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2402018年41期总第429期ENGLISH ON CAMPUS浅谈张培基英译散文的词汇翻译技巧——以《白杨礼赞》为例文/陈敏【摘要】著名翻译家张培基先生不仅在英译散文方面造诣颇深，而且在翻译理论上也做出了杰出贡献，所以研究他的翻译技巧具有重要的现实意义。
本文选取张培基先生《英译中国现代散文选》(一)中的《白杨礼赞》(张培基，2007)这篇译文作为分析文本，将从词汇上对译文翻译技巧进行分析，以期探析张培基先生的散文翻译技巧，为笔者之后的翻译学习提供借鉴之法。
【关键词】张培基；翻译技巧；《白杨礼赞》【作者简介】陈敏(1992.03.09-)，女，苗族，湖南麻阳苗族人，现阶段在浙江大学读研，硕士学位，研究方向：近代散文翻译。
前言张培基先生是著名的翻译家，他对中国近代散文的翻译做出了重大贡献。
许多学者已经对张培基先生的译文从进行了大量研究，但他们主要的研究方向是张培基先生的翻译风格，少有学者从单篇入手，深入分析他的翻译技巧。
另外，学者对《白杨礼赞》的译文研究少之甚少，所以笔者认为以《白杨礼赞》为文本研究张培基的翻译技巧颇具实际意义。
本文首先将从整体上对原文进行分析，进而从词汇方面对张培基先生《白杨礼赞》的译文进行探究。
一、《白杨礼赞》《白杨礼赞》是现代作家茅盾所写的一篇散文。
作者描写了生长在西北不屈不挠的白杨树，通过白杨树对比象征勤劳勇敢的北方农民，歌颂他们在民族解放斗争中坚强不屈的革命精神。
《白杨礼赞》通篇立意高远，结构严谨，引人深思。
尤其引人注意的是文章用词精炼，四字熟语，且中文特色化的表达居多。
因此，要翻译好《白杨礼赞》，并非易事。
二、翻译技巧探析1.名词的翻译。
(1)当汽车在望不到边际的高原上奔驰，扑入你视野的，是黄绿错综的一条大毡子。
When you travel by car through Northwest China’s boundless plateau, all you see before you is something like a huge yellow-and-green felt blanket.在翻译“扑入视野”的时候，张培基先生用动词来翻译名词“视野”一词，“all you see before you”的表达将静止的名词转换为具有动态的动词，更加生动地体现了作者的所见之景，给予读者一种动态之感，笔者认为此处名词转动词的翻译技巧堪称完美。
张培基英译文“快乐的死亡”赏析[摘要]《快乐的死亡》是当代著名作家陆文夫(1928－2005)的一篇独具特色的散文。
而张培基教授的英译文更是为散文翻译的典范。
本文以分析张培基教授的英译文中遣词造句主，同时也在跨句翻译上提出了自己的建议。
[关键词]快乐的死亡，遣词造句，跨句翻译散文作为一太文学样式，作为一种重要的文学体裁，而与诗歌、小说、戏剧文学并称。
其基本特点是：题材广泛多样，结构自由灵活，抒写真实感受，“形散而神不散”。
所谓“形散”，指取材广泛而不受时间、空间限制；所谓“神不散”，主要是从散文的立意说的，即它所要表达的中心思想必须明确而集中。
其表现形式可以分为抒情、叙事、论说三类。
这三类又可以分为许多具体样式，其中以小品文、杂文、报告文学、传记文学的地位为突出。
在结构上，散文注重层次．往往以生动简洁来打动读者的心扉。
在语言功能上，散文往往具备表情功能、信息功能、美感功能以及祈使功能。
在将汝语散文译成英语时，译文应充分地再现原文信息，达到与原文极其相似的功能，体现散文的风格特点，使译文的意义完整，语言流畅、地道。
张培基教授的《英译中国现代散文选》无疑是一本不是教材的好教材，一本让当代的西方人了解中国，了解中国人的思想脉搏的好教材。
本文试以《快乐的死亡》为例分析张培基教授在英译汉语散文给我们树立的典范。
1．关于《快乐的死亡》《快乐的死亡》是当代作家陆文写于1985年4月5日的一篇独具风格的散文佳作，针对性强，总体上通俗流畅，清新明快。
文章语言朴素，文笔优美，通过形象的比喻阐明事理．具体的叙述表现其内涵，深情的规戒予以警示，其意之切，其情之深，让人感动。
该文的主旨在于批评文艺界的一种不良倾向：一些作家不在创作上下功夫，拿不出优秀的文艺作品，却热衷于四处活动，追名逐利。
这种人无敬业之心，只有哗众取宠之行。
这种倾向是十分有害的，但又是当事者不易觉察的。
作者列举了这种倾向的种种表现，指出其严重后果，运用了形象的比喻，将这种艺术生命的终结比喻为“快乐的死亡”。
浅析张培基英译中国散文《故都的秋》中的句式结构调整邵婷婷外国语言文学学院 0802班 No.56摘要：《故都的秋》是中国现代散文的一篇具有代表性的佳作，张培基先生将其翻译成英文的过程中对原文的句式结构进行了调整，使得全文的韵味完美的展现。
在翻译的过程中，根据英语表达需要，张培基先生对主语、表语、状语、定语以及强调部分进行了调整。
关键词：汉英语言差异、汉英翻译、词序调整法A Brief Analysis of The Readjustment of Sentence Structure in the Translation of The ProseAutumn in Peiping by Zhang Peiji from Chinese to EnglishShao Tingting(College of Foreign Languages and Literature, class 0802 No.56)Abstract：Autumn in Peiping is a perfect representation of modern Chinese prose. In the translation from Chinese to English, Mr. Zhang Peiji adjusted the sentence structureby using inversion so as to show foreigners the intension of this prose. To meet theneed, Mr. Zhang typically inverts the place of the subject, the predictive, the adverbialmodifier, the attribute and the stressed part.Key Words: the difference between Chinese language and English language , Chinese-English translation, inversion引言据郁达夫日记记载，《故都的秋》这篇散文作于1934年8月17日，是他到北京的第四天。
《再说包装》（节录）吴冠中More on Packaging (Excerpt)Wu Guanzhong包装的本质是伪装。
