在智慧生活的舞台上，每个人都是一位独特的演员。我们渴望掌控生活的节奏，却避免过度存在感。在这篇短文的开篇，让我们一同踏上这场关于平衡与自我表达的旅程。

On the stage of smart living, everyone is an unique actor. We yearn to control the rhythm of life, yet avoid excessive presence. At the beginning of this short article, let us embark on this journey about balance and self-expression together.

1. 活到一定的年纪就会发现，人与人之间的关系太微妙，太复杂，太险恶，必须足够的清醒和自律，才能够全身而退，游刃有余。

1. As one reaches a certain age, one realizes that the relationships between people are too subtle, too complex, and too treacherous. It is necessary to be sufficiently清醒 and self-disciplined in order to withdraw unscathed and navigate with ease.

2. “人和人交往还是少说话，克制表达欲。平静温和就行，不自卑也别炫耀。别为了获得共鸣，讲起过往没完没了。无意间表现的品质，被对方发现才更招人喜欢，胜过千言万语，仔细想想，你哪次滔滔不绝后，带来的不是悔恨。

2. "In interactions between people, it's better to speak less and control one's desire to express. Remain calm and gentle, neither feeling inferior nor boasting. Don't keep talking about the past to seek共鸣. The qualities you show unintentionally are more endearing when discovered by the other person, more than words can express. Think carefully, when have you ever felt regret after talking non-stop?"

3. 其实，懂得“示弱”的家长，和过于“强势”的家长，教育出的孩子不一样,但是我发现，在教育孩子的时候,懂得如何在孩子面前示弱，往往能够巧妙的解决一些难题。

3. In fact, children raised by parents who understand the concept of "showing weakness" differ from those raised by overly "dominant" parents. However, I have found that knowing how to show weakness in front of children can often cleverly resolve some difficult issues during the process of educating them.

4. 话随境迁，“境”指社会环境、自然环境、说话现场。

4. As the saying goes, "the environment" refers to the social environment, natural environment, and the speaking scene.

5. 孔子的学生子张，请教为人处世的正确方法。孔子指导说，多听，有疑问的地方就保留意见，没问题的地方就谨慎的说出来，就不会有什么过错。多看，有不认同的地方就保留意见，没问题的地方就小心的指出来，就不会感到后悔。

5. Confucius' student Zizhang asked about the correct way to conduct oneself in society. Confucius advised, "Listen more, and reserve opinions at places of doubt; speak cautiously at places without problems, and you will not make any mistakes. Observe more, and reserve opinions at places where you disagree; carefully point out problems where there are none, and you will not regret it."

6. 逻辑停顿。是根据要强调的停顿，苏联研究表演的“斯坦尼斯拉夫斯基”说：如果没有逻辑的停顿的语言是文体不通的话，那么没有心理停顿的语言是没有生命的。逻辑停顿是表达感情的需要。

是 6. Logical pauses. According to the Soviet research on performance by "Stanislavsky," he said: If language without logical pauses is stylistically incorrect, then language without psychological pauses is lifeless. Logical pauses are a necessity for expressing emotions.

7. 控制脸部的方法，首先“不可垂头”。人一旦“垂头”就会予人“丧气”之感，而且若视线不能与听众接触，就难以吸引听众的注意。另一个方法是“缓慢说话”。说话速度一旦缓慢，情绪即可稳定，脸部表情也得以放松,再者，全身上下也能够为之泰然自若起来。

7. Methods of controlling facial expressions: Firstly, "do not lower your head." Once a person "lowers their head," it gives off a sense of "defeat," and if the gaze cannot connect with the audience, it is difficult to attract their attention. Another method is "speak slowly." Once the speaking speed is slow, the mood can be stabilized, and facial expressions can be relaxed. Moreover, the whole body can become composed and at ease.

8. 人是群居动物，我们都害怕孤独，害怕被人群抛弃的感觉。但是如果心智成熟之后，你会发现，人群的热闹只会让你更加孤独，你喜极而泣的成绩，在别人眼里只是一种炫耀，你惊天动地的伤痛，在别人看来，只是随手拂过的尘埃。

8. Humans are social animals, and we all fear loneliness, the feeling of being abandoned by the crowd. However, after mental maturity, you will find that the hustle and bustle of the crowd will only make you more lonely. The achievements that make you cry with joy are seen as mere show-offs in others' eyes, and the overwhelming pain that shakes you to your core is just a piece of dust that others sweep away casually.

