以下是小编收集整理的大学英语fame课文翻译(共含10篇），仅供参考，欢迎大家阅读。同时，但愿您也能像本文投稿人“Xiiiiiiiiiii”一样，积极向本站投稿分享好文章。
Fame is very much like an animal chasing its own tail who, when he captures it, does not know what else to do but to continue chasing it. Fame and the exhilarating celebrity that accompanies it, force the famous person to participate in his or her own destruction. Ironic isn't it?
Those who gain fame most often gain it as a result of possessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful performer develops a style that is marketed aggressively and gains some popularity, and it is this popularity that usually convinces the performer to continue performing in the same style, since that is what the public seems to want and to enjow. But in time, the performer becomes bored singing the same songs in the same way year after year, or the painter becomes bored painting similar scenes or portraite, or the actor is tired of playing the same character repeatedly. The demand of the public holds the artist hostage to his or her own success, fame. If the artist attempts to change his or her style of writing or dancing or singing, etc., the audience may turn away and look to confer fleeting fickle fame on another and then, in time, on another , and so on and so on.
Who cannot recognize a Tennessee Williams play or a novel by John Updike or Ernest Hemingway or a poem by Robert Frost or W. H. Auden or T. S. Eliot? The same is true of painters like Monet, Renoir, Dali or Picasso and it is true of movie makers like Hitchcock, Fellini, Spielberg, Chen Kai-ge or Zhang Yimou. Their distinctive styles marked a significant change in the traditional forms and granted them fame and forturn, but they were not free to develop other styles or forms because their audience demanded of each of them what they originally presented. Hemingway cannot even now be confused with Henry James or anyone else, nor can Forst be confused with Yeats, etc. The unique forms each of them created, created them. No artist or performer can entirely escape the lure of fame and its promise of endless admiration and respect, but there is a heavy price one must pay for it.
Fame brings celebrity and high regard from adoring and loyal fans in each field of endeavor and it is heady stuff. A performer can easily come to believe that he or she is as good as his or her press. But most people, most artists do not gain fame and fortune. What about those performers who fail, or anyone who fails? Curiously enough, failure often serves as its own reward for many people! It brings sympathy from others who are delighted not to be you, and it allows family and friends to lower their expectation of you so that you need not compete with those who have more talent and who secceed. And they find excuses and explanations for your inability to succeed and become famous: you are too sensitive, you are not interested in money, you are not interested in the power that fame brings and you are not interested in the loss of privacy it demands, etc. ---all excuses, but comforting to those who fail and those who pretend not to notice the failure.
History has amply proven that some failure for some people at certain times in their lives does indeed motivate them to strive even harder to succeed and to continue believing in themselves. Thomas Wolfe, the American novelist, had his first novel Look Homeward, Anger rejected 39 times before it was finally published and launched his career and created his fame. Beethoven overcame his tyrannical father and grudging acceptance as a musician to become the greatest, most famous musician in the world, and Pestalozzi, the famous Italian educator in the 19th century, failed at every job he ever had until he came upon the idea of teaching children and developing the fundamental theories to produce a new form of education. Thomas Edison was thrown out of school in fourth grade, at about age 10, because he seemed to the teacher to be quite dull and unruly. Many other cases may be found of people who failed and used the failure to motivate them to achieve, to succeed, and to become famous. But, unfortunately, for most people failure is the end of their struggle, not the beginning. There are few, if any, famous failures.
Well then, why does anyone want fame? Do you? Do you want to be known to many people and admired by them? Do you want the money that usually comes with fame? Do you want the media to notice everything you do or say both in public and in private? Do you want them hounding you, questioning you and trying to undo you? In American politics it is very obvious that to be famous is to be the target of everyone who disagrees with you as well as of the media. Fame turns all the lights on and while it gives power and prestige, it takes the you out of you: you must be what the public thinks you are, not what you really are or could be. The politician, like the performer, must please his or her audiences and that often means saying things he does not mean or does not believe in fully. No wonder so few people trust politicians. But we have not answered the question at the beginning of this paragraph: why does anyone want fame? Several reasons come to mind: to demonstrate excellence in some field; to gain the admiration and love of many others; to be the one everyone talks about; to show family and friends you are more than they thought you were. Probably you can list some other reasons, but I think are reasonably common.
I say to those who desperately seek fame and fortune， celebrity：good luck. But what will you do when you have caught your tail， your success， and your fame？ Keep chasing it？ If you do catch it， hang on for dear life because falling is not as painful as landing. See you soon famous and almost famous.
【翻译】
名声就像一只追逐自己尾巴的动物，当它抓住它的时候，它不知道还能做什么，只能继续追逐它。名声和随之而来的令人兴奋的名声，迫使名人参与到他或她自己的毁灭中。讽刺的不是吗？
获得名望通常获得它的人由于拥有一个天赋或技能：唱歌，跳舞，绘画，或写作，等等。成功的表演者积极开发销售的风格并获得一些声望，和这个流行通常让表演者继续在同一风格的表现，因为这就是公众似乎想要和enjow。但随着时间的推移，表演者厌倦了同样的歌曲，年复一年地唱着同样的歌，或者画家厌倦了画类似的场景或肖像，或者演员厌倦了反复扮演同一个角色。公众对艺术家的要求使他或她自己的成功成为人质。如果艺术家试图改变他或她的写作风格、舞蹈或歌唱等，观众可能会转向别处，寻求稍纵即逝的浮躁的名声，然后，在时间上，在另一个，如此等等。
谁不认识田纳西·威廉姆斯的戏剧或者约翰·厄普代克（John Updike）或欧内斯特·海明威（Ernest Hemingway）的小说，还是罗伯特·弗罗斯特（Robert Frost）或w·h·奥登（w 。 h 。 Auden）或艾略特（t 。 s 。 Eliot）的一首诗？像莫奈、雷诺阿、达利或毕加索这样的.画家也是如此，像希区柯克、费里尼、斯皮尔伯格、陈凯歌或张艺谋这样的电影制作人也是如此。他们独特的风格标志着传统形式的显著改变，并赋予他们名声和力量，但他们因为他们的观众要求他们每个人最初呈现的东西，所以他们没有自由发展其他的风格或形式。海明威甚至不能与亨利·詹姆斯或其他任何人混淆，也不能与叶芝混淆。这些独特的形式创造了他们，创造了他们。没有一个艺术家或表演者能完全逃脱名声的诱惑，也没有得到无限钦佩和尊重的承诺，但必须付出沉重的代价。
在每一个领域都有名人和忠诚的粉丝，这是令人兴奋的事情。一个表演者很容易就会相信自己和他的媒体一样优秀。但大多数人，大多数艺术家并不会名利双收。那些失败的表演者，或者失败的人怎么办？奇怪的是，失败往往是对许多人的奖赏。它能带给那些不喜欢你的人的同情，它允许家人和朋友降低对你的期望，这样你就不必与那些有更多天赋的人竞争。他们找借口和解释对你无法成功和成名：你太敏感，你的钱不感兴趣，你不感兴趣的名声带来的力量，你不感兴趣的隐私要求，等等都是借口，但安慰那些失败，那些假装没有注意到失败。
历史已经充分证明，某些人在某些时刻的失败确实激励他们更加努力地取得成功，并继续相信自己。美国小说家托马斯·沃尔夫（Thomas Wolfe）第一部小说《回家看》（Look Homeward），愤怒被拒绝了39次才最终出版发行职业生涯并创造了他的名声。贝多芬克服了他残暴的父亲和勉强接受作为一个音乐家成为最伟大的，世界上最著名的音乐家，和裴斯塔洛齐，在19世纪意大利著名教育家，在每一份工作，他曾经失败，直到他来到教会孩子的想法和发展基本理论产生一种新形式的教育。托马斯·爱迪生在四年级的时候被学校开除了，大约10岁，因为他觉得老师很呆板，不守规矩。许多其他的案例可能被发现是那些失败的人，他们利用失败来激励他们取得成功，成功，并成为名人。但不幸的是，对于大多数人来说，失败是他们奋斗的终点，而不是开始。几乎没有什么著名的失败。
那么，为什么有人想要出名呢？你呢？你想要被许多人所了解，被他们所崇拜吗？你想要那些通常伴随名誉而来的钱吗？你想让媒体注意到你在公共和私人场合所做的一切吗？你是想让他们追着你，问你，想要解开你？在美国的政治中，很明显，要出名，就得成为所有不同意你和媒体的人的目标。名声把所有的灯都打开，当它赋予权力和威望时，它将你从你身上带出：你必须是公众认为你是什么，而不是你真正的或可能的。政治家，像表演者一样，必须取悦他或她的听众，这通常意味着说他不代表或不相信的事情。难怪很少人会这么做。
Fame is very much like an animal chasing its own tailwho, when he captures it, does not know what elseto do but to continue chasing it. Fame and thedelighting popularity that accompanies it, force thefamous person to participate in his or her owndestruction.
Those who gain fame most often gain it as a result ofpossessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful performerdevelops a style that is marketed aggressively andgains some popularity. And it is this popularity that usually convinces the performer tocontinue performing in the same style, since that is what the public seems to want and toenjoy. But in time, the performer becomes bored singing the same songs in the same way yearafter year, or the painter becomes bored painting similar scenes or portraits, or the actor istired of playing the same character repeatedly. The demand of the public holds the artisthostage to his or her own success, fame. If the artist attempts to change his or her style ofwriting or dancing or singing, etc.the audience may turn away and look to confer changeablefame which is passing quickly on another.
I believe that fame and celebrity, influence and power,success and failure, reality and illusionare all somehow neatly woven into a seamless fabric we laughingly call reality. I say to thosewho desperately seek fame and fortune, celebrity:good luck. But what will you do when youhave caught your tail, your success, and your fame? Keep chasing it? If you do catch it, hangon for dear life because falling is not as painful as landing. See you soon famous and almostfamous.
fame课文的翻译
同学们读过fame这篇英语课文吗？以下是它的原文及翻译，一起看看吧。
fame课文的翻译
Fame is very much like an animal chasing its own tail who, when he captures it, does not know what else to do but to continue chasing it. Fame and the delighting popularity that accompanies it, force the famous person to participate in his or her own destruction.
Those who gain fame most often gain it as a result of possessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful performer develops a style that is marketed aggressively and gains some popularity. And it is this popularity that usually convinces the performer to continue performing in the same style, since that is what the public seems to want and to enjoy. But in time, the performer becomes bored singing the same songs in the same way year after year, or the painter becomes bored painting similar scenes or portraits, or the actor is tired of playing the same character repeatedly. The demand of the public holds the artist hostage to his or her own success, fame. If the artist attempts to change his or her style of writing or dancing or singing, etc.the audience may turn away and look to confer changeable fame which is passing quickly on another.
I believe that fame and celebrity, influence and power,success and failure, reality and illusion are all somehow neatly woven into a seamless fabric we laughingly call reality. I say to those who desperately seek fame and fortune, celebrity:good luck. But what will you do when you have caught your tail, your success, and your fame? Keep chasing it? If you do catch it, hang on for dear life because falling is not as painful as landing. See you soon famous and almost famous.
翻译
声誉很像一只追逐自己尾巴的动物，当它抓住了自己的尾巴后，除了再继续追逐外再不知做什么。声誉与令人兴奋的知名度相生相伴，从而使名人走向毁灭。
那些声名鹊起之人多半是由于有一技之长；唱歌、跳舞、绘画或写作等。一个成功的表演者发展了一种雄踞市场的风格因而受到欢迎。正是由于这种受欢迎程度才使得他继续保持这种风格，因为这种风格是大众所需要和喜爱的。但最终，歌手为年复一年地以同样的方式唱同样的歌而感到心烦，画家为画类似的风景人物而感到厌倦，演员为
反复演同样的角色而疲惫不堪。公众的需求使得艺术家们固守自己的名誉。若他们企图改变自己的写作风格、唱腔、舞步等，则听众、观众便会离去，把稍纵即逝的`名誉给予他人。
我相信名誉和声望、影响和权力、成功与失败，现实和幻想都以某种方法整齐地编织在山张无缝隙的织缎中，即我们所笑称的现实。我对那些拼命寻求名誉、财富和声望的人说：祝你好运。但当你抓住自己的尾巴、获得成功和赢得名誉之后你又能做什么呢?继续追逐名利吗?如果你确实抓住的话，千万抓紧了，因为下坠与落地的痛楚不一样。祝你很快成名或差不多成名!
fame新世纪课文翻译
Fame
声誉
Fame is very much like an animal chasing its own tail who, when he captures it, does not know what else to do but to continue chasing it. Fame and the exhilarating popularity that accompanies it, force the famous person to participate in his or her own destruction. Ironic isn't it?
