英语课外读物翻译

1、v1.0可编辑可修改As regards his attitude towards the credibility of early Roman history he is quite as conscious as weare of its mythical and unsoundnature. Hewill not, for instanee, decide whether the Horatii were Alba ns or Roma nswhowas the first dictator; howma nytrib unes there were, and the like. His

2、 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 his

3、torical criticism will ever discover whether the Roman women in terviewed the mother of Coriola nus of their own accord or at the suggesti on of the sen ate; whether Remus was killed for jump ingover his brother swall or because theyquarrelled about birds; whether the ambassadors found Cincinn atus

4、ploughi ng or only mendinga hedge. Livy suspendshis 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 mer

5、e 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 imagin

6、ation 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 b

7、elief. He can n ever make up his mind what to believe as regards God s govement of the world. There is no method in him and none elsewhere in Roma n 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。Nati ons may not have missi ons but they certa inly have fun cti ons. And the function of

8、an cie nt Italy was not merely to give us what is statical in our in stituti ons and rati onal in our law, but to ble nd into one eleme ntal creed the spiritual aspirati ons of Arya n and of Semite. Italy was not a pioneer in intellectual progress, nor a motive power in the evolution of thought. The

9、 owl of the goddess of Wisdomtraversed over the whole land and found no where a rest in g-place. The dove, which is the bird of Christ, flew straight to the city of Rome!nd the newreign began. It wasthe fashion of early Italian pain ters to represe nt in mediaeval costume the soldiers who watched ov

10、er the tomb of Christ, and this, which was the result of the frank an achr onism 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. Wherthe dawnof the Greek spirit arose, the sepulchre was empty, the grave-clothes l

11、aid 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

12、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 modernby ancient thought which we call the Renaissanee, it was the words of Aristotle which sent Columbussailing to the New World, while a fragment of Pythagorean astro

13、nomy set Copernicus thinking on that train of reas oning which has revoluti oni sedthe whole positi on of our pla net in the uni verse.Then it was seen that the only meaningof progress is a return to Greekmodesof thought. The mon kish hymn swhich obscured the pages of Greek manu scripts were blotted

14、 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 manin all that sple ndour of glad adolesce nee, whenthe bodily powers seemquickened by a newvitality,whenthe eye sees more clearlythan its wont and the mind apprehen

15、ds what was beforetime hidden from it. To herald the opening of the sixteenth century, from the littleVenetian printing press cameforthall the great authors of antiquity, each bearing on the title-page the words GreeAj words which may serve to remi nd us with what won drous prescie nee Polybius saw

16、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，

17、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 aprofitless investigatio

18、n into modes and forms of thought now antiquated and of noaccount. The only spirit which is entirely removedfrom us is the mediaeval; the Greek spirit is essentially modern. The introduction of the comparative methodof research which has forced history to disclose its secrets bel ongs in a measure t

19、o us. Ours, too, is a more scientificknowledge of philology and the method of survival. Nor didthe ancients knowanything of the doctrine of averages or of crucial instances, both of which methods have proved of such importa nee in moder n criticism, the one addi ng a mostimporta nt proof of the stat

20、ical eleme nts of history, and exemplify ing the in flue ncesof all physical surroundingson the life of man; the other, as in the single instanee of the Moulin Quignon skull, serving to create a whole new scienee of prehistoricarchaeology and to bring us back to a time when man was coeval with the s

21、tone age,the mammothand the woolly rhinoceros. But, except these, we have added no new canon or method to the scienee of historical criticism. Across the drear waste of a thousand years the Greek and the moder n spirit join han ds.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

22、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 Quig non 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 torc

23、h race which the Greek boys ran from the Cerameicia n field of death to thehomeof the goddess of Wisdom,not merely he whofirst reached the goal but he also who first started with the torch aflame received a prize. In the Lampadephoria of civilisati on and free thought let us not forget to ren der du

24、e meed of honour to those whofirst lit that sacred flame, the increasing splendour of which lights our footsteps to the far-off div ine eve nt of the atta inment 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

25、们的脚步到达了获得完美真 理的遥远神圣的地方。LA SAINTECOURTISANBOR, THEWOMANOVEREDITHJEWELSThe see ne represe nts a corner of a valley in the Thebaid. On the right han dof the stage is a caver n. In front of the caver n sta nds a great crucifix.On the left sa nd dunesj.The sky is blue like the in side of a cup of lapis l

26、azuli. The hills are of red sand. Here and there on the hills there are clumps of thorns.FIRSTMAN.Whos she Shemakesmeafraid. Shehas 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 boatme n say that the Emperor has a daughter who w

27、ears a cloak of purple.SECONMAN.She has birds wingsupon 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 shadowsof hawkswhenshe moves. The pearls on her tunic are like many moons.FIRST MAN. They are like

28、 the moons one sees in the water when thewind blows from the hills.SECOND MAN. I thi nk she is one of the gods. I thi nk 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 A

29、donis.SECONMAN.She is one of the gods. I do not knowwhy 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 n ot speak to us. She is the daughter of the Emperor.MYRRHINA. wells he not here, the beautiful you

