第五课 杨宪益译文赏析
从意象再现角度赏析杨宪益唐诗翻译
A Thesis Submitted in Partial Fulfillment of the Requirementsfor the Degree of Master of ArtsA Study of Yang Xianyi’s Translation of Tang PoemsFrom the Perspective of Image ReproductionCandidate : Chen XiMajor : Foreign Linguistics and Applied Linguistics Supervisor : Prof. Wang ShuhuaiHuazhong University of Science and TechnologyWuhan 430074, P. R. ChinaMay, 2012独创性声明本人声明所呈交的学位论文是我个人在导师指导下进行的研究工作及取得的研 究成果。
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（请在以上方框内打“√”）学位论文作者签名： 指导教师签名：日期： 年 月 日 日期： 年 月 日华中科技大学硕士学位论文AbstractChinese classical poetry, famous for its musicality and uniqueness in language, has been constantly translated into foreign languages, especially in English. The translation works of Chinese classical poetry help foreigners take a closer look at Chinese culture and literature. Thus to many scholars who devote their lives to the translation of Chinese literature, poetry translation is a popular choice.As the soul of poetry, images provide an implicit way of expressing the poets’ appreciation of nature and beauty, hatred of unfair social system, sorrow and happiness. Therefore, translators often regard image as the most important element of poetry and devote much effort to recreating images in English versions.Although many scholars have referred different translation theories to the discussion of image reproduction, some of them only focused on the rendition of a single image. The purpose of poets is to combine images into lines organically, and create a complete picture with them. However, the meaning of a single image is indeterminate; it cannot express the complicated and subtle feelings of the poet. Meanwhile, the single image cannot indicate the cause, effect, change and development of the poet’s feelings either. Only when all the images are combined can they serve to express the poet’s complete feelings and the poem’s theme, and effectively play the role that a single image could not. Therefore, no poetry translator can overlook the transference of image combination in translating classical Chinese poetry.In this thesis, the author attempts to classify the lyrics of the Tang Dynasty according to different combinations of images: juxtaposition, skipping, superimposition, crisscross and radiation; then make a comparative study between the translated versions of Yang Xianyi and Gladys Yang and of other scholars. The methods of comparative study and deduction华中科技大学硕士学位论文were employed to analyze the selected materials and the translation methods they used when facing different combinations of images and appreciating the reproduction of images. Finally, the conclusion shows that when dealing with images in juxtaposition, the Yangs adopted the method of equivalence; when dealing with images in skipping, they used addition and reduction in translation to keep the symmetry of syntax; when dealing with images in superimposition, they adopted the neutralization method, balanced the use of liberal and literal translation; when dealing with images in crisscross, the Yangs merged the images and processed them together; when dealing with images in radiation, the Yangs took a method of liberal translation or attaching notes of explanation at the end of translation.This thesis is divided into four parts.Chapter one is the literature review of the related theories. It is composed of four parts. The first part gives an overview of studies on images, and a comparison between Chinese concept of image and western concept of image. The second part introduces the five combinations of images. The third part is a brief introduction to Yang Xianyi and Gladys Yang. It begins with a brief survey of Yang Xianyi as a translator, consisting of his translation career influenced by social environment and his magnificent accomplishments in translation. The forth part reviews the theories and commentaries concerning Yang’s translation made by him and other scholars.Chapter two is the methodology mainly adopted in this thesis. It included research questions, sample selection, comparison and description.Chapter three is the study on image translation of Yang Xianyi and Gladys Yang and other translators. It contains five parts and analyzes the English versions of Tang poems from the perspectives of five ways of image combinations. In each part, the comparative study was employed in poems of the Tang Dynasty translated by Yang Xianyi and Gladys Yang and other translators.华中科技大学硕士学位论文Chapter four is the ending part of this thesis; it concluded the translation methods the Yangs adopted in each kind of combination, limitations of the research and suggestions for further study.Keywords: combination of images,Yang Xianyi, translation of Tang poem华中科技大学硕士学位论文摘 要中国古典诗歌以其音乐性和语言独特性闻名世界，被译成各国语言广为流传，使 得外国人对中国文化有了更深刻的了解。
《荷塘月色》译文赏析——杨宪益译本和朱纯深译本比较
《荷塘月色》译文赏析——杨宪益译本和朱纯深译本比较《荷塘月色》是苏轼先生的杰作，它深刻描绘出了浓郁的水乡幽情，深深折服了无数读者。
相传，田渊正的译本更是更加深入心灵，将苏轼的醉人情怀完美地诠释了出来。
当今，杨宪益和朱纯深对《荷塘月色》都作了高品质的译介，以下就着重介绍他们的译本特点及比较。
首先，让我们来看看杨宪益译本和朱纯深译本的不同之处。
杨宪益的译本更具有文言的穿透感，没有将苏轼的诗情画意改变掉，而是更好地表达了苏轼的意境。
杨宪益的译本中，一些神秘的对象更能被读者感受到，苏轼的意境和情怀尤其凸显，使得读者可以更多地感受到苏轼的文笔。
朱纯深的译本比较平实，他更加注重文字的完善性，文章节奏连贯，言简意赅，重点用简单表达凸显出苏轼的诗意出处，让读者可以更好地理解诗句的含义。
此外，我们还可以从两个译本的差别中看出，杨宪益和朱纯深对于诗句本质和精髓的理解不同。
从杨宪益的译本中可以看出，他会更多地强调文字表现力和情感色彩，把诗句中的讽刺感、补充感和幽默感进行更好的表达；而朱纯深更加崇尚文字精练，重点在于诗句的本质和实义，将苏轼的意境表达的更加明确准确。
综上所述，杨宪益译本和朱纯深译本可以满足不同读者的需求，彼此之间存在着一定的异同。
鉴于此，人们可以根据自己的喜好选择合适的译本，从而更好地欣赏《荷塘月色》这首传世佳作。
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《荷塘月色》译文赏析——杨宪益译本和朱纯深译本比较
《荷塘月色》译文赏析——杨宪益译本和朱纯深译本比较中国古典文学名篇《荷塘月色》是晚清文学家纪晓岚的代表作之一，它丰富的意象、温润的抒情以及深沉的内涵，一直都受到读者的青睐。
关于《荷塘月色》，后人有大批的译本出现，但出现在历史上最早，最有影响力的两个版本古典译本，是1957年由杨宪益翻译者题，以及上世纪八十年代出版的朱纯深译本。
杨宪益译本着眼于诗歌本身，在译介上以传统的古典文风为主，加以小量的拟人和修辞，善于把握古典文学的叙事结构，特别是他在虚实关系上的处理，颇值得称赞。
他的译文中，多出现英雄气概，情节通俗，叙事流畅，声调趣味，对《荷塘月色》有很好的诠释和体现，加上古典文化的影子，使文字充满了古典气息，深受历代读者的推崇。
而朱纯深译本则注重译文语言的现代性，表现出的艺术特点也偏向现代文学叙事特征，译本的文字简单、朴实，像一则关于自然与情感的细致纪录。
他把纪晓岚的文字变成一种新的形式，以回忆的语调叙述出一幅景象，在文学语言的运用上相当有特色。
朱纯深译本读起来，比较自然，生动，有诗意，有调和，耐人寻味，好诗式，有着独树一帜的独特风格，并被读者所欢迎。
《荷塘月色》是一首关于自然与情感的叙事诗，译本可以从发挥古典语言的精髓，也可以给予读者更现代的体验，它的本质是要让读者感受到诗人的深情厚谊，无论是杨宪益译本还是朱纯深译本，都可以让读者感受到一种沉着而温润的叙事氛围。
从历史发展角度看，杨宪益译本开创了《荷塘月色》翻译版本，朱纯深译本则赋予《荷塘月色》现代感，他们在历史上都发挥了各自精彩的作用，它们将《荷塘月色》译出来的文字沿袭古典文学的风范，是20世纪甚至21世纪今日人们来了解中国文学古典的重要参照，让我们的精神灵魂被《荷塘月色》的美文所洗涤，并通过它考察文字的力量在历史变迁之中所扮演的角色。
《红楼梦》第五回杨宪益翻译的
