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叙事抒情散文,英语

2016-11-16 22:35:09 来源网站:百味书屋

篇一:记叙抒情类散文结构模式

散文五段式结构模式

全文一般五部分,开头与结尾前后照应,紧扣话题;中间一般分为三部分,从三个角度或三个层面对话题进行展开,有以场景为序的横式结构和以时间为序的纵式结构。

(一)横式结构

例文:

绿叶?情意

── 写爷爷

当爷爷开始品冲泡了四遍的陈年龙井,来吊丧的宾客也已渐渐散尽。妈妈紧紧地牵着我的手,与这一片生我养我的土地作别。我微微地苦笑,原来并没有永远的故乡,我们永远都是过客。

处理完奶奶的丧事,爷爷也不再坚守这一方留下了无数记忆的土地,顺从地跟随着我们来到城里。然而,走在鹅卵石铺就的小路上,我无数次看见了爷爷的回眸,那深沉的眷恋与无以言表的无奈,最终都化为一滴浑浊的泪水,慢慢地倒流进心底。

别了,我听见这两个字。

(甲事:告别)

在城里的爷爷,依旧每日早起。这在习惯了夜生活而对早晨阳光不屑一顾的城市,多少显得有一些另类。然而,爷爷并不在乎那些异样的目光,依旧每日穿着洗得发白的蓝色旧工作服,穿梭在社区的各个角落。他在楼前被废弃的土地开垦出一片花田,撒下各种奇奇怪怪的种子,每日伺弄,神情严肃地仿佛在完成一项神圣的使命。

(乙事:城里生活)

只有我知道爷爷的孤独。因为我也有着这样孤独。我怀念故乡的老屋。那每日清晨婉转的莺啼,那木制楼梯凄婉的呻吟,那透过碧绿的竹林洒落的细细碎碎的阳光,那让人无法忘怀的带着淡淡清香的泥土气息。

在这一片钢筋混凝土中,我已无法找到那样淳朴与纯粹的笑脸,我看见爷爷每次想要挥起的手都在冷漠的擦肩而过中无奈的放下,我总有一种想哭的冲动。

(丙事:想老屋)

当年的爷爷是一片意气风发的绿叶,他可以暂时离开他的根,去远方飘荡,寻找属于他的风景,然而如今,这一片绿叶已然悄悄凋零,他需要回去,与故乡永远地厮守在一起。

那是爷爷的八十大寿,亲戚朋友们借此都聚在一起,我眼神流转,却寻不见爷爷的身影。悄悄起身出了宴会大厅,我看见爷爷徘徊在角落的窗前。我过去,握住了爷爷的手。爷爷动动嘴唇,说: “我想回家。”仿佛是一个寻求家的庇护孩童。

(丁事:寿宴上)

“好,我们一起回家。” 我从爷爷身上看到了自己的影子,每个人都是一片绿叶,不管飘到多远,都已被那一方土地打下了深刻的烙印,是的,这是每一片绿叶无奈而又甜蜜的宿命。

那么,就让我们带着对根的情意打拼,然后在日落之前,牵着手,回家。(点明主旨)

(二)纵式结构

例文:

小站歌声

子夜时分,山村的小站昏暗静谧。苗兰老师提着行李来到站台。突然,她像触电般浑身颤抖起来。

她本想在夜深人静时悄悄离开山村,没想到全班四十多个孩子全站在这里为她送行。

站牌下,放着一篓子山核桃,篓把上贴着个红双喜字。这是山里人祝贺新婚的礼节。三天前,她去了趟县城。回到山村,她对孩子们说,她要去千里外和她的男朋友举行婚礼,婚后,她就在那里定居。

(甲场景:送山核桃)

孩子们舍不得她,却没张口将她挽留,只将一串串难舍难离的泪水洒下。 远处传来列车的长鸣。

四十多个孩子含着泪水,像一棵棵被雨水浇伤的禾苗一样,悲凄地立着。 (乙场景:流泪)

班长说:“咱们为 苗 老师唱一首《好人一生平安》吧。”

歌声在夜空中响起:

“有过多少往事/仿佛就在昨天/有过多少朋友/仿佛还在身边/也曾心意沉沉/相逢是苦是甜/如今举杯祝愿/好人一生平安。”

这歌声,传达出的是山里百姓的淳朴,是孩子们的愿望。

(丙场景:唱歌)

列车徐徐向前开动着,孩子们像一阵旋风一样随车跑着,唱着??

