乔伊斯·卡罗尔·欧茨《逝去的风景》翻译报告

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欧茨的成长、记忆与思考——评欧茨的成长回忆录《逝去的风景》

欧茨的成长、记忆与思考——评欧茨的成长回忆录《逝去的风景》杨建玫【期刊名称】《《外文研究》》【年(卷),期】2019(007)002【总页数】5页(P31-35)【关键词】欧茨; 回忆录; 逝去的风景; 成长; 记忆; 思考【作者】杨建玫【作者单位】苏州科技大学【正文语种】中文【中图分类】I712美国当代著名作家乔伊斯·卡罗尔·欧茨(Joyce Carol Oates，1938—)的创作成就斐然，几乎囊括了小说、散文、诗歌、回忆录等所有文学体裁。

欧茨说，她多样化风格的写作的目的是“用某种特殊类型的语言讲述不同的故事”(Lerner 2016: 1-6)。

欧茨惯于采用客观、冷静的笔调进行书写，但是在临近耄耋之年，她却出版了成长回忆录《逝去的风景》(The Lost Landscape，2016)。

这让读者倍感诧异。

这部袒露心扉的回忆录不但记载了她的成长经历和刻骨铭心的记忆，还展露了她对一些问题的思考。

通过解读回忆录，欧茨写作中的许多令人困惑的问题可以迎刃而解，比如她为何热爱自然、热衷于写作并能够成为高产作家，她为何既热衷于描述家庭关爱和姐妹情谊又关注暴力、贫困、种族矛盾等现实问题，她的拳击情结展现出她怎样的价值观。

本文聚焦《逝去的风景》的写作手法和内容，揭示欧茨的成长、记忆及其对一些问题的思考，并对其部分创作思想追根溯源。

一《逝去的风景》共分为三部分。

欧茨以时间顺序为基础，进行场面叙述和专题叙述。

第一部分以时序结构为轴，着重采用场面结构的叙述，聚焦从她4岁记事时起直至硕士学习的阶段，细致描绘了她在纽约州西部乡村度过的童年时光和少女时代；第二部分书写她在大学期间的青春岁月；第三部分记载了她对父母及祖母的爱。

她聚焦父母离世前与她的最后谈话和母亲送给她的被子，传达出父母的关爱。

第二部分和第三部分更多地采用专题叙述的结构，记载她成年后创作初期的生活，并对她最为关注的人和事进行专题书写。

英语诗歌赏析

英语诗歌赏析英语诗歌赏析《美景易逝(Nothing Gold Can Stay)》罗伯特•弗罗斯特的代表作之一。

此诗于1923年写就，即于当年十月在《耶鲁杂志(The Yale Review)》上刊印出版，随后就被收录到弗罗斯特的一本名为《新罕布什尔州(New Hampshire)》的诗集中。

以下是小编分享的英语诗歌赏析，欢迎大家阅读!《美景易逝(Nothing Gold Can Stay)》罗伯特•弗罗斯特Nothing gold can stay 岁月留金Nature's first green is gold, 大自然的第一抹新绿是金，Her hardest hue to hold. 也是她最无力保留的颜色.。

Her early leaf's a flower; 她初发的叶子如同一朵花,;But only so an hour. 然而只能持续若此一刹那。

Then leaf subsides leaf, 随之如花新叶沦落为旧叶。

So Eden sank to grief. 由是伊甸园陷入忧伤悲切，So down gose down to day, 破晓黎明延续至晃晃白昼。

Nothing gold can stay. 宝贵如金之物岁月难保留。

诗歌赏析:这首诗揭示了一切真切而美好的事物最终定会逐渐消失的哲理。

它同时也使用了独特的技巧来表现了季节的变化。

想到了小时了了，大未必佳。

一切都是转瞬即逝的，浮世有的只是转丸般的繁华。

《The Road NotTaken》The Road Not Taken Robert Frost 未选择的路罗伯特•弗罗斯特Two roads diverged in a yellow wood, 黄色的树林里分出两条路And sorry I could not travel both 可惜我不能同时去涉足And be one traveler, long I stood 我在那路口久久伫立And looked down one as far as I could 我向着一条路极目望去To where it bent in the undergrowth; 直到它消失在丛林深处Then took the other, as just as fair, 但我却选择了另外一条路And having perhaps the better claim, 它荒草萋萋，十分幽寂Because it was grassy and wanted wear; 显得更诱人，更美丽Though as for that the passing there 虽然在这两条小路上Had worn them really about the same, 都很少留下旅人的足迹And both that morning equally lay 虽然那天清晨落叶满地In leaves no step had trodden black. 两条路都未经脚印污染Oh, I kept the first for another day! 呵，留下一条路等改日再见Yet knowing how way leads on to way, 但我知道路径延绵无尽头I doubted if I should ever come back. 恐怕我难以再回返I shall be telling this with a sigh 也许多少年后在某一个地方Somewhere ages and ages hence: 我将轻声叹息把往事回顾Two roads diverged in a wood,and I—一片森林里分出两条路I took the one less traveled by, 而我却选择了人迹更少的一条And that has made al lthe difference. 从此决定了我一生的道路诗歌赏析:(1)诗歌特点: 全诗共4节，可分两层：1—3节为第一层，在树林里，“我”面临着两条路，而经过思考决定选择了一条人迹罕至的路。

中英文对照经典文章

中英文对照经典文章想要提高英语水平，多多阅读英文文章有帮助。

怕不明白意思?有翻译就够了。

下面就是店铺给大家整理的中英文对照经典文章，希望大家喜欢。

中英文对照经典文章篇1：Felicia's journey费利西娅的旅行William Trevor威廉·特雷弗The sun is warm now, the water of the river undisturbed. Seagulls teeter on the parapet infront of her, boats go by. The line of trees that breaks the monotony of the pavement is ladenwith leaves in shades of russet. Figures stride purposefully on a distant bridge, figures inminiature, creatures that could be unreal. Somewhere a voice is loud on a megaphone.阳光正暖，江面水波不兴。

