中英文翻译文章
中英文翻译文章
语言是人们相互之间沟通交流的最主要的媒介,英文是众多语言之一，不少中英文翻译的文章都非常优秀。下面就是学习啦小编给大家整理的中英文翻译文章，希望大家喜欢。
中英文翻译文章篇1：In Praise of the Humble Comma
小小逗号赞
Pico Lyer
皮科·埃尔
The gods, they say, give breath, and they take it away. But the samesaid-could be said-could itnot?-of the humble comma. Add it to the present clause, and, all of a sudden, the mind is,quite literally, given pause to think; take it out if you wish or forget it and the mind is deprivedof a resting place. Yet still the comma gets no respea. It seems just a slip of a thing, apedant's tick, a blip on the edge of our consciousness, a kind of printer's smudge almost.Small, we claim, is beautiful (especially in the age of the microchip). Yet what is so often used,and so rarely called, as the comma-unless it be breath itself?
人都说神仙把气赐予生灵，又把气夺走。不过这话用在小小的逗号上，何尝不是如此?给现在这句加上逗号，脑子里真会，突然，停下来想想;若随意去掉，或忘了它，就剥夺了脑子休息的空间。尽管如此，逗号仍然不受人算重。它似乎只是一个小撇，书呆子手下的一个小点儿，是我们意识边缘上的一个记号，甚至排字工人沾上的一点污。我们好说以小为美(尤其在这集成电路时代)。然而，还有什么东西是像逗号那样频频使用而又那样默默无闻的呢?——不就是气吗?
Punctuation, one is taught, has a point: to keep up law and order. Punctuation marks are theroad signs placed along the highway of our communication——to control speeds，providedirections and prevent head-on collisions. A period has the unblinking finality of a red light,the comma is a flashing yellow light that asks us only to slow down, and the semicolon is astop sign that tells us to ease gradually to a halt, before gradually starting up again. Byestablishing the relations between words, punctuation establishes the relations between thepeople using words. That may be one reason why school teachers exalt it and lovers defy it("we love each other and belong to each other let’s don’t ever hurt each other Nicole let's don'tever hurt each other,” wrote Gary Gilmore to his girlfriend )A comma ，he must have known, "separate inseparables" ，in the clinching words of H. W. Fowler, King of English Usage.
我们都学过，标点有一个目的：维持法律与秩序。标点符号正是我们交通要道上一路设置的路标——用以控制速度，指示方向，避免迎头相撞。句号具有红灯的一丝不苟，说一不二;逗号是一闪一闪的黄灯，要求我们只是放慢速度;分号则是停车标记，指示我们缓缓煞车，然后再缓缓启动标点建立起词与词之间的关系，从而建立起用词人之间的关系。教师捧它，情人烦它，其原因盖出于此。(盖瑞·基尔摩尔给女友写道：“我爱你你爱我我是你的你是我的我们永远谁也别伤谁的心科尔我们永远谁也别伤谁的心。”)他一定学过英语惯用法大王福勒的断言：逗号是“把不可分开的东西分开”。
Punctuation, then, is a civic prop, a pillar that holds society upright. (A run on sentence, itsphrases piling up without division, is as unsightly as a sink piled high with dirty dishes.)Smallwonder,then,that punctuation was one of the first proprieties of the Victorian age, the age ofthe corset, that the modernists threw off the sexual revolution might be said to have begunwhen Joyce's Molly Bloomis spilled out all her private thoughts in 36 pages of unbridled, almostunperioded and officially censored prose: and another are bellion was surely marked whenE.E.Cummings first felt free to commit "God" to the lower case.
