第一篇：第五屆“《英語(yǔ)世界》杯”翻譯大賽比賽原文

Limbo

By Rhonda Lucas

My parents’ divorce was final.The house had been sold and the day had come to move.Thirty years of the family’s life was now crammed into the garage.The two-by-fours that ran the length of the walls were the only uniformity among the clutter of boxes, furniture, and memories.All was frozen in limbo between the life just passed and the one to come.The sunlight pushing its way through the window splattered against a barricade of boxes.Like a fluorescent river, it streamed down the sides and flooded the cracks of the cold, cement floor.I stood in the doorway between the house and garage and wondered if the sunlight would ever again penetrate the memories packed inside those boxes.For an instant, the cardboard boxes appeared as tombstones, monuments to those memories.The furnace in the corner, with its huge tubular fingers reaching out and disappearing into the wall, was unaware of the futility of trying to warm the empty house.The rhythmical whir of its effort hummed the elegy for the memories boxed in front of me.I closed the door, sat down on the step, and listened reverently.The feeling of loss transformed the bad memories into not-so-bad, the not-so-bad memories into good, and committed the good ones to my mind.Still, I felt as vacant as the house inside.A workbench to my right stood disgustingly empty.Not so much as a nail had been left behind.I noticed, for the first time, what a dull, lifeless green it was.Lacking the disarray of tools that used to cover it, now it seemed as out of place as a bathtub in the kitchen.In fact, as I scanned the room, the only things that did seem to belong were the cobwebs in the corners.A group of boxes had been set aside from the others and stacked in front of the workbench.Scrawled like graffiti on the walls of dilapidated buildings were the words “Salvation Army.” Those words caught my eyes as effectively as a flashing neon sign.They reeked of irony.“Salvation-was a bit too late for this family,” I mumbled sarcastically to myself.The houseful of furniture that had once been so carefully chosen to complement and blend with the color schemes of the various rooms was indiscriminately crammed together against a single wall.The uncoordinated colors combined in turmoil and lashed out in the greyness of the room.I suddenly became aware of the coldness of the garage, but I didn’t want to go back inside the house, so I made my way through the boxes to the couch.I cleared a space to lie down and curled up, covering myself with my jacket.I hoped my father would return soon with the truck so we could empty the garage and leave the cryptic silence of parting lives behind.（選自Patterns: A Short Prose Reader, by Mary Lou Conlin, published by Houghton Mifflin, 1983.）

第五屆“《英語(yǔ)世界》杯”翻譯大賽通知

“《英語(yǔ)世界》杯”翻譯大賽肇始于2010年，由商務(wù)印書(shū)館《英語(yǔ)世界》雜志社主辦。為推動(dòng)翻譯學(xué)科的進(jìn)一步發(fā)展，促進(jìn)中外文化交流，我們將秉承“給力英語(yǔ)學(xué)習(xí)，探尋翻譯之星”的理念，于2014年5月繼續(xù)舉辦第五屆“《英語(yǔ)世界》杯”翻譯大賽，誠(chéng)邀廣大翻譯愛(ài)好者積極參與，比秀佳譯。

本屆大賽由悉尼翻譯學(xué)院獨(dú)家贊助。悉尼翻譯學(xué)院成立于2009年，是在澳大利亞教育部注冊(cè)的一家專(zhuān)業(yè)翻譯學(xué)院。學(xué)院相關(guān)課程由澳大利亞翻譯認(rèn)證管理局（NAATI）認(rèn)證。該院面向海內(nèi)外招生，以構(gòu)建“一座跨文化的橋梁”為目標(biāo)，力圖培養(yǎng)具有國(guó)際視野和跨文化意識(shí)的涉及多語(yǔ)種的口筆譯人才。

大賽贊助單位

悉尼翻譯學(xué)院

大賽合作單位

中國(guó)翻譯協(xié)會(huì)社科翻譯委員會(huì)

四川省翻譯協(xié)會(huì)

南開(kāi)大學(xué)

成都通譯翻譯有限公司

上海翻譯家協(xié)會(huì)

廣東省翻譯協(xié)會(huì)

湖北省翻譯理論與教學(xué)研究會(huì)

陜西省翻譯協(xié)會(huì)

江蘇省翻譯協(xié)會(huì)

大賽顧問(wèn)委員會(huì)

王學(xué)東（中國(guó)翻譯協(xié)會(huì)副會(huì)長(zhǎng)、中央編譯局副局長(zhǎng)）

仲偉合（中國(guó)翻譯協(xié)會(huì)副會(huì)長(zhǎng)、廣東省翻譯協(xié)會(huì)會(huì)長(zhǎng)、廣東外語(yǔ)外貿(mào)大學(xué)校長(zhǎng)）許鈞（中國(guó)翻譯協(xié)會(huì)常務(wù)副會(huì)長(zhǎng)、江蘇省翻譯協(xié)會(huì)會(huì)長(zhǎng)、南京大學(xué)研究生院常務(wù)副院長(zhǎng)）柴明熲（上海翻譯家協(xié)會(huì)副會(huì)長(zhǎng)、上海外國(guó)語(yǔ)大學(xué)高級(jí)翻譯學(xué)院院長(zhǎng)）連真然（四川省翻譯協(xié)會(huì)副會(huì)長(zhǎng)）

胡宗峰（陜西省翻譯協(xié)會(huì)副會(huì)長(zhǎng)、西北大學(xué)外國(guó)語(yǔ)學(xué)院副院長(zhǎng)）

李瑞林（西安外國(guó)語(yǔ)大學(xué)高級(jí)翻譯學(xué)院院長(zhǎng)）

華先發(fā)（華中師范大學(xué)外語(yǔ)學(xué)院英語(yǔ)系主任）

大賽評(píng)委會(huì)

主任

劉士聰（南開(kāi)大學(xué)外國(guó)語(yǔ)學(xué)院教授、博士生導(dǎo)師）

評(píng)委

陳國(guó)華（北京外國(guó)語(yǔ)大學(xué)教授、博士生導(dǎo)師）

曹明倫（四川大學(xué)外國(guó)語(yǔ)學(xué)院教授、博士生導(dǎo)師）

張文（北京第二外國(guó)語(yǔ)學(xué)院教授）

錢(qián)多秀（北京航空航天大學(xué)外國(guó)語(yǔ)學(xué)院副院長(zhǎng)兼翻譯系主任）

方華文（蘇州大學(xué)外國(guó)語(yǔ)學(xué)院教授）

王麗麗（中共中央編譯局中央文獻(xiàn)翻譯部英文處副譯審、副處長(zhǎng)）

魏慶陽(yáng)（悉尼翻譯學(xué)院院長(zhǎng)）

魏令查（《英語(yǔ)世界》主編）

一、大賽形式

本屆大賽為英漢翻譯，參賽啟事以及原文發(fā)布于商務(wù)印書(shū)館網(wǎng)站

（http://.cn/）、《英語(yǔ)世界》2014年第5期、《英語(yǔ)世界》官方博客（http://blog.sina.com.cn/theworldofenglish）以及《英語(yǔ)世界》微信公眾平臺(tái)上。

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起止日期：2014年5月1日零時(shí)～2014年7月20日24時(shí)。

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第二篇：第二屆英語(yǔ)世界杯翻譯大賽原文

His First Day as Quarry-Boy

By Hugh Miller(1802～1856)