声誉很像一只追逐自己尾巴的动物，抓住后除了继续追逐不舍之外，再也没有其他方法了。声誉与随之而来的令人兴奋的赞扬迫着这位出了名的人走上自己的末路。这难道不令人啼笑皆非吗？
Those who gain fame most often gain it as a result of possessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful performer develops a style that is marketed aggressively and gains some popularity, and it is this popularity that usually convinces the performer to continue performing in the same style, since that is what the public seems to want and to enjoy. But in time, the performer becomes bored singing the same songs in the same way year after year, or the painter becomes bored painting similar scenes or portraits, or the actor is tired of playing the same character repeatedly. The demand of the public holds the artist hostage to his or her own success, fame. If the artist attempts to change his or her style of writing or dancing or singing, etc., the audience may turn away and look to confer fleeting fickle fame on another and then, in time, on another, and so on and so on.
在已经出了名的人们中间，绝大多数是因有一技之长，如唱歌、舞蹈、绘画、写作等等，而获此声誉的。这位成功的表演者展示出一种在市场上可以争雄制胜的风格，因而获得声誉。而且也就是这种声誉常使表演者确信必须把这种风格坚持下去，因为看来这正是大众所需要和喜爱的。可是随着时间之转移，歌手年复一年地依老调唱老歌，画师画同样的风景人物，演员反复重演同一角色，都会感到厌烦。为了维持自己的成功和声誉，群众的要求竟把这位艺术家如人质般束缚住了。如果这位艺术家企图改变笔调、舞步、唱腔的话，听众观众就会舍他而去，把那飘忽不定的称誉转移给别人。随后有转移给另一人，这样不停地转来转去。
Who cannot recognize a Tennessee Williams play or a novel by John Updike or Ernest Hemingway or a poem by Robert Frost or W. H. Auden or T. S. Eliot? The same is true of painters like Monet, Renoir, Dali or Picasso and it is true of movie makers like Hitchcock, Fellini, Spielberg, Chen Kai-ge or Zhang Yimou. Their distinctive styles marked a significant change in the traditional forms and granted them fame and forturn, but they were not free to develop other styles or forms because their audience demanded of each of them what they originally presented. Hemingway cannot even now be confused with Henry James or anyone else, nor can Forst be confused with Yeats, etc. The unique forms each of them created, created them. No artist or performer can entirely escape the lure of fame and its promise of endless admiration and respect, but there is a heavy price one must pay for it.
有哪个人会认识不出一本田纳西·威廉斯的剧本、一本约翰·厄普代克或欧内斯特·海明威的小说，或罗伯特·弗罗斯特，或W.H奥登或T.S艾略特所写的一首诗歌呢？画家中，如莫奈、雷诺阿、达利或毕加索的画，导演制片如希区科克、费利尼、斯皮尔伯格、陈凯歌、张艺谋等等的作品，不也正是这样吗？他们的独特风格，迥异于一般传统，给他们带来美誉及财富。但他们不能自由地另创风格或形式。这是因为群众向他们每个人所要求的正是他们原来所提供的一切。直到现在，海明威决不能与亨利·詹姆斯或其他任何人相混淆，弗罗斯特也决不能与叶芝相混淆，如此等等。他们每个人都创造了独特风格。也创遣了他们自己。没有一位艺术家或表演家能完全逃避荣誉的引诱，荣誉给他们带来无穷的赞扬和崇敬，但他们要付出的代价也是靠常昂贵的。
Fame brings celebrity and high regard from adoring and loyal fans in each field of endeavor and it is heady stuff. A performer can easily come to believe that he or she is as good as his or her press. But most people, most artists do not gain fame and fortune. What about those performers who fail, or anyone who fails? Curiously enough, failure often serves as its own reward for many people! It brings sympathy from others who are delighted not to be you, and it allows family and friends to lower their expectation of you so that you need not compete with those who have more talent and who secceed. And they find excuses and explanations for your inability to succeed and become famous: you are too sensitive, you are not interested in money, you are not interested in the power that fame brings and you are not interested in the loss of privacy it demands, etc. ---all excuses, but comforting to those who fail and those who pretend not to notice the failure.
在每个领域里，出了名就会使一些虔敬的入迷者表示赞扬和尊崇，但这也是一种容易使人陶醉的东西。一位表演家粮容易相信自己的成就当真和报章舆论所说的一样。可是大多数人，大多数艺人并没有得到声名财富。那些失败的表现者又如何呢？其他任何一个失败者又如何呢？真奇怪，对很多人来说，失败也常常会起一种报偿的作用！有些人庆幸自己不像你那样地失败，就会对你表示同情，你的亲朋们也会降低对你的期望，使你不必去同那些才智胜于你而获得成功的人们较量。他们会找借口解说你不成功不出名的原因，说什么：你太敏感了呀；你对金钱没有兴趣呀；你对声名所能带来的权力不感兴趣呀；因为声誉要使你丧失隐私权，因而你不感兴趣呀，等等--这一些无非都是借口而已，但对失败者或假装不关心自己失败的人来说，都多少带来一点安慰。
History has amply proven that some failure for some people at certain times in their lives does indeed motivate them to strive even harder to succeed and to continue believing in themselves. Thomas Wolfe, the American novelist, had his first novel Look Homeward, Anger rejected 39 times before it was finally published and launched his career and created his fame. Beethoven overcame his tyrannical father and grudging acceptance as a musician to become the greatest, most famous musician in the world, and Pestalozzi, the famous Italian educator in the 19th century, failed at every job he ever had until he came upon the idea of teaching children and developing the fundamental theories to produce a new form of education. Thomas Edison was thrown out of school in fourth grade, at about age 10, because he seemed to the teacher to be quite dull and unruly. Many other cases may be found of people who failed and used the failure to motivate them to achieve, to succeed, and to become famous. But, unfortunately, for most people failure is the end of their struggle, not the beginning. There are few, if any, famous failures.
历史已充分证明有些人在生命中某些时刻遭遇的失败确实促使他们更努力奋斗，继续深信自己，以求得成功。美国小说家托马斯·沃尔夫的第一部小说《天使，望故乡》出版之前，被退稿39次，终于开始了他的写作事业并赢得了声誉。贝多芬不屈服于他的专横的父亲，还忍气当过乐师，但终于克服一切，成为全世界最伟大最著名的音乐家。19世纪意大利著名教育家贝斯达洛齐从事各业一无成就，但最后专心于儿童教育，研讨了新教育法的基本原理，形成一种新的教育理论。托马斯·爱迪生十岁左右，从四年级里被赶出校外，因为教师觉得他又笨又倔强。这种以失败为动力，奋发有为，成名成家的人还有多例可举。但不幸的是，对多数人来说，失败是奋斗的结束，而不是开始。成名的失败事例即使有，也是少数。
Well then, why does anyone want fame? Do you? Do you want to be known to many people and admired by them? Do you want the money that usually comes with fame? Do you want the media to notice everything you do or say both in public and in private? Do you want them hounding you, questioning you and trying to undo you? In American politics it is very obvious that to be famous is to be the target of everyone who disagrees with you as well as of the media. Fame turns all the lights on and while it gives power and prestige, it takes the you out of you: you must be what the public thinks you are, not what you really are or could be. The politician, like the performer, must please his or her audiences and that often means saying things he does not mean or does not believe in fully. No wonder so few people trust politicians. But we have not answered the question at the beginning of this paragraph: why does anyone want fame? Several reasons come to mind: to demonstrate excellence in some field; to gain the admiration and love of many others; to be the one everyone talks about; to show family and friends you are more than they thought you were. Probably you can list some other reasons, but I think are reasonably common.
那么，一个人为什么要追求声誉呢？你追求声誉吗？你希望许多人都知道你赞赏你吗？你要那个往往随声誉而来的`金钱吗？你要传播媒介注意你在公开或私下的一言一行吗？你要他们像猎狗似的追逐着你，向你提问，想办法拆你的台脚吗？在美国政界中非常明显，你要出名就得成为反对你的每个人的目标，也是传播媒介的目标。声誉把一切灯光打亮，一边给你权力和威望，另一边也把“你”赶出你的自身之外：你必须成为大众意想之中的你，而不是那个真实的你或者可能实现的你。像表演家一样，政治家必须讨好他的听众，这就往往意味着要讲一点自己并不完全相信或同意的话。所以相信政治家的人是如此之少，这就不足为奇了。但是我们还没有回答本节开始所提的问题：为什么人人都追求声誉呢？我们想到的是下列几点理由：为了显示出在某方面的超越成就；赢得许多人的景仰爱慕；做一个人人都在提到的人；在亲朋前显示你超乎于他们对你的想象之上。也许你还可加些其他理由，但我觉得上述各点当然是普遍的。
Is it possible to be famous and to remain true to yourself, the real you? Perhaps, but one is hard pressed to come up with the names of those who have done their thing their way and secceeded in the fame game. Many political dissidents around the world, in particular, Dawn Aung Suu Kyi of Burma, is a rare exception to the rule that says maintaining unpopular views or unpopular attitudes or approaches in any field will destroy you. The famous Irish writer Oscar Wilde, a very successful writer of stories, poems and plays, was known for his most unusual clothing and eccentric behavior, social and sexual. This behavior brought him to the attention of the mother of a young man Oscar was intimate with and she accused him. He was furious about this and sued the young man's mother which led to a trial and imprisonment for two years. He remained true to himself and paid a heavy price for it by being ostracized and defamed.
是否有可能既出名又保持着真实的你呢？也许可能。但我苦恩冥索实在想不出那些既能以己意行事而又能在声誉角逐中获胜的人的姓名来。世界上有许多持不同政见的人们，特别像缅甸的昂山苏姬，是稀有的超越常规的例外情况。因为一般常规是在任何场合里，如果你采取反群众的观点、态度及方法，必将使你自己毁灭。著名的爱尔兰作家奥斯卡。王尔德以小说、诗歌及剧本极为著称，同时，也因他的奇装异服和怪异的社交和性行为出了名。这种行为受到他的一位青年密友的母亲的注意。她指责了王尔德。王尔德为此大发雷霆，向这位青年的母亲提出控诉。之后，法庭判他两年徒刑。王尔德为了忠实于自己，付出了受社会排斥及丧失名誉的沉重代价。
Time magazine of June 17, devoted a good deal of its issue to discussing people (25 in America) who are the most influential in the country in their opinion. They added a short essay on who are the most powerful people in America and no one on the first list appeared on the second list, and strangely enough, none of the poeple on either list was described as famous, although I think several surely are. Can we really distinguish influential people and powerful people from those who are famous? Maybe, but their list of influential prople includes Jerry Seinfeld the comedian and TV star, Courtney Love the singer and drug addict whose fame has come largely through her husband Kurt Cobain, the guitarist who committed suicide, and the list inbludes Oparh Winfrey the talk show host and Calvin Klein the clothing designer. All of these people are famous , but I believe, not very influential in the sense that they change the way most of us think or act. In Time magazine's list we find a Supreme Court justice, Sandra Day O'Connorm, who is no more influential or powerful than any of other justices. President Clinton is not considered influential (?) but is considred powerful! You decide if you think famous and influential and powerful are closely related, or different.
6月17日那期的《时代》周刊以很多篇幅讨论他们心目中各国最有影响的人物（美国有25人）。他们又为美国最有权势的人加一篇短文。在第一个名单中（指最有影响的--译者注）没有一个人在第二个名单中（指最有权势的--译者注）出现。奇怪的是，在两个名单中，没有一个是被称为有声誉的，尽管我觉得其中有些人确有声誉。我们真的能把有影响的人、有权力的人同有声誉的人加以区分吗？也许可以。但他们的有影响人物名单中包括喜剧演员和电视明星杰里。圣菲尔德；歌手和吸毒者哥特尼·洛夫，此人的名望主要来自她的丈夫，那个自杀的吉他手库尔特·柯本。这名单里还包括脱口秀主持人奥柏拉。温弗里和服装设计师卡尔文·克莱恩。这些都是名人，但我想不是很有影响的，因为他们不是能够改变我们大多数人的思想或行为的人。在《时代》杂志表里我们也发现最高法院法官桑德拉·岱·奥康纳，她也并不比其他八位法官中的任何一位更有影响或更有权力。克林顿总统不算有影响(?)，只被认为是有权力而已！如你以为有声誉、有影响和有权力三者是紧密相联或可以划分的话，那么，随你决定吧。
I believe that fame and celebrity, influence and power, success and failure, reality and illusion are all somehow neatly woven into a seamless fabric we laughingly call reality. I say to those who desperately seek fame and fortune, celebrity: good luck. But what will you do when you have caught your tail, your success, your fame? Keep chasing it ? If you do catch it, hang on for dear life because falling is not as painful as landing. See you soon famous and almost famous, wayfarers on this unbright, nonlinear planet!