海鸥在她面前的护墙上摇摇摆摆地走着，船只从她身边驶过。

一行树木打破了人行道的单调，树上长满了深浅不一的黄褐色树叶。

远方桥上的行人心无旁骛大踏步地向前走着，那些小人儿细细点点的，看上去影影绰绰的、似幻似真。

远处什么地方的扩音器里传来响亮的声音。

She is not hungry. It will be a few hours before she begins to feel hungry and then there will bethe throwaway stuff in the bins. The sky is azure, evenly blue, hardly faded at the edges at all.She moves a hand back and forth on a slat of the seat she is sitting on, her fingers caressingthe smooth timber, the texture different where the paint has worn away.她一点也不饿，还要再过几小时才会感到饿，那时候垃圾箱里自会有人家扔掉的东西。

Plot_summary_-the_dead（死者的整篇概述与中文的理解）

Plot summaryThe story centres on Gabriel Conroy on the night of the Morkan sisters' annual dance and dinner in the first week of January 1904, perhaps the Feast of the Epiphany (January 6). Typical of the stories in Dubliners, "The Dead" develops toward a moment of painful self-awareness; Joyce described this as an epiphany. The narrative generally concentrates on Gabriel's insecurities, his social awkwardness, and the defensive way he copes with his discomfort. The story culminates at the point when Gabriel discovers that, through years of marriage, there was much he never knew of his wife's past.Upon arriving at the party with his wife, Gabriel makes an unfunny joke about the maid's marriage prospects; and he fidgets, adjusts his clothing, and offers her money as a holiday present. Not long after that, he gets flustered again when his wife pokes fun at him over a conversation they had earlier, in which he had forced her to wear galoshes for the bad weather. With such episodes, Gabriel is depicted as particularly pathetic. Similarly, Gabriel is unsure about quoting a poem from the poet Robert Browning when he is giving his dinner address, as he is afraid to be seen as pretentious. But, at the same time, Gabriel considers himself above the others when he speculates that his audience would not understand the words he uses.Later, when giving the traditional holiday toast, Gabriel overcompensates for some of his earlier statements to his evening dancing partner Miss Ivors, an Irish nationalist. His talk relies heavily on conventions; and he praises the virtues of the Irish people and idealizes the past in a way that feels contrived and disingenuous especially considering what the past will mean to him once he hears his wife's story. In fact he hurts Miss Ivors by mistake so much that she rushes away even before dinner is served.As Gabriel is preparing to leave the party, he sees a woman absorbed in thought, standing at the top of the staircase. He stares at her for a moment before he recognizes her as his wife. He then envisages her as though she were the model in a painting that he would call "Distant Music". Her distracted and wistful mood arouses sexual interest in him. He tries indirectly to confront her about it after the party, in the hotel room he has reserved for them; but he finds her unresponsive. Trying to make ironic, half-suggestive comments, Gabriel learns that she was feeling nostalgic after having heard Mr. D'Arcy singing The Lass of Aughrim at the party.Upon being pressed further, Gretta says that the song reminds her of the time when she was a girl in Galway and in love with a boy named Michael Furey. At the time, Gretta was being kept at her grandmother's home before she was to be sent off to a convent in Dublin. Michael was terribly sick and unable to see her. Despite being bedridden, when it came time for her to leave Galway, Michael travelled through the rain to Gretta's window; and, although he was able to speak with her again, he died within the week.The remainder of the text delves further into Gabriel's thoughts after he hears this story, exploring his shifting views on himself, his wife, the past, the living and the dead. It is ambiguous whether the epiphany is just an artistic and emotional moment or is meant to set the reader pondering whether Gabriel will ever manage to escape his smallness and insecurity.对于重写这种做法，欧茨在重写的《死者》中，借女作家伊琳娜之口这样说：“我希望通过重新构思已故作家的作品与情感来向他们致敬……就像女人与男人联姻那样，嫁给他们、加入他们……无论是在精神上还是在情欲上……”（and I want to honor the dead by reimagining their works，by reimagining their obssessions……in a way marrying them，joining them as a woman joins a man……spiritually and erotically……“在两篇《死者》中，均通过出色的技巧表现了人类灵魂的瘫痪——在乔伊斯作品中是都柏林人，在欧茨的作品中是纽约人。

To Helen Edgar Allan Poe

The story of Cupid and Psyche
• another beautiful girl in Greek myth • envied by the love goddess Venus • Cupid fell in love with her • the promise
Stanza 3
Part 2 On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home, To the glory that was Greece, And the grandeur that was Rome. 译文：早已习惯于怒海上的飘荡，你风信子似的秀发，你闪烁着古典美的面庞，你水精仙子般的呼吸引我还乡，重见希腊的光荣与罗马的辉煌。 Rhyme: ABABA /ei/, /u/
Stanza 1
The poet first mentioned Helen, the most famous beauty in Greek mythology. Then Poe compared himself to Odysseus, who wandered for ten years over the sea to get home. As Odysseus, Edgar Allan Poe was persistent in his chasing after fine arts with the sincere belief. That art and the beauty, is the ultimate aim and the home for the wandering poet. While Helen, the embodiment of ancient beauty, is the guider to that dreamland.

中英对照版_中文版_The_Dead_By_James_Joyces死者_詹姆斯_乔伊斯

詹姆斯·乔伊斯著王智量译看楼人的女儿莉莉简直是双脚离地在飞跑了，她刚刚把一位先生带进底层营业所后面的餐具间，帮他脱掉大衣，断断续续的前门门铃可又响起来了，她只得匆匆奔过空荡荡的过道，给另一位客人开门。

幸亏不要她也伺候女客人。

凯特小姐和朱莉娅小姐想到了这一层，把楼上的浴室改做女客们的化妆室了。

凯特小姐和朱莉娅小姐现在正在那儿，聊着天，笑着，大惊小怪地没事儿瞎忙着，还轮番走到楼梯口，从扶手栏杆上向下张望，朝楼下对莉莉大声喊着，问她是谁来了。

这从来都是件大事情，莫坎家的几位小姐每年一次的舞会。

她们所有的熟人都来参加，家庭的成员，家里的老朋友，朱莉娅唱诗班里的队员，凯特教过的一些已经长大成人的学生，甚至玛丽·简的学生有的也来参加。

没有哪回不是尽欢而散的。

就人们记忆所及，好多好多年了，这舞会一向是开得很成功的；自从她们的哥哥帕特去世，凯特和朱莉娅从斯托尼·巴特那幢房子里搬出来，带上玛丽·简，她们唯一的侄女儿，一块住在阿雪岛上这幢幽暗、冷落的房子里以来，一直是这样。

