英漢雙語(yǔ)美文賞析
英漢雙語(yǔ)美文賞析
優(yōu)美的文字于細(xì)微處傳達(dá)出美感，并浸潤(rùn)著人們的心靈。通過(guò)英語(yǔ)美文,不僅能夠感受語(yǔ)言之美,領(lǐng)悟語(yǔ)言之用，還能產(chǎn)生學(xué)習(xí)語(yǔ)言的興趣。度過(guò)一段美好的時(shí)光，即感悟生活，觸動(dòng)心靈。下面是學(xué)習(xí)啦小編為大家?guī)?lái)英漢雙語(yǔ)美文賞析，希望大家喜歡!
英漢雙語(yǔ)美文賞析：適合為上
The proper force of words lies not in the words themselves, but in their application.
詞匯的力量不在于詞匯本身，而在于詞匯的應(yīng)用。
A word may be a fine sounding word, of an unusual length, and very imposing from its learning and novelty, and yet in the connection in which it is introduced may be quite pointless and irrelevant.
一個(gè)詞也許聽(tīng)起來(lái)音節(jié)嘹亮，長(zhǎng)度不同凡響，其本身的學(xué)術(shù)性和新奇感也令人嘆賞，然而，把它放在某個(gè)句子中聯(lián)系上下文來(lái)看，說(shuō)不定倒會(huì)牛頭不對(duì)馬嘴。
It is not pomp or pretension, but the adaptation of the expression to the idea, that clenches a writer's meaning:
這是因?yàn)橐_切表達(dá)作者的意思，關(guān)鍵并不在文辭的華麗和堂皇，而在于其是否切合內(nèi)容;
as it is not the size or glossiness of the materials, but their being fitted each to its place, that gives strength to the arch;
就像在修建拱門(mén)時(shí)要使其堅(jiān)固，關(guān)鍵不在于材料的大小和光澤，而在于它們用在那里是否恰好嚴(yán)絲合縫;
or as the pegs and nails are as necessary to the support of the building as the larger timbers, and more so than the mere showy, unsubstantial ornaments.
或者就像在建筑物中，木栓和釘子與大件木料同等重要，而其支撐作用更是遠(yuǎn)遠(yuǎn)勝過(guò)那些徒有其表、不切實(shí)用的裝飾物。
I hate anything that occupies more space than it is worth.
我討厭那些白占地方而無(wú)實(shí)用的東西。
I hate to see a load of bandboxes go along the street, and I hate to see a parcel of big words without anything in them.
我討厭一大堆盛著裝飾物的硬紙盒子裝在車(chē)上招搖過(guò)市，也討厭那些寫(xiě)在紙面上的大而空洞的字眼。
A person who dews not deliberately dimples of all his thoughts alike in cumbrous draperies and flimsy disguises may strike out twenty varieties of familiar everyday language, each coming somewhat nearer to the feeling he wants to convey, and at last not hit upon that particular and only one which may be said to be identical with the exact impression in his mind.
一個(gè)人寫(xiě)文章，只要他不是立志要把自己的真意用重重錦繡帳幔、層層多余偽裝完全遮掩起來(lái)，他總會(huì)從熟悉的日常用語(yǔ)中想出一二十種不同的說(shuō)法，一個(gè)比一個(gè)更接近他所要表達(dá)的情感，只怕到了最后，他還會(huì)拿不定主意要用哪一種說(shuō)法才能最恰如其分地表達(dá)自己的心意哩!
This would seem to show that Mr. Cobalt is hardly right in saying that the first word that occurs is always the best.
這樣說(shuō)來(lái)，考拜特先生所說(shuō)的最先閃現(xiàn)于腦海的詞總是最好的這種說(shuō)法未必可靠。
It may be a very good one; and yet a better may present itself on reflection or from time to time.
這樣出現(xiàn)的字眼也許很好，但經(jīng)過(guò)一次又一次的推敲，也許還會(huì)發(fā)現(xiàn)更好的字眼。
It may be suggested naturally, however, and spontaneously, from a fresh and lively conception of the subject.
