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20170423 世界读书日-关于读书 About Reading Books - 斯蛋Stan朗读
弗吉尼亚•伍尔芙（1882—1941），现代著名意识流小说家。她出生于伦敦，从小博览群书，曾和兄妹们居住在伦敦的布卢姆斯伯里，形成一个影响广泛的文人圈子。她的主要作品有小说《奥兰多》、《去灯塔》、《 戴洛威夫人》、《海浪》，散文集《一间自己的屋子》等。
About Reading Books
谈读书
Virginia Woolf
弗吉尼亚•伍尔芙
It is simple enough to say that since books have classes — fiction, biography, poetry — we should separate them and take from each what is right that each should give us. Yet few people ask from books what books can give us.
既然书籍有不同的种类，如小说、传记、诗歌等，我们就应该把它们区分开来，并从每种中汲取应当对我们有用的成分。然而，很少有人能从书籍中获得书籍所提供的有用价值。
Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices.
通常我们总是心不在焉,毫无目的地去看书：要求小说情节真实，要求诗歌内容虚构，要求传记阿谀奉承，要求历史能加深自己的偏见。
If we could banish all such preconceptions when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow worker and accomplice.
如果我们读书时能抛弃这些偏见，那将是一个令人羡慕的开端。我们无须盲从作者，而应站在作者的立场上，把自己当成作者的创作伙伴。
If you hang back, and reserve, and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, then signs and hints of almost imperceptible fineness, from the twist, and turn of the first sentences, will bring you into the presence of a human being unlike any other.
假如一开始你就退缩不前，持保留甚至批判的态度,就会妨碍自己从阅读中得到最大的益处。然而，如果你能尽量敞开思想，那么，从开头几句迂回曲折的话里,可以发现那些几乎难以觉察的迹象和暗示，然后会把你引到一个与众不同的人物的面前去。
Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite.
是自己深入进去,进一步体味作者的用心,很快就会领悟作者正在给你或试图给你某些更为明确的东西。
The thirty-two chapters of a novel — if we consider how to read a novel first — are an attempt to make something as formed and controlled as a building: but words are more impalpable than bricks, reading is a longer and more complicated process than seeing.
倘若我们首先考虑怎样读小说，那么，一部小说中的32章就是企图创造出像一座建筑物那样既有形式又能控制的东西，不过词句要比砖块难以捉摸，阅读要比看更费时、更复杂。
Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write, to make your own experiment with the dangers and difficulties of words.
也许理解小说家创作要素的捷径并不是读，而是写作，亲自去尝试写作的艰难。
Recall, then, some event that has left a distinct impression on you — how at the corner of the street, perhaps, you passed two people talking. A tree shook, an electric light danced, the tone of the talk was comic, but also tragic, a whole vision, an entire conception, seemed contained in that moment.
那么，回想一下给你留下鲜明印象的事项——比如，你走过大街拐角碰见两个人说话时的情景,树在摇曳、灯光在晃动，谈话的语气时喜时悲，这一瞬间就是一个完整的画面，一个整体的构思。
如果你喜欢，欢迎关注斯蛋Stan的公众号“英音朗读者”。
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弗吉尼亚•伍尔芙（1882—1941），现代著名意识流小说家。她出生于伦敦，从小博览群书，曾和兄妹们居住在伦敦的布卢姆斯伯里，形成一个影响广泛的文人圈子。她的主要作品有小说《奥兰多》、《去灯塔》、《 戴洛威夫人》、《海浪》，散文集《一间自己的屋子》等。
About Reading Books
谈读书
Virginia Woolf
弗吉尼亚•伍尔芙
It is simple enough to say that since books have classes — fiction, biography, poetry — we should separate them and take from each what is right that each should give us. Yet few people ask from books what books can give us.
既然书籍有不同的种类，如小说、传记、诗歌等，我们就应该把它们区分开来，并从每种中汲取应当对我们有用的成分。然而，很少有人能从书籍中获得书籍所提供的有用价值。
Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices.
通常我们总是心不在焉,毫无目的地去看书：要求小说情节真实，要求诗歌内容虚构，要求传记阿谀奉承，要求历史能加深自己的偏见。
If we could banish all such preconceptions when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow worker and accomplice.
如果我们读书时能抛弃这些偏见，那将是一个令人羡慕的开端。我们无须盲从作者，而应站在作者的立场上，把自己当成作者的创作伙伴。
If you hang back, and reserve, and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, then signs and hints of almost imperceptible fineness, from the twist, and turn of the first sentences, will bring you into the presence of a human being unlike any other.
假如一开始你就退缩不前，持保留甚至批判的态度,就会妨碍自己从阅读中得到最大的益处。然而，如果你能尽量敞开思想，那么，从开头几句迂回曲折的话里,可以发现那些几乎难以觉察的迹象和暗示，然后会把你引到一个与众不同的人物的面前去。
Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite.
是自己深入进去,进一步体味作者的用心,很快就会领悟作者正在给你或试图给你某些更为明确的东西。
The thirty-two chapters of a novel — if we consider how to read a novel first — are an attempt to make something as formed and controlled as a building: but words are more impalpable than bricks, reading is a longer and more complicated process than seeing.
倘若我们首先考虑怎样读小说，那么，一部小说中的32章就是企图创造出像一座建筑物那样既有形式又能控制的东西，不过词句要比砖块难以捉摸，阅读要比看更费时、更复杂。
Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write, to make your own experiment with the dangers and difficulties of words.
也许理解小说家创作要素的捷径并不是读，而是写作，亲自去尝试写作的艰难。
Recall, then, some event that has left a distinct impression on you — how at the corner of the street, perhaps, you passed two people talking. A tree shook, an electric light danced, the tone of the talk was comic, but also tragic, a whole vision, an entire conception, seemed contained in that moment.
那么，回想一下给你留下鲜明印象的事项——比如，你走过大街拐角碰见两个人说话时的情景,树在摇曳、灯光在晃动，谈话的语气时喜时悲，这一瞬间就是一个完整的画面，一个整体的构思。
如果你喜欢，欢迎关注斯蛋Stan的公众号“英音朗读者”。