1. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mined the desired effect – success in hunt or battle, the coming rain, the revival of the Sun – as an actor might.
戴著面具身著盛裝的人們，經(jīng)常扮演各種其他人物、動物或超自然生靈，并且作為一個扮演者所能做的，就是期盼一個在狩獵或戰(zhàn)役中獲勝、降雨的來臨，陽光的重現(xiàn)的結(jié)果。
2.But these factors do not account for the interesting question of how there came to be such a concentration of pregnant ichthyosaurs in a particular place very close to their time of giving birth.
但是這些事實不能解釋這個令人感興趣的問題，就是為什么在一個特殊的靠近他們出生的地方如此的集中了這么多懷孕的魚龍。
3.A series of mechanical improvements continuing well into the nineteenth century, including the introduction of pedals to sustain tone or to soften it, the perfection of a metal frame, and steel wire of the finest quality, finally produced an instruments capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound, from a liquid, singing tone to a ship, percussive brilliance.
十九世紀一系列持續(xù)的機械進步，包括踏板的傳入、金屬結(jié)構(gòu)的完善和鋼絲最完美的質(zhì)量，最后產(chǎn)生了一種能容納無數(shù)音調(diào)-從最精致的和弦到一個成熟管弦的聲音或從一個清澈的歌聲到輝煌的敲擊樂的效果-的樂器。
4.Accustomed though we are to speaking of the films made before 1972 as “silent”, the film has never been, in the full sense of the word, silent.
雖然我們習慣于談到1972年以前的電影是無聲的，但用一句完全感性的話來說電影從來就不是沒有聲音的。
5.For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualifications for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces.
多年以來電影音樂的選擇程序完全掌握在導演和音樂督導手中，通常擁有這些權(quán)力的主要資格并非是自身的技藝和品味而更多的是因為擁有大量的個人音樂素材庫。
6.Rather, they were made of a top layer of woolen or glazed worsted wool fabric, consisting of smooth, compact yarn from long wool fibers, dyed dark blue, GREen, or brown with a bottom layer of a coarser woolen material, either natural or a shade of yellow.
更進一步，他們是由一個頂層是毛紡或光滑的精紡羊毛織物制作，包含光滑，緊湊的紗線來自長羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙天然的和暗黃色的毛紡材料。
7.For good measure, during the spring and summer drought, heat, hail, grasshoppers, and other frustrations might await the weary growers.
在春季和夏季，要精確量度干旱、熱量、冰雹、蝗蟲和其他損失可能是一件疲勞的事情。
8.What we today call America folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits.
我們今天所謂的美國民間藝術(shù)，實際上是普通老百姓的藝術(shù)、被普通老百姓創(chuàng)造的藝術(shù)和為普通老百姓和日常提到的“民間人士”的藝術(shù)，是一個他們在社會日漸繁榮和休閑情況下創(chuàng)建的一個包含各種各樣尤其是肖像畫種類的藝術(shù)的市場。
9.The people had no agriculture but, over thousands of years, had developed techniques and equipment to exploit their environment, basing their economy on fishing in streams and coastal waters that teemed with salmon, halibut, and other varieties of fish; gathering abalone, mussels, clams, and other shellfish from the rocky coastline; hunting land and sea mammals; and collecting wild plant foods.
他們沒有農(nóng)業(yè)，但是經(jīng)過幾千年，已經(jīng)發(fā)展了探索自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量出現(xiàn)鮭魚、大比目魚和其他多種魚類的自身流域和水岸捕魚的經(jīng)濟;基于從落基山水岸聚集了鮑魚、蚌類、蛤和其他貝殼動物的經(jīng)濟;基于捕獵地域和海洋哺乳動物的經(jīng)濟;以及基于收集野生植物的食物的經(jīng)濟;
10.The musicians within the orchestra's ranks enrich their community immeasurably by ensuring that new generations of musicians, or simply music lovers, are given the kind of superior instruction that only an actively engaged, practicing musician can impart.
