阅读理解D篇
原文“I didn’t like the ending,” I said to my favorite college professor. It was my junior year of undergraduate, and I was doing an independent study on Victorian literature. I had just finished reading The Mill on the Floss by George Eliot, and I was heartbroken with the ending. Prof. Gracie, with all his patience, asked me to think about it beyond whether I liked it or not. He suggested I think about the difference between endings that I wanted for the characters and endings that were right for the characters, endings that satisfied the story even if they didn’t have a traditionally positive outcome. Of course, I would have preferred a different ending for Tom and Maggie Tulliver, but the ending they got did make the most sense for them.
This was an aha moment for me, and I never thought about endings the same way again. From then on, if I wanted to read an ending guaranteed to be happy, I’d pick up a love romance. If I wanted an ending I couldn’t guess, I’d pick up a mystery (悬疑小说). One where I kind of knew what was going to happen, historical fiction. Choosing what to read became easier.
But writing the end — that’s hard. It’s hard for writers because endings carry so much weight with readers. You have to balance creating an ending that's unpredictable, but doesn’t seem to come from nowhere, one that fits what’s right for the characters.
That’s why this issue (期) of Writer’s Digest aims to help you figure out how to write the best ending for whatever kind of writing you’re doing. If it’s short stories, Peter Mountford breaks down six techniques you can try to see which one helps you stick the landing. Elizabeth Sims analyzes the final chapters of five great novels to see what key points they include and how you can adapt them for your work.
This issue won’t tell you what your ending should be — that’s up to you and the story you’re telling — but it might provide what you need to get there.
12. Why did the author go to Prof. Gracie?
A. To discuss a novel. B. To submit a book report.
C. To argue for a writer. D. To ask for a reading list.
13. What did the author realize after seeing Gracie?
A. Writing is a matter of personal preferences.
B. Readers are often carried away by character.
C. Each type of literature has its unique end.
D. A story which begins well will end well.
14. What is expected of a good ending?
A. It satisfies readers’ taste. B. It fits with the story development.
C. It is usually positive. D. It is open for imagination.
15. Why does the author mention Peter Mountford and Elizabeth Sims?
A. To give examples of great novelists. B. To stress the theme of this issue.
C To encourage writing for the magazine. D. To recommend their new books.
译文“我不喜欢结局，”我对我最喜欢的大学教授说。那是我大三的时候，我正在做一项关于维多利亚文学的独立研究。我刚刚读完乔治·艾略特的《弗洛斯上的磨坊》，结局让我心碎。格雷西教授以他所有的耐心，让我思考一下，除了我喜欢与否。他建议我考虑一下我想要的角色结局和适合角色的结局之间的区别，即使它们没有传统上积极的结果，也能满足故事的结局。当然，我宁愿汤姆和玛吉·图利弗有一个不同的结局，但他们得到的结局对他们来说是最有意义的。
这对我来说是一个顿悟的时刻，我再也没有想过同样的结局了。从那时起，如果我想读一个保证幸福的结局，我会选择一部爱情小说。如果我想要一个我猜不到的结局，我会选择一个谜。一个我知道会发生什么的谜，历史小说。选择阅读内容变得更加容易。
但写结尾——这很难。这对作家来说很难，因为结局对读者来说非常重要。你必须平衡创造一个不可预测的结局，但似乎不是凭空而来的，一个适合角色的结局。
这就是为什么本期《作家文摘》旨在帮助你找出如何为你正在做的任何类型的写作写出最好的结局。如果是短篇小说，彼得·芒福德会分解六种技巧，你可以试着看看哪种技巧能帮助你坚持着陆。伊丽莎白·西姆斯分析了五部伟大小说的最后几章，看看它们包含了哪些关键点，以及如何将它们改编成适合你的作品。
这个问题不会告诉你你的结局应该是什么——这取决于你和你正在讲述的故事——但它可能会提供你到达那里所需要的东西。
12.作者为什么去找格雷西教授？
A.讨论一部小说。B.提交读书报告。
C.为作家辩护。D.索要一份阅读清单。
13.作者见到格雷西后意识到了什么？
A.写作是个人喜好的问题。
B.读者往往被性格所迷惑。
C.每种文学都有其独特的目的。
D.故事开头好，结局好。
14.对一个好结局的期望是什么？
A.它满足了读者的口味。B.它符合故事的发展。
C.通常是阳性的。D.它对想象力开放。
15.为什么作者提到彼得·芒福德和伊丽莎白·西姆斯？
A.举一些伟大小说家的例子。B.强调这个问题的主题。
C.鼓励为杂志写作。D.推荐他们的新书。
1 段译 “我不喜欢结局，”我对我最喜欢的大学教授说。那是我大三的时候，我正在做一项关于维多利亚文学的独立研究。我刚刚读完乔治·艾略特的《弗洛斯上的磨坊》，结局让我心碎。格雷西教授以他所有的耐心，让我思考一下，除了我喜欢与否。他建议我考虑一下我想要的角色结局和适合角色的结局之间的区别，即使它们没有传统上积极的结果，也能满足故事的结局。当然，我宁愿汤姆和玛吉·图利弗有一个不同的结局，但他们得到的结局对他们来说是最有意义的。
