新编英语教程6 课文原文

Unit One

TEXT I

Two Words to Avoid, Two to Remember

Arthur Gordon

1Nothing in life is more exciting and rewarding than the sudden flash of insight that leaves you a changed person – not only changed, but changed for the better. Such moments are rare, certainly, but they come to all of us. Sometimes from a book, a sermon, a line of poetry. Sometimes from a friend….

2 That wintry afternoon in Manhattan, waiting in the little French restaurant, I was feeling frustrated and depressed. Because of several miscalculations on my part, a project of considerable importance in my life had fallen through. Even the prospect of seeing a dear friend (the Old Man, as I privately and affectionately thought of him) failed to cheer me as it usually did. I sat there frowning at the checkered tablecloth, chewing the bitter cud of hindsight.

3He came across the street, finally, muffled in his ancient overcoat, shapeless felt hat pulled down over his bald head, looking more like an energetic gnome than an eminent psychiatrist. His offices were nearby; I knew he had just left his last patient of the day. He was close to 80, but he still carried a full case load, still acted as director of a large foundation, still loved to escape to the golf course whenever he could.

4By the time he came over and sat beside me, the waiter had brought his invariable bottle of ale. I had not seen him for several months, but he seemed as indestructible as ever. “Well, young man,” he said without preliminary, “what’s troubling you?”

5I had long since ceased to be surprised at his perceptiveness. So I proceeded to tell him, at some length, just what was bothering me. With a kind of melancholy pride, I tried to be very honest. I blamed no one else for my disappointment, only myself. I analyzed the whole thing, all the bad judgments, the false moves. I went on for perhaps 15 minutes, while the Old Man sipped his ale in silence.

6When I finished, he put down his glass. “Come on,” he said. “Let’s go back to my office.”

7“Your office? Did you forget something?”

8“No,” he said mildly. “I want your reaction to something. That’s all.”

9A chill rain was beginning to fall outside, but his office was warm and comfortable and familiar: book-lined walls, long leather couch, signed photograph of Sigmund Freud, tape recorder by the window. His secretary had gone home. We were alone.

10The Old Man took a tape from a flat cardboard box and fitted it onto the machine. “On this tape,” he said, “are three short recordings made by three persons who came to me for help. They are no t identified, of course. I want you to listen to the recordings and see if you can pick out the two-word phrase that is the common denominator in all three cases.” He smiled. “Don’t look so puzzled. I have my reasons.”

11What the owners of the voices on the tape had in common, it seemed to me, was unhappiness. The man who spoke first evidently had suffered some kind of business loss or failure; he berated himself for not having worked harder, for not having looked ahead. The woman who spoke next had never married because of a sense of obligation to her widowed mother; she recalled bitterly all the marital chances she had let go by. The third voice belonged to a mother whose teen-age son was in trouble with the police; she blamed herself endlessly.

12The Old Man switched off the machine and leaned back in his chair. “Six times in those recordings a phrase is used that’s full of subtle poison. Did you spot it? No? Well, perhaps that’s because you used it three times yourself down in the restaurant a little whil e ago.” He picked up the box that had held the tape and tossed it over to me. “There they are, right on the label. The two saddest words in any language.”

13I looked down. Printed neatly in red ink were the words: If only.

14“You’d be amazed,” said the Old Man, “if you knew how many thousands of times I’ve sat in this chair and listened to woeful sentences beginning with those two words. ‘If only,’ they say to me, ‘I had done it differently –or not done it at all. If only I hadn’t lost my temper, said the cruel thing, made that dishonest move, told that foolish lie. If only I had been wiser, or more unselfish, or more self-controlled.’ They go on and on until I stop them. Sometimes I make them listen to the recordings you just heard. ‘If only,’ I say to them, ‘you’d stop saying if only, we might begin to get somewhere!’”

15The Old Man stretched out his legs. “The trouble with ‘if only,’” he said, “is that it doesn’t change anything. It keeps the person facing the wrong way – backward instead of forward. It wastes time. In the end, if you let it become a habit, it can become a real roadblock, an excuse for not trying any more.

16“Now take your own case: your plans didn’t work out. Why? Because you made certain mistakes. Well, that’s all right: everyone makes m istakes. Mistakes are what we learn from. But when you were telling me about them, lamenting this, regretting that, you weren’t really learning from them.”

17“How do you know?” I said, a bit defensively.

