翻译竞赛译文评析汉译英部分：
【概述】
本文是2000 年第十二届“韩素音青年翻译奖”汉译英部分的参赛原文。散文《霞》是冰心先生于1985 年写的一篇咏物抒怀的散文诗。文章虽短，但含义隽永、寓意深刻、充满哲理，反映出作者深邃的智慧、敏锐的洞察力，以及对于生命含义的感知。语言质朴平实、深入浅出、简洁凝练。文学作品的艺术性越高，语言风格越独特，翻译起来就越困难。出看《霞》，觉得其文字很简明，可是动手翻译时就发现要很好的再现作者的写作风格、原文的语言特色和文章的韵味并非易事，尤其是翻译散文、诗歌这类文体时，一定要挖掘出语言层面下的深层意蕴。
竞赛原文之
霞 1
四十年代初期，我在重庆郊外歌乐山闲居 2 时候，曾看到英文《读者文摘》上，有个很使我惊心的句子，是：
May there be enough clouds in your life to make a beautiful sunset.我在一篇短文里曾把它译成：“愿你的生命中有够多的云翳，来造成一个美丽的黄昏。”
其实，这个sunset 应当译成“落照”或“落霞”。 3
霞，是我的老朋友了 4 ！我童年在海边、在山上，她都是我的最熟悉最美丽的小伙伴。她每早每晚都在光明中和我说“早上好”或“明天见” 5 。但我直到几十年以后，才体会到云彩更多，霞光才愈美丽。从云翳中外露的霞光，才是璀璨多彩的。
生命中不是只有快乐，也不是只有痛苦，快乐和痛苦是相生相成，互相衬托的 6 。
快乐是一抹微云，痛苦是压城的乌云7 ，这不同的云彩，在你生命的天边重叠着，在“夕阳无限好” 8 的时候，就给你造成一个美丽的黄昏。
一个生命会到了“只是近黄昏”的时节，落霞也许会使人留恋、惆怅。但人类的生命是永不止息的。地球不停地绕着太阳自转。东方不亮西方亮，我床前的晚霞，正向美国东岸的慰冰湖上走去 (9)
【翻译要点评析】
1. “霞”这个字很重要，不仅贯穿全文，还具有深刻的含义。文章的前四个自然段是引子，讲述了作者四十多年前所读的一篇谈“生命”哲理的文章中引用过的“黄昏”被改为“落霞”，
再描写了儿时对朝霞和晚霞的美好回忆和几十年后从“霞”中悟出的人生哲理。下面一转，以霞和乌云作比喻谈及自己的苦乐观。对“霞”的译法可以有很多，如clouds, rosy cl ouds, sunglow, evening glow, the setting sunlight, the radiance of the sun, twilight 等等。从本文的语境中可知，“霞”包括朝霞和晚霞，也就是“彩色的云”，其寓意就是“生活中的快乐和美丽”，所以用rosy 比较贴切原意，而且rosy 作为形容词还有“有希望的”、“愉快的”之义，正好符合本文的内涵。标题被译作“ the rosy cloud ” 是为了和下文的“”在单数的形式上保持一致。
2. “闲居”从字面上看似乎可译作“ live an idle life/ live idly/ stay at home unoccupied/ rest ”，可是真正了解一下冰心在歌乐山的生活环境和她的生活习惯，就知道这些译法都不妥，因为冰心于1940 年底到重庆，从事文化救亡运动，曾主编《妇女文化》半月刊；她自己曾说过自己不喜欢住在城市，怕应酬；根据《辞源》的解释，“闲居”意为“避人独居”。把这个词译为“ live a retired/ secluded life ”更为恰当。
3. 本文中有三个自然段，也是三句话：①May there be enough clouds in yo ur life to make a beautiful sunset. ②我在一篇短文李曾把它译成：“愿你的生命中有够多的云翳，来造成一个美丽的黄昏。” ③其实，这个sunset 应当译成“落照”或“落霞”。在译成英语时，第一句话照抄就可以了，第二句话的引语“愿你的生命中……黄昏。”和第三句的“落照”或“落霞”该如何翻译呢？冰心所说的短文指她在1944 年12 月 1 日于歌乐山时写的名为《再寄小读者?通讯 4 》的文章。在文中，冰心先把这个英语句子译成汉语，又在括号里提供了英语句子，以便读者更准确的理解其意。从不懂汉语的英语读者考虑，可以用以下两种方法处理：第一，把汉语句子直接译成英语；第二，汉语句子先用拼音表示，然后在括号中译出句子的意思。第二种译法是目前海内外学者在处理这种情况时较常用的方法，详见参考译文。
4. “霞，是我的老朋友了！”采用了拟人的手法，用逗号把“霞”和“是我的老朋友了”隔开，是为了更突出“霞”，可译作“ She has been my dear old friend, the Rosy C loud ！”
5. “她每早每晚都在光明中和我说“早上好”或“明天见”。”中的“每早每晚”是译成时间状语还是解释为朝霞和晚霞呢？这个句子采用了拟人的手法，所以在译文中也最好保持原文的修辞手法，译作“ Bathed in the brilliant sunshine, she would say to m e “Good morning!” at dawn and “See you tomorrow!” at dusk. ”
6. “快乐和痛苦是相生相成，互相衬托的。”辞典上有“相生相克”和“相辅相成”，可以说这里的“相生相成”是冰心根据这两个成语造的一个新词。如果用释义的方法翻译，可译为“ Each growing out of the other, happiness and misery go hand in h and, complementing and setting off each other. ”虽然这种译法的表达具体、明确，但句子结构复杂、笨重，不符合冰心简洁明快的写作风格。译为“ Happines
s and misery beget, complement and set off each other. ”就比较符合
原文的风格。
7. 在翻译时，太过拘泥于原文词语的字面意思就会使译文不仅没有表达出原文的真正含义，更降低了译文的质量。如翻译“压城的乌云”时，译作“ dark clouds hanging over the city ”，而这个短语的真正意思是“痛苦就像使人感到压抑的乌云”，较好的译法是“Happiness is a wisp of fleecy cloud; misery a mass of threatening dark cloud. ”
8. “夕阳无限好”和后面的“只是近黄昏”是唐朝诗人李商隐（813-858 ）《乐游园》中的名句。在本文中，这两句充满文化内涵的诗被用来讨论生命的规律，所以在此处还是采
用意译的方法为好。详见参考译文。
9. “我床前的晚霞，正向美国东岸的慰冰湖上走去……”中这的地理名词对于中国人来说是比较陌生的，在翻译时应查找相关资料找出正确的译法，而不是想当然的译作“ Comfort ing Ice Lake/ Wakbin Lake/ Wheepin Lake/ Solace Ice Lake ”，而应是“ Lake Waban ”。“向……走去”在这里是表明云彩的飘逸，而这里又是拟人的表现手法，英语中的“ sail ”可以同时表明这两层意思，所以可译作“ The rosy sunset c loud is now sailing past my window towards Lake Waban on the e ast coast of America …”
【参考译文】
The Rosy Cloud
During the early 1940's I was living a retired life in the Gele Moun tains in the suburbs of Chongqing (Chungking). One day, while rea ding the English language magazine Reader's Digest I found a sent ence that touched me greatly. It read: “May there be enoug h cloud
s in your life to make a beautiful sunset.”
In a short article of mine, I quoted this sentence and translated it as “ Yuan ni de shengming zhong you guo duo de yunyi, lai zaoche ng yige meili de huanghun. ” (literally: May there be enough cloud
s in your life to make a beautiful sunset.)*
As I see it now, the word “sunset” in the English sentence should have been translated as luozhao (the glow at sunset) or luoxia (th
e rosy cloud at sunset), instead o
f dusk.
