当前位置：文档库 › Translation of ancient Chinese poems

Translation of ancient Chinese poems

T o p i c28T r a n s l a t i o n o f A n c i e n t C h i n e s e P o e m s 教学目的：

随着中外文化交流的加强, 中国文学对世界文化的影响越来越大, 中国的诗歌, 特别是唐诗宋词, 也越来越为国外读者所喜爱, 汉诗英译作品不断涌现, 读一些古典诗歌的英译佳作, 对文化交流、对提高英语水平和翻译能力都有帮助。

参考文献：

1.冯庆华. 文体翻译论. 上海外语教育出版社, 2002 , p.213--- p.240

2.陆钰明. 汉英翻译指导. 上海远东出版社, 1995, p.139---p.152

3.彭长江. 英汉—汉英翻译教程. 湖南师范大学出版社, 2004,

p.234---p.243

从一个严格的意义上说, 诗歌是不可译的。因为诗歌是一件高度浓缩、精炼的艺术品。在一定的文化背景下, 用一定的文字符号所写成的诗歌及其在读者头脑中所产生的声音效果、视觉效果以及想象效果, 到了另一种语言中, 可能会大不相同。

然而，从广义上来说, 诗歌又是可译的。但译出的诗歌必须在极大程度上接近原诗。当然, 译诗是很难的, 译中国古诗则更难。下面谈谈翻译古诗的一般过程和方法; 再评论一首短诗的多种译文。

1. 古诗的今译与英译

现代翻译理论告诉我们, 文学翻译不仅仅是技巧、是科学, 它同时又是艺术。文学作品, 不论小说、诗歌、散文、戏剧，本身就是艺术品。译品也应该是艺术品。“为此, 翻译必须是对原作的一种艺术再创造。一篇成功的译品应该是原作的艺术复制, 应该保持原作的神韵和丰姿, 应该具有原作的艺术魅力。”[4] 这里说的“艺术再创造”也就是艺术再现。正如奈达所说的, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message , first in terms of meaning and secondly in terms of style. ”( 所谓翻译, 是指在译语中用最切近而又自然的对等语再现原语的信息, 首先在语义上, 其次是文体上。)[5] 将这一定义套用到古诗英译上, 我们不妨说, (译诗)就是要用“最切近而又自然的对等语”( 英语) “再现”原语的信息( 古诗中的内容); “首先在语义上, 其次是文体上”, 可以解读为在“意境和风貌上”都要再现原语的与翻译散文不同，译诗除了表达内容与形式以外, 还要传达原诗的意境与风貌。用高健先生的话来说, “译诗的关键主要在于如何再现原诗的风貌和意境, 离开了这些最主要的东西而首先去操心什么外部形式显然有些舍本逐末, 势必导致译诗上的形式主义。”但是他又强调：“风貌与意境不是一句空话, 它们的真正形成最终还是离不开它们赖以寄寓的许多细节与外部形式。”[1] “我们衡量古诗英译作品的质量好坏, 也不应完全以诗体或散体,

或押韵、不押韵来简单地加以判断, 而应结合具体译作是否掌握了原诗的意境和情趣来看。”[2] 何谓“意境”？可以界定为“语言艺术作品通过形象描写所表现出来的境界和情调。是所描述的景象和所表现的情意相交融的产物。……在文学翻译中, 译者以追求原作的意境为己任, 以再创造等同的意境为目标。”[3] 如杜甫的两句诗“无边落木萧萧下，不尽长江滚滚来”, 卞之琳译为：The boundless forest sheds its leaves shower by shower,/ The endless Riverrolls its waves hour after hour. 很好地传达了原诗的意境和情调。但我们这里所讨论的“意境”范围还可以宽泛一些, 着重指译诗要传递原作的真实内涵和风貌, 强调其忠实性。

信息。

古诗英译是一个复杂的语际交流过程。设原作者(诗人)为甲, 他是信息发出人(source, 以S表示), 把自已的想法或情趣, 即原始想法(original thought, 以To表示)用语言(language, 以L表示)表达出来, 写成一首诗, 成为一个信息(message, 以M表示)。译者首先作为读者成为信息的接受人(receptor, 以R表示), 称为乙。乙读诗后在自己头脑中形成一种思想, 即得来思想(acquired thought, 以Ta表示)。乙通晓英语, 想为中西文化交流做点事, 愿意把甲的诗作用英语表达出来, 经过一番努力, 成为再现信息(reproduced message, 以Mr表示)。此后, 第三方, 即懂英语的读者(读者中大多数不懂中文, 也会有一部分读者既懂英文又懂中文), 称之为丙, 他是信息接受人(receptor,以Rr表示)。丙读了乙的译诗, 明白了甲的诗意, 从而完成了一起语际交流(interlingual communication, 以Inter.C表示)。丙所接受到的信息, 即received thought, 用Tr表示。在这个过程中, 作为乙的译者, 他既是原诗信息接受人R, 又是信息发出人Sr。其过程图如下：甲乙丙

