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英語筆譯《荷塘月色》
月光如流水一般，靜靜地瀉在這一片葉子和花上。這是《荷塘月色》中的句子。下面是小編分享的英語筆譯《荷塘月色》，歡迎大家閱讀!
英語筆譯《荷塘月色》 1
譯文：
Moonlightover the Lotus Pond
I have felt quiteupset recently, Tonight, when I was sitting in the yard enjoying the cool, itoccurred to me that the Lotus Pond, which I pass by every day, must assumequite a different look in such moonlit night. A full moon was rising highin the sky; the laughter of children playing outside had died away; in theroom, my wife was patting the son, Run-er, sleepily humming a cradle song.Shrugging on an overcoat, quietly, I made my way out, closing the door behindme.
Alongside the Lotus Pond runs a smallcinder footpath. It is peaceful and secluded here, a place not frequented bypedestrians even in the daytime; now at night, it looks more solitary, in alush, shady ambience of trees all around the pond. On the side where the pathis, there are willows, interlaced with some others whose names I do not know.The foliage, which, in a moon-less night, would loom somewhat frighteninglydark, looks very nice tonight, although the moonlight is not more than a thin,greyish veil.
Iam on my own, strolling, hands behind my back. This bit of the universe seemsin my possession now; and I myself seem to have been uplifted from my ordinaryself into another world, I like a serene and peaceful life, as much as a busyand active one; I like being in solitude, as much as in company. As it istonight, basking in a misty moonshine all by myself. I feel I am a free man,free to think of anything, or of nothing. All that one is obliged to do, or tosay, in the daytime, can be very well cast a side now. That is the beauty ofbeing alone. For the moment, just let me indulge in this profusion of moonlightand lotus fragrance.
All over this winding stretch of water,what meets the eye is a silken field of leaves, reaching rather high above thesurface, 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, our beautiesjust out of the bath. A breeze stirs, sending over breaths of fragrance, likefaint singing drifting from a distant building. At this moment, a tiny thrillshoots through the leaves and flowers, like a streak of lightning, straightacross the forest of lotuses. The leaves, which have been standing shoulder toshoulder, are caught trembling in an emerald heave of the pond. Underneath, theexquisite water is covered from view, and none can tell its colour; yet theleaves on top project themselves all the more attractively.
The moon sheds her liquid light silentlyover the leaves and flowers, which, in the floating transparency of a bluishhaze from the pond, look as if they had just been bathed in milk, or like adream wrapped in a gauzy hood. Although it is a full moon, shining through afilm of clouds, the light is not at its brightest; it is, however, just rightfor me —aprofound sleep is indispensable, yet a snatched doze also has a savour of itsown. The moonlight is streaming down through the foliage, casting bushy shadowson the ground from high above, dark and checkered, like an army of ghosts;whereas the benign figures of the drooping willows, here and there, look likepaintings on the lotus leaves. The moonlight is not spread evenly over thepond, but rather in a harmonious rhythm of light and shade, like a famousmelody played on a violin.
Around the pond, far and near, high and low,are trees. Most of them are willows. Only on the path side can two or threegaps be seen through the heavy fringe, as if specially reserved for the moon.The shadowy shapes of the leafage at first sight seem diffused into a mass ofmist, against which, however, the charm of those willow trees is stilldiscernible. Over the trees appear some distant mountains, but merely insketchy silhouette. Through the branches are also a couple of lamps, aslistless as sleepy eyes. The most lively creatures here, for the moment, mustbe the cicadas in the trees and the frogs in the pond. But the liveliness istheirs, I have nothing.
Suddenly, something like lotus-gatheringcrosses my mind. It used to be celebrated as a folk festival in the South,probably dating very far back in history, most popular in the period of SixDynasties. We can pick up some outlines of this activity in the poetry, It wasyoung girls who went gathering lotuses, in sampans and singing love songs.Needless to say, there were a great number of them doing the gathering, apartfrom those who were watching. It was a lively season, brimming with vitality,and romance. A brilliant description can be found in Lotus Ga-thering writtenby the Yuan Emperor of the Liang Dynasty:
So those charming youngsters row their sampans, heart buoyant with tacit love, pass to each othercups of winewhile their bird-shaped prows drift around. From time to time their oars arecaught in dangling algae, and duckweed float apart the moment their boats areabout to move on. Their slender figures, girdled with plain silk, treadwatchfully on board. This is the time when spring is growing intosummer, the leaves a tender green and the flowers blooming, — among which the girls are giggling whenevading an outreaching stem, their shirts tucked in for fear that the sampanmight tilt.
