Sentence 1.1Just below Manawaka, where the Wachakwa River ran brown and noisy over the pebbles, the scrub oak and grey-green willow and chokecherry bushes grew in a dense thicket.
Lesson 9 · Complete Study Guide
The Loons
逐句双语 · 语法 · 全词汇美式 IPA · 具体修辞 · 全部练习答案
课文逐句精读
段落完整解析
段落主旨与篇章作用
主旨:玛纳瓦卡山下有一条名叫瓦恰克瓦的小河,混浊的河水撞击着河边的鹅卵石,哗哗地流淌着。
作用:开篇建立《The Loons》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。
行文结构与逻辑
先写“玛纳瓦卡山下有一条名叫瓦恰克瓦的小河,混浊的河水撞击着河边的鹅卵石,哗哗地流淌着。”;中部推进到“大约五十年前,也就是里尔被绞杀、梅蒂人被打败的那一 年,朱尔斯·坦纳瑞腿上受了枪伤,从巴托什战场返回家乡,建造了那间小木屋。”;最后落在“随着他们家里人丁逐渐增加,他们的木屋慢慢地扩建,越来越大,到后来林中的空地上披屋林立,到处乱七 八糟地堆放着木板包装箱、变了……”,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
核心句法
The basis of this dwelling was a small square cabin made of poplar poles and chinked with mud, which had been built by Jules Tonnerre some fifty years before, when he came back from Batoche with a bullet in his thigh, the year that Riel was hung and the voices of the Métis entered their long silence.
句型:复合句/复杂句。含关系或连接成分 that, which,需结合先行词辨认定语从句/名词从句;含从属连词 before, when,构成时间、原因、让步、条件或比较状语;有过去分词短语,通常表示被动或完成并作后置修饰/状语。
- 关系或连接标记为 that、which;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 before、when;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- scrub/ˈskrʌb/用力擦洗,刷洗
- chokecherry/ˈtʃoʊkˌtʃɛri/美国稠李
- grey-green/ˈɡreɪ ˌɡrin/灰绿色的
- shack/ˈʃæk/小屋,简陋的小屋
- thigh/ˈθaɪ/大腿
- ramshackle/ˈræˌmʃækəl/快要倒塌似的,摇摇欲坠 的
- lean-tos/ˈlin ˌtu/披屋;单坡棚屋(复数)
修辞手法、原文证据与效果
- Enumeration / Parallelism · 列举/排比Just below Manawaka, where the Wachakwa River ran brown and noisy over the pebbles, the scrub oak and grey-green willow and chokecherry bushes grew in a dense thicket.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Antithesis · 对照Jules had only intended to stay the winter in the Wachakwa Valley, but the family was still there in the thirties, when I was a child.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Enumeration / Parallelism · 列举/排比As the Tonnerres had increased, their settlement had been added to, until the clearing at the foot of the town hill was a chaos of lean-tos, wooden packing cases, warped lumber, di…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 1.2In a clearing at the centre of the thicket stood the Tonnerre family’s shack.
Sentence 1.3The basis of this dwelling was a small square cabin made of poplar poles and chinked with mud, which had been built by Jules Tonnerre some fifty years before, when he came back from Batoche with a bullet in his thigh, the year that Riel was hung and the voices of the Métis entered their long silence.
Sentence 1.4Jules had only intended to stay the winter in the Wachakwa Valley, but the family was still there in the thirties, when I was a child.
Sentence 1.5As the Tonnerres had increased, their settlement had been added to, until the clearing at the foot of the town hill was a chaos of lean-tos, wooden packing cases, warped lumber, discarded car tyres, ramshackle chicken coops, tangled strands of barbed wire and rusty tin cans.
段落完整解析
段落主旨与篇章作用
主旨:坦纳瑞一家是法裔混血儿,他们彼此间用一种土语交谈,既不像印第安语,也不像法语。
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。
行文结构与逻辑
先写“坦纳瑞一家是法裔混血儿,他们彼此间用一种土语交谈,既不像印第安语,也不像法语。”;中部推进到“他 们的生计靠家里的壮丁外出打零工或是在加拿大—太平洋铁路上当养路工来维持;没有这种打工机会时,他们一家便靠领 救济度日。”;最后落在“有时候,在周六晚上,老朱尔斯或是他的儿子拉扎鲁会酗酒闹事,要么见人就打,要么就挤到大街上购物逛街的行人 之中狂呼乱叫,然后被……”,构成起点—展开—落点的层次。
主要关系:条件/选择、时间/次序、并列/递进
核心句法
In the summers, one of the Tonnerre youngsters, with a face that seemed totally unfamiliar with laughter, would knock at the doors of the town’s brick houses and offer for sale a lard-pail full of bruised wild strawberries, and if he got as much as a quarter he would grab the coin and run before the customer had time to change her mind.
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 before, if,构成时间、原因、让步、条件或比较状语;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 before、if;它们分别组织让步、原因、时间、条件或选择关系。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- patois/ˌpæˈtwɑ/方言,行话
- half-breeds/ˈhæf ˌbridz/混血儿(复数;旧称,现常带冒犯性)
- reservation/ˌrɛzɚˈveɪʃən/保留地
- Scots-Irish/ˈskɑts ˌaɪrɪʃ/苏格兰—爱尔兰裔的
- herring/ˈhɛrɪŋ/青鱼,鲱
- lard/ˈlɑrd/猪油
- lard-pail/ˈlɑrd ˌpeɪl/猪油桶
- brawl/ˈbrɔl/争吵,争斗
- Saturday-night/ˈsætɚdi ˌnaɪt/星期六夜晚的
修辞手法、原文证据与效果
- Enumeration / Parallelism · 列举/排比They were, as my Grandmother MacLeod would have put it, neither flesh, fowl, nor good salt herring.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Simile · 明喻as much as a quarter he would grab the coin and run before the cus以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Enumeration / Parallelism · 列举/排比In the summers, one of the Tonnerre youngsters, with a face that seemed totally unfamiliar with laughter, would knock at the doors of the town’s brick houses and offer for sale a l…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Enumeration / Parallelism · 列举/排比Sometimes old Jules, or his son Lazarus, would get mixed up in a Saturday-night brawl, and would hit out at whoever was nearest or howl drunkenly among the offended shoppers on Mai…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Repetition · 反复would关键词在同一句中有意多次出现,形成语义回环或结构支点。持续锁定中心概念,使论述具有强调和节奏推进作用。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 2.1The Tonnerres were French half-breeds, and among themselves they spoke a patois that was neither Cree nor French.
Sentence 2.2Their English was broken and full of obscenities.
Sentence 2.3They did not belong among the Cree of the Galloping Mountain reservation, further north, and they did not belong among the Scots-Irish and Ukrainians of Manawaka, either.
Sentence 2.4They were, as my Grandmother MacLeod would have put it, neither flesh, fowl, nor good salt herring.
Sentence 2.5When their men were not working at odd jobs or as section hands on the C. P. R. they lived on relief.
Sentence 2.6In the summers, one of the Tonnerre youngsters, with a face that seemed totally unfamiliar with laughter, would knock at the doors of the town’s brick houses and offer for sale a lard-pail full of bruised wild strawberries, and if he got as much as a quarter he would grab the coin and run before the customer had time to change her mind.
Sentence 2.7Sometimes old Jules, or his son Lazarus, would get mixed up in a Saturday-night brawl, and would hit out at whoever was nearest or howl drunkenly among the offended shoppers on Main Street, and then the Mountie would put them for the night in the barred cell underneath the Court House, and the next morning they would be quiet again.
段落完整解析
段落主旨与篇章作用
主旨:拉扎鲁的女儿皮格特·坦纳瑞与我同班。
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。
行文结构与逻辑
先写“拉扎鲁的女儿皮格特·坦纳瑞与我同班。”;中部推进到“不过,我对她的了解也几乎只限于她的病情。”;最后落在“她的住处和活动范围都在我的眼前,但直到我十一岁那年的不寻常的夏天到来之前,我才真正注意到她的存在。”,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
核心句法
Otherwise, she existed for me only as a vaguely embarrassing presence, with her hoarse voice and her clumsy limping walk and her grimy cotton dresses that were always miles too long.
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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- sporadic/spɚˈædɪk/零星的,时有时无的
- tuberculosis/təˌbɝkjəˈloʊsɪs/肺结 核
- grimy/ˈɡraɪmi/污垢的,肮脏的
修辞手法、原文证据与效果
- Hyperbole / Absolute Diction · 夸张/绝对化措辞always been sporadic and her interest in schoolwork negligibl使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞always miles too long使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Antithesis · 对照She dwelt and moved somewhere within my scope of vision, but I did not actually notice her very much until that peculiar summer when I was eleven.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 3.1Piquette Tonnerre, the daughter of Lazarus, was in my class at school.
Sentence 3.2She was older than I, but she had failed several grades, perhaps because her attendance had always been sporadic and her interest in schoolwork negligible.
Sentence 3.3Part of the reason she had missed a lot of school was that she had had tuberculosis of the bone, and had once spent many months in hospital.
Sentence 3.4I knew this because my father was the doctor who had looked after her.
Sentence 3.5Her sickness was almost the only thing I knew about her, however.
Sentence 3.6Otherwise, she existed for me only as a vaguely embarrassing presence, with her hoarse voice and her clumsy limping walk and her grimy cotton dresses that were always miles too long.
Sentence 3.7I was neither friendly nor unfriendly towards her.
Sentence 3.8She dwelt and moved somewhere within my scope of vision, but I did not actually notice her very much until that peculiar summer when I was eleven.
段落完整解析
段落主旨与篇章作用
主旨:“我真不知道怎么帮帮那孩子,”有一天吃晚饭的时候,父亲说,“我是说皮格特·坦纳瑞。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““我真不知道怎么帮帮那孩子,”有一天吃晚饭的时候,父亲说,“我是说皮格特·坦纳瑞。”,再转入“她的该死的骨结核又恶化了, 我让她住了好长时间院了,病情也控制住了,但我真他妈不愿打发她回到她那个家里去。””,形成前提—发展、描写—评价或问—答关系。
主要关系:转折/对照、并列/递进
核心句法
I’ve had her in hospital for quite a while now, and it’s under control all right, but I hate like the dickens to send her home again.”
句型:复合句/复杂句。含从属连词 while,构成时间、原因、让步、条件或比较状语。
- 从属标记为 while;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- dickens/ˈdɪkənz/口]见鬼,该死;倒霉,晦气
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号I don’t know what to do about that kid.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Simile · 明喻like the dickens to send her home again以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all right使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 4.1“I don’t know what to do about that kid.” my father said at dinner one evening.
Sentence 4.2“Piquette Tonnerre, I mean.
Sentence 4.3The damn bone’s flared up again.
Sentence 4.4I’ve had her in hospital for quite a while now, and it’s under control all right, but I hate like the dickens to send her home again.”
段落完整解析
段落主旨与篇章作用
主旨:“难道不能跟她母亲说,她应该好好休息吗?”我母亲问道。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“Couldn't you explain to her mother that she has to rest a lot?” my mother said.
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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Couldn't you explain to her mother that she has to rest a lot?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 5.1“Couldn't you explain to her mother that she has to rest a lot?” my mother said.
段落完整解析
段落主旨与篇章作用
主旨:“她妈妈不在了,”我父亲回答说。
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。
行文结构与逻辑
先写““她妈妈不在了,”我父亲回答说。”;中部推进到“不管怎么说,我认为她一回到家里就不能照顾自己了。”;最后落在“好好休养两个月会使她养好骨病的希望大大增加。””,构成起点—展开—落点的层次。
主要关系:时间/次序、并列/递进
核心句法
Piquette cooks for them, and she says Lazarus would never do anything for himself as long as she’s there.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号The mother’s not there,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Simile · 明喻as long as she’s there以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Litotes / Negative Emphasis · 曲言/否定强调never do anything for himself as long as she’s there通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞never do anything for himself as long as she’s there使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Rhetorical Question · 反问/设问Beth, I was thinking—What about taking her up to Diamond Lake with us this summer?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 6.1“The mother’s not there,” my father replied.
Sentence 6.2“She took off a few years back.
Sentence 6.3Can't say I blame her.
Sentence 6.4Piquette cooks for them, and she says Lazarus would never do anything for himself as long as she’s there.
Sentence 6.5Anyway, I don’t think she’d take much care of herself, once she got back.
Sentence 6.6She’s only thirteen, after all.
Sentence 6.7Beth, I was thinking—What about taking her up to Diamond Lake with us this summer?
Sentence 6.8A couple of months rest would give that bone a much better chance.”
段落完整解析
段落主旨与篇章作用
主旨:母亲惊诧不已。
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。
行文结构与逻辑
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:语义承接与信息递进
核心句法
My mother looked stunned.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 7.1My mother looked stunned.
段落完整解析
段落主旨与篇章作用
主旨:“可是艾文——罗迪和瓦尼莎怎么办呢?”
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:转折/对照、并列/递进
核心句法
“But Ewen—what about Roddie and Vanessa?”
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。
- 分号或破折号划分较大的意义层次:先分别找各层主干,再判断并列、转折或补充关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号But Ewen—what about Roddie and Vanessa?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“But Ewen—what about Roddie and Vanessa?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
Sentence 8.1“But Ewen—what about Roddie and Vanessa?”
段落完整解析
段落主旨与篇章作用
主旨:“她的病不传染,”我父亲说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““她的病不传染,”我父亲说。”,再转入““她还可以和瓦尼莎做个伴儿呢。””,形成前提—发展、描写—评价或问—答关系。
主要关系:并列/递进
核心句法
“She’s not contagious,” my father said.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- contagious/kəˈnteɪdʒəs/有传染性的
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号She’s not contagious,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Quotation / Scare Quotes · 引语/讽刺引号And it would be company for Vanessa.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 9.1“She’s not contagious,” my father said.
Sentence 9.2“And it would be company for Vanessa.”
段落完整解析
段落主旨与篇章作用
主旨:“天哪!”我母亲无可奈何地说,“她头上一定有虱子。”
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“Oh dear,” my mother said in distress, “I’ll bet anything she has nits in her hair.”
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Oh dear,; I’ll bet anything she has nits in her hair.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 10.1“Oh dear,” my mother said in distress, “I’ll bet anything she has nits in her hair.”
段落完整解析
段落主旨与篇章作用
主旨:“看在圣彼得的份上,”父亲生气地说,“你以为护士长会同意她一直住医院吗?
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““看在圣彼得的份上,”父亲生气地说,“你以为护士长会同意她一直住医院吗?”,再转入“别傻了,贝丝。””,形成前提—发展、描写—评价或问—答关系。
主要关系:语义承接与信息递进
核心句法
“For Pete’s sake,” my father said crossly, “do you think Matron would let her stay in the hospital for all this time like that?
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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Simile · 明喻like that以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all this time like that使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Quotation / Scare Quotes · 引语/讽刺引号For Pete’s sake,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 11.1“For Pete’s sake,” my father said crossly, “do you think Matron would let her stay in the hospital for all this time like that?
Sentence 11.2Don’t be silly, Beth.”
段落完整解析
段落主旨与篇章作用
主旨:麦克里奥祖母那清秀的脸变得像玉石雕一样冷峻,她那紫红色血管凸起的双手此时也合到一起,像是准备做祷告的样 子。
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。
行文结构与逻辑
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:语义承接与信息递进
核心句法
Grandmother MacLeod, her delicately featured face as rigid as a cameo, now brought her mauve-veined hands together as though she were about to begin prayer.
