中英雙語(yǔ)文章對(duì)比
中英雙語(yǔ)文章對(duì)比
中英語(yǔ)翻譯對(duì)照的文章，應(yīng)該從文章的整篇內(nèi)容上翻譯，如果之從字面上翻譯，可能會(huì)失去文章的魅力。下面就是學(xué)習(xí)啦小編給大家整理的中英雙語(yǔ)文章對(duì)比，希望大家喜歡。
中英雙語(yǔ)文章對(duì)比篇1：永遠(yuǎn)的憧憬和追求
My Longing and Yearning
蕭紅
Xiao Hong
1911年，在一個(gè)小縣城里邊，我生在一個(gè)小地主的家里。那縣城差不多就是中國(guó)的最北部——黑龍江省——所以一年之中，倒有四個(gè)月飄著白雪。
In 1911 I was bom into a small landlord family in a small county town in Helongjiang—China’s farnortheastern province where it snowed for four months of the year.
父親常常為著貪婪而失掉了人性。他對(duì)待仆人，對(duì)待自己的兒女，以及對(duì)待我的祖父都是同樣的吝嗇而疏遠(yuǎn)，甚至于無(wú)情。
Father was almost inhumanly avaricious. To his servants, his children and even his own father,he was just as miserly and indifferent, or heartless for tha matter.
有一次，為著房屋租金的事情，父親把房客的全套的馬車趕了過(guò)來(lái)。房客的家屬們哭著訴說(shuō)著，向我的祖父跪了下來(lái)，于是祖父把兩匹棕色的馬從車上解下來(lái)還了回去。為著這匹馬，父親向祖父起著終夜的爭(zhēng)吵。“兩匹馬，咱們是算不了什么的，窮人，這匹馬就是命根。”祖父這樣說(shuō)著，而父親還是爭(zhēng)吵。
Once:because a tenant failed to pay his rent, Father detained his cart and horses. Thetenant’s family knelt in front of Grandpa, pleading for mercy with tears in their eyes. Grandpaunharnessed the two brown horses from the cart and gave them back to the tenant. Over thisFather wrangled with him far the whole night. “Two horses don’t mean much to us,” saidGrandpa, “but they are the life-blood to the poor.” Father bickered on.
九歲時(shí)，母親死去。父親也就更變了樣，偶然打碎了一只杯子，他就要罵到使人發(fā)抖的程度。后來(lái)就連父親的眼睛也轉(zhuǎn)了彎，每從他的身邊經(jīng)過(guò)，我就象自己的身上生了針刺一樣;他斜視著你，他那高傲的眼光從鼻梁經(jīng)過(guò)嘴角而后往下流著。
when I was nine years old Mother died and Father became worse. If you accidentally broke asmall thing like a cup, he would keep throwing curses at you until you shivered all over. Latereven his eyes could cast crooked glances. Whenever I passed by him, he would eye mesideways with his arrogant look streaming down the bridge of his nose and then off the comerof his laouth, making me feel as if pricked on needles.
所以每每在大雪中的黃昏里，圍著暖爐，圍著祖父，聽(tīng)著祖父讀著詩(shī)篇，看著祖父讀著詩(shī)篇時(shí)微紅的嘴唇。
ln snowy evenings I would sit with Grandpa by the stove, listening to him leading poems,watching his pink lips while he was reading.
父親打了我的時(shí)候，我就在祖父的房里，一直面向著窗子，從黃昏到深夜——窗外的白雪，好象白棉花一樣飄著;而暖爐上水壺的蓋子，則象伴奏的樂(lè)器似的振動(dòng)著。 祖父時(shí)時(shí)把多紋的兩手放在我的肩上，而后又放在我的頭上，我的耳邊便響著這樣的聲音：
When Father beat me, I would go to Grandpa’s room and stood by the windiow from eveningtill late into the night, watching the white snow falling like cotton, while the lid of the kettle overthe stove clinked like a musical Instrument playing accompaniment. Grandpa would put hiswrinkled hand on my shoulder and then my head, saying into my ear:
“快快長(zhǎng)吧!長(zhǎng)大就好了。”
“Grow quickly, my child. When you are grown, things will be better.”
