第一篇：2016翻譯碩士復(fù)習(xí)資料：英譯中國(guó)現(xiàn)代散文選

考研集訓(xùn)營(yíng),為考生服務(wù)，為學(xué)員引路！

2016翻譯碩士復(fù)習(xí)資料：英譯中國(guó)現(xiàn)代散文選（3）

差不多先生傳

胡適

你知道中國(guó)最有名的人是誰(shuí)?

提起此人，人人皆曉，處處聞名。他姓差，名不多(1)，是各省各縣各村人氏。你一定見(jiàn)過(guò)他，一定聽(tīng)說(shuō)過(guò)別人談起他。差不多先生的名字天天掛在大家的口頭，因?yàn)樗侵袊?guó)全國(guó)人的代表。

差不多先生的相貌和你和我都差不多。他有一雙眼睛，但看的不很清楚;他有兩只耳朵，但聽(tīng)的不很分明;有鼻子和嘴，但他對(duì)于氣味和口味都不很講究。他的腦子也不小，但他的記性卻不很精明，他的思想也不很細(xì)密(2)。

他常常說(shuō)：“凡事只要差不多，就好了。何必太精明呢?”

他小的時(shí)候，他媽叫他去買紅糖，他買了白糖回來(lái)。他媽罵他，他搖搖頭說(shuō)：“紅糖白糖不是差不多嗎?”

他在學(xué)堂的時(shí)候，先生問(wèn)他：“直隸省(3)的西邊是哪一省?”他說(shuō)是陜西。先生說(shuō)：“錯(cuò)了。是山西，不是陜西。”他說(shuō)：“陜西同山西，不是差不多嗎?”

后來(lái)他在一個(gè)錢鋪(4)里做伙計(jì)，他也會(huì)寫，也會(huì)算，只是總不會(huì)精細(xì)。十字常常寫成千字，千字常常寫成十字。掌柜的生氣了，常常罵他。他只是笑嘻嘻地賠小心道：“千字比十字只多一小撇，不是差不多嗎?”

有一天他為了一件要緊的事，要搭火車到上海去。他從從容容地走到火車站，遲了兩分鐘，火車已經(jīng)開(kāi)走了。他白瞪著眼，望著遠(yuǎn)遠(yuǎn)的火車上煤煙，搖搖頭道：“只好明天再走了，今天走同明天走，也差不多?？墒腔疖嚬疚疵馓J(rèn)真了。8點(diǎn)30分開(kāi)，同8點(diǎn)32分開(kāi)，不是差不多嗎?“他一面說(shuō)，一面慢慢地走回家，心里總不

明白為什么火車不肯等他兩分鐘。

有一天，他忽然得了急病，趕快叫家人去請(qǐng)東街的汪醫(yī)生。那家人急急忙忙地跑去，一時(shí)尋不著東街的汪大夫，卻把西街牛醫(yī)王大夫請(qǐng)來(lái)了。差不多先生病在床上，知道尋錯(cuò)了人;但病急了，身上痛苦，心里焦急，等不得了，心里想道：“好在王大夫同汪大夫也差不多，讓他試試看罷?！庇谑沁@位牛醫(yī)王大夫走近床前，用醫(yī)牛的法子給差不多先生治病。不上一點(diǎn)鐘，差不多先生就一命嗚呼了。

差不多先生差不多要死的時(shí)候，一口氣斷斷續(xù)續(xù)地說(shuō)道：“活人同死人也??差??差不多，??凡事只要??差??差??不多??就??好了，??何??何??必??太??太認(rèn)真呢?”他說(shuō)完了這句格言(5)，方才絕氣了。

他死后，大家都很稱贊差不多先生樣樣事情看得破，想得通(6);大家都說(shuō)他一生不肯認(rèn)真，不肯算賬，不肯計(jì)較，真是一位有德行的人。于是大家給他取個(gè)死后的法號(hào)，叫他做圓通大師。

他的名譽(yù)越傳越遠(yuǎn)，越久越大。無(wú)數(shù)無(wú)數(shù)的人都學(xué)他的榜樣。于是人人都成了一個(gè)差不多先生。——然而中國(guó)從此就成為一個(gè)懶人國(guó)了。

Mr.About-the Same

Do you know who is the most well-known person in China?

The name of this person is a household word all over the country.His name is Cha and his given name, Buduo, which altogether mean “About the

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Same”.He is a native of every province, every country and every village in this country.You must have seen or heard about this person.His name is always on the lips of everybody because he is representative of the whole Chinese nation.Mr.Cha Buduo has the same physiognomy as you and I.He has a pair of eyes, but doesn’t see clearly.He has a pair of ears, but doesn’t hear well.He has a nose and a mouth, but lacks a keen sense of smell and taste.His brain is none too small, but he is weak in memory and sloppy in thinking.He often says: “whatever we do, it’s OK to be just about right.What’s the use of being precise and accurate:”

One day, when he was a child, his mother sent him out to buy her some brown sugar, but he returned with some white sugar instead.As his mother scolded him about it, he shook his head and said, “Brown sugar or white sugar, aren’t they about the same?”

One day in school, the teacher asked him, “Which province borders Hebei on the west?” He answered, “Shaanxi,” The teacher corrected him, “You are wrong.It’s Shanxi, Not Shaanxi.” He retorted, “Shaanxi or Shanxi, aren’t they about the same?”

Later Mr.Cha Buduo served as an assistant at a money shop.He could write and calculate all right, but his mathematics were/was often faulty.He would mistake the Chinese character十(meaning 10)for 千(meaning 1000)or vice versa.The shop owner was infuriated and often took him to task.But he would only explain apologetically with a grin, “The character千differs from 十in merely having one additional short stroke.Aren’t they about the same?”

One day, he wanted to go to Shanghai by train on urgent business.But he arrived at the railway station unhurriedly only to find the train already gone, because he was two minutes late.He stood staring helplessly at the smoke belching from the diminishing train, and shook his head, “Well, all I can do is leave tomorrow.After all, today and tomorrow are about the same.But isn’t the railway taking it too seriously? What’s the difference between departing at 8:30 and 8:32?” He walked home slowly while talking to himself and kept puzzling over why the train hadn’t waited for him for two minutes more.One day he suddenly fell ill and immediately told one of his family to fetch Dr.Wang of East Street.The latter went in hurry, but couldn’t find the physician on East Street.So he fetched instead Veterinarian Wang of West Street.Mr.Cha Buduo, lying on his sickbed, knew that a wrong person had been brought home.But, what with pain and worry, he could ill afford to wait any longer.So he said to himself, “Luckily, Vet Wang is about the same as Dr.Wang.Why not let Vet Wang have a try?” there-upon, the veterinarian walked up to his bed to work on him as if he were a cow.

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Consequently, Mr.Cha Buduo kicked the bucket before an hour was out.When Mr.Cha Buduo was about to breathe his last, he uttered intermittently in one breath, “Live or die, it’s about?about?the same?Whatever we do?it’s OK?to be ?just?just about right...Why?why?take it?so seriously?” as soon as he finished this pet phrase of his, he stopped breathing.After Mr.Cha Buduo death, people all praised him for his way of seeing things and his philosophical approach to life.They say that he refused to take things seriously all his life and that he was never calculating or particular about personal gains or losses.So they called him a virtuous man and honored him with the posthumous reverent title Master of Easy-Going.His name has spread far and wide and become more and more celebrated with the passing of time.Innumerable people have come to follow his example, so that everybody has become a Mr.Cha Buduo.But lo, China will hence be a nation of lazybones!

