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  3. It is simple enough to say that since books have classes—fiction, biography, poetry—we should separate them and take from each w

It is simple enough to say that since books have classes—fiction, biography, poetry—we should separate them and take from each w

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问题     It is simple enough to say that since books have classes—fiction, biography, poetry—we should separate them and take from each what it is right that each should give us. Yet few people ask from books what books can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconceptions when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Being his fellow-worker and accomplice.
    If you hang back, and reserve and criticize at first, you are preventing yourself from getting the full-lest possible value from what you read. But if you open your mind as widely as possible, then signs and hints of almost imperceptible fineness, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other. Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite. The thirty-two chapters of a novel—if we consider how to read a novel at first—are an attempt to make something as formed and controlled as a building, but words are more impalpable than bricks, reading is a longer and more complicated process than seeing. Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write; to make your own experiment with the dangers and difficulties of words. Recall, then, some event that has left a distinct impression on you—how at the corner of the street, perhaps, you passed two people talking. A tree shook; an electric light danced; the tone of the talk was comic, but also tragic; a whole vision, an entire conception seemed contained in that moment.
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答案 书籍既然有小说、传记、诗歌之分，就应该区别对待，从各类书中汲取其理应给予我们的东西，这说起来简单。然而，很少有人向书籍索取它能给予我们的东西。阅读时，我们往往观念模糊，三心二意，要求小说情节真实，要求诗歌内容虚假，要求传记阿谀奉承，要求历史能加深我们自己的偏见。假如读书时，我们能摈弃诸如此类的先入之见，便有了极好的开端。不要对作者指手画脚，要尽量与其融为一体，与其共创作，共谋划。 如果一开始你便畏缩不前，有所保留，你便无法获取所读之书的价值。相反，如果你敞开心扉，虚怀若谷，那么你便会发现，开篇那几句复杂曲折的句子中所透露出的精细入微的迹象和暗示会把你带到一位独一无二的人物面前。让自己沉浸于书中，了解它，很快你便会发现作者给予你的，或试图给予你的东西比你想象中的明确得多。如果一开始便考虑如何阅读一部小说，那么一部三十二章节的小说如同一座错落有致、布局合理的大厦，可词语比砖块更难捉摸，阅读比观看更费时、更复杂。了解作家创作的个中滋味，也许最有效的途径不是读而是写，通过写亲自体验文字工作的艰难险阻。回想某件你记忆犹新的事，比方说，在街道的拐弯处遇到两个人正在谈话。树影婆娑，灯光摇曳，谈话的调子喜中有悲，这一瞬间似乎包含了一种完善的意境，全面的构思。
解析     本文选自英国著名现代女作家弗吉尼亚.伍尔夫(Virginl Woolf)的《怎样读书》(How Should One Read a Book)一文，文章阐释了对如何读书的看法，文章用词朴素，行文流畅，给人一种娓娓道来的感觉，而所阐述的内容深刻严肃，读后令人感到意味深长。翻译时，需要从深层次上理解原文，将其含义吃透，然后在此基础上遣词造句，做到既忠实原文，又通顺达。
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