我相信声誉和赞扬、影响和权力、成功和失败、现实和幻想都好像是精密编织在一匹光洁无缝的织品之中，即我们笑称之现实的东西。对那些拼命追求声誉、财富和赞赏的人们，我说：祝您好运。但当你已抓住了尾巴、成功、声誉之后，你将做什么呢？一直追逐下去吗？如你确实抓住了它的话，那就舍命也不要松手，因为下坠总比坠地要少痛苦一点。走在这苍茫而不可理喻的星球上的芸芸过客们，我盼你们不久就功成名就，或近乎功成名就吧！
fame声誉中英对照课文翻译
散文名篇fame，大家是否比较陌生的呢。它是一篇英文的散文。fame声誉中英对照课文翻译，我们来看看。
英文散文佳作赏析：Fame 声誉
Fame
声誉
Fame is very much like an animal chasing its own tail who, when he captures it, does not know what else to do but to continue chasing it. Fame and the delighting popularity that accompanies it, force the famous person to participate in his or her own destruction.
声誉很像一只追逐自己尾巴的动物，当它抓住了自己的尾巴后，除了再继续追逐外再不知做什么。声誉与令人兴奋的知名度相生相伴，从而使名人走向毁灭。
Those who gain fame most often gain it as a result of possessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful performer develops a style that is marketed aggressively and gains some popularity.
那些声名鹊起之人多半是由于有一技之长；唱歌、跳舞、绘画或写作等。一个成功的表演者发展了一种雄踞市场的风格因而受到欢迎。
And it is this popularity that usually convinces the performer to continue performing in the same style, since that is what the public seems to want and to enjoy. But in time, the performer becomes bored singing the same songs in the same way year after year, or the painter becomes bored painting similar scenes or portraits, or the actor is tired of playing the same character repeatedly.
正是由于这种受欢迎程度才使得他继续保持这种风格，因为这种风格是大众所需要和喜爱的。但最终，歌手为年复一年地以同样的方式唱同样的歌而感到心烦，画家为画类似的风景人物而感到厌倦，演员为反复演同样的角色而疲惫不堪。
The demand of the public holds the artist hostage to his or her own success, fame. If the artist attempts to change his or her style of writing or dancing or singing, etc. the audience may turn away and look to confer changeable fame which is passing quickly on another.
公众的需求使得艺术家们固守自己的名誉。若他们企图改变自己的写作风格、唱腔、舞步等，则听众、观众便会离去，把稍纵即逝的名誉给予他人。
I believe that fame and celebrity, influence and power, success and failure, reality and illusion are all somehow neatly woven into a seamless fabric we laughingly call reality. I say to those who desperately seek fame and fortune, celebrity: good luck.
我相信名誉和声望、影响和权力、成功与失败，现实和幻想都以某种方法整齐地编织在山张无缝隙的织缎中，即我们所笑称的现实。我对那些拼命寻求名誉、财富和声望的人说：祝你好运。
But what will you do when you have caught your tail, your success, and your fame? Keep chasing it? If you do catch it, hang on for dear life because falling is not as painful as landing. See you soon famous and almost famous.
但当你抓住自己的尾巴、获得成功和赢得名誉之后你又能做什么呢?继续追逐名利吗?如果你确实抓住的话，千万抓紧了，因为下坠与落地的痛楚不一样。祝你很快成名或差不多成名!
散文英译汉佳作赏析：我父亲的音乐
My Father's Music
我父亲的音乐
by Wayne Kalyn
韦恩凯林
I remember the day Dad first lugged the heavy accordion up our front stoop, taxing his small frame. He gathered my mother and me in the living room and opened the case as if it were a treasure chest. “Here it is,” he said. “Once you learn to play, it'll stay with you for life.”
记得有一天，身材瘦小的父亲背着一架沉重的手风琴，费力地走到前门廊。他把妈妈和我叫进厅里，打开了那只盒子，好象那是一个百宝箱似的。“就这个，”他说，“你一旦学会，它将伴随你一生。”
If my thin smile didn't match his full-fledged grin, it was because I had prayed for a guitar or a piano. For the next two weeks, the accordion was stored in the hall closet. Then one evening Dad announced that I would start lessons the following week. In disbelief I shot my eyes toward Mom for support. The firm set of her jaw told me I was out of luck.
如果说我勉强的微笑与他发自内心的笑容不和谐的话，那是因为我一直想要一把吉他或一架钢琴。随后的两个星期，那架手风琴一直放在大厅的橱子里。一天晚上，爸爸宣布下周我开始上琴课。疑惑中，我把视线急忙投向妈妈求助。她紧绷的下巴告诉我：我倒运了。
Spending $300 for an accordion and $5 per lesson was out of character for my father. He was practical always － something he learned growing up on a Pennsylvania farm. Clothes, heat and sometimes even food were scarce.
花300元买一架手风琴，每次上课再花3美元，这可不像父亲的作风。他一直是很实际的——这是他在宾夕法尼亚农场成长过程中学来的。那时候，衣服、暖气，有时甚至连食物都短缺。
Dad was a supervisor in a company that serviced jet engines. Weekends, he tinkered in the cellar, turning scraps of plywood into a utility cabinet or fixing a broken toy with spare parts. Quiet and shy, he was never more comfortable than when at his workbench.
爸爸是一家为喷气式飞机引擎提供服务的公司的主管。周末，他在地下室里修修补补，把胶合板的边角料做成一个实用的小柜子，或者用一些零件把坏了的玩具修好。他不喜张扬，不爱说话。最让他感到舒服的，莫过于在工作台旁边。
Only music carried Dad away from his world of tools and projects. On a Sunday drive, he turned the radio on immediately. At red lights, I'd notice his foot tapping in time. He seemed to hang on every note.
只有音乐会让爸爸远离他的工具和计划的世界。一个星期天驾车外出，一上车他就打开了收音机。遇到红灯时，我注意到他的脚在打着拍子，似乎能跟得上每一个节拍。
Still, I wasn't prepared when, rummaging in a closet, I found a case that looked to me like a tiny guitar's. Opening it, I saw the polished glow of a beautiful violin. “It's your father's,” Mom said. “His parents bought it for him. I guess he got too busy on the farm to ever learn to play it.” I tried to imagine Dad's rough hands on this delicate instrument － and couldn't.
然而，我还是没有思想准备，那是我在橱子里翻找东西时，发现一只像是装小吉它的盒子。打开一看，是一把锃亮的、漂亮的小提琴。“那是你爸爸的，”妈妈说。“他父母给他买的。我想他在农场里太忙了，没有时间学。”我试图想象爸爸粗糙的双手放在这精致的乐器上的情景——无法想象。
Shortly after, my lessons began with Mr. Zelli. On my first day, with straps straining my shoulders, I felt clumsy in every way. “How did he do?” my father asked when it was over. “Fine for the first lesson,” said Mr. Zelli. Dad glowed with hope.
不久，泽利先生开始教我拉手风琴。第一天，手风琴背带压着我的肩膀，我感到浑身不自在。“他学得怎么样？”结束时，父亲问。“第一堂课，这已经很不错。”泽利先生说。爸爸眼中闪着希望的光芒。
I was ordered to practice half an hour every day, and every day I tried to get out of it. My future seemed to be outside playing ball, not in the house mastering songs I would soon forget. But my parents hounded me to practice.
爸爸命令我每天练半个小时，可每天我都想赖掉。我的将来似乎应在户外打球，而不是在屋内练那些很快就会忘掉的曲子。然而父母不断地督促我练习。
Gradually, to my surprise, I was able to string notes together and coordinate my hands to play simple songs. Often, after supper, my father would request a tune or two. As he sat in his easy chair, I would fumble through “Lady of Spain” and “Beer Barrel Polka.”
渐渐地，让我吃惊的是，我竟然能把几个音符连起来了。手指的协调性也好点了，还能拉出几首简单的曲子。晚饭后，父亲常常会要我拉上一、两首曲子。他躺在安乐椅里，我则笨拙地拉完“西班牙女郎”和“啤酒桶波尔卡”。
“Very nice, better than last week,” he'd say. Then I would follow into a medley of his favorites, “Red River Valley” and “Home on the Range,” and he would drift off to sleep, the newspaper folded on his lap. I took it as a compliment that he could relax under the spell of my playing.
他会说，“不错，比上星期好，”然后我会接着拉他喜欢的曲子“红河谷”和“山上的家”。听着听着，他慢慢睡着了，报纸叠在腿上。我把这看作是一种赞扬：他能在我美妙的演奏中放松。
One July evening I was giving an almost flawless rendition of “Come Back to Sorrento,” and my parents called me to an open window. An elderly neighbor, rarely seen outside her house, was leaning against our car humming dreamily to the tune. When I finished, she smiled broadly and called out, “I remember that song as a child in Italy. Beautiful, just beautiful.”
七月的'一个傍晚，我正在拉“重回索联托”，拉得几乎完美无缺。父母突然把我叫到窗前。一位极少出门、上了年纪的老邻居，正靠在我们的车旁，跟着曲子沉醉地哼唱着。当我拉完时，她咧开嘴笑了，大声说：“小时候在意大利我听到过这首歌曲，我还记得。太棒了，真是棒极了。
”Throughout the summer, Mr. Zelli's lessons grew more difficult. It took me a week and a half to master them now. All the while I could hear my buddies outside playing heated games of stickball. I'd also hear an occasional taunt; “Hey, where's your monkey and cup?”
整个夏天，泽利先生的课越来越难。现在要一个半星期才能掌握。练琴时，我总是听到伙伴们在外面玩棍球的嬉闹声。偶尔还听到奚落：“嗨，你的猴子和奖杯哪里去了？
”Such humiliation paled, though, beside the impending fall recital. I would have to play a solo on a local movie theater's stage. I wanted to skip the whole thing. Emotions boiled over in the car one Sunday afternoon. “I don't want to play a solo.” I said. “You have to,” replied my father.
不过，这种羞辱与即将来临的秋季演奏会相比，算不得什么。我得在当地一家影剧院舞台上独奏一曲。我想逃避这一切。一个星期天的下午，不满的情绪终于在车上爆发了。“我不想独奏，”我说。“你必须去，”父亲说。
“Why?” I shouted. “Because you didn't get to play your violin when you were a kid? Why should I have to play this stupid instrument when you never had to play yours?”Dad pulled the car over and pointed at me. “Because you can bring people joy. You can touch their hearts. That's a gift I won't let you throw away.” He added softly, “Someday you'll have the chance I never had: you'll play beautiful music for your family. And you'll understand why you've worked so hard.”
“为什么？”我叫了起来。“就因为你小时候没能拉上小提琴？你从来不用拉琴，我为什么必须拉那笨重的玩意？”爸爸把车开到路边，手指着我。“因为你能给人们带来快乐。你能拨动他们的心弦。我不会让你放弃这份才能。”爸爸又心平气和地说：“有一天你会有我从未有过的机会：你能为你的全家弹奏美妙的音乐。那时你会明白，如此努力到底是为什么。”
I was speechless. I had rarely heard Dad speak with such feeling about anything, much less the accordion. From then on, I practiced without my parents’ making me.
我不吱声了。我很少听到爸爸如此语重心长地跟我谈事情，更不用说是为了拉手风琴的事。从那以后，我练琴再也不用父母盯着。
The evening of the concert Mom wore glittery earrings and more makeup than I could remember. Dad got out of work early, put on a suit and tie, and slicked down his hair with Vitalis. They were ready an hour early, so we sat in the living room chatting nervously. I got the unspoken message that playing this one song was a dream come true for them.
