英语笔译综合能力三级整理

《英语笔译综合能力 三级》

UNIT I LESSON ONE

A GREAT ONE GOES OUT IN STYLE, HIS OWN STYLE 一个伟人的优雅退役，以他独有的方式

Pete Sampras will leave the game as he played it, a modest, easy, all-time great. You see all kinds of retirements in sports, and most of them are emotionally awkward and difficult to watch. There is the weeping news conference. There’s the endless, ceremonial you’ll-miss-me tour. There’s the stutter-step retirement, in which the athlete retires only to unretired when he craves attention or need the money. Almost no one retires well.

皮特.桑普拉斯用他独有的方式结束了他辉煌的网坛生涯，谦逊、随性、杰出。体坛中你会看到各种各样的退役，它们中的大多数令人在情感上难以接受甚至不忍观看。退役时，会有煽情的记者招待会；还有无止尽的纪念性巡游；更有为了复出而退役的退役，在这样的退役里，当他们再一次渴望别人的注意或者需要用钱的时候随时都会复出。几乎没有谁能够完美的离开。

But Sampras is retiring in graceful self-control. He plans to announce his retirement in a ceremony at the U.S. Open tonight, and a lot of people wonder why Sampras won’t make more of the event, allow himself to be more elaborately feted. The simple answer is that Sampras doesn’t need it. He doesn’t need a last jolt of adrenaline or dose of adulation. He doesn’t need a prolonged ego bath. He doesn’t need more money, or trophies. He doesn’t need any of the things that other athletes find it so hard to walk away from. He’s content.

然而三普拉斯的退隐却优雅而富有自制力。他计划在今晚的美国公开赛典礼上宣布这一消息。很多人不解，为什么桑普拉斯不为此多做些噱头，那么他便可以得到大家精心准备的告别仪式。答案很简单，因为桑普拉斯不需要。他不需要最后一次的心跳加速，不需要更多的阿谀奉承；他不需要让自己继续沉浸在胜利的自负感中；他也不需要更多钱或者战利品。这些种种令其他选手无法割舍的东西他都不需要。他很满足。

That contentment is a kind achievement in its own right. Sampras has made himself invisible since his victory in last year’s U.S. Open. His 14th major championship now stands as the last match of his career, the perfect finish.

那种满足感本身就是一种成就。桑普拉斯自去年的美国公开赛夺冠之后就销声匿迹了。如今是他第十四次参加重要的职业锦标赛，这将成为他的最后一战，也将为他画上圆满的句号。

He’s never played in another tournament. He’s declined all interviews. He’s simply stayed at home with his wife and his new baby. Typically, he’s chosen the anticlimactic first night of this

year’s tournament, rather than the last, to make his announcement. The session isn’t even sold out.

他从未参加过任何一场其他联赛，拒绝一切采访。他只是简单的呆在家里陪着妻子和刚刚出世的宝宝。特别的是，他如此突兀的选择了今年联赛的首场比赛宣布退役，而不是最后一场。要知道，这个赛季的套票甚至还没有卖完。

Some may find this disappointing, but I find it to be utterly true to who Sampras is. He never trusted fame, and always boxed up and guarded his ego.

有些人也许会因此而感到失望，然而我却觉得这正是最符合桑普拉斯性格的方式。他从不沽名钓誉，而是固守着自我，小心的保护自己的内心。

Here are two true stories about Sampras, and how he consistently handled his success from the time he won his first U.S. Open at 19, to his last at 32. In 1996, Sampras was travelling cross-country in first class on a commercial jet, and sat next to Barry Bonds. Bonds didn’t recognize him, and Sampras shyly, didn’t introduce himself. Behind Sampras sat a friend of Bonds, who wanted to sit with the ballplayer. Bonds pointed at Sampras. “If this kid gets [up], you can move up here,” Bonds said, Sampras shrugged and moved, without a word.

这里有两则关于桑普拉斯的逸事，我们可以看到自他19岁第一次赢得美国公开赛到32岁的最后一次，一直以来他是如何看待自己的胜利的。1996年，桑普拉斯搭乘头等舱巡游全国时，坐在了贝瑞邦兹的旁边。那时，邦兹并不认识他，而害羞的桑普拉斯也没有向贝瑞介绍自己。在桑普拉斯身后坐着以为邦兹的朋友，他想和棒球选手邦兹坐在一起。邦兹指了指桑普拉斯说，“如果这个小鬼愿意的话，你就坐过来好了。”桑普拉斯耸了耸肩，什么也没说就换了座位。

At around the same time, he tried go to dinner at a Florida steakhouse, only to find that the line for a table went out the door. Sampras, for perhaps the only time in his life, tried to use his influence. He walked up to the hostess and asked for a table. The hostess didn’t know who he was. Sampras went to the back of the line, embarrassed, and never did it again.

大约在同一时期，他想去一家佛罗里达的牛排店就餐，可是发现等位的长队已经一直排到了门外。桑普拉斯也许是有生以来唯一的一次企图试试自己的影响力。他走到店主身边，要求一个桌位。结果那位店主并不认识他。桑普拉斯只好无比尴尬地回到了队尾，并且再也没有这么做过。

Sampras has been the same reserved and methodical player throughout his career, no matter how many tournaments he won or records he set. Which achievement will stand longest? His record 14 Grand Slam titles? His seven Wimbledon titles? His six straight year as the year-end No.1 player in the world? It’s the latter that Sampras might be proudest of, because it bespeaks an entire philosophy of the game, tennis as ethic. He wasn’t just great, he was dependably great. He never tanked, never ducked a commitment and struck every ball with serious intent. His work habits were equal to his talent.

