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One little picture in this book, the Magic Locket, at p. 77, was drawn by ‘Miss Alice Havers.’ I did not state this on the title-page, since it seemed only due, to the artist of all these (to my mind) wonderful pictures, that his name should stand there alone.
这本书中的一幅小画，魔法挂锁，在第 77 页，是由“爱丽丝·哈弗斯小姐”绘制的。我没有在标题页上说明这一点，因为在我看来，所有这些（奇妙的）图片的艺术家，他的名字应该独自站在那里，这似乎只是对他的应有尊重。
The descriptions, at pp. 386, 387, of Sunday as spent by children of the last generation, are quoted verbatim from a speech made to me by a child-friend and a letter written to me by a lady-friend.
第 386 页和第 387 页对上个世纪孩子们度过周日的描述，是逐字引用了一位小朋友对我所说的话和一位女士朋友写给我的一封信。
The Chapters, headed ‘Fairy Sylvie’ and ‘Bruno’s Revenge,’ are a reprint, with a few alterations, of a little fairy-tale which I wrote in the year 1867, at the request of the late Mrs. Gatty, for ‘Aunt Judy’s Magazine,’ which she was then editing.
标题为“仙女西尔维”和“布鲁诺的复仇”的章节，是我在 1867 年应已故的加蒂夫人的要求为她当时编辑的《朱迪阿姨杂志》写的一个小童话故事的重印，略有改动。
It was in 1874, I believe, that the idea first occurred to me of making it the nucleus of a longer story.
我相信，是在 1874 年，我第一次想到把它作为一个更长故事的核心。
As the years went on, I jotted down, at odd moments, all sorts of odd ideas, and fragments of dialogue, that occurred to me—who knows how?
随着岁月的流逝，我在零碎的时间里记下了各种各样的奇怪想法和突然出现在我脑海中的对话片段——谁知道是怎么回事呢？
—with a transitory suddenness that left me no choice but either to record them then and there, or to abandon them to oblivion.
它们出现得如此突然，以至于我别无选择，要么当时就记录下来，要么就把它们遗忘。
Sometimes one could trace to their source these random flashes of thought—as being suggested by the book one was reading, or struck out from the ‘flint’ of one’s own mind by the ‘steel’ of a friend’s chance remark but they had also a way of their own, of occurring, a propos of nothing—specimens of that hopelessly illogical phenomenon, ‘an effect without a cause.’
有时可以追溯这些随机的思想闪光点的来源——它们是由正在阅读的书所启发，或者是由朋友偶然的一句话“用钢”从自己的“燧石”中激发出来的——但它们也有自己的方式，无缘无故地出现，是那种无望的不合逻辑的现象“没有原因的结果”的样本。
Such, for example, was the last line of ‘The Hunting of the Snark,’ which came into my head (as I have already related in ‘The Theatre’ for April, 1887) quite suddenly, during a solitary walk: and such, again, have been passages which occurred in dreams, and which I cannot trace to any antecedent cause whatever.
例如，“猎鲨”的最后一行，就是在我独自散步时突然出现在我的脑海里的（正如我已经在 1887 年 4 月的“剧院”中所描述的那样）；还有，在梦中出现的段落，我也无法追溯到任何先前的原因。
There are at least two instances of such dream-suggestions in this book—one, my Lady’s remark, ‘it often runs in families, just as a love for pastry does’, at p. 88; the other, Eric Lindon’s badinage about having been in domestic service, at p. 332.
这本书中至少有两个这样的梦境暗示的例子——一个是我的夫人在第 88 页说的“它经常在家族中流传，就像对糕点的热爱一样”；另一个是埃里克·林登在第 332 页关于曾在家庭服务中工作的玩笑话。
And thus it came to pass that I found myself at last in possession of a huge unwieldy mass of literature—if the reader will kindly excuse the spelling—which only needed stringing together, upon the thread of a consecutive story, to constitute the book I hoped to write. Only!
