哲理雙語(yǔ)散文欣賞
英語(yǔ)散文的發(fā)展歷程十分曲折,散文大家風(fēng)格多變,兼之中英語(yǔ)言個(gè)性殊異,若要成功地把英語(yǔ)散文大家的作品翻譯到中文,既須了解英語(yǔ)散文發(fā)展的概況,又須注意保證氣韻邏輯通暢,文氣沛然,才能傳神譯出,曲盡其妙,令漢語(yǔ)讀者獲得相同或相近的審美感受。下面學(xué)習(xí)啦小編為大家?guī)?lái)哲理雙語(yǔ)散文欣賞，希望大家喜歡!
哲理雙語(yǔ)散文：學(xué)會(huì)相信自己
I lost my sight when I was four years old by falling off a box car in a freight yard in AtlanticCity and landing on my head. Now I am thirty-two. I can vaguely remember the brightness ofsunshine and what red color is. It would be wonderful to see again, but a calamity can dostrange things to people.
4歲那年在大西洋城，我從貨場(chǎng)一輛火車(chē)上摔下來(lái)，頭先著地，于是雙目失明?，F(xiàn)在我已經(jīng)32歲了。我還模糊地記得陽(yáng)光是多么燦爛，紅色是多么鮮艷。能恢復(fù)視覺(jué)固然好，但災(zāi)難也能對(duì)人產(chǎn)生奇妙的作用。
It occurred to me the other day that I might not have come to love life as I do if I hadn’t beenblind. I believe in life now. I am not so sure that I would have believed in it so deeply,otherwise. I don’t mean that I would prefer to go without my eyes. I simply mean that the lossof them made me appreciate the more what I had left.
有一天我突然想到，倘若我不是盲人，我或許不會(huì)變得像現(xiàn)在這樣熱愛(ài)生活?，F(xiàn)在我相信生活，但我不能肯定如果自己是明眼人，會(huì)不會(huì)像現(xiàn)在這樣深深地相信生活。這并不意味著我寧愿成為盲人，而只是意味著失去視力使我更加珍惜自己其他的能力。
Life, I believe, asks a continuous series of adjustments to reality. The more readily a person isable to make these adjustments, the more meaningful his own private world becomes. Theadjustment is never easy. I was bewildered and afraid. But I was lucky. My parents and myteachers saw something in me —a potential to live, you might call it ——which I didn’t see,and they made me want to fight it out with blindness.
我認(rèn)為，生活要求人不斷地自我調(diào)整以適應(yīng)現(xiàn)實(shí)。人愈能及時(shí)地進(jìn)行調(diào)整，他的個(gè)人世界便愈有意義。調(diào)整決非易事。我曾感到茫然害怕，但我很幸運(yùn)，父母和老師在我身上發(fā)現(xiàn)了某種東西——可以稱(chēng)之為活下去的潛力吧——而我自己卻沒(méi)有發(fā)現(xiàn)。他們激勵(lì)我誓與失明拼搏到底。
The hardest lesson I had to learn was to believe in myself. That was basic. If I hadn’t been ableto do that, I would have collapsed and become a chair rocker on the front porch for the rest ofmy life. When I say belief in myself I am not talking about simply the kind of self-confidencethat helps me down an unfamiliar staircase alone. That is part of it. But I mean somethingbigger than that: an assurance that I am, despite imperfections, a real, positive person thatsomewhere in the sweeping, intricate pattern of people there is a special place where I canmake myself fit.
我必須學(xué)會(huì)的最艱難的一課就是相信自己，這是基本條件。如做不到這一點(diǎn)，我的精神就會(huì)崩潰，只能坐在前門(mén)廊的搖椅中度過(guò)余生。相信自己并不僅僅指支持我獨(dú)自走下陌生的樓梯的那種自信，那是一部分。我指的是大事：是堅(jiān)信自己雖然有缺陷，卻是一個(gè)真正的有進(jìn)取心的人;堅(jiān)信在蕓蕓眾生錯(cuò)綜復(fù)雜的格局當(dāng)中，自有我可以安身立命的一席之地。
It took me years to discover and strengthen this assurance. It had to start with the mostelementary things. Once a man gave me an indoor baseball, I thought he was mocking meand I was hurt. “I can’t use this,” I said. “Take it with you,” he urged me,” and roll it around. “The words stuck in my head.” Roll it around!” By rolling the ball I could hear where it went.This gave me an idea how to achieve a goal I had thought impossible: playing baseball. AtPhiladelphia’s Overbrook School for the Blind I invented a successful variation of baseball. Wecalled it ground ball.
我花了很長(zhǎng)時(shí)間才樹(shù)立并不斷加強(qiáng)這一信念。這要從最簡(jiǎn)單的事做起。有一次一個(gè)人給我一個(gè)室內(nèi)玩的棒球，我以為他在嘲笑我，心里很難受。“我不能使這個(gè)。”我說(shuō)。“你拿去，”他竭力勸我，“在地上滾。”他的話(huà)在我腦子里生了根。“在地上滾!” 滾球使我聽(tīng)見(jiàn)它朝哪兒滾動(dòng)。我馬上想到一個(gè)我曾認(rèn)為不可能達(dá)到的目標(biāo)：打棒球。在費(fèi)城的奧弗布魯克盲人學(xué)校，我發(fā)明了一種很受人歡迎的棒球游戲，我們稱(chēng)它為地面球。
All my life I have set ahead of is a series of goals and then tried to reach them, one at a time. Ihad to learn my limitations. It was no good to try for something I knew at the start was wildlyout of reach because that only invited the bitterness of failure. I would fail sometimes anywaybut on the average I made progress.
