当然英文怎么说单词的写法汇总 英语当然单词怎么写(6篇)

范文为教学中作为模范的文章，也常常用来指写作的模板。常常用于文秘写作的参考，也可以作为演讲材料编写前的参考。相信许多人会觉得范文很难写？以下是小编为大家收集的优秀范文，欢迎大家分享阅读。

推荐当然英文怎么说单词的写法汇总一

好的英文求职信和英文简历是进入大企业特别是外企的“敲门砖”。因此，如何写好应聘的求职简历就显得尤为重要。

英文求职信的一般由五个组成部分：写信动机、自我介绍、能力（技能）介绍、结尾和附件。

写信动机：

通常求职信是针对报纸上、网上的或是其他途径的招聘广告而写的。因此，信中须首先提到时在何月何日的什么报纸上看到的信息、在什么网络平台看到的招聘广告，又或是是由朋友或介绍所介绍的等等。当然，有时写信人不知某机构、公司有工作机会，只是毛遂自荐，那么也需说明写求职信的缘由和目的。此外，需开门见山的点明应聘的职位或是希望承担的职务

自我介绍：

此部分应述明自己的年龄或出生年月、教育背景，尤其与应征职位有关的训练或教育科目、工作经验或特殊技能。如无实际经验，略述在学类似经验亦可。

能力（技能）介绍：

如果缺乏工作经历，可以将社会工作细节放在工作经历中，这样会填补工作经验少的缺陷。例如，在做团支书、学生会主席等社会工作时组织过什么活动，联系过什么事，参与过什么都可以一一罗列。

结尾：

求职信的结尾，应注意表达，珍惜工作机会和如果得到职位后将不遗余力的表现决心，希望招聘单位给予自己施展才华的机会等。此外，不要忘了注明正热切盼望对方的回复。

附件：

毕业证书、资格证书、获奖证明应列好表单，附于求职信后。

格式与态度:

写英文求职信，开头写每段第一句话时，要顶格写，一定不要空两格。这点很重要，请你注意;不要用开玩笑的口吻与对方套近乎，要严肃，认真地写。这能使对方感觉你很重视这件事情;简短介绍自己的专业与才能。重点写清楚你的能力可以满足对方公司的需要。

个人资料:

写英文求职信时，写信人应述明自己的年龄或出生年月，教育背景，尤其是和应征的职位有关的训练或教育科目、工作经验或特殊的技能；如无实际经验，告知对方你正在学习经验!

推荐自我:

写英文求职信时，需重点注意约定面试时间。一定要写清楚:我知道您很忙，我很感谢您能在百忙之中抽几分钟时间跟我见面并谈话。请放心，这几分钟您一定不会浪费的!因为我确定我的能力一定使贵公司达到目的。要自信!但不要过份夸大自己的能力或表现过份信心，尤其不要说出与事实不符的能力或特性来。

结尾与联系方式:

写英文求职信结尾时，需重点注意:不要等对方先打电话联系你，你应该在英文求职信中明确写出，你会在此期间打电话约对方见面，并告对方知具体联系时间;还要写明，在见面之前，若对方有什么问题需要了解的，可发email或打电话联系你。并写清楚你的联系方式。最后，再一次写明感谢他们抽时间看你的个人简历，求职信。并感谢他们考虑你的应聘。

写英文求职信要点:

篇幅不易过长，简短为好;态度诚恳，不需华丽词汇;让对方感觉亲切，自信，实在即可;不要误看其他错误的写作方法，以免耽误了你的求职机会。

纸张的选用:

建议你用灰色，黄褐色或米色纸作最终打印信纸。要配合信封的颜色。

书写：

字体要写得整洁可辩，使用打字机把信打出来。具有专业感。

附邮票:

英语求职信内需附加邮票或回址信封。

语法:

准确无误的语法，标点拼写使读信人感到舒畅。错误的语法或拼写则十分明显，一望即知。且不可把收信人的姓名或公司地址拼错了。

实例假设：

你叫李平，你从报上得知某公司欲招聘一名英语翻译，请你给该公司经理写一份求职信，你的个人资料如下：

1.简况：姓名，李平；年龄，30岁；身高，1.80米；健康状况，良好；业余爱好，游泳、唱歌、跳舞。

2.简历：1994年北京大学毕业后分配到南通中学工作，1996年调至苏州中学工作至今。

3.工作：工作认真负责，与人相处融洽。

4.特长：精通英语，尤其口语，已将多本中文书籍译成英语，懂一些日语、能用日语与外宾对话。

推荐当然英文怎么说单词的写法汇总二

the tempo of modern civilization has been much quickened in the last twenty years. while witnessing the dramatic changes in the better-off society， people begin to reconsider the question of "survival". "survival" in the old sense does not bother us anymore. instead， we are more concerned about how to "survive" in the human world full of petition.