于是，我最终发现自己拥有了一大堆难以处理的文学作品——如果读者愿意原谅这个拼写错误的话——这些作品只需要用一个连续故事的线索串起来，就可以构成我希望写的书。只是！
The task, at first, seemed absolutely hopeless, and gave me a far clearer idea, than I ever had before, of the meaning of the word ‘chaos’: and I think it must have been ten years, or more, before I had succeeded in classifying these odds-and-ends sufficiently to see what sort of a story they indicated: for the story had to grow out of the incidents, not the incidents out of the story.
起初，这项任务似乎绝对无望，让我比以前更清楚地理解了“混乱”这个词的含义：我想，在我成功地将这些零碎的东西分类到足以看出它们暗示了什么样的故事之前，一定已经过去了十年或更长时间：因为故事必须从事件中生长出来，而不是事件从故事中生长出来。
I am telling all this, in no spirit of egoism, but because I really believe that some of my readers will be interested in these details of the ‘genesis’ of a book, which looks so simple and straight-forward a matter, when completed, that they might suppose it to have been written straight off, page by page, as one would write a letter, beginning at the beginning; and ending at the end.
我讲述这一切，并不是出于自负，而是因为我真的相信我的一些读者会对一本书的“起源”的这些细节感兴趣，当一本书完成时，它看起来如此简单和直接，以至于他们可能会认为它是一页一页地直接写出来的，就像写一封信一样，从开头开始；到结尾结束。
It is, no doubt, possible to write a story in that way: and, if it be not vanity to say so, I believe that I could, myself,—if I were in the unfortunate position (for I do hold it to be a real misfortune) of being obliged to produce a given amount of fiction in a given time,—that I could ‘fulfil my task,’ and produce my ‘tale of bricks,’ as other slaves have done.
毫无疑问，以这种方式写故事是可能的：而且，如果不是虚荣的话，我相信我自己——如果我处于不幸的境地（因为我确实认为这是一个真正的不幸），即必须在给定的时间内产生一定数量的小说——我可以“完成我的任务”，并像其他奴隶一样生产我的“砖头故事”。
One thing, at any rate, I could guarantee as to the story so produced—that it should be utterly commonplace, should contain no new ideas whatever, and should be very very weary reading!
至少有一件事，我可以保证这样产生的故事——它应该是完全平凡的，应该不包含任何新的想法，而且应该非常非常枯燥的阅读！
This species of literature has received the very appropriate name of ‘padding’ which might fitly be defined as ‘that which all can write and none can read.’
这种文学作品已经得到了非常恰当的名称“填充物”，可以恰当地定义为“所有人都能写但没有人能读的东西”。
That the present volume contains no such writing I dare not avow: sometimes, in order to bring a picture into its proper place, it has been necessary to eke out a page with two or three extra lines: but I can honestly say I have put in no more than I was absolutely compelled to do.
我不敢断言本卷中没有这样的写作：有时，为了将一幅图片放在适当的位置，有必要用两三行额外的文字来填补一页：但我可以诚实地说，我只放了我绝对必须放的东西。
My readers may perhaps like to amuse themselves by trying to detect, in a given passage, the one piece of ‘padding’ it contains.
我的读者也许喜欢通过尝试在给定的段落中检测它包含的一块“填充物”来娱乐自己。
While arranging the ‘slips’ into pages, I found that the passage, which now extends from the top of p. 35 to the middle of p. 38, was 3 lines too short.
在把“纸条”整理成页面时，我发现现在从第 35 页顶部延伸到第 38 页中间的那段文字少了 3 行。
I supplied the deficiency, not by interpolating a word here and a word there, but by writing in 3 consecutive lines.
我补充了这个不足，不是在这里插一个词，在那里插一个词，而是连续写了 3 行。
A harder puzzle if a harder be desired would be to determine, as to the Gardener’s Song, in which cases (if any) the stanza was adapted to the surrounding text, and in which (if any) the text was adapted to the stanza.