9. 话因人异，看人的心理需要，或是说话前预测一下人家会有什么打算，

9. Words vary from person to person, considering the psychological needs of others, or predicting what they might intend before speaking.

10. 人都是自私的。你对别人有利用价值，别人就会亲近你。你失去了利用价值，狗都不愿意搭理你。

10. All people are selfish. If you have value to others, they will get close to you. Once you lose your value, even dogs wouldn't want to bother with you.

11. 系统的综合，说话时，语言、声调、态势语要综合考虑，如果语调没有变化，语言是枯燥的，如果没有加一点体态语，语言是不生动的，系统的综合要求在说话是要调动各部门的积极性来完成说话内容，且各部门、各系统要有整体感、协调感。

11. The integration of the system requires a comprehensive consideration of language, tone, and body language when speaking. If the tone does not change, the language becomes monotonous; if a bit of body language is not added, the language becomes inanimate. The integration of the system necessitates the mobilization of the enthusiasm of all departments to convey the content of the speech, and all departments and systems should have a sense of unity and coordination.

12. 虚视。就是似视非视，演讲就需要这种虚与实的目光交替，“实”看某一部分人，“非”看大家，演讲要作到“目中无人，心中有人”。

12. Empty Vision. This means seeing and not seeing, which requires the alternation of virtual and real gazes in a speech. The "real" gaze is focused on a certain part of the audience, while the "non-real" gaze is on the whole group. A speech should strive to achieve the state of "no one in the eyes, but everyone in the heart."

13. 现场的氛围是特定的。了解这点给我们两点启示，第一，由于是特定的，说出去的话想收回来是不可能的，这就要求想好了再说;第二，说话要受现场氛围的影响，要考虑“现场反映”，要适时调整语言，这要求提高本身的素质。

13. The atmosphere at the scene is specific. Understanding this gives us two insights: first, since it is specific, it is impossible to take back what has been said, which requires us to think before speaking; second, speaking should be influenced by the atmosphere of the scene, taking into account the "on-site feedback," and adjusting language appropriately, which demands an improvement in one's own quality.

14. ​​余华老师在《在细雨中呐喊》曾写道:

14. Teacher Yu Hua wrote in "Screaming in the Drizzle":

15. 当孩子面对一个无所不能的人时，他只有两个选择：一个是向这无所不能的人学习，于是追求完美，不能容忍自己的缺点；另一个就是什么都不做了，因为这个能人什么都能做！如果这个能人能在孩子们面前有那么一点不完美，有那么一点软弱，孩子们就会变得宽容，变得坚强，主动肩负起挡风遮雨的责任！

15. When a child faces a person who seems all-powerful, they have only two choices: one is to learn from this all-powerful person, pursuing perfection and being unable to tolerate their own flaws; the other is to do nothing at all, because this all-powerful person can do everything! If this all-powerful person can show a bit of imperfection and a bit of weakness in front of the children, the children will become more tolerant and stronger, taking the initiative to bear the responsibility of sheltering and protecting others!

16. 手掌语言：“向上”表示诚恳、谦虚;“向下”表提醒、命令;“紧握伸食指”带有一种镇压性;“搓掌”表期待，快搓表增加可信度，慢搓表有疑虑;“手掌向前”表拒绝、回避;“手掌由内向外推”表安慰、把所有的问题概况起来;“劈掌”表果断、决心。

16. Palm language: "Upward" indicates sincerity and modesty; "downward" signifies a reminder or command; "clutching with the index finger extended" carries a suppressive quality; "rubbing the palms" shows anticipation, with quick rubbing increasing credibility and slow rubbing indicating doubt; "palms facing forward" denotes refusal or avoidance; "pushing the palms outwards from the inside" signifies comfort and summarizing all issues; "splitting the palms" shows decisiveness and determination.

17. 演讲又叫讲演或演说，是指在公众场合，以有声语言为主要手段，以体态语言为辅助手段，针对某个具体问题，鲜明、完整地发表自己的见解和主张，阐明事理或抒发情感，进行宣传鼓动的一种语言交际活动。

17. A speech, also known as a lecture or oration, refers to a form of language communication activity in public场合 where the main means is the spoken language, with body language as a supplementary means. It involves clearly and comprehensively expressing one's views and opinions on a specific issue, elucidating the principles of a matter or expressing emotions, and conducting propaganda and persuasion.

