鲁迅翻译的作品
试评鲁迅《狂人日记》两种英译本
试评鲁迅《狂人日记》两种英译本鲁迅是中国著名的文学家，他对中国文学和思想留下了深远的影响，他的作品深入人心，比如《狂人日记》。
《狂人日记》是鲁迅晚期的一部代表作，充满着新意，在文学语言、风格上都有很大的突破。
小说融合了真实与虚构，突出主人公狂言狂语，反映了鲁迅精神世界的变化、复杂、多变。
《狂人日记》有两种英译本，一种是由美国翻译家杨沙彩翻译出版的，名为《Madman’s Diary》；另一种是由丹麦翻译家斯特林哈里斯翻译出版的，名为《The Diary of a Madman》。
杨沙彩的《Madman’s Diary》是1977年出版的，这是早期英译本。
这种译本译文翻译技巧比较保守，朗读性强，用语比较正式，容易被读者理解。
杨沙彩以克莱蒙特的理论为基础，采用单一翻译技巧，译文偏文艺，但是在文字表达上有比较大的限制，也带来了一定的缺失。
后来，在1996年，丹麦翻译家斯特林哈里斯受到李银河的鼓励，重新翻译出版了《The Diary of a Madman》。
斯特林哈里斯采用灵活的多重翻译技法，用修辞手法及多种表达风格，多样化地运用语言，使鲁迅在文字表达上十分丰富、活泼，符合鲁迅作品本身的风格，使读者能够感受到原文风貌，接受到更深层次的内容与思想，从而使《狂人日记》英译本得到了进一步的改良和完善。
《狂人日记》对于海外读者来说，有着重要的文化意义，无论是杨沙彩的《Madman’s Diary》还是斯特林哈里斯的《The Diary of aMadman》，都能让海外读者更好地了解中国文化，切身感受到鲁迅的精神，从而增进两国的文化交流。
综上所述，杨沙彩和斯特林哈里斯两种英译本的《狂人日记》都受到了广大读者的一致赞誉，让鲁迅作品登上了国际舞台，同时也让更多的海外读者有机会了解到中国文学作品，从而实现中国文化与国际文化的交流与融合。
鲁迅立论原文及翻译
立论原文及赏析我梦见自己正在小学校的讲堂上预备作文，向老师请教立论的方法。
“难！”老师从眼镜圈外斜射出眼光来，看着我，说。
“我告诉你一件事——“一家人家生了一个男孩，合家高兴透顶了。
满月的时候，抱出来给客人看，大概自然是想得一点好兆头。
“一个说：‘这孩子将来要发财的。
’他于是得到一番感谢。
“一个说：这孩子将来要做官的。
他于是收回几句恭维。
“一个说：‘这孩子将来是要死的。
’他于是得到一顿大家合力的痛打。
“说要死的必然，说富贵的许谎。
但说谎的得好报，说必然的遭打。
你……”“我愿意既不说谎，也不遭打。
那么，老师，我得怎么说呢？”“那么，你得说：‘啊呀！这孩子呵！您瞧！多么……。
阿唷！哈哈！Hehe！He，hehehehe⑵！’”一九二五年七月八日赏析这是一篇独特的寓言式的篇章。
作者以一个“梦”的形式，用讽喻的笔法揭露和抨击了当时社会黑白不分、真假不辨的丑恶现象。
全文采用对话的形式，以“取类型”的写作技法，来针砭社会的丑陋与痼疾，进而传递出作者内心深处的愤愤之情，“说谎的得好报，说必然的遭打”，这是何样的社会。
“这孩子将来要发财的”，“这孩子将来要做官的”，这是出自于阿谀谄媚者之口；而直言者则说：“这孩子将来是要死的。
”然而，阿谀谄媚者得到了感谢与恭维，说真话者却遭了一顿“大家合力的痛打”。
这自然是作者所痛恨的。
但作者并没有对此满腹牢骚，大骂一通，而是巧妙地借助于师生的问答，揭示了一个更为深刻的问题：中国人的“哈哈主义”。
怎样才能“既不谎人，也不遭打”，要做到这点，就只能采取逃避态度，采取“哈哈主义”。
文章也在一连串“哈哈”的象声词中结尾。
这样的结尾方式感受到独特的艺术魅力，既形象生动地刻画了人物，又深刻地揭示了文章主旨。
因为这“哈哈主义”才是作者讽刺与批判之锋芒所向。
这“哈哈主义”实际上就是一种“不敢直面”、“不敢正视”的怯懦的处世态度，是几千年的“老好人哲学”的体现，是封建社会统治之下形成的国民“劣根性”的一种表现。
鲁迅入选教材的翻译作品
鲁迅入选教材的翻译作品
鲁迅翻译的作品有：《工人绥惠略夫》《一个青年的梦》《爱罗先珂童话集》《桃色的云》《苦闷的象征》《小说旧闻钞》《出了象牙之塔》《小约翰》《野草》《而已集》《思想山水人物》《壁下译丛》《近代美术史潮》《工人绥惠略夫》等。
鲁迅翻译研究的重要性
鲁迅是公认的现当代著名的文学家，鲁迅研究更是一门显学，也是中国现当代文学研究领域的重要组成部分，但是对鲁迅翻译文学的研究还是一个比较新的课题，其重要性不亚于对鲁迅文学的研究。
在鲁迅的一生中，翻译占有举足轻重的地位，鲁迅一生的创作和译作各占半壁江山，据不完全统计，鲁迅一生翻译了15个国家，110多个作家，200多种外国作家作品，总字数超过500万字，其中包括小说、杂文、戏剧、诗歌、童话、散文、随笔、文艺理论等多种体裁。
鲁迅通过编译、意译、直译、改译等多种翻译手段，用实际行动实践着自己“别求新声与异邦”的个人理想，对中国的翻译和文学思想的推动都有着深入和广泛的影响。
吴钧甚至在自己的著作中首次提出“鲁迅首先是翻译家，后来才成为文学家”的新定位。
鲁迅翻译的作品
鲁迅翻译的作品鲁迅是中国现代文学的先驱，被誉为“白话文运动”的倡导者之一。
他的翻译作品涵盖了文学、哲学、政治等多个领域。
以下是鲁迅翻译的一些代表作品。
《红字》：鲁迅翻译的这篇小说是美国作家霍桑的代表作之一。
小说讲述了一个被刻上红字“A”的女子的故事，探讨了道德、罪恶和复仇的主题。
鲁迅的翻译忠实地传达了原作中的凄凉与压抑，将故事的情节和人物形象转化为中国读者所能理解和感受的形式。
《双城记》：这是英国作家狄更斯的一部长篇小说，描述了法国大革命期间伦敦和巴黎两个城市的故事。
鲁迅将这部小说翻译成了中国读者容易理解的白话文，将狄更斯深刻的社会批判和情感描写带给了中国的读者。
这个翻译使得《双城记》成为中国人熟知的经典。
《尼采论语》：这是德国哲学家尼采的一本重要著作，内容涵盖了伦理学、哲学和个人观点等多个方面。
鲁迅将这本书翻译成中文，不仅将尼采的思想观点引入中国，同时也让中国学者和读者更容易了解西方哲学思想。
《共和国论》：这本书是法国作家布尔乔亚在19世纪末写的一本政治经济学著作。
鲁迅将它翻译成中文，并在其中加入了自己的评论和解读。
这本书的出版促进了中国对西方政治经济学的了解，并对中国现代政治经济学的发展产生了深远影响。
《心理学讲演录》：这是奥地利精神分析学家佛洛伊德的一本重要著作，鲁迅将这本书翻译成了中文供中国读者阅读。
佛洛伊德的理论对中国深入人心，而鲁迅的翻译使得这些理论更加贴近中国的现实与文化。
以上只是鲁迅翻译的一些代表作品，他的翻译贡献非常丰富。
通过他对这些作品的翻译和推广，鲁迅不仅丰富了中国读者的阅读选择，也对中国文化的现代化进程起到了重要的推动作用。
鲁迅人之历史原文和翻译
鲁迅人之历史原文和翻译引言鲁迅是中国现代文学史上的重要人物，他的作品以其深刻的洞察力和强烈的批判精神而闻名。
本文将以鲁迅人之历史为主题，对其原文和翻译进行全面、详细、完整且深入的探讨。
鲁迅人之历史原文鲁迅人之历史是鲁迅于1926年创作的一篇文章，被认为是对中国历史的一次深刻反思。
以下是该文章的原文：远的不说，就如微靡的连珠炮实说吧。
当年那一位发明家，必是设法使炮弹尽可能地小；究竟云端之芥子，何足论哉！我承认，他的确是有些眼力。
不但浑浑不见的“始作俑者”——大雄宝殿的洞窠一样，现在却叫人用慧眼找着了。
但是他毕竟不能使人在一局中，尽收焕发着“金刚菩提”。
使人短时间受益而得，变不成为长期的假充得位否？否！并没有这种便宜最可爱。
彼时势万变而人心知如一，不用说炮意，至少是结习。
故今言雷霆万钧，可曾有威力易乎？“雷人之后，方知非唐李白”。
靠经济联合，或皇帝的破镜，皆所随过，而非友我者心改焉。
鲁迅人之历史翻译以下是对鲁迅人之历史的翻译：Let’s not talk about the distant past. Just take, for example,the micro-sized firecrackers stacked together. The inventor back then must have tried to make the firecrackers as small aspossible. But, really, what’s the point of discussing su ch tiny things? I admit that he did have some insight. Not only did hefind the “creator” who was hidden in the depths of the GrandHall, but he also made people use their wisdom to find it.However, he couldn’t make people, within one game, obtain allthe “diamond beads” in vivid bloom. Can people benefit in ashort period of time and turn it into a long-term replacement?No! This kind of convenience isn’t the most admirable. At thattime, the situation was ever-changing, but people’s minds wereconsistent, not to mention the meaning of the firecrackers butat least a reflection of customs. So, when the thunder strikes,do you really think it is easy to have such power? “Only afterthe thunder can we understand that it is not Tang Li Bai.”Relying on economic unions or the breaking of mirrors byemperors, these were all temporary measures, but not genuinechanges in the hearts of those who were against me.文章分析深刻的历史反思鲁迅人之历史通过对微小的连珠炮的比喻，反思了中国历史中人们对于表面光鲜事物的盲目追求。
鲁迅满江红原文及翻译
鲁迅满江红原文及翻译鲁迅满江红原文及翻译导语：草堂前前后后都是春水，溪水满溢，每天只看见一群群的白鸥游浮在水面上。
以下小编为大家介绍鲁迅满江红原文及翻译文章，欢迎大家阅读参考!鲁迅满江红原文及翻译满江红，著名的词牌名之一。
传唱最广的是岳飞的《满江红·怒发冲冠》。
