寻一篇四五千字的英语文章

Question

不能是名著,难度适中,最好有中文翻译.在线等,急用!
一定要有五千字！

Answer 1

Nathan Zuckerman, Philip Roth's alter-ego for nearly four decades now, is settling uncomfortably into old age. Now a literary recluse like E.I. Lonoff, the mentor of his youth in The Ghost Writer, Zuckerman has survived prostate cancer (though, given his notorious past, not without ironic complications), and, as the novel begins, has returned once more to his school days in Newark, New Jersey. The device here is a class reunion, a gathering of former athletes, beauties, and outsiders, transformed by time into uncanny snapshots of their own immigrant grandparents. Zuckerman is most surprised to find Jerry Levov there. Now a ruthless, four-times-married Miami surgeon, Jerry had once been important to Nathan only because of the access their friendship afforded him into the private world of Jerry's older brother, Seymour "Swede" Levov, the finest athlete to ever walk the halls of Weequahic High and Nathan's lifelong hero. From their brief conversation, Nathan learns that the Swede's life was forever altered in 1968, when his teenage daughter, Merry, blew up the local post office, along with a local doctor, in protest of the Vietnam War. The rest of the story is left for Zuckerman's telling.

The form of American Pastoral is established in two early passages. After his encounter with Jerry, Zuckerman becomes obsessed with the Swede, locking himself away to restore life to his fallen idol. Typical of Roth, the moment is captured in mirror images: "Is everyone to go off and lock the door and sit secluded like the lonely writers do, in a soundproof cell, summoning people out of words and then proposing that these word people are closer to the real thing than the real people that we mangle with our ignorance every day?" After pouring once more over the few "facts" at his disposal, Zuckerman/Roth retreats to fiction, adding, "anything more I wanted to know, I'd have to make up." And he does just that. One-fifth of the way through the novel, Zuckerman disappears completely, surrendering his own voice to the Swede's sorrowful lament.

American Pastoral also finds its structural precedent in The Kid from Tomkinsville, a children's book the young Nathan had once discovered on the Swede's bookshelf. It tells the story of a baseball phenomenon whose life is marked equally by stunning success and heart-breaking tragedy. "I was ten and I had never read anything like it," Nathan says. "The cruelty of life. The injustice of it." It's perhaps too literary—too easy—of a device for Roth, but the 400+ page story of the Swede's fall follows a similar trajectory, as does, Roth implies, the story of America's recent history. For the Swede is Roth's finest personification of the post-war American Dream and all the complicated realities that frustrate it. "Three generations. All of them growing. The working. The saving. The success. Three generations in raptures over America. Three generations of becoming one with a people. And now with the fourth it had all come to nothing. The total vandalization of their world." The Swede's longed-for American pastoral becomes its grotesque counterpart, "the indigenous American berserk."

What most fascinates me about this novel—along, of course, with Roth's beautiful prose—is its inability, ultimately, to make any sense of the Swede's tragedy. Those readers who turn to the final page, hoping to find resolution, answers, grace, will find, once again, only the question that haunts every preceding chapter: "And what is wrong with their life? What on earth is less reprehensible than the life of the Levovs?" The Swede, though occasionally chastised for lacking requisite self-awareness, is a good man: hard-working, honorable, a loving father and husband, a good-hearted liberal opposed to Vietnam and actively involved in the fight for civil rights. And yet he is unable to escape the violence, the destruction of his family, the rape of his daughter—that rape that haunts him more than the deaths or the explosions or the decay. He is unable to escape the mysterious, inarticulate pain that has become his life. After a reunion with Merry, the Swede returns home to a dinner party, broken by the sight of his frail, filthy daughter, but unable to speak about it. "He was supposed to do this forever," Roth writes. "However much he might crave to get out, he was to remain stopped dead in the moment in that box. Otherwise the world would explode."

Answer 2

http://www.52en.com/xl/我从这个网站找的，，有好多，，，下面是我自己选的，，觉得比较好

珍惜每一天(Everyday is A Gift)
My brother-in-law opened the bottom drawer of my sister's bureau and lifted out a tissue-wrapped package. "This", he said, "is not a slip. This is lingerie." He discarded the tissue and handed me the slip.