我這一輩子給自己樹(shù)立了一系列目標(biāo)，然后努力去達(dá)到，一次一個(gè)。我必須了解自己能力有限，若開(kāi)始就知道某個(gè)目標(biāo)根本達(dá)不到卻硬要去實(shí)現(xiàn)，那不會(huì)有任何好處，因?yàn)槟侵粫?huì)帶來(lái)失敗的苦果。我有時(shí)也失敗過(guò)，但一般來(lái)說(shuō)總有進(jìn)步。
哲理雙語(yǔ)散文：贏得大師的尊重
When the young American composer Daniel Gregory Mason came to Boston to interview thegreat pianist and composer Ignacy Jan Paderewski , there was trouble from the start.
年輕的美國(guó)作曲家丹尼爾•格里格利•梅森來(lái)到波士頓，當(dāng)他拜見(jiàn)偉大的鋼琴家和作曲家伊格納奇•揚(yáng)•帕岱萊夫斯基時(shí)，一開(kāi)始就遇到了麻煩。
Because of a misunderstanding Mason was two-and-a-half hours late for his meeting with thegreat pianist. Mason was waiting in the hotel lobby while Paderewski was upstairs, getting moreand more aggravated by Mason’s tardiness. Finally Mason went up to see Paderewski and foundhim cordial enough, but Paderewski’s wife was cold and standoffish. Mason felt awkward andself-conscious. He complimented Paderewski on his “Variations and Fugue on an OriginalTheme.” Then he added: “Just so you don’t think that’s empty flattery, I’ll tell you frankly thatI do not care so much for some of your early pieces.”
因?yàn)橐粋€(gè)誤會(huì)，梅森和這位偉大的鋼琴家會(huì)面延遲了兩個(gè)半小時(shí)。當(dāng)梅森在旅館大廳里傻等時(shí)，帕岱萊夫斯基卻在樓上房間里為他的拖拉而越來(lái)越惱火。最后梅森上樓見(jiàn)到帕岱萊夫斯基，他還是很熱情，但他的夫人卻冷言冷語(yǔ)。梅森感到尷尬和羞愧。他贊美帕岱萊夫斯基的《原主旋律上的變奏曲和賦格曲》，然后他補(bǔ)充道，“為了不讓您覺(jué)得這是我的空洞奉承，我得坦誠(chéng)地告訴您，我不太喜歡您早期的一些樂(lè)曲。”
Paderewski’s wife gave Mason a stony look. “What pieces? What do you not care for?”
帕岱萊夫斯基夫人拉下臉來(lái)，問(wèn)他：“什么樂(lè)曲?你不喜歡什么樂(lè)曲?”
Mason got in deeper. “Well, for example, I do not care so much for the ‘A Minor Concerto’.”
梅森說(shuō)：“好吧，比如說(shuō)《a小調(diào)協(xié)奏曲》，我就不太喜歡。”
Her gaze was unwavering . “The concerto is one of my favorites among my husband’scompositions. I love it more and more.”
她目不轉(zhuǎn)睛地說(shuō)：“在我丈夫的作品中，這首協(xié)奏曲是我最喜歡的曲子之一。我越來(lái)越喜歡了。”
Valiantly , Mason complimented Paderewski’s use of French impressionism.
梅森又冒昧地奉承帕帕岱萊夫斯基對(duì)法國(guó)印象主義的運(yùn)用如何美妙。
Now Paderewski himself spoke. “I utterly repudiate any debt to French impressionism. I donot believe in the modern French school, because it is not founded in tradition. It is erratic,bizarre, wayward. ”
這次帕岱萊夫斯基自己說(shuō)話(huà)了：“我和法國(guó)印象主義一點(diǎn)關(guān)系也沒(méi)有。我不相信法國(guó)現(xiàn)代派，因?yàn)樗鼪](méi)有傳統(tǒng)根基，太怪異了，旁門(mén)左道，莫名其妙。”
At last Mason ventured to show Paderewski a movement of his new violin sonata. Paderewskishook hands with him about eight times as he read through the sonata, singing the melodyand exclaiming “beautiful!” Finally, with his music, Daniel Gregory Mason had won over themaster.
最后，梅森斗膽地拿出了自己寫(xiě)的小提琴奏鳴曲的一個(gè)樂(lè)章，讓帕岱萊夫斯基過(guò)目。帕岱萊夫斯基看奏鳴曲時(shí)，一邊哼唱著，一邊叫著：“太棒了!”這過(guò)程中居然和梅森握了八次手。丹尼爾•格里格利•梅森終于憑著他的音樂(lè)，贏得了大師的尊重。
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