翻译汇总-from董

第一篇：翻译汇总-from董

一、用归化，异化法，或归化异化并用法翻译下列句子，并注明是用什么方法翻译。

1、Many Canadians have never read a newspaper though some newspaper are free,because they do not know the ABC.很多加拿大人从不看报纸，因为他们不识字。

2、At home and abroad there is a strong disenting view that sees the treaty as a new Munich.国内外有人强烈反对，认为这个条约是新的慕尼黑条约。

3、The goverment's policy has given a green light to the development of our economy.政府的政策给我们的经济开了绿灯。

4、All you can do is to burn your boats and fight them in the hope that one day you'll come out on top.你只有破釜沉舟，跟他们一拚，或许有朝一日是会出头的。

5、（归化）Each of us has his carrot and stick.In my case, the stick is my slacking physical condition, which keeps me from beating opponents at tennis whom I overwhelmed two year ago, My carrot is to win.我们人人都有自己的压力和动力。就我而言，这压力就是我日趋衰弱的身体状况，两年前还是我手下败将的网球对手，现在却打不过。我的动力就是想赢球。

6、（归化）This was her punishment for having made a mistake.She had made her bed and she must lie on it.这是她为自己所犯下的错而应有的惩罚，她自作自受。

7、（异化）As I remained in the Third Fourth three times as long as anyone else, I had three times as much of it.I learned it thoroughly.Thus I got into my bones the essential structure of the ordinary English sentences--which is a noble thing.因为我在四年级三班待得时间是别人的三倍，所以我所受的这种训练也是别人的三倍。我掌握的很彻底。就这样，普通英语句子的基本结构便深入到我骨髓里——这可是件了不起的事。

1、（归化）I never know whether my boss likes my work or not—he is a real poker face.我不知道老板是否喜欢我的工作，他总是面无表情。

2、（归化）Who keeps company with the wolf will learn to howl.近墨者黑。

3、（异化）The prime minister’s remarks were interpreted as an olive branch, held out to all his opponents who had fled the country.首相的讲话被视为是向他逃亡国外的政敌伸出的橄榄枝。

4、（归化）By the winter of 1942, their resistance to the Nazi terror had become only a shadow.到1942年的冬天，纳粹恐怖分子的反对者已化为泡影。

5、The trackers pull with all their strength, like men possessed, bent double.纤夫如同着了魔似得，弓着身子竭尽全力拉纤。

6、Tess Durbeyfield at this time of her life was a mere vessel of emotion untinctured by experience.苔丝.德贝菲尔处在这个年纪，只是一个纯情少女，还没受过人情世故的熏染。

8、He has fished in Manhattan’s wallet and dug out coins...他把手伸到曼哈顿的口袋里捞钱，但只捞到几个小钱。

二、运用正反译法翻译以下句子。

1、Another person runs to avoid doing anything else, to dodge a decision, about how to lead his life or a realization that his life is leading nowhere.另一个人跑步则是为了避而不做别的事，2、They were of course all intending to his surprised but their astonishment was beyond their expectation.当然大家都做好了惊讶的准备，但却没料到会惊讶到这个地步。

3、He had a aversion to yielding so completely to his feelings, choosing rather to absent himself, and eating once in twenty-four hours seemed sufficient substance for him.他不愿意完全凭感情用事，因此宁肯自己不来吃饭。看来24小时吃一顿饭，在他是足够了。

4、I know her before I ever met your mother.我没遇见你妈妈之前就认识他了。

5、I believe then that I would die there, and I saw with a terrible clarity the things of the valley below, they were not the less beautiful to me.这时，我觉得我就要死在那儿了，而下面山谷的景致却看得异常清晰，在我看来，这些景致依然那样美丽。

6、Only three customers remained in the bar.酒吧里就剩这三个顾客了。

7、I will be there for good this time.这次我再也不走了。

8、Their action amounted to treason.他们的所作所为无异于卖国。

9、We hope the day will come when they will renounce the effort to rule the world by the method of force.我希望有一天他们会放弃企图用武力统治世界。

10、With the house and the garden and three children to look after, here isn’t any want of things to do I can tell you.操持家务，照顾花园和孩子，我告诉你那比你想的事情要多的多。

11、He is a indecisive sort of person, and always capricious.他是个摇摆不定的人，经常反复无常。

12、The importance of the meeting can not be over exaggeration.这次大会十分重要。

13、There has always been more books than anyone could read.天下的书多到读不完。

三．请用语态转换法翻译下列句子，注意黑体部分的译法。

1、Levi’s jeans were first introduced to the East, apparently, during the dude-ranch craze in the 1930s.李维的牛仔裤最初引进到东部，显然是在20世纪30年代农场度假热潮中。

2、On their domestic station events in the Middle East were dismissed briefly.国内电台只是简略的提了一下中东问题。

3、Negroes were not served there, I was told, and they had been waiting for me to realize that I

was always the only Negro present.有人告诉我，那儿不接待黑人，他们在等我自己认识到我是那儿唯一的黑人。

4、Over the years 26 amendments here been added to the constitution, but the basic documents has not been changed.近年来，宪法中新增了26条修正案。但是，基本的文件未被修改。

5、Poets are born, but orators are made.诗人是天生的，但演讲家是后天培养的。

6、What China is doing today will be felt far and wide tomorrow.无论中国今天做什么都对对明天产生深远影响。

7、We hear it said frequently that what present-day men most desire is security.当代人最渴望的是安全感。

8、A ten percent reduction is auto accidents has been realized by exercising a tighter control on the highway speed limit.由于加强了公路车速限制，减少了10%的车祸事故。

