千文網(wǎng)小編為你整理了多篇相關(guān)的《ted中英文演講稿(范文5篇)》，但愿對你工作學(xué)習(xí)有幫助，當(dāng)然你在千文網(wǎng)還可以找到更多《ted中英文演講稿(范文5篇)》。

第一篇：ted演講稿2022

one day in 1819, 3,000 miles off the coast of chile, in one of the mostremote regions of the pacific ocean, 20 american sailors watched their shipflood with seawater.

1819年的某一天， 在距離智利海岸3000英里的地方， 有一個(gè)太平洋上的最偏遠(yuǎn)的水域， 20名美國船員目睹了他們的船只進(jìn)水的場面。

they'd been struck by a sperm whale, which had ripped a catastrophic holein the ship's hull. as their ship began to sink beneath the swells, the menhuddled together in three small whaleboats.

他們和一頭抹香鯨相撞，給船體撞了 一個(gè)毀滅性的大洞。 當(dāng)船在巨浪中開始沉沒時(shí)， 人們在三條救生小艇中抱作一團(tuán)。

these men were 10,000 miles from home, more than 1,000 miles from thenearest scrap of land. in their small boats, they carried only rudimentarynavigational equipment and limited supplies of food and water.

這些人在離家10000萬英里的地方， 離最近的陸地也超過1000英里。 在他們的小艇中，他們只帶了 落后的導(dǎo)航設(shè)備 和有限的食物和飲水。

these were the men of the whaleship esse_, whose story would later inspireparts of "moby dick."

他們就是捕鯨船esse_上的人們， 后來的他們的故事成為《白鯨記》的一部分。

even in today's world, their situation would be really dire, but thinkabout how much worse it would have been then.

即使在當(dāng)今的世界，碰上這種情況也夠杯具的，更不用說在當(dāng)時(shí)的情況有多糟糕。

no one on land had any idea that anything had gone wrong. no search partywas coming to look for these men. so most of us have never e_perienced asituation as frightening as the one in which these sailors found themselves, butwe all know what it's like to be afraid.

岸上的人根本就還沒意識到出了什么問題。 沒有任何人來搜尋他們。 我們當(dāng)中大部分人沒有經(jīng)歷過 這些船員所處的可怕情景，但我們都知道害怕是什么感覺。

we know how fear feels, but i'm not sure we spend enough time thinkingabout what our fears mean.

我們知道恐懼的感覺， 但是我不能肯定我們會(huì)花很多時(shí)間想過 我們的恐懼到底意味著什么。

as we grow up, we're often encouraged to think of fear as a weakness, justanother childish thing to discard like baby teeth or roller skates.

我們長大以后，我們總是會(huì)被鼓勵(lì)把恐懼 視為軟弱，需要像乳牙或輪滑鞋一樣 扔掉的幼稚的東西。

and i think it's no accident that we think this way. neuroscientists haveactually shown that human beings are hard-wired to be optimists.

我想意外事故并非我們所想的那樣。 神經(jīng)系統(tǒng)科學(xué)家已經(jīng)知道人類 生來就是樂觀主義者。

so maybe that's why we think of fear, sometimes, as a danger in and ofitself. "don't worry," we like to say to one another. "don't panic." in english,fear is something we conquer. it's something we fight.

這也許就是為什么我們認(rèn)為有時(shí)候恐懼， 本身就是一種危險(xiǎn)或帶來危險(xiǎn)。 “不要愁?！蔽覀兛偸菍e人說?！安灰拧?。 英語中，恐懼是我們需要征服的東西。是我們必須對抗的東西，是我們必須克服的東西。

it's something we overcome. but what if we looked at fear in a fresh way?what if we thought of fear as an amazing act of the imagination, something thatcan be as profound and insightful as storytelling itself?

但是我們?nèi)绻麚Q個(gè)視角看恐懼會(huì)如何呢? 如果我們把恐懼當(dāng)做是想象力的一個(gè)驚人成果， 是和我們講故事一樣 精妙而有見地的東西，又會(huì)如何呢?

it's easiest to see this link between fear and the imagination in youngchildren, whose fears are often e_traordinarily vivid.

在小孩子當(dāng)中，我們最容易看到恐懼與想象之間的聯(lián)系， 他們的恐懼經(jīng)常是超級生動(dòng)的。

when i was a child, i lived in california, which is, you know, mostly avery nice place to live, but for me as a child, california could also be alittle scary.

