優(yōu)美英語(yǔ)散文
在平凡的學(xué)習(xí)、工作、生活中，許多人都寫過(guò)散文吧？散文不講究音韻，不講究排比，沒(méi)有任何的束縛及限制。你知道寫散文要注意哪些問(wèn)題嗎？下面是小編收集整理的優(yōu)美英語(yǔ)散文，僅供參考，希望能夠幫助到大家。
優(yōu)美英語(yǔ)散文 篇1
充滿微笑的世界
About ten years ago when I was an undergraduate in college, I was working as an intern at my University’s Museum of Natural History. One day while working at the cash register in the gift shop, I saw an elderly couple come in with a little girl in a wheelchair.
As I looked closer at this girl, I saw that she was kind of perched on her chair. I then realized she had no arms or legs, just a head, neck and torso. She was wearing a little white dress with red polka dots.
As the couple wheeled her up to me I was looking down at the register. I turned my head toward the girl and gave her a wink. As I took the money from her grandparents, I looked back at the girl, who was giving me the cutest, largest smile I have ever seen. All of a sudden her handicap was gone and all I saw was this beautiful girl, whose smile just melted me and almost instantly gave me a completely new sense of what life is all about. She took me from a poor, unhappy college student and brought me into her world; a world of smiles, love and warmth.
That was ten years ago. I’m a successful business person now and whenever I get down and think about the troubles of the world, I think about that little girl and the remarkable lesson about life that she taught me.
十年前我還是一名在校大學(xué)生，那時(shí)我在學(xué)校的自然歷史博物館實(shí)習(xí)。一天，在禮品店的收銀機(jī)那兒工作時(shí)，我看到一對(duì)老年夫婦推著一個(gè)坐輪椅的小女孩走了進(jìn)來(lái)。
近看這個(gè)小女孩時(shí)，我注意到她幾乎是完全被放在輪椅里，意識(shí)到她沒(méi)有胳膊和腿，只剩下了頭部、脖子以及軀干了。她穿著一件小白裙，上面還有紅色的圓點(diǎn)花紋。
當(dāng)這對(duì)夫婦推著她走到我身邊時(shí)，我低頭看了看清單。轉(zhuǎn)頭看到小女孩，于是我對(duì)她眨了眨眼睛。從她爺爺奶奶手中接錢的時(shí)候，我又看了一眼小女孩，她正向我展示我所見(jiàn)過(guò)的最可愛(ài)、最寬大的笑容。就在那一霎那間，她的身體缺陷消失了，我看到的只是一個(gè)美麗的.女孩兒，她的笑容使我融化，并幾乎立刻使我對(duì)人生有了一種新的認(rèn)識(shí)。她把我這個(gè)貧窮而不幸的大學(xué)生帶進(jìn)了她的世界，一個(gè)充滿微笑、愛(ài)和溫暖的世界。
那已經(jīng)是十年前的事情了。現(xiàn)在我已經(jīng)成為一名成功的商人。無(wú)論何時(shí)當(dāng)我感到沮喪，回想到世界上的煩惱時(shí)，我就會(huì)想起那個(gè)小女孩以及她教給我的那堂不尋常的課。
優(yōu)美英語(yǔ)散文 篇2
祈禱之手
The true story behind a well-known piece of art:
Back in the fifteenth century, in a tiny village near Nuremberg, lived a family with eighteen children. Eighteen! In order merely to keep food on the table for this mob, the father and head of the household, a goldsmith by profession, worked almost eighteen hours a day at his trade and any other paying chore he could find in the neighborhood. Despite their seemingly hopeless condition, two of Albrecht Durer the Elders children had a dream. They both wanted to pursue their talent for art, but they knew full well that their father would never be financially able to send either of them to Nuremberg to studyat the Academy.
After many long discussions at night in their crowded bed, the two boys finally worked out a pact. They would toss a coin. The loser would go down into the nearby mines and, with his earnings, support his brother while he attended the academy. Then, when that brother who won the toss completed his studies, in four years, he would support the other brother at the academy, either with sales of his artwork or, if necessary, also by laboring the mines.
They tossed a coin on a Sunday morning after church. Albrecht Durer won the toss and went off to Nuremberg. Albert went down into the dangerous mines and, for the next four years, financed his brother, whose work at the academy was almost an immediate sensation. Albrechts etchings, his woodcuts, and his oils were far better than those of most of his professors, and by the time he graduated, he was beginning to earn considerable fees for his commissioned works.