8、Our genes “program” us the instance the fertilized ovum（受精卵）is formed, and our potentialities are limited by the “program”.受精卵一旦形成，我们的基因就开始编制程序，而我们的潜能就受到这些程序的限制。

四、请用增词、减词法翻译下列句子。

1、He is now again seated in his usual sleepy corner.她今天又坐到那个容易使他睡觉的角落里去了。

2、While in Europe, the tourists enjoyed to their heart’s content the weather, the food and the theatre.游客们在欧洲尽情的享受那里的宜人的天气，可口的食物和精彩的演出。

3、University applicants who had worked out a job would receive preference over those who had not.报考大学的人有工作经验的优先录取。

4、The Chinese people nationwide have jumped from the stage of having enough to eat and wear to that of living a better-off life.全中国人民已经从吃饱穿暖的阶段一跃进入小康生活中。

5、The generation gap is so great in the West counties that the teenagers there rarely turn to their parents or teachers for advice on anytime.代沟在西方国家这么的严重，结果10几岁的孩子很少向父母和老师讨教。

6、There is no substance but expands when heated.所有物质加热时都会膨胀。

7、I have imaged it to be merely a gesture of affection, but it seems it is to smell the lamb and make sure that it is her own.我原以为这只不过是一种爱的表示，但现在看来只是为了闻闻羊羔来确定是自己亲生的。

8、Britain suffered a considerable brain drain to the United States after World War Ⅱ.二战后，英国人才外流，许多精英去了美国，使英国受到了巨大的损失。

9、Oceans do not so much divide the world as united.与其说海洋分割了世界，不如说海洋连接了世界。

五、请用词性转移法翻译下列句子，注意黑体部分译法。

1、They strain, strain fiercely, against the pitiless might of the stream.他们拼命的使劲，对抗着水流的无情威力。

2、It used to be said that English people take their pleasure sadly.从前人们常说，英国人享乐时郁郁不乐。

3、She recognized the absurdity of dealing with them through intermediaries.她意识到通过中间人与他们打交道时愚蠢的。

4、One of the characteristics of the Chinese language is the predominance of the verb.汉语的特点之一是常用动词。

5、The visiting guests were escorted（陪同）to the Yellow Crane Tower last Sunday.上周日，来访客人陪同人员一起参加了黄鹤楼。

6、His indulgent mother was willing to let him do anything he wanted.他的母亲很溺爱他，无论他想干什么都纵容。

7、I am very sorry that the pressure of other occupations has prevented me from sending an earlier reply to your letter.我很抱歉，近来忙于各种公务未能及早回信。

8、World-famous for his works he was never personally well known, for throughout his life he avoided publicity.他的著作举世闻名，但他个人一直默默无闻，因为他一生始终避免抛头露面。

9、China emerges stronger than ever, with more solid foundations against flood, drought and famine.中国比以往更强大了，有了更雄厚的国力来抵御洪水，干旱和饥荒。

10、The combination of this Oriental city’s geography and the absence of import taxes has long made Hong Kong the ideal storehouse for transit goods to and from Asia.香港优越的地理位置和免征各种关税，使得这个东方城市成了长期以来储备与运输各种进出口货物的理想基地。

11、Child development experts warn parents against placing unreasonable expectation on school-age children.儿童成长专家警告说，家长不要对学龄儿童寄予不合理的期望。

第二篇：《董娇饶》原文、翻译及赏析

《董娇饶》原文、翻译及赏析

董娇饶

朝代：两汉

作者：佚名

原文：

洛阳城东路，桃李生路旁。

花花自相对，叶叶自相当。

春风东北起，花叶正低昂。

不知谁家子，提笼行采桑。

纤手折其枝，花落何飘扬。

请谢彼姝子，何为见损伤。

高秋八九月，白露变为霜。

终年会飘堕，安得久馨香。

秋时自零落，春月复芬芳。

何如盛年去，欢爱永相忘。

吾欲竟此曲，此曲愁人肠。

归来酌美酒，挟瑟上高堂。

译文

洛阳城东的小路上，桃李长在两边的路旁。桃花、李花相对而开，甚是美丽。叶子生得都很稠密，两边的树叶相交在一起。春风自东北而来，花叶也随风飘扬。不知远处来了谁家的女子，提着竹笼在采桑。她用纤纤的细手折着桃李的枝叶，树上的花也随之飘落。请允许我向那美丽的女子问一声，为什么要损伤这些花叶呢？即使不损伤它们，到了秋高八九月，白露变为霜，天气寒冷的日子，这些花叶也自然会飘落啊。这些可怜的花叶，整年有风刀霜剑相逼，它们的馨香怎能久留呢？它们秋时零落，来年春日再吐芬芳，始终不渝地遵循着大自然的规律。而美丽的女子却还不如这花叶，盛年过去后，就会色衰爱弛，被无情的男子相忘。我想弹奏完这首曲子，但此曲实在是太痛断人肠了，怎么能继续呢？干脆归来，饮酌美酒，登上厅堂，暂时忘却这样的愁绪吧！

注释

①相当：指叶叶相交通，叶子稠密连到了一起。

②彼姝子：那美丽的女子。

③高堂：高大的厅堂，宽敞的房屋。

简析

《董娇饶》，始见于《玉台新咏》，《乐府诗集》收入《杂曲歌辞》。董娇饶，女子名，疑是当时的著名歌姬。在后来的唐人诗中多作为美女典故用，并且都是歌姬一类。此诗是以花拟人，设为问答，伤悼女子命不如花。