歌声像让泪水滤过似的,清澈而悲伤。

车上,苗老师失声痛哭起来。

(丁场景:追车)

孩子们啊,你们怎知道,你们的老师不是回去结婚。三天前,在县城体检,

她得了白血病。人生的路上,你们的苗老师只有半年时间了。

(交代原因)

篇二:英语故事性记叙文写作攻略

故事性记叙文写作攻略

【题型特征】

记叙文是记人叙事的文章,是中学英语书面表达中的常见文体之一。故事性记叙文是以叙事为主要表达方式,以描写人物的经历和事件发生发展的过程以及事件发生的前因后果等为主要内容的一种文体。记叙文以记叙为主,间有描写、抒情或议论。

记叙文的六要素:时间(when)、地点(where)、人物(who)、起因(why)、经过(how)和结果(what)。

【注意事项】

1、要素:只有交待清楚记叙文的六要素,读者才能清楚、全面地了解所叙述的故事。

2、人称:一般来说,英语记叙文展开记叙的视角有两个:第一人称和第三人称。

3、顺序:最常用的是按事件发生的时间顺序进行记叙。偶尔可用倒叙、插叙等方法。

4、时态:用过去时态,常以一般过去时为主。因为文章是叙述过去发生的事情。

5、内容:要全面,重点要突出,详略要得当。

【典型例题】

请根据以下故事梗概,写一篇故事性记叙文。可适当增加细节。词数:120—150。

李东上课时玩手机,被老师发现。在办公室,李东不承认自己玩手机。老师沉默了,然后讲了一个故事,感动了李东。李东意识到老师是为自己好,于是承认了错误,并保证以后不再犯类似错误。最后,李东感谢老师的帮助和善意。

●?例题解读

1、根据要求可知:本文是一篇故事性记叙文,用过去时态,以一般过去时为主。

2、通过故事梗概确定以下写作要点:

①时间:one day

②地点:(in the class and) in the office

③人物:Li Dong and his teacher

④起因:Li Dong played with a mobile phone in class

⑤过程:The teacher talked with Li Dong in the office

⑥结果:Li Dong realized his mistake and thanked his teacher

3、组织要点,连句成篇。

●?学生范文

One day, Li Dong was doing something using a mobile phone in class when his teacher saw all this. Later in the office, his teacher asked him what he used the mobile phone to do and why he did so. Li Dong said he didn’t play with any mobile phone, which his teacher didn’t expect. Faced with such a situation, his teacher was puzzled and kept silent for a while. Then he told a story to Li Dong, which moved him deeply. Li Dong realized his teacher showed great concern for him. So he admitted his playing a mobile phone in class and decided not to make similar mistakes any more in future. In the end, Li Dong thanked his teacher for his help and kindness.

●?范文亮点

1、本文符合故事性记叙文的写作要求。内容全面,故事流畅,读来顺口,一气呵成。

2、本文用到了很多短语句型。如be doing…when…; use sth to do; show concern for; make mistakes; not…any more; thank sb for sth等。定语从句,如…, which his teacher didn’t expect;…, which moved him deeply; 分词作状语,如…using a mobile phone; Faced with such a

situation, …等。这些短语句型的适当使用,增加了本文的亮点和可读性。而later in the office, then, in the end等过渡性词汇短语的使用,很好地体现了故事发展的先后顺序。

