Removed_天津大学翻译课unit 6 诗歌的翻译
大学英语精读第6册课文全文翻译-中英对照
However, there are signs that much more serious efforts may be mustered in the reasonably near future. Besides, hand in handwith the recent spectacular advances in radio technology, there has been a dramatic increase in the scientific and public respectability of the entire subject of extraterrestrial life. A clear sign of the new attitude is the Viking missions to Mars, whichare to a significantextent dedicated to the search for life on another planet.
Unit 6 参考译文
Unit6 The Ties That Bind连结的纽带By Clanudia Kalb我们的血液藏有我们是谁的秘密。
人类的基因组有99.9％是一样的；我们的相似指出远远多于相异之处。
但是，这微小的0.1％的差异揭示了我们祖先的线索。
最近几年，声称能通过基因检测追溯某人来历的公司如雨后春笋般涌现，数以万计的人用拭纸拭抹他们的口腔，寄去DNA，想对自己的身世有更多的了解。
天各一方的远亲正在找到对方，家族传说正在被颠覆。
六年前“基因家谱”一词毫无意义，但现在引起了极大兴趣。
当个人追查其个人家族史时，群体遗传学家正在探寻着讲清关于整个人类的大故事。
离我们最近的共同祖先—基因上的“亚当”和“夏娃”—已经被追溯到非洲，在世界各地也发现了其他让人感兴趣的祖先。
一组科学家最近发现，40％的世界德系犹太人都是四个女人的后裔；另有报道，在爱尔兰西北部的五个男性中就有一个可能是一个传奇的五世纪军阀的后裔。
抱负最大的当属国家地理协会投资4,000万美元的基因地理工程，其目标是在接下来的五年内从全球土生土长的人口中采集10万份DNA样本。
其目标是：从目前开始追踪人类之根一直追踪到我们这个物种的起源。
项目总监斯宾塞·韦尔斯说，“我们的目标是创建人类历史的虚拟博物馆。
”基因测试工作是如何进行的呢？我们每个细胞中的DNA不仅决定了我们眼睛的颜色，而且含有我们先辈的足迹。
一个小孩的基因组几乎完全是其父母结合所产生的基因混合体。
只有两个部分的基因组保持者纯洁性，没有受到配偶DNA的影响：Y（由父亲传给儿子）和线粒体DNA（由母亲传给儿子和女儿）。
刮一下你的脸颊内壁，花上100多美元，检测公司就会把你的DNA标识置入你自己的基因型，即单倍型，然后告诉你你是来自人类谱系之树的哪个主要分支。
系谱学家凭借单体型的知识现在可以参与到互联网上的姓氏项目中。
这些网上社区使人们能够比较基因组。
如果你能找到匹配，就可能可以填补你的家族树的分支。
人教版英语选修6课文原文及课文译文
人教版英语选修6课文原文及课文译文Unit 1 Art 第一单元艺术ReadingA SHORT HISTORY OF WESTERN PAINTINGArt is influenced by the customs and faith of a people. Styles in Western art have changed many times. As there are so many different styles of Western art, it would be impossible to describe all of them in such a short text. Consequently, this text will describe only the most important ones. Starting from the sixth century AD.The Middle Ages(5th to the 15th century AD)During the Middle Ages, the main aim of painters was to represent religious themes. A conventional artistof this period was not interested in showing nature and people as they really were. A typical picture at this time was full of religious symbols, which created a feeling of respect and love for God. But it was evident that ideas were changing in the 13th century when painters like Giotto di Bondone began to paint religious scenes in a more realistic way.The Renaissance(15th to 16th century)During the Renaissance, new ideas and values gradually replaced those held in the Middle Ages. People began to concentrate less on religious themes and adopt a more humanistic attitude to life.At the same time painters returned to classical Roman and Greek ideas about art. They tried to paint people and nature as they really were. Rich people wanted to possess their own paintings, so they coule decorate their superb palaces and great houses. They paid famous artists to paint pictures of themselves, their houses and possessions as well as their activities and achievements.One of the most important discoveries during this period was how to draw things in perspective. This technique was first used by Masaccio in 1428. When people first saw his paintings, they were convinced that they were looking through a hole in a wall at a real scene. If the rules of perspective had not been discovered, noone would have been able to paint such realistic pictures. By coincidence,oil paints were also developed at this time, which made the colours used in paintings look richer and deeper. Without the new paints and the new technique, we would not be able to see the many great masterpieces for which this period is famous.Impressionism(late 19h to early 20th century)In the late 19th century, Europe changed a great deal,from a mostly agricultural society to a mostly industrial one. Many people moved from the countryside to the new cities. There were many new inventions and social changes also led to new painting styles. Among the painters who broke away from the traditional style of painting were the Impressionists, who lived and worke in Paris.The Impressionists were the first painters to work outdoors. They were eager to show how light and shadow fell on objects at different times of day. However, because natural light changes so quickly, the Impressionists had to paint quickly. Their paintings were not as detailed as those of earlier painters. At first, many people disliked this style of painting and became very angry about it. They said that the painters were careless and their paintings were ridiculous.Modern Art(29th century to today)At the time they were created, the Impressionist paintings were controversial, but today they are accepeted as the beginning of what we call "modern art". This is because the Impressionists encouraged artists to look at their environment in new ways. There are scores of modern art styles,but without the Impressionists, many of these painting styles might not exsist. On the one hand, some modern art is abstract; that is, the painter does not attempt to paint objects as we see them with our eyes, but instead concentrates n certain qualities of the object, using colour, line and shape to represent them. On the other hand, some paintings of modern art are so realistic that they look like photographs. These styles are so different. Who can predict what painting styles there will be in the future?西方绘画艺术简史西方艺术风格变化较大，而中国艺术风格变化较小。
Unit 6 How to Write a Rotten Poem with Almost No Effort课文翻译综合教程三