18“Because,” said the Old Man, “you never got out of the past tense. Not once did you mention the future. And in a way-be honest, now! –you were enjoying it. There’s a perverse streak in all of us that makes us like to hash over old mistakes. After all, when you relate the story of some disaster or disappoi ntment that has happened to you, you’re still the chief character, still in the center of the stage.”

19I shook my head ruefully. “Well, what’s the remedy?”

20“Shift the focus,” said the Old Man promptly. “Change the key words and substitute a phrase that supplies lift instead of creating drag.”

21“Do you have such a phrase to recommend?”

22“Certainly. Strike out the words ‘if only’; substitute the phrase ‘next time.’”

23“Next time?”

24“That’s right. I’ve seen it work minor miracles right here in this room. As long as a patient keeps saying ‘if only’ to me, he’s in trouble. But when he looks me in the eye and says ‘next time,’ I know he’s on his way to overcoming his problem. It means he has decided to apply the lessons he has learned from his experience, ho wever grim or painful it may have been. It means he’s going to push aside the roadblock of regret, move forward, take action, resume living. Try it yourself. You’ll see.”

25My old friend stopped speaking. Outside, I could hear the rain whispering against the windowpane.

I tried sliding one phrase out of my mind and replacing it with the other. It was fanciful, of course, but I could hear the new words lock into place with an audible click….

26The Old Man stood up a bit stiffly. “Well, class dismissed. It ha s been good to see you, young man. Always is. Now, if you will help me find a taxi, I probably should be getting on home.”

27We came out of the building into the rainy night. I spotted a cruising cab and ran toward it, but another pedestrian was quicker.

28“My, my,” said the Old Man slyly. “If only we had come down ten seconds sooner, we’d have caught that cab, wouldn’t we?”

29I laughed and picked up the cue. “Next time I’ll run faster.”

30“That’s it,” cried the Old Man, pulling his absurd hat down around his ears. “That’s it exactly!”

31Another taxi slowed. I opened the door for him. He smiled and waved as it moved away. I never saw him again. A month later, he died of sudden heart attack, in full stride, so to speak.

32More than a year has passed since that rainy afternoon in Manhattan. But to this day, whenever I find myself thinking “if only”, I change it to “next time”. Then I wait for that almost-perceptible mental click. And when I hear it, I think of the Old Man.

33A small fragment of immortality, to be sure. But it’s the kind he would have wanted.

From: James I. Brown, pp. 146-148.

Unit Two

TEXT I

The Fine Art of Putting Things Off

Michael Demarest

1“Never put off till tomorrow,” exhorted Lord Chesterfield in 1749, “what you can do today.” That the elegant earl never got around to marrying his son’s mother and had a bad habit of keeping worthies like Dr. Johnson cooling their heels for hours in an anteroom attests to the fact that even the most well-intentioned men have been postponers ever. Quintus Fabius Maximus, one of the great Roman generals, was dubbed “Cunctator” (Delayer) for putting off battle until the last possible vinum break. Moses pleaded a speech defect to rationalize his reluctance to deliver Jehovah’s edict to Pharaoh. Hamlet, of course, raised procrastination to an art form.

2The world is probably about evenly divided between delayers and do-it-nowers. There are those who prepare their income taxes in February, prepay mortgages and serve precisely planned dinners at an ungodly 6:30 p.m. The other half dine happily on leftovers at 9 or 10, misplace bills and an extension of the income tax deadline. They seldom pay credit-card bills until the apocalyptic voice of Diners threatens doom from Denver. They postpone, as Faustian encounters, visits to barbershop, dentist or doctor.

3Yet for all the trouble procrastination may incur, delay can often inspire and revive a creative soul. Jean Kerr, author of many successful novels and plays, says that she reads every soup-can and jam-jar label in her kitchen before settling down to her typewriter. Many a writer focuses on almost anything but his task-for example, on the Coast and Geodetic Survey of Maine’s Frenchman Bay and Bar Harbor, stimulating his imagination with names like Googins Ledge, Blunts Pond, Hio Hill and Burnt Porcupine, Long Porcupine, Sheep Porcupine and Bald Porcupine islands.

