Lesson 7 · Complete Study Guide
逐句双语 · 语法 · 全词汇美式 IPA · 具体修辞 · 全部练习答案
主旨：随着一阵响彻云霄的钟声响起，一群燕子惊得展翅高翔，夏庆日来到了这个奥米拉斯白塔映日的海滨城市。
作用：开篇建立《The Ones Who Walk Away from Omelas (Excerpts)》的叙述或论证起点，交代核心对象，并为下文展开设定观察角度。
先写“随着一阵响彻云霄的钟声响起，一群燕子惊得展翅高翔，夏庆日来到了这个奥米拉斯白塔映日的海滨城市。”；中部推进到“草坪上早有一些胳臂颀长灵活的男孩女孩们，他们光着身子，脚上沾着泥巴，他们正在赛 马前操练着他们难以驾驭的马。”；最后落在“鼓乐声时而微弱，时而响亮，最后融入一片欢乐喧闹 的钟声中。”，构成起点—展开—落点的层次。
主要关系：因果、转折／对照、时间／次序、并列／递进
In the silence of the broad green meadows one could hear the music winding through the city streets, farther and nearer and ever approaching, a cheerful faint sweetness of the air that from time to time trembled and gathered together and broke out into the great joyous clanging of the bells.
句型：复合句/复杂句。含关系或连接成分 that，需结合先行词辨认定语从句/名词从句。
Sentence 1.1With a clamor of bells that set the swallows soaring, the Festival of Summer came to the city Omelas, bright-towered by the sea.
Sentence 1.2The rigging of the boats in harbor sparkled with flags.
Sentence 1.3In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved.
Sentence 1.4Some were decorous: old people in long stiff robes of mauve and grey, grave master workmen, quiet, merry women carrying their babies and chatting as they walked.
Sentence 1.5In other streets the music beat faster, a shimmering of gong and tambourine, and the people went dancing, the procession was a dance.
Sentence 1.6Children dodged in and out, their high calls rising like the swallows’ crossing flights over the music and the singing.
Sentence 1.7All the processions wound towards the north side of the city, where on the great water-meadow called the Green Fields boys and girls, naked in the bright air, with mud-stained feet and ankles and long, lithe arms, exercised their restive horses before the race.
Sentence 1.8The horses wore no gear at all but a halter without bit.
Sentence 1.9Their manes were braided with streamers of silver, gold, and green.
Sentence 1.10They flared their nostrils and pranced and boasted to one another; they were vastly excited, the horse being the only animal who has adopted our ceremonies as his own.
Sentence 1.11Far off to the north and west the mountains stood up half encircling Omelas on her bay.
Sentence 1.12The air of morning was so clear that the snow still crowning the Eighteen Peaks burned with white-gold fire across the miles of sunlit air, under the dark blue of the sky.
Sentence 1.13There was just enough wind to make the banners that marked the racecourse snap and flutter now and then.
Sentence 1.14In the silence of the broad green meadows one could hear the music winding through the city streets, farther and nearer and ever approaching, a cheerful faint sweetness of the air that from time to time trembled and gathered together and broke out into the great joyous clanging of the bells.
主旨：快乐！
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“快乐！”；中部推进到“怎样理解快乐呢？”；最后落在“该怎样描述奥米拉斯城的市民呢？”，构成起点—展开—落点的层次。
主要关系：语义承接与信息递进
How describe the citizens of Omelas?
句型：简单句或并列句。以直接陈述为主；先确认主语、限定谓语和宾语/表语，再处理介词短语。
Sentence 2.1Joyous!
Sentence 2.2How is one to tell about joy?
Sentence 2.3How describe the citizens of Omelas?
主旨：他们并不是一群简单的人，尽管他们很快乐。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“他们并不是一群简单的人，尽管他们很快乐。”；中部推进到“或许你最好还是自己想象一下，假设那就是心目奥米拉斯城了。”；最后落在“我确实认为他们中很多人不需要“着靡”。”，构成起点—展开—落点的层次。
主要关系：因果、转折／对照、条件／选择、时间／次序、举例、并列／递进
For those who like it, the faint insistent sweetness of drooz may perfume the ways of the city, drooz which first brings a great lightness and brilliance to the mind and limbs, and then after some hours a dreamy languor, and wonderful visions at last of the very arcane and inmost secrets of the Universe, as well as exciting the pleasure of sex beyond all belief; and it is not habit-forming.
句型：复合句/复杂句。含关系或连接成分 which, who，需结合先行词辨认定语从句/名词从句；含从属连词 after，构成时间、原因、让步、条件或比较状语；分号或破折号连接/补充多个信息层次，阅读时先拆分主干再处理插入说明；多重逗号成分构成长句，注意并列项、插入语与主谓主干的边界。
Sentence 3.1They were not simple folk, you see, though they were happy.
Sentence 3.2But we do not say the words of cheer much any more.
Sentence 3.3All smiles have become archaic.
Sentence 3.4Given a description such as this one tends to make certain assumptions.
Sentence 3.5Given a description such as this one tends to look next for the King, mounted on a splendid stallion and surrounded by his noble knights, or perhaps in a golden litter borne by great-muscled slaves.
Sentence 3.6But there was no king.
Sentence 3.7They did not use swords, or keep slaves.
Sentence 3.8They were not barbarians.
Sentence 3.9I do not know the rules and laws of their society, but I suspect that they were singularly few.
Sentence 3.10As they did without monarchy and slavery, so they also got on without the stock exchange, the advertisement, the secret police, and the bomb.
Sentence 3.11Yet I repeat that these were not simple folk, not dulcet shepherds, noble savages, bland utopians.
Sentence 3.12They were not less complex than us.
Sentence 3.13The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid.
Sentence 3.14Only pain is intellectual, only evil interesting.
Sentence 3.15This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain.
Sentence 3.16If you can’t lick ’em, join ’em.
Sentence 3.17If it hurts, repeat it.
Sentence 3.18But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else.
Sentence 3.19We have almost lost hold; we can no longer describe a happy man, nor make any celebration of joy.
Sentence 3.20How can I tell you about the people of Omelas?
Sentence 3.21They were not naive and happy children—though their children were, in fact, happy.
Sentence 3.22They were mature, intelligent, passionate adults whose lives were not wretched.
Sentence 3.23O miracle!
Sentence 3.24But I wish I could describe it better.
Sentence 3.25I wish I could convince you.
