1．Wearing masks and costumes, they often impersonated other people,animals, or supernatural beings, and mined the desired effect – successin hunt or battle, the coming rain, the revival of the Sun – as anactor might.
戴著面具身著盛裝的人們，經(jīng)常扮演各種其他人物、動物或超自然生靈，并且作為一個扮演者所能做的，就是期盼一個在狩獵或戰(zhàn)役中獲勝、降雨的來臨，陽光的重現(xiàn)的結(jié)果。
2．But these factors do not account for the interesting question of howthere came to be such a concentration of pregnant ichthyosaurs in aparticular place very close to their time of giving birth.
但是這些事實不能解釋這個令人感興趣的問題，就是為什么在一個特殊的靠近他們出生的地方如此的集中了這么多懷孕的魚龍。
3．A series of mechanical improvements continuing well into thenineteenth century, including the introduction of pedals to sustaintone or to soften it, the perfection of a metal frame, and steel wireof the finest quality, finally produced an instruments capable ofmyriad tonal effects from the most delicate harmonies to an almostorchestral fullness of sound, from a liquid, singing tone to a ship,percussive brilliance.
十九世紀(jì)一系列持續(xù)的機(jī)械進(jìn)步，包括踏板的傳入、金屬結(jié)構(gòu)的完善和鋼絲最完美的質(zhì)量，最后產(chǎn)生了一種能容納無數(shù)音調(diào)－從最精致的和弦到一個成熟管弦的聲音或從一個清澈的歌聲到輝煌的敲擊樂的效果－的樂器。
4．Accustomed though we are to speaking of the films made before 1972 as“silent”, the film has never been, in the full sense of the word,silent.
雖然我們習(xí)慣于談到1972年以前的電影是無聲的，但用一句完全感性的話來說電影從來就不是沒有聲音的。
5．For a number of years the selection of music for each film programrested entirely in the hands of the conductor or leader of theorchestra, and very often the principal qualifications for holding sucha position was not skill or taste so much as the ownership of a largepersonal library of musical pieces.
多年以來電影音樂的選擇程序完全掌握在導(dǎo)演和音樂督導(dǎo)手中，通常擁有這些權(quán)力的主要資格并非是自身的技藝和品味而更多的是因為擁有大量的個人音樂素材庫。
6．Rather, they were made of a top layer of woolen or glazed worsted wool fabric, consisting of smooth, compact yarn from long wool fibers, dyed dark blue, green, or brown with a bottom layer of a coarser woolen material, either natural or a shade of yellow.
更進(jìn)一步，他們是由一個頂層是毛紡或光滑的精紡羊毛織物制作，包含光滑，緊湊的紗線來自長羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙天然的和暗黃色的毛紡材料。
7．For good measure, during the spring and summer drought, heat, hail, grasshoppers, and other frustrations might await the weary growers.
在春季和夏季，要精確量度干旱、熱量、冰雹、蝗蟲和其他損失可能是一件疲勞的事情。
8．What we today call America folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits.
我們今天所謂的美國民間藝術(shù)，實際上是普通老百姓的藝術(shù)、被普通老百姓創(chuàng)造的藝術(shù)和為普通老百姓和日常提到的“民間人士”的藝術(shù)，是一個他們在社會日漸繁榮和休閑情況下創(chuàng)建的一個包含各種各樣尤其是肖像畫種類的藝術(shù)的市場。
9．The people had no agriculture but, over thousands of years, had developed techniques and equipment to exploit their environment, basing their economy on fishing in streams and coastal waters that teemed with salmon, halibut, and other varieties of fish; gathering abalone, mussels, clams, and other shellfish from the rocky coastline; hunting land and sea mammals; and collecting wild plant foods.
他們沒有農(nóng)業(yè)，但是經(jīng)過幾千年，已經(jīng)發(fā)展了探索自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量出現(xiàn)鮭魚、大比目魚和其他多種魚類的自身流域和水岸捕魚的經(jīng)濟(jì)；基于從落基山水岸聚集了鮑魚、蚌類、蛤和其他貝殼動物的經(jīng)濟(jì)；基于捕獵地域和海洋哺乳動物的經(jīng)濟(jì)；以及基于收集野生植物的食物的經(jīng)濟(jì)；
10．The musicians within the orchestra’s ranks enrich their community immeasurably by ensuring that new generations of musicians, or simply music lovers, are given the kind of superior instruction that only an actively engaged, practicing musician can impart.
有管弦樂家的級別音樂家們可以無限制地有利于他們的團(tuán)體，靠通過確保給新一代的音樂家們或簡易的音樂愛好者們一種高級的指導(dǎo)，這種指導(dǎo)只能由一個活的已加入的具有實踐經(jīng)驗的音樂家能傳授。
11．Since Canadian metropolitan areas have only one-quarter the number of kilometers of superhighways per capita as United States metropolitan areas – and at least as much resistance to constructing more – suburbanization of peoples and functions is less extensive north of the border than south.
因為加拿大地大都市區(qū)域每城市高速公路公里總數(shù)量只有美國的四分之一，而且至少根據(jù)相當(dāng)?shù)木用駭?shù)量去建設(shè)更多的高速公路，比較南部邊界的而言，人群和設(shè)施的都市化在北部邊界區(qū)延伸度較少。
12．They made available kinds of popular music heard previously only limited geographical areas or by specific ethnic and social groups – especially the blues, gospel songs, and jazz of African Americans and the traditional music of the southern Appalachian Mountains and other rural areas of the southern and western United States.
他們制造了相當(dāng)多種類的流行音樂，這些音樂以前只限于在地理區(qū)域或特殊的種族和社會群體能被聽到，尤其是象布嚕斯、福音歌曲和非洲美國人的爵士樂和阿巴拉奇亞山脈南部和其他美國南部和西部的鄉(xiāng)村區(qū)域傳統(tǒng)音樂。
13．The development of the railroad and telegraph systems during the middle third of the nineteenth century led to significant improvements in the speed, volume, and regularity of shipments and communications, making possible a fundamental transformation in the production and distribution of goods.
