（旅游英语）环球之旅—西班牙
Origins and History of Bullfighting
             西班牙斗牛历史由来以久。在阿尔达米拉岩洞中发现的新石器时代的岩壁画中，就有人与牛搏斗的描绘。据说，曾统治西班牙的古罗马的凯撒大帝就曾骑马斗牛。在这之后的约六百年时间里，斗牛一直是西班牙贵族显示勇猛骠悍的专利项目。
            十八世纪，波旁王朝统治西班牙，第一位国王费利佩五世认为斗牛过于危险，会伤害王室成员的性命，禁止贵族玩斗牛，至此这一传统的贵族体育才从宫庭来到了民间。
            西班牙斗牛选用的是生性暴烈的北非公牛。由特殊的驯养场负责牛种的纯正。一般驯养四、五年后即可使用。斗牛表演通常在下午进行，每场由三个斗牛士分别斗六头牛。斗牛表演是西班牙为数不多的准时开始的活动。如晚到，须等一头牛斗完后方可入场。
         Bullfighting is certainly one of the best known, although at the same time the most controversial Spanish popular customs.This Fiesta could not exist without the Toro Bravo(happiness, joy,欢呼，喝彩), a species of bull from an archaic(古代的，古老的)
bloodline(血统;家族) that is conserved(保留，沿袭) only in Spain. 
            Many civilizations revered(尊敬，崇拜) these bulls. The bull-cultus(拜牛祭祀) on the Greek island Creta is quite well-known. The Bible tells of bulls being sacrificed(献祭，供奉) in honour of the divine(神的；天赐的) justice(公平；公正). Bulls played an important part in the religious ceremonies(宗教仪式) of Iberian(居住在外高加索的古伊比利亚人) tribes living in Spain during prehistoric(史前的，原始的) times.
             The origins of the Plaza (bullring,斗牛场) are probably not the Roman amphitheaters(古罗马的圆形剧场, 竞技场) but the Celtic-Iberian(凯尔特-伊比利亚人的) temples where ceremonies were held. In the province of Soria(索里亚,西班牙地名), near Numancia(奴曼西亚,西班牙地名), one such temple is preserved and it is supposed that bulls were sacrificed to the Gods here.
             While the cult worship (顶礼膜拜)of the bull goes back to the Iberians, it was the Greek and Roman influences that converted(皈依,劝说相信某一特定宗教、信仰或信念) it into a spectacle(公开表演或展示).
            During the middle ages(中世纪；中古时代) it was a diversion(娱乐，消遣) for the aristocracy(贵族) to rear ( rise on the hind legs,直立在马上) on horseback. This was called suerte de cañas(西班牙贵族站立在马背上骑马的活动). In the 18th century this tradition was more or less abandoned (被放弃的，被抛弃的) and the poorer population invented the bullfight on foot. 
            Francisco Romero was a key-figure in laying the rules(lay the rules 制订规则)  for this new sport. For its fans La Corrida (西班牙语，斗牛) is of course more of an art than a sport, as well as being the challenge of man fighting against beast (n. 野兽). It is an archaic (古老的，陈旧的) tradition that has survived in Spain.

What a Corrida is about
          If you are not familiar with Corridas, you will find listed here chronologically (adv. 按年代顺序排列地) everything that happens. So you may decide by yourself if you want to see one while you are visiting Spain.
          A Corrida starts with the paseillo ([西]斗牛赛的最早形式), when everyone involved in the bullfight should enter the ring (斗牛场) and present themselves to the public. Two Alguacilillos ([西]matadors trainee,新手斗牛士), on horseback, direct themselves to the presidency (当时的国王) and symbolically (adv.象征性地) ask for the
 
