Unit 7 The Monster习题答案综合教程四[精品文档]

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综合教程4 UNIT7 课后翻译习题答案

I feel abit out of sorts after last night’s heavy drink.
他的父亲找了无数的门路，帮他在一个已经臃肿不堪的政府机构找到了一个职位。(pull wires)
His father pulled endless wires and got him a position in an inflated goverment department.
遭受了多年失眠的折磨后，他终于自杀了。(under the torment of)
He finally killed himself after being under the torment of insomnia for many years.
他惊讶得说不出话来。(be dumb with)
如果你仔细读这封信，你会在字里行间发现他的真正用意。(between the lines)
If you read this letter carefully you can find his real intention between the lines.
我知道我对他真的无礼透顶，但我为自己找了各种理由。(downright)
Unit 7
为了你的家庭，你要三思而后行，不要冒那么多的风险。(for the sake of)
For the sake of your family,you should look before your leap and not take so many risks.
昨晚喝了太多酒，我感觉有点不舒服。(out of soቤተ መጻሕፍቲ ባይዱts)
I know I was downright rude to him,but I found excuses for myself.

新标准大学英语综合教程4 unit7答案

Work in pairs. Read the quote and discuss the possible interpretations. The principle was that no one could enter a man’s home unless invited in. Of course, the authorities could always issue a warrant and this did not mean one could break the law, but officials could not just come in. The third statement is true as long as reasonable minimum force is used. The fifth is less and less true as, for example, the rights of children are enforced and laws prevent cruelty to children.
• Let Ss enjoy practicing similar unusual choices of narrator.
• For the rhetorical questions there are plenty of examples in the passage to make the notion clear.
Reading skills
• Humanizing the non-human • Rhetorical questions • Understanding inversion
• Let Ss enjoy the surprise of realizing the narrator is actually a house.

全新版大学英语综合教程4课后答案Unit7

全新版⼤学英语综合教程4课后答案Unit7全新版⼤学英语综合教程4课后答案Unit7 全新版⼤学英语综合教程4第七单元的'主题是911恐怖袭击，下⾯是⼩编很⼩的课后答案，希望能帮到⼤家! Unit 7 Vocabulary: I. Fill in the gaps with words or phrases given in the box. Change the form where necessary. 1) 1. divined 5. coated 6. perish revenge on 11. revolves 12. denounced2. applied for3. went off4. are 7. hijack 8. grief 9. farewell 10. take 2. nerves 3. solidarity 4. sacred; mourn 2) 1. drop… off gaining on 5. bring down picking at 6. blotted out 7. think back on 8. 3) 1. brought down the American housing market in 2008 2. what will happen after his son steps into his shoes? 3. not in the mood to go out 4. long before the market began to show signs of weakness 5. mourn the loss of the tranquil life we had in the countryside 4) 1. in the aftermath of; to blot our; the tragic 2. armed; at dust; accomplices; explosives 3. in the space of; no illusion II. Collocation:1. a little of2. a few; most of // many of3. much 4. few5. many6. many of7. much of little 9. few of 10. Some II. Usage: 1. As the boy grew older 2. she sings as beautifully as a nightingale // sings like a nightingale 3. they don’t see themselves as servants of the people 4. As she had left her key in the office 5. Just do as you are told 6. Areas once regarded as rural 7. as they do in China 8. As he was brave and loyal as well 8.。

全新版大学英语综合教程4课后答案Unit7

全新版⼤学英语综合教程4课后答案Unit7相关推荐全新版⼤学英语综合教程4课后答案Unit7 《全新版⼤学英语综合教程》是上海外语教育出版社出版的图书，由复旦⼤学、北京⼤学、华东师范⼤学、中国科学技术⼤学、华南理⼯⼤学、南京⼤学、武汉⼤学、南开⼤学、中国⼈民⼤学等英语教学专家合作编写全新版⼤学英语综合教程4第七单元的`主题是911恐怖袭击，下⾯是⼩编很⼩的课后答案，希望能帮到⼤家! Unit 7 Vocabulary: I. Fill in the gaps with words or phrases given in the box. Change the form where necessary. 1) 1. divined 5. coated 6. perish revenge on 11. revolves 12. denounced2. applied for3. went off4. are 7. hijack 8. grief 9. farewell 10. take 2. nerves 3. solidarity 4. sacred; mourn 2) 1. drop… off gaining on 5. bring down picking at 6. blotted out 7. think back on 8. 3) 1. brought down the American housing market in 2008 2. what will happen after his son steps into his shoes? 3. not in the mood to go out 4. long before the market began to show signs of weakness 5. mourn the loss of the tranquil life we had in the countryside 4) 1. in the aftermath of; to blot our; the tragic 2. armed; at dust; accomplices; explosives 3. in the space of; no illusion II. Collocation:1. a little of2. a few; most of // many of3. much 4. few5. many6. many of7. much of little 9. few of 10. Some II. Usage: 1. As the boy grew older 2. she sings as beautifully as a nightingale // sings like a nightingale 3. they don’t see themselves as servants of the people 4. As she had left her key in the office 5. Just do as you are told 6. Areas once regarded as rural 7. as they do in China 8. As he was brave and loyal as well 8.。

Unit 7 The Monster课文翻译综合教程四

Unit 7 The Monster课文翻译综合教程四Unit 7The MonsterDeems Taylor1 He was an undersized little man, with a head too big for his body�D a sickly littleman. His nerves were bad. He had skin trouble. It was agony for him to wear anything next to his skin coarser than silk. And he had delusions of grandeur.2 He was a monster of conceit. Never for one minute did he look at the world or atpeople, except in relation to himself. He believed himself to be one of the greatest dramatists in the world, one of the greatest thinkers, and one of the greatest composers. To hear him talk, he was Shakespeare, and Beethoven, and Plato, rolled into one. He was one of the most exhausting conversationalists that ever lived. Sometimes he was brilliant; sometimes he was maddeningly tiresome. But whether he was being brilliant or dull, he had one sole topic of conversation: himself. What he thought and what he did.3 He had a mania for being in the right. The slightest hint of disagreement, fromanyone, on the most trivial point, was enough to set him off on a harangue that might last for hours, in which he proved himself right in so many ways, and with such exhausting volubility, that in the end his hearer, stunned and deafened, would agree with him, for the sake of peace.4 It never occurred to him that he and his doing were not of the most intense andfascinating interest to anyone with whom he came in contact. He had theories about almost any subject under the sun, including vegetarianism, the drama, politics, and music; and in support of these theories he wrote pamphlets, letters, books ... thousands upon thousands of words, hundreds and hundreds of pages. He not only wrote these things, and published them �Dusually at somebody else’s expense �D but he would sit and read them aloud, for hours, to his friends, and his family.5 He had the emotional stability of a six-year-old child. When he felt out of sorts,he would rave and stamp, or sink into suicidal gloom and talk darkly of going to the East to end his days as a Buddhist monk. Ten minutes later, when something pleased him he would rush out of doors and run around the garden, or jump up and down off the sofa, or stand on his head. He could be grief-stricken over the death of a pet dog, and could be callous and heartless to a degree that would have made a Roman emperor shudder.6 He was almost innocent of any sense of responsibility. He was convinced that感谢您的阅读，祝您生活愉快。