她们从楼下做粮食生意的富勒姆先生手里租下了楼上一层，已经有足足三十个年头了。

玛丽·简那时候还是个穿短衫裤的小丫头，如今已是家里的台柱子了。

海丁顿街上的管风琴归她弹。

她从专科学校毕业，还每年一度在老音乐厅的楼上开一次学生演奏会。

她的好多学生都是金斯顿和达尔基一带上等人家的子女。

她的姨妈们虽然老成那样了，也都在尽自己的一份力。

朱莉娅，尽管已经两鬓斑白，仍然是“亚当与夏娃”唱诗班的第一女高音，凯特，因为身体太弱，不能多跑动，就在后屋那架老式方型大钢琴上给启蒙学生教音乐课。

莉莉，看楼人的女儿，给她们做女仆的工作。

虽然她们生活得简朴，她们主张要吃的好；样样都买顶好的：带梭形骨头的牛腰肉、三先令一磅的茶叶和上等的瓶装黑啤酒。

莉莉照吩咐做事，极少有差错，所以她跟三位女主人处得挺好。

她们都爱大惊小怪，如此而已。

不过她们唯一不能忍受的是跟她们顶嘴。

飘

American Civil War (1861-1865)
• The Fundamental Cause of American Civil War – Slavery • During the war, on Sept. 22, 1862, President Lincoln issued a preliminary Emancipation Proclamation(解放黑人奴隶宣言), declaring that on Jan. 1, 1863, all persons held as slaves in those areas still in rebellion would be “then, therefore forward and forever free”.
Scarlett's lifelong antagonist who is in love with her from the moment he sees her. He is an opportunist willing to take advantage of any situation, but not without kindness or generosity under the right conditions.
Then Frank died and Ashley was hit because their secret meeting was found by the north army. So Scarlett became a widow again. Finally, she is married with Rhett Butler and have a baby, Bonny. She lives a happy and rich life with Rhett Butler .But Scarlett still thinks she loves Ashley which causes the conflict between Rhett and herself.

美国文学多部作品的翻译及赏析

The wild honey suckle ---- Philip Freneau Fair flower,that dost so comely grow,Hid in this silent,dull retreat,Unseen thy little branches greet;No roving foot shall crush thee here,No busy hand provoke a tear.By Nature's self in whrite arrayed,She bade thee shun the vulger eye,And planted here the guardian shade,And sent soft waters murmuring by;Thus quietly thy summer goes,Thy days declining to repose.Smit with those chams,that must decay,I grieve to see your future doom;they died--nor were those flowers more gay, the flowers that did in Eden bloom;Unpitying frosts,and Autumn's power.Shall leave no vestige of this flower.From morning suns and evening dewsAt first thy little being came:If nothing once,you nothing lose, For when you die you are the same; The space between,is but an hour, The frail duration of flower.美好的花呀，你长得：这么秀丽，却藏身在这僻静沉闷的地方——甜美的花儿开了却没人亲昵，招展的小小枝梢也没人观赏；没游来荡去的脚来把你踩碎，没东攀西摘的手来催你落泪。

河海大学研究生英语教程课文翻译(考试范围内课文翻译)

