farm-house-pack---12-different-houses-with-download709Farm House Pack - 23 Different houses! (With Download!)
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Farm House Pack!The Farm House Pack with 21 diffrent buildings!A special theme for all this:Brick'n Log!Curretly in the map:Fishing HouseChurchBlacksmithButcherBakeryLittle HouseInnWizard TowerLumberjack HouseLuxery HouseWindmillFarm ShedMining HouseMining ShedWater WheelBreweryHunters HouseLibraryWatch TowerCity Gate (Shown below)Archer Training Field (Shown below)Horse Stable (No pics, world save only)New House (No pics, world save only)City Gate:Archer Training Field:Rate if you like it!Also leave your feedback :DIf you got any suggestions, post them in the comments! (99% sure i'll make it!)Thank You All Guys! For Getting Me On Front Page!Front Page!Project Page!Additional NotesNow supporting colored world save file!Wanna make a video for this project? Please post a comment saying that you want to make a video!
Wow long time ago guys!Almost 60k views wow!Dont forget to keep voting!
Broken video fixed
I wont be updating any soon, i will be posting adventure maps :DBut first.. BORDERLANDS 2!!!!!
Thanks iWilliBlecha for this awesome video!
Im getting a new laptop so a video would be out soon!+ im making a town of this atm!Stay Tuned :)
Making new pictures + balloons added.Are there any more idea's?
Fixed the title :P
Updated all download links!+ Added colored save file!!!
Anyone got any idea's?
Added 3 new houses! Download will be updated in a sec.. Keep on giving diams!
Fixed schematics! They bugged
Added 3 new houses! Brewery, Hunters house and a Library!
Yay 200+ diamonds, amazing!
Added the castle today! Check it out!
Sorry guys, i couldn,t upload it.... Extra content tomorrow! Promised!
I got new buildings ready too, will be uploading tonight!
There is a castle on the map, dont mind it.. I will be uploading it anytime soon!
Added 3 new buildings! Fixed Luxury word. And found out something cool!
Thank you all for over 2k views! I will be uploading more buildings tonight! Stay Tuned!
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///css/style-v-version361.css,///css/editor-v-version361.css排名前二十的Elmore, 佛蒙特州短租公寓 | 短租房 | 日租房 -Elmore, 佛蒙特州 爱彼迎, 佛蒙特州, 美国陶渊明诗歌英译
陶渊明——《归园田居》（其一）
少无适俗韵，性本爱丘山。
误落尘网中，一去三十年。
羁鸟恋旧林，池鱼思故渊。
开荒南野际，守拙归田园。
方宅十余亩，草屋八九间。
榆柳荫后椋，桃李罗堂前。
暧暧远人村，依依墟里烟。
狗吠深巷中，鸡鸣桑树颠。
户庭无尘杂，虚室有余闲。
久在樊笼里，复得返自然。
(丁祖馨译)
Returning to My Home in the Countryside,
In youth I couldn’t sin
it was my nature to love the mountains and hills.
By mistake I got caught in that dusty snare,
went away once and stayed thirteen years.
The winging bird longs for its old woods,
the fish in the pond thinks of the deeps it once knew.
I’ve opened up some waste land by
stupid as ever, I’ve come home to the country.
My house plot measure ten mou or more,
a grass roof covering eight or nine spans.
Elm and willow shade the back eaves,
peach and damson range in front of the hall.
Dim dim, a village o
drifting drifting, the smoke from settlements.
A dog barks in the deep lanes,
chickens call from the tops of mulberry trees.
Around my door and courtyard,
in my empty rooms, leisure enough to spare.
After so long in that cage of mine,
I’ve come back to things as they are.
(Tranlated by Burton Watson)&
Returning to Live in the Country
In my youth I was out of tune with the common folk:
My nature is to love hills and mountains.
In my folly I fell into the net of the world’s dust,
And so went on for thirty years.
The caged bird longs
The pond-reared fish yarns for its native stream.
I have opened up a waste plot of the south moor,
And keeping my simplicity returned to garden and field.
A homestead of some ten acres,
A thatched cottage with
Elms and willows shad
Peach and plum trees ranking before the hall.
Dim, dim i
Lagging, lagging hangs the smoke of the market-
A cock crows on the top of the mulberry tree.
My door and courtyard have
In the bare room there is leisure to spare.
Too long a captive in a cage,
I have mow come back to Nature.
(Translated by R.H. Kotewall et al)&
Poems on Returning to Dwell in the Country, 1
In youth I had nothing
&& that matched
the vulgar tone,
For my nature always
&& loved the
hills and mountains.
Inadvertently I fell
& into the Dusty Net,
Once having gone
& it was more than thirteen years.
The tame bird
& longs for his old forest—
The fish in the house-pond
thinks of his ancient pool.
I too will break the soil
& at the edge of the southern moor,
I will guard simplicity
& and return to my field and garden.
My land and house—
& a little more than ten acres,
In the thatched cottage—
& only eight or nine rooms.
Elms and willows
& shade the back veranda,
Peach and plum trees
& in rows before the hall.
Hazy and dimly seen
& A village in the distance,
Close in the foreground
& the smoke of neighbour’s houses.
A dog barks
& amidst the deep lanes,
A cock is crowing
& atop a mulberry tree.
No dust and confusion
& within my
In the empty rooms,
& more than sufficient leisure.
Too long I was held
& within the barred cage.
Now I am able
& to turn again to Nature.
(Translated by Cyril Birch)&
When I Was Young, I Was out of Tune with the Herd
When I was young, I was out o
My only love was for the hills and mountains.
Unwitting I fell into the Web of the World’s dust
And was not free until my thirtieth year.
The migrant bird lo
The fish in the tank thinks of its native pool.
I had rescued from wildness a patch of Southern Moor
And, still rustic, I returned to field and garden.
My thatched cottage has eight or nine rooms.
Elms and willows
Peach trees and plum trees grow before the Hall.
Hazy, hazy the di
Steady the smoke that hangs over cottage roofs.
A dog barks somewhere in the deep lanes,
A cock crows at the top of the mulberry tree.
At gate and courtyard &no murmur of the world’
In the empty rooms&leisure and deep stillness.
Long I lived checked b
Now I have turned again to Nature and Freedom.
(Translated by Arthur Waley)
Once More Fields and Gardens
Even as a young man
I was out of tune with ordinary pleasures.
It was my nature to love the rooted hills,
The high hills which look upon the four edges of Heaven.
What folly to spend one’s life like a dropped leaf
Snared under the dust of streets,
But for thirteen years it was so lived.