4From Cunctator’s day until this century, the art of postponement had been virtually a monopoly of the military (“Hurry up and wait”), diplomacy and the law.In former times, a British proconsul faced with a native uprising could comfortably ruminate about the situation with Singapore Sling in hand. Blessedly, he had no nattering Telex to order in machine guns and fresh troops. A.U.S. general as late as World War II could agree with his enemy counterpart to take a sporting day off, loot the villagers’ chickens and wine and go back to battle a day later. Lawyers are among the world’s most addicted postponers. According to Frank Nathan, a nonpostponing Beverly Hi lls insurance salesman, “The number of attorneys who die without a will is amazing.”

5Even where there is no will, there is a way. There is a difference, of course, between chronic procrastination and purposeful postponement, particularly in the higher echelons of business. Corporate dynamics encourage the caution that breeds delay, says Richard Manderbach, Bank of America group vice president. He notes that speedy action can be embarrassing or extremely costly. The data explosion fortifies those seeking excuses for inaction – another report to be read, another authority to be consulted. “There is always,” says Manderbach, “a delicate edge between having enough information and too much.”

6His point is well taken. Bureaucratization, which flourished amid the growing burdens of government and the great complexity of society, was designed to smother policymakers in blankets of legalism, compromise and reappraisal –and thereby prevent hasty decisions from being made. The centralization of government that led to Watergate has spread to economic institutions and beyond, making procrastination a worldwide way of life. Many languages are studded with phrases that refer to putting things off –from the Spanish manana to the Arabic bukrafil mishmish(literally “tomorro w in apricots,” more loosely “leave it for the soft spring weather when the apricots are blooming”).

7Academe also takes high honors in procrastination. Bernard Sklar, a University of Southern California sociologist who churns out three to five pages of wr iting a day, admits that “many of my friends go through agonies when they face a blank page. There are all sorts of rationalizations: the pressure of teaching, responsibilities at home, checking out the latest book, looking up another footnote.”

8Psychologists maintain that the most assiduous procrastinators are women, though many psychologists are (at $50 —plus an hour) pretty good delayers themselves. Dr. Ralph Greenson, a U.C.L.A. professor of clinical psychiatry (and Marilyn Monroe’s onetime shrink), t akes a fairly gentle view of procrastination. “To many people,” he says, “doing something, confronting, is the moment of truth. All frightened people will then avoid the moment of truth entirely, or evade or postpone it until the last possible moment.” To Georgia State Psychologist Joen Fagan, however, procrastination may be a kind of subliminal way of sorting the important from the trivial. “When I drag my feet, there’s usually some reason,” says Fagan. “I feel it, but I don’t yet know the real reason.”

9In fact, there is a long and honorable history of procrastination to suggest that many ideas and decisions may well improve if postponed. It is something of a truism that to put off making a decision is itself a decision. The parliamentary process is essentially a system of delay and deliberation. So, for that matter, is the creation of a great painting, or an entrée, or a book, or a building like Blenheim Palace, which took the Duck of Marlborough’s architects and laborers 15years to construct. In the proce ss, the design can mellow and marinate. Indeed, hurry can be the assassin of elegance. As T. H. White, author of Swords in the Stone, once wrote, time “is not meant to be devoured in an hour or a day, but to be consumed delicately and gradually and without haste.” In other words, pace Lord Chesterfield, what you don’t necessarily have to do today, by all means put off until tomorrow.

From: G. Levin, 4th ed., pp. 429 - 434

Unit Three

TEXT I

Walls and Barriers

Eugene Raskin

1My father’s reaction to the ba nk building at 43rd Street and Fifth Avenue in New York City was immediate and definite: “You won’t catch me putting my money in there!” he declared. “Not in that glass box!”

2Of course, my father is a gentleman of the old school, a member of the generation to whom a good deal of modern architecture is unnerving; but I suspect—I more than suspect, I am convinced—that his negative response was not so much to the architecture as to a violation of his concept of the nature of money.

3In his generation money was thought of as a tangible commodity—bullion, bank notes, coins—that could be hefted, carried, or stolen. Consequently, to attract the custom of a sensible man, a bank had to have heavy walls, barred windows, and bronze doors, to affirm the fact, however untrue, that money would be safe inside. If a building’s design made it appear impregnable, the institution was necessarily sound, and the meaning of the heavy wall as an architectural symbol dwelt in the prevailing attitude toward money, rather than in any aesthetic theory.