综合英语4 unit 7 The Monster (2)

Let’s have a Debate!
September 7, 2016
The advantages of the Internet outweigh its disadvantages
Affirmative side: more advantages Negative side: more disadvantages
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School of Foreign Studies
Background information
September 7, 2016

About the author: Will Baker is an essayist in Vermont of the United States. mantra (Paragraph 4): Originally it is a word or sound in Hinduism and Buddhism repeated to aid concentration in meditation. Here it means a statement or slogan repeated frequently. 【印度教】曼特罗，祷文，符咒 Utopia ((Paragraph 7): Originally it refers to an imaginary island described in Sir Thomas More’s Utopia (1516) as enjoying perfection in law, politics, etc. Here it is used for an ideal state.
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It can help us forget our miseries –at least temporarily.

(完整版)Unit7TheMonster习题答案综合教程四

Unit 7 The MonsterKey to the ExercisesText comprehensionI. Decide which of the following best states the author's purpose of writing.CII. Judge, according to the text, whether the following statements are true or false.1. T (Refer to Paragraphs 2?.)2. F (Refer to Paragraph 5, which suggests he was emotionally unstable.)3. F (Refer to Paragraph 7, which states he was responsible for large sums of debt.)4. T (Refer to Paragraph 8. A lot of women came into his life as a result of his pursuit, and were abandoned by him in the end.)5. T (Refer to Paragraph 12.)III. A nswer the following questions.1. Refer to Paragraph 1. He had a short stature with a disproportionately large head. And he had skin diseases.2. Refer to Paragraph 2. He believed he was one of the greatest men in the world, a great composer, a great thinker and a great dramatist combined into one. A man of such arrogance cannot help but take himself to be the center of conversations.3. Refer to Paragraph 3. If anyone showed slight disagreement with him, he would make a lengthy and aggressive speech for hours to prove himself to be in the right. This would force his dazed and deafened hearer to surrender.4. Refer to Paragraph5. He was emotionally capricious like a child. Rapture in him could easily turn into extreme melancholy. He was heartless and callous to a frightening degree on some occasions. Moreover, his emotional states always found outward expression.5. Refer to Paragraphs 11 and 12. The author says that Wagner was among the greatest dramatists, the greatest thinkers and the most tremendous musical geniuses in our world. His immortal works far exceeded in value the tortures his arrogance inflicted upon others and the debts he owed.6. Refer to Paragraph 13. The tremendous creative power, which propelled him to produce so many memorable works in his lifetime, could have crushed his poor brain and body. However, he miraculously survived and made all the immortal accomplishments. In this sense he was a monster rather than a human being.IV. Explain in your own words the following sentences.1. He almost had no sense of responsibility.2. He wrote large numbers of letters begging for money. In some letters he was servile without shame, and in other letters he loftily offered his targeted benefactor the privilege of contributing to his support. If the recipient refused to accept his offer, i.e. refused to lend him money, he would fly into a rage.3. He would use his influence on as many people as possible in order to meet some admirer of his who was only too glad to offer him his help.4. Since Wagner was driven by such tremendous forces, it is no surprise that he didn't behave like a normal human being.Structural analysis of the textIn the first 10 paragraphs, we can find the following words and expressions used to describe Richard Wagner as a monster of conceit: delusions of grandeur / a monster of conceit / believed himself to be one of the greatest dramatists in the world, one of the greatest thinkers, and one of the greatest composers / the most exhausting conversationalist / proved himself right in so many ways / had theories about almost any subject under the sun / almost innocent of any sense of responsibility / an endless procession of women.In the remaining paragraphs, we can find the following words and expressions used to describe him as a great genius: right all the time / one of the world's greatest dramatists / a great thinker / one of the most stupendous musical geniuses / owe him a living.Rhetorical features of the textThe repetitive use of the third person pronoun he creates suspense in the reader's mind. This is one of the effective ways to hold the reader's attention and make him read on.Vocabulary exercisesI. Explain the underlined part in each sentence in your own words.1. person with extremely excessive self-pride2. with all their talents combined in him3. in a bad temper; unwell or annoyed4. without5. use as much influence of his as possible (from behind the scenes)6. make concessionII. Fill in the blank in each sentence with a phrase from the box in its appropriate form.1. pulled wires2. be content with3. rolled into one4. between the lines of5. sink into6. innocent of7. out of sorts8. lay my hands onIII. Fill in the blanks with the appropriate forms of the given words.1. callousness2. tormentor3. inconceivable4. arrogantly5. gloomy6. tragedy7. delusion 8. loftyIV. Choose the word that can replace the underlined part in each sentence without changing its original meaning.1. A2. B3. C4. A5. C6. B7. A8. DV. Give a synonym or an antonym of the word underlined in each sentence in the sense it is used.1. Antonym: humbleness (modesty)2. Synonym: amazing (stunning, miraculous)3. Synonym: cold-blooded (inhumane, merciless)4. Synonym: void5. Antonym: ethical (moral, principled, scrupulous)6. Synonym: parody (caricature)7. Antonym: exhilaration (bliss, ecstasy)8. Synonym: proudly (self-importantly)VI. Explain the meaning of the underlined part in each sentence.1. company2. controlled3. imprecise4. out of fashion5. immediately6. coverGrammar exercisesI. Complete the following sentences with prepositions.1. at2. on3. to4. at5. from6. of7. in, for, at 8. on, of, of9. over 10. on, under, out ofII. Fill in the blank in each sentence with the choice you think the most appropriate. 1. C 2. A 3. B 4. C5. D6. D7. B8. DIII. R ewrite the following paragraph, using appropriate coordinators so as to make it more concise.Both John and I wanted to go to the movies, but we could not agree on which picture we should go to see. A new picture was showing at the Palace and another at the Globe. Neither John nor I had seen either of these pictures. I wanted to see the one at the Globe, but John didn't.IV. Join the sentences in each group into one without using and, but or so.1. My cousin, John, who has a beautiful tenor voice, is appearing at the Royal Festival Hall, where I am going to meet him after the concert.2. The roller coaster, which made its appearance in 1884, is still one of the most exciting rides in an amusement park.3. As I could not find a British-made ballpoint pen, I bought a French one, which was expensive although it was an extremely simple pen.4. Everybody who is interested in brass rubbings should visit our village church because it contains some beautiful brasses which date from the 14th century.5. Despite free medical treatment being available to everybody in the country, there are still a number of private hospitals, which are mostly patronized by foreign visitors who do not want to wait for a bed in a National Health Service hospital.6. Crochet, which used to be a favourite pastime in Victorian times, is back in fashion because clothes have become so expensive that it is worthwhile to make them.7. Clanging its bell, the empty cable car approaches, swaying as though slightly drunk.8. We arrived by plane from Denver, a 16-minute flight that culminated in a breathtaking touchdown at a tiny airport tucked in among the Rocky Mountains.V. Replace the underlined parts by infinitive phrases.1. The child is lonely; he would be happier if he had someone to play with.2. I have some letters to write.3. He was the first man to leave the burning building.4. The pilot was the only man to survive the crash.5. The last one to leave the room must turn out the lights.6. That is the largest ship to be built.7. My files are all over the place. I wish I had a box to keep them in.8. I don't much care for cooking for myself; if I had a family to cook for I'd be more interested.VI. Make sentences of your own after the sentences given below, keeping the underlined structures in your sentences.(Reference version)1. Work interests him to such a degree that he thinks about nothing else.2. What if they do not come?Translation exercisesI. Translate the following sentences into Chinese.1. 任何人只要有一丝半点的不同意见，即使再微不足道，也足够让他高谈阔论几个钟头，用他那十分累人的雄辩从多方面论证自己是正确的，结果是他的听众听得目瞪口呆，两耳震聋，为了息事宁人，只好顺从他。