The caged bird longs for the fluttering of high leaves.
The fish in the garden pool languished for
&the whirled water of meeting
So I desired to clear and seed a patch of
&the wild Southern moor.
And always a countryman at heart,
I have come back to the square enclosures of my fields.
And to my walled garden with its quiet paths.
Mine is a little property of ten mou or so,
A thatched house of eight or nine rooms.
On the North side, the eaves are overhung
With the thick leaves elm-trees,
And willow-trees break the strong force of the wind.
On the South, in front of the great hall,
Peach-trees and plum-trees spread a net of branches
Before the distant view.
The village is hazy, hazy,
And mist sucks over the open moor.
A dog barks in the sunken lane which runs through the
A cock crows, perched on a clipped mulberry.
There is no dust or clatter
In the courtyard before my house.
My private rooms are quiet,
And calm with the leisure of moon light through an open
For a long time I
Now I have returned.
For one must return
To fulfill one’s nature.
(Translated by Amy
On Returning to a Country Life (I)
My youth was spent amidst the simple charms
&Of country scenes—secure from worldly
And then, alas! I fell into the net
&Of public life, and struggled long
The captive bird lam
&The fish in tanks think of the sea’s
And I oft longed, amidst official cares,
&To till a settler’s plot in sunny
And now I have my plot of fifteen mou,
&With house thereon of rustic build and
The elm and willow cast a grateful shade,
&While plum and peach trees full the
entrance patch.
Away from busy towns and dusty marts,
The dog barks in the
While chicken cluck among the mulberry-tree,
&And life is healthy and the mined is
Here in my house—with room for friend or two,
&On my own farm—won from the barren
Escaped from cares of office and routine,
&I live a free and natural life
(Translated by Charles Budd)&
Back to Garden and Fields
Unfit for worldly things ever since my youthful days,
I love by nature mountains and hills.
Fallen by error into earthly net,
There I remained for a score of years and ten.
A bird in the cage pines for its old forest,
A fish in the pond longs for its original source.
Now I grub up the weeds in the southern countryside,
Living humbly among gardens and rice fields.
On an area of over ten mou,
I built a house with a thatched roof.
Elms and willows spread their shade over the back eaves,
Peach and plum trees grow in front of my house.
Dimly loom the distant villages,
Gracefully curls the chimney smoke.
Dogs bark in the deep lane,
Cocks crow on the top of mulberry trees.
No noise in my house or in the courtyard
But plenty of leisure in my spacious chambers
Having long lived in a cage,
Finally I returned to nature.
(Translated by Patricial Pin-ching
Returning to My Farm
Young I was witless in the world’s affairs,
My nature wildne
By mishap fallen into mundane snares,
Once I had left I wasted thirty years.
Birds in the cage long for their wonted woods,
Fish in the pool for former rivers yearn.
I clear the wildness that stretches south,
Hiding my defects homeward I return.
Ten acres built with scattered house square,
Beside the thatched huts
The elms and willows shade the hindmost eaves,
While peach and pear-trees spread before the hall.
While smoke form nearby huts
A dog is barki
A cock crows from the chump of mulberry trees.
Within my courtyard all is clear of dust,
Where tranquil in my leisure I remain.
Long have I been im
Now back to Nature I return again.
(Translated by Andrew Boyd)&
Back to the Garden and Fields (1)
From my youth I have loved the hills and mountains,
Never was my nature suited fir the world of men,
By mistake have I been entangled in the dusty web,
Lost in its snare for thirteen long years.
The fettered bird longs for its old wood,
The fish in the pond craves for its early pool.
Back to my land I cling to solitude,
To till the soil in the open south country.
My plot of ground is only a few acres square,
The thatched roof covers eight or nine rooms,
The back eaves are shaded by elms and willows,
Rows of peach-and plum-trees stand in my front court.
The hamlets spread out in the hazy distance,
Where chimney smokes seem to waft in mid-
And the dog barks in the deep lane,
And the cock crows on the mulberry top.
In the vacant rooms there is ease and quiet.
Long have I lain within the prison of men,
Now I am to return to nature and its ways.
(Translated by Roland C. Fang)&
陶渊明《杂诗》(一）
人生无根蒂，飘如陌上尘①。分散逐风转，此已非常身②。
落地为兄弟③，何必骨肉亲！得欢当作乐，斗酒聚比邻④。
盛年不重来⑤，一日难再晨。及时当勉励⑥，岁月不待人。
Human life has no stem and root,
As if road dust swirls without route.
The winds blow us everywere apart.
All will ne'er be again the same part.
We'll be brothers as coming to the
Who cares if we're from the different birth.
To revel whene'er happiness we come by,
To drink I often invite friends living nearby.
You will never ever be young
The same morn you can hardly gain.
In your prime try as hard as you can,
For time and tide wait for no man.
The winds blow us here and there,
to be the same again will be rare.
Tr. Ziyuzile
陶渊明杂诗
其四∶
袅袅松标崖，婉娈柔童子。
年始三五间，乔柯何可倚。
养色含津气，粲然有心理。
Miscellany (four)
by Tao yuan-ming
On the cliff stands a pine, tall and slender,
Which is like a stripling, pretty and tender.
At the age of fifteen,
Against its trunk, one can hardly lean.
Yet under proper culture, it'll keep its sap,
And grow up to be a sturdy chap.
Tall and slender, on the cliff stands a pine,
Which is like a stripling, tender and fine.
At the age of fifteen,
Against its trunk, one can hardly lean.
Yet under cultivation, it'll build up its sap,
And grow up to be a great chap.
陶诗英译百花开——陶渊明《饮酒》（其五）英译比读
大连外国语学院教授汪榕培
在陶渊明现存的１２０多首诗中，涉及饮酒生活内容的竟达４４首，约占陶诗总数的三分之一。《饮酒二十首》是其中的代表作品，尤以第五首（结庐在人境）最为脍炙人口，国内出版的各种陶诗选本或选读几乎无不收录这首诗，在我手边的这首诗的英译也有十余种之多，为准确理解、鉴赏和翻译陶诗（乃至各类汉诗）提供了极好的素材。
组诗《饮酒二十首》是陶渊明的重要代表作，关于其写作年代，历来有几种说法，有的认为是归隐之前的作品，有的认为是归隐之后的作品。不过，从这组诗内容的深沉和艺术的成熟程度来看，当以公元５１７年陶渊明５３岁时的秋冬时节所作较为可信。根据陶渊明的自序，“余闲居寡欢，兼比夜已长，偶有名酒，无夕不饮。顾影独尽，忽焉复醉。既醉之后，辄题数句自娱；纸墨遂多，辞无诠次，聊命故人书之，以为欢笑尔。”这组诗名为饮酒诗，实为咏怀诗（或称“感遇诗”），多方面地反映了他的生活、思想、志趣和情操。方东任在《昭咏詹言》中评论道：“据序亦是杂诗，直书胸臆，直书即事，借饮酒为题耳，非咏饮酒也。阮公《咏怀》、杜公《秦川杂诗》、退......