二十歲那年，我就逃出了父親的家庭。直到現(xiàn)在還是過(guò)著流浪的生活。
At the age of twenty I fled home. Even today I am still wandering around Kke a hobo.
“長(zhǎng)大”是“長(zhǎng)大”了，而沒(méi)有“好”。
“Grown” as I am, but things are not any “better ”.
可是從祖父那里，知道了人生除掉了冰冷和憎惡而外，還有溫暖和愛(ài)。 所以我就向這“溫暖”和“愛(ài)”的方面，懷著永久的憧憬和追求。
However, from Grandpa I have learned that in life there is not only coldness ind hatred, butalso warmth and love. For that “warmth and love I will keep longing and yearning.
中英雙語(yǔ)文章對(duì)比篇2：愛(ài)夢(mèng)想的羞怯女孩
A Shy Dreamer
在美
Zai Mei
我們宿舍里沒(méi)有穿衣鏡，飯廳門口倒是有一面。每當(dāng)我穿上一件漂亮的新連衣裙，我就禁不住暗暗地想往鏡子里瞧瞧自己。但總是在要去瞧的時(shí)候就感到特別不自在而踉蹌離去——總是在關(guān)鍵時(shí)刻打了退堂鼓。
Our bedroom has no full-length mirror. There is one at the canteen entrance. I always cherish asecret desire to take a peep before it at myself in a beautiful new dress. However, each timewhen it comes to the fulfillment, I get seized with such an uneasiness that I literally staggeraway—backing out at the critical moment.
我就是這么羞怯，簡(jiǎn)直羞怯得不可救藥!
Shy I am, so helplessly!
我從小就對(duì)自己沒(méi)有信心，這是問(wèn)題的根子。這種情緒使我受到一點(diǎn)點(diǎn)表?yè)P(yáng)都會(huì)難為情，使我怎么也說(shuō)不出一個(gè)“不”字，也使我不敢向父母多要一分錢。此外，這種缺乏的情況也影響了我對(duì)鋼琴的熱愛(ài)。
At the root of it is my difference by which I have been enslaved since childhood. It embarrassesme at the mildest flattery, crushes my utmost efforts to say "no", and prevents me fromasking my parents for one cent more than necessary. Among other things, diffidence haswormed it way into my love piano.
那是我14歲的時(shí)候，有一具星期天的早晨，我被一陣唱贊美詩(shī)的歌聲喚醒。我循著這上帝的召喚來(lái)到附近的一所教堂，一進(jìn)教堂我就被那鋼琴的樂(lè)音吸引住了，簡(jiǎn)直不能自拔?？墒俏腋改改膬嘿I得起鋼琴呀。更糟糕的是，據(jù)說(shuō)鋼琴家都有音樂(lè)細(xì)胞，是遺傳的;我想我父親是工程師，母親是技術(shù)員，哪會(huì)遺傳什么音樂(lè)細(xì)胞呀?？墒呛枚嗵煳夷X子里盡想這些，我是在夢(mèng)想了。
At the age of 14, one Sunday morning, I was woken up by a resounding hymn. Tracing that callof God into a neighbouring church, I found myself inexorably attracted by the melody of apiano—something beyond the means of my parents. To make it worse, people say a pianist issupposed to have music in the blood, but I believe I had none from my engineer father andtechnician mother. For days on end, I kept thinking of nothing else. I had a dream.
我不是做發(fā)財(cái)?shù)膲?mèng)。為了發(fā)財(cái)我的幾個(gè)好朋友都下海了，當(dāng)了個(gè)體商販。她們手指上戴的金戒指脖子上戴的精美項(xiàng)鏈有時(shí)也讓我看得眼花繚亂，但是透過(guò)這些東西我仿佛看見(jiàn)她們也有難言之隱，使我對(duì)這種發(fā)財(cái)狂望而生畏退避三舍。失望之余，我孤獨(dú)自處，被缺乏自信的情緒沉重地籠罩著，什么也干不了，只好轉(zhuǎn)向夢(mèng)想求得安慰，求得勇氣來(lái)好高騖遠(yuǎn)地希冀那得不到的東西。我深信我要想買得起昂貴物品(對(duì)我來(lái)說(shuō)，那就是鋼琴)，首先必須在學(xué)業(yè)上求上進(jìn)，力求學(xué)歷盡量高些。
It wasn't a dream after gold, which enticed some of my close friends to engage in business asa self-employed trader or a street pedlar. I was sometimes dazzled by their gold rings orelegant necklaces behind which, however, I seemed to catch sight of skeletons in theircupboards and was frightened away from the craze for fortune. Out of despair, I retreatedinto seclusion, diffidence weighing heavy on me. I could do nothing but turn to my dream forcomfort, for courage to aim high and wish for the impossible. I was convinced that before Icould afford anything expensive(to me, it was a piano), I should climb up the academic ladderas high as possible.