Sentence 3.26Omelas sounds in my words like a city in a fairy tale, long ago and far away, once upon a time.
Sentence 3.27Perhaps it would be best if you imagined it as your own fancy bids, assuming it will rise to the occasion, for certainly I cannot suit you all.
Sentence 3.28For instance, how about technology?
Sentence 3.29I think that there would be no cars or helicopters in and above the streets; this follows from the fact that the people of Omelas are happy people.
Sentence 3.30Happiness is based on a just discrimination of what is necessary, what is neither necessary nor destructive, and what is destructive.
Sentence 3.31In the middle category, however—that of the unnecessary but undestructive, that of comfort, luxury, exuberance, etc.—they could perfectly well have central heating, subway trains, washing machines, and all kinds of marvelous devices not yet invented here, floating light-sources, fuelless power, a cure for the common cold.
Sentence 3.32Or they could have none of that: it doesn’t matter.
Sentence 3.33As you like it.
Sentence 3.34One thing I know there is none of in Omelas is guilt.
Sentence 3.35But what else should there be?
Sentence 3.36I thought at first there were no drugs, but that is puritanical.
Sentence 3.37For those who like it, the faint insistent sweetness of drooz may perfume the ways of the city, drooz which first brings a great lightness and brilliance to the mind and limbs, and then after some hours a dreamy languor, and wonderful visions at last of the very arcane and inmost secrets of the Universe, as well as exciting the pleasure of sex beyond all belief; and it is not habit-forming.
Sentence 3.38For more modest tastes I think there ought to be beer.
Sentence 3.39What else, what else belongs in the joyous city?
Sentence 3.40The sense of victory, surely, the celebration of courage.
Sentence 3.41But as we did without clergy, let us do without soldiers.
Sentence 3.42The joy built upon successful slaughter is not the right kind of joy: it will not do; it is fearful and it is trivial.
Sentence 3.43A boundless and generous contentment, a magnanimous triumph felt not against some outer enemy but in communion with the finest and fairest in the souls of all men everywhere and the splendor of the world’s summer: this is what swells the hearts of the people of Omelas, and the victory they celebrate is that of life.
Sentence 3.44I really don’t think many of them need to take drooz.
主旨：大多数游行队伍此时都已到达“绿野”大草坪。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“大多数游行队伍此时都已到达“绿野”大草坪。”；中部推进到“参加赛马的青年男女 骑手都已聚集到起跑线上。”；最后落在“人们都停下其他的活动，微笑着听他吹奏，但都不和他说 话，因为他一直不停地吹着，从不抬头望他们一眼，他黑亮的眼睛完全沉浸在那甜……”，构成起点—展开—落点的层次。
主要关系：转折／对照、并列／递进
People pause to listen, and they smile, but they do not speak to him, for he never ceases playing and never sees them, his dark eyes wholly rapt in the sweet, thin magic of the tune.
句型：简单句或并列句。多重逗号成分构成长句，注意并列项、插入语与主谓主干的边界。
Sentence 4.1Most of the processions have reached the Green Fields by now.
Sentence 4.2A marvelous smell of cooking goes forth from the red and blue tents of the provisioners.
Sentence 4.3The faces of small children are amiably sticky; in the benign grey beard of a man a couple of crumbs of rich pastry are entangled.
Sentence 4.4The youths and girls have mounted their horses and are beginning to group around the starting line of the course.
Sentence 4.5An old woman, small, fat, and laughing, is passing out flowers from a basket, and tall young men wear her flowers in their shining hair.
Sentence 4.6A child of nine or ten sits at the edge of the crowd, alone, playing on a wooden flute.
Sentence 4.7People pause to listen, and they smile, but they do not speak to him, for he never ceases playing and never sees them, his dark eyes wholly rapt in the sweet, thin magic of the tune.
主旨：吹奏完毕，他慢慢地放下握着木笛的手。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
段落围绕一个完整表达展开，核心判断、补充成分和语气重点集中在同一语义单元中。
主要关系：并列／递进
He finishes, and slowly lowers his hands holding the wooden flute.
句型：简单句或并列句。以直接陈述为主；先确认主语、限定谓语和宾语/表语，再处理介词短语。
Sentence 5.1He finishes, and slowly lowers his hands holding the wooden flute.
主旨：似乎这片刻的寂静是个信号，忽然起跑线附近的亭子传来一声威严、低沉、尖锐的哨响。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“似乎这片刻的寂静是个信号，忽然起跑线附近的亭子传来一声威严、低沉、尖锐的哨响。”；中部推进到“那些青年骑手们此时沉着地拍着马颈，轻声安抚道：“安静点，安静点，我的美人儿，我的希望……”他们开始 在起跑线上排成一行。”；最后落在“夏季庆典开始了。”，构成起点—展开—落点的层次。
主要关系：条件／选择、并列／递进
As if that little private silence were the signal, all at once a trumpet sounds from the pavilion near the starting line: imperious, melancholy, piercing.
句型：复合句/复杂句。含关系或连接成分 that，需结合先行词辨认定语从句/名词从句；含从属连词 as if，构成时间、原因、让步、条件或比较状语；逗号后有现在分词/完成分词短语，通常作伴随、原因或结果状语。
Sentence 6.1As if that little private silence were the signal, all at once a trumpet sounds from the pavilion near the starting line: imperious, melancholy, piercing.
Sentence 6.2The horses rear on their slender legs, and some of them neigh in answer.
Sentence 6.3Sober-faced, the young riders stroke the horses’ necks and soothe them, whispering, “Quiet, quiet, there my beauty, my hope...”
Sentence 6.4They begin to form in rank along the starting line.
Sentence 6.5The crowds along the racecourse are like a field of grass and flowers in the wind.
Sentence 6.6The Festival of Summer has begun.
主旨：你相信吗？
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“你相信吗？”；中部推进到“不相信？”；最后落在“那么，让我再讲述一件事情吧。”，构成起点—展开—落点的层次。
主要关系：时间／次序
Do you accept the festival, the city, the joy?
句型：简单句或并列句。以直接陈述为主；先确认主语、限定谓语和宾语/表语，再处理介词短语。
Sentence 7.1Do you believe?
Sentence 7.2Do you accept the festival, the city, the joy?
Sentence 7.3No?
Sentence 7.4Then let me describe one more thing.