注釋：

胡適(1891-1962)的《差不多先生傳》是一篇針砭社會(huì)陋習(xí)的諷刺小品，1924年6月28日發(fā)表在《申報(bào)·平民周刊》的創(chuàng)刊號(hào)上，曾不脛而走，傳誦一時(shí)。此文至今讀來(lái)，猶感有極深刻的現(xiàn)實(shí)意義。

(1)“他姓差，名不多”如僅僅譯為His name is Cha and his given name, Buduo，外國(guó)讀者只知其音，不知其意，故在后面加補(bǔ)充說(shuō)明which altogether mean “About the Same”。

(2)“他的思想也不很細(xì)密”譯為He is?sloppy in thinking, 其中sloppy作“無(wú)條理”、“凌亂”解。

(3)“直隸”為舊省名，即今之“河北”，故譯為Hebei。

(4)“錢鋪”又稱“錢莊”，大多僅從事兌換業(yè)務(wù)，后為銀行所代替?！板X鋪”可譯為private bank或banking house，但均不如money(exchange)shop確切。

(5)“格言”在這里意同“口頭語(yǔ)”，現(xiàn)參照上下文譯為pet phrase。

(6)“想得通”意即“達(dá)觀”或“隨遇而安”，故譯為philosophical approach to life。

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第二篇：2016翻譯碩士復(fù)習(xí)資料：英譯中國(guó)現(xiàn)代散文選(31)

考研集訓(xùn)營(yíng),為考生服務(wù)，為學(xué)員引路！

2016翻譯碩士復(fù)習(xí)資料：英譯中國(guó)現(xiàn)代散文選（31）

棗 核

蕭乾

動(dòng)身訪美之前，一位舊時(shí)同窗寫來(lái)航空信，再三托付我為他帶幾棵生棗核(1)。東西倒不占分量，可是用途卻很蹊蹺。

從費(fèi)城出發(fā)前，我們就通了電話。一下車，他已經(jīng)在站上等了。掐指一算，分手快半個(gè)世紀(jì)了，現(xiàn)在都已是風(fēng)燭殘年。

擁抱之后，他就殷切地問(wèn)我：“帶來(lái)了嗎?”我趕快從手提包里掏出那幾棵棗核(2)。他托在掌心(3)，像比珍珠瑪瑙還貴重。

他當(dāng)年那股調(diào)皮勁顯然還沒(méi)改。我問(wèn)起棗核的用途，他一面往衣兜里揣，一面故弄玄虛地說(shuō)(4)：“等會(huì)兒你就明白了?！?/p>

那真是座美麗的山城，汽車開(kāi)去，一路坡上坡下滿是一片嫣紅。倘若在中國(guó)，這里一定會(huì)有楓城之稱。過(guò)了幾個(gè)山坳，他朝楓樹(shù)叢中一座三層小樓指了指說(shuō)：“喏，到了?！逼嚬者M(jìn)草坪，離車庫(kù)還有三四米，車庫(kù)就像認(rèn)識(shí)主人似的自動(dòng)掀起。

朋友有點(diǎn)不好意思地解釋說(shuō)，買這座大房子時(shí)，孩子們還上著學(xué)，如今都成家立業(yè)了。學(xué)生生物生物化學(xué)的老伴兒在一家研究所里做營(yíng)養(yǎng)試驗(yàn)。

他把我安頓在二樓臨湖的一個(gè)房間后，就領(lǐng)我去踏訪他的后花園(5)。地方不大，布置得卻精致勻稱(6)。我們?cè)诳炕h笆的一張白色長(zhǎng)凳上坐下，他劈頭就問(wèn)我：“覺(jué)不覺(jué)得這花園有點(diǎn)家鄉(xiāng)味道?”經(jīng)他指點(diǎn)，我留意到臺(tái)階兩旁是他手栽的兩株垂楊柳，草坪中央有個(gè)睡蓮池。他感慨良深地對(duì)我說(shuō)：“栽垂柳的時(shí)候，我那個(gè)小子才五歲，如今在一條核潛艇上當(dāng)總機(jī)械長(zhǎng)了。姑娘在哈佛教書。家庭和事業(yè)都如意，各種新式設(shè)備也都有了?？墒俏倚纳峡傁袷侨秉c(diǎn)什么。也許是沒(méi)出息(7)，怎么年紀(jì)越大，思鄉(xiāng)越切。我現(xiàn)在可充分體會(huì)出游子的心境了。我想廠甸，想隆福寺。這里一過(guò)圣誕，我就想舊歷年。近來(lái)，我老是想總布胡同院里那棵棗樹(shù)。所以才托你帶幾棵種籽，試種一下?！?/p>

接著，他又指著花園一角堆起的一座假山假山石說(shuō)(8)：“你相信嗎(9)?那是我開(kāi)車到幾十里以外，一塊塊親手挑選，論公斤買下(10)，然后用汽車?yán)貋?lái)的。那是我們家的‘北海’?！?/p>

說(shuō)到這里，我們兩人都不約而同地站了起來(lái)。沿著草坪旁用卵石鋪成的小徑，走到“北?！备?11)。真是個(gè)細(xì)心人呢，他在上面還嵌了一所泥制的小涼亭，一座紅廟，頂上還有尊白塔。朋友解釋說(shuō)，都從舊金山唐人街買來(lái)的。

他告訴我，時(shí)常在月夜，他同老伴兒并肩坐在這長(zhǎng)凳上，追憶起當(dāng)年在北海泛舟的日子。睡蓮的清香迎風(fēng)撲來(lái)，眼前仿佛就閃出一片荷塘佳色。

改了國(guó)籍，不等于就改了民族感情，而且沒(méi)有一個(gè)民族像我們這么依戀故土的。

Date Stones

Xiao Qian

Before I set out for the US, a former schoolmate of mine wrote me by airmail, asking me in all earnest to bring him some raw date stones.They

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were not heavy in weight, yet I was curious about their use.At Philadelphia, shortly before staring out for my friend’s place, I called him up.So when I got off the train at the destination, I found him already waiting for me at the station.It was about half a century since we last met, and we were now both in our declining years.After hugging each other, he asked me eagerly, “have you brought them with you?” I immediately fished out the date stones from my handbag.He fondled them in his palm as if they were something more valuable than pearls or agates.Obviously he was just as childlike as before, when I asked about the use of the date stones, he put them into his pocket and replied by way of fooling me deliberately, “You’ll understand soon.”

It was really a beautiful mountain city.As we drove on, an expanse of rich crimson up and down the slope came into sight.In China a place like this would have been described as a maple city.After passing through several cols, my friend said pointing to a three-storied house amidst the maple trees, “here we are.” The car turned into a lawn and when it was three or four meters away form the garage, its door automatically opened as if it recognized its own master.My friend looked somewhat ill at ease when he told me this: At the time he bought this big house, his children had all been at school.Now they had their own homes and jobs.His wife, a biochemist, was a dietician at a research institute.After assigning me a room on the second floor facing a lake, he showed me around his back garden, which, though not too big, was exquisite and nicely arranged.The moment we sat down on a white bench close to a hedge, he asked me, “Don’t you find something here smacking of our native place in China?” at this, I noticed a weeping willow, planted by himself, on either side of a flight of steps as well as a water-lily pond in the middle of the garden.He said with deep feeling, “When I planted the willows, my son was only five.Now he serves as head of chief mechanics in a nuclear submarine.My daughter teaches at Harvard University.I’m happy with my family and my career.I own all modern household facilities I need.But I still feel something lacking.Maybe I’m a bit too foolish.How come the older I become, the more I think of my homeland.Now I fully understand the frame of mind of one residing in a place far away from home.I always think of Changdian and Longfusi.Every time Christmas is celebrated here in America, I think of lunar New year back in China.I can never forget the date tree in the courtyard of the house on Zongbu Hutong.That’s why I’ve asked you to bring me some date stones.I’ll try to plant them here.Then he said pointing to a jumble of rockery standing in a corner of the garden, “Believe it or not, the rocks, hand-picked by me, were bought by the kilogram.I drove dozens of kilometers away to haul them back in

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my car.Look, that’s Beihai in our home.”