妹夫打开了妹妹衣柜最底层抽屉，拿出一个用纸包装的包裹。“这个，”他说，“不是件普通内衣，而是一件豪华内衣。”他把薄纸撕开，递给了我那件内衣。

It was exquisite, silk, handmade and trimmed with a cobweb of lace. The price tag with an astronomical figure on it was still attached.

它的确精致无比，丝质、全手工缝制，周围还有一圈网状蕾丝花边。价签都尚未拆去，上面的数字高得惊人。
"Jan bought this the first time we went to New York, at least 8 or 9 years ago. She never wore it. She was saving it for a special occasion.

“这是我们第一次去纽约时简买的，至少已是八、九年前的事了。她从没有穿过它。她想等一个特殊的日子再穿它。”

Well, I guess this is the occasion.

唉，我想现在便是那特殊的日子了。

He took the slip from me and put it on the bed, with the other clothes we were taking to the mortician. His hands lingered on the soft material for a moment, then he slammed the drawer shut and turned to me, "Don't ever save anything for a special occasion. Every day you' re alive is a special occasion."

妹夫从我手中拿过内衣放在床上，和其他我们要带给殡仪服务人员的衣服放在一起。他的手在那柔软织物上徘徊了一会儿，随即砰然关上抽屉，转身对我说：“永远不要把任何东西留给什么特殊日子。你活着的每一天就是一个特殊的日子。”

I remembered those words through the funeral and the days that followed when I helped him and my niece attend to all the sad chores that follow an unexpected death. I thought about them on the plane returning to California from the midwestern town where my sister's family lives. I thought about all the things that she hadn't seen or heard or done. I thought about the things that she had done without realizing that they were special.

这两句话久久在我耳边回响着，伴我度过了葬礼和帮妹夫、侄女处理妹妹意外死亡后的伤心后事的那几天。我从位处中西部的妹妹家返回加州时，在飞机上还是在想这两句话。我想到妹妹未曾有机会看到、听到或去做的事。我想到她淡然做过，但却没有意识到其特殊性的事。

I'm still thinking about his words, and they've changed the weeds in the garden. I'm spending more time with my family and friends and less time in committee meetings. Whenever possible, life should be a pattern of experience to savour, not endure. I'm trying to recognize these moment now and cherish them.

我至今还在想着妹夫说的话，正是它们改变了我的心境。我花了更多的时间与家人朋友在一起，而少花些时间在那些工作会议上。无论何时，生活应当是一种“品味”而非一种“忍受”。我在学习欣赏每一刻，并珍惜每一刻。

I'm not "saving" anything; we use our good china and crystal for every special. Event such as losing a pound, getting the sink unstopped, the first camellia blossom… I wear my good blazer to the market if I feel like it. My theory is if I look prosperous, I can shell out $28. 49 for one small bag of groceries without wincing. I'm not saving my good perfume for special parties; clerks in hardware stores and tellers in banks have noses that function as well as my party going friends.

我不再去“珍藏”任何东西；只要有一点好事，我们就不吝啬使用精美的瓷器和水晶制品，比如说当体重减了一磅时，当厨房水槽堵塞通了时，当第一朵山茶花绽放时……如果我想穿，我就穿上我名牌衣服去市场购物。我的理论是：如果我看上去还富足的话，我可以毫不心疼地为一小袋杂货付出28.49美元。我不再为特殊的派对而珍藏我上好的香水；五金店售货员和银行出纳员们的嗅觉，不会比派对上朋友们来得差。
"Someday" and "one of these days" are losing their grip on my vocabulary. If it's worth seeing or hearing or doing, I want to see and hear and do it now. I' m not sure what my sister would've done had she know that she wouldn't be here for the tomorrow we all take for granted.

