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.
我并不知道她的近况，以前也不曾得知她的名字。然而我却觉得我从她几十年倾心照料的花园里了解了她。
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.
她住在一所离我家两英里远的房子里——典型的十九世纪中页新泽西海边建筑：简单的双层结构，布局方正，房檐弯曲，线条古朴。
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.
她的花园也同样简单。她并不像传统的花园主那样万事随书，她只遵循一些常见的建议来增加她的植物，因此从春天的第一朵番红花到秋天的最后一朵菊花，她的花园总是有绽放的花朵。高者置于长青植物之后，矮者置于之前，而中等高度的置于中间，其中偶尔穿插一些例外来形戏剧化的特色，这样的规则她从不遵循。
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.
在她的花园里，处处都是特色，植物都很高，很明显她只钟爱三种植物：玫瑰，铁线莲和百合，并没有特意设计，只是随意地混合生长的它们产生了一种令人愉悦的效果。
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.
她种了十几种铁线莲,也许总共有50株植物,通过整枝和捆绑它们就会爬上金属杆, 在整个夏天，每个金属杆都会陆续被一圈缤纷而丰富的的深紫色,深红色,淡紫色,浅蓝色和明亮的白色的大花朵加冕
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 stu rugosa rose ck directly in the ground and protected by upended gallon jugs.
她欣赏玫瑰的口味是老式的。没有一株现代杂种香水玫瑰或丰花玫瑰。相反,她喜欢其他时代的玫瑰——约克玫瑰和兰开斯特玫瑰,洋玫瑰，大马士革玫瑰等
几个品种。她自己繁殖她的玫瑰，通过将玫瑰直接扦插在地上并用倒立的加仑壶来保护。
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.
百合,我相信是她的最爱。除了一些白百合花其他的都不可能叫出它们的名字,因为木制的花盆随意地立在花坛上,所有的花盆里都密密地种植着深绿色的百合幼苗。偶尔的从种荚中飘出的写着日期的纸标签和杂交的记录显示,她是一个特别喜欢温暖的渐变香瓜色或淡柠檬黄色百合花的业余杂交者。
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.”
她乐于分享自己的花园。在她花园的路边有一块牌子，上面写着：“这是我的花园，欢迎来这里参观。你可以把这里的美景尽收眼底，但不要随手拿走这里的东西。”
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.
直到五年前，她的花园还总是被悉心地照料着。草坪肥沃平坦，花坛鲜有杂草，高高的百合花也被小心翼翼地系在桩上。但是，相继发生了一些事情。我不知道具体是什么事情，但是修剪草坪的次数渐渐得少了，随后就干脆不修剪了。高高的杂草侵犯了玫瑰花、铁线莲和百合花的生长区域。她前庭院的榆树渐渐枯萎凋亡，当海风来袭，吹下来的树枝也再也没被移走。
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.
每过一年，这种坐视不管就愈发严重。野生的忍冬花和蜀羊泉肆意地在花园里疯长。漆树、臭椿、毒漆藤和一些其它的不速之客威胁着所剩无几的几株苟延残喘的玫瑰花、铁线莲和百合花。
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.
去年，这所房子本身也“死”去了。前门被锁上，窗户也被几张胶合板覆盖。几个月来，低价出售的牌子一直挂在前面，替换掉了之前邀请陌生人分享她的花园的牌子。
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.
(选自Patterns: A Short Prose Reader, by Mary Lou Conlin, published by Houghton Mifflin Company, 1983.)
