高級(jí)英語(yǔ)1Unit7FrenchandEnglish翻譯

1、v1.0可編輯可修改法國(guó)人和英國(guó)人It is obvious that there is a great deal of difference between being internationaland being cosmopolitan. All good men are international. Nearly all bad men are cosmopolitan. If we are to be international we must be national. And it is largely because those who call themselves the f

2、riends of peace have not dwelt sufficiently on this distinction that they do not impress the bulk of any of the nations to which theybelong. International peace means a peace between nations,not a peace after the destruction of nations, like the Buddhist peace after the destruction of personality. T

3、hegolden age of the good European is like the heaven of the Christian:it is a placewhere people will love each other; not like the heaven of the Hindu, a place where they will be each other. And in the case of national character this can be seen in a curiousway. It will generally be found, I think,

4、that the more a manreally appreciates andadmires the soul of another people the less he will attempt to imitate it; he will beconscious that there is something in it too deep and too unmanageable to Englishman who has a fancy for France will try to be French; the Englishman who admires France will r

5、emain obstinately English. This is to be particularly noticed in the case of ourrelations with the French, because it is one of the outstanding peculiarities of the French that their vices are all on the surface, and their extraordinary virtues concealed. 3 One might almost say that their vices are

6、the flower of their virtues.在國(guó)際化和見(jiàn)多識(shí)廣中存在著非常大的差異，這是顯而易見(jiàn)的。所有的好人都是國(guó)際化的， 所有的壞人都是見(jiàn)多識(shí)廣的。我們?nèi)绻胱兊脟?guó)際化，首先必須具備民族性。很大程度上正是由于 那些自稱(chēng)熱愛(ài)和平的人并未真正理解這種區(qū)別，因此他們的努力甚至不為自己國(guó)家的大多數(shù)人所接 受。國(guó)際間的和平意味著民族間的和平，并非破壞一個(gè)民族以后的和平，就像破壞個(gè)人特性的佛教 那樣。歐洲最好的時(shí)代是像基督教的天堂那般，在那里人們相親相愛(ài)；而非像印度教那樣，人們?cè)?那里成為彼此。關(guān)于民族特性這一點(diǎn)，可以被看作是一種稀奇的方式。我認(rèn)為總體來(lái)說(shuō)，是一個(gè)人 不僅僅于欣賞和景仰另一

7、個(gè)民族的氣質(zhì)和精神，但也不至于去模仿；他會(huì)意識(shí)到其他民族文化是很 難模仿的，因?yàn)橛袠O深極難掌握的東西在其中。對(duì)法國(guó)著迷的英國(guó)人會(huì)嘗試著變成法國(guó)人；而敬仰 著法國(guó)的英國(guó)人卻始終堅(jiān)定地有著英國(guó)的痕跡。我們英國(guó)同法國(guó)的關(guān)系需要被多加關(guān)注，因?yàn)榉▏?guó) 人其中一個(gè)杰出的特點(diǎn)就是所有的邪惡都在表面上，而且他們特別的美德被封存了。你幾乎可以說(shuō) 他們的“惡”其實(shí)是他們的“善之花”。1v1.0可編輯可修改Thus their obscenity is the expression of their passionate love of dragging all things into the light. The

8、 avarice of their peasants means the independence of their peasants. What the English call their rudeness in the streets is a phase of their social equality. The worried look of their women is connected with the responsibility of their women; and a certain unconscious brutality of hurry and gesture

9、in the men is related to their inexhaustible and extraordinary military courage. Of all countries, therefore, France is the worst country for a superficial fool to admire. Let a fool hate France: if the fool loves it he will soon be a will certainly admire it, not only for the things that are not cr

10、editable, but actually for the things that are not there. He will admire the grace and indolence of the most industrious people in the world. He will admire the romance and fantasy of the most determinedly respectable and common-place people in the world. This mistake the Englishman will make if he

11、admires France too hastily; but the mistake that he makes about France will be slight compared with the mistake that he makes about himself. An Englishman who professes really to like French realistic novels, really to be at home in a French modern theatre,really to experience no shock on first seei

12、ng the savage French caricatures,is making a mistake verydangerous for his own sincerity. He is admiring something he does not understand. He is reaping where he has not sown, and taking up where he has not laid down; he is trying to taste the fruit when he has never toiled over the tree. He is tryi

