英美散文經(jīng)典篇一：10篇精選優(yōu)秀英語美文背誦

10篇精選優(yōu)秀英語美文背誦.txt我不奢望什么，只希望你以后的女人一個不如一個。真懷念小時候啊，天熱的時候我也可以像男人一樣光膀子！10篇精選優(yōu)秀英語美文背誦2007-05-15 17:59

第1篇：[英文背誦] 用愛喚醒你的生活

Years ago, when I started looking for my first job, wise advisers urged, "Barbara, be enthusiastic! Enthusiasm will take you further than any amount of experience." How right they were. Enthusiastic people can turn a boring drive into an adventure, extra work into opportunity and strangers into friends.

多年前， 當(dāng)我第一次找工作時， 不少明智之士強烈向我建議：“巴巴拉，要有熱情！熱情比任何經(jīng)驗都更有益。”這話多么正確，熱情的人可以把沉悶的車程變成探險， 把加班變成機會， 把生人變成朋友。

"Nothing great was ever achieved without enthusiasm," wrote Ralph Waldo Emerson. It is the paste that helps you hang in there when the going gets tough. It is the inner voice that whispers, "I can do it!" when others shout, "No, you can't."

“沒有熱情就不會有任何偉大的成就，” 拉爾夫-沃爾多-愛默生寫道當(dāng)事情進展不順時，熱情是幫助你堅持下去的粘合劑當(dāng)別人叫喊“你不行”時， 熱情是你內(nèi)心發(fā)出的聲音：“我能行”。

It took years and years for the early work of Barbara McClintock, a geneticist who won the 1983 Nobel Prize in medicine, to be generally accepted. Yet she didn't let up on her experiments. Work was such a deep pleasure for her that she never thought of stopping.

1983年諾貝爾醫(yī)學(xué)獎的獲得者遺傳學(xué)家巴巴拉-麥克林托克早年的工作直到很多年后才被公眾所承認但她并沒有放棄實驗工作對她來說是一種如此巨大的快樂， 她從未想過要停止它。

We are all born with wide-eyed, enthusiastic wonder as anyone knows who has ever seen an infant's delight at the jingle of keys or the scurrying of a beetle.

It is this childlike wonder that gives enthusiastic people such a youthful air, whatever their age.

我們都生來好奇, 睜大眼睛，滿懷熱情——每一個看到過嬰兒聽到鑰匙聲或看見亂爬的甲蟲就興奮不已的人都會明白這一點。

At 90, cellist Pablo Casals would start his day by playing Bach. As the music flowed through his fingers, his stooped shoulders would straighten and joy would reappear in his eyes. Music, for Casals, was an elixir that made life a never ending adventure. As author and poet Samuel Ullman once wrote, "Years wrinkle the skin, but to give up enthusiasm wrinkles the soul."

正是這種孩子氣的好奇給了熱情的人們（不論年齡大�。� 一種青春的氣息大提琴家帕布羅-卡薩爾斯在90歲時還堅持以拉巴赫開始他的每一天音樂從他的指間流出， 他彎著的背挺直起來， 歡樂再度溢滿他的眼眸音樂對卡薩爾斯來說, 是使人生變成無止境的探索之旅的靈丹妙藥就像作家兼詩人塞繆爾-厄爾曼曾寫過的：“歲月使皮膚起了皺紋， 但如果失去熱情，

便會使靈魂起皺紋”。

How do you rediscover the enthusiasm of your childhood? The answer, I believe, lies in the word itself. "Enthusiasm" comes from the Greek and means "God within." And what is God within is but an abiding sense of love -- proper love of self (self-acceptance) and, from that, love of others.

怎樣才能找回孩提時代的熱情呢？我相信答案就在“熱情”這個詞本身“熱情”一詞源于希臘語， 原意是“內(nèi)在的上帝”這里所說的“內(nèi)在的上帝”不是別的, 而是一種持久不變的愛——恰當(dāng)?shù)淖詯郏ㄗ晕医邮埽��?并推而及于他人。

Enthusiastic people also love what they do, regardless of money or title or power. If we cannot do what we love as a full-time career, we can as a part-time avocation, like the head of state who paints, the nun who runs marathons, the executive who handcrafts furniture.

