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简单的英文短文带翻译
简单的英文短文带翻译
简单的英文短文带翻译 要英语小短文,带翻译的,简单一点点,谢谢了!_英文幽默故事: There was a guy who went into a shop to bu
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中英文翻译文章_英语短文带翻译篇一:简单的英文短文带翻译
　　语言是人们相互之间沟通交流的最主要的媒介,英文是众多语言之一，不少中英文翻译的文章都非常优秀。下面就是小编给大家整理的中英文翻译文章，希望大家喜欢。
　　中英文翻译文章篇1：In Praise of the Humble Comma
　　小小逗号赞
　　Pico Lyer
　　皮科&埃尔
　　The gods, they say, give breath, and they take it away. But the samesaid-could be said-could itnot?-of the humble comma. Add it to the present clause, and, all of a sudden, the mind is,quite literally,
take it out if you wish or forget it and the mind is deprivedof a resting place. Yet still the comma gets no respea. It seems just a slip of a thing, apedant's tick, a blip on the edge of our consciousness, a kind of printer's smudge almost.Small, we claim, is beautiful (especially in the age of the microchip). Yet what is so often used,and so rarely called, as the comma-unless it be breath itself?
　　人都说神仙把气赐予生灵，又把气夺走。不过这话用在小小的逗号上，何尝不是如此?给现在这句加上逗号，脑子里真会，突然，停下来想想;若随意去掉，或忘了它，就剥夺了脑子休息的空间。尽管如此，逗号仍然不受人算重。它似乎只是一个小撇，书呆子手下的一个小点儿，是我们意识边缘上的一个记号，甚至排字工人沾上的一点污。我们好说以小为美(尤其在这集成电路时代)。然而，还有什么东西是像逗号那样频频使用而又那样默默无闻的呢?&&不就是气吗?
　　Punctuation, one is taught, has a point: to keep up law and order. Punctuation marks are theroad signs placed along the highway of our communication&&to control speeds，providedirections and prevent head-on collisions. A period has the unblinking finality of a red light,the comma is a flashing yellow light that asks us only to slow down, and the semicolon is astop sign that tells us to ease gradually to a halt, before gradually starting up again. Byestablishing the relations between words, punctuation establishes the relations between thepeople using words. That may be one reason why school teachers exalt it and lovers defy it(&we love each other and belong to each other let&s don&t ever hurt each other Nicole let's don'tever hurt each other,& wrote Gary Gilmore to his girlfriend )A comma ，he must have known, &separate inseparables& ，in the clinching words of H. W. Fowler, King of English Usage.
　　我们都学过，标点有一个目的：维持法律与秩序。标点符号正是我们交通要道上一路设置的路标&&用以控制速度，指示方向，避免迎头相撞。句号具有红灯的一丝不苟，说一不二;逗号是一闪一闪的黄灯，要求我们只是放慢速度;分号则是停车标记，指示我们缓缓煞车，然后再缓缓启动标点建立起词与词之间的关系，从而建立起用词人之间的关系。教师捧它，情人烦它，其原因盖出于此。(盖瑞&基尔摩尔给女友写道：&我爱你你爱我我是你的你是我的我们永远谁也别伤谁的心科尔我们永远谁也别伤谁的心。&)他一定学过英语惯用法大王福勒的断言：逗号是&把不可分开的东西分开&。
　　Punctuation, then, is a civic prop, a pillar that holds society upright. (A run on sentence, itsphrases piling up without division, is as unsightly as a sink piled high with dirty dishes.)Smallwonder,then,that punctuation was one of the first proprieties of the Victorian age, the age ofthe corset, that the modernists threw off the sexual revolution might be said to have begunwhen Joyce's Molly Bloomis spilled out all her private thoughts in 36 pages of unbridled, almostunperioded and officially censored prose: and another are bellion was surely marked whenE.E.Cummings first felt free to commit &God& to the lower case.
　　如此说来，标点乃是百姓的支柱，是支撑社会不至于垮掉的栋梁冗长的句子，词组堆砌成赘而不分彼此，就好比洗碗槽堆满了脏碗，很不雅观。)也难怪在维多利亚时代，风行紧身胸衣的时代，标点是讲礼貌的头等大事，而现代派一概弃之门外。性的革命可以说就是始于乔伊斯笔下的莫莉&布鲁姆，她将全部私衷一吐为快，洋洋36页文字信口道来，几乎没有句号，遭到官家查禁。再就是卡明斯，肯定也算造反，他当初为所欲为，擅自将&Cod&贬为小写。
　　Punctuation thus becomes the signatrire of cultures. The hot-blooded Spaniard seems to berevealed in the passion and urgency of his doubled exclamation points and question marks ( &iCaramba! LQuien sabe?&), while the impassive Chinese traditionally added to his so-calledinscrutability by omitting directions from his ideograms. The anarchy and commotion of the60s were given voice in the exploding exclamation marks, riotous capital letters and Day-Gloitalics of Tom Wolfe's spray- and in Communist societies, where the State isabsolute, the dignity-and divinity-of capital letters is reserved for Ministries, Sub-Committeesand Secretariats.