13、ng to pluck the exquisite fruit of French cynicism, when he has never tilled the rude but rich soil of French virtue.因而法國(guó)式的下流其實(shí)是他們熱衷將事情公之于眾的一種表達(dá)方式。法國(guó)農(nóng)民的貪婪其實(shí)意味著他 們的獨(dú)立。當(dāng)英國(guó)人在街頭看到的粗魯實(shí)際上是社會(huì)平等的階段。法國(guó)婦女面帶惡容與她們的責(zé)任 有關(guān)系，而他們男人不經(jīng)意間流露的匆忙和姿態(tài)的殘酷與他們不知疲倦和和非凡的軍事勇氣有關(guān)。 因此從所有國(guó)家看來(lái)，對(duì)于那些嘴膚淺的傻瓜來(lái)說(shuō)法國(guó)是最不值得崇拜的國(guó)家。讓我們調(diào)侃一下法 國(guó)：如果一個(gè)傻

14、瓜愛(ài)上法國(guó)那么不久之后他會(huì)變成惡棍。他會(huì)真真切切地愛(ài)上法國(guó)，不僅僅因?yàn)槟?些根本不值得的事物，甚至是一些不存在的東西。他們會(huì)崇拜世界上最勤奮的人的優(yōu)雅和慵懶，也 會(huì)敬仰世界上最值得令人尊敬或者是普通人的浪漫和迷人。英國(guó)人會(huì)急匆匆地崇拜法國(guó)，這是他們 會(huì)犯的錯(cuò)誤；但是他在法國(guó)犯的錯(cuò)幾乎沒(méi)有辦法和自己身上犯的錯(cuò)誤做對(duì)比。一個(gè)自稱(chēng)真正喜歡法 國(guó)現(xiàn)實(shí)主義小說(shuō)的英國(guó)人，真正喜歡呆在法國(guó)現(xiàn)代戲劇里，第一次看到野蠻的法國(guó)漫畫(huà)就不會(huì)感到 2震驚，他犯了一個(gè)錯(cuò)誤，這對(duì)他自己的真誠(chéng)來(lái)說(shuō)是非常危險(xiǎn)的。犯下的嚴(yán)重錯(cuò)誤有損于他的真誠(chéng)。他崇拜著他不理解的東西，他收獲著他并未播種的東西，占領(lǐng)著他從未擁有過(guò)的東西，品嘗著他從

15、 未悉心照料的果實(shí)。他是在試著采摘法國(guó)式玩世不恭的果實(shí)，然而卻從未耕種過(guò)法國(guó)式美德未開(kāi)化 但肥沃的土壤。3 The thing can only be made clear to Englishmen by turning it round. Suppose a Frenchman came out of democratic France to live in England, where the shadow of the great houses still falls everywhere, andwhere even freedom was, in itsorigin, aristo

16、cratic. If the Frenchman saw our aristocracy and liked it, if he saw our snobbishness and liked it, if he set himself to imitate it, we all know what we should feel. We all know that we should feel that that particular Frenchman was a repulsive little gnat. He would be imitating English aristocracy;

17、 he would be imitating the English vice. But he would not even understand the vice he plagiarized: especially he would not understand that the vice is partly a would not understand those elements inthe English which balance snobbishness and make it human: the great kindness of theEnglish, their hosp

18、itality, their unconscious poetry, their sentimental conservatism, which really admires the gentry. The French Royalist sees that the English like their king. But he does not grasp that while it is base to worship a King, it is almost nobleto worship a powerless King. The importance of the Hanoveria

19、n Sovereigns has raised the English loyal subject almost to the chivalry and dignity of a Jacobite. The Frenchman sees that the English servant is respectful: he does not realize that he is alsodisrespectful; that there is an English legend of the humorous and faithful servant, who is as much a pers

20、onality as his master; the Caleb Balderstone, the Sam Weller. Hesees that the English do admire a nobleman; he does not allow for the fact that theyadmire a nobleman most when he does not behave like one. They like a noble to be unconscious and amiable: the slave may be humble, but the master must n

21、ot be proud.The master is Life, as they would like to enjoy it; and among the joys they desire in him there is none which they desire more sincerely than that of generosity, of throwing money about among mankind, or, to use the noble mediaeval word, largesse the joy of largeness. That is why a cabma

22、n tells you you are no gentleman if you give him his correct fare. Not only his pocket, but his soul is hurt. You have wounded his ideal.All this is really subtle andYou have defaced his vision of the perfect aristocrat.3v1.0可編輯可修改elusive; it is very difficult to separate what is mere slavishness fr

23、om what is asort of vicarious nobility in the English love of a lord. And no Frenchman could easilygrasp it at all. He would think it was mere slavishness; and if he liked it, he wouldbe a slave. So every Englishman must (at first) feel French candor to be mere brutality. And if he likes it, he is a

24、 brute. These national merits must not be understood so easily. It requires long years of plentitude and quiet, the slow growth of great parks, the seasoning of oaken beams, the dark enrichment of red wine in cellars and in inns, all the leisure and the life of England through many centuries, to pro

