Paraphrase新编英语教程4

Paraphrase新编英语教程4 Unit 2 1. …the wider the range of life and the more various the contacts we have, the wider and suppler must be our command over a range of English style, each of which we know how to use consistently. Para: The richer life experience we have, and the more people from all walks of life we know, we will develop more extensive and flexible knowledge of different English styles and the ability to use each style appropriately when the occasion arises. 2. A haphazard knowledge of several styles may be worse than useless if we do not know the type of occasion on which each is appropriate, or if we do not know when we are sliding from one to another. t know when to use each style appropriately, or if we confuse one style with Para: If we don’ another inappropriately, and casual knowledge of style is of no use, or even worse. 3. “Bags of fun” is no more a lazy substitute for thought in its appropriate setting than is “extremely gracious” in the setting that is appropriate for this expression. Pare: Neither “bags of fun” nor “extremely gracious” in its suitable context is careless expression of one’s ideas. 4. But it would be equally ridiculous to reverse the judgment just as flatly. Para: It would, however, also be foolish to turn the judgment completely the other way round. 5. Euphemisms are considered overly squeamish and affected by contemporary writers, unless used for humorous effect. Pare: Except in case where they are used to achieve humorous effect, contemporary writers think that euphemisms are too disgusting, artificial and pretentious to be used. 6. To support the argument by using the clichés which pour from the lips of trade union leaders would be too much like shooting sitting birds. Para: It would be as easy as shooting birds that never fly away to support the argument made by using the outdated and stereotyped phrases that are often used by trade union leader. 7. Some euphemisms, too, are sufficiently offbeat to be funny. Para: Some euphemisms are unusual enough to be funny. They are so unusual that they become quite funny. 8. Examples of gross understatement may also appeal to some of us. Para: Some people may also lite extreme understatement. Unit 3 1. Every night for weeks there had been much preaching, singing, praying, and shouting, and some very hardened sinners had been brought to Christ, and the membership of the church had grow by leaps and bounds. Para: Every night for weeks, the priests gave sermons, and people sang songs in pray of God, worshipped God and shouted for joy. Some sinners who had never showed sings of shame or repentance were saved from sin and the number of the members of the church increased rapidly. 2. The preacher preached a wonderful rhythmical sermon, all moans and shouts and lonely cries and dire pictures of hell. Para: The clergyman spoke on religious matters to the congregation. His speech was marvelously regular and melodious, it was a mixture of the low sound of pain, grief and suffering, loud and happy as well as lonely cries, and horrible picture of the under world sinners go to when they die. 3. And the whole building rocked with prayer and song. Para: The whole building shook with all praying and singing. 4. The whole congregation prayed for me alone, in a mighty wail of moans and voices. Para: All the people attending church service prayed only for me; their praying became one strong and powerful sound of pain and suffering. 5. Waves of rejoicing swept the place. Para: The whole church became a sea of great joy. 6. When things quieted down, in a hushed silence punctuated by a few ecstatic “Amens”, all the young lambs were blessed in the name of God. Para: When everything became quiet again, during a respectful silence, which was broken only by several people saying “Amens” extremely joyfully and happily, all the children were given blessings by the minister in the name of God. Unit 6 1. People usually believe that predators have an easy time of it, killing defenseless prey. Para: People usually think that predators do not have to make an effort to kill the prey animals, since they have no means of protecting themselves. 2. My experience shows quite the contrary—the tiger has to work quite hard for its meals…I estimate that, for every wild prey killed, the tiger makes twenty to thirty unsuccessful attempts. Para: What I have gone through proves quite the opposite, i.e., the tiger has to make a real effort to get something to eat. I would say that in order to catch one wild animal, the tiger has to try to make twenty to thirty attempts. 3. As long as these systems are in good working order, a prey animal is usually safe from wolf attack. Para: So long as these systems are functioning properly, an animal will not be caught by a wolf. 4. The reverse is true of parasites. Para: Parasites have the opposite characteristics, i.e. they are smaller but greater in number than their hosts. 