无论他赢得了多少场比赛，创造了多少记录，桑普拉斯在他的职业生涯中始终是低调而有条不紊的。哪一种成就感可以维持的更久？是他十四次大满贯的头衔么？还是他七次赢得温布尔登更开赛？亦或是连续六年世界排行第一？也许后者会令桑普拉斯感到骄傲，因为它体现了他的网球哲

学：网球就是他的信仰。他不止是出色，他是绝对的出类拔萃。他从不好大喜功，也从不信口开河，而是认认真真的打好每一颗球。他优秀的工作与他娴熟的球技一样完美。

For this he was labeled boring, but the label did a disservice to player who made professionalism into artistry, and vice versa. He played complete and deeply realized tennis, but the lulling beauty of his game was so hypnotic that audiences couldn’t imagine it came from seat and work. In fact, it was the product of grim focus, self-deprivation and discipline. He burned to win so much that he got ulcers. He spent hours sweating with weights in a Florida garage with no air-conditioning – “They don’t have air-condition the court at the Open,” he said.

因此他被贴上了“无趣”的标签，然而这样的标签对一个把职业精神诠释为一种艺术的运动员来说是一种伤害，反之亦然。他比赛时完全的，深彻的投入到网球中，以至于他比赛中的娴熟和优美催眠般的令观众无法想象那背后的汗水和艰辛。实际上，这娴熟和这优美是来自于他无比严酷的专注，自我要求和自我控制。曾经，他急切的想要赢得比赛，过度训练而患上了溃疡。曾经，他为了减肥数小时的在没有空调、闷热无比的车库中做大量高负荷的训练――“公开赛的场地不开空调”，桑普拉斯说。

He traveled without seeing countries, rarely leaving his hotel except to practice, and he ate the same monastic training diet for years, sauceless pasta and chicken. “Every meal, whether I liked it or not,” he said. “Choking it down.” A rare splurge was to go to Vegas to play blackjack for a weekend, or to Peter Luger’s steakhouse in New York, which more often than not left him queasy because he wasn’t used to such rich food. It was a source of frustration to him that the audience didn’t grasp how much effort was behind the ease. “People watch him win, and think that doesn’t look too hard,” his coach, Paul Annacone, said. “But he’d like people to understand just how difficult it is.”

他到过很多地方却无暇观光，除了训练他几乎不离开酒店。长久以来他一直吃着同样的训练饮食――无酱意大利面和鸡肉。“每顿饭，无论我喜欢与否，”他说，“都得咽下去。”他仅有的奢侈是周末偶尔去拉斯维加斯玩几把21点，或者去纽约的彼特鲁格牛排店吃顿饭，但通常吃过之后他都会有点恶心，因为他已经不习惯这么油腻的食物了。对于他来说观众不了解看似简单的比赛背后他所付出的巨大努力是他挫败感的根源。“人们看到他赢球，会觉得似乎打赢比赛是件很容易的事’，”他的教练保罗.阿纳克说：“但是他希望人们能够了解这背后的艰辛。”

The problem was that Sampras wasn’t willing to abandon his reserve in exchange for understanding. If that was the price, he preferred to be misunderstood. He suffered a rare public breakdown at the Australian Open, after learning that his coach and friend, Tim Gullikson, had terminal brain cancer and wept on the court in the midst of a match against Jim Courier. But later, he was bothered by his new popularity as a result of the episode. “It galled me that it took something like that for people to say, ‘He’s human,’ ” he said.

然而问题在于桑普拉斯不愿为了得到理解而多加辩解。如果这就是代价的话，他宁愿这样被误解。他绝无仅有的一次在公众面前崩溃是在澳网公开赛上，听闻自己的教练兼好友――提姆.古历克森患上脑癌的消息之后，正在与吉姆.科里亚比赛着的桑普拉斯在球场当中哭泣起来。后来，由于这件事而提高了人们对他的关注令他十分困扰。“大家看了那样的之后才说，‘哦，他也是有人性的’，这让我感到很屈辱。”他说。

He preferred to stay sheltered in the hills above Los Angeles in a home that was comfortable, not palatial, and hidden behind towering old trees. “No one can see in and I can’t see out, and I like it that way,” he said. “I’m Howard Hughes.” He kept his trophies on a shelf in the TV room, and enjoyed showing them, but with typical self-deprecation. “They aren’t as heavy as you think,” he said.

他喜欢呆在洛杉矶山上的那座包围在树林里，舒适而并不华丽的家中。“没人能看进来，我也看不到外面，我喜欢这种感觉，”他说。“我就像霍华德.休斯。”他将他的奖品都陈列在电视间的架子上，他喜欢展示它们，但态度却有些自嘲。他说，“其实它们没有你想象的那么重。”

The press always found Sampras difficult to render precisely because he was so moderate and well-regulated. His genius came without the McEnroe-esque emotional torture, and therefore was un-dramatic. He was neither heroic nor villainous, he was simply excellent. Greatness was his only real excess. A villain or tortured genius would have been easier to describe. He was not a good conductor for audience emotions, either, because the whole point of him was that he was great every day, and the last thing audiences want at a sports event is the everyday.