When the young artist returned to his village, the Durer family held a festive dinner on their lawn to celebrate Albrechts triumphant homecoming. After a long and memorable meal, punctuated with music and laughter, Albrecht rose from his honored position at the head of the table to drink a toast to his beloved brother for the years of sacrifice that had enabled Albrecht to fulfill his ambition. His closing words were, "And now, Albert, blessed brother of mine, now it is your turn. Now you can go to Nuremberg to pursue your dream, and I will take care of you."
All heads turned in eager expectation to the far end of the table where Albert sat, tears streaming down his pale face, shaking his lowered head from side to side while he sobbed and repeated, over and over, "No no no no."
Finally, Albert rose and wiped the tears from his cheeks. He glanced down the long table at the faces he loved, and then, holding his hands close to his right cheek, he said softly, "No, brother. I cannot go to Nuremberg. It is too late for me. Look look what four years in the mines has done to my hands! The bones in every finger have been smashed at least once, and lately I have been suffering from arthritis so badly in my right hand that I cannot even hold a glass to return your toast, much less make delicate lines on parchment or canvas with a pen or a brush. No, brother for me it is too late."
More than 450 years have passed. By now, Albrecht Durers hundreds of masterful portraits, pen and silver-point sketches, watercolors, charcoals, woodcuts, and copper engravings hang in every great museum, but the odds are great that you, like most people, are familiar with only one of Albrecht Durers works. More than merely being familiar with it, you very well may have a reproduction hanging in your home or office.
One day, to pay homage to Albert for all that he had sacrificed, Albrecht Durer painstakingly drew his brothers abused hands with palms together and thin fingers stretched skyward. He called his powerful drawing simply "Hands," but the entire world almost immediately opened their hearts to his great masterpiece and renamed his tribute of love "The Praying Hands."
The next time you see a copy of that touching creation, take a second look. Let it be your reminder, if you still need one, that no one -no one ever makes it alone!
德國(guó)藝術(shù)大師Albrecht Durer有一幅名畫“祈禱之手”，這幅畫的背后有一則愛(ài)與犧牲的故事。
十五世紀(jì)時(shí)，在德國(guó)的一個(gè)小村莊里，住了一個(gè)有十八個(gè)孩子的家庭。父親是一名冶金匠，為了維持一家生計(jì)，他每天工作十八個(gè)小時(shí)。
生活盡管窘迫逼人，然而這個(gè)家庭其中兩個(gè)孩子卻有一個(gè)同樣的夢(mèng)想。他們兩人都希望可以發(fā)展自己在藝術(shù)方面的天份。不過(guò)他們也了解，父親無(wú)法在經(jīng)濟(jì)上供他們倆到紐倫堡藝術(shù)學(xué)院讀書。
晚上，兩兄弟在床上經(jīng)過(guò)多次討論后，得出結(jié)論：以擲銅板決定──勝者到藝術(shù)學(xué)院讀書，敗者則到附近的礦場(chǎng)工作賺錢;四年后，在礦場(chǎng)工作的那一個(gè)再到藝術(shù)學(xué)院讀書，由學(xué)成畢業(yè)那一個(gè)賺錢支持。如果需要，可能也要到礦場(chǎng)工作。
星期日早上做完禮拜，他們擲了銅板，結(jié)果，弟弟Albrecht Durer勝出，去了紐倫堡藝術(shù)學(xué)院。哥哥Albert則去了危險(xiǎn)的礦場(chǎng)工作，四年來(lái)一直為弟弟提供經(jīng)濟(jì)支持。Albrecht在藝術(shù)學(xué)院表現(xiàn)很突出，他的油畫簡(jiǎn)直比教授的還要好。到畢業(yè)時(shí)，他的作品已經(jīng)能賺不少錢了。
在這位年輕的藝術(shù)家返回家鄉(xiāng)的那一天，家人為他準(zhǔn)備了盛宴，慶祝他學(xué)成歸來(lái)。當(dāng)漫長(zhǎng)而難忘的宴席快要結(jié)束時(shí)，伴隨著音樂(lè)和笑聲，亞爾伯起身答謝敬愛(ài)的哥哥幾年來(lái)對(duì)他的支持，他說(shuō)：“現(xiàn)在輪到你了，親愛(ài)的哥哥，我會(huì)全力支持你到紐倫堡藝術(shù)學(xué)院攻讀，實(shí)現(xiàn)你的夢(mèng)想!”