建筑类词汇：
boxy
steeply-pitched roof
unadorned lines
common
植物类术语：
crocus
chrysanthemum
floribunda
clematis
the York and Lancaster rose
the cabbage rose
Madonna lilies
the damask and the rugosa rose
wild honeysuckle
bittersweet
Sumac
ailanthus
poison ivy
perennial
accent（花艺术语）
promiscuously
propagated
cuttings
upended
wooden flats
paper tag
seed pod
hybridizer muskmelon lemon yellow. curb
free of staked invaded padlocked plywood thicket trespass swing set, barbecue grill sensible
On Irritability Irritability is the tendency to get upset for reasons that seem – to other people – to be pretty minor. Your partner asks you how work went and the way they ask makes you feel intensely agitated. Your partner is putting knives and forks on the table before dinner and you mention (not for the first time) that the fork should go on the left hand side, not the right. They then immediately let out a huge sigh and sweep the cutlery onto the floor and tell you that you can xxxx-ing do it yourself if you know better. It was the most minor of criticisms and technically quite correct. And now they’ve exploded. There is so much irritability around and it exacts a huge daily cost on our collective lives, so we deserve to get a lot more curious about it: what is really going on for the irritable person? Why, really, are they getting so agitated? And instead of blaming them for getting het up about “little things”, we should do them the honour of working out why, in fact, these things may not be so minor after all. The journey begins by recognising the role of fear in irritability in couples. Behind most outbursts are cack-handed attempts to teach the other person something. There are things we’d like to point out, flaws that we can discern, remarks w e feel we really must make, but our awareness of how to proceed is panicked and hasty. We give cack-handed, mean speeches, which bear no faith in the legitimacy (even the nobility) of the act of imparting advice. And when our partners are on the receiving end of these irritable “lessons”, they of course swiftly grow defensive and brittle in the face of suggestions which seem more like mean-minded and senseless assaults on their very natures rather than caring, gentle attempts to address troublesome aspects of joint life. The prerequisite of calm in a teacher is a degree of indifference as to the success or failure of the lesson. One naturally wants for things to go well, but if an obdurate pupil flunks trigonometry, it is – at base – their problem. Tempers can stay even because individual students do not have very much power over teachers’ lives. Fortunately, as not caring too much turns out to be a critical aspect of successful pedagogy. Yet this isn’t an option open to the fearful, irritable lover. They feel ineluctably led to deliver their “lessons” in a cataclysmic, frenzied manner (the door slams very loudly indeed) not because they are insane or vile (though one could easily draw these
