哲理雙語散文欣賞

英語散文的發展歷程十分曲折,散文大家風格多變,兼之中英語言個性殊異,若要成功地把英語散文大家的作品翻譯到中文,既須瞭解英語散文發展的概況,又須注意保證氣韻邏輯通暢,文氣沛然,才能傳神譯出,曲盡其妙,令漢語讀者獲得相同或相近的審美感受。下面本站小編爲大家帶來哲理雙語散文欣賞，希望大家喜歡!

I lost my sight when I was four years old by falling off a box car in a freight yard in AtlanticCity and landing on my head. Now I am thirty-two. I can vaguely remember the brightness ofsunshine and what red color is. It would be wonderful to see again, but a calamity can dostrange things to people.

4歲那年在大西洋城，我從貨場一輛火車上摔下來，頭先着地，於是雙目失明。現在我已經32歲了。我還模糊地記得陽光是多麼燦爛，紅色是多麼鮮豔。能恢復視覺固然好，但災難也能對人產生奇妙的作用。

It occurred to me the other day that I might not have come to love life as I do if I hadn’t beenblind. I believe in life now. I am not so sure that I would have believed in it so deeply,otherwise. I don’t mean that I would prefer to go without my eyes. I simply mean that the lossof them made me appreciate the more what I had left.

有一天我突然想到，倘若我不是盲人，我或許不會變得像現在這樣熱愛生活。現在我相信生活，但我不能肯定如果自己是明眼人，會不會像現在這樣深深地相信生活。這並不意味着我寧願成爲盲人，而只是意味着失去視力使我更加珍惜自己其他的能力。

Life, I believe, asks a continuous series of adjustments to reality. The more readily a person isable to make these adjustments, the more meaningful his own private world becomes. Theadjustment is never easy. I was bewildered and afraid. But I was lucky. My parents and myteachers saw something in me —a potential to live, you might call it ——which I didn’t see,and they made me want to fight it out with blindness.

我認爲，生活要求人不斷地自我調整以適應現實。人愈能及時地進行調整，他的個人世界便愈有意義。調整決非易事。我曾感到茫然害怕，但我很幸運，父母和老師在我身上發現了某種東西——可以稱之爲活下去的潛力吧——而我自己卻沒有發現。他們激勵我誓與失明拼搏到底。

The hardest lesson I had to learn was to believe in myself. That was basic. If I hadn’t been ableto do that, I would have collapsed and become a chair rocker on the front porch for the rest ofmy life. When I say belief in myself I am not talking about simply the kind of self-confidencethat helps me down an unfamiliar staircase alone. That is part of it. But I mean somethingbigger than that: an assurance that I am, despite imperfections, a real, positive person thatsomewhere in the sweeping, intricate pattern of people there is a special place where I canmake myself fit.

我必須學會的最艱難的一課就是相信自己，這是基本條件。如做不到這一點，我的精神就會崩潰，只能坐在前門廊的搖椅中度過餘生。相信自己並不僅僅指支持我獨自走下陌生的樓梯的那種自信，那是一部分。我指的是大事：是堅信自己雖然有缺陷，卻是一個真正的有進取心的人;堅信在芸芸衆生錯綜複雜的格局當中，自有我可以安身立命的一席之地。

It took me years to discover and strengthen this assurance. It had to start with the mostelementary things. Once a man gave me an indoor baseball, I thought he was mocking meand I was hurt. “I can’t use this,” I said. “Take it with you,” he urged me,” and roll it around. “The words stuck in my head.” Roll it around!” By rolling the ball I could hear where it gave me an idea how to achieve a goal I had thought impossible: playing baseball. AtPhiladelphia’s Overbrook School for the Blind I invented a successful variation of baseball. Wecalled it ground ball.