句型:简单句或并列句。含从属连词 as though,构成时间、原因、让步、条件或比较状语。
- 从属标记为 though;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- cameo/ˈkæmiˌoʊ/浮雕,石雕
- mauve/ˈmɔv/淡紫色的
- mauve-veined/ˈmoʊvˌveɪnd/带淡紫色血管纹路的
修辞手法、原文证据与效果
- Simile · 明喻as rigid as a cameo以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 12.1Grandmother MacLeod, her delicately featured face as rigid as a cameo, now brought her mauve-veined hands together as though she were about to begin prayer.
段落完整解析
段落主旨与篇章作用
主旨:“艾文,如果那个混血儿去钻石湖的话,我就不去了,”她声明说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““艾文,如果那个混血儿去钻石湖的话,我就不去了,”她声明说。”,再转入““我上莫拉格家度过夏天。””,形成前提—发展、描写—评价或问—答关系。
主要关系:条件/选择
核心句法
“Ewen, if that half-breed youngster comes along to Diamond Lake, I’m not going,” she announced.
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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 if;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- half-breed/ˈhæf ˌbrid/混血儿(旧称,现常带冒犯性)
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Ewen, if that half-breed youngster comes along to Diamond Lake, I’m not going,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Quotation / Scare Quotes · 引语/讽刺引号I'll go to Morag’s for the summer.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 13.1“Ewen, if that half-breed youngster comes along to Diamond Lake, I’m not going,” she announced.
Sentence 13.2“I'll go to Morag’s for the summer.”
段落完整解析
段落主旨与篇章作用
主旨:我几乎忍不住要笑出声了,因为我看到我母亲突然面露喜色但马上又极力加以掩饰。
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。
行文结构与逻辑
先写“我几乎忍不住要笑出声了,因为我看到我母亲突然面露喜色但马上又极力加以掩饰。”,再转入“如果要我母亲在麦克里奥祖母和 皮格特之间作选择的话,无疑皮格特要中选,不管她头上有没有虱子。”,形成前提—发展、描写—评价或问—答关系。
主要关系:条件/选择、并列/递进
核心句法
If it came to a choice between Grandmother MacLeod and Piquette, Piquette would win hands down, nits or not.
句型:复合句/复杂句。含从属连词 if,构成时间、原因、让步、条件或比较状语。
- 从属标记为 if;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 14.1I had trouble in stifling my urge to laugh, for my mother brightened visibly and quickly tried to hide it.
Sentence 14.2If it came to a choice between Grandmother MacLeod and Piquette, Piquette would win hands down, nits or not.
段落完整解析
段落主旨与篇章作用
主旨:“说起来,那样对您老人家也是好事,”她若有所思地说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““说起来,那样对您老人家也是好事,”她若有所思地说。”;中部推进到“好吧,亲爱的艾文,你认为怎么好就怎么着吧。”;最后落在“假如你认为同我们一起住一段日子对皮格特有好处,只 要她能守规矩,我们欢迎她来。””,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
核心句法
If you think it would do Piquette some good, then we'll be glad to have her, as long as she behaves herself.”
句型:复合句/复杂句。含从属连词 if,构成时间、原因、让步、条件或比较状语;有过去分词短语,通常表示被动或完成并作后置修饰/状语。
- 从属标记为 if;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号It might be quite nice for you, at that,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Simile · 明喻as long as she behaves herself以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 15.1“It might be quite nice for you, at that,” she mused.
Sentence 15.2“You haven’t seen Morag for over a year, and you might enjoy being in the city for a while.
Sentence 15.3Well, Ewen dear, you do what you think best.
Sentence 15.4If you think it would do Piquette some good, then we'll be glad to have her, as long as she behaves herself.”
段落完整解析
段落主旨与篇章作用
主旨:就这样,几个星期以后,当我们全家带着一箱箱的衣物、食品以及给我那才满十个月的小弟弟玩的玩具挤进父亲那辆 旧“纳什”轿车时,皮格特也同我们在一起,而麦克里奥祖母却奇迹般地没有同去。
作用:承接前文作因果归结,把此前事实或理由压缩为本段结论。
行文结构与逻辑
先写“就这样,几个星期以后,当我们全家带着一箱箱的衣物、食品以及给我那才满十个月的小弟弟玩的玩具挤进父亲那辆 旧“纳什”轿车时,皮格特也同我们在一……”,再转入“父亲只能在别墅里住上两个星期,因为 他要回去上班,但我们其余的人会在钻石湖一直住到八月底。”,形成前提—发展、描写—评价或问—答关系。
主要关系:因果、转折/对照、时间/次序、并列/递进
核心句法
So it happened that several weeks later, when we all piled into my father’s old Nash, surrounded by suitcases and boxes of provisions and toys for my ten-month-old brother, Piquette was with us and Grandmother MacLeod, miraculously, was not.
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 when,构成时间、原因、让步、条件或比较状语;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 when;它们分别组织让步、原因、时间、条件或选择关系。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- miraculously/mɚˈækjələsli/奇迹般地,不可思议地
- ten-month-old/ˈtɛn ˌmʌnθ ˌoʊld/十个月大的
修辞手法、原文证据与效果
- Enumeration / Parallelism · 列举/排比So it happened that several weeks later, when we all piled into my father’s old Nash, surrounded by suitcases and boxes of provisions and toys for my ten-month-old brother, Piquett…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all piled into my father’s old Nash使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 16.1So it happened that several weeks later, when we all piled into my father’s old Nash, surrounded by suitcases and boxes of provisions and toys for my ten-month-old brother, Piquette was with us and Grandmother MacLeod, miraculously, was not.
Sentence 16.2My father would only be staying at the cottage for a couple of weeks, for he had to get back to his practice, but the rest of us would stay at Diamond Lake until the end of August.
段落完整解析
段落主旨与篇章作用
主旨:我们没有给别墅起名,不像许多其他别墅一样叫“凝露斋”或“小憩园”或“怡神居”之类的名字。
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。
行文结构与逻辑
先写“我们没有给别墅起名,不像许多其他别墅一样叫“凝露斋”或“小憩园”或“怡神居”之类的名字。”;中部推进到“那对灰色小松鼠还住在别墅旁高大的云杉树上,此时正朝着我们嘁嘁喳喳地叫个不停呢。”;最后落在“母亲和父亲忙着将行李从车上搬进别墅,连声惊叹着,这地方经过一个冬天 后还能完好无损,玻璃没有打破,谢天谢地,房屋也没有受到被……”,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
核心句法
If you looked carefully among the weeds and grass, you could find wild strawberry plants which were in white flower now and in another month would bear fruit, the fragrant globes hanging like miniature scarlet lanterns on the thin hairy stems.
句型:复合句/复杂句。含关系或连接成分 which,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。
- 关系或连接标记为 which;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 if;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- Bide-a-Wee/ˈbaɪd ə ˌwi/“小憩片刻”(别墅名称)
- austere/ɔˈstɪr/朴素的,质朴的
- filigree/ˈfɪləˌɡri/细丝工艺
- spruce/ˈsprus/云杉
- raspberry/ˈræˌzbɛri/悬钩子,覆盆子
- sharp-branched/ˈʃɑrp ˌbræntʃt/枝条尖利的
- miniature/ˈmɪniəˌtʃʊr/小型的,微小的
- tame/ˈteɪm/驯服的,柔顺的
- moose/ˈmus/驼鹿
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Dew Drop Inn; Bide-a-Wee,; Bonnie Doon.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Antithesis · 对照It was not a large cottage, but it was on the lakefront.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞All around the cottage were ferns使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Simile · 明喻like miniature scarlet lanterns on the thin hairy stems以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Antithesis · 对照The broad moose antlers that hung above the back door were a little more bleached and fissured after the winter, but otherwise everything was the same.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞everything was the same使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all the places I had not seen for a year使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 17.1Our cottage was not named, as many were, “Dew Drop Inn” or “Bide-a-Wee,” or “Bonnie Doon.”
Sentence 17.2The sign on the roadway bore in austere letters only our name, MacLeod.
Sentence 17.3It was not a large cottage, but it was on the lakefront.
Sentence 17.4You could look out the windows and see, through the filigree of the spruce trees, the water glistening greenly as the sun caught it.
Sentence 17.5All around the cottage were ferns, and sharp-branched raspberry bushes, and moss that had grown over fallen tree trunks.
Sentence 17.6If you looked carefully among the weeds and grass, you could find wild strawberry plants which were in white flower now and in another month would bear fruit, the fragrant globes hanging like miniature scarlet lanterns on the thin hairy stems.
Sentence 17.7The two grey squirrels were still there, gossiping at us from the tall spruce beside the cottage, and by the end of the summer they would again be tame enough to take pieces of crust from my hands.
Sentence 17.8The broad moose antlers that hung above the back door were a little more bleached and fissured after the winter, but otherwise everything was the same.
Sentence 17.9I raced joyfully around my kingdom, greeting all the places I had not seen for a year.
段落完整解析
段落主旨与篇章作用
主旨:我忙着把所有的地方都看了一遍之后才回头注意到皮格特。
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。
行文结构与逻辑
先写“我忙着把所有的地方都看了一遍之后才回头注意到皮格特。”;中部推进到“她那又黑又直的长发披在肩上,那皮肤粗糙的脸庞宽宽的,毫无表情 ——一幅茫然的样子,似乎已灵魂出窍。”;最后落在“我犹犹豫豫地向她走近。”,构成起点—展开—落点的层次。
主要关系:时间/次序、并列/递进
核心句法
My mother and father toted the luggage from car to cottage, exclaiming over how well the place had wintered, no broken windows, thank goodness, no apparent damage from storm-felled branches or snow. is Only after I had finished looking around did I notice Piquette.
句型:复合句/复杂句。含从属连词 after,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;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。
- 从属标记为 after;它们分别组织让步、原因、时间、条件或选择关系。
- 逗号后的 -ing / having done 成分不另立限定谓语,通常补充伴随、原因或结果。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- spruce/ˈsprus/云杉
- meticulously/məˈtɪkjələsli/小心翼翼地
- storm-felled/ˈstɔrm ˌfɛld/被暴风刮倒的
- coarse-featured/ˈkɔrs ˌfitʃɚd/面部轮廓粗犷的
修辞手法、原文证据与效果
- Enumeration / Parallelism · 列举/排比My brother, Roderick, who had not been born when we were here last summer, sat on the car rug in the sunshine and examined a brown spruce cone, meticulously turning it round and ro…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Litotes / Negative Emphasis · 曲言/否定强调My mother and father toted the luggage from car to cottage, exclaiming over how well the place had w通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Enumeration / Parallelism · 列举/排比My mother and father toted the luggage from car to cottage, exclaiming over how well the place had wintered, no broken windows, thank goodness, no apparent damage from storm-felled…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Litotes / Negative Emphasis · 曲言/否定强调no longer dwelt within her own skull通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 18.1My brother, Roderick, who had not been born when we were here last summer, sat on the car rug in the sunshine and examined a brown spruce cone, meticulously turning it round and round in his small and curious hands.
Sentence 18.2My mother and father toted the luggage from car to cottage, exclaiming over how well the place had wintered, no broken windows, thank goodness, no apparent damage from storm-felled branches or snow. is Only after I had finished looking around did I notice Piquette.
Sentence 18.3She was sitting on the swing her lame leg held stiffly out, and her other foot scuffing the ground as she swung slowly back and forth.
Sentence 18.4Her long hair hung black and straight around her shoulders, and her broad coarse-featured face bore no expression—it was blank, as though she no longer dwelt within her own skull, as though she had gone elsewhere.
Sentence 18.5I approached her very hesitantly.
段落完整解析
段落主旨与篇章作用
主旨:“想过来玩吗?”
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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
核心句法
“Want to come and play?”
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Want to come and play?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“Want to come and play?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 19.1“Want to come and play?”
段落完整解析
段落主旨与篇章作用
主旨:皮格特突然用不屑的眼神看着我。
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。
行文结构与逻辑
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:语义承接与信息递进
核心句法
Piquette looked at me with a sudden flash of scorn.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 20.1Piquette looked at me with a sudden flash of scorn.
段落完整解析
段落主旨与篇章作用
主旨:“我又不是小孩子,”她说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“I ain't a kid,” she said.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号I ain't a kid,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 21.1“I ain't a kid,” she said.
段落完整解析
段落主旨与篇章作用
主旨:我很伤心,气得一跺脚跑开了,并发誓整个夏天不同她讲一句话。
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。
行文结构与逻辑
先写“我很伤心,气得一跺脚跑开了,并发誓整个夏天不同她讲一句话。”;中部推进到“我和印第安人接触得不多,好像也没见过一个真正的 印第安人。”;最后落在“她自己无疑知道很多大自然的奥秘,只要我用适当的方法向她请教,她一定会跟我讲一些——比如夜鹰在哪儿做 窝,狼是如何育雏的,或是……”,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、并列/递进
核心句法
It seemed to me that Piquette must be in some way a daughter of the forest, a kind of junior prophetess of the wilds, who might impart to me, if I took the right approach, some of the secrets which she undoubtedly knew—where the whippoorwill made her nest, how the coyote reared her young, or whatever it was that it said in Hiawatha.
句型:复合句/复杂句。含关系或连接成分 that, where, which, who,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;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。
- 关系或连接标记为 that、where、which、who;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 if;它们分别组织让步、原因、时间、条件或选择关系。
- 分号或破折号划分较大的意义层次:先分别找各层主干,再判断并列、转折或补充关系。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- bizarre/bəˈzɑr/古怪的,异乎寻常的
- half-breeds/ˈhæf ˌbridz/混血儿(复数;旧称,现常带冒犯性)
- prophetess/ˈprɑfətəs/女预言家,女先知
- impart/ˌɪˈmpɑrt/透露,告知
- whippoorwill/ˈwɪpɚˌwɪl/北美夜鹰
- coyote/kaɪˈoʊti/一种产于北美大草原的)小狼,郊狼
修辞手法、原文证据与效果
- Personification · 拟人 swearing I would not speak to her for the rest of the summer让地点、制度、自然物或抽象概念具有人的动作、感官或意志。使抽象关系具有行动感,同时突出作者的评价态度。
- Simile · 明喻as near as made no difference以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Litotes / Negative Emphasis · 曲言/否定强调Unlikely as it may seem, I had only just realised that the Tonnerre family, whom I had always heard 通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Enumeration / Parallelism · 列举/排比Unlikely as it may seem, I had only just realised that the Tonnerre family, whom I had always heard called half-breeds, were actually Indians, or as near as made no difference.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞always heard called half-breeds使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all this gave her an instant attraction in my eyes使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Enumeration / Parallelism · 列举/排比I was devoted reader of Pauline Johnson at this age, and sometimes would orate aloud and in an exalted voice, West wind, blow from your prairie nest; Blow from the mountains, blow …多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Repetition · 反复blow关键词在同一句中有意多次出现,形成语义回环或结构支点。持续锁定中心概念,使论述具有强调和节奏推进作用。
- Enumeration / Parallelism · 列举/排比It seemed to me that Piquette must be in some way a daughter of the forest, a kind of junior prophetess of the wilds, who might impart to me, if I took the right approach, some of …多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Metaphor · 隐喻daughter of the forest把皮格特想象成森林之女,不使用 like/as 等明示比较词。把抽象社会、心理或科学关系压缩成可感的空间和物质形象。
- Allusion · 典故/用典Hiawatha借历史、神话或文学中的专名唤起其既有故事和价值判断。以极少文字引入更大的文化语境,并为当前论证提供类比或反讽参照。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 22.1Wounded, I stamped angrily away, swearing I would not speak to her for the rest of the summer.
Sentence 22.2In the days that followed, however, Piquette began to interest me, and I began to want to interest her.
Sentence 22.3My reasons did not appear bizarre to me.