Unit 6How to Write a Rotten Poem with Almost No EffortRichard Howey1 So you want to write a poem. You’ve had a rotten day or an astounding thought or a car accident or a squalid love affair and you want to record it for all time. You want to organize those emotions that are pounding through your veins. You have something to communicate via a poem but you don’t know where to start.2 This, of course, is the problem with poetry. Most people find it difficult to write a poem so they don’t even try. What’s worse, they don’t bother reading any poems either. Poetry has become an almost totally foreign art form to many of us. As a result, serious poets either starve or work as account executives. There is no middle ground. Good poets and poems are lost forever simply because there is no market for them, no people who write their own verse and seek out further inspiration from other bards.3 Fortunately, there is a solution for this problem, as there are for all imponderables. The answer is to make it easy for everyone to write at least one poem in his life. Once a person has written a poem, of whatever quality, he will feel comradeship with fellow poets and, hopefully, read their works. Ideally, there would evolve a veritable society of poet-citizens, which would elevate the quality of life worldwide. Not only that, good poets could make a living for a change.4 So, to begin, have your paper ready. You must first understand that the poem you write here will not be brilliant. It won’t even be mediocre. But it will be better than 50% of all song lyrics and at least equal to one of Rod McKuen’s best efforts. You will be instructed how to write a four-line poem but the basic structure can be repeated at will to create works of epic length.5 The first li ne of your poem should start and end with these words: “In the — of my mind.” The middle word of this line is optional. Any word will do. It would be best not to use a word that has been overdone, such as “windmills” or “gardens” or “playground.” Just think of as many nouns as you can and see what fits best. The rule of thumb is to pick a noun that seems totally out of context, such as “filing cabinet” or “radiator” or “parking lot.” Just remember, the more unusual the noun, the more profound the image.6 The second line should use two or more of the human senses in a conflicting manner, as per the famous, “listen to the warm.”This is a sure way to conjure up “poetic” feeling and atmosphere. Since there are five different senses, the possibilities are e ndless. A couple that come to mind are “see the noise” and “touch the sound.” If morecomplexity is desired other senses can be added, as in “taste the color of my hearing,” or “I cuddled your sight in the aroma of the night.” Rhyming, of course, is option al.7 The third line should be just a simple statement. This is used to break up the insightful images that have been presented in the first two lines. This line should be as prosaic as possible to give a “down-to-earth” mood to the poem. An example wou ld be “she gave me juice and toast that morning,” or perhaps “I left for work next day on the 8:30 bus.” The content of this line may or may not relate to what has gone before.8 The last line of your poem should deal with the future in some way. This gives the poem a forward thrust that is always helpful. A possibility might be, “tomorrow will be a better day,” or “I’ll find someone sometime,” or “maybe we’ll meet again in July.” This future-oriented ending lends an aura of hope and yet need not be grossly optimistic.9 By following the above structure, anyone can write a poem. For example, if I select one each of my sample lines, I come up with:In the parking lot of my mind,I cuddled your sight in the aroma of the night.I left for work next day on the 8:30 bus.Maybe we’ll meet again in July.10 Now that poem (like yours, when you’re finished) is rotten. But at least it’s a poem and you’ve written it, which is an accomplishment that relatively few people can claim.11 Now that you’re a poet, feel free to read poetry by some of your more accomplished brothers and sisters in verse. Chances are, you’ll find their offerings stimulating and refres hing. You might even try writing some more of your own poems, now that you’ve broken the ice. Observe o thers’ emotions and experience your own —that’s what poetry is all about.12 Incidentally, if you find it impossible to sell the poem you write to Bobby Goldsboro or John Denver, burn it. It will look terrible as the first page of your anthology when it’s published.轻轻松松写烂诗理查德·豪伊1. 这一天你过得很糟糕，或是有了个绝妙的想法，又或者遭遇车祸，再或情场失意，你想把它永久记录下来。
新大学英语志学篇课文翻译Unit6
新大学英语志学篇课文翻译Unit6参考译文探索默林娱乐“伦敦眼”默林娱乐“伦敦眼”不仅是伦敦的最佳旅游景点之一，更是一件非同寻常的工程设计与建筑作品。
历史默林娱乐“伦敦目艮I’于2000年3月对外开放，从此成为现代英国的地标和象征。
“伦敦眼”是英国最受欢迎的收费旅游景点，每年接待游客350万。
“伦敦眼”在设计和工程上堪称惊人之举，乘客能从客舱中看到四面J方40公里远的地方。
“伦敦眼”由戴维·马克斯和茱莉亚·巴菲尔德夫妇的建筑师团队设计。
摩天轮的设计象征20世纪即将划上句号。
时代即将跨入新的千年。
在2000年的时候，“伦敦眼”的名字是“千禧轮”。
当时英国航空公司是其主要赞助商，并且一直到2005年11月之前，英航和马克斯一巴菲尔德设计师事务所、杜莎集团一起，为“伦敦眼”的联合股东。
“伦敦眼”构思初期英航还为该项目提供了私人资金支持。
建造默林娱乐“伦敦眼”“伦敦眼”的客舱运用了一个全新的观景摩天轮设计形式。
它们不是悬挂在轮下，而是在固定在主轮边缘外部的上升圆环中旋转，这样能在摩天轮顶端看到令人惊叹的360度全景。
“伦敦眼”有32个客舱，代表伦敦的32个行政区。
客舱里可以看到360度景观，安装有采暖和降温系统，以及长条凳。
钢索“伦敦眼”的每位游客都不禁惊叹牢固支撑摩天轮的那六根后拉缆。
一抬头，你会看到穿道轮边和轮子的钢索。
摩天轮钢索包括16条轮边旋转钢索和64条轮辐钢索，后者和自行车辐条相似，轮边与中轴紧紧地连接在—起。
基座“伦敦眼”的主要基座位于A型框架下，需要2200吨混凝土和44个混凝土桩——每个桩33米深。
次要基座是张力基座从后面支撑着后拉缆，用了1200吨混凝土。
轴“伦敦眼”的中心是巨大的轮毂和轴，主要部分由铸钢建造。
轴的体积十分庞大，难以一次浇铸成型，因此分为八个部分浇铸而成。
另外两次浇铸则铸造了多个巨环，形成轮毂的主要结构。
轮毂是环形轧钢管，将巨环隔离开来。
所有浇铸工程由斯柯达钢铁公司完成。
大学英语精读第6册课文全文翻译-中英对照
Problem Section. The first required section of a research report is the statement of the problem with which the research project is concerned. This section requires a precise statement of the underlying question which the researcher has set out to answer. In this same section there should be an explanation of the significance -- social, economic, medical, psychological, educational, etc. -- of the question; in other words, why the investigation was worth conducting. Thus, if we set out, for example, to answer the question "What is the effect of regular consumption of fast foods on the health of the American teenager?" we must explain that the question is thought to have significant relevance to the health of this segment of the population and might lead to some sort of regulations on such foods.
