2010年湖南師范大學(xué)MTI翻譯基礎(chǔ)真題及出處.docx

一、 英譯漢All through my boyhood and youth, I was known as an idler; and yet I was always busy on my own private end, which was to learn to write. I kept always two books in my pocket, one to read, one to write in. As I walked, my mind was busy fitting what I saw with appropriate words; when I sat by the roadside, I would either read, or a pencil and a notebook would be in my hand, to note down the features of the scene or write some poor lines of verse. Thus I lived with words. And what I thus wrote was for no future use; it was written consciously for practice. It was not so much that I wished to be an author (though I wished that too) as that I had vowed that I would learn to write. That was a proficiency that tempted me; and I practiced to acquire it. Description was the principal field of my exercise; for to any one with senses there is always something worth describing, and town and country are but one continuous subject. But I worked in other ways also; I often accompanied my walks with dramatic dialogues, in which I played many parts; and often exercised myself in writing down conversations from memory.This was all excellent, no doubt. And yet this was not the most efficient part of my training. Good as it was, it only taught me the choice of the essential note and the right word. And regarded as training,it had one grave defect; for it set me no standard of achievement. So there was perhaps more profit，as there was certainly more effort，in my secret labors at home.二、 漢譯英改編自下文。原文出處大家品論寫作之實(shí)踐經(jīng)驗(yàn)與學(xué)問真諦來源:上海外語教育出版社 作者：羅伯特路易斯史蒂文森Early Efforts at WritingAll through my boyhood and youth, I was known as an idler; and yet I was always busy on my own private end, which was to learn to write. I kept always two books in my pocket, one to read, one to write in. As I walked, my mind was busy fitting what I saw with appropriate words; when I sat by the roadside, I would either read, or a pencil and a notebook would be in my hand, to note down the features of the scene or write some poor lines of verse. Thus I lived with words. And what I thus wrote was for no future use; it was written consciously for practice. It was not so much that I wished to be an author (though I wished that too) as that I had vowed that I would learn to write. That was a proficiency that tempted me; and I practiced to acquire it. Description was the principal field of my exercise; for to any one with senses there is always something worth describing, and town and country are but one continuous subject. But I worked in other ways also; I often accompanied my walks with dramatic dialogues, in which I played many parts; and often exercised myself in writing down conversations from memory.This was all excellent, no doubt. And yet this was not the most efficient part of my training. Good as it was, it only taught me the choice of the essential note and the right word. And regarded as training,it had one grave defect; for it set me no standard of achievement. So there was perhaps more profit，as there was certainly more effort，in my secret labors at home. Whenever I read a book or a passage that particularly pleased me，in which a thing was said or an effect rendered with propriety，in which there was either some conspicuous force or some happy distinction in the style，I must sit down at once and set myself to ape that quality. I was unsuccessful, and I knew it; and tried again，and was again unsuccessful and always unsuccessful; but at least in these vain bouts I got some practice in rhythm，in harmony，in construction and the coordination of parts. I have thus played the sedulous ape to Hazlitt，to Lamb，to Wordsworth，to Defoe，to Hawthorne.That，like it or not，is the way to learn to write; whether I have profited or not，that is the way. It was so，if we could trace it out，that all men have learned. Perhaps I hear some one cry out: But this is not he way to be original! It is not; nor is there any way but to be born so. Nor yet, if you are born original, is there anything in this training that shall clip the wings of your originality. Burns is the very type of a most original force in letters, he was of all men the most imitative. Shakespeare himself proceeds directly from a school. It is only from a school that we can expect to have good writers; it is almost invariably from a school that great writers issue. Nor is there anything here that should astonish the considerate. Before he can tell what cadences he truly prefers, the student should have tried all that are possible; before he can tell what cadences he truly prefers, the student should have tried all that are possible; before he can choose a fitting key of words, he should long have practiced the literary scales; and it is only after years of such exercises that he can sit down at last, legions of words swarming to his call, dozens of turns of phrase simultaneously bidding for his choice, and he himself knowing what he wants to do and(within the narrow limit of a mans ability)able to do it.早年在寫作上的初期嘗試從我的童年到青年時(shí)期，大家一直把我看做一個(gè)游手好閑的人，其實(shí)我一直在為個(gè)人的目標(biāo)私下忙著，那就是練習(xí)寫作。我口袋里經(jīng)常帶著兩個(gè)本本，一本是讀的，一本是寫的。行走時(shí)，我忙于找適當(dāng)?shù)脑~句來表達(dá)我看到的事物。坐在路旁，我或者看書，或者拿出鉛筆和筆記本，記下所見景物的特點(diǎn)，或者寫幾行不像樣的詩句。我就這樣生活在詞語的天地里。這樣寫出來的東西并不是要留作將來之用，而是有意識地練習(xí)寫作。與其說我想做一個(gè)作家（雖說也有這種愿望），還不如說我曾經(jīng)發(fā)誓要學(xué)會寫作。寫作對我具有吸引力，我要通過練習(xí)來熟練地掌握它。練習(xí)的主要范圍是描寫，因?yàn)槿魏稳酥灰兄X，總有值得他描寫的東西，而城市和鄉(xiāng)村不過是可以經(jīng)常描寫的項(xiàng)目之一。不過我也采用其他練習(xí)方式。我時(shí)常一邊走路，一邊進(jìn)行戲劇的對話，在對話中我扮演好幾個(gè)角色。我也時(shí)常練習(xí)憑記憶把談話寫下來。這樣練習(xí)無疑是很好的，但還不是我的訓(xùn)練中最有成效的部分。它好雖好，但只能教會我怎樣選擇基本的筆調(diào)和恰當(dāng)?shù)脑~語。作為訓(xùn)練，它有一個(gè)嚴(yán)重的缺點(diǎn)，因?yàn)樗鼪]有給我規(guī)定成功的標(biāo)準(zhǔn)。相比之下