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(dòng)物或超自然生靈，并且作為一個(gè)扮演者所能做的，就是期盼一個(gè)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(shí)不能解釋這個(gè)令人感興趣的問題，就是為什么在一個(gè)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(jì)一系列持續(xù)的機(jī)械進(jìn)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(gè)成熟管弦的聲音或從一個(gè)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(xí)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(dǎo)演和音樂督導(dǎo)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?yàn)閾碛写罅康膫�(gè)人音樂素材庫。