词中“三十功名尘与土，八千里路云和月”及“莫等闲，白了少年头，空悲切诶”。
更是经典之作。
另外，苏轼、毛泽东、辛弃疾等大家的《满江红》词也非常著名。
满江红原文：满江红·怒发冲冠【南宋】岳飞怒发冲冠，凭栏处，潇潇雨歇。
抬望眼，仰天长啸，壮怀激烈。
三十功名尘与土，八千里路云和月。
莫等闲、白了少年头，空悲切！靖康耻，犹未雪。
臣子恨，何时灭？驾长车，踏破贺兰山缺。
壮志饥餐胡虏肉，笑谈渴饮匈奴血。
待从头、收拾旧山河，朝天阙。
满江红译文我怒发冲冠，独自登高凭栏，骤急的`风雨刚刚停歇。
我抬头远望天空一片高远壮阔。
禁不住仰天长啸，一片报国之心充满心怀。
三十多年的功名如同尘土，八千里经过多少风云人生。
好男儿，要抓紧时间为国建功立业，不要空空将青春消磨，等年老时徒自悲切靖康之变的耻辱，至今仍然没有被洗雪。
作为国家臣子的愤恨，何时才能泯灭！我要驾着战车向贺兰山进攻，连贺兰山也要踏为平地。
我满怀壮志，发誓吃敌人的肉，喝敌人的鲜血。
待我重新收复旧日山河，再带着捷报向国家报告胜利的消息。
满江红赏析岳飞此词，激励着中华民族的爱国心。
抗战期间这首词曲以其低沉但却雄壮的歌音，感染了中华儿女。
前四字，即司马迁写蔺相如“怒发上冲冠”的妙，表明这是不共戴天的深仇大恨。
此仇此恨，因何愈思愈不可忍？正缘独上高楼，自倚阑干，纵目乾坤，俯仰六合，不禁热血满怀沸腾激昂。
——而此时秋霖乍止，风澄烟净，光景自佳，翻助郁闷之怀，于是仰天长啸，以抒此万斛英雄壮志。
着“潇潇雨歇”四字，笔锋微顿，方见气度渊静。
开头凌云壮志，气盖山河，写来气势磅礴。
再接下去，作者以“三十功名尘与土，八千里路云和月”十四个字，出乎意料，令人叫绝，此十四字，如见将军抚膺自理半生壮志，九曲刚肠，英雄正是多情人物。
朝花夕拾英译本
朝花夕拾英译本朝花夕拾英译本，是一部由我国著名作家鲁迅创作的文学作品。
这部作品从鲁迅搜集的各类丰富素材中挑选出10篇寓意深刻、思想丰富的故事，经过深入的挖掘和整理，以小说的形式呈现出来。
这部作品英译本的翻译难度系数较高，下面我们来探讨一下其中一些英译本的特色以及全文的阅读体验。
首先，我们来看一下朝花夕拾英译本中篇目《从百草园到三味书屋》的翻译。
在这篇文章中，鲁迅通过描述自己小时候在百草园与阿长、寿镜吾先生结交的故事，展示了中国封建社会儿童天真活泼的生活。
通过对百草园中各种植物的描绘以及阿长、寿镜吾先生教育方式的描述，展示了寿镜吾先生对儿童教育的高度重视。
而鲁迅自身在成长过程中的经历也使他对儿童教育有着深刻的理解。
接下来，我们来看一下篇目《二十四孝图》的翻译。
在这篇文章中，鲁迅通过讲述自己小时候读过的《二十四孝图》故事，揭示了封建社会中孝道观念的严重束缚。
通过对孝道观念的批判，展示了封建社会中人民对自由、幸福的渴望。
同时，鲁迅通过讲述这个故事，表达了对那些倡导孝道观念的人和组织的讽刺和嘲笑。
再来看一下篇目《琐人小事》的翻译。
在这篇文章中，鲁迅通过讲述自己小时候与一个琐碎且引人发笑的乡村医生的故事，展示了封建社会中百姓生活的艰辛与趣味的缺乏。
通过对这个医生的描述，展示了当时民间医学的落后以及民间信仰的迷信。
而鲁迅用幽默的方式展示这个故事，使读者在欢愉的氛围中领悟到其中的讽刺意味。
接下来，我们来看一下篇目《从目无全“视”到“目无全“视”》的翻译。
在这篇文章中，鲁迅通过讲述自己小时候曾经对“世界”产生过好奇心的经历，展示了儿童天真无邪对世界的认知。
而随着年岁的增长，这种好奇心逐渐被应试教育和社会现实所取代，成为一个无法实现的梦想。
通过对这个主题的深入探讨，鲁迅表达了对当时教育制度的无奈与讽刺。
最后，我们来看一下篇目《狗•猫•鼠》的翻译。
在这篇文章中，鲁迅通过讲述自己小时候与猫和狗的亲密接触，展示了自己对动物的喜爱。
鲁迅《自题小像》原文和翻译译文
鲁迅《自题小像》原文和翻译译文1、鲁迅《自题小像》原文和翻译译文鲁迅《自题小像》原文和翻译原文：灵台无计逃神矢，风雨如磐暗故园。
寄意寒星荃不察，我以我血荐轩辕。
全诗解释我的爱国之心犹如被爱神之箭所射一般无处可逃，祖国正在风雨飘摇中黯然失色。
我把我的心意寄托给人民，然而人民却难以察觉，我愿意把我毕生的精力托付给我的祖国。
词语解释寒星：宋玉《九辩》：“愿寄言夫流星兮，”灵台：(书面语)心灵。
神矢，爱神的箭。
全句是把自己的祖国比作恋人故园：故乡。
荃不察：化用《离骚》中“荃不察余之中情兮”句。
荃，香草名，隐喻国君。
察，体察。
中，内心。
荐：献，进献祭品。
轩辕：黄帝，上古帝王，中华民族的始祖，代指中华民族。
2、苏轼《临皋闲题》原文及翻译译文苏轼《临皋闲题》原文及翻译苏轼原文：临皋亭下八十数步，便是大江，其半是峨眉雪水，吾饮食沐浴皆取焉，何必归乡哉!江山风月，本无常主，闲者便是主人。
闻范子丰①新第园池，与此孰胜?所不如者，上无两税及助役钱耳②。
译文：临皋亭下不远处就是长江,长江水友很大一部分是峨眉山上的雪水,我平时吃喝洗涮都是从江里打水,何必要去人多的地方住呢.江山风月，本来是没有主人的，谁在用便可以说是主人。
听说范子丰新买了园子,不知和我这里比怎么样?我比他差的,也就是我这不能缴税吧。
[解释]①范子丰：苏轼的儿女亲家。
②两税及助役钱：新法规定，农民要交春秋两税，外加青苗助役钱。
苏轼反对之，以此讥讽。
3、郑板桥《题画三则》原文及翻译译文郑板桥《题画三则》原文及翻译郑燮原文：余家有茅屋二间，南面种竹。
夏日新篁①初放，绿阴照人②，置一小榻其中，甚凉适也。
秋冬之际，取围屏骨子，断去两头，横安以为窗棂③，用匀薄洁白之纸糊之。
风和日暖，冻蝇④触纸上，冬冬作小鼓声。
于时一片竹影零乱，岂非天然图画乎!凡吾画竹，无所师承⑤，多得于纸窗、粉壁、日光、月影中耳。
(选自郑板桥《题画三则》)【解释】①新篁：新竹。
②绿荫照人：绿色的竹影照在人身上。
《死魂灵》电影鲁迅《死魂灵》题签本出土
《死魂灵》电影鲁迅《死魂灵》题签本出土鲁迅翻译俄国作家果戈理的代表作《死魂灵》，是上个世纪30年代中国译坛的一件大事，《死魂灵》也是鲁迅翻译的惟一的一部世界文学史上“著名的巨制”，这一切早已载入中国现代文学史册，文学史家在论述中国现代文学对外国文学的接受时，鲁迅翻译《死魂灵》及其影响是必须提出并详加探讨的。
翻译《死魂灵》时，鲁迅的生命只剩下最后一年了。
他是应郑振铎编辑的《世界文库》这一重大文化工程之邀开始翻译《死魂灵》的。
俄罗斯文学那种压抑中的奔放，悲怆中的舒展，那种雄浑的气韵，沉郁的色泽，鲁迅一直心向往之。
他早年与乃弟周作人合译《域外小说集》时，选译的三篇作品就均出自俄罗斯作家之手。
他与果戈理当然也神交已久，在1908年发表的《摩罗诗力说》中对这位讽刺大师的精神特质和艺术风格已有相当的把握，强调果戈理是“以描写社会人生之黑暗著名”，“以不可见之泪痕悲色，振其邦人”。
他踏上文学征途之后，又一直把果戈理的作品引为自己“所仰仗的”思想和创作技巧的重要资源之一，鲁迅划时代的名作《狂人日记》与果戈理的《狂人日记》之间恐怕不仅是篇名的巧合那么简单了。
1934年9月，鲁迅创刊《译文》月刊。
他在创刊号上用“许遐”笔名译介了果戈理的短篇《鼻子》，并在《译者附记》中指出：果戈理“几乎可以说是俄国写实派的开山祖师”，“他的巨著《死掉的农奴》（鲁迅后来又译为《死灵魂》，最后定译为《死魂灵》――笔者注），除中国外，较为文明的国度多有翻译本，日本还有三种，现在又正在出他的全集”。
这大概是鲁迅翻译《死魂灵》最初的动因，既然“较为文明的国度”多已有了《死魂灵》的译本，以中国文明之悠久，理应也该有《死魂灵》的中译本；既然没有人愿意做，那就不妨见难而上，自己尝试。
鲁迅精神在此又一次得到了清晰而光辉的体现。
据《鲁迅日记》记载，鲁迅是1935年2月开译《死魂灵》的，断断续续，至9月才译完第一部。
鲁迅翻译《死魂灵》时所投入的巨大热情和辛劳，在他给胡风、萧军、孟十还等人的信中多次提到。
死魂灵鲁迅先生译本
死魂灵鲁迅先生译本稿子一：嘿，朋友们！今天咱们来聊聊《死魂灵》鲁迅先生的译本。
说起这《死魂灵》，那可真是一部了不起的作品。
鲁迅先生翻译的这个版本，更是别有一番风味。
你知道吗？鲁迅先生的文字总是那么犀利又深刻，他翻译的《死魂灵》也是如此。
读着那些句子，就好像能感觉到作者想要表达的那种对社会的讽刺和批判，直直地戳进你的心里。
而且啊，鲁迅先生翻译的时候，那用词可讲究啦！既保留了原著的精髓，又带着他自己独特的风格。
有时候一个小小的词语，都能让你琢磨好久，越琢磨越觉得有意思。
我记得刚开始读的时候，还有点不太适应，觉得有点难。
但是慢慢地，就被里面的故事和人物吸引住啦。
那些个所谓的“死魂灵”，其实不就是那个时代的缩影嘛。
每次拿起这本书，都感觉像是在和鲁迅先生对话，能从他的翻译里感受到他的思想和情感。
这可真是一种奇妙的体验！怎么样，朋友们，你们有没有读过这个译本呀？快来和我分享分享你们的感受呗！稿子二：亲爱的小伙伴们，咱们今天来唠唠《死魂灵》鲁迅先生译本。
哇塞，一提起这个译本，我这心里就有好多话想说。
鲁迅先生，那可是文学界的大腕儿啊！他翻译的《死魂灵》，简直绝了！你想啊，鲁迅先生的文笔多厉害，他翻译出来的东西，那叫一个精彩。
每一个字，每一句话，都好像有魔力似的，拽着你不停地读下去。
我跟你们说，读这个译本的时候，我常常会被里面的人物逗得哈哈大笑，又会被一些情节气得牙痒痒。
这就是鲁迅先生的魅力，能让你完全沉浸在书里的世界。
还有哦，这个译本里的描写特别细致，让你仿佛能看到那些人物就站在你面前，活灵活现的。
鲁迅先生把那种俄国的风情和氛围都给翻译出来了，真的太牛啦！我觉得吧，读《死魂灵》鲁迅先生译本，不仅仅是读一本书，更是在感受鲁迅先生的精神世界，在跟着他一起去审视那个社会。
小伙伴们，你们要是还没读过，赶紧去读，保证让你大开眼界！读完咱们再一起交流交流，咋样？。
鲁迅作品《社戏》英文翻译
