(单词翻译:单击)
One of the great impediments to understanding bits of our lives properly is our overly-ready assumption that we already do so.
正确理解我们生活的一个巨大障碍是过度准备的设想，而我们已经这样做了。
It’s easy to carry around with us, and exchange with others, surface intellectual descriptions of key painful events that leave the marrow of our emotions behind.
我们很容易到哪儿都携带这样的设想，与他人交流，表面上是对重要的痛苦事件的理智描述，但是这又将我们情绪活力抛诸脑后。
We may say that we remember - for example - that we ‘didn’t get on too well’ with our father, that our mother was ‘slightly neglectful’ or that going to boarding school was ‘a bit sad.’
例如，我们可能会说，我们记得我们和父亲“相处得不太好”，我们的母亲“有点疏忽大意”，或者去寄宿学校“有点难过”。
It could - on this basis - sound as if we surely have a solid enough grip on events.
在此基础上，听起来似乎我们确实能足够牢靠地把握各种事件。
But these compressed stories are precisely the sort of ready-made, affectless accounts that stand in the way of connecting properly and viscerally with what happened to us and therefore of knowing ourselves adequately;
但这些经过压缩的故事恰恰是那种准备好的、没有感情的叙述，这阻碍了我们与发生在我们身上的事情建立正确和发自内心的联系，因此也阻碍了我们充分地了解自己;
if we can put it in a paradoxical form, our memories are what allow us to forget.
如果我们将其置于矛盾的形式中，我们的记忆是允许我们忘记的。
Our day to day accounts may bear as much resemblance to the vivid truth of our lives as a postcard from Naxos does to a month-long journey around the Aegean.
我们每天的描述可能与我们生活的生动真相有很多相似之处，就像从纳克索斯寄来的明信片与环绕爱琴海一个月的旅行一样。
If this matters, it’s because only on the basis of proper immersion in past fears, sadnesses, rages and losses can we ever recover from certain disorders that develop when difficult events have grown immobilised within us.
如果这很重要，那是因为只有彻底沉浸于过去的恐惧、悲伤、愤怒和失落中，我们才能从特定的情绪紊乱中恢复过来，这一状态是当困难的事情在我们内心变得无法改变时产生的。
To be liberated from the past, we need to mourn it and for this to occur, we need to get in touch with what it actually felt like;
要从过去中解放出来，我们需要去哀悼这种情绪让其展现出来，我们需要接触到这种情绪真正的感觉;
we need to sense, in a way we may not have done for decades, the pain of our sister being preferred to us or of the devastation of being maltreated in the study on a Saturday morning.
我们需要以一种可能几十年来从未有过的方式，感知我们的姐妹比我们更受欢迎的痛苦，或是感知周六早上在研究中被虐的绝望情绪。
The difference between felt and lifeless memories could be compared to the difference between a mediocre and a great painting of spring.
有无感觉的记忆之间的差别，就如同平庸的春天画卷与非凡的春天画卷之间的差别。
Both will show us an identifiable place and time of year, but only the great painter will properly seize, from among millions of possible elements, the few that really render the moment charming, interesting, sad or tender.
两者都将向我们展示一年中可识别的地点和时间，但只有伟大的画家才会从数百万可能的元素中抓住少数真正使这一时刻变得迷人、有趣、忧伤或温柔。
In one case, we know about spring, in the other, we finally feel it.
在一种情况下，我们知晓了春天，而在另一种情况下，我们终于感受到了春天。
This may seem like a narrow aesthetic consideration, but it goes to the core of what we need to do to get over many psychological complaints.
这似乎是一个狭隘的美学考量，但它是我们需要行动来克服许多心理抱怨的核心所在。
We cannot continue to fly high over the past in our jet plane while high-handedly refusing to reexperience the territory we are crossing.
我们不可能坐着喷气式飞机高高地飞越过去，同时又蛮横地拒绝重新体验我们正在飞越的领土。
We need to land our craft, get out and walk, inch by painful inch, through the swampy reality of the past.
我们需要让我们的飞机着陆，走出去，一寸一寸地感知痛苦，穿越过去的沼泽现实。
We need to lie down, perhaps on a couch, maybe with music, close our eyes, and endure things on foot.
我们需要躺平，也许可以躺在沙发上，也许可以听着音乐，闭上眼睛，忍耐着徒步旅行。
Only when we have returned afresh to our suffering and known it in our bones will it ever promise to leave us alone.
只有当我们重新回到我们的痛苦中，遭受痛苦，彻底地知晓痛苦，它才会答应不再来烦扰我们。
