unit-9-in-book-3-Song-of-Defiance.ppt

1、Song of Defiance,據(jù)戰(zhàn)后統(tǒng)計：截止到1945年，波蘭原有350萬猶太人只剩下7萬余人，荷蘭的14萬猶太人只剩下3.5萬人，羅馬尼亞的65萬猶太人僅剩下25萬人，而德國和奧地利的33萬猶太人僅有4萬人 生還，希臘的7萬多名猶太人僅1.6萬人幸存，在烏克蘭有90萬猶太人命赴黃泉，白俄羅斯的24.5萬和俄羅斯的10.7萬名猶太人也成為納粹滅猶的犧牲品，捷克斯洛伐克的35.6萬猶太人僅剩下1.4萬 歐洲600萬猶太人成為希特勒屠刀下的屈死鬼，其中還包括100萬兒童。,Stone marking the burial of ashes of 15,000 victims of Terez

2、n at the New Jewish Cemetery, Prague,Theresienstadt concentration camp,was established by the SS during World War II in the city of Terezn located in what is now the Czech Republic During World War II it served as a Nazi concentration camp staffed by German Nazi guards. Tens of thousands of people d

3、ied there, some killed outright and others dying from malnutrition and disease. More than 150,000 other persons (including tens of thousands of children) were held there for months or years, before being sent by rail transports to their deaths at Treblinka and Auschwitz extermination camps in occupi

4、ed Poland, as well as to smaller camps elsewhere.,Czech composer Rafael Schchter,Rafael Schchter,born 25 May 1905 died on the death march during the evacuation of Auschwitz in 1945 a Czechoslovak composer, pianist and conductor of Jewish origin, organizer of cultural life in Terezn concentration cam

5、p.,Part Division of the Text,Para. One,When you walk the cobbled mist-shrouded streets of Terezin in the Czech Republic, your mind fills with images of the village sixty years ago, when it was a Nazi concentration camp packed with desperate and dying Jews. But Terezin was not only a place of sufferi

6、ng. It was also a scene of triumph.,The streets of Terezin in the Czech Republic remind us of the suffering days of the village sixty years ago, when the Jews were tortured by Nazis.,Para. Two,Terezin had been a perverse kind of showcase. In contrast to Auschwitz, Treblinka and other extermination c

7、amps, the Nazis designed the town near Prague to fool the world. For much of World War II, Nazi propaganda suggested that Jews there enjoyed a life of leisure, even using captive Jewish filmmakers to craft a movie showing “happy ” Jews listening to lectures and basking in the sun. The reality was ho

8、rribly different. As many as 58,000 Jews were stuffed into a town that had originally held 7,000. Medical supplies were almost nonexistent, beds were infested with vermin and toilets overflowed. Of the 150,000 prisoners who passed through Terezin, 35,000 died there, mostly from disease and hunger.,F

9、rom the evidence provided by Nazis it seemed that during much of the time in World War II, Jews were quite relaxed in the concentration camp and the seized Jewish filmmakers were even told by Nazis to produce a movie showing Jews enjoying lectures and basking in the sun.,Truth in Terezin camp,Truth

10、in Terezin camp,Para. Three,Yet the camp made concessions for propaganda purposes. SS troops were posted outside the fortress, while daily activity was overseen by a Jewish “Council of Elders,” which turned a blind eye to inmates activities, unless they might attract Nazi attention.,Para. Four,So, a

11、mid the pervasive atmosphere of death, writers managed to write, painters to paint, and composers to compose. Among them was Rafael Schaechter, a conductor in his mid-30s. Charismatic, with a striking face and wavy, dark hair, Schaechter was just beginning to make a name for himself in the rich cult

12、ural mix of prewar Prague. He had scarcely thought of himself as Jewish at all, until he was seized by the Nazis.,Para. Five,As his months in the camp stretched into years, and more and more Jews disappeared eastward on Nazi transports, Schaechters fury at his captors steadily grew. And then he thou

13、ght of a daring plan.,Kept in the camp for many years, Schaechter saw lots of Jews sent eastward to be slaughtered, which stimulated more and more resentment towards Nazis,Para. 6-7,He confessed his idea to his roommate in a single sentence: “We can sing to the Nazis what we cant say to them.” Their

14、 weapon was to be Verdis Requiem.,Para. 8,Everything that Schaechter wanted to say lay camouflaged within the Latin words of the Requiem, with its themes of Gods wrath and human liberation. Schaechter had access to no musical instruments except a broken harmonium found in a rubbish heap. Other than