综合英语4 Unit7 The Monster

2016/7/12 Free Template from 18
• 6. decline • v. to deteriorate gradually; fail逐渐恶化，衰败 • <释例>The arts of China have not declined in spite of Western influence. • 虽有西方影响，中国的艺术并未因此而衰落。 • <点拨>decline，deny，refuse, reject • decline指对别人的邀请、请求、建议、帮助等有礼貌地回绝，是这组近义词中最文雅的词，语气比较委婉，如： • He declined the nomination. 他不愿意被提名。 • deny意为“拒绝”时，主要用于拒绝相信(某事的真实性)，不承认(某事合法，能够成立），还用于拒绝接受或给予（某人以某物等），如： • He denied the accusation to be just． • 他不承认这项控诉是合法的。
• <点拨> weary，fatigue和exhaust都可以表示“使疲惫”。
2016/7/12 Free Template from 14
• weary可以指力量或忍耐力的消退，但通常带有一种很强的不满的含义，如由于让人厌烦的事所导致，例如： • He found the journey wearying. 他觉得旅行很累人。 • fatigue意为疲劳，如由压力所造成的; • fatigued by the day‟s labors 被一天的劳作弄得疲惫不堪 • exhaust指精疲力尽，这个词表示体力或情感力量的完全耗尽，例如: • The discussion was so prolonged and exhausting that at intervals the speakers stopped for refreshments. • 讨论会拖得时间太长并且很累人，发言者每隔一段时间就停下来吃点点心。 Free Template from

完整版Unit7TheMonster课文翻译综合教程四

Unit 7The MonsterDeems Taylor1He was an undersized little man, with a head too big for his body ―a sickly little man. His nerves were bad. He had skin trouble. It was agony for him to wearanything next to his skin coarser than silk. And he had delusions of grandeur.2He was a monster of conceit. Never for one minute did he look at the world or at people, except in relation to himself. He believed himself to be one of the greatest dramatists in the world, one of the greatest thinkers, and one of the greatest composers. To hear him talk, he was Shakespeare, and Beethoven, and Plato, rolledinto one. He was one of the most exhausting conversationalists that ever lived. Sometimes he was brilliant; sometimes he was maddeningly tiresome. But whetherhe was being brilliant or dull, he had one sole topic of conversation: himself. Whathe thought and what he did.3He had a mania for being in the right. The slightest hint of disagreement, from anyone, on the most trivial point, was enough to set him off on a harangue thatmight last for hours, in which he proved himself right in so many ways, and withsuch exhausting volubility, that in the end his hearer, stunned and deafened, would agree with him, for the sake of peace.4It never occurred to him that he and his doing were not of the most intense and fascinating interest to anyone with whom he came in contact. He had theories about almost any subject under the sun, including vegetarianism, the drama, politics, and music; and in support of these theories he wrote pamphlets, letters, books ... thousands upon thousands of words, hundreds and hundreds of pages. He not only wrote these things, and published them ―usually at somebody else's expense ―but he would sit and read them aloud, for hours, to his friends, and his family.5He had the emotional stability of a six-year-old child. When he felt out of sorts, he would rave and stamp, or sink into suicidal gloom and talk darkly of going to the East to end his days as a Buddhist monk. Ten minutes later, when somethingpleased him he would rush out of doors and run around the garden, or jump up and down off the sofa, or stand on his head. He could be grief-stricken over the death ofa pet dog, and could be callous and heartless to a degree that would have made a Roman emperor shudder.thatwas convinced He responsibility. of sense any of innocent was almost He 6．the world owed him a living. In support of this belief, he borrowed money from everybody who was good for a loan ―men, women, friends, or strangers. He wrote begging letters by the score, sometimes groveling without shame, at others loftilyoffering his intended benefactor the privilege of contributing to his support, andbeing mortally offended if the recipient declined the honor.7What money he could lay his hand on he spent like an Indian rajah. No one will ever know ―certainly he never knows ―how much money he owed. We do know that his greatest benefactor gave him $6,000 to pay the most pressing of his debtsin one city, and a year later had to give him $16,000 to enable him to live in another city without being thrown into jail for debt.8He was equally unscrupulous in other ways. An endless procession of women marched through his life. His first wife spent twenty years enduring and forgivinghis infidelities. His second wife had been the wife of his most devoted friend and admirer, from whom he stole her. And even while he was trying to persuade her to leave her first husband he was writing to a friend to inquire whether he couldsuggest some wealthy woman ―any wealthy woman ―whom he could marry for her money.9He had a genius for making enemies. He would insult a man who disagreed with him about the weather. He would pull endless wires in order to meet some manwho admired his work and was able and anxious to be of use to him ―and would proceed to make a mortal enemy of him with some idiotic and wholly uncalled-for exhibition of arrogance and bad manners. A character in one of his operas was a caricature of one of the most powerful music critics of his day. Not content with burlesquing him, he invited the critic to his house and read him the libretto aloud in front of his friends.10The name of this monster was Richard Wagner. Everything I have said about him you can find on record ―in newspapers, in police reports, in the testimony of people who knew him, in his own letters, between the lines of his autobiography.And the curious thing about this record is that it doesn't matter in the least.11Because this undersized, sickly, disagreeable, fascinating little man was right all the time, the joke was on us. He was one of the world's greatest dramatists; he was a great thinker; he was one of the most stupendous musical geniuses that, up to now,the world has ever seen. The world did owe him a living. What if he did talk about himself all the time? If he talked about himself for twenty-four hours every day forthe span of his life he would not have uttered half the number of words that othermen have spoken and written about him since his death.12When you consider what he wrote ―thirteen operas and music dramas, eleven of them still holding the stage, eight of them unquestionably worth ranking amongthe world's great musico-dramatic masterpieces ―when you listen to what he wrote, the debts and heartaches that people had to endure from him don't seem much of a price.13What if he was faithless to his friends and to his wives? He had one mistress to whom he was faithful to the day of his death: Music. Not for a single moment did he ever compromise with what he believed, with what he dreamed. There is not a lineof his music that could have been conceived by a little mind. Even when he is dull,or downright bad, he is dull in the grand manner. Listening to his music, one doesnot forgive him for what he may or may not have been. It is not a matter offorgiveness. It is a matter of being dumb with wonder that his poor brain and bodydidn't burst under the torment of the demon of creative energy that lived inside him, struggling, clawing, scratching to be released; tearing, shrieking at him to write themusic that was in him. The miracle is that what he did in the little space of seventyyears could have been done at all, even by a great genius. Is it any wonder he had no time to be a man?畸人迪姆斯·泰勒1 他是个大头小身体、病怏怏的矬子；成日神经兮兮，皮肤也有毛病。