音乐会那天晚上，妈妈戴上了亮闪闪的耳环，精心打扮一番；爸爸也早早下班回家，穿上西装，系上领带，头上抹了瓦特里斯，油亮亮的。他们提前一个小时就准备好了，我们就坐在厅里，紧张地谈论着。我感觉到，上台演奏这首曲子是他们要实现的一个梦想。
At the theater nervousness overtook me as I realized how much I wanted to make my parents proud. Finally, it was my turn. I walked to the lone chair on stage and performed “Are You Lonesome Tonight?” without a mistake. The applause spilled out, with a few hands still clapping after others had stopped. I was lightheaded, glad my ordeal was over.
在剧场里，当我意识到我是多么想让父母感到骄傲时，我极为紧张。最后，终于轮到我了。我走向舞台中央的那张椅子，演奏了一曲“今晚你孤独吗？”，一个音符也没拉错。顿时，掌声四起，难以停息。我 头有点晕晕的，庆幸我的苦难终于结束。
After the concert Mom and Dad came backstage. The way they walked － heads high, faces flushed － I knew they were pleased. My mother gave me a big hug. Dad slipped an arm around me and held me close. “You were just great,” he said. Then he shook my hand and was slow to let it go.
音乐会后，爸妈来到后台。他们走路的样子，昂着头，精神焕发--我知道他们很开心。妈妈紧紧地抱住我。爸爸伸出一只手臂，牢牢地搂住我：“你太棒了。”说完，他使劲地握着我的手，不愿松开。
As the years went by, the accordion drifted to the background of my life. Dad asked me to play at family occasions, but the lessons stopped. When I went to college, the accordion stayed behind in the hall closet next to my father's violin.
随着岁月的流逝，那架手风琴渐渐退至我生活的幕后。只有在家庭聚会上，爸爸还会让我拉上一曲。但是风琴课不再上了。我上大学时，那架手风琴放进厅里的壁橱，在爸爸的小提琴旁边。
A year after my graduation, my parents moved to a house in a nearby town. Dad, at 51, finally owned his own home. On moving day, I didn't have the heart to tell him that he could dispose of the accordion, so I brought it to my own home and put it in the attic.
大学毕业后一年，父母搬到附近城镇的一栋房子。爸爸在他五十一岁那年终于拥有了自己的家。搬家那天，我不忍 心告诉他，说他可以处理那架手风琴，于是我把它带回自己家，放在阁楼上。
There it remained, a dusty memory, until one afternoon several years later when my two children discovered it by accident. Scott thought it was a secret treasure; Holly thought a ghost lived inside. They were both right.
手风琴一直放在那里，成了尘封的记忆。直到几年后的一个下午，我的两个孩子偶然发现了它。斯科特认为这是一件秘密宝藏。霍莉则认为里面住着一个幽灵。他俩都对。
When I opened the case, they laughed and said, “Play it, play it.” Reluctantly, I strapped on the accordion and played some simple songs. I was surprised my skills hadn't rusted away. Soon the kids were dancing in circles and giggling. Even my wife, Terri, was laughing and clapping to the beat. I was amazed at their unbridled glee.
我打开盒子时，他们笑了，叫道“拉一曲，拉一曲。”我不情愿地背上琴带，拉了几只简单的曲子。真没想到，我拉起来还是那么娴熟。很快，孩子们围成圈跳起来，咯咯地笑个不停。甚至连我妻子特丽也笑了，打着拍子。看着他们纵情欢笑，我感到惊异。
My father's words came back to me: “Someday you'll have the chance I never had, Then you'll understand.” I finally knew what it meant to work hard and sacrifice for others. Dad had been right all along: the most precious gift is to touch the hearts of those you love. Later I phoned Dad to let him know that, at long last, I understood. Fumbling for the right words, I thanked him for the legacy it took almost 30 years to discover. “You're welcome,” he said, his voice choked with emotion.
我的耳边回响起父亲说过的话：“有一天你会有我从未有过的机会，那时你会明白的。”我终于明白，去努力，去为别人作出牺牲意味着什么。爸爸始终是对的：最珍贵的礼物莫过于打动你所爱的人的心。后来，我给爸爸去电话，告诉他我终于懂了。我笨嘴拙舌地找寻合适的词语，为他给我的宝贵财富表示感谢，这财富我花了差不多三十年才发现。“不用谢，”他激动得说不出话来。
Dad never learned to coax sweet sounds from his violin. Yet he was wrong to think he would never play for his family. On that wonderful evening, as my wife and children laughed and danced, they heard my accordion. But it was my father's music.
爸爸从未学过从他的小提琴上拉出美妙的声音。但是他以为自己永远不会为家人弹奏音乐，这种想法是错的。那个美妙的夜晚，我的妻子、孩子欢歌笑舞，他们听到的是我的手风琴，但，那却是我父亲的音乐。
英译汉散文佳作赏析：什么叫朋友
A Faraway Friend is someone you grew up with or went to school with or lived in the same town as until one of you moved away. Without a Faraway Friend, you would never get any mail addressed in handwriting. A Faraway Friend calls late at night, invites you to her wedding, always says she is coming to visit but rarely shows up. An actual visit from a Faraway Friend is a cause for celebration and binges of all kinds.
远方的朋友是这样的一个人：和你从小一同长大的，或者是同学，或者和你原本住在同一个镇上，后来你们中的一人搬到了别处。没有一位远方的朋友，你连一封手写的信都收不到。远方的朋友会半夜打来电话，邀请你去参加她的婚礼，她总是说要来看你，却很少露面。要是真的来访，那才叫“不亦乐乎”，各种名目的狂欢可就有了理由。
Faraway friends go through phases of intense communication, then maybe out of touch for many months. Either way, the connection is always there. A conversation with your Faraway Friend always helps to put your life in perspective: When you feel you’ve hit a dead end, come to a confusing fork in the road, or gotten lost in some cracker-box subdivision of your life, the advice of the Faraway Friend — who has the big picture, who is so well acquainted with the route that brought you to this place — is indispensable.
两个远方的朋友会经历密切交流的阶段，接下来或许几个月都不联系。但无论联系与否，友谊永远不会改变。与远方的朋友一席长谈，总是有助于你更好地认识生活；当你觉得自己走入了死胡同时，当你面对岔路而不知所措时，来自远方朋友的忠告就越发不可或缺，她看得清大局，完全了解你是怎么走到这一步的。
Another useful function of the Faraway Friend is to help you remember things from a long time ago, like the name of your seventh-grade history teacher, what was in that really good stir-fry, or exactly what happened that night on the boat with the guys from Florida.
远方的朋友还有一个益处，就是能让你记起很久以前的事情，比如七年级历史老师的名字，那盘炒菜里究竟什么东西那么好吃，或者那天晚上在船里和佛罗里达来的男孩子们都干了些什么。
Ah, the former friend. A sad thing. At best a wistful memory, at worst a dangerous enemy who is in possession of many of your deepest secrets. But what was it that drove you apart? A misunderstanding, a betrayed confidence, an underpaid loan, an ill-conceived flirtation. A poor choice of spouse can do in a friendship just like that. Going into business together can be a serious mistake. Time, money, distance, cult religions: all noted friendship killers. You quit doing drugs, you’re not such good friends with your dealer anymore.
啊，从前的朋友。让人忧伤的事情。好了的话是一段伤感的记忆，不好的话你有一个危险的敌人，而且对你许多最隐秘的事情都了如指掌。可究竟是什么把你们分开的呢？一个误解，一个被泄露的秘密，一笔没有偿还的借款，一次有欠考虑的轻俏之举。择偶不慎也会使友谊分崩离析；一起做生意会成为一个严重的错误；时间、金钱、距离、宗教狂热，这都是耳熟能详的友谊杀手。如同一旦你戒了毒，你就不再是你供货商的好朋友了。
And lest we forget, there are the Friends You Love to Hate. They call at inopportune times. They say stupid things. They butt in, they boss you around, they embarrass you in public. They invite themselves over. They take advantage. You’ve done the best you can, but they need professional help. On top of all this, they love you to death and are convinced they’re your best friends on the planet.
而且我们别忘了：还有些朋友，你喜欢恨他们。他们在不适当的时候打电话，他们蠢话连篇，他们胡乱插手你的事情，他们把你指使得团团乱转，他们总是占尽了你的便宜。你已经尽了最大的努力，可他们需要的其实是专业人员的帮助。这一切之外，他们还爱你爱得要死要活，深信他们是你在这个世界上最好的朋友。
So why do you continue to be involved with these people? Why do you tolerate them? On the contrary, the real question is what would you do without them. Without Friends You Love to Hate, there would be nothing to talk about with your other friends. Their problems and their irritating stunts provide a reliable source of conversation for everyone they know.
那么你又为什么继续和他们打交道呢？为什么要容忍他们呢？反过来说，真正的问题是：没有他们你行吗？没有这些你宁可去憎恨的朋友，你和你别的朋友也就无话可说了。他们的缺陷和他们恼人的噱头，为他们认识的每一个人都提供了源源不断的谈资。
What’s more, Friends You Love to Hate make you feel good about yourself, since you are obviously in so much better shape than they are. No matter what these people do, you will never get rid of them. As much as they need you, you need them, too.
此外，他们还能使你对自己感觉良好，因为你的状况显然比他们好得太多。不管他们做出什么事情来，你绝对不愿摆脱他们。你对他们的需要，和他们对你的需要可谓不相上下呢。
At the other end of the spectrum are Hero Friends. These people are better than the rest of us, that’s all there is to it. Their career is something you wanted to be when you grew up — painter, forest ranger, tireless doer of good.
与此相反的另一个极端则是那些令人艳羡的朋友。他们比我们这些人都更出色，有这一点就够了。他们的事业就是你长大后的追求——画家、护林人，不知疲倦的行善者。
They have beautiful homes filled with special handmade things presented to them by villagers in the remote areas they have visited in their extensive travels. Yet they are modest. They never gossip. They are always helping others, especially those who have suffered a death in the family or an illness. You would think people like this would just make you sick, but somehow they don’t.
他们拥有漂亮的房子，里面满是手工做的奇特玩意儿，都是他们周游世界时到过的边远地区的村民总送给他们的。可他们依旧待人谦和。他们从不饶舌。他们总是去帮助别人，特别是那些遭受丧失亲人之痛或疾病折磨的人。你会认为这种人只能让你厌倦，可他们偏偏不是那样。
A new friend is a tonic unlike any other. Say you meet her at a party. In your bowling league. At a Japanese conversation class, perhaps. Wherever, whenever, there’s that spark of recognition. The first time you talk, you can’t believe how much you have in common. Suddenly, your life story is interesting again, your insights fresh, your opinion valued. Your various shortcomings are as yet completely invisible.
新的朋友是一剂无可比拟的良药。也许你是在一次聚会上结识她的，也许是在保龄球俱乐部里，也许是日语会话课上。无论何处，无论何时，只因为擦出了那钟惺惺相惜的火花。你简直无法相信你们有这么多共同点，而且只是第一次交谈。突然间，你的经历又变得有趣了，你的见识不同凡响，你的意见也倍受重视。你各式各样的缺点一时间也完全消失不见了。
散文英译汉佳作赏析：培根《论养生》
Of Regiment of Health
论养生
There is a wisdom in this, beyond the rules of physic: a man's own observation, what he finds good of, and what he finds hurt of, is the best physic to preserve health.
养生有道，非医学底规律所能尽。一个人自己的观察，他对于何者有益何者有害于自己的知识，乃是最好的保健药品。
But it is a safer conclusion to say; this agreeth not well with me, therefore I will not continue it; than this; I fmd no offence of this, therefore I may use it. For strength of nature in youth passeth over many excesses, which are owing a man till his age. Discern of the coming on of years, and think not, to do the same things still; for age will not be defied.
但是在下断语的时候，如果说：“这个与我底身体不合，因此我要戒它”，比说：“这个好象于我没有什么害处，因此我要用它”较为安全得多。因为少壮时代底天赋的强力可以忍受许多纵欲的行为，而这些行为是等于记在账上，到了老年的时候，是要还的。留心你底年岁底增加，不要永远想做同一的事情，因为年岁是不受蔑视的。
Beware of sudden change in any great point of diet, and if necessity enforce it, fit the rest to it. For it is a secret, both in nature, and state; that it is safer to change many things, than one. Examine thy customs, of diet, sleep, exercise, apparel, and the like; and try in anything thou shall judge hurtful, to discontinue it by little and little; but so, as if thou doest fmd any inconvenience by the change, thou come back to it again: for it is hard to distinguish, that which is generally held good, and wholesome, from that, which is good particularly, and fit for thine own body.
