英漢對(duì)照

Lesson 1 How Closely Connected Are We？

第一課 我們之間的聯(lián)系有多緊密？

Research shows the average person only has regular communication with between seven and fifteen people, and that most of our communication is in fact with five to ten people who are closest to us. However, perhaps we are closer to the rest of the world than we think. Six Degrees of Separation refers to the theory that any person on Earth can be connected to any other person through a chain of no more than five other people.

研究表明，普通人只與7 至15 個(gè)人經(jīng)常保持聯(lián)系，而且其中大部分的交流實(shí)際上只發(fā)生在5 到10 個(gè)親近的人身上。不過(guò)，也許我們與世界上其他人的聯(lián)系比想象中的更緊密。六度分隔理論說(shuō)的是地球上任何人都可通過(guò)不超過(guò)另外五個(gè)人與一個(gè)陌生人聯(lián)系起來(lái)。

The concept was first talked about as long ago as in the 1920s. The Hungarian author Frigyes Karinthy published a book calledEverything Is Differentin 1929, in which he introduced the idea of friendship networks and his ideas influenced many of our early impressions of social networks.

這個(gè)概念早在20世紀(jì)20年代就被提出。匈牙利作家弗里吉斯·考林蒂在1929年出版了《一切皆不同》一書(shū)，書(shū)中介紹了朋友關(guān)系網(wǎng)的概念，許多早期關(guān)于社交網(wǎng)絡(luò)的構(gòu)想都受到他思想的影響。

In the 1950s, an attempt was made by two scientists to prove the theory mathematically; but after twenty years, they still had not had any success. In 1967, an American sociologist called Stanley Milgram tried using a new method to test the theory, which he called the small-world problem. He chose a random sample of people in the middle of America and asked them to send packages to a stranger in the state of Massachusetts. The people sending the packages only knew the name, job and general location of the stranger. Milgram told them to send the package to a person they knew personally who they thought might know the target stranger. once the parcel had been received by this person, he/she would send the parcel onto a contact of theirs until the parcel could be personally delivered to the correct person. Amazingly, it only took between five and seven people to get the parcels delivered, and once released, the results were published in the bimonthly magazinePsychology Today. It was this research that inspired the phrase Six Degrees of Separation.

20世紀(jì)50年代，兩位科學(xué)家試圖用數(shù)學(xué)方法證明該理論，但20年過(guò)去了，仍未成功。1967年，美國(guó)社會(huì)學(xué)家斯坦利·米爾格拉姆試圖用新的方法來(lái)驗(yàn)證這一理論，他稱之為小世界問(wèn)題。米爾格拉姆在美國(guó)中部隨機(jī)抽取一部分人作為樣本，讓他們給馬薩諸塞州的一位陌生人寄包裹。這些寄送包裹的人只知道這位陌生人的姓名、工作和大致的位置。米爾格拉姆告訴這些人先把包裹寄給認(rèn)為有可能認(rèn)識(shí)目標(biāo)收件人的熟人。一旦此人收到包裹，他或她就會(huì)將包裹再發(fā)給認(rèn)識(shí)的人，直到包裹被送到目標(biāo)收件人手中。令人驚訝的是，這些包裹只需通過(guò)5至7個(gè)人就能送到正確的人手中。結(jié)果一經(jīng)公布，便發(fā)表在雙月刊《今日心理學(xué)》上。正是這項(xiàng)研究啟發(fā)了六度分隔這一說(shuō)法。

In the last few decades, the theory and the phrase have appeared again. Its name was used as the title of a play and then a film. Then, more films and TV programmes based on the concept were made and broadcast. For example, the Oscar-winning filmBabelis based on the concept of Six Degrees of Separation. The lives of all the characters were closely connected, although they did not know each other and lived thousands of miles apart. The television seriesLostalso explored the idea of Six Degrees of Separation, as almost all the characters had randomly met each other, or had met someone the other characters knew, before they were all in the same plane crash. In the mid-1990s, two college students in the United States invented a game. The idea of the game was to link any actor to Kevin Bacon, a famous American actor and musician, through no more than six links. Soon the game was being played in universities across the United States.

