1、Part 1:Famous QuotesPart 2:Background knowledgePart 3:Listening and Speaking PracticePart 4:听说听说秘籍秘籍之之听力笔记（听力笔记（Notes）Chapter 6 LiteraturePart 1:Famous QuotesA truly great book should be read in youth,again in maturity and once more in old age,as a fine building should be seen by morning light,at no
2、on and by moonlight.-Robertson Davies 一本真正的巨著应该在青年时期读一遍，在成年和老年再各重读一遍，恰如精美的建筑应该在晨光中，在正午的阳光和月光下都赏玩一番。-罗伯森戴维斯Literature adds to reality,it does not simply describe it.It enriches the necessary competencies that daily life requires and provides;and in this respect,it irrigates the deserts that our lives
3、 have already become.-C.S.Lewis文学补益现实，而不仅仅单纯描绘现实。它丰富了我们应对日常俗务的能力，在这方面，它灌溉滋润了我们已经沦为沙漠的生活。-C.S.路易斯Part 1:Famous QuotesLiterature always anticipates life.It does not copy it,but moulds it to its purpose.The nineteenth century,as we know it,is largely an invention of Balzac.-Oscar Wilde 文学总是对生活做出预期，它并不照
4、搬生活，而是按照自己的目的塑造生活。正如我们所知，十九世纪在很大程度上是巴尔扎克的发明。-奥斯卡王尔德 Part 2:Background knowledgeI.(1)The Shell and the Book See http:/www.gutenberg.org/files/10609/10609-h/10609-h.htm【背景知识】英国文学：历史及其对于英语世界的意义(English Literature:Its History and Its Significance for the Life of the English Speaking World)是一本介绍上自盎格鲁-萨克森
5、，下至维多利亚时代的文学史著作。作者威廉朗恩（William J.Long）在其中将各个时代最经典的文学作品及其作者置于各自所处的特定历史时期加以考察，却又不割裂其与整个英国历史的联系，可谓文学与历史相得益彰。此外作者的写作风格深入浅出，读来饶有兴味，有兴趣了解英国文学或历史的读者均可从中获益。本单元所节选的是该书第一章导言：文学的含义之第一部分，在这部分中，作者以类比的方式阐释了欣赏和研究文学作品的两种方式，趣味盎然却发人深省。Vocabularymelodious mldis adj.旋律美妙的；音调优美的murmur m:m(r)n.低声说话apparently prntl adv.显然
6、curve k:v n.弧线，曲线multitude mlttju:d n.大量，许多Vocabularyglimmer glm(r)v.发微光hollow hl n.洞，坑await wet vt.等候；等待unconsciously nknsli adv.无意识地；不知不觉essential snl adj.基本的；必要的A child and a man were one day walking on the seashore when the child found a little shell and held it to his ear.Suddenly he heard soun
7、ds,-strange,low,melodious sounds,as if the shell were remembering and repeating to itself the murmurs of its ocean home.The childs face filled with wonder as he listened.Here in the little shell,apparently,was a voice from another world,and he listened with delight to its mystery and music.Then came
8、 the man,explaining that the child heard nothing strange;that the pearly curves of the shell simply caught a multitude of sounds too faint for human ears and filled the glimmering hollows with the murmur of innumerable echoes.It was not a new world,but only the unnoticed harmony of the old that had
9、aroused the childs wonder.Some such experience as this awaits us when we begin thestudy of literature,which has alwaystwo aspects,one of simple enjoyment and appreciation,the other of analysis and exact description.Let a little song appeal to the ear,or a noble book to the heart,and for the moment,a
10、t least,we discover a new world,a world so different from our own that it seems a place of dreams and magic.To enter and enjoy this new world,to love good books for their own sake,is the chief thing;to analyze and explain them is a less joyous but still an important matter.Behind every book is a man
11、;behind the man is the race;and behind the race are the natural and social environments whose influence is unconsciously reflected.These also we must know,if the book is to speak its whole message.In a word,we have now reached a point where we wish to understand as well as to enjoy literature;and th
12、e first step,since exact definition is impossible,is to determine some of its essential qualities.(From English Literature:Its History and Its Significance for the Life of the English Speaking World(1909),by William J.Long)QuestionsDirections:Read the above material and answer the following question
13、s:1)What are the two approaches to the study of literature?2)Does the author have preference?Why?I.(2)Lecture to Art StudentsSee http:/www.gutenberg.org/files/774/774-h/774-h.htm#page197By Oscar Wilde【背景知识】1883年6月30日，英国皇家学院艺术专业学生在威斯敏斯特的金色广场举行俱乐部活动，邀请奥斯卡王尔德（Oscar Wilde，1854-1900）演讲。王尔德是英国乃至世界文学史上最伟大的