本篇包含全部期末考试考试范围单元！！！Unit 1Ghosts for Tea“十便士看一次海湾风光，”那个带着一架望远镜的老头说道。

“多么晴朗美丽的早晨。

请来看看那古老的灯塔和1935年失事的大轮船残骸吧。

”要十便士简直是敲诈勒索，可是海湾的景色确实壮丽。

峭壁向远方伸展，海风激起的阵阵波浪泛着白花，冲上海滩。

海面上几艘游艇张着乳白色的风帆优雅地避开浪头蜿蜓前进。

山崖下面，一群海鸥相互叫唤着，在海面上盘旋飞翔。

离岸一英里处，在海浪贪婪地吮舔着的岩岸上，那座古老的灯塔矗立在一座石头平台上。

说实话，我毫不吝惜那几个钱。

当我把望远镜转朝灯塔时，站在我身旁的那个老头拍了拍我的手腕。

“您听过在那座灯塔里发生的一起骇人听闻的惨案吗?”他压低了嗓声对我说。

“我想这个地方看起来非常富有戏剧性，有关它的传说一定不少，”我说。

“这可不是传说，”那老头郑重其事地说。

“我父亲认识那起惨案的两个当事人。

一切都发生在50年前的今天。

让我说给您听听吧。

”他的声音似乎变得更低沉、更富有戏剧性了。

“整整一个礼拜，风暴困住了那座灯塔，”他开始说。

“咆啸的大海波涛汹涌，海浪拍打着岩石，轰然作响。

岸上的人们十分担心在那儿工作的两个人。

他们俩是多年的挚友，但在两三个礼拜前，他们在乡村酒店里玩牌时吵了一架。

马丁指责布莱克打牌时耍赖，布莱克则发誓要对侮辱他人格的不实之辞进行报复。

多亏一位他们俩都尊敬的人好言相劝，他们才互相道了歉，并以乎很快地结束了他们之间的不快。

不过各自心里还有些怨恨。

因此，人们担心长时间与世隔绝所造成的极度紧张和恶劣的天气会使他们俩神经过敏，尽管两人的朋友们不消说还根本没意识到后果会有多么严重。

”“离今50年前的那个晚上，灯塔上没有出现灯光，直到凌晨两点钟左右才有一束灯光突然发出警告信号。

“第二天早上，灯光依然可见。

风暴已经平息了，人们派出一条救生船前去查看情况。

等待人们的却是一个不忍目睹的场面——马丁和布莱克的起居室一片骇人景象，桌子翻倒在地，一副牌散得到处都是，地板上溅满了血迹。

对几首外国诗歌的翻译

OrinocoflowKingston TownNew York, New York(or An Englishman in New York Belfast ChildThe LebanonFerry Cross the Mersey墨西河BarcelonaStreets of PhiladelphiaOh CarolinaGoing Loco Down in Acapulco London Calling 一Enya一UB40一Frank Sinatra一Sting)一Simple Minds一Human League一Gerry and the Pacemakers一Montserrat Caballe and Freddie Mere一Bruce Springstein一Shaggy一The Four Tops一The Clash关于地方的歌曲Yearning for the LakesI weary for the fountain foaming,For shady holm and hill,My mind is on the mountain roamingMy spirit's voice is still.I weary for the woodland brookThat wanders through the vale,I weary for the heights that lookAdown upon the vale.The crags are lone on ConistonAnd Glaramara's dell,And dreary on the mighty oneThe cloud enwreathed Sca-fell.Oh, what although the crags are sternTheir mighty peaks that sever,Fresh flies the breeze on mountain fernAnd free on mountain heather.I long to tread the mountain headAbove the valley swelling,I long to feel the breezes spedFrom grey and gaunt Helvellyn.There is a thrill of strange delightThat passes quivering o'er meWhen blue hills rise upon the sightLike summer clouds before me.John Ruskin 向往湖泊我厌倦了泉水吐出的泡沫以及阴暗的沙洲和丘陵我只想漫步于大山我的灵魂坚定地召唤着我我厌倦了漫游在在森林溪谷也厌倦了那足以俯瞰溪谷的高度峭壁孤独地耸立在尼斯顿湖旁?And ?And Glaramara's dell,在巨大的湖旁独自沉闷着云盘绕在急速下跌的瀑布上方啊，尽管峭壁艰险无比清新胡风吹拂着山上的蕨草和石南我渴望踏上山顶踏在涨水的山谷之上我渴望感受到那清风快速地吹过灰暗的、荒凉的赫尔维林峰（位于英格兰湖区）当蓝色的小山象夏天的云一样浮现在我的视线的时候，一阵难以言表的欣喜传遍我了的全身ORINOCO FLOWLet me sail, let me sail, let the Orinoco flow,让我远航，让我远航，让Orinoco河水（位于委内瑞拉）流淌。

le pont mirabeau 译文

le pont mirabeau 译文序le pont mirabeau，这是一座连接塞纳河两岸的桥梁，它见证了许多浪漫的故事，也饱含了法国文学家 Guillaume Apollinaire 的深情诗意。

在这篇文章中，我将为您呈现 le pont mirabeau 的译文，并从多个角度对这首诗的主题和意境进行深入探讨。

希望您能通过我的文章，更加全面地了解这首诗的内涵和情感。

一、诗歌的原文le pont mirabeau此地没有樱花飞舞时间使它落入塞纳河我的心恍如飞翔的海鸥流过了悠长的海湾爱情让世事变得悠扬变得像滔滔的河水将远去的日子唤回耳畔大桥上的乌鸦呼啸而过一切石头长在时间里事物的流逝也在其中大桥下的日子像过往的梦但爱情永远是值得的都像橄榄枝般轻盈地将我搁在大桥上追忆曾经的日子le pont mirabeau此地没有樱花飞舞这是 Guillaume Apollinaire 的一首优美而富有诗意的诗歌，它以大桥为背景，表达了诗人对流逝时光和深情爱情的思考和感慨。

现在，让我们一起来解读这首诗的深层含义。

二、译文及评析1. 中文译文以下是本人的中文译文：米拉河畔的桥此地并无樱花的飞舞瞬息之间已化作河中的波纹我的心仿佛一只飘忽的海鸥划过无边的海湾爱情使时光涓滴成长变得如河水般潺潺唤回远去的岁月在耳边乌鸦在大桥上呼啸石头都长在时间里生命在其中流淌河下的日子如过往的梦而爱情永远是值得的像橄榄枝般轻轻将我搁在大桥上追忆往昔的美好米拉河畔的桥此地并无樱花的飞舞2. 评析这首诗的中文译文力求忠实地表达了原文的情感和意境。

译者在保留原诗意境的对语言和意象进行了合理的调整和调剂，使译文更富有中文的韵味和华丽的表达。

“大桥上的乌鸦呼啸而过”这一句，在中文译文中被表达为“乌鸦在大桥上呼啸”，更符合中文诗歌的表达习惯。

整体来说，这个译文颇具诗意，情感真挚，对原诗情感的传达准确而深刻。

三、总结与观点le pont mirabeau，这首诗歌以大桥为视角，通过诗人对时间和爱情的思考，勾勒出人生的无常与美好。

《骑鹅旅行记》最后一章读后感

《骑鹅旅行记》最后一章读后感英文版Reflections on the Last Chapter of "Ni尔斯骑鹅旅行记"The final chapter of "Ni尔斯骑鹅旅行记" left me with a profound sense of closure and reflection. As the story winds down, Niels returns to his human form after an extraordinary journey that has transformed him in every way imaginable. His adventures, both thrilling and challenging, have been a testament to his growth and maturity.What struck me most about the final chapter is the symbolism of the journey itself. Niels's travels have not just been physical; they have been emotional and spiritual as well. His interactions with the animals, the lessons he learned from them, and the challenges he faced have all contributed to his personal growth. His journey is a microcosm of life, filled with ups and downs, joy and sorrow, failure and success.The ending of the story is particularly poignant. As Niels returns to his normal life, he brings with him the wisdom and understanding gained from his adventures. The transformation he experiences is not just external; it is internal as well. He has grown from a selfish and spoiled boy into a compassionate and responsible young man.The last chapter also left me with a sense of nostalgia. As Niels looks back on his journey, I found myself doing the same. I reflected on my own life experiences and the lessons I have learned from them. Just like Niels, I realized that life is a continuous journey of growth and learning.In conclusion, the final chapter of "Ni尔斯骑鹅旅行记" is a powerful reminder of the transformative power of experience. It reminds us that life is a journey, and that every step we take, every challenge we face, contributes to our growth and development. Niels's story is an inspiration to us all, a reminder that with courage and perseverance, we can overcome any obstacle and emerge stronger and wiser.中文版《尼尔斯骑鹅旅行记》最后一章读后感《尼尔斯骑鹅旅行记》的最后一章让我有了深刻的感悟和反思。