有管弦樂家的級別音樂家們可以無限制地有利于他們的團體，靠通過確保給新一代的音樂家們或簡易的音樂愛好者們一種高級的指導，這種指導只能由一個活的已加入的具有實踐經(jīng)驗的音樂家能傳授。
11.Since Canadian metropolitan areas have only one-quarter the number of kilometers of superhighways per capita as United States metropolitan areas – and at least as much resistance to constructing more – suburbanization of peoples and functions is less extensive north of the border than south.
因為加拿大地大都市區(qū)域每城市高速公路公里總數(shù)量只有美國的四分之一，而且至少根據(jù)相當?shù)木用駭?shù)量去建設(shè)更多的高速公路，比較南部邊界的而言，人群和設(shè)施的都市化在北部邊界區(qū)延伸度較少。
12.They made available kinds of popular music heard previously only limited geographical areas or by specific ethnic and social groups – especially the blues, gospel songs, and jazz of African Americans and the traditional music of the southern Appalachian Mountains and other rural areas of the southern and western United States.
他們制造了相當多種類的流行音樂，這些音樂以前只限于在地理區(qū)域或特殊的種族和社會群體能被聽到，尤其是象布嚕斯、福音歌曲和非洲美國人的爵士樂和阿巴拉奇亞山脈南部和其他美國南部和西部的鄉(xiāng)村區(qū)域傳統(tǒng)音樂。
13.The development of the railroad and telegraph systems during the middle third of the nineteenth century led to significant improvements in the speed, volume, and regularity of shipments and communications, making possible a fundamental transformation in the production and distribution of goods.
雅思在第三個十九世紀中期鐵路和電報系統(tǒng)的發(fā)展導致了在速度、音量和普通的船運和通訊上的明顯的進步，使生產(chǎn)和分發(fā)貨物方面的一個基礎(chǔ)的轉(zhuǎn)變有可能發(fā)生。
14.Add to this the timidity with which unschooled artisans – originally trained as stonemasons, carpenters, or cabinetmakers – attacked the medium from which they were to make their images, and one understands more fully the development of sculpture made in the United States in the late eighteenth century.
由于未受學校教育的藝術(shù)家們的膽卻，他們通常被訓練成石匠、木匠或家具師， 抨擊了在媒體中他們以前造就的自我形象和一個理解，這個理解就是雕塑的發(fā)展在十八世紀晚期的美國更加完全的發(fā)生了。
15.Instead of trying to keep down the body temperature deep inside the body, which would involved the expenditure of water and energy, desert mammals allow their temperatures to rise to what would normally be fever height, and temperatures as high as 46 deGREes Celsius have been measured in Grant's gazelles.
除了盡量去保持身體深處的低體溫，這將包括支出水和能量，沙漠哺乳動物們允許他們的溫度上升到一個通常來說是發(fā)燒的溫度并且溫度高達46攝氏度，這已被在格蘭特瞪羚測得。
16.Solitary roosters shelter in dense vegetation or enter a cavity – horned larks dig holes in the ground and ptarmigan burrow into snow banks – but the effect of sheltering is magnified by several birds huddling together in the roots, as wrens, swifts, brown creepers, bluebirds, and anis do.
孤獨的雄雞躲避在茂盛的植被下或進入洞穴躲藏，如角狀的百靈在地面挖洞躲藏和松雞在雪岸挖洞躲藏，但是象鷦鷯、雨燕、褐色的爬行動物、藍知更鳥和anis所做的一樣，由于多只鳥一起擁擠在根莖下，所以躲避的效果被擴大。
17.Each SMSA would contain at least (a) one central city with 50000 inhabitants or more or (b) two cities having shared boundaries and constituting, for general economic and social purposes, a single community with a combined population of at least 50000, the smaller of which must have a population of at least 15000.