鲁迅作品《社戏》英文翻译1、《社戏》全文英文翻译During the past twenty years I have been to the Chinese opera only twice. During the first ten years I never went, having neither the desire nor the Opportunity. The two occasions on which I went were in the past ten years, but each time I left without seeing anything in it.The first time was in 1912 when I was new to Peking. A friend told me Peking had the best opera and that seeing it was an experience I shouldn't miss. I thought it might be interesting to see an opera, especially in Peking, and hurried in high spirits to some theatre, the name of which I have forgotten. The performance had already started. Even outside I could hear the beat of the drums. As we squeezed in, bright colours flashed in view, and I saw many heads in the auditorium; as I scanned the theatre I saw a few seats in the middle still empty. But when 1 squeezed in to sit down, someone spoke up. There was such a throbbing in my ears I had to listen attentively to catch what he was saying--"Sorry, these seats are taken!"We went to the back, but then a man with a glossy queue led us to a side aisle, and indicated an unoccupied place. This was a bench only three-quarters the width of my thighs, but with legs nearly twice as long as mine. To begin with I hadn't the courage to get up there, and then it reminded me of some instrument of torture, and with an involuntary shudder I fled.I had gone some distance, when I heard my friend's voice, asking: "Well, what's the matter?" Looking over my shoulder I saw he had followed me out. He seemed verysurprised. "Why do you march along without a word?" he demanded."I'm sorry," I told him. "There's such a pounding in my ears, I couldn't hear you." Whenever I thought back on the incident, it struck me as very strange, and I supposed that the opera had been a very poor one--or else a theatre was no place for me.I forget in what year I made the second venture, but funds were being raised for flood victims in Hupeh, and Tan Hsin-pei was still alive. By paying two dollars for a ticket, you contributed money and could go to the Number One Theatre to see an opera with a cast made up for the most part of famous actors, one being Tan Hsin-pei himself. I bought a ticket primarily to satisfy the collector, but then some busy-body seized the opportunity to tell me why Tan Hsin-pei simply had to be seen. At that, I forgot the disastrous din and crash of a few years before, and went to the theatre--probably half because I had paid so much for that precious ticket that I wouldn't feel comfortable if I didn't use it. I learned that Tan Hsin-pei made his appearance late in the evening, and Number One Theatre was a modern one where you didn't have to fight for your seat. That reassured me, and I waited till nine o'clock before setting out. To my surprise, just as before, it was full.There was hardly any standing room and I had to squeeze into the crowd at the rear to watch an actor singing an old woman's part. He had a paper spill burning at each corner of his mouth and there was a devil-soldier beside him. I racked my brains and guessed that this might be Maudgalyayana's mother, because the next to come on was a monk. Not recognizing the actor, I asked a fat gentleman who wassqueezed in on my left. "Kung Yun-fu!" he said, throwing me a withering look from the corner of his eye. My face burned with shame for my ignorant blunder, and I mentally resolved that at all costs I would ask no more questions. Then I watched a heroine and her maid sing, next an old man and some other characters I couldn't identify. After that, I watched a whole group fight a free-for-all, and after that, two or three people fighting together--from after nine till ten, from ten till eleven, from eleven till eleven thirty, from eleven thirty till twelve: but there was no sign of Tan Hsin-pei.Never in my life have I waited for anything so patiently. But the wheezes of the fat gentleman next to me, the clanging, tinkling, drumming and gonging on the stage, the whirl of bright colours and the lateness of the hour suddenly made me realize that this was no place for me.Mechanically I turned round, and tried with might and main to shove my way out. I felt the place behind me fill up at once--no doubt the elastic fat gentleman had expanded his right side into my empty place. With my retreat cut off, naturally there was nothing to do but push and push till at last I was out of the door. Apart from the rickshaws waiting for the playgoers, there was practically no one walking outside, but there were still a dozen people by the gate looking up at the programme, and another group not looking at anything, who must, I thought, be waiting to watch the women come out after the show was over. There was no sign of Tan Hsin-pei. . . .But the night air was so brisk, it went right through me. This seemed to be the firsttime I had known such good air in Peking.I said goodbye to Chinese opera that night. I never thought about it again, and, if by any chance I passed a theatre, it meant nothing to me for in spirit we were poles apart.A few days ago, however, I happened to read a Japanese