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考专业能力的时候，时间很紧张，到后面答阅读和写作，很匆忙，前面的翻译应该时间花少一些。考完试，自己回忆了下，现在把回忆版发给大家，供大家查阅。
一.英译汉 I must now take notice of the effect of the Swiss Cottagein scenery. When one has been wandering fora whole morning through a valley of perfect silence, where everything around,which is motionless, is colossal, and everything which has motion, resistless;where the strength and the glory of nature are principally developed in thevery forces which feed upon her majesty; and where, in the midst of mightinesswhich seems imperishable, all that is indeed eternal is the influence ofdesolation; one is apt to be surprised, and by no means agreeably, to find,crouched behind some projecting rock, a piece of architecture which is neat inthe extreme, though in the midst of wildness, weak in the midst of strength,contemptible in the midst of immensity. There is something offensive in itsneatness: for the wood is almost always perfectly clean, and looks as if it hadjust been cut; it is consequently raw in its color, and destitute of allvariety of tone. This is especially disagreeable, when the eye has been previouslyaccustomed to, and finds, everywhere around, the exquisite mingling of color,and confused, though perpetually graceful, forms, by which the details ofmountain scenery are peculiarlydistinguished. Every fragment of rock is finished in its effect, tinted withthousands of pale lichens and fresh mosses; every pine tree is warm with thelife of various vegetation; every grassy bank glowing with mellowed color, andwaving with delicate leafage. How, then, can the contrast be otherwise thanpainful, between this perfect loveliness, and the dead, raw, lifeless surfaceof the deal boards of the cottage. Its weakness is pitiable; for, though thereis always evidence of considerable strength on close examination, there is noeffect of strength: the real thickness of the logs is concealed by the cuttingand carving of their exposed surfaces; and even what is seen is felt to be soutterly contemptible,[Pg 31] when opposed to the destructive forces which arein operation around, that the feelings are irritated at the imagined audacityof the inanimate object, with the self-conceit of its impotence; and, finally,the eye is offended at its want of size. It does not, as might be at firstsupposed, enhance the sublimity of surrounding scenery by its littleness, forit provokes no comparison; and there must be proportion between objects, orthey cannot be compared. If the Parthenon, or the Pyramid of Cheops, or St.Peter's, were placed in the same situation, the mind would first form a justestimate of the magnificence of the building, and then be trebly impressed withthe size of the masses which overwhelmed it. The architecture would not lose,and the crags would gain, by the juxtaposition; but the cottage, which must befelt to be a thing which the weakest stream of the Alps could toss down beforeit like a foam-globe, is offensively contemptible: it is like a child's toy letfall accidentally on the hillside; it does not unite with the scene; it is notcontent to sink into a quiet corner, and personify humility and peace; but itdraws attention upon itself by its pretension to decoration, while itsdecorations themselves cannot bear examination, because they are useless,unmeaning and incongruous. （选自The Poetry of Architectureby John Ruskin） 二.汉译英 文学的规律是应该推翻的，浪漫派的批评家不是无的放矢。阿迪生是英国近代浪漫运动的一个先驱者。有些人对于文学的规律是十分的熟悉，但在特别情形之下偏与规律相悖。古代悲剧作家中，此种例证，不胜枚举，彼等故意的违犯一个戏剧的规律，以成功一种更高的美，为恪守规律者所不能及。伟大的天才，不知艺术规律为何物，但其所作，往往比恪守规律之小天才为更美。 但是浪漫主义者所推翻的不仅是新古典的规律，连标准，秩序，理性，节制的精神，一齐都打破了。浪漫运动的起因是不可免的，且是有价值的，但其结果是过度的，且是有害的。由过度的严酷的规律，一变而为过度的放纵的混乱。这叫做过犹不及，同是不合于伦理的态度。上面提起的“天才的独创”与“想象的自由”，便是浪漫的混乱之理论的根据。 上文是根据西洋文学史上的事实说明新古典派与浪漫派的势力消长的来由，其实这两种势力永远是存在的，有时在一国的文学里，在一时代的文学里，甚至在一个人的文学里，都可以看出一方面是开扩的感情的主观的力量，一方面是集中的理性的客观的力量，互相激荡。纯正的古典观察点，是要在二者之间体会得一个中庸之道。规律是要打倒的，而文学里有超于规律的标准。 （选自梁实秋《文学的纪律》） 三.是关于academic freedom的一篇文章。里面引用了Newman和其他名人的话。前四个题目各是一个长句的paraphrase，第五题和第六题是两个词语的解释。最后一题是先解释Marketplace of ideas和 the collision of mind with mind，先解释这两个词语，再写一篇这两个词语与academic freedom的两个作用之间关系的短文。字数400词。
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发表于 2013-2-24 15:21
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