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ABOUT THE FIELDS—MARADONA

“We” could not win the World Cup, since no British team had even qualified for the finals in the USA. So the British media decided to restage the glorious Falklands War instead, with the Argentinian captain Diego Maradona cast in the role of the headlines.

Maradona was kicked out of the World Cup after failing a drugs test. He was found to have traces of the banned substance, ephedrine, in his blood stream. He might have taken it to combat a summer virus. He might have taken it to help him lose weight fast before the World Cup finals began. But one thing is for certain, he did not take it to make him lay the kind of football with which he has bewitched the world for a decade. They have not invented a drug that can make you play like Maradona. If they had, even England and Scotland could have qualified for the finals with the aid of a cornershop chemist. But the British media were not interested in any of that. To them Maradona’s expulsion from the tournament proved he was “Dirty-cheat Diego”(the idea is that you say it fast and it sounds like Dirty cheatin’ Dago), and they dragged out every has-been British footballer to kick him when he was down.

Gary Lineker said it was a case of “ good riddance “, and Terry Butcher announced that Maradona should never have been allowed to play in the World Cup in the first place ,because his previous drug conviction (for taking cocaine, a drug which definitely does not enhance your ball skills) meant he was setting a terrible example to young fans. Unlike Mr Butcher, who set them such a fine example by head-butting Tunisians on the field while playing for England.

Of course, the bile displayed by the likes of Lineker and Butcher came purely from their sense of affronted sportsmanship, and had “nothing” to do with the fact that these players were part of the English team beaten by Maradona in the quarter final of the 1986 World Cup, He humiliated England in that game, not with the Hand of God, but with the second goal, the dazzling run past half of the team that made the Fenwicks and Butchers of the English defence look like the artless shit kickers they were. Linker won the Golden Boot in that World Cup by scoring six goals. But nobody outside his native Leicester remembers any of them. The ones Maradona scored against England and Belgium on the way to winning the tournament will live in the memory forever.

The bashing bulldogs of the British press have been waiting for revenge ever since, and they sunk their teeth into Maradona with relish。 Maradona has been playing on drugs for most of his career. He has had to pump himself full of the pain-killer cortisone, to enable him to play on with the countless injuries inflicted by the Butchers he found wherever he played—in Argentina, in Spain, in Italy and in World Cup tournaments. There was never any outcry about that because cortisone is legal. Indeed the rich men who held his contracts insisted he take the drugs, because their bank balances needed him on the pitch, regardless of the damage which cortisone can do to the body in later life.

Maradona has always cultivated his relationship with the poor and the oppressed. In Naples he made himself the champion of the backward south of Italy against the rich north (centred in football terms on AC Milan) When Argentina played the Italians in Naples in the semi-final of the 1990 World Cup, Maradona even appealed to Neapolitans to support his team because “What has Italy ever done for you?”

Maradona has incurred the wrath of no less a bigot than the Pope, because every time His Holiness makes a speech about helping the poor, Maradona demands that the Vatican should give them its own vast wealth. And he has often fallen foul of the Argentinian oligarchy. When he arrived in the USA for the World Cup, Maradona said that, first, he was glad to be in a country where they played football with their hands as well as their feet, and second that he had a message for Argentina’s president Carlos Menem: “Instead of swanning around here and boasting to everybody that we are going to win the World Cup, he should think of the poor people at home, on the streets and without jobs….”

[ Last edited by cm9527 on 2003-11-20 at 16:50 ]

球场内外的马拉多纳

“我们”无法赢得世界杯，因为英国队甚至没有资格进入在美国的决赛。于是乎英国的媒体决定重演福克兰战争的辉煌，随之阿根廷队的队长迪耶果·马拉多纳成了头版头条的主角。

马拉多纳在未通过药检后被逐出世界杯。在他的血液中发现有违禁物质麻黄素的迹象。他可能服用了此物来抵抗一种夏季的病毒。也可能为了帮助他在世界杯决赛前尽快减轻体重。可有一点是肯定的，他不会将此药物用在他那十年来使世人痴迷的足球上面。还没有人能发明一种能像马拉多纳那样踢球的药物。如果有，英格兰和苏格兰或许能靠街头药店的帮助而有资格进入决赛了。但英国的媒体对此丝毫不感兴趣。对他们来说把马拉多纳逐出锦标赛就能证明他是个“肮脏、骗人的迪耶果”（想想你说得快的话，听起来就像在说肮脏骗人的拉丁人），并且他们拉出每一个当过英国足球运动员的人，对他落井下石。

