新标准大学英语综合教程3课文与翻译

the kitchen. When a religious festival was approaching, she used to 每逢宗教节日临近，她都要忙上一整天，为家be busy all day preparing a sumptuous family dinner for the 人准备丰盛的晚宴。 小时候我一直和爷爷奶evening. As a child, I would often stay with my grandparents and so 奶在一起，也就成了奶奶的帮厨。 那时我对I was her helper. I used to feel really proud going to the larder to 自己能到储藏室把鸡蛋完好无损地取回来感fetch the eggs, carrying them back carefully so as not to drop them. 到非常自豪。 储藏室里五味俱全，里面有面The larder smelled of everything all at once, flour, spices, honey, 粉、香料、蜂蜜、食用油、柴禾。 我总在观oil, wood. I would watch her every move and she would describe 察奶奶的动作，她会把手头的每一样活都细细everything she was doing in detail so that I would learn.―Pass me 地给我解释，教我怎么做。 她经常会说―把那that fella there‖, she would said, pointing to a frying pan or an 东西递给我‖，手指着一个炒菜锅或是一颗洋onion. Everything was important. Deborah, England

葱。 每件事都很重要。 黛博拉 英国

2 I spent my childhood with my grandmother. I have a funny 2. 我的童年是跟奶奶过的，说起她就让我想memory of her. She used to smoke cigarettes that she rolled herself 起一段有趣的往事。 她经常用报纸卷烟抽。 in a piece of newspaper. When she was not home, I decided to try 有一天她不在家，我想学她的样，就用报纸卷the same. I rolled a piece of newspaper without tobacco inside. 了一个烟卷，但里面没放烟丝。 我点燃报纸Then I lit the roll and tried to smoke it. It burned quickly all the way 卷，放到嘴里吸，报纸很快就烧到了我的鼻头to my nose. I was so embarrassed. Even now, my family talks about 上。 我觉得很丢脸，至今家里人还时常提起that incident. Myeong Ok Lee, South Korea

这件糗事。 李明宇 韩国

3 When I was a child, I would play with stray cats and dogs in 3. 我小时候常和附近的流浪猫、流浪狗玩。 the neighbourhood.

4. 我训练它们，我们一起玩―老师和学生‖、

4 I trained them. We played games which could be called ―医生和病人‖、―售货员和顾客‖、―抢劫犯和他―teachers and students‖, ―doctors and patients‖, ―sellers and 们的头儿‖等游戏。 buyers‖, ―robbers and their leader‖, and so on.

5. 我回家时后面跟了一帮―朋友‖，妈妈吓坏

5 One day when I came home with ―my friends‖ following me, 了。 她冲我直嚷嚷，我只好答应她以后再也my mother was shocked. She shouted at me, and I promised that it 不带它们回家了。 可是后来有一次，她又发would never happen again. However, she found me once again in 现我在自己屋里和好几只狗一起玩―合唱队与my room with my dogs playing a game: ―the chorus and the 乐团‖的游戏。 奥尔加 俄罗斯 orchestra‖. Olga, Russia

6. 小时候，我们没钱买玩具。 有一天，我

6 When I was a small boy, we didn't have any money to buy toys. 们没花一分钱就得到了一个大玩具。 一架俄But one day we got a big toy without paying any money at all. A 罗斯飞机因为燃油耗尽迫降在操场的沙地上，Russian plane, low on fuel, made an emergency landing in the sand 这对我们这个只有几百号人的寂静的小村庄on our playground. It was such exciting news for a small, sleepy 来说可是个激动人心的消息。 因为以前没见village with a population of several hundred people. As no one had 过飞机，全村的人都到操场围观。 我父亲和ever seen a plane before, the entire population of the village came 镇公所的几个官员逮捕了飞行员，那架飞机则to see the plane in our playground. My father and other town 永远地留在了沙地里，成了我们最喜爱的玩officials arrested the pilot, but his plane stayed in that sand forever. 具。 我们常坐在驾驶座上，好像自己与那位It became our favourite toy. We would sit in the pilot's seat, and 糟糕的俄罗斯飞行员不同，是世界上最棒的飞pretend that, unlike the Russian pilot, we were the best pilots in the 行员。 意德兹 土耳其 world. Yildiz, Turkey

