恐惧地

To sit still and observe that one is neither identical with one's thoughts and impulses as they arise continuously and discursively in one's mind, generating desire, anxiety, fear and guilt, nor indeed limited by them, is to be aware of the possibility of controlling one's thoughts and of moving toward a new kind of spiritual freedom.

只有纹丝不动地打坐并意识到自己既没有与内心持续杂乱地萌发着的致使产生欲望、焦虑、恐惧和内疚感受的各种思绪和冲动同一，也确信没有受制于它们时，方能感知到克制自己内心思绪和通往新的精神自由的可能性。

Dream analysis has also sensitized me to the value of using dreams as bridges to more fully understanding people's fears, preoccupations and goals.

而进行梦的解析也使我更充分地认识到，通过睡梦来更充分地理解人们的恐惧，偏见和目标是很重要的。

Little by little, when his astonishment had passed off, he grew accustomed to this radiance, he contemplated these deeds without dizziness, he examined these personages without terror; the Revolution and the Empire presented themselves luminously, in perspective, before his mind's eye; he beheld each of these groups of events and of men summed up in two tremendous facts: the Republic in the sovereignty of civil right restored to the masses, the Empire in the sovereignty of the French idea imposed on Europe; he beheld the grand figure of the people emerge from the Revolution, and the grand figure of France spring forth from the Empire.

渐渐地，惊恐的心情过去了，他已习惯于光辉的照耀，他已能注视那些动态而不感到晕眩，能细察那些人物也不觉得恐惧了，革命和帝国都在他的犀利目光前面辉煌灿烂地罗列着，他看出那两个阶段中每件大事和每个人都可概括为两种无比伟大的行动，共和国的伟大在于使交还给民众的民权获得最高的地位，帝国的伟大在于使强加给欧洲的法兰西思想获得最高的地位，他看见从革命中出现了人民的伟大面貌，从帝国中出现了法兰西的伟大面貌。他从心坎里承认那一切都是好的。

Little by little, when his astonishment had passed off, he GRE w accustomed to this radiance, he contemplated these deeds without dizziness, he examined these personages without terror; the Revolution and the Empire presented themselves luminously, in perspective, before his mind's eye; he beheld each of these groups of events and of men summed up in two tremendous facts: the Republic in the sovereignty of civil right restored to the masses, the Empire in the sovereignty of the French idea imposed on Europe; he beheld the grand figure of the people emerge from the Revolution, and the grand figure of France spring forth from the Empire.

渐渐地，惊恐的心情过去了，他已习惯于光辉的照耀，他已能注视那些动态而不感到晕眩，能细察那些人物也不觉得恐惧了，革命和帝国都在他的犀利目光前面辉煌灿烂地罗列着，他看出那两个阶段中每件大事和每个人都可概括为两种无比伟大的行动，共和国的伟大在于使交还给民众的民权获得最高的地位，帝国的伟大在于使强加给欧洲的法兰西思想获得最高的地位，他看见从革命中出现了人民的伟大面貌，从帝国中出现了法兰西的伟大面貌。他从心坎里承认那一切都是好的。

The simultaneous depiction of everyday situations and hints of potential danger, which Hitchcock even spelled out by writing such lines as "Watch your back, there's someone there" on the posters for his movies, as well as the obliviousness of his protagonists to their immediate jeopardy, played masterfully on the fear that exists deep within our subconscious minds.

希区柯克还善于将日常生活的情境和潜在危险的端倪进行平行地叙述──他甚至在他的电影海报上写道："当心背后有人"，以及电影中的主角对于即将临近的危险的无知，都有力地刺激着在我们潜意识里深藏着的恐惧。

The physiological effects of fear can be better understood from the perspective of the sympathetic nervous responses (fight-or-flight), as compared to parasympathetic response, which is a more relaxed state.

恐惧的心理影响从交感神经反应的角度可以更好地来理解。与之对比的是处于更轻松地状态的副交感神经。

But when you look totally you will give your whole attention, your whole being, everything of yourself, your eyes, your ears, your nerves; you will attend with complete self-abandonment, and then there is no room for fear, no room for contradiction, and therefore no conflict.

但当你完整地看时你将集中所有的注意力，你的整个存在，你的一切，你的眼睛，你的耳朵，你的神经；你将无我地观察，那时没有空间留给恐惧和矛盾，因此没有冲突。

Brief and powerless is Man's life; on him and all his race the slow, sure doom falls pitiless and dark. Blind to good and evil, reckless of destruction, omnipotent matter rolls on its relentless way; for Man, condemned to-day to lose his dearest, to-morrow himself to pass through the gate of darkness, it remains only to cherish, ere yet the blow falls, the lofty thoughts that ennoble his little day; disdaining the coward terrors of the slave of Fate, to worship at the shrine that his own hands have built; undismayed by the empire of chance, to preserve a mind free from the wanton tyranny that rules his outward life; proudly defiant of the irresistible forces that tolerate, for a moment, his knowledge and his condemnation, to sustain alone, a weary but unyielding Atlas, the world that his own ideals have fashioned despite the trampling march of unconscious power.

人的生命是短暂而脆弱的，不可避免的死亡虽然缓慢，但一定会降临在每一个人身上，阴森而无情，这个全能的物质世界毫不容情地滚滚前行无视善恶，任意摧毁，对与人来说，注定今天要失去最亲爱的亲人朋友，明天自己也要通过黑暗的死亡之门，人的生命存在就在于死亡来袭之前，珍惜那些使他短暂的生命变得高贵的思想，鄙弃对命运的恐惧，对自建的圣坛顶礼膜拜，不受机缘的摆布，摆脱主宰他外部生活的粗暴统治而取得心灵的自由，敢于骄傲地向那些不可抗拒的压力挑战----这些压力对其认识和判断力不过是暂时的----他就像疲惫而不屈的擎天巨神，独自支撑着他自己的理想世界，对这种无意识力量的肆意践踏毫不理会。

I would put him somewhere between the God-fearing part of Christianity and Tagore's God-loving, which in a sense is a development out of the Vaishnava movement in Hinduism, as well as the influence of Sufis that came into India on the Islamic side and led to the kind of harmonious combination in the writings of Kabir and Dadu and others four or five hundred years ago.

甘地，在我看来，他位于基督教徒的"对神的恐惧"和泰戈尔的"对神的热爱"之间，在某种程度上，它产生自印度教的毗湿奴派信徒运动，这一点就像在印度发生的伊斯兰教的苏菲教的影响一样，这就导致了四五百年前的迦比尔和 Dadu 和其他人的记录，都和谐地写在了一起。

I would put him somewhere between the God-fearing part of Christianity and Tagore's God-loving, which in a sense is a development out of the Vaishnava movement in Hinduism, as well as the influence of Sufis that came into India on the Islamic side and led to the kind of harmonious combination in the writings of Kabir and Dadu and others four or five hundred years ago.

甘地，在我看来，他位于基督教徒的&对神的恐惧&和泰戈尔的&对神的热爱&之间，在某种程度上，它产生自印度教的毗湿奴派信徒运动，这一点就像在印度发生的伊斯兰教的苏菲教的影响一样，这就导致了四五百年前的迦比尔和 Dadu 和其他人的记录，都和谐地写在了一起。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。