flutter书架,flutter pdf阅读

大作文 假如给我三天光明

-- By  Helen Keller

Three Days to See

  All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year; sometimes as short as twenty-four hours.But always we were interested in discovering just how the doomed man chose to spend his last days or his last hours. I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly delimited.

  Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations should we crowd into those last hours as mortal beings? What happiness should we find in reviewing the past, what regrets?

  Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live each day with a gentleness, a vigor, and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come.  There are those, of course, who would adopt the Epicurean motto of "Eat, drink, and be merry," but most people would be chastened by the certainty of impending death.

  In stories the doomed hero is usually saved at the last minute by some stroke of fortune, but almost always his sense of values is changed. he becomes more appreciative of the meaning of life and its permanent spiritual values. It ahs often been noted that those who live, or have lived, in the shadow of death bring a mellow sweetness to everything they do.

  Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.

  The same lethargy, I am afraid, characterizes the use of all our faculties and senses. Only the deaf appreciate hearing, only the blind realize the manifold blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in adult life. But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it, of not being conscious of health until we are ill.

  I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life. Darkness would make him more appreciative of sight; silence would tech him the joys of sound.

  Now and them I have tested my seeing friends to discover what they see. Recently I was visited by a very good friends who had just returned from a long walk in the woods, and I asked her what she had observed.. "Nothing in particular, " she replied. I might have been incredulous had I not been accustomed to such reposes, for long ago I became convinced that the seeing see little.

  How was it possible, I asked myself, to walk for an hour through the woods and see nothing worthy of note? I who cannot see find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch, or the rough, shaggy bark of a pine. In the spring I touch the branches of trees hopefully in search of a bud the first sign of awakening Nature after her winter's sleep. I feel the delightful, velvety texture of a flower, and discover its remarkable convolutions; and something of the miracle of Nature is revealed to me. Occasionally, if I am very fortunate, I place my hand gently on a small tree and feel the happy quiver of a bird in full song. I am delighted to have the cool waters of a brook rush thought my open finger. To me a lush carpet of pine needles or spongy grass is more welcome than the most luxurious Persian rug. To me the page ant of seasons is a thrilling and unending drama, the action of which streams through my finger tips.

  At times my heart cries out with longing to see all these things. If I can get so much pleasure from mere touch, how much more beauty must be revealed by sight. Yet, those who have eyes apparently see little. the panorama of color and action which fills the world is taken for granted. It is human, perhaps, to appreciate little that which we have and to long for that which we have not, but it is a great pity that in the world of light the gift of sight is used only as a mere conveniences rather than as a means of adding fullness to life.

  If I were the president of a university I should establish a compulsory course in "How to Use Your Eyes". The professor would try to show his pupils how they could add joy to their lives by really seeing what passes unnoticed before them. He would try to awake their dormant and sluggish faculties.

  Perhaps I can best illustrate by imagining what I should most like to see if I were given the use of my eyes, say, for just three days. And while I am imagining, suppose you, too,set your mind to work on the problem of how you would use your own eyes if you had only three more days to see. If with the on-coming darkness of the third night you knew that the sun would never rise for you again, how would you spend those three precious intervening days? What would you most want to let your gaze rest upon?

  I, naturally, should want most to see the things which have become dear to me through my years of darkness. You, too, would want to let your eyes rest on the things that have become dear to you so that you could take the memory of them with you into the night that loomed before you.

  If, by some miracle, I were granted three seeing days, to be followed by a relapse into darkness, I should divide the period into three parts.

The First Day

  On the first day, I should want to see the people whose kindness and gentleness and companionship have made my life worth living. First I should like to gaze long upon the face of my dear teacher, Mrs. Anne Sullivan Macy, who came to me when I was a child and opened the outer world to me. I should want not merely to see the outline of her face, so that I could cherish it in my memory, but to study that face and find in it the living evidence of the sympathetic tenderness and patience with which she accomplished the difficult task of my education. I should like to see in her eyes that strength of character which has enabled her to stand firm in the face of difficulties, and that compassion for all humanity which she has revealed to me so often.

  I do not know what it is to see into the heart of a friend through that "Window of the soul", the eye. I can only "see" through my finger tips the outline of a face. I can detect laughter, sorrow, and many other obvious emotions. I know my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, through other means, through the thoughts they express to me, through whatever of their actions are revealed to me. But I am denied that deeper understanding of them which I am sure would come through sight of them, through watching their reactions to various expressed thoughts and circumstances, through noting the immediate and fleeting reactions of their eyes and countenance.

