篇一：中文词英语翻译
面朝大海，春暖花开
----海子
从明天起，做一个幸福的人 From tomorrow on,I will a happy person
喂马，劈柴，周游世界 Grooming,chopping,and traveling all over the world
从明天起，关心粮食和蔬菜 From tomorrow on,I will care foodstuff and vegetables
我有一所房子，面朝大海，春暖花开 I have a house,towards the sea,with spring flowers blossoming 从明天起，和每一个亲人通信 From tomorrow on,I will write to each of my dear ones
告诉他们我的幸福 Telling them of my happiness
那幸福的闪电告诉我的 What the lightening of blessedness has told me
我将告诉每一个人 I will spread it to each of them
给每一条河每一座山取一个温暖的名字 And give a warm name for every river and every mountain
陌生人，我也为你祝福
Strangers,I will also give you my well-wishing
愿你有一个灿烂的前程 May you have a brilliant future
愿你有情人终成眷属 May you lovers eventually become spouse
愿你在尘世获得幸福 May you enjoy happiness in this earthly world
我只愿面朝大海，春暖花开
I only wish to face the sea,with spring flowers blossoming
In heaven let us be two birds flying ever together, and on earth two trees with branches interlocked forever.
在天愿做比翼鸟，在地愿为连理枝。 A Young idler,an old beggar
少壮不努力，老大徒伤悲 Where, before me, are the ages that have gone? And where, behind me, are the coming generations? I think of heaven and earth, without limit, without end, And I am all alone and my tears fall down.
前不见古人， 后不见来者； 念天地之悠悠， 独怆然而涕下。 I would part with you only when mountains had no rocks, rivers had no water, thunders shocked in winter, snow fell in summer, and distinction disappeared between the sky and the earth.
我欲与君相知， 长命无绝衰。 山无陵， 江水为竭， 冬雷震震， 夏雨雪， 天地合， 乃敢与君绝！ --《上邪》 The world puts off its mask of vastness to its lover. It omes small as one song, as one kiss of the eternal.
世界对着它的爱人，把它浩翰的面具揭下了。 它变小了，小如一首歌，小如一回永恒的接吻。Sorrow is hushed into peace in my heart like the evening among the silent trees.
忧思在我的心里平静下去，正如暮色降临在寂静的山林中。
We read the world wrong and say that it deceives us.Stray Bird-Ranbindranath Tagore
我们把世界看错了，反说它欺骗我们。《飞鸟集》－泰戈尔
Take away love, and our earth is a tomb.
把爱拿走，我们的地球就变成一座坟墓了。（法国） Cut running water with a sword, it will faster flow; Drink wine to drown your sorrow, it will heavier grow. -----------Li Bai Farewell To Uncle Yun, The Imperial Libr arian, At The Xie Tiao Pavilion In Xuanzhou 抽刀断水水更流,举杯销愁愁更愁. ------李白宣州谢眺楼饯别校书叔云 The friendship between men of virtue is light like water, yet affectionate; the friendship between men without virtue is sweet like wine, yet easily broken. 君子之交淡如水，小人之交甘如醴。君子淡以亲，小人甘以绝。——庄周《山水》
But how much love has the inch-long grass For three spring months of the light of the sun?
谁言寸草心， 报得三春辉？
Within you I lose myself,without you I find myself wanting to be lost again.
有了你，我迷失了自我。失去你，我多么希望自己再度迷失
We wish each other a long life so as to share the beauty of this graceful moonlight, even though miles apart.
但愿人长久，千里共婵娟。 If love between both sides can last for aye, why need they stay together night and day?
两情若是长久时，又岂在朝朝暮暮。--《鹊桥仙》秦观
I shall have some peace there,for peace come dropping slow,dropping from the veils of the morning to where the cricket sings;there midnights all a-glimmer,and noon a purple glow,and evening full of the linnets wings.《The Lake Isle of Innisfree》－叶芝
在那里我将享受宁静,因为宁静的细流,从清晨的薄雾滴落,直滴到促织歌吟处;那里看得到朦胧的夜半,火红的中午,和黄昏时梅雀的飞舞.--《湖心岛茵尼斯菲》－叶芝
The one who know I, call my heart sorrow, dont know me, calling me beg.
