關(guān)于英語經(jīng)典美文誦讀
關(guān)于英語經(jīng)典美文誦讀
在大學(xué)英語教學(xué)中，英語閱讀理解是教學(xué)的重要活動(dòng)，是大學(xué)生學(xué)習(xí)英語的手段和目的。下面是學(xué)習(xí)啦小編帶來的關(guān)于英語經(jīng)典美文誦讀，歡迎閱讀!
關(guān)于英語經(jīng)典美文誦讀篇一
A Tale of Two Smut Merchants
兩個(gè)淫穢照片商的故事
Mike Royko
邁克·羅伊科
In simpler times, there lived a self-employed photographer in Chicago who worked weddings,anniversaries, graduations and other family events. He also padded his income with goods hedidn’t advertise in the neighborhood paper. He sold nude photos—the kind we used to calldirty pictures.
那年頭比較純樸，芝加哥有一名個(gè)體照相師，專營結(jié)婚照、周年紀(jì)念照、畢業(yè)照和其他家庭大事照。有的貨色他并沒在當(dāng)?shù)貓?bào)紙上做廣告，他也拿來湊數(shù)，添點(diǎn)收入。他出售裸體照——就是我們過去常說的下流照片。
His model was usually his wife, an empty-faced woman who tended their second-floor flat andtwo small kids and did what her husband told her to do. Other than having a big chest, therewasn’t much to recommend her as a model, except that she was willing to pose inembarrassingly revealing positions.
他的模特兒通常是他的妻子——一個(gè)面孔毫無表情的婦女。她照管著他們在二樓的那套房間和兩個(gè)小孩，凡事都聽她丈夫的。她當(dāng)模特兒，無非是有一個(gè)高高挺起的胸脯，旁的沒什么好說的，不過她很樂意擺出各種露得叫人看不下去的姿勢就是了。
The photographer would sell stacks of the wallet-size photos to guys he knew in factoriesand taverns, and they would sell them to guys they knew. That’s the way such things circulatedin the days before porn stores and national smut magazines.
照相師把皮夾子大小的照片成批賣給他在工廠和酒館里的熟人，這些人再賣給他們的熟人。那年頭還沒有賣淫穢東西的商店和全國性的黃色雜志，這類東西就是這么流傳的。
The photographer’s neighbors didn’t know about his dirty-picture business because he soldthem outside the neighborhood. But then he made the mistake of asking a teenage girl fromthe next block if she would be interested in making some money as a model.
照相師的街坊們對他賣下流畫的勾當(dāng)一無所知，因?yàn)樗窃趧e的街區(qū)干的。但是后來出了紕漏：他竟問隔壁街區(qū)的一個(gè)十幾歲的小女孩想不想當(dāng)模特兒掙錢。
When he told her exactly what he had in mind, she told her mother. The mother told the father,who owned a corner tavern. And the father and his large son, carrying baseball bats, went tothe photog’s home and banged on the door. Not being a dummy, he wouldn’t open the door.So the father yelled that if he ever came near the girl again, they’d kill him.
他把想法向小女孩原原本本說了，上女孩告訴了她的母親。她母親又告訴了她父親，他在街角上開有一小酒館。于是他父親帶上大個(gè)頭兒子，提著棒球棍，跑到照相師家，把房門敲得砰砰響。照相師又不傻，哪能開門。做父親的于是大喊大叫，說他要是再接近他的女兒，他們就宰了他。
A few weeks later the tavern keeper was at the local grammar school, attending the graduationof one of his other children. During the ceremony, he glanced around and saw thephotographer with a camera in his hand. “What’s that creep doing here?” he shouted.
幾個(gè)星期過后，酒館老板到當(dāng)?shù)氐某跫壷袑W(xué)，參加他另外一個(gè)孩子的畢業(yè)典禮。典禮正在進(jìn)行，他四下瞅瞅，一眼看到那個(gè)照相師，手拿一架照相機(jī)。他喊到：“那混蛋來這兒干嗎?”