  Friends who are near to me I know well, because through the months and years they reveal themselves to me in all their phases; but of casual friends I have only an incomplete impression, an impression gained from a handclasp, from spoken words which I take from their lips with my finger tips, or which they tap into the palm of my hand.

  How much easier, how much more satisfying it is for you who can see to grasp quickly the essential qualities of another person by watching the subtleties of expression, the quiver of a muscle, the flutter of a hand. But does it ever occur to you to use your sight to see into the inner nature of a friends or acquaintance/ Do not most of you seeing people grasp casually the outward features of a face and let it go at that?

  For instance can you describe accurately the faces of five good friends? some of you can, but many cannot. As an experiment, I have questioned husbands of long standing about the color of their wives' eyes, and often they express embarrassed confusion and admit that they do not know. And, incidentally, it is a chronic complaint of wives that their husbands do not notice new dresses, new hats, and changes in household arrangements.

  The eyes of seeing persons soon become accustomed to the routine of their surroundings, and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately "eyewitnesses" see. A given event will be "seen" in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision.

  Oh, the things that I should see if I had the power of sight for just three days!

  The first day would be a busy one. I should call to me all my dear friends and look long into their faces, imprinting upon my mind the outward evidences of the beauty that is within them. I should let my eyes rest, too, on the face of a baby, so that I could catch a vision of the eager, innocent beauty which precedes the individual's consciousness of the conflicts which life develops.

  And I should like to look into the loyal, trusting eyes of my dogs - the grave, canny little Scottie, Darkie, and the stalwart, understanding Great Dane, Helga, whose warm, tender, and playful friendships are so comforting to me.

  On that busy first day I should also view the small simple things of my home. I want to see the warm colors in the rugs under my feet, the pictures on the walls, the intimate trifles that transform a house into home. My eyes would rest respectfully on the books in raised type which I have read, but they would be more eagerly interested in the printed books which seeing people can read, for during the long night of my life the books I have read and those which have been read to me have built themselves into a great shining lighthouse, revealing to me the deepest channels of human life and the human spirit.

  In the afternoon of that first seeing day. I should take a long walk in the woods and intoxicate my eyes on the beauties of the world of Nature trying desperately to absorb in a few hours the vast splendor which is constantly unfolding itself to those who can see. On the way home from my woodland jaunt my path would lie near a farm so that I might see the patient horses ploughing in the field 9perhaps I should see only a tractor!) and the serene content of men living close to the soil. And I should pray for the glory of a colorful sunset.

  When dusk had fallen, I should experience the double delight of being able to see by artificial light which the genius of man has created to extend the power of his sight when Nature decrees darkness.

  In the night of that first day of sight, I should not be able to sleep, so full would be my mind of the memories of the day.

The Second Day

  The next day - the second day of sight - I should arise with the dawn and see the thrilling miracle by which night is transformed into day. I should behold with awe the magnificent panorama of light with which the sun awakens the sleeping earth.

  This day I should devote to a hasty glimpse of the world, past and present. I should want to see the pageant of man's progress, the kaleidoscope of the ages. How can so much be compressed into one day? Through the museums, of course. Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there - animals and the races of men pictured in their native environment;gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared, with his tiny stature and powerful brain, to conquer the animal kingdom; realistic presentations of the processes of development in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet; and a thousand and one other aspects of natural history.

  I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. there, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on.

  My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here, in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled, bearded features of Homer are dear to me, for he, too, knew blindness.

  My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me.

请提供假如给我三天光明，麦田里的守望者，老人与海的原版英文经典语句

最喜欢这一段

Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.

by Hellen Keller

以下是全文

假如给我三天光明(海伦·凯勒 Helen Keller)

All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year; sometimes as short as twenty-four hours. But always we were interested in discovering just how the doomed man chose to spend his last days or his last hours. I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly delimited.

Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations should we crowd into those last hours as mortal beings? What happiness should we find in reviewing the past, what regrets?

Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live each day with a gentleness, a vigor, and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come. There are those, of course, who would adopt the Epicurean motto of "Eat, drink, and be merry," but most people would be chastened by the certainty of impending death.

In stories the doomed hero is usually saved at the last minute by some stroke of fortune, but almost always his sense of values is changed. he becomes more appreciative of the meaning of life and its permanent spiritual values. It ahs often been noted that those who live, or have lived, in the shadow of death bring a mellow sweetness to everything they do.

Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.

The same lethargy, I am afraid, characterizes the use of all our faculties and senses. Only the deaf appreciate hearing, only the blind realize the manifold blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in adult life. But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it, of not being conscious of health until we are ill.

I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life. Darkness would make him more appreciative of sight; silence would tech him the joys of sound.

Now and then I have tested my seeing friends to discover what they see. Recently I was visited by a very good friends who had just returned from a long walk in the woods, and I asked her what she had observed.. "Nothing in particular, " she replied. I might have been incredulous had I not been accustomed to such reposes, for long ago I became convinced that the seeing see little.

How was it possible, I asked myself, to walk for an hour through the woods and see nothing worthy of note? I who cannot see find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch, or the rough, shaggy bark of a pine. In the spring I touch the branches of trees hopefully in search of a bud the first sign of awakening Nature after her winter's sleep. I feel the delightful, velvety texture of a flower, and discover its remarkable convolutions; and something of the miracle of Nature is revealed to me. Occasionally, if I am very fortunate, I place my hand gently on a small tree and feel the happy quiver of a bird in full song. I am delighted to have the cool waters of a brook rush thought my open finger. To me a lush carpet of pine needles or spongy grass is more welcome than the most luxurious Persian rug. To me the page ant of seasons is a thrilling and unending drama, the action of which streams through my finger tips.

At times my heart cries out with longing to see all these things. If I can get so much pleasure from mere touch, how much more beauty must be revealed by sight. Yet, those who have eyes apparently see little. the panorama of color and action which fills the world is taken for granted. It is human, perhaps, to appreciate little that which we have and to long for that which we have not, but it is a great pity that in the world of light the gift of sight is used only as a mere conveniences rather than as a means of adding fullness to life.

If I were the president of a university I should establish a compulsory course in "How to Use Your Eyes". The professor would try to show his pupils how they could add joy to their lives by really seeing what passes unnoticed before them. He would try to awake their dormant and sluggish faculties.

Perhaps I can best illustrate by imagining what I should most like to see if I were given the use of my eyes, say, for just three days. And while I am imagining, suppose you, too, set your mind to work on the problem of how you would use your own eyes if you had only three more days to see. If with the on-coming darkness of the third night you knew that the sun would never rise for you again, how would you spend those three precious intervening days? What would you most want to let your gaze rest upon?

I, naturally, should want most to see the things which have become dear to me through my years of darkness. You, too, would want to let your eyes rest on the things that have become dear to you so that you could take the memory of them with you into the night that loomed before you.

If, by some miracle, I were granted three seeing days, to be followed by a relapse into darkness, I should divide the period into three parts.

The First Day

On the first day, I should want to see the people whose kindness and gentleness and companionship have made my life worth living. First I should like to gaze long upon the face of my dear teacher, Mrs. Anne Sullivan Macy, who came to me when I was a child and opened the outer world to me. I should want not merely to see the outline of her face, so that I could cherish it in my memory, but to study that face and find in it the living evidence of the sympathetic tenderness and patience with which she accomplished the difficult task of my education. I should like to see in her eyes that strength of character which has enabled her to stand firm in the face of difficulties, and that compassion for all humanity which she has revealed to me so often.

I do not know what it is to see into the heart of a friend through that "Window of the soul", the eye. I can only "see" through my finger tips the outline of a face. I can detect laughter, sorrow, and many other obvious emotions. I know my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, through other means, through the thoughts they express to me, through whatever of their actions are revealed to me. But I am denied that deeper understanding of them which I am sure would come through sight of them, through watching their reactions to various expressed thoughts and circumstances, through noting the immediate and fleeting reactions of their eyes and countenance.

Friends who are near to me I know well, because through the months and years they reveal themselves to me in all their phases; but of casual friends I have only an incomplete impression, an impression gained from a handclasp, from spoken words which I take from their lips with my finger tips, or which they tap into the palm of my hand.

How much easier, how much more satisfying it is for you who can see to grasp quickly the essential qualities of another person by watching the subtleties of expression, the quiver of a muscle, the flutter of a hand. But does it ever occur to you to use your sight to see into the inner nature of a friends or acquaintance/ Do not most of you seeing people grasp casually the outward features of a face and let it go at that?