知我者，谓我心忧，不知我者，谓我何求。（诗经·王风·黍离）
The tree would like to be quiet but the wind is blowing while children would like to support but parents cant wait .
篇二：名家古诗英译
《水调歌头》名家英译版两首
昔胡仔曾说：―中秋词，自东坡《水调歌头》一出，余词尽废。‖认为这是写中秋最好的一首词，此说是一点也不过分的。这首词仿佛是与明月的对话，在对话中探讨着人生的意义。既有理性，又有情趣，很是耐人寻味。或许，早在我们从课本上学到《水调歌头》之前，就已经在王菲的歌声中，在各类影视剧中接触到这首词了吧。
今天，跟着小编一起，来看看这首词的两个英译版吧。分别是许渊冲先生以及林语堂先生的译作，大家更喜欢哪一个版本呢？《水调歌头》：
明月几时有？把酒问青天。不知天上宫阙、今夕是何年？我欲乘风归去，惟恐琼楼玉宇，高处不胜寒。起舞弄清影，何似在人间？ 转朱阁，低绮户，照无眠。不应有恨、何事长向别时圆？人有悲欢离合，月有阴晴圆缺，此事古难全。但愿人长久，千里共蝉娟。许渊冲先生译作：
How long will the full moon appear?Wine cup in hand, I ask the sky。I do not know what time of the year
‘Would be tonight in the palace on high。Riding the wind, there I would fly,
Yet I‘m afraid the crystalline palace would beToo high and cold for me。
I rise and dance, with my shadow I play。 On high as on earth, would it be as gay? The moon goes round the mansions red Through gauze-draped window soft to shed Her light upon the sleepless bed。
Why then when people part, is the oft full and bright? Men have sorrow and joy; they part or meet again;
The moon is bright or dim and she may wax or wane。There has been nothing perfect since the olden days。So let us wish that manWill live long as he can!
Though miles apart, we‘ll share the beauty she displays。 林语堂先生译作：
How rare the moon, so round and clear! With cup in hand, I ask of the blue sky, I do not know in the celestial sphere What name this festive night goes by? I want to fly home, riding the air, But fear the ethereal cold up there,
The jade and crystal mansions are so high! Dancing to my shadow,
I feel no longer the mortal tie。She rounds the vermilion tower,Stoops to silk-pad doors,
Shines on those who sleepless lie。 Why does she, bearing us no grudge, Shine upon our parting, reunion deny? But rare is perfect happiness--
The moon does wax, the moon does wane, And so men meet and say goodbye。 I only pray our life be long,
And our souls together heavenward fly!
诗歌汉译英经典：李白两首名诗英译赏析
李白的七言绝句颇富浪漫主义情怀，豪迈奔放，率性而为。许渊冲先生的译作再现了诗作的―意美‖、―音美‖和―形美‖。
一 《望庐山瀑布》
日照香炉生紫烟，遥望瀑布挂前川。 飞流直下三千尺，疑是银河落九天。 CATARACT ON MOUNT LU
The sunlit Censer perk exhales a wreath of cloud; like an upended stream the cataract sounds loud.
