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    时间:2018-11-12 07:13:15来源:何蓉文库网本文已影响何蓉文库网手机站

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      中英语翻译对照的文章,应该从文章的整篇内容上翻译,如果之从字面上翻译,可能会失去文章的魅力。下面就是小编给大家整理的中英双语文章对比,希望大家喜欢。

    中英双语文章对比

      中英双语文章对比篇1:永远的憧憬和追求

      My Longing and Yearning

      萧红

      Xiao Hong

      1911年,在一个小县城里边,我生在一个小地主的家里。那县城差不多就是中国的最北部——黑龙江省——所以一年之中,倒有四个月飘着白雪。

      In 1911 I was bom into a small landlord family in a small county town in Helongjiang—China’s farnortheastern province where it snowed for four months of the year.

      父亲常常为着贪婪而失掉了人性。他对待仆人,对待自己的儿女,以及对待我的祖父都是同样的吝啬而疏远,甚至于无情。

      Father was almost inhumanly avaricious. To his servants, his children and even his own father,he was just as miserly and indifferent, or heartless for tha matter.

      有一次,为着房屋租金的事情,父亲把房客的全套的马车赶了过来。房客的家属们哭着诉说着,向我的祖父跪了下来,于是祖父把两匹棕色的马从车上解下来还了回去。为着这匹马,父亲向祖父起着终夜的争吵。“两匹马,咱们是算不了什么的,穷人,这匹马就是命根。”祖父这样说着,而父亲还是争吵。

      Once:because a tenant failed to pay his rent, Father detained his cart and horses. Thetenant’s family knelt in front of Grandpa, pleading for mercy with tears in their ey六扇门最新配信es. Grandpaunharnessed the two brown horses from the cart and gave them back to the tenant. Over thisFather wrangled with him far the whole night. “Two horses don’t mean much to us,” saidGrandpa, “but they are the life-blood to the poor.” Father bickered on.

      九岁时,母亲死去。父亲也就更变了样,偶然打碎了一只杯子,他就要骂到使人发抖的程度。后来就连父亲的眼睛也转了弯,每从他的身边经过,我就象自己的身上生了针刺一样;他斜视着你,他那高傲的眼光从鼻梁经过嘴角而后往下流着。

      when I was nine years old Mother died and Father became worse. If you accidentally broke asmall thing like a cup, he would keep throwing curses at you until you shivered all over. Latereven his eyes could cast crooked glances. Whenever I passed by him, he would eye mesideways with his arrogant look streaming down the bridge of his nose and then off the comerof his laouth, making me feel as if pricked on needles.

      所以每每在大雪中的黄昏里,围着暖炉,围着祖父,听着祖父读着诗篇,看着祖父读着诗篇时微红的嘴唇。

      ln snowy evenings I would sit with Grandpa by the stove, listening to him leading poems,watching his pink lips while he was reading.

      父亲打了我的时候,我就在祖父的房里,一直面向着窗子,从黄昏到深夜——窗外的白雪,好象白棉花一样飘着;而暖炉上水壶的盖子,则象伴奏的乐器似的振动着。 祖父时时把多纹的两手放在我的肩上,而后又放在我的头上,我的耳边便响着这样的声音:

      When Father beat me, I would go to Grandpa’s room and stood by the windiow from eveningtill late into the night, watching the white snow falling like cotton, while the lid of the kettle overthe stove clinked like a musical Instrument playing accompaniment. Grandpa would put hiswrinkled hand on my shoulder and then my head, saying into my ear:

      “快快长吧!长大就好了。”

      “Grow quickly, my child. When you are grown, things will be better.”

      二十岁那年,我就逃出了父亲的家庭。直到现在还是过着流浪的生活。

      At the age of twenty I fled home. Even today I am still wandering around Kke a hobo.

      “长大”是“长大”了,而没有“好”。

      “Grown” as I am, but things are not any “better ”.

      可是从祖父那里,知道了人生除掉了冰冷和憎恶而外,还有温暖和爱。 所以我就向这“温暖”和“爱”的方面,怀着永久的憧憬和追求。

      However, from Grandpa I have learned that in life there is not only coldness ind hatred, butalso warmth and love. For that “warmth and love I will keep longing and yearning.

