1

Read " xiaodoudou " have feeling"
Windows of the small Dou " was written by Kuroyanagi Tetsuko, she is a famous Japanese writer, famous TV presenter, UNICEF goodwill ambassador. " Windows of the small Dou " tells the story of the author of primary school for a true story. Little bean is very naughty, in the first grade because of curiosity, in the class, the desk lid opens and closes, opens and closes, the foot has a hundred times! Later, she didn't take the table to make a noise, but have been standing there, that is to say hello and publicity. Also. And there are so many things, to count. Because she is too naughty, so the other students affected, she had to drop out of school. Then, she transferred, Pakistan came to the academy. In the small Laughlin 's love and guidance, the eyes of ordinary people " strange" small Peas gradually became an acceptable to all children, and laid the foundation for her life. This book is praised Kobayashi Sosaku beautiful soul. I think his heart is very beautiful, also very loving children, with their own unique way to spread the love to the child, let them grow up happily. Little bean is a cheerful personality, love and friends to play with the children. Not only that, little bean was a laugh at other people's children. Little bean this one don't laugh at other people's character, not only so that I admire you thoroughly, or our model. China network compositionOn the contrary, some people, but in their own homes rich, often to buy brand-name clothes, wear to school to show off their clothes, more beautiful, and see which classmate dressed better than themselves, the students would laugh at. I want to study small peas, don't laugh at others, help others, tolerance, treat the classmates, I believe I can do it.
（读《窗边的小豆豆》有感
《窗边的小豆豆》是黑柳彻子写的，她是日本着名作家、着名电视主持人、联合国儿童基金会亲善大使。《窗边的小豆豆》讲述的是作者上小学时的一段真实的故事。小豆豆非常淘气，在一年级时因为好奇，在上课的时候，把书桌的盖子开了关，关了开，足有上百次！后来，她没把桌子弄出声来，却一直站在那里，原来是为了和宣传艺人打招呼。还有……还有的事情实在太多了，数都数不过来。因为她太淘气了，所以别的学生受到了影响，她不得不退学。于是，她转学了，来到巴学园。在小林校长的爱护和引导下，一般人眼里“怪怪”的小豆豆逐渐变成了一个大家都能接受的孩子，并奠定了她一生的基础。　　这本书称赞了小林宗作的美好心灵。我觉得他的心灵非常美好，也非常爱孩子，他用了自己独特的方式来把爱传播给孩子，让他们快乐成长。小豆豆是个性格开朗、喜爱和同伴们一起玩的孩子。不仅这样，小豆豆还是个不嘲笑别人的孩子。小豆豆这一种不嘲笑别人的品格，不仅使我佩服得五体投地，还是我们学习的榜样。中国作文网
　　相反，有的人，却以着自己家里富有，就经常买一些名牌的衣服，穿回学校炫耀自己的衣服多美，而看到哪个同班同学穿得不比自己好，就会嘲笑那同学。我要学习小豆豆那样，不嘲笑别人，多帮助同学，宽容对待同学，我相信我一定可以做到。）
2
" Red rose and white rose " impression after reading

Today I read a novel, called " red rose and white rose " -- " perhaps every man has all had such two women, at least two. Marry red rose, in the course of time, the red became the wall with a mosquito blood, white or " Moonlight"; married a white rose, white is the clothes on a grain of rice stick, red is a cinnabar mole in his heart. " This is the beginning of this article.Through a vibration and man, reflected social phenomenon, a human -- every man hopes his life with two women, one is his white roses, one is his red rose, a holy wife, a mistress is warm, during the same period, and white, with his harsh fate. This is the social reality of the manIn fact, in the social reality of every woman want him there are two men in the life, Li Bihua in the " snake " in have wrote. Xu Xian and Hai, yes, Fahai is exhausted to make every attempt Bo she I smile with golden statues, Xu Xian is reluctant to part in hand, and the beautiful boy. The two have their respective advantages.The reality is ugly and not always lets the human spine chills, cannot face I want to be a person in this world, I not only in his heart the white rose, and his heart red rose, he fills my heart Xu Xian and the position. I have began to imagine such a perfect marriage, if not, then I would rather choose to be a cinnabar mole.
（《红玫瑰与白玫瑰》读后感
今天看了一部小说，名叫也许每一个男子全都有过这样的两个女人，至少两个。娶了红玫瑰，久而久之，红的变了墙上的一抹蚊子血，白的还是"床前明月光"；娶了白玫瑰，白的便是衣服上沾的一粒饭黏子，红的却是心口上一颗朱砂痣。"这就是文章的开头部分。
　　通过一个叫振保的男人，反映出现实社会的一种现象，一种人性的特点——每个男人都希望他生命中有两个女人，一个是他的白玫瑰，一个是他的红玫瑰，一个是圣洁的妻，一个是热烈的情妇，同期的，相间的，点缀他荒芜的命运。这就是现实社会中的男人
　　其实现实社会中每个女人也希望他生命中有两个男人，李碧华在《青蛇》中就有写道。许仙和法海，是的，法海是用尽千方百计博她偶一笑的金漆神像，许仙是依依挽手，细细画眉的美少男。两个都有各自的优点。

