不仅仅是出名和拥有性感的外表。2 在维多利亚时代，婚姻要么是被父母所定，要么就是为媒人所指，或者干脆没有这些中介机构。4 陷入爱河的人们也许在第一时间不会发现他们爱情的激烈程度或许只是他们孤独程度的一个反映。7 为了经历全人类的手足之情，透过表象看到本质以获得最根本的内在联系是非常有必要的。

1.Christian理论教育是不相容的，与民族主义。正确的理论教育必须包括道德品质，如inpartiality ，和蔼和些许的自我控制。 2.In社区儿童是没有成人干扰有一个专制的强大，这很可能是更为残酷的暴政比大多数成人。 3可取某种利益的是，其中包括自发性高兴，在场的儿童，没有任何不可告人的目的。 4.No规则，但是明智的，吃了substuitude的感情和技巧。 1 。当承包商告诉我，一个夏天建设工作的情况下，我迅速警觉，并希望在我工作uncoiled 。但事实证明，这一工作将大量的铲和清污和清扫。 2 。早在那一天，我开始工作，这将是我最警惕的感觉和紧张的行动。随着一天结束时，我要直立，并让我的头慢慢回落， luxuriating在紧张的感觉如释重负。 3 。这惊喜我，这些工人在施工现场谈到车，比较省油的各种使营而换下清除空间碎片的建筑材料。 5在一个贫民区高中。我看到女孩来自贫困家庭模仿高时装models. /目前，他们的行动是在学校走廊dancelike ，游行体位性面膜。 6 ，我意识到我可以作为一个公众人物_able ，以捍卫我的利益，工会，请愿发言最多的挑战和需求。 1 。真正的朋友必须严酷的事实告诉对方当严酷的真理，必须告诉。相比之下，方便的朋友可以任何你知道了一段时间：筑巢邻居，一个女人在你的汽车库。 2 。更方便的朋友，你是疯了许多接纳而不是盲目的愤怒，或者您可能会说，你捏这个月，但从未您担心死钱。 5 。作为女儿，但我们往往不超过我们的份额自我启示;作为母亲，我们倾向于接受有什么发现。 6 。根据机上周在家里，把上睫毛膏和高棉在镜子前，我坐在舒适的交谈以叫彼得 1了作者的论点是基于这样一个前提：爱情需要的知识和努力。它不仅是一个问题，正在流行和发生性关系的吸引力。 2.in维多利亚年龄，婚姻是由家庭承包，或由婚姻经纪人，或在帮助这些中介机构。 4.People谁是爱上了在乍一看不知道的“强度”的爱情只可证明他们的程度之前孤独。 7 。为了体验这种友爱作为联盟的所有男女，有必要深入从外围向核心能感知“中央关联。 ”

1.Christian theory of education is incompatible to that of nationalism. A proper theory of education must include moral qualities such as impartiality , kindliness and a modicum of self control.基督教教育理论与民族主义教育是不相容的。一套严格的教育理论必须包括道德品质教育，如公正，友善以及一点点自律。2.In a community of children which is left without adult interference there is a tyranny of the stronger, which is likely to be far more brutal than most adult tyranny.在没有成人介入的孩子团体中，强者欺负弱者的暴行将比成年人的暴行无情。（该句为意译，这样好理解一些。the stronger在这里指the stronger children，the+adj（形容词）表示某一类人）3.The desirable sort of interest is that which consists in spontaneous pleasure in the presence of children, without any ulterior purpose.一个令人满意而有趣的现象是，目前存在于孩子中的率真的（直译：自发的）快乐，毫无疑问是没有任何不可言说的目的的。4.No rules, however wise, ate a substuitude for affection and tact.无论有多明智（聪明），没有任何规则能够取代喜爱和老练。1. When the contractor told me that a summer construction job was available, I was quickly alert and desire for the job uncoiled within me. But it turned out that the work would be lots of shoveling and raking and sweeping.当承包商告诉我有暑期建筑工作时，我立马留神，希望得到这份工作。（此处意译）然而，这份工作原来都是些铲子，筛子和清扫。（与之前想象不同，以为是建筑的，结果都是些杂事，粗活——个人根据语境理解）2. Early in the day when I began to work, I would be most alert to the sensations of movement and straining. As the day came to a close, I would stand upright and slowly let my head fall back, luxuriating in the feeling tightness relieved.一大早，我就开始工作。我会保持高度注意力，注意行动和应变能力。当一天结束时，我会站得笔挺的，然后慢慢的低下头，沉浸在完全放松的心情中。3. It surprises me that these workers on the construction site talked about cars, comparing the gas mileage of various makes of campers while hauling off debris to clear spaces for building materials.让我吃惊的是，工地上的工人们一边拉废料来清理建筑材料堆放空间，一边谈论着汽车，比较各个露营者用一加仑汽油所行驶的路程。5 In a ghetto high school. I saw girls from poor families mimic high-fashion models./For the moment ,their movement in school hallways are dancelike ,a procession of postures in a sexual masque .在贫民区的中学，我看见贫民窟的女孩子们模仿着时髦的模特们的穿着。/那一刻，她们手舞足蹈地走在学校走廊上，像假面舞会上性感的姿势一样。6 I realized I could act as a public person _able to defend my interests, to unionize, to petition to speak up -to challenge and demand.我意识到我可以像公众人物一样，维护自己的权益，成立工会，请愿，大声地讲出自己的看法——来挑战，来提出要求。