翻译--鲁迅
秋夜鲁迅散文翻译
鲁迅：在我的后园，可以看见墙外有两株树，一株是枣树，还有一株也是枣树。
（赏析翻译：失望，还是失望，后园，可以是我的后园，也可以不是我的后园。
）鲁迅：这上面的夜的天空，奇怪而高，我生平没有见过这样奇怪而高的天空。
他仿佛要离开人间而去，使人们仰面不再看见。
然而现在却非常之蓝，闪闪地着几十个星星的眼，冷眼。
他的口角上现出微笑，似乎自以为大有深意，而将繁霜洒在我的园里的野花草上。
（赏析翻译：哪里是天空，是高处的脸嘴。
需要仰面，然而蓝比黑更诡异，更曲折，更值得怀疑。
这便是意象上的深意，星星，那是高处的人物，他们决定着一个时代的繁霜。
）鲁迅：我不知道那些花草真叫什么名字，人们叫他们什么名字。
我记得有一种开过极细小的粉红花，现在还开着，但是更极细小了，她在冷的夜气中，瑟缩地做梦，梦见春的到来，梦见秋的到来，梦见瘦的诗人将眼泪擦在她最末的花瓣上，告诉她秋虽然来，冬虽然来，而此后接着还是春，胡蝶乱飞，蜜蜂都唱起春词来了。
她于是一笑，虽然颜色冻得红惨惨地，仍然瑟缩着。
赏析翻译：谁明白那些为低处绽放的花，那些野草。
那些萧瑟，那些理想。
（指向五四）人们几千年都在仰面朝天，只许他们为蜜蜂与蝴蝶的繁忙而盛放。
鲁迅：枣树，他们简直落尽了叶子。
先前，还有一两个孩子来打他们别人打剩的枣子，现在是一个也不剩了，连叶子也落尽了。
他知道小粉红花的梦，秋后要有春；他也知道落叶的梦，春后还是秋。
他简直落尽叶子，单剩干子，然而脱了当初满树是果实和叶子时候的弧形，欠伸得很舒服。
但是，有几枝还低亚着，护定他从打枣的竿梢所得的皮伤，而最直最长的几枝，却已默默地铁似的直刺着奇怪而高的天空，使天空闪闪地鬼眼；直刺着天空中圆满的月亮，使月亮窘得发白。
（赏析翻译：枣树，作古守老，秋天，落尽，弃绝之望。
这一切，都有一个参照，便是那高处的诡异，肃杀，冷寂，静态。
）鲁迅：鬼眼的天空越加非常之蓝，不安了，仿佛想离去人间，避开枣树，只将月亮剩下。
然而月亮也暗暗地躲到东边去了。
古诗惯于长夜过春时翻译赏析
古诗惯于长夜过春时翻译赏析《惯于长夜过春时》作者为宋朝文学家鲁迅。
其古诗全文如下：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。
【注释】妇：妻子。
将，带领。
雏：是幼鸟、小鸟的意思，这里是指孩子。
鬓有丝：两鬓有了白发。
依稀：模模糊糊。
慈母泪：当时作者的母亲在北京听说作者已经被捕的谣传，因忧虑焦急而掉泪。
变幻：变化，变换。
大王：指当时的国民党新军阀和地方实力派的头子。
“城头变幻大王旗”是指国民党南京政府和地方实力派之间的军阀混战。
忍：不忍，岂忍的者文。
朋辈，指青年作家李伟森、柔石、胡也频、冯铿、殷夫（白莽）等五人。
成新鬼：一九三一年二月七日李伟森，柔石等五烈士被国民党当局杀害于上海龙华。
刀丛：指当时的白色恐怖。
原作“刀边”，后改。
无写处：没有地方可把所吟的诗写下来，指在白色恐怖下没有言论自由。
缁衣：音zī，黑色的衣服。
【翻译】白色恐怖就像是长夜漫漫，久而久之我早已过得习惯，年过半百双鬓上丝发斑白，还带着爱人孩子外出避难。
年老的母亲为我担忧受惊，我在梦中似见她泪痕斑斑。
新旧军阀到处在你征我伐，城头上强盗旗号时时变换。
年轻的战友惨遭敌人杀害，痛定思痛我肝肠寸寸辟断；写首小诗表示血泪的控诉，满腔怒火怕什么火海刀山！低头寻思这诗文无处可登，堂堂中国密封得像只铁罐；面对夜空只感到四周悲凉，黑衣照映着月光一片清寒。
【鉴赏】这首诗，正是在这种悲愤的心境下，抒发了作者对革命青年牺牲的沉痛感情和在漫漫长夜里多年生活积累起来的深沉感慨，表达了他对国民党腐朽政权的仇恨和顽强不屈的战斗精神。
“惯于长夜过春时”，在国民党统治的白色恐怖下，长夜难明，这种黑暗生活，他已经过惯了：一面是母亲的忧虑焦急，妇雏的流离颠沛，朋辈的牺牲，自己鬓上的白发；一面是反动军阀更相替代的统治，“禁锢得比罐头还严密”的文网。
“惯于”二字，说明长夜漫漫，黑暗统治的长久，也是鲁迅对黑暗的旧社会憎恶到极点的话；而就在这种过惯了的黑暗生活中，又有新的革命青年牺牲了。
鲁迅英文简介作文及翻译