Sentence 22.4Unlikely as it may seem, I had only just realised that the Tonnerre family, whom I had always heard called half-breeds, were actually Indians, or as near as made no difference.
Sentence 22.5My acquaintance with Indians was not extensive.
Sentence 22.6I did not remember ever having seen a real Indian, and my new awareness that Piquette sprang from the people of Big Bear and Poundmaker, of Tecumseh, of the Iroquois who had eaten Father Brébeuf’s heart—all this gave her an instant attraction in my eyes.
Sentence 22.7I was devoted reader of Pauline Johnson at this age, and sometimes would orate aloud and in an exalted voice, West wind, blow from your prairie nest; Blow from the mountains, blow from the west—and so on.
Sentence 22.8It seemed to me that Piquette must be in some way a daughter of the forest, a kind of junior prophetess of the wilds, who might impart to me, if I took the right approach, some of the secrets which she undoubtedly knew—where the whippoorwill made her nest, how the coyote reared her young, or whatever it was that it said in Hiawatha.
段落完整解析
段落主旨与篇章作用
主旨:我开始努力博取皮格特的信任。
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。
行文结构与逻辑
先写“我开始努力博取皮格特的信任。”;中部推进到“钻石湖的水源自山泉,因此湖水总是冰凉的,但我游得很起劲,奋力挥臂,使劲踢腿, 击水速度快,游得又猛,所以不觉得冷。”;最后落在“她一看见我走过来,马上用手把 她堆的一个沙城堡抹平,满脸不高兴地看着我,一声不吭。”,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
核心句法
The water was always icy, for the lake was fed by springs, but I swam like a dog, thrashing my arms and legs around at such speed and with such an output of energy that I never grew cold.
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;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;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 逗号后的 -ing / having done 成分不另立限定谓语,通常补充伴随、原因或结果。
- be + 过去分词结构需结合施事与受事判断:是真正被动,还是已经形容词化的状态表达。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Litotes / Negative Emphasis · 曲言/否定强调nothing else to do通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Antithesis · 对照She was not allowed to go swimming, with her bad leg, but I managed to lure her down to the beach—or rather, she came because there was nothing else to do.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞nothing else to do使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Simile · 明喻like a dog以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Litotes / Negative Emphasis · 曲言/否定强调never grew cold通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Antithesis · 对照The water was always icy, for the lake was fed by springs, but I swam like a dog, thrashing my arms and legs around at such speed and with such an output of energy that I never gre…以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞always icy使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 23.1I set about gaining Piquette’s trust.
Sentence 23.2She was not allowed to go swimming, with her bad leg, but I managed to lure her down to the beach—or rather, she came because there was nothing else to do.
Sentence 23.3The water was always icy, for the lake was fed by springs, but I swam like a dog, thrashing my arms and legs around at such speed and with such an output of energy that I never grew cold.
Sentence 23.4Finally, when I had enough, I came out and sat beside Piquette on the sand.
Sentence 23.5When she saw me approaching, her hand squashed flat the sand castle she had been building, and she looked at me sullenly, without speaking.
段落完整解析
段落主旨与篇章作用
主旨:“你喜欢这儿吗?”过了一会儿,我便开口问她,想从这个话题慢慢引到有关森林的故事上去。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:转折/对照、时间/次序
核心句法
I asked, after a while, intending to lead on from there into the question of forest lore.
句型:复合句/复杂句。含从属连词 after, while,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。
- 从属标记为 after、while;它们分别组织让步、原因、时间、条件或选择关系。
- 逗号后的 -ing / having done 成分不另立限定谓语,通常补充伴随、原因或结果。
词汇与短语
- lore/ˈlɔr/学问,学识
修辞手法、原文证据与效果
- Simile · 明喻like this place以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Quotation / Scare Quotes · 引语/讽刺引号Do you like this place?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“Do you like this place?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 24.1“Do you like this place?”
Sentence 24.2I asked, after a while, intending to lead on from there into the question of forest lore.
段落完整解析
段落主旨与篇章作用
主旨:皮格特耸了耸肩。
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。
行文结构与逻辑
先写“皮格特耸了耸肩。”,再转入““这地方不错,和其他地方一样好。””,形成前提—发展、描写—评价或问—答关系。
主要关系:语义承接与信息递进
核心句法
Piquette shrugged, “It’s okay.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 25.1Piquette shrugged, “It’s okay.
Sentence 25.2Good as anywhere.”
段落完整解析
段落主旨与篇章作用
主旨:“我很喜欢这地方,”我说,“我们每年夏天都到这儿来。”
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“We come here every summer.”
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号I love it,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞every summer使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Quotation / Scare Quotes · 引语/讽刺引号We come here every summer.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 26.1“I love it,” I said.
Sentence 26.2“We come here every summer.”
段落完整解析
段落主旨与篇章作用
主旨:“那又怎样?”她的声音很冷淡,我疑惑的看着她,不知道说错了哪句话,把她得罪了。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:因果、并列/递进
核心句法
Her voice was distant, and I glanced at her uncertainly, wondering what I could have said wrong.
句型:简单句或并列句。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。
- 逗号后的 -ing / having done 成分不另立限定谓语,通常补充伴随、原因或结果。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号So what?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“So what?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 27.1“So what?”
Sentence 27.2Her voice was distant, and I glanced at her uncertainly, wondering what I could have said wrong.
段落完整解析
段落主旨与篇章作用
主旨:“你想不想去散散步?”我问她。
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。
行文结构与逻辑
先写““你想不想去散散步?”我问她。”;中部推进到“只要绕过那边的那个湖岬,你就会看到一个浅水湾,水里长着高大的芦 苇,芦苇丛中游动着各种各样的鱼儿。”;最后落在“去吧。”,构成起点—展开—落点的层次。
主要关系:条件/选择、并列/递进
核心句法
If you walk just around the point there, you come to a bay where great big reeds grow in the water, and all kinds of fish hang around there.
句型:复合句/复杂句。含关系或连接成分 where,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。
- 关系或连接标记为 where;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 if;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Do you want to come for a walk?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“Do you want to come for a walk?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all kinds of fish hang around there使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Rhetorical Question · 反问/设问Want to?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 28.1“Do you want to come for a walk?”
Sentence 28.2I asked her.
Sentence 28.3“We wouldn’t need to go far.
Sentence 28.4If you walk just around the point there, you come to a bay where great big reeds grow in the water, and all kinds of fish hang around there.
Sentence 28.5Want to?
Sentence 28.6Come on.”
段落完整解析
段落主旨与篇章作用
主旨:她摇了摇头。
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。
行文结构与逻辑
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:语义承接与信息递进
核心句法
She shook her head.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 29.1She shook her head.
段落完整解析
段落主旨与篇章作用
主旨:“你爸爸说过,我不能过多地走路。”
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“Your dad said I ain’t supposed to do no more walking than I got to.”
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Litotes / Negative Emphasis · 曲言/否定强调“Your dad said I ain’t supposed to do no more walking than I got to.”通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Quotation / Scare Quotes · 引语/讽刺引号Your dad said I ain’t supposed to do no more walking than I got to.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 30.1“Your dad said I ain’t supposed to do no more walking than I got to.”
段落完整解析
段落主旨与篇章作用
主旨:我尝试另一种策略。
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。
行文结构与逻辑
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:语义承接与信息递进
核心句法
I tried another line.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 31.1I tried another line.
段落完整解析
段落主旨与篇章作用
主旨:“你肯定对森林中的事非常了解,是吧?”我毕恭毕敬地说道。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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
核心句法
“I bet you know a lot about the woods and all that, eh?”
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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all that使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Quotation / Scare Quotes · 引语/讽刺引号I bet you know a lot about the woods and all that, eh?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“I bet you know a lot about the woods and all that, eh?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 32.1“I bet you know a lot about the woods and all that, eh?”
Sentence 32.2I began respectfully.
段落完整解析
段落主旨与篇章作用
主旨:皮格特瞪着那双大大的、没有一丝笑意的黑眼睛看着我。
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。
行文结构与逻辑
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:语义承接与信息递进
核心句法
Piquette looked at me from her large dark unsmiling eyes.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 33.1Piquette looked at me from her large dark unsmiling eyes.
段落完整解析
段落主旨与篇章作用
主旨:“我不知道你在胡说些什么,”她回答说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““我不知道你在胡说些什么,”她回答说。”;中部推进到““你是神经质还是怎么的?”;最后落在“你要是想问我爹和我以及族人居住的地方的话,你 最好闭嘴,听见了吗?””,构成起点—展开—落点的层次。
主要关系:条件/选择、并列/递进
核心句法
If you mean where my old man, and me, and all them live, you better shut up, by Jesus, you hear?”
句型:复合句/复杂句。含关系或连接成分 where,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;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。
- 关系或连接标记为 where;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 if;它们分别组织让步、原因、时间、条件或选择关系。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号I don’t know what in hell you're talkin’ about,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“You nuts or somethin’?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
- Enumeration / Parallelism · 列举/排比If you mean where my old man, and me, and all them live, you better shut up, by Jesus, you hear?”多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all them live使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Rhetorical Question · 反问/设问If you mean where my old man, and me, and all them live, you better shut up, by Jesus, you hear?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 34.1“I don’t know what in hell you're talkin’ about,” she replied.
Sentence 34.2“You nuts or somethin’?
Sentence 34.3If you mean where my old man, and me, and all them live, you better shut up, by Jesus, you hear?”
段落完整解析
段落主旨与篇章作用
主旨:我大吃一惊,感情受到了伤害,但我生性固执。
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。
行文结构与逻辑
先写“我大吃一惊,感情受到了伤害,但我生性固执。”,再转入“我不去计较她那冷漠的态度。”,形成前提—发展、描写—评价或问—答关系。
主要关系:转折/对照、并列/递进
核心句法
I was startled and my feelings were hurt, but I had a kind of dogged perseverance.
句型:简单句或并列句。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。
- be + 过去分词结构需结合施事与受事判断:是真正被动,还是已经形容词化的状态表达。
词汇与短语
- dogged/ˈdɔɡd/顽强的,固执的
- perseverance/ˌpɝsəˈvɪrəns/百折不挠,坚定不 移;毅力
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 35.1I was startled and my feelings were hurt, but I had a kind of dogged perseverance.
Sentence 35.2I ignored her rebuff.
段落完整解析
段落主旨与篇章作用
主旨:“你知道吗,皮格特?
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。
行文结构与逻辑
先写““你知道吗,皮格特?”;中部推进到“你能看见他们的巢在那边的湖岸上,原木堆的后边。”;最后落在“爸爸要我们好好听听并记住它们的鸣叫声,因为几年之后,当湖边建起更多 的别墅,来的人也多起来的时候,潜水鸟就会飞走了。””,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
核心句法
My dad says we should listen and try to remember how they sound, because in a few years when more cottages are built at Diamond Lake and more people come in, the loons will go away.”
句型:复合句/复杂句。含从属连词 because, when,构成时间、原因、让步、条件或比较状语。
- 从属标记为 because、when;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Rhetorical Question · 反问/设问“You know something, Piquette?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
- Symbolism · 象征There’s loons here潜水鸟及其逐渐消失的哀鸣贯穿叙事,与皮格特及梅蒂人的边缘处境形成对应。把个人悲剧、族群被排斥和自然遭破坏三层意义凝聚在同一意象中。
- Symbolism · 象征 the loons will go away潜水鸟及其逐渐消失的哀鸣贯穿叙事,与皮格特及梅蒂人的边缘处境形成对应。把个人悲剧、族群被排斥和自然遭破坏三层意义凝聚在同一意象中。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 36.1“You know something, Piquette?
Sentence 36.2There’s loons here, on this lake.
Sentence 36.3You can see their nests just up the shore there, behind those logs.
Sentence 36.4At night, you can hear them even from the cottage, but it’s better to listen from the beach.
Sentence 36.5My dad says we should listen and try to remember how they sound, because in a few years when more cottages are built at Diamond Lake and more people come in, the loons will go away.”
段落完整解析
段落主旨与篇章作用
主旨:皮格特正从地上拾起一些沙砾和蜗牛壳,然后又丢到地上。
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。
行文结构与逻辑
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:时间/次序、并列/递进
核心句法
Piquette was picking up stones and snail shells and then dropping them again.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 37.1Piquette was picking up stones and snail shells and then dropping them again.
段落完整解析
段落主旨与篇章作用
主旨:“谁他妈的在乎?”她说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“Who gives a good goddamn?” she said.
句型:复合句/复杂句。含关系或连接成分 who,需结合先行词辨认定语从句/名词从句。
- 关系或连接标记为 who;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Who gives a good goddamn?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 38.1“Who gives a good goddamn?” she said.
段落完整解析
段落主旨与篇章作用
主旨:情况越来越明显,要想通过皮格特来了解印第安人的情况看来是不可能了。
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。
行文结构与逻辑
先写“情况越来越明显,要想通过皮格特来了解印第安人的情况看来是不可能了。”;中部推进到“到了湖边后,我穿过潮湿而结实的湿沙滩,走到我父亲筑起的那道 小防波堤上坐了下来。”;最后落在“他挨着我在防波堤上坐下,我们俩都没说话,只是静静地等候着。”,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
核心句法
That evening I went out by myself, scrambling through the bushes that overhung the steep path, my feet slipping on the fallen spruce needles that covered the ground.
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;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 逗号后的 -ing / having done 成分不另立限定谓语,通常补充伴随、原因或结果。
词汇与短语
- spruce/ˈsprus/云杉
- pier/ˈpɪr/桥墩
- bracken/ˈbrækən/欧洲蕨
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 39.1It became increasingly obvious that, as an Indian, Piquette was a dead loss.
Sentence 39.2That evening I went out by myself, scrambling through the bushes that overhung the steep path, my feet slipping on the fallen spruce needles that covered the ground.
Sentence 39.3When I reached the shore, I walked along the firm damp sand to the small pier that my father had built, and sat down there.
Sentence 39.4I heard someone else crashing through the undergrowth and the bracken, and for a moment I thought Piquette had changed her mind, but it turned out to be my father.
Sentence 39.5He sat beside me on the pier and we waited, without speaking.
段落完整解析
段落主旨与篇章作用
主旨:夜阑人静,湖面像一块黛色的玻璃,只有一线水面因月光的映照才呈现出琥珀色。
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。
行文结构与逻辑
先写“夜阑人静,湖面像一块黛色的玻璃,只有一线水面因月光的映照才呈现出琥珀色。”;中部推进到“过了一会儿,潜水鸟开始鸣叫。”;最后落在“它们像幽灵般地从岸 边的窝巢腾起,向平静幽暗的湖面飞去。”,构成起点—展开—落点的层次。
主要关系:时间/次序、并列/递进
核心句法
All around, the spruce trees grew tall and close-set, branches blackly sharp against the sky, which was lightened by a cold flickering of stars.
句型:复合句/复杂句。含关系或连接成分 which,需结合先行词辨认定语从句/名词从句;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。
- 关系或连接标记为 which;应逐一确认先行词,避免把定语从句误作新的主句。
- be + 过去分词结构需结合施事与受事判断:是真正被动,还是已经形容词化的状态表达。
词汇与短语
- amber/ˈæmbɚ/琥珀
- spruce/ˈsprus/云杉
- close-set/ˈkloʊs ˌsɛt/排列紧密的
修辞手法、原文证据与效果
- Simile · 明喻like black glass with a streak of amber which was the path of the moon以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Metaphor · 隐喻black glass把夜色中的湖面直接写成黑色玻璃,不使用 like/as 等明示比较词。把抽象社会、心理或科学关系压缩成可感的空间和物质形象。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞All around使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Symbolism · 象征Then the loons began their calling潜水鸟及其逐渐消失的哀鸣贯穿叙事,与皮格特及梅蒂人的边缘处境形成对应。把个人悲剧、族群被排斥和自然遭破坏三层意义凝聚在同一意象中。
- Simile · 明喻like phantom birds from the nests on the shore以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 40.1At night the lake was like black glass with a streak of amber which was the path of the moon.