18. 感情重音。是表达强烈的感情或细微的心理来安排。重音不一定重，有时放轻也起了强调的作用。重音有二种，一种是重重音，一种是轻重音。重音怎样体现一是加大音量，二是拖长音节，三是一字一顿，四是夸大调值(调值有一个五度表：一声55，二声35，三声214，四声51)。

18. Emphasis on emotions. It is arranged to express strong emotions or subtle psychological states. The emphasis does not necessarily need to be heavy; sometimes, softening it can also serve to emphasize. There are two types of emphasis: one is a heavy emphasis, and the other is a light emphasis. How does emphasis manifest? First, by increasing the volume, second by prolonging the tone, third by speaking each word slowly, and fourth by exaggerating the tone value (the tone value has a five-degree scale: first tone 55, second tone 35, third tone 214, fourth tone 51).

19. 生活中经常运用重音，重音在生活中必不可少。如，“这篇文章的大意是什么”，“大意”是大概的意思，如果把“意”轻念，就是“粗心”的意思。所以，重音具有区别词意的作用，读重读轻表达的意思不一样，重音可分为三种：

19. Emphasis is frequently used in everyday life, and it is indispensable in life. For example, in the question "What is the main idea of this article?", "Main idea" refers to the general meaning. If the character "意" (meaning) is pronounced softly, it would mean "careless." Therefore, emphasis serves to differentiate word meanings, as the meaning conveyed by reading with emphasis or without is different. Emphasis can be divided into three types:

20. 演讲表达的主要特点是“讲”，对演讲者来说，写好了演讲词，不一定就讲得好，正如作曲家不一定是演唱家一样。有文才，善于写出好的演讲词的人，不一定有口才，不一定能讲得娓娓动听。真正的演讲家，既要善写，还要会讲，即既要有文才又要有口才。从某种意义上说，口才比文才更为重要。如果演讲者讲话哼哼哈哈，拖泥带水，“这个”“那个”的一大串，那么，即令有超凡脱俗的智慧，有深刻广博的思想内容，也无济于事。

20. The main characteristic of speech expression is "speaking". Just as composers are not necessarily performers, having well-written speech scripts does not necessarily mean one can deliver them well. Those who are talented in writing good speeches may not necessarily have eloquence or the ability to speak engagingly. A true orator should be both good at writing and at speaking, meaning they should possess both literary talent and oratorical skills. In a sense, oratorical skills are more important than literary talent. If a speaker mumbles, drags on, and has a string of "this" and "that," then even if they possess extraordinary wisdom and profound, extensive content, it will not help.

21. 俗话说，“冰冻三尺，非一日之寒”。想要成就一次精彩的演讲，一方面要注重平日里的锻炼和学习，另一方面也要掌握一定的演讲技巧，下面我就从以下八个方面与大家共同分享学习一下演讲的技巧和方法。

21. As the saying goes, "It takes three feet of snow to make a deep frost." To deliver an excellent speech, one must focus on both daily practice and learning, as well as mastering certain speaking skills. Below, I will share with everyone the techniques and methods of public speaking from the following eight aspects for us to learn together.

22. 举一个例子，一篇稿子有这么一段话：1998年的7月26日下午2点，长江第三次洪峰又来了，36米高的洪峰卷起足有两米高的巨浪冲向单薄的泉州大堤……如果按一般的语气念起来很平淡，运用气和口语技巧效果就不一样。再有，我们有时听报告非常振奋，有时会纷纷欲睡，就是因为说话的人没有掌握说话的特点，没有掌握好语言的技巧。因此有必要来学习口语的有关知识，口语的表达技巧，这样使我们在以后的工作、生活中表达得更好、更理想、更有感染力、号召力、鼓舞力。

22. For example, there is a paragraph in an article that reads: "On the afternoon of July 26, 1998, the third flood peak of the Yangtze River came again, and the 36-meter-high flood peak rolled up waves as high as two meters, heading towards the thin Quanzhou embankment..." If this is read in a plain tone, it may sound unexciting. However, the use of intonation and colloquial skills can make a big difference. Moreover, we often feel very inspired while listening to a report, but sometimes we feel drowsy, which is because the speaker has not grasped the characteristics of speaking and has not mastered the language skills properly. Therefore, it is necessary to study relevant knowledge about colloquial speech, the expression techniques of colloquial language, so that we can express ourselves better, more ideally, more emotionally engaging, more persuasive, and more inspiring in our future work and life.