( SL) ( TL)

（To）→→→（Ta）→→→（Tr）

S R, Sr Rr

上图中To-----Ta的过程是理解过程, 基本上是用原语(汉语)进行, 所以用SL表示; 而Ta-----Tr的过程是转换过程, 也叫表达过程, 因为是用译语(英语)进行, 所以用TL表示。全过程便是翻译, 可以M-----Mr来表示, 如下图：

理解过程表达过程

〖M〗→→→（Ta）→→→〖Mr1〗

( SL ) R Sr ( T L)

M所代表的是原诗的信息或意境(message), Mr所代表的是译文读者(丙)所接受到的信息(received message)。现在的问题是, 是否Mr1 = M ？绝对相等是不可能的, 两者如能达到“最切近”的程度, 译者所做的工作就算出色的。若两者之间误差较大, 则表示翻译过程中信息丢失或误传较多, 意

境再现较差, 即表示译文质量不佳。

问题的另一方面在于Mr1是否与M相等或很相近, 不是简单到一眼能看得出来的, 这就像古代人要称出大象的体重一样难。要想一想办法。如果上面两图中的乙, 即译者所做的不是语际交流, 而是语内交流(intralingual communication, 以Intra. C表示), 是把古诗用现代汉语来译, 译品是现代白话散体诗, 则图二可以改动如下：

理解过程表达过程

〖M〗→→→（Ta）→→→〖Mr2〗

( SL1 ) R Sr ( S L2)

图三中SL1是古汉语(古诗用语); SL2代表现代汉语(白话文)。我们把Mr2称为(古诗)今译。生活中, 这一点是客观存在和需要。为了帮助语文程度稍逊的中文读者阅读和欣赏经典古代诗词, 为了帮助中、小学学生学习古诗词, 各出版社出的许多读物及教科书中常在古诗词后面附上注释及今译。作为对照, 我们把语际交流中产生的信息再现物称为Mr1, 即英译。因此, 若Mr1大体上等于Mr2, 则可认为Mr1相当切近于M, 就一般情况而言, Mr2会很接近于M的。因为，古诗的今译除了丢弃了原诗的格律、韵脚等要素以外, 在再现原诗意境、转递原作信息方面一般都能做得比较好。汉语古诗的语内翻译(古汉语译成现代汉语)与语际翻译(如汉语译成英语, 准确地说是古汉语译成现代英语)相比, 前者困难要少得多、小得多。这一点是不言而喻的。

我们以[唐]李商隐的《锦瑟》为例：

原诗：锦瑟

锦瑟无端五十弦, 一弦一柱思华年。

庄生晓梦迷蝴蝶, 望帝春心托杜鹃。

沧海月明珠有泪, 蓝田日暖玉生烟。

此情可待成追忆, 只是当时已惘然。

注释：

锦瑟：装饰华美的瑟。

庄生句：《庄子》里说, 庄周梦见自己变成蝴蝶，醒后思不知是庄

周梦为蝴蝶, 还是蝴蝶梦为庄周。意思说, 浮生若梦变幻

莫测。

望帝：古代蜀国的君主, 名杜宇, 传说他死后化为杜鹃鸟，悲鸣不

止。

沧海：大海。古代有鲛人哭时眼泪变成珍珠的传说。

蓝田：在陕西省蓝田县, 产玉之地。

今译1：

锦瑟为什么要用五十根弦？

一弦一柱让人回忆起风华正茂的少年。

庄周梦中迷惑自己变成了蝴蝶，

望帝一片春心化为悲啼杜鹃。

沧海月明珍珠流出了眼泪，

蓝田日暖玉山上升起了云烟。

这种感情难道只是今天回忆才产生？

即使在当时也因迷惑而心意茫然。[6]

今译2：

不知道锦瑟为什么有五十根弦,

一弦一柱都令我想起风华正茂之年。

庄周一梦醒来, 分不清自已是庄周还是蝴蝶，

望帝死后将自己化为一只哀啼的杜鹃。

苍海明月下的鱼人也有伤心流泪的时候,

藏于地下的蓝田玉在太阳下太阳下竟能腾生云烟。

此情岂能待到今天成为回忆，

只因那些情感滋生时自己实在怅然。[7]

英译1：

The Gorgeous Zither

For no reason the gorgeous zither has fifty strings,

Each string , each fret, recalls a youthful year.

Master Zhuang woke from a dream puzzled by a butterfly,*

Emperor Wang reposed his amorous heart to the cuckoo.**

The moon shines on the sea, pearls look like tears,

The sun is warm at Lantian,*** the jade emits mist.

