下載App 希平方
攻其不背
App 開放下載中
下載App 希平方
攻其不背
App 開放下載中
IE版本不足
您的瀏覽器停止支援了😢使用最新 Edge 瀏覽器或點選連結下載 Google Chrome 瀏覽器 前往下載

免費註冊
! 這組帳號已經註冊過了
Email 帳號
密碼請填入 6 位數以上密碼
已經有帳號了?
忘記密碼
! 這組帳號已經註冊過了
您的 Email
請輸入您註冊時填寫的 Email,
我們將會寄送設定新密碼的連結給您。
寄信了!請到信箱打開密碼連結信
密碼信已寄至
沒有收到信嗎?
如果您尚未收到信,請前往垃圾郵件查看,謝謝!

恭喜您註冊成功!

查看會員功能

註冊未完成

《HOPE English 希平方》服務條款關於個人資料收集與使用之規定

隱私權政策
上次更新日期:2014-12-30

希平方 為一英文學習平台,我們每天固定上傳優質且豐富的影片內容,讓您不但能以有趣的方式學習英文,還能增加內涵,豐富知識。我們非常注重您的隱私,以下說明為當您使用我們平台時,我們如何收集、使用、揭露、轉移及儲存你的資料。請您花一些時間熟讀我們的隱私權做法,我們歡迎您的任何疑問或意見,提供我們將產品、服務、內容、廣告做得更好。

本政策涵蓋的內容包括:希平方學英文 如何處理蒐集或收到的個人資料。
本隱私權保護政策只適用於: 希平方學英文 平台,不適用於非 希平方學英文 平台所有或控制的公司,也不適用於非 希平方學英文 僱用或管理之人。

個人資料的收集與使用
當您註冊 希平方學英文 平台時,我們會詢問您姓名、電子郵件、出生日期、職位、行業及個人興趣等資料。在您註冊完 希平方學英文 帳號並登入我們的服務後,我們就能辨認您的身分,讓您使用更完整的服務,或參加相關宣傳、優惠及贈獎活動。希平方學英文 也可能從商業夥伴或其他公司處取得您的個人資料,並將這些資料與 希平方學英文 所擁有的您的個人資料相結合。

我們所收集的個人資料, 將用於通知您有關 希平方學英文 最新產品公告、軟體更新,以及即將發生的事件,也可用以協助改進我們的服務。

我們也可能使用個人資料為內部用途。例如:稽核、資料分析、研究等,以改進 希平方公司 產品、服務及客戶溝通。

瀏覽資料的收集與使用
希平方學英文 自動接收並記錄您電腦和瀏覽器上的資料,包括 IP 位址、希平方學英文 cookie 中的資料、軟體和硬體屬性以及您瀏覽的網頁紀錄。

隱私權政策修訂
我們會不定時修正與變更《隱私權政策》,不會在未經您明確同意的情況下,縮減本《隱私權政策》賦予您的權利。隱私權政策變更時一律會在本頁發佈;如果屬於重大變更,我們會提供更明顯的通知 (包括某些服務會以電子郵件通知隱私權政策的變更)。我們還會將本《隱私權政策》的舊版加以封存,方便您回顧。

服務條款
歡迎您加入看 ”希平方學英文”
上次更新日期:2013-09-09

歡迎您加入看 ”希平方學英文”
感謝您使用我們的產品和服務(以下簡稱「本服務」),本服務是由 希平方學英文 所提供。
本服務條款訂立的目的,是為了保護會員以及所有使用者(以下稱會員)的權益,並構成會員與本服務提供者之間的契約,在使用者完成註冊手續前,應詳細閱讀本服務條款之全部條文,一旦您按下「註冊」按鈕,即表示您已知悉、並完全同意本服務條款的所有約定。如您是法律上之無行為能力人或限制行為能力人(如未滿二十歲之未成年人),則您在加入會員前,請將本服務條款交由您的法定代理人(如父母、輔助人或監護人)閱讀,並得到其同意,您才可註冊及使用 希平方學英文 所提供之會員服務。當您開始使用 希平方學英文 所提供之會員服務時,則表示您的法定代理人(如父母、輔助人或監護人)已經閱讀、了解並同意本服務條款。 我們可能會修改本條款或適用於本服務之任何額外條款,以(例如)反映法律之變更或本服務之變動。您應定期查閱本條款內容。這些條款如有修訂,我們會在本網頁發佈通知。變更不會回溯適用,並將於公布變更起十四天或更長時間後方始生效。不過,針對本服務新功能的變更,或基於法律理由而為之變更,將立即生效。如果您不同意本服務之修訂條款,則請停止使用該本服務。

