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為了確保:若小組內(nèi)的一人開火,其他人在一個(gè)房子內(nèi)能聽到即可,假若槍支未進(jìn)行消音,那么會(huì)引起暫時(shí)性耳聾。以影視而論,它們是視覺上的陳詞濫調(diào);以文學(xué)作品而論,它們是文字上的陳詞濫調(diào)。她跑到樓上,那是她和姐姐的寢室。 she might by seven or eight. Only the back of her can be seenblue dress, black stockings, black shoes. Her hat, flowers tumbling from the crown, hangs downwards from one hand. A doll wearing a red dress hangs limply from the other. The doll’s hair is as red as Grania’s. No one in the picture is moving. The calf looks too startled to lift a hoof. Grania points to two words beneath the picture and looks at Mamo’s mouth ―BOTH AFRAID,‖ Mamo reads. The first sound erupts from grania’s lips. ―BO‖ she says. ―BO‖ Mamo makes the TH shape with her tongue. ―BOTH.‖ 一頭棕白相間的小牛在草坪小路上正盯著小女孩,這個(gè)小女孩從相反方向逐漸靠近它,這小女孩大小,年齡看起來和格蘭麗亞差不多,大該有 七八歲,只能看到她的后背 —藍(lán)裙子,黑襪子,黑鞋。 ‖嬤嬤說 ―一些單詞 ‖她用手指輕敲著封面。 ―坐下吧 ‖她的嘴唇動(dòng)了動(dòng)。 Deafening … A deaf c hild will learn 300 to 500 words in a year if at all intelligent. First, the child is taught the sounds and then how to bine them… ―Go to my room.‖ Mamo is pointing to the floor above. ―Bring the package on my desk.‖ Grania watches her grandmother’s lips. She understands, pushes aside the heavy curtain that keeps the wind from blowing up the stairs, and runs up to the landing. She pauses long enough to glance through the only window in the house that is shaped like a porthole, even though it’s at the back of the house and looks over land, not water. She peers down into the backyard, sees the leaning fence, the paddock and, over to the right, the drive sheds behind Father’s hotel. Far to the left, over the top of the houses on Mil Street, she can see a rectangle of field that stretches in the opposite direction, towards the western edge of town. A forked tree casts a long double shadow that has begun its cornerto corner afternoon slide across the field. Remembering her errand, Grania pulls back, runs to Mamo’s room, finds the package tied up in a square of blue cloth and carries it, wrapped, to the drawing room. Mamo pulls a low chair over beside her rocker. Her rocker moves with her, out to the veranda, back to the drawing room, out to the veranda again. ―Sit here,‖ her lips say. ―到我的房間去 ‖嬤嬤指著樓上的地板。 P116 英譯漢 During the World War II, Catherine Jones worked as a nurse in the army. Like many other young people, she was sent to the front line in Europe. Everyday she had many patients to attend to, giving them injections and some others had been robbed of their sight and hearing. They had suffered so much that those who were seriously wounded had to resort to painkillers. Despite all this, they were still brave and optimistic, which moved Catherine so much, and which made her see the twilight of the victory. 二戰(zhàn)期間,凱瑟琳 格蘭麗亞的最密切的親人,她的小叔雖然沒死,但遭受了苦痛的殘疾,被震啞了,這是歐洲戰(zhàn)場最令人驚嚇的例子。在后方,格蘭麗亞同流行感冒展開了斗爭。 ‖ Married only two weeks, Jim is sent to France as a stretcherbearer, and the novel splits into two very different stories: One remains with Grania, and the other follows Jim into the deep ditches of Europe. Their experiences couldn’t be more different. Itani constructs a striking juxtaposition between Grania’s small, silent world and the chaos of battle that her husband endures. 婚后僅僅兩周,吉姆征召法國前線,作了一名擔(dān)架兵。格蘭麗亞被送進(jìn)一所高級(jí)聾校,她整整哭鬧了兩周,她下決心不再哭鬧了,這兒的訓(xùn)練相當(dāng)艱苦,但她祖母小時(shí)候給她提供了一個(gè)好的基礎(chǔ)。更為糟糕的 是說話者的大胡子使她分不清說話者的詞語。歐 我們聽音樂時(shí),應(yīng)該注意音樂的旋律、節(jié) 奏、和聲等。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)人們聽音樂有三個(gè)層面。 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)械地把聽音樂分成三個(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)層面聽音樂,我們本能地同時(shí)在三個(gè)層面上聽音樂。 Themes or pieces need not express only one emotion, of course. Take such a theme as the first main one of the Ninth Symphony, for example. It is clearly made up of different elements. It does not say only one thing. Now, perhaps the reader will know better what I mean when I say that music does have an expressive meaning but that we cannot say in so many words what that meaning is. 一段音樂主題不僅僅表達(dá)一種情感。這種比較流行的意義音樂的觀念被音樂評(píng)論家刺激并煽動(dòng)著,無論在哪兒,無論在什么時(shí)候,這種觀點(diǎn)都受激勵(lì)。這一點(diǎn)是說聲音成份不同,每一位作曲者不同,那么他音樂風(fēng)格的統(tǒng)一的一部分 音樂形式的利用也不同,當(dāng)聽音樂時(shí)所有這一些必須考慮在內(nèi)。打開收音機(jī),一邊忙別的事情一邊心不在焉地沐浴在樂聲中,這種心不在焉但有吸引力的心身狀態(tài)是由音樂的感染力引起的。在這個(gè)層面上我們聽音樂不用思考,不用考慮, 任何事情。如果你認(rèn)為以上二觀點(diǎn)可能的話,那么拉維爾是比貝多芬還要偉大的創(chuàng)作者。越富有表現(xiàn)力,對(duì)他們越有吸引力。如果它是一部經(jīng)典大作,你別認(rèn)為每次重復(fù)聽的時(shí)候,它的意思會(huì)一樣。為了能夠跟的上創(chuàng)作者思想的主線,首當(dāng)其沖的是,要懂音樂形式的規(guī)律,按以上各因素去聽音樂是純音樂層次上的欣賞。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)有些過分了。最后一個(gè)是純音樂層面。 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 th