Three days to See 英文翻译

2. 课文二

Text 1 Three Days to See by Helen Keller 课文一 假如我有三天光明 海伦·凯勒 Helen Keller, blind and deaf from infancy, 海伦·凯勒自幼就又盲又聋，在became a successful lecturer, author and educator 老师的帮助下成为一名成功的讲师、作家with the help of her teacher. In the following 及教育家。在这篇文章里，海伦·凯勒讨essay, she discussed how people should value their 论了人们应该怎样珍惜自己 的视觉能力 ability to see. All of us have read thrilling stories in which 我们大家都读过这样一些惊心动魄the hero had only a limited and specified time to 的故事，故事中的主人公 能活的时间有live. Sometimes it was as long as a year; sometimes 限而具体，或长达一年，或短至24小时。as short as twenty-four hours. But always we were 但是我们总是感兴趣的是，行将死亡的人interested in discovering just how the doomed man 究竟愿意怎样度过他的最后时光。当然，chose to spend his last days or his last hours. 我说的是能进行选择的自由人，而不是活I speak, of course, of free men who have a choice, 动范围受到严格限制的囚犯。 not condemned criminals whose sphere of activities is strictly delimited. 这些故事启迪我们思考，诱发我们想象，当我们处于此类情况时，该怎么Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations 做呢作为常人，我们在最后的时刻会急于想干些什么，体验些什么，联想些什么呢回首往事时，我们又能领略到何种快慰，should we crowd into those last hours as mortal 何种悔恨呢 beings What happiness should we find in reviewing the past, what regrets Sometimes I have thought it would be an 有时我想，如果我们度过每一天excellent rule to live each day as if we should 时都假定明天即将去世，这会是个极好的die tomorrow. Such an attitude would emphasize 准则。这样的处世态度会强烈地突出生命sharply the values of life. We should live each 的价值。我们会亲切地、朝气蓬勃地、感day with a gentleness, a vigor, and a keenness of 受强烈地来度过每一天，而这一切却往往appreciation which are often lost when time 在日复一日延续的时光与岁月之中消失。stretches before us in the constant panorama of 当然，有些人会奉行享乐主义“吃喝玩more days and months and years to come. There are 乐”的信条，但是大多数人则会因死亡就those, of course, who would adopt the Epicurean 在眼前而使心灵得到净化。 motto of “Eat, drink, and be merry;” but most 在故事中，那死神呼唤的主人公通people would be chastened by the certainty of impending death. 常在最后时刻交上好运而获得拯救 ，但他的价值观几乎总是发生了变化。他更加In stories, the doomed hero is usually saved 珍视生命的意义及其永恒而神圣的价值。at the last minute by some stroke of fortune, but 人们常常注意到，那些生活在或者曾经生almost always his sense of values is changed. He 活在死亡的阴影下的人 ，对他们所做的becomes more appreciative of the meaning of life 每一件事都赋予甜美的色彩。 and its permanent spiritual values. It has often been noted that those who live, or have lived, in 然而，我们中间大多数人则把生命the shadow of death bring a mellow sweetness to 视为理所当然。我们知道，总有一天我们everything they do. 会死去，但通常我们又把那一天想象为遥Most of us, however, take life for granted. 远的未来。当我们身体健康时，死亡是件We know that one day we must die, but usually we 难以想象的事，我们几乎不会想到它。岁picture that day as far in the future. When we are 月无穷，因此我们忙于种种琐事，几乎意in buoyant health, death is all but unimaginable. 识不到我们漠然的生活态度。 We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, 我们在使用感觉功能时，恐怕也hardly aware of our listless attitude toward life. 持同样的冷漠态度。 只有聋者才知道听觉只有盲人才理解视觉给人带来的The same lethargy, I am afraid, characterizes 的重要，这一观点特别适用于那些在成the use of all our faculties and senses. Only the 各种恩赐。而那些视觉deaf appreciate hearing, only the blind realize 年后才丧失视觉和听觉的人。the manifold blessings that lie in sight. 和听觉从未受到损害的人 ，则很少充分他们的眼睛和耳朵Particularly does this observation apply to those 利用这些神圣的官能。who have lost sight and hearing in adult life. But 模糊地、漫不经心地、不加欣赏地纳入所those who have never suffered impairment of sight 有的景象和声音。还是那句老话： 东西 or hearing seldom make the fullest use of these 丢失后方知珍贵，直到生病时才思健康。blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration, and with little appreciation. It is the same old 我常常想，如果每个人在刚成年story of not being grateful for what we have until 时某个时候能失明或失聪几天，这或许将we lose it, of not being conscious of health until we are ill. 是件喜事。黑暗将使他更加珍视景象；而寂静则将教他领略声音的欢乐。 I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult 我不时考一考我的有视力的朋life. Darkness would make him more appreciative 友，以了解他们看到了什么。最近一位好她是在林中溜达了好一会儿of sight; silence would teach him the joys of 朋友来看我，sound. 才回来的，我问她观察到了些什么。“没Now and then I have tested my seeing friends 什么特别的东西，”她答道。要不是我对我是会觉得to discover what they see. Recently I was visited 类似的反应已习以为常的话，by a very good friend who had just returned from 难以置信的。其实，我早已深信：有视力a long walk in the woods, and I asked her what she 者所见甚少。 