【实践操练】

1、用适当的句子翻译下列记叙文中的句子。

(1) 我正在房间里写作业,那时有人敲门。

____________________________________________________________________________

(2) 在我们去火车站的路上,我们乘坐的出租车抛锚了。

____________________________________________________________________________

(3)我还没说一句话,他就把电话挂了。

____________________________________________________________________________

(4) 趁他父母不注意,他悄悄地走进房间。

____________________________________________________________________________

(5) 使我感动的是,老师没惩罚我。相反,他问我是否受到了伤害。

____________________________________________________________________________

2、根据要点完成下列记叙文。

(1)在公共汽车上,他们认识了一对来自陕西的宋氏姐妹。

(2)但是她们害怕被人欺骗,想与赵华一家同行。

(3)虽然赵华三次试图把一半的饭钱送给姐妹俩,但都被她们拒绝。

(4)因为他们不但在日照玩得好,而且还帮助了别人,交了朋友。

This summer holiday, Zhao Hua, together with his wife and daughter, went to Rizhao for a visit. On the bus, ①__________________________________, whose first names were Song. They looked not only kind but also friendly. ②______________________________ and wondered if they could go with Zhao Hua. Zhao Hua agreed. After getting off the bus, they took a taxi to Qiaojiadunzi not far from the sea, where they stayed. The two sisters treated the family of Zhao Hua to dinner, which cost more than 200 yuan. While ③________________________________ the sisters three times, they refused kindly and firmly.

The family’s tour to Rizhao was wonderful, because ④_________________ ______________________________________________________.

【实践操练】参考答案

1、

(1) I was doing my homework in my room when there was a knock on/ at the door.

(2) On our way to the railway station, the taxi we took broke down.

(3) He hung up/ rang off before I could say a word.

(4) He walked into the room without his parents noticing.

(5) What moved me was that the teacher didn’t punish me. Instead, he asked me if I was hurt. 2、

① they got to know two sisters from Shanxi

② But they were afraid of being cheated

③ Zhao Hua offered half the dinner expense to

④ not only did they have great fun in Rizhao, but also they helped others and made friends

篇三:散文翻译的技巧

散文翻译

一、散文的特点

散文是文学中常见的体裁,它选材广泛,结构灵活,表现手法多样,如叙事!抒情!议论等,主要特点是:体物写志,行散神聚。―形散―是指散文运笔如风,不拘形式,清淡自然; ―神聚‖指意旨明确,紧凑集中,既散得开,又收得拢;既有豪放的特色,又有清幽的特征。真正的散文是充满意的,就像苹果里饱含着果汁一样(巴乌斯托夫斯基语)。优美的散文艺术性在于新颖的构思,充沛的感情,丰富的想像,简洁精粹的语言和耐人寻味的意境"散文也常常被比作小而境界深邃的园林。作者运笔看似信手拈来,实则字斟句酌,环环相扣,使读者浮想联翩。文论家刘勰说道: ―情动而言行,理发而文见‖,由此可见散文贵在以巧取胜,以巧妙的语言、巧的意境来打动读者,给读者以最大审美愉悦。既然散文有丰富的艺术魅力,那么它的审美效果又如何在译文中传达呢?俄国著名翻译家吉加切奇拉泽在《文艺翻译与文学交流》一书中谈到文艺翻译的总的指导原则时认为:―理想的文艺翻译首先是在艺术上,而不是在语言上和原文一致。即使达不到这一目标,也应全力以求,离目标越近越好‖。在加氏看来,作家的思想表现在文字形象以及一定的语调和节奏结构上,每个句子由若干语调、意群或若干句素组成,它们的意义合构成句子。因此,他认为文艺翻译的过程也应当根据上面的模式进行。不过译者不能机械地重复创作过程的所有阶段,译者应努力把通过文字形象表达的原作的思想用另一种语言再现出来,当然同时要有兼顾文学文本所特有的语调、节奏和句构特点,作为文学翻译形式之一的散文翻译,自然也要求译者在传译过程中,不仅要传达出原文的语流!节奏和句子结构等语义信息,更应着重传达原文的艺术神韵,以使目标读者在读译文时可以获得和原文读者读原文时同样的语义和美学的双重享受。

二、散文英译

以张培基的《英译中国现代散文选》为例:

(一)句子短小精悍,结构简单

从理论上说,英语语言与汉语语言相比,英语句子―常常是环扣相嵌,盘根错节,句中有句‖,也就是所谓的―楼房建筑法‖(architecture style) 。而汉语以散句、松句、紧缩句、省略句、流水句等短句居多[4 ] (P48 - 49) 。可见,在汉英翻译中,使用英语长句是理所当然的,也是符合语言规律的。