每個大城市及其郊區(qū)至少能容納(a)一個5000居民人口的中心城市或(b)為了一個普通的經(jīng)濟和社會目的共享邊界和律法的兩個城市，一個單個的融合的社區(qū)人口至少50000，更小一點的社區(qū)必須有至少15000人口。
戴著面具身著盛裝的人們，經(jīng)常扮演各種其他人物、動物或超自然生靈，并且作為一個扮演者所能做的，就是期盼一個在狩獵或戰(zhàn)役中獲勝、降雨的來臨，陽光的重現(xiàn)的結(jié)果。
2.But these factors do not account for the interesting question of how there came to be such a concentration of pregnant ichthyosaurs in a particular place very close to their time of giving birth.
但是這些事實不能解釋這個令人感興趣的問題，就是為什么在一個特殊的靠近他們出生的地方如此的集中了這么多懷孕的魚龍。
3.A series of mechanical improvements continuing well into the nineteenth century, including the introduction of pedals to sustain tone or to soften it, the perfection of a metal frame, and steel wire of the finest quality, finally produced an instruments capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound, from a liquid, singing tone to a ship, percussive brilliance.
十九世紀一系列持續(xù)的機械進步，包括踏板的傳入、金屬結(jié)構(gòu)的完善和鋼絲最完美的質(zhì)量，最后產(chǎn)生了一種能容納無數(shù)音調(diào)-從最精致的和弦到一個成熟管弦的聲音或從一個清澈的歌聲到輝煌的敲擊樂的效果-的樂器。
4.Accustomed though we are to speaking of the films made before 1972 as “silent”, the film has never been, in the full sense of the word, silent.
雖然我們習慣于談到1972年以前的電影是無聲的，但用一句完全感性的話來說電影從來就不是沒有聲音的。
5.For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualifications for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces.
多年以來電影音樂的選擇程序完全掌握在導演和音樂督導手中，通常擁有這些權(quán)力的主要資格并非是自身的技藝和品味而更多的是因為擁有大量的個人音樂素材庫。
6.Rather, they were made of a top layer of woolen or glazed worsted wool fabric, consisting of smooth, compact yarn from long wool fibers, dyed dark blue, GREen, or brown with a bottom layer of a coarser woolen material, either natural or a shade of yellow.
更進一步，他們是由一個頂層是毛紡或光滑的精紡羊毛織物制作，包含光滑，緊湊的紗線來自長羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙天然的和暗黃色的毛紡材料。
7.For good measure, during the spring and summer drought, heat, hail, grasshoppers, and other frustrations might await the weary growers.
在春季和夏季，要精確量度干旱、熱量、冰雹、蝗蟲和其他損失可能是一件疲勞的事情。
8.What we today call America folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits.
我們今天所謂的美國民間藝術(shù)，實際上是普通老百姓的藝術(shù)、被普通老百姓創(chuàng)造的藝術(shù)和為普通老百姓和日常提到的“民間人士”的藝術(shù)，是一個他們在社會日漸繁榮和休閑情況下創(chuàng)建的一個包含各種各樣尤其是肖像畫種類的藝術(shù)的市場。
9.The people had no agriculture but, over thousands of years, had developed techniques and equipment to exploit their environment, basing their economy on fishing in streams and coastal waters that teemed with salmon, halibut, and other varieties of fish; gathering abalone, mussels, clams, and other shellfish from the rocky coastline; hunting land and sea mammals; and collecting wild plant foods.
他們沒有農(nóng)業(yè)，但是經(jīng)過幾千年，已經(jīng)發(fā)展了探索自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量出現(xiàn)鮭魚、大比目魚和其他多種魚類的自身流域和水岸捕魚的經(jīng)濟;基于從落基山水岸聚集了鮑魚、蚌類、蛤和其他貝殼動物的經(jīng)濟;基于捕獵地域和海洋哺乳動物的經(jīng)濟;以及基于收集野生植物的食物的經(jīng)濟;
10.The musicians within the orchestra's ranks enrich their community immeasurably by ensuring that new generations of musicians, or simply music lovers, are given the kind of superior instruction that only an actively engaged, practicing musician can impart.