加里·莱茵科尔说这是个“甩掉包袱”的事例，而泰里·布切尔声称马拉多纳根本不应允许再参加世界杯，因为他以前吸毒（因为服用可卡因，这是种绝对不会提高你球技的毒品）意味着他给年轻的球迷留下了一个可怕的示范。这倒不像布切尔先生，他在代表英格兰队踢球时在场上用头撞击突尼斯队队员，从而给别人树立了多么好的榜样！

当然，莱茵科尔与布切尔之流所显露的失态，纯粹是出自他们被亵渎的球风，与1986年世界杯四分之一决赛上被马拉多纳打败“无关”， 当时他们是英格兰队队员。在那场比赛中，马拉多纳羞辱了英格兰，不是靠上帝之恩赐，而是靠第二个进球，靠令人眼花缭乱地绕过半数的队员，使英格兰的后卫芬威克斯和布切尔看上去像毫无球艺的饭桶。那次世界杯中莱茵科尔因进六球而赢得金靴奖，可除了他的家乡莱斯特外无人记得其中的任何进球。而马拉多纳在赢得锦标赛的过程中对英格兰和比利时所进的球却将永远留在人闪的脑海中。

自打那时起，英国媒体的这些跃跃试试的猛犬们就在等待复仇的时机，时机一到他们便狠狠地向马拉多纳咬去。马拉多纳足球生涯中大半时间与毒品有染。他必须要靠止痛的可的松来使自己精力充沛，使他能顶住到处都会碰到的类似布切尔给他的那种伤害—包括在阿根廷，西班牙，意大利以及世界杯锦标赛。从没有人对此提出抗议，因为可的松是合法的。实际上与他签约的富人们执意要他服用这种药，因为他们的银行收支绝对与他的良好竞技状态息息相关，哪管可的松会对他的身体将来所产生什么危害。

马拉多纳一向与穷人保持着良好的关系。在那不勒斯他支持落后的意大利南部地区去对抗富裕的北部（以AC米兰为中心的球队）。当阿根廷在1990年世界杯半决赛中与意大利队在那不勒斯比赛时，马拉多那甚至呼吁那不勒斯人去支持他所在的球队，因为‘意大利又为你做过什么呢？’

马拉多纳曾经引起教皇对他的愤怒，因为教皇陛下每次发表关于扶贫的演说时，马拉多纳就主张罗马教廷应将自己巨额的财富分给穷人。同时他还时常与阿根廷的寡头统治相抵触。当马拉多纳到美国参加世界杯时，他说首先他很高兴来到一个手脚并用来玩足球的国家，其次他有一个给阿根廷总统卡洛斯·梅内姆的口信：“不要来这里到处向大家吹嘘我们要赢得世界杯，他应该想想国内的受苦人，流落街头的失业者 ······”

BILL GATES IN HIS BOYHOOD

As a child—and as an adult as well—Bill was untidy. It has been said that in order to counteract this. Mary drew up weekly clothing plans for him. On Mondays he might go to school in blue, on Tuesdays in green, on Wednesdays in brown , on Thursdays in black, and so on , Weekend meal schedules might also be planned in detail. Everything time, at work or during his leisure time.

Dinner table discussions in the Gate’s family home were always lively and educational. “It was a rich environment in which to learn,” Bill remembered.

Bill’s contemporaries, even at the age, recognized that he was exceptional. Every year, he and his friends would go to summer camp. Bill especially liked swimming and other sports. One of his summer camp friends recalled, “He was never a nerd or a goof or the kind of kid you didn’t want your team. We all knew Bill was smarter than us. Even back then, when he was nine or ten years old, he talked like an adult and could express himself in ways that none of us understood.”

Bill was also well ahead of his classmates in mathematics and science. He needed to go to a school that challenged him to Lakeside—an all-boys’ school for exceptional students. It was Seattle’s most exclusive school and was noted for its rigorous academic demands, a place where “even the dumb kids were smart.”