“I didn’t like the ending,” I said to my favorite college professor. 句译 “我不喜欢结尾，”我说对我的最喜爱的大学教授。It was my junior year of undergraduate, and I was doing an independent study on Victorian literature.句译 那是我的大三年在校生的，并且我在做独立研究对维多利亚文学。I had just finished reading The Mill on the Floss by George Eliot, and I was heartbroken with the ending.句译 我刚刚结束阅读The Mill on the Floss by George Eliot，并且我是心碎的对结尾。Prof. Gracie, with all his patience, asked me to think about it beyond whether I liked it or not.句译 教授G，带着他的耐心，要我去思考它超出是否我喜欢它还是不喜欢。He suggested I think about the difference between endings that I wanted for the characters and endings that were right for the characters, endings that satisfied the story even if they didn’t have a traditionally positive outcome.句译 他建议我思考不同在之间结尾，这个结尾我想要为角色并且结尾是对的对角色，结尾满足故事，即使他们没有传统地积极的结果。Of course, I would have preferred a different ending for Tom and Maggie Tulliver, but the ending they got did make the most sense for them. 句译 当然，我将更喜欢不同的结尾对于Tom and Maggie Tulliver，但是结尾他们获得的不有意义对于他们。
2 段译 这对我来说是一个顿悟的时刻，我再也没有想过同样的结局了。从那时起，如果我想读一个保证幸福的结局，我会选择一部爱情小说。如果我想要一个我猜不到的结局，我会选择一个谜。一个我知道会发生什么的谜，历史小说。选择阅读内容变得更加容易。
This was an aha moment for me, and I never thought about endings the same way again. 句译 这是顿悟时刻对于我，并且我从没思考结尾相同方式又一次。From then on, if I wanted to read an ending guaranteed to be happy, I’d pick up a love romance. 句译 从那时起，假如我想要去阅读结尾保证去是幸福的，我将拾起爱的浪漫。If I wanted an ending I couldn’t guess, I’d pick up a mystery (悬疑小说). 句译 假如我想结尾我不能猜，我将拾起悬疑小说。One where I kind of knew what was going to happen, historical fiction. 句译 一个，在那里我有点知道什么将发生，历史小说。Choosing what to read became easier. 句译 选择什么去阅读变得更容易。
3 段译 但写结尾——这很难。这对作家来说很难，因为结局对读者来说非常重要。你必须平衡创造一个不可预测的结局，但似乎不是凭空而来的，一个适合角色的结局。
But writing the end — that’s hard.句译 但是写作结尾——那是困难的。It’s hard for writers because endings carry so much weight with readers.句译 它是困难的对于作者因为结尾承载那么多分量对于读者。You have to balance creating an ending that's unpredictable, but doesn’t seem to come from nowhere, one that fits what’s right for the characters.句译 你不得不平衡创造结尾是不可预测的，但是不好像来自没有地方，一个适合什么是对的对于角色。
4 段译 这就是为什么本期《作家文摘》旨在帮助你找出如何为你正在做的任何类型的写作写出最好的结局。如果是短篇小说，彼得·芒福德会分解六种技巧，你可以试着看看哪种技巧能帮助你坚持着陆。伊丽莎白·西姆斯分析了五部伟大小说的最后几章，看看它们包含了哪些关键点，以及如何将它们改编成适合你的作品。
That’s why this issue (期) of Writer’s Digest aims to help you figure out how to write the best ending for whatever kind of writing you’re doing.句译 那是为什么这期作家文摘目的去帮助你想出如何去写最好的结尾对于无论什么种类写作你在做。If it’s short stories, Peter Mountford breaks down six techniques you can try to see which one helps you stick the landing.句译 假如它是短故事，PM分解六技术你能尝试去看哪个帮你黏住着陆。Elizabeth Sims analyzes the final chapters of five great novels to see what key points they include and how you can adapt them for your work.句译 ES分析最后章节五个伟大的小说去看什么关键点他们包括及如何你能调整适应他们对于你的工作。
5 段译 这个问题不会告诉你你的结局应该是什么——这取决于你和你正在讲述的故事——但它可能会提供你到达那里所需要的东西。
This issue won’t tell you what your ending should be — that’s up to you and the story you’re telling — but it might provide what you need to get there.句译 这期将不告诉你什么你的结尾应该是——那是取决于你和故事你在告诉——但是它也许提供什么你需要去到达那儿。
12. Why did the author go to Prof. Gracie?翻译 12.为什么作者去G教授？
A. To discuss a novel.翻译 去讨论一部小说。
B. To submit a book report.翻译 期提交一本书报告。
C. To argue for a writer.翻译 去争论为一位作家。
D. To ask for a reading list.翻译 去寻求一个阅读列单。
13. What did the author realize after seeing Gracie?翻译 13.什么作家意识到在后看到G？
A. Writing is a matter of personal preferences.翻译 写作是问题个人偏好的。
B. Readers are often carried away by character.翻译 阅读者被经常带走被角色。
C. Each type of literature has its unique end.翻译 没类文学的有它独一无二的结尾。
D. A story which begins well will end well.翻译 一个故事开始的好将结尾好。
14. What is expected of a good ending?翻译 14.什么被期待好的结尾？
A. It satisfies readers’ taste.翻译 它满足阅读者的口味。
B. It fits with the story development.翻译 它适合故事的发展。
C. It is usually positive.翻译 它是通常积极的。
D. It is open for imagination.翻译 它是开放的对于想象。
15. Why does the author mention Peter Mountford and Elizabeth Sims?翻译 15.为什么作者提到PM和ES？
A. To give examples of great novelists.翻译 去给例子伟大小说家的。
B. To stress the theme of this issue.翻译 去强调主题这期的。
C. To encourage writing for the magazine.翻译 去鼓励写作对杂志。
D. To recommend their new books.翻译 去推荐他们的新书。
答案 12.A 13.C 14.B 15.B 温馨提示：选项可点击，红色为错误选项，绿色为正确选项