但在张先生英译的散文中,英语短句却屡见不鲜,正是这些短句的使用,形成了张先生译文―质朴‖的风格。在《差不多先生》( Mr. About - the - Same) 一文中,有这么一段话:

差不多先生的相貌和你和我差不多。他有一双眼睛,但看的不很清楚;有两只耳朵,但听得不很分明; 有鼻子和嘴,但他对于气味和口味都不很讲究。他的脑子也不小,但他的记性却不很精明,他的思想也不很细密。

Mr. Cha Buduo has the same physiognomy as you and I. | |He has a pair of eyes ,but doesn’t see clearly. | | He has a pair ofears ,but doesn’t hear well. | | He has a nose and a mouth ,butlacks a keen sense of smell and taste. | | His brain is none toosmall , but he is weak in memory and sloppy inthinking. (P18 - 26)

译文句子多为简单句和并列句,译文干净、利落,通俗易懂,给人一种清爽自然之美,而没有盘根错节之迷惑。

(二)用词简单、通俗

张培基先生在翻译散文时, 很少使用生僻词( bigwords) ,主要使用普通的形容词、副词和动词等,以达到言简意赅。例如:

1. 他的脑子也不小,但他的记性却不很精明,他的思想也不很细密。———《差不多先生传》His brain is none too small ,but he is weak in memory and sloppy in thinking.

2. 他用两手攀着上面,两脚再向上缩;他肥胖的身子向左微倾。??过铁道时,他先将橘子散放在地上,自己慢慢爬下,再抱起橘子走。———《背影》His hands held onto the upper part of the platform ,his legs huddled up and his corpulent body tipped slightly towards the left , ??In crossing the railway track,he first put the tangerines on the ground ,climbed down slowly and then picked them up again.

3. 燕子去了,有再来的时候; 杨柳枯了,有再青的时候;桃花谢了,有再开的时候。但是,聪明的,你告诉我,我们的日子为什么一去不复返呢? ———《匆匆》If swallows go away ,they will come back again. If willows wither,they will turn green again. If peach blossoms fade,they will flower again. But ,tell me ,you the wise ,why should our days go by never to return ?

从以上的摘录我们可以看出,张先生翻译的风格用词方面朴实无华,对保存原文风格起到至关重要的作用。

(三)修辞上力求通俗易懂

一般说来,散文中修辞格用得相当少。但张培基先生在翻译中对于这一小部分语言要素也不忽略,认真处理,使译文没有生硬的感觉。例如:

1. 他也说我一天不写文章第二天就没有饭吃。 ———《朋友》(借代)

He also says that I would have nothing to live on once I should lay down my pen.

意译法处理该句符合英语表达习惯,如直译为―have no rice to eat‖,一定会引起歧义,让人费解。

2. 弓儿似的新月,挂在树梢。———《笑》(明喻)

The crescent new moon looked as if hanging on the tips of the trees.

译文仍然用比喻的修辞手法翻译原文的比喻,但却转移了喻体, ―弓儿似的‖如果直译成bow - like ,看似形象,但不符合英语对新月的描述习惯,译文将比喻落在了动作上,形象地再现了―新月挂树梢‖的样子。

3. 木匠老陈那时不过四十岁光景,脸长得像驴子脸。 ———《木匠老陈》Carpenter Lao Chen was then only about forty years old ,with a longish face like that of a donkey ??

此句采用直译法,既传达了意愿,又兼顾了译文的习惯。

4. 什么有轮齿的锯子啦,有两个耳朵的刨子啦? ———《木匠老陈》(暗

喻)

such as the saw with toothed blade ,the plane with two ear -like handles.增词法符合英语表达习惯。

以上例句对修辞的处理恰到好处,把原文的修辞意义用朴实地道的语言表现了出来,与散文文体本身的风格是一致的。

(四)逻辑关系清晰

英语通常采用形合法连接,而汉语却用意合法连接。也就是说,英语造句用各种―形式手段‖来连接词、语、分句或从句,注重显性接应,表达语法意义和逻辑关系;而汉语通过词语或分句的―含义‖表达语法意义和逻辑关系。汉译英至关重要的一步就是弄清汉语各句之间的逻辑关系。张培基先生在翻译散文时,使用适当的句型表现逻辑关系,译文通俗易懂。例如:

1. 那年冬天,祖母死了,父亲的差使也交卸了,正是祸不单行的日子。 ———《背影》Misfortunes never come singly. In the winter of more than two years ago ,grandma died and father lost his job.