Unit 6 Being There 课文翻译
Unit 6Being ThereAnatole Broyard1. Travel is like adultery: one is always tempted to be unfaithful to one’s own country. To have imagination is inevitably to be dissatisfied with where you live. There is in men a centrifugal tendency. In our wanderlust, we are lovers looking for consummation.2. Only while traveling can we appreciate age. At home, for Americans at least, everything must be young, new, but when we go abroad we are interested only in the old. We want to see what has been saved, defended against time.3. When we travel, we put aside our defenses, our anxiety, and invite regression. We go backward instead of forward. We cultivate our hysteria.4. It is our best selves that travel, just as we dress in our best clothes. Only our passport reminds us how ordinary we actually are. We go abroad to meet our foreign persona, that thrilling stranger born on the plane. We’re going to see in Europe everything we have eliminated or edited out of our own culture in the name of convenience: religion, royalty, picturesqueness, otherness — and passion. We cling to the belief that other peoples are more passionate than we are.5. There’s an impostor in each of us — why else would we put on dark glasses and try to speak and look like the natives of another place? At home, we impersonate ourselves; when we’re abroad, we can try to be what we’ve always wanted to be. In spite of all the recent talk about roots, many of us are tired of our roots, which may be shallow anyway, and so we travel in search of rootlessness.6. Traveling began when men grew curious. The influence of the church, the traditional pattern of life, the lack of money and leisure had all restrained curiosity until the seventeenth century, when under pressure of scientific discoveries, the physical world began to gape open. It was then that people began to travel in search of the profane.7. Travel arrived together with sophistication, with the ability to see through or beyond one’s own culture, with the modern faculty of boredom. Something o f the Crusades survives in the modern traveler — only this is a personal crusade, an impulse to go off and fight certain obscure battles of his own spirit.8. Of course, one of the most common reasons for traveling is simply to get away. Freud said that we travel to escape father and the family, and we might add the familiar. There is a recurrent desire to drop our lives, to simply walk out of them.9. When we travel, we are on vacation —vacant, waiting to be filled. The frenzied shopping of some travelers is an attempt to buy a new life. To get away to a strange place produces a luxurious feeling of disengagement, of irresponsible free association. One is an onlooker, impregnable.10. We travel in summer, when life comes out of doors, and so we see only summery people, nothing of their sad falls, their long, dark winters and cruel springs. The places we visit are gold-plated by the sun. The flowers and trees are like bouquets thrown to history.11. And language — what a pleasure to leave our own language, with its clichés stuck in our teeth. How much better things sound in another tongue! It’s like having our ears cleaned out. So long as we don’t understand it too well, every other language is poetry.12. Because we travel for so many reasons —some of them contradictory —travel writing is like a suitcase into which the writer tries to cram everything. At its most interesting, it’s a continual tasting, the expression of a nostalgia for the particular. It’s a childish game of playing countries, as we used to play house.13. Travel writing describes a tragic arc: it begins with a rising of the spirit and ends in a dying fall. The earliest travelers went to see marvels, to admire the wonderful diversity of the world — but the latest travelers are like visitors sitting at the bedside of dying cultures. Early travelers fell in love at first sight with foreign places — but now we know only love at last sight, a kiss before dying, a breathing in of the last gasp. In some ancient societies, it used to be the c ustom for the son to inhale his father’s last breath, which contained his departing soul, and today’s travelers do something like this, too.14. Travel writing has become a quintessentially modern thing, the present regretting the past. We travel like