在广袤的非洲草原上，生活着一种坚韧不拔的野生动物——野猪。它们以“独立、历练与自我强化”为生存哲学，在这片充满挑战的土地上，谱写了一曲生命的赞歌。本文将带领您走进野猪的世界，探寻它们如何在逆境中不断成长，成为草原上的强者。

On the vast African savannah, there lives a tenacious wild animal—the wild boar. They hold "independence, experience, and self-reinforcement" as their philosophy of survival. On this land filled with challenges, they compose a hymn to life. This article will take you into the world of wild boars, exploring how they continuously grow and become the strongest creatures on the savannah in the face of adversity.

1. 中国少数民族神话，由于过去各民族发展的不平衡，形态不尽一致。有的比较古老和原始，有的则渗进了奴隶制、封建制时代的意识，反映出各族人民不同社会发展阶段的理解与想象。这些神话，近年来得到大量记录和搜集。有些在神话学上具有相当的价值。

1. The myths of China's ethnic minorities, due to the uneven development of various ethnic groups in the past, vary in form. Some are relatively ancient and primitive, while others have been infused with the consciousness of the slave-owning and feudal eras, reflecting the understanding and imagination of people from different social development stages of various ethnic groups. These myths have been extensively recorded and collected in recent years. Some of them have considerable value in mythology.

2. 原始神话是人类童年时期特有历史条件下的产物，是原始人对自然和社会的一种认识形式。它反映了人类早期的思维活动。处于蒙昧时代的远古人民，其对客观世界的认识水平，不能超越其生产力低下的状况和对自然抗争的无力状态。因而在对自然和社会现象的观察中，便多是直观、猜测和臆想。在社会生产力水平和人类智力高度发展的情况下，原始神话一般不再产生。但由于社会的发展和人们的文化知识程度的不平衡，在一些实践上还不能有效地控制自然，和在认识上不能科学地解释世界起源和自然现象变化等的地区和民族，神话性的幻想仍不可避免，或不能完全避免。但这些作品与原始神话是有着一定的区别的。

2. Primitive mythology is a product of the historical conditions peculiar to human childhood, and a form of recognition that primitive people had for nature and society. It reflects the early thinking activities of humans. In the primitive age, the ancient people's level of understanding the objective world could not surpass the state of low productivity and the powerlessness in resisting nature. Therefore, in observing natural and social phenomena, their observations were mostly direct, speculative, and imaginative. Under the conditions of a high level of social productivity and the development of human intelligence, primitive mythology generally no longer arises. However, due to the uneven development of society and the disparity in people's cultural and educational levels, in some regions and among certain ethnic groups where nature cannot be effectively controlled in practice and the origin of the world and the changes in natural phenomena cannot be scientifically explained in terms of understanding, mythical幻想 still cannot be avoided, or cannot be completely avoided. But there is a certain distinction between these works and primitive mythology.

3. 日月神话中，苗族的金银铸日月神话以及壮族的《侯野射太阳》、瑶族的《射太阳》、布依族的《王姜射日》、□族的《吉智高卢射日月》、布朗族的《顾米亚射日月》等，都各有特色。此外，还有金钩挂日月、公鸡请太阳等美丽的情节。

3. In the myths of the sun and the moon, the Miao people have the myths of casting the sun and the moon out of gold and silver, the Zhuang people have the story of "侯野射太阳", the Yao people have "射太阳", the Buyei people have "王姜射日", the [□] people have "吉智高卢射日月", and the布朗 people have "顾米亚射日月", each with their own unique characteristics. In addition, there are also beautiful plots such as the "Golden Hook hanging the sun and the rooster inviting the sun".

4. 这个世界上，没有人会无缘无故地对你好，也没有人会无欲无求地帮助你。别人给你肩膀，是因为你有价值。当你没有价值了，就会被一脚踢开。

4. In this world, no one will be nice to you for no reason, and no one will help you without any desire. People give you a shoulder because you have value. When you lose your value, you will be kicked away with a kick.

5. 远古人民表现对自然及文化现象的理解与想象的故事。它是人类早期的不自觉的艺术创作。神话并非现实生活的科学反映，而是由于远古时代生产力的水平很低，人们不能科学地解释世界、自然现象和原始社会文化生活的起源和变化，以他们贫乏的生活经验为基础，借助想象和幻想把自然力和客观世界拟人化的结果。

5. The stories that ancient people expressed their understanding and imagination of natural and cultural phenomena. It is an unconscious artistic creation in the early stages of human history. Mythology is not a scientific reflection of real life, but rather, due to the very low level of productivity in ancient times, people were unable to scientifically explain the origin and changes of the world, natural phenomena, and the origin and changes of primitive social cultural life. Based on their meager life experiences, they anthropomorphized natural forces and the objective world through imagination and fantasy.

6. 生命的意义经常与哲学、宗教的存在、意识（自觉）、幸福等概念交集在一起，还会涉及到其他的一些领域，如象征符号、实体论、价值、目的、道德、善与恶、自由意志（自愿）、上帝观、神的存在、灵魂、来世等。

6. The meaning of life often intersects with concepts such as philosophy, the existence of religion, consciousness (self-awareness), happiness, and also involves other areas, such as symbolism, ontological theory, values, purpose, morality, good and evil, free will (volition), views on God, the existence of God, the soul, and the afterlife.