Thereupon, we rose to our feet simultaneously and walked along a cobbled footpath beside the lawn towards the miniature Beihai.What a careful man my friend was!He had had the artificial hill inlaid with a clay pavilion and a red temple, with a white pagoda on top.He said he had bought the decorative objects from China Town in San Francisco.He also told me that on a moonlit night he and his wife would sit side by side on the bench recalling how they had used to go boating on the Beihai Lake.Meanwhile, as I smelled the faint scent of the water-lilies carried to us by the breeze, I felt as if the beautiful scene of a Chinese lotus pond were flashing past my eyes.The change of nationality doesn’t mean the change of national feeling.No other nation has such a strong attachment for the native land as we Chinese.注釋

蕭乾(1910-1999)，作家，文學(xué)翻譯家，曾任《大公報(bào)》記者，以散文、特寫著稱。

(1)“再三托付我為他帶幾棵生棗核”中的“再三”作“懇切”解，不能按字面理解為“一次又一次”或“重復(fù)”。因此全句譯為asking me in all earnest to bring him some raw date stones，其中in all earnest是成語(yǔ)，作“認(rèn)真地”或“懇切地”解。

(2)“我趕快從手提包里掏出那幾棵棗核”中的“掏出”譯為fished out比took out 貼切，因前者有“搜尋”的含義。

(3)“他托在掌心”譯為He fondled them in his palm，比He held them in his palm貼切，因to fondle表達(dá)了原文的內(nèi)涵“愛(ài)撫”。

(4)“故弄玄虛地說(shuō)”中的“故弄玄虛”作“故意把??搞得神秘化”解，通?？勺g為deliberatedly to make a mystery of??。現(xiàn)全句按“故意開(kāi)玩笑地說(shuō)”的意思譯為replied by way of fooling me deliberately，其中by way of 是成語(yǔ)，其意思是“為了”或“意在”(with the intention of)。

(5)“領(lǐng)我去踏訪他的后花園”譯為he showed me around his back garden，其中to show around是短語(yǔ)動(dòng)詞，作“帶領(lǐng)某人參觀某地”解。

(6)“布置得卻精致勻稱”譯為was exquisite and nicely arranged，其中nicely的意思是“恰當(dāng)好處”或“恰恰合適”。

(7)“也許是沒(méi)出息”不宜按字面直譯，現(xiàn)按“也許是自己有些傻”譯為Maybe I’m a bit too foolish。

(8)“堆起的一座假山石”譯為a jumble of rockery，其中jumble的意思是“雜亂的一堆”。

(9)“你相信嗎?”本可譯為Don’t you believe it?現(xiàn)譯為Believe it or not，為具有同樣意思的常用口頭語(yǔ)。

(10)“論公斤買下”即“按公斤計(jì)算買下”，譯為bought by the kilogram。注意這里介詞by和后面的定冠詞the屬習(xí)慣搭配。

(11)“走到‘北海’跟前”譯為Walked??towards the miniature Beihai，其中miniature(微型的)是譯者添加的成分，用以表達(dá)原文中加引號(hào)的北海。

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黎明前的北京(1)

季羨林

前后加起來(lái)，我在北京已經(jīng)住了四十多年，算是一個(gè)老北京了(2)。北京的名勝古跡，北京的妙處(3)，我應(yīng)該說(shuō)是了解的;其他老北京當(dāng)然也了解。但是有一點(diǎn)，我相信絕大多數(shù)老北京并不了解(4)，這就是黎明時(shí)分以前的北京。

多少年來(lái)，我養(yǎng)成了一個(gè)習(xí)慣：每天早晨四點(diǎn)在黎明以前起床工作。我不出去跑步或散步，而是一下床就干活兒。因此我對(duì)黎明前的北京的了解是在屋子里感覺(jué)到的。我從前在什么報(bào)上讀過(guò)一篇文章(5)，講黎明時(shí)分天安門廣場(chǎng)上的清潔工人。那情景必然是非常動(dòng)人的，可惜我從未能見(jiàn)到，只是心向往之而已。

四十年前，我住在城里在明朝曾經(jīng)是特務(wù)機(jī)關(guān)的東廠里面。幾座深深的大院子，在最里面三個(gè)院子里只住著人一個(gè)人。朋友們都說(shuō)這地方陰森可怕，晚上很少有人敢來(lái)找我，我則怡然自得(6)。每當(dāng)夏夜，我起床以后，立刻就聞到院子里那些高大的馬纓花樹(shù)散發(fā)出來(lái)的陣陣幽香，這些香氣破窗而入，我于此時(shí)神清氣爽，樂(lè)不可支，連手中那一枝笨拙的筆也仿佛生了花。

幾年以后，我搬到西郊來(lái)住，照例四點(diǎn)起床，坐在窗前工作。白天透過(guò)窗子能夠看到北京展覽館那金光閃閃的高塔的尖頂，此時(shí)當(dāng)然看不到了(7)。但是，我知道，即使我看不見(jiàn)它，它仍然在那里挺然聳入天空，仿佛想帶給人以希望，以上進(jìn)的勁頭。我仍然是樂(lè)不可支，心也仿佛飛上了高空。

過(guò)了十年，我又搬了家。這新居既沒(méi)有馬纓花，也看不到金色的塔頂。但是門前卻有一片清碧的荷塘。剛搬來(lái)的幾年，池塘里還有荷花。夏天早晨四點(diǎn)已經(jīng)算是黎明時(shí)分。在薄暗中透過(guò)窗子可以看到接天蓮葉，而荷花的香氣也幽然襲來(lái)(8)，我顧而樂(lè)之，大有超出馬纓花和金色塔頂之上的意味了。

難道我欣賞黎明前的北京僅僅由于上述的原因嗎?不是的。三十幾年以來(lái)，我成了一個(gè)“開(kāi)會(huì)迷”(9)。說(shuō)老實(shí)話，積三十年之經(jīng)驗(yàn)，我真有點(diǎn)怕開(kāi)會(huì)了。在白天，一整天說(shuō)不定什么時(shí)候就會(huì)接到開(kāi)會(huì)的通知。說(shuō)一句過(guò)火的話，我簡(jiǎn)直是提心吊膽，心里不得安寧。即使不開(kāi)會(huì)，這種惴惴不安的心情總擺脫不掉。只有在黎明以前，根據(jù)我的經(jīng)驗(yàn)，沒(méi)有哪里會(huì)來(lái)找你開(kāi)會(huì)的(10)。因此，我起床往桌子旁邊一坐，仿佛有什么近似條件反射的東西立刻就起了作用，我心里安安靜靜，一下子進(jìn)入角色，拿起筆來(lái)，“文思”(11)(如果也算是文思的話)如泉水噴涌，記憶力也像剛磨過(guò)的刀子，銳不可當(dāng)。當(dāng)時(shí)，我真樂(lè)不可支，如果給我機(jī)會(huì)的話，我簡(jiǎn)直想手舞足蹈了。