董娇饶

洛阳城东路，桃李生路旁。

花花自相对，叶叶自相当。

春风东北起，花叶正低昂。

不知谁家子，提笼行采桑。

纤手折其枝，花落何飘扬。

请谢彼姝子，何为见损伤。

高秋八九月，白露变为霜。

终年会飘堕，安得久馨香。

秋时自零落，春月复芬芳。

何如盛年去，欢爱永相忘。

吾欲竟此曲，此曲愁人肠。

归来酌美酒，挟瑟上高堂。

古诗简介

《董娇饶》是汉代诗人宋子侯创作的一首诗。此诗开头采用工笔细描的手法，绘形绘影地写出了一派明媚的春光；中间是桃李同蚕姑的对话，以问答形式表现了人物的心理；最后抒写了深沉感伤的情怀，表达了对妇女命运的深切同情，使诗歌主题得到了进一步的强化。全诗含蓄蕴藉，宛转动人，在结构上采用问答式造成诗意的层层递进，在语言上保留了乐府民歌朴素自然的本色。

翻译/译文

洛阳城东的小路上，桃李盛开在两边的路旁。

桃花李花相对而开，稠密的叶子交相掩映。

春风自东北方向而来，花叶也随风飘扬。

不知谁家的女子来了，提着竹笼在采桑。

她用纤纤的手攀折桃李，弄得枝残叶败，花落缤纷。

请允许我问那位女子，为什么要损伤这些花呢？

她回答：“等到八九月的深秋季节，下霜了，花儿终会凋谢。”

这些可怜的花叶，整年有风刀霜剑相逼，怎能永远芳香？

它们秋时零落，来年春日再吐芬芳，始终不渝地遵循大自然的规律。

而美丽的女子还不如这花叶，盛年过去则色衰，被无情的男子相忘。

我想把这支曲子唱完，可这支曲子，实在让人心里难过。

干脆归来饮酌美酒，携带琴瑟登堂以解忧愁吧。

注释

⑴娇饶：女子名，泛指美人。

⑵洛阳：东汉京城。

⑶路傍：即路旁。

⑷“叶叶”句：指叶叶相交通，叶子稠密连到了一起。相当，与“相对”同义，是“对称”的意思。

⑸低昂：起伏，时高时低。

⑹子：《正字通》云：“女子亦称子。”

⑺飘飏（yáng）：指落花缤纷之貌。

⑻请谢：请问。彼姝（shū）子：那美丽的女子。

⑼“何为”句：为何受到你的攀折？见，被。

⑽高秋：天高气爽的秋天。

⑾飘堕：飘落。

⑿安得：怎能。馨（xīn）香：芳香。

⒀零落：凋谢，脱落。

⒁盛年：少壮之年。

⒂竟：尽，终。

⒃高堂：高大的厅堂，宽敞的房屋。

赏析/鉴赏

创作背景

《董娇饶》是东汉文人宋子侯代女子立言之作，以表达对封建社会女子悲惨命运的同情。此诗最早见于南朝梁时徐陵编的《玉台新咏》。

五言诗产生于民间，起源很早。然而文人向民歌学习，写作五言诗，却是一个很曲折的过程。《董娇饶》便是文人向乐府民歌学习过程中产生的一篇较为成功的作品。董娇饶，本为女子名。唐诗中常见用“娇饶”为典，如温庭筠《题柳》：“香随静婉歌尘起，影伴娇饶舞袖垂。”据《梁书》和《南史》的记载，张静婉为羊侃伎，能作掌上舞。温庭筠在《张静婉采莲曲》一诗的序中说她“其容绝世”。温氏将董、张并提，或者，董娇饶原是歌伎，以声容舞态见称于时。此诗以“董娇饶”为题而不咏其事，余冠英疑此诗用乐府旧题（说见《汉魏六朝诗选》）。

整体赏析

此诗以桃李比方女子红颜，说花虽然零落，尚有重开的时候，而一旦红颜老去，便会欢爱永绝。

本来，花落花开是大自然的永恒的法则，正如四时的周而复始，前后相续。通常人们总是习惯于将花开花落比女子年华的盛衰有时，却很少从两种自然现象的差异之处着眼作比。诗人从这一角度处理题材，自然出人意表。诗人的这一思想从属于他对整个人生的思考。他由落花感悟到青春易逝，盛颜难驻，于是借采桑女子而发。这类人生短促的感叹，是一种时代思潮，在当时的诗文中时有抒发。因此，采桑女的忧伤也就是诗人自己的“愁肠”，采桑女的感叹与诗人的人生感慨是相通的。

《董娇饶》在汉诗中别具一格，和汉乐府民歌有所不同，这从开头的六句即可以明显地看出来。

汉乐府民歌的叙事篇章多数是一开始便直咏其事，也有少数篇章用大段铺叙介绍人物以引起故事，如《陌上桑》。《董娇饶》的开头则是描写景物，作为人物活动的环境。这样，既做到了人物和环境的统一，又使开篇和全诗紧密关联。《董娇饶》的开头一段与全诗的关系极大，诗意即此生发，层层展开：由采桑女攀折花技引起“花”的诘责，继写采桑女的回答，再写“花”的反复辩驳。开头这一段景物描写其中包含抒情成分，因而也写出了某种意境，颇合于闻一多在论述汉末诗歌的发展时说的“事化为境”的意思。如《古诗十九首·明月皎夜光》写诗人的悲愁，从描绘秋夜的景色入手，写皎皎明月、历历寒星、促织的悲吟、寒蝉的凄切，这秋夜的景色即是诗人情感的外化，景亦情，情亦景，则已臻于情景交融的境界。就《董娇饶》的全诗看，虽说并不以抒情为主，但其情感的抒发和景物的描绘也还是一致的。