Chatper 5The Spiritual Stone Is T oo Bemused to Graspthe Fairy’ s RiddlesThe Goddess of Disenchantment in Her KindnessSecretly Expounds on LoveDrowsy in spring beneath embroidered quilts,In a trance with a goddess he leaves the world of men.Who is this now entering the Land of Dreams?The most unregenerate lover since time began.The fourth chapter told briefly how the Xues came to stay in the Rong Mansion, but now let us return to Daiyu.Since her coming to the Rong Mansion, the Lady Dowager had been lavishing affection on her, treating her in every respect just like Baoyu so that Yingehun, Tanehun and Xichun, the Jia girls, all had to take a back seat. And Baoyu and Daiyu had drawn closer to each other than all the others. By day they strolled or sat together; at night they went to bed in the same apartment. On all matters, indeed, they were in complete accord.But now Baochai had suddenly appeared on the scene. Although only slightly older, she was such a proper young lady and so charming that most people considered Daiyu inferior to her. In the eyes of the world, of course, everyone has some merits. In the case of Daiyu and Baochai, one was lovely as a flower, the other graceful as a willow, but each charming in her own way, according to her distinctive temperament.Besides, Baochai‟s generous, tactful, and accommodating ways con trasted strongly with Daiyu‟s stand-offish reserve and won the hearts of her subordinates, so that nearly all the maids like to chat with her. Because of this, Daiyu began to feel some twinges of jealousy. But of this Baochai was completely unaware.Baoyu was still only a boy and a very absurd and wilful one at that, who treated his brothers, sisters and cousins alike, making no difference between close and distant kinsmen. Because he and Daiyu both lived in the Lady Dowager‟s quarters he was closer to her than to the other girls, and being closer had grown more intimate; but precisely because of this he sometimes offended her by being too demanding and thoughtless.Today the two of them had fallen out for some reason and Daiyu, alone in her room, was again shedding tears. Sorry for his tactlessness, Baoyu went in to make it up and little by little contrived to comfort her.As the plum blossom was now in full bloom i n the Ning Mansion‟s garden, Jia Zhen‟s wife Madam Y ou invited the Lady Dowager, Lady Xing, Lady Wang and the others to a party to enjoy the flowers. She brought Jia Rong and his wife with her to deliver the invitations in person, and so the Lady Dowager and the rest went over after breakfast. They strolled round the Garden of Concentrated Fragrance and were served first with tea then wine; but it was simply an informal gathering of the womenfolk of both houses for a family feast, with nothing of special interest to record.Soon Baoyu was tired and wanted to have a nap. The Lady Dowager ordered his attendants to take good care of him and bring him back after a rest.At once Jia Rong‟s wife Qin Keqing said with a smile: “We have a room ready here for Uncle B aoyu. The Old Ancestress can set her mind at rest and leave him safely to me.” She told his nurses and maids to follow her with their young master.The Lady Dowager had every confidence in this lovely slender young woman who with her gentle, amiable behaviour was her favourite of all the great-grandsons‟ wives of the Rong and Ning branches. She was therefore sure Baoyu would be in good hands.Keqing led the party to an inner room, where Baoyu noticed a fine painting of “The Scholar Working by Torchlight.”1 Without even seeing who the artist was, he took a dislike to the picture. Then he read the couplet flanking it:A grasp of mundane affairs is genuine knowledge,Understanding of worldly wisdom is true learning.These two lines disgusted him with the place for all its refinement and luxury, and he begged to go somewhere else.“If this isn‟t good enough, where can we take you?” asked his hostess with a laugh. “Well, come along to my room.”Baoyu nodded and smiled but one of his nurses protested:……It‟s not proper for an uncle to sleep in his nephew‟s room.”“Good gracious!” Keqing smiled. “I won‟t mind his being offended if I say he‟s still a baby. At his age such taboos don‟t apply. Didn‟t you see my brother who came last month? He‟s the same age as Uncle Ba oyu, but if they stood side by side I‟m sure he‟d be the taller.”“Why haven‟t I met him?” asked Baoyu. “Do bring him in and let me have a look at him.”The women burst out laughi . “He‟s miles away, how can we bring him? Y ou‟ll meet him some other time.”Now, having reached the young matron‟s room, they were meet at the threshold by a subtle perfume which misted over Baoyu‟s eyes and melted his bones.“How good it smells here!” he cried.Entering, he saw on the wall a picture by Tang Y in2 of a lady sleeping under the blossom of a crab-apple tree in spring. On the two scrolls flanking it, Qin Guan3 the Song scholar had written: Coolness wraps her dream, for spring is chill;A fragrance assails men, the aroma of wine.On the dressing-table was a rare mirror f rom Wu Zetian‟s4 Hall of Mirrors. In the gold tray by it, on which Zhao Feiyan5 once danced, was the quince thrown in fun by An Lushan6 at Lady Y ang,7 which had wounded her breast. At one end of the room stood the couch on which Princess Shouyang8 had slept in the Hanzhang Palace, and over it hung the curtains strung from pearls by Princess Tongchang9.“It‟s nice in here,” exclaimed Baoyu repeatedly in his delight.“This room of mine is probably fit for a god,” rejoined Keqing with a smile.With her own ha nds she spread a gauze coverlet washed by Xi Shi‟0 and arranged the bridal pillow carried by Hongniang11. Then the nurses and attendants made Baoyu lie down and slipped out leaving only four maids Xiren, Meiren, Qingwen and Sheyue to keep him company. Keqing told them to wait on the verandah and watch the kittens and puppies playing there.Baoyu fell asleep as soon as he closed his eyes and dreamed that Keqing was before him. Absent-mindedly he followed her a long way to some crimson balustrades and white marble steps among green trees and clear streams, in a place seldom trodden by the foot of man, unreached by swirling dust.In his dream he thought happily, “This is a pleasant spot. If only I could spend my whole life here! For that I‟d gladly give up my h ome where my parents and teachers kee caning me every day.”His fancy was running away ith him when he heard someone singing a song on the other