Lakeside allowed students to pursue their own interests, to whatever extent they wished. The school prided itself on making conditions and facilities available that would enable all its students to reach their full potential . It was the ideal environment for someone like Bill Gates.

In 1968, the school made a decision that would change thirteen-year-old Bill Gates’s life—and that of many of others, too.

Funds were raised, mainly by parents, that enabled the school to gain access to a computer—a Program Data processor(PDP)—through a teletype machine. Type in a few instructions on the teletype machine and a few seconds later the PDP would type back its response. Bill Gates was immediately hooked— so was his best friend at the time, Kent Evans, and another student, Paul Allen, who was two years older than Bill.

Whenever they had free time, and sometimes when they didn’t, they would dash over to the computer room to use the machine. The students became so single-minded that they soon overtook their teachers in knowledge about computing and got into a lot of trouble because of their obsession. They were neglecting their other studies—every piece of word was handed in late. Classes were cut. Computer time was also proving to be very expensive. Within months, the whole budget that had been set aside for the year had been used up.

At fourteen, Bill was already writing short programs for the computer to perform. Early games programs such as Tic-Tac-Toe, or Noughts and Crosses, and Lunar Landing were written in what was to become Bill’s second language, BASIC.

One of the reasons Bill was so good at programming is because it is mathematical and logical. During his time at Lakeside, Bill scored a perfect eight hundred on a mathematics test. It was extremely important to him to get this grade-he had to take the test more than once in order to do it.

If Bill Gates was going to be good at something. It was essential to be the best.

Bill’s and Paul’s fascination with computers and the business world meant that they read a great deal. Paul enjoyed magazines like Popular Electronics, Computer time was expensive and, because both boys were desperate to get more time and because Bill already had an insight into what they could achieve financially, the two of them decided to set themselves up as a company: The Lakeside Programmers Group. “Let’s call the real world and try to sell something to it!” Bill announced.

少年比尔·盖茨


童年时期——即使成了了大人——比尔也不修边幅。据说为了改此习惯，玛丽为他制定了一周着装计划。周一上学他穿蓝色装，周二绿色，周三棕色，周四黑色，等等。周末用餐时间也布置得细致入微。每件事都要井井有条。比尔·盖茨讨厌浪费时间，无论是在工作中或闲暇时。

在比尔家中的餐桌上讨论总是既生动又富有教育意义 。“那是个内容丰富的学习环境，”比尔回忆道。

比尔的同代人，即使是在那个年龄，都能看出他的与众不同。每年，他和朋友们都要去夏令营。比尔特别喜爱游泳运动等。他的一位在夏令营的朋友回忆道，“他绝不会是个不足挂齿或无足轻重之人。我们都晓得比尔比我们聪颖。甚至在更早的时候，当他九、十岁时，言谈就如同成人一般他说的话有时我们感到高深莫测。

在数学和自然方面比尔比同班同学也更胜一筹。他需要上一所对他充满挑战的学校。随即父母决定送他去湖畔中学—一所专门招收超常男生的学校。这是西雅图一所限制最严的学校，它以严格的课程要求而著称，是个“连哑童都聪明的”地方。

湖畔中学允许学生们按自己兴趣自由发挥，去通达他们希望的极至。令校方骄傲的是他们所创造的环境及设施使学生们能充分发挥各自的潜能。这是像比尔·盖茨这样学生的理想环境。

1968年，学校做出的一项决定改变了13岁的比尔·盖茨的生活——同时也改变了许多其他的人。

学校主要靠家长提供的资金通过一种电传打字机进入电脑——即程序数据处理机。在电传打字机上键入几条指令，几秒钟后程序数据处理机即会反馈回信息。比尔·盖茨当即就着了迷——他那时最要好的朋友坎特——他那时最要好的朋友坎特·埃文斯和另一名长他两岁的学生保罗·艾伦也是如此。

他们不管有没有空，都要赶到电脑室去用用那台机器。这些学生非常专注，以至于在电脑方面的知识都超过了老师，同时因为他们的执著也带来了不少麻烦。他们忽略了其他的课程——每项作业都迟迟才交，有时还旷课。上机时间也很昂贵。几个月后，当初留做一年用的预算就已经消耗殆尽了。