在写作艺术上，此诗风格独具，意境幽深。其最为突出的一点，是成功地运用了心理映衬的手法。

表现人物心理这一部分（从第七句至第二十句）构成全诗的.主要内容。其中“纤手折其枝”一句作为全篇关节。对采桑女为什么要拗折路边的花枝的问题，诗人没有作交待。接下去从对立的一方“花”写起，借“花”的诘责引出矛盾：“何为见损伤？”“花”的责问有理：我开我的花，你采你的桑，彼此互不相干，你为什么要来损害我？采桑女却是答非所问：“高秋八九月，白露变为霜。终年会飘堕，安得久馨香？”言外之意是：请不要顾惜现在这一点小小的损伤吧，反正你早晚是要殒落的。这个回答并未说出折花的心理动机。采桑女不作正面回答的原因无非是不愿剖白内心某种隐秘的东西，这种隐秘的东西或许她自己也说不清楚。然而，她的回避反倒容易使她的心理活动被人窥测到。正由于她无意中表露自己对盛衰的看法，招来了“花”的驳难。“花”的盛衰观和采桑女有着根本的分歧，生活的真谛告诉它：“秋时自零落，春日复芬芳。”如果说采桑女回答“花”的诘责时尚能平静处之，那么，当她听到“何如盛年去，欢爱永相忘”的讥嘲，便难以自持了。这话正触到她的隐忧，令她闻之心惊：花虽然凋落，可还有再荣之期；作为一个女人，青春却是一去不返。她不敢想等待着她的未来究竟怎样，她将碰到一个什么样的命运。不敢想，却又不能不想。她回答“花”的话，说的是“花”的荣枯，实则成了自伤。这隐在的自伤的情怀造成她折花的复杂、微妙的心理。在万物得其时的明媚春光中，采桑女手提桑笼走在幽僻的小路上，繁花不时地拂过她的头顶，她不能没有感触。大约她看到那炫耀似的开着的烂漫的桃李花，即勾起心头的烦恼，并带一点本能的忌意，心里想这些花虽没，但到了露结为霜的季节，还不是照样枯萎、凋谢。这样想着的时候，纤手不知不觉地已经攀住了花枝。

这一段文字可以说是一波三折，层见迭出。又由于诗人运用了以花写人、借物传神的笔法，全诗显得含蓄蕴藉，宛转动人，而有别于乐府民歌的质直和单纯。

《董娇饶》一诗在艺术上所取得的成就是不能抹煞的，在中国古代诗歌发展史上应有其地位。但是它在艺术表现上的创新是基于对乐府民歌的借鉴。比如诗中设为问答的形式就是直接来自乐府民歌。在叙事中穿插对话，是乐府民歌经常采用的形式，《东门行》、《艳歌何尝行》和《陌上桑》是其中比较典型的例子。采用这种写法可以增强作品的真实感，避免叙事的单调和平淡，且有助于人物性格和心理的刻划。《董娇饶》中的对话在表现心理方面有着特殊的意义。同时，由于这一方式的采用，也造成诗意的层层递进，因而在组织篇章结构上有着不容忽视的作用。

此外，以花拟人的写法也是受了汉乐府民歌中寓言诗的影响。汉乐府民歌中有为数不少的寓言诗，如《乌生八九子》、《艳歌行》（其二）、《蜨蝶行》和《枯鱼过河泣》等。寓言诗的基本特点是取义双关，意在言外。《董娇饶》不同，它的主题是通过正面形象的描绘直接表现的。虽亦拟物为人，但那是为了表现人，表现人与“花”的某种特定关系，而非全篇用寄托，所以这里的花并没有独立的意义。

此诗在语言的运用上则更多地保留了民歌的朴素、自然的本色。比如开头的两句“洛阳城东路，桃李生路旁”，就如同脱口而出。“高秋八九月”以下四句也是如此。把此诗同建安诗人的某些作品一比较，二者之间的差异立即就可以看出来。曹植的《美女篇》给人的突出印象，就是词采的华丽和对偶的讲究。《董娇饶》的句子并不怎么修饰和锻炼，其中也有一组对偶句，即“花花自相对，叶叶自相当”。这虽然已是在有意追求，但仍不免有些笨拙，不像魏晋诗人用起来那样得心应手。

名家点评

明末清初王夫之《古诗评选》：“敛者固敛，纵者莫非敛势。知敛、纵者，乃可与言乐理。”

清代沈德潜《古诗源》：“婀娜其姿，无穷摇曳。”

第三篇：和董传留别原文翻译及赏析

和董传留别原文翻译及赏析

和董传留别

宋代：苏轼

粗缯大布裹生涯，腹有诗书气自华。

厌伴老儒烹瓠叶，强随举子踏槐花。

囊空不办寻春马，眼乱行看择婿车。

得意犹堪夸世俗，诏黄新湿字如鸦。

译文及注释

粗缯（zēng）大布裹生涯，腹有诗书气自华。

虽然生活当中身上包裹着粗衣劣布，但胸中有学问气质自然光彩夺人。

腹有：胸有，比喻学业有成。诗书：原指《诗经》和《尚书》。此泛指书籍。气：表于外的精神气色。华：丰盈而实美。

厌伴老儒烹（pēng）瓠（hù）叶，强随举子踏槐（huái）花。

不喜欢陪伴着年老的学人一块清谈过“烹瓠叶”那样的苦日子，决定随从举子们参加科举考试。

老儒：旧谓年老的学人。举子：指被推荐参加考试的读书人。槐花：豆科植物槐的干燥花及花蕾。夏季花开放或花蕾形成时采收，及时干燥，除去枝、梗及杂质。前者习称“槐花”，后者习称“槐米”。踏槐花：唐代有“槐花黄，举子忙”俗语，槐花落时，也就是举子应试的时间了，后因称参加科举考试为“踏槐花”。

