演讲MP3+双语文稿:改变生活？先从改变你的故事开始
听力课堂TED音频栏目主要包括TED演讲的音频MP3及中英双语文稿，供各位英语爱好者学习使用。本文主要内容为演讲MP3+双语文稿:改变生活？先从改变你的故事开始，希望你会喜欢！
【演讲者及介绍】Lori Gottlieb
心理治疗师，作者。一个讲故事的人。她以好莱坞高管的身份为电影和电视连续剧制作了故事，深入研究了她的主题故事。
【演讲主题】如何改变你的故事可以改变你的生活
【中英文字幕】
翻译者 psjmz mz 校对者 Jiasi Hao
00:12
I'm going to start by telling you about anemail that I saw in my inbox recently. Now, I have a pretty unusual inboxbecause I'm a therapist and I write an advice column called "DearTherapist," so you can imagine what's in there. I mean, I've read thousandsof very personal letters from strangers all over the world. And these lettersrange from heartbreak and loss, to spats with parents or siblings. I keep themin a folder on my laptop, and I've named it "The Problems of Living."So, I get this email, I get lots of emails just like this, and I want to bringyou into my world for a second and read you one of these letters. And here'show it goes.
演讲的开始我将会给你们分享一封我最近在收件箱看到的邮件。我的收件箱比较特别，因为我是个心理咨询师，而且我写着一个叫《亲爱的咨询师》的建议专栏，你也可以想象收件箱里的会是什么。我意思是，我阅读了来自全球各地陌生人的数千封非常私人的信件。这些信件的内容包括心碎和失去，到与父母或兄弟姐妹发生口角。我把他们保存在我电脑的一个文件夹里，命名为“活着的问题”。我收到这些邮件，很多这样的邮件，我想把你们带到我的世界片刻，给你们读其中一封信件。内容大概是这样。
00:58
"Dear Therapist, I've been married for10 years and things were good until a couple of years ago. That's when my husbandstopped wanting to have sex as much, and now we barely have sex at all."I'm sure you guys were not expecting this.
“亲爱的咨询师，我结婚 10 年了，直到几年前，一切都很好。那时我丈夫没那么想和我做爱了，现在我们几乎很少有性生活。”我相信你们没有预料到这内容。
01:11
(Laughter)
（笑声）
01:12
"Well, last night I discovered thatfor the past few months, he's been secretly having long, late-night phone callswith a woman at his office. I googled her, and she's gorgeous. I can't believethis is happening. My father had an affair with a coworker when I was young andit broke our family apart. Needless to say, I'm devastated. If I stay in thismarriage, I'll never be able to trust my husband again. But I don't want to putour kids through a divorce, stepmom situation, etc. What should I do?"
“昨晚，我发现在过去几个月中，他一直在悄悄地跟他办公室的一个女人打很长的深夜电话。我搜索了她，她很漂亮。我无法相信这发生了。小时候我父亲和他同事发生了外遇，这让我们的家庭支离破碎。不用说，我很伤心。如果我继续维持这段婚姻，我永远不会再相信我丈夫了。但我不想让我的孩子经历父母离异，将他们推向继父/继母的等等艰难境地。我应该怎么办？”
01:42
Well, what do you think she should do? Ifyou got this letter, you might be thinking about how painful infidelity is. Ormaybe about how especially painful it is here because of her experience growingup with her father. And like me, you'd probably have some empathy for thiswoman, and you might even have some, how should I put this nicely, let's justcall them "not-so-positive" feelings for her husband.
你们觉得她应该怎么做？如果你收到这封信，你可能会觉得不忠是多么让人痛苦。或尤其考虑到她不忠的父亲的过往，这是多么让人痛苦的事啊。跟我一样，你可能会对这个女士产生同情，你甚至可能有些，我应该怎么说合适些，我们称其为对她丈夫“不是很正面”的感觉。
02:07
Now, those are the kinds of things that gothrough my mind too, when I'm reading these letters in my inbox. But I have tobe really careful when I respond to these letters because I know that everyletter I get is actually just a story written by a specific author. And thatanother version of this story also exists. It always does. And I know thisbecause if I've learned anything as a therapist, it's that we are allunreliable narrators of our own lives. I am. You are. And so is everyone youknow. Which I probably shouldn't have told you because now you're not going tobelieve my TED Talk.