如果想要一个更难的谜题，那就是确定园丁之歌中，在哪些情况下（如果有的话）诗节是适应周围文本的，在哪些情况下（如果有的话）文本是适应诗节的。
Perhaps the hardest thing in all literature—at least I have found it so: by no voluntary effort can I accomplish it: I have to take it as it come’s, is to write anything original.
也许在所有文学中最难的事情——至少我发现是这样的：我没有任何自愿的努力可以做到这一点：我必须顺其自然——就是写任何原创的东西。
And perhaps the easiest is, when once an original line has been struck out, to follow it up, and to write any amount more to the same tune.
也许最容易的事情是，一旦想出了一条原创的线，就跟着它继续写下去，并且可以按照同样的曲调写任何数量的东西。
I do not know if ‘Alice in Wonderland’ was an original story—I was, at least, no conscious imitator in writing it—but I do know that, since it came out, something like a dozen story-books have appeared, on identically the same pattern.
我不知道《爱丽丝梦游仙境》是否是一个原创故事——至少在写它的时候，我不是一个有意识的模仿者——但我知道，自从它问世以来，已经出现了大约十几本故事书，都是完全相同的模式。
The path I timidly explored believing myself to be ‘the first that ever burst into that silent sea’—is now a beaten high-road: all the way-side flowers have long ago been trampled into the dust: and it would be courting disaster for me to attempt that style again.
我胆怯地探索的道路，相信自己是“第一个闯入那寂静海洋的人”——现在已经是一条人来人往的大路：路边的所有花朵很久以前都被践踏成了尘土：对我来说，再次尝试那种风格是自找麻烦。
Hence it is that, in ‘Sylvie and Bruno,’ I have striven with I know not what success to strike out yet another new path: be it bad or good, it is the best I can do.
因此，在《西尔维和布鲁诺》中，我努力了，我不知道是否成功，又开辟了一条新的道路：不管是好是坏，这是我能做的最好的。
It is written, not for money, and not for fame, but in the hope of supplying, for the children whom I love, some thoughts that may suit those hours of innocent merriment which are the very life of Childhood; and also in the hope of suggesting, to them and to others, some thoughts that may prove, I would fain hope, not wholly out of harmony with the graver cadences of Life.
它不是为了钱，也不是为了名声而写的，而是希望为我所爱的孩子们提供一些适合童年无辜欢乐时光的思想；也希望向他们和其他人提出一些思想，我希望这些思想不会完全与生活的更严肃的节奏不协调。
If I have not already exhausted the patience of my readers, I would like to seize this opportunity, perhaps the last I shall have of addressing so many friends at once, of putting on record some ideas that have occurred to me, as to books desirable to be written—which I should much like to attempt, but may not ever have the time or power to carry through—in the hope that, if I should fail (and the years are gliding away very fast) to finish the task I have set myself, other hands may take it up.
如果我还没有耗尽读者的耐心，我想抓住这个机会，也许是我最后一次同时向这么多朋友讲话，记录一些我想到的关于希望写的书的想法——我非常想尝试，但可能永远没有时间或力量去完成——希望如果我失败了（岁月飞逝得非常快），完成我给自己设定的任务，其他的手可以接手。
The only real essentials of this would be, carefully selected passages, suitable for a child’s reading and pictures.
这本书唯一真正的要点是，精心挑选适合儿童阅读的段落和图片。
One principle of selection, which I would adopt, would be that Religion should be put before a child as a revelation of love no need to pain and puzzle the young mind with the history of crime and punishment.
我会采用的一个选择原则是，宗教应该作为爱的启示呈现给孩子，没有必要用犯罪和惩罚的历史来痛苦和困扰年轻的心灵。
(On such a principle I should, for example, omit the history of the Flood.)
（例如，基于这样的原则，我应该省略洪水的历史。）
The supplying of the pictures would involve no great difficulty: no new ones would be needed: hundreds of excellent pictures already exist, the copyright of which has long ago expired, and which simply need photo-zincography, or some similar process, for their successful reproduction.