had observed. “Nothing in particular,” she replied. I might have been incredulous had I not 我问自己，在林中溜达了一个小been accustomed to such responses, for long ago 时而竟未看到什么值得注意的东西，这怎I became convinced that the seeing see little. 么可能呢我这个看不见东西的人，仅凭触我感How was it possible, I asked myself, to walk 摸就发现千百种使我感兴趣的东西。我用手爱抚着光滑for an hour through the woods and see nothing 觉到树叶精致的对称。或是粗糙的松树皮。春天里，worthy of note I who cannot see find hundreds of 的白烨树皮，things to interest me through mere touch. I feel 我满怀希望地触摸树枝，寻找一个幼芽-the delicate symmetry of a leaf. I pass my hands 大自然经过冬日沉睡重又苏醒的最初征我摸着花朵上那可爱的天鹅绒般的质lovingly about the smooth skin of a silver birch, 兆。or the rough shaggy bark of a pine. In spring I 地，以及它那叠合巧妙的花苞，于是我领touch the branches of trees hopefully in search 略到了某种大自然的神奇。偶尔，如果十of a bud, the first sign of awakening Nature after 分幸运的话，我把手轻轻搭在一棵小树her winter's sleep. I feel the delightful, velvety 上，能感到一只小鸟儿尽情欢歌的颤动。texture of a flower, and discover its remarkable 我非常高兴让清凉的溪水流过我张开的convolutions; and something of the miracle of 手指。对我来说，那厚密的松针层或茂盛对Nature is revealed to me. Occasionally, if I am 松软的草地比豪华的波斯地毯更惬意；四季的变幻多姿宛如一出动人心very fortunate, I place my hand gently on a small 我来说，它的情节似流水从我tree and feel the happy quiver of a bird in full 弦永不尽止的戏剧，song. I am delighted to have the cool water of a 指尖缓缓流过。 brook rush through my open fingers. To me a lush 我的心时时在呼喊，渴望能见到carpet of pine needles or spongy grass is more 所有这一切。如果我单靠触摸就能获得如welcome than the most luxurious Persian rug. To 此多的乐趣，那么通过视觉则能领略到更me the pageant of seasons is a thrilling and 多美景！可是，那些视觉完好的人显然所unending drama, the action of which streams through my finger tips. 见甚少。大千世界的五光十色与千姿百态被认为是理所当然。对已获得的不以为At times my heart cries out with longing to see all these things. If I can get so much pleasure 然，而对未获得的却期盼不已，这一点或from mere touch, how much more beauty must be 许是人类的特性，可是，非常遗憾，在光revealed by sight. Yet, those who have eyes 明的世界里，天赐的视觉只被当作一种单apparently see little. The panorama of colour and 纯的方便，而不是一种使生活日益完美的action which fills the world is taken for granted. 手段。 It is human, perhaps, to appreciate little that 如果我是大学校长，我就要开设which we have and to long for that which we have 一门必修课，“如何使用你们的眼睛”。not, but it is a great pity that in the world of 教授应尽力向学生演示，如何做到真正看light the gift of sight is used only as a mere 见那些从他们面前不知不觉溜掉的东西，convenience rather than as a means of adding fullness to life. 从而为自己的生活增添快乐。他将尽力唤醒他们那些昏睡懒散的感官。 If I were the president of a university I should establish a compulsory course in “How to 假定你在开动脑筋研究这一问Use Your Eyes”. The professor would try to show 题：如果你只有三天的视力，你将如何使his pupils how they could add joy to their lives 用你的眼睛呢如果你知道，当第三天的黑by really seeing what passes unnoticed before 夜来临，太阳就永远不再为你升起，你将them. He would try to awake their dormant and 如何度过这宝贵的三天呢你最想让你的sluggish faculties. 目光落在何处 Suppose you set your mind to work on the problem of how you would use your own eyes if you 我当然最愿意看的，是那些在我整had only three more days to see. If with the 个失明岁月里对我已变得亲切的东西。你oncoming darkness of the third night you knew that 也会想让你的目光长久地停留在那些对the sun would never rise for you again, how would 你已变得亲切的东西上，这样你就可以把you spend those three precious intervening days 对它们的记忆带进那悄然而来的漫漫长What would you most want to let your gaze rest upon 夜中去。 I, naturally, should want most to see the 我要看看那些待我仁慈、温和、things which have become dear to me through my 友好，从而使我的生活变得有价值的人。years of darkness. You, too, would want to let your 首先，我要好好地端详我的恩师安·沙利eyes rest long on the things that have become dear 文·梅丝夫人的脸。她在我年幼的时候就to you so that you could take the memory of them 来到我身边，替我打开了外部世界。我不with you into the night that loomed before you. 仅想看她的脸形， 以便能把它珍藏在我的 记忆中，而且还想细细揣摩这脸容，为她I should want to see the people whose kindness 那柔情与耐心找到活生生的证据，她正是and gentleness and companionship have made my life 怀着这种柔情与耐心完成了教育我的艰worth living. First I should like to gaze long upon 巨任务。我想在她的眼中看到那种使她坚the face of my dear teacher, Mrs. Anne Sullivan 定地面对各种困难的个性的力量，以及那Macy, who came to me when I was a child and opened 种经常在我面前流露出来的对全人类的the outer world to me. I should want not merely 同情心。 to see the outline of her face, so that I could cherish it in my memory, but to study that face 我不知道，透过\"心灵之窗\"，即眼and find in it the living evidence of the 睛，来探视一个朋友的心是怎么回事。