陶渊明《饮酒二十首》
　　余闲居寡欢，兼比夜已长，偶有名酒，无夕不饮。顾影独尽，忽然复醉。既醉之后，辄题数句自娱；纸墨遂多，辞无诠次，聊命故人书之，以为欢笑尔。
　　栖栖失群鸟，日暮犹独飞。
　　徘徊无定止，夜夜声转悲。
　　厉响思清远，去来何依依；
　　因值孤生松，敛翮。
　　劲风无，此荫独不衰；
　　托身已得所，千载不相违。
　　结庐在人境，而无车马喧。
　　问君尔？心远地自偏。
　　采菊东篱下，悠然见；
　　山气日夕佳，飞鸟相与还。
　　此中有真意，欲辨己忘言。
说：“因采菊而见山，境与意会，此句最有妙处”。
陶潜《饮酒》研读与英译
——兼向许渊冲老师请教英译
&&&&陶潜（365——427；享年62岁）字渊明，是东晋时期著名的隐士，四十一岁做过80天的县令。他“不为五斗米而折腰”的故事，我初中时就从《国文》里知道，至今不忘。他更是著名文人与诗人。陶渊明写的《桃花源记》，是脍炙人口的名篇，《归去来辞》与《五柳先生传》也都被收入《古文观止》，我年轻时候就能背。至今还能背诵一些段落，如“晋太原中武陵人，捕鱼为业。缘溪行，忘路之远近，忽逢桃花林。夹岸数十步，中午杂树，芳草选美，落英缤纷，渔人甚异之。”连我此时此刻也都被这篇优美的散文与作者美丽的理想吸引进“桃花源”里了！再如《五柳先生传》开头几句：“先生不知何许人也，亦不详其姓字，宅边有五柳树，因以为号焉。闲静少言，不羡名利；好读书，不求甚解，每有会意，便欣然忘食。”这一段的“不求甚解”、“只图会意”，人们可能认为是不正确的读书方法，其实很有道理。下文接着写他“性嗜酒”，原文我不记得了，但跟我写的主题“酒文化”直接有关，我特意从《古
文观止》抄录如下：
“性嗜酒，家贫不能常得。亲旧知其如此，或置酒而招之。造饮辄zhe尽，其在必醉，既醉而退”。你们看，这样的嗜酒成性，实不可取！首先是伤身体啊！世界卫生组织提倡“戒烟限酒”，少量或限量喝酒，能活血提神，但嗜酒就有害健康。嗜酒如今已成公害，特别是酒后驾车，醉酒飙车，久禁不止，甚至愈演愈烈，造成许多车祸与人身死伤事故，电视天天都有报导。这可不是“酒文化”之罪啊！这种不文明、甚至不道德的醉酒行为，是违法行为。健康的“酒文化”要提倡，嗜酒成性的
恶习要戒绝，醉酒驾车的违法行为要制止！
闲话打住，回来专门讨论《饮酒》的英译。
结庐在人境，而无车马喧；
问君何能尔，心宽地自偏。
采菊东篱下，悠然见南山；
山气日多佳，飞鸟相与还。
此中有真意，欲辨已忘言。
&&&&此诗我中年时读过，但只记得其中的名句“采菊东篱下，悠然见南
此诗早有译文，抄录如下：
Written While Drunk
by Tao Qian
I built my house near where others dwell,
&&&&&&&&And
yet there is no clamour of carriages and horses.
You aks of me “How can this be so?”
When the heart is far the place of itself is distant.”
I pluck chrysanthemums under the eastern hedge,
&&And gaze afar towards the
southern mountains.
&&The mountain air is fine at
evening of the day
And flying birds return together homewards.
Within these things there is a hint of Truth.
when I start to tell it, I cannot find the words.
Tr. William Acker
后来我从书里读到许老的译文，抄录如下：
Drinking Wine
by Tao Yuanming
In people’s haunt I
Of wheel’s and hoof’s noice bear not
How can it leave on me no trace？
Secluded heart makes secluded place.
I pick fenceside asters at will.
Carefree appears the Southern Hill.
&&The mountain air’s fresh day
Together birds go home in flight.
What revelation at this view?
Words fail me if I try to tell you.
&&&&必须承认：我们中国翻译家译文言诗词，主要与首要的是要尽量避免英语错误。作为读者，我的确在咬文嚼字，但限于水平，为此只能勤
查词典。我试着评论许老译文如下：
&&&&许老译文头两行的语法关系不明，第二行开头的介词Of用得有问题。haunt虽然可以用做名词，表示“常去的地方”，但更常用为动词，表示“常去”。及物动词seclude（使隔离，使隐退）构成的过去分词，一般不能单独做定语；但secluded是形容词，表示“隐退的”；上海译文出版社《新英汉词典》就单列此形容词。许老译得好，但heart前应该用冠词。aster
n.(=The China aster)翠菊；比chrysanthemum短，比较合适。“悠然见南山”译成Carefree
appears the Southern
Hill.对吗？Carefree在上海译文出版社《新英汉词典》找不到，不能译“悠然”。What revelation（启示）at
this view?是什么意思？特别是at this
view，是什么意思？能表示“在这方面”或“从这方面看”吗？在上海译文出版社《新英汉词典》找不到这个用语。其他介词如on, in,
with可以跟view用在一起，唯独at不能。In this respect 才表示“在这
方面”或“从这方面看”，但不再押韵了。
研读、参考、借鉴以上译文，金于重译如下：
A Poem Written After drink
by Tao Qian
My house is built in man’s society surely.
Bur there are no man’s troubles with me.
You may wonder how I am able to do so,
&& Because the heart is still and
the place calm.
I enjoy my plants at the eastern hedge of my house
While my thoughts fly to the southern mountain.
The mountain beyond becomes greener and fresher,
Birds, flying together, return home with pleasure.
From them I can get a hint of something like truth,
&&&&&&&&But
I forget to find the words while I want to tell.