欧茨的成长、记忆与思考---评欧茨的成长回忆录《逝去的风景》

Oates’s growth, memory and thinking: A review of The Lost Landscape, Oates’s growing memoir
作者：杨建玫[1]
作者机构： [1]苏州科技大学外国语学院,江苏省苏州市215009
出版物刊名：外文研究
页码： 31-35页
年卷期： 2019年第2期
主题词：欧茨;回忆录;逝去的风景;成长;记忆;思考
摘要：美国当代作家乔伊斯·卡罗尔·欧茨的创作成就斐然,体裁多样化。

最近她在近耄耋之年出版了成长回忆录《逝去的风景》。

这部袒露心扉的作品不但记载了她的成长经历和刻骨铭心
的记忆,还展露出她对一些问题的思考。

欧茨写作中许多令人困惑的问题也因此迎刃而解。

本文
聚焦回忆录的写作手法和内容,揭示欧茨的成长、记忆及其对一些问题的思考,并对其部分创作思想追根溯源。

翻译佳作赏析

Translation ExercisesTwo Truths to Live by—— Alexander M. SchindlerA: 生活的妙诀在于懂得如何抓紧，何时放松，因为人生就是一对矛盾：它既令我们抓紧人生的多种赐予，同时它又要我们到头来把这些赐予放弃。

B: This is just like what the rabble f old put it this way: “A man comes to this world with his fist clenched, but when he dies, his hand is open.”A: Surely we ought to hold fast of life, for it is wondrous, and full of a beauty that breaks through every pore of God’s own earth. But it is all too often we recognize this truth only in our backward glance when we remember what was and then suddenly realize that it is no more.B: 我们能记起已经凋谢的美，已经消逝的爱。

可是，我们更痛苦的回忆是，我们没有在鲜花怒放之际看见哪个美，没有在别人以爱对我们之时也以爱回报。

A: 生命的赐予是宝贵的，可惜对它们太掉以轻心了。

B: Here then is the first po le of life’s paradoxical demands on us: Never too busy for the wonder and the awe of life. Be reverent (respect) before each dawning day. Embrace each hour. Seize each golden minute.A: 紧紧抓住生活——可不要紧得使你不能松手。

段落翻译原文[资料]

第三课Scotland(原文)As you linger on the mountain pass to admire the rugged reflection of Beinn an Lochain in the waters of Loch Restil , spare a thought for the weary sheep drovers who used to pause here for breath after the long steep climb from Loch Fyne .‖Rest and Be Thankful‖ is the name of this spot, a title coined by the soldiers who built the first road here 250 years ago. Since then its wild beauty has thrilled generations of crofters and passing travelers. And now you.Of course your journey through Scotland may not take you this way, but wherever you go you‘re in for a treat. Y ou might linger in the Borders to explore the dignified ruins of once-powerful abbeys or fish for plump salmon in the Tweed. Or follow in the footsteps of Rob Roy and Walter Scott through the Trossachs to soak up ‖the scenery of a fairy dream‖, as Scott described it.Perhap you‘ll potter around colourful fishing villages in the Kingdom if Fife and tee off on the Legendary Old Course in St. Andrews. Or venture into Speyside to tickle your tastebuds on the malt whisky trail.If it‘s drama you‘re after,you‘ll head for the Highlands, a vast swathe of untamed wilderness fringed by mile upon mile of fretted coastline dotted with island. Land and sea collide to create spectacular perspectives, which change with the seasons and within the space of a day. One moment you‘re gazing upon rocky mountain peaks, shimmering sea lochs and desolate moors. The next they retreat into a mysterious world of mist and cloud, where the legendary ghosts that inhabit lachside castles seem an credible as the deer you saw grazing on the moors before they vanished from view.Whichever part of Scotland takes your fancy, history is never far away.Y ou feel it in the brooding presence of Glencoe, evocative of that treacherous night in 1692 when Campbell soldiers slaughtered MacDonalds as they slept. Y ou touch it when you hike through the hills and stumble across the ruins of a deserted shieling. Y ou see it in the weatherworn stones of turreted castles. Y ou hear it in rousing Boeder ballads and haunting Hebridean melodies.Nowhere is it more pervasive than in Scotland‘s dramatic capital city. Stroll through the cobbled streets of the medieval Old Town and remember the monarchs, religious zealots and literary giants who walked this way before you. V isit the castle and uncover 1,000 years of Scotland‘s tumultuous past. Have a pint in Deacon Brodie‘s Tavern and learn about the devious Edinburgh citizen who inspired Robert Louis Stevenson‘s tale of Dr. Jekyll and Mr. Hyde.苏格兰（译文）当你流连于此山口，赞赏雷斯蒂尔湖中贝尔安山嶙峋的倒影时，请想想从前那些疲惫的赶羊人吧！他们从法恩湾出发，沿陡峭山路，经长途跋涉，然后在此歇息。