這以后的九個(gè)年頭，為了保持求學(xué)(尤其是英語(yǔ)學(xué)習(xí))的高昂斗志，我壓抑著對(duì)音樂(lè)的朦朧向往。我的這番努力取得了豐碩成果，我在家鄉(xiāng)讀完了中學(xué)和大學(xué)，都很順利。我還考上了首都北京的一家名牌大學(xué)讀第二學(xué)位。當(dāng)我接到通知書時(shí)我真感動(dòng)得熱淚盈眶了。我懂英語(yǔ)，我知道這就是我的本錢，我可以和有鋼琴的人進(jìn)行互助，我教他英語(yǔ)他讓我鋼琴。
For the next nine years I carefully smothered my hazy aspiration for music to keep aflame myquest for learning, especially in English studies. My efforts were so rewarding that I wentsuccessfully through high school and college in my hometown. When I received the admissionnotice for a second degree course at a prestigious university in Beijing, the national capital,tears welled up in my eyes. I knew my command of English was my asset, for I might make adeal with a pianist who would give me across to his piano in exchange for English lessons.
這個(gè)愿望實(shí)現(xiàn)了!
And that has come true!
時(shí)至今日，每當(dāng)我手指觸及雪白的琴鍵，準(zhǔn)備彈一曲時(shí)，仍然感到羞怯。我深知自己音樂(lè)天賦有限，但我這個(gè)愛(ài)夢(mèng)想的羞怯女孩卻找到了一條成功之路，那就是竭盡一切努力夢(mèng)想成真。
To this day whenever I lay my fingers on the snowwhite keyboard, ready for a melody, I stillfeel shy. I am quite aware of my limited music talent, but as a shy dreamer I have found myway to success—making every effort to turn a dream into reality.
中英雙語(yǔ)文章對(duì)比篇3：五臺(tái)名剎畫滄桑
The Famous Monastery Witnesses Vicissitudes
常書鴻 李承仙
Chang Shuhong& Li Chengxian
1985年7月24日至10月30日，我和李成仙為完成日本東京棗寺前住持管原惠慶長(zhǎng)老之遺愿，應(yīng)邀為該寺繪制《玄中寺組畫》。
At the invitation of the Buddhist abbot of the Date Monastery in Tokyo, Japan, Li Chengxianand I did a set of mural paintings of the Xuanzhong Monastery—Monastery of Mystery for theDate Monastery from July 24 to October 30, 1985, thus carrying out the behest of KeikyoSugehara, the late abbot of the well-known Japanese Buddhist temple.
玄中寺位于距山西省太原市60公里的呂梁山脈的石壁山中。據(jù)記載，寺為北魏延興二年(公園472年)由高僧云鸞大師所建。云鸞研究佛學(xué)，專修凈土，先后撰寫了《凈土十二偈》、《續(xù)龍樹(shù)偈》、《調(diào)氣論》、《往生論注》等著作，得到北魏孝文帝的尊重，賜號(hào)“神云”，故常推為凈土教的始祖。
The Mystery Monastery is located in the Lvliang Mountains, 60km from Taiyuan in ShanxiProvince, China. Records show that the temple was built by an eminent monk named Tanluan inthe 2nd year of Yanxing (472) of the Northern Wei Dynasty (386—534). Master Tanluan was aBuddhist scholar, specializing in the Sukhavati Sect. He wrote The Twelve Gathas of theSukhavati and some other important works. He won the respect of Emperor Xiaowen, whogranted him the title of “Tan, the Immortal”. That is why Master Tanluan is commonly regardedas the founder of the Sukhavati Sect.