insurance appraisers, assessing the damage. Militantly opposed to any kind of ethnic distinctions at home, we adore ethnicity abroad. Ironically, Americans need Europe more than Europeans do. To Parisians, for example, Paris is a place to live; for Americans, it’s a place to dream.15. “I do not expect to see many travel books in the near future,” Evelyn Waugh wrote in 1946. He saw the world turning into a “monoculture,” the sense of place giving way toplacelessness. What Waugh didn’t foresee was that travel books would change as novels and poetry have, that every slippage of culture would provoke its peculiar literature. He underestimated the variousness of our reasons for traveling.16. There have always been travelers who went to look for the worst, to find rationalizations for their anxiety or despair, to cover their disillusionment with labels, as steamer trunks used to be covered with them. Why else would Paul Theroux go to South America, which he so obviously detested? Shiva Naipaul’s worst fears were confirmed in Africa, just as his brother’s were in Asia. Graham Greene spent four months traveling in the Liberian jungle as a private penance.17. Even ruins have changed. Instead of the classical ruins of antiquity, we now have places that are merely “ruined.” And there are travelers who take a positive delight in them, who love awfulness for its own sake. For them, awfulness is the contemporary equivalent of the exotic. It’s a negative sublime, a swoon or ecstasy of spoliation.18. As other countries offer fewer exotic phenomena, the travel writer is forced to find the exotic in himself —and the picturesque as well. The centrifugal tendency turns centripetal, and modern travel books may be about the absence of things just as the classic books are about their presence. In Journey to Kars, Philip Glazebrook seems to have visited several unappealing villages in Turkey simply for the irony of being there. (Irony is the contemporary traveler’s drip-dry shirt.) One of the things a severely sophisticated traveler like Glazebrook seeks is a place where he himself can stand out in absolute relief.19. Perhaps in the future we shall have to travel like James Holman, who, after being invalided out of the British navy because he had gone blind, set out in 1819 to see the world. Traveling mostly alone, speaking no foreign languages, using only public transport, Holman got as far as Siberia and returned home to publish in several thick volumes all that he had experienced. He rarely felt, he said, that he had missed anything through being blind. (At one point, he met a deaf man and they traveled together.)20. Since he could not see, people often invited Holman to squeeze things as a way of perceiving them —and this is what today’s traveler has to do. He has to squee ze the places he visits, until they yield something, anything.1. 旅行好比私通：人总受到背叛自己国家的诱惑。
Removed_天大校研〔2012〕7号(天津大学对研究生发表高水平学术论文的奖励规定)12
1. 研究生本人自行申请，经导师对成果确认无误后，将申请表、 论文首页等相关材料报送学工部进行审核，审核无误后，学工部和财 务处配合完成奖励发放工作；
2. 研究生在 2013 年 1 月 1 日以前发表的高水平论文，在 2013 年 12 月 31 日之前仍不被领取的自动作废，不再发放奖励。
3. 自 2013 年 1 月 1 日起，研究生发表的高水平论文在学工部公 布奖励。
究生发表高水平学术论文的奖励规定》（待确定），对研究生领取
论文奖励的办法规定如下：
一、申请办理时间：
每年两次办理论文奖励领取事宜
______2__4_1______3___2_1_“_”__________________4__2__40__12_“_”0__12__03__“2_•_”042_“_0•__”83__“0_”_0_7_1__3—2__0__—1__45__80_1_42__84__42“__”56_l“_”4_0_“3”_0_5_0_28“_”01“_”07_“9”0_“0”2“2”•30”“0”“”093124820302130
天津大学 2012 年 12 月 31 日
（联系人：杨冬；联系电话：27406642）
______2__4_1______3___2_1_“_”__________________4__2__40__12_“_”0__12__03__“2_•_”042_“_0•__”83__“0_”_0_7_1__3—2__0__—1__45__80_1_42__84__42“__”56_l“_”4_0_“3”_0_5_0_28“_”01“_”07_“9”0_“0”2“2”•30”“0”“”093124820302130
五、其他 1. 本办法自颁布之日起执行，《天津大学关于奖励研究生发表被 SCIE 或 EI 收录学术论文的暂行规定》（津大校发〔2005〕64 号）同时 废止。 2. 本科生发表高水平学术论文的奖励参照本奖励规定执行。
现代大学英语精读1unit6课文翻译
现代大学英语精读1unit6课文翻译第六单元青香蕉1.尽管这种事情在任何地方都可能发生，但我与青香蕉的邂逅却源自于巴西腹地一条险峻的山路上。
我那老式吉普车正吃力地穿过景色优美的乡村，这时，水箱突然漏水了，而离我最近的汽车修理站也还要十英里。
发动机过热迫使我在临近的村庄停了下来。
村里有一个小商店和分布在四处的几座房子。
有村民围过来看，三股细细的热水柱从水箱外壳上的小孔喷出来。
“这容易解决，”一个人说到。
他让一个小男孩跑去拿些青香蕉来。
这个人还拍了拍我的肩膀，安慰我问题会解决的。
“青香蕉。
”他笑了，其余的人都这么说着。
2.我和他们闲聊起来，心里却一直在想他们用这青香蕉怎么能修补好水箱。
毫无疑问，提问会暴露我的无知，因此我开始赞叹眼前美丽的乡村景色。
耸立在我们周围巨大的岩石群，很像里约热内卢著名的糖面包山。
“看见那边那块高高的岩石了吗？”那人指着一块特别高而且细长的黑色石柱问我，“那块岩石标志着世界的中心。
”3.我看着他，想知道他是否在和我开玩笑，但他却表情严肃，反过来认真地审视着我，似乎想确定我是否领会了他那句话的深刻含义。
这种情况要求我必须表现出认同。
他点头说：“绝对是中心。
这儿的人都知道。
”4.这时，小男孩抱着青香蕉回来了。