第三人網站的連結 本服務或協力廠商可能會提供連結至其他網站或網路資源的連結。您可能會因此連結至其他業者經營的網站,但不表示希平方學英文與該等業者有任何關係。其他業者經營的網站均由各該業者自行負責,不屬希平方學英文控制及負責範圍之內。

兒童及青少年之保護 兒童及青少年上網已經成為無可避免之趨勢,使用網際網路獲取知識更可以培養子女的成熟度與競爭能力。然而網路上的確存有不適宜兒童及青少年接受的訊息,例如色情與暴力的訊息,兒童及青少年有可能因此受到心靈與肉體上的傷害。因此,為確保兒童及青少年使用網路的安全,並避免隱私權受到侵犯,家長(或監護人)應先檢閱各該網站是否有保護個人資料的「隱私權政策」,再決定是否同意提出相關的個人資料;並應持續叮嚀兒童及青少年不可洩漏自己或家人的任何資料(包括姓名、地址、電話、電子郵件信箱、照片、信用卡號等)給任何人。

為了維護 希平方學英文 網站安全,我們需要您的協助:

您承諾絕不為任何非法目的或以任何非法方式使用本服務,並承諾遵守中華民國相關法規及一切使用網際網路之國際慣例。您若係中華民國以外之使用者,並同意遵守所屬國家或地域之法令。您同意並保證不得利用本服務從事侵害他人權益或違法之行為,包括但不限於:
A. 侵害他人名譽、隱私權、營業秘密、商標權、著作權、專利權、其他智慧財產權及其他權利;
B. 違反依法律或契約所應負之保密義務;
C. 冒用他人名義使用本服務;
D. 上載、張貼、傳輸或散佈任何含有電腦病毒或任何對電腦軟、硬體產生中斷、破壞或限制功能之程式碼之資料;
E. 干擾或中斷本服務或伺服器或連結本服務之網路,或不遵守連結至本服務之相關需求、程序、政策或規則等,包括但不限於:使用任何設備、軟體或刻意規避看 希平方學英文 - 看 YouTube 學英文 之排除自動搜尋之標頭 (robot exclusion headers);

服務中斷或暫停
本公司將以合理之方式及技術,維護會員服務之正常運作,但有時仍會有無法預期的因素導致服務中斷或故障等現象,可能將造成您使用上的不便、資料喪失、錯誤、遭人篡改或其他經濟上損失等情形。建議您於使用本服務時宜自行採取防護措施。 希平方學英文 對於您因使用(或無法使用)本服務而造成的損害,除故意或重大過失外,不負任何賠償責任。

版權宣告
上次更新日期:2013-09-16

希平方學英文 內所有資料之著作權、所有權與智慧財產權,包括翻譯內容、程式與軟體均為 希平方學英文 所有,須經希平方學英文同意合法才得以使用。
希平方學英文歡迎你分享網站連結、單字、片語、佳句,使用時須標明出處,並遵守下列原則:

  • 禁止用於獲取個人或團體利益,或從事未經 希平方學英文 事前授權的商業行為
  • 禁止用於政黨或政治宣傳,或暗示有支持某位候選人
  • 禁止用於非希平方學英文認可的產品或政策建議
  • 禁止公佈或傳送任何誹謗、侮辱、具威脅性、攻擊性、不雅、猥褻、不實、色情、暴力、違反公共秩序或善良風俗或其他不法之文字、圖片或任何形式的檔案
  • 禁止侵害或毀損希平方學英文或他人名譽、隱私權、營業秘密、商標權、著作權、專利權、其他智慧財產權及其他權利、違反法律或契約所應付支保密義務
  • 嚴禁謊稱希平方學英文辦公室、職員、代理人或發言人的言論背書,或作為募款的用途

網站連結
歡迎您分享 希平方學英文 網站連結,與您的朋友一起學習英文。

抱歉傳送失敗!