我sympathetic tenderness and patience with which 只能通过我的指尖来\"看\"一张脸的轮廓。she accomplished the difficult tasks of my 我能探察到欢笑、忧伤和许多其他明显的education. I should like to see in her eyes that 感情。我根据触摸脸庞的感觉来辨认朋strength of character which has enabled her to 友，但是我的确不能靠触摸来描绘出他们stand firm in the face of difficulties, and that 的个性。当然，我通过其他手段，通过他compassion for all humanity which she has revealed to me so often. 们向我表达的思想，通过他们向我表现出的行动来了解他们的个性。但是，我无法I do not know what it is to see into the heart 对他们有更深的理解，因为我确信，要达of a friend through that “window of the soul”, 到这种更深的理解，必须要目视他们，观the eye. I can only “see” through my finger tips 察他们对各种所表达的思想及情况所作the outline of a face. I can detect laughter, 的反应，留意他们眼睛里和脸上那种转瞬sorrow, and many other obvious emotions. I know 即逝的反应。 my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, 我熟悉和我亲近的朋友，因为长年through other means, through the thoughts they 累月他们向我显露了自己的各个方面；然express to me, through whatever of their actions 而对于偶尔结识的朋友我只有一种不完are revealed to me. But I am denied that deeper 全的印象，这种印象是仅凭一次握手，一understanding of them which I am sure would come 些言语获得的。我用指尖触摸他们的嘴through sight of them through watching their 唇，或是靠他们叩击我的手掌而获取这些reactions to various expressed thoughts and 言语。 circumstances, through noting the immediate and 相比之下，你们这些能看见的人，fleeting reactions of their eyes and countenance. 通过观察表情的微妙变化、肌肉的颤动和Friends who are near to me I know well, because 手的摆动来迅速地把握别人的本质特点，through the months and years they reveal 就容易得多，也令人满意得多。但是，你themselves to me in all their phases; but of causal 们可曾想到要用自己的视觉去看透一个friends I have only an incomplete impression, an 朋友或熟人的内在性格你们这些有视觉impression gained from a handclasp, from spoken 的人中的大多数，不就是随便看到一张脸words which I take from their lips with my finger 的外部特征就到此为止了吗 tips, or which they tap into the palm of my hand. How much easier, how much more satisfying it 举例来说，你能准确地描绘出五is for you who can see to grasp quickly the 个好朋友的脸形吗你们中有些人可以，但essential qualities of another person by watching 许多人不行。作为试验，我曾向一些结婚the subtleties of expression, the quiver of a 多年的丈夫询问过他们妻子眼睛的颜色，muscle, the flutter of a hand. But does it ever 但他们常常表现出尴尬困惑，承认不知occur to you to use your sight to see into the inner 道。顺便提一下，妻子们老是埋怨丈夫不nature of a friend or acquaintance Do not most of 注意她们的新衣服、新帽子以及房间布置you seeing people grasp casually the outward 中的变化。 features of a face and let it go at that 有视觉的人，眼睛很快就习惯了For instance, can you describe accurately the 周围的日常事物，因此他实际上只见到一faces of five good friends Some of you can, but 些惊人的、壮观的景象。但是，哪怕是在many cannot. As an experiment, I have questioned 看最壮观的场面时，他们的眼睛也是懒洋husbands of long standing about the color of their 洋的。法院记录天天都表明“目击者”所wives' eyes, and often they express embarrassed 见是多么地不准确。某一事件可能被几个confusion and admit that they do not know. And, 目击者从几个不同角度“看到”；有些人incidentally, it is a chronic complaint of wives 比别人看得多些，但几乎没有人看到他们that their husbands do not notice new dresses, new 视野之内的一切。 hats, and changes in household arrangements. 哦，如果我能有即使仅仅三天的The eyes of seeing persons soon become 光明，我将能见到多少我想看到的东西accustomed to the routine of their surroundings, 啊！ and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately “eyewitnesses” see. A given event will be “seen” in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision. Oh, the things that I should see if I had the 返回 power of sight for just three days! (1634 words) TOP Text 2 Beethoven by Anne Pimlott Baker Beethoven arrived in Vienna on 10 November 1792, not yet twenty-two and eager to begin composition 贝多芬于1792年11月10日抵达lessons with Haydn. He found himself an attic room 维也纳。他年龄还不到22岁，急于向海but he had scarcely had time to settle in before he received the news that his father had died 顿学习作曲。他替自己找了一间阁楼，可课文二 贝多芬 安妮·平罗特·贝克 几乎还没来得及搬进去，就得知父亲12suddenly, in Bonn, on 18 December. Interestingly, 月18号在波恩突然去世的消息。有趣的Beethoven did not mention his father's death in 是，贝多芬没有在日记中提到父亲的去his diary, but he wrote to the Elector pointing 世，但他给汉诺威选侯去信说， 自己仍out that he still needed to support and educate 然需要资助两个弟弟上学；结果选侯把他his two young brothers. As a result, the Elector doubled his salary. These quarterly payments 的薪水增加了一倍，这些按季付的薪水一直延续到1794年，他的两个弟弟卡尔、continued until March 1794, and his brothers were soon to follow him to Vienna, Carl in 1794 and Johann at the end of 1795. 