7. 当时的人以弓箭刀斧为武器，神话中的人物也就成为创造和使用这些工具武装起来的能手。

7. At that time, people used bows, arrows, swords, and axes as weapons, and the characters in myths became the experts in creating and using these tools to arm themselves.

8. 为了追求秋香，他不惜到华府做低等下人，代号9527，受尽屈辱，歧视，虐待，甚至冒着生命危险引开采花贼。秋香不理解他，伤害他，贬损他，他也毫无在乎。

8. In pursuit of Qiu Xiang, he was willing to become a lowly servant in the capital, known by the code name 9527, enduring all kinds of humiliations, discrimination, and mistreatment, even risking his life to catch the flower thief. Qiu Xiang did not understand him, hurt him, and belittled him, but he didn't care at all.

9. “我的任务是练习，练习，不断地练习。失败和疲劳常常将我绊倒，但一想到再坚持一会儿就能让我所爱的人看到我的进步，我就有了勇气。”

9. "My task is to practice, practice, and keep practicing. Failure and fatigue often trip me up, but just the thought of holding on a little longer so that the ones I love can see my progress gives me the courage."

10. 神话中的主人公（神）尽管常常是人间奇迹的创造者，但他们也常常遇到挫折和厄运。它反映了神话幻想的现实制约性。

10. The hero (god) in mythology, although often the creator of miracles in the human world, often encounters setbacks and misfortunes. This reflects the realistic constraints of the fantasy in mythology.

11. 为别人活着：以别人的快乐作为自己的快乐，以别人的痛苦作为自己的痛苦，以周围人的评价和称赞作为自己存在的意义。例如志愿者。

11. Living for others: Taking others' happiness as one's own, taking others' pain as one's own, and using the evaluations and praise of those around as the meaning of one's own existence. For example, volunteers.

12. 自然神、统治神、反抗神等丰富多采的神话人物形象。他们各具性格，多彩多姿，活动在古代幻想艺术世界之中。这些不同时期的文献所记载的古典神话，以部族神话为主体，具有地域性和部族的差异性，各有不同的产生区域和传承范围。按地域系统，大体可分为西方昆仑神话、东方蓬莱神话、南方楚神话及中原神话等。按所表现的内容，有关于天地开辟、人类起源的；有关于日月星辰、自然万物的；有关于洪水和部族战争的；还有关于工艺文化的。这些神话在古代人的幻想解释中多方面地说明了天地宇宙、日月星辰、山川草木及人类、民族的由来，呈现出我国古代人对天地万物的天真美丽富有趣味的艺术想象。

12. The rich and colorful images of mythological characters such as the gods of nature, the gods of rule, and the gods of rebellion. Each has its own personality and diversity, and they are active in the ancient world of fantasy art. The classical myths recorded in these documents from different periods, with tribal myths as the main body, have regional and tribal differences, each with its own region of origin and scope of inheritance. According to the regional system, they can be roughly divided into the Xiyuan Kunlun mythology, the Dongping mythology of the East, the Chu mythology of the South, and the Central Plains mythology. In terms of the content they represent, there are myths about the creation of heaven and earth, the origin of humanity; myths about the sun, the moon, the stars, and the natural world; myths about floods and tribal wars; and myths about cultural craftsmanship. These myths, in the ancient people's imaginative explanations, have multifacetedly explained the origin of heaven and earth, the sun and the moon, the mountains and rivers, trees and grass, as well as humanity and nations, presenting the innocent, beautiful, and interesting artistic imagination of the ancient Chinese people towards all things in the world.

13. 美国作家海伦·凯勒说：

13. The American writer Helen Keller said:

14. 中国神话在中国古代，即受到一些先哲、史家、学者的注意。他们不仅在著述中加以记述和援引，而且还对神话提出过一些片断的见解、解释和说明。但更多的是受到儒家思想的影响，排除其虚幻想象的成分，企图从中寻找历史的根据。于是在一些古代典籍中便出现将神话历史化的倾向。现代中国学者对古代神话做过不少的整理与研究，运用了西方人类学派等的神话学观点进行探讨，取得了相当的成绩。诸如茅盾的《中国神话研究ABC》、闻一多的《伏羲考》等，都是这方面值得注意的著作。还有许多民族学者、民间文艺学者、文学史家撰写了不少论文和专著，推进了中国神话学的发展。袁珂的《古神话选释》、《中国古代神话》等，对中国古代神话，分别作了注释和整理。随着社会科学和民间文学事业的发展，中国少数民族神话和史诗也得到了重视和研究，并出现了一些可喜的成果。中原地区神话的口头传承与流变，也有人进行考察和探索。中国神话学的建设正在前进中。

14. In ancient China, Chinese mythology had attracted the attention of some sages, historians, and scholars. They not only recorded and cited it in their writings but also offered some fragmentary insights, explanations, and interpretations of mythology. However, more often than not, they were influenced by Confucian thought, attempting to exclude the fictional and imaginative elements in order to find historical evidence. Consequently, there emerged a tendency in some ancient texts to historicize mythology. Modern Chinese scholars have done much to organize and study ancient mythology, utilizing the views of Western anthropological schools of mythology and other approaches, achieving considerable results. Works like Mao Dun's "ABC of Chinese Mythology" and Wen Yiduo's "Research on Fu Xi" are noteworthy in this regard. Many ethnic scholars, folk literature scholars, and literary historians have also written numerous papers and monographs, promoting the development of Chinese mythology. Yuan Ke's "Selected Ancient Myths and Their Explanations" and "Ancient Chinese Myths" have provided annotations and organization for ancient Chinese mythology. With the development of social sciences and folk literature, the myths and epics of China's ethnic minorities have also received attention and research, yielding some encouraging achievements. The oral tradition and evolution of myths in the central plains have also been examined and explored by some. The construction of Chinese mythology is advancing.