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新标准大学英语综合教程3课文与翻译

Unit 3-1 How we listen

我们是怎样听音乐的

1 We all listen to music according to our separate capacities. 1. 我们都按照各自不同的能力来听音乐。 但But, for the sake of analysis, the whole listening process may 为了便于分析，如果把听的整个过程分成几个become clearer if we break it up into its component parts, so to 组成部分，那么这个过程会更清晰一些。 从某speak. In a certain sense we all listen to music on three separate 种意义上来说，我们听音乐有三个不同的层次。 planes. For lack of a better terminology, one might name these: 由于缺乏更好的术语，我们姑且把它们命名为：(1) the sensuous plane, (2) the expressive plane, (3) the sheerly （1）感官层次；（2）表现层次；（3）纯音乐musical plane. The only advantage to be gained from 层次。 把听的过程机械地分割为以上三个假想mechanically splitting up the listening process into these 的层次，唯一的好处是让我们更清楚地了解自hypothetical planes is the clearer view to be had of the way in 己是怎样听音乐的。 which we listen.

2. 听音乐最简单的方式是为了去获取乐声带

2 The simplest way of listening to music is to listen for the 来的纯粹的愉悦感，这是音乐的感官层次。 在sheer pleasure of the musical sound itself. That is the sensuous 这个层次上，我们只是听音乐，不做任何思考。 plane. It is the plane on which we hear music without thinking, 我们打开收音机，一边做着其他的事情，一边without considering it in any way. One turns on the radio while 心不在焉地沉浸在音乐中。 乐声本身的魅力带doing something else and absent-mindedly bathes in the sound. A 我们进入一种无需思考的美妙心境。 kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music.

3. 令人意外的是，许多自认为是合格的音乐爱好者在听音乐时过多地使用了这一层次。 他们

3 The surprising thing is that many people who consider 去听音乐会是为了忘却自我。 他们把音乐当成themselves qualified music lovers abuse that plane in listening. 一种慰藉，一种逃避，由此他们进入了一个可They go to concerts in order to lose themselves. They use music 以忘却日常生活的理想世界。 当然，他们也没as a consolation or an escape. They enter an ideal world where 有在思考音乐。 音乐允许他们离开现实，到另one doesn't have to think of the realities of everyday life. Of 一个地方去做梦，因为音乐而做梦，做有关音course they aren't thinking about the music either. Music allows 乐的梦，却从没有真正欣赏过音乐。 them to leave it, and they go off to a place to dream, dreaming

because of and apropos of the music yet never quite listening to it. 4. 的确，乐声的魅力是一种强大而原始的力

量，但是你不该让它占据你过多的兴趣空间。 4 Yes, the sound appeal of music is a potent and primitive 感官层次是音乐的一个重要层次，非常重要，force, but you must not allow it to usurp a disproportionate share 但并不是音乐的全部。 of your interest. The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story.

5. 音乐存在的第二个层次就是我所说的表现层次。 一提到这个问题，我们马上就进入到一

5 The second plane on which music exists is what I have called 个颇具争议的领域。 作曲家总是设法避开有关the expressive one. Here, immediately, we tread on controversial 音乐表现方面的讨论。 斯特拉温斯基不是曾经ground. Composers have a way of shying away from any 声称他的音乐是一个―物体‖，是一件有自我生命discussion of music's expressive side. Did not Stravinsky himself 的―东西‖，除了纯音乐性的存在之外没有任何别proclaim that his music was an \的含意吗？斯特拉温斯基这种不妥协的态度可its own, and with no other meaning than its own purely musical 能源于这样的一个事实：有那么多的人尝试着existence? This intransigent attitude of Stravinsky's may be due to 从众多的音乐作品中读出完全不同的含意。 确the fact that so many people have tried to read different meanings 实，要准确地说出一部音乐作品的含意已经很