主旨：在奥米拉斯城的一座漂亮的公共建筑的地下室里，抑或是在一所宽敞的私宅的地窖里，有一个房间。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“在奥米拉斯城的一座漂亮的公共建筑的地下室里，抑或是在一所宽敞的私宅的地窖里，有一个房间。”；中部推进到“他（她）害怕拖把，觉得它们很恐怖。”；最后落在“他（她）裸着身体，屁股和大腿溃烂生疮，因为他（她）老坐在自己的屎尿里。”，构成起点—展开—落点的层次。
主要关系：因果、转折／对照、并列／递进
The door is always locked; and nobody ever comes, except that sometimes—the child has no understanding of time or interval— sometimes the door rattles terribly and opens, and a person, or several people, are there.
句型：复合句/复杂句。含关系或连接成分 that，需结合先行词辨认定语从句/名词从句；分号或破折号连接/补充多个信息层次，阅读时先拆分主干再处理插入说明；多重逗号成分构成长句，注意并列项、插入语与主谓主干的边界。
Sentence 8.1In a basement under one of the beautiful public buildings of Omelas, or perhaps in the cellar of one of its spacious private homes, there is a room.
Sentence 8.2It has one locked door, and no window.
Sentence 8.3A little light seeps in dustily between cracks in the boards, secondhand from a cobwebbed window somewhere across the cellar.
Sentence 8.4In one corner of the little room a couple of mops, with stiff, clotted, foul-smelling heads, stand near a rusty bucket.
Sentence 8.5The floor is dirt, a little damp to the touch, as cellar dirt usually is.
Sentence 8.6The room is about three paces long and two wide: a mere broom closet or disused tool room.
Sentence 8.7In the room a child is sitting.
Sentence 8.8It could be a boy or a girl.
Sentence 8.9It looks about six, but actually is nearly ten.
Sentence 8.10It is feeble-minded.
Sentence 8.11Perhaps it was born defective, or perhaps it has become imbecile through fear, malnutrition, and neglect.
Sentence 8.12It picks its nose and occasionally fumbles vaguely with its toes or genitals, as it sits hunched in the corner farthest from the bucket and the two mops.
Sentence 8.13It is afraid of the mops.
Sentence 8.14It finds them horrible.
Sentence 8.15It shuts its eyes, but it knows the mops are still standing there; and the door is locked; and nobody will come.
Sentence 8.16The door is always locked; and nobody ever comes, except that sometimes—the child has no understanding of time or interval— sometimes the door rattles terribly and opens, and a person, or several people, are there.
Sentence 8.17One of them may come in and kick the child to make it stand up.
Sentence 8.18The others never come close, but peer in at it with frightened, disgusted eyes.
Sentence 8.19The food bowl and the water jug are hastily filled, the door is locked, the eyes disappear.
Sentence 8.20The people at the door never say anything, but the child, who has not always lived in the tool room, and can remember sunlight and its mother’s voice, sometimes speaks.
Sentence 8.21“I will be good,” it says.
Sentence 8.22“Please let me out.
Sentence 8.23I will be good!”
Sentence 8.24They never answer.
Sentence 8.25The child used to scream for help at night, and cry a good deal, but now it only makes a kind of whining, “eh-haa, eh-haa,” and it speaks less and less often.
Sentence 8.26It is so thin there are no calves to its legs; its belly protrudes; it lives on a half-bowl of corn meal and grease a day.
Sentence 8.27It is naked.
Sentence 8.28Its buttocks and thighs are a mass of festered sores, as it sits in its own excrement continually.
主旨：所有奥米拉斯人都知道他（她）在那儿。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“所有奥米拉斯人都知道他（她）在那儿。”；中部推进到“大家都明 白他（她）必须呆在那儿。”；最后落在“但所有的人都清楚：他们的幸福生活，城市的美景，亲 密的友情，孩子的健康，学者的智慧，工匠的技艺，甚至他们的好收成和好天气全都……”，构成起点—展开—落点的层次。
主要关系：转折／对照、并列／递进
Some of them understand why, and some do not, but they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child’s abominable misery.
句型：复合句/复杂句。含关系或连接成分 that，需结合先行词辨认定语从句/名词从句；有过去分词短语，通常表示被动或完成并作后置修饰/状语；多重逗号成分构成长句，注意并列项、插入语与主谓主干的边界。
Sentence 9.1They all know it is there, all the people of Omelas.
Sentence 9.2Some of them have come to see it; others are content merely to know it is there.
Sentence 9.3They all know that it has to be there.
Sentence 9.4Some of them understand why, and some do not, but they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child’s abominable misery.
主旨：等他们的孩子长到八至十二岁能懂事明理的时候，奥米拉斯人就把这一道理讲给他们听。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“等他们的孩子长到八至十二岁能懂事明理的时候，奥米拉斯人就把这一道理讲给他们听。”；中部推进到“他们本想为那孩子做点什么的，但却什么也不能做。”；最后落在“为了做一件微不足道的善事而牺 牲善良的奥米拉斯全体人民，为了一个人的幸福而破坏千万人的幸福，那无疑是讲罪恶引起奥米拉斯城。”，构成起点—展开—落点的层次。
主要关系：转折／对照、条件／选择、时间／次序、并列／递进
If the child were brought up into the sunlight out of the vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed.
句型：复合句/复杂句。含关系或连接成分 that，需结合先行词辨认定语从句/名词从句；含从属连词 if，构成时间、原因、让步、条件或比较状语；出现 be + 过去分词形式，应结合语义判断被动语态或分词形容词；有过去分词短语，通常表示被动或完成并作后置修饰/状语；分号或破折号连接/补充多个信息层次，阅读时先拆分主干再处理插入说明；多重逗号成分构成长句，注意并列项、插入语与主谓主干的边界。
Sentence 10.1This is usually explained to children when they are between eight and twelve, whenever they seem capable of understanding; and most of those who come to see the child are young people, though often enough an adult comes, or comes back, to see the child.
Sentence 10.2No matter how well the matter has been explained to them, these young spectators are always shocked and sickened at the sight.
Sentence 10.3They feel disgust, which they had thought themselves superior to.
Sentence 10.4They feel anger, outrage, impotence, despite all the explanations.
Sentence 10.5They would like to do something for the child.
Sentence 10.6But there is nothing they can do.
Sentence 10.7If the child were brought up into the sunlight out of the vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed.
Sentence 10.8Those are the terms.
Sentence 10.9To exchange all the goodness and grace of every life in Omelas for that single, small improvement; to throw away the happiness of thousands for the chance of the happiness of one: that would be to let guilt within the walls indeed.
