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诗词 歌曲英文翻译

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2021-02-09 20:14
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2021年2月9日发(作者:shin)


声声慢




李清照




寻寻觅觅,冷冷清清,凄凄惨惨戚戚。




Still seeking, however desolate my life is



乍暖还寒时候,最难将息。




While the freshly-coming warmth is still blended with the lingering chill, it is the hardest time for


me to rest my mind.



三杯两盏淡酒,怎敌他、晚来风急?




Two or three cups of slipslop, can barely drive the iciness of the rushing gale out of my heart.



雁过也,正伤心,却是旧时相识。




A bevy of acquainted passing wild geese, render me a sense of sentiment.



满地黄花堆积。憔悴损,如今有谁堪摘?




Fallen


chrysanthemums


pile


up


miserably


all


over


the


ground,


while


those


on


the


branch


are


withered considerably, waiting for no one to plunk.



守著窗儿,



独自怎生得黑?




Leaning by the window, how long will a solitary person be waiting for the night falling?



梧桐更兼细雨,到黄昏、点点滴滴。




The drizzle is penetrating the plane tress, trickling by drippings in the evenfall.



这次第,怎一个、愁字了得!




At this moment, I am desperately wondering how a “grief” can convey all my soreness






《师说》



英文翻译



古之学者必有师。师者,所 以传道受业解惑也。人非生而知之者,孰


能无惑?惑而不从师,其为惑也,终不解矣。生 乎吾前,其闻道也,


固先乎吾,吾从而师之;生乎吾后,其闻道也,亦先乎吾,吾从而师


之。吾师道也,


夫庸知其年之先后生于吾乎?是故无贵无贱,无 长无


少,道之所存,师之所存也。





嗟乎!师道之不传也久矣,欲人之无惑也难矣。古之圣人,其 出


人也远矣,犹且从师而问焉;今之众人,其下圣人也亦远矣,而耻学

< br>于师。是故圣益圣,愚益愚。圣人之所以为圣,愚人之所以为愚,其


皆出于此乎? 爱其子,择师而教之;于其身也,则耻师焉,惑矣。彼


童子之师,授之书而习其句读者, 非吾所谓传其道、解其惑者也。句


读之不知,


惑之不解,


或师焉,


或不焉,


小学而大遗,


吾未见其明也。


巫医、乐师、百工之人,不耻相师。士大夫之族,曰







弟子




者,则群聚而笑之。问之,则曰:彼与彼年相若也,道相似也,位卑


则足羞,官 盛则近谀。呜呼!师道之不复,可知矣。巫医、乐师、百


工之人,君子不齿,今其智乃反 不能及,其可怪也欤!






圣人无常师。孔子师郯子、苌弘、师襄、老聃。郯子之徒,其 贤


不及孔子。孔子曰



三人行,则必有 我师。



是故弟子不必不如师,师


不必 贤于弟子。闻道有先后,术业有专攻,如是而已。






李氏子蟠,年十七,好古文,六艺 经传皆通习之,不拘于时,学


于余。余嘉其能行古道,作《师说》以贻之。






In ancient times those who wanted to learn would seek


out


a


teacher



one


who


could


propagate


the


doctrine1



impart professional knowledge



and resolve doubts. Since


no


one


is


born


omniscient



who


can


claim


to


have


no


doubts



If one has doubts and is not willing to learn from a


teacher



his doubts will never be resolved. Anyone who was


born before me and learned the doctrine before me is my


teacher


.


Anyone


who


was


born


after


me


and


learned


the


doctrine before me is also my teacher


. Since what I desire to


learn is the doctrine



why should I care whether he was born


before or after me< /p>



Therefore



it does not matter whether a


person is high or low in position



young or old in age. Where


there is the doctrine



there is my teacher


.






Alas



The tradition of learning from the teacher has long


been neglected. Thus it is difficult to find a person without


any doubts at all. Ancient sages



who far surpassed us



even


learned


from


their


teachers.


People


today



who


are


far


inferior


to


them



regard


learning


from


the


teacher


as


a


disgrace. Thus



wise men become more wise and unlearned


men become more foolish. This explains what makes a wise


man and what makes a foolish man.






It is absurd that a person would choose a teacher for his


son out of his love for him



and yet refuse to learn from the


teacher himself



thinking it a disgrace to do so. The teacher


of his son teaches the child only reading and punctuation



which is not propagating the doctrine or resolving doubts as


the aforementioned. I don



t think it wise to learn from the


teacher when one doesn



t know how to punctuate



but not


when one has doubts unresolved



for that I find to be the


folly of learning in small matters



but neglecting the big ones.


Even medicine men



musicians and handicraftsmen do not


think it disgraceful to learn from each other


. When one of


the


literati


calls


another


man


his



teacher



and


himself


his



student



people will get together and invariably laugh at


him. If you ask them why they are laughing



they will say


that since he is almost of the same age and as erudite as


another man



it would be degrading for him to call the other


man



teacher



if


the


other


man



s


social


rank


is


lower


than


his



and it would be flattering if the other man



s social rank


is higher


. Alas



It is clear that the tradition of learning from


the


teacher


can


no


longer


be


restored.