有管弦樂家的級別音樂家們可以無限制地有利于他們的團體，靠通過確保給新一代的音樂家們或簡易的音樂愛好者們一種高級的指導，這種指導只能由一個活的已加入的具有實踐經(jīng)驗的音樂家能傳授。
11.Since Canadian metropolitan areas have only one-quarter the number of kilometers of superhighways per capita as United States metropolitan areas – and at least as much resistance to constructing more – suburbanization of peoples and functions is less extensive north of the border than south.
因為加拿大地大都市區(qū)域每城市高速公路公里總數(shù)量只有美國的四分之一，而且至少根據(jù)相當?shù)木用駭?shù)量去建設(shè)更多的高速公路，比較南部邊界的而言，人群和設(shè)施的都市化在北部邊界區(qū)延伸度較少。
12.They made available kinds of popular music heard previously only limited geographical areas or by specific ethnic and social groups – especially the blues, gospel songs, and jazz of African Americans and the traditional music of the southern Appalachian Mountains and other rural areas of the southern and western United States.
他們制造了相當多種類的流行音樂，這些音樂以前只限于在地理區(qū)域或特殊的種族和社會群體能被聽到，尤其是象布嚕斯、福音歌曲和非洲美國人的爵士樂和阿巴拉奇亞山脈南部和其他美國南部和西部的鄉(xiāng)村區(qū)域傳統(tǒng)音樂。
13.The development of the railroad and telegraph systems during the middle third of the nineteenth century led to significant improvements in the speed, volume, and regularity of shipments and communications, making possible a fundamental transformation in the production and distribution of goods.
雅思在第三個十九世紀中期鐵路和電報系統(tǒng)的發(fā)展導致了在速度、音量和普通的船運和通訊上的明顯的進步，使生產(chǎn)和分發(fā)貨物方面的一個基礎(chǔ)的轉(zhuǎn)變有可能發(fā)生。
14.Add to this the timidity with which unschooled artisans – originally trained as stonemasons, carpenters, or cabinetmakers – attacked the medium from which they were to make their images, and one understands more fully the development of sculpture made in the United States in the late eighteenth century.
由于未受學校教育的藝術(shù)家們的膽卻，他們通常被訓練成石匠、木匠或家具師， 抨擊了在媒體中他們以前造就的自我形象和一個理解，這個理解就是雕塑的發(fā)展在十八世紀晚期的美國更加完全的發(fā)生了。
15.Instead of trying to keep down the body temperature deep inside the body, which would involved the expenditure of water and energy, desert mammals allow their temperatures to rise to what would normally be fever height, and temperatures as high as 46 deGREes Celsius have been measured in Grant's gazelles.
除了盡量去保持身體深處的低體溫，這將包括支出水和能量，沙漠哺乳動物們允許他們的溫度上升到一個通常來說是發(fā)燒的溫度并且溫度高達46攝氏度，這已被在格蘭特瞪羚測得。
16.Solitary roosters shelter in dense vegetation or enter a cavity – horned larks dig holes in the ground and ptarmigan burrow into snow banks – but the effect of sheltering is magnified by several birds huddling together in the roots, as wrens, swifts, brown creepers, bluebirds, and anis do.
孤獨的雄雞躲避在茂盛的植被下或進入洞穴躲藏，如角狀的百靈在地面挖洞躲藏和松雞在雪岸挖洞躲藏，但是象鷦鷯、雨燕、褐色的爬行動物、藍知更鳥和anis所做的一樣，由于多只鳥一起擁擠在根莖下，所以躲避的效果被擴大。
17.Each SMSA would contain at least (a) one central city with 50000 inhabitants or more or (b) two cities having shared boundaries and constituting, for general economic and social purposes, a single community with a combined population of at least 50000, the smaller of which must have a population of at least 15000.
每個大城市及其郊區(qū)至少能容納(a)一個5000居民人口的中心城市或(b)為了一個普通的經(jīng)濟和社會目的共享邊界和律法的兩個城市，一個單個的融合的社區(qū)人口至少50000，更小一點的社區(qū)必須有至少15000人口。