It turned out that the creep was the official photographer of the graduation. “He ain’t takingmy kid’s picture,” said the tavern keeper. He got up and bashed the creep in the jaw, and thephotographer fled.
那混蛋原來是來拍畢業(yè)典禮的正式攝影師。“不許他給我的孩子照相。”酒館老板說。他站起身來，朝那混蛋下巴上猛揍一拳，照相師一溜了事。
The tavern keeper then explained to parents and teachers that he had driven a degeneratefrom their midst, so someone else was called to take the class picture. Within two days, thephotog had moved from the neighborhood and was never again seen.
接著，酒館老板向家長和老師們說明，他是替大伙趕走了一個(gè)壞分子，于是另請了一個(gè)人給全班照相留念。不到兩天，那個(gè)照相師就從這條街搬走了，再也沒露面。
I thought of that incident while watching Bob Guccione, owner of Penthouse magazine, beinginterviewed some time ago on a network news show, and it occurred to me what remarkablechanges have occurred in only a few decades.
不久前一家新聞電視網(wǎng)播放了采訪《藏春閣》雜志的老板鮑勃·古西翁的實(shí)況，我看后不禁想起這件往事。我在想，時(shí)隔不過幾十年，竟是世事滄桑啊。
The neighborhood pornographer was punched around and had to move away in disgrace.Guccione, a multimillionaire, wears gold chains, travels the world in jets and is invited to thebest parties in New York City.
那個(gè)街道上的黃色販子挨了揍，不得不夾起尾巴走人。古西翁卻是腰纏萬貫，穿金戴銀，坐著噴氣式飛機(jī)周游世界，應(yīng)邀蒞臨紐約市首屈一指的集會。
If the photog tried to explain why he did what he did, nobody would have cared. They wouldhave just punched him some more. But Guccione speaks with great seriousness about thejournalistic necessity of publishing nude photos of a well-known woman. And there are peoplewho take him seriously.
那個(gè)照相師要是想解釋一下他的所作所為，沒人會聽他的。人們只會對他揍得更狠。古西翁卻是在一本正經(jīng)地談?wù)搱?bào)章雜志有必要刊登什么名媛的裸照。而且還有一個(gè)一本正經(jīng)地聽信他。
Actually, there’s little difference between that neighborhood pornographer and Guccione, themagazine publisher, other than financial success. The only significant one is that the photogwas born before his time.
其實(shí)，那位街道上的黃色販子與雜志出版商古西翁之間并沒有什么兩樣，他倆無非財(cái)運(yùn)不同罷了。唯一值得注意的不同倒是那位照相師生不逢辰。
Maybe, I prefer to think that it was the tavern keeper, unfortunately, who was born before histime.
也許是吧?？晌业挂詾檎悄俏痪起^老板——說來可嘆——他才生不逢辰呢。
關(guān)于英語經(jīng)典美文誦讀篇二
A Visit with the Folks
探訪故親
periodically i go back to a churchyard cemetery on the side of an Appalachian hill in northernVirginia to call on family elders. it slows the juices down something marvelous.
弗吉尼亞北部阿巴拉契亞山脈的一個(gè)小山坡上， 有一處教堂墓地。每隔一段日子，我都要回到那里探望先輩們。這種 探訪有一種奇妙的力量，能讓人的心境歸于平靜。
they are all situated right behind an imposing brick church with a tall square brick bell-towerbest described as honest but not flossy. some of the family elders did construction repair workon that church and some of them, the real old timer, may even have helped build it ,but icounldn't swear to that because it's been there a long, long time.
