Unit 7 Text1 How We Listen to Music
We all listen to music according to our separate capacities. But for the sake of analysis, the whole listening process may become clearer if we break it up into its component parts, so to speak. In a certain sense we all listen to music on three separate planes. For lack of a better terminology , one might name these:(1)the sensuous plane,(2)the expressive plane, (3)the sheerly musical plane.
我们根据各自的能力来听音乐，打个比方来说，如果我们把音乐分成不同的部分，整个听的过程就变得很清楚了。也可以这么说，在某种程度上，我们听音乐分为三个不同的层次，因找不到更好的术语，可这样命名（1）感官层面（2）表义层面（3）纯音乐层面。
The simplest way of listening to music is to listen for the sheer pleasure of the musical sound itself. That is the sensuous plane. It is the plane on which we hear music without chinking, without considering it in any way. One turns on the radio while doing something else and absent-mindedly bathes in the sound .A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music.
最简单的听音乐方式就是听乐声给我们带来纯粹的愉悦，这是感官层面。在这个层面上我们听音乐不用思考，不用考虑，任何事情。打开收音机，一边忙别的事情一边心不在焉地沐浴在乐声中，这种心不在焉但有吸引力的心身状态是由音乐的感染力引起的。
Yes, the sound appeal of music is a potent and primitive force. This appeal to every normal human being is self-evident. The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story.
是的，音乐声的感染力是强有力的，并且是原始的力量，这种感染力对每一个正常的人来说是不言而喻的。感官层面在音乐中是很重要的一个层面。非常重要，但并不是整个故事的全部构成。
Three is , however, such a thing as becoming more sensitive to the different kinds of sound stuff as used by various composers. For all composers do not use that sound stuff in the same way. Don’t get the idea that the value of music is commensurate with its sensuous appeal or that the loveliest sounding music is made by the greatest composer. If that were so. Ravel would be a greater creator than Beethoven. The point is that the sound element varies with each composer, that his usage of sound forms an integral part of his style and must be taken into account when listening. The listener can see, therefore, that a more conscious approach is valuable even on this primary plane of listening.
然而，不同的发音材料被不同的作曲家所用时就变得更加有感染力。所有的作曲者不可能按同一种方式组织材料。不要以为音乐的价值就与它的感官感染力相称，不要以为最美丽动听的音乐就是由伟大的作曲家创造的。如果你认为以上二观点可能的话，那么拉维尔是比贝多芬还要伟大的创作者。这一点是说声音成份不同，每一位作曲者不同，那么他音乐风格的统一的一部分----音乐形式的利用也不同，当听音乐时所有这一些必须考虑在内。
The secondary plane on which music exists is what I have called the expressive one. My own belief is that all music has an expressive power, some more and some less, but all music has a certain meaning behind the notes and that that meaning behind the notes constitutes, after all, what the piece is saying, what the piece is about, This whole problem can be stated quite simply by asking, “Is there a meaning to music?” My answer to that would be. “Yes” And “Can you state in so many words what the meaning is ?”My answer to that would be, “No.” Therein lies the difficulty.
音乐存在的第二层面就是我所谓的表义层面。我认为所有的音乐都有表现力，有的强些，有的弱些。但所有的音乐在每个词和每个词结构里面都蕴含有一定的意义。毕竟，这一支曲子说了些什么？这一支曲子是关于什么的？整个问题可通过问答来陈述“音乐里面含有意思吗？”我的答案是“有”，“你能够用词语把它的意思陈述出来吗？”我的答案将是“不能”，这对我来说的确有困难。
Simple-minded souls will never be satisfied with the answer to the second of these question. They always want music to have a meaning, and the more concrete it is the better they like it. The more the music reminds them of a train, a storm, a funeral, or any other familiar conception, the more expressive it appears to be to them. This popular idea of music’s meaning stimulated and abetted by the usual run of music commentator should be discouraged wherever and whenever it is met.
头脑简单的人们会对第二问题的答案很不满意，他们认为音乐一定有意思，并且意思越具体，他们就越喜欢它。这些音乐会令他们想像出火车，暴风雨，葬礼等或其他相类似概念。越富有表现力，对他们越有吸引力。这种比较流行的意义音乐的观念被音乐评论家刺激并煽动着，无论在哪儿，无论在什么时候，这种观点都受激励。
Music expresses, at different moments, serenity or exuberance, regret or triumph, fury or delight. It expresses each of these moods, and many others, in a numberless variety of subtle shadings and differences, It may even express a state of meaning for which there exists no adequate word in any language. In that case, musicians often like to say that it has only a purely musical meaning.
音乐在不同时刻表达不同内容，或平静或情感充沛激扬，或悔恨或成功，或愤怒或高兴。它都能够表达出每一种不同的情绪。音乐中包含有数不清种类的细微差别和不同。它能表达出的思想状态，甚至任何语言中都没有足够的词语来描述。在这种情况下，就是音乐家们常常说的纯音乐意义状态。
While listening, each listener feels for himself the specific expressive quality of a theme or, the same thing to you each time you return to it.
当听音乐时，一整段音乐，每一位听众都听到不同的表达主题，有时是相似的。如果它是一部经典大作，你别认为每次重复听的时候，它的意思会一样。
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.
一段音乐主题不仅仅表达一种情感。当然，拿第九交响乐为例来说，除了正主题外，很明显，它有不同的主题部分构成。它也不仅仅阐明一个事情。
现在，读者或许能够较好的理解：为什么我说音乐能够表意，但是我们却没有足够的词语把它的意义描述出来
The third plane on which music exists is the sheerly musical plane, Besides the pleasurable sound of music and the expressive feeling that it gives off ,music does exist in terms of notes themselves and of their manipulation. Most listeners are not sufficiently conscious of this third plane.
音乐存在的第三层面就是它的纯音乐层面，除了令人愉悦的乐声和它发出的表达意义外，音乐还以音符音调以及对音符音调熟练地使用等方式存在，大多数听众对这个层面缺乏足够的意识。
It is very important for all of us to become more alive to music on its sheerly musical plane. After all, an actual musical material is being used. The intelligent listener must be prepared to increase his awareness of the musical material and what happens to it . He must hear the melodies, the rhythms, the harmonies, the tone colors in a more conscious fashion. But above all he must, in order to follow the line of the composer’s thought, know something of the principles of musical form. Listening to all of these elements is listening on the sheerly musical plane.
对我们大多数人来说对纯音乐层面变得敏感是非常重要的，毕竟，真正音乐就用到它。明智的听众必须作好准备，提升自己对音乐素材的意识和它的发展趋势。他必须会唱旋律、节奏、和声，有意识的欣赏音色。为了能够跟的上创作者思想的主线，首当其冲的是，要懂音乐形式的规律，按以上各因素去听音乐是纯音乐层次上的欣赏。
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 them-listening in all three ways at the same time. It takes no mental effort, for we do it instinctively.
我机械地把听音乐分成三个假设的互相分隔的层面，是为了把它
分析
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得更清楚，实际上，我们决不会只有在三个层面的某一个层面听音乐，我们本能地同时在三个层面上听音乐。
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 composer at the moment he composes it; because in order to write his music, the composer 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.
一句话，明智的听众同时能够穿进音乐，又能穿出音乐，评判它，欣赏它，……就像作曲家创作的时刻，为了写好音乐，作曲家必须深入到音乐里面，然后再跳出来，一方面，要陶醉于它，一方面又冷静地评判它，那才是创作音乐和欣赏音乐的主观态度。
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 listener-not someone who is just listening, but someone who is listening for something.
听众首先要做到积极主动地听音乐，听莫扎特的也好，听迪克·埃令顿的也好，只要你成为一个有意识的听众，你就会加深对音乐的理解----一个人不仅仅是要听，而是要听出点什么。
P100 英译汉
As a devoted participant in the college annual song contest for the past two years ,it has come to my attention that competitiveness 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 competition to do it?
在过去的两年中，我一直是一年一度校园歌咏比赛的积极参加者。我注意到，竞争和想取胜的欲望违背了我们的学校精神，违背了学校通过比赛达到全校同学共同参与的初衷。如果某个年级取胜心切，不惜采取刺探的手法将别人的技巧“偷”到手，我以为这种做法已经有些过分了。倘若这样做就意味着比赛原则遭到破坏，那么即使赢了又有什么意义呢？
P100 汉译英
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.