在第三個十九世紀(jì)中期鐵路和電報系統(tǒng)的發(fā)展導(dǎo)致了在速度、音量和普通的船運和通訊上的明顯的進(jìn)步，使生產(chǎn)和分發(fā)貨物方面的一個基礎(chǔ)的轉(zhuǎn)變有可能發(fā)生。
14．Add to this the timidity with which unschooled artisans – originally trained as stonemasons, carpenters, or cabinetmakers – attacked the medium from which they were to make their images, and one understands more fully the development of sculpture made in the United States in the late eighteenth century.
由于未受學(xué)校教育的藝術(shù)家們的膽卻，他們通常被訓(xùn)練成石匠、木匠或家具師， 抨擊了在媒體中他們以前造就的自我形象和一個理解，這個理解就是雕塑的發(fā)展在十八世紀(jì)晚期的美國更加完全的發(fā)生了。
15．Instead of trying to keep down the body temperature deep inside the body, which would involved the expenditure of water and energy, desert mammals allow their temperatures to rise to what would normally be fever height, and temperatures as high as 46 degrees Celsius have been measured in Grant’s gazelles.
除了盡量去保持身體深處的低體溫，這將包括支出水和能量，沙漠哺乳動物們允許他們的溫度上升到一個通常來說是發(fā)燒的溫度并且溫度高達(dá)46攝氏度，這已被在格蘭特瞪羚測得。
16．Solitary roosters shelter in dense vegetation or enter a cavity – horned larks dig holes in the ground and ptarmigan burrow into snow banks – but the effect of sheltering is magnified by several birds huddling together in the roots, as wrens, swifts, brown creepers, bluebirds, and anis do.
孤獨的雄雞躲避在茂盛的植被下或進(jìn)入洞穴躲藏，如角狀的百靈在地面挖洞躲藏和松雞在雪岸挖洞躲藏，但是象鷦鷯、雨燕、褐色的爬行動物、藍(lán)知更鳥和anis所做的一樣，由于多只鳥一起擁擠在根莖下，所以躲避的效果被擴(kuò)大。
17．Each SMSA would contain at least (a) one central city with 50000 inhabitants or more or (b) two cities having shared boundaries and constituting, for general economic and social purposes, a single community with a combined population of at least 50000, the smaller of which must have a population of at least 15000.
每個大城市及其郊區(qū)至少能容納（a）一個5000居民人口的中心城市或（b）為了一個普通的經(jīng)濟(jì)和社會目的共享邊界和律法的兩個城市，一個單個的融合的社區(qū)人口至少50000，更小一點的社區(qū)必須有至少15000人口
－－－－－－中間失蹤n條 待補充ing
23．Rather, they were made of a top layer of woolen or glazed worstedwool fabric, consisting of smooth, compact yarn from long wool fibers,dyed dark blue, green, or brown with a bottom layer of a coarser woolenmaterial, either natural or a shade of yellow.
更進(jìn)一步，他們是由一個頂層是毛紡或光滑的精紡羊毛織物制作，包含光滑，緊湊的紗線來自長羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙天然的和暗黃色的毛紡材料。
24．For good measure, during the spring and summer drought, heat, hail,grasshoppers, and other frustrations might await the weary growers.
在春季和夏季，要精確量度干旱、熱量、冰雹、蝗蟲和其他損失可能是一件疲勞的事情。
25．What we today call America folk art was, indeed, art of, by, and forordinary, everyday “folks” who, with increasing prosperity and leisure,created a market for art of all kinds, and especially for portraits.
我們今天所謂的美國民間藝術(shù)，實際上是普通老百姓的藝術(shù)、被普通老百姓創(chuàng)造的藝術(shù)和為普通老百姓和日常提到的“民間人士”的藝術(shù)，是一個他們在社會日漸繁榮和休閑情況下創(chuàng)建的一個包含各種各樣尤其是肖像畫種類的藝術(shù)的市場。
★26．The people had no agriculture but, over thousands of years, haddeveloped techniques and equipment to exploit their environment, basingtheir economy on fishing in streams and coastal waters that teemed withsalmon, halibut, and other varieties of fish; gathering abalone,mussels, clams, and other shellfish from the rocky coastline; huntingland and sea mammals; and collecting wild plant foods.
他們沒有農(nóng)業(yè)，但是經(jīng)過幾千年，已經(jīng)發(fā)展了探索自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量出現(xiàn)鮭魚、大比目魚和其他多種魚類的自身流域和水岸捕魚的經(jīng)濟(jì)；基于從落基山水岸聚集了鮑魚、蚌類、蛤和其他貝殼動物的經(jīng)濟(jì)；基于捕獵地域和海洋哺乳動物的經(jīng)濟(jì)；以及基于收集野生植物的食物的經(jīng)濟(jì)；
★27．The musicians within the orchestra’s ranks enrich their communityimmeasurably by ensuring that new generations of musicians, or simplymusic lovers, are given the kind of superior instruction that only anactively engaged, practicing musician can impart.
有管弦樂家的級別音樂家們可以無限制地有利于他們的團(tuán)體，靠通過確保給新一代的音樂家們或簡易的音樂愛好者們一種高級的指導(dǎo)，這種指導(dǎo)只能由一個活的已加入的具有實踐經(jīng)驗的音樂家能傳授。
28．Since Canadian metropolitan areas have only one-quarter the numberof kilometers of superhighways per capita as United States metropolitanareas – and at least as much resistance to constructing more –suburbanization of peoples and functions is less extensive north of theborder than south.
因為加拿大地大都市區(qū)域每城市高速公路公里總數(shù)量只有美國的四分之一，而且至少根據(jù)相當(dāng)?shù)木用駭?shù)量去建設(shè)更多的高速公路，比較南部邊界的而言，人群和設(shè)施的都市化在北部邊界區(qū)延伸度較少。
29．They made available kinds of popular music heard previously onlylimited geographical areas or by specific ethnic and social groups –especially the blues, gospel songs, and jazz of African Americans andthe traditional music of the southern Appalachian Mountains and otherrural areas of the southern and western United States.