Sentence 40.2All around, the spruce trees grew tall and close-set, branches blackly sharp against the sky, which was lightened by a cold flickering of stars.
Sentence 40.3Then the loons began their calling.
Sentence 40.4They rose like phantom birds from the nests on the shore, and flew out onto the dark still surface of the water.
段落完整解析
段落主旨与篇章作用
主旨:任何人都无法形容潜水鸟所发出的悲凉凄厉的鸣声,任何人听后都会终生难忘。
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。
行文结构与逻辑
先写“任何人都无法形容潜水鸟所发出的悲凉凄厉的鸣声,任何人听后都会终生难忘。”,再转入“那种悲凉之中又带着嘲讽的声调属于 一个遥远的世界,那世界与我们这个有着避暑别墅和居家灯火的美好世界相隔亿万年之遥。”,形成前提—发展、描写—评价或问—答关系。
主要关系:转折/对照、并列/递进
核心句法
Plaintive, and yet with a quality of chilling mockery, those voices belonged to a world separated by aeons from our neat world of summer cottages and the lighted lamps of home.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- plaintive/ˈpleɪntɪv/痛苦的,悲哀的
修辞手法、原文证据与效果
- Litotes / Negative Emphasis · 曲言/否定强调No one can ever describe that ululating sound, the crying of the loons, and no one who has heard it 通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Symbolism · 象征 the crying of the loons潜水鸟及其逐渐消失的哀鸣贯穿叙事,与皮格特及梅蒂人的边缘处境形成对应。把个人悲剧、族群被排斥和自然遭破坏三层意义凝聚在同一意象中。
- Transferred Epithet · 移就chilling mockerychilling 逻辑上描述听者的寒意,却移来修饰 mockery。把人的感受压进名词短语,使描写更紧凑,也让主观情绪渗入客观景物或概念。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 41.1No one can ever describe that ululating sound, the crying of the loons, and no one who has heard it can ever forget it.
Sentence 41.2Plaintive, and yet with a quality of chilling mockery, those voices belonged to a world separated by aeons from our neat world of summer cottages and the lighted lamps of home.
段落完整解析
段落主旨与篇章作用
主旨:“在人类涉足此地之前,”我父亲开口说,“它们一定也就是这样叫的。”
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:时间/次序
核心句法
“They must have sounded just like that,” my father remarked, “before any person ever set foot here.”
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 before,构成时间、原因、让步、条件或比较状语。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 before;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Simile · 明喻like that以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
- Quotation / Scare Quotes · 引语/讽刺引号They must have sounded just like that,; before any person ever set foot here.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 42.1“They must have sounded just like that,” my father remarked, “before any person ever set foot here.”
段落完整解析
段落主旨与篇章作用
主旨:说完他自己笑了起来。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写“说完他自己笑了起来。”,再转入““当然,也可以这样评论麻雀和花栗鼠,但不知何故,你却只想到这样去评论潜水鸟。””,形成前提—发展、描写—评价或问—答关系。
主要关系:转折/对照、时间/次序
核心句法
“You could say the same, of course, about sparrows or chipmunks, but somehow it only strikes you that way with the loons.”
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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Symbolism · 象征omehow it only strikes you that way with the loons潜水鸟及其逐渐消失的哀鸣贯穿叙事,与皮格特及梅蒂人的边缘处境形成对应。把个人悲剧、族群被排斥和自然遭破坏三层意义凝聚在同一意象中。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 43.1Then he laughed.
Sentence 43.2“You could say the same, of course, about sparrows or chipmunks, but somehow it only strikes you that way with the loons.”
段落完整解析
段落主旨与篇章作用
主旨:“我明白,”我说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“I know,” I said.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号I know,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 44.1“I know,” I said.
段落完整解析
段落主旨与篇章作用
主旨:当时我们俩谁也想不到那竟是我们父女俩最后一次一块儿坐在湖边听鸟叫。
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。
行文结构与逻辑
先写“当时我们俩谁也想不到那竟是我们父女俩最后一次一块儿坐在湖边听鸟叫。”;中部推进到“我们坐了大约半个小时后便回到别墅。”;最后落在“母 亲正在壁炉旁看书,皮格特则什么事也没做,只是望着壁炉中燃烧着的杨木发呆。”,构成起点—展开—落点的层次。
主要关系:时间/次序、并列/递进
核心句法
Neither of us suspected that this would be the last time we would ever sit here together on the shore, listening.
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;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 逗号后的 -ing / having done 成分不另立限定谓语,通常补充伴随、原因或结果。
词汇与短语
- birch/ˈbɝtʃ/桦树
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 45.1Neither of us suspected that this would be the last time we would ever sit here together on the shore, listening.
Sentence 45.2We stayed for perhaps half an hour, and then we went back to the cottage.
Sentence 45.3My mother was reading beside the fireplace.
Sentence 45.4Piquette was looking at the burning birch log, and not doing anything.
段落完整解析
段落主旨与篇章作用
主旨:“你真该同我一道去的,”我这么说,其实心里觉得她没去我更高兴。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“You should have come along,” I said, although in fact I was glad she had not.
句型:复合句/复杂句。含从属连词 although,构成时间、原因、让步、条件或比较状语。
- 从属标记为 although;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号You should have come along,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 46.1“You should have come along,” I said, although in fact I was glad she had not.
段落完整解析
段落主旨与篇章作用
主旨:“我才不去呢,”皮格特说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““我才不去呢,”皮格特说。”,再转入““我才不会就为听那些鸟叫而跑到那儿去。””,形成前提—发展、描写—评价或问—答关系。
主要关系:语义承接与信息递进
核心句法
“You wouldn’ catch me walkin’ way down there jus’ for a bunch of squawkin’ birds.”
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Not me,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Quotation / Scare Quotes · 引语/讽刺引号You wouldn’ catch me walkin’ way down there jus’ for a bunch of squawkin’ birds.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 47.1“Not me,” Piquette said.
Sentence 47.2“You wouldn’ catch me walkin’ way down there jus’ for a bunch of squawkin’ birds.”
段落完整解析
段落主旨与篇章作用
主旨:我和皮格特的关系一直没能融洽起来。
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。
行文结构与逻辑
先写“我和皮格特的关系一直没能融洽起来。”;中部推进到“后来,邓肯一家也搬来他们的别 墅里住了,于是我便整天同我最好的朋友梅维斯一起玩。”;最后落在“但整 整一个夏天,她既让我感到自责,又让我觉得她是个谜。”,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
核心句法
I felt I had somehow failed my father, but I did not know what was the matter, nor why she would not or could not respond when I suggested exploring the woods or playing house.
句型:复合句/复杂句。含从属连词 when,构成时间、原因、让步、条件或比较状语。
- 从属标记为 when;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Antithesis · 对照I felt I had somehow failed my father, but I did not know what was the matter, nor why she would not or could not respond when I suggested exploring the woods or playing house.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all that summer she remained as both a reproach and a myst使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 48.1Piquette and I remained ill at ease with one another.
Sentence 48.2I felt I had somehow failed my father, but I did not know what was the matter, nor why she would not or could not respond when I suggested exploring the woods or playing house.
Sentence 48.3I thought it was probably her slow and difficult walking that held her back.
Sentence 48.4She stayed most of the time in the cottage with my mother, helping her with the dishes or with Roddie, but hardly ever talking.
Sentence 48.5Then the Duncans arrived at their cottage, and I spent my days with Mavis, who was my best friend.
Sentence 48.6I could not reach Piquette at all, and I soon lost interest in trying.
Sentence 48.7But all that summer she remained as both a reproach and a mystery to me.
段落完整解析
段落主旨与篇章作用
主旨:那年冬天,父亲染上了肺炎,不到一星期就去世了。
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。
行文结构与逻辑
先写“那年冬天,父亲染上了肺炎,不到一星期就去世了。”;中部推进到“当我重新回到现实中来以后,我没有注意到皮格特·坦纳瑞已经不上学了。”;最后落在“那是一个星期六的晚上,我和马维斯正在里高咖啡馆喝可口可乐,电唱机播放着雷 鸣般的音乐,它的镀铬外壳和五彩玻璃旁斜依着一个姑娘……”,构成起点—展开—落点的层次。
主要关系:时间/次序、并列/递进
核心句法
I do not remember seeing her at all until four years later, one Saturday night when Mavis and I were having Cokes in the Regal Café.
句型:复合句/复杂句。含从属连词 when,构成时间、原因、让步、条件或比较状语。
- 从属标记为 when;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- pneumonia/nuˈmoʊnjə/肺炎
- Saturday-night/ˈsætɚdi ˌnaɪt/星期六夜晚的
- jukebox/ˈdʒuˌkbɑks/自动唱机
- chrome/ˈkroʊm/铬,铬合金
修辞手法、原文证据与效果
- Litotes / Negative Emphasis · 曲言/否定强调nothing around me通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞nothing around me使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Litotes / Negative Emphasis · 曲言/否定强调no longer at school通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all until four years later使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Simile · 明喻like tuneful thunder以 like 或 as...as 明示两个对象之间的相似性。把抽象判断转化为具体形象,帮助读者迅速把握特征。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 49.1That winter my father died of pneumonia, after less than a week’s illness.
Sentence 49.2For some time I saw nothing around me, being completely immersed in my own pain and my mother’s.
Sentence 49.3When I looked outward once more, I scarcely noticed that Piquette Tonnerre was no longer at school.
Sentence 49.4I do not remember seeing her at all until four years later, one Saturday night when Mavis and I were having Cokes in the Regal Café.
Sentence 49.5The jukebox was booming like tuneful thunder, and beside it, leaning lightly on its chrome and its rainbow glass, was a girl.
段落完整解析
段落主旨与篇章作用
主旨:那时皮格特十七岁,可是看上去好像二十了。
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。
行文结构与逻辑
先写“那时皮格特十七岁,可是看上去好像二十了。”;中部推进到“她的唇膏是一 种鲜亮的洋红色,头发剪短了,还烫成弯曲的小卷。”;最后落在“而且,一条紧身裙和一件桔黄色毛衣将她那柔软而苗条的身材衬托得恰到 好处,令人羡慕。”,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
核心句法
But her dark and slightly slanted eyes were beautiful, and her skin-tight skirt and orange sweater displayed to enviable advantage a soft and slender body.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- stolid/ˈstɑləd/不易感动的,迟钝的
- carmine/ˈkɑrmən/洋红,胭脂红
- frizzily/ˈfrɪzəli/满是卷结地,卷发地
- skin-tight/ˈskɪn ˌtaɪt/紧身的
- once-tubercular/ˈwʌns tuˈbɝkjəlɚ/曾患结核病的
修辞手法、原文证据与效果
- Enumeration / Parallelism · 列举/排比But her dark and slightly slanted eyes were beautiful, and her skin-tight skirt and orange sweater displayed to enviable advantage a soft and slender body.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Antithesis · 对照She teetered a little, but it was not due to her once-tubercular leg, for her limp was almost gone.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 50.1Piquette must have been seventeen then, although she looked about twenty.
Sentence 50.2I stared at her, astounded that anyone could have changed so much.
Sentence 50.3Her face, so stolid and expressionless before, was animated now with a gaiety that was almost violent.
Sentence 50.4She laughed and talked very loudly with the boys around her.
Sentence 50.5Her lipstick was bright carmine, and her hair was cut short and frizzily permed.
Sentence 50.6She had not been pretty as a child, and she was not pretty now, for her features were still heavy and blunt.
Sentence 50.7But her dark and slightly slanted eyes were beautiful, and her skin-tight skirt and orange sweater displayed to enviable advantage a soft and slender body.
Sentence 50.8She saw me, and walked over.
Sentence 50.9She teetered a little, but it was not due to her once-tubercular leg, for her limp was almost gone.
段落完整解析
段落主旨与篇章作用
主旨:她看到我,就走了过来。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写“她看到我,就走了过来。”,再转入“走路摇摇摆摆,但那并不是由于她那曾经患骨结核的缘故,她的腿病已几乎痊愈了。”,形成前提—发展、描写—评价或问—答关系。
主要关系:语义承接与信息递进
核心句法
“Hi, Vanessa,” Her voice still had the same hoarseness.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Hi, Vanessa,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Litotes / Negative Emphasis · 曲言/否定强调“Long time no see, eh?”通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Quotation / Scare Quotes · 引语/讽刺引号Long time no see, eh?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“Long time no see, eh?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 51.1“Hi, Vanessa,” Her voice still had the same hoarseness.
Sentence 51.2“Long time no see, eh?”
段落完整解析
段落主旨与篇章作用
主旨:“喂,瓦尼莎,”她的声音还是那样嘶哑,“好久不见了,对吧?”
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“Where’ve you been keeping yourself, Piquette?”
句型:简单句或并列句。含关系或连接成分 where,需结合先行词辨认定语从句/名词从句。
- 关系或连接标记为 where;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Hi,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Quotation / Scare Quotes · 引语/讽刺引号Where’ve you been keeping yourself, Piquette?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“Where’ve you been keeping yourself, Piquette?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 52.1“Hi,” I said.
Sentence 52.2“Where’ve you been keeping yourself, Piquette?”
段落完整解析
段落主旨与篇章作用
主旨:“你好,”我说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““你好,”我说。”,再转入““你这些日子到哪儿去了,皮格特?””,形成前提—发展、描写—评价或问—答关系。
主要关系:语义承接与信息递进
核心句法
Been all over the place—Winnipeg, Regina, Saskatoon.
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。
- 分号或破折号划分较大的意义层次:先分别找各层主干,再判断并列、转折或补充关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Oh, I been around,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all over the place—Winnipeg使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 53.1“Oh, I been around,” she said.
Sentence 53.2“I been away almost two years now.
Sentence 53.3Been all over the place—Winnipeg, Regina, Saskatoon.
Sentence 53.4Jesus, what I could tell you!
Sentence 53.5I come back this
段落完整解析
段落主旨与篇章作用
主旨:“哦,四处漂泊,”她说。
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。
行文结构与逻辑
先写““哦,四处漂泊,”她说。”;中部推进到“天啊,要说的可 多啦!”;最后落在“你们要不要去跳舞?””,构成起点—展开—落点的层次。
主要关系:转折/对照
核心句法
Lesson9 summer, but I ain’t stayin’.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Rhetorical Question · 反问/设问You kids goin’ to the dance?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 54.1Lesson9 summer, but I ain’t stayin’.
Sentence 54.2You kids goin’ to the dance?”
段落完整解析
段落主旨与篇章作用
主旨:“不跳,”我突然答道,因为她的问话正触到我的痛处。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““不跳,”我突然答道,因为她的问话正触到我的痛处。”,再转入“我那时都十五岁了,自认为可以去参加火烈鸟歌舞厅周末舞会 了,但我母亲却不以为然。”,形成前提—发展、描写—评价或问—答关系。
主要关系:转折/对照、并列/递进
核心句法
I was fifteen, and thought I was old enough to go to the Saturday-night dances at the Flamingo.
句型:简单句或并列句。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。
- be + 过去分词结构需结合施事与受事判断:是真正被动,还是已经形容词化的状态表达。
词汇与短语
- Saturday-night/ˈsætɚdi ˌnaɪt/星期六夜晚的
修辞手法、原文证据与效果
- Litotes / Negative Emphasis · 曲言/否定强调“No,” I said abruptly, for this was a sore point with me.通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Quotation / Scare Quotes · 引语/讽刺引号No,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 55.1“No,” I said abruptly, for this was a sore point with me.