Irritability is the tendency to get upset for reasons that seem – to other people – to be pretty minor. Your partner asks you how work went and the way they ask makes you feel intensely agitated. Your partner is putting knives and forks on the table before dinner and you mention (not for the first time) that the fork should go on the left hand side, not the right. They then immediately let out a huge sigh and sweep the cutlery onto the floor and tell you that you can xxxx-ing do it yourself if you know better. It was the most minor of criticisms and technically quite correct. And now they’ve exploded. There is so much irritability around and it exacts a huge daily cost on our collective lives, so we deserve to get a lot more curious about it: what is really going on for the irritable person? Why, really, are they getting so agitated? And instead of blaming them for getting het up about “little things”, we should do them the honour of working out why, in fact, these things may not be so minor after all.
鱼我所欲也 鱼，我所欲也，熊掌，亦我所欲也，二者不可得兼， 想要也两种东西同时得到 鱼是我喜爱的东西，熊掌也是我喜爱的东西；(如果)这两种东西不能同时得到, 舍鱼而取熊掌者也。生，亦我所欲也， 选取表判断语气词 (那么),(我要)舍弃鱼，而选取熊掌。生命,是我喜爱的东西， 义，亦我所欲也，二者不可得兼，舍生而取义者也。 也两种东西 正义,也是我喜爱的东西，(如果)这两种东西不能同时得到，(我就要)舍弃生命，而选取正义。 生亦我所欲，所欲有甚于生者， 胜过，超过比 生命,是我喜爱的东西，(然而)我喜爱的还有超过生命的东西, 故不为苟得也。死亦我所恶， 所以做苟且这里是“苟且偷生”的意思厌恶 所以，（我）不去干苟且偷生的事情；死亡也是我厌恶的事情， 所恶有甚于死者，故患有所不辟也。 胜过，超过比祸患，灾难通“避”，躲避 （然而）我厌恶的还有超过死亡的事情，所以祸患也有（我）所不躲避的。 如使人之所欲莫甚于生，则凡可以得生者何不用也？ 假如，假使没有超过那么能够用来 假如人们喜爱的东西没有超过生命的，那么,凡是能够用来保全生命的方法，什么手段不可用呢！ 使人之所恶莫甚于死者，则凡可以辟患者何不为也？ 通“避”躲避做 假如人们厌恶的事情没有超过死亡的，那么，凡是能够用来躲避祸患（而保全生命）的手段，什么不可以去采由是则生而有不用也，由是则可以辟患而有不为也 这种方法手段就可是就可以可是 用呢？按照这种办法去做就能够生存,然而却有人不采用它,按照这种办法去做就能够避祸，然后而却是故所欲有甚于生者，所恶有甚于死者。 因此 不采用它。由此可见,(人们)喜爱的有比生命更宝贵的东西(那就是义)，(人们)厌恶的有比死亡更严重的事(那就是不义)。 非独贤者有是心也，人皆有之，贤者能勿丧耳。 不仅这样本性都贤者之心不丢失罢了 不仅仅贤人有这种本性，人人都有(这种思想)，(只不过)贤人能够不丧失罢了。 一箪食，一豆羹，得之则生，弗得则死。呼尔而与 古代盛饭用的圆竹器菜古代一种木制发乘食物的器具不吃没有礼貌地吆喝 一碗饭，一碗汤，吃了它便可以活下去，不吃它就要死亡。 (如果)没有礼貌地吆喝着给他(吃)，之，行道之人弗受；蹴尔而与之， 着给他不用脚踢给乞人 过路的饿人也不会接受; (如果)你用脚践踏过再给人吃
第二十届韩素音青年翻译奖竞赛参赛原文 1楼2008-05-14 15:00回复查看(800) 回复(2) 1楼 cathyhello cathy 积分2008等级6入室弟子 英译汉部分：Philosophy vs. Emerson (Excerpt)“HE is,” said Matthew Arnold of Emerson, “the friend and aider of those who would live in the spirit.” These well-known words are perhaps the best expression of the somewhat vague yet powerful and inspiring effect of Emerson,s courageous but disjointed philosophy. Descended from a long line of New England