主旨：条约上的规定极其严格，没有任何条件可谈；就连一句同情的话也不许对那个小孩说。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
段落围绕一个完整表达展开，核心判断、补充成分和语气重点集中在同一语义单元中。
主要关系：并列／递进
The terms are strict and absolute; there may not even be a kind word spoken to the child.
句型：简单句或并列句。分号或破折号连接/补充多个信息层次，阅读时先拆分主干再处理插入说明。
Sentence 11.1The terms are strict and absolute; there may not even be a kind word spoken to the child.
主旨：通常年轻人们看过那个孩子后，面对这种痛苦的矛盾处境后，都是流着眼泪或者带着无泪的愤怒回家。
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“通常年轻人们看过那个孩子后，面对这种痛苦的矛盾处境后，都是流着眼泪或者带着无泪的愤怒回家。”；中部推进到“的确，在这么久以后，若是周围没有墙壁保护他（她），没有黑暗让 他（她）的眼睛适应，没有自己的屎尿可以坐在上面，他（她）倒可能……”；最后落在“他们知 道，假如没有那个可怜的孩子在黑暗中悲泣，那另一个孩子，那个吹笛子的孩子，就不可能在夏季第一天的阳光里，在那 些青年骑……”，构成起点—展开—落点的层次。
主要关系：因果、转折／对照、条件／选择、时间／次序、并列／递进
They know that if the wretched one were not there sniveling in the dark, the other one, the flute-player, could make no joyful music as the young riders line up in their beauty for the race in the sunlight of the first morning of summer.
句型：复合句/复杂句。含关系或连接成分 that，需结合先行词辨认定语从句/名词从句；含从属连词 if，构成时间、原因、让步、条件或比较状语。
Sentence 12.1Often the young people go home in tears, or in a tearless rage, when they have seen the child and faced this terrible paradox.
Sentence 12.2They may brood over it for weeks or years.
Sentence 12.3But as time goes on they begin to realize that even if the child could be released, it would not get much good of its freedom: a little vague pleasure of warmth and food, no doubt, but little more.
Sentence 12.4It is too degraded and imbecile to know any real joy.
Sentence 12.5It has been afraid too long ever to be free of fear.
Sentence 12.6Its habits are too uncouth for it to respond to humane treatment.
Sentence 12.7Indeed, after so long it would probably be wretched without walls about it to protect it, and darkness for its eyes, and its own excrement to sit in.
Sentence 12.8Their tears at the bitter injustice dry when they begin to perceive the terrible justice of reality, and to accept it.
Sentence 12.9Yet it is their tears and anger, the trying of their generosity and the acceptance of their helplessness, which are perhaps the true source of the splendor of their lives.
Sentence 12.10Theirs is no vapid, irresponsible happiness.
Sentence 12.11They know that they, like the child, are not free.
Sentence 12.12They know compassion.
Sentence 12.13It is the existence of the child, and their knowledge of its existence, that makes possible the nobility of their architecture, the poignancy of their music, the profundity of their science.
Sentence 12.14It is because of the child that they are so gentle with children.
Sentence 12.15They know that if the wretched one were not there sniveling in the dark, the other one, the flute-player, could make no joyful music as the young riders line up in their beauty for the race in the sunlight of the first morning of summer.
主旨：现在你相信我所描述的了吗？
作用：承接前文继续发展中心话题，通过事实、描写、解释或评价补充新的论证层次。
先写“现在你相信我所描述的了吗？”；中部推进到“这些东西是不是更可信了些？”；最后落在“不过，我还有一件事情要讲，这件事情却是真有点令人难 以置信。”，构成起点—展开—落点的层次。
主要关系：转折／对照、并列／递进
But there is one more thing to tell, and this is quite incredible.
句型：简单句或并列句。使用 there be 存现结构，真正信息焦点位于 be 之后。
Sentence 13.1Now do you believe in them?
Sentence 13.2Are they not more credible?
Sentence 13.3But there is one more thing to tell, and this is quite incredible.
主旨：有时那些去看了那孩子之后的女孩或男孩们，并不回家流泪或愤怒，事实上，他们根本就不回家。
作用：收束全文：回应前文的中心问题，把局部叙述或论证提升为结论、余韵或主题判断。
先写“有时那些去看了那孩子之后的女孩或男孩们，并不回家流泪或愤怒，事实上，他们根本就不回家。”；中部推进到“每个人，无论是男孩还是女孩，男人还是女人，都是独自一 人。”；最后落在“但那些离开奥米拉斯城的人似乎知道他们要去的是一个什么样的地方。 （摘自《诺顿短篇小说集》）”，构成起点—展开—落点的层次。
主要关系：转折／对照、时间／次序、并列／递进
Night falls; the traveler must pass down village streets, between the houses with yellow-lit windows, and on out into the darkness of the fields.
句型：复合句/复杂句。有过去分词短语，通常表示被动或完成并作后置修饰/状语；分号或破折号连接/补充多个信息层次，阅读时先拆分主干再处理插入说明。
Sentence 14.1At times one of the adolescent girls or boys who go to see the child does not go home to weep or rage, does not, in fact, go home at all.
Sentence 14.2Sometimes also a man or woman much older falls silent for a day or two, and then leaves home.
Sentence 14.3These people go out into the street, and walk down the street alone.
Sentence 14.4They keep walking, and walk straight out of the city of Omelas, through the beautiful gates.
Sentence 14.5They keep walking across the farmlands of Omelas.
Sentence 14.6Each one goes alone, youth or girl, man or woman.
Sentence 14.7Night falls; the traveler must pass down village streets, between the houses with yellow-lit windows, and on out into the darkness of the fields.
Sentence 14.8Each alone, they go west or north, towards the mountains.
Sentence 14.9They go on.
Sentence 14.10They leave Omelas, they walk ahead into the darkness, and they do not come back.
Sentence 14.11The place they go towards is a place even less imaginable to most of us than the city of happiness.
Sentence 14.12I cannot describe it at all.
Sentence 14.13It is possible that it does not exist.
Sentence 14.14But they seem to know where they are going, the ones who walk away from Omelas.