Sentence 55.2I was fifteen, and thought I was old enough to go to the Saturday-night dances at the Flamingo.
Sentence 55.3My mother, however, thought otherwise.
段落完整解析
段落主旨与篇章作用
主旨:“你应该去的,”皮格特说。
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。
行文结构与逻辑
先写““你应该去的,”皮格特说。”;中部推进到“这偏僻小镇上没有别的乐子了。”;最后落在“伙计,我才不在这儿呆下去呢,真他妈的没 劲,这地方糟透了。””,构成起点—展开—落点的层次。
主要关系:语义承接与信息递进
核心句法
It’s just about the on’y thing in this jerkwater town that’s any fun.
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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- jerkwater/ˈdʒɝkˌwɔtɚ/微小的,不重要的
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号You oughta come,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Litotes / Negative Emphasis · 曲言/否定强调never miss one通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞never miss one使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 56.1“You oughta come,” Piquette said.
Sentence 56.2“I never miss one.
Sentence 56.3It’s just about the on’y thing in this jerkwater town that’s any fun.
Sentence 56.4Boy, you couldn’ catch me stayin’ here.
Sentence 56.5I don’ give a shit about this place.
Sentence 56.6It stinks.”
段落完整解析
段落主旨与篇章作用
主旨:她在我身边坐下,我闻到她身上刺鼻的香水味。
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。
行文结构与逻辑
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
核心句法
She sat down beside me, and I caught the harsh over-sweetness of her perfume.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- over-sweetness/ˈoʊvɚ ˌswitnəs/过分甜腻的气味或感觉
修辞手法、原文证据与效果
- Transferred Epithet · 移就harsh over-sweetnessharsh 描写人物闻到香水后的刺鼻感,却移来修饰 sweetness。把人的感受压进名词短语,使描写更紧凑,也让主观情绪渗入客观景物或概念。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 57.1She sat down beside me, and I caught the harsh over-sweetness of her perfume.
段落完整解析
段落主旨与篇章作用
主旨:“听着,瓦尼莎,你想知道一件事吗?”她坦白却声音有点含混地对我说,“你爸爸是马纳卡瓦镇上惟一对我好的人。”
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“Listen, you wanna know something, Vanessa?” she confided, her voice only slightly blurred.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Listen, you wanna know something, Vanessa?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“Listen, you wanna know something, Vanessa?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
- Quotation / Scare Quotes · 引语/讽刺引号Your dad was the only person in Manawaka that ever done anything good to me.引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 58.1“Listen, you wanna know something, Vanessa?” she confided, her voice only slightly blurred.
Sentence 58.2“Your dad was the only person in Manawaka that ever done anything good to me.”
段落完整解析
段落主旨与篇章作用
主旨:我默默地点了点头。
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。
行文结构与逻辑
先写“我默默地点了点头。”;中部推进到“但我心里无法跟她热乎起来——我只是觉得应该跟她亲近,那是因 为多年前的那个夏天,我父亲希望她能成为我的好伙伴,或者也许我能成……”;最后落在“我希望她立刻走开,我不想见到 她,我也不知道跟她说什么,我们之间似乎无话可说。”,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
核心句法
Yet I felt no real warmth towards her—I only felt that I ought to, because of that distant summer and because my father had hoped she would be company for me, or perhaps that I would be for her, but it had not happened that way.
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 because,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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 because;它们分别组织让步、原因、时间、条件或选择关系。
- 分号或破折号划分较大的意义层次:先分别找各层主干,再判断并列、转折或补充关系。
词汇与短语
- self-pity/ˈsɛlf ˌpɪti/自怜
修辞手法、原文证据与效果
- Enumeration / Parallelism · 列举/排比I knew a little more than I had that summer at Diamond Lake, but I could not reach her now any more than I had then, I was ashamed, ashamed of my own timidity, the frightened tende…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Antithesis · 对照I knew a little more than I had that summer at Diamond Lake, but I could not reach her now any more than I had then, I was ashamed, ashamed of my own timidity, the frightened tende…以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Litotes / Negative Emphasis · 曲言/否定强调Yet I felt no real warmth towards her—I only felt that I ought to, because of that distant summer an通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Antithesis · 对照Yet I felt no real warmth towards her—I only felt that I ought to, because of that distant summer and because my father had hoped she would be company for me, or perhaps that I wou…以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Litotes / Negative Emphasis · 曲言/否定强调nothing to say to one another通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞nothing to say to one another使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 59.1I nodded speechlessly.
Sentence 59.2I was certain she was speaking the truth.
Sentence 59.3I knew a little more than I had that summer at Diamond Lake, but I could not reach her now any more than I had then, I was ashamed, ashamed of my own timidity, the frightened tendency to look the other way.
Sentence 59.4Yet I felt no real warmth towards her—I only felt that I ought to, because of that distant summer and because my father had hoped she would be company for me, or perhaps that I would be for her, but it had not happened that way.
Sentence 59.5At this moment, meeting her again, I had to admit that she repelled and embarrassed me, and I could not help despising the self-pity in her voice.
Sentence 59.6I wished she would go away.
Sentence 59.7I did not want to see her.
Sentence 59.8I did not know what to say to her.
Sentence 59.9It seemed that we had nothing to say to one another.
段落完整解析
段落主旨与篇章作用
主旨:“再告诉你一件事,”皮格特接着说道,“这事儿要让镇上的那些老婊子臭婆娘们知道了,他们准得大吃一惊。
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。
行文结构与逻辑
先写““再告诉你一件事,”皮格特接着说道,“这事儿要让镇上的那些老婊子臭婆娘们知道了,他们准得大吃一惊。”;中部推进到“嗬,模样帅极 了!”;最后落在“人们都叫他阿尔。””,构成起点—展开—落点的层次。
主要关系:语义承接与信息递进
核心句法
I’m gettin’ married this fall—my boy friend, he’s an English fella, works in the stockyards in the city there, a very tall guy, got blond wavy hair.
句型:复合句/复杂句。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。
- 分号或破折号划分较大的意义层次:先分别找各层主干,再判断并列、转折或补充关系。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- fella/ˈfɛlə/俚]男人,家伙
- classy/ˈklæsi/漂亮的,时髦的;上等的,一流的
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号I’ll tell you something else,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞All the old bitches an’ biddies in this town will sure be 使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Enumeration / Parallelism · 列举/排比I’m gettin’ married this fall—my boy friend, he’s an English fella, works in the stockyards in the city there, a very tall guy, got blond wavy hair.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Rhetorical Question · 反问/设问Alvin Gerald Cummings— some handle, eh?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 60.1“I’ll tell you something else,” Piquette went on.
Sentence 60.2“All the old bitches an’ biddies in this town will sure be surprised.
Sentence 60.3I’m gettin’ married this fall—my boy friend, he’s an English fella, works in the stockyards in the city there, a very tall guy, got blond wavy hair.
Sentence 60.4Gee, is he ever handsome.
Sentence 60.5Got this real classy name.
Sentence 60.6Alvin Gerald Cummings— some handle, eh?
Sentence 60.7They call him Al.”
段落完整解析
段落主旨与篇章作用
主旨:她说这些话的那一瞬间,我看清了她。
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。
行文结构与逻辑
先写“她说这些话的那一瞬间,我看清了她。”;中部推进到“虽然我们多年来同住在一个小镇上,这还是我第一次,也是惟一的一次,看到 真正的她。”;最后落在“此时此刻,她那揭下面具和保护罩的脸上露出的是一副坚强不屈、敢于挑战一切的神色,她的眼神中透出一种 令人生畏的渴望。”,构成起点—展开—落点的层次。
主要关系:时间/次序、并列/递进
核心句法
Her defiant face, momentarily, became unguarded and unmasked, and in her eyes there was a terrifying hope.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- defiant/dɪˈfaɪənt/对抗的,不服从的;目中无人的
修辞手法、原文证据与效果
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all the years we had both lived in the same town使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Transferred Epithet · 移就terrifying hopeterrifying 描写观察者面对希望时的恐惧,却移来修饰 hope。把人的感受压进名词短语,使描写更紧凑,也让主观情绪渗入客观景物或概念。
翻译与理解难点
- 翻译时保持原文的信息焦点和语气强弱,避免逐词硬译;词义以本段语境为准。
Sentence 61.1For the merest instant, then I saw her.
Sentence 61.2I really did see her, for the first and only time in all the years we had both lived in the same town.
Sentence 61.3Her defiant face, momentarily, became unguarded and unmasked, and in her eyes there was a terrifying hope.
段落完整解析
段落主旨与篇章作用
主旨:“嗬,皮格特——”我突然笨拙地说,“很好,真是太棒了。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““嗬,皮格特——”我突然笨拙地说,“很好,真是太棒了。”,再转入“恭喜你——祝你好运——愿你生活幸福——””,形成前提—发展、描写—评价或问—答关系。
主要关系:语义承接与信息递进
核心句法
“Gee, Piquette—” I burst out awkwardly, “that’s swell.
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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 分号或破折号划分较大的意义层次:先分别找各层主干,再判断并列、转折或补充关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Gee, Piquette—引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 62.1“Gee, Piquette—” I burst out awkwardly, “that’s swell.
Sentence 62.2That’s really wonderful.
Sentence 62.3Congratulations—good luck—I hope you'll be happy—”
段落完整解析
段落主旨与篇章作用
主旨:我嘴里说着这些套话,心里就在想:她对她那么不屑一顾的东西却又要竭力地去追求,可见她心里的渴望是多么地强 烈。
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。
行文结构与逻辑
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:因果
核心句法
As I mouthed the conventional phrases, I could only guess how great her need must have been, that she had been forced to seek the very things she so bitterly rejected.
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;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- be + 过去分词结构需结合施事与受事判断:是真正被动,还是已经形容词化的状态表达。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 63.1As I mouthed the conventional phrases, I could only guess how great her need must have been, that she had been forced to seek the very things she so bitterly rejected.
段落完整解析
段落主旨与篇章作用
主旨:十八岁时,我离开马纳瓦卡镇去外地上大学。
作用:通过时间转换承接前文,推动事件发展,并为后续人物反应或结果作铺垫。
行文结构与逻辑
先写“十八岁时,我离开马纳瓦卡镇去外地上大学。”;中部推进到“刚回来的那几天,我和母亲不停地拉家 常,聊些没有写进信里的事儿——我在大学里的生活情况以及我上学期间马纳瓦卡镇上发生的一些事……”;最后落在“母亲尽量想出一 些我认识的人的情况讲给我听。”,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
核心句法
I spent the first few days in talking non-stop with my mother, as we exchanged all the news that somehow had not found its way into letters—what had happened in my life and what had happened here in Manawaka while I was away.
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 while,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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 while;它们分别组织让步、原因、时间、条件或选择关系。
- 分号或破折号划分较大的意义层次:先分别找各层主干,再判断并列、转折或补充关系。
词汇与短语
- non-stop/ˈnɑn ˌstɑp/不停的;直达的
修辞手法、原文证据与效果
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all the news that somehow had not found its way into lette使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
- 被动结构应根据中文习惯处理为主动、无主句或“被”字句,重点保留施受关系。
Sentence 64.1When I was eighteen, I left Manawaka and went away to college.
Sentence 64.2At the end of my first year, I came back home for the summer.
Sentence 64.3I spent the first few days in talking non-stop with my mother, as we exchanged all the news that somehow had not found its way into letters—what had happened in my life and what had happened here in Manawaka while I was away.
Sentence 64.4My mother searched her memory for events that concerned people I knew.
段落完整解析
段落主旨与篇章作用
主旨:“瓦尼莎,我在信中说过皮格特·坦纳瑞的事儿了吗?”有一天早上,母亲问我。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“Did I ever write you about Piquette Tonnerre, Vanessa?” she asked one morning.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Did I ever write you about Piquette Tonnerre, Vanessa?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 65.1“Did I ever write you about Piquette Tonnerre, Vanessa?” she asked one morning.
段落完整解析
段落主旨与篇章作用
主旨:“没有,我想没有,”我回答说。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
先写““没有,我想没有,”我回答说。”;中部推进到““我最后一次碰到她的时候,听说她即将和同城里的一个小伙子结婚。”;最后落在“她还在城里吗?””,构成起点—展开—落点的层次。
主要关系:因果
核心句法
“Last I heard of her, she was going to marry some guy in the city.
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Litotes / Negative Emphasis · 曲言/否定强调“No, I don’t think so,” I replied.通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Quotation / Scare Quotes · 引语/讽刺引号No, I don’t think so,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问Is she still there?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 66.1“No, I don’t think so,” I replied.
Sentence 66.2“Last I heard of her, she was going to marry some guy in the city.
Sentence 66.3Is she still there?”
段落完整解析
段落主旨与篇章作用
主旨:我母亲脸上露出不安的神色,好半天没吭声,好像有什么话不好讲而又不大愿意说出来似的。
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。
行文结构与逻辑
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:时间/次序、并列/递进
核心句法
My mother looked perturbed, and it was a moment before she spoke, as though she did not know how to express what she had to tell and wished she did not need to try.
句型:简单句或并列句。含从属连词 as though, before,构成时间、原因、让步、条件或比较状语。
- 从属标记为 before、though;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 67.1My mother looked perturbed, and it was a moment before she spoke, as though she did not know how to express what she had to tell and wished she did not need to try.
段落完整解析
段落主旨与篇章作用
主旨:“她已经不在人世了,”她最后说道。
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。
行文结构与逻辑
先写““她已经不在人世了,”她最后说道。”;中部推进到“我不禁就想,当初我们是不是能够多为她做点什么——但我们能做些什 么呢?”;最后落在“她跟你父亲都没话说,尽管我感觉她心 里是喜欢你父亲的。””,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
核心句法
Then, as I stared at her, “Oh, Vanessa, when it happened, I couldn't help thinking of her as she was that summer—so sullen and gauche and badly dressed.
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 when,构成时间、原因、让步、条件或比较状语;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 when;它们分别组织让步、原因、时间、条件或选择关系。
- 分号或破折号划分较大的意义层次:先分别找各层主干,再判断并列、转折或补充关系。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- sullen/ˈsʌlən/愠怒的,闷闷不乐的
- gauche/ˈɡoʊʃ/笨拙的,粗鲁的;不老练的
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号She’s dead,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Enumeration / Parallelism · 列举/排比Then, as I stared at her, “Oh, Vanessa, when it happened, I couldn't help thinking of her as she was that summer—so sullen and gauche and badly dressed.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Antithesis · 对照I couldn’t help wondering if we could have done something more at that time—but what could we do?以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Rhetorical Question · 反问/设问I couldn’t help wondering if we could have done something more at that time—but what could we do?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all day使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 68.1“She’s dead,” she said at last.
Sentence 68.2Then, as I stared at her, “Oh, Vanessa, when it happened, I couldn't help thinking of her as she was that summer—so sullen and gauche and badly dressed.
Sentence 68.3I couldn’t help wondering if we could have done something more at that time—but what could we do?
Sentence 68.4She used to be around in the cottage there with me all day, and honestly it was all I could do to get a word out of her.
Sentence 68.5She didn’t even talk to your father very much, although I think she liked him in her way.”
段落完整解析
段落主旨与篇章作用
主旨:“究竟出了什么事?”我问道。
作用:以人物对话推进情节和观念冲突;语气、答非所问、重复或反转同时承担人物刻画作用。
行文结构与逻辑
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:语义承接与信息递进
核心句法
“What happened?”