　　于是，标点成了不同文化的标志。西班牙人性好激动，打惊叹号打问号都用双重的(&jCaramba! LQuiensabe?&见鬼啦!谁能明白?)情真意切，如见其人;中国人则不好动声色，表意字的文言自古就不注标点，所谓胸有城府，益见其深。汤姆&沃尔夫那种喷漆式的散文体，惊叹号一哄而起，大写字母泛滥成灾，斜体字像是涂了荧光漆，无不表达了60年代的无法无天和乱作一团;而在共产党当政的社会，国家至上，大写字母的尊严&&与神威&&只留给政府各部委和书记处享用。
　　Yet punctuation is something more than a culture' it scores the music in ourminds, gets our thoughts moving to the rhythm of our hearts. Punctuation is the notation inthe sheet music of our words, telling us when to rest, or when itacknowledges that the meaning of our discourse, as of any symphonic composition, lies notonly in the units but in the pauses, the pacing and the phrasing. Punctuation is the way onebats one's eyes, lowers one's voice or blushes demurely. Punctuation adjusts the tone andcolor and volume till the feeling comes into perfea focus: not disgust exactly, notlust, or like, but love.
　　然而，标点又不仅是某一种文化的胎记;它记下我们心中的乐曲，指引我们的思想与我们的心声合拍。标点是我们作词的歌篇上的乐谱，它告诉我们何时休止，何时提高嗓门;它表明，我们说话着文，犹如谱写交响乐曲，情意所至，不仅见于整体段落，也见于起落有间、快慢有节以及长短有致。标点就像人眨眨眼睛，低声细语，或忸怩作态。标点可调整音调、音色和音量，直至找准了感情，万无一失：未必是厌恶，而是厌烦;并非情欲之类，而是情爱。
　　Punctuation, in short, gives us the human voice, and all the meanings that lie between thewords. &You aren't young, are you?& loses its innocence when it loses the question mark.Every child knows the menace of a dropped apostrophe (the parent's &Don't do that& shiftinginto the more slowly enunciated &Do not do that&), and every believer, the ignominy of havinghis faith reduced to &faith.& Add an exclamation point to &To be or not to be...& and thegloomy Dane m has all
add a comma, and the noble sobriety of &Godsave the Queen& becomes a cry of desperation bordering on double sacrilege.
　　简言之，标点给我们传来话音，传来字里行间的全部含义。&你不小了，是吧?&这话去掉问号，无心便成了有意。做父母的先是说&Don't do that&(&别做那事&)，转而又慢声慢气交代清楚：&Do not.dothat&(不要做那事)，每个孩子都听得明白，拿掉了撇号可就把话说绝了。每个信徒也都明白，把他的信教加上引号，所谓&信教&，那可是在污辱他。给&生存或者灭亡&&&一句添上个惊叹号，那位忧心忡忡的丹麦人便是毅然决然万死不辞之士。在&上帝保佑女王&中间加个逗号，那崇高的庄严则成了绝望的呼号，简直是对双方的亵渎。
　　Sometimes, of course, our markings may be simply a matter of aesthetics.Popping in a commacan be like slipping on the necklace that gives an outfit quiet elegance, or like catching thesound of running water that complements as it completes the silence of a Japaneselandscape. When VS.
　　Naipaul , in his latest novel, writes, &He was a middle-aged man, with glasses,& the first commacan seem a little precious. Yet it gives the description a spin, as well as a subtlety, that itotherwise lacks, and it shows that the glasses are not part of the middle-agedness, butsomething else.
　　当然，&有时我们的标点符号也许只是个审美的问题。插进一个逗号，犹如给一套服装悄然配上项链，使之显得娴静优雅，又如在日本园林的一片幽静之外还听到潺潺流水声，使园景更加充实。奈保尔在他新近的一部小说中写道：&他是个中年人，戴着一副眼镜。&前一个逗号看似有点做作。然而它使描述更为婉转，也更为微妙，否则都显不出来;它还表明，那副眼镜并非人到中年就非戴不可，而是别有由来。
　　Thus all these tiny scratches give us breadth and heft and depth. A world that has only periodsis a world without inflections. It is a world without shade. It has a music without sharps andflats. It is a martial music. It has a jackboot rhythm. Words cannot bend and curve. Acomma, by comparison,catches the gentle drift of the mind in thought, turning in on itselfand back on itself, reversing, redoubling and returning along the course of its
while the semicolon brings clauses and thoughts together with all the silent discretionof a hostess arranging guests around her dinner table.
　　可见所有这些小来小去的一深度。只有句点的世界是个千篇撇一点都给我们增加了广度、分量和一律的世界。是个没有差别的世界。它的乐曲不分升调降调。是一首军乐曲。是长筒靴的节奏。文字不能弯曲。相形之下，逗号却能捕捉头脑里思路的涓涓细流，任它沿着自己娓娓动听的河上乐曲的航线，自行蜿蜒曲折，倒流，重叠。分号则将分句与思想融为一体，犹如女主人不露声色地把来宾一一妥善安排入席。
　　Punctuation, then, is a matter of care. Care for words, yes, but also, and more important, forwhat the words imply. Only a lover notices the small things: the way the afternoon lightcatches the nape of a neck, or how a strand of hair slips out from behind an ear, or the way afinger curls around a cup. And no one scans a letter so closely as a lover, searching for its smallprint, straining to hear its nuances, its gasps, its sighs and hesitations, poring over the secretmessages that lie in every cadence. The difference between&Jane (whom I adore)& and &Jane,whom I adore,& and the difference between them both and &Jane-whom I adore-& marks all thedistance between ecstasy and heartache. &No iron can pierce the heart with such force as aperiod put at just the right place,& in Isaac Babel' a comma can let us hear avoice break, or a heart. Punctuation, in fact, is a labor of love. Which brings us back in a way togods.