比尔十四岁时，就已开始编写简短的运行电脑的程序了。早期的游戏程序如“三棋杀三子”，或“画圈打叉游戏”，及“登月”就是用后来成为比尔的第二种语言BASIC来写的。

比尔善于编程的其中一个原因就是它蕴含的运算性与逻辑性。他在湖畔中学的那段时间，比尔在一次数学测验中取得了满分800分，取得这样的成绩对他来说是至关重要的—为了这个成绩他不得不参加几次测验。

倘若比尔•盖茨决定要做好某件事，他必定会做得最为出色。

比尔和保罗对电脑和商务的痴迷意味着他们要博览群书。保罗喜爱像《大众电子》之类的刊物，而比尔则翻阅商业杂志。上机时间的昂贵，以及因为这两个孩子迫切需要更多的上机时间，还有比尔早已洞察到他们在经济上会有所收益，于是他们俩决定自己组建公司：湖畔程序设计者集团。比尔宣布道：“让我们唤醒这个世界并给它推销点东西吧！”

CHARLIE CHAPLIN’S THE KID

Like Snow White in her Disneyland forest. Charlie Chaplin’s The Kid is a tale whose underlying archetype has attracted audiences of all ages: the abandoned child found in the wilderness. But unlike his more privileged mythological predecessors, who at least had the good fortune to be deposited in lush, natural surroundings, Chaplin’s castoff child is discovered among the shabby detritus of modern society. A garbage-strewn alley in the dirty Red Light District in Los Angeles’ Chinatown of the 1920s serves as the shooting location, re-creating a mean street from Chaplin’s feral boyhood in the slums of South London.

Ambling down the alley, taking his daily constitutional while swiftly ducking the flying garbage swiftly ducking the flying garbage pushed by householders from the building windows above, the Little Tramp appears. With too gentle manners, he slips off his gloves before selecting a cigarette butt from his smoking case, an old sardine can, Just as he is about to surrender himself to the joys of his first smoke of the day, his tranquility is shattered by the squalling infant who has been abandoned on the garbage heap. Plaintively demanding to be heard by someone anyone.

Taking one glance at that miserable child, streetwise Charlie instinctively looks up as if to quiz both the refuse-throwing householders and the heavens above as to just exactly where this baby has come from. But before he can even begin to explore that question, a rapid-fire series of comic interactions with a neighborhood cop firmly establishes Charlie’s embarrassment of mistaken paternal identity: like it or not, once he demonstrates his better nature by resisting his impulse to toss the unwanted baby down the nearest sewer, the kid is his for life. What follows is a series of wandering father-son adventures for this castoff life from the Industrial Revolution in this comedy that Chaplin introduces in his opening title card as “a picture with a smile—perhaps a tear.”

Perhaps! As the lights go up, audience reveals that there hasn’t been a dry eye in the house. But what is so startling about Chaplin’s comedy of fathering a lost baby is the fact that be first conceived and immediately began to shoot this film barely two weeks after the death of his own three-day-old, firstborn infant son. Having turned his personal pain to such a creative purpose, he gets us to break bread with him and take communion with his grief and loss.

By chancing upon a universal form—the myth of the lost child— to express his own loss， Chaplin succeeds in inviting the whole gang in , European intellectuals, London tradesmen, and all the “kids” of the world can and do receive Charlie’s pantomime tale with empathy.

But to say that grief-stricken Chaplin accidentally stumbled on the lost kid myth happens to suggest an effect of the Little Tramp’s nimblest pratfalls. If ballet is in Charlie’s bones, the sorrowful nostalgia of bittersweet loss already was in Chaplin’s soul—long before his loss over his firstborn child. Periodically left to care for himself by his own alcoholic father and psychotic mother, Charlie already knew what being an abandoned kid was all about—living on the streets, dodging the cops and orphanage authorities, scavenging to survive.

While losing his son undoubtedly reawakened those old boyhood memories. Their artistic treatment took place with Charlie’s heart, not his head, And the idea probably succeeds because it is largely unconscious rather than self-conscious autobiography.

A few days after his personal tragedy, tough-minded Charlie, the professional actor who had clawed his way out of the slums, zipped up his pain and got on with it. Taking the slapstick route, he quarried for bits and shticks, not archetypes and myths. Father and son—practically encounter each other by chance at one of life’s crossroads, so Charlie’s fatherless kid and Chaplin the childless father accidentally meet in a London lane. Unlike their ancient predecessors, whose hearts are filled with mistrust and hate, Charlie Chaplin and the lost child are filled with yearning and affection. And so their tale is a bittersweet ballad of love and hate.