competition always carries abreast challenges and opportunities to everyone involved. it might appear in an entrance exam， in a regular class， or in a small public speech. those who fail to detect its real nature-whether an opportunity or a challenge a petition really is- will lose something more or less conducive to our growth. of course， if we take the petition as an opportunity， we will favor it intentionally because they can help us outstand from the average; they will make us bee the focus of public attention; they will grant us more chances and rights to succeed. as a matter of fact， opportunities are supposed to be more perceptible and weling than challenges. the truth is， however， we will lose more opportunities when we choose to take the "opportunity" fork at the crossroads. the other fork， ignored by us and defined as "fearful challenges"， offers much more chances for the walker in petition.

we have such an inclination in life to overestimate ourselves and hold a thoughtless attitude towards the negative outlook of things.

we believe in the old saying， "opportunity knocks but just once，" so we always wele it and devote all our spirit and efforts to it. the most devout believer of this saying are the graduates. why? there are quite a number of them who pay full attention to positions in big cities and are willing to flood into developed areas under any circumstances， even though there will be too much uncertainty for their choices. innumerable cases go straight to the same miserable end: god seems to refuse to help too many of his worshipers.

in conclusion， to define the quuality of petition seems to be far from valuable sense， for no matter what a petition is， an opportunity or a challenge， it will create nutritious elements for our growth.

so take a positive look at everything around. keep our face to the sunshine， and we will not see the shadows.

现代礼貌的速度已经大大加快，在过去二十年.虽然目睹了小康社会的急剧变化，人们开始重新研究“生存”的问题.在老意义上的“生存”不打扰我们了.相反，我们更关心的是在人类世界充满了竞争如何“生存”.

比赛总是带有并进的挑战和机遇，每个人都参与.它可能会出此刻入学考试，在普通班，或在一个小公开演讲.这些谁无法检测它的真实性质，无论是机会还是挑战，竞争真的是 - 将失去更多的东西还是少，有利于我们的成长.当然，如果我们以竞赛为契机，我们将有利于它故意，因为他们能够帮忙我们outstand从平均水平;他们将让我们成为公众关注的焦点;他们会给予我们更多的机会和权利，以取得成功.由于事实上，机会应当是更多的感知和热情大于挑战.事实是，可是，我们将失去更多的机会，当我们选择采取了“机会”叉处于十字路口.其他叉，被我们忽略，被定义为“可怕挑战”，供给了步行者的比赛更加的机会.

我们在生活中有这样的倾向，高估了自我，并坚持对负面展望的事情轻率的态度.

我们相信一句老话，“机会来临，但仅有一次，”所以我们随时欢迎，并全身心的精神，努力吧.这句话最虔诚的信徒都是大学毕业生.为什么?有相当多的人谁充分重视在大城市的立场，愿意涌入发达地区在任何情景下，即使将是他们的选择太多的不确定性.无数的情景下，直接进入同一个凄惨下场：上帝似乎拒绝帮忙太多他的崇拜者.

总之，要定义质量的竞争似乎是远离有价值的意义上说，不管是什么比赛是机遇还是挑战，它将为我们的成长营养元素.

所以，进取对待周围的一切.让我们的脸的阳光，我们将不会看到阴影.

推荐当然英文怎么说单词的写法汇总三

【1】rain雨

rain is falling all around， 雨儿在到处降落，

it falls on field and tree， 它落在田野和树梢，

it rains on the umbrella here， 它落在这边的雨伞上，

and on the ships at sea 又落在航行海上的船只

by r l stevenson， 1850-1894

【2】the star 星星

(1)

twinkle， twinkle， little star! 闪耀，闪耀，小星星!

how i wonder what you are， 我想明白你身形，

up above the world so high， 高高挂在天空中，

like a diamond in the sky 就像天上的钻石

(2)

when the blazing sun is gone， 灿烂太阳已西沉，

when he nothing shines upon， 它已不再照万物，

then you show your little light， 你就显露些微光，

twinkle， twinkle all the night 整个晚上眨眼睛

(3)

the dark blue sky you keep 留恋漆黑的天空

and often thro my curtains peep， 穿过窗帘向我望，

for you never shut your eye 永不闭上你眼睛

till the sun is in the sky 直到太阳又现形

(4)

tis your bright and tiny spark 你这微亮的火星，

lights the traveler in the dark; 黑夜照耀着游人，

though i know not what you are 虽我不知你身形，

twinkle， twinkle， little star! 闪耀，闪耀，小星星!