　　由此说来，标点符号又是个要谨慎从事的问题。用词要慎，不错，但更要紧的是对词的涵义尤宜慎重。只有情人才注意到这些细节：下午的阳光如何照在后颈上，一缕发丝如何从耳后根滑下来，手指如何勾住杯子。谁看信也不会像情人那般仔细，苦苦寻觅信中的微小印迹，极力听出其间的细微差别，其中的喘息、感叹和犹豫不决，潜心揣摩那抑扬顿挫中的秘密信息。&简(我深爱她)&与&简，我深爱她&两句之间的差别，以及这两句与&简&&我深爱她&&&之间的差别，标明了醉心与伤心之间的距离。巴别尔有句话说得多好：&句点用得其所，可穿透人心，虽刀枪力莫能及。&逗号则可使我们听到声咽或心碎。标点符号其实是一项心甘情愿而为之的工作。它多少使我们重新成为主宰。
　　中英文翻译文章篇2：How Should One Read a Book?
　　怎样读书?
　　Virginia Woolf
　　弗吉尼亚&伍尔夫
　　It is simple enough to say that since books have classes&&fiction，biography，poetry&&weshould separate them and take from each what it is right that each should give us. Yet fewpeople ask from books what books can give us. Most commonly we come to books with blurredand divided minds，asking of fiction that it shall be true，of poetry that it shall be false，ofbiography that it shall be flattering，of history that it shall enforce our own prejudices. If wecould banish all such preconceptions when we read，that would be an admirable beginning. Donot diTry to become him. Be his fellow-worker and accomplice. If youhang back，and reserve and criticize at first，you are preventing yourself from getting thefullest possible value from what you read. But if you open your mind as widely as possible，thesigns and hints of almost imperceptible fineness，from the twist and turn of the firstsentences，will bring you into the presence of a human being unlike any other. Steep yourselfin this，acquaint yourself with this，and soon you will find that your author is giving you，orattempting to give you，something far more definite. The thirty-two chapters of a novel&if weconsider how to read a novel first&&are an attempt to make something as formed andcontrolled as a building：but words are more imReading is a longer andmore complicated process than seeing. Perhaps the quickest way to understand the elementsof what a novelist is doing is not to read，To make your own experiment with thedangers and difficulties of words. Recall，then，some event that has left a distinct impressionon you&how at the corner of the street，perhaps，you passed two people talking. Aan ethe tone of the talk was comic，an entire conception，seemed contained in that moment.
　　书既然有小说，传记，诗歌之分，就应区别对待，从各类书中取其应该给及我们的东西。这话说来很简单。然而很少有人向书索取它能给我们的东西，我们拿起书来往往怀着模糊而又杂乱的想法，要求小说是真是的，诗歌是虚假的，传记要吹捧，史书能加强我们自己的偏见。读书时如能抛开这些先入为主之见，便是极好的开端。不要对作者指手画脚，而要尽力与作者融为一体，共同创作，共同策划。如果你不参与，不投入，而且一开始就百般挑剔，那你就无缘从书中获得最大的益处。你若敞开心扉，虚怀若谷，那么，书中精细入微的寓意和暗示便会把你从一开头就碰上的那些像是山回水转般的句子中带出来，走到一个独特的人物面前。钻进去熟悉它，你很快就会发现，作者展示给你的或想要展示给你的是一些比原先要明确得多的东西。不妨闲来谈谈如何读小说吧。一部长篇小说分成三十二章，是作者的苦心经营，想把它建构得如同一座错落有致的布局合理的大厦。可是词语比砖块更难捉摸，阅读比观看更费时、更复杂。了解作家创作的个中滋味。最有效的途径恐怕不是读而是写，通过写亲自体验一下文字工作的艰难险阻。回想一件你记忆忧新的事吧。比方说，在街道的拐弯处遇到两个人正在谈话，树影婆娑，灯光摇曳，谈话的调子喜中有悲。这一瞬间似乎包含了一种完善的意境，全面的构思。
　　But when you attempt to reconstruct it in words，you will find that it breaks into a thousandconflicting impressions. Sin the process you willlose，probably，all grasp upon the emotion itself. Then turn from your blurred and litteredpages to the opening pages of some great novelist&Defoe，Jane Austen，or Hardy. Now youwill be better able to appreciate their mastery. It is not merely that we are in the presence ofa different person&Defoe，Jane Austen，or Thomas Hardy&but that we are living in a differentworld. Here，in Robinson Crusoe，we are trudgione thing the fact and the order of the fact is enough. But if the open air and adventure meaneverything to Defoe they mean nothing to Jane Austen. Hers is the drawing-room，and peopletalking，and by the many mirrors of their talk revealing their characters. And if，when we haveaccustomed ourselves to the drawing-room and its reflections，we turn to Hardy，we are oncemore spun around. The other side of the mind is now exposed&the dark side that comesuppermost in solitude，not the light side that shows in company. Our relations are nottowards people，but towards Nature and destiny. Yet different as these worlds are，each isconsistent with itself. The maker of each is careful to observe the laws of his ownperspective，and however great a strain they may put upon us they will never confuseus，as lesser writers so frequently do，by introducing two different kinds of reality into thesame book. Thus to go from one great novelist to another&from Jane Austen to Hardy，fromPeacock to Trollope，from Scott to Meredith &is to be wto be thrownthis way and then that. To read a novel is a difficult and complex art. You must be capable notonly of great finesse of perception，but of great boldness of imagination if you are going tomake use of all that the novelist&the great artist&gives you.
