2012年第三届“《英语世界》杯”翻译大赛

第一篇：2012年第三届“《英语世界》杯”翻译大赛

2012年第三届“《英语世界》杯”翻译大赛

秉承“给力英语学习，探寻翻译之星”的理念，在前两届翻译大赛成功举办的基础上，《英语世界》杂志社将联合南开大学、中国翻译协会社科翻译委员会、四川省翻译协会和成都通译翻译有限公司共同举办第三届“《英语世界》杯”翻译大赛。欢迎广大英语爱好者，包括在书山学海奋力跋涉的莘莘学子，热情参与，晒秀佳译。

一、大赛形式：

本次大赛为英汉翻译，二、参赛要求：

1．参赛者年龄、性别、学历不限。

2．参赛译文须独立完成，不接受合作译稿。

3.参赛译文及个人信息于截稿日期前（7月10日）发送至rita的电子邮箱： 281996716@qq.com（1）

邮件主题请标明“翻译大赛”；

（2）

以附件一形式发送参赛者个人信息，文件名“参赛者信息”，内容包括：姓名、性别、出生年月日、学校或工作单位、通信地址（邮编）、电子邮箱和电话；

（3）

以附件二形式发送参赛译文，文件名“参赛译文正文”，内文规格：黑色小四号宋体，1.5倍行距，两端对齐。

4.仅第一次投稿有效，不接受修改后的再投稿件。

5.在大赛截稿之日前妥善保存参赛译文，勿在报刊、网络等任何媒体或以任何方式公布，否则将取消参赛资格并承担由此造成的一切后果。

三、大赛时间：

截稿日期：2012年7月20日24时整。

评奖公布日期：2012年10月，在《英语世界》杂志、微博和博客中公布大赛评审结果。

四、奖项设置：

所有投稿将由主办单位共同组织专家进行评审，分设一、二、三等奖及优秀奖。一、二、三等奖获奖者将颁发奖金、证书和纪念品，优秀奖获奖者将颁发证书。

五、特别说明：

1.本届翻译大赛不收取任何费用。

2.本届翻译大赛只接受电子版投稿，不接受纸质投稿。3.参赛译文一经发现抄袭现象，即取消参赛资格。

附：【翻译大赛原文】

At Turtle Bay By E.B.White

Mosquitoes have arrived with the warm nights, and our bedchamber is their theater under the stars.I have been up and down all night, swinging at them with a face towel dampened at one end to give it authority.This morning I suffer from the lightheadedness that comes from no sleep—a sort of drunkenness, very good for writing because all sense of responsibility for what the words say is gone.Yesterday evening my wife showed up with a few yards of netting, and together we knelt and covered the fireplace with an illusion veil.It looks like a bride.(One of our many theories is that mosquitoes come down chimneys.)I bought a couple of adjustable screens at the hardware store on Third Avenue and they are in place in the windows;but the window sashes in this building are so old and irregular that any mosquito except one suffering from elephantiasis has no difficulty walking into the room through the space between sash and screen.(And then there is the even larger opening between upper sash and lower sash when the lower sash is raised to receive the screen—a space that hardly ever occurs to an apartment dweller but must occur to all mosquitoes.)I also bought a very old air-conditioning machine for twenty-five dollars, a great bargain, and I like this machine.It has almost no effect on the atmosphere of the room, merely chipping the edge off the heat, and it makes a loud grinding noise reminiscent of the subway, so that I can snap off the lights, close my eyes, holding the damp towel at the ready, and imagine, with the first stab, that I am riding in the underground and being pricked by pins wielded by angry girls.Another theory of mine about the Turtle Bay mosquito is that he is swept into one’s bedroom through the air conditioner, riding the cool indraft as an eagle rides a warm updraft.It is a feeble theory, but a man has to entertain theories if he is to while away the hours of sleeplessness.I wanted to buy some old-fashioned bug spray, and went to the store for that purpose, but when I asked the clerk for a Flit gun and some Flit, he gave me a queer look, as though wondering where I had been keeping myself all these years.“We got something a lot stronger than that,” he said, producing a can of stuff that contained chlordane and several other unmentionable chemicals.I told him I couldn’t use it because I was hypersensitive to chlordane.“Gets me right in the liver,” I said, throwing a wild glance at him.The mornings are the pleasantest times in the apartment, exhaustion having set in, the sated mosquitoes at rest on ceiling and walls, sleeping it off, the room a swirl of tortured bedclothes and abandoned garments, the vines in their full leafiness filtering the hard light of day, the air conditioner silent at last, like the mosquitoes.From Third Avenue comes the sound of the mad builders—American cicadas, out in the noonday sun.In the garden the sparrow chants—a desultory second courtship, a subdued passion, in keeping with the great heat, love in summertime, relaxed and languorous.I shall miss this apartment when it is gone;we are quitting it come fall, to turn ourselves out to pasture.Every so often I make an attempt to simplify my life, burning my books behind me, selling the occasional chair, discarding the accumulated miscellany.I have noticed, though, that these purifications of mine—to which my wife submits with cautious grace—have usually led to even greater complexity in the long pull, and I have no doubt this one will, too, for I don’t trust myself in a situation of this sort and suspect that my first act as an old horse will be to set to work improving the pasture.I may even join a pasture-improvement society.The last time I tried to purify myself by fire, I managed to acquire a zoo in the process and am still supporting it and carrying heavy pails of water to the animals, a task that is sometimes beyond my strength.■

（选自 An E.B.White Reader, pp.198-200, New York Harper & Row, 1966）

第二篇：第二届英语世界杯翻译大赛原文

His First Day as Quarry-Boy

By Hugh Miller(1802～1856)

It was twenty years last February since I set out, a little before sunrise, to make my first acquaintance with a life of labour and restraint;and I have rarely had a heavier heart than on that morning.I was but a slim, loose-jointed boy at the time, fond of the pretty intangibilities of romance, and of dreaming when broad awake;and, woful change!I was now going to work at what Burns has instanced, in his ‘Twa Dogs’, as one of the most disagreeable of all employments,—to work in a quarry.Bating the passing uneasinesses occasioned by a few gloomy anticipations, the portion of my life which had already gone by had been happy beyond the common lot.I had been a wanderer among rocks and woods, a reader of curious books when I could get them, a gleaner of old traditionary stories;and now I was going to exchange all my day-dreams, and all my amusements, for the kind of life in which men toil every day that they may be enabled to eat, and eat every day that they may be enabled to toil!The quarry in which I wrought lay on the southern shore of a noble inland bay, or frith rather, with a little clear stream on the one side, and a thick fir wood on the other.It had been opened in the Old Red Sandstone of the district, and was overtopped by a huge bank of diluvial clay, which rose over it in some places to the height of nearly thirty feet, and which at this time was rent and shivered, wherever it presented an open front to the weather, by a recent frost.A heap of loose fragments, which had fallen from above, blocked up the face of the quarry and my first employment was to clear them away.The friction of the shovel soon blistered my hands, but the pain was by no means very severe, and I wrought hard and willingly, that I might see how the huge strata below, which presented so firm and unbroken a frontage, were to be torn up and removed.Picks, and wedges, and levers, were applied by my brother-workmen;and, simple and rude as I had been accustomed to regard these implements, I found I had much to learn in the way of using them.They all proved inefficient, however, and the workmen had to bore into one of the inferior strata, and employ gunpowder.The process was new to me, and I deemed it a highly amusing one: it had the merit, too, of being attended with some such degree of danger as a boating or rock excursion, and had thus an interest independent of its novelty.We had a few capital shots: the fragments flew in every direction;and an immense mass of the diluvium came toppling down, bearing with it two dead birds, that in a recent storm had crept into one of the deeper fissures, to die in the shelter.I felt a new interest in examining them.The one was a pretty cock goldfinch, with its hood of vermilion and its wings inlaid with the gold to which it owes its name, as unsoiled and smooth as if it had been preserved for a museum.The other, a somewhat rarer bird, of the woodpecker tribe, was variegated with light blue and a grayish yellow.I was engaged in admiring the poor little things, more disposed to be sentimental, perhaps, than if I had been ten years older, and thinking of the contrast between the warmth and jollity of their green summer haunts, and the cold and darkness of their last retreat, when I heard our employer bidding the workmen lay by their tools.I looked up and saw the sun sinking behind the thick fir wood beside us, and the long dark shadows of the trees stretching downward towards the shore.—Old Red Sandstone