　　现实的丑陋与不堪总是让人脊背发冷，无法直面我希望对于这世上的某个人，我既是他心中的白玫瑰，又是他心中的红玫瑰，他也填满了我心中许仙和法海的位置。开始幻想我以后拥有这般完美的婚姻，如果做不到，那么我也宁愿选择做一颗朱砂痣。）
3
" I hate the grass ".I read " I hate grass " after this article, there are many ideas, want to say it out and share with.In this paper the authors introduced grass of three counts: the first indictment is the farmers worked hard to be an easy job to Zhuang Jiashi fertilizer grass was away; second counts are grass snakes, insects hideout; third counts are " best special bootlick ", wind it bow and scrape, wind walk it was lord it over others, was hate. Today I want to say is the careless advantage also do exist: the grass can absorb the carbon dioxide in air and waste gas, purify the air, grass also can protect the soil, reduce erosion, beautify the environment ... ... Is not able to see problems author. If the author of this argument reasoning should cut the grass out, then the earth will be every day blowing dust storms, we human beings will be because of poor air quality and the risk of upper respiratory system diseases. However, if blindly praise the grass, grass than the crops grow fast, so the crops will not grow well, will become the world food crisis, therefore, we should foster strengths and circumvent weaknesses on grass.On the grass strengths, we can continue to carry forward the broad masses, to resolve the grass counts: first, we developed a special herbicide, as long as where there is grass weeds using it, absorbs the nutrient part will be destroyed, then the grass will naturally dry out and die, the crops would not one point of damage. In second, the author is not to say that the grass is poisonous snakes, poisonous insects hideout? The most stupid method is very simple, as long as the grass short, do not let it grow on it. But near the Amazon has a strange grass, the grass snake, they can take away, but for beneficial insects, birds and humans do not have any effect, if we were in the grass lawn for the long sleep without any anxiety? As far as the author is listed the third counts, I think it's just the author opinion, if the grass harm relieved, the authors no longer hate grass, will be on the best attitude change.Through the study of this article, I realize the truth: it is to see anything to comprehensive analysis, not only a comprehensive, easily judge.

　（《我讨厌小草》读后感
我看完《我讨厌小草》这篇文章后，有很多的想法，想说出来和大家分享。
　　作者在文中提出小草的三大罪状：第一条罪状是农民伯伯辛辛苦苦给庄稼施的肥被草轻而易举地夺走了；第二条罪状是草是毒蛇、毒虫的藏身所；第三条罪状是“狗尾巴草专门拍马屁”的，风一来它就点头哈腰，风一走吧它又盛气凌人，令人讨厌。今天我要说的是草的好处也确确实实存在：小草可以吸收空气中的二氧化碳和废气，净化空气，小草还可以保护水土，减少流失，美化环境……只是作者没能全面的看问题。如果按作者的这种说法推理应该把草全部除掉，那么地球上就会天天刮沙尘暴，我们人类也会因为空气质量下降而患上呼吸系统疾病。，可是如果一味地称颂草，草比庄稼长得快，那样庄稼就会长不好，粮食就会成为世界性的危机，所以，我们对小草应该扬长避短。
　 对草的长处，我们可以继续发扬广大，想办法解决作者提出的草的罪状：第一，我们人类研制出一种特殊的除草剂，只要在有草的地方使用它，野草中吸取养分的部分就会被破坏，然后小草就会自然干死，而对庄稼不会有一点伤害。第二，作者不是说草是毒蛇、毒虫的藏身所吗？最笨的方法都很简单，只要将草剪短，不让它长高就可以了。而且在亚马逊河附近有一种很奇特的草，这种草可以把毒蛇、毒虫赶走，而对益虫、益鸟和人类都不会有任何影响，我们要是在草坪上种上这种草不久高枕无忧了吗？至于作者列出的小草的第三条罪状，我想那只是作者个人的意见，如果草对人类的危害解除了，作者不再讨厌小草了，也会对狗尾巴草改变态度的。
　　通过学习这篇文章，我悟出了一个道理：那就是看任何事务都要全面地分析，不要只看一个片面，就轻易做出判断。 ）
希望可以帮到你