他們制造了相當(dāng)多種類的流行音樂，這些音樂以前只限于在地理區(qū)域或特殊的種族和社會群體能被聽到，尤其是象布嚕斯、福音歌曲和非洲美國人的爵士樂和阿巴拉奇亞山脈南部和其他美國南部和西部的鄉(xiāng)村區(qū)域傳統(tǒng)音樂。
30．The development of the railroad and telegraph systems during themiddle third of the nineteenth century led to significant improvementsin the speed, volume, and regularity of shipments and communications,making possible a fundamental transformation in the production anddistribution of goods.
在第三個十九世紀(jì)中期鐵路和電報系統(tǒng)的發(fā)展導(dǎo)致了在速度、音量和普通的船運和通訊上的明顯的進(jìn)步，使生產(chǎn)和分發(fā)貨物方面的一個基礎(chǔ)的轉(zhuǎn)變有可能發(fā)生。
★31．Add to this the timidity with which unschooled artisans –originally trained as stonemasons, carpenters, or cabinetmakers –attacked the medium from which they were to make their images, and oneunderstands more fully the development of sculpture made in the UnitedStates in the late eighteenth century.
由于未受學(xué)校教育的藝術(shù)家們的膽卻，他們通常被訓(xùn)練成石匠、木匠或家具師， 抨擊了在媒體中他們以前造就的自我形象和一個理解，這個理解就是雕塑的發(fā)展在十八世紀(jì)晚期的美國更加完全的發(fā)生了。
32．Instead of trying to keep down the body temperature deep inside thebody, which would involved the expenditure of water and energy, desertmammals allow their temperatures to rise to what would normally befever height, and temperatures as high as 46 degrees Celsius have beenmeasured in Grant’s gazelles.
除了盡量去保持身體深處的低體溫，這將包括支出水和能量，沙漠哺乳動物們允許他們的溫度上升到一個通常來說是發(fā)燒的溫度并且溫度高達(dá)46攝氏度，這已被在格蘭特瞪羚測得。
★33．Solitary roosters shelter in dense vegetation or enter a cavity –horned larks dig holes in the ground and ptarmigan burrow into snowbanks – but the effect of sheltering is magnified by several birdshuddling together in the roots, as wrens, swifts, brown creepers,bluebirds, and anis do.
孤獨的雄雞躲避在茂盛的植被下或進(jìn)入洞穴躲藏，如角狀的百靈在地面挖洞躲藏和松雞在雪岸挖洞躲藏，但是象鷦鷯、雨燕、褐色的爬行動物、藍(lán)知更鳥和anis所做的一樣，由于多只鳥一起擁擠在根莖下，所以躲避的效果被擴(kuò)大。
★34．Each SMSA would contain at least (a) one central city with 50000inhabitants or more or (b) two cities having shared boundaries andconstituting, for general economic and social purposes, a singlecommunity with a combined population of at least 50000, the smaller ofwhich must have a population of at least 15000.
每個大城市及其郊區(qū)至少能容納（a）一個5000居民人口的中心城市或（b）為了一個普通的經(jīng)濟(jì)和社會目的共享邊界和律法的兩個城市，一個單個的融合的社區(qū)人口至少50000，更小一點的社區(qū)必須有至少15000人口。
★35．The growing custom of regularly assembling from afar therepresentatives of all kinds of groups, not only for politicalconventions, but also for commercial, professional, learned, andvocational ones… in turn supported the multiplying hotels.
增長中的風(fēng)俗，通常集合了所有種類的群體從遠(yuǎn)方來的代表，不僅為政治慣例還是為貿(mào)易上、專業(yè)上、已學(xué)習(xí)的和職業(yè)的慣例…，輪流支持了增長中的賓館。
★36．Two species of these finches, named for the way the upper and lowerparts of their bills cross, rather than meet in the middle, reside inthe evergreen forests of North American and feed on the seeds heldwithin the cones of coniferous trees.
以他們上部和較低部分的嘴的交叉命名，而不是中間部分相遇的部分命名，這兩種雀類居住在北美四季常青的森林里并且以包含在錐狀的松果樹球內(nèi)的種子為食。
37．The beginning of a major change was foreshadowed in the later1860’s, when the Union Pacific Railroad at last began to build westwardfrom the Central Plains city of Omaha to meet the Central PacificRailroad advancing eastward from California through the formidablebarrier of the Sierra Nevada.
主要變化的開端在18世紀(jì)60年代晚期被預(yù)示了，當(dāng)時在太平洋鐵路聯(lián)合體最后開始建設(shè)從Omaha的城市中心平原到連接太平洋鐵路中心向西的鐵路，它推進(jìn)了從加利福尼亞穿過Sierra Nevada的重重險阻向東的鐵路
38．The argument that humans, even in prehistoric, had some numbersense, at least to the extent of recognizing the concept of more andless when some objects were added to or taken away from a small group,seems fair, for studies have shown that some animal possess such asense.
關(guān)于人類即使是史前人類都具有一些數(shù)字的感覺的爭論，當(dāng)或多或少一些對象被從一個小團(tuán)體內(nèi)加入或拿走的概念，最后導(dǎo)致這個概念的認(rèn)可，這看起來是公平的，因為研究表明一些動物擁也有這樣的感覺。
39．A useful definition of an air pollutant is a compound added directlyor indirectly by humans to the atmosphere in such quantities as toaffect humans, animals, vegetation, or materials adversely.
