【導(dǎo)讀】你的恢復(fù)速率是多少？戀情；青春是生命的深泉在涌流。青春氣貫長(zhǎng)虹，勇銳蓋過(guò)怯弱，進(jìn)取壓倒茍安。如此銳氣，二十后生而有之，六旬男子則更多見(jiàn)。年歲有加，并非垂老，理想丟棄，方墮暮年。歲月悠悠，衰微只及肌膚；熱忱拋卻，頹廢必致靈魂。憂煩，惶恐，喪失自信，定使心靈扭曲，無(wú)論年屆花甲，擬或二八芳齡，心中皆有生命之歡樂(lè)，奇跡之誘惑，孩童般天真久盛不衰。一旦天線下降，銳氣便被冰雪覆蓋，玩世不恭、自暴自棄油然而生，即使年方二十，實(shí)已垂垂老矣；然則只要樹(shù)起天線，捕捉樂(lè)觀信號(hào)，你就有望在八十高齡告別塵寰時(shí)仍覺(jué)年輕。

　　

【正文】 過(guò)了他們商業(yè)生涯中最初的時(shí)光。我注意到我們現(xiàn)在辦公室里都有工友，于是年輕人就不幸錯(cuò)過(guò)了商業(yè)教育中這個(gè)有益的環(huán)節(jié)。如果碰巧哪天上午專職掃地的工友沒(méi)有來(lái)，某個(gè)具有未來(lái)合伙人氣質(zhì)的年輕人會(huì)毫不猶豫地試著拿起掃帚。在必要時(shí)新來(lái)的員工掃掃地也無(wú)妨，不會(huì)因?yàn)槎惺裁磽p失。我自己就曾經(jīng)掃過(guò)地。 假如你已經(jīng)被錄用，并且有了一個(gè)良好的開(kāi)端，我對(duì)你的建 議是：要志存高遠(yuǎn)。一個(gè)年輕人，如果不把自己想象成一家大公司未來(lái)的老板或者是合伙人，那我會(huì)對(duì)他不屑一顧。不論職位有多高，你的內(nèi)心都不要滿足于做一個(gè)總管，領(lǐng)班或者總經(jīng)理。要對(duì)自己說(shuō)：我要邁向頂尖！要做就做你夢(mèng)想中的國(guó)王！ 成功的首要條件和最大秘訣就是：把你的精力，思想和資本全都集中在你正從事的事業(yè)上。一旦開(kāi)始從事某種職業(yè)，就要下定決心在那一領(lǐng)域闖出一片天地來(lái)；做這一行的領(lǐng)導(dǎo)人物，采納每一點(diǎn)改進(jìn)之心，采用最優(yōu)良的設(shè)備，對(duì)專業(yè)知識(shí)熟稔于心。 一些公司的失敗就在于他們分散了資金，因?yàn)檫@就意味著分散 了他們的精力。他們向這方面投資，又向那方面投資；在這里投資，在那里投資，到處都投資。 ―不要把所有的雞蛋放在一個(gè)籃子里 ‖的說(shuō)法大錯(cuò)特錯(cuò)。我要對(duì)你說(shuō)： ―把所有的雞蛋都放在一個(gè)籃子里，然后小心地看好那個(gè)籃子。 ‖看看你周圍，你會(huì)注意到：這么做的人其實(shí)很少失敗。看管和攜帶一個(gè)籃子并不太難。人們總是試圖提很多籃子，所以才打破這個(gè)國(guó)家的大部分雞蛋。提三個(gè)籃子的人，必須把一個(gè)頂在頭上，而這個(gè)籃子很可能倒下來(lái)，把他自己絆倒。美國(guó)商人的一個(gè)缺點(diǎn)就是不夠?qū)Ｗⅰ? 把我的話歸納一下：要志存高遠(yuǎn)；不要出入酒吧；要滴酒不沾，或 要喝也只在用餐時(shí)喝少許；不要做投機(jī)買賣；不要寅吃卯糧；要把公司的利益當(dāng)作自己的利益；取消訂貨的目的永遠(yuǎn)是為了挽救貨主；要專注；要把所有的雞蛋放在一個(gè)籃子里，然后小心地看好它；要量入為出；最后，要有耐心，正如愛(ài)默生所言， ―誰(shuí)都無(wú)法阻止你最終成功，除非你自己承認(rèn)自己失敗。 ‖ 生而為贏 —— 慧普教育 英語(yǔ)背誦美文 30 篇 文本 ~ 11 ~ 第九篇： On Meeting the Celebrated 論見(jiàn)名人 On Meeting the Celebrated I have always wondered at the passion many people have to meet the celebrated. The prestige you acquire by being able to tell your friends that you know famous men proves only that you are yourself of small account. The celebrated develop a technique to deal with the persons they e across. They show the world a mask, often an impressive on, but take care to conceal their real selves. They play the part that is expected from them, and with practice learn to play it very well, but you are stupid if you think that this public performance of theirs corresponds with the man within. I have been attached, deeply attached, to a few people。 but I have been interested in men in general not for their own sakes, but for the sake of my work. I have not, as Kant enjoined, regarded each man as an end in himself, but as material that might be useful to me as a writer. I have been more concerned with the obscure than with the famous. They are more often themselves. They have had no need to create a figure to protect themselves from the world or to impress it. Their idiosyncrasies have had more chance to develop in the limited circle of their activity, and since they have never been in the public eye it has never occurred to them that they have anything to conceal. They display their oddities because it has never struck them that they are odd. And after all it is with the mon run of men that we writers have to deal。 kings, dictators, mercial magnates are from our point of view very unsatisfactory. To write about them is a venture that has often tempted writers, but the failure that has attended their efforts shows that such beings are too exceptional to form a proper ground for a work of art. They cannot be made real. The ordinary is the writer‘s richer field. Its unexpectedness, its singularity, its infinite variety afford unending material. The great man is too often all of a piece。 