Name: Why We Shouldn't Worry About Dying Young
Uploaded: 2020-08-19T20:05:17.000Z
Duration: 8 min 4 s

情態副詞

history is filled with stories of extraordinary figures who died tragically young.

歷史上充滿了英年早逝的非凡人物的故事。

程度副詞

John Keats, Emily Bronte, Alexander the Great Mozart, Sylvia Plath, Van Gogh In the Death of Jericho, the brilliant romantic artist who a few years before had one international renowned for his raft of the Medusa is shown stretched out on his bed in his Parisian studio in the greedy Matia, having just succumbed to a tie Ford infection developed after a riding accident.

約翰-濟慈、艾米麗-勃朗特、亞歷山大大帝莫扎特、西爾維婭-普拉斯、梵高 在《耶利哥之死》中，這位傑出的浪漫主義藝術家幾年前曾因他的《美杜莎》筏子而享譽國際，在他的巴黎工作室貪婪的馬蒂亞，剛剛屈服於一次騎行事故後發展起來的領帶福特感染，在他的床上伸了個懶腰。

Yes, old, given the extent of their contributions, it seems appalling how young these talents died.

是的，老了，考慮到他們的貢獻程度，這些人才如此年輕就死去，似乎令人震驚。

But when we zero in on the oft remarked detail that they seem to have achieved MAWR in a few brief years than many of us achieve in eight decades, a new thought opens up.

但是，當我們把注意力集中在一個經常被提及的細節上時，即他們在短短几年內取得的MAWR似乎比我們許多人在80年內取得的MAWR還要多，一個新的思路就打開了。

The very discrepancy between us and them suggests that we are perhaps being overly blunt when we choose to measure life span in a unitary way without reference toe.

我們和他們之間的差異，恰恰說明，我們選擇用沒有參照物的單一方式來衡量壽命，也許是過於直白了。

What someone happens to be doing with the years that they've bean allotted a year in the hands of a person who is open to experience, who creates, feels, loves, connects and delights is a lot denser.

一個人恰好用他們被分配到的一年的歲月，在一個開放的經驗，創造，感覺，愛，連接和樂趣的人手中做什麼，是一個更密集的。

And in that way therefore, longer than exactly the same amount of time in the hands of a less responsive and less inwardly generous human being.

是以，這樣一來，比完全相同的時間在一個反應不那麼靈敏、內心不那麼寬厚的人手中要長。

We might go so far as to propose that a year in the life of the former should be given a different numerical weight than one in the latter.

我們甚至可以建議，前者的一年與後者的一年在數字上的權重應有所不同。

That a year in the life off, say, Jericho or Emily Bronte should not be counted in exactly the same way as a year for someone else and might more rightly be doubled or more.

這一年的生活，比如說，傑里科或艾米莉-勃朗特，不應該和別人的一年計算方式完全一樣，可能更應該加倍或更多。

We know in travel that two days in a particularly vibrant city can feel like a year in another, less inspired place, and the same is true of life.

在旅行中我們知道，在一個特別有活力的城市呆兩天，就會覺得在另一個沒有那麼多靈感的地方呆一年，生活也是如此。

More broadly, not everyone who is living is equally alive.

更廣義地說，並不是每一個活著的人都同樣活著。

Just as we calculate dog years to take animal size and anatomy into account so we might recalibrate life span according to the depths of meaning, one has plumbed, not the gross years that one is breathed, adjusted for the intensity of experience.

就像我們計算狗年要考慮動物的大小和解剖學，這樣我們可能會根據意義的深度重新調整壽命一樣，一個人已經梅花了，而不是一個人呼吸的毛年，根據經驗的強度調整。

We might hence judge that whatever basic chronology might claim, Mozart really died at around 120 years old, and Sylvia Plath at 80 and Jericho in his mid seventies.

是以，我們可以判斷，不管基本年表怎麼說，莫扎特真的是在120歲左右去世的，西爾維婭-普拉斯是80歲，傑里科是70多歲。

All this matters immensely because our sadness that the idea of death frequently reduces itself to the thought that our lives might not be, as we put it long enough.

所有這些都非常重要，因為我們的悲傷，死亡的想法經常將自己降低到我們的生命可能不夠長的想法，正如我們所說。

But we shouldn't measure life by the hours it contains, rather by the wisdom, love and intelligence with which these hours have been spent by which school many of the people most legendary for having had brief lives really had nothing of the sort.

但我們不應該用生命所包含的時間來衡量生命，而應該用這些時間所花費的智慧、愛和聰明來衡量，很多最傳奇的人因為擁有短暫的生命而真的一無所有，是哪一派。

If we have no genius level capacities at poetry or painting, it still remains for us to choose how purposefully and beautifully and therefore, ultimately, how long we can live.

如果我們在詩歌或繪畫方面沒有天才級的能力，那麼，我們仍然要選擇如何有目的性地美麗，從而最終選擇我們能活多久。

We should not stay transfixed or devastated by the simple number of days liable to be ahead of us.

我們不應該被未來可能出現的簡單天數所迷惑或破壞。

We should concentrate on how to Sprinkle them with meaning.

我們應該專注於如何將它們灑滿意義。

In the novel The Leopard by Giuseppe Tomasi di Lampedusa, there's a powerful death scene.

在朱塞佩-托馬西-迪-蘭佩杜薩的小說《豹子》中，有一個強大的死亡場景。

Theo, elderly Fabrizio, called bearer prince of Salina, who is the psychological center of the book, is about to die.

