Lesson 30 Exploring the sea-floor

and near its lower reaches there is a long tailing-off which is almost certainly the result of material transported out to deep water after being eroded from the continental masses.

在這個地帶的低處是很長的一段尾沙地段，基本上可以斷定這個地段是大陸塊體上侵蝕下來的物質被水沖到深水處形成的。

lesson 31 The sculptor speaks

Appreciation of sculpture depends upon the ability to respond to form in three dimensions.

對雕塑的鑒賞力取決于對立體的反應能力。

lesson 31 The sculptor speaks

That is perhaps why sculpture has been described as the most difficult of all arts;

雕塑被說成是所有藝術中最難的藝術，可能就是這個道理。

lesson 31 The sculptor speaks

certainly it is more difficult than the arts which involve appreciation of flat forms,

欣賞雕塑品當然比欣賞平面的藝術品要難。

lesson 31 The sculptor speaks

shape in only two dimensions.

形態只有兩種尺度。

lesson 31 The sculptor speaks

Many more people are 'form-blind' than colour-blind.

形盲的人數比色盲的人數要多得多。

lesson 31 The sculptor speaks

The child learning to see, first distinguishes only two-dimensional shape;

正在學看東西的兒童起初只會分辨二維形態，

lesson 31 The sculptor speaks

it cannot judge distances, depths.

不會判斷距離和深度。

lesson 31 The sculptor speaks

Later, for its personal safety and practical needs,

慢慢地，由于自身安全和實際需要，

lesson 31 The sculptor speaks

it has to develop (partly by means of touch) the ability to judge roughly three-dimensonal distances.

兒童必須發展（部分通過觸覺）粗略判斷三維空間距離的能力。

lesson 31 The sculptor speaks

But having satisfied the requirements of practical necessity, most people go no further.

但是，大部分人在滿足了實際需要后，就不再繼續發展這種能力了。

lesson 31 The sculptor speaks

Though they may atttain considerable accuracy in the perception of flat form,

雖然他們對平面形的感覺能達到相當準確的程度，

lesson 31 The sculptor speaks

they do not make the further intellectual

但他們沒有進一步努力

lesson 31 The sculptor speaks

and emotional effort needed to comprehend form in its full spatial existence.

在智力和感情上去理解存在于空間的整個形態。

lesson 31 The sculptor speaks

This is what the sculptor must do.

而雕塑家就必須做到這一點。

lesson 31 The sculptor speaks

He must strive continually to think of, and use, form in its full spatial completeness.

他必須勤于想像并且利用形體在空間中的完整性。

lesson 31 The sculptor speaks

He gets the solid shape, as it were, inside his head----

可以這樣說，他腦子里得到的是一個立體的概念，

lesson 31 The sculptor speaks

he thinks of it, whatever its size,

當他想像一個物體時，不管其大小如何，

lesson 31 The sculptor speaks

as if he were holding it completely enclosed in the hollow of his hand.

就好像完全握在自己手心里一樣。

lesson 31 The sculptor speaks

He mentally visualizes a complex form from all round itself;

他的大腦能從物體周圍的各個角度勾畫出其復雜的形象，

lesson 31 The sculptor speaks

he knows while he looks at one side what the other side is like;

他看物體的一邊時，便知道另一邊是個什么樣子。

lesson 31 The sculptor speaks

he identifies himself with its centre of gravity, its mass, its weight;

他把自身和物體重心、質量、重量融為一體。

lesson 31 The sculptor speaks

he realizes its volume, as the space that the shape displaces in the air.

他能意識到物體的體積，那就是它的形狀在空氣中所占的空間。

lesson 31 The sculptor speaks

And the sensitive observer of sculpture must also learn to feel shape simply as shape,

因此，敏銳的雕塑觀賞者也必須學會把形體作為形體來感覺，

lesson 31 The sculptor speaks

not as description or reminiscence.

不要靠描述和印象去感覺。

lesson 31 The sculptor speaks

He must, for example, perceive an egg as a simple single solid shape,

以鳥蛋為例，觀賞者必須感覺到它是一個單一的實體形態，

lesson 31 The sculptor speaks

quite apart from its significance as food, or from the literary idea that it will become a bird.

而完全不靠它的食用意義或它會變成鳥這樣的文學概念來感覺。

lesson 31 The sculptor speaks

And so with solids such as a shell, a nut, a plum, a pear, a tadpole, a mushroom, a mountain peak, a kidney, a carrot, a tree-trunk, a bird, a bud, a lark, a ladybird, a bulrush, a bone.

對于其他實體，如，貝殼、核桃、李子、梨子、蝌蚪、蘑菇、山峰、腎臟、胡蘿卜、樹干、鳥兒、花蕾、云雀、瓢蟲、蘆葦以及骨頭也應這樣來感覺。

lesson 31 The sculptor speaks

From these he can go on to appreciate more complex forms or combinations of several forms.

從這些形體出發，觀賞者可進一步觀察更為復雜的形體或若干形體的組合。

Lesson 32 Galileo reborn

In his own lifetime Galileo was the centre of violent controversy;

伽利略在世時是激烈論戰的中心。