英语课外读物翻译

As regards his attitude towards the credibility of early Roman history he is quite as conscious as we are of its mythical and unsound nature. He will not, for instance, decide whether the Horatii were Albans or Romans; who was the first dictator; how many tribunes there were, and the like. His method, as a rule, is merely to mention all the accounts and sometimes to decide in favour of the most probable, but usually not to decide at all.

从对早期罗马历史上可信度的态度可以看出，对于我们的神话了的和不健全的本质他非常清醒的。例如，他不会去判定贺拉斯兄弟定是阿尔巴人还是罗马人；或者谁是第一个独裁者；他们有多少教堂，等等这些类似问题。他的态度，作为准则，是仅仅提及所有的问题，有时对有些但不是对所有决定有帮助。

No canons of historical criticism will ever discover whether the Roman women interviewed the mother of Coriolanus of their own accord or at the suggestion of the senate; whether Remus was killed for jumping over his brother’s wall or because they quarrelled about birds; whether the ambassadors found Cincinnatus ploughing or only mending a hedge. Livy suspends his judgment over these important facts and history when questioned on their truth is dumb. If he does select between two historians he chooses the one who is nearer to the facts he describes. But he is no critic, only a conscientious writer. It is mere vain waste to dwell on his critical powers, for they do not exist.

没有历史批判就不会发现罗马妇女是否在参议院的建议下采访了她们的母亲科里奥兰纳斯；是否莱姆斯被杀是因为他背叛了他哥哥，并发生了争吵；是否大使发现了辛西内塔斯耕种或修补篱笆。李维搁置了对于怀疑那些重要事实和历史真理感到愚蠢的真相的判断。如果让他在两位历史学家之间进行选择，他会选择更接近他所描述的事实的那个。但是他并不会批评，因为他只是一个尽责的作家。对于不存在事物进行批评，那是纯粹白白浪费了他的批判能力。

In the case of Tacitus imagination has taken the place of history. The past lives again in his pages, but through no laborious criticism; rather through a dramatic and psychological faculty which he specially possessed.

在塔西佗时期，空想主义已经代替了历史主义。过去的生活重新写在他的著作中，只是这个著作不是描述对辛苦劳动的评价，而是戏剧化的疯狂的心里描写。

In the philosophy of history he has no belief. He can never make up his mind what to believe as regards God’s govern ment of the world. There is no method in him and none elsewhere in Roman literature.

塔西坨对于史学没有信仰。他从来不会相信世界上存在上帝。在他的著作里没有，在任何的罗马著作中也没有。

Nations may not have missions but they certainly have functions. And the function of ancient Italy was not merely to give us what is statical in our institutions and rational in our law, but to blend into one elemental creed the spiritual aspirations of Aryan and of Semite. Italy was not a pioneer in intellectual progress, nor a motive power in the evolution of thought. The owl of the goddess of Wisdom traversed over the whole land and found nowhere a resting-place. The dove, which is the bird of Christ, flew straight to the city of Rome and the new reign began. It was the fashion of early

Italian painters to represent in mediaeval costume the soldiers who watched over the tomb of Christ, and this, which was the result of the frank anachronism of all true art, may serve to us as an allegory. For it was in vain that the middle ages strove to guard the buried spirit of progress. When the dawn of the Greek spirit arose, the sepulchre was empty, the grave-clothes laid aside. Humanity had risen from the dead.

国家可能没有使命，但是一定有它的功能。古意大利的功能是不仅仅告诉我们机构的稳定性和法律的合理性，而是将雅利安人和犹太人的信仰融合在一起。意大利不是知识进步的先驱，在这场思想演变中也不是积极者。上帝的侦察者智慧女神走过整个土地，发现智慧无处安放。基督的鸽子直接飞到了罗马城和新王朝。这是早期意大利画家在看守基督之墓的士兵的中世纪服装上所表达的时尚，这是真正艺术坦白的时代错误，有助于我们作为一个寓言。中世纪努力守护埋没的进步精神是徒劳的。当希腊精神的曙光出现，坟墓是空的，严肃的衣服放在一边。人们已经重生。

The study of Greek, it as been well said, implies the birth o，iticism omparison and research. At the opening of that education of modern by ancient thought which we call the Renaissance, it was the words of Aristotle which sent Columbus sailing to the New World, while a fragment of Pythagorean astronomy set Copernicus thinking on that train of reasoning which has revolutionised the whole position of our planet in the universe. Then it was seen that the only meaning of progress is a return to Greek modes of thought. The monkish hymns which obscured the pages of Greek manuscripts were blotted out, the splendours of a new method were unfolded to the world, and out of the melancholy sea of mediaevalism rose the free spirit of man in all that splendour of glad adolescence, when the bodily powers seem quickened by a new vitality, when the eye sees more clearly than its wont and the mind apprehends what was beforetime hidden from it. To herald the opening of the sixteenth century, from the little Venetian printing press came forth all the great authors of antiquity, each bearing on the title-page the words [Gree^j words which may serve to re-mind us with what wondrous prescience Polybius saw the world’s fate when he foretold the material sovereignty of Roman institutions and exemplified in himself the intellectual empire of Greece.

