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Those wide arms also showed how her whole body sang.
她张开宽广的双臂向人们展示了如何用整个身体歌唱。
When she accompanied herself on the piano, big rampaging chords picked up from Oscar Peterson and Art Tatum, she sang with the stomach as well as heart and head.
她用钢琴为自己伴奏，弹奏从奥斯卡·皮特森和阿特·塔图姆身上学来的雄浑粗壮的和弦，她气发丹田，情真意切，颔首高歌。
As a child of ten she'd understood that, hiding her chronic shyness behind the instrument while she sang "Jesus be a Fence Around Me" with the voice of an angel, or a grown woman.
十岁时，她就深谙此道，将自己天生的害羞隐藏在乐器声中，和着天使或是成年女人的嗓音歌唱《耶稣是我周围的篱笆》。
That was the age she decided to be a singer, when she saw the great gospeller Clara Ward cast away her hat as she performed in church.
那时的她曾看过伟大的福音歌手克莱拉·沃德在教堂表演时扔出帽子，那一刻，她决定成为一名歌手。
One gesture settled it; she would do the same.
克拉拉·沃德用扔帽子的姿势结束演唱，她决定以后也这样做。
Some said her father, the nationally famous pastor of New Bethel Baptist Church in Detroit, forced her into it, but it wasn't so.
有些人说他的父亲，那位底特律新伯特利浸信会全国著名的牧师，强迫她这么做，但事实并非如此。
The musical world of the time, Smokey Robinson, Mahalia Jackson, Lionel Hampton, Marvin Gaye, blues and jazz as well as gospel, passed through their house.
那个时代的音乐界，史摩基·罗宾逊、马哈丽亚·杰克逊、莱昂内尔·汉普顿、马文·盖伊，布鲁斯、爵士乐和福音音乐都在他们的家中流传。
Music opened her out, drew her into some other place,
音乐打开了她通向世界的大门，吸引她去往远方。
and it was she, not her father, who went off to New York to seek record contracts and who told would-be producers, frankly, "I want hits."
她离开父亲，孤身一人独闯纽约，寻求唱片合同，并坦白地告诉她未来的制作人们，她想成名。
For a while she sang almost anything, but that didn't work.
有段时间她什么都唱，但那并没有让她成名。
She had to bear witness to what she had been through, including her mother leaving home when she was six, having babies by two different men before she was 15,
她独自承受了许多，母亲在她6岁时离家，15岁前因两个不同的男人怀孕两次，
and at 19 marrying a slick pimp from Detroit, later her manager, who beat her up.
19岁时和底特律一个花言巧语的拉皮条的男人结了婚，这个男人后来成为了她的经纪人，经常毒打她。
Pain and fame grew together.
名声伴痛苦日益增大。
The golden decade of hits, fostered by her move to Atlantic Records and Jerry Wexler in 1967, graced by her face on the cover of Time, was miserable at home.
1967年她和大西洋唱片公司以及制作人杰里·韦克斯勒签约，她的面孔出现在《时代》杂志封面上，这是她的黄金十年，也正是家庭凄惨的十年。
But soul music, as it always had, let her turn both suffering and sexual yearning into one freedom cry.
但灵魂音乐一如既往让她把痛苦和性渴望都变成一种自由之泣。
Between sacred and secular she moved to and fro without effort.
她穿梭于宗教音乐和世俗音乐之间，游刃有余。
Her biggest-selling album, "Amazing Grace" (1972) was recorded at a church service 14 years after her first album, "Songs of Faith", when her father was her manager.
她最畅销的专辑《奇异恩典》（1972）是在教堂礼拜仪式上录制的，距离第一张专辑《信念之歌》已有十四载，那时，她的经纪人还是她父亲。
On that record, her young voice scraped on the high notes.
《信念之歌》时期，年轻的她飙高音时还有些沙哑。
In the interim her rough life had taught her smooth soaring.
而到了《奇异恩典》时期，艰难的生活经历已然教会了她如何平稳地在高音里翱翔。
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