如此说来，标点乃是百姓的支柱，是支撑社会不至于垮掉的栋梁冗长的句子，词组堆砌成赘而不分彼此，就好比洗碗槽堆满了脏碗，很不雅观。)也难怪在维多利亚时代，风行紧身胸衣的时代，标点是讲礼貌的头等大事，而现代派一概弃之门外。性的革命可以说就是始于乔伊斯笔下的莫莉·布鲁姆，她将全部私衷一吐为快，洋洋36页文字信口道来，几乎没有句号，遭到官家查禁。再就是卡明斯，肯定也算造反，他当初为所欲为，擅自将“Cod”贬为小写。
Punctuation thus becomes the signatrire of cultures. The hot-blooded Spaniard seems to berevealed in the passion and urgency of his doubled exclamation points and question marks ( "iCaramba! LQuien sabe?"), while the impassive Chinese traditionally added to his so-calledinscrutability by omitting directions from his ideograms. The anarchy and commotion of the60s were given voice in the exploding exclamation marks, riotous capital letters and Day-Gloitalics of Tom Wolfe's spray-paint prose; and in Communist societies, where the State isabsolute, the dignity-and divinity-of capital letters is reserved for Ministries, Sub-Committeesand Secretariats.
于是，标点成了不同文化的标志。西班牙人性好激动，打惊叹号打问号都用双重的(“jCaramba! LQuiensabe?”见鬼啦!谁能明白?)情真意切，如见其人;中国人则不好动声色，表意字的文言自古就不注标点，所谓胸有城府，益见其深。汤姆·沃尔夫那种喷漆式的散文体，惊叹号一哄而起，大写字母泛滥成灾，斜体字像是涂了荧光漆，无不表达了60年代的无法无天和乱作一团;而在共产党当政的社会，国家至上，大写字母的尊严——与神威——只留给政府各部委和书记处享用。
Yet punctuation is something more than a culture's birthmark; it scores the music in ourminds, gets our thoughts moving to the rhythm of our hearts. Punctuation is the notation inthe sheet music of our words, telling us when to rest, or when to raise our voices; itacknowledges that the meaning of our discourse, as of any symphonic composition, lies notonly in the units but in the pauses, the pacing and the phrasing. Punctuation is the way onebats one's eyes, lowers one's voice or blushes demurely. Punctuation adjusts the tone andcolor and volume till the feeling comes into perfea focus: not disgust exactly, but distastes; notlust, or like, but love.
然而，标点又不仅是某一种文化的胎记;它记下我们心中的乐曲，指引我们的思想与我们的心声合拍。标点是我们作词的歌篇上的乐谱，它告诉我们何时休止，何时提高嗓门;它表明，我们说话着文，犹如谱写交响乐曲，情意所至，不仅见于整体段落，也见于起落有间、快慢有节以及长短有致。标点就像人眨眨眼睛，低声细语，或忸怩作态。标点可调整音调、音色和音量，直至找准了感情，万无一失：未必是厌恶，而是厌烦;并非情欲之类，而是情爱。
Punctuation, in short, gives us the human voice, and all the meanings that lie between thewords. "You aren't young, are you?" loses its innocence when it loses the question mark.Every child knows the menace of a dropped apostrophe (the parent's "Don't do that" shiftinginto the more slowly enunciated "Do not do that"), and every believer, the ignominy of havinghis faith reduced to "faith." Add an exclamation point to "To be or not to be..." and thegloomy Dane m has all the resolve he needs; add a comma, and the noble sobriety of "Godsave the Queen" becomes a cry of desperation bordering on double sacrilege.
简言之，标点给我们传来话音，传来字里行间的全部含义。“你不小了，是吧?”这话去掉问号，无心便成了有意。做父母的先是说“Don't do that”(“别做那事”)，转而又慢声慢气交代清楚：“Do not.dothat”(不要做那事)，每个孩子都听得明白，拿掉了撇号可就把话说绝了。每个信徒也都明白，把他的信教加上引号，所谓“信教”，那可是在污辱他。给“生存或者灭亡……”一句添上个惊叹号，那位忧心忡忡的丹麦人便是毅然决然万死不辞之士。在“上帝保佑女王”中间加个逗号，那崇高的庄严则成了绝望的呼号，简直是对双方的亵渎。
Sometimes, of course, our markings may be simply a matter of aesthetics.Popping in a commacan be like slipping on the necklace that gives an outfit quiet elegance, or like catching thesound of running water that complements as it completes the silence of a Japaneselandscape. When VS.