查理·卓别林的“寻子遇仙记”



如同迪斯尼乐园森林中的“白雪公主”，查理·卓别林的“寻子遇仙记”也是一部童话故事，其隐含的原形—那个在荒野中所找到的被遗弃的孩子—吸引了男女老少的观众。以前那些受到厚爱的神话人物至少有幸被搁置在葱翠、自然的环境中，但卓别林的这个被遗弃的孩子却是被置于现代社会里的破砖碎瓦中。拍摄地点是在二十年代洛杉矶唐人街里肮脏的红灯区一条遍布垃圾的小巷，这再现了卓别林桀骜不驯的童年所生活的伦敦南部一条简陋街道的情景。

瘦小的流浪汉出现了，他沿着这条小巷缓步而行，做着每天的健身散步，轻巧地躲避楼上窗子里房主扔出的垃圾。他过分文雅地脱掉手套，从当作烟盒的沙丁鱼罐里找出一只烟蒂。就在他要陶醉于这天第一口烟的欢乐时，那个被遗弃在垃圾堆里的似乎故意要让别人听见的哀嚎婴儿撕碎了他的安宁。

看了一眼这个痛苦的孩子，熟悉都市生活的卓别林本能地仰起头，似乎要向扔垃圾的房主和上苍打听孩子到底是从哪儿来的。可他还没来得及去考虑那个问题，与附近一个警察一连串的喜剧过场就注定查理要陷入错为人父的尴尬境地：不管喜欢与否，他抑制住了要把这个遗弃的孩子丢入附近污水沟的冲动，这种更为善良的天性刚一显露，此生此世孩子便属于他了。接下来是这对流浪父子在这个工业革命所造就的流浪生活中历险的喜剧故事，卓别林在片头字幕上写道：“一部既使人发笑又可能使人一掬同情之泪的影片。”

可能！ 当剧院灯光亮时，观众的眼睛都是潮湿的。但卓别林的这部抚养一个被丢弃孩子的喜剧，令人称奇的是从他失去自己第一个出生仅三天的亲生孩子到构思并立即投入拍摄，前后只用了两星期。他奖自身的苦痛转化成如此创意，使我们能与他一同品味其间的痛苦与损失。

卓别林以一种常见的形式——被丢弃孩子的故事，恰好表达了他失去亲人的哀愁，他成功地引入了三教九流的角色。中国农民，班图部落人，欧洲的知识分子，伦敦商人，以及全世界的“孩子”能而且的确对查理的哑剧故事表露同情。

说到受痛苦打击的卓别林碰巧被那个丢弃的孩子绊倒的故事，这正好引出他瘦小流浪汉轻巧地跌坐在地的效果。如果说说查理有跳芭蕾的天赋，那么他心灵上早已有了这种伤感怀旧的苦与乐——早在他失去头一个孩子之前，曾几何时，他被酗酒的父亲和精神错乱的母亲所抛弃，不得不自己照顾自己，查理早已深谙一个被抛弃孩子的全部生活：露宿街头，闪躲着警察和孤儿院官员，靠拣食维持生命。

失去骨肉无疑又唤醒了他对旧时童年的记忆，对往事的艺术加工在查理

心里进行着，而非在头脑之中。查理的创意取得了成功，因为它完全是无意识的，而不是自我意识的自传。

在查理个人悲剧的几天后，意志坚强的他，一个从贫民窟里摸爬滚打出来的专业演员，重整旗鼓继续他的事业。本着打闹剧的戏路，他挖掘小角色与滑稽场面，而不是主题与神话。父与子——本是偶然相遇在人生的十字路上，因而查理的这个失去父亲的孩子和卓别林这个失去孩子的父亲邂逅在伦敦的街道上。与以往他们的原型不同，那些人的心中充满了猜疑与憎恨，而查理·卓别林与这个丢弃的孩子之间充满了渴望与慈爱。因此他们的故事就如同一首爱恨交织、苦中有甜的抒情诗。

FREUD’S DISCOVERY

In April 1884 Freud read of a German army doctor who had successfully employed cocaine as a means of increasing the energy and endurance of soldiers. He determined to obtain some for himself and try it as a treatment for other conditions—heart disease, nervous exhaustion and morphine addiction. It was little known at that time and the extensive ethical and methodological rules governing modern drug trials did not exist.