至隋唐時(shí)代，高僧道綽，善導(dǎo)都先后在玄中寺住持、探討、研究?jī)敉练饘W(xué)，講經(jīng)說(shuō)法。玄中寺成為我國(guó)佛教凈土宗的祖廟和中國(guó)北方的主要道場(chǎng)，在中國(guó)佛教史上有十分重要的地位。因此，唐代之后，隨迭遭兵亂，但屢毀屢建，以至保存到現(xiàn)在。
In the Sui (581一618) and Tang (618—907) Dynasties, eminent monks like Daochuo andShandao became abbots of the temple successively, where they distinguished themselves inthe study of the doctrine of the Sukhavati Sect. The Mystery Monastery is the first temple ofthe Sukhavati Sect and a principal Buddhist temple in Northern China. Obviously, the Monasteryoccupies an important position in the history of Buddhism in China. Although it was destroyedmany times during dynastic wars, it was rebuilt time and again so that it is now preserved asbefore.
從唐代以來(lái)，以云鸞、道綽、善導(dǎo)所創(chuàng)立的凈土法門體系傳到日本后，日本高僧法然和親鸞，先后以三位大師著作為依據(jù)，立教開(kāi)宗，建立了日本佛教凈土宗和凈土真宗。自此，與玄中寺一脈相承的凈土宗教義在日本廣為流傳。
Since the Tang Dynasty, the doctrine of the Sukhavati Sect originated by Tanluan, Daochuoand Shandao has been passed on to Japan, where Japanese eminent monks like Horan andQinluan founded the Sukhavati Sect in Japan on the basis of the Buddhist works by the above-mentioned three Chinese masters. That is how the doctrine of the Sukhavati Sect, whichoriginated in the Mystery Monastery in China, has been wide spread in Japan.
1920年12月27日，日本常盤大定博士歷盡千辛萬(wàn)苦尋訪了山西玄中寺，并著書立說(shuō)，玄中寺即被尊為日本佛教凈土宗的祖庭。1942年秋，日本佛教界著名人士常盤大定博士、管原惠慶長(zhǎng)老等專程前來(lái)玄中寺舉行了紀(jì)念云鸞大師圓寂一千四百年奉贊會(huì)。當(dāng)時(shí)管原惠慶長(zhǎng)老懷著對(duì)祖庭的崇高敬意，從寺中摘了一把棗子帶回日本，經(jīng)過(guò)精心培育，長(zhǎng)成了一棵棗樹(shù)。長(zhǎng)老遂把自己住持的寺院更名為棗寺。
On December 27, 1920, Dr. Daitei Tokiwa, having gone through all kinds of hardships anddifficulties, reached the Mystery Monastery in Shanxi Province. He wrote many books to confirmthe fact that the Japanese Sukhavati Sect of Buddhism originated in the Mystery Monastery ofChina. In the fall of 1942, Dr. Daitei Tokiwa and Master Keikyo Sugehara made a special trip tothe Mystery Monastery and held a ceremony there in commemoration of the 1,400thanniversary of the death of Master Tanluan. Having a deep respect for the founder, MasterSugehara picked a handful of dates from the date tree in the Monastery and took them toJapan. He planted the seed in his monastery, where, with the meticulous care, it has growninto a big date tree. So Master Sugehara named his temple “The Date Monastery”.
日本佛教界朋友們?cè)趹?zhàn)后非常困難的情況下，為促進(jìn)中日友誼作了大量工作。1953年大谷螢潤(rùn)、管原惠慶等收集了戰(zhàn)爭(zhēng)中在日本殉難的七千余中國(guó)烈士之遺骨送還中國(guó)。周恩來(lái)生前曾以“飲水不忘掘井人”來(lái)贊揚(yáng)日本朋友們，肯定了他們對(duì)中日關(guān)系正常化所起的作用。
After World War II, friends in the Japanese Buddhist world did a lot to promote the friendshipbetween Japan and China under most difficult conditions In 1953, Eyun Otani, Keikyo Sugeharaand others gathered remains of over 7,000 Chinese prisoners of war who died in Japan duringthe war, and sent them back to China. In high praise of the Japanese friends for theircontributions to the normalization of relationship between the two countries, the late PremierZhou Enlai said: “Don't forget the well-diggers when you drink from the well.”