媒体总觉得很难描述桑普拉斯，因为他总是那么温和，生活也十分规律。与McEnroe-esque不同，他的成功并非来自痛苦的情感经历，所以不具戏剧性。他既不是英雄也不是恶棍，他只是出色。伟大是他唯一的与众不同之处。然而一个恶棍或是一个情感有过挫折的天才选手更加容易描绘。他不懂如何在观众面前作秀，因为他的每一天都是持之以恒的出色，然而观众要的是波澜起伏、有些戏剧化的名人生活，而不是他这般的平淡。

But I’ll miss him, both personally and professionally. I’ll miss him hugely aspiring game, cloaked in that lazybones demeanor. I’ll miss the prodigious sleeper, the slouchy, gangly, drowsy kid who napped in the player lounge and shuffled around in flip-flop for the past 15 years. I’ll miss the determined, glowering athlete who internalized pain but couldn’t keep it from coming out sideways. I’ll miss the dedicated player who made a champion out of himself by deciding that his work should be equal to his talent. I’ll miss his gorgeous classicism, his buried humor, his essential decency and his shy friendliness.

但是我会想念他的，无论是他的人品还是他的球技。我会想念他那慵懒随意的外表下覆盖着的对比赛的巨大热情。我会想念他这个15年来穿着夹板儿在休息室里晃来晃去，昏昏欲睡的大懒猫。我会想念这个一脸坚毅目光凶狠的运动员，他试图将痛苦埋在心中却依然会不小心的流露。我会想念这位专注于网球本身的运动员，他将夺冠与否置之度外，只是全力以赴的将水平发挥到极限。我会想念他超凡的古典主义风格，他深藏不露的幽默，他的沉稳庄重和他羞涩的友善。

I suspect I won’t see Sampras coming out of retirement to struggle to one more quarterfinal, just so he can hear applause again. I won’t see a seedier, paunchy version of him on the senior tennis circuit a few years from now. The only place any of us is liable to see him is courtside at a Lakers game, or walking his baby in the park, contentedly. But then, Sampras has never wanted to be seen. He only wanted to be great.

我想我应该不会再看到桑普拉斯在四分之一决赛里为了再一次听到观众的喝彩而努力拚搏的景象了。我更不会再若干年后的预选赛中看到一个不怎么体面、挺着啤酒肚的桑普拉斯。也许以后我们会在湖人队比赛的观众席中找到他的身影，又或是在公园中看到他一脸满足的在和孩子散

步。如果真到了那个时候，桑普拉斯该是不希望被人们看到的吧。因为他想要我们看到的是最优秀的他。

WORD LIST

1. Ceremonial

n. 仪式 adj. 正式的

A head of state may not have much political power, and may be restricted to ceremonial duties.

国家元首也许没有太多政治上的权利，而仅限于礼仪上的职责。 2. stutter-step

停顿，顿挫

运动（如，足球、篮球、网球）中的一种步法，以停顿和顿挫影响对手的判断； 这个短语也有“对于某项工作或举动做游移不定，没有准确的决定”的意思 3. crave

v. 恳求，渴望

He knows that if they trust him, he can give them the happiness which they crave. 他知道如果他们信任他，他能够把他们热切渴望的幸福赐予他们。 At this time the inner man began to crave the nourishment. 这时，肚子开始咕咕叫着要吃东西了。 4. fete

n. 庆祝、祭祀、节日； vt. 宴请、招待、给予?巨大的荣誉 Despite the bad weather the fete will go ahead. 尽管天气不好，庆祝活动会照常进行。 5. anticlimactic

突降的，突减的，虎头蛇尾的

The conclusion of the movie was anticlimactic. 这部电影的结局结束的太仓促。 6. adulation

n. 奉承，阿谀 7. duck

n. 鸭子，急忙蹲下，闪避，<俚>人，家伙 vi. 没入水中，闪避 vt. 猛按?入水，躲避

She had to duck her head to get through the low doorway. 她不得不低下头穿过低矮的门口。

The children ducked each other in the swimming pool.

孩子们在游泳池里互相把对方按入水中。 8. tank

n. 桶，箱，灌，槽，坦克，战车，柜，储水池 vt. 储于槽中，击败 vi. 大量喝酒

I need a funnel to pour petrol into the tank. 我需要一个漏斗把汽油灌进油箱。 9. disservice

n. 伤害，虐待，不亲切的行为

She did her a great disservice cause by concealing the truth. 她隐瞒了真相，这对她自己极为不利。 10. artistry

n. 艺术之性质

The conjunction of the workmanship and the artistry in making jewelry decides the value of the jewelry.

在珠宝饰物的制造中，手工与艺术的结合决定了珠宝的价值。

An object having special value because of its age, especially a domestic item or piece of furniture or handicraft esteemed for its artistry, beauty, or period of origin.