所有的目光都急切地轉(zhuǎn)移到桌子的另一端，坐在那里的Albert雙淚直流，只見(jiàn)他垂下頭，邊搖頭邊重復(fù)說(shuō)著：“不……不……”
終于，Albert站了起來(lái)他，擦干臉頰上的淚水，看了看長(zhǎng)桌兩邊他所愛(ài)的親友們的臉，把雙手移近右臉頰，說(shuō)：“不，弟弟，我上不了紐倫堡藝術(shù)學(xué)院了。太遲了。看看我的雙手──四年來(lái)在礦場(chǎng)工作，毀了我的手，關(guān)節(jié)動(dòng)彈不得，現(xiàn)在我的手連舉杯為你慶賀也不可能，何況是揮動(dòng)畫筆或雕刻刀呢?不，弟弟……已經(jīng)太遲了……”
四百五十多年過(guò)去了，Albrecht Durer有成千上百部的杰作流傳下來(lái)，他的速寫、素描、水彩畫、木刻、銅刻等可以在世界各地博物館找到;然而，大多數(shù)人最為熟悉的，卻是其中的一件作品。也許，你的家里或者辦公室里就懸掛著一件它的復(fù)制品。
為了補(bǔ)償哥哥所做的`犧牲，表達(dá)對(duì)哥哥的敬意，一天，Albrecht Durer下了很大的工夫把哥哥合起的粗糙的雙手刻了下來(lái)。他把這幅偉大的作品簡(jiǎn)單地稱為“雙手”，然而，全世界的人都立刻敞開(kāi)心扉，瞻仰這幅杰作，把這幅愛(ài)的作品重新命名為“祈禱之手”。
下次當(dāng)你看到這幅感人的作品，仔細(xì)看一下。如果你也需要這么一幅畫，就讓它成為你的提醒，沒(méi)有──它是世上獨(dú)一無(wú)二的事物。
優(yōu)美英語(yǔ)散文 篇3
父愛(ài)無(wú)邊
My father was a self-taught mandolin player. He was one of the best string instrument players in our town. He could not read music, but if he heard a tune a few times, he could play it. When he was younger, he was a member of a small country music band. They would play at local dances and on a few occasions would play for the local radio station. He often told us how he had auditioned and earned a position in a band that featured Patsy Cline as their lead singer. He told the family that after he was hired he never went back. Dad was a very religious man. He stated that there was a lot of drinking and cursing the day of his audition and he did not want to be around that type of environment.
Occasionally, Dad would get out his mandolin and play for the family. We three children: Trisha, Monte and I, George Jr., would often sing along. Songs such as the Tennessee Waltz, Harbor Lights and around Christmas time, the well-known rendition of Silver Bells. "Silver Bells, Silver Bells, its Christmas time in the city" would ring throughout the house. One of Dads favorite hymns was "The Old Rugged Cross". We learned the words to the hymn when we were very young, and would sing it with Dad when he would play and sing. Another song that was often shared in our house was a song that accompanied the Walt Disney series: Davey Crockett. Dad only had to hear the song twice before he learned it well enough to play it. "Davey, Davey Crockett, King of the Wild Frontier" was a favorite song for the family. He knew we enjoyed the song and the program and would often get out the mandolin after the program was over. I could never get over how he could play the songs so well after only hearing them a few times. I loved to sing, but I never learned how to play the mandolin. This is something I regret to this day.
Dad loved to play the mandolin for his family he knew we enjoyed singing, and hearing him play. He was like that. If he could give pleasure to others, he would, especially his family. He was always there, sacrificing his time and efforts to see that his family had enough in their life. I had to mature into a man and have children of my own before I realized how much he had sacrificed.
I joined the United States Air Force in January of 1962. Whenever I would come home on leave, I would ask Dad to play the mandolin. Nobody played the mandolin like my father. He could touch your soul with the tones that came out of that old mandolin. He seemed to shine when he was playing. You could see his pride in his ability to play so well for his family.
