文学翻译赏析 A卷 2015-2016(1)1111
南京工业大学文学翻译赏析试题（A）
（学期论文）
2015 -2016学年第一学期使用班级英语1302班
班级英语1302班学号2401130208 姓名黄娴
从诗歌“三美原则”对苏轼水调歌头两译本对比
研究
黄娴
（南京工业大学外国语言与文学学院，江苏南京211816）
摘要：《水调歌头·明月几时有》是宋朝苏轼的代表作之一，本文将从诗歌的三美原则对水调歌头的三种译文进行对比赏析，译文作者分别为许渊冲，林语堂。本文旨在通过三美原则对译文的分析，让读者感受到译作在音美，形美，意美上的体现。对比研究《水调歌头·明月几时有》译者风格有利于我们更好地英译宋词，同时对评价古诗英译也具有一定的参考价值。
关键词：水调歌头，苏轼，三美原则，
A comparative study of two English version of su shi’s “prelude to water
melody” from “the principle of three beauties”
Huangxian
(School of Foreign Languages and Literature, Nanjing Tech University, Nanjing
Jiangsu 211816)
Abstract: prelude to water melody is one of the representative poems which written by Su Shi of the Song Dynasty, this paper will make a contrastive analysis of the three versions of the poetry from “the principle of three beauties”, whose writ er are Xu Yuanchong, Lin Yutang. The aim of the paper is to analyze three versions from “the principle of three beauties”, make the reader enjoy detailed app lication of three
versions on beauty in sound, beauty in form and beauty in sense. Meanwhile, the stylistic analysis of prelude to water melody is conducive to both translating the Tang poems and criticizing poetry translation.
Key words: prelude to water melody，Su Shi，the principle of three beauties
一，引言
古诗是中华民族源远文化的象征之一。诗歌把古诗具体化，使之传播得更广，更通俗。不论在哪个朝代，哪个地方，总会有各种各样的诗人才子出现，寥寥十几字，却能表现出他人撰写几十卷也无法表达出的浓烈情感。但如何能将这种深隐于文字的情感为另一国人所感，译者和其译文都必须忠实于原文，并通顺易懂，符合他国的语言习惯。基于这几点，译者不仅要对具备翻译的基本技能，还要贯通中西。
这首词是宋神宗熙宁九年中秋作者四十一岁时在密州时所作.这一时期,苏轼因为与当权的变法者王安石等人政见不同,自求外放,颠沛流离。在他到达密州时已经七年未与他的弟弟苏辙相见。而就在密州的某个皓月当空的晚上，她望着这轮圆月，悲从心来，思恋之情不能自已，因此喝酒解愁，诗兴大发，于是挥笔写下这篇脍炙人口的诗作，一方面，感到怀才不遇，心中抑郁，另一方面，也抒发了月圆人不圆的思念之情。
许渊冲在继承前人学说的基础上，集毕生翻译之经验加以发展，提出了自成一派的翻译理论"优化论"，："三美论"（意美、音美、形美）是译诗的本体论。利用他所创立三美原则翻译了许多作品，其中苏轼的水调歌头就是他的译本之一，在里面他通过意美，形美，音美三个角度翻译了苏轼的的水调歌头。她曾获国际翻译界最高奖项之一的“北极光”杰出文学翻译奖，拥有深厚的翻译理论基础。相比较许渊冲，林语堂曾在哈佛大学深造，这位其的翻译事业打下坚实的基础。他也有自己美的原则，相比较许渊冲分为三美，林语堂体现在水调歌头里的美的原则可分为，声音之美，文气之美，形式之美，意义之美等。两人在诗词的理解上旗鼓相当，在翻译的理论以及遣词造句上也有自己的理解。本文将在此就三美原则上对许，林两译文进行对比分析。
二，三美原则
三美原则由许渊冲先生所创，在长期的诗作翻译中，他用自己的实践经验以及感悟，总结出了这一套翻译理论。但三美的地位并不是平等的，一篇译文中先要做到意美，再是音美，最后为形美。意美指的是意境之美，也就是要在译出原文的基础之上，让读者能感受到诗作所要表达的情感。音美指的是要将古诗中的节调，韵律，平仄和句数传达出，即诗行的韵脚要一致，读起来要抑扬顿挫且要符合原诗的句数。最后是形美，指的是要工整对仗，尽量还原原诗的句式以及词的使用。
三，本文对三美分别对苏轼的水调歌头的两个译本做对比赏析
许渊冲先生译作：
How long will the full moon appear? Wine cup in hand, I ask the sky。
I do not know what time of the year
’Twould be tonight in the palace on high。
Riding the wind, there I would fly,
Yet I’m afraid the crystalline palace would be
Too high and cold for me。
I rise and dance, with my shadow I play。On high as on earth, would it be as gay? The moon goes round the mansions red Through gauze-draped window soft to shed
Her light upon the sleepless bed。
Why then when people part, is the oft
full and bright?