5. The birds did not control the insects and have spread across of the nation, crowding out blue birds and other native birds with which they compete for food and nesting sites. Para: Instead of bringing the insects under control, the birds have spread all over the country. Their numbers are so great that they leave little space for blue birds and other birds which have always lived in the area and try to get from them the food and nesting places. 6. Fish called remoras attach themselves to sharks. They get a free ride and eat fragments of the sharks’ food. Para: Remoras, a type of fish, cling themselves to shark, go where the sharks go and eat bits of sharks food. 7. The organisms that make up lichen couldn’t survive long apart. Para: The organisms that lichen is composed of would not live long separately. Unit 9 1. Before panting little boys could strangle out the words, their mothers knew it. Para: The mothers had already learned the news before their son could stammer it out. 2. The news swept on past the brush house, and it washed in a foaming wave into the town of stone and plaster. Para: The news spread from one brush house to another and continued to travel fast into the town. 3. And when it was made plain who Kino was, the doctor grew stern and judicious at the same time. Para: When the doctor realized that Kino was the man who had asked for his help, he became both serious (about the treatment) and wise about how he would gain. 4. And the doctor’s eyes rolled up a little in their fat hammocks and he thought of Paris. eyes were focused on nothing as his thought turned to Pairs. Para: For a moment the doctors’ 5. The news stirred up something infinitely black and evil in the town, the black distillate was like the scorpion, or like hunger in the smell of food, or like loneliness when love is withheld. Para: The news caused a profound “negative force” to be at work in the town. This could be compared to a scorpion, which causes pain, or the hunger created by the smell of food, or feeling of loneliness which comes when love is refused. 6. The poison sacs of the town began to manufacture venom, and the town swelled and puffed with the pressure of it. Para: What acted as the “venom-producing bag” of the town, i.e. the increasing self interest in the town’s people, began to create poison which afflicted the whole town with a negative force. Unit 10 1. He gives us, without relation to exterior “events”, the quintessential part of himself – that part which embodies the fullest and deepest expression of himself as a man and of his experience as a fellow being. Para: He gives us not what is happening outside himself but the deepest, most essential expression of himself as a person and member of the human race. 2. For a composer, to be of any value, must have his own personality. It may be of greater or lesser importance, but in the case of significant music, it will always mirror that personality. Para: If a composer wants to be in any way a great artist, he must have his own individuality. This may be very important at all; but as far as significant music is concerned, it will reflect that individuality. 3. His character may be streaked with human frailties – like Lully’s or Wagner’s, for example, -- but whatever is fine in his music will come from whatever is fine in him as a man. Para: His personality may include human weakness, as did Lully’s and Wagner’s, but excellence in his music will still stem from those aspects of his personality which are excellent. 4. It is the interaction of personality and period that results in the formation of a composer’s style. Para: A composer’s style is formed from the interrelationship between his personality and his own period. 5. The role of the interpreter leaves no room for argument. Para: There is no need to argue about the part that an interpreter plays. 6. Most first-rate interpretive artists today possess a technical equipment that is more than sufficient for any demands made upon them. Para: Most contemporary first-class musicians have instruments which are very satisfactory for them to meet any challenge in playing a composition. 7. It cannot be, for it is too vague, it allows for too great a leeway in individual matter of taste and choice. Para: The musical notation cannot be the exact transcription of a composer’s thought both because it is ambiguous and because it provides freedom from personal taste and choice. 8. The combined efforts of composer and interpreter have meaning only in so far as they go out to an intelligent body of hearers. Para: The joint efforts of composer and interpreter have significance only when they are appreciated by listeners who understand music. 9. That bespeaks a responsibility on the part of the hearer. That shows that the listener is duty-bound to fully appreciate or understand music. 10. By that bon mot, he meant to imply, no doubt, that only a listener who really involves himself is of importance to music or the makers of music. Para: By that piece of wit, he undoubtedly wanted to suggest that only when a listener becomes truly concerned about music will be of interest and both to music and its composers.