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Thus it was that he burned himself on Jiang-qing's funeral pyre, and sent himself with her wherever it was she was going.

这样他就在Jiang-qing的火葬堆上也焚烧了自己，送自己跟随她去任何她将去的地方。

His way of coping was to throw himself into work, and he began to reinvent himself

全身心地投入工作是他排解的办法。他开始重新发现自己。

They thought that He was beside Himself in claiming divine authority, and in placing Himself before the rabbis as a reprover of their sins.

有一户人家是他喜欢去的，就是拉撒路、马利亚和马大的家。在那有信心和爱心的气氛中，他的精神得著安息。

This art is no longer that of the rhapsodist, who does not merge with his images but, like the painter, contemplates them as something outside himself; what we have here is the individual effacing himself through entering a strange being.

在这场合，歌队和诗朗诵者就有所不同，朗诵者并不和他的形象融合为一体，而是像画家那样以静观的眼光置身于事外来观察他们。

Chapter 2 centres around the spiritual contents of her works. It penetrates through the skin to their core, that is, the tragic sense. Her works take the most ordinary people as characters. Unexpectable elements befall on these people, change their fate considerably. The helplessness of being fooled by destiny overshadows most of her works, leaving readers sign in vain. Then, her portrayal of characters bears a tinge of rootlessness, unsteadiness loneliness, filling the works with deep pensive mood. And finally, she exposes the ugliness of man from this covering of brilliance. Man dares not face his true being. What he shows and sees of himself tends to be his bright side. But his ugly side steels out, which gives himself a deadly blow.

第二章围绕作品的精神内蕴展开论述，侧重于由表及里的层层挖掘，悲剧意识构成王安忆作品精神内蕴的核心，其作品多写芸芸众生，在展现这些人的人生际遇时，难以预料的偶然因素总是改变着他们的命运，宿命感使作品笼罩在虚无的阴影之中，令人怅然；其次作家在写人物时，那种无根的漂泊感、孤独感，使作品有着深深的悲凉意蕴；再次就是对隐藏在绚烂表象之下的人的丑陋本质的发现，人总是无法面对自己真实的存在，看到的或表现出的总是冠冕堂皇的一面，但是那丑陋的一面总会在不经意中呈现出来，给人以毁灭的打击。

He struggles to free himself from his car as water rushes in, but he cannot help himself.

他试图从他的车里解救自己，在水还没有完全灌满的时候。

He who corrects a scorner gets dishonor for himself, And he who reproves a wicked man blemishes himself.

9：7 指正亵慢人的，必受羞辱；责备恶人的，必遭玷污。

He liked talking, and talked well, adorning his speech with caressing epithets and proverbial sayings, which Pierre fancied he often invented himself. But the great charm of his talk was that the simplest incidents—sometimes the same that Pierre had himself seen without noticing them—in his account of them gained a character of seemliness and solemn significance.

他爱说，能说，用讨好话和成语装饰他的语言，那些成语，皮埃尔觉得是他自己造出来的；而他谈话的主要魅力，在于他说的事都是单纯的，往往是皮埃尔视而不见的，而一经他道出，便具有庄严优雅的特点。

A person who shows rashness, obstinacy, self-conceit—who cannot live within moderate means—who cannot restrain himself from hurtful indulgences—who pursues animal pleasures at the expense of those of feeling and intellect—must expect to be lowered in the opinion of others, and to have a less share of their favourable sentiments; but of this he has no right to complain, unless he has merited their favour by special excellence in his social relations, and has thus established a title to their good offices, which is not affected by his demerits towards himself.

一个人表现卤莽、刚愎、自高自大，不能在适中的生活资料下生活，不能约束自己免于有害的放纵，追求兽性的快乐而牺牲情感上和智慧上的快乐——这样的人只能指望被人看低，只能指望人们对他有较少的良好观感；而他对于这点是没有权利来抱怨的，除非他以特殊优越的社会关系赢得他们的好感，从而具备资格博取他们的有益效劳，而不受他自身缺点的影响。

Some people have been devoting themselves into what they do for living no matter how big the world would be or how fast the time pass by. The one must be lost of himself in this circumstance, just the same as someone forget all about himself in music, because he understand it and enjoy it. The complete devotion also means complete self-forgetting.

世界广大，视若无睹，时光流逝，置若罔闻，一心一意地投身到所从事的工作中，这种状态必然包含着一种自我意识的消失，正如人在音乐中完全忘记自我，才算真正欣赏了音乐一样，完全的投入都是以忘我为标志的。

Benjamin Crocker,a psychologist at the University of Southern California

南加利福尼亚大学的心理学家本杰明'克罗克指明说

Immature of its kind; especially being or characteristic of immature insects in the newly hatched wormlike feeding stage.

该种类的不成熟时期的；尤其是在或具有刚被孵化的像蠕虫一样饲养的幼虫时期的特征的。