Its torrent dashes down three thousand feet from high; As if the Silver River fell from azure sky. 赏析：原诗的第一句中一个―生‖字把静止的香炉峰写得富有了灵性。许先生同样一个exhales（―散发出‖或―呼出‖）也将香炉峰人格化了。a wreath of cloud形容―紫烟‖，其中名词wreath（―花环‖），有―缭绕‖以及―色彩绚丽‖的生动意向。
原诗第二句一个―挂‖字，化动为静，呼应上文。而许先生使用动词upended（―被倒置‖）来形容远望中的瀑布像―倒挂‖的飞流，译出了诗词的弦外之音和意境之美。
第三句中，―飞‖和―直下‖描绘出瀑布飞散而降的气势。许先生译文中以dashes down作谓语，既合乎主语―倒挂的飞流‖飞下的走向，又传达出瀑布凌空而落的气势。
最后一句，许先生用动词fell，但为虚拟语气，把现实瀑布和想象中的银河自然地联系起来。
四行诗的韵脚比较多，许先生按原诗的节奏，择用aabb尾韵。为了压好韵脚，在诗句的语序方面做了必要的调整。总之，许先生保留了原作的―形美‖和―音美‖，译品接近原诗的自然节奏。 二《黄鹤楼送孟浩然之广陵》
故人西辞黄鹤楼，烟花三月下扬州。 孤帆远影碧空尽，唯见长江天际流。
SEEING MENG HAO-RAN OFF AT YELLOW CRANE TOWER My friend has left the west where the Yellow Crane towers; For River Town green with willows and red with flowers. His lessening sail is lost in the boundless blue sky; Where I see but the endless River rolling by. 赏析：
许先生总体构思上采用译气不译字的译作手法，灵活增减词语，变换句式，使得译作画意浓厚。 细节的处理上许先生更是功力深厚。第一句My old friend has left the west where the Yellow Crane towers，既交代了友人东行，又道出了黄鹤楼美景，句式上颇为押韵。第二句许先生创造性地运用对称整齐的句式，green with willows和red with flowers译出了满目的春色。许先生在三、四句的表达方式上做了大胆调整，把―尽‖字前移，使之更符合英语的表达习惯，同时还添加了几个不影响深层意义且注有韵脚的词语，如his，where I see，勾画除了诗人目送行舟，江边怅惘的心情。His lessening sail is lost in the boundless blue sky表现出诗人看着小船渐渐消失在远方时心中的感伤之情。
唐宋词中词牌名的英语翻译
词是韵文文体之一，又称―曲子词‖，即歌词。它本来是为配乐歌唱而写的诗。由于它是配乐歌唱的，所以每首词都有或至少曾经有过一个乐谱。每个乐谱都必定属于某种宫调(类似今天的C调、G调之类)，有一定的旋律、节奏，这些东西的总和就是词调。每种词调都有一个名称(如《西江月》、《清平乐》)，这个名称就叫―词牌‖。 词始于唐，盛于宋，是一种脍炙人口的文学表达形式，历来为人们所钟爱。为把中华文化中这一绮丽的瑰宝译介到国外，不少译者已进行了大量开拓性的艰辛劳动，其中不乏精美传神叹为观止之作。然而，词的翻译比之散文小说确似更难，尤其是词牌名的翻译。
尽管就大多数词作来说，词牌与音乐或词中的内容关系不大，作者填词时，只视哪种词调形式更符合自己的需要，完全可以不去考虑词牌名称的原有含义和原来词曲的内容。因此词牌在一般意义上不过是标明作者依哪一种现成的曲谱进行填词而已。然而将词牌名译成英文时就不能不在传达词牌的神韵和美感的同时考虑它的历史来源和反映在其中的格律了。
下面试就词牌的几种常见的英译方法略抒浅见。 一、一般性词牌名的译法
一般性词牌名没有什么历史典故，或有，但已无从考证，或取自前人的某个词句，或只是一个风雅的名词而已。在这种情况下，按字面意思直译成英文，即可较好地保留原文的风格，传达原文的神韵和美感形象。例如： 鹧鸪天 Partridge Sky
踏莎行 Treading On Grass 相见欢 Joy At Meeting 点绦唇 Rouged Lips
满江红 The River All Red 模鱼儿 Groping For Fish 最高楼 The Highest Tower 疏影 Space Shadows
玉楼春 Spring In Jade Pavilion 昼夜乐 Joy Of Day And Night
西江月 The Moon Over The West River 风入松 Wind Through Pines 双双燕 A Pair Of Sparrows
二、歌、词、歌头、吟等词牌名的译法
1．常带歌、词、子的词牌，不妨直译成Song，既简单明了，又贴切自然。例如： 子夜歌 Midnight Song
洞仙歌 Song Of A Fairy In The Cave 柳枝词 Willow Branch Song 算子 Song Of Divination 天仙子 Song Of Immortal
更漏子 Song Of Water Clock At Night 南歌子 A Southern Song
2．词牌子带吟一类的较歌、词更为典雅，是一种便于吟诵、格调高雅、节奏舒缓的诗体，译成Chant，可以显得庄重端方，因为英语中的Chant多指宗教中的赞美诗或圣歌，意思与吟很相近。例如： 水龙吟 Water Dragon Chant
瑞龙吟 Auspicious Dragon Chant
3．歌头意即前奏或序曲，可译成Prelude。例如： 水调歌头 Prelude To Water Melody
三、令、引、近、慢等词牌名的译法