（文章选自THE OXFORD BOOK OF ENGLISH PROSE, 658-660, Oxford University Press, London, first published 1925，reprinted 1958.）

第三篇：第三届翻译大赛通知

关于第三届翻译大赛的报名通知

各学院：

为迎接第十五届学术科技节，我院将于6月上旬举行第三届翻译大赛.本次比赛以灵活轻松的形式来提高同学们对翻译的兴趣，营造浓厚的学术性的氛围，激发同学们学习语言的热情。现将有关事项通知如下：

一、比赛组织：

比赛由校团委主办，外国语学院学生会承办

二、参赛对象：

活动对象面向全校同学

三、比赛形式：

考虑到英语专业学生和非英语专业学生之间英语水平的差距，我们把比赛分为英语专业组和非英语专业组，非英语专业组比赛形式具体如下：

（1）分发中文翻译材料给每位参赛者（非专业组翻译材料见下），参赛者需在规定时间内将中文材料翻译成英文（含电子版与打印版）并上交到各学院负责人，并附上姓名、学院、联系方式及邮箱地址，译文格式统一为Times New Roman 12号字。

（2）译文上交后，将由专业老师进行评奖。

（3）请各选手独立完成翻译作品，如发现作弊者，将取消其参赛资格。

五、奖项设置：

专业组和非专业组一等奖各1名、二等奖各4名、三等奖各8名、优胜奖若干名、最具文采奖1名。

欢迎各院学生踊跃报名参与！

外国语学院学生会 2010年5月23日

附比赛翻译材料：（注：翻译段落为：第①、②、④、⑤段）

林区小镇

①小镇很小。街上行人谁都认识谁。彼此都不陌生。小镇很美，北面是山，南面和西面也是山，群山轻轻地捧着它，更显得安宁而娴静。

②站在北山顶上望小镇，小镇像一面盆，盘里盛满爱情、欢笑和幸福。一条长街，那么长，一直扯到小兴安岭的深处原始森林里，它像一条长绳，一头系在镇里，一头栓在林场，它联系着伐木者的心。过去这里只是一户人家，一座猎人小屋，一条猎狗，一只猎枪伴着一位老猎人生活在这原始森林的一隅，后来才知道它就是东北抗日联军通往大本营的秘密联络点，那位老猎人是地下交通员，人们叫他李老疙瘩，他跑腿一辈子没成家，光复后第二年春天,李老疙瘩不幸病死了。他的坟就在后山的松林里，青石碑上刻着“抗联老人李老疙瘩烈士之墓”，在他的坟头上一年四季都是鲜花，松柏翠绿，至今人们还深深怀念着他。

③小镇历史和人民共和国同龄，当年有一位从延安来的老干部，他带着林业建设部队的人马，勘察来到这里，支起帐篷，燃起炊烟，在山下插上一块木牌子，上写：“开发”，他挥挥手说：“这是将来的林场，一个林区小镇。”从此这里有了歌声，有了欢笑，打了井，盖了房，通了火车，一个林区小镇就这样诞生了。小镇的脉搏和时代脉搏一起跳动，小镇的小路连着祖国心脏北京。那一年北京修建人民大会堂，从这小镇的小路连着祖国心脏北京。那一年北京修建人民大会堂，从这小镇的小路上运去十颗大红松，那是挑选了又挑选，选出的十颗高度，粗细|、规格相同的大红松。人们豪迈地说：“最上等的珍贵木材，献给北京，去做人民大会堂的栋梁！”为了不使木质有丝毫损坏，没有铁器，用绳子捆起，用人抬上火车，发往北京

④小镇的冬天很冷，镇上那一座座小房子，冰雕雪塑，像玉宇琼阁的童话世界。风雪茫茫。气温是零下五十度，酷寒。有一年，一夜大雪把全镇的房子埋了起来，清早人们推不开门窗，只能从积雪下捅个窟窿，钻了出来，人们扫雪扫了一天。但是再冷也不影响一切正常秩序，人们在照常上班，孩子们照常上学校，镇上的人们心里是火热的，冬天从来都是春天的前奏，理想的热能在人们心中注入了前进的动力。

⑤小镇很静，从没有喧闹的也不见嘈杂，没有干扰，没有争吵，很静，很静，人们的文明、友爱、和谐统一在一帧青山绿水的画轴里。可是小镇的经历又是神奇惊险和有趣的。偶尔，密林深处的稀客梅花鹿、罕达犴或许感到深山寂寞时，就大大方方地走到镇上来了，四处游逛了一番，又匆匆地跑了，全镇人以珍惜友善的眼光目送它们远去。有一年，一只东北虎忽然闯进镇来了，这不速之客，把孩子、妇女们吓哭了。“老木把”却不害怕，扛起斧头，把它赶跑了，因为东北虎是国家珍贵动物应受保护。但也毫不客气地打死过进镇来的黑熊、野猪，对那些野兽铁面无情。有时，那蓝羽毛白斑点的飞龙鸟，这兴安岭林的珍禽，飞离了丛林，竟飞到了住户门前园子地里果树上，飞腾跳跃在枝头，矍矍地欢叫起来，不知是报告什么喜悦的信息？

⑥很小很小的小镇上，忽然人潮从山外涌来，为什么这般热闹起来？河开了，河水在歌唱；燕来了，燕子在高飞，杜鹃红了，红似火，人们走在镇上，眉开眼笑，精神振奋地互相传播喜讯：“小镇的北山上，发现了金矿，取之不尽，采之不竭的丰富金矿啊，招引了远方开发者的到来。祖国四个现代化建设，需要开发黄金。”在小镇那条长街上的一座小屋前，一张红标语上写着：“开发金矿筹备处”的七个大字，醒目鲜明，吸引着无数人的目光，激励着万千人的心，那红标语纸火红火红，燃烧起来了，把全镇烤红了。小镇啊，小镇，你的命运和祖国四个现代化事业紧紧相连，在地图上你或许是个不被人知的小点点，然而你却闪着异样的光，发着巨大的热，默默无闻地贡献着全部力量，啊，林区小镇！