“有朝一日”和“终有一天”这样的词正从我的常用词汇中淡出。如果值得去看、去听或去做，我当即就要去看、去听或去做。人们总是理所当然的以为自己必然有明天，不知假如妹妹知道她将没有明日，她会做些什么。

I think she would have called family members and a few close friends. She might have called a few former friends to apologize, and mend fences for past squabbles. I like to think she would have gone out for a Chinese dinner, her favorite food. I'm guessing. I'll never know.

我想她会给家人和几位密友打电话。她可能还会给几位昔日朋友打电话主动道歉，摒弃前嫌。我想她可能会外出吃顿她喜欢的中餐。我只是猜想而已。我永远也不会知道。

It's those little things left undone that would make me angry if I knew that my hours were limited. Angry because I put off seeing good friends whom I was going to get in touch with someday. Angry because I hadn't written certain letters that I intended to write one of these days. Angry and sorry that I didn't tell my husband and daughter often enough how much I truly love them.

假如我知道我的时间不多了，那些没来得及做的小事会让我恼火。恼火是因为我一拖再拖没能去看看“有朝一日”会去看的好友们。恼火是因为我还没有写出我“终有一天”要写的信。恼火与内疚是因为我没能更经常地告诉我的丈夫和女儿：我是多么真切地爱他们。

I'm trying very hard not to put off, hold back, or save anything that would add laughter and luster to our lives. And every morning when I open my eyes, I tell myself that every day, every minute, every breath truly, is... a gift from God.

我正努力不再拖延、保留或珍藏那些能给我们生活带来欢笑和光彩的东西。每天清晨当我睁开双眼，我便告诉自己每一天、每一分钟、每一瞬间都真是……上帝赐予的礼物。

Answer 3

珍惜每一天(Everyday is A Gift)
My brother-in-law opened the bottom drawer of my sister's bureau and lifted out a tissue-wrapped package. "This", he said, "is not a slip. This is lingerie." He discarded the tissue and handed me the slip.

妹夫打开了妹妹衣柜最底层抽屉，拿出一个用纸包装的包裹。“这个，”他说，“不是件普通内衣，而是一件豪华内衣。”他把薄纸撕开，递给了我那件内衣。

It was exquisite, silk, handmade and trimmed with a cobweb of lace. The price tag with an astronomical figure on it was still attached.

它的确精致无比，丝质、全手工缝制，周围还有一圈网状蕾丝花边。价签都尚未拆去，上面的数字高得惊人。
"Jan bought this the first time we went to New York, at least 8 or 9 years ago. She never wore it. She was saving it for a special occasion.

“这是我们第一次去纽约时简买的，至少已是八、九年前的事了。她从没有穿过它。她想等一个特殊的日子再穿它。”

Well, I guess this is the occasion.

唉，我想现在便是那特殊的日子了。

He took the slip from me and put it on the bed, with the other clothes we were taking to the mortician. His hands lingered on the soft material for a moment, then he slammed the drawer shut and turned to me, "Don't ever save anything for a special occasion. Every day you' re alive is a special occasion."

妹夫从我手中拿过内衣放在床上，和其他我们要带给殡仪服务人员的衣服放在一起。他的手在那柔软织物上徘徊了一会儿，随即砰然关上抽屉，转身对我说：“永远不要把任何东西留给什么特殊日子。你活着的每一天就是一个特殊的日子。”

I remembered those words through the funeral and the days that followed when I helped him and my niece attend to all the sad chores that follow an unexpected death. I thought about them on the plane returning to California from the midwestern town where my sister's family lives. I thought about all the things that she hadn't seen or heard or done. I thought about the things that she had done without realizing that they were special.

这两句话久久在我耳边回响着，伴我度过了葬礼和帮妹夫、侄女处理妹妹意外死亡后的伤心后事的那几天。我从位处中西部的妹妹家返回加州时，在飞机上还是在想这两句话。我想到妹妹未曾有机会看到、听到或去做的事。我想到她淡然做过，但却没有意识到其特殊性的事。

I'm still thinking about his words, and they've changed the weeds in the garden. I'm spending more time with my family and friends and less time in committee meetings. Whenever possible, life should be a pattern of experience to savour, not endure. I'm trying to recognize these moment now and cherish them.