一件物品会因其年代久远而具有特殊的价值，尤其是具有艺术性，美观或者制造于特殊年代的土产，家具或是手工艺品。 11. burn

n. 烧伤，灼伤

v. 燃烧，烧着，烧毁，烧伤 She is burning to tell you the news. 她急切的要告诉你这个消息。 12. methodical

adj. 有方法的，有系统的 He’s methodical to the nth degree. 他是有条不紊到家了。 13. bespeak

v. 预约，定，显示

His polite manners bespoke the gentleman. 他那彬彬有礼的举止显示出他是个绅士。 14. hypnotic

adj. 催眠的，催眠术的，易于催眠的 n. 催眠药，安眠药，催眠状态的人 Read the bedtime story in a hypnotic voice.

用催眠的声音读睡前的故事。 15. queasy

adj. 催吐的，使人呕吐的，反胃的，不稳定的，不确定的 I felt a little queasy on the ship. 我在船上有点想吐。 16. reserve

n. 预备品，储存，储备舍 vt. 保留，预订，延期

He still reserved his opinion on some points. 在一些问题上，他仍然保留自己的意见。

As I require money quickly I must draw on my reserve. 由于我急需用钱，我必须取出我的存款。 17. glower

v. 怒目而视

Stop glowering at me, I’ve done nothing wrong! 别瞪着我，我没做错事！ 18. Internalize

v. 使内在化 19. Lull

n. 暂停，麻痹

vt. 使平静，哄骗，使安静 vi. 变平静

During the night the wind lulled. 夜里，风停了。

The mother lulled the baby to sleep. 母亲哄着孩子入睡。

They lulled me into a false sense of security. 他们哄骗我，让我产生了一种虚假的安全感。 20. palatial

adj. 宫殿般的，宏伟的 21. slouchy

adj. 没精打采的，懒散的 22. sideway

adv. 向旁边，向侧面地，斜地里 adj. 旁边的，向侧面的

“You dirty bastard,” his friend said, and try to kick me in the groin. More by good luck than good management I turned sideways.

“你这个杂种”，他的朋友一边骂一边用脚踢我的下身。我来不及做任何思考但是却很幸运的躲开了。

He was thrown sideways when he heard that he had failed his exams. 他听说自己考试不及格时，非常震惊。（throw sideways 非常震惊） 23. splurge

n. 炫耀，摆阔 v. 挥霍，乱花

I had a splurge and bought two new suits. 我大手大脚花了一笔钱买了两套新西装。 She won 100 and then splurged it all on new clothes. 她赢了100块然后又都花在买新衣服上了。 24. gall

n. 胆囊，胆汁，苦味 v. 烦恼，屈辱，磨伤

He had the gall to sue for damages. 他居然有脸要求赔偿。

The saddle galled the horse’s back. 马鞍擦伤了马背。 That remark galls. 那句话真让人生气。

It galled him to have to ask for a loan. 必须向人借钱使他感到屈辱。 25. gangly

adj. 身材瘦长的 26. flip-flop

n. 突变，触发器，夹脚拖鞋 27. demeanor

n. 行为（态度，举止）

The girl has a quiet, modest demeanor. 这个女孩子的举止娴静而谦逊。 28. seedy

adj. 褴褛的，破旧的，不体面的 29. paunchy

adj. 大肚子的 30. quarterfinal

adj. 四分之一决赛的 n. 四分之一决赛

IDIOMS AND EXPRESSIONS

1. to make more of the event 2. in its own right 4. to be true to 6. to be liable to 8. vice versa

3. to walk away from 5. more often than not 7. to use one’s influence 9. sweat and work 10. to chock down 11. to make…out of

制造更多事端（本文指造势，造噱头） 凭自己的能力或资格，独自的 从?旁边走开，轻易的胜过 忠实于? 时常

易于，有习惯或倾向做某事 用某人的影响力 反之亦然 汗水与辛劳 咽下 把?变成?

to make a monkey out of somebody 这个俗语的意思是：把某人弄得好像一个傻瓜一样

GRAMMAR: NOUNS

1. He complained that the project was always ________.

a. short of funding Answers: C

funding: 用发行长期债券的方式来收回短期债券;

fund: fund作为名词时有两种意思，资金，基金。通常，在用作资金时常用复数形式，在当作基金讲时常使用单数形式。 本题指缺少资金，故选择C

2. She is vain and believes that ________.

a. good look counts b. good looks count c. good lookings count d. a good look counts Answers: B

good looks: 名词词组，意为“美貌，漂亮”

3. He has a lot to do today, for he has to go through all the ________ of those candidates.

a. credential Answers: C

credential: 名词，“证件，证明”等，是可数名词；

credit: 作为名词为这个词是抽象名词，意为“信任，信用，声望，荣誉”等，固然为不可数名词。

本题意为要看很多候选人的证书，故而应该是C

b. short of fund c. short of funds d. short for fund

b. credit c. credentials d. credits

4. John was devastated, for all his ______ lost in the catastrophe.

a. cattles were Answers：D

cattle: 牛，牲口，家畜。这个词是集体名词，单数代表复数意义。故而不能在末尾加复数结尾S。所以选择D

5. It was hard for the ancient ______ beliee that air was also made up of ______.

a. peoples…matter c. peoples…matters Answers：B

people 是单复数同形的名词，故而应该用原形表示。而matter在这里是抽象名词“物质”的意思，因此只能用单数形式。答案为B

6. He said he caught five big ______ while fishing and two ______ in the hunting.

a. fishes…deers c. fishs…deer Answers: D

fish: 鱼，其复数形式为fish或者fishes; deer: 鹿，该词为单复数同形的名词。 因此，答案应该为：fishes…deer 或者 fish…deer, 可以看出只有D选项正确 7. He was surprised to see so many ______ of the ______ at the conference.

