21-The English Character

21世纪英文版21st Century English1. Introduction21st century English is a modern English language curriculum designed to help learners of all levels of proficiency, from beginners to advanced, develop fluency and confidence in speaking and writing English. This detailed course provides an in-depth approach to understanding the English language, and is based on the latest research and best practice.2. Course syllabusThe 21st century English course syllabus includes a variety of topics which cover the different aspects of the English language. These include basic grammar, vocabulary, pronunciation, listening, reading, writing, and speaking. In addition, the course also includes a range of activities such as games, role-plays, debates, and writing exercises.3. Course objectivesThe main objective of the 21st century English course is to encourage learners to develop strong skills in understanding and using the English language. It is designed to help learners become competent in both spoken and written English, while alsohelping them develop confidence in using the language.4. Teaching methodsThe course employs a variety of teaching methods, such as interactive activities, classroom discussion, and visual aids. The instructor will also provide individual feedback and guidance to ensure that the learners progress in their learning. In addition, learners will also have access to online resources, such as websites, discussion forums, and podcasts.5. AssessmentAssessment in the 21st century English course is based on the learners' ability to demonstrate their understanding of the English language. Learners will be assessed through a variety of methods, such as tests, oral presentations, essay writing, and group projects.To sum up, the 21st century English course is designed to help learners develop a strong understanding of the English language. Through interactive activities, individual feedback, and online resources, learners will be able to improve their speaking, writing, and comprehension skills.。

S PEED READINGThe English Character 英国人的性格The English, as a race, have the reputation of being very different from all other nationalities, including their closest neighbors, the French, Belgians and Dutch. It is claimed that living on an island separated from the rest of Europe has much to do with it. Whatever the reasons it may be fairly stated that the Englishman has developed many attitudes and habits which distinguish him from other nationalities. 作为一个种族，英国人有着与所有其他民族---包括与离他们最靠近的邻国的法国人、比利时人和荷兰人，都有着非常不同的声誉。

据称，这与英国人生活在一个与欧洲其他地区分开的岛上有很大的关系。

无论是什么原因，可以公平地说，英国人已经养成了许多使他们区别于其他民族的态度和习惯。

Broadly speaking, the Englishman is a quiet,shy ,reserved person who is fully relaxed only among peopl e he knows well. In the presence of strangers or foreigners he often seems inhibited, even embarrassed. You have only to witness a commuter train any morning or evening to see the truth of this. Serious-l ooking businessmen and women sitreading their newspapers or d ozing in a corner; no one speaks. In fact, to do so woul d seem most unusual. An English wit, pretending to be giving advice to overseas visitors, once suggested, “On entering a railway compartment shake hands with all the passengers.” Needl ess to say, he was not being serious. There is an unwritten but clearly understood cod e of behavior which, if broken, makes the person immediately the object of suspicion. 一般来说，英国人是安静、害羞、保守的的人，只有对熟悉的人，他才会完全放松。

新概念英语2-Lesson-21-Mad-or-not汇编Exercise for Lesson 21Mad or not?A. 用被动语态改写下列句子。

e.g.The students keep their belongings in the cupboard under their beds.The student s’ belongings are kept in the cupboard under their beds.Exercise1. The president of the university welcomed the new students and their parents in a short opening speech. ____________________________________________________________________ __________________2. The department holds meetings every Tuesday afternoon.________________________________________________________________ ______________________ 3. The mechanic（技工）has replaced（替换）the flat tyre（轮胎）.________________________________________________________________ ______________________ 4. They will give her a driving licence after a month’s training.________________________________________________________________ ______________________ 5. They had checked all the windows in the house.________________________________________________________________ ______________________ 6. The shop keeper closed the door after I went into it.________________________________________________________________ ______________________ 7. They may ask you a lot of personalquestions.________________________________________________________________ ______________________ 8. The boss will probably give you some difficult jobs on your first day.________________________________________________________________ ______________________ 9. They will most likely to require you to do a written test.________________________________________________________________ ______________________ 10. Someone has stolen the luggage I bought last week.________________________________________________________________ ______________________B.根据括号内提供的信息，用被动语态回答下列问题。