然而這種字眼，是要針對(duì)內(nèi)容進(jìn)行清醒而活潑的構(gòu)思，才能夠自然而然想到的。
英漢雙語(yǔ)美文賞析：如何讀書(shū)
It is simple enough to say that since books have classes——fiction，biography，poetry——we should separate them and take from each what it is right that each should give us.
書(shū)既然有小說(shuō)，傳記，詩(shī)歌之分，就應(yīng)區(qū)別對(duì)待，從各類(lèi)書(shū)中取其應(yīng)該給及我們的東西。這話說(shuō)來(lái)很簡(jiǎn)單。
Yet few people ask from books what books can give us. Most commonly we come to books with blurred and divided minds，asking of fiction that it shall be true，of poetry that it shall be false，of biography that it shall be flattering，of history that it shall enforce our own prejudices. If we could banish all such preconceptions when we read，that would be an admirable beginning. Do not dictate to your author;Try to become him. Be his fellow-worker and accomplice. If you hang back，and reserve and criticize at first，you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible，the signs and hints of almost imperceptible fineness，from the twist and turn of the first sentences，will bring you into the presence of a human being unlike any other. Steep yourself in this，acquaint yourself with this，and soon you will find that your author is giving you，or attempting to give you，something far more definite.
然而很少有人向書(shū)索取它能給我們的東西，我們拿起書(shū)來(lái)往往懷著模糊而又雜亂的想法，要求小說(shuō)是真是的，詩(shī)歌是虛假的，傳記要吹捧，史書(shū)能加強(qiáng)我們自己的偏見(jiàn)。讀書(shū)時(shí)如能拋開(kāi)這些先入為主之見(jiàn)，便是極好的開(kāi)端。不要對(duì)作者指手畫(huà)腳，而要盡力與作者融為一體，共同創(chuàng)作，共同策劃。如果你不參與，不投入，而且一開(kāi)始就百般挑剔，那你就無(wú)緣從書(shū)中獲得最大的益處。你若敞開(kāi)心扉，虛懷若谷，那么，書(shū)中精細(xì)入微的寓意和暗示便會(huì)把你從一開(kāi)頭就碰上的那些像是山回水轉(zhuǎn)般的句子中帶出來(lái)，走到一個(gè)獨(dú)特的人物面前。鉆進(jìn)去熟悉它，你很快就會(huì)發(fā)現(xiàn)，作者展示給你的或想要展示給你的是一些比原先要明確得多的東西。不妨閑來(lái)談?wù)勅绾巫x小說(shuō)吧。
The thirty-two chapters of a novel—if we consider how to read a novel first——are an attempt to make something as formed and controlled as a building：but words are more impalpable than bricks;Reading is a longer and more complicated process than seeing. Perhaps the quickest way to understand the elements of what a novelist is doing is not to read，but to write;To make your own experiment with the dangers and difficulties of words. Recall，then，some event that has left a distinct impression on you—how at the corner of the street，perhaps，you passed two people talking. A tree shook;an electric light danced;the tone of the talk was comic，but also tragic;a whole vision;an entire conception，seemed contained in that moment.
一部長(zhǎng)篇小說(shuō)分成三十二章，是作者的苦心經(jīng)營(yíng)，想把它建構(gòu)得如同一座錯(cuò)落有致的布局合理的大廈。可是詞語(yǔ)比磚塊更難捉摸，閱讀比觀看更費(fèi)時(shí)、更復(fù)雜。了解作家創(chuàng)作的個(gè)中滋味。最有效的途徑恐怕不是讀而是寫(xiě)，通過(guò)寫(xiě)親自體驗(yàn)一下文字工作的艱難險(xiǎn)阻?；叵胍患阌洃洃n(yōu)新的事吧。比方說(shuō)，在街道的拐彎處遇到兩個(gè)人正在談話，樹(shù)影婆娑，燈光搖曳，談話的調(diào)子喜中有悲。這一瞬間似乎包含了一種完善的意境，全面的構(gòu)思。
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