4But that attitude toward money has of course changed. Excepting pocket money, cash of any kind is now rarely used; money as a tangible commodity has largely been replaced by credit, a bookkeeping-banking matter. A deficit economy, accompanied by huge expansion, has led us to think of

money as a product of the creative imagination. The banker no longer offers us a safe, he offers us a service—a service in which the most valuable elements are dash and a creative flair for the invention of large numbers. It is in no way surprising, in view of this change in attitude, that we are witnessing the disappearance of the heavy-walled bank. The Manufactures Trust, which my father distrusted so heartily, is a great cubical cage of glass whose brilliantly lighted interior challenges even the brightness of a sunny day, while the door to the vault, far from being secluded and guarded, is set out as a window display.

5Just as the older bank asserted its invulnerability, this bank by its architecture boasts of its imaginative powers. From this point of view it is hard to day where architecture ends and human assertion begins. In fact, there is no such division; the two are one and the same.

6It is in the understanding of architecture as a medium for the expression of human attitudes, prejudices, taboos, and ideals that the new architectural criticism departs from classical aesthetics. The latter relied upon pure proportion, composition, etc., as bases for artistic judgment. In the age of sociology and psycho logy, walls are not simply walls but physical symbols of the barriers in men’s minds.

7In a primitive society, for example, men pictured the world as large, fearsome, hostile, and beyond human control. Therefore they built heavy walls of huge boulders, behind which they could feel themselves to be in a delimited space that was controllable and safe; these heavy walls expressed man’s fear of the outer world and his need to find protection, however illusory. It might be argued that the undeveloped technology of the period precluded the construction of more delicate walls. This is of course true. Still, it was not technology, but a fearful attitude toward the world, which made people want to build walls in the first place. The greater the fear, the heavier the wall, until in the tombs of ancient kings we find structures that are practically all wall, the fear of dissolution being the ultimate fear.

8And then there is the question of privacy – for it has become questionable. In some Mediterranean cultures it was not so much the world of nature that was feared, but the world of men. Men were dirty, prying, vile, and dangerous. One went about, if one could afford it, in guarded litters, women went about heavily veiled, if they went about at all. One’s house was surr ounded by a wall, and the rooms faced not out, but in, toward a patio, expressing the prevalent conviction that the beauties and values of life were to be found by looking inward, and by engaging in the intimate activities of a personal as against a public life. The rich intricacies of the decorative arts of the period, as well as its contemplative philosophies, are as illustrative of this attitude as the walls themselves.

9We feel different today. For one thing, we place greater reliance upon the control of human hostility, not so much by physical barriers, as by the conventions of law and social practice —as well as the availability of motorized police. We do not cherish privacy as much as did our ancestors. We are proud to have our women seen and admired, and the same goes for our homes. We do not seek solitude; in fact, if we find ourselves alone for once, we flick a switch and invite the whole world in through the television screen. Small wonder, then, that the heavy surrounding wall is obsolete, and we build, instead, membranes of thin sheet metal or glass.

10The principal function of today’s wall is to separate possibly undesirable outside air from the controlled conditions of temperature and humidity which we have created inside, Glass may accomplish this function, though there are apparently a good many people who still have qualms about eating, sleeping, and dressing under conditions of high visibility; they demand walls that will at least give them a sense of adequate screening. But these shy ones are a vanishing breed. The Philip Johnson house in Connecticut, which is much admired and widely imitated, has glass walls all the way around, and the only real privacy is to be found in the bathroom, the toilette taboo being still unbroken, at least in Connecticut.

11To repeat, it is not our advanced technology, but our changing conceptions of ourselves in relation to the world that determine how we shall build our walls. The glass wall expresses man’s conviction that he can and does master nature and socie ty. The “open plan” and the unobstructed view are consistent with

his faith in the eventual solution of all problems through the expanding efforts of science. This is perhaps why it is the most “advanced” and “forward-looking” among us who live and work in glass houses. Even the fear of the cast stone has been analyzed out of us.

From: T. Cooley, pp. 194 - 199 Unit Four

TEXT I

The Lady, or the Tiger? Part I

Frank R. Stockton

1In the very olden time there lived a semi-barbaric king, whose ideas, though somewhat polished and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammeled, as become the half of him which was barbaric. He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing; and, when he and himself agreed upon anything, the thing was done. When every member of his domestic and political systems moved smoothly in its appointed course, his nature was bland and genial; but whenever there was a little hitch, and some of his orbs got out of their orbits, he was blander and more genial still, for nothing pleased him so much as to make the crooked straight, and crush down uneven places.

