翻译 英汉互译练习

1、英译汉原文(2009):the big bull market by frederick lewis allenthe big bull market was dead. billions of dollars worth of profits and paper profitshad disappeared. the grocer, the window-cleaner and the seamstress had lost their capital. in every town there were families which had suddenly dropped from sho

2、wy affluence into debt. investors who had dreamed of retiring to live on their fortunes now found themselves back once more at the very beginning of the long road to riches. day by day the newspapers printed the grim report of suicides.coolidge-hoover prosperity was not yet dead, but it was dying. u

3、nder the impact of the shock of panic, a multitude of ills which hitherto had passed unnoticed or had been offset by stock-market optimism began to beset the body economic, as poisons seep through the human system when a vital organ has ceased to function normally. although the liquidation of nearly

4、 3 billion dollars of brokers loans contracted credit, and reserve banks lowered the rediscount rate, and the way in which the larger banks and corporations of the country had survived the emergency without a single failure of large proportions offered real encouragement, nevertheless the poisons we

5、re there: over production of capital; over-ambitious expansion of business concerns; overproduction of commodities under the stimulus of installment buying and buying with stock-market profits; the maintenance of an artificial price level for many commodities; the depressed condition of european tra

6、de. no matter how many soothsayers of high finance proclaimed that all was well, no matter how earnestly the president set to work to repair the damage with soft words and white house conferences, a major depression was inevitably under way.nor was that all, prosperity is more than an economic condi

7、tion; it is a state of mind. the big bull market had been more than a climax of a business cycle; it had been the climax of a cycle in american mass thinking and mass emotion. there was hardly a man or woman in the country whose attitude toward life had not been affected by it in some degree and was

8、 not now affected by the sudden and brutal shattering of hope. with the big bull market gone, and prosperity going, american were soon to find themselves living in an altered world which called for new adjustments, new ideas, new habits of thought and a new order of values. the psychological climate

9、 was changing; the ever-shifting currents of american life were turning into new channels.the post-war decade had come to its close. an era had ended.参考译文： 行情暴涨的股票市场佛里德利克 路易斯 阿兰 著 行情暴涨的股票市场崩盘了。数十亿美元的实际利润和票面利润统统成了泡影。杂货店老板，橱窗清洗工，成衣店女裁缝，接二连三的赔光了老本。每个城镇里都有许多显赫的富户，一夜之间便跌进了债务的深渊。曾经梦想退休以后靠财产安度晚年的投资商们，发现自己又

10、一次回到漫长的创业历程的起点。报纸上天天都在刊登令人毛骨悚然的有关自杀的报道。柯利芝胡佛盛世虽然尚未结束，但已日薄西山，气息奄奄了。人们惊慌失措，惊恐万状。在这种情况下，原来不为人们所注意、获被股票市场的乐观气氛所掩盖的种种弊端，开始困扰经济实体，就好比人体的某一重要器官，一旦失去正常功能，毒菌便乘虚而入。尽管近30亿美元的经纪人贷款已经偿清，信贷已经收缩，联邦各大储备银行的再贴现率已经降低，国内一些大银行、大公司，已安全度过危机，没有一家遭受巨额损失，所用的方法也确实令人鼓舞，然而，毒菌依然存在：资本生产过剩、实业公司的过于野心勃勃的扩张、在分期付款购物和股市利润购物刺激下的商品生产过剩、许

11、多商品价格人为地保持在某种水平上、对欧贸易的不景气，等等。不管有多少高级金融预言家声称一切正常，也不管总统先生多么认真地着手工作，用温和的言词和一个又一个白宫会议来修补损失，大萧条还是迫在眉睫，不可避免。问题还远不止此。繁荣不仅指经济状况，也指人的心态。行情暴涨的股票市场不仅仅是一个商业周期的顶点。过去，在美国几乎没有一个人的生活态度不在某种程度上受到繁荣的影响，而今，更由于希望的突然破灭而遭到残酷的打击。行情暴涨的股票市场已经土崩瓦解，繁荣正在消失，过不多久，美国人就会发现自己生活的那个世界已经变了，需要人们做出新的调整，具有新的思想观念，新的思维方式，新的价值体系。人们的心理状态正在改变；

