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Its habits are too uncouth for it to respond to humane treatment.
他(她)缺乏教養，性情也很樸拙，即使再對他(她)施以人道的待遇，他(她)也會無動于衷。
Indeed, after so long it would probably be wretched without walls about it to protect it, and darkness for its eyes, and its own excrement to sit in.
說實在的，他(她)對那種生活已經習以為常了，若是將他(她)放出來，失去了牢籠的保護，失去了他(她)的眼睛所習慣的黑暗，再也不能坐在自己的屎尿上，他(她)倒可能覺得難受。
Their tears at the bitter injustice dry when they begin to perceive the terrible justice of reality, and to accept it.
當那些青年人開始認識到現實的這種悲哀的公正性后，他們因看到那孩子的悲慘遭遇而悲傷的淚水便自動地干了。
Yet it is their tears and anger, the trying of their generosity and the acceptance of their helplessness, which are perhaps the true source of the splendor of their lives.
然而，正因為他們在自己的仁義之心經受考驗時悲傷流淚，無可奈何地接受現實時悲憤難抑，他們的生活才如此光輝燦爛。
Theirs is no vapid, irresponsible happiness. They know that they, like the child, are not free.
他們的幸福并不是一種平淡無奇的、不帶義務和條件的幸福。他們完全明白，他們自己其實也像那孩子一樣沒有自由。
They know compassion.
他們懂得憐憫。
It is the existence of the child, and their knowledge of its existence,that makes possible the nobility of their architecture,the poignancy of their music, the profundity of their science.
正是因為有了那孩子的存在以及他們對這一事實的認識，他們的建筑才有可能如此的雄偉壯觀，他們的音樂才有可能如此的震撼人心，他們的科學才有可能如此的高明玄妙。
It is because of the child that they are so gentle with children.
他們對一般兒童也那樣溫和，也正是因為那孩子的關系。
They know that if the wretched one were not There snivelling in the dark, the other one, the flute-player ,could make no joyful music as the young riders line up in their beauty for the race in the sunlight of the first morning of summer.
他們懂得，假如沒有那個可憐的孩子在黑暗的地窖中悲泣，那另一個孩子，即那個吹木笛的孩子，就不可能在那些青年騎手騎著美麗的駿馬迎著第一個夏日列隊等候賽馬開始時吹奏出那樣歡快的樂曲來。
Now do you believe in them? Are they not more credible? But there is one more thing to tell, and this is quite incredible.
現在你相信我描述的這一切了嗎?它們的可信度是否增加了一些?不過，我還有一件事情要講，這件事情卻是真有點令人難以置信。
At times one of the adolescent girls or boys who go to see the child does not go home to weep or rage, does not, in fact, go home at all.
有的時候，某個青年男女去看了那孩子之后并不回家痛苦流涕或是震怒發狂，事實上，他或她根本就不回家。