It was twenty years last February since I set out, a little before sunrise, to make my first acquaintance with a life of labour and restraint;and I have rarely had a heavier heart than on that morning.I was but a slim, loose-jointed boy at the time, fond of the pretty intangibilities of romance, and of dreaming when broad awake;and, woful change!I was now going to work at what Burns has instanced, in his ‘Twa Dogs’, as one of the most disagreeable of all employments,—to work in a quarry.Bating the passing uneasinesses occasioned by a few gloomy anticipations, the portion of my life which had already gone by had been happy beyond the common lot.I had been a wanderer among rocks and woods, a reader of curious books when I could get them, a gleaner of old traditionary stories;and now I was going to exchange all my day-dreams, and all my amusements, for the kind of life in which men toil every day that they may be enabled to eat, and eat every day that they may be enabled to toil!The quarry in which I wrought lay on the southern shore of a noble inland bay, or frith rather, with a little clear stream on the one side, and a thick fir wood on the other.It had been opened in the Old Red Sandstone of the district, and was overtopped by a huge bank of diluvial clay, which rose over it in some places to the height of nearly thirty feet, and which at this time was rent and shivered, wherever it presented an open front to the weather, by a recent frost.A heap of loose fragments, which had fallen from above, blocked up the face of the quarry and my first employment was to clear them away.The friction of the shovel soon blistered my hands, but the pain was by no means very severe, and I wrought hard and willingly, that I might see how the huge strata below, which presented so firm and unbroken a frontage, were to be torn up and removed.Picks, and wedges, and levers, were applied by my brother-workmen;and, simple and rude as I had been accustomed to regard these implements, I found I had much to learn in the way of using them.They all proved inefficient, however, and the workmen had to bore into one of the inferior strata, and employ gunpowder.The process was new to me, and I deemed it a highly amusing one: it had the merit, too, of being attended with some such degree of danger as a boating or rock excursion, and had thus an interest independent of its novelty.We had a few capital shots: the fragments flew in every direction;and an immense mass of the diluvium came toppling down, bearing with it two dead birds, that in a recent storm had crept into one of the deeper fissures, to die in the shelter.I felt a new interest in examining them.The one was a pretty cock goldfinch, with its hood of vermilion and its wings inlaid with the gold to which it owes its name, as unsoiled and smooth as if it had been preserved for a museum.The other, a somewhat rarer bird, of the woodpecker tribe, was variegated with light blue and a grayish yellow.I was engaged in admiring the poor little things, more disposed to be sentimental, perhaps, than if I had been ten years older, and thinking of the contrast between the warmth and jollity of their green summer haunts, and the cold and darkness of their last retreat, when I heard our employer bidding the workmen lay by their tools.I looked up and saw the sun sinking behind the thick fir wood beside us, and the long dark shadows of the trees stretching downward towards the shore.—Old Red Sandstone

（文章選自THE OXFORD BOOK OF ENGLISH PROSE, 658-660, Oxford University Press, London, first published 1925，reprinted 1958.）

第三篇：第六屆“英語(yǔ)世界杯”翻譯大賽原文、譯文及評(píng)析

第六屆“《英語(yǔ)世界》杯”翻譯大賽原文

A Garden That Welcomes Strangers

By Allen Lacy

I do not know what became of her, and I never learned her name.But I feel that I knew her from the garden she had so lovingly made over many decades.The house she lived in lies two miles from mine – a simple, two-story structure with the boxy plan, steeply-pitched roof and unadorned lines that are typical of houses built in the middle of the nineteenth century near the New Jersey shore.Her garden was equally simple.She was not a conventional gardener who did everything by the book, following the common advice to vary her plantings so there would be something in bloom from the first crocus in the spring to the last chrysanthemum in the fall.She had no respect for the rule that says that tall-growing plants belong at the rear of a perennial border, low ones in the front and middle-sized ones in the middle, with occasional exceptions for dramatic accent.In her garden, everything was accent, everything was tall, and the evidence was plain that she loved three kinds of plant and three only: roses, clematis and lilies, intermingled promiscuously to pleasant effect but no apparent design.She grew a dozen sorts of clematis, perhaps 50 plants in all, trained and tied so that they clambered up metal rods, each rod crowned intermittently throughout the summer by a rounded profusion of large blossoms of dark purple, rich crimson, pale lavender, light blue and gleaming white.Her taste in roses was old-fashioned.There wasn’t a single modern hybrid tea rose or floribunda in sight.Instead, she favored the roses of other ages – the York and Lancaster rose, the cabbage rose, the damask and the rugosa rose in several varieties.She propagated her roses herself from cuttings stuck directly in the ground and protected by upended gallon jugs.Lilies, I believe were her greatest love.Except for some Madonna lilies it is impossible to name them, since the wooden flats stood casually here and there in the flower bed, all thickly planted with dark green lily seedlings.The occasional paper tag fluttering from a seed pod with the date and record of a cross showed that she was an amateur hybridizer with some special fondness for lilies of a warm muskmelon shade or a pale lemon yellow.She believed in sharing her garden.By her curb there was a sign: “This is my garden, and you are welcome here.Take whatever you wish with your eyes, but nothing with your hand.”

Until five years ago, her garden was always immaculately tended, the lawn kept fertilized and mowed, the flower bed free of weeds, the tall lilies carefully staked.But then something happened.I don’t know what it was, but the lawn was mowed less frequently, then not at all.Tall grass invaded the roses, the clematis, the lilies.The elm tree in her front yard sickened and died, and when a coastal gale struck, the branches that fell were never removed.With every year, the neglect has grown worse.Wild honeysuckle and bittersweet run rampant in the garden.Sumac, ailanthus, poison ivy and other uninvited things threaten the few lilies and clematis and roses that still struggle for survival.Last year the house itself went dead.The front door was padlocked and the windows covered with sheets of plywood.For many months there has been a for sale sign out front, replacing the sign inviting strangers to share her garden.I drive by that house almost daily and have been tempted to load a shovel in my car trunk, stop at her curb and rescue a few lilies from the smothering thicket of weeds.The laws of trespass and the fact that her house sits across the street from a police station have given me the cowardice to resist temptation.But her garden has reminded me of mortality;gardeners and the gardens they make are fragile things, creatures of time, hostages to chance and to decay.Last week, the for sale sign out front came down and the windows were unboarded.A crew of painters arrived and someone cut down the dead elm tree.This morning there was a moving van in the driveway unloading a swing set, a barbecue grill, a grand piano and a houseful of sensible furniture.A young family is moving into that house.I hope that among their number is a gardener whose special fondness for old roses and clematis and lilies will see to it that all else is put aside until that flower bed is restored to something of its former self.(選自 Patterns: A Short Prose Reader, by Mary Lou Conlin, published by Houghton Mifflin Company, 1983.)

參考譯文

一座向陌生人敞開(kāi)的花園

文/〔美〕艾倫·萊西

譯/曹明倫

我并不知曉她當(dāng)時(shí)的境遇，也從未聽(tīng)說(shuō)過(guò)她的姓名，但我覺(jué)得我曾了解她，因?yàn)樗恼樟线^(guò)數(shù)十年的那座花園。

她住過(guò)的房子離我家有兩英里地。那是幢兩層小樓，造型簡(jiǎn)約，結(jié)構(gòu)方正，屋頂陡斜，輪廓線(xiàn)都未經(jīng)裝飾，是19世紀(jì)中期新澤西海岸附近典型的住宅式樣。

那座花園也同樣簡(jiǎn)約。她種花從不墨守成規(guī)，不會(huì)凡事都照搬書(shū)本，按書(shū)上的建議去換種時(shí)令花卉，以期園中常有花開(kāi)，從早春第一朵番紅花到晚秋最后一枝黃菊。她對(duì)某條園藝規(guī)則也漠然置之，任其去說(shuō)高植株花卉應(yīng)種在帶狀花壇的后排，矮植株的種在前排，而不高不矮的則種在中間，除非偶爾想營(yíng)造出引人注

在她的花園里，所有的花都有特色，所有的花植株都高；而且不難看出，她喜歡三個(gè)類(lèi)屬的花，并且只喜歡那三類(lèi)：玫瑰、百合、鐵線(xiàn)蓮。三類(lèi)花混栽間種，令人悅目賞心，但卻不顯刻意規(guī)劃的痕跡。

她栽培了十余種鐵線(xiàn)蓮，總共大概有五十株。她修剪其枝條，綁縛其莖蔓，使其植株沿金屬桿攀緣；在整個(gè)夏季，金屬桿頂部會(huì)陸陸續(xù)續(xù)戴上碩大的花冠，紺青、殷紅、堇紫、淺藍(lán)、瑩白，五彩繽紛，花團(tuán)錦簇。

她對(duì)玫瑰有一種戀舊的偏好?；▔锌床灰?jiàn)一株時(shí)興的雜交香水玫瑰或豐花玫瑰。與之相反，她鐘愛(ài)舊時(shí)流行的品種——紅白玫瑰、包心玫瑰、大馬士革玫瑰，以及數(shù)種東亞皺瓣玫瑰。她自己繁殖新株，把削下的扦條直接插入土中，罩上倒扣的加侖罐加以保護(hù)。