当我阅读收件箱里的这些信件时，这些也是我脑海中的感觉。但回复这些邮件的时候，我需要非常小心，因为我知道我收到的每一封信件 是一位特别的作者写的故事。这个故事的另一版本也会存在。总是如此。我知道这点是因为我从事咨询师学到了我们都不可靠地 叙述着自己的生活。我就如此。你们也是。你们认识的每个人也如此。或许我不应该告诉你这些，因为现在你们可能不会相信我的 TED 演讲了。
02:43
Look, I don't mean that we purposelymislead. Most of what people tell me is absolutely true, just from theircurrent points of view. Depending on what they emphasize or minimize, what theyleave in, what they leave out, what they see and want me to see, they telltheir stories in a particular way. The psychologist Jerome Bruner describedthis beautifully -- he said, "To tell a story is, inescapably, to take amoral stance." All of us walk around with stories about our lives. Whychoices were made, why things went wrong, why we treated someone a certain way-- because obviously, they deserved it -- why someone treated us a certain way-- even though, obviously, we didn't. Stories are the way we make sense of ourlives.
并非是我们有意误导。大部分人告诉我的绝对是真的，但只是从他们的视角来看。取决于他们强调或淡化什么，留下了什么，舍弃了什么，看到了什么，以及想让我看到什么，他们用一种特定的方式讲故事。心理学家杰罗姆·布鲁纳对此做了精彩的描述——“为了讲述一个故事，人们不可避免地要采取一种道德立场。”我们所有人 都被自己的生活故事所包围。为什么做出选择，事情为什么出错，为什么我们这样对待某人——因为很显然，他们自取的——为什么人们要这样对我——即使我完全不应受到这种待遇。故事是我们让生活变得合理且有意义的方式。
03:23
But what happens when the stories we tellare misleading or incomplete or just wrong? Well, instead of providing clarity,these stories keep us stuck. We assume that our circumstances shape ourstories. But what I found time and again in my work is that the exact oppositehappens. The way we narrate our lives shapes what they become. That's thedanger of our stories, because they can really mess us up, but it's also theirpower. Because what it means is that if we can change our stories, then we canchange our lives. And today, I want to show you how.
但当我们讲述的故事有误导性、不完整，或错误时，会怎样呢？这些故事不仅没有提供准确清晰的信息，反倒把我们困住了。我们认定我们的环境塑造了我们的故事。但在我的工作中，我一次又一次地发现，情况恰恰相反。我们叙述生活的方式决定了生活的未来方向。这是我们故事的危险之处，因为它们真的可以把我们搞得一团糟，但这也是它们的力量所在。因为这意味着若能改变我们讲述的故事，我们即可改变生活。今天，我想向你们展示如何做到。
03:59
Now, I told you I'm a therapist, and Ireally am, I'm not being an unreliable narrator. But if I'm, let's say, on anairplane, and someone asks what I do, I usually say I'm an editor. And I saythat partly because if I say I'm a therapist, I always get some awkwardresponse, like, "Oh, a therapist. Are you going to psychoanalyze me?"And I'm thinking, "A : no, and B: why would I do that here? If I said Iwas a gynecologist, would you ask if I were about to give you a pelvicexam?"
我告诉过你们我是个咨询师，我真的是，我现在不是个不可靠的叙述者。但如果，比方说，在飞机上，有人问我是做啥的，我通常说我是个编辑。我这样说的部分原因是如果我说自己是个心理咨询师，我总会得到一些尴尬的回应，比如，“噢，一个咨询师。你要对我进行心理分析吗？”我会想：”首先，不会，其次，我为什么要在这里做心里分析？如果我说我是妇科医生，你还会问我是不是要给你做盆腔检查吗？”
04:28
(Laughter)
（笑声）
04:31
But the main reason I say I'm an editor isbecause it's true. Now, it's the job of all therapists to help people edit, butwhat's interesting about my specific role as Dear Therapist is that when Iedit, I'm not just editing for one person. I'm trying to teach a whole group ofreaders how to edit, using one letter each week as the example. So I'm thinkingabout things like, "What material is extraneous?" "Is theprotagonist moving forward or going in circles, are the supporting charactersimportant or are they a distraction?" "Do the plot points reveal atheme?" And what I've noticed is that most people's stories tend to circlearound two key themes.