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新标准大学英语综合教程3课文与翻译

into so many pieces. Heaven knows it is difficult enough to say 难了，要肯定并确定地说出来，还要使每个人precisely what it is that a piece of music means, to say it 对你的解释都感到满意，是难上加难。 但我们definitely, to say it finally so that everyone is satisfied with your 不该因此走到另一个极端，不能去剥夺音乐―表explanation. But that should not lead one to the other extreme of 现‖的权利。 denying to music the right to be \

6. 可能的话，你不妨听听巴赫的《平均律钢琴

6 Listen, if you can, to the 48 fugue themes of Bach's 曲集》中的48个赋格主题。 依次地、一个个Well-Tempered Clavichord. Listen to each theme, one after 地听听其中的每一个主题，你很快就会意识到another. You will soon realize that each theme mirrors a different 每个主题都反映了一个不同的情感世界，你很world of feeling. You will also soon realize that the more 快也会意识到你越觉得某个主题美妙，就越难beautiful a theme seems to you the harder it is to find any word 找到令你完全满意的字眼来描述它。 是的，你that will describe it to your complete satisfaction. Yes, you will 当然知道那个主题是欢快的还是悲伤的。 换句certainly know whether it is a gay theme or a sad one. You will be 话说，你能够在脑海中勾勒出那个主题的情感able, in other words, in your own mind, to draw a frame of 框架。 那么就更仔细地听一下这个悲伤的主题emotional feeling around your theme. Now study the sad one a 吧，要明确悲伤的性质。 是悲观厌世的悲伤，little closer. Try to pin down the exact quality of its sadness. Is it 还是无可奈何的悲伤？是时运不济的悲伤，还pessimistically sad or resignedly sad; is it fatefully sad or 是强颜欢笑的悲伤？ smilingly sad?

7. 假设你很幸运，能用许多词句充分表达你对

7 Let us suppose that you are fortunate and can describe to your 选中主题的确切理解。 但这仍然无法保证其他own satisfaction in so many words the exact meaning of your 人对你的理解都感到满意，他们也完全没有必chosen theme. There is still no guarantee that anyone else will be 要感到满意。 重要的是，每个人能亲自感受某satisfied. Nor need they be. The important thing is that each one 个主题的表现力，或以同样的方式去感受一部feels for himself the specific expressive quality of a theme or, 完整的音乐作品独特的表现力。 如果是一部伟similarly, an entire piece of music. And if it is a great work of art, 大的音乐作品，就别指望每次去听它都能给你don't expect it to mean exactly the same thing to you each time 带来相同的感受。 you return to it.

8. 音乐存在的第三个层次是纯音乐层次。 除

8 The third plane on which music exists is the sheerly musical 了令人愉悦的乐声及其所表现的情感之外，音plane. Besides the pleasurable sound of music and the expressive 乐也因其音符本身以及对音符的处理而存在。 feeling that it gives off, music does exist in terms of the notes 多数听众都没有充分认识到音乐的这第三个层themselves and of their manipulation. Most listeners are not 次。 sufficiently conscious of this third plane.

9. 对我们所有人来说，更加充分地认识这个纯

9 It is very important for all of us to become more alive to 音乐层次非常重要。 毕竟乐曲使用的是实实在music on its sheerly musical plane. After all, an actual musical 在的音乐材料。 聪明的听众一定要做好准备，material is being used. The intelligent listener must be prepared to 随时提升自己对音乐材料以及这些材料的使用increase his awareness of the musical material and what happens 的理解。 他必须要更加有意识地倾听音乐的旋to it. He must hear the melodies, the rhythms, the harmonies, the 律、节奏、和弦及音色。 但最重要的是，为了tone colors in a more conscious fashion. But above all he must, in 能够跟上作曲家的思路，他还必须了解一些音order to follow the line of the composer's thought, know 乐形式方面的知识。 去听所有这些成分就是在something of the principles of musical form. Listening to all of 纯音乐层次上欣赏音乐。 these elements is listening on the sheerly musical plane.

