1.Maybe I don't love you,just the feeling of love.2.A lot of people said it to me.3.I really want to protect you,but I can't stay with you,5.Thank you for your memory and happy to me.6.I have a lot of friends,I can enjoy happy days without love.中学生的能力，不具权威，只供参考！
1、在翻译高级英语句子时，有多个代词要使用删减法；遇到固定的句型要找到相应的中文译法；要注意句子中的主被动时态的转换；学会分析句子的基本成分，抓住主干，再填充修饰的成分。 2、拆分法。当然，英译汉的时候，就要采取完全相反的战术——拆分法，即把一个长难句细细拆分为一个个小短句、简单句，并适当补充词语，是句子通顺。最后，注意还需要按照汉语习惯调整语序，达到不仅能看懂而且不拗口的目标。 3、省略翻译法。要求把不符合汉语，或者英语的表达的方式、思维的习惯或者语言的习惯的部分删去，以免使所翻译出的句子沉杂累赘。
1.或许爱上的不是你，而是恋爱的感觉罢了. Maybe I didin't fall in love with you, it is just the feeling of being in love2.许多人都这样对我说 Many people told me this.3.我很想保护你，但是又无法在你身边，或许我们只是有缘无份. I want to protect you, but I can't stay beside you. Maybe we are not destine to be.4.爱情对我来说，只是麻醉剂. To me, love is just Anesthetic5.感谢你曾经给我的回忆和快乐. Thank you for all the memories and happiness that you brought to me6.我有了很多朋友，缺少了爱情我想我也可以活得很快乐. I have many friends, even without love I think I can also be happy.7.我想你会对我说：对不起，我不是有意伤害你的. 不，在爱情上不存在谁对得起谁，谁对不起谁，更没有对错. I think you will say to me: I am sorry, I didn't meant to hurt you.No, in love there is no such thing as who is not sorry for who, who is sorry for who, there is no wrong or right.8.你知道么？我可以因为你的一句话，一个动作.开心一整天，、. Do you know? Because of you every word and every movement I can be happy all day9.爱得死去活来，反而把自己变得渺小. When fall in love too deeply, oneself will seem insignificant10.放过你，也就是放过自己..Maybe letting you go is also letting myself go...
1、在翻译高级英语句子时，有多个代词要使用删减法；遇到固定的句型要找到相应的中文译法；要注意句子中的主被动时态的转换；学会分析句子的基本成分，抓住主干，再填充修饰的成分。 2、拆分法。当然，英译汉的时候，就要采取完全相反的战术——拆分法，即把一个长难句细细拆分为一个个小短句、简单句，并适当补充词语，是句子通顺。最后，注意还需要按照汉语习惯调整语序，达到不仅能看懂而且不拗口的目标。 3、省略翻译法。要求把不符合汉语，或者英语的表达的方式、思维的习惯或者语言的习惯的部分删去，以免使所翻译出的句子沉杂累赘。
第十个人 Lesson Ten The Tenth Man 就在第二天下午3点（闹钟上的时间），一个军官走进了牢房。这是他们几星期以来见到的第一位军官。他非常年轻，甚至小胡子的形状也显示出他不够老练，左边的胡子剃得重了点。 It was at three the next afternoon （alarm clock time） that an officer entered the cell； the first officer they had seen for weeks – and this one was very young， with inexperience even in the shape of his mustache which he had shaved too much on the left side. 他就像一个初次登台领奖的小学生一样窘迫不安，他说起话来粗鲁无礼，似乎要显示一种他并不具备的力量。 He was as embarrassed as a schoolboy making his first entry on a stage at a prize-giving， and he spoke abruptly so as to give the impression of a strength he did not possess. 他说道：“昨天夜间城里发生了几起谋杀，一名军事长官的副手、一位中士和一个骑自行车的女孩被杀。”他又说道：“我们不在乎女孩的死。法国男人杀死法国女人不关我们的事。” He said， “There were murders last night in the town. The aide-de-camp of the military governor， a sergeant and a girl on a bicycle.” He added， “We don't complain about the girl. Frenchmen have our permission to kill Frenchwomen.” 很明显他事先仔细斟酌了他的讲话，但他的嘲弄做过了头，他的表演也很业余。 He had obviously thought up his speech carefully beforehand， but the irony was overdone and the delivery that of an amateur actor： 整个场面就像手势字谜游戏那样矫饰做作。 the whole scene was as unreal as a charade. 他接着说道：“你们知道自己为什么来这里，你们在这里好吃好喝，过着舒适的日子，而我们的人却在工作和战斗。不过现在你们必须付出代价了。不要怪我们，要怪你们自己的杀人凶手。我的命令是集中营里每十个人要有一个被枪决。你们有多少人？”“报数。”他厉声喝道人们闷闷不乐地照办了。“28，29，30.”人们知道不用数他也知道人数，这不过是他玩的把戏中不可省略的一句台词…… He said， “You know what you are here for， living comfortably， on fine rations， while our men work and fight. Well， now you've got to pay the hotel bill. Don't blame us. Blame your own murderers. My orders are that one man in every ten shall be shot in this camp. How many of you are there？” He shouted sharply， “Number off，” and sullenly they obeyed， “…… twenty-eight， twenty-nine， thirty.” They knew he knew without counting. This was just a line in his charade he couldn't sacrifice. 他说道：“那么，你们的名额是三个，我们并不关心是哪三个人。你们可以自己选择。死刑于明天早上7点执行。” He said， “Your allotment then is three. We are quite indifferent as to which three. You can choose for yourselves. The funeral rites will begin at seven tomorrow morning.” 他玩的把戏结束了，人们可以听到他的脚步响亮地敲击着沥青路渐渐远去。 The charade was over： they could hear his feet striking sharply on the asphalt going away. 查维尔忽然很想知道他打的手势是什么字。要他们猜的是不是“夜间”，“姑娘”，“旁边”或“30”。不，不是。谜底肯定是“人质”。 Chavel wondered for a moment what syllable had been acted —“night，”“girl，”“aside，” or perhaps “thirty，” but it was of course the whole word—“hostage. ” 牢房里很长时间没人说话。