book--unfortunately I have forgotten the title and author, but it was about the Chinese opera. One chapter made the point that Chinese opera is so full of gongs and cymbals, shouting and jumping, that it makes the onlookers' heads swim. It is quite unsuited for presentation in a theatre but, if performed in the open air and watched from a distance, it has its charm. I felt this put into words what had remained unformulated in my mind, because as a matter of fact I clearly remembered seeing a really good opera in the country, and it was under its influence, perhaps, that after coming to Peking, I went twice to the theatre.It's a pity that, somehow or other, I've forgotten the name of that book.As to when I saw that good opera, it was really "long, long ago," and I could not have been much more than eleven or twelve. It was the custom in Luchen where we lived for married women who were not yet in charge of the household to go back to their parents' home for the summer. Although my father's mother was then still quite strong, my mother had quite a few household duties. She could not spend many days at her own home during the summer. She could take a few days only after visiting the ancestral graves. At such times I always went with her to stay in her parents' house. It was in a place called Pingchao Village, not far from the sea, a veryout-of-the-way little village on a river, with less than thirty households, peasants and fishermen, and just one tiny grocery. In my eyes, however, it was heaven, for not only was I treated as a guest of honour, but I could skip reading the Book of Songs.There were many children for me to play with. For with the arrival of a visitor from such a distance they got permission from their parents to do less work in order to play with me. In a small village the guest of one family is virtually the guest of the whole community. We were all about the same age, but when it came to determining seniority, many were at least my uncles or grand-uncles, since everybody in the village had the same family name and belonged to one clan. But we were all good friends, and if by some chance we fell out and I hit one of my grand-uncles, it never occurred to any child or grown-up in the village to call it "disrespect to elders." Ninety-nine out of a hundred of them could neither read nor write.We spent most of our days digging up worms, putting them on little hooks made of copper wire, and lying on the river bank to catch shrimps. Shrimps are the silliest water creatures: they willingly use their own pincers to push the point of the hook into their mouths; so in a few hours we could catch a big bowlful. It became the custom to give these shrimps to me. Another thing we did was to take the buffaloes out together, but, maybe because they are animals of a higher species, oxen and buffaloes are hostile to strangers, and they treated me with contempt so that I never dared get too close to them. I could only follow at a distance and stand there.At such times my small friends were no longer impressed by the fact that I could recite classical poetry, but would hoot with laughter.What I looked forward to most was going to Chaochuang to see the opera. Chaochuang was a slightly larger village about two miles away.Since Pingchiao was too small to afford to put on operas, every year it contributed some money for a performance at Chaochuang. At the time, I wasn't curious why they should have operas every year. Thinking about it now, I dare say it may have been for the late spring festival or for the village sacrifice.That year when I was eleven or twelve, the long-awaited day arrived. But as ill luck would have it, there was no boat for hire that morning.Pingchiao Village had only one sailing boat, which left in the morning and came back in the evening. This was a large boat which it was out of the question to hire; and all the other boats were unsuitable because they were too small. Someone was sent round to the neighbouring villages to ask if they had boats, but no--they had all been hired already. My grandmother was very upset, blamed my cousins for not hiring one earlier, and began to complain. Mother tried to comfort her by saying the operas at Luchen were much better than in these little villages, and there were several every year, so there was no need to go today. But I was nearly in tears from disappointment, and mother did her best to impress on me that no matter what, I must not make a scene, because it would upset my grandmother; and I mustn't go with other people either, for then grandmother would be worried.In a word, it had fallen through. After lunch, when