Basically, packaging means false embellishment.要点：“伪装”在本文中应理解为“错误的装饰”，因此译为false embellishment.为了美观，略施装饰，无可厚非，斥之伪，有点刻薄。
商品离不开包装，离谱的包装，岂止伪，存心欺蒙顾客。
日本人很讲究包装，一个漂亮的大匣里面藏着精致的小匣，小匣里还有更小的匣，一层层的包装待你剥到底，最后裸露的往往只是一块小小的糖果。
Nevertheless, a little embellishment for the sake of nice appearance is not altogether inadvisable, and it is a bit harsh to denounce it as falsehood. Merchandise can never do without packaging, but going too far with it means something worse than falsehood—it is deliberate cheating. Japanese are very particular about packaging. Hidden inside one beautiful big box will be a number of gradually smaller delicate ones placed one inside another. You have to tear them off one by one until you finally hit on nothing but a tiny piece of candy.要点：1，此处的“无可厚非”，并没有译为beyond reproach,但此词的语气稍重，因此改译为is not altogether inadvisable.2，“离谱的包装”即“过分的包装”，译为going too far with it,或overdoing it, too much of it. 3，“一个漂亮的大匣里面藏着精致的小匣，小匣里还有更小的匣”译为Hidden inside one beautiful big box will be a number of gradually smaller delicate ones placed one inside another. 这种表方位的“有”字句，很容易译为there be，这种译法更加突出主语，值得学习！综述：注意第三点省去there be的用法。
《太阳》吴冠中The SunWu Guanzhong昨天，小公园里撒满了阳光，孩子们、老人们，喜洋洋一大群。
今天，太阳不见了，阴冷阴冷的冬天，像要下雪了。
公园里消失了人群，只有一个人裹着大衣低头独自行走，太阳的消失没有影响他独自行走，似乎他心中本来就没有太阳。
Yesterday, the small park was bathed in sunshine and lots of kids and elderly folks there enjoyed themselves very much. Today, the sun has disappeared. It is a cold and gloomy winter day and looks like snow. The park is deserted except for a solitary walker wrapped in an overcoat with his head bent low. The disappearance of the sun does affect his solitary walk at all. It seems that there is no sun in his heart.要点：1，“小公园里撒满了阳光”即“小公园沐浴在阳光下”译为the small park was bathed in sunshine，be bathed in形象地再现了当时的情形，《张》中还给出了另一种译法，Yesterday, lots of kids and elderly folks enjoyed themselves very much in the sun drenched small park.2，“只有一个人裹着大衣低头独自行走”多动词句，此处译者巧妙地将“独自行走”转译为名词walker，大大精简了句式，相似的例子还有《古城》中“那是一只灰色的铁鸟。
落花生我们屋后有半亩隙地。
母亲说，“让它荒芜着怪可惜，既然你们那么爱吃花生，就辟来做花生园罢。
”我们几姊弟和几个小丫头都很喜欢——买种的买种，动土的动土，灌园的灌园；过不了几个月，居然收获了!妈妈说：“今晚我们可以做一个收获节，也请你们爹爹来尝尝我们底新花生，如何?”我们都答应了。
母亲把花生做成好几样的食品，还吩咐这节期要在园里底茅亭举行。
那晚上底天色不太好，可是爹爹也到来，实在很难得!爹爹说：“你们爱吃花生么?”我们都争着答应：“爱!”“谁能把花生底好处说出来?”姊姊说：“花生底气味很美。
”哥哥说：“花生可以制油。
”我说：“无论何等人都可以用贱价买它来吃；都喜欢吃它。
这就是它的好处。
”爹爹说：“花生底用处固然很多；但有一样是很可贵的。
这小小的豆不像那好看的苹果、桃子、石榴，把它们底果实悬在枝上，鲜红嫩绿的颜色，令人一望而发生羡慕的心。
它只把果子埋在地底，等到成熟，才容人把它挖出来。
你们偶然看见一棵花生瑟缩地长在地上，不能立刻辨出它有没有果实，非得等到你接触它才能知道。
”我们都说：“是的。
”母亲也点头。
爹爹接下去说：“所以你们要像花生，因为它是有用的，不是伟大、好看的东西。
”我说：“那么，人要做有用的人，不要做伟大、体面的人了。
”爹爹说：“这是我对于你们的希望。
”我们谈到夜阑才散，所以花生食品虽然没有了，然而父亲底话现在还印在我心版上。
【译文】译文1为张培基译，选自张培基译注，1999年，《英译中国现代散文选》（汉英对照），上海：上海外语教育出版社。