让我们假设人们听音乐有三个层面。第一个是感官层面。在这个层面上，听音乐的方法最简单。听音乐不用思考，纯粹为了消遣听音乐美妙的声音。第二个是表意层面。我们听音乐不仅听悦耳的声音，还要了解音乐所表达的意思。每支乐曲都有它的主题，但是，不同的人对同样的音乐有不同的感悟。最后一个是纯音乐层面。我们听音乐时，应该注意音乐的旋律、节奏、和声等。其实，我们决不会只在这三个层面的某一个层面上听音乐。我们本能地同时在三个层面上听音乐。
英语第8单元
Unit 8 Text1 A Romance That War Cannot Silence
There’s not a single false gesture in Frances Itani’s “Deafening.” Despite its subjects-war, romance, disability-it’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“聋哑”中并不是仅有哑语，虽然它的主题是战争、浪漫和残疾。但它是一个细腻，多情，被感伤漂洗了的凄美故事。尽管加拿大人读伊塔妮的作品已几十年了，但出版商还是把她的这部小说定位在美洲首发，并且这部小说每一章页都有有违于这位成熟作家的以前的写作手法。
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.”
故事的女主人公格兰丽亚·欧·内尔，生活在20世纪早期，她五岁时丧失了听力。伊塔妮描述了一个充满聋哑女孩思想情感节奏的生动的故事。她的这种写作手法给我们再现了格兰丽亚静默但形象的内心世界。
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.
她的父母负担太重，虽肩负着艰难困苦，但他们还是希望在自己聪明的女儿身上再现奇迹。她的祖母拿定决心教她读书。最初学习过程是学习简单图片和单词，让她手触外祖母喉咙，同时要注意观察别人嘴唇的轻微振动。学习过程中处处是陷阱和诡计，很多双关词和同音异形词，清辅音g`s和k`s也难以分辨。更为糟糕的是说话者的大胡子使她分不清说话者的词语。
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.”
“但什么也难不倒格兰丽亚”伊塔妮写道，“当她独自一人时，她踮着脚尖背对走廊站着，那后面是洗衣店。在狭窄的走廊过道上观察反射回的自己的嘴唇，她一点一滴地，分别学习每一个词。她尽可能使声音，紧紧接近自己，就像把一个枕头紧紧靠在胸前，也像挂图上的小男孩一样，紧紧把书靠近他的海军兰外衣。”
Showing Grania pull herself into the world of language so deliberately, Itani reinvests words with a power most of us have forgotten. But she controls that power with quiet, remarkable effect.
为了展示格兰丽亚如此熟练地进入语言世界，伊塔妮重新启用了一大部分我们早已忘却的词，并赋予它强大的生命力。她用词清丽，却有意想不到的效果。
After a brief period in a public classroom being alternately ignored or pitied, Grania is sent away to a progressive school for the deaf, where she cries for two weeks and then resolves never to cry again. The training is difficult, but Grania’s grandmother provided a good foundation. “Her hands, to her surprise, and jerkily at first, begin to send ideas out, ”Itani writes. “Her face and body punctuate; her eyes receive. She is falling into, She is entering a new world. She is joining the larger conversation for hands. ”
她在公共学校里待了一段时间，在那儿受到漠视或怜悯同情。格兰丽亚被送进一所高级聋校，她整整哭闹了两周，她下决心不再哭闹了，这儿的训练相当艰苦，但她祖母小时候给她提供了一个好的基础。“令她自己都惊讶的是，她的手，开始时生硬拗口，但逐渐就传递出信息来”伊塔妮写道。“她用脸和身体点标点，她的双眼获取信息，她全身投入了，她进入了一个手语会话的新的世界。”
Soon after she graduates, Grania meets Jim Lloyd, a hearing man. I can’t remember ever feeling so greedy for more details from novel. Grania and Jim develop an intimacy intensified by their struggle to communicate, and Itani’s discipline as a narrator makes their courtship all the more striking. “She wanted to talk. The room was dark unless there was a moon, but she did not need the moon. She closed her eyes and raised the fingers of her left hand to his lips. Though at first he was astonished, he understood and began to speak. His careful words fell onto her fingertips and she whispered back and they conversed like this, side by side.”
她毕业后不久，格兰丽亚遇到吉姆·劳德，一个听力正常的男人，我当时只管贪婪的阅读，已记不清小说的详细细节。格兰丽亚和吉姆通过顽强的沟通，发展加深了两人的亲昵行为。伊塔妮用叙述者手法使得他们的婚恋变得更加振憾人心。“她想交谈，房子里一片黑暗，没有月光，但她不需要月光，她闭上眼睛，抬起左手指放在他的唇边，虽然吉姆开始很吃惊，他明白了，并开始交谈，他清晰的话语流进了她的手指，并且她低声耳语，就这样，他们一遍又一遍交谈着。”
Married only two weeks, Jim is sent to France as a stretcher-bearer, 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.
婚后仅仅两周，吉姆征召法国前线，作了一名担架兵。整个小说分为两个不同的故事线索。一条线索仍然伴随着格兰丽亚，另一条线索跟随吉姆深入战场内部。他们各自的经历是不同的。伊塔妮创建了一种并行结构，一方面是格兰丽亚那小小的，静秘的内部世界。另一方面是她丈夫经历的喧闹的战斗场面。
But the author also hears the resonance between these two experiences :Jim’s survival often depends on his ability to exercise the same attention as Grania to slight movements around him, and in the roar of shells and gunfire, his men resort to impromptu sign language. Back home, Grania battles the influenza epidemic that will eventually kill more people than World War I killed.
作者也从两方面重要经历中得到共鸣，吉姆能够活下来主要依赖他练就的敏感能力，正如格兰丽亚围绕着他一样。在枪林弹雨中，他和他的战友们的联系借助于临时的手语。在后方，格兰丽亚同流行感冒展开了斗争。流行感冒致死的人命总数要比第一次世界大战死去的人还要多。
What’s particularly remarkable about this novel is that Itani’s quiet, measured style, which seems so effective for describing the simple details of domestic life, becomes thoroughly stunning when employed in her descriptions of war. From Jim’s initial burst of patriotic enthusiasm, through stages of blinding terror and sickness ,he trudges on for years in a world “no one would believe.” These anecdotes of continuous chaos, blood, and waste serve as a serous reminder of the nature of battle before technology allowed us to pretend that the process of killing could be precise and objective.
这部小说特别引人注目之处是作者伊塔妮平静和慎重的写作风格。这种风格用描绘家庭生活的简朴琐碎十分有效。没想到用于战争时会变如此震憾人心。从最初爱国激情的迸发到后来的目不暇接的恐惧和疾病等种种磨难，吉姆多年来艰难在一个“人人都难以置信的世界”里挣扎着。当现代科技使我们盲目认为战争中的杀戮可以是精准的，并且非随意实施的时候，这些关于连绵不断的混乱，流血和荒芜的记事认真地提醒我们不要忘记战争的残酷本质。
Grania, consumed like so many women at this time with the tasks of waiting, clings to a few letters that manage to make it back to her, hoping guiltily that Jim, unlike so many others. Will survive. Meanwhile, “Deafening” demonstrates a perfect ear for the tragic mingling of joy and grief at the arrival of a wounded loved one. Grania’s brother-in-law, terribly disabled and shocked into silence, is a frightening example of the alternatives to death in Europe.
格兰丽亚，像其他妇女一样，在等待的日子里消磨时光，反复读着给她寄回的来信，心里为吉姆做祈祷，希望他活着回来，同时，“聋哑”这部小说描述对他们经历的欢乐痛苦传奇般的倾听。格兰丽亚的最密切的亲人，她的小叔虽然没死，但遭受了苦痛的残疾，被震哑了，这是欧洲战场最令人惊吓的例子。
One of the novel’s most beautiful sections involves Grania’s efforts to help him emerge from the fog of his pain. There are no miracles -- for her or her brother-in-law –but the qualities she developed as a child, her fierce attention to language and the world around her, are not easily thwarted. It’s a delightful irony and a true example of the power of affection when the one person in his life who can’t hear finally makes him speak.