1. True friends must tell harsh truths to each other when harsh truths must be told. In comparison, convenient friend can be anyone you know for some time: a nest-door neighbor, a woman in your car pool.真正的朋友在必要的时候会告诉对方严酷的事实。相反，一个合适的朋友可以是任何一个你认识一段时间的人：一个隔壁的邻居，在汽车合用社团遇到的女人。2. With a convenient friend, you many admit being mad but not blind with rage, or you might say that you're pinched this month but never that you're worried sick over money.和一个合适的朋友在一起，你可以和他说你很恼火，但不能大发雷霆，或者你可以说你这个月有点困难，但不能说你在担心这个月的经济问题。5. As daughters, we tend to do more than our share of self-revelation; as mothers, we tend to receive what's revealed.作为女儿，我们通常做的不仅仅是分享自己的情感；作为母亲，我们往往是接受别人的倾诉。6. Under the dryer at home last week, putting on mascara and rouge in front the mirror, I comfortably sat and talked with a fellow named Peter上个星期，在家里的烘干机（dryer这个单词没写错吧，这意思怪怪的）下，我对着镜子描了眉毛，涂了口红，和一个叫Peter的同事舒适地坐着聊天。1.The author`s argument is based on the premise that love requires knowledge and effort .It is not only a matter of being popular and having sex appeal.作者是在爱情需要学识和努力的前提下论证的。他认为，爱情不仅仅是受欢迎和拥有性吸引力。2.in Victorian age, marriage was contracted either by families, or by a marriage broker, or without the help of such intermediaries .在维多利亚时代，婚姻是通过男女双方家庭、介绍人或没有撮合者的情况下以条约的方式确定下来并进行的（后面这句楼主写掉了吧，以下是这篇文章的原文出处，引自Erich Fromm 《The Art of Loving》的第一章）4.People who are falling in love at the first sight do not know that the "intensity" of their love may only prove the degree of their preceding loneliness.一见钟情的人们不知道他们“炽热”的感情也许只是证明他们先前寂寞的程度。7. In order to experience this brotherly love as a union with all men, it is necessary to penetrate from the periphery to the core to perceive the "central relatedness."为了体验这种人类之间的兄弟之爱，有必要从表面到核心（即，彻底地）探索和理解（人类之间的）核心关系。《The Art of Loving》的第一章Is Love an Art? by Erich FrommIs love an art? Then it requires knowledge and effort. Or is love a pleasant sensation, which to experience is a matter of chance, something one "falls into" if one is lucky? This little book is based on the former premise, while undoubtedly the majority of people today believe in the latter. Not that people think that love is not important. They are starved for it; they watch endless numbers of films about happy and unhappy love stories, they listen to hundreds of trashy songs about love -- yet hardly anyone thinks that there is anything that needs to be learned about love. This peculiar attitude is based on several premises which either singly or combined tend to uphold it. Most people see the problem of love primarily as that of being loved, rather than that of loving, of one's capacity to love. Hence the problem to them is how to be loved, how to be lovable. In pursuit of this aim they follow several paths. One, which is especially used by men, is to be successful, to be as powerful and rich as the social margin of one's position permits. Another, used especially by women, is to make oneself attractive, by cultivating one's body, dress, etc. Other ways of making oneself attractive, used both by men and women, are to develop pleasant manners, interesting conversation, to be helpful, modest, inoffensive. Many of the ways to make oneself lovable are the same as those used to make oneself successful, "to win friends and influence people." As a matter of fact, what most people in our culture mean by being