英语作文中的人物特点Title: Exploring Character Traits in English Compositions。

In English compositions, depicting the characteristics of characters is crucial for creating depth and realism within the narrative. Through nuanced portrayal, writers can effectively engage readers and convey messages. Here, we delve into the significance of character traits and strategies for their portrayal.Firstly, character traits serve as the building blocks of personalities, defining individuals within a story. These traits encompass a spectrum of attributes, including virtues, flaws, motivations, and emotions. They shape characters' actions, decisions, and interactions, driving the plot forward and fostering reader empathy or antipathy.To vividly depict character traits, writers employ various literary techniques. Dialogue, for instance,unveils personalities through speech patterns, tone, and choice of words. A character's manner of speaking canreveal their education, background, temperament, and even hidden intentions. Additionally, actions and reactions provide insights into characters' beliefs, values, strengths, and weaknesses. Through descriptive language and narrative voice, authors convey characters' appearances, gestures, and inner thoughts, enriching their portrayal.Moreover, character development unfolds dynamically throughout the narrative, influenced by experiences, conflicts, and relationships. Writers craft arcs wherein characters undergo growth, transformation, or regression, reflecting the complexities of human nature. From protagonists to antagonists, each character contributes uniquely to the thematic exploration of the story.In crafting character traits, authenticity is paramount. Characters should resonate with readers through relatable qualities or intriguing complexities. Flawed protagonists, for instance, evoke empathy and convey universal themes of resilience and redemption. Conversely, well-roundedantagonists challenge protagonists and highlight moral dilemmas, elevating the narrative tension.Furthermore, cultural and societal contexts shape character traits, adding layers of depth and realism. Characters may embody archetypes or defy stereotypes, reflecting social norms or subverting expectations. Cultural nuances influence values, beliefs, and behavioral norms, enriching characters' identities and enhancing cultural representation in literature.In conclusion, character traits are essential elements of English compositions, driving narrative dynamics and thematic exploration. Through nuanced portrayal, writers breathe life into characters, engaging readers and conveying profound insights into the human condition. By embracing authenticity and diversity, English compositions resonate powerfully, leaving a lasting impact on audiences worldwide.。

21世纪大学英语英语课文讲解unit2aUnit Two Text A Why They ExcelTeaching Objectives1.Grasp the key words, Phrases and structure.2.Master the skills of writing and reading in this unit.phenomenon----- causes-------- suggestions.3. Grammar Focus (The emphatic form It be---that/ who---)Warm-up Questions1).What do you know about some successful Chinese Americans in the United States?Name some of them.2).What are prestigious universities in the USA?Summary of questions:2.Text OrganizationThis passage can be divided in to 3 parts and it’s written in the structure ―Phenomenon—Causes—Suggestions‖.Part I (Para 1-4): A phenomenon drawn from the experience of Kim-Chin TrinhIn this part, the author tells us the story of a Vietnamese girl, who made her efforts and has done successfully in America, to show that Asian-Americans perform well in their studies.Part II (Paragraphs 5-14): causes: This part is the most important part of the passage. It raises a question: Why are Asian-Americans doing so well?(1 experiment and 3 causes)1.(Para5-9):Harold W. Stevenson’s experiment indicates some possibilities:(1.The Asian-Americans are only grinds.2. They have higher IQs.)answer: Asian-American students are not smarter, the key to their success is hardworking;2.(Para 10-14): analysis why they are working so hard indetails; There are three main causes to Asian students’ outstanding performance.1).The belief in hard work2). Working for the honor of the family3).The close tie between parents and childrenPart III (Paragraphs 15-19): Suggestions: Stevenson offered three recommendations. What can we learn from them?1. (Para 15-18) point out Americans can learn something useful from the Asians( 3 suggestions)1).To start with, we need to set higher standards for our kids2).Second, American parents need to be more committed to their children’s education3).And third, our school could be reorganized in simple but effective ways2:(Para.19) echo: A final touch: Asians are not smarter than Americans; they just work harder. Words & Expressions checkup1. Excel vi. ~ at / in sth do or be better than 出色的；胜过他人He excelled all of us in/at tennis and soon became team captain.他比我们网球都打得很快成为队长。

Character of EnglishmenQuality of the British, and in particular of the English, is “reserved.” A reserved perso n is one who does not talk very much to strangers, does not show much emotion, and seldom gets excited. It is difficult to get to know a reserved person: he never tells you anything about himself, and you may work with him for years without ever knowing where he lives, how many children he has, and what his interests are. English people t end to be like that. 在其他的欧洲人看来，英国人，尤其是英格兰人的最明显的特点是“沉默寡言”。

一个沉默寡言的人不大同陌生人说话，情感不大外露，也很少激动。

要想了解一个沉默寡言的人很困难：他从不谈及他的身世，即使你与他工作数年，也许你不知道他家住在哪里，有几个子女，有些什么兴趣爱好。

英国人往往就是这样。

If they are making a journey by bus they will do their best to find an empty seat; if by train, an empty compartment. If they have to share the compartment with a stranger, t hey may travel many miles without starting a conversation. If a conversation does star t, personal questions like “How old are you?” or even “What is your name?” are not e asily asked. 乘公共汽车旅行时，他们会尽量找到一个空座位；乘火车旅行时，他们会尽量找到一个空隔间。

