摘要:2021年哈佛大学公开录取新生的申请文书，其中中国学生录取文书首次公开，Alice老师为大家整理了全部的文书内容，供大家仔细阅读和参考~
这篇文书内容主题是书法，通过描写自己对书法的偏爱，侧面展现了他在追求知识的无限乐趣。
完整文书：
I have a fetish for writing.
I’m not talking about crafting prose or verses, or even sentences out of
words. But simply constructing letters and characters from strokes of ink gives
me immense satisfaction. It’s not quite calligraphy, as I don’t use calligraphic
pens or Chinese writing brushes; I prefer it simple, spontaneous, and
subconscious. I often find myself crafting characters in the margins of
notebooks with a fifty-cent pencil, or tracing letters out of thin air with
anything from chopsticks to fingertips.
The art of handwriting is a relic in the information era. Why write when
one can type? Perhaps the Chinese had an answer before the advent of keyboards.
“One’s handwriting,” said the ancient Chinese, “is a painting of one’s mind.”
After all, when I practice my handwriting, I am crafting characters.
My character.
I particularly enjoy meticulously designing a character, stroke by stroke,
and eventually building up, letter by letter, to a quote person-alized in my own
voice. Every movement of the pen and every drop-let of ink all lead to something
profound, as if the arches of every "m" are doorways to revelations. After all,
characters are the build-ing blocks of language, and language is the only
vehicle through which knowledge unfolds. Thus, in a way, these letters under my
pen are themselves representations of knowledge, and the delicate beauty of
every letter proves, visually, the intrinsic beauty of know-ing. I suppose
handwriting reminds me of my conviction in this vi-sual manner: through learning
answers are found, lives enriched, and societies bettered.
Moreover, perhaps this strange passion in polishing every single character
of a word delineates my dedication to learning, testifies my zeal for my
conviction, and sketches a crucial stroke of my character.
"We--must--know ... " the mathematician David Hilberts voice echoes in
resolute cursive at the tip of my pen, as he, addressing German scientists in
1930, propounds the goal of modern intellectu-als. My pen firmly nods in
agreement with Hilbert, while my mind again fumbles for the path to
knowledge.
The versatility of handwriting enthralls me. The Chinese devel-oped many
styles -- called hands -- of writing. Fittingly, each hand seems to parallel one
of my many academic interests. Characters of the Regular Hand (kai shu), a
legible script, serve me well during many long hours when I scratch my head and
try to prove a mathematical statement rigorously, as the legibility illuminates
my logic on paper. Words of the Running Hand (xing shu), a semi-cursive script,
are like the passionate words that I speak before a committee of Model United
Nations delegates, propounding a decisive course of action: the words, both
spoken and written, are swift and coherent but resolute and emphatic. And
strokes of the Cursive Hand (cao shu) resemble those sudden artistic sparks when
I deliver a line on stage: free spontaneous, but emphatic syllables travel
through the lights like rivers of ink flowing on the page.
Yet the fact that the three distinctive hands cooperate so seamlessly,
fusing together the glorious culture of writing, is perhaps a fable of learning,
a testament that the many talents of the Renaissance Man could all be worthwhile
for enriching human society. Such is my methodology: just like I organize my
different hands into a neat personal style with my fetish for writing, I can
unify my broad interests with my passion for learning.
“...We -- will -- know!” Hilbert finishes his adage, as I frantically slice
an exclamation mark as the final stroke of this painting of my mind.
I must know: for knowing, like well-crafted letters, has an inherent beauty
and an intrinsic value. I will know: for my versatile interests in academics
will flow like my versatile styles of writing.
I must know and I will know: for my fetish for writing is a fetish for
learning.
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