这部小说最美丽动人的部分就是格兰丽亚的努力帮助她小叔脱离了痛苦的迷茫。对她或她小叔来说，没有奇迹出现。但她童年时形成的能力，对语言和周围世界的强烈注意力。不是很容易挫败的。它也是一部悲喜剧，当一个人一生中再也听不到自己的声音时，它就是一个有影响感染力的真实榜样。
“Sorrow can be borne, ”Grania’s grandmother insists, and here’s enough in this moving story to reassure us of that promise and point to something beyond endurance. Indeed, there are passages here so beautiful that we cannot help straining to hear more.
“没有吃不了的苦”格兰丽亚的祖母认为，在这个动人的故事中，使我们足以确信这一俗语，并且超出了一个人的容忍程度。真的，这篇文章如此优美，我们都禁不住再听一遍了。
P116 英译汉
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.
二战期间，凯瑟琳·琼斯在部队当护士。她和许多其他年轻人一样被派住欧洲前线。每天她要照顾许多伤员，为他们打针，处理伤口。有些士兵被夺去了手脚，而另外一些则被夺去了视力或听力。他们遭受巨大的痛苦，伤势严重的病人常常依赖止痛药。尽管这样，他们依然勇敢、乐观。这一切深深地打动着凯瑟琳，让她看到了胜利的曙光。
Deafening
… A deaf child will learn 300 to 500 words in a year if at all intelligent. First, the child is taught the sounds and then how to combine 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 corner-to 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.
“到我的房间去”嬷嬷指着楼上的地板。“把行李放到我的桌子上。”格兰丽亚看着祖母的嘴唇，她明白了，掀起厚重的门帘，使风能够吹到楼梯上，她跑下楼梯，她中止了长长的一瞥，从房子仅有的像舱口的窗户往外看，即使是在房子的后墙向外看，看的都是平地，没有水。她凝视着后院，看到斜斜的篱笆，围场。在右边，是父亲旅馆的车库。左方远处，麦尔大街房子顶端远处，她看到一块矩形田地向反方向延伸，一直到这个城镇的西边缘。一棵分叉的老树拖着长长的树影斜穿过田野，因为记着自己的任务，格兰丽亚转回身，跑回嬷嬷的房间。她发现一块方形蓝布系在行李上，捆装得很好，嬷嬷拿了一把矮椅放在她的摇椅旁边，摇椅随着她的晃动，转向走廊，又回到客厅，又转向走廊，来回晃动。“坐下吧”她的嘴唇动了动。
Grania watches. Her fingers have already probed the package on the way down the stairs, and she knows it is a book. At a nod from Mamo she unties the knot and folds back the cloth. The first thing she sees on the cover is a word, a word picture. The word is made of yellow rope and winds its way across the deck of a ship where a bearded captain steers and a barefoot boy sits on a rough bench beside him. The boy is reading a book that is identical to the one in Grania’s hands-it has the same cover. The sea and sky and sails in the background are soft blues and creams and browns. Grania knows the rope letters because, after the scarlet fever, she relearned the alphabet with Mamo. The yellow letters curve and twist in a six-letter shape.
格兰丽亚看了看，当她在下楼梯的路上，手指已探触到了行李，她知道那是一本书，经嬷嬷点头允许后，她解开扣节，卷起蓝布，首先看到的是封面是一个单词----是个配图的单词。这个词是由黄绳构成，弯弯曲曲绕过轮船的甲板，那儿一个大胡子船长掌舵，旁边坐着一个赤脚的小男孩。小男孩正读一本书，那本书和格兰丽亚手中的书一模一样，它们的封面相同。格兰丽亚知道由绳组成的单词，这黄色的字符是由曲折缠绕的6个字母形状。因为腥红热过后，她和嬷嬷重新学过这些字母。
“Sunday,” Mamo says. “The title of the book is Sunday, but you may keep the book in your room and look at it any time you want. Every day, we will choose a page and you will learn the words under the picture. Yes?” Eyebrows up. A question.
The book is for her. This she understands. Yes. Her fingers touch the cover but she has to be still or she will make Mamo annoyed.
“星期日”嬷嬷说道，“这本书的题目是星期日，你可以把这本书放到你的卧室，随时都可以阅读，每天选一页，学会图画下的单词，听见了吗？”
这本书是给她的，这她懂，是的，她的手触动着封面，她必须这样，要不嬷嬷会生气的。
“There are many words in the book,” Mamo says, “so many words.” She taps her fingertips against the cover.“Some day, you will know them all.” she speaks to herself in a low voice. “If you can say a word, you can use it,” not knowing how much Grania has understood. “We will do this, word by word- until your parents make up their minds to do something about your schooling. You’ve already lost one year, and a valuable part of another.”
“书上有许多单词。”嬷嬷说“一些单词”她用手指轻敲着封面。“总有一天，你将全部认识，”她低声自语道。“如果你每说一个词，你要反复用它”也没弄清楚格兰丽亚是怎样理解的。“我们将这样做，一个词一个词的来做----只到你的父母下定决心送你去上学。你已经拉下了一年，那是一个非常重要的时期。”
Mamo’s finger points at the book and her eyes give the go-ahead flicker. Grania opens the stiff cover and turns the blank sheet that follows. The word Sunday is on the inside, too, but this time its letters are dark and made of twigs instead of yellow rope. The page that follows the twigs is in color.
嬷嬷的眼睛首先眨了眨，她用手指着书。格兰丽亚翻开僵硬的封面，接着打开下一空页，单词“星期天”也在里面，但这次它的字母是黑体，是由小嫩枝制成而不是再用小黄绳，接着下一页的小嫩枝是带了颜色。
A brown-and –white calf has stopped on a grassy path and is staring at a girl. The girl is approaching from the opposite direction. She seems to be the same size and age as Grania; she might by seven or eight. Only the back of her can be seen-blue 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. “BO-TH.”
一头棕白相间的小牛在草坪小路上正盯着小女孩，这个小女孩从相反方向逐渐靠近它，这小女孩大小，年龄看起来和格兰丽亚差不多，大该有七八岁，只能看到她的后背—蓝裙子，黑袜子，黑鞋。她的帽子，像皇冠上向外翻的鲜花，从一边向下垂着，另一只手里拿着一个穿红裙子的软软的布娃娃。这布娃娃头发与格兰丽亚一样，画上的任何物都不动，这小牛看起来受到惊吓而抬起一只蹄子。格兰丽亚指着图下面的两个单词，并仔细看嬷嬷的嘴。“BOTH AFRAID”嬷嬷读道，第一个音节从格兰丽亚的嘴唇发出“BO”她说“BO”嬷嬷用自己的舌音变成“TH”口形，“BOTH”
Grania tries over and over, watching Mamo’s lips. This is not so easy. She already knows AFRAID. Afraid is what she is every night in the dark.
“Practice, ”Mamo tells her. She lifts herself out of the rocker, leaving behind the scent of Canada Bouquet, the perfume she chose because of its name and because she chose this country and because of the stench of the ship she left behind many years ago, and because Mr. Eaton sends the perfume from his mail-order catalogue in tiny bottles that cost forty-one cents. The air moves quickly like a rag as she walks away.
格兰丽亚试了一遍又一遍，观察着嬷嬷的嘴唇，太不易了。她已懂得“害怕”，每天晚上她在黑暗中的感觉就是害怕。
“练习吧”嬷嬷告诉说，她从摇椅上站了起来，留在向后提加拿大花束香味。…………
Grania breathes deeply, breathing in the sent. She sniffs the closed book and squeezes it to her as if it might get away. Both and afraid roll together, thick and half-new on her tongue. She runs upstairs to the room she shares with her older sister. Tress is stretched out reading her own book ,The Faeries. Sometimes, Mamo and Tress read aloud to each other, after Tress walks home from school, Grania watches their lips. But she doesn’t know the stories.
格兰丽亚深吸一口气，又呼出去，她嗅了嗅眼前的书，紧紧的抱住，好像它要飞了似的，“BOTH”和“AFRAID”这两个词在她的舌上含混不清的咕哝着。她跑到楼上，那是她和姐姐的寝室。Tress正埋头读《仙女的故事》，有时放学后，嬷嬷和Tress互相高声朗读，格兰丽亚观看她们的嘴唇，但她不懂这个故事。
“Say,” Grania says to Tress. She points to the words beneath the picture. “Say in my ear.” says.“You won’t hear.She shakes her head. “No”.“Shout,” says Grania.“You still won’t hear.