① small town.The street no one knows.Not unfamiliar to each other.Beautiful town, north of the mountains, south and west are mountains, hills and gently hold it even more obvious that peace and tranquility.② standing on top of North Mountain looking town, a small town like a basin, tray and full of love, laughter and happiness.1 Long Street, so long, has been side-tracked by the depth of virgin forest in Xiaoxing'an, it is like a long rope, tied one end of town, a bolt in the forest, its contact with the loggers of the heart.Here is just one family in the past, a hunting lodge, a hunting dog, a shotgun accompanied by an old hunter living in the forests of the corner, it was later learned that the Northeast Anti-Japanese forces leading to the secret headquarters focal point, the old man Hunter is the underground transport workers, people called him Li Lao knots, running errands life he never married, the second spring after Taiwan's retrocession, Li Lao knots unfortunately died.His grave is on the mountain's pine forests, the bluestone engraved “anti-Li Lao lump together old Tomb” in his graves all year round flowers, pine green, since it is also remembered the him.③ town history and the people of the Republic of the same age, then one from Yan'an to the veteran, his forces troops with forestry construction, inspection here, the tent, lit smoke, stuck a wooden sign at the foot of the mountain, to write : “development”, he waved his hand and said: “This is the future of the forest, a forest town.” With the songs from here, with laughter, played well and built a house, through the train, a small forest the town was born.Pulse and the pulse of the times the town with the beating heart of the town's trail running on the motherland Beijing.Beijing to build the Great Hall of the year, from the heart of the town's trail running on the motherland Beijing.Beijing to build the Great Hall of the year, from the small town road transport to 10 large pine, which is selected then select, selected 10 high, weight |, the same size large pine.It proudly said: “the finest precious wood, dedicated to Beijing, to do the Great Hall of the pillars!” To not have the slightest damage to wood, not iron, bundled with a rope, personnel loaded onto trains and sent to Beijing ④ town in the winter cold, right into every small town, which houses, ice Xuesu like Yuyu Joan Tower's fairy tale world.Vast snow.The temperature is minus 50 degrees, very cold.One year, one night the snow buried the town house up, do not push people to open doors and windows early in the morning, can only poke a hole under the snow, drilled out, people sweeping snow day.But then the cold will not affect the normal order of all people in work as usual, the children to school as usual, the town's people is the fiery heart, winter, spring has always been the prelude to the ideal heat in people's minds into a forward momentum.⑤ town is very quiet, no noise from the noise in sight, no interference, no quarrel, very quiet, very quiet, civilized people, love, harmony and unity in a scroll of the mountains, where.But the experience of the town is wonderful and interesting adventure.Occasionally, the occasional visitors, deep forests deer, Handa jail time may feel lonely mountains, they openly came to the town, shopping around a lot on hurriedly to run the town in order to cherish the friendly look of people watched them away.One year, a tiger suddenly rushed to the town, this uninvited guest, the children, the women started crying.“Old wood to” not fear, raised the ax, to drive it away, because the rare Siberian tiger is the national animal should be protected.But unceremoniously killed off into town to the black bear, wild boar, to those wild animals be sweeping.Sometimes, white spots that blue dragon feather birds, rare birds this Xing'an forest, fly to the jungle, actually flew to the household garden in front of fruit trees on the ground, soar jump in the branches, Jue Jue to crowed up, I do not know What joy to report the information?

⑥ very small town, the crowd suddenly coming from the hill outside, Why is it so pervasive? River opened, the water in the singing;Yan came, swallows fly, azalea, and red as fire, people walking in the town, grin, spread the spirit of encouraging each other good news: “Kitayama town, found the gold mine, inexhaustible, inexhaustible wealth of mining the gold, ah, attract developers to the arrival of the distance.motherland's modernization drive, need to develop the gold.”long piece of the street in the town before a hut, a ZHANG sign reads: “Development of the Preparatory Office of gold” of the seven characters, eye-catching bright, attracting the attention of countless people and inspires the hearts of thousands of people, that fiery red red red banners of paper, burning up, the town Roasted red.Town ah, the town, your fate and the cause of the motherland's four modernizations are closely linked, the map you may not be known a little bit, but you have strange flashing light, made a huge heat, unknown contribution to the total force, ah, forest town!

第四篇：第六届“英语世界杯”翻译大赛原文、译文及评析

第六届“《英语世界》杯”翻译大赛原文

A Garden That Welcomes Strangers

By Allen Lacy

I do not know what became of her, and I never learned her name.But I feel that I knew her from the garden she had so lovingly made over many decades.The house she lived in lies two miles from mine – a simple, two-story structure with the boxy plan, steeply-pitched roof and unadorned lines that are typical of houses built in the middle of the nineteenth century near the New Jersey shore.Her garden was equally simple.She was not a conventional gardener who did everything by the book, following the common advice to vary her plantings so there would be something in bloom from the first crocus in the spring to the last chrysanthemum in the fall.She had no respect for the rule that says that tall-growing plants belong at the rear of a perennial border, low ones in the front and middle-sized ones in the middle, with occasional exceptions for dramatic accent.In her garden, everything was accent, everything was tall, and the evidence was plain that she loved three kinds of plant and three only: roses, clematis and lilies, intermingled promiscuously to pleasant effect but no apparent design.She grew a dozen sorts of clematis, perhaps 50 plants in all, trained and tied so that they clambered up metal rods, each rod crowned intermittently throughout the summer by a rounded profusion of large blossoms of dark purple, rich crimson, pale lavender, light blue and gleaming white.Her taste in roses was old-fashioned.There wasn’t a single modern hybrid tea rose or floribunda in sight.Instead, she favored the roses of other ages – the York and Lancaster rose, the cabbage rose, the damask and the rugosa rose in several varieties.She propagated her roses herself from cuttings stuck directly in the ground and protected by upended gallon jugs.Lilies, I believe were her greatest love.Except for some Madonna lilies it is impossible to name them, since the wooden flats stood casually here and there in the flower bed, all thickly planted with dark green lily seedlings.The occasional paper tag fluttering from a seed pod with the date and record of a cross showed that she was an amateur hybridizer with some special fondness for lilies of a warm muskmelon shade or a pale lemon yellow.She believed in sharing her garden.By her curb there was a sign: “This is my garden, and you are welcome here.Take whatever you wish with your eyes, but nothing with your hand.”

Until five years ago, her garden was always immaculately tended, the lawn kept fertilized and mowed, the flower bed free of weeds, the tall lilies carefully staked.But then something happened.I don’t know what it was, but the lawn was mowed less frequently, then not at all.Tall grass invaded the roses, the clematis, the lilies.The elm tree in her front yard sickened and died, and when a coastal gale struck, the branches that fell were never removed.With every year, the neglect has grown worse.Wild honeysuckle and bittersweet run rampant in the garden.Sumac, ailanthus, poison ivy and other uninvited things threaten the few lilies and clematis and roses that still struggle for survival.Last year the house itself went dead.The front door was padlocked and the windows covered with sheets of plywood.For many months there has been a for sale sign out front, replacing the sign inviting strangers to share her garden.I drive by that house almost daily and have been tempted to load a shovel in my car trunk, stop at her curb and rescue a few lilies from the smothering thicket of weeds.The laws of trespass and the fact that her house sits across the street from a police station have given me the cowardice to resist temptation.But her garden has reminded me of mortality;gardeners and the gardens they make are fragile things, creatures of time, hostages to chance and to decay.Last week, the for sale sign out front came down and the windows were unboarded.A crew of painters arrived and someone cut down the dead elm tree.This morning there was a moving van in the driveway unloading a swing set, a barbecue grill, a grand piano and a houseful of sensible furniture.A young family is moving into that house.I hope that among their number is a gardener whose special fondness for old roses and clematis and lilies will see to it that all else is put aside until that flower bed is restored to something of its former self.(选自 Patterns: A Short Prose Reader, by Mary Lou Conlin, published by Houghton Mifflin Company, 1983.)