This feeling might have become a memory to recall,

But, even then, it was already suggestive of sorrows.

*According to a fabled story, Zhuang Zi (c.369—286 BC), a famous philosopher of the Warring States Period, dreamt of being a butterfly and when he woke up, he was so confused that he could not tell whether it was him that had dreamt of being a butterfly or it was a butterfly that was then dreaming of being him.

**A legendary king who had an affair with his prime minister’s wife and after his death his spirit changed into the cuckoo.

***A hill famous for its jade in present-day Lantian County, Shaanxi Province.[7]

英译2：

The Sad Zither

Why should the zither sad have fifty strings？

Each string, each strain evokes but vanished springs:

Dim morning dream to be a butterfly;

Amorous heart poured out in cuckoo’s cry.

In moonlit pearls see tears in mermaid’s eyes;

From sunburnt jade in Blue Field let smoke rise！

Such feeling cannot be recalled again,

It seemed long-lost e’en when it was felt then.[8]

英译3：

The Inlaid Harp

I wonder why my inlaid harp has fifty strings,

Each with its flower-like fret an interval of youth.

… The sage Chuang-tzu is day-dreaming, bewitched by butterflies,

The spring-heart of Emperor Wang is crying in a cuckoo,

Mermen weep their pearly tears down a moon-green sea,

Blue fields are breathing their jade to the sun…

And a moment that ought to have lasted for ever

Has come and gone before I knew.[9]

在评论上述古诗的今译与英译之前还有一个问题值得提出来讨论。英译者是否在端出英译之前先端出今译，即产生Mr1之前一定会有Mr2？那不一定。许渊冲先生在形成英译前不大可能形成现代汉语表达出来的今译，但他一定有一个分析和转换过程, 即先彻底理解原诗, 得出原诗的深层结构, 然后将原诗深层结构转换成现代汉语, 再转换成现代英语的过程。这里面有两个转换, 第一个转换不一定见诸于文字, 时间也可能有长有短, 但客观上是存在的。杨宪益伉俪大概也是这么个过程，虽说英译1与今译2见于同一本书, 不见得英译者在后, 今译者在先, 即先有Mr2 后有Mr1 , 更不会据今译2而创作英译1。外国译者Bynner曾在中国任外交官多年, 也通晓中文, 他同江亢虎的合作是全面的, 不是江把古诗译成今诗再由Bynner按今译做出英译, 而是他们一起讨论今译及英译, 一起做两个转换。

一本翻译教程在“诗歌如何翻译？”题目下谈到英诗汉译的方法大致如下：

一、分析：即彻底理解原诗, 得出原诗的深层结构。

二、转换：将原诗深层结构转换成译语, 即译成散文。

三、重构：首先是确定韵脚……再调整句子长短、节奏…..”接下去补充说：

“中文古诗英译要多一个‘译成现代汉语’的步骤。”“实际上翻译时, 译者脑子里可能没有这么步骤分明, 可能跳过一些步骤, 也可能有几个来

回。”[10] 笔者对此深以为然。

下面来分析和比较古诗《锦瑟》的三种英译和两种今译。

两种今译所表达的信息和再现的意境与原诗很接近, 不明之处, 即当今读者可能会产生困难的地方, 还作了注释。今译2没有加注, 因为同一书中紧接着出现的英译1 有三条注, 其内容与今译1(另外的书中) 前面的注释基本一致。再就是两种今译在用词上虽有些不同, 没有造成信息和意境的差异。

标题《锦瑟》的三种译文中, “The Gorgeous Zither”正是前面所引注释中所提到的“装饰华美的瑟”; “The Sad Zither”可回译为“哀伤/惆怅的瑟”;“The Inlaid Harp”可回译为“镶宝石的竖琴”。“锦瑟”到底何意？《唐诗三百首》中有陈婉俊的补注：“锦瑟--- 周礼乐器图、雅瑟二十三弦、颂瑟二十五弦、饰以宝玉者曰宝瑟、绘文如锦曰锦瑟。汉书郊祀志、泰帝使素女鼓五十弦瑟、悲、帝禁不止、故破其瑟为二十五弦。按、湘素杂记谓、古今乐府有锦瑟、其声适怨清和。”

[11]可见, 三位译者各有不同理解：英译1 取“锦瑟”的外延意义的对等词语;英译2 取“锦瑟”的内涵喻义; 英译3 取“宝瑟”之字面意义, 用归化译法, 选用西方人熟悉的harp一词。