Freud took some himself and was immediately impressed with the sense of well-being it engendered, without diminishing his capacity for work. Having read a report in the Detroit Medical Gazette concerning its value in the treatment of addictions his next step was to recommend the substance as a harmless substitute to his friend and colleague, Ernst von Fleischl-Marxow. Fleischl. Who had become a morphine addict following repeated therapeutic administrations for intractable neurological pain and was in desperate straits, took to cocaine with enthusiasm and was soon consuming it in large quantities.

Meanwhile Freud continued to extol the virtues of the drug, writing a review essay on the subject, taking it himself and pressing it upon his fiancee, friends as a panacea for all ills, He had gone overboard with enthusiasm, writing to Martha when he heard she had lost her appetite,“Woe to you, my Princess. When I come. I will kiss you quite red and fees you ‘till you are plump. And if you are forward you shall see who is the stronger, a gentle little girl who doesn’t eat enough or a big wild man who has cocaine in his body.’’

Among the people to whom Freud introduced cocaine was his colleague Carl Koller, a young doctor working in the department of ophthalmology. Freud published his essay in the July issue of the Centralblatt für Therapie, concluding it by drawing attention to the possible future uses of the drug as a local anaesthetic. Koller was impressed, thought it likely to be useful in eye operations and two months later tried it out , first on animals and then on his own eyes with complete success. He was quick to publish his findings, thus securing a place in world history as the discoverer of what turned out to be virtually the only medical use for the substance.

Freud had missed his chance, but worse was to follow. Fleischl’s temporary improvement on taking cocaine was short lived. Within a week his condition deteriorated, his pain became unbearable and he relapsed into morphine consumption. He now had not one addiction but two, taking cocaine in doses a hundred times larger than Freud used to do. He suffered toxic confusional states in which he became agitated, experiencing severe anxiety and visual hallucinations. Yet Freud continued to advocate the use of cocaine in morphinism, presumably on the basis that (as had been reported by others) it was beneficial in selected cases.

His paper On the General Effect of Cocaine. Written in the spring of 1885, was published in August and subsequently abstracted in the Lancer, By the following year, however, cases of cocaine addiction and intoxication were being reported from all over the world. Freud came under severe criticism for his advocacy of the drug and defended himself by claiming(inaccurately)that he had never advised its use in subcutaneous injections. He expressed the following view, “Theory is fine but it doesn’t stop facts from existing.” This became a favorite warning against the uncritical acceptance of received wisdom.

弗洛伊德的发现



1884年4月弗洛伊德读到一篇关于一位德国军医成功地使用可卡因来增加士兵体能和耐力的文章。他决定去搞一些并把它用于治疗心脏病、神经衰弱及吗啡嗜瘾等病症。当时这种药物鲜为人知，同时也没有像现代药品试用管理中广泛制定的道德上和使用上的规则。

弗洛伊德自己服用了一些，即刻就感到在不降低工作能力的情况下它所带来的快感。他在《底特律医学报》上读到一篇关于瘾品治疗价值的文章后，随即便向他的朋友和同事恩斯特·冯·弗雷氏马科斯科推荐了这种无害的替代物。弗雷氏由于患有顽固的神经方面的疾病而处境艰难，经过不断地药物疗法，他已嗜吗啡上瘾，当他充满热情地服用可卡因后，很快便开始大量使用。

与此同时，弗洛伊德继续颂扬这种药物的好处，写有关该药的评论文章，除自己服用外还把它当作灵丹妙药推荐给他的未婚妻、朋友们、同事们和病人们。他已然极度痴迷，当他听说玛撒没有食欲时便写信说,‘唉，我可怜的公主。我回来后会热烈地吻你并使你吃得胖胖的。如果你乐意，你会看到谁更强壮，是一个胃口欠佳的柔弱女子还是一个体内充满可卡因的高大莽汉。’