参考译文

一座向陌生人敞开的花园

文/〔美〕艾伦·莱西

译/曹明伦

我并不知晓她当时的境遇，也从未听说过她的姓名，但我觉得我曾了解她，因为她精心照料过数十年的那座花园。

她住过的房子离我家有两英里地。那是幢两层小楼，造型简约，结构方正，屋顶陡斜，轮廓线都未经装饰，是19世纪中期新泽西海岸附近典型的住宅式样。

那座花园也同样简约。她种花从不墨守成规，不会凡事都照搬书本，按书上的建议去换种时令花卉，以期园中常有花开，从早春第一朵番红花到晚秋最后一枝黄菊。她对某条园艺规则也漠然置之，任其去说高植株花卉应种在带状花坛的后排，矮植株的种在前排，而不高不矮的则种在中间，除非偶尔想营造出引人注

在她的花园里，所有的花都有特色，所有的花植株都高；而且不难看出，她喜欢三个类属的花，并且只喜欢那三类：玫瑰、百合、铁线莲。三类花混栽间种，令人悦目赏心，但却不显刻意规划的痕迹。

她栽培了十余种铁线莲，总共大概有五十株。她修剪其枝条，绑缚其茎蔓，使其植株沿金属杆攀缘；在整个夏季，金属杆顶部会陆陆续续戴上硕大的花冠，绀青、殷红、堇紫、浅蓝、莹白，五彩缤纷，花团锦簇。

她对玫瑰有一种恋旧的偏好。花坛中看不见一株时兴的杂交香水玫瑰或丰花玫瑰。与之相反，她钟爱旧时流行的品种——红白玫瑰、包心玫瑰、大马士革玫瑰，以及数种东亚皱瓣玫瑰。她自己繁殖新株，把削下的扦条直接插入土中，罩上倒扣的加仑罐加以保护。

我想百合花是她的最爱。除了一些圣母百合，旁人很难叫出其他品种的名字，因为花坛中到处都随意摆放着木制育苗箱，箱里都密密匝匝地种着墨绿色的百合幼苗。幼苗下偶有纸标签飘动，标签上写有栽种日期和杂交纪录，这说明她是个业余的杂交品种培育者，尤其爱培育像香瓜那种暖黄色调或像柠檬那种淡黄色调的百合。

她认为其花园应该与人共享。她家围栏边曾立有一块标牌：“房主花园，欢迎观赏。请尽饱眼福，但切莫动手。”

直到五年前，那花园还一直被照料得无可挑剔，草坪按时施肥，定期修剪，花坛里没有一根杂草，高植株的百合都被小心地系在支撑桩上。可后来发生了变故。我不知当时究竟出了何事，只见修剪草坪的次数日渐稀疏，后来竟完全无人修剪。芃芃丰草侵入花坛，挤入百合、玫瑰和铁线莲之间。前院那棵榆树萎蔫并枯死，被海风刮落的枯枝也不再有人清除。

年复一年，花园愈发荒废。野生忍冬和南蛇藤在园中滋蔓。漆树、臭椿、毒葛和其他杂树野藤也不请自入，威胁着少许尚在挣扎求生的百合、玫瑰和铁线莲。

到了去年，那幢房子也人去楼空。前门被紧锁，窗户被胶合板封闭。其后几个月，房前一直竖着块“此房待售”的告示牌，就竖在原来立“邀客赏花”标牌的那个位置。

我几乎每天都要驱车经过那幢房子，而且一直都很想在后备箱里带把锹，把车停在花园边，去拯救几株正被蓬蓬荒草窒息的百合。可禁闯私宅的法律条款，加之那房子街对面就是警察局这一事实，使我心生畏怯，从而抑制了这种诱惑。然而，她那座花园总让我想到物盛必衰，想到种花人及其营造的花园都像春草秋花，乃时间之造物，由时运摆弄，易衰朽飘零。

上个星期，那块出售房子的告示牌被撤掉了，封闭窗户的胶合板被揭开了。几名油漆工来刷那幢房子，那颗枯死的榆树也被砍倒。今天上午，一辆搬家卡车停在屋前车道上，有人从车上卸下一副秋千、一个烧烤架、一台三角钢琴，还有一整套实用的家具。一对年轻夫妻正带着孩子搬进那幢房子。

我希望那家人中有个园丁，一个钟爱百合花、铁线莲和老品种玫瑰的种花人，其爱花之心能确保其他事都暂被撇在一边，先让那一溜花坛多少恢复其旧貌。□ 【译者后记】也许是有感于当年那位不知名的女邻居对陌生人敞开花园，过退休生活的莱西教授在妻子赫拉和一些志愿者的协助下，几年前在他晚年定居的新泽西州大西洋县林伍德镇领头创建了一座占地仅1英亩（6.07亩）的公园——林伍德植物园（Linwood Arboretum）。现任园长的他将其称为“全世界最小的植物园”。

注释：

1.艾伦·莱西（Allen Lacy, 1935-），美国新泽西理查德斯托克顿学院哲学及园艺学荣誉退休教授，撰有哲学著作《乌纳穆诺：生存修辞》（Miguel de Unamuno: The Rhetoric of Existence, 1967），与人合作翻译有西班牙哲学家及作家乌纳穆诺的小说《战争中的和平》（Peace in War, 1983）和《隐秘世界》（The Private World, 1984），曾长期为《纽约时报》和《华尔街日报》的园艺专栏撰稿，著有《后花园：园丁杂记》（Home Ground: A Gardener’s Miscellany, 1984）、《秋日花园》（The Garden in Autumn, 1990）和《绿荫下：小园随笔》（In a Green Shade: Writings from Homeground, 2000）等十余部散文集和园艺著作。

一等奖译文

欢迎陌生人的花园

文/〔美〕艾伦•莱西1

译/姚强

我不清楚她境况如何，也从不知她姓甚名谁。但几十年来她精心呵护的这座花园让我感觉和她已是知交。

她的房子离我家有两英里，是一栋简简单单的两层小楼，外形四四方方，屋顶陡斜2，朴实无华，正是典型的十九世纪中期新泽西海岸附近的建筑风格。

她的花园也同样简单。她并非那种死板的园丁，凡事照搬园艺书，墨守陈规，只求花卉种类繁多，从春天的第一朵番红花到秋天的最后一朵菊花，总有应季的花卉开放。还有人认为在多年生草本花境3中，应让高者居后，矮者居前，不高不低者居于中，若是为了错落有致，引人注目，偶尔也可变换顺序，可她对此却不屑一顾。

在她的园中，所有的花卉都引人注目，所有的花卉都个头高挑。显而易见，她只对三种花情有独钟：玫瑰，铁线莲和百合花。三者虽随意混杂，却颇为赏心悦目，仿佛浑然天成。

她种了十几种铁线莲，共约50余株。这些铁线莲被牵绕在金属栅栏上，攀缘而上。整个夏季，每根栏杆的顶端都会开满大朵的铁线莲，五颜六色，花团锦簇，或暗紫，或深红，或淡紫，或浅蓝，或亮白，不时更替。