原文事实在前,结论在后;译文结论在前,事实在后。调整结论与事实的顺序,更符合西方人逻辑思维习惯。

2. 世代为地主耕种,家境是贫穷的,和我们来往的朋友也都是老老实实的贫苦农民。———《母亲的回忆》From generation to generation ,they tilled land for landlords only to eke out a bare subsistence.

―only to‖表明一种结果关系。

3. 可是她的时间大半给家务和耕种占去了,没法照顾孩子,只好让孩子们在地里爬着。———《母亲的回忆》But she was too busily occupied with household chores and farming to look after the kids so that they were left alone crawling about in the fields.

too…to表示一种逻辑上的因果关系, so that 表示结果。

(五)对文化障碍进行增补或诠释

文化因素如果处理不当,就会成为理解的障碍。对于散文来说,任何令人费解的成分都是应该清除的。张培基先生采用了增词法、意译法等消除了这些障碍。例如:

1. 有时也兼做点农作, 芒种的时节, 便帮人家插秧. ———《为奴隶的母亲》Sometimes he also worked in the fields ;early each summer he turned farm – hand.

芒种是中国的24 节气之一,直译法必须加注,否则会让人费解,意译法简洁明了。

2.那真是祖宗三代的楣都要倒尽,那里还有什么―官人请! 娘子请!‖的唱随之乐可说呢? ———《谈结婚》With such a terrible misfortune be falling your family , how could you still have wedded bliss to speak of ?

―官人请! 娘子请!‖是中国文化表达闺房之乐的典型例子,如果直译,西方人一定会茫然不知其意。用类属词就克服了文化差异。

3. 他姓差,名不多。———《差不多先生传》His surname is Cha and his given name ,Buduo ,which altogether mean―About the Same‖.

此句用增补法,补充了中文―差不多‖的意义,目的语读者就能理解这篇文章的中心内容了。

文化因素经过合理处理,以读者能够理解的形式进入目的语。对保存散文―质

朴‖的风格也起了很大的作用。

(六) 再以朱自清的《荷塘月色》为例,来看散文翻译的节奏和意境的传递: 曲曲折折的荷塘上面,弥望的是田田的叶子。叶子出水很高,像亭亭的舞女的裙。层层的叶子中间,零星的点缀着些白花,有袅娜地开着的;有羞涩地打着朵儿的;正如一粒粒的明珠,又如碧天里的星星,又如刚出浴的美人。微风过处,送来缕缕清香,仿佛远处高楼上渺茫的歌声似的。

All over this winding stretch of water, what meets the eye is a silken field of leaves, reaching rather high above the surface, like the skirts of dancing girls in all their grace. Here and there, layers of leaves are dotted with white lotus blossoms, some in demure bloom, others in shy bud, like scattering pearls, or twinkling stars, or beauties just out of the bath. A breeze stirs, sending over breaths of fragrance, like faint singing drifting from a distant building.

原文共有四个句子,结构并不复杂,语调平和,节奏舒缓.叠词的交错使用,使文章读来富有音乐美,如―曲曲折折、田田、亭亭、层层、粒粒、缕缕、‖等具有明显放慢节奏的功能。作者似乎在营造一种复杂的氛围,表达―淡淡的喜悦、淡淡的忧愁"译者也是着意塑造一种幽雅、恬静的意境,选用winding stretch把蜿蜒曲折的荷塘、一望无际的荷塘夜景呈现给读者;也会

