||1: In the late 18th century attitudes towards the poor took on a moralising tone. ||2: Thomas Malthus, a clergyman, blamed the plight of the poor on their own flaws. ||3: Technological change might drive wages above subsistence levels, but only temporarily because the fecundity of the poor would soon drive wages back down. ||4: His thinking inspired the introduction of a new Poor Law in 1834, which tried to make the workhouse their only option. ||5: “Outdoor relief”—giving the poor money—needed to be stopped.

||1:18世纪后半叶，人们在对贫穷的看法中夹杂了道德论调。||2: 身为牧师的托马斯?马尔萨斯（Thomas Malthus）将穷人的困苦归咎于他们自身的不足。 ||3:技术革新或许会驱使薪资上涨到能维持温饱的水平之上，但是这只是暂时的，因为穷人的多生多育很快就会带动薪资回落。||4:他的思想启发了当时政府在1834年引进实施了一部新的《济贫法》，试图使去济贫院成为穷人唯一的选择。||5:“院外救济”——给穷人发钱——必须终止。

||1: Hellman is an irresistible subject, but time has not been good to her reputation. ||2: Her effort to control her legacy appears to have backfired. ||3: Once celebrated for her taut writing and devotion to social justice, her image since her death in 1984, aged 79, has curdled into something villainous. ||4: Her plays are still performed—particularly “The Little Foxes”, which secured her fame in 1939—but they are often dismissed as moralising melodramas. ||5: Her name now tends to invite vitriol about her being a Stalinist and a liar, a woman who preached economic equality while swaddled in mink. ||6: She was a hypocritical “bitch with balls”, in the words of Elia Kazan, a film director, who seethed at Hellman’s self-righteous take on the McCarthy era.

||1:海尔曼是一个让人无法抗拒的主题，可是时间对她的名誉而言却并不是一件好事。||2:她企图控制自己的遗产，没料却事与愿违。||3:曾今人们赞美她那简洁紧凑的著作，还有为社会正义所做出的努力。但是她的形象，在1984年79岁的她去世后，变质成腐化堕落。||4:人们仍然在表演她的剧本，尤其是1939年为她赢得名声的《小狐狸》。但是更多的时候，剧本被认为是具有说教性质的情景剧，因此不予考虑。||5:一提起她的名字，就会引来社会对她的尖酸刻薄的评价。一个斯大林主义者，撒谎精，一个鼓吹经济平等却穿着貂皮大衣的女流之辈。||6:用美国导演伊利亚卡赞的话说，她是一个虚伪的“长有男性睾丸的婊子”。导演伊利亚卡赞及其讨厌海尔曼在麦卡锡时代的自以为是。

||1:Other threads knit the writer’s disparate subjects into a coherent oeuvre.||2:Many of his stories feature loss or violence, exploring how such experiences calcify into trauma; several of his characters are dependent on booze or sex.||3:He is an acute observer of nuances of affluence and class, that eternal British theme.||4:Typically, Mr Thorne avoids the temptation to provide easy moralising and neat conclusions, considering those unrealistic and therefore dishonest.||5:He says he wants his work to lead “to people asking questions rather than giving them answers”.

||1:其他线索将作者不同的主题编织成连贯的作品。||2:他的许多故事都以失去或暴力为特色，探索这些经历是如何变成创伤的；他的几个角色都依赖于酒精或性。||3:他敏锐地观察到了富裕和阶级之间的细微差别，这是英国永恒的主题。||4:通常情况下，考虑到那些不现实、因而不诚实的结论，索恩避免了提供简单的道德说教和简洁结论的诱惑。||5:他表示希望自己的工作能让人们提出问题，而不是给出答案。

||1: The world needed both these types, said Mr Lévi-Strauss. And he embodied both. ||2: He too hopped from subject to subject like a bricoleur, discarding philosophy for its arid moralising , giving up law out of sheer boredom, vaunting socialism until it tired him, turning to anthropology as if he was still a fascinated boy in a curio shop. （He abandoned theories like scorched earth in the forest.） ||3: But the far-sighted engineer in him set up a “laboratory” at the Collège de France, where he held the brand-new chair of social anthropology from 1959 to 1982, and produced the four huge volumes of “Mythologiques” (1964-71), in which he tracked 813 myths the length of the American continent. ||4: He happily called himself both “neolithic” and a man of science.

||1:这两种类型，列维-斯特劳斯说，世界缺了哪种都不行。而两种在他身上都有所体现。||2:他也像杂活工一样，不断在各种行当间跳来跳去：先是放弃了哲学，因为讨厌那些枯燥的道德训诫；后又放弃了法律，只是因为厌倦了；还一直热衷歌颂社会主义，但也是以厌倦收场。当他转向人类学的时候，似乎仍然像一个走进奇异玩意店的好奇的孩子（因为他以往抛弃种种理论就象抛下森林大火留下的焦土一样没有顾忌）。||3:但是他身体里那个富有远见的工程师这时出动了：他在法兰西学院创立了“实验室”，在这个崭新的教席上传播他的社会人类学思想，从1959年开始，直到1982年。他还拿出了四卷名为《神话学》(1964-1971)的鸿篇巨制，在书里，他跟踪了813个神话的传播轨迹，幅度跨越整个美洲大陆。||4:他既喜欢自称为新石器时代的人，也爱说自己是搞科学研究的。

Plenty of countries resent American primacy and Western moralising .

美国世界霸主地位及西方国家说教，都让很多国家深恶痛疾。

he must avoid the fate of Jimmy Carter, a moralising president who made the superpower look weak.

他必须避免重蹈卡特的旧辙，卡特是一个让超级大国显得软弱的道德主义总统。

Forget all the self-righteous moralising . Try some plain common sense, instead.

忘掉所有自以为是的道德说教，尝试一些简单的常识吧。

It’s a secular painting and has got away from the moralising and religious pose which one normally associates with Bosch.

这是一幅世俗绘画，完全背离了那些把道德和宗教姿态与博斯联系起来的常规观点。