她偏爱古典玫瑰。在园内寻不到一株现代的杂交茶香月季或丰花月季，相反，她更青睐古老的玫瑰品种，比如白蕊红玫瑰4，包心玫瑰5，大马士革玫瑰等。她自己动手培育玫瑰花，将花枝剪下，直接插入土中，再把加仑壶倒扣在枝条上加以保护。

而我相信她的最爱其实是百合花。因为花圃中随处可见木质的育苗箱，里面密密地种植着深绿色的百合花幼苗，除了一些圣母百合之外，很难辨认出其余的幼苗是哪些品种。偶尔会有幼苗的种荚上系着纸签，记录着杂交的日期和过程，随风飘动，这说明她还是个业余的杂交育种者，对带有香瓜色暖色调和浅柠檬黄色的百合花情有独钟。

她乐于与他人共享花园。在园外的人行道旁有一块牌子，上面写着：“欢迎光临敝园。美景可尽情观赏，却切勿拈花摘叶。”

五年之前，她的花园还打理的井井有条，草坪肥料充足，平平整整，花圃里没有杂草，高挑的百合花被细心地用木桩支撑。但接下来就发生了变故，我并不了解实情，但草坪没有以往修剪的那么勤快，后来就干脆无人照看了。玫瑰、铁线莲和百合花的领地变得野草丛生。前院的榆树生了病，最终枯死。沿海的飓风袭来时，吹落了一地枯枝，却再也无人清理。年复一年，花园荒废的更加厉害。野生的金银花和南蛇藤在园内肆意生长。漆树，臭椿，毒葛和其它不请自来的植物让所剩无几但还在苦苦求生的百合花，铁线莲和玫瑰的处境变得更加岌岌可危。

到了去年，房子也人去楼空。前门紧锁，窗户也被几块胶合板封住。园外邀请陌生人来游园的牌子不知所踪，取而代之的是“此房出售”的标牌，一直挂了好几个月。

我几乎每天都要驾车经过那座房子，也曾想过要在后备箱里放把铁锨，将车停在她家路边，然后进入花园，救出几株被茂密的野草闷的喘不过来气的百合花。但法律禁止侵入私人住宅，而且她的房子对面恰好是警察局，这让我心生怯意，只得打了退堂鼓。但她的花园让我想到死亡；园丁和他们培育的花园都很脆弱，受着时间的摆布，若是机缘不巧，只好花自飘零人自去。

上周，房前悬挂的售房告示被摘去，窗户上钉的板子也被卸下。来了一群油漆工人，还有人伐倒了枯死的榆树。今天早上，一辆搬家货车停在房前的私人车道上，卸下了一套秋千，一套烧烤架，一架大钢琴，和一大堆实用的家具，足够装满整个屋子。一个年轻的家庭正在迁入这所房子。

我希望这家人中能有位园丁，她对古典玫瑰，铁线莲和百合花情有独钟，可以抛开其它所有琐事，先去整修花圃，直到它重新焕发几分昔日的光彩。

（选自《范文：短文读本》玛丽•卢•康林著，霍顿米夫林出版公司，1983）

注释：

1.艾伦•莱西于1935年生于美国达拉斯，精通园艺，曾先后任《华尔街日报》和《纽约时报》的园艺专栏作家，出版过多部和园艺相关的文集。此外，他还担任过新泽西州斯托克顿学院的哲学教授及荣誉教授。本文后来被教育专家玛丽•卢•康林（Mary Lou Conlin）编入《范文：短文读本》（Patterns: A Short Prose Reader）一书。该书专为指导美国大学低年级学生写作而编写，于1983年由霍顿米夫林（Houghton Mifflin）公司出版。

2.在建筑学中，排水坡度一般大于10%的屋顶叫做斜屋顶或坡屋顶（pitched roof）。其形式和坡度主要取决于建筑平面、结构形式、屋面材料、气候环境、风俗习惯和建筑造型等因素。

3.花境（Flower border）起源于英国古老而传统的私人别墅花园，是模拟自然界中林缘地带各种野生花卉交错生长的状态，以宿根花卉、球根花卉及一二年生花卉为主，栽植在树丛、绿篱、栏杆、绿地边缘、道路两旁及建筑物前，经过艺术提炼而设计成宽窄不一的曲线式或直线式的自然式花带，表现花卉自然散布生长的景观。各种花卉高低错落排列、层次丰富，既表现了植物个体生长的自然美，又展示了植物自然组合的群体美，本文中的花境即由多年生草本植物组成。

4.此花名字源自历史上著名的“玫瑰战争”（War of the Roses，1455年-1485年），是约克家族（House of York）和兰开斯特家族（House of Lancaster）的支持者为了争夺英格兰王位而断续发生的内战。两大家族都是金雀花王朝王室的分支，为英王爱德华三世的后裔。约克家族选择白玫瑰作为族徽，而兰开斯特家族的族徽为红玫瑰。战争最终以兰开斯特家族的亨利七世与约克的伊丽莎白联姻而结束，为了纪念这次战争，英格兰将玫瑰做为国花，并把皇室徽章改为白蕊红玫瑰。

5.因其花型酷似西洋包心菜，故得名包心玫瑰；属于园林玫瑰，为普罗旺斯玫瑰的变种。

理解·转换·调整

——第六届“《英语世界》杯”翻译大赛参赛译文评析

本届大赛参赛人数又创新高，达到6179人。优秀译文的数量也随之大增，这令组织者和评阅者既感欣慰又抱歉忱，因为有许多优秀译文难入获奖名单。唯愿参赛者都明白一个道理：获奖译文肯定是参赛译文中的优秀译文，但优秀的译文未必都能获奖，正如诺贝尔文学奖获得者必定是伟大作家，但并非伟大的作家都能获得该奖。另外还希望大家明白，获奖固然可喜可贺，但参赛的真正价值还在于通过参赛使自己的翻译能力得到提升。

为大赛提供参考译文，于我已是第6个年头。我每年都是在大赛截稿日之前提交拙译，供初评老师参考并审查，所以从某种意义上说，参考译文也是一份参赛译文。鉴于此，今年的评析就调整一下角度，结合大家的参赛译文来评析参考译文，谈谈我翻译这篇散文时的一些思考，或者说向参赛者汇报参考译文的翻译过程。

有教科书把翻译过程分为两个步骤，即理解和表达【1】，而根据我自己的经验，我认为翻译过程往往还会有第三个步骤，即调整，所以我把翻译过程分为理解、转换、调整三个步骤，多年来上笔译课也主要是用实例讲解如何理解、如何转换、必要时如何调整。三步骤之分应该说符合翻译的实际情况。上世纪末期，由30名美国顶尖学者组成的《新修订版标准译本圣经》（New Revised Standard Version of Holy Bible, 1989）译委会曾提出“尽可能直译，必要时才意译”（as literal as possible, only as free as necessary【2】）这个翻译原则。“尽可能直译”（尽可能直接转换）说明翻译有时可在两个步骤内完成，如参考译文将“I do not know what became of her, and I never learned her name.”直接转换成“我并不知晓她当时的境遇，也从未听说过她的姓名。”。“必要时才意译”（必要时才调整）则说明翻译有时的确需要进入第三个步骤，如参考译文把“A young family is moving into that house.”翻译成“一对年轻夫妻正带着孩子搬进那幢房子。”；而较之原文，参考译文第12段末句之用词和意象均有调整。需要说明的是，对许多有经验的译者来说，理解、转换和调整并非截然分开的三个步骤，有时理解中就包含了转换，而有些调整则是在转换的同时即已完成。

