2013年考研英语试卷一：翻译题的全文翻译和答案

　　

　　Part C

　　It is speculated that gardens arise from a basic need in the individuals who made them: the need for creative expression.

　　据推测，花园产生于那些创造了他们的人的需要，创造性表达的需要。

　　There is no doubt that gardens evidence an irrespressible urge to create, express, fashion, and beautify and that self-expression is a basic human urge;

　　毫无疑问，花园证明了人类有一个不可抑制的冲动来创造、表达、塑形和美化，而自我表达正是人类基本的欲望。

　　(46) Yet when one looks at the photographs of the garden created by the homeless, it strikes one that ， for all their diversity of styles, these gardens speak so various other fundamental urges, beyond that of decoration and creative expression.

　　然而，只要你看到了无家可归者创造的花园的照片。你就会意识到尽管各式各样，这些花园除了表达其他基本的装饰和创造的欲望之外，也表达不同的人类不同的基本的欲望和需求。

　　One of these urges had to do with creating a state of peace in the midst of turbulence, a “still point of the turning world,” to borrow a phrase from T. S. Eliot.

　　其中的欲望之一就是在混乱之中创造一种和平的状态。借用TS艾略特的话来说，就是旋转世界的静止点。

　　(47)A sacred place of peace, however crude it may be, is a distinctly human need, as opposed to shelter, which is a distinctly animal need.

　　安宁的圣地，是人类特有的需要，无论他多么粗糙，也和避难所不同，而避难所是特有的动物的需要。

　　

　　This distinction is so much so that where the latter is lacking, as it is for these unlikely gardeners, the former becomes all the more urgent.

　　这个区别是如此之大，以至于后者（避难所）缺失的情况下，正如这些不可置信的园丁一样，前者（安宁的圣地）变得更为急迫。

　　Composure is a state of mind made possible by the structuring of one’s relation to one’s environment.

　　宁静是一种心态，通过构建人和自然的关系来实现。

　　(48) The gardens of the homeless which are in effect homeless gardens introduce from into an urban environment where it either didn’t exist or was not discernible as such.

　　无家可归者的花园事实上就是居无定所的花园，引入了一种形式，而城市环境中要不没有这种形式，要不并没把它当成形式看待。

　　In so doing they give composure to a segment of the inarticulate environment in which they take their stand.

　　通过这种做法，花园就将宁静给予了它们立足的不可言说的沉默的环境。

　　Another urge or need that these gardens appear to respond to, or to arise from is so intrinsic that we are barely ever conscious of its abiding claims on us.

　　这些花园似乎回应了或者产生于人类另一种需要或者欲望，这种欲望或需要如此内在，以至于我们几乎意识不到它对于我们长久的诉求。

　　When we are deprived of green, of plants, of trees,(49) most of us give into a demoralization of spirit which we usually blame on some psychological conditions, until one day we find ourselves in garden and feel the expression vanish as if by magic.

　　当我们剥夺了绿色、植物、或者草木。我们大多数人，通常把陷入精神颓废归咎于某些心理疾病。直到有一天我们置身花园感受到压力神奇的消失了。

　　

　　In most of the homeless gardens of New York City the actual cultivation 惊悚片 of plants is unfeasible, yet even so the compositions often seem to represent attempts to call forth the spirit of plant and animal life.

　　if only symbolically, through a clumplike arrangement of materials, an introduction of colors, small pools of water, and a frequent presence of petals or leaves as well as of stuffed animals.

　　在纽约市的大多数无家可归者的花园中，实际栽培植物是不可行的，但即便如此，这些花园的构造常常体现了试图唤醒植物生命力的种种努力，哪怕只是象征的。借助材料的簇丛状布置、色彩的引入、小水池以及花瓣和叶子和填充动物玩具的频繁出现。

　　On display here are various fantasy elements whose reference, at some basic level, seems to be the natural world.

　　各种各样奇幻的元素在这里展示。其参照依据，就某种基本层面来说，似乎是大自然。

　　(50)It is this implicit or explicit reference to nature that fully justifies the use of word garden though in a “liberated” sense, to describe these synthetic constructions.

　　这种或隐晦或明晰的参照，让用“花园”这个单词来描述这些人造组合有了充分的根据。尽管有“扩大词义外延”的意味。

　　In them we can see biophysical- a yearning for contact with nonhuman life-assuming uncanny representational forms.

　　从中我们可以看到人类热爱生命的天性——亲近大自然的渴望——呈现出神秘莫测的表现形式。