2Among the borrowed notions by which his barbarism had become semified was that of the public arena, in which, by exhibition of manly and beastly valor, the minds of his subjects were refined and cultured.

3But even here the exuberant and barbaric fancy asserted itself. The arena of the king was built, not to give the people an opportunity of hearing the rhapsodies of dying gladiators, nor to enable them to view the inevitable conclusion of a conflict between religious opinions and hungry jaws, but for purposes far better adapted to widen and develop the mental energies of the people. The vast amphitheater, with its encircling galleries, its mysterious vaults, and its unseen passages, was an agent of poetic justice, in which crime was punished, or virtue rewarded, by the decrees of an impartial and incorruptible chance.

4When a subject was accused of a crime of sufficient importance to interest the king, public notice was given that on an appointed day the fate of the accused person would be decided in the king’s ar ena —a structure which well deserved its name; for, although its form and plan were borrowed from afar, its purpose emanated solely from the brain of this man, who, every barleycorn a king, knew no tradition to which he owed more allegiance than pleased his fancy, and who ingrafted on every adopted form of human thought and action the rich growth of his barbaric idealism.

5When all the people had assembled in the galleries, and the king, surrounded by his court, sat high up on his throne of royal state on one side of the arena, he gave a signal, a door beneath him opened, and the accused subject stepped out into the amphitheater. Directly opposite him, on the other side of the enclosed space, were two doors, exactly alike and side by side. It was the duty and the privilege of the person on trial to walk directly to these doors and open one of them. He could open either door he pleased: he was subject to no guidance or influence but that of the aforementioned impartial and incorruptible chance. If he opened the one, there came out of it a hungry tiger, the fiercest and most cruel that could be procured, which immediately sprang upon him, and tore him to pieces, as a punishment for his guilt. The moment that the case of the criminal was thus decided, doleful iron bells were clanged, great wails went up from the hired mourners posted on the outer rim of the arena, and the vast audience, with bowed heads and downcast hearts, wended slowly their homeward way, mourning greatly that one so young and fair, or so old and respected, should have merited so dire a fate.

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新编英语教程6课文翻译

新编英语教程6课文 翻译 -CAL-FENGHAI.-(YICAI)-Company One1

第1单元避免两词铭记两词 在生活中，没有什么比顿悟更令人激动和兴奋的，它可以改变一个人——不仅仅是改变，而且变得更好。当然，这种顿悟是很罕见的，但仍然可以发生在我们所有人身上。它有时来自一本书，一个说教或一行诗歌，有时也来自一个朋友。 在曼哈顿一个寒冷的冬天的下午，我坐在一个法国小餐馆，倍感失落和压抑。因为几次误算，在我生命中一个至关重要的项目就这样落空了。就因为这样，甚至连期望看到一个老朋友（我常常私下亲切的想到的一个老人）的情形都不像以前那样令我兴奋。我坐在桌边，皱起眉头看着色彩多样的桌布，清醒的嚼着苦涩的食物。 他穿过街道，裹着旧棉袄，一顶帽子从光头打下来，看上去不像是一个有名的精神病医生，倒像是一个精力充沛的侏儒。他的办公室在附近到处都有，我知道他刚刚离开他最后一个病人。他接近80岁，但仍然扛着一个装着满满文件的公文包，工作起来仍然像一个大公司的主管，无论何时有空，他都仍然爱去高尔夫球场。 当他走过来坐我旁边时，服务员早已把他总是要喝的啤酒端了过来，我已经几个月没有见他了，但他似乎还是老样子。没有任何寒暄，他就问我“怎么了，年轻人？” 我已经不再对他的样子感到奇怪，所以我详细地把烦恼告诉他。带着一丝忧伤的自豪。我尽量说出实情，除了我自己，我并没有因为失望而责备任何人。我分析了整件事情，但所有负面评价以及错误仍然继续。我讲了约有十五分钟，这期间老人只是默默的喝着啤酒。我讲完后，他取下眼镜说：“到我的办公室去。”“到你的办公室你忘了带什么了吗”他和蔼的说“不是，我想看看你对某些事情的反应，仅此而已。” 外面开始下起小雨，但他的办公室很温暖，舒服，亲切：放满书的书架靠着墙壁，长皮沙发，弗洛伊德的亲笔签名照，还有墙边放着的录音笔。他的秘书回家了，只有我们在那里。老人从纸盒里拿出一盘磁带放进录音笔，然后说：“这里有到我这来求助的三个人的简单录音，当然，这没有说明具体是哪三个人。我想让你听听，看你是否能找出双字词的短语，这里是在三个案例中共有的。”他笑道：“不要这么困扰，我有我的目的。” 对我来说，录音中三个主人共有的东西不是什么快乐的东西。首先讲话的是一个男人，他在生意中经历了一些损失或失败，他指责自己没有辛勤工作，也没有远见。接下来说话的是一个女人，她还没有结婚，因为对她寡妇母亲的强烈的责任意思，她伤心的回忆了所有擦肩而过的婚姻机遇。第三个说话的是一位母亲，她十多岁的儿子在警察局有麻烦，她总是不停地责备自己。 老人关掉收音机，侧身坐到椅子上：“在这些录音中，有一个短语像病毒一样的出现了六次。你注意到了吗没有噢，这可能是因为几分钟前你在餐馆说过了三次。”他拿起磁带盒扔给我。“正好在标签上有那两个伤心的词语。”我向下一看，那里有两个清晰的红色的印字：如果。 “你受惊了吗？”老人说：“你能想象我坐在这把椅子上以这两个词开头的话有多少次了吗？他们总是对我说：如果换一种方法做——或根本不去做。（如果我没发脾气、没有做那虚伪的事、没有说那愚蠢的谎言。如果我聪明点，或更无私点，或更自控点。）直到我打断说话他们才会停止。有时我让他们听你刚说过的录音。我对他们说（如果你停止说如果，我们就已取得进展了。）” 老人伸出双脚，说：“问题是，‘如果’并没有改变任何东西。它使那人面对错误——后退而非前进，那样只是在浪费时间。最后，要是你让它成为一个习惯，它就会变成真的障碍，变成你不再去做尝试的借口了。” “现在回到你的情况：你的计划没成功，为什么？因为你犯了某种错误。唔，这个没关系，毕竟错误谁都会犯，我们也从中学到东西。但是，当你告诉我那些东西时却悔恨这个， 后悔那个的时候，你还没有从错误中学到什么。” “你怎么知道呢？”我用一种辩驳的语气问道。 “因为你还没有从过去中走出来。你根本没提及到未来。在某种程度上——老实说，——现在你仍沉溺于过去。我们