a. photos…woman directors c. photo…woman director Answers: B

photo的复数形式应该是photos，直接加s。复合名词变复数，前缀为man和woman的前后两个名词都需要变为复数形式，其他复合名词只变化中心名词，而修饰名词不变复数。 8. The bill was rejected in the ______ last night.

a. House of Common Answers: C

House of Commons意为英国或加拿大国会下院，为专有名词 9. Please watch your ______, I don’t like your ______ of eating.

a. table manner…manners c. tables manners…manner Answers: B

table manners: 名词词组，“饭桌礼仪”；manner一词在当作方式，样子讲时用单数形式，而用作表示礼貌，风俗，习惯时，则常用复数形式。此处需要的词意为方式，样子，故而使用单数。

10. _____ his help, we managed to get rid of all the _____ of the big feast in time.

a. Thanks to … remains

b. cattle was c. cattles was d. cattle were

b. people…matter

d. people…matters

b. fish…deers d. fish…deer

b. photos…women directors d. photoes…women directors

b. House of the Common d. House of the Commons

c. House of Commons

b. table manners…manner d. table manners…manners

b. Thanks for … remains

c. Thank for … remain Answers: A

thanks to (带有感激之意的)由于；remain,动词，表示保持，逗留，剩余，残余；remains,名词，表示残余，遗迹，遗体等。

11. He only saw one _____ in the office but he was told there were many _____ there. 12.

13. 1)单数名词加s: students, apples, bags, trees, books, brothers.

14.  2)以s、x、sh、ch结尾的名词加es: glasses, boxes, brushes, matches.

15.  3)以辅音字母加y结尾的名词，变y为i加es: cities, babies, enemies.4)以f或fe结尾的名

词，多数变f为v加es: wives, knives.但有些词只加s: roofs, proof s, chiefs.

16.  5)以o结尾的名词，有些加es: Negroes, heroes, tomatoes, potatoes.其它加s: radio s, zoos,

pianos, photos.

17. 6)不规则名词：foot→feet, goose→geese, tooth→teeth, child→children, man→me n, woman→

women, sheep→sheep, deer→deer, mouse→mice.

18.  7)某些外来词变复数：datum→data, medium→media, bacterium→bacteria, curriculum→

curricula, criterion→criteria, phenomenon→phenomena. (um/on→a)analysis→analyses, basis→bases, crisis→crises, diagnosis→diagnoses.(is→es )

19.   8)复合名词变复数：以不可数名词结尾的复合名词无复数形式，如：homework.

 以man或woman为前缀的复合名词变复数，前后两个名词都变复数，如：manservant→menservants, woman student women students.

 其它复合名词变复数：grownup→grownups, brotherinlaw→brothersinlaw, standby→standsby.

20.  9)复合形容词做定语时，其中的名词保持单数：a sixyearold boy，a twohundred

page book

d. Thanks to … remain

LESSON TWO

JADED HOLLYWOOD 疲倦的好莱坞

The “jadedness problem” among reviewers is that, having seen so many films, they get tired of certain kinds of films even when they are done well, while they get excited by something that strikes them as new, even when it’s actually loathsome or badly done. This explains the critical success of the products of puerile “talents” like Quentin Tarantino and Tim Burton, while lovely, well-crafted, but traditional films like One Fine Day are treated with genial disdain. “审美疲劳问题”是指评论家们看多了某一类型的电影于是开始厌倦这类电影，即使拍的很好他们也不会喜欢。而有些拍摄并不太好的电影以新颖和异类冲击着他们的视觉感受，从而大获好评。这就是为什么评论家们给予导演Quentin Tarantino和Tim Burton拍摄的幼稚平庸的所谓电影“天才”很高的评价，而十分有趣且拍摄手法唯美的传统电影《一日钟情》却被他们所冷漠的忽略。

Jadedness especially applies to films that demand a strong emotional willingness from the audience. Many filmgoers want a cathartic experience, but few reviewers are willing or even able to achieve catharsis. They get an intellectual epiphany and think they’ve experience catharsis. But they’re wrong. They’ve seen a light or solved a puzzle, that’s all, and as most writers learn, sooner or later, the effects that wow critics are much easier to bring off than the effects that move the mass audience deeply.

这种厌腻感对于那些需要观众强烈的情感共鸣的片子尤为严重。影迷去电影院看电影往往是寻求一种情感的宣泄，而影评人却很少有人愿意或者说很少有人能够流露自己真的情感。影评人大都阅历很深。他们认为自己经历着电影带给普通观众所经历的情感变化，然而他们错了。他们只窥见了其中的一斑，或者猜透了一个谜团，仅此而已。因此，正如很多剧作家所了解的，或迟早要了解的，取悦评论家比要深深的触动观众来的容易的多。

As a result, a film like Spitfire Grill, which only works if you’re willing to get emotionally involved, leave reviewers cold. When they enter the movie theater (or screening room), they’re going to work, and despite their honest efforts to pretend to be normal movie-goers, they are who they are. An analyzer sheds no tears at Spitfire Grill because he isn’t looking for an experience with redemptive love, he’s looking for interesting things to say in his column or show.