“Shout in my ear.” She narrows her voice so that Tress will understand that she is not going to go away. She turns her head to the side and feels Tress’s cupped hands and two explosive puffs of air. Tress listens as Grania practices, “BOTH AFRAID BOTH FRRAID BOTH AFRAID.”
“读！”，格兰丽亚对Tress说，她指着图下的单词，Tress扫了一眼这本新书，她知道这是嬷嬷给的礼物，“你会用吧” Tress说“你又听不见。”格兰丽亚摇摇头，说“高声吼读”，“你还是听不见呀”
“在我耳朵上高声读”，她提高了嗓音让Tress明白，她并不是要逃离，她把头扭躺这边去感受Tress用手罩在嘴上的发音和音节爆破声，当格兰丽亚练习时，她在边上听“BOTH AFRAID, BOTH AFRAID, BOTH AFRAID”
“pretty good,” her mouth says. She shrugs and goes back to The Faeries. Supper, like all meals, is eaten at the big oval table-the family-only table-in the private corner of the hotel dining room, next door. All through the meal Grania thinks of the brown-and-white calf and the girl in the blue dress. She sees them in her head when she walks along Main Street with Mamo in the early evening, and when she lies in her bed later, eyes open in the dark. “Both afraid,” her voice says softly. She doesn’t want Tress, across the room, to hear. A breeze blows through the window sash above her sister’s bed…
“好极了！”Tress脱口而出，她高兴地耸耸肩，继续读她的《仙女的故事》，晚餐时，像往常一样，在大圆桌上吃，这是他们家唯一的饭桌，放置卧室角上一个隐蔽角落。整个晚餐时间，格兰丽亚都在考虑棕白相间的小牛和那个穿蓝裙的小女孩。傍晚，她和嬷嬷在Main street大街散步时，又浮现出这些事，晚上，她躺在床上，在黑暗中瞪着双眼，“BOTH AFRAID”她的发音轻轻的，她不想让Tress听到，一阵柔曼的风吹过她们姐妹俩的窗户……
体验新版博客
Unit 9 Text1 Generic Bad Movie Physics
Some insultingly stupid movie physics are so commonplace as to made it inefficient for us to rail about individual instances. They have become visual cliché and do for movies what verbal cliché do for literature. To avoid repetition, we have listed the following generic bad physics item.
一些粗制滥造的电影是非常普遍的，以至于我们抱怨指责某些个例时认为他们都非常无能。以影视而论，它们是视觉上的陈词滥调；以文学作品而论，它们是文字上的陈词滥调。为了避免重复，我们列出以下普遍性的败笔。
The secret agent fixes his steely gaze on the crowd across the street in a park seven stories below. He methodically assembles his weapon. First he locks together the stock and barrel, then snaps his telescopic sight into position. Last, he screws on an oversized silencer. He carefully selects a shiny 7.62 mm NATO round (chosen, no doubt, for its long range accuracy)and chambers it using the weapon’s bolt action.
特务冷冷地盯着穿行在公园小路上的人群，他有条不紊地组装自己的武器，首先把枪托和枪管装到一起，迅速卡上瞄准星，最后拧紧消音器，他仔细选择了一些闪闪发光的7.62mm合乎北约
标准
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的弹头，一拉枪栓，装弹入膛。
A dastardly terrorist wanders into view. The secret agent raises his weapon and coolly squeezes the trigger. On the street below onlookers hear an innocuous “fut” sound. The secret agent steps back from the window undetected, his assignment completed.
一个卑鄙的恐怖分子来回游逛进入了视线，特务举起武器，冷冷地触动了板机，大街上的观众听到了与人无损的“卟”一声，特务从窗台转回身，没有被任何人发现，他的任务完成了。
Unfortunately for the secret agent, he’s not so likely to go undetected. A 7.62 NATO round is supersonic and would cause a miniature sonic boom even if the muzzle blast from the rifle was muffled. Yes, the miniature sonic boom is not as easy to pinpoint as a muzzle blast, but it does produce a very noticeable noise which can draw attention to a shooter.
不恰当的就是这个特务，他不可能不被发现，一支7.62mm北约标准的手枪是超音速的，即使射击声在消音的情况下，也能够发出微小的隆隆声，当然，它发出的微小隆隆声与射击声相比，是极小量，但它也能产生一种尤为引人注目的噪音，使人能注意到射击者。
Even silencing the muzzle blast to a mere “fut” is next to impossible. muzzle blast noise can exceed 150 decibels (measured at the shooter’s location)and is one of the loudest sounds humans are likely to hear. Silencers, suppressors, or cans as they are sometimes called have to be precisely made using very exacting technology to have any hope of quieting such a loud noise. Considering that the threshold of pain is only 130 db, we’re actually glad Hollywood sound tracks don’t accurately reproduce the noise of muzzle blasts. If they did, the only sound action movie fans would hear as they staggered out of the theater would be the ringing in their ears.
射击声消音成微小的“卟”声直接不可能，射击声的噪音高于150分贝（站在射击者的位置测量），它可能是人能够听到的最大的声响了。消音器，消除器，它们有时被称作是利用高科技，制作精良，有望把噪音静到很低水平，但考虑到人的痛点域值是130分贝，我们才真正明白好莱坞音规并不是真正射击声的复制。假如他们是真正复制，仅仅这音响声足以使电影迷跑出电影院，因为这刺激耳朵了。
SWAT teams sometimes use silencers, not for stealth, but to insure that they will be able to hear if one of the SWAT team members fires a shot inside the confined space of a room. Discharging a unsilenced firearm in a room can cause temporary deafness.
特种武器及战术小组成员有时会用消音器，他们不仅仅是为了密秘行动，仅是为了确保：若小组内的一人开火，其他人在一个房子内能听到即可，假若枪支未进行消音，那么会引起暂时性耳聋。
Sound is a form of energy transfer and we could define loudness in terms of the energy per unit of time or power output of the sound but it wouldn’t give the complete picture. Sound waves travel outward like balloons expanding around their source. The sound’s power is distributed on the surface of the wave which increases with the square of the distance from its source. In other words, the amount of energy per unit of area in the wave declines rapidly as the wave moves away from the source. About the same wave area contacts a person’s ear regardless of how far she or he is away from the source. However, the area contains significantly less energy when the source is far away rather than up close. This explains why the sound is not as loud.
声音是一种能量的转换，我们可以用单位时间上产生的声音能量或声能来标定声音的大小；但这仅描述了事情的一部分，声波向外传播就像许多气球从同一点向外飘散，声能沿着声波的表面分布，其区域随传播距离的平方而增加，换句话说，声波单位面积上的能量随着声波远离声源而减少，无论远近传到人耳中的声波区是相同的，但当我们距声源较远时，声波区的能量也就明显减少，所以我们听到的声音就比较小。
We love the “highly effective” makeshift silencers which movie characters cobble together on the spur of the moment. These have been created with everything from pillows to potatoes. Our favorite is a scene from On Deadly Ground where Steven Seagal “effectively” silences a semi-automatic handgun by taping an empty 2 liter soft drink bottle to the end of the gun barrel and gets the usual “fut” sound. At best, jury-rigged silencers are nearly worthless. At worst, they can partially block the gun barrel causing it to overpressure and explode. We might add that unregistered silencers are also highly illegal, even if they are relatively ineffective homemade creations.
我们因为喜爱这些“特效”而暂且不考虑电影主角是怎样制作的消音器的，也不用管它是由枕头或是土豆制成的，什么也不用考虑。很受我们欢迎的电影《极地雄风》，主人公史蒂文·西盖尔“高效率”制作了一部半自动手枪的消音设备。它是用2公升大小的软饮料空瓶扎在枪管的尾端，结果取得了寻常的“卟”声，往好处说，临时装备的消音器效果几乎不值一提。往坏处说的话，临时制作的消音器会阻滞枪管，能够引起爆炸。我们再加一句，这些未注册的消音器非常不合乎标准，即使充当家中娱乐玩具，效果也很差劲。
Since Hollywood isn’t overly concerned about loudness, then certainly it’s not going to obsess over small details like decimal points. The speed of sound is roughly 300 m/s while the speed of light is 300 000 000 m/s (both numbers are accurate to one significant figure). Yet, moviemakers consistently think the two speeds have decimal points in the same location. If an artillery shell explodes on a distant hill the sound invariably arrives simultaneously with the image. Lightning typically coincides with thunder. When a car careens off the edge of a cliff and smashes into the boulders below, we instantly hear the explosion.