Unit7TheMonster课文翻译综合教程四

Unit 7The Mons‎t erDeems Taylor‎1He was an u‎n dersized little‎man, with a hea‎d too big for hi‎s body ― a sickl‎y little man. Hi‎s nerves were ba‎d. He had skin t‎r ouble. It was a‎g ony for him to ‎w ear anything ne‎x t to his skin c‎o arser than silk‎. And he had del‎u sions of grande‎u r.2He was a‎monster of conc‎e it. Never for o‎n e minute did he‎look at the wor‎l d or at people,‎except in relat‎i on to himself. ‎H e believed hims‎e lf to be one of‎the greatest dr‎a matists in the ‎w orld, one of th‎e greatest think‎e rs, and one of ‎t he greatest com‎p osers. To hear ‎h im talk, he was‎Shakespeare, an‎d Beethoven, and‎Plato, rolled i‎n to one. He was ‎o ne of the most ‎e xhausting conve‎r sationalists th‎a t ever lived.S‎o metimes he was ‎b rilliant; somet‎i mes he was madd‎e ningly tiresome‎. But whether he‎was being brill‎i ant or dull, he‎had one sole to‎p ic of conversat‎i on: himself. Wh‎a t he thought an‎d what he did.3‎He had a mani‎a for being in t‎h e right. The sl‎i ghtest hint of ‎d isagreement, fr‎o m anyone, on th‎e most trivial p‎o int, was enough‎to set him off ‎o n a harangue th‎a t might last fo‎r hours, in whic‎h he proved hims‎e lf right in so ‎m any ways, and w‎i th such exhaust‎i ng volubility, ‎t hat in the end ‎h is hearer, stun‎n ed and deafened‎, would agree wi‎t h him, for the ‎s ake of peace.4‎It never occu‎r red to him that‎he and his doin‎g were not of th‎e most intense a‎n d fascinating i‎n terest to anyon‎e with whom he c‎a me in contact. ‎H e had theories ‎a bout almost any‎subject under t‎h e sun, includin‎g vegetarianism,‎the drama, poli‎t ics, and music;‎and in support ‎o f these theorie‎s he wrote pamph‎l ets, letters, b‎o oks ...thousan‎d s upon thousand‎s of words, hund‎r eds and hundred‎s of pages. He n‎o t only wrote th‎e se things, and ‎p ublish ed them ―‎usually at some‎b ody else’s expe‎n se ― but he wou‎l d sit and read ‎t hem aloud, for ‎h ours, to his fr‎i ends, and his f‎a mily.5He ha‎d the emotional ‎s tability of a s‎i x-year-old chil‎d. When he felt ‎o ut of sorts, he‎would rave and ‎s tamp, or sink i‎n to suicidal glo‎o m and talk dark‎l y of going to t‎h e East to end h‎i s days as a Bud‎d hist monk. Ten ‎m inutes later, w‎h en something pl‎e ased him he wou‎l d rush out of d‎o ors and run aro‎u nd the garden, ‎o r jump up and d‎o wn off the sofa‎, or stand on hi‎s head. He could‎be grief-strick‎e n over the deat‎h ofa pet dog, ‎a nd could be cal‎l ous and heartle‎s s to a degree t‎h at would have m‎a de aRoman empe‎r or shudder.6‎He was almost i‎n nocent of any s‎e nse of responsi‎b ility. He was c‎o nvinced that th‎eworld owed him‎a living. In su‎p port of this be‎l ief, he borrowe‎d money from eve‎r ybody who was g‎o od for a loan ―‎men, women, fri‎e nds, or strange‎r s. He wrote beg‎g ing letters by ‎t he score, somet‎i mes groveling w‎i thout shame, at‎others loftily ‎o ffering his int‎e nded benefactor‎the privilege o‎f contributing t‎o his support, a‎n d being mortall‎y offended if th‎e recipient decl‎i ned the honor.7‎What money h‎e could lay his ‎h and on he spent‎like an Indian ‎r ajah. No one wi‎l l ever know ― c‎e rtainly he neve‎r knows ― how mu‎c h money he owed‎. We do know tha‎t his greatest b‎e nefactor gave h‎i m $6,000 to pay‎the most pressi‎n g of his debts ‎i n one city, and‎a year later ha‎d to give him $1‎6,000 to enable ‎h im to live in a‎n other city with‎o ut being thrown‎into jail for d‎e bt.8He was ‎e qually unscrupu‎l ous in other wa‎y s. An endless p‎r ocession of wom‎e n marched throu‎g h his life. His‎first wife spen‎t twenty years e‎n during and forg‎i ving his infide‎l ities. His seco‎n d wife had been‎the wife of his‎most devoted fr‎i end and admirer‎, from whom he s‎t ole her. And ev‎e n while he was ‎t rying to persua‎d e her to leave ‎h er first husban‎d he was writing‎to a friend to ‎i nquire whether ‎h e could suggest‎some wealthy wo‎m an ― any wealt h‎y woman ― whom h‎e could marry fo‎r her money.9‎He had a genius‎for making enem‎i es. He would in‎s ult a man who d‎i sagreed with hi‎m about the weat‎h er. He would pu‎l l endless wires‎in order to mee‎t some man who a‎d mired his work ‎a nd was able and‎anxious to be o‎f use to him ― a‎n d would proceed‎to make a morta‎l enemy of him w‎i th some idiotic‎and wholly unca‎l led-for exhibit‎i on of arrogance‎and bad manners‎. A character in‎one of his oper‎a s was a caricat‎u re of one of th‎e most powerful ‎m usic critics of‎his day. Not co‎n tent with burle‎s quing him, he i‎n vited the criti‎c to his house a‎n d read him the ‎l ibretto aloud i‎n front of his f‎r iends.10The ‎n ame of this mon‎s ter was Richard‎Wagner. Everyth‎i ng I have said ‎a bout him you ca‎n find on record‎― in newspapers‎, in police repo‎r ts, in the test‎i mony of people ‎w ho knew him, in‎his own letters‎, between the li‎n es of his autob‎i ography.And th‎e curious thing ‎a bout this recor‎d is that it doe‎s n’t matter in t‎h e least.11Be‎c ause this under‎s ized, sickly, d‎i sagreeable, fas‎c inating little ‎m an was right al‎l the time, the ‎j oke was on us. ‎H e was one of th‎e world’s greate‎s t dramatists; h‎e was a great th‎i nker; he was on‎e of the most st‎u pendous musical‎geniuses that, ‎u p to now, the w‎o rld has ever se‎e n. The world di‎d owe him a livi‎n g. What if he d‎i d talk about hi‎m self all the ti‎m e? If he talked‎about himself f‎o r twenty-four h‎o urs every day f‎o r the span of h‎i s life he would‎not have uttere‎d half the numbe‎r of words that ‎o thermen have s‎p oken and writte‎n about him sinc‎e his death.12‎When you consid‎e r what he wrote‎― thirteen oper‎a s and music dra‎m as, eleven of t‎h em still holdin‎g the stage, eig‎h t of them unque‎s tionably worth ‎r anking among th‎e wor ld’s great ‎m usico-dramatic ‎m asterpieces ― w‎h en you listen t‎o what he wrote,‎the debts and h‎e artaches that p‎e ople had to end‎u re from him don‎’t seem much of ‎a price.13‎W hat if he was f‎a ithless to his ‎f riends and to h‎i s wives? He had‎one mistress to‎whom he was fai‎t hful to the day‎of his death: M‎u sic. Not for a ‎s ingle moment di‎d he ever compro‎m ise with what h‎e believed, with‎what he dreamed‎. There is not a‎line of his mus‎i c that could ha‎v e been conceive‎d by a little mi‎n d. Even when he‎is dull, or dow‎n right bad, he i‎s dull in the gr‎a nd manner. List‎e ning to his mus‎i c, one does not‎forgive him for‎what he may or ‎m ay not have bee‎n. It is not a m‎a tter of forgive‎n ess. It is a ma‎t ter of being du‎m b with wonder t‎h at his poor bra‎i n and body didn‎’t burst under t‎h e torment of th‎e demon of creat‎i ve energy that ‎l ived inside him‎, struggling, cl‎a wing, scratchin‎g to be released‎; tearing, shrie‎k ing at him to w‎r ite the music t‎h at was in him. ‎T he miracle is t‎h at what he did ‎i n the little sp‎a ce of seventy y‎e ars could have ‎b een done at all‎, even by a grea‎t genius. Is it ‎a ny wonder he ha‎d no time to be ‎a man?畸人迪‎姆斯·泰勒1 他是个大头小‎身体、病怏怏的矬子；成日神经兮兮‎，皮肤也有毛病。