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。
- 阅读顺序应为:先确定主语和限定谓语,再接宾语或表语,最后回填介词短语、修饰语和语气成分。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号What happened?引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Rhetorical Question · 反问/设问“What happened?以问句形式提出论点、质疑默认立场或引导下文,重点不在索取一个现场回答。把读者卷入推理过程,并加强语气或制造段落转折。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
Sentence 69.1“What happened?”
Sentence 69.2I asked.
段落完整解析
段落主旨与篇章作用
主旨:“或许是她丈夫离开了她,也许是她离开了她丈夫”,我母亲说。
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。
行文结构与逻辑
先写““或许是她丈夫离开了她,也许是她离开了她丈夫”,我母亲说。”;中部推进到“有几次她被法院 传了去,自然是因为酗酒和扰乱治安。”;最后落在“窝棚着了火,皮格特和两个孩子都没有逃出来。””,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
核心句法
The Tonnerres made home-brew all the time, so I’ve heard, and Lazarus said later she’d been drinking most of the day when he and the boys went out that evening.
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 when,构成时间、原因、让步、条件或比较状语。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 when;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- slattern/ˈslætɚn/懒散的女人,邋遢的女人
- shack/ˈʃæk/小屋,简陋的小屋
- Saturday-night/ˈsætɚdi ˌnaɪt/星期六夜晚的
- brew/ˈbru/酿造的饮料
- home-brew/ˈhoʊm ˌbru/自酿酒
修辞手法、原文证据与效果
- Quotation / Scare Quotes · 引语/讽刺引号Either her husband left her, or she left him,引号可能保存原话,也可能标示作者与流行标签、陈词滥调之间的距离。保留时代声音,并提示读者不要毫无保留地接受被引说法。
- Enumeration / Parallelism · 列举/排比She kept house, I guess, for Lazarus and her brothers, down in the valley there, in the old Tonnerre place.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Litotes / Negative Emphasis · 曲言/否定强调never spoke to me通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Antithesis · 对照I used to see her on the street sometimes, but she never spoke to me.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞never spoke to me使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Enumeration / Parallelism · 列举/排比She’d put on an awful lot of weight, and she looked a mess, to tell you the truth, a real slattern, dressed any old how.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all the time使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 对话需保留人物的语气、停顿和言外之意,不能只传递字面信息。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 70.1“Either her husband left her, or she left him,” my mother said.
Sentence 70.2“I don’t know which.
Sentence 70.3Anyway, she came back here with two youngsters, both only babies—they must have been born very close together.
Sentence 70.4She kept house, I guess, for Lazarus and her brothers, down in the valley there, in the old Tonnerre place.
Sentence 70.5I used to see her on the street sometimes, but she never spoke to me.
Sentence 70.6She’d put on an awful lot of weight, and she looked a mess, to tell you the truth, a real slattern, dressed any old how.
Sentence 70.7She was up in court a couple of times—drunk and disorderly, of course.
Sentence 70.8One Saturday night last winter, during the coldest weather, Piquette was alone in the shack with the children.
Sentence 70.9The Tonnerres made home-brew all the time, so I’ve heard, and Lazarus said later she’d been drinking most of the day when he and the boys went out that evening.
Sentence 70.10They had an old woodstove there—you know the kind, with exposed pipes.
Sentence 70.11The shack caught fire.
Sentence 70.12Piquette didn’t get out, and neither did the children.”
段落完整解析
段落主旨与篇章作用
主旨:我什么也没说,就像与皮格特一起时一样,没什么可说的。
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。
行文结构与逻辑
先写“我什么也没说,就像与皮格特一起时一样,没什么可说的。”;中部推进到“一片静寂之中,我的脑海中浮现出皮格特住的那间窝棚在 一片冰天雪地中着火的情景。”;最后落在“我真希望能够忆起我曾经从皮格特眼睛中看见过的那种神情。”,构成起点—展开—落点的层次。
主要关系:因果、并列/递进
核心句法
There was a kind of silence around the image in my mind of the fire and the snow, and I wished I could put from my memory the look that I had seen once in Piquette’s eyes.
句型:复合句/复杂句。使用 there be 存现结构,真正信息焦点位于 be 之后;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 71.1I did not say anything.
Sentence 71.2As so often with Piquette, there did not seem to be anything to say.
Sentence 71.3There was a kind of silence around the image in my mind of the fire and the snow, and I wished I could put from my memory the look that I had seen once in Piquette’s eyes.
段落完整解析
段落主旨与篇章作用
主旨:那年夏天,我跟梅维斯一家去钻石湖住了几天。
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。
行文结构与逻辑
先写“那年夏天,我跟梅维斯一家去钻石湖住了几天。”;中部推进到“父亲去世以后,麦克里奥家的别墅就卖出去了,从此我就再也没去看 过它一眼,因为我不想看见自己昔日的王国如今为陌生人所有。”;最后落在“但是,有一天晚上,我独自一人去了湖边。”,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
核心句法
The MacLeod cottage had been sold after my father’s death, and I did not even go to look at it, not wanting to witness my long-ago kingdom possessed now by strangers.
句型:简单句或并列句。含从属连词 after,构成时间、原因、让步、条件或比较状语。
- 从属标记为 after;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- long-ago/ˈlɔŋ əˌɡoʊ/很久以前的
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 72.1I went up to Diamond Lake for a few days that summer, with Mavis and her family.
Sentence 72.2The MacLeod cottage had been sold after my father’s death, and I did not even go to look at it, not wanting to witness my long-ago kingdom possessed now by strangers.
Sentence 72.3But one evening I went down to the shore by myself.
段落完整解析
段落主旨与篇章作用
主旨:父亲筑起的那道防波堤不见了,取而代之的是政府建造的又大又牢的堤坝。
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。
行文结构与逻辑
先写“父亲筑起的那道防波堤不见了,取而代之的是政府建造的又大又牢的堤坝。”;中部推进到“钻 石湖也已更名为瓦帕卡塔湖,理由是起一个印第安名字会对游客有更大的吸引力。”;最后落在“一个繁华的旅游胜地所具有的一切特征这里都已经有了——宾馆、舞厅、灯红酒绿的咖啡馆、四处弥漫着的炸 土豆条和热狗的香味。”,构成起点—展开—落点的层次。
主要关系:并列/递进
核心句法
The small pier which my father had built was gone, and in its place there was a large and solid pier built by the government, for Galloping Mountain was now a national park, and Diamond Lake had been re-named Lake Wapakata, for it was felt that an Indian name would have a greater appeal to tourists.
句型:复合句/复杂句。使用 there be 存现结构,真正信息焦点位于 be 之后;含 It is/was ... that/who 强调结构;含关系或连接成分 that, which,需结合先行词辨认定语从句/名词从句;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。
- 关系或连接标记为 that、which;应逐一确认先行词,避免把定语从句误作新的主句。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- pier/ˈpɪr/桥墩
- re-named/ˈreɪ ˌneɪmd/重新命名的
- neon/ˈniɑn/氖
- dance-hall/ˈdæns ˌhɔl/舞厅
修辞手法、原文证据与效果
- Enumeration / Parallelism · 列举/排比The small pier which my father had built was gone, and in its place there was a large and solid pier built by the government, for Galloping Mountain was now a national park, and Di…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Enumeration / Parallelism · 列举/排比The one store had become several dozen, and the settlement had all the attributes of a flourishing resort—hotels, a dance-hall, cafés with neon signs, the penetrating odours of pot…多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all the attributes of a flourishing resort—hotels使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 破折号或分号承担补充、转折或并列分层,翻译时要保留层次而不必机械照搬标点。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 73.1The small pier which my father had built was gone, and in its place there was a large and solid pier built by the government, for Galloping Mountain was now a national park, and Diamond Lake had been re-named Lake Wapakata, for it was felt that an Indian name would have a greater appeal to tourists.
Sentence 73.2The one store had become several dozen, and the settlement had all the attributes of a flourishing resort—hotels, a dance-hall, cafés with neon signs, the penetrating odours of potato chips and hot dogs.
段落完整解析
段落主旨与篇章作用
主旨:我坐在政府修筑的防波大堤上眺望着湖面,至少,夜间的湖面还是保持着先前的样子,墨镜般乌黑发亮的湖面上倒映 着一线琥珀色的月光。
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。
行文结构与逻辑
先写“我坐在政府修筑的防波大堤上眺望着湖面,至少,夜间的湖面还是保持着先前的样子,墨镜般乌黑发亮的湖面上倒映 着一线琥珀色的月光。”;中部推进到“感觉似乎是太静了一点,我才意识到潜水鸟可能已 经不在这儿了。”;最后落在“为了证实一下,我静等了许久,但到底还是没有再听见那滑过寂静的湖面传来的、拖长声调的、凄厉而又 含冷嘲的鸟叫声。”,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
核心句法
I listened for some time, to make sure, but never once did I hear that long-drawn call, half mocking and half plaintive, spearing through the stillness across the lake.
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;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;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。
- 关系或连接标记为 that;应逐一确认先行词,避免把定语从句误作新的主句。
- 逗号后的 -ing / having done 成分不另立限定谓语,通常补充伴随、原因或结果。
- 本句包含多层逗号成分;括出插入语和并列项后,剩余部分即为主要主谓骨架。
词汇与短语
- pier/ˈpɪr/桥墩
- amber/ˈæmbɚ/琥珀
- plaintive/ˈpleɪntɪv/痛苦的,悲哀的
- long-drawn/ˈlɔŋ ˌdrɔn/拖长的;绵延的
修辞手法、原文证据与效果
- Hyperbole / Absolute Diction · 夸张/绝对化措辞always been使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Metaphor · 隐喻black glass把夜色中的湖面直接写成黑色玻璃,不使用 like/as 等明示比较词。把抽象社会、心理或科学关系压缩成可感的空间和物质形象。
- Litotes / Negative Emphasis · 曲言/否定强调There was no wind that evening, and everything was quiet all around me.通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞everything was quiet all around me使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Litotes / Negative Emphasis · 曲言/否定强调no longer here通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Symbolism · 象征 and then I realized that the loons were no longer here潜水鸟及其逐渐消失的哀鸣贯穿叙事,与皮格特及梅蒂人的边缘处境形成对应。把个人悲剧、族群被排斥和自然遭破坏三层意义凝聚在同一意象中。
- Litotes / Negative Emphasis · 曲言/否定强调never once did I hear that long-drawn call通过否定、双重否定或弱化措辞表达强烈判断。语气比直接断言更克制,却能产生反向强化。
- Enumeration / Parallelism · 列举/排比I listened for some time, to make sure, but never once did I hear that long-drawn call, half mocking and half plaintive, spearing through the stillness across the lake.多个同类词组、分句或结构连续排列。累积细节、加强节奏,并使论证或描写更有气势。
- Antithesis · 对照I listened for some time, to make sure, but never once did I hear that long-drawn call, half mocking and half plaintive, spearing through the stillness across the lake.以 but 等转折标记把方向相反的判断置于相近结构中。突出矛盾、反转或价值冲突,使论点更鲜明。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞never once did I hear that long-drawn call使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
翻译与理解难点
- 长句先找限定谓语,再把定语从句、状语、同位语和插入语逐层拆开;中文可按逻辑顺序分译。
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 74.1I sat on the government pier and looked out across the water.
Sentence 74.2At night the lake at least was the same as it had always been, darkly shining and bearing within its black glass the streak of amber that was the path of the moon.
Sentence 74.3There was no wind that evening, and everything was quiet all around me.
Sentence 74.4It seemed too quiet, and then I realized that the loons were no longer here.
Sentence 74.5I listened for some time, to make sure, but never once did I hear that long-drawn call, half mocking and half plaintive, spearing through the stillness across the lake.
段落完整解析
段落主旨与篇章作用
主旨:我不知道那些鸟儿究竟遭遇了何种命运。
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。
行文结构与逻辑
先写“我不知道那些鸟儿究竟遭遇了何种命运。”,再转入“也许它们飞去一个遥远的地方找到了栖身之地,也许它们寻不到这样的地 方,于是再也不把生死放在心上,就这样自生自灭了。”,形成前提—发展、描写—评价或问—答关系。
主要关系:条件/选择、并列/递进
核心句法
Perhaps they had been unable to find such a place, and had simply died out, having ceased to care any longer whether they lived or not.
句型:复合句/复杂句。含从属连词 whether,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。
- 从属标记为 whether;它们分别组织让步、原因、时间、条件或选择关系。
- 逗号后的 -ing / having done 成分不另立限定谓语,通常补充伴随、原因或结果。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Plain Exposition · 平实说明本段主要依靠叙述或逻辑说明推进,没有足以独立判定的显性修辞格;表达效果来自事实顺序和语义衔接。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 75.1I did not know what had happened to the birds.
Sentence 75.2Perhaps they had gone away to some far place of belonging.
Sentence 75.3Perhaps they had been unable to find such a place, and had simply died out, having ceased to care any longer whether they lived or not.
段落完整解析
段落主旨与篇章作用
主旨:我记起那年夏天,当我和我父亲坐在湖边听鸟声时皮格特不屑一顾,还不愿意前来。
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。
行文结构与逻辑
先写“我记起那年夏天,当我和我父亲坐在湖边听鸟声时皮格特不屑一顾,还不愿意前来。”,再转入“现在我倒觉得,皮格特可能以一 种无意识的、别人完全不理解的方式,成为惟一一个听懂潜水鸟的叫声的人。”,形成前提—发展、描写—评价或问—答关系。
主要关系:时间/次序、并列/递进
核心句法
It seemed to me now that in some unconscious and totally unrecognized way, Piquette might have been the only one, after all, who had heard the crying of the loons.
句型:复合句/复杂句。含关系或连接成分 that, 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。
- 关系或连接标记为 that、who;应逐一确认先行词,避免把定语从句误作新的主句。
- 从属标记为 after;它们分别组织让步、原因、时间、条件或选择关系。
词汇与短语
- 本段以常用词为主;重点应放在词语搭配、指代和上下文语义上。
修辞手法、原文证据与效果
- Symbolism · 象征y father and I sat there and listened to the lake birds潜水鸟及其逐渐消失的哀鸣贯穿叙事,与皮格特及梅蒂人的边缘处境形成对应。把个人悲剧、族群被排斥和自然遭破坏三层意义凝聚在同一意象中。
- Hyperbole / Absolute Diction · 夸张/绝对化措辞all使用全称、极端范围或绝对数量词扩大表达程度。强化作者情绪和判断力度;理解时需结合上下文而非机械按字面取值。
- Symbolism · 象征 who had heard the crying of the loons潜水鸟及其逐渐消失的哀鸣贯穿叙事,与皮格特及梅蒂人的边缘处境形成对应。把个人悲剧、族群被排斥和自然遭破坏三层意义凝聚在同一意象中。
翻译与理解难点
- 代词和关系词必须回指到明确对象;先确认先行词,再决定中文是否需要补出名词。
Sentence 76.1I remembered how Piquette had scorned to come along, when my father and I sat there and listened to the lake birds.
Sentence 76.2It seemed to me now that in some unconscious and totally unrecognized way, Piquette might have been the only one, after all, who had heard the crying of the loons.