by jane taylor， 1783-1824

【3】o sailor， come ashore啊!水手，上岸吧

(part i)

o sailor， e ashore 啊!水手，上岸吧

what have you brought for me? 你给我带来什么?

red coral ， white coral， 海里的珊瑚，

coral from the sea 红的，白的

(part ii)

i did not dig it from the ground 它不是我从地下挖的，

nor pluck it from a tree; 也不是从树上摘的;

feeble insects made it 它是暴风雨的海裹

in the stormy sea 弱小昆虫做成的

by c g rossetti

【4】the wind风

(part i)

who has seen the wind? 谁曾见过风的面貌?

neither i nor you; 谁也没见过，不论你或我;

but when the leaves hang trembling， 但在树叶震动之际，

the wind is passing through 风正从那里吹过

(part ii)

who has seen the wind? 谁曾见过风的面孔?

neither you nor i; 谁也没见过，不论你或我;

but when the trees bow down their heads， 但在树梢低垂之际，

the wind is passing by 风正从那里经过

～by c g rossetti

另一首诗人的.风之歌

o wind ， why do you never rest， 风啊!为何你永不休止

wandering， whistling to and fro， 来来回回的漂泊，呼啸

bring rain out of the west， 从西方带来了雨

from the dim north bringing snow? 从蒙眬的北方带来了雪

【5】the cuckoo布谷鸟

in april， 四月里，

come he will， 它就来了，

in may， 五月里，

sing all day， 整天吟唱多逍遥，

in june， 六月里，

change his tune， 它在改变曲调，

in july， 七月里，

prepare to fly， 准备飞翔，

in august， 八月里，

go he must! 它就得离去了!

～by mother gooses nursery rhyme

【6】colors颜色

what is pink? a rose is pink 什么是粉红色?

by the fountains brink 喷泉边的玫瑰就是粉红色

what is red? a poppys red 什么是艳红色?

in its barley bed 在大麦床里的花就是艳红色

what is blue? the sky is blue 什么是蔚蓝色?天空就是蔚蓝色，

where the clouds float thro 云朵飘过其间

what is white? a swan is white 什么是白色?

sailing in the light 阳光下嬉水的天鹅就是白色

what is yellow? pears are yellow， 什么是黄色?梨儿就是黄色，

rich and ripe and mellow 熟透且多汁

what is green? the grass is green， 什么是绿色?草就是绿色，

with small flowers between 小花掺杂其间

what is violet? clouds are violet 什么是紫色?夏日夕阳里的

in the summer twilight 彩霞就是紫色

what is orange? why， an orange， 什么是橘色?当然啦!

just an orange! 橘子就是橘色

by c g rossetti

【7】a house of cards 纸牌堆成的房子

(1)

a house of cards 纸牌堆成的房子

is neat and small; 洁净及小巧

shake the table， 摇摇桌子

it must fall 它必须会倒

(2)

find the court cards 找出绘有人像的纸牌

one by one; 一张一张地竖起

raise it， roof it，---- 再加上顶盖

now its done;---- 此刻房子已经盖好

shake the table! 摇摇桌子

thats the fun 那就是它的乐趣

by c g rossetti

【8】what does little birdie say?

(1)

what does little birdie say， 小鸟说些什么呢?

in her nest at peep of day? 在这黎明初晓的小巢中?

let me fly， says little birdie， 小鸟说，让我飞，

mother， let me fly away， 妈妈，让我飞走吧

birdie， rest a little longer， 宝贝，稍留久一会儿，

till the little wings are stronger 等到那对小翅膀再长硬些儿

so she rests a little longer， 所以它又多留了一会儿，

then she flies away 然而它还是飞走了

(2)

what does little baby say， 婴儿说些什么，

in her bed at peep of day? 在破晓时分的床上?

baby says， like little birdie， 婴儿像小鸟那样说，

let me rise and fly away 让我起来飞走吧

baby， sleep a little longer， 乖乖，稍微多睡一会儿，

till the little limbs are stronger 等你的四肢再长硬点儿

if she sleeps a little longer， 如果她再多睡一会儿，

baby too shall fly away 婴儿必然也会像鸟儿一样地飞走

by alfred tennyson， 1809-1892

【9】at the seaside 海边

(1)

when i was down beside the sea 当我到海边时

a wooden spade they gave to me 他们给了我一把木铲

to dig the sandy shore 好去挖掘沙滩

(2)

the holes were empty like a cup 挖成像杯状般的空洞

in every hole the sea camp up， 让每个洞中的海水涌现

till it could e no more 直到它不能再涌现

by r l stevenson

【10】what does the bee do?