通常说，希腊学说，暗示着诞生，批判，比较，研究。在用古代思想教育现代的开端，我们称为文艺复兴时期，亚里士多德文学将哥伦布航行送往新大陆，然而毕达哥拉斯天文学部分，将哥白尼送上了考虑推理什么是彻底改变宇宙中星球位置的变化的列车。然后回到希腊模式中思考被认为是进步的唯一意义。掩盖了希腊手稿的僧侣赞美诗被遮住了，一种绚丽多彩的新方法展现给世界，走出中世纪精神忧郁的大海，燃起了正直辉煌与愉悦青春期人们的自由精神。那时身体的力量似乎被新的活力加强，那时眼睛比曾经看的更加清晰，头脑思考过去隐藏之下的问题。预示着十六世纪初，从小小的威尼斯的印刷出来所有古代的伟大作家，铭记在[哥白尼]扉页上的字有助于提醒我们先人阿里斯塔克斯见证了世界的命运是多么令人神奇，他预言了罗马机构重要的主权，展现了他是希腊知识的帝王。

The course of the study of the spirit of historical criticism has not been a profitless investigation into modes and forms of thought now antiquated and of no account. The only spirit which is entirely removed from us is the mediaeval; the Greek spirit is essentially modern. The introduction of the comparative method of research which has forced history to disclose its secrets belongs in a measure to us. Ours, too, is a more scientific knowledge of philology and the method of survival. Nor did the ancients know anything of the doctrine of averages or of crucial instances, both of which methods have proved of such importance in modern criticism, the one adding a most important proof of the statical elements of history, and exemplifying the influences of all physi-cal surroundings on the life of man; the other, as in the single instance of the Moulin Quignon skull, serving to create a whole new science of prehistoric archaeology and to bring us back to a time when man was coeval with the stone age, the mammoth and the woolly rhinoceros. But, except these, we have added no new canon or method to the science of historical criticism. Across the drear waste of a thousand years the Greek and the modern spirit join hands.

历史的批判精神的研究还没有一个无益的调查用过时的思维模式和不可取代的形式。从我们的生活中完全消失的是中世纪精神；希腊精神的本质是现代的。这种迫使历史揭露它的秘密的比较研究方法的引入作为我们的衡量。对于我们来说是一种比较科学的文学知识和生存的方法。也没有唯一的精神，这是完全从我们的是中世纪的希腊精神的本质是现代。古代人既不知道平均主义学说，也不知道重要的例子，这两种方法证明了现代批评的重要性，一个增加的历史静态元素的最重要的论证，并例举所有物理环境对人类生活的影响；另外，列举the Moulin Quignon skull作为单个实例，以创造一个全新的考古科学史前并且带我们回到石器时代和猛犸象和披毛犀牛时代。但是，除了这些，我们对历史评价增加了新的标准。拥有一千年历史的阴沉的废墟般的希腊将与现代精神携手。

In the torch race which the Greek boys ran from the Cerameician field of death to the home of the goddess of Wisdom, not merely he who first reached the goal but he also who first started with the torch aflame received a prize. In the Lampadephoria of civilisation and free thought let us not forget to render due meed of honour to those who first lit that sacred flame, the increasing splendour of which lights our footsteps to the far-off divine event of the attainment of perfect truth.

在希腊男孩从死亡的cerameician领域跑向智慧女神的家的火炬比赛中，他不仅仅是第一个获得分数，也是第一个点燃火炬并获得奖品的人。在文明和自由的思想的火炬接力比赛中，让我们不要忘记给予那些第一次点燃圣火的人荣誉，其中越来越光彩的是使我们的脚步到达了获得完美真理的遥远神圣的地方。

LA SAINTE COURTISANE；OR, THE WOMAN COVERED

WITH JEWELS

The scene represents a corner of a valley in the Thebaid. On the right hand of the stage is a cavern. In front of the cavern stands a great crucifix.

On the left [sand dunesj.

The sky is blue like the inside of a cup of lapis lazuli. The hills are of red sand. Here and there on the hills there are

clumps of thorns.

FIRST MAN. Who is she? She makes me afraid. She has a purple cloak and her hair is like threads of gold. I think she must be the daughter of the Emperor. I have heard the boatmen say that the Emperor has a daughter who wears a cloak of purple.

SECOND MAN. She has birds’ wings upon her sandals, and her tunic is of the colour of green corn. It is like corn in spring when she stands still. It is like young corn troubled by the shadows of hawks when she moves. The pearls on her tunic are like many moons.