从全诗的意境来看, 开头两行, 即起联, 是说“聆锦瑟之繁弦, 思华年之往事；音繁而绪乱, 怅惘以难言。”颔联的上句(庄生晓梦迷蝴蝶)是说“佳人锦瑟, 一曲繁弦，，惊醒了诗人的梦景, 不复成寐。”本联下句(望帝春心托杜鹃)中杜宇啼春，这与锦瑟有什么关联？原来, “锦瑟繁弦, 哀音怨曲, 引起诗人无限的悲感, 难言的冤愤，如闻杜鹃之凄音, 送春归去。”一个“托”字, 不但写了杜宇之托春心于杜鹃, 也写了佳人之托春心于锦瑟, 从而把全诗的意境推到一个高潮。接卞去颈联两句中的上句“沧海月明珠有泪”已成千古名句, “皎月落于沧海之间., 明珠浴于泪波之界,”月、珠、泪三者合一, 含有丰富的内涵、奇丽的联想。而且“瑟宜月夜，清怨尤深”古就有之, 正好说明沧海月明之境与瑟之间的关联。下句“蓝田日暖玉生烟”代表了“一种异常美好的理想景色, 然而它是不能把握和无法亲近的。”“蓝田日暖”与“沧海月明”不仅是完美的对仗, 还造成了鲜明强烈的对比。尾联两句是说：“如此情怀，岂待今朝回忆始感无穷怅恨，即在当时早已是令人不胜惘惘了----话是说的‘岂待回忆’, 意思正在：那么今朝追忆, 其为怅恨, 又当如何！”[12] 让我们依据周汝昌先生的权威解读来看上引今译与英译对原诗意境的再现几种情况。首先, 两种今译符合原诗意境。二是可以明显看出, 英译1(连同其注)再现原诗意境最切近, 因为原诗巧妙地运用多个典故, 国俗语义难以在译诗中传递, 用注释来补充是必要的, 况且多种面向母语读者的中文版本中也有注释。三是译文2 考虑英诗形式较多, 本诗较好地押尾韵aabbccdd, 基本上每诗行保持10个音节、抑扬格节奏，已勉为其难了, 加上又避免用注释, 因此在意境的再现方面出现了一些缺

损，如“Dim morning dream to be a butterfly./ Amorous hesart poured out in cukoo’s cry.”不但英语文化读者难以理解瑟的演奏与蝴蝶与杜鹃的关联, 甚至句子的主语不明、动词时态与形式混乱；又如“Such feeling cannot be recalled again,/ It seemed long-lost e’en when it was felt then.”(可回译为“这种情感不能再回忆了, 当时那种感觉似乎早已不复存在。”)与原句意思(“今朝追忆，其为怅恨”)不是相悖吗？四是译文3 总体上不能完整而合乎逻辑地再现原诗的意境, 一些语句生涩、意象混乱, 如“Each with flower-like fret an interval of youth, ”把弦乐器指板上的每个挡子(fret) 实写, 并比喻成一段青春年华; 把“蓝田”理解为蓝色的田野(blue fields) , fields在这里用作普通名词, 还是复数, 这一句的意思变成了“蓝色的田野向着太阳正喷出玉石”; 译诗的最后两句回译成汉语, 意思是说“那一刻本应永存记忆, / 如今却于不知不觉中到来而又消失了。”更别说原诗中的典故及其联想在译诗中变得面目全非了, 如说“圣人庄子白日做梦, 被蝴蝶所迷, / 望帝春心萌动在一只杜鹃身上哭啼。”

拿英译与好的今译比较, 或者将英译回译成现代汉语再对照原诗琢磨译诗再现原作的意境是优是劣, 不失为一种好的检验方法。以古诗英译过程而论，是否在理解与表达中间要有一个今译的过渡阶段, 不能一概而论。《锦瑟》是“李商隐的代表作, 爱诗的无不乐道喜吟, 堪称最享盛名；然而它又是最不易讲解的一篇难诗。”(周汝昌语) 难讲解当然也更难译, 所以先做今译或以英译与今译比较是必要的。然而, 较为短小易懂的诗似可避开这种过渡, 代之以一段时间的酝酿。试举[唐]贾岛的《访隐者不遇》为例：原诗：

访隐者不遇

松下问童子, 言师采药去。

只在此山中, 云深不知处。

英译1：

A Note Left for an Absent Recluse

When I questioned your pupil, under a pine tree,

“My teacher”, he answered, “went for herbs,

But toward which corner of the mountain,

How can I tell, through all these clouds？”

---- W. Bynner译[9] 英译2：

Looking for a Recluse but Failing to Find Him

Under thr pines I questioned the boy.

“My master’s off gathering herbs.

All I know is he’s here on the mountain----

Clouds are so deep, I don’t know where…”

---- W. Watson 译[13] 郭著章教授评论说, “Burton Watson的英译非常达意传种, 忠实地传达了原诗内容, 看来与译者对原诗的透切了解是分不开的。贾岛在诗中省去了问句的内容, 只写了童子答话的内容。译者充分把握这一点, 用直接引语译间接引语, 在此处不失为一种相当成功的译法。”[13] Witter Bynner的译文也用直接引语, 与英译2 虽然不同, 在传达原诗内容和精神上有异曲同工之妙。两种外国译者的译诗均很好地再现了原诗的意境。

英译3：

A Hermit Visited but not Encountered

About the hermit I ask a boy under a pine,

And he answers that his master is gone out,

Into the mountains to gather herbs for medicine,

Yet for the heavy clouds he knows not his whereabouts.