Medicine


men



musicians


and


handicraftsmen


are


despised


by


the


gentlemen. How strange it is that gentlemen are less wise


than these people







The ancient sages did not limit themselves to particular


teachers. Confucius had learned from people like Tanzi2



Changhong 3



Shixiang4


< p>
and


Laodan5



who


were


not


as


virtuous and talented as Confucius. Confucius said



If three


men are walking together



one of them is bound to be good


enough


to


be


my


teacher


.



A


student


is


not


necessarily


inferior to his teacher



nor does a teacher necessarily be


more virtuous and talented than his student. The real fact is


that one might have learned the doctrine earlier than the


other



or might be a master in his own special field.






Pan



the son of Li



s family



who is only seventeen years


old



loves


to


study


Chinese


classics


of


the


Qin


and


Han


dynasties



and masters the six jing6 and their annotations.


He does not follow conventions and is willing to learn from


me. I appreciate his ability to act in accordance with the old


tradition of learning. Therefore I dedicate this piece to him.







采桑子《重阳》




毛泽东




人生易老天难老,




The heaven never goes old while man easily



岁岁重阳。




The Chung Yeung Festival belongs to every year



今又重阳,




Today is its another advent



战地黄花分外香。




the chrysanthemum in the battleground is all the more aromatic



一年一度秋风劲,




The yearly autumn gale is so forceful



不似春光,




Making it distinguished from spring



胜似春光,




but rather exceeds spring



寥廓江天万里霜


.



While overlooking the vast frost-like river



春江花月夜




春江潮水连海平,海上明月共潮升。




滟滟随波千万里,何处春江无月明!




江流宛转绕芳甸,月照花林皆似霰;




空里流霜不觉飞,汀上白沙看不见。




江天一色无纤尘,皎皎空中孤月轮






江畔何人初见月?江月何年初照人?




人生代代无穷已,江月年年只相似;




不知江月照何人,但见长江送流水。




白云一片去悠悠,青枫浦上不胜愁。




谁家今夜扁舟子?何处相思明月楼?




可怜楼上月徘徊,应照离人妆镜台。




玉户帘中卷不去,捣衣砧上拂还来。




此时相望不相闻,愿逐月华流照君。




鸿雁长飞光不度,鱼龙潜跃水成文。




昨夜闲潭梦落花,可怜春半不还家。




江水流春去欲尽,江潭落月复西斜。




斜月沉沉藏海雾,碣石潇湘无限路。




不知乘月几人归,落月摇情满江树。




A Moonlit Night On The Spring River



In spring the river rises as high as the sea,



And with the river's rise the moon uprises bright.



She follows the


rolling


waves for ten thousand li,



And where the river flows, there


overflow


s her light.



The river winds around the


fragrant


islet where



The blooming flowers in her light all look like snow.



You cannot tell her beams from


hoar frost


in the air,



Nor from white sand upon Farewell Beach below.



No dust has stained the water blending with the skies;



A lonely wheel like moon shines brilliant far and wide.



Who by the riverside first saw the moon arise?



When did the moon first see a man by riverside?



Ah, generations have come and pasted away;



From year to year the moons look alike, old and new.



We do not know tonight for whom she sheds her ray,



But hear the river say to its water


adieu


.



Away, away is sailing a single cloud white;



On Farewell Beach pine away maples green.



Where is the wanderer sailing his boat tonight?



Who, pining away, on the moonlit rails would learn?



Alas! The moon is lingering over the tower;



It should have seen the dressing table of the fair.



She rolls the curtain up and light comes in her bower;



She washes but can't wash away the


moonbeam


s there.



She sees the moon, but her beloved is out of sight;



She'd follow it to shine on her beloved one's face.



But message-bearing swans can't fly out of moonlight,



Nor can letter-sending fish leap out of their place.



Last night he dreamed that falling flowers would not stay.



Alas! He can't go home, although half spring has gone.



The running water bearing spring will pass away;



The moon declining over the pool will sink anon.



The moon declining sinks into a heavy mist;



It's a long way between southern rivers and eastern seas.



How many can go home by moonlight who are missed?



The sinking moon sheds yearning o'er riverside trees.



《春江花月夜》



赏析




【注释】





被闻一多先生誉为



诗中的诗,顶峰上 的顶峰




《宫体诗的自赎》


)的《春江花月夜》


,一千


多年来使无数读者为 之倾倒。一生仅留下两首诗的张若虚,也因这一首诗,



孤篇横 绝,竟


为大家





诗篇题目就令人心驰神往。春、江、花、月、夜,这五 种事物集中体现了人生最动人的良辰


美景,构成了诱人探寻的奇妙的艺术境界。




诗人入手擒题,


一 开篇便就题生发,


勾勒出一幅春江月夜的壮丽画面:


江潮连海,


月共潮生。


这里的


< br>海



是虚指。江潮浩瀚无垠,仿佛和大海连在一起,气势 宏伟。这时一轮明月随潮涌


生,景象壮观。一个





字,就赋予了明月与潮水以活泼泼的生命。月光 闪耀千万里之遥,


哪一处春江不在明月朗照之中!