When Dad was younger, he worked for his father on the farm. His father was a farmer and sharecropped a farm for the man who owned the property. In 1950, our family moved from the farm. Dad had gained employment at the local limestone quarry. When the quarry closed in August of 1957, he had to seek other employment. He worked for Owens Yacht Company in Dundalk, Maryland and for Todd Steel in Point of Rocks, Maryland. While working at Todd Steel, he was involved in an accident. His job was to roll angle iron onto a conveyor so that the welders farther up the production line would have it to complete their job. On this particular day Dad got the third index finger of his left hand mashed between two pieces of steel. The doctor who operated on the finger could not save it, and Dad ended up having the tip of the finger amputated. He didnt lose enough of the finger where it would stop him picking up anything, but it did impact his ability to play the mandolin.
After the accident, Dad was reluctant to play the mandolin. He felt that he could not play as well as he had before the accident. When I came home on leave and asked him to play he would make excuses for why he couldnt play. Eventually, we would wear him down and he would say "Okay, but remember, I cant hold down on the strings the way I used to" or "Since the accident to this finger I cant play as good". For the family it didnt make any difference that Dad couldnt play as well. We were just glad that he would play. When he played the old mandolin it would carry us back to a cheerful, happier time in our lives. "Davey, Davey Crockett, King of the Wild Frontier", would again be heard in the little town of Bakerton, West Virginia.
In August of 1993 my father was diagnosed with inoperable lung cancer. He chose not to receive chemotherapy treatments so that he could live out the rest of his life in dignity. About a week before his death, we asked Dad if he would play the mandolin for us. He made excuses but said "okay". He knew it would probably be the last time he would play for us. He tuned up the old mandolin and played a few notes. When I looked around, there was not a dry eye in the family. We saw before us a quiet humble man with an inner strength that comes from knowing God, and living with him in ones life. Dad would never play the mandolin for us again. We felt at the time that he wouldnt have enough strength to play, and that makes the memory of that day even stronger. Dad was doing something he had done all his life, giving. As sick as he was, he was still pleasing others. Dad sure could play that Mandolin!