先輩們的墓地全都在一座莊嚴(yán)醒目的磚石教堂后面。高高聳立的方形鐘樓也是磚石結(jié)構(gòu)的，說它“樸實(shí)而不粗糙”在再合適不過了。家族先輩中有些參與過教堂的修繕工作，另一些人，那些真正的老祖宗們，或許還為教堂的建造出過力，但對此我可沒有絕對把握，因?yàn)榻烫媒ㄔ谀抢锂吘挂呀?jīng)很久很久了。
The view, especially in early summer, is so pleasing that it’s a pity they can’t enjoy it. Wildroses blooming on fieldstone fences, fields white with daisies, that soft languorous air turningthe mountains pastel blue out toward the West.
那兒的景色非常怡人，尤其是在初夏時(shí)節(jié)。石柵籬上的野薔薇競相開放，田野被雛菊染成一片白色，微醺的和風(fēng)給群山抹上淡淡的藍(lán)色，一直向西邊延伸而去。先輩們無法欣賞這些美景，真是一樁憾事。
The tombstones are not much to look at. Tombstones never are in my book, but they do helpin keeping track of the family and, unlike a family, they have the virtue of never chafing at you.
那些墓碑倒是沒什么看的。在我看來，墓碑從來就沒有什么好看的。但它們確實(shí)有助于尋根問祖，而絕不會像現(xiàn)在的家人，總跟你嘮叨個(gè)沒完。
This is not to say they don’t talk after a fashion. Every time I pass Uncle Lewis’s I can hear itsay, “Come around to the barber shop, boy, and I’ll cut that hair.” Uncle Lewis was a barber. Heleft up here for a while and went to the city. Baltimore. But he came back after the end. Almostall of them came back finally, those that left, but most stayed right here all along.
但這兒并不是說他們總是“一聲不吭”。每次走過劉易斯大叔的墓前，我都能聽見這樣的話：“回頭到理發(fā)店來，孩子，我給你剪剪頭。”劉易斯大叔是個(gè)理發(fā)的，有一段時(shí)間他曾離開家鄉(xiāng)，到大都市巴爾的摩謀生，但最后還是回來了。幾乎所有的人，我是說那些離開過的人們，最終都回來了，但大多數(shù)人——一輩子都呆在這里。
Well, not right here in the churchyard, but out there over the fields, two, three, four milesaway. Grandmother was born just over that rolling field out there near the woods the year theCivil War ended, lived most of her life about three miles out the other way there near themountain, and has been right here near this old shade tree for the past 50 years.
對了，“這里”當(dāng)然不是指這片墓地，而是鄉(xiāng)間那邊，離墓地二三英里或三四英里的地方。內(nèi)戰(zhàn)結(jié)束那年，祖母就出生在樹林子附近那片起伏不平的地頭。她大半輩子都在離林子大約三英里的大山邊生活，如今安躺在這棵綠蔭如蓋的老樹下也有50年了。
We weren’t people who went very far. Uncle Harry, her second child, is right beside her. Acarpenter. He lived 87 years in these parts without ever complaining about not seeing Paris. Toget Uncle Harry to say anything, you have to ask for directions.
先輩們都不大出遠(yuǎn)門兒。就拿哈里大伯來說吧，他是祖母的二兒子，就葬在她的墓旁。他是個(gè)木匠，一輩子87年都在這一帶度過，從未抱怨過自己沒去過巴黎，見識見識外面的世界。要想讓哈里大伯開口說點(diǎn)什么，你得向他問路才行。
“Which way is the schoolhouse?” I ask, though not aloud of course.
“去學(xué)堂走哪條路呀?”我問道，當(dāng)然聲音不大。
“Up the road that way a right good piece,” he replies, still the master of indefinite navigationwhom I remember from my boyhood.
“沿那條道一直走就行，還得走好一陣子呢。”他回答道。在我兒時(shí)的記憶中，他一直就是這個(gè)樣子，總是那副好給別人之路卻又指不清的含糊口氣。
It’s good to call on Uncle Lewis, grandmother and Uncle Harry like this. It improves yourperspective to commune with people who are not alarmed about the condition of NATO orwhining about the flabbiness of the dollar.
