2006-11
1

重回自由人

By xrspook @ 18:45:10 归类于: 烂日记

月亮依旧,梦想依然

这是我昨天的照片,昨天心情不好,觉得这张挺上进的,不该毁掉气氛。这张用在今天,不错。多年之前是以为月光开始,当年我很喜欢抬头看月光,看天空,如今依然,月光又来了,还是多年前的那个,只是角度不同了。来了个首尾呼应,很简单,但很有意义。

结束了,终于关闭了,在关闭之前真的让人好伤心,但当事情真的发生以后人就没什么好伤心,没什么好说的了。心情不再压抑,这大概就验证了一句话“车到山前必有路,船到桥头自然直”。没有了那种忐忑不安,没有了那种伤心的感觉。我重回一个自由人,我再次自由了。那片遮在我眼前4年的叶子被无情地拿走了,眼前又出现了一个偌大的森林。感觉就像电脑的一个大程序停止了,于是内存和硬盘和内存大大地释放了出来,我又注意到生活的细节了。

今天早上正要喝牛奶的时候发现“伊利250mL”砖头奶不同了,底部写着“combibloc康美包”,下面还有一个小小的“SIG”标志,于是我找遍了整个牛奶,都找不到亲切的“Tetra Brik”标志,显然,这个牛奶用的包装不是我们常见的“利乐砖”,至于这个“康美包”是什么,我一点都不知道,但我隐隐觉得它就是我寻找了好久的“CP”。“IP”在不久前我已经在超市的冰柜里找到了,如今,在厄运发生的第二天我发现了“CP”。早上本来说要上4节工程原理的,但由于种种原因,只上了2节,于是回来就马上找这个“康美包”,果然不出我所料,这就是我要找的“CP”,但SIG公司(也是瑞士公司,和“利乐砖”的公司一样,都是在瑞士,不过就市场而言,两个是全球最大的无菌纸包装竞争对手啦)的康美包在中国或者说在世界还不是十分有名,起码,在Google搜索的时候,它的官方网站不在搜索结果的前几位,而且官方网站的速度有代改进。“康美包”在中国的市场暂时还不大,也只有在苏州的一个厂而已(利乐可以说已经在中国扎根了,有3个厂,分别是佛山、昆山和北京[“英叔”上课时只说有佛山和北京两个,其实昆山比北京的还要老,北京的厂是最新的])。我个人觉得。“康美包”和“利乐砖”从左、右、俯视都没区别,最大的区别是两种纸包装的底部,“康美包”的我觉得相对难看,而经典的“利乐砖”则给我稳当的感觉。二者都是无菌纸包装,但所用的纸的组成不同,利乐有7层,而康美只有5层,我不是说康美不安全,只是说明问题而已,少一点又能保证安全的话更好,一个利乐一个康美250mL的牛奶放在一起就能分明感觉到重量的不同了(改天拿去实验室的天平称一下就更明白)。于是今天就上了Tetra, CP,IP的网站转悠了好久,才不怕英文,看到那些机械设备我就兴奋。

傍晚坐在宿舍的时候无意中发现天又红了起来,和昨天一样,于是我就冲了出去,好漂亮!我喜欢:)不过还是太晚了,看不到太阳,或者是我太矮了(站在二楼),要不就是某个建筑物遮住了。整个天空都是红色的,云太多了,连成一片,如果云是散开的一朵一朵将更漂亮。于是我就站在宿舍门口,看着天空一边有所思地唱起了英文歌,好久好久都没有唱没有听那些英文歌了,我不知道自己为什么还会记得,当年,当我还是在高中的时候,同学一起看到如此的景色也一定会很高兴很雀跃的。没有重复过地唱,大概6、7首吧,天的红就渐渐退去,取而代之的是蓝。开始的时候只有零星几个宿舍有亮光管,随着时间的推移,很多很多都亮了起来,还有路灯,黄黄的路灯,都亮起来了,毕竟,天黑了。风吹过来有点凉,我最喜欢就是这种感觉了,华灯初上,身体感受的是寒,但万家灯火给我带来了内心的无限温暖。大家都该回家了吧,该吃饭了,该看新闻了……一天结束了,享受这个美好的晚上吧!

擦亮眼睛,我又能发掘到很多生活中的闪光点了。重回自由人的感觉,不错!!!

2006-11
1

Emotion and Reality

By xrspook @ 18:34:29 归类于: English

When I need someone to tell me how to solve with problem about emotion and reality, this essay appeared. It's one of the most difficult article of that book, the difficult level is the top five. It's the first essay I have met in this level. I will chew and digest it seriously.

quote from: 《2006大学英语六级考试规范阅读160篇》 P254~255

Emotion and Reality

It is notorious that facts are compatible with opposite emotional comments, since the same fact will inspire entirely different feelings in different persons and at different times in the same person; and here is no rational deducible connection between any outer fact and the sentiments it may happen to provoke. They have their source in another sphere of existence altogether, in the animal and spiritual region of the subject's being.

 

Conceive yourself, if possibly, suddenly stripped of all the emotion with which your world now inspires you, and try to imagine it as it exist, purely by itself, without your favorable or unfavorable, hopeful or apprehensive comment. It will be almost impossible for you to realize such a condition of negativity and deadness. No one portion of the universe would then have importance beyond another; and the whole collection of its things and series of its events would be without significance, character, expression, or perspective.

Whatever of value, interest, or meaning our respective worlds may appear endowed with thus pure gifts of the spectator's mind. The passion of love is the most familiar and extreme example of this fact. If it comes, it comes; if it doesn't come, no process of reasoning can force it. Yet it transforms the values of the creature loved as utterly as the sunrise transforms Mont. Blanc from a corpse-like gray to a rosy enchantment; and it sets the whole world to a new tune for the lover and gives a new issue to his life. So with fear, with indignation, jealousy, ambition worship. If they are there, life changes. And whether they shall be there or not depends almost always upon non-logical, often organic conditions. And as the excited interest which there passions put into the world is our gift to the world, just so are the passions themselves gifts; gifts to us, from sources sometimes low and sometimes high; but almost always non-logical and beyond our control. Gifts, either of the flesh or of the spirit; and the spirit blows where it lists, and the world's materials lend their surface passively to all the gifts alike, as the stage-setting receives indifferently whatever alternating colored lights maybe shed upon it from the optical apparatus in the gallery.

Meanwhile the practically real world for each one of us, the effective world of the individual, is the compound world, the physical facts and emotional values in indistinguishable combination. Withdraw or pervert either factor of this complex resultant, and the kind of experience we call pathological ensues.

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