12、不断变化着的美国生活潮流正在转入新的渠道。战后的十年已到了岁终。一个时代就这样结束了。汉译英原文： 银杏 本片最初发表于1942年5月29日新华日报，后收入抢箭集。作者通过充满诗情画意的语言，描写了银杏的干、枝、叶与众不同的特性，深情地称它是“有花植物中最古的先进”，是“东方的圣者”，应该成为“中国的国树”，希望中国人珍爱这难得的异宝。 郭 沫 若银杏，我思念你，我不知道你为什么叫公孙树 公孙树：银杏通常有三、五百年树龄。因为它生长缓慢，一般人是公公种，孙子才能收到果实，所以又叫它“公孙树”。这里采用意译法（grandpa tree），也可以音译成“gong-sun tree”。但一般人叫你是

13、白果，那是容易了解的。我知道，你的特征并不专在乎你有这和杏相仿佛的果实，核皮是纯白如银，核仁是富于营养 “核皮是纯白如银，核仁是富于营养”处理为“纯白如银的核皮”和“富于营养的核仁”（the pure silver white of the peel and the rich nutrition contained in the core），与“和杏相仿佛的果实”并列。这不用说已经就足以为你的特征了。但一般人并不知道你是有花植物中最古的先进 有花植物中最古的先进：银杏是史前遗留下来的古老植物之一。在地质历史较老时期，曾生长茂盛，品种很多。这句可以译为“boast the remotest an

14、tiquity among flowering plants”。，你的花粉和胚珠具有者动物般的性态 具有着动物般的性态：银杏是雌雄异株的单性植物，雄性花粉通过风的媒介落到雌花胚珠上，长出花粉管伸入胚珠内，花粉管内有二鞭毛精子与胚珠内卵子结合，才能结实。，你是完全由人力保存下来的奇珍 是完全由人力保存了下来的奇珍：由于它单株不能结实，随着地质历史的变迁，日渐稀少，仅在我国生存下来，后得到人工栽培并移植各地。自然界中已经是不能有你的存在了 自然界中已经是不能有你的存在了：这句紧随上句，是说银杏单靠自然是无法生存的。，但你依然挺立着，在太空中高唱着人间胜利的凯歌。你这东方的圣者，你这中国人文 人文：

15、文化活动的表现（culture）。的有生命的纪念塔，你是只有中国人才有呀，一般人似乎也并不知道。我到过日本，日本也有你，但你分明是日本的华侨，你侨居在日本大约已有中国的文化侨居在日本那样久远了吧。你是真应该称为中国的国树呀，我是喜欢你，我特别的喜欢你。但也并不是因为你是中国的特产，我才特别的喜欢，是因为你美，你真，你善。你的株干是多么的端直，你的枝条是多么的蓬勃，你那折扇形的叶片是多么的青翠，多么的滢洁，多么的精巧呀！在暑天你为多少的庙宇戴上了巍峨的云冠，你也为多少的劳苦人撑出了清凉的华盖 云冠、华盖：云冠，原指像帽子一样覆盖在上面的云，这里指树冠浓密、高耸，起遮荫作用。华盖，原指古代帝王的车

16、盖，这里的意思是与云冠相似。梧桐虽有你的端直却没有你的坚牢；白杨虽有你的葱茏却没有你的庄重。熏风会妩媚你，群鸟时来为你欢歌；上帝百神假如是有上帝百神，我相信每当皓月流空，他们会在你脚下来聚会。秋天到来，蝴蝶已经死了的时候，你的碧叶要翻成金黄，而且又会飞出满园的蝴蝶。你不是一位巧妙的魔术师吗？但你丝毫也没有令人掩鼻的江湖气息 江湖气息：这里指世俗气息，译作“world-wise airs”。当你那解脱了一切，你槎枒的枝干挺撑在太空中的时候，你对于寒风霜雪毫不避易 豪不避易：毫不躲避（not flinch a wee bit）。那是多么的嶙峋而又洒脱 嶙峋：原意是瘦削，这里指气节高尚，气概不凡（d

