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2014年考研英语（一）英译汉试题分析和参考答案
2014年考研英语（一）英译汉试题分析和参考答案
试题来源于The New York
Review of Books，汉语习惯称之为《纽约书评》，是读书人最爱浏览的网站之一，也是几大书评网站中关注最高的网站之一。发表的日期是2013年4月4日，原文题目是Beethoven and the Quality of
Courage，通篇文章主要谈论的是贝多芬音乐中体现出贝多芬对自由的看法。今年的试题与往年相比，有以下几点异同：
保持英语一翻译部分一贯的难度，但是总体难度比2013年要低。
保持英语一翻译部分一贯的特色，偏论述，爱选学术和书评性质方面的文章，2011年也曾经考过书评。
虽然文章提及的是贝多芬，感觉偏音乐，其实不然，保持了英语一翻译部分一贯的标准，大家都可以读懂，无太强的专业性。
原文文章如下，划线部分是今年真题，出题人对原文有较大的改动，真正试题我会稍后尽快整理出来。
也附上参考答案，时间匆忙，或许有错，请大方之家笑过之后指正。
北京新东方学校国内部
It is always interesting and sometimes even important to
have intimate knowledge of a composer’s life, but it is not
essential in order to understand the composer’s works. In
Beethoven’s case, one mustn’t forget that in 1802, the year he was
contemplating suicide—as he wrote in an unsent letter to his
brothers that came to be known as the “Heiligenstadt Testament”—he
also composed the Second Symphony, one of his works that was most
positive in spirit, thus showing us that it is of vital importance
to separate his music from his personal biography and not to
conflate the two.
Therefore, I will not aim here to provide an elaborate
psychological study of the man Beethoven through an analysis of his
works, or vice versa. In fact, although the focus of this essay
will indeed be Beethoven’s music, it must be understood that one
cannot explain the nature or the message of music through words.
Music means different things to different people and sometimes even
different things to the same person at different moments of his
life. It might be poetic, philosophical, sensual, or mathematical,
but in any case it must, in my view, have something to do with the
soul of the human being. Henc but the means of
expression is purely and exclusively physical: sound. I believe it
is precisely this permanent coexistence of metaphysical message
through physical means that is the strength of music.46) It is
also the reason why when we try to describe music with words, all
we can do is articulate our reactions to it, and not grasp music
itself. 这也是为什么当我们试图用语言来描述音乐时，我们只能用语言来表达我们对音乐的感受，而不能完全理解音乐本身。
Beethoven’s importance in music has been principally
defined by the revolutionary nature of his compositions. He freed
music from hitherto prevailing conventions of harmony and
structure. Sometimes I feel in his late works a will to break all
signs of continuity. The music is abrupt and seemingly
disconnected, as in the last piano sonata (op. 111). In musical
expression, he did not feel restrained by the weight of convention.
47) By all accounts he was a freethinking person, and a
courageous one, and I find courage an essential quality for the
understanding, let alone the performance, of his works.
人们普遍认为他是个思想自由的人，是个勇敢无畏的人，我发现勇敢这一特征是理解他作品的关键，更不必说是演出其作品的关键。
This courageous attitude in fact becomes a requirement for
the performers of Beethoven’s music. His compositions demand the
performer to show courage, for example in the use of dynamics. 48)
Beethoven’s habit of increasing the volume with an intense
crescendo and then abruptly following it with a sudden soft passage
(a “subito piano”) was only rarely used by composers before
him. 贝多芬习惯用渐强的方式来逐渐增高乐曲的音量，然后又突然跟上一节轻柔的乐段，在他之前，只有极个别作曲家会使用这种表现方式。（说明：由于还没有看到完整的试卷，所以这一句话出题人会有些改动，暂时这样翻译，请参考即可。）In other words, Beethoven asks the performer to
show courage, not to be afraid of going to the edge of the
precipice, and he thus forces the performer to find the “line of
most resistance,” a phrase coined by the great pianist Artur
Beethoven was a deeply political man in the broadest sense
of the word. He was not interested in daily politics, but concerned
with questions of moral behavior and the larger questions of right
and wrong affecting the entire society.49) Especially
significant was his view of freedom, which, for him, was associated
with the rights and responsibilities of the individual: he
advocated freedom of thought and of personal expression.
尤为重要的是他对自由的观点，对他而言，这种自由将个人的权利和责任联系起来：他倡导思想自由和个人言论自由。
Beethoven would have had no sympathy with the now widely
held view of freedom as essentially economic, necessary for the
workings of the market economy. A relatively recent example of the
economic definition of freedom can be found in “The National
Security Strategy of the United States of America,” a document
issued by President George W. Bush on September 17, 2002, defining
America’s relation to the rest of the world. It states that the aim
of the United States, as the most powerful nation on earth, is to
extend the benefits of freedom across the globe…. If you can make
something that others value, you should be able to sell it to them.
If others make something that you value, you should be able to buy
it. This is real freedom, the freedom for a person—or a nation—to
make a living.
Beethoven’s music is too often seen as exclusively
dramatic, expressive of titanic struggle. In this respect, the
“Eroica” and the Fifth symphonies represent only one side of his
one must also appreciate, for example, his “Pastoral”
Symphony. His music is both introverted and extroverted and it
again and again juxtaposes these qualities. The one human trait
that is not present in his music is superficiality. Nor can it be
characterized as shy or cute. On the contrary, even when it is
intimate, as in the Fourth Piano Concerto and the “Pastoral”
Symphony, it has an element of grandeur. And when it is grand, it
also remains intensely personal, the obvious example being the
Ninth Symphony.
Beethoven, in my view, was able to achieve a perfect
balance in his music between vertical pressure—pressure from the
composer’s mastery of musical form—and horizontal flow: he always
combines vertical factors such as harmony, pitch, accents, or
tempo, all of which relate to a sense of rigor, with a great sense
of freedom and fluidity. This question of extremes and of balance,
I believe, must have been a conscious preoccupation for him. You
find an expression of it in Fidelio, for example: the
composition contains a constant movement between polar
opposites—from light to darkness, the negative to the positive,
between events that occur above, on the surface, and those that
take place underground. Just as he was unable to write anything
superficial, or simply pretty, he was equally unable or unwilling
to write anything portraying what was fundamentally and exclusively
evil. Even a character such as Pizarro, the governor of the prison
in Fidelio, can be understood as a personification of
corruption and oppression, but not of evil.
Beethoven’s music tends to move from
chaos to order (as with the introduction to the Fourth Symphony) as
if order were an imperative of human existence. For him, order does
not result from forgetting or ignoring the disorders that plague
order is a necessary development, an improvement
that may lead to the Greek ideal of catharsis. It is not by chance
that the Funeral March is not the last movement of the Eroica
Symphony, but the second, so that suffering does not have the last
word. 50) One could paraphrase much of the work of Beethoven by
saying that suffering is inevitable, but the courage to fight it
renders life worth living.
我们可以这样来解读贝多芬的大部分作品：痛苦是难以避免的；但是与之相抗争的勇气使得生命值得继续。
以上网友发言只代表其个人观点，不代表新浪网的观点或立场。}