提供图片不会涉及太大的困难：不需要新的图片：已经存在数百张优秀的图片，其版权早已过期，只需要光锌版印刷或类似的工艺，就可以成功复制。
The book should be handy in size with a pretty attractive looking cover—in a clear legible type—and, above all, with abundance of pictures, pictures, pictures!
这本书应该小巧便携，封面漂亮吸引人——字体清晰易读——最重要的是，要有大量的图片，图片，图片！
Secondly, a book of pieces selected from the Bible—not single texts, but passages of from 10 to 20 verses each—to be committed to memory.
其次，是一本从圣经中选出的片段的书——不是单个的经文，而是每段 10 到 20 节的段落——要背诵。
Such passages would be found useful, to repeat to one’s self and to ponder over, on many occasions when reading is difficult, if not impossible: for instance, when lying awake at night—on a railway-journey—when taking a solitary walk-in old age, when eye-sight is failing or wholly lost—and, best of all, when illness, while incapacitating us for reading or any other occupation, condemns us to lie awake through many weary silent hours: at such a time how keenly one may realise the truth of David’s rapturous cry ‘O how sweet are thy words unto my throat: yea, sweeter than honey unto my mouth!’
这样的经文在许多情况下会被发现是有用的，可以重复给自己听，也可以思考，当阅读困难，如果不是不可能的话：例如，当晚上躺在床上睡不着——在铁路旅行中——当独自散步时——在老年，视力下降或完全丧失时——最好的是，当疾病使我们无法阅读或从事任何其他职业，迫使我们在许多疲惫的寂静时刻躺在床上清醒时：在这样的时候，人们可能会多么敏锐地意识到大卫狂喜的呼喊的真理：“哦，你的话对我的喉咙多么甜美：是的，比蜂蜜对我的嘴更甜！”
I have said ‘passages,’ rather than single texts, because we have no means of recalling single texts: memory needs links, and here are none: one may have a hundred texts stored in the memory, and not be able to recall, at will, more than half-a-dozen—and those by mere chance: whereas, once get hold of any portion of a chapter that has been committed to memory, and the whole can be recovered: all hangs together.
我说“篇章”，而不是单一的经文，因为我们没有办法回忆起单一的经文：记忆需要链接，而这里没有：一个人可能在记忆中存储了一百个经文，但不能随意回忆起超过半打的——而且那些只是偶然的：然而，一旦抓住了已经记住的一章中的任何部分，整个章节都可以恢复：一切都连在一起。
Thirdly, a collection of passages, both prose and verse, from books other than the Bible.
第三，是从圣经以外的书籍中收集的散文和诗歌篇章。
There is not perhaps much, in what is called ‘un-inspired’ literature (a misnomer, I hold: if Shakespeare was not inspired, one may well doubt if any man ever was), that will bear the process of being pondered over, a hundred times: still there are such passages—enough, I think, to make a goodly store for the memory.
也许在所谓的“无灵感”文学（我认为这是一个错误的名称：如果莎士比亚没有灵感，人们很可能会怀疑是否有人曾经有过灵感）中，没有多少能经得起一百次思考的过程：但还是有这样的篇章——我认为，足够为记忆提供一个丰富的储备。
These two books of sacred, and secular, passages for memory—will serve other good purposes besides merely occupying vacant hours: they will help to keep at bay many anxious thoughts, worrying thoughts, uncharitable thoughts, unholy thoughts.
这两本关于神圣和世俗篇章的记忆书——除了仅仅占用空闲时间之外，还将服务于其他良好的目的：它们将有助于抵御许多焦虑的思想、担忧的思想、不仁慈的思想、不圣洁的思想。
Let me say this, in better words than my own, by copying a passage from that most interesting book, Robertson’s Lectures on the Epistles to the Corinthians, Lecture 49.
让我用比我自己更好的语言来说这句话，通过从那本最有趣的书，罗伯逊的《哥林多书信讲座》，第 49 讲中复制一段话。
“If a man finds himself haunted by evil desires and unholy images, which will generally be at periodical hours, let him commit to memory passages of Scripture, or passages from the best writers in verse or prose.