我想百合花是她的最?lèi)?ài)。除了一些圣母百合，旁人很難叫出其他品種的名字，因?yàn)榛▔械教幎茧S意擺放著木制育苗箱，箱里都密密匝匝地種著墨綠色的百合幼苗。幼苗下偶有紙標(biāo)簽飄動(dòng)，標(biāo)簽上寫(xiě)有栽種日期和雜交紀(jì)錄，這說(shuō)明她是個(gè)業(yè)余的雜交品種培育者，尤其愛(ài)培育像香瓜那種暖黃色調(diào)或像檸檬那種淡黃色調(diào)的百合。

她認(rèn)為其花園應(yīng)該與人共享。她家圍欄邊曾立有一塊標(biāo)牌：“房主花園，歡迎觀(guān)賞。請(qǐng)盡飽眼福，但切莫?jiǎng)邮??！?/p>

直到五年前，那花園還一直被照料得無(wú)可挑剔，草坪按時(shí)施肥，定期修剪，花壇里沒(méi)有一根雜草，高植株的百合都被小心地系在支撐樁上?？珊髞?lái)發(fā)生了變故。我不知當(dāng)時(shí)究竟出了何事，只見(jiàn)修剪草坪的次數(shù)日漸稀疏，后來(lái)竟完全無(wú)人修剪。芃芃豐草侵入花壇，擠入百合、玫瑰和鐵線(xiàn)蓮之間。前院那棵榆樹(shù)萎蔫并枯死，被海風(fēng)刮落的枯枝也不再有人清除。

年復(fù)一年，花園愈發(fā)荒廢。野生忍冬和南蛇藤在園中滋蔓。漆樹(shù)、臭椿、毒葛和其他雜樹(shù)野藤也不請(qǐng)自入，威脅著少許尚在掙扎求生的百合、玫瑰和鐵線(xiàn)蓮。

到了去年，那幢房子也人去樓空。前門(mén)被緊鎖，窗戶(hù)被膠合板封閉。其后幾個(gè)月，房前一直豎著塊“此房待售”的告示牌，就豎在原來(lái)立“邀客賞花”標(biāo)牌的那個(gè)位置。

我?guī)缀趺刻於家?qū)車(chē)經(jīng)過(guò)那幢房子，而且一直都很想在后備箱里帶把鍬，把車(chē)停在花園邊，去拯救幾株正被蓬蓬荒草窒息的百合。可禁闖私宅的法律條款，加之那房子街對(duì)面就是警察局這一事實(shí)，使我心生畏怯，從而抑制了這種誘惑。然而，她那座花園總讓我想到物盛必衰，想到種花人及其營(yíng)造的花園都像春草秋花，乃時(shí)間之造物，由時(shí)運(yùn)擺弄，易衰朽飄零。

上個(gè)星期，那塊出售房子的告示牌被撤掉了，封閉窗戶(hù)的膠合板被揭開(kāi)了。幾名油漆工來(lái)刷那幢房子，那顆枯死的榆樹(shù)也被砍倒。今天上午，一輛搬家卡車(chē)停在屋前車(chē)道上，有人從車(chē)上卸下一副秋千、一個(gè)燒烤架、一臺(tái)三角鋼琴，還有一整套實(shí)用的家具。一對(duì)年輕夫妻正帶著孩子搬進(jìn)那幢房子。

我希望那家人中有個(gè)園丁，一個(gè)鐘愛(ài)百合花、鐵線(xiàn)蓮和老品種玫瑰的種花人，其愛(ài)花之心能確保其他事都暫被撇在一邊，先讓那一溜花壇多少恢復(fù)其舊貌?！?【譯者后記】也許是有感于當(dāng)年那位不知名的女鄰居對(duì)陌生人敞開(kāi)花園，過(guò)退休生活的萊西教授在妻子赫拉和一些志愿者的協(xié)助下，幾年前在他晚年定居的新澤西州大西洋縣林伍德鎮(zhèn)領(lǐng)頭創(chuàng)建了一座占地僅1英畝（6.07畝）的公園——林伍德植物園（Linwood Arboretum）?，F(xiàn)任園長(zhǎng)的他將其稱(chēng)為“全世界最小的植物園”。

注釋?zhuān)?/p>

1.艾倫·萊西（Allen Lacy, 1935-），美國(guó)新澤西理查德斯托克頓學(xué)院哲學(xué)及園藝學(xué)榮譽(yù)退休教授，撰有哲學(xué)著作《烏納穆諾：生存修辭》（Miguel de Unamuno: The Rhetoric of Existence, 1967），與人合作翻譯有西班牙哲學(xué)家及作家烏納穆諾的小說(shuō)《戰(zhàn)爭(zhēng)中的和平》（Peace in War, 1983）和《隱秘世界》（The Private World, 1984），曾長(zhǎng)期為《紐約時(shí)報(bào)》和《華爾街日?qǐng)?bào)》的園藝專(zhuān)欄撰稿，著有《后花園：園丁雜記》（Home Ground: A Gardener’s Miscellany, 1984）、《秋日花園》（The Garden in Autumn, 1990）和《綠蔭下：小園隨筆》（In a Green Shade: Writings from Homeground, 2000）等十余部散文集和園藝著作。

一等獎(jiǎng)譯文

歡迎陌生人的花園

文/〔美〕艾倫?萊西1

譯/姚強(qiáng)

我不清楚她境況如何，也從不知她姓甚名誰(shuí)。但幾十年來(lái)她精心呵護(hù)的這座花園讓我感覺(jué)和她已是知交。

她的房子離我家有兩英里，是一棟簡(jiǎn)簡(jiǎn)單單的兩層小樓，外形四四方方，屋頂陡斜2，樸實(shí)無(wú)華，正是典型的十九世紀(jì)中期新澤西海岸附近的建筑風(fēng)格。

她的花園也同樣簡(jiǎn)單。她并非那種死板的園丁，凡事照搬園藝書(shū)，墨守陳規(guī)，只求花卉種類(lèi)繁多，從春天的第一朵番紅花到秋天的最后一朵菊花，總有應(yīng)季的花卉開(kāi)放。還有人認(rèn)為在多年生草本花境3中，應(yīng)讓高者居后，矮者居前，不高不低者居于中，若是為了錯(cuò)落有致，引人注目，偶爾也可變換順序，可她對(duì)此卻不屑一顧。

在她的園中，所有的花卉都引人注目，所有的花卉都個(gè)頭高挑。顯而易見(jiàn)，她只對(duì)三種花情有獨(dú)鐘：玫瑰，鐵線(xiàn)蓮和百合花。三者雖隨意混雜，卻頗為賞心悅目，仿佛渾然天成。

她種了十幾種鐵線(xiàn)蓮，共約50余株。這些鐵線(xiàn)蓮被牽繞在金屬柵欄上，攀緣而上。整個(gè)夏季，每根欄桿的頂端都會(huì)開(kāi)滿(mǎn)大朵的鐵線(xiàn)蓮，五顏六色，花團(tuán)錦簇，或暗紫，或深紅，或淡紫，或淺藍(lán)，或亮白，不時(shí)更替。

她偏愛(ài)古典玫瑰。在園內(nèi)尋不到一株現(xiàn)代的雜交茶香月季或豐花月季，相反，她更青睞古老的玫瑰品種，比如白蕊紅玫瑰4，包心玫瑰5，大馬士革玫瑰等。她自己動(dòng)手培育玫瑰花，將花枝剪下，直接插入土中，再把加侖壺倒扣在枝條上加以保護(hù)。

而我相信她的最?lèi)?ài)其實(shí)是百合花。因?yàn)榛ㄆ灾须S處可見(jiàn)木質(zhì)的育苗箱，里面密密地種植著深綠色的百合花幼苗，除了一些圣母百合之外，很難辨認(rèn)出其余的幼苗是哪些品種。偶爾會(huì)有幼苗的種莢上系著紙簽，記錄著雜交的日期和過(guò)程，隨風(fēng)飄動(dòng)，這說(shuō)明她還是個(gè)業(yè)余的雜交育種者，對(duì)帶有香瓜色暖色調(diào)和淺檸檬黃色的百合花情有獨(dú)鐘。

