Just recently a committee meeting at the University of Colorado was interrupted by the spectacle of a young man 1scaling the wall of the library just outside the window. Discussion of new interdisciplinary cours halted as we silently hoped he had discipline enough to return safely to the earth. Hope was all we could offer 2from our vantage point in Ketchum Hall, the impul to rush out and catch him being 3checked by the realization of futility.
就在最近，我们在科罗拉多大学举办的一次委员会会议因为窗户外一位年轻男士正在攀爬对面图书馆的高墙而半途中断。这一刻，一切关于跨学科新课程的讨论戛然而止，因为我们都在默默地希望他接受过严格训练，能安全回到地面。我们在凯彻姆礼堂看得很清楚，很想冲出去接住他，但当意识到这只能是徒劳无功时，我们所能做的也只有默默地为他祈祷。
The incident reinforced my n that mountaineering rves as an 4apt analogy for the art of teaching. The excitement, the risk, the need for 5rigorous discipline all correspond, though the image I have in mind is not that of the solitary adventurer rappelling off a wall, but that of a Swiss guide leading an expedition.
这次事件使我更加强烈地觉得攀岩对于教学艺术是一个恰当的类比。登山的刺激、风险和所需的严格训练都与教学相仿，虽然浮现在我脑海里的画面不是绕绳沿墙的独行客，而是率队探险的瑞士导游。
草地鹨
I remember a mountaineer named Fritz who once led a group up the Jungfrau at the same time a party was climbing the north face of the Eiger. My own mountaineering skill was 6slender, and my enthusiasm would have 7faltered had I not felt Fritz was capable of hauling not only me but all the rest of us off that mountain. Strong, lf-assured, calm, he radiated that solid authority that encouraged me to tie on to his rope. But I soon realized that my prence on his line constituted a risk for Fritz. Had I been so 8foolhardy as to try to retrieve my glove which went tumbling off a precipice, or had I slipped into one of tho 9inexplicably opening crevass, I might well have pulled the noble Fritz down with me. It was a sobering realization. I, the novice, and he, the expert, were connected by the same lifeline in an experience of mutual interdependence. To give me that top of the world 10exaltation he, too, was taking a risk.
我仍记得，一位名为弗里斯的登山者曾经率队攀登少女峰，与此同时，另一支队伍正向艾格尔峰的北面前进。我缺乏登山技能，如果不是因为相信弗里斯能使包括我在内的整支队伍免于掉下山峰，我登山的热情肯定会慢慢消退。他强劲有力，自信满满，淡定从容，展现出来的扎实的登山技能让我鼓起勇气与他共用绳索一同攀岩。但很快我就意识到自己的牵附给弗里斯
的安全带来了潜伏不断
happiness作文的风险。我要是莽撞地去试图拾回掉下悬崖的手套，我要是不小心滑进某条不知名的岩石裂缝中，很有可能我就将尊贵的弗里斯先生一起拽下悬崖了。这值得令人深思。我和弗里斯——一名登山新手和一位登山专家——生命被系在同一根绳索上，各自有着不同的体验。为了让我能体验下极乐的感觉，弗里斯自己也在冒险。简爱txt
The analogy to teaching ems to me apt, and not just for professors who hap-pen to live in Colorado, for the analogy implies an active acceptance of responsibility for one’s own fate, whereas most other analogies to teaching suggest 11passivity. What is needed to restore teachers’ confidence that the profession is significant is a new analogy, a new metaphor (I shy away from the PR word, “image”) that conveys more of the esnce of teaching than the worn-out analogies we have known. Most previous analogies are riously inadequate, for while they may describe a part of the teaching activity, they also suggest patterns that are not fully applicable to teaching. It is not a simple matter, for tho faulty analogies create misunderstandings about the professor’s role, not only in the 12lay public, but in the professoriate itlf. The wrong analogies have contributed to growing 13demoralization within the profession, and have confud the difficult issue of proper evaluation.