我至今还在想着妹夫说的话，正是它们改变了我的心境。我花了更多的时间与家人朋友在一起，而少花些时间在那些工作会议上。无论何时，生活应当是一种“品味”而非一种“忍受”。我在学习欣赏每一刻，并珍惜每一刻。

I'm not "saving" anything; we use our good china and crystal for every special. Event such as losing a pound, getting the sink unstopped, the first camellia blossom… I wear my good blazer to the market if I feel like it. My theory is if I look prosperous, I can shell out $28. 49 for one small bag of groceries without wincing. I'm not saving my good perfume for special parties; clerks in hardware stores and tellers in banks have noses that function as well as my party going friends.

我不再去“珍藏”任何东西；只要有一点好事，我们就不吝啬使用精美的瓷器和水晶制品，比如说当体重减了一磅时，当厨房水槽堵塞通了时，当第一朵山茶花绽放时……如果我想穿，我就穿上我名牌衣服去市场购物。我的理论是：如果我看上去还富足的话，我可以毫不心疼地为一小袋杂货付出28.49美元。我不再为特殊的派对而珍藏我上好的香水；五金店售货员和银行出纳员们的嗅觉，不会比派对上朋友们来得差。
"Someday" and "one of these days" are losing their grip on my vocabulary. If it's worth seeing or hearing or doing, I want to see and hear and do it now. I' m not sure what my sister would've done had she know that she wouldn't be here for the tomorrow we all take for granted.

“有朝一日”和“终有一天”这样的词正从我的常用词汇中淡出。如果值得去看、去听或去做，我当即就要去看、去听或去做。人们总是理所当然的以为自己必然有明天，不知假如妹妹知道她将没有明日，她会做些什么。

I think she would have called family members and a few close friends. She might have called a few former friends to apologize, and mend fences for past squabbles. I like to think she would have gone out for a Chinese dinner, her favorite food. I'm guessing. I'll never know.

我想她会给家人和几位密友打电话。她可能还会给几位昔日朋友打电话主动道歉，摒弃前嫌。我想她可能会外出吃顿她喜欢的中餐。我只是猜想而已。我永远也不会知道。

It's those little things left undone that would make me angry if I knew that my hours were limited. Angry because I put off seeing good friends whom I was going to get in touch with someday. Angry because I hadn't written certain letters that I intended to write one of these days. Angry and sorry that I didn't tell my husband and daughter often enough how much I truly love them.

假如我知道我的时间不多了，那些没来得及做的小事会让我恼火。恼火是因为我一拖再拖没能去看看“有朝一日”会去看的好友们。恼火是因为我还没有写出我“终有一天”要写的信。恼火与内疚是因为我没能更经常地告诉我的丈夫和女儿：我是多么真切地爱他们。

I'm trying very hard not to put off, hold back, or save anything that would add laughter and luster to our lives. And every morning when I open my eyes, I tell myself that every day, every minute, every breath truly, is... a gift from God.

我正努力不再拖延、保留或珍藏那些能给我们生活带来欢笑和光彩的东西。每天清晨当我睁开双眼，我便告诉自己每一天、每一分钟、每一瞬间都真是……上帝赐予的礼物。

希望对你有帮助哦！！！！！！！！！

参考资料：http://www.52en.com/xl/

Answer 4

DICKINSONS BECAUSE I COULD NOT STOP FOR DEATH
Abstract:Analyzes the poem `Because I Could Not Stop for Death,' by Emily Dickinson. The use of remembered images of the past to clarify infinite conceptions through the establishment of a dialectical relationship between reality and imagination, the known and the unknown; The viewpoint of eternity; Understanding of the incomprehensible; The stages of existence.