      中英双语文章对比篇2:爱梦想的羞怯女孩

      A Shy Dreamer

      在美

      Zai Mei

      我们宿舍里没有穿衣镜,饭厅门口倒是有一面。每当我穿上一件漂亮的新连衣裙,我就禁不住暗暗地想往镜子里瞧瞧自己。但总是在要去瞧的时候就感到特别不自在而踉跄离去——总是在关键时刻打了退堂鼓。

      Our bedroom has no full-length mirror. There is one at the canteen entrance. I always cherish asecret desire to take a peep before it at myself in a beautiful new dress. However, each timewhen it comes to the fulfillment, I get seized with such an uneasiness that I literally staggeraway—backing out at the critical moment.

      我就是这么羞怯,简直羞怯得不可救药!

      Shy I am, so helplessly!

      我从小就对自己没有信心,这是问题的根子。这种情绪使我受到一点点表扬都会难为情,使我怎么也说不出一个“不”字,也使我不敢向父母多要一分钱。此外,这种缺乏的情况也影响了我对钢琴的热爱。

      At the root of it is my difference by which I have been enslaved since childhood. It embarrassesme at the mildest flattery, crushes my utmost efforts to say "no", and prevents me fromasking my parents for one cent more than necessary. Among other things, diffidence haswormed it way into my love piano.

      那是我14岁的时候,有一具星期天的早晨,我被一阵唱赞美诗的歌声唤醒。我循着这上帝的召唤来到附近的一所教堂,一进教堂我就被那钢琴的乐音吸引住了,简直不能自拔。可是我父母哪儿买得起钢琴呀。更糟糕的是,据说钢琴家都有音乐细胞,是遗传的;我想我父亲是工程师,母亲是技术员,哪会遗传什么音乐细胞呀。可是好多天我脑子里尽想这些,我是在梦想了。

      At the age of 14, one Sunday morning, I was woken up by a resounding hymn. Tracing that callof God into a neighbouring church, I found myself inexorably attracted by the melody of apiano—something beyond the means of my parents. To make it worse, people say a pianist issupposed to have music in the blood, but I believe I had none from my engineer father andtechnician mother. For days on end, I kept thinking of nothing else. I had a dream.

      我不是做发财的梦。为了发财我的几个好朋友都下海了,当了个体商贩。她们手指上戴的金戒指脖子上戴的精美项链有时也让我看得眼花缭乱,但是透过这些东西我仿佛看见她们也有难言之隐,使我对这种发财狂望而生畏退避三舍。失望之余,我孤独自处,被缺乏自信的情绪沉重地笼罩着,什么也干不了,只好转向梦想求得安慰,求得勇气来好高骛远地希冀那得不到的东西。我深信我要想买得起昂贵物品(对我来说,那就是钢琴),首先必须在学业上求上进,力求学历尽量高些。

      It wasn't a dream after gold, which enticed some of my close friends to engage in business asa self-employed trader or a street pedlar. I was sometimes dazzled by their gold rings orelegant necklaces behind which, however, I seemed to catch sight of skeletons in theircupboards and was frightened away from the craze for fortune. Out of despair, I retreatedinto seclusion, diffidence weighing heavy on me. I could do nothing but turn to my dream forcomfort, for courage to aim high and wish for the impossible. I was convinced that before Icould afford anything expensive(to me, it was a piano), I should climb up the academic ladderas high as possible.

      这以后的九个年头,为了保持求学(尤其是英语学习)的高昂斗志,我压抑着对音乐的朦胧向往。我的这番努力取得了丰硕成果,我在家乡读完了中学和大学,都很顺利。我还考上了首都北京的一家名牌大学读第二学位。当我接到通知书时我真感动得热泪盈眶了。我懂英语,我知道这就是我的本钱,我可以和有钢琴的人进行互助,我教他英语他让我钢琴。

      For the next nine years I carefully smothered my hazy aspiration for music to keep aflame myquest for learning, especially in English studies. My efforts were so rewarding that I wentsuccessfully through high school and college in my hometown. When I received the admissionnotice for a second degree course at a prestigious university in Beijing, the national capital,tears welled up in my eyes. I knew my command of English was my asset, for I might make adeal with a pianist who would give me across to his piano in exchange for English lessons.

      这个愿望实现了!

      And that has come true!

      时至今日,每当我手指触及雪白的琴键,准备弹一曲时,仍然感到羞怯。我深知自己音乐天赋有限,但我这个爱梦想的羞怯女孩却找到了一条成功之路,那就是竭尽一切努力梦想成真。

      To this day whenever I lay my fingers on the snowwhite keyboard, ready for a melody, I stillfeel shy. I am quite aw六扇门最新配信are of my limited music talent, but as a shy dreamer I have found myway to success—making every effort to turn a dream into reality.