约翰也分别于1794年、1795年年底先后跟随他来到了维也纳。 Beethoven soon attracted the attention of Prince 贝多芬很快就引起了卡尔·里奇洛Carl Lichnowsky, and moved into his apartments as 乌斯基王子的注意，并且作为座上客搬进a guest, remaining there for about two years. Lichnowsky became an important patron and Beethoven often played at his Friday morning 了王子的宫殿；他在此度过了两年。里奇洛乌斯基成了主要的资助人，贝多芬经常在他的礼拜五上午室内音乐会上演奏。里chamber music concerts. Lichnowsky retained his 奇洛乌斯基有自己的弦乐四重奏乐队，由own string quartet, led by Ignaz Schuppanzigh, who 伊格纳兹·叔番泽领队。当贝多芬搬来was still a teenager when Beethoven first moved 时，他还是个少年。贝多芬的几部作品是there. Several of Beethoven's compositions had 在那儿首先演奏的，后来贝多芬将钢琴奏their first performances there, and Beethoven 鸣曲作品第13号《悲怆》献给了里奇洛later dedicated his piano sonata op. 13, the Pathetique, to Lichnowsky. 乌斯基。 Beethoven began lessons with Haydn at once and these continued throughout 1793, but he seems to 贝多芬立即师从海顿，课程一直have found them disappointing. “Papa” Haydn was 延续到1793年，但他似乎发现这些课程enjoying enormous success at this time and 令人失望。海顿“爸爸”当时沉浸在巨大显然很少顾及自己的弟evidently devoted very little attention to his 成功的喜悦之中，pupil. He set Beethoven to work on counterpoint, 子。他让贝多芬学习复调音乐，采用标准（1725），using the standard text book, Fux's Gradus ad 的教材，弗克斯的《艺术津梁》Parnassum (1725), but Beethoven complained 但贝多芬抱怨自己没有取得任何进步（虽(though not to Haydn) that he was not making any 然不是对海顿抱怨），因为海顿太忙，不progress because Haydn was much too busy to 能恰当地纠正练习中的错误；在这一年，correct the exercises properly and it seems that 似乎是作曲家约翰·尚克暗中帮助贝多甚至到了让贝多芬把修改的for that year the composer Johan Schenk secretly 芬进行练习，helped Beethoven with the exercises, even going 错误自己抄写出来的地 步，这样海顿就so far as to get Beethoven to copy out any 不会意识到所发生的事情。在维也纳的头海顿要贝多芬在任何发表作品的头corrections in his own hand so that Haydn would 几年，not realize what was going on. Haydn wanted 页标上“海顿弟子”，但贝多芬拒绝了。Beethoven to put “pupil of Haydn” on the title 他告诉朋友们，尽管他跟海顿学，其实什page of any works published during these early 么也没学到。然而，贝多芬忍受着委屈，years in Vienna, but Beethoven refused, telling 在1793年的夏天，陪海顿来到尼可劳his friends that although he had had lessons from 斯·埃斯特海王子在艾森施塔特的避暑Haydn, he had learned nothing from him. However, 住宅；椐贝多芬从前在波恩的老师尼弗Beethoven kept his grievances to himself, and 说，海顿叫贝多芬陪他去伦敦进行第二次accompanied Haydn to Eisenstadt, the summer 巡回演出，这是为1794年而计划的，但residence of Prince Nikolaus Esterhazy, in the 在这以前，一个令人尴尬的插曲恶化了他summer of 1793. According to Neefe, Beethoven's 们的关系。尽管科隆的选侯在年初就把他former teacher in Bonn, Haydn had asked Beethoven 的薪水增加了一倍，而且每年还另外送给to accompany him on his second concert tour to 他500弗罗林作为生活费用，贝多芬仍然London, planned for 1794, but before then an 觉得手头过紧。1793年他要海顿亲自给embarrassing episode soured their relationship. 选侯写信，海顿指出贝多芬欠了债，不得Although the Elector of Cologne had doubled 不向他借钱，并且要选侯增加贝多芬的薪Beethoven's salary earlier in the year and was 水；他附上5首曲子，并报告说 ，他的sending him an additional 500 florins a year to 学生自从来到维也纳后取得了很大的进cover his living expenses, Beethoven still felt 步，他预言贝多芬将成为欧洲最伟大的作short of money, and he got Haydn to write to the 曲家之一。可事实上，这5首曲子中，只Elector on his behalf in November 1793. Haydn 有一首是在维也纳作的——其它几首是pointed out that Beethoven was in debt, and had 他修订的在波恩时写的演奏作品。选侯意had to borrow money from him, and asked the Elector 识到这一情况，冷冷地答道，“我十分怀to increase Beethoven's salary. He sent copies of 疑，他目前是否真的在作曲方面取得了重five compositions and reported that his pupil had 大进步，而且我担心，他会象第一次去维made great progress since coming to Vienna, 也纳那样，除了债务外什么也不会带回predicting that Beethoven would become one of the 来。”既然与海顿在一起什么曲子也没greatest composers in Europe. But in fact , of the 作，选侯建议贝多芬回到波恩。在作曲和five works, only one had been composed in Vienna 收入方面，似乎贝多芬一直在欺骗海顿，－ the others were revisions of pieces written, 这也许能充分地解释，为什么1794年1and performed, while, he was still in Bonn. The 月贝多芬最终没有陪海顿去英国。 Elector noticed this and replied coolly, “I very much doubt that he has made any important progress in composition during his present stay, and I fear that, as in the case of his first journey to Vienna, he will bring back nothing but debts,” and suggested that Beethoven return to Bonn, since he had not composed anything new while studying with Haydn. It looks as though Beethoven had been deceiving Haydn, both about his compositions and his income, and this may well explain why he did not after all accompany Haydn to London in January 两人的关系在以后几年里处于紧1794. 