Men have sorrow and joy; they part or meet again; The moon is bright or dim and she may wax or wane。
There has been nothing perfect since the olden days。
So let us wish that man
Will live long as he can!
Though miles apart, we’ll share the beauty she displays。
林语堂先生译作：
How rare the moon, so round and clear! With cup in hand, I ask of the blue sky, "I do not know in the celestial sphere What name this festive night goes by?"
I want to fly home, riding the air,
But fear the ethereal cold up there,
The jade and crystal mansions are so high!
Dancing to my shadow,
I feel no longer the mortal tie。
She rounds the vermilion tower, Stoops to silk-pad doors,
Shines on those who sleepless lie。Why does she, bearing us no grudge, Shine upon our parting, reunion deny? But rare is perfect happiness--
The moon does wax, the moon does wane,
And so men meet and say goodbye。I only pray our life be long,
And our souls together heavenward fly!
1，意美
1，(1)意境美
原文是什么时候，而此处许译为“how long”，就有点不符合原文，应译为“when”更好。比起许译，林译将第一句着重于月亮的圆和亮，且不采用疑问句，没有提到时间，而改用感叹句，加强了语气，不失为一个大胆创新之举，且这里更好地体现了意美。
今夕是何年，是指因中国古代神话传说有天上只三日，人间已千年的说法，所以诗人才会有此问，在这里一方面隐提中秋团圆节，一方面也表达出因与弟弟分离的度日如年之感。许第一句采用直译，用了一般将来时，初看起来会觉得用will有些不妥，可以用现在完成进行时译为“how long has the full moon appearing”，但若是细细琢磨，就可以理解成月亮还将在天上多久，表达一种月在人不再的感觉，体现了意美，渲染了一种悲伤的气氛。
“Palace”一般指宫殿，或是英国中主教的住宅，而“celestial sphere”指的天球，以地球为中心无限大的假想球。而原诗中的天上宫阙只是诗人的一种想象和精神寄托，因此与我们东方的天上的神所相对的就是西方的教堂，这就是翻译上的意译，也可以说是异化，同时也体现了意美，表现出诗人将情感寄托于月亮。
许译中用“that man”和“he”暗指了苏轼的弟弟。婵娟指的是月亮，因无法相见所以只能共同在中秋赏同一个月亮，许译直接以除了这种感情，在林译中提及“souls”，“heavenward”这些西方化的意象，让外国读者更能理解，更具有意美。
1，(2)词汇美
同时在林译中“festival”一词暗指中秋这一节日，天上的神仙是否也有人间的情感，她们是否也有中秋这一节日。而许译中直接用了“what time of the year”，更是缺乏了意美。
“乘风”一词带有一种生在乱世但想洁身自好，脱离世俗的感觉。此时的苏轼经受了官场失意，兄弟分离，而身边又没有知心人，所积在心中的愤懑令他厌倦尘世。林译用“the air”能体现出飘零，落寞，孤独无助之感，而“the wind”虽然直白的翻译了诗句，在苏轼后来所写的《前赤壁赋》中，浩浩乎如凭虚御风，更加强烈的表达了苏轼想要脱离尘世。
而“欲”，“恐”两个动词，很好的表现了作者的感受，同样表达的是想而不得的感情，此处，许译为“afraid”，是因担心后果而害怕，林译为“fear”则是因已发生的事而感到畏惧，因此用afraid更符合意美。
许译中把“cold”和“high”二者并列，但是在原诗中是一方面因为在高处才冷，另一方面是因孤独而冷此处的翻译有些偏颇，可改为“high crystalline palace is lonely and cold for me。”而在林译中冷和琼楼玉宇区分开说明，并提到“ethereal”，明显误解原文。
“Rise”译出了“起”一词，“rise”有从……飞起之意，与前面的琼楼玉宇，乘风相对应，因此“rise”一词的增加另译文增色不少。林译中“dance to”为和着（音乐）起舞，将“shadow”与音乐相比，更显美感和有趣，而许译中用play 一词显得比较生硬，且缺乏欣赏之意。后一句，许译中的“earth”，“gay”直接表现在人间的开心，虽然没有照原诗翻译，但是采用反问的方式增加了诗人对人世的留念。而林译上升到了生死的角度，过于夸大，似有将生死置之度外之感。
“mansion red”和“vermilion tower ”相比，后者更甚，“mansion”用于宫殿而此时诗人所住的仅仅是一个阁楼，官场失意，被贬的他并不会去住那些豪华的地方。因此林译用“tower”用了归化之法，长发公主被困于塔，而苏轼也被世俗抑或是他的心境所困。
第二句许用“gauze－draped”，宋朝确已有纱布糊窗，而林用“silk－pad”就有点偏离事实，丝绸织即使是宋朝也是珍贵的，不会用来糊窗，而林译中的“stoop”含有屈辱之意，此处诗人只是想表现出此时此刻只有月亮陪着他，并没有侮辱的含义。而且将户译为“door”更是不符合原文，此时的诗人是在房内
睡觉，因此月光不可能透过门。在后一句，许用“the sleepless bed”,而林用了“those”,代表着许多人和他一样饱受着思念和失眠之苦。
在此句上，许译更为简洁明了，林译用了“grudge reunion ”等词，让人感觉累赘，拖沓，其实诗人在此处只是想表明，月亮在我们分离的时候特别的圆，表达诗人心中愤懑但无处可以发泄，而去怪罪无辜的月亮。
在林译中有一句“And so men meet and say goodbye.”可能会让读者产生误解，似乎人们遇见就是为了说再见，有些偏离原诗的本体含义。接下一句中，“但愿人长久，”究竟是离别的人能长久在一起，还是人能获得长久，从表面意思上看是离别的人能长久在一起，事实上是希望人能活的久离别的人相见的一日。此句中也蕴含着作者可能觉得此生都没有机会与他的弟弟相见。二者在译文上都很好的展现了意境之美，可以说是平分秋色，各有其的独到之处
2，音美
分析过了意美之后，我们来到第二个，就是音美。中国古典诗歌的音美主要体现在诗歌的韵律和节奏上，以及声音的抑扬顿挫和升降。作为中国古典诗歌的声音形成的重要因素，我们在翻译是时也应该尽量保持押韵。
通过对原诗尾韵的分析，我们可以看出原诗是在重复相同的尾韵[an]，像“天，年，寒，间，眠，圆，全，娟。”原诗的音韵效果很明显。所以在诗作翻译是我们也要注重韵脚的一致。在以上两篇译文中我们可以很明确的看出许译更能体现原诗的音乐美。他每翻译的诗两句用一个尾韵。上阙尾部单词是“appear”“sky high ”“fly ”“be”“me ”“play ”“gay”尾韵是：[ir ai ai ai i i ei ei]；下阕尾部单词“red ”“shed ”“bed ”“bright”“again ”“wane ”“days”“men ”“can”“displays”是：[ed ed ed ait ein ein eis ain ain eis]。可以看出上阕基本押i的音，下阕基本押e的音。因此他翻译的这首诗与原诗同样具备音韵美。而在林译中却难以找到明显的音韵美。
上阕：中仄仄平仄，中仄仄平平。
中平中仄平中，中仄仄平平。
中仄平平中仄，中仄平平中仄，中仄仄平平。中仄仄平仄，中仄仄平平。下阕：中中中，中中仄，仄平平。
中平中仄，平中平仄仄平平。