后来一个叫克拉夫的阿尔萨斯人开口道：“好了，我们有人自愿吗？” The silence went on a long time， and then a man called Krogh， an Alsatian， said， “Well， do we have to volunteer？” “废话。”一个职员说道。他是一个上了年纪的戴着夹鼻眼镜的老头。他接着说道：“没人会自愿，我们必须抽签。除非有人认为应按年龄决定——最老的先死。” “Rubbish，” said one of the clerks， a thin elderly man in pince-nez， “nobody will volunteer. We must draw lots.” He added， “Un-less it is thought that we should go by ages —the oldest first. ” “不，不行。”另一个人说道，“那不公平。” “No， no，” one of the others said， “that would be unjust. ” “这是自然规律。” “It's the way of nature.” “那算什么自然规律。”又一个人说道，“我有个女儿，5岁时就死了。” “Not even the way of nature，” another said. “1 had a child who died when she was five……” “我们必须抽签。”市长坚定地说。 “We must draw lots，” the mayor said firmly. “只有这样才公正。”他坐在那里，双手依然紧贴在肚子上，遮挡着他的怀表，但是整个牢房里都能听见怀表清脆的滴答声。 “It is the only fair thing.” He sat with his hands still pressed over his stomach， hiding his watch， but all through the cell you could hear its blunt tick lock tick. 他接着又说道：“由未婚者抽签，已婚者除外，他们有责任。” He added， “On the unmarried. The married should not be included. They have responsibilities… “哈，哈！”皮埃尔说道，“我们明白了。为什么已婚者就应逃脱？他们的事儿已经做完了。当然，你结婚了吧？” “Ha， ha，” Pierre said， “we see through that. Why should the married get off？ Their work's finished. You， of course， are married？” “我的妻子不在了。”市长说，“我现在是未婚，你呢？” “I have lost my wife，” the mayor said， “I am not married now. And you…” “结了。”皮埃尔答道。 “Married，” Pierre said. 市长开始解下怀表。发现皮埃尔处境安全，他似乎更坚信作为怀表的主人自己必定是下一个牺牲者。 The mayor began to undo his watch； the discovery that his rival was safe seemed to confirm his belief that as the owner of time he was bound to be the next victim. 他环顾了每一个人，然后选择了查维尔。也许是因为只有他穿着西服背心适合戴表链。他说道：“查维尔先生，我想让你替我拿着怀表，万一……” He looked from face to face and chose Chavel， perhaps because he was the only man with a waistcoat fit to take the chain. He said， “Monsieur Chavel， I want you to hold this watch for me in case…” “你找别人吧！”查维尔说，“我还没结婚呢。” “you'd better choose someone else，” Chavel said. “I am not married.” 那个老职员又开口了，“我结婚了，我有权说话。 The elderly clerk spoke again. He said， “I'm married. I've got the right to speak. 我们正把一切引向歧途。这不是我们最后一次抽签。如果这儿有一个特权阶层——那些最终将活着的人，大家想想，牢房里会是什么样子。你们其他人很快就会痛恨我们。你们害怕，而我们将不再担心。“ We are going the wrong way about all this. Everyone must draw lots. This isn't the last draw we shall have， and picture to yourselves what it will be like in this cell if we have a privileged class —the ones who are left to the end. The rest of you will soon begin to hate us. We shall be left out of your fear. . . “ “他说得对。”皮埃尔说。 “He's right，” Pierre said. 市长重新握紧了怀表，说道：“就照你们的主意办。要是能够这样征税的话……”他做了个绝望的手势。 The mayor refastened his watch. “Have it your own way，” he said. “But if the taxes were levied like this…” He gave a gesture of despair. “我们如何抽签？”克拉夫问道。 “How do we draw？” Krogh asked. 查维尔答道：“最快的办法就是从一只鞋里抽出画有记号的纸条。” Chavel said， “The quickest way would be to draw marked papers out of a shoe. . .” 克拉夫轻蔑地说：“那么快干吗？对于我们当中几个人来说这可是最后一次赌博了。我们蛮可以享受一番。我提议赌抛硬币。” Krogh said contemptuously， “Why the quickest way？ This is the last gamble some of us will have. We may as well enjoy it. I say a coin.” “这不好。”那个职员说，“抛硬币不是一个公平、合理的办法。” “It won't work，” the clerk said. “You can't get a even chance with a coin.” “惟一的办法就是抽签。”市长说道。 “The only way is to draw，” the mayor said. 职员开始为抽签做准备，为此他牺牲了一封家信。 The clerk prepared the draw， sacrificing for it one of his letters from home. 他很快地看了一遍信，然后把它撕成30张小纸条。 He read it rapidly for the last time， and then tore it into thirty pieces. 他用铅笔在其中三张上画上十字，然后把每张纸条都叠上。 On three pieces he made a cross in pencil， and then folded each piece. 他接着说：“克拉夫的鞋。”大家把纸条放在地下搅乱，然后装进了鞋子里。 “Krogh's got the biggest shoe，” he said. They shuffled the pieces on the floor and then dropped them into the shoe. “我们按姓氏的字母顺序抽签。”市长说。 “We'll draw in alphabetical order，” the mayor said. “从Z开始抽。”查维尔说道。他的安全感开始动摇了。他急切想喝点什么，用手指从嘴唇上撕下一小块干皮。 “Z first，” Chavel said. His feeling of security was shaken. He wanted a drink badly. He picked at a dry piece of skin on his lip. “就按你说的办。”卡车司机说道，“有人排在维尔森前面吗？我先抽。” “As you wish，” the lorry driver said. “Anybody beat Voisin？ Here goes. 