剥掉复杂句子外衣——去除介词+关系代词引导的从句

去除介词+关系代词引导的从句

上文我们提到了有关表示人或事物的关系代词引导的从句，这一节我们讲述关系副词。关系副词通常可以分解为介词+关系代词。一般有in which, at which和for which，它们分别对应where, when和why。

这些关系副词起到修饰名词的作用，所以也应该进行删除。我们举例来说明。

①I still remember the place where (in which) we met for the first time.

② Do you still remember the time when (at which) we met for the first time?

③ I don't know the reason why (for which) you ask me this question.

删去修饰名词的从句以后，句子就变成了：

①I remember the place.

②Do you remember the time?

③I don't know the reason.

现在让我们做一下练习吧！

1.I will never forget the day when I got the surprising gift.

2.The place where there are many tourist attractions is beautiful.

3.He didn't want to know the reason why she parted with him.

4.The room where many students live is too crowded.

5.I often recall the time when we had a travel to Beijing together.

超强实践

All musicals need a moment of ecstasy.It comes here, in this dazzling bio-show about Ray Davies and the Kinks, when the faintly languorous title song is turned into a celebration of England's World Cup victory in 1966.As the song weaves its magic and red-white-and-blue petals cascade from the roof, the theatre is suddenly flooded with a sense of recollected happiness.

As someone who cocked only half an ear to the Kinks in the 1960sand who missed the show's premiere at Hampstead in April, I was taken aback by the richness of the songs.But the ingenuity of Joe Penhall's book lies in the way it uses those songs to chart the ups-and-downs of four working-class boys from Muswell Hill who brought a new note of ironic wistfulness to English popular music.

Even at their chirpiest, the songs contain an undertow of melancholic solitude.But Penhall also shows how the most delicate on-stage harmonies were accompanined by deep personal disharmonies, with Ray constantly at war with his madcap brother, Dave, or the band engaged in battles with exploitative middle-men or American unions.

Edward Hall's joyous production neatly allows the songs to grow out of the story and the cast is first-rate.John Dagleish,who actually resembles an elongated John Lennon, perfectly captures Ray Davies's mix of bloody-mindnedness and innocence while George Maguire, swinging from a chandelier in a pink frock, embodies brother Dave's wildness.Lillie Flynn as Ray's wife, Rasa, and Philip Bird as an overpowering Allen Klein also impress in a versatile ensemble that zips easily between acting and playing instruments.

删减版

All musicals need a moment of ecstasy.It comes here, in this dazzling bio-show about Ray Davies and the Kinks, when the faintly languorous title song is turned into a celebration (of England's World Cup victory)( in 1966).As the song weaves its magic and red-white-and-blue petals cascade from the roof, the theatre is suddenly flooded with a sense of recollected happiness.

As someone who cocked only half an ear to the Kinks (in the 1960s) and who missed the show's premiere (at Hampstead)(in April), I was taken aback by the richness of the songs.But the ingenuity of Joe Penhall's book lies in the way it uses those songs to chart the ups-and-downs of four working-class boys from Muswell Hill who brought a new note of ironic wistfulness to English popular music .

Even at their chirpiest, the songs contain an undertow of melancholic solitude .But Penhall also shows how the most delicate on-stage harmonies were accompanined by deep personal disharmonies, with Ray constantly at war with his madcap brother, Dave, or the band engaged in battles with exploitative middle-men or American unions.

Edward Hall's joyous production neatly allows the songs to grow out of the story and the cast is first-rate.John Dagleish , who (actually) resembles an elongated John Lennon, perfectly captures Ray Davies's mix of bloody-mindnedness and innocence while George Maguire, swinging (from a chandelier) (in a pink frock), embodies brother Dave's wildness.Lillie Flynn as Ray's wife, Rasa, and Philip Bird as an overpowering Allen Klein also impress in a versatile ensemble that zips (easily)( between acting and playing instruments).