side of a hill:Gone with the clouds spring‟s dream.Flowers drift away on the stream.Y oung lovers all, be warned by me,Cease courting needless misery.Baoyu realized that the voice was a girl‟s and before the song had ended he saw the singer come round the hill and approach him. With her graceful gait and air she was truly no mortal being. Here is as proof her description:Leaving the willow bank, she comes just now through the flowers. Her approach startles birds in the trees in the court, and soon her shadow falls across the verandah. Her fairy sleeves, fluttering, give off a heady fragrance of musk and orchid. With each rustle of her lotus garments, her jade pendants tinkle.Her dimpled smile is peach-blossom in spring, her blue-black hair a cluster of clouds.Her lips are cherries and sweet the breath from her pomegranate teeth.The curve of her slender waist is snow whirled by the wind. Dazzling her pearls and emeralds and gosling-gold the painted design on her forehead.She slips in and out of the flowers, now vexed, now radiant, and floats over the lake asif on wings.Her mothlike eyebrows are knit yet there lurks a smile, and no sound issues from her lips parted as if to speak as she glides swiftly on lotus feet and, pausing, seems poised for flight.Her flawless complexion is pure as ice, smooth as jade. Magnificent her costume with splendid designs. Sweet her face, compact of fragrance, carved in jade; and she bears herself like a phoenix or dragon in flight.Her whiteness? Spring plum-blossom glimpsed through snow. Her purity? Autumn orchids coated with frost. Her tranquility? A pine in a lonely valley. Her beauty? Sunset mirrored in a limpid pool. Her grace? A dragon breasting a winding stream. Her spirit?Moonlight on a frosty flyer.She would put Xi Shi to shame and make Wang Qiang‟2 blush. Where was this wonder born, whence does she come?V erily she has no peer in fairyland, no equal in the purple courts of heaven.Who can she be, this beauty?Overjoyed by the apparition of this fairy, Baoyu made haste to greet her with a bow.“Sister Fairy,” he begged with a smile, “do tell me where you are from and whither you are going. I have lost my way. May I beg you to be my guide?”“My home is above the Sphere of Parting Sorrow in the Sea of Brimming Grief,” she answered with a smile. “I am the Goddess of Disen chantment from the Grotto of Emanating Fragrance on the Mountain of Expanding Spring in the Illusory Land of Great V oid. I preside over romances and unrequited love on earth, the grief of women and the passion of men in the mundane world. The reincarnations of some former lovers have recently gathered here, and so I have come to look for a chance to mete out love and longing. It is no accident that we have met.“My realm is not far from here. All I can offer you is a cup of fairy tea plucked by my own hands, a pitcher of fine wine of my own brewing, some accomplished singers and dancers, and twelve new fairy songs called …A Dream of Red Mansions.‟ But won‟t you come with me?” Forgetting Keqing in his delight, Baoyu followed the goddess to a stone archway inscribed: Illusory Land of Great V oid. On either pillar was this couplet:When false is taken for true, true becomes false;If non-being turns into being, being becomes non-being.Beyond this archway was a palace gateway with the inscription in large characters: Sea of Grief and Heaven of Love. The bold couplet flanking this read:Firm as earth and lofty as heaven, passion fromtime immemorial knows no end;Pity silly lads and plaintive maids hard put toit to requite debts of breeze and moonlight.“Well, we ,“ thought Baoyu, “I wonder what‟s meant by …passion from time immemorial‟ and …debts of breeze and moonlight.‟ From now on I‟d like to have a taste of these things.”Little did he know that by thinking in this way he had summoned an evil spirit into his inmost heart.He followed the goddess through the second gate past two matching halls on both sides, each with its tablet and couplet. He had no time to read them all but noticed the names: Board of Infatuation, Board of Jealousy, Board of Morning Tears, Board of Night Sighs, Board of Spring Longing and Board of Autumn Sorrows.“May I trouble you, goddess, to show me over these different boards?” he asked.“They contain the records of the past and future of girls from all over the world,” she told him. “These may not be divulged in advance to you with your human eyes and mortal frame.”But Baoyu would not take no for an answer and at last she yielded to his importunity.“V ery well then,” she conceded. “Y ou may go in here and have a look round.”Baoyu was overjoyed. He looked up and saw on the tablet the name Board of the Ill-Fated. This was flanked by the couplet:They brought on themselves spring grief andautumn anguish;Wasted, their beauty fair as flowers and moon.Grasping the meaning of this and strangely stirred, Baoyu entered and saw more than ten large cabinets, sealed and labelled with the names of different localities. Having no interest in other provinces, he was eager to find his native place and soon discovered one cabinet labelled First Register of Twelve Beauties of Jinling. When he asked what this meant, Disenchantment told him: “That is a record of the twelve foremost beauties in your honourable province. That‟s why it‟s called the First Register.”“I‟ve always heard that Jinling‟s a very large place,” replied Baoyu. “Why are ther e only twelve girls? In our family alone just now, if you count the servants, we must have several hundreds.”