我小時(shí)候住在加利福尼亞， 你們都知道，是非常適合居住的位置， 但是對一個(gè)小孩來說，加利福尼亞也會(huì)有點(diǎn)嚇人。

i remember how frightening it was to see the chandelier that hung above ourdining table swing back and forth during every minor earthquake, and i sometimescouldn't sleep at night, terrified that the big one might strike while we weresleeping.

我記得每次小地震的時(shí)候 當(dāng)我看到我們餐桌上的吊燈 晃來晃去的時(shí)候是多么的嚇人， 我經(jīng)常會(huì)徹夜難眠，擔(dān)心大地震 會(huì)在我們睡覺的時(shí)候突然襲來。

and what we say about kids who have fears like that is that they have avivid imagination. but at a certain point, most of us learn to leave these kindsof visions behind and grow up.

我們說小孩子感受到這種恐懼 是因?yàn)樗麄冇猩鷦?dòng)的想象力。 但是在某個(gè)時(shí)候，我們大多數(shù)學(xué)會(huì)了 拋棄這種想法而變得成熟。

we learn that there are no monsters hiding under the bed, and not everyearthquake brings buildings down. but maybe it's no coincidence that some of ourmost creative minds fail to leave these kinds of fears behind as adults.

我們都知道床下沒有魔鬼， 也不是每個(gè)地震都會(huì)震垮房子。但是我們當(dāng)中最有想象力的人們 并沒有因?yàn)槌赡甓鴴仐夁@種恐懼，這也許并不是巧合。

the same incredible imaginations that produced "the origin of species,""jane eyre" and "the remembrance of things past," also generated intense worriesthat haunted the adult lives of charles darwin, charlotte bront and marcelproust. so the question is, what can the rest of us learn about fear fromvisionaries and young children?

同樣不可思議的想象力創(chuàng)造了《物種起源》， 《簡?愛》和《追憶似水年華》， 也就是這種與生俱來的深深的擔(dān)憂一直纏繞著成年的 查爾斯?達(dá)爾文，夏洛特?勃朗特和馬塞爾?普羅斯特。 問題就來了， 我們其他人如何能從這些 夢想家和小孩子身上學(xué)會(huì)恐懼?

well let's return to the year 1819 for a moment, to the situation facingthe crew of the whaleship esse_. let's take a look at the fears that theirimaginations were generating as they drifted in the middle of the pacific.

讓我們暫時(shí)回到1819年， 回到esse_捕鯨船的水手們面對的情況。 讓我們看看他們漂流在太平洋中央時(shí) 他們的想象力給他們帶來的恐懼感覺。

twenty-four hours had now passed since the capsizing of the ship. the timehad come for the men to make a plan, but they had very few options.

船傾覆后已經(jīng)過了24個(gè)小時(shí)。 這時(shí)人們制定了一個(gè)計(jì)劃， 但是其實(shí)他們沒什么太多的選擇。

in his fascinating account of the disaster, nathaniel philbrick wrote thatthese men were just about as far from land as it was possible to be anywhere onearth.

在納撒尼爾?菲爾布里克(nathaniel philbrick)描述這場災(zāi)難的 動(dòng)人文章中，他寫到“這些人離陸地如此之遠(yuǎn)，似乎永遠(yuǎn)都不可能到達(dá)地球上的任何一塊陸地?！?/p>

the men knew that the nearest islands they could reach were the marquesasislands, 1,200 miles away. but they'd heard some frightening rumors.

這些人知道離他們最近的島 是1200英里以外的馬克薩斯群島(marquesas islands)。 但是他們聽到了讓人恐怖的謠言。

they'd been told that these islands, and several others nearby, werepopulated by cannibals. so the men pictured coming ashore only to be murderedand eaten for dinner. another possible destination was hawaii, but given theseason, the captain was afraid they'd be struck by severe storms.

他們聽說這些群島， 以及附近的一些島嶼上都住著食人族。 所以他們腦中都是上岸以后就會(huì)被殺掉 被人當(dāng)做盤中餐的畫面。 另一個(gè)可行的目的地是夏威夷，但是船長擔(dān)心 他們會(huì)被困在風(fēng)暴當(dāng)中。

now the last option was the longest, and the most difficult: to sail 1,500miles due south in hopes of reaching a certain band of winds that couldeventually push them toward the coast of south america.