因此，我愛(ài)北京，特別愛(ài)黎明前的北京。

Predawn Beijing

Ji Xianlin

I’ve been in Beijing altogether for over 40 years.So I can well call myself a long-timer of Beijing.Like all other long-timers of the city, I’m supposed to be very familiar with its scenic spots and historical sites, nay, its superb attractions.But I believe there is one thing lying unknown to most of the long-time residents –the predawn hours of Beijing.For many years, I have been in the habit of getting up before daybreak to start work at four.Instead of going out for a jog or walk, I’ll set about my work as soon as I’m out of bed.As a result, it is from inside my study that I’ve got the feel of predawn Beijing.Years ago, I hit upon

004km.cn

考研集訓(xùn)營(yíng),為考生服務(wù)，為學(xué)員引路！

a newspaper article about street cleaner in Tian’anmen Square at daybreak.It must have been a very moving scene, but what a pity I haven’t seen it with my own eyes.I can only picture it in my mind longingly.Forty years ago, I lived downtown in Dongchang, a compound which had housed the secret service of the Ming dynasty.There were inside it several deep spacious courtyard one leading into another.I was the sole dweller of the three innermost courtyards.My friends, calling this place too ghastly, seldom dared to come to see me in the evening whereas I myself found it quite agreeable.In summer, the moment I got out of bed before daybreak, I would smell the delicate fragrance of the giant silk trees coming from outside my window.Thereupon, I would feel refreshed and joyful, and the clumsy pen in my hand would seem to have become as agile as it could.Several years later when I moved to the western suburbs, I kept my habit of rising at four to begin work at the window.The glittering spire atop the tower of the daytime through my window, would no longer be visible now in the early morning haze.Nevertheless I knew that, tough invisible, it remained there intact, towering to the skies to inspire people with hope and the urge for moving ahead.At this, I would be beside myself with joy and feel as if my heart were also flying high up into the skies.Ten years after, I moved again.In the new home of mine, I had no silk trees, nor could I get sight of the glittering spire from afar.There was, however, a lotus pond of limpid blue in front of my door.In the first few years after I moved there, lotus flowers continued to blossom on the surface of the pond.In the summertime, when day broke early at four, a vast stretch of lotus leaves looking skywards outside my window came dimly into sight while the quiet fragrance of the lotus flowers assailed my nose.All that delighted me even more than the silk trees and the glittering spire.Is it exclusively due to the above-mentioned that I’ve developed a liking for predawn Beijing? No.for 30 years, I’ve been bogged down in the mire of meetings.To tell you the truth, with the experience accumulated over the 30 years, I’m now scared of meetings.In the daytime, there is no telling when I may be served a notice for attending a meeting.To exaggerate it a bit, that keeps me in constant suspense and makes me fidgety.Even when no meeting is to take place, I feel restless all the same.However, my experience tells that it is only during the predawn hours that I can be truly havened from any involvement in meetings.As soon as I sit at my desk before dawn, something similar to the conditioned reflex will begin to function within me: Instantly I’ll pick up my pen to play my proper part with perfect peace of mind.Then inspiration comes gushing to my mind and my memory becomes as quick as a newly-sharpened knife.I’ll feel overjoyed, almost to the point of waving my arms and stamping my

004km.cn

考研集訓(xùn)營(yíng),為考生服務(wù)，為學(xué)員引路！

feet.In short, I love Beijing, especially predawn Beijing.注釋

季羨林(1911-)，教育家、梵文翻譯家，散文家。本文是季羨林于1985年2月11日寫的一篇小品文。

(1)“黎明前的北京”除譯為predawn Beijing外，也可譯為Beijing Before Dawn或Beijing Before Daybreak。

(2)“算是一個(gè)老北京了”除譯為I can well call myself a long-timer of Beijing外，也可譯為I‘m eligible for being called a long-timer of Beijing。又long-timer也可用old-timer代替。

(3)“北京的妙處”是上句“北京的名勝古跡“的補(bǔ)充，故譯為nay, its superb attractions，其中nay是副詞，作“不僅如此”解，是譯文中添加的成分。

(4)“有一點(diǎn)??老北京并不了解”譯為there is one thing lying unknown to? long-time residents，其中l(wèi)ying和remaining同義。

(5)“在什么報(bào)上讀過(guò)一篇文章”譯為I hit upon a newspaper article，其中to hit upon是成語(yǔ)，作“偶然發(fā)現(xiàn)”解，和to come across、to find by chance等同義。

(6)“我則怡然自得”意即“我卻覺(jué)得很愜意”，故譯為whereas I myself find it quite agreeable。

(7)“此時(shí)當(dāng)然看不到了”譯為would no longer be visible now in the morning haze，(8)“香氣幽然襲來(lái)”意即“香氣悄悄地?fù)浔嵌鴣?lái)”，故譯為the quiet fragrance?assailed my nose(或nostrils)。

(9)“開(kāi)會(huì)迷”在文中并不指“對(duì)開(kāi)會(huì)著迷”或“特別愛(ài)好開(kāi)會(huì)”。它的真正意思卻是“陷入繁多的的會(huì)議之中”或者“疲于應(yīng)付各種會(huì)議”，因此可譯為I’ve been bogged down in the more of meetings或I’ve been bogged down in meetings。

(10)“只有在黎明以前??沒(méi)有哪里會(huì)找你開(kāi)會(huì)的”譯為it is only during the predawn hours that I can be havened from any involvement in meetings，靈活處理，其中havened是由名詞haven(避難所)轉(zhuǎn)化為動(dòng)詞的。因此be havened from的意思是“免受??之憂”。

(11)“‘文思’如泉水噴涌”中的“文思”實(shí)際上指“靈感”，現(xiàn)將全句譯為Then inspiration comes gushing to my mind。

004km.cn

第三篇：英譯中國(guó)散文選朱自清 匆匆

《英譯中國(guó)散文選》每日更新一段

先來(lái)一篇大家耳熟能詳朱自清先生的《匆匆》

Transient Day

Part 1

If swallows go away, they will come back again.If willows wither, they will turn green again.If peach blossoms fade, they will flower again.But, tell me, you the wise, why should our days go by never to return? Perhaps they have been stolen by someone.But who could it be andwhere could he hide them? Perhaps they have just run away by themselves.But where

could they be at the present moment?

第二段

Transient Day

Part 2

I don`t know how many days I am entitled to altogether , but my quota of them is undoubtedly wearing away.Counting up silently, I find that more than 8,000 days have already slipped away through my fingers.Like a drop of water falling off a needle point into the ocean, my days are quietly dripping into the stream of time without leaving a trace.At the thought of this, sweat oozes from my forehead and tears trickle down my cheeks.今天比較長(zhǎng)。樓主就自行分成三斷吧。周一，愿大家都有個(gè)好的開(kāi)始

Transient Days

Part3

what is gone is gone, what is to come keeps coming.How swift is the transition in between!When I get up in the morning, the slanting sun casts two or three squarish patches of light into my small room.The sun has feet too,eging away softly and stealthily.And,without knowing it, I am already caught in its revolution.9

Thus, the day flows away through the sink when I wash my hands;wanishes in the rich bowl when I have my meal;passes away quietly before the fixed gaze of m

y eyes when I am lost

in reverie.Aware of its fleeting presence, I reach out for it only to find it brushing past my outstretched hands.?