　　可是当你打算用文字来重现此情此景的时候。它却化作千头万绪互相冲突的印象。有的必须淡化，有的则应加突出。在处理过程中你可能对整个意境根本把握不住了。这时，还是把你那些写得含糊杂乱的一页页书稿搁到一边，翻开某位小说大师，如笛福，简&奥斯汀或哈代的作品来从头读吧。这时候你就能更深刻地领略大师们驾驭文字的技巧了。因为我们不仅面对一个个不同的人物&笛福、简&奥斯汀或托马斯&哈代，而且置身于不同的世界。阅读《鲁宾逊漂流记》时，我们仿佛跋涉在狂野大道上，事件一个接一个，故事再加上故事情节的安排就足够了。如果说旷野和历险对笛福来说就是一切，那么对简&奥斯汀就毫无意义了。她的世界是客厅和客厅中闲聊的人们。这些人的言谈像一面面的镜子，反映出他们的性格特征。当我们熟悉了奥斯汀的客厅及其反映出来的事物以后再去读哈代的作品，又得转向另一个世界。周围茫茫荒野，头顶一片星空。此时，心灵的另一面，不要聚会结伴时显示出来的轻松愉快的一面，而是孤独时最容易萌生的忧郁阴沉的一面。和我们打交道的不是人，而是自然与命运。虽然这些世界截然不同，它们自身却浑然一体。每一个世界的创造者都小心翼翼地遵循自己观察事物的法则，不管他们的作品读起来如何费力，却不会像蹩脚的作家那样，把格格不入的两种现实塞进一部作品中，使人感到不知所云。因此读完一位伟大作家的小说再去读另一位的，比如说从简&奥斯汀到哈代，从皮科克到特罗洛普，从司各特到梅瑞狄斯，就好像被猛力扭动，连根拔起，抛来抛去。说实在的，读小说是一门困难而又复杂的艺术。要想充分享用小说作者，伟大的艺术家给予你的一切，你不仅要具备高度的感受能力，还得有大胆的想象力。
　　中英文翻译文章篇3：In the Pursuit of a Haunting and Timeless Truth
　　追寻一段永世难忘的史实
　　Pauline Kael
　　波琳&凯尔
　　Louis Malle's Au Revoir les Enfants& (or &Goodbye, Children&) is set in Occupied France in 1944,when Malle was an eleven-year-old at a Catholic boys' boarding school near Fontainebleau thatsheltered several Jewish boys. The Gestapo learned they were there, and sent the ones theyfound to Auschwitz , and the headmaster to a work camp c4J One of the Jewish boyswas inMalle's class, but Malle didn't get to know him well and didn't realizethat he was Jewish. For thedramatic purposes of the movie, he has conceived a close friendship between his alter ego,the fairhaired Julien Quentin(Gaspard Manesse), and the dark boy who is using the false nameJean Bonnet (Raphael Fejto). Malle has every right to fantasize and invent, but I'm puzzled bythe kind of fantasizing he does here. The First half of the film is so hushed and enervated thatI kept peering into the schoolyard looking for signs of life. It's full of they're even there on stilts,battling and falling down. But their games-which might clue us intotheir ruling-class assumptions and their snobbery and the limits of their understanding-areshown at a distance. The camera is so discreet it always seems about ten feet too far away,and the boy who plays Julien is directed so that we can't look into him, orinto anyone else.
　　路易&马尔执导的《再见，孩子们》以1944年的法国被占区为背景，当时他11岁，在枫丹白露附近一所天主教办的寄宿男校上学。学校藏下了好几个犹太孩子。盖世太保探知他们的下落，把搜出来的送往奥斯维辛，校长发配劳动营。孩子当中有一个就在马尔班上，不过马尔跟他不熟，也没看出他是犹太人。在电影里，为求得戏剧性的效果，马尔虚构了自己的化身&金发少年朱利安&昆廷(加斯帕德&马内斯饰)&&和化名让&博内的深肤色男孩(拉斐尔&费日托饰)之间的亲密友情。马尔有充分的权利进行想象和虚构，但我对他在这里做出的这种想象大惑不解。影片的前半部抑闷不张，软弱无力，我禁不住朝校园里不断张望，寻找生气。满园都是富家子弟在玩耍;他们还踩起了高跷，互相打斗又摔倒在地。但是，他们的嬉戏&&本可以向我们揭示一下他们身上那副统治阶级的装腔作势、那份势利眼和见识短浅&&都拍成了远景。摄影机太小心谨慎了，总像是远了十来英尺;饰朱利安的小演员让导演导得毫不动人;我们看不到他的内心活动，也看不到别人的。
　　As the story is presented, Julien, who is quick, grasps almost at once that this new boy, JeanBonnet, is an impostor, who isn't really C Julien catches Jean standing by his bed atnight, praying silently, with two lighted candles, and Julien rummages in Jean's books anddiscovers that his realname is the German-sounding Jean Kippelstein. Julien is the only boy inthe class who offers J the others play tricks on Jean and gang upon him, becausehe's different-he's not one of them. Julien, who knows how different Jean actually is, keeps hisdiscovery to himself. He and Jeanare the two brighte they both love toread, and they become best friends. This is a rather moist fantasy of Julien' it'seventually mixed with a fantasy self-accusation of guilt. When the Gestapo chief comes intothe classroom asking for Jean Kippelstein, the scared, nervous Julien involuntarily turns andlooks at his friend-it's a Judas kiss ,but an unintentional one. And Jean exonerates him: whenhe is packing his gear to go with the Gestapo men, he tells Julien that it didn't matter, that theNazis would have caught him anyway.