Naipaul , in his latest novel, writes, "He was a middle-aged man, with glasses," the first commacan seem a little precious. Yet it gives the description a spin, as well as a subtlety, that itotherwise lacks, and it shows that the glasses are not part of the middle-agedness, butsomething else.
当然，’有时我们的标点符号也许只是个审美的问题。插进一个逗号，犹如给一套服装悄然配上项链，使之显得娴静优雅，又如在日本园林的一片幽静之外还听到潺潺流水声，使园景更加充实。奈保尔在他新近的一部小说中写道：“他是个中年人，戴着一副眼镜。”前一个逗号看似有点做作。然而它使描述更为婉转，也更为微妙，否则都显不出来;它还表明，那副眼镜并非人到中年就非戴不可，而是别有由来。
Thus all these tiny scratches give us breadth and heft and depth. A world that has only periodsis a world without inflections. It is a world without shade. It has a music without sharps andflats. It is a martial music. It has a jackboot rhythm. Words cannot bend and curve. Acomma, by comparison,catches the gentle drift of the mind in thought, turning in on itselfand back on itself, reversing, redoubling and returning along the course of its own sweet rivermusic; while the semicolon brings clauses and thoughts together with all the silent discretionof a hostess arranging guests around her dinner table.
可见所有这些小来小去的一深度。只有句点的世界是个千篇撇一点都给我们增加了广度、分量和一律的世界。是个没有差别的世界。它的乐曲不分升调降调。是一首军乐曲。是长筒靴的节奏。文字不能弯曲。相形之下，逗号却能捕捉头脑里思路的涓涓细流，任它沿着自己娓娓动听的河上乐曲的航线，自行蜿蜒曲折，倒流，重叠。分号则将分句与思想融为一体，犹如女主人不露声色地把来宾一一妥善安排入席。
Punctuation, then, is a matter of care. Care for words, yes, but also, and more important, forwhat the words imply. Only a lover notices the small things: the way the afternoon lightcatches the nape of a neck, or how a strand of hair slips out from behind an ear, or the way afinger curls around a cup. And no one scans a letter so closely as a lover, searching for its smallprint, straining to hear its nuances, its gasps, its sighs and hesitations, poring over the secretmessages that lie in every cadence. The difference between"Jane (whom I adore)" and "Jane,whom I adore," and the difference between them both and "Jane-whom I adore-" marks all thedistance between ecstasy and heartache. "No iron can pierce the heart with such force as aperiod put at just the right place," in Isaac Babel's lovely words; a comma can let us hear avoice break, or a heart. Punctuation, in fact, is a labor of love. Which brings us back in a way togods.
由此说来，标点符号又是个要谨慎从事的问题。用词要慎，不错，但更要紧的是对词的涵义尤宜慎重。只有情人才注意到这些细节：下午的阳光如何照在后颈上，一缕发丝如何从耳后根滑下来，手指如何勾住杯子。谁看信也不会像情人那般仔细，苦苦寻觅信中的微小印迹，极力听出其间的细微差别，其中的喘息、感叹和犹豫不决，潜心揣摩那抑扬顿挫中的秘密信息。“简(我深爱她)”与“简，我深爱她”两句之间的差别，以及这两句与“简——我深爱她——”之间的差别，标明了醉心与伤心之间的距离。巴别尔有句话说得多好：“句点用得其所，可穿透人心，虽刀枪力莫能及。”逗号则可使我们听到声咽或心碎。标点符号其实是一项心甘情愿而为之的工作。它多少使我们重新成为主宰。
中英文翻译文章篇2：How Should One Read a Book?
