Samuel Johnson的名言翻译
It matters not how a man dies, but how he lives. (The act of dying is not of importance, it lasts so short a time. )
Samuel Johnson的名言翻译
How more importantly to survive, but how wasn't to die!
求助Samuel Johnson的名言“最贫的是无才 最贱的是无志”英文原文，不要翻译的，谢谢
To know, to esteem, to love, - and then to part,Makes up life's tale to many a feeling heart!- Samuel Taylor Coleridge
Samuel Johnson 萨缪尔·约翰逊《莎士比亚前言》中文翻译
His first defect is that to which may be imputed most of the evil in books or in men. He sacrifices virtue to convenience, and is so much more careful to please than to instruct, that he seems to write without any moral purpose. From his writings indeed a system of social duty may be selected, for he that thinks reasonably must think morally; but his precepts and axioms drop casually from him; he makes no just distribution of good or evil, nor is always careful to shew in the virtuous a disapprobation of the wicked; he carries his persons indifferently through right and wrong, and at the close dismisses them without further care, and leaves their examples to operate by chance. This fault the barbarity of his age cannot extenuate; for it is always a writer’s duty to make the world better, and justice is a virtue independant on time or place.他的头一个缺陷，书籍或者人的最恶劣之处或许也归咎于这个缺陷，是为了方便，牺牲德行；过于在意讨人喜欢，而疏于教化，他写作似乎没有任何道德目的。
倒是真能从他的作品中筛选出一套社会义务，因为他认为思有理也必定思无邪。
但是，他的规诫和格言，脱口而出，漫不经心；善与恶，他等量齐观，却不厚此薄彼，他也不总是仔细地让善人显示出对恶人的贬责；他塑造的人物，漠然于是非，到最后打发了它们，却不再细究，把它们作为世人的榜样，自任其便。
他的时代有此粗鄙之风，他却不该以此为托词。
改善世界总是一个作家的义务，正义是不拘于时代或者地域的德行。
The plots are often so loosely formed, that a very slight consideration may improve them, and so carelessly pursued, that he seems not always fully to comprehend his own design. He omits opportunities of instructing or delighting which the train of his story seems to force upon him, and apparently rejects those exhibitions which would be more affecting, for the sake of those which are more easy.情节组织得常常太松散，稍作考虑即可改善之，而且情节展开得也过于随意，他似乎不总能充分理解他自己的谋划。
他错过了教化或者愉悦观众的机会，他故事的发展似乎强给他这样的机会，但他显然抛弃了这种显示身手的机会，这本会更加感人，他却弃而经营那些比较安逸的事情。
It may be observed, that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and, in view of his reward, he shortened the labour, to snatch the profit. He therefore remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.人们或许可以注意到，他许多戏文的后半部分明显经心不足。
在作品即将收尾之际，他感觉即将大功告成，他就偷工减料，直取其利。
他因此就在最该着力之处省了劳动，他悲剧的结局就来得不足令人信服，或者不曾得到完美的展现。
He had no regard to distinction of time or place, but gives to one age or nation, without scruple, the customs, institutions, and opinions of another, at the expence not only of likelihood, but of possibility. These faults Pope has endeavoured, with more zeal than judgment, to transfer to his imagined in interpolators. We need not wonder to find Hector quoting Aristotle, when we see the loves of Theseus and Hippolyta combined with the Gothic mythology of fairies. Shakespeare, indeed, was not the only violator of chronology, for in the same age Sidney, who wanted not the advantages of learning, has, in his “Arcadia”, confounded the pastoral with the feudal times, the days of innocence, quiet and security, with those of turbulence, violence and adventure.时地不同，风俗各异，但他对此不以为然，略无顾忌地把一个时代或者国家的风俗习惯和意见想法搬到另一个时代或者国家，其代价不独让东施效蹙眉，也以鹤胫续鸭腿。
以热忱而不以明断，蒲柏设想有人篡改了莎士比亚的作品，竭力把这种毛病推诿给他人。
我们发现赫克托耳口出亚里士多德的话，我们看到忒修斯和希波吕忒的爱情和粗俗的哥特仙女神话打成一片，我们也不必惊讶莫名。