但我说我是个编辑的主要原因是因为这是真的。所有咨询师的工作是帮助人们编辑，但我作为《亲爱的咨询师》这一特殊角色的有趣之处是 当我编辑时，我不仅为一个人编辑，而是在尝试教一群读者如何编辑。通过每周使用一封信作为案例。所以我会思考这些东西，例如“什么资料是无关紧要的？”“主角是在前进，还是在原地打转？““配角是重要的，还是会分散注意？”“这个情节是否揭露了一个主题？”而且我注意到的是大部分人的故事 都是围绕两个关键的主题：
05:06
The first is freedom, and the second ischange. And when I edit, those are the themes that I start with. So, let's takea look at freedom for a second. Our stories about freedom go like this: webelieve, in general, that we have an enormous amount of freedom. Except when itcomes to the problem at hand, in which case, suddenly, we feel like we havenone. Many of our stories are about feeling trapped, right? We feel imprisoned byour families, our jobs, our relationships, our pasts. Sometimes, we evenimprison ourselves with a narrative of self-flagellation -- I know you guys allknow these stories. The "everyone's life is better than mine" story,courtesy of social media. The "I'm an impostor" story, the "I'munlovable" story, the "nothing will ever work out for me" story.The "when I say, 'Hey, Siri, ' and she doesn't answer, that means shehates me" story. I see you, see, I'm not the only one. The woman who wroteme that letter, she also feels trapped. If she stays with her husband, she'llnever trust him again, but if she leaves, her children will suffer.
第一个是自由，第二个是改变。当我编辑时，这些是我开始的主题。那么，让我们看下“自由”。我们关于自由的故事往往是这样开始的：我相信，总的来说，我们拥有很多自由。除了在面临手头问题的时候，这种情况下，突然之间，我们感到没有自由。我们很多故事都是关于被困住的感觉，对吧？我们感到被 我们的家庭，我们的工作，我们的关系，我们的过去 所囚禁。有时，我们甚至把自己禁锢 在自我鞭笞的叙述中—— 你们都知道这些故事。那个“每个人的生活 都比我的好”的故事，这得归功于社交媒体。“我是冒充者”的故事，“我不够讨人喜欢”的故事，“我永远不会成功”的故事。那个“当我说，‘嗨，Siri’，她没有答复，意味着她讨厌我”的故事。我知道你们，看，我不是唯一的一个。那个给我写邮件的女人，她也感到被困住了。如果她与丈夫待在一起，她将永远不会再相信他，但如果她离开，她的孩子会遭受痛苦。
06:07
Now, there's a cartoon that I think is aperfect example of what's really going on in these stories. The cartoon shows aprisoner shaking the bars, desperately trying to get out. But on the right andthe left, it's open. No bars. The prisoner isn't in jail. That's most of us. Wefeel completely trapped, stuck in our emotional jail cells. But we don't walkaround the bars to freedom because we know there's a catch. Freedom comes withresponsibility. And if we take responsibility for our role in the story, wemight just have to change.
有个漫画我认为真实呈现了这些故事中真正发生的情况。这个漫画展现了一个不断在摇动铁栏的囚犯，拼命地想出去。但监狱的左右两边，是开放的，没有铁栏。这个囚犯不在牢笼里。那就是我们大多数人。我们感到完全被困住，困在情感的牢笼中。但我们不会绕着铁栏走走来寻找自由，因为我们知道这里有陷阱。自由伴随着责任。如果我们要担负起自己在故事中的角色的责任，我们可能必须得改变。
06:41
And that's the other common theme that Isee in our stories: change. Those stories sound like this: a person says,"I want to change." But what they really mean is, "I wantanother character in the story to change." Therapists describe thisdilemma as: "If the queen had balls, she'd be the king." I mean --
那就是另一个在故事中常见的主题“改变”。这些故事往往听起俩是这样的：一个人说，“我想要改变。”但他们真正的意思是，“我想要故事中的另一个角色做出改变。” 咨询师把这种窘境描述为： “如果皇后有种，她就是国王。” 我意思是——
06:59
(Laughter)
（笑声）
07:00
It makes no sense, right? Why wouldn't wewant the protagonist, who's the hero of the story, to change? Well, it might bebecause change, even really positive change, involves a surprising amount ofloss. Loss of the familiar. Even if the familiar is unpleasant or utterlymiserable, at least we know the characters and setting and plot, right down tothe recurring dialogue in this story. "You never do the laundry!""I did it last time!" "Oh, yeah? When?" There's somethingoddly comforting about knowing exactly how the story is going to go everysingle time.