Unit 7 The Monster课文翻译综合教程四【优质文档】

Unit 7The MonsterDeems Taylor1He was an undersized little man, with a head too big for his body ― a sickly little man. His nerves were bad. He had skin trouble. It was agony for him to wear anything next to his skin coarser than silk. And he had delusions of grandeur.2He was a monster of conceit. Never for one minute did he look at the world or at people, except in relation to himself. He believed himself to be one of the greatest dramatists in the world, one of the greatest thinkers, and one of the greatest composers. To hear him talk, he was Shakespeare, and Beethoven, and Plato, rolled into one. He was one of the most exhausting conversationalists that ever lived.Sometimes he was brilliant; sometimes he was maddeningly tiresome. But whether he was being brilliant or dull, he had one sole topic of conversation: himself. What he thought and what he did.3He had a mania for being in the right. The slightest hint of disagreement, from anyone, on the most trivial point, was enough to set him off on a harangue that might last for hours, in which he proved himself right in so many ways, and with such exhausting volubility, that in the end his hearer, stunned and deafened, would agree with him, for the sake of peace.4It never occurred to him that he and his doing were not of the most intense and fascinating interest to anyone with whom he came in contact. He had theories about almost any subject under the sun, including vegetarianism, the drama, politics, and music; and in support of these theories he wrote pamphlets, letters, books ...thousands upon thousands of words, hundreds and hundreds of pages. He not only wrote these things, and published them ― usually at somebody else’s expense ― but he would sit and read them aloud, for hours, to his friends, and his family.5He had the emotional stability of a six-year-old child. When he felt out of sorts, he would rave and stamp, or sink into suicidal gloom and talk darkly of going to the East to end his days as a Buddhist monk. Ten minutes later, when something pleased him he would rush out of doors and run around the garden, or jump up and down off the sofa, or stand on his head. He could be grief-stricken over the death ofa pet dog, and could be callous and heartless to a degree that would have made aRoman emperor shudder.6He was almost innocent of any sense of responsibility. He was convinced thatthe world owed him a living. In support of this belief, he borrowed money from everybody who was good for a loan ― men, women, friends, or strange rs. He wrote begging letters by the score, sometimes groveling without shame, at others loftily offering his intended benefactor the privilege of contributing to his support, and being mortally offended if the recipient declined the honor.7What money he could lay his hand on he spent like an Indian rajah. No one will ever know ― certainly he never knows ― how much money he owed. We do know that his greatest benefactor gave him $6,000 to pay the most pressing of his debts in one city, and a year later had to give him $16,000 to enable him to live in another city without being thrown into jail for debt.8He was equally unscrupulous in other ways. An endless procession of women marched through his life. His first wife spent twenty years enduring and forgiving his infidelities. His second wife had been the wife of his most devoted friend and admirer, from whom he stole her. And even while he was trying to persuade her to leave her first husband he was writing to a friend to inquire whether he could suggest some wealthy woman ― any wealthy woman ― whom he could marry for her money.9He had a genius for making enemies. He would insult a man who disagreed with him about the weather. He would pull endless wires in order to meet some man who admired his work and was able and anxious to be of use to him ― and would proceed to make a mortal enemy of him with some idiotic and wholly uncalled-for exhibition of arrogance and bad manners. A character in one of his operas was a caricature of one of the most powerful music critics of his day. Not content with burlesquing him, he invited the critic to his house and read him the libretto aloud in front of his friends.10The name of this monster was Richard Wagner. Everything I have said about him you can find on record ― in newspapers, in police reports, in the testimony of people who knew him, in his own letters, between the lines of his autobiography.And the curious thing about this record is that it doesn’t matter in the least.11Because this undersized, sickly, disagreeable, fascinating little man was right all the time, the joke was on us. He was one of the world’s greatest dramatists; he was a great thinker; he was one of the most stupendous musical geniuses that, up to now, the world has ever seen. The world did owe him a living. What if he did talk about himself all the time? If he talked about himself for twenty-four hours every day for the span of his life he would not have uttered half the number of words that othermen have spoken and written about him since his death.12When you consider what he wrote ― thirteen operas and music dramas, eleven of them still holding the stage, eight of them unquestionably worth ranking among the world’s great musico-dramatic masterpieces ― when you listen to what he wrote, the debts and heartaches that people had to endure from him don’t seem much of a price.13What if he was faithless to his friends and to his wives? He had one mistress to whom he was faithful to the day of his death: Music. Not for a single moment did he ever compromise with what he believed, with what he dreamed. There is not a line of his music that could have been conceived by a little mind. Even when he is dull, or downright bad, he is dull in the grand manner. Listening to his music, one does not forgive him for what he may or may not have been. It is not a matter of forgiveness. It is a matter of being dumb with wonder that his poor brain and body didn’t burst under the torment of the demon of creative energy that lived inside him, struggling, clawing, scratching to be released; tearing, shrieking at him to write the music that was in him. The miracle is that what he did in the little space of seventy years could have been done at all, even by a great genius. Is it any wonder he had no time to be a man?畸人迪姆斯·泰勒1 他是个大头小身体、病怏怏的矬子；成日神经兮兮，皮肤也有毛病。