打破年代顺序的，莎士比亚确实不是只此一家，因为他的同代人西德尼，不乏深厚的学养，在他的《阿卡迪亚》中，也把封建时代的田园生活，那些天真而安宁的岁月，与动荡、暴烈而冒险的日子混杂一处。
In his comick scenes he is seldom very successful, when he engages his characters in reciprocations of smartness and contest of sarcasm; their jests are commonly gross, and their pleasantry licentious; neither his gentlemen nor his ladies have much delicacy, nor are sufficiently distinguished from his clowns by any appearance of refined manners. Whether he represented the real conversation of his time is not easy to determine; the reign of Elizabeth is commonly supposed to have been a time of stateliness, formality and reserve, yet perhaps the relaxations of that severity were not very elegant. There must, however, have been always some modes of gayety preferable to others, and a writer ought to chuse the best.在他的喜剧场景中，他难得很成功，他让人物互相抖机灵，比赛谁说话更刻薄；他们的俏皮话一般是粗俗的，插科打诨是淫秽的；他的绅士或者淑女都很欠文雅，若凭有教养的举止，则不足以把他们从他的小丑中甄别出来。
他展现的是不是他所处时代的真实谈话，此事不容易判断；伊丽莎白朝代一般被认为是一个庄重、多礼而矜持的时代，但如此拘谨一旦松弛下来，其情形或许就不很体面了。
然而，总有一些娱乐方式比另一些方式更可取，而一个作家却应该选择最体面的。
In tragedy his performance seems constantly to be worse, as his labour is more. The effusions of passion which exigence forces out are for the most part striking and energetick; but whenever he solicits his invention, or strains his faculties, the offspring of his throes is tumour, meanness, tediousness, and obscurity.在悲剧中，他的成就似乎常常更坏，正如他费力也更多。
激情迫于急切而爆发，在大多数情况中，都令人惊骇，也力度十足；但是，每当他要刻意求新，或者每当他要强逞其能，他苦心经营的结果就臃肿、低劣、沉闷而晦涩。
In narration he affects a disproportionate pomp of diction and a wearisome train of circumlocution, and tells the incident imperfectly in many words, which might have been more plainly delivered in few. Narration in dramatick poetry is, naturally tedious, as it is unanimated and inactive, and obstructs the progress of the action; it should therefore always be rapid, and enlivened by frequent interruption. Shakespeare found it an encumbrance, and instead of lightening it by brevity, endeavoured to recommend it by dignity and splendour.在讲故事的时候，他措辞浮华，迂回婉转得令人生厌，做作得失了分寸；他絮絮叨叨，把事情讲得颇不圆满，寥寥数语倒能交代得明白如水。
诗剧里的叙事，本来就乏味，自固无精打采、死气沉沉，阻滞情节的发展；因此，故事总要快快地讲，中途常常加些波折使之活泼。
莎士比亚发现这太拖沓，但他不以简洁使故事明快，却努力以高贵和壮丽讨好于人。
His declamations or set speeches are commonly cold and weak, for his power was the power of nature; when he endeavoured, like other tragick writers, to catch opportunities of amplification, and instead of inquiring what the occasion demanded, to show how much his stores of knowledge could supply, he seldom escapes without the pity or resentment of his reader.他的辩词或者自成一体的演说，一般冷淡而虚弱，因为他的才力偏于率性而发；像其他悲剧作家一样，他刻意逮住铺张扬厉的机会，而不研究一番场合是否那么要求，于是就炫耀他的博学多识到底能够显摆到何种程度，这难免读者的鄙视和愤恨。
It is incident to him to be now and then entangled with an unwieldy sentiment, which he cannot well express, and will not reject; he struggles with it a while, and if it continues stubborn, comprises it in words such as occur, and leaves it to be disentangled and evolved by those who have more leisure to bestow upon it.时不时地纠缠于难以驾驭的感情，他无能于把这种感情表达完善，但也不想舍弃，这在他是偶然的小事了。
他与这感情苦斗一会儿，如果事情仍然难以对付，他就用敷衍之词搪塞之，任其一团乱麻，留给那些更有闲工夫的读者兀自演绎去吧。
Samuel Johnson的“辞书编纂者是无害的苦力”原文怎么说
“lexicographer is a writer of dictionaries;a harmless drudge,”by Johnson Samuel
西方谚语“通往地狱的道路是用良好的意愿铺成的”的英文原话是什么
The road to hell is paved with good intentions.通往地狱的路上铺满善意。
通往地狱的是遍地是出于好意。
意义：好心办坏事。