lovable is essentially a mixture between being popular and having sex appeal. A second premise behind the attitude that there is nothing to be learned about love is the assumption that the problem of love is the problem of an object, not the problem of a faculty. People think that to love is simple, but that to find the right object to love -- or to be loved by -- is difficult. This attitude has several reasons rooted in the development of modern society. One reason is the great change which occurred in the twentieth century with respect to the choice of a "love object." In the Victorian age, as in many traditional cultures, love was mostly not a spontaneous personal experience which then might lead to marriage. On the contrary, marriage was contracted by convention -- either by the respective families, or by a marriage broker, or without the help of such intermediaries; it was concluded on the basis of social considerations, and love was supposed to develop once the marriage had been concluded. In the last few generations the concept of romantic love has become almost universal in the Western world. In the United States, while considerations of a conventional nature are not entirely absent, to a vast extent people are in search of "romantic love," of the personal experience of love which then should lead to marriage. This new concept of freedom in love must have greatly enhanced the importance of the object as against the importance of the function. Closely related to this factor is another feature characteristic of contemporary culture. Our whole culture is based on the appetite for buying, on the idea of a mutually favorable exchange. Modern man's happiness consists in the thrill of looking at the shop windows, and in buying all that he can afford to buy, either for cash or on installments. He (or she) looks at people in a similar way. For the man an attractive girl -- and for the woman an attractive man -- are the prizes they are after. "Attractive" usually means a nice package of qualities which are popular and sought after on the personality market. What specifically makes a person attractive depends on the fashion of the time, physically as well as mentally. During the twenties, a drinking and smoking girl, tough and sexy, was attractive; today the fashion demands more domesticity and coyness. At the end of the nineteenth and the beginning of this century, a man had to be aggressive and ambitious -- today he has to be social and tolerant -- in order to be an attractive "package." At any rate, the sense of falling in love develops usually only with regard to such human commodities as are within reach of one's own possibilities for exchange. I am out for a bargain; the object should be desirable from the standpoint of its social value, and at the same time should want me, considering my overt and hidden assets and potentialities. Two persons thus fall in love when they feel they have found the best object available on the market, considering the limitations of their own exchange values. Often, as in buying real estate, the hidden potentialities which can be developed play a considerable role in this bargain. In a culture in which the marketing orientation prevails, and in which material