　　行止千万端，谁知非与是；
　　是非苟相形，雷同共誉毁。
　　三季多此事，达士似不尔。
　　咄咄俗中愚，且当从。
　　秋菊有佳色，浥露掇其英。
　　泛此忘忧物，远我遗世情。
　　一觞虽独尽，杯尽壶自倾。
　　日入群动息，归鸟趋林鸣。
　　啸傲东轩下，聊复得此生。
《离骚》中说：“朝食木兰之坠露兮，夕餐秋菊之落英”。
Drinking Wine 5
In& people's&
haunt& I& built&
Of& wheel's&
and& hoof's&
noise& I& hear&
How& can& it&
leave& on& me&
no& trace?
Secluded& heart&
makes& secluded& place.
fenceside& asters&
Carefree& I&
southern& hill.
The& mountain&
air's& fresh&
Together& birds&
go& home& in&
What& revelation&
at& this& view?
Words& fail&
me& if& I&
try& to& tell&
　　青松在，众草没其姿；
　　凝霜殄异类，见。
　　连林人不觉，独树众乃奇。
　　提壶挂寒柯，远望时复为。
　　吾生梦幻间，何事绁尘羁！
　　清晨闻扣门，倒裳往自开。
　　问子为谁与？田父有好怀。
　　壶浆远见候，疑我与时乖。
　　“繿缕茅檐下，未足为高栖。
　　一世皆尚同，愿君汩其泥”。
　　“深感父老言，禀气寡所谐。
　　纡辔诚可学，违己讵非迷！
　　且共欢此饮，吾驾不可回！”
屈原在《楚辞·渔父》中说：‘世人皆浊，何不汩其泥而扬其波？’
　　有客常同止，取舍邈异境。
　　一士常独醉，一夫终年醒。
　　醒醉还相笑，发言各不领。
　　规规一何愚，兀傲差若颖。
　　寄言酣中客，日没烛当秉。
《东山草堂陶诗笺》说：“醒非真醒而实愚。醉非真醉而实颖”。
　　少年罕人事，游好在六经。
　　行行向不惑，淹留遂无成。
　　竟抱固穷节，饥寒饱所更。
　　弊庐交悲风，荒草没前庭。
　　披褐守长夜，晨鸡不肯鸣。
　　孟公不在兹，终以翳吾情。
据《高土传》记载，东汉隐居不仕，“常据穷素，所处蓬蒿没人，闭门养生，不治荣名，时人莫识，唯刘龚知之。”
　　幽兰生前庭，含熏待清风。
　　清风脱然至，见别萧艾中。
　　行行失故路，任道或能通。
　　觉悟当念还，鸟尽废良弓。
　　在昔曾远游，直至东海隅。
　　道路回且长，风波阻中途。
　　此行谁使然，似为饥所驱。
　　倾身营一饱，少许便有馀。
　　恐此非名计，息驾归闲居。
　　故人赏我趣，挈壶相与至。
　　班荆坐松下，数斟已复醉。
　　父老杂乱言，觞酌失行次。
　　不觉知有我，安知物为贵。
　　悠悠迷所留，酒中有深味！
　　积善云有报，夷叔在。
　　善恶苟不应，何事立空言。
　　九十行带索，饥寒况当年。
　　不赖固穷节，百世当谁传。
孔子说荣启期：“善乎，能自宽者也。”
　　称为仁，荣公言有道。
　　屡空不莸年，长饥至于老。
　　虽留身后名，一生亦枯槁。
　　死去何所知，称心固为好。
　　客养千金躯，临化消其宝。
　　裸葬何足恶，人当解意表。
　　羲农去我久，举世少复真。
　　汲汲鲁中叟，弥缝使其淳。
　　凤鸟虽不至，礼乐暂得新。
　　洙泗辍微响，漂流逮狂秦。
　　诗书复何罪，一朝成灰尘。
　　区区诸老翁，为事诚殷勤。
　　如何绝世下，六籍无一亲？
　　终日驰车走，不见所问津？
　　若复不快饮，恐负头上巾。
　　但恨多谬误，君当恕醉人。
　　贫居乏人工，灌木荒余宅。
　　班班有翔鸟，寂寂无行迹。
　　宇宙一何悠，人生少至百。
　　岁月相催逼，鬓边早已白。
　　若不委穷达，素抱深可惜。
　　少年罕人事，游好在六经。
　　行行向不惑，淹留遂无成。
　　竟抱固穷节，饥寒饱所更。
　　敝庐交悲风，荒草没前庭。
　　披褐守长夜，晨鸡不肯鸣。
　　孟公不在兹，终以翳吾情。
　　幽兰生前庭，含薰待清风。
　　清风脱然至，见别萧艾中。
　　行行失故路，任道或能通。
　　觉悟当念迁，鸟尽废良弓。
　　子云性嗜酒，家贫无由得，
　　时赖好事人，载醪祛所惑。
　　觞来为之尽，是谘无不塞。
　　有时不肯言，岂不在伐国。
　　仁者用其心，何尝失显默。
时，那些巧言善辨之士，歌颂称帝是天意，因而都得到封赏。杨雄不肯趋炎附势，因而没有封侯。
　　畴昔苦长饥，投耒去学仕。
　　将养不得节，冻馁固缠己。
　　是时向立年，志意多所耻。
　　遂尽介然分，拂衣归田里，
　　冉冉星气流，亭亭复一纪。
　　世路廓悠悠，杨朱所以止。
　　虽无挥金事，浊酒聊可恃。
　　羲农去我久，举世少复真。
　　汲汲鲁中叟，弥缝使其淳。
　　凤鸟虽不至，礼乐暂得新，
　　洙泗辍微响，漂流逮狂秦。
　　诗书复何罪？一朝成灰尘。
　　区区诸老翁，为事诚殷勤。
　　如何绝世下，六籍无一亲。
　　终日驰车走，不见所问津。
　　若复不快饮，空负头上巾。
　　但恨多谬误，君当恕醉人。
种豆南山下，
草盛豆苗稀。
晨兴理荒秽，
带月荷锄归。
道狭草木长，
夕露沾我衣。
衣沾不足惜，
但使愿无违。
RETURN TO NATURE
Translated by Xu Yuanchong
I sow beans’
Bean shoots are lost where weeds o’ erthepath grow.
I weed at daw
I plod home with my moonlit hoe.
The path is narrow, grasses tall,
With evening dew my clothes wet,
To which I pay no heed at all,
If my desire can but be met.