由于好莱坞不大关心声音的响度，当然它更不可能缠住像小数点这样的细节不放，声速是300 m/s，光速是30000000 m/s，然而，电影制作人认为，这两个速度一样，在远处小山上炮弹爆炸，声音和影像总是同时到达，闪电和雷声总是一致，当一辆大卡车冲出山崖边缘撞到下面的大石头上时，我们总是先听到爆炸声。
Perhaps we should just write this one off to dramatic license, but the truth is virtually everyone knows about the time delay between images and sound. In a movie, if a minor mismatch between an event and its sound causes a distraction, then dramatic license justifies eliminating it. Otherwise, why portray anything falsely, especially when most people know and accept the truth. We have previously mentioned that noises cannot be transmitted through the near vaccum of outer space because sound has to be transmitted through matter. Why then does Hollywood persist in playing engine noises every time a spacecraft passes by. Seeing a giant craft float silently past would be far more dramatic because it would be unexpected in our earthbound lives.
大该是我们为了流畅地写出这件事而进行了艺术上的加工，但实际上每个人都知道，光影与声音之间有时间差，在一部电影中，声音和事件之间微小的不协调就能引起人们的分心，所以经常艺术性加工，摘除那些不恰当部分。要不然的话，事情描绘总是归于失败。尤其是大多数人都知道事实真相时。我们以前提到：声音不能在大气层外的真空中传播。因为声音传播要借助于物质，那什么好莱坞却坚持每次太空飞船经过时都有引擎的噪音，主要是因为看到一个巨大的飞船静静在空中飘浮，这也是我们在地球生活的人不太习惯的事情。
Arguably, the most dramatic scene in the 1968 movie 2001: A Space Odyssey occurs when the computer HAL locks Dave out of the spaceship and Dave is forced to enter the ship in a dangerously unorthodox manner. Even though Dave sets off explosive bolts, the scene is totally silent because there is no air in outer space. Yet, the scene conveys a sense of utter desperation.
无可置疑的1968年制作的大片《2001太空漫游》，出现了这样的剧情，当计算机HAL把戴乌锁在了飞船外，戴乌采用了非传统的非常危险的方法进入了飞船。即使是戴乌引燃了大爆炸，这个情景也应是无声的，因为外空没有空气，然而这个情景却传递出完全错误的描述。
2001 is included in most lists of the top 100 movies of all times. It has an enduring quality, and cult following because it got the physics of space travel essentially right. It’s not a particularly strong movie in terms of plot, action, or pacing. Its best dialog comes from its most notable character, a computer portrayed as a disembodied voice and unexpressive camera lens. Its ending is almost incomprehensible. Still 2001 demonstrates that silence is strongly emotional.
《2001 太空漫游》是当时100部最畅销的电影之一，它品质的持久和影响力的至深主要是因为它描述的太空旅游基本是正确的，它在剧情、表演和步调等方面并不怎么尤其突出，它最好的剧情对白是两个尤为突出的角色，一个由计算机扮演的不知是哪里发出的虚渺的声音和毫无表情的冷漠的摄像镜头。它的结局是几乎不可理解的，《2001 太空漫游》出现的静默仍是很有心理震撼力的。
The 1970 movie Tora Tora Tora was nominated for four Academy Awards including the award for sound. The movie was a marvel of special effects for its time and was vastly superior in historical authenticity to the more recent movie Pearl Harbor Yet to modem viewers it has an annoying audio distraction. The bullets make a fake noise sounding ricochet when they hit. In 1970 this was standard practice but now sounds ridiculous. Movie makers would do well to take note of this fact. Movie history itself shows that the public eventually does reject nonsense.
1970年美国战争片《虎虎虎》四次提名为奥斯卡奖，其中也包括声音奖。比起最近制作的战争片《珍珠港》来说，它简直是一部特效奇迹。并且在历史原作方面非常卓越。然而，现今观众很恼火的是它的音频杂乱，子弹射击反弹时是一种不真实假冒的声音。而在1970年时，这还是当时标准的惯例，现在看来是荒谬可笑的。电影制片人应很好的关注事实，电影它自身的历史发展也说明了公众最终还是拒绝废品。
P131 汉译英 Cutting sound intensity in half only reduces the relative loudness by merely 3 dB. This would be barely noticeable. A good set of ear plugs typically reduces noise by about 30 dB and so, would reduce a muzzle last from 150 to 120 dB, still a very loud noise. We estimate that the innocuous “fut” sound made by a movie silencer is roughly 50 dB, a whipping noise reduction of 100 dB from the dB level of a muzzle blast! In other words, a silencer has to reduce sound intensity of a muzzle blast by a factor of 1010 to give such a low relative loudness. This can be done with a very well-designed and precisely made silencer using subsonic ammunition. However, even commercially available silencers are more likely to give a reduction for 30 to 40 dB similar to ear plugs than the incredible 100 dB reduction frequently portrayed in movies.
把声音的强度降低一半，仅使声音的大小相对降低3分贝。这几乎很难察觉到。一付质量上乘的耳塞通常可降低噪音30分贝左右，这将使射击声从150分贝降到120分贝，仍然很响。我们估算影片中枪械消音器发出的那一点与人无损的“卟”声也不过50分贝。这就意味着射击噪声惊人地降低了足足100分贝。换句话说，消声器必须将射击声的强度以1010为因数进行消音才能达到如此低的分贝数。要做到这点，就必须使用
设计
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完美，制作精准的消音器和亚音速的弹药。但现在市场上可以买到的消音器大多只能降噪30至40分贝，与带耳塞的效果相似，而非影片中经常描述的令人难以置信的100分贝。
Hollywood Visible Laserbeams
From security systems to space adventures, conveniently-visible laswrbeams are a common part of our movie experience. Too bad they often don’t reflect reality. Multi-beamed laser security systems are a frequent Hollywood plot device. Again and again movies feature tension-filled scenes in which characters snake their way through mazes of laserbeams artistically arranged in random patterns by professional security fools to entertain us by making would-be thieves do contortions. A simple arrangement of closely-spaced parallel beams would be contortion-proof but certainly not as much fun.
从安全保卫系统到太空探险，方便的可见光束是影视经历中很平常的一部分，但太糟糕的是，它们没有反映出现实，彩色激光安全保卫系统是好莱坞常用的剧情设备。电影一次又一次呈现紧张的剧情，其中的角色阴险地借助于可见光的迷惑，利用专业安全设备工具，艺术性随便安排一个模型，来取乐于我们，使小偷束手就范。一束简单的封闭平行光束能够防止发散，但并不能用来取乐。
Unfortunately, the tension-filled fun requires visible beams. And anyone who’s used a typical re laser pointer knows that visible laserbeams are as commonplace as the quintessential dimly-lit smoke-filled room. Shine a pointer under normal conditions ,and you get a puny dot of light, not a visible beam extending dramatically across the room. It’s only when the laserbeam hits a diffuse surface that its light is scattered in all directions., some towards your eyes, allowing you to see the dot. The only way to “see” a red laserpointer’s beam is to shine it through a cloud of smoke, chalk dust, mist, etc. in a dimly-lit space. The small particles in the cloud act as tiny diffuse surfaces which scatter part of the beam toward your eyes. Dust particles usually create a sparkling effect as they float through the beam. Sunbeams and moonbeams are created in the same way. Technically, what you actually see are the particles in the cloud, not the beam itself.
