?Andreas

Andreas發(fā)音

英：　　美：

Andreas中文意思翻譯

n. 安德列亞斯

求The Shepherd Andreas這篇文學(xué)作品的翻譯

牧羊人安德烈亞斯

背景

用英語(yǔ)寫(xiě)游記有著(zhù)悠久的傳統。它可以追溯到14世紀約翰·曼德維爾爵士的旅行。這是事實(shí)和幻想的非凡結合，甚至描述了奇怪的生物和雙頭人。Richard Hakluyt以他對16世紀和17世紀早期英國商人和探險家航海的描述而聞名。

在18世紀，旅行文學(xué)開(kāi)始變得流行，因為偉大的**家描述他們的歐洲之旅。在接下來(lái)的一個(gè)世紀里，經(jīng)典的旅游文學(xué)作品包括對西非、南美和亞馬遜地區旅行的描述。

20世紀偉大的游記作家有:游歷中亞的羅伯特·拜倫，游歷阿拉伯國家的芙蕾雅·史塔克;布魯斯·查特溫的游記集人類(lèi)學(xué)、哲學(xué)和**于一身。當代著(zhù)名的旅游作家包括V. S .奈保爾、保羅·塞洛克斯和比爾·布賴(lài)森。

旅游寫(xiě)作現在不僅比以往更受歡迎，而且不再被視為一種不重要的文學(xué)體裁。好的旅游文學(xué)將觀(guān)察和想象結合起來(lái)，可以探索人類(lèi)生活的深度。正如西班牙諺語(yǔ)所說(shuō):“想把印度的財富帶回家的人，必須隨身攜帶印度的財富?！?/p>

閱讀和聽(tīng)力

在開(kāi)始之前

我讀了背景說(shuō)明并回答了這些問(wèn)題。

1. 哪位旅行作家提到你最喜歡閱讀?為什么?

2. 哪位作家列出了事實(shí)和虛構的混合體?

3.旅行文學(xué)是什么時(shí)候開(kāi)始流行的?

4. 正如諺語(yǔ)所說(shuō)，怎樣才能成為一名優(yōu)秀的旅游作家?

讀故事，聽(tīng)故事。訂單有事件。

作家給了牧羊人一杯茶。

牧羊人開(kāi)始大聲說(shuō)話(huà)。

牧羊人有點(diǎn)生氣，因為寫(xiě)信人聽(tīng)不懂。

作者端著(zhù)一杯茶出去了。

牧羊人試圖表明他想要一杯茶。

作者問(wèn)了牧羊人一些問(wèn)題。

牧羊人用手杖從驢上下來(lái)。

牧羊人開(kāi)始大笑起來(lái)。

牧羊人和藏起來(lái)的驢子出現在眼前。

再讀一遍這個(gè)故事并回答以下問(wèn)題。

1. 作者為什么把茶灑了?

2. 為什么牧羊人要用手杖下馬?

3.作者最喜歡島民的什么?

4. 牧羊人最后是怎么解釋他想要什么?

5. 作者認為一個(gè)人如何學(xué)習一門(mén)語(yǔ)言?

6. 為什么牧羊人笑得那么厲害?

將物品與作者的描述進(jìn)行匹配(a-e)

笑聲，大海，陸地，聲音，天空，就像藍色的大手

b)。悲觀(guān)

c).套索整個(gè)島

d).彎曲和垂直下落的物體

e).轟鳴

求The Shepherd Andreas這篇文學(xué)作品的翻譯

Background

There is a long tradition of travel writing in English. It dates back to the 14th century with Sir John Mandevill’s travels. This was an extraordinary mixture of fact and fantasy that even described strange creatures and two-headed men. Richard Hakluyt is well-known for his descriptions of the voyages made by English merchants and explorers in the 16th and early 17th centuries.

In the 18th century, travel literature started to become popular as great novelists described their trips around Europe. In the following century, classic travel literature included descriptions of travels in West Africa, South America and the Amazon.

Among great travel writers of the 20th century were: Robert Byron who journeyed across Central Asia, Freya Stark who traveled widely in Arab countries; Bruce Chatwin whose travel books are a mixture of anthropology, philosophy and fiction. Famous contemporary travel writers include V. S Naipaul, Paul Theroux and Bill Bryson.

Travel writing now is not only more popular than ever but is no longer regarded as an unimportant genre of literature. Good travel literature combines observations with imagination and can explore the depths of the human condition. As the Spanish proverb says, “ He, who would bring home the wealth of the Indies, must carry the wealth of the Indies with him.”

Reading and Listening

Before you start

l Read the background notes and answer these questions.