鲁迅英文简介作文及翻译Lu Xun, the pen name of Zhou Shuren, was one of the most influential writers and thinkers of modern China. Born in 1881 in Shaoxing, Zhejiang province, Lu Xun was the son of a poor family. He received his early education from his father and later attended a missionary school in Ningbo. In 1902, he went to Japan to study medicine, but soon became disillusioned with the profession and turned toliterature. 。
Lu Xun's literary career began in 1918, when he published his first short story, "Diary of a Madman". This story, which was written in vernacular Chinese, marked a turning point in Chinese literature, as it broke with the traditional style of writing and introduced a new form of expression. Lu Xun went on to write many other works, including "The True Story of Ah Q", "Kong Yiji", and "Medicine". 。
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。
自题小像原文、翻译注释及赏析(最新)
自题小像原文、翻译注释及赏析原文：自题小像近现代：鲁迅灵台无计逃神矢，风雨如磐暗故园。
寄意寒星荃不察，我以我血荐轩辕。
译文：灵台无计逃神矢，风雨如磐暗故园。
我的心无法逃避爱神射来的神箭，我炽爱着仍遭受侵略和封建压迫的家园。
寄意寒星荃不察，我以我血荐轩辕。
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。
注释：灵台无计逃神矢，风雨如磐(pán)暗故园。
灵台：指心，古人认为心有灵台，能容纳各种智慧。
神矢：爱神之箭。
作者鲁迅在这里，是把中了爱神丘比特的神箭比喻为自己对祖国对人民的热爱和对当时帝国主义的憎恨感情。
风雨如磐：风雨，在这里指帝国主义的侵略和封建主义的统治。
磐，扁而厚的大石。
风雨如磐，比喻国家和民族灾难的深重。
故园：故国、祖国。
寄意寒星荃(quán)不察，我以我血荐轩(xuān)辕(yuán)。
寄意寒星：是说作者当时远在国外，想把自己一片爱国赤诚寄托天上的寒星，让它代为转达于祖国人民。
荃，香草名，古时比喻国君，这里借喻祖国人民。
不察，不理解。
荐：奉献。
轩辕：即黄帝，是古代传说中的氏族部落酋长。
赏析：“灵台无计逃神矢”，诗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。
“风雨如磐暗故园”，是说帝国主义、封建主义的侵略和压迫，犹如磐石压顶，使祖国暗无天日，景象惨淡，岌岌可危。
这句诗，高度概括了半封建半殖民地旧中国黑暗悲惨的现状，是产生“灵台无计逃神矢”这一强烈感情的客观原因。
替豆萁伸冤_鲁迅的诗原文赏析及翻译(最新)
替豆萁伸冤_鲁迅的诗原文赏析及翻译替豆萁伸冤近现代·鲁迅煮豆燃豆萁，萁在釜下泣。
我烬你熟了，正好办教席。
译文烧豆秸去煮豆子，豆秸在锅下哭泣：我被烧成灰却煮熟了你，正好去办酒席！注释萁：豆秸。
釜：锅。
首两句出自曹植《七步诗》。
烬：物体燃烧后剩下的东西。
此处作动词用，指燃烧成灰烬。
教席：宴请教师的酒席。
创作背景这首诗作于1925年6月5日。
1924年秋，北京女子师范大学学生驱逐段祺瑞军阀政府派遣的校长杨荫榆的斗争，达到了新的高潮。
5月20日，杨荫榆公开发表了所谓《对于暴烈学生之感言》，重施其诬蔑学生并为自己开脱罪责的惯伎。
于是6月2日的《晨报》上就出现了汪懋祖的所谓《致全国教育界》的'意见书。
鲁迅即于6月5日写了《咬文嚼字》一文进行反击。
这首诗就是在这种情况下创作的。
赏析首句与曹诗（指曹植《七步诗》：煮豆燃豆萁，豆在釜中泣。
本是同根生，相煎何太急？）全同，次句稍作改动，把“豆在釜中泣”，改为“萁在釜下泣”。
这里以豆喻杨荫榆及其一伙，以“萁”喻横遭迫害的学生。