怎样读书?
Virginia Woolf
弗吉尼亚·伍尔夫
It is simple enough to say that since books have classes——fiction，biography，poetry——weshould separate them and take from each what it is right that each should give us. Yet fewpeople ask from books what books can give us. Most commonly we come to books with blurredand divided minds，asking of fiction that it shall be true，of poetry that it shall be false，ofbiography that it shall be flattering，of history that it shall enforce our own prejudices. If wecould banish all such preconceptions when we read，that would be an admirable beginning. Donot dictate to your author;Try to become him. Be his fellow-worker and accomplice. If youhang back，and reserve and criticize at first，you are preventing yourself from getting thefullest possible value from what you read. But if you open your mind as widely as possible，thesigns and hints of almost imperceptible fineness，from the twist and turn of the firstsentences，will bring you into the presence of a human being unlike any other. Steep yourselfin this，acquaint yourself with this，and soon you will find that your author is giving you，orattempting to give you，something far more definite. The thirty-two chapters of a novel—if weconsider how to read a novel first——are an attempt to make something as formed andcontrolled as a building：but words are more impalpable than bricks;Reading is a longer andmore complicated process than seeing. Perhaps the quickest way to understand the elementsof what a novelist is doing is not to read，but to write;To make your own experiment with thedangers and difficulties of words. Recall，then，some event that has left a distinct impressionon you—how at the corner of the street，perhaps，you passed two people talking. A treeshook;an electric light danced;the tone of the talk was comic，but also tragic;a wholevision;an entire conception，seemed contained in that moment.
书既然有小说，传记，诗歌之分，就应区别对待，从各类书中取其应该给及我们的东西。这话说来很简单。然而很少有人向书索取它能给我们的东西，我们拿起书来往往怀着模糊而又杂乱的想法，要求小说是真是的，诗歌是虚假的，传记要吹捧，史书能加强我们自己的偏见。读书时如能抛开这些先入为主之见，便是极好的开端。不要对作者指手画脚，而要尽力与作者融为一体，共同创作，共同策划。如果你不参与，不投入，而且一开始就百般挑剔，那你就无缘从书中获得最大的益处。你若敞开心扉，虚怀若谷，那么，书中精细入微的寓意和暗示便会把你从一开头就碰上的那些像是山回水转般的句子中带出来，走到一个独特的人物面前。钻进去熟悉它，你很快就会发现，作者展示给你的或想要展示给你的是一些比原先要明确得多的东西。不妨闲来谈谈如何读小说吧。一部长篇小说分成三十二章，是作者的苦心经营，想把它建构得如同一座错落有致的布局合理的大厦。可是词语比砖块更难捉摸，阅读比观看更费时、更复杂。了解作家创作的个中滋味。最有效的途径恐怕不是读而是写，通过写亲自体验一下文字工作的艰难险阻。回想一件你记忆忧新的事吧。比方说，在街道的拐弯处遇到两个人正在谈话，树影婆娑，灯光摇曳，谈话的调子喜中有悲。这一瞬间似乎包含了一种完善的意境，全面的构思。
But when you attempt to reconstruct it in words，you will find that it breaks into a thousandconflicting impressions. Some must be subdued;others emphasized;in the process you willlose，probably，all grasp upon the emotion itself. Then turn from your blurred and litteredpages to the opening pages of some great novelist—Defoe，Jane Austen，or Hardy. Now youwill be better able to appreciate their mastery. It is not merely that we are in the presence ofa different person—Defoe，Jane Austen，or Thomas Hardy—but that we are living in a differentworld. Here，in Robinson Crusoe，we are trudging a plain high road;one thing happens afteranother;the fact and the order of the fact is enough. But if the open air and adventure meaneverything to Defoe they mean nothing to Jane Austen. Hers is the drawing-room，and peopletalking，and by the many mirrors of their talk revealing their characters. And if，when we haveaccustomed ourselves to the drawing-room and its reflections，we turn to Hardy，we are oncemore spun around. The other side of the mind is now exposed—the dark side that comesuppermost in solitude，not the light side that shows in company. Our relations are nottowards people，but towards Nature and destiny. Yet different as these worlds are，each isconsistent with itself. The maker of each is careful to observe the laws of his ownperspective，and however great a strain they may put upon us they will never confuseus，as lesser writers so frequently do，by introducing two different kinds of reality into thesame book. Thus to go from one great novelist to another—from Jane Austen to Hardy，fromPeacock to Trollope，from Scott to Meredith —is to be wrenched and uprooted;to be thrownthis way and then that. To read a novel is a difficult and complex art. You must be capable notonly of great finesse of perception，but of great boldness of imagination if you are going tomake use of all that the novelist—the great artist—gives you.