“True, there are many girls in your honourable province. Only those of the first grade are registered here. The next two cabinets contain records of those in the second and third grade. As for the rest, they are too mediocre for their lives to be worth recording.”Baoyu looked at the next two cabinets and saw written on them: Second Register of Twelve Beauties of Jinhing and Third Register of Twelve Beauties of Jinling. He opened the door of this last, took out the register and turned to the first page. This was covered by a painting in ink, not of any figures of landscape but of black clouds and heavy mist. Beside this were the lines:A clear moon is rarely met with,Bright clouds are easily scattered;Her heart is loftier than the sky,But her person is of low degree.Her charm and wit give rise to jealousy,Her early death is caused by calumny,In vain her loving master‟s grief must be.On the next page Baoyu saw painted a bunch of flowers and a tattered mat, with the legend: Nothing avail her gentleness and compliance,Osmanthus and orchid with her fragrance vie;But this prize is borne off by an actor,And luck passes the young master by.Unable to make anything of this, he put the album down, opened the door of another cabinet and took out the Second Register. This opened at a picture of fragrant osmanthus above withered lotus in a dried-up pond. By this was written:Sweet is she as the lotus in flower,Y et none so sorely oppressed;After the growth of a lonely tree in two soilsHer sweet soul will be dispatched to its final rest.Still baffled, Baoyu put this volume aside and took out the First Register. The first page had a painting of two withered trees on which hung a jade belt, while at the foot of a snowdrift lay a broken golden hairpin. Four lines of verse read:Alas for her wifely virtue,Her wit to sing of willow-down, poor maild!Buried in snow the broken golden hairpinAnd hanging in the wood the belt of jade.Baoyu could make nothing of this either. He knew the goddess would not enlighten him, yet he could not bring himself to put the book down. So he turned to a painting of a bow from which was suspended a citron. This bore the legend:For twenty years she arbitratesWhere pomegranates blaze by palace gates.How can the late spring equal the spring‟s start?When Hare and Tiger meet,‟3From this Great Dream of life she must depart.On the next page was a picture of two people flying a kite, while in a large boat out at sea sat a girl, weeping, covering her face with her hands. With this were the lines:So talented and high-minded,She is born too late for luck to come her way.Through tears she watches the streamOn the Clear and Bri ght Day; “…A thousand lithe east wind blows,But her home in her dreams is far away.Next came a painting of drifting clouds and flowing water with the legend:Nought avail her rank and riches,While yet in swaddling clothes an orphan lone;In a flash she mourns the setting sun,The river Xiang runs dry, the clouds over Chu have flown.Next was depicted a fine piece of jade dropped in the mud, with the verse:Chastity is her wish,Seclusion her desire;Alas, though fine as gold or jadeShe sinks at last in the mire.There followed a sketch of a savage wolf pursuing a lovely girl to devour her. The verdict read: For husband she will have a mountain wolf,His object gained he ruthlessly berates her;Fair bloom, sweet willow in a golden bower,Too soon a rude awakening awaits her.Next was depicted a seated girl reading a sutra alone in an old temple. This had the legend: She sees through the transience of spring,Dark Buddhist robes replace her garments fine;Pity this child of a wealthy noble houseWho now sleeps alone by the dimly lit old shrine.Next came a female phoenix perched on an iceberg, with the verdict:This bird appears when the world falls on evil times;None but admires her talents and her skill;First she complies, then commands, then is dismissed,Departing in tears to Jinling more wretched still.After this was a lonely village with a pretty girl spinning in a humble cottage. The inscription read:When fortune frowns, nobility means nothing;When a house is ruined, kinsmen turn unkind.Becuase of help given by chance to Granny Liu,In time of need she is lucky a friend to find.After this was painted a pot of orchids in bloom beside a beauty in ceremonial dress. The legend ran:Peach and plum in spring winds finish seeding,Who can bloom like the orchid at last?Pure as ice and water she arouses envy,V ain the groundless taunts that are cast.Next came a picture on a beautiful woman hanging herself of a tower, with the verdict: Love boundless as sea and sky is but illusion;When lovers meet, lust must be king.Say not all evil comes from the Rong Mansion,Truly, disaster originates from the Ning.Baoyu would have read on, but the goddess knowing his high natural endowments and quick intelligence feared the secrets of Heaven might be divulged. She closed the book therefore and said to him with a smile:“Why not come with me to enjoy the strange sights here instead of puzzling your head over these silly riddles?”As if in a daze he left the registers and followed her past pearl portières and embroidered curtains, painted pillars and carved beams. Words fail to describe those brilliant vermilion rooms, floors paved with gold, windows bright as snow and palaces of jade, to say nothing of the delec-table fairy flowers, rare plants and fragrant herbs.As Baoyu was feasting his eyes on these marvellous sights Disenchantment called with a laugh: “Come out quickly and welcome our honoured guest.”At once out came several fairies, lotus sleeves swaying, feathery garments fluttering, lovely as spring blossom, entrancing as the autumn moon. At sight of Baoyu they reproached the goddess: “So this is your guest! Why should we hurry out to meet him? Y ou told us that today, at this hour, the spirit of Sister V ermilion Pearl would be coming to revisit her old haunts. That‟s why we‟ve been waiting all this time. Why bring this filthy creature here instead to pollute this domain of immaculate maidens?”Baoyu started at that and wished he could slip away, feeling intoler ably gross and filthy, but Disenchantment took him by the hand.“Y ou don‟t understand,” she explained to the fairies. “I did set off to the Rong Mansion today to fetch V ermilion Pearl, but as I was passing the Ning Mansion I met the spirits of the Duke of Ningguo and the Duke of Rongguo wh o told me, …Since the start of this dynasty, for some gen-erations, our family has enjoyed a fine reputation as well as riches and rank. But after a hundred years our good fortune is at an end, gone beyond recall. Although we have many descendants, the only one fit to continue our work is our great-grandson Baoyu. Even though his is headstrong and eccentric, lacking in intelligence, we nonetheless had certain hopes of him. However, our family‟s luck has run out and there seemed to be no one to show him the right way. How fortunate we are to have met you, goddess. We beg you to warn him of the dangers of lusting after women, so that he may escape from their snares and set his feet on the right path. Then we two brothers will be happy.