张状态。有这样一个传说：当贝多芬的三Relations between the two men remained strained 个钢琴三重奏 的第1号作品首次在里奇for some years. There is a story that when 洛乌斯基王子的晚会上演奏时，海顿对这些作品十分欣赏，但建议他不要发表第3Beethoven's three Piano Trios, op. 1, were first performed at one of Prince Lichnowsky's soirees, 首，即C小调三重奏，因为这首曲子对公Haydn liked them, but advised Beethoven not to 众来说难度太大；贝多芬认为这是最好的一首曲子，显然认为这是海顿对他心怀嫉publish the third, the C minor trio, because it was too difficult for the public. Beethoven, who 妒（尽管这是不可能的，因为作为一位作曲家，贝多芬当时被海顿的盛名 遮挡得thought it the best, evidently believed this was because Haydn was jealous (although this is 厉害），事实上这些三重奏销路很好，贝然而他把钢琴奏unlikely, as Beethoven was very much in Haydn's 多芬因此赚了一大笔钱。鸣曲，作品第2号的头3首献给了海顿，shadow as a composer at this time), and in fact 并于1795年秋初在奇洛乌斯基王子的家the trios sold well, and Beethoven made a large profit out of them. However, he dedicated his 中上演，此时海顿刚刚从伦敦回来。在以后的数月里，两人经常在音乐会上同时露first three piano sonatas, op. 2, to Haydn, and they were performed at Prince Lichnowsky's house 面，海顿任指挥，贝多芬弹钢琴，就象in the early autumn of 1795, just after Haydn's 1795年12月上演贝多芬的降B大调钢琴return from England. In the following years, the 奏鸣曲作品第19号时一样。尽管贝多芬two men often appeared together in concerts, with 一直在背地里抱怨海顿，1809年海顿死Haydn conducting and Beethoven playing the piano, 后，贝多芬以谈论亨德尔和莫扎特那样的as when Beethoven played his own piano concerto 口吻谈论他，并于1815年在日记中写到：in BI , op. 19, in December 1795, and although “亨德尔、巴赫、格鲁克、莫扎特及海顿Beethoven continued to make carping remarks about 的画像在我的房间里……他们能够增强Haydn in private, after his death in 1809 我的忍耐力。” Beethoven talked of him in the same breath as Handel and Mozart, and in 1815 wrote in the Tagebuch (his journal) that “portraits of Handel, Bach, Gluck, Mozart and Haydn are in my room ... They can promote my capacity for endurance.” 在海顿去英国后，贝多芬开始觉得更为安全， 也开始了新的创作。当海After Haydn went to England, Beethoven began to 顿不在的时候，他求教圣斯弟凡大教堂的feel more secure, and began to compose new works. 指挥以及维也纳最著名的复调音乐教师In Haydn's absence he had lessons with Johann 约翰·乔治·阿巴拉彻斯柏格。他后来还Georg Albrechtsberger, Kapellmeister at St. 向萨里埃利学习意大利歌曲创作。不过，Stephan's Cathedral, and the most famous teacher 此时贝多芬作为钢琴演奏家的名声远远of counterpoint in Vienna. It is also likely that 大于他作为作曲家的名声。早在1793年he later had lessons in Italian song writing from 就有人说：自莫扎特以来，还从未听到过Salieri. But Beethoven was far more famous at this 如此娴熟的演奏；演奏家约瑟夫·格林内point as a virtuoso pianist than as a composer and 克曾抱怨道，“他不是人，他是魔鬼，他as early as 1793 word was buzzing round Vienna that 将用钢琴把我和所有的人都弹死。他多么such playing had not been heard since Mozart. The virtuoso Joseph Gelinek complained that “he is 精通即兴演奏啊！”根据约瑟夫·马勒no man; he's a devil. He will play me and all of 1803年 的记载，贝多芬在演奏时，他的us to death. And how he improvises!” According 手十分平稳，手指在键盘上流利地滑动，to Joseph Mahler, writing in 1803, when Beethoven 身体丝毫不会晃来晃去或俯向键盘。卡played, his hands were very still, and seemed to 尔·泽尼注意到：当贝多芬弹奏钢琴时，glide over the keys, with his fingers doing the 举止镇静，仪态优美。毫无疑问，这是尼work － there was no tossing around or bending 弗教他的演奏风格，尼弗训练过他古钢琴over the keyboard. Carl Czerny noticed that when 演奏法。在教学中，贝多芬自己很注重指he played, Beethoven's bearing was very quiet, and 法到位。贝多芬在宫廷及维也纳贵族的城noble. No doubt this was the style of playing 内住宅演奏，他的即兴演奏才能也名扬天taught him by Neefe, who trained him in clavichord 下。1995年3月29日，他首次作为钢琴technique, and Beethoven himself stressed the 家和作曲家在柏基剧院（帝国宫廷剧院）position of the fingers in his teaching. Beethoven 公开露面，出席为维也纳音乐家的遗孀和played in the palaces and town houses of the 孤儿而举行的年度慈善音乐会两次中的Viennese aristocracy, and his improvisation at 第一次。他演奏了C大调第1号钢琴协奏the piano was renowned. His first public 曲，据说他是在这次音乐会前两天才完成appearance as pianist and composer was on 29 March 《回旋曲》的，因演奏的是一台降半音钢1795 at the Burgtheater (the Imperial court 琴，他不得不用带7个升记号的升C大降theatre), at the first of the two annual benefit 演奏。同年11月22日，他又首次作为交concerts for the widows and orphans of the musicians of Vienna. He performed his Piano 响乐作曲家在维也纳登台表演。