她樂(lè)于與他人共享花園。在園外的人行道旁有一塊牌子，上面寫(xiě)著：“歡迎光臨敝園。美景可盡情觀(guān)賞，卻切勿拈花摘葉?！?/p>

五年之前，她的花園還打理的井井有條，草坪肥料充足，平平整整，花圃里沒(méi)有雜草，高挑的百合花被細(xì)心地用木樁支撐。但接下來(lái)就發(fā)生了變故，我并不了解實(shí)情，但草坪沒(méi)有以往修剪的那么勤快，后來(lái)就干脆無(wú)人照看了。玫瑰、鐵線(xiàn)蓮和百合花的領(lǐng)地變得野草叢生。前院的榆樹(shù)生了病，最終枯死。沿海的颶風(fēng)襲來(lái)時(shí)，吹落了一地枯枝，卻再也無(wú)人清理。年復(fù)一年，花園荒廢的更加厲害。野生的金銀花和南蛇藤在園內(nèi)肆意生長(zhǎng)。漆樹(shù)，臭椿，毒葛和其它不請(qǐng)自來(lái)的植物讓所剩無(wú)幾但還在苦苦求生的百合花，鐵線(xiàn)蓮和玫瑰的處境變得更加岌岌可危。

到了去年，房子也人去樓空。前門(mén)緊鎖，窗戶(hù)也被幾塊膠合板封住。園外邀請(qǐng)陌生人來(lái)游園的牌子不知所蹤，取而代之的是“此房出售”的標(biāo)牌，一直掛了好幾個(gè)月。

我?guī)缀趺刻於家{車(chē)經(jīng)過(guò)那座房子，也曾想過(guò)要在后備箱里放把鐵锨，將車(chē)停在她家路邊，然后進(jìn)入花園，救出幾株被茂密的野草悶的喘不過(guò)來(lái)氣的百合花。但法律禁止侵入私人住宅，而且她的房子對(duì)面恰好是警察局，這讓我心生怯意，只得打了退堂鼓。但她的花園讓我想到死亡；園丁和他們培育的花園都很脆弱，受著時(shí)間的擺布，若是機(jī)緣不巧，只好花自飄零人自去。

上周，房前懸掛的售房告示被摘去，窗戶(hù)上釘?shù)陌遄右脖恍断?。?lái)了一群油漆工人，還有人伐倒了枯死的榆樹(shù)。今天早上，一輛搬家貨車(chē)停在房前的私人車(chē)道上，卸下了一套秋千，一套燒烤架，一架大鋼琴，和一大堆實(shí)用的家具，足夠裝滿(mǎn)整個(gè)屋子。一個(gè)年輕的家庭正在遷入這所房子。

我希望這家人中能有位園丁，她對(duì)古典玫瑰，鐵線(xiàn)蓮和百合花情有獨(dú)鐘，可以?huà)侀_(kāi)其它所有瑣事，先去整修花圃，直到它重新煥發(fā)幾分昔日的光彩。

（選自《范文：短文讀本》瑪麗?盧?康林著，霍頓米夫林出版公司，1983）

注釋?zhuān)?/p>

1.艾倫?萊西于1935年生于美國(guó)達(dá)拉斯，精通園藝，曾先后任《華爾街日?qǐng)?bào)》和《紐約時(shí)報(bào)》的園藝專(zhuān)欄作家，出版過(guò)多部和園藝相關(guān)的文集。此外，他還擔(dān)任過(guò)新澤西州斯托克頓學(xué)院的哲學(xué)教授及榮譽(yù)教授。本文后來(lái)被教育專(zhuān)家瑪麗?盧?康林（Mary Lou Conlin）編入《范文：短文讀本》（Patterns: A Short Prose Reader）一書(shū)。該書(shū)專(zhuān)為指導(dǎo)美國(guó)大學(xué)低年級(jí)學(xué)生寫(xiě)作而編寫(xiě)，于1983年由霍頓米夫林（Houghton Mifflin）公司出版。

2.在建筑學(xué)中，排水坡度一般大于10%的屋頂叫做斜屋頂或坡屋頂（pitched roof）。其形式和坡度主要取決于建筑平面、結(jié)構(gòu)形式、屋面材料、氣候環(huán)境、風(fēng)俗習(xí)慣和建筑造型等因素。

3.花境（Flower border）起源于英國(guó)古老而傳統(tǒng)的私人別墅花園，是模擬自然界中林緣地帶各種野生花卉交錯(cuò)生長(zhǎng)的狀態(tài)，以宿根花卉、球根花卉及一二年生花卉為主，栽植在樹(shù)叢、綠籬、欄桿、綠地邊緣、道路兩旁及建筑物前，經(jīng)過(guò)藝術(shù)提煉而設(shè)計(jì)成寬窄不一的曲線(xiàn)式或直線(xiàn)式的自然式花帶，表現(xiàn)花卉自然散布生長(zhǎng)的景觀(guān)。各種花卉高低錯(cuò)落排列、層次豐富，既表現(xiàn)了植物個(gè)體生長(zhǎng)的自然美，又展示了植物自然組合的群體美，本文中的花境即由多年生草本植物組成。

4.此花名字源自歷史上著名的“玫瑰戰(zhàn)爭(zhēng)”（War of the Roses，1455年-1485年），是約克家族（House of York）和蘭開(kāi)斯特家族（House of Lancaster）的支持者為了爭(zhēng)奪英格蘭王位而斷續(xù)發(fā)生的內(nèi)戰(zhàn)。兩大家族都是金雀花王朝王室的分支，為英王愛(ài)德華三世的后裔。約克家族選擇白玫瑰作為族徽，而蘭開(kāi)斯特家族的族徽為紅玫瑰。戰(zhàn)爭(zhēng)最終以蘭開(kāi)斯特家族的亨利七世與約克的伊麗莎白聯(lián)姻而結(jié)束，為了紀(jì)念這次戰(zhàn)爭(zhēng)，英格蘭將玫瑰做為國(guó)花，并把皇室徽章改為白蕊紅玫瑰。

5.因其花型酷似西洋包心菜，故得名包心玫瑰；屬于園林玫瑰，為普羅旺斯玫瑰的變種。

理解·轉(zhuǎn)換·調(diào)整

——第六屆“《英語(yǔ)世界》杯”翻譯大賽參賽譯文評(píng)析

本屆大賽參賽人數(shù)又創(chuàng)新高，達(dá)到6179人。優(yōu)秀譯文的數(shù)量也隨之大增，這令組織者和評(píng)閱者既感欣慰又抱歉忱，因?yàn)橛性S多優(yōu)秀譯文難入獲獎(jiǎng)名單。唯愿參賽者都明白一個(gè)道理：獲獎(jiǎng)譯文肯定是參賽譯文中的優(yōu)秀譯文，但優(yōu)秀的譯文未必都能獲獎(jiǎng)，正如諾貝爾文學(xué)獎(jiǎng)獲得者必定是偉大作家，但并非偉大的作家都能獲得該獎(jiǎng)。另外還希望大家明白，獲獎(jiǎng)固然可喜可賀，但參賽的真正價(jià)值還在于通過(guò)參賽使自己的翻譯能力得到提升。

為大賽提供參考譯文，于我已是第6個(gè)年頭。我每年都是在大賽截稿日之前提交拙譯，供初評(píng)老師參考并審查，所以從某種意義上說(shuō)，參考譯文也是一份參賽譯文。鑒于此，今年的評(píng)析就調(diào)整一下角度，結(jié)合大家的參賽譯文來(lái)評(píng)析參考譯文，談?wù)勎曳g這篇散文時(shí)的一些思考，或者說(shuō)向參賽者匯報(bào)參考譯文的翻譯過(guò)程。

