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旅行的艺术:Ⅷ 对美的拥有-8

所属教程:旅游英语大全

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2020年09月23日

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8

8

罗斯金的语言描画十分有力,因为他不仅描绘场景看上去像什么(“草是绿色的,大地是灰棕色的”),而且还用心理学的语言分析它们的力量(“草地很张扬,土地则怯生生的”)。他承认许多场景因为美丽而打动我们,但这并不是建立在美学标准基础之上——因为色彩搭配协调或者事物之间呈现的比例和对称,而是建立在心理学标准的基础之上,因为它们体现了一种对于我们而言十分重要的价值或心境。

The effectiveness of Ruskin's word-painting derived from his method of not only describing what places looked like ('the grass was green, the earth grey-brown'), but also of analysing their effect on us in psychological language ('the grass seemed expansive , the earth timid '). He recognized that many places strike us as beautiful not on the basis of aesthetic criteria-because the colours match or there is symmetry and proportion-but on the basis of psychological criteria, because they embody a value or mood of importance to us.

在伦敦的一个早晨,罗斯金透过窗户看到了一些积云。如果只是描述事实,可以说它们形成了一堵墙,几乎全是白色的,其中有几个缺口,使得一些阳光可以穿过。但罗斯金以更丰富的心理语言来看待他的对象:“真正的积云,是云中最宏伟的……是最不受风势影响的;它的整体移动显得沉重、连续不断、无法说明,是一种稳定的前进或是后退,似乎它们被一种内在的意愿所驱动,或被一种看不见的力量所操纵。”

One morning in London, he watched some cumulus clouds from his window. A factual description might have said that they formed a wall, almost completely white, with a few indentations allowing some sun through. But Ruskin approached his subject more psychologically: 'The true cumulus, the most majestic of clouds … is for the most part windless; the movements of its masses being solemn , continuous, inexplicable , a steady advance or retiring, as if they were animated by an inner will , or compelled by an unseen power [my italics].'

在阿尔卑斯山,他用类似的心理语言描绘松树和岩石:“我无法不长时间怀着敬畏感,面对阿尔卑斯山的这一堵峭壁。抬头仰望它的松树,它们矗立在可望而不可即的险境,静静地站成一片,每一棵都像是它身边的那一棵的影子——直立、牢固、不识彼此。你无法触及到它们,无法对它们大喊——那些树永远听不见人类的声音;它们不可能听到人类的声音,耳边只有风声。没有任何力量可以惊动它们,震落它们的叶子。这样的站立是辛苦的,然而这样钢铁般的意志,使得旁边的岩石都甘拜下风,自叹弗如——岩石与松树相比显得脆弱、无力,而且很不协调。松树呈现出一种深沉的生命力,沉浸在高傲中,不以单调为苦。”

In the Alps, he described pine trees and rocks in similarly psychological terms: 'I can never stay long without awe under an Alpine cliff, looking up to its pines, as they stand on the inaccessible juts and perilous ledges of an enormous wall, in quiet multitudes, each like the shadow of the one beside it-upright, fixed, not knowing each other . You cannot reach them, cannot cry to them;-those trees never heard human voice; they are far above all sound but of the winds. No foot ever stirred fallen leaf of theirs. All comfortless they stand, yet with such iron will that the rock itself looks bent and shattered beside them-fragile, weak, inconsistent , compared to their dark energy of delicate life and monotony of enchanted pride.'

通过这样的心理描述,我们似乎更加接近于一个问题的答案,这个问题就是为什么一个场景可以打动我们。我们更加接近了罗斯金式关于有意识地去理解我们所爱之物的目标。

Through such psychological descriptions, we seem to come closer to answering the question of why a place has stirred us. We come closer to the Rnskinian goal of consciously understanding what we have loved.

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