2010年湖南师范大学MTI翻译基础真题及出处

一、英译汉All through my boyhood and youth, I was known as an idler; and yet I was always busy on my own private end, which was to learn to write. I kept always two books in my pocket, one to read, one to write in. As I walked, m y mind was busy fitting what I saw with appropriate words; when I sat by the roadside, I would either read, or a pencil and a notebook would be in m y hand, to note down the features of the scene or write som e poor lines of verse. Thus I lived with words. And what I thus wrote was for no future use; it was written consciously for practice. It was not so much that I wished to be an author (though I wished that too) as that I had vowed that I would learn to write. That was a proficiency that tem pted m e; and I practiced to acquire it. Description was the principal field of m y exercise; for to any one with senses there is always som ething worth describing, and town and country are but one continuous subject. But I worked in ot her ways also; I often accom panied m y walks with dramatic dialogues, in which I played m any parts; and often exercised m yself in writing down conversations from memory.This was all excellent, no doubt. And yet this was not the m ost efficient part of m y training. Good as it was, it only taught m e the choice of the essential note and the right word. And regarded as training, it had one grave defect; for it set m e no standard of achievem ent. So there was perhaps more profit，as there was certainly more effort，in my secret labors at hom e.二、汉译英改编自下文。

原文出处大家品论写作之实践经验与学问真谛来源:上海外语教育出版社作者：罗伯特•路易斯•史蒂文森Early Efforts at WritingAll through m y boyhood and youth, I was known as an idler; and yet I was always busy on m y own private end, which was to learn to write. I kept always two books in my pocket, one to read, one to write in. As I walked, my mind was busy fitting what I saw with appropriate words; when I sat by the roadside, I would either read, or a pencil and a notebook would be in my hand, to note down the features of the scene or write som e poor lines of verse. Thus I lived with words. And what I thus wrote was for no future use; it was written consciously for practice. It was not so much that I wished to be an author (though I wished that too) as that I had vowed that I would learn to write. That was a proficiency that tem pted me; and I practiced to acquire it. Description was the principal field of m y exercise; for to any one with senses there is always som ething worth describing, and town and country are but one continuous subject. But I worked in other ways also; I often accom panied my walks with dramatic dialogues, in which I played many parts; and often exercised myself in writing down conversations from memory.This was all excellent, no doubt. And yet this was not the m ost efficient part of m y training. Good as it was, it only taught m e the choice of the essential note and the right word. And regarded as training, it had one grave defect; for it set m e no standard of achievem ent. So there was perhaps more profit，as there was certainly more effort，in m y secret labors at hom e. Whenever I read a book or a passage that particularly pleased m e，in which a thing was said or an effect rendered with propriety ，in which there was either some conspicuous force or some happy distinction in the style，I m ust sit down at once and set m yself to ape that quality.I was unsuccessful, and I knew it; and tried again，and was again unsuccessful and always unsuccessful; but at least in these vain bouts I got som e pract ice in rhythm，in harmony，in construction and the coordination of parts. I have thus played the sedulous ape to Hazlitt，to Lam b，to Wordsworth，to Defoe，to Hawthorne.That，like it or not，is the way to learn to write; whether I have profited or not，that is the way. It was so，if we could trace it out，that all men have learned. Perhaps I hear some one cry out: But this is not he way to be original! It is not; nor is there any way but to be born so. Nor yet, if you are born original, is there anything in this training that shall clip the wings of your originality. Burns is the very type of a m ost original force in letters, he was of all m en the m ost imitative. Shakespeare himself proceeds directly from a school. It is only from a school that we can expect to hav e good writers; it is alm ost invariably from a school that great writers issue. Nor is there anything here that should astonish the considerate. Before he can tell what cadences he truly prefers, the student should have tried all that are possible; before he can tell what cadences he truly prefers, the student should have tried all that are possible; before he can choose a fitting key of words, he should long have practiced the literary scales; and it is only after years of such exercises that he can sit down at last, legions of words swarming to his call, dozens of turns of phrasesimultaneously bidding for his choice, and he him self knowing what he wants to do and(within the narrow limit of a m an's ability)able to do it.早年在写作上的初期尝试从我的童年到青年时期，大家一直把我看做一个游手好闲的人，其实我一直在为个人的目标私下忙着，那就是练习写作。