有教科書(shū)把翻譯過(guò)程分為兩個(gè)步驟，即理解和表達(dá)【1】，而根據(jù)我自己的經(jīng)驗(yàn)，我認(rèn)為翻譯過(guò)程往往還會(huì)有第三個(gè)步驟，即調(diào)整，所以我把翻譯過(guò)程分為理解、轉(zhuǎn)換、調(diào)整三個(gè)步驟，多年來(lái)上筆譯課也主要是用實(shí)例講解如何理解、如何轉(zhuǎn)換、必要時(shí)如何調(diào)整。三步驟之分應(yīng)該說(shuō)符合翻譯的實(shí)際情況。上世紀(jì)末期，由30名美國(guó)頂尖學(xué)者組成的《新修訂版標(biāo)準(zhǔn)譯本圣經(jīng)》（New Revised Standard Version of Holy Bible, 1989）譯委會(huì)曾提出“盡可能直譯，必要時(shí)才意譯”（as literal as possible, only as free as necessary【2】）這個(gè)翻譯原則?！氨M可能直譯”（盡可能直接轉(zhuǎn)換）說(shuō)明翻譯有時(shí)可在兩個(gè)步驟內(nèi)完成，如參考譯文將“I do not know what became of her, and I never learned her name.”直接轉(zhuǎn)換成“我并不知曉她當(dāng)時(shí)的境遇，也從未聽(tīng)說(shuō)過(guò)她的姓名?！?。“必要時(shí)才意譯”（必要時(shí)才調(diào)整）則說(shuō)明翻譯有時(shí)的確需要進(jìn)入第三個(gè)步驟，如參考譯文把“A young family is moving into that house.”翻譯成“一對(duì)年輕夫妻正帶著孩子搬進(jìn)那幢房子?！?；而較之原文，參考譯文第12段末句之用詞和意象均有調(diào)整。需要說(shuō)明的是，對(duì)許多有經(jīng)驗(yàn)的譯者來(lái)說(shuō)，理解、轉(zhuǎn)換和調(diào)整并非截然分開(kāi)的三個(gè)步驟，有時(shí)理解中就包含了轉(zhuǎn)換，而有些調(diào)整則是在轉(zhuǎn)換的同時(shí)即已完成。

是直接轉(zhuǎn)換還是有所調(diào)整，這取決于譯者對(duì)原文的理解、譯者的審美傾向和文章風(fēng)格，以及譯者對(duì)譯文讀者閱讀審美習(xí)慣的判斷。我很可能同許多參賽者一樣，也是先從宏觀(guān)上理解原文，即先把原文從頭至尾細(xì)讀幾遍，體會(huì)原文的主題要旨，同時(shí)會(huì)忍不住去了解一下是何人寫(xiě)出如此美文。我這番宏觀(guān)理解獲得的印象是：本屆大賽原文是一篇敘事為主、兼抒情懷的散文。作者是一位在哲學(xué)和園藝學(xué)方面都頗有造詣的資深學(xué)者、作家及翻譯家。原文樸素而不失清新，優(yōu)美而不乏深沉，描景狀物頗為細(xì)膩，視覺(jué)形象非常鮮明，起承轉(zhuǎn)合極其自然，抒懷感嘆與景交融，使讀者似乎也從那座躍然紙上的花園窺見(jiàn)了作者那位不知名的女鄰居，并從花園的盛衰和花木的枯榮感悟人生自然。但我此時(shí)獲得的印象還只是朦朦朧朧的基調(diào)，或者說(shuō)是這篇散文隱隱約約的旋律。要把這篇英語(yǔ)散文變成能與之相對(duì)應(yīng)的中文版，接下來(lái)就得為這段旋律“填詞”，即從微觀(guān)上理解原文——深究其遣詞造句，細(xì)品其文法文風(fēng)，探悉其精理微言，并考證某些物名之實(shí)。對(duì)我而言，這番微觀(guān)理解一方面可明確原文首段那兩句話(huà)中的主句和從句為何用不同時(shí)態(tài)，perennial border、rugosa rose和wooden flats到底是何所指等具體問(wèn)題，另一方面則能使在宏觀(guān)理解時(shí)獲得的朦朧基調(diào)變得確定，隱約旋律變得清晰，從而知道“優(yōu)美而不乏深沉”的底蘊(yùn)從何而來(lái)。

以原文第12段末句為例，有人將句中的“...are fragile things, creatures of time, hostages to chance and to decay”直譯成“是脆弱之物，時(shí)間的傀儡、命運(yùn)與衰亡的人質(zhì)”或“是脆而不堅(jiān)的東西，時(shí)間的產(chǎn)物、機(jī)會(huì)和衰敗的抵押品”，也有人將其意譯成“都是不堪一擊的，是有始有終的生命體，都是要面臨興衰成敗的”或“是脆弱的生靈，受著時(shí)間的擺布，若是機(jī)緣不巧，只好花自飄零人自去”【3】。我認(rèn)為，這些譯者雖理解了原文的字詞意義，卻沒(méi)有把握住應(yīng)和這些字詞的韻調(diào)。我之所以這樣認(rèn)為，除了我自己對(duì)原文本身的理解之外，還因?yàn)槲抑雷髡甙瑐悺とR西不僅是一位園藝家，還是一名哲學(xué)教授；他對(duì)西班牙哲學(xué)家烏納穆諾頗有研究，深受烏納穆諾哲學(xué)思想的影響。碰巧的是，烏納穆諾那本《生命的悲劇意識(shí)》是我經(jīng)常翻閱并不時(shí)在課堂上提及的一本書(shū)，因此我不僅記得“哲學(xué)更接近于詩(shī)，而不是更接近于科學(xué)”【4】這句名言，甚至還能發(fā)現(xiàn)該書(shū)英文版中有句話(huà)與參賽原文第12段末句異曲同工，甚至剛好也用了fragile、creatures、time等字眼（of all creatures...what becomes of Me, of this poor fragile I, this I that is the slave of time and space）【5】。由此可見(jiàn)，烏納穆諾對(duì)萊西教授的影響還體現(xiàn)在語(yǔ)言文字方面，而我早年讀《生命的悲劇意識(shí)》時(shí)，就隱隱覺(jué)得書(shū)中既有“草木無(wú)情，有時(shí)飄零”之悲懷，亦有“況修短隨化，終期于盡”之豁達(dá)，所以我覺(jué)得，既然萊西教授像歐陽(yáng)修和王羲之那樣借景抒情，表達(dá)對(duì)生死無(wú)常的感慨，那么這番感嘆的中文版也可以效仿幾分《秋聲賦》和《蘭亭序》的韻調(diào)，于是便有了參考譯文：“然而，她那座花園總讓我想到物盛必衰，想到種花人及其營(yíng)造的花園都像春草秋花，乃時(shí)間之造物，由時(shí)運(yùn)擺弄，易衰朽飄零?！?/p>

有參賽者把perennial border翻譯成“長(zhǎng)青植物組成的樹(shù)籬”或“多年生植物組成的邊界”，或者把wooden flats翻譯成“木臺(tái)”“木板”，甚至“扁平的木質(zhì)物件”。對(duì)此評(píng)委老師都知其緣由，表面上看，這是因?yàn)檫@些參賽者手邊沒(méi)有堪用的英漢詞典，但真令人擔(dān)憂(yōu)的原因是，許多青年譯者尚未認(rèn)識(shí)到“工欲善其事，必先利其器”之必要性。以我任教的學(xué)校為例，盡管我一再告誡學(xué)生，僅憑手機(jī)查單詞學(xué)不好翻譯，可愿意攜詞典來(lái)上翻譯課的學(xué)生仍越來(lái)越少。其實(shí)對(duì)上述物名，認(rèn)真查閱詞典通常都能解決問(wèn)題。拿perennial border來(lái)說(shuō)，欲知其所指，首先得明確border到底指什么，在《韋氏第三版新國(guó)際英語(yǔ)大詞典》（Webster’s Third New International Dictionary of English Language, 1976）中，border名詞詞條第3義項(xiàng)的解釋是“a strip of planted ground or of plants along or around the edge of a garden”；在《牛津高階英漢雙解詞典》（Oxford Advanced Learner’s English-Chinese Dictionary, 7th ed.）中，border名詞詞條第3義項(xiàng)的釋義是“（in a garden花園）a strip of soil which is planted with flowers along the edge of the grass（草坪邊等的）狹長(zhǎng)花壇”，釋義后還指示參見(jiàn)所附彩圖第24頁(yè)；在陸谷孫教授主編的《英漢大詞典》中，border名詞詞條第3義項(xiàng)的釋義是“（沿花園、人行道等邊緣設(shè)置的）狹長(zhǎng)花壇，狹長(zhǎng)的綠化帶”，而且該義項(xiàng)還附有a perennial border這個(gè)詞條的釋義和譯例，其釋義為“栽種多年生植物的狹長(zhǎng)花壇”。由此可見(jiàn)，perennial border中的border既非“樹(shù)籬”，亦非“邊界”，而是“狹長(zhǎng)的花壇（花床、花臺(tái)）”。若進(jìn)一步查閱包括Home Garden Journal【6】在內(nèi)的相關(guān)資料，我們還可得知，雖說(shuō)perennial border的字面意思是“栽種多年生植物的狹長(zhǎng)花壇”，而且英美人也一直用perennial border來(lái)指花園草坪邊的帶狀花壇，但這種花壇早已不局限于栽種多年生花卉，而通常還會(huì)間種些一年生和二年生花卉（but in addition utilizes groups of annuals and biennials）。換言之，perennial border這個(gè)能指中的perennial很多時(shí)候已失去了其字面意思。當(dāng)然，我們?nèi)匀豢梢园裵erennial border翻譯成“栽種多年生植物的狹長(zhǎng)的花壇（花臺(tái)、花床）”，不過(guò)我認(rèn)為，在一篇講究行文格調(diào)和音韻節(jié)奏的散文中，翻譯成“條形花壇（花床、花臺(tái)）”或“帶狀花壇（花床、花臺(tái)）”更為適宜。另外，正確理解了perennial border，你就會(huì)發(fā)現(xiàn)這個(gè)perennial border就是原文下文中三次出現(xiàn)的flower bed。