1. Which of the travel writers mentioned would you most like to read? Why?

2. Which of the writers listed mixed fact and fiction?

3. When did travel literature first became popular?

4. What, as the proverb says, makes a good travel writer?

2 Read and listen to the story. Order there events.

a). The wrier gave he shepherd a cup of tea.

b). The shepherd started to talk louder.

c). The shepherd got a bit angry because the writer couldn’t understand.

d). The writer went outside with her cup of tea.

e). The shepherd tried to show that he wanted a cup of tea.

f). The writer asked the shepherd questions.

g). The shepherd used his cane to dismount from his donkey.

h). The shepherd started laughing a lot.

i). The shepherd and hid donkey came into view.

3 Read the story again and answer these questions.

1. Why did the writer spill her tea?

2. Why did the shepherd use the cane to dismount?

3. What did the writer like most about the islanders?

4. How did the shepherd finally explain what he wanted?

5. How does the writer think one learns a language?

6. Why did the shepherd laugh so much?

4 Match the objects with the writer’s descriptions of them (a-e)

a laugh, the sea, the land, a sound, the sky

a). like wide blue hands

b). bearish

c). lassoing the entire island

d). the curved and plummeting body

e). rumbles

Speaking

Work in pairs. Which of these things would you like to do? Why?

Visit a Greek island, meet some islanders, live abroad for a while a travel book, learn another language (besides English ), know more words in English.

The sleek black donkey is called Marcos, and the old man who rides him is called Andreas. They appear early one morning while I am sitting outside, my back against the wall of the spitaki, a cup of tea cradled in my hands. The gate is on the other side of the house, out of immediate view. I hear hooves knock against the stones that mark the threshold of the gate. To give me warning, the old man shouts some unintelligible greeting that scares me out of my wits. spill tea on my lap.

"Kaleemera," he says gruffly, with a cautious smile. "Kaleemera," I return the greeting and reach for my dictionary He pulls his cane from its resting place in the ropes of the saddle, maneuvers Marcos to a stone, where he aims the cane, then slides off the donkey's back. His lower left leg and foot are deformed; the foot fits into a black boot cut open to accommodate its dimensions. How to describe Barba Andreas, the old shepherd? A yellow piece of cloth is wrapped around his head of white hair. He has a big white moustache, blue eyes, a dandy's flower stuck in the lapel of his green army jacket. Hands. What will I love most here, what will ! dream about years later, to return me to this place? The hands of the islanders. Their thickness, their roughness, their ugliness. Nails broken below the quick. Scars. Missing fingertips and lines of dirt.

Barba Andreas names the plants for me, pointing with his cane and leaning down to pluck off the chamomile blooms. Sitting on a milk crate, he lifts his bad leg up to rest on a stone. I remain sitting against the house in the shade. We both take in the view before us: slender Marcos, eating my melon rinds and shifting in what is, effectively my front yard: poppies; olive trees; the curved and plummeting body of the land, its shapes of green, sage-green, yellow, almond; rose and purple and gray shadow. The sky opens over everything like wide blue hands. And all around us, lassoing the entire island, the sea.

A bearish sound comes from Barba Andreas' throat. As though bored with the view -- how familiar it must be to him -- he turns back to me and says something I don't understand. He points in my direction with his cane. Is he pointing to the low table between us? I look at the table.' Is he pointing to my books on the table? I offer him a book, which he wisely refuses to touch. He pantomimes a motion, but I don't understand. Once more, he directly asks for something and pokes his finger against his chest. I don't understand. Finally, smiling but clearly frustrated, he grabs the tea-pot with one large hand, pours tea into the palm of the other, and raises it to his lips. "Ena poteeri!" he cries, and bangs his cane on the ground, demanding a cup.

Embarrassed, I jump up and go into the little house for another cup. I come out, pour tea, hand it him. He waves away my apologies. He drinks the tea in one go. How many Greek words do I know now? How many? Not enough, never enough. To learn another language one must re-acquire the greedy hunger of a child. ! want, I want, I want. Every desire begins and ends with a word. I want to ask a thousand questions. Where does the path behind the house lead and who lived here before and how do you make cheese and are the sheep in the neighboring field yours and what is this place, truly, and how do I go to the mountains behind the house? Because there is a gate closing off the field that leads to the mountains, and I am afraid to walk through it.

He understands my last, garbled question. "How do you go to the mountains?" he parrots back to me, almost shouting. It is an international assumption that when people don't hear and understand our language, we think they can't hear at all. "How do you go up to the mountains?" Now a slow laugh rumbles in his throat. "Me ta podia!" he cries. Every line of his face proclaims laughter. He slaps his knees, guffawing.

How do you go to the mountains?

Me ta podia. With your feet.

Open the gate, go through it, close it behind you. And walk to the mountains