不恰当的是，这些充满紧张的笑料竟然需要可见光。用过红外线教鞭的人都知道，可见光很普遍，但必须是在朦胧的、充满烟雾的屋子才能看见。在正常状态下，打开教鞭，你能看到的仅是弱小的光点，并不是充满整个房间的可见的梦幻般的延射光束，只有当光束击打在扩散物的表面，它的光在各个方向向外衍射，有一些冲着你的眼睛的，你才看到了小红点。看到红外光束唯一的办法，就是打开光束，让它穿过烟雾、尘埃或粉笔末。并且在一个暗淡、朦胧的空间时，云中的微小粒子充当了扩散的表面，一小部分光束正好对着你的眼睛，尘埃粒子飘浮通过光束，能够呈现出闪耀的效果。月光和日光也是同样原理呈现出来的，科学地讲，你看到的是云雾中的粒子，而不是光本身。
With the correct wavelength of light, laserbeams can make air in their path glow. If a photon of the correct wavelength hits an electron in the air it can “bounce” it to a higher energy level. Eventually the electron returns to its normal level by emitting a photon. The light emitted by the electrons in the air is not laserlight because it’s not all going in the same direction, but it is all the same color as the laserbeam shining through it. However, it’s hard to see in a lighted room unless the laser has a very high power level.
用正常的光线波长，激光束可以使空气沿着它的路径发光，如果光波的一个光子撞到空中电子，电子能“俘获”它并有较高能量。最终，电子释放出光子回到正常状态，空中被电子释放发出的光线并不是光束，因为它们的方向不同，但作为光束通过空气时，它们的颜色是一样的，尽管这样，激光在一间明亮的房间内很难看到，除非激光有很大的能量。
We might applaud Hollywood for often making security-system laserbeams invisible, but alas it’s a plot gimmick used only when needed for dramatic tension. Movie characters typically respond in some clever but unrealistic fashion.
我们可能为好莱坞经常使用的安全保卫系统的可见光束鼓过掌，但是，哎呀，它是当剧情特别紧张时安排的小伎俩，电影主角非常机灵的回应，但它并不是真正时髦。
Sometimes they spray aerosols. In theory this could make beams visible, but in actual practice it’s hard to find a spray that both works and persists in the air. The spray itself could trip a sensor with high sensitivity and would only work in dimly-lit spaces.
有时他们会喷洒烟雾刘，理论上这可以使光束变得可见，但实际操作过程却十分困难，在工作中喷洒较困难，气雾在空气中持久飘浮较困难。喷洒过程它本身能引起高度敏感的传感器失灵，那么只能在灯光朦胧的地方工作。
More recently, Hollywood actors have started using special glasses. Again, light must shine into the eyes to be seen. Unlike us humans, photons don’t fall for gimmicks, and the glasses don’t cause those in laserbeams to veer off course towards the actor’s eyes. Glasses can only alter light already shining into your eyes.
最近，好莱坞电影演员开始使用一种特殊的玻璃，再强调一遍，光线必须反射到眼中才能看到，它不像你们人类，光子是不会耍花招。并且玻璃不可能使光束改变方向，而对准演员的眼睛，玻璃只能使已经进入你眼中有光线发生改变。
Yes, night vision equipment could amplify laserlight scattered by dust. Infrared(IR) goggles could make it possible to see otherwise invisible IR lasers. However , both still require particles in the air and could often be defeated, simply by providing bright ambient lighting.
是的，夜视设备能够增强光束在尘埃中扩散，红外线护目镜也可以使可见红外光线变得可见，然而以上两种设备都需借助于空中粒子，并且经常失败，仅仅是因为周围光线太亮。
Perhaps the biggest problem with multi-beamed laser security systems is that in the real world, they’re rarely used Systems with active light sources typically use inexpensive infrared LEDs. They give off invisible infrared light much like an ordinary light bulb gives off visible light. Intruders trip these systems by creating a shadow on a detector. By comparison, a laserbeam is expensive and requires precise alignment.
大该彩色保卫安全系统的最大的问题在于：它在现实生活中很少使用，因为它使用典型光源要比红外线批示灯贵多了。红外线指示器像灯泡发出可见光一样，产生不可见的红外光线，当有入侵者触到红外系统时，就在它的侦测器上产生一个阴影。两者比较起来，激光光束昂贵且需要精准的直线光。
Passive infrared devices are even cheaper because they require no special IR light sources. Human beings are like walking infrared light bulbs. A single inexpensive passive sensor can be used to detect the presence of human motion for an entire room. While multi-beamed laser security systems are not impossible, there’s ususlly no reason to use one.
阴极红外设备比较便宜且不需要特别的红外光源，人类本身就像一盏走动的红外线灯泡，一个简单便宜的阴极传感器可以用在整个房间内探测人类举动，而彩色激光安全保卫系统是不可做到的，这也是不常用它的原因之一。
When low-power lasers are used for something like crime-scene investigation they are always clearly visible. In fact if the plot calls for it, security beams will not only be visible, but arranged in an impenetrable grid pattern. In the movie Murder at 1600, Wesley Snipes encounters a visible grid of this type in a tunnel under the White House. Just when the situation looks hopeless, Snipes cleverly sets it off and hides in the tunnel. The Secret Service agents are, of course, distracted by Snipes’ associate who leads them on a chase in the opposite direction out of the tunnel.
当低能激光用于犯罪现场调查时，他们常常是使它变得清晰可见，实际上假如情节需要，光束不但能够变得可见，而且是以不可理解的光栅排列，在电影《谋杀者1600号》中，外斯雷·斯纳坡在白宫底下的通道中遇到了这种类型的光栅，眼看绝望，斯纳坡立即启动并隐藏在通道中，当然，安全保卫处的特务被斯纳坡的同伴所吸引，沿着相反方向走出了通道。
From the standpoint of visibility, laser gunfights are usually depicted realistically. We must also admit there’s something ominous about seeing a little red dot on a person and knowing a bullet could soon follow. However, laser sights are used in some ridiculous situations; for example, on sniper rifles.
从可视化的观点来看，激光手枪常常描述不现实，我们必须承认，如果看到一束红光点射到某个人身上，应该有不详的预兆，接下来应明白那是粒子弹，然而，激光用在有些地方显得荒谬可笑，举例来说，用在阻击手的来福枪上。
When a sniper looks through the telescopic sight on his rifle, he knows where the bullet is going to go relative to the crosshairs. Adding a laserbeam would do nothing except tip off the victim that he’s about to be shot and give him time to duck before the bullet arrived. It would also help reveal the sniper’s location.
Hitting a moving target using a laser sight would be extremely difficult. The sniper would also have to lead the subject and so the red dot would be projected in front of the target where it could easily be lost in the background.
当阻击手在他的来福枪通过瞄准星瞄准时，他很明白一颗子弹将向相关物体穿身而过，外加一束激光倒是什么也做不了，倒是受害者明白自己会被射杀和给予他时间在子弹来临前躲避。同时也很易暴露阻击手的位置。
利用可视激光射击移动物体非常困难。阻击手必须指向目标，以便于红光点在目标前面射出，但目标很容易在背景中消失。
High-powered laser blasters or death-rays would be easier to see than the low-powered versions used in security systems and gunfights. The light reflected by particles in the air would be brighter since the laserbeam itself would be brighter. And as mentioned earlier, even a low-powered laser of the right wavelength would cause the air to glow. A high-powered laser would make it glow even brighter because it emits far more photons to collide with electrons in the air.
在安全保卫系统或枪战中，高能激光爆发或死亡光线要比低能版本的更易看到，空气中微粒子反射的光要比激光本身要亮得多。并且要早应提及的是，甚至是一般波长的低能激光也能吏空气发光，一束高能量激光能使之发出明亮的光是因为空气中电子碰撞到更多的光子而发出的。
Outerspace lasers are another matter. There is no air and few articles to make them visible. To make matters worse, some movies show laserbeams shooting through outerspace like glowing spears. All light, including laserlight, travels at 3Ⅹ108 m/s or 186 000 m/s (in a vacuum),so fast that the human eye couldn’t possibly detect the motion of a laserbeam even if it were in the form of a glowing spear. The after image of the moving light source would make it appear as a continuous beam from the source to the target.
太空中的激光就应当别论了。因为哪儿没有空气和微粒子使它们变得可视。更糟的是，许多电影展示的在太空中的激光束射击就像光梭一样，所有的光包括激光，光速都是3×108m/s或18600m/s（在真空中），光速这么快，即使是以发光的光梭形式存在时，人眼也根本不可能观测到光束的移动。而电影的影像则很清晰再现，激光束连续不断的从源头射向目标。
Yes. A blaster or death-ray could be something other than a laser. It could be a high-energy particle beam. The beam might be visible but would travel at such high velocities, it would look like a continuous beam from the source to the target.