英语阅读：The English Character英国人的性格摘要: 英国人待人彬彬有礼，讲话十分客气,“谢谢”、“请”字不离口。

对英国人讲话也要客气，不论他们是服务员还是司机，都要以礼相待The English CharacterTo other Europeans, the best known quality of the British,and in particular of the English, is “reserved”.A reserved person is one who does not talk very much to strangers,does not show much emotion, and seldom gets excited.It is difficult to get to know a reserved person:he never tells you anything about himself,and you may work with him for years without ever knowing where he lives,how many children he has, and what his interests are.English people tend to be like that.Closely related to English reserve is English modesty.Within their hearts, the English are perhaps no less conceited than anybody else,but in their relations with others they value at least a show of modesty.Self-praise is felt to be impolite.If a person is, let us say,very good at tennis and someone asks him if he is a good player,he will seldom reply “Yes,”because people will think him conceited.He will probably give an answer like,“I’m not bad,” or “I think I’m very good,” or “Well, I’m very keen on tennis.”Even if he had managed to reach the finals in last year’s local championships,he would say it in such a way as to suggest that it was only due to a piece of good luck.Since reserve and modesty are part of his own nature,the typical English tends to expect them in others.He secretly looks down on more excitable nations,and likes to think of himself as more reliable than they are.He doesn’t trust big promises and open shows of feelings, especially if they are expressed in flowery language.He doesn’t trust self-praise of any kind.This applies not only to what other people may tell him about themselves orally,but to the letters they may write to him.To those who are fond of flowery expressions,the Englishman may appear uncomfortably cold.。

21William S.Hart was, perhaps, the greatest of all Western stars, ˈwɪljəm es.hɑːt wɒz, pəˈhæps, ðəˈɡreɪtɪstɒv ɔːlˈwestən stɑːz,威廉.S.哈特大概是美国西部电影明星中的佼佼者。

威廉.es.哈特大概是美国西部电影明星中的佼佼者。

for unlike Gary Cooper and John Wayne fɔːrʌnˈlaɪk ˈɡæriˈkuːpər ænd ʤɒn weɪn 他和加里.古柏、约翰.韦恩不同，他和加里.古柏、约翰.韦恩不同，he appeared in nothing but Westerns. hiːəˈpɪəd ɪn ˈnʌθɪŋ bʌt ˈwestənz.他只在西部电影中扮演角色。

他只在西部电影中扮演角色。

From 1914 to 1924 he was supreme and unchallenged. frɒm 1914 tuː 1924 hiː wɒz suːˈpriːm ænd ˌʌnˈʧælɪnʤd.在1914年至1924年期间，他首屈一指，独霸影坛。

在1914年至1924年期间，他首屈一指，独霸影坛。

It was Hart who created the basic formula of the Western film, ɪt wɒz hɑːt huːkriˈeɪtɪdðəˈbeɪsɪkˈfɔːmjʊləɒvðəˈwestən fɪlm,正是他创造了西部电影的基调，正是他创造了西部电影的基调，and devised the protagonist he played in every film he made, ænd dɪˈvaɪzd ðə prəʊˈtæɡənɪst hiːpleɪdɪnˈevri fɪlm hiːmeɪd,即在他自己的拍摄的影片中他所塑造的主人公形象：即在他自己的拍摄的影片中他所塑造的主人公形象：the good-bad man, the accidental-noble outlaw, ðəɡʊd-bæd mæn, ði ˌæksɪˈdentl-ˈnəʊbᵊl ˈaʊtlɔː,被认为是坏人的好人，出人意料的高尚的逃犯，被认为是坏人的好人，出人意料的高尚的逃犯，or the honest-but-framed cowboy, or the sheriff made suspect by vicious gossip; ɔː ði ˈɒnɪst-bʌt-freɪmd ˈkaʊbɔɪ, ɔː ðəˈʃerɪf meɪd səsˈp ekt baɪˈvɪʃəs ˈɡɒsɪp;诚实却遭陷害的牛仔或因流言蜚语蒙受嫌疑的司法官。

21世纪大学英语读写教程(第二册)课文翻译及课后答案第一单元UNIT1翻译TEXT A温斯顿丘吉尔——他的另一种生活玛丽索姆斯）我的父亲温斯顿丘吉尔是在40几岁开始迷恋上绘画的，当时他正身处逆境。