那个男子把其中一根掰成两半，将其断口处按在水箱的外壳上。
香蕉遇到炙热的金属融成了胶，立刻就堵住了漏洞。
面对如此情景，我惊呆了，我当时的表情一定是傻傻的，所有的人都笑了起来。
他们把我的水箱装满水，又让我带上一些香蕉，以防沿途中水箱再出问题。
路上，我又用了一次青香蕉，一个小时后，我开着车到达了目的地。
当地的一修理工笑着问我：“谁教你用青香蕉的？”我告诉了他那个村子的名字。
“他们有没有指给你看标志世界中心的那块岩石?”他问道。
我告诉他，他们指给我看了。
“我祖父就是那儿的人，”他说，“那的确是中心。
一直以来这儿的人都知道。
”5.作为美国教育的产物，除了把青香蕉当作还没长熟的水果，我从来就没注意过它。
最新现代大学英语精读6课后英译汉
Unit11. An imbalance between the rich and poor is the oldest and most fatal ailment of republics贫富不均乃共和政体最致命的宿疾2. Their poverty is a temporary misfortune, if they are poor and meek, they eventually will inherit the earth他们的贫穷只是一种暂时性的不幸，如果他们贫穷但却温顺，他们最终将成为世界的主人3. Couples in love should repair to R H Macy’s not their bedroom一对对儿热恋的新婚夫妇应该在梅西百货商店过夜，而不是回到他们的新房。
4.The American beauty rose can be produced in the splendor and fragrance which bring cheer to its beholder only by sacrificing the early buds which grow up around it.and so is in economic life. It’s merely the working out of the a law of the nature and a law of god美国这朵玫瑰花以其华贵与芳香让观众倾倒，赞不绝口，而她之所以能被培植就是因为在早期其周围的花蕾被插掉了，在经济生活中情况亦是如此。
这是自然规律和上帝的意志在起作用5. (It has become) an economically not unrewarding enterprise. （它已成为）经济上收入不菲的行业6.There is…no form of oppression that is quiet so great, no constriction on thought and effort quiet so comprehensive, as that which come from having no money at all没有哪种压迫比身无分文更厉害，也没有哪种对思想和行为的束缚比一无所有来得更全面彻底7. Freedom we rightly cherish, cherishing it, we should not use it as a cover for denying freedom to those in need.我们珍惜自由式对的。
精读6第六课翻译
现代大学英语课文译文VI-6小猪之死E．B．怀特1．在一个九月的中旬，为了照看一头生病的猪，我花费了好几个日日夜夜，被某种力量驱使着要把这个时段描述出来，尤其是因为这头猪死了而我还活着。
事情很容易颠倒过来，不过那样的话就没有人留下来讲述这件事了。
甚至现在，距这件事情发生时间如此之近，我却回想不起事情发生的确切时间，也说不清那头猪死于第三个还是第四个晚上。
对时间的不确定让我感觉到我的确体质上大不如前；倘若我身体健壮，岂能搞不清我与这只病猪究竟熬过了多少个不眠之夜呢!2．春暖花开时节买一头猪崽，然后经过从夏至秋几个月的精心饲养，寒冷的冬季来临的时候宰杀，这对我来说是再熟悉不过的计划，延续着古老的模式。
这就好像绝大多数的农场里上演的精确地忠实于原剧脚本的一幕幕悲剧。
这杀戮蓄谋已久，毋庸置疑，然而手段敏捷利落，提供给喜庆盛宴的熏肉和火腿便是它们的结局，至于这样的结局是否值得则无人质疑。
3．偶尔事情也会出错---某个演员提前念了台词，那么整个演出就会出现混乱，以致停滞。
我的猪该吃食的时候没有出场，我的担心的情绪马上散布开来。
这部经典悲剧的轮廓和步骤消失殆尽。
我俨然发现自己开始扮演起猪的朋友和私人医生--- 一个拿着助推器灌肠剂袋子当道具的滑稽角色。
就在当天下午我有一种预感，这部剧将永远不会再获平衡，而我的同情心完全趋向了我的病猪一边。
这是一部闹剧---一场戏剧性的表演吸引了我的老达克斯猎犬弗瑞德。
他又是守夜，又是拖灌肠剂袋，当一切结束的时候又充当葬礼主持。
死猪尸体下葬的时候，我们两个都伤心欲绝，我们失去的不是餐桌上的火腿，而是失去了一头猪，一个家庭成员。
事实证明这头猪对于我来说非常珍贵，不是在我饥饿时提供大餐，而是他在这个苦难世界里经历了一次磨难。
我把故事讲过头了，现在回来从头讲起。
4．我的猪栏设在一个旧果园的末端，一所房子的底层。
我饲养过的猪生活在一个过去曾是冰库的褪色的建筑中，有一个可以走动的惬意的院子，一棵苹果树伏在低矮的篱笆上遮着阴凉。
天津大学翻译课unit 6 诗歌的翻译
Unit Six诗歌的翻译诗歌是文学作品的一种形式，诗歌语言内涵极其丰富,语言形式极其优美;诗歌的文字高度集中凝练,充分运用和体现了语言的艺术性。
诗歌用词不多,却运用比喻性意象或典故等修辞形式,蕴含着大量信息和深刻含意。
诗歌和其他文学体裁最大的区别就在于，诗歌在音韵(rhyme)、节奏(rhythm)和格式(form)等方面有着较严格的要求。
诗歌的形式丰富多彩，汉语和英语都有自由体诗和古体诗，汉语诗歌有诗词之分，诗当中又分为五言绝句、七言绝句等；英语诗更有民谣(ballad)、史诗(epic)、浪漫诗(romance)、颂歌(ode)、十四行诗(sonnet)等丰富的体裁。
一、诗歌的特点首先，诗歌具有强烈的抒情性。
“诗言情志”，就是“诗主情”，就是“诗以情感为主”。
情是诗的血液和生命，好的诗作往往是凭借诗中的喜悦、哀伤、愤怒、幽怨等情感拨动受众的心弦。
其次，诗歌重视熔铸意境。
诗歌的情感不是口号式的直接诉诸呼喊，而是通过高妙的意境显现出来。
所谓意境，就是诗人描绘的客观图景与其表现的思想感情融汇在一起而形成的艺术境界。
它所具有的虚实相生、物我相通、深邃幽远的审美特征，能引起读者的想象和联想，从而仿佛身临其境似的受到感染和熏陶。
诗歌的意境是大美无言，大情无说。
诗人的至情、美感通过诗的意境表现出来的，才是好诗。
第三，诗歌富有韵律美。
韵律美是诗歌的重要特征。
诗歌韵律的第一个要素是韵脚，除了某些自由诗、散文诗外，诗歌都是押韵的。
韵律的第二个要素是节奏，节奏反映在形式上就是句式。
第四，诗歌讲究语言的锤炼。
诗歌是最讲究语言艺术的文学样式。
因为要在尺幅之内充分展现诗情画意，所以诗歌的用语就必须比常规语言更为鲜明、凝练、生动，更具有表现力。
诗人创作诗歌除了构思立意，下功夫最大的就是锤炼用语，亦即古人所说的“炼字”、“琢句”。
无论是汉语诗歌还是英语诗歌，有两个因素是必不可少的：一是强烈的节奏；二是强烈的感情。
原诗必须如此，译诗也必须如此。
综合教程6课文翻译Unit6-9
Lesson6 Being There 6.游过某地旅行好比通奸：一个人总是怀着对自己国家不忠的企图，就算是只想象一下旅游这件事就不可避免地对你所住的地方产生不满意。
人的身体里总有着一种向外跑的倾向。
我们的这种到处跑的嗜好使我们变得像两个偷情的人一般：期待圆房。
只有在旅行过程中，我们才能体验到岁月的魅力。
在国内，至少对美国人是这样，任何东西都必须是年轻的、新颖的，但是到了国外，我们却唯独钟情于年代久远的事物。
我们想见的是那些历经岁月洗礼却幸存下来的事物。
当旅行时，我们可以放下自己的防卫、紧张，甚至为了逃避目前的忧虑回到从前也无妨，退回到过去而不是继续向前，也可以任自己的情绪随意爆发。
在旅行时，我们仿佛穿上了自己最漂亮的衣服，呈现的是最完美的自我。
只有我们的护照还在提醒我们实际上还是普通人。
我们到国外去是去见另一个“自我”——那个在飞机上降生的令人激动万分的陌生人。
我们将会在欧洲看到在我们的文化中以方便之名（美其名曰为了方便）去掉或删除掉的任何东西，比如宗教、王权、自然之美、异质性和激情。
而且我们的脑袋里一根筋地认为其它民族比我们更富于激情。
我们每个人内心深处都有一个伪装的自己，要不是这样的话，我们为什么要戴上黑眼镜，努力在言行上装出和其它地方的当地人一样呢？在家的时候，我们伪装自己，当出国时，我们可以努力成为一直想成为的人。
姑且不论最近都在谈到的寻根问题，我们中很多人都已经厌倦了自己的根脉，也许是因为根还没有扎得很深的缘故吧，所以我们旅行是为了不受根脉问题的羁绊，享受充分地自由。
人类变得好奇之时，便是旅行起航之日。
17世纪之前，囿于宗教的束缚，传统生活方式的羁绊、金钱和闲暇时间的匮乏，人们的好奇心受到了限制。
在种种科学发现的推动下，物质世界的大门被愕然打开了。
直到那时，为了寻找非宗教的东西，人们才开始了旅行。
当人类开始变得世故，看清自己文化的本质甚至是超越了自己的文化，并养成了对任何东西都感到厌倦的现代能力时，外出旅行就应运而生了。
新标准大学英语综合教程课文翻译unit6
Unit 6Active reading (1)梦想成真当夜幕降临悉尼时，雨也开始悄悄地从夜空中飘落。
几百盏灯把澳大利亚体育场照得灯火通明，场内的声音震耳欲聋。
走向跑道时我看了一眼四周看台上无数的脸，但我的注意力还是很集中。
再过几分钟奥运金牌的归属就要见分晓了，它悬挂在远处，很诱人。
我心在剧烈地跳动，口干舌燥，肾上腺素猛增。
童年的梦想就要实现了，这种感觉真是太奇妙了：令人非常兴奋，又胆战心惊。
我知道，为了确保能梦想成真我必须强迫自己超越已知的极限。
我极力保持镇静，告诫自己不要紧张，要坚持按原计划做，按自己的节奏跑。