That is a glimpseof those merrymaking scenes. It must have been fascinating; but unfortunatelywe have long been denied such a delight.
Then I recall those lines in Ballad of Xizhou Island:
Gathering the lotus, I am in the South Pond,/The lilies, in autumn,, reach over my head; /Lowering my head I toy with thelotus seed, /look, they are as fresh as the water underneath.
If there weresomebody gathering lotuses tonight, she could tell that the lilies here arehigh enough to reach over her head; but, one would certainly miss the sight of thewater. So my memories drift back to the South after all.
Deep in my thoughts, I looked up, just tofind myself at the door of my own house. Gently I pushed the door open andwalked in. Not a sound inside, my wife had been asleep for quite a while.
QinghuaCampus, Beiiing, July, 1927
原文：
荷塘月色
朱自清
這幾天心里頗不寧靜。今晚在院子里坐著乘涼，忽然想起日日走過的荷塘，在這滿月的光里，總該另有一番樣子吧。月亮漸漸地升高了，墻外馬路上孩子們的歡笑，已經聽不見了;妻在屋里拍著閏兒，迷迷糊糊地哼著眠歌。我悄悄地披了大衫，帶上門出去。
沿著荷塘，是一條曲折的小煤屑路。這是一條幽僻的路;白天也少人走，夜晚更加寂寞。荷塘四面，長著許多樹，蓊蓊郁郁的。路的一旁，是些楊柳，和一些不知道名字的樹。沒有月光的晚上，這路上陰森森的，有些怕人。今晚卻很好，雖然月光也還是淡淡的。
路上只我一個人，背著手踱著。這一片天地好像是我的;我也像超出了平常的自己，到了另一世界里。我愛熱鬧，也愛冷靜;愛群居，也愛獨處。像今晚上，一個人在這蒼茫的月下，什么都可以想，什么都可以不想，便覺是個自由的人。白天里一定要做的事，一定要說的話，現在都可不理。這是獨處的妙處，我且受用這無邊的荷香月色好了。
曲曲折折的荷塘上面，彌望的是田田的葉子。葉子出水很高，像亭亭的舞女的裙。層層的葉子中間，零星地點綴著些白花，有裊娜地開著的，有羞澀地打著朵兒的;正如一粒粒的明珠，又如碧天里的星星，又如剛出浴的美人。微風過處，送來縷縷清香，仿佛遠處高樓上渺茫的歌聲似的。這時候葉子與花也有一絲的顫動，像閃電般，霎時傳過荷塘的那邊去了。葉子本是肩并肩密密地挨著，這便宛然有了一道凝碧的波痕。葉子底下是脈脈的流水，遮住了，不能見一些顏色;而葉子卻更見風致了。
月光如流水一般，靜靜地瀉在這一片葉子和花上。薄薄的青霧浮起在荷塘里。葉子和花仿佛在牛乳中洗過一樣;又像籠著輕紗的夢。雖然是滿月，天上卻有一層淡淡的云，所以不能朗照;但我以為這恰是到了好處——酣眠固不可少，小睡也別有風味的。月光是隔了樹照過來的，高處叢生的灌木，落下參差的斑駁的黑影，峭楞楞如鬼一般;彎彎的楊柳的稀疏的倩影，卻又像是畫在荷葉上。塘中的月色并不均勻;但光與影有著和諧的旋律，如梵婀玲上奏著的名曲。
荷塘的四面，遠遠近近，高高低低都是樹，而楊柳最多。這些樹將一片荷塘重重圍住;只在小路一旁，漏著幾段空隙，像是特為月光留下的。樹色一例是陰陰的，乍看像一團煙霧;但楊柳的豐姿，便在煙霧里也辨得出。樹梢上隱隱約約的是一帶遠山，只有些大意罷了。樹縫里也漏著一兩點路燈光，沒精打采的，是渴睡人的眼。這時候最熱鬧的，要數樹上的蟬聲與水里的蛙聲;但熱鬧是它們的，我什么也沒有。
忽然想起采蓮的事情來了。采蓮是江南的舊俗，似乎很早就有，而六朝時為盛;從詩歌里可以約略知道。采蓮的是少年的女子，她們是蕩著小船，唱著艷歌去的。采蓮人不用說很多，還有看采蓮的人。那是一個熱鬧的季節，也是一個風流的季節。梁元帝《采蓮賦》里說得好：
于是妖童媛女，蕩舟心許;鷁首徐回，兼傳羽杯;欋將移而藻掛，船欲動而萍開。爾其纖腰束素，遷延顧步;夏始春余，葉嫩花初，恐沾裳而淺笑，畏傾船而斂裾。
可見當時嬉游的光景了。這真是有趣的事，可惜我們現在早已無福消受了。
于是又記起《西洲曲》里的句子：
采蓮南塘秋，蓮花過人頭;低頭弄蓮子，蓮子清如水。今晚若有采蓮人，這兒的蓮花也算得“過人頭”了;只不見一些流水的影子，是不行的。這令我到底惦著江南了。——這樣想著，猛一抬頭，不覺已是自己的門前;輕輕地推門進去，什么聲息也沒有，妻已睡熟好久了。
1927年7月，北京清華園。
Creation background
Moonlight on the Lotus Pond was written in July 1927. After the summer vacation in 1925, Tsinghua University in Beijing established the Department of Chinese Literature, and Yu Pingbo recommended Zhu Ziqing as a professor. In August, Zhu Ziqing came to Tsinghua University to teach. At this time, he came alone and lived in Gu Yue Hall in tsinghua campus. His family still stayed in Baima Lake. On October 20th, Zhu Ziqing published his poem My South in the 48th issue of Yusi, expressing