在饮食底重要部分上不可骤然变更，如果不得已而变更的话，则别的部分也须要变更，以便配合得宜。因为在自然的事体和国家的事务上都有一种秘诀，就是变一事不如变多事的安全。把你平日饮食、睡眠、运动、衣服、等等的习惯自省一下，并且把其中你认为有害的习惯试行逐渐戒绝，但是其办法应当这样，如果你由这种变更而感觉不适的时候，就应当回到原来的习惯去；因为把一般认为有益卫生的习惯和于个人有益，于你自己底身体适合的习惯分别起来是不容易的。
To be free minded, and cheerfully disposed, at hours of meat, and of sleep, and of exercise, is one of the best precepts of long lasting. As for the passions and studies of the mind; avoid envy; anxious fears; anger fretting inwards; subtle and knotty inquisitions; joys, and exhilarations in excess; sadness not communicated.
在吃饭、睡觉、运动的时候，心中坦然，精神愉快，乃是长寿底最好秘诀之一。至于心中的情感及思想，则应避嫉妒，焦虑，压在心里的怒气，奥秘难解的研究，过度的欢乐，暗藏的悲哀。
Entertain hopes; mirth rather than joy; variety of delights, rather than surfeit of them; wonder, and admiration, and therefore novelties; studies that fill the mind with splendid and illustrious objects, as histories, fables, and contemplations of nature. If you fly physic in health altogether, it will be too strange for your body, when you shall need it If you make it too familiar, it will work no extraordinary effect, when sickness cometh. I commend rather some diet, for certain seasons, than frequent use of physic, except it be grown into a custom.
应当长存着的是希望，愉快，而非狂欢；变换不同的乐事，而非过餍的乐事；好奇与仰慕，以保有新鲜的情趣；以光辉灿烂的事物充满人心的学问，如历史、寓言、自然研究皆是也。如果你在健康的时候完全摒弃医药，则到了你需要它的时候将感觉医药对于你底身体过于生疏不惯。如果你平日过于惯用医药，则疾病来时，医药将不生奇效。窃以为与其常服药饵，不如按季节变更食物，除非服药已经成了一种习惯。
For those diets alter the body more, and trouble it less. Despise no new accident in your body, but ask opinion of it In sickness, respect health principally; and in health, action.
因为那些不同的食物是可以变更体气而不扰乱它的。对于身体上任何新的症候都不可小视，须要向人求教。
For those that put their bodies to endure in health, may in most sickness, which are not very sharp, be cured only with diet, and tendering.
在病中，主要的是注意健康；在健康的时候，主要的是注意活动。因为那平日使自己底身体习于劳动的人在大多数不很厉害的疾病中只要节饮食，多调养，就可以好了。
Celsus could never have spoken it as a physician, had he not been a wise man withal, when he giveth it, for one of the great precepts of health and lasting, that a man do vary, and interchange contraries; but with an inclination to the more benign extreme: use fasting, and full eating, but rather full eating; watching and sleep, but rather sleep;sitting, and exercise, but rather exercise; and the like.
塞尔撒斯教人养生长寿之道，最要的一端就是一个人应当把各种相反的习惯都变换着练习练习，但是在轻重之间却应当稍重那有益于人的一端；禁食与饱食都应当练习，但是宁可稍重饱食；警醒与睡眠都应当练习，但是宁可偏尚睡眼；安坐与运动都应当练习，但是宁可着重运动；诸如此类。
So shall nature be cherished, and yet taught masteries. Physicians are some of them so pleasing, and conformable to the humour of the patient, as they press not the true cure of the disease; and some other are so regular, in proceeding according to art, for the disease, as they respect not sufficiently the condition of the patient Take one of a middle temper, or if it may not be found in one man, combine two of either sort: and forget not to call, as well the best acquainted with your body, as the best reputed of for his faculty.
塞尔撒斯要不是一位医生而兼哲人的话，专以医生底身分他是永不会说出这种话来的。如他所说的办法，将使天生的体质既可以得滋养又可以增力量也。医生之中有些是对于病人底脾气很纵容迁就的，以致不能迅收治疗之效；又有些人则是照治病底学理行事，十分谨严，以致对于病者底实情不充分注重。选择医生的时候顶好请一位性情适中的；或者，如果一个人没有这样的性情的时候，则在两种人里各取其一而调和之。又在请医生的时候，固然要请那出名的好医生，也不可忘了请那个最熟悉你底体格的医生也。
汉译英散文佳作赏析：冯骥才《西式幽默》
西式幽默
Western Humour
冯骥才
Feng Jicai
学院请来一位洋教师，长得挺怪，红脸，金发，连鬓大胡须，有几根胡子一直逾过面颊，挨近鼻子，他个子足有二米，每迸屋门必须低头，才能躲过门框子的拦击，叫人误以为他进门先鞠躬，这不太讲究礼貌了吗？
Our institute employed an English teacher. He looked very strange red-faced, golden-haired, with a thick growth of whiskers that reached all the way to the nose. He was really tall-- no less than six foot five. When he came in through the door, he had to lower his head to avoid banging against the door frame. It looked as though he always bowed to you at the door and that was much too polite.
顶怪的是，他每每与中国学生聊天，聊到可笑之处时，他不笑，脸上也没表情，好象他不喜欢玩笑；可是有时毫不可笑的事，他会冷不防放声大笑，笑得翻江倒海，仰面朝天，几平连人带椅子要翻过去，喉结在脖子上乱跳，满脸胡子直抖。常使中国学生面面相觑，不知这位洋教师的神经是不是有点问题？
What was more, he never laughed, when he chatted with his Chinese students on amusing stories, nor did his face show any expression as if he knew no sense of humour. However, when it came to topics of the most dull nature, he would burst into uncontrollable laughter, roaring while rocking in his chair, almost falling flat on his back, his Adam's apple dancing up and down in his throat and his whiskers fluttering all over his face. The students would then look at each other, wondering if he was in his right mind.
一天，洋教师出题，考察学生们用洋文作文的水准，题目极简单，随便议论议论校园内的一事一物，褒贬皆可。中国学生很灵，一挥而就，洋教师阅后。评出了最佳作文一篇，学生们听后大为不解，这种通篇说谎的文章怎么能被评为“最佳”？
One day he set the students an essay to see how well they could write in English, the topic being A Comment on Life on the Campus-it her complimentary or critical. That was simple. And his students, quick at writing, finished it at one go and turned it in no time. He went through the papers and picked one that he thought the best. When he read it out to the students, they were greatly perplexed. Of all the comments, why did he like this one best, Not a single word of it was true.
原来这篇作文是写学校食堂。写作文的学生来自郊区农村，人很老实，胆子又小, 生伯得罪校方，妨碍将来毕业时的分数、评语、分配工作等等，便不顾真假，胡编乱造，竭力美化，唱赞歌。使得一些学生看后惯惯然。可是……洋教师明知学校食堂糟糕透顶的状况，为什么偏要选这篇作文？有人直问洋教师。
It was about the campus cafeteria and the author was a peaceable and timid guy from a village near the town. In order not to offend the school authorities -- a decisive factor: concerning his final grading, evaluation and, above; all, where he was to go after graduation -- he had made up a high-sounding story in praise of the cafeteria regardless of reality, thus making his ClaSS- mates very angry. The teacher was as well aware of the cafeteria's terrible conditions, but why should this piece in particular have appealed to him so much, Someone asked.
洋教师说：“这文章写得当然好，而且绝妙无比。你们听一一”他拿起作文念起来，“我们学校最美的地方，不是教室，不是操场，也不是校门口那个带喷水的小花坛，而是食堂。瞧，玻璃干净得几乎叫你看不到它的存在——。”洋教师念到这儿，眼睛调皮地一亮，眉毛一挑，“听听，多么幽默！”
“This is undoubtedly a good one,'' the teacher insisted. ”Unprecedentedly good! Just listen --“ He began to read. ”'The most beautiful spot on campus is not the Classrooms, nor the sports ground, nor the small lawn with a fountain at the school gate; it is our cafeteria. Look! The windows are so clean , that you scarcely notice any glass on them' --“ ”He paused, his eyes flashing with a glint of humour and his brows shooting upward. “Listen! Isn't it humorous?”
幽默？怎么会是幽默大家还没弄明白。
Humorous? But what was humorous about it? The students were hard put to it.
洋教师接着念道：“如果你不小心在学校食堂跌了一跤，你会惊奇地发现你并没跌跤，因为你身上半点尘上也没留下；如果你长期在学校食堂里工作，恐怕你会把苍蝇是什么样子都忘了……”洋教师又停住，舌头“得”地弹一声，做一个怪脸说，“听呀，还要多幽默，我简直笑得念不下去了。”
“If you were not careful enough,'” the teacher read on, '“and had a fall on the floor, you would be amazed to find that you had not fallen at all because you did not get a single particle of dust on your clothes. If you had worked in the cafeteria long enough, you would have forgotten what a fly looks like ... ” He paused again, his tongue clicking admiration. Working up a very funny expression on his face, he went on, “Listen, please! Could anyone else have made it more humorous?” He laughed so hard that he could scarcely continue.
学生们忽然明白了什么。
By now the students seemed to be cottoning on.
洋教师一边笑，一边继续往下念：“食堂天天的饭菜有多么精美、多么丰富、多么解馋！只有在学校食堂里，你才会感到吃饭是一种地道的享受……”
The teacher went on his reading punctuated by fits of laughter .“How wonderfully is the food cooked here! What a great variety of dishes you have here and how well your appetite is satisfied! In fact it is only at the cafeteria of the institute that you eating enjoyable....”
散文汉译英佳作赏析：老舍《小麻雀》
小麻雀
A Little Sparrow
老舍
Lao She
雨后，院里来了个麻雀，刚长全了羽毛。它在院里跳，有时飞一下，不过是由地上飞到花盆沿上，或由花盆上飞下来。看它这么飞了两三次，我看出来：它并不会飞得再高一些。，它的左翅的几根长翎拧在一处，有一根特别的长，似乎要脱落下来。
As soon as the rain stopped, a little sparrow, almost full-fledged, flew into the courtyard. It hopped, fluttered, darting up to the edge of flower pots and back to the ground again. Watching it move up and down a couple of times, I realized drat it could not fly any higher as the plumes on its left wing had got twisted with one sticking out as if about to come off.
我试着往前凑，它跳一跳，可是又停住，看着我，小黑豆眼带出点要亲近我又不完全信任的神气。我想到了：这是个熟鸟，也许是自幼便养在笼中的。所以它不十分怕人。可是它的左翅也许是被养着它的或别个孩子给扯坏，所以它爱人，又不完全信任。
When I made an attempt to move closer, it jumped off a hit and stopped again, staring back at me with its small, black and bean-like eyes that had a mixed look of wanting to be friends with me and not being certain that I was trustworthy. It occurred to me that this must be a tame bird, having been caged since it was hatched perhaps. No wonder it was not much scared of my presence. Its left wing might have been impaired by some kid and that was why there was distrust in its look though it showed some intimacy with man.
想到这个，我忽然的很难过。一个飞禽失去翅膀是多么可怜。这个小鸟离了人恐怕不会活，可是人又那么狠心，伤了它的翎羽。它被人毁坏了，而还想依靠人，多么可怜!
Suddenly I was seized with sadness. How miserable it was for a bird to lose its wings! Without someone taking care of it this small thing could not survive. But man had injured its wing. How cruel he was! Injured as it was, it still wanted to rely on man. How pitiable!
它的眼带出进退为难的神情，虽然只是那么个小而不美的小鸟，它的举动与表情可露出极大的委屈与为难。它是要保全它那点生命，而不晓得如何是好。对它自己与人都没有信心，而又愿找到些倚靠。它跳一跳，停一停，看着我，又不敢过来。
The look in its eyes showed that She little creature was of two minds. It was small and by no means pretty, yet its gestures and expressions revealed that it had been wronged and landed in a difficult situation. It was anxious to keep its delicate life out of danger, but it did not know what to do. It had little confidence in itself and less trust in man, but it needed someone to rely on. It hopped and stopped, looking at me but too shy to come over.