10. 让我重复一遍，我仅仅是为了讲解得更清楚

10 Let me repeat that I have split up mechanically the three 才把听音乐的三个层次机械地分割开来的。 事separate planes on which we listen merely for the sake of greater 实上，我们从来都不会只在其中的一个层次上

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clarity. Actually, we never listen on one or the other of these 听音乐。 我们其实是把它们联系起来，同时在planes. What we do is to correlate them—listening in all three 三个层次上听音乐。 这并不需要付出多少脑ways at the same time. It takes no mental effort, for we do it 力，因为我们是凭本能这么做的。 instinctively.

11. 也许，用去剧院看戏来作类比，能使这种本

11 Perhaps an analogy with what happens to us when we visit 能的联系更加明白易懂。 在剧院里，你能注意the theater will make this instinctive correlation clearer. In the 到男女演员、服装和布景、声音和动作。 这些theater, you are aware of the actors and actresses, costumes and 东西组合在一起，会让我们觉得剧院是一个令sets, sounds and movements. All these give one the sense that the 人愉悦的地方，它们构成了我们欣赏戏剧的感theater is a pleasant place to be in. They constitute the sensuous 官层次。 plane in our theatrical reactions.

12. 戏剧的表现层次来自于你看舞台表演时获

12 The expressive plane in the theater would be derived from 得的感受。 它激起你的怜悯、兴奋或是愉悦。 the feeling that you get from what is happening on the stage. You 正是这种笼统的感觉，除了听台词所感受到的，are moved to pity, excitement, or gaiety. It is this general feeling, 主要是存在于舞台上的某种情感的东西，与音generated aside from the particular words being spoken, a certain 乐的表现性相类似。 emotional something which exists on the stage, that is analogous to the expressive quality in music.

13. 剧情以及剧情的发展相当于我们所说的纯音乐层次。 剧作家塑造和发展戏剧人物的方

13 The plot and plot development is equivalent to our sheerly 式，和作曲家创造和发展主题的方式是一样的。 musical plane. The playwright creates and develops a character in 你能否成为一个聪明的听众，取决于你对剧作just the same way that a composer creates and develops a theme. 家或音乐家处理艺术材料的手段的了解有多According to the degree of your awareness of the way in which 深。 the artist in either field handles his material will you become a more intelligent listener.

14. 显然，看戏的人从来就不会单独注意到这其中的一个元素。 他是同时注意到了一切。 听

14 It is easy enough to see that the theatergoer never is 音乐的道理也是一样的，我们同时地、不假思conscious of any of these elements separately. He is aware of 索地在三个层次上倾听音乐。 them all at the same time. The same is true of music listening. We simultaneously and without thinking listen on all three planes.

Unit 3-2 The mystery of Girl with a Pearl Earring 《戴珍珠耳环的少女》之谜 《戴珍珠耳环的少女》是荷兰画家约翰尼1 The painting Girl with a Pearl Earring is one of the greatest 1. works by the Dutch painter Johannes Vermeer, and one of the 斯 ? 维梅尔最伟大的作品之一，也是世界上最受best loved paintings in the world. It shows a striking young 欢迎的画作之一。 画里有一位引人注目的年轻woman wearing an exotic costume and a turban, peering over her 女子，身穿异国服饰，戴着头巾，她侧身回眸，shoulder straight out at the viewer. Set against a dark and 望着欣赏画作的观众。 画面的背景一片漆黑，unspecified background, our eyes are drawn to her pearl earring, 我们的视线被吸引到女子所佩戴的珍珠耳环上，the focal point of the painting. But after more than a century of 那耳环也是整幅画的焦点。 这幅画在被世人研study, the work poses some fascinating questions. Who is the 究了一个多世纪后，仍然留存着一些饶有趣味的16 / 64