all my friends had left and theopera had started, I imagined I could hear the sound of gongs and drums, and saw them, with my mind's eye, in front of the stage buying soya-bean milk.I didn't catch shrimps that day, and didn't eat much either. Mother was very upset, but there was nothing she could do. By supper time grandmother realized how I felt, and said I was quite right to be angry, they had been too negligent, and never before had guests been treated so badly. After the meal, youngsters who had come back from the opera gathered round and gaily described it all for us. I was the only one silent; they all sighed and said how sorry they were for me. Suddenly one of the brightest, called Shuang-hsi, had an inspiration, and said: "A big boat--hasn't Eighth Grand-uncle's boat come back?" A dozen other boys picked up the idea in a flash, and at once started agitating to take the boat and go with me. I cheered up. But grandmother was nervous, thinking we were all children and undependable. And mother said that since the grown-ups all had to work the next day, it wouldn't be fair to ask them to go with us and stay up all night.While our fate hung in the balance, Shuang-hsi went to the root of the question and declared loudly: "I give my word it'll be all right! It's a big boat, Brother Hsun never jumps around, and we can all swim!"It was true. There wasn't one boy in the dozen who wasn't a fish in water, and two or three of them were first-rate swimmers.Grandmother and mother were convinced and did not raise any more objections. They both smiled, and we immediately rushed out.My heavy heart suddenly became light, and I felt as though I were floating on air.When we got outside, I saw in the moonlight a boat with a white awning moored at the bridge. We jumped aboard, Shuang-hsi seized the front pole and Ah-fa the back one; the younger boys sat down with me in the middle of the boat, while the older ones went to the stern. By the time mother followed us out to say "Be careful!" we had already cast off. We pushed off from the bridge, floated back a few feet, then moved forward under the bridge. Two oars were set up, each manned by two boys who changed shifts every third of a mile. Chatter, laughter and shouts mingled with the lapping of the water against the bow of our boat; to our right and left, as we flew forward towards Chaochuang, were emerald green fields of beans and wheat.The mist hung over the water, the scent of beans, wheat and river weeds wafted towards us, and the moonlight shone faintly through the mist. In the distance, grey hills, undulating like the backs of some leaping iron beasts, seemed to be racing past the stern of our boat; but still I felt our progress was slow. When the oarsmen had changed shifts four times, it was just possible to see the faint outline of Chauchuang, and catch the sound of singing. There were several lights too, which we guessed must be on the stage, unless they were fishermen's lights.The music we heard was probably flutes. Eddying round and round and up and down, it soothed me and set me dreaming at the same time, till I felt as though I were about to drift far away with it through the night air heavy with the scent of beans and wheat and river weeds.As we approached the lights, we found they were fishermen's lights after all, and I realized I hadn't been looking at Chaochuang at all.Directly ahead of us was a pine wood where I had played the year before, and seen the broken stone horse that had fallen on its side, and a stone sheep couched in the grass. When we passed the wood, the boat rounded a bend into a cove, and Chaochuang was really before us.Our eyes were drawn to the stage standing in a plot of empty ground by the river outside the village, hazy in the distant moonlight, barely distinguishable from its surroundings. It seemed that the fairyland I had seen in pictures had come alive here. The boat was moving faster now, and presently we could make out figures on the stage and a blaze of bright colours, and the river close to the stage was black with the boat awnings of people who had come to watch the play."There's no room near the stage, let's watch from a distance," suggested Ah-fa, The boat had slowed down now, and soon we arrived. True enough, it was impossible to get close to the stage. We had to make our boat fast even further from the stage than the shrine opposite it. We did not regret it, though, for we did not want our boat with its white awning to mix with those common black boats; and there was no room for us anyway. . . .While we hastily moored, there appeared on the stage a man with a long black beard