“如果一个人发现自己被邪恶的欲望和不圣洁的形象所困扰，这些通常会在周期性的时间出现，让他记住圣经的段落，或者最好的诗人的诗歌或散文的段落。
Let him store his mind with these, as safeguards to repeat when he lies awake in some restless night, or when despairing imaginations, or gloomy, suicidal thoughts, beset him.
让他用这些来储存他的思想，作为在他在某个不安的夜晚醒来时，或者当绝望的想象，或阴郁的、自杀的想法困扰他时重复的保障。
Let these be to him the sword, turning everywhere to keep the way of the Garden of Life from the intrusion of profaner footsteps.”
让这些对他来说是剑，四处转动，以防止生命花园的道路被亵渎的脚步入侵。”
Fourthly, a “Shakespeare” for girls: that is, an edition in which everything, not suitable for the perusal of girls of (say) from 10 to 17, should be omitted.
第四，为女孩准备的“莎士比亚”：也就是说，一个版本，其中所有不适合（比如说）10 到 17 岁女孩阅读的内容都应该被省略。
Few children under 10 would be likely to understand or enjoy the greatest of poets: and those, who have passed out of girlhood, may safely be left to read Shakespeare, in any edition, ‘expurgated’ or not, that they may prefer: but it seems a pity that so many children, in the intermediate stage, should be debarred from a great pleasure for want of an edition suitable to them.
很少有 10 岁以下的孩子可能会理解或欣赏最伟大的诗人：而那些已经走出少女时代的人，可以安全地让他们阅读莎士比亚，无论是“删节”版还是他们可能更喜欢的其他版本：但似乎很遗憾，这么多处于中间阶段的孩子，因为没有适合他们的版本而被剥夺了一种巨大的乐趣。
Neither Bowdler’s, Chambers’s, Brandram’s, nor Cundell’s ‘Boudoir’ Shakespeare, seems to me to meet the want: they are not sufficiently ‘expurgated.’
在我看来，鲍德勒的、钱伯斯的、布兰德拉姆的，还是坎德尔的“闺房”莎士比亚，都似乎不能满足这种需求：它们不够“删节”。
Bowdler’s is the most extraordinary of all: looking through it, I am filled with a deep sense of wonder, considering what he has left in, that he should have cut anything out!
鲍德勒的是最特别的：翻阅它，我充满了深深的惊奇感，考虑到他留下了什么，他竟然还删掉了任何东西！
Besides relentlessly erasing all that is unsuitable on the score of reverence or decency, I should be inclined to omit also all that seems too difficult, or not likely to interest young readers.
除了无情地删除所有在尊敬或体面方面不合适的内容外，我还倾向于省略所有似乎太难或不太可能引起年轻读者兴趣的内容。
The resulting book might be slightly fragmentary: but it would be a real treasure to all British maidens who have any taste for poetry.
这样的结果可能会使这本书有点零碎：但对于所有对诗歌有兴趣的英国少女来说，它将是一个真正的宝藏。
If it be needful to apologize to any one for the new departure I have taken in this story—by introducing, along with what will, I hope, prove to be acceptable nonsense for children, some of the graver thoughts of human life—it must be to one who has learned the art of keeping such thoughts wholly at a distance in hours of mirth and careless ease.
如果有必要为我在这个故事中采取的新方向向任何人道歉——通过引入一些我希望对孩子们来说是可以接受的无意义的东西，以及一些人类生活中更严肃的思想——那一定是向一个已经学会了在欢乐和无忧无虑的时刻完全保持这种思想的艺术的人道歉。
And that such an art exists I do not dispute: with youth, good health, and sufficient money, it seems quite possible to lead, for years together, a life of unmixed gaiety—with the exception of one solemn fact, with which we are liable to be confronted at any moment, even in the midst of the most brilliant company or the most sparkling entertainment.
