He becomes a sower, a reaper, a spinner, a weaver, a baker, a brewer, a distiller, a dyer, a carpenter; and whilst he is these, he bends the pliant stems of his tropical forests into roof-trees and rafters, and clothes them with leaves, and makes for himself a tabernacle of boughs, and so is the arch-architect of a second great school of architecture; and, by-and-by, his twisted branches and interlaced leaves grow into Grecian columns with Corinthian acanthus capitals, and Gothic pillars, with petrified plants and stony flowers gracefully curling round them.
野蠻人逐漸變成了農(nóng)民、織工、面包師、釀酒家、染工和木匠。他們用熱帶雨林里柔韌的樹枝建造屋頂和椽子、用樹葉裹體、為自己搭建樹屋，就如同二流建筑學(xué)校里的拱建筑師所做的那樣。隨著時間的流逝，樹枝和樹葉變成了帶有科林斯式柱頭裝飾的希臘圓柱和哥特式支柱，柱上有奇特的植物和冷峻的花兒優(yōu)雅地纏繞攀附。
Once more: in those temperate regions where large animals and trees do not greatly abound, turfs, or mud, or clay, or stones, or all together, can be fashioned into that outermost garment which we call a house, and which we most familiarly connect with the notion of architecture.
然而，在沒有大型動物生活、也沒有大量樹木生長的溫帶地區(qū)，卻可以用草皮、地泥和石頭混在一起搭建最外層的保護殼——我們稱之為房屋，這和我們再熟悉不過的建筑學(xué)概念緊密相關(guān)。
It is not, however, his cultivation either of the arts which have been named, or of others, that makes man peculiar as an industrial animal; —it is the mode in which he practises them. The first step he takes towards remedying his nakedness and helplessness, is in a direction in which no other creature has led the way, and none has followed his example. He lays hold of that most powerful of all weapons of peace or war, Fire, from which every other animal, unless when fortified by man's presence, flees in terror; and with it alone not only clothes himself, but lays the foundation of a hundred arts.
不過，這和將人類變成獨特工業(yè)動物的所謂藝術(shù)或者其它才藝的培養(yǎng)并無關(guān)聯(lián)，這只是人類將它們付諸實踐的方式。為了不讓自己赤身裸體，為了能延續(xù)生存，人類開辟了一條沒有任何其他生物走過、也沒有任何其他生物效仿的路。人類擁有了掌控一切和平與戰(zhàn)爭的強大武器——火，其他生物除非和人類結(jié)盟，否則只能落荒而逃。有了火，人類不只是不再赤身裸體，同時還奠定了人類自身百年藝術(shù)的基礎(chǔ)。
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