1. The Ones Who Walk Away from Omelas：《走出奥米拉斯城的人》，本文是一篇具有象征意义的寓言故事，奥米拉斯城 并非作者心中的理想城市，作者使用寓言这一体裁，借奥米拉斯城讽刺和批判那些怀念并赞成奴隶制与殖民统治的人。 2. Ursula Le Guin：厄休拉·勒奎恩，著名女性科幻作家。其著名作品有《黑暗的左边》《遥远的海岸》《地海的巫师》 《艾坦的墓地》等。其中《黑暗的左边》这部作品一举夺得了“雨果”“星云”两项世界科幻大奖。 3. Children dodged in and out, their high calls rising like the swallows’ crossing flights：该句使用了比喻修辞，将孩子们的叫喊声 比作燕子翱翔时发出的鸣叫声。 4. All the processions wound … before the race：该句是一个主从复合句。主句部分是all the processions wound…of the city； where引出定语从句，修饰the city。其中，定语从句部分主语为boys and girls；on引出的成分作地点状语，naked和with引出 的成分作定语，exercised则引出谓语部分。 5. They flared their nostrils and pranced and boasted to one another：该句使用了拟人手法，赋予了马匹人的某些特性—“相互 炫耀”。 6. If you can’t lick ’em, join ’em：该句完整形式为if you can’t lick them, join them，可释义为if you can’t defeat evil, then you yourself become evil。 7. Perhaps it would be best if you imagined it as your own fancy bids, assuming it will rise to the occasion：rise to the occasion 指“有随机应变、克服困难、完成任务等的能力”。 8. One thing as I know there is none of in Omelas is guilt：该句正常结构应为I know there is none of one thing in Omelas that is guilt。本句中，作者为了强调，将one thing提前。 9. But as we did without clergy, let us do without soldiers：do without sb/sth不用或没有某人（某物）也行。例：He can’t do without a secretary.他不能没有秘书的协助。 10. They all know it is there, all the people of Omelas：句中all the people of Omelas作they的同位语，对陈述对象进行补充诠 释。 11. They may brood over it for weeks or years：brood over/on sth郁闷地沉思（某事）。例：It doesn’t help to brood on your mistakes.对所犯的错误耿耿于怀是无济于事的。 12. It’s the existence of the child and their knowledge…that makes possible the nobility：该句是it’s … that结构引出的强调句型。 去掉it’s … that之后，整个句子结构仍然完整。
1. 文体 本文是寓言性质的文章（a piece of allegorical writing）。 作者Le Guin幻想出了Omelas这样一座沉浸在Festival of Summer欢乐气氛中的乌托邦城市，探讨了一个颇具争议的问题，即 幸福的本质是什么，它是建立在什么基础之上的。Le Guin针对“最大多数人的利益就是最好的”这样一种传统的观念，假想 Omelas这座城市里所有人的快乐都建立在一个小孩的痛苦之上，小孩长期被监禁、受虐待，绝大多数人表示接受，但是也 有一些人无法忍受在牺牲别人的基础之上获得幸福和快乐，于是他们离开了这座城市。文章的寓意也可以理解成为西方世 界的发展建立在对第三世界的剥削的基础之上。 2. 修辞 本文涉及的修辞手法主要有metaphor（隐喻），simile（明喻）等，这两种修辞手法在前面的单元已经提到，在此不再赘 述。
| 手法 | 核心差异 | 判定方法 |
|---|---|---|
| Metaphor 隐喻 / Simile 明喻 | 隐喻直接等同，明喻用 like、as 等标记相似。 | 先找比较标记；有标记通常是明喻，无标记再判断是否跨概念映射。 |
| Metaphor 隐喻 / Personification 拟人 | 拟人是把人的动作、感官或意志赋给非人对象。 | 只有出现人的能力时才判拟人；一般形象替换判隐喻。 |
| Metonymy 借代 / Synecdoche 提喻 | 借代依赖一般关联；提喻必须是部分与整体关系。 | 地点代机构是借代，mind/hand 等身体部分代人常是提喻。 |
| Transferred Epithet 移就 / Personification 拟人 | 移就是形容词的逻辑修饰对象发生转移；拟人是主语获得人的属性。 | 追问形容词本来应该形容谁；若只是修饰错位而无人的动作，就是移就。 |
| Parallelism 排比 / Antithesis 对照 | 排比要求结构相近；对照还要求意义方向相反。 | 相同结构可以只是累积；出现 but、while、more/less 等反向意义时可能兼有对照。 |
| Irony 反讽 / Paradox 隽语式矛盾 | 反讽存在字面与真实态度反差；悖论表面矛盾但逻辑可成立。 | 判断作者是否在嘲讽字面说法；若重点是揭示复杂真理，则更接近悖论。 |
| Hyperbole 夸张 / Litotes 曲言 | 夸张扩大程度；曲言用否定或弱化表达强意。 | all/never/endless 常提示夸张；far from/not uncommon 等常提示曲言。 |
| Enumeration 列举 / Climax 层进 | 列举只堆叠项目；层进要求强度、范围或情绪逐步增强。 | 检查能否任意调换顺序；若换序破坏递进，才是层进。 |
| Antonomasia 换称 / Metonymy 借代 | 换称多用固定别名、头衔或典型专名替代对象；借代只需一般关联。 | Big Apple 代纽约是换称；Wall Street 代金融界通常判借代。 |
| Euphemism 委婉语 / Understatement 低调陈述 | 委婉语回避禁忌、粗鲁或尴尬说法；低调陈述则有意减弱任何程度。 | 先问是否存在被社会习惯回避的直白词；若没有，只是缩小程度，则偏向低调陈述。 |
| Ellipsis 省略 / Fragment 句子残缺 | 修辞性省略依靠上下文仍能恢复成分；错误残句则缺乏可恢复依据。 | 补回省去的主语、谓语或重复结构后语义完整，才可判为 ellipsis。 |
| Symbolism 象征 / Metaphor 隐喻 | 隐喻通常作用于局部表达；象征意象会跨段或贯穿全文反复承载主题。 | 一次性的形象替换多为隐喻；反复出现并与人物命运、主题对应的 loons 属于象征。 |
| Analogy 类比 / Simile 明喻 | 明喻通常比较一个形象特征；类比会让两套关系或系统在较长论证中对应。 | 一句 like 比较常是明喻；用钟表系统解释生态系统则是类比。 |
| Rhetorical Question 反问／设问 / Genuine Question 真问 | 修辞问句用于强调或引出论点；真问以取得未知信息为目的。 | 看上下文是否立即自答、答案是否显然，以及说话人是否真的等待信息。 |
| Repetition 反复 / Anaphora 首语反复 | 反复可出现在任何位置；首语反复要求连续分句或句子用同一开头。 | 只有重复位于多个结构的起首位置时，才进一步判为 anaphora。 |
| Alliteration 头韵 / Assonance 元音韵 | 头韵重复词首辅音；元音韵重复重读元音。 | 按声音而非拼写判断；前者看开头辅音，后者看词内部重读元音。 |
| Allusion 用典 / Quotation 引语 | 用典只需唤起熟知人物或故事，不一定逐字引用；引语明确保存他人原话。 | 出现 Faust、Paradise Lost 等文化专名多为用典；带出处的原句则还可同时构成引语。 |
索具
队伍，行列
有礼貌的，有教养的
紫红色
微光
小手鼓
闪躲，躲避
柔软的，易弯曲的
马具
缰绳
马、狮子等的）鬃毛
编，编织
鼻孔
马）后足立地腾跃
过时的，陈旧的
牡马（尤指种马）
原始人，未开化的人
君主政体
好听的；使人感到舒服的
空想象
学究，书呆子
背信，背叛；叛国
平庸，陈腐
不幸的，悲惨的
茂盛，丰富
清教 徒的；（宗教或道德上）严格的
倦怠，消沉；无精打采
秘密的，神秘的
屠杀，杀害
高尚品德的，宽宏大量的
光彩，壮观
粮食供应者
仁慈的，和蔼的
亲切的，温和的，和蔼可亲的
粘的，粘性的
面粉糕 饼，油酥面
纠缠；使混乱，使困惑
全心投入的，全神贯注的
大帐蓬；亭，阁
专横的，傲慢的
令人沮丧的，忧郁的
马嘶声
渗漏，渗出
使布满蜘蛛网，掩蔽
有缺陷的，不完美的
低能的，愚笨的
营养失调，营养不良
摸索
生殖器官
弓背站立，蜷曲
发出嘎嘎声
哭诉，嘀咕，抱怨
屁股，臀部
化脓，溃烂，生疮
排泄物，大便
令人生厌的，厌恶的
无力，虚弱
矛盾，似是而非的评论
粗野的，不文明的；笨拙的
无趣味的，枯燥的
深受感动的；动人的
深度，深奥；渊博
啜泣，流鼻涕
塔楼明亮的
模拟欢呼或呼喊声的感叹词
智力薄弱的；愚钝的
吹笛者
气味难闻的；恶臭的
肌肉发达的；体格强健的
容易使人上瘾的
半碗形；半圆凹形
光源（复数）
长满苔藓的
沾满泥污的
神情严肃的
水草地；河边草甸
白金色的；白色与金色相间的
被黄色灯光照亮的