who had four pennons fixed to his back. With a spear he fought a whole group of bare-armed men. Shuang-hsi told us this was a famous acrobat who couldturn eighty-four somersaults, one after the other. He had counted for himself earlier in the day.We all crowded to the bow to watch the fighting, but the acrobat didn't turn any somersaults. Some of the bare-armed men turned head over heels a few times, then trooped off. Then a girl came out, and sang in a long drawn-out voice. "There aren't many people in the evening," said Shuang-hsi, "and the acrobat's taking it easy. Nobody wants to show his skill without an audience." That was common sense, because by then there really weren't many people left to watch. The country folk had work the next day, and couldn't stay up all night, so they had all gone to bed. Just a score or so of idlers from Chaochuang and the villages around remained sprinkled about. The families of the local rich were still there in the boats with black awnings, but they weren't really interested in the opera. Most of them had gone to the foot of the stage to eat cakes, fruit or melon seeds. So it didn't really amount to an audience.As a matter of fact, I wasn't keen on the somersaults. What I wanted to see most was a snake spirit swathed in white, its two hands clasping on its head a wand-like snake's head. My second choice was a leaping tiger dressed in yellow. But though I waited a long time, they didn't appear. The girl was followed at once by a very old man acting the part of a young man. I was rather tired and asked Kuei-sheng to buy me some soya-bean milk. He came back in a little while to say: "There isn't any. The deaf man who sells it has gone. There was some in the daytime, I drank two bowls then. I'll get you a dipperful of water to drink."I didn't drink the water, but stuck it out as best I could. I can't say what I saw, but it seemed that the faces of the players gradually became very strange, the features blurred as though they had melted into one flat surface. Most of the younger boys yawned, while the older ones chatted among themselves. It was only when a clown in a red shirt was fastened to a pillar on the stage, and a greybeard started horsewhipping him that we all roused ourselves to watch again and laughed. I really think that was the best scene of the evening.But then the old woman came out. This was the character I most dreaded, especially when she sat down to sing. Now I saw by everybody's disappointment that they felt as I did. In the beginning, the old woman just walked to and fro singing, then she sat on a chair in the middle of the stage. I was really distressed, and Shuang-hsi and the others started swearing. I waited patiently until, after a long time, the old woman raised her hand, and I thought she was going to stand up. But despite my hopes she lowered her hand slowly to its original position, and went on singing just as before. Some of the boys in the boat couldn't help groaning, and the rest began to yawn again. Finally Shuang-hsi couldn't stand it any longer. He said he was afraid the old woman would go on singing till dawn, and we had better leave. We all promptly agreed, and became as eager as when we had set out. Three or four boys ran to the stern, seized the poles to punt back several yards, and headed the boat around. Cursing the old singer, they set up the oars, and started back for the pine wood.Judging from the position of the moon, we had not been watching very long, andonce we left Chaochuang the moonlight seemed unusually bright. When we turned back to see the lantern-lit stage, it looked just as it had when we came, hazy as a fairy pavilion, covered in a rosy mist. Once again the flutes piped melodiously in our ears. I thought the old woman must have finished, but couldn't very well suggest going back again to see.Soon the pine wood was behind us. Our boat was moving rather fast, but there was such thick darkness all around you could tell it was very late. As they discussed the players, laughing and swearing, the towers pulled faster on the oars. Now the plash of water against our bow was even more distinct. The boat seemed like a great white fish carrying a freight of children on its back through the foam. Some old fishermen who fished all night stopped their punts to cheer at the sight.We were still about a third of a mile from Pingchiao when our boat slowed down, and the oarsmen said they were tired after rowing so hard. We'd had nothing to eat for hours. It was Kuei-sheng who had a brilliant idea this time. He said the lohan beans were ripe, and we had fuel on the boat--we could use a little