熱情的人們同樣熱愛他們所做的事，而不是考慮錢位權(quán)如果我們不能把熱愛的事作為正式職業(yè)， 我們也可把它當(dāng)作業(yè)余消遣：比如有國家元首喜歡畫畫的， 有修女參加馬拉松長跑的， 有行政官員手工制作家具的。

Elizabeth Layton of Wellsville, Kan, was 68 before she began to draw. This activity ended bouts of depression that had plagued her for at least 30 years, and the quality of her work led one critic to say, "I am tempted to call Layton a genius." Elizabeth has rediscovered her enthusiasm.

堪薩斯州韋爾斯維爾市的伊麗莎白-萊頓到68歲才開始畫畫這一愛好消除了曾糾纏她至少達30年之久的憂郁癥而她的作品水準之高使得一個評論家說：“我忍不住要稱萊頓為天才”伊麗莎白又找回了她的熱情。

We can't afford to waste tears on "might-have-beens." We need to turn the tears into sweat as we go after "what-can-be."

我們不應(yīng)該把眼淚浪費在“早該”之類的后悔上我們需要把眼淚化為汗水，去追求“可能”之物。

We need to live each moment wholeheartedly, with all our senses -- finding pleasure in the fragrance of a back-yard garden, the crayoned picture of a six-year-old, the enchanting beauty of a rainbow. It is such enthusiastic love of life that puts a sparkle in our eyes, a lilt in our steps and smooths the wrinkles from our souls. 我們需要以全副身心去度過生命中的每一分鐘——在后花園的芬芳中在6歲小孩的蠟筆畫中在彩虹醉人的美中找到快樂正是這種對生活的熱愛， 讓我們雙目有神，讓我們步履矯健，讓我們靈魂的皺紋展平。

第2篇：[英文背誦] 用愛喚醒你的生活

Consider? YOU. In all time before now and in all time to come, there has never been and will never be anyone just like you. You are unique in the entire history and future of the universe. Wow! Stop and think about that. You're better than one in a million,

or a billion, or a gazillion?

試想一下??你！一個空前絕后的你，不論是以往還是將來都不會有一個跟你一模一樣的人。你在歷史上和宇宙中都是獨一無二的。哇！想想吧，你是萬里挑一、億里挑一、兆里挑一的。

You are the only one like you in a sea of infinity!

在無窮無盡的宇宙中，你是舉世無雙的。

You're amazing! You're awesome! And by the way, TAG, you're it. As amazing and awesome as you already are, you can be even more so. Beautiful young people are the whimsey of nature, but beautiful old people are true works of art. But you don't become "beautiful" just by virtue of the aging process.

你是了不起的！你是卓越的！沒錯，就是你。你已經(jīng)是了不起的，是卓越的，你還可以更卓越更了不起。美麗的年輕人是大自然的奇想，而美麗的老人卻是藝術(shù)的杰作。但你不會因為年齡的漸長就自然而然地變得“美麗”。

Real beauty comes from learning, growing, and loving in the ways of life. That is the Art of Life. You can learn slowly, and sometimes painfully, by just waiting for life to happen to you. Or you can choose to accelerate your growth and intentionally devour life and all it offers. You are the artist that paints your future with the brush of today.

真正的美麗源于生命里的學(xué)習(xí)、成長和熱愛。這就是生命的藝術(shù)。你可以只聽天由命, 慢慢地學(xué)，有時候或許會很痛苦。又或許你可以選擇加速自己的成長，故意地揮霍生活及其提供的一切。你就是手握今日之刷描繪自己未來的藝術(shù)家。

Paint a Masterpiece.