在過(guò)去的幾十年里，這一理論和說(shuō)法又再次出現(xiàn)。它被用作戲劇標(biāo)題和電影名稱。隨后，更多基于這一理論的影視節(jié)目相繼拍攝、播出。例如，奧斯卡獲獎(jiǎng)影片《通天塔》就是基于六度分隔這一概念。影片中所有人物彼此不認(rèn)識(shí)、相隔千里，但他們的生活都是緊密相連的。電視連續(xù)劇《迷失》也探討了六度分隔的理論，劇中失事飛機(jī)上幾乎所有人物此前都曾偶遇，或曾遇見(jiàn)其他人物認(rèn)識(shí)的人。上世紀(jì)90年代中期，美國(guó)兩名大學(xué)生發(fā)明了一款游戲。這個(gè)游戲的玩法是用不超過(guò)六個(gè)聯(lián)結(jié)將任意一個(gè)演員與著名演員、音樂(lè)家凱文·貝肯聯(lián)系起來(lái)。這款游戲很快在美國(guó)的大學(xué)里流行起來(lái)。

In 2003, Columbia University tried to recreate Milgram’s experiment on the Internet. This became known as the Columbia Small-world Project. The experiment involved 24,163 email chains with 18 target people in 13 different countries. The results confirmed that the average number of links

in the chain was six.

2003年，哥倫比亞大學(xué)嘗試在互聯(lián)網(wǎng)上重現(xiàn)米爾格拉姆的實(shí)驗(yàn)，被稱為哥倫比亞小世界項(xiàng)目。這項(xiàng)實(shí)驗(yàn)涉及24163個(gè)電子郵件鏈接，覆蓋了來(lái)自13個(gè)國(guó)家的18個(gè)目標(biāo)人物。實(shí)驗(yàn)結(jié)果證實(shí)，聯(lián)絡(luò)串上的連接平均數(shù)量是6個(gè)。

Most recently, an experiment in 2011 at the University of Milan analysed the relationship between 721 million social media users and found that 92 percent were connected by only four stages, or five degrees of separation.

最新的是2011年米蘭大學(xué)的一項(xiàng)實(shí)驗(yàn)，該實(shí)驗(yàn)分析了7.21億社交媒體用戶之間的關(guān)系，發(fā)現(xiàn)92%的用戶只需通過(guò)四個(gè)階段(即五度分隔)，就可建立聯(lián)系。

So, think about it for a minute: How might you be connected to the driver of the bus you regularly take or the person who delivers your parcels?

所以，思考一下這個(gè)問(wèn)題：你與你經(jīng)常乘坐的公交車司機(jī)或給你送包裹的人可能存在怎樣的聯(lián)系？

英漢對(duì)照

Lesson 3 Anne of Green Gables

第三課 綠山墻的安妮

Marilla saw Matthew in the front yard and immediately rushed to the door. But when her eyes fell on the odd little figure in the stiff, ugly dress, with the long red hair and the eager, bright eyes, she froze in amazement.

瑪麗拉看見(jiàn)馬修到前院了，立刻沖到門(mén)口。但當(dāng)她的目光落在那個(gè)衣服不合身又難看、長(zhǎng)著紅色長(zhǎng)頭發(fā)、眼睛熱切而明亮的古怪小人身上時(shí)，她驚呆了。

Matthew Cuthbert, who’s that? she asked. Where is the boy?

馬修·卡斯伯特，她是誰(shuí)？那個(gè)男孩子呢？她問(wèn)道。

There wasn’t any boy, said Matthew. There was only her.

沒(méi)有男孩子，只有她在那里。馬修答道。

He nodded at the child, remembering that he had never even asked her name.

他向那孩子點(diǎn)了點(diǎn)頭，突然想起自己甚至還沒(méi)有問(wèn)過(guò)女孩兒的名字。

No boy! But there must have been a boy, insisted Marilla. We sent word to Mrs Spencer to bring a boy.

沒(méi)有男孩兒！可是一定得有個(gè)男孩兒，瑪麗拉堅(jiān)持說(shuō)。我們給斯賓塞太太捎口信要帶個(gè)男孩子來(lái)的呀。

Well, she didn’t. She brought her. She arrived at train station and couldn’t be left there alone.