15、that, he had only human voices to work with. Throwing himself into the plan, he managed to recruit 150 singers.,Schaechter hid all the words he wanted to say in the Latin words of the Requiem, which centers around the themes of Gods wrath and human liberation.,Para. 9,Among the group was a brown-eye

16、d teenager named Marianka May. During her 12-hour workday, she labored at everything from scrubbing windows to making tobacco pouches for German soldiers. At night, however, she slipped away to join the choir, where she felt lifted up by Verdis music and Schaechters passion. “Without Rafi Schaechter

17、, wed never have survived,” says May, one of the tiny handful of chorus members to live through the war. “He saved us through his music.”,Para. 10,Aching with hunger, sopranos and altos, tenors and basses would take their places, while Schaechter pounded out Verdis towering themes on the harmonium.

18、Since there was only a single score, the singers had to memorize their parts, in Latin, a language that few besides Schaechter understood.,It implies the Jews believed that one day the Nazis would be greatly punished for the crimes they had committed against the Jews.,Para. 11,When they rehearsed th

19、e key section called “Day of Wrath,” Schaechter explained that it meant God would judge all men including the Nazis by their deeds and they would one day pay for their crimes against the Jews. “We are putting a mirror to them,” he said. “Their fate is sealed.”,Para. 12,Although the Germans had spies

20、 among the prisoners, Schaechter managed to keep the real meaning behind the choruss rehearsals a secret. Still, the camps Jewish elders were upset. “The Germans will deport your whole chorus, and hang you,” they warned Schaechter at a stormy meeting.,Para. 13-14,That night Schaechter told his choru

21、s, “What we are doing is dangerous. If anyone wants to leave, you may go.” No one left.,Para. 15,At last, in the autumn of 1943, all was ready. The first performance took place for prisoners gathered in a former gymnasium. Someone had found an old piano missing a leg and propped it on a crate. Durin

22、g the performance, a technician kept it in tune with a pair of pliers.,Para. 16-17,Verdis music burned through the audience like an electrical charge, and many remember it as one of the most powerful events of their lives. The Requiem was like food put in front of them. They gnawed at it from sheer

23、hunger. Over the ensuing months, the Requiem was repeated several times for additional audiences of prisoners.,Para. 18,Then Schaechter received an order from the camps commandant to stage a command performance of the Requiem. This would be “in honor” of a visit by Red Cross representatives who, foo

24、led by the Nazis, would notoriously report that the Jews were living in comfort at Terezin. There would also be high Nazi officials present among them, an SS lieutenant colonel named Adolf Eichmann. The scene was set for a face-to-face confrontation between defiant Jews and the man behind the Final

25、Solution.,The Nazis wanted to fool the Red Cross representatives that the Jews were living a comfortable life there by showing them the performance so that they would make report about the seeming comfortable life of the Jews.,Para. 19,Despite his best efforts, Schaechter could muster only 60 singer

26、s for the chorus. Emaciated, they gathered on the small stage. Eichmann sat in the front row, dressed in full Nazi regalia. The Jews looked the Nazis in their eyes, and their voices swelled as they sang:,Para. 20,The day of wrath, that day shall dissolve the world in ash. What trembling there shall

27、be when the judge shall come. Nothing shall remain unavenged.,Para. 21,When the performance ended, there was no applause. The Nazis rose in silence. As he left, Eichmann was heard to say, with a smirk, “So theyre singing their own requiem.” He never realized the Jews were singing his.,Para. 22,Soon

28、after, Schaechter and nearly all his chorus members were loaded into boxcars bound for Auschwitz. Schaechter was never seen again.,Para. 23,Marianka May was among those freed when Allied troops reached Terezin. “I believed in nothing in that camp,” says May, with a look in her eyes that takes in bot

29、h the death-filled streets of Terezin and the soothing hills of upstate New York, where she now lives. “I would say to myself, Is God there? If so, then how could these children be dying? Schaechter wasnt a religious man. But what was it but God that he gave us in the music?”,The suffering life in t

30、he camp left May with a tremendous trauma. Living in the serene hills of upstate New York, she was still haunted by her memory of the wretched life in the camp.,Key phrases,1. thecobbledmist-shroudedstreets 2. fillwithimagesof 3.aNaziconcentrationcamp 4. sp packedwithsb/sth 5.desperateanddyingJews,6

31、. aplaceofsuffering 7.asceneoftriumph 8.aperversekindofshowcase 9. Incontrastto 10. exterminationcamps 11.designthetown,12. fooltheworld 13. enjoyalifeofleisure 14.craftamovie 15. listentolectures 16.baskinthesun 17. Asmanyas58,000Jews,18. bestuffedintoatown 19. Medicalsupplies 20. beinfestedwithver