it is the little man that is a bundle of contradictory elements. He is inexhaustible. You never e to the end of the surprises he has in store for you. For my part I would much sooner spend a month on a desert island with a veterinary surgeon than with a prime minister. 譯文： 論見(jiàn)名人 許多人熱衷于見(jiàn)名人，我始終不得其解。在朋友面前吹噓自己認(rèn)識(shí)某某名人，同此而來(lái)的聲望只能證明自己的微不足道。名人個(gè)個(gè)練就了一套處世高招，無(wú)論遇上誰(shuí)，都能應(yīng)付自如。他們給世人展現(xiàn)的是一副面具，常常是美好難忘的面具，但他們會(huì)小心翼翼地掩蓋自己的真相。他們扮演的是大家期待的角色，演得多了，最后都能演得惟妙惟肖。如果你還以為他們?cè)诠娒?前的表演就是他們的真實(shí)自我，那就你傻了。 我自己就喜歡一些人，非常喜歡他們。但我對(duì)人感興趣一般不是因?yàn)樗麄冏陨淼木壒剩浅鲇谖夜ぷ餍枨?。正如康德勸告的那樣，我從?lái)沒(méi)有把認(rèn)識(shí)某人作為目的，而是將其當(dāng)作對(duì)一個(gè)作家有用的創(chuàng)作素材。比之名流顯士，我更加關(guān)注無(wú)名小卒。他們常常顯得較為自然真實(shí)，他們無(wú)須再創(chuàng)造另一個(gè)人物形象，用他來(lái)保護(hù)自己不受世人干擾，或者用他來(lái)感動(dòng)世人。他們的社交圈子有限，自己的種種癖性也就越有可能得到滋長(zhǎng)。因?yàn)樗麄儚膩?lái)沒(méi)有引起公眾的關(guān)注，也就從來(lái)沒(méi)有想到過(guò)要隱瞞什么。他們會(huì)表露他們古怪的一面，因?yàn)?他們從來(lái)就沒(méi)有覺(jué)得有何古怪?？傊?，作家要寫的是普通人。在我們看來(lái)，國(guó)王，獨(dú)裁者和商界大亨等都是不符合條件的。去撰寫這些人物經(jīng)常是作家們難以抗拒的冒險(xiǎn)之舉，可為此付出的努力不免以失敗告終，這說(shuō)明這些人物都過(guò)于特殊，無(wú)法成為一件藝術(shù)作品的創(chuàng)作根基，作生而為贏 —— 慧普教育 英語(yǔ)背誦美文 30 篇 文本 ~ 12 ~ 家也不可能把他們寫得真真切切。老百姓才是作家的創(chuàng)作沃土，他們或變幻無(wú)常，或難覓其二，各式人物應(yīng)有盡有，這些都給作家提供了無(wú)限的創(chuàng)作素材。大人物經(jīng)常是千人一面，小人物身上才有一組組矛盾元素，是取之不盡的創(chuàng)作源泉，讓你驚喜不斷。就我而言，如果在孤島上度過(guò)一個(gè)月，我寧愿和 一名獸醫(yī)相守，也不愿同一位首相做伴。 第十篇： The 50Percent Theory of Life 生活理論半對(duì)半 The 50Percent Theory of Life I believe in the 50percent theory. Half the time things are better than normal。 the other half, they re worse. I believe life is a pendulum swing. It takes time and experience to understand what normal is, and that gives me the perspective to deal with the surprises of the future. Let‘s benchmark the parameters: yes, I will die. I‘ve dealt with the deaths of both parents, a best friend, a beloved boss and cherished pets. Some of these deaths have been violent, before my eyes, or slow and agonizing. Bad stuff, and it belongs at the bottom of the scale. Then there are those high points: romance and marriage to the right person。 having a child and doing those Dad things like coaching my son‘s baseball team, paddling around the creek in the boat while he‘s swimming with the dogs, discovering his passion so deep it manifests even in his kindness to snails, his imagination so vivid he builds a spaceship from a scattered pile of Legos. But there is a vast meadow of life in the middle, where the bad and the good flipflop acrobatically. This is what convinces me to believe in the 50percent theory. One spring I planted corn too early in a bottomland so floodprone that neighbors laughed. I felt chagrined at the wasted effort. Summer turned brutalthe worst heat wave and drought in my lifetime. The airconditioned died。 the well went dry。 the marriage ended。 the job lost。 the money gone. I was living lyrics from a country tunemusic I loathed. Only a surging Kansas City Royals team buoyed my spirits. Looking back on that horrible summer, I soon understood that all succeeding good things merely offset the bad. Worse than normal wouldn‘t last long. I am owed and savor the halcyon times. The reinvigorate me for the next nasty surprise and offer assurance that can thrive. The 50percent theory even helps me see hope beyond