不明原因問題造成傳送失敗,請儘速與我們聯繫!
希平方 x ICRT

「David Whyte:以詩串起過去、現在與未來」- A Lyrical Bridge between Past, Present and Future

觀看次數:3741  • 

框選或點兩下字幕可以直接查字典喔!

The youthful perspective on the future, the present perspective on the future and the future, mature perspective on the future—I'd like to try and bring all those three tenses together in one identity tonight. And you could say that the poet, in many ways, looks at what I call "the conversational nature of reality." And you ask yourself: What is the conversational nature of reality? The conversational nature of reality is the fact that whatever you desire of the world—whatever you desire of your partner in a marriage or a love relationship, whatever you desire of your children, whatever you desire of the people who work for you or with you, or your world—will not happen exactly as you would like it to happen.

But equally, whatever the world desires of us—whatever our partner, our child, our colleague, our industry, our future demands of us, will also not happen. And what actually happens is this frontier between what you think is you and what you think is not you. And this frontier of actual meeting between what we call a self and what we call the world is the only place, actually, where things are real.

But it's quite astonishing, how little time we spend at this conversational frontier, and not abstracted away from it in one strategy or another. I was coming through immigration, which is quite a dramatic border at the moment, into the US last year, and, you know, you get off an international flight across the Atlantic, and you're not in the best place; you're not at your most spiritually mature. You're quite impatient with the rest of humanity, in fact. So when you get up to immigration with your shirt collar out and a day's growth of beard, and you have very little patience, and the immigration officer looked at my passport and said, "What do you do, Mr. Whyte?" I said, "I work with the conversational nature of reality."

And he leaned forward over his podium and he said, "I needed you last night."

And I said, "I'm sorry, my powers as a poet and philosopher only go so far. I'm not sure I can—" But before we knew it, we were into a conversation about his marriage. Here he was in his uniform, and the interesting thing was, he was looking up and down the row of officers to make sure his supervisor didn't see that he was having a real conversation. But all of us live at this conversational frontier with the future.

I'd like to put you in the shoes of my Irish niece, Marlene McCormack, standing on a cliff edge on the western coast of Spain, overlooking the broad Atlantic. Twenty-three years old, she's just walked 500 miles from Saint Jean Pied de Port on the French side of the Pyrenees, all the way across Northern Spain, on this very famous, old and contemporary pilgrimage called the Camino de Santiago de Compostela—the Path to Santiago of Compostela. And when you get to Santiago, actually, it can be something of an anticlimax, because there are 100,000 people living there who are not necessarily applauding you as you're coming into town.

And 10,000 of them are trying to sell you a memento of your journey. But you do have the possibility of going on for three more days to this place where Marlene stood, called, in Spanish, Finisterre, in English, Finisterre, from the Latin, meaning "the ends of the earth," the place where ground turns to ocean; the place where your present turns into the future. And Marlene had walked this way—she just graduated as a 23-year-old from the University of Sligo with a degree in Irish drama. And she said to me, "I don't think the major corporations of the world will be knocking on my door." I said, "Listen, I've worked in corporations all over the world for decades; a degree in drama is what would most prepare you for the adult—
corporate world."

But she said, "I'm not interested in that, anyway. I don't want to teach drama, I want to become a dramatist. I want to write plays. So I walked the Camino in order to give myself some courage, in order to walk into my future." And I said, "What was the most powerful moment you had on the whole Camino, the very most powerful moment?" She said, "I had many powerful moments, but you know, the most powerful moment was post-Camino, was the three days you go on from Santiago and come to this cliff edge. And you go through three rituals. The first ritual is to eat a tapas plate of scallops"—or if you're vegetarian, to contemplate the scallop shell.

Because the scallop shell has been the icon and badge of your walk, and every arrow that you have seen along that way has been pointing underneath a scallop shell. So really, this first ritual is saying: How did you get to this place? How did you follow the path to get here? How do you hold the conversation of life when you feel unbesieged, when you're unbullied, when you're left to yourself? How do you hold the conversation of life that brings you to this place? And the second ritual is that you burn something that you've brought. I said, "What did you burn, Marlene?" She said, "I burned a letter and two postcards." I said, "Astonishing. Twenty-three years old and you have paper. I can't believe it."

