雕塑家的語言聽力練習

　　Lesson 31 The sculptor speaks 雕塑家的語言

　　First listen and then answer the following question.

　　聽錄音，然后回答以下問題。

　　What do you have to be able to do to appreciate sculpture?

　　Appreciation of sculpture depends upon the ability to respond to form in three dimension. That is perhaps why sculpture has been described as the most difficult of all arts; certainly it is more difficult than the arts which involve appreciation of flat forms, shape in only two dimensions. Many more people are 'form-blind' than colour-blind. The child learning to see, first distinguishes only two-dimensional shape; it cannot judge distances, depths. Later, for its personal safety and practical needs, it has to develop (partly by means of touch) the ability to judge roughly three-dimensonal distances. But having satisfied the requirements of practical necessity, most people go no further. Though they may attain considerable accuracy in the perception of flat form, they do not make the further intellectual and emotional effort needed to comprehend form in its full spatial existence.

　　This is what the sculptor must do. He must strive continually to think of, and use, form in its full spatial completeness. He gets the solid shape, as it were, inside his head-he thinks of it, whatever its size, as if he were holding it completely enclosed in the hollow of his hand. He mentally visualizes a complex form from all round itself; he knows while he looks at one side what the other side is like, he identifies himself with its centre of gravity, its mass, its weight; he realizes its volume, as the space that the shape displaces in the air.

　　And the sensitive observer of sculpture must also learn to feel shape simply as shape, not as description or reminiscence. He must, for example, perceive an egg as a simple single solid shape, quite apart from its significance as food, or from the literary idea that it will become a bird. And so with solids such as a shell, a nut, a plum, a pear, a tadpole, a mushroom, a mountain peak, a kidney, a carrot, a tree-trunk, a bird, a bud, a lark, a ladybird, a bulrush, a bone. From these he can go on to appreciate more complex forms of combinations of several forms.

　　【參考譯文】

　　對雕塑的鑒賞力取決于對立體的反應能力。雕塑被說成是所有藝術中最難的藝術，可能就是這個道理。欣賞雕塑品當然比欣賞平面的藝術品要難。“形盲”的人數比“色盲”的人數要多得多。正在學看東西的兒童起初只會分辨二維形態，不會判斷距離和深度。慢慢地，由于自身安全和實際需要，兒童必須發展（部分通過觸覺）粗略判斷三維空間距離的能力。但是。大部分人在滿足了實際需要后，就不再繼續發展這種能力了。雖然他們對平面形的感覺能達到相當準確的程度，但他們沒有在智力和感情上進一步努力去理解存在于空間的整個形態。

　　而雕塑家就必須做到這一點。他必須勤于想像并且利用形體在空間中的完整性。可以說，當他想像一個物體時，不管其大小如何，他腦子里得到的是一個立體的概念，就好像完全握在自己手心里一樣。他的大腦能從物體周圍的各個角度勾畫出其復雜的形象，他看物體的一邊時，便知道另一邊是個什么樣子。他把自身和物體重心、質量、重量融為一體。他能意識到物體的體積，那就是它的形狀有空氣中所占的空間。

　　因此，敏銳的雕塑觀賞者也必須學會把形體作為形體來感覺，不要靠描述和印象去想象。以鳥蛋為例。觀賞者必須感覺到它是一個單一的實體形態，而完全不靠它的食用意義或它會變成鳥這樣的文字概念來感覺。對于其他實體，如，貝殼、核桃、李子、梨子、蝌蚪、蘑菇、山峰、腎臟、胡蘿卜、樹干、鳥兒、花蕾、云雀、瓢蟲、蘆葦以及骨頭也應這樣來感覺。從這些形體出發，觀賞者可進一步觀察更為復雜的形體或若干形體的組合。

　　1.colour-blind

　　adj. 色盲的

　　例句：People who are colour-blind usually get red and green mixed up.

　　色盲的人通常區分不了紅色和綠色。

　　2.perception

　　n. 知覺

　　例句：His perception of the change came in a flash.