In the evening, when I lie on my bed, it nimbly strides over my body and flits past my feet.Bythe time when open my eyes to meet the sun again, another day is already gone.I have a sigh, my head buried in my hands.But, in the midst of my sighs, a new day is flashing past.What is gone, what is to come keeps coming.How swift is the transition in between!When I get up in the morning, the slanting sun casts two or three squarish patches of light into my small room.The sun has feet, too, edging away softly and stealthily.And, without knowing it,I am already caught in its revolution.Thus, the day flows away through the sink when I washmy hands;vanishes in the rice bowl when I have my meal;passes away quietly before the fixed gaze of my eyes when I am lost in reverie.?

Aware of its fleeting presence, I reach out for it only to find it brushing past my outstretched hands.In the evening, when I lie on my bed, it nimbly strides over my bodyand flits past my feet.By the time when I open my eyes to meet the sun again, another day is already gone.I heave a sigh, my head buried in my hands, But, in the midst of my sighs, a new day is flashing past.9

Living in this world with its fleeting days and teeming millions, what can I do but waver and wander and live a transient life? What have I been doing during the 8,000 fleeting days except wavering and wandering? The bygone days, like wisps of smoke, have been dispered by gentle winds, and, like thin mists, have been envaporated by the rising sun.What traces have I left behind? No,nothing,not even gossamer-like traces.9

I have come to this world stark naked as ever.However, I am taking it very much to heart: Why should I be made to pass through this world for nothing at all

O you the wise, would you tell me please: why should our days go by never to return?

《匆匆》終于完結(jié)了。咱們每天接觸一點(diǎn)英語(yǔ)，好好進(jìn)步吧！

第四篇：中國(guó)散文翻譯的新收獲——喜讀張培基教授《英譯中國(guó)現(xiàn)代散文選》

論文關(guān)鍵詞:潛層語(yǔ)義 表層語(yǔ)義 增益 刪略

論文摘要:《英譯中國(guó)現(xiàn)代散文選》是一本不是教材的好教材,它為中 國(guó)學(xué) 者深入研究 翻譯 理論與技巧提供了豐富多彩的典型實(shí)例;張培基教授半個(gè)世紀(jì)譯苑耕耘的經(jīng)驗(yàn)及其科學(xué)的一絲不茍的譯風(fēng)不可多得;同時(shí)該書也為外國(guó)人研究1919年“五四”運(yùn)動(dòng)以來(lái)中國(guó)人鮮活的思想鋪了一條近路。編輯。

近百年來(lái)把西方一些知識(shí)分子的思想或理論譯介給國(guó)人者不乏其人,中國(guó)人中自己主動(dòng)把一九一九年“五四“運(yùn)動(dòng)以來(lái)存在于散文中那些鮮活的思想譯介給外國(guó)人的學(xué)者卻并不多見(jiàn)。張培基教授《英譯中國(guó)現(xiàn)代散文選》彌補(bǔ)了這個(gè)缺憾。二十世紀(jì)末能在炒得沸沸揚(yáng)揚(yáng)的書市上偶拾到這樣一本選材精當(dāng)、譯功踏實(shí)的新書《英譯中國(guó)現(xiàn)代散文選》,幸甚!《英譯中國(guó)現(xiàn)代散文選》的譯者很看重所選散文中的“真情”——那種迫于必要而非出于志愿的應(yīng)景文章一概不譯;譯者對(duì)曾有過(guò)爭(zhēng)議的名人作品也不看其名氣大小,而著眼于其散文是否仍有現(xiàn)實(shí)意義;如果能給后人留下一點(diǎn)值得思考的東西,那么就將其譯出。例如所譯胡適的《差不多先生傳》在揭示我們 民族 劣根性方面很有特色,至今讀來(lái)尤有極深刻的現(xiàn)實(shí)意義?！队⒆g中國(guó)現(xiàn)代散文選》篇幅有限,但它幾乎囊括了1919年“五四”運(yùn)動(dòng)以來(lái)中國(guó)一大批杰出作家寓意深邃的有一定代表性的散文作品。這些作家或名人包括李大釗、方志敏、魯迅、郭沫若、胡適、葉圣陶、朱自清、郁達(dá)夫、柔石、蕭紅、老舍、鄭振鐸、蕭乾、冰心等等;也有至今仍在筆耕的 文學(xué) 巨匠如巴金、季羨林等等?！队⒆g中國(guó)現(xiàn)代散文選》可成為讓當(dāng)代的西方人了解中國(guó),了解中國(guó)人的思想脈搏的一面三棱鏡或一本好教材。目前西方一些國(guó)家首腦人物都很重視其“智囊團(tuán)”對(duì) 孔子、老子、孫子等我國(guó)古代思想家或軍事家的研究,這方面的譯作也較多,但對(duì)上述我國(guó)知識(shí)層面的代表人物知之甚少。因此,《英譯中國(guó)現(xiàn)代散文選》的推出對(duì)國(guó)人的翻譯 指導(dǎo) 思想或翻譯觀念的更新也會(huì)起到先導(dǎo)作用。讓世人了解中國(guó),了解中國(guó)人民真實(shí)的思想感情,有條件的有識(shí)之士應(yīng)多做些這方面的譯介工作。張培基教授《英譯中國(guó)現(xiàn)代散文選》問(wèn)世的意義不可低估。

如果只讀《英譯中國(guó)現(xiàn)代散文選》(漢英對(duì)照)中的英文,你不會(huì)覺(jué)得這是譯文,不會(huì)覺(jué)得其英文是出自一位中國(guó)人的手。譯者不僅在句子層面上力求做到 語(yǔ)言 自然流暢、準(zhǔn)確細(xì)致、雅俗得當(dāng)而且又特別著意語(yǔ)篇神韻的再創(chuàng)造,力求既完美地保持原文的信息、原文的功能又譯出原文的風(fēng)格或味道來(lái)。

這里不妨先看一看收在《英譯中國(guó)現(xiàn)代散文選》中郭沫若五篇散文譯文,即《路畔的薔薇》《夕暮》《白發(fā)》《水墨畫》《墓》。拜讀之后筆者覺(jué)得張先生在處理“增益”與“刪略”關(guān)系、“表層語(yǔ)義”與“潛層語(yǔ)義”關(guān)系、以及聲色詞語(yǔ)對(duì)應(yīng)與非對(duì)應(yīng)性關(guān)系等諸多方面出手不凡,均有獨(dú)到之處。

“許久儲(chǔ)蓄在心里的詩(shī)料,今晨在理發(fā)店里又浮上了心來(lái)了?！边@是郭沫若《白發(fā)》一文的首句,開(kāi)門見(jiàn)山地點(diǎn)出了作者 寫作 動(dòng)機(jī),其中關(guān)鍵詞為“詩(shī)料”。因?yàn)橥ㄆv的是作者對(duì)一位“年青的,年青的遠(yuǎn)隔河山的姑娘”為其理發(fā)時(shí)“拔去了一根白發(fā)”后的感情經(jīng)歷,為此將其譯為poetic emotion顯得很得體,如譯成“poetic material”便有傷大雅;全句的譯文my long pent_up poetic emotion emerged again this morning at a hairdresser’s也很簡(jiǎn)練,把“儲(chǔ)蓄在心里的”較長(zhǎng)的定語(yǔ)濃淡縮成意為“心扉封閉”或“被壓抑”的pent_up也很 經(jīng)濟(jì) 實(shí)惠又形象逼真。把“遠(yuǎn)隔河山的”有意淡化為of the distant land也很不俗,不然“mountains”“rivers”通通直譯出來(lái)必然使句子變得很臃腫,甚至言不及義?！澳愕幕坌奶嫖野亚啻毫糇×恕本渲械摹盎坌摹鳖H不好譯。中國(guó)人常有“慧眼”“慧心”之說(shuō),“慧心”原是佛教用語(yǔ),指能領(lǐng)悟真理之心,英文中沒(méi)有十分貼切的對(duì)應(yīng)詞,譯者將其“模糊”處理譯為feeling heart,頗有見(jiàn)地。

