notes:
红色为红宝词汇，蓝色为了解一下的短语词汇，绿色为语言表达借鉴，橙色为文章大致思路分析
Finding nothing ugly
Mar 19th 2009
From The Economist print edition
IN AN afterword Martin Gayford says that he would like his book about the painter, John Constable, to give the same pleasure that a novel would. He succeeds wonderfully. Not in the sense of invented dialogue or fictional scenes.（话说这句话甚诡异。。。Not后竟然找不到动词咧。。。然后跟童鞋讨论结论是省略？！这省的也太。。。。但还是不确定昂） There is no need. His characters all wrote letters or diaries full of colour and circumstance. Their background would be familiar to readers of Jane Austen, a writer Mr Gayford often and aptly refers to: a few families thrown together by class, alive to every social nuance, ears pricked for money and rank. It was a world of wills and bequests, where young lovers lived on dreams until old curmudgeons fell off their perches.
Such was the fate of Constable—handsome, possessed of a mind, as he said, “of the most excruciating（扩充词汇啦~） sensibility”—and pretty Maria Bicknell, who waited seven years before they could marry in 1816. Her father was a London solicitor; his a prosperous corn merchant in the Suffolk village of East Bergholt, where Maria’s rich grandfather was rector. All of them took a dim view of painting as a profession.
Constable found little encouragement from his fellows either（承上启下，小隐蔽，但还是把上下两段链接地很自然）. Landscape painting ranked low in the hierarchy of genres, especially Constable’s kind: fields, mills, towpaths—mere “map-work”, scoffed J.H. Fuseli, professor at the Royal Academy. Besides, many thought Constable’s execution crude. His loose, free brushwork impressed the French, notably Eugène Delacroix, but the English wanted more finish. Maria, who bore him seven children, （好用法）died of tuberculosis before he was elected to the Royal Academy in 1829.
That’s the bare outline,（再次承上启下） but Mr Gayford fills it with characters and detail, tracing connections and opening perspectives at every level. He moves easily between painting and music and social history, between pastoral poetry and agricultural unrest(第二次见鸟~绝对记住咧). Quoting from contemporaries, he conjures（conjure） upthe London of the day, the customs of the countryside. Above all, he brings home the intellectual debates of the time, on Art and Nature, the Sublime(sublime) and the Beautiful（倒装~使句子前后很平衡哇~）
These things arise not by way of（注意米有冠词！！） context, but directly and intimately from the lives of his protagonists.
Constable was extraordinarily modern in believing that nothing could be intrinsically ugly: “old rotten planks, slimy posts, and brickwork, I love such things,” he wrote. It was a question of association and feeling. Mood mattered more than subject matter（好喜欢~） He once corrected someone who had called a painting of his “only a picture of a house”, by pointing out that it was a picture “of a summer’s morning, including a house”.
He liked to think of the landscape as a friend, even as his mistress. But he was not a jealous lover. Maria must join in. Writing to her one summer about painting the landscape at East Bergholt, he exclaimed（倒装倒装，我也要学会哇~）: “Either I am improved…or Nature has unveiled her beauties to me with a less fastidious(fastidious) hand…what would be my happiness could I have this enjoyment with you.”（最后这句倒装很奇特，反正我是第一次见，学习~）
Maria’s reply is not recorded.
前儿被艺术家评论家折腾地死去活来，就找了篇艺术的看！！
第一遍晕死了，第二遍将将看懂，抽象啊抽象~
这篇文章很多表达很新鲜，至少对弱小滴偶来说。。。。
老规矩吧，摘好句摹写~
1、……matter more than……..
Actually, health matters more than anything (to all GTERS~).
2 最后一句哇，倒装真华丽~
Explaning to him her atitude to this case,she said” Either I will be selected or ignored, what would be my hornor could I have participated it.
例子方面么，不着这个小说中描写滴人物可不可以用上。。。。。。。
最后，有两个不懂的地方，大家给看一哈，我也会再去求证，回头解释。。。。。
He succeeds wonderfully. Not in the sense of invented dialogue or fictional scenes.
这个NOT后是省略么？
Her father was a London solicitor; his a prosperous corn merchant in the Suffolk village of East Bergholt, where Maria’s rich grandfather was rector.
红色部分是么结构？
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