【正文】 to all of these elements is listening on the sheerly musical plane. 對(duì)我們大多數(shù)人來(lái)說(shuō)對(duì)純音樂(lè) 層面變得敏感是非常重要的，畢竟，真正音樂(lè)就用到它。明智的聽(tīng)眾必須作好準(zhǔn)備，提升自己對(duì)音樂(lè)素材的意識(shí)和它的發(fā)展趨勢(shì)。他必須會(huì)唱旋律、節(jié)奏、和聲，有意識(shí)的欣賞音色。為了能夠跟的上創(chuàng)作者思想的主線，首當(dāng)其沖的是，要懂音樂(lè)形式的規(guī)律，按以上各因素去聽(tīng)音樂(lè)是純音樂(lè)層次上的欣賞。 I have split up mechanically the three hypothetical, separate planes on which we listen merely for the sake of greater clarity , Actually, we never listen on only one or the other of the three planes What we do is to correlate themlistening in all three ways at the same time. It takes no mental effort, for we do it instinctively. 我機(jī)械地把聽(tīng)音樂(lè)分成三個(gè)假設(shè)的互相分隔的層面，是為了把它分析得更清楚，實(shí)際上，我們決不會(huì) 只有在三個(gè)層面的某一個(gè)層面聽(tīng)音樂(lè)，我們本能地同時(shí)在三個(gè)層面上聽(tīng)音樂(lè)。 In a sense, the ideal listener is both inside and outside the music at the same moment, judging it and enjoying it, wishing it would go one way and watching it go another—almost like the poser at the moment he poses it。 because in order to write his music, the poser must also be inside and outside his music, carried away by it and yet coldly critical of it. A subjective attitude is implied in both creating and listening to music. 一句話，明智的聽(tīng)眾同時(shí)能夠穿進(jìn)音樂(lè)，又能穿出音樂(lè)，評(píng)判它，欣賞它， ……就像作曲家創(chuàng)作的時(shí)刻，為了寫好音樂(lè)，作曲家必須深入到音樂(lè)里面，然后再跳出來(lái)，一方面，要陶醉于它，一方面又冷靜地評(píng)判它，那才是創(chuàng)作音樂(lè)和欣賞音樂(lè)的主觀態(tài)度。 What the listener should strive for, then is a more active kind of listening ,Whether you listen to Mozart or Duke Ellington, you can deepen your understanding of music only by being a more conscious and aware listenernot someone who is just listening, but someone who is listening for something. 聽(tīng)眾首先要做到積極主動(dòng)地聽(tīng)音樂(lè)，聽(tīng)莫扎特的也好，聽(tīng)迪克 埃令頓的也好，只要你成為一個(gè)有意識(shí)的聽(tīng)眾，你就會(huì)加深對(duì)音樂(lè)的理解 一個(gè)人不僅僅是要聽(tīng)，而是要聽(tīng)出點(diǎn)什么。 鐘候波 P100 英譯漢 As a devoted participant in the college annual song contest for the past two years ,it has e to my attention that petitiveness and the desire to win have overthrown the school spirit and overall togetherness that the event was designed to generate. When classes are so bent on winning that they actually resort to spying on their rivals in hopes they can turn their opponents in on some technicality, things in my opinion, have gone just a bit too far, Is it really worth winning if it means deliberately damaging your petition to do it? 在過(guò) 去的兩年中，我一直是一年一度校園歌詠比賽的積極參加者。我注意到，競(jìng)爭(zhēng)和想取勝的欲望違背了我們的學(xué)校精神，違背了學(xué)校通過(guò)比賽達(dá)到全校同學(xué)共同參與的初衷。如果某個(gè)年級(jí)取勝心切，不惜采取刺探的手法將別人的技巧 ―偷 ‖到手，我以為這種做法已經(jīng)有些過(guò)分了。倘若這樣做就意味著比賽原則遭到破壞，那么即使贏了又有什么意義呢？ P100 漢譯英 Let‘s suppose there are three hypothetical, separate planes on which we listen to music. The first plane is sensuous. It is the plane on which we listen for the sheer pleasure of the musical sound itself and we hear music without thinking, without considering it any way. This is the simplest way of listening to music. The second is the expressive plane. On this plane we listen not only for the pleasure of the musical sound but also for the understanding of what the piece of music is saying. All music has a theme. But while listening, each listener feels for himself the specific expressive quality of the theme. The third plane on which music exists is the sheerly musical plane. When we listen to music we must be prepared to increase our awareness of the melodies. The rhythms, the harmonies etc. Actually, we never listen on only one or the other of the three planes. What we do is to instinctively listen in all three ways at the same time. 