17、ignified）。洒脱：超然的意思（detached）。呀，恐怕自有佛法以来再也不会产生过象你这样的高僧。你没有丝毫依阿取容 依阿取容：看人脸色的，逢迎附和的（affected and submissive）。的姿态，但你也并不荒伧 荒伧：粗俗（vulgar）。；你的美德象音乐以安阳洋溢八荒，但你也并不骄傲；你的名讳似乎就是“超然” 超然：离尘脱俗（transcendence）。，你超在乎一切的草木之上，你超在乎一切之上，但你并不隐遁。你的果实不是可以滋养人，你的本质不是坚实的器材，就是你的落叶不也是绝好的引火的燃料吗？可是我真有点奇怪了：奇怪的是中国人似乎大家都忘记了你，而且忘记得很久远，

18、似乎是从古以来。我在中国的经典中找不出你的名字，我很少看到中国的诗人咏赞你的诗，也很少看到中国的画家描写你的画。这究竟是怎么一回事呀，你是随中国文化以俱来的亘古的证人，你不也是以为奇怪吗？银杏，中国人是忘记了你呀，大家虽然都在吃你的白果，都喜欢吃你的白果，但的确是忘记了你呀。世间上也尽有不辨菽 菽：豆类的总称（beans）。麦的人，但把你忘记得这样普遍，这样久远的例子，从来也不曾有过。真的拉，陪都 陪都：首都以外另设的临时首都，这里指重庆。不是首善之区 首善之区：全国最好的地方，后称京师。此指首都，含有讽刺之意。吗？但我就很少看见你的影子，为什么遍街都是洋槐 洋槐：即刺槐（locust tre

19、e），原产北美。茎高十余米，树干生刺。，满园都是幽加里树 幽里加树：即桉树（eucalyptus），原产澳大利亚及马来西亚。英译汉原文（2008）： the figure a poem makes robert frost abstraction is an old story with the philosophers, but it has been like a new toy in the hands of the artists of our day. why cant we have any one quality of poetry we choose by itself ? w

20、e can have in thought. then it will go hard if we cant in practice. our lives for it. granted no one but a humanist much cares how sound a poem is if it is only a sound. the sound is the gold in the ore. then we will have the sound out alone and dispense with the inessential. we do till we make the

21、discovery that the object in writing poetry is to make all poems sound as different as possible from each other, and the resources for that of vowels, consonants, punctuation, syntax, words, sentences, meter are not enough. we need the help of contextmeaningsubject matter. that is the greatest help

22、towards variety. all that can be done with words is soon told. so also with metersparticularly in our language where there are virtually but two, strict iambic and loose iambic. the ancients with many were still poor if they depended on meters for all tune. it is painful to watch our sprung-rhythmis

23、ts straining at the point of omitting one short from a foot for relief from monotony. the possibilities for tune from the dramatic tones of meaning struck across the rigidity of a limited meter are endless. and we are back in poetry as merely one more art of having something to say, sound or unsound

24、. probably better if sound, because deeper and from wider experience. then there is this wildness where of it is spoken. granted again that it has an equal claim with sound to being a poems better half. if it is a wild tune, it is a poem. our problem then is, as modern abstractions, to have the wild

25、ness pure; to be wild with nothing to be wild about. we bring up as aberrationists, giving way to undirected associations and kicking ourselves from one chance suggestion to another in all directions as of a hot afternoon in the life of a grasshopper. theme alone can steady us down. just as the firs

26、t mystery was how a poem could have a tune in such straightness as meter, so the second mystery is how a poem can have wildness and at the same time a subject that shall be fulfilled. it should be of the pleasure of a poem itself to tell how it can. the figure is the same as for love. no one can rea

27、lly hold that the ecstasy should be static and stand still in one place. it begins in delight, it inclines to the impulses, it runs a course of lucky events, and ends in a clarification of lifenot necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay agai

28、nst confusion. it has denouement. it has an outcome that though unforeseen was predestined from the very mood. it is but a trick poem and no poem at all if the best of it was thought of first and saved for the last. it finds its own name as it goes and discovers the best waiting for it in some final