我花了很長時間才樹立並不斷加強這一信念。這要從最簡單的事做起。有一次一個人給我一個室內玩的棒球，我以爲他在嘲笑我，心裏很難受。“我不能使這個。”我說。“你拿去，”他竭力勸我，“在地上滾。”他的話在我腦子裏生了根。“在地上滾!” 滾球使我聽見它朝哪兒滾動。我馬上想到一個我曾認爲不可能達到的目標：打棒球。在費城的奧弗布魯克盲人學校，我發明了一種很受人歡迎的棒球遊戲，我們稱它爲地面球。

All my life I have set ahead of is a series of goals and then tried to reach them, one at a time. Ihad to learn my limitations. It was no good to try for something I knew at the start was wildlyout of reach because that only invited the bitterness of failure. I would fail sometimes anywaybut on the average I made progress.

我這一輩子給自己樹立了一系列目標，然後努力去達到，一次一個。我必須瞭解自己能力有限，若開始就知道某個目標根本達不到卻硬要去實現，那不會有任何好處，因爲那隻會帶來失敗的苦果。我有時也失敗過，但一般來說總有進步。

When the young American composer Daniel Gregory Mason came to Boston to interview thegreat pianist and composer Ignacy Jan Paderewski , there was trouble from the start.

年輕的美國作曲家丹尼爾•格里格利•梅森來到波士頓，當他拜見偉大的鋼琴家和作曲家伊格納奇•揚•帕岱萊夫斯基時，一開始就遇到了麻煩。

Because of a misunderstanding Mason was two-and-a-half hours late for his meeting with thegreat pianist. Mason was waiting in the hotel lobby while Paderewski was upstairs, getting moreand more aggravated by Mason’s tardiness. Finally Mason went up to see Paderewski and foundhim cordial enough, but Paderewski’s wife was cold and standoffish. Mason felt awkward andself-conscious. He complimented Paderewski on his “Variations and Fugue on an OriginalTheme.” Then he added: “Just so you don’t think that’s empty flattery, I’ll tell you frankly thatI do not care so much for some of your early pieces.”

因爲一個誤會，梅森和這位偉大的鋼琴家會面延遲了兩個半小時。當梅森在旅館大廳裏傻等時，帕岱萊夫斯基卻在樓上房間裏爲他的拖拉而越來越惱火。最後梅森上樓見到帕岱萊夫斯基，他還是很熱情，但他的夫人卻冷言冷語。梅森感到尷尬和羞愧。他讚美帕岱萊夫斯基的《原主旋律上的變奏曲和賦格曲》，然後他補充道，“爲了不讓您覺得這是我的空洞奉承，我得坦誠地告訴您，我不太喜歡您早期的一些樂曲。”

Paderewski’s wife gave Mason a stony look. “What pieces? What do you not care for?”

帕岱萊夫斯基夫人拉下臉來，問他：“什麼樂曲?你不喜歡什麼樂曲?”

Mason got in deeper. “Well, for example, I do not care so much for the ‘A Minor Concerto’.”

梅森說：“好吧，比如說《a小調協奏曲》，我就不太喜歡。”

Her gaze was unwavering . “The concerto is one of my favorites among my husband’scompositions. I love it more and more.”

她目不轉睛地說：“在我丈夫的作品中，這首協奏曲是我最喜歡的曲子之一。我越來越喜歡了。”

Valiantly , Mason complimented Paderewski’s use of French impressionism.

梅森又冒昧地奉承帕帕岱萊夫斯基對法國印象主義的運用如何美妙。

Now Paderewski himself spoke. “I utterly repudiate any debt to French impressionism. I donot believe in the modern French school, because it is not founded in tradition. It is erratic,bizarre, wayward. ”

這次帕岱萊夫斯基自己說話了：“我和法國印象主義一點關係也沒有。我不相信法國現代派，因爲它沒有傳統根基，太怪異了，旁門左道，莫名其妙。”

At last Mason ventured to show Paderewski a movement of his new violin sonata. Paderewskishook hands with him about eight times as he read through the sonata, singing the melodyand exclaiming “beautiful!” Finally, with his music, Daniel Gregory Mason had won over themaster.

最後，梅森斗膽地拿出了自己寫的小提琴奏鳴曲的一個樂章，讓帕岱萊夫斯基過目。帕岱萊夫斯基看奏鳴曲時，一邊哼唱着，一邊叫着：“太棒了!”這過程中居然和梅森握了八次手。丹尼爾•格里格利•梅森終於憑着他的音樂，贏得了大師的尊重。