14、作家与艺术家之一，其作品涵盖剧本、诗歌、童话和小说等多种体裁，且都有佳作。作为唯美主义代表人物，王尔德在演讲中并未探讨作为典范的美以及英国的艺术及艺术史，而是简单扼要谈及了几个现实问题：什么因素造就艺术家，艺术家创作什么，艺术家与周围环境的关系，艺术家应该受到何种教育，好的艺术作品应该具备何种品质等。此处节选了艺术家与周围环境关系之一部分，以飨读者。Vocabularymouthpiecemapi:s n.喉舌；代言人temporaltemprladj.暂存的exquisitekskwztadj.精致的Athenian i:nnn.雅典人antiquenti:ka.古老的，古代的Parthen
15、onp:nn,-nn n.帕特农神庙biddingbdn.出价，召唤VocabularyPhidiasfdi:s n.菲迪亚斯（古希腊的雕刻家）spakespek v.speak的过去式porticop:tk n.柱廊，（有圆柱的）门廊pageantpdnt n.盛会；露天表演pathospes n.悲怆，哀婉marblem:bl n.大理石bishopbp n.（基督教教派管辖大教区的）主教Vocabularysacredsekrdadj.神圣的barbarismb:brzm n.野蛮状态或行为Puritanismpjrtnzm n.清教，清教徒主义Madonnamdn n.圣母玛利亚；圣母
16、像shieldi:ldn.盾；护罩lineamentslnimntsn.（面部等的）特征，轮廓Periclesperkli:zn.伯里克利Vocabularyflungflv.扔(fling的过去式和过去分词)gaoldel,del n.监狱，拘留所Philistineflstan n.（中东古国）腓力斯人，仇敌Aeschyluseskls,i:sk-n.希腊悲剧作家埃斯库罗斯Euripidesjuripidi:zn.希腊悲剧诗人欧里庇得斯Socratesskrti:zn.古希腊哲学家苏格拉底Florencefl:rns,flr-n.意大利城市佛罗伦萨handicrafthndikr:ft n
17、.手工业者；手工艺品Vocabularyguildgld n.行会，协会；同业公会bas relief n.浅浮雕Newgate n.伦敦西门的著名监狱纽盖特Exeter Hall n.埃克塞特厅，英格兰历史最长的市政厅Royal Academy n.皇家艺术学院Frederick Leighton n.弗雷德里克莱顿（英国画家，雕塑家）Now,as regards the relations of the artist to his surroundings,by which I mean the age and country in which he is born.All good ar
18、t,as I said before,has nothing to do with any particular century;but this universality is the quality of the work of art;the conditions that produce that quality are different.And what,I think,you should do is to realise completely your age in order completely to abstract yourself from it;rememberin
19、g that if you are an artist at all,you will be not the mouthpiece of a century,but the master of eternity,that all art rests on a principle,and that mere temporal considerations are no principle at all;and that those who advise you to make your art representative of the nineteenth century are advisi
20、ng you to produce an art which your children,when you have them,will think old-fashioned.But you will tell me this is an inartistic age,and we are an inartistic people,and the artist suffers much in this nineteenth century of ours.Of course he does.I,of all men,am not going to deny that.But remember
21、 that there never has been an artistic age,or an artistic people,since the beginning of the world.The artist has always been,and will always be,an exquisite exception.There is no golden age of art;only artists who have produced what is more golden than gold.WHAT,you will say to me,the Greeks?Were no
22、t they an artistic people?Well,the Greeks certainly not,but,perhaps,you mean the Athenians,the citizens of one out of a thousand cities.Do you think that they were an artistic people?Take them even at the time of their highest artistic development,the latter part of the fifth century before Christ,w
23、hen they had the greatest poets and the greatest artists of the antique world,when the Parthenon rose in loveliness at the bidding of a Phidias,and the philosopher spake of wisdom in the shadow of the painted portico,and tragedy swept in the perfection of pageant and pathos across the marble of the
24、stage.Were they an artistic people then?Not a bit of it.What is an artistic people but a people who love their artists and understand their art?The Athenians could do neither.How did they treat Phidias?To Phidias we owe the great era,not merely in Greek,but in all art-I mean of the introduction of t
25、he use of the living model.And what would you say if all the English bishops,backed by the English people,came down from Exeter Hall to the Royal Academy one day and took off Sir Frederick Leighton in a prison van to Newgate on the charge of having allowed you to make use of the living model in your
