文学翻译常用练习文档

崇人之德，扬人之美，非谄谀也；正义直指，举人之过，非毁疵也。——《荀子·不苟》

In venerating the inner power in others or in celebrating their excellence, the gentleman does not engage in flattery or toady after others. In correcting and criticizing others in blunt terms and in pointing out their faults, he does not engage in backbiting or slander.

喻血轮·《老与少》英译

老年为少年之过来人，少年为老年之候补者，老与少，只不过时间上之差别而已。然中国习惯，对老少之间，往往划有无形界限。在客观上，有时重老而轻少，有时重少而轻老。在主观上，老者自恃其老，少年自矜其少。几千年来，遂形成老者自以为持重练达，而菲薄少年为少不更事；而少年自以为新锐精进，而輘轹老者为老朽昏庸。此真所谓偏颇两失之见也！

曩梁任公在其《少年中国》一文中，对老年人与少年人曾有一适当对比。其言曰：“老年人如夕照，少年人如朝阳；老年人如瘠牛，少年人如乳虎；老年人如僧，少年人如侠；老年人如字典，少年人如戏文；老年人如鸦片烟，少年人如白兰地酒；老年人如别行星之陨石，少年人如大海洋之珊瑚岛；老年人如埃及沙漠之金字塔，少年人如西伯利亚之铁路；老年人如秋后之柳，少年人如春间之草；老年人如死海之潴为泽，少年人如长江之初发源……”

观此，则知老年与少年，各有所长，各有其用，如能祛除成见，同为国家效力，则裨益民族，定非浅鲜。

Old Age and Young

The aged are the antecedents of the young, and the young are the candidates of the aged. The difference between age and youth is only a matter of time. But, according to the Chinese custom, there is always an invisible line of demarcation between them. Objectively speaking, sometimes the aged are held in esteem and the young are made light of; sometimes it is just the other way round. Subjectively speaking, the aged are self-conceited because of their good old age, while the young think no small beer of their own youth. For thousands of years it has been assumed that the aged, thinking themselves experienced and more skillful, look down upon the young for their greenness in worldly affairs, while the young, thinking themselves fresh in life and more energetic, call the aged old fogies. Either of these views, of course, is far from being impartial.

Liang Qi-chao in an article entitled ―Young China‖ made a proper contrast between the aged and the young. He said: ―The old man is like the setting sun; the young man, the morning sun. The old man is like a lean ox; the young man, a cub tiger. The old man is like a monk; the young man, a knight. The old man is like a dictionary; the young man, the text of a play. The old man is like opium; the young man, brandy. The old man is like a shooting star; the young man, a coral island. The old man is like the pyramid of Egypt; the young man, the Siberian railroad. The old man is like the willow after autumn; the young man, the grass in spring. The old man is like the dead sea that turns into a lake; the young man, the source of the Yangtze River.

From this, we know that the aged and the young both have their own merits and uses. If they will cast away their prejudices and work together for the country, their services to the people shall be immense.

冰夫·《苏州雨景》英译

摘要: 许志培译

一夜浪敲几回醒，

船已过盘门；

茉莉香；吴歌轻，

雨巷伞如菌。

新竹吐翠，

海棠艳红，

珠帘晃动彩流涌，

船在画屏中。

Scenes in the Rain in Suzhou Bing Fu Time and again, the whole night‘s waves woke me up.

The boat has passed the Panmen Gate.

The jasmine is sweet, the Wu songs are tender, And the umbrellas in the lanes are like mushrooms.

Fresh bamboos shoot new green,

And the Chinese flowering crabapples show their bright red.

Looking at the colorful rushing waves through the bead curtain,

You feel like the boat in a picture.

（许志培译）

余光中·《朋友四型》英译

摘要: 顾丹柯译

一个人命里不见得有太太或丈夫，但绝对不可能没有朋友。即使是荒岛上的鲁滨逊，也不免需要一个“礼拜五”。一个人不能选择父母，但是除了鲁滨逊之外，每个人都可以选择自己的朋友。照说选来的东西，应该符合自己的理想才对，但是事实又不尽然。你选别人，别人也选你。被选，是一种荣誉，但不一定是一件乐事。来按你门铃的人很多，岂能人人都令你“喜出望外”呢？大致说来，按铃的人可以分为下列四型：

第一型，高级而有趣。这种朋友理想是理想，只是可遇而不可求。世界上高级的人很多，有趣的人也很多，又高级又有趣的人却少之又少。高级的人使人尊敬，有趣的人使人欢喜，又高级又有趣的人，使人敬而不畏，亲而不狎，交接愈久，芬芳愈醇。譬如新鲜的水果，不但甘美可口，而且富于营养，可谓一举两得。朋友是自己的镜子。一个人有了这种朋友，自己的境界也低不到哪里去。先生杖履所至，几曾出现过低级而无趣的俗物？

第二型，高级而无趣。这种人大概就是古人所谓的诤友，甚至畏友了。这种朋友，有的知识丰富，有的人格高超，有的呢，“品学兼优”像一个模范生，可惜美中不足，都缺乏那么一点儿幽默感，活泼不起来。你总觉得，他身上有那么一个窍没有打通，因此无法豁然恍然，具备充分的现实感。跟他交谈，既不像打球那样，你来我往，此呼彼应，也不像滚雪球那样，把一个有趣的话题愈滚愈大，精力过人的一类，只管自己发球，不管你接不接得住。消极的一类则以逸待劳，难得接你一球两球。无论对手是积极或消极，总之该你捡球，你不捡球，这场球是别想打下去的。这种畏友的遗憾，在于趣味太窄，所以跟你的“接触面”广不起来。天下之大，他从城南到城北来找你的目的，只在讨论“死亡在法国现代小说中的特殊意义”，或是“爱斯基摩人对性生活的态度”。为这种畏友捡一晚上的球，疲劳是可以想见的。这样的友谊有点像吃药，太苦了一点。

第三型，低级而有趣。这种朋友极富娱乐价值，说笑话，他最黄；说故事，他最像；消息，他最灵通；关系，他最广阔；好去处，他都去过；坏主意，他都打过。世界上任何话题他都

接得下去，至于怎么接法，就不用你操心了。他的全部学问，就在不让外行人听出他没有学问。至于内行人，世界上有多少内行人呢？所以他的马脚在许多客厅和餐厅里跑来跑去，并不怎么露眼。这种人最会说话，餐桌上有了他，一定宾主尽欢，大家喝进去的美酒还不如听进去的美言那么“沁人心脾”。会议上有了他，再空洞的会议也会显得主题正确，内容充沛，没有白开。如果说，第二型的朋友拥有世界上全部的学问，独缺常识，这一型的朋友则恰恰相反，拥有世界上全部的常识，独缺学问。照说低级的人而有趣味，岂非低级趣味，你竟能与他同乐，岂非也有低级趣味之嫌？不过人性是广阔的，谁能保证自己毫无此种不良的成分呢？如果要你做鲁滨逊，你会选第三型还是第二型的朋友做“礼拜五”呢？

第四型，低级而无趣。这种朋友，跟第一型的朋友一样少，或然率相当之低。这种人当然自有一套价值标准，非但不会承认自己低级而无趣。恐怕还自以为又高级又有趣呢？然则，余不欲与之同乐矣。

Friends: The Four Categories

A person may have no wife or husband in their lifetime, but it is absolutely impossible to have no friends. Even Robinson Crusoe on a desolate island was badly in need of a ―Friday‖. One cannot choose his or her parents, but except for Robinson, everybody can have the freedom to choose friends. It is true that one‘s choices should be to one‘s liking, but it‘s not always the case. You pick and choose, and at the same time, are picked and chosen by others. Being chosen is an honor, but is may not be a pleasure. There are many who come to press your doorbell, but how many of them can make ―go into raptures?‖ generally speaking, doorbell pressers fall into the following four categories.

The first category: refined and humorous. Friends of this category are ideal, but they can only be chanced upon rather than be sought after. There are as numerous refined people as there are humorous ones, but how many can you find who are refined as well as humorous? Refined people are respectable, humorous people are loveable, and people who are both refined and humorous are respectable but not awesome, intimate but not improperly familiar. The longer you are with them, the closer you will be, just as the fresh fruit you eat, which is not only delicious but also nutritious: it kills two birds with one stone. Friends are a mirror of one‘s own self. If one has a friend of this kind, his or her own taste will not be low. How many vulgar and humorless people have you found wherever Su Dongpo, a great genius of the Song Dynasty, went?

The second category: refined but humorless. These people are virtually zhengyou (friends who will give forthright admonition) or even weiyou (friends with stern moral integrity), as defined by people of olden times. Of these friends, some are with profound knowledge, some with noble character, and still some with ―both character and knowledge‖ like a good model student. The pity is that these people have little sense of humor, seldom lively. You are always feeling that there is something missing in him or her, so it is impossible for you feel that something suddenly dawns on him or her, or to have the necessary sense of reality. Your chat with that person is not like

playing basketball with the ball coming and going frequently between the players; neither is it like snowballing, getting the ball larger with each rolling. People who are extremely active only care about their serving of the ball, without considering whether you could get it or not. But the passive people are just the opposite, as they would be idle instead of being hardworking, and they seldom catch your ball. Whether they are active or passive, it is you who should always pick up the ball, and if you don‘t pick the ball up, the match will be very unlikely to go on. The pity of these friends with stern moral integrity is that their scope of interest is too narrow, and therefore, you cannot have a ―wider contact‖ with them. The world is so big, but the sole purpose of his coming to you from one end of the city to the other is to discuss ―the special significance of death in modern French novels‖, or ―the attitude of the Eskimos towards sexual life‖. You can imagine how tiresome it is to pick up the ball the whole night for these friends. And friendship of this kind is something like taking medicine, which is a bit too bitter.