结果，像《温馨真情》这样，只有全情投入才能够体会的电影，无法打动电影评论家们。影评人们走进电影院或者放映室的时候，他们是去工作，尽管他们真心的试图将自己看作普通观众，他们依旧是影评人。一个分析家在面对电影《温馨真情》时是不会落泪的，因为他们并非是去体会救赎爱情的真挚，而是抱着给自己专栏找些有意思的东西来写观看这部电影的。

I’m not immune to jadedness myself, of course. Even as I laughed to the point of misery during Dumb and Dumber, I knew it was a stupid, stupid, stupid movie. Nevertheless, no one had ever dealt with snot frozen on your face when it’s really cold, or the agonizing postures one takes on the toilet during violent diarrhea. Do I want to see these things again in a movie? Never. But they were new and worked once. (Warning to Jim Carrey: Nobody laughed in my local theatre when the Ace Ventura sequel used butt ventriloquism again. Funny once, my friend.) Some jokes count on jadedness in order to be funny, just as many arty films only appeal to a jaded audience. But

the true classics, the great films, work on a completely different level that transcends the moment their creation. In a world that includes (just for starters) Lawrence Kasdan, Ron Howard, and Steve Martin, it is disturbing that our critics give their acclaim to Tarantino (las year’s news, of course), Tim Burton, and Jane Campion.

当然了，我本人并非没有“审美疲劳”问题。尽管在看《阿呆与阿瓜》的时候我也曾被阿呆阿瓜的种种不幸逗得大笑不止，但我知道这是一部十分，十分，十分愚蠢的电影。尽管没人见过寒冷的天气里鼻涕被冻在脸上，也没有见过严重腹泻时候在厕所上摆出那样的姿势，然而我还想在另一部电影中看到同样的情节么？绝不。就因为它当时看起来很新奇所以它成功了。（给金.凯瑞一点小忠告：《王牌威龙2》你又一次使用口技作为结束，在我们当地的电影院上演的时候并没获得观众的笑声。老兄，同样的搞笑桥段，用一次就行了。）有些笑料靠着故技重演逗乐，就像有些卖弄艺术的片子只有麻木的观众才会看。但是那些真正的经典，那些杰出的影片，却是以另一种水准――思想穿越了所拍摄的瞬间。在有着Lawrence Kasdan, Ron Howard以及Steve Martin等电影人物的时代里，我们的影评家却把赞誉给予了Tarantino（众所周知，这是去年的事儿）, Tim Burton和Jane Campion，着实令人忧心。

Oddly, jaded reviewers tend to use inapplicable clichés in responding to films that did not please them. Thus we have movies with good characterization accused of having cardboard characters, simply because the reviewers didn’t like the characters; they mistook their subjective distaste for an objective flaw in the work. Instead of recognizing that the reasons they didn’t like One Fine Day were primarily within themselves, they had to find something wrong with the movie itself. Thus Ebert and Siskel complained that the audience knew immediately that these two characters were in love with each other and they grew impatient at the characters’ failure to recognize the truth. To which I can only reply, “What do you think a romantic comedy is?” It’s like complaining that in a western, you knew right from the beginning that the bad gunslinger and the good guy would have a showdown at the end. Furthermore, Ebert and Siskel complained about the quality of the writing! Apparently, their utter inability to get involved in the film blinded them to the fact that the dialogue actually achieved that mystical thing called “charm”. But because they weren’t willing to commit to the film, they gave us the standard charge of bad writing when in fact the writing was very good, and of a sort that is devilishly hard to succeed with.

奇怪的是，疲倦的评论家往往用不适宜的陈词滥调评价那些不能取悦他们的创作。因此会出现很好的角色被评价为贫瘠枯燥的情况，仅仅是因为评论家不喜欢这个角色；他们将自己主观的厌恶感误认为是电影本身客观存在的缺陷。评论家们不愿承认他们不喜欢《一日钟情》的主要原因是他们本身，而是非要从这部电影中寻找所谓的毛病。这就是为什么Ebert和Siskel评价这部电影时指出：观众都很快看出这两个角色彼此相爱，他们就会对这两个角色本身认不清这个事实而感到不耐烦。对于这种说法我只有一句话，“你知道什么是爱情喜剧么？”这就好像在西部片中，你从一开始就知道持枪歹徒和好人最终会有一场决战。另外，Ebert和Siskel还抱怨剧本的创作！显然，他们根本无法将自己融入到这部电影之中，使得他们竟然看不出剧中台词的奥秘之处――它有着“迷人的魔力”。然而因为他们不愿认可这部电影，他们只能用剧本不好这类官话贬低作品。实际上剧本写的十分出色，几乎已经好到后无来者的地步。

Blindest of all were the comments about Pfeiffer and Clooney not having “Chemistry” or “sparks”. What does this mean? Frankly, I suspect that it means that these jaded reviewers can’t tell that

there’s an attraction between characters unless they see clothing being feverishly removed. The English Patient was absolutely faithful to a morally vacuous book that almost worships adultery, suicide, and mercy-killing but reviewers commented on the chemistry between the lovers in the film. Apparently, they took off enough clothes around old-fashioned bathtubs. And while Jerry Maguire was a good film, it was in spite of, not because of, the “cute sex” scene on the porch, and I’m not the only one in the audience who was disappointed when they slept together. (Several groans were audible). In contrast, for the nonreviewers I know, One Fine Day had plenty of sparks between the leads. But theirs was the chemistry of romance. These were people longing to intertwine their lives, not just their bodies.