中仄平平中仄，中仄平平中仄，中仄仄平平。中仄中平仄，中仄仄平平。
而在平仄上，原诗基本以平结尾，平仄互文。宋词常常在前后两片中夹杂平仄韵，也有平仄互文几乎句句用韵者，对初学者束缚太多，应尽量少用。开始的两句各有五字，首句下三字，苏轼用的仄平仄。每句的末尾都以仄平平结尾。在英语中显然是没有平仄的，但是可以分轻重音，而在林译用了大量的抑扬格，通过运用抑扬格来表现诗歌的押韵以及节奏感。因此，在音美上，林译更好一些
3.形美
形式美是指诗歌的外部形式。这主要表现在诗的结构，行数和每行的长度上。原诗分为两小节。上阙有九行，而下阕有十行。在林译中，分两小节，上阕九行，下阕十行。与原诗完全一致，达到了形美的效果。许译的这首诗也分为两小节，上节九行，下节有十一行，非常接近原诗。在上阕，许译用了76个单词，而林译用了68个单词，相比较而言，林译更为简洁。而在下阕的首句中的三字结构中，林译用了5,5,6的格式，许译用了7,7,6的格式，二者在这方面不相上下，都体现出行数上的形美。
但是在单词的选择上，显然许译更加准确，比如诗句首句“how long”和“how rare”，从原诗来看许译更加准确。再从“gauzed-draped window ”和“silk-pad door ”相比，林译在词选用上还不够严谨。总体来说，形美许译更胜一筹。在许译中直接按照原诗的顺序进行翻译，让人感觉流畅，而且通顺，而在林译中将原诗做了顺序上的调整，虽然更符合人的阅读习惯，但是不尊重原文。许译中将“悲欢离合，阴晴圆缺，”都译了出来，虽然看起来很工整，但是失去了四字成语的原汁原味，并不能体现出古诗的优点以及韵味。在形美上，许译更胜一筹。
五，结语
通过三美原则分析了水调歌头的两个英译本，我们可以得出，两个译本在意美上各自都有其独特的闪光之处，在音美上林译稍稍落后，而在形美上二者都用自己的方式去展现了。从三美原则看，似乎是许译更为完美。但是对于译文来说，能被人看懂的，能传达出原作所要传达的，就是成功的。对于译者来说，只要紧紧抓住原诗的“意”，再从“音”和“形”上去努力完善它，就能翻译出好的作品。这其中，“意美”是诗歌的灵魂，是诗歌的精髓所在，“音美”和“形美”是一首诗歌成功的必要条件。但是如果一味追求音美和形美，也是得不偿失的。因此，在翻译诗歌中，译者的创造性发挥也是非常重要的，是诗歌翻译中必须的。在林译中就有创新之处，虽然大胆也给文章增色不
少。在这两个译本中，许渊冲的译作虽更符合三美原则，但行文僵硬，稍显呆板，而林语堂的译作在形式上更自由，译作也更容易理解。所以，当译者进行翻译时，虽要遵循翻译理论，但有时也要灵活变通，不可以拘泥于形式。
参考文献：
[1]许渊冲.翻译的艺术.中国对外翻译出版公司，1984
[2]许渊冲.唐宋诗一百首.中国对外翻译出版公司，2007
[3]乔志高谈林语堂——翻译中有创作，创作中有翻译．凤凰网， 2015-07-26
[4]牛津高阶英汉双解词典.第七版.（英）霍恩比著.牛津大学出版社，2009
[5]从三美原则看英格律诗汉译.陈倩.山东省农业管理干部学院学报，2005
高中生经典英文小说阅读与欣赏系列 Eveline
Eveline by James Joyce SHE sat at the window watching the evening invade the avenue. Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne. She was tired. Few people passed. The man out of the last house passed on his way home; she heard his footsteps clacking along the concrete pavement and afterwards crunching on the cinder path before the new red houses. One time there used to be a field there in which they used to play every evening with other people's children. Then a man from Belfast bought the field and built houses in it -- not like their little brown houses but bright brick houses with shining roofs. The children of the avenue used to play together in that field -- the Devines, the Waters, the Dunns, little Keogh the cripple, she and her brothers and sisters. Ernest, however, never played: he was too grown up. Her father used often to hunt them in out of the field with his blackthorn stick; but usually little Keogh used to keep nix and call out when he saw her father coming. Still they seemed to have been rather happy then. Her father was not so bad then; and besides, her mother was alive. That was a long time ago; she and her brothers and sisters were all grown up her mother was dead. Tizzie Dunn was dead, too, and the Waters had gone back to England. Everything changes. Now she was going to go away like the others, to leave her home. Home! She looked round the room, reviewing all its familiar objects which she had dusted once a week for so many years, wondering where on earth all the dust came from. Perhaps she would never see again those familiar objects from which she had never dreamed of being divided. And yet during all those years she had never found out the name of the priest whose yellowing photograph hung on the wall above the broken harmonium beside the coloured print of the promises made to Blessed Margaret Mary Alacoque. He had been a school friend of her father. Whenever he showed the photograph to a visitor her father used to pass it with a casual word: "He is in Melbourne now." She had consented to go away, to leave her home. Was that wise? She tried to weigh each side of the question. In her home anyway she had shelter and food; she had those whom she had known all her life about her. O course she had to work hard, both in the house and at business. What would they say of her in the Stores when they found out that she had run away with a fellow? Say she was a fool, perhaps; and her place would be filled up by advertisement. Miss Gavan would be glad. She had always had an edge on her, especially whenever there were people