像這樣探訪劉易斯大叔、祖母和哈里大伯，感覺真好。他們既不會因?yàn)楸奔s現(xiàn)狀而憂心忡忡，又不會因?yàn)槊涝＼浂悟}滿腹，同這樣的人傾心交談能使你更加明察事理。
The elders take the long view. Of course, you don’t want to indulge too extensively in thatlong a view, but it’s useful to absorb it in short doses. It corrects the blood pressure and putsthings in a more sensible light.
先輩們大都看得開，想得遠(yuǎn)。當(dāng)然，你并不想沉迷于用太長遠(yuǎn)的目光去看問題，但偶爾合理地用上一次卻大有裨益。這樣可以使你心平氣和，更加理智地看待各種事物。
After a healthy dose of it, you realize that having your shins kicked in the subway is not thegravest insult to dignity ever suffered by common humanity.
學(xué)會適當(dāng)?shù)匕涯抗夥砰_一點(diǎn)之后，你就會明白，在地鐵里被人踹了一腳并不算是普通人所受的什么奇恥大辱。
Somewhere in the vicinity is my great-grandfather who used to live back there against themountain and make guns, but I could never find him. He was born out that way in 1817—JamesMonroe was President then—and I’d like to find him to commune a bit with somebody of bloodkin who was around when Andrew Jackson was in his heyday.
就在這附近哪個(gè)地方埋著我的一個(gè)曾祖父。生前他依山而居，還造過槍，但我一直沒能找到他的墓。1817年他就出生在那里——當(dāng)時(shí)的總統(tǒng)是詹姆斯·門羅——我極想找到他，好跟這位親眼目睹了安德魯·杰克遜鼎盛時(shí)期的親人好好聊上幾句。
After Jackson and Abraham Lincoln and the Civil War, he would probably not be very impressedabout much that goes on nowadays, and I would like to get a few resonances off histombstone, a cool frisson of contempt maybe for a great-grandchild who had missed all thereally perilous times.
這位曾祖父生活在杰克遜、亞伯拉罕·林肯當(dāng)政時(shí)期，又經(jīng)歷了內(nèi)戰(zhàn)，對時(shí)下發(fā)生的事兒可能不會有太大的感觸。但我仍想從墓碑中聽他講上幾句，哪怕他會對我這個(gè)沒經(jīng)歷過真正危難時(shí)世的曾孫表示出冷漠和不屑，會令我不寒而栗。
Unfortunately, I am never able to find him, but there is Uncle Irvey, grandmother’s oldest boy.An unabashed Hoover Republican. “Eat all those string beans, boy,” I hear as I nod at histombstone.
遺憾的是，我始終沒能找到他的墓，卻碰到了祖母大兒子歐維大伯的墓。他是個(gè)鐵桿胡佛派共和黨人。“孩子，把那些菜豆全吃了。”我朝他的墓碑點(diǎn)頭時(shí)，聽見他這么說。
And here is a surprise: Uncle Edgar. He has been here for years, but I have never bumped intohim before. I don’t dare disturb him, for he is an important man, the manager of the baseballteam, and his two pitchers, my Uncle Harold and my Cousin-in-law Howard, have both beenshelled on the mound and Uncle Edgar has to decide whether to ask the shortstop if he knowsanything about pitching.
這可是個(gè)意外的發(fā)現(xiàn)：埃德加大叔的墓，他埋在這里已有好些年了?？山裉爝€是我第一次看見他的墓。我沒敢驚動(dòng)他，因?yàn)樗莻€(gè)大人物，棒球隊(duì)經(jīng)紀(jì)人。記得有一次，他的兩個(gè)投手——我的哈羅德大叔和霍華德表姐夫，在投球區(qū)被對方連連安打得分，他只得決定去找游擊手，問他有沒有信心上場充當(dāng)投手去投球。
My great-grandfather who made guns is again not to be found, but on the way out I pass thetombstone of another great-grandfather whose distinction was that he left an estate of.87. It is the first time I have passed this way since I learned of this, and I smile his way, butsomething says, “In the long run, boy, we all end up as rich as Rockefeller,” and I get into thecar and drive out onto the main road, gliding through fields white with daisies, past fencesperfumed with roses, and am rather more content with the world.
