中英文双语阅读材料(一)

【新概念英语双语版】

背诵短文系列（01-10）篇

目录

Unit1: The Language of Music 音乐的语言

Unit2: Schooling and Education 上学与受教育

Unit3: The Definition of Price "价格"的定义

Unit4: Electricity 电

Unit5: The Beginning of Drama 戏剧的起源

Unit6: Television 电视

Unit7: Andrew Carnegie 安德鲁•卡内基

Unit8: American Revolution 美国革命

Unit9: Suburbanization 郊区的发展

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Unit10: Types of Speech 语言的类型

Unit1: The Language of Music

A painter hangs his or her finished pictures on a wall, and everyone can see it. A

composer writes a work, but no one can hear it until it is performed. Professional

singers and players have great responsibilities, for the composer is utterly dependent

on them. A student of music needs as long and as arduous a training to become a

performer as a medical student needs to become a doctor. Most training is concerned

with technique, for musicians have to have the muscular proficiency of an athlete or a

ballet dancer. Singers practice breathing every day, as their vocal chords would be

inadequate without controlled muscular support. String players practice moving the

fingers of the left hand up and down, while drawing the bow to and fro with the right

arm—two entirely different movements.

Singers and instruments have to be able to get every note perfectly in tune.

Pianists are spared this particular anxiety, for the notes are already there, waiting for

them, and it is the piano tuner’s responsibility to tune the instrument for them. But

they have their own difficulties; the hammers that hit the string have to be coaxed not

to sound like percussion, and each overlapping tone has to sound clear.

This problem of getting clear texture is one that confronts student conductors:

they have to learn to know every note of the music and how it should sound, and they

have to aim at controlling these sound with fanatical but selfless authority.

Technique is of no use unless it is combined with musical knowledge and

understanding. Great artists are those who are so thoroughly at home in the language

of music that they can enjoy performing works written in any century.

01 音乐的语言

画家将已完成的作品挂在墙上，每个人都可以观赏到。 作

曲家写完了一部作品，得由 演奏者将其演奏出来，其他人才能

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得以欣赏。因为作曲家是如此完全地依赖于职业歌手和职 业演

奏者，所以职业歌手和职业演奏者肩上的担子可谓不轻。

一名学音乐的学生要想成为 一名演奏者，需要经受长期的、严

格的训练，就象一名医科的学生要成为一名医生一样。 绝 大多

数的训练是技巧性的。

音乐家们控制肌肉的熟练程度，必须达到与运动员或巴蕾舞

演 员相当的水平。 歌手们每天都练习吊嗓子，因为如果不能有

效地控制肌肉的话，他们的声带将不能满足演唱的要求。 弦乐

器的演奏者练习的则是在左手的手指上下滑动的同时，用 右手

前后拉动琴弓--两个截然不同的动作。歌手和乐器演奏者必须使

所有的音符完全相同协 调。 钢琴家们则不用操这份心，因为每

个音符都已在那里等待着他们了。

给钢琴调音是调 音师的职责。 但调音师们也有他们的难

处： 他们必须耐心地调理敲击琴弦的音锤，不能让音锤发出的

声音象是打击乐器，而且每个交叠的音都必须要清晰。如何得到

乐章清晰的纹理 是学生指挥们所面临的难题：他们必须学会了

解音乐中的每一个音及其发音之道。 他们还 必须致力于以热忱

而又客观的权威去控制这些音符。除非是和音乐方面的知识和悟

性结合起 来，单纯的技巧没有任何用处。

艺术家之所以伟大在于他们对音乐语言驾轻就熟，以致于

可以满怀喜悦地演出写于任何时代的作品。

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Unit2: Schooling and Education

It is commonly believed in United States that school is where people go to get an

education. Nevertheless, it has been said that today children interrupt their education

to go to school. The distinction between schooling and education implied by this

remark is important.

Education is much more open-ended and all-inclusive than schooling. Education

knows no bounds. It can take place anywhere, whether in the shower or in the job,

whether in a kitchen or on a tractor. It includes both the formal learning that takes

place in schools and the whole universe of informal learning. The agents of education

can range from a revered grandparent to the people debating politics on the radio,

from a child to a distinguished scientist. Whereas schooling has a certain predictability,

education quite often produces surprises. A chance conversation with a stranger may

lead a person to discover how little is known of other religions. People are engaged in

education from infancy on. Education, then, is a very broad, inclusive term. It is a

lifelong process, a process that starts long before the start of school, and one that

should be an integral part of one’s entire life.