For instance can you describe accurately the faces of five good friends? some of you can, but many cannot. As an experiment, I have questioned husbands of long standing about the color of their wives' eyes, and often they express embarrassed confusion and admit that they do not know. And, incidentally, it is a chronic complaint of wives that their husbands do not notice new dresses, new hats, and changes in household arrangements.

The eyes of seeing persons soon become accustomed to the routine of their surroundings, and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately "eyewitnesses" see. A given event will be "seen" in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision.

Oh, the things that I should see if I had the power of sight for just three days!

The first day would be a busy one. I should call to me all my dear friends and look long into their faces, imprinting upon my mind the outward evidences of the beauty that is within them. I should let my eyes rest, too, on the face of a baby, so that I could catch a vision of the eager, innocent beauty which precedes the individual's consciousness of the conflicts which life develops.

And I should like to look into the loyal, trusting eyes of my dogs - the grave, canny little Scottie, Darkie, and the stalwart, understanding Great Dane, Helga, whose warm, tender , and playful friendships are so comforting to me.

On that busy first day I should also view the small simple things of my home. I want to see the warm colors in the rugs under my feet, the pictures on the walls, the intimate trifles that transform a house into home. My eyes would rest respectfully on the books in raised type which I have read, but they would be more eagerly interested in the printed books which seeing people can read, for during the long night of my life the books I have read and those which have been read to me have built themselves into a great shining lighthouse, revealing to me the deepest channels of human life and the human spirit.

In the afternoon of that first seeing day. I should take a long walk in the woods and intoxicate my eyes on the beauties of the world of Nature trying desperately to absorb in a few hours the vast splendor which is constantly unfolding itself to those who can see. On the way home from my woodland jaunt my path would lie near a farm so that I might see the patient horses ploughing in the field 9perhaps I should see only a tractor!) and the serene content of men living close to the soil. And I should pray for the glory of a colorful sunset.

When dusk had fallen, I should experience the double delight of being able to see by artificial light which the genius of man has created to extend the power of his sight when Nature decrees darkness.

In the night of that first day of sight, I should not be able to sleep, so full would be my mind of the memories of the day.

The Second Day

The next day - the second day of sight - I should arise with the dawn and see the thrilling miracle by which night is transformed into day. I should behold with awe the magnificent panorama of light with which the sun awakens the sleeping earth.

This day I should devote to a hasty glimpse of the world, past and present. I should want to see the pageant of man's progress, the kaleidoscope of the ages. How can so much be compressed into one day? Through the museums, of course. Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there - animals and the races of men pictured in their native environment; gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared, with his tiny stature and powerful brain, to conquer the animal kingdom; realistic presentations of the processes of development in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet; and a thousand and one other aspects of natural history.

I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. there, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on.

My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here , in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled, bearded features of Homer are dear to me, for he, too, knew blindness.

My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me.

So on this, my second day of sight, I should try to probe into the soul of man through this art. The things I knew through touch I should now see. More splendid still, the whole magnificent world of painting would be opened to me, from the Italian Primitives, with their serene religious devotion, to the Moderns, with their feverish visions. I should look deep into the canvases of Raphael, Leonardo da Vinci, Titian, Rembrandt. I should want to feast my eyes upon the warm colors of Veronese, study the mysteries of E1 Greco, catch a new vision of Nature from Corot. Oh, there is so much rich meaning and beauty in the art of the ages for you who have eyes to see!

Upon my short visit to this temple of art I should not be able to review a fraction of that great world of art which is open to you. I should be able to get only a superficial impression. Artists tell me that for deep and true appreciation of art one must educated the eye. One must learn through experience to weigh the merits of line, of composition, of form and color. If I had eyes, how happily would I embark upon so fascinating a study! Yet I am told that, to many of you who have eyes to see, the world of art is a dark night, unexplored and unilluminated.

It would be with extreme reluctance that I should leave the Metropolitan Museum, which contains the key to beauty -- a beauty so neglected. Seeing persons, however, do not need a metropolitan to find this key to beauty. The same key lies waiting in smaller museums, and in books on the shelves of even small libraries. But naturally, in my limited time of imaginary sight, I should choose the place where the key unlocks the greatest treasures in the shortest time.