我并不否认这种艺术的存在：在年轻、健康和有足够金钱的情况下，似乎完全有可能多年过着纯粹快乐的生活——除了一个庄严的事实，我们随时都可能面对这个事实，即使是在最辉煌的公司或最耀眼的娱乐活动中。
A man may fix his own times for admitting serious thought, for attending public worship, for prayer, for reading the Bible: all such matters he can defer to that ‘convenient season’, which is so apt never to occur at all: but he cannot defer, for one single moment, the necessity of attending to a message, which may come before he has finished reading this page,’ this night shalt thy soul be required of thee.’
一个人可以确定自己接受严肃思想、参加公共礼拜、祈祷、阅读圣经的时间：所有这些事情他都可以推迟到“方便的季节”，而这个季节往往根本不会出现：但他一刻也不能推迟必须注意的信息的必要性，这个信息可能在他读完这一页之前就来了，“今夜你的灵魂将被索取。”
Few more interesting subjects of enquiry could be found, by a student of history, than the various weapons that have been used against this shadowy foe.
对于历史学生来说，很少有比研究对抗这个阴影敌人所使用的各种武器更有趣的课题了。
Saddest of all must have been the thoughts of those who saw indeed an existence beyond the grave, but an existence far more terrible than annihilation—an existence as filmy, impalpable, all but invisible spectres, drifting about, through endless ages, in a world of shadows, with nothing to do, nothing to hope for, nothing to love!
最悲伤的一定是那些确实看到了坟墓之外存在的人，但这种存在远比湮灭更可怕——一种像幽灵一样虚幻、无形、几乎看不见的存在，在无尽的岁月里，在一个阴影的世界里漂流，无事可做，无所希望，无所爱！
In the midst of the gay verses of that genial ‘bon vivant’ Horace, there stands one dreary word whose utter sadness goes to one’s heart.
在那位和蔼可亲的“享乐主义者”贺拉斯的欢快诗句中，有一个令人沮丧的词，其极度的悲伤触动了人们的心。
Yes, to him this present life—spite of all its weariness and all its sorrow—was the only life worth having: all else was ‘exile’! Does it not seem almost incredible that one, holding such a creed, should ever have smiled?
是的，对他来说，现在的生活——尽管充满疲惫和悲伤——是唯一值得拥有的生活：其他一切都是“流放”！持有这样一种信条的人竟然会微笑，这似乎几乎不可思议。
And many in this day, I fear, even though believing in an existence beyond the grave far more real than Horace ever dreamed of, yet regard it as a sort of ‘exile’ from all the joys of life, and so adopt Horace’s theory, and say ‘let us eat and drink, for to-morrow we die.’
而在今天，我担心很多人，尽管相信来世的存在比贺拉斯所梦想的要真实得多，但仍然把它视为一种“流放”，远离生活的所有乐趣，因此采用贺拉斯的理论，说“让我们吃喝吧，因为明天我们就会死。”
We go to entertainments, such as the theatre—I say ‘we’, for I also go to the play, whenever I get a chance of seeing a really good one and keep at arm’s length, if possible, the thought that we may not return alive.
我们去娱乐场所，比如剧院——我说“我们”，因为我也去看戏，只要有机会看到真正好的戏，就尽可能远离这样的想法：我们可能不会活着回来。
Yet how do you know—dear friend, whose patience has carried you through this garrulous preface that it may not be your lot, when mirth is fastest and most furious, to feel the sharp pang, or the deadly faintness, which heralds the final crisis—to see, with vague wonder, anxious friends bending over you to hear their troubled whispers perhaps yourself to shape the question, with trembling lips, “Is it serious?”
然而，你怎么知道——亲爱的朋友，你的耐心带你读完了这篇冗长的序言，当欢乐最快最激烈的时候，可能就是你的命运，感受到尖锐的刺痛，或致命的昏厥，预示着最后的危机——模糊地惊奇地看到焦虑的朋友弯下腰看着你，也许你自己会颤抖着嘴唇问出这个问题：“严重吗？”
, and to be told “Yes: the end is near” (and oh, how different all Life will look when those words are said!)