Schooling, on the other hand, is a specific, formalized process, whose general

pattern varies little from one setting to the next. Throughout a country, children arrive

at school at approximately the same time, take assigned seats, are taught by an adult,

use similar textbooks, do homework, take exams, and so on. The slices of reality that

are to be learned, whether they are the alphabet or an understanding of the working of

government, have usually been limited by the boundaries of the subject being taught.

For example, high school students know that there not likely to find out in their

classes the truth about political problems in their communities or what the newest

filmmakers are experimenting with. There are definite conditions surrounding the

formalized process of schooling.

02上学与受教育

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在美国，人们通常认为上学是为了受教育。 而现在却有人

认为孩子们上学打断了他们 受教育的过程。 这种观念中的上学

与受教育之间的区别非常重要。

与上学相比，教育更具 开放性，内容更广泛。 教育不受任

何限制。 它可以在任何场合下进行，在淋浴时，在工作 时，在

厨房里或拖拉机上。

它既包括在学校所受的正规教育，也包括一切非正规教育。

传 授知识的人可以是德高望重的老者，可以是收音机里进行政

治辩论的人们，可以是小孩子，也可以是知名的科学家。 上学

读书多少有点可预见性，而教育往往能带来意外的发现。 与 陌

生人的一次随意谈话可能会使人认识到自己对其它宗教其实所

知甚少。

人们从幼时起就 开始受教育。 因此，教育是一个内涵很丰

富的词，它自始至终伴随人的一生，早在人们上 学之前就开始

了。

教育应成为人生命中不可缺少的一部分。然而，上学却是一

个特定的形 式化了的过程。 在不同场合下，它的基本形式大同

小异。 在全国各地，孩子们几乎在同一 时刻到达学校，坐在指

定的座位上，由一位成年人传授知识，使用大致相同的教材，做

作业， 考试等等。 他们所学的现实生活中的一些片断，如字母

表或政府的运作，往往受到科目范 围的限制。 例如，高中生们

知道，在课堂上他们没法弄清楚他们社区里政治问题的真情， 也

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不会了解到最新潮的电影制片人在做哪些尝试。学校教育这一形

式化的过程是有特定的 限制的。

Unit3: The Definition of Price

Prices determine how resources are to be used. They are also the means by which

products and services that are in limited supply are rationed among buyers. The price

system of the United States is a complex network composed of the prices of all the

products bought and sold in the economy as well as those of a myriad of services,

including labor, professional, transportation, and public-utility services. The

interrelationships of all these prices make up the “system” of prices. The price of any

particular product or service is linked to a broad, complicated system of prices in

which everything seems to depend more or less upon everything else.

If one were to ask a group of randomly selected individuals to define “price”,

many would reply that price is an amount of money paid by the buyer to the seller of a

product or service or, in other words that price is the money values of a product or

service as agreed upon in a market transaction. This definition is, of course, valid as

far as it goes. For a complete understanding of a price in any particular transaction,

much more than the amount of money involved must be known. Both the buyer and

the seller should be familiar with not only the money amount, but with the amount

and quality of the product or service to be exchanged, the time and place at which the

exchange will take place and payment will be made, the form of money to be used,

the credit terms and discounts that apply to the transaction, guarantees on the product

or service, delivery terms, return privileges, and other factors. In other words, both

buyer and seller should be fully aware of all the factors that comprise the total

“package” being exchanged for the asked-for amount of money in order that they may

evaluate a given price.