The third category: vulgar but humorous. Friends of this type are highly amusing. When joking, they will offer you the most obscene; when telling stories, theirs will be the most vivid; when talking about rumors, they are the best-informed; when socializing, they are the most popular; they have been to all good places and they have nurtured all evil thoughts. There is no topic that they cannot say something about, but how they manage to do this is none of your business. Their learning lies in the way that no laymen will find that they are not knowledgeable. As to those who are

adept …, but how many adept people have seen in this world? That is why they can be active in the living room and the restaurant without letting the cat out of the bag. These people have glib tongue, and if dining with others, both the host and the guests will be happy. What goes into the ear is much better than what goes into the mouth. If they were in a meeting, a least meaningful meeting would seem to be the most significant, full of content and instructive. If the second category of people possess all the learning in the world but common sense, people of this category are just the other way round: they possess all the common sense of the world but no true learning. In the ordinary course of events, if vulgar people are humorous, their humor would be vulgar, so how can you share pleasure with them? Or are you yourself vulgarly humorous? No. Human nature is heterogeneous. Who can pledge that you yourself are completely void of this unhealthy element? If you wanted to be Robinson, which

―Friday‖ would you like to choose, from the third category or from the second?

The fourth category: vulgar and humorless. Friends of this type are as few as those of the first type, and the chances of meeting them are slim. These people certainly have a set of principles of valuing things. Most likely they will not admit that they are vulgar and humorless, instead they will think that they are refined and humorous. However, they are not the type of people that I will share pleasure with.

A Feeling of Eternity 汉译摘要: 钱歌川译

No young man believes he shall ever die. There is a feeling of Eternity in youth, which makes us amends for everything. To be young is to be one of the Immortal Gods. One half of time indeed is

flown--the other half remains in store for us with all its countless treasures; for there is no line drawn, and we see no limit to our hopes and wishes. We make the coming age our own. ―The vast, the unbounded prospect lies before us.‖ We look round in a new world, full of life, and motion, and ceaseless progress; and feel in ourselves all the vigour and spirit to keep pace with it, and do not foresee from any present symptoms how we shall be left behind in the natural course of things,

decline into old age, and drop into the grave.

没有一个年轻人相信他是要死的。在青春时有一种永恒的感觉，使人获得了一切的补偿。年轻人快乐似神仙。虽则半生一晃就过去了，还有下半生带着无限的宝藏，仍然给他储备着，因为前程远大，希望无穷。这个新的时代是属于年轻人的。一个广大无边的前景展开在他前面。他环顾周遭这个新的世界，充满着生命、活跃和不断的进步，他自身也感到元气旺盛，精神焕发，要来和它并驾齐驱。没有任何征候会使他预感到有朝一日，自己行将落伍，沦入老境，而终于要掉进墓穴中去的。

Aldous Huxley - On D. H. Lawrence 汉译

摘要: 钱歌川译

One of the great charms of Lawrence as a companion was that he could never be bored and so never be boring. He was able to absorb himself completely in which he was doing at the moment; and he regarded no task as too humble for him to undertake, nor so trivial that it was not worth his while to do it well. He could cook, he could sew, he could darn a stocking and milk a cow, he was an efficient woodcutter and a good hand at embroidery, fires always burned when he had laid them and a floor, after Lawrence had scrubbed it, was thoroughly clean. Moreover, he possessed what is, for a highly strung and highly intelligent man, an even more remarkable accomplishment: he knew how to do nothing. He could just sit and be perfectly content. And his contentment, while one remained in his company, was infectious.

跟劳伦斯做朋友所感到的他的一种很可爱的地方就是他从不讨厌人，因之，他也从不讨人厌。他在做着一件事的时候，总是专心致志的，没有什么事儿他会觉得太卑屈而不屑于去做的，也没有一件小事儿他认为不值得他好好去做的。他能蒸煮煎炸，他能缝纫衣裤，他能织补袜子，还能挤榨牛奶。他是一个能干的砍柴工，又是一个刺绣的好手。他生的火总是燃烧得旺旺的。他洗擦过的地板，干净得一尘不染。此外，他还具有一种更加非凡的才能，尤其因为他还非常敏感，又善解人意：那就是他知道无所为而为，他可以单只坐着而能心满意足。他这种满足，我们跟他一块儿坐着的话，也可以传染到的。

Muriel Spark - The Girls of Slender Means (Excerpt) 汉译

摘要: 钱歌川译

The gong was about to sound quite soon. Anne kicked her cigarette-stub into a dark corner. Greggie called over her shoulder, ―A nne, here comes your boy-friend.‖ ―On time, for once,‖ said Anne, with the same pretence of scorn that she had adopted when referring to her brother Geoffrey: ―Geoffrey would be the last person I would consult.‖ She moved, with her casual hips, towards the door. A squarebuilt high-colred young man in the uniform of an English captain came smiling in. Anne stood regarding him as if he was the last person in the world she would consult. ―Good evening,‖ he said to Greggie as a well-brought-up man would naturally in the doorway. He made a vague nasal noise of recognition to Anne, which if properly pronounced would have been ―Hallo‖. She said nothing at all by way of greeting. They were nearly engaged to be married. ―Like to come in and see the drawing room wallp aper?‖ Anne said then. ―No, let‘s get cracking.‖ Anne went to get her coat off the banister where she had slung it. He was saying to Greggie, ―Lovely evening,

isn‘t it?‖ Anne returned with her coat slung over her shoulder. ―Bye, Greggie,‖ she said. ―Goodbye,‖ said the soldier. Anne took his arm. ―Have a nice time,‖ Greggie said. The dinner-gone sounded and there was a scuffle of feet departing from the notice-board and a scamper of feet from the floors above.

吃饭的铃子很快就要响了。安把她吸剩的香烟头，使劲地仍在那暗角上去。格雷琪回过头来叫道：“安，你的男朋友来了。”“这次总算是准时来的，”安说，带着假装的轻蔑，正好像她提到她哥哥时所表示的一样：“我是决不会去找乔匆莱商量的。”她移动了，照常无意识地扭着屁股，向门口走去。一个穿着英国陆军上尉的制服，身体结实，活力充沛的青年，含笑走进来了。安站在那儿把他看做是这世界上她绝不会去找他商量的人似的。“您晚上好。”他对格雷琪说，凡是一个有教养的人，一进门来，见到年长的人自然这样说的。他发出含糊的鼻音来对安招呼了一下，如果要用正规的发言来说时，那便是“哈罗”了。作为应酬的话，她什么也没有说，他们快要订婚了。“你高兴进来看看客厅里的糊壁纸么？”安于是这样说。“不必啦，我们还是马上就走吧。”安走去栏杆边取她的上衣，她早些时候把它掷在那上面的。那军人对格雷琪说：“真是一个可爱的夜晚呀。”安转来了，把她的上衣挂在肩上。“格雷琪，回头见。”她说。“再会。”那军人说，安挽着他的手走了。“希望你们玩的痛快。”格雷琪说。吃饭的铃子终于响了，只听见离开公告牌一阵混乱的脚步声，和从上面楼板上发出的疾走的足音。

冯骥才·《春运是一种文化现象》英译

摘要: 孟庆升、刘士聪译

如今，报知春节迫近的已经不再是腊八粥的香味，而是媒体上充满压力的热火朝天的春运了。每入腊月，春运有如飓风来临，很快就势头变猛，愈演愈烈；及至腊月底那几天，春运可谓排山倒海，不可阻遏。每每此时我都会想，世界上哪个国家有这种一年一度上亿人风风火火赶着回家过年的景象？

我们一直把春运当做一种客运交通的非常时期，并认为这是中国社会发展到现阶段千千万万农民进城打工带来的特殊的交通狂潮，春运的任务只是想方设法完成这种举世罕见的客运重负。可是，如果换一双文化的眼睛，就会发现，春运真正所做的是把千千万万在外工作的人千里迢迢送回他们各自的家乡，去完成中国人数千年来的人间梦想：团圆。

前些年在火车站碰到的一个情景使我至今难忘。大约是农历腊月二十九吧，一个又矮又瘦的中年男子赶火车回家。火车马上要开，车门已经关上。这男子急了，大概他怕大年夜赶不回去，就爬车窗。按常规，月台上的值勤人员怕他出事，一定要拉他下来，车上的人一准也要把他往外推。但此刻忽然反过来，车上的人一起往窗里拉他，月台上值勤人员则用力把他推进车窗。那一刻，车上车下的人连同那中年男子都开心地笑，列车就载着这些笑脸轰隆隆开走了。为什么？因为人们有着共同的情怀——回家过年。

为此，每每望着春运期间人满为患的机场、车站和排成长龙的购票队伍，我都会为年文化在中国人身上这种刻骨铭心而感动。春运的人潮所洋溢的不正是年文化的精神核心——合家团聚吗？还有哪一种文化能够一年一度调动起如此动情的千军万马？能够凸显故乡和家庭如此强大的亲和力？

春运是超大规模的农民进城打工带来的，没错。但它又是近二十年出现的最独特的一种文化现象。因为民间文化是生活文化，它往往从生活的形态而非从纯文化的形态中表现出来，所

以我们不会一下子认识到春运的文化内涵。

由此，我想到前些年每逢春节都会出现的一个话题，就是年的淡化。淡化的原因有二，一是生活方式的骤变，致使数千年里超稳定的生活中形成的严谨的年文化松解了，而一时又难以构成新的年文化体系，淡化的现象必然出现；二是由于我们对年文化的无知，把传统习俗视为陈规旧习，认为可有可无，主动放弃，如燃放烟花炮竹和祭祖等等；甚至提倡休闲度假，或把春节变成西方的嘉年华。失去了民俗的节日自然变得稀松平常。特别是有些民俗深刻嵌在人们的记忆里，一旦扔掉，无以填补。应该说，这种主动地去瓦解自己的文化才是最致命的。记得十多年前看过一篇文章说，未来的春节将成为五花八门的多元节日之一，并预言它将不再是主角。

可是就在这时，春运形成了。五星级酒店里、歌舞厅和酒吧里、高尔夫球场上可以不要春节，但人们心中“年的情结”依然执着，而且每逢春节就必然吐蕊开花——回家过年，亲人相聚，脱旧穿新，祈安道福，以心亲吻乡土里的根。由于那时没有看到春运人潮中的文化心理与文化需求，也就想不到在社会转型时期怎样去保护传统，想不到在传统的年俗出现松解时应该做些什么。现在明白了，年在人们心里并没有淡化，淡化的只是传统的方式与形态。

Spring Transport Is A Cultural Phenomenon

Today, the advent of Spring Festival is no longer heralded by the aroma of laba porridge1, but by the hustle and bustle of Spring transport, or ―Spring travel‖ from the passengers‘ point of view, that gets thickly covered in the media. When the year enters its twelfth lunar month, ―Spring transport‖ gets under way like a hurricane, gathering momentum each day. Toward the end of the month, it sweeps all over the country with an overwhelming force. When this happens, I cannot help wondering if there is such a thing in any other country that, once a year, millions upon millions of people rush home for their New Year.