‟“Sympathizing with their request, I fetched him here. To begin with I made him look at the three registers of the girls in his own household. When he failed to understand, I brought him here to taste the illusion of carnal delight so that later he may perchance awaken to the truth.”With that she led Baoyu inside. A subtle perfume hung in the air and he could not help asking what incense was being burned.“Y ou don‟t have this scent in the dusty world so you wouldn‟t know it,” Disenchantment told him, smiling. “This is mad e from the essences of the different exotic young plants which grow in all famous mountain resorts. Distilled with the resin of every precious tree, its name is Mar row of Manifold Fragrance.”As Baoyu marvelled at this they took seats and young maids served tea with such a pure scent, exquisite flavour and refreshing quality that again he asked its name.“This tea grows in the Grotto of Emanating Fragrance on the Mountain of Expanding Spring,” Disenchantment told him. “Infused with the night dew from fair y flowers and spiritual leaves, its name is Thousand Red Flowers in One Cavern.”Nodding in appreciation Baoyu looked round him. He saw jasper lutes, rare bronze tripods, ancient paintings, new volumes of verse nothing was lacking. But what delighted him most was the rouge by the window and the spilt powder left from a lady‟s toilet. On the wall hung this couplet:Spiritual, secluded retreat,Celestial world of sweet longing.Lost in admiration of everything about him, he asked the fairies‟ names.They were introduced by their different appellations as Fairy of AmorousDreams, Great Mistress of Passion, Golden Maid Bringing Grief, andSaint of Transmitted Sorrow.Presently little maids brought in tables and chairs and set out wine and refreshments. V erily, glass vessels overflowed with nectar and amber cups brimmed with ambrosia. No need to dwell onthe sumptuousness of that feast. He could not resist inquiring, though, what gave the wine its remarkably pure bouquet.“This wine is made from the stamens of a hundred flowers and the sap of ten thousand trees mixed with the marrow of unicorns and fer mented with phoenix milk,” the goddess told him. “We call it Ten Thou sand Beauties in One Cup.”As Baoyu sipped it, twelve dancing girls stepped forward to ask what they should perform.“The twelve new songs called …A Dream of Red Mansions‟,” or dered Disenchantment.The dancers assented. Lightly striking their sandalwood castanets and softly plucking their silver lyres, they began:At the dawn of creation....But the goddess interrupted them to tell Baoyu, “This is not like your romantic dramas in the dusty world in which there are always the fixed parts of scholars, girls, warriors, old men and clowns, and the set nine tunes of the south or north. These songs of ours lament one person or event in an impromptu fashion and are easily set to wind or stringed accompaniments. But no outsider can appreciate their subtle qualities, and I doubt whether you will really understand their meaning. Unless you first read the text, they will seem to you as tasteless as chewed wax.”With that she turned and ordered a maid to bring the words of the “Dream of Red Mansions” songs. She handed the manuscript to Baoyu, who followed the text as he listened.FIRST SONG:PROLOGUE TO THE DREAM OF RED MANSIONSAt the dawn of creationWho sowed the seeds of love?From the strong passion of breeze and moonlight they came.So in this world of sweet longingOn a day of distress, in an hour of loneliness,Fain would I impart my senseless griefBy singing this Dream of Red MansionsTo mourn the Gold and the Jade.SECOND SONG:A LIFE MISSPENTWell-matched, all say, the gold and the jade;I alone recall the pledge between plant and stone.V ainly facing the hermit in sparkling snow-clad hillsI forget not the fairy in lone woods beyond the world.I sigh, learning that no man‟s happiness is complete:Even a pair thought well-matchedMay find disappointment.THIRD SONG:V AIN LONGINGOne is an immortal flower of fairyland,The other fair flawless jade,And were it not predestinedWhy should they meet again in this existence?Y et, if predestined,Why does their love come to nothing?One sighs to no purpose,The other yearns in vain;One is the moon reflected in the water,The other but a flower in the mirror.How many tears can well from her eyes?Can they flow on from autumn till winter,From spring till summer?Baoyu could see no merit in these disjointed and cryptic songs, but the plaintive music intoxicated his senses. So without probing into the meaning or asking where the songs came from, he listened for a while to pass the time. The singers went on:FOURTH SONG:THE TRANSIENCE OF LIFEAt the height of honour and splendourDeath comes for her;Open-eyed, she has to leave everything behindAs her gentle soul passes away.So far her home beyond the distant mountainsThat in a dream she finds and tells her parents:“Y our child has gone now to the Y ellow Spring;Y ou must find a retreat before it is too late.”FIFTH SONG:SEPARA TION FROM DEAR ONESThree thousand li she must sail through wind and rain,Giving up her home and her own flesh and blood;But afraid to distress their declining years with tearsShe tells her parents: “Don‟t grieve for your child.From of old good luck and bad have been predestined,Partings and reunions are decreed by fate;Although from now on we shall dwell far apart,Let us still live at peace;Don‟t worry over your unworthy daughter.”SIXTH SONG:SORROW AMIDST JOYShe is still in her cradle when her parents die,Although living in luxury who will dote on her?Happily she is born too courageous and open-heartedEver to take a love affair to heart.Like bright moon and fresh breeze in a hall of jadeShe is matched with a talented and handsome husband;May she live with him for long yearsTo make up for her wretched childhood!But over the Gaotang Tower the clouds disperse,The river Xiang runs dry.This is the common fate of mortal men,Useless it is to repine.SEVENTH SONG:SPURNED BY THE WORLDBy nature fair as an orchid,With talents to match an immortal,Y et so eccentric that all marvel at her.To her, rich food stinks,Silken raiment is vulgar and loathsome;She knows not that superiority fosters hatred,For the world despises too much purity.By the dim light of an old shrine she will fade away,Her powder and red chamber, her youth and beauty wasted,To end, despite herself, defiled