03"价格"的定义

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价格决定资源的使用方式。 价格也是有限的产品与服务在

买方中的配给手段。

美国的价格系统是复杂的网状系统，包括经济生活中一切产

品买卖的价格，也包括 名目繁多的各种服务，诸如劳动力、专

职人员、交通运输、公共事业等服务的价格。

所有这些价格的内在联系构成了价格系统。 任何一种个别

产品或服务的价格都与这个庞大而复杂的系统密切相关，而且或

多或少地受到系统中其它成份的制约。如果随机挑选一群人，问

问他们如何定义"价格"，许多人会回答价格就是根据卖方提供的

产品或服务，买方向其付出 的钱数。

换句话说，价格就是市场交易中大家认同的产品或服务的货

币量。 该定义就其本身来说自有其道理。

但要获得对价格在任何一桩交易中的完整认识，就必须考虑

到大量" 非货币"因素的影响。 买卖双方不但要清楚交易中的钱

数，而且要非常熟悉交易物的质量和数量，交易的时间、地点，

采用哪种形式付款，有怎样的缓付和优惠，对交易物的质量保证、

交货条款、退赔权利等等。也就是说，为了能估算索价，买卖双

方必须通晓构成交易物价 格的通盘细节。

Unit4: Electricity

The modern age is an age of electricity. People are so used to electric lights,

radio, televisions, and telephones that it is hard to imagine what life would be like

without them. When there is a power failure, people grope about in flickering

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candlelight, cars hesitate in the streets because there are no traffic lights to guide them,

and food spoils in silent refrigerators.

Yet, people began to understand how electricity works only a little more than two

centuries ago. Nature has apparently been experimenting in this field for million of

years. Scientists are discovering more and more that the living world may hold many

interesting secrets of electricity that could benefit humanity.

All living cell send out tiny pulses of electricity. As the heart beats, it sends out

pulses of record; they form an electrocardiogram, which a doctor can study to

determine how well the heart is working. The brain, too, sends out brain waves of

electricity, which can be recorded in an electroencephalogram. The electric currents

generated by most living cells are extremely small – often so small that sensitive

instruments are needed to record them. But in some animals, certain muscle cells have

become so specialized as electrical generators that they do not work as muscle cells at

all. When large numbers of these cell are linked together, the effects can be

astonishing.

The electric eel is an amazing storage battery. It can seed a jolt of as much as

eight hundred volts of electricity through the water in which it live. ( An electric

house current is only one hundred twenty volts.) As many as four-fifths of all the cells

in the electric eel’s body are specialized for generating electricity, and the strength of

the shock it can deliver corresponds roughly to length of its body.

04电

当今时代是电气时代。人们对电灯、收音机、电视和电话早

已司空见惯以致很难想 象没有它们生活会变成什么样。

当停电时，人们在摇曳不定的烛光下暗中摸索； 因没有红

绿灯的指示，汽车在道路上迟疑不前；冰箱也停止工作，导致食

物变质。人们只是在两个世纪前一点才开始了解电的使用原理，

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自然界却显然在这方面经历过了数百万年。 科学家不 断发现许

多生物世界里可能有益于人类的关于电的有趣秘密。所有生物细

胞都会发出微小的 电脉冲。

当心脏跳动时，把它发出的脉冲记录下来就成了心电图，这

可让医生了解心脏的 工作状况。大脑也发出脑电波，这可在脑

电图上记录下来。

许多生物细胞发出的电流都是 极微小的，小到要用灵敏仪

器才能记录和测量。 但一些动物的某些肌肉细胞能转化成一个

个发电机，以致完全失去肌肉细胞的功能。

这种细胞大量地连接在一起时产生的效果将是 非常令人吃

惊的。电鳗就是一种令人惊异的蓄电池。 它可以在水中发出相

当于 800 伏特电压电流(家庭用户的电压只有 120 伏特)。 在

电鳗的身体里，多至五分之四的细胞都专门用 来发电，而且发

出的电流的强度大约和它身体的长度成正比。

Unit5: The Beginning of Drama

There are many theories about the beginning of drama in ancient Greece. The on

most widely accepted today is based on the assumption that drama evolved from ritual.

The argument for this view goes as follows. In the beginning, human beings viewed

the natural forces of the world-even the seasonal changes-as unpredictable, and they

sought through various means to control these unknown and feared powers. Those

measures which appeared to bring the desired results were then retained and repeated

until they hardened into fixed rituals. Eventually stories arose which explained or

veiled the mysteries of the rites. As time passed some rituals were abandoned, but the

stories, later called myths, persisted and provided material for art and drama.

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Those who believe that drama evolved out of ritual also argue that those rites

contained the seed of theater because music, dance, masks, and costumes were almost

always used, Furthermore, a suitable site had to be provided for performances and

when the entire community did not participate, a clear division was usually made

between the "acting area" and the "auditorium." In addition, there were performers,

and, since considerable importance was attached to avoiding mistakes in the

enactment of rites, religious leaders usually assumed that task. Wearing masks and

costumes, they often impersonated other people, animals, or supernatural beings, and

mimed the desired effect-success in hunt or battle, the coming rain, the revival of the

Sun-as an actor might. Eventually such dramatic representations were separated from

religious activities.

