培根哲理散文随笔阅读

弗朗西斯·培根是英国文艺复兴时期最重要的散文家、哲学家。他不但在文学、哲学上多有建树，在自然科学领域里，也取得了重大成就。他的第一部重要著作《随笔》最初发表于1597年，以后又逐年增补。该书文笔言简意赅、智睿夺目，它包含许多洞察秋毫的经验之谈，其中不仅论及政治而且还探讨许多人生哲理。下面小编为大家带来培根哲理散文随笔阅读，希望大家喜欢!

培根哲理散文随笔阅读：论青年与老年

A MAN that is young in years, may be old in hours, if he have lost no time. But that happeneth rarely. Generally, youth is like the first cogitations, not so wise as the second. For there is a youth in thoughts, as well as in ages. And yet the invention of young men, is more lively than that of old; and imaginations stream into their minds better, and, as it were, more divinely. Natures that have much heat, and great and violent desires and perturbations, are not ripe for action, till they have passed the meridian of their years; as it was with Julius Caesar and Septimius Severus. Of the latter, of whom it is said, Juventutem egit erroribus, imo furoribus, plenam. And yet he was the ablest emperor, almost, of all the list. But reposed natures may do well in youth. As it is seen in Augustus Caesar, Cosmus Duke of Florence, Gaston de Foix, and others. On the other side, heat and vivacity in age, is an excellent composition for business. Young men are fitter to invent, than to judge; fitter for execution, than for counsel; and fitter for new projects, than for settled business. For the experience of age, in things that fall within the compass of it, directeth them; but in new things, abuseth them.

一个年岁不大的人也可以是富于经验的，假如他不曾虚度生活的话;然而这毕竟是罕有的事。一般说来，青年人富于“直觉”，而老年人则长于“深思”。这两者在深刻和正确性上是有着显著差别的。青年的特别是富于创造性，想象力也纯洁而灵活。这似乎是得之于神助的。然而，热情炽烈而情绪敏感的人往往要在中年以后方成大器，尤恺撒和塞维拉斯就是明显的例证。曾有人评论后一位说：“他曾度过一个荒谬的——甚至是疯狂的青春”。然而他后来成为罗马皇帝中极杰出的一位。少年老成、性格稳健的人则往往青春时代就可成大器，奥古斯都大帝、卡斯曼斯大公、卡斯顿勋爵即是如此。另一方面，对于老人来说，保持住热情和活力则是难能可贵的。青年人长于创造而短于思考，长于猛干而短于讨论，长于革新而短于守成。老年人的经验，引导他们熟悉旧事物，却蒙蔽他们无视新情况。

The errors of young men, are the ruin of business; but the errors of aged men, amount but to this, that more might have been done, or sooner. Young men, in the conduct and manage of actions, embrace more than they can hold; stir more than they can quiet; fly to the end, without consideration of the means and degrees; pursue some few principles, which they have chanced upon absurdly; care not to innovate, which draws unknown inconveniences; use extreme remedies at first; and, that which doubleth all errors, will not acknowledge or retract them; like an unready horse, that will neither stop nor turn. Men of age object too much, consult too long, adventure too little, repent too soon, and seldom drive business home to the full period, but content themselves with a mediocrity of success. Certainly it is good to compound employments of both; for that will be good for the present, because the virtues of either age, may correct the defects of both; and good for succession, that young men may be learners, while men in age are actors; and, lastly, good for extern accidents, because authority followeth old men, and favor and popularity, youth. But for the moral part, perhaps youth will have the pre-eminence, as age hath for the politic. A certain rabbin, upon the text, Your young men shall see visions, and your old men shall dream dreams, inferreth that young men, are admitted nearer to God than old, because vision, is a clearer revelation, than a dream. And certainly, the more a man drinketh of the world, the more it intoxicateth; and age doth profit rather in the powers of understanding, than in the virtues of the will and affections. There be some, have an over-early ripeness in their years, which fadeth betimes. These are, first, such as have brittle wits, the edge whereof is soon turned; such as was Hermogenes the rhetorician, whose books are exceeding subtle; who afterwards waxed stupid. A second sort, is of those that have some natural dispositions which have better grace in youth, than in age; such as is a fluent and luxuriant speech; which becomes youth well, but not age: so Tully saith of Hortensius, Idem manebat, neque idem decebat. The third is of such, as take too high a strain at the first, and are magnanimous, more than tract of years can uphold. As was Scipio Africanus, of whom Livy saith in effect, Ultima primis cedebant.