當(dāng)然，對(duì)某些物名的翻譯，單憑查閱詞典還不能解決問(wèn)題，譬如原文第6段第3句中的rugosa rose，一般詞典都沒(méi)收錄，而收有這個(gè)詞條的《英漢大詞典》又只將其解釋為“【植】玫瑰”，但在我們翻譯的這篇散文中，用“玫瑰”與“紅白玫瑰”“包心玫瑰”和“大馬士革玫瑰”并列，顯然不甚得體，有屬種不辨之嫌，因?yàn)閾?jù)原文語(yǔ)境，rugosa rose肯定也是玫瑰的某個(gè)品種?！俄f氏第三版新國(guó)際英語(yǔ)大詞典》說(shuō)rugosa rose原產(chǎn)于日本，但我對(duì)此存疑，我經(jīng)常提醒學(xué)生記住奈達(dá)的一句話(huà)：“對(duì)于譯者，百科全書(shū)往往比詞典有用得多?！薄?】據(jù)我查閱的各種百科資料，我確信rugosa rose原產(chǎn)于中國(guó)東北地區(qū)，后傳入朝鮮、日本等地，韓語(yǔ)稱(chēng)其為???（haedanghwa），日語(yǔ)稱(chēng)其為ハマナシ（hamanasu），而此花的韓語(yǔ)漢字名“海棠花”（字面意思是flowers near seashore）和日語(yǔ)漢字名“濱梨”（字面意思是shore pear）也都暗示了此花是從中國(guó)經(jīng)海上傳入當(dāng)?shù)氐?。北美?9世紀(jì)中期從日本以拉丁學(xué)名Rosa rugosa引入此花，于是便有了rugosa rose這個(gè)英語(yǔ)名。然而，想必也有些參賽者和我一樣，考證之后終于明確了rugosa rose之所指，但仍然覺(jué)得難以將其轉(zhuǎn)換成得體的中文，甚至?xí)駠?yán)復(fù)當(dāng)年那樣感嘆“索之中文，渺不可得，既有牽合，終嫌參差”【8】。的確，我們今天能一見(jiàn)science就想到科學(xué)，一見(jiàn)economy就想到經(jīng)濟(jì)，殊不知僅僅一百多年前，嚴(yán)復(fù)面對(duì)一個(gè)introduction就在“卮言、懸談、懸疏”之間旬月踟躕，最后才翻譯成“導(dǎo)言”。我們今天能有詞典可查，實(shí)乃前輩萬(wàn)千次“旬月踟躕”的積累，但前輩的積累不可能無(wú)所不包，而且事物在不斷變化，認(rèn)識(shí)在不斷發(fā)展，概念也在隨之而更新。所以遇到rugosa rose這種在漢語(yǔ)中尚無(wú)定名的事物，譯者只能效法前輩譯家“自具衡量，即義定名”【9】。據(jù)我手邊的《拉英詞典》（Cassell’s Latin-English Dictionary, 1987），拉丁語(yǔ)形容詞rugosa（rugosus, rugosum）的意思是wrinkled；英文中有源自拉丁詞rugosa的形容詞rugose，意為“有皺紋的, 多皺紋的”；《大英百科全書(shū)》中介紹的一類(lèi)珊瑚名為Rugosa（Rugosa corals），《簡(jiǎn)明不列顛百科全書(shū)》（中國(guó)大百科全書(shū)出版社1986年版）將其翻譯成“皺壁珊瑚”。綜合以上考證并反復(fù)衡量，我最后把rugosa rose定名為“東亞皺瓣玫瑰”，于是便有了參考譯文：“她鐘愛(ài)舊時(shí)流行的品種——紅白玫瑰、包心玫瑰、大馬士革玫瑰，以及數(shù)種東亞皺瓣玫瑰?！痹诖苏f(shuō)明一下，評(píng)委會(huì)在初評(píng)前就決定“不要求參賽譯文的譯名都這樣統(tǒng)一，只要得體即可”。實(shí)際上，只要譯文體現(xiàn)出了rugosa rose是玫瑰的一類(lèi)，不管是翻譯成“東亞玫瑰”“皺葉玫瑰”“日本（野）玫瑰”，還是翻譯成“原產(chǎn)自中國(guó)不同品種的玫瑰”，我評(píng)閱時(shí)都有適當(dāng)加分。

有一千個(gè)譯者就有一千個(gè)哈姆萊特，對(duì)這句話(huà)我可能比許多人都體會(huì)得更深刻，因?yàn)榻塘?0年英漢翻譯，批閱過(guò)的作業(yè)和試卷至少也近萬(wàn)份，但我還從沒(méi)見(jiàn)過(guò)兩篇一模一樣的譯文。就拿這次入圍百篇譯文的篇名來(lái)說(shuō)，100個(gè)譯者譯出的篇名就有51種，從尚質(zhì)的《一個(gè)歡迎陌生人的花園》到好文的《芳園不拒陌客》，我相信每個(gè)譯者都認(rèn)為自己譯出的哈姆萊特最像哈姆萊特。我也認(rèn)為這些譯名大多都像哈姆萊特，因?yàn)檫@些不同的譯文中都包含了捷克翻譯學(xué)者波波維奇所說(shuō)的原文的“不變內(nèi)核”（invariant core），英國(guó)學(xué)者巴斯內(nèi)特談到“不變內(nèi)核”時(shí)說(shuō)：“轉(zhuǎn)換之差異或譯文之不同，均在于那些不會(huì)改變核心意義但卻能影響表達(dá)形式的變化”【10】，而我歷來(lái)認(rèn)為，這種“轉(zhuǎn)換之差異或譯文之不同”必然會(huì)產(chǎn)生，因?yàn)槊總€(gè)譯者的文學(xué)修養(yǎng)、語(yǔ)言水平、審美習(xí)慣、鑒賞水平和翻譯理念都不盡相同。其實(shí)我一見(jiàn)A Garden That Welcomes Strangers，腦子里首先想到的也是《一座歡迎陌生人的花園》，后來(lái)調(diào)整為《一座向陌生人敞開(kāi)的花園》，是因?yàn)槲矣X(jué)得后者更能表現(xiàn)作者所關(guān)注的人類(lèi)個(gè)體與整體的關(guān)系（篇末一個(gè)新家庭搬進(jìn)那幢老屋，就令我聯(lián)想到《舊約·傳道書(shū)》第1章第4節(jié)“一代過(guò)去，一代又來(lái)，地卻永遠(yuǎn)長(zhǎng)存”）。同時(shí)我認(rèn)為，A Garden That Welcomes Strangers這個(gè)篇名的“內(nèi)核”是“Welcomes Strangers”，所以我覺(jué)得《祂的花園》《愛(ài)的花園》和《一個(gè)迎接未知的花園》等篇名值得商榷。