29、 phrase at once wise and sadthe happy-sad blend of the drinking song. no tears in the writer, no tears in the reader. no surprise for the writer, no surprise for the reader. for me the initial delight is in the surprise of remembering something i didnt know i knew. i am in a place, in a situation, a

30、s if i had materialized from cloud or risen out of the ground. there is a glad recognition of the long lost and the rest follows. step by step the wonder of unexpected supply keeps growing. the impressions most useful to my purpose seem always those i was unaware of and so made no note of at the tim

31、e when taken, and the conclusion is come to that like giants we are always hurling experience ahead of us to pave the future with against the day when we may want to strike a line of purpose across it for somewhere. the line will have the more charm for not being mechanically straight. we enjoy the

32、straight crookedness of a good walking stick. modern instruments of precision are being used to make things crooked as if by eye and hand in the old days. i tell how there may be a better wildness of logic than of inconsequence. but the logic is backward, in retrospect, after the act. it must be mor

33、e felt than seen ahead like prophecy. it must be a revelation, or a series of revelations, as much for the poet as for the reader. for it to be that there must have been the greatest freedom of the material to move about in it and to establish relations in it regardless of time and spare, previous r

34、elation, and everything bat affinity. we prate of freedom. we call our schools free because we are not free to stay away from them till we are sixteen years of age. i have given up my democratic prejudices and now willingly set the lower classes free to be completely taken care of by the upper class

35、es. political freedom is nothing to me .i bestow it right and left. all i would keep for myself is the freedom of material the condition of body and mind now and then to summons aptly from the vast chaos of all i have lived through. scholars and artists thrown together are often annoyed at the puzzl

36、e of where they differ. both work from knowledge; but i suspect they digger most importantly in the way their knowledge is come by. scholars get theirs with conscientious thoroughness along projected lines of logic; poets theirs cavalierly and as it happens in and out of books. they stick to nothing

37、 deliberately, but let what will stick to them like burrs where they walk in the fields. no acquirement is on assignment, or even self-assignment. knowledge of the second king is much more available in the wild free ways of wit and art. a school boy may be defined as one who can tell you what he kno

38、ws in the order in which he learned it. the artist must value himself as he snatches a thing from some precious order in time and space into a new order with not so much as a ligature clinging to it of the old place where it was organic. more than once i should have lost my soul to radicalism if it

39、had been the originality and initiative are what i ask for my country. for myself the originality need be no more than the freshness of a poem run in the way i have described: from delight to wisdom. the figure is the same as for love. like a piece of ice on a hot stove the poem must ride on its own

40、 melting. a poem may be worked over once it is in being, but may not be worried into being. its most precious quality will remain its having run itself and carried away the poet with it. read it a hundred times: it will forever keep its freshness as a metal keeps its fragrance. it can never lose its

41、 sense of a meaning that once unfolded by surprise as it went. 参考译文： 诗运动的轨迹 美 佛 罗 斯 特 著抽象对哲学家来说是老生常谈，但它在当代艺术家手中却还像是一种新鲜玩意儿。我们为何不能有自己选择的任何一种诗所固有的特性呢？我们心中可以有。可要是我们实际上不能有，那它也难有结果。我们的生命向往那种特性。如果诗仅仅是一种声调的话，让我们假定只有人文学者才关心这种声调有多纯正。这声调是矿石中的金子。那么哦我们只把金子淘出，而将其他可有可无的东西摒弃；直到我们发现写诗的宗旨是要让每首诗都尽可能发出不同的声调，而要做到这点，现有的

42、元音、辅音、标点、句法、词汇、句型和格律并不够用。我们还需要借助于语境一意义一题材。这对于声调之变化是莫大的帮助。词汇能造成的变化三言两语就可讲清。格律的变化也同样一尤其在英语中，因为英语诗歌实际上只有两种格调，即严谨的抑扬格和不严谨的抑扬格。古代诗人有许多格律，但如果他们仅依靠格律来形成旋律，那他们的格律仍然不够用。看我们的弹性节奏派诗人为避免单调而使劲一个音步中略去一个短音，那可真叫惨不忍睹。其实要让源自充满激情且富于意义的声调之旋律穿越因受限制而呆板的格律，其可能性可谓无穷无尽。我们可以退后一步，把诗仅仅看成又一种有意义要表达的艺术，不管它纯正还是不纯正。也许纯正更好，因为更深远，来自更