FIRST MAN. They are like the moons one sees in the water when the wind blows from the hills.

SECOND MAN. I think she is one of the gods. I think she comes from Nubia.

FIRST MAN. I am sure she is the daughter of the Emperor. Her nails are stained with henna. They are like the petals of a rose. She has come here to weep for Adonis.

SECOND MAN. She is one of the gods. I do not know why she has left her temple. The gods should not leave their temples. If she speaks to us let us not answer and she will pass by.

FIRST MAN. She will not speak to us. She is the daughter of the Emperor.

MYRRHINA. Dwells he not here, the beautiful young hermit, he who will not look on the face of woman?

FIRST MAN. Of a truth it is here the hermit dwells.

MYRRHINA. Why will he not look on the face of woman?

SECOND MAN. We do not know.

MYRRHINA. Why do ye yourselves not look at me?

FIRST MAN. You are covered with bright stones, and you dazzle our eyes.

SECOND MAN. He who looks at the sun becomes blind. You are too bright to look at. It is not wise to look at things that are very bright. Many of the priests in the temples are blind, and have slaves to lead them.

MYRRHINA. Where does he dwell, the beautiful young hermit who will not look on the face of woman? Has he a house of reeds or a house of burnt clay or does he lie on the hillside? Or does he make his bed in the rushes?

FIRST MAN. He dwells in that cavern yonder.

MYRRHINA. What a curious place to dwell in.

FIRST MAN. Of old a centaur lived there. When the hermit came the centaur gave a shrill cry, wept and lamented, and galloped away.

SECOND MAN. No. It was a white unicorn who lived in the cave. When it saw the hermit coming the unicorn knelt down and worshipped him. Many people saw it worshipping him.

FIRST MAN. I have talked with people who saw it.

氺氺氺

SECOND MAN. Some say he was a hewer of wood and worked for hire. But that may not be true.

氺氺氺

MYRRHINA. What gods then do ye worship? Or do ye worship any gods? There are those who have no gods to worship. The philosophers who wear long beards and brown cloaks have no gods to worship. They wrangle with each other in the porticoes. The [ j laugh at them.

FIRST MAN. We worship seven gods. We may not tell their names. It is a very dangerous thing to tell the names of the gods. No one should ever tell the name of his god. Even the priests who praise the gods all day long, and eat of their food with them, do not call them by their right names.

MYRRHINA. Where are these gods ye worship?

FIRST MAN. We hide them in the folds of our tunics. We do not show them to any one. If we showed them to any one they might leave us.

MYRRHINA. Where did ye meet with them?

FIRST MAN. They were given to us by an embalmer of the dead who had found them in a tomb. We served him for seven years.

MYRRHINA. The dead are terrible. I am afraid of Death.

FIRST MAN. Death is not a god. He is only the servant of the gods.

MYRRHINA. He is the only god I am afraid of. Ye have seen many of the gods?

FIRST MAN. We have seen many of them. One sees them chiefly at night time. They pass one by very swiftly. Once we saw some of the gods at daybreak. They were walking across a plain.

MYRRHINA. Once as I was passing through the market place I heard a sophist from Cilicia say that there is only one God. He said it before many people.

FIRST MAN. That cannot be true. We have ourselves seen many, though we are but common men and of no account. When I saw them I hid myself in a bush. They did me no harm.

MYRRHINA. Tell me more about the beautiful young hermit. Talk to me about the beautiful young hermit who will not look on the face of woman. What is the story of his days? What mode of life has he?

FIRST MAN. We do not understand you.

MYRRHINA. What does he do, the beautiful young hermit? Does he sow or reap? Does he plant a garden or catch fish in a net? Does he weave linen on a loom? Does he set his hand to the wooden plough and walk behind the oxen?

SECOND MAN. He being a very holy man does nothing. We are common men and of no account. We toil all day long in the sun. Sometimes the ground is very hard.

MYRRHINA. Do the birds of the air feed him? Do the jackals share their booty with him?

FIRST MAN. Every evening we bring him food. We do not think that the birds of the air feed him.

MYRRHINA. Why do ye feed him? What profit have ye in so doing?

SECOND MAN. He is a very holy man. One of the gods whom he has offended has made him mad. We think he has offended the moon.

MYRRHINA. Go and tell him that one who has come from Alexandria desires to speak with him.

to his God. We pray thee to pardon us for not doing thy bidding.

FIRST MAN. We dare not tell him. This hour he is praying FIRST MAN. That he might heal them.

MYRRHINA. Are ye afraid of him?

FIRST MAN. We are afraid of him.

MYRRHINA. Why are ye afraid of him?

FIRST MAN. We do not know.

MYRRHINA. What is his name?