最后一片叶子中英文对照2

英⽂原⽂ In a little district west of Washington Square the streets have run crazy and broken themselves into small strips called "places." These "places" make strange angles and curves. One Street crosses itself a time or two. An artist once discovered a valuable possibility in this street. Suppose a collector with a bill for paints, paper and canvas should, in traversing this route, suddenly meet himself coming back, without a cent having been paid on account! So, to quaint old Greenwich Village the art people soon came prowling, hunting for north windows and eighteenth-century gables and Dutch attics and low rents. Then they imported some pewter mugs and a chafing dish or two from Sixth Avenue, and became a "colony." At the top of a squatty, three-story brick Sue and Johnsy had their studio. "Johnsy" was familiar for Joanna. One was from Maine; the other from California. They had met at the table d'hôte of an Eighth Street "Delmonico's," and found their tastes in art, chicory salad and bishop sleeves so congenial that the joint studio resulted. That was in May. In November a cold, unseen stranger, whom the doctors called Pneumonia, stalked about the colony, touching one here and there with his icy fingers. Over on the east side this ravager strode boldly, smiting his victims by scores, but his feet trod slowly through the maze of the narrow and moss-grown "places." Mr. Pneumonia was not what you would call a chivalric old gentleman. A mite of a little woman with blood thinned by California zephyrs was hardly fair game for the red-fisted, short-breathed old duffer. But Johnsy he smote; and she lay, scarcely moving, on her painted iron bedstead, looking through the small Dutch window-panes at the blank side of the next brick house. One morning the busy doctor invited Sue into the hallway with a shaggy, grey eyebrow. "She has one chance in - let us say, ten," he said, as he shook down the mercury in his clinical thermometer. " And that chance is for her to want to live. This way people have of lining-u on the side of the undertaker makes the entire pharmacopoeia look silly. Your little lady has made up her mind that she's not going to get well. Has she anything on her mind?" "She - she wanted to paint the Bay of Naples some day." said Sue. "Paint? - bosh! Has she anything on her mind worth thinking twice - a man for instance?" "A man?" said Sue, with a jew's-harp twang in her voice. "Is a man worth - but, no, doctor; there is nothing of the kind." "Well, it is the weakness, then," said the doctor. "I will do all that science, so far as it may filter through my efforts, can accomplish. But whenever my patient begins to count the carriages in her funeral procession I subtract 50 per cent from the curative power of medicines. If you will get her to ask one question about the new winter styles in cloak sleeves I will promise you a one-in-five chance for her, instead of one in ten." After the doctor had gone Sue went into the workroom and cried a Japanese napkin to a pulp. Then she swaggered into Johnsy's room with her drawing board, whistling ragtime. Johnsy lay, scarcely making a ripple under the bedclothes, with her face toward the window. Sue stopped whistling, thinking she was asleep. She arranged her board and began a pen-and-ink drawing to illustrate a magazine story. Young artists must pave their way to Art by drawing pictures for magazine stories that young authors write to pave their way to Literature. As Sue was sketching a pair of elegant horseshow riding trousers and a monocle of the figure of the hero, an Idaho cowboy, she heard a low sound, several times repeated. She went quickly to the bedside. Johnsy's eyes were open wide. She was looking out the window and counting - counting backward. "Twelve," she said, and little later "eleven"; and then "ten," and "nine"; and then "eight" and "seven", almost together. Sue look solicitously out of the window. What was there to count? There was only a bare, dreary yard to be seen, and the blank side of the brick house twenty feet away. An old, old ivy vine, gnarled and decayed at the roots, climbed half way up the brick wall. The cold breath of autumn had stricken its leaves from the vine until its skeleton branches clung, almost bare, to the crumbling bricks. "What is it, dear?" asked Sue. "Six," said Johnsy, in almost a whisper. "They're falling faster now. Three days ago there were almost a hundred. It made my head ache to count them. But now it's easy. There goes another one. There are only five left now." "Five what, dear? Tell your Sudie." "Leaves. On the ivy vine. When the last one falls I must go, too. I've known that for three days. Didn't the doctor tell you?" "Oh, I never heard of such nonsense," complained Sue, with magnificent scorn. "What have old ivy leaves to do with your getting well? And you used to love that vine so, you naughty girl. Don't be a goosey. Why, the doctor told me this morning that your chances for getting well real soon were - let's see exactly what he said - he said the chances were ten to one! Why, that's almost as good a chance as we have in New York when we ride on the street cars or walk past a new building. Try to take some broth now, and let Sudie go back to her drawing, so she can sell the editor man with it, and buy port wine for her sick child, and pork chops for her greedy self." "You needn't get any more wine," said Johnsy, keeping her eyes fixed out the window. "There goes another. No, I don't want any broth. That leaves just four. I want to see the last one fall before it gets dark. Then I'll go, too." "Johnsy, dear," said Sue, bending over her, "will you promise me to keep your eyes closed, and not look out the window until I am done working? I must hand those drawings in by to-morrow. I need the light, or I would draw the shade down." "Couldn't you draw in the other room?" asked Johnsy, coldly. "I'd rather be here by you," said Sue. "Beside, I don't want you to keep looking at those silly ivy leaves." "Tell me as soon as you have finished," said Johnsy, closing her eyes, and lying white and still as fallen statue, "because I want to see the last one fall. I'm tired of waiting. I'm tired of thinking. I want to turn loose my hold on everything, and go sailing down, down, just like one of those poor, tired leaves." "Try to sleep," said Sue. "I must call Behrman up to be my model for the old hermit miner. I'll not be gone a minute. Don't try to move 'til I come back." Old Behrman was a painter who lived on the ground floor beneath them. He was past sixty and had a Michael Angelo's Moses beard curling down from the head of a satyr along with the body of an imp. Behrman was a failure in art. Forty years he had wielded the brush without getting near enough to touch the hem of his Mistress's robe. He had been always about to paint a masterpiece, but had never yet begun it. For several years he had painted nothing except now and then a daub in the line of commerce or advertising. He earned a little by serving as a model to those young artists in the colony who could not pay the price of a professional. He drank gin to excess, and still talked of his coming masterpiece. For the rest he was a fierce little old man, who scoffed terribly at softness in any one, and who regarded himself as especial mastiff-in-waiting to protect the two young artists in the studio above. Sue found Behrman smelling strongly of juniper berries in his dimly lighted den below. In one corner was a blank canvas on an easel that had been waiting there for twenty-five years to receive the first line of the masterpiece. She told him of Johnsy's fancy, and how she feared she would, indeed, light and fragile as a leaf herself, float away, when her slight hold upon the world grew weaker. Old Behrman, with his red eyes plainly streaming, shouted his contempt and derision for such idiotic imaginings. "Vass!" he cried. "Is dere people in de world mit der foolishness to die because leafs dey drop off from a confounded vine? I haf not heard of such a thing. No, I will not bose as a model for your