对于杨荫榆这个代表着帝国主义和封建军阀势力的“豆”一般的人物，许广平在《欣慰的纪念·鲁迅先生与女师大事件》中一段生动的描绘：“而且那位校长，在人们的印象中就只见那系着白头绳的带子的人，穿着黑花缎的旗袍和斗篷，像一个阴影的移来移去。
如果有人真个去请教时，据说又有事出去了。
否则，她的卧室就在校舍的幽静的一角，学生们除了去开储藏室的门，是不会听到紧邻的她的房间的嘁嘁喳喳，低声媚笑的”。
鲁迅说是“活剥”，但整首诗完全出现了一幅前所未有的崭新境界。
后两句不仅意境深厚，含意深沉，而且讽刺挖苦，跃然纸上，使整首诗“活”了起来。
开头“豆”“萁”相对，接后“烬”“熟”相对；前者说明两者的关系，没有萁，豆根本不会存在；后者说明两者的利害，毁了人家，成全了自己，这就是所谓的“教育家”。
鲁迅以犀利的文笔，一语戳穿了“有尊长之心”的杨荫榆者流不过是以办教育为名，而行残害学生之实。
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。
鲁迅的狂人日记原文及翻译
鲁迅的狂人日记原文及翻译鲁迅的狂人日记原文如下：我从来没有看见那么多的疯子。
这全是北京的疯子，因为我现在住在北京。
自从我来了之后，就没有见过一个正人君子。
我想，在世界上也没有几个城市像北京这样多的疯子吧。
这是一种何等的荣幸呵！有疯子站在街心，大声喊叫；有疯子走在街上，给人撞破脑袋；有疯子跑到我的面前，叫我给他五十万元；有疯子来到我跟前，说：“你是一个疯子，你是一个疯子。
”我听了也不觉得奇怪，因为我的确是一个疯子。
有一天我在大街上碰见一个疯子，他对着我大叫：“你是一个疯子，你是一个疯子。
”我又听见一个声音说：“你错了，你才是疯子。
”我回头一看，原来是一个正人君子，他不过是穿了一件破旧的衣服，所以我没有看见他罢了。
我对他说：“你怎么知道我是疯子？”他说：“因为你是疯子，所以我知道。
”我说：“那你怎么知道你自己是正人君子呢？”他说：“因为我是正人君子，所以我知道。
”我说：“那你怎么知道我是疯子呢？”他说：“因为你是疯子，所以我知道。
”我说：“那你怎么知道你自己是正人君子呢？”他说：“因为我是正人君子，所以我知道。
”我说：“那你怎么知道我是疯子呢？”他说：“因为你是疯子，所以我知道。
”我说：“那你怎么知道你自己是正人君子呢？”他高兴地说：“你不知道吗？我是鲁迅。
”我说：“不可能，鲁迅早就死了。
”他说：“你错了，我没有死，我就是鲁迅。
”这个鲁迅果然是一个疯子。
我想，这就是为什么我从来没有见过一个正人君子。
因为他们都是疯子，所以我才认识他们。
以下是狂人日记的翻译，内容较为丰富：I have never seen so many lunatics before. They are all lunatics in Beijing, because I am currently living in Beijing. Since I came here, I haven't encountered a single sane person.I believe there are few cities in the world with as many lunatics as Beijing. What an honor it is!There are lunatics standing in the middle of the street, shouting loudly; there are lunatics walking on the street, colliding with people and causing head injuries; there are lunatics approaching me, asking for 500,000 yuan; there are lunatics coming up to me and saying, "You are a lunatic, you are a lunatic." I don't find it strange, because I am indeed a lunatic.One day, I encountered a lunatic on the main street. Heshouted at me, "You are a lunatic, you are a lunatic." Then I heard another voice saying, "You're wrong, you are the lunatic." I turned around and saw that