一個有用的定義關(guān)于空氣污染是被人類直接加入或間接加入到大氣中，那些空氣質(zhì)量反面地影響人類、動物、植被或原材料的空氣的混合體。
40．The tight arrangement enabled the Mandans to protect themselves moreeasily from the attacks of others who might seek to obtain some of thefood these highly capable farmers stored from one year tonext.緊湊的安排使曼旦人能更容易地，從那些尋找獲得那些高產(chǎn)的農(nóng)民們年復(fù)一年地存儲的一些食物的其他族人的襲擊中，保護(hù)他們自己。
41．Noother set of colonists took so seriously one expression of the period,“Leisure is time for doing something useful,” in the countrysidefarmers therefore relieved the burden of the daily routine with suchdouble-purpose relaxations as hunting, fishing, andtrapping.沒有其他的殖民者在那個時期如此嚴(yán)肅的持有一個的申明：休閑對做事有利，鄉(xiāng)下農(nóng)民們理所當(dāng)然的收到如此雙重任務(wù)：日常事務(wù)的重?fù)?dān)和狩獵、捕魚和誘捕的閑暇。
42．Life on Earth has continually been in flux as slowphysical and chemical changes have occurred on Earth, but life needstime to adapt – time for migration and genetic adaptation withinexisting species and time for the proliferation of new genetic materialand new species that may be able to survive inenvironments.地球上的生命不斷地演化，就象存在于地球中的緩慢地物理的和化學(xué)的變化，但是生物需要時間去適應(yīng)，這就是現(xiàn)存物種的遷移和基因改變的時間，和以便能在環(huán)境中生存的新基因材料和新物種的繁殖的時間。
43．Some fossil bones have all theinterstitial spaces filled with foreign minerals, including the marrowcavity, if there is one, while others have taken up but little fromtheirsurroundings.一些石化的骨頭的所有裂縫的空隙，包括骨髓空腔，都充滿了外來的礦石，如果這兒還有有一個空腔當(dāng)其他的空腔都已被占據(jù)，填充物很少是來源于他們的環(huán)境。
44．By 1776 the fine art of painting as it had developed inwestern Europe up to this time had been introduced into the Americancolonies through books and paints, European visitors and immigrants,and traveling colonists who brought back copies (and a few originals)of old master paintings and acquaintance with European artinstitutions.杰出的繪畫藝術(shù)，在西歐發(fā)展，直到現(xiàn)在通過書、繪畫、歐洲訪問者和移民被介紹給美洲殖民者和游移不定的殖民者，他們買回舊的大師的繪畫和歐洲藝術(shù)機(jī)構(gòu)熟識的的復(fù)制品（很少有原件）。
45．The terminology by which artists weredescribed at the time suggests their status: “l(fā)imner” was usuallyapplied to the anonymous portrait painter up to the 1760’s: “painter”characterized anyone who could paint a flatsurface.藝術(shù)家們當(dāng)時描述的術(shù)語表明了他們的狀態(tài)，如“畫匠”一詞通常應(yīng)用在匿名的肖像畫家；直到十七世紀(jì)60年代，“油漆匠”刻畫了那些能在平的表面刷漆的人。
46．A few art collectors James Bowdoin III of Boston, WilliamByrd of Virginia, and the Aliens and Hamiltons of Philadelphiaintroduced European art traditions to those colonists privileged tovisit their galleries, especially aspiring artists, and established intheir respective communities the idea of the value of art and the needfor institutions devoted to its encouragement.一些藝術(shù)收藏家，如波士頓的JamesBowdoin III、弗吉尼亞的William Byrd和鳳凰城的Aliens andHamiltons家族，介紹歐洲的藝術(shù)給那些有特權(quán)去參觀他們畫廊，尤其是那些有抱負(fù)的藝術(shù)家們的畫廊的殖民者，并且建立了基于他們各自團(tuán)體的藝術(shù)價值的觀點和基于投入了他們資金的藝術(shù)機(jī)構(gòu)的需求。
47．The achievements of the colonial artists,particularly those of Copley, West, and Peale, lent credence to theboast that the new nation was capable of encouraging genius and thatpolitical liberty was congenial to the development of taste – anecessary step before art could assume an important role in the newrepublic.殖民藝術(shù)家們的成果，尤其是那些肖像畫家、西部的和畫家，信任值得夸耀的事，如新的國家有能力鼓勵天才藝術(shù)家和政治自由有相似的發(fā)展的口味，這是藝術(shù)能在新的公眾面前扮演一個重要的角色前的一個必要的一步。
48．In its grand and impressiveterminals and stations, architects recreated historic Roman temples andpublic baths, French chateaus and Italian bell towers – edifices thatpeople used as stages for many of everyday life’s high emotions:meeting and parting, waiting and worrying, planning new starts orcominghome.除了豪華的和給人印象深刻的月臺和站點，建筑師們重新創(chuàng)建了的羅馬廟宇和公共浴場以及法式城堡和意大利鐘塔，這些建筑被人們用來作為提高人們?nèi)粘Ｉ畹那槿さ膱鏊纾簳姾偷绖e朋友、等待和擔(dān)憂、計劃新的行程和回家。
49．Moreover, in addition to itsbeing a transportation pathway equipped with a mammoth physical plantof tracks signals, crossings, bridges, and junctions, plus telegraphand telephone lines the railroad nurtured factory complexes, coatpiles, warehouses, and generating stations, forming along itsright-of-way what has aptly been called “the metropolitan corridor” ofthe American landscape.更多的是，除了它成為交通線路要配備一個龐大的物理設(shè)備用來跟蹤信號、交叉、橋梁和加上電報和電話線的連接，鐵路滋養(yǎng)了工廠的聯(lián)合體、XX表面、倉庫和生產(chǎn)站，塑造著可通行的適當(dāng)?shù)谋唤凶鞔蠖际凶呃鹊拿乐揎L(fēng)景。
50．It was in the cities that the elements that can be associatedwith modern capitalism first appeared – the use of money and commercialpaper in place of barter, open competition in place of social deferenceand hierarchy, with an attendant rise in social disorder, and theappearance of factories using coal or water power in place ofindependent craftspeople working with handtools.城市中，和現(xiàn)代資本主義關(guān)聯(lián)的因素首先出現(xiàn)，他們是錢和貿(mào)易紙幣的使用代替物物交換、伴隨著一個社會混亂的上升，開放的競爭代替社會順從和階級、使用煤和水能源的工廠出現(xiàn)代替獨立的手工藝人的手工工作。
戴著面具身著盛裝的人們，經(jīng)常扮演各種其他人物、動物或超自然生靈，并且作為一個扮演者所能做的，就是期盼一個在狩獵或戰(zhàn)役中獲勝、降雨的來臨，陽光的重現(xiàn)的結(jié)果。
2．But these factors do not account for the interesting question of howthere came to be such a concentration of pregnant ichthyosaurs in aparticular place very close to their time of giving birth.