1915年，作为海军大臣，他深深地卷入了达达尼尔海峡的一场战役。

原本那次战役是能够缩短一场血腥的世界大战的，但它却失败了，人员伤亡惨重，为此丘吉尔作为公务员和个人都付出了代价：他被免去了海军部的职务，失去了显赫的政治地位。

“我本以为他会因忧伤而死的。

”他的妻子克莱门泰因说。

被这一不幸压垮的他同家人一起退隐到萨里郡的一个乡间居处---耘锄农场。

在那儿，正如丘吉尔日后所回忆的，“绘画女神拯救了我!”一天他正在花园里漫步，正巧碰上他的弟妹在用水彩画素描。

他观看了她几分钟，然后借过她的画笔，试了一下身手----于是缪斯女神施展了她的魔法。

自那天以后，温斯顿便爱上了绘画。

任何能让沉浸在忧思中的温斯顿分心的事情都让克莱门泰因高兴。

于是，她赶紧去买来她所能找到的各种颜料和画具。

水彩颜料、油画颜料、纸张、帆布画布---很快耘锄农场里便堆满了一个绘画者可能想要或需要的各样东西。

画油画最终成了温斯顿的一大爱好---但是最初几步却出奇地艰难。

他凝视着他的第一块空白画布，异乎寻常地紧张。

他日后回忆道：“我迟疑不决地选了一管蓝色颜料，然后小心翼翼地在雪白的底子上的画上蚕豆般大小的一笔。

就在这时，我听到车道上传来一辆汽车的声音，于是惊恐地丢下我的画笔。

当我看清是谁从汽车里走出来时，更是惊慌失措。

来者正是住在附近的著名画家约翰莱佛利爵士的妻子。

，“‘在画画呢!’她大声说道。

‘多么有趣。

可你还在等什么呢把画笔给我---大的那支。

’她猛地用笔蘸起颜料，还没等我缓过神来，她已经挥笔泼墨在惊恐不已的画布上画下了有力的几道蓝色。

谁都看得出画布无法回击。

我不再迟疑。

我抓起那支最大的画笔，迅猛异常地向我可怜的牺牲品扑了过去。

自那以后，我再也不曾害怕过画布。

First note. I had better let the cat out of the bag at once and record my opinion that the character of the English is essentially middle class. There is a sound historical reason for this， for，since the end of the eighteenth century， the middle classes have been the dominant force in our community. They gained wealth by the Industrial Revolution， political power by the Reform Bill of 1832； they are connected with the rise and organization of the British Empire； they are responsible for the literature of the nineteenth century. Solidity， caution， integrity， efficiency. Lack of imagination， hypocrisy. These qualities characterize the middle classes in every country， but in England they are national characteristics also， because only in England have the middle classes been in power for one hundred and fifty years. Napoleon， in his rude way， called us "a nation of shopkeepers." We prefer to call ourselves "a great commercial nation" -- it sounds more dignified -- but the two phrases amount to the same. Of course there are other classes： there is an aristocracy， there are the poor. But it is on the middle classes that the eye of the critic rests -- just as it rests on the poor in Russia and on the aristocracy in Japan. Russia is symbolized by the peasant or by the factory worker； Japan by the samurai； the national figure of England is Mr. Bull with his top hat， his comfortable clothes， his substantial stomach， and his substantial balance at the bank. Saint George may caper on banners and in the speeches of politicians， but it is John Bull who delivers the goods. And even Saint George-- if Gibbon is correct-- wore a top hat once； he was an army contractor and supplied indifferent bacon. It all amounts to the same in the end.Second Note. Just as the heart of England is the middle classes， so the heart of the middle classes is the public school system. This extraordinary institution is local. It does not even exist all over the British Isles. It is unknown in Ireland， almost unknown in Scotland （countries excluded from my survey）， and though it may inspire other great institutions--Aligarh， for example， and some of the schools in the United States--it remains unique， because it was created by the Anglo-Saxon middle classes， and can flourish only where they flourish. How perfectly it expresses their character -- far better for instance， than does the university， into which social and spiritual complexities have already entered. With its boarding-houses， its compulsory games， its system of prefects and fagging， its insistence on good form and on esprit de corps， it produces a type whose weight is out of all proportion to its numbers. On leaving his school， the boy either sets to work at once -- goes into the army or into business， or emigrates -- or else proceeds to the university， and after three or four years there enters some other profession -- becomes a barrister， doctor， civil servant， schoolmaster， or journalist. （If through some mishap he does not become a manual worker or an artist.） In all these careers his education， or the absence of it，influences him. Its memories influence him also. Many men look back on their school days as the happiest of their lives. They remember with regret that golden time when life， though hard， was not yet complex， when they all worked together and played together and thought together， so far as they thought at all； when they were taught that school is the world in miniature and believed that no one can love his country who does not love his school. And they prolong that time as bestthey can by joining their Old Boys' society： indeed， some of them remain Old Boys and nothing else for the rest of their lives. They attribute all good to the school. They worship it. They quote the remark that "The battle of Waterloo was won on the playing fields of Eton." It is nothing to them that the remark is inapplicable historically and was never made by the Duke of Wellington， and that the Duke of Wellington was an Irishman. They go on quoting it because it expresses their sentiments； they feel that if the Duke of Wellington didn't make it he ought to have， and if he wasn't an Englishman he ought to have been. And they go forth into a world that is not entirely composed of public-school men or even of Anglo-Saxons， but of men who are as various as the sands of the sea； into a world of whose richness and subtlety they have no conception. They go forth into it with well-developed bodies， fairly developed minds， and undeveloped hearts. And it is this undeveloped heart that is largely responsible for the difficulties of Englishmen abroad. An undeveloped heart--not a cold one. The difference is important， and on it my next note will be based.For it is not that the Englishman can't feel -- it is that he is afraid to feel. He has been taught at his public school that feeling is bad form. He must not express great joy or sorrow， or even open his mouth too wide when he talks--his pipe might fall out if he did. He must bottle up his emotions，or let them out only on a very special occasion.Once upon a time （this is an anecdote） I went for a week's holiday on the Continent with an Indian friend. We both enjoyed ourselves and were sorry when the week was over， but on parting our behaviour was absolutely different. He was plunged in despair.He felt that because the holiday was over all happiness was over until the world ended. He could not express his sorrow too much. But in me the Englishman came out strong. I reflected that we should meet again in a month or two， and