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Let it be said by our children's children that when we were te sted we refused to let this journey end, that we did not turn back nor did we falter; and with eyes fixed on the horizon and God's grace upon us, we carried forth that great gift of freedom and delivered it safely to future generations.

今后，让我们的后代子孙如此评说：我们在遇到考验的时候没有半途而废，没有退缩不前，也没有丝毫动摇；让我们全神贯注于前方的目标，感谢上帝对我们的恩典，继承自由这个宝贵的传统，世代相传，永志不忘。

Our revisers and law-makers were familiar with the civil law, and they did not deem it important to incorporate into our statutes its provisions upon this subject. This is not a casus omissus. It was evidently supposed that the maxims of the common law were sufficient to regulate such a case, and that a specific enactment for that purpose was not needed.

立法者和修改者对民法是熟悉的，他们也不认为把该事项写进制定法是重要的，这并不是偶然的疏忽，而是因为人们认为普通法的法律原则足以调整这类案件，没有必要对此作出规定。

Upon this Occasion of removing my Ammunition, I took occasion to open the Barrel of Powder which I took up out of the Sea, and which had been wet; and I found that the Water had penetrated about three or four Inches into the Powder, on every Side, which caking and growing hard, had preserv'd the inside like a Kernel in a Shell; so that I had near sixty Pound of very good Powder in the Center of the Cask, and this was an agreeable Discovery to me at that Time; so I carry'd all away thither, never keeping above two or three Pound of Powder with me in my Castle, for fear of a Surprize of any kind: I also carry'd thither all the Lead I had Belt for Bullets.

烧木炭的事顺便就谈到这里。再说有一天，我正在那里砍柴，忽然发现，在一片浓密的矮丛林后面，好像有一个深坑。我怀着好奇心想进去看看。我费力地走进洞口，发现里面相当大。我在里面站直了还绰绰有余，甚至还能再站一个人。可是说实在的，我一进去就赶快逃出来，因为我朝地穴深处一看，只见里面一片漆黑，在黑暗中，忽然看见有两只发亮的大眼睛，也不知道是魔鬼的眼睛，还是人的眼睛，在洞口射进去的微弱光线的反射下，那对眼睛像两颗星星闪闪发光。

Upon this Occasion of removing my Ammunition, I took occasion to open the Barrel of Powder which I took up out of the Sea, and which had been wet; and I found that the Water had penetrated about three or four Inches into the Powder, on every Side, which caking and growing hard, had preserv'd the inside like a Kernel in a Shell; so that I had near sixty Pound of very good Powder in the Center of the Cask, and this was an agreeable Discovery to me at that Time; so I carry'd all away thither, never keeping above two or three Pound of Powder with me in my Castle, for fear of a Surprize of any kind: I also carry'd thither all the Lead I had Belt for Bullets.

在这次转移军火时，我也顺便打开了我从海上捞起来的那桶受潮的火药。结果发现，火药四周进了三四寸水，结成了一层坚固的硬壳，可里面部分却完好无损，仿佛壳里的果仁保存得很好。我从桶里弄到了差不多六十磅好火药，这真是一个可喜的收获。不用说，我把全部火药都搬了过去。从此以后，我在城堡里最多只放三磅火药，唯恐发生任何意外。另外，我又把做子弹的铅也全部搬了过去。

The Place I was in, was a most delightful Cavity, or Grotto, of its kind, as could be expected, though perfectly dark; the Floor was dry and level, and had a sort of small lose Gravel upon it, so that there was no nauseous or venemous Creature to be seen, neither was there any damp, or wet, on the Sides or Roof: The only Difficulty in it was the Entrance, which however as it was a Place of Security, and such a Retreat as I wanted, I thought that was a Convenience; so that I was really rejoyc'd at the Discovery, and resolv'd without any Delay, to bring some of those Things which I was most anxious about, to this Place; particularly, I resolv'd to bring hither my Magazine of Powder, and all my spare Arms, viz.

虽然在洞里没有光线，但这却是一个令人赏心悦目的最美丽的洞穴。地上干燥平坦，表面是一层细碎的沙石，所以不会有令人厌恶的毒蛇爬虫。洞顶和四壁也十分干燥。这个洞穴唯一的缺点是入口太小，然而正是因为进出困难，才使它成为一个安全隐蔽的地方，而这也正是我千方百计寻求的庇护所。所以，这个缺点于我来说反而成了一个优点。我对自己的发现真是欣喜万分，决定立刻把我所最放心不下的一部分东西搬到洞里来，特别是我的火药库和多余的枪支，包括两支鸟枪和三支短枪。

Perhaps it was just the very fear of "others" that had smashed "us" into smithereens at the expiry of "Cultural Revolution". Since then,"I" have begun to stand upon my pantofles, while "others", with no choice but to quit the public stage, have faded into an empty word, a word that bears little importance, and a word that injects a blurring meaning to public morality.

也许正是由于对&他人&的恐惧，&文革&之后，&我们&迅速土崩瓦解，&我&自仰天长啸——而&他人&却不得不退出公众的视线，淡化为一个可有可无的虚词，成为公民道德的模糊地带。

The first example is that of the Italian Commedia dell'arte, in which upon a canovaccio, that is, a summary of the basic story, every performance, depending on the mood and fantasy of the actors, was different from every other so that we cannot identify any single work by a single author called Arlecchino servo di due padroni and can only record an uninterrupted series of performances, most of them definitely lost and all certainly different one from another.

第一个例子是意大利的职业艺术喜剧（译注： Commedia dell ' arte ，一种即兴戏剧形式，始自16世纪之意大利，流行至18世纪，今日仍有演出。

And when it further develops that the new mother is single, unemployed and living with her own very put-upon mother, that consternation turns to, well, ridicule, cringing, joking, insulting, parody videos, morning-show discussing, nickname-calling and making the woman the poster child for all that ails America.

如果进一步说这个刚生了8个孩子的女人是个失业的单身母亲，和她经济困顿的母亲一起生活，那么惊愕又很快会变成嘲讽、羡慕、笑料、羞辱、滑稽电视片，晨间访谈节目，把这个女人看成是育儿的活广告，所有这些使美国感到头痛。

" Prince Vassily looked inquiringly at the princess, but he could not make out whether she was considering what he had said, or was simply staring at him."I pray to God for one thing only continually, mon cousin," she replied,"that He may have mercy upon him, and allow his noble soul to leave this …""Yes, quite so," Prince Vassily continued impatiently, rubbing his bald head and again wrathfully moving the table towards him that he had just moved away,"but in fact … in fact the point is, as you are yourself aware, that last winter the count made a will by which, passing over his direct heirs and us, he bequeathed all his property to Pierre.

& 瓦西里公爵以疑问的眼神望望公爵小姐，但他没法弄明白，她是否在想他对她说的话，还是随便地望着他……&我为一桩事一直都在祷告上帝，mon cousin，&她答道，&祈祷上帝宽恕他，让他高尚的灵魂平安地离开这个……&&对，是这样的，&瓦西里公爵心情急躁地继续说下去，一面用手搓着秃头，愤愤地把推开的茶几移到身边来，&可是，到头来，到头来，问题就在于，你自己知道，去冬伯爵写了遗嘱，把他的全部产业留给皮埃尔，我们这些直系继承人都没有份了。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。