on the dusty roadEven as flawless white jade dropped in the mud.In vain young scions of noble houses will sigh for her.EIGHTH SONG:UNION OF ENEMIESA mountain wolf, a savage ruthless beast,Mindless of past obligationsGives himself up to pride, luxury and license,Holding cheap the charms of a noble family‟s daughter,Trampling on the precious child of a ducal mansion. Alas, in less than a year her sweet soul fades away.NINTH SONG:PERCEPTION OF THE TRANSIENCE OF FLOWERSShe will see through the three Springs15And set no storeBy the red of peach-blossom, the green of willows,Stamping out the fire of youthful splendourTo savour the limpid peace of a clear sky.Though the peach runs riot against the sky,Though the clouds teem with apricot blossom,Who has seen any flower that can win safely through autumn?Even now mourners are lamenting by groves of poplars,Ghosts are wailing below green maples,And the weeds above their graves stretch to the skyline.Truly, changes in fortune are the cause of men‟s toil,Spring blooming and autumn withering the fate of flowers.Who can escape the gate of birth, the fate of death?Y et in the west, they say, grows the sal tree16Which bears the fruit of immortality.TENTH SONG:RUINED BY CUNNINGToo much cunning in plotting and schemingIs the cause of her own undoing;While yet living her heart is brokenAnd after death all her subtlety comes to nothing.A rich house, all its members at peace,Is ruined at last and scattered;In vain her anxious thought for half a lifetime,For like a disturbing dream at dead of night,Like the thunderous collapse of a great mansion,Or the flickering of a lamp that gutters out,Mirth is suddenly changed to sorrow.Ah, nothing is certain in the world of men.ELEVENTH SONG:A LITTLE ACT OF KINDNESSThanks to one small act of kindnessShe meets by chance a grateful friend;Fortunate that her motherHas done some unnoticed good.Men should rescue the distressed and aid the poor,。
【精品】部编人教版三年级语文上册句子理解阅读课件
示例展示
体会下列句子的含义。 小草偷偷钻出地面，慌慌忙忙地伸叶爬蔓，不多时就覆盖了荒原、田埂。
示例评述： 小草怎么会、慌慌忙忙的爬呢？在这里，运用了拟人的修辞手法，“慌
慌忙忙” 指手忙脚乱、焦急不安或精神慌乱，在这里指春天来了，小草发芽 了，并且生长的十分快，不多时，就覆盖了荒原、田埂，具有很旺盛的生命力。
完成教材小练笔
答案：
● （解析）此题理解首先要结合上文，明白“危险”是什么？其次，应该抓住 “不假思索”，指的是没有思考，一下子就做或说。而在文中，小女孩在回答教育 家的问题时，毫不犹豫，脱口而出，一点也没有思考。从中可以看出先人后己的优 秀品质已经扎根于小女孩的心中，也成了小女孩理所当然的行为，更突出表现了小 女孩的优秀品质。
诵
【故事】
仁义胡同
兴趣屋
兴趣屋
“人不为己，天诛地灭”
意思是： “人不为（wéi）已，天诛地灭”源于《礼记·礼运》，本句不是这样的，后在民间
转变为我们现在看到的这句。它只有一个意思——“人如果不修行自己的德行，那么天理 难容啊！”
句子同字、词、段、篇都为一篇作文的最基础的元素。 句子处于字词和段篇训练之间。它既是字词句的“升华”，又是段篇练 习的“起点”，在我们阅读训练中起着“承上启下”的重要作用，一段美句 本身所用的修辞手法也是我们写作时所要运用的重要修辞手法，所以，写文 章时，要用词恰当，句子要一句一句写的顺畅连贯；读文章时，我们一次一 次发音正确，句子一句一句要读懂读通。
译文： 一位圣人出现了，钻木取火让人们吃熟食，这样还能
消除食物的腥臊，人民爱戴他，便推举他做帝王，称他为 燧人氏。 阅读断句：
《红楼梦》判词英译文赏析
《红楼梦》判词英译文赏析《红楼梦》判词英译文赏析判词，又称金陵判词，共十四首，暗含了《红楼梦》中十五位重要女性角色的命运，具有统领故事情节发展的作用。
大多数判词本身就是一首谜语，人物性格特点及命运都隐藏在字里行间。
再者判词是中国古典诗歌，具有中国古典诗歌的特点，在节奏、句式和修辞方面表现了音美、形美和意美。
本文将对杨宪益译本和霍克斯译本《红楼梦》中的判词进行对比赏析。
例1、勘破三春景不长，缁衣顿改昔年装。
可怜绣户侯门女，独卧青灯古佛旁。
(惜春判词)杨译： She sees through the transience of spring,Dark Buddhist robes replace her garments fine;Pity this child of a wealthy noble house,Who know sleeps alone by the dimly lit old shrine.霍译： When you see thro ugh the spring scene’s transient state,A nun’s black habit shall replace your own.Alas, that daughter of so great a house，By Buddha’s altar lamp should sleep alone.解析：1）判词中，“三春”指的是惜春的三个姐姐：元春、迎春、探春。
惜春目睹三位姐姐悲惨的命运，心如死灰，转向佛祖以寻求安慰。
在给定的语境中，译文读者能够较为容易地判断出隐含的意思，所以不论是杨译的“she sees through the transience of spring”还是霍译的“the spring scene’s transient state”都没有对“三春”进行明确解析，而是保留了原文的修辞。
2）“独卧青灯古佛旁”，最后一句宛如一幅画面浮现眼前，妙龄少女，心如死寂，敲打着木鱼。
九下语文第5课笔记人教版
九下语文第5课笔记人教版以下是《岳阳楼记》的课文内容、重点词语、句子翻译和文章主旨等，供您参考：一、文章内容庆历四年春，滕子京谪守巴陵郡。
越明年，政通人和，百废具兴。
乃重修岳阳楼，增其旧制，刻唐贤今人诗赋于其上。
属予作文以记之。
予观夫巴陵胜状，在洞庭一湖。
衔远山，吞长江，浩浩汤汤，横无际涯；朝晖夕阴，气象万千。
此则岳阳楼之大观也，前人之述备矣。
然则北通巫峡，南极潇湘，迁客骚人，多会于此，览物之情，得无异乎？若夫淫雨霏霏，连月不开，阴风怒号，浊浪排空；日星隐曜，山岳潜形；商旅不行，樯倾楫摧；薄暮冥冥，虎啸猿啼。
登斯楼也，则有去国怀乡，忧谗畏讥，满目萧然，感极而悲者矣。
至若春和景明，波澜不惊，上下天光，一碧万顷；沙鸥翔集，锦鳞游泳；岸芷汀兰，郁郁青青。
而或长烟一空，皓月千里，浮光跃金，静影沉璧，渔歌互答，此乐何极！登斯楼也，则有心旷神怡，宠辱偕忘，把酒临风，其喜洋洋者矣。
嗟夫！予尝求古仁人之心，或异二者之为。
何哉？不以物喜，不以己悲；居庙堂之高则忧其民；处江湖之远则忧其君。
是进亦忧，退亦忧。
然则何时而乐耶？其必曰：“先天下之忧而忧，后天下之乐而乐”乎。
噫！微斯人，吾谁与归？时六年九月十五日。
二、重点词语1. 滕子京谪守巴陵郡谪：封建时代的贬官2. 越明年越：到了3. 乃重修岳阳楼乃：于是4. 增其旧制制：规模5. 刻唐贤今人诗赋于其上于：在6. 属予作文以记之予：我；以：来；之：它7. 予观夫巴陵胜状夫：那8. 在洞庭一湖一：全、整9. 衔远山衔：连接10. 吞长江吞：包容11. 浩浩汤汤浩浩荡荡：水波壮阔的样子12. 横无际涯横陈：广连、遍接13. 朝晖夕阴晖：日光（文中指太阳光）14. 气象万千气象：景象、景象壮阔、雄伟15. 此则岳阳楼之大观也大观：雄伟景象16. 前人之述备矣备：详尽、完备17. 然则北通巫峡,南极潇湘,迁客骚人,多会于此会：聚会、集会；于：在；此：这里18. 览物之情,得无异乎得无：莫非、或许；乎：语气词“吗”19. 若夫淫雨霏霏淫雨：连绵的雨；霏霏：雨（或雪）繁密的样子20. 连月不开开：放晴；国：京城、国都21. 阴风怒号,浊浪排空阴、浊：分别代表冷和暖的色调（阴冷、浑浊）22. 日星隐曜日星：太阳和星星；曜：光辉照耀、明亮闪烁的意思（文中指闪耀）23. 山岳潜形潜：隐没、隐藏；形：出现、显现（文中指山岳被云雾遮盖而隐藏）24. 商旅不行不行：不能行船；行：乘船行驶（文中指商人和旅客不能乘船）25. 樯倾楫摧倾：倒下、倾斜；摧：折断（文中指桅杆倒下、船桨折断）26. 薄暮冥冥薄：迫近；冥冥：昏暗（文中指傍晚天色昏。
选择性必修上册学案：第5课 篇目(二) 大学之道 Word版含解析
篇目(二)大学之道课文导入素养任务《大学之道》着重阐述了提高个人修养、培养良好的道德品质与齐家、治国、平天下之间的重要关系，其中心思想可以概括为“修己以安百姓”，并以三纲领“明明德、亲民、止于至善”和八条目“格物、致知、诚意、正心、修身、齐家、治国、平天下”为主题。
1.掌握文中重要的实词、虚词、特殊句式等文言基础知识。
2．理解“三纲”“八目”的具体所指及其内部联系。
3．理解《大学之道》的基本内容和基本思想。
4．结合《大学之道》中的相关论述，理解治学修身与实现人生目标之间的关系。
任务驱动一阅览资料·认识作者[资讯概览]一、作者介绍戴圣，字次君，生卒年不详，祖籍梁国甾县(今安徽省砀山县)，后定居于魏郡斥丘(今河北省邯郸市成安县北乡义镇)。
西汉时期官员、学者、礼学家、汉代今文经学的开创者。
后世称其为“小戴”。
戴圣与叔父戴德曾跟随后苍学《礼》，两人被后人合称为“大小戴”。
汉宣帝时，戴圣以博士参与石渠阁论议，官至九江太守。
著作有《礼记》，又名《小戴礼记》，儒家经典“五经”之一。
二、思想情怀《礼记》名言集锦(1)大道之行也，天下为公。
(2)有其言，无其行，君子耻之。
(3)博学之，审问之，慎思之，明辨之，笃行之。
(4)君子不自大其事，不自尚其功。
(5)张而不弛，文武弗能也；弛而不张，文武弗为也；一张一弛，文武之道也。
(6)知不足，然后能自反也；知困，然后能自强也。
任务驱动二深思精析·走进时代[背景介绍]《礼记》的产生《礼》据传为孔子的七十二弟子及其学生们所作，但是文古义奥，不易通读，因而多作解读以辅助理解，六经中的“《礼》”，主要记载周代的冠、婚、丧、祭诸礼的“礼法”，受体例限制，几乎不涉及仪式背后的“礼义”。
不了解礼义，仪式就成了毫无价值的虚礼。
所以，七十二弟子在习礼的过程中，撰写了大量阐发经义的论文，总称之为“记”。
西汉能见到的用先秦古文撰写的“记”依然不少，到了东汉，社会上出现了两种选辑本，一是戴德的八十五篇本，习称“大戴礼记”；二是戴德的侄子戴圣的四十九篇本，习称“小戴礼记”。
《落花生》译文对比赏析
《落花生》译文对比赏析作者：辛阳来源：《青年文学家》2017年第12期摘要：文从接受美学的角度，对杨宪益先生、戴乃迭女士和刘士聪先生的《落花生》英译本进行了对比分析。
本文首先分析了原文的写作风格，语言特点及其内涵意义，为两种译文的赏析对比奠定了一定的基础。
本文通过举例进行译文的对比分析，反映了译者的翻译目的受其期待视野的影响，而期待视野又受其职业经历和翻译观的影响。
这有助于把文本的不确定性和语义空白点具体化。
关键词：《落花生》；杨宪益夫妇；刘士聪；期待视野；翻译对比作者简介：辛阳（1991-），女，黑龙江省哈尔滨人，吉林大学2016级翻译专业硕士研究生，研究方向：英语口译。
[中图分类号]：H315.9 [文献标识码]：A[文章编号]：1002-2139（2017）-12-0-02一、原文的介绍《落花生》是中国著名作家许地山创作的一篇叙事散文。
这篇代表作语言朴实无华，通篇却传达出非凡的意义。
原文刻画出一个睿智的父亲形象，他以“落花生”作比喻教育子女，勉励儿女要做具有落花生品格的人，不图虚名，默默奉献。
原文具有以下几个功能：1、信息功能：这篇叙事散文运用平实的语言描述了在花生收获的时候，父亲从花生这种不起眼，平凡的事物中悟出了耐人寻味的做人道理，借助落花生的特点和用途教育子女。
2、审美功能：通篇语言简洁朴素，传达的感情真诚质朴。
文章却暗含了深刻的做人道理，彰显了其强大的艺术底蕴。
3、表达功能：这篇叙事散文通过自然朴实的叙事，借助落花生的特点，传达出非凡的道理，即做人要朴实无华，默默奉献，保持出淤泥而不染的品格。
4、祈使功能：虽然通篇叙述的主题是很平凡普通的花生，但字里行间却蕴含着深刻的道理，即“那么，人要做有用的人，不要做伟大、体面的人了。
”二、两种英译本对比分析原文的语言简洁平实，杨宪益夫妇和刘士聪先生的译文都秉承了原文的语言风格。
但他们译文的翻译风格有所区别。