25、duce at last the generous and genial fruit of English snobbishness.And it requires battery andbarricade, songs in the streets, and ragged men dead for an idea, to produce and justify the terrible flower of French indecency.只有把它翻轉(zhuǎn)過(guò)來(lái)，才能讓英國(guó)人明白這一點(diǎn)。假設(shè)一個(gè)法國(guó)人從民主的法國(guó)來(lái)到英國(guó)，在那里，顯赫世家的影響依然處處存在，甚至那里的民主自由，追本溯源也彌漫著貴族

26、的氣息。如果法國(guó)人 看到我們的貴族，喜歡它，如果他看到我們的勢(shì)利，喜歡它，如果他讓自己模仿它，我們都知道我 們應(yīng)該有什么感覺(jué)。我們都知道，我們應(yīng)該感到那個(gè)法國(guó)人是一個(gè)令人厭惡的小蟲(chóng)子。他會(huì)模仿英 國(guó)貴族；他會(huì)模仿英國(guó)的惡習(xí)。但他甚至不明白他剽竊的惡習(xí)：尤其是他不明白，惡習(xí)在一定程度上 是一種美德。他不理解那些在英語(yǔ)中平衡勢(shì)利和人性的元素：如英國(guó)人的善良，他們的熱情好客， 他們不經(jīng)意間流露出來(lái)的詩(shī)意風(fēng)情，以及他們令人感傷的保守主義。所有這些，著實(shí)令紳士們羨慕 不已。法國(guó)?；逝烧J(rèn)為英國(guó)人喜歡他們的國(guó)王。但他不明白，當(dāng)崇拜一個(gè)流亡國(guó)王是多么高貴。漢 諾威王朝的君主們沒(méi)有實(shí)權(quán)，造就了忠誠(chéng)的英國(guó)臣民們幾

27、乎可以與英王詹姆斯二世退位后的擁護(hù)者 相媲美的騎士精神與高貴品質(zhì)。法國(guó)人認(rèn)為英國(guó)仆人是彬彬有禮的：他沒(méi)有意識(shí)到自己也不光彩的一面；有一個(gè)英國(guó)的傳說(shuō)，幽默而忠實(shí)的仆人，他和他的主人一樣是個(gè)人物；迦勒巴爾德斯通，山姆韋勒。他看到英國(guó)人崇拜一個(gè)貴族 ；他不允許這樣的事實(shí)：當(dāng)他不像一個(gè)貴族時(shí)，他們最崇拜一個(gè)貴 族。他們喜歡對(duì)自我地位意識(shí)不強(qiáng)，且待人親切友善的貴族。主人就是仆人們的平常生活，他們也 樂(lè)于過(guò)這樣的生活。主人是生命，他們想要享受它；在他所渴望的快樂(lè)中，沒(méi)有一種比慷慨更真誠(chéng)的愿望更大的快樂(lè)，也就是在人類(lèi)中撒錢(qián)，或者，用高貴的中世紀(jì)的話語(yǔ)，慷慨。這就是為什么一個(gè) 出租車(chē)司機(jī)告訴你，如果你給他正確

28、的票價(jià)，你就不是紳士了。不僅是他的口袋，而且他的靈魂受 到了傷害。你傷了他的理想。所有的東西都是很隱晦、難以捉摸的，英國(guó)人對(duì)貴族的熱愛(ài)之中，我 們很難將純粹的奴性與高尚的情操分離開(kāi)來(lái)。沒(méi)有一個(gè)法國(guó)人能輕易地抓住它。他會(huì)認(rèn)為這只是簡(jiǎn)單的奴性；如果他喜歡，他就會(huì)成為奴隸。因此，每個(gè)英國(guó)人都必須（一開(kāi)始）覺(jué)得法國(guó)的坦率只是 一種殘忍。如果他喜歡，他就是個(gè)粗魯?shù)娜?。這些民族品格不應(yīng)如此容易理解。它需要多年的充分 和安靜，緩慢擴(kuò)大的公園，橡木樹(shù)干的季節(jié)變化，地窖里和餐桌上在黑暗中濃縮的紅酒，經(jīng)過(guò)幾個(gè)世紀(jì) 的英國(guó)的所有生活和文化，最終產(chǎn)生英國(guó)勢(shì)利的慷慨和善良的果實(shí)。如果要使法國(guó)式的下流開(kāi)出之惡之花”并為它

29、開(kāi)脫罪責(zé)的話，那就需要理解磨難錘打、街頭的小曲，理解衣衫襤褸者的“舍生取義”。I was in Paris a short time ago, I went with an English friend of mine to an extremely brilliant and rapid succession of French plays, each occupying about twenty minutes. They were all astonishingly effective; but there was one of them which was so effective t