文学翻译论文
从形合与意合辩证法角度观古诗翻译策略 (潘静20084033042 英语师范三班) 摘要：形合( hypotaxis ) 和意合（parataxis）是英语和汉语篇章组织的常用手段，也是英汉两种语言的重要区别所在。本文提出应当运用哲学中的辩证法原理看待语言中的形合与意合，真正做到学术研究全面、客观、严谨以及科学。一方面，要重视句子及其以下层面的语言特点：英语侧重形合，汉语侧重意合；另一方面，更要研究英汉语的意合与形合在句子层面以上（段落、篇章）所具备的不同作用：英语篇章使用词汇手段等意合组织方式，而汉语篇章中则采用重复和骈偶等形合手段【1】。本文利用对《枫桥夜泊》这首古诗的英译研究分析，强调辩证地、动态地看待英汉语中的形意合问题，改进汉语古诗翻译策略，使译作体现并契合原诗作者的思想与内容，使译作读者明白并理解原诗的内涵与文化。 关键词：形合意合辩证法古诗翻译 Abstract: The very common means of English and Chinese discourse are hypotactic and paratactic, as well as the important differences. This paper argues that hypotaxis and parataxis in a language should be researched in a dialectic way. Only in this way, can academic research become more complete and objective. On the one hand, our attention should be paid to the characteristics of English and Chinese sentences and structures below the sentences leve l–English is more hypotactic while Chinese is more paratactic. On the other hand, it is very important and necessary to study the different functions of hypotactic and paratactic structures at the level of paragraphs in the two languages. Lexically paratactic structures are often found in English paragraphs, and hypotactic structures in the form of repetition and parallelism are frequently employed in Chinese. The author attaches the high importance to research languages in a dialectic way by the analysis of Mooring at night by Maple Bridge. So that we can find some strategies about the poem translation and make the successful exchange of two kinds of people with various background. Key words: hypotaxis, parataxis, dialectic way, poem translation 1.引文 形合与意合是英汉对比研究和翻译理论研究的重要课题之一，也是英汉语篇组织的重要手段之一。所谓形合就是依仗形式（包括词的变化形态，词汇的衔接等）将语言符号由“散”（个体的词）到“集”（组织乃至语篇）的语言组织手段，具有外显性和刚性；而意合则是依仗意义，即内在的逻辑关系组织语言的手段，具有内隐性和柔性。
英语美文欣赏带翻译
Friends or 'Enemies?' When I was younger, my Dad used to tell me: "Boys don't want to be your friend." He then left the rest to my imagination. At the time, I didn't agree. I thought: I can crack a good joke, I know how to shoot a hoop, and I'm a cheerful person (but not in an annoying way). What kind of boy wouldn't want to be around that kind of girl? Turns out, my Dad was right. Not to be all "Samantha Brick" about it, but in my experience, single, heterosexual men aren't actively looking for an exclusively platonic relationship with a woman they find sexually attractive. This of course is not a revolutionary concept. In fact, it seems pretty natural to me. Now, I will be the first to say that it is really and truly the most wonderful thing in the world if the attraction is mutual. But the Powers That Be seem to like to play these complicated little mating games with humans where the guy we want to re-enact scenes from 9? Weeks with sees our attractiveness level as akin to that of a discarded dishcloth, and the most physical we could see ourselves being with the guy who actually likes us is a game of ping pong over an especially long table. All of which means that someone usually ends up getting rejected. I'm sure I'm not alone when I say I have struggled with the scenario where I am not interested in a man romantically, but I want to keep him as a friend because he is funny and I enjoy his company, or he has shown himself to be that rare