在这些弗洛伊德推荐给可卡因的人中，有一位是他的同事卡尔·科勒，他是个年轻的眼科医生。弗洛伊德在七月号的《医疗专刊》上发表了一篇文章，在篇末他指出将该药用于局部麻醉的可能性。这给科勒留下了深刻印象，他觉得这可用于眼部手术并在两个月后开始试验，先是在动物身上，之后在自己的眼睛上，并取得了完全的成功。他即刻公布了这一发现，因此他作为在医疗实用中运用的唯一的该物质的发现者在世界历史上占有一席之地。

弗洛伊德失去了这次机会，但更糟的事又接踵而至。弗雷氏服用可卡因的短期效益没有持续多久。不出一周他的情况每况愈下，痛苦不堪同时又陷入服用吗啡的恶习。他现在不是只沉溺于一种而是两种，可卡因的服用量要比弗洛伊德当时大一百倍。他遭受着中毒性的恍惚状态，他变得焦躁不安，极度忧虑并产生幻觉。而弗洛伊德仍继续倡导在吗啡上瘾时服用可卡因，据其他人的报道这可能是建立在某些病症上会产生效应的理论基础上的。

他的论文《关于可卡因的普遍效应　》写1885年春季,八月份发表后就在《持矛骑兵　》杂志上登出摘要。可是到了第二年，世界各地都报道了可卡因上瘾及中毒的情况。弗洛伊德因倡导这种药物受到了严厉的批评，他为自己辩护道（不确切地）他从没建议过以皮下注射来使用它。他表达了如下的观点，“理论固然不错，但它无法制约已经存在的事实。”这对于全盘接受常理的人无疑是个良好的忠告。

HOW TO ACT 007—SEAN CONNERY

“My name is Bond—James Bond,” Sean Connery informed the world’s movie-goers in 1962. In seven Bond films over a span of 21 years, the tall, dark Scot come to embody the suave secret agent whose code name was known around the globe: 007.

But it didn’t go very smooth to be a successful star. The exception was Robert Henderson, a 47-year-old Yank who was directing South Pacific. One day, Henderson had a long talk with the muscle man whose determination seemed irrepressible. Connery told Henderson he hoped to become a professional soccer player.

“Well look,” said Henderson. “ With soccer, at 28 or 30. it’s all over. Then what do you do? Wouldn’t you rather be an actor?” “How?” asked Connery, “ I left school at 13.”

Henderson nodded. “You’ve practically no education. But you have an imagination and a mind. I will give you a list of ten books that you should read.”

The “ten” books that Henderson had mentioned were more like 200. including the complete works of Shakespeare, Thomas Wolfe and Oscar Wilde. But Connery tackled them—every day, applying all the energy and tenacity he got from his parents. He would go to the library in the morning and stay till curtain time.

Late at night, he would sit up with his tape recorder, hearing a voice that certainly wasn’t Polish and was sounding a little less Scottish. Acting, he decided after a year of this, was going to be his career. And for his new life, Connery had chosen a new first name.

In 1957, the BBC produced Rod Serling’s play Requiem for a heavyweight. The down-and-out prize-fighter, Mountain McClintock, was played by a young actor who had boxed in the Royal Navy. His name—Sean Connery.

The same year, Connery was cast in a production of Anna Christie. The title role was played by ash blond Diane Celento. She was to become Connery’s wife a few years later.

By then Connery had appeared in five forgettable films—but in one of them, he caught the eye of Walt Disney, who brought him to the United States in 1958. Disney cast him as Michael McBride, the love interest in a story about leprechauns called Darby O’Gil and the Little People. In the film’s climax, McBride has a rousing fistfight with the village bully.

Among those who took note of Connery’s screen presence in Darby was producer Harry Saltzman who, with co-producer Albert R. “Cubby” Rroccoli, was casting a film of their own based on Dr .No, the 1985 novel by Lan Fleming.

Connery was called to the producers’ London office for an interview. “We watched him bound across the street like Superman,” said Saltzman later. “We knew we had our Bond.”

But lan Fleming, author of the James Bond novels. Had casting approval and was harder to persuade. “He’d have loved to have had Cary Grant in the role, but there wasn’t enough money for that.” Says Connery. “So he was obliged to agree that I would do it.”

Play it Connery did, and splendidly—five times in all in the 60s. from Dr, No, From Russia with Love, Goldfinger and Thunderball to You Only Live Twice. His debonair charm and magnetic good looks on screen captivated audiences around the globe. Small boys from Chicago to Rome could tell you exactly what 007 said when Goldfinger threatened him with a laser:

“Do you expect me to talk?”