　　烛，立在床边默默祈祷;他翻看让的课本，发现他的真名叫让&基普尔斯坦，听音是个德国姓。朱利安是班上惟一待他友好的同学;别人都捉弄他，合伙欺负他，因为他不一样&&跟他们不一路。朱利安明知这不一样的真情，把亲瞍所见藏在心底。他和让是班上两名最聪明的学生;他俩都喜欢读书，还成了最要好的朋友。这里是说朱利安的善良，想象中很有几分伤感;到最后更添了一层，想象他因负疚而自责。只见盖世太保的头子走进教室，来要让&基普尔斯坦，张皇失措的朱利安不由自主转过脸去看了看他的朋友&&岂不正是犹大之吻，但并非存心所为。让并不记恨他：他收拾好东西跟盖世太保走，一面对朱利安说没什么，反正纳粹会抓到他的。
　　In the finest scene of the movie, Jean shakes hands with the boys near him just before he' it's a well-brought-up young boy's leavetaking,and nothing has prepared you for it.But throughout Lrean is used as an aesthetic objea-spiritual, sensitive, foreign . He's oftenshot in profile, with his lips parted, and in one scene he goes to Mass with the other boys andtilts his face, open-mouthed-almost yearning-to receive the holy wafer, whichm is denied him bythe Reverend Father, the headmaster. Is the boy merely seeking acceptance by the otherboys-is he just trying to pass as one of them-or is something else implied? The whole movieseems padded and muted, it's designed to make you understand that Julien is stricken by thehorror of what happens to his friend. But nothing in it comes into clear focus-not the boys'attitudes, not even the images (and certainly not a lengthy sequence in which the two boysare on a treasure hunt in Fontainebleau Forest).
　　影片有一场精彩之至。让即将被人带走，他与身边的同学一一握手;一个很有教养的少年跟人话别的做派，事先未做任何铺垫。但让自始至终都用来充当一个审美的对象&&超凡脱俗，有灵性，希罕。他往往拍成双唇微启的侧面形象，有一场戏是他随同学去做弥撒，他仰起脸，张着嘴&&几乎是渴望着&&去领神父大人即校长并没有赐给他的圣饼。这孩子是否只求同学收下他&&只求把他当自己人，还是其中别有寓意呢?整部影片显得沉闷压抑，意在要你理解朱利安因见朋友惨遭不幸而深感痛心。不过，影片中一切都看不真切&&同学的态度如此，就连图像也如此(两个孩子在枫丹白露森林里寻宝的那一长段穿插，自然也是如此)。
　　Malle has said that this is the most personal and important film of his career,and I believe thathe thinks that. I also believe that he's wrong. If &Au Revoir&is very personal to him, this may bebecause as an adult he has felt stricken by the recognition that he wasn't stricken then, and itmay involve his feelings of guilt over his own family's safety and prosperity-everything thatthe film barely touches on.
　　马尔曾说，这是他导演生涯中最富自传色彩也是最重要的一部影片。我认为他是这样想的。我又认为他并没有说对。如果说他自认《再见》一片极富于自传色彩，那也许是因为他成年后认识到当年未感痛心，因而一直深感痛心，其中也许还夹有他自己的家庭当年安富尊荣因而每每内疚于心&&这一切在影片中倒是甚少触及。
　　Malle has said of &Au Revoir.& &I reinvented the past in the pursuit of a haunting and timelesstruth.& Maybe that's why I felt as if I were watching a faded French classic, something I dimlyrecalled. In pursuit of haunting and timeless truth, Malle has gone back to the anti-Nazi moviesof the forties,and polished and formalized the actions until he's turned melodrama into politereverie.
　　对《再见》马尔说过：&我这样旧事新编，是在追寻一段永世难忘的史实。&难怪我觉得像是在看一部退了色的法国经典片，依稀中似曾相识，恐怕就是这个缘故。马尔在追寻永世难忘的史实中回到40年代那些反纳粹的电影，他对剧情加工润色，自成一格，终于把情节剧变成了文雅的幻想曲。
　　Yes, it gets to you by the end. How could it not? But you may feel pretty wom down-by howaccomplished it is, and by all the aching, tender shots of Jean. He's photographed as if hewere a piece of religious art: Christ in his early adolesence. There's something unseemly aboutthe movie's obsession with his exotic beauty-as if the French-German Jews had come from thefar side of the moon. And does he have to be so brilliant, and a gifted pianist, andcourageous? Would the audience not mourn him if he were just an average schmucky kid withpimples?
　　不错，你看到剧终正是这般感受。岂有他哉?但你也许会感到疲惫不堪&&就为它技法如此精湛，就为让有那么些凄楚动人的镜头。他摄下的形象犹如一件宗教艺术品：少年时期的基督。影片一味醉心于他的异族情调之美，总不那么妥当吧&&仿佛法德两国的犹太人都是来自天外的月球。再说，他难道就非如此光彩照人不可吗，又有弹钢琴的天赋，又能临危不惧?他若只是个普普通通、呆头呆脑的孩子，长一脸雀斑，观众难道就不哀其不幸了吗?
