46. It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself.

　　這也是為什么我們嘗試用語(yǔ)言來(lái)描述音樂(lè)時(shí)，只是能表達(dá)出對(duì)音樂(lè)的感受卻無(wú)法領(lǐng)會(huì)音樂(lè)本身。

　　47. By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works.

　　據(jù)大家所說(shuō)，他思想自由，勇氣十足。在對(duì)其作品的理解方面，我認(rèn)為勇氣是本質(zhì)，更不用說(shuō)在作品的演奏方面了。

　　48. Beethoven's habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him.

　　貝多芬習(xí)慣最大限度地增加音量，然后突然轉(zhuǎn)為柔和的樂(lè)段，這在其之前的音樂(lè)家中是很少有的。

　　49.Especially significant was his view of freedom, which, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression.

　　尤其重要的是他關(guān)于自由的觀點(diǎn)，在他自己看來(lái)，這種觀點(diǎn)是和個(gè)人的權(quán)利和義務(wù)相關(guān)聯(lián)的。他宣揚(yáng)的是思想和個(gè)人表達(dá)的自由。

　　50.One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.

　　人們可以通過(guò)以下論斷來(lái)詮釋貝多芬的許多作品：苦難是不可避免的，但正是這種與苦難作斗爭(zhēng)的勇氣給了生命價(jià)值。

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