---- 万昌盛等译[15] 与前三种译文不同之处在于译诗与原诗一样用间接引语, 而且是韵体诗, 押abab韵, 用词浅显, 便于吟诵, 再现原诗意境也很好。请与下面的今译比较：

今译：

松树下(我)询问童子,

童子说师傅采药去了。

就在这山中,

只是云深雾浓不知他究竟在哪里。[16]

不难看出, 四种英译与今译在传达信息、再现意境上都是很切近的, 也就是说, Mr1 与Mr2 以及M 基本上是相等或很接近的。这里说的相等或接近, 当然指内容与风格, 不可能是字或词的表层结构相同。正如奈达所说, Translating means translating meaning. ( 翻译即译意。) 他这话是泛指的, 若指古诗英译, 则更确切。早在17世纪英国著名诗人、作家德莱敦( John Dryden, 1631—1700 )就说过“翻译即释义”( Translation is paraphrasing. ) 实际上, 今译与英译都是对原诗的释义, 也就是：Mr2 or Mr1 is the paraphrasing of the original poem(M).

Unit 9 How to Grow Old 课文翻译

Unit 9 How to Grow Old Bertrand A. Russell 1. In spite of the title, this article will really be on how not to grow old, which, at my time of life, is a much more important subject. My first advice would be, to choose your ancestors carefully. Although both my parents died young, I have done well in this respect as regards my other ancestors. My maternal grandfather, it is true, was cut off in the flower of his youth at the age of sixty-seven, but my other three grandparents all lived to be over eighty. Of remoter ancestors I can only discover one who did not live to a great age, and he died of a disease which is now rare, namely, having his head cut off. A great-grandmother of mine, who was a friend of Gibbon, lived to the age of ninety-two, and to her last day remained a terror to all her descendants. My maternal grandmother, after having nine children who survived, one who died in infancy, and many miscarriages, as soon as she became a widow devoted herself to women’s higher education. She was one of the founders of Girton College, and worked hard at opening the medical profession to women. She used to relate how she met in Italy an elderly gentleman who was looking very sad. She inquired the cause of his melancholy and he said that he had just parted fro m his two grandchildren. “Good gracious,” she exclaimed, “I have seventy-two grandchildren, and if I were sad each time I parted from one of them, I should have a dismal existence!” “Madre snaturale,” he replied. But speaking as one of the seventy-two, I prefer her recipe. After the age of eighty she found she had some difficulty in getting to sleep, so she habitually spent the hours from midnight to 3 a.m. in reading popular science. I do not believe that she ever had time to notice that she was growing old. This, I think, is the proper recipe for remaining young. If you have wide and keen interests and activities in which you can still be effective, you will have no reason to think about the merely statistical fact of the number of years you have already lived, still less of the probable brevity of your future. 2. As regards health, I have nothing useful to say since I have little experience of illness. I eat and drink whatever I like, and sleep when I cannot keep awake. I never do anything whatever on the ground that it is good for health, though in actual fact the things I like doing are mostly wholesome. 3. Psychologically there are two dangers to be guarded against in old age. One of these is undue absorption in the past. It does not do to live in memories, in regrets for the good old days, or in sadness about friends who are dead. One’s thoughts must be directed to

科普版英语六年级下册课文及翻译 (直接打印版)

Lesson 1 I’m not feeling well. Let’s talk （M=Mom, T= Tom） M: What,'s the matter, Tom T: I'm not feeling well, Mom M: Do you have a cold T: Yes, I think so. Could you give me some water, please M: Here you are. T: Thank you, Mom. M: Tom, you must go and see a doctor. T: OK, Mom. M: It's cold outside. You must wear your coat. T: OK, Mom. Could you pass me my coat,please M: Here you are. T: Thank you, Mom M: Tell me your teacher's number. I'll call him and tell him you are sick. T: OK. Here it is. 译文 (M=妈妈,T=汤姆) 妈妈:怎么了,汤姆汤姆:我感觉不舒服,妈妈。妈妈:你感冒了吗汤姆:是的,我想是这样的。您能给我一些水吗妈妈:给你。汤姆:谢谢您,妈妈。妈妈:汤姆,你必须去看医生. 汤姆:好的,妈妈。妈妈:外面很冷。你必须穿你的外套。汤姆:好的,妈妈。您能把我的外套递给我吗妈妈:给你。汤姆:谢谢您,妈妈。妈妈:告诉我你老师的电话号码。我将给他打电话告诉他你生病了。