囊（náng）空不办寻春马，眼乱行看择婿（xù）车。

虽不能像孟郊那样骑马看花，但却有机会被那“选婿车”包围，让自己眼花缭乱。

囊空：口袋里空空的，比喻没有钱。择婿车：此指官贾家之千金美女所坐之马车，游街以示择佳婿。唐代进士放榜，例于曲江亭设宴。其日，公卿家倾城纵观，高车宝马，于此选取佳婿。

得意犹堪夸世俗，诏黄新湿字如鸦。

中举仍然可以向世俗之人夸耀，诏书上如鸦的黑字新写着你的名字呢。

得意：即“春风得意”，意谓黄榜得中。世俗：社会上流传的风俗习惯。诏黄：即诏书，诏书用黄纸书写，故称。字如鸦：诏书写的黑字。

译文及注释

译文

虽然生活当中身上包裹着粗衣劣布，但胸中有学问气质自然光彩夺人。

不喜欢陪伴着老儒一块清谈过“烹瓠叶”那样的苦日子，决定随从举子们参加科举考试。

虽不能像孟郊那样骑马看花，但却有机会被那“选婿车”包围，让自己眼花缭乱。

中举仍然可以向世俗之人夸耀，诏书上如鸦的黑字新写着你的名字呢。

注释

董传：字至和，洛阳（今属河南）人。曾在凤翔与苏轼交游。宋神宗熙宁二年（1069）卒。

麤缯：粗制的丝织品。麤：同“粗”。大布：古指麻制粗布。《左传·闵公二年》：“卫文公大布之衣，大帛之冠。”杜预注：“大布，粗布。”裹：经历。生涯：人生的境遇过程。语本《庄子·养生主》：“吾生也有涯，而知也无涯。”

腹有：胸有，比喻学业有成。诗书：原指《诗经》和《尚书》。此泛指书籍。气：表于外的精神气色。华：丰盈而实美。

老儒：旧谓年老的学人。唐牟融《寄周韶州》诗：“十年学道困穷庐，空有长才重老儒。”瓠叶：《诗经·小雅》的篇名。共四章。根据诗序：瓠叶，大夫刺幽王也。或以为燕饮之诗。首章二句为：幡幡瓠叶，采之亨之。

举子：指被推荐参加考试的读书人。槐花：豆科植物槐的干燥花及花蕾。夏季花开放或花蕾形成时采收，及时干燥，除去枝、梗及杂质。前者习称“槐花”，后者习称“槐米”。踏槐花：唐代有“槐花黄，举子忙”俗语，槐花落时，也就是举子应试的`时间了，后因称参加科举考试为“踏槐花”。

囊空不办：引自《南史？虞玩之传》：“玩之为少府，犹蹑屐造席。高帝取屐亲视之，讹黑斜锐，蒵断以芒接之。问曰：‘卿此屐已几载？’玩之曰：‘初释褐拜征北行佐买之，著已三十年，贫士竟不办易。’”引用孟郊诗而不直接引用其诗语，只将“春风得意马蹄疾，一日看尽长安花。”之诗意转化为“寻春马”；引用虞玩之因贫困而旧屐著三十年不办易的事典，而转化为“囊空不办”，引用二个典故融合为一句，语多转折。囊空：口袋里空空的，比喻没有钱。唐杜甫《空囊》诗：“囊空恐羞涩，留得一钱看。”寻春马：引用孟郊《登科后》诗：“昔日龌龊不足夸，今朝放荡思无涯。春风得意马蹄疾，一日看尽长安花。”

择婿车：此指官贾家之千金美女所坐之马车，游街以示择佳婿。唐代进士放榜，例于曲江亭设宴。其日，公卿家倾城纵观，高车宝马，于此选取佳婿。见五代王定保《唐摭言·慈恩寺题名游赏赋咏杂纪》。

得意：即“春风得意”，意谓黄榜得中。唐赵氏《闻夫杜羔登第》诗：“良人得意正年少，今夜醉眠何处楼。”世俗：社会上流传的风俗习惯。《文子·道原》：“矜伪以惑世，畸行以迷众，圣人不以为世俗。”

诏黄：即诏书，诏书用黄纸书写，故称。《南史·王韶之传》：“恭帝即位，迁黄门侍郎，领著作，西省如故。凡诸诏黄皆其辞也。”字如鸦：诏书写的黑字。语出唐人卢仝《示添丁》“忽来案上翻墨汁，涂抹诗书如老鸦”。

创作背景

《和董传留别》这首诗是苏轼罢官凤翔签判赴汴京，途经长安时，与朋友董传话聚临别留赠董传的。公元1061年（嘉祐六年），苏轼应中制科考试，即通常所谓“三年京察”，入第三等，授大理评事、签书凤翔府判官，董传时与之相随。董传当时在凤翔穷困潦倒，正准备参加科举考试。次年苏轼回长安后作此诗。