所以最后的選擇是到最遠(yuǎn)，也是最艱險(xiǎn)的地方： 往南走1500英里希望某股風(fēng) 能最終把他們 吹到南美洲的海岸。

but they knew that the sheer length of this journey would stretch theirsupplies of food and water. to be eaten by cannibals, to be battered by storms,to starve to death before reaching land.

但是他們知道這個(gè)行程中一旦偏航 將會(huì)耗盡他們食物和飲水的供給。 被食人族吃掉，被風(fēng)暴掀翻， 在登陸前餓死。

these were the fears that danced in the imaginations of these poor men, andas it turned out, the fear they chose to listen to would govern whether theylived or died.

這就是縈繞在這群可憐的人想象中的恐懼， 事實(shí)證明，他們選擇聽從的恐懼 將決定他們的生死。

now we might just as easily call these fears by a different name. what ifinstead of calling them fears, we called them stories?

也許我們可以很容易的用別的名稱來稱呼這些恐懼。 我們不稱之為恐懼， 而是稱它們?yōu)楣适氯绾?

because that's really what fear is, if you think about it. it's a kind ofunintentional storytelling that we are all born knowing how to do. and fears andstorytelling have the same components.

如果你仔細(xì)想想，這是恐懼真正的意義。 這是一種與生俱來的， 無意識的講故事的能力。 恐懼和講故事有著同樣的構(gòu)成。

they have the same architecture. like all stories, fears have characters.in our fears, the characters are us. fears also have plots. they have beginningsand middles and ends. you board the plane.

他們有同樣的結(jié)構(gòu)。 如同所有的故事，恐懼中有角色。 在恐懼中，角色就是我們自己。 恐懼也有情節(jié)。他們有開頭，有中間，有結(jié)尾。 你登上飛機(jī)。

the plane takes off. the engine fails. our fears also tend to containimagery that can be every bit as vivid as what you might find in the pages of anovel. picture a cannibal, human teeth sinking into human skin, human fleshroasting over a fire.

飛機(jī)起飛。結(jié)果引擎故障。 我們的恐懼會(huì)包括各種生動(dòng)的想象， 不比你看到的任何一個(gè)小說遜色。 想象食人族，人類牙齒 咬在人類皮膚上，人肉在火上烤。

fears also have suspense. if i've done my job as a storyteller today, youshould be wondering what happened to the men of the whaleship esse_. our fearsprovoke in us a very similar form of suspense.

恐懼中也有懸念。 如果我今天像講故事一樣，留個(gè)懸念不說了， 你們也許會(huì)很想知道 esse_捕鯨船上，人們到底怎么樣了。我們的恐懼用懸念一樣的方式刺激我們。

just like all great stories, our fears focus our attention on a questionthat is as important in life as it is in literature: what will happen ne_t?

就像一個(gè)很好的故事，我們的恐懼也如同一部好的文學(xué)作品一樣， 將我們的注意力集中在對我們生命至關(guān)重要的問題上： 后來發(fā)生了什么?

in other words, our fears make us think about the future. and humans, bythe way, are the only creatures capable of thinking about the future in thisway, of projecting ourselves forward in time, and this mental time travel isjust one more thing that fears have in common with storytelling.

換而言之，我們的恐懼讓我們想到未來。 另外，人來是唯一有能力 通過這種方式想到未來的生物， 就是預(yù)測時(shí)間推移后我們的狀況， 這種精神上的時(shí)間旅行是恐懼與講故事的另一個(gè)共同點(diǎn)。

as a writer, i can tell you that a big part of writing fiction is learningto predict how one event in a story will affect all the other events, and fearworks in that same way.

我是一個(gè)作家，我要告訴你們寫小說一個(gè)很重要的部分 就是學(xué)會(huì)預(yù)測故事中一件 事情如何影響另一件事情， 恐懼也是同樣這么做的。

in fear, just like in fiction, one thing always leads to another. when iwas writing my first novel, "the age of miracles," i spent months trying tofigure out what would happen if the rotation of the earth suddenly began to slowdown. what would happen to our days?

恐懼中，如同小說一樣，一件事情總是導(dǎo)致另一件事情。 我寫我的第一部小說《奇跡時(shí)代》的時(shí)候， 我花了數(shù)月的時(shí)間想象如果地球旋轉(zhuǎn)突然變慢了之后會(huì)發(fā)生什么。 我們的一天變得如何?

what would happen to our crops? what would happen to our minds? and then itwas only later that i realized how very similar these questions were to the onesi used to ask myself as a child frightened in the night.