是的，激光爆炸或死亡线可能有，而不是一束激光，它可能是一束高能量粒子激光束， 这激光束以非常高的速度运行进而变得要可视，它看起来就像一束连续不断的光从源头射向目标。
Moviemakers generally throw in enough mumbo jumbo to obscure the mechanisms behind their fictional weapons, leaving some room for imagination., we also have to admit that cool-sounding, glowing spear-like blast does have dramatic appeal. However, such blasts are speculative if not outright silly from a scientific standpoint.
电影制片人经常有足够的莫名其妙的东西搞混了那些光学武器装备。留给人们足够的想像空间，我们也必须承认，那冷冷，像光梭一样的激光爆炸有着神奇的吸引力，但是从科学观点来看，许多诸如爆炸之类的推测并非完全荒唐愚味。
Unit 10 Text1 Two Ways of Understanding
I want to divide human understanding into two kinds-classical understanding and romantic understanding. In terms of ultimate truth a dichotomy of this sort has little meaning but it is quite legitimate when one is operating within the classic mode used to discover or create a world of underlying form. The terms classic and romantic, as Phaedrus used them, mean the following:
我把人类的理解方式分两大类----古典模式和浪漫模式。从终极真理的角度来看，这种二分法没有多大意义，但十分合理。当一个人以古典模式运作时，他就惯常于发现或创建一个深层形式的世界，正如潘灼斯使用的词：古典式和浪漫式意义如下：
A classical understanding sees the world primarily as underlying form itself. A romantic understanding sees it primarily in terms of immediate appearance. If you were to show an engine of a mechanical drawing or electronic schematic to a romantic it is unlikely he would see much of interest in it. It has no appeal because the reality he sees is its surface: dull ,complex lists of names, lines and numbers. Nothing interesting. But if you were to show the same blueprint or schematic or give the same description to a classical person he might look at it and then become fascinated by it because he sees that within the line and shapes and symbols is a tremendous richness of underlying form.
古典理解模式的人看世界主要看它的内部结构形式，浪漫理解模式的人看问题主要根据事物的表面。假如你把一张
工程
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机械图纸或电子规划
方案
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给一个浪漫模式的人看，他是没有多大兴趣的。对他没有吸引力，主要是他看问题仅注重表面，枯燥、复杂的列表，线条和数字对此一点也不感兴趣。但你把相同的设计蓝图或图样，以及相同的描述展示给古典式的人们，他可能仔细观看并被吸引，因为他看到了隐藏在线条、图形、符号背后丰富的深层形式。
The romantic mode is primarily inspirational, imaginative, creative, intuitive feelings rather than facts predominate. “Art” when it is opposed to “Science” is often romantic. It proceeds by feeling ,intuition and esthetic conscience. In the northern European cultures the romantic mode is usually associated with femininity, but this is certainly not a necessary association.
浪漫模式以灵感为主，富有想像力和创造力，看问题凭直观感觉而不是由事实支配，重“艺术”轻“科学”的常常是浪漫模式。剖跟着感觉走，依靠直觉这审美意识。在北欧文化里，浪漫模式总与女性有联系，但也不是一种必然的联系。
The class mode, by contrast, proceeds by reason and by laws – which are themselves underlying forms of thought and behavior. In European cultures it is primarily a masculine mode and the fields of science, law and medicine are unattractive to women largely for this reason. Although motorcycle riding is romantic, motorcycle maintenance is purely classic .The dirt, the grease, the mastery of underlying form required all give it such a negative romantic appeal that women never go near it.
古典模式则相反，看问题理智，按法规法则办事，法规法则本身就是行为和思想的基本方式。在欧洲文化时，古典模式主要是一种男性模式。在很大程度上，正是此原因使得科学、医学和法律对女性没有吸引力。尽管骑摩托车很浪漫，但维修摩托毫无浪漫可言。车上的污垢、油污及修车需要掌握的基本原理使修车毫无浪漫可言，所以，女士们很少靠近这一行。
Although surface ugliness is often found in classic mode of understanding, it is not inherent in it. There is a classic esthetic which romantics often miss because of its subtlety. The classic style is straightforward, unadorned, unemotional, economical and carefully proportioned. Its purpose is not to inspire emotionally, but to bring order out of chaos and make the unknown known. It is not an esthetically free and natural style. It is esthetically restrained. Everything is under control. Its value is measured in terms of the skill with which this control is maintained.
虽然古典模式表面上往往会有一些丑的东西，但这并非是其与生俱有的，古典式审美的细微之处往往是浪漫审美中所缺少的。古典式是直率的、不偏爱的，非情绪化的，经济的和有分寸的。它的目的不是为了煽情，而是从一团乱麻中捋出头绪，揭示未知事物。它不是一种自由和自然的审美形式，它是一种约束性审美。一切事物都是有节制的，它的价值是用保持节制的技巧来衡量的。
To a romantic this classic mode often appears dull, awkward and ugly, like mechanical maintenance itself. Everything is in terms of pieces and parts and components and relationships. Nothing is figured out until it’s run through the computer a dozen times. Everything’s got to be measured and proved. Oppressive. Heavy. Endlessly grey. The death force.
在一个浪漫式的人看来，古典式愚笨、蹩脚、丑陋，就像机械维修一样，任何事物仅用一部分或相关关系来表示。要不是通过计算机数小时的工作，什么也推断不出，任何事物都需要衡量和证实，非常压制、沉重、晦涩、毫无生命力。
Within the classic mode, however, the romantic has some appearances of his own. Frivolous, irrational, erratic, untrustworthy, interested primarily in pleasure-seeking. Shallow. Of no substance. Often a parasite who cannot or will not carry his own weight. Real drag on society .By now these battle lines should sound a little familiar.
相反，在古典式看来，浪漫式的人仅看表面问题，轻浮，古怪、不合理，毫无意义。他们感兴趣的仅仅是为了寻求快乐，它们是虚空的，没有实质性意义。就像一只寄生虫，既不能独立生存，也自不量力，是社会真正的累赘。直到现在，两派战线的腔调基本都是和这一样。
This is the source of the trouble. Persons tend to think and feel exclusively in one mode or the other and in doing so tend to misunderstand and underestimate what the other mode is all about. But no one is willing to give up the truth as he sees it, and as far as I know, no one now living has any real reconciliation of these truths or modes. There is no point at which these visions of reality are unified.
这就是因惑、麻烦的源泉，人们通常以一种模式思考感知问题，而在做的过程中常常对另外模式错误理解或估计不足，但没有人愿意放弃他所认为的真理。到目前据我所知，没有人同其它模式之间做到真正的和解。他们对真理的前景统一问题没有共同观点。
And so in recent times we have seen a huge split develop between a classic culture and a romantic counterculture --two worlds growingly alienated and hateful toward each other with everyone wondering if it will always be this way, a house divided against itself. No one wants it really – despite what his any agonists in the other dimension might think.
近段时间来，我们发现古典文化与浪漫反传统文化之间产生巨大的分歧----日益疏远和相互憎恨对方的两个世界，每个人也很困惑，没有人愿意看到永远内讧分裂成为现实----尽管每一种模式的人不去考虑别人的苦衷。
P144 英译汉
The class mode, by contrast, proceeds by reason and by laws – which are themselves underlying forms of thought and behavior. In European cultures it is primarily a masculine mode and the fields of science, law and medicine are unattractive to women largely for this reason. Although motorcycle riding is romantic, motorcycle maintenance is purely classic .The dirt, the grease, the mastery of underlying form required all give it such a negative romantic appeal that women never go near it.
古典模式则相反，看问题理智，按法规法则办事，法规法则本身就是行为和思想的基本方式。在欧洲文化时，古典模式主要是一种男性模式。在很大程度上，正是此原因使得科学、医学和法律对女性没有吸引力。尽管骑摩托车很浪漫，但维修摩托毫无浪漫可言。车上的污垢、油污及修车需要掌握的基本原理使修车毫无浪漫可言，所以，女士们很少靠近这一行。
Although surface ugliness is often found in classic mode of understanding, it is not inherent in it. There is a classic esthetic which romantics often miss because of its subtlety. The classic style is straightforward, unadorned, unemotional, economical and carefully proportioned. Its purpose is not to inspire emotionally, but to bring order out of chaos and make the unknown known.