新课标高中英语选修6课文-第一单元reading翻译

西方绘画艺术简史 艺术是受一个民族的风俗和信仰影响。西方艺术风格经历了多次变革。因为西方艺术多种多样，在短短的一篇课文里不可能进行全面的描述。因此，本书只谈及从公元六世纪开始以来最重要的几种艺术风格。 中世纪(5到15世纪) 在中世纪时期,画家的主要目的是把宗教主题表现出来。这一时期传统的艺术家无意于如实地展现自然和人物。这时的典型绘画充满了宗教的特征，体现出了对上帝的爱戴和敬重。但是，13世纪时绘画观念在改变是显而易见的，像乔托这样的画家开始以一种更现实的方式来画宗教场景。 文艺复兴时期（15世纪到16世纪） 在文艺复兴时期,新的思想和价值观逐渐取代了中世纪的思想和价值观。人们开始较少关注宗教主题而采取一种更人性化的生活态度。同时画家们回到罗马、希腊的古典艺术理念上。他们力争如实画出人物和自然。富人们想拥有自己的艺术品，这样就可以装饰自己的高级宫殿和豪宅。他们出价聘请著名艺术家不仅让他们画他们的活动和成就，还要他们画自己的肖像、房子和所有物。 在此期间，最重要的发现之一就是如何用透视法来画出事务。这一手法是1428年由马萨乔第一次使用的。当人们第一次看到他的画时，还以为是透过墙上的小洞来观看真实的场景，并对此深信不疑。如果没有发现透视法，就没有人能画出如此逼真的画。巧合的是，这一时期油画颜料也得到了发展，使得绘画的色彩看上去更丰富、更深沉。没有新的颜料和新的手法，我们就不能看到很多使这一时期著名的杰作。 印象派(19世纪后期到20世纪初期) 19世纪后期，欧洲发生了巨大的变化，从以农业为主的社会转变成了以工业为主的社会。许多人从农村迁入到新城市。有许多新发明和社会变革。这些变革也自然地促成了新的绘画风格。在那些突破传统画法的画家中有生活和工作在法国巴黎的印象派画家。 印象派画家是第一批室外写景的画家。他们急切地想把一天中不同时间投射到物体上的光线和阴影呈现出来。然而由于自然光的变化很快，印象派画家们必须很快地作画，因此，他们的画就不像以前那些画家们的画那样细致了。起初，很多人不喜欢这种画法，甚至还怒不可遏。他们说这些画家作画时漫不经心，粗枝大叶，而他们的作品更是荒谬可笑。 现代艺术(20世纪到今天) 在印象派作品的创建初期，他们是存在着争议的，但是如今已经被人们接受而成为我们现在所说的“现代艺术”的始祖了。这是因为印象派鼓励画家用一种崭新的视角看待他们的环境。如今，现代艺术风格有好几十种，然而如果没有印象派，那么这许多不同的风格也许就不可能存在。一方面，有些现代艺术是抽象的，也就是说，画家并不打算把我们眼睛看到的东西如实地画出来，而是集中展现物体的某些品质特征，用色彩、线条和形状把它们呈现出来。而另一方面，有些现代派的艺术作品却是那么真实，看上去就像是照片。这些风格如此不同。谁能预言将来会有什么样的绘画风格？

