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　　It is speculated that gardens arise from a basic need in the individuals who made them: the need for creative expression. There is no doubt that gardens evidence an impossible urge to create, express, fashion, and beautify and that self-expression is a basic human urge; (46) Yet when one looks at the photographs of the garden created by the homeless, it strikes one that , for all their diversity of styles, these gardens speak of various other fundamental urges, beyond that of decoration and creative expression.

　　答案：

　　据推测，花园的出现源于其建造者的一种基本需求:创造性表达的需求。毫无疑问,花园证明了人类拥有难以抑制的创造、表达、塑造和美化事物的迫切需求，而自我表达是人类的基本需求; (46) 然而,只要看看无家可归者所建造的花园的照片，你就会突然意识到,尽管样式各异,但这些花园除了表达(人类)装饰和创造的需求之外，更体现了人类很多其他的根本需求。

　　One of these urges had to do with creating a state of peace in the midst of turbulence, a “still point of the turning world,” to borrow a phrase from T. S. Eliot. (47)A sacred place of peace, however crude it may be, is a distinctly human need, as opposed to shelter, which is a distinctly animal need. This distinction is so much so that where the latter is lacking, as it is for these unlikely gardens, the former becomes all the more urgent. Composure is a state of mind made possible by the structuring of one’s relation to one’s environment. (48) The gardens of the homeless, which are in effect homeless gardens, introduce form into an urban environment where it either didn’t exist or was not discernible as such. In so doing they give composure to a segment of the inarticulate environment in which they take their stand.

　　答案：

　　其中一个需求就与在动荡中创造一种宁静状态有关 ,借用T.S.艾略特的话,就是找寻“这个旋转世界的静止点”。(47)一片安宁的圣地,无论多么粗陋,体现的是人类特有的需求,它与庇护所之所不同，后者反映的是动物特有的需求。这两者的区别是如此之大，以至于在后者(庇护所)缺乏的情况下,对于这些不寻常的园丁来说，对前者(安宁的圣地)的需求就变得更加迫切。宁静是一种精神状态，可以通过构建人和环境间的关系而实现。(48)无家可归者的花园实质上就是无定所的花园,它们将其”形式”引入都市环境中,而这种“形式”以前在都市环境中要么不存在,要么不那么容易辨识。通过这种做法，花园就将宁静赋予了它们立足的那片沉默无言的环境。

　　Another urge or need that these gardens appear to respond to, or to arise from is so intrinsic that we are barely ever conscious of its abiding claims on us. When we are deprived of green, of plants, of trees, (49) most of us give into a demoralization of spirit which we usually blame on some psychological conditions, until one day we find ourselves in garden and feel the expression vanish as if by magic. In most of the homeless gardens of New York City the actual cultivation of plants is unfeasible, yet even so the compositions often seem to represent attempts to call arrangement of materials, an institution of colors, small pool of water, and a frequent presence of petals or leaves as well as of stuffed animals. On display here are various fantasy elements whose reference, at some basic level, seems to be the natural world.

　　答案：

　　这些花园似乎响应或源于另一种欲望或者需求，这种欲望或者需求是与生俱来的，以至于我们几乎不曾意识到它对我们长久以来的诉求。当我们被剥夺了绿色、植被和树木时，(49)我们大多数人通常把陷入精神颓丧归咎于某些心理疾病，直到有一天置身花园，才顿觉压抑感神奇地消失了。在纽约市大多数无家可归者的花园中,种植植物实际上是不可行的,尽管如此,这些花园艺术作品似乎常常表现出了人们通过把物品摆成树丛的样子、色彩的引入、小水池随处可见的花瓣或树叶及各种填充动物玩具尝试把动植物的灵性展现出来，即便是象征性的。这里展示的是各种奇幻元素,在某些基本层面,它们似乎就是自然界。

　　(50) It is this implicit or explicit reference to nature that fully justifies the use of word garden, though in a “liberated” sense, to describe these synthetic constructions. In them we can see basophilic- a yearning for contact with nonhuman life-assuming uncanny representational forms.

　　答案：

　　(50)正是这种对自然界或含蓄或明确的参考，充分印证了用“花园”一词描述这些人造建筑的合理性，尽管那是通过开放的感官感受到的“花园”。在它们身上，我们可以看到人类热爱自然的天性一对和非人类生命接触的向往--呈现出各种奇特的表现形式。

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