江水曲曲弯弯 地绕过花草遍生的春之原野,


月色泻在花树上,


象撒上了一层洁 白的雪。


诗人真可谓是丹青妙手,


轻轻挥洒一笔,


便点染出春江月夜中的奇


异之




。同时,又巧妙地缴足了


“< /p>


春江花月夜



的题面。诗人对月光的观察 极其精微:月光


荡涤了世间万物的五光十色,


将大千世界浸染成 梦幻一样的银辉色。


因而



流霜不觉飞






沙看不见



,浑然只有皎洁明亮的月光存在 。细腻的笔触,创造了一个神话般美妙的境界,


使春江花月夜显得格外幽美恬静。这八句 ,由大到小,由远及近,


笔墨逐渐凝聚在一轮孤月


上了。




清明澄彻的天地宇宙,

< br>仿佛使人进入了一个纯净的世界,


这就自然地引起了诗人的遐思冥想:

< p>


江畔何人初见月?江月何年初照人?



诗人神思飞跃,


但又紧紧联系着人生,


探索着人 生的


哲理与宇宙的奥秘。这种探索,古人也已有之,如曹植《送应氏》

< br>:



天地无终极,人命若朝


霜< /p>



,阮籍《咏怀》



人生若尘露,天道邈悠悠



等等 ,但诗的主题多半是感慨宇宙永恒,人


生短暂。张若虚在此处却别开生面,他的思想没有 陷入前人窠臼,而是翻出了新意:



人生


代代无穷已,


江月年年只相似。



个 人的生命是短暂即逝的,


而人类的存在则是绵延久长的,




因之



代代 无穷已



的人生就和



年年只相似



的明月得以共存。


这是诗人从大自然的美景中感


受到的一种欣慰。


诗人虽有对人 生短暂的感伤,


但并不是颓废与绝望,


而是缘于对人生的追


求与热爱。全诗的基调是



哀而不伤



,使我们得以聆听到初盛唐时代之音的回响。





不知江月待何人,但见长江送 流水



,这是紧承上一句的



只相似



而来的。人生代代相继,


江月年年如此。一轮孤月徘徊中天,象是等待着什么人似的,却又永远不能如愿。月光下,

< p>
只有大江急流,奔腾远去。随着江水的流动,诗篇遂生波澜,将诗情推向更深远的境界。江


月有恨,


流水无情,


诗人自然地把笔触由上半篇 的大自然景色转到了人生图象,


引出下半篇


男女相思的离愁别恨 。





白云



四句总写在春江花月夜中思妇与游子的两地思念之情。



白云





青枫浦



托物寓情。


白云飘忽,象征



扁舟子



的行踪不定。



青枫浦< /p>



为地名,但




”“




在 诗中又常用为感别的


景物、处所。



谁 家


”“


何处



二句互文见义,正因不止一家、一处有离愁别恨,诗人才提出这


样的设问,一种相思,牵 出两地离愁,一往一复,诗情荡漾,曲折有致。



< p>
以下



可怜


< p>
八句承



何处



句,写思妇对离人的怀念。然而诗人不直说思妇的悲和泪,而是用





来烘托她的怀念之情,悲泪自出。诗篇 把





拟人 化,



徘徊



二字极其传神:一是浮云


游动,


故光影明灭不定;


二是月光怀着对思妇的怜悯之情,在楼上徘徊不忍去。它要和思妇


作伴,为她 解愁,因而把柔和的清




辉洒在妆镜 台上、玉户帘上、捣衣砧上。岂料思妇触景生情,反而思念尤甚。她想赶走这恼


人的月色 ,可是月色



卷不去





拂还来



,真诚地依恋着她。这里








”< /p>


两个痴情的动


作,生动地表现出思妇内心的愁怅和迷惘。月光引起 的情思在深深地搅扰着她,此时此刻,


月色不也照着远方的爱人吗?共望月光而无法相知 ,只好依托明月遥寄相思之情。望长空:


鸿雁远飞,飞不出月的光影,飞也徒劳;看江面 ,鱼儿在深水里跃动,只是激起阵阵波纹,


跃也无用。



尺素在鱼肠,寸心凭雁足



。向以传信为任的 鱼雁,如今也无法传递音讯


——



又凭 添几重愁苦!




最后八句写游子,诗 人用落花、流水、残月来烘托他的思归之情。



扁舟子



连做梦也念念归



— —


花落幽潭,春光将老,人还远隔天涯,情何以堪!江水流春,流去的不仅是自然的春< /p>


天,也是游子的青春、幸福和憧憬。江潭落月,更衬托出他凄苦的寞寞之情。沉沉的海雾隐


遮了落月;碣石、潇湘,天各一方,道路是多么遥远。



沉沉



二字加重地渲染了他的孤寂;



无限路



也就无限地 加深了他的乡思。他思忖:


在这美好的春江花月之夜,


不知有几 人能乘


月归回自己的家乡!他那无着无落的离情,伴着残月之光,洒满在江边的树林之上


……




“< /p>


落月摇情满江树



,这结句的

< p>


摇情


”——


不绝如缕的 思念之情,将月光之情,游子之情,诗


人之情交织成一片,洒落在江树上,也洒落在读者 心上,情韵袅袅,摇曳生姿,令人心醉神


迷。







林黛玉海棠诗的绝佳英文翻译



林黛玉 这个文学形象,只有中国人最熟悉、最理解、最喜爱、最倾倒,她于诗词曲赋无不精


通, 她不凭借自己的美貌,因为中国从不缺少



倾国倾城

< p>


的美人,而是凭借自己的才华,在


中世纪的中国 文学史上,


成为最夺目最特殊的女性形象。


中国人喜欢林黛玉,


但真正懂得和


明白林黛玉的,能够引为黛玉知己的中国男人,少 之又少,颦儿红颜知己多,蓝颜知己少。



< br>莫愁前路无知己,天下谁人不识君,


林黛玉在英伦三岛,


竟然有一位蓝颜知己,这位英国男


子迷黛玉,痴黛玉,放下孤傲,掏出心来,怎一个虔诚 了得!他的内心,他的才华,他的灵


秀天成,超越了时光,超越了文化,林黛玉没有石榴 裙,他却在精神上优雅地拜倒,成就了


一段罕为人知的红楼佳话。




他是谁?