有一些词牌末带有令、引、近、慢等术语。令与酒令有关，是一种比较接近民歌的抒情小曲；引集歌体与诗体于一身，也是这类诗歌诗曲调的演化；慢有篇幅较长、语言节奏舒缓、韵脚间隔较大等特点；近有亲昵、浅显的意思，可能与令、引等一样与曲调有关，指一种篇幅较令长而又不如慢曲那么典雅庄重的曲调。从字数上讲，大体上说，令多半属于小令范围，引、近多半属于中调范围，慢则绝大多数是长调。所以译成英文时可视具体情况译成Song；Slow Song；Slow Tune或Slow，Slow Song。例如； 调笑令 Song Of Flirtation 唐多令 Tang Duo Song
祝英台令 Slow Song Of Zhu Ying Tai 扬州慢 Slow Tune Of Yangzhou 声声慢 Slow, Slow Song
四、摊破、促拍、减字、偷声等词牌名的译法
摊破(又名摊声、添字)和促拍这两个术语都表示在原调基础上加了字、句。而减字、偷声则是在原调基础上减少了字句，而另成新调。摊破和减字是就字数而言，而促拍和偷声是就调而言。所以摊破可译成Lengthened Form，促拍可译成Quickened Tune，减字则可译成Shortened Form，，偷声则可译成Slowed Tune。例如：
减字木兰花 Shortened Form Of Lily Magnolia Flowers 摊破浣溪沙 Lengthened Form Of Silk-Washing Stream 五、根源于历史掌故的词牌名的译法
据考证，词调有五种来源：1．边疆民族曲调或域外音乐传入内地的；2．内地民歌曲调；3．乐工歌妓们创制或改制的曲调；4．宫廷音乐机构或词曲家根据古曲、大曲改制的；5．文人创作的曲子。正因为词调来源广泛，所以词牌的意思也很复杂。因此，有些词牌是不能根据字面直译的，而应在考释它的来历后再行动笔。 例如：《苏幕遮》原本是指从今天新疆吐鲁番(古高昌)传来的浑脱舞曲。浑脱是囊袋的意思。
据说，舞时舞者用油囊装水，互相泼洒，所以唐人又称之为泼寒胡戏。表演者为了不使冷水浇到头面，就戴上一种涂了油的帽子，高昌语叫苏幕遮，因而乐曲和后来依曲填出的词就被称为《苏幕遮》了。有人将它译成Screened By Southern Curtain，就是没考虑到它的来源而望文生义译出来的，尤其是Southern一词不知从何而来。据此，我以为直译成Oiled Hat未免太俗，不如译成Water-bag Dance。这样既点明了是舞曲，又可使读者领略到舞蹈的内容和形象。
《菩萨蛮》据考证原是今缅甸境内古代罗摩国的乐曲，后经汉族乐工改制而来的。唐苏鹗从《杜阳杂编》说：大中(唐宣宗年号)初，女蛮国贡双龙犀其国．人危髻金冠，缨珞被体，故谓之菩萨蛮。当时倡优遂制菩萨蛮曲；文人亦往往声其词。可见《菩萨蛮》中的菩萨与我们的佛祖菩萨(Buddha或Buddhist Idol)并无关系，词牌的意思是象菩萨似的蛮国人。有人将其译成Buddhist Dancers，真是差之毫厘失之千里!因为形容词Buddhist是佛的，佛教的意思，译回成中文就是佛的舞者，佛教中有没有舞者尚且不论，光意思就南辕北辙。如译成Dancers Like Buddha或Buddha-like Dancer 还勉强过得去，或干脆译为Song Of The Country Norm，既简单又明了，只是失去了菩萨这个形象。
又如《念奴娇》，念奴为唐玄宗天宝年间一著名歌妓，玄宗时常诏见命歌，曲名本此。如果不知此曲底里，将它译成Dreaming Of Her Charm那就令人捧腹了。 有人将它译成Charm Of A Maiden Singer，歌手和娇都译出来了，可我认为Maiden一词用得不恰当。Maiden一词在英文中是处女或未婚女子的意思，把它用在古时的歌妓身上未免太圣洁了，不如去掉Malden，译成Charm Of A Singer。Charm多指女子的妩媚，所以大可不必担心读者会弄错。Singer的性别。从这个意义上讲，Maiden也可删去，当然若将其换译成Woman也未尝不可。这里还牵涉到专有名词的译法，念奴这个名字对于大多数中国人尚且陌生，更不用说外国人了，译出来也不一定知道，反而妨碍意思的理解，故此处可撇下不管，用A Singer代替即可。类似的情况都可如此处理：如《昭君怨》就可译成Lament Of A Fair Lady。也可用加注的办法，如《虞美人》就可译成The Beautiful Lady Yu，这样外国人就知道是一个姓虞的美人了。
《葬花吟》中英对照赏析及曹雪芹英文简介
葬花吟
(清) 曹雪芹
花谢花飞飞满天，红绡香断有谁怜？ 游丝软系飘春榭，落絮轻沾扑绣帘。 闺中女儿惜春暮，愁绪满怀无处诉。 手把花锄出绣帘，忍踏落花来复去。 柳丝榆荚自芳菲，不管桃飘与李飞。 桃李明年能再发，明岁闺中知是谁？ 三月香巢初垒成，梁间燕子太无情！
明年花发虽可啄，却不道人去梁空巢也倾！ 一年三百六十日，风刀霜剑严相逼。 明媚鲜妍能几时，一朝飘泊难寻觅。 花开易见落难寻，阶前愁杀葬花人。 独把花锄偷洒泪，洒上空枝见血痕。 Song of the Burial of Flowers Cao Xueqin
Flowers fade and fall and fly about up in the sky,
But who pities the loss of your fragrance when you die? Like gossamer you float and land on pavilions, With your fallen petals clung soft to fine curtains. In my boudoir I sigh over the close of spring,
But there‘s no way to express my sorrowful feeling. Spade in hand, I go out from under my fine curtain, To and fro on fallen petals, how can I bear treading?