The evening of my second day of sight I should spend at a theatre or at the movies. Even now I often attend theatrical performances of all sorts, but the action of the play must be spelled into my hand by a companion. But how I should like to see with my own eyes the fascinating figure of Hamlet, or the gusty Falstaff amid colorful Elizabethan trappings! How I should like to follow each movement of the graceful Hamlet, each strut of the hearty Falstaff! And since I could see only one play, I should be confronted by a many-horned dilemma, for there are scores of plays I should want to see. You who have eyes can see any you like. How many of you, I wonder, when you gaze at a play, a movie, or any spectacle, realize and give thanks for the miracle of sight which enables you to enjoy its color , grace, and movement?

I cannot enjoy the beauty of rhythmic movement except in a sphere restricted to the touch of my hands. I can vision only dimly the grace of a Pavlowa, although I know something of the delight of rhythm, for often I can sense the beat of music as it vibrates through the floor. I can well imagine that cadenced motion must be one of the most pleasing sights in the world. I have been able to gather something of this by tracing with my fingers the lines in sculptured marble; if this static grace can be so lovely, how much more acute must be the thrill of seeing grace in motion.

One of my dearest memories is of the time when Joseph Jefferson allowed me to touch his face and hands as he went through some of the gestures and speeches of his beloved Rip Van Winkle. I was able to catch thus a meager glimpse of the world of drama, and I shall never forget the delight of that moment. But, oh, how much I must miss, and how much pleasure you seeing ones can derive from watching and hearing the interplay of speech and movement in the unfolding of a dramatic performance! If I could see only one play, I should know how to picture in my mind the action of a hundred plays which I have read or had transferred to me through the medium of the manual alphabet.

密室逃脱4博士房间中怎样上楼顶

1、首先你会看到 James 侦探：我是XXX研究中心……点进入博士的家。 2、点击车的右下角，靠墙的角落处有一根铁棒，点击拾起。 3、回到主界面，点击两次向右箭头。看到树上右一个白色小物体，点击用刚刚得到的铁钩够下，落到地上，得到纸飞机，点放大纸飞机，再点击飞机，得到一个六位密码XxxxxX（此密码是随即产生）。 4、用密码进入蓝色的门，进入左边黄色门，这是一个洗手间，在水管的后面发现打火机。 5、出门右转上楼（有个箭头在楼梯栏杆上，不容易发现），到二楼进入墨绿色的门（这也是一个洗手间），得到手纸盒上的青绿色钥匙。 6、下楼到刚刚进屋时的界面，点击向后的箭头（箭头指向玩家），打开左侧门（用青绿色钥匙钥匙），进入，在茶几的花瓶里面找到浅灰色钥匙。 7、用浅灰色钥匙打开一楼的浅灰色的门。这是回到了刚刚的房间，有一直眼睛从窗帘里面露出，然后进入了那个房间，在枕头下面发现一把钥匙。进入屋子里的另外一个门，这又是一个洗手间（也不知道这一家弄这么多洗手间干嘛？）在水龙头后面有找到一把黄绿色的钥匙。出门，此时有人把狗狗的门给打开了（小心被狗狗咬到哦～呵呵） 8、用黄绿色的钥匙打开一楼黄绿色的门，这是一个厨房。进入左侧房间，用打火机将蜡烛点着，拿出一块肉，在进入厨房右侧，这时有人把厨房的锁头破坏了，出不去了，不过别着急，还有办法。在厨房的操作台上拿一个瓶子＆一个盘子。放大盘子，把肉放进去，点击瓶子（其实是一瓶烈性酒）把酒洒在肉上。待用。点击右侧的门出去，这是有个狗狗汪汪，把刚刚那盘美味放到狗食盆里面吧，这是哈哈，狗狗可以先好好睡上一觉了…… 9、从右面出去，再次进入电子门，重新输入六位密码（在那张纸上呢，不会这面快就忘了吧）上楼，在一楼和二楼的拐角处（左侧拐角）发现一个粉红色的钥匙。去一楼那个两个把手的棕色门（其实我感觉那个门应该涂上粉红色，因为这个游戏采用什么颜色钥匙开什么颜色门的原理。） 10、进入房间，拿一个杯子，到水壶那里盛满水，待用……进入左面的门，这是一个天井，左面窗台上有一把深蓝色的钥匙，喝口水，继续加油吧。 11、出来到二楼右面，找到蓝色的门，打开这扇会给你一个惊喜的门（嘻嘻嘻），一个进镜头，一片漆黑，恭喜你，你被打晕了～醒来会发现物品栏中的物品全部丢失了（Don''t Worry！这是游戏中的一部分） 12、出门点右面箭头，到客厅去（就是那个两个把手，本应到是粉红色的门），进入到天井，会发现令人惊悚的一幕，一个死人（噢，长的好丑啊……）把他手中的工具箱拿到手，放大，点击打开。你所有的物品就可以拿回来了，赚了，还多一个工具箱呢！ 13、去那个把你打晕的蓝色门房间，用钥匙打开门，书架上有一本日记，最高的那本，打开自己看看吧。翻到最后一页时出现密码18668798，点回主场景点击左面的窗子，看到对面楼房的烟囱下面了吗，呵，又是一把钥匙，橘黄色的钥匙，先别着急去找橘黄色的门，看看右面还有东西，点击窗子，到阳台上又找到了一把土黄色的钥匙。 14、进入二楼的土黄色门，这好像是个仓库。在左上方的红色盒子中拿到电话线，在这个房间对面有一个橘黄色的门，用钥匙打开这个门，到里面的房间，打开右面的阳台玻璃门，点击那个被称为博士的男人。他躺在床上后说要水，给他说，然后他说要他的重要文件，打开这间房间对面的门，点坐便上面的镜子，出现保险柜，右侧有一个密码输入装置，输入密码18668798，然后墙壁上就出现了一个人形的孔洞。 15、出门（到楼下）右转，在白色栅栏金属门的楼梯台阶左侧发现石制人形雕像，捡起后回到博士的房间，尽到刚刚那个洗手间里面把石制人形雕像安装到那个凹槽里面，把灯关掉，发现那个镜子掉下来的地方有不同颜色的光，用相应颜色的钥匙插到保险柜里面（注意：先记录好颜色顺序，开灯才能插钥匙），保险柜打开，拿出文件，交给博士。然后他告诉你去报警。 16、去那个灰色门的房间（一楼的）。点击电话，把电话线接上，这时，你会发现电话下面有一张证件，这时，终于真相大白了……原来那个博士不是博士，而是盗窃犯，而那个死在一楼天井的才是博士。（这个结局让人很不爽，可是你时侦探，探清事情的真相就是你才是你的人物）……完。

