Section Ⅱ Reading Comprehension
1、 It is speculated that gardens arise from a basic human need in the individuals who made them: the need for creative expression. There is no doubt that gardens evidence an irrepressible urge to create, express, fashion, and beautify and that self-expression is a basic human urge; (46) 【yet when one looks at the photographs of the gardens created by the homeless, it strikes one that, for all their diversity of styles, these gardens speak of various other fundamental urges, beyond that of decoration and creative expression.】 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. (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.】 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. Composure is a state of mind made possible by the structuring of one’s relation to one’s environment. (48) 【The gardens of the homeless, which are in effect homeless gardens, introduce form into an urban environment where it either didn’t exist or was not discernible as such.】 In so doing they give composure to a segment of the inarticulate environment in which they take their stand. 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. When we are deprived of green, of plants, of trees, (49) 【most of us give in to a demoralization of spirit which we usually blame on some psychological conditions, until one day we find ourselves in garden and feel the oppression vanish as if by magic.】 In most of the homeless gardens of New York City the actual cultivation 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. On display here are various fantasy elements whose reference, at some basic level, seems to be the natural world. (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.】 In them we can see biophilia—a yearning for contact with nonhuman life—assuming uncanny representational forms.
正确答案：
参考译文：
46. 然而，看着无家可归者绘制出的花园图片时，人们会突然意识到，尽管这些花园风格多样，它们都显示了人类除了装饰和创造性表达之外的其他各种基本诉求。
47. 无论地方多么简陋不堪，寻求一片静谧圣土是人类特有的需求，而动物需要的仅仅是避难栖息之地。
48. 无家可归者描绘的花园实质上是无所依附的，这些花园把一种形式引入城市环境中，而这样的城市环境中，形式要么根本不存在，要么就完全不是以这种明显的方式存在。
49. 我们大多数人都会深陷于精神萎靡的状态，并常常将此归咎为一些心理原因，直到某天我们发现自己置身于一个花园中，感到如魔法般烦闷尽消。
50. 正是对自然的这种或隐晦含蓄或清晰直白的参照，充分证实了用“花园”一词来描述这些人造建筑是合乎情理的，即使是从相当有自由度的意义来讲。
答案解析：
生词本：
irrepressible adj. 压抑不住的 urge vt. 催促
turbulence n. 动荡 crude adj. 未加工的
distinctly adv. 无疑地 composure n. 镇静
discernible adj. 可识别的 segment n. 环节
inarticulate adj. 不善言辞的 intrinsic adj. 固有的
abide v. 容忍，经受 demoralization n. 道德败坏
clumplike adj. 块状的 symbolically adj. 象征性地
biophilia n. 热爱生命的天性 yearning n. 渴望
uncanny adj. 怪异的 representational n. 代表性的
表达难点：
46. ①when引导时间状语从句，表示主句发生的时间，为主谓宾结构，最后的后置定语表示gardens的来源。这部分译为“但当一个人看到那些无家可归者绘制出的花园图片时”。②主句中it作形式主语，that引导的从句为真正的主语，it strikes me that…可译为“不禁会产生这样的感觉”。主语从句的主干为these gardens speak of… urges，是主谓宾结构，这部分译为“这些花园表达了各种各样的其他基本需求”。③for all their diversity of styles为让步状语，for在此表示“尽管，就算有”。这部分译为“尽管他们有不同的风格”。④ beyond后为介宾结构作状语，使用that指代urges，所以这部分译为“甚至超越对装饰和表达创造力的需求”。
47. ①句子的主干为A sacred place of peace…is a distinctly human need，是主系表结构，译为“一处神圣的平静之地……是人类的一种特有需求”。②however crude it may be为让步状语，表示“不管……”，这部分译为“不管多么简陋”。③as opposed to shelter中as opposed to表示“与……相反”，有比较含义，这部分译为“与庇护所相反”。④非限制性定语从句的which指代shelter，这部分译为“庇护所是一种动物特有的需求”。
48. ①本句主干为The gardens of the homeless introduce form为主谓宾结构，into an urban environment为地点状语。主干部分翻译为“无家可归者的花园把一种形式介绍到城市环境中”。②which引导定语从句，指代The gardens of the homeless，in effect意为“事实上是”，从句可翻译为“（无家可归者的花园）其实是无主的花园”③where引导的定语从句修饰an urban environment（城市环境），it指代form。定语从句可翻译为“（在这种环境中）要么不存在这种形式，要么不那么清晰”。
49. ①句子主干为主谓宾结构，give in to sth.表示“屈服于……”，demoralization表示“变坏”。这部分译为“我们大部分人屈从于精神萎靡”。②which引导的定语从句修饰a demoralization of spirit（精神萎靡），先行词在从句中作blame的宾语，即we usually blame the demoralization of spirit on …，所以这部分翻译为“我们经常把它怪罪于某些心理状态”。③until引导时间状语从句，one day为从句的时间状语，as if by magic为方式状语，表明vanish（消失）的方式。这部分译为“直到某天，我们发现自己置身于一个花园中，感到如魔法般烦闷尽消”。
50. ①It is…that…为强调结构，强调句子主语，其中reference to nature表示“对自然的参考”。这部分译为“正是由于这种对自然或隐晦含蓄或清晰直白的参照，才充分使得‘花园’一词具有合理性”。②though in a “liberated” sense作让步状语，liberated译为“自由度高的”，这部分译为“虽然是一种‘自由度高’的用法”。③不定式结构to describe these synthetic constructions目的状语，表明使用“花园”一词的目的，故这部分译为“来描述这些人为的建造”。
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