他是英国人,霍克斯,


1970


年代,第一个《红楼梦》英文全译本的翻译者。他是鹰钩鼻子,


蓝眼 睛的番邦人士,和中土的绛珠仙子,有一段文缘,有一段神交。




探春、黛玉、宝钗、宝玉一干人等,在大观园里办起了诗社, 取名



海棠诗社


。大家约定以



咏白海棠



为题,各写一首诗,探春、宝钗一干女孩冥思苦想,黛玉却冷眼旁观,别人都交


卷了,黛玉还是无所谓,李宫裁催她,黛玉才提笔,怎料七律一首,一挥而就,掷给她们,


一个





字,颇有气魄,林妹妹才华出众,鹤立鸡群,可见一斑。




黛玉的诗是这样的:




半卷湘帘半掩门,碾冰为土玉为盆。




偷来梨蕊三分白,借得梅花一缕魂。




月窟仙人缝缟袂,秋闺怨女拭啼痕。




娇羞默默同谁诉,倦倚西风夜已昏。




黛玉的第一句,相当


80

< p>
后,



半卷湘帘半掩门



,这哪里是一个贵族小姐的作派,俨然一个任


性任情的女孩作派 ,宝钗的第一句是



珍重芳姿昼掩门



,一个



珍重芳姿


写温良端淑,也难


怪,宝钗是豪门薛家的女二代,可黛玉 偏偏不珍重芳姿,半掩门,真性情,好洒脱。



碾冰

< p>
为土玉为盆



,用




”“




形容海棠花,这是对海棠花的最高赞美,黛玉以海棠花自喻,既


提高了 海棠花的品位,又以花照人,三分白,是说梨花的洁白无暇,一缕魂,是说梅花的高


尚品 格,不仅美轮美奂,而且圣洁崇高,赋予了海棠花美丽,也赋予了海棠花情操。





月窟仙人缝缟抉,秋闺怨女拭啼痕



,冥冥之中,在寂静寥廓的月宫里,嫦娥在缝缟抉,凄


凉萧疏,


而黛玉则在秋闺之中暗暗哭泣,


最后 一句,


黛玉泪眼望海棠,


满腹情愁,


满 腹心事,


思宝玉,悲身世,和海棠倾诉,西风落叶,黄昏遍地,黛玉泪干了,身倦了,恍 恍惚惚,黛


玉语花,花语黛玉。



< /p>


全诗之中没有





字,但是通篇都是泪意、泪情,字面上无





,却无处不泪,这是这首诗


的巧妙绝伦之处,所以,颦儿的海棠花,实际上是



海、棠、 泣、泪



,因为,花即黛玉,因


为她有 梅花之魂,黛玉即花,因为她有梨花之白,人花相望、相守、相诉,有泪、有情、有


娇羞 ,有西风,这是一副海棠泣泪的诗意画面。




中文七律诗变成了英文



一句话





霍克斯翻译林黛玉的



咏海棠花




倾注了巨大的虔诚和才华,这个性情男人,


竟然用英语的


一个句子,翻译了黛玉的整首诗,中文的七律,变成了英文的



一句



诗,不仅中国人闻所未


闻,就是英国翻译界,也罕有如此率性无羁的翻译先例。




Beside the half-raised blind,the half- closed door,



Crushed ice for earth and white jade for pot,



three parts of whiteness from the pear- tree stolen,



One part from plum for scent(which pear has not)-



Moon-maidens stitched them with white silken thread,



And virgins' tears the new-made flowers did spot,



Which now,like bashful maids that no word say,



Lean languid on the breeze at close of day.



一个完美的英文长句,


竟然包涵了中国一首绝妙的七律,


以才 华对撞才华,


以虔诚敬奉我们


的绛珠仙子,这一段翻译,有情, 有意,中文七律本是两行泪,英文诗则似是泪水流淌,富


有高度的形式美,一气呵成。首 先,译作以


door



pot



no



spot


为韵,


say



d ay


为韵,虽


然中文七律是一韵到底,原诗用盆、魂、痕、昏为 韵,但英文诗只有打油诗或喜剧中才会出



< br>一韵到底



,所以,作为一首严肃的英文诗歌,还是要变 韵的,虽然,变韵了,但是


say



d ay


,这两个长元音构成了一种浑厚悠长,绕梁三日的音韵效果,极为悠远、哀戚,特别


符合林妹妹在结尾坐困黄昏中的无限惆怅。所以,


霍克斯的英文 译作,


如歌如诉,


我们不妨


轻轻诵读, 真是抑扬顿挫,节奏舒缓,直至结尾,余韵袅袅、挥之不去。




译作不仅在音律方面不亚于原作,而且,


诗歌的形式也让人惊叹 ,


大家看前面六行,这是一


组圆周句,


形式工整,


前六行,


景物一一扑面而来,


峰回路转,


柳暗花明,


极具视觉冲击力,

把原诗中的绚烂、美丽,在饱满的诗潮跌宕中,淋漓尽致地铺陈出来,前面是状语,主句在

< br>后面才豁然出现。




难得的是 ,霍克斯品到了颦儿的





,懂了颦儿的




”< /p>


,译文中,以


virgins'