正是此时，贝多芬参加了为艺术家协会募集养老Concerto no. 1 in C major, and the story goes that 金基金的年度化装舞会，他受委托为里腾he finished the Rondo only two days before the 塞尔的小型舞厅写舞曲。这可是一个很大concert, and as the piano was a semitone flat, he 的荣誉——海顿曾于1792年受过此类委had to play his part in C# major, with its seven 托——而且贝多芬亲自指挥了自己的12sharps. The same year, on 22 November 1795, he made 首小步舞曲和12首日尔曼舞曲。1796年his debut as an orchestral composer in Vienna, 2月，在里奇洛乌斯基王子的陪同下，贝when he was commissioned to write the dances for 多芬开始了延续几个月的巡回演出，并且the small ballroom in the Redoutensaal at the 在布拉格、德累斯顿、莱比锡及柏林等地annual masked ball for the pension fund in aid of 进行了演出；当年11月，他再一次离开the Society of Artists. This was a great honour 维也纳去普雷斯特（布拉迪斯拉发）和佩－ Haydn had been asked in 1792 － and he 斯（布达佩斯）举行音乐会，于1798年conducted his own twelve minuets and twelve German 回到布拉格。 dances. In February 1796, in the company of Prince Lichnowsky, Beethoven set off on a concert tour lasting several months, and performed in Prague, Dresden, Leipzig and Berlin; in November that year, he again left Vienna to give concerts in Pressburt (Bratislava) and Pest (Budapest). He returned to Prague in 1798. By the end of the 1790s Beethoven was beginning to move away from composing only for the piano, 18世纪90年代末期，贝多芬开although perhaps his most famous piece from this 始不再只写钢琴曲 ，尽管他这一时期最time is the piano sonata in C minor, p. 13, the 有名的作品可能是1799年发表的C大调Pathetique (this title appeared on the first 钢琴奏鸣曲，作品第13号《悲怆》（第edition), which was published in 1799. His first 一版的标题）。这一时期他还完成了第一set of string quartets, op. 18, belongs to this 组弦乐四重奏，作品第18号（写于1798period (they were written in 1798 and published 年，于1800年发表）；1800年4月2日雇in 1800), and his First Symphony, op. 21 in C, was 他在柏基剧院组织了一次慈善音乐会，他的C调first performed on 2 April 1800, when he organized 用了意大利歌剧院的交响乐队，a benefit concert at the Burgtheater and hired the 第一交响乐，作品第21号在音乐会上首音乐会上还首次演奏了他的七重orchestra of the Italian Opera. This concert also 次演出。included the first performance of his Septet, op. 奏，作品第20号，后来很受欢迎。他打20, which became very popular. He intended to 算将第一交响乐献给科隆的选帝侯马克dedicate the First Symphony to Maximilian Franz, 西姆莲·弗兰兹， 而弗兰兹1800年定居the Elector of Cologne, who had settled near 维也纳。但在作品尚未发表之前，选帝侯Vienna in 1800, but the Elector died in July 1801 于1801年7月逝世，作品于是献给了拜before it was published, and it was dedicated to 伦·凡·斯韦登。 Baron van Swieten instead. By 1800, therefore, Beethoven was making a comfortable living as a performer and composer. His salary from the Elector of Cologne had not been paid since March 1794, and he was relying on aristocratic patronage. But after 1795 he no 演奏家和作曲家过上了很舒适的生活。选longer had to support his brothers, and he was also 侯从1794年3月起就不再支付他薪水，making some money from the publication of his 此后他依靠贵族的赞助。但从1795年以works, and from concerts and teaching. Although 后，弟弟不再需要他的资助。他还通过发in general he disliked teaching, he had a soft spot 表作品、办音乐会以及教学赚些钱。总的for some of the aristocratic young ladies who came 来说，他不喜欢教学，但他特别喜欢有些to him for lessons, and when the young countesses 上门求教的年轻贵妇 。当年轻的伯爵夫Josephine and Therese von Brunsvik came to Vienna 人约瑟芬和塞利斯·范·布伦斯维克from Hungary in 1799, he taught them for four or 1779年从匈牙利来到维也纳,贝多芬连续five hours a day on sixteen consecutive days, and 16天每天教她们4至5个小时,并且拒绝refused any payment. In 1800 Prince Lichnowsky 接受报酬。1800年 ，里奇洛乌斯基王子settled an annual salary of 600 florins on him, 每年提供给贝多芬600弗罗林，一直延续which was to be continued until Beethoven found 到贝多芬找到一份薪水更高的固定工作a permanent position paying more. But he had not 为止。但贝多芬没有定居下来。他似乎不settled down. He seemed incapable of staying at 这样，到了1800年，贝多芬作为one address for very long, nor did he seem able 能在一个地方呆得太久，也不能与一个女to form a lasting relationship with a woman, 人保持长久的关系；但据他的朋友弗兰although, according to his friend Franz Wegeler, 兹·韦吉说，他经常坠入爱河，1795年he was always in love, and in 1795 was even 人们甚至认为他已向从波恩搬到维也纳supposed to have proposed marriage to Magdalena 的歌手马格达林娜·威尔曼求婚。但是，Willmann, a singer from Bonn, who had moved to 到1800年，他耳聋的加重开始对他的人Vienna. But by 1800 his increasing deafness was 生观产生巨大的影响。 beginning to have a profound effect on his outlook on life. Beethoven probably began to go deaf after 1797, but he tried to keep it a secret, while consulting doctors and trying various remedies. He was 贝多芬可能在1797年开始耳聋，extremely anxious about its possible effect on his 但他保守着秘密，一边求医问药。