但是這些事實不能解釋這個令人感興趣的問題，就是為什么在一個特殊的靠近他們出生的地方如此的集中了這么多懷孕的魚龍。
3．A series of mechanical improvements continuing well into thenineteenth century, including the introduction of pedals to sustaintone or to soften it, the perfection of a metal frame, and steel wireof the finest quality, finally produced an instruments capable ofmyriad tonal effects from the most delicate harmonies to an almostorchestral fullness of sound, from a liquid, singing tone to a ship,percussive brilliance.
十九世紀(jì)一系列持續(xù)的機(jī)械進(jìn)步，包括踏板的傳入、金屬結(jié)構(gòu)的完善和鋼絲最完美的質(zhì)量，最后產(chǎn)生了一種能容納無數(shù)音調(diào)－從最精致的和弦到一個成熟管弦的聲音或從一個清澈的歌聲到輝煌的敲擊樂的效果－的樂器。
4．Accustomed though we are to speaking of the films made before 1972 as“silent”, the film has never been, in the full sense of the word,silent.
雖然我們習(xí)慣于談到1972年以前的電影是無聲的，但用一句完全感性的話來說電影從來就不是沒有聲音的。
5．For a number of years the selection of music for each film programrested entirely in the hands of the conductor or leader of theorchestra, and very often the principal qualifications for holding sucha position was not skill or taste so much as the ownership of a largepersonal library of musical pieces.
多年以來電影音樂的選擇程序完全掌握在導(dǎo)演和音樂督導(dǎo)手中，通常擁有這些權(quán)力的主要資格并非是自身的技藝和品味而更多的是因為擁有大量的個人音樂素材庫。
6．Rather, they were made of a top layer of woolen or glazed worsted wool fabric, consisting of smooth, compact yarn from long wool fibers, dyed dark blue, green, or brown with a bottom layer of a coarser woolen material, either natural or a shade of yellow.
更進(jìn)一步，他們是由一個頂層是毛紡或光滑的精紡羊毛織物制作，包含光滑，緊湊的紗線來自長羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙天然的和暗黃色的毛紡材料。
7．For good measure, during the spring and summer drought, heat, hail, grasshoppers, and other frustrations might await the weary growers.
在春季和夏季，要精確量度干旱、熱量、冰雹、蝗蟲和其他損失可能是一件疲勞的事情。
8．What we today call America folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits.
我們今天所謂的美國民間藝術(shù)，實際上是普通老百姓的藝術(shù)、被普通老百姓創(chuàng)造的藝術(shù)和為普通老百姓和日常提到的“民間人士”的藝術(shù)，是一個他們在社會日漸繁榮和休閑情況下創(chuàng)建的一個包含各種各樣尤其是肖像畫種類的藝術(shù)的市場。
9．The people had no agriculture but, over thousands of years, had developed techniques and equipment to exploit their environment, basing their economy on fishing in streams and coastal waters that teemed with salmon, halibut, and other varieties of fish; gathering abalone, mussels, clams, and other shellfish from the rocky coastline; hunting land and sea mammals; and collecting wild plant foods.
他們沒有農(nóng)業(yè)，但是經(jīng)過幾千年，已經(jīng)發(fā)展了探索自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量出現(xiàn)鮭魚、大比目魚和其他多種魚類的自身流域和水岸捕魚的經(jīng)濟(jì)；基于從落基山水岸聚集了鮑魚、蚌類、蛤和其他貝殼動物的經(jīng)濟(jì)；基于捕獵地域和海洋哺乳動物的經(jīng)濟(jì)；以及基于收集野生植物的食物的經(jīng)濟(jì)；
10．The musicians within the orchestra’s ranks enrich their community immeasurably by ensuring that new generations of musicians, or simply music lovers, are given the kind of superior instruction that only an actively engaged, practicing musician can impart.
有管弦樂家的級別音樂家們可以無限制地有利于他們的團(tuán)體，靠通過確保給新一代的音樂家們或簡易的音樂愛好者們一種高級的指導(dǎo)，這種指導(dǎo)只能由一個活的已加入的具有實踐經(jīng)驗的音樂家能傳授。
11．Since Canadian metropolitan areas have only one-quarter the number of kilometers of superhighways per capita as United States metropolitan areas – and at least as much resistance to constructing more – suburbanization of peoples and functions is less extensive north of the border than south.
因為加拿大地大都市區(qū)域每城市高速公路公里總數(shù)量只有美國的四分之一，而且至少根據(jù)相當(dāng)?shù)木用駭?shù)量去建設(shè)更多的高速公路，比較南部邊界的而言，人群和設(shè)施的都市化在北部邊界區(qū)延伸度較少。
12．They made available kinds of popular music heard previously only limited geographical areas or by specific ethnic and social groups – especially the blues, gospel songs, and jazz of African Americans and the traditional music of the southern Appalachian Mountains and other rural areas of the southern and western United States.
他們制造了相當(dāng)多種類的流行音樂，這些音樂以前只限于在地理區(qū)域或特殊的種族和社會群體能被聽到，尤其是象布嚕斯、福音歌曲和非洲美國人的爵士樂和阿巴拉奇亞山脈南部和其他美國南部和西部的鄉(xiāng)村區(qū)域傳統(tǒng)音樂。
13．The development of the railroad and telegraph systems during the middle third of the nineteenth century led to significant improvements in the speed, volume, and regularity of shipments and communications, making possible a fundamental transformation in the production and distribution of goods.