，然后被告知“是的：结束就在眼前”（哦，当这些话被说出来时，生活看起来会多么不同！）
And dare you, knowing this, say to yourself “Well, perhaps it is an immoral play: perhaps the situations are a little too ‘risky’, the dialogue a little too strong, the ‘business’ a little too suggestive.
知道了这一点，你敢对自己说“好吧，也许这是一部不道德的戏剧：也许情节有点太‘冒险’，对话有点太强烈，‘业务’有点太暗示。
I don’t say that conscience is quite easy: but the piece is so clever, I must see it this once!
我不说良心完全轻松：但这部作品太聪明了，我必须看这一次！
Let me pause for a moment to say that I believe this thought, of the possibility of death—if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong.
让我暂停片刻，说我相信这种关于死亡可能性的想法——如果平静地意识到，并坚定地面对，将是我们去任何娱乐场所是否正确或错误的最好测试之一。
If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going.
如果突然死亡的想法在你想象中发生在剧院时获得了特别的恐惧，那么非常确定剧院对你有害，无论它对其他人可能有多无害；而且你去那里会面临致命的危险。
Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.
确保最安全的规则是，我们不敢在任何我们不敢死的场景中生活。
But, once realise what the true object is in life—that it is not pleasure, not knowledge, not even fame itself, ‘that last infirmity of noble minds’—but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man—and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!
但是，一旦意识到生活的真正目标是什么——不是快乐，不是知识，甚至不是名声本身，“那是高尚心灵的最后弱点”——而是性格的发展，上升到更高、更崇高、更纯洁的标准，建立完美的人——然后，只要我们感觉到这正在进行，并将（我们相信）永远进行下去，死亡对我们就没有恐惧；它不是阴影，而是光明；不是结束，而是开始！
One other matter may perhaps seem to call for apology—that I should have treated with such entire want of sympathy the British passion for ‘Sport’, which no doubt has been in by-gone days, and is still, in some forms of it, an excellent school for hardihood and for coolness in moments of danger.
也许还有一件事似乎需要道歉——我应该对英国人对“体育”的热情如此完全缺乏同情，这种热情无疑在过去的日子里，并且在某些形式中仍然是勇敢和在危险时刻保持冷静的优秀学校。
But I am not entirely without sympathy for genuine ‘Sport’: I can heartily admire the courage of the man who, with severe bodily toil, and at the risk of his life, hunts down some ‘man-eating’ tiger: and I can heartily sympathize with him when he exults in the glorious excitement of the chase and the hand-to-hand struggle with the monster brought to bay.
但我并不是完全没有对真正的“体育”的同情：我可以衷心钦佩那个以严重的身体劳累和生命危险追捕一些“食人”老虎的人的勇气：当他为追逐的光荣兴奋和与被逼入绝境的怪物的徒手搏斗而欢呼时，我可以衷心同情他。
But I can but look with deep wonder and sorrow on the hunter who, at his ease and in safety, can find pleasure in what involves, for some defenceless creature, wild terror and a death of agony: deeper, if the hunter be one who has pledged himself to preach to men the Religion of universal Love: deepest of all, if it be one of those ‘tender and delicate’ beings, whose very name serves as a symbol of Love—’thy love to me was wonderful, passing the love of women’—whose mission here is surely to help and comfort all that are in pain or sorrow!
但是，对于那些轻松安全地在涉及一些无助生物的狂野恐惧和痛苦死亡中找到乐趣的猎人，我只能深感惊奇和悲伤地看待：如果猎人是一个承诺向人们宣扬普遍爱的宗教的人，则更深；最深的是，如果它是那些“温柔和细腻”的人之一，他们的名字本身就是爱的象征——“你的爱对我来说是奇妙的，超过了女人的爱”——他们在这里的使命肯定是帮助和安慰所有痛苦或悲伤的人！
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