it was a sane person, but he was just wearing tattered clothes, so I didn't notice him before. I said to him, "How do you know I am a lunatic?" He said, "Because you are a lunatic, that's how I know." I said, "Then how do you know you are a sane person?" He said, "Because I am a sane person, that's how I know." I said, "Then how do you know I am a lunatic?" He said, "Because you are a lunatic, that's how I know." I said, "Then how do you know you are a sane person?" He happily said, "Don't you know? I am Lu Xun." I said, "That's impossible, Lu Xun passed away long ago." He said, "You're wrong, I haven't died, I am Lu Xun."This "Lu Xun" is truly a lunatic. I think this is why I have never seen a sane person. Because they are all lunatics, that's how I recognize them.以下是一些用法和中英文对照例句：1. 疯子(fēng zǐ) - lunatic- 她的行为举止让人觉得她是个疯子。
题呐喊原文及翻译
题呐喊原文及翻译
原文：
题《呐喊》鲁迅
弄文罹文网，抗世违世情。
积毁可销骨，空留纸上声。
翻译：
“弄文罹文网”，弄文，指弃医从文，以文学为武器，来唤起“沉默的国民”的觉悟，不断地写作“为正人君子深恶痛绝的文字”，揭露新老军阀的罪恶行径和各种黑暗的社会现象，因此也就不仅更“为正人君子所深恶痛绝”，更为各种新老军阀，国民党当局所不容，触犯了他们的法网，先后遭到段祺瑞、蒋介石下令通缉。
这句诗里所包含的既是鲁迅对十几年来战斗生活的总结以及由此引起的慨叹，对于当局又是一种揭露。
“抗世违世情”，是对自己劳绩的自我评价，也是对于自己遭到的攻击、迫害原因的剖析。
“抗世”，是和那个黑暗社会的抗争，与这样的社会进行强有力的抗争，就注定为这社会所不容。
第三句用典，“积毁可销骨”，是极写谣言诬蔑的可怕和凶恶，然后顺承下来引出结句“空留纸上声”。
空留者，徒然留下也。
鲁迅几十年一直为人民的解放而呐喊，但社会黑暗依旧，故曰“空留纸上声”，但这只是问题的一个方面。
另一方面是，尽管“积毁可销骨”，尽管有各种攻击、诬陷、流言、诅咒，尽管文网森严，压迫日甚，鲁迅仍然如参天大树般屹然挺立，《呐喊》仍然以其深刻的思想性和巨大的艺术魅力长留人间。
这却不是那些“毁者，压迫者所能制止的”。
这首题赠诗虽短小，却有极大的概括力，包孕着对于黑暗社会的巨大的愤慨情感。
诗中前二句对偶，工稳整饬，显示出深厚的诗歌艺术功力。
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。
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。
《鲁迅论语文改革》原文及翻译
《鲁迅论语文改革》原文及翻译《鲁迅论语文改革》是鲁迅先生于1923年发表的一篇文章，主要讨论了中国语文教育的现状、问题以及对于语文改革的建议。
以下是该文章的原文及翻译，并附上一些相关参考内容。
鲁迅先生在文章中首先指出了中国语文教育存在的一些问题，如缺乏实际运用、注重死记硬背和重视形式而忽视实质等。
他认为这样的语文教育模式不仅无法培养学生的实际语文运用能力，还会导致学生对语文产生厌倦和抵触情绪。
针对这些问题，鲁迅先生提出了一些语文改革的建议。
首先，他强调了培养实际运用语文的能力的重要性，认为学生应该通过阅读、写作和口语表达来提高自己的语文水平，而不是仅仅停留在死记硬背知识的层面。
其次，他主张对语文教材内容进行精选和改革，将其与学生的生活和社会联系起来，使其有实际应用的意义。