在第三個十九世紀(jì)中期鐵路和電報系統(tǒng)的發(fā)展導(dǎo)致了在速度、音量和普通的船運和通訊上的明顯的進(jìn)步，使生產(chǎn)和分發(fā)貨物方面的一個基礎(chǔ)的轉(zhuǎn)變有可能發(fā)生。
14．Add to this the timidity with which unschooled artisans – originally trained as stonemasons, carpenters, or cabinetmakers – attacked the medium from which they were to make their images, and one understands more fully the development of sculpture made in the United States in the late eighteenth century.
由于未受學(xué)校教育的藝術(shù)家們的膽卻，他們通常被訓(xùn)練成石匠、木匠或家具師， 抨擊了在媒體中他們以前造就的自我形象和一個理解，這個理解就是雕塑的發(fā)展在十八世紀(jì)晚期的美國更加完全的發(fā)生了。
15．Instead of trying to keep down the body temperature deep inside the body, which would involved the expenditure of water and energy, desert mammals allow their temperatures to rise to what would normally be fever height, and temperatures as high as 46 degrees Celsius have been measured in Grant’s gazelles.
除了盡量去保持身體深處的低體溫，這將包括支出水和能量，沙漠哺乳動物們允許他們的溫度上升到一個通常來說是發(fā)燒的溫度并且溫度高達(dá)46攝氏度，這已被在格蘭特瞪羚測得。
16．Solitary roosters shelter in dense vegetation or enter a cavity – horned larks dig holes in the ground and ptarmigan burrow into snow banks – but the effect of sheltering is magnified by several birds huddling together in the roots, as wrens, swifts, brown creepers, bluebirds, and anis do.
孤獨的雄雞躲避在茂盛的植被下或進(jìn)入洞穴躲藏，如角狀的百靈在地面挖洞躲藏和松雞在雪岸挖洞躲藏，但是象鷦鷯、雨燕、褐色的爬行動物、藍(lán)知更鳥和anis所做的一樣，由于多只鳥一起擁擠在根莖下，所以躲避的效果被擴(kuò)大。
17．Each SMSA would contain at least (a) one central city with 50000 inhabitants or more or (b) two cities having shared boundaries and constituting, for general economic and social purposes, a single community with a combined population of at least 50000, the smaller of which must have a population of at least 15000.
每個大城市及其郊區(qū)至少能容納（a）一個5000居民人口的中心城市或（b）為了一個普通的經(jīng)濟(jì)和社會目的共享邊界和律法的兩個城市，一個單個的融合的社區(qū)人口至少50000，更小一點的社區(qū)必須有至少15000人口
－－－－－－中間失蹤n條 待補充ing
23．Rather, they were made of a top layer of woolen or glazed worstedwool fabric, consisting of smooth, compact yarn from long wool fibers,dyed dark blue, green, or brown with a bottom layer of a coarser woolenmaterial, either natural or a shade of yellow.
更進(jìn)一步，他們是由一個頂層是毛紡或光滑的精紡羊毛織物制作，包含光滑，緊湊的紗線來自長羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙天然的和暗黃色的毛紡材料。
24．For good measure, during the spring and summer drought, heat, hail,grasshoppers, and other frustrations might await the weary growers.
在春季和夏季，要精確量度干旱、熱量、冰雹、蝗蟲和其他損失可能是一件疲勞的事情。
25．What we today call America folk art was, indeed, art of, by, and forordinary, everyday “folks” who, with increasing prosperity and leisure,created a market for art of all kinds, and especially for portraits.
我們今天所謂的美國民間藝術(shù)，實際上是普通老百姓的藝術(shù)、被普通老百姓創(chuàng)造的藝術(shù)和為普通老百姓和日常提到的“民間人士”的藝術(shù)，是一個他們在社會日漸繁榮和休閑情況下創(chuàng)建的一個包含各種各樣尤其是肖像畫種類的藝術(shù)的市場。
★26．The people had no agriculture but, over thousands of years, haddeveloped techniques and equipment to exploit their environment, basingtheir economy on fishing in streams and coastal waters that teemed withsalmon, halibut, and other varieties of fish; gathering abalone,mussels, clams, and other shellfish from the rocky coastline; huntingland and sea mammals; and collecting wild plant foods.
他們沒有農(nóng)業(yè)，但是經(jīng)過幾千年，已經(jīng)發(fā)展了探索自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量出現(xiàn)鮭魚、大比目魚和其他多種魚類的自身流域和水岸捕魚的經(jīng)濟(jì)；基于從落基山水岸聚集了鮑魚、蚌類、蛤和其他貝殼動物的經(jīng)濟(jì)；基于捕獵地域和海洋哺乳動物的經(jīng)濟(jì)；以及基于收集野生植物的食物的經(jīng)濟(jì)；
★27．The musicians within the orchestra’s ranks enrich their communityimmeasurably by ensuring that new generations of musicians, or simplymusic lovers, are given the kind of superior instruction that only anactively engaged, practicing musician can impart.
有管弦樂家的級別音樂家們可以無限制地有利于他們的團(tuán)體，靠通過確保給新一代的音樂家們或簡易的音樂愛好者們一種高級的指導(dǎo)，這種指導(dǎo)只能由一個活的已加入的具有實踐經(jīng)驗的音樂家能傳授。
28．Since Canadian metropolitan areas have only one-quarter the numberof kilometers of superhighways per capita as United States metropolitanareas – and at least as much resistance to constructing more –suburbanization of peoples and functions is less extensive north of theborder than south.
因為加拿大地大都市區(qū)域每城市高速公路公里總數(shù)量只有美國的四分之一，而且至少根據(jù)相當(dāng)?shù)木用駭?shù)量去建設(shè)更多的高速公路，比較南部邊界的而言，人群和設(shè)施的都市化在北部邊界區(qū)延伸度較少。
29．They made available kinds of popular music heard previously onlylimited geographical areas or by specific ethnic and social groups –especially the blues, gospel songs, and jazz of African Americans andthe traditional music of the southern Appalachian Mountains and otherrural areas of the southern and western United States.