to cook the beans. Everybody agreed, and we immediately headed towards the bank. The pitch-black fields were filled with succulent beans."Hey! Ah-fa! It's your family's over here, and Old Liu Yi's over there. Which shall we take?" Shuang-hsi had been the first to leap ashore, and was calling from the bank. As we all jumped ashore too, Ah-fa said: "Wait a minute and I'll take a look." He walked up and down feeling the beans, then straightened up to say: "Take ours, they're much bigger." With a shout we scattered through the bean field of Ah-fa'sfamily, each picking a big handful of beans and throwing them into the boat. Shuang-hsi thought that if we took any more and Ah-fa's mother found out, there would be trouble, so we all went to Old Liu Yi's field to pick another handful each. Then a few of the older boys started rowing slowly again, while others lit a fire in the stern, and the younger boys and I shelled the beans.Soon they were cooked, and we let the boat drift while we gathered round and ate them with our fingers. When we had finished eating we went on again, washing the pot and throwing the pods into the river, to destroy all traces. Shuang-hsi was uneasy because we had used the salt and firewood on Eighth Grand-uncle's boat, and the old man was so sharp he would be sure to find out and scold us. But after some discussion we decided there was nothing to fear. If he did scold us we would ask him to return the pine branch he had taken the previous year from the river bank, and call him "Old Scabby" to his face."We're all back! How could anything have happened? Didn't I guarantee it would be all right!" Shuang-hsi's voice suddenly rang out from the bow.Looking past him, I saw we were already at Pingchiao, and someone was standing at the foot of the bridge--it was mother. It was to her that Shuang-hsi had called. As I walked up to the bow the boat passed under the bridge, then stopped, and we all went ashore. Mother was rather annoyed, and asked why we had come back so late--it was after midnight. But she was soon in a good humour again, and smiled as she invited everybody to come back and have some puffed rice.They told her we had all eaten something, and were sleepy, so they had better getto bed at once, and off we all went to our own homes.I didn't get up till noon the next day, and there was no word of any trouble with Eighth Grand-uncle over the salt or firewood. In the afternoon we went to catch shrimps as usual."Shuang-hsi, you young rascals stole my beans yesterday! And you didn't pick them properly, you trampled down quite a few." I looked up and saw Old Liu Yi on a punt, coming back from selling beans. There was still a heap of left-over beans at the bottom of the punt."Yes. We were treating a visitor. We didn't mean to take yours to begin with," said Shuang-hsi. "Look! You've frightened away my shrimp!"When the old man saw me, he stopped punting, and chuckled. "Treating a visitor? So you should." Then he asked me: "Was yesterday's opera good?" "Yes." I nodded."Did you enjoy the beans?""Very much." I nodded again.To my surprise, the old man was greatly pleased. He stuck up a thumb, and declared with satisfaction: "People from big towns who have studied really know what's good. I select my bean seeds one by one. Country folk can't tell good from bad, and say my beans aren't as good as other people's. I'll give some to your mother today for her to try. . . . ." Then he punted off.When mother called me home for supper, there was a large bowl of boiled beans on the table, which Old Liu Yi had brought for her and me to eat. I heard he hadpraised me highly to mother, saying, "He's so young, yet he knows what's what. He's sure to pass all the official examinations in future. Your fortune's as good as made." But when I ate the beans, they didn't taste as good as the ones we'd eaten the night before.It's a fact, right up till now, I've really never eaten such good beans, or seen such a good opera, as I did that night.2、《社戏》中文原文内容我在倒数上去的二十年中，只看过两回中国戏，前十年是绝不看，因为没有看戏的意思和机会，那两回全在后十年，然而都没有看出什么来就走了。
惯于长夜过春时_鲁迅的诗原文赏析及翻译
惯于长夜过春时_鲁迅的诗原文赏析及翻译惯于长夜过春时近现代鲁迅惯于长夜过春时，挈妇将雏鬓有丝。
梦里依稀慈母泪，城头变幻大王旗。
忍看朋辈成新鬼，怒向刀丛觅小诗。
吟罢低眉无写处，月光如水照缁衣。
译文我已经习惯于在漫漫长夜里度过春天的时光，鬓发斑白了带着妻儿被迫出走。
睡梦里仿佛看见慈祥的母亲正为我担忧落泪，而城头上还在变换着军阀们的各色旗号。
我怎忍得看着年轻的战友被敌人杀害，以愤怒的心情对着白色恐怖的刀丛写诗悼念。
吟诵之后俯视周围却没有写的地方（不能发表），只有那清冷如水的月光照着我这个穿黑袍的避难者。
注释惯：含有司空见惯之意。
长夜：漫长的黑夜，比喻国民党统治下的黑暗岁月。
挈（qiè）、将，是同义词，均有提携、带领的意思。
妇：指鲁迅夫人许广平。
雏：指鲁迅的幼儿周海婴。
当时，海婴还只有一岁零三个月，故称“雏”。
鬓有丝：指两鬓斑自。
鲁迅写此诗时已51岁，因多遭离乱与忧患，故有憔悴、衰老之感。
慈母：泛指当时受迫害的革命者的母亲。
城头：指南京。
变幻：指国民党军阀间的勾心斗角，长期混战，使政局动荡不安。
忍看：原作“眼看”，后在录入《为了忘却的'纪念》时改成“忍看”。
朋辈：即朋友，战友：指被害的柔石等五位左翼青年作家。
刀丛：比喻国民党的迫害政策。