tea rs


,画龙点


睛般地为西方读者传递了这首诗的诗境,颦儿的这 首诗,既咏物,又寄怀,花人合一,而霍


克斯注意到了不仅要把景物引介给西方读者,< /p>


还要把景物背后所寄托的情感,


准确无误地传

递给西方读者,他做到了,他把中文七律变成英文



一句诗



,文胆滔天,又能描物咏情,音


律和 艺术表现,臻于尽善尽美。




翻译,


也是一种创作,翻译家不是语言工匠,


而是语言的转换大师,霍 克斯运用惊世骇俗的


艺术方式,用内心,用自己的虔诚,与


30 0


年前的林妹妹



诗歌相会

< p>


,海棠花下一段神交,


他成功了,海棠花是林妹 妹的,也是霍克斯的,是中国人的,也是英语世界读者的。




中国的男性文人,能够与林黛玉



诗情 对话



的,三百年来罕见。我们能做的,是解读林妹妹


的海棠花泪,而霍克斯却用自己的民族语言,品人,品花,品泪,一介英伦奇才,堪为黛玉


之跨国蓝颜知己






名师讲解散文《



沉默》



名师讲解散文《沉默》



< p>
出场人物:


该文由北京外国语大学教授申雨平英译、


讲解。


赵丽宏的这篇散文讲的是人的各


种各样的沉默,


文中没有明确地说出谁,






字都少有。中文可以随心所欲地像本文这样


使用无主句,英文却万万行不通。每句必须要有主、谓才算完整。因此,译文只能尽可能地


做到接近原文的意思,这就是翻译上所说的任何译文都只能是一种


c ompromise







逐句分析:




沉默




Silence



无声即沉默。沉默 有各种各样


——


Silence is soundlessness; silence exists in different forms.



这一句原文说


无声即沉默



,而译文却成了


“< /p>


沉默即无声




因为英文对叙述的要求是要由一


个出发点发出,不乱换视角,这样显得叙述比较清楚。英 文的题目是


Silence


,因此下面也



silence


说起,视角一致。




有:指



沉 默



的存在,所以说


exists


。既然前面说了存在,那么后面就要说以什么形式存在


了,英文就是


in...form





腹中空泛,


思想一片苍白,


故无言可发,


这是沉默。


An empty head or a blank mind which leads


to speechlessness--that is silence.


< p>
中文主谓结构多,因而谓语多、


动词多,


仅这句里 的谓语或动词就有四个。


译成英文时这样


的结构不可以照搬,< /p>


如果译成四个英文句子,


必然是句子超短,


即使无奈加上数个关联词语,


也会显得话很急促,不够从容。基于这个原因,译文用了 名词短语,后面由


that


总括起来,


句子结构显得比较严密。


这样的结构也在下文中多次采用,


使文 章重心保持了与原文的一致


性。



< /p>


腹中:中文会说



腹中空空





满肚子墨水



,但英文就没有这样的说法,与之相应的应该是


head


或者


mind


< p>
blank



empty


同义,都是



空无一物



的意思。




热情已如柴薪 尽燃,


故而冷漠处世,


无喜无悲,


无忧 无愤,


对人世的一切都失去兴趣和欲望,


这也是沉默。


Enthusiasm fades like dying embers and thus leads to cynicism and indifference to


life,


which


arouses


neither


happiness


nor


sadness,


neither


worries


nor


anger,


and


which


costs


people their interest in and desire for anything--that is silence.



这里的结构与上一句相同,


原则也一 样:


不照搬中文的短句结构,


而是要尽量发挥英文的特


点,把意思译出来,译到家。以下几句采用的都是一样的做法。




embers


:燃尽的柴灰,做这个 意义讲时要用复数形式。




cost


:使人失去,导致损失。注意


interest



desire


后分别用不同的介词搭配,不能只用其 中


的任何一个代替两个。




有过爱,有过恨,有过迷茫,有过颖悟,有过一呼百应的呐喊,有过得不到回报的呼唤,然


而却收口如瓶,只是平静地冷眼看世界,这是沉默。




Despite all the experiences of love and hate, of disorientation and reorientation, of order-giving


that was answered by hundreds and call-issuing that was not answered by a single soul, there is


not a word uttered, but only a clam eye that watches on this world--that is also silence.




有过


......”


不能译成


there was...