“No, Mr. Bond. I expect you to die.”

But 007 did not die. The Bond pictures’ success permitted Connery to move his wife, their son, Jason, and his stepdaughter into a town house overlooking London’s Acton Park. He was also able to buy his parents a more comfortable home and persuade his father to retire. He also set up Scottish International Educational Trust with $1 million. To help underprivileged Scots go to college.

如何饰演007-肖恩·康纳利

1962年肖恩·康纳利向全球的影迷宣布：“我叫邦德—詹姆斯·邦德。”在21年间的七部邦德影片中，这位高大，黝黑的苏格兰人表现出的温文尔雅的特工形象，使全世界对他的代号都耳熟能详：007。

然而要成为成功的明星并非易事。多亏了罗伯特·亨德森，一位正执导《南太平洋》的47岁的美国人。一天亨德森与健壮的康纳利进行了促膝长谈，康似乎已打定注意。他告诉亨德森他想当职业足球运动员。

“那么想一想，”亨德森说：“踢完球，到28岁或30岁，就完了。然后你怎么办？你愿不愿意当演员吗？” “怎么当？”康纳利问道，“我13岁就辍学了。”

亨德森点点头。“你是几乎没受过教育。可你有想象力，有头脑。我可以列给你十本书的名单，你读一读。

与其说亨德森提及的是“十”本书，不如说是二百本，其中包括莎士比亚，托马斯·乌尔夫和奥斯卡·王尔德的全集。但康纳利啃下了它们——秉承着父母坚忍不拔的精神，他每天埋头读书。一大早就去图书馆一直呆到夜晚。

深夜，他通宵达旦地聆听录音机，播放的声音当然不会是波兰语可也不像苏格兰话。一年后他决意选择表演来作为他的职业。对于新的生活，康纳利选了一个新名字。

1957年，英国广播公司制作了罗德·赛林的剧目《重量级拳击手的弥撒》。片中那位一败涂地的职业拳击手蒙顿·麦克林托克，由一名曾在皇家海军打过拳的年轻演员饰演。他叫——肖恩·康纳利。

同年，康纳利在影片《安娜·克丽丝蒂》中饰演角色。片中角色由有着淡褐色头发的黛安·赛琳顿扮演。几年后她成了康纳利的妻子。

那时候，康纳利已出演过五部不起眼儿的影片——但在其中一部中，他引起了沃尔特·迪其尼的注意，1958年迪斯尼把他带到了美国。迪斯尼叫他扮演麦克尔·麦布赖德，一个在名为《达比·奥吉尔与小人国》的深受欢迎的矮妖精故事中的角色。影片的高潮中，麦布赖德与村里的暴徒展开了惊心动魄的拳斗。

康纳利在《达比》一片中的表现受到包括制片人亨利·索斯曼的注意，当时他正与合作制作人阿尔伯特拍一部由1958年伊恩·福莱明著的小说改编的影片《否博士》。

康纳利被招到制片人的伦敦办事处去接受面试。“我们看到他如同超人一般跃过街道，”索斯曼后来说。“我们晓得他就是我们要的邦德。”

而詹姆斯·邦德小说的作者，伊恩·福莱明已有了人选而且很难回心转意。康纳利说“他本来选取定卡里·格兰特扮演该角色，但因为钱不够，所以他只得同意由我来演。”

康纳利不仅演了，而且异常精彩——六十年代有五部片子，从《否博士》到《爱在俄罗斯》，从《金手指》，《霹雳弹》到《你只有两次生命》。他在银幕上温文尔雅以及极具吸引力的形象征服了全世界的观众。从芝加哥到罗马小孩子都能确切地说出当金手指用激光枪威胁007时的对白：

“你想让我讲话吗？”

“不，邦德先生。我想让你死。”

然而007并没有死。邦德影片的成功使康纳利得以把妻子，儿子贾森，和他的继女搬进城里俯瞰伦敦阿克顿公园的居所。他也为双亲买了一栋更加舒适的宅院并说服父亲退了休。他又用了一百万美金建起了苏格兰国际教育机构，来帮助贫困的苏格兰青年上大学。