We look at ―Spring transport‖ as a special period of passenger transport, and think of it as a crazy traffic torrent resulting from the movement of hundreds of thousands of rural people into the cities for employment, a phenomenon of China, characteristic of its development at current stage. The object of ―Spring transport‖ is, by resorting to all kinds of resources available, to fulfill the unparalleled heavy task of taking the passengers to their destinations. However, if we perceive it as a cultural phenomenon, we will see that what ―Spring transport‖ does is to take the people working elsewhere back home for family reunion, a highly cherished dream of the Chinese people over history.

I still remember an incident I witnessed at a railway station a few years ago. It was probably the day before the Eve of the Lunar New Year. A short, thin

middle-aged man was hurrying to catch a train home. As it was about to leave, all its doors closed, the man became so desperate that he began to climb in at a window, fearing that if he missed it, he would not be able to get home in time for the New Year‘s Eve. Usually, the platform workers on duty will pull him back for his safety, and the passengers in the car will push him out. But what happened was the reverse. The passengers inside began to drag him in, while the platform workers helped to push him in from outside. The small adventure evoked hearty laughs in and out of the

car, including the adventurer himself. The train rumbled off, the car carrying a crowd of passengers with broad smiles on their faces. Why? It is the common sentimental desire—to go home for the Festival.

So, when I find myself in an overcrowded airport or a railway station with long queues scrambling for tickets, I am simply moved by the festival culture deeply engraved in the minds of the people. Isn‘t the enthusiasm exhibited by the eddying crowds the core of the festive culture—family reunion? Is there any other culture that can set so many people on the move around the country once a year who demonstrated so strong a sense of affinity with their hometowns and families?

―Spring transport‖ is brought about by the people from the country for employment in the cities. There is no doubt about it. But it is also a unique cultural phenomenon that has emerged in the past two decades. As folk culture reflects people‘s lives and is represented in the form of everyday life rather than of pure culture, we are not aware of its cultural connotations right away.

This reminds me of a topic coming up during Spring Festival in the past few years: the festive atmosphere of the Lunar New Year is thinning out. I think there are two possible causes for it. One is the change of life style, so fast that the

well-fabricated festival culture, established on the basis of the super-stable life over the past several thousand years, is relaxing, and it is difficult to reconstruct a new one in a short time. The other is that, due to our misconceptions about the festival culture, we look at traditional customs as outmoded practices and cast them aside of our own accord, such as celebrations with fireworks and firecrackers, and sacrifices to ancestors, etc. Some people even advocate celebrating it as a leisure break, or simply transforming it into a western carnival. A festival without folk customs would naturally become prosaic, especially the ones embedded in people‘s memory. Once they are cast aside, you cannot find substitutes for them. I should like to say that the breaking up of our culture by our won hand is most fatal. I remember an article I read about a decade ago, which predicted that the Spring Festival would become one of the multifarious festivals, and it would cease to be the annual principal one in China.

Just at this time, however, ―Spring transport‖ came about. You can do without Spring Festival in five-star hotels, dance halls or bars, or on golf courses, but in the hearts of the people the festival complex still holds fast. When the Lunar New Year comes, the festival complex will be budding and blooming. People will go home to celebrate it and reunite with their families. They will wear new clothes, pray for a peaceful happy life and kiss the earth of their hometown. Because we did not understand their cultural psychology and failed to meet their cultural needs, we had no idea how to preserve traditions when society was undergoing transformation and what to do when some traditional festival customs were thinning out. Now we understand that, in the hearts of the people, the Spring Festival is not thinning out; what is thinning out is the declining old ways and forms of celebrations.

1. laba porridge: a rice porridge with nuts and dried fruits, served on the eighth day of the twelfth lunar month.

（孟庆升、刘士聪译）

梅绍静·《绿》英译摘要: Julia C. Lin 译

在这贫瘠的土地上，

象火焰照亮了黑夜，

绿色也把白天照亮。什么时候让绿色

永远盖住这儿的黄土？

啊，在那地黄、天也黄的日子里我曾想：有一个

奇异的绿色的太阳

The Greens Mei Shaojing

On this poor, bony land

As fire flares in the black night,

The greens also flare up the day. When will the greens

Forever sheathe this yellow earth?

Ah, in those days when even the sky was yellow,

I‘ve fancied

A fabulous green sun

梅绍静·《三片叶子》英译

摘要: Julia C. Lin 译

三片嫩叶像三只绿色的小鸟儿，骄傲地站在树桩上。

树桩只发出这一条绿茎，

绿茎上只有这三只小鸟。可爱的小东西啊

它们还要为砍断的树桩歌唱。

即使只有这三片绿叶也要向世界呼喊，让人们永远憧憬那被剥夺的满树春光。

Three Leaves Mei Shaojing Three snips of tender leaves like three green birds

Proudly stand on the tree trunk.

The trunk sends forth only one green twig, Where three birds perch.

What lovable little creatures they are! They‘re still singing for this felled tree.

Though only three small leaves, they still shout to the world,

Reminding people of the tree‘s full glory of spring now ravished.

（Julia C. Lin 译）

郭永秀·《满天星》英译

摘要: 傅军译

我在一束多情的灯光下

发现了你，绿色的海

海中熠熠的珍珠

在暗示些甚么？

姹紫嫣红的喧闹中

你谦虚的本性，不善逢迎

最多躲在背后为他人千娇百媚的姿彩增添一点深度

玫瑰常因等待垂下了头你却默默地为她的

短命，淌着白色的泪甚么时候，你的暗示可以唤醒善忘的人类在灯红酒绿之后

推窗仰望，寻找

一片正在迅速消失的天空

A Skyful of Stars Quek Yongsiu

Under a beam of amorous light

I find you, green sea

What does they imply

The bright shining pearls in the sea?

In the vehemence of flowers of all colors Your nature of humbleness, not subject to flattery

Most often hide in the back

To add certain depth

To the charming color of others Rose often droops its head for waiting

But you drip white tears in silence

For its short life

When can your hint

Arouse the forgetful human kind

After enjoying red light and green wine

To push the window open and look up, searching for

The sky

On the way to rapid disappearing

.周作人·《北京的茶食》英译

摘要: Martin Woesler 译

在东安市场的旧书摊上买到一本日本文章家五十岚力的《我的书翰》，中间说起东京的茶食店的点心都不好吃了，只有几家如上野山下的空也，还做得好点心，吃起来馅和糖及果实浑然融合，在舌头上分不出各自的味来。想起德川时代江户的二百五十年的繁华，当然有这一种享乐的流风余韵留传到今日，虽然比起京都来自然有点不及。北京建都已有五百余年之久，论理于衣食住方面应有多少精微的造就，但实际似乎并不如此，郎以茶食而论，就不曾知道什么特殊的有滋味的东西。固然我们对于北京情形不甚熟悉，只是随便撞进一家悸悸铺里去买一点来吃，但是就撞过的经验来说，总没有很好吃的点心买到过。难道北京竟是没有好的茶食，还是有而我们不知道呢？这也未必全是为贪口腹之欲，总觉得住在古老的京城里吃不到包含历史的精炼的或颓废的点心是一个很大的缺陷。北京的朋友们，能够告诉我两三家做得上好点心的饽饽铺么？

我对于二十世纪的中国货色，有点不大喜欢，粗恶的模仿品，美其名曰国货，要卖得比外国货更贵些。新房子里卖的东西，便不免都有点怀疑，虽然这样说好像遗老的口吻，但总之关于风流享乐的事我是颇迷信传统的。我在西四牌楼以南走过，望着异馥斋的丈许高的独木招牌，不禁神往，因为这不但表示他是义和团以前的老店，那模糊阴暗的字迹又引起我一种焚香静坐的安闲而丰腴的生活的幻想。我不曾焚过什么香，却对于这件事很有趣味，然而终于不敢进香店去，因为怕他们在香盒上已放着花露水与日光皂了。我们于日用必需的东西以外，必须还有一点无用的游戏与享乐，生活才觉得有意思。我们看夕阳，看秋河，看花，听雨，闻香，喝不求解渴的酒，吃不求饱的点心，都是生活上必要的--虽然是无用的装点，而且是愈精炼愈好。可怜现在的中国生活，却是极端地干燥粗鄙，别的不说，我在北京彷惶了十年，终未曾吃到好点心。

The Tea Pastries of Peking

From a secondhand book stall in the Dongan Market, I bought a copy of My Books and Writings written by the Japanese writer Igarashi. In it, Igarashi suggested that tea pastries served in the in the pastry shops of Tokyo were no longer very good, with a few notable exceptions such as those found in shops at the foot of Ueno Mountain. There, one could still find such fine delicacies where filling, sugar and nuts blend on the tongue in a unified splendor. It is no wonder that, after the two hundred and fifty

years of Edo‘s flourishing, during the Kamakura period, there still lingers an aroma of its luscious past, even if it may not measure up to Kyoto. One would expect that Peking, the capital for more than five hundred years, would itself have much to offer by way of achievements in style, taste and accommodations. The reality, however, is seemingly different, a view inspired by tasting the city‘s tea pastries. To this day I have yet to taste any pastries worthy of merit. Admittedly, we are not all that familiar with Peking, but whenever I‘ve happened to enter a pastry shop for a bite to eat, I have not once managed to buy anything I would consider tasting good. Is it possible that Peking has no delicious pastries to off er, or is it that we just don‘t know where they are? My attention to this is not merely a function of my discerning taste; I just feel a great sense of regret if I cannot enjoy a pastry which embodies some historical character—refined or decadent—in this ancient capital. So, my Peking friends, could you direct me to a shop that serves really palatable pastries?