She has been my dear old friend, the Rosy Cloud! She was my clos est and most beautiful little companion when, in my childhood, I pl ayed on the beach or in the hills. Bathed in the brilliant sunshine, she would say to me “Good morning!” at dawn and “See you tomor row!” at dusk. But not until sever al decades later did I come to re alize that the more clouds there are the more beautiful the rays of sunlight will be, and the glow of the sun breaking through the clo uds becomes most resplendent and colorful.
Life contains neither unalloyed happiness nor mere misery. Happin ess and misery beget, complement and set off each other.
Happiness is a wisp of fleecy cloud; misery a mass of threatening dark cloud. These different clouds overlap on the horizon of your li fe to create a beautiful dusk for you when “the setting sun is most lovely indeed.”** or to create a beautiful dusk for you, just as the line goes"The setting sun is most lovely."
An individual's life must inevitably reach the point when “dusk is s o near,”*** and the rosy sunset cloud may make one n ostalgic and melancholy. But human life goes on and on. The Earth ceaselessly rotates on its axis around the sun. When it is dark in the east, it i s light in the west. The rosy sunset cloud is now sailing past my w indow towards Lake Waban on the east coast of America …
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.
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
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……
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。
“CATTI杯”第二十七届韩素音青年翻译奖竞赛 英译汉竞赛原文： 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 blasécollege-aged literati of which I was so self-consciously one. According to my textbook, the problem with defining postmodernism is that it’s impossible. 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 popular culture of today, of the other jaded sophomores sitting around me who had grown up in a postmodern world. In many ways, as a college-aged generation, we are also extremely post: post-Cold War, post-industrial, post-baby boom, post-9/11...at one point in his famous essay, “Postmodernism, or the Cultural Logic of Late Capitalism,” literary critic Frederic Jameson even calls us “post-literate.” We are a generation that is riding on the tail-end of a century of war and revolution that toppled civilizations, overturned repressive social orders, and left us with more privilege and opportunity than any other society in history. Ours could be an era to accomplish anything. And yet do we take to the streets and the airwaves and say “here we are, and this is what we demand”? Do we plant our flag of youthful rebellion on the mall in Washington and say “we are not leaving until we see change! Our eyes have been opened by our education and our conception of what is possible has been expanded by our privilege and we demand a better world because it is our right”? It would seem we do the opposite. We go to war without so much as questioning the rationale, we sign away our civil liberties, we say nothing when the Supreme Court uses Brown v. Board of Education to outlaw desegregation, and we sit back to watch the carnage on the evening news. On campus, we sign petitions, join organizations, put our names on mailing lists, make small-money contributions, volunteer a spare hour to tutor, and sport an entire wardrobe’s worth of Live Strong bracelets advertising our moderately priced opposition to everything from breast cancer to global warming. But what do we really stand for? Like a true postmodern generation we refuse to weave together an overarching narrative to our own political consciousness, to present a cast of inspirational or revolutionary characters on our public stage, or to define a specific philosophy. We are a story seemingly without direction or theme, structure or meaning – a generation defined negatively against what came before us. When Al Gore once said “It’s the combination of narcissism and nihilism that really defines postmodernism,” he might as well have been echoing his entire generation’s critique of our own. We are a generation for whom even revolution seems trite, and therefore as fair a target for bland imitation as anything else. We are the generation of the Che Geuvera tee-shirt.