ministers, Emerson, finding himself fettered by even the most liberal ministry of his day, gently yet audaciously stepped down from the pulpit and, wi t h little or no modification in his interests or utterances, became the greatest lay preacher of his time. From the days of his undergraduate essay upon “The Present State of Ethical Philosophy” he continued to be preoccupied wi t h matters of conduct: whatever the object of his attention—an ancient poet, a fact in science, or an event in the morning newspaper—he contrives to extract from it a lesson which in his ringing, glistening style he drives home as an exhortation to a higher and more independent life. Historically, Emerson marks one of the largest reactions against the Calvinism of his ancestors. That stern creed had taught the depravity of man, the impossibility of a natural, unaided growth toward perfection, and the necessity of constant and anxious effort to win the unmerited reward of being numbered among the elect. Emerson starts with the assumption that the individual, if he can only come into possession of his natural excellence, is the most godlike of creatures. Instead of believing with the Calvinist that as a man grows better he becomes more unlike his natural self (and therefore can become better only by an act of divine mercy), Emerson believes that as a man grows in excellence he becomes more like his natural self. It is common to hear the expression, when one is deeply stirred, as by sublime music or a moving discourse: “That fairly lifted me out of myself.” Emerson would have said that such influences lift us into ourselves. For one of Emerson’s most fundamental and frequently recurring ideas is that of a “great nature in which we rest as the earth lies in the soft arms of the atmosphere,” an “Over-Soul, within which every man’s particular being is contained and made one wi t h all other,”which “evermore tends to pass into our thought and hand and become wisdom and virtue and power and beauty.”This is the incentive—the sublime incentive of approaching the perfection which is ours by nature and by divine intention—that Emerson holds out when he asks us to submit us to ourselves and to all instructive influences. Natur e, which he says“is loved by what is best in us,”is all about us, inviting our perception of its remotest and most cosmic principles by surrounding us with its simpler manifestations.