造槍的曾祖父的墓還是沒找到，但離開墓地的時(shí)候我卻發(fā)現(xiàn)了另一個(gè)曾祖父的墓。他的與眾不同之處就是只留下了3.87美元的遺產(chǎn)，這是我聽說這樁事后第一次從這兒經(jīng)過，我笑他的寒酸，卻聽見有個(gè)聲音在說：“從長遠(yuǎn)看，孩子，到最后我們都會跟洛克菲勒一樣有錢的。”于是我鉆進(jìn)汽車，穿過被雛菊染白的田野，經(jīng)過薔薇飄香的石柵籬，把車開到大路上。此刻，這對這個(gè)世界又多了幾許滿足。
關(guān)于英語經(jīng)典美文誦讀篇三
Canadian Eskimo Lithographs
加拿大愛斯基摩人的石版畫
Hela Goetz
海拉·戈也茲
Since the Eskimos of Cape Dorset began making prints in 1959, their graphics have continuedto delight art lovers around the world. Interest has spread, not only in the south but to Arcticcommunities as well. Currently,four other Eskimo settlements are producing prints.
自從1959年多塞特角的愛斯基摩人開始創(chuàng)作版畫以來，他們的作品一直為全世界的藝術(shù)愛好者所喜聞樂見。這種創(chuàng)作的興趣已經(jīng)不限于“南部”，而是遍及北極各個(gè)村落?，F(xiàn)在，其他四個(gè)居住地的愛斯基摩人也在制作版畫了。
Cape Dorset is probably the best known of the printmaking communities. For a dozen years,prints of consistently high quality have been produced; successful experiments with stencils,etchings and engravings have addedvariety and interest; individual artists are receivingrecognition and acclaim. As modern technology encroaches upon these formerly isolatedpeople, the prints have become a record of an earlier life style.
多塞特角可能是最有名的版畫創(chuàng)作之鄉(xiāng)了。多年來，這地方不斷出有高質(zhì)量的版畫;不論蠟刻、蝕刻、雕刻，都是成果累累，作品豐富多彩，趣味橫生;各路藝人都備受重視，為人贊許?，F(xiàn)代技術(shù)逐漸滲入這些昔日與世隔絕的人們中間，這些版畫也就成了他們早期生括方式的寫照。
When one considers the limited means available to these artists, both in obtaining materialsand being exposed to print-making techniques, their success is indeed phenomenal. Graphicimages had been made by Eskimo artists prior to the advent of printmaking in the Arctic,usually in the form of incised figures and designs on ivory carvings, but the idea of reproducingan image many times on paper was totally new. James Houston, then Northern AffairsAdministrator at Cape Dorset, and himself an artist, guided the Eskimo artists in their firstexperiment, and gradually a cooperative print shop was established.
想想這些藝術(shù)家工作受到多么大的限制——搞不到設(shè)備，不懂印刷技術(shù)，竟然能有如此成就，確實(shí)非同小可。愛斯基摩藝人在印刷術(shù)傳到北極之前，就已有各種雕像之作，通常是把人物和圖案雕刻在象牙上，但要在紙上多次復(fù)制同一圖像，卻是前所未聞。當(dāng)時(shí)駐多塞特角的北部事務(wù)行政官詹姆斯·豪斯頓，本人就是一位藝術(shù)家，他指導(dǎo)愛斯基摩藝人初試其道，后來他們逐步建立起了一家合作性質(zhì)的版畫店。
Carving of the image on to a flat stone block was a natural step for artists accustomed toproducing stone carvings; drawing the images to be repro-duced was more radical. Many ofthe women, who were far ouf flumbered as carvers by the men, took readily to the newmedium, and soon drawingsfor possible translation into prints became a major artistic activity.People began to take a great interest in recording everyday activities on paper, realisticallyreproducing the animals and birds which were the objects of the hunt and played such a centralrole in their existence, and drawing images of the spirits and strange creatures which peopledtheir mythology. Economic aspects played an important part, too, in the development of thisnew medium of artistic expression. For a people entering a new phase of civilization, it becamean absolute necessity to replace the older hunting economy with a new form of subsistence.The sale of carvings had, for thepast ten years, been an increasing source of income; thedevelopment of print-making techniques promised another means to survive economically.