接受美学的翻译观强调从读者的角度切入，要求译者把作者，作品和读者融为一体。
《阿Q正传》译文赏析
《阿Q正传》译文赏析摘要：鲁迅是20世纪中国最伟大的作家之一，他的重要作品《阿Q正传》写于1921年。
由著名翻译家杨宪益先生翻译的《阿Q正传》不仅形似而且神似。
本文通过对《阿Q正传》的原译文分析，通过举例、对比等方法，逐一从词法、修辞法和句法的角度进行赏析。
关键词：《阿Q正传》赏析词法修辞法句法1.关于作者和译者鲁迅作为中国20世纪最重要的作者之一，到现在仍然很有影响力。
他的作品被翻译成二十几种语言广为流传。
《阿Q正传》广为人知，而”阿Q”已经成为了汉语词汇的一个组成部分。
杨宪益先生和夫人戴乃迭都是非常杰出的汉英翻译家，他们曾在大学从事教学工作，之后于1943年就职于国家编译局，主要负责文学作品的翻译。
几十年来，杨宪益先生和夫人戴乃迭致力于国内外文学遗产的翻译和研究。
他们的译作，特别是中国古典文学作品的翻译使他们享誉中外，为中国和西方世界的文化交流作出了巨大的贡献。
2.译文赏析2.1措辞钱钟书先生说“化境”是文学翻译的最高水平，也就是说，如果一个译者能将一种语言翻译成另一种语言而不犯严重的语法错误，且译文能保持原文的味道，那么我们就可以说这篇译文达到了“化境”的翻译标准。
从这点上说，杨宪益先生的这篇译文就是很好的例子。
首先是这篇译文的措辞。
在汉英翻译中，中国的成语是一个很重要的问题。
哪些成语应该直译，哪些又应该意译？这完全取决于构成这个成语的意象能否被读者接受。
在《阿Q正传》中一些成语没有比喻意义，这时就可以采用直译。
如：假使有钱了，他便去押牌宝，一堆人蹲在地面上，阿Q即汗流满面的夹在这中间。
If he has money he would gamble.A group of men would squat on the ground，Ah Q sandwiched in their midst，his face streaming with sweat.在这句话中，“汗流满面”就可以被翻译成“his face streaming with sweat”，但是并非所有的成语都可以直译。
《荷塘月色》译文赏析——杨宪益译本和朱纯深译本比较
《荷塘月色》译文赏析——杨宪益译本和朱纯深译本比较荷塘月色是晚清诗人徐志摩的名篇，其文学价值十分显著，被誉为“中国近代新诗史上的绝唱”。
杨宪益与朱纯深均为著名的《荷塘月色》译者，他们的译本具有不同的风格，对比起来可以发现更多的文学精髓。
杨宪益译本是以诗歌的形式来传达作者心里的感受，从语言上表现出俊俏、优美、抒情的特点。
杨宪益用简练、流畅的语言，把整首诗的内涵表达出来。
诗中常用的押韵、叠字，也被杨宪益译出。
例如原文“蒹葭苍苍，白波淡淡”，杨宪益译成“野草苍苍，白浪淡淡”，将原文的押韵特点得到体现。
此外，他还采用诗人的自然思想，充分利用词语贴切、让人心醉的表达，使诗歌翻译几乎拥有跟原文一样的美感。
相比之下，朱纯深译本更加注重诗歌的文句和内容，他将押韵改变成同义转换，强调了徐志摩诗歌情感的表达。
在押韵的转换上，朱纯深更加巧妙，例如原文“夏花秋月，芳草无情”，朱纯深译成“夏花冬月，芳草悠悠”，保留了原文的押韵，又更加准确地体现了芳草的悠悠不绝的意境。
无论是杨宪益的诗歌风格译本还是朱纯深的情感表达译本，都把《荷塘月色》的内涵完整地传达出来。
杨宪益以其简练、流畅的语言，把整首诗的美感表达出来；而朱纯深则更加注重诗句的押韵，表达出徐志摩诗歌情感的表达。
这二位译者以各自的译本，使得读者可以从不同的角度，更好地理解原文所表达的内涵，两种译本搭配起来，能更有助于读者对《荷塘月色》的鉴赏。
诗歌译作不同于普通文章的翻译，在英译中必须注意文化背景和文学风格的表达，既要保留原文的意境，又要使译文具有原作的美感，以便读者可以更好地理解原文所凝练和表达的内在价值。
最终，杨宪益与朱纯深的《荷塘月色》译本，体现出两人在文学翻译方面的精湛技艺，为人们更好地理解徐志摩的诗作，提供了极大的帮助。
《荷塘月色》英译文赏析
《荷塘月色》两译文赏析散文翻译原则●1、文气贯通,气韵生动●英国散文翻译家 Hilair e Belloc(希莱尔·贝洛克)为文学散文翻译制定了6条原则，认为翻译的本质是异地之魂假借本地之躯的复活(The essenc e of transl ating is the resurr ection of an alienthingin a native body) ,强调散文的翻译不能拘泥于原文之字句,要视段落或部分为整体。
翻译要“以意译意( transl ate intent ion by intent ion) ”●2、传神写照———“意,气,文”三位一体●在散文翻译中,我们要想译得曲尽其妙,须得传神地摹写作者的气质神韵。
每一个作者有每一个的个性特点、气质精神,着手翻译之前,要先对作者进行深入的研究,把握其时代背景、人生经历、创作风格等,这样的翻译方能做到传神达意,否则,难免貌合神离。
●PS：文学翻译非文字翻译●文学翻译，讲求整体效果，即“神韵”。
有些表面忠实的译文，失去了散文的文采、文雅，这样便失去了自身的价值，终究是失败的译文。
“美”是散文翻译的重点。
美感层面●Alongside the Lotus Pond runs a smallcinder footpa th. It is peacef ul and seclud e d here, a placenot frequentedby pedest rians even in the daytim e; now at night, it looksmore solita ry, in a lush, shadyambien ce of treesall aroun d the pond. On the side wherethe path is, thereare willow s, interl acedwith some others whosenames I do not know. The foliag e, which,in a moonle ss night ,wouldloom somewh at frightening ly dark, looksvery nice tonigh t, althou gh the moonli ght is not more than a thin, greyis h veil. （朱纯深译文）●动感美：run、freque nt、interl ace、loom●韵味美：peacef ul、seclud ed、solita ry、lush、shady●比喻手法：…a thin, greyis h veil .美感层面●All over this windin g stretch of water,what meetsthe eye is a silken fieldo f leaves, reachi ng rather high abovethe surfac e, like the skirts of danci n g girlsin all theirgrace. Here and there,layers of leaves are dotted with whitelotusblosso ms, some in demure bloom,others in shy bud, like scatte ring p earls, or twinkl ing stars,or beauti es just out of the bath. A breeze stirs ,sendin g over breath s of fragra nce, like faintsingin g drifti ng from a dista n t buildi ng. At this moment, a tiny thrill shoots throug h the leaves and flowe r s, like a streak of lightn ing, straight across the forest of lotuse s. The leave s,whichhave been standi ng should er to should er, are caught trembling in an emerald heaveof the pond. Undern eath,the exquis ite wateris covere d from view, and none can tell its colour; yet the leaves on top project themse lvesall the more attrac tivel y.（朱纯深译文）●音韵效果 (节奏美）：● stirs---sendin g---singin g；● breeze---breath s---buildi ng；● fragrance---faint---from；● drifting---distan t；● sending---singin g--buildi ng；● leaves---streak；● streak---straig ht；● leaves---like---lightn ing---lotuse s.●heave：双关语义●emerald ：“通感”●project ：选词确切词汇层面●今晚却很好，虽然月光也还是淡淡的。
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鞭 .臧（Zang ）武仲 .无 iS （di ） . 第2步识记通假曲肱（gong ） . 公绰（chud ） . 谄（chan ） .奥妙无穷方块字⑴富而可求也（“而”，通“如”，如果）（2）若臧武仲之知（“知”，通“智”） （3）久要不忘平生之言（“要”，通“约”，贫困） 第3步一词多义一一看我七十二变［虽执鞭之士（即使，连词）I '［虽少，愿及未填沟壑而托之（虽然，连词）「德之不修（培养、修养，动词） 乃重修岳阳楼（修建、修造，动词）. 则修文德以来之（修饬、治理，动词） .I 邹忌修八尺有余（高、长，形容词）.，不以其道得之（正当的方法，名词） 任重而道远（道路，名词）.从郦山下，道芷阳间行（取道、道经，动词）.行军用兵之道，非及向时之士也（方法、措施,.（3）道〈名词）颠沛（pSi ） . 冉（RAn ）求 .于是废先王之道（学说、主张，名词）.得道者多助（治国之道、好的政治主张和措.施，名词）、仲尼之徒，无道桓文之事者（说，谈论，动词）.r岂其然乎（这样，代词）吴广以为然（正确，形容词）.死灰独不复然乎（燃烧，动词）⑷夕犬＜•I）成然之（认为……对，动词）.虎视之，庞然大物也（……的样子，形容词词尾）.I然往来视之，觉无异也（但是，连词）.第4步古今异义一一词语的昨天和今天（1）饭疏食饮水♦♦古义：喝冷水今义：喝水（2）造次必于是• •古义：慌忙，仓促今义：鲁莽⑶子路问成人• •古义：完美无缺的人今义：成年人（4）今之成人者何必然• •古义：一定这样今义：事理上确定不移（5）非其鬼而祭之.古义：神、鬼通称今义：不好的东西或不可告人的打算或勾当第5步词类活用一一词性变异含义迥（1）义然后取（名词用作动词，符合道义）.（2）饭疏食饮水（名词用作动词，吃）. （3）............................................... 曲肱而枕之（意动用法，以为枕）.（4）不义而富且贵（形容词用作动词，取得富贵）• •第6步文言句式一一特殊句式多留意（1）富与贵，是人之所欲也。
从英译《荷塘月色》看杨宪益翻译的忠实-精选文档
从英译《荷塘月色》看杨宪益翻译的忠实杨宪益先生以翻译《楚词》、《红楼梦》和《鲁迅选集》以及《卖花女》和《近代英国诗抄》等中外文学名著饮誉国内外。
译者对原文精神准确而深刻的理解和把握以及地道、优美、流畅的译语给读者留下了十分深刻的印象。
朱自清的散文名篇《荷塘月色》的英译文便是杨宪益散文翻译的奇葩，是他的翻译忠实思想的一个很好的翻译范例。
作为中国文学里脍炙人口的散文名篇，《荷》运用朴实、口语化语言和雕琢的诗性语言，以及各种修辞手法，结合动静、虚实和远近相结合的手法，为读者描摹出构成一幅远近结合、明暗交叉、旋律谐和而又富有诗意的风景画，一个“静”、“幽”、“淡”的深邃意境。
杨宪益的翻译思想视忠实为第一要义，能够从整体上很好地再现了原文的精神内涵和美感信息，他的忠实性主要表现在以下三个方面：第一、要以忠实的翻译“信”于原文的意思，即忠实原文的实际意义，视语境而定，不能机械照搬。
例如英译标题“荷塘月色”时译者既不用通用“on”或“in”，而用译成”The Lotus Pool by Moon-light”。
文章开篇，作者就暗示院子里盛满月光，沿荷塘四周踱步时先勾勒周围的夜景，再细描荷塘月色，然后又描写荷塘周围较远的景物。
朱自清在《荷》中创造的幽远意境主要体现在对月光和荷塘中的青雾的动与静、虚与实的神态描写。
译文不仅在动词选择方面传神地表达出那种独特意境，而且在介词的选择上也有独到的表现。
例如，“月光如流水一般，静静地泻在这一片叶子和花上”被译为“Moonlight cascaded like water over the lotus leaves and flowers”。
译者用“over”，而不用“on”、“above”、“down to”，虽然这几个词都表示物体间的上下关系。
而且，“over”，和“above”一般表示两个物体不接触；“on”和“above”则一般表示接触关系。
“over”则除了有上述意义之外，还可描写可见或可感，但不可触的事物，如“雾、风、月光”等，或某些抽象的事物，如“笑容，气氛”等，这就是它们之间的语用差别。
茵苗教育五年级下册语文第五课课文讲解
茵苗教育五年级下册语文第五课课文讲解
牧童,绿草如茵，铺满广阔的草原，放眼一望无垠。
笛声逗弄晚风悠扬悦耳、时断时续地从远处传来。
牧童回来吃饱了饭，已是黄昏之后了。
他连蓑衣都没脱，就愉快地躺在月夜的草地里休息了。
舟过安仁,一只渔船里坐着两个小孩子，他们收起了划船用的篙和桨，而撑开了一把伞。
难怪他们会在没下雨的时候打伞，原来是想借助风的力量来驶船。
舟过安仁诗人杨万里是我国古代的诗人。
一天，他乘着船往安仁的方向行驶，那时候，天空被白白的雾笼罩着，远看像座白塔;近看，大地披上了一层薄纱。
这种白雾不是一片片的，而是整个的。
两旁的芦苇是深绿色的，偶尔有一两只翠鸟飞到了芦苇上头，叽叽喳喳的叫着，芦苇在微风中翩翩起舞，姿态优美。
岸上，草叶碧绿，带着一颗颗露珠。
杨万里看见了另一艘船在行驶，船上悠悠自在地坐着两个六七岁的小男孩，那两个小孩穿着鲜艳的衣服，他们没有划船，而是无忧无虑的坐在那里，脸上总是嘻嘻哈哈的，只见他们拿出了一把雨伞，诗人看见了，很奇怪:天上也没下雨为什么要打伞?他看着看着，哦!怪不得没下雨他们也张开了伞呢，原来不是为了遮雨，而是想利用伞使风让船前进啊!。