PeanutsBehind our house there lay half a mu of vacant land. Mother said, "It's a pity to let it lie waste. Since you all like to eat peanuts so much, why not have them planted here. " That exhilarated us children and our servant girls as well, and soon we started buying seeds , ploughing the land and watering the plants . We gathered in a good harvest just after a couple of months !Mother said, "How about giving a party this evening to celebrate the harvest and invite your Daddy to have a taste of our newly-harvested peanuts?" We all agreed.Mother made quite a few varieties of goodies out of the peanuts, and told us that the party would be held in the thatched pavilion on the peanut plot.It looked like rain that evening, yet, to our great joy, Father came nevertheless."Do you like peanuts?" asked Father."Yes, we do! " We vied in giving the answer."Which of you could name the good things in peanuts?""Peanuts taste good , " said my elder sister."Peanuts produce edible oil, " said my elder brother."Peanuts are so cheap, " said I, "that anyone can afford to eat them. Peanuts are everyone's favourite . That's why we call peanuts good. ""It's true that peanuts have many uses, " said Father, "but they're most beloved in one respect. Unlike nice-looking apple, peaches and pomegranates, which hang their fruit on branchesand win people's instant admiration with their brilliant colours, tiny little peanuts bury themselves underground and remain unearthed until they're ripe . When you come upon a peanut plant lying curled up on the ground, you can never immediately tell whether or not it bears any nuts until you touch them. ""That's true," we said in unison. Mother also nodded. "So you must take after peanuts," Father continued , " because they're useful though not great and nice-looking. ""Then you mean one should be useful rather than great and nice-looking, " I said ."That's what I expect of you, " Father concluded .We kept chatting until the party broke up late at night. Today, though nothing is left of the goodi es made of peanuts, Father’s words remain engraved in my mind.译文2为刘士聪译，选自乔萍、翟淑蓉、宋洪玮编著，1999年，《散文佳作108篇》（汉英/英汉对照），南京：译林出版社。
匆匆朱自清[1]燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。
但是，聪明的，你告诉我，我们的日子为什么一去不复返呢？——是有人偷了他们罢：那是谁？又藏在何处呢？是他们自己逃走了罢：现在又到了那里呢？[2]我不知道他们给了我多少日子；但我的手确乎是渐渐空虚了。
在默默里算着，八千多日子已经从我手中溜去；像针尖上一滴水滴在大海里，我的日子滴在时间的流里，没有声音，也没有影子。
我不禁头涔涔而泪潸潸了。
[3]去的尽管去了，来的尽管来着；去来的中间，又怎样地匆匆呢？早上我起来的时候,小屋里射进两三方斜斜的太阳。
太阳他有脚啊，轻轻悄悄地挪移了；我也茫茫然跟着旋转。
于是——洗手的时候，日子从水盆里过去；吃饭的时候，日子从饭碗里过去；默默时，便从凝然的双眼前过去。
我觉察他去的匆匆了，伸出手遮挽时，他又从遮挽着的手边过去，天黑时，我躺在床上，他便伶伶俐俐地从我身上跨过，从我脚边飞去了。
等我睁开眼和太阳再见，这算又溜走了一日。
我掩着面叹息。
但是新来的日子的影儿又开始在叹息里闪过了。
[4]在逃去如飞的日子里，在千门万户的世界里的我能做些什么呢？只有徘徊罢了，只有匆匆罢了；在八千多日的匆匆里，除徘徊外，又剩些什么呢？过去的日子如轻烟，被微风吹散了，如薄雾，被初阳蒸融了；我留着些什么痕迹呢？我何曾留着像游丝样的痕迹呢？我赤裸裸来到这世界，转眼间也将赤裸裸的回去罢？但不能平的，为什么偏要白白走这一遭啊？[5]你聪明的，告诉我，我们的日子为什么一去不复返呢？（写于1922年3月18日）朱自清《踪迹》，1924：68-70 上海：亚东图书馆【译文一】Haste[1] The swallows may go, but they will return another day; the willows may wither, but they will turn green again; the peach blossoms may fade and fall, but they will bloom again. Y ou who are wiser than I, tell me, then: why is it that the days, once gone, never again return? Are they stolen by someone? Then, by whom? And where are they hidden? Or do they run away by themselves? Then, where are they now?