哲理双语散文欣赏
英语散文的发展历程十分曲折,散文大家风格多变,兼之中英语言个性殊异,若要成功地把英语散文大家的作品翻译到中文,既须了解英语散文发展的概况,又须注意保证气韵逻辑通畅,文气沛然,才能传神译出,曲尽其妙,令汉语读者获得相同或相近的审美感受。下面学习啦小编为大家带来哲理双语散文欣赏，希望大家喜欢!
哲理双语散文：学会相信自己
I lost my sight when I was four years old by falling off a box car in a freight yard in AtlanticCity and landing on my head. Now I am thirty-two. I can vaguely remember the brightness ofsunshine and what red color is. It would be wonderful to see again, but a calamity can dostrange things to people.
4岁那年在大西洋城，我从货场一辆火车上摔下来，头先着地，于是双目失明。现在我已经32岁了。我还模糊地记得阳光是多么灿烂，红色是多么鲜艳。能恢复视觉固然好，但灾难也能对人产生奇妙的作用。
It occurred to me the other day that I might not have come to love life as I do if I hadn’t beenblind. I believe in life now. I am not so sure that I would have believed in it so deeply,otherwise. I don’t mean that I would prefer to go without my eyes. I simply mean that the lossof them made me appreciate the more what I had left.
有一天我突然想到，倘若我不是盲人，我或许不会变得像现在这样热爱生活。现在我相信生活，但我不能肯定如果自己是明眼人，会不会像现在这样深深地相信生活。这并不意味着我宁愿成为盲人，而只是意味着失去视力使我更加珍惜自己其他的能力。
Life, I believe, asks a continuous series of adjustments to reality. The more readily a person isable to make these adjustments, the more meaningful his own private world becomes. Theadjustment is never easy. I was bewildered and afraid. But I was lucky. My parents and myteachers saw something in me —a potential to live, you might call it ——which I didn’t see,and they made me want to fight it out with blindness.
我认为，生活要求人不断地自我调整以适应现实。人愈能及时地进行调整，他的个人世界便愈有意义。调整决非易事。我曾感到茫然害怕，但我很幸运，父母和老师在我身上发现了某种东西——可以称之为活下去的潜力吧——而我自己却没有发现。他们激励我誓与失明拼搏到底。
The hardest lesson I had to learn was to believe in myself. That was basic. If I hadn’t been ableto do that, I would have collapsed and become a chair rocker on the front porch for the rest ofmy life. When I say belief in myself I am not talking about simply the kind of self-confidencethat helps me down an unfamiliar staircase alone. That is part of it. But I mean somethingbigger than that: an assurance that I am, despite imperfections, a real, positive person thatsomewhere in the sweeping, intricate pattern of people there is a special place where I canmake myself fit.
我必须学会的最艰难的一课就是相信自己，这是基本条件。如做不到这一点，我的精神就会崩溃，只能坐在前门廊的摇椅中度过余生。相信自己并不仅仅指支持我独自走下陌生的楼梯的那种自信，那是一部分。我指的是大事：是坚信自己虽然有缺陷，却是一个真正的有进取心的人;坚信在芸芸众生错综复杂的格局当中，自有我可以安身立命的一席之地。
It took me years to discover and strengthen this assurance. It had to start with the mostelementary things. Once a man gave me an indoor baseball, I thought he was mocking meand I was hurt. “I can’t use this,” I said. “Take it with you,” he urged me,” and roll it around. “The words stuck in my head.” Roll it around!” By rolling the ball I could hear where it went.This gave me an idea how to achieve a goal I had thought impossible: playing baseball. AtPhiladelphia’s Overbrook School for the Blind I invented a successful variation of baseball. Wecalled it ground ball.