specimen known as "a nice, genuine person, " or he simply doesn't mention his therapist in every other sentence. Rather than string him along and give him hope, I feel compelled to somehow communicate to him sooner rather than later that we'll just be staying friends, nothing more. Otherwise, I think I am being unfair to him. Why should he waste his romantic stamina on me when there are loads of other single women out there who might fall instantly in love with him? The thing is, it can sometimes be tricky to reject a man and keep him as a friend. If the operation is not executed carefully, you may end up creating a "menemy." It requires a certain amount of skill to be able to turn down a man's sexual advances or romantic gestures and then get him to agree to meet you for blueberry pancakes the following weekend and chat about the latest Woody Allen film. Some men aren't satisfied with just that. I'm not clear why. What's so bad about friendship? Everyone needs buddies. But I've seen men react poorly or simply fall off the face of the earth. I get it -- their feelings are hurt. None of us likes getting rejected. But in my experience, some men find it especially soul-crushing. I am only bringing all of this up because I recently had to go through this scenario again. I had spent some time cultivating a friendship with a man who, in my defense, I thought was gay. So I didn't see the harm in him buying me the occasional falafel, or accepting an invitation to see a film with him. Isn't that what friends are for? But a mutual friend shed light on his sexual orientation (straight) and suggested that his intentions -- and attentions -- weren't platonic. He had never "made the moves" but now it was all crystal clear -- that explains the way he had looked at me that time the tahini sauce dribbled down my chin! Since he had clearly been too timid to express his feelings, I thought I would be clever this time and subtly mention the dates I had been going on, focusing on the one guy I was kind of keen on, so that he would know that I was "unavailable" for heavy petting and those sorts of activities, but that I was available for things like roller skating, falafel-eating and shooting the breeze. Doesn't that sound nice? That way, he would known not to try to lean in for a kiss, and I wouldn't have to pull the Stevie Wonder dance and dodge him went he went for it. It was like pre-rejection, yet I was sparing his feelings because he didn't even have to put himself out there! I really thought I was being brilliant. It backfired, of course. Said man ended up sending me an email rant accusing me of being insensitive by talking about other men when he had "feelings for me." As if I am psychic, by the way, just because I am a woman! How was I supposed to know that? I think in his mind we were dating. In my mind, he was my new gay BFF. In the end, I got mad at him for getting mad at me, and now the friendship has ended. And I have created yet another "menemy." Look, I have also tried the direct thing: "I really like you, but only as a friend, " but you can only do that when the guy has made his intentions clear, and in my experience, they either cope okay (though rarely do I feel much enthusiasm for friendship after that), or they really don't cope well. I also tried the thing where you make them think they are rejecting you, but it gets quite confusing and only works if the guy isn't very sharp, and why would I -- or you -- be hanging out with someone not that sharp in the first place? As we all remember, Billy Crystal's character says men and women can't be friends in When Harry Met Sally because the sex stuff gets in the way. I do have single, male, heterosexual friends with whom I have an easy, non-romantic rapport, but I honestly don't know if they would walk away if I was sprawled naked on a bed calling out to them. I may not be everybody's cup of tea, but sometimes, I wonder if they wonder. And they may wonder if I wonder. If so, I hope they'll keep it to