what does the bee do? 蜜蜂做些什么?

bring home honey 把蜂蜜带回家

and what does father do? 父亲做些什么?

bring home money 把钱带回家

and what does mother do? 母亲做些什么?

lay out the money 把钱用光

and what does baby do?婴儿做些什么?

eat up the honey 把蜜吃光

by c g rossetti， 1830-1894

推荐当然英文怎么说单词的写法汇总四

1、求职信的概述和要点

写求职信的理由：

（1）从何处得悉招聘信息、你的申请目的、加入企业的原因，你要申请什么职位；

（2）做自我介绍，说明你为什么适合申请的职位，提出你能为未来雇主做些什么，而不是他们为你做什么；

（3）简明突出你的相关实力，即为什么你比别人更适合这个位置；

（3）强调你所受过的 培训、你的经历、技能和成就；

结尾段落中提出你的进一步行动请求，这里你可以建议如何进一步联络，留下可以随时联系到你的电话或地址。当然如果能对阅读者表示感谢，效果会更好，以我们的经验，现在许多公司招聘任务是十分繁重的，招聘人员每天要阅读大量的简历，一句关切的问候会给人留下很深的印象。

2、求职信与简历的区别

在西方，求职信和简历是一样重要的。而在我国，虽然有的雇主不要求写求职信，有的猎头顾问或是企业招聘人员也没时间仔细阅读 求职信 ，但求职信的作用还是不容小看。从最近网上的一份网上调查：“人事经理，您对求职信的关注程度如何？”34%参与调查的人事经理表示非常重视求职信、54%的人事经理表示将求职信作为重要参考、只有11%的人事经理是根本不看求职信。

4、需注意的问题

在写求职书之前须考虑的5个问题：当你对以下5个问题考虑成熟之后，才可以更好地帮助你写好一份求职书。

1）、未来的雇主需要的是什么？在你期望得到的职位中什么样的技能、知识和经历是最重要的。

2）、你的目标是什么？你写求职自荐信的目的是什么，是想获得一个具体的职务，一次面试的机会或仅仅希望有人通过电话花10~15分钟与你谈一下有关机构的总的情况。

3）、你以为此雇主或职位提供的三至五个优点或优势。如果你是针对某个具体的职位而写此信，那么所列的你的优点应该就是招聘广告上需求的；如果你不是针对具体的职位的话，就按通常的所需知识和经历来考虑。

4）、如何把你的经历与此职位挂钩？请列举二个具体的你曾获得的成就，它们能证明你在第三问中所提的你的优点。

5）、你为什么想为此机构或雇主服务？你对他们的了解有多少？关于他们的产品或服务、任务、企业文化、目标、宗旨等一切与你自己的背景、价值观和目标相关联的东西。

推荐当然英文怎么说单词的写法汇总五

自我介绍范文 | 简短的自我介绍 | 一分钟自我介绍 | 英文自我介绍

禁忌

不要夸耀自己的“丰功伟绩”，小心在别人眼里不值一提。

不要篇幅较短，那会显得你很没有文化;也不要长编大论，那会很冗长，让人对你没有兴趣。

在不同的场合要有不同的自我介绍，不要用同一种，那会显得很分不清场合，就是老人常言的“拎不清”。

自我介绍切忌话多。比如说，交行二面要求每个人用三句话介绍自己，难道真的只能姓名+专业+学校了?当然要变通。像我就说：第一句话，英语好;第二句话，专业对口;第三句话，性格优势。然后扩展稍微讲几句，效果非常好。

要注意逻辑和结构。有些人的自我介绍信手拈来，随便讲，天马行空，没有重点和结构，势必让人摸不着头脑，因此要自己理出一条线，有条不紊地讲。

语速要慢一点，注意抑扬顿挫。

推荐当然英文怎么说单词的写法汇总六

what fear can teach us

恐惧可以教会我们什么

one day in 1819, 3,000 miles off the coast of chile, in one of the most remote regions of the pacific ocean, 20 american sailors watched their ship flood with seawater.

1820xx年的某一天， 在距离智利海岸3000英里的地方， 有一个太平洋上的最偏远的水域， 20名美国船员目睹了他们的船只进水的场面。

they'd been struck by a sperm whale, which had ripped a catastrophic hole in the ship's hull. as their ship began to sink beneath the swells, the men huddled together in three small whaleboats.