30、 ng hermit, he who will not look on the face of woma nFIRST MAN. Of a truth it is here the hermit dwells.MYRRHINA. Why will he not look on the face of woma nSECOND MAN. We do not know.MYRRHINA. Why do ye yourselves not look at meFIRST MAN. You are covered with bright ston es, and you dazzle our eyes

31、.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. Manyof the priests in the temples are bli nd, and have slaves to lead them.MYRRHINAVheredoes he dwell, the beautiful you ng hermit whowill not look on the face of

32、 womarHas he a house of reeds or a house of bur nt clay or does he lie on the hillside Or does he make his bed in the rushesFIRST MAN. He dwells in that cavern yon der.MYRRHINA. What a curious place to dwell in.FIRSTMAN.Of old a centaur lived there. Wherthe hermit camethe centaur gave a shrill cry,

33、wept and lame nted, and galloped away.SECOND MAN. No. It was a white unicorn who lived in the cave. When it saw the hermit coming the unicorn kn elt dow n and worshipped him. Many people saw it worshipp ing him.FIRST MAN. I have talked with people who saw it.SECOND MAN. Some say he was a hewer of wo

34、od and worked for hire. But that may not be true.氺氺氺MYRRHINA. What gods the n 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 brow n cloaks have no gods to worship. They wran gle with each other in the porticoes. The j la

35、ugh at them.FIRST MAN. Wworship seve n gods. We may not tell their n ames. It is a very dan gerous 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 n a

36、mes.MYRRHINA. Where are these gods ye worshipFIRST MAN. We hide them in the folds of our tunics. We do n ot show them to any one.If we showed them to any one they might leave us.MYRRHINA. Where did ye meet with themFIRST MAN. They were given to us by an embalmer of the dead who had found them in a t

37、omb. We served him for seve n 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 ma ny of the godsFIRST MAN. We have see n many of them. One sees them chiefly at ni gh

38、t time. They pass one by very swiftly. On cewesaw someof the gods at daybreak. They were walk ing across a plai n.MYRRHINA. nceas I waspassing 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. Wehave

39、ourselves see n many, though we are but com mon men and of no acco unt. Whe n I saw them I hid myself in a bush. They did me no harm.MYRRHIN/Tell memoreabout the beautiful you ng hermit. Talk to meabout the beautiful young hermit whowill not look on the face of woman.What is the story of his days Wh

40、at mode of life has heFIRST MAN. We do n ot un dersta nd you.MYRRHINAVhatdoes he do, the beautiful young hermit Doeshe sow or reap Doeshe plant a garde n or catch fish in a net Does he weave linen on a loom Does he set his hand to the woode n plough and walk behi nd the oxe nSECONMAN.He being a very

41、 holy man does no thi ng. Weare commome nand of no acco unt.We toil all day long in the sun. Sometimes the gro und is very hard.MYRRHINA. Do the birds of the air feed him Do the jackals share their booty with himFIRST MAN. Every eveningwe bring him food. We do not think that the birds of the airfeed

42、 him.MYRRHINA. Why do ye feed him What profit have ye in so doi ngSECOND MAN. He is a very holy man. One of the gods whom he has offen ded has made himmad. We thi nk he has offen ded the moon.MYRRHINA. oand tell him that one who hascomefrom Alexandria desires to speak with him.to his God. We pray th

43、ee to pard on us for not doing thy biddi ng.FIRST MAN. We dare not tell him. This hour he is praying FIRST MAN. That he might heal them.MYRRHINA. Are ye afraid of himFIRST MAN. We are afraid of him.MYRRHINA. Why are ye afraid of himFIRST MAN. We do not know.MYRRHINA. What is his nameFIRSTMAN.The voi

44、ce that speaks to him at night time in the cavern calls to him by the nameof Honorius. It was also by the nameof Honorius that the three lepers who passed by once called to him. We thi nk that his n ame is Hon orius.MYRRHINA. Why did the three lepers call to himMYRRHINA. Did he heal themSECONIDAN. N

45、o. They had committed some sin: it was for thatreason they were lepers.Their handsand faces were like salt. Oneof them wore a maskof linen. He was a king s son.MYRRHINA. What is the voice that speaks to him at night time in his caveFIRST MAN. We do not know whose voice it is. We think it is the voic

46、e of his God. Forwe have see n no man en ter his caver n nor any come forth from it.MYRRHINA. Ho norius.HONORIUS (from withi n). Who calls Ho norius氺氺氺MYRRHINA. Come forth, Hon orius.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

47、 purple. My bed is strew n 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. Mylovers hang garlands round the pillars of myhouse. At night time they comewith the flute players and the playe

48、rs of the harp. They woomewith apples andon the pavementof mycourtyard they write mynamein 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 t

49、o me. The kings of the earth come to me and bring me prese nts.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。Whenthe 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. Whe n the King of Cyprus heard of me

50、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 ni ght in a litter. He waspale as a n arcissus, and his b