西奧，年邁的法布里奇奧，被稱為薩利納的忍辱負重王子，他是本書的心理中心，即將死去。

He's lying in bed with his weeping relatives around him, and he asks himself that terrifying, fundamental question.

他躺在床上，身邊有哭泣的親人，他問自己那個可怕的、根本的問題。

How much of my life have I actually lived.

He can pick out a few months here and there, two weeks before his wedding, two weeks after a few days around the birth of his first son, certain hours he spent in his observatory.

他可以在這裡和那裡挑出幾個月，在他結婚前的兩個星期，在他第一個兒子出生的幾天後的兩個星期，他在他的觀察站中度過的某些時間。

He's a distinguished astronomer, a few hours of flirtation here and there, times when he was reading aloud to his Children conversations with one or two friends, particularly his nephew, but not much in total, perhaps a year or two out of 70.

他是一位傑出的天文學家，這裡和那裡有幾個小時的調情，他在給他的孩子朗讀的時候與一兩個朋友，特別是他的侄子對話，但總共不多，也許70年中有一兩年。

If we measure the reality of our lives by the quantity of time we have passed in a state of genuine happiness, the answer may be distressing, but it might be the right way of sizing up the length of a life.

如果我們用我們在真正的幸福狀態下度過的時間數量來衡量我們生命的真實性，答案可能會令人苦惱，但這也許是衡量一個生命長度的正確方法。

We should become far more focused on how well we live rather than the absolute number of days we're going to exist.

我們應該更加關注我們的生活狀況，而不是我們存在的絕對天數。

We're not, in the end, ever really very short of time.

我們終究不是，曾經真的很缺時間。

What we're truly short off is affection, open heartedness, kindness.

我們真正缺少的是親情、心胸開闊、善良。

Tolerance was short of the ability to create peak experiences in which we are sufficiently unf Wrighton, approachable and responsive.

寬容是短少創造高峰體驗的能力，在這種體驗中，我們有足夠的未賴頓、親和力和反應力。

We may have a lot to mourn, but it isn't necessarily the imminence off death, It may more be the difficulty of living with courage and sensitivity.

我們可能有很多需要哀悼的事情，但這不一定是死亡的迫在眉睫，更多的可能是生活的勇氣和敏感。

The challenge of our lives is to learn to live deeply rather than extensively.

我們人生的挑戰就是要學會深入生活而不是廣泛生活。

The artist John Isaacs depicts a ravaged corpse in a gallery.

藝術家John Isaacs在畫廊中描繪了一具被蹂躪的屍體。

Its rib cage appears to be in hacked at like a butcher's carcass.

它的肋骨似乎像屠夫的屍體一樣被砍斷了。

But the real horror and rebuke lies in the title of the work.

但真正的恐怖和責難在於作品的標題。

The tone is calculatedly banal next to the ghoulish fate that has befalling what we take to be someone's erstwhile partner.

在我們認為是某人的昔日夥伴所遭遇的陰森命運旁邊，語氣是算得上平庸的。

The poor corpse before us might only a little while ago have spent their time in an apartment squabbling with their loved one, asserting their point of view, not forgiving, not being able to move on shore.

我們面前的這具可憐的屍體，也許不久前才在公寓裡與親人爭吵，堅持自己的觀點，不原諒，不能上岸。

They were right, but not being able to see things through another's eyes.

他們說的沒錯，但不能通過別人的眼睛看問題。

And now their Pettiness is being judged from the perspective of death.

而現在，他們的小氣正從死亡的角度進行評判。

Are we really going to spend the only lives will ever know in yet another argument about who disrespected whom, when outside the narrow Kazen of our embittered relationships, so many opportunities for joy and wonder remain a week and a walk towards death without properly filling our lungs with the beauty of existence.

我們真的要把唯一的生命花在又一次關於誰不尊重誰的爭論中嗎，當在我們苦惱的關係的狹隘卡贊之外，那麼多的歡樂和奇蹟的機會還剩下一週，走向死亡，而沒有適當地用存在的美來填充我們的肺。

We aren't here being warned that we're gonna die.

我們在這裡不是被警告說我們會死。

Is a thought were being worn of a farm or appalling but less often mentioned danger that we might die in the midst of a sulk about no very much at all.

是一個思想被穿的農場或駭人聽聞的，但較少提到的危險，我們可能會死在一個悶悶不樂中沒有非常多。

None of us can command how long live, but it is very much in our remit to try to adjust how colorfully and how deeply we're going to live.

我們誰也無法指揮自己活多久，但我們很有可能嘗試調整自己活得多姿多彩，活得多深刻。

We may have to rethink what a premature death actually is.

我們可能要重新思考一下，到底什麼是過早死亡。

It isn't necessarily what happens to a young artist who's gone by 30.

一個年輕的藝術家到了30歲就走了，這不一定是什麼情況。

He or she may, in a fair assessment, have bean a non imaginary in or more.

他或她可能，在公平的評估中，有豆一個非想象的在或更多。

It's we who might right now, even if we are well past middle age, be heading for a regrettably early death.

就是現在的我們，即使已經過了中年，也可能正走向遺憾的早逝。

So our goal shouldn't be to lay claim to yet more decades.

所以我們的目標不應該是再多爭取幾十年。

It is to ensure that we do everything in the days ahead to learn the art of appreciation.

就是要保證我們在今後的日子裡，做好一切工作，學會欣賞的藝術。

 Our emotional first aid kit provides a set of useful salves to some of life's most challenging psychological situations, including friendship, love, sex, work and self click. 

我們的情感急救箱為生活中最具挑戰性的心理狀況提供了一套有用的藥膏，包括友誼、愛情、性、工作和自我點擊。