他用手在鞋子里小心地掏，就像是要掏到他心里想要的那张。 “He thrust his hand into the shoe and made careful excavations as though he had one particular scrap of paper in mind. 他抽出一张，打开，怔怔地看着，然后说了声：“完了。”他坐下来，摸出一支香烟放到嘴里，却忘了点火。 He drew one out， opened it， and gazed at it with astonishment. He said， “This is it.” He sat down and felt for a cigarette， but when he got it between his lips he forgot to light it. 查维尔心中充满了巨大而又令他感到羞耻的快乐。 Chavel was filled with a huge and shameful joy. 看来自己得救了。剩下二十九个人抽签，而只有两张带有记号的纸条。 It seemed to him that already he was saved —twenty - nine men to draw and only two marked papers left. 抽中死签的可能性突然变得对他有利，从10比1变成了14比1.经营蔬菜水果的商人也抽了一张，然后漫不经心、毫无表情地示意自己平安无事。 The chances had suddenly grown in his favor from ten to one to—fourteen to one： the greengrocer had drawn a slip and indicated carelessly and without pleasure that he was safe. 的确，从抽第一张签时人们就忌讳任何喜形于色的表现，一个人不能以任何宽慰的举动去嘲弄注定要死的人。 Indeed from the first draw any mark of pleasure was taboo： one couldn't mock the condemned man by any sign of relief. 查维尔胸中有一种隐隐约约的不安——还不是恐惧，像是一种压抑感。 Again a dull disquiet —ii couldn't yet be described as a fear—exended its empire over Chavel's chest. 当第六个人抽到空白纸条时，他发现自己在打哈欠；当第十个人——就是大家称作雅维耶的那个人抽完签后，他的心中又充满了某中怨愤的情绪。现在抽中死签的机会同开始时一样了。 It was like a constriction： he found himself yawning as the sixth man drew a blank slip， and a sense of grievance nagged at his mind when the tenth man bad drawn—it was the one they called Janvier—and the chances were once again the same as when the draw started. 有的人抽出他们手指碰到的第一张纸条；有的人似乎怀疑命运企图将某一张纸条强加于他们，所以他们刚刚从鞋里抽出一张，就又扔回去，再另换一张。 Some men drew the first slip which touched their fingers； others seemed to suspect tha t fate was trying to force on them a particular slip and when they bad drawn one a little way from the shoe would let it drop again and choose another. 时间过得很慢，令人难以置信。那个叫做维尔森的人靠墙坐着，嘴里叼着仍未点燃的香烟，对一切都不再在意。 Time passed with incredible slowness， and the man called Voisin sat against the wall with the unlighted cigarette in his mouth paying them no attention at all. 就在生存的机会逐渐变小，抽中死签的可能性达到八分之一时，一个叫做勒诺特的上年纪的职员抽中了第二张死签。 The chances had narrowed to one in eight when the elderly clerk —his name was Lenotre—drew the second slip. 他清了清喉咙，戴上夹鼻眼镜，好像要确认自己没有看错。“喂，维尔森先生，我能加入吗？”他带着淡淡的微笑说道。 He cleared his throat and put on his pince-nez as though he had to make sure he was not mistaken. “Ah， Monsieur Voisin，” he said with a thin undecided smile， “May I join you？” 令人难以琢磨的机会再次以绝对对查维尔有利的优势朝他走来，抽中死签的可能性只有十五分之一，可他这次却没有丝毫欣慰，他被普通百姓所具有的勇气所震撼，他想让这一切尽快结束，就像一副扑克玩得太久了，他只希望有人离开牌桌，结束牌局。 This time Chavel felt no joy even though the elusive odds were back again overwhelmingly in his favor at fifteen to one； he was daunted by the courage of common men. He wanted the whole thing to be over as quickly as possible： like a game of cards which has gone on too long， he only wanted someone to make a move and break up the table. 勒诺特在维尔森身边靠墙坐下，他翻过纸条，背面是信中的一点内容，“是你妻子的？”维尔森问道。“是我女儿的。”勒诺特答道，“请原谅。”他起身走到自己的铺盖处，抽出一本便笺，回到维尔森身边开始写起来。他不慌不忙，认认真真地写下一串纤细而清晰的字迹。 。 Lenotre， sitting down against the wall next to Voisin， turned the slip over： on the back was a scrap of writing. Your-wife？“ Voisin said. “My daughter，” Lenotre said. “Excuse me.” He went over to his roll of bedding and drew out a writing pad. Then he sat down next to Voisin and began to write， carefully， without hurry， a thin legible hand. 这时中死签的概率又回到了10比1. The odds were back to ten to one. 从那时起，对查维尔来说，抽中死签的可能性似乎以一种不可避免的可怕趋势发生着变化。 From that point the odds seemed to move toward Chavel with a dreadful inevitability： 9比1，8比1，抽中死签的可能性好像指向了他。 nine to one， eight to one； they were like a pointing finger. 剩下的人抽得越来越快，越来越随便。 The men who were left drew more quickly and more carelessly： 在查维尔看来，他们似乎都知道了某种秘密，知道他会抽到死签。 they seemed to Chavel to have some inner information —to know that he was the one. 轮到他抽签时，只剩下了3张纸，留给他的机会这么少，在他看来真是不公平。 When his time came to draw there were only three slips left ， and it appeared to Chavel a monstrous injustice that there were so few choices left for him. 他从鞋中抽出一张，接着又认定这是同伴的意志强加给他的，一定有十字。于是他把它放回去，另抽了一张。 