could write in the interval if we had anything to say； and under these circumstances I could not see what there was to make a fuss about. It wasn't as if we were parting forever or dying. "Buck up，" I said， "do buck up." He refused to buck up， and I left him plunged in gloom.The conclusion of the anecdote is even more instructive. For when we met the next month our conversation threw a good deal of light on the English character. I began by scolding my friend. I told him that he had been wrong to feel and display so much emotion upon so slight an occasion； that it was inappropriate. The word "inappropriate" roused him to fury. "What？" he cried. "Do you measure out your emotions as if they were potatoes？" I did not like the simile of the potatoes， but after a moment's reflection I said： "Yes， I do； and what's more， I think I ought to. A small occasion demands a little emotion just as a large occasion demands a great one. I would like my emotions to be appropriate. This may be measuring them like potatoes， but it is better than slopping them about like water from a pail， which is what you did." He did not like the simile of the pail. "If those are your opinions， they part us forever，" he cried， and left the room. Returning immediately， he added： "No--but your whole attitude toward emotion is wrong.Emotion has nothing to do with appropriateness. It matters only that it shall be sincere. I happened to feel deeply. I showed it. It doesn't matter whether I ought to have felt deeply or not."This remark impressed me very much. Yet I could not agree with it， and said that I valued emotion as much as he did， but used it differently； if I poured it out on small occasions I was afraid of having none left for the great ones， and of being bankrupt at the crises of life. Note the word "bankrupt." I spoke as a member of a prudent middle-class nation， always anxious to meet my liabilities， but my friend spoke as an Oriental， and the Oriental has behind him a tradition， not of middle-class prudence but of kingly munificence and splendour. He feels his resources are endless，just as John Bull feels his are finite. As regards material resources， the Oriental is clearly unwise. Money isn't endless. If we spend or give away all the money we have， we haven't any more， and must take the consequences， which are frequently unpleasant. But， as regards the resources of the spirit， he may be right. The emotions may be endless. The more we express them， the more we may have to express. True love in this differs from gold and clay， That to divide is not to take away.Says Shelley. Shelley， at all events， believes that the wealth of the spirit is endless； that we may express it copiously， passionately， and always； that we can never feel sorrow or joy too acutely.In the above anecdote， I have figured as a typical Englishman. I will now descend from that dizzy and somewhat unfamiliar height， and return to my business of notetaking. A note on the slowness of the English character. The Englishman appears to be cold and unemotional because he is really slow. When an event happens， he may understand it quickly enough with his mind， but he takes quite a while to feel it. Once upon a time a coach， containing some Englishmen and some Frenchmen， was driving over the Alps. The horses ran away， and as they were dashing across a bridge the coach caught on the stonework， tottered， and nearly fell into the ravine below. The Frenchmen were frantic with terror： they screamed and gesticulated and flung themselves about，as Frenchmen would. The Englishmen sat quite calm. An hour later， the coach drew up at an inn to change horses， and by that time the situations were exactly reversed. The Frenchmen had forgotten all about the danger， and were chattering gaily； the Englishmen had just begun to feel it， and one had a nervous breakdown and was obliged to go to bed. We have here a clear physical difference between the two races--a difference that goes deep into character. The Frenchmen responded at once； the Englishmen responded in time. They were slow and they were also practical. Their instinct forbade them to throw themselves about in the coach， because it was more likely to tip over if they did. They had this extraordinary appreciation of fact that we shall notice again and again. When a disaster comes， the English instinct is to do what can be done first， and to postpone the feeling as long as possible. Hence they are splendid at emergencies. No doubt they are brave--no one will deny that--bravery is partly an affair of the nerves， and the English nervous system is well equipped for meeting physical emergency.It acts promptly and feels slowly. Such a combination is fruitful， and anyone who possesses it has gone a long way toward being brave. And when the action is over， then the Englishman can feel.There is one more consideration -- a most important one. If the English nature is cold， how is it that it has produced a great literature and a literature that is particularly great in poetry？ Judged by its prose， English literature would not stand in the first rank. It is its poetry that raises it to the level of Greek， Persian， or French. And yet the English are supposed to be so unpoetical. How is this？ The nation that produced the Elizabethan drama and the Lake Poets cannot be a could，unpoetical nation. We can't get fire out of ice. Since literature always rests upon national character，there must be in the English nature hidden springs of fire to produce the fire we see. The warm sympathy， the romance， the imagination， that we look for in Englishmen whom we meet， and too often vainly look for， must exist in the nation as a whole， or we could not have this outburst of national song. An undeveloped heart--not a cold one.The trouble is that the English nature is not at all easy to understand. It has a great air of simplicity， it advertises itself as simple， but the more we consider it， the greater the problems we shall encounter. People talk of the mysterious East， but the West also is mysterious. It has depths that do not reveal themselves at the first gaze. We know what the sea looks like from a distance： it is of one color， and level， and obviously cannot contain such creatures as fish. But if we look into the sea over the edge of a boat， we see a dozen colors， and depth below depth， and fish swimming in them. That sea is the English character--apparently imperturbable and even. These depths and the colors are the English romanticism and the English sensitiveness--we do not expect to find such things， but they exist. And -- to continue my metaphor--the fish are the English emotions， which are always trying to get up to the surface， but don't quite know how. For the most part we see them moving far below， distorted and obscure. Now and then they succeed and we exclaim， "Why， the Englishman has emotions！ He actually can feel！" And occasionally we see that beautiful creature the flying fish， which rises out of the water altogether into the air and the sunlight. English literature is a flying fish. It is a sample of the life that goes on day after day beneath the surface； it is a proof that beauty and emotion exist in the salt， inhospitable sea.And now let's get back to terra firma. The Englishman's attitude toward criticism will give us another starting point. He is not annoyed by criticism. He listens or not as the case may be smiles and passes on， saying， "Oh， the fellow's jealous"； "Oh， I'm used to Bernard Shaw； monkey tricks don't hurt me." It never occurs to him that the fellow may be accurate as well as jealous， and that he might do well to take the criticism to heart and profit by it. It never strikes him--except as a form of words -- that he is capable of improvement； his self-complacency is abysmal. Other nations， both Oriental and European， have an uneasy feeling that they are not quite perfect. In consequence they resent criticism. It hurts them； and their snappy answers often mask a determination to improve themselves. Not so the Englishman. He has no uneasy feeling.Let the critics bark. And the "tolerant humorous attitude" with which he confronts them is not really humorous， because it is bounded by the titter and the guffaw.Turn over the pages of Punch. There is neither wit， laughter， nor satire in our national jester--only the snigger of a suburban householder who can understand nothing that does not resemble himself. Week after week， under Mr Punch's supervision， a man falls off his horse， or a colonel misses a golfball， or a little girl makes a mistake in her prayers. Week after week ladies show not too much of their legs， foreigners are deprecated， originality condemned. Week after week a bricklayer does not do as much work as he ought and a futurist does more than he need. It is all supposed to be so good-tempered and clean； it is also supposed to be funny. It is actually an outstanding example of our attitude toward criticism： the middle-class Englishman， with a smile on his clean-shaven lips， is engaged in admiring himself and ignoring the rest of mankind. If， in those colorless pages， he came across anything that really was funny -- a drawing by Max Beerbohm， for instance -- his smile would disappear， and he would say to himself， "The fellow's a bit of a crank，" and pass on.This particular attitude reveals such insensitiveness as to suggest a more serious charge： is the Englishman altogether indifferent to the things of the spirit？ Let us glance for a moment at his religion -- not， indeed， at his theology， which would not merit inspection， but at the action on his daily life of his belief in the unseen. Here again his attitude is practical. But an innate decency comes out： he is thinking of others rather than of himself. Right conduct is his aim. He asks of his religion that it shall make him a better man in daily life： that he shall be more kind， more just，more merciful， more desirous to fight what is evil and to protect what is good. No one could call this a low conception. It is， as far as it goes， a spiritual one. Yet -- and this seems to be typical of the race -- it is only half the religious idea. Religion is more than an ethical code with a divine sanction. It is also a means through which man may get into direct connection with the divine， and， judging by history， few Englishmen have succeeded in doing this. We have produced no series of prophets，as has Judaism or Islam. We have not even produced a Joan of Arc， or a Savonarola. We have produced few saints. In Germany the Reformation was due to the passionate conviction of Luther. In England it was due to palace intrigue. We can show a steady level of piety， a fixed determination to live decently according to our lights -- little more.Well， it is something. It clears us of the charge of being an unspiritual nation. That facile contrast between the spiritual East and the materialistic West can be pushed too far. The West also is spiritual. Only it expresses its belief， not in fasting and visions， not in prophetic rapture， but in the daily round， the common task. An incomplete expression， if you like. I agree. But the argument underlying these scattered notes is that the Englishman is an incomplete person. Not a cold or an unspiritual one. But undeveloped， incomplete.I have suggested earlier that the English are sometimes hypocrites， and it is not my duty to develop this rather painful subject. Hypocrisy is the prime charge that is always brought against us.The Germans are called brutal， the Spanish cruel， the Americans superficial， and so on； but we are perfide Albion， the island of hypocrites， the people who have built up an Empire with a Bible in one hand， a pistol in the other and financial concessions in both pockets. Is the charge true？ I think it is； but what we mean by hypocrisy？ Do we mean conscious deceit？ Well， the English are comparatively guiltless of this； they have little of the Renaissance villain about them. Do we mean unconscious deceit？ Muddle-headedness？ Of this I believe them to be guilty. When an Englishman has been led into a course of wrong action， he has nearly always begun by muddling himself. A public-school education does not make for mental clearness， and he possesses to a very high degree the power of confusing his own mind. How does it work in the domain of conduct？