劍橋雅思16Test2Passage1閱讀原文翻譯 The White Horse of Uffington

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劍橋雅思16Test2Passage1閱讀原文翻譯 The White Horse of Uffington 阿芬頓的白馬

劍橋雅思16 Test2 Passage1閱讀原文翻譯

第1段

The cutting of huge figures or ‘geoglyphs’ into the earth of English hillsides has taken place for more than 3,000 years. There are 56 hill figures scattered around England, with the vast majority on the chalk downlands of the country’s southern counties. The figures include giants, horses, crosses and regimental badges. Although the majority of these geoglyphs date within the last 300 years or so, there are one or two that are much older.

在英格蘭山坡上雕刻巨大的圖形（地雕）已經(jīng)有超過3000年的歷史。如今英格蘭各地分布著56幅山地圖形，大多數(shù)都位于該國南部的白堊丘陵地帶。這些圖形包括巨人，馬，十字，以及團隊徽章。雖然這些地雕大多數(shù)都是在近300年里造就的，但也有那么一兩個的歷史要久遠許多。

第2段

The most famous of these figures is perhaps also the most mysterious – the Uffington White Horse in Oxfordshire. The White Horse has recently been re-dated and shown to be even older than its previously assigned ancient pre-Roman Iron Age date. More controversial is the date of the enigmatic Long Man of Wilmington in Sussex. While many historians are convinced the figure is prehistoric, others believe that it was the work of an artistic monk from a nearby priory and was created between the 11th and 15th centuries.

這些圖形中最著名、或許也是最具有神秘色彩的是位于牛津郡的阿芬頓白馬。白馬最近被重新測定了年代，結果表明它的歷史比之前認為的古代前羅馬鐵器時代還要久遠。更加具有爭議的創(chuàng)作時間是位于蘇賽克斯的威明頓巨人。雖然許多歷史學家認為該圖形出現(xiàn)于有文字記載之前，但其他人認為它是附近修道院一名藝術僧侶的作品，大約創(chuàng)作于11世紀到15世紀之間。

第3段

The method of cutting these huge figures was simply to remove the overlying grass to reveal the gleaming white chalk below. However, the grass would soon grow over the geoglyph again unless it was regularly cleaned or scoured by a fairly large team of people. One reason that the vast majority of hill figures have disappeared is that when the traditions associated with the figures faded, people no longer bothered or remembered to clear away the grass to expose the chalk outline. Furthermore, over hundreds of years the outlines would sometimes change due to people not always cutting in exactly the same place, thus creating a different shape to the original geoglyph. The fact that any ancient hill figures survive at all in England today is testament to the strength and continuity of local customs and beliefs which, in one case at least, must stretch back over millennia.

切割這些巨型圖形的方法十分簡單，只用移除表面覆蓋的植被，顯露下面的白堊石就好。然而，除非有相對大型的團隊進行周期性清理或者沖刷，雜草很快就會再長出來遮蓋住地雕。大多數(shù)山地圖形消失的原因就在于，當與其相關的傳統(tǒng)逐漸沒落時，人們不再想費力或者不再記得清除雜草以顯露出白堊輪廓。此外，在幾百年的時間里，其輪廓有時會因為人們并不總是在相同的地方進行清理而發(fā)生變化，由此造成與最初地雕不同的形狀。英格蘭地區(qū)任何存留至今的古代山地圖形都展示了當?shù)亓曀着c信仰的力量和連續(xù)性。至少在某一副地雕中，這些習俗和信仰可以追溯到1000多年前。

第4段

The Uffington White Horse is a unique, stylised representation of a horse consisting of a long, sleek back, thin disjointed legs, a streaming tail, and a bird-like beaked head. The elegant creature almost melts into the landscape. The horse is situated 2.5 km from Uffington village on a steep slope close to the Late Bronze Age (c. 7th century BCE) hillfort of Uffington Castle and below the Ridgeway, a long-distance Neolithic track.

阿芬頓白馬是一副獨特的、非寫實的作品，包括線條流暢的長脊背、纖細分離的馬腿、飄逸的尾巴、以及如同鳥兒一般有喙的頭部。這一優(yōu)雅的生物幾乎融入到景色之中。馬兒距阿芬頓2.5公里遠，位于陡峭的山坡上，靠近青銅時代晚期的阿芬頓hillfort，在一條悠長的新石器時代小徑（Ridgeway）之下。

第5段

The Uffington Horse is also surrounded by Bronze Age burial mounds. It is not far from the Bronze Age cemetery of Lambourn Seven Barrows, which consists of more than 30 well-preserved burial mounds. The carving has been placed in such a way as to make it extremely difficult to see from close quarters, and like many geoglyphs is best appreciated from the air. This article is from Laokaoya website. Nevertheless, there are certain areas of the Vale of the White Horse, the valley containing and named after the enigmatic creature, from which an adequate impression may be gained. Indeed on a clear day the carving can be seen from up to 30 km away.