畫出一幅杰作吧。

God gives every bird its food, but he doesn't throw it into its nest. Wherever you want to go, whatever you want to do, it's truly up to you.

上帝給了鳥兒食物，但他沒有將食物扔到它們的巢里。不管你想要去哪里，不管你想要做什么，真正做決定的還是你自己。

第3篇：[英文背誦] [英文背誦] 只把愛給你一人

I Give My Love to You Only

I want

to live and love with you

and be one forever;

to be near you so I can

reach out and touch you;

to make love with you,

talk with you,

and be silent with you;

to hold you close every night

and wake up with you

each morning.

I want

to share my secrets with you

and be honest with you;

to understand and respect you,

accepting you as you are.

I want

to find shelter in you

when I am afraid

and hold you when I need warmth;

to be with you through all seasons,

walking with you in the sunshine

and cuddling with you in the cold.

第4篇：[英文背誦] [英文背誦] 改變自己和世界

在懵懂的童年時期，我們胸懷夢想，相信自己的力量可以改變世界。后來，我們漸漸長大成熟，經(jīng)歷了生活的艱辛，明白了世無定事，感到了自己的渺小，我們的夢想也從“改變世界”降格成“改變家庭”，最終定位成“改變自己”。但我們實在不該低估自己，因為在我們改變自己的同時也潛移默化地影響著家庭，而作為世界的一分子，從某個角度來講，我們也正改變著世界。

Start With Yourself

The following words were written on the tomb of an Anglican Bishop in the Crypts of Westminister Abbey:

When I was young and free and my imagination had no limits, I dreamed of changing the world. As I grew older and wiser, I discovered the world would not change, so I shortened my sights somewhat and decided to change only my country.

But it, too, seemed immovable.

As I grew into my twilight years, in one last desperate attempt, I settled for changing only my family, those closest to me, but alas, they would have none of it.

And now as I lie on my deathbed, I suddenly realize: If I had only changed my self first, then by example I would have changed my family.

From their inspiration and encouragement, I would then have been able to better my country and, who knows, I may have even changed the world.

第5篇 [英文背誦】我們站在同一起跑點

"We are reading the first verse of the first chapter of a book whose pages are infinite---"

“我們正在閱讀一本頁數(shù)無限的書的第一章的第一節(jié)??”

I do not know who wrote those words, but I have always liked them as a reminder that the future can be anything we want to make it. We can take the mysterious, hazy future and carve out of it anything that we can imagine, just like a sculptor carves a statue from a shapeless stone.

我不知道這段文字是誰寫的，我一直很喜歡并用它們來提醒自己，那就是未來操之在我。我們可以掌握神秘而不可知的未來，從中創(chuàng)出我們所能想象的任何東西，一如雕刻家可以將未成型的石頭刻出雕像一樣。

We are all in the position of the farmer. If we plant a good seed, we reap a good harvest. If our seed is poor and full of weeds, we reap a useless crop. If we plant nothing at all, we harvest nothing at all.

我們每個人都是農(nóng)夫。我們?nèi)舴N下好種子，就會有豐收。倘若種子長得不良且長滿雜草，我們就會徒勞無獲。如果我們什么也不種，就根本不會有什么收獲。

I want the future to be better than the past. I don't want it contaminated by the mistakes and errors with which history is filled. We should all be concerned about the future because that is where we will spend the reminder of our lives.

我希望未來會比過去更好。我不希望未來會被那些充斥在歷史中的錯誤所污染。我們應(yīng)關(guān)心未來，因為往后的余生都要在未來中度過。

The past is gone and static. Nothing we can do will change it. The future is before us and dynamic. Everything we do will effect it. Each day will brings with it new frontiers, in our homes and in our businesses, if we will only recognize them. We are just at the beginning of the progress in every field of human endeavor. 往昔已一去不復(fù)返而且是靜止的。任憑我們怎么努力都不能改變過去。未來就在我們眼前而且是動態(tài)的。 我們的所作所為都會影響未來。只要我們體會的出來，每天都可以發(fā)現(xiàn)新的知識領(lǐng)域伴隨而生，可能是在家里，也可能是在我們的事業(yè)中。我們正處在人類所努力鉆研的每個領(lǐng)域中進步的起點。

第6篇 [英文背誦】[英文背誦] 思想與行動無限

Some people go through life standing at the excuse counter.