15. 中国开辟神话在文献记载中具有极强的幻想性。女娲是北方神话的开辟神，盘古则为南方神话的开辟神。女娲是抟土造人的始祖，盘古则以他巨人的身躯化生天地万物。女娲在“往古之时，四极废，九州裂，天不兼复，地不周载，火焰炎而不灭，水浩洋而不息”的情况下，还“炼五色石以补苍天，断鳌足以立四极，杀黑龙以济冀州，积芦灰以止*水”，挽救了一个即将毁灭的世界，成为人类的再造神。围绕女娲补天的神话，还有共工怒触不周山等许多动人的情节。中国洪水神话汉族记录最早，少数民族的则比较晚近，大体可分为南北两大系统。南系洪水神话多有雷公出现，雷公为洪水的制造者，因而在神话情节中常常展开与雷公的斗争。北系洪水神话多与共工相联系，共工怒触不周山成为洪水泛滥的根源。后期记录的洪水神话与兄妹婚型神话常常结合在一起，而洪水后成婚的兄妹，又往往被说成是远古的伏羲、女娲乃至盘古。早期神话对兄妹婚似没有非议，后期神话则对兄妹的结合造出许多解释的理由，以说明其出于不得已或取得了上天的允许。这反映出历史上存在过的兄妹婚，已失去其合法地位。这类神话的主旨在于表达“洪水遗民，再造人类”的过程。它把洪水故事与血缘婚相结合，具有重要的文化史意义。唐李亢《独异志》中，较早地记载了中国兄妹婚型的神话。如：“昔宇宙初开之时，只有女娲兄妹二人，在昆仑山，而天下未有人民，议以为夫妻，又自羞耻。兄即与其妹上昆仑山，咒曰：‘天若遣我兄妹二人为夫妻，而烟悉合；若不，使烟散’。于烟即合，其妹即来就兄，乃结草为扇，以障其面。”其形态，尚未与洪水神话结合。

15. The Chinese myth of creation is characterized by a strong element of fantasy in written records. Nüwa is the creator god of the northern mythology, while Pangu is the creator god of the southern mythology. Nüwa is the ancestor who molded humans from clay, while Pangu brought forth the heavens and earth with his giant body. In the situation of "in ancient times, the four extremes were废, the nine states were cracked, the sky could not cover, the earth could not bear, the flames were burning without extinction, and the water was flooding without ceasing," Nüwa still "refined five-colored stones to repair the sky, cut off the turtle's feet to establish the four extremes, killed the black dragon to save the Jizhou, and accumulated reed ash to stop the flood," thus saving a world on the brink of destruction and becoming the god of human re-creation. There are many moving plots around the myth of Nüwa repairing the sky, such as Gou Gong's angry collision with the Mountain of the Unsurpassable. The Chinese flood myth was recorded earliest among the Han people, while among the ethnic minorities, it was more recent. It can be roughly divided into two major systems: the southern system, which often features the thunder god, who is the creator of the flood, and is often depicted in conflict with the thunder god in the mythological plots; and the northern system, which is more closely associated with Gou Gong, with Gou Gong's angry collision with the Mountain of the Unsurpassable becoming the source of the flood. Later recorded flood myths often combine with the myth of sibling marriage, and the siblings who married after the flood were often said to be the ancient Fuxi, Nüwa, and even Pangu. Early myths seemed to have no objections to sibling marriage, while later myths provided many explanations for the sibling union, to show that it was either out of necessity or with the permission of the heavens. This reflects that the sibling marriage that existed in history had lost its legitimate status. The main theme of these myths is to express the process of "flood survivors, re-creating humans." It combines the flood story with consanguineous marriage, which has important cultural historical significance. In Tang Dynasty's Li Kang's "Du Yi Zhi," the myth of sibling marriage was recorded earlier. For example: "In the beginning of the universe, there were only Nüwa and her brother in Kunlun Mountain, and there were no people in the world. They discussed marriage, but were ashamed. The brother went with his sister to the Kunlun Mountain and cursed, 'If the heavens send us brother and sister to be married, let the smoke blend together; if not, let the smoke scatter.' The smoke blended, and the sister came to the brother, and they tied grass together to make a fan to cover her face." Its form had not yet been combined with the flood myth.