其中最缺乏判断力之处就是批评Pfeiffer和Clooney之间“没感觉”、“不来电”。这样的评价指的是什么？坦白的说，我认为那些疲惫不堪的评论家是觉得只有看到两个人兴奋的退去衣衫才会觉得他们相互吸引。电影《英国病人》极大程度的忠于了其书中所描写的对于通奸行为，自杀以及安乐死的近乎崇拜，然而影评家们却评价电影中的爱人之间感情很融洽。显然，这样的评价源自于演员们在老式的浴缸边脱够了衣服。《甜心先生》可以说是一部不错的影片，然而走廊里那一段所谓的“美丽性爱”场面却不是它好看的原因，正好相反，很多观众都和我一样当男女主角发生关系的时候我们都有些失望（演到此时影院里叹息声是此起彼伏）。与之不同的是很多我所知道的非专业电影评论人认为，《一日钟情》中的男女主演之间充满了爱的火花，只不过他们的融合充满浪漫。他们渴望的是将他们的一生缠绕而不是身体的纠缠。

This is not exclusively a problem of reviewers, of course. Many filmmakers and studio officials have been sucked into the same mindset. I was shocked to learn of and, occasionally, see for myself how many times Hollywood decision-makers push for nudity and sex, the kinkier the better. When one sees things like Garry Marshall’s recent sex fantasy (mercifully, I have blocked out the title) one can only ask, What was he thinking? This man knows how to make good movies. And the answer is: He lives in a culture (Hollywood) where sex is constantly in the forefront, where his storyline could seem interesting instead of merely repulsive. In another recent case, a noted “money” director had a chance at creating a Twilight Zone-like TV anthology series, but because it would be on pay cable he got obsessed with the possibility of nudity and pushed to get more of it into every show. The result? Trashy scripts that cheapen the general American culture, bringing it more in line with the worldview of this adolescently oversexed and undercivilized man.

这种问题并不仅仅出现在评论家当中。很多电影制片人和工作人员也被拖进了这类想法当中。我震惊于自己所知道的，并且偶然的亲眼见到的太多好莱坞里的决策人物要求电影中加入裸体和性，且越不正常越好。如果谁看过最近Garry Marshall拍的性爱影片（出于礼貌，片名我就不提了），他一定会问，这个人在想什么？这个人其实知道怎么拍出好的电影。然而他生活在好莱坞这个大环境里，在这里无论拍什么都要围绕性这个主题，那些故事、那些情节只是为了让它看起来有趣一点，不那么让人排斥而已。另一件最近发生的事，一位

These filmmakers, jaded themselves and surrounded by other jaded people, keep trying to create something “fresh” and “new”, not realizing that the freshest, newest thing they could create is something so old-fashioned few know how to make it anymore: stories about the lives that real people live. Here’s a clue: Most of us don’t spent every waking moment trying to live

out our sexual fantasies. Most of us are thinking about our families, our jobs, and our friends; and our lives are enriched by affection, by religion, by commitment, by achievement, by romance, by warm and genuine humor. Who is making films for us? A few. A few. But their work is almost inevitably treated with disdain by the jaded reviewers.

自己已是疲惫不堪又被一群同样疲惫的人围绕着的电影制片人们，他们试图创造出所谓“新鲜的”“有趣的”作品，却丝毫没有意识到他们真正可以创造出来的新鲜的、有趣的东西正是那些旧到几乎已经没人能找到拍摄方式的亘古不变的时尚――那就是人们真正的生活所在。这里有一条线索：大多数人不会每天睁眼的那一刻想着如何得到更加美轮美奂的性爱生活。我们中的大多数所想的是我们的家庭，我们的工作以及我们的朋友；还有如何通过友爱、信仰、承诺、成就、浪漫、温暖和真正的浪漫令我们的人生更加丰富。有谁在为我们这样想法的人拍电影？太少，太少了。然而纵然有这样的人，感觉冷酷的影评人们也无可避免的轻视着他们所做出的努力。

Believe it or not, the vast missing audience, the kind of people who stopped going to the movies in the 1960s when nudity began to rule the screen, aren’t staying away because they’re prudes or because they love TV. They come back whenever they find out that a movie has been created for them. (E.T. Poltergeist. Indiana Jones. Lucas and Spielvery, for a time at least, promised and delivered storytelling at a mythic rather than sensual level. Storytelling for humans rather than beasts, to put it bluntly). The trouble is, that audience can’t trust the reviewers to tell them when such a movie is found. While You Were Sleeping brought to the theaters, again and again, people I know who otherwise do all their viewing by renting videos of 1967 movies. But they didn’t learn about this film from the reviewers. The learned about it from their friends who took a chance. Or from the TV ads.