小處見(jiàn)大,翻譯的真功夫往往在一些小地方流露出來(lái)。收在《英譯中國(guó)現(xiàn)代散文選》中夏尊一篇散文標(biāo)題是《我之于書》,一般譯者多半會(huì)譯為i and books。但booksand i的譯法卻符合英文習(xí)慣,而且讀起來(lái)也上口。該文中“我的房子里比較貴重的東西就是書。”一句的譯法也很有特色——用“under my roof”來(lái)譯“我的房子里”而不用“inmy house”這不能不說(shuō)是對(duì)原文的再創(chuàng)造,恰到好處。

第五篇：中國(guó)現(xiàn)代文學(xué)史復(fù)習(xí)資料

40年代的新詩(shī)：

艾青 《太陽(yáng)之歌》 “太陽(yáng)是美的，且是永生的”

《雪落在中國(guó)的土地上》 “雪落在中國(guó)的土地上，寒冷封鎖著中國(guó)呀.......”

《手推車》、《我愛(ài)這土地》

艾青詩(shī)歌藝術(shù)特色：（1）現(xiàn)實(shí)主義藝術(shù)精神

（2）善于運(yùn)用生動(dòng)準(zhǔn)確的意向，寄情言志（3）具有別具一格的散文美

《大堰河——我的保姆》的藝術(shù)特色：

（1）通過(guò)典型意象的描寫，塑造了大堰河的形象

（2）成功通過(guò)排比、對(duì)比等多種手法，借以抒發(fā)感情，起到了情深意愿的藝術(shù)效果

（3）濃厚的生活氣息、鄉(xiāng)土氣息

（4）語(yǔ)言樸素清新，滿含激情，句式自由，不拘一格，具有散文美 《手推車》的藝術(shù)特色：

（1）真摯濃烈的情感：表達(dá)對(duì)民族悲慘命運(yùn)的同情，對(duì)人民堅(jiān)毅品格的贊賞，對(duì)造成民族和人民苦難的一切因素的抗議（2）語(yǔ)言樸實(shí)（3）結(jié)構(gòu)重復(fù)：

（4）運(yùn)用動(dòng)靜結(jié)合、色彩與聲音相結(jié)合的電影化的表達(dá)效果

九葉詩(shī)派 ：是40年代中后期形成的一個(gè)追求現(xiàn)實(shí)主義與現(xiàn)代主義相結(jié)合的以《詩(shī)創(chuàng)造》、《中國(guó)新詩(shī)》為主要陣地的詩(shī)歌流派，代表人物是辛笛、陳敬容、杜運(yùn)燮、曹辛之、鄭敏、唐祈、唐湜、袁可嘉、穆旦九人，1981年江蘇人民出版社出版了40年代九人詩(shī)選《九葉集》后，才有“九葉詩(shī)派”之稱。他們?cè)谖膶W(xué)觀念上，首先主張的就是“人的文學(xué)”，“人民的文學(xué)”和“生命的文學(xué)的綜合”。他們既反對(duì)逃避現(xiàn)實(shí)的唯藝術(shù)論，也反對(duì)扼殺藝術(shù)的唯功利論，而企圖在現(xiàn)實(shí)和藝術(shù)之間求得恰當(dāng)?shù)钠胶狻＞湃~詩(shī)人在藝術(shù)上反對(duì)浪漫主義詩(shī)風(fēng)，而致力于新詩(shī)的現(xiàn)代化建設(shè)和“感受力的革命”旨在使詩(shī)成為現(xiàn)實(shí)，象征和玄學(xué)的融匯。在內(nèi)容上，九葉詩(shī)派的詩(shī)歌既具有強(qiáng)烈的現(xiàn)實(shí)感甚至政治內(nèi)容，又富有超越性的形而上沉思。在藝術(shù)表現(xiàn)上，九葉詩(shī)派的詩(shī)歌既有豐富的感覺(jué)意象，又表現(xiàn)出鮮明的知性特征。代表詩(shī)作有穆旦的《活下來(lái)》、唐祈的《三弦琴》、鄭敏的《金黃的稻穗》等

30年代新詩(shī)（現(xiàn)代派詩(shī)歌）：

戴望舒詩(shī)歌創(chuàng)作成就 《雨巷》 《我底記憶》

（1）以詩(shī)歌的情緒節(jié)奏來(lái)代替字句節(jié)奏，凸顯了詩(shī)歌的主情功能，又大大增強(qiáng)的詩(shī)歌語(yǔ)言的表現(xiàn)能力。例如《我底記憶》選用了親切自然的口吻，敘說(shuō)著詩(shī)人幽怨哀郁卻真實(shí)的心境，注意情緒流動(dòng)的自然，所有的藝術(shù)手段都服從于娓娓訴說(shuō)式的特定情調(diào)。意象物境日常生活化，詩(shī)句的排列自由化。

（2）將散文化的句式和現(xiàn)代日常生活融入新詩(shī)，大大增強(qiáng)了詩(shī)歌語(yǔ)言的表現(xiàn)力。例如江南“雨巷”的凝視，一切有靈魂沒(méi)有靈魂的東西的“記憶”，深閉而荒蕪的“園子”，相對(duì)而視的一盞“燈”《秋蠅》中一只寒風(fēng)中垂死的“秋蠅”都開(kāi)掘出了令人深思凝望的詩(shī)意。（3）將中國(guó)古典詩(shī)歌的文化意蘊(yùn)（意境，意象）與西方現(xiàn)代主義詩(shī)歌的創(chuàng)作手法（隱喻，象征）相結(jié)合，推動(dòng)力中國(guó)現(xiàn)代詩(shī)歌的發(fā)展。例如《印象》連用七個(gè)意象組合成一個(gè)虛幻飄渺的境界，來(lái)暗示某種縹緲恍惚的記憶，情思隱約，意境深邃。在“雨巷”階段主要受魏爾倫的影響，追求詩(shī)的音樂(lè)性和形象的流動(dòng)性，以及主題的朦朧性。《雨巷》的音樂(lè)美表現(xiàn)：

（1）大量融入運(yùn)用現(xiàn)代漢語(yǔ)中的雙音節(jié)詞，將雙聲連綿詞和疊音詞融入其中。例如《雨巷》第一節(jié)中的“彷、徨，長(zhǎng)、寥、巷”等都是采用“a”韻，而“悠長(zhǎng)“等重疊詞舒緩語(yǔ)氣的作用，使詩(shī)的節(jié)奏更鮮明。

（2）首位音節(jié)的大回環(huán)。例如詩(shī)歌的第一節(jié)和最后一節(jié)內(nèi)容的重復(fù)，使詩(shī)歌首尾呼應(yīng)，加重了詩(shī)人的哀彷與幽怨，使詩(shī)歌傳達(dá)著詩(shī)中主人公彷徨、空虛、寂寥、無(wú)助之感。