他对失career as a musician, and embarrassed by its 聪可能给他的音乐事业带来的影 响十分effect on his social life. In the summer of 1801 忧虑，对它给他的社会生活带来不便也感he wrote to two friends. To Franz Wegeler in Bonn 到尴尬。1801年的夏天他给两位朋友去he wrote that he was very busy, with more 信。他给波恩的弗兰兹·韦吉来写信说，commissions than he could cope with, and 他很忙，过多的委托让他难以对付，出版publishers competing to get hold of his latest 商们争先抢购他的最新作品，但他很担心works, but he was worried about his health, and 自己的健康，特别是他那渐渐丧失的听particularly about his gradual loss of hearing. 觉。由于耳聋，两年以来他过着悲惨的生He had been leading a miserable life for the 活，避免与人交际，因为他很难向人们说previous two years because of his deafness, and 他是个聋子。“我完全沉浸在音乐之had avoided human company because he found it hard 中。”两天以后，他去信给长尔·阿芒达，to tell people that he was deaf. “I live entirely 一位近来结交的朋友，在信中以同样的口in my music”. Two days later he wrote to Karl Amenda, a more recent friend, on the same lines, 吻表达了自己的忧虑，说他的黄金年代将expressing the anxiety that his best years would 匆匆流逝，却“不能充分发挥自己的才能pass “without my being able to achieve all that 和力量”。由于担心耳聋会阻止他 挖掘my talent and my strength have commanded me to 自己的艺术潜力，贝多芬产生了轻生的念do”. His fear that his deafness would prevent him 头，但在1802年，他说自己摒弃了自杀from realizing his artistic potential led him to 的念头，并接受了这一现实。他解释说，contemplate taking his own life, but in October 耳聋是他避免与人相聚的原因，因为他发1802, he said that he had rejected suicide, and 现失去听觉是十分丢人的事情，他不愿向was resigned to his condition. He explained that 人们吐露真情。尽管有自杀的念头，“但his deafness was the reason why he had been 唯一能把我从死亡线上拉回来的是我的withdrawing from people's company, because he 艺术。因为在我还没有完成我急于想作的found it so humiliating not being able to hear, 曲子之前，离开这个世界对我来说的确是but he did not want to tell people about it. 不可能的。”1802年夏天，在他的一位Although tempted to kill himself, “the only thing 医生的建议下，他在离维也纳13英里的that held me back was my art. For indeed it seemed 海力施塔特度过了6个月。这位医生认to me impossible to leave this world before I had 为，他的听觉可能在远离维也纳的安宁的produced all the works that I felt the urge to 环境中得到恢复。但他的学生费迪南·利compose.” During the summer of 1802 he had spent 斯在这年夏天来拜访他，在林中散步时，six months in Heiligenstadt, thirteen miles 费迪南指向一个吹着用接骨木树枝做的outside Vienna, on the advice of one of his doctors 笛子的牧羊人。可贝多芬听不到笛声，这who thought that his hearing might improve in the 件事使他闷闷不乐。随着冬天的来临，他peace and quiet away from Vienna. But his pupil, 发现自己的听觉没有改 善，而且有可能Ferdinand Ries visited him in the summer, and 恶化，他可能完全变聋。 during a walk in the woods pointed out a shepherd playing a flute made out of an elder twig. Beethoven could not hear it, and this made him very morose. As the winter approached he realized that his hearing was no better, and that it was likely to get worse, and he might end up totally deaf. However, it was some years before this happened, and Beethoven coped with the problem to a certain extent by giving up those aspects of his career which were most affected by his defective hearing. 然而，离他彻底失聪还有好几年，He also appeared less frequently at aristocratic 而贝多芬对付听觉丧失的办法，是在某种soirees, and gave up plans to go on concert tours. 程度上放弃他事业中受听觉缺陷影响最It could be argued that Beethoven's deafness 严重的方面。他也不常在贵族们的晚会上helped the development of his art: isolated from 露面，并且放弃了巡回演出的计划。可以the world, and unable to perform, he could devote 说贝多芬的失聪促进了他的艺术发展：离all his time to composing. He was already 群索居，不能表演，他可以把时间都花在composing less at the piano, and the first of his 作曲方面。他已经开始减少在钢琴上作bound sketchbooks, in which he made detailed 曲，而他的第一本作曲本是从1789年开drafts of the works in progress, date from 1798. 始的，记录了创作过程中详细的草稿。在In his panic, at the beginning, Beethoven may have 最初的恐慌中，贝多芬也许觉得自己比实believed himself to be deafer than he really was. 际情况要聋得多。在他听觉丧失的初期，In the early years of his deafness, he suffered 他 的耳鸣（耳中有翁翁作响之声），大from tinnitus (humming and buzzing in the ears), 一点的声音会引起疼痛。1804年，他的and loud noises caused him pain. In 1804 his friend 好友斯蒂凡·范·布罗宁给弗兰兹·韦Stephan von Breuning wrote to Franz Wegeler about 吉勒去信， 诉说了听觉渐渐丧失给贝多the terrible effect his gradual loss of hearing 芬带来的可怕的影响；他失去对朋友们的was having on Beethoven: it had caused him to 信赖，也难与人相处。