43、丰富的经历。这下就有了我们要探的这种野性。让我们再假设这种野性和声调一样，理应成为诗不可或缺的要素，那么一种野性的旋律就可以是诗。于是我们要解决的问题就是像现代抽象派艺术家那样使这种野性保持纯洁，使之成为一种野而不狂的野性。我们爱偏离正道，爱陶醉于漫无目的的联想，像充满活力的蚱蜢在炎热的下午东蹦西跳，从一个偶然的启示跳向另一个偶然的启示。只有主题能让我们镇静下来。我们先前的困惑是：在格律这种一成不变的框架之中，一首诗怎么能获得一种变化的旋律。同先前的困惑一样，我们现在的困惑是：一首诗何以能既具有野性，同时又有一个要实现的主题。若让一首诗自己来说明这点，那应该是一件令人愉快的事。一首诗自有其运动

44、轨迹。它始于欢欣，终于智慧。这条轨迹对爱情也是一样。谁也不可能真正相信那种强烈的感情会在一个地方静止不动。它始于欢欣，它喜欢冲动，随着第一行写出它就开始设定方向，然后经历一连串的偶然和侥幸，最终到达生命中的一片净土那片净土不必很大，不必像各教派学派立脚的地盘那么大，但应在与混乱相对的片刻清净之中。它有结局。它有一种虽说意外但却早已在原始情绪的第一意象中就注定了的结局结局的确是来自情绪。若它的最佳部分早就被想到并被可以保留到最后，那它就是首伪诗，而不是真正的诗。诗应该在运动过程中发现自己的名字，并发现最精彩的部分就在最后的某个语句之中，在某个酒歌般悲喜交融的语句之中。诗人没有眼泪，读者亦不会流泪

45、。诗人没有惊喜，读者亦不会有惊喜。对我而言，最初的欢欣就在突然回想起我不知自己所知的某事或某物的惊喜之中。我会身在某处，处于某中状态，仿佛我是从云中钻出或是从地面高高升起，心中怀着一种因认出早已淡忘的事物二感到的喜悦，其余的一切接踵而来。意想不到的惊喜一点点地增加。最有助于我实现目的的印象似乎总是那些我当初获得时未加留心因而没有记录下来的印象，而结果是我们总像巨人似的把经历抛到前方去铺我们未来的路，以防有朝一日我们也许会想另觅一条实现目的的路，超越以往的经历区什么地方。那条路也许更有魅力，因为它不会笔直德单调乏味。我们总喜欢一根漂亮拐杖的直中有曲。现代精密仪器正在被用来使东西弯曲，就像过去人们

46、凭眼睛和手工所做的一样。较之非逻辑的野性，我知道怎么会有一种更逻辑的野性。但这种逻辑是后来的，是在行动之后，在回忆之时才有的。它必须是被感觉到，而不是像预言那样被预见到。不管对诗人还是对读者，它都必须是一种启示，或一连串启示。因为情况应该是这样：素材在任何时间空间都必须有最充分的自由在这种逻辑中运动，并在其中建立各种关系，包括先前的关系，以及除雷同之外的一切关系。我们爱空谈自由。因为我们16岁之前没有离开学校的自由，我们就认为我们的学校自由。我已经放弃了我的民主偏见，现在我乐意让下层民众自由地被上层阶级全面照管。政治自由于我可有可无。我可以把它送给左邻右舍。我要替自己保留的就是我运用素材的自由

47、，我身心状态随时能响应我所经历过的大混乱之召唤的自由。学者和艺术家相聚时往往会恼于说不清楚他们之间的差别。他们都凭其学识立业，但我认为两者最大的差别就在于他们获取知识的方式。学者总是沿设计好的逻辑路线谨慎而周密地获取知识，诗人的方式则可谓潇洒，总是随缘凑巧地从书里书外获取。他们并不刻意附着他们，就像在旷野中行走时芒刺附着于他们身上那样。诗人并不把求知作为必修课，甚至不作为选修课。这第二类知识更适合凭借艺术才智随心所欲地区获取。可以这么说，学者能用其获取知识的那种条理告诉你他的所识所知；艺术家则肯定会夸耀，说他能从某个在时空上都先有的条理中取出其不可分割的某一部分，然后放进一个甚至于与之无关的新