青年人敏锐果敢，但行事轻率却可能毁坏大局。青年的性格如同不羁的野马，藐视既往，目空一切，好走极端。勇于革新而不去估量实际的条件和可能性，结果常因浮躁而改革不成却招致意外的麻烦。老年人则正相反。他们常常满足于困守已成之局，思考多于行动，议论多于决断。为事后不后悔，宁肯事前不冒险。因此，最好的办法是把青年的特点与老年的特点在事业上结合在一起。这样，他们各自的优点正好弥补了对方的缺点。从现在的角度说，他们的所长可以互补他们各自的所短。从发展的角度说，青年可以从老年身上学到他们所不具的经验。而从社会的角度说，有经验的老人执事令人放心，而青年人的干劲则鼓舞人心。但是，如果说，老人的经验是可贵的，那么青年人的纯真则是崇高的。《圣经》说：“你们中的年轻人将见到天国，而你们中的老人则只能作梦。”有一位“拉比”(犹太牧师)解释这话说：上帝认为青年比老年更接近他，因为希望总比幻梦切实一些。要知道，世情如酒，越浓越醉人——年龄越大，则在世故增长的同时却愈会丧失正直纯真的感情。早熟的人往往凋谢也早。不足为训的是如下三种人。第一种，是在智力上开发太早的人。小时了了，大未必佳。例如修辞学家赫摩格尼斯就是如此。他少年时候就写出美妙的著作，但中年以后却成了白痴。第二种，是那种毕生不税稚气的老顽童。正如西塞罗所批评的赫腾修斯，他早已该成熟却一直幼稚。第三种，是志在才疏的人。年轻时拒负很大，晚年却不足为训。像西兹阿·阿非利卡就是如此。所以历史学家李维批评他：“一生事业有始有终。”

培根哲理散文随笔阅读：论美

irtue is like a rich stone,best plain set;and surely vitue is best,in a body that is comely,though not of delicate features;and that hath rather dignity of presence,than beauty of aspect.

美德好比宝石，它在朴素背景的衬托下反而更华丽。同样，一个打扮并不华贵却端庄严肃而有美德者是令人肃然起敬的。

Neither is it almost seen,that very beautiful persons are otherwise of great virtue;as if nature were rather busy,not to err,than in labor to produce excellency.And therefore they prove accomplished,but not of great spirit;and study rather behavior,than virtue.But this holds not always:for Augustus Caesar,Titus Vespasianus,Philip le Belle of France,Edward the Fourth of England,Alcibiades of Athens,Ismael the Sophy of Persia,were all high and great spirits;and yet the most beautiful men of their times.In beauty,that of favor,is more than that of color;and that of decent and gracious motion,more than that of favor.

外表美丽的人，未必也具有内在的美。因为造物主似乎是吝啬的，他给了此就不再予彼。所以许多容颜俊秀的人却不足为训，他们过于追求外形美丽而忽略了内心的美。但这也许不全对，因为奥古斯都·撒、菲斯帕斯、法兰西的菲力普王、英格兰的爱德华四世、雅典的阿尔西巴蒂斯、波斯的伊斯梅尔等既是大丈夫，又是美男子。就形貌而言，自然之美要胜过粉饰之美，而优雅行为之美又胜于单纯礼仪之美。

That is the best part of beauty,which a picture cannot express;no nor the first sight of the life.There is no excellent beauty,that hath not some strangeness in the proportion.A man cannot tell whether Apelles,or Albert Durer,were the more trifler;whereof the one ,would make a personage by geometrical proportions;the other,by taking the best parts out of divers faces,to make one excellent.Such personages,I think,would please nobody,but the painter that made them.

最高的美是画家说无法表现的，因为它是难于直观的。没有哪种美能极致到不存在比例上的瑕疵。曾经有两位画家——阿皮雷斯和艾伯特·丢勒滑稽地认为，可以按照几何比例，或者通过摄取不同人身上最美的特点，用画合成一张最完美的人像。其实像这样画出来的美人，恐怕只表现了画家本人的某种偏爱。

Not but I think a painter may make a better face than ever was;but he must do it by a kind of felicity(as a musician that maketh an excellent air in music),and not by rule.A man shall see faces, that if you examine them part by part,you shall find never a good;and yet altogether do well.

画家不能通过这样画出更好看的脸，(正如为曲子营造氛围的音乐家)，创造它的常常是构思，而不是公式。有许多的脸，就他们的部分看并不优美，但作为整体却非常动人。

If it be true that the principal part of beauty is in decent motion,certainly it is no marvel,though persons in years seem many times more amiable;pulchrorum autumnus pulcher;for no youth can be comely but by pardon,and considering the youth,as to make up the comeliness.

虽然美之菁华无疑在于优雅的举止，但有些老人更显得可爱，这印证了一句拉丁谚语：“暮色之色更美。”而尽管有的年轻人具有美貌，却由于缺乏完美的修养而不配得到最好的赞美。

Beauty is as summer fruits,which are easy to corrupt,and cannot last;and for the most part it makes a dissolute youth,and an age a little out of countenance;but yet certainly again,if it light well,it maketh virtue shine,and vices blush.

美犹如盛夏的水果，是容易腐烂而难保持的。世上有许多美人，他们有过放荡的青春，却迎受着愧悔的晚年。因此，应该把美的形貌与美的德行结合起来。这样，美才会发出夺目的光辉。