此外，他还呼吁对文言文的教学进行审慎和合理的控制，以避免其成为学生对语文学习的负担。
另外，鲁迅先生还强调了培养学生独立思考和批判精神的重要性。
他认为学生应该学会对所学知识进行分析和评价，而不仅仅接受教材上的观点。
他主张培养学生思考问题的能力，使其具备批判性思维和创新意识。
鲁迅先生在文章中还提到了语文教师的责任和使命。
他认为教师应该具备广博的知识和正确的教育理念，注重培养学生的兴趣和激发他们的学习动力。
他还强调了教师对学生的引导作用，认为教师应该引导学生学会如何自主学习和思考，而不仅仅是传授知识。
从中我们可以看出，鲁迅先生关注的是培养学生全面发展的语文教育模式。
他主张通过培养学生实际运用语文的能力、挖掘教材的实际意义、培养学生的批判精神和教师的引导作用，来推动中国语文教育的改革与发展。
以下是一些相关参考内容：1. 杨东平，李灵韵. 鲁迅《论语文改革》批判考——同时评《明字苑》[J]. 郑州大学学报(哲学社会科学版), 2009, 58(03): 157-161.该文对《鲁迅论语文改革》进行了批判性的剖析，探讨了鲁迅对于语文改革的观点以及文中所表达的教育理念。
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。
鲁迅自嘲全诗的译文
鲁迅自嘲全诗的译文
1、鲁迅自嘲全诗原文
运交华盖欲何求，未敢翻身已碰头。
破帽遮颜过闹市，漏船载酒泛中流。
横眉冷对千夫指，俯首甘为孺子牛。
躲进小楼成一统，管他冬夏与春秋。
2、鲁迅自嘲全诗的译文
交了不好的运气我又能怎么办呢？想摆脱却被碰得头破血流。
破帽遮脸穿过热闹的集市，像用漏船载酒驶于水中一样危险。
横眉怒对那些丧尽天良、千夫所指的人，俯下身子甘愿为老百姓做孺子牛。
坚守自己的志向和立场永不改变，不管外面的环境发生怎样的变化。
3、鲁迅自嘲全诗的创作背景
据《鲁迅日记》记载，一九三二年十月十二日，郁达夫同王映霞于聚丰园宴请作者鲁迅，鲁迅结合7日前的谈话有感而作，当时同席的还有柳亚子夫妇。
北京师范大学中文系教授张紫晨：《自嘲》是一首政治抒情诗，也是一首对仗工整的七言律，成为胜炙人口的名篇。
其中“横眉冷对千夫指，俯首甘为孺子牛”，更是名篇中的名句。
整个诗篇诙谐见于形，严肃寓于中，体现了鲁迅诗歌的独特风格。
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 。
鲁迅名言带翻译的
鲁迅名言带翻译的鲁迅名言，“读书不觉已春深，一寸光阴一寸金。
”。
Reading is a valuable use of time because it enriches our minds and souls. It is a way to expand our knowledge and understanding of the world around us. As the famous Chinese writer, Lu Xun, once said, “Reading is like an investment of time, where every minute spent reading islike a golden coin.”。
Reading is a lifelong journey that can bring us joy, knowledge, and inspiration. It is a way to broaden our perspectives, challenge our assumptions, and stimulate our imaginations. Reading can help us to develop critical thinking skills, improve our vocabulary, and enhance our communication abilities.However, in today's fast-paced world, it can be challenging to find the time to read. With so many distractions and demands on our time, it can be tempting toput off reading for another day. But as Lu Xun reminds us, time is a precious commodity that we