,因为这里说的









,主体都是 人,是说人的感情,


人的感受。因此译文便用了


experie nces


一词,指人的情感体验。六个



有过



都是指人的各


种情感体验,后 面的转折是想说,有的人即便有着这样丰富的体验,仍然能够心平气和,冷


眼旁观。但是 ,话有没有说过,却是一种存在,因此便使用了


there be


句型。




迷茫:这里译为


disorientation


,意思是



迷失方向



,< /p>



不知所之




orient



确定方位




< br>适


应、熟悉



的意思。




颖悟:与



迷茫



相对,是迷茫后重新明白,所以译为< /p>


reorientation





soul


:人,与

< br>person


同义。




a


calm


eye


:用部分代替整体,修辞上叫做提喻,这里用人体的一部分


——


眼睛


——


来代替


人。




饱经忧患,阅尽人生百态,胸有千山万壑的 屐痕,有江河湖海的涛声,然而却深思不语,这


也是沉默。




Worries and sufferings, tastes of changes and vicissitudes of the world, footprints left in mountains


and


valleys


and


noises


of


rivers


and


oceans


cherished


in


the


heart


are


all


but


hidden


unrevealed--that is still silence.



饱经忧患:这里译为


worries


and


sufferings


,字面 上没有体现出



饱经



,因为这两个字的意


思实际上已经包含在了


worri es



sufferings


的复数形 式里面,


这两个词的复数形式本身指的


就是各种各样的忧虑和苦 难。




阅尽:看到过,品尝过。可能 指自己亲历的事,也可能指看到、听到的事,这么多的意思似


乎没有一个很合适的字来表 达,就用了


taste


,而且还用了复数,就是说不是一次,而 是多


次、反复。下文的



千山万壑



译成


mountains and va lleys


也是这样的意思,用复数的形式来


表示数量之多。< /p>




vicissitude

< p>
:实际上与


change


是同义的,但这个词更具 体,指世态的变迁,而不是泛指任何


变化。


changes



vicissitudes


连用也可以起 到一种意思由弱到强、由泛到具体的效果。




涛声:译文用了


noises


。考虑到原文的



涛声



范围比较窄, 说是



涛声



,实际上连风声、雨


声、


海鸟的叫声等等都应当包括在里面,< /p>



noises


意思更广一点,


可以包括大海发出的各种


声响。




一把价值连城意大利小提琴,和一只被随手削出的芦笛,


不去触动它们,便都是沉默,


但沉


默的内涵 却并不一样,


即便永远不在有人去触动它们,


你依然可以想象听 见它们可能发出的


绝然不同的鸣响。




Either an invaluable Italian violin or a reed whistle cut out casually would remain silent if they are


not


played,


although


the


connotations


of


their


silences


differ


greatly.


For


even


though


they


are


never


touched


by


anybody,


you


can


still


imagine


the


vastly


different


sounds


they


can


possibly


produce.



一把


......

< br>,一把(和一枝)


......


:这样的结构本身就包含 了



或者


......


或者


......”


的意思,译文里

< br>相应地也用了


either...or...





价值连城:


英文里 没有相应的比喻,


没有用





这个形象来比非常贵重的东西的用法,


所以< /p>


只能用


invaluable


。再就是母 语为英语的人基本上都知道,意大利小提琴是非常名贵的,用


invaluable



priceless


便足以表达出原文的 意思了。




芦笛:这并不是一种真正的乐器,译为


reed whistle





内涵:即内在的含义,


connotation


,这里 用复数表示这两种乐器所包含的不同内容。




凭想象听见:英文里



想象





听见


”< /p>


这两个词搁不到一起,用


imagine


就足够了。




另外,请注意后一句中 文和英文语序的不同:中文用前置的定语,英文则更多用后置定语。




一块莹洁无暇的美玉,


和一块粗糙的 土砖,


放在那里也都是沉默。


然而谁能把它们所代表的


内容划一个等号呢?




A flawless jade ornament or a coarse, gross brick will always remain silent if it is left untouched,


but who can draw an equal sign between them?



从这 句开始原文的句型有了变化。不再是


“......


,这就是沉 默。



译文也就可以不受句型的限


制了 。




粗糙朴实:这里的



朴实



其实就是粗糙,并 不是通常说的



朴实敦厚


< p>



朴实






土砖:并没有译成


clay brick


,因为砖本来就是土做的。




等号:就是数学上的



等号




equal sign







通览




无声即沉默。沉默有各种各样


——




Silence is soundlessness; silence exists in different forms.



腹中空泛,思想一片苍白,故无言可发,这是沉默。




An empty head or a blank mind which leads to speechlessness--that is silence.



热情已如柴薪尽燃,

故而冷漠处世,


无喜无悲,


无忧无愤,

对人世的一切都失去兴趣和欲望,


这也是沉默。




Enthusiasm


fades


like


dying


embers


and


thus


leads


to


cynicism


and


indifference


to


life,


which


arouses


neither


happiness


nor


sadness,


neither


worries


nor


anger,


and


which


costs


people


their


interest in and desire for anything--that is silence.



有过爱,有过恨,有过迷茫,有过颖悟,有过一呼百应的呐喊,有过得不到回报的呼唤,然


而却收口如瓶,只是平静地冷眼看世界,这是沉默。




Despite all the experiences of love and hate, of disorientation and reorientation, of order-giving


that was answered by hundreds and call-issuing that was not answered by a single soul, there is


not a word uttered, but only a clam eye that watches on this world--that is also silence.