FIRST MAN. The voice that speaks to him at night time in the cavern calls to him by the name of Honorius. It was also by the name of Honorius that the three lepers who passed by once called to him. We think that his name is Honorius.

MYRRHINA. Why did the three lepers call to him?

MYRRHINA. Did he heal them?

SECOND MAN. No. They had committed some sin: it was for that reason they were lepers. Their hands and faces were like salt. One of them wore a mask of linen. He was a king’s son.

MYRRHINA. What is the voice that speaks to him at night time in his cave?

FIRST MAN. We do not know whose voice it is. We think it is the voice of his God. For we have seen no man enter his cavern nor any come forth from it.

MYRRHINA. Honorius.

HONORIUS (from within). Who calls Honorius?

氺氺氺

MYRRHINA. Come forth, Honorius.

氺氺氺

My chamber is ceiled with cedar and odorous with myrrh. The pillars of my bed are of cedar and the hangings are of purple. My bed is strewn with purple and the steps are of silver. The hangings are sewn with silver pomegranates and the steps that are of silver are strewn with saffron and with myrrh. My lovers hang garlands round the pillars of my house. At night time they come with the flute players and the players of the harp. They woo me with apples and on the pavement of my courtyard they write my name in wine.

我的房间是雪松天花板并带有药香味。我的床柱是雪松木的和帘布是紫色的。我的床布满紫色并且台阶是银色的。帘布是用的银石榴，银色的台阶撒满藏红花和没药。我的爱人在我的房子的四周的支柱上挂上花环。在晚上的时候，他们像吹笛者，竖琴的演奏家。他们在我庭院的路上通过苹果向我示爱，他们把我的名字写在酒里。

From the uttermost parts of the world my lovers come to me. The kings of the earth come to me and bring me presents.

我的爱人从世界上最遥远的地方朝我走来。地球上的君王向我走来并给我带来了礼物。When the Emperor of Byzantium heard of me he left his porphyry chamber and set sail in his galleys. His slaves bare no torches that none might know of his coming. When the King of Cyprus heard of me he sent me ambassadors. The two Kings of Libya who are brothers brought me gifts of amber.

当拜占庭的君主听说我，他离开他的斑岩室，带领着自己的军舰启航。他的奴仆赤裸着火把，大概没有人知道他的到来。当塞浦路斯国王听说我，他送我大使。利比亚的两个国王，他们是兄弟，送给我琥珀色的礼物。

I took the minion of Caesar from Caesar and made him my playfellow. He came to me at night in

a litter. He waspale as a narcissus, and his body was like honey.

我把恺撒的宠臣从恺撒身边带走并且使他成了我的玩伴。他晚上乘轿子来到我这里。他苍白的像水仙，身体像蜂蜜。

The son of the Praefect slew himself in my honour, and the Tetrarch of Cilicia scourged himself for my pleasure before my slaves.

该提督的儿子旋转着像我表达敬意，基利家主公在我奴仆面前鞭打着自己取悦我。

The King of Hierapolis who is a priest and a robber set carpets for me to walk on.

希拉波里斯古城的国王是牧师和强盗，他给我铺上地毯让我走。

Sometimes I sit in the circus and the gladiators fight beneath me. Once a Thracian who was my lover was caught in the net. I gave the signal for him to die and the whole theatre applauded. Sometimes I pass through the gymnasium and watch the young men wrestling or in the race. Their bodies are bright with oil and their brows are wreathed with willow sprays and with myrtle. They stamp their feet on the sand when they wrestle and when they run the sand follows them like a little cloud. He at whom I smile leaves his companions and follows me to my home. At other times I go down to the harbour and watch the merchants unloading their vessels. Those that come from Tyre have cloaks of silk and earrings of emerald. Those that come from Massilia have cloaks of fine wool and earrings of brass. When they see me coming they stand on the prows of their ships and call to me, but I do not answer them. I go to the little taverns where the sailors lie all day long drinking black wine and playing with dice and I sit down with them.

有时我坐在马戏团，角斗士在我的脚下战斗。一旦我的爱人，一个色雷斯人，被网捕捉。我就给他去死信号，整个剧院为之鼓掌。有时我穿过体育馆看年轻人摔跤或比赛。他们的身体擦着发亮的油，眉毛处用柳树枝和桃金娘环绕。当他们摔跤时跺着脚上的沙子，当他们跑起来时尘土像小小的云一样跟随他们。我冲着微笑的他离开的他的伙伴，跟随我到家。有时候我到港口去看商家卸船。那些来自轮胎的带有丝质斗篷和的翠绿色的耳环。那些来自马来西亚的有上好的羊毛斗篷和铜质耳环。当他们看到我来时，他们站在自己的船头上和我打招呼，但我不回应他们。我去到小酒馆，在这里水手们整天躺着长时间的喝着黑葡萄酒，玩着骰子，我在他们身边坐下。