DICKINSON'S BECAUSE I COULD NOT STOP FOR DEATH
In "Because I Could Not Stop for Death" (J712), Emily Dickinson uses remembered images of the past to clarify infinite conceptions through the establishment of a dialectical relationship between reality and imagination, the known and the unknown.[1] By viewing this relationship holistically and hierarchically ordering the stages of life to include death and eternity, Dickinson suggests the interconnected and mutually determined nature of the finite and infinite.[2]
From the viewpoint of eternity, the speaker recalls experiences that happened on earth centuries ago. In her recollection, she attempts to identify the eternal world by its relationship to temporal standards, as she states that "Centuries" (21) in eternity are "shorter than the [earthly] day" (22). Likewise, by anthropomorphizing Death as a kind and civil gentleman, the speaker particularizes Death's characteristics with favorable connotations. [3] Similarly, the finite and infinite are amalgamated in the fourth stanza:
The Dews drew quivering and chill-- For only Gossamer, my Gown--My Tippett--only Tulle--(14-16)
In these lines the speaker's temporal existence, which allows her to quiver as she is chilled by the "Dew," merges with the spiritual universe, as the speaker is attired in a "Gown" and cape or "Tippet," made respectively of "Gossamer," a cobweb, and "Tulle," a kind of thin, open net-temporal coverings that suggest transparent, spiritual qualities.
Understanding the incomprehensible often depends on an appreciation of the progression of the stages of existence. By recalling specific stages of life on earth, the speaker not only settles her temporal past but also views these happenings from a higher awareness, both literally and figuratively. In a literal sense, for example, as the carriage gains altitude to make its heavenly approach, a house seems as "A Swelling of the Ground" (18). Figuratively the poem may symbolize the three stages of life: "School, where Children strove" (9) may represent childhood; "Fields of Gazing Grain" (11), maturity; and "Setting Sun" (12) old age. Viewing the progression of these stages-life, to death, to eternity-as a continuum invests these isolated, often incomprehensible events with meaning.[4] From her eternal perspective, the speaker comprehends that life, like the "Horses Heads" (23), leads "toward Eternity" (24).[5]
Through her boundless amalgamation and progressive ordering of the temporal world with the spiritual universe, Dickinson dialectically shapes meaning from the limitations of life, allowing the reader momentarily to glimpse a universe in which the seemingly distinct and discontinuous stages of existence are holistically implicated and purposed.
NOTES
[1.] Others who have written on Emily Dickinson's responses to death include Ruth Miller (The Poetry of Emily Dickinson [Middletown, Conn.: Wesleyan U P, 1968]); Robert Weisbuch Emily Dickinson's Poetry [Chicago, 111.: U of Chicago P, 1975]); Carol Anne Taylor ("Kierkegaard and the Ironic Voices of Emily Dickinson ," Journal of English and German Philology 77 [1978]: 569-81); Charles Anderson ( Emily Dickinson's Poetry: Stairway of Surprise [New York: Holt, Reinhart, 1960]); Sharon Cameron (Lyric Time (Baltimore: John Hopkins U P, 1979]); Brita Lindberg-Seyersted (The Voice of the Poet: Aspects of Style in the Poetry of Emily Dickinson [Cambridge: Harvard U P, 1968]).
DICKINSONS BECAUSE I COULD NOT STOP FOR DEATH

[2.] The theoretical foundation for aspects of this argument rests in part on the philosophies of such men as Immanuel Kant, who represents the notion of the boundary of human experience as a belt of mediation: "The sensuous world is nothing but a chain of appearances connected according to universal laws; it has therefore no subsistence by itself; it is not the thing in itself and consequently must point to that which contains the basis of this experience, to beings which cannot be cognised merely as phenomena, but as things in themselves" (Prolegomena to Any Future Metaphysics, trans. and ed. Paul Carus [Chicago: Open Court Publishing Co., 1902] 124).
[3.] In The Long Shadow, Clark Griffith grounds this poem in secular traditions, as he points out that Death's stopping for the Lady-Poet reflects a "tradition of nineteenth-century 'courtly love' " (129), an interpretation which allows the reader to evaluate "Death as either kind or malevolent" (130) and "Eternity" (131) as a "pleasant" place or realm of "nothingness" (132).
[4.] In The Rhetoric of American Romance (Baltimore: Johns Hopkins U P 1984), Evan Carton says, "To approach God, for Dickinson, is generally to shape a more satisfying . . . relationship between oneself and the universe . . ." (270).
[5.] Jane D. Eberwein, in Dickinson: Strategies of Limitation (Amherst: U of Massachusetts P, 1985). argues that Death does not "launch the persona of this poem into another world" but rather leaves the persona in a "House" (218).