< /p>


饱经忧患,阅尽人生百态,胸有千山万壑的屐痕,有江河湖海的涛声,然而却深思不语,这


也是沉默。




Worries and sufferings, tastes of changes and vicissitudes of the world, footprints left in mountains


and


valleys


and


noises


of


rivers


and


oceans


cherished


in


the


heart


are


all


but


hidden


unrevealed--that is still silence.



一把价值连城意大利小提琴,和一只被随手削出的芦笛,


不去触动它们,便都是沉默,


但沉


默的内涵 却并不一样,


即便永远不在有人去触动它们,


你依然可以想象听 见它们可能发出的


绝然不同的鸣响。




Either an invaluable Italian violin or a reed whistle cut out casually would remain silent if they are


not


played,


although


the


connotations


of


their


silences


differ


greatly.


For


even


though


they


are


never


touched


by


anybody,


you


can


still


imagine


the


vastly


different


sounds


they


can


possibly


produce.



一块莹洁无暇的美玉,


和一块粗糙的 土砖,


放在那里也都是沉默。


然而谁能把它们所代表的


内容划一个等号呢?




A flawless jade ornament or a coarse, gross brick will always remain silent if it is left untouched,


but who can draw an equal sign between them?





名师讲解散文《秋天的色彩》的翻译



名师讲解散文《秋天的色彩》的翻译





这篇短文的英译经北外李金达教授的的悉心打磨,

< p>
可以帮你从中领悟翻译之道


——


翻译时选


择哪个词、哪种句式、哪种语气,为何做出取舍,这些翻译的细节之处你都可在

< br>“


注释



中发

< br>现。




秋天的色彩




——


维也纳老人生活一瞥




Splendor of the fall



--A Glimpse at the Life of Senior Viennese



注释:




1 “


秋天




f all


,如


in the fall of 2008


,又如美国大学的


Fall Quarter


即秋季班,另外


fall


也给

< br>人以



晚年


< br>的联想。




2 “

< p>
色彩



:译成


splen dor


(光辉,光彩)


,给人一种很有希望的的感觉。




3 “


一瞥




即眼前一闪而过,


a glimpse (a brief, incomplete view)




a glimpse of Shanghai




海一瞥)





和许多 发达城市一样,


维也纳也早就进入了老龄社会。


应该说,


在奥地利这样的高福利国家,


老人们起码的生活来源是不用担心的。包 罗万象的社会福利系统给老人们提供了许多方便。


除了名目各异的津贴与保险之外,还有 各种各样的优惠,


如乘火车,参观博物馆,


听歌剧等

< p>
等,都会因为您是老人而折扣收费。这些优惠甚至还扩展到了来奥地利的外国老年旅游者。


只要他们出示必要的身份证明,完全可以和奥地利老年公民享受同等待遇。




Like many other metropolises in the world, Vienna has entered an old-age society. I must say, in a


country


with


high


social


welfare


benefits


like


Austria,


aged


people


needn't


worry


about


their


primary


needs


of


livelihood.


The


all-embracing


social


welfare


system


facilitates


people


in


their


advanced


age.


In


addition


to


the


subsidies


and


insurances


of


every


description,


there


are


other


favors


such


as


travelling


by


train,


visiting


museums


and


attending


operas


at


cut


prices


all


on


account of your old age. Such favors are also extended to aged visiting tourists to Austria. They


only


have


to


produce


their


ID


or


other


corresponding


certificates


and


they


will


enjoy


the


same


privileges like their Austrian counterparts.



注释:




1 “


发达城市



:在英语中不说


developed cities


,应译成


m etropolises


(大都会)





2



应该 说




I


must


say


,是插入语,常见于 英语口语中,意即



我是这么想的,你不一定完


全同意我的看法






3



在奥 地利这样的高福利国家





高福利





国家



的定语,但不能放在名词前面,而是作< /p>


为介词短语后置作定语,


in a country with high social welfare benefits like Austria





4



起码的



:即基本的、主要的,


primary



essential


都可,也可以用


basic



elementary



不过档次低了点儿。




5 “


生活来源


:生计、生存,过日子,


livelihood



needs of livelihood


指生活必需品。




6 “


包罗万象


:即什么都包括在内的,因此


all- embracing



all- inclusive


均可。




7



提供了许多方便



:切勿把



方便

< p>


译成


convenience

< br>,而应用


facilitate


(make


easier,


aid,


assist)





8 “


都会因为



all on account of...


复合介词,跟


because of


同义,前者多半用于正面肯定,如


on account of one's old age/seniority/rich experience

< br>等,而后者用于负面、责怪较多,如


The


football match was cancelled because of rain.



9 “


来奥地利的外国 老年旅游者




外国



不必也不应翻译,因为到奥地利旅游的一定是外国< /p>


人,所以


visiting tourists to Austria


即可。



< p>
然而,


我们知道,衣食无忧仅仅是生活的一个方面,人们对生活的要求是多 侧面的,文明程


度越高,人们的心理需求就越高。尤其是老年人,他们和青年人一样,也 有文化的需要,娱


乐的需要,


尊严的需要,

成就感的需要,


更何况他们已经走过了生命的大部分历程。他们要

< br>在生命的最后一个阶段活得更加舒心,


活得更有色彩。


在 维也纳的日子里,


我们见到的老年


人,


好像都生活得有滋有味的。


我常常会被他们所感染。


我由衷地敬 佩他们积极的生活态度,


我尤其欣赏他们那开朗的精神状态。


因 为我们语言不通,


我无法和他们更深入地交流,


我只

< p>
能将我所看到的情景和场面白描似地记录下来。




Yet, we all know that supply of provisions and clothing is only one aspect of life; man's demand


on


life


is


many-sided.