Unit 1 A Class Act 课文翻译

Unit 1 A CLASS ACT Florence Cartlidge 1. Growing up in bomb-blitzed Manchester during the Second World War meant times were tough, money was short, anxiety was rife and the pawnshop was a familiar destination for many families, including mine. 2. Yet I could not have asked for more enterprising and optimistic parents. They held our family together with hard work, dignity and bucketloads of cheer. My sturdy and ingenious father could turn his hand to almost anything and was never short of carpentry and handyman work. He even participated in the odd bout of backstreet boxing to make ends meet. For her part, our mum was thrifty and meticulously clean, and her five children were always sent to school well fed, very clean, and attired spotlessly, despite the hard conditions. 3. The trouble was, although my clothes were ironed to a knife-edge, and shoes polished to a gleam, not every item was standard school uniform issue. While Mum had scrimped and saved to obtain most of the gear, I still didn’t have the pres cribed blue blazer and hatband. 4. Because of the war, rationing was in place and most schools had relaxed their attitude towards proper uniforms, knowing how hard it was to obtain clothes. Nevertheless, the girls’ school I attended made it strict policy that each of its students was properly attired, and the deputy headmistress who ran the daily assembly made it her mission to teach me a lesson. 5. Despite my attempts at explaining why I couldn’t comply, and despite the fact that I was making slow progress towards the full uniform, every day I would be pulled out of line and made to stand on the stage as a shining example of what not to wear to school. 6. Every day I would battle back tears as I stood in front of my peers, embarrassed and, most often, alone. My punishment also extended to being barred from the gym team or to not taking part in the weekly ballroom dancing classes, which I adored. I desperately

中国梦我的梦演讲稿范文5篇

中国梦我的梦演讲稿范文5篇篇一亲爱的老师、同学们：一个人梦想的追寻和实现，成就了中国的腾飞和光荣，这就是“中国梦”。比如：神州五号载人飞船的发射成功，嫦娥三号圆满发射，都是中国富强的表现。曾经，邓小平说过：”我要让中国富起来!“还有周恩来总理：”我要让中国强大起来!“后来他们都实现了自己的中国梦。然而，我的中国梦就是——让中国变成绿色。现在，因为伐木工过度砍伐树木，水泥厂越来越多，沙漠化越来越厉害，还有农业污水越来越多，把蓝色的小溪都变成了灰色和黑色。中国的环境越来越差，全是灰色和黄色。我实在是太心疼了，不忍心看下去，所以我逐渐的开始保护环境。在过年的时候，我会对爸爸妈妈亲戚朋友分别说：”今年不要放烟花爆竹了，您看那灰色的天空，还有电视上说的雾霾天气，环境多差呀!“有空的时候，我还会出去打扫卫生，甚至植几株草和花。植树节，我还会去植树。我还会有空的时候去贴几张”告示“，让大家不要破坏花草树木等。每个普通中国人的普通中国梦，都可以汇聚成一个伟大的中国梦!如果每个人都实现了自己的中国梦，那么我们的中国会越来越强大。如果每个人都嘴上说说，却不去实现，口是心非，那又有什么用呢? 篇二亲爱的老师、同学们：每个人都有梦想，老师有希望学生成绩出色的梦，军人有希望国家繁荣富强的梦，医生有希望病人早日康复的梦，宇航员有希望发星球更

多秘密的梦…… 同样，我也有一个美好的梦。我梦想长大以后当一位能歌善舞的舞蹈家，代表国家四处比赛，为祖国争光。为了实现这个梦想，每周，我都要去文化馆上舞蹈课，上课前，我们都会自己拉拉腰、压压腿，做好课前准备，以免上课时把身体拉伤。虽然做了课前准备，可在练习时，总会清晰地听到自己骨头咔咔响的音。有时把一只腿放在厚厚的毯子上，另一只腿放在地上，摆成竖叉，大腿贴地，然后用手拉住后面那只脚，倒数二十秒，就可以了。可是，在这过程中，总会感到疼痛难忍，有时，我会疼得哭起来，有时，会疼得坐不稳，每当这时候，只要心里一想到那个美丽又美的梦，我就不觉得那么痛了，也轻松多了。有时在排练舞时，有的动作很难，练了很多次，可还是没做好。每当我相放弃不练了的时侯，只要一闭上眼睛，脑海里就会浮现出我在台上表演，台下的观众个个鼓掌叫好的场景。这些景象让我一次又一次地从摔倒的地方重新站了起来，完成了一个又一个困难却好看的舞姿。每当我们表演完节目，崔老师总不忘鼓励我们一句‘你们今天表现得真棒!’虽然这话在别人听起来十分平淡，可我听起这话总能让我紧张不以的心平静下来，感受到温暖。通过自己的努力，我参加了许多比赛，每次拿到奖时，我都十分激动，心里像吃了蜜一样甜甜的，希望自己更上一层楼。也许，在不久的将来，我的梦想会成为现实，我一定要好好学习，天天向上，努力实现我美好的理想。篇三亲爱的老师、同学们：梦想是什么?相信每个人都有自己的理解，是卖火柴的小女孩渴望点燃一根火柴来取得温暖，还是丑小鸭幻想自己有一天可以脱去丑陋的