赏析

苏轼的这首《和董传留别》可能不为普通读者所熟知，而其中的“腹有诗书气自华”一句却广为传诵，原因就在于它经典地阐述了读书与人的修养的关系。中国的读书人向来把读书视为积累知识、增长学问的有效途径。读书的作用不仅在于占有知识，还在于提升人的精神境界。尤其是常读书，日积月累就会使人脱离低级趣味，养成高雅、脱俗的气质。清代学者梁章钜说：“人无书气，即为粗俗气，市井气，而不可列于士大夫之林。”事实证明，读书与不读书，读书多与读书少的人，所表现出的内在气质与素质是绝不相同的。“腹有诗书”指饱读诗书，满腹经纶，“气”可以理解为“气质”或“精神风貌”。全句的重心在“自”上面，它强调了华美的气质是饱读诗书的必然结果。

就苏轼送别的这位朋友董传而言，“气”不应简单地指读书所带给人的儒雅之气，更指古代读书人所推崇的在面对人生的失意和困窘时的乐观豁达的态度。孔子的弟子颜回“一箪食，一瓢饮，在陋巷”而能“不改其乐”。王勃在人生落魄时高唱“穷且益坚，不坠青云之志”。董传身处贫穷，却始终保持着乐观向上的精神风貌，追求着自己的人生目标，这可以从“囊空不办寻春马”一句看出。显然，苏轼对董传的人生态度还是非常欣赏的。在临别时送给朋友这一句，既是赞美，也是安慰。

“腹有诗书气自华”一句，阐明了读书与高雅气质的必然联系，凝练概括，深得读者喜爱。今天人们引用它来说明读书求知可以培养人高尚的品格和高雅的气质。也用来赞美别人学问渊博、气度不凡。

赏析二

苏轼在凤翔府任职时，董传曾与苏轼相从，当时董传生活贫困，衣衫朴素，但饱读诗书，满腹经纶，平凡的衣着掩盖不住他乐观向上的精神风骨。苏轼在诗中一面称许了董传的志向，同时预祝他黄榜得中。

“麤缯大布裹生涯，腹有诗书气自华。”这两句写董传粗丝绑发，粗布披身。“裹生涯”词语搭配新颖巧妙。本应是“生涯裹麤缯大布”，但词序一颠倒变成“麤缯大布裹生涯”，就有了画面感，而且表示这种生活已是常态。这两句诗赞扬董传虽然贫穷，但勤于读书，因此精神气质非同常人。

“厌伴老儒烹瓠叶，强随举子踏槐花。”这两句是说董传的志向，不甘心过贫苦的日子，希望通过科举出人头地。老儒是指年老的学人。“烹瓠叶”是用典。《诗经·小雅·瓠叶》，首章二句为“幡幡瓠叶，采之亨之”。瓠叶味苦，诗中以瓠叶言其宴席上菜肴的粗陋和简约，但主人并没有以其微薄而废礼，而是情真意挚地“采之亨之”（“亨”同“烹”）。

“囊空不办寻春马，眼乱行看择婿车。”“寻春马”是暗用孟郊《登科后》的典故。这里苏轼是说董传即便登科也没钱置办马匹，像孟郊那样“一日看尽长安花”。

“择婿车”是用王定保《唐摭言·慈恩寺题名游赏赋咏杂纪》所载唐进士放榜日公卿家倾城选取佳婿，“钿车珠鞍，栉比而至”的典故。苏轼的意思是说，董传虽不能像孟郊那样骑马看花，但却有机会被那“选婿车”包围，让自己眼花缭乱。这两句诗是苏轼鼓励董传的话，有钱没钱不是问题，考中才是硬道理，那时什么都会有。

“得意犹堪夸世俗，诏黄新湿字如鸦。”这两句诗是承接上两句，继续对董传给予鼓励，希冀董传能够有朝一日，可以金榜题名，扬眉吐气，以夸世俗。苏轼写到这里，似乎完全忘记了此诗开头的“腹有诗书气自华”，剩下的就只有对一个不得意书生的一点祝福了。

这首诗的特点是巧于用典，蕴藉含蓄。其中“腹有诗书气自华”，是至今让人传诵于口的名句。“诗书”在这里泛指书籍；“气”是指气质风度；“华”指有光彩，与众不同。脱开诗中赞扬董传的语境，单独来看，“腹有诗书气自华”的意思就是：那些勤于读书的人身上总会一种儒雅之气自然地流露出来，使他们看起来与众不同。正因为它概括出了读书人当中普遍存在的一种现象，所以才成为了有关读书学习方面的诗词名句，被广泛引用。

原文

粗缯大布裹生涯，腹有诗书气自华。

厌伴老儒烹瓠叶，强随举子踏槐花。

囊空不办寻春马，眼乱行看择婿车。

得意犹堪夸世俗，诏黄新湿字如鸦。

翻译

译文

我虽然身穿简陋的土布，用粗丝绑发，却满腹诗书，自然气质高华。我厌倦了与老书生清谈，却鼓舞精神和众多士子共赴中制科考试。兜里没钱，一双旧鞋已跟随我多年，出行全靠它；富贵人家的香车美女，让我眼花缭乱。放榜以后我成绩好，得意洋洋来夸耀，看：黄纸诏书上墨迹还湿着。

注释

麤缯：粗丝绑发，粗布披身。

裹：经历。

生涯：人生的境遇过程。

腹有：胸有，比喻学业成。

气：表于外的精神气色。

华：丰盈而实美。

老儒：博学而年长的学者。如：博学老儒。

瓠叶：诗经小雅的篇名。共四章。根据诗序：瓠叶，大夫刺幽王也。或以为燕饮之诗。首章二句为：幡幡瓠叶，采之亨之。

举子：被举应试的士子。

槐花：豆科植物槐（Sophora japonica L。）的干燥花及花蕾。夏季花开放或花蕾形成时采收，及时干燥，除去枝、梗及杂质。前者习称“槐花”，后者习称“槐米”。