我知道那些俄罗斯姑娘起跑很快——这场比赛我落后俄罗斯运动员叶莲娜·普罗科霍洛娃不能超过十秒。
如果我做到这一点，冠军就是我的了。
我望着四百米跑道的起跑点，屏住了呼吸。
这些年来，在世锦赛、英联邦锦标赛以及欧洲锦标赛的八百米赛跑中我屡战屡败，饱受挫折。
现在，它再次横在我与奥运冠军头衔之间。
我的英国支持者在为我欢呼，声音特别大，就好像看台上只有他们是粉丝。
我听到他们喊我的名字，为我鼓劲加油，听到他们充满希望的呐喊。
宽阔美丽的体育场上到处飘扬着大不列颠联合王国的国旗，我感觉自己和观众融为了一体：我们有着同样的期盼，同样的梦想。
几个小时前，我的脚踝在跳远时受了伤，缠上了绷带，但是我忘掉伤痛，尽量把注意力集中在观众身上。
他们的叫喊声势浩大，使我精神振奋，我感到镇定自若。
我知道自己会全力以赴，拼尽全力跑完全程。
我感觉自己已经进入最佳状态。
我只要跑两圈就行了，就两圈。
跑完这两圈，过去两天以及28 年来所有情感和身体上的辛苦付出就将被胜利或者失败所淹没。
这一跑真是生死攸关。
我不断地告诉自己：也就是跑两分钟，谁都能跑两分钟。
发令枪响了，比赛正式开始。
第一圈还好，我跟其他人跑得一样快，但我觉得比平时要累得多，比我预想的要累得多。
这次锦标赛赛前长达数周的艰苦训练以及这两天激烈的比赛所带来的疲劳在我的赛跑过程中显现出来了。
现代大学英语精读unit课文翻译
Unit 6 Text AThe Green Bananait might have happened anywhere, my encounter with the green banana started on a steep mountain road in the central area of Brazil. My ancient jeep was straining up through beautiful countryside when the radiator began to leak, and I was ten miles from the nearest mechanic. The over-heated engine forced me to stop at the next village, which consisted of a small store and a few houses that we are scattered here and there. People came over to look. They could see three fine streams of hot water spouting from holes in the jacket of the radiator. "That's easy to fix, a man said. He sent a boy running for some green bananas. He patted me on the shoulder, assuring me that everything would work out. "Green bananas," he smiled. Everyone agreed.尽管这种事情在任何地方都可能发生，但我与青香蕉的邂逅却源自于巴西腹地一条险峻的山路上。
现代大学英语英语第六册课后句子解释翻译
现代大学英语英语第六册课后句子解释翻译1. Virtue is indeed must be self-centered.正确的行动是，确实也是以自我为中心的By right action, we mean it must help promote personal interest.2.... (Poverty) was a product of their excessive fecundity... 贫困是他们过度生育的结果。
The poverty of the poor was caused by their having too many children.3. ...the rich were not responsible for either its creation or its amelioration. 富人不应该为产生贫穷和解决贫穷而承担责任。
The rich were not to blame for the existence of poverty so they should not be asked to undertake t he task of solving the problem.4. It is merely the working out of a law of nature and a law of God.这是自然规律和上帝的意志在起作用。
It is only the result or effect of the law of the survival of the fittest applied to nature of to human society.5. It declined in popularity, and references to its acquired a condemnatory tone.遭到了普遍的质疑，人们提及它都带有谴责的口吻。
现代大学英语精读unit课文翻译
Unit 6 Text AThe Green Bananait might have happened anywhere, my encounter with the green banana started on a steep mountain road in the central area of Brazil. My ancient jeep was straining up through beautiful countryside when the radiator began to leak, and I was ten miles from the nearest mechanic. The over-heated engine forced me to stop at the next village, which consisted of a small store and a few houses that we are scattered here and there. People came over to look. They could see three fine streams of hot water spouting from holes in the jacket of the radiator. "That's easy to fix, a man said. He sent a boy running for some green bananas. He patted me on the shoulder, assuring me that everything would work out. "Green bananas," he smiled. Everyone agreed.尽管这种事情在任何地方都可能发生,但我与青香蕉(de)邂逅却源自于巴西腹地一条险峻(de)山路上.我那老式吉普车正吃力地穿过景色优美(de)乡村,这时,水箱突然漏水了,而离我最近(de)汽车修理站也还要十英里.发动机过热迫使我在临近(de)村庄停了下来.村里有一个小商店和分布在四处(de)几座房子.有村民围过来看,三股细细(de)热水柱从水箱外壳上(de)小孔喷出来.“这容易解决,”一个人说到.他让一个小男孩跑去拿些青香蕉来.这个人还拍了拍我(de)肩膀,安慰我问题会解决(de).“青香蕉.”他笑了,其余(de)人都这么说着.chattered casually while all the time I was wondering what they could possibly do to my radiator with their green bananas.I did not ask them, though, as that would show my ignorance, so I talked about the beauty of the land that lay before our eyes. Huge rock formations, like Sugar Loaf in Rio, rose up all around us. "Do you see that tall one right over there" asked the man, pointing to a particularly tall, slender pinnacle of dark rock. "That rock marks the center of the world."我和他们闲聊起来,心里却一直在想他们用这青香蕉怎么能修补好水箱.毫无疑问,提问会暴露我(de)无知,因此我开始赞叹眼前美丽(de)乡村景色.耸立在我们周围巨大(de)岩石群,很像里约热内卢着名(de)糖面包山.“看见那边那块高高(de)岩石了吗”那人指着一块特别高而且细长(de)黑色石柱问我,“那块岩石标志着世界(de)中心.”looked to see if he was teasing me, but his face was serious. He, in turn, inspected me carefully, as if to make sure I grasped the significance of his statement. The occasion called for some show of recognition on my part. "The center of the world" I repeated, trying to show interest if not complete acceptance. He nodded. "The absolute center. Everyone around here knows it."