有些人是陪伴著借口度過一生的。

People say they'd like to do this or that, but . . . then they offer all the excuses in the world why they can't do whatever 'it' is. No matter what the excuses are, the only thing usually limiting them is their own self-perception.

有人會說，他喜歡這喜歡那，但是??于是便給出他所能找到的各種理由來解釋他為什

英美散文經(jīng)典篇二：Introduction英美散文

Introduction

The essay, a term originally taken from the French word “essai” (meaning “attempt”), is usually a literary composition of moderate length often in prose, though there are often essays written in the form of verse and even with the length of a book (Alexander Pope’s Essay on Criticism, Essay on Man and John Locke’s Essay Concerning Human Understanding, for example). As quite a flexible literary gee, the essay “undertakes to discuss a matter, express a point of view, persuade us to accept a thesis on any subject whatever,” and reveal other emotional aspects of life. Much like sanwen, suibi or xiaopingwen in Chinese literature, the essay is “addressed to a general rather than a specialized audience,” avoiding technical didactics and employing such devices as anecdote, striking illustration, parallelism and humour to supplement its appeal.

Historically speaking, the essay has undergone a long period of development in the West. Before the word “essai” or “essay” was coined in the sixteenth century by Montaigne and Bacon, this literary gee was called a “treatise”. IT is believed that ancient masters as Theophrastus, Plutarch, Cicero, Seneca, Saint Augustine and others have practiced this literary form. This marks the early beginning for its subsequent popularity, with Montainge perfecting its adaptable, “deliberately nonchalant and versatilbe” style. Therefore his preeminence as a mature essayist is

absolutely unquestionable.

Montainge is generally considered to be the originator of the gee of essay. With his Essais he left his mark on almost every essayist after him in continental Europe, and even more in English-speaking countries: in England, Sir Francis Bacon, Ben Johnson, Robert Burton, Sir Thomas Browne, Laurence Sterne, Samuel Johnson and Abraham Cowley; in France, Andre Gide and Jean Cocteau; in Spain, Jesuit Bltasar; in America, Washington Irving, Ralph Waldo Emerson, James Russel Lowell, Mark Twain, Hey James and others. All of them made an effective use of this most fitting literary gee to cover a large range of problems.

If the seventeenth-century England echoed Montainge’s influence with Bacon producing his classic essays on a great variety of subjects, the seventeenth-century Europe saw many essayists dealing with social manners, the cultivation of politeness, and the training of an accomplished gentleman. Such pursuits went far beyond such gees as maxims, portraits and sketches.

With the advent of a keener political awareness in the age of Enlightenment , the eighteenth-century England reached the high peak of essay creation with the maturing of the “the classical essay” as the vehicle for a criticism of society and of religion. Addison and Steele thus established the “periodical essay,” which is “a kind of high journalism

intended often to please rather than instruct,” but to instruct through pleasure. Addison’s creation of such a character as Sir Roger de Coverly formed a gracious and light style, “anticipating the characterization of the novelists a little later in the century.” Dr. Johnson in his essays and Oliver Goldsmith in The Citizen of the World (1762) perfected the graceful, witty manner which was later regarded ideal for the essay.

In England he eighteenth century is called the golden age of the English essay, and the nineteenth century the silver one. Essayists as Charles Lamb, William Hazzlitt, Leigh Hunt and De Quincy combined “social commen with a confessional, autobiographical element,” which characterized the time spirit of th(轉(zhuǎn) 載于:www.newchangjing.com 蒲公 英文摘:英美散文經(jīng)典)e nineteenth-century literature. Therefore, the so-called autobiographical essay went into proliferation, helping o establish the tradition for novelists as Walter Scott, Charles Dickens and the like. Among the most influential essayists, Matthew Arnold was an important practitioner who used the essay as a medium of literary or artistic criticism.