&&&&&&&&&&&
结庐在人境，而无车马喧。
问君何能尔，心远地自偏。
采菊东篱下，悠然见南山。
山气日夕佳，飞鸟相与还。
此中有真意，欲辨已忘言。
记得以前读书的时候，语文老师就让我们背过这首诗，其中老师反复强调的是“采菊东篱下，悠然见南山”这就话，说这句话体现了一种怡然自得的田园氛围。相对现在忙碌的都市生活，我当时很羡慕古人但是那种世外桃源的惬意生活。那么对于这样诗用英语应该怎么表达才能体现出它的意境呢？我们不妨来看看下面这三个版本。它们均出自名家之手，也各具特色。
&&&&&&&&&&&&&&&&&&&&&
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
－translated by Xu Yuanchong（许渊冲）
In people's haunt I build my cot;
"huant"作名词表示常去的地方，"cot"意思是小屋，在此是为了与下文的"not"呼应，压尾韵。
Of wheel's and hoof's
noise i hear not.
"wheel"意为马车的车轮，"hoof"意为马蹄，此处是借代的修辞手法。
How can it
leave on me no trace?
此句意为这些喧嚣为何在我身上没有留下任何踪迹？作者采用的是意译的方法，"it"指代上文的"noise"。
Secluded heart makes secluded
"secluded"意为隐居的、隔离的，俗话说境由心生，心是secluded，所以地方也就会边成secluded。
fenceside asters at will;
will"表示任意的意思，与下文"carefree"一词正好对应，可以体现出作者悠然自得的心情。"aster"意为翠菊。
What revelation at this
Carefree&I see the southern hill.
The mountain air's fresh
Together birds go home in
Words fail if I try to
最有一句话，作者是为了和上文的"view"押韵，但个人倒是觉得省略"you"，这样也可以和fail押韵。
这首诗采用的是压尾晕的手法，比较符合诗的文体。我们在翻译文言文是，最基本的要求是要把原文的意思准确的表达出来。然后在进行文字的雕琢。
Drinking Wine
&&&&&&&&&&
I made my home amidst this human bustle,
Yet I hear no clamour from the carts and horses.
My friend, you ask me how this can be so?
A distant heart will tend towards like places.
From the eastern hedge, I pluck chrysanthemum flowers,
And idly look towards the southern hills.
The mountain air is beautiful day and night,
The birds fly back to roost with one another.
I know that this must have some deeper meaning,
I try to explain, but cannot find the words.
－translated by Yang Xianyi and Dai Naidie（杨宪益，戴乃迭）
Within the world of men I make my home,
Yet din of house and ca
You ask me how this quiet is achieved－
With thoughts remote the place appears alone.
While picking asters'neath the Eastern fence
My gaze upon the Sou
The mountain views are good by day or night,
The birds come flying homeward to their nests.
A truth in this reflection lies concealed,
But I forget how it may be revealed.
恨不抗日死，
留作今日羞。
国破尚如此，
我何惜此头。
Facing Martyrdom
Ji Hongchang
What chagrin! — not on the field to
(Fighting the Japs) found dead!
But survived to suffer this present infamy!
While e'en my country is dismembered so,
What care I it is me they behead?
（王知还 译）
&我对杜诗英译的管见&
&&&&&&&&&&--《英译杜甫律诗十首兼谈体会》引言&&&&&&&&章学清
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
&&翻译科技文章只要正确通顺，也就是只要达到信和达的要求。可是翻译诗词却还得追求艺术上的美；也就是除了信和达，还得求雅。不论是汉译外还是外译汉，都应当如此。
&&形似与神似的问题是一切艺术作品的共性问题。如果形神兼备，当然最好。&但有时不可得兼，不得不有所取舍；孰取孰舍，如何取舍，就决定了艺术作品&的质量，体现了艺术家的造诣和风格。我认为形似是初级阶段，神似是高级阶&段，是形似的飞跃，是形似的升华。形似而忽略了原作的深层内涵，犹如依样&葫芦，舍本逐末，必然皮相肤浅。而神似者则遗貌取神，不拘泥于字字对应，&却表达了原作的深层内涵。神似基于形似，而又摆脱形似，超越形似，应该是&我所追求的艺术境界。为此就得对原作的内涵努力深挖和开拓；就得在理解和&表达方面不断加强自己的功力。
&&杜甫的律诗难解之处颇多，各注家往往众说纷纭，莫衷一是。因此我认真地&阅读了古今很多注本，细心地斟酌取舍，其目的就在于吃透原作，透过原作的&字句和遵循注家们提供的`线索来寻繹其深层内涵。
&&杜甫（712-770）生活在一千二百多年前的唐代，是我国最伟大的、现实主义的、同情人民的诗人.他的诗至今“光焰万丈长”（韩愈评语），不仅值得我们&学习，从中吸取营养，也值得翻译出来，介绍给外国朋友们。他的诗措词讲究&，格律严谨，且多难解之处，译家常望而生畏。相比之下，他的诗译成英文的&就远不如李白和白居易的多。不过从十九世纪到现在，也已有许多译家，如&H.A.Giles,&W.J.B.Fletcher,&Wittier&Bynner,&Florence&Ayscough,&&L.A.Cranmer-Byng,&Amy&Lowell,&Rewi&Alley,&A.C.Graham,&Stephen&Owen,&&杨宪益夫妇，柳无忌，罗郁正，翁宪良，许渊冲，谢文通，吴钧陶，李维建等&。我先后收集到的、有关这十首的译诗就有74篇之多。其中一部分收集得早些&，我在翻译时曾借鉴过。
&&英诗有格律体、无韵体和自由体。翻译杜诗究应采用哪种体裁呢？译者完全&可以根据自己的爱好来选择；只要译得好，什么体裁都可以。从翻译史来看，&老一辈翻译家采用格律体的居多，如H.A.Giles和&W.J.B.Fletcher等；而当代&翻译家则采用自由体的居多，如杨氏夫妇、翁宪良、柳无忌、S.Owen等。&R。&Alley采用不讲节奏的无韵诗体，就象把散文任意分行，其本质也就是自由体了&。许渊冲，谢文通，吴钧陶等仍用格律体。译诗质量的高低是不能光凭形式来判断的。
&&格律体形式优美，可是难度大，束缚多。有人把它比喻为带着镣铐跳舞，自讨苦吃；也有人说带着镣铐跳舞而能跳得好才是真功夫。可是很多人对格律体&是望而生畏的。Arthur&Waley&就说过：“If&one&uses&rhyme,&it&is&&impossible&not&to&sacrifice&sense&to&sound.（用韵必然会因音害义。）他&又说：“The&restrictions&of&rhyme&necessarily&injure&either&the&vigor&&of&one's&language&or&the&literalness&of&one's&version.”(韵脚的限制必&然有损于语言的力量或译文的准确性。）何况除韵脚外，还有节奏和音步的限&制呢！难怪很多人就把格律体视为镣铐和畏途了。初大告本想用格律体来翻译宋词，后来也由于这些原因而改用了自由体。杨氏夫妇的格律体英诗写得很好&，后来也因为当代潮流的影响而采用了自由体来翻译汉诗，这样做当然也省力&得多。