他们和一头抹香鲸相撞，给船体撞了 一个毁灭性的大洞。 当船在巨浪中开始沉没时， 人们在三条救生小艇中抱作一团。

these men were 10,000 miles from home, more than 1,000 miles from the nearest scrap of land. in their small boats, they carried only rudimentary navigational equipment and limited supplies of food and water.

这些人在离家10000万英里的地方， 离最近的陆地也超过1000英里。 在他们的小艇中，他们只带了 落后的导航设备 和有限的食物和饮水。

these were the men of the whaleship essex, whose story would later inspire parts of "moby dick."

他们就是捕鲸船essex上的人们， 后来的他们的故事成为《白鲸记》的一部分。

even in today's world, their situation would be really dire, but think about how much worse it would have been then.

即使在当今的世界，碰上这种情况也够杯具的，更不用说在当时的情况有多糟糕。

no one on land had any idea that anything had gone wrong. no search party was coming to look for these men. so most of us have never experienced a situation as frightening as the one in which these sailors found themselves, but we all know what it's like to be afraid.

岸上的人根本就还没意识到出了什么问题。 没有任何人来搜寻他们。 我们当中大部分人没有经历过 这些船员所处的可怕情景， 但我们都知道害怕是什么感觉。

we know how fear feels, but i'm not sure we spend enough time thinking about what our fears mean.

我们知道恐惧的感觉， 但是我不能肯定我们会花很多时间想过 我们的恐惧到底意味着什么。

as we grow up, we're often encouraged to think of fear as a weakness, just another childish thing to discard like baby teeth or roller skates.

我们长大以后，我们总是会被鼓励把恐惧 视为软弱，需要像乳牙或轮滑鞋一样 扔掉的幼稚的东西。

and i think it's no accident that we think this way. neuroscientists have actually shown that human beings are hard-wired to be optimists.

我想意外事故并非我们所想的那样。 神经系统科学家已经知道人类 生来就是乐观主义者。

so maybe that's why we think of fear, sometimes, as a danger in and of itself. "don't worry," we like to say to one another. "don't panic." in english, fear is something we conquer. it's something we fight.

这也许就是为什么我们认为有时候恐惧， 本身就是一种危险或带来危险。 “不要愁。”我们总是对别人说。“不要慌”。 英语中，恐惧是我们需要征服的东西。 是我们必须对抗的东西，是我们必须克服的东西。

it's something we overcome. but what if we looked at fear in a fresh way? what if we thought of fear as an amazing act of the imagination, something that can be as profound and insightful as storytelling itself?

但是我们如果换个视角看恐惧会如何呢? 如果我们把恐惧当做是想象力的一个惊人成果， 是和我们讲故事一样 精妙而有见地的东西，又会如何呢?

it's easiest to see this link between fear and the imagination in young children, whose fears are often extraordinarily vivid.

在小孩子当中，我们最容易看到恐惧与想象之间的联系， 他们的恐惧经常是超级生动的。

when i was a child, i lived in california, which is, you know, mostly a very nice place to live, but for me as a child, california could also be a little scary.

我小时候住在加利福尼亚， 你们都知道，是非常适合居住的位置， 但是对一个小孩来说，加利福尼亚也会有点吓人。

i remember how frightening it was to see the chandelier that hung above our dining table swing back and forth during every minor earthquake, and i sometimes couldn't sleep at night, terrified that the big one might strike while we were sleeping.

我记得每次小地震的时候 当我看到我们餐桌上的吊灯 晃来晃去的时候是多么的吓人， 我经常会彻夜难眠，担心大地震 会在我们睡觉的时候突然袭来。

and what we say about kids who have fears like that is that they have a vivid imagination. but at a certain point, most of us learn to leave these kinds of visions behind and grow up.

我们说小孩子感受到这种恐惧 是因为他们有生动的想象力。 但是在某个时候，我们大多数学会了 抛弃这种想法而变得成熟。

we learn that there are no monsters hiding under the bed, and not every earthquake brings buildings down. but maybe it's no coincidence that some of our most creative minds fail to leave these kinds of fears behind as adults.

我们都知道床下没有魔鬼， 也不是每个地震都会震垮房子。但是我们当中最有想象力的人们 并没有因为成年而抛弃这种恐惧，这也许并不是巧合。

the same incredible imaginations that produced "the origin of species," "jane eyre" and "the remembrance of things past," also generated intense worries that haunted the adult lives of charles darwin, charlotte brontăť and marcel proust. so the question is, what can the rest of us learn about fear from visionaries and young children?