He drew one out of the shoe and then feeling certain that this one had been willed on him by his companions and contained the penciled cross he threw it back and snatched another. “律师，你偷看了。”剩下的两个人中有一个大声说道，但另一个让他安静下来。 “You looked， lawyer，” one of the two men exclaimed， but the other quieted him. “他没有偷看，他抽到的是有记号的。” “He didn't look. He's got the marked one now.” “不，不。”查维尔把纸条扔到地上，开始大叫：“我从来就没有同意，你们不能让我替别人去死。” “No，” Chavel said， “no.” He threw the slip upon the ground and cried， “I never consented to the draw. You can't make me die for the rest of you. . . ” 大家惊讶地看着他，但并没有敌意。 They watched him with astonishment but without enmity. 他是一个出身高贵的人。人们没有用自己的标准去衡量他，因为他属于一个别人难以理解的阶层。人们甚至没有把他的行为与胆怯联系起来。 He was a gentleman. They didn't judge him by their own standards： he belonged to an unaccountable class and they didn't at first even attach the idea of cowardice to his actions. “听我说，”查维尔一边哀求，一边举起那张纸条。大家既惊奇又好奇地看着他。“谁接受这张纸条，我就给他10万法郎。” “Listen，” Chavel implored them. He held out the slip of paper and they all watched him with compassionate curiosity. “I'll give a hundred thousand francs to anyone who'll take this.” 他快速移动着小步地从一个人面前走到另一个人面前，朝每一个人展示那张小纸条，好像是拍卖会上的服务员。 He took little rapid steps from one man to another， showing each man the bit of paper as if he were an attendant at an auction. “10万法郎。”他恳求道。人们感到震惊，同样又感到一丝怜悯：他是他们之中惟一的有钱人，这是与众不同之处。 “A hundred thousand francs，” he implored， and they watched him with a kind of shocked pity： he was the only rich man among them and this was a unique situation. 人们无法去比较，只能认定这就是他那个阶层的特点，这犹如一个在异国港口下船就餐的旅游者能从一个碰巧与他同桌的狡猾商人身上总结出该国的国民性格。 They had no means of comparison and assumed that this was a characteristic of his class， just as a traveler stepping off the liner at a foreign port for luncheon sums up a nation's character forever in the wily businessman who happens to share the table with him.
1)turning the following statements into tag questions 把下面的句子改成反义疑问句。2)using modal verbs使用情态动词3)using the passive voice 运用被动语态4)improving the following sentence改写下列句子5)turning the singular nouns or nouns phrases into plural forms wherever poosible with other necessary根据需要将以下单数名词或者名词短语改写成复数。6)using whatever cohesive decive is appropriate 使用恰当的关联词7)using the inversion运用倒装8)combinging sentences using coordination and/or subordiantion将下列句子改写成并列句或者关系句9)using cleaving for time adjunct 使用正确的时间副词writing a counter-factual condition based on the given fact 用所给的事实改写虚拟条件句
1. falls in love is not you, but is the love feeling. 2. many people all like this to me said 3. I very want to protect you, but is unable side you, perhaps we only are predestined friends do not have the share. 4. love to me, is only the anesthetics. 5. thanked you once to give my recollection and joyful. 6. I had very many friends, lacked love I to think me also to be possible exactly very joyfully. 7. I thought you can say to me: Sorry, I am not the mean injure you. No, who doesn't have in love to do right by anyone, who is unfair to anyone, not to wrong. 8. you know? I may because of yours speech, a movement. Happy one all day. 9. likes suffering extreme distress, instead becomes oneself tiny. 10. lets off you, also is lets off oneself.
1.或许爱上的不是你，而是恋爱的感觉罢了. Maybe I didin't fall in love with you, it is just the feeling of being in love2.许多人都这样对我说 Many people told me this.3.我很想保护你，但是又无法在你身边，或许我们只是有缘无份. I want to protect you, but I can't stay beside you. Maybe we are not destine to be.4.爱情对我来说，只是麻醉剂. To me, love is just Anesthetic5.感谢你曾经给我的回忆和快乐. Thank you for all the memories and happiness that you brought to me6.我有了很多朋友，缺少了爱情我想我也可以活得很快乐. I have many friends, even without love I think I can also be happy.7.我想你会对我说：对不起，我不是有意伤害你的. 不，在爱情上不存在谁对得起谁，谁对不起谁，更没有对错. I think you will say to me: I am sorry, I didn't meant to hurt you.No, in love there is no such thing as who is not sorry for who, who is sorry for who, there is no wrong or right.8.你知道么？我可以因为你的一句话，一个动作.开心一整天，、. Do you know? Because of you every word and every movement I can be happy all day9.爱得死去活来，反而把自己变得渺小. When fall in love too deeply, oneself will seem insignificant10.放过你，也就是放过自己..Maybe letting you go is also letting myself go...