      中英双语文章对比篇3:五台名刹画沧桑

      The Famous Monastery Witnesses Vicissitudes

      常书鸿 李承仙

      Chang Shuhong& Li Chengxian

      1985年7月24日至10月30日,我和李成仙为完成日本东京枣寺前住持管原惠庆长老之遗愿,应邀为该寺绘制《玄中寺组画》。

      At the invitation of the Buddhist abbot of the Date Monastery in Tokyo, Japan, Li Chengxianand I did a set of mural paintings of th六扇门最新配信e Xuanzhong Monastery—Monastery of Mystery for theDate Monastery from July 24 to October 30, 1985, thus carrying out the behest of KeikyoSugehara, the late abbot of the well-known Japanese Buddhist temple.

      玄中寺位于距山西省太原市60公里的吕梁山脉的石壁山中。据记载,寺为北魏延兴二年(公园472年)由高僧云鸾大师所建。云鸾研究佛学,专修净土,先后撰写了《净土十二偈》、《续龙树偈》、《调气论》、《往生论注》等著作,得到北魏孝文帝的尊重,赐号“神云”,故常推为净土教的始祖。

      The Mystery Monastery is located in the Lvliang Mountains, 60km from Taiyuan in ShanxiProvince, China. Records show that the temple was built by an eminent monk named Tanluan inthe 2nd year of Yanxing (472) of the Northern Wei Dynasty (386—534). Master Tanluan was aBuddhist scholar, specializing in the Sukhavati Sect. He wrote The Twelve Gathas of theSukhavati and some other important works. He won the respect of Emperor Xiaowen, whogranted him the title of “Tan, the Immortal”. That is why Master Tanluan is commonly regardedas the founder of the Sukhavati Sect.

      至隋唐时代,高僧道绰,善导都先后在玄中寺住持、探讨、研究净土佛学,讲经说法。玄中寺成为我国佛教净土宗的祖庙和中国北方的主要道场,在中国佛教史上有十分重要的地位。因此,唐代之后,随迭遭兵乱,但屡毁屡建,以至保存到现在。

      In the Sui (581一618) and Tang (618—907) Dynasties, eminent monks like Daochuo andShandao became abbots of the temple successively, where they distinguished themselves inthe study of the doctrine of the Sukhavati Sect. The Mystery Monastery is the first temple ofthe Sukhavati Sect and a principal Buddhist temple in Northern China. Obviously, the Monasteryoccupies an important position in the history of Buddhism in China. Although it was destroyedmany times during dynastic wars, it was rebuilt time and again so that it is now preserved asbefore.

      从唐代以来,以云鸾、道绰、善导所创立的净土法门体系传到日本后,日本高僧法然和亲鸾,先后以三位大师著作为依据,立教开宗,建立了日本佛教净土宗和净土真宗。自此,与玄中寺一脉相承的净土宗教义在日本广为流传。

      Since the Tang Dynasty, the doctrine of the Sukhavati Sect originated by Tanluan, Daochuoand Shandao has been passed on to Japan, where Japanese eminent monks like Horan andQinluan founded the Sukhavati Sect in Japan on the basis of the Buddhist works by the above-mentioned three Chinese masters. That is how the doctrine of the Sukhavati Sect, whichoriginated in the Mystery Monastery in China, has been wide spread in Japan.

      1920年12月27日,日本常盘大定博士历尽千辛万苦寻访了山西玄中寺,并著书立说,玄中寺即被尊为日本佛教净土宗的祖庭。1942年秋,日本佛教界著名人士常盘大定博士、管原惠庆长老等专程前来玄中寺举行了纪念云鸾大师圆寂一千四百年奉赞会。当时管原惠庆长老怀着对祖庭的崇高敬意,从寺中摘了一把枣子带回日本,经过精心培育,长成了一棵枣树。长老遂把自己住持的寺院更名为枣寺。

      On December 27, 1920, Dr. Daitei Tokiwa, having gone through all kinds of hardships anddifficulties, reached the Mystery Monastery in Shanxi Province. He wrote many books to confirmthe fact that the Japanese Sukhavati Sect of Buddhism originated in the Mystery Monastery ofChina. In the fall of 1942, Dr. Daitei Tokiwa and Master Keikyo Sugehara made a special trip tothe Mystery Monastery and held a ceremony there in commemoration of the 1,400thanniversary of the death of Master Tanluan. Having a deep respect for the founder, MasterSugehara picked a handful of dates from the date tree in the Monastery and took them toJapan. He planted the seed in his monastery, where, with the meticulous care, it has growninto a big date tree. So Master Sugehara named his temple “The Date Monastery”.