（3）押韻，不僅每節(jié)詩(shī)中講求押韻，而且還使用間韻‘江揚(yáng)’韻貫穿全篇，全詩(shī)二十四行，屬于相鄰江揚(yáng)韻的字有64個(gè)。例如第一節(jié)中的“彷、徨，長(zhǎng)、巷、香、娘”等字，都是采用押韻，使詩(shī)句讀起來(lái)朗朗上口，從頭到尾不換韻，使全詩(shī)流露出回蕩的旋律和流暢的節(jié)奏，使全詩(shī)都具有一種獨(dú)特的音樂(lè)美，詩(shī)自由化，不受限制。

卞之琳 《斷章》

你站在橋上看風(fēng)景，看風(fēng)景的人在樓上看你。明月裝飾了你的窗子，你裝飾了別人的夢(mèng)。

賞析：以兩組具體物象構(gòu)成的圖景中主客位置的調(diào)換，隱藏了詩(shī)人關(guān)于人生、事物、社會(huì)等存在的相關(guān)關(guān)聯(lián)關(guān)系的普遍性哲學(xué)的思考。在詩(shī)人看來(lái)，一切事物都不是孤立地存在，而是與其他事物相對(duì)關(guān)聯(lián)而存在的，事物相對(duì)關(guān)聯(lián)與運(yùn)動(dòng)的變化是永恒的規(guī)律。林庚 《春天的心》

40年代小說(shuō)

錢鐘書 《圍城》主題：

（1）顯性層面：從側(cè)面表現(xiàn)抗戰(zhàn)環(huán)境下一部分知識(shí)分子空虛無(wú)聊的精神狀態(tài)

（2）文化反省層面：通過(guò)對(duì)這群文人的人物刻畫，反省批判了中國(guó)知識(shí)分子的臉面觀（3）哲理層面：揭示人生處處皆圍城的寓意，并展示了現(xiàn)代人的生存困境 《圍城》語(yǔ)言藝術(shù)：

（1）諷刺：隨意性、廣泛性（無(wú)人不諷，無(wú)事不諷）（2）比喻：新奇、幽默風(fēng)趣、知識(shí)性 《圍城》人物形象分析：

方鴻漸：是個(gè)讓人倍感親切的人，也是深得女性喜愛(ài)的人物。他也是個(gè)“很會(huì)說(shuō)話”的人，貧嘴滑舌地能逗人開(kāi)心。但他又是一個(gè)悲劇性的人物，他沒(méi)有能力把握自己的人生。無(wú)論在職業(yè)上還是在愛(ài)情上，他都無(wú)力處理好，是一個(gè)失敗者，是他自己性格把他自己送進(jìn)了人生的圍城。

張愛(ài)玲《金鎖記》藝術(shù)特色：（1）意象豐富、新穎、別致

（2）介乎雅俗、新舊之間的語(yǔ)言風(fēng)格（文言句式的使用）（3）電影技法、外國(guó)語(yǔ)言技法的借用（4）獨(dú)特的講故事視角 《金鎖記》中人物分析：

七巧：是個(gè)悲劇人物，是一個(gè)封建禮教制度的受害者。丈夫是個(gè)“骨癆”病人，她正常的情欲因難以滿足而受到壓抑，是個(gè)被鎖在黃金枷鎖里的女人。七巧還是一個(gè)人性扭曲,患有畸形心理的,尖酸刻薄的潑婦,虐待狂.但她也不乏人性善良的一面。

長(zhǎng)安：她也是一個(gè)悲劇角色，相較于七巧的瘋狂，她的悲劇更讓人同情。她的悲劇是母親七巧一手造成的。她軟弱，但她的軟弱并不是絕對(duì)的軟弱，她也有堅(jiān)強(qiáng)的一面，也有過(guò)抗?fàn)?，只是她的抗?fàn)幵谀赣H面前不堪一擊。對(duì)于婚姻，她是一個(gè)很純潔的人。她希望能有一點(diǎn)幸福，希望能夠好好找一個(gè)人。

蕭紅《小城三月》藝術(shù)特色：[她的小說(shuō)具有散文美和詩(shī)畫美。a,小說(shuō)具有散文化、抒情詩(shī)化、繪畫化的特點(diǎn)。b,女性意識(shí) 抒情特色1.塑造了一個(gè)抒情主人公2.象征隱喻手法的運(yùn)用]（1）生活化的場(chǎng)景呈現(xiàn)人、物活動(dòng)（2）童年視角，回憶往事（3）以民情民俗作為人事活動(dòng)背景（4）設(shè)置自我抒情主人公（5）象征隱喻的使用

沙汀《在其香居茶館里》藝術(shù)特色：

（1）借冷靜、客觀、寫實(shí)的筆墨描寫可憎可笑的人與事，從而進(jìn)行辛辣的諷刺（2）場(chǎng)面描寫充滿生活氣息、地方色彩（3）精湛的結(jié)構(gòu)特征，明暗線交織 《在其香居茶館里》人物形象分析：

方治國(guó)：國(guó)民黨政權(quán)基層組織的當(dāng)權(quán)者，憑借手中的權(quán)力貪贓枉法，敲詐民財(cái)，見(jiàn)錢就拿。陰險(xiǎn)狡詐，是個(gè)“軟硬人”：碰見(jiàn)老虎他是綿羊，如果對(duì)方是綿羊，他又變成老虎了。邢么吵吵：是回龍鎮(zhèn)有錢有勢(shì)、慣于仗勢(shì)欺人的地方豪紳，實(shí)力派。他的性格特點(diǎn)是粗野。因?yàn)橛袕?qiáng)硬的后臺(tái)，所以在這場(chǎng)沖突中表現(xiàn)得粗魯而蠻橫，但也絕非是頭腦簡(jiǎn)單的草包?！叭洝保骸短越鹩洝贰ⅰ独ЙF記》、《還鄉(xiāng)記》

老舍《茶館》三部：第一部《惶惑》、第二部《偷生》、第三部《饑荒》 趙樹(shù)理的評(píng)書體小說(shuō)：

（1）結(jié)構(gòu)上，吸收評(píng)書藝術(shù)以人物帶出故事、以小故事構(gòu)成情節(jié)的方法。（2）敘述上，多用白描，抓住特征，簡(jiǎn)約干練。（3）具有故事相綴、結(jié)構(gòu)單線、語(yǔ)言通俗的特點(diǎn)。

趙樹(shù)理三大代表作：《小二黑結(jié)婚》、《李有才板話》、《李家莊的變遷》、《萬(wàn)象樓》 《小二黑結(jié)婚》藝術(shù)特色：

（1）揚(yáng)棄傳統(tǒng)章回體小說(shuō)的程式化框架，吸取其講究情節(jié)連貫性、完整性的優(yōu)點(diǎn)。全文十二章，各有其小標(biāo)題，它們即可獨(dú)立成章，又可連接成文，人物故事交代有始有終。

（2）將小說(shuō)當(dāng)通俗故事來(lái)寫，并吸取評(píng)書體小說(shuō)寫法，將情節(jié)描寫與人物塑造融入故事講述中，簡(jiǎn)約明快。