看过&中英文翻译文章&的人还看了：
英语短文带翻译 英文励志文章带翻译 英语美文欣赏带翻译篇二:简单的英文短文带翻译
　　英语美文题材丰富,涉及面广,大多蕴涵人生哲理。引导学生欣赏美文,不仅能提高他们的阅读理解能力,而且能使他们得到美的熏陶,从而提高学生对周围事物的认识。以下是小编为大家整理的关于英语短文带翻译，给大家作为参考，欢迎阅读!
　　英语短文篇1：On Meeting the Celebrated
　　I have always wondered at the passion many people have to meet the celebrated. The prestige you acquire by being able to tell your friends that you know famous men proves only that you are yourself of small account. The celebrated develop a technique to deal with the persons they come across. They show the world a mask, often an impressive on, but take care to conceal their real selves. They play the part that is expected from them, and with practice learn to play it very well, but you are stupid if you think that this public performance of theirs corresponds with the man within.
　　I have been attached, deeply attached, but I have been interested in men in general not for their own sakes, but for the sake of my work. I have not, as Kant enjoined, regarded each man as an end in himself, but as material that might be useful to me as a writer. I have been more concerned with the obscure than with the famous. They are more often themselves. They have had no need to create a figure to protect themselves from the world or to impress it. Their idiosyncrasies have had more chance to develop in the limited circle of their activity, and since they have never been in the public eye it has never occurred to them that they have anything to conceal. They display their oddities because it has never struck them that they are odd. And after all it is with the common run of men that we
kings, dictators, commercial magnates are from our point of view very unsatisfactory. To write about them is a venture that has often tempted writers, but the failure that has attended their efforts shows that such beings are too exceptional to form a proper ground for a work of art. They cannot be made real. The ordinary is the writer&s richer field. Its unexpectedness, its singularity, its infinite variety afford unending material. The great man is too
it is the little man that is a bundle of contradictory elements. He is inexhaustible. You never come to the end of the surprises he has in store for you. For my part I would much sooner spend a month on a desert island with a veterinary surgeon than with a prime minister.
　　英文励志文章的翻译：
　　论见名人
　　许多人热衷于见名人，我始终不得其解。在朋友面前吹嘘自己认识某某名人，同此而来的声望只能证明自己的微不足道。名人个个练就了一套处世高招，无论遇上谁，都能应付自如。他们给世人展现的是一副面具，常常是美好难忘的面具，但他们会小心翼翼地掩盖自己的真相。他们扮演的是大家期待的角色，演得多了，最后都能演得惟妙惟肖。如果你还以为他们在公众面前的表演就是他们的真实自我，那就你傻了。
　　我自己就喜欢一些人，非常喜欢他们。但我对人感兴趣一般不是因为他们自身的缘故，而是出于我工作需求。正如康德劝告的那样，我从来没有把认识某人作为目的，而是将其当作对一个作家有用的创作素材。比之名流显士，我更加关注无名小卒。他们常常显得较为自然真实，他们无须再创造另一个人物形象，用他来保护自己不受世人干扰，或者用他来感动世人。他们的社交圈子有限，自己的种种癖性也就越有可能得到滋长。因为他们从来没有引起公众的关注，也就从来没有想到过要隐瞒什么。他们会表露他们古怪的一面，因为他们从来就没有觉得有何古怪。总之，作家要写的是普通人。在我们看来，国王，独裁者和商界大亨等都是不符合条件的。去撰写这些人物经常是作家们难以抗拒的冒险之举，可为此付出的努力不免以失败告终，这说明这些人物都过于特殊，无法成为一件艺术作品的创作根基，作家也不可能把他们写得真真切切。老百姓才是作家的创作沃土，他们或变幻无常，或难觅其二，各式人物应有尽有，这些都给作家提供了无限的创作素材。大人物经常是千人一面，小人物身上才有一组组矛盾元素，是取之不尽的创作源泉，让你惊喜不断。就我而言，如果在孤岛上度过一个月，我宁愿和一名兽医相守，也不愿同一位首相做伴。
　　英语短文篇2：What is Your Recovery Rate?
　　What is your recovery rate? How long does it take you to recover from actions and behaviors that upset you? Minutes? Hours? Days? Weeks? The longer it takes you to recover, the more influence that incident has on your actions, and the less able you are to perform to your personal best. In a nutshell, the longer it takes you to recover, the weaker you are and the poorer your performance.
　　You are well aware that you need to exercise to keep the body fit and, no doubt, accept that a reasonable measure of health is the speed in which your heart and respiratory system recovers after exercise. Likewise the faster you let go of an issue that upsets you, the faster you return to an equilibrium, the healthier you will be. The best example of this behavior is found with professional sportspeople. They know that the faster they can forget an incident or missd opportunity and get on with the game, the better their performance. In fact, most measure the time it takes them to overcome and forget an incident in a game and most reckon a recovery rate of 30 seconds is too long!
　　Imagine yourself to be an actor in a play on the stage. Your aim is to play your part to the best of your ability. You have been given a script and at the end of each sentence is a ful stop. Each time you get to the end of the sentence you start a new one and although the next sentence is related to the last it is not affected by it. Your job is to deliver each sentence to the best of your ability.
　　Don&t live your life in the past! Learn to live in the present, to overcome the past. Stop the past from influencing your daily life. Don&t allow thoughts of the past to reduce your personal best. Stop the past from interfering with your life. Learn to recover quickly.