Jane Austen may seem an odd authority to cite， but Jane Austen has， within her limits， a marvelous insight into the English mind. Her range is limited， her characters never attempt any of the more scarlet sins. But she has a merciless eye for questions of conduct， and the classical example of two English people muddling themselves before they embark upon a wrong course of action is to be found in the opening chapters of Sense and Sensibility. Old Mr. Dashwood has just died. He has been twice married. By his first marriage he has a son， John； by his second marriage three daughters. The son is well off； the young ladies and their mother -- for Mr. Dashwood's second wife survives him -- are badly off. He has called his son to his death-bed and has solemnly adjured him to provide for the second family. Much moved， the young man promises， and mentally decides to give each of his sisters a thousand pounds： and then the comedy begins. For he announces his generous intention to his wife， and Mrs. John Dashwood by no means approves of depriving their own little boy of so large a sum. The thousand pounds are accordingly reduced to five hundred. But even this seems rather much. Might not an annuity to the stepmother be less of a wrench？ Yes -- but though less of a wrench it might be more of a drain， for "she is very stout and healthy， and scarcely forty." An occasional present of fifty pounds will be better， "and will， I think， be amply discharging my promise to my father." Or， better still， an occasional present of fish. And in the end nothing is done， nothing； the four impecunious ladies are not even helped in the moving of their furniture.Well， are the John Dashwoods hypocrites？ It depends upon our definition of hypocrisy. The young man could not see his evil impulses as they gathered force and gained on him. And even his wife， though a worse character， is also self-deceived. She reflects that old Mr. Dashwood may have been out of his mind at his death. She thinks of her own little boy -- and surely a mother ought to think of her own child. She has muddled herself so completely that in one sentence she can refuse the ladies the income that would enable them to keep a carriage and in the next can say that they will not be keeping a carriage and so will have no expenses. No doubt men and women in other lands can muddle themselves， too， yet the state of mind of Mr. and Mrs.John Dashwood seems to me typical of England. They are slow -- they take time even to do wrong； whereas people in other lands do wrong quickly.There are national faults as there are national diseases， and perhaps one can draw a parallel between them. It has always impressed me that the national diseases of England should be cancer and consumption -- slow， insidious， pretending to be something else； while the diseases proper to the South should be cholera and plague， which strike at a man when he is perfectly well and may leave him a corpse by evening. Mr. and Mrs. John Dashwood are moral consumptives. They collapse gradually without realizing what the disease is. There is nothing dramatic or violent about their sin. You cannot call them villains.Here is the place to glance at some of the other charges that have been brought against the English as a nation. They have， for instance， been accused of treachery， cruelty， and fanaticism， In these charges I have never been able to see the least point， because treachery and cruelty are conscious sins. The man knows he is doing wrong， and does it deliberately， like Tartuffe or Iago. He betrays his friend because he wishes to. He tortures his prisoners because he enjoys seeing the blood flow. He worships the Devil because he prefers evil to good. From villainies such as these the average Englishman is free. His character， which prevents his rising to certain heights，also prevents him from sinking to these depths. Because he doesn't produce mystics he doesn't produce villains either； he gives the world no prophets， but no anarchists， no fanatics--religious or political.Of course there are cruel and treacherous people in England -- one has only to look at the police courts -- and examples of public infamy can be found， such as the Amritsar massacre. But one does not look at the police courts or the military mind to find the soul of any nation； and the more English people one meets the more convinced one becomes that the charges as a whole are untrue. Yet foreign critics often make them. Why？ Partly because they are annoyed with certain genuine defects in the English character， and in their irritation throw in cruelty in order to make the problem simpler. Moral indignation is always agreeable， but nearly always misplaced. It is indulged in both by the English and by the critics of the English. They all find it great fun. The drawback is that while they are amusing themselves the world becomes neither wiser nor better.The main point of these notes is that the English character is incomplete. No national character is complete. We have to look for some qualities in one part of the world and others in another. But the English character is incomplete in a way that is particularly annoying to the foreign observer. It has a bad surface -- self complacent， unsympathetic， and reserved. There is plenty of emotion further down， but it never gets used. There is plenty of brain power， but it is more often used to confirm prejudices than to dispel them. With such an equipment the Englishman cannot be popular. Only I would repeat： there is little vice in him and no real coldness. It is the machinery that is wrong.I hope and believe myself that in the next twenty years we shall see a great change， and that the national character will alter into something that is less unique but more lovable. The supremacy of the middle classes is probably ending. What new element the working classes will introduce one cannot say， but at all events they will not have been educated at public schools. And whether these notes praise or blame the English character -- that is only incidental. They are the notes of a student who is trying to get at the truth and would value the assistance of others. I believe myself that the truth is great and that it shall prevail. I have no faith in official caution and reticence. The cats are all out of their bags， and diplomacy cannot recall them. The nations must understand one another and quickly； and without the interposition of their governments， for the shrinkage of the globe is throwing them into one another's arms. To that understanding these notes are a feeble contribution -- notes on the English character as it has struck a novelist.。