I'm sure there's a Camino app where you can just delete a traumatic text, you know?

It will engage the flashlight, imbue it with color and disappear in a firework of flames. But you either bring a letter or you write one there, and you burn it. And of course we know intuitively what is on those letters and postcards. It's a form of affection and love that is now no longer extant, yeah?

And then the third ritual: between all these fires are large piles of clothes. And you leave an item of clothing that has helped you to get to this place. And I said to Marlene, "What did you leave at the cliff edge?" She said, "I left my boots—the very things that I walked in, actually. They were beautiful boots, I loved those boots, but they were finished after seven weeks of walking. So I walked away in my trainers, but I left my boots there."

She said, "It was really incredible. The most powerful moment was, the sun was going down, but the full moon was coming up behind me. And the full moon was illuminated by the dying sun in such a powerful way that even after the sun had dropped below the horizon, the moon could still see that sun. And I had a moon shadow, and I was looking at my moon shadow walking across the Atlantic, across this ocean. And I thought, 'Oh! That's my new self going into the future.' But suddenly I realized the sun was falling further. The moon was losing its reflection, and my shadow was disappearing. The most powerful moment I had on the whole Caminowas when I realized I myself had to walk across that unknown sea into my future."

Well, I was so taken by this story, I wrote this piece for her. We were driving at the time; we got home, I sat on the couch, I wrote until two in the morning—everyone had gone to bed—and I gave it to Marlene at breakfast time. It's called, "Finisterre," for Marlene McCormack.

"The road in the end

the road in the end taking the path the sun had taken

the road in the end taking the path the run had taken into the western sea

the road in the end taking the path the sun had taken into the western sea

and the moon

the moon rising behind you as you stood where ground turned to ocean:

no way to your future now

no way to your future now except the way your shadow could take, walking before you across water, going where shadows go,

no way to make sense of a world that wouldn't let you pass except to call an end to the way you had come, to take out each letter you had brought and light their illumined corners; and to read them as they drifted on the late western light;

to empty your bags

to empty your bags; to sort this and to leave that

to sort this and to leave that; to promise what you needed to promise all along

to promise what you needed to promise all along, and to abandon the shoes that brought you here right at the water's edge,

not because you had given up

not because you had given up but because now, you would find a different way to tread, and because, through it all, part of you would still walk on, no matter how, over the waves."

"Finisterre." For Marlene McCormack—

who has already had her third play performed in off-off-off-off-Broadway—in Dublin.

But she's on her way.

This is the last piece. This is about the supposed arrival at the sum of all of our endeavors. In Santiago itself—it could be Santiago, it could be Mecca, it could be Varanasi, it could be Kyoto, it could be that threshold you've set for yourself, the disturbing approach to the consummation of all your goals.

And one of the difficulties about walking into your life, about coming into this body, into this world fully, is you start to realize that you have manufactured three abiding illusions that the rest of humanity has shared with you since the beginning of time.

And the first illusion is that you can somehow construct a life in which you are not vulnerable. You can somehow be immune to all of the difficulties and ill health and losses that humanity has been subject to since the beginning of time. If we look out at the natural world, there's no part of that world that doesn't go through cycles of, first, incipience, or hiddenness, but then growth, fullness, but then a beautiful, to begin with, disappearance, and then a very austere, full disappearance. We look at that, we say, "That's beautiful, but can I just have the first half of the equation, please? And when the disappearance is happening, I'll close my eyes and wait for the new cycle to come around." Which means most human beings are at war with reality 50 percent of the time. The mature identity is able to live in the full cycle.

The second illusion is, I can construct a life in which I will not have my heart broken. Romance is the first place we start to do it. When you're at the beginning of a new romance or a new marriage, you say, "I have found the person who will not break my heart." I'm sorry; you have chosen them out unconsciously for that exact core competency.

They will break your heart. Why? Because you care about them. You look at parenting, yeah? Parenting: "I will be the perfect mother and father." Your children will break your heart. And they don't even have to do anything spectacular or dramatic. But usually, they do do something spectacular or dramatic—to break your heart. And then they live with you as spies and saboteurs for years, watching your every psychological move, and spotting your every weakness. And one day, when they're about 14 years old, with your back turned to them, in the kitchen, while you're making something for them—

the psychological stiletto goes in.

