【正文】 ，如果今天我能抽出時(shí)間的話，我會(huì)找醫(yī)務(wù)人員的。 Finally, she39。 Each time mine broke down, lost a screw, needed a new roller bearing, the brake wouldn39。 Government cuts in welfare have resulted in hunger and suffering for a lot of people, not just me. 政府削減福利開(kāi)支已經(jīng)導(dǎo)致許多人挨餓受苦，我只是其中之一。 I wonder what she39。m an active worker, not a vegetable. 我是個(gè)工作很積極的人，又不是植物人。ve heard that you put a lot more miles on that wheelchair than average.“您是知道的，卡拉漢先生，我聽(tīng)說(shuō)您的那輛輪椅比一般人用得多得多。由于福利部門不愿意花錢好好地修理，所以它總是壞?！?Suzanne tries to lecture me about repairs to my wheelchair, which is always breaking down because welfare won39。m sorry, but I don39。 Instead, I talked back. 但是我卻將她頂了回去。d better have a receipt for it, by God. You have to report any donations or gifts.“那么，你最好要張收據(jù)，真的，你接受任何捐獻(xiàn)或禮物都要報(bào)告。d you get the money for those? she wanted to know.便想知道：“你從哪兒弄到錢來(lái)買這些？” Friends and family.“從朋友和家人那兒。 But after a few years in a system that practically requires people to lie, they bee like the one I shall call Suzanne, a detective in shorts.可是，在這個(gè)實(shí)際上是要人撒謊的體制里干了幾年后，他們就變得與那個(gè)叫“蘇珊娜”的人一樣了──一個(gè)穿運(yùn)動(dòng)短褲的偵探。我并不是故意感到忿忿不平。 Deep down, caseworkers know that they are being made fools of by many of their clients, and they feel they are entitled to have clients bow to them as pensation. I39。 As a welfare client I39。s puter. 他們會(huì)保留我的記錄，而這些記錄會(huì)直接進(jìn)入政府的電腦。m tempted to get paid under the table. 哦，私下里領(lǐng)一筆錢當(dāng)然對(duì)我挺有吸引力， But even if I yielded to that temptation, big magazines are not going to get involved in some sticky situation. 但即使我擋不住這種誘惑，我投稿的那些大雜志也不會(huì)去給自己惹麻煩。 I have opted to live a life of plete honesty. 我選擇了過(guò)一種完全誠(chéng)實(shí)的生活， So instead, I go out and drum up some business and draw cartoons. 因此我不會(huì)那樣做，而是四處找活，攬些畫(huà)漫畫(huà)的活。 Faced with sharing a dinner of raw pet food with the cat, many people in wheelchairs I know bleed the system for a few extra dollars. 當(dāng)我認(rèn)識(shí)的許多坐輪椅的人面臨與寵物貓分吃生貓食的窘境時(shí)，都會(huì)向福利機(jī)構(gòu)多騙取幾美元。但是人們不禁會(huì)感到，卓別林一定會(huì)把這一奇怪的事件看作是對(duì)他的十分恰當(dāng)?shù)募o(jì)念──他以這種方式給這個(gè)自己曾為之帶去這么多笑聲的世界留下最后的笑聲。t help feeling Chaplin would have regarded this strange incident as a fitting memorial—his way of having the last laugh on a world to which he had given so many.警方追回了他的尸體，其效率比麥克 The police recovered it with more efficiency than Mack Sennett39。 Chaplin died on Christmas Day 1977. 卓別林死于1977年圣誕節(jié)。s life became as many unfounded rumors surrounded them both—and, later on, she was the center of calm in the quarrels that Chaplin sometimes sparked in his own large family of talented children.由于沃娜本人出生在一個(gè)被各種麻煩困擾的大家庭，她對(duì)卓別林生活中將面臨的挑戰(zhàn)也做好了充分準(zhǔn)備，因?yàn)楫?dāng)時(shí)關(guān)于他倆有很多毫無(wú)根據(jù)的流言。他們的年齡差別太大，以致當(dāng)1942年他們要結(jié)婚時(shí)，新娘公布了他們的結(jié)婚日期后，為他們辦理手續(xù)的官員問(wèn)這位漂亮的17歲姑娘：“那個(gè)年輕人在哪兒？”──當(dāng)時(shí)已經(jīng)54歲的卓別林小心翼翼在外面等候著。卓別林這個(gè)伴侶。d given notice of their wedding date, he said, And where is the young man? —Chaplin, then 54, had cautiously waited outside. 他找到了沃娜 In Oona O39。 It39。ll be waiting to walk into the sunset with him。 