I bear a bit of dislike for so-called twentieth-century Chinese stuff; the goods are labeled soundingly ―Make in China‖ but are actually vulgar imit ations more expensive than those from abroad. As for the things being sold in these new-fashioned stores, I cannot help but be a bit leery. Though I may sound old-fashioned, it may seem that I am reacting against wickered tendencies. I must admit that I do have a kind of blind faith in tradition. When walking south of the Xisi triumphal arche, looking up and seeing the wooden, three feet long sign of the Yifu Bakery, I am irresistibly charmed. Not only does the sign mark the shop as predating the Boxer Rebellion, the dimly carved words on the sign also convey a kind of quiet gloom reminiscent of a life of leisure and plenty, of meditation amidst a haze of burning incense. Although I have never done it, I would be interested in burning incense, though I would never dare enter an incense store nowadays for fear that they put bottles of toilet water and bars of soap on their incense boxes. In addition to the daily necessities, I also need a bit of play and pleasure beyond utility. Only with these would life be more fun. I watch the setting sun, the autumn river, the flowers; I listen to the raindrops and smell their fragrance. I drink not for thirst alone but for pleasure, and eat pastries for satisfaction and not mere hunger. All of these are indispensable to li fe though to some they are just some ―useless‖ decorations. The fancier the better if one were to ask me. It is a pity that life in today‘s China has become so extremely dull and vulgar. I won‘t get into it more than to say that in ten years of wandering a round Peking, I have yet to find satisfaction with any delicious pastries.

周作人·《美文》英译

摘要: Martin Woesler 译

外国文学里有一种所谓论文，其中大约可以分作两类。一批评的，是学术性的。二记述的，是艺术性的，又称作美文。这里边又可以分出叙事与抒情，但也很多两者夹杂的。这种美文似乎在英语国民里最为发达，如中国所熟知的爱迭生，阑姆，欧文，霍桑诸人都做有很好的美文，近时高尔斯威西，吉欣，契斯透顿也是美文的好手。读好的论文，如读散文诗，因为他实在是诗与散文中间的桥。中国古文里的序，记与说等，也可以说是美文的一类。但在现代的国语文学里，还不曾见有这类文章，治新文学的人为什么不去试试呢？我以为文章的外形与内容，的确有点关系，有许多思想，既不能作为小说，又不适于做诗，（此只就体裁上

说，若论性质则美文也是小说，小说也就是诗，《新青年》上库普林作的《晚间的来客》，可为一例，）便可以用论文式去表他。他的条件，同一切文学作品一样，只是真实简明便好。

我们可以看了外国的模范做去，但是须用自己的文句与思想，不可去模仿他们。《晨报》上的浪漫谈，以前有几篇倒有点相近，但是后来（恕我直说）落了窠臼，用上多少自然现象的字面，衰弱的感伤的口气，不大有生命了。我希望大家卷土重来，给新文学开辟出一块新的土地来，岂不好么？

The Aesthetic Essay

In foreign literature there is the so-called lunwen (treatises), which is roughly divided into two groups: the reflecting ones, piping (critical), are scientific articles. The others are jishu (descriptive) and yishuxing (artistic), they are also called meiwen (aesthetic essay). Within these texts, one can distinguish between xushi (narrative) and shuqing (lyric). But there are also many mixed texts. It seems to me, that in the field of the aesthetic essay, English literature has achieved the greatest success. For example, Joseph Addison, Charles Lamb, Robert Owen, and Nathaniel Hawthorne are all well known for their aesthetic essays. In addition, the younger generation including John Gabsworthy, George Robert Gissing, and Gilbert Keith Chesterton is elegant in writing aesthetic essays.

Reading a good treatise is just as enjoyable as reading a sanwenshi (prose-poem), because the latter accurately acts as a bridge between poetry and prose. In the three genres of pre-modern literature xu (foreword), ji (record), and shuo (explanations) one can also see forms of the aesthetic essay. But in modern literature so far aesthetical wenzhang (essay) have yet to appear. Why don‘t the people that shape the New Literature try to write it? In my opinion, there is a relationship between an essay‘s form and its content. Many ideas, that cannot be expressed in either a poem or story, can still be expressed in a treatise. Here, the word ―treatise‖ refers to its literary form. Because of its essence, the aesthetic essay belongs to the story, and the story is nothing else but a poem. An example for this is ―The guest in the evening‖ by Alexander Kiprin, which appeared in the New Youth. As in other works of literature, truth, simplicity and clarity are the prerequisites. We can imitate the foreign form of aesthetic essays, but we can never copy them, because we have to express our own thoughts in our own sentences. Articles similar to these were published in the rubric ―On romanticism‖ of the Morning Post some time ago. But later (please excuse my openness) they returned to the restrictions of the old norms again. However natural they might have appeared upon a first glance, they did not show any strong vitality with their weakened, sad and sentimental styles. I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn‘t that be wonderful?

J. D. Salinger - The Catcher in the Rye (Excerpt) 汉译

摘要: 钱歌川译

It was too late to call up for a cab or anything, so I walked the whole way to the station. It wasn‘t too far, but it was cold as hell, and the snow made it hard for walking, and my Gladstones kept banging hell out of my legs. I sort of enjoyed the air and all, though. The only trouble was, the cold made my nose hurt, and right under my upper lip, where old Stradlater‘d laid one on me. He‘d smacked my lip right on my teeth, and it was pretty sore. My ears were nice and war m, though. That hat I bought had earlaps in it, and I put them on—I didn‘t give a damn how I looked. Nobody was around anyway. Everybody was in the sack.

Usually I like riding on trains, especially at night, with the lights on and the windows so black, and one of those guys coming up the aisle selling coffee and sandwiches and magazines. I usually buy a ham sandwich and about four magazines. If I‘m on a train at night, I can usually even read one of those dumb stories in a magazine without puking. You know. One of those stories with a lot of phony, lean-jawed guys named David in it, and a lot of phony girls named Linda or Marcia that are always lighting all the goddam Davids‘ pipes for them.

那时已经太晚不能打电话去叫出租汽车什么的了，所以我便一直走路到火车站去。那并不太远，不过却冷得要命，飞雪使步行增加困难，我手上所提的旅行皮箱老是在我腿上碰来碰去。可是我对于那空气等等倒是相当喜欢的。唯一的困难就是我的鼻子冷得发痛，还有正在我上嘴唇下面的部分也痛，因为老史重重的在那里打了我一下。他掴了我牙齿外面的嘴唇，那里痛的很。我的耳朵却很温暖，因为我买的那顶帽子是有耳罩的，我把那两个耳罩戴上了，——至于我变成一个什么怪相我一点也不管。好在附近也没有一个人。所有的人都睡到床上去了。

通常我是喜欢坐火车的，尤其是在夜里，电灯照着，窗外一片漆黑，还有那小贩来到通路上卖着咖啡，三明治，还有杂志。我总是要买一个火腿三明治，和差不多四种杂志。如果我是在夜间坐车，我通常都能读完一篇这种杂志上的低级故事而不作呕的。你知道的，这样的故事，有一篇其中出现不少名叫大卫的尖下巴的骗子，还有一些名叫苓达或玛琪的女骗子，她们老是要去替那些混账东西的大卫们点燃他们的烟斗。

Truman Capote - Breakfast at Tiffany’s (Excerpt 2) 汉译

摘要: 钱歌川译

I am always drawn back to places where I have lived, the houses and their neighborhoods. For instance, there is a brownstone in the East Seventies where, during the early years of the war, I had my first New York apartment. It was one room crowded with attic furniture, a sofa and fat chairs upholstered in that itchy, particular red velvet that one associates with hot days on a tram. The walls were stucco, and a color rather like tobacco-spit. Everywhere, in the bathroom too, there were prints of Roman ruins freckled brown with age. The single window looked out on a fire escape. Even so, my spirits heightened whenever I felt in my pocket the key to this apartment; with all its gloom, it still was a place of my own, the first, and my books were there, and jars of pencils to sharpen, everything I needed, so I felt, to become the writer I wanted to be.

It never occurred to me in those days to write about Holly Golightly, and probably it would not now except for a conversation I had with Joe Bell that set the whole memory of her in motion again.

Holly Golightly had been a tenant in the old brownstone; she‘d occupied the apartment below mine. As for Joe Bell, he ran a bar around the corner on Lexington Avenue; he still does. Both Holly and I used to go there six, seven times a day, not for a drink, not always, but to make telephone calls: during the war a private telephone was hard to come by. Moreover, Joe Bell was good about taking messages, which in Holly‘s case was no small favor, for she had a tremendous many.

我老是要回想到我曾经住过的地方，那些屋子和临近一带。例如，在东七十街地区内的一幢用红褐色沙岩造的房子，在战争的初期，我第一次在纽约租下那公寓来住。那是一间房，里面塞满了简单的家具，一张沙发和一些臃肿的椅子，椅套是用令人发痒的特别红的天鹅绒做的，使人联想到暑天坐火车的味道。墙壁上是涂的灰泥，那颜色就像烟草的汁。屋子内到处，连浴室都不例外，挂着罗马废墟的版画，因年深月久都生出褐色的斑点来了。唯一的窗口是向一个太平梯子开着的。甚至如此，每次当我把手插进口袋去摸出我这公寓的开门钥匙时，

我都感到非常高兴。哪怕是幽暗阴森，这总是我自己的家，第一，我的书都在这里，还有一筒子待削的铅笔，所以我觉得如我所指望的做一个作家，我所需要的一切，这儿都有了。在那些日子里，我从来没有想到要点关于哈利·歌莱特里的事，大概我现在也不会想到要写的，如果不是和乔·白尔一席话，使我重又勾起了对她的记忆的话。

哈利·歌莱特里也是那幢红褐色沙岩建造的公寓中的房客。她就住在我底下一层楼。至于谈到乔·白尔，他是在雷新顿大道的转角上开一家酒吧的，那店子现在还在。哈利和我两个人一天要到他那儿去上六七次，不是去喝酒，并不一定是去喝酒，而是去打电话。在战时私人是很难获得电话的呀。加之，乔·白尔很好，他不惮烦地替我们接电话，在哈利的场合十分可感，因为她的电话多得可怕呢。

Truman Capote - Breakfast at Tiffany’s (Excerpt 1) 汉译

That Monday in October, 1943. A beautiful day with the buoyancy of a bird. To start, we had Manhattans at Joe Bell‘s. Later, we wandered toward Fi fth Avenue, where there was a parade. We ate lunch at the cafeteria in the park. Afterwards, avoiding the zoo (Holly said she couldn‘t bear to see anything in a cage), we giggled, ran, sang along the paths toward the old wooden boathouse, now gone. Leaves floated on the lake; on the shore, a park-man was fanning a bonfire of them……