这不就是废话嘛，对吧？我们为什么不想让主角故事中的英雄，去改变？这可能是因为 改变，即便是一个非常积极的改变，涉及无法想象的损失。失去熟悉感。即便熟悉是不愉快或绝对悲惨的，至少我们知道故事的角色、背景和情节，甚至是故事中反复出现的对话。“你从来不洗衣服！”“我上次洗了！”“哦，是吗？什么时候？”明确地知道故事 每次将如何发展，有一种奇怪的安慰感。
07:34
To write a new chapter is to venture intothe unknown. It's to stare at a blank page. And as any writer will tell you,there's nothing more terrifying than a blank page. But here's the thing. Oncewe edit our story, the next chapter becomes much easier to write. We talk somuch in our culture about getting to know ourselves. But part of getting toknow yourself is to unknow yourself. To let go of the one version of the storyyou've been telling yourself so that you can live your life, and not the storythat you've been telling yourself about your life. And that's how we walkaround those bars.
谱写新的篇章需要勇敢地探索未知。是要盯着空白页。正如任何作家会告诉你的，没有什么比空白页更可怕的了。但这是问题所在。一旦我们开始编辑我们的故事，书写下一章节就会变得容易多了。在我们文化中，我们探讨了太多“要了解自己”。但了解自己的一部分是“生疏自己”。放下你一直告诉自己的一个故事版本，这样你才能够去过你的生活，而不是过你告诉自己的故事里的生活。这就是我们跨越铁栏的方式。
08:11
So I want to go back to the letter from thewoman, about the affair. She asked me what she should do. Now, I have this wordtaped up in my office: ultracrepidarianism. The habit of giving advice oropinions outside of one's knowledge or competence. It's a great word, right?You can use it in all different contexts, I'm sure you will be using it afterthis TED Talk. I use it because it reminds me that as a therapist, I can helppeople to sort out what they want to do, but I can't make their life choicesfor them. Only you can write your story, and all you need are some tools.
于是我想要回到那个女士关于外遇的邮件，她问我她应该怎么做。我把这个短句贴在了我的办公室：没有知识的意见是危险的（ultracrepidarianism）。在自己知识或能力范围之外提供建议或意见的习惯。这是个很棒的词，对吧？你可以在所有不同的语境中使用它，我确定你会在这个 TED 演讲后使用它。我用它是因为它提醒我作为治疗师，我可以帮助人们理清他们想要做的事情，但我不能为他们的人生做决定。只有你，才能书写你的故事。然而你所需要的是一些工具。
08:44
So what I want to do is I want to edit thiswoman's letter together, right here, as a way to show how we can all revise ourstories. And I want to start by asking you to think of a story that you'retelling yourself right now that might not be serving you well. It might beabout a circumstance you're experiencing, it might be about a person in yourlife, it might even be about yourself. And I want you to look at the supportingcharacters. Who are the people who are helping you to uphold the wrong versionof this story?
所以我想要做的是在这里 一起编辑这位女士的来信，来展示我们能够 如何修正我们的故事。我想从让你们想一个 你们告诉自己的，但却对自己毫无益处的故事开始。它可能有关你所处的周遭环境，可以是你生活中关于某个人的，甚至可以是关于你自己的。并且我想让你们看看配角。是谁在帮助你支撑着这个错误版本的故事？
09:16
For instance, if the woman who wrote methat letter told her friends what happened, they would probably offer herwhat's called "idiot compassion." Now, in idiot compassion, we goalong with the story, we say, "You're right, that's so unfair," whena friend tells us that he didn't get the promotion he wanted, even though weknow this has happened several times before because he doesn't really put inthe effort, and he probably also steals office supplies.
比如，倘若那个给我写信的女士告诉她朋友发生了什么，她们可能会给她提供所谓的“白痴同情”建议。现在，带着愚蠢的同情心，我们跟着故事走，我们说，“你说的对，这不公平，”当一个朋友告诉我们他没有得到他想要的升职，即便我们知道这已发生过多次，因为他并没有真正在努力工作，并且他可能还偷办公用品。
09:38
(Laughter)
（笑声）
09:39
We say, "Yeah, you're right, he's ajerk," when a friend tells us that her boyfriend broke up with her, eventhough we know that there are certain ways she tends to behave inrelationships, like the incessant texting or the going through his drawers,that tend to lead to this outcome. We see the problem, it's like, if a fightbreaks out in every bar you're going to, it might be you.