红楼梦：
The Chinese Qing Dynasty novel, The Story of the Stone (also known as The Dream of the Red Chamber), is among the greatest novels ever written (see our review). With near 2500 pages in its English translation (published in five volumes) it is a monumental work. While the main story -- of Bao-yu (the Stone incarnate) fulfilling his destiny, within the framework of a family saga -- is fairly straightforward and easily followed the sheer number of characters, the many complex themes interwoven in the story, and the setting that is foreign both in culture and time can appear daunting and make the novel something of a challenge for readers. Dore J. Levy's study serves as a useful introduction and guide to many of the novel's themes and subjects, as well as explaining stylistic and formal elements of the text.
As Levy reminds us, in China "The Story of the Stone is a recognized scholarly field (called hongxue, or Dream of the Red Chamber studies), with its own history and specialist journals, like Dante or Shakespeare studies in the West." A vast amount of scholarly material on the novel exists, even in English. Levy's book "is intended as an introduction for first-time readers" (though she hopes aspects of it "suggest new ways for more advanced students and scholars to approach the text"). Written in an approachable manner it is certainly a useful starting point and companion volume to the actual novel.
Levy addresses several major areas in the five chapters of her book. First and foremost (and carried throughout the rest) is the notion of "ideal and actual, real and not-real." Truth vs. fiction is one of the most significant threads through the novel, beginning with the Stone presenting the very text and continuing through the many dreams, poems, and other unreal aspects of the book. Similarly, the tension between the ideal -- the world as it should be -- and the actual -- specifically the fallible and often weak (morally, intellectually, and spiritually) Jia's -- is constantly shown.
The family ideal is of particular significance, and the large Jia family offers sufficient examples of the many ways not to live up to those ideals. Bao-yu is, of course, the future of the family, and he does prove its saviour, ultimately living up to the ideal. Along the way, however, he also challenges many of the traditions, neither remaining in his proper place (preferring to be in the company of the girls for example), nor shouldering responsibilities as he should (whether regarding his studies (finally taken up seriously only at the last possible moment) or marrying (he has to be tricked into marriage and fails, initially, as a husband)). He and Dai-yu, not meant to be of this world, are a bridge between ideal and actual; significantly they do not remain in the world of the actual.
In her chapter on "Preexisting Conditions" Levy usefully analyzes the medical aspects of the book. Given Dai-yu's terminal illness and various other instances of chills, blood-coughing, disease, and death it offers another useful perspective on the book, especially for an audience generally not familiar with Chinese medicine. Bao-yu is even diagnosed as suffering from Attention Deficit Disorder, a fairly convincing analysis that actually does provide some insight into aspects of his behaviour.
In the last two section Levy pays particular attention to the poetry in the novel. Many of the characters write poetry, and Cao Xueqin uses it effectively as part of the larger tale. It serves as another layer of the multi-layered novel, and Levy explains its role and application well.
Levy manages to bring across much of the novel in her brief, clearly written book. Though she concentrates only on a few larger themes she manages to cover a great deal of territory. The Story of the Stone can appear daunting, but Levy's broad introduction explains the most significant themes and currents running through the book and mentions many of the others. It is a useful overview and companion piece, and while The Story of the Stone can be enjoyed on its own Levy's insights can certainly help increase a reader's enjoyment and understanding. Her fascination with the novel (one that can be studied for a lifetime) certainly comes across.
红楼梦：
This is the second volume of Cao Xueqin’s story of the fortunes of the Jia dynasty in early eighteenth century China. The story focuses particularly on the bond between Bao-yu, the eldest son of the house, and his orphaned cousin Dai-yu.
Though the events of the book take place over a period of less than a year, the narrative goes into great depth about the lives of the family and their servants. Cao describes festivals, rituals and customs in a lot of detail so that anyone not familiar with the history of Manchu China gains some insight into it while reading the book. There are many very sumptuous descriptions here and we get a real sense of the decadence of this wealthy household.
I don’t think you need to have read the first volume of the story to be able to follow what’s going on, but there are a lot of characters in the novel, so you might want to familiarise yourself with the list of characters and genealogical tables before you read it.
David Hawkes’ translation is very readable and entertaining, but I think it’s quite anglicised and doesn’t really give a flavour of Chinese expression.
Overall, I would recommend this book, especially if you’re interested in the Chinese way of life.
红楼梦：
