關於itzhak的英語短文及翻譯
伊扎克·帕爾曼,一位神奇的世界性人物、一位因患小兒麻痹症致殘而不得不拄着柺杖走路、並不得不坐在椅子上爲聽衆演奏的小提琴明星。他以其高超而精湛的琴音,贏得了輝煌的聲名和全世界的讚譽。本站小編分享關於itzhak的英語短文及翻譯，希望可以幫助大家!
On Nov.18,1995, Itzhak Perlman, the violinist, came on stage to give a concert.
1995年11月18日，小提琴家伊扎克·帕爾曼將要舉辦一場音樂會。
If you haveever been to a Perlman concert, you know that getting on stage is no small achievement forhim.
如果你曾經聽過帕爾曼的音樂會，你就知道對他來說走上舞臺可不是一件容易的事情。
He was stricken with polio as a child, and so he walks with the aid of two crutches.
他小的時候患過小兒麻痹症，所以他需要靠雙柺走路。
The audience sit quietly while he makes his way across the stage to his chair and begins hisplay.
觀衆在靜靜地等待着他穿過舞臺坐在椅子上開始表演。
But this time, something went wrong.
但是這一次出了點兒問題。
Just as he finished the first few bars, one of thestrings on his violin broke.
當他剛剛演奏完前面幾小節的時候，一根琴絃斷了。
We thought that he would have to stop the concert.
我們以爲他不得不結束這場演奏會，
But hedidn't. Instead, he waited a moment, closed his eyes and then signaled the conductor to beginagain.
然而他沒有。他停了一下，閉上眼睛，然後向指揮示意重新開始。
The orchestra began and he played with such passion and such power and such purity asthey had never heard before.
樂隊再一次開始演奏，他用前所未有的激情、力量和內心的純淨演奏着。
Of course, anyone knows that it is impossible to play a harmonious work with just threestrings.
當然，我們每個人都知道僅用三根琴絃是無法演奏出和諧的樂曲的。
I know that, and you know that, but that night Itzhak Perlman refused to know that.
你我都明白這一事實，但是那一晚伊扎克·帕爾曼就是拒絕承認。
When he finished, there was an awesome silence in the room.
當演奏結束的時候，大廳裏一陣可怕的沉寂。
And then people rose and cheered.
接着，人們從座位上站起並歡呼起來，
There was an extraordinary outburst of applause from every corner of theauditorium.
從觀衆席的每一個角落都爆發出熱烈的掌聲。
He smiled, wiped the sweat from this brow and then he said-not boastfully, but in aquiet, sacred tone-You know, sometimes it is the artist's task to find out how much musicyou can still make with what you have left.
他微笑着，檫去額頭的汗珠，沒有一點驕傲，他用平靜的、虔誠的語氣說道：有些時候音樂家要明白用不完整的樂器，你還能演奏出怎樣的音樂。
This powerful line has stayed in my mind ever since I heard it.
從那天起，這句有力的話一直留在我的心裏。
And who knows? Perhapsthat is the definition of life-not just for artists but for all of us.
要知道，也許這就是對生命的解釋-不僅是對音樂家，而是對所有的人。
He has prepared all his life to make music on a violin of your strings, but all of a sudden, inthe middle of a concert, he finds himself with only three strings; so he makes music with threestrings,
伊扎克·帕爾曼一生都在做着用四弦的小提琴演奏音樂的準備，然而，突然間，就在音樂會上，他發現他只剩下三根琴絃，於是他用三根琴絃演奏。
and the music he made that night with just three strings was more beautiful, moresacred, more memorable, than any that he had ever made before, when he had four strings.
那一晚他用三根琴絃演奏的音樂比他以往用四根琴絃演奏的音樂更美妙，更神聖，更難忘。
So, perhaps our task in this shaky, fast-changing, bewildering world in which we live is tomake music, at first with all that we have, and then, when that is no longer possible, to makemusic with what we have left.
我們要學會在這個動盪多變充滿迷惑的世界裏演奏音樂，也許開始的時候傾盡所有來演奏，當有些東西不再擁有的時候，就用我們所剩下的來演奏音樂。
相關文章拓展閱讀：Itzhak Perlman
On November18, 1995, Itzhak Perlman, the world famous violinist, came on stage to give a concert at Lincoln Centre in New York City. If you have ever been to a Perlman concert, you know that getting on stage is not easy for him. He got polio(小兒麻痹症)as a child, and has to walk with the aid of two crutches(柺杖)now.
That night Perlman walked slowly to his chair. Then he sat down and began to play. But, suddenly, one of the strings on his violin broke. You could hear it break---it broke with a loud noise.
People thought to themselves, “He would have to get up to either find another violin or find another string for this one.”
But he didn’t. Instead, he waited a moment, closed his eyes and then signaled the conductor to begin again. The orchestra(管絃樂隊)began, and he played from where he had stopped. He played with such passion and such power.
Of course, everyone knows that it is impossible to play a symphonic work with just three strings. But that night Itzhak Perlman refused to know that. You could see him changing and recomposing(重新作曲)the piece in his head.
When he finished, there was a silence in the room. Then people rose and cheered. We were all on our feet, doing everything we could to show how much we appreciated what he had done.
He smiled and then he said in a quiet tone, “You know, sometimes it is the artist’s task to find out how much music you can make with what you have left.”
His words have stayed in my mind ever since I heard them. That is also the way of life. Perhaps our task in this quickly changing world in which we live is to make music, at first with all that we have, and then, when that is no longer possible, to make music with what we have left.
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