　　Remember: Rome wasn&t built in a day. Reflect on your recovery rate each day. Every day before you go to bed, look at your progress. Don&t lie in bed saying to you, &I did that wrong.& &I should have done better there.& No. look at your day and note when you made an effort to place a full stop after an incident. This is a success. You are taking control of your life. Remember this is a step by step process. This is not a make-over. You are undertaking real change here. Your aim: reduce the time spent in recovery.
　　The way forward?
　　Live in the present. Not in the precedent.
　　英文励志文章的翻译：
　　你的恢复速率是多少?
　　你的恢复速率是多少?你需要多长时间才能从让你烦恼的行为中恢复?几分钟?几小时?几天?几星期?你需要的恢复时间越长，那个事件对你的影响越大，你也就越不能做到最好。简言之，你的恢复时间越长，你就越软弱，你的表现也就越差劲。
　　你充分意识到，要保持身体健康你需要锻炼，并且你无疑会接受，你的心脏和呼吸系统在锻炼后的恢复速度是衡量健康的一个合理尺度。同样，你越快摆脱使你烦恼的问题，越快恢复平静，你就越健康。此类行为的最好典范是专业运动员。他们知道，越快忘记一件事或失去的机会而好好比赛，他们的发挥就越好。实际上，大多数运动员会佰自己克服并忘记比赛中一个事件所需的时间，而且大多数人都认为30秒的恢复时间太长了!
　　想象自己是一位站在舞台上的戏剧赏。你的目标是尽全力扮演好你的角色。你已经拿到了剧本，而剧本中的每句话都以句号结尾。每次你念到一个句子的末尾，你就会开始一个新的句子。尽管下一句和上一句有关联，但并不受它的影响。你的工作是尽力说好每句台词。
　　不要生活在过去!要学会生活在现在，学会克服过去;不要让过去影响你的日常生活;不要让过去的思想妨碍你做到最好;不要让过去干扰你的生活;学会快速恢复。
　　记住，罗马不是一日建成的。每天都反思自己的恢复速率;每天上床睡觉前，都看看自己的进步;不要躺在床上对自己说：&我那个做错了。&&我应该做到更好。&不要那样做;回想自己的一天，并注意努力给某个事件画上句号的时刻。这就是一个成功，你在控制自己的生活。记住这是一个循序渐进的过程。这不是简单的修修补补。你正在进行的是真正的改变，你的目标是减少用在恢复上的时间。
　　将来该怎么做呢?
　　生活在现在，而不是从前。
　　英语短文篇3：The 50-Percent Theory of Life
　　I believe in the 50-percent theory. Half the time things ar the other half, they re worse. I believe life is a pendulum swing. It takes time and experience to understand what normal is, and that gives me the perspective to deal with the surprises of the future.
　　Let&s benchmark the parameters: yes, I will die. I&ve dealt with the deaths of both parents, a best friend, a beloved boss and cherished pets. Some of these deaths have been violent, before my eyes, or slow and agonizing. Bad stuff, and it belongs at the bottom of the scale.
　　Then there are those high points: romance and marriage having a child and doing those Dad things like coaching my son&s baseball team, paddling around the creek in the boat while he&s swimming with the dogs, discovering his compassion so deep it manifests even in his kindness to snails, his imagination so vivid he builds a spaceship from a scattered pile of Legos.
　　But there is a vast meadow of life in the middle, where the bad and the good flip-flop acrobatically. This is what convinces me to believe in the 50-percent theory.
　　One spring I planted corn too early in a bottomland so flood-prone that neighbors laughed. I felt chagrined at the wasted effort. Summer turned brutal---the worst heat wave and drought in my lifetime. The air- the money gone. I was living lyrics from a country tune---music I loathed. Only a surging Kansas City Royals team buoyed my spirits.
　　Looking back on that horrible summer, I soon understood that all succeeding good things merely offset the bad. Worse than normal wouldn&t last long. I am owed and savor the halcyon times. The reinvigorate me for the next nasty surprise and offer assurance that can thrive. The 50-percent theory even helps me see hope beyond my Royals& recent slump, a field of struggling rookies sown so that some year soon we can reap an October harvest.
　　For that on blistering summer, the ground moisture was just right, planting early allowed pollination before heat withered the tops, and the lack of rain spared the standing corn from floods. That winter my crib overflowed with corn---fat, healthy three-to-a-stalk ears filled with kernels from heel to tip---while my neighbors& fields yielded only brown, empty husks.
　　Although plantings past may have fallen below the 50-percent expectation, and they probably will again in the future, I am still sustained by the crop that flourishes during the drought.