[2] I do not know how many days I’ve been given, yet slowly but surely my supply is diminishing. Counting silently to myself, I can see that more than 8,000 of them have already slipped through my fingers, each like a drop of water on the head of a pin, falling into the ocean. My days are disappearing into the stream of time, noiselessly and without a trace; uncontrollably, my sweat and tears stream down.[3] What’s gone is gone, and what is coming cannot be halted. From what is gone to what is yet to come, why must it pass so quickly? In the morning when I get up there are two or three rays of sunlight slanting into my small room. The sun, does it have feet? Stealthily it moves along, as I too, unknowingly, follow its progress. Then as I wash up the day passes through my washbasin, and at breakfast through my rice bowl. When I am standing still and quiet my eyes carefully follow its progress past me. I can sense that it is hurrying along, and when I stretch out my hands to cover and hold it, it soon emerges from under my hands and moves along. At night, as I lie on my bed, agilely it strides across my body and flies past my feet. And when I open my eyes to greet the sun again, another day has slipped by. I bury my face in my hands and heave a sigh. But the shadow of the new day begins darting by, even in the midst of my sighing.[4] During these fleeting days what can I, only one among so many, accomplish? Nothing more than to pace irresolutely, nothing more than to hurry along. In these more than 8,000 days of hurrying what have I to show but some irresolute wanderings? The days that are gone are like smoke that has been dissipated by a breeze, like thin mists that have been burned off under the onslaught of the morning sun. What mark will I leave behind? Will the trace I leave behind be so much as a gossamer thread? Naked I came into this world, and in a twinkling still naked I will leave it. But what I cannot accept is: why shouldI make this journey in vain?[5] Y ou who are wiser than I, please tell me why it is that once gone, our days never return. (481 words)(Translated by Howard Goldblatt. Lau & Goldblatt, 1995: 625-626) (Translated by Howard Goldblatt. Joseph S. M. Lau & Howard Goldblatt (eds.). The Columbia Anthology of Modern Chinese Literature. New Y ork: Columbia University Press, 1995: 625-626)【译者简介】Howard Goldblatt, Research Professor of Chinese at the University of Notre Dame, USA., has taught modern Chinese literature and culture for more than a quarter of a century. He obtained his BA from Long Beach State College in 1961, MA from San Francisco State University in 1971, and PhD from Indiana University in 1974. As the foremost translator of modern and contemporary Chinese literature in the West, he has published English translations of over 40 volumes of Chinese fiction in translation to his name, including Mo Y an’s Red Sorghum, as well as several memoirs and a volume of poetry in translation. Goldblatt was awarded the Translation Center Robert Payne A ward (1985) and “Translation of the Y ear”(1999) given by the American Translators Association. He is also the founder and editor of the scholarly journal Modern Chinese Literature, and has contributed essays and articles to The W ashington Post, The Times of London, TIME Magazine,W orld Literature T oday, and The Los Angeles Times.