语文选必第五课翻译
语文选必第五课翻译
原文：天时不如地利，地利不如人和。
三里之城，七里之郭，环而攻之而不胜。
夫环而攻之，必有得天时者矣，然而不胜者，是天时不如地利也。
城非不高也，池非不深也，兵革非不坚利也，米粟非不多也，委而去之，是地利不如人和也。
故曰：域民不以封疆之界，固国不以山溪之险，威天下不以兵革之利。
得道者多助，失道者寡助。
寡助之至，亲戚畔之，多助之至，天下顺之。
以天下之所顺，攻亲戚之所畔，故君子有不战，战必胜矣。
译文：
有利于作战的天气、时令，比不上有利于作战的地理形势，有利于作战的地理形势，比不上作战中的人心所向、内部团结。
一座方圆三里的小城，有方圆七里的外城，四面包围起来攻打它，却不能取胜。
采用四面包围的方式攻城，一定是得到有利于作战的天气、时令了，可是不能取胜，这（是）有利于作战的天气时令不如有利于作战的地理形式。
城墙并不是不高啊，护城河并不是不深呀，武器装备也并不是不精良，粮食供给也并不是不充足啊，但是，守城一方还是弃城而逃，这是因为作战的地理形势再好，也比不上人心所向、内部团结啊。
所以说，使人民定居下来而不迁到别的地方去，不能靠疆域的边界，巩固国防不能靠山河的险要，震慑天下不能靠武器的锐利。
能行“仁政”的君王，帮助支持他的人就多，不施行“仁政”的君主，支持帮助他的人就少。
支持帮助他的人少到了极点，连内外亲属也会背叛他，支持帮助他的人多到了极点，天下所有人都会归顺他。
凭着天下人都
归顺他的条件，去攻打那连亲属都反对背叛的君王。
所以，能行仁政的君主不战则已，战就一定能胜利。
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第五课xx、xx译文赏析《红楼梦》第二十八回蒋玉菡情赠茜香罗薛宝钗羞笼红麝串……这里宝玉悲恸了一回，忽然抬头不见了黛玉，便知黛玉看见他躲开了，自己也觉无味，抖抖土起来，下山寻归旧路，往怡红院来．可巧看见林黛玉在前头走，连忙赶上去，说道：“你且站住．我知你不理我，我只说一句话，从今后撂开手。
”林黛玉回头看见是宝玉，待要不理他，听他说“只说一句话，从此撂开手”，这话里有文章，少不得站住说道：“有一句话，请说来。
”xx笑道：“两句话，说了你听不听？”黛玉听说，回头就走．宝玉在身后面叹道：“既有今日，何必当初！"林黛玉听见这话，由不得站住，回头道：“当初怎么样？今日怎么样？”xx叹道：“当初姑娘来了，那不是我陪着顽笑？凭我心爱的，姑娘要，就拿去，我爱吃的，听见姑娘也爱吃，连忙干干净净收着等姑娘吃．一桌子吃饭，一床上睡觉．丫头们想不到的，我怕姑娘生气，我替丫头们想到了。
我心里想着：姊妹们从小儿长大，亲也罢，热也罢，和气到了儿，才见得比人好．如今谁承望姑娘人大心大，不把我放在眼睛里，倒把外四路的什么宝姐姐凤姐姐的放在心坎儿上，倒把我三日不理四日不见的。
我又没个亲兄弟亲姊妹。
——虽然有两个，你难道不知道是和我隔母的？我也和你似的独出，只怕同我的心一样。
谁知我是白操了这个心，弄的有冤无处诉！”说着不觉滴下眼泪来。
Chapter 28……When Baoyu recovered sufficiently to look up she had gone, obviously to avoid him. Getting up rather sheepishly, he dusted off his clothes and walked down the hill to make his way back again to HappyRedCourt. Catching sight of Daiyu ahead, he overtook her.Daiyu glanced round and would have ignored him, but was curious to hear this "one word,"thinking there must be something in it. She came to a halt."Out with it." Baoyu smiled."Would you listen if I said two words?" he asked. At once she walked away.Baoyu, close behind her, sighed."Why are things so different now from in the past?" Against her will she stopped once moreand turned her head. "What do you mean by 'now' and 'the past'?" Baoyu heaved another sigh."Wasn't I your playmate when you first came?" he demanded. "Anything that pleased me wasyours, cousin, for the asking. If I knew you fancied a favourite dish of mine, I put it away in a clean place till you came. We ate at the same table and slept on the same bed. I took care that the maids did nothing to upset you; for I thought cousins growing up together as such good friends should be kinder to each other than anyone else. I never expected you to grow so proud that flow you have no use for me while you're so fond of outsiders like Baochai and Xifeng. You ignore me or cut me for three of four days at a time. I've no brothers or sisters of my own -- only two by a different mother, as well you know. So I'm an only child like you, and I thought that would make for an affinity between us. But apparently it was no use my hoping for that. There's nobody I can tell how unhappy I am." With that, he broke down again.2.《xx》《xx》片段xx有几回，邻居孩子听得笑声，也赶热闹，围住了孔乙己。
他便给他们茴香豆吃，一人一颗。
孩子吃完豆，仍然不散，眼睛都望着碟子。
孔乙己着了慌，伸开五指将碟子罩住，弯腰下去说道，“不多了，我已经不多了。
”直起身又看一看豆，自己摇头说，“不多！多乎哉？不多也。
”于是这一群孩子都在笑声里走散了。
孔乙己是这样的使人快活，可是没有他，别人也便这么过。
有一天，大约是中秋前的两三天，掌柜正在慢慢的结账，取下粉板，忽然说，“孔乙己长久没有来了。
还欠十九个钱呢！”我才也觉得他的确长久没有来了。
一个喝酒的人说道，"“他怎么会来？……他打折了腿了。
”掌柜说，“哦！”“他总仍旧是偷。
这一回，是自己发昏，竟偷到丁举人家里去了。
他家的东西，偷得的么？”“后来怎么样？”“怎么样？先写服辩，后来是打，打了大半夜，再打折了腿。
”“后来呢？”“后来打折了腿了。
”“打折了怎样呢？”“怎样？……谁晓得？许是死了。
”掌柜也不再问，仍然慢慢的算他的账。
中秋之后，秋风是一天凉比一天，看看将近初冬；我整天的靠着火，也须穿上棉袄了。
一天的下半天，没有一个顾客，我正合了眼坐着。
忽然间听得一个声音，“温一碗酒。
”这声音虽然极低，却很耳熟。
看时又全没有人。
站起来向外一望，那孔乙己便在柜台下对了门槛坐着。
他脸上黑而且瘦，已经不成样子；穿一件破夹袄，盘着两腿，下面垫一个蒲包，用草绳在肩上挂住；见了我，又说道，“温一碗酒。
”掌柜也伸出头去，一面说，“孔乙己么？你还欠十九个钱呢！”孔乙己很颓唐的仰面答道，“这……下回还清罢。
这一回是现钱，酒要好。
”掌柜仍然同平常一样，笑着对他说，“孔乙己，你又偷了东西了！”但他这回却不十分分辩，单说了一句“不要取笑！”“取笑？要是不偷，怎么会打断腿？”孔乙己低声说道，“跌断，跌，跌……”他的眼色，很像恳求掌柜，不要再提。
此时已经聚集了几个人，便和掌柜都笑了。
我温了酒，端出去，放在门槛上。
他从破衣袋里摸出四文大钱，放在我手里，见他满手是泥，原来他便用这手走来的。
不一会，他喝完酒，便又在旁人的说笑声中，坐着用这手慢慢走去了。
自此以后，又长久没有看见孔乙己。
到了年关，掌柜取下粉板说，“孔乙己还欠十九个钱呢！”到第二年的端午，又说“孔乙己还欠十九个钱呢！”到中秋可是没有说，再到年关也没有看见他。
我到现在终于没有见——大约孔乙己的确死了。
（摘自《呐喊》一九年三月）xx译文赏析Kong I-chi…….Sometimes children in the neighbourhood,hearing laughter,came to join in the fun,and surrounded Kung I-chi Then he would give them peas flavoured with aniseed, one apiece. After eating the peas, the children would still hang round, their eyes on the dish. Flustered, he would cover the dish with his hand and, bending forward from the waist, would say:"There isn't much. I haven't much as it is." Then straightening up to look at the peas again, he would shake his head."Notmuch!Verily,not much,forsooth!"Then the children would scamper off,with shouts of laughter.One day,a few days before the Mid-Autumn Festival,the tavern keeper was laboriously making out his accounts.Taking down the board from the wall,he suddenly said:"He was stealing again. This time he was fool enough to steal from Mr. Ting, the provincialscholar! As if anybody could get away with that!""What then?""What then? First he had to write a confession, then he was beaten. The beating lasted nearlyall night, until his legs were broken.""And then?""Well, his legs were broken.""Yes, but after that?""After? . . . Who knows? He may be dead."The tavern keeper did not pursue his questions, but went on slowly making up his accounts.After the Mid-Autumn Festival the wind grew colder every day,as winter came on.Even though I spent all my time by the stove, I had to wear my padded jacket. One afternoon, when the shop was empty, I was sitting with my eyes closed when I heard a voice:"Warm a bowl of wine."The voice was very low, yet familiar. But when I looked up, there was no one in sight. I stood up and looked towards the door,and there,facing the threshold,beneath the counter,sat Kung I-chi. His face was haggard and lean, and he looked in a terrible condition. He had on a ragged lined jacket, and was sitting cross-legged on a mat which was attached to his shoulders by a straw rope. When he saw me, he repeated:"Warm a bowl of wine."At this point my employer leaned over the counter and said:"That . . . I'll settle next time," replied Kung, looking up disconsolately. "Here's ready money;the wine must be good."The tavern keeper, just as in the past, chuckled and said:"Kung I-chi, you've been stealing again!"But instead of protesting vigorously, the other simply said:"You like your joke.""Joke? If you didn't steal, why did they break your legs?"Nor have I ever seen him since—probably Kung I-chi is really dead.March 19。