7. (2) Aesthetic enthusiasm. Perception of beauty
in the external world, or, on the other hand, in words
and their right arrangement. Pleasure in the impact
of one sound on another, in the firmness of good prose
or the rhythm of a good story. Desire to share an
experience which one feels is valuable and ought not
to be missed. The aesthetic motive is very feeble
in a lot of writers, but even a pamphleteer or a writer
of textbooks will have pet words and phrases which
appeal to him for nonutilitarian reasons; or he may
feel strongly about typography, width of margins,
etc. Above the level of a railway guide, no book is
quite free from aesthetic considerations.
7) 二、对美的狂热。能感觉身外世界的美，或者词语及其恰当搭配的美。对一个读音作用于另一个读音的音响效果，对充实缜密的行文或一篇小说的结构，感到乐趣无穷，赏心悦目。有心与人们分享一种自认为有价值、不应忽略的经历。热衷于美的动机在不少作家身上是很薄弱的，但即使是写小册子或教科书的作家，也有一些他偏宠的得意的词语。这些语词投其所好并不是由于其实用价值。也许他对印刷的格局很挑剔，对书眉的宽窄很讲究，或有其他什么好恶。总之，除了铁路旅行指南外，任何一本书都不会完全没有美感因素。
8. (3) Historical impulse.
Desire to see things as they are, to find out true
facts and store them up for the use of posterity.
8) 三、历史感。有志按事物的原貌来观察理解事物；有心寻找确凿的事实，收集储存以飨后人。
9. (4) Political purpose—using
the word “political” in the widest possible sense.
Desire to push the world in a certain direction, to
alter other people's idea of the kind of society that
they should strive after. Once again, no book is genuinely
free from political bias. The opinion that art should
have nothing to do with politics is itself a political
attitude.
9) 四、政治上的目的。这里指的是最广泛意义上的政治：有志推动世界向某个方向前进；改造人们的观念，劝勉人们追求某种理想社会。就像美感因素一样，没有一本书能真正免除政治倾向。那种认为艺术不应与政治相干的论点本身就是一种政治态度。
10. It can be seen how these
various impulses must war against one another, and
how they must fluctuate from person to person and
from time to time. By nature -- taking your "nature"
to be the state you have attained when you are first
adult -- I am a person in whom the first three motives
would outweigh the fourth. In a peaceful age I might
have written ornate or merely descriptive books, and
might have remained almost unaware of my political
loyalties. As it is I have been forced into becoming
a sort of pamphleteer. First I spent five years in
an unsuitable profession (the Indian Imperial Police,
in Burma), and then I underwent poverty and the sense
of failure. This increased my natural hatred of authority
and made me for the first time fully aware of the
existence of the working classes, and the job in Burma
had given me some understanding of the nature of imperialism;
but these experiences were not enough to give me an
accurate political orientation. Then came Hitler,
the Spanish civil war, etc. By the end of 1935 I had
still failed to reach a firm decision.
10)
可以看出，这些不同的动机会互相抵牾，会因人因时而起伏消长。由于我的天性——“天性”这里指刚成年时的状态，在我身上前三种动机盛于第四种。在太平无事的年代，我或许会写些词藻华美或专事状物写景的书，几乎会意识不到我政治上的取舍。可结果我却不得不成了某种写小册子的作家。最初，我在一个很不合适的职业中度过了5年，那是在缅甸的印度帝国警察署。随后，我经历了贫困，体会到穷途窘迫是何滋味。这使我对权势的本
能的嫉恨变得更强烈，我开始意识到劳动阶级的存在，缅甸的职业使我对帝国主义的本质有所了解，但这一切并不足以使我有明确的政治倾向。接着希特勒出现了，西班牙战争爆发了，各种事件频频发生。到1935年底，我仍没有能决定何去何从。