【译文二】Transient Days[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 and where could he hide them? Perhaps they have just run away by themselves. But where could they be at the present moment?[2] I don’t know how many days I am entitled to altogether, but my quota of them is und oubtedly 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.[3] What is gone is gone, what is to come keeps coming. How swift is the transition in between! WhenI 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 wash my 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.A ware 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. 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.[4] 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 dispersed by gentle winds, and, like thin mists, have been evaporated by the rising sun. What traces have I left behind? No, nothing, not even gossamer-like traces. I have come to this world stark naked, and in the twinkling of an eye, I am to go back as 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?[5] O you the wise, would you tell me please: why should our days go by never to return? (475 words)（张培基译,1999:75-77) （张培基译，《英译中国现代散文选（汉、英对照）》，上海：上海外语教育出版社，1999:75-77)【译者简介】张培基，毕业于上海圣约翰大学英文系，曾任《上海自由西报》英文记者、《中国评论周报》（英文）特约撰稿人，后赴日本东京远东国际军事法庭任英语翻译，于美国印地安纳大学英国文学系肄业后回国。
英译散文张培基【篇一：英译散文张培基】生命life何为he wei| 译文摘自张培基《英译中国散文选二》如果回归自然，各有不同的方式，后人总是尊重前人最后一次选择。
一位朋友偶然讲起一件事，有如一篇小小说，听者动容。
there are various ways of returning to nature, but people generally respect the last wish made by their parents towards their journey’s end. a friend of mine incidentally related to me the following occurrence which, like a little story, is very touching:要点：1，“前人最后一次选择”译者按”父母的临终愿望“之意译为the last wish made by their parents towards their journey’s end，其中one’s journey’s end意为“临终，生命的尽头”也可译为the last wish made by their parents towards the end of their lifejourney2, “一位朋友偶然讲起一件事”译为a friend of mine incidentally related to me the following occurrence，其中relate 意为“讲述”其同义词有recount，recourse, speak of，occurrence指“发生的事情”比thing更加高端啊有木有~3，“听者动容“即”令听者动容“或”令人动容“=touching在新开发的丛林里，一条蜿蜒的小径上，一个衣着素色的女人踽踽独行，径直走向林子里的一棵树。
这里许多树大小参差不一，有的移植不久，不过都长得很快。
在一个时期内，都挺直有神。
新生的树叶嫩绿有生机。
当然，有人专门护理这些纪念树。
in a newly opened-up forest, a quietly dressed woman walked all byherself on a winding path straight towards one of the trees. there were many trees of varying sizes, and some had justbeen transplanted, but all were shooting up fast, standing straight and stout and covered with light green young leaves. evidently, some people had been put in charge of these memorial trees.要点：1，“在新开发的丛林里，一条蜿蜒的小径上，一个衣着素色的女人踽踽独行，径直走向林子里的一棵树。
