本来的

By Pierre Bayard. Translated by Jeffrey MehlmanBloomsbury; 208 pages;$19.95. To be published in Britain by Granta in January

别人的译作会让我本来在看译文后来就跑去看原文了，而你的译作是让我本来在看原文后来就不自觉地去看译文了。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

People who originally came from Mexico or whose family originally came from Mexico are called Chicanos;while people who originally came from Latin America or whose family originally came from Latin America,are called Latinos.

本来来自墨西哥或者家庭本来来自墨西哥的人们是呼叫奇卡诺人；当本来来自拉丁美洲的人时候或者谁的家庭本来来自拉丁美洲，叫做拉丁美洲人。

Chelsea不在我身边的话,我几乎不知道自己弹的是不是作曲者意图的样子.I'm recently reading Miranda July, she's writing the kind of stories that I love and want to write someday later if possible, doubtlessly, the cute and short ones. Madi tried to only read one story every night so she can enjoy the book longer, I want to translate this book with madi.

不知道是不是天下的老伯都是咸湿的，但是咸湿的一定是老伯。30岁的男生已经秃顶了，我想他大概不会介意我这样描述他，既然他不是很注意外表，本来要讨论文化和语言的问题的，结果去到酒吧，他就不说话了，还被迫要和40岁的老伯坐一起聊天，都是我的错。

We're new students, we haven't fathomed what equanimity is, as it is I'm so vexed I can't keep my mind focused on my meditation, how can I do it if it's so hot? Are you testing my limits?

但是！但是！我们是新生，我们还没有修得圆满的平等心，我本来就够烦了，心本来就静不下来了，这么热，叫我怎么静坐，怎么静坐，你分明在考验我不是？！

Since that time, two powerful romancers, one of whom is a profound observer of the human heart, the other an intrepid friend of the people, Balzac and Eugene Sue, having represented their ruffians as talking their natural language, as the author of The Last Day of a Condemned Man did in 1828, the same objections have been raised.

从那时起，两个伟大的小说家，一个是人心的深刻的观察者，一个是人民的勇敢的朋友，巴尔扎克和欧仁·苏，都象《一个死囚的末日》的作者在一八二八年所作的那样，让一些匪徒们用他们本来的语言来谈话，这也引起了同样的反对。

Claiming that it reduced the experience of the communist movement to "a tattered flag"(this was a response which itself was reflective of a dogmatic and brittle approach to what communism is, rather than regarding it and wielding it as what it really is: a living and developing critical revolutionary science, one of the hallmarks of which is its continual self-interrogation)—and, on the other hand, besides those who welcomed Conquer the World?

一文所讲述的内容感到极度的不满，他们声称它把共产主义运动的经验缩减为&一面破旗&，他们这种观念本身就是对&什么是共产主义&教条认识的一种反应，而不是尊重并坚持共产主义本来的面目：共产主义是一种鲜活的、发展的、决定性的革命科学，它本身的标志之一就是不断的自我反省。在另一方面，因其正确的观点，也有些人欢迎《征服世界？

Io io was the daughter of a rivergod.she was loved,run after and won by zeus.hera became so greeneyed that she flew down from olympus one day to pay her rival back .zeus,however,had foreseen her arrival and changed io into abeautiful white little cow.seeing through the trick,hera asked for the cow as a present and zeus had to give in to her wish .then she left the cow to the care of a hundredeyed monster,argus.argus'' eyes were ever open and no escape was possible.unable to bear to see her so unhappy,zeus sent hermes down todestroy the monster.dressed up as a shepherd,hermes lulled argus to sleep with his sweet songs and long stories,then killed him and set io free.but hera''s anger was not to be calmed downyet.she sent a gadfly to attack the cow and drive her from land to land.in her misery the cow passed over the strait which divides europe and asia.in this way the strip of water got itsname bosporus ,the way of the cow.she wandered over thesea,which by chance got from her its name the ionian sea .in the end she arrived in egypt where she was turned back into hernatural form .she settled down and gave birth to a son,some of her children remained in egypt and ruled as kings for a longtime.

伊俄伊俄是河神的女儿，宙斯爱她、追求她、并得到了她。赫拉对此嫉妒不已。一天她飞下奥林波斯山向情敌施加报复。然而宙斯早已预见到她的光临，就将伊俄变成了一头美丽的小白牛犊，赫拉看穿了其中的诡计，非要一头牛犊作为礼物。宙斯无奈，只得让她如愿以偿。赫拉便将牛犊托付给百眼魔鬼阿刚斯看管。阿刚斯的眼睛永远睁着，要想逃脱是不可能的。看到伊俄如此忧郁，宙斯简直无法忍受，便令赫耳墨斯将魔鬼铲除。赫耳墨斯乔装成牧羊人给阿刚斯唱悦耳动听的歌，讲冗长乏味的故事以哄他入睡。之后便寻机杀死魔鬼，释放了伊俄。但赫拉的狂怒并未消除。她派了一只牛虻去攻击牛犊，使她颠沛流离。在十分悲痛之中，牛犊穿越了分隔欧亚大陆的海峡。从此这片狭长的水域被称作博斯普鲁斯海峡，意为牛犊之路。她接着漫游过海，这片大海也就在偶然中有了名称——伊奥尼亚海，最后她到了埃及，并恢复了她本来的体态和容貌。她在那里落户并生了个儿子。她的一些子孙就呆在了埃及，当了很长时间的国王。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的&到来&，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种&图解的危险&，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

We are paratroopers,lieutenant, we are supposed to be surrounded

温特斯：我们本来就是伞兵，中尉，我们本来就是被包围着的。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。