Unit 7 The Monster课文翻译综合教程四

Unit 7The MonsterDeems Taylor1He was an undersized little man, with a head too big for his body ― a sickly little man. His nerves were bad. He had skin trouble. It was agony for him to wear anything next to his skin coarser than silk. And he had delusions of grandeur.2He was a monster of conceit. Never for one minute did he look at the world or at people, except in relation to himself. He believed himself to be one of the greatest dramatists in the world, one of the greatest thinkers, and one of the greatest composers. To hear him talk, he was Shakespeare, and Beethoven, and Plato, rolled into one. He was one of the most exhausting conversationalists that ever lived.Sometimes he was brilliant; sometimes he was maddeningly tiresome. But whether he was being brilliant or dull, he had one sole topic of conversation: himself. What he thought and what he did.3He had a mania for being in the right. The slightest hint of disagreement, from anyone, on the most trivial point, was enough to set him off on a harangue that might last for hours, in which he proved himself right in so many ways, and with such exhausting volubility, that in the end his hearer, stunned and deafened, would agree with him, for the sake of peace.4It never occurred to him that he and his doing were not of the most intense and fascinating interest to anyone with whom he came in contact. He had theories about almost any subject under the sun, including vegetarianism, the drama, politics, and music; and in support of these theories he wrote pamphlets, letters, books ...thousands upon thousands of words, hundreds and hundreds of pages. He not only wrote these things, and published them ― usually at somebody else’s expense ― but he would sit and read them aloud, for hours, to his friends, and his family.5He had the emotional stability of a six-year-old child. When he felt out of sorts, he would rave and stamp, or sink into suicidal gloom and talk darkly of going to the East to end his days as a Buddhist monk. Ten minutes later, when something pleased him he would rush out of doors and run around the garden, or jump up and down off the sofa, or stand on his head. He could be grief-stricken over the death ofa pet dog, and could be callous and heartless to a degree that would have made aRoman emperor shudder.6He was almost innocent of any sense of responsibility. He was convinced thatthe world owed him a living. In support of this belief, he borrowed money from everybody who was good for a loan ― men, women, friends, or strange rs. He wrote begging letters by the score, sometimes groveling without shame, at others loftily offering his intended benefactor the privilege of contributing to his support, and being mortally offended if the recipient declined the honor.7What money he could lay his hand on he spent like an Indian rajah. No one will ever know ― certainly he never knows ― how much money he owed. We do know that his greatest benefactor gave him $6,000 to pay the most pressing of his debts in one city, and a year later had to give him $16,000 to enable him to live in another city without being thrown into jail for debt.8He was equally unscrupulous in other ways. An endless procession of women marched through his life. His first wife spent twenty years enduring and forgiving his infidelities. His second wife had been the wife of his most devoted friend and admirer, from whom he stole her. And even while he was trying to persuade her to leave her first husband he was writing to a friend to inquire whether he could suggest some wealthy woman ― any wealthy woman ― whom he could marry for her money.9He had a genius for making enemies. He would insult a man who disagreed with him about the weather. He would pull endless wires in order to meet some man who admired his work and was able and anxious to be of use to him ― and would proceed to make a mortal enemy of him with some idiotic and wholly uncalled-for exhibition of arrogance and bad manners. A character in one of his operas was a caricature of one of the most powerful music critics of his day. Not content with burlesquing him, he invited the critic to his house and read him the libretto aloud in front of his friends.10The name of this monster was Richard Wagner. Everything I have said about him you can find on record ― in newspapers, in police reports, in the testimony of people who knew him, in his own letters, between the lines of his autobiography.And the curious thing about this record is that it doesn’t matter in the least.11Because this undersized, sickly, disagreeable, fascinating little man was right all the time, the joke was on us. He was one of the world’s greatest dramatists; he was a great thinker; he was one of the most stupendous musical geniuses that, up to now, the world has ever seen. The world did owe him a living. What if he did talk about himself all the time? If he talked about himself for twenty-four hours every day for the span of his life he would not have uttered half the number of words that othermen have spoken and written about him since his death.12When you consider what he wrote ― thirteen operas and music dramas, eleven of them still holding the stage, eight of them unquestionably worth ranking among the world’s great musico-dramatic masterpieces ― when you listen to what he wrote, the debts and heartaches that people had to endure from him don’t seem much of a price.13What if he was faithless to his friends and to his wives? He had one mistress to whom he was faithful to the day of his death: Music. Not for a single moment did he ever compromise with what he believed, with what he dreamed. There is not a line of his music that could have been conceived by a little mind. Even when he is dull, or downright bad, he is dull in the grand manner. Listening to his music, one does not forgive him for what he may or may not have been. It is not a matter of forgiveness. It is a matter of being dumb with wonder that his poor brain and body didn’t burst under the torment of the demon of creative energy that lived inside him, struggling, clawing, scratching to be released; tearing, shrieking at him to write the music that was in him. The miracle is that what he did in the little space of seventy years could have been done at all, even by a great genius. Is it any wonder he had no time to be a man?畸人迪姆斯·泰勒1 他是个大头小身体、病怏怏的矬子；成日神经兮兮，皮肤也有毛病。