fool hermit-dunderhead. Vy do you allow dot silly pusiness to come in der brain of her? Ach, dot poor leetle Miss Yohnsy." "She is very ill and weak," said Sue, "and the fever has left her mind morbid and full of strange fancies. Very well, Mr. Behrman, if you do not care to pose for me, you needn't. But I think you are a horr i d o l d - o l d f l i b b e r t i g i b b e t . " b r b d s f i d = " 1 1 1 " > 0 0 " Y o u a r e j u s t l i k e a w o m a n ! " y e l l e d B e h r m a n . " W h o s a i d I w i l l n o t b o s e ? G o o n . I c o m e m i t y o u . F o r h a l f a n h o u r I h a f p e e n t r y i n g t o s a y d o t I a m r e a d y t o b o s e . G o t t ! d i s i s n o t a n y b l a c e i n w h i c h o n e s o g o o t a s M i s s Y o h n s y s h a l l l i e s i c k . S o m e d a y I v i l l b a i n t a m a s t e r p i e c e , a n d v e s h a l l a l l g o a w a y . G o t t ! y e s . " b r b d s f i d = " 1 1 2 " > 0 0 J o h n s y w a s s l e e p i n g w h e n t h e y w e n t u p s t a i r s . S u e p u l l e d t h e s h a d e d o w n t o t h e w i n d o w - s i l l , a n d m o t i o n e d B e h r m a n i n t o t h e o t h e r r o o m . I n t h e r e t h e y p e e r e d o u t t h e w i n d o w f e a r f u l l y a t t h e i v y v i n e . T h e n t h e y l o o k e d a t e a c h o t h e r f o r a m o m e n t w i t h o u t s p e a k i n g . A p e r s i s t e n t , c o l d r a i n w a s f a l l i n g , m i n g l e d w i t h s n o w . B e h r m a n , i n h i s o l d b l u e s h i r t , t o o k h i s s e a t a s t h e h e r m i t m i n e r o n a n u p t u r n e d k e t t l e f o r a r o c k . b r b d s f i d = " 1 1 3 " > 0 0 W h e n S u e a w o k e f r o m a n h o u r ' s s l e e p t h e n e x t m o r n i n g s h e f o u n d J o h n s y w i t h d u l l , w i d e - o p e n e y e s s t a r i n g a t t h e d r a w n g r e e n s h a d e . b r b d s f i d = " 1 1 4 " > 0 0 " P u l l i t u p ; I w a n t t o s e e , " s h e o r d e r e d , i n a w h i s p e r . b r b d s f i d = " 1 1 5 " > 0 0 W e a r i l y S u e o b e y e d . b r b d s f i d = " 1 1 6 " > 0 0 B u t , l o ! a f t e r t h e b e a t i n g r a i n a n d f i e r c e g u s t s o f w i n d t h a t h a d e n d u r e d t h r o u g h t h e l i v e l o n g n i g h t , t h e r e y e t s t o o d o u t a g a i n s t t h e b r i c k w a l l o n e i v y l e a f . I t w a s t h e l a s t o n e o n t h e v i n e . S t i l l d a r k g r e e n n e a r i t s s t e m , w i t h i t s s e r r a t e d e d g e s t i n t e d w i t h t h e y e l l o w o f d i s s o l u t i o n a n d d e c a y , i t h u n g b r a v e l y f r o m t h e b r a n c h s o m e t w e n t y f e e t a b o v e t h e g r o u n d . b r b d s f i d = " 1 1 7 " > 0 0 " I t i s t h e l a s t o n e , " s a i d J o h n s y . " I t h o u g h t i t w o u l d s u r e l y f a l l d u r i n g t h e n i g h t . I h e a r d t h e w i n d . I t w i l l f a l l t o - d a y , a n d I s h a l l d i e a t t h e s a m e t i m e . " b r b d s f i d = " 1 1 8 " > 0 0 " D e a r , d e a r ! " s a i d S u e , l e a n i n g h e r w o r n f a c e d o w n t o t h e p i l l o w , " t h i n k o f m e , i f y o u w o n ' t t h i n k o f y o u r s e l f . W h a t w o u l d I d o ? " b r b d s f i d = " 1 1 9 " > 0 0 B u t J o h n s y d i d n o t a n s w e r . T h e l o n e s o m e s t t h i n g i n a l l t h e w o r l d i s a s o u l w h e n i t i s m a k i n g r e a d y t o g o o n i t s m y s t e r i o u s , f a r j o u r n e y . T h e f a n c y s e e m e d t o p o s s e s s h e r m o r e s t r o n g l y a s o n e b y o n e t h e t i e s t h a t b o u n d h e r t o f r i e n d s h i p a n d t o e a r t h w e r e l o o s e d . b r b d s f i d = " 1 2 0 " > 0 0 T h e d a y w o r e a w a y , a n d e v e n t h r o u g h t h e t w i l i g h t t h e y c o u l d s e e t h e l o n e i v y l e a f c l i n g i n g t o i t s s t e m a g a i n s t t h e w a l l . A n d t h e n , w i t h t h e c o m i n g o f t h e n i g h t t h e n o r t h w i n d w a s a g a i n l o o s e d , w h i l e t h e r a i n s t i l l b e a t a g a i n s t t h e w i n d o w s a n d p a t t e r e d d o w n f r o m t h e l o w D u t c h e a v e s . b r b d s f i d = " 1 2 1 " > 0 0 W h e n i t w a s l i g h t e n o u g h J o h n s y , t h e m e r c i l e s s , c o m m a n d e d t h a t t h e s h a d e b e r a i s e d . b r b d s f i d = " 1 2 2 " > 0 0 T h e i v y l e a f w a s s t i l l t h e r e . b r b d s f i d = " 1 2 3 " > 0 0 J o h n s y l a y f o r a l o n g t i m e l o o k i n g a t i t . A n d t h e n s h e c a l l e d t o S u e , w h o w a s s t i r r i n g h e r c h i c k e n b r o t h o v e r t h e g a s s t o v e . b r b d s f i d = " 1 2 4 " > 0 0 " I ' v e b e e n a b a d g i r l , S u d i e , " s a i d J o h n s y . " S o m e t h i n g h a s m a d e t h a t l a s t l e a f s t a y t h e r e t o s h o w m e h o w w i c k e d I w a s . I t i s a s i n t o w a n t t o d i e . Y o u m a y b r i n g a m e a l i t t l e b r o t h n o w , a n d s o m e m i l k w i t h a l i t t l e p o r t i n i t , a n d - n o ; b r i n g m e a h a n d - m i r r o r f i r s t , a n d t h e n p a c k s o m e p i l l o w s a b o u t m e , a n d I w i l l s i t u p a n d w a t c h y o u c o o k . " b r b d s f i d = " 1 2 5 " > 0 0 A n d h o u r l a t e r s h e s a i d : b r b d s f i d = " 1 2 6 " > 0 0 " S u d i e , s o m e d a y I h o p e t o p a i n t t h e B a y o f N a p l e s . " b r b d s f i d = " 1 2 7 " > 0 0 T h e d o c t o r c a m e i n t h e a f t e r n o o n , a n d S u e h a d a n e x c u s e t o g o i n t o t h e h a l l w a y a s h e l e f t . b r b d s f i d = " 1 2 8 " > 0 0 " E v e n c h a n c e s , " s a i d t h e d o c t o r , t a k i n g S u e ' s t h i n , s h a k i n g h a n d i n h i s . " W i t h g o o d n u r s i n g y o u ' l l w i n . " A n d n o w I m u s t s e e a n o t h e r c a s e I h a v e d o w n s t a i r s . B e h r m a n , h i s n a m e i s - s o m e k i n d o f a n a r t i s t , I b e l i e v e . P n e u m o n i a , t o o . H e i s a n o l d , w e a k m a n , a n d t h e a t t a c k i s a c u t e . T h e r e i s n o h o p e f o r h i m ; b u t h e g o e s t o t h e h o s p i t a l t o - d a y t o b e m a d e m o r e c o m f o r t a b l e . " b r b d s f i d = " 1 2 9 " > 0 0 T h e n ex t d a y t h e d o c t o r s a i d t o S u e : " S h e ' s o u t o f d a n g e r . Y o u w o n . N u t r i t i o n a n d c a r e n o w - t h a t ' s a l l . " b r b d s f i d = " 1 3 0 " > 0 0 A n d t h a t a f t e r n o o n S u e c a m e t o t h e b e d w h e r e J o h n s y l a y , c o n t e n t e d l y k n i t t i n g a v e r y b l u e a n d v e r y u s e l e s s w o o l l e n s h o u l d e r s c a r f , a n d p u t o n e a r m a r o u n d h e r , p i l l o w s a n d a l l . b r b d s f i d = " 1 3 1 " > 0 0 " I h a v e s o m e t h i n g t o t e l l y o u , w h i t e m o u s e , " s h e s a i d . " M r . B e h r m a n d i e d o f p n e u m o n i a t o - d a y i n t h e h o s p i t a l . H e w a s i l l o n l y t w o d a y s . T h e j a n i t o r f o u n d h i m t h e m o r n i n g o f t h e f i r s t d a y i n h i s r o o m d o w n s t a i r s h e l p l e s s w i t h p a i n . H i s s h o e s a n d c l o t h i n g w e r e w e t t h r o u g h a n d i c y c o l d . T h e y c o u l d n ' t i m a g i n e w h e r e h e h a d b e e n o n s u c h a d r e a d f u l n i g h t . A n d t h e n t h e y f o u n d a l a n t e r n , s t i l l l i g h t e d , a n d a l a d d e r t h a t h a d b e e n d r a g g e d f r o m i t s p l a c e , a n d s o m e s c a t t e r e d b r u s h e s , a n d a p a l e t t e w i t h g r e e n a n d y e l l o w c o l o u r s m i x e d o n i t , a n d - l o o k o u t t h e w i n d o w , d e a r , a t t h e l a s t i v y l e a f o n t h e w a l l . D i d n ' t y o u w o n d e r w h y i t n e v e r f l u t t e r e d o r m o v e d w h e n t h e w i n d b l e w ? A h , d a r l i n g , i t ' s B e h r m a n ' s m a s t e r p i e c e - h e p a i n t e d i t t h e r e t h e n i g h t t h a t t h e l a s t l e a f f e l l . " b r b d s f i d = " 1 3 2 " > b r b d s f i d = "1 3 3 " > / p >。