囊空不办：引用《南史？虞玩之传》「玩之为少府，犹蹑屐造席。高帝取屐亲视之，讹黑斜锐，瓒断以芒接之。问曰：『卿此屐已几载？』玩之曰：『初释褐拜征北行佐买之，著已三十年，贫士竟不办易。』引用孟郊诗而不直接引用其诗语，只将「春风得意马蹄疾，一日看尽长安花。」之诗意转化为「寻春马」；引用虞玩之因贫困而旧屐著三十年不办易的事典，而转化为「囊空不办」，引用二个典故融合为一句，语多转折。

囊空：口袋里空空的，比喻没有钱。

寻春马：引用孟郊《登科后》诗：昔日龌龊不足夸，今朝放荡思无涯。春风得意马蹄疾，一日看尽长安花。

择婿车：此指官贾家之千金美女。官贾富家之千女所座之马车，游街以示择佳婿，古有择婿楼。

世俗：社会上流传的风俗习惯。

诏黄：即诏书。诏书用黄纸书写，故称。

赏析

诗书气自华”一句却广为传诵，原因就在于它经典地阐述了读书与人的修养的关系。中国的读书人向来把读书视为积累知识、增长学问的有效途径。读书的作用不仅在于占有知识，还在于提升人的精神境界。尤其是常读书，日积月累就会使人脱离低级趣味，养成高雅、脱俗的气质。清代学者梁章钜说：“人无书气，即为粗俗气，市井气，而不可列于士大夫之林。”事实证明，读书与不读书，读书多与读书少的人，所表现出的内在气质与素质是绝不相同的。“腹有诗书”指饱读诗书，满腹经纶，“气”可以理解为“气质”或“精神风貌”。全句的重心在“自”上面，它强调了华美的气质是饱读诗书的必然结果。

就苏轼送别的这位朋友董传而言，“气”不应简单地指读书所带给人的儒雅之气，更指古代读书人所推崇的在面对人生的失意和困窘时的乐观豁达的态度。孔子的弟子颜回“一箪食，一瓢饮，在陋巷”而能“不改其乐”。王勃在人生落魄时高唱“穷且益坚，不坠青云之志”。董传身处贫穷，却始终保持着乐观向上的精神风貌，追求着自己的人生目标，这可以从“囊空不办寻春马”一句看出。显然，苏轼对董传的人生态度还是非常欣赏的。在临别时送给朋友这一句，既是赞美，也是安慰。

“腹有诗书气自华”一句，阐明了读书与高雅气质的必然联系，凝练概括，深得读者喜爱。今天人们引用它来说明读书求知可以培养人高尚的品格和高雅的气质。也用来赞美别人学问渊博、气度不凡。

第四篇：IT服务台故障通知From

From :CCC IT Services To :Call-Center Date :Oct 29th,2004 Subj :(Planned)CTI/IVR功能故障,导致用户无法联系IT服务台故障通知

***************************************************************** 1.概述：

Call-Center 由于CTI/IVR功能故障,用户将在以下时间无法联系IT服务台：

FROM : 18:00 Oct 29th 2004 TO : 14:00 Oct 30th 2004 DURATION:8H(非工作时间)

2.影响范围：

网络服务(Internet,Wfm,Newage,E-mail system)不受影响。

用户无法联系IT服务台

3.非影响范围：

网络出现故障IT服务台及现场团队无法正常使用Remedy

3.非影响范围：

-电话系统不受影响。

4.服务中断原因：

-网络系统功能故障

5.中断期间临时解决方案

-IT服务台发布语音留言通知用户仅使用电话进行报修

-用户致电IT服务台电话报修:63333

-IT服务台使用专用报修记录模版记录用户报修,待remedy系统恢复后手工录入系统

6.具体咨询请联络： 联系人：XXX 电话: 电话号码 邮箱: 邮箱地址

From :CCC IT Services To :Call-Center Date :Oct 29th,2004 Subj :(Planned)邮件系统不能正常收发邮件，用户无法通过邮件联系到IT服务台或IT服务台与现场团队无法通过邮件沟通故障通知

***************************************************************** 1.概述：

Call-Center 由于邮件系统功能故障,在以下时间 用户无法通过邮件联系到IT服务台或IT服务台与现场团队无法通过邮件沟通：

FROM : 18:00 Oct 29th 2004 TO : 2:00 Oct 30th 2004 DURATION:8H(非工作时间)

