2013年考研英语一翻译题

Part C

Directions:

Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written clearly on ANSWER SHEET 2. (10 points)

It is speculated that gardens arise from a basic human need in the individuals who made them: the need for creative expression. There is no doubt that gardens evidence an irrepressible urge to create, express, fashion, and beautify and that self-expression is a basic human urge; (46) yet when one looks at the photographs of the garden created by the homeless,it strikes one that , for all their diversity of styles, these gardens speak of various other fundamental urges, beyond that of decoration and creative expression.

One of these urges has to do with creating a state of peace in the midst of turbulence, a “still point of the turning world,” to borrow a phrase from T. S. Eliot. (47) A sacred place of peace, however crude it may be, is a distinctly human need, as opposed to shelter, which is a distinctly animal need. This distinction is so much so that where the latter is lacking, as it is for these unlikely gardens, the former becomes all the more urgent. Composure is a state of mind made possible by the structuring of one’s relation to one’s environment. (48) The gardens of the homeless, which are in effect homeless gardens, introduce form into an urban environment where it either didn’t exist or was not discernible as such. In so doing they give composure to a segment of the inarticulate environment in which they take their stand.

Another urge or need that these gardens appear to respond to, or to arise from, is so intrinsic that we are barely ever conscious of its abiding claims on us. When we are deprived of green, of plants, of trees, (49) most of us give in to a demoralization of spirit which we usually blame on some psychological conditions, until one day we find ourselves in a garden and feel the oppression vanish as if by magic. In most of the homeless gardens of New York City the actual cultivation of plants is unfeasible, yet even so the compositions often seem to represent attempts to call forth the spirit of plant and animal life, if only symbolically, through a clumplike arrangement of materials, an introduction of colors, small pools of water, and a frequent presence of petals or leaves as well as of stuffed animals. On display here are various fantasy elements whose reference, at some basic level, seems to be the natural world. (50) It is this implicit or explicit reference to nature that fully justifies the use of the word garden, though in a “liberated” sense, to describe these synthetic constructions. In them we can see biophilia—a yearning for contact with nonhuman life—assuming uncanny representational forms.

Section III Translation

46. 然而，看着无家可归者绘制出的花园图片时，人们会突然意识到，尽管这些花园风格多样，它们都显示了人类除了装饰和创造性表达之外的其他各种基本诉求47. 一块神圣的和平之地，不管它有多么粗糙，它都是一种人类本能的需求，和庇护所相反，那只是动物的本能需求。

47. 无论地方多么简陋不堪，寻求一片静谧圣土是人类特有的需求，而动物需要的仅是仅是避难栖息之地。

48. 无家可归者描绘的花园实质上是无所依附的，这些花园把一种形式引入城市环境中，而这样的城市环境中，形式要么根本不存在， 要么就完全不是以这种明显的方式存在。

49. 我们大多数人会深陷于精神萎靡的状态，并常常将此归咎为一些心理原因，直到某天我们发现自己置身花园中，感到如魔法般烦闷尽消。

50. 正是对自然的这种或隐晦含蓄或清晰直白的提及，充分证实了用“花园”一词来描述这些虚拟建筑是合乎情理的，即使是从毫无拘泥的意义来讲的