小伙伴们，GRE考试大家复习的怎么样了呢？下面是帮考网分享的一些GRE考试阅读部分的复习资料，一起来看看吧！

释义：

5

In the mid-1960s, Eddy de Jongh published an extraordinary array of material — especially from the emblem books and vernacular literature — that confirmed the unreliability of taking Dutch pictures at surface value alone.

1960 年代中期，E d J 公布了一系列不寻常的材料 —— 尤其是来自于 emblem books 和白话文学 —— 证实了荷兰绘画不能只看表面价值。

6

The major difficulty, however, with the findings of critics such as de Jongh is that it is not easy to assess the multiplicity of levels in which Dutch viewers interpreted these pictures.

然而，像 d J 这样的评论者的研究发现的主要困难，在于难以评估荷兰观众对这些画作的解读的多种不同层次。

7

De Jongh’s followers typically regard the pictures as purely symbolic.

D J 的后继者们特别地把这些画视为纯象征性的。

8

Not every object within Dutch paintings need be interpreted in terms of the gloss given to its equivalent representation in the emblem books.

不是荷兰绘画中出现的每种事物，都有必要解释为像 emblem books 里那样有什么寓意。

9

Not every foot warmer is to be interpreted in terms of the foot warmer in Rowmer Visscher’s Sinnepoppen of 1614, not every bridle is an emblem of restraint (though many were indeed just that).

不是每个暖脚炉都要解释为 1614 年 R V 的作品 S 中出现的暖脚炉，不是每副马笼头都象征着约束(尽管很多时候确实象征着约束)。

10

To maintain as Brown does, that the two children in Netscher’s painting A Lady Teaching a Child to Read stand for industry and idleness is to fail to understand that the painting has a variety of possible meanings, even though the picture undoubtedly carriers unmistakable symbolic meanings, too.

正如 B 认为 N 的作品 A Lady Teaching a Child to Read 代表勤劳和懒惰，未能理解这幅画包含的其他可能的含义，尽管这幅画无疑也带有明显的象征意味。

11

Modern Art historians may well find the discovery of parallels between a painting and a specific emblem exciting, they may, like seventeenth-century viewers, search for the double that lie behind many paintings.

当代艺术史学者可能也认为，发现一幅画和一种特定的象征之间的对比关系很有趣，他们也许会像十七世纪的观众那样，寻找许多画背后的类比对象。

12

But seventeenth-century response can hardly be reduced to the level of formula.

但十七世纪的观众的反应，很难概括成公式。

13

To suggest otherwise is to imply a laboriousness of mental process that may well characterize modern interpretations of seventeenth-century Dutch Art, but that was, for the most part, not characteristic in the seventeenth century.

否则就意味着一种更复杂的心理过程，也可以定义对十七世纪荷兰艺术的现代解读，但那很大程度上已经跟十七世纪没什么关系了。

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