Passing a Woolworth‘s, she gripped my arm: ―Let‘s steal something,‖ she said, pulling me into the store, where at once there seemed a pressure of eyes, as though we were already under suspicion. ―Come on. Don‘t be chicken.‖ She scouted a counter piled with paper pumpkins and Halloween masks. The saleslady was occupied with a group of nuns who were trying on masks. Holly picked up a mask and slipped it over her face; she chose another and put it on mine; then she took my hand and we walked away. It was as simple as that. Outside, we ran a few blocks, I think to make it more dramatic; but also because, as I‘d discovered, successful theft exhilarates. I wondered if she‘d often stolen.―I used to,‖ she said. ―I mean I had to. If I wanted anything. But I still do it every now and then, sort of to keep my hand in.‖

一九四三年十月的那个礼拜一，是小鸟飞舞，风光明媚的一天。一开头我们就在乔·白尔的酒吧里，喝了曼哈顿鸡尾酒。随后，我们在第五街一带闲荡着，那儿正有人在列队游行。我们走到中央公园里的自助餐厅去吃了一顿午餐。后来，为避免动物园（哈利说她不能忍受看到任何东西被关在笼子里），我们格格地笑，又跑又唱，沿着小路，走向那现已不存在的古老的木造船库去。落叶漂满一湖；在湖畔有一个园丁正在焚烧落叶……

走过一家伍尔渥斯的百货商店，她紧抓住我的手臂：“我们去偷点什么吧。”她说着，就把我拉进那商店去了。一走进去我马上就感觉到总目睽睽好像都在监视着我们，俨然我们已经受到嫌疑了。“来呀。不要这样胆怯。”她侦察了一个堆满了纸做的南瓜和万圣节前夕用的假面具的柜台。那女店员正在忙于招待一群在试戴着假面具的尼姑顾主。哈利选了一个面具戴在面上；她又另外选了一个给我戴上；于是她牵了我的手，我们便走出来那商店来了。那就是这样简单的呀。出了店门一走上街，我们一气跑了几条街，我认为这样可以使之更带戏剧性呢。可是，如我后来所发现的，也是为着盗窃的成功而特别高兴吧。我问她是不是常偷东西。她回答说：“我以前是常偷的，是迫不得已，非偷不可呀。当我想要点什么时候。但是，现在我还是时常要这样来一下，为保持熟练起见。”

William Styron - Lie Down in Darkness (Excerpt) 汉译

摘要: 钱歌川译

I was naked, clean if sweating, just as I had come. Something seems to hurry me through space. I heard that thunder again, on the remotest horizon, guns perhaps, something; above Java or palms

on the Laccadives, in the profoundest sunlit sea. Something hurried me through memory, too, but I ca n‘t pause to remember, for a guilt past memory or dreaming, much darker, impels me on. I pray but my prayer climbs up like a broken wisp of smoke: oh my Lord, I am dying, is all I know, and oh my father, oh my darling, longingly, lonesomely, I fly into your arms! Peyton you must be proper nice girls don‘t. Peyton. Me? Myself all shattered, this lovely shell? Perhaps I shall rise at another time, though I lie down in darkness and have my light in ashes. I turn in the room, see them coming across the tiles, dimly prancing, fluffing up their wings. I think: my poor flightless birds, have you suffered without soaring on this earth? Come then and fly. And they move on past me through the darkening sands, awkward and gentle, rustling their feathers: come then and fly. And so it happens treading past to touch my boiling skin—one whisper of feathers is all—and so I see them go—oh my Christ! –one by one ascending my flightless birds through the suffocating night, toward paradise. I am dying. Bunny, dying.

我全身赤裸，虽淌着汗，但很清洁，就像我刚生下来的时候一样。好像有什么东西，把我向太空推去。我再度听到遥远的地平线上的雷声，也许是炮声，或是别的什么声音。那是在阳光灿烂的海域中的爪哇上空呢，还是在拉卡代夫群岛的棕榈树的上空，不得而知。又有什么东西驱赶着我向记忆中去，但是我不能从容地来回想，因为超过记忆或梦想，一种更黑暗的犯罪意识驱使着我向前迈进。我祷告，但我的祷词，像一缕破碎的轻烟向天上升去：“啊，主啊，我要死了”，这便是我所知道的一切。还有“啊，我的父亲；啊，我的爱人”，满怀渴望，孑然一身，我要飞去投入你的怀抱！“蓓顿，你一定要检点些，好女孩子都不是这样的。蓓顿。”是我吗？是损毁不堪的这个我，这个可爱的贝壳？虽则我躺下在黑暗中，要到骨灰中去求取我的光明，也许有朝一日我会苏醒过来的。我在房间里回头一看，便看见一些小鸟松开着翅膀，糊里糊涂地在跳跃这，跳过花砖来了。我想：我可怜的不能飞的小鸟啊，你们不能高飞入云，在这地上很受了苦吧？那么，来起飞呀。于是小鸟们经过我的身边，羽毛沙沙作响，笨拙而又温柔地向前移动：来起飞呀。就是这样，小鸟们偶尔想要接触到我的滚烫的皮肤，而贴近我走将过来——羽毛一度发出小声，如是而已——随即我看见它们飞走——啊，我的救主！——一只一只地我那些不能飞的小鸟，突破窒息的夜晚，向天国飞升而去。我要死了，朋宜，就要死了

William Barrett - Irrational Man 汉译

2012-9-18 20:29| 发布者: patrick| 查看: 100| 评论: 0

摘要: 钱歌川译

An observer from another planet might well be struck by the disparity between the enormous power which our age has concentrated in its external life and the inner poverty which our art seeks to expose to view. This is, after all, the age that has discovered and harnessed atomic energy, and that will, in a few years (perhaps in a few months), have atomic-powered planes which can fly through outer space and not need to return to mother earth for weeks. What cannot man do? But if an observer from Mars were to turn his attention from these external appurtenances of power to the shape of man as revealed in our novels, plays, painting, and sculpture, he would find there a creature full of holes and gaps, faceless, riddled with doubts and negations.

This violent contrast between power and impoverishment is frightening, for it represents a dangerous lagging of man behind his own works; and in this lag lies the terror of the atomic bomb which hangs over us like impending night. Here surely the ordinary man begins to catch a fleeting glimpse of that Nothingness which both artist and philosopher have begun in our time to take

seriously.

现代的人在其外面的生活上集中巨大的力量，而现代艺术却企图把那内面打得贫穷暴露出来让人们看，一个从别的星球来的观察者，看到这种悬殊的不同，要大吃一惊也是当然的。毕竟，现代是发现了原子能又能又加以利用的时代，在几年内，甚至几个月内，就会有原子动力的飞机，能够飞往外太空，好几个礼拜都无需回返地球。人类还有什么做不到的事呢？但是如果一个从火星来的观察者，把他的目光从这些人力发挥尽致外表的工具，转移到现代小说，戏剧，绘画，雕刻，所显示的人的形状，他就会发觉那是为疑问和否定，弄得满目疮痍，面目全非的一个生物。

这种外表的威力和内在的脆弱，二者对照的激烈令人可怕，因为它表示人类落在他自己造出的强大工具的后面，已达到危险的程度。像迫近的黑夜一般悬在我们头上的原子弹的恐怖，就因为这种落后而将来临。那是一定的，原子战争的结果，一切归于毁灭。艺术家和哲学家早已在我们这个时代开始时，就认真地在考虑这“无”的世界，而一般的人也触目惊心，开始注意到这个问题了。

林巍·《注意力的质量》英译

摘要: 林巍译

人们接收外部的信息，靠的是注意力；而注意力是有质量的——这决定了对所接收信息的处理、储存及提取的质量。

同样的信息，对于不同的人，所吸引的注意力是不同的。为什么有时会过目不忘，有时则又视若罔闻？有的细节会记忆深刻，有的部分却又全无印象？人接收的事物，都是经过注意力筛选的；注意力的质量，离不开注意力的选择与分配。

对我们注意力产生影响的，有兴趣、经历、能力、情绪、知识结构、环境及时间等等；这些因素的综合搭配，产生了不同效果，有时相差甚远。

一个人的注意力，在一定时段内，其总量是有限的，是个“常数”；但在具体的环节上，又是可以相对集中的，是个“变数”，可“以局部优势”解决问题。所以，我们常可以见到，智力看似平平的人，可以在某些方面有着超群的表现——注意力的合理分配，不能不说是其中的一个要素。

有人认为，要做翻译主要得学好外语。固然不错，但这还只是注意力分配中的一部分，还有两部分——母语的质量和在两种语言间转换的质量。特别是在口译中，注意力合理分配的作用就更加突出。

令人欣慰的是，在生理学上讲，人的注意力是可以塑造、训练和加强的。所以，不断提高我们注意力的质量，是个值得重视的问题。

Information is received into our sensory system by attention and its quality determines how well it will be processed, stored and retrieved afterward.

The same information may attract different forms and levels of attention from different people. We may all have experienced times when information has been photographically retained, or ignored. It may be vividly imbedded in detail, or discarded as we turn a blind eye. All information we receive in fact is filtered by our attention, and the way to select and distribute attention determines its quality.

Factors affecting our attention are personal interest, experience, ability, emotion, knowledge structure, environment and timing and so on, and the combination of these may lead to results which are sometimes vastly divergent.

A person‘s attention capacity as a ―constant‖ is limited within a certain time-span. In dealing with certain issues, however, it can be organized as a ―variable‖, concentrating on a targeted area by its comparative edge. Therefore, it is not surprising to observe that somebody with an average intelligence can have an outstanding performance in certain fields, supported presumably by a rational attention distribution, psychologically speaking.

Learning translation has long been regarded as learning a foreign language, which is not wrong but is not in itself adequate. Concerning the quality of attention, the package should include foreign language, mother tongue and the convertibility between the two languages. When it comes to oral interpretation, rational attention distribution plays an even more crucial role.

The good news is that biologically speaking, a person‘s attention can be shaped, trained and strengthened by effective exercises. With that in mind, we should constantly improve the quality of our attention.