把圖像刻在平石板上，是制作石雕的藝術(shù)家習(xí)以為常的一個(gè)步驟：把圖像描畫下來，再復(fù)制出來，就非同尋常了。拿雕刻師來說，男人的數(shù)量本來遠(yuǎn)遠(yuǎn)超過婦女，但這時(shí)許多婦女也欣然從事這種新的工藝，于是描圖制版很快成為一種主要的藝術(shù)活動(dòng)。大家都開始熱衷于把日常的活動(dòng)記錄在紙上：他們逼真地再現(xiàn)了各種飛禽走獸，這些都是獵物，在他們的生活中起著簡直是核心的作用;他們還畫出了許多精靈鬼怪的形象，這些又都是棲息在他們神話里的生靈。在這種新的藝術(shù)表現(xiàn)手段的發(fā)展過程中，經(jīng)濟(jì)方面也起了重要的作用。一個(gè)民族在進(jìn)入文明的一個(gè)新階段時(shí)，勢必要用一種新的生存方式來取代舊的狩獵經(jīng)濟(jì)。在過去的十年中，出售雕刻品一直是增加收入的一個(gè)財(cái)源;發(fā)展制版工藝，提供了又一種賴以生存的經(jīng)濟(jì)手段。
The possibility of recording the old ways of life and the world of the spirits appealed especiallyto the older generation.
老一代人特別感興趣的是如今可以把古老的生活方式和鬼怪世界記錄下來了。
The recurring theme of monsters and spirits is not entirely the choice of theartiststhemselves. They have been encouraged to draw the old ways andto let their imagination runfree in conjuring up spirits, as these subjects areintensely interesting to southerners. Still, theidea of these fantastic crea-tures is a very real part of the Eskimo's spiritual heritage, andthey are asmuch a part of the old ways as was the nomadic existence in igloos andsHn tents.
精靈鬼怪的主題反復(fù)出現(xiàn)，并非完全出自藝術(shù)家本人的選擇。。南方人”對這類題材極有興趣，藝術(shù)家因而也受到鼓舞，情愿畫。古老的方式”，任憑自己的想像力呼風(fēng)喚雨，自由馳騁。不過，構(gòu)思出這批稀奇古怪的生靈，正是愛斯基摩人精神生活中的一個(gè)極為真實(shí)的傳統(tǒng)，它們構(gòu)成了“古老的方式”的一個(gè)部分，猶如圓頂茅屋和獸皮帳篷體現(xiàn)了游牧生活一樣。
Strange species of birds are another favourite subject of the Cape Dorsetartists.
千奇百怪的飛禽是多塞特角的藝術(shù)家所鐘愛的又一個(gè)題材。
One of the marvellous things about carving and print maHng activities inthe Arctic is the numberof artists who take part-from young children tothe very old.
在北極，從事雕刻和版畫創(chuàng)作活動(dòng)的藝術(shù)家，下自少年兒童，上至耄耋老人，其人數(shù)之眾多，蔚為一大奇觀。
The old ways are all but gone, but the community spirit remains, support-ing new ideas andwelcoming new art forms without forgetting the heritageof the past.
“古老的方式”已經(jīng)消失殆盡，但他們那種群體精神今猶長存，它不斷支持新的思想，迎來新的藝術(shù)形式，而又保住往昔的傳統(tǒng)，并不忘本。
看了“關(guān)于英語經(jīng)典美文誦讀”的人還看了：