出國(guó)網(wǎng)考研英語(yǔ)真題頻道為大家提供2014考研英語(yǔ)真題解析：翻譯，歡迎大家參考借鑒!
    2014考研英語(yǔ)真題解析：翻譯
    (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.
    這句話的主語(yǔ)位置并沒(méi)有如正常的主語(yǔ)是名詞，出現(xiàn)在was前的是一個(gè)Especially significant，這是不能做主語(yǔ)的，故我們想到有特殊結(jié)構(gòu)在這句話中的存在。這個(gè)一個(gè)比較典型的表語(yǔ)前置的倒裝，還原后語(yǔ)序應(yīng)為his view of freedom was especially significant，這樣看的話主干部分就很好理解。
    這種倒裝結(jié)構(gòu)也是我們近年的真題的考察重點(diǎn)之一，比如在我們2012年英語(yǔ)一真題的Text 1中的最后一段，就出現(xiàn)了這樣的結(jié)構(gòu)：Far less certain, however, is how successfully experts and bureaucrats can select our peer groups and steer their activities in virtuous directions. 而這句話也恰恰是這篇文章最后一道題的解題關(guān)鍵，這句話的準(zhǔn)確理解決定了這道題的得分與否。
    這類倒裝結(jié)構(gòu)的突破口在于：識(shí)別出be動(dòng)詞之前的內(nèi)容是名詞性的還是形容詞性的，然后找到句子主干，判斷出句子的正常語(yǔ)序，理清句中各部分的關(guān)系。翻譯時(shí)既可以按照主謂語(yǔ)的順序翻譯，也可以按照英語(yǔ)表達(dá)順序翻譯。
    表語(yǔ)前置的倒裝是廣大考生覺(jué)得比較難分辨的語(yǔ)法點(diǎn)，希望大家注意。
    2014年翻譯真題：
    Section III Translation
    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)
    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. Hence it is metaphysical; 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.
    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. 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.
    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 was only rarely used by composers before him.
    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 behaviour 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.
    Beethoven’s music tends to move from chaos to order as if order were an imperative of human existence. For him, order does not result from forgetting or ignoring the disorders that plague our existence; 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.
    答案：
    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.
    這就是為什么當(dāng)我們嘗試用語(yǔ)言來(lái)描述音樂(lè)時(shí)，我們能清楚的表達(dá)對(duì)音樂(lè)的反應(yīng)，但并沒(méi)有領(lǐng)會(huì)音樂(lè)的精髓。
    47. By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let along the performance, of his works.
    據(jù)大家所說(shuō)，貝多芬是個(gè)思想自由而且有勇氣的人，發(fā)現(xiàn)勇氣是理解他作品的本質(zhì)，更不用說(shuō)演奏他的作品了。
    48. Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him.
    貝多芬表演時(shí)習(xí)慣性的增加他的音量，然后突然轉(zhuǎn)為柔和的節(jié)拍，前輩的音樂(lè)家很少有這種習(xí)慣。
    49. Especially significant was his views of freedom, which, for him, was associated with the rights and responsibilities of the individual; he advocated freedom of thought and of personal expression.
    尤其重要的是他對(duì)自由的看法，他認(rèn)為這和個(gè)人的權(quán)利和責(zé)任有關(guān)，他提倡思想自由和個(gè)人言論自由。
    50. One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.
    人們會(huì)將貝多芬的很多作品解釋為——痛苦是難免的，但是與痛苦抗?fàn)幍挠職獗砻魃档没钕氯ァ?BR>    推薦閱讀:
    　　
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