“A man does not tie his shoe without recognizing laws which bind the fart hest regions of nature.”Thus man “carries the world in his head.” Whether he be a great scientist, proving by his discovery of a sweeping physical law that he has some such constructive sense as that which guides the universe, or whether he be a poet behol ding trees as“imperfect men,”who“seem to bemoan their imprisonment, rooted in the ground,”he is being brought into his own by perceiving “the virtue and pungency of the influence on the mind of material objects, whether inorganic or organized.”Ranging over time and space with astonishing rapidity and binding names and things together that no ordinary vision could connect, Emerson calls the Past also to witness the need of self-reliance and a steadfast obedience to intuition.The need of such independence, he thought, was particularly great for the
The Posteverything Generation I never expected to gain any new insight into the nature of my generation, or the changing landscape of American colleges, in Lit Theory. Lit Theory is supposed to be the class where you sit at the back of the room with every other jaded sophomore wearing skinny jeans, thick-framed glasses, an ironic tee-shirt and over-sized retro headphones, just waiting for lecture to be over so you can light up a Turkish Gold and walk to lunch while listening to Wilco. That’s pretty much the way I spent the course, too: through structuralism, formalism, gender theory, and post-colonialism, I was far too busy shuffling through my Ipod to see what the patriarchal world order of capitalist oppression had to do with Ethan Frome. But when we began to study postmodernism, something struck a chord with me and made me sit up and look anew at the seemingly blasé college-aged literati of which I was so self-consciously one. According to my textbook, the problem with defining postmodernism is that it’s i mpossible. The difficulty is that it is so...post. It defines itself so negatively against what came before it –naturalism, romanticism and the wild revolution of modernism –that it’s sometimes hard to see what it actually is. It denies that anything can be explained neatly or even at all. It is parodic, detached, strange, and sometimes menacing to traditionalists who do not understand it. Although it arose in the post-war west (the term was coined in 1949), the generation that has witnessed its ascendance has yet to come up with an explanation of what postmodern attitudes mean for the future of culture or society. The subject intrigued me because, in a class otherwise consumed by dead-letter theories, postmodernism remained an open book, tempting to the young and curious. But it also intrigued me because the question of what postmodernism –what a movement so post-everything, so reticent to define itself – is spoke to a larger question about the political and