&&格律体的难度大，采用此体翻译汉诗而获得成功的也不多见，其译作往往生硬难读。追求形式、取舍不当和因文害义之处极为常见。其中或许还有态度不&够认真和功力不够深厚的问题。
&&采用自由体的也工拙互见。杨氏夫妇和翁宪良的译作都很优美。但也有些译&家译得比较粗糙，读起来不大象诗，显得枯燥无味。这可能是受当代英美流行诗体的影响，也可能是为了追求效益而粗制滥造。取消了格律的限制，翻译起来就比较容易，就能快速，就有数量，也就有经济效益。试想如果一位诗词翻译家光靠此道来维持生活，而稿酬一般又偏低，那么不求效益就会饿肚子。这也许是粗制滥造的根源。更何况当今要发表任何作品不但没有稿费，反而要掏腰包倒贴给出版社呢！这样一来,版权不就成了负债权了吗?高强度的脑力劳动成果非但一钱不值,反而成为负值了！这种做法在欧美一般收入很高的国家，发表作品只是为了获得学术地位，行得通，但版权还是得到尊重的。而在我国，这样做是极其有害于文化事业的发展的，是不适合我国国情的。
&&自由诗体抛弃了传统的节奏和韵脚，总得有能够体现诗的特征的新手段来代替，否则就成了分行的散文而不成其为诗了。何况还得注意节奏呢！有的翻译&家说：当代的外国朋友不读格律诗而只读自由诗，因而格律体的汉诗也只可翻&译为自由诗。果真如此吗？就以杨氏夫妇为例，他们的译诗大多采用自由诗体&，但在早期也发表过格律体的译诗，甚至在1986年第一版的Poetry&and&Prose&&of&the&Han,Wei&and&Six&Dynasties(《汉魏六朝诗文选》，Panda&Books)里面&也发表了用格律体译出的曹操《短歌行》，陶渊明《归去来辞》和刘勰《文心&雕龙》多篇赞语，并不是把格律体一概排除的。英美的诗歌读者们的情况又如&何呢？丰华瞻在《略谈汉诗英译》（外国语》2/86）一文中谈到他于1983-4年&在美讲学，发现美国人对现代派诗歌的反应很冷淡。他说：“现代派诗歌没有&得到群众的爱好。我觉得一种文学体裁如果得不到广大群众的喜爱，其生命力&就有限。我相信现代派的成为‘时髦’只是短暂的现象。”这段话很值得诗词&翻译家们深思。我认为主张自由体的翻译家对于格律体大可不必深恶痛绝。那&种“老鼠过街，人人喊打”的态度未免偏见太深。而主张格律体的也不必排斥&自由体。八仙过海，各显神通，必将有利于百花齐放。大家可以等待时间的考&验，让广大的读者群众来抉择和评分吧。
&&其实自由诗也并不容易写好；采用自由体来进行诗词翻译也未必容易译好。&X.J.Kennedy在&An&Introduction&to&Poetry一书中引用了W.H.Auden的一段话&：“The&poet&who&writes&free&verse&is&like&Robinson&Crusoe&on&his&&desert&island:&do&all&his&cooking,&laundry&and&darning&for&himself.&&In&a&few&exceptional&cases,&this&manly&independence&produces&&something&original&and&impressive,&but&more&often&the&result&is&&squalor&--&dirty&sheets&on&the&unmade&bed&and&empty&bottles&on&the&&unswept&floor.”（写自由诗的诗人正象荒岛上的鲁宾逊一样：做饭、洗衣和缝补都得自己动手。有时这种雄纠纠、气昂昂的独立精神也产生了一些独到的&、感人肺腑的诗篇，但也只是少数例外情况而已；更常见的结果却是乱七八糟&、一塌糊涂---床上的被单、褥子脏乱不堪，无人拖扫的地板上甩着一个个空酒瓶。）这段话很有启发性。用自由体来写诗或翻译诗词都必须狠下工夫才能成&功。
&&许渊冲在《汉英对照唐诗一百五十首》序言中指出：Waley&等的散文体译诗&“即令达意，风格已殊”。此语用于杜诗的翻译，尤为允当。杜甫的律诗格律十分严谨，采用格律体来翻译杜诗有助于体现原诗的风格。格律这种形式美也&是必要的形似。这样做也是对诗人杜甫的尊重和忠实。杜甫那个时代还只是英&国Beowulf的写作年代，用格律体来翻译杜诗就显得古色古香，与时代相吻合。&由于这些原因，我就决定用格律体来翻译杜诗。
&&我所译十首都采用抑扬格，音步则用四音步至七音步。韵脚用aabbccdd的居&多，也有用aaba,ccdc的。杜诗每逢双句都押同一韵，有时首句也押韵；这在英&译时难以做到，因为英语中同韵部的字较少。采用两句一韵比较自由；而且遇有不妥处修改起来也比较容易，只要把有关两行换个韵部即可，并不涉及全诗&韵步的更换。至于原诗中的对仗，我就不强求再现了，因为英诗中是很难见到对仗的。我认为这些地方是应该灵活变通的。这样的处理方法谅不至于受到“&不象杜诗”的指责吧。
&&我在押韵方面力求严谨。轻音节互不相押（如heaven,haven);轻音节不同重&音节相押（如occur,order);不在行末用头韵（如send,sight),谐元音（如&bend,bed)，谐辅音（如rain,line），倒末韵（如bend,bell）,排韵（如&not,neat）和目韵（如love,move）之类的假韵。当代美国诗人Richard&&Wilbur,&W.D.Snodgrass,Theodore&Roethe,&Robert&Lowell,&Isabella&&Gardner,&Maxine&Kumin等人常用假韵，有的还轻重音节互押。吴钧陶的译诗中&也频用假韵（如beyond,&found/&frontier,&clear/&moon,roam/&bloom,home/&&muddy,body/&cottage,&passage/&crumbles,&scrambles/&owed,&old/&word,&&world等）。我认为假韵读起来令人不快，&毫无美感可言。与其押假韵，倒不如不押韵而采用无韵诗体或自由诗体了。
&&英译一诗句时，可以有种种不同的表达方式：可以正面表达，可以反面表达&，也可以旁敲侧击地表达；也有种种语法结构和语序排列法；同义词、反义词&、近义词等也很多；同一韵部的词虽少，韵部却很多。采用英雄体，两句一韵&，不断换韵，既容易写，又便于修改。因此押韵的问题是不难解决的，并不必&须求助于假韵。
&&我能写旧体诗词。在学习写作的过程中，我曾多次尝试采用律诗、绝诗和多&种词牌来表达相同的内容，尝到了甜头；从而认识到不改变内容而改变形式是完全可能的，犹如相同的酒可以装入各种不同的瓶子一样。关键在于适当地剪裁。要一点不增，一点不减，字字有着落，那倒是不可能的，也可以说是不必&要的，是愚不可及的。
&&翻译诗词应该潜心于艺术的追求。杜甫以“语不惊人死不休”的精神写诗，&我们也应该以这种精神来翻译他的诗。古人“吟安一个字，拈断数根须”的那种精益求精的刻苦精神是值得我们学习的。追求效益的功利主义是诗人的大敌&，也是诗词翻译家的大敌。
&&我译诗的目标是信、达和雅，要全诗语气连贯，恪守格律而不为格律所束缚&，尽可能不求助于加注，不需对照原文而读起来仍象一首诗，朗朗上口，诗意&盎然，令人读之不厌。这也就是Charles&Budd所说：译诗要“pleasantly&&readable”。宁可牺牲一些次要内容而要着重表达主要内容。要尽可能深挖内涵，用深刻、强烈或者委婉的词语，或者用适当的修辞手段来深化原诗的意境&。我试译的十首只是为了探索这种翻译方法的可能性。试验的结果使我相信这&条路还是走得通的，并不是某些人所说的“死胡同”。虽然不能说这种翻译方法适用于所有律诗，但我相信很多律诗是可以这样翻译的。
补白:&&&&&&Tribute&to&Four&Masters&&&&&&&&&Du&Fu&&&&&&&&&章学清译
Four&Masters&represent&the&modern&trend,
&&&Why&do&you&scrawl&to&rail&at&them&no&end?
With&all&your&names&and&bodies&out&and&gone,
The&Rivers&roll&their&water&on&and&on.
Notes：&1.&Du&Fu（712—770）&Poet&of&Tang&Dynasty，&the&greatest&poet&of&China.&The&latter&part&of&this&poem&has&often&been&quoted.