无论你相信与否，如此巨大的观众流失，一大批人从1960年代裸露开始成为电影潜规则开始不再去电影院，并非是因为他们假正经又或者他们更喜欢看电视。只要有真正为他们拍摄的电影出现他们一定会回来。（E.T. 《鬼哭神嚎》 《印第安纳琼斯》 卢卡斯和斯皮尔伯格系列，曾经一度承诺并且营造出了一些玄幻的而非情色的故事。恕我直言，这些才是给人而不是给畜生看的。）问题是，当评论家推荐这类电影的时候，观众们反而不相信了。就像《二见钟情》一次又一次不断的在电影院上映，我身边的人还要再去租1967年时候的影碟回家看。然而他们并不是因为听了影评人的介绍，有的是因为某个人偶然的看到了，推荐给他的朋友，而朋友之间又这样口耳相传，也有的是看了电视上的预告片。

If I believe reviewers, my wife and I would think that The Piano was a great movie, instead of the most hate-filled, ugly experience of dishonest, unfair storytelling we’ve ever sat all the way through together. In the end, one wonders whether the jadedness problem shows that reviewers can’t see story content anymore at all, leaving them to review only the manner and style of filmmaking, or shows instead that really do prefer films that degrade the human spirit for two hours in dark.

如果我信了评论家的话，我太太和我就会认为《钢琴别恋》是一部十分不错的影片。可是它实际上却是我们所看过的影片中几乎通片充斥着仇恨，丑恶的不忠，没有公平可言的一部影片。到最后，我们只能纳闷的问是那些影评人真的没看影片内，只评价那些拍摄手法，影片风格，还是说他们确实更加偏好那些在黑暗的两小时里引人堕落的影片？

WORD LIST

1. jaded

adj. 疲倦不堪的，厌倦的 He has a jaded appetite. 他食欲不振。 2. well-crafted

craft: n. 工艺，手艺，航空器 well-crafted 制作精良的 3. puerile

adj. 幼稚的，未成熟的，孩子气的，平庸的 He said that he never heard anything so puerile before. 他说他从没听过这样幼稚可笑的话。 4. genial

adj. 亲切的

The man was so genial, so I was drawn to him at once. 这个人十分亲切，我一下子就为他着迷了。 5. disdain

n. 轻蔑； v. 蔑视

I have nothing but disdain for such a person. 对于这个人，我除了鄙视再无其他。 6. cathartic

n. 泻药，通便药； a. 通便的，导泄的，释放的 7. catharsis

n. 洗涤，净化，精神发泄 名次复数：catharses 8. epiphany

n. 主显节，公现节，出现

A Christian festival observed from December 24, Christmas Eve, to January 5, the eve of Epiphany.

圣诞节的假期从12月24日的圣诞前夜一直到1月5日的主显节。 9. redemptive

adj. 赎回的，买回的，赎身的 10. snot

n. 鼻涕，青鼻水，惹人嫌的人 11. diarrhea

n. 痢疾，腹

I have diarrhea. I wonder if I ate something bad yesterday. 我拉肚子，我怀疑是否昨天吃坏了什么东西。 12. posture

n. 姿势，态度，情形 v. 作?姿势，作姿态 She has very good posture. 她举止十分优雅。 13. ventriloquism

n. 腹语术，口技 14. arty

adj. 装艺术的，艺术家气派的

His arty clothes look out of place in the office. 他的奇装异服在办公室里很碍眼。 15. transcend

v. 超越

She far transcends the others in beauty and intelligence. 她才貌出众。 16. acclaim

n. 喝彩，欢呼，赞同 v. 欢呼，喝彩，称赞

Her performance won her much critical acclaim. 她的表演大获评论界赞颂。 17. characterization

n. 描绘，刻画 18. gunslinger

n. 持枪歹徒，枪手 19. mystical

adj. 神秘的 20. devilishly

adv. 过分地，厉害地，魔鬼似地 21. vacuous

adj. 空的，空虚的，心灵空虚的 22. adultery

n. 通奸

She has an adultery affair with the man. 她与那个男人有奸情。 23. mindset

n. 意向，精神状态，心态 24. kinky

adj. 卷曲的，古怪的 25. storyline

n. 故事情节 26. repulsive

adj. 逐退的，辞退的，冷淡的，恶心的 You are repulsive little toad! 你这个讨厌的癞蛤蟆！ 27. trashy

adj. 碎屑的，没用的 28. prude

n. 装成正经的女人，过分正经，谦虚的女人 Don’t be such a prude you can’t carry modesty too far! 别做作了－你也谦虚的太过了！ 29. sensual

adj. 肉欲的，色情的，世俗的，感觉的，感觉论的 He lived a life devoted entirely to sensual pleasure. 他一生耽于肉欲。 30. degrade

v. 降格

IDIOMS AND EXPRESSIONS

1. bring off

v. 救出，完成 2. leave sb. cold

v. 没有打动某人 3. count on

v. 依靠，指望 4. appeal to

v. 呼吁，要求，上诉，有吸引力 5. have a showdown

showdown: 摊牌 6. blind sb. to

蒙蔽某人 7. push for

v. 奋力争取

8. be obsessed with(by)

被?附上（缠住，迷住心窍） 9. believe it or not

信不信由你 10. put it bluntly

直截了当地 11. take a chance

v. 冒险 12. commit to

把?托付给，把?置于 13. get involved in

被卷入

If you get involved in the controversy, you may burn your fingers. 要是你卷入这场争吵的话，你会吃苦头的。 14. block out

vt. 封闭(打草样,用蔽光框蒙住底片之一部分使不透影)

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