26、 designs for sacred pictures?Would you not cry out against the barbarism and the Puritanism of such an idea?Would you not explain to them that the worst way to honour God is to dishonour man who is made in His image,and is the work of His hands;and,that if one wants to paint Christ one must take the
27、 most Christlike person one can find,and if one wants to paint the Madonna,the purest girl one knows?Would you not rush off and burn down Newgate,if necessary,and say that such a thing was without parallel in history?Without parallel?Well,that is exactly what the Athenians did.In the room of the Par
28、thenon marbles,in the British Museum,you will see a marble shield on the wall.On it there are two figures;one of a man whose face is half hidden,the other of a man with the godlike lineaments of Pericles.For having done this,for having introduced into a bas relief,taken from Greek sacred history,the
29、 image of the great statesman who was ruling Athens at the time,Phidias was flung into prison and there,in the common gaol of Athens,died,the supreme artist of the old world.And do you think that this was an exceptional case?The sign of a Philistine age is the cry of immorality against art,and this
30、cry was raised by the Athenian people against every great poet and thinker of their day-AEschylus,Euripides,Socrates.It was the same with Florence in the thirteenth century.Good handicrafts are due to guilds,not to the people.The moment the guilds lost their power and the people rushed in,beauty and
31、 honesty of work died.And so,never talk of an artistic people;there never has been such a thing.(By Oscar Wilde)QuestionsDirections:Read the above material and answer the following questions:3)What is the relation of a true artist to his surroundings?4)Give some examples of great artists being misun
32、derstood even prosecuted by their inartistic fellow countrymen.Part 3:Listening and Speaking Practice Pass 1:The Road Not Taken(Difficulty)【背景知识】音频中的小诗是曾经四次获得普利策文学奖(The Pulitzer prize in literature)的美国著名诗人罗伯特弗罗斯特（Robert Frost,18741963）的知名作品。在创作风格和技巧方面，弗罗斯特可谓独一无二，卓尔不群，其生活兼跨19和20世纪，他一方面将19世纪美国文学传统几乎发挥
33、到了极致，另一方面却与20世纪的意象派诗人颇多共鸣。在写作内容上，弗罗斯特诗作中颇多涉及田园景象，也因此常常被与艾米莉狄金森（Emily Dickinson）和拉尔夫沃尔多爱默生（Ralph Waldo Emerson）相提并论。他的诗晓畅易懂却隽永深刻，看似简单的人、物或事在他笔下往往呈现出神秘色彩和重大意义，学过这首诗读者便会对此深有体会。Vocabularydiverge dav:d v.分叉undergrowth ndgr n.丛林Task 1:MatchingDirections:Match the words of column A to their explanations in
34、 column B.ABdivergedamage,deteriorationclaim bushesundergrowthseparatefairassertion,reasonwearpleasant Task 2:Back TranslationDirections:Please listen to the clip attentively and then translate the following Chinese sentences into English.1.这条路芳草萋萋，少有人行。2.我极目远望，看这条路消失在丛林深处。这条路芳草萋萋，少有人行。This road was
35、 grassy and wanted wear.我极目远望，看这条路消失在丛林深处。I looked down as far as I could,and saw it bent in the undergrowth.Task 3:Self-DictationDirections：Please write down the material on a piece of paper.You may pause word by word at the beginning;gradually pause phrase by phrase;and then sentence by sentence.Y
36、ou may pause anywhere you need during the dictation.Pay attention to the stress,rhythm,linkage,tone if there are any.Two roads diverged in a yellow wood,And sorry I could not travel bothAnd be one traveler,long I stoodAnd looked down one as far as I couldTo where it bent in the undergrowth;Then took
37、 the other,as just as fair,And having perhaps the better claim,Because it was grassy and wanted wear;Though as for that the passing thereHad worn them really about the same,And both that morning equally layIn leaves no step had trodden black.Oh,I kept the first for another day!Yet knowing how way le
38、ads on to way,I doubted if I should ever come back.I shall be telling this with a sighSomewhere ages and ages hence:Two roads diverged in a wood,and Itook the one less traveled by,And that has made all the difference.Task 4:Oral SpeechDirections:Think about the topic“Choices”carefully then deliver a