同样不可思议的想象力创造了《物种起源》， 《简·爱》和《追忆似水年华》， 也就是这种与生俱来的深深的担忧一直缠绕着成年的 查尔斯·达尔文， 夏洛特·勃朗特和马塞尔·普罗斯特。 问题就来了， 我们其他人如何能从这些 梦想家和小孩子身上学会恐惧?

well let's return to the year 1819 for a moment, to the situation facing the crew of the whaleship essex. let's take a look at the fears that their imaginations were generating as they drifted in the middle of the pacific.

让我们暂时回到1820xx年， 回到essex捕鲸船的水手们面对的情况。 让我们看看他们漂流在太平洋中央时 他们的想象力给他们带来的恐惧感觉。

twenty-four hours had now passed since the capsizing of the ship. the time had come for the men to make a plan, but they had very few options.

船倾覆后已经过了24个小时。 这时人们制定了一个计划， 但是其实他们没什么太多的选择。

in his fascinating account of the disaster, nathaniel philbrick wrote that these men were just about as far from land as it was possible to be anywhere on earth.

在纳撒尼尔·菲尔布里克(nathaniel philbrick)描述这场灾难的 动人文章中，他写到“这些人离陆地如此之远， 似乎永远都不可能到达地球上的任何一块陆地。”

the men knew that the nearest islands they could reach were the marquesas islands, 1,200 miles away. but they'd heard some frightening rumors.

这些人知道离他们最近的岛 是1200英里以外的马克萨斯群岛(marquesas islands)。 但是他们听到了让人恐怖的谣言。

they'd been told that these islands, and several others nearby, were populated by cannibals. so the men pictured coming ashore only to be murdered and eaten for dinner. another possible destination was hawaii, but given the season, the captain was afraid they'd be struck by severe storms.

他们听说这些群岛， 以及附近的一些岛屿上都住着食人族。 所以他们脑中都是上岸以后就会被杀掉 被人当做盘中餐的画面。 另一个可行的目的地是夏威夷， 但是船长担心 他们会被困在风暴当中。

now the last option was the longest, and the most difficult: to sail 1,500 miles due south in hopes of reaching a certain band of winds that could eventually push them toward the coast of south america.

所以最后的选择是到最远，也是最艰险的地方： 往南走1500英里希望某股风 能最终把他们 吹到南美洲的海岸。

but they knew that the sheer length of this journey would stretch their supplies of food and water. to be eaten by cannibals, to be battered by storms, to starve to death before reaching land.

但是他们知道这个行程中一旦偏航 将会耗尽他们食物和饮水的供给。 被食人族吃掉，被风暴掀翻， 在登陆前饿死。

these were the fears that danced in the imaginations of these poor men, and as it turned out, the fear they chose to listen to would govern whether they lived or died.

这就是萦绕在这群可怜的人想象中的恐惧， 事实证明，他们选择听从的恐惧 将决定他们的生死。

now we might just as easily call these fears by a different name. what if instead of calling them fears, we called them stories?

也许我们可以很容易的用别的名称来称呼这些恐惧。 我们不称之为恐惧， 而是称它们为故事如何?

because that's really what fear is, if you think about it. it's a kind of unintentional storytelling that we are all born knowing how to do. and fears and storytelling have the same components.

如果你仔细想想，这是恐惧真正的意义。 这是一种与生俱来的， 无意识的讲故事的能力。 恐惧和讲故事有着同样的构成。

they have the same architecture. like all stories, fears have characters. in our fears, the characters are us. fears also have plots. they have beginnings and middles and ends. you board the plane.

他们有同样的结构。 如同所有的故事，恐惧中有角色。 在恐惧中，角色就是我们自己。 恐惧也有情节。他们有开头，有中间，有结尾。 你登上飞机。

the plane takes off. the engine fails. our fears also tend to contain imagery that can be every bit as vivid as what you might find in the pages of a novel. picture a cannibal, human teeth sinking into human skin, human flesh roasting over a fire.

飞机起飞。结果引擎故障。 我们的恐惧会包括各种生动的想象， 不比你看到的任何一个小说逊色。 想象食人族，人类牙齿 咬在人类皮肤上， 人肉在火上烤。

fears also have suspense. if i've done my job as a storyteller today, you should be wondering what happened to the men of the whaleship essex. our fears provoke in us a very similar form of suspense.