&2.&Four&Masters:&Wang&Bo(650—676),&Yang&Jiong(650—693),&Lu&Zhaolin(635—689),&Luo&Binwang(640--?).&the&4&great&poets&of&the&early&Tang&Dynasty.
&3.&on&end:&without&&endlessly
4.&the&Rivers:&the&Yangtse&River&and&the&Yellow&River
杜甫《戏为六绝句》其一：
王杨卢骆当时体，轻薄为文哂未休。尔曹身与名俱灭，不废江河万古流。
A Song for Chinese Flowering Crabapple
It is you that are,
Standing brightly in the moon,
Waving gently in the zephyr,
And releasing slightly sweet smell in the mist.
It is I that am,
Holding tightly a candle up,
And shining immediately your charm up,
When the moon sets.
Oh, I am not, I am mot,
Willing to see that,
You will go to your dreams,
And leave me alone.
满庭芳 秦观（）
山抹微云，
天黏衰草，
画角声断谯门。
暂停征棹，
聊共引离尊。
多少蓬莱旧事，
空回首，烟霭纷纷。
寒鸦数点，
流水绕孤村。
销魂，当此际，
香囊暗解，
罗带轻分。
谩赢得青楼，
薄幸名存。
此去何时见也？
襟袖上，空染啼痕。
伤情处，高城望断，
灯火已黄昏。
The Sorrow of Parting
Qin Guan()
A few strands of light spread over the mountain pass.
In the distance the sky touches the withered grass.
The bugle call on the city tower ceased at last.
You, sailing boat, please wait for a moment.
Let us raise wine cups at the farewell dinner party.
At the Peng Lai Pavilion,have happened so many romantic
events of the past!
Now When I vainly recall them, they vanish like smoke and
Beyond the setting sun, a few jackdaws adorn the sky,
and a stream surrounding the lonely village flows murmuring
How grieved we were at that moment,
when we had secretly untied our perfumed sachets and silk
belts as souvenirs at parting!
What I have got since our parting?
I've won the name of a fickle lover in the courtesans'
When shall we meet again after this parting?
My garment and sleeves are all stained with tears.
What a pity!
I can' t see her in the city,
even the tall tower disappeared in the evening heat!
中秋水调歌头
明月几时有, 把酒问青天, 不知天上宫阙, 今夕是何年?
我欲乘风归去, 又恐琼楼玉宇, 高处不胜寒.
起舞弄清影, 何似在人间.
转珠阁, 低绮户, 照无眠.
不应有恨, 何事偏向别时圆?
人有悲欢离合, 月有阴晴圆缺, 此事古难全.
但愿人长久, 千里共婵娟.
"Thinking of You"
When will the moon be clear and bright?
With a cup of wine in my hand, I ask the blue sky.
I don't know what season it would be in the heavens on this
I'd like to ride the wind to fly home.
Yet I fear the crystal and jade mansions are much too high and cold
Dancing with my moon-lit shadow
It does not seem like the human world
The moon rounds the red mansion Stoops to silk-pad doors
Shines upon the sleepless Bearing no grudge
Why does the moon tend to be full when people are apart?
People may have sorrow or joy, be near or far apart
The moon may be dim or bright, wax or wane
This has been going on since the beginning of time
May we all be blessed with longevity Though far apart, we are still
able to share the beauty of the moon together.
- Poem written during the night of the Mid-Autumn Festival of 1076
by Su Tung Po
(Translated by Richard at Macao SAR, 2005)
Dies the pig
(ChuamTie转载)
Dies the pig not to fear the boiling water burns,
Burnt has died the pig delicious meat.
Dies the pork fragrant fragrant deceased person,
Only is not what a pity fresh.
Day after day the beacon-fire inundates boundlessly,
The war is continuous the full world,
Is this hero raises one's head time,
The pig sheep changes color no matter what I jolt.
Border between the states of Chu and Han Warring States day,
Cheerful bright complex non- commonplace,
Also complains the heaven not to care for,
The right and wrong always has the early morning year.
Adds the frost duplicate snow trouble to pull,
On does not have palace Que Nan to become an immortal,
Arab League Mongolia today non- ratio past,
The shoulder pole wants to support the half the sky.
One wooden gives birth to a boy takes the lead the point,
Altogether seeks the world to delimit nearby two,
Three minute blue gown broken main house gate,
The hand to keep out under the sun the calamity world.