23. 克服这股视线压力的秘决，就是一面进行演讲；一面从听众当中找寻对于自己投以善意而温柔眼光的人。并且无视于那些冷淡的眼光。此外，把自己的视线投向强烈“点头”以示首肯的人，对巩固信心来进行演说也具有效果。

23. The secret to overcoming this pressure of attention is to deliver a speech while simultaneously searching among the audience for those who are giving you a kind and gentle gaze. And ignore those cold eyes. Moreover, directing your gaze towards those who are giving a strong "nod" to signify agreement can also be effective in consolidating confidence during a speech.

24. 手段的综合。口语表达是传声的、有感情的，同时手段是多样的。传声包括声音的高、低、快、慢，强弱长短;表情包括面目、眼神、手足。

24. The Comprehensive Use of Means. Oral expression is conveyant and emotional, and the means are diverse. Conveyance includes the height, depth, speed, and slowness, strength, length, and shortness of the voice; expression includes facial features, eye contact, and gestures of the hands and feet.

25. 清晰。要人知道你说的是什么东西，当然，有时要说得幽默一点，那或是生活的玩笑，或是说相声，一般的情况一定要说得清晰，让人听得懂。

25. Clear. You need to make it clear what you are talking about. Of course, sometimes you should be a bit humorous, which could be a joke of life or a comedy routine. Generally speaking, you should be clear and make sure that people can understand what you are saying.

26. 生命本来就是一场孤独的旅程，不要指望别人共情，你理解你，支持你，帮助你，肯定你，也不用在乎任何人对你的任何看法，关起门来过自己的小日子，做一个平凡的人，感受最真实的人间烟火。

26. Life itself is a journey of solitude. Don't expect others to empathize with you, to understand you, support you, help you, or to affirm you. Also, don't care about anyone's opinions of you. Shut the door and live your own small life, be an ordinary person, and feel the most authentic hustle and bustle of human life.

27. 手指语言：“大拇指”动作一般表夸奖、很好，但有时表高傲的情绪;“十指交叉”一般表自信、敌对情绪、感兴趣;“抓指式”一般表控制全场之势;“背手”可给自己壮胆，镇静，也表自信，但对有的人是种狂妄表现;“手啄式”表示不礼貌的动作，本身就有一种挑衅、针对和强制性。以上都要看具体环境和当时面部表情。

27. Sign Language: The action of the " thumb " generally indicates praise, very good, but sometimes it expresses an arrogant mood; the "crossed fingers" generally indicate confidence, hostile emotions, and interest; the "pinching fingers" gesture generally signifies a commanding presence over the situation; the "hands on back" stance can boost one's courage, calmness, and also shows confidence, but to some people, it can be a show of arrogance; the "picking fingers" gesture represents an impolite action, itself conveying a sense of provocation, targeting, and coercion. All of these should be interpreted based on the specific context and the facial expressions at the time.

28. 演讲的选题有很强的现实性、时代性。朗诵的材料有很大的超越性。

28. The topic of the speech has a strong practicality and contemporary nature. The materials for recitation have a great transcendence.

29. 语言改变不了任何事物，万事万物都有自己的发展逻辑，顺其自然就好。

29. Language cannot change anything; everything has its own development logic, so just go with the flow.

30. 我们曾如此期待别人的认可，后来才发现世界是自己的，和其他人毫无关系。

30. We had so eagerly awaited others' recognition, only to later find out that the world is all about oneself, and has nothing to do with others.

31. 同步性。即外部语言表达与内部语言思维是同步进行的，口语只是将思维外化了。

31. Synchronicity. This means that external language expression and internal language thinking are carried out simultaneously; spoken language merely externalizes the thought process.

32. 响亮。说话是说给大家听的，除非是悄悄话，有隐私。一般说话要把音送到人家耳朵里，让人听得清楚，所以要响亮。

32. Clear and loud. Speech is meant to be heard by others, unless it is a whisper, which is a private matter. Generally, when speaking, one should make sure the sound reaches the listener's ears clearly, so it needs to be loud.