可是当你打算用文字来重现此情此景的时候。它却化作千头万绪互相冲突的印象。有的必须淡化，有的则应加突出。在处理过程中你可能对整个意境根本把握不住了。这时，还是把你那些写得含糊杂乱的一页页书稿搁到一边，翻开某位小说大师，如笛福，简·奥斯汀或哈代的作品来从头读吧。这时候你就能更深刻地领略大师们驾驭文字的技巧了。因为我们不仅面对一个个不同的人物—笛福、简·奥斯汀或托马斯·哈代，而且置身于不同的世界。阅读《鲁宾逊漂流记》时，我们仿佛跋涉在狂野大道上，事件一个接一个，故事再加上故事情节的安排就足够了。如果说旷野和历险对笛福来说就是一切，那么对简·奥斯汀就毫无意义了。她的世界是客厅和客厅中闲聊的人们。这些人的言谈像一面面的镜子，反映出他们的性格特征。当我们熟悉了奥斯汀的客厅及其反映出来的事物以后再去读哈代的作品，又得转向另一个世界。周围茫茫荒野，头顶一片星空。此时，心灵的另一面，不要聚会结伴时显示出来的轻松愉快的一面，而是孤独时最容易萌生的忧郁阴沉的一面。和我们打交道的不是人，而是自然与命运。虽然这些世界截然不同，它们自身却浑然一体。每一个世界的创造者都小心翼翼地遵循自己观察事物的法则，不管他们的作品读起来如何费力，却不会像蹩脚的作家那样，把格格不入的两种现实塞进一部作品中，使人感到不知所云。因此读完一位伟大作家的小说再去读另一位的，比如说从简·奥斯汀到哈代，从皮科克到特罗洛普，从司各特到梅瑞狄斯，就好像被猛力扭动，连根拔起，抛来抛去。说实在的，读小说是一门困难而又复杂的艺术。要想充分享用小说作者，伟大的艺术家给予你的一切，你不仅要具备高度的感受能力，还得有大胆的想象力。
中英文翻译文章篇3：In the Pursuit of a Haunting and Timeless Truth
追寻一段永世难忘的史实
Pauline Kael
波琳·凯尔
Louis Malle's Au Revoir les Enfants" (or "Goodbye, Children") is set in Occupied France in 1944,when Malle was an eleven-year-old at a Catholic boys' boarding school near Fontainebleau thatsheltered several Jewish boys. The Gestapo learned they were there, and sent the ones theyfound to Auschwitz , and the headmaster to a work camp c4J One of the Jewish boyswas inMalle's class, but Malle didn't get to know him well and didn't realizethat he was Jewish. For thedramatic purposes of the movie, he has conceived a close friendship between his alter ego,the fairhaired Julien Quentin(Gaspard Manesse), and the dark boy who is using the false nameJean Bonnet (Raphael Fejto). Malle has every right to fantasize and invent, but I'm puzzled bythe kind of fantasizing he does here. The First half of the film is so hushed and enervated thatI kept peering into the schoolyard looking for signs of life. It's full of wealthy boys at play;they're even there on stilts,battling and falling down. But their games-which might clue us intotheir ruling-class assumptions and their snobbery and the limits of their understanding-areshown at a distance. The camera is so discreet it always seems about ten feet too far away,and the boy who plays Julien is directed so that he never engages us; we can't look into him, orinto anyone else.