16. 中国神话是多民族的创造。在上古时代，中国各民族的祖先就开始了他们的生息、繁衍和生产活动。中原黄河流域的夏族，东部淮河流域的东夷，南方长江流域的三苗，以及西北的氐羌，大漠南北的荤粥（山戎、猃狁）等都是创造中华民族古老历史文化的参与者。今天，除汉民族外，中国已有55个少数民族。这些民族的神话，丰富多采，构成中国神话的重要部分。它们有些被记录在民族历史典籍中，如《东巴经》、《西南□志》、《蒙古秘史》等；有些保存在各族人民的记忆中，今天仍在口头上流传。中国少数民族神话以开辟神话、洪水神话、日月神话、动植物起源等为多，还有一些关于民族姓氏来源的神话。由于各民族历史文化及经济发展不同，这些神话大多有鲜明的民族特色，表现出多族多源的特点。

16. Chinese mythology is a creation of many ethnic groups. In ancient times, the ancestors of various ethnic groups in China began their living, reproduction, and productive activities. The Xia tribe in the Yellow River basin of the Central Plains, the Dongyi in the Huai River basin in the east, the Sanmiao in the Yangtze River basin in the south, and the Di and Qiang in the northwestern region, as well as the Huns (Shanrong, Xiongnu) in the desert north and south, were all participants in creating the ancient history and culture of the Chinese nation. Today, in addition to the Han nationality, China has 55 ethnic minorities. The myths of these ethnic groups are rich and diverse, forming an important part of Chinese mythology. Some of them are recorded in ethnic historical books, such as the "Dongba Canon," "Southwest Records," and "Secret History of the Mongols"; while others are preserved in the memories of the people of various ethnic groups and are still passed down orally today. The myths of China's ethnic minorities are mainly about the creation of the world, flood myths, myths about the origin of the sun and the moon, and the origin of animals and plants, as well as some myths about the origin of ethnic surnames. Due to the differences in the historical and cultural heritage and economic development of various ethnic groups, these myths are characterized by distinct ethnic features and show the characteristics of multi-ethnic and multi-origin.

17. 为活着而活着：没有活着的目的，仅仅是为了活着。等待着生命结束或者生命中可能出现的奇迹。

17. Living for living: Without a purpose for living, just to exist. Waiting for the end of life or for a miracle that may appear in life.

18. 在金庸小说《神雕侠侣》中，杨过是一个孤儿，靠东奔西走，偷鸡摸狗谋生。这个时候，很多人都欺负他，骂他，打他，把他当作丧门星。遇到郭靖后，郭靖把他送到终南山学武，同门师兄弟百般刁难，师父赵志敬也看他不顺眼。

18. In Jin Yong's novel "The Condor Heroes", Yang Guo is an orphan who makes a living by wandering about and stealing chickens and dogs. At this time, many people bullied him, cursed him, and beat him, treating him as a bad omen. After meeting Guo Jing, Guo Jing sent him to learn martial arts at Mount Zongnan, where he was subjected to various difficulties by his fellow students and brothers, and his master Zhao Zhijing also disliked him.

19. 神话的创作与远古人民争取生存、向自然力抗争的活动紧密结合在一起，与远古的生活和历史有密切关系，往往表现了远古人民对自然力的抗争和对提高人类自身能力的渴望。马克思说:“任何神话都是用想象和借助想象以征服自然力，支配自然力，把自然力加以形象化。”神话是“通过人民的幻想用一种不自觉的艺术方式加工过的自然和社会形式本身”。

19. The creation of myths is closely connected with the activities of ancient people in their struggle for survival and resistance against natural forces, and has a close relationship with ancient life and history. It often reflects the ancient people's struggle against natural forces and their desire to improve human capabilities. Marx said, "Any myth is a way of conquering,支配 natural forces, and making natural forces tangible through imagination and the aid of imagination." Myth is "the natural and social forms themselves, processed in an unconscious artistic manner through the fantasy of the people."

20. 学会历练自己，不断精进，你会变得越来越优秀。

20. Learn to temper yourself, and keep improving. You will become increasingly outstanding.

21. 生命的意义，在于有正确的人生观，才能使宝贵的生命焕发灿烂的光辉。

21. The meaning of life lies in having a correct outlook on life, which can make the precious life shine with brilliant glory.

22. 然而，当秋香被敌人打成一个臃肿丑陋的猪头脸，唐伯虎大惊失色，一下子就把她踢出好远。试想，如果没有那一顿“还我漂漂拳”的神操作帮他恢复美貌，唐伯虎还会喜欢秋香吗？

22. However, when Qiu Xiang was beaten by the enemy into a bloated and ugly pig-like face, Tang Buque was so startled that he kicked her a considerable distance away. Imagine, if it were not for that miraculous "Restore My Beauty" punch that helped her regain her beauty, would Tang Buque still like Qiu Xiang?

23. 野猪依靠自己，学习奔跑和猎食的技能，风餐露宿，百战余生，最后成为猛兽。

23. Boars rely on themselves to learn the skills of running and hunting, living outdoors and braving the elements, surviving countless battles, and finally becoming fierce beasts.

24. 为自己而活着：以个人物质或精神享受作为自己生活的目的。不顾及他人的感受，他人的态度以及在生活中周围人的评价。例如长期从事一些技术或流水线工作的工人，或者过度富有，根本不去交任何朋友的资本家等 。

24. Living for oneself: Making personal material or spiritual enjoyment the purpose of one's life. Ignoring others' feelings, attitudes, and the opinions of those around in everyday life. For example, workers who have been engaged in technical or assembly line work for a long time, or capitalists who are excessively wealthy and don't bother to make any friends.

25. 没有人从一开始就是优秀和完美的，所有的精彩，都是苦练的结果。没有魔鬼般的训练，哪来倾倒万人的惊艳。

25. No one is excellent and perfect from the very beginning; all brilliance is the result of diligent practice. Without the devilish training, how could there be the stunning惊艳 that captivates thousands?