好吧，她沒(méi)有。斯賓塞太太只帶來(lái)了這個(gè)孩子。她到了火車站，總不能把她一個(gè)人扔在那兒吧。

During this dialogue the child had remained silent. Suddenly she seemed to grasp the full meaning of what had been said. She sprang forward a step and clasped her hands.

倆人說(shuō)話時(shí)，這孩子一聲不吭。突然，她似乎完全明白了他們說(shuō)話的意思，沖上前一步，雙手緊握。

You don’t want me! the girl cried. You don’t want me because I’m not a boy! I might have expected it. I might have known it was all too beautiful to last. I might have known nobody really did want me. Oh, what am I going to do? I’m going to burst into tears!

你們不想要我！她大喊道。你們不想要我，就因?yàn)槲也皇悄泻?！我早就?yīng)該料到。我早就應(yīng)該知道這件事太美好，無(wú)法持久。我早就應(yīng)該想到?jīng)]人真得想要我。哦，我該怎么辦呀？我馬上就要哭出來(lái)了！

Burst into tears she did. Sitting down on a chair by the table, throwing her arms on it, and burying her face in them, she proceeded to cry stormily. Marilla and Matthew looked at each other. Neither of them knew what to say or do. Finally Marilla stepped in to try to comfort the child.

她立刻哭了起來(lái)。一下坐到桌邊的椅子上，撲到桌上，臉埋在臂彎里，放聲大哭?，旣惱婉R修面面相覷，都不知道該說(shuō)什么，也不知道該做點(diǎn)兒什么。最后瑪麗拉試著走上前安慰這個(gè)孩子。

Well, well, there’s no need to cry so about it.

好啦，好啦，沒(méi)必要為這事兒哭成這樣。

Yes, there is need! The child raised her head, revealing a tear-stained face. You would cry, too, if you were an orphan and had come to a place you thought was going to be home and found that they didn’t want you because you weren’t a boy.

有，有必要！那孩子抬起頭，露出一張淚痕斑斑的臉。如果你是個(gè)孤兒，來(lái)到一個(gè)滿以為會(huì)成為自己家的地方，卻發(fā)現(xiàn)他們并不想要你，因?yàn)槟悴皇莻€(gè)男孩，你也會(huì)哭的。

Well, don’t cry anymore. We’re not going to send you off tonight. You’ll have to stay here until we investigate this affair. What’s your name?

好吧，別再哭了。今晚我們不會(huì)送你走的。在我們搞清楚這件事之前，你先待在這兒。你叫什么名字？

Anne, said the child sadly.

我叫安妮，孩子悲傷地說(shuō)。

Well, come along, Anne. It’s dinner time.

好的，來(lái)吧，安妮，該吃晚飯了。

They all sat down for dinner but Anne could not eat. She tried to enjoy the bread and butter and the apple jam out of the little glass dish by her plate but she had no appetite.

他們都坐下來(lái)吃飯，但安妮吃不下。她試著吃點(diǎn)兒面包、黃油和擺在她盤(pán)子旁邊小玻璃碟里的蘋(píng)果醬，但一點(diǎn)胃口都沒(méi)有。

You’re not eating anything, said Marilla sharply, eying her as if it were a serious problem. Anne sighed.

你什么都沒(méi)吃，瑪麗拉嚴(yán)厲地說(shuō)，眼睛盯著她，好像這是個(gè)嚴(yán)重的問(wèn)題。安妮嘆了口氣。

I can’t. I’m in the depths of despair. Can you eat when you are in the depths of despair?

我吃不下。我徹底絕望了。你徹底絕望的時(shí)侯還能吃得下東西嗎？

I’ve never been in the depths of despair, so I can’t say, responded Marilla.

我從來(lái)沒(méi)有完全絕望的時(shí)候，所以沒(méi)法回答，瑪麗拉回答道。

Weren’t you? Well, did you ever try to imagine you were in the depths of despair?

你沒(méi)有過(guò)嗎？好吧，那你有沒(méi)有試著想象自己陷入了絕望的深淵？

No, I didn’t.

不，沒(méi)想過(guò)。

I guess she’s tired, said Matthew. Best put her to bed, Marilla.