路易·马尔执导的《再见，孩子们》以1944年的法国被占区为背景，当时他11岁，在枫丹白露附近一所天主教办的寄宿男校上学。学校藏下了好几个犹太孩子。盖世太保探知他们的下落，把搜出来的送往奥斯维辛，校长发配劳动营。孩子当中有一个就在马尔班上，不过马尔跟他不熟，也没看出他是犹太人。在电影里，为求得戏剧性的效果，马尔虚构了自己的化身—金发少年朱利安·昆廷(加斯帕德·马内斯饰)——和化名让·博内的深肤色男孩(拉斐尔·费日托饰)之间的亲密友情。马尔有充分的权利进行想象和虚构，但我对他在这里做出的这种想象大惑不解。影片的前半部抑闷不张，软弱无力，我禁不住朝校园里不断张望，寻找生气。满园都是富家子弟在玩耍;他们还踩起了高跷，互相打斗又摔倒在地。但是，他们的嬉戏——本可以向我们揭示一下他们身上那副统治阶级的装腔作势、那份势利眼和见识短浅——都拍成了远景。摄影机太小心谨慎了，总像是远了十来英尺;饰朱利安的小演员让导演导得毫不动人;我们看不到他的内心活动，也看不到别人的。
As the story is presented, Julien, who is quick, grasps almost at once that this new boy, JeanBonnet, is an impostor, who isn't really Catholic; Julien catches Jean standing by his bed atnight, praying silently, with two lighted candles, and Julien rummages in Jean's books anddiscovers that his realname is the German-sounding Jean Kippelstein. Julien is the only boy inthe class who offers Jean friendship; the others play tricks on Jean and gang upon him, becausehe's different-he's not one of them. Julien, who knows how different Jean actually is, keeps hisdiscovery to himself. He and Jeanare the two brightest boys in the class; they both love toread, and they become best friends. This is a rather moist fantasy of Julien's virtue; it'seventually mixed with a fantasy self-accusation of guilt. When the Gestapo chief comes intothe classroom asking for Jean Kippelstein, the scared, nervous Julien involuntarily turns andlooks at his friend-it's a Judas kiss ,but an unintentional one. And Jean exonerates him: whenhe is packing his gear to go with the Gestapo men, he tells Julien that it didn't matter, that theNazis would have caught him anyway.
烛，立在床边默默祈祷;他翻看让的课本，发现他的真名叫让·基普尔斯坦，听音是个德国姓。朱利安是班上惟一待他友好的同学;别人都捉弄他，合伙欺负他，因为他不一样——跟他们不一路。朱利安明知这不一样的真情，把亲瞍所见藏在心底。他和让是班上两名最聪明的学生;他俩都喜欢读书，还成了最要好的朋友。这里是说朱利安的善良，想象中很有几分伤感;到最后更添了一层，想象他因负疚而自责。只见盖世太保的头子走进教室，来要让·基普尔斯坦，张皇失措的朱利安不由自主转过脸去看了看他的朋友——岂不正是犹大之吻，但并非存心所为。让并不记恨他：他收拾好东西跟盖世太保走，一面对朱利安说没什么，反正纳粹会抓到他的。
In the finest scene of the movie, Jean shakes hands with the boys near him just before he'staken away; it's a well-brought-up young boy's leavetaking,and nothing has prepared you for it.But throughout Lrean is used as an aesthetic objea-spiritual, sensitive, foreign . He's oftenshot in profile, with his lips parted, and in one scene he goes to Mass with the other boys andtilts his face, open-mouthed-almost yearning-to receive the holy wafer, whichm is denied him bythe Reverend Father, the headmaster. Is the boy merely seeking acceptance by the otherboys-is he just trying to pass as one of them-or is something else implied? The whole movieseems padded and muted, it's designed to make you understand that Julien is stricken by thehorror of what happens to his friend. But nothing in it comes into clear focus-not the boys'attitudes, not even the images (and certainly not a lengthy sequence in which the two boysare on a treasure hunt in Fontainebleau Forest).