26. 在诗词大会比赛的前两个月，武亦姝进行了魔鬼般的集中训练，完成了2000多首古诗词的熟练背诵，任何一个常见字的飞花令，都能手到擒来。

26. Two months before the Poetry and Lyrics Competition, Wu Yishu underwent a devilish intensive training, mastering the recitation of over 2,000 ancient poems and verses. She can effortlessly win the "flying flower" game with any common character.

27. 神话中充满了神奇的幻想，它把远古人民的认识和世界万物的生长变化都蒙上了一层奇异的色彩。神话中的人物形象，大多具有超人的力量，是根据原始人的自身形象、生产状况和对自然力的理解与提高自身能力的要求而想象出来的。从一些神话中，可以清楚的看到，处于狩猎经济的部落所创造的神话人物，大多与狩猎有关；处于原始农耕时期的部落，其神话人物大多与农业有关。

27. Mythology is filled with magical幻想, casting a mysterious aura over the ancient people's understanding of the world and the growth and change of all things. The characters in mythology are mostly portrayed with superhuman powers, which are imagined based on the primitive people's own images, their productive conditions, and their understanding and pursuit of enhancing their own abilities. From some myths, it is clear to see that the mythological characters created by tribes engaged in hunting economies are mostly related to hunting; while those from tribes in the primitive agricultural period are mostly related to agriculture.

28. 这辈子，让我们像一头野猪一样，做一个强悍的人。

28. In this lifetime, let us be as fierce as a wild boar, and be a strong person.

29. 生命的正向意义：丰富人生，在有生之年实现自己的理想，快乐的生活。为社会和平，发展，奉献自己应有的精力，不虚度年华，不碌碌无为，不给自己留下遗憾。

29. The Positive Meaning of Life: Enrich life, realize one's ideals within their lifetime, and live happily. Dedicate the appropriate energy to the peace, development, and contribution of society, do not waste one's years, do not live aimlessly, and do not leave oneself with regrets.

30. 远古人民结群而居，在集体劳动和共同生活中，创造了原始工具、木刻符号、图画文字、原始的音乐和舞蹈，同时也创作了原始神话。神话产生于原始氏族社会，并伴随漫长的历史进程，不断创造和发展。中国早在原始群和血缘公社时期已开始了石器文化的创造。旧石器时代中晚期，人征服自然的能力有所增强，活动范围也日渐扩大，学会靠人类的活动增加天然产物。考古发现一再证明，在漫长的旧石器时代，中国西北高原、华北平原、长江流域、东南沿海都有远古人民活动的遗迹。至新石器时代的中晚期，则进入母系氏族社会高度发展的阶段，在中国黄河、长江流域，这种以母系血统维系的母系氏族公社更发展到全盛时期。因此，在中国古代神话中出现了不少女性神话人物，如女娲、羲和、西王母等。在母系氏族社会，妇女不仅在生产上起主要作用，而且成为原始聚落中胞族的轴心。她们常常被说成是人类及万物的创造者。父系氏族社会建立之后，原始艺术中又出现了男性神话人物形象，而在许多神话人物之间，也便相应地出现了辈分和谱系。氏族间的聚居和合并出现了部落或部族。部落、部族及联合部族的出现，带来了部落或部族间的争战，构成了反映不同部落或部族间关系神话的产生基础。家长奴隶制、部族军事民主制及部落间的争战，为古代神话及英雄史诗提供了重要的素材和艺术想象的土壤。中国神话中的共工与蚩尤之战，黄帝与蚩尤之战，以及黄帝集团与炎帝集团间争战的神话，大都具有这种性质。其表现则是借助人类早期的幼稚的想象和对自然与社会现象的理解。构成幻想的情节，并被认为是曾经发生过的真实的存在。

30. The ancient people lived in groups, creating primitive tools, wood carvings, pictographic writing, primitive music and dance through collective labor and communal life. They also produced primitive mythology. Mythology originated in the primitive clan society and has been continuously created and developed throughout the long historical process. China had already begun the creation of the Stone Age culture during the primitive tribal and kinship communities. In the late Paleolithic era, humans' ability to conquer nature was enhanced, and their range of activities expanded, learning to increase natural products through human activities. Archaeological discoveries have repeatedly proven that in the long Paleolithic era, there were traces of ancient human activity in the northwestern plateau, the North China Plain, the Yangtze River basin, and the southeastern coast of China. In the middle and late Neolithic era, the society entered a highly developed stage of matriarchal clan society. In the Yellow River and Yangtze River basins of China, the matriarchal clan communities that were linked by matriarchal lineage reached their peak. Therefore, many female mythological figures appeared in ancient Chinese mythology, such as Nuwa, Xihe, and Xiwangmu. In the matriarchal clan society, women not only played a major role in production but also became the axis of the clans in the primitive settlements. They were often described as the creators of humans and all things. After the establishment of the patriarchal clan society, male mythological figures also appeared in primitive art, and corresponding generations and pedigrees emerged among many mythological figures. The clustering and merging of clans led to the emergence of tribes or ethnic groups. The appearance of tribes, ethnic groups, and confederations brought about inter-tribal or inter-ethnic conflicts, which provided the basis for the creation of myths reflecting the relationships between different tribes or ethnic groups. Patriarchal slavery, tribal military democracy, and inter-tribal conflicts provided important materials and artistic soil for ancient myths and heroic epics. The myths in Chinese mythology about the battle between Gonggong and Chiyou, the battle between Huangdi and Chiyou, and the conflicts between the Huangdi group and the Yan Emperor group are mostly of this nature. Their expressions rely on the primitive, naive imagination of early humans and their understanding of natural and social phenomena. They constitute fantastic plots and are considered to be authentic existences that once occurred.