我看着他,想知道他是否在和我开玩笑,但他却表情严肃,反过来认真地审视着我,似乎想确定我是否领会了他那句话(de)深刻含义.这种情况要求我必须表现出认同.他点头说：“绝对是中心.这儿(de)人都知道.”that moment the boy returned with an armful of green bananas. The man cut one in half and pressed the cut end against the radiator jacket. The banana melted into a glue against the hot metal, stopping the leaks instantly. I was so astonished at this that I must have looked rather foolish and everyone laughed. They then refilled my radiator and gave me extra bananas to take along in case my radiator should give me trouble again. An hour later, after using the green banana once more, my radiator and I reached our destination. The local mechanic smiled. "Who t aught you about the green banana" I gave him the name of the village. "Did they show you the rock marking the center of the world" he asked. I assured him they had. "My grandfather came from there," ;he said. "The exact center. Everyone around here has always known about it."这时,小男孩抱着青香蕉回来了.那个男子把其中一根掰成两半,将其断口处按在水箱(de)外壳上.香蕉遇到炙热(de)金属融成了胶,立刻就堵住了漏洞.面对如此情景,我惊呆了,我当时(de)表情一定是傻傻(de),所有(de)人都笑了起来.他们把我(de)水箱装满水,又让我带上一些香蕉,以防沿途中水箱再出问题.路上,我又用了一次青香蕉,一个小时后,我开着车到达了目(de)地.当地(de)一修理工笑着问我：“谁教你用青香蕉(de)”我告诉了他那个村子(de)名字.“他们有没有指给你看标志世界中心(de)那块岩石”他问道.我告诉他,他们指给我看了.“我祖父就是那儿(de)人,”他说,“那(de)确是中心.一直以来这儿(de)人都知道.”a product of American education, I had never paid the slightest attention to the green banana, except to regard it as a fruit whose time had not yet come. Suddenly, on that mountain road, its time had come to meet my need. But as I reflected on it further, I realized that the green banana had been there all along. Its time reached back to the very origins of the banana. The people in that village had known about it for years. It was my own time that had come, all in relation to it. I came to appreciate the special genius of those people, and the special potential of the green banana. I had been wondering for some time about what educators like to call "learning moments" and I now knew I had just experienced two of them at once.作为美国教育(de)产物,除了把青香蕉当作还没长熟(de)水果,我从来就没注意过它.但突然在那条山路上,当我需要它时,它正巧出现了.可是仔细想一想,其实青香蕉一直在那儿存在着.时间可以追溯到香蕉(de)最初(de)起源.那个村子里(de)人都知道它已经很多年了,我现在也因此认识它了.我开始珍视村民们(de)聪明才智和青香蕉(de)特殊潜能.曾有一段时间,我一直困惑于教育家们提出(de)“领悟(de)瞬间”,而现在我知道自己刚刚同时经历了两个这样(de)瞬间.took me a little longer to fully grasp the importance of the rock which the villagers believed marked the center of the world.I had at first doubted their claim, as I knew for a fact that the center was located somewhere else in New England. After all, my grandfather had come from there. But gradually I realized the village people had a very reasonable belief and I agreed with them. We all tend to regard as the center that special place where we are known, where we know others , where things mean much to us, and where we ourselves have both identity and meaning: family, school, town and local region could all be our center of the world.我又用了一些时间来领会村民们认为那块标志着世界中心(de)岩石(de)重要性.开始时我怀疑他们(de)说法,因为我知道实际上世界(de)中心是位于新英格兰(de)某个地方,毕竟,我(de)祖父就是那儿(de)人.但我逐渐意识到他们(de)想法是很有道理(de),我赞同了他们(de)看法.我们都倾向于把一个特殊(de)地方理解为“中心”：在那儿为人所知,我们也认识其他人；那儿(de)事物对我们来说都别有意义；那儿有我们(de)根,有我们存在(de)价值所在：家庭、学校、城镇以及当地(de)一切都可能成为我们眼中世界(de)中心.lesson which gradually dawned on me was actually very simple. Every place has special meanings for the people in it, and in a certain sense every place represents the center of the world. The world has numerous such centers, and no one student or traveler can experience all of them. But once a conscious breakthrough to a second center is made, a life-long perspective and collection can begin.我渐渐明白了一个其实再简单不过(de)道理：对于居住在其中(de)人来说,每个地方都有着特殊(de)含义,从某种意义上说,每个地方都代表着“世界(de)中心”.世界上有无数这样(de)“中心”,没有哪个学生或旅行者能经历所有(de)这些“中心”.但是,一旦突破这种意识从而建立另一个中心,一个全新(de)视角将伴随你(de)一生,并且一种积累(de)过程也将从此开始.cultures of the world are full of unexpected green bananas with special value and meaning. They have been there for ages, ripening slowly, perhaps waiting patiently for people to come along to encounter them. In fact, a green banana is waiting for all of us if we would leave our own centers of the world in order to experience other places.在世界文化之林中充满了你意想不到(de)含有特殊价值和意义(de)青香蕉.它们在那里存在很久了,满满地成熟,也许在耐心等待着人们(de)发现.实际上,青香蕉在等待着我们所有(de)人离开自己(de)“中心”,去体验更加广阔(de)天地.。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
Unit Six诗歌的翻译诗歌是文学作品的一种形式，诗歌语言内涵极其丰富,语言形式极其优美;诗歌的文字高度集中凝练,充分运用和体现了语言的艺术性。
诗歌用词不多,却运用比喻性意象或典故等修辞形式,蕴含着大量信息和深刻含意。