In the twentieth century, the essay in the tradition of Addison, Hazzlitt and Lamb “dissolved into the morass of constantly increasing journalism.” Therefore, “l(fā)aments on he decline of the essay … have been numerous since the 1940s, when articles in most journals tended o become shorter and to strive for more immediate effect.” But it is not untrue hat many writers, critics and philosophers continued to use the

essay for artistic and literary criticism, philosophical speculations, or social and cultural comment --- to take a few for example: D.H.Lawrence, George Orwell, Aldoux Huxley, Hey James, Bertrand Russell, Virginia Woolf, T.S.Elio, et al.

Concerning the matter of style, the essay fits the category of non-fiitional prose. It can be classified into two kinds: the formal essay and the informal one. They can further be divided, in terms of subjects and forms, into five types, i.e. the classic, the periodical, the philosophical, the autobiographical, and the literary or critical, though these divisions may sometimes overlap and may not be strictly “scientific”. For instance, Bacon’s essays are classical just because they have expressed, to some extent, the spirit of classicism and issued a strong impact upon the subsequent essay creations, but it is hard to deny that they are highly philosophical. Hence, our classifications are made in such a way as to meet the convenience of classroom teaching.

英美散文經(jīng)典篇三：經(jīng)典英語美文

有一種旅行叫做人生

Life comes in a package. This package includes happiness andsorrow, failure and success, hope and despair. Life is a learningprocess. Experiences in life teach us new lessons and make us abetter person. With each passing day we learn to handle varioussituations. 人生好似一個包裹，這個包裹里藏著快樂與悲傷、成功與失敗，希望與絕望。人生也是一個學(xué)習(xí)的過程。那些經(jīng)歷給我們上了全新的課，讓我們變得更好。隨著每一天的過去，我們學(xué)會了處理各種各樣的問題。

FailureandSuccess

Failure is the path to success. It helps us to touch the sky, teaches us to survive and shows us aspecific way. Success brings in money, fame, pride and self-respect. Here it becomes veryimportant to keep our head on out shoulder. The only way to show our gratitude to God forbestowing success on us is by being humble, modest, courteous and respectful to the lessfortunate ones.

失敗是成功之母。它讓我們觸及藍天，它教會我們?nèi)绾紊�存，它給予我們一條特殊的路。成功給予我們金錢、名譽、驕傲和自尊。這里，保持頭腦清醒便顯得尤為重要。唯一能讓我們感激上帝給予的成功便是始終卑微、謙虛、禮貌并且尊重沒有我們幸運的人們。

美文:我們心中的"如果""到那時"

IF and WHEN were friends. Every week they met and had lunch.Their conversation usually centered on all the things they weregoing to achieve. They both had many dreams and they lovedto talk about them.

"如果"和"到那時"是一對好朋友。他們每星期相約吃一頓午餐。會面時，他們談?wù)摰脑掝}通常圍繞在他們即將要做的事情上面。兩個人都有著許多夢想，并且他們熱衷于這種交談。

This particular Saturday when they met, WHEN sensed that IF was not in a great mood. As usualthey sat at the table reserved for them and ordered their lunch. Once they placed their order,WHEN questioned IF.

"IF what is wrong with you? You don't seem your usual cheery self?"

這個星期六他們見面時"到那時"覺察到"如果"的心情不是很好。像往常一樣，他們坐在特意預(yù)留給他們的餐桌上點餐。剛一點完"到那時"就問道:如果，你怎么了?你看起來好像不太高興。"

IF looked at WHEN and replied,

"I'm not sure, I just don't feel like I am making any progress. Thislast week I saw a course I wanted to take if only I had the time to take it."

