公共英語三級閲讀文章

對於閲讀理解來説，練習是最好的辦法。只有在反覆的閲讀中，才能培養良好的英語閲讀能力。下面，就為大家送上3篇公共英語三級閲讀文章。

A painter hangs his or her finished picture 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 instrumentalists 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 strings 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 sounds 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.

畫家將已完成的作品掛在牆上，每個人都可以觀賞到。作曲家寫完了一部作品，得由 演奏者將其演奏出來，其他人才能得以欣賞。因為作曲家是如此完全地依賴於職業歌手和職 業演奏者，所以職業歌手和職業演奏者肩上的擔子可謂不輕。一名學音樂的學生要想成為一名演奏者，需要經受長期的、嚴格的訓練，就象一名醫科的學生要成為一名醫生一樣。絕大多數的訓練是技巧性的。音樂家們控制肌肉的熟練程度，必須達到與運動員或巴蕾舞演員相當的水平。歌手們每天都練習吊嗓子，因為如果不能有效地控制肌肉的話，他們的聲帶將不能滿足演唱的要求。絃樂器的演奏者練習的則是在左手的手指上下滑動的同時，用右手前後拉動琴弓——兩個截然不同的動作。

歌手和樂器演奏者必須使所有的音符完全相同協調。鋼琴家們則不用操這份心，因為每個音符都已在那裏等待着他們了。給鋼琴調音是調 音師的職責。但調音師們也有他們的難處：他們必須耐心地調理敲擊琴絃的音錘，不能讓音錘發出的聲音象是打擊樂器，而且每個交疊的音都必須要清晰。

如何得到樂章清晰的紋理是學生指揮們所面臨的難題：他們必須學會了解音樂中的每一個音及其發音之道。 他們還 必須致力於以熱忱而又客觀的權威去控制這些音符。除非是和音樂方面的知識和悟性結合起來，單純的技巧沒有任何用處。藝術家之所以偉大在於他們對音樂語言駕輕就熟，以致於可以滿懷喜悦地演出寫於任何時代的作品。

音樂方面的知識和悟性結合起來，單純的技巧沒有任何用處。藝術家之所以偉大在於他們對音樂語言駕輕就熟，以致於可以滿懷喜悦地演出寫於任何時代的作品。

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 value 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.

價格決定資源的使用方式。價格也是有限的產品與服務在買方中的配給手段。美國的價格系統是複雜的網狀系統，包括經濟生活中一切產品買賣的價格，也包括名目繁多的各種服務，諸如勞動力、專職人員、交通運輸、公共事業等服務的價格。所有這些價格的內在聯繫構成了價格系統。任何一種個別產品或服務的價格都與這個龐大而複雜的系統密切相關，而且或多或少地受到系統中其它成份的制約。如果隨機挑選一羣人，問問他們如何定義"價格"，許多人會回答價格就是根據賣方提供的產品或服務，買方向其付出的錢數。換句話説，價格就是市場交易中大家認同的產品或服務的貨幣量。該定義就其本身來説自有其道理。但要獲得對價格在任何一樁交易中的完整認識，就必須考慮到大量"非貨幣"因素的影響。買賣雙方不但要清楚交易中的錢數，而且要非常熟悉交易物的`質量和數量，交易的時間、地點，採用哪種形式付款，有怎樣的緩付和優惠，對交易物的質量保證、交貨條款、退賠權利等等。也就是説，為了能估算索價，買賣雙方必須通曉構成交易物價格的通盤細節。

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

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 view 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.

關於古希臘戲劇的起源存在着多種理論，其中一個最普遍為人接受的理論假設認為戲劇從儀式演化而來。這個觀點是這樣進行論證的：一開始，人類把世界上的自然力量，甚至季節的變化都看成是不可預料的。他們試圖通過各種方式去控制這些未知的、令人恐懼的力量。那些似乎帶來了滿意結果的手段就被保留下來並且重複直到這些手段固化為不變的儀式，最後產生了能夠解釋或者掩蓋這些儀式神祕性的故事。隨着時間的推移，一些儀式被廢棄了，但這些後來被稱作神話的故事流傳下來並且為藝術和戲劇提供了素材。

認為戲劇從儀式演化而來的人們還認為那些儀式包含了戲劇的基本因素，因為音樂、舞蹈、面具和服裝幾乎經常被使用，而且，必須為演出提供一個合適的地點;如果不是整個社區共同參加演出，經常在"演出區"和"觀眾席"之間劃分出明顯的分界。另外，儀式中還有演員，而且宗教領袖通常承擔演出任務，因為在儀式的執行中避免錯誤的發生被認為有相當大的重要性;他們經常帶着面具，穿着服裝象演員那樣扮演其它人、動物或超自然的生靈，用動作來表演以達到所需要的效果，比如打獵的成功或戰鬥的勝利、將至的雨、太陽的復活。最後這些戲劇性的表演從宗教活動中分離了出來。另一個追溯戲劇起源的理論認為它來自人們對敍述故事的興趣。根據這個觀點，故事(關於狩獵、戰爭或者其它偉績)是逐漸豐富起來的。首先通過一個講解人來運用模仿、表演和對話，然後再由不同的人扮演各自的角色;另一個與之緊密相關的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節奏感的和體操式的那一類，或者是對動物動作和聲音的模仿。

理論認為它來自人們對敍述故事的興趣。根據這個觀點，故事(關於狩獵、戰爭或者其它偉績)是逐漸豐富起 來的。首先通過一個講解人來運用模仿、表演和對話，然後再由不同的人扮演各自的角色;另一個與之緊密相關的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節奏感的和體操 式的那一類，或者是對動物動作和聲音的模仿。的理論認為它來自人 們對敍述故事的興趣。根據這個觀點，故事(關於狩獵、戰爭或者其它偉績)是逐漸豐富起 來的。首先通過一個講解人來運用模仿、表演和對話，然後再由不同的人扮演各自的角色;另一個與之緊密相關的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節奏感的和體操 式的那一類，或者是對動物動作和聲音的模仿。