阿芬頓白馬被大量青銅時代的墓穴環(huán)繞著。它離Lambourn Seven Barrows的青銅時代墓地不遠。該墓地包括30多個保存完好的墳丘。該圖形的陳列方式文章來自老烤鴨雅思讓它很難在近處看到，跟許多地雕一樣，最好是從空中欣賞。然而，白馬谷有一些地方可以看到相對完整的圖像。天氣晴朗的時候，30公里外就可以看到該雕像。

第6段

The earliest evidence of a horse at Uffington is from the 1070s CE when ‘White Horse Hill’ is mentioned in documents from the nearby Abbey of Abingdon, and the first reference to the horse itself is soon after, in 1190 CE. However, the carving is believed to date back much further than that. Due to the similarity of the Uffington White Horse to the stylised depictions of horses on 1st century BCE coins, it had been thought that the creature must also date to that period.

阿芬頓馬兒的最早證據(jù)來自于公元11世紀70年代。當時附近的阿賓頓修道院的文檔里第一次提到了“白馬山丘”的名字。不久之后（公元1190年），馬兒自己也被第一次提到。然而，人們認為這一圖雕的歷史可以追溯到很久之前。由于阿芬頓白馬與公元前1世紀發(fā)行的硬幣上馬兒的簡筆形象十分類似，人們認為，該生物也一定是那個年代的。

第7段

However, in 1995 Optically Stimulated Luminescence (OSL) testing was carried out by the Oxford Archaeological Unit on soil from two of the lower layers of the horse’s body, and from another cut near the base. The result was a date for the horse’s construction somewhere between 1400 and 600 BCE – in other words, it had a Late Bronze Age or Early Iron Age origin …

然而，1995年牛津考古隊對馬兒身體下方的兩處土層，以及底部附近的土層進行了光釋光測試。結果表明，馬兒的刻畫時間位于公元前1400年到公元前600年之間。換句話說，它出現(xiàn)于青銅時代晚期或者鐵器時代初期。

第8段

The latter end of this date range would tie the carving of the horse in with occupation of the nearby Uffington hillfort, indicating that it may represent a tribal emblem marking the land of the inhabitants of the hillfort. Alternatively, the carving may have been carried out during a Bronze or Iron Age ritual. Some researchers see the horse as representing the Celtic horse goddess Epona, who was worshipped as a protector of horses, and for her associations with fertility. However, the cult of Epona was not imported from Gaul (France) until around the first century CE. This date is at least six centuries after the Uffington Horse was probably carved. Nevertheless, the horse had great ritual and economic significance during the Bronze and Iron Ages, as attested by its depictions on jewellery and other metal objects. It is possible that the carving represents a goddess in native mythology, such as Rhiannon, described in later Welsh mythology as beautiful woman dressed in gold and riding a white horse.

這一時間區(qū)間的末尾會將馬兒的刻畫與附近阿芬頓hillfort的占據(jù)聯(lián)系起來，說明它可能代表部落的徽記，標注這是hillfort居民的土地。除此之外，該圖形也有可能是在青銅時代或者鐵器時代的儀式中被刻畫出來的。一些研究者認為馬兒代表了凱爾特人的馬神Epona。它作為馬兒的保護者，并因為與生育的聯(lián)系而接受人們的朝拜。然而，Epona崇拜直到公元1世紀才從高盧（法國）引入進來。這一時間相比于阿芬頓馬兒可能出現(xiàn)的時間至少晚了六個世紀。不過，馬兒在青銅時代和鐵器時代有著很重要的儀式意義和經(jīng)濟意義。這一點可以通過珠寶與其他金屬物品上的描繪得到證明。這一圖形有可能代表了本土神話中的神袛，例如來安諾。她在隨后的威爾士神話中被描繪成一位穿著金衣，騎著白馬的漂亮女性。

第9段

The fact that geoglyphs can disappear easily, along with their associated rituals and meaning, indicates that they were never intended to be anything more than temporary gestures. But this does not lessen their importance. These giant carvings are a fascinating glimpse into the minds of their creators and how they viewed the landscape in which they lived.

地雕容易消失的事實，再加上與之相連的儀式和意義表明它們只是被當作暫時的姿態(tài)而已。但這并沒有削弱它們的重要性。這些巨幅畫作讓我們得以窺視其創(chuàng)作者的思想以及他們如何看到自己生活的環(huán)境。

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