Another theory traces the theater's origin from the human interest in storytelling.

According to this vies tales (about the hunt, war, or other feats) are gradually

elaborated, at first through the use of impersonation, action, and dialogue by a

narrator and then through the assumption of each of the roles by a different person. A

closely related theory traces theater to those dances that are primarily rhythmical and

gymnastic or that are imitations of animal movements and sounds.

05戏剧的起源

关于古希腊戏剧的起源存在着多种理论，其中一个最普遍为

人接受的理论 假设认为戏剧从仪式演化而来。

这个观点是这样进行论证的：一开始，人类把世界上的自 然

力量，甚至季节的变化都看成是不可预料的。 他们试图通过各

种方式去控制这些未知的、令人恐惧的力量。 那些似乎带来了

满意结果的手段就被保留下来并且重复直到这些手段固 化为不

变的仪式，最后产生了能够解释或者掩盖这些仪式神秘性的故

事。

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随着时间的推移， 一些仪式被废弃了，但这些后来被称作

神话的故事流传下来并且为艺术和戏剧提供了素材。

认为戏剧从仪式演化而来的人们还认为那些仪式包含了戏

剧的基本因素，因为音乐、舞蹈、 面具和服装几乎经常被使用，

而且，必须为演出提供一个合适的地点；如果不是整个社区共 同

参加演出，经常在"演出区"和"观众席"之间划分出明显的分界。

另外，仪式中还有演员， 而且宗教领袖通常承担演出任务，因

为在仪式的执行中避免错误的发生被认为有相当大的重要性；他

们经常带着面具，穿着服装象演员那样扮演其它人、动物或超自

然的生灵，用动作 来表演以达到所需要的效果，比如打猎的成

功或战斗的胜利、将至的雨、太阳的复活。 最 后这些戏剧性的

表演从宗教活动中分离了出来。

另一个追溯戏剧起源的理论认为它来自人 们对叙述故事的

兴趣。 根据这个观点，故事(关于狩猎、战争或者其它伟绩)是逐

渐丰富起 来的。

首先通过一个讲解人来运用模仿、表演和对话，然后再由不

同的人扮演各自的角色；另一个与之紧密相关的理论将戏剧的起

源追溯至舞蹈，这些舞蹈大体上是有节奏感的和体操 式的那一

类，或者是对动物动作和声音的模仿。

Unit6: Television

Television-----the most pervasive and persuasive of modern technologies,

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marked by rapid change and growth-is moving into a new era, an era of extraordinary

sophistication and versatility, which promises to reshape our lives and our world. It is

an electronic revolution of sorts, made possible by the marriage of television and

computer technologies.

The word "television", derived from its Greek (tele: distant) and Latin (visi sight)

roots, can literally be interpreted as sight from a distance. Very simply put, it works in

this way: through a sophisticated system of electronics, television provides the

capability of converting an image (focused on a special photoconductive plate within

a camera) into electronic impulses, which can be sent through a wire or cable. These

impulses, when fed into a receiver (television set), can then be electronically

reconstituted into that same image.

Television is more than just an electronic system, however. It is a means of

expression, as well as a vehicle for communication, and as such becomes a powerful

tool for reaching other human beings.

The field of television can be divided into two categories determined by its

means of transmission. First, there is broadcast television, which reaches the masses

through broad-based airwave transmission of television signals. Second, there is

nonbroadcast television, which provides for the needs of individuals or specific

interest groups through controlled transmission techniques.

Traditionally, television has been a medium of the masses. We are most familiar

with broadcast television because it has been with us for about thirty-seven years in a

form similar to what exists today. During those years, it has been controlled, for the

most part, by the broadcast networks, ABC, NBC, and CBS, who have been the major

purveyors of news, information, and entertainment. These giants of broadcasting have

actually shaped not only television but our perception of it as well. We have come to

look upon the picture tube as a source of entertainment, placing our role in this

dynamic medium as the passive viewer.