阿撒托斯原文与自译

Howard Phillips LovecraftWhen age fell upon the world, and wonder went out of the minds of men; when grey cities reared to smoky skies tall towers grim and ugly, in whose shadow none might dream of the sun or of spring’s flowering meads; when learning stripped earth of her mantle of beauty, and poets sang no more save of twisted phantoms seen with bleared and inward-looking eyes; when these things had come to pass, and childish hopes had gone away forever, there was a man who travelled out of life on a quest into the spaces whither the world’s dreams had fled.Of the name and abode of this man but little is written, for they were of the waking world only; yet it is said that both were obscure. It is enough to know that he dwelt in a city of high walls where sterile twilight reigned, and that he toiled all day among shadow and turmoil, coming home at evening to a room whose one window opened not on the fields and groves but on a dim court where other windows stared in dull despair. From that casement one might see only walls and windows, except sometimes when one leaned far out and peered aloft at the small stars that passed. And because mere walls and windows must soon drive to madness a man who dreams and reads much, the dweller in that room used night after night to lean out and peer aloft to glimpse some fragment of things beyond the waking world and the greyness of tall cities. After years he began to call the slow-sailing stars by name, and to follow them in fancy when they glided regretfully out of sight; till at length his vision opened to many secret vistas whose existence no common eye suspects. And one night a mighty gulf was bridged, and the dream-haunted skies swelled down to the lonely watcher’s window to merge with the close air of his room and make him a part of their fabulous wonder.There came to that room wild streams of violet midnight glittering with dust of gold; vortices of dust and fire, swirling out of the ultimate spaces and heavy with perfumes from beyond the worlds. Opiate oceans poured there, litten by suns that the eye may never behold and having in their whirlpools strange dolphins and sea-nymphs of unrememberable deeps. Noiseless infinity eddied around the dreamer and wafted him away without even touching the body that leaned stiffly from the lonely window; and for days not counted in men's calendars the tides of far spheres bare him gently to join the dreams for which he longed; the dreams that men have lost. And in the course of many cycles they tenderly left him sleeping on a green sunrise shore; a green shore fragrant with lotus-blossoms and starred by red camalotes.霍华德·菲利普·洛夫克拉夫特随着岁月在这世间的亘古流逝，人们已经不再相信奇迹的存在。