      日本佛教界朋友们在战后非常困难的情况下,为促进中日友谊作了大量工作。1953年大谷萤润、管原惠庆等收集了战争中在日本殉难的七千余中国烈士之遗骨送还中国。周恩来生前曾以“饮水不忘掘井人”来赞扬日本朋友们,肯定了他们对中日关系正常化所起的作用。

      After World War II, friends in the Japanese Buddhist world did a lot to promote the friendshipbetween Japan and China under most difficult conditions In 1953, Eyun Otani, Keikyo Sugeharaand others gathered remains of over 7,000 Chinese prisoners of war who died in Japan duringthe war, and sent them back to China. In high praise of the Japanese friends for theircontributions to the normalization of relationship between the two countries, the late PremierZhou Enlai said: “Don't forget the well-diggers when you drink from the well.”

      1977年日本佛教界朋友成立了“日中友好净土宗协会”。管原惠庆长老不遗余力,在他84岁高龄时,还创办了《玄中一派》的期刊,致力于日本中国友好的宣传。

      In 1977, friends in the Japanese Buddhist world set up the Japan-China Friendship Associationof the Sukhavati Sect. Master Keikyo Sugehara in spite of his advanced age of 84, started thepublication of the magazine True Disciples of the Mystery Monastery, thus making fresh effortsto promote the friendship between the Japanese and Chinese peoples.

      早在1958年我们第一次在日本举办敦煌艺术展览时,管原惠庆长老曾邀请我们为他的寺院绘制五台山壁画。但因为当时敦煌百废待举工作繁重,无法承担。管原惠庆长老于1982年2月仙逝。枣寺继承人为完成管原惠庆长老热心中日友好和文化交流的遗愿,正式邀请我和李承仙东渡日本在新落成的枣寺正殿绘制壁画。我们受文化部和中国佛教协会的委派,与1985年绘制了《玄中寺组画》。

      As early as 1958,the year when the Dunhnang Murals Exhibition was held first time in Japan,Master Keikyo Sugehara invited Li Chengxian and me to do paintings of Wutai Mountain for hismonastery. As that was the time when we were busy restoring the Dunhuang Murals, we couldfind no time for that task. In February, 1982, Master Sugehara passed away. To carry out hislast wish and promote the friendship and cultural exchange between Japan and China, thepresent abbot of the Date Monastery sent us an official invitation to paint murals in the newlyconstructed Main Hall of his monastery. In 1985, the Chinese Ministry of Culture and theChina Buddhist Association entrusted us with the responsibity for the work.

      《玄中寺组画》的创作构思和绘制技法,是我们本着对敦煌艺术临摹和研究40多年的经验,主要继承中华民族遗产的风格,吸取了敦煌唐宋时代壁画法华经《化城喻品》等艺术风格形成的。我们在画幅中按照其地理环境和内容,标出15个榜题,即:山西五台山、挂山古松、太原双塔、文水之渡、玄津石桥、秋容胜境、永宁禅寺、大玄中之寺、象离大和尚之塔、管原惠庆长老之塔、中日友谊之树、大祖师之殿、俱会一处之冢、西方圣境、大千佛之阁。在画幅上部七身奏乐飞天配以随风飘动的七种乐器,以表现天上、人间、中日深厚的友情。

      As Li Chengxian and I had engaged in the study and copying of the Dunhuang Murals for 40-odd years, we did the set of mural paintings of th六扇门最新配信e Mystery Monastery after the techniques andstyle of the Dunhuang art. The murals are composed of 15 paintings, each presenting adifferent location or content: Wutai Mountain in Shanxi, Old Pines on Gua Hill, Twin Pagodas inTaiyuan, China-Japan Friendship trees, the Pure Land, to name just a few.

      这是我们在日本东京一百个日日夜夜劳苦工作的结晶,用心血谱写出来的中日友情。愿中日两国人民像飞翔在天上的香音神那样,世世代代友好,愿中日友好文化交流万古长青!

      We worked hard day and night for over three months. The paintings symbolize our efforts tocontribute to the friendship between the Chinese and Japanese peoples. May the culturalexchange be everlasting between China and Japan.


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