小说“阿拉比”英文赏析
詹姆斯·乔伊斯是举世公认的二十世纪英国文坛巨匠。他的早期作品《都柏林人》是一部由十五个故事组成的现实主义短篇小说集。该小说集以作者的家乡都柏林为背景，生动地描绘了二十世纪初该城市的社会现实和人生百态，深刻地反映出当时社会麻木不仁的瘫痪状态，成功地展示了不同身份的人物同僵死和瘫痪的社会之间的激烈冲突以及他们失败之后痛苦不堪的感受。作者从童年期、青年期、成年期和社会生活四个方面对这部小说集进行布局，揭示了当时社会政治、经济和道德的瘫痪。《阿拉比》是该小说集中“童年期”的第三篇，描述的是一个少年对朦胧爱情的浪漫追求以及幻想破灭后的失望和痛苦。 在故事中，乔伊斯细致而深刻地刻画了主人公复杂的内心世界，展示了主人公在认识自我，走向成熟的过程中所经历的困惑、孤独和痛苦。故事是以第一人称叙述的，主人公是一个天真无邪、正在成熟的少年，他居住的地方名叫“北理查蒙德街”，住处的周围是一些阴森森的楼房、幽暗潮湿的花园和满是泥泞的巷子。然而，少年对这些并没有深刻的意识，直到他对“曼根的姐姐”产生了朦胧的“爱慕”之情时才有了一种孤独和茫然之感，因为他根本不知道爱情究竟是什么样的，也不知道如何表达自己对姑娘的爱慕之情。当有一天他朝思暮想的“曼根的姐姐”主动和他说话，并告诉他该去“阿拉比”集市时，他的思想有了变化，他渴望去集市为心爱的姑娘买一份礼物。可见少年去“阿拉比”的渴望是出于对心中朦胧的爱情的本能追求。“阿拉比”这个具有阿拉伯异域色彩和东方世界神秘魅力的集市给他带来了希望和诱惑，寄托着他的爱情和理想，象征着他探索与追求的目标。于是，去“阿拉比”集市意味着他开始了追求理想，寻找自我的“成长之旅”。然而，当他几经周折到达集市时，“几乎所有的摊棚都关门了。半个大厅里黑沉沉的。我有一种孤寂之感，犹如置身于做完礼拜后的教堂中。”当他困难地想起自己来集市的目的时，他随意走到一个摆着瓷花瓶和印花茶具的摊棚前。他看见的却是一个女郎与两名英国男子调情的场面。他们轻浮放肆的话语跟他心中神圣、纯洁而又压抑的爱情成了鲜明的对比。这时他迷茫了，不明白现实生活中的爱情为什么跟他理想的爱情完全不一样，觉得自己心中的爱情受到了亵渎，他无法忍受。恰好在这一刻少年产生了“精神顿悟”：他终于领悟到现实世界和他心中的理想世界之间的巨大差异，认识到现实社会的麻木和不堪。于是，他“抬头凝视着黑暗感到自己是一个受到虚荣心驱使和拨弄的可怜虫，于是眼睛里燃烧着痛苦和愤怒”。由此可见，少年追求理想的“阿拉比”之行实际上是他的一次认识自我、认识人生的的成长之旅。他认识到在这个麻木、瘫痪和压抑的现实社会中，任何美好理想都会最终化为泡影。 通过这个故事，乔伊斯揭露了19世纪爱尔兰社会的黑暗和腐朽，希望爱尔兰人民能够振作起来，摆脱教会的束缚，重新恢复生机与活力。
翻译赏析的课件
1.Learn to save money, and then manage our life more easily and sucessfully. If you are a saver, please retain it; if not, start from now without any hesitation! 2.In a word, take good advantage of ads and live a quality life, not only for the sake of our economy, but for ourselves! 3. But I want to say, don’t believe in destiny, you are the matter of yourself. If you believe you can get happiness and you try your best to happiness, the happiness will always be with you. ----- from students’ essays Text 1You should remind yourselves of the rules of the library. You are asked to remind yourselves of the rules of the library. Students are asked to remind themselves of the rules of the library. Text 2(After a quarrel between the two lovers) With a flow of words, she started to argue with him, then she checked herself and said calmly, ―Listen, John, I imagine you‘re tired of my company. There‘s no sense in having tea together. I think I‘d better leave you right here.‖ ―That‘s fine,‖ he said. ―Good afternoon.‖ ―Good-by.‖ ―Good-by.‖ Text 3Policeman : What‘s your name, boy? Black psychiatrist: Dr Poussaint. I‘m a physician. Policeman: What‘s your first name, boy? Black psychiatrist: Alvin Text 41. Door! 2. Shut the door (will you) /(please)? 3. I could do without the draught from that door. 4. May we have the door shut (please)? 5. Would you mind closing the door (please)? 6. I wonder if you would mind closing the door. 7. I‘m sorry to trouble you, but could I ask you to close the door for me please. Text 5DEAR MEG: I‘m going crazy waiting for the guy I love to ditch the girl he‘s going with so we can get married. Ted says the only reason he‘s seeing the other woman is because she gives him money and he wants to pay off his debts before we get married. He doesn‘t have a job, but plans to start looking when he‘s out of debt. He won‘t tell me how long this will take and I‘m getting very depressed waiting around. Does this make any sense to you? How much longer shoud I wait? -- DEPRESSED DEAR MEG: I‘m 15 and my boyfriend is 17. I‘m writing because I‘ve always liked your advice and I‘m sure you can help me. Joey wants me to run away with him to Idaho. I truly want to go, but I don‘t want to hurt my parents because I love them, too. He‘s given me a month to make up my mind. I want to marry Joey, but I‘m young and I want to finish school first. Still, if I love him, I should want to go where he goes, right? Please anwser fast, Meg. -- CONFUSED Text 6Sure! 