I spend a lot of time wandering through bookstores. One particular book has caught my eye over the years, and the other day I bought it - Volume 1 of Cao Xueqin's eighteenth century epic, "The Story of the Stone: The Golden Days". As a developing eighteenth century scholar, I was doubly attracted to it. "The Golden Days" absolutely blew me away - used as I am to eighteenth century novels (British, French, American), this is wholly unlike anything I've read from the era. It bears structural similarities to the Laurence Sterne's "Tristram Shandy" and "Sentimental Journey," but aside from that bears more in common with ancient Greek novels like Longus's "Daphnis and Chloe" or Heliodorus's "Eithopian Romance," as well as the mysticism of the ancient Egyptian "Story of the Shipwrecked Sailor." And yet, Cao's attention to actual life experiences, and the detail he conveys about tradition and ceremony, along with frank dealings with human relationships and sexuality makes "The Golden Days" much more than any quick summary of style or content can relate.
"The Golden Days" begins in amusing, but sympathetic fashion: the goddess Nü-wa is repairing the sky with 36,501 stones. When she finishes, one remains, which is cast off. Having been touched by a goddess, this stone has magical properties, able to move, change size, and even talk. One day, a Buddhist monk and a Taoist come upon the stone, and promise to let the stone have an adventure - to become human. As the stone waits by a pond, it falls desperately in love with a Crimson Pearl Flower, which is also selected for incarnation by the Fairy Disenchantment. The stone and the flower are incarnated as the novel begins in earnest, as a young minor nobleman named Jia Bao-yu, and a commoner related to the family, a girl named Lin Dai-yu - both unaware of their heavenly origins. "The Golden Days" centers around the daily events and occurrences in the lives of these two teenagers, as they come to grips, as we all must, with human life.
The Rong and Ning branches of the Jia family, on opposite sides of Two Dukes Street, are the centerpieces of the novel's action. Like the "big house" fiction of the English eighteenth century, these ancestral manses provide a locus of activity, as the nobles, their extended families, friends, and servants mingle and interact constantly. Cao marks himself as a remarkable author by the way he handles a massive cast of characters, letting us into the private lives and concerns of all ranks of society, as well as the forms of etiquette that determine their relationships. Another terrific facet of the novel's construction is the almost stream of consciousness style Cao employs - as characters pass in and out of the immediate action of the novel, the narrative seems to choose the person it's most interested in and follow them for pages at a time, before seamlessly passing to the next character. It's really quite amazing, how, in this way, we come to understand the motivations, fears, and hopes of so many individuals. Time, distance, culture, Cao levels distinctions, making historical China accessible to even 21st century readers - he reduces people to their human concerns.
Cao Xueqin's novel is also remarkable for what I can only call it's pro(to)-feminist tone. While we are reminded by certain characters that male lineage is of major importance to the structure of the society, the narrative consistently shows the power, ability, and influence of women. At the novel's beginning, a Taoist named Vanitas finds the stone, and is asked to transcribe its story, but complains initially that it is about a "number of females". The stone obviously insists that the story be written out. Later, Bao-yu, the major male character, says he is more comfortable around women - that they are like water, while men are like mud, castoffs, unclean. One of the main characters of this volume is Wang Xi-feng, a young woman in her early twenties, who for an extended period, manages the affairs of both the Ning and Rong mansions. Cao's respect and admiration for the strong women in Bao-yu's life: Xi-feng, Dai-yu, and two particular servants, Aroma and Caltrop, is quite obvious and important to the novel.
If you are like me, and know tragically little about Chinese literature and culture, Cao takes care of that too - there is a heavy emphasis throughout the novel on the cultural productions of China. The book integrates a wide range of poetry, drama, fiction, folk wisdom, and mythology as a central part of Bao-yu and Dai-yu's upbringing. One can sense Cao's insistence in the novel that education and cultural production is of vital importance, particularly to children. While the Fairy Disenchantment seems to be the guiding spirit of the novel, hinting at the diappointments inevitable in the course of life, this is a novel about youth, and hope for the future, even in the midst of concern about how long prosperity can last. Taken altogether, "The Golden Days" cannot be recommended enough. David Hawkes's translation is first rate, and his introduction, pronunciation notes, and appendices are thorough and very helpful.
红楼梦：
Well, in my opinion anyway. David Hawkes has done an amazing job translating this brilliant 18th-century novel into colloquial modern English. I have read all the translations-- this is my favorite novel, and this is by far the best version for an English speaker who just wants a good book. I can imagine that a Chinese reader could pick holes in this translation, as I could nitpick at a translation of Shakespeare-- the wealth of the original is impossible to transfer whole into another language and culture. If you want a word-for-word translation so you can use this as a study guide while you read the Chinese, maybe the wooden Beijing Languages version could help you! But I have a hard time imagining any new translation being more vivid and fun to read than this one. Yes, it is littered with sometimes annoying Britishisms. That is the price of a colloquial translation! It's true that Hawkes does not explain all the references-- that would be another book in itself. And I am sure he made mistakes-- I help a French translator occasionally and even though he is very well-versed in English, it is so easy for him to miss something that only a cultured native speaker could pick up. But this translation is ALIVE. Until that perfect translation comes along one day, Hawkes's is still better than all the others. Be grateful to him!