William Styron - The Confessions of Nat Turner (Excerpt) 汉译

摘要: 钱歌川译

I seemed to be walking alone at the edge of a swamp at nightfall, the light around me glimmering, crepuscular, touched with the greenish hue presaging the onslaught of a summer storm. The air was windless, still, but high in the heavens beyond the swamp thunder grumbled and heaved, and heat lightning at somber intervals blossomed against the sky. Filled with panic, I seemed to be searching for my Bible, which strangely, unaccountably I had left there, somewhere in the depths and murk of the swamp; in fear and despair I pressed my search into the oncoming night, pushing now deeper and deeper into the gloomy marshland, haunted by the ominous, stormy light and by a far-off pandemonium of thunder. Try desperately as I might, I could not find my Bible. Suddenly another sound came to my ears, this time the frightened outcry of voices. They were the voices of boys, hoarse and half grown and seized with terror, and now instantly I saw them: half a dozen black boys trapped neck-deep in a bog of quicksand, crying aloud for rescue as their arms waved frantically in the dim light and as they sank deeper and deeper into the mire. I seemed to stand helpless at the edge of the bog, unable to move or to speak, and while I stood there a voice echoed out of the sky, itself partaking of that remote sound of thunder.

我好像是在暮色中独自一个人在沼泽岸边走着似的。那包围着我的薄暮的微光，染得有带青的颜色，预示着一个夏天的暴风雨就要袭来。微风不动，静寂寂的，但在沼泽那边高高的天上，却雷声隆隆，由小而大，而闪电时时在阴沉的天上开出花来。我充满着恐怖，好像是在寻找我的圣经似的，很奇怪而无法说明的地，我把圣经放在沼泽的黑暗深渊中的什么地方忘记了。在恐惧和绝望中，我加快在即将来临的夜色中寻找，受着那恶兆的暴风雨的电光，和辽远的吵闹的雷声所困扰，我现在向着阴郁的沼泽地愈来愈深入地推进了。尽管我拼命地寻找，但怎也找不到我的《圣经》。突然间另外一个声音来到我的耳中，这次却是人们恐慌的叫喊声。那原是一群男孩子的声音，嘶嘎而未成年的声音，为恐怖所袭时的声音。现在一瞬间，我看明白他们了：那原是五六个黑孩子陷在沼泽的流沙中，深及颈部，当初他们愈来愈深地沉下到那泥淖中去时，他们在幽暗的夜色中，疯狂地舞动手臂，高声呼喊救命。我好像是站在那沼地的岸边一点办法也没有的样子，既不能移动，也不能说话，而当我站在那里的时候，突然天上传来一个声音，听去却和远处的雷声混在一起了。

Sir Denis Brogan - Schadenfreude 汉译摘要: 钱歌川译

If we contrast the resources of the United States and the resources of the Viet Cong, whatever we may think of the political morality of the activities of the Viet Cong, it does not seem to the outsider that the Viet Cong are inferior to the Americans in courage, resolution, or belief in their cause. For this reason, the news that the Americans had dropped napalm on their own troops was received with very mixed feelings in Europe. There were, of course, professional and permanent anti-Americans who had all the joys of Schadenfreude at the news. For them, there is no folly and no crime of which the Americans are not intrinsically capable, and there is no folly and no crime which the enemies of the Americans are not justified in committing. But many people who do not share these views in the least could not help reflecting that a fate had befallen unfortunate young American soldiers that has frequently befallen even more unfortunate Vietnamese children.

如果把美国的资源和越共的资源比较一下，无论我们对越共的所作所为在政治上的道德怎样想法，由局外人来看是不会认为越共在勇敢，决心，和忠于大义的信念上，有逊于美军的。由于这个原因，在欧洲听到美军把烧夷弹误投到他们自己的军队上的消息时，不免感到悲喜交集。当然，有些职业的，坚决永恒的反美主义者，听到这消息便要幸灾乐祸，感到高兴。他们认为美军在本质上是任何愚行，任何罪恶，都可以干得出来的，所以美军的敌人要干些愚行和罪恶，也是应该的。但即令许多决不同意这种见解的人，听到这消息时，也不得不有下面这样的想法：不幸的年轻美国兵曾经遭遇的悲惨的死，在更加不幸的越南儿童身上，到现在为止所遭遇到的同样的惨死，也不知有多少次了。

Freya Stark - Happiness Consists in Love 汉译

摘要: 钱歌川译

Who can say in remoteness of time, in what difference of earthly shape, love first come to us as a stranger in the jungle? We, in our human family, know him through dependence in childhood, through possession in youth, through sorrow and loss in their season. In childhood we are happy to receive; it is the first opening of love. In youth we take and give, dedicate and possess—rapture and anguish are mingled, until parenthood brings a dedication that, to be happy, must ask for no return. All these are new horizons of content, which the lust of holding, the enemy of love, slowly contaminates. Loss, sorrow and separation come, sickness and death; possession, that tormented us, is nothing in our hands; it vanishes. Love‘s elusive entrenchment, his ubiquitous pretence, again become apparent; and in age we may reach a haven that asking for nothing knows how to enjoy.

爱这东西，不管是在多么远古的时代，不管是采取怎样现世的形态出现，总好像在森林中遇到的陌生人一样，是一个谁也不能了解的哑谜。属于人类的我们，在孩童时代，由于依赖爱自己的人而认识爱；在青年时代，由于占有所爱的人而认识爱，于是时候一到，由于失去了所爱的人感到悲伤而认识爱。在孩童时代我们很高兴来接受；这是爱的最早的端倪。在青年时代我们有取有予，有献身有占有——悲喜交集，直到做了父母时，对儿女那种献身的爱，心甘情愿，不望报答。这一切都是令人满足的爱的新境界，可惜不免要为与爱为敌的所有欲，慢慢地加以污损。失去了爱的痛苦，离别的悲哀，随即到来，还有疾病和死亡。以前那种使我们受苦的占有，已不在我们掌握之中，而早烟消云散了。爱的难于捉摸的魅力，它那不即不离的灵性，再度变得明显起来，及来到老年，我们就可能达到一个由于不求报答，故能体味到那种平静无波的爱的佳境

David Riesman - Aloneness is Worse than Failure 汉译

摘要: 钱歌川译

What is feared as failure in American society is, above all, aloneness. And aloneness is terrifying because it means that there is no one, no group, no approved cause to submit to. Even success often becomes impossible to bear when it is not socially approved or even known. This is perhaps why successful criminals often feel the need to confess, that is, to submit to the com munity‘s judgment, represented in the person to whom the confession is made. They will confess even under circumstances where this will probably, if not certainly, endanger their previous success: proof, I think, that aloneness is more intolerable than mere failure. For mere failure, provided it is found in company, can rather easily be borne; many ideologies have the function of making it possible for people to digest the worst miseries and even death. Under the sway of the ideologies, they do not feel the impact of their failure; they are in the grip of an authority, even if it lets them down. On the other hand, one who is, alone lacks this solace which can make even failure comfortable.

在美国社会中作为失败而为人们所恐惧的，莫过于孤独了。而孤独之所以可怕，就因为那意味着没有一个可服从的人，没有一个可服从的团体，也没有一个可服从的公认的大义。即令获得成功，若不为社会所认可，或甚至不为世人所知道时，就是成功也常要变得使人不能忍受的。这也许就是成功的罪犯，时常觉得有必要去自首的原因，那就是，去服从那个听取自首的人所代表的公众的裁判。即令在如果不是一定的话，至少是可能危害他们前此的成功那种情形之下，他们仍然要去自首的。变成孤独比单纯的失败，更要难于忍受，我想这就足以证明了。因为单纯的失败，即令是与共同遭受的，毋宁是能够容易忍受的。许多意识形态的作用，可使人能够忍受极大的不幸，甚至是死亡。人们在意识形态掩护之下，便不会感到自己失败的冲击。意识形态以一种权威的力量，掌握住他们，虽则在紧要关头也不免要把他们抛弃。在另一方面，孤独的人便缺乏那种甚至可以使失败也感到舒服的安慰。

欧阳修·《醉翁亭记》英译

摘要: 杨宪益、戴乃迭；潘正英；罗经国；谢百魁；刘师舜；Herbert A. Giles；徐英才译

环滁皆山也。其西南诸峰，林壑尤美。望之蔚然而深秀者，琅琊也。山行六七里，渐闻水声潺潺，而泄出于两峰之间者，酿泉也。峰回路转，有亭翼然临于泉上者，醉翁亭也。作亭者谁？山之僧曰智仙也。名之者谁？太守自谓也。太守与客来饮于此，饮少辄醉，而年又最高，故自号曰“醉翁”也。醉翁之意不在酒，在乎山水之间也。山水之乐，得之心而寓之酒也。若夫日出而林霏开，云归而岩穴暝，晦明变化者，山间之朝暮也。野芳发而幽香，佳木秀而繁阴，风霜高洁，水落而石出者，山间之四时也。朝而往，暮而归，四时之景不同，而乐亦无穷也。

至于负者歌于途，行者休于树，前者呼，后者应，伛偻提携，往来而不绝者，滁人游也。临溪而渔，溪深而鱼肥；酿泉为酒，泉香而酒冽；山肴野蔌，杂然而前陈者，太守宴也。宴酣之乐，非丝非竹，射者中，弈者胜，觥筹交错，坐起而喧哗者，众宾欢也。苍然白发，颓然乎其中者，太守醉也。

已而夕阳在山，人影散乱，太守归而宾客从也。树林阴翳，鸣声上下，游人去而禽鸟乐也。然而禽鸟知山林之乐，而不知人之乐；人知从太守游而乐，而不知太守之乐其乐也。醉能同其乐，醒能述以文者，太守也。太守谓谁？庐陵欧阳修也。

The Roadside Hut of the Old Drunkard

Ouyang Xiu

The District of Chu is enclosed all around by hills, of which those in the southwest boast the most lovely forests and dales. In the distance, densely wooded and possessed of a rugged beauty, is Mt. Langya. When you penetrate a mile or two into this mountain you begin to hear the gurgling of a stream, and presently the stream — the Brewer's Spring — comes into sight cascading between two peaks. Rounding a bend you see a hut with a spreading roof by the stream, and this is the Roadside Hut of the Old Drunkard. This hut was built by the monk Zhixian. It was given its name by the governor, referring to himself. The governor, coming here with his friends, often gets tipsy after a little drinking; and since he is the most advanced in years, he calls himself the Old Drunkard. He delights less in drinking than in the hills and streams, taking pleasure in them and expressing the feeling in his heart through drinking.