33. 感情停顿。又叫心理停顿，逻辑停顿为理智服务，感情停顿为感情服务，表示一种微妙和复杂的心理感受而作的停顿。

33. Emotional pause. Also known as a psychological pause, logical pause serves reason, while emotional pause serves emotion, indicating a pause made for a subtle and complex psychological feeling.

34. 演说时的姿势（posture）也会带给听众某种印象，例如堂堂正正的印象或者畏畏缩缩的印象。虽然个人的性格与平日的习惯对此影响颇巨，不过一般而言仍有方便演讲的姿势，即所谓“轻松的姿势”。要让身体放松，反过来说就是不要过度紧张。过度的紧张不但会表现出笨拙僵硬的姿势，而且对于舌头的动作也会造成不良的影响。

34. The posture during a speech also gives the audience a certain impression, such as an impression of dignity or an impression of shyness. Although personal character and daily habits have a significant impact on this, generally speaking, there are still convenient postures for giving a speech, known as the "relaxed posture." To relax the body, in other words, is to avoid excessive tension. Excessive tension not only manifests as clumsy and stiff posture, but also has a negative effect on the movement of the tongue.

35. 在家庭生活中，父母与孩子沟通的身份界限是模糊的。父母不是站在一个绝对地位“教”，而孩子也不是处于被动地位“学”。这是一种双向互动的状态，愿意放下姿态的父母，乐于接受孩子带给自己新兴事物。

35. In family life, the identity boundaries between parents and children in communication are blurred. Parents do not stand in an absolute position to "teach," nor are children in a passive position to "learn." This is a state of two-way interaction, where parents willing to lower their posture are happy to accept the new things brought to them by their children.

36. 表情语言。每个人都有面部表情，脸上的每个细胞、每个皱纹、每个神经都表达某种意愿、某种感情、某种倾向。面部表情是最准确的、最微妙的人的“晴雨表”。人的面部表情贵在四个字：自然，真挚。面部是思想的“荧光屏”，演讲的面部表情一般要带微笑。

36. Facial Language. Everyone has facial expressions, and every cell, every wrinkle, every nerve on the face expresses some intention, some emotion, or some tendency. Facial expressions are the most accurate and subtle "barometer" of a person. The essence of human facial expressions can be summarized in four characters: natural, sincere. The face is the "screen" of thoughts, and during a speech, the facial expressions should generally be smiling.

37. 书面语中的单音节词在口语里都要变双音节词。比如，书面语“此时”，口语表述就要用“这个时候”。

37. Monosyllabic words in written language should be changed to disyllabic words in spoken language. For example, the written expression "此时" should be expressed as "这个时候" in spoken language.

38. 演讲与朗诵的范畴不同，演讲属精神实用艺术，侧重于宣传鼓动。朗诵属表演艺术，侧重于欣赏。

38. The categories of oratory and recitation are different. Oratory belongs to the spiritual applied art, focusing on propaganda and agitation. Recitation belongs to the performing art, focusing on appreciation.

39. 暂留性。我们讲话是通过声波传播的，而声波瞬间即逝，有心理学家作过一次测试：我们听话的过场中能够精确留在记忆中的大概不超过7-8秒钟。既然是短暂的，怎么去评价一个人的口才呢是从整体上把握、从语流上把握。语速给我们的启示一，就是想好了再说，启示二，是说话速度不可太快。一般的发言200字/每分钟，最快不能超过280字/分钟。每次发言(座谈会、讨论会)最好不超过2分10秒，否则，被吸收的信息大大削弱。

39. Transience. We communicate through sound waves, and sound waves are fleeting. Psychologists have conducted a test: it is roughly within 7-8 seconds that we can accurately retain what we hear in memory. Since it is transient, how can we evaluate a person's oratory skills? It is through overall grasp and through the flow of speech. The pace of speech gives us two insights: one is to think before speaking, and the other is that speaking speed should not be too fast. The general speaking rate is 200 words per minute, and the fastest should not exceed 280 words per minute. Each speech (at a symposium or discussion) should ideally not exceed 2 minutes and 10 seconds; otherwise, the information absorbed will be greatly weakened.