第九章间接与直接(1ndirect vs．Direct)英语表达倾向于间接、婉约，汉语表达倾向于直接、明快。

这一差异主要见于英语比汉语更多地使用委婉、含蓄和迂回的陈述方式。

一、委婉(Euphemism)委婉说法是用一种比较间接的方式来谈论不宜直言的人或事物，用H．W．Fowler的话来说，委婉语是“a mild or vague or periphrastic expression as a substitute for blunt precision or disagreeable truth”。

人们在说话或写作时，往往会借用温和、动听的委婉语来代替粗鲁刺耳、令人不适的言辞。

使用委婉语常常是为了回避或掩盖某些严酷的社会现实，或为了防止“出语伤人”，避免“有失体统”，以显得文明礼貌。

英语和汉语都有委婉语，尤其见于表达有关不雅、不洁、令人生畏、令人讨厌的人或事物。

如表示“死亡”，英汉的委婉语都特别多，英语有pass away，go to one’s Maker，sleep with one’s fathers，join the great majority，pay the debt of nature，be with God，go to glory，go to a better world，sleep the final sleep，cross the Great Divide，climb the golden staircase等几十种说法；汉语的说法也不少，如“逝世”、“寿终”、“作古”、“谢世”、“归寂”、“坐化”、“牺牲”、“阵亡”、“殉职”、“捐躯”、“百年”、“与世长辞”等，古代还有按等级之分的“死”，如帝王之死是“崩”、“晏驾”，诸侯之死是“薨”，大夫之死是“卒”，士之死是“不禄”等等。

在提及人体的某些功能、缺陷等方面时，英汉也有各自的委婉语，如说“上厕所”，英语常用go to the restroom (washroom)，use the bathroom，wash one’s hands，relieve oneself，answer a call of nature，男子可说see a man about a horse，女子可说fix one’s face，powder one’s nose等；汉语则常用“大便”、“小便”、“方便”、“解手”、“大解”、“小解”等。