我们一起背单词

木耳

第25章里的这段文字让人想起朱自清的《匆匆》：

 

When she arose at last and saw again the black ruins of Twelve Oaks, her head was raised high and something that was youth and beauty and potential tenderness had gone out of her face forever. What was past was past. Those who were dead were dead. The lazy luxury of the old days was gone, never to return. And, as Scarlett settled the heavy basket across her arm, she had settled her own mind and her own life.

木耳

 

第26章有两段话也很有意思，一段是说女人如何变得可怕，一会是说年轻人如何不愿意听老人说话：

Child, it’s a very bad thing for a woman to face the worst that can happen to her, because after she’s faced the worst she can’t ever really fear anything again. And it’s very bad for a woman not to be afraid of something. 

But like all old people she’d gotten to talking about things that happened before anyone was born, things no one was interested in. Scarlett wished she had not confided in her.

木耳

29章melanie和suellen、carreen听到南军头像的时候一起在ellen的办公室里哭泣：

It was all over, the bright beautiful dream they had loved and hoped for, the Cause which had taken their friends, lovers, husbands and beggared their families. The Cause they had thought could never fall had fallen forever.

冰问

“Everywhere you look in the literary cosmos, the great ones are busy loving and hating. Have you given up this primary business as obsolete in your own writing? What fun you are missing, then. The fun of anger and disillusionm, the fun of loving and being loved, of moving and being moved by this masked ball which dances us from cradle to churchyard. Life is short, misery sure, morality certain. But on the way, in your work, why not carry those two inflated pigbladders labeled Zest and Gusto. With them, traveling to the grave, I intend to slap some dummox's behind, pat a pretty girl's coiffure, wave to tad up a persimmon tree.” 

这段引自"Zin in the art of writing"（中文译作“文学创造力之禅”），主要讲的是writing，但是书写风格很轻松、活泼，读起来比较有意思（像上面这段：）。其中很多也是围绕“Zest and Gusto”展开的。

木耳

30章里多么淳朴的民风啊，随风而逝：

 

She cursed again the old custom of hospitality which had flowered in the era of plenty, the custom which would not permit any traveler, great or humble, to go on his journey without a night’s lodging, food for himself and his horse and the utmost courtesy the house could give. She knew that era had passed forever

木耳

31章里scarlett面对重税：

But there were many things which Will and Ashley had conspired to keep from her. The scourge of war had been followed by the worse scourge of Reconstruction.

木耳

31章最后一段，尽管ashley吻了scarlett，但他还是推开了她，并说了让她痛心的话，她似乎确信他真的不属于他，但她还是要求ashley无需离开tara，然后转身离去。离别的场景总是感人：

　　　　　She turned away and started back toward the house across the rough fields, twisting her hair into a knot upon her neck. Ashley watched her go and saw her square her small thin shoulders as she went. And that gesture went to his heart, more than any words she had spoken.

木耳

35章里Scarlett看着舞池里的人们时的纠结的想法，跟marx的话有的一拼：

They drew their courage from the past. She was drawing hers from the future.

木耳

36章Rhett出狱后对Scarlett说的负能量：

 

 Influence is everything, and guilt or innocence merely an academic question.

 

 

木耳

37章Kennedy告诉Scarlett有了投票权后一起都会好起来，但Scarlett不这么认为：

There was only one thing in the world that was a certain bulwark against any calamity which fate could bring, and that was money.