Now at dawn and dusk in this mountain come the changes between light and darkness: when the sun emerges, the misty woods become clear; when the clouds hang low, the grottoes are wrapped in gloom. Then in the course of the four seasons, You find wild flowers burgeoning and blooming with a secret fragrance, the stately trees put on their mantle of leaves and give a goodly shade, until wind and frost touch all with austerity, the water sinks low and the rocks at the bottom of the stream emerge. A man going there in the morning and returning in the evening during the changing pageant of the seasons can derive endless pleasure from the place.

And the local people may be seen making their way there and back in an endless stream, the old and infirm as well as infants in arms, men carrying burdens who sing as they go, passersby stopping to rest beneath the trees, those in front calling out and those behind answering. There the governor gives a feast with a variety of dishes before him, mostly wild vegetables and mountain produce. The fish are freshly caught from the stream, and since the stream is deep and the fish are fat; the wine is brewed with spring water, and since the spring is sweet the wine is superb. There

文学翻译报告模板

吉林华桥外国语学院研究生 翻译报告（文学翻译2012秋季） 姓名：XXX 学号：XXX 方向：笔译（英语） 任课教师：黄际英 二〇一二年十二月

Times New Roman， 小二号，居中，加粗 The Application of Free Translation in the Translation of Dawn 空一行 “意译法”在《拂晓》翻译实践中的应用 黑体三号，居中，加粗， 位于本页上四分之一处 姓名：XXX

Abstract This thesis is a translation project. Dawn is an inspirational short novel in America. The author explores the most crucial element in our lives, and shows his attitude for life. In the first chapter, the author expresses his opinion about marriage through the conversation of a couple. There is also complicate emotion with a quirky twist due to the pass of wife and the birth of dawn in the first chapter. The language of the first chapter is simple but powerful, including lots of philosophical views and implied meanings. The translation of Dawn is meaningful both in education and in language study. There are great differences in sentence patterns, expressions, and in thinking mode between English and Chinese, which leads to in-equivalence in translation. Literal translation sometimes can causes mechanical translation and mistranslation. To solve this problem, this essay mainly talks about in which three circumstances a translator should adopt free translation in the translation project of Dawn, giving a general idea to readers when to adopt free translation. (a) When literal translation is difficult to be understood. (b) When literal translation is unable to express implied meaning of the original. (c) When the source language comes down to religion cultures. In this three circumstances, the application of free translation make readers get a comprehension understanding of original novel, which is difficult for readers to reach with literal translation. Key Words : D awn ; Translation project; free translation; literal translation 空一行 空一行 Times New Roman 小二号，加粗，居中 每段 开头 空4个 字母 Times New Roman 小四号 空一行 Times New Roman 小四号，加粗 Times New Roman 小 四号，中间用分号隔开

英语翻译 文档

常用翻译技巧总结 个人认为，翻译题很重要！考研是个充实自己的过程，只要你还需要英语，就离不开翻译，所以大家应该引起足够重视。 首先个人推荐一本书，XDF唐静老师的《拆分与组合翻译法》，我听过他的课，他的方法很实用，感觉很象下面介绍的第四种方法。 翻译题里考察三方面内容： 1、专有名词（如operational research expert）、习惯用法（如depend on） 及多义词的翻译 (如school、set的多义) 2、一般性翻译技巧:包括词义选择，词序调整，词性转换和增词法等等 3、具体句型（定从、状从、主从、宾从、表从、同位从、强调结构、并列、 比较、倒装、插入、被动、否定等） 其中2、3是大考点，具体内容可在论坛下XDF的翻译笔记来看，在此不赘述。 可看出，应对翻译题的主要武器是翻译技巧，下面正式进入正题（常用方法、被动语态译法、形容词译法、举例详解） 一、常用方法 英汉两种语言在句法、词汇、修辞等方面均存在着很大的差异，因此在进行英汉互译时必然会遇到很多困难，需要有一定的翻译技巧作指导。常用的翻译技巧有增译法、省译法、转换法、拆句法、合并法、正译法、反译法、倒置法、包孕法、插入法、重组法和综合法等。这些技巧不但可以运用于笔译之中，也可以运用于口译过程中，而且应该用得更加熟练。 1增译法：指根据英汉两种语言不同的思维方式、语言习惯和表达方式，在翻译时增添一些词、短句或句子，以便更准确地表达出原文所包含的意义。这种方式多半用在汉译英里。汉语无主句较多，而英语句子一般都要有主语，所以在翻译汉语无主句的时候，除了少数可用英语无主句、被动语态或“There be…”结构来翻译以外，一般都要根据语境补出主语，使句子完整。英汉两种语言在名词、代词、连词、介词和冠词的使用方法上也存在很大差别。英语中代词使用频率较高，凡说到人的器官和归某人所有的或与某人有关的事物时，必须在前面加上物主代词。因此，在汉译英时需要增补物主代词，而在英译汉时又需要根据情况适当地删减。英语词与词、词组与词组以及句子与句子的逻辑关系一般用连词来表示，而汉语则往往通过上下文和语序来表示这种关系。因此，在汉译英时常常需要增补连词。英语句子离不开介词和冠词。另外，在翻译时还要注意增补一些原文中暗含而没有明言的词语和一些概括性、注释性的词语，以确保译文意思的完整。总之，通过增译，一是保证译文语法结构的完整，二是保证译文意思的明确。如： （1）What about calling him right away? 马上给他打个电话，你觉得如何？（增译主语和谓语） （2）If only I could see the realization of the four modernizations. 要是我能看到四个现代化实现该有多好啊！（增译主句） (3) Indeed, the reverse is true 实际情况恰好相反。（增译名词） (4) 就是法西斯国家本国的人民也被剥夺了人权。

英美文学翻译练习

1.Renaissance humanists found in then classics a justification to exalt human nature and came to see that human beings were glorious creatures capable of individual development in the direction of perfection, and that the world they inhabited was theirs not to despise but to question, explore, and enjoy. 2.Humanism is the essence of the Renaissance 3.The goals of humanistic poetry are: skillful handling of conventions, force of king1970uage, and, above all, the development of a rhetorical plan in which meter, rhyme, scheme, imagery and argument should all be combined to frame the emotional theme and throw it into high relief. 4.Shakespeare’s sonnets are the only direct expression of the poet’s own feelings. 5.Shakespeare’s history plays are mainly written under the principle that national unity under a mighty and just sovereign is a necessity. 6.In his romantic comedies, Shakespeare takes an optimistic attitude toward love and youth, and the romantic elements are brought into full play. 7.The successful romantic tragedy is Romeo and Juliet, which eulogizes the faithfulness of love and the spirit of pursuing happiness. 8.Shakespeare’s greatest tragedies are: Hamlet, Othello, King Lear, and Macbeth. They have some characteristics in common. Each portrays some noble hero. 9.The most import works of his first group include The Advancement of Learning, Written in English; Novum Organum, an enlarged Latin version of The Advancement of Learning. 10.One is the knowledge obtained from the Divine Revelation, the other is the knowledge from the workings of human mind. 11.According to Bacon, man’s understanding consists of three parts: history to man’s memory, poetry to man’s imagination and creation, and philosophy to man’s reason. 12.Bacon, as a humanist intellect, shows the new empirical attitudes toward truth about nature and bravely challenges the medieval scholasticists. 13.Bacon’s essays are famous for their brevity, compactness and powerfulness. 14.The mid-century was, however, predominated by a newly rising literary form---the modern English novel, which, contrary to the traditional romance of aristocrats, gives a realistic presentation of life of the common English people. 15.This urgency was provoked by two important revolutions: the French Revolution of 1789-1794 and the English Industrial Revolution which happened more slowly, but with Astonishing consequences. 16.The Romantic Movement, whether in England, Germany or France, expressed a more or less negative forward the existing social. 17.The Romantics demonstrated a strong reaction against the dominant modes of thinking of the 18th-century writers and philosophers. Where their predecessors saw man as a social animal, the Romantics saw him essentially as an individual in the solitary state. 18.Thus, we can say that Romanticism actually constitutes a change of direction from attention to the outer world of social civilization to the inner world of the human spirit.

《英译汉教程》(连淑能主编,高等教育出版社)-第10~12章【圣才出品】

第10章Division（拆译法） 10.1 复习笔记 In division, we have to determine where to divide, how to divide, what the subject or the predicate of the new clause or sentence should be, and how to rearrange various parts of the original sentence. These may involve such techniques as Conversion, Addition and Inversion. 拆分时要注意以下问题：在哪里拆分，怎样拆分，新的从句或句子的主语、谓语分别是什么，以及如何重新组织这些部分。这里涉及到的技巧有转换法、增补法和倒置法。 一、Picking Out of Words（拆译单词） It is advisable to pick out those words which are hard to reproduce in the original structure and expand them into Chinese word groups, clauses or sentences. There are usually three steps to deal with such words: 翻译过程中，如果一个单词的意义很难用汉语在原有句法框架下表达出来，就可以把该单词抽取出来，并将其扩展为汉语词组、从句或句子。具体操作步骤如下： 1. Determine which word(s) to pick out; 确定需要抽取出来的单词； 2. Apply Conversion or Addition, if necessary, to make the translated version smooth and well-connected; 必要时运用转换法或增补法，使译文流畅、通顺；

翻译练习

Mrs. Clinton receives about 5,000 letters a week, according to Lawrence senior Jenny Duhlavy, who spent the fall term in D.C. as part of American University’s Washington Semester Program. Working in the Office of First Lady’s Scheduling Correspondence, Dunlavy and others sorted through as many as 10 invitations a day requesting Mrs. Clinton to attend everything from birthday parties to baby showers. 我们过了江,进了车站。我买了票,他忙着照看行李。……这时我看见他的背影,我的泪 很快地流下来了。我赶紧拭干了泪,怕他看见,也怕别人看见。(朱自清《背影》) 文化特色和个性是历史文化名城的独特和珍贵的标志,历史文化名城间的文化交流与合 作将极大地促进城市文化可持续发展和繁荣。 南京的旅游景点很多,东郊有中山陵、明孝陵、灵谷寺;城南有夫子庙、中华门、雨花台;城西有莫愁湖、朝天宫;城东有梅园新村、总统府旧址;城北有玄武湖、鸡鸣寺,形成了南京独特的旅游观光胜地。 今天,在美国,在旧金山,在圣玛利亚大教堂,我们感受了一分宁静,一份庄严,同时生成出一种使命,用我们心中蕴积的切切祈愿,用我们手中敬献的萤萤烛光,告慰被侵越战争和邪恶势力虐杀的无数生命。你们安息吧!我们将与一切有损和平的邪恶势力和暴力行为,进行坚决的斗争,制止战争与恐怖,因为,这是我们每一个正直和有正义感的人的共同事业。愿每个生命得到尊重!让世界和平永恒!!