Willow twigs and elm buds send sweet scents as they may, Who cares when peach and plum petals are in decay? Next year peach and plum trees will be in bloom again, But who will be the master of my boudoir then?
杜鹃无语正黄昏，荷锄归去掩重门。 青灯照壁人初睡，冷雨敲窗被未温。 怪侬底事倍伤神，半为怜春半恼春。 怜春忽至恼忽去，至又无语去不闻。 昨宵庭外悲歌奏，知是花魂与鸟魂？ 花魂鸟魂总难留，鸟自无语花自羞。 愿侬此日生双翼，随花飞到天尽头。 天尽头！何处有香丘？
未若锦囊收艳骨，一杯净土掩风流。 质本洁来还洁去，强于污淖陷渠沟。 尔今死去侬收葬，未卜侬身何日丧？ 侬今葬花人笑痴，他年葬侬知是谁？ 试看春残花渐落，便是红颜老死时。 一朝春尽红颜老，花落人亡两不知！
In March lunar swallows have got their nests ready, They on the beam seem to be those without mercy.
Next year in their flight, fresh flowers they may peck, though, All that they and I have will be lost, they never know. There are three hundred and sixty days in one year, With you the elements of nature are severe.
Time is not long for you to be bright and charming, Your trace and track are hard to find in your drifting. You are easy to see when open but hard when fallen,
Before the stairs I am worried where to find your remains. Against the spade I lean and in secret weep sudden,
Splashed on your bare branches are my tears like bloodstains. The cuckoo ceases its warbling at twilight,
With my spade I return and shut the doors tight. I go to bed with a lone oil lamp still shining, My quilt is not warm when a cold rain is falling. I feel at heart it is a matter quite nerve-racking, For I like spring or I feel sad over its leaving. Spring I love and my sorrow repair at a fast pace, They come silent and go without leaving a trace. Last night beyond pavilions sad song seemed rising, Was it the souls of flowers or birds that were singing? It is always hard to ask their souls to stay behind, That birds are silent and flowers feel ashamed, I find. I wish to have two wings under my arms to fly, After you unto the farthest end of the sky. At the farthest end of the sky,
Where can I find the grave of your fragrance lie? Better in silk to shroud your petals fair, With a handful of clean earth as your attire. For pure you have come and pure you repair, Lest you fall into some foul ditch or mire. I hold a burial when you die today,
But there‘s no telling when I pass away. Others laugh at me that have buried thee, Who will be the one that shall bury me? At the farthest end of the sky,
Where can I find the grave of my fragrance lie? The end of spring makes flowers fall one by one, It‘s also the time when beauty meets its doom. Once beauty is carried to its very tomb,
Both beauty and flowers perish known to none.