我們身體會(huì)怎樣? 我們的思想會(huì)有什么變化? 也就是在那之后，我意識到 我過去總是問自己的那些些問題 和孩子們在夜里害怕是多么的相像。

if an earthquake strikes tonight, i used to worry, what will happen to ourhouse? what will happen to my family? and the answer to those questions alwaystook the form of a story.

要是在過去，如果今晚發(fā)生地震，我會(huì)很擔(dān)心， 我的房子會(huì)怎么樣啊?家里人會(huì)怎樣啊? 這類問題的答案通常都會(huì)和故事一樣。

so if we think of our fears as more than just fears but as stories, weshould think of ourselves as the authors of those stories. but just asimportantly, we need to think of ourselves as the readers of our fears, and howwe choose to read our fears can have a profound effect on our lives.

所以我們認(rèn)為我們的恐懼不僅僅是恐懼 還是故事，我們應(yīng)該把自己當(dāng)作 這些故事的作者。 但是同樣重要的是，我們需要想象我們自己是我們恐懼的解讀者，我們選擇如何 去解讀這些恐懼會(huì)對我們的生活產(chǎn)生深遠(yuǎn)的影響。

now, some of us naturally read our fears more closely than others. i readabout a study recently of successful entrepreneurs, and the author found thatthese people shared a habit that he called "productive paranoia," which meantthat these people, instead of dismissing their fears, these people read themclosely, they studied them, and then they translated that fear into preparationand action.

現(xiàn)在，我們中有些人比其他人更自然的解讀自己的恐懼。 最近我看過一個(gè)關(guān)于成功的企業(yè)家的研究， 作者發(fā)現(xiàn)這些人都有個(gè)習(xí)慣 叫做“未雨綢繆“，意思是，這些人，不回避自己的恐懼， 而是認(rèn)真解讀并研究恐懼， 然后把恐懼轉(zhuǎn)換成準(zhǔn)備和行動(dòng)。

so that way, if their worst fears came true, their businesses wereready.

這樣，如果最壞的事情發(fā)生了， 他們的企業(yè)也有所準(zhǔn)備。

and sometimes, of course, our worst fears do come true. that's one of thethings that is so e_traordinary about fear. once in a while, our fears canpredict the future.

當(dāng)然，很多時(shí)候，最壞的事情確實(shí)發(fā)生了。 這是恐懼非凡的一面。 曾幾何時(shí)，我們的恐懼預(yù)測將來。

but we can't possibly prepare for all of the fears that our imaginationsconcoct. so how can we tell the difference between the fears worth listening toand all the others? i think the end of the story of the whaleship esse_ offersan illuminating, if tragic, e_ample.

但是我們不可能為我們想象力構(gòu)建的所有 恐懼來做準(zhǔn)備。 所以，如何區(qū)分值得聽從的恐懼 和不值得的呢? 我想捕鯨船esse_的故事結(jié)局提供了一個(gè)有啟發(fā)性，同時(shí)又悲慘的例子。

after much deliberation, the men finally made a decision. terrified ofcannibals, they decided to forgo the closest islands and instead embarked on thelonger and much more difficult route to south america.

經(jīng)過數(shù)次權(quán)衡，他們最終做出了決定。 由于害怕食人族，他們決定放棄最近的群島 而是開始更長 更艱難的南美洲之旅。

after more than two months at sea, the men ran out of food as they knewthey might, and they were still quite far from land. when the last of thesurvivors were finally picked up by two passing ships, less than half of the menwere left alive, and some of them had resorted to their own form ofcannibalism.

在海上呆了兩個(gè)多月后，他們 的食物如預(yù)料之中消耗殆盡， 而且他們?nèi)匀浑x陸地那么遠(yuǎn)。 當(dāng)最后的幸存者最終被過往船只救起時(shí)， 只有一小半的人還活著，實(shí)際上他們中的一些人自己變成了食人族。

herman melville, who used this story as research for "moby dick," wroteyears later, and from dry land, quote, "all the sufferings of these miserablemen of the esse_ might in all human probability have been avoided had they,immediately after leaving the wreck, steered straight for tahiti.