Thechaser追逐者中英对照

The Chaser John Collier Alan Auste n, as n ervous as a kitte n, went up certa in dark and creaky stairs in the n eighborhood of Pell Street , and peered about for a long time on the dim landing before he found the n ame he wan ted writte n obscurely on one of the doors. He pushed ope n this door, as he had bee n told to do, and found himself in a tiny room, which contained no furn iture but a pla in kitche n table, a rock in g-chair, and an ordinary chair. On one of the dirty buff-colored walls were a couple of shelves, containing in all perhaps a doze n bottles and jars. An old man sat in the rock in g-chair, read ing a n ewspaper. Ala n, without a word, handed him the card he had been given. 人Sit down, Mr. Austen, said the old man very politely. 人I am glad to make your acqua intance. 人Is it true, asked Alan, 人that you have a certain mixture that has ! er ! quite extraordinary effects? 人My dear sir, replied the old man, 人my stock in trade is not very large ! I don …t deal in laxatives and teething mixtures ! but such as it is, it is varied. I think nothing I sell has effects which could be precisely described as ordin ary. 人Well, the fact is ! began Alan. 人Here, for example, interrupted the old man, reaching for a bottle from the shelf. 人Here is a liquid as colorless as water, almost tasteless, quite imperceptible in coffee, wine, or any other beverage. It is also quite imperceptible to any known method of autopsy. 人Do you mean it is a poison? cried Alan, very much horrified. 人Call it a glove-cleaner if you like, said the old man indifferently. 人Maybe it will clean gloves. I have never tried. One might call it a life-cleaner. Lives need cleaning sometimes. 人I want nothing of that sort, said Alan. 人Probably it is just as well, said the old man. 人Do you know the price of this? For one teaspoonful, which is sufficient, I ask five thousa nd dollars. Never less. Not a penny less. 人I hope all your mixtures are not as expensive, said Alan apprehe nsively. 人Oh dear, no, said the old man. 人It would be no good charg ing that sort of price for a love poti on, for example. Young people who n eed a love poti on very seldom have five thousa nd dollars. Otherwise they would not n eed a love poti on. 人I am glad to hear that, said Alan. 人I look at it like this, said the old man. 人Please a customer with one article, and he will come back whe n he n eeds another. Even if it is more costly. He will save up for it, if n ecessary. 人So, said Alan, 人you really do sell love potions? 人If I did not sell love potions, said the old man, reaching for another bottle, 人I should not have mentioned the other matter to you. It is only whe n one is in a positi on to oblige that one can afford to be so con fide ntial. 人And these potions, said Alan. 人They are not just ! just ! er ! 人Oh, no, said the old man. 人Their effects are permanent, and exte nd far bey ond casual impulse. But they in clude it. Boun tifully, in siste ntly. Everlast in gly. 人Dear me! said Alan, attempting a look of scientific detachme nt. "How very in teresti ng! 人But consider the spiritual side, said the old man.

outofstep课文全文翻译.doc

Unit 3 Out of Step Bill Bryson 1 After living in England for 20 years, my wife and I decided to move back to the United States. We wanted to live in a town small enough that we could walk to the business district, and settled on Hanover, N.H., a typical New England town—pleasant, sedate and compact. It has a broad central green surrounded by the venerable buildings of Dartmouth College, an old-fashioned Main Street and leafy residential neighborhoods. 2 It is, in short, an agreeable, easy place to go about one’ s business on foot, and ye far as I can tell, virtually no one does. 3 Nearly every day, I walk to the post office or library or bookstore, and sometimes, if I am feeling particu larly debonair, I stop at Rosey Jekes Caféa cappuccino. Occasionally, in the evenings, my wife and I stroll up to the Nugget Theatre for a movie or to Murphy’ s on the Green for a beer, I wouldn’ t dream of going to any of these places by car. People ha ve gotten used to my eccentric behavior, but in the early days acquaintances would often pull up to the curb and ask if I wanted a ride. 4“ I’ m going your way,” they would insist when I politely declined. no bother.”