The poet and the background note: Cao Xueqin (? ~1764) was one of the most famous novelists and poets in the history of Chinese literature. Born in an influential Manchurian bureaucratic family, he had high cultural
accomplishments and outstanding competence for art. During the reign of the Qing Emperor Yongzheng, his father was involved in a political struggle within the ruling class, defeated, so his family suffered a heavy blow both politically and financially. Thereafter, his family circumstances deteriorated. However, adversity brought talent in return. It was when he was plunged in such an embarrassing circumstance that he had the chance to contact himself with the underprivileged of the then society, thus giving him specific, intense experience, and enabling himself to see better of life. He spent as was recorded, at least ten years busying himself with the production of the novel The Dream of the Red Chamber, in which, through a detailed description of the rise and fall of an influential noble family of that time, he created a great number of typical characters, conducted in-depth analyses and criticisms of the then evil society and, at the same time, sang ebullient praises of both the male and female youths who were considered heretical in pursuit of love. The Dream of the Red Chamber is seen as a great realistic masterpiece among the Chinese classic novels. But the novel reveals a kind of pessimism and sentimentalism past cure. With the tone of Lin Daiyu, one of the heroines in The Dream of the Red Chamber, the author Cao Xueqin blended human feelings with nature in this novel as if in confirmation of man‘s helplessness in the presence of the change of nature and the flight of time. As is known to all that have read it, Lin is a sentimentalist who, taking as part of her life the enjoyment of flowers and moonlight, tends to shed tears at the sight of flowers falling, and feel sad when finding the moon waning. In fact, Flowers bloom and then flowers die, There‘s no need for her to give a sigh. It is the very law of nature, she ought not to take pains to bother. Relentless away time flies,
篇三：语文必备古诗文(含翻译及赏析)
19观沧海
作者：曹操
东临碣石，以观沧海。
水何澹澹，山岛竦峙。
树木丛生，百草丰茂。
秋风萧瑟，洪波涌起。
日月之行，若出其中。
星汉灿烂，若出其里。
幸甚至哉，歌以咏志。
白话译文：
东行登上碣石山，来观赏那苍茫的海。
海水多么宽阔浩荡，山岛高高地挺立在海边。
树木和百草丛生，十分繁茂，
秋风吹动树木发出悲凉的声音，海中涌着巨大的海浪。
太阳和月亮的运行，好像是从这浩瀚的海洋中发出的。
银河星光灿烂，好像是从这浩瀚的海洋中产生出来的。
我很高兴，就用这首诗歌来表达自己内心的志向。
赏析
借景抒情，把眼前的海上景色和自己的雄心壮志很巧妙地融合在一起。《观沧海》的高潮放在诗的末尾，它的感情非常奔放，思想却很含蓄。不但做到了情景交融，而且做到了情理结合、寓情于景。因为它含蓄，所以更有启发性，更能激发我们的想像，更耐人寻味。过去人们称赞曹操的诗深沉饱满、雄健有力，“如幽燕老将，气韵沉雄”，从这里可以得到印证。全诗的基调为苍凉慷慨的，这也是建安风骨的代表作。
20饮酒（其五）
结庐在人境，而无车马喧。
问君何能尔？心远地自偏。
采菊东篱下，悠然见南山。
山气日夕佳，飞鸟相与还。
此中有真意，欲辨已忘言。
白话译文：
我家建在众人聚居的繁华道，可从没有烦神应酬车马喧闹。 要问我怎能如此之超凡洒脱，心灵避离尘俗自然幽静远邈。 东墙下采撷清菊时心情徜徉，猛然抬头喜见南山胜景绝妙。 暮色中缕缕彩雾萦绕升腾，结队的鸟儿回翔远山的怀抱。 这之中隐含的人生的真理，想要说出却忘记了如何表达。 赏析
本诗是陶渊明组诗《饮酒》二十首中的第五首。诗的意象构成中景与意会，全在一偶然无心上。‘采菊’二句所表达的都是偶然之兴味，东篱有菊，偶然采之；而南山之见，亦是偶尔凑趣；山且无意而见，菊岂有意而采？山中飞鸟，为日