his nostalgia for the South. "My south, my south, there is a mountain village! Its a drunken dream there! Five years of embarrassment, flying like feathers! " At this time, it is exactly five years since he graduated from Peking University. In January, 1927, Zhu Ziqing came to the North and lived in tsinghua campus West Campus, and then settled in Beijing. In July of that year, he wrote the essay Moonlight on the Lotus Pond.
Chen Zhuyin, the wife of Zhu Ziqing, pointed out in her article "Recalling the strings" that "in 1927, Chiang Kai-shek betrayed the revolution, the Great Revolution failed, and Chiang Kai-shek ruled the whole country. Pei xian didnt find the right way out at that time, and he looked around blankly. I feel that the shadow in my heart is getting bigger and bigger. He wandered in anguish again. He knows that only by participating in the revolution or counter-revolution can this panic be solved. But at that time, he didnt go either way, but adopted an escape method. " Chen Zhuyin believes that Zhu Ziqing created this article at that time because of the "panic" caused by the failure of the Great Revolution, which led to Zhu Ziqings inner uneasiness. Qu Yuxiu also mentioned a similar point in his "On Zhu Ziqing and His Creation": "After the vigorous May 4th Movement, the cultural United front began to divide ... In addition, a group of petty-bourgeois intellectuals showed their anguish and hesitation after the storm, and Zhu Ziqing was like this ... So, in the face of the great era, he felt hesitant on the road and felt that he was a rotten piece of paper and a withered piece. The transcendental road is impassable, and I hope to find something, get into it, and kill this life. "
創作背景
《荷塘月色》作于1927年7月。1925年暑假后，北京清華學校加辦大學部，成立國文系，俞平伯推薦朱自清為該校教授。8月，朱自清來到北京清華大學任教，此時的他單獨而來，住在清華園的古月堂，家眷仍然留居白馬湖。10月20日，朱自清在《語絲》第48期中發表詩作《我的`南方》，表達對南方的懷念。“我的南方，我的南方，那兒是山鄉水鄉！那兒是醉鄉夢鄉！五年來的彷徨，羽毛般地飛揚！”此時距離他北大畢業，正好五年。1927年1月，朱自清接著北來，住在清華園西院，從此定居北京。該年7月創作了散文《荷塘月色》。
朱自清夫人陳竹隱在其《憶佩弦》一文中指出“1927年，蔣介石背叛了革命，大革命失敗了，蔣介石統治了全國。佩弦當時沒有找到正確的出路，四顧茫然，‘覺得心上的陰影越來越大’。他又在苦悶中彷徨了。他知道‘只有參加革命或者反革命，才能解決這惶惶然’。但在當時，他兩條路都沒有走，而是采取了逃避的辦法。”陳竹隱認為，朱自清當時之所以創作此文，是因為大革命失敗產生的“惶惶然”，進而導致朱自清內心的不平靜。屈毓秀在其《試論朱自清和他的創作》中也提到過類似的觀點：“轟轟烈烈的五四運動以后，文化統一戰線內部開始分化……此外，一批小資產階級知識分子，在這場暴風雨后則表現了苦悶和彷徨，朱自清就是這樣……所以，在大時代面前，他感到歧路上的彷徨，覺得自己是‘一張爛紙，一張枯葉’，幻想‘超然’。超然的道路走不通，又寄望于‘找一件事，鉆了進去，消磨了這一生’。”
Famous expert evaluation
Positive evaluation
Modern writer and poet Zhang Baishans Random Talk on Moonlight over the Lotus Pond: "Moonlight over the Lotus Pond by Zhu Ziqing is a work that has been told for a while. I heard that some young people still like to read it up to now, which is largely due to its lyrical prose, beautiful scenery and full of poetry."