"如果"看了看"到那時"答道"我也不知道怎么了，只是覺得自己沒什么進步。上個星期我發(fā)現(xiàn)一個很好的課程，如果有時間的話，我就去學(xué)。"

WHEN knew exactly how IF felt. "Yeah," replied WHEN,

"I too saw a course and I am going toregister when I get enough money together." WHEN then said,

"well what about that new job youwere going to apply for. You were so excited about it last week, did you apply?"

"到那時"非常理解"如果"的感受。他答道是啊，我也看到一項課程，等到錢充足的時候，我就去報名。對了，你打算申請的新工作怎么樣了?上星期見你說得那么情緒激昂，申請了嗎? "

IF responded,

"If my computer didn't break down last week, I would have applied. But, mycomputer is not working, so I could not type my resume."

"如果"回答道"如果不是上周我的電腦壞了，我會申請的。但是它壞了，我無法打印簡歷，所以只能放棄了。"

"Don 't worry about it IF, when you are ready another job will come through. I have been thinkingabout looking for another job also, but I will wait and when the weather gets nicer I will look then."WHEN then went on to tell IF about his week, hoping that it would cheer him up a bit.

"別著急，等到你準備好時，另-個工作就出現(xiàn)了。我也一直考慮著換個工作，但是我想等到天氣看起來好一些時再行動。"然后，"到那時"繼續(xù)跟"如果"談?wù)撝�他的星期計劃，希望這樣能使他的朋友高興起來。

The man at the next table couldn't help overhear WHEN and IF. They both were talking aboutwhen this and if that, finally he couldn't take it anymore.

"Excuse me gentlemen," the man said. IFand WHEN both looked at the man and wondered what he wanted. The man continued,

"I'msorry, but I couldn't help hearing your conversation. I think I know how you could solve yourproblems."

鄰桌的一個男人無意中聽到他們的談話。他昕見兩個人一直在說著"等什么什么時候如果這樣那樣"的話，他再也無法忍受了。于是，男人說道"打擾一下，先生們。""如果"和"到那時"吃驚地看著他，不知道他要做什么。男人繼續(xù)道很抱歉，我無意中聽到你們的交談。我想我知道如何解決你們的問題。"

IF smiled and thought, how could a complete stranger know how to solve all of their problems. Ifonly he knew. When he realized the challenges they faced there was no way he could solve theirproblems! Curious, IF asked the gentleman,

"How do you think you can solve our problems?"

"如果"笑了笑，心想，一個完全陌生的人怎么會知道如何解決他們兩個人生活中的問題呢。如果讓他認識到他們所面對的困難，恐怕他再也不會那樣說了。出于好奇"如果"還是問道你認為應(yīng)該如何解決我們的問題呢? "

The gentleman smiled and said ,

"You only need listen to yourselves. It reminds me of an oldproverb:

"If and When were planted , and Nothing grew."

男人笑著答道"你們說的話讓我想起一句古老的諺語:'只想不做，就會沒有收獲。"

IF and WHEN looked puzzled. The gentleman smiled and said,

"Start counting how many timesyou use the words 'if' and 'when'. Rather than thinking 'if and when', start doing, take action, stoptalking about 'if and when'."

"如果"和"到那時"疑惑地看著他。男人繼續(xù)說從現(xiàn)在開始，數(shù)一下你們用了多少次?如果'和?到那時'這兩個詞語。你們不要總是思考?如果怎樣怎樣到那時怎樣怎樣而是應(yīng)該著手去做，采取行動，請不要再談?wù)?如果和到那時'。"

IF and WHEN both looked surprised, and suddenly realized that what the gentleman had said wasso true. Both of them were guilty of thinking,acting and living their life for the "ifs and whens', Thegentleman left and IF and WHEN's conversation changed. They made a pact that when they metfor lunch next week, there would be no "ifs and whens"; they would only talk about what theyaccomplished!