06电视

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电视--以快速变化与发展为标志的最普遍、最具有影响力的

一项现代技术，正在步 入一个极端复杂化与多样化的新时代。

这个时代承诺重新塑造我们的生活和我们的世界。 这可以称得

上是又一次电子革命，其关键在于电视技术与计算机技术的结

合。"电视"这个词来源于希腊语词根(tele：远)和拉丁语词根

(vision：景象)，可以从字面上理解为来自远处的 景象。

简单说来，电视是以这种方式工作的，通过一个复杂的电子

系统，电视能够将一幅图像(这幅图像被聚焦在一部摄像机内的

一块特殊的光导底片上)转换成能经过导线或电缆 发送出去的

电子脉冲信号。

当这些电子脉冲信号被输入一部接收机(电视机)时，就可以

用 电子学的方法把脉冲信号重新恢复成同一幅图像。但是，电

视不仅仅是一个电子系统，它还是一种表达工具和传播渠道。 因

此，电视成了一个对其他人发生影响的强大工具。电视这 个领

域可以根据其发射方式分为两类。

第一类为广播电视，通过电视信号的宽带无线电波 发射展

现在大众面前；第二类为非广播电视，使用受控的发射技术来满

足个人以及某些特殊利益群体的需要。电视早已成为大众媒介。

我们熟悉广播电视，因为广播电视已经以类似 目前的方式存在

了大约 37 年。

在那些年头中，电视绝大部分一直由 ABC、NBC、CBS 这

些广播电视公司控制着，这些广播电视公司一直是新闻、信息和

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娱乐的主要提供者。 这些广播业的巨头实际上不仅塑造了电视，

而且也塑造了我们对电视的理解。 我们渐渐把显像 管看作是娱

乐的来源，让自己成为这个生动的媒介的被动观众。

Unit7: Andrew Carnegie

Andrew Carnegie, known as the King of Steel, built the steel industry in the

United States, and , in the process, became one of the wealthiest men in America. His

success resulted in part from his ability to sell the product and in part from his policy

of expanding during periods of economic decline, when most of his competitors were

reducing their investments.

Carnegie believed that individuals should progress through hard work, but he

also felt strongly that the wealthy should use their fortunes for the benefit of society.

He opposed charity, preferring instead to provide educational opportunities that would

allow others to help themselves. "He who dies rich, dies disgraced," he often said.

Among his more noteworthy contributions to society are those that bear his name,

including the Carnegie Institute of Pittsburgh, which has a library, a museum of fine

arts, and a museum of national history. He also founded a school of technology that is

now part of Carnegie-Mellon University. Other philanthrophic gifts are the Carnegie

Endowment for International Peace to promote understanding between nations, the

Carnegie Institute of Washington to fund scientific research, and Carnegie Hall to

provide a center for the arts.

Few Americans have been left untouched by Andrew Carnegie's generosity. His

contributions of more than five million dollars established 2,500 libraries in small

communities throughout the country and formed the nucleus of the public library

system that we all enjoy today.

07安德鲁·卡内基

被称作钢铁大王的安德鲁·卡内基在美国建立了钢铁工业。

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在这个过 程中，他变成了美国最富有的人之一。

他的成功，部分来自于他销售产品的能力，部分来 自于经

济萧条时期的扩充策略。 在萧条时期，他的多数对手都在缩减

投资。卡内基认为个人应该通过努力工作来获得进展，但他也强

烈地感到有钱人应该运用他们的财富来为社会谋 取福利。 他反

对施舍救济，更愿意提供教育机会，使别人自立。

卡内基经常说："富有着 死去的人死得可耻。"他对社会的

较重要的贡献都以他的名字命名。 这些贡献包括匹兹堡卡 内基

学校。

这个学校有一个图书馆，一个美术馆和一个国家历史博物

馆；他还创立了一所 技术学校，这所学校现在是卡内基 梅隆大

学的一部分；其他的慈善捐赠有为促进国家间了解的"卡内基国

际和平基金"，为科学研究提供经费的华盛顿卡内基学院以及给

各种艺术活动 提供活动中心的卡内基音乐厅。安德鲁·卡内基的

慷慨大度几乎影响到每个美国人的生活。 由于他超过五百万美

元的捐款，2500个图书馆得以建立起来，遍布在美国各地的小

村镇， 形成了我们今天还在享用的公共图书馆系统的核心。

Unit8: American Revolution

The American Revolution was not a sudden and violent overturning of the

political and social framework, such as later occurred in France and Russia, when

both were already independent nations. Significant changes were ushered in, but they

were not breathtaking. What happened was accelerated evolution rather than outright

revolution. During the conflict itself people went on working and praying, marrying

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and playing. Most of them were not seriously disturbed by the actual fighting, and

many of the more isolated communities scarcely knew that a war was on.