他們制造了相當(dāng)多種類的流行音樂，這些音樂以前只限于在地理區(qū)域或特殊的種族和社會群體能被聽到，尤其是象布嚕斯、福音歌曲和非洲美國人的爵士樂和阿巴拉奇亞山脈南部和其他美國南部和西部的鄉(xiāng)村區(qū)域傳統(tǒng)音樂。
30．The development of the railroad and telegraph systems during themiddle third of the nineteenth century led to significant improvementsin the speed, volume, and regularity of shipments and communications,making possible a fundamental transformation in the production anddistribution of goods.
在第三個十九世紀(jì)中期鐵路和電報系統(tǒng)的發(fā)展導(dǎo)致了在速度、音量和普通的船運和通訊上的明顯的進(jìn)步，使生產(chǎn)和分發(fā)貨物方面的一個基礎(chǔ)的轉(zhuǎn)變有可能發(fā)生。
★31．Add to this the timidity with which unschooled artisans –originally trained as stonemasons, carpenters, or cabinetmakers –attacked the medium from which they were to make their images, and oneunderstands more fully the development of sculpture made in the UnitedStates in the late eighteenth century.
由于未受學(xué)校教育的藝術(shù)家們的膽卻，他們通常被訓(xùn)練成石匠、木匠或家具師， 抨擊了在媒體中他們以前造就的自我形象和一個理解，這個理解就是雕塑的發(fā)展在十八世紀(jì)晚期的美國更加完全的發(fā)生了。
32．Instead of trying to keep down the body temperature deep inside thebody, which would involved the expenditure of water and energy, desertmammals allow their temperatures to rise to what would normally befever height, and temperatures as high as 46 degrees Celsius have beenmeasured in Grant’s gazelles.
除了盡量去保持身體深處的低體溫，這將包括支出水和能量，沙漠哺乳動物們允許他們的溫度上升到一個通常來說是發(fā)燒的溫度并且溫度高達(dá)46攝氏度，這已被在格蘭特瞪羚測得。
★33．Solitary roosters shelter in dense vegetation or enter a cavity –horned larks dig holes in the ground and ptarmigan burrow into snowbanks – but the effect of sheltering is magnified by several birdshuddling together in the roots, as wrens, swifts, brown creepers,bluebirds, and anis do.
孤獨的雄雞躲避在茂盛的植被下或進(jìn)入洞穴躲藏，如角狀的百靈在地面挖洞躲藏和松雞在雪岸挖洞躲藏，但是象鷦鷯、雨燕、褐色的爬行動物、藍(lán)知更鳥和anis所做的一樣，由于多只鳥一起擁擠在根莖下，所以躲避的效果被擴(kuò)大。
★34．Each SMSA would contain at least (a) one central city with 50000inhabitants or more or (b) two cities having shared boundaries andconstituting, for general economic and social purposes, a singlecommunity with a combined population of at least 50000, the smaller ofwhich must have a population of at least 15000.
每個大城市及其郊區(qū)至少能容納（a）一個5000居民人口的中心城市或（b）為了一個普通的經(jīng)濟(jì)和社會目的共享邊界和律法的兩個城市，一個單個的融合的社區(qū)人口至少50000，更小一點的社區(qū)必須有至少15000人口。
★35．The growing custom of regularly assembling from afar therepresentatives of all kinds of groups, not only for politicalconventions, but also for commercial, professional, learned, andvocational ones… in turn supported the multiplying hotels.
增長中的風(fēng)俗，通常集合了所有種類的群體從遠(yuǎn)方來的代表，不僅為政治慣例還是為貿(mào)易上、專業(yè)上、已學(xué)習(xí)的和職業(yè)的慣例…，輪流支持了增長中的賓館。
★36．Two species of these finches, named for the way the upper and lowerparts of their bills cross, rather than meet in the middle, reside inthe evergreen forests of North American and feed on the seeds heldwithin the cones of coniferous trees.
以他們上部和較低部分的嘴的交叉命名，而不是中間部分相遇的部分命名，這兩種雀類居住在北美四季常青的森林里并且以包含在錐狀的松果樹球內(nèi)的種子為食。
37．The beginning of a major change was foreshadowed in the later1860’s, when the Union Pacific Railroad at last began to build westwardfrom the Central Plains city of Omaha to meet the Central PacificRailroad advancing eastward from California through the formidablebarrier of the Sierra Nevada.
主要變化的開端在18世紀(jì)60年代晚期被預(yù)示了，當(dāng)時在太平洋鐵路聯(lián)合體最后開始建設(shè)從Omaha的城市中心平原到連接太平洋鐵路中心向西的鐵路，它推進(jìn)了從加利福尼亞穿過Sierra Nevada的重重險阻向東的鐵路
38．The argument that humans, even in prehistoric, had some numbersense, at least to the extent of recognizing the concept of more andless when some objects were added to or taken away from a small group,seems fair, for studies have shown that some animal possess such asense.
關(guān)于人類即使是史前人類都具有一些數(shù)字的感覺的爭論，當(dāng)或多或少一些對象被從一個小團(tuán)體內(nèi)加入或拿走的概念，最后導(dǎo)致這個概念的認(rèn)可，這看起來是公平的，因為研究表明一些動物擁也有這樣的感覺。
39．A useful definition of an air pollutant is a compound added directlyor indirectly by humans to the atmosphere in such quantities as toaffect humans, animals, vegetation, or materials adversely.
