他尽可能地推迟那一天的到来：在 1936 的《摩登时代》里，他第一次在影片里发声唱歌。在片中，他扮演一名侍者，满口胡言乱语，听起来不像任何国家的语言。
He later said he imagined the Tramp to be a college-educated gentleman who'd come down in the world.
后来他说，他想象中的“流浪汉”是一位受过大学教育，但已经没落的绅士。
But if he'd been able to speak with an educated accent in those early short comedies, it's doubtful if he would have achieved world fame.
但假如他在早期那些短小的喜剧电影中能操一口受教育人的口音，那么他是否会闻名世界就难说了，
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And the English would have been sure to find it \was certain whether Chaplin did it on purpose but this helped to bring about his huge success.
而英国人也肯定会觉得这很“古怪”。没有人知道卓别林这么干是不是有意的，但这促使他获得了巨大的成功。
He was an immensely talented man, determined to a degree unusual even in the ranks of Hollywood stars.
他是一个才能非凡的人，他的决心之大甚至在好莱坞明星中也十分少见。
His huge fame gave him the freedom—and, more importantly, the money—to be his own master.
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他的巨大名声为他带来了自由，更重要的是带来了财富，他因此得以成为自己的主人。
He already had the urge to explore and extend a talent he discovered in himself as he went along.
在事业发展之初，他就感到一种冲动要去发掘并扩展自己身上所显露的天才。
\greeted the first sight of himself as the Tramp on the screen.
当他第一次在银幕上看到自己扮演的“流浪汉”时，他说：“这不可能是我。那可能吗？瞧这角色多么与众不同啊！”
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But that shock roused his imagination.
这种震惊唤起了他的想象。
Chaplin didn't have his jokes written into a script in advance; he was the kind of comic who used his physical senses to invent his art as he went along.
卓别林并没有把他的笑料事先写成文字。他是那种边表演边根据感觉去创造艺术的喜剧演员。
Lifeless objects especially helped Chaplin make \himself as an artist.
没有生命的物体特别有助于卓别林发挥自己艺术家的天赋。
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