我想拿几个饭粒诱它前来，又不敢离开，我怕小猫来扑它。可是小猫并没在院里，我很快地跑进厨房，抓来了几个饭粒。及至我回来，小鸟已不见了。我向外院跑去，小猫在影壁前的花盆旁蹲着呢。我忙去驱逐它，它只一扑，把小鸟擒住!被人养惯的小麻雀，连挣扎都不会，尾与爪在猫嘴旁搭拉着，和死去差不多。
I thought of fetching some cooked rice to attract it, but I dared not leave it alone test it should be attacked by the kitten. As the kitten was not around at the moment, I hurried to the kitchen and cause back with a few grains only to find the bind missing. I ran to the outer yard and saw the kitten crouching by a flower pot in front of the screen wall. I hastened to drive her away but, with a quick jump, she caught hold of the bird. The tame sparrow, with its tail and claws dangling from the kitten’s mouth, did not even know how to struggle. It looked more dead than alive.
瞧着小鸟，猫一头跑进厨房，又一头跑到西屋。我不敢紧追，怕它更咬紧了可又不能不追。虽然看不见小鸟的头部，我还没忘了那个眼神。那个预知生命危险的眼神。
With my eyes fixed on the bird, I watched the kitten run first to the kitchen and then to the ram at the west end. I was afraid to press hard after her, but I had to follow her in case she should tighten her jaws. Though the bird's head was not visible to toe, the look of anticipated danger in its eyes was vivid in my wind.
那个眼神与我的好心中间隔着一只小白猫。来回跑了几次，我不追了。追上也没用了，我想，小鸟至少已半死了。猫又进了厨房，我愣了一会儿，赶紧的又追了去；那两个黑豆眼仿佛在我心内睁着呢。
Between its look and my sympathy stood that small white cat. Having run a few rounds after her I quit, thinking it was pointless to chase her like that because, by the time I caught her, the bird would have been half dead. When the cat slipped back to the kitchen again, I hesitated for a second and then hurried over there too. It seemed, in my mind's eye, the little bird were pleading for help with its two black bean-like eyes.
进了厨房，猫在一条铁筒—冬天升火通烟用的，春天拆下来便放在厨房的墙角—旁蹲着呢。小鸟已不见了。铁筒的下端未完全扣在地上，开着一个不小的缝儿，小猫用脚往里探。我的希望回来了，小鸟没死。
In the kitchen I noticed the cat was crouching by a tin pipe which was installed as smoke duct in winter and dismantled in spring, at the corner, but the bird was not with her. The pipe leaned against the corner and, between its lower end and the floor; there was an opening through which the cat was probing with her paws. My hope revived: the bird was not dead.
小猫本来才四个来月大，还没捉住过老鼠，或者还不会杀生.只是叼着小鸟玩一玩。正在这么想，小鸟忽然出来了，猫倒像吓了一跳，往后躲了躲。小鸟的样子，我一眼便看清了，登时使我要闭上了眼。
As the kitten was less than four months old, it had not teamed how to catch mice, or how to kill for that matter. It was merely holding the bird in its mouth and having fun with it. While I was thinking along these lines the little bird suddenly emerged and the kitten, taken aback, bolted backward. Tile way the little bird looked was so registered to me at the first glance that I felt like shutting my eyes immediately.
小鸟几乎是蹲着，胸离地很近，像人害肚痛蹲在地上那样。它身上并没血。身子可似乎是拳在一块，非常的短。头低着，小嘴指着地。那两个黑眼珠!非常的黑，非常的大，不看什么，就那么顶黑顶大的愣着。
It was virtually crouching, with its chest close to the floor, like a man suffering from a stomachache. There was no stain of blood on its body, but it seemed to be shrinking up into itself. Its head dropped low, its small beak pointing to the floor. Its two black eyes, unseeing, were very black and large, looking last.
它只有那么一点活气，都在眼里，像是等着猫再扑它，它没力量反抗或逃避；又像是等肴猫赦免了它，或是来个救星。生与死都在这俩眼里，而并不是清醒的。它是胡涂了，昏迷了：不然为什么由铁筒中出来呢可是，虽然昏迷，到底有那么一点说不清的，生命根源的，希望。
The little life left in it was all in the eyes. It seemed to be expecting the cat to charge again, with no strength to resist or run; or wishing that the cat would be kind enough to pardon it or that some savior would come along to its rescue. Life and death coexisted in its eyes. I thought the bin must be confused or stunned, or else why should it have come out from the pipe? Stunned as it was, it still cherished some hope which, though hard to define, was the source of life.
这个希望使它注视着地上，等着，等着生或死。它怕得非常的忠诚气完全把自己交给了一线的希望，一点也不动。像把生命要从两眼中流出，它不叫也不动。
With that hope it gazed at the floor, expecting either to survive or die. I was so really scared that it became completely motionless, leaving itself all to the precarious hope. It kept quiet and still as if waiting for its life to flow out of its eyes.
小猫没再扑它，只试着用小脚碰它。它随着击碰倾侧，头不动，眼不动，还呆呆地注视着地上。但求它能活着，它就决不反抗。
The kitten made no more attempts to attack it. She only tried to touch it with her little paws. As the kitten touched it, it tilted from side to side, its head undisturbed and its eyes looking blank at the floor. It would not fight back so long as there was a chance of survival.
可是并非全无勇气，它是在猫的面前不动！我轻轻地过去，把猫抓住。将猫放在门外，小鸟还没动。我双手把它捧起来。它确是没受了多大的伤.虽然胸上落了点毛。它看了我一眼!
But the bird had not lost all of its courage; it acted this way only with the cat. I went aver light-footed, picked up the cat and put her outside the door, the sparrow remaining where it was. When I took it up in my hands and looked, it was riot seriously injured, though some fluff had come off its chest. It was looking at me.
我没主意：把它放了吧，它准是死；养着它吧，家中没有笼子。我捧着它，好像世上一切生命都在我的掌中似的，我不知怎样好。小鸟不动，拳着身，两眼还那么黑，等着!愣了好久，我把它捧到卧室里，放在桌子上，看着它，它又愣了半夭，忽然头向左右歪了歪用它的黑眼睁了一下；又不动了，可是身子长出来一些，还低头看着，似乎明白了点什么。
I had no idea what to do. If I let it go, it was sure to die; if I kept it with me, I did rot have a cage for it. I held it in my hands as if holding all the lives in the world, not knowing what to do. 'Me sparrow huddled up, motionless, its eyes as black as ever, still expectant. It remained that way for a long while. I took it to my bedroom, put it on the desk and watched it for a few moments. Suddenly it tilted its head Wit and then right, winking its black eyes once or twice, and became still again. By now its body seemed to have stretched a hit, but it still kept its head low as if it had understand something.
新视野大学英语课文翻译
Unit1SectionA