我想她一定是累了，馬修說(shuō)。最好讓她去睡覺(jué)吧，瑪麗拉。

Marilla had been wondering where Anne should be put to bed. She decided on the small bedroom on the first floor. She lit a candle and told Anne to follow her, which Anne did, taking her hat and bag from the hall table as she passed. The hall was perfectly clean; the little room in which she found herself seemed still cleaner.

瑪麗拉一直在想應(yīng)該讓安妮睡在哪里，最后決定安排在一樓的小臥室。她點(diǎn)了根蠟燭，叫安妮跟著她。安妮跟了上來(lái)，路過(guò)大廳時(shí)從桌子上拿起自己的帽子和包。大廳非常干凈，她發(fā)現(xiàn)自己進(jìn)來(lái)的這間小屋似乎更干凈。

Marilla set the candle on a three-legged table and turned down the bedclothes.

瑪麗拉把蠟燭放在一張三腿桌上，鋪開(kāi)床褥。

Well, undress as quick as you can and go to bed. I’ll come back in a few minutes for the candle. I daren’t trust you to put it out yourself. You’d likely set the place on fire.

好了，趕快脫掉衣服上床睡覺(jué)吧。幾分鐘后我會(huì)回來(lái)拿蠟燭，我可不放心讓你自己吹滅蠟燭，你很可能會(huì)放火燒了這個(gè)地方。

When Marilla had gone, Anne looked around her sadly. The whitewashed walls were so painfully bare. The floor was bare, too. In one corner was the bed, a high, old-fashioned one of dark wood. Midway between table and bed was the window, with an icy white curtain over it. There was no restroom, but there was a wash stand with a faucet in the other corner. The whole room felt cold and unwelcoming, which sent a shiver through Anne’s bones. With a sob she quickly undressed, put on her nightclothes and jumped into bed where she pressed her face down into the pillow and pulled the clothes over her head.

瑪麗拉走后，安妮悲傷地環(huán)顧四周。四周的墻壁粉刷得雪白，什么裝飾也沒(méi)有。地板上也空蕩蕩的，角落里有一張床，一張高高的老式深色木床。桌子和床的中間有一扇窗，窗上掛著一塊冰白色的窗簾。房間里沒(méi)有洗手間，但另一個(gè)角落有一個(gè)帶水龍頭的洗漱臺(tái)。整個(gè)房間讓人感到寒冷而陌生，安妮渾身打了個(gè)冷戰(zhàn)。她抽泣著，迅速脫下衣服，穿上睡衣，跳到床上，把臉埋在枕頭里，拉過(guò)棉被蒙住腦袋。

When Marilla came up for the light, she saw the untidy way the clothing had been thrown on the floor. She carefully picked up Anne’s clothes, placed them neatly on a yellow chair, and then, taking up the candle, went over to the bed.

瑪麗拉回來(lái)取蠟燭時(shí)，看到安妮的衣服亂七八糟地扔在地上，便仔細(xì)地拾起衣服，整齊地放在黃色的椅子上，然后拿起蠟燭，走到床邊。

Good night,she said, a little awkwardly, but not unkindly.

晚安，她口氣有些生硬，但透著一絲溫情。

Anne’s white face and big eyes appeared over the bedclothes. How can you call it a good night when you know it must be the very worst night I’ve ever had? she said disapprovingly. Then she dived down into the bedclothes again.

安妮從被子里露出蒼白的臉蛋和大眼睛。你明明知道這一定是我度過(guò)的最糟糕的一晚，還說(shuō)什么晚安呢？她反駁道。然后又鉆進(jìn)了被子里。

To bed went Matthew. And to bed, when she had put her dishes away, went Marilla, frowning most resolutely. And up-stairs, in the east gable, a lonely, heart-hungry, friendless child cried herself to sleep.

馬修上床睡覺(jué)了?，旣惱帐巴瓯P(pán)子，緊緊地皺著眉頭，也回到房間休息了。樓上東山墻那邊的房間里，一個(gè)孤獨(dú)、心灰意冷、沒(méi)有朋友的孩子，哭泣著進(jìn)入了夢(mèng)鄉(xiāng)。

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