must use wisely.To make the most of our time, we must prioritize reading as an essential part of our daily routine. We can set aside a specific time each day to read, whether it's in the morning, during our lunch break, or before bed. We can also make use of technology to access books and articles on our smartphones, tablets, or e-readers, making it easier to read on the go.In addition to finding the time to read, we must also choose our reading materials carefully. We should seek out books and articles that challenge us, inspire us, and expand our knowledge and understanding. We should also be open to exploring new genres and authors, as this can broaden our perspectives and introduce us to new ideas and ways of thinking.Ultimately, reading is a valuable investment of time that can enrich our lives in countless ways. As Lu Xun reminds us, every minute spent reading is like a goldencoin, and we should use our time wisely to invest in our minds and souls.。
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。
鲁迅与翻译——精选推荐
鲁迅与翻译摘要：鲁迅的翻译工作从来就不曾间断过，其成就之高、影响之大、个性之突出，在中国翻译史上写上了重重的一笔。
本文从鲁迅翻译的思想、翻译的作品、翻译的方法等几个角度出发，对鲁迅的翻译思想与价值进行了剖析，鲁迅从事文学翻译早于文学创作，分析鲁迅的翻译标准。
鲁迅的翻译特色是明显的，从投身文学到生命的终点，与其他译者相比，其翻译模式对后来的影响是巨大的，鲁迅所以“直译”、“硬译”和“宁信而不顺”，其实是为了更好地忠实于原作，同时也是为汉语输入“新的表现法”。
鲁迅的翻译思想至今仍具有重要的现实意义。
关键词：鲁迅;文学翻译;翻译思想；翻译的标准一、引言鲁迅，是二十世纪中国文学一座无法逾越的丰碑，一个无法绕过的存在。
鲁迅是一位文学巨匠，是我国现代文学的奠基人。
我们常常把他尊称为伟大的无产阶级文学家、思想家和革命家；同时，他又是一名杰出的外国文学研究者和翻译家。
他的著述与思想影响至深，成为我们民族珍贵的世纪文化遗产，不断激发后人新的思考和创作。
作为一个真正的“中国的与现代的”作家，他的影响不仅局限在中国。
众所周知，在一些人眼中，他嫉恶如仇，是旗手，是导师，是人道的标本，正义的光源；在提倡多元化的今天，鲁迅在许多人眼中依旧代表着“中国人的脊梁和咽喉”。
事实上，鲁迅一生的文学活动始于翻译，而又是以翻译告终的。
据不完全统计，鲁迅一共翻译介绍了近200多位作家的作品，印成了对个单行本，总字数达300多万字，数量与他自己一生的全部著作大致相等，被称为我国翻译文学史上的一座丰碑。
经他翻译作品的国家，包括俄国和前苏联、日本、英国、法国、德国、奥地利。
荷兰、西班牙、芬兰、波兰、保加利亚等国，其中俄国和前苏联的作品又占一半以上。
翻译作品的类型，有长篇小说、短篇小说、诗歌、剧本、童话和文艺理论著作，他在杂文、书信和日记中涉及到的外国作家，据初步统计，共有25个国家和民族的作家达380人之多。
可以说，鲁迅在文学创作上的巨大成就与他在文学翻译上的丰硕成果密不可分，翻译介绍外国文学，在他一生的文学活动中占有相当重要的地位。