值不少钱呢，plenty of dough。并且这东西不比书画。买书画买了假的，一文不值，只等于waste
英语美文赏析 带翻译
(Reports on Britain Under the Bombs) Night after night, in the hot summer and early fall of 1940, a deep, steady voice came over the Atlantic Ocean from England to America, telling of England's battle for survival under the waves of German bombers. This strong and steady voice, an American voice with a slight accent of North Carolina, belonged to Edward R. Murrow, head of the European staff of the Columbia Broadcasting System. "This is London," said Murrow, while the bombs fell and flames spread on the streets of the city. His voice had a tone of sorrow for the suffering of that ancient city, and a tone of confidence, too -- a feeling of belief that London would be there, no matter what it had to endure. It could not be destroyed. The heavy raids began in the middle of August, and Nazi bombs started to fall along England's Channel Coast. The German bombers cast dark shadows over the white cliffs of Dover, and England's Home Guard prepared to fight on the beaches, on the cliffs, and in the hills, until the last Englishman died or the invaders were driven off. Air Marshal Goering's bomber pilots were sure of their ultimate triumph over England. Hitler and Goering believed that when London became a burned city like Warsaw and Rotterdam, England would surrender. But the English were more fortunate than the Poles in Warsaw and the Dutch in Rotterdam. They had the English Channel as a barrier against the Nazi ground forces, and they had the Royal Air Force(RAF) to battle the Nazis in the sky. The hardships of London really started in the first week of September, when Hitler was at last convinced that the English did not intend to give in. On September 7, 1940, nearly four hundred German bombers hammered the city with bombs in broad daylight. Marshal Goering boasted, "This is the historic hour when our air force for the first time delivered its bombs right into the enemy's heart." Fires burned, houses fell, gas pipes burst, and dark smoke rose from the streets. Men, women, and children felt the effect of the bombs. Radar sirens wailed, ambulances rushed from one place of agony to another, and fire fighters faced the flames hour after hour.
杜陵叟 翻译、解析
杜陵叟 唐代：白居易 杜陵叟，杜陵居，岁种薄田一顷余。 三月无雨旱风起，麦苗不秀多黄死。 九月降霜秋早寒，禾穗未熟皆青乾。 长吏明知不申破，急敛暴征求考课。 典桑卖地纳官租，明年衣食将何如？ 剥我身上帛，夺我口中粟。 虐人害物即豺狼，何必钩爪锯牙食人肉？ 不知何人奏皇帝，帝心恻隐知人弊。 白麻纸上书德音，京畿尽放今年税。 昨日里胥方到门，手持敕牒榜乡村。 十家租税九家毕，虚受吾君蠲免恩。 译文 杜陵老头居住在杜陵，每年种了贫瘠的田地一顷多。 三月份没有雨刮着旱风，麦苗不开花不多枯黄死。 九月份降霜秋天寒冷早，禾穗没熟都已经干枯。 官吏明明知道但不报告真相，急迫收租、凶暴征税以求通过考核得奖赏。典当桑园、出卖田地来缴纳官府规定的租税，明年的衣食将怎么办？ 剥去我们身上的衣服，夺掉我们口中的粮食。 虐害人伤害物的就是豺狼，何必爪牙象钩、牙齿象锯一样地吃人肉！ 不知什么人报告了皇帝，皇帝心中怜悯、了解人们的困苦。 白麻纸上书写着施恩布德的诏令，京城附近全部免除今年的租税。 昨天里长才到门口来，手里拿着公文张贴在乡村中。 十家缴纳的租税九家已送完，白白地受了我们君王免除租税的恩惠。 注释 叟：年老的男人。 薄田：贫瘠的田地。 考课：古代指考查政绩。 帛：丝织品。 粟：小米，也泛指谷类。 恻隐：见人遭遇不幸而心有所不忍。即同情。 弊：衰落；疲惫。 京畿（jī）：国都及其行政官署所辖地区。
