The stage is more beholding to love, than the life of man. For as to the sta

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问题     The stage is more beholding to love, than the life of man. For as to the stage, love is ever matter of comedies, and now and then of tragedies; but in life it doth much mischief; sometimes like a siren, sometimes like a fury.
    You may observe, that amongst all the great and worthy persons (whereof the memory remaineth, either ancient or recent) ’there is not one, that hath been transported to the mad degree of love: which shows that great spirits, and great business, do keep out this weak passion. You must except, nevertheless, Marcus Antonius, the half partner of the empire of Rome, and Appius Claudius, the decemvir and lawgiver; whereof the former was indeed a voluptuous man, and inordinate; but the latter was an austere and wise man: and therefore it seems (though rarely) that love can find entrance, not only into an open heart, but also into a heart well fortified, if watch be not well kept.

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答案     舞台上的爱情,比之生活中的爱情,要美好得多。因为在舞台上,爱情永远都是喜剧的题材,偶尔才成为悲剧的内容,但在生活中,爱情有时像诱人的女妖,有时像复仇的女神,常常招来不幸。
    你可曾注意,一切真正伟大尊贵的人物(无论古人、今人.只要其英名已经铭刻于人类的记忆),没有在爱情中狂热昏头的,这表明伟大的心灵、伟大的事业确实可以摒除这种脆弱的感情。然而,下面两人却是例外,一是曾与他人共同统治罗马帝国的安东尼,一是曾为罗马十大执政官、并制订了罗马法典的克劳底亚,前者确是好色之徒,荒淫无度,后者却严守操行、睿智多谋。由此可见,爱情不仅会占领敞开的心扉,假如放松警惕,有时(尽管极其难得)也能闯入设防的心灵。

解析 1、本文节选自培根的Of Love(《论爱情》),论述明白流畅,词句古色古香,传译培根简练隽永的行文风格是做好本篇翻译的关键。
2、第1句的beholding意思是obliged“负有义务的”。直译:舞台比人生更对爱情负有义务。意即舞台会夸大爱情。
3、第2句的matter意为“素材,题材”;siren是古希腊神话中地中海的魔女,歌喉动听,诱使过往船只陷入险境:fury是希腊神话中掌管复仇的三女神之一。
4、第3句的weak passion反映了作者对爱情的态度,译为“脆弱的感情”,因为在培根的眼中,被人吟咏讴歌,使人为之心动的神圣感情不过是“女祸”、“堕落”的同义词。
5、第4句的Marcus Antonius安东尼,是古罗马统帅,曾为凯撒部将,凯撒被刺后与屋大维成东西对峙之势,故有文中所说的half partner of the empire of Rome,后因迷恋女色被杀。Appius Claudius克劳底亚,古罗马执政官,亦因好色而被杀。decemvir是“(作为古罗马国家首脑的)十大执政官之一”。本句有几个难词:voluptuous“骄奢淫逸的”;inordinate“放纵的”;austere“禁欲的,简朴的”;fortify“强化防御”。if watch benot well kept相当于if watch is not well kept,这里意译为“假如放松警惕”,根据汉语表达习惯前置。
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