1977年日本佛教界朋友成立了“日中友好凈土宗協(xié)會(huì)”。管原惠慶長(zhǎng)老不遺余力，在他84歲高齡時(shí)，還創(chuàng)辦了《玄中一派》的期刊，致力于日本中國(guó)友好的宣傳。
In 1977, friends in the Japanese Buddhist world set up the Japan-China Friendship Associationof the Sukhavati Sect. Master Keikyo Sugehara in spite of his advanced age of 84, started thepublication of the magazine True Disciples of the Mystery Monastery, thus making fresh effortsto promote the friendship between the Japanese and Chinese peoples.
早在1958年我們第一次在日本舉辦敦煌藝術(shù)展覽時(shí)，管原惠慶長(zhǎng)老曾邀請(qǐng)我們?yōu)樗乃略豪L制五臺(tái)山壁畫。但因?yàn)楫?dāng)時(shí)敦煌百?gòu)U待舉工作繁重，無(wú)法承擔(dān)。管原惠慶長(zhǎng)老于1982年2月仙逝。棗寺繼承人為完成管原惠慶長(zhǎng)老熱心中日友好和文化交流的遺愿，正式邀請(qǐng)我和李承仙東渡日本在新落成的棗寺正殿繪制壁畫。我們受文化部和中國(guó)佛教協(xié)會(huì)的委派，與1985年繪制了《玄中寺組畫》。
As early as 1958，the year when the Dunhnang Murals Exhibition was held first time in Japan,Master Keikyo Sugehara invited Li Chengxian and me to do paintings of Wutai Mountain for hismonastery. As that was the time when we were busy restoring the Dunhuang Murals, we couldfind no time for that task. In February, 1982, Master Sugehara passed away. To carry out hislast wish and promote the friendship and cultural exchange between Japan and China, thepresent abbot of the Date Monastery sent us an official invitation to paint murals in the newlyconstructed Main Hall of his monastery. In 1985, the Chinese Ministry of Culture and theChina Buddhist Association entrusted us with the responsibity for the work.
《玄中寺組畫》的創(chuàng)作構(gòu)思和繪制技法，是我們本著對(duì)敦煌藝術(shù)臨摹和研究40多年的經(jīng)驗(yàn)，主要繼承中華民族遺產(chǎn)的風(fēng)格，吸取了敦煌唐宋時(shí)代壁畫法華經(jīng)《化城喻品》等藝術(shù)風(fēng)格形成的。我們?cè)诋嫹邪凑掌涞乩憝h(huán)境和內(nèi)容，標(biāo)出15個(gè)榜題，即：山西五臺(tái)山、掛山古松、太原雙塔、文水之渡、玄津石橋、秋容勝境、永寧禪寺、大玄中之寺、象離大和尚之塔、管原惠慶長(zhǎng)老之塔、中日友誼之樹(shù)、大祖師之殿、俱會(huì)一處之冢、西方圣境、大千佛之閣。在畫幅上部七身奏樂(lè)飛天配以隨風(fēng)飄動(dòng)的七種樂(lè)器，以表現(xiàn)天上、人間、中日深厚的友情。
As Li Chengxian and I had engaged in the study and copying of the Dunhuang Murals for 40-odd years, we did the set of mural paintings of the Mystery Monastery after the techniques andstyle of the Dunhuang art. The murals are composed of 15 paintings, each presenting adifferent location or content: Wutai Mountain in Shanxi, Old Pines on Gua Hill, Twin Pagodas inTaiyuan, China-Japan Friendship trees, the Pure Land, to name just a few.
這是我們?cè)谌毡緰|京一百個(gè)日日夜夜勞苦工作的結(jié)晶，用心血譜寫出來(lái)的中日友情。愿中日兩國(guó)人民像飛翔在天上的香音神那樣，世世代代友好，愿中日友好文化交流萬(wàn)古長(zhǎng)青!
We worked hard day and night for over three months. The paintings symbolize our efforts tocontribute to the friendship between the Chinese and Japanese peoples. May the culturalexchange be everlasting between China and Japan.
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