课文精解
查看本单元课文精解
1. neither flesh, fowl, nor good salt herring:成语,另一说法为neither fish, flesh, nor fowl意为“不伦不类,似驴非马”,相当于 中国的“四不像”。 2. When their men were not working at odd jobs or as section hands:odd jobs指“临时的,非固定的工作”。 3. …and would hit out whoever was nearest:hit out猛烈抨击或打击(某人)。 4. The damn bone’s flared up again:flare up此处指“疾病复发”。该短语还可表“达到更激烈的状态,突然发怒”,例:He flares up at the slightest provocation.稍一激他,他就大发脾气。 5. “She took off a few years back.”:句中take off意为“匆忙离去,突然离去”。例:When he saw the police coming, he took off in the opposite position.他一见警察过来,转身就溜走了。 6. …Piquette would win hands down, nits or not:win hands down指“轻易大胜,垂手赢得”。例:The local team won the match hands down.主队以悬殊比分赢得这场比赛。 7. I set about gaining Piquette’s trust:set about doing sth开始做某事,着手做某事。例:I must set about my packing.我得开始 收拾行李了。 8. …or rather, she came because there was nothing else to do:or rather用以提出更确切的说法。例:I worked as a secretary, or rather, a typist.我担任秘书工作,说得准确些是打字员。 9. You nuts or something:该句可释义为You are crazy。nuts指“发疯,疯狂”。 10. It became increasingly obvious that, as an Indian, Piquette was a dead loss:俚语a dead loss指“对谁都无用的人或物”。例: This pen is a dead loss: it just won’t write properly.这支笔没用了:书写很不流畅。 11. “They must have sounded just like that,” my father remarked, “before any person ever set foot here.”:must have done是情态 动词表猜测结构,表示对过去发生事情的肯定猜测。例:It must have rained last night, because the ground is wet.想必昨天晚 上下过雨了,因为地面是湿的。短语set foot意为“到达或进入”。 12. Piquette and I remained ill at ease with one another:ill at ease困窘,局促。在文中指“我和皮格特得关系仍然比较局促(不 融洽)”。 13. I thought it was probably her slow and difficult walking that held her back:句中宾语由it was…that强调句型结构充当。hold sb back指“阻止或限制某人”。例:The police cordon was unable to hold back the crowd.警方的警戒线阻挡不住人群。 14. “Gee, Piquette—” I burst out awkwardly:burst out此处指“突然激动地说,叫嚷”。该短语还可表示“突然开始做某事”, 例:burst out crying突然哭起来。
文体与修辞总解
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1. 文体 “The Loons”是加拿大著名女作家玛格丽特·劳伦斯的代表作之一,是一篇短篇小说(a short story)。本文作者以真挚的情 感、敏锐的洞察力和细腻的笔触刻画了在主流文化社会边缘挣扎的一位印地安女性形象,讲述了梅蒂族姑娘皮格特的故 事,反映了梅蒂人如同濒临灭绝的潜水鸟一样悲惨的命运。 本文构思新颖,人物刻画细腻,语言生动,寓意深刻,从语言角度和文学角度都具有不俗的艺术欣赏价值。小说中充满了 丰富的民间口头语言,使人读起来真实、亲切,文中皮格特讲起话来满口都是粗话、脏话,而且错误百出,如:“I ain’t supposed to do no more walking than I got to.”(“我得少走路。”)“Who gives a good goddamn?”(“谁他妈的在乎?”)等等。 象征手法的运用是小说中另一个值得探究的特色。潜水鸟的鸣叫声象征着大自然遭受人类文明的破坏而唱的挽歌,其发出 的凄厉、嘲讽的叫声以及濒临灭绝的命运也恰当地反映了当前梅蒂人的状况。 2. 修辞 本文涉及的修辞手法主要有personification(拟人),transferred epithet(移就),hyperbole(夸张)等。 (1)personification Personification把事、物、观念等拟作人,赋予它们以人的思想与行为方式。这种拟人化的修辞手法读起来使人感到特别形 象生动、富有情趣。如:The huge wave stretches out his arms to hold me high up in the air. 巨浪伸出双臂,将我高高托起。 (2)hyperbole Hyperbole为了表达深刻的感受,抒发强烈的感情,通过故意夸大事实来给人留下深刻的印象。如:His words made my blood freeze.听了他的话,我的血都快凝固了。 (3)Transferred epithet在第2单元已经介绍,此处不再赘述。
常见修辞区分
| 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。 |
完整词汇与美式 IPA
pebble /ˈpɛbəl/
鹅卵石
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scrub /ˈskrʌb/
用力擦洗,刷洗
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loon /ˈlun/
潜鸟
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chokecherry /ˈtʃoʊkˌtʃɛri/
美国稠李
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shack /ˈʃæk/
小屋,简陋的小屋
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chink /ˈtʃɪŋk/
堵塞……的狭窄裂口
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thigh /ˈθaɪ/
大腿
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lean-to /ˈlin ˌtu/
披屋
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wrap /ˈræp/
使弯曲,弄弯
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ramshackle /ˈræˌmʃækəl/
快要倒塌似的,摇摇欲坠 的
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strand /ˈstrænd/
绳、线之一股
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barb wire /ˈbɑrb ˌwaɪɚ/
带刺铁丝网
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patois /ˌpæˈtwɑ/
方言,行话
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obscenity /əˈbsɛnɪti/
猥亵,淫猥
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herring /ˈhɛrɪŋ/
青鱼,鲱
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lard /ˈlɑrd/
猪油
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bruise /ˈbruz/
碰伤,青肿
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brawl /ˈbrɔl/
争吵,争斗
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sporadic /spɚˈædɪk/
零星的,时有时无的
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reservation /ˌrɛzɚˈveɪʃən/
保留地
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tuberculosis /təˌbɝkjəˈloʊsɪs/
肺结 核
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grimy /ˈɡraɪmi/
污垢的,肮脏的
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flare /ˈflɛr/
突然发怒
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dickens /ˈdɪkənz/
口]见鬼,该死;倒霉,晦气
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contagious /kəˈnteɪdʒəs/
有传染性的
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nit /ˈnɪt/
虱卵
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cameo /ˈkæmiˌoʊ/
浮雕,石雕
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mauve /ˈmɔv/
淡紫色的
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stifle /ˈstaɪfəl/
抑制;憋闷
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muse /ˈmjuz/
沉思,冥想
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miraculously /mɚˈækjələsli/
奇迹般地,不可思议地
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austere /ɔˈstɪr/
朴素的,质朴的
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filigree /ˈfɪləˌɡri/
细丝工艺
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spruce /ˈsprus/
云杉
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fern /ˈfɝn/
蕨,蕨类植物
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raspberry /ˈræˌzbɛri/
悬钩子,覆盆子
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miniature /ˈmɪniəˌtʃʊr/
小型的,微小的
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squirrel /ˈskwɝəl/
松鼠
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tame /ˈteɪm/
驯服的,柔顺的
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moose /ˈmus/
驼鹿
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antler /ˈæntlɚ/
鹿角
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bleach /ˈblitʃ/
变白,脱色
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fissure /ˈfɪʃɚ/
使)裂开
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meticulously /məˈtɪkjələsli/
小心翼翼地
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tote /ˈtoʊt/
手提,肩负,携带,搬运
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scuff /ˈskʌf/
以脚擦地,拖着脚走
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bizarre /bəˈzɑr/
古怪的,异乎寻常的
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prophetess /ˈprɑfətəs/
女预言家,女先知
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impart /ˌɪˈmpɑrt/
透露,告知
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whippoorwill /ˈwɪpɚˌwɪl/
北美夜鹰
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coyote /kaɪˈoʊti/
一种产于北美大草原的)小狼,郊狼
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lore /ˈlɔr/
学问,学识
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dogged /ˈdɔɡd/
顽强的,固执的
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perseverance /ˌpɝsəˈvɪrəns/
百折不挠,坚定不 移;毅力
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bracken /ˈbrækən/
欧洲蕨
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amber /ˈæmbɚ/
琥珀
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ululate /ˈjuljəˌleɪt/
哀叫,哀号,失声痛哭
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aeon /ˈiən/
永世,万古;极长的时期
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chipmunk /ˈtʃɪpməŋk/
花鼠
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birch /ˈbɝtʃ/
桦树
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pneumonia /nuˈmoʊnjə/
肺炎
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immerse /ˌɪˈmɝs/
沉浸,全神贯注
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jukebox /ˈdʒuˌkbɑks/
自动唱机
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chrome /ˈkroʊm/
铬,铬合金
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astound /əˈstaʊnd/
使震惊,使大吃一惊
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stolid /ˈstɑləd/
不易感动的,迟钝的
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carmine /ˈkɑrmən/
洋红,胭脂红
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frizzily /ˈfrɪzəli/
满是卷结地,卷发地
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perm /pɝm/
烫发
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teeter /ˈtitɚ/
蹒跚,步履不稳地走
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jerkwater /ˈdʒɝkˌwɔtɚ/
微小的,不重要的
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confide /kəˈnfaɪd/
吐露,倾诉
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blur /ˈblɝ/
变得不清楚,模糊
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despise /dɪˈspaɪz/
轻视,鄙视
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biddy /ˈbɪdi/
女人,尤指饶舌的老妇人
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fella /ˈfɛlə/
俚]男人,家伙
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classy /ˈklæsi/
漂亮的,时髦的;上等的,一流的
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defiant /dɪˈfaɪənt/
对抗的,不服从的;目中无人的
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perturb /pɚˈtɝb/
烦扰,使感到不安
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sullen /ˈsʌlən/
愠怒的,闷闷不乐的
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gauche /ˈɡoʊʃ/
笨拙的,粗鲁的;不老练的
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slattern /ˈslætɚn/
懒散的女人,邋遢的女人
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brew /ˈbru/
酿造的饮料
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neon /ˈniɑn/
氖
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odour /ˈoʊdɚ/
气味
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pier /ˈpɪr/
桥墩
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plaintive /ˈpleɪntɪv/
痛苦的,悲哀的
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Bide-a-Wee /ˈbaɪd ə ˌwi/
“小憩片刻”(别墅名称)
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close-set /ˈkloʊs ˌsɛt/
排列紧密的
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coarse-featured /ˈkɔrs ˌfitʃɚd/
面部轮廓粗犷的
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dance-hall /ˈdæns ˌhɔl/
舞厅
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grey-green /ˈɡreɪ ˌɡrin/
灰绿色的
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half-breed /ˈhæf ˌbrid/
混血儿(旧称,现常带冒犯性)
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half-breeds /ˈhæf ˌbridz/
混血儿(复数;旧称,现常带冒犯性)
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home-brew /ˈhoʊm ˌbru/
自酿酒
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lard-pail /ˈlɑrd ˌpeɪl/
猪油桶
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lean-tos /ˈlin ˌtu/
披屋;单坡棚屋(复数)
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long-ago /ˈlɔŋ əˌɡoʊ/
很久以前的
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long-drawn /ˈlɔŋ ˌdrɔn/
拖长的;绵延的
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mauve-veined /ˈmoʊvˌveɪnd/
带淡紫色血管纹路的
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non-stop /ˈnɑn ˌstɑp/
不停的;直达的
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once-tubercular /ˈwʌns tuˈbɝkjəlɚ/
曾患结核病的
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over-sweetness /ˈoʊvɚ ˌswitnəs/
过分甜腻的气味或感觉
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re-named /ˈreɪ ˌneɪmd/
重新命名的
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Saturday-night /ˈsætɚdi ˌnaɪt/
星期六夜晚的
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Scots-Irish /ˈskɑts ˌaɪrɪʃ/
苏格兰—爱尔兰裔的
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self-pity /ˈsɛlf ˌpɪti/
自怜
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sharp-branched /ˈʃɑrp ˌbræntʃt/
枝条尖利的
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skin-tight /ˈskɪn ˌtaɪt/
紧身的
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storm-felled /ˈstɔrm ˌfɛld/
被暴风刮倒的
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ten-month-old /ˈtɛn ˌmʌnθ ˌoʊld/
十个月大的
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全部习题与参考答案
教材习题
Exercises I. Oral Presentation Make a five-minute presentation in class based on your research or close reading of the text. = Suggested topics: 1. Margaret Laurence 2. Sum up the story of Piquette in your own words 3. Symbolism in “The Loons” ‘of II. Questions A. Questions on the Content 1. What kind of family did Piquette come from? What was her racial background? Why did the doctor propose taking Piquette to Diamond Lake for the summer? Why did the narrator’s mother first object and then agree to take Piquette along? What was the cottage on the lake called? What was the scenery there like? How did the narrator and Piquette get along during the summer at the lake? Why ae nee aS did the narrator say that all that summer Piquette remained as both a reproach and a mystery to her? 6. Why did the narrator say, “in her eyes there was a tarrying hope” in Paragraph 60? 7. What kind of life did Piquette live after her marriage? 8. What happened to her and her children in the fire? 9. What does the narrator describe in Paragraphs 71-75? B. Questions on Structure and Style 1. What is the narrative voice of this story? Does she change or grow in the story? 2. What is the story about? What is the theme of the story? 3. Who is the central character of the story? 4, Howis the story structured? 5. What’s so peculiar about the crying of the loons? Do the loons have symbolic meaning in this story? If so, what does the loon symbolize? 6. Do you find any parallel between Piquette and the loons? III. Paraphrase Explain the following sentences in your own words, bringing out any implied meanings. 1. ...with a face that seemed totally unfamiliar with laughter... (Para. 2) Sometimes old Jules, or his son Lazarus, would get mixed up in a Saturday-night brawl... (Para. 2) ...her attendance had always been sporadic and her interest in schoolwork negligible. (Para. 3) ...She existed for me only as a vaguely embarrassing presence... (Para. 3) . She dwelt and moved somewhere within my scope of vision... (Para. 3) 6. If it came to a choice between Grandmother MacLeod and Piquette, Piquette would win hands down, nits or not. (Para. 14) 7. My acquaintance with Indians was not extensive. (Para. 22) ...She remained both a reproach and a mystery to me. (Para. 47) 9. Her defiant face, momentarily, became unguarded and unmasked, and in her eyes 10. 11. 12: 13: IV. Practice with Words and Expressions there was a terrifying hope. (Para. 60) ...She looked a mess, to tell you the truth, a real slattern, dressed any old how... (Para. 69) She was up in court a couple of times—drunk and disorderly, of course. (Para. 69) The one store had become several dozen, and the settlement had all the attributes of a flourishing resort—hotels, a dance-hall, cafés with neon signs, the penetrating odours of potato chips and hot dogs. (Para. 72) Perhaps they had been unable to find such a place, and had simply died out, having ceased to care any longer whether they lived or not. (Para. 74) A. Look up the dictionary and explain the meaning of the italicized words and phrases. RONSON FON WO Ti Ss te) See een t oe ool fea ee Se ee ...a small square cabin made of poplar poles and chinked with mud... (Para. 1) ...was a chaos of lean-tos... (Para.1) ...- working at odd jobs or as section hands... (Para. 2) ...they lived on relief . (Para. 2) The damn bone’s flared up again. (Para. 4) ...for my mother brightened visibly... (Para. 14) ...had to get back to his practice... (Para. 16) ...exclaiming over how well the place had wintered... (Para. 17) She was sitting on the swing her lame leg held stiffly out... (Para. 18) ...how the coyote reared her young... (Para. 22) If you walk just around the point there... (Para. 28) ..-her hair was cut short and frizzily permed. (Para. 49) ...for this was a sore point with me. (Para. 54) The Tonnerres made home-brew all the time... (Para. 69) B. Replace the italicized colloquial or slangy words with more formal words or expressions. 1. Sometimes Old Jules, or his son Lazarus, would get mixed up in a Saturday-night brawl... (Para. 2) ( ) ...[ hate like the dickens to send her home again. (Para. 4) ( ) I'll bet anything she has nits in her hair. (Para. 10) ( ) “So what?” Her voice was distant... (Para. 27) ( ) Your dad said I ain't supposed to do no more walking than I got to. (Para. 30) ( ) I bet you know a lot about the woods and all that, eh? (Para. 31) ( ) You nuts or somethin? (Para. 33) ( ) Who gives a good goddamn? (Para. 37) ( ) Got this real classy name. (Para. 59) ( ) “Gee, Piquette—” I burst out awkwardly, “that’s swell... (Para. 61) ( ) SE SE Se et S C. The following phrases are taken from the text, all with a participle as an adjective. Explain why a present or past participle is used in each case and then translate the phrases into Chinese. 