首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
It is simple enough to say that since books have classes — fiction, biography, poetry — we should separate them and take from ea
It is simple enough to say that since books have classes — fiction, biography, poetry — we should separate them and take from ea
admin
2012-07-10
19
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 and what should give us. Yet few people ask from books what 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 preconception when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow-worker and accomplice. If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest 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 32 chapters of a novel — if we consider how to read a novel 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 shock; 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.
But when you attempt to reconstruct it in words, you will find that it breaks into a thousand conflicting impressions. Some must be subdued; others emphasized; in the process you will lose, probably, all grasp upon the emotion itself. Then turn from your blurred and littered pages to the opening pages of some great novelist — Defoe, Jane Austen, Hardy. Now you will be better able to appreciate their mastery. It is not merely that we are in the presence of a different person — Defoe, Jane Austen, or Thomas Hardy — but that we are living in a different world. Here, in Robinson Crusoe, we are trudging a plain high road; one thing happens after another; the fact and the order of the fact is enough. But if the open air and adventure mean everything to Defoe, they mean nothing to Jane Austen. Here is the drawing-room, and people talking, and by the many mirrors of their talk revealing their characters. And if, when we have accustomed ourselves to the drawing-room and its reflections, we turn to Hardy, we are once more spun around. The moors are round us and the stars are above our heads. The other side of the mind is now exposed — the dark side that comes uppermost in solitude, not the light side that shows in company. Our relations are not towards people, but towards Nature and destiny. Yet different as these worlds are, each is consistent with itself. The maker of each is careful to observe the laws of his own perspective, and however great a strain they may put upon, they will never confuse us, as lesser writers so frequently do, by introducing two different kinds of reality into the same book. Thus to go from one great novelist to another — from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith — is to be wrenched and uprooted; to be thrown this way and then that. To read a novel is a difficult and complex art. You must be capable not only of great fineness of perception, but of great boldness of imagination if you are going to make use of all that the novelist — the great artist — gives you.
According to the passage, the process of writing is______.
选项
A、dangerous
B、interesting
C、difficult
D、tragic
答案
B
解析
态度题型在第一段最后作者提到:理解一部作品的最好方式不是读而是写——去亲身体验那些用词的艰难险阻;去回忆那些令你印象深刻的事件——最终一幅全景、一个完整的构思就在那一刻形成了;这一过程必是有趣的;因此B为答案。
转载请注明原文地址:https://kaotiyun.com/show/N45O777K
本试题收录于:
CATTI三级笔译综合能力题库翻译专业资格(CATTI)分类
0
CATTI三级笔译综合能力
翻译专业资格(CATTI)
相关试题推荐
Readashortpassageandlistentoatalkonthesametopic.ReadingTime:45secondsWithdrawalfromClassesIn
Whatistheman’sattitudetowarddiscussionclasses?
Describethewoman’sproblemandthetwosuggestionsthemanmakesabouthowtosolveit.Whatdoyouthinkthewomanshoulddo,
InfluenzaandVaccinesThereisnospecificcureforinfluenza.Recommendedtreatmentusuallyconsistsofbedrestandincre
InfluenzaandVaccinesThereisnospecificcureforinfluenza.Recommendedtreatmentusuallyconsistsofbedrestandincre
InfluenzaandVaccinesThereisnospecificcureforinfluenza.Recommendedtreatmentusuallyconsistsofbedrestandincre
InfluenzaandVaccinesThereisnospecificcureforinfluenza.Recommendedtreatmentusuallyconsistsofbedrestandincre
Printmakingisthegenerictermforanumberofprocesses,ofwhichwoodcutandengravingaretwoprimeexamples.Printsaremad
ArtMuralsAccordingtothediscussion,whatfactorsshouldbeconsideredinplanningamural?Clickontwoanswers.
随机试题
甲和乙共谋一起去丙家盗窃,甲入户盗窃,乙负责在门口放风。期间,主人丙回家。放风的乙给甲打电话、发短信,甲都不回。乙遂把丙打成重伤,甲对此并不知情,继续盗窃。偷到4000块钱后出门,看见倒在门口的丙,也没有说什么,跟甲一起离开。关于甲和乙的行为,以下说法正确
下列关于银屑病的描述正确的是
A.β溶血性链球菌B.肺炎链球菌C.脑膜炎双球菌D.幽门螺杆菌E.α溶血性链球菌下列疾病是由于哪种病原体感染所致猩红热
对溃疡性结肠炎最有价值的诊断方法是
下列配伍中属于“十九畏”的药物是
在金融期权中,赋予合约买方在未来某一确定的时间或者某一时间内,以固定的价格出售相关资产的合约的形式叫()。
《跳蚤之歌》的体裁形式为()。
甲对乙说:“《断背山》《冷山》和《芝加哥》不可能都获得奥斯卡奖。” 下列选项中,符合甲说法的是:
根据以下资料,回答问题。2011年,全国质量技术监督系统经费总支出412.94亿元。其中工资福利支出121.23亿元,商业和服务支出132.73亿元,对个人和家庭补助支出36.04亿元,基本建设支出和其他资本性支出等专项支出92.01亿元(其中
汉字输入码可分为有重码和无重码两类,下列属于无重码类的是
最新回复
(
0
)