三国演义：
First off, you have to read the full translation of this book. I read the 1976 abridged version of Three Kingdoms translated by Moss Roberts first and thought it was pretty good, but felt that the story wasn't developed enough and lacked cohesion. Then a few years ago I finally found and purchased the full unabridged version published by the University of California Press and also translated by Dr. Roberts. This is the full-blown epic from start to finish with all the details and many of the translation errors of the previous editions eliminated. The prose was also improved and flows eloquently throughout the book's entire 3000+ pages. Three Kingdoms is the tale (part historical, part legend and myth) of the fall of the Later Han Dynasty of China. It chronicles the lives of those feudal lords and their retainers who tried to either replace the empire or restore it. While the novel actually follows literally hundreds of characters, the focus is mainly on the 3 families who would eventually carve out the 3 kingdoms from the remnants of the Han. The Liu family in the Shu kingdom led by Liu Bei, The Cao family in Wei led by Cao Cao, and the Sun family in Wu eventually led by Sun Quan. The book deals with the plots, personal and army battles, intrigues, and struggles of these families to achieve dominance for almost 100 yrs. This book also gives you a sense of the way the Chinese view their history: cyclical rather than linear (as in the West). The first and last lines of the book sum this view up best: "The empire long united must divide..." and "The empire long divided must unite..." If you are at least a little interested in Chinese history (ancient or modern) and culture this book is a must read.
三国演义：
"Romance of the Three Kingdoms" is possibly the most famous and important novel in classic Chinese literature. Not only is it the earliest of the "Four Great Books" (as evidenced by its more archaic language), but it created a complete cultural phenomenon whose impact is still fresh today -- just ask all the young people today who, without having read a word of the book, still know the characters from the strategy and fighting video games released by the company Koei. And how many literary works can claim to have had a direct impact on history as this book, which was used as a strategy text by the great Manchurian leader Nurhachi and his son Hongtaiji?
I'd read the original archaic text when I was about eight years old, so obviously my views will be heavily slanted by my familiarity with this text. On approaching this translation, what I find is a well done, respectful and informative translation that doesn't quite nail the tone of the original text, but will be a good read for modern readers who don't read Chinese.
And to be honest, Chinese is extremely hard to translate into English. Just the fact that subjects, articles and pronouns are often omitted from a sentence is enough to cause nightmares for a Chinese-English translator. And even by Chinese standards, The Three Kingdoms is a work whose linguistic economy is staggering. In one page, this book can convey the deaths of half a dozen characters, three to four battles, multiple schemes, and include four or five "tribute" poems, to boot. Such is the style of this work, and it could not have been easy for translator Moss Roberts to adapt this style into English. And he has done the job remarkably, for though I don't think he was able to convey the flavour and rhythm of the original language (the question is, also, whether that would have been possible), his translation makes a good read, and strives to be faithful to the original text, down to the chapter divisions and the inclusion of the "tribute" poems which frequent the book. This was an essential piece in the style of the book and I was joyed to see the device retained.
There are instances scattered throughout where I felt the tone of the language may have been misinterpreted, or diluted by the language barrier. Obviously, I'm not a Chinese professor (as Prof. Roberts is), but as a native speaker, I felt his translations sometimes didn't quite hit the mark. For example, in the original text, one poem on the character Cao Cao distinctly used a word which meant "deception" or "guile", but Prof. Roberts adapted it to "craft", which dilutes the disapproving tone of the original. When Yuan Shao refused aid to Liu Bei on account of his son's illness, his advice to the messenger was "if he is in trouble, he may seek refuge with me", which suggests patronage, not "find refuge north of the river", which suggests a tactical manoeuvre related to geography. These are but two examples and you can certainly argue that the meaning of the original text is up for grabs, but as a Chinese native speaker and reader, one who has grown up with this text and re-read the book hundreds of times, I still find the translation a little off. There is also no attempt at creating period flavour in the language -- the translation is modern, not aiming to add archaic English flavour to try to reflect the age of the original Chinese text. This may be a good point, however, since the use of archaic English added to the language barrier might have resulted in a book that's very difficult to read. I think Prof. Roberts sacrificed flavour for clarity, a fair tradeoff to the benefit of the translation.
Again, the question is whether an English translation (or any other translation) could ever be accurate in this way to the original. Personally, I do think many of the discrepancies in meaning could have been avoided, or ameliorated. However, as aforementioned, for a reader who's never read the original, this issue won't affect his/her enjoyment of the text. Just the fact that there is a translation of this extremely important work of Chinese literature is a cause for celebration, and for those people new to this realm, this set of books is a great discovery.