40. 语音：包括语调、语气、音量、音长，如语气词“啊”我们赋予它不同的情感、不同的音量、不同的音长、不同的语调，它所表达的就是不同的意思。

40. Voice: This includes intonation, tone, volume, and duration. For example, the interjection "啊" can be given different emotions, different volumes, different durations, and different intonations, and the meaning it conveys is different accordingly.

41. 写好讲稿。不管写什么内容、对象，所有的演讲稿一定有事、理、情，即要有事实、有道理、有感情的有机结合。我们通常评价一篇稿子，说：这篇稿子太实了，就是缺“情”，这篇稿子太虚了，就是没有“事实”。没有事实的议论和抒情是苍白的，没有抒情和议论的事实是呆板的。

41. Write a well-crafted speech. Regardless of the content or audience, all speeches should have a combination of facts, reasons, and emotions, meaning they should have a harmonious blend of factual information, logical arguments, and emotional appeal. We usually evaluate a manuscript by saying: This manuscript is too factual, lacking "emotion," or this manuscript is too hollow, lacking "factual information." Argumentation and抒情的 without facts are colorless, and facts without抒情 and argumentation are rigid.

42. 父母的掌控虽然可以帮助孩子避免错误的发生，但是也降低了孩子的参与感和存在感。孩子对于想法的表达缺乏动力，进而不愿意独立思考，没有主见，对父母的依赖感强。如果想要让孩子得到全面发展，仅仅让孩子活在父母的庇护下是不可行的。

42. While parents' control can help children avoid making mistakes, it also reduces their sense of involvement and presence. Children lack motivation to express their ideas and, consequently, are unwilling to think independently, have no initiative, and depend heavily on their parents. If children are to achieve comprehensive development, it is not feasible to simply let them live under the protection of their parents.

43. 是一种最古老、最原始的交际方式，也是历史最悠久的交际方式，是源远流长的，必不可少的;

43. It is the oldest and most primitive form of communication, as well as the most ancient one in history, deeply rooted and indispensable.

44. 手臂语言：“手臂交叉”表防御;“交叉握拳”表敌对;“交叉放掌”表有点紧张并在努力控制情绪;“一手握另一只手上臂，另外一只手下垂”表缺乏自信。

44. Body Language: "Arms crossed" indicates defense; "crossed fists" show hostility; "arms crossed with palms facing down" indicates a bit of tension and an effort to control emotions; "one hand gripping the upper arm of the other hand, while the other hand hangs down" shows a lack of confidence.

45. 上台、开场、下台的问题。上台要情绪饱满，充满自信，步伐稳健自然，目光环视全场。开场起调一定不要太高，稍低。下台步伐平稳，要避免“得意洋洋”或“神情疲惫”。

45. The issues of going on stage, starting the performance, and coming off stage. When going on stage, one should be full of enthusiasm, confident, with a steady and natural stride, and look around the entire audience. The opening note should not be too high, slightly lower. When coming off stage, the stride should be steady and avoid looking "proud" or "tired."

46. 不要看那些炙手可热的人物，随时随刻都被众人簇拥着，他的价值一旦失去，立刻就会人走茶凉，给他留下一个巨大的孤独的阴影。

46. Do not look at those individuals who are popular and always surrounded by crowds. Once their value is lost, they will quickly become deserted, leaving behind a vast and lonely shadow.

47. 说话要有节奏，该快的时候快，该慢的时候慢，该起的时候起，这样有起伏有快慢，有轻重，才形成了口语的乐感和乐耳动听，否则话语不感人，不动人，口语中有带规律性的变化，叫节奏，有了这个变化语言才生动，否则是呆板的，有位意大利的音乐家，他上台不是唱歌，他把数字有节奏的、有变化的从1数到100，结果倾倒了所有的观众，甚至有的感动得流下了眼泪，可见节奏在生活中是多么重要。节奏与语速有关系，但不是一回事，语速只表示说话的快慢，节奏包括起伏、强弱。

47. Speech should have rhythm, being fast when it should be, slow when it should be, and rising when it should. Only with ups and downs, with both speed and emphasis, can spoken language have a musical quality and be pleasing to the ears. Otherwise, the words are unimpressive and unengaging. There is a regular change in spoken language called rhythm, which brings life to the language; without it, the language is dull. There was an Italian musician who, when he went on stage, did not sing songs. Instead, he counted numbers from 1 to 100 with rhythm and variation, which enchanted all the audience, and some were even moved to tears. This shows how important rhythm is in life. Rhythm is related to the speed of speech, but they are not the same thing. Speech speed only indicates the speed of speaking, while rhythm includes ups and downs, as well as intensity and softness.