America's War of Independence heralded the birth of three modern nations. One

was Canada, which received its first large influx of English-speaking population from

the thousands of loyalists who fled there from the United States. Another was

Australia, which became a penal colony now that America was no longer available for

prisoners and debtors. The third newcomer-the United States-based itself squarely on

republican principles.

Yet even the political overturn was not so revolutionary as one might suppose. In

some states, notably Connecticut and Rhode Island, the war largely ratified a colonial

self-rule already existing. British officials, everywhere ousted, were replaced by a

home-grown governing class, which promptly sought a local substitute for king and

Parliament.

08美国革命

美国革命其实并不算是一场革命，因为它并未导致完全的和

彻底的变化。 这 次革命并不是对政治和社会框架的一次突然和

猛烈的颠覆，象后来在已经是独立国家的法国 和俄国所爆发的

革命那样。

革命带来了重大的变化，但并非翻天覆地，所发生的只是进

化的加速，而不是一场彻底的革命；在冲突期间，人们仍然上班、

做礼拜、结婚、玩耍。 多数人并没有受到实际战斗的严重影响。

许多较闭塞的社区对这场战争几乎一无所知。美国 独立战争宣

布了三个现代国家的诞生，其中一个是加拿大。

加拿大的第一大批讲英语的流 入人口来自于成千上万英王

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的效忠者， 这些人从美国逃到了加拿大。 另一个国家是澳大利

亚，因为美国不再是容纳罪犯和欠债者的国度了，澳大利亚就变

成了一个惩治罪犯的殖民地 (注：独立战争前，英国政府将罪犯

流放到美国)。 第三个国家就是美国，它完全建立在共 和原则

基础上。即使政治上的颠覆也不如人们可能想象的那样具有革命

性。 在一些州，特 别是康涅狄格和罗德岛，战争基本上只是承

认了已经存在的殖民地的自治。

四处被驱逐的英国官员都被本土的统治阶级所替代，这个统

治阶级迅速地以地方权力机关来替代国王和议会。

Unit9: Suburbanization

If by "suburb" is meant an urban margin that grows more rapidly than its already

developed interior, the process of suburbanization began during the emergence of the

industrial city in the second quarter of the nineteenth century. Before that period the

city was a small highly compact cluster in which people moved about on foot and

goods were conveyed by horse and cart. But the early factories built in the 1840's

were located along waterways and near railheads at the edges of cities, and housing

was needed for the thousands of people drawn by the prospect of employment. In time,

the factories were surrounded by proliferating mill towns of apartments and row

houses that abutted the older, main cities. As a defense against this encroachment and

to enlarge their tax bases, the cities appropriated their industrial neighbors. In 1854,

for example, the city of Philadelphia annexed most of Philadelphia County. Similar

municipal maneuvers took place in Chicago and in New York. Indeed, most great

cities of the United States achieved such status only by incorporating the communities

along their borders.

With the acceleration of industrial growth came acute urban crowding and

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accompanying social stress-conditions that began to approach disastrous proportions

when, in 1888, the first commercially successful electric traction line was developed.

Within a few years the horse-drawn trolleys were retired and electric streetcar

networks crisscrossed and connected every major urban area, fostering a wave of

suburbanization that transformed the compact industrial city into a dispersed

metropolis. This first phase of mass-scale suburbanization was reinforced by the

simultaneous emergence of the urban Middle Class, whose desires for

homeownership in neighborhoods far from the aging inner city were satisfied by the

developers of single-family housing tracts.