Yet even this painfullybought selfknowledge found its way into his ic creations. 然而即使是這種以沉重代價(jià)換來(lái)的自知之明也在他的喜劇創(chuàng)作中得到了表現(xiàn)。 He also had a deep need to be loved—and a corresponding fear of being betrayed. 他也深切地渴望被愛(ài)，同時(shí)也害怕遭到背叛。 This physical transformation, plus the skill with which he executed it again and again, is surely the secret of Chaplin39。 Thus, a broken alarm clock in the movie The Pawnbroker became a sick patient undergoing surgery。 Lifeless objects especially helped Chaplin make contact with himself as an artist. 沒(méi)有生命的物體特別有助于卓別林發(fā)揮自己藝術(shù)家的天賦。 he was the kind of ic who used his physical senses to invent his art as he went along. 卓別林并沒(méi)有把他的笑料事先寫(xiě)成文字。 Chaplin didn39。t be me. Is that possible? How extraordinary, is how he greeted the first sight of himself as the Tramp on the screen.當(dāng)他第一次在銀幕上看到自己扮演的“流浪漢”時(shí)，他說(shuō)：“這不可能是我。 He already had the urge to explore and extend a talent he discovered in himself as he went along. 在事業(yè)發(fā)展之初，他就感到一種沖動(dòng)要去發(fā)掘并擴(kuò)展自己身上所顯露的天才。 He was an immensely talented man, determined to a degree unusual even in the ranks of Hollywood stars. 他是一個(gè)才能非凡的人，他的決心之大甚至在好萊塢明星中也十分少見(jiàn)。s doubtful if he would have achieved world fame. 但假如他在早期那些短小的喜劇電影中能操一口受教育人的口音，那么他是否會(huì)聞名世界就難說(shuō)了， And the English would have been sure to find it odd. No one was certain whether Chaplin did it on purpose but this helped to bring about his huge success.而英國(guó)人也肯定會(huì)覺(jué)得這很“古怪”。 But if he39。 He later said he imagined the Tramp to be a collegeeducated gentleman who39。 He postponed that day as long as possible: In Modern Times in 1936, the first film in which he was heard as a singing waiter, he made up a nonsense language which sounded like no known nationality. 他盡可能地推遲那一天的到來(lái)：在 1936 的《摩登時(shí)代》里，他第一次在影片里發(fā)聲唱歌。t it? 另外，“流浪漢”瞟著漂亮女孩的眼神也有些粗俗，被英國(guó)觀眾認(rèn)為不太正派──只有外國(guó)人才那樣，不是嗎？ But for over half of his screen career, Chaplin had no screen voice to confirm his British nationality.而在卓別林大半的銀幕生涯中，銀幕上的他是不出聲的，也就無(wú)從證明他是英國(guó)人。s quick eye for a pretty girl had a coarse way about it that was considered, well, not quite nice by English audiences—that39。t sport tiny moustaches, huge pants or tail coats: European leaders and Italian waiters wore things like that. 英國(guó)流浪者并不留小胡子，也不穿肥大的褲子或燕尾服：歐洲的領(lǐng)導(dǎo)人和意大利的侍者才那樣穿戴。t seem all that English or even workingclass. 盡管如此，卓別林的滑稽乞丐形象并不那么像英國(guó)人，甚至也不像勞動(dòng)階級(jí)的人。 All the same, Chaplin39。 the workingclass audiences were more likely to clap for a character who revolted against authority, using his wicked little cane to trip it up, or aiming the heel of his boot for a wellplaced kick at its broad rear. 中產(chǎn)階級(jí)當(dāng)然這樣認(rèn)為。s Tramp a bit, well, crude. 令人遺憾的是，20世紀(jì)二、三十年代的很多英國(guó)人認(rèn)為卓別林的“流浪漢”多少有點(diǎn)“粗俗”。塞納特的旗下工作。 Chaplin quit Britain for good in 1913 when he journeyed to America with a group of performers to do his edy act on the stage, where talent 6scouts/6 recruited him to work for Mack Sennett, the king of Hollywood edy films.在1913年，卓別林永久地離開(kāi)了英國(guó)，與一些演員一起啟程到美國(guó)進(jìn)行舞臺(tái)喜劇