32、min 21.passthrough 22. makeconcessions 23.forpropagandapurposes 24.bepostedoutsidethefortress,25.dailyactivity 26.turnedablindeyeto 27. inmatesactivities 28. attract ones attention 29.amidthepervasiveatmosphere ofdeath 30.astrikingface,31. makeanameforoneself 32.intherichculturalmix of sp 33. though

33、tofoneselfas 34. stretch intoyears 35. thinkofadaringplan 36. confesshisideatohisroommate,37.laycamouflagedwithintheLatinwords 38. itsthemesofGodswrathandhumanliberation 39. haveaccessto 40. musicalinstruments 41.inarubbishheap 42.Otherthanthat 43.haveonlyhumanvoicestoworkwith,44.throwinghimselfinto

34、theplan 45.managedtorecruit150singers 46.laboredeverything 47.scrubwindows 48. slipawaytojointhechoir 49.feelliftedup 50.onespassion,51. thetinyhandfulofchorusmembers 52.livethroughthewar 53. achewithhunger 54. takeonesplace 55. memorizetheirparts 56.rehearsedthekeysection,57.payfortheircrimesagains

35、ttheJews 58. putamirrortothem 59. keeptherealmeaningbehindthechoruss rehearsalsasecret 60. thefirstperformance 61.keepsthintunewith,62.burnedthroughtheaudiencelikean electricalcharge 63.oneofthemostpowerfuleventsoftheir lives 64. likefoodputinfrontofthem 65.gnawatitfromsheerhunger 66.theensuingmonth

36、s 67. additionalaudiencesofprisoners,68. stageacommandperformance 69.be“inhonour”ofavisit 70.liveincomfort 71. aface-to-faceconfrontation 72.riseinsilence 73.beloadedintoboxcars 74.boundfor 75.take in,76.thedeath-filledstreetsofTerezin 77.thesoothinghillsofupstateNewYork 78.areligiousman,Key Sentenc

37、es,Whenyouwalkthecobbledmist-shrouded streets ofTerezinintheCzechRepublic, yourmindfillswithimagesofthevillagesixtyyearsago,whenitwasaNaziconcentration camppackedwithdesperateanddyingJews.,FormuchofWorldWarII,Nazipropaganda suggestedthatJewsthereenjoyedalifeofleisure, evenusingcaptiveJewishfilmmaker

38、stocrafta movieshowinghappyJewslisteningtolectures andbaskinginthesun.,SStroopswerepostedoutsidethefortress, whiledailyactivitywasoverseenbyaJewish“CouncilofElders,”whichturnedablindeyetoinmatesactivities,unlesstheymightattractNaziattention.,So,amidthepervasiveatmosphereofdeath,writersmanagedtowrite

39、,painterstopaint, andcomposerstocompose.,AmongthemwasRafaelSchaechter,aconductor inhismid-30s. Amongthegroupwasabrown-eyedteenager namedMriankaMay.,Charismatic,withastrikingfaceandwavy,darkhair,SchaechterwasjustbeginningtomakeanameforhimselfintherichculturalmixofprewarPrague.,WecansingtoNaziswhatwec

40、antsayto them.,EverythingthatSchaechterwantedtosaylaycamouflagedwithintheLatinwordsofthe Requiem,withitsthemesofGodswrathandhumanliberation.,Throwinghimselfintotheplan,hemanaged torecruit150singers.,Atnight,sheslippedawaytojointhechoir, whereshefeltliftedupbyVerdismusicandSchaechterspassion.,Achingw

41、ithhunger,sopranosandaltos,tenors andbasseswouldtaketheirplaces,while SchaechterpoundedoutVerdistoweringthemesontheharmonium.,Sincetherewasonlyasinglescore,thesingers hadtomemorizetheirparts,inLatin,alanguage thatfewbesidesSchaechterunderstood.,Whentheyrehearsedthekeysectioncalled“DayofWrath,”Schaec

42、hterexplained thatitmeantGodwouldjudgeallmen includingtheNazisbytheirdeedsandtheywouldonedaypayfortheircrimesagainst theJews.,Theirfateissealed.,AlthoughtheGermanshadspiesamongtheprisoners,Schaechtermanagedtokeepthe realmeaningbehindthechorussrehearsalsasecret.,Thefirstperformancetookplaceforprisonersgatheredinaformergymnasium.,Someonehadfoundanoldpianomissingalegandproppeditonacrate.,Th