我花了很长时间才树立并不断加强这一信念。这要从最简单的事做起。有一次一个人给我一个室内玩的棒球，我以为他在嘲笑我，心里很难受。“我不能使这个。”我说。“你拿去，”他竭力劝我，“在地上滚。”他的话在我脑子里生了根。“在地上滚!” 滚球使我听见它朝哪儿滚动。我马上想到一个我曾认为不可能达到的目标：打棒球。在费城的奥弗布鲁克盲人学校，我发明了一种很受人欢迎的棒球游戏，我们称它为地面球。
All my life I have set ahead of is a series of goals and then tried to reach them, one at a time. Ihad to learn my limitations. It was no good to try for something I knew at the start was wildlyout of reach because that only invited the bitterness of failure. I would fail sometimes anywaybut on the average I made progress.
我这一辈子给自己树立了一系列目标，然后努力去达到，一次一个。我必须了解自己能力有限，若开始就知道某个目标根本达不到却硬要去实现，那不会有任何好处，因为那只会带来失败的苦果。我有时也失败过，但一般来说总有进步。
哲理双语散文：赢得大师的尊重
When the young American composer Daniel Gregory Mason came to Boston to interview thegreat pianist and composer Ignacy Jan Paderewski , there was trouble from the start.
年轻的美国作曲家丹尼尔•格里格利•梅森来到波士顿，当他拜见伟大的钢琴家和作曲家伊格纳奇•扬•帕岱莱夫斯基时，一开始就遇到了麻烦。
Because of a misunderstanding Mason was two-and-a-half hours late for his meeting with thegreat pianist. Mason was waiting in the hotel lobby while Paderewski was upstairs, getting moreand more aggravated by Mason’s tardiness. Finally Mason went up to see Paderewski and foundhim cordial enough, but Paderewski’s wife was cold and standoffish. Mason felt awkward andself-conscious. He complimented Paderewski on his “Variations and Fugue on an OriginalTheme.” Then he added: “Just so you don’t think that’s empty flattery, I’ll tell you frankly thatI do not care so much for some of your early pieces.”
因为一个误会，梅森和这位伟大的钢琴家会面延迟了两个半小时。当梅森在旅馆大厅里傻等时，帕岱莱夫斯基却在楼上房间里为他的拖拉而越来越恼火。最后梅森上楼见到帕岱莱夫斯基，他还是很热情，但他的夫人却冷言冷语。梅森感到尴尬和羞愧。他赞美帕岱莱夫斯基的《原主旋律上的变奏曲和赋格曲》，然后他补充道，“为了不让您觉得这是我的空洞奉承，我得坦诚地告诉您，我不太喜欢您早期的一些乐曲。”
Paderewski’s wife gave Mason a stony look. “What pieces? What do you not care for?”
帕岱莱夫斯基夫人拉下脸来，问他：“什么乐曲?你不喜欢什么乐曲?”
Mason got in deeper. “Well, for example, I do not care so much for the ‘A Minor Concerto’.”
梅森说：“好吧，比如说《a小调协奏曲》，我就不太喜欢。”
Her gaze was unwavering . “The concerto is one of my favorites among my husband’scompositions. I love it more and more.”
她目不转睛地说：“在我丈夫的作品中，这首协奏曲是我最喜欢的曲子之一。我越来越喜欢了。”
Valiantly , Mason complimented Paderewski’s use of French impressionism.
梅森又冒昧地奉承帕帕岱莱夫斯基对法国印象主义的运用如何美妙。
Now Paderewski himself spoke. “I utterly repudiate any debt to French impressionism. I donot believe in the modern French school, because it is not founded in tradition. It is erratic,bizarre, wayward. ”
这次帕岱莱夫斯基自己说话了：“我和法国印象主义一点关系也没有。我不相信法国现代派，因为它没有传统根基，太怪异了，旁门左道，莫名其妙。”
At last Mason ventured to show Paderewski a movement of his new violin sonata. Paderewskishook hands with him about eight times as he read through the sonata, singing the melodyand exclaiming “beautiful!” Finally, with his music, Daniel Gregory Mason had won over themaster.
最后，梅森斗胆地拿出了自己写的小提琴奏鸣曲的一个乐章，让帕岱莱夫斯基过目。帕岱莱夫斯基看奏鸣曲时，一边哼唱着，一边叫着：“太棒了!”这过程中居然和梅森握了八次手。丹尼尔•格里格利•梅森终于凭着他的音乐，赢得了大师的尊重。
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