是直接转换还是有所调整，这取决于译者对原文的理解、译者的审美倾向和文章风格，以及译者对译文读者阅读审美习惯的判断。我很可能同许多参赛者一样，也是先从宏观上理解原文，即先把原文从头至尾细读几遍，体会原文的主题要旨，同时会忍不住去了解一下是何人写出如此美文。我这番宏观理解获得的印象是：本届大赛原文是一篇叙事为主、兼抒情怀的散文。作者是一位在哲学和园艺学方面都颇有造诣的资深学者、作家及翻译家。原文朴素而不失清新，优美而不乏深沉，描景状物颇为细腻，视觉形象非常鲜明，起承转合极其自然，抒怀感叹与景交融，使读者似乎也从那座跃然纸上的花园窥见了作者那位不知名的女邻居，并从花园的盛衰和花木的枯荣感悟人生自然。但我此时获得的印象还只是朦朦胧胧的基调，或者说是这篇散文隐隐约约的旋律。要把这篇英语散文变成能与之相对应的中文版，接下来就得为这段旋律“填词”，即从微观上理解原文——深究其遣词造句，细品其文法文风，探悉其精理微言，并考证某些物名之实。对我而言，这番微观理解一方面可明确原文首段那两句话中的主句和从句为何用不同时态，perennial border、rugosa rose和wooden flats到底是何所指等具体问题，另一方面则能使在宏观理解时获得的朦胧基调变得确定，隐约旋律变得清晰，从而知道“优美而不乏深沉”的底蕴从何而来。

以原文第12段末句为例，有人将句中的“...are fragile things, creatures of time, hostages to chance and to decay”直译成“是脆弱之物，时间的傀儡、命运与衰亡的人质”或“是脆而不坚的东西，时间的产物、机会和衰败的抵押品”，也有人将其意译成“都是不堪一击的，是有始有终的生命体，都是要面临兴衰成败的”或“是脆弱的生灵，受着时间的摆布，若是机缘不巧，只好花自飘零人自去”【3】。我认为，这些译者虽理解了原文的字词意义，却没有把握住应和这些字词的韵调。我之所以这样认为，除了我自己对原文本身的理解之外，还因为我知道作者艾伦·莱西不仅是一位园艺家，还是一名哲学教授；他对西班牙哲学家乌纳穆诺颇有研究，深受乌纳穆诺哲学思想的影响。碰巧的是，乌纳穆诺那本《生命的悲剧意识》是我经常翻阅并不时在课堂上提及的一本书，因此我不仅记得“哲学更接近于诗，而不是更接近于科学”【4】这句名言，甚至还能发现该书英文版中有句话与参赛原文第12段末句异曲同工，甚至刚好也用了fragile、creatures、time等字眼（of all creatures...what becomes of Me, of this poor fragile I, this I that is the slave of time and space）【5】。由此可见，乌纳穆诺对莱西教授的影响还体现在语言文字方面，而我早年读《生命的悲剧意识》时，就隐隐觉得书中既有“草木无情，有时飘零”之悲怀，亦有“况修短随化，终期于尽”之豁达，所以我觉得，既然莱西教授像欧阳修和王羲之那样借景抒情，表达对生死无常的感慨，那么这番感叹的中文版也可以效仿几分《秋声赋》和《兰亭序》的韵调，于是便有了参考译文：“然而，她那座花园总让我想到物盛必衰，想到种花人及其营造的花园都像春草秋花，乃时间之造物，由时运摆弄，易衰朽飘零。”

有参赛者把perennial border翻译成“长青植物组成的树篱”或“多年生植物组成的边界”，或者把wooden flats翻译成“木台”“木板”，甚至“扁平的木质物件”。对此评委老师都知其缘由，表面上看，这是因为这些参赛者手边没有堪用的英汉词典，但真令人担忧的原因是，许多青年译者尚未认识到“工欲善其事，必先利其器”之必要性。以我任教的学校为例，尽管我一再告诫学生，仅凭手机查单词学不好翻译，可愿意携词典来上翻译课的学生仍越来越少。其实对上述物名，认真查阅词典通常都能解决问题。拿perennial border来说，欲知其所指，首先得明确border到底指什么，在《韦氏第三版新国际英语大词典》（Webster’s Third New International Dictionary of English Language, 1976）中，border名词词条第3义项的解释是“a strip of planted ground or of plants along or around the edge of a garden”；在《牛津高阶英汉双解词典》（Oxford Advanced Learner’s English-Chinese Dictionary, 7th ed.）中，border名词词条第3义项的释义是“（in a garden花园）a strip of soil which is planted with flowers along the edge of the grass（草坪边等的）狭长花坛”，释义后还指示参见所附彩图第24页；在陆谷孙教授主编的《英汉大词典》中，border名词词条第3义项的释义是“（沿花园、人行道等边缘设置的）狭长花坛，狭长的绿化带”，而且该义项还附有a perennial border这个词条的释义和译例，其释义为“栽种多年生植物的狭长花坛”。由此可见，perennial border中的border既非“树篱”，亦非“边界”，而是“狭长的花坛（花床、花台）”。若进一步查阅包括Home Garden Journal【6】在内的相关资料，我们还可得知，虽说perennial border的字面意思是“栽种多年生植物的狭长花坛”，而且英美人也一直用perennial border来指花园草坪边的带状花坛，但这种花坛早已不局限于栽种多年生花卉，而通常还会间种些一年生和二年生花卉（but in addition utilizes groups of annuals and biennials）。换言之，perennial border这个能指中的perennial很多时候已失去了其字面意思。当然，我们仍然可以把perennial border翻译成“栽种多年生植物的狭长的花坛（花台、花床）”，不过我认为，在一篇讲究行文格调和音韵节奏的散文中，翻译成“条形花坛（花床、花台）”或“带状花坛（花床、花台）”更为适宜。另外，正确理解了perennial border，你就会发现这个perennial border就是原文下文中三次出现的flower bed。