我哥哥吉米出生时遇上难产，因为缺氧导致大脑受损。两年后，我出生了。从此以后，我的生活便围绕我哥哥转。伴随我成长的，是“到外面去玩，把你哥哥也带上。”不带上他，我是哪里也去不了的。因此，我怂恿邻居的孩子到我家来，尽情地玩孩子们玩的游戏。我母亲教吉米学习日常自理，比如刷牙或系皮带什么的。我父亲宅心仁厚，他的耐心和理解使一家人心贴着心。我则负责外面的事，找到那些欺负我哥哥的孩子们的父母，告他们的状，为我哥哥讨回公道。父亲和吉米形影不离。他们一道吃早饭，平时每天早上一道开车去海军航运中心，他们都在那里工作，吉米在那搬卸标有彩色代号的箱子。晚饭后，他们一道交谈，玩游戏，直到深夜。他们甚至用口哨吹相同的曲调。所以，父亲1991年因心脏病去世时，吉米几乎崩溃了，尽管他尽量不表现出来。他就是不能相信父亲去世这一事实。通常，他是一个令人愉快的人，现在却一言不发，无论说多少话都不能透过他木然的脸部表情了解他的心事。我雇了一个人和他住在一起，开车送他去上班。然而，不管我怎么努力地维持原状，吉米还是认为他熟悉的世界已经消失了。有一天，我问他：“你是不是想念爸爸？”他的嘴唇颤抖了几下，然后问我：“你怎么看，玛格丽特？他是我最好的朋友。”接着，我俩都流下了眼泪。六个月后，母亲因肺癌去世，剩下我一人来照顾吉米。吉米不能马上适应去上班时没有父亲陪着，因此搬来纽约和我一起住了一段时间。我走到哪里他就跟到哪里，他好像适应得很好。但吉米依然想住在我父母的房子里，继续干他原来的工作。我答应把他送回去。此事最后做成了。如今，他在那里生活了，在许多人的照料下，同时依靠自己生活得有声有色。他已成了邻里间不可或缺的人物。如果你有邮件要收，或有狗要遛，他就是你所要的人。当然，母亲的话没错：可以有一个家，既能容纳他的缺陷又能装下我的雄心。事实上，关照像吉米这样一个深爱又感激我的人，更加丰富了我的生活，其他任何东西都不能与之相比。这一点，在9·11灾难后几天更显真切。那天是吉米57岁生日。我在纽约自己的家里为他举办生日宴会，但是我们家的人都没能来参加，因为交通困难，而且灾难带来的恐惧使他们依然心有余悸。我邀请了我的好友，请他们来帮忙把宴会弄得热闹些，增加点欢快气氛，没去理会他们多数人在情感上都有些疲惫这一事实。于是我一反常态，没说“请不要带礼物”，而是向他们喊“请带礼物来”。我的朋友──吉米认识他们多年了──带来了中意的礼物：乡村音乐CD、一件长袖运动衫、一条有“吉米”字样的皮带、一顶编织的羊毛帽，还有一套牛仔
服。那天晚上，我们先是送礼物，然后是切从他喜欢的面包店里买来的巧克力蛋糕，当然还唱了“生日歌”，否则宴会就不算完整了。吉米一次次地问：“该切蛋糕了吧？”等用完餐和送完礼物后，吉米再也控制不住了。他焦急地等着点上蜡烛，然后在我们“生日快乐”的歌声中，一口长气吹灭了蜡烛。户然而吉米对我们的努力还是感到不满足。他纵身跳到椅子上，直挺着身子，双手食指朝天，一边喊一边指挥我们唱歌：“再──来──次！”我们全力以赴地唱。待我们唱完时，他翘起两个拇指喊道：“好极了！”本来我们想让他知道，无论世上有多难的事情，总是有人来关心他。现在反倒是提醒了我们自己。对于吉米来说，我们唱歌时的爱心，是他心中额外的礼物，但是他原先更想看到的，是别人再次感到快乐。有如父亲的去世一夜之间改变了吉米的世界，9·11也改变了我们的生活；我们熟悉的世界不复存在了。但是，当我们为吉米唱歌，相互紧拥，祈祷全球和平时，我们也意识到，朋友、家人间永恒的爱和支持可以让我们克服生活中的任何困难。吉米以朴素的方式为我们协调了眼前的一切，他做到这一点并不令人吃惊。吉米的爱可以征服一切，这是任何东西都限制不了的。
Unit1SectionB
时值秋夜，在我的故乡新斯科舍，小雨淅沥，轻叩锡铁屋顶。我们周末度假寄住的古老小屋，弥漫着一股霉味。空气寒冷得让人发抖，于是我们点上了富兰克林取暖炉。我们悠然地喝着热朱古力，接着父亲走向立式钢琴，卷起衬衣袖，伸出一指敲一曲。他算不上一个钢琴家，可他知道歌中的情、家中的爱。母亲放下手中的针线活，和他同坐在一条凳子上，然后我哥哥也快缓步走向钢琴。最后，不太能唱歌却能拉拉小提琴的我也凑热闹唱了一两句。一向体贴人的父亲说：“你看，你也可以唱的，宝贝。唱得很好。”我常常记得成长的过程中感受到的.温暖、幸福和关爱。虽然我花了好些年才知道，家人的爱不是凭空产生的。叶事实上，爱从来就不是凭空产生的，甚至对那些看上去像我父母那样天生充满爱的人来说也一样。但是，我愿打赌，你必须生活于一个构架之中，方能让爱这一无与伦比的礼物瓜熟蒂落。首先，爱需要时间。也许人们可以一眼看到爱的可能，见面几周后就郑重宣布“我爱你”等等，但是这样的爱，相当于刚开始爬山，而这漫长的爬山之路充满着起起落落。瓜熟蒂落之爱就像一个有生命的机体。它跟一棵橡树的生命一样，从土里的一粒种子开始，慢慢地长成几乎无叶的细枝，最后枝繁叶茂、足以遮荫，成就其辉煌。我们不可调控或者加速其成长所需的年月，相反，我们必须用才智和耐心，始终欣赏相互间的差异，分享彼此的快乐和痛苦。因此，如果因小怒而离婚，父母孩子相互不信任，在第一次受伤害后中断友谊，或不再相信爱，那是令人痛心的事情。我们常常未经深思熟虑就向某人说“再见”，结果付出了非常昂贵的感
情代价。我曾经认识一对父子，他们被各自的生活困难困扰，多年来距离越拉越远，结果相互间几乎没话可说，而相互间没了依靠，他们的生活变得空虚。儿子大学毕业后的那个夏天，打算开着黄色老卡车到连通全国的双车道公路上周游一番（那时还没有免费高速公路）。有一天，在准备出发时，他看见父亲沿着繁忙的街道走来。父亲熟悉的脸上带着的孤苦令他震动。他邀父亲停下来喝杯啤酒。冲动之下，他说：“来吧，爸爸。让我们一块儿度过一个夏天吧。”他父亲是个家具推销商。虽然冒着家里生意受损失的大风险，父亲还是跟儿子走了。他们一道宿营，一道爬山，一道坐在海边，一道探索城市的街道和幽静的乡村。在他们旅行后不久，他父亲告诉我：“在过去的两个月里，我学到的为父之道比我在我儿子成长的的岁月里学到的都多。”每个人的生活，都应该为爱的人留出空间，为我们爱的人抽出我们认为抽不出的时间是值得的。我们不应该误导自己，认为我们所爱的人必须像自己一样。关键是认可和欣赏我们间的差异。这些差异使得人们之间的关系有了一丝神秘和新奇。爱也需要另一种更为难得的能力──放手的能力。在我结婚的头几年，我错误地认为我丈夫应该想时刻和我在一起。我们第一次去拜访他家时，我发现他们家的人做事时男的和男的在一起，女的与女的在一起。我公公占了我的位子，坐到前车座我丈夫的旁边。他俩常常一道出去，将我留下和女人们在一起。我向我丈夫抱怨，让他夹在他所爱的人当中，痛苦不堪。我婆婆说得好：“和父亲在一起是他生活的一部分；和你在一起是另一部分。你对二者都该感到高兴啊。”我明白，爱就像根松紧带，在它将你们紧紧拉在一起之前，必须先松开。爱又像涌来的潮水，一浪过后先退却一点，下一浪才会比前一浪离你的心更近。最后，爱需要言语来实现。没有言语，争吵不能得到解决，这样我们就失去了分享自己生活意义的能力。重要的是承认并表达自己的情感。这样，我们才能真正使我们自己和我们所爱的人兴高采烈。爱不是一次性的行为，而是一生的探索。我们总是在这种探索中学习、发现和成长。一次失败不能毁灭爱，一次亲吻也不能赢得爱。唯有耐心和理解才能得到爱。
Unit3SectionA
海德中学的办学宗旨是：如果你向学生传授诸如求真、勇敢、正直、领导能力、好奇心和关心他人等美德的话，学生的学习成绩自然就会提高。该校的创始人约瑟夫·高尔德声称学校的教学很成功。海德中学位于缅因州巴思市，每年的学费高达1.8万美元，因其教导问题少年有方而闻名遐迩。“我们并不把自己看作一所专为某一类孩子而开设的学校，”马尔科姆·高尔德说。他是约瑟夫的儿子，毕业于海德中学，现任海德中学校长。“我们把帮助孩子培养一种生活方式看作自己的职责，办法是倡导一整套能影响所有孩子的价值观念。”现在，乔·高尔德(约瑟夫·高尔德)正试图将他尚有争议的“品德第一”的理念向旧城区的公立学
校推广。这些学校愿意将用于传统教学计划的税金用于实施这一新的教学方法。海德公立学校第一个教学计划始于1992年9月。但几个月后，该计划即告暂停。教师们对教学计划的高要求以及高强度工作所带来的压力表示抗议。今年秋天，海德基金会计划在巴尔的摩启动初步的公立学校教学计划。教师要接受培训，以便今后能在整个巴尔的摩体系内胜任工作。美国其他学校的领导们也在关注这个教学计划。去年秋天，在家长的一片抗议声中，海德基金会在康涅狄格州纽黑文市郊区的一所中学内启动了一个引人注目的教学计划。当地居民担心该校可能招进来旧城区的少数民族学生和问题学生。就像在缅因州那样，求真也在康涅狄格州的这所中学得到广泛推崇。在一堂英语课上，11名学生用最后的5分钟展开激烈的讨论，依照1－10的评分标准相互评价他们当天的课堂表现。“我得10分。”“我有意见。你既没做语法作业，也没做拼写练习。”“那好，就7分吧。”“你只能得6分。”“等等，我可是全力以赴的。”“是的，可你今天没提问。”在解释自己的教育方法时，乔·高尔德指出，对传统的教育体制不能
只是改革。他说“无论怎样改革”，用马和马车“是改革不出汽车的”。海德中学认为“每一个人都有自己的独特潜能”，这种潜能的基础是品格而不是智力或财富。良知和苦干受到推崇。成功由不断进步来衡量，而不是由学习成绩来评定。学生必须相互负责。为了避免美国中学使用的其他品格培养方案所引发的争议，高尔德解释说，“全力以赴”这一概念并不是要强迫学生接受某一套道德原则或宗教观念。海德中学的课程与那些为升入大学做准备的传统学校所开设的课程相似，包括英语、历史、数学和自然科学。但所有的学生都必须选修表演艺术和体育，还要提供社区服务。在每门课程中，学生都会得到一个综合了学习成绩和“努力程度”的分数。在巴思市，97%的海德中学毕业生都升入了大学本科。在海德中学的综合教育中，父母的参与是一个关键的组成部分。为了使孩子被该校录取，家长也必须同意接受并实践学校的思想和观点。家长们签约同意每月出席一次区域小组会议(共20个区域小组)，每年去区域休养所三天，每年至少参加三次巴思市的研修班、讨论组和研讨会。在很多活动中，缅因州学生家长的出席率高达95%。乔和马尔科姆·高尔德都说，当孩子们见到自己的父母都在全力以赴时，他们也会竭尽全力。他们说，对许多家长而言，最困难的是让他们意识到自己的不足。公立学校学生家长的活动计划仍在制定之中。这项工作的困难要大得多，因为很难使家长相信他们的参与很有价值。在纽黑文市录取的100名学生中，有30%左右的家长出席了各类特别会议。这一低出席率违背了他们在教学计划开始实施时所做的承诺，当时海德中学的官员曾与300个家庭进行了面谈。巴思市一名在公立学校教书达之久的教师说，一旦问题得到解决，海德教学计划就会在公立学校中获得成功。他乐观地认为，一旦家长们投入到计划当中，他们就会成为孩子们日常行为的榜样，这与寄宿学
校的学生家长完全不同。一名曾任教于旧城区学校的教师如今在从事纽黑文教学计划。他说，教师也能从中受益。“在这里，我们真正开始集中精力与每一个学生建立卓有成效的关系。我们的重点真的是先考虑师生关系，然后是师生共同探讨学业。而在传统的中学里，是先考虑教师和教材的关系，然后再考虑师生关系。”师生关系在海德中学被进一步深化了。对教职员工的评估由学生来进行。19岁的吉米·迪巴蒂斯塔今年5月将从巴思校区毕业，并准备升入大学。对此他感到惊奇。几年前，他还觉得自己的前途“是在监狱，而不是在大学”。迪巴蒂斯塔还记得他刚到海德中学时的情景。“我来这儿时，见人就侮辱，就咒骂。其他每所学校都会说：?滚出去！我们这儿不要你。?我来到这儿，他们却说：?我们有几分喜欢这种活力，但并不喜欢它消极的一面，我们要将它转化成积极的东西。?”
Unit3SectionB
以国家为背景探讨解决问题或做出决策的方式就意味着研究许多复杂的文化因素。它意味着设法评估这些因素对现代生活的影响，也意味着把握目前正在发生的变化。在日本，最重要的是你为什么单位工作。
在对取向或决策过程进行分析时，这一点尤为重要。
至少，它说明了美国工作流动性大而相比而言日本工作稳定性高的原因。
尽管我们在许多方面存在差异，但这些差异并无优劣之分。
一种特定的管理行为模式是由多个独特的文化因素复合发展而成的──因而仅在一定的文化中起作用。
让我来描述一下三四种日本文化的特征，它们以某种方式影响着决策以及解决问题的方式。
这些特征是相互联系的。
首先，在日本，任何处理问题的方法或任何谈判都体现着“你对你”的方式，这有别于西方“我对你”的方式。
差别在于：在“我对你”的方式中，双方都坦率地从自己的观点出发提出主张──他们说出自己想要什么，希望得到什么。
如此一来就形成了对峙的局面，西方人也十分善于应付对峙局面。
日本人所采用的“你对你”方式则立足于双方──自然而然地并常常是下意识地──力图理解对方的观点。
因此，会晤的目标是双方共同努力减少对峙，谋求和谐。
第二个特点基于“一致共识”及“由下而上”的原则。
大学英语遗忘课文翻译
We have all wished, at some time or other, for a perfect memory. We want to be able to remember things in exact detail. It's too bad that we forget so much that we have learned in school and at home. How can we make a realistic opinion of ourselves if your recall of the past is neither accurate nor complete?Yet a perfect memory is not always as good as one might suppose. There was the story about a Russian journalist, S. He could remember long lists of numbers and words and many pages of a telephone book after seeing them for only a few seconds. He could repeat these lists both forward and backward, even after many years had passed. He also remembered the conditions under which he had first learned the material.S. used various memory tricks to help his memory. Many of these tricks involved forming mental pictures. But you shouldn't envy him, for he had a serious problem: he could not forget. Those mental pictures kept coming to his mind. They distracted him and made it difficult for him to concentrate.