诗歌和其他文学体裁最大的区别就在于，诗歌在音韵(rhyme)、节奏(rhythm)和格式(form)等方面有着较严格的要求。
诗歌的形式丰富多彩，汉语和英语都有自由体诗和古体诗，汉语诗歌有诗词之分，诗当中又分为五言绝句、七言绝句等；英语诗更有民谣(ballad)、史诗(epic)、浪漫诗(romance)、颂歌(ode)、十四行诗(sonnet)等丰富的体裁。
一、诗歌的特点首先，诗歌具有强烈的抒情性。
“诗言情志”，就是“诗主情”，就是“诗以情感为主”。
情是诗的血液和生命，好的诗作往往是凭借诗中的喜悦、哀伤、愤怒、幽怨等情感拨动受众的心弦。
其次，诗歌重视熔铸意境。
诗歌的情感不是口号式的直接诉诸呼喊，而是通过高妙的意境显现出来。
所谓意境，就是诗人描绘的客观图景与其表现的思想感情融汇在一起而形成的艺术境界。
它所具有的虚实相生、物我相通、深邃幽远的审美特征，能引起读者的想象和联想，从而仿佛身临其境似的受到感染和熏陶。
诗歌的意境是大美无言，大情无说。
诗人的至情、美感通过诗的意境表现出来的，才是好诗。
第三，诗歌富有韵律美。
韵律美是诗歌的重要特征。
诗歌韵律的第一个要素是韵脚，除了某些自由诗、散文诗外，诗歌都是押韵的。
韵律的第二个要素是节奏，节奏反映在形式上就是句式。
第四，诗歌讲究语言的锤炼。
诗歌是最讲究语言艺术的文学样式。
因为要在尺幅之内充分展现诗情画意，所以诗歌的用语就必须比常规语言更为鲜明、凝练、生动，更具有表现力。
诗人创作诗歌除了构思立意，下功夫最大的就是锤炼用语，亦即古人所说的“炼字”、“琢句”。
无论是汉语诗歌还是英语诗歌，有两个因素是必不可少的：一是强烈的节奏；二是强烈的感情。
原诗必须如此，译诗也必须如此。
诗歌的翻译方法大致分为三步：1. 分析：即彻底理解原诗，得出原诗的深层结构。
2. 转换：将原诗深层结构转换成译语。
3. 重构：首先是确定韵脚，然后将已转换为译语的原诗的深层结构改为押韵诗行，最后调整长短、节奏。
二、英诗汉译从英国诗人罗塞蒂的《闪光》一诗来看英诗汉译的技巧Sudden LightDante Gabriel Rossetti（1828 – 1882）I have been here before,But when or how I cannot tell:I know the grass beyond the door,The sweet, keen smell,The sighing sound, the lights around the shore.You have been mine before,---How long ago I may not know:But just when at that swallow’s soarYour neck turned so,Some veil did fall, --- I knew it all of yore.Has this been thus before?And shall not thus time’s eddying flightStill with our lives our love restoreIn death’s despite,And day and night yield one delight once more?译文闪光似曾浪迹此邦，何故何年费思量。
但记得门前芳草，犹吐旧时香。
涛声，惆怅，岸畔灯火迷茫。
似曾长驻你心上，苦忘却日久天长。
蓦然，有飞燕凌空，你顾盼回望，纱巾落，——唉，往事翩然在心房！当时情景非真象？凭谁问：轮回，流光，唤不醒离魂，鸳梦难温旧时帐？管它生死，哪分昼夜，或再度春情喜欲狂？《闪光》这首诗没有太多的典故和很难处理的意象，格律方面也能够进行一定程度的模仿。
译文采用了相当多的具有词曲风味的用语，意译为主，增色程度较大，所以诗味比原诗浓郁。
译文在押韵上照顾了中国读者在诗歌鉴赏方面的传统审美习惯采用了一韵到底的一元韵式，韵脚ang念起来响亮，比原诗有更强的诗味。
第一行：“浪迹”表达了全诗显露的飘然感和动态朦胧感，属诗增色译法。
第三行：“芳”，“旧时”原文中并没有，但中国诗人一写到草时往往要用双字词。
一个草字念起来不自然，加上前缀“芳”“青”之类或后缀“儿”就好得多。
“旧时”很显然是译者从上下文中推敲而来。
第五行：“惆怅”承“sighing”而来，“迷茫”则是接“惆怅”氛围而生的境界。
第六行：“似曾长驻你心上”此行采用了反译法。
第十二行：为了节奏的需要，“轮回”与“流光”之间用逗号隔开，同时也是为了让“流光”处于可以引领下行诗句的主语地位。
第十三行：“唤不醒离魂，鸳梦难温旧时帐？”此行为意译法。
英诗中译的难处突出体现在它的格律和风格形式上，在翻译英诗时能否将英诗的格律照译过来，在配以现代汉语的音韵、节奏呢？英语古体诗讲究节奏韵律整齐划一、押韵要依照一定的体式等等。
英语的古体诗每行分为若干个音步，这些音步又根据轻重音的不同分为“抑扬格”（iambic）, “扬抑格”（trochaic）,“抑抑扬扬”（anapest）, “扬扬抑抑”（dactyl）等。
英语现代诗总体上表现为一种反传统性，形式上多为自由体(free verse), 也不排除节奏、押韵等表现手段。
A Red, Red RoseRobert Burns (1759--1796)O my Luve's like a red, red rose,That's newly sprung in June:O my Luve's like the melodie,That's sweetly play'd in tune.As fair art thou, my bonie lass,So deep in luve am I;And I will luve thee still, my dear,Till a' the seas gang dry.Till a' the seas gang dry, my dear,And the rocks melt wi' the sun;And I will luve thee still, my dear,While the sands o' life shall run.And fare-thee-weel, my only Luve!And fare-thee-weel, a while!And I will come again, my Luve,Tho' 'twere ten thousand mile!这是罗伯特·彭斯最著名的一首爱情诗。
全诗语言质朴，亲切自然，透着苏格兰民歌的风格。
读这首诗，我们仿佛在聆听一位少年在向即将分别的恋人诉说衷情。
全诗分为四节，每节的第二行、第四行押韵。
每一节诗又由两个长句和两个短句组成，每个长句有八个音节，每个短句有六个音节，长句和短句交替出现，这就使得诗歌的节奏轻快活泼。
而诗歌中的叠词和复句的运用更增加了诗歌的节奏感，使诗歌更加具有音韵的美感。
一朵红红的玫瑰啊,我的爱人象一朵红红的玫瑰, 六月里迎风初开,啊,我的爱人象一支甜甜的曲子, 奏得和谐又合拍.我的好姑娘,你有多么美，我的情也有多么深。
我将永远爱你，亲爱的，直到大海干涸水流尽.直到大海干涸水流尽，太阳将岩石烧作灰尘。
我也永远爱你，亲爱的，只要我一息犹存。
珍重吧!我唯一的爱人，珍重吧,让我们暂时别离,但我定要回来,哪怕千里万里!一朵红红的玫瑰啊，我爱人像红红的玫瑰，它在六月里初开；啊，我爱人像一支乐曲，美妙地演奏起来。
你是那么漂亮，美丽的姑娘，我爱你那么深切；我要爱你下去，亲爱的，一直到四海枯竭。
一直到四海枯竭，亲爱的，到太阳把岩石烧裂；我要爱你下去，亲爱的，只要是生命不绝。
再见吧，我唯一的爱人，让我和你小别片刻；我会回来的，亲爱的，即使是万里相隔。
两首译作的首尾两节是直译过来的，句法未变，字面意义也未作任何变更。
译作一第一句根据sprung表现的情态增加了“迎风”；第三句给melodie加上了“甜甜的”修饰。
这些增添了原诗深层意蕴所有而表层意蕴所无的内容，因而更深层次地传达了原诗的意境。
译作二最后一小节中将my luve译为意义相同的两个称呼“我的爱人”和“亲爱的“，展现了诗人深沉的情感和依依不舍的心情。
而“小别”和“相隔”两词用得更是精当优美，与此节一、三句相呼应，进一步表现出诗人真挚深切的感情。
两首译作在准确翻译诗歌内容的基础上，严格按照原诗的诗行次序翻译。
两首译作都完全保留了原诗的形式，每四行为一小节，每小节的二、四行押韵，诗句的停顿及长短句的结构也沿袭了原作风格。
而且，这些押韵的方式、诗句的停顿、叠词和复句所形成的诗歌节奏都符合汉语诗歌韵律的规律，符合汉语诗歌读者的审美习惯。
汉语诗歌也习惯于二、四、六行押韵，叠词和复句的运用也是汉语诗歌中经常运用的修辞方法。
如果以音、形、意三美的标准来衡量，译诗也是相当成功的：第一, 它完全保留了原诗的意义和意境；第二，基本保留了跟原诗相当的形式；第三，节奏自然，偶句押韵，读起来颇有原诗的神韵和风采。
再来看拜伦“这一天我满36岁”（On This Day I Complete My Thirty-Sixth Year）一诗第二节的翻译My days are in the yellow leaf;The flowers and fruits of love are gone;The worm, the canker, and the grief,Are mine alone!译一年华黄叶秋，花实空悠悠。
多情徒自苦，残泪带愁流。
译二我的岁月似深秋的黄叶，爱情的香花甜果已凋残；只有蛀虫、病毒和灾孽，是我的财产。
如果不对照原诗，译一读来朗朗上口，是很符合中国传统审美的诗。
但是对照原诗，译一的风格和拜伦的风格相去甚远，不能算是一个成功的翻译。
译二译文流畅自然，第一句以明喻替代原诗的暗喻，第二句根据语意添加“香”、“甜”两字，第四句则用一个暗喻译原诗的直陈句；译作与原诗句式长短相当，形式相似，用韵也与原诗一致，同为abab式。
原诗中一切形象，如黄叶、香花、甜果、蛀虫、病毒、灾孽，一件不漏，可谓较好地保留了原诗的音、形、意三美，读来确有拜伦的韵味和风格。
三、古诗英译译诗难，译古诗更难。
尽管不可译的观点从来有之，汉诗的翻译却从未间断过，汉语古诗的翻译方法和观念也各有不同。