And you say, "How did you know exactly where to place it?"

And they say, "I've been watching you for—a good few years."

And then we hope that our armored, professional personalities will prevent us from having our heart broken in work. But if you're sincere about your work, it should break your heart. You should get to thresholds where you do not know how to proceed. You do not know how to get from here to there. What does that do? It puts you into a proper relationship with reality. Why? Because you have to ask for help.

Heartbreak. We don't have a choice about heartbreak, we only have a choice of having our hearts broken over people and things and projects that we deeply care about.

And the last illusion is, I can somehow plan enough and arrange things that I will be able to see the path to the end right from where I'm standing, right to the horizon. But when you think about it, the only environment in which that would be true would be a flat desert, empty of any other life. But even in a flat desert, the curvature of the earth would take the path away from you. So, no; you see the path, and then you don't and then you see it again.

So this is "Santiago," the supposed arrival, which is a kind of return to the beginning all at the same time. We have this experience of the journey, which is in all of our great spiritual traditions, of pilgrimage. But just by actually standing in the ground of your life fully, not trying to abstract yourself into a strategic future that's actually just an escape from present heartbreak; the ability to stand in the ground of your life and to look at the horizon that is pulling you—in that moment, you are the whole journey. You are the whole conversation.

"Santiago."

"The road seen, then not seen

the road seen, then not seen

the hillside hiding then revealing the way you should take

the road seen, then not seen

the hillside hiding then revealing the way you should take, the road dropping away from you as if leaving you to walk on thin air, then catching you, catching you, holding you up, when you thought you would fall,

catching you, holding you up, when you thought you would fall,

and the way forward

the way forward always in the end the way that you came,

the way forward always in the end the way that you came, the way that you followed, the way that carried you into your future, that brought you to this place,

that brought you to this place, no matter that it sometimes had to take your promise from you, no matter that it always had to break your heart along the way:

the sense the sense of having walked from deep inside yourself out into the revelation, to have risked yourself for something that seemed to stand both inside you and far beyond you, and that called you back in the end to the only road you could follow, walking as you did, in your rags of love

walking as you did, in your rags of love and speaking in the voice that by night became a prayer for safe arrival, so that one day

one day you realized that what you wanted had actually already happened

one day you realized that what you wanted had actually already happened and long ago and in the dwelling place in which you lived before you began, and that

and that every step along the way, every step along the way, you had carried the heart and the mind and the promise that first set you off and then drew you on, and that

and that you were more marvelous in your simple wish to find a way

you were more marvelous in your simple wish to find a way than the gilded roofs of any destination you could reach

you were more marvelous in that simple wish to find a way than the gilded roofs of any destination you could reach: as if, all along, you had thought the end point might be a city with golden domes, and cheering crowds, and turning the corner at what you thought was the end of the road, you found just a simple reflection, and a clear revelation beneath the face looking back and beneath it another invitation, all in one glimpse

all in one glimpse: like a person

like a person or a place you had sought forever

like a person or a place you had sought forever, like a bold field of freedom that beckoned you beyond; like another life

like another life, and the road the road still stretching on."

Thank you.

Thank you.

Thank you very much. Thank you. You're very kind. Thank you.

播放本句

登入使用學習功能

使用Email登入

HOPE English 播放器使用小提示

  • 功能簡介

    單句重覆、重複上一句、重複下一句:以句子為單位重覆播放,單句重覆鍵顯示綠色時為重覆播放狀態;顯示白色時為正常播放狀態。按重複上一句、重複下一句時就會自動重覆播放該句。
    收錄佳句:點擊可增減想收藏的句子。

    中、英文字幕開關:中、英文字幕按鍵為綠色為開啟,灰色為關閉。鼓勵大家搞懂每一句的內容以後,關上字幕聽聽看,會發現自己好像在聽中文說故事一樣,會很有成就感喔!
    收錄單字:框選英文單字可以收藏不會的單字。
  • 分享
    如果您有收錄很優秀的句子時,可以分享佳句給大家,一同看佳句學英文!