里胥：古代指地方上的一里之长，负责管理事务。 方：才，刚刚。 牒（dié）：文书。 蠲（juān）：除去，免除。 创作背景 从808年的冬天到第二年的春天，江南广大地区和长安周边地区，遭受了严重的旱灾。白居易是上书请求朝廷救民于水深火热之中。宪宗皇帝，他不但批准了白居易的奏请，还下了一道“罪己诏”。没想到诏书竟成了一纸空文。白居易在悲愤写下了《轻肥》和《杜陵叟》两首诗。 赏析 “杜陵叟，杜陵居，岁种薄田一顷余。”杜陵，地名，即汉宣帝陵，在今陕西省西安市东南的少陵原上。白居易这首新乐府诗的主角是一位家住在长安市郊的土生土长的农民，他世世代代以种地为业，守着一顷多的薄田，过着衣食不继的日子。中国文人的诗歌中，少不了风花雪月，也有的是闲情雅致，但是有意识地不但以农民作为作品的主人公，而且真正站在劳苦大众的立场上，为他们鸣冤叫屈、打抱不平的作品，还是不多见的。在这一点上，白居易可以说是做得非常突出的一位了。他所以能够在诗歌中大声疾呼地为民请命，并不是想在题材上猎奇出新，而是源于他对朝廷政治前景和国计民生的高度责任感和使命感。作者一再把视角投向生活在最底层的群众，他们的生活过得十分悲惨，而且向来是无人过问的。这位不知姓甚名谁的杜陵叟处在水深火热的困境中而不能自拔。 “三月无雨旱风起，麦苗不秀多黄死。九月降霜秋早寒，禾穗未熟皆青乾。”三月无雨，并不是指的农历三月整整一个月不下雨，而是说从808年冬天到第二年春天连续三个月没有下雪和下雨。据史料记载，这一年直到闰三月才下了一场像样的雨，为此，白居易还专门写了一首《贺雨》诗表达他当时喜悦的心情。在靠天吃饭的日子里，长安市郊的“杜陵叟”去年秋天辛辛苦苦播下的冬小麦，从下种到返青就没有一滴雨水的滋润，结果还没有到秀穗的时候大多已经干黄枯死了。夏粮既然没有收成，只有指望秋粮了，可是农民们万万没有想到，秋天九月一场早来的霜降，却使得“杜陵叟”可怜的愿望又一次成为了泡影，地里的秋庄稼还没有成熟就都被冻死而干枯了。两季粮食几乎颗粒无收，这就是白居易在序中所交待的“农夫之困”，也是“天灾之困”。 “长吏明知不申破，急敛暴征求考课。”长吏，泛指上级长官，这里是指的杜陵所在地的地方官。考课，指古代考查官员政绩的好坏，以此作为升降的标准。原来这位地方官大人明知手下的“农夫”受了天灾，却不向上方报告灾情，而是愈发加紧横征暴敛，强行收取租税。
高中生经典英文小说阅读欣赏与写作系列 The Terrible Old Man
The Terrible Old Man by H. P. Lovecraft It was the design of Angelo Ricci and Joe Czanek and Manuel Silva to call on the Terrible Old Man. This old man dwells all alone in a very ancient house on Water Street near the sea, and is reputed to be both exceedingly rich and exceedingly feeble; which forms a situation very attractive to men of the profession of Messrs. Ricci, Czanek, and Silva, for that profession was nothing less dignified than robbery. The inhabitants of Kingsport say and think many things about the Terrible Old Man which generally keep him safe from the attention of gentlemen like Mr. Ricci and his colleagues, despite the almost certain fact that he hides a fortune of indefinite magnitude somewhere about his musty and venerable abode. He is, in truth, a very strange person, believed to have been a captain of East India clipper ships in his day; so old that no one can remember when he was young, and so taciturn that few know his real name. Among the gnarled trees in the front yard of his aged and neglected place he maintains a strange collection of large stones, oddly grouped and painted so that they resemble the idols in some obscure Eastern temple. This collection frightens away most of the small boys who love to taunt the Terrible Old Man about his long white hair and beard, or to break the small-paned windows of his dwelling with wicked missiles; but there are other things which frighten the older and more curious folk who sometimes steal up to the house to peer in through the dusty panes. These folk say that on a table in a bare room on the ground floor are many peculiar bottles, in each a small piece of lead suspended pendulum-wise from a string. And they say that the Terrible Old Man talks to these bottles, addressing them by such names as Jack, Scar-Face, Long Tom, Spanish Joe, Peters, and Mate Ellis, and that whenever he speaks to a bottle the little lead pendulum within makes certain definite vibrations as if in answer. Those who have watched the tall, lean, Terrible Old Man in these peculiar conversations, do not watch him again. But Angelo Ricci and Joe Czanek and Manuel Silva were not of Kingsport blood; they were of that new and heterogeneous alien stock which lies outside the charmed circle of New England life and traditions, and they saw in the Terrible Old Man merely a tottering, almost helpless grey-beard, who could not walk without the aid of his knotted cane, and whose thin, weak hands shook pitifully. They were really quite sorry in their way for the lonely, unpopular old fellow, whom everybody shunned, and at whom all the dogs barked singularly. But business is business, and to a robber whose soul is in his profession, there is a lure and a challenge about a very old and very feeble