31. 依靠自己，不期待和指望任何人，才能掌握人生的主动权。历练自己，事上练，心上磨，拥有应对风雨的能力，才能掌握人生的发展权。强大自己，这是一个强者出头，弱者低头的世界，只有把自己变强，才能掌握人生的幸福权。

31. Rely on yourself, do not expect or depend on anyone, to grasp the initiative in life. Cultivate yourself, practice in all matters, and refine your heart, to possess the ability to face adversities, and only then can you take control of the development of life. Strengthen yourself, for this is a world where the strong rise to the fore and the weak bow their heads. Only by becoming stronger can you seize the happiness of life.

32. 家猪有人投喂，生活舒服，好吃懒做，最终逃不出被人宰杀吃肉的恶运。

32. Domestic pigs are fed by humans, leading comfortable lives, being greedy and lazy. In the end, they cannot escape their fate of being slaughtered and eaten.

33. 它不仅可以保护自己，还拥有和其他野兽战斗的能力。不依靠任何人，也不让任何人来决定它的命运。

33. It not only protects itself but also possesses the ability to fight with other beasts. It relies on no one and allows no one to decide its fate.

34. 电影《唐伯虎点秋香》中，唐伯虎把秋香当做自己的理想去追求，因为她美丽、善良、气质优雅。

34. In the movie "A Chinese Odyssey Part Two: Cinderella", Tang Buqiao regards Qiu Xiang as his ideal to pursue, because she is beautiful, kind, and has an elegant temperament.

35. 当你很弱小，就会被人当成软柿子，想怎么欺负你就怎么欺负你。当你强大了，整个世界都会对你温柔以待。

35. When you are weak, you will be treated as a soft target, and people will欺负 you however they want to. When you become strong, the whole world will treat you with gentleness.

36. 各民族的创世神话，想象丰富，情节也颇曲折。著名的有纳西族创世神话《人祖利恩》、壮族神话《布洛陀与妹六甲》、□族神话《人类和石头的战争》、《开天辟地》等。在《开天辟地》中，四个创造神用四根铜柱撑天，用四把笤帚，扫了天的四方，使天地远远分开。此外，还有布依族神话用犀牛角撑天，以及用蓝宝石补天（纳西族）等。在再造人类的神话中，除兄妹结婚，繁衍人类外，还有开辟神撕下皮肉抛入海中变人（高山族）、两神膝盖相擦生人（台湾雅美人）以及石生人、竹生人等多种。有些神话还常常具有民族起源的内容，把民族起源和人类由来看作是同时发生的。

36. The creation myths of various ethnic groups are rich in imagination and have intricate plots. Notable ones include the Naxi creation myth "The Ancestor Liren," the Zhuang myth "Buluo陀 and Sister Liujia," the □ myth "The War Between Humans and Stones," and "Opening Heaven and Earth." In "Opening Heaven and Earth," the four creation gods supported the sky with four copper pillars, swept the four directions of the sky with four brooms, and thus separated the heavens and the earth by a great distance. In addition, there are also Buyi myths about using rhinoceros horns to support the sky, and using sapphires to patch the sky (Naxi). In the myths of creating humans anew, in addition to the marriage between brothers and sisters to propagate the human race, there are also stories of the creation gods tearing off their flesh and throwing it into the sea to become humans (Gaoshan people), two gods rubbing their knees together to give birth to humans (Taiwan Ya美人), and humans born from stones, bamboo, and other sources. Some myths also often contain content about the origin of the nation, viewing the origin of the nation and the origin of humans as occurring simultaneously.

37. 诗词大会总冠军武亦姝，在央视的舞台上，才华横溢，妙语连珠，诗书满腹，对答如流，让全国观众叹为观止。

37. Wu Yishu, the champion of the Poetry and Song Competition, displayed her brilliant talent and eloquence on the stage of CCTV, brimming with poetry and literature, answering questions with ease, leaving the audience across the country in awe.

38. 《山海经》、《开筮》、《国语》等古代文献中记载的鲧、禹神话，塑造了中国古代两位治水英雄。鲧在洪水滔天时窃了帝之息壤以堙洪水，不待帝命，被杀于羽郊，三岁不腐，孕育出一位继续平治洪水的禹。禹疏导河川，平夷山岳，以更坚决的意志，在黄龙、玄龟的帮助下，获得成功，反映了古代劳动者征服自然的伟大胸怀。日月星辰神话，在古文献记载中有巨人化生说和神生日月说两种。在神生说中，羲和被认为是日月的母亲；太阳又被想象成为可以浴于咸池，登上扶桑，运动于水、树之间的形象。太阳常常与乌相联系，月亮常常与蟾蜍相联系，在日和月的关系上，神话又往往以人类社会家庭关系加以说明，如把它们看成是父与母或兄与妹的关系。其他如夸父逐日、羿射十日等，均与日月神话有关。

38. The myths of Gun and Yu recorded in ancient texts such as the "Classic of Mountains and Seas," "The Opening of Divination," and "The States," have shaped the image of two ancient heroes who mastered water. Gun stole the divine fertile soil from the Emperor to control the overwhelming floods, without waiting for the Emperor's command, and was killed at the Yuyuan, where his body remained uncorrupted for three years, giving birth to Yu, who continued to control the floods. Yu dredged rivers, leveled mountains, and with a more resolute will, with the help of the Yellow Dragon and the Black Tortoise, achieved success, reflecting the great ambition of ancient laborers to conquer nature. The myths of the sun, moon, and stars are recorded in ancient texts as having two types: the giant birth theory and the divine creation theory. In the divine creation theory, Xihe is considered the mother of the sun and moon; the sun is imagined as something that can bathe in the Xianchi, climb to the Fushang, and move between water and trees. The sun is often associated with crows, and the moon is often associated with toads. In terms of the relationship between the sun and the moon, myths often explain it in terms of human social family relationships, such as viewing them as the relationship between father and mother or brother and sister. Other myths, such as Kuafu chasing the sun and Yi shooting ten suns, are all related to the myths of the sun and moon.