48. 在大众面前说话，亦即表示必须忍受众目睽睽的注视。当然，并非每位听众都会对你报以善意的眼光。尽管如此，你还是不可以漠视听众的眼光，避开听众的视线来说话。尤其当你走到麦克风旁边站立在大众面前的那一瞬间，来自听众的视线有时甚至会让你觉得刺痛。

48. Speaking in public, that is to say, it entails the necessity of enduring the gaze of the crowd. Of course, not every listener will look at you with a friendly eye. Nevertheless, you must not ignore the eyes of the audience and avoid their gaze when speaking. Especially when you approach the microphone and stand before the public, at that moment, the gaze from the audience can sometimes even feel piercing.

49. 更有利的传达情感，反映情绪，如：拍案叫绝、暴跳如雷、扪心自问、趾高气扬等，

49. More effectively convey emotions and reflect moods, such as: clapping one's hands in admiration, being angry as a lion, examining one's conscience, walking with a proud air, etc.

50. 余生，克制表达欲，不刷存在感，做一个安安静静且温柔敦厚的人。

50. For the rest of my life, I will control my desire to express myself, avoid showing off, and become a quiet and gentle person.

51. 口语化。口头语与书面语是有区别的，当我们写好一个书面的东西，不是读是说出去的时候，就要口语化，比如：发言稿是要说给大家听而不是念给大家听，就要口语化;演讲稿要说给大家听也要口语化。口语化有三个途径：

51. Colloquialization. Oral language and written language have their differences. When we have written something down and it is meant to be spoken rather than read, we need to make it colloquial, for example: A speech script is meant to be spoken to an audience, not recited, so it needs to be colloquial; a speech should also be colloquial when spoken to an audience. There are three ways to achieve colloquialization:

52. 我们用两年的时间学说话，却要用一生的时间学闭嘴。小的时候，多么期待表达这个世界，直到阅尽世事沧桑，看透人情冷暖，才知道喜欢说话的人，结局都不会太好。

52. We spend two years learning to speak but a lifetime learning to be silent. When we were young, we eagerly awaited the chance to express this world, until we had seen the vicissitudes of life and understood the coldness and warmth of human feelings, we realized that people who like to talk will not have a good ending.

53. 逻辑重音。是根据演讲说话的内容和重点自己确定。

53. Logical emphasis. It is determined by the speaker themselves based on the content and focal points of the speech.

54. 最睿智的活法就是，克制表达欲，不刷存在感。

54. The wisest way to live is to curb the desire to express oneself and not to seek attention.

55. 连接的表现力。连接就是在书面上标有停顿的地方赶快连起来，不换气、不偷气，一气呵成，连接的作用，第一，是渲染气氛，第二，增强气势，能表达激情推进内容;表现停连技巧有

55. Expressiveness of connection. Connection refers to quickly joining the places marked with pauses in writing, without taking a breath or cheating, accomplishing it in one go. The role of connection is first, to render the atmosphere, and second, to enhance the momentum, which can express passion and advance the content. Techniques for expressing the skill of pause and connection include:

56. 演讲讲究激情，其语言有特殊性。有生活化的舞台语言，有舞台化了的生活语言，演讲一定要有激情点。朗诵追求意境，其语言属舞台表演语言。

56. A speech emphasizes passion, and its language has a special character. There is stage language that is life-like, and there is life-like language that has been stage-ized. A speech must have a passionate highlight. Recitation aims for artistic conception, and its language belongs to stage performance language.

57. “我不再装模作样地拥有很多朋友，而是回到了孤独之中，以真正的我，开始了独自的生活。”

57. "I no longer pretend to have many friends; instead, I have returned to solitude and started living alone in my true self."

