——原声版2011年3月号美文
Song of the Flower 花之歌
By Khalil Gibran
I am a kind word 1)uttered and repeated
By the voice of Nature;
I am a star fallen from the
Blue tent upon the green carpet.
I am the daughter of the elements
With whom Winter 2)conceived;
To whom Spring gave birth; I was
3)Reared in the lap of Summer and I
Slept in the bed of Autumn.
At dawn I unite with the breeze
To announce the coming of light;
At 4)eventide I join the birds
In bidding the light farewell.
The plains are decorated with
My beautiful colors, and the air
Is scented with my fragrance.
As I embrace Slumber the eyes of
Night watch over me, and as I
Awaken I stare at the sun, which is
The only eye of the day.
I drink dew for wine, and 5)hearken to
The voices of the birds, and dance
To the 6)rhythmic swaying of the grass.
I am the lover’s gift; I am the wedding wreath; I am the memory of a moment of happiness; I am the last gift of the living to the dead; I am a part of joy and a part of sorrow.
But I look up high to see only the light,
And never look down to see my shadow.
This is wisdom which man must learn.
我是大自然亲切的话语，
说出去，又反复细念；
我是一颗星星，
从蓝苍穹坠落绿毯之中。
我是诸元素之女：
冬天将我孕育；
春天使我绽放；
夏天让我成长；
秋天令我安睡。
清早，我同晨风一道
宣告光明的到来；
傍晚，我又与鸟一起
为它的远去告别。
我在原野上摇曳，
使风光更加旖旎；
我在清风中呼吸，
使气息芬芳馥郁。
我微睡时，
夜空数双眼睛对我凝望；
我醒来时，
白昼的独眸向我注视。
我饮着朝露酿成的琼浆；
听着小鸟的鸣啭歌唱；
就着芳草的摇曳婆娑起舞。
我是爱人间的赠礼；我是婚礼的冠冕；
我是片刻欢愉的记忆；
我是生者予死者最后的祭献；
我是一半欢乐，一半忧伤。
而我仰望高空，只因对光明神往；
我从不顾影自怜，也不孤芳自赏。
今年情人节是几月几号而这些智慧，人类尚未得以领会。
赏析
卡里·纪伯伦（Kahlil Gibran，1883—1931），杰出的黎巴嫩诗人、作家、画家。他被称为“艺术天才”、“黎巴嫩文坛骄子”，是阿拉伯现代小说、艺术和散文的主要奠基人，20世纪阿拉伯新文学道路的开拓者之一。其主要作品蕴含了丰富的社会性和东方精神，不以情节为重，旨在抒发丰富的情感。他创作的大量散文诗语言优美，想象丰富，感情真挚，韵味隽永，深受各国读者喜爱。主要作品有《先知》（The Prophet）、《泪与笑》（Tear and Smile）、《先驱》（The Pioneer）、《沙与沫》（Sand and Foam）等等。
《花之歌》是《泪与笑》中的一首，诗人以一颗敏感而多情的心，用花的语言来叙述大自然的话语，文中既尽显纪伯伦式的轻柔、凝练、隽秀与清新，也展现出纪伯伦“平易中发掘隽永，以美妙的比喻启示深刻的哲理”这一独树一帜的艺术风格。诗中花的形象既给人以审美愉悦，又启迪生活理趣。它是构建大自然诗意图画的浪漫使者，却也是演绎人类欢乐与悲伤的现实代表。然而，花的情操终究是伟大的、积极乐观的，它的欲望纯粹，心意坚决。试问一心只向往“光明”、决不“顾影自怜”的道理，又确是多少人能参透、能秉持的呢？
Love In Return—White Day
爱的回应——白情人节
源自欧洲的214情人节是全球涉及范围最广的情人节，然而随着日韩风潮在国内的持续高温，314这个“白情人节”的概念也在中国新生代中悄然萌生……
Japanese men are answering the call of Valentine’s Day a month late. On February 14th only women give gifts. On March 14th, or “White Day,” it’s the men’s turn.
Man 1: Of course I’ll give my wife a present, but in my case, as I got a lot of gifts on Valentine’s Day from my female colleagues, I have to give them presents in return. And this is what many other Japanese men will do too.
The idea for “White Day” began in 1980 as a marketing 1)ploy by manufacturers of sweets and chocolates across Japan to boost sales.
Returning giri-choco, or “2)obligation chocolate,” has become important to social etiquette, but the special woman in a man’s life is usually more demanding than his co-workers.
They often expect jewelry or a new dress, according to a department store public relations manager.
Woman: Many Japanese men have a strong sense of obligation, therefore it’s natural that on “White Day” they feel obligated to return gifts to those who have given them something on Valentine’s.
For those that don’t want to give a fancy dress or jewels, a personal touch can 3)suffice. Man 2: On Valentine’s Day my girlfriend gave me some chocolate she made, so I decided to return her a hand-made present. It might not be diamonds, but this cake is sweet enough.
情人节过后一个月，日本男性开始作出爱的回应。2月14日，只有女性送出礼物。而3月14日，又称“白情人节”，则轮到男性采取主动。
男子甲：我当然会给我的妻子送礼物，但就我而言，情人节我收到了许多女同事的礼物，所以我要给她们回礼。许多日本男性也会这样做。
白情人节的意念源自于1980年日本各地糖果和巧克力厂家为促进销量而想出的市场策略。
回赠“情意巧克力”，已经成了重要的社交礼仪；但是每位男士生命中那位佳人往往比其同事的要求更高。据一位百货商场的公共关系部经理透露，她们通常会期盼收到珠宝或新衣服。
女子：许多日本男性均有强烈的责任感，因此在白情人节他们会感到有义务给那些在情人节给他们送了礼物的人回礼，这很自然。
对于那些不想送华衣美钻的人来说，用自己的独特方式也能让对方心满意足。
男子乙：情人节时我的女朋友送给我她自己亲手做的巧克力，因此我决定回赠她一件亲手制作的礼物。
虽然并非美钻，但这个蛋糕已甜入心扉。
——中学版2011年3月号美文
Making Animation the Aardman Way
像阿德曼那样玩动画
While we talked in this Oscar-winning studio, where Wallace and Gromit were born, it seemed inevitable[不可避免的] to mention the influence of computer on stop-motion animation. “Our finished material is still shot on film. We think it still gives the best image,” he said.
Even if they could scan puppet[玩偶] characters into the computer and animate them on the screen, “there is a fundamental difference between working with your hands and workin
g on the keyboard,” the animator explained. “For all of us animators at Aardman now, we are trained in this craft[手艺], just like a musician or a painter, it’s all hand and brain. You grab the puppet with two hands, and you feel the whole thing move. The camera has to move right, the light has to be right, the actor has to do the right thing—make-up, costume, everything has to be right. Just for one moment in time. That’s the way we work. I believe that the humanity[人性] in what we’re doing, the process, all comes through in the final film.”
版权声明：本站内容均来自互联网，仅供演示用，请勿用于商业和其他非法用途。如果侵犯了您的权益请与我们联系QQ:729038198，我们将在24小时内删除。
发表评论