Modern literature researcher Why Congs "The Artistic Features of Zhu Ziqings Early Prose": "Moonlight on the Lotus Pond" takes "going all the way" as the writing clue, from the path to the lotus pond to the standing and thinking to the longing, forming a distinct spatial order, which deepens the plots at all levels step by step, fully displays the inner feelings, and, together with a poem and a tail, naturally echoes, all show the rigor and exquisiteness of the structural layout, and describes and concisely the details. At the same time, it can be seen from the layout of each article that some parts are refined and some parts are loose. Refinement and looseness cooperate with each other and adjust each other, so that they can be dense and breathe freely, which is a high expression of the rigorous and exquisite features of Mr. Zhu Ziqings prose structure. " "The clue of" Walking all the way, standing and thinking "in Moonlight on the Lotus Pond depicts the path, lotus pond, leaves, flowers, incense, movement, moon, trees, fog, mountains and colors, and the modality and angle are also different, but all of them hold the charm of a word" light "; The contrast of frogs and cicadas, the metaphor of a deep sleep and a nap, and the situation are also blended in this word light; This kind of concentrated charm of the word light coincides with the modality of the content of the work stolen moment, so it can receive a huge infection effect. "
Wu Zhouwen, a modern literature researcher, talks about Moonlight on the Lotus Pond: "In line with the artistic conception and tone of the work, the poet used nearly 30 kinds of reduplicated words, which rendered an elegant and vulgar language atmosphere and produced a unique expressive effect. For example, the description of lotus leaves and the use of overlapping words such as "twists and turns", "fields", "pavilions", "layers", "wisps", "dense" and "pulse" accurately and vividly describe the beautiful image of the poets subjective thoughts. Some of the overlapping words used in classical poetry to describe the beauty of vanilla greatly enriched the modality and charm of the beautiful lotus image, and achieved a harmonious fit with the inner lyricism of the work, which made the description language have an elegant beauty and a beautiful beauty. "
Negative evaluation
Ye Shengtao, a modern writer and educator, Mr. Zhu Peixian: "His early essays, such as In a hurry, Moonlight on the Lotus Pond and Qinhuai River in the shadow of oars and lights, are all a little contrived, paying too much attention to rhetoric and not being natural."
Tang Tao, a theorist of modern literature, wrote Zhu Ziqing: "Mr. Pei Xians Back, Moonlight on the Lotus Pond and Qinhuai River in the Shadow of Paddle Lights are called masterpieces in early prose. The essays are smooth and clear, and there is no mistake, but I always feel that there is a lack of a soul, a kind of vitality contained in spoken language."