39、 short(1-3minutes)presentation on it.1.Importance of making choices 2.How should we make choices?(Reference)We are always confronted with choices in our lives.Making choices can be bittersweet,the sweet part is that every choice presents a possibility in the future;however,the bitter part might over
40、weigh the sweetness,as we tend to become bewildered by too many choices.Every choice is a temptation which could lure us away from our original plans or dreams,and once we made a choice,there is no turning-back,because“way leads on to way”and a single choice will make all the difference in our lives
41、 as Robert Frost had said in his poem.Making a decision among many choices is extremely important,but the problem is how we can be a smart chooser.Undoubtedly,analyzing all the options carefully could be of great help,besides,suggestions from others,especially those who have much more experience or
42、keen insights also can be very valuable.But the core of this problem is to stick to our original dreams,all those choices that have little to do with our dreams,no matter how tantalizing they are,should be rejected.In other words,making choices is resisting temptations,only those people who are fait
43、hful to their dreams can be a smart chooser.Pass 2:These Things Shall Never Die(Difficulty)【背景知识】这首小诗的作者是英国著名作家查尔斯狄更斯(Charles Dickens)，狄更斯是19世纪英国现实主义文学的杰出代表。他一生笔耕不辍，著作等身，且经典著作很多，雾都孤儿(Oliver Twist)、远大前程(Great Expectations)、双城记(A Tale of Two Cities)、荒凉山庄(Bleak House)等等作品都广为流传，对英国各方各面的社会生活进行了深刻的观察和描写，对
44、当时诸多社会问题的揭露鞭辟入里，马克思把他和萨克雷等称为英国的“一批杰出的小说家”。此处选取狄更斯的一首小诗这些事物永远不会消逝，为读者在阅读其小说之余提供一个了解狄更斯的别样视角。Vocabularystirst:(r)v.搅动 yearnj:n v.渴望nighnaadv.靠近contritekntrat adj.悔罪的thee i:pron.（宾格）你Task 1:Word HuntingDirections:Try your best to spot the equivalent English expressions of the following words and expres
45、sions while listening to the clip.冲动 奋斗 腼腆 悲痛 乞求 impulse strive timid grief pleaTask 2:Spot DictationDirections:Listen to the poem again and fill in the blanks.1.The pure,the bright,the beautiful,that _ our hearts in youth.2.The _ somethings lost,the spirits yearning cry.3.The plea for _ softly brea
46、thed,when _ threatens nigh.Stirredlonging forpleajusticeTask 3:Self-DictationDirections：Please write down the material on a piece of paper.You may pause word by word at the beginning;gradually pause phrase by phrase;and then sentence by sentence.You may pause anywhere you need during the dictation.P
47、ay attention to the stress,rhythm,linkage,tone if there are any.The pure,the bright,the beautiful,that stirred our hearts in youth,The impulses to wordless prayer,The dreams of love and truth;The longing after somethings lost,The spirits yearning cry,The striving after better hopes These things can
48、never die.The timid hand stretched forth to aid A brother in his need,A kindly word in griefs dark hour that proves a friend indeed;The plea for mercy softly breathed,When justice threatens nigh,The sorrow of a contrite heartThese things shall never die.Let nothing pass for every hand Must find some
49、 work to do;Lose not a chance to waken loveBe firm,and just,and true;So shall a light that cannot fade Beam on thee from on high.And angel voices say to theeThese things shall never die.Pass 3:Charlottes Web(Difficulty)【背景知识】本视频节选自电影夏洛的网(或译为夏洛特的网)，该电影根据美国作家E.B.怀特（Elwyn Brooks White,1899-1985）的同名小说改编
50、。怀特以散文著称，却创作出了三部闻名遐迩的经典童书精灵鼠小弟（Stuart Little）、夏洛的网(Charlottes Web)和吹小号的天鹅(The Trumpet of the Swan)，其中最杰出的是第二部。夏洛的网创作于1952年，面世后便成为美国儿童文学的经典之作，至今畅销不衰，在中国也已经拥有了三种不同译本和无数读者。很多读者，包括评论家认为，怀特的这部小说语言虽无大肆渲染，感情也不形于色，内在却温暖深刻，疏离与友谊、生命与死亡、磨难与抗争等主题都在其中得到了体现。小说夏洛的网早在1973年就被改编拍摄成了动画片。本视频选自2006年上映的同名电影，影片的配音阵容非常强大，刚