但是，贝多芬直至distrust his friends, and he was becoming very 1814年才开始使用助听器。当他听不到difficult to be with. But Beethoven did not start 朋友们说些什么时，他们用笔把说的话写 using an ear trumpet until 1814 and his earliest 在他的谈话簿上，而他最早使用的谈话簿Conversation Books, in which his friends wrote 只是在1818年才开始。 when he could no longer hear what they were saying, only began in 1818. During the summer of 1803 Beethoven composed one of his most famous orchestral works, the Symphony no. 3, op. 55, the Eroica, which he originally entitled Bonaparte. The inspiration for this title derived from Napoleon's expedition to Egypt 在1803年夏天，贝多芬写下了他in 1789, and the second movement, a funeral march, 最有名的交响乐曲之一，第3交响曲，作was inspired by the rumours of Nelson's death at 品第55号，即《英雄交响乐》。这一作the Battle of Aboukir Bay. To Beethoven, as to so 品最初取名《波拿巴》。这一标题的灵感many, Napoleon Bonaparte had seemed to embody the 来自拿破伦1789年对埃及的远征。作品ideals of the French Revolution and 的第二乐章是葬礼进行曲，灵感来自纳尔“enlightened” leadership, and in many homes 逊在阿布基尔湾战股中死去的谣传。对贝throughout Europe portraits of Napoleon replaced 多芬来说，正如对多数人一样，拿破even pictures of Christ. But as Napoleon's armies 伦·波拿巴似乎体现了法国革命和“开marched into neighbouring countries doubts crept 明”领袖的理想，在欧洲的许多家庭，拿in. As early as 1802, when Hoffmeister, 破伦的画像甚至代替了基督的画像。但Beethoven's publisher in Leipzig, suggested that 是，当拿破伦的部队开进邻近国家时，人Beethoven compose a sonata in celebration of 们产生了怀疑。早在1802年，当贝多芬Napoleon, Beethoven angrily rejected the idea 在莱比锡的出版商霍夫梅斯特建议贝多because he felt that Napoleon had betrayed the 芬作一首奏鸣曲来纪念拿破伦时，贝多芬Revolution in signing the Concordat with the Pope 愤怒地拒绝了这一想法，因为他认为拿破in 1801, re-establishing the Catholic religion in 伦于1801年与教皇签订协定，在法国恢France. He said that while he might have composed such a work once, now everything was slipping back 复天主教，背叛了革命。他说他本来要写into the old ways. However, it seems likely that 这样一首曲子，但现在一切都回到了原来Beethoven originally wanted to dedicate the 的样子。然而，有可能贝多芬原本打算将symphony to Napoleon, but because his patron, 这首交响乐献给拿破伦，但由于自己的资Prince Lobkowitz, wanted the rights to it, he 助人洛布洛维兹王子想要它的版权，他便changed his mind, and gave it the title Bonaparte 改变了主意，就用《波拿巴》这一名字代instead. There is a well-known story that when 替了。有一个众所周知的故事，说当贝多Beethoven heard the news that Napoleon had 芬听到拿破伦于1804年5月称帝后，出proclaimed himself Emperor in May 1804, he tore 于绝望和愤怒，把作品的首页撕成两半，the title page in half, in despair and rage that 因为拿破伦不过是一个凡夫俗子，要践踏Napoleon was just an ordinary person after all, 人权，成为暴君。尽管作品首页上仍写着who would trample on the rights of man and would “为了纪念一位伟人”，出版商后来给作become a tyrant. The publisher subsequently gave 品取名《英雄交响乐》。作品改名可能还it the title Sinfonia Eroica, although the title 有一个很直接的原因。1803年贝多芬打page also says it was written “to celebrate the 算访问巴黎甚至在那儿永久定居，他也许memory of a great man”. There could be a very 觉得把作品献给拿破伦是明智的。但是他straightforward reason for the change of title. 改变了对巴黎的看法，同时，奥法之战即In 1803 Beethoven was thinking of visiting Paris 将来临，检查 官正在取缔任何对法国友or even moving there permanently, and he might 好的表示。尽管1804年8月26日，贝多have thought it wise to dedicate it to Napoleon. 芬在写给出版商布莱科普夫及哈特尔的But he changed his mind about Paris, and meanwhile 信中说“作品的标题的确是波拿巴”，他war between Austria and France was imminent, and 可能觉得保留“波拿巴”这一标题或献the censors were clamping down on any signs of 词会使维也纳人感到不高兴，因此，他去sympathy with the French. Beethoven might well 掉了这一标题。据1809年法国占领时期have felt that to keep “Bonaparte” as a title 驻维也纳的一名法国军官拜伦·德·特or dedication would be frowned on in Vienna, and 利特说，贝多芬一直仰慕从低微身份发迹so removed the title, although on 26 August 1804 的拿破伦。人们对这首交响乐的反应好坏he was writing to Breitkopf and Hrtel, the 不一，许多人认为它太长。尽管贝多芬拒publishers, that “the title of the symphony is 绝作任何更改，当作品在1805年发表时，really Bonaparte”. According to Baron de Trmont, 他增加了一条注释，说因为作品太长，必a French official in Vienna during the French 须在音乐会开始后不久观众还不太疲劳occupation of 1809, Beethoven continued to admire 的时候进行演奏。 Napoleon as one who had risen from humble origins. The symphony had a mixed reception, and many people felt it was far too long. Although Beethoven refused to make any changes, when it was published in 1805 he added a note that because of its great length it should be played near the beginning of a convert before the audience got too tired. (2887 words) TOP