On Zhu Ziqings Prose by Yu Guangzhong, a modern writer and poet: "Zhu Wens metaphors are many, but they are not excellent. Take Moonlight over the Lotus Pond as an example ... Fourteen metaphors are used in eleven sentences. For a short essay with thousands of words, metaphors are inseparable. After careful reading, we can find that most of these metaphors are floating, easy and feminine, and they are not excellent in imagination. ..... In imaginary literature, similes are not necessarily metaphors, but the metaphorical techniques are tortuous and subtle after all. Zhu Wenzhi is plain, which is also a reason. The only exception is the metaphor of sleeping-eye lighting, but it is not alert and beautiful. "
名家評價
正面評價
現代作家、詩人張白山《漫談〈荷塘月色〉》：“朱自清的《荷塘月色》是一篇傳誦一時的作品，聽說到現在也還有一些青年人喜歡讀它，這大抵由它是抒情的散文，寫景很美，滿貯著詩意的緣故。”
現代文學研究家何以聰《朱自清早期散文的藝術特色》：“《荷塘月色》則以‘一路行去’為行文線索，從小路到荷塘到佇立顧思到神往凝想，形成鮮明的空間順序，使各層情節得到步步深化，使內心感受得到充分展示，加上一首一尾，自然呼應，都顯示出結構布局上的嚴謹精美，為細節的描寫和簡練的表現提供了堅實的基礎，成功地表達出作品的主題和作者的復雜情緒。同時，從各篇的布局中都可以看出，有些部分精煉，有些部分松動，精煉和松動互相配合，互相調劑，做到疏密相間，呼吸自如，更是朱自清先生散文結構上嚴謹精美特色的高度表現。”“《荷塘月色》中‘一路行來，佇立凝想’這條線索，描繪著小路、荷塘，葉、花、香、動、月、樹、霧、山、色彩是多種的，情態和角度也各各不同，但都扣住一個‘淡’字的韻味；蛙聲蟬聲的對襯，酣眠小睡的比喻，情境也交融在這個‘淡’字上；而這種集中烘托出來的‘淡’字韻味，正好跟作品內容‘偷來的片刻逍遙’的情態絲絲入扣，吻合無間，所以能收到巨大的感染效果。”
現代文學研究家吳周文《談〈荷塘月色〉》：“與作品的意境，基調相一致，詩人運用了近三十個各種類型的疊詞，這些疊詞渲染出一種雅而不俗的語言氛圍，產生了獨特的表情達意的效果。如描寫荷花荷葉、運用了‘曲曲折折’‘田田’‘亭亭’‘層層’‘一粒粒’‘縷縷’‘密密’‘脈脈’等疊詞，準確而又傳神地描寫出傾注詩人主觀思想的美的形象。其中一些從古典詩詞中選用的描寫香草美人的疊詞，大大濃化了妙若美女的荷花形象的情態和風韻，與作品的內在抒情取得了和諧的契合，使描寫語言有一種典雅的美，清麗的美。”
負面評價
現代作家、教育家葉圣陶《朱佩弦先生》：“他早期的散文如《匆匆》《荷塘月色》《槳聲燈影里的秦淮河》都寫得有點兒做作，太過于注重修辭，見得不怎么自然。”
現代文學理論家唐弢《晦庵書話朱自清》：“佩弦先生的《背影》《荷塘月色》《槳聲燈影里的秦淮河》，是被稱作早期散文里的代表作的，論文字，平穩清楚，找不出一點差池，可是總覺得缺少了一個靈魂，一種口語里所包含的生氣。”
現代作家、詩人余光中《論朱自清的散文》：“朱文的譬喻雖多，卻未見如何出色。且以溢美過盛的《荷塘月色》為例，……十一句中一共用了十四個譬喻，對一篇千把字的小品文說來，用喻不可謂之不密。細讀之余，當可發現這些譬喻大半浮泛，輕易，陰柔，在想象上都不出色。……在想象文學之中，明喻不一定不隱喻，可是隱喻的手法畢竟要曲折、含蓄一些。朱文之淺白，這也是一個原因。惟一的例外是以睡眼狀燈光的隱喻，但是并不精警，不美。”
Brief introduction of the author
Zhu ziqing
Zhu Ziqing (1898-1948), formerly known as Zihua, was called Qiushi. People from Yangzhou, Jiangsu. An early member of "Literature Research Association", a famous modern essayist and scholar. Former Professor Tsinghua University, transferred to Southwest United University to teach after the outbreak of War of Resistance against Japanese Aggression. Under the influence of the anti-Japanese democratic movement, the political attitude is obviously inclined to progress. Actively participated in the anti-imperialist democratic movement in his later years. His prose, with rigorous structure and meticulous brushwork, can euphemistically express his inner feelings about natural scenery through close observation or in-depth appreciation, no matter whether he writes scenery or expresses his feelings. Expressing ones sincere feelings is poetic and picturesque. His main works include Destruction, Trail, Back, Miscellaneous Notes on Europe, Miscellaneous Notes on London, etc.
作者簡介
朱自清
朱自清（1898—1948），原名自華，字佩弦，號實秋。江蘇揚州人。“文學研究會”的早期成員，現代著名的散文家、學者。原任清華大學教授，抗日戰爭爆發后轉西南聯合大學任教。在抗日民主運動的影響下，政治態度明顯傾向進步。晚年積極參加反帝民主運動。他的散文，結構嚴謹，筆觸細致，不論寫景抒情，均能通過細密觀察或深入體味，委婉地表現出對自然景色的內心感受。抒發自己的真摯感情，具有濃厚的詩情畫意。主要作品有《毀滅》《蹤跡》《背影》《歐游雜記》《倫敦雜記》等。
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