英语选修六Unit1课文翻译

高二人教新课标选修6 unit 1 Art课文翻译 Reading 1 A SHORT HISTORY OF WESTERN PAINTING Art is influenced by the customs and faith of a people. Styles in Western art have changed many times. As there are so many different styles of Western art, it would be impossible to describe all of them in such a short text. Consequently, this text will describe only the most important ones, starting from the sixth century AD. The Middle Ages (5th to the 15th century AD) During the Middle Ages, the main aim of painters was to represent religious themes. A conventional artist of this period was not interested in showing nature and people as they really were. A typical picture at this time was full of religious symbols, which created a feeling of respect and love for God. But it was evident that ideas were changing in the 13th century when painters like Giotto di Bondone began to paint religious scenes in a more realistic way. The Renaissance (15th to 16th century) During the Renaissance, new ideas and values gradually replaced those held in the Middle Ages. People began to concentrate less on religious themes and adopt a more humanistic attitude to life. At the same time painters returned to classical Roman and Greek ideas about art. They tried to paint people and nature as they really were. Rich people wanted to possess their own paintings, so they could decorate their superb palaces and great houses. They paid famous artists to paint pictures of themselves, their houses and possessions, as well as their activities and achievements. One of the most important discoveries during this period was how to draw things in perspective. This technique was first used by Masaccio in 1428. When people first saw his paintings, they were convinced that they were looking through a hole in the wall at a real scene. If the rules of perspective had not been discovered, no one would have been able to paint such realistic pictures. By coincidence, oil paints were also developed at this time, which made the colours used in paintings look richer and