"如果"和"到那時"感到十分驚訝，他們突然意識到這個男人說得很正確。兩個人都為自己把思想、行為、生活的希望放在"如果和到那時"上感到慚愧。男人離開后，他們談話的內(nèi)容有

了改變。他們約定下個星期一起吃午餐時，再也沒有"如果"和"到那時他們只會談?wù)撘呀?jīng)完成的事情。

Two Roads

兩條路

【英語散文賞析】

It was New Year's night .An aged man was standing at awindow. He raised his mournful eyes towards the deep blue sky,where the stars were floating like white lilies on the surface of aclear calm lake. When he cast them on the earth where fewmore hopeless people than himself now moved towards theircertain goal-the tomb. He had already passed sixty of the stagesleading to it, and he had brought from his journey nothing but errors and remorse. Now his healthwas poor, his mind vacant, his heart sorrowful, and his old age short of comforts.

這是新年的夜晚一位老人站在窗邊，憂傷的眼睛眺望著深藍的天空空中的繁星，猶如漂浮在清澈如鏡的湖面上的朵朵百合。他慢慢將目光投向地面。此刻，沒有什么人比他還絕望。他即將邁向他最終的歸宿——墳?zāi)�。他已走過通向墳?zāi)沟牧�十級臺階，除了錯誤和悔恨，他一無所獲�，F(xiàn)在他體弱多病，精神空虛，心哀神傷，人到晚年卻無所慰藉。

The days of his youth appeared like dream before him, and he recalled the serious moment whenhis father placed him at the entrances of the two roads One leading to a peaceful, sunny placecovered with flowers, fruits and resounding with soft, sweet songs; the other leading to a deepdark cave which was endless, where poison flowed instead of water and where devils and poisonsnakes hissed and crawled.

年輕歲月，如夢般展現(xiàn)在他面前，老人想起父親把他帶到岔路口的那個莊嚴時刻。一條路通向安寧、快樂的世界，鮮花遇布，果實豐碩，甜美輕柔的歌聲在空中回蕩；另一條路則通向幽深黑暗，沒有盡頭的洞，洞內(nèi)流淌著的不是水而是毒液，群魔亂舞，毒蛇嘶嘶爬動。

He looked towards the sky and cried painfully,"0h youth, return! Oh, my father, place me oncemore at the entrance to life and I'II chose the better way!

"But both his father and the days of hisyouth had passed away.

他仰望星空，痛苦地大喊：“啊，青春，回來吧！啊，父親，再一次帶我到人生的岔路口吧，我會選一條更好的道路�！钡�是，他的父親和他的青春歲月都已一去不復(fù)返了。

He saw the lights flowing away in the darkness, and these were the days of his wasted life; he saw astar fall from the sky and disappeared, and this was the symbol of himself .His remorse which waslike a sharp arrow struck deeply into his heart. Then he remembered his friends in his childhood,which entered life together with him. But they had made their way to success and were nowhonored and happy on this New Year's night.

他看到燈光在黑暗中流逝，就像他揮霍掉的往昔；他看到一顆流星自天邊墜落，消失不見，就像是他的化身。無盡的悔恨，像一支利箭，深刺心間。他又記起和自己一同邁入人生之途的兒時玩伴，j但他們已功成名就，在這個新年之夜，倍受尊崇，幸福快樂。

The clock in the high church tower struck and the sound made him remember his parents' earlylove for him. They had taught him and prayed to God for his good. But he chose the wrong waywith shame and grief he dared no longer to look towards the heaven where his father lived. Hisdarkened eyes were full of tears, and with a despairing effort. He burst out a cry:"Come back, myearly days! Come back! "

高高的教堂鐘樓傳來鐘聲，這聲音使他記起父母早年對他的疼愛：他們教育他，為他祈禱。然而，他卻選擇了錯誤的道路：羞愧和悲哀使他再也沒有勇氣仰望父親所在的天堂：黯淡的雙眼溢滿了淚水，他絕望地嘶聲大呼：“回來吧，我的往昔！回來吧！”

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