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Answer 5

书香怡神
Companionship of books
A man may usually be known by the books he reads as well as the company
he keeps; for there is a companionship of books as well as of men; and one
should always live in the best company, whether it be of books or of men.
A good book may be among the best of friends. It is the same today that
it always was, and it will never change. It is the most patient and cheerful
of companions. It does not turn its back upon us in times of adversity or
distress. It always receives us with the same kindness, amusing and
instructing us in youth, and comforting and consoling us in age.
Men often discover their affinity to each other by the love they each have
for a book. The book is a truer and higher bond of union. Men can think,
feel, and sympathize with each other through their favorite author. They
live in him together, and he, in them.
A good book is often the best urn of a life enshrining the best that life
could think out, for the world of a man’s life is, for the most part, but
the world of his thoughts. Thus the best books are treasuries of good
words, the golden thoughts, which, remembered and cherished, become
our constant companions and comforters.
Books possess an essence of immortality. They are by far the most lasting
products of human effort. Temples and statues decay, but books survive.
Time is of no account with great thoughts, which are as fresh today as
when they first passed through their authors’ minds ages ago. What was
then said and thought still speaks to us as vividly as ever from the printed
page.
Books introduce us into the best society; they bring us into the presence
of the greatest minds that have ever lived. We hear what they said and
did; we see them as if they were really alive; we sympathize with them,
grieve with them; their experience becomes ours, and we feel as if we
were in a measure actors with them in the scenes which they describe.

另一篇
Today there are many ways to decorate a home with exotic furniture for a unique design. Whether you prefer Asian or Western décor, you may be interested in using bamboo or rattan furniture or flooring to give your home a unique look and feel. A member of the grass family, bamboo is a slender hollow stock that has been used by Easterners for their home furnishings for centuries. Rattan, on the other hand, is more of a vine-like structure, although quite sturdy. It has an outer skin, unlike bamboo, which makes it more suitable for welding or screwing furniture and flooring pieces together. This is why many customers nowadays ask for rattan rather than bamboo furnishings.

Bamboo grows in Asia, parts of Africa and North America, and northern Australia. However, neither bamboo nor rattan has been significantly developed for commercial purposes. Still relatively new and cost-effective, both bamboo and rattan add gracious touches of Eastern culture to a carefully cultivated home. You can start with a little to see how you like it, and later add more to round out the comfort and beauty of your home’s design and decorating scheme.

Bamboo rugs, mats, and flooring provide an essential foundation that is less costly than traditional woven carpet. However, some people don’t care for the look or texture of these materials. However, in the hands of a careful decorator and in a home where modernity is not the be-all of existence, one might do a lot with either product to create a comfortable, attractive environment that savors oriental themes. Since largely young women and children harvest bamboo, using these products helps to provide regular work and income for individuals involved in the industry.

For light, elegant touches throughout your home or in selected key areas, you may wish to shop for bamboo settees, tables, or even baskets to create a faint but discernible Eastern presence in the bathroom, den, sun room, or other area. Decorator wall fans of oriental design, an Eastern sari draped over a sea chest, and a framed art piece of shells or pearls can give the impression of a faraway fantasy world as well as a home that is simply furnished in high style.

A room that contains large rattan furniture conveys the impression of comfort and style with simplicity in design and modesty in cost. Silk draperies, linen throws, and a host of other added accents help to finish the display of Eastern art and ingenuity. Shop the latest catalogues from website sales firms that offer a wide selection in bamboo and rattan products at competitive pricing. Be careful that your rattan furniture purchase does not clash with the other items in a given area, or indeed, the rest of the house. Everything should coordinate not only in size, style, and color, but in décor, theme, and taste. Rather than use bamboo for the sake of using bamboo, look for ways to make it fit with your furnishings rather than forcing a look that your home is not ready to accommodate.