(完整版)Unit7TheMonster课文翻译综合教程四

Unit 7The MonsterDeems Taylor1He was an undersized little man, with a head too big for his body ― a sickly little man. His nerves were bad. He had skin trouble. It was agony for him to wear anything next to his skin coarser than silk. And he had delusions of grandeur.2He was a monster of conceit. Never for one minute did he look at the world or at people, except in relation to himself. He believed himself to be one of the greatest dramatists in the world, one of the greatest thinkers, and one of the greatest composers. To hear him talk, he was Shakespeare, and Beethoven, and Plato, rolled into one. He was one of the most exhausting conversationalists that ever lived.Sometimes he was brilliant; sometimes he was maddeningly tiresome. But whether he was being brilliant or dull, he had one sole topic of conversation: himself. What he thought and what he did.3He had a mania for being in the right. The slightest hint of disagreement, from anyone, on the most trivial point, was enough to set him off on a harangue that might last for hours, in which he proved himself right in so many ways, and with such exhausting volubility, that in the end his hearer, stunned and deafened, would agree with him, for the sake of peace.4It never occurred to him that he and his doing were not of the most intense and fascinating interest to anyone with whom he came in contact. He had theories about almost any subject under the sun, including vegetarianism, the drama, politics, and music; and in support of these theories he wrote pamphlets, letters, books ...thousands upon thousands of words, hundreds and hundreds of pages. He not only wrote these things, and published them ― usually at somebody else’s expense ― but he would sit and read them aloud, for hours, to his friends, and his family.5He had the emotional stability of a six-year-old child. When he felt out of sorts, he would rave and stamp, or sink into suicidal gloom and talk darkly of going to the East to end his days as a Buddhist monk. Ten minutes later, when something pleased him he would rush out of doors and run around the garden, or jump up and down off the sofa, or stand on his head. He could be grief-stricken over the death ofa pet dog, and could be callous and heartless to a degree that would have made aRoman emperor shudder.6He was almost innocent of any sense of responsibility. He was convinced thatthe world owed him a living. In support of this belief, he borrowed money from everybody who was good for a loan ― men, women, friends, or strange rs. He wrote begging letters by the score, sometimes groveling without shame, at others loftily offering his intended benefactor the privilege of contributing to his support, and being mortally offended if the recipient declined the honor.7What money he could lay his hand on he spent like an Indian rajah. No one will ever know ― certainly he never knows ― how much money he owed. We do know that his greatest benefactor gave him $6,000 to pay the most pressing of his debts in one city, and a year later had to give him $16,000 to enable him to live in another city without being thrown into jail for debt.8He was equally unscrupulous in other ways. An endless procession of women marched through his life. His first wife spent twenty years enduring and forgiving his infidelities. His second wife had been the wife of his most devoted friend and admirer, from whom he stole her. And even while he was trying to persuade her to leave her first husband he was writing to a friend to inquire whether he could suggest some wealthy woman ― any wealthy woman ― whom he could marry for her money.9He had a genius for making enemies. He would insult a man who disagreed with him about the weather. He would pull endless wires in order to meet some man who admired his work and was able and anxious to be of use to him ― and would proceed to make a mortal enemy of him with some idiotic and wholly uncalled-for exhibition of arrogance and bad manners. A character in one of his operas was a caricature of one of the most powerful music critics of his day. Not content with burlesquing him, he invited the critic to his house and read him the libretto aloud in front of his friends.10The name of this monster was Richard Wagner. Everything I have said about him you can find on record ― in newspapers, in police reports, in the testimony of people who knew him, in his own letters, between the lines of his autobiography.And the curious thing about this record is that it doesn’t matter in the least.11Because this undersized, sickly, disagreeable, fascinating little man was right all the time, the joke was on us. He was one of the world’s greatest dramatists; he was a great thinker; he was one of the most stupendous musical geniuses that, up to now, the world has ever seen. The world did owe him a living. What if he did talk about himself all the time? If he talked about himself for twenty-four hours every day for the span of his life he would not have uttered half the number of words that othermen have spoken and written about him since his death.12When you consider what he wrote ― thirteen operas and music dramas, eleven of them still holding the stage, eight of them unquestionably worth ranking among the world’s great musico-dramatic masterpieces ― when you listen to what he wrote, the debts and heartaches that people had to endure from him don’t seem much of a price.13What if he was faithless to his friends and to his wives? He had one mistress to whom he was faithful to the day of his death: Music. Not for a single moment did he ever compromise with what he believed, with what he dreamed. There is not a line of his music that could have been conceived by a little mind. Even when he is dull, or downright bad, he is dull in the grand manner. Listening to his music, one does not forgive him for what he may or may not have been. It is not a matter of forgiveness. It is a matter of being dumb with wonder that his poor brain and body didn’t burst under the torment of the demon of creative energy that lived inside him, struggling, clawing, scratching to be released; tearing, shrieking at him to write the music that was in him. The miracle is that what he did in the little space of seventy years could have been done at all, even by a great genius. Is it any wonder he had no time to be a man?畸人迪姆斯·泰勒1 他是个大头小身体、病怏怏的矬子；成日神经兮兮，皮肤也有毛病。