赫爾曼?梅爾維爾(herman melville)將這個(gè)故事作為 《白鯨記》的素材，在數(shù)年后寫到： esse_船上遇難者的悲慘結(jié)局或許是可以通過人為的努力避免的， 如果他們當(dāng)機(jī)立斷地離開沉船， 直奔塔西提群島。

but," as melville put it, "they dreaded cannibals." so the question is, whydid these men dread cannibals so much more than the e_treme likelihood ofstarvation?

“但是”，梅爾維爾說道：“他們害怕食人族” 問題是，為什么這些人對于食人族的恐懼 超過了更有可能的饑餓威脅呢?

why were they swayed by one story so much more than the other? looked atfrom this angle, theirs becomes a story about reading. the novelist vladimirnabokov said that the best reader has a combination of two very differenttemperaments, the artistic and the scientific.

為什么他們會(huì)被一個(gè)故事 影響如此之大呢? 從另一個(gè)角度來看， 這是一個(gè)關(guān)于解讀的故事。 小說家弗拉基米爾?納博科夫(vladimirnabokov)說 最好的讀者能把兩種截然不同的性格結(jié)合起來， 一個(gè)是藝術(shù)氣質(zhì)，一個(gè)是科學(xué)精神。

a good reader has an artist's passion, a willingness to get caught up inthe story, but just as importantly, the readers also needs the coolness ofjudgment of a scientist, which acts to temper and complicate the reader'sintuitive reactions to the story. as we've seen, the men of the esse_ had notrouble with the artistic part.

好的讀者有藝術(shù)家的熱情， 愿意融入故事當(dāng)中， 但是同樣重要的是，這些讀者還要 有科學(xué)家的冷靜判斷， 這能幫助他們穩(wěn)定情緒并分析 其對故事的直覺反應(yīng)。我們可以看出來，esse_上的人在藝術(shù)部分一點(diǎn)問題都沒有。

they dreamed up a variety of horrifying scenarios. the problem was thatthey listened to the wrong story. of all the narratives their fears wrote, theyresponded only to the most lurid, the most vivid, the one that was easiest fortheir imaginations to picture: cannibals.

他們夢想到一系列恐怖的場景。 問題在于他們聽從了一個(gè)錯(cuò)誤的故事。 所有他們恐懼中 他們只對其中最聳人聽聞，最生動(dòng)的故事，也是他們想象中最早出現(xiàn)的場景： 食人族。

but perhaps if they'd been able to read their fears more like a scientist,with more coolness of judgment, they would have listened instead to the lessviolent but the more likely tale, the story of starvation, and headed fortahiti, just as melville's sad commentary suggests.

也許，如果他們能像科學(xué)家那樣 稍微冷靜一點(diǎn)解讀這個(gè)故事， 如果他們能聽從不太驚悚但是更可能發(fā)生的 半路餓死的故事，他們可能就會(huì)直奔塔西提群島，如梅爾維爾充滿惋惜的評論所建議的那樣。

and maybe if we all tried to read our fears, we too would be less oftenswayed by the most salacious among them.

也許如果我們都試著解讀自己的恐懼， 我們就能少被 其中的一些幻象所迷惑。

maybe then we'd spend less time worrying about serial killers and planecrashes, and more time concerned with the subtler and slower disasters we face:the silent buildup of plaque in our arteries, the gradual changes in ourclimate.

我們也就能少花一點(diǎn)時(shí)間在 為系列殺手或者飛機(jī)失事方面的擔(dān)憂， 而是更多的關(guān)心那些悄然而至 的災(zāi)難： 動(dòng)脈血小板的逐漸堆積， 氣候的逐漸變遷。

just as the most nuanced stories in literature are often the richest, sotoo might our subtlest fears be the truest. read in the right way, our fears arean amazing gift of the imagination, a kind of everyday clairvoyance, a way ofglimpsing what might be the future when there's still time to influence how thatfuture will play out.

如同文學(xué)中最精妙的故事通常是最豐富的故事， 我們最細(xì)微的恐懼才是最真實(shí)的恐懼。 用正確的方法的解讀，我們的恐懼就是我們想象力賜給我們的禮物，借此一雙慧眼， 讓我們能管窺未來 甚至影響未來。

properly read, our fears can offer us something as precious as our favoriteworks of literature: a little wisdom, a bit of insight and a version of thatmost elusive thing -- the truth. thank you.