原作“刀边”，后在录入《为了忘却的纪念》时改成“刀丛”。
无写处：含有无地可写，无处可发表之意，形容极度悲愤。
缁（zī）衣：即黑色的衣服。
创作背景此诗作于1931年2月，时鲁迅在花园庄旅馆避难时，得知柔石等人遇害的消息后所写。
赏析春天本应该是阳光明媚、温暖宜人的，然而，军阀的统治吞噬了美好的春天，人们仿佛生活在茫茫黑夜之中。
“惯于”既是反话，更是愤激之语。
“挈妇将雏鬓有丝”展现了作者携妻带子辗转奔波的艰苦生活；夜茫茫、路漫漫，多少惊涛骇浪，多少悲愤忧愁，已使他鬓发染霜。
“梦里依稀慈母泪”，慈母们日夜担心受怕，眼中充盈着擦不干的泪水。
军阀们却你争我夺，征战不休。
自题小像翻译和原文
自题小像【作者】鲁迅【朝代】近代原文：灵台无计逃神矢，风雨如磐暗故园。
寄意寒星荃不察，我以我血荐轩辕。
译文：我的心没有办法逃避这（神秘隐匿的）箭矢刺射所带来的痛，因为我的国家正在遭受着灾难。
这份情感寄托给天上的星星却没有人明了，我誓将我的一腔热血报效我的祖国。
赏析：“灵台无许逃神矢”，一开头就用希腊神话白虹神箭射心这个形象的比喻，倾诉了作者鲁迅强烈的爱国主义情思。
作者鲁迅还在南京求学时，就努力学习西方的先进思想，密切注视当时的政治局势，关心国家大事，关心民族命运；到日本后，又接受了孙中山领导的民族民主革命的思潮影响，因而祖国的垂危、人民的苦难，更象神箭一样射中了他，使他无时无刻不为祖国和人民的命运担心和忧虑。
这句诗展示了作者热爱祖国、热爱人民，把挽救国家危亡看作自己神圣职责的革命胸怀，表现了鲁迅积极战斗的人生观和彻底反帝反封建的革命民主主义立场。
“寄意寒星荃不察“，“意”，指作者的救国救民的理想。
“荃”，指人民。
这里，作者用浪漫主义的想象表达自己拯救祖国的希望，希望他的救国救民的理想能为“荃“所理解，即希望祖国人民觉醒起来。
作者鲁迅当时对人民群众的力量是有一定认识的，但是另一方面，由于历史的局限，鲁迅对人民群众的革命积极性还估计不足，因此发出了“寄意寒星荃不察”的慨叹。
鲁迅慨叹“荃不察”，是迫切希望祖国人民能尽快觉醒，以便担当起拯救祖国的任务。
最后一句“我以我血荐轩辕”，是鲁迅对祖国、对人民发出的庄严誓言，决心为祖国、为人民而献身。
虽然人民暂时还未觉醒，但他要尽自己的努力，唤醒群众，和群众一起参加战斗，甘洒热血写春秋。
这一肝胆照人，气贯长虹的诗句，字字倾注了作者鲁迅对祖国、对人民的无限忠心，表现了青年时代的鲁迅强烈的爱国主义精神和反帝反封建的革命英雄气概，将诗的感情升华到了一个激昂慷慨，热血沸腾的高度。
这首诗，声调激越，感情强烈。
作者运用顿挫跳跃的笔法，有曲折、有波澜、有起伏地把强烈的爱国主义情感抒发得深刻真切。
鲁迅翻译思想
在《通讯一则》一文中,梁实秋假借与人探讨翻译为名,从七个方 面对鲁迅发难,指出在从事翻译时,“译不出来的时候不要硬译”,“不 生造除自己以外,谁也不懂的句法词法之类”,“不以改良国文和翻译 搅成一团”等等,所言可谓是招招弹不虚发,矛头直接指向鲁迅。 随后,他又连续发表了一系列文章,继续对鲁迅发起猛攻。例如他 在《论翻译的一封信》中指出:鲁迅的翻译,不仅有硬译,而且还有误 译,原因是鲁迅所依据的只不过是那些不可靠的重译本;鲁迅先生的 译文所以“令人看不懂者,是译文有毛病之故,和中国文有缺点那件 事是没有关系的”;鲁迅“以自己所不能懂的文字要读者‘硬着头 皮’读懂,这就是‘硬译’的本色”。文章结束时,他又指出了坏的 翻译所具有的三个条件: (一)与原文意思不符; (二)未能达出的“原文强悍的语气”; (三)令人看不懂。 并进而指出,三条有其一,便不是好的翻译,若三者具备,便是最坏的 翻译,言外之意,实指鲁迅先生的译文可谓是三条兼备了。
二是硬译的目的性：
鲁迅所说 “我是 至今主张 ‘宁信而不顺的’ , 是强调尽量 忠于原文 : 强调 ” “信” 的 第一位 ,反对有人将 “信” 摆 在第二位 ( 第一要件是要 “ ‘达’ ) 的 ” 错误主张 。 他说 “译得 : „信而不顺’ 的至多不过看不懂 , 想一想 也许 能懂 ,译得 ‘顺而不信’ 的却令人迷误 , 怎样想也不会懂 , 如 果好象已经懂得 ,那么你正是入了迷途了 。他进一步阐述 ” “宁信 而不顺” 这样的译本 , 中国的文或话 ,法子实在太不 精密了 , 作文的秘诀 , 是在 避去熟字 ,删掉虚字 ,讲话的时候 , 也时时要辞不达意 , 这就是话 不够用 ,” “要医这病 , 我以为 只好陆续吃一点苦 , 装进异样的句 法去 ,古的 ,外省外府的 , 外国的 , 后来便可以据为己有 。
关于鲁迅翻译武者小路实笃剧作_一个青年的梦_的态度与特色
关于鲁迅翻译武者小路实笃剧作一个青年的梦的态度与特色! 杨英华一 序一个青年的梦是武者小路实笃32岁时创作的戏剧作品。
连载于第一次世界大战期间的1916年1月到10月的 白桦杂志上。
次年由洛阳堂出版了单行本。
全剧共四幕,内容是一个青年由不识者带领参加各种有关反战活动。
他有时是听众,有时是参与者。
登场人物有亡灵、乞丐、神、恶魔等,四幕的内容各不相同,可独立成篇。
3年后的1919年,鲁迅着手翻译此剧,题为 一个青年的梦。
连载于8月到10月的 国民公报。
途中因此杂志被禁止发行,后由 新青年全部连载发表于第七卷第二号到第五号(1920年1月到4月)。
1922年由上海商务印书馆发行了单行本,5年后又由上海北新书局再版,共发行了7版。
鲁迅后来在 壁下译丛(1927年)中又翻译收录了实笃的4篇文章∀。
1936年鲁迅在上海曾与实笃见过一面,鲁迅告诉他 一个青年的梦销路很好#。
鲁迅在 译者序中对此剧作了这样的评价:∃我因此便也搜求了一本,将他看完,很受些感动,觉得思想很透彻,信念很强固,声音也很真%。
&翻译是一个很复杂的问题。
最重要的有两个,一个是选择作品的问题。
译者首先要赞同作品的思想,对内容产生共鸣。
但仅此还不够,还必须使读者和译者一样对作品的价值有共同的认识。
否则,翻译出的作品就没有意义。
鲁迅也在翻译 一个青年的梦时,遇到了选择的问题。
他在 译者序中直言道:∃ 一个青年的梦却很可以翻译。
但当这时候,不很相宜,两面正在交恶,怕未必有人高兴看。
晚上点了灯,看见书脊上的金字,想起日间的话,忽然对于自己的根性有点怀疑,觉得恐怖,觉得羞耻。
人不该这样做,∋∋∋我便动手翻译了%。
(鲁迅为能否得到读者的理解犹豫过,但 一个青年的梦是反战的呐喊和促进人性觉醒的作品,读者读了一定会得到理解的。
鲁迅抱着这样一种强固的信念,翻译了长达31万字的剧作 一个青年的梦。
这是鲁迅翻译日本文学的第一篇作品。
第二个问题是对作品的翻译态度。
鲁迅《摩罗诗力说》翻译-22页文档资料
探求那古老的源泉已经穷尽了，将要去追寻未来的源泉，那新的起源。
兄弟们呵，新生命的兴起，新的泉水，从深渊中喷涌出来，那日子不会遥远了。
——尼采。
一人们读古代国家的文化史，随着时代往下读，直到最后一页，一定会感到有些凄凉，仿佛脱离了春天的温馨，而坠入了秋天的萧瑟；一切萌芽生机都消逝了，眼前只显得一片枯萎凋零。
这种状态我不知道该叫什么，就姑且说他是萧条吧。
人类流传到后代的文化，最有力量的大概要算语言文学了。
古代人们的想象，奔驰于大自然那神秘的领域，同万物暗暗地相吻合，在心灵上沟通，表达他们所能表达的，于是就成了诗歌。
他们的歌声，经历过无数年代，而深入人心，不但没有同他们的民族一起沉默而消失，反而比他们民族更加发展了；人民群众停止了歌唱，光辉也就消失了。
这样，读历史的人那种萧条的感觉，就会突然涌现出来，而这些古代国家的文明史，也就渐渐地接近最后一页了。
凡是在历史开头时期享有盛誉美名，曾经闪烁着人类文化的曙光，而如今早已灭亡了的古代国家，没有一个不是这样的啊！如果要举一个我们中国人熟悉的例子，最恰当的就是印度。
印度古代有经典《吠陀》四种，奇丽而深远，被称为世界上的伟大作品。
他们的《摩呵婆罗多》和《摩罗衍那》两大史诗，也是非常美妙的。
后来产生了诗人迦梨陀娑（Kalidasa），以戏剧创作著称于世，有时还写些抒情的诗篇。
德国大诗人歌德（W. Von Goethe）甚至推崇为天地间的绝唱。
等到印度民族逐渐失去了活力，文化也一起衰颓了，雄伟的歌声慢慢地再也不能从他们国家人民的心灵中产生出来，就好像逃亡者一样流传到别的国土去了。
其次就是希伯来，他们的文学虽然大都涉及宗教信仰，但以深沉而庄严著称，成为宗教文化的源泉；对于人们精神的影响，直到今天还未停止。
而在以色列民族，也只有耶利米（Jeremiah）的歌声。
以色列历代帝王昏愤无能，上帝极愤怒，于是耶路撒冷被毁灭了；这民族从此也就寂然无声了。
当他们流亡异乡时，虽然没有忘记他们的祖国，而且还念念不忘祖国的语言和信仰，但是耶利米的《哀歌》以后，就没有续期的作品了。
鲁迅译文集简介
鲁迅译文集简介
鲁迅是中国现代作家、思想家、文化评论家和革命家，他的译文集是他从20世纪初到20世纪30年代初期所翻译和参与编
译的一系列文学作品。
鲁迅的译文集以其独特的翻译风格和思想内涵而闻名于世。
鲁迅早年在日本留学期间，接触了许多西方文学作品，受到了福楼拜、托尔斯泰、纪德等作家的影响，结合自身的中国现实，他翻译了一批西方文学名著，如《战争与和平》、《戈尔大将》等，用鲁迅自己独特的语言风格，将这些作品传译成中文，使之更贴近中国读者。
此外，鲁迅还参与了一些文化杂志的编纂工作，他将许多西方文化思想搬到中国，培养了一大批新文化人。
他还积极传播和宣传马克思主义，促进了中国思想解放和现代文学的发展。
鲁迅的译文集体现了他对中国文化和社会的深刻洞察力，同时也体现了他对西方文化的吸收和理解。
他的翻译作品与他自己的创作相互映衬，形成了他在中国现代文学和思想史上独特的地位。
总之，鲁迅的译文集是他在翻译领域中的杰作，具有重要的历史和文化意义，对于理解鲁迅的思想和成就具有重要的参考价值。
- 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)。
鲁迅翻译的作品
《小约翰》以孩童的所见所闻，表现人类在发展进程中与大自然产生冲突的观察与反思。
在鲁迅先生看来，其时的儿童书，依然是司马温公敲水缸，岳武穆王脊梁上刺字等，“这些故事出世的时候，岂但儿童们的父母还没有出世呢，连高祖父母也没有出世，那么，那‘有益’和‘有味’之处，也就可想而知了”。
于是鲁迅做起了翻译：“（《小约翰》）是无韵的诗，成人的童话。
因为作者的博识和敏感，或者竟已超过了一般成人的童话了……都是实际和幻想的混合。
在开译（《表》）以前，自己确曾抱了不小的野心。
第一，是要将这样的崭新的童话，绍介一点进中国来，以供孩子们的父母，师长，以及教育家，童话作家来参考；第二，想不用什么难字，给十岁上下的孩子们也可以看。
鲁迅在翻译《表》的过程中，应为当时社会十分黑暗，革命者根本没有言论自由，而鲁迅为了唤起民众觉悟，揭露国民党反动派的丑恶嘴脸，写出了一篇篇犹如匕首的杂文，引起反动派的极度恐慌。
他们千方百计地查禁鲁迅的作品，不允许发表，而且对他本人进行了残酷的迫害。