再簡(jiǎn)單談?wù)勎覍?duì)tall grass（第9段）和A young family（第13段）的轉(zhuǎn)換和調(diào)整。我開(kāi)始也把tall grass譯成“高高的野草”，但隨后就意識(shí)到，此處的tall grass還不是花園長(zhǎng)期荒廢后的“蓬蓬荒草”（第12段），只是草坪剛開(kāi)始無(wú)人修剪時(shí)長(zhǎng)高的草，所以覺(jué)得此處譯“野草”不妥，但譯“高高的草”過(guò)質(zhì)，譯“萋萋芳草”太文，最后想到借用徐霞客筆下的“豐草芃芃”，于是便有了參考譯文“芃芃豐草侵入??”。和許多參賽者一樣，我看到A young family也想到“一個(gè)年輕的家庭”，但考慮到中國(guó)人把新婚燕爾的小兩口（a young couple）也稱(chēng)為年輕家庭，而英語(yǔ)中的a young family不等于 a young couple，前者專(zhuān)指 a young couple with their child or children，所以便有了參考譯文“一對(duì)年輕夫妻正帶著孩子搬進(jìn)那幢房子”。最后我建議參賽者先把自己的譯文朗讀一遍，然后再朗讀一遍參考譯文（對(duì)比語(yǔ)氣之輕重、節(jié)奏之張弛、語(yǔ)言之清濁、措辭之分寸），這樣也許能從中領(lǐng)會(huì)到僅靠默讀難以領(lǐng)會(huì)到的東西。當(dāng)然，參考譯文僅供參考，參賽者從中獲得的不可能只是啟發(fā)，還應(yīng)該有經(jīng)驗(yàn)教訓(xùn)。畢竟就像傅雷先生所說(shuō)：“即使是最優(yōu)秀的譯文，其韻味較之原文仍不免過(guò)或不及。翻譯時(shí)只能盡量縮短這個(gè)距離，過(guò)則求其勿太過(guò)，不及則求其勿過(guò)于不及?！薄?1】 □

注釋?zhuān)?/p>

【1】 參見(jiàn)郭著章等編《英漢互譯實(shí)用教程》（第四版），武漢大學(xué)出版社，2010年版，第59頁(yè)。

【2】 參見(jiàn)http://?！?】 本文所舉譯例均引自入圍最終評(píng)審的100篇參賽譯稿。

【4】 Miguel De Unamuno.The Tragic Sense of Life, Eng.trans.by J.E.Crawford Flitch.Dover: Dover Publications, Inc.1954, p.15.【5】 The Tragic Sense of Life, p.123.【6】 參見(jiàn)http://004km.cn/。

【7】 Eugene A.Nida.Language and Culture: Contexts in Translating.Shanghai: SFLE Press, 2001, p.286.【8】 參見(jiàn)嚴(yán)復(fù)《天演論·譯例言》，載《翻譯論集》，商務(wù)印書(shū)館，1984年版，第137頁(yè)。

【9】 同上。

【10】 Susan Bassnett.Translation Studies(3rd Edition).Shanghai: SFLE Press, 2010, p.33.【11】 參見(jiàn)傅雷《〈高老頭〉重譯本序》，載《翻譯論集》，商務(wù)印書(shū)館，1984年版，第559頁(yè)。

第四篇：英語(yǔ)世界翻譯大賽原文

第九屆“鄭州大學(xué)—《英語(yǔ)世界》杯”翻譯大賽英譯漢原文

The Whoomper Factor

By Nathan Cobb

【1】As this is being written, snow is falling in the streets of Boston in what weather forecasters like to call “record amounts.” I would guess by looking out the window that we are only a few hours from that magic moment of paralysis, as in Storm Paralyzes Hub.Perhaps we are even due for an Entire Region Engulfed or a Northeast Blanketed, but I will happily settle for mere local disablement.And the more the merrier.【1】寫(xiě)這個(gè)的時(shí)候，波士頓的街道正下著雪，天氣預(yù)報(bào)員將稱(chēng)其為“創(chuàng)紀(jì)錄的量”。從窗外望去，我猜想，過(guò)不了幾個(gè)小時(shí)，神奇的癱瘓時(shí)刻就要來(lái)臨，就像《風(fēng)暴癱瘓中心》里的一樣。也許我們甚至能夠見(jiàn)識(shí)到《吞沒(méi)整個(gè)區(qū)域》或者《茫茫東北》里的場(chǎng)景，然而僅僅部分地區(qū)的癱瘓也能使我滿(mǎn)足。當(dāng)然越多越使人開(kāi)心。

【2】Some people call them blizzards, others nor’easters.My own term is whoompers, and I freely admit looking forward to them as does a baseball fan to April.Usually I am disappointed, however;because tonight’s storm warnings too often turn into tomorrow’s light flurries.【2】有些人稱(chēng)它們?yōu)楸╋L(fēng)雪，其他人稱(chēng)其為東北風(fēng)暴。我自己則有一個(gè)叫法：吶喊者。我大方地承認(rèn)道我期待著它們的到來(lái)，正如一位籃球迷盼望著四月份的來(lái)臨。然而通常情況下，我會(huì)大失所望，因?yàn)榻裉彀l(fā)布了風(fēng)暴警報(bào)，明天往往只飄起小雪。

【3】Well, flurries be damned.I want the real thing, complete with Volkswagens turned into drifts along Commonwealth Avenue and the MBTA’s third rail frozen like a hunk of raw meat.A storm does not even begin to qualify as a whoomper unless Logan Airport is shut down for a minimum of six hours.【3】好吧，小雪令人厭惡。我想要實(shí)實(shí)在在的東西，包括大眾汽車(chē)成了聯(lián)邦大道的漂浮物，波士頓市運(yùn)輸局的第三條軌道像一大塊生肉一樣被凍住了。除非洛根機(jī)場(chǎng)至少關(guān)閉六個(gè)小時(shí)，否則這一場(chǎng)風(fēng)暴根本配不上稱(chēng)作吶喊者。

【4】The point is, whoompers teach us a lesson.Or rather several lessons.For one thing, here are all these city folks who pride themselves on their instinct for survival, and suddenly they cannot bear to venture into the streets because they are afraid of being swallowed up.Virtual prisoners in their own houses is what they are.In northern New England, the natives view nights such as this with casual indifference, but let a whoomper hit Boston and the locals are not only knee deep in snow but also in befuddlement and disarray.【4】關(guān)鍵是，吶喊者們給了我們一個(gè)教訓(xùn)。或者幾個(gè)教訓(xùn)。一方面，所有的城里人為他們的生存本能感到自豪，霎時(shí)間，他們不能忍受街道上的風(fēng)險(xiǎn)因?yàn)楹ε卤煌虥](méi)。他們就好像是自己房子里的囚犯。在新英格蘭的北部，當(dāng)?shù)厝藢?duì)這樣的夜晚習(xí)以為常，但是讓一位吶喊者襲擊波士頓，居民不僅深陷雪中而且陷入困境和混亂。

【5】The lesson? That there is something more powerful out there than the sacred metropolis.It is not unlike the message we can read into the debacle of the windows falling out of the John Hancock Tower;just when we think we’ve got the upper hand on the elements, we find out we are flies and someone else is holding the swatter.Whoompers keep us in our place.【5】教訓(xùn)？那里有比神圣的大都市更強(qiáng)大的東西。這與我們可以從約翰?漢考克大廈掉落下來(lái)的崩潰信息沒(méi)什么不同；正當(dāng)我們自認(rèn)為凌駕于風(fēng)雨之上時(shí)，才發(fā)現(xiàn)我們只是滄海一粟，另有高人將我們玩弄于股掌之間。吶喊者們將我們困在原地。

【6】They also slow us down, which is not a bad thing for urbania these days.Frankly, I’m of the opinion Logan should be closed periodically, snow or not, in tribute to the lurking suspicion that it may not be all that necessary for a man to travel at a speed of 600 miles per hour.In a little while I shall go forth into the streets and I know what I will find.People will actually be walking, and the avenues will be bereft of cars.It will be something like those marvelous photographs of Back Bay during the nineteenth century, wherein the lack of clutter and traffic makes it seem as if someone has selectively airbrushed the scene.【6】他們也使我們放慢了速度，如今對(duì)于烏爾巴尼亞來(lái)說(shuō)不是一件壞事。坦率地講，為了向潛在的懷疑致敬，即可能不是每個(gè)人都必須以每小時(shí)600英里的速度行走，我認(rèn)為不管下不下雪，洛根應(yīng)該定期關(guān)門(mén)。我應(yīng)該去街道上走上一小會(huì)兒就能知道自己尋找什么。實(shí)際上人們將要行走，大道上沒(méi)有車(chē)子。如同19世紀(jì)巴克灣那些

【7】And, of course, there will be the sound of silence tonight.It will be almost deafening.I know city people who have trouble sleeping in the country because of the lack of noise, and I suspect this is what bothers many of them about whoompers.Icy sidewalks and even fewer parking spaces we can handle, but please, God, turn up the volume.City folks tend not to believe in anything they can’t hear with their own ears.【8】It should also be noted that nights such as this are obviously quite pretty, hiding the city’s wounds beneath a clean white dressing.But it is their effect on the way people suddenly treat each other that is most fascinating, coming as it does when city dwellers are depicted as people of the same general variety as those New Yorkers who stood by when Kitty Genovese was murdered back in 1964.【9】There’s nothing like a good whoomper to get people thinking that everyone walking towards them on the sidewalk might not be a mugger, or that saying hello is not necessarily a sign of perversion.You would think that city people, more than any other, would have a strong sense of being in the same rough seas together, yet it is not until a quasi catastrophe hits that many of them stop being lone sharks.【10】But enough of this.There’s a whoomper outside tonight, and it requires my presence.