48、条理中。如果激进主义就是被一些青年皈依者误认为的独创性，那我可能早就不止一次地皈依它了。独创性和进取心是我为自己的祖国祈求的东西。对我而言，独创性只须是一首诗的新颖之处，而那首诗之形成是依照我上文所描述的轨迹从欢欣到智慧，这条轨迹对爱情也是一样。像热炉子上的冰块，诗必须经历它自己的融化过程。一首诗完成之后可以被修饰润色，已运动并带着诗人和它一道行进，它最珍贵的特性就将永远保持。它将会让人百读不厌，就像金属永远保持其香味。它永远都不会失去它在运动过程中意外呈现的意蕴。汉译英原文： 孩子，快抓紧妈妈的手 为汶川地震死去的孩子而作 孩子，快抓紧妈妈的手！去天堂的路太黑，妈妈怕你碰了头。孩子，快抓紧妈

49、妈的手！ 让妈妈陪你走， 妈妈怕天堂的路太黑。我看不见你的手。 自从到倒塌的墙把阳光夺走， 我再也看不见你柔情的眸。孩子，你走吧。前面的路再也没有忧愁，没有读不完的课本，和爸爸的拳头。你要记住我和爸爸的模样，来生还要一起走。*妈妈，别担忧。天堂的路有些挤，有很多同学朋友。我们说不哭。每一个人的妈妈都是我们的妈妈，每一个孩子都是妈妈的孩子。没有我的日子，你把爱给活着的孩子吧。妈妈，你别哭。泪光照亮不了我们的路，让我们自己慢慢走。妈妈，我会记住你和爸爸的模样，记住我们的约定来生一起走。参考译文：hold tight mommys hand, baby! in memory of the child

50、ren who died in wenchuan earthquakehold tight mommys hand, baby!the road to heaven is too dark.mommy fears you may bump your head.hold tight mommys hand, baby!let me go with you.mommy fears the road to heaven is too dark.i cannot see your hand.the collapsed wall takes away the sunlight.i can no long

51、er see your tender eyes.you may go in peace, baby.the road ahead is no longer filled with cares.you dont have to face mountains of booksand your daddys fists.remember how your mommy and daddy look.we will live together again in the afternoon.*do not worry about me, mommy.the road to heaven is a litt

52、le crowded.ive seen many schoolmates and friends.we tell each other we mustnt cry.everyones mommy is our mommy。everyones child is mommys child.in the days without me,please give your love to those alive.do not cry, mommy.our glittering tears cannot light up the road.let us go at our own pace.mommy,i

53、 will remember how you and daddy look,and our promise to live together again in the afterlife.英译汉原文（2007）： from our destiny in space isaac asimovthe earth is full! four billion people have crammed into every desirable and fruitful area and have spilled over into all the barren and inhospitable areas

54、. under the pressure of the fullness, the wilderness is disappearing, competing plants and animals are dying out; the weather is changing and the soil is failing. and yet there is perhaps an even more fundamental danger to humanity in the earths fullness than is represented by any sort of physical d

55、eterioration. humanity began as a thin cluster of primitive hominids in east africa about four million years ago. about two million years ago, the first hominids appeared who were sufficiently close in structure to the human being to be placed into genus homo. it was not until 150,000 years ago that

56、 the hominid brain developed to a size sufficient to produce the first organisms we can classify as homo sapiens, and it was only 50,000 years ago that “modern man,” homo sapiens, made his appearance on the earth.his increase in range was slow indeed. it was not till 30,000 years ago that human bein

57、gs began to enter australia and the american continents, and even as late as 300 years ago, those continents were but thinly occupied.then came the industrial revolution and the earth filled with what was, on the evolutionary scale, an explosion. in a couple of centuries, the world population quintupled from 0.8 billion to 4.2 billion, and now earth bears all the human load it c