1.将下列句子改成反意疑问句？2.使用情态动词3.使用被动语态4.改写句子5.在必要的地方将名词单数或名词词组单数变为复数形式6. 用适当的连接动词7.使用倒装句8. 用连接词and/or连接句子9. 用时间副词基于实际情况写一个反事实语句（虚拟语句）。
Lesson One Rock Superstars 关于我们和我们的社会，他们告诉了我们些什么？ What Do They Tell Us About Ourselves and Our Society？ 摇滚乐是青少年叛逆的音乐。 ——摇滚乐评论家约相？罗克韦尔 Rock is the music of teenage rebellion. —— John Rockwell， rock music critic 知其崇拜何人便可知其人。 ——小说家罗伯特？佩恩？沃伦 By a man's heroes ye shall know him. —— Robert Penn Warren， novelist 1972年6月的一天，芝加哥圆形剧场挤满了大汗淋漓、疯狂摇摆的人们。 It was mid-June， 1972， the Chicago Amphitheater was packed， sweltering， rocking. 滚石摇滚乐队的迈克？贾格尔正在台上演唱“午夜漫步人”。 Mick Jagger of the Rolling Stones was singing “Midnight Rambler.” 演唱结束时评论家唐？赫克曼在现场。 Critic Don Heckman was there when the song ended. 他描述道：“贾格尔抓起一个半加仑的水罐沿舞台前沿边跑边把里面的水洒向前几排汗流浃背的听众。听众们蜂拥般跟随着他跑，急切地希望能沾上几滴洗礼的圣水。 “Jagger，” he said， “grabs a half-gallon jug of water and runs along the front platform， sprinkling its contents over the first few rows of sweltering listeners. They surge to follow him， eager to be touched by a few baptismal drops”。 1973年12月下旬的一天，约1.4万名歌迷在华盛顿市外的首都中心剧场尖叫着，乱哄哄地拥向台前。 It was late December， 1973， Some 14，000 screaming fans were crunching up to the front of the stage at Capital Center， outside Washington， D.C. 美国的恐怖歌星艾利丝？库珀的表演正接近尾声。 Alice Cooper， America's singing ghoul， was ending his act. 他表演的最后一幕是假装在断头台上结束自己的生命。 He ends it by pretending to end his life – with a guillotine. 他的“头”落入一个草篮中。 His “head” drops into a straw basket. “哎呀！”一个黑衣女孩子惊呼道：“啊！真是了不起，不是吗？”。 “Ooh，” gasped a girl dressed in black. “Oh， isn't that marvelous？” 当时，14岁的迈克珀力也在场，但他的父母不在那里。 Fourteen-year-old Mick Perlie was there too， but his parents weren't. “他们觉得他恶心，恶心，恶心，”迈克说，“他们对我说，你怎么受得了那些？” “They think he's sick， sick， sick，” Mike said. “They say to me， 'How can you stand that stuff？'” 1974年1月下旬的一天，在纽约州尤宁谷城拿骚体育场内，鲍勃？狄伦和“乐队”乐队正在为音乐会上要用的乐器调音。 It was late January， 1974. Inside the Nassau Coliseum in Uniondale， New York， Bob Dylan and The Band were tuning for a concert. 馆外，摇滚歌迷克利斯？辛格在大雨中等待着入场。 Outside， in the pouring rain， fan Chris Singer was waiting to get in. “这是朝圣，”克利斯说，“我应该跪着爬进去。” “ This is pilgrimage，” Chris said， “I ought to be crawling on my knees.” 对于这一切好评及个人崇拜，你怎么看？ How do you feel about all this adulation and hero worship？ 当米克？贾格尔的崇拜者们把他视为上帝的代表或是一个神时，你是赞成还是反对？ When Mick Jagger's fans look at him as a high priest or a god， are you with them or against them？ 你也和克利斯？辛格一样对鲍勃？狄伦怀有几乎是宗教般的崇敬吗？ Do you share Chris Singer's almost religious reverence for Bob Dylan？ 你认为他或狄伦是步入歧途吗？ Do you think he – or Dylan – is misguided？ 你也认为艾利丝？库珀令人恶心而拒不接受吗？ Do you reject Alice Cooper as sick？ 难道你会莫名其妙地被这个奇怪的小丑吸引，原因就在于他表达出你最狂热的幻想？ Or are you drawn somehow to this strange clown， perhaps because he acts out your wildest fantasies？ 这些并不是闲谈。 These aren't idle questions. 有些社会学家认为对这些问题的回答可以充分说明你在想些什么以及社会在想些什么——也就是说，有关你和社会的态度。 Some sociologists say that your answers to them could explain a lot about what you are thinking and about what your society is thinking – in other words， about where you and your society are. 社会学家欧文？霍洛威茨说：“音乐表现其时代。” “Music expressed its times，” says sociologist Irving Horowitz. 霍洛威茨把摇滚乐的舞台视为某种辩论的论坛，一个各种思想交锋的场所。 Horowitz sees the rock music arena as a sort of debating forum， a place where ideas clash and crash. 他把它看作是一个美国社会努力为自己的感情及信仰不断重新进行解释的地方。 He sees it as a place where American society struggles to define and redefine its feelings and beliefs. 他说：“重新解释是一项只有青年人才能执行的任务。只有他们才把创造与夸张、理性与运动、言语与声音、音乐与政治融为一体。” “The redefinition，” Horowitz says， “is a task uniquely performed by the young. It is they alone who combine invention and exaggeration， reason and motion， word and sound， music and politics.” 作曲兼演唱家托德？伦德格伦对这个观点表示赞同。 Todd Rundgren， the composer and singer， agrees. 他说：“摇滚乐与其说是一种音乐力量不如说是一种社会心理的表现。就连埃尔维斯？