我认为将教学类比为攀岩很恰当，但对于那些居住在科罗拉多的教授们而言则不然，他们觉得它暗示
了对个人命运所需履行的责任义务的主动接受，而不像其他类比那般，都隐喻被动接受。我们需要一个新的类比，新的比喻（这里我不用专业词汇“形象”）来使教师们重新相信教学的重要性，它能更多地传达出教学的本质，而那些司空见惯的类比则不能。大多数先前的类比都严重缺乏内涵，它们在描述部分教学活动的同时，也暗含了一些不完全适用于教学的特点。这并非无关紧要，因为一些错误的类比会使得不仅仅门外汉甚至连同行人都误解教授所扮演的角色。这些错误类比会加剧专业领域内的道德败坏现象，也对正确评估疑难问题造成困扰。
The most common analogies to the teacher are the preacher, the shepherd, the curator, the actor, the rearcher, and, most insidiously, the salesman. None captures the special relationship between teacher and students, a relationship better described by Socrates as a coming together of friends. Rather than emphasizing the mutuality of the endeavor, each of the common analogies turns on a paration between the professional and his clients. Each leads to a certain kind of evaluation.
教师最常被类比为传道者，牧羊人，博物馆馆长，演员和销售员，当中销售员的类比潜伏危害最大
。这些类比都不能准确传达出老师和学生之间的关系，
这种关系好比苏格拉底所描述的：相聚即是朋友。相反，他们将老师和学生明显区别开来，并带有各自的评价机制，而不是着重强调教师与学生之间的互动性。
The preacher exhorts, cajoles, pleads with a congregation often so 16benighted as to exist in a state of 17somnolence. He measures his success by the number of souls so stirred as either to commit themlves to his cau, or 18vehemently to reject it. Somewhat like the preacher is the shepherd who gathers and watches over a flock clearly inferior to himlf. The analogy may be apt for the Lord and his 19sub-angelic followers, but it will not do for teacher and students, or, especially, for Socrates and his friends. The Shepherd is likely to be evaluated by the gulf parating his wisdom from that of his flock.
玷污的读音传道者告诫、劝诱和恳求愚昧的教区会众以便在浑沌无知的环境下得以生存。他根据那些骚动不安的人群来估测自己的成就。这些人群要么全身心相信他的传道，要么对此强烈反抗。传道者就好像牧羊人，聚集和看守着明显低自己一等的羊群。这一类比或许适用于上帝和它虔诚的信徒，但对于老师和学生却不适用，特别是对于苏格拉底和他的朋友们。很有可能，牧羊人的成就是依据他和羊群智慧之间的巨大差距而定。
If the poor country curate has often 20furnished an analogy to the bleating professor, so has the curator of a muum. 21Lips purd so as to distill a pure esnce of hauteur, the curator as connoisur points out the rarities of classical cultures to the uninitiated who can scarcely be expected to appreciate the finer things. Since they cannot understand him anyway, the curator has
no 22compunction about sprinkling his prentation with Latin and Greek and with English so 23esoteric as to: sound foreign. Chances are high that the professor as connoisur will succeed in convincing most of the class that the subject is really the province of a cret society with its own 24arcane practices and language, best left behind its own inaccessible walls. Indeed, colleagues of the connoisur measure his success by the 25paucity of devotees allowed in to the society through this 26winnowing process.
如果把贫苦的乡村牧师类比为经常牢骚不断的教授，那么博物馆馆长也可以作为类比。身为鉴赏家的博物馆馆长会撅着嘴唇，显得极其傲慢，向那些几乎不懂欣赏的门外汉展示着这些古希腊罗马藏品的珍稀之处。由于这些人全然不懂，博物馆馆长便会毫无愧疚之心地穿插着使用拉丁文、希腊语和英语来使得他的演讲听起来高端大气、洋味十足。身为鉴赏家的教授很有可能让班里大部分同学相信他所教的学科其实专属于一个神秘组织
报名mba，该组织有自己的神秘仪式和行话，不会轻易吸纳新成员。的确，他的同行们也会根据通过筛选
进入神秘组织的学生的稀缺程度来评判该教授的成就。
The teacher as actor also 27plays to a passive audience, but he measures success by larger numbers. A certain 28aura of the magician clings to him as he lures spectators into witnessing his ac
ademic sleight-of-hand without their ever really 29getting in on the trick. A certain 30tinge of the stand-up comedian colors the performance as the actor plays to the audience 31to register laughs big enough to drown out the lecturer 32droning on next door.