一個有用的定義關(guān)于空氣污染是被人類直接加入或間接加入到大氣中，那些空氣質(zhì)量反面地影響人類、動物、植被或原材料的空氣的混合體。
40．The tight arrangement enabled the Mandans to protect themselves moreeasily from the attacks of others who might seek to obtain some of thefood these highly capable farmers stored from one year tonext.緊湊的安排使曼旦人能更容易地，從那些尋找獲得那些高產(chǎn)的農(nóng)民們年復(fù)一年地存儲的一些食物的其他族人的襲擊中，保護(hù)他們自己。
41．Noother set of colonists took so seriously one expression of the period,“Leisure is time for doing something useful,” in the countrysidefarmers therefore relieved the burden of the daily routine with suchdouble-purpose relaxations as hunting, fishing, andtrapping.沒有其他的殖民者在那個時期如此嚴(yán)肅的持有一個的申明：休閑對做事有利，鄉(xiāng)下農(nóng)民們理所當(dāng)然的收到如此雙重任務(wù)：日常事務(wù)的重?fù)?dān)和狩獵、捕魚和誘捕的閑暇。
42．Life on Earth has continually been in flux as slowphysical and chemical changes have occurred on Earth, but life needstime to adapt – time for migration and genetic adaptation withinexisting species and time for the proliferation of new genetic materialand new species that may be able to survive inenvironments.地球上的生命不斷地演化，就象存在于地球中的緩慢地物理的和化學(xué)的變化，但是生物需要時間去適應(yīng)，這就是現(xiàn)存物種的遷移和基因改變的時間，和以便能在環(huán)境中生存的新基因材料和新物種的繁殖的時間。
43．Some fossil bones have all theinterstitial spaces filled with foreign minerals, including the marrowcavity, if there is one, while others have taken up but little fromtheirsurroundings.一些石化的骨頭的所有裂縫的空隙，包括骨髓空腔，都充滿了外來的礦石，如果這兒還有有一個空腔當(dāng)其他的空腔都已被占據(jù)，填充物很少是來源于他們的環(huán)境。
44．By 1776 the fine art of painting as it had developed inwestern Europe up to this time had been introduced into the Americancolonies through books and paints, European visitors and immigrants,and traveling colonists who brought back copies (and a few originals)of old master paintings and acquaintance with European artinstitutions.杰出的繪畫藝術(shù)，在西歐發(fā)展，直到現(xiàn)在通過書、繪畫、歐洲訪問者和移民被介紹給美洲殖民者和游移不定的殖民者，他們買回舊的大師的繪畫和歐洲藝術(shù)機(jī)構(gòu)熟識的的復(fù)制品（很少有原件）。
45．The terminology by which artists weredescribed at the time suggests their status: “l(fā)imner” was usuallyapplied to the anonymous portrait painter up to the 1760’s: “painter”characterized anyone who could paint a flatsurface.藝術(shù)家們當(dāng)時描述的術(shù)語表明了他們的狀態(tài)，如“畫匠”一詞通常應(yīng)用在匿名的肖像畫家；直到十七世紀(jì)60年代，“油漆匠”刻畫了那些能在平的表面刷漆的人。
46．A few art collectors James Bowdoin III of Boston, WilliamByrd of Virginia, and the Aliens and Hamiltons of Philadelphiaintroduced European art traditions to those colonists privileged tovisit their galleries, especially aspiring artists, and established intheir respective communities the idea of the value of art and the needfor institutions devoted to its encouragement.一些藝術(shù)收藏家，如波士頓的JamesBowdoin III、弗吉尼亞的William Byrd和鳳凰城的Aliens andHamiltons家族，介紹歐洲的藝術(shù)給那些有特權(quán)去參觀他們畫廊，尤其是那些有抱負(fù)的藝術(shù)家們的畫廊的殖民者，并且建立了基于他們各自團(tuán)體的藝術(shù)價值的觀點和基于投入了他們資金的藝術(shù)機(jī)構(gòu)的需求。
47．The achievements of the colonial artists,particularly those of Copley, West, and Peale, lent credence to theboast that the new nation was capable of encouraging genius and thatpolitical liberty was congenial to the development of taste – anecessary step before art could assume an important role in the newrepublic.殖民藝術(shù)家們的成果，尤其是那些肖像畫家、西部的和畫家，信任值得夸耀的事，如新的國家有能力鼓勵天才藝術(shù)家和政治自由有相似的發(fā)展的口味，這是藝術(shù)能在新的公眾面前扮演一個重要的角色前的一個必要的一步。
48．In its grand and impressiveterminals and stations, architects recreated historic Roman temples andpublic baths, French chateaus and Italian bell towers – edifices thatpeople used as stages for many of everyday life’s high emotions:meeting and parting, waiting and worrying, planning new starts orcominghome.除了豪華的和給人印象深刻的月臺和站點，建筑師們重新創(chuàng)建了的羅馬廟宇和公共浴場以及法式城堡和意大利鐘塔，這些建筑被人們用來作為提高人們?nèi)粘Ｉ畹那槿さ膱鏊纾簳姾偷绖e朋友、等待和擔(dān)憂、計劃新的行程和回家。
49．Moreover, in addition to itsbeing a transportation pathway equipped with a mammoth physical plantof tracks signals, crossings, bridges, and junctions, plus telegraphand telephone lines the railroad nurtured factory complexes, coatpiles, warehouses, and generating stations, forming along itsright-of-way what has aptly been called “the metropolitan corridor” ofthe American landscape.更多的是，除了它成為交通線路要配備一個龐大的物理設(shè)備用來跟蹤信號、交叉、橋梁和加上電報和電話線的連接，鐵路滋養(yǎng)了工廠的聯(lián)合體、XX表面、倉庫和生產(chǎn)站，塑造著可通行的適當(dāng)?shù)谋唤凶鞔蠖际凶呃鹊拿乐揎L(fēng)景。
50．It was in the cities that the elements that can be associatedwith modern capitalism first appeared – the use of money and commercialpaper in place of barter, open competition in place of social deferenceand hierarchy, with an attendant rise in social disorder, and theappearance of factories using coal or water power in place ofindependent craftspeople working with handtools.城市中，和現(xiàn)代資本主義關(guān)聯(lián)的因素首先出現(xiàn)，他們是錢和貿(mào)易紙幣的使用代替物物交換、伴隨著一個社會混亂的上升，開放的競爭代替社會順從和階級、使用煤和水能源的工廠出現(xiàn)代替獨立的手工藝人的手工工作。