普雷斯利也并非是一种伟大的音乐力量，他只不过是体现了50年代青少年那种心灰意冷的精神状态。” “Rock music，” he says， “is really a sociological expression rather than a musical force. Even Elvis Presley wasn't really a great musical force. It's just that Elvis managed to embody the frustrated teenage spirit of the 1950s.” 毫无疑问，普雷斯利震惊了美国的成人世界。 Of course Presley horrified adult America. 报纸写社论攻击他，电视网也禁止播他，但也许埃尔维斯证实了霍洛威茨和伦德格伦的看法。 Newspapers editorialized against him， and TV networks banned him. But Elvis may have proved what Horowitz and Rundgren believe. 当他通过电视上埃德？沙利文的星期日晚间的综艺节目出现在千百万人面前时，就引起了某种辩论。 When he appeared on the Ed.Sullivan Sunday night variety show in front of millions， a kind of “debate” took place. 多数年纪大的观众眉头紧皱，而大多数年轻观众则报以掌声欢迎。 Most of the older viewers frowned， while most of the younger viewers applauded. 摇滚乐评论家们说，从埃尔维斯到艾利丝，许多歌星帮助我们的社会解说其信仰与态度。 Between Elvis and Alice， rock critics say， a number of rock stars have helped our society define its beliefs and attitudes. 鲍勃？狄伦触动了对现状不满的神经，他唱到民权、核散落物以及孤独。 Bob Dylan touched a nerve of disaffection. He spoke of civil rights， nuclear fallout， and loneliness. 他唱到变革和老一代人的迷茫，他在歌声中唱道：“这儿正发生着什么事，你不知道是什么事，对吗，琼斯先生？” He spoke of change and of the bewilderment of an older generation. “Something's happening here，” he sang. “You don't know what it is， do you， Mr.Jones？” 其他人也加入了这场辩论。 Others entered the debate. 霍洛威茨说，甲壳虫乐队以幽默的方式，或许还借助麻醉品的力量来倡导和平与虔诚。傲慢无理、打架斗殴的滚石乐队成员要求革命。杰斐逊飞机乐队的歌曲“我们能够联合”和“志愿者”（有一场革命）则是激进青年的更进一步的两项声明。 The Beatles， Horowitz said， urged peace and piety， with humor and maybe a little help from drugs. The Rolling Stones， arrogant street-fighting men， demanded revolution. The Jefferson Airplane's “We Can Be Together” and Volunteers （Got a Revolution）“ were two further statements of radical youth. 但政治并不是60年代强硬派摇滚乐所辩论的惟一主题，始终作为任何音乐永恒组成部分的情感也是一个重要题目。 But politics wasn't the only subject debated in the hard rock of the sixties. Feelings， always a part of any musical statement， were a major subject. 詹妮丝？乔普林用歌声表达自己的悲哀。 Janis Jophin sang of her sadness. 甲壳虫乐队揭示出爱与恨之间的一系列的感情。 The Beatles showed there were a range of emotions between love and hate. 以后又出现了“乐队”乐队把乡村音乐和西部音乐所表达的较为传统的观念与强硬派摇滚乐较为激进的“都市”观念结合在一起。 Then came The Band， mixing the more traditional ideas of country and western music into the more radical “city” ideas of the hard rock. 霍洛威茨认为这一成分的乡村音乐帮助听众表达了一种“摆脱这一切”，“重返过去时光”的强烈愿望。 This country element， Horowitz feels， helped its audience express an urge to “get away from it all，” to “go back to the old day. 当前最能说明霍洛威茨看法的例子之一就是约翰？丹佛，他最的歌曲《阳光照在我肩上》、《高高的落基山》和《乡间小路》把民间摇滚乐的音乐灵魂与力量结合了起来，而歌词则赞美了“往日美好时光”的朴素的欢乐。 。“ One of the best current examples of what Horotwitz is talking about is John Denver. His most notable songs – ”Sunshine on My Shoulders“， ”Rocky Mountain High“， and ”Country Road“ – combine the musical drive and power of folk rock， while the lyrics celebrate the simple joys of ”the good old days.“ 这样的例子不胜枚举。 The list could go on and on. 这些摇滚乐音乐家们和所有的艺术家一样反映出我们借以认识并形成属于自己的感情与信念。 Like all artists， these rock musicians mirror feelings and beliefs that help us see and form our own. 我们以什么来回报他们呢？当然是掌声和赞美。 What do we give them in return？ Applause and praise， of course. 在1972年的一次全国民意测验中，10％的男高中生和30％以上的女高中生都说他们最崇拜的人是超级摇滚歌星。 In one 1972， national opinion poll， more than 10 percent of the high school boys and 20 percent of the girls said their hero was a rock superstar. 此外我们给他们金钱， 商业杂志《福布斯》认为，“当今成为百万富翁的捷径是当摇滚歌星。” We also give them money. “The fastest way to become a millionaire these days，” says Forbes， a business magazine， “is to become a rock 'n' roll star.” 今天的英雄们——至少其中一部分人——告诉我们，他们很喜欢所得到的报偿。 Today's heroes – some of them， anyway – tell us they enjoy their rewards. “我暗自嘲笑这些先生们和女士们，他们从没想到过我们会成为金娃娃。”演唱这支歌曲的是“文化英雄”艾利丝？库珀。 “And I laughed to myself at the men and the ladies. Who never conceived of us billion-dollar babies.” The particular “culture hero” who sings that is Alice cooper. 可是，仍然存在着一个大问题：为什么他是文化英雄？ The big question remains： Why is he a culture hero？ 他，或者当今任何其他走红的摇滚歌星能告诉我们些什么有关他们的歌迷的事情？ What does he – or any other current rock success – tell us about his fans？ 对于我们自己和我们的社会有些什么了解？现在怎样，过去如何，将来又将向何处去？ About ourselves and our society？ Where it is， where it was， where it's heading？