我们说，“是的，你说的对，他是个混蛋，”当一个朋友告诉我们她男朋友和她分手了，尽管我们知道她在恋情中的一些行为，比如不停地发短信或者翻他的抽屉，容易导致这种结果。我们能看到问题，这有点像，如果你去的每个酒吧都有打架场面发生的话，那可能是你的问题。
09:58
(Laughter)
（笑声）
10:00
In order to be good editors, we need tooffer wise compassion, not just to our friends, but to ourselves. This iswhat's called -- I think the technical term might be -- "deliveringcompassionate truth bombs." And these truth bombs are compassionate, becausethey help us to see what we've left out of the story.
要成为好的编辑，我们需要提供明智的同情，不仅对我们的朋友，而且对我们自己。这就是所谓的——专业名词为—— “传递同情的真相炸弹”。这些真相炸弹是具有同情的，因为它们帮助我们看见我们在故事中遗漏的东西。
10:17
The truth is, we don't know if this woman'shusband is having an affair, or why their sex life changed two years ago, orwhat those late-night phone calls are really about. And it might be thatbecause of her history, she's writing a singular story of betrayal, but there'sprobably something else that she's not willing to let me, in her letter, ormaybe even herself, to see. It's like that guy who's taking a Rorschach test.You all know what Rorschach tests are? A psychologist shows you some ink blots,they look like that, and asks, "What do you see?" So the guy looks athis ink blot and he says, "Well, I definitely don't see blood." Andthe examiner says, "Alright, tell me what else you definitely don'tsee." In writing, this is called point of view. What is the narrator notwilling to see?
真相是，我们不知道这位女士的丈夫是否出轨，或者为什么他们的性生活在两年前发生了改变，或者这些深夜电话真正是因为什么。这还可能是由于她的过去，她在写仅仅关于背叛的故事，但可能也有其他事情，她在邮件中不想让我或者甚至她自己，看见的。就像在做罗夏克墨渍测验的人。你们都知道罗夏克墨渍测验是什么吧？一个心理学家给你看一些墨迹，比如这样的，之后问你，“你看见了什么？”于是这个人看着他的墨迹说，“好吧，我确定没有看见血。”于是检测人员说，“好的，告诉我你绝对没看见什么其他东西。”在写作中，这被称为视角。叙述者不愿意看见什么？
11:08
So, I want to read you one more letter. Andit goes like this.
所以，我想要给你们再读一封信。它是这样的。
11:16
"Dear Therapist, I need help with mywife. Lately, everything I do irritates her, even small things, like the noiseI make when I chew. At breakfast, I noticed that she even tries to secretly putextra milk in my granola so it won't be as crunchy."
“亲爱的咨询师，我跟我妻子需要帮助。最近，我做的每件事都让她生气，即便很小的事情，比如我咀嚼的声音。早餐时，我注意到她甚至偷偷地往我的麦片里加牛奶，所以它不会那么脆。”
11:33
(Laughter)
（笑声）
11:34
"I feel like she became critical of meafter my father died two years ago. I was very close with him, and her fatherleft when she was young, so she couldn't relate to what I was going through.There's a friend at work whose father died a few months ago, and whounderstands my grief. I wish I could talk to my wife like I talk to my friend,but I feel like she barely tolerates me now. How can I get my wife back?"
“两年前在我父亲去世后，我感到她对我来说变得越加重要了。我曾跟父亲非常亲近，她父亲在她很小时就离开了她，所以她无法理解我所经历的一切。我的一个同事朋友，她父亲在几个月前也去世了，她能理解我的悲伤。我真希望我可以像跟我朋友一样和我妻子谈谈，但我感觉她现在很难忍受我。我应该怎样才能把妻子找回来呢？”
11:57
OK. So, what you probably picked up on isthat this is the same story I read you earlier, just told from anothernarrator's point of view. Her story was about a husband who's cheating, hisstory is about a wife who can't understand his grief. But what's remarkable, isthat for all of their differences, what both of these stories are about is alonging for connection. And if we can get out of the first-person narration andwrite the story from another character's perspective, suddenly that othercharacter becomes much more sympathetic, and the plot opens up. That's thehardest step in the editing process, but it's also where change begins.