2.影响范围：

Remedy系统出现故障IT服务台及现场团队无法正常使用Remedy

3.非影响范围：

-电话系统不受影响。

4.服务中断原因：

-Remedy系统故障系统功能故障

5.中断期间临时解决方案

-IT服务台使用专用报修记录模版记录用户报修,待remedy系统恢复后手工录入系统

6.具体咨询请联络： 联系人：XXX 电话: 电话号码 邮箱: 邮箱地址

第五篇：An Excerpt from Virginia Woolf

An Excerpt from Virginia Woolf’s A Room of One’s Own, Chapter 3

Be that as it may, I could not help thinking, as I looked at the works of Shakespeare on the shelf, that the bishop was right at least in this;it would have been impossible, completely and entirely, for any woman to have written the plays of Shakespeare in the age of Shakespeare.Let me imagine, since facts are so hard to come by, what would have happened had Shakespeare had a wonderfully gifted sister, called Judith, let us say.Shakespeare himself went, very probably,—his mother was an heiress—to the grammar school, where he may have learnt Latin—Ovid, Virgil and Horace—and the elements of grammar and logic.He was, it is well known, a wild boy who poached rabbits, perhaps shot a deer, and had, rather sooner than he should have done, to marry a woman in the neighbourhood, who bore him a child rather quicker than was right.That escapade sent him to seek his fortune in London.He had, it seemed, a taste for the theatre;he began by holding horses at the stage door.Very soon he got work in the theatre, became a successful actor, and lived at the hub of the universe, meeting everybody, knowing everybody, practising his art on the boards, exercising his wits in the streets, and even getting access to the palace of the queen.Meanwhile his extraordinarily gifted sister, let us suppose, remained at home.She was as adventurous, as imaginative, as agog to see the world as he was.But she was not sent to school.She had no chance of learning grammar and logic, let alone of reading Horace and Virgil.She picked up a book now and then, one of her brother’s perhaps, and read a few pages.But then her parents came in and told her to mend the stockings or mind the stew and not moon about with books and papers.They would have spoken sharply but kindly, for they were substantial people who knew the conditions of life for a woman and loved their daughter—indeed, more likely than not she was the apple of her father’s eye.Perhaps she scribbled some pages up in an apple loft on the sly but was careful to hide them or set do not go to heaven.Women cannot write the plays of fire to them.Soon, however, before she was out of her teens, she was to be betrothed to the son of a neighbouring woolstapler.She cried out that marriage was hateful to her, and for that

she was severely beaten by her father.Then he ceased to scold her.He begged her instead not to hurt him, not to shame him in this matter of her marriage.He would give her a chain of beads or a fine petticoat, he said;and there were tears in his eyes.How could she disobey him? How could she break his heart? The force of her own gift alone drove her to it.She made up a small parcel of her belongings, let herself down by a rope one summer’s night and took the road to London.She was not seventeen.The birds that sang in the hedge were not more musical than she was.She had the quickest fancy, a gift like her brother’s, for the tune of words.Like him, she had a taste for the theatre.She stood at the stage door;she wanted to act, she said.Men laughed in her face.The manager—a fat, looselipped man—guffawed.He bellowed something about poodles dancing and women acting—no woman, he said, could possibly be an actress.He hinted—you can imagine what.She could get no training in her craft.Could she even seek her dinner in a tavern or roam the streets at midnight? Yet her genius was for fiction and lusted to feed abundantly upon the lives of men and women and the study of their ways.At last—for she was very young, oddly like Shakespeare the poet in her face, with the same grey eyes and rounded brows—at last Nick Greene the actormanager took pity on her;she found herself with child by that gentleman and so—who shall measure the heat and violence of the poet’s heart when caught and tangled in a woman’s body?—killed herself one winter’s night and lies buried at some cross–roads where the omnibuses now stop outside the Elephant and Castle.That, more or less, is how the story would run, I think, if a woman in Shakespeare’s day had had Shakespeare’s genius.But for my part, I agree with the deceased bishop, if such he was—it is unthinkable that any woman in Shakespeare’s day should have had Shakespeare’s genius.For genius like Shakespeare’s is not born among labouring, uneducated, servile people.It was not born in England among the Saxons and the Britons.It is not born to–day among the working classes.How, then, could it have been born among women whose work began, according to Professor Trevelyan, almost before they were out of the nursery, who were forced to it by their parents and held to it by all the power of law and custom? Yet genius of a sort must have existed among

women as it must have existed among the working classes.Now and again an Emily Brontë or a Robert Burns blazes out and proves its presence.But certainly it never got itself on to paper.When, however, one reads of a witch being ducked, of a woman possessed by devils, of a wise woman selling herbs, or even of a very remarkable man who had a mother, then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen, some Emily Brontë who dashed her brains out on the moor or mopped and mowed about the highways crazed with the torture that her gift had put her to.Indeed, I would venture to guess that Anon, who wrote so many poems without singing them, was often a woman.It was a woman Edward Fitzgerald, I think, suggested who made the ballads and the folk–songs, crooning them to her children, beguiling her spinning with them, or the length of the winter’s night.This may be true or it may be false—who can say?—but what is true in it, so it seemed to me, reviewing the story of Shakespeare’s sister as I had made it, is that any woman born with a great gift in the sixteenth century would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at.For it needs little skill in psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered by other people, so tortured and pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty.No girl could have walked to London and stood at a stage door and forced her way into the presence of actor–managers without doing herself a violence and suffering an anguish which may have been irrational—for chastity may be a fetish invented by certain societies for unknown reasons—but were none the less inevitable.Chastity had then, it has even now, a religious importance in a woman’s life, and has so wrapped itself round with nerves and instincts that to cut it free and bring it to the light of day demands courage of the rarest.To have lived a free life in London in the sixteenth century would have meant for a woman who was poet and playwright a nervous stress and dilemma which might well have killed her.Had she survived, whatever she had written would have been twisted and deformed, issuing from a strained and morbid imagination.And undoubtedly, I

thought, looking at the shelf where there are no plays by women, her work would have gone unsigned.That refuge she would have sought certainly.It was the relic of the sense of chastity that dictated anonymity to women even so late as the nineteenth century.Currer Bell, George Eliot, George Sand, all the victims of inner strife as their writings prove, sought ineffectively to veil themselves by using the name of a man.Thus they did homage to the convention, which if not implanted by the other sex was liberally encouraged by them(the chief glory of a woman is not to be talked of, said Pericles, himself a much–talked–of man)that publicity in women is detestable