关于读书的英文文章

读书，这谁不会啊，还需要长篇大论地教吗?其实，我们大多数人都只是好读书而不细读书，往往囫囵吞枣般地看完一本书，然后就把书扔到一边去了。下面小编为大家整理的关于读书的英文文章，希望对大家有用!

关于读书的英文文章

It is simple enough to say that since books have classes—fiction, biography, poetry—we should separate them and take from each what it is right that each should give us.Yet few people ask from books what books can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices.If we could banish all such preconceptions when we read, that would be an admirable beginning.Do not dictate to your author; try to become him.Be his fellow-worker and accomplice.If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest possible value from what you read.But if you open your mind as widely as possible, then signs and hints of almost imperceptible fineness, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other.Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite. The thirty-two chapters of a novel—if we consider how to read a novel first—are an attempt to make something as formed and controlled as a building:but words are more impalpable than bricks; reading is a longer and more complicated process than seeing.Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write; to make your own experiment with the dangers and difficulties of words.Recall, then, some event that has left a distinct impression on you—how at the corner of the street，perhaps, you passed two people talking.A tree shook; an electric light danced;the tone of the talk was comic, but also tragic; a whole vision, an entire conception, seemed contained in that moment.

But when you attempt to reconstruct it in words, you will find that it breaks into a thousand conflicting impressions.Some must be subdued; others emphasized; in the process you will lose, probably, all grasp upon the emotion itself.Then turn from your blurred and littered pages to the opening pages of some great novelist—Defoe, Jane Austen, Hardy.Now you will be better able to appreciate their mastery.It is not merely that we are in the presence of a different person—Defoe, Jane Austen, or Thomas Hardy—but that we are living in a different world.Here, in Robinson Crusoe, we are trudging a plain high road; one thing happens after another; the fact and the order of the fact is enough.But if the open air and adventure mean everything to Defoe they mean nothing to Jane Austen.Hers is the drawing-room, and people talking, and by the many mirrors of their talk revealing their characters.And if, when we have accustomed ourselves to the drawing-room and its reflections, we turn to Hardy, we are once more spun around.The moors are round us and the stars are above our heads.The other side of the mind is now exposed—the dark side that comes uppermost in solitude, not the light side that shows in company.Our relations are not towards people, but towards Nature and destiny.Yet different as these worlds are, each is consistent with itself.The maker of each is careful to observe the laws of his own perspective, and however great a strain they may put upon us they will never confuse us, as lesser writers so frequently do, by introducing two different kinds of reality into the same book.Thus to go from one great novelist to another—from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith—is to be wrenched and uprooted; to be thrown this way and then that.To read a novel is a difficult and complex art.You must be capable not only of great finesse of perception, but of great boldness of imagination if you are going to make use of all that the novelist—the great artist—gives you.

我们应该如何读书

弗吉尼亚·沃尔夫

有人说：既然书可分为不同的类型，比如小说、传记和诗歌等，那么我们只需将它们区分开来，然后从不同的书中汲取恰当的东西就可以了。这话说起来倒也简单，只可惜很少有人在书中认真求索。多数情况下，我们打开一本书时的心情是模糊而复杂的，我们往往对于小说必欲其真，对于诗歌必欲其妄，对于传记必欲其谀，对于史书必欲其能认同一己之见。阅读之始，如果我们能摒弃所有这些成见，那将会是个绝好的开端。不要对作者发号施令，而要设法按照他的思维思考。你要努力成为他的帮手甚至“帮凶”。如果一开始你就逡巡不前，先入为主，或者吹毛求疵，你就无法从自己的阅读中充分获益。但是如果你能敞开心扉，那么那种几乎不易觉察的精微细腻之处，就会随着文句的渐次展开，迂回曲折地将你带到一位与众不同的人物面前。如果你能沉浸其中，熟悉其缘由，你很快就会发现这位作家正在传递给你，或试图传递给你一些异常明确具体的东西。如果我们先从阅读小说开始，那么一部具有32个章节的小说就好似一项巨大的工程，其形式要求与严密程度都不亚于一座建筑。不同的是，与砖块相比，文字更加令人难以捉摸;阅读的过程也要比单纯观看更加漫长和复杂。或许理解小说家意图最为快捷的方法并不是阅读，而是去写，即亲自尝试一下文字的险恶艰难。这样，你尽可以回忆一下曾给你留下深刻印象的景象，比如在某个街角你遇见两个人在谈话。树在摇曳;灯在闪耀;谈话的语气既是滑稽的，但又是悲哀的。一个总体的景象，一个完整的念头，似乎就全包含在那一瞬间。

但是当你试着用文字重构当时的情景的时候，你会发现整幅画面早已变得七零八落，相互矛盾。你意识到，有的地方应轻描淡写，而有的地方则应多加笔墨，在这个过程中，你很有可能会把握不住你的情绪。既然如此，就暂且搁下你那模糊不清、凌乱不堪的篇页，翻开一些伟大小说家的作品，比如笛福、简·奥斯汀和哈代的巨著。这时的你就能更好地理解他们对小说的驾驭能力。这时我们不仅在面对一个全然不同的人，不论是笛福、简·奥斯汀，还是托马斯·哈代，我们还会生活在一个迥然相异的世界里。例如，在阅读《鲁滨逊漂流记》的时候，我们就如同在跋涉一条平坦的大路，其间各种事情接踵而来，层出不穷，小说中的事件以及事件的顺序已经足够了。如果广阔天地与冒险活动对于笛福意味着一切，那么这些因素对于简·奥斯汀却毫无意义。她的世界乃在客厅，乃在人们的谈吐，并通过这些反映出小说人物的性格。在熟悉了小说中的客厅和各种映象以后，如果我们继而转向哈代，我们会再一次被弄得晕头转向。我们会发现自己身处荒野，头顶星空。人的心灵的另一面在我们面前展露无遗，我们看到的是人们孤独时首先浮现在心头的阴暗面，而不是与人交往时表现的明亮面。这时我们要打交道的已不再是人，而是转向自然和命运。尽管这些世界大不相同，但却各自协调一致。每部小说的作者都小心翼翼地遵循着各自的视角法则，因而不管带给我们的张力有多大，他们绝不会让我们一头雾水，而这正是不入流的作家的惯常做法，即将两个截然不同的现实世界拉扯到同一本书中。因此，从一位伟大的小说家转向另一位小说家的感觉——比如从简·奥斯汀到哈代，从皮科克到特罗洛普，从斯科特到梅瑞狄斯——就好比拦腰扭折，连根拔起，或者被人推搡得东倒西歪。阅读小说是一门困难和复杂的艺术。你不仅要感觉细微，还要勇于想象，只有这样你才能从小说家——伟大的艺术家——那里获得真正的益处。