鱼我所欲也① 《孟子》 鱼，我所欲也；熊掌，亦我所欲也。二者不可得兼，舍鱼而取熊掌者也。生，亦我所欲也；义，亦我所欲也。二者不可得兼，舍生而取义者也。生亦我所欲，所欲有甚于生者，故不为苟得②也；死亦我所恶，所恶有甚于死者，故患③有所不辟④也。如使⑤人之所欲莫甚于生，则凡可以得生者何不用也⑥？使人之所恶莫甚于死者，则凡可以辟患者何不为也？由是则生而有不用也；由是则可以辟患而有不为也。是故所欲有甚于生者，所恶有甚于死者。非独贤者有是心也，人皆有之，贤者能勿丧⑦耳。 一箪⑧食，一豆⑨羹，得之则生，弗得则死。呼尔而与之⑩，行道之人弗受；蹴?尔而与之，乞人不屑?也。万钟?则不辩?礼义而受之，万钟于我何加?焉！为宫室之美，妻妾之奉?，所识穷乏者得我与?？乡为身死而不受?，今为宫室之美为之；乡为身死而不受，今为妻妾之奉为之；乡为身死而不受，今为所识穷乏者得我而为之：是亦不可以已?乎？此之谓失其本心?。 ①选自《孟子·告子上》。标题是编者加的。②苟得：苟且取得，这里是“苟且偷生”的意思。③患：祸患，灾难。④辟：通“避”，躲避。⑤如使：假如，假使。⑥何不用也：什么手段不可用呢？⑦勿丧：不丢掉。⑧箪：古代盛饭用的
圆柱器。⑨豆：古代一种盛食物的器具。⑩呼尔而与之：意思是，没有礼貌地吆喝着给他。尔，助词。《礼记·檀弓》记载，有一年齐国大饥荒，黔敖在路上施舍粥。有一个饥饿的人用衣袖遮面走来，黔敖吆喝着让他吃粥。他说，我就是不肯吃嗟来之食才落到这般地步的。这人始终拒绝侮辱性的施舍，后来饿死了。?蹴（Cù）：用脚踢。?不屑：因轻视而不肯接受。?万钟：这里指高位厚禄。钟，古代的一种量器。?辩：通“辨”，辨别。?何加：有什么益处。?奉：侍奉。?所识穷乏者得我与：所认识的贫穷的人感激我吗？得，通“德”，恩惠，这里是感激的意思。与，通“欤”，语气助词。?乡为身死而不受：从前（为了“礼义”），宁愿死也不接受（施舍）。乡，通“向”，从前。?已：停止，放弃。?本心：天性，天良。 译文：鱼是我所喜爱的，熊掌也是我所喜爱的，如果这两种东西不能同时都得到的话，那么我就只好舍弃鱼而选取熊掌了。生命是我所喜爱的，大义也是我所喜爱的，如果这两样东西不能同时都具有的话，那么我就只好牺牲生命而选取大义了。生命是我所喜爱的，但我所喜爱的还有胜过生命的东西，所以我不做苟且偷生的事；死亡是我所厌恶的，但我所厌恶的还有超过死亡的事，所以有的灾祸我不躲避。如果人们所喜爱的东西没有超过生命的，那么凡是能够用来求得生存的手段，哪一样不可以采用呢？如果人们所厌恶的事情没有超过死亡的，那么凡是能够用来逃避灾祸的坏事，哪一桩不可以干呢？采用某种手段就能够活命，可是有的人却不肯采用；采用某种办法就能够躲避灾祸，可是有的人也不肯采用。由此可见，他们所喜爱的有比生命更宝贵的东西（那就是“义”）；他们所厌恶的，有比死亡更严重的事（那就是“不义”）。不仅贤人有这种本性，人人都有，不过贤人能够不丧失罢了。 一碗饭，一碗汤，得到就能够活下去，得不到就会饿死。可是轻蔑地、呵斥着给别人吃，过路的饥民也不肯接受；用脚踢着（或踩过）给别人吃，乞丐也不愿意接受。（可是有的人）见了“万钟”的优厚俸禄却不辨是否合乎礼仪就接受了。这样，优厚的俸禄对我有什么好处呢？是为了住宅的华丽、妻妾的侍奉和熟识的穷人感激我吗？从前为了礼义，宁愿死也不接受，现在（有人）为了住宅的华丽却接受了；从前为了礼义，宁愿死也不接受，现在（有人）为了妻妾的侍奉却接受了；从前为了礼义，宁愿死也不接受，现在（有人）为了熟识的穷人感激自己却接受了。这种做法不是可以让它停止了吗？这就叫做丧失了人所固有的羞恶廉耻之心【这就叫做丧失了人的天性】。
第二十六届“韩素音青年翻译奖”竞赛原文 英译汉竞赛原文： How the News Got Less Mean The most read article of all time on BuzzFeed contains no photographs of celebrity nip slips and no inflammatory ranting. It’s a series of photos called “21 pictures that will restore your fait h in humanity,” which has pulled in nearly 14 million visits so far. At Upworthy too, hope is the major draw. “This kid just died. What he left behind is wondtacular,” an Upworthy post about a terminally ill teen singer, earned 15 million views this summer and has raised more than $300,000 for cancer research. The recipe for attracting visitors to stories online is changing. Bloggers have traditionally turned to sarcasm and snark to draw attention. But the success of sites like BuzzFeed and Upworthy, whose philosophies embrace the viral nature of upbeat stories, hints that the Web craves positivity. The reason: social media. Researchers are discovering that people want to create positive images of themselves online by sharing upbeat stories. And with more people turning to Facebook and Twitter to find out what’s happening in the world, news stories may need to cheer up in order to court an audience. If social is the future of media, then optimistic stories might be media’s future. “When we started, the