　　他在一瞬間察覺到了這一變化。

　　3.comprehend

　　v. 理解

　　例句：I cannot comprehend how you could have been so stupid.

　　我真不明白你怎么那么蠢。

　　4.spatial

　　adj. 空間

　　例句：This part of brain judges the spatial relationship between objects.

　　大腦的這部分判斷物體間的空間關系。

　　5.visualize

　　v. 使具形象，設想

　　例句：She couldn't visualize flying through space.

　　她無法想像在太空中飛行的景象。

　　6.reminiscence

　　n. 回憶，聯想

　　例句：He continued with reminiscences of the war.

　　他繼續講著有關戰爭的舊事。

　　7.tadpole

　　n. 蝌蚪

　　8.mushroom

　　n. 蘑菇

　　9.carrot

　　n. 胡蘿卜

　　10.bud

　　n. 花蕾

　　11.lark

　　n. 云雀

　　12.ladybird

　　n. 瓢蟲

　　13.bulrush

　　n. 蘆葦

　　1.Appreciation of sculpture depends upon the ability to respond to form in there dimension.

　　講解：depend upon依賴,依靠，與rely on意思相近

　　例句：The results depend upon how well you do your job.

　　結果將依你的工作作的多好而定。

　　the ability to后面的to……是動詞不定式做后置定語

　　2.That is perhaps why sculpture has been described as the most difficult of all arts; certainly it is more difficult than the arts which involve appreciation of flat forms, shape in only two dimensions.

　　講解：That is perhaps why……why引導表語從句

　　表語從句可以由連接副詞引導

　　The problem is how we can find him. 問題是我們如何找到他。

　　That was when I was fifteen. 這是我15歲時發生的事。

　　That’s where I first met her. 那就是我第一次遇見她的地方。

　　That’s why he didn’t come. 這就是他沒有來的緣故。

　　That’s why I object to the plan. 這就是我反對這個計劃的原因。

　　That’s where you are wrong. 這就是你不對的地方。

　　3. Later, for its personal safety and practical needs, it has to develop (partly by means of touch) the ability to judge roughly three-dimensonal distances.

　　講解：by means of用, 依靠

　　例句：The water may be carried by means of a pipe.

　　水可以用管子輸送。

　　I escaped by means of a secret tunnel.

　　我通過一條秘密通道逃跑了。

　　4.He gets the solid shape, as it were, inside his head-he thinks of it, whatever its size, as if he were holding it completely enclosed in the hollow of his hand.

　　講解：as if好像, 似乎, 仿佛

　　例句：Why doesn't she buy me a drink?It isn't as if she had no money!

　　她為什么不給我買一點飲料?好像她沒錢似的!

　　5.He must, for example, perceive an egg as a simple single solid shape, quite apart from its significance as food, or from the literary idea that it will become a bird.

　　講解：apart from除去，撇開…來說(表示除…以外尚有)，此外，加之

　　例句：Apart from some spelling mistakes, the composition is fairly good.

　　除了一些拼寫錯誤, 這篇文章寫得很不錯。

　　Apart from that, all goes well.

　　撇開那一點, 一切順利。

　　the literary idea that it will become a bird是that引導的同位語從句

　　1.Appreciation of sculpture depends upon the ability to respond to form in there dimension.

　　對雕塑的鑒賞力取決于對立體的反應能力。

　　2.But having satisfied the requirements of practical necessity, most people go no further.

　　但是，大部分人在滿足了實際需要后，就不再繼續發展這種能力了。

　　3.This is what the sculptor must do. He must strive continually to think of, and use, form in its full spatial completeness.

　　而雕塑家就必須做到這一點。他必須勤于想像并且利用形體在空間中的完整性。

　　4.From these he can go on to appreciate more complex forms of combinations of several forms.

　　從這些形體出發，觀賞者可進一步觀察更為復雜的形體或若干形體的組合。