58. “示弱”要有分寸，妈妈必须保持自己“强”的一面，有强大的专业能力和承受能力。学会示弱是家长的一项功课，习惯塑造完美形象的父母，想要做出示弱的表现并不容易。当我们明确向孩子撒娇的目的，是为了激发孩子求知欲时，应该先考虑这个事情孩子是不是能够做到，或者说在我们的委婉“提示”下能不能做到。这其中分寸的把握非常重要。

58. "Showing weakness" should be done with measure, the mother must maintain her own "strong" side, with strong professional and coping abilities. Learning to show weakness is a task for parents, and it is not easy for parents who are accustomed to shaping a perfect image to show weakness. When we clearly state the purpose of spoiling our children, which is to stimulate their curiosity for knowledge, we should first consider whether the child can achieve this, or whether they can accomplish it under our subtle "hints". The grasp of this measure is very important.

59. 慢节奏：叙述一件事情，描写一处景物，表现一次行动的迟缓节奏宜慢;表现平稳，沉郁、失望、悲哀情绪节奏宜慢。快节奏：表现情绪紧张、热烈、欢快、兴奋、慌乱、惊惧、愤怒、反抗、驳斥、申辩时宜快节奏。

59. Slow pace: When narrating an event, describing a landscape, or depicting an action with a slow rhythm, it is appropriate to use a slow pace. For expressing steady, melancholic, disappointed, or sorrowful emotions, a slow pace is also suitable. Fast pace: A fast pace is recommended when depicting emotions such as tension, enthusiasm, joy, excitement, confusion, fear, anger, rebellion, refutation, or defense.

60. 弟子问他为什么不说话，孔子说，天说话了吗？日月星辰有条不紊，一年四季井然有序，天要说话吗？

60. The disciples asked him why he didn't speak, and Confucius replied, "Has heaven spoken? The sun, moon, and stars move orderly, and the four seasons are well-arranged. Does heaven need to speak?"

61. 时空是特定的，说话必须符合时间和空间并受其制约，比如，我今天来讲课，我不是来演讲的、也不是来讲故事的，我要受到这时空的约束。

61. Time and space are specific, and speech must conform to and be constrained by them. For example, today I am here to give a lecture, not to deliver a speech or tell a story; I must be bound by this specific time and space.

62. 我们每个人从生下来一岁开始就说话。有人认为这说话的问题、这口语的问题还有什么值得学的吗有什么值得讲的吗我没有学过不也说话吗我不是照常工作有这种想法，不奇怪。但是，当你知道了口语也要讲究的时候，当你知道学了与不学不一样的时候，当你听到了会说会讲，讲的好与不好这些情况的时候，这个问题你就会找到自己的答案。

62. From the age of one, each of us starts to speak. Some people might wonder, what is there to learn about speaking, about this oral communication? Is there anything worth discussing? I haven't studied it, and yet, I can speak, can't I? I work as usual, right? This kind of thinking is not surprising. However, when you realize that there is a need to be mindful of oral communication, when you understand that there is a difference between learning and not learning, when you hear different levels of speaking ability, from good to bad, then you will find your own answer to this question.

63. 孔子带着他的一些弟子周游列国，在陈国和蔡国的时候，他们陷入困顿之中，饥一顿饱一顿，还被当地人误解。孔子不发一言，每天弹琴自遣。

63. Confucius traveled with some of his disciples around the states, and when they were in the State of Chen and the State of Cai, they found themselves in dire straits, alternating between hunger and satiety, and misunderstood by the locals. Confucius remained silent, spending each day playing the guqin to distract himself.

64. 演讲时的脸部表情无论好坏都会带给听众极其深刻的印象。紧张、疲劳、喜悦、焦虑、等情绪无不清楚地表露在脸上，这是很难藉由本人的意志来加以控制的。演讲的内容即使再精彩，如果表情总觉缺乏自信，老是畏畏缩缩，演讲就很容易变得欠缺说服力。

64. The facial expressions during a speech, whether good or bad, leave an extremely deep impression on the audience. Emotions such as tension, fatigue, joy, anxiety, and more are clearly displayed on the face, which is difficult to control through one's own will. Even if the content of the speech is very compelling, if the expression always seems lacking in confidence and is constantly timid, the speech is likely to lack persuasiveness.

65. 很喜欢余华老师的这段话：

65. I really like this quote by teacher Yu Hua:

66. 是对口头表达必要的补充和辅助(除哑语外);

66. It is a necessary supplement and auxiliary to spoken expression (except for sign language).