Exercises I. Oral Presentation — Make a five-minute presentation in class based on your research. Suggested topics: 1. Ursula Le Guin ~ 2. William James om ea Neen merc pr ree TT Ee Nee TIENT THE We HN TH THVT IT NOM ITT PP ELEN Tel vee fH Il. Questions A. Questions on the Content 1. Describe the physical features of Omelas. What was the city of Omelas celebrating? How were the people celebrating it? What things did the citizens of Omelas do without? What things were considered unnecessary but undestructive by the writer? In what kind of room was the child imprisoned? What was the imprisoned child like? Did the people of Omelas know about the misery of the child? How did they react to this? What did some of the people of Omelas do after visiting the child in the cellar? If you were a citizen of Omelas, when you saw how terribly the child was suffering, SoS SS ea would you continue to stay in the city of happiness or leave it? Give your reasons. . Questions on Structure and Style . How is the story organized? B 1 2. What mode of writing is used in Paragraph 1? 3. What functions do the short paragraphs serve? 4, Why is the story entitled “The Ones Who Walk Away from Omelas” and subtitled “Variations on a theme by William James”? Comment on the writer’s views on happiness. nw . Why do we say this is a piece of allegorical writing? What do you think the city of Omelas and the child each represents? III. Paraphrase _ Explain the following sentences in your own words, bringing out any implied meanings. 1. With a clamor of bells that set the swallows soaring, the Festival of Summer came to the city Omelas... (Para. 1) LS ...their high calls rising like the swallows’ crossing flights over the music and the singing. (Para. 1) 3. ...exercised their restive horses before the race. (Para. 1) 4. Given a description such as this one tends to make certain assumptions. (Para. 3) 5. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. (Para. 3) 6. They were mature, intelligent, passionate adults whose lives were not wretched. (Para. 3) 7. Perhaps it would be best if you imagined it as your own fancy bids, assuming it will rise to the occasion... (Para. 3) 8. ...the faint insistent sweetness of drooz may perfume the ways of the city... (Para. 3) 9. Perhaps it was born defective, or perhaps it has become imbecile through fear, malnutrition, and neglect. (Para. 8) 10. Its habits are too uncouth for it to respond to humane treatment. (Para. 12) 11. Their tears at the bitter injustice dry when they begin to perceive the terrible justice of reality, and to accept it. (Para. 12) 12. It is the existence of the child, and their knowledge of its existence, that makes possible the nobility of their architecture, the poignancy of their music, the profundity of their science. (Para. 12) IV. Practice with Words and Expressions A. Look up the dictionary and explain the meaning of the italicized words. The rigging of the boats in harbor... (Para. 1) . ...a shimmering of gong and tambourine... (Para. 1) . ...like the swallows’ crossing flights... (Para. 1) . All the processions wound towards the north side of the city... (Para. 1) 1. Zz 3 4 5. ...exercised their restive horses before the race... (Para. 1) 6. Their manes were braided with streamers... (Para. 1) 7. ...perhaps in a golden litter borne by great-muscled slaves. (Para. 3) 8. ...but I suspect that they were singularly few. (Para. 3) 9. Ifyou can't lick ‘em, join em. (Para. 3) 10. For more modest tastes I think there ought to be beer. (Para. 3) 11. ...a couple of mops, with stiff, clotted, foul-smelling heads... (Para. 8) 12. ...that makes possible the nobility of their architecture... (Para. 12) B. Discriminate between these synonyms. 1. happy, glad, cheerful, joyful, joyous 2. pleasure, delight, joy, enjoyment 3. ancient, antique, archaic 4. anger, indignation, rage, fury, wrath C. Replace the italicized words with simple, everyday words or expressions. uf ...the Green Field boys and girls...with mud-stained feet and ankles and long, lithe arms... (Para. 1) ( ) 2. ...these were not simple folk, not dulcet shepherds... (Para. 3) ( ) 3. The trouble is that we have a habit, encouraged by pedants and sophisticates... (Para. 3) 10. 11. V. (ic pd ...a refusal to admit the banality of evil... (Para. 3) ( ) Happiness is based on a just discrimination of what is necessary... (Para. 3) In the middle category...that of comfort, luxury, exuberance, etc... (Para. 3) ( ) . ...and then after some hours a dreamy languor and wonderful visions at last of the very arcane and inmost secrets of the Universe... (Para. 3) ( Net ) A boundless and generous contentment, a magnanimous triumph... (Para. 3) or A marvelous smell of cooking goes forth from the red and blue tents of the provisioners. (Para. 4) ( ) ...all at once a trumpet sounds from the pavilion near the starting line: imperious, melancholy, piercing. (Para. 6) ( ) Perhaps it was born defective, or perhaps it has become imbecile through fear, malnutrition and neglect. (Para. 8) ( ) Theirs is no vapid, irresponsible happiness. (Para. 12) ( ) Translation A. Translate the following sentences into Chinese. 