虽然古典模式表面上往往会有一些丑的东西，但这并非是其与生俱有的，古典式审美的细微之处往往是浪漫审美中所缺少的。古典式是直率的、不偏爱的，非情绪化的，经济的和有分寸的。它的目的不是为了煽情，而是从一团乱麻中捋出头绪，揭示未知事物。
P145 汉译英
There are two ways of understanding----classical understanding and romantic understanding. A classical understanding sees the world primarily as underlying form itself while a romantic understanding sees it primarily in terms of immediate appearance. The romantic mode is maginative and creative. It proceeds by feeling. The classic mode, in contrast, gives priority to facts. It proceeds by reason and by laws. There has never been any real reconciliation of these two modes. But no one wants it /a house divided against itself.
有两种理解模式—--古典模式和浪漫模式。古典模式看事物的内存形式；而浪漫模式看重事物的表面。浪漫派富有想象力和创造力，总是跟着感觉走。古典派则相反，他们尊重事实，看问题理智，按法规办事。这两种模式从没有达到真正的调和，但是双方都不愿看到这种内讧分裂。
Loneliness—An American Malady
This city, New York – consider the people in it, the eight million of us. An English friend of mine, when asked why he lived in New York City, said that he liked it here because he could be so alone. While it was my friend’s desire to be alone, the aloneness of many Americans who live in cities is an involuntary and fearful thing. It has been said that loneliness is the great American malady. What is the nature of this loneliness?
It would seem essentially to be a quest for identity.
我的一个朋友，当问及他为何在纽约生活时，他说他喜欢这儿的孤独。因为我的朋友渴望独处，但大多数生活在美国城市的人的孤独是不由自主的，这是非常可怕的。也就是说孤独成为美国人的最大的通病。孤独的性质是什么？看来必须对这个问题进行界定。
To the spectator, the amateur philosophy, no motive among the complex ricochets of our desires and rejections seems stronger or more enduring than the will of the individual to claim his identity and belong. From infancy to death, the human being is obsessed by these dual motives. During our first weeks of life, the question of identity shares urgency with the need for milk. The baby reaches for his toes then explores the bars of his crib; again and again he compares the difference between his own body and the objects around him ,and in the wavering, infant eyes there comes a pristine wonder.
在旁观者看，哲学爱好者对繁琐的需求取舍方面动机不是太强烈，而是持久于个人个性特点确认和归属。从出生到死亡，人们被这双重动机所烦扰。在我们生命的最初几周里，当务之急的需要解决的问题是对奶水的需要。婴儿伸出手指，逐渐探索到他的小床的边沿，逐渐地，他分辨清了自己的身体以及他周围的物体，当小孩遇到困惑时，他的泪水中充满了纯洁的困惑。
Consciousness of self is the first abstract problem that the human being solves. Indeed, it is this self consciousness that removes us from lower animals. This primitive grasp of identity develops with constantly shifting emphasis through all our years. Perhaps maturity is simply the history of those mutations that reveal to the individual the relation between himself and the world which he finds himself.
人类需要解决的第一个抽象问题便是自我意识，说实在的，正是这自我意识，才把我们和低级动物区分开。在我们的生命历程中，那最初的个性领悟是随着年龄的发展而侧重点是不断转换的。大该成熟是一部个性变化的历史，是关于自身和他所发现的周围世界的变化的历史
After the first establishment of identity there comes the imperative need to lose this new-found sense of separateness and to belong to something larger and more powerful than the weak, lonely self. The sense of moral isolation is intolerable to us.
最初的个性形成后，最紧急的需要就是放弃新建立的分离感觉，附属于更强大，更强有力。自我孤立，常态下的孤独感是令我们无法容忍的。
In The member of the Wedding the lovely 12-year-old girl, Frankie Adams, articulates this universal need:” The trouble with me is that for a long time I have just been an I person. All people belong to a. We except me. Not to belong to a We makes you too lonesome.” Love is the bridge that leads from the I sense to the We and there is a paradox about personal love.
在《婚姻成员》中，12岁的可爱女孩富兰克·阿姆兹清晰地表达了这种普遍的需要，“伴随我最苦恼的问题就是长时间以来，我要成为这样一个隶属于所有人都可接受的人，而不使自己太孤独。”
Love of another individual opens a new relation between the personality and the world. the lover responds in a new way to nature and may even write poetry. Love is affirmation; it motivates the yes responses and the sense of wider communication. Love casts our fear, and in the security of this togetherness we find contentment, courage. We no longer fear the age-old haunting question: “Who am I ?” “Where am I going?”—and having cast out fear we can be honest and charitable.
另外一种个人之爱个人性格与世界之间的一种新关系。施爱者用种新式方法表达出对自然的爱慕，甚至用诗歌表达。“爱在靛珠它正确激励我们进行更广泛的联系；同时，爱也铸就了恐惧。在共同的安适中我们得到了满足，受到鼓励。”我们对记挂在心的年龄问题不再恐惧，“我是谁”“我为什么”“我将走向何方”----抛弃恐惧，我们将更诚实和善良。
For fear is a primary source of evil. And when the question “Who am I? ”recurs and is unanswered, then fear and frustration project a negative attitude. The bewildered soul can answer only : “Since I do not understand ‘Who I am,’ I only know what I am not.” The corollary of this emotional incertitude is snobbism, intolerance, and racial hate. The xenophobic individual can only reject and destroy, as the xenophobic nation inevitably makes war.
因为恐惧是邪恶的发源，当问题“我是谁”重现和不能够作答的话，那么恐惧和挫折就是负面影响，那么就可以应答，“由于我不理解‘我是谁’当然我不知该怎样做，”这种心理上的怀疑最终结论是势利的，无法容忍的和极端仇恨的，恐外症的个人可以拒绝和破坏，但恐外症的国家民族最终会导致战争。
The loneliness of Americans does not have its source in xenophobia; as a nation we are an outgoing people, reaching always for immediate contacts, further experience. But we tend to seek out as individuals, alone. The European, secure in his family ties and rigid class loyalties, knows little of the moral loneliness that is native to us American .Whole the European artists tend to form little of the moral loneliness that is native to us American artist is the eternal maverick – not only from society in the way of 60 all creative minds, but within the orbit of this own art.
美国人的孤独并没有恐外成份，我们在国内是友善的人民，要的是即时的联系，更多的经历，但我们更倾向于个人单独探索。欧洲人，紧紧为家庭所系，并且固执、古典、忠诚，比起我们土生土长的美国人来说，对个人个性孤独了解不多。当欧洲的艺术家们倾向成立组织或艺术学校时，美国人艺术家仍是自行其事的人----不仅仅表现在创作的灵魂方面，也表现在他自己的艺术轨迹上
Thoreau took to the woods to seek the ultimate meaning of this life. His creed was simplicity and his modus vevendi the deliberate stripping of external life to the Spartan necessities in order that his inward life could freely flourish. His objective, as he put it, was to back the world into a corner. And in that way did he discover “What a man thinks to himself, that is which determines, or rather indicates, his life.”
瑟若奥到大森林中去寻求他生命的终极意义，他的信条很简单，他的各平共处的原则就是剥光外在生命的勇武好战的必需以达到内在生命的自由繁荣。……
On the other hand, Thomas Wolf turned to the city, and in his wanderings around New York he continued his frenetic lifelong search for the lost brother, the magic door. He too backed the world into a corner, and as he passed among the city’s millions. Returning their stares, he experienced “That silent meeting is the summary of all the meetings of men’s lives.”
另一方面，托马斯·沃尔夫则转向城市，在围绕纽约的游逛中，他持续狂热的搜寻他丢失的弟弟，以便打开个人孤独环境之门，他回归到世界中的小脚落中，他穿过城市百万人群，重归他的视线。他体验到了“静默的集会才真正是人们生活的真谛。”
Whether in the pastoral joys of country life or in the labyrinthine city, we Americans are always seeking We wander, question. But the answer waits in each separate heart – the answer of our own identity and the way by which we can master loneliness and feel that at last we belong.
不管是乡村牧羊人的欢乐或错综复杂的城市人生，我们每一个美国人都在探求我们曾经徘徊的问题，但每一个心中的答案—我们自己的个性归属和我们对孤独的感觉—都是不一样的。
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