我们都曾希望拥有完美的记忆力,想要记住事情的每一个细节。 我们会遗忘在学校和家里学到的很多东西,这太糟糕了。如果我们对过去的记忆既不准确又不完整ξ颐怯衷趺茨芄蛔龀龇合实际的自我评价呢? 然而,完美的`记忆力并不总是像人们想象的那么美好。有这样一个关于俄罗斯记者“S”的故事。他只需看上几秒钟便能记住长串的数字、单词和许多页电话号码簿上的内容。甚至在多年以后,他仍能将这些长串的信息倒背如流。他还记得他第一次记这些材料时的情景。 “S”用各种各样的记忆“窍门”帮助自己记忆,其中的许多窍门涉及到在大脑中形成图像。不过,你不必羡慕他,因为他有一个很严重的问题:不会遗忘。那些大脑中的图像老是浮现在他眼前ナ顾分心,无法集中注意力。
大学英语unit4课文翻译
美国文化的五大象征
自由女神像
Para. 1
19 世纪 70 年代中期，法国艺术家弗里德里克·奥古斯特·巴托尔迪正在设计一个大项目，名为“自由照耀世界”。这是一座庆祝美国独立和美法联盟的纪念碑。与此同时，他爱上了一位他在加拿大认识的女子。他母亲不赞成自己的儿子和一个她没有见过的女子恋爱，然而巴托尔迪不为所动，和心中所爱于 1876 年结为伉俪。
Para. 2
同年，巴托尔迪组装完雕像的右臂和火炬，并将它们陈列在费城。据说，他用了妻子的手臂为模本，但觉得她的脸太漂亮，不适合做雕像模本。他需要这样一个女人：面容沧桑却不失坚定，庄重多于美丽。他选择了自己的母亲。 Para. 3 1886 年，自由女神像在纽约湾北部落成。雕像综合了他母亲的脸和他妻子的身材，不过巴托尔迪称之为“我的女儿，自由之神”。 芭比娃娃
Para. 4
在现今销售的各式各样的芭比娃娃之前，原先只有一种芭比娃娃。实际上，她的名字叫芭芭拉。
Para. 5
芭芭拉·汉德勒是马特尔玩具公司的联合创始人艾略特和鲁思·汉德勒夫妇的女儿。鲁思是在见到女儿玩纸娃娃之后才想到做芭比娃娃的。芭比娃娃的三维模特是一个德国洋娃娃，一个哄成年人开心的礼物，被描绘成具有“风尘女子”的模样。马特尔公司将这个娃娃做了一番改造，变成了体面而地道的美国版本，尽管胸围有些夸张。它以当时 10 多岁的少女芭芭拉的名字命名。
Para. 6
自从 1959 年面世，芭比娃娃就成了全球公认的“娃娃女王”。马特尔公司说，一般的美国女孩拥有 10 个芭比娃娃，全球每秒钟就有两个芭比娃娃售出。
Para. 7
如今芭芭拉已有 60 多岁了，她拒绝接受采访，但据说她非常喜欢芭比娃娃。她可能是当今世上最著名的不为人知的人物了。 Para. 8 1961 年，芭比娃娃的男朋友面世，以芭芭拉的弟弟肯的名字命名。真正的肯于 1994 年去世。他对令自己全家名扬天下的娃娃极为厌恶。他在 1993 年说：“我可不想让我的孩子玩这洋娃娃。” 《美国哥特人》
Para. 9
1930 年，格兰特·伍德因其画作《美国哥特人》一举成名。此画体现了美国农民庄严的自豪，常常被人复制。画面展示了一位神色严肃的男子和一位女子站立在农舍之前。 伍德深受中世纪艺术家的影响，他的灵感来自于一所古老农舍的哥特式窗户，但最令世界注目的是画中人物的脸。
Para. 10
伍德喜欢画他熟悉的`脸。为画神色严肃的农夫，他选择了他那表情木讷的牙医，至于站在他身边的农妇，他选择了自己的姐姐南。他把模特的脖子稍稍画长了一些，但无疑能看出谁是画像的原型。 Para. 11 南后来说道，《美国哥特人》带给她的名誉使她摆脱了一种非常乏味的生活。 野牛镍币
Para. 12
今天，美国的硬币都用来纪念美国政府的杰出人物，其中大部分是著名的前总统。但 1913 至 1938 年间发行的野牛镍币，却是为了纪念由美国拓居引起的两起相互关联的悲剧——野牛群的灭绝和美洲印第安人的毁灭。
Para. 13
此前一直是白人被用作美国镍币上的模特，而著名的艺术家詹姆斯·厄尔·弗雷泽却反传统而行之，起用了三名真正的美洲印第安人作为自己创作的原型。
Para. 14
由于大草原上不再有野牛漫步，弗雷泽为了镍币另一面上的野牛，只好到纽约中央公园的动物园里素描一只老野牛。两年后，即 1915 年，此牛以 100 美元的价格售出，然后被宰杀取肉、剥皮，牛角制成了墙上的装饰品。 山姆大叔
Para. 15
美国独立战争时期，14 岁的山姆·威尔逊离家出走，加入父亲和哥哥们的行列，为美国殖民地独立于英国而战。23 岁时，他开始从事肉类加工业，并因为人诚实、工作勤奋而赢得声誉。
Para. 16
此后在 1812 年的战争中，威尔逊获得了一个职位，为美国正规武装组织检验肉食。他的合
伙人和美国政府签订了一份合同，给正规武装组织提供肉食。送到正规武装组织的肉桶上面都印有 EA-US 标志，EA 代表公司名，US 代表原产国。传说有一回，有个政府官员来参观加工厂，问及这些字母的含义，一个想象力丰富的雇员告诉他，“US”是“山姆大叔”威尔逊的缩写。很快，士兵们都说所有的军需品都来自“山姆大叔”。
Para. 17
战后，政治漫画里开始出现一个名叫“山姆大叔”的人物。他的原型是一个早期漫画人物，名叫乔纳森大哥，此人在美国独立战争时期非常出名。很快，山姆大叔就取代了乔纳森大哥，成了最受美国人欢迎的象征。最令人难忘的山姆大叔的画像是由画家詹姆斯·蒙哥马利·弗拉格创作的，用在两次世界大战期间他画的很多著名的征兵招贴画上。山姆大叔的形象是：高个子，白头发，下巴上有一小撮白胡子，身着深蓝色外套，头戴一顶高帽，上有星星点缀。这模样其实就是弗拉格的自画像。
我哥哥吉米出生时遇上难产，因为缺氧导致大脑受损。两年后，我出生了。从此以后，我的生活便围绕我哥哥转。伴随我成长的，是“到外面去玩，把你哥哥也带上。”不带上他，我是哪里也去不了的。因此，我怂恿邻居的孩子到我家来，尽情地玩孩子们玩的游戏。我母亲教吉米学习日常自理，比如刷牙或系皮带什么的。我父亲宅心仁厚，他的耐心和理解使一家人心贴着心。我则负责外面的事，找到那些欺负我哥哥的孩子们的父母，告他们的状，为我哥哥讨回公道。父亲和吉米形影不离。他们一道吃早饭，平时每天早上一道开车去海军航运中心，他们都在那里工作，吉米在那搬卸标有彩色代号的箱子。晚饭后，他们一道交谈，玩游戏，直到深夜。他们甚至用口哨吹相同的曲调。
所以，父亲1991年因心脏病去世时，吉米几乎崩溃了，尽管他尽量不表现出来。他就是不能相信父亲去世这一事实。通常，他是一个令人愉快的人，现在却一言不发，无论说多少话都不能透过他木然的脸部表情了解他的心事。我雇了一个人和他住在一起，开车送他去上班。然而，不管我怎么努力地维持原状，吉米还是认为他熟悉的世界已经消失了。有一天，我问他：“你是不是想念爸爸？”他的嘴唇颤抖了几下，然后问我：“你怎么看，玛格丽特？他是我最好的朋友。”接着，我俩都流下了眼泪。六个月后，母亲因肺癌去世，剩下我一人来照顾吉米。吉米不能马上适应去上班时没有父亲陪着，因此搬来纽约和我一起住了一段时间。我走到哪里他就跟到哪里，他好像适应得很好。但吉米依然想住在我父母的房子里，继续干他原来的工作。我答应把他送回去。此事最后做成了。
如今，他在那里生活了，在许多人的照料下，同时依靠自己生活得有声有色。他已成了邻里间不可或缺的人物。如果你有邮件要收，或有狗要遛，他就是你所要的人。当然，母亲的话没错：可以有一个家，既能容纳他的'缺陷又能装下我的雄心。事实上，关照像吉米这样一个深爱又感激我的人，更加丰富了我的生活，其他任何东西都不能与之相比。这一点，在9·11灾难后几天更显真切。那天是吉米57岁生日。我在纽约自己的家里为他举办生日宴会，但是我们家的人都没能来参加，因为交通困难，而且灾难带来的恐惧使他们依然心有余悸。我邀请了我的好友，请他们来帮忙把宴会弄得热闹些，增加点欢快气氛，没去理会他们多数人在情感上都有些疲惫这一事实。于是我一反常态，没说“请不要带礼物”，而是向他们喊“请带礼物来”。我的朋友──吉米认识他们多年了──带来了中意的礼物：乡村音乐CD、一件长袖运动衫、一条有“吉米”字样的皮带、一顶编织的羊毛帽，还有一套牛仔服。那天晚上，我们先是送礼物，然后是切从他喜欢的面包店里买来的巧克力蛋糕，当然还唱了“生日歌”，否则宴会就不算完整了。吉米一次次地问：“该切蛋糕了吧？”等用完餐和送完礼物后，吉米再也控制不住了。
他焦急地等着点上蜡烛，然后在我们“生日快乐”的歌声中，一口长气吹灭了蜡烛。户然而吉米对我们的努力还是感到不满足。他纵身跳到椅子上，直挺着身子，双手食指朝天，一边喊一边指挥我们唱歌：“再──来──次！”我们全力以赴地唱。待我们唱完时，他翘起两个拇指喊道：“好极了！”本来我们想让他知道，无论世上有多难的事情，总是有人来关心他。现在反倒是提醒了我们自己。对于吉米来说，我们唱歌时的爱心，是他心中额外的礼物，但是他原先更想看到的，是别人再次感到快乐。有如父亲的去世一夜之间改变了吉米的世界，9·11也改变了我们的生活；我们熟悉的世界不复存在了。但是，当我们为吉米唱歌，相互紧拥，祈祷全球和平时，我们也意识到，朋友、家人间永恒的爱和支持可以让我们克服生活中的任何困难。吉米以朴素的方式为我们协调了眼前的一切，他做到这一点并不令人吃惊。吉米的爱可以征服一切，这是任何东西都限制不了的。
时值秋夜，在我的故乡新斯科舍，小雨淅沥，轻叩锡铁屋顶。我们周末度假寄住的古老小屋，弥漫着一股霉味。空气寒冷得让人发抖，于是我们点上了富兰克林取暖炉。我们悠然地喝着热朱古力，接着父亲走向立式钢琴，卷起衬衣袖，伸出一指敲一曲。他算不上一个钢琴家，可他知道歌中的情、家中的爱。母亲放下手中的针线活，和他同坐在一条凳子上，然后我哥哥也快缓步走向钢琴。最后，不太能唱歌却能拉拉小提琴的我也凑热闹唱了一两句。一向体贴人的父亲说：“你看，你也可以唱的，宝贝。唱得很好。”我常常记得成长的过程中感受到的温暖、幸福和关爱。虽然我花了好些年才知道，家人的爱不是凭空产生的。叶事实上，爱从来就不是凭空产生的，甚至对那些看上去像我父母那样天生充满爱的人来说也一样。但是，我愿打赌，你必须生活于一个构架之中，方能让爱这一无与伦比的礼物瓜熟蒂落。
首先，爱需要时间。也许人们可以一眼看到爱的可能，见面几周后就郑重宣布“我爱你”等等，但是这样的爱，相当于刚开始爬山，而这漫长的爬山之路充满着起起落落。瓜熟蒂落之爱就像一个有生命的机体。它跟一棵橡树的生命一样，从土里的一粒种子开始，慢慢地长成几乎无叶的细枝，最后枝繁叶茂、足以遮荫，成就其辉煌。我们不可调控或者加速其成长所需的年月，相反，我们必须用才智和耐心，始终欣赏相互间的差异，分享彼此的快乐和痛苦。因此，如果因小怒而离婚，父母孩子相互不信任，在第一次受伤害后中断友谊，或不再相信爱，那是令人痛心的事情。我们常常未经深思熟虑就向某人说“再见”，结果付出了非常昂贵的感
情代价。我曾经认识一对父子，他们被各自的生活困难困扰，多年来距离越拉越远，结果相互间几乎没话可说，而相互间没了依靠，他们的生活变得空虚。儿子大学毕业后的那个夏天，打算开着黄色老卡车到连通全国的双车道公路上周游一番（那时还没有免费高速公路）。有一天，在准备出发时，他看见父亲沿着繁忙的街道走来。父亲熟悉的脸上带着的孤苦令他震动。他邀父亲停下来喝杯啤酒。冲动之下，他说：“来吧，爸爸。让我们一块儿度过一个夏天吧。”他父亲是个家具推销商。虽然冒着家里生意受损失的大风险，父亲还是跟儿子走了。他们一道宿营，一道爬山，一道坐在海边，一道探索城市的街道和幽静的乡村。在他们旅行后不久，他父亲告诉我：“在过去的两个月里，我学到的为父之道比我在我儿子成长的21年的岁月里学到的都多。”每个人的生活，都应该为爱的人留出空间，为我们爱的人抽出我们认为抽不出的时间是值得的。我们不应该误导自己，认为我们所爱的人必须像自己一样。关键是认可和欣赏我们间的差异。这些差异使得人们之间的关系有了一丝神秘和新奇。爱也需要另一种更为难得的能力──放手的能力。在我结婚的头几年，我错误地认为我丈夫应该想时刻和我在一起。
我们第一次去拜访他家时，我发现他们家的人做事时男的和男的在一起，女的与女的在一起。我公公占了我的位子，坐到前车座我丈夫的旁边。他俩常常一道出去，将我留下和女人们在一起。我向我丈夫抱怨，让他夹在他所爱的人当中，痛苦不堪。我婆婆说得好：“和父亲在一起是他生活的一部分；和你在一起是另一部分。你对二者都该感到高兴啊。”我明白，爱就像根松紧带，在它将你们紧紧拉在一起之前，必须先松开。爱又像涌来的潮水，一浪过后先退却一点，下一浪才会比前一浪离你的心更近。最后，爱需要言语来实现。没有言语，争吵不能得到解决，这样我们就失去了分享自己生活意义的能力。重要的是承认并表达自己的情感。这样，我们才能真正使我们自己和我们所爱的人兴高采烈。爱不是一次性的行为，而是一生的探索。我们总是在这种探索中学习、发现和成长。一次失败不能毁灭爱，一次亲吻也不能赢得爱。唯有耐心和理解才能得到爱。
★ 初三英语课文翻译
★ 高二英语课文翻译