39. 早在公元前的先秦古籍中，如《山海经》、《左传》、《国语》、《楚辞》以及《吕氏春秋》等，中国著名的古典神话已得到记载。汉代及三国的《淮南子》、《史记》、《汉书》、《吴越春秋》、《三五历纪》等，以及魏晋六朝的《搜神记》、《述异记》等书中也都有许多古典神话的记录。这中间，《山海经》保存的神话最为丰富，而且接近古代神话的原貌。诸如女娲、常羲、夸父、精卫等神话以及羿、鲧、禹、黄帝和蚩尤的神话，刑天、帝俊神话、西王母神话以及关于日月山、昆仑墟、各种自然神和奇异的族国等记述。在这些记载中，呈现出许多英雄神、始祖神、创造神以及

39. As early as in the pre-imperial texts of the Warring States period, such as the "Classic of Mountains and Seas," "The Leftannals," "The Annals of the States," "The Songs of the South," and "The Spring and Autumn Annals of Lüshi," the famous classical Chinese myths have been recorded. The works of the Han and Three Kingdoms periods, such as "Huainanzi," "Records of the Grand Historian," "Han History," "The Spring and Autumn Annals of Wu and Yue," and "The Records of the Five and Three Annals," as well as the works of the Wei, Jin, and Six Dynasties periods, such as "Records of the Gods" and "Records of the Extraordinary," also contain many records of classical myths. Among these, the "Classic of Mountains and Seas" preserves the richest myths and is closest to the original appearance of ancient myths. This includes myths such as Nuwa, Changyi, Kuafu, Jingwei, as well as the myths of Yi, Gun, Yu, the Yellow Emperor, and Chiyou, the Xingtian and Di Jun myths, the Xiwangmu myth, and descriptions of the mountains of the sun and moon, the Kunlun, various natural gods, and strange ethnic groups. Among these records, there are many heroes, ancestors, creators, and

40. 不要依靠别人，没有人会无条件帮你。学会靠自己，才能主宰自己的命运。

40. Don't rely on others, no one will help you unconditionally. Learn to depend on yourself to master your own destiny.

41. 为某种信念或者理想活着：比如金钱财富、女人、男人、子女、某种观念、信念之类的。

41. Living for a certain belief or ideal: such as wealth, women, men, children, certain ideas, beliefs, and the like.

42. 王志文说:“猪到死都不明白，手拿尖刀杀它的人，和给它一日三餐的人，是什么关系。你被什么保护，就被什么限制，能给你遮风挡雨的，同样也能让你不见天日。”

42. Wang Zhiwen said: "The pig will never understand the relationship between the person who holds a sharp knife to kill it and the one who provides it with three meals a day. What protects you also restricts you; what can shelter you from the wind and rain can also prevent you from seeing the sun."

43. 天行健，君子以自强不息。地势坤，君子以厚德载物。

43. The heavens are strong and vigorous; a gentleman strengthens himself without ceasing. The earth is yielding and receptive; a gentleman carries heavy burdens with virtue.

44. 这是一个弱肉强食，欺软怕硬的世界，你只有强大起来，才不会有人欺负你，伤害你，作践你，才能活出自己的底气和尊严。

44. This is a world where the strong prey on the weak and the soft fear the hard. You can only avoid being bullied, injured, or humiliated by becoming strong, and only then can you live with your own confidence and dignity.

45. 生命是一条孤独的河流，只有自己才是自己人生的摆渡人。我们要像野猪一样，依靠自己，历练自己，强大自己，活出自己的精彩人生。

45. Life is a solitary river, and only one's self is the pilot of one's own life. We should live like wild boars, relying on ourselves, honing ourselves, and strengthening ourselves to live a spectacular life of our own.

46. 然而，武亦姝不是天才出世，背后是长年累月的努力积累，以及持之以恒的刻苦训练。从很小的时候，当律师的父亲每天都把她的时间安排得满满当当，背古诗，讲诗词，练习演讲，等等。

46. However, Wu Yishu is not a natural prodigy; behind her success lies years of accumulated effort and persistent, hard training. From a very young age, her lawyer father filled her schedule every day, teaching her to recite ancient poems, discuss poetry and literature, practice public speaking, and so on.