恐惧中也有悬念。 如果我今天像讲故事一样，留个悬念不说了， 你们也许会很想知道 essex捕鲸船上，人们到底怎么样了。 我们的恐惧用悬念一样的方式刺激我们。

just like all great stories, our fears focus our attention on a question that is as important in life as it is in literature: what will happen next?

就像一个很好的故事，我们的恐惧也如同一部好的文学作品一样， 将我们的注意力集中在对我们生命至关重要的问题上： 后来发生了什么?

in other words, our fears make us think about the future. and humans, by the way, are the only creatures capable of thinking about the future in this way, of projecting ourselves forward in time, and this mental time travel is just one more thing that fears have in common with storytelling.

换而言之，我们的恐惧让我们想到未来。 另外，人来是唯一有能力 通过这种方式想到未来的生物， 就是预测时间推移后我们的状况， 这种精神上的时间旅行是恐惧 与讲故事的另一个共同点。

as a writer, i can tell you that a big part of writing fiction is learning to predict how one event in a story will affect all the other events, and fear works in that same way.

我是一个作家，我要告诉你们写小说一个很重要的部分 就是学会预测故事中一件 事情如何影响另一件事情， 恐惧也是同样这么做的。

in fear, just like in fiction, one thing always leads to another. when i was writing my first novel, "the age of miracles," i spent months trying to figure out what would happen if the rotation of the earth suddenly began to slow down. what would happen to our days?

恐惧中，如同小说一样，一件事情总是导致另一件事情。 我写我的第一部小说《奇迹时代》的时候， 我花了数月的时间想象如果地球旋转突然变慢了之后 会发生什么。 我们的一天变得如何?

what would happen to our crops? what would happen to our minds? and then it was only later that i realized how very similar these questions were to the ones i used to ask myself as a child frightened in the night.

我们身体会怎样? 我们的思想会有什么变化? 也就是在那之后，我意识到 我过去总是问自己的那些些问题 和孩子们在夜里害怕是多么的相像。

if an earthquake strikes tonight, i used to worry, what will happen to our house? what will happen to my family? and the answer to those questions always took the form of a story.

要是在过去，如果今晚发生地震，我会很担心， 我的房子会怎么样啊?家里人会怎样啊? 这类问题的答案通常都会和故事一样。

so if we think of our fears as more than just fears but as stories, we should think of ourselves as the authors of those stories. but just as importantly, we need to think of ourselves as the readers of our fears, and how we choose to read our fears can have a profound effect on our lives.

所以我们认为我们的恐惧不仅仅是恐惧 还是故事，我们应该把自己当作 这些故事的作者。 但是同样重要的是，我们需要想象我们自己 是我们恐惧的解读者，我们选择如何 去解读这些恐惧会对我们的生活产生深远的影响。

now, some of us naturally read our fears more closely than others. i read about a study recently of successful entrepreneurs, and the author found that these people shared a habit that he called "productive paranoia," which meant that these people, instead of dismissing their fears, these people read them closely, they studied them, and then they translated that fear into preparation and action.

现在，我们中有些人比其他人更自然的解读自己的恐惧。 最近我看过一个关于成功的企业家的研究， 作者发现这些人都有个习惯 叫做“未雨绸缪“， 意思是，这些人，不回避自己的恐惧， 而是认真解读并研究恐惧， 然后把恐惧转换成准备和行动。

so that way, if their worst fears came true, their businesses were ready.

这样，如果最坏的事情发生了， 他们的企业也有所准备。

and sometimes, of course, our worst fears do come true. that's one of the things that is so extraordinary about fear. once in a while, our fears can predict the future.

当然，很多时候，最坏的事情确实发生了。 这是恐惧非凡的一面。 曾几何时，我们的恐惧预测将来。

but we can't possibly prepare for all of the fears that our imaginations concoct. so how can we tell the difference between the fears worth listening to and all the others? i think the end of the story of the whaleship essex offers an illuminating, if tragic, example.

但是我们不可能为我们想象力构建的所有 恐惧来做准备。 所以，如何区分值得听从的恐惧 和不值得的呢? 我想捕鲸船essex的故事结局 提供了一个有启发性，同时又悲惨的例子。

after much deliberation, the men finally made a decision. terrified of cannibals, they decided to forgo the closest islands and instead embarked on the longer and much more difficult route to south america.

经过数次权衡，他们最终做出了决定。 由于害怕食人族，他们决定放弃最近的群岛 而是开始更长 更艰难的南美洲之旅。

after more than two months at sea, the men ran out of food as they knew they might, and they were still quite far from land. when the last of the survivors were finally picked up by two passing ships, less than half of the men were left alive, and some of them had resorted to their own form of cannibalism.