1. In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved. (Para. 1) All the processions wound towards the north side of the city, where on the great water-meadow called the Green Fields boys and girls, naked in the bright air, with mud-stained feet and ankles and long, lithe arms, exercised their restive horses before the race. (Para. 1) Given a description such as this one tends to look next for the King, mounted on a splendid stallion and surrounded by his noble knights, or perhaps in a golden litter borne by great-muscled slaves. (Para. 3) The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. (Para. 3) 5. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else. (Para. 3) 6. A boundless and generous contentment, a magnanimous triumph felt not against some outer enemy but in communion with the finest and fairest in the souls of all men everywhere and the splendor of the world’s summer: this is what swells the hearts of the people of Omelas, and the victory they celebrate is that of life. (Para. 3) 7. As if that little private silence were the signal, all at once a trumpet sounds from the pavilion near the starting line: imperious, melancholy, piercing. (Para. 6) 8. They all know that it has to be there. Some of them understand why, and some do not, but they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child’s abominable misery. (Para. 9) 9. Ifthe child were brought up into the sunlight out of the vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed. (Para. 10) 10. Yet it is their tears and anger, the trying of their generosity and the acceptance of their helplessness, which are perhaps the true source of the splendor of their lives. (Para. 12) B. Translate Paragraph 8 into Chinese. Read, Think 2. 7 andComment Read the following paragraphs and prepare to discuss: What method is used in developing the paragraph? Is the paragraph an objective (realistic) or emotional (impressionistic) description? 1. The farmhouse stood in the middle of a very large yard, and the yard was fenced on three sides with rails and on the rear side with high palings; against these stood the smokehouse; beyond the palings was the orchard; beyond the orchard were the Negro quarters and the tobacco fields. The front yard was entered over a stile made of sawed-off logs of graduated heights; | do not remember any gate. In a corner of the front yard were a dozen lofty hickory trees and a dozen black walnuts, and in the nutting season riches were to be gathered there. 2. Fabulous is the only word for the floating palace that awaits Aristotle Socrates Onassis. The Christina is 1,800 tons of sheer unadulterated luxury, 325 feet of opulence, the jewel of Onassis’ far-flung shipping fleet. Her crew of forty-four is the pick of the 1,000-man German force in the Onassis fleet, and they have the latest in radar and electronic gear to aid in navigation. Stowed on her upper deck are four speed-boats, a six-ton sailing vessel, a car, and a four-place amphibious plane with a top speed of 200 m.p.h. and a range of 1,200 miles. On the stern deck is the ballroom, which in fifty seconds can be converted into a mosaic-lined swimming pool, complete with cascading fountains and underwater lighting. In addition, it has thirteen guest bedrooms, two E1 Greco paintings, and several gold-framed icons. Beneath the glass-topped, semicircular bar in another area of the ship is a miniature metal sea on which ships continually float by means of a magnetic hookup. Would you disagree with the word fabulous when applied to describe the Christina? 3. My second son Scott is a little devil. He is thirty pounds of energy-packed hellion. He stands only twenty-nine inches high, but oh, what those twenty-nine inches can manage to get into. His large bone structure tends to make him look like a gremlin. His short muscular legs carry him into more trouble than a person could imagine. His hips are so small that his diapers and pants are usually found somewhere in the vicinity of his knees. He has the head of a full grown man with wicked looking hair matted everywhere except for the double cowlick which gives him the appearance of having horns. His large floppy ears and huge long eye-lashed deep brown eyes can only tell one thing: he is all boy and very little saint. His little hooked nose is usually getting flattened because he has it where it doesn’t belong. His cupid-bow mouth has nine miraculously whole, perfect white teeth, that manage to bite his baby brother at least three times a day. He has a quite limited vocabulary and doesn't talk too plainly, unless we don’t want him to and then as clear as day he calls his Grandpa a bum and tells him to go home. A child? Yes. A devil? Yes. My son? You bet!
