second to none ：最高的 India is second to China in population.
second to ：仅次于
protagonist n.：主角 antagonist ：反面角色
leading role： 主角
supporting role ：配角
extra ：跑龙套的 starring ：领街
outlaw n.：亡命徒
outlaws in the green wood： 绿林好汉
brigand ：土匪，流窜犯
highway man： 打劫的
fake ：假的
framed a.: 遭到陷害的
sheriff n.: 司法长官
vicious a.: 恶毒的
venomous： 恶毒的 heinous ：恶毒的
malicious ：邪恶的
gossip n.： 流言蜚语（人身攻击）
rumor： 谣言，传闻
It is rumored that he robbed the bank.
gossip monger ：传谣言的人
in short ：总之
in brief /in a word 总之
environment n.：（自然） 环境
surrounding ：（人文）环境
under the environment ：在……情况下
environment makes man.：环境造就人
vanished a.：消失了的
absurdlyad 荒诞的
arena n.：竞技场
amphitheater： 圆形剧场
political arena： 政治舞台
bullfighting: 斗牛
encroaching a.:渐渐渗入的
encroach ：侵犯
American culture is encroaching globally.
penetratin ：渗入
His speeh is penetrating.
India n.：印第安人
bewilder vt.：使手足无措
wilder ：迷茫 baffle/muddle 迷乱的
dizzy ：昏的
disorient 使……失去方向
alien a. ：外来的
alien product ：洋货
alien word ：外来词
eg. sofa, jeep, café, coolie, kotow；
Lesson26
William S. Hart was, perhaps, the greatest of all Western stars, for unlike Gary Cooper and John Wayne he appeared in nothing but Westerns. From 1914 to 1924 he was supreme and unchallenged. It was Hart who created the basic formula of the Western
film, and devised the protagonist he played in every film he made, the good-bad man, the accidental, noble outlaw, or the honest but framed cowboy, or the sheriff made suspect by vicious gossip; in short, the individual in conflict with himself and his frontier environment. Unlike most of his contemporaries in Hollywood, Hart actually 'knew something of the old West. He had lived in it as a child when it was already disappearing, and his hero was firmly rooted in his memories and experiences, and in both the history and the mythology of the vanished frontier. And although no period or place in American history has been more absurdly romanticized, myth and reality did join hands in at least one arena, the conflict between the individual and encroaching civilization. Men accustomed to struggling for survival against the elements and Indian were bewildered by politicians, bankers and business-men, and unhorsed by fences, laws and alien taboos. Hart's good-bad man was always an outsider, always one of the disinherited, and if he found it necessary to shoot a sheriff or rob a bank along the way, his early audiences found it easy to understand and
forgive, especially when it was Hart who, in the end, overcame the attacking Indians.
Audiences in the second decade of the twentieth century found it pleasant to escape to a time when life, though hard, was relatively simple. We still do; living in a world in which undeclared aggression, war, hypocrisy, chicanery, anarchy and impending immolation are part of our daily lives, we all want a code to live by.
GARL FOREMAN Virtue and a Fast Gun from The Observer
参考译文
William S.Hart 也许是西方影片中最杰出的明星。他与Gary Cooper 和John Wayne不一样，只演西部影片的角色。1914年到1924年是他的鼎盛时期，独霸影坛。正是这个Hart奠定了西部影片的基本格局，在他制作的每一部影片中塑造出所扮演的不同主角；心地善良的坏人，偶尔成为逃犯的正人君子，遭到陷害的诚实牛仔或者受恶意诽谤而成为嫌疑犯的官吏；总而言之，他扮演的都是些与他本人相矛盾、与他所处的开拓性环境有冲突的角色。Hart与当时好莱坞大多数同时代人不一样，他确实对昔日西部的风土人情有所了解。他的童年是在西部度过的，那时西部已在逐渐发生变化。他扮演的角色皆源自他的记忆和亲自经历，扎根于往日西部历史和神话之中。虽然在美国的历史长河中没有一个时期、没有一个地方能比西部更具荒诞的浪漫色彩，但是神话和现实至少已在某一竞技场中并存，也就是并存于个人与渐渐闯入的文明两者冲突之中。习惯于与自然力和印第安人作斗争求生存的西部人们的生活，被政客、银行家和商人搞乱了，围起来的藩篱，颁布的法律和外来的戒律使得他们不再能骑马驰聘。Hart所扮演的怀有善意的歹徒总是一名粗野人，总是一个被剥夺了继承权的人。假如他认为有必要枪击一名官吏或者抢劫路旁的一家银行，早期观众对于他的这种举动是不难理解的，也是可以宽恕的，尤其是当影片中Hart最终击退印第安人的来犯时，观众的心情更是如此。