prevailing wisdom was that snark ruled the Internet,” says Eli Pariser, a co-founder of Upworthy. “And we just had a really different sense of what works.” “You don’t want to be that guy at the party who’s crazy and angry and ranting in the c orner—it’s the same for Twitter or Facebook,” he says. “Part of what we’re trying to do with Upworthy is give people the tools to express a conscientious, thoughtful and positive identity in social media.” And the science appears to support Pariser’s philosophy. In a recent study from the Massachusetts Institute of Technology, researchers found that “up votes,” showing that a visitor liked a comment or story, begat more up votes on comments on the site, but “down votes” did not do the same. In fact, a single up vote increased the likelihood that someone else would like a comment by 32%, whereas a down vote had no effect. People don’t want to support the cranky commenter, the critic or the troll. Nor do they want to be that negative personality online. In another study published in 2012, Jonah Berger, author of Contagious: Why Things Catch On and professor of marketing at the Wharton School of the University of Pennsylvania, monitored the most e-mailed stories produced by the New York Times for six months and found that positive stories were more likely to make the list than negative ones. “What we share [or like] is almost like the car we drive or the clothes we wear,” he says. “It
汉译英原文： 居在巷陌的寻常幸福 隐逸的生活似乎在传统意识中一直被认为是幸福的至高境界。但这种孤傲遁世同时也是孤独的，纯粹的隐者实属少数，而少数者的满足不能用来解读普世的幸福模样。 有道是小隐隐于野，大隐隐于市。真正的幸福并不隐逸，可以在街市而不是丛林中去寻找。 晨光，透过古色古香的雕花窗棂，给庭院里精致的盆景慢慢地化上一抹金黄的淡妆。那煎鸡蛋的“刺啦”声袅袅升起，空气中开始充斥着稚嫩的童音、汽车 启动的节奏、夫妻间甜蜜的道别，还有邻居们简单朴素的问好。巷陌中的这一切，忙碌却不混乱，活泼却不嘈杂，平淡却不厌烦。 巷尾的绿地虽然没有山野的苍翠欲滴，但是空气中弥漫着荒野中所没有的 生机。微黄的路灯下，每一张长椅都写着不同的心情，甜蜜与快乐、悲伤与喜悦，交织在一起，在静谧中缓缓发酵。谁也不会知道在下一个转角中会是怎样的惊喜，会是一家风格独特食客不断的小吃店？是一家放着爵士乐的酒吧？还是一家摆着高脚木凳、连空气都闲散的小小咖啡馆？坐在户外撑着遮阳伞的木椅上， 和新认识的朋友一边喝茶，一边谈着自己小小的生活，或许也是一种惬意。 一切，被时间打磨，被时间沉淀，终于形成了一种习惯，一种默契，一种文化。 和来家中做客的邻居朋友用同一种腔调巧妙地笑谑着身边的琐事，大家眯起的眼睛都默契地着同一种狡黠；和家人一起围在饭桌前，衔满食物的嘴还发着 含糊的声音，有些聒噪，但没人厌烦。 小巷虽然狭窄，却拉不住快乐蔓延的速度…… 随着城市里那些密集而冰冷的高楼大厦拔地而起，在拥堵的车流中，在污 浊的空气里，人们的幸福正在一点点地破碎，飘零。大家住得越来越宽敞，越来越私密。自我，也被划进一个单独的空间里，小心地不去触碰别人的心灵，也 不容许他人轻易介入。可是，一个人安静下来时会觉得，曾经厌烦的那些嘈杂回想起来很温情很怀念。 比起高楼耸立的曼哈顿，人们更加喜欢佛罗伦萨红色穹顶下被阳光淹没的古老巷道；比起在夜晚光辉璀璨的陆家嘴，人们会更喜欢充满孩子们打闹嬉笑的万航渡路。就算已苍然老去，支撑起梦境的应该是老房子暗灰的安详，吴侬软语的叫卖声，那一方氤氲过温馨和回忆的小弄堂。 如果用一双细腻的眼眸去观照，其实每一片青苔和爬山虎占据的墙角，是 墨绿色的诗篇，不会飘逸，不会豪放，只是那种平淡的幸福，简简单单。 幸福是什么模样，或许并不难回答。幸福就是一本摊开的诗篇，关于在城市的天空下，那些寻常巷陌的诗。 夜幕笼罩，那散落一地的万家灯火中，有多少寻常的幸福正蜗居在巷陌……