A. 1. Omelas is a port city by the sea with bright towers and houses with red roofs and painted walls. There are tree-lined avenues, moss-grown gardens, great parks and public buildings. Towards the north side of the city there is a great water-meadow called the Green Fields. Far off to the north and west are mountains with snowy peaks half encircling Omelas. 2. They were joyously celebrating the Festival of Summer with music, dance and processions. Men, women and children were all dressed in festive clothes to celebrate the occasion, except for the riders who were naked, the highlight of the celebrations was a horse race to be held on the great water-meadow called the Green Fields. 3. They do without monarchy and slavery and also without the stock exchange, the advertisement, the secret police, the bomb, the clergy and soldiers. They do not have cars nor helicopters. 4. In the middle category—that of the unnecessary but undestructive—the writer lists the following: central heating, subway trains, washing machines, beer and even a not habit-forming drug like drooz, and all kinds of marvelous devices not yet invented, floating light sources, fuelless power, a cure for the common cold. 5. It looks like a broom closet or a disused tool room in the basement or cellar of a beautiful public building or a spacious private home. It has a locked door and no window. A little light seeps in between cracks in the boards. In one corner a couple of mops, with stiff, clotted, foul-smelling heads, stand near a rusty bucket. The floor is dirt and damp. 6. It may be a boy or girl who looks about six, but actually is nearly ten. It is feeble-minded. Perhaps it was born defective, or perhaps it has become imbecile through fear, malnutrition and neglect. It is so thin that there are no calves to its legs. Its belly protrudes. It is naked. Its buttocks and thighs are a mass of festered sores. 7. Yes. Occasionally someone comes and kicks the child or comes to stare in horror. They are always shocked and sickened when they see the child and they feel angry when they see his suffering, but most people in Omelas have taken it as a fact of life and let the child’s misery go on. 8. After visiting the child in the cellar, they leave the town in the night, walking down the streets, through the gates, across the farmland into darkness. Each alone, they go west or north, towards the mountains. They seem to know where they are going. 9. I chose to continue to stay in the city, doing my bit to alleviate the children’s suffering and making it easier for them. Running away from this city is only escape, which doesn’t make children’s suffering disappear. Besides, other places may be replicas of the city of happiness. Life there is not necessarily happy. B. 1. The story can be divided into four parts. Paras. 1-6 describe the colorful celebrations of the Festival of Summer, the people of Omelas and their views on happiness. Paras. 7 and 8 describe the misery and suffering of the child. Paras. 9-12 describe the attitudes of most people and their reactions to the child’s suffering. Paras. 13 and 14 describe the different attitudes and reactions of a few. 2. The dominant theme of Para. 1 is the Festival of Summer in Omelas, a joyous festival. The writer achieves it by describing human beings and other things in a vivid, joyous way. 3. The short paragraphs（2, 7, 11 and 13）serve to introduce new topics and ideas, which are more effective and forceful than ordinary topic sentences. 4. The title tells readers that those who decide to walk away from Omelas are either disgusted, frightened, saddened or just dissatisfied with Omelas. No definite answer is supplied. The writer opens to the free imagination of her readers what one should make of the paradox between the utopian city and the suffering of the child. The story is subtitled Variations on a theme by William James, because Le Guin’s idea of this story is inspired by William James, the American psychologist and philosopher, stated in his essay “The Moral Philosopher and the Moral Life.” 5. The writer’s view of happiness goes like this: “Happiness is based on a just discrimination of what is necessary, what is neither necessary nor destructive, and what is destructive.” It sounds reasonable. 6. The symbolic meaning lies in the fact that the writer addresses the morality underlying political systems. The city of Omelas represents the developed countries, the privileged; while the child represents the unprivileged as well as the underdeveloped countries. 1. The loud ringing of the bells, which sent the frightened swallows flying high, marked the beginning of the Festival of Summer in Omelas. 2. The shouting of the children could be heard clearly above the music and singing like the calls of the swallows flying by overhead. 3. The riders were putting the horses through some exercises because the horses were eager to start and stubbornly resisting the control of the riders. 4. After reading the above description the reader is likely to assume certain things. 5.. An artist betrays his trust when he does not admit that evil is nothing fresh nor novel and pain is very dull and uninteresting. 6. They were fully developed and intelligent grown-up people full of intense feelings and they were not miserable people. 7. Perhaps it would be best if the reader pictures Omelas to himself as his imagination tells him, assuming his imagination will be equal to the task. 8. The faint but compelling sweet scent of the drug drooz may fill the streets of the city. 9. Perhaps the child was mentally retarded because it was born so or perhaps it has become very foolish and stupid because of fear, poor nourishment and neglect. 10. The habits of the child are so crude and uncultured that it will show no sign of improvement even if it is treated kindly and tenderly. 11. They shed tears when they see how terribly unjust they have been to the child, but these tears dry up when they realize how just and fair though terrible reality was. 12. The existence of the child and their knowledge of its existence is the reason that makes their buildings grand and impressive, their music moving and their science intellectually deep. A. 1. rigging: lines and chains used aboard a ship especially in working sail and supporting masts and spars 2. shimmering: shining with a soft tremulous light; glimmering 3. flight: rising, settling or flying in a flock 4. wound: make （one’s way）in a winding or twisting course 5. restive: stubbornly resisting control 6. mane: the long hair on the back of a horse’s neck 7. litter: a covered and curtained couch provided with shafts and used for carrying a single passenger 8. singularly: exceptionally, unusually 9. lick: （sports）to defeat an opponent 10. modest: moderate or reasonable; not extreme 11. head: the highest or uppermost part of a thing B. 1. happy意为“快乐的、幸福的”，常用来形容人、家庭、夫妻、生活、时代等。glad指由于愿望的满足而产生的喜悦的感 觉，这种喜悦一般是短暂的，如：He is glad of her success.（他为她的成功而高兴。）cheerful指性格开朗、乐观等。joyful 指由于某事而特别高兴。joyous指出于一贯的性情，而特别高兴。 2. pleasure是最不具体的，可指内心的喜悦，也可指外在的幸福。delight指明显的、公开表露出的热情奔放的愉悦。joy暗示 强烈的尤其是欣喜若狂或狂喜的状态。enjoyment指由令人满足或有利的东西引起的经常是持久的高兴或满足，如：Books are her major source of enjoyment.（书籍是她快乐的主要源泉。） 3. ancient意为“远古的”，指年代久远。antique不仅可指已十分古老的东西，还可指因其年代久远而有价值的东西，如： antique French furniture旧式的法国家具。archaic暗示遥远且原始的时期，如：an archaic Greek bronze of the seventh century B.C.（公元前7世纪古希腊的青铜器）。 4. anger是常用词，泛指不快的情绪。indignation是正式用语，指由于非正义、受辱等引起的义愤或愤慨。rage指大怒，强调 愤怒强烈到爆发而不能控制住。fury的语气比rage强，指暴怒。wrath是正式用语，指一种强烈的义愤，带有要给予惩罚或 报复的意思。 C. 1. supple 2. pleasant 3. worldly-wise people 4. commonplace 5. distinguishing 6. abundance 7. lazy feeling; mystery 8. noble 9. people supplying food 10. commanding 11. feebleminded 12. uninteresting V. See the translation of the text. 1. This paragraph is an objective（realistic）description and spatial order is used for developing the paragraph. 2. This paragraph is emotional（impressionistic）description. On the one hand, the dominant impression that the writer wants to convey is expressed in the word fabulous. He therefore selects only those details which are fabulous. The equipment and furnishings which are common to all ships and which do not reinforce the impression of fabled wealth and luxury are ignored completely. On the other hand, in the first sentence of the third paragraph, “devil” is used to describe the son. Then the writer gives vivid description of his son’s build, appearance, behaviors. All these sentences bring to mind a picture of a naughty and adorable boy..