与之类似，把教师类比为演员，是指他授课就像演员面对被动观众演绎独角戏一般，不过他则是根据听众数量来估量自己的成就。通过营造一种魔术氛围，他魅惑台下的观众们使得他们由衷叹服他的学术造诣，而全然没意识到当中的把戏。如同独角戏喜剧演员不断引人发笑一般，该教师会尽力表演来迎合台下观众引起哄堂大笑，哄笑声往往大得淹没隔壁课室的讲解声。酬和
fabric是什么意思
A bastardized version of the actor is that figure now thought so apt an analogy in our consumer-conscious society: the salesman. His predecessors include the snake-oil man and the door-to-door purveyor of anything from brushes to Britannicas. He or she takes the product to the people, wherever they are, and 34tailors the pitch to their pockets. While all of the analogies create a certain level of despair in the professoriate either struggling to pattern themlves in a particular mode or hopelessly realizing they can never achieve it, the salesman analogy has the most 35deleterious effects. No longer adhering even to a prepared script, the salesman shamelessly alters his or her prentation so it will draw the largest number of contented consumers.
比演员更具有贬义的一个类比是销售员——这十分适用于如今这个“顾客为上”的社会。销售员的前辈们包括推销“灵丹妙药”的小贩以及挨家挨户吹嘘能提供“应有尽有”服务的供应商。无论身处何地，他们都能依据对方金钱地位巧言令色地推销手中的产品。这些类比说法使教师们陷入困境，他们要么挣扎着学习模式化自己的教学方式，要么为自己永远不可能实现目标而迷茫无助。而“销售员”这一类比，造成的负面影响最为严重。为了吸引更多顾客使他们满意，销售员甚至不再需要事先准备的手稿，还能恬不知耻地转换销售手段说服顾客购买产品。
The rearcher as teacher differs from the previous analogies, and that very distinction is often thought to make him or her a good teacher. 36Taciturn, solitary, he disdains the performing arts and is content merely to 37mutter out an assortment of scatted facts to the young 38only dimly perce
光滑ived beyond his clouded trifocals. His measure of success is his students’ capacity to 39regurgitate factual data.
将教师类比为研究者不同于之前的那些类比
，当中的主要区别是这一类比往往将教师美化为优秀教师。沉默寡言、孤傲不群，轻视一切表演艺术的研究者，仅仅满足于向他的学生们支吾几个零散不堪的数据，而在他那布满烟尘的眼睛下，学生的身影是模糊不清的。他通过学生机械重复事实数据的能力高低来估量自己的成功。
None of the analogies comes clo enough to the esntial magic and majesty of a real learning experience. None even dimly anticipates that 40lf-eradicating feature that is built into the teaching process, for tho who have truly mastered what their teacher has prented no longer need him or her. None accepts as a necessary ingredient in the learning process, activity, the n of an intellectual excitement so compelling that one’s whole being is caught up in it. None acknowledges the peril, and the joy, of encountering tho mental deeps Hopkins described.
fever是什么意思
…the mind, mind has mountains; cliffs of fall
Frightful, sheer, no-man-fathomed. Hold them cheap
May who ne’er hung there.
所有这些类比都不能很完美地诠释真正实践学习的神奇和威严之处。甚至没有一个能隐含地倡导在教学过程中摒除教师中心论的做法。真正掌握了教学内容的学生是不再需要教师的。这些类比都没有将活动看作是教学过程中不可或缺的一个环节，活动总是能激发学生兴趣，引起他们思考，使他们对此着迷。它们更不能揭示碰击心灵深处所思所想时所面临的危险处境或所产生的无穷趣味。就如霍普金斯所描述的那般：
instinctively
人的心中，有千山百峰，有万丈深渊，
峥嵘险峻，深不可测，令人望而却步。
气定神闲，从容向前吧，
望人人度过心中险境。
Mountaineering furnishes the needed analogy. The Swiss mountain guide, like the true teacher, has a quiet authority about his very person. He or she engenders trust and confidence that one is willing to join the endeavor. The mountaineer accepts his leadership role, yet recognizes that the success of the journey (measured by the scaling of the heights) depends upon clo cooperation and active participation by each number of the group. He has crosd the terrain before and is familiar with the landmarks, but each trip is new, and generates its own anxiety and excitement. Esntial skills must be mastered if the trip is to be successful; lacking them, disaster 42looms as an ominous possibility. The very 43precariousnessof the situation necessitates keen focus and rapt attention; slackness, misjudgment, or laziness I can bring doom.
教学如攀岩这一类比恰恰满足了这些要求。那位瑞士登山向导，就如同真正的教师一样，