讓我們假設(shè)人們聽(tīng)音樂(lè)有三個(gè)層面。第一個(gè)是感官層面。在這個(gè)層面上，聽(tīng)音樂(lè)的方法最簡(jiǎn)單。聽(tīng)音樂(lè)不用思考，純粹為了消遣聽(tīng)音樂(lè)美妙的聲音。第二個(gè)是表意層面。我們聽(tīng)音樂(lè)不僅聽(tīng)悅耳的聲音，還要了解音樂(lè)所表達(dá)的意思。每支樂(lè)曲都有它的主題，但是，不同的人對(duì)同樣的音樂(lè)有不同的感悟。最后一個(gè)是純音樂(lè)層面。我們聽(tīng)音樂(lè)時(shí)，應(yīng)該注意音樂(lè)的旋律、節(jié) 奏、和聲等。其實(shí)，我們決不會(huì)只在這三個(gè)層面的某一個(gè)層面上聽(tīng)音樂(lè)。我們本能地同時(shí)在三個(gè)層面上聽(tīng)音樂(lè)。 鐘候波 英語(yǔ)第 8單元 Unit 8 Text1 A Romance That War Cannot Silence There’s not a single false gesture in Frances Itani’s ―Deafening.‖ Despite its subjectswar, romance, disabilityit’s a story of careful, measured emotion, bleached of all sentimentality. The publisher has poisoned the novel as a debut in America, but Canadians have been reading Itani for decades, and every page of this story betrays the hands of a mature writer. 弗朗思 伊塔妮的作品 ―聾啞 ‖中并不是僅有啞語(yǔ)，雖然它的主題是戰(zhàn)爭(zhēng)、浪漫和殘疾。但它是一個(gè)細(xì)膩，多情，被感傷漂洗了的凄美故事。盡管加拿大人讀伊塔妮的作品已幾十年了，但出版商還是把她的這部小說(shuō)定位在美洲首發(fā)，并且這部小說(shuō)每一章頁(yè)都有有違于這位成熟作家的以前的寫作手法。 The heroine, Granis O’Neill, was robbed of her hearing at the age of 5 in the early 20th century. Itani narrates her life in a voice filled with the rhythm of the deaf girl’s thoughts and sensibilities, a technique that submerges us in Grania’s silent but vivid world, a place ―divided into things that move and things that don’t move.‖ 故事的女主人公格蘭麗亞 歐 內(nèi)爾，生活在 20 世紀(jì)早期，她五歲時(shí)喪失了聽(tīng)力。伊塔妮描述了一個(gè)充滿聾啞女孩思想情感節(jié)奏的生動(dòng)的故事。她的這種寫作手法給我們?cè)佻F(xiàn)了格蘭麗亞靜默但形象的內(nèi)心世界。 Her parents are too burdened by guilt and too involved in difficulty in hopes for a miracle to work with their daughter’s obvious intelligence, but her grandmother remains determined to teach Grania to read. The process involves studying simple pictures and words, feeling her grandmother’s throat, and attending to the slight fluttering of others’ lips. Every everywhere, there are traps and tricks, puns and homonyms, silent k’s and g’s, and, worst of all, mustaches that hide speakers’ words. 她的父母負(fù)擔(dān)太重，雖肩負(fù)著艱難困苦，但他們還是希望在自己聰明的女兒身上再現(xiàn)奇跡。她的祖母拿定決心教她讀書。最初學(xué)習(xí)過(guò)程是學(xué)習(xí)簡(jiǎn)單圖片和單詞，讓她手觸外祖母喉嚨，同時(shí)要注意觀察別人嘴唇的輕微振動(dòng)。學(xué)習(xí)過(guò)程中處處是陷阱和詭計(jì)，很多雙關(guān)詞和同音異形詞，清輔音 g`s和 k`s 也難以分辨。更為糟糕的 是說(shuō)話者的大胡子使她分不清說(shuō)話者的詞語(yǔ)。 But ―nothing will stop Grania,‖ Itani writes. ―when she is alone she stands on tiptoe on the stoop at the back, behind the laundry, and she watches her reflected mouth in the narrow window. She takes a bite. She studies each word separately. She holds her voice as close to herself as she can. It is like pressing a pillow against her chest, the way the boy in the picture presses the book to his sailor suit.‖ ―但什么也難不倒格蘭麗亞 ‖伊塔妮寫道， ―當(dāng)她獨(dú)自一人時(shí)，她踮著腳尖背對(duì)走廊站著，那后面是洗衣店。在狹窄的走廊過(guò)道上觀察反射回的自己的嘴唇，她一點(diǎn)一滴地，分別學(xué)習(xí)每一個(gè)詞。她盡可能使聲音，緊緊接近自己，就像把一個(gè)枕頭緊緊靠在胸前，也像掛圖上的小男孩一樣，緊緊把書靠近他的海軍蘭外衣。 ‖ Showing Grania pull herself into the world of language so deliberately