好了。所以你们可能注意到了这是我早先给你们读的同个故事，只是从另一个叙述者的视角来讲的。她的故事是一个出轨的丈夫，他的故事是一个无法理解他伤痛的妻子。尽管他们的故事有些差别，但明显的是，这两个故事都是关于对相处连接的渴望。如果我们能跳出第一人称的视角，从另一个角色的视角去书写故事，突然之间，另一个角色就变得更让人同情了，故事情节也就此展开。这是在编辑环节最困难的一步，但这也是改变发生的地方。
12:36
What would happen if you looked at yourstory and wrote it from another person's point of view? What would you see nowfrom this wider perspective? That's why, when I see people who are depressed, Isometimes say, "You are not the best person to talk to you about you rightnow," because depression distorts our stories in a very particular way. Itnarrows our perspectives. The same is true when we feel lonely or hurt orrejected. We create all kinds of stories, distorted through a very narrow lensthat we don't even know we're looking through. And then, we've effectivelybecome our own fake-news broadcasters.
如果你看着你的故事并从另一个人的视角来写同样的故事，会怎样？从这更广阔的视角中你现在会看到什么？这也是为什么，当我看到人们沮丧时，我有时候说：“你不是此刻跟你谈话的最好人选”。因为抑郁会以一种特定的方式扭曲我们的故事。它缩小了我们的视角。当我们感到孤独、被伤害，或被拒绝时，也是一样。我们制造的各种故事，被一个我们甚至不知道其存在的非常小的镜头扭曲。然后，我们就变成了自己生活的假新闻主播。
13:13
I have a confession to make. I wrote thehusband's version of the letter I read you. You have no idea how much time Ispent debating between granola and pita chips, by the way. I wrote it based onall of the alternative narratives that I've seen over the years, not just in mytherapy practice, but also in my column. When it's happened that two peopleinvolved in the same situation have written to me, unbeknownst to the other,and I have two versions of the same story sitting in my inbox. That really hashappened. I don't know what the other version of this woman's letter is, but Ido know this: she has to write it. Because with a courageous edit, she'll writea much more nuanced version of her letter that she wrote to me. Even if herhusband is having an affair of any kind -- and maybe he is -- she doesn't needto know what the plot is yet. Because just by virtue of doing an edit, she'llhave so many more possibilities for what the plot can become.
我得坦白。我刚读给你们的丈夫版本，是我写的。顺便，你们不知道我花了多长时间 在麦片和皮塔饼之间挣扎选择。我写这个是 基于我过去这些年所看到的 所有叙事故事的“替代版本”。不仅在咨询师的工作中，而且也在我的专栏中，当陷入同一情况中的双方在不知情的情况下，同时给我写信我会有同个故事的两个不同版本在我的信箱中。那真的发生过。我不知道这个女士的故事另一个版本是怎样的，但我知道的是：她得写出来。因为一个勇敢的编辑，她会给我写一封更细致入微的信。即便她的丈夫有任何外遇——也许他确实如此——她不需要知道情节是什么。因为仅仅通过编辑，她会拥有很多可能展开的情节。
14:11
Now, sometimes it happens that I see peoplewho are really stuck, and they're really invested in their stuckness. We callthem help-rejecting complainers. I'm sure you know people like this. They'rethe people who, when you try to offer them a suggestion, they reject it with,"Yeah, no, that will never work, because ..." "Yeah, no, that'simpossible, because I can't do that." "Yeah, I really want morefriends, but people are just so annoying."
有时，我看到人们真的被困住了，他们极其投入于自己的停滞不前。我们称他们为“拒绝帮助的抱怨者”。你们肯定认识这样的人。他们是那些当你试图给他们建议时，他们这样拒绝：“对的，不行，那不会有用，因为……”“是的，不行，那不可能因为我不会那样做。”“是的，我真的想要交更多朋友，但人们实在太烦人了。”
14:38
(Laughter)
（笑声）
【碍于字符限制，讲稿无法全部呈现。建议大家：点击播放界面上的“词”按钮就能看到同步的完整版中英文字幕哦~】
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