如果能得到正確的解讀，我們的恐懼能 和我們最喜歡的文學(xué)作品一樣給我們珍貴的東西： 一點(diǎn)點(diǎn)智慧，一點(diǎn)點(diǎn)洞悉 以及對最玄妙東西―― 真相的詮釋。謝謝。

(applause)

(掌聲)

第二篇：TED英文演講稿

There are different kinds of noodles in our country. In Shanxi the mostfamous noodle is sliced noodles in Guangdong it has dry fried noodles; in Sichuan people love spicy hot noodles very much. Born in Beijing and live inBeijing I love fried bean paste noodles the best.

在我國，有各種各樣的面條。在山西，最著名的面食是刀削面;在廣東，最著名的是伊面;在四川，人們最愛的則是麻辣面。作為一個(gè)土生土長的北京人，我最愛炸醬面。

The fired bean paste noodles is very easy to cook. First of it you shouldslice the cucumber into pieces cook the soy bean and green bean for about tenminutes then put these material in a bowl. Second stir-frying the paste. Mix theminced meat ginger and green onion and then put them in the pan keep frying thepaste until you can smell the aroma. Last put the paste onto the noodles youhave prepare and add the cucumber soy bean and green bean to the noodles. Thefried bean paste noodles are done. If you have time you can try this I sure youwill love it.

炸醬面很容易烹飪。首先，你先把黃瓜切絲，把黃豆和青豆用沸水煮上十分鐘，然后把這些材料裝進(jìn)碗里面?zhèn)溆谩Ｆ浯?，烹制炸醬。把肉末、洋蔥和蔥花混合在一起，不停地翻炒，直到你聞到肉香。最后，把肉醬淋在煮好的面條上，再放上黃瓜絲、黃豆和青豆，炸醬面就算做好了。如果你有時(shí)間，你一定要試試。我保證你會(huì)愛上炸醬面的。

第三篇：ted演講稿永不放棄

如果你在研究某種東西而父母不支持你時(shí)，你會(huì)不會(huì)放棄呢?面對家人的阻擾，年幼的我們可能會(huì)選擇放棄。是呀，我們沒有能力反抗，缺少堅(jiān)持下去的勇氣和信心，更缺少一種執(zhí)著的精神，所以我們放棄了。而法國昆蟲學(xué)家J?H?法布爾卻能忍受父母的打、罵、忍受住昆蟲的無情叮咬，能堅(jiān)持并執(zhí)著地研究昆蟲，最終，他完成了這部偉大的著作《昆蟲記》。當(dāng)我讀到這里的時(shí)候，我就立志要成為像他一樣的昆蟲學(xué)家。

“記得有一次，爸爸看到我把蟲子釘在軟木上，他狠狠地給我了一拳作為教訓(xùn)。家長的反對，并沒有改變我對昆蟲的喜好?！笨纯?，他竟能不顧家長的反對，去認(rèn)真觀察那些蟲子，并對它們產(chǎn)生濃厚的興趣。我想，正是他的堅(jiān)持和執(zhí)著，才讓他跨出了成功的第一步。

“那次，我偶然發(fā)現(xiàn)了礦蜂的巢穴，就趕緊回家拿出小鏟子，挖開了它。正巧，有一只正在往下挖隧道的礦蜂。我一不留神，被那只礦蜂叮咬了我的手。雖然有了這次坎坷的經(jīng)歷，但我還是繼續(xù)研究礦蜂等其他昆蟲?！鼻疲仁潜桓改复?，現(xiàn)在又是被礦蜂叮的法布爾，不但沒有放棄，還能站起來，繼續(xù)觀察和研究昆蟲。這是多么值得我們學(xué)習(xí)的呀。大家都知道，后來經(jīng)過法布爾的努力，他成功地考入了大學(xué)，并去專門研究生物學(xué)。

當(dāng)我又拿起這本書時(shí)，回想起了我的那次經(jīng)歷：當(dāng)我在蟻丘附近玩時(shí)，看到一只蟻后在地上。我便俯身拿起它，觀察它的翅膀，但它卻不知情地重重咬了我右手小指一口。一陣的鉆心的疼痛襲來，我大叫一聲“啊～～”，真想把手中的蟻后扔掉。那時(shí)我想起了法布爾和礦蜂的故事，不能放棄，我就用一片葉子托起了它，又開始仔細(xì)地觀察它的翅膀，并成功地記錄了下來。

我從《昆蟲記》這本書里學(xué)到了：不放棄，不拋棄，摔倒了就站起來，不被困難所打倒，用微笑去面對它。