新编英语教程6 课文翻译精编版

第1单元避免两词铭记两词 在生活中，没有什么比顿悟更令人激动和兴奋的，它可以改变一个人——不仅仅是改变，而且变得更好。当然，这种顿悟是很罕见的，但仍然可以发生在我们所有人身上。它有时来自一本书，一个说教或一行诗歌，有时也来自一个朋友。 在曼哈顿一个寒冷的冬天的下午，我坐在一个法国小餐馆，倍感失落和压抑。因为几次误算，在我生命中一个至关重要的项目就这样落空了。就因为这样，甚至连期望看到一个老朋友（我常常私下亲切的想到的一个老人）的情形都不像以前那样令我兴奋。我坐在桌边，皱起眉头看着色彩多样的桌布，清醒的嚼着苦涩的食物。 他穿过街道，裹着旧棉袄，一顶帽子从光头打下来，看上去不像是一个有名的精神病医生，倒像是一个精力充沛的侏儒。他的办公室在附近到处都有，我知道他刚刚离开他最后一个病人。他接近80岁，但仍然扛着一个装着满满文件的公文包，工作起来仍然像一个大公司的主管，无论何时有空，他都仍然爱去高尔夫球场。 当他走过来坐我旁边时，服务员早已把他总是要喝的啤酒端了过来，我已经几个月没有见他了，但他似乎还是老样子。没有任何寒暄，他就问我“怎么了，年轻人？” 我已经不再对他的样子感到奇怪，所以我详细地把烦恼告诉他。带着一丝忧伤的自豪。我尽量说出实情，除了我自己，我并没有因为失望而责备任何人。我分析了整件事情，但所有负面评价以及错误仍然继续。我讲了约有十五分钟，这期间老人只是默默的喝着啤酒。我讲完后，他取下眼镜说：“到我的办公室去。”“到你的办公室？你忘了带什么了吗？”他和蔼的说“不是，我想看看你对某些事情的反应，仅此而已。” 外面开始下起小雨，但他的办公室很温暖，舒服，亲切：放满书的书架靠着墙壁，长皮沙发，弗洛伊德的亲笔签名照，还有墙边放着的录音笔。他的秘书回家了，只有我们在那里。老人从纸盒里拿出一盘磁带放进录音笔，然后说：“这里有到我这来求助的三个人的简单录音，当然，这没有说明具体是哪三个人。我想让你听听，看你是否能找出双字词的短语，这里是在三个案例中共有的。”他笑道：“不要这么困扰，我有我的目的。” 对我来说，录音中三个主人共有的东西不是什么快乐的东西。首先讲话的是一个男人，他在生意中经历了一些损失或失败，他指责自己没有辛勤工作，也没有远见。接下来说话的是一个女人，她还没有结婚，因为对她寡妇母亲的强烈的责任意思，她伤心的回忆了所有擦肩而过的婚姻机遇。第三个说话的是一位母亲，她十多岁的儿子在警察局有麻烦，她总是不停地责备自己。 老人关掉收音机，侧身坐到椅子上：“在这些录音中，有一个短语像病毒一样的出现了六次。你注意到了吗？没有？噢，这可能是因为几分钟前你在餐馆说过了三次。”他拿起磁带盒扔给我。“正好在标签上有那两个伤心的词语。”我向下一看，那里有两个清晰的红色的印字：如果。 “你受惊了吗？”老人说：“你能想象我坐在这把椅子上以这两个词开头的话有多少次了吗？他们总是对我说：如果换一种方法做——或根本不去做。（如果我没发脾气、没有做那虚伪的事、没有说那愚蠢的谎言。如果我聪明点，或更无私点，或更自控点。）直到我打断说话他们才会停止。有时我让他们听你刚说过的录音。我对他们说（如果你停止说如果，我们就已取得进展了。）” 老人伸出双脚，说：“问题是，‘如果’并没有改变任何东西。它使那人面对错误——后退而非前进，那样只是在浪费时间。最后，要是你让它成为一个习惯，它就会变成真的障碍，变成你不再去做尝试的借口了。” “现在回到你的情况：你的计划没成功，为什么？因为你犯了某种错误。唔，这个没关系，毕竟错误谁都会犯，我们也从中学到东西。但是，当你告诉我那些东西时却悔恨这个， 后悔那个的时候，你还没有从错误中学到什么。” “你怎么知道呢？”我用一种辩驳的语气问道。 “因为你还没有从过去中走出来。你根本没提及到未来。在某种程度上——老实说，——现在你仍沉溺于过去。我们每

英语选修六课文翻译

Unit1----A SHORT HISTORY OF WESTERN PAINTING Art is infiuenced by the customs and faith of a people.Styles in Western art have chan ged many times.As there are so many different styles of Western art,itwould be impo ssible to describe all of them in such s short text.Consequently,this text will describe onlythe most ones, starting from the century AD. 艺术是受海关和百姓信念影响的。在西方的艺术风格已经改变了很多次。尽管有许多不同风格的西方艺术，所以它不能用简单的文字描述。因此，本文将描述从公元世纪开始最流行的艺术风格。 The middle Ages(5th to the 15th century AD) 中世纪(5到15世纪) Druing the Middle Ages,the main aim of painters was to represent religious themes.A conventional artistof this period was not interesed in showing nature and people as t hey really were.A typical picture at this time wau full of relidious symbols,which creat ed a feeling of respect and love for God.but it was evident that ideas were changing i n the 13th century when painters like Giotto di Bondone began to paint religious sce nes in a more realistic way. 在中世纪时期，画家们的主要目的是为了表达宗教主题传统的艺术家想。这一时期的传统艺术对展现自然和人的本来面目并不感兴趣。这是一幅典型的图画，充满了宗教的象征，创造了对上帝的尊重和爱。但很明显，在13世纪，当乔托·迪·邦多内（Giotto di Bondone）等画家开始以更现实的方式描绘宗教场景时，观念正在发生变化。 The Rensssance(15th to 16th century) 文艺复兴时期（15世纪到的16世纪） During the renaissance,new ideaa and values gradually replaced those beld in the the