09郊区的发展

如果"郊区"指的是比已建好的城市内部发展更为迅速的城

市边缘地带，那 么郊区化可以说始于 1825 年至 1850 年工业

化城市出现期间。

在这之前，城市只是高度密 集的小聚居群。 在其中，人们

步行走动，商品靠马车来运送。 但是建于 18 世纪三四十年代

的早期工厂位于城边的航道和铁路附近，被工作机会吸引到这里

的成千上万的人们需要住 房。渐渐地，在与旧有的主要城区相

毗邻的地方，不断涌现出由排房和公寓楼组成的工人聚居区，包

围了工厂。作为对这种侵蚀的自卫，也为了扩大它们收税的地域

范围，城市吞并 了工业化的临近地带，比如 1854年费城的城

区就兼并了费县的绝大部分地区。 相似的城市 化也发生在芝加

哥和纽约。 今天很多美国的大城市其实就是靠吞并它们附近的

边缘地区而变成大都会的。随着工业化的加速发展，城市里出现

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了严重拥挤和相伴而来的社会压力。 当1888 年第一条商业上

成功的电气化铁轨被制造出来时，压力开始接近危机的程度。 几

年之 内，马车就被废弃了，电车网相互交织连接着各个重要的

城区，从而形成了一种郊区化的潮 流，即密集的工业城市转变

成了分散的都市。

此时城市中产阶级的出现进一步加强了第一 波大规模郊区

化。 这些中产阶级希望在远离老旧城市的地区拥有住宅，单一

家庭住宅地区 的开发者满足了他们的愿望。

Unit10: Types of Speech

Standard usage includes those words and expressions understood, used, and

accepted by a majority of the speakers of a language in any situation regardless of the

level of formality. As such, these words and expressions are well defined and listed in

standard dictionaries. Colloquialisms, on the other hand, are familiar words and

idioms that are understood by almost all speakers of a language and used in informal

speech or writing, but not considered appropriate for more formal situations. Almost

all idiomatic expressions are colloquial language. Slang, however, refers to words and

expressions understood by a large number of speakers but not accepted as good,

formal usage by the majority. Colloquial expressions and even slang may be found in

standard dictionaries but will be so identified. Both colloquial usage and slang are

more common in speech than in writing.

Colloquial speech often passes into standard speech. Some slang also passes into

standard speech, but other slang expressions enjoy momentary popularity followed by

obscurity. In some cases, the majority never accepts certain slang phrases but

nevertheless retains them in their collective memories. Every generation seems to

require its own set of words to describe familiar objects and events. It has been

pointed out by a number of linguists that three cultural conditions are necessary for

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the creation of a large body of slang expressions. First, the introduction and

acceptance of new objects and situations in the society; second, a diverse population

with a large number of subgroups; third, association among the subgroups and the

majority population.

Finally, it is worth noting that the terms "standard" "colloquial" and "slang" exist

only as abstract labels for scholars who study language. Only a tiny number of the

speakers of any language will be aware that they are using colloquial or slang

expressions. Most speakers of English will, during appropriate situations, select and

use all three types of expressions.

10语言的类型

标准用法包括那些为使用这种语言的大多数人在任何场合

下理解、使用和 接受的词和短语，而不论该场合是否正式。

这些词和短语的意义已很确定并被列入了标准 词典中。 相

反，俗语是指那些几乎所有讲这种语言的人都理解并在非正式的

口头或书面中使用，却不适用于更正规的一些场合的词和短语。

几乎所有的习惯用语都属于俗语，而俚 语指的是为很多讲这种

语言的人理解但大多数人不把它们列入好的、正式用法之内的词

和短 语；俗语甚至俚语都可能在标准字典中查到，但是字典中

会标明它们的性质。

俗语和俚语 词汇的应用都是口头较多、笔头较少。俗语用

法经常地被接受为标准用法。 一些俚语也变成了标准用法，但

另外一些俚语只经历了短暂的流行，而后就被弃之不用了。 有

时候，多 数人从来不接受某些俚语，但是他们把这些俚语保存

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到集中记忆中。

每一代人似乎都需要 独有的一套词汇来描述熟知的物体和

事件。 很多语言学家指出，大量俚语的形成需要三个文化条件：

第一，对社会中新事物的引入和接受；第二，一个由大量子群构

成的多样化人口； 第三，各子群与多数人口之间的联系。最后

需要提到的是，"标准语"、"俗语"和"俚语"这些 术语只是对研究

语言的专家才有用的抽象标签。

不论何种语言，只会有很小一部分使用者能够意识到他们是

在使用俗语或俚语。 讲英语的多数人能够在适当的场合中选择

使用所有 这三种语言类型。

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