我父親是個(gè)自學(xué)成才的曼陀林琴手，他是我們鎮(zhèn)最優(yōu)秀的弦樂(lè)演奏者之一。他看不懂樂(lè)譜，但是如果聽(tīng)?zhēng)状吻�，他就能演奏出�?lái)。當(dāng)他年輕一點(diǎn)的時(shí)候，他是一個(gè)小鄉(xiāng)村樂(lè)隊(duì)的成員。他們?cè)诋?dāng)?shù)匚鑿d演奏，有幾次還為當(dāng)?shù)貜V播電臺(tái)演奏。他經(jīng)常告訴我們，自己如何試演，如何在佩茜?克萊恩作為主唱的樂(lè)隊(duì)里占一席之位。他告訴家人，一旦被聘用就永不回頭。父親是一個(gè)很嚴(yán)謹(jǐn)?shù)娜�，他講述了他試演的那天，很多人在喝酒，咒罵，他不想呆在那種環(huán)境里。
有時(shí)候，父親會(huì)拿出曼陀林，為家人彈奏。我們?nèi)齻�(gè)小孩：翠莎、蒙蒂和我，還有喬治通常會(huì)伴唱。唱的有：《田納西華爾茲》和《海港之光》，到了圣誕節(jié)，就唱膾炙人口的《銀鈴》："銀鈴，銀鈴，城里來(lái)了圣誕節(jié)。"歌聲充滿了整個(gè)房子。父親最愛(ài)的其中一首贊歌是《古老的十字架》。我們很小的時(shí)候就學(xué)會(huì)歌詞了，而且在父親彈唱的時(shí)候，我們也跟著唱。我們經(jīng)常一起唱的另外一首歌來(lái)自沃特?迪斯尼的系列片：《戴維?克羅克特》。父親只要聽(tīng)了兩遍就彈起來(lái)了，"戴維，戴維.克羅克特，荒野邊疆的國(guó)王。"那是我們家最喜歡的.歌曲。他知道我們喜歡那首歌和那個(gè)節(jié)目，所以每次節(jié)目結(jié)束后，他就拿出曼陀林彈奏。我永遠(yuǎn)不能明白他如何能聽(tīng)完幾遍后就能把一首曲子彈得那么好。我熱愛(ài)唱歌，但我沒(méi)有學(xué)會(huì)如何彈奏曼陀林，這是我遺憾至今的事情。
父親喜歡為家人彈奏曼陀林，他知道我們喜歡唱歌，喜歡聽(tīng)他彈奏。他就是那樣，如果他能把快樂(lè)奉獻(xiàn)給別人，他從不吝嗇，尤其是對(duì)他的家人。他總是那樣，犧牲自己的時(shí)間和精力讓家人生活得滿足。父親的這種付出是只有當(dāng)我長(zhǎng)大成人，而且是有了自己的孩子后才能體會(huì)到的。
我在1962年1月加入了美國(guó)空軍基地。每當(dāng)我休假回家，我都請(qǐng)求父親彈奏曼陀林。沒(méi)有人彈奏曼陀林能達(dá)到像我父親那樣的境界，他在那古老的曼陀林上撫出的旋律能夠觸及你的靈魂。他彈奏的時(shí)候，身上似乎能發(fā)出四射的光芒。你可以看出，父親為能給家人彈奏出如此美妙的旋律，他是多么的自豪。
父親年輕的時(shí)候，曾在農(nóng)場(chǎng)為爺爺工作。爺爺是農(nóng)場(chǎng)使用者，要向農(nóng)場(chǎng)所有人交納谷物抵租。1950年，我們?nèi)野犭x農(nóng)場(chǎng)，父親在當(dāng)?shù)厥沂墒瘓?chǎng)謀得職位。采石場(chǎng)在1957年倒閉，他只好另覓工作。他曾在馬里蘭州登多克的歐文斯游艇公司上班，還在馬里蘭州的洛斯的托德鋼鐵公司上過(guò)班。在托德鋼鐵公司上班期間，他遇到了意外。他的工作是把有棱角的鐵滾到搬運(yùn)臺(tái)上，這樣焊接工才能作進(jìn)一步加工來(lái)完成整個(gè)工序。在那個(gè)特殊的日子里，父親的左手第三個(gè)手指被纏在兩片鋼鐵中。醫(yī)生對(duì)手指施手術(shù)，但未能保住那只手指，最后父親只好讓醫(yī)生把那手指的指尖給切除了。那個(gè)手指并沒(méi)有完全喪失拿東西的能力，但是卻影響了他彈奏曼陀林的能力。
事故后，父親不太愿意彈奏曼陀林了，他覺(jué)得再也不能像以前彈得那么好了。我休假回家請(qǐng)求他彈奏曼陀林，他以種種借口解釋不能彈奏的原因。最后，我們軟硬兼施逼他就范，他終于說(shuō)："好吧，但是記住，我撥弦再也不能像過(guò)去一樣了。"或者會(huì)說(shuō)："這個(gè)手指出意外后，我再也不能彈得像過(guò)去那樣好了。"對(duì)于家人來(lái)說(shuō)，父親彈得好不好并沒(méi)有分別，我們很高興他終于彈奏了。當(dāng)他彈起那把陳舊的曼陀林，就會(huì)把我們帶回昔日那些無(wú)憂無(wú)慮的幸福時(shí)光。"戴維，戴維.克羅克特，荒野邊疆的國(guó)王"就會(huì)再次響徹西弗吉尼亞州的貝克頓小鎮(zhèn)。
1993年8月，父親診斷得了不宜動(dòng)手術(shù)的肺癌。他不想接受化療，因?yàn)樗塍w面地過(guò)完他生命最后的時(shí)光。大約在父親去世的一周前，我們請(qǐng)求他能否為我們彈奏曼陀林，他說(shuō)了很多借口，最后還是答應(yīng)了。他知道這可能是他最后一次為我們彈奏了，他為老曼陀林調(diào)弦，彈了幾個(gè)音。我環(huán)顧四周，家人個(gè)個(gè)都淚水滿眶。我們看見(jiàn)在我們面前是一個(gè)安靜的、謙虛的人，以生命最后的力量，用愛(ài)的力量支撐著。父親再也沒(méi)有足夠的力量彈奏，這使我們對(duì)那天的記憶更加強(qiáng)烈。父親做著他一生都在做的事情：奉獻(xiàn)。即使生命已走到了盡頭，他卻仍盡力為他人創(chuàng)造歡樂(lè)。沒(méi)錯(cuò)，父親一定還能彈奏曼陀林的。
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