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21. Thomas Hardy's impulses as a writer, all of which he indulged in his novels, were numerous and divergent, and they did not always work together in harmony. Hardy was to some degree (5)interested in exploring his characters' psycholo- gies, though impelled less by curiosity than by sympathy.(这里的sympathy应该怎么理解?理解成同情心似乎没有道理?) Occasionally he felt the impulse to comedy (in all its detached coldness) as well as the impulse to farce, but he was more often (10)inclined to see tragedy and record it. He was also inclined to literary realism in the several senses of that phrase。(in the several senses of 应该怎么翻译?phrase指的是什么呢?) He wanted to describe ordinary human beings; he wanted to speculate on their dilemmas rationally (and, unfortu- (15)nately, even schematically(这里schematically应该怎么翻译?如果翻译成示意性的与rationally有什么关系呢?)); and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and (20)to express as well his awareness of the occult and the strange.
In his novels these various impulses were sacrificed to each other inevitably and often. Inevitably, because Hardy did not care in the (25)way that novelists such as Flaubert or James cared, and therefore took paths of least resistance. Thus, one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. (30)A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist- scientist to record exactly and concretely the structure and texture of a flower.(throw over sth a light是一种习惯用法么?表示偏爱reality.之后的that代表什么呢?) In this (35)instance, the new impulse was at least an energetic one, and thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him (40)the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style-that sure index of an author's literary worth-was certain to become verbose. Hardy's weakness derived from his (45)apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted to first one and then another, and the spirit blew where (50)it listed; hence the unevenness of any one of his novels。(where it listed应该怎么翻译?“;”后面的结构是不是应该看成一个省略了谓语句子呢?)His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses-a desire to be a realist-historian and a desire to be a (55)psychologist of love-but the slight interlock- ings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.
谢谢:}
Thomas Hardy's impulses as a writer, all of which he indulged in his novels, were numerous and divergent, and they did not always work together in harmony. Hardy was to some degree (5)interested in exploring his characters' psycholo- gies, though impelled less by curiosity than by sympathy.(这里的sympathy应该怎么理解?理解成同情心似乎没有道理?)[这句是对前一句的进一步解释,hardy的兴趣对人物心理不是来源于他对人物心理研究的好奇心,而是他对小说人物自身处境的同情心理。这个从写作技巧来说,有的作家是为了出于自身对于现实的同情而引发创作激情,而有的作家是为了拓展技巧,发展写作的形式。比如joyce的ulysess] Occasionally he felt the impulse to comedy (in all its detached coldness) as well as the impulse to farce, but he was more often (10)inclined to see tragedy and record it. He was also inclined to literary realism in the several senses of that phrase。(in the several senses of 应该怎么翻译?phrase指的是什么呢?)[phrase应该和tragedy对应,several senses指的悲剧几种形式或技巧,后句对这个是具体说明,如ordinary human beings, dilemmas] He wanted to describe ordinary human beings; he wanted to speculate on their dilemmas rationally (and, unfortu- (15)nately, even schematically(这里schematically应该怎么翻译?如果翻译成示意性的与rationally有什么关系呢?)); [even表示递进,前句说了hardy理性的构思人物的困境,后面进一步说明hardy是过度设计这种dilemmas,schematically这儿理解为精心解构地更好] and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and (20)to express as well his awareness of the occult and the strange.
In his novels these various impulses were sacrificed to each other inevitably and often. Inevitably, because Hardy did not care in the (25)way that novelists such as Flaubert or James cared, and therefore took paths of least resistance. Thus, one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. (30)A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist- scientist to record exactly and concretely the structure and texture of a flower.(throw over sth a light是一种习惯用法么?表示偏爱reality.之后的that代表什么呢?)[句子的结构应该是a desire..might give way to the desire..,是对上一句的说明,前一个desire应该有倒装,a desire to throw a light that never was over reality,一种试图将虚构的解释置于现实之上的欲望可能仓促地取代(我们通常认为)小说家(象科学家)精确具体地纪录一朵花的结构和组织式创作欲望。这句感觉有点比喻性的说法,第一个desire对应虚构式的写作方法,后一个desire是传统作家的方法,这与第一段curiosity与sympathy相对应。] In this (35)instance, the new impulse was at least an energetic one, and thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him (40)the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style-that sure index of an author's literary worth-was certain to become verbose. Hardy's weakness derived from his (45)apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted to first one and then another, and the spirit blew where (50)it listed; hence the unevenness of any one of his novels。(where it listed应该怎么翻译?“;”后面的结构是不是应该看成一个省略了谓语句子呢?)[这句是对上一句的解释说明,前句说了hardy没有控制他自己不同冲动的能力,后句具体表现为他不断被一个接一个创作冲动而变化,it 指的是one..another,就是这些创作冲动中的激情。hence表示因此,因为hardy对创作失去控制力,因此他小说都存在一种失衡状态。小说应该讲究布局和叙述的轻重,而hardy可能对于某个情节或人物存在强烈的偏好,而过多笔墨造成小说的冗余或喧宾夺主] His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses-a desire to be a realist-historian and a desire to be a (55)psychologist of love-but the slight interlock- ings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.
如有错误,欢迎大家再讨论。呵,好久没看GRE阅读,还是很头痛的。
https://bbs.gter.net/viewthre ... mp;highlight=%BE%E4 |
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