英文文档翻译(中文翻译)

HUNAN UNIVERSITY 英文文档翻译 （中文翻译） 设计（论文）题目J2EE平台上高质量的网络程序开发学生姓名张刚 专业班级10级软件工程5班 指导老师李珩 系主任（院长）林亚平 评阅人 2014年4 月16 日

J2EE平台上高质量的网络程序开发Harshad B. Praj'apati Information Technology Department Dharmsinh Desai University Nadiad, India https://www.wendangku.net/doc/875301037.html, Vipul K. Dabhi Information Technology DepartmentDharmsinh Desai University Nadiad, India https://www.wendangku.net/doc/875301037.html, 摘要：网络应用程序的质量在它的成功中起着重要的作用。而且通过运用高品质的网页设计过程来提高网络应用程序的质量的效果是现而易见的。强大开发平台和强大程序的体系结构，不仅可以网页程序高质量和强劲的结构化，而且在网络应用程序开发过程中可以满足客户不断变化的要求和高效率操作代码的方法。即使在用户交互式应用架构发展迅速的前提下，模型 - 视图 - 控制器（ MVC）设计模式仍然是架构设计的基本模式。在本文中，我们讨论了实现高质量属性的Web应用程序，使用了支持Web应用程序开发和要求严格的J2EE平台。本次研究将帮助很多不同规模的网络应用程序开发，使他们从初始阶段本身或者已成型的Web应用程序转型到未来的高质量的Web成品。关键词：MVC模式;网页程序;Java EE;高质量对象;高质量的Web程序开发. 1.介绍 随着网络应用的普遍和普适计算时代的巨大需求，在网络应用程序的开发过程中，一些相关的网络应用程序的质量问题[1]也获得了极大的关注。在这场商业互联网竞争的比赛中，应用程序的业绩使得开发人员更注重程序的质量。如果一个Web应用程序能够在不断变化的客户需求和商业需求中存活下来，那这个程序将是非常有价值的。 建设高品质的网络应用确实是一个困难的，具有挑战性的任务。但如果选择了正确的开发进程，方法，工具，人员，那么开发出高质量的应用程序将成为可能。由于开发平台的选择也会影响相关的开发过程，方法，工具，和程序员，所以开发平台的选择也是构建高效，稳健，和高品质的应用程序的重要角色。 Java EE平台[7]是开放的，基于标准的N [ 8 ]和硬件上的分布式企业应用程序,独立于操作系统平台。作为应用程序对于Java EE平台是独立的，所以企业不会与遇到供应商锁定的问题。基于Java EE平台的网络应用程序使用模型/视图/控制器（MVC ） [ 2 ]设计模式[ 3 ]的三个架构组件：表示逻辑，控制逻辑和实体/业务逻辑。我们讨论了传统的基于GUI的应用程序中使用MVC设计模式的情况，并讨论它是如何适应在基于Java EE平台的网络应用程序的架构。我们按照（一）质量属性的要求分析了Java EE平台[ 1 ] Web的应用程序（ ii）就开发过程中相关的支持（ iii）与开发过程中涉及到人员的支持.目前我们的研究结果结果表明，在Java EE平台的Web应用程序中，开发出高品质的网络应用程序，能满足不断变化的客户需求，满足不断变化的商业业务的需求的程序，是非常有价值的网络程序。 在本文所提出的任务中，运用程序发展过程中不同的观点，集中讨论了在Java EE平台下如何实现高质量的程序开发。相关的工作情况如下：使用MVC设计模式开发的Web应用程序在[4]，在[5]中是用了https://www.wendangku.net/doc/875301037.html,和JSP框架的设计模式，里面包含了MVC，应用程序的质量特性和属性都在[1]中进行说明。 第二节讨论了传统的GUI应用程序体系结构的MVC设计模式及其在网络应用架构适应。在第三部分提出了Web应用程序的开发过程，并在Java EE平台为它提供支持。在第四部分提出了关于Java EE平台的Web应用程序提供有价值的功能。第五部分介绍了Java EE平台的分析和实现网络应用程序及其组件的高品质的结果。最后的第六部分提出了结论和方向，为今后的研究工作。 2.J2EE平台上使用MVC设计模式的网页架构

文学翻译理论复习

1.奈达认为翻译的四个基本步骤包括 1.analysis of the source text 2.transfer from source to target language 3.restructuring in the target language 4.testing of the translated text with persons who represent the intended audience. 而Gorge Steiner 提出了他著名的论断understanding as translation，认为在翻译过程中，包括四个步骤trust、aggression、incorporation和restitution。 2．张培基——翻译是用一种语言把另一种语言所表达的思维内容准确而完整地重新表达出来的语言活动。 3．翻译的标准概括为言简意赅的四个字：“忠实（faithfulness）、通顺（smoothness）”。忠实指的是忠实于原文。通顺指的是译文的语言必须合乎规范、通俗易懂。 4. 严复对翻译曾经提出“信（faithfulness）、达（expressiveness）、雅（elegance）”的标准：“译事三难：信、达、雅。求其信已大难矣，顾信矣不达，虽译犹不译也，则达尚焉。” 5．The Book of Change says: faithfulness is the first important thing in wording. Confucius states that what speech requires is only expressiveness. Again he says that language without literary grace cannot go far and wide. All these three requirements are requirements as mentioned above are indispensable both to writing and to translating. Thus elegance must be achieved in addition to faithfulness and expressiveness so that the translation may go far and wide. (By Liu Zhongde, 1991). 6．到目前为止，翻译分为三种：笔译（written translation）, 口译oral translation (or interpretation) 和机器翻译（machine translation） 7．动态对等（Dynamic equivalence）：The relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message. 8．关于信与顺，鲁迅曾经说过，宁信而不顺“Rather be faithful (in thought) than smooth (in language). 9．从译出语（source language）和译入语（target/receptor language）角度来看，翻译可分为本族语译为外族语，外语译为本族语两大类。 10．泰特勒（Tytler,1748-1814）的翻译理论和思想主要见于《论翻译的原则》一书。该书是西方翻译理论的第一部专著，在书中，泰特勒提出了著名的翻译三原则：1、译文应完整地再现原文的思想内容(That the translation should give a complete transcript of the ideas of the original work.)；2、译文的风格、笔调应与原文的性质相同(That the style and manner of writing should be of the same character with that of the original.)；3、译文影响原文一样流畅(That the translation should have all the ease of the original composition.)。

通用学术英语翻译文档

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All over the world mention of English education suggests a picture of the …public school?, and it suggests in particular the names of certain very famous institutions—Eton, Oxford and Cambridge; but people do not always realize what place these institutions occupy in the whole educational system. Oxford and Cambridge are universities each having about 12,000 students out of over 250,000 students at all British universities. Eton is a public school, and the best known of the public schools, which, in spite of their name, are not really public at all, but independent and private secondary schools taking boys from the age of thirteen to eighteen years. The public schools in reality form a very small part of the whole system of secondary education; only about one out of forty English boys goes to a public school, and one out of 1,500 goes to Eton. Passage 2 When I became aware of my imminent mortality, my attitudes changed. There was real meaning to the words, “This is the first day of the rest of your life.” There was a heightened awareness of each sunny day, the beauty of flowers, the song of a bird. How often do we reflect on the joy of breathing easily, of swallowing without effort and discomfort, of walking without pain, of a complete and peaceful night?s sleep? After I became ill, I embarked upon many things I had been putting off before. I read the books I had set aside for retirement and wrote one myself, entitled The Art of Surgery. My wife Madeleine and I took more holidays. We played tennis regularly and curled avidly; we took the boys fishing. When I review these past few years, it seems in many ways that I have lived a lifetime since I acquired cancer. On my last holiday in the Bahamas, as I walked along the beach feeling the gentle waves wash over my feet, I felt part of universe, even if only a minuscule one, like a grain of sand on the beach. Passage 3 To speak of American literature, then, is not to assert that it is completely unlike that of Europe. Broadly speaking, America and Europe have kept step. At any given moment the traveler could find examples in both of the same architecture, the same styles in dress, the same books on the shelves. Ideas have crossed the Atlantic as freely as men and merchandise, though sometimes more slowly. When I refer to American habit, thoughts, etc., I intend some sort of qualification to precede the word, for frequently the difference between America and Europe (especially England) will be one of degree, sometimes only of a small degree. The amount of divergence is a subtle affair, liable to perplex the Englishman when he looks at America. He is looking at a country which in important senses grew out of his own, which in several ways still resembles his own and which is yet a foreign country. There are odd overlappings and abrupt unfamiliarities; kinship yields to a sudden alienation, as when we hail a person across the street, only to discover from his blank response that we have mistaken a stranger for a friend. Passage 4 If people mean anything at all by the expression “untimely death”, they must believe that some deaths run on a better schedule than others. Death in old age is rarely called untimely－a long life is thought to be a full one. But with the passing of a young person, one assumes that the best years lay ahead and the measure of that life was still to be taken. History denies this, of course. Among prominent summer deaths, one recalls those of Marilarry Monroe and James Deans, whose lives seemed equally brief and complete. Writers cannot bear the fact that poet John Keats died at 26, and only half playfully judge their own lives as failures when they pass that year. The idea that the life cut short is unfulfilled is illogical because lives are measured by the impressions they leave on the world and by their intensity and virtue.

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