影片有一场精彩之至。让即将被人带走，他与身边的同学一一握手;一个很有教养的少年跟人话别的做派，事先未做任何铺垫。但让自始至终都用来充当一个审美的对象——超凡脱俗，有灵性，希罕。他往往拍成双唇微启的侧面形象，有一场戏是他随同学去做弥撒，他仰起脸，张着嘴——几乎是渴望着——去领神父大人即校长并没有赐给他的圣饼。这孩子是否只求同学收下他——只求把他当自己人，还是其中别有寓意呢?整部影片显得沉闷压抑，意在要你理解朱利安因见朋友惨遭不幸而深感痛心。不过，影片中一切都看不真切——同学的态度如此，就连图像也如此(两个孩子在枫丹白露森林里寻宝的那一长段穿插，自然也是如此)。
Malle has said that this is the most personal and important film of his career,and I believe thathe thinks that. I also believe that he's wrong. If "Au Revoir"is very personal to him, this may bebecause as an adult he has felt stricken by the recognition that he wasn't stricken then, and itmay involve his feelings of guilt over his own family's safety and prosperity-everything thatthe film barely touches on.
马尔曾说，这是他导演生涯中最富自传色彩也是最重要的一部影片。我认为他是这样想的。我又认为他并没有说对。如果说他自认《再见》一片极富于自传色彩，那也许是因为他成年后认识到当年未感痛心，因而一直深感痛心，其中也许还夹有他自己的家庭当年安富尊荣因而每每内疚于心——这一切在影片中倒是甚少触及。
Malle has said of "Au Revoir." "I reinvented the past in the pursuit of a haunting and timelesstruth." Maybe that's why I felt as if I were watching a faded French classic, something I dimlyrecalled. In pursuit of haunting and timeless truth, Malle has gone back to the anti-Nazi moviesof the forties,and polished and formalized the actions until he's turned melodrama into politereverie.
对《再见》马尔说过：“我这样旧事新编，是在追寻一段永世难忘的史实。”难怪我觉得像是在看一部退了色的法国经典片，依稀中似曾相识，恐怕就是这个缘故。马尔在追寻永世难忘的史实中回到40年代那些反纳粹的电影，他对剧情加工润色，自成一格，终于把情节剧变成了文雅的幻想曲。
Yes, it gets to you by the end. How could it not? But you may feel pretty wom down-by howaccomplished it is, and by all the aching, tender shots of Jean. He's photographed as if hewere a piece of religious art: Christ in his early adolesence. There's something unseemly aboutthe movie's obsession with his exotic beauty-as if the French-German Jews had come from thefar side of the moon. And does he have to be so brilliant, and a gifted pianist, andcourageous? Would the audience not mourn him if he were just an average schmucky kid withpimples?
不错，你看到剧终正是这般感受。岂有他哉?但你也许会感到疲惫不堪——就为它技法如此精湛，就为让有那么些凄楚动人的镜头。他摄下的形象犹如一件宗教艺术品：少年时期的基督。影片一味醉心于他的异族情调之美，总不那么妥当吧——仿佛法德两国的犹太人都是来自天外的月球。再说，他难道就非如此光彩照人不可吗，又有弹钢琴的天赋，又能临危不惧?他若只是个普普通通、呆头呆脑的孩子，长一脸雀斑，观众难道就不哀其不幸了吗?
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