当然，对某些物名的翻译，单凭查阅词典还不能解决问题，譬如原文第6段第3句中的rugosa rose，一般词典都没收录，而收有这个词条的《英汉大词典》又只将其解释为“【植】玫瑰”，但在我们翻译的这篇散文中，用“玫瑰”与“红白玫瑰”“包心玫瑰”和“大马士革玫瑰”并列，显然不甚得体，有属种不辨之嫌，因为据原文语境，rugosa rose肯定也是玫瑰的某个品种。《韦氏第三版新国际英语大词典》说rugosa rose原产于日本，但我对此存疑，我经常提醒学生记住奈达的一句话：“对于译者，百科全书往往比词典有用得多。”【7】据我查阅的各种百科资料，我确信rugosa rose原产于中国东北地区，后传入朝鲜、日本等地，韩语称其为해당화（haedanghwa），日语称其为ハマナシ（hamanasu），而此花的韩语汉字名“海棠花”（字面意思是flowers near seashore）和日语汉字名“滨梨”（字面意思是shore pear）也都暗示了此花是从中国经海上传入当地的。北美于19世纪中期从日本以拉丁学名Rosa rugosa引入此花，于是便有了rugosa rose这个英语名。然而，想必也有些参赛者和我一样，考证之后终于明确了rugosa rose之所指，但仍然觉得难以将其转换成得体的中文，甚至会像严复当年那样感叹“索之中文，渺不可得，既有牵合，终嫌参差”【8】。的确，我们今天能一见science就想到科学，一见economy就想到经济，殊不知仅仅一百多年前，严复面对一个introduction就在“卮言、悬谈、悬疏”之间旬月踟蹰，最后才翻译成“导言”。我们今天能有词典可查，实乃前辈万千次“旬月踟蹰”的积累，但前辈的积累不可能无所不包，而且事物在不断变化，认识在不断发展，概念也在随之而更新。所以遇到rugosa rose这种在汉语中尚无定名的事物，译者只能效法前辈译家“自具衡量，即义定名”【9】。据我手边的《拉英词典》（Cassell’s Latin-English Dictionary, 1987），拉丁语形容词rugosa（rugosus, rugosum）的意思是wrinkled；英文中有源自拉丁词rugosa的形容词rugose，意为“有皱纹的, 多皱纹的”；《大英百科全书》中介绍的一类珊瑚名为Rugosa（Rugosa corals），《简明不列颠百科全书》（中国大百科全书出版社1986年版）将其翻译成“皱壁珊瑚”。综合以上考证并反复衡量，我最后把rugosa rose定名为“东亚皱瓣玫瑰”，于是便有了参考译文：“她钟爱旧时流行的品种——红白玫瑰、包心玫瑰、大马士革玫瑰，以及数种东亚皱瓣玫瑰。”在此说明一下，评委会在初评前就决定“不要求参赛译文的译名都这样统一，只要得体即可”。实际上，只要译文体现出了rugosa rose是玫瑰的一类，不管是翻译成“东亚玫瑰”“皱叶玫瑰”“日本（野）玫瑰”，还是翻译成“原产自中国不同品种的玫瑰”，我评阅时都有适当加分。

有一千个译者就有一千个哈姆莱特，对这句话我可能比许多人都体会得更深刻，因为教了30年英汉翻译，批阅过的作业和试卷至少也近万份，但我还从没见过两篇一模一样的译文。就拿这次入围百篇译文的篇名来说，100个译者译出的篇名就有51种，从尚质的《一个欢迎陌生人的花园》到好文的《芳园不拒陌客》，我相信每个译者都认为自己译出的哈姆莱特最像哈姆莱特。我也认为这些译名大多都像哈姆莱特，因为这些不同的译文中都包含了捷克翻译学者波波维奇所说的原文的“不变内核”（invariant core），英国学者巴斯内特谈到“不变内核”时说：“转换之差异或译文之不同，均在于那些不会改变核心意义但却能影响表达形式的变化”【10】，而我历来认为，这种“转换之差异或译文之不同”必然会产生，因为每个译者的文学修养、语言水平、审美习惯、鉴赏水平和翻译理念都不尽相同。其实我一见A Garden That Welcomes Strangers，脑子里首先想到的也是《一座欢迎陌生人的花园》，后来调整为《一座向陌生人敞开的花园》，是因为我觉得后者更能表现作者所关注的人类个体与整体的关系（篇末一个新家庭搬进那幢老屋，就令我联想到《旧约·传道书》第1章第4节“一代过去，一代又来，地却永远长存”）。同时我认为，A Garden That Welcomes Strangers这个篇名的“内核”是“Welcomes Strangers”，所以我觉得《祂的花园》《爱的花园》和《一个迎接未知的花园》等篇名值得商榷。

再简单谈谈我对tall grass（第9段）和A young family（第13段）的转换和调整。我开始也把tall grass译成“高高的野草”，但随后就意识到，此处的tall grass还不是花园长期荒废后的“蓬蓬荒草”（第12段），只是草坪刚开始无人修剪时长高的草，所以觉得此处译“野草”不妥，但译“高高的草”过质，译“萋萋芳草”太文，最后想到借用徐霞客笔下的“丰草芃芃”，于是便有了参考译文“芃芃丰草侵入„„”。和许多参赛者一样，我看到A young family也想到“一个年轻的家庭”，但考虑到中国人把新婚燕尔的小两口（a young couple）也称为年轻家庭，而英语中的a young family不等于 a young couple，前者专指 a young couple with their child or children，所以便有了参考译文“一对年轻夫妻正带着孩子搬进那幢房子”。最后我建议参赛者先把自己的译文朗读一遍，然后再朗读一遍参考译文（对比语气之轻重、节奏之张弛、语言之清浊、措辞之分寸），这样也许能从中领会到仅靠默读难以领会到的东西。当然，参考译文仅供参考，参赛者从中获得的不可能只是启发，还应该有经验教训。毕竟就像傅雷先生所说：“即使是最优秀的译文，其韵味较之原文仍不免过或不及。翻译时只能尽量缩短这个距离，过则求其勿太过，不及则求其勿过于不及。”【11】 □

注释：

【1】 参见郭著章等编《英汉互译实用教程》（第四版），武汉大学出版社，2010年版，第59页。

【2】 参见http://。【3】 本文所举译例均引自入围最终评审的100篇参赛译稿。

【4】 Miguel De Unamuno.The Tragic Sense of Life, Eng.trans.by J.E.Crawford Flitch.Dover: Dover Publications, Inc.1954, p.15.【5】 The Tragic Sense of Life, p.123.【6】 参见http://www.xiexiebang.com/。

【7】 Eugene A.Nida.Language and Culture: Contexts in Translating.Shanghai: SFLE Press, 2001, p.286.【8】 参见严复《天演论·译例言》，载《翻译论集》，商务印书馆，1984年版，第137页。

【9】 同上。

【10】 Susan Bassnett.Translation Studies(3rd Edition).Shanghai: SFLE Press, 2010, p.33.【11】 参见傅雷《〈高老头〉重译本序》，载《翻译论集》，商务印书馆，1984年版，第559页。

第五篇：第三届翻译大赛试题及答案

Nature and Art

Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music.But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful—as the musician gathers his notes, and forms his chords, until he brings forth from the chaos glorious harmony.To say to the painter, that Nature is to be taken as she is, is to say to the player, that he may sit on the piano„

The dignity of the snow-capped mountain is lost in distinctness, but the joy of the tourist is to recognize the traveller on the top.The desire to see, for the sake of seeing, is, with the mass, alone the one to be gratified, hence the delight in detail.And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us—then the wayfarer hastens home;the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her exquisite song to the artist alone, her son and her master—her son in that loves her, her master in that he knows her.To him her secrets are unfolded, to him her lessons have become gradually clear.He looks at her flower, not with the enlarging lens, that may gather facts for the botanist, but with the light of the one who sees in her choice selection of brilliant tones and delicate tints, suggestions of future harmonies.He does not confine himself to purposeless copying, without thought, each blade of grass, as commended by the inconsequent, but, in the long curve of the narrow leaf, corrected by the straight tall stem, he learns how grace is wedded to dignity.How strength enhances sweetness, that elegance shall be the result.In the citron wing of the pale butterfly, with its dainty spots of orange, he sees before him the stately halls of fair gold, with their slender saffron pillars, and is taught how the delicate drawing high upon the walls shall be traced in tender tones of orpiment, and repeated by the base in notes of graver hue.In all that is dainty and lovable he finds hints for his own combinations, and thus is Nature ever his resource and always at his service, and to him is naught refused.Through his brain, as through the last alembic, is distilled the refined essence of that thought which began with the Gods, and which they left him to carry out.Set apart by them to complete their works, he produces that wondrous thing called the masterpiece, which surpasses in perfection all that they have contrived in what is called Nature;and the Gods stand by and marvel, and perceive how far away more beautiful is the Venus of Melos than was their own Eve.自然与艺术