使读者想到荷叶像丝绸那般轻盈美丽,同时也增添了朦胧感;非常形象地传达了原文的神韵,风姿绰约的舞女形象飘然而至,译出了原文的内含;breaths of fragrance译―缕缕清香‖完全活化出了这一段,读者仿佛能透过纸背闻到荷花的清香.译者在用词上是下了工夫的,用小词译深意,以常用词写景,表达非常之心境.整段译文用词丰富\声调悦耳,完美而准确地表达了原作者的心情.从音节上来看,词汇以单音节为主,间或有多音节,使译文读来错落有致,舒缓有度,富有变化"可以说译者从音、形、义等层面均成功再现了原文的情韵。

篇章节奏是一种语言组织现象,有规律的重复,行成一种感觉,营造一种气氛,激起一种感情。节奏一般包括押韵、长短句的分布、对偶、排比和重复等。原文的节奏在译文里可以用平行结构和借助音律、头韵、变语等修辞手段来传递其美学效果"请看下面的引文:

我爱热闹,也爱冷静;爱群居,也爱独处

I like a serene and peaceful life, as much as a busy and active one; I like being solitude, as much as in company.

原文结构对称,表达作者自己对自由而安宁的生活的向往.译者用了两个非常巧妙地把前后部分紧密地连接起来,不但保留原文的平行结构,原文的韵味藏于字里行间,也传递了原文的均衡美.

三、散文汉译

下面以英国著名学者和文学家本?约翰森的的名篇《致切斯菲尔德伯爵书》为例探讨散文翻译的若干技巧。

《致切斯菲尔德伯爵书》原文:

My Lord(1),

I have been lately informed, by the proprietor of The World(2), that two Papers, in which my Dictionary is recommended to the Public(3), were written by your Lordship. To be so distinguished, is an honor(4), which, being very little accustomed to(5) favors from the Great(6), I know not well how to receive, or

in what terms to acknowledge(7).

When, upon some slight encouragement(8), I first visited your Lordship, I was overpowered, like the rest of Mankind(9), by the enchantment of your address; and could not forbear(10) to wish that I might boast myself Le vainqueur du vainqueur de la terre (11)— that I might obtain that regard for which I saw the world(12) contending; but I found my attendance(13) so little encouraged, that neither pride nor modesty would suffer(14) me to continue it.(15)

When I had once addressed your Lordship in public, I had exhausted all the art of pleasing which a retired and uncouthly scholar(16) can possess. I had done all that I could; and no Man is well pleased to have his all(17) neglected, be it ever so little.

Seven years, My Lord, have now past, since I waited in your outward Rooms, or was repulsed from your Door(18); during which time I have been pushing on my work through difficulties, of which it is useless to complain(19), and have brought it, at last, to the verge of Publication, without one act of assistance, one word of encouragement, or one smile of favor(20). Such treatment I did not expect, for I never had a Patron before.

The Shepherd in Virgil grew at last acquainted with Love, and found him a Native of the Rocks(21).

Is not a Patron, My Lord, one who looks with unconcern on a man struggling for life in the water, and, when he has reached ground, encumbers him with help?(22) The notice which you have been pleased to take of my Labors,(23) had it been early, (24) had been kind; but it has been delayed till I am indifferent, and cannot enjoy it; till I am solitary,(25) and cannot impart it; till I am known, and do not want it(26). I hope it is no very cynical asperity(27) not to confess obligations(28) where no benefit has been received, or to be unwilling that the Public should consider me as owing that to a Patron, which Providence has enabled me to do for myself.(29)

Having carried on my work thus far with so little obligation to any Favorer of Learning,(30) I shall not be disappointed though I should conclude it(31), if less be possible, with less; or I have been long wakened from that dream of hope, in which I once boasted myself with so much exultation(32), My Lord, Your Lordship’s Most Humble,

Most Obedient Servant,

Sam: Johnson

February 7,1755

伯爵大人:

近日从《世界报》馆主得知,该报刊载了两篇文章,对拙编词典颇多举荐滥美之词,这些文章据悉均出自阁下您的手笔。承蒙您如此的推崇,本应是一种荣耀,只可惜在下自来无缘得到王公大人的青睐,所以真不知道该如何来领受这份荣耀,也不知道该用些什么言辞来聊表谢意。


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