Unit7TheChaser课文翻译综合教程三

Unit 7 The Chaser John Henry Collier 1 Alan Austen, as nervous as a kitten, went up certain dark and creaky stairs in the neighborhood of Pell Street, and peered about for a long time on the dim hallway before he found the name he wanted written obscurely on one of the doors. 2 He pushed open this door, as he had been told to do, and found himself in a tiny room, which contained no furniture but a plain kitchen table, a rocking-chair, and an ordinary chair. On one of the dirty buff-coloured walls were a couple of shelves, containing in all perhaps a dozen bottles and jars. 3 An old man sat in the rocking-chair, reading a newspaper. Alan, without a word, handed him the card he had been given. “Sit down, Mr. Austen,” said the old man very politely. “I am glad to make your acquaintance.” 4 “Is it true,” asked Alan, “that you have a certain mixture that has … er … quite extraordinary effects?” 5 “My dear sir,” replied the old man, “my sto ck in trade is not very large — I don’t deal in laxatives and teething mixtures —but such as it is, it is varied. I think nothing I sell has effects which could be precisely described as ordinary.” 6 “Well, the fact is …” began Alan. 7 “Here, for example,” interrupted the old man, reaching for a bottle from the shelf. “Here is a liquid as colourless as water, almost tasteless, quite imperceptible in coffee, wine, or any other beverage. It is also quite imperceptible to any known method of autopsy.” 8 “Do you mean it is a poison?” cried Alan, very much horrified. 9 “Call it a glove-cleaner if you like,” said the old man indifferently. “Maybe it will clean gloves. I have never tried. One might call it a life-cleaner. Lives need cleaning sometimes.” 10 “I want nothing of that sort,” said Alan. 11 “Probably it is just as well,” said the old man. “Do you know the price of this? For one teaspoonful, which is sufficient, I ask five thousand dollars. Never less. Not a penny less.” 12 “I hope all your mixtures are not as expensive,” said Alan apprehensively.

(完整版)大学英语精读3课文(第三版)_中英文对照

课文翻译 Unit 1 Text A young man finds that strolling along the streets without an obvious purpose can lead to trouble with the law. One misunderstanding leads to another until eventually he must appear in court for trial…… 一个青年发现，在大街上毫无明显目的地游逛会招致警方的责罚。误会一个接一个发生，最终他只得出庭受审…… A Brush with the Law 与警察的一场小冲突 I have only once been in trouble with the law. 我平生只有一次跟警方发生纠葛。 The whole process of being arrested and taken to court was a rather unpleasant experience at the time, but it makes a good story now. 被捕和出庭的整个过程在当时是一件非常不愉快的事，但现在倒成了一篇很好的故事。 What makes it rather disturbing was the arbitrary circumstances both of my arrest and my subsequent fate in court. 这次经历令人可恼之处在于围绕着我的被捕以及随后庭上审讯而出现的种种武断专横的情况。It happened in February about twelve years ago. 事情发生在大约12年前，其时正是2月。 I had left school a couple of months before that and was not due to go to

Unit7TheChaser练习的答案解析综合教程三

Unit 7 The Chaser Key to the Exercises Text comprehension I. Decide which of the following is likely to happen after the story. C II. Judge, according to the text, whether the following statements are true or false. 1. F (Refer to Paragraph 5. The old man says that his stock in trade is not very large, but it is varied and has extraordinary effects.) 2. F (Refer to Paragraphs 11 and 1 3. The price of a glove-cleaner, as he calls it, is very high, five thousand dollars for a teaspoonful, but the love potion is very cheap.) 3. F (Refer to Paragraph 19. The old man claims that the effects of love potions are permanent.) 4. T (Refer to Paragraphs 24 and 28. Austen says that Diana is fond of parties and, although she is everything to him already, she does not care about his love at all. That is why he decides to go to the old man for the love potion and whenever the old man mentions the magic of his potion, he can't help "crying." From that, we can see the man loves the girl very much.) 5. F (The old man sells the love potions almost for nothing because by doing so his customers will come back for a much dearer commodity, the glove-cleaner, to help them out. It is the "death potion" that the old man makes most of his profits from, and intends to sell to his customers.) III. Answer the following questions. 1. What the old man means is that a young man who falls in love one-sidedly is seldom rich enough to win a girl's heart. His words imply that money is one of the crucial factors for love. If a man is not rich, he can rarely expect to be loved by a girl. 2. Refer to Paragraphs 19 to 37. The love potion has powerful, everlasting effects. To begin with, it may produce sexual desire in the person who takes it. And on the spiritual side, it can replace indifference with devotion and scorn with adoration. It will make a gay girl want nothing but solitude and her lover's company. She will feel jealous of him when her lover is with other girls; she will want to be everything to him. She will be only interested in her lover and take every concern of him. Even if he slips a bit, she will forgive him though terribly hurt. In a word, she will fall in love with him if she drinks the love potion. 3. Refer to Paragraphs 39 to 43. It is an irony, by which the author seems to imply that love is far from being precious or desirable. It is easy for a man to fall in love, yet it is hard