“本句虽然是四个散句，表达的却是一连串的动作，因此可以调整顺序后将其整合为” 一个衣着素色的女人独自沿着蜿蜒的小径走向一棵树“译为in a newly opened-up forest, a quietly dressed woman walked all by herself on a winding path straight towards one of the trees.2，“衣着素色的“译为a quietly dressed，此处的quiet意指”颜色素净，不显眼“；”踽踽独行“即”独自行走“=walked all by herself3，shoot up意为“上冒，喷出，猛长“=spring up,更加生动形象地表现出树木那富有生机的生长状态~是一个值得借鉴的好词，4，“有人专门护理这些纪念树“译为some people had been put in charge of these memorial trees。
此处”专门护理“宜理解为”专门负责照顾这些树“，也可译为some person had been specially assigned to take good care of the memorial trees综述：类似于shoot up这种生动形象的词我们之前也见过不少，比如put forth, sprout up/out~不知多少年来，这个女人总是带着一束鲜花默默地置于树根旁，然后仰起头来，对着树身凝视，翕动着她独有的小小嘴唇，既像独语，又像倾诉。
她退后一步，打量她这树高了多少，细心地除去树下斑斑驳驳的落叶，向这颗移植多年的树倾身拥抱，亲了一下，轻轻摩挲树皮的皱纹，如同面对一个有生命的躯体。
不久，她依依不舍的转身离去，消失在暮色渐浓的秋天最后一抹余晖里。
as she had been doing for we don’t know how many years, the woman stood silently beside the tree with a bunch of fresh flowers in her hand. she raised her head to fix her eyes on the tree and kept moving her unique small lips as if she were soliloquizingor sharing her innermost feelings with someone. she took astep back to assess how much the tree had grown in heightand softly removed the mottled fallen leaves under it. she bent forward to hug and kiss the tree that had been transplanted many years before, and gently stroked its wrinkled bark as if it were something alive. then she reluctantly turned round and left, vanishing into the last rays of an autumn day in the deepening dusk.要点：1，“不知多少年来“译为as she had been doing for we don’tknow how many years,其中we don’t know how是插入语，用以表达原文的”不知“此从句也可译为”她这样做已经许多年了“即ashad always been the case for many years或as she had been doing this for many years~在《我坐了木船》中也有类似表述——“跑了不知多少趟，总算有眉目了”译为after making you dontknow how many visits, there eventually appear signs ofpositive outcome.其中的you don’t know how也是插入语，修饰many。
2，“翕动“即”不断地张合“故译kept moving3，“依依不舍“一般都用reluctant来翻，如it the time to go back. we were fascinated by the scenery and reluctant to leave.该返回了，我们被这景色深深吸引住了，不愿离去。
综述：本段有很多文学性较强的词如“独语“”倾诉“”斑斑驳驳的“摩挲”“ 翕动”都是我们需要积累的哦~还是那句话：文学性很重要的一个体现就是在选词用词上~一阵秋风吹过，树叶沙沙地响动，仿佛隐秘的私语。
女人顿时回过身来，惟有她才能听懂私语的全部含意。
于是喃喃自语向大树告诉。
含着泪，走向她的归途。
年复一年，小径上的女人孤独的背影，显得越来越苍老了。
at a sudden gust of the autumn wind, the tree rustled like itwas whispering secretly and the woman, being the only person capable of understanding the full implications of the whisper, immediately turned round. then, after mumbling a few words to the tree, she said goodbye to it and set out on her way home with tears in her eyes.as the years went by, the woman, a regular solitary visitor on the path, became older and older.要点：1，”一阵秋风吹过“即”秋风起“或”起了一阵秋风“，故译at asudden gust of the autumn wind，其中at的含义是”由于“”作为对…的反应“2，“树叶沙沙地响动，仿佛隐秘的私语“译为the tree rustled like it was whispering secretly and the woman.”沙沙地响动“=rustle,简洁生动~拟声词在文学翻译中的作用也是应该引起重视的~3，“.惟有她才能听懂私语的全部含意“其实隐含了”因为“这层关系，因此译为being the only person capable of understanding thefull implications of the whisper4，“小径上的女人孤独的背影，显得越来越苍老了“如果直接译为”背影变得苍老“会引起外国读者的困惑，因此可以按照”常见于小径上的那个孤独女人，显得越来越苍老了“，译为the woman, a regular solitary visitor on the path, became older and older.综述：介词，拟声词，显示了译者扎实的语法功底和语言功底，惟有不断积累和运用才能成就的事业~若干年后，这棵树长得更高大了，树冠缀满葱茏的树叶。