success is the outstanding value, there is little reason to be surprised that human love relations follow the same pattern of exchange which governs the commodity and the labor market. The third error leading to the assumption that there is nothing to be learned about love lies in the confusion between the initial experience of "falling" in love, and the permanent state of being in love, or as we might better say, of "standing" in love. If two people who have been strangers, as all of us are, suddenly let the wall between them break down, and feel close, feel one, this moment of oneness is one of the most exhilarating, most exciting experiences in life. It is all the more wonderful and miraculous for persons who have been shut off, isolated, without love. This miracle of sudden intimacy is often facilitated if it is combined with, or initiated by, sexual attraction and consummation. However, this type of love is by its very nature not lasting. The two persons become well acquainted, their intimacy loses more and more its miraculous character, until their antagonism, their disappointments, their mutual boredom kill whatever is left of the initial excitement. Yet, in the beginning they do not know all this: in fact, they take the intensity of the infatuation, this being "crazy" about each other, for proof of the intensity of their love, while it may only prove the degree of their preceding loneliness. This attitude -- that nothing is easier than to love -- has continued to be the prevalent idea about love in spite of the overwhelming evidence to the contrary. There is hardly any activity, any enterprise, which is started with such tremendous hopes and expectations, and yet, which fails so regularly, as love. If this were the case with any other activity, people would be eager to know the reasons for the failure, and to learn how one could do better -- or they would give up the activity. Since the latter is impossible in the case of love, there seems to be only one adequate way to overcome the failure of love -- to examine the reasons for this failure, and to proceed to study the meaning of love. The first step to take is to become aware that love is an art, just as living is an art; if we want to learn how to love we must proceed in the same way we have to proceed if we want to learn any other art, say music, painting, carpentry, or the art of medicine or engineering. What are the necessary steps in learning any art? The process of learning an art can be divided conveniently into two parts: one, the mastery of the theory; the other, the mastery of the practice. If I want to learn the art of medicine, I must first know the facts about the human body, and about various diseases. When I have all this theoretical knowledge, I am by no means competent in the art of medicine. I shall become a master in this art only after a great deal of practice, until eventually the results of my theoretical knowledge and the results of my practice are blended into one -- my intuition, the essence of the mastery of any art. But, aside from learning the theory and practice, there is a third factor necessary to becoming a master in any art—the mastery of the art must be a matter of ultimate concern; there