30、hat my friend and I fought about it outside, and had almost to be separated by the police. It was intended to indicate how men really behaved in a wreck or naval disaster, how they break down, how they scream, how they fight each other without object and in a mere hatred of everything. And then ther

31、e was added,with all that horrible irony whichVoltaire began, a scene in which a great statesman made a speech over their bodies, saying that they were all heroes and had died in a fraternal embrace. My friend and I came out of this theatre, and as he had lived long in Paris, he said, like a Frenchm

32、an:“What admirable artistic arrangement! Is it not exquisite"" No," I replied, assuming as far as possible the traditional attitude of John Bull in the pictures in Punch“No, it is not exquisite. Perhaps it is unmeaning; if it is unmeaning I do not mind.But if it has a meaning I know w

33、hat the meaning is; it is that under all their pageant of chivalry men are not only beasts, but even hunted beasts. I do not know much of humanity, especially when humanity talks in French. But I know when a thing is meant to uplift the human soul, and when it is meant to depress it. I know that Cyr

34、ano de Bergerac (where the actors talked even quicker) was meant to encourage man. And I know that this was meant to discourage him.”"These sentimental and moral views of art,“began my friend, but I broke into his words as a light broke into my mind."Letme say to you, “ I said, “What Jaur

35、es said to Liebknecht at the socialist Conference:'You have not died on the barricades. ' You are an Englishman, as I am, and you ought to be as amiable as I am. These people have some right to be terrible in art, for they have been terrible in politics. They may endure mock tortures on the

36、stage; they have seen real tortures in the streets. They have been hurt for the idea of Democracy. Theyhave been hurt for the idea of Catholicism. It is not so utterly unnatural to them thatthey should be hurt for the idea of literature. But, by blazes, it is altogether unnatural to me! And the wors

37、t thing of all is that I, who am an Englishman, loving comfort, should find comfort in such things as this. The French do notseek comfort here, butrather unrest. This restless people seeks to keep itself in a perpetual agony of the revolutionary mood. Frenchmen, seeking revolution, may find the humi

38、liation of humanity inspiring. But God forbid that two pleasure-seeking Englishmen should ever find it pleasant!"不久前我在巴黎，我和我的一個(gè)英國(guó)朋友一起去了一場(chǎng)非常精彩和短小的法國(guó)短幕劇，每一幕大約20分鐘。它們都具有驚人的感染力；但是有一個(gè)太有感染力以至于我和我的朋友在外面打架，直到我 們被警察分開(kāi)。它的目的是為了表達(dá)法國(guó)人在面對(duì)海難時(shí)的表現(xiàn)，他們?nèi)绾伪罎?，他們?nèi)绾渭饨校麄內(nèi)绾魏翢o(wú)目的廝打，僅僅因?yàn)閷?duì)一切的憎恨。接著，又加上了伏爾泰令人恐懼的諷刺之術(shù)的一 幕，一個(gè)偉大

39、的政治家在他們的尸體上發(fā)表了演講，說(shuō)他們像兄弟般擁抱著，英雄的死去。我和我 的朋友從這個(gè)劇院出來(lái)，就像他在巴黎長(zhǎng)住那樣，他像一個(gè)法國(guó)人的說(shuō)道：“多么令人欽佩的藝術(shù) 安排！是不是非常精致呢“不，”我回答道，盡可能地裝成約翰布爾的傳統(tǒng)態(tài)度一一“不，它不是精致的?！币苍S是索然無(wú)味的；如果它是沒(méi)有意義的，我不介意。但如果它有意義，我知道它的意 義是什么；在他們騎士精神的虛飾之下，人不僅僅是野獸，更是困獸。我不太了解人類(lèi)，尤其是當(dāng)人 類(lèi)用法語(yǔ)交談時(shí)。但我知道什么時(shí)候一件事是為了提升人類(lèi)的靈魂，當(dāng)它是用來(lái)壓抑它的時(shí)候。我知道Cyrano de Bergerac （演員們說(shuō)得更快）是為了鼓勵(lì)人們。我知道當(dāng)下這種舞臺(tái)劇是為了壓抑 靈魂的?！斑@是充滿(mǎn)情感和道德觀點(diǎn)的藝術(shù)，”我的朋友開(kāi)始說(shuō)，但我靈光一現(xiàn)，打斷了他的話?！白屛覍?duì)你說(shuō)，"我說(shuō)，“在社會(huì)主義會(huì)議上，jaur ' s對(duì)李卜克內(nèi)希說(shuō)：“你還沒(méi)有死在路障上?！?“你是一個(gè)英國(guó)人，你應(yīng)該像我一樣和藹可親。”這些人在藝術(shù)上有一定的權(quán)利，因?yàn)樗麄冊(cè)谡紊虾茉愀狻Ｋ麄兛梢栽谖枧_(tái)上忍受模擬的折磨；他們