The Dursleys got into bed. Mrs. Dursley fell asleep quickly but Mr. Dursley lay awake, turning it all over in his mind. His last, comforting thought before he fell asleep was that even if the Potters were involved, there was no reason for them to come near him and Mrs. Dursley. The Potters knew very well what he and Petunia thought about them and their kind. . . . He couldn’t see how he and Petunia could get mixed up in anything that might be going on — he  yawn ed and turned over — it couldn’t affect them. . . .

德斯里夫妇躺到了床上。德斯里夫人很快就睡着了，但是德斯里先生却辗转难眠，脑子里不断想着这件事。在他睡着之前最后让他舒服一些的想法是即使波特夫妇被卷入这件事，也不可能找上他们夫妻两个。波特夫妇非常清楚地知道德斯里夫妻对他们以及他们这类人的看法......德斯里先生认为不论未来会发生什么他们夫妻俩也不会被卷进来——他打着 哈欠 然后翻了个身——不可能影响到他们的......

How very wrong he was.

他简直大错特错了。

Mr. Dursley might have been  drift ing into an uneasy sleep, but the cat on the wall outside was showing no sign of sleepiness. It was sitting as still as a statue, its eyes fixed unblinkingly on the far corner of Privet Drive. It didn’t so much as  quiver  when a car door  slam med on the next street, nor when two owls swooped overhead. In fact, it was nearly midnight before the cat moved at all.