47. 中国古代神话，源远流长，不仅记载早，品类多，而且不少古老的神话，至今依然在民间口头上流传，特别是在中原地区，中国远古一些著名的神话，如关于大禹、黄帝（轩辕氏）、女娲、伏羲、盘古、夸父等神话，大多仍以口头形式流传于河南等地区。还有关于舜、蚩尤、后羿、启的神话，今仍在河南、河北以及南方一些省份流传着。由于流传时间久远，这些神话与古文献上记录的，在具体情节上有所不同，出现许多变异。特别明显的是发生神话间的融合及地方化的现象。如“洪水遗民，再造人类”的神话与开辟神话融在一起，以及指出某些古神话人物的地方遗迹等。也有的融进一些后世宗教的观念。这些现在仍流传不衰的神话，经过演变，自然不同于原始古典神话，但却可以证明和补助文献记录的材料，实有裨于中国神话学的研究，特别是对弄清有关神话发展的古今形态具有重要作用。

47. Ancient Chinese mythology has a long and profound history, not only does it have an early record and a variety of categories, but many ancient myths are still orally transmitted in the folk today, especially in the central plains region. Some famous ancient Chinese myths, such as those about Yu the Great, Emperor Huang (Xuan Yuan), Nuwa, Fu Xi, Pan Gu, and Kuafu, are mostly still passed down orally in regions like Henan. There are also myths about Shun, Chi You, Hou Yi, and Qi, which are still spreading in Henan, Hebei, and some southern provinces. Due to their long history of transmission, these myths differ in specific plots from those recorded in ancient literature, with many variations. Especially notable is the phenomenon of inter-myth integration and localization. For example, the myth of "the flood survivors, creating humans again" is integrated with the creation myth, as well as the identification of local remains of certain ancient mythological figures. Some also incorporate ideas from later religions. These myths, which are still popular today, have evolved and are naturally different from the original classical myths, but they can prove and supplement the materials recorded in literature, which is of great benefit to the study of Chinese mythology, especially for understanding the ancient and modern forms of mythological development.

48. 神话中有远古人民种种幼稚的思索和追求，多方面地反映了原始人的宇宙观。其中往往寓含着原始科学、原始哲学、原始宗教的因素。相信有超自然的主宰，相信万物有灵，相信灵魂和神灵的存在等种种原始观念和意识，以及图腾崇拜、巫术信仰、自然崇拜、祖先崇拜等组成远古人民世界观的因素。在神话中，一切自然现象乃至某些社会存在都被看成是有生命的，都被赋予人的特点和超自然的能力。神话中的奇禽奇兽、怪神怪物以及氏族神、部落神、雷神、雨神等夸张与想象的形态，都不能和这些观念分开。神话中对于人和动物、人和自然、自然与自然之间的某些因果联系的认识与想象，是作为处于神话时代的人们意识形态的种种表现而存在下来的。

48. Myths contain various primitive thoughts and pursuits of ancient people, which reflect the cosmology of primitive humans in many aspects. They often embody the elements of primitive science, primitive philosophy, and primitive religion. Various primitive concepts and consciousness such as believing in supernatural dominion, believing that all things have a soul, believing in the existence of souls and gods, and the factors of totem worship, magical beliefs, nature worship, and ancestor worship, all constitute the world view of ancient people. In myths, all natural phenomena and even certain social phenomena are regarded as living, endowed with human characteristics and supernatural abilities. The exaggerated and imaginative forms in myths, such as rare birds and beasts, strange gods and monsters, clan gods, tribal gods, thunder gods, and rain gods, cannot be separated from these concepts. The understanding and imagination of certain causal relationships between humans and animals, humans and nature, and nature and nature in myths have survived as various expressions of the ideology of people living in the age of myths.

49. 中国神话在人民口头创作史及文学史上占有重要位置。神话在文学史上有很重要的地位。它是对中国各种文学创作较早发生影响的一种体裁。它的题材内容和各种神话人物对历代文学创作及各民族史诗的形成具有多方面的影响，特别是它丰富的想象和对自然事物形象化的方法，对后世作家的艺术虚构及浪漫主义创作方法的形成都有直接的渊源关系。它的口头叙事形式也成为叙事文学体裁如小说等的先河。不少神话直接为作家、艺术家提供了创作题材。其中有些著名神话，还成为人们经常援引的典故。神话的美学价值、历史价值与认识作用是密切联系在一起的，是了解人类童年生活和心理的钥匙。它对研究古代社会婚姻、家庭制度、原始宗教、风俗习惯等，都有重要参考价值。

49. Chinese mythology holds an important position in the history of folk creation and literature. Myths occupy a significant place in literary history. They are one of the earliest genres to influence various forms of Chinese literary creation. The themes and characters of the myths have had a multifaceted impact on the development of literary works throughout the ages and the formation of epic poetry among various ethnic groups. Particularly, its rich imagination and the method of personifying natural phenomena have direct origins in the artistic imagination and romantic creative methods of later writers. Its oral narrative form also laid the groundwork for narrative literary genres such as novels. Many myths directly provided writers and artists with creative themes. Among them, some famous myths have become commonly cited allusions. The aesthetic value, historical value, and cognitive function of mythology are closely interconnected, serving as a key to understanding the lives and psychology of human childhood. It also holds important reference value for the study of ancient social marriage and family systems, primitive religions, customs, and habits.

50. 后来，因为一系列奇遇和刻苦练武，杨过的武功渐入佳境，终成一代宗师，登峰造极，纵横江湖。这时候，天下豪杰都对他顶礼膜拜，仰慕至极。

50. Later, through a series of adventures and rigorous martial arts training, Yang Guo's skills gradually improved and he eventually became a great master, reaching the peak of his art and ruling the martial world. At this time, all the heroes in the world worshipped him, admiring him to the utmost.