Higher


the


civilization,


higher


is


man's


psychological


aspiration.


This


is


especially true of old folks.


Like


young people, they have the need of cultural life, the need of


recreation and amusement, the need of dignity and the need of accomplishment. Besides, having


traversed greater part of their lives and unwilling to leave behind too many regrets, they want to,


in their remaining years, make their lives easier and more substantial. During my stay in Vienna, I


found that all the elderly people I met with seemed to enjoy their lives enormously. Contagiously,


I


couldn't


help


admiring


them


for


their


positive


attitude


toward


life,


especially


their


optimism.


Because of the language barrier I could not go deep into our conversation. So, all I could do is


record what I saw then and there in sketch forms.



注释:




1 “


衣食无忧



:直译是


not having to worry about...


,但往下就接不 上了,还不如从正面切入,


译成


supply of provisions and clothing


为好。




2



他们 已经走过了


......


,享受同等待遇




counterpart




相对应的人;对手方


< br>,如


Chinese


Foreign Minister Li Zhaoxing met his American counterpart Powell in New York





3 “


被他们所感染




可别译成


I was infected by them



人家还以为你得了传染病 呢。


contagious


表示



有感染力的



,如


contagious laughter





一天,


我又漫步走进了一家古董店,


毫无目的地浏览着各种奇奇怪怪的古玩意儿。


往店堂深


处走时我突然发现此店的收银员是一位老太太。


我无法知道是什么原因使 这位老妇人在应该


颐养天年的岁数还在充当上班族,


我只知道一 眼看去这位老妇人是喜欢这份工作的,


而且也


完全能够胜任这份 工作。


只见她全神贯注,


手指在收银机的键盘上利索地摁动着,


每结完一


份帐,


便会抬起头来对着顾客 微微一笑,


没有一颗牙的嘴笑起来有点滑稽也有点天真,


但相< /p>


当有趣。


我不由自主地在她身边停了下来。


我突然发现这位老妇人坐在收银台上和这家古董


店的情调是那么的和谐,


说不定正是这家商店用以招徕顾客的特殊手段。


我是带着许多问号

< p>
离开这家商店的,


因为我觉得这位老妇人和这家古董店肯定有着一段很有意 思的故事,


只可


惜我听不到了。




One day, I strolled into an old curiosity shop where I browsed the antiques on display. As I walked


further into the store, I found, to my great surprise, that the cashier behind the register turned out


to be an old woman. I can never understand what has driven this old woman to join the rank of


wage earners at an age when she should take life easy and enjoy the few days she had left with her.


All I know is that I could tell at first sight she apparently enjoyed what she was doing, and was


competent for the job. Her concentration of mind, her skillful handling of the cash register and her


faint, naive yet somewhat facetious smile from behind her toothless mouth after the settlement of


each account was simply amusing. Somehow I halted beside her. Only then did I discover in what


perfect harmony the old woman behind the cashier's register was with the antique shop. It can very


well be a trick employed to attract customers. With many questions unasked I left that store, for


somehow I was convinced there must be something intriguing between this old woman and the old


curiosity shop. How I wish I could hear it all!



注释:




1 “


浏览



:即随便看看,翻阅(书刊等 )



browse (to look through or over casually)





2 “


突然发现


......


是一位老太太



:表达出乎意料的含义,


turn out to be an old woman





3 “


上班族




wage earner



靠挣工 资生活的人)




< br>”


即阶层,



上班族

< p>



rank of wage earners





4 “


全神贯注,手指在收银机


... ...


,抬起头来


......”


:在 原文中这是三个独立的句子,直译出来


又长又不顺,把它们译成三个名词短语就紧凑多了 ,全句谓语是



相当有趣


< p>




5 “

< p>
结完一份帐




sett le


(结算、结帐)



account


(账)





6 “


只可惜我听不到了


< p>
:这是个虚拟叹句,即我要是能听他们说说这里面的奥秘该多好啊!


(Ho w I wish I could hear it all!)





木兰辞翻译



MuLan


MU LAN



木兰辞




Long ago, in a village in northern China, there lived a girl named MuLan. One day, she sat at her


loom weaving cloth. Click-Clack! Click-Clack! Went the loom.



Suddenly,


the


sound


of


weaving


changed


to


sorrowful


sighs.


“What


troubles


you?”


her


mother


as


ked. “Nothing. Mother,” Mulan softly replied.




Her mother asked her again and again, until Mulan finally said, “there is news of war.”




“Invaders are attacking. The emperor is calling for troops, Last night. I saw the draft poster and


twelve scrolls of nam


es in the market. Father’s name is on it.”




“But father is old and frail.” Mulan sighed. “How can he fight? He has no grown son and I have


no elder brother.



I will go the markets. I shall buy a saddle and a horse. I must fight in father’s place.”




唧唧复唧唧,木兰当户织。不闻机杼声,唯闻女叹息。



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