飞鸟集：时光荏苒

前天我再次翻看了泰戈尔的《飞鸟集》，那些曾经让我感动过的句子，现在看来还是那么灵动。

泰戈尔的诗句总是那么清新，给人一种盛夏时，暴雨初晴后的清爽。

《飞鸟集》每篇诗歌都很短小，但是每一个字都用得恰到好处，就如清晨的露珠，一颗颗排列在杂草间，才显得晶莹剔透。

书中的第一首诗歌，就让我有了许多的感触。

夏天来了，又走了，青春来了，它也即将同我告别。

stray birds of summer come to my window to

sing and fly away.

and yellow leaves of autumn,

which have no songs,

flutter and fall there with a sign.

夏天的飞鸟，来到我的窗前，

歌唱，又飞走了。

秋天的黄叶，

它们没有什么曲子可唱，

一声叹息，飘落在地上。

夏天的飞鸟，它来了，在我的窗前，唱歌，可是没多久又飞走了，我还没有听够它的歌声。

就像人的一生，盛夏，热血，激情，青春，梦想，拼搏，轰轰烈烈也好，寻一良人平平一生也罢，都是一种追求。

可为何你总觉得它来得太迟又走的太快。

今天我很忙，将来，将来还很长，喜欢的书，明天可以看，喜欢的人，明天还有机会。

其实，你错了，青春是拼搏的青春，是激扬的青春没错，但请你看看你的明天，明天的明天，你会发现永远都会很忙。

计划的，永远那么遥远，变化却总是那么无常。

转眼之间，你就看到了飞鸟唱歌的地方，掉了秋叶，它们静悄悄地飘荡，掉落，再静悄悄地归于尘土。

它们没有歌可以唱。

时光荏苒，一去不回，你的盛夏过得忙忙碌碌而无华，你的忙碌占去你大把的时间，透支着你渐弱的身体。

热血吗？充满激情吗？只不过是忙罢了。

它没有一点华美。

秋天到了，书还在书架上，喜欢的人早已经不知是什么模样。

你只有叹息一声，飘落的叶，早已经枯黄。

青春走了，如秋日的黄叶，悄然无声，回头看，你怎敢在盛夏时，让它藏于明天，不见天日。

充实，还是碌碌一生，它在于你今日的选择。