或许德斯里先生不知不觉（ 漂流 ）的进入了不安的睡眠，但是外面墙上的那只猫毫无要睡觉的信号。它还是像一个雕塑一样坐着，眼睛一眨不眨的紧盯着女贞路远处的拐角。不管是临街发出的 猛关 车门的声音还是当两个猫头鹰从上边疾驰而过的时候它都一 动 不动。事实上，猫开始动的时候已经要半夜了。

A man appeared on the corner the cat had been watching, appeared so suddenly and silently you’d have thought he’d just popped out of the ground. The cat’s tail  twitch ed and its eyes narrowed.

这只猫看到了一个人出现在街角，出现的是如此的突然和安静以至于你绝对想不到他是突然出现在地面上的。猫的尾巴 直立 了起来，眼睛眯成了一条缝。

Nothing like this man had ever been seen on Privet Drive. He was tall, thin, and very old, judging by the silver of his hair and beard, which were both long enough to  tuck into his belt. He was wearing long  robe s, a purple cloak that swept the ground, and high-heeled,  buckle d boot s. His blue eyes were light, bright, and sparkling behind half-moon  spectacles and his nose was very long and  crook ed, as though it had been broken at least twice. This man’s name was Albus Dumbledore.

这个人从来没有在女贞路上被看见过。他高高瘦瘦的，并且从他快要 盖到 腰带的银色的头发和胡子来判断年龄也非常大了。他穿着 长袍， 一个紫色的拖到地上的披风，和 带扣 的高底 靴子 。他半月 眼镜 下的双眼中有光、明亮并且闪闪发光，他的鼻子又长又 弯 ，像是被打断了至少两次一样。这跟男人的名字就是阿尔布斯·邓布利多。

Albus Dumbledore didn’t seem to realize that he had just arrived in a street where everything from his name to his boots was unwelcome. He was busy  rummaging  in his cloak, looking for something. But he did seem to realize he was being watched, because he looked up suddenly at the cat, which was still staring at him from the other end of the street. For some reason, the sight of the cat seemed to  amuse  him. He  chuckled and  muttered , “I should have known.”

阿尔布斯·邓布利多看起来并没有意识到他刚刚来到了一个从上到下都不欢迎他的街道。他正忙着在他的披风中 翻找 什么东西。但他看起来确实意识到了他正在被注视着，因为他突然抬起头看向了那只猫，它还在街道的另一端盯着他。由于一些原因，这只猫的目光看起来 逗乐 了他。他 咯咯地笑 起来并且 喃喃自语 ：“我应该想到的”。

He found what he was looking for in his inside pocket. It seemed to be a silver cigarette lighter. He flicked it open, held it up in the air, and clicked it. The nearest street lamp went out with a little pop. He clicked it again — the next lamp flickered into darkness. Twelve times he clicked the Put-Outer, until the only lights left on the whole street were two tiny  pinprick s in the distance, which were the eyes of the cat watching him. If anyone looked out of their window now, even  beady-eyed  Mrs. Dursley, they wouldn’t be able to see anything that was happening down on the  pavement . Dumbledore slipped the Put-Outer back inside his cloak and set off down the street toward number four, where he sat down on the wall next to the cat. He didn’t look at it, but after a moment he spoke to it.

他在他里面的口袋找到了他想要找的东西。那看起来是一个银色的打火机。他翻开盖，把它举到空中，把它打着。最近的一个街灯砰的一声灭了。他有点了一次——下一个灯 闪烁 了一下也灭了。他点了十二下熄灯器，直到整个街上只有远处两个 小孔 发出光，那是看着他的那只猫的眼睛。如果任何人现在从他们的窗户看出去，即使是 目光锐利的 德斯里夫人，他们也不能看到下面 人行道 上发生的任何事。邓布利多把熄灯器塞回了他的披风，并且朝着街道的四号方向 走去 ，坐在了墙上那只猫的旁边。他没有看着它，但是过了会儿他对它说话。

“Fancy seeing you here, Professor McGonagall.”

“真没想到在这儿见到你，麦格教授。”

He turned to smile at the tabby, but it had gone. Instead he was smiling at a rather severe-looking woman who was wearing square glasses exactly the shape of the markings the cat had had around its eyes. She, too, was wearing a cloak, an emerald one. Her black hair was drawn into a tight bun. She looked distinctly  ruffled .

