考研英语一翻译真题

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考研英语一翻译真题1

Directions:

Read the following text carefully and then translate the underlined nsegments into Chinese. Your translation should be written neatly on the ANSWER nSHEET. (10 points)

Shakespeare’s life time was coincident with a period of extraordinary nactivity and achievement in the drama. By the date of his birth Europe was nwitnessing the passing of the religious drama, and the creation of new forms nunder the incentive of classical tragedy and comedy. These new forms were at nfirst mainly written by scholars and performed by amateurs, but in England, as neverywhere else in western Europe, the growth of a class of professional actors nwas threatening to make the drama popular, whether it should be new or old, nclassical or medieval, literary or farcical. Court, school organizations of namateurs, and the traveling actors were all rivals in supplying a widespread ndesire for dramatic entertainment; and (47) no boy who went a grammar school ncould be ignorant that the drama was a form of literature which gave glory to nGreece and Rome and might yet bring honor to England.

When Shakespeare was twelve years old, the first public playhouse was built nin London. For a time literature showed no interest in this public stage. Plays naiming at literary distinction were written for school or court, or for the nchoir boys of St. Paul’s and the royal chapel, who, however, gave plays in npublic as well as at court.(48)but the professional companies prospered in their npermanent theaters, and university men with literature ambitions were quick to nturn to these theaters as offering a means of livelihood. By the time nShakespeare was twenty-five, Lyly, Peele, and Greene had made comedies that were nat once popular and literary; Kyd had written a tragedy that crowded the pit; nand Marlowe had brought poetry and genius to triumph on the common stage - where nthey had played no part since the death of Euripides. (49)A native literary ndrama had been created, its alliance with the public playhouses established, and nat least some of its great traditions had been begun.

The development of the Elizabethan drama for the next twenty-five years is nof exceptional interest to students of literary history, for in this brief nperiod we may trace the beginning, growth, blossoming, and decay of many kinds nof plays, and of many great careers. We are amazed today at the mere number of nplays produced, as well as by the number of dramatists writing at the same time nfor this London of two hundred thousand inhabitants. (50)To realize how great nwas the dramatic activity, we must remember further that hosts of plays have nbeen lost, and that probably there is no author of note whose entire work has nsurvived.

考研英语一翻译真题2

Directions:

Read the following text carefully and then translate the underlined nsentences into Chinese. Your translation should be written neatly on the ANSWER nSHEET. (10 points)

Within the span of a hundred years, in the seventeenth and early eighteenth ncenturies, a tide of emigration-one the great folk wanderings of history-swept nfrom Europe to America. (46) This movement, driven by powerful and diverse nmotivations, built a nation out of a wilderness and, by its nature, shaped the ncharacter and destiny of an uncharted continent.

(47) The United States is the product of two principal forces-the nimmigration of European peoples with their varied ideas,customs and national ncharacteristics and the impact of a new country which modified these traits. Of nnecessity, colonial America was a projection of Europe. Across the Atlantic came nsuccessive groups of Englishmen, Frenchmen, Germans, Scots, Irishmen, Dutchmen, nSwedes, and many others who attempted to transplant their habits and traditions nto the new world. (48) But the force of geographic conditions peculiar to nAmerica, the interplay of the varied national groups upon one another, and the nsheer difficulty of maintaining old-world ways in a raw, new continent caused nsignificant changes. These changes were gradual and at first scarcely visible. nBut the result was a new social pattern which, although it resembled European nsociety in many ways, had a character that was distinctly American.

(49) The first shiploads of immigrants bound for the territory which is now nthe United States crossed the Atlantic more than a hundred years after the n15th-and-16th-century explorations of North America. In the meantime, thriving nSpanish colonies had been established in Mexico, the West Indies, and South nAmerica. These travelers to North America came in small, unmercifully novercrowded craft. During their six-to twelve-week voyage, they survived on nbarely enough food allotted to them. Many of the ships were lost in storms, many npassengers died of disease, and infants rarely survived the journey. Sometimes nstorms blew the vessels far off their course, and often calm brought unbearably nlong delay.

To the anxious travelers the sight of the American shore brought almost ninexpressible relief. Said one recorder of events, "The air at twelve leagues' ndistance smelt as sweet as a new-blown garden." Thecolonists' first glimpse of nthe new land was a sight of dense woods.(50)The virgin forest with its richness nand variety of trees was a real treasure-house which extended from Maine all the nway down to Georgia. Here was abundant fuel and lumber. Here was the raw nmaterial of houses and furniture, ships and potash, dyes and naval stores.

