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Those wide arms also showed how her whole body sang.
她張開寬廣的雙臂向人們展示了如何用整個身體歌唱。
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.
她用鋼琴為自己伴奏，彈奏從奧斯卡·皮特森和阿特·塔圖姆身上學來的雄渾粗壯的和弦，她氣發丹田，情真意切，頷首高歌。
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.
十歲時，她就深諳此道，將自己天生的害羞隱藏在樂器聲中，和著天使或是成年女人的嗓音歌唱《耶穌是我周圍的籬笆》。
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.
那時的她曾看過偉大的福音歌手克萊拉·沃德在教堂表演時扔出帽子，那一刻，她決定成為一名歌手。
One gesture settled it; she would do the same.
克拉拉·沃德用扔帽子的姿勢結束演唱，她決定以后也這樣做。
Some said her father, the nationally famous pastor of New Bethel Baptist Church in Detroit, forced her into it, but it wasn't so.
有些人說他的父親，那位底特律新伯特利浸信會全國著名的牧師，強迫她這么做，但事實并非如此。
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.
那個時代的音樂界，史摩基·羅賓遜、馬哈麗亞·杰克遜、萊昂內爾·漢普頓、馬文·蓋伊，布魯斯、爵士樂和福音音樂都在他們的家中流傳。
Music opened her out, drew her into some other place,
音樂打開了她通向世界的大門，吸引她去往遠方。
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."
她離開父親，孤身一人獨闖紐約，尋求唱片合同，并坦白地告訴她未來的制作人們，她想成名。
For a while she sang almost anything, but that didn't work.
有段時間她什么都唱，但那并沒有讓她成名。
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,
她獨自承受了許多，母親在她6歲時離家，15歲前因兩個不同的男人懷孕兩次，
and at 19 marrying a slick pimp from Detroit, later her manager, who beat her up.
19歲時和底特律一個花言巧語的拉皮條的男人結了婚，這個男人后來成為了她的經紀人，經常毒打她。
Pain and fame grew together.
名聲伴痛苦日益增大。
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·韋克斯勒簽約，她的面孔出現在《時代》雜志封面上，這是她的黃金十年，也正是家庭凄慘的十年。
But soul music, as it always had, let her turn both suffering and sexual yearning into one freedom cry.
但靈魂音樂一如既往讓她把痛苦和性渴望都變成一種自由之泣。
Between sacred and secular she moved to and fro without effort.
她穿梭于宗教音樂和世俗音樂之間，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.
她最暢銷的專輯《奇異恩典》（1972）是在教堂禮拜儀式上錄制的，距離第一張專輯《信念之歌》已有十四載，那時，她的經紀人還是她父親。
On that record, her young voice scraped on the high notes.
《信念之歌》時期，年輕的她飆高音時還有些沙啞。
In the interim her rough life had taught her smooth soaring.
而到了《奇異恩典》時期，艱難的生活經歷已然教會了她如何平穩地在高音里翱翔。
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