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吾 甚 感 激
汝 皆 倾 听
鲁 迅 生 平 简 介
鲁 迅 的 翻 译 成 就
鲁 迅 的 译 论 思 想
鲁 迅 对 翻 译 理 论 的 创 新 异 化
挖 掘 鲁 迅 翻 译 理 念 的 意 义
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挖掘鲁迅翻译理念的意义
• 目前学术界研究中，叙述鲁迅的翻译活动 ，大多多注其 翻译规模 、地点与国际国内学术界交往活动 ，而本研究 的重点在于研究鲁迅对 翻译理论所做 出的 重大革 新与 方法 实践 。特别是他的“直译 ”理论的提出，事实上 暗合了奈达的“功能 对等 ”论 。
鲁 迅 生 平 简 介
鲁 迅 的 翻 译 成 就
鲁 迅 的 译 论 思 想
鲁 迅 对 翻 译 理 论 的 创 新 异 化
挖 掘 鲁 迅 翻 译 理 念 的 意 义
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鲁迅的翻译成就
• 俄国文学： • 俄国1905年革命后，正是鲁迅第一个为中 国“窃”来了俄罗斯文学的“普罗米修斯 之火”。 • 果戈理、托尔斯泰、陀斯妥耶夫斯基、高 尔基等一大批俄国重要作家的作品，都是 通过鲁迅源源不断地输入到中国。 • 鲁迅翻译的《死魂灵》、《毁灭》、《浊 流》都是其中的代表作。
鲁 迅 的 翻 译 成 就
鲁 迅 的 译 论 思 想
鲁 迅 翻 译 理 论 的 创 新 异 化
挖 掘 鲁 迅 翻 译 理 念 的 意 义
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鲁迅的译论思想
• • • • 翻译目的 翻译标准 重译和复译问题 翻译批评问题
翻译目的
• 一是启迪民智，改造社会。 • 他翻译的目的的着眼点于唤醒民众，提高国人的 素质和打开国人的眼界，有利于“转移性情，改 造社会”。 • 二是翻译作为文学和语言引进的途径。 • 鲁迅认为异化文本的语言也可以改进中国的语言 和中国人的思维，因此他主张引进西方新的文学 样式和表达方式,丰富汉语的文学样式和表达方式, 促使白话文在汉语中的推广,促进汉语的现代化。
鲁迅的翻译成就
• 文艺理论： • 鲁迅早期翻译了厨川白村的文艺论文集 《苦闷的象征》、《出了象牙之塔》，出 版他在1924年至1928年间译的文艺论文的 结集《壁下译丛》等，后来又译了苏俄卢 那察尔斯基的艺术论文集《艺术论》、文 艺评论集《文艺与批评》以及据日译本重 译的《苏俄的文艺政策》等。
鲁 迅 生 平 简 介
翻译批评问题
• 鲁迅充分认识到了翻译批评对于提高翻译质量的 重要性, 因此, 他对翻译批评特别重视, 强调 “批评的工作要着重”。他认为翻译批评的责任 在于“或者培植, 或者删除, 使翻译界略免于芜 杂。”在《为翻译辩护》中, 鲁迅指出翻译批评 的方法在于,“一、指出坏的; 二、奖励好的; 三、 倘没有, 则较好的也可以。”另外, 鲁迅关于翻 译批评方法的思想也体现了翻译批评的宽容性。 一部译作不可能十全十美, 但也不可能一无是处。 鲁迅关于加强翻译批评的论述，对于现在的翻译 事业仍然具有指导意义。
重译和复译问题
• 鲁迅提倡重译、复译是为了拓宽翻译的道路,促进文学翻 译事业的繁荣,旨在批评当时翻译界抢译、乱译之风。关 于重译问题，鲁迅一贯的看法是，理想的翻译，应该由精 通原文的译者从原著直接译出；但由于各种客观条件的限 制，重译有其存在的必要；他最反对不加分析地鄙薄重译 的做法。 • 鲁迅这么重视重译即复译源于他对重译的独到的见解。他 认为重译是击退乱译的好方法。他把复译喻为赛跑。他说 “譬如赛跑,至少总得有两个人,如果不许第二个人入场, 则先在的一个永远是第一名,无论他怎样的蹩脚。”他又 说:“取旧译的长处,再加上自己的新心得,这样才会成功一 种近于完全的定本。”结合现实,我们不难看出他的这种 深邃思想的正确性。
国 魂 翻 译 家 —
鲁 迅 的 翻 译 成 就
鲁 迅 的 译 论 思 想
鲁 迅 对 翻 译 理 论 的 创 新 异 化
挖 掘 鲁 迅 翻 译 理 念 的 意 义
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鲁 迅 生 平 简 介
鲁 迅 的 翻 译 实 践 活 动 及 翻 译 成 就
鲁 迅 的 译 论 思 想
鲁 迅 对 翻 译 理 论 的 创 新 （ 异 化 翻 译