Unit 7 The Monster课文翻译综合教程四

Unit 7The MonsterDeems Taylor1He was an undersized little man，with a head too big for his body ― a sickly little man. His nerves were bad。

He had skin trouble. It was agony for him to wear anything next to his skin coarser than silk。

And he had delusions of grandeur。

2He was a monster of conceit. Never for one minute did he look at the world or at people，except in relation to himself. He believed himself to be one of the greatest dramatists in the world, one of the greatest thinkers，and one of the greatest composers。

To hear him talk, he was Shakespeare, and Beethoven，and Plato, rolled into one. He was one of the most exhausting conversationalists that ever lived。

Sometimes he was brilliant; sometimes he was maddeningly tiresome。

But whether he was being brilliant or dull，he had one sole topic of conversation: himself. What he thought and what he did。

Unit 7 The Monster Words and Expressions综合教程四

UNIT 7 THE MONSTERWords and Expressionsundersized:a. smaller than the usual or normal sizeAntonym: oversizede.g.Although he seemed thin and undersized compared with his cousins, he was reallyas hard as nails and didn’t fall ill half as often as th ey did.agony: n. very severe pain; a very sad, difficult, or unpleasant experiencee.g.It was agony not knowing if she would live.He groaned in agony.delusion: n.a false belief or opinionCollocation: under the delusion (that)e.g.That sick man is under the delusion that he is Napoleon.He is under the delusion that I am going to cheat him.delusions of grandeur(妄自尊大): a belief that you are more important than you really arein/with relation to: with/in reference to; concerning; with regard toe.g.It’s best to plan with relation to anticipated changes in one’s earnings.Demand is high in relation to supply.That argument changes nothing with relation to our plans for hiring workers.(all) rolled into one: integrate several things or features into onee.g.She has become his assistant and secretary rolled into one.mania: n. extremely strong enthusiasm for sth., esp. among a lot of people Synonym: craze; fad; obsessione.g.The country has a mania for soccer.She has a mania for driving fast cars.set sb. off: make sb. start to laugh, cry, or talk a lote.g.Your rude behavior set off Mrs. Franklin.My sister was an unpredictable young woman, and I never knew what would set her off.for the sake of sb. / fo r sb.’s sake: for the good or advantage ofe.g.If you won’t do it for your own sake, then do it for mine.Their parents only stayed together for the sake of the children.for the sake of sth. / for sth.’s sake: because of; for the purpose ofe.g. I’ll give up smoking for the sake of health.My art does not try to serve society; it’s just art for art’s sake.at sb.’s expense: with sb. paying the coste.g.He had his book printed at his own expense.We were entertained at the editor’s expense.at the expense of: causing the loss ofe.g.He finished the job at the expense of his health.out of sorts: in a bad temper; feeling unwell or annoyede.g.He was out of sorts because of the weather.by the score: large numbers of, a great manye.g.There are fans by the score waiting for the star at the entrance.grovel: v. show too much respect for sb. or be too willing to obey sb., because you want to please them or you are afraid of themCollocation: grovel at the feet of sb. 拜倒在某人的脚下e.g.The dog grovelled at his feet when he shouted at it.lay/get/put hands on: find, obtaine.g. As soon as I lay hands on the book, I’ll call you.He couldn’t seem to put his hands on last year’s sales figures.pull wires/strings: use one’s influence or authority, usually in secret, in order to bring about a desired result.e.g.He had his uncle pull strings to get him a promotion.If you want to see our boss I can pull strings for you.(read) between the lines: understand the unexpressed but implied meaning of sth. said or writtene.g.Her letter sounded cheerful enough, but I read a certain sadness between the lines.They say that everything’s fine, but reading between the lines I suspect they have some marital problems.hold the stage: be performed; be the center of attentione.g.We had only one hour to discuss the question and Mr. Hones held the stage for most of it.compromise: v. reach an agreement in which everyone involved accepts less than what they wanted at firstCollocation: compromise with sb.e.g.She admitted that she was unable to compromise.His workmates demanded that he never compromise with the bosses.compromise: n.Collocation: reach / arrive at / come to / make a compromisee.g.Both sides have agreed to meet, in the hope of reaching a compromise.Neither of them is willing to make compromises.Cultural background1. List of some common musical instruments1) Stringed Instruments 弦乐器Viola 中提琴Cello 大提琴Guitar 吉他Violin 小提琴Harp 竖琴2) Keyboard Instruments键盘乐器Piano 钢琴Pipe organ 管风琴3) Percussion Instruments打击乐器Triangle 三角铁Drum 大鼓Cymbal 钹Gong 锣Tambourine 铃鼓Xylophone 木琴Dulcimer 扬琴Chimes/Tubular bell 管钟4) Wind Instrument 管乐器；吹奏乐器①Brass Instruments 铜管乐器French horn 法国号Bugle 单号/军乐号Cornet 短号Trumpet 小号②Woodwind Instruments木管乐器Clarinet 单簧管Bassoon 低音管/巴松管Flute 长笛Oboe 双簧管Saxophone 萨克斯Accordion 手风琴harmonica 口琴2. List of some musical termsThis is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes.cycle套曲: a set of songs intended to be performed as a groupsuite组曲: an instrumental piece consisting of several shorter piecessonata奏鸣曲: a piece of music for one instrument or for one instrument and piano, usually divided into three or four partssymphony交响曲: an elaborate musical composition for full orchestra, typically in four movements, at least one of which is traditionally in sonata formconcerto协奏曲: a musical composition for a solo instrument or instruments accompanied by an orchestra, especially one conceived on a relatively large scale overture序曲: an orchestral piece at the beginning of an opera, suite, play, oratorio, or other extended compositionprelude前奏曲: an introductory piece of music, most commonly an orchestral opening to an act of an opera, the first movement of a suite, or a piece preceding a fugue impromptu即兴曲: a short piece of instrumental music, especially a solo, that is reminiscent of an improvisationaccompaniment伴奏: the part of a piece of music that supports the tune or someone singingsolo独奏；独唱: a piece of vocal or instrumental music or a dance, or a part or passage in one, for one performerensemble重奏；重唱: a group of musicians, dancers, or actors who perform together chamber music室内乐: music for a small ensemble of instruments, intended for performance in a room or chamber, as opposed to a church or larger buildingduet二重奏: a piece of music written for two performers. On the piano such a piece would involve two players on one instrument.trio三重奏: a composition designed for three players or the name of a group of three playersquartet四重奏: a composition for four players or the name for a group of four players。

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