他转过去朝着这只猫笑了，但是它已经不见了。相反，在正在朝着一个看起来很严肃的女人笑，她带着方形眼镜正是那只猫眼睛周围的记号形状。它同样穿着一个祖母绿色的披风。她黑色的头发完成了一个发髻。她看起来毫无疑问很 生气 。

“How did you know it was me?” she asked.

"你怎么知道那是我呢？"她问道。

“My dear Professor, I’ve never seen a cat sit so  stiffly .”

“我亲爱的教授，我从没有见过一只猫如此 僵硬地 坐着”

“You’d be stiff if you’d been sitting on a  brick  wall all day,” said Professor McGonagall.

“如果你已经在 砖 墙上坐了一整天你也会僵硬的。”麦格教授说到。

“All day? When you could have been celebrating? I must have passed a dozen  feast s and parties on my way here.”

“一整天？那你什么时候能庆祝呢？我肯定在我来这儿的路上已经错过了一打儿的 宴会 和派对了。”

Professor McGonagall  sniffed  angrily.

麦格教授生气地 吸了口气 。

“Oh yes, everyone’s celebrating, all right,” she said impatiently. “You’d think they’d be a bit more careful, but no — even the Muggles have noticed something’s going on. It was on their news.” She jerked her head back at the Dursleys’ dark living-room window. “I heard it.  Flocks of owls . . . shooting stars. . . . Well, they’re not completely stupid. They were bound to notice something. Shooting stars down in Kent — I’ll bet that was Dedalus Diggle. He never had much sense.”

“哦，是啊，每个人都在庆祝，对啊。”她失去耐心地说到。“你应该想他们本应该再小心一些，但是没有——即使这些麻瓜们也注意到一些事情正在发生。那出现在了他们的新闻上。”她猛地把头转向德斯里夫妇暗下的卧室窗户。“我听说了。猫头鹰 群 ......流星雨......好吧，他们不是彻底的愚蠢。他们 必然 发现一些事情。肯特的流星雨——我打赌那是迪达勒斯·迪格。他一直都没什么头脑。”

“You can’t blame them,” said Dumbledore gently. “We’ve had precious little to celebrate for eleven years.”

“你不能责备他们。”邓布利多绅士地说到。“我们已经十一年没怎么庆祝过了。”

“I know that,” said Professor McGonagall  irritably . “But that’s no reason to lose our heads. People are being  downright  careless, out on the streets in broad daylight, not even dressed in Muggle clothes,  swapping rumors .”
“我知道”麦格教授急躁地说道。“但是那也没有理由放松警惕。人们彻底地毫无警惕，大白天直接出现在街上，甚至不穿麻瓜的衣服， 交换传闻 ”

She threw a sharp, sideways glance at Dumbledore here, as though hoping he was going to tell her something, but he didn’t, so she went on. “A fine thing it would be if, on the very day YouKnow-Who seems to have disappeared at last, the Muggles found out about us all. I suppose he really has gone, Dumbledore?”

她朝邓布利多瞥了一眼，即便希望着邓布利多能告诉她点儿什么，但是邓布利多并没有，于是她只好继续说。“如果在这一天‘你知道谁’终于消失了麻瓜们发现了我们也还好。我想他是真的消失了吧，是吗？邓布利多？”

“It certainly seems so,” said Dumbledore. “We have much to be thankful for. Would you care for a lemon drop ?”

“看起来确实是这样”邓布利多说到。“我们有很多要感谢的。你来个柠檬软 糖 吗”

“A what ?”

“一个什么？”

“A lemon drop. They’re a kind of Muggle sweet I’m rather fond of.”

“一个柠檬糖。这是我很喜欢的一种麻瓜甜品”

“No, thank you,” said Professor McGonagall coldly, as though she didn’t think this was the moment for lemon drops. “As I say, even if You-Know-Who has gone —”

“不，谢谢了”麦格教授冷冷的说到，因为她不认为这是吃柠檬糖的时候。“我说，即使你知道‘你知道谁’已经走了......”