挖 掘 鲁 迅 翻 译 理 念 的 意 义
周树人（1881年9月 25日-1936年10月19 日），浙江绍兴人， 字豫才。原名周樟寿， 1898年改为周树人， 字豫山、豫亭。以笔 名鲁迅闻名于世 。他 以笔为武器，战斗了 一生，被誉为“民族 魂”。
翻译标准
• 鲁迅认为翻译需要兼顾两个方面，一个是易懂， 另一个是保存原作的丰姿。也就是所说的顺和信。 假如信和顺之间必须取舍的话，他是宁信而不顺 的。 • 凡事翻译，必须兼顾着两面，一面当然力求其易 懂，一面保存着原作的丰姿，但这保存，却又常 常和易懂相矛盾：看不惯了。不过它原是洋鬼子， 当然谁也看不惯，为比较的顺眼起见，只能改换 他的衣裳，却不该削低他的鼻子，剜掉他的眼睛。 我是不主张削鼻剜眼的，所以有的地方，仍然宁 可译得不顺口。只是文句的组织，无须科学理论 似的精密了，就随随便便，……
挖掘鲁迅翻译理念的意义
• 一言以蔽之，鲁迅使翻译文学化了 ，他又使文学 文化化了，使文化政治化了，使政治意识形态化 了。鲁迅翻译研究已成当代翻译史显学 。历史上 对他的定位过于偏狭 ，没有将其纳入一个世界范 围内进行研究 ，甚至有鲁迅到底是不是翻译理论 家的分歧 ，一般资料只将他作为文学翻译家 (指 翻译实践 )对待 。 • 本研究不仅将把鲁迅从中国推向世界 ，定义为世 界翻译史上的著名翻译家 ，而且是翻译史上卓越 的翻译理论家 ，他的翻译理念与西方译论异曲同 工 。此项研究旨在为中国的翻译理论在国际上争 得应有的地位 。将会进一步推 动我国翻译理论 与实践事业的发展 。
鲁迅的翻译成就
• 日德法等国：
• 鲁迅译日文小说11篇,都收录在《现代日本小说集》 里，此书为鲁迅与周作人共同译作。其中鲁迅译 11篇，依次为夏目漱石的《挂幅》、《克莱喀先 生》，森欧外的《游戏》、《沉默之塔》，有岛 武郎的《与幼小者》、《阿末的死》，江口涣 《峡谷的夜》，菊池宽的《三浦右卫门的最后》、 《复仇的话》，以及芥川龙之介的《鼻子》、 《罗生门》。
鲁迅是中国伟大的革命文学家、思想家，也是一位杰 出的文学翻译家。 他的文学翻译和翻译思想在中国翻译史上具有重要的 地位。鲁迅翻译思想，几乎涵盖了翻译问题的各个层面， 对我国翻译界产生了极其深远的影响。
鲁迅的翻译活动贯穿他的战斗的一生。在长达30多年 的翻译生涯中，鲁迅共翻译了14个国家100多位作家的200 多部（篇）作品，共计300余万字，大致跟他一生的创作 量相当。鲁迅的译品除了外国文学外，还包括外国的自然 科学和哲学方面的论著。
鲁 迅 生 平 简 介
鲁 迅 的 翻 译 成 就
鲁 迅 的 译 论 思 想
鲁 迅 对 翻 译 理 论 的 创 新 异 化
挖 掘 鲁 迅 翻 译 理 念 的 意 义
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鲁迅对翻译理论的创新（异化翻译）
• 鲁迅的翻译活动开始于1903年，在翻译之初，由于受到林 纾等人的影响，他采取的也是晚清时期流行的意译手法。 • 在1909年，鲁迅和他的兄弟周作人翻译出版的两册《域外 小说集》，一改他以前意译的翻译策略，忠实地保留了原 著的内容、文采以及章节格式，开了近代文言直译小说的 先河，是中国近代文学史上的一座丰碑。 • 最能体现鲁迅“归化”“洋气”之说的是1935年7 月鲁迅 在《且介亭杂文二集·“题未定”草》（一至三）中提及他 翻译《死魂灵》的感受。 • 鲁迅主张在翻译中尽量保存原作的“洋气”以体现“异国 情调”。他主张的“欧化”、“保存洋气”是典型的异化 翻译法。
鲁迅的翻译成就
• 日德法等国： • 鲁迅早期比较关注拜伦、雪莱、卢梭、尼采等西 方作家。鲁迅等人集体编成了《萧伯纳在上海》 一书。另外，他还组织翻译了马克· 吐温的《夏娃 日记》，在简短的小引中，表达了自己对美国文 学及其作家们的看法。 • 他在中国介绍、推广了一大批容易为人忽视的小 国的进步作家和作品。如日本作家夏目漱石、森 欧外的小说，波兰诗人密茨凯维支、作家显克微 支的作品，匈牙利诗人裴多菲的诗作，保加利亚 作家跋佐夫的小说《战争中的威尔柯》等等。
• 对鲁迅的翻译理念进行“后 殖 民主 义”当代阐释 ，从 翻译实践和翻译理论的角度，探究这位中国翻译史上的名 人对我国翻译事业的卓越贡献 ，不仅对我国当今翻译事 业具有重要 的现实指导意义 ，而且对继承和发扬我国的 优秀翻译传统，弘扬译学民族精深文化 ，进一步 推进有 中国特色的翻译学科的发展和繁荣也具有深远意义 。鲁 迅对翻译理论的贡献是巨大 的。