keys to the "puerta de los toriles" ([西]传说中的圣城). Behind that door are the bulls.
            With the door being opened and the first bull entering the ring the spectacle begins. It consists of three parts, called tercios ([西]整个斗牛赛分三环节), each being separated by horn-signals. There are three toreros (徒步的斗牛士) in each Corrida, by the way, and each will have to rear two bulls.
            In the first tercio the bullfighter uses the capote ([西]紫黄的斗牛布), a large rag of purple and yellow coloring. Next, two picadors (骑马的斗牛士) enter on horseback each armed with a type of lance (n. 标，长矛).
            The second part is la suerte de banderillas. Three banderilleros have to stick a pair of banderillas ([西]斗牛士用来刺牛的矛) into the attacking bull's back.
            In the final "suerte suprema" the bullfighter uses the muleta (一种红的斗牛布), a small red rag. He has to show his faena ([西]斗牛士在击杀牛前炫示技能的劈刺动作), his mastery to dominate (v. 控制、支配) the bull, and to establish an artificial (adj.人造的, 虚假的) relationship between man and beast. The Corrida ends with the torero (徒步的斗牛士) killing the bull with his sword (n. 剑). 
            I think you will agree what a wonderful and exciting country Spain is, so diversified (adj.多样变化的, 形形的), steeped (steep v. 泡, 浸; 笼罩)in history and very culturally special, peaceful and tranquil (adj. free from anxiety, tension, or restlessness宁静的；镇定的), laid back with its superb (adj.美好的, 极好的) climate and sun-drenched (drench v.湿透) beaches and crystal clear (adj. absolutely clear;极其透明的；清澈的) waters beckoning (beckon v. 引诱，诱惑) you to sample them for yourself. 
            The people are so friendly, leaving 007 with such wonderful memories and treasures in my mind that now I can share with you. Spain is one of 007 top destinations and would recommend visiting this country to anybody. Please email me for any more information on anything whatsoever (pron.无论如何).
Now I want to tell you about the Flamenco dance (佛来明哥舞风格,是安达鲁西亚吉普赛人的一种强劲的、常伴随有即兴节奏的舞蹈风格) in a little more detail, as this is such a wonderful sight to see. The music will haunt (v. come to mind continually; 时常萦绕心头) you for many years to come with lasting (adj.持久的, 永久的, 永恒的) memories.
Flamaenco
          Flamenco is a genuine (adj. 真的，正品的，非伪造的) Spanish art, and to be more exact is a genuine Southern Spanish art. It exists in three forms: Cante, the song, Baile, the dance, and Guitarra, guitar playing. 
          Gypsies (吉卜赛人) are very often named as the fathers of Flamenco, and at the very least, we can be sure that they played an important part in its creation. However,
the popular songs and dances of Andalusia also influenced early Flamenco considerably (adv.相当地).
           (Gypsy: A member of a nomadic people that arrived in Europe in migrations from northern India around the 14th century, now also living in North America and Australia. Many Gypsy groups have preserved elements of their traditional culture, including an itinerant existence, tribal organization, and the Romany language.
吉卜赛人：大约在14世纪从北印度移民到欧洲的游牧民族的一支，现在在北美和澳大利亚也有分布。许多吉普赛体仍保留了一些他们传统文化的成分，包括流动的生存方式，部落或组织结构，还有他们使用的罗姆语。)
          There were certainly other influences, too, surely not a surprise in a country that has been dominated by the most diverse (adj. differing one from another不同的，相异的) cultures and civilizations during its different historical epochs (n.时代, 时期). 
          There were the legendary Tartessos (西班牙南部铁器时代的塔尔提索斯文化), and the seven centuries of Muslim occupation that could hardly have passed without leaving their indelible (adj. impossible to remove; permanent不能消除的，永久的) mark on Spanish culture. All of these different factors directly or indirectly influenced Flamenco.
             佛拉明戈的酝酿萌芽期约在1765--1860间, 1774年, 才真正有佛拉明戈的记载,  "Cartas Marruecas" of Cadalso,  早期的 Flamenco是纯演唱的, 以拍掌打节奏toque de palmas, 等到 Juli Arcas时, 才加入了吉他伴奏. 从1850年左右歌手在Seville等地的「佛拉明哥酒吧（cafe cantante）」驻唱开始，佛拉明哥自此开始50年左右的黄金时代(1859-1910),  各种佛拉明戈的形式便再这时产生, 并且严肃的深唱腔 (cante jondo)也在这时形成. 佛拉明戈舞也在这些cafe cantantes达到巅峰。
          The first real reference (n.提及, 涉及) to Flamenco in literature is in the "Cartas Marruecas" of Cadalso, in 1774. Its birthplace was most probably where, between 1765 and 1860, the first Flamenco-schools were created: Cádiz, Jerez de la Frontera and Triana in Seville.
        In this epoch Flamenco dance started to establish a firm position in the ballrooms (n. 舞厅，舞场). Early Flamenco seems to have been purely vocal (adj.声音的, 有声的, 歌唱的) accompanied only by the rhythmic (adj.有韵律的, 有节奏的) clapping (n. 鼓掌，拍手声) of hands, toque de palmas ([西]以有节奏的拍手声伴奏的舞蹈). It was left to dedicated (adj.富有献身精神的) composers,
 as Julián Arcas, to introduce guitar playing. 
           During its Golden Age (1869-1910) Flamenco was developed in the numerous music cafés (n.咖啡馆, 小餐馆) of the period (cafés cantantes) to reach its definitive (adj.最后的, 确定的) form. Also the more serious forms expressing deep feelings --cante jondo(“深沉”唱腔，一种略带忧伤的音乐形式) --date from this time.
           Flamenco dance reached its climax (n.高潮, 顶点), being the major attraction for the public in those cafés cantantes. Guitar players, as well as the dancers, increasingly gained notoriety (n. 出名, 有名).
           From 1910 to 1955 Flamenco singing was marked by the ópera flamenca ([西]n. 一种弗拉明哥音乐形式), with an easier kind of music such as fandangos, showing a clear South American influence. By 1915 Flamenco shows were performed all over the world.
          1955 saw the start of a kind of Flamenco Renaissance. Outstanding dancers and soloists (n.独奏者, archaic独唱者) soon made their way out of the small cafes, into the great theaters and concert houses. It was now that guitar players acquired a true mastery of their craft (n.技术,技能).
          Actual Flamenco frequently shows the influence of other kinds of music, as Jazz, Salsa, Bossa Nova, etc. 
          Even Flamenco dance has changed, with female dancers trying to highlight (v. make prominent; emphasize使…显得重要；强调) the traditional art of the dance, accompanied by the stamping (跺脚) of feet and the clacking (敲打，拍打) of castanettes (a wooden hand instrument,一种木制的打击乐器).
          Mass media (大众传媒) has brought Flamenco to the world stage, but from the very beginning, Flamenco was always an extremely intimate (adj. very personal; private个人的，私人的,私下的) art form and remains so to this day.
          When you listen to authentic (adj. 正宗的，真正的) Flamenco by the moonlight in the South of Spain, you will be enchanted (enchant v.迷惑,神魂颠倒) by the intensely (adv.激烈地, 热情地) romantic Latin spirit of this vigourously (adv.精神旺盛地,热情地) sensual(adj. 感觉的关；感官的) spectacle. Let it stir your spirit as you capture (vt.俘获, 捕获, 夺取) the true essence (n. 本质，真谛) of Spanish culture and pride.

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