第五篇：天津翻譯大賽原文

2018年“外教社杯”天津市高校翻譯大賽英譯漢、漢譯英初賽原文

請(qǐng)將下列文字譯為漢語(yǔ)：

When I was sixteen I worked selling hot dogs at a stand in the Fourteenth Street subway station in New York City, one level above the trains and one below the street, where the crowds continually flowed back and forth.On my break I came out from behind the counter and passed the time with two old black men who ran a shoeshine stand in a dark corner of the corridor.It was a poor location,half hidden by columns and they didn't have much business.I would sit with my back against the wall while they stood or moved around their ancient elevated stand, talking to each other or to me, but always staring into the distance as they did so.As the weeks went by I realized that they never looked at anything in their immediate vicinity--not at me or their stand or anybody who might come within ten or fifteen feet.They did not look at approaching customers once they were inside the perimeter.Save for the instant it took to discern the color of the shoes, they did not even look at what they were doing while they worked, but rubbedin polish, brushed, and buffed by feel while looking over their shoulders, into the distance, as if awaiting the arrival of an important person.Of course there wasn't all that much distance in the underground station, but their behavior was so focused and consistent they seemed somehow to transcend the physical.A powerful mood was created, and I came almost to believe that these men could see through walls, through girders, and around corners to whatever hyperspace it was where whoever it was they were waiting and watching for would finally emerge.Their scattered talk was hip, elliptical, and hinted at mysteries beyond my white boy's ken, but it was the staring off, the long, steady staring off, that had me hypnotized.I left for a better job, with handshakes from both of them, without understanding what I had seen.Perhaps ten years later, after playing jazz with black musicians in various Harlem clubs, hanging out uptown with a few young artists and intellectuals, I began to learn from them something of the extraordinarily varied and complex riffs and rituals embraced by different people to help themselves get through life in the ghetto.Fantasy of all kinds--from playful to dangerous--was in the very air of Harlem.It was the spice of uptown life.Only then did I understand the two shoeshine men.They were trapped in a demeaning situation in a dark corner in an underground corridor in a filthy subway system.Their continuous staring off was a kind of statement, a kind of dance.Our bodies are here, went the statement, but our souls are receiving nourishment from distant sources only we can see.They were powerful magic dancers, sorcerers almost, and thirty-five years later I can still feel the pressure of their spell.The light bulb may appear over your head, is what I'm saying, but it may be a while before it actually goes on.Early in my attempts to learn jazz piano, I used to listen to recordings of a fine player named Red Garland, whose music I admired.I couldn't quite figure out what he was doing with his left hand, however;the chords eluded me.I went uptown to an obscure club where he was playing with his trio, caught him on his break, and simply asked him.“Sixths,” he said cheerfully.And then he went away.I didn't know what to make of it.The basic jazz chord is the seventh, which comes in

various configurations, but it is what it is.I was a self-taught pianist, pretty shaky on theory and harmony, and when he said sixths I kept trying

to fit the information into what I already knew, and it didn't fit.But it stuck in my mind--a tantalizing mystery.A couple of years later, when I began playing with a bass player, I discovered more or less by accident that if the bass played the root and I played a sixth based on the fifth note of the scale, a very interesting chord involving both instruments emerged.Ordinarily, I suppose I would have skipped over the matter and not paid much attention, but I remembered Garland's remark and so I stopped and spent a week or two working out the voicings, and greatly strengthened my foundations as a player.I had remembered what I hadn't understood, you might say, until my life caught up with the information and the light bulb went on.……

Education doesn't end until life ends, because you never know when you're going to understand something you hadn't understood before.For me, the magic dance of the shoeshine men was the kind of experience in which understanding came with a kind of click, a resolving kind of click.The same with the experience at the piano.Indeed, in our intellectual lives, our creative lives, it is perhaps those problems that will never resolve that rightly claim the lion's share of our energies.The physical body exists in a constant state of tension as it maintains homeostasis, and so too does the active mind embrace the tension of never being certain, never being absolutely sure, never being done, as it engages the world.That is our special fate, our inexpressibly valuable condition.請(qǐng)將下列文字譯為英語(yǔ)：

回憶魯迅先生

魯迅先生的笑聲是明朗的，是從心里的歡喜。若有人說(shuō)了什么可笑的話(huà)，魯迅先生笑的連煙卷都拿不住了，常常是笑的咳嗽起來(lái)。

魯迅先生走路很輕捷，尤其他人記得清楚的，是他剛抓起帽子來(lái)往頭上一扣，同時(shí)左腿就伸出去了，仿佛不顧一切地走去。

魯迅先生不大注意人的衣裳，他說(shuō)：“誰(shuí)穿什么衣裳我看不見(jiàn)得……”

魯迅先生生的病，剛好了一點(diǎn)，他坐在躺椅上，抽著煙，那天我穿著新奇的大紅的上衣，很寬的袖子。

魯迅先生說(shuō)：“這天氣悶熱起來(lái)，這就是梅雨天。”他把他裝在象牙煙嘴上的香煙，又

用手裝得緊一點(diǎn)，往下又說(shuō)了別的。

許先生忙著家務(wù)，跑來(lái)跑去，也沒(méi)有對(duì)我的衣裳加以鑒賞。于是我說(shuō)：“周先生，我的衣裳漂亮不漂亮？”

魯迅先生從上往下看了一眼：“不大漂亮?！?/p>

過(guò)了一會(huì)又接著說(shuō)：“你的裙子配的顏色不對(duì)，并不是紅上衣不好看，各種顏色都是好看的，紅上衣要配紅裙子，不然就是黑裙子，咖啡色的就不行了；這兩種顏色放在一起很渾濁……你沒(méi)看到外國(guó)人在街上走的嗎？絕沒(méi)有下邊穿一件綠裙子，上邊穿一件紫上衣，也沒(méi)有穿一件紅裙子而后穿一件白上衣的……”

魯迅先生就在躺椅上看著我：“你這裙子是咖啡色的，還帶格子，顏色渾濁得很，所以把紅色衣裳也弄得不漂亮了?！?/p>

“……人瘦不要穿黑衣裳，人胖不要穿白衣裳；腳長(zhǎng)的女人一定要穿黑鞋子，腳短就一定要穿白鞋子；方格子的衣裳胖人不能穿，但比橫格子的還好；橫格子的胖人穿上，就把胖子更往兩邊裂著，更橫寬了，胖子要穿豎條子的，豎的把人顯得長(zhǎng)，橫的把人顯的寬……”

那天魯迅先生很有興致，把我一雙短統(tǒng)靴子也略略批評(píng)一下，說(shuō)我的短靴是軍人穿的，因?yàn)檠プ拥那昂蠖加幸粭l線(xiàn)織的拉手，這拉手據(jù)魯迅先生說(shuō)是放在褲子下邊的……

我說(shuō)：“周先生，為什么那靴子我穿了多久了而不告訴我，怎么現(xiàn)在才想起來(lái)呢？現(xiàn)在我不是不穿了嗎？我穿的這不是另外的鞋嗎？”

“你不穿我才說(shuō)的，你穿的時(shí)候，我一說(shuō)你該不穿了?！?/p>

那天下午要赴一個(gè)筵會(huì)去，我要許先生給我找一點(diǎn)布條或綢條束一束頭發(fā)。許先生拿了來(lái)米色的綠色的還有桃紅色的。經(jīng)我和許先生共同選定的是米色的。為著取美，把那桃紅色的，許先生舉起來(lái)放在我的頭發(fā)上，并且許先生很開(kāi)心地說(shuō)著：

“好看吧！多漂亮！”