（3）語(yǔ)言口語(yǔ)化、通俗化，富有幽默感?！缎《诮Y(jié)婚》人物分析：

小二黑、小芹：他們是新一代農(nóng)民的代表，在婚姻愛(ài)情問(wèn)題上，他們完全擺脫了封建迷信思想和傳統(tǒng)舊觀念的束縛，敢于大膽公開(kāi)、理直氣壯的表明自己的觀點(diǎn)和態(tài)度。他們敢愛(ài)敢恨、敢于追求自己的幸福、敢于為此作斗爭(zhēng)。

二諸葛、三仙姑：深受封建勢(shì)力壓迫和封建思想荼毒、以舊觀點(diǎn)舊思想處世、最終有所改變的老農(nóng)民形象。

趙樹(shù)理的創(chuàng)作貢獻(xiàn)：

（1）以新的生活和新的主題開(kāi)創(chuàng)了現(xiàn)代文學(xué)的新格局。反映了根據(jù)地解放區(qū)農(nóng)村巨大的歷史性變革，既寫了新時(shí)代條件下，農(nóng)村各階層的沖突，又重點(diǎn)表現(xiàn)了民主思想與封建觀念的沖突。

（2）趙樹(shù)理為新文學(xué)小說(shuō)人物系列中增添的翻身農(nóng)民的新形象。

（3）在小說(shuō)藝術(shù)通俗化、藝術(shù)化方面，為現(xiàn)代小說(shuō)提供了藝術(shù)經(jīng)驗(yàn)。吸取了中國(guó)古典小說(shuō)與民間說(shuō)唱藝術(shù)中有生命的東西，融合了五四以來(lái)新小說(shuō)的長(zhǎng)處，視情節(jié)、故事為小說(shuō)的基本結(jié)構(gòu)方式，作品的完整性是和情節(jié)的連貫性聯(lián)在一起的。

（4）他把北方農(nóng)民的口語(yǔ)融匯在人物對(duì)話和敘述過(guò)程之中，通俗而不庸俗，口語(yǔ)化而又有藝術(shù)感染力，看似淺近卻耐人尋味。

（5）把現(xiàn)代審美與傳統(tǒng)民間審美成分有機(jī)融合在一起，把五四文學(xué)精神與鄉(xiāng)村文化調(diào)制在一起，以現(xiàn)代知識(shí)分子特有的理性意識(shí)、憂患意識(shí)寫出了中國(guó)農(nóng)民在現(xiàn)代革命中那痛苦艱難的精神變革歷程。孫梨該期的的小說(shuō)代表作《荷花淀》《蘆花蕩》《囑咐》 抗戰(zhàn)時(shí)期的朗誦詩(shī)人：高蘭 代表作：《哭亡女蘇菲》（悼念病逝的女兒）、《我們的祭禮》（紀(jì)念魯迅逝世一周年而作）

田間 代表作 《假如不去打仗》 《給戰(zhàn)斗者》

詞：光未然（張光年）曲：冼星海 《黃河大合唱》 抗戰(zhàn)初期朗誦詩(shī)歌的社會(huì)功用： 1.作品多以愛(ài)國(guó)主義為主題，表現(xiàn)抗戰(zhàn)初期昂奮的民族情緒和時(shí)代氣氛。抒情的方式大多是宣言式的戰(zhàn)斗吶喊，同時(shí)加入了大量的議論。這適應(yīng)了現(xiàn)實(shí)性、戰(zhàn)斗性的時(shí)代要求，容易產(chǎn)生鼓動(dòng)性效果，卻難免空乏，失去了詩(shī)歌應(yīng)有的審美效果。

2.民族的形象、民族的命運(yùn)和民族的感情與意志在其中得到了強(qiáng)有力的表現(xiàn)。

郭沫若的浪漫主義歷史劇觀：[20年代《三個(gè)叛逆的女性》40年代六部大型歷史劇《棠棣之花》《屈原》《虎符》《高漸離》《孔雀膽》《南冠草》

（1）“實(shí)事求似”觀，以求似，傳達(dá)出真正的歷史精神，失事在歷史框架內(nèi)大膽假設(shè)（2）借古諷今觀，在歷史精神和現(xiàn)實(shí)精神之間找到契合點(diǎn)（3）詩(shī)情觀，歷史劇中的詩(shī)的靈魂，詩(shī)的意趣，詩(shī)的韻律 《屈原》的浪漫主義特色：

（1）以情用史，將人物理想化，例如：屈原潛到漢北以圖再起，虛構(gòu)史實(shí)，例如：女弟子?jì)染?/p>

（2）以情寫戲，情節(jié)線索與情感線索雙向推進(jìn)，同步發(fā)展。例如：第一幕，交代人物關(guān)系，第二幕出現(xiàn)沖突高潮由鄭袖陷害而激起屈原憤怒情緒，接著城外交鋒、南后下毒，沖突層層推進(jìn)，情節(jié)推向高潮，感情也推向大爆發(fā)。這里，情節(jié)設(shè)置的目的是為了讓人物詩(shī)意的展現(xiàn)內(nèi)心世界。

（3）以情寫人，屈原既是歷史人物，又是作者自己，屈原是作者的感情噴火口?！肚返娜宋镄蜗螅?/p>

屈原：（1）愛(ài)國(guó)者的悲劇，屈原愛(ài)國(guó)愛(ài)民的堅(jiān)定立場(chǎng)，合縱抗秦的正確主張和不屈不撓的斗爭(zhēng)在主降派的陷害和楚懷王的問(wèn)罪中遭到了毀滅。

（2）高尚者的悲劇，屈原忠貞高潔，光明磊落，卻在邪惡勢(shì)力的造謠中身敗名裂

夏衍《上海屋檐下》現(xiàn)實(shí)主義題材 田漢《秋聲賦》、《風(fēng)雨同舟》（多場(chǎng)式戲劇結(jié)構(gòu)）以報(bào)告員串起全劇，多頭線索有條不紊，靈活歸一 40年代國(guó)統(tǒng)區(qū)戲劇發(fā)展特點(diǎn)：（1）風(fēng)格上，由冷變熱（2）形式上，由獨(dú)幕到多幕

（3）取材上，由以現(xiàn)實(shí)題材為主到以歷史題材為主

延安文藝座談會(huì)講話： 毛澤東分別于1942年5月2日、5月23日在延安文藝座談會(huì)上作了重要講話?！吨v話》的中心是解決文藝為群眾及如何為群眾的問(wèn)題，目的是求得文藝對(duì)革命的有力配合.a,要求文藝工作者站在無(wú)產(chǎn)階級(jí)立場(chǎng)上，使文藝為人民大眾，首先為工農(nóng)兵服務(wù)?！吨v話》從解放區(qū)的實(shí)際出發(fā)，要求文藝工作者在學(xué)習(xí)馬克思主義的同時(shí)，必須深入工農(nóng)兵群眾，深入實(shí)際斗爭(zhēng)。

b.指明“在普及基礎(chǔ)上提高”和“在提高基礎(chǔ)上普及”的辯證關(guān)系 c.對(duì)解放區(qū)文學(xué)和新中國(guó)文學(xué)產(chǎn)生了巨大影響，在文藝與政治的關(guān)系的論證中，強(qiáng)調(diào)文藝從屬于政治，并提出政治標(biāo)準(zhǔn)第一，文藝標(biāo)準(zhǔn)第二

影響：1.確立了新中國(guó)建國(guó)后幾十年間的文藝走向。2.對(duì)文藝自身的特點(diǎn)和規(guī)律沒(méi)有給予充分重視，對(duì)文藝自身的發(fā)展起到了一定程度上的阻礙作用。