就色彩和形状而论，大自然包含所有图画的元素，就像键盘包含所有音乐的音符一样。

艺术家的天职就是对这些元素进行选择，将它们巧妙地糅合起来，构成一幅美丽的图画——就像音乐家用声音谱成和音，从混乱无序的声音中创作出动听和谐的乐曲一样。

如果对画家说他可以照大自然本来的样子画，就等于对演奏家说他可以一屁股坐在钢琴的键盘上„„

白雪皑皑的高山若是变得清晰可见就失去了它的威严，但观光者却因为能看见山顶上的游客而喜形于色。大多数人是为了看见而要看见，只是为了使这个愿望得到满足而已，因此他们仅以能看见细节为快。

当傍晚富有诗意的迷雾象柔纱般地笼罩着河边，破旧的建筑消失在朦胧的天空，高高的烟囱变成一座座钟楼，大大小小的仓库恍如夜间的宫殿，整个城市悬在了空中，宛若仙境展现在我们眼前，那时候，路上的人们匆匆走路回家；劳动者和文化人，智者和浪子，因为他们熟视无睹，他们也就不能理解，而只在此时才开始歌唱的大自然便把自己微妙的歌唱给艺术家——她的儿子和她的主人；说他是儿子是因为他爱她，说他是主人是因为他理解她。

只有对他，她才展现她的秘密，只有对他，她的内涵才逐渐变得清晰。他观察着她的花朵，不是用为植物学家采集实据的放大镜，而是用一种眼光，她用这种眼光在她精选的灿烂色调和精妙色彩中可以看见即将诞生的画面是多么和谐。他并非不假思索地描摹每一片草叶，如同那些不谙此道的人们所赞扬的那样，而是在又高又直的茎干上的细长叶弯里，他发现，优雅和尊严融为一体，力量使它更加温柔，而后才产生了高雅。

在蝴蝶那淡淡的香橼色并布满雅致的橘黄斑点的翅膀上，他看见庄严的金色大厅就在眼前，还有又细又高的金黄顶柱，并且懂得了那高墙上精巧的图画要用轻柔的雄黄色调来描绘，并要以更加庄重的色调为底色将其绘制下来。

在所有这些雅致和可爱的元素里，他得到如何进行融合的启示，这样，大自然就成了他取之不尽的源泉，随时为他服务，对他从不拒绝。

通过他的大脑，如同通过最后一道蒸馏器一样，那发端于诸神，并由诸神托付他去实现的思想精髓得以净化。

由于受到诸神的青睐去完成他们的作品，他创作了被称之为杰作的绝妙之作，它的完美超出诸神在大自然里所创造的一切；他们站在一旁，惊叹不已，并发现米洛斯岛上的维纳斯像比他们自己的夏娃要美丽得多。

第二部分：汉译英译文（50分）出生在天津的美国作家

岁月悠悠。一晃也是如云如烟的往事了。1981年秋，天津作家协会刚刚恢复工作，曾任美国作家联盟主席的约翰·赫赛（John Hersey）到天津来了。他是自费来中国旅游，又是特地来重温故乡之梦的。

天津怎么是赫赛的故乡呢？原来他父亲是美国传教士，曾任天津基督教青年会（YMCA :Young Men's Christian Association）干事多年；他母亲应南开中学邀请到南开中学任英语教师。随他来的翻译多说了几句，说他母亲教出了一位世界知名的人物，那就是周恩来。说他曾经玩笑地说，他是在母亲的肚皮里就已经认识这位伟大的人物了。他1914年出生在天津，11岁离开天津，回到美国。但天津一直留在他的心头，1939年和1945年都来重温过故乡之梦，这次是第三次了。

赫赛这次重温故乡之梦，做了一定的准备。随来他的翻译又多说了几句，说他在北京请人为他译读了天津作家的一些作品，对孙梨的《荷花淀》与方纪的《来访者》评价很高，这就看出他对人生和现实的态度了。

转天，我应邀到他房间去长谈。他把微型录音机放在茶几上，要把我的原话和翻译的译语都录下来。他要我介绍唐山大地震给天津带来的灾难，又要我介绍天津作家的情况，说那两次重返故乡，他都没听说过天津也有作家，特别是听到作家写作不仅拿稿费而且月月有薪金时，仿佛是一大发现，惊奇得在笔记本上做了记录。我也顺势提出一问，他又是怎么靠稿费维持生活的。他说他在作家身份之外还兼具记者和教授的两种身份。这样既保证了生活的收入，又丰富了创作的源泉，也开拓了学识的领域。他的许多小说都是从报告文学中升华出来的，还有一些作品是在教学中酝酿成熟的。

An American Writer Who Was Born in Tianjin

It has been gone like smoke and clouds.How time flies!In the autumn of 1981 when Tianjin Writers’ Association has just resumed its normal function in the wake of the Cultural Revolution, Mr.John Hersey, Ex-Chairman of American Writers’ Federation, came to Tianjin.He had come to China as a tourist and made a point of coming to see his former home there.How come Tianjin had become Hersey’s hometown? What happened was that his father, a missionary from America, was in charge of Tianjin YMCA for many years and his mother, at the request of NankaiMiddle School, was there teaching English.His interpreter offered a few humorous remarks that at NankaiMiddle School his mother had taught a student that later became a world-known figure and this student was none other than Zhou Enlai.He added that Hersey had once said half jokingly that he had known this great figure when he was still in his mother’s womb.He was born in Tianjin in 1914, and left for America at the age of eleven.But Tianjin had always been to the fore of his mind.He had visited Tianjin twice earlier, the first one in 1939 and the second in 1946, and this was his third visit.Hersey was well prepared for his visit to Tianjin.His interpreter again offered some extra information that, while in Beijing, he had asked someone to translate and read to him in English some works by Tianjin writers and he had a high opinion of “The Lotus Lake” by Sun Li and “The Visitor” by Fang Ji, and that gave us a glimpse of his attitude toward life and how he looked at social realities.The next day I was invited to the hotel where he stayed and we had a long talk in his room.He put his pocket recorder on the tea table, saying he wanted to note down what I was going to say as it was being interpreted.He asked how Tianjin was affected by the Tangshan earthquake and then he said he would like to be furnished with some information about Tianjin writers, because, during his previous visits to Tianjin, it had never occurred to him that there was any writer in this city.When he learned that writers in China were paid regular salaries, apart from contribution fees for their writings, he was so amazed that he put it in his notebook as if he had discovered something unusual.Picking up the topic from where he left off I asked how he had managed to make a living by writing and he said he was currently employed as a journalist for a newspaper and a professor at a university.His employment in the two occupations not only provided him with materials for creative writing and widened the range of his learning.Some of his novels were developed on the reportage he had written as a journalist and others were conceived while he was teaching at university.