　　英文励志文章的翻译：
　　生活理论半对半
　　我信奉对半理论。生活时而无比顺畅，时而倒霉透顶。我觉得生活就像来回摆的钟摆。读懂生活的常态需要时间和阅历，而读懂它也练就了我面对未来的生活态度。
　　让我们确定一下好坏的标准：是的，我注定会死去。我已经经历了双亲，一位好友，一位敬爱的老板和心爱宠物的死亡。有些突如其来，近在眼前，有些却缓慢痛苦。这些都是糟糕的事情，它们属于最坏的部分。
　　生活中也不乏高潮：坠入爱河缔结良缘;身为人父养育幼子，诸如训练指导儿子的棒球队，当他和狗在小河中嬉戏时摇桨划船，感受他如此强烈的同情心-即使对蜗牛也善待有加，发现他如此丰富的想象力-即使用零散的乐高玩具积木也能堆出太空飞船。
　　但在生活最好与最坏部分之间有一片巨大的中间地带，其间各种好事坏事像耍杂技一样上下翻滚，轮番出现。这就是让我信服对半理论的原因。
　　有一年奏，我在一块洼地上过早地种上了玉米。那块地极易遭到水淹，所以邻居们都嘲笑我。我为浪费了精力而感到懊恼。没想到夏天更为残酷-我经历了最糟糕的热浪和干旱。空调坏了，进干了，婚姻破裂了，工作丢了，钱也没有。我正经历着某首乡村歌曲中描绘的情节，我讨厌这种音乐，只有刚出道不久的堪萨斯皇家棒球队能鼓舞我的精神。
　　回首那个糟糕的夏天，我很快就明白了，所有后来出现的好事只不过与坏事相互抵消。比一般情况糟糕的境遇不会延宕过久;而太平时光是我应得的，我要尽情享受，它们为我注入活力以应对下一个险情，并确保我可以兴旺发达。对半理论甚至帮助我在堪萨斯皇家棒球队最近的低潮中看到希望-这是一快艰难行进的新手们耕耘的土地，只要播种了，假以时日我们就可以收获十月的金秋。
　　那个夏天天气酷热，地而湿度适宜，提早播种就可以在热浪打蔫植尖之前完成授粉，同于干旱更没有爆发洪水，产在田里的玉米得以保存。因此那个冬天我的粮仓堆满了玉米-丰满，健康，一颗三穗且从头到脚都是饱满的玉米粒的玉米穗-而我的邻居们收获的只是晒黑的空壳。
　　尽管过去的播种可能没有达到50%的收获期望，而且将来也可能是这样，但我仍然能靠着在旱季繁茂生长的庄稼而生存下去。
　　英语短文篇4：The Road to Success
　　It is well that young men should begin at the beginning and occupy the most subordinate positions. Many of the leading businessmen of Pittsburgh had a serious responsibility thrust upon them at the very threshold of their career. They were introduced to the broom, and spent the first hours of their business lives sweeping out the office. I notice we have janitors and janitresses now in offices, and our young men unfortunately miss that salutary branch of business education. But if by chance the professional sweeper is absent any morning, the boy who has the genius of the future partner in him will not hesitate to try his hand at the broom. It does not hurt the newest comer to sweep out the office if necessary. I was one of those sweepers myself.
　　Assuming that you have all obtained employment and are fairly started, my advice to you is &aim high&. I would not give a fig for the young man who does not already see himself the partner or the head of an important firm. Do not rest content for a moment in your thoughts as head clerk, or foreman, or general manager in any concern, no matter how extensive. Say to yourself, &My place is at the top.& Be king in your dreams.
　　And here is the prime condition of success, the great secret: concentrate your energy, thought, and capital exclusively upon the business in which you are engaged. Having begun in one line, resolve to fight it out on that line, to lead in it, adopt every improvement, have the best machinery, and know the most about it.
　　The concerns which fail are those which have scattered their capital, which means that they have scattered their brains also. They have investments in this, or that, or the other, here there, and everywhere. &Don&t put all your eggs in one basket.& is all wrong. I tell you to &put all your eggs in one basket, and then watch that basket.& Look round you and take notice, men who do that not often fail. It is easy to watch and carry the one basket. It is trying to carry too many baskets that breaks most eggs in this country. He who carries three baskets must put one on his head, which is apt to tumble and trip him up. One fault of the American businessman is lack of concentration.
　　To summarize what I have said: ne do not touch liquor, or if
never indorse beyond yo make the firm& break orders a put all your eggs in one basket, a expenditure a lastly, be not impatient, for as Emerson says, &no one can cheat you out of ultimate success but yourselves.&
　　英文励志文章的翻译：
　　成功之道
　　年轻人创业之初，应该从最底层干起，这是件好事。匹兹保有很多商业巨头，在他们创业之初，都肩负过&重任&：他们以扫帚相伴，以打扫办公室的方式度过了他们商业生涯中最初的时光。我注意到我们现在办公室里都有工友，于是年轻人就不幸错过了商业教育中这个有益的环节。如果碰巧哪天上午专职扫地的工友没有来，某个具有未来合伙人气质的年轻人会毫不犹豫地试着拿起扫帚。在必要时新来的员工扫扫地也无妨，不会因为而有什么损失。我自己就曾经扫过地。
　　假如你已经被录用，并且有了一个良好的开端，我对你的建议是：要志存高远。一个年轻人，如果不把自己想象成一家大公司未来的老板或者是合伙人，那我会对他不屑一顾。不论职位有多高，你的内心都不要满足于做一个总管，领班或者总经理。要对自己说：我要迈向顶尖!要做就做你梦想中的国王!
　　成功的首要条件和最大秘诀就是：把你的精力，思想和资本全都集中在你正从事的事业上。一旦开始从事某种职业，就要下定决心在那一领域闯出一片天地来;做这一行的领导人物，采纳每一点改进之心，采用最优良的设备，对专业知识熟稔于心。
一些公司的失败就在于他们分散了资金，因为这就意味着分散了他们的精力。他们向这方面投资，又向那方面投资;在这里投资，在那里投资，到处都投资。&不要把所有的鸡蛋放在一个篮子里&的说法大错特错。我要对你说：&把所有的鸡蛋都放在一个篮子里，然后小心地看好那个篮子。&看看你周围，你会注意到：这么做的人其实很少失败。看管和携
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