考研英语一翻译真题3

Directions:

Read the following text carefully and then translate the underlined nsegments into Chinese. Your translation should be written clearly on ANSWER nSHEET 2. (10 points)

It is speculated that gardens arise from a basic need in the individuals nwho made them: the need for creative expression. There is no doubt that gardens nevidence an impossible urge to create, express, fashion, and beautify and that nself-expression is a basic human urge; (46) Yet when one looks at the nphotographs of the garden created by the homeless, it strikes one that , for all ntheir diversity of styles, these gardens speak os various other fundamental nurges, beyond that of decoration and creative expression.

One of these urges had to do with creating a state of peace in the midst of nturbulence, a “still point of the turning world,” to borrow a phrase from T. S. nEliot. (47)A sacred place of peace, however crude it may be, is a distinctly nhuman need, as opposed to shelter, which is a distinctly animal need. This ndistinction is so much so that where the latter is lacking, as it is for these nunlikely gardens, the foemer becomes all the more urgent. Composure is a state nof mind made possible by the structuring of one’s relation to one’s environment. n(48) The gardens of the homeless which are in effect homeless gardens introduce nfrom into an urban environment where it either didn’t exist or was not ndiscernible as such. In so doing they give composure to a segment of the ninarticulate environment in which they take their stand.

Another urge or need that these gardens appear to respond to, or to arise nfrom is so intrinsic that we are barely ever conscious of its abiding claims on nus. When we are deprived of green, of plants, of trees, (49)most of us give into na demoralization of spirit which we usually blame on some psychological nconditions, until one day we find ourselves in garden and feel the expression nvanish as if by magic. In most of the homeless gardens of New York City the nactual cultivation of plants is unfeasible, yet even so the compositions often nseem to represent attempts to call arrangement of materials, an institution of ncolors, small pool of water, and a frequent presence of petals or leaves as well nas of stuffed animals. On display here are various fantasy elements whose nreference, at some basic level, seems to be the natural world. (50)It is this nimplicit or explicit reference to nature that fully justifies the use of word ngarden though in a “liberated” sense, to describe these synthetic constructions. nIn them we can see biophilia- a yearning for contact with nonhuman life-assuming nuncanny representational forms.

考研英语一翻译真题4

Directions:

Read the following text carefully and then translate the underlined nsegments into Chinese. Your translation should be written on the ANSWER SHEET(10 npoints)

Music means different things to different people and sometimes even ndifferent things to the same person at different moments of his life. It might nbe poetic, philosophical, sensual, or mathematical, but in any case it must, in nmy view, have something to do with the soul of the human being. Hence it is nmetaphysical; but the means of expression is purely and exclusively physical: nsound. I believe it is precisely this permanent coexistence of metaphysical nmessage through physical means that is the strength of music.46) It is also the nreason why when we try to describe music with words, all we can do is articulate nour reactions to it, and not grasp music itself.

Beethoven’s importance in music has been principally defined by the nrevolutionary nature of his compositions. He freed music from hitherto nprevailing conventions of harmony and structure. Sometimes I feel in his late nworks a will to break all signs of continuity. The music is abrupt and seemingly ndisconnected, as in the last piano sonata. In musical expression, he did not nfeel restrained by the weight of convention. 47) By all accounts he was a nfreethinking person, and a courageous one, and I find courage an essential nquality for the understanding, let alone the performance, of his works.

This courageous attitude in fact becomes a requirement for the performers nof Beethoven’s music. His compositions demand the performer to show courage, for nexample in the use of dynamics. 48) Beethoven’s habit of increasing the volume nwith an extreme intensity and then abruptly following it with a sudden soft npassage was only rarely used by composers before him.

Beethoven was a deeply political man in the broadest sense of the word. He nwas not interested in daily politics, but concerned with questions of moral nbehavior and the larger questions of right and wrong affecting the entire nsociety.49) Especially significant was his view of freedom, which, for him, was nassociated with the rights and responsibilities of the individual: he advocated nfreedom of thought and of personal expression.

Beethoven’s music tends to move from chaos to order as if order were an nimperative of human existence. For him, order does not result from forgetting or nignoring the disorders that plague our existence; order is a necessary ndevelopment, an improvement that may lead to the Greek ideal of spiritual nelevation. It is not by chance that the Funeral March is not the last movement nof the Eroica Symphony, but the second, so that suffering does not have the last nword. 50) One could interpret much of the work of Beethoven by saying that nsuffering is inevitable, but the courage to fight it renders life worth nliving.

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