王維 Wang Wei
衔命辞天阙, 单车欲问边, 征蓬出汉塞, 归雁入胡天
大漠孤烟直, 长河落日圆, 萧关逢候骑, 都护在燕然
I arrive at frontier fortress as a messengr
By receiving an order, I leave the palace of the Emperor.
I am to visit the border alone.
A travelling mugwort go out of the frontier fortress.
Returning wild geese enter foreign sky.
In the vast desert, a solitary smoke rises vertically.
On the long river, the setting sun is round.
I come upon a scouting cavalry at Xiao barrier.
He says that the leader is in Yanran, the major fortress of the
乐府 李白 清平调之三
名花倾国两相欢，常得君王带笑看。
解释春风无限恨，沈香亭北倚阑干。
Folk-song-styled-verse Li Bai A SONG OF PURE HAPPINESS III
Lovely now together, his lady and his flowers
Lighten for ever the Emperor's eye,
As he listens to the sighing of the far spring wind
Where she leans on a railing in the Aloe Pavilion.
乐府 李白 清平调之一
云想衣裳花想容，春风拂槛露华浓。
若非群玉山头见，会向瑶台月下逢。
Folk-song-styled-verse Li Bai A SONG OF PURE HAPPINESS I
Her robe is a cloud,
Her balcony, glimmering with the bright spring dew,
Is either the tip of earth's Jade Mountain
Or a moon- edged roof of paradise
乐府 李白 清平调之二
一枝红艳露凝香，云雨巫山枉断肠。
借问汉宫谁得似，可怜飞燕倚新妆。
Folk-song-styled-verse Li Bai A SONG OF PURE HAPPINESS II
There's a perfume stealing moist from a shaft of red blossom,
And a mist, through the heart, from the magical Hill of Wu--
The palaces of China have never known such beauty-
Not even Flying Swallow with all her glittering
很高兴有人注意到我贴的这首作品,这是三国演义的卷首词&临江仙&
我看到的是英国人Brewett
Taylor的译本,国内的学者对这个译本评价似乎不高,主要是因为译者没能很好地理解三国演义的特定历史背景,加入了太多自己的东西.但就这首诗而论,仅用极少的文字就传达出了应有的内涵,还是非常对得起原作者的.
O so vast,O so mighty
The Great River rolls to the sea
Flowers do waves thrash
Heroes do sand smash
When all the dreams drain
Same are loss and gain
Green mountains remain
Under pink sunsets
Hoary fishers and woodcutters
Along the banks,find calm water
In autumn moon or in spring wind
By the wine jars,fill porcelain
Discuss talk and tale
Only laugh and gale
下面是顾老师的译文
O so powerfully billowing,O so overwhelmingly surging,
The east-oriented Yangtse River
What have carried away with spoondrift
Just heros in their power.
The dispute of "True or False?" becomes nothing soon
as well as question "Winner or Loser?"
Still stands the mountain
Which reamins green
Many dynasties have fallen down forever.
顾老师的作品措辞毫无瑕疵,同样令人佩服,但个人认为美中不足之处在于意境太露
Taylor将"浪花淘尽英雄"处理成Flowers do waves thrash
Heroes do sand smash
"是非成败转头空"处理成When all the dreams drain
Same are loss and gain
所有的英雄都将老去,所有的迷梦终将破灭,非常具有想象力,且读起来十分上口,符合英诗规则.从一定意义上说,它和全书最后的那首古风在文意上遥相呼应,表达的更多的是"世事纷纷无穷尽,天数茫茫不可逃"的历史宿命.英雄的业绩在宿命面前竟是如此苍白和不堪一击,以致于近似一种历史的嘲弄,只能供人酒后谈笑.被置于辽阔山河背景中的一渔一樵既有一种寂寥感,又有一种永恒感,所谓千古兴衰,天地长在.这里并不一定需要"钢琴急风骤雨的演奏",金发碧眼的读者如能耐着性子读完这部一无主线,二无主角的"罗曼史",自会回头领略这首诗的意境,不需要从一开始就加以解释
Dear Draconius,
看到你回答真的太高兴了！但你遇到这样精彩的问题，你不应该姗姗来迟啊！在这里参与的朋友，除了你这位在翻译上我很认同的博士朋友之外，还有从事翻译理论研究的博士生导师，真是精英云集。同你和其他朋友交流，看你们的精彩的回答，这是我对“爱问”情有独钟的地方。
作为一名精通多领域的翻译，我感到尽管有很多翻译公司，但翻译质量能够达到水准的却很少，有很多“南郭先生”、“蒋干”一类的人物和公司招摇撞骗，贻误客户。我在这里可以借助很具体的翻译作品（并非漫无边际的吹嘘），了解朋友们的翻译水平和擅长领域，结交志同道合的朋友，一起从事翻译这个既擅长又热爱的事业。希望今后多联系，多交流。
Dear Draconius,
你把原文的也提供出来了，我正在遗憾当时没有备份下来为朋友提供一份参考呢。我当时翻译有两个原因，一是译文的表达风格与原文豪迈、深沉的特点相差较大，我所说的钢琴急风骤雨的演奏"就是说译文的表达中要充满力度，你体会一下Brewett
Taylor的译本，给人的语感很轻柔，如果赋曲演唱，那效果就同三国的词风格迥异。
现在我把我的翻译韵律特点说一下。
O so powerfully billowing,O so overwhelmingly surging,
（表现力量）
The east-oriented Yangtse River
（力量变得深沉，显现空间跨度）
What have carried away with spoondrift
（语感快而疾，描述自然力）
Just heros in their power.
（语感铿锵，升调，描述英雄的社会力）
（The dispute of "True or False?"）（ becomes nothing soon）
（as well as question）（ "Winner or Loser?"）
（语感快而疾，语速处理时按四块分，略有差别，要一气唤成）
Still stands the mountain
Which reamins green
（江山依旧美好，自然方面，原本可以用一句翻译，但考虑整个词的语感同时强调一下分为两句）
Many dynasties have fallen down forever.
（几个朝代已经更替，社会）
Dear Draconius, Brewett
Taylor语言水平是很高的,我很赞同。除了上述文风差异之外，我们在这一点也能达成共识，译者没能很好地理解三国演义的特定历史背景。经典文学的翻译难度很高，我们不能太挑剔，我建议有好的作品，就拿出来与大家一起讨论，也可以寻找新的欣赏角度吗！
与各位在一起交流，真是太愉快了，很高兴在此看到各显神通的朋友。
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