經典英語散文中英對照
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經典英語散文中英對照，希望大家喜歡!
經典英語散文：向左走向右走
Now as a best-selling author of picture books,Jimmy continues to assert control over his life. Heworks only on projects that inspire him and refusesto let fame limit his freedom. However, as sure asJimmy is of his own path, he is sensitive that forothers, freedom presents its own problems. In aworld of infinite possibilities, choice can seemoverwhelming.
身爲當今的暢銷漫畫作家，幾米依然堅持要掌握自己的人生。他只接能夠啓發他靈感的工作，並且不讓名氣限制他的自由。然而，儘管幾米擁有自己的人生道路，他仍敏銳地感受到，對其他人來說，自由也有自由的問題。在這個充滿無限可能的世界裏，選擇似乎也會令人難以承受。
This idea is represented in Jimmy‘s books,somewhere the small scale of his charactersexpresses the powerlessness they feel when facing choices. The message contained in thebrief explanations that accompany Jimmy‘s drawings, however, is hopeful: Though the worldmay make us feel small, we must be brave. Everything will be all right for us—as it is forthe"small people"in Jimmy‘s books—if we make appropriate choices.
這樣的觀點反映在幾米的作品中，就是一小部分人物面臨選擇時的無力感中。然而，搭配圖畫的簡短圖解所隱含的訊息則充滿了希望：雖然這個世界或許會令我們感到自己渺小，但我們還是要勇敢面對。每件事到頭來都能水到渠成——就像幾米書中的“小人物”一般——如果我們做出了正確的選擇。
Despite his newfound fame and wealth, Jimmy prefers working quietly at home with his wifeand daughter. He spends his mornings drawing, and his afternoons doing chi-gong. To Jimmy,the freedom to live his life as he chooses means much more than money and attention evercould.
儘管幾米近來名利雙收，但他還是喜歡靜靜呆在家裏創作，陪伴妻女。他早上畫畫，下午練氣功。對幾米來說，能夠過着自己想要的生活，遠比金錢和名聲要重要得多。
經典英語散文：遲到的情書
I was always a little in awe of GREat-aunt StephinaRoos. Indeed, as children we were all frankly terrifiedof her. the fact that she did not live with the family,preferring her tiny cottage and solitude to thecomfortable but rather noisy household where wewere brought up-added to the respectful fear inwhich she was held.
我對斯蒂菲娜老姑總是懷着敬畏之情。說實在話，我們幾個孩子對她都怕得要死。她不和家人一塊生活，寧願住在她的小屋子裏，而不願住在舒舒服服、熱熱鬧鬧的家裏--我們六個孩子都是在家裏帶大的--這更加重了我們對她的敬畏之情。
We used to take it in turn to carry small delicacies which my mother had made down from thebig house to the little cottage where Aunt Stephia and an old colored maid spent their days. OldTnate Sanna would open the door to the rather frightened little messenger and would usherhim-or her - into the dark voor-kamer, where the shutters were always closed to keep out theheat and the flies. There we would wait, in trembling but not altogether unpleasant.
我們經常輪替着從我們住的大房子裏帶些母親爲她做的可口的食品到她和一名黑人女僕一塊過活的那間小屋裏去。桑娜老姨總是爲每一個上門來的怯生生的小使者打開房門，將他或她領進昏暗的客廳。那裏的百葉窗長年關閉着，以防熱氣和蒼蠅進去。我們總是在那裏哆哆嗦嗦、但又不是完全不高興地等着斯蒂菲娜老姑出來。
She was a tiny little woman to inspire so much veneration. She was always dressed in black,and her dark clothes melted into the shadows of the voor-kamer and made her look smallerthan ever. But you felt. The moment she entered. That something vital and strong andsomehow indestructible had come in with her, although she moved slowly, and her voice wassweet and soft.
一個像她那樣身材纖細的女人居然能贏得我們如此尊敬。她總是身穿黑色衣服，與客廳裏的陰暗背景融成一體，將她的身材襯托得更加嬌小。但她一進門，我們就感到有一種說不清道不明、充滿活力和剛強的氣氛，儘管她的步子慢悠、聲調甜柔。
She never embraced us. She would GREet us and take out hot little hands in her own beautifulcool one, with blue veins standing out on the back of it, as though the white skin were almosttoo delicate to contain them.
她從不擁抱我們，但總是和我們寒暄，將我們熱乎乎的小手握在她那雙秀美清爽的手裏，她的手背上露出一些青筋，就像手上白嫩的皮膚細薄得遮不住它們似的。