在海上呆了两个多月后，他们 的食物如预料之中消耗殆尽， 而且他们仍然离陆地那么远。 当最后的幸存者最终被过往船只救起时， 只有一小半的人还活着， 实际上他们中的一些人自己变成了食人族。

herman melville, who used this story as research for "moby dick," wrote years later, and from dry land, quote, "all the sufferings of these miserable men of the essex might in all human probability have been avoided had they, immediately after leaving the wreck, steered straight for tahiti.

赫尔曼·梅尔维尔(herman melville)将这个故事作为 《白鲸记》的素材，在数年后写到： essex船上遇难者的悲惨结局 或许是可以通过人为的努力避免的， 如果他们当机立断地离开沉船， 直奔塔西提群岛。

but," as melville put it, "they dreaded cannibals." so the question is, why did these men dread cannibals so much more than the extreme likelihood of starvation?

“但是”，梅尔维尔说道：“他们害怕食人族” 问题是，为什么这些人对于食人族的恐惧 超过了更有可能的饥饿威胁呢?

why were they swayed by one story so much more than the other? looked at from this angle, theirs becomes a story about reading. the novelist vladimir nabokov said that the best reader has a combination of two very different temperaments, the artistic and the scientific.

为什么他们会被一个故事 影响如此之大呢? 从另一个角度来看， 这是一个关于解读的故事。 小说家弗拉基米尔·纳博科夫(vladimir nabokov)说 最好的读者能把两种截然不同的性格结合起来， 一个是艺术气质，一个是科学精神。

a good reader has an artist's passion, a willingness to get caught up in the story, but just as importantly, the readers also needs the coolness of judgment of a scientist, which acts to temper and complicate the reader's intuitive reactions to the story. as we've seen, the men of the essex had no trouble with the artistic part.

好的读者有艺术家的热情， 愿意融入故事当中， 但是同样重要的是，这些读者还要 有科学家的冷静判断， 这能帮助他们稳定情绪并分析 其对故事的直觉反应。 我们可以看出来，essex上的人在艺术部分一点问题都没有。

they dreamed up a variety of horrifying scenarios. the problem was that they listened to the wrong story. of all the narratives their fears wrote, they responded only to the most lurid, the most vivid, the one that was easiest for their imaginations to picture: cannibals.

他们梦想到一系列恐怖的场景。 问题在于他们听从了一个错误的故事。 所有他们恐惧中 他们只对其中最耸人听闻，最生动的故事， 也是他们想象中最早出现的场景： 食人族。

but perhaps if they'd been able to read their fears more like a scientist, with more coolness of judgment, they would have listened instead to the less violent but the more likely tale, the story of starvation, and headed for tahiti, just as melville's sad commentary suggests.

也许，如果他们能像科学家那样 稍微冷静一点解读这个故事， 如果他们能听从不太惊悚但是更可能发生的 半路饿死的故事，他们可能就会直奔塔西提群岛， 如梅尔维尔充满惋惜的评论所建议的那样。

and maybe if we all tried to read our fears, we too would be less often swayed by the most salacious among them.

也许如果我们都试着解读自己的恐惧， 我们就能少被 其中的一些幻象所迷惑。

maybe then we'd spend less time worrying about serial killers and plane crashes, and more time concerned with the subtler and slower disasters we face: the silent buildup of plaque in our arteries, the gradual changes in our climate.

我们也就能少花一点时间在 为系列杀手或者飞机失事方面的担忧， 而是更多的关心那些悄然而至 的灾难： 动脉血小板的逐渐堆积， 气候的逐渐变迁。

just as the most nuanced stories in literature are often the richest, so too might our subtlest fears be the truest. read in the right way, our fears are an amazing gift of the imagination, a kind of everyday clairvoyance, a way of glimpsing what might be the future when there's still time to influence how that future will play out.

如同文学中最精妙的故事通常是最丰富的故事， 我们最细微的恐惧才是最真实的恐惧。 用正确的方法的解读，我们的恐惧就是我们想象力 赐给我们的礼物，借此一双慧眼， 让我们能管窥未来 甚至影响未来。

properly read, our fears can offer us something as precious as our favorite works of literature: a little wisdom, a bit of insight and a version of that most elusive thing -- the truth. thank you.

如果能得到正确的解读，我们的恐惧能 和我们最喜欢的文学作品一样给我们珍贵的东西： 一点点智慧，一点点洞悉 以及对最玄妙东西—— 真相的诠释。 谢谢。

(applause)

(掌声)