原文： 鱼,我所欲也;熊掌，亦我所欲也。二者不可得兼，舍鱼而取熊掌者也。生，亦我所欲也;义,亦我所欲也。二者不可得兼,舍生而取义者也。生亦我所欲,所欲有甚于生者，故不为（w éｉ）苟(gǒｕ)得也;死亦我所恶（wù),所恶(wù)有甚于死者,故患有所不辟(bì)也。如使人之所欲莫甚于生,则凡可以得生者何不用也?使人之所恶(wù)莫甚于死者,则凡可以辟(ｂì）患者何不为(wéi)也?由是则生而有不用也,由是则可以辟（bì)患而有不为(wéi）也。是故所欲有甚于生者,所恶(wù)有甚于死者。非独贤者有是心也，人皆有之,贤者能勿丧耳。 一箪(dān）食(shi)，一豆羹(gēng)，得之则生，弗（ｆú)得则死。呼尔而与之，行道之人弗受;蹴(cù)尔而与之，乞人不屑(xiè)也。 万钟则不辩礼义而受之，万钟于我何加焉!为（ｗèi）宫室之美,妻妾（qiè）之奉，所识穷乏者得(dé)我与(yú）?乡（xiàng)为身死而不受,今为(wèi)宫室之美为(wéi)之;乡（xｉàｎg)为身死而不受，今为妻妾(qiè)之奉为(wéi）之；乡(xiàｎg)为身死而不受,今为(wèi）所识穷乏者得(dé)我而为（wéi)之;是亦不可以已乎?此之谓失其本心。 译文 鱼是我所想要的,熊掌也是我所想要的，如果这两种东西不能同时得到，我宁愿舍弃鱼而选取熊掌。生命也是我所想要的，道义也是我所想要的，如果这两种东西不能同时得到,我宁愿舍弃生命而选取道义。生命是我所喜爱的,但我所喜爱的还有胜过生命的东西,所以我不做苟且偷生的事;死亡是我所厌恶的，但我所厌恶的还有超过死亡的事,所以有的灾祸我不躲避。如果人们所喜爱的东西没有超过生命的，那么凡是能够用来求得生存的手段，有什么不可以使用呢?如果人们所厌恶的事情没有超过死亡的，那么凡是能够用来逃避灾祸的方法哪会不采用呢?采用这种做法就能够活命,可是有的人却不肯采用；采用这种办法就能够躲避灾祸,可是有的人也不肯采用。是因为有比生命更想要的,有比死亡更厌恶的。并非只是贤人有这种本性，人人都有,只是贤人能够不丧失罢了。 一碗饭,一碗汤,吃了就能活下去,不吃就会饿死。没有礼貌的吆喝着给别人吃,过路的饥民也不肯接受；用脚踢着或踩过给别人吃，乞丐也不愿意接受。 可是有的人见了优厚的俸禄却不分辨是否合乎礼仪就接受了。这样，优厚的俸禄对我有什么好处呢?是为了住宅的华丽、妻妾的侍奉和熟识的穷人感激我吗？先前有的人宁肯死也不愿接受，现在有的人为了住宅的华丽却接受了;先前有的人宁肯死也不愿接受，现在有的人
第十三届“韩素音青年翻译奖”竞赛原文及参考译文（汉译英）2010-3-26 23:32|发布者: sisu04|查看: 881|评论: 0 摘要: 韩素音青年翻译奖 歌德之人生启示 宗白华 人生是什么？人生的真相如何？人生的意义何在？人生的目的是何？这些人生最重大最中心的问题，不只是古来一切大宗教家哲学家所殚精竭虑以求解答的。世界上第一流的大诗人凝神冥想，深入灵魂的幽邃，或纵身大化中，于一朵花中窥见天国，一滴露水参悟生命，然后用他们生花之笔，幻现层层世界，幕幕人生，归根也不外乎启示这生命的真相与意义。宗教家对这些问题的方法与态度是预言的说教的，哲学家是解释的说明的，诗人文豪是表现的启示的。荷马的长歌启示了希腊艺术文明幻美的人生与理想，但丁的神曲启示了中古基督教文化心灵的生活与信仰，莎士比亚的剧本表现了文艺复兴时人们的生活矛盾与权力意志。至于近代的，建筑于这三种文明精神之上而同时开展一个新时代，所谓近代人生，则由伟大的歌德以他的人格，生活，作品表现出它的特殊意义与内在的问题。 歌德对人生的启示有几层意义，几种方面。就人类全体讲，他的人格与生活可谓极尽了人类的可能性。他同时是诗人，科学家，政治家，思想家，他也是近代泛神论信仰的一个伟大的代表。他表现了西方文明自强不息的精神，又同时具有东方乐天知命宁静致远的智慧。德国哲学家息默尔（Simmel）说：“歌德的人生所以给我们以无穷兴奋与深沉的安慰的，就是他只是一个人，他只是极尽了人性，但却如此伟大，使我们对人类感到有希望，鼓动我们努力向前做一个人。“我们可以说歌德是世界一扇明窗，我们由他窥见了人生生命永恒幽邃奇丽广大的天空！ 再狭小范围，就欧洲文化的观点说，歌德确是代表文艺复兴以后近代人的心灵生活及其内在的问题。近代人失去了基督教对一超越上帝虔诚的信仰。人类精神上获得了解放，得到了自由；但也就同时失所依傍，彷徨摸索，苦闷，追求，欲在生活本身的努力中寻得人生的意义与价值。歌德是这时代精神伟大的代表，他的主著《浮士德》是这人生全部的反映与其问题的解决。歌德与其替身浮士德一生生活的内容就是尽量体验这近代人生特殊的精神意义，了解其悲剧而努力以解决其问题，指出解救之道。所以有人称他的浮士德是近代人的圣
摘要: 韩素音青年翻译奖 歌德之人生启示 宗白华 人生是什么人生的真相如何人生的意义何在人生的目的是何这些人生最重大最中心的问题，不只是古来一切大宗教家哲学家所殚精竭虑以求解答的。世界上第一流的大诗人凝神冥想，深入灵魂的幽邃，或纵身大化中，于一朵花中窥见天国，一滴露水参悟生命，然后用他们生花之笔，幻现层层世界，幕幕人生，归根也不外乎启示这生命的真相与意义。宗教家对这些问题的方法与态度是预言的说教的，哲学家是解释的说明的，诗人文豪是表现的启示的。荷马的长歌启示了希腊艺术文明幻美的人生与理想，但丁的神曲启示了中古基督教文化心灵的生活与信仰，莎士比亚的剧本表现了文艺复兴时人们的生活矛盾与权力意志。至于近代的，建筑于这三种文明精神之上而同时开展一个新时代，所谓近代人生，则由伟大的歌德以他的人格，生活，作品表现出它的特殊意义与内在的问题。 歌德对人生的启示有几层意义，几种方面。就人类全体讲，他的人格与生活可谓极尽了人类的可能性。他同时是诗人，科学家，政治家，思想家，他也是近代泛神论信仰的一个伟大的代表。他表现了西方文明自强不息的精神，又同时具有东方乐天知命宁静致远的智慧。德国哲学家息默尔（Simmel）说：“歌德的人生所以给我们以无穷兴奋与深沉的安慰的，就是他只是一个人，他只是极尽了人性，但却如此伟大，使我们对人类感到有希望，鼓动我们努力向前做一个人。“我们可以说歌德是世界一扇明窗，我们由他窥见了人生生命永恒幽邃奇丽广大的天空！ 再狭小范围，就欧洲文化的观点说，歌德确是代表文艺复兴以后近代人的心灵生活及其内在的问题。近代人失去了基督教对一超越上帝虔诚的信仰。人类精神上获得了解放，得到了自由；但也就同时失所依傍，彷徨摸索，苦闷，追求，欲在生活本身的努力中寻得人生的意义与价值。歌德是这时代精神伟大的代表，他的主著《浮士德》是这人生全部的反映与其问题的解决。歌德与其替身浮士德一生生活的内容就是尽量体验这近代人生特殊的精神意义，了解其悲剧而努力以解决其问题，指出解救之道。所以有人称他的浮士德是近代人的圣经。 但歌德与但丁莎士比亚不同的地方，就是他不单是由作品里启示我们人生真相，尤其在他自己的人格与生活中表现了人生广大精微的义谛。