熊海虹主编《高等学校研究生英语综合教程_上》1-10单元原文+翻译(个人整理方便学习)(18)

7《(欢乐满人间》的作者帕梅拉·林登·特拉弗斯概括得精辟至极。她写到，“你不能把你想象的东西砍掉一部分然后写成一本专给孩子看的书，坦白地说，因为事实上你根本无从知道童年究竟是什么时候结束，而成人期又是什么时候开始的。它们相互连接、浑然一体。”在罗琳的书中，从语言开始，就有足够多的让大人和孩子都喜欢的东西。也许她文风朴实，但是她给人和物取名的方式显示了独特的原创才能。

8 The best writers remember what it is like to be a child with astonishing intensity. Time and again, Rowling articulates just how defenseless even the bravest children often feel. Near the end of the second book Dumbledore, the wise and protective headmaster, is banished from Hogwarts. This terrifies Harry and his schoolmates—"With Dumbledore gone, fear had spread as never before"—and it terrified me. And in all of Rowling's books there runs an undercurrent of sadness and loss. In the first book the orphaned Harry stares into the Mirror of Erised, which shows the viewer his or her utmost desires. Harry sees his dead parents. "Not until I'd reread what I'd written did I realize that that had been taken entirely- entirely- from how I felt about my mother's death," Rowling said. "In fact, death and bereavement and what death means, I would say, is one of the central themes in all seven books." Do young readers pick up on all this deep intellectualism? Consciously, perhaps not. But I don't think the books would have their broad appeal if they were only exciting tales of magical adventure, and I know adults would not find them so enticing.

8优秀作家关注孩子特点的能力达到惊人的程度。罗琳不只一次地清楚表达出，即便是最勇敢的孩子也经常会表现得那么无助。在《哈利波特》(二)中，当那位智慧的、对学生呵护有加的魔法学校校长邓布利多被驱逐出霍格华兹时，哈利和他的同学们都感到恐惧万分。“邓布利多走了，前所未有的恐惧蔓延开来。”而这也让我很害怕。在罗琳所有的书中都流淌着一种潜在的伤感与迷失。在《哈利波特》(一)中，变成孤儿的哈利盯着那面能够说出每个人内心深处愿望的厄里斯魔镜看，他看见了逝去的双亲。“直到我自己重读我写过的东西，我才意识到这个情节完完全全——完完全全地——来自于我对于母亲去世的感觉，”罗琳说，“事实上，我可以说，死亡、丧亲之痛以及死亡意味着什么是所有这七册书的中心主题之一。”而年轻的读者们能够领会这一份深刻的理性吗?也许不能自觉地做到这一点吧。但是我认为，如果这些书只是一些有关魔幻之旅的有趣的故事，那么它们就不可能有这么广泛的吸引力。而且我知道，那样的话成人就不会被它吸引。

搜索“diyifanwen.net”或“第一范文网”即可找到本站免费阅读全部范文。收藏本站方便下次阅读，第一范文网，提供最新初中教育熊海虹主编《高等学校研究生英语综合教程_上》1-10单元原文+翻译(个人整理方便学习)(18)全文阅读和word下载服务。