must be nothing else in the world more important than the art. This holds true for music, for medicine, for carpentry—and for love. And, maybe, here lies the answer to the question of why people in our culture try so rarely to learn this art, in spite of their obvious failure: in spite of the deep-seated craving for love, almost everything else is considered to be more important than love: success, prestige, money, power—almost all our energy is used for the learning of how to achieve these aims, and almost none to learn the art of loving.Could it be that only those things are considered worthy of being learned with which one can earn money or prestige, and that love, which “only” profits the soul, but is profitless in the modern sense, is a luxury we have no right to spend much energy on?爱是一门艺术吗？如果爱是一门艺术，那就要求人们有这方面的知识并付出努力。或者爱仅仅是一种偶然产生的令人心荡神怡的感受，只有幸运儿才能"堕入"爱的情网呢？这本小册子以第一种假设为基础，而大多数人毫无疑问相信第二种假设 但这大多数人决不认为爱情无关紧要，相反他们追求爱情。悲欢离合的爱情电影他们百看不厌，百般无聊的爱情歌曲他们百听不烦。但他们之中没有人认为，人们本可以学会去爱。 他们之所以持有这种特殊态度是有其各种原因的，这些原因反过来又分别地或总和地加强了他们的这一态度。大多数人认为爱情首先是自己能否被人爱，而不是自己有没有能力爱的问题。因此对他们来说，关键是：我会被人爱吗？我如何才能值得被人爱？为了达到这一目的，他们采取了各种途径。男子通常采取的方法是在其社会地位所允许的范围内，尽可能地去获得名利和权力，而女子则是通过保持身段和服饰打扮使自己富有魅力；而男女都喜欢采用的方式则是使自己具有文雅的举止，有趣的谈吐，乐于助人，谦虚和谨慎。为了使自己值得被人爱而采用的许多方法与人们要在社会上获得成功所采用的方法雷同，即都是"要赢得朋友和对他人施加影响"。事实上，我们这个社会大多数人所理解的"值得被人爱"无非是赢得人心和对异性有吸引力这两种倾向的混合物而已。 产生在爱这件事上一无可学这一看法的第二个原因是人们认为爱的问题是一个对象问题，而不是能力问题。他们认为爱本身十分简单，困难在于找到爱的对象或被爱的对象。产生这一看法有多种原因，这些原因的根源基于现代社会的发展。其中有一个原因是二十世纪在选择"爱的对象"方面所发生的巨大变化。十九世纪在许多传统的文化中爱情往往不是自发的、最后导致婚姻的个人经历。婚姻多半是通过男女双方的家庭、介绍人或者在没有撮合者的情况下以条约的方式确定下来并进行的。婚姻要门当户对。至于爱情，人们认为婚后自然而然就会产生。但最近几十年来，浪漫式的爱情这一概念在西方世界已被普遍承认。尽管传统形式在美国依然可见，但人们更多的是寻求"浪漫式的爱情"，寻求个人的会导致辩证法的爱情经历。这种自由恋爱的新方式必定会大大提高爱的对象的重要性，而不是爱情本身的作用意义。 同这一因素紧密相关的是当代文化的特点。我们的全部文化是以购买欲以及互利互换的观念为基础现代人的幸福就是欣赏橱窗，用现金或分期付款的方式购买他力所能及的物品。反之亦是如此。"有魅力"一般就是指这个人有许多令人喜爱、目前又是人口市场上被人问津的特点。什么东西能使一个人有魅力则取决于一时的时髦，这不仅指一个人的生理条件，也包括他的精神气质。二十年代，一个抽烟、喝酒、难以捉摸和有性感的女子被看作是富有魅力，而今天则要求女子能操持家务，为人要谨慎。十九世纪末、二十世纪初富有刺激性和雄心勃勃的男子具有魅力，如今却是心地厚道的男子更受欢迎。(归根结蒂爱情的产生往往是以权衡对方及本人的交换价值为前提。)我想做一笔交易，那我既要考虑从社会价值的角度出发，对方值不值得我追求，也要考虑基于我的一目了然的实力以及潜在的实力，对方会不会看中我。这样当男女双方感觉到在考虑到他们本身的交换价值的情况下，已经找到市场上所提供的最合适的对象，他们就开始相爱。在这笔交易中，如同购买地皮一样，对方的有发展前途的潜力也起到很大的作用。在一个商业化占统治地位以及把物质成功看得高于一切的文化中，事实上是没有理由对下列事实抱有吃惊的态度：人与人之间的爱情关系也遵循同控制商品和劳动力市场一样的基本原则。 产生在爱情这件事上一无可学这一看法的第三个错误是人们不了解"堕入情网"同"持久的爱"这两者的区别。如果我们用fallinginlove和beinginlove这两个英文搭配也许就能更清楚地区分这两个概念。两个迄今为止同我们一样是相互陌生的人，当他们突然决定拆除使他俩分隔的那堵高墙，相许对方，融为一体时，他俩相结合的一刹那就成为最幸福、最激动人心的经历。这一经历对那些迄今为止没有享受过爱情的孤独者来说就更显美好和不可思议。这种男女之间突如其发的奇迹般的亲密之所以容易发生，往往是同性的吸引力和性结合密切相关或者恰恰是由此而引起的。但这种类型的爱情就其本质来说不可能持久。这两个人虽然熟谙对方，但他俩之间的信任会越来越失去其奇迹般的特点，一直到隔坤、失望和无聊把一息尚存的魅力都抹掉为止。当然一开始双方都不会想到这点。事实是：人们往往把这种如痴如醉的入迷，疯狂的爱恋看作是强烈爱情的表现，而实际上这只是证明了这些男女过去是多么地寂寞。 再也没有比爱情更容易的了-这一看法尽管一再被证实是错误的，但至今还占主导地位。再也找不出一种行为或一项行动像爱情那样以如此巨大的希望开始，又以如此高比例的失败而告终。如果是别的事，人们会想方设法找出失败的原因，吸取教训，以利再战或者永远洗手不干。但因为人们不可能永远放弃爱情，所以看起来只有一条可行的路，那就是克服爱情的挫折，找到原因并去探究爱情的意义。 在这方面采取的第一个步骤是：要认识爱情是一门艺术。人们要学会爱情，就得像学其他的艺术-如音乐，绘画，木工或者医疗艺术和技术一样的行动。 学会一门艺术的必要步骤是什么？可以简单地把学会一门艺术分成两个部分，一是掌握理论，二是掌握实践。学医的人首先要认识人体的结构和各种疾病的症兆。但光有理论还无法行医。只有通过长期的实践活动，一直到理论知识和实践经验融会贯通起来变成灵感-也就是掌握了艺术的灵魂，才能成为一名大师。要成为大师，除了学习理论和实践外还有第三个必不可少的因素，即要把成为大师看得高于一切，这一目标必须占据他整个身心。这一点既适用于音乐、医学、雕塑-也适用于爱情。这里也许就解释了为什么在我们这个社会有不少人经常不断地遭受爱情的挫折，却很少有人去努力学会爱情这门艺术。人们一方面渴望爱情，另一方面却把其他的东西：如成就、地位、名利和权力看得重于爱情。我们几乎把所有的精力都用于努力达到上述目的，却很少用来学会爱情这门艺术。