1. warped lumber (Para. 1) discarded car tyres (Para. 1) tangled strands of barbed wire (Para. 1) bruised wild strawberries (Para. 2) offended shoppers (Para. 2) limping walk (Para. 3) ululating sound (Para. 40) chilling mockery (Para. 40) terrifying hope (Para. 60) flourishing resort (Para. 72) SOE SOs IST: HON, Haas HE), (GS ee . penetrating odours (Para. 72) long-drawn call (Para. 73) ‘ma i D. Explain how the meaning of the following sentences is affected when the italicized words are replaced with the words in brackets. Pay attention to the shades of meaning of the words. 1. Ina clearing at the centre of the thicket stood the Tonnerre family’s shack. (Para. 1) (home) 2. Their English was broken and full of obscenities. (Para. 2) (bad words) 3. ...Piquette was with us and Grandmother MacLeod, miraculously, was-not. (Para. 16) (strangely) 4. Roderick...sat on the car rug in the sunshine and examined a brown spruce cone, meticulously, turning it round and round in his small and curious hands. (Para. 17) (carefully) 170 | Lesson9 ui . ...She looked at me sullenly, without speaking. (Para. 23) (unhappily) 6. “I bet you know a lot about the woods and all that, eh?” I began respectfully. (Para. 31) (respectably) 7. Lignored her rebuff. (Para. 34) (refusal) 8. At night the lake was like black glass with a streak of amber which was the path of the moon. (Para. 39) (reflection) 9. Neither of us suspected that this would be last time we would ever sit here together on the shore, listening. (Para. 44) (doubted) 10. ...why she would not or could not respond when I suggested exploring the woods or playing house. (Para. 47) (reply) V. Translation A. Translate the following sentences into Chinese. 1. Just below Manawaka, where the Wachakwa River ran brown and noisy over the pebbles, the scrub oak and grey-green willow and chokecherry bushes grew in a dense thicket. (Para. 1) 2. “She’s not contagious,” my father said. “And it would be company for Vanessa.” (Para. 9) 3. I had trouble in stifling my urge to laugh, for my mother brightened visibly and quickly tried to hide it. (Para. 14) 4, You could look out the windows and see, through the filigree of the spruce trees, the water glistening greenly as the sun caught it. (Para. 17) 5. It seemed to me that Piquette must be in some way a daughter of the forest, a kind of junior prophetess of the wilds, who might impart to me, if I took the right approach, some of the secrets which she undoubtedly knew. (Para. 22) 6. For the merest instant, then I saw her. I really did see her, for the first and only time in all the years we had both lived in the same town. (Para. 60) 7. The small pier which my father had built was gone, and in its place there was a large and solid pier built by the government, for Galloping Mountain was now a national park, and Diamond Lake had been re-named Lake Wapakata, for it was felt that an Indian name would have a greater appeal to tourists. (Para. 72) 8. I listened for some time, to make sure, but never once did I hear that long-drawn call, half mocking and half plaintive, spearing through the stillness across the lake. (Para. 73) 9. It seemed to me now that in some unconscious and totally unrecognized way, Piquette might have been the only one, after all, who had heard the crying of the loons. (Para. 75) B. Translate Paragraphs 3, 40 and 49 into Chinese. Read, Think and Comment Below are the first few paragraphs from the short story “How | Met My Husband” by the Canadian writer Alice Monro. Read the passage and be prepared to respond to the questions: Where did the story take place? What happened at the beginning of the story? Who is the story narrated by? What can you infer about the narrator? We heard the plane come over at noon, roaring through the radio news, and we were sure it was going to hit the house, so we all ran out into the yard. We saw it come in over the treetops, all red and silver, the first close-up plane | ever saw. Mrs. Peebles screamed. “Crash landing,” their little boy said. Joey was his name. “It's okay,” said Dr. Peebles. “He knows what he’s doing.” Dr. Peebles was only an animal doctor, but had a calming way of talking, like any-doctor. This was my first job, working for Dr. and Mrs. Peebles, who had bought an old house out on the Fifth Line, about five miles out of town. It was just when the trend was starting of town people buying up old farms, not to work them but to live on them. We watched the plane land across the road, where the fairgrounds used to be. It did make a good landing field, nice and level for the old race track, and the barns and display sheds torn down now for scrap lumber so there was nothing in the way. Even the old grandstand bays had burned. “All right,” said Mrs. Peebles, snappy as she always was when she got over her nerves. “Let's go back in the house. Let’s not stand here gawking like a set of farmers.” She didn’t say that to hurt my feelings. It never occurred to her. | was just setting the dessert down when Loretta Bird arrived, out of breath, at the screen door. “| thought it was going to crash into the house and kill you all!” She lived on the next place and the Peebleses thought she was a country-woman, they didn’t know the difference. She and her husband didn’t farm, he worked on the roads and had a bad name for drinking. They had seven children and couldn't get credit at the HiWay Grocery. The Peebleses made her welcome, not knowing any better, as | say, and offered her dessert. “| know what he’s landed here for,” she said. “He’s got permission to use the 36 fairgrounds and take people up for rides. It costs a dollar. It’s the same fellow who was over at Palmerston last week and was up the lakeshore before that. | wouldn't go up, if you paid me.” “I'd jump at the chance,” Dr. Peebles said. “I'd like to see this neighborhood from the air.” Mrs. Peebles said she would just as soon see it from the ground. Joey said he wanted to go and Heather did, too. Joey was nine and Heather was seven. “Would you, Edie?” Heather said. | said | didn’t know. | was scared, but | never admitted that, especially in front of children | was taking care of. | was fifteen and away from home for the first time. My parents had made the effort and sent me to high school for a year, but | didn’t like it. | was shy of strangers and the work was hard, they didn’t make it nice for you or explain the way they do now. At the end of the year the averages were published in the paper, and mine came out at the very bottom, 37 percent. My father said that’s enough and | didn’t blame him. The last thing | wanted, anyway, was to go on and end up teaching school. It happened the very day the paper came out with my disgrace in it, Dr. Peebles was staying at our place for dinner, having just helped one of the cows have twins, and he said | looked smart to him and his wife was looking for a girl to help. He said she felt tied down, with the two children, out in the country. | guess she would, my mother said, being polite, though | could tell from her face she was wondering what on earth it would be like to have only two children and no barn work, and then to be complaining. gts b
学习指南参考答案
A. 1. Piquette came from a very poor family. Besides, she was the descendant of the Metis, people of mixed French and Indian blood. 2. She had tuberculosis of the bone and should have a couple of months’ rest to get better. On one hand, she could not stay at the hospital because the Matron did not welcome her anymore. On the other hand, she could not have a good rest if sent back home because she had to work hard. Therefore the doctor proposed to take her for the summer for the sake of her recovery. 3. Her mother first objected to take Piquette along because in the mother’s view the girl was half-breed and dirty. She then agreed to do so because she would rather take the girl than take the narrator’s grandmother, who promised not to go along if the girl did. 4. The cottage was called Macleod, after their family name. The scenery there was fairly wonderful with abundant plants and lovely animals at the lakeside. 5. The two girls did not get along well with each other. Because the narrator felt guilty of failing her father, who had expected she would befriend Piquette. However, she felt Piquette was somewhat strange and difficult to understand. 6. Because the hope was so intense and violent that it struck people as terrifying. 7. She lived a miserable and torturous life after her marriage. 8. They were killed in the fire. 9. The narrator describes her revisit to Diamond Lake, the changes there, and the leaving of the loons which symbolizes the despair, alienation, and loss of place within the Indians’ world. B. 1. The narrative voice undergoes several changes as the narrator grows up. The narrative voice is childish and immature when the narrator was an eleven-year-old girl as can be seen from sentences like Wounded, I stamped angrily away, swearing I would not speak to her for the rest of the summer” and “I did not remember ever having seen a real Indian, and my new awareness that Piquette sprang from the people of…” However, as the narrator grew up and got more mature, the narrative voice becomes sentimental and rational, which is reflected especially in the narrator’s description of Piquette such as “Her defiant face, momentarily, became unguarded and unmasked, and in her eyes there was a testifying hope.” 2. The story is about a girl of Indian origin, who desperately struggles to fit into the mainstream society but failed. The theme of the story is that the Indians felt alienated and marginalized in the white-dominated society just as the loons failed to find a suitable habitat and simply died out as more and more cottages were built on the lakeside. 3. The central character of the story is Piquette, the girl of Indian origin. 4. The story is basically arranged in time sequence, which includes an opening, a development, a climax, and an ending. The opening part provides information about Piquette’s family background. The skillful use of a transition “until that peculiar summer...” leads readers to their stay at Diamond Lake that summer, which is the central part of the story. The story reaches its climax when the narrator encountered Piquette four years later. This part of the story depicts how Piquette had changed. With the narrator’s revisit to the Diamond Lake where she saw the changes in the place and realized the disappearance of the loons, the story came to its end. The last two paragraphs reveal the relevance of the loons to the theme of the story. 5. The crying of the loons strikes people as plaintive and chilling. The loons symbolize the Indians who felt culturally and racially separated. 6. Yes, the fate of Piquette echoes that of the loons. As more and more cottages were built on the lakeside, the loons failed to find a suitable habitat and simply died out. Similarly, Piquette was desperately struggling to fit into the mainstream society, but failed tragically. 1. with a expressionless face that never has a smile on it 2. Sometimes old Jules, or his son Lazarus, would get involved in a rough, noisy quarrel or fight on a Saturday night after they drank a lot of liquor. 3. She often missed her classes and had little interest in schoolwork. 4. In my opinion, she is the kind of person who would make other people feel ill at ease. 5. She lived and moved somewhere within my sight. 6. If my mother had the right to choose one between my grandmother and Piquette, she would certainly choose Piquette, no matter Piquette had nits in her hair or not. 7. I didn’t know many Indians. 8. I blamed myself (for being unable to become her friend)and at the same time found her mysterious. 9. Her face was always guarded as if it was wearing a mask. But for a brief moment, the mask was torn away and the challenge on the face appeared. The hope in her eyes was so intense that anyone who saw it would feel a sense of terror. 10. She looked terrible. Frankly speaking, she was a dirty untidy woman, dressed in a very careless way. 11. She was summoned to the court several times, certainly because she was drunk and failed to obey the regulations. 12. There had been only one store in the past, but now in its place were several dozen stores. The settlement had all the characteristics of a flourishing resort such as hotels, a dance-hall, café lighted by neon signs, the strong smells of potato chips and hot dogs. 13. Perhaps they had failed to find a suitable habitat where they could belong and just died out, having lost any interest in life and no longer cared about whether they lived or not. A. 1. chink: to close the narrow openings 2. lean-to: shed with a one-slope roof, the upper end of the rafters resting against an external support, such as trees or the wall of a building 3. odd: not regular but occasional, incidental 4. on relief: receiving government aid because of poverty, unemployment, etc. 5. flared up: showing sudden increased pain, heat, anger, violence, inflammation, etc. 6. brighten: to become happier and more excited 7. practice: regular work of a doctor or a lawyer 8. winter: to pass the winter 9. swing: a seat hanging from ropes or chains, for children to play on 10. rear: to look after a person or animal until they are fully grown 11. point: a piece of land with a sharp end that stretches out into the sea (here the lake) 12. perm: to put curls in straight hair, by means of chemical treatment 13. a sore point: a subject causing distress or annoyance 14. home-brew: home-made alcohol B. 1. a rough and noisy quarrel or fight 2. very much 3. I’m absolutely sure 4. Why is that important? Why should I care? 5. I should not walk more than I need to do. 6. things like that 7. Are you crazy or what? 8. Who cares? 9. first-class, fine name 10. excellent C. 1. lumber that is warped弯曲的木材 2. car tyres that are discarded废弃的汽车轮胎 3. strands of barbed wire that are tangled together缠成一团的铁丝网 4. wild strawberries that are bruised表皮被擦伤的野草莓 5. shoppers who are offended被得罪的顾客 6. walk in limping manner一瘸一拐地走路 7. a sound that ululates哀鸣 8. mockery that chills令人发冷的嘲笑 9. hope that terrifies令人生畏的愿望 10. a resort that flourishes繁华的度假胜地 11. odours that penetrate刺鼻的气味 12. call that is drawn out for a long time拖长音的鸣叫声 D. 1. shack指简陋的棚房,窝棚;home指居住的地方,强调指使人感到安全舒适的家。例:My home isn’t very big, but very comfortable.我家不大,但很舒适。 2. bad words指脏话;obscenities指与色情有关的猥亵、下流的话。例:It’s insolent of that child to say bad words loudly.那孩子 大声地说脏话,很没礼貌。Existing laws on obscenity are to be tightened.目前禁止色情的法律将变得更加严厉。 3. miraculously意为“神奇地”“奇迹般地”;strangely意为“特别奇怪地”,强调了“奇怪”的程度,不合常理。例:Miraculously he lost a lot of weight.他的体重奇迹般地减轻了很多。 4. meticulously指过分注重细节地、谨小慎微地,carefully表示以小心谨慎的行为来避免错误的出现,这里孩子玩耍注重细 节,但没有避免错误的意图。 5. sullen意为“愠怒的”“郁郁寡欢的”;unhappy是常用词,表示“不高兴的”。相比之下,sullen更倾向表现个人的性格,而 unhappy只表现一时的心情。例:He never laughed and became very sullen.他再也没笑过,变得郁郁寡欢。I was unhappy because of the discomforts of travel.我因旅途的不适而感到不快。 6. respectfully指(自己)满怀敬意地;respectably指(他人)值得尊敬地。 7. rebuff表示断然拒绝,严厉拒绝,常强调态度坚决,甚至粗鲁无礼;refusal意为不情愿或不接受而拒绝,态度不如rebuff 强,语气也较缓和。Her kindness to him was met with a cruel rebuff.她一片好心却遭到他冷酷的拒绝。He asked me to marry him but I refused.他向我求婚但我拒绝了。 8. path这里是指一长道反射的月光,形状像一条发光的小径一样;reflection意为“反射”或“倒影”,尤指镜中或静水中之映 像。 9. suspect意指认为某事可能存在或发生,是一种猜测;doubt指对某种说法或事件表示怀疑,不相信其真实性。例:She has more intelligence than we suspect her to possess.它的智商比我们猜想的要高。I doubt the truth of it.我怀疑此事的真实程 度。 10. respond意为“回应”,表示对某事做出的反应,强调采取的具体行动;reply指对提出的问题或要求,经过认真考虑后, 通过书面、口头的方式作正式的答复。例:The government responded to the pressure and dropped the proposal.政府感到压力 后撤销了那项提议。I had no reply to my letter.我没收到回信。 V. See the translation of text 1. The story took place in the countryside. 2. At the beginning of the story, a small plane painted red and silver landed across the road where the fairgrounds used to be. The spot was near the house of the Peebles and so they heard the loud sound of landing. 3. The narrator was a young girl who worked as a maid for the Peebles. 4. She came from a farmer’s family and dropped out of high school because her poor performance. Mr. Peebles was a veterinarian. When he was helping her father’s cow deliver twins, he noticed her and thought she was a clever girl and could help his wife to keep house and look after two children. The narrator was fifteen then and it was her first time to be away from home.