第十个人 Lesson Ten The Tenth Man 就在第二天下午3点（闹钟上的时间），一个军官走进了牢房。这是他们几星期以来见到的第一位军官。他非常年轻，甚至小胡子的形状也显示出他不够老练，左边的胡子剃得重了点。 It was at three the next afternoon （alarm clock time） that an officer entered the cell； the first officer they had seen for weeks – and this one was very young， with inexperience even in the shape of his mustache which he had shaved too much on the left side. 他就像一个初次登台领奖的小学生一样窘迫不安，他说起话来粗鲁无礼，似乎要显示一种他并不具备的力量。 He was as embarrassed as a schoolboy making his first entry on a stage at a prize-giving， and he spoke abruptly so as to give the impression of a strength he did not possess. 他说道：“昨天夜间城里发生了几起谋杀，一名军事长官的副手、一位中士和一个骑自行车的女孩被杀。”他又说道：“我们不在乎女孩的死。法国男人杀死法国女人不关我们的事。” He said， “There were murders last night in the town. The aide-de-camp of the military governor， a sergeant and a girl on a bicycle.” He added， “We don't complain about the girl. Frenchmen have our permission to kill Frenchwomen.” 很明显他事先仔细斟酌了他的讲话，但他的嘲弄做过了头，他的表演也很业余。 He had obviously thought up his speech carefully beforehand， but the irony was overdone and the delivery that of an amateur actor： 整个场面就像手势字谜游戏那样矫饰做作。 the whole scene was as unreal as a charade. 他接着说道：“你们知道自己为什么来这里，你们在这里好吃好喝，过着舒适的日子，而我们的人却在工作和战斗。不过现在你们必须付出代价了。不要怪我们，要怪你们自己的杀人凶手。我的命令是集中营里每十个人要有一个被枪决。你们有多少人？”“报数。”他厉声喝道人们闷闷不乐地照办了。“28，29，30.”人们知道不用数他也知道人数，这不过是他玩的把戏中不可省略的一句台词…… He said， “You know what you are here for， living comfortably， on fine rations， while our men work and fight. Well， now you've got to pay the hotel bill. Don't blame us. Blame your own murderers. My orders are that one man in every ten shall be shot in this camp. How many of you are there？” He shouted sharply， “Number off，” and sullenly they obeyed， “…… twenty-eight， twenty-nine， thirty.” They knew he knew without counting. This was just a line in his charade he couldn't sacrifice. 他说道：“那么，你们的名额是三个，我们并不关心是哪三个人。你们可以自己选择。死刑于明天早上7点执行。” He said， “Your allotment then is three. We are quite indifferent as to which three. You can choose for yourselves. The funeral rites will begin at seven tomorrow morning.” 他玩的把戏结束了，人们可以听到他的脚步响亮地敲击着沥青路渐渐远去。 The charade was over： they could hear his feet striking sharply on the asphalt going away. 查维尔忽然很想知道他打的手势是什么字。要他们猜的是不是“夜间”，“姑娘”，“旁边”或“30”。不，不是。谜底肯定是“人质”。 Chavel wondered for a moment what syllable had been acted —“night，”“girl，”“aside，” or perhaps “thirty，” but it was of course the whole word—“hostage. ” 牢房里很长时间没人说话。后来一个叫克拉夫的阿尔萨斯人开口道：“好了，我们有人自愿吗？” The silence went on a long time， and then a man called Krogh， an Alsatian， said， “Well， do we have to volunteer？” “废话。”一个职员说道。他是一个上了年纪的戴着夹鼻眼镜的老头。他接着说道：“没人会自愿，我们必须抽签。除非有人认为应按年龄决定——最老的先死。” “Rubbish，” said one of the clerks， a thin elderly man in pince-nez， “nobody will volunteer. We must draw lots.” He added， “Un-less it is thought that we should go by ages —the oldest first. ” “不，不行。”另一个人说道，“那不公平。” “No， no，” one of the others said， “that would be unjust. ” “这是自然规律。” “It's the way of nature.” “那算什么自然规律。”又一个人说道，“我有个女儿，5岁时就死了。” “Not even the way of nature，” another said. “1 had a child who died when she was five……” “我们必须抽签。”市长坚定地说。 “We must draw lots，” the mayor said firmly. “只有这样才公正。”他坐在那里，双手依然紧贴在肚子上，遮挡着他的怀表，但是整个牢房里都能听见怀表清脆的滴答声。 “It is the only fair thing.” He sat with his hands still pressed over his stomach， hiding his watch， but all through the cell you could hear its blunt tick lock tick. 他接着又说道：“由未婚者抽签，已婚者除外，他们有责任。” He added， “On the unmarried. The married should not be included. They have responsibilities… “哈，哈！”皮埃尔说道，“我们明白了。为什么已婚者就应逃脱？他们的事儿已经做完了。当然，你结婚了吧？” “Ha， ha，” Pierre said， “we see through that. Why should the married get off？ Their work's finished. You， of course， are married？” “我的妻子不在了。”市长说，“我现在是未婚，你呢？” “I have lost my wife，” the mayor said， “I am not married now. And you…” “结了。”皮埃尔答道。 “Married，” Pierre said. 市长开始解下怀表。发现皮埃尔处境安全，他似乎更坚信作为怀表的主人自己必定是下一个牺牲者。 The mayor began to undo his watch； the discovery that his rival was safe seemed to confirm his belief that as the owner of time he was bound to be the next victim. 他环顾了每一个人，然后选择了查维尔。也许是因为只有他穿着西服背心适合戴表链。他说道：“查维尔先生，我想让你替我拿着怀表，万一……” He looked from face to face and chose Chavel， perhaps because he was the only man with a waistcoat fit to take the chain. He said， “Monsieur Chavel， I want you to hold this watch for me in case…” “你找别人吧！”查维尔说，“我还没结婚呢。” “you'd better choose someone else，” Chavel said. “I am not married.” 那个老职员又开口了，“我结婚了，我有权说话。 The elderly clerk spoke again. He said， “I'm married. I've got the right to speak. 我们正把一切引向歧途。这不是我们最后一次抽签。如果这儿有一个特权阶层——那些最终将活着的人，大家想想，牢房里会是什么样子。你们其他人很快就会痛恨我们。你们害怕，而我们将不再担心。“ We are going the wrong way about all this. Everyone must draw lots. This isn't the last draw we shall have， and picture to yourselves what it will be like in this cell if we have a privileged class —the ones who are left to the end. The rest of you will soon begin to hate us. We shall be left out of your fear. . . “ “他说得对。”皮埃尔说。 “He's right，” Pierre said. 市长重新握紧了怀表，说道：“就照你们的主意办。要是能够这样征税的话……”他做了个绝望的手势。 The mayor refastened his watch. “Have it your own way，” he said. “But if the taxes were levied like this…” He gave a gesture of despair. “我们如何抽签？”克拉夫问道。 “How do we draw？” Krogh asked. 查维尔答道：“最快的办法就是从一只鞋里抽出画有记号的纸条。” Chavel said， “The quickest way would be to draw marked papers out of a shoe. . .” 克拉夫轻蔑地说：“那么快干吗？对于我们当中几个人来说这可是最后一次赌博了。我们蛮可以享受一番。我提议赌抛硬币。” Krogh said contemptuously， “Why the quickest way？ This is the last gamble some of us will have. We may as well enjoy it. I say a coin.” “这不好。”那个职员说，“抛硬币不是一个公平、合理的办法。” “It won't work，” the clerk said. “You can't get a even chance with a coin.” “惟一的办法就是抽签。”市长说道。 “The only way is to draw，” the mayor said. 职员开始为抽签做准备，为此他牺牲了一封家信。 The clerk prepared the draw， sacrificing for it one of his letters from home. 他很快地看了一遍信，然后把它撕成30张小纸条。 He read it rapidly for the last time， and then tore it into thirty pieces. 他用铅笔在其中三张上画上十字，然后把每张纸条都叠上。 On three pieces he made a cross in pencil， and then folded each piece. 他接着说：“克拉夫的鞋。”大家把纸条放在地下搅乱，然后装进了鞋子里。 “Krogh's got the biggest shoe，” he said. They shuffled the pieces on the floor and then dropped them into the shoe. “我们按姓氏的字母顺序抽签。”市长说。 “We'll draw in alphabetical order，” the mayor said. “从Z开始抽。”查维尔说道。他的安全感开始动摇了。他急切想喝点什么，用手指从嘴唇上撕下一小块干皮。 “Z first，” Chavel said. His feeling of security was shaken. He wanted a drink badly. He picked at a dry piece of skin on his lip. “就按你说的办。”卡车司机说道，“有人排在维尔森前面吗？我先抽。” “As you wish，” the lorry driver said. “Anybody beat Voisin？ Here goes. 他用手在鞋子里小心地掏，就像是要掏到他心里想要的那张。 “He thrust his hand into the shoe and made careful excavations as though he had one particular scrap of paper in mind. 他抽出一张，打开，怔怔地看着，然后说了声：“完了。”他坐下来，摸出一支香烟放到嘴里，却忘了点火。 He drew one out， opened it， and gazed at it with astonishment. He said， “This is it.” He sat down and felt for a cigarette， but when he got it between his lips he forgot to light it. 查维尔心中充满了巨大而又令他感到羞耻的快乐。 Chavel was filled with a huge and shameful joy. 看来自己得救了。剩下二十九个人抽签，而只有两张带有记号的纸条。 It seemed to him that already he was saved —twenty - nine men to draw and only two marked papers left. 抽中死签的可能性突然变得对他有利，从10比1变成了14比1.经营蔬菜水果的商人也抽了一张，然后漫不经心、毫无表情地示意自己平安无事。 The chances had suddenly grown in his favor from ten to one to—fourteen to one： the greengrocer had drawn a slip and indicated carelessly and without pleasure that he was safe. 的确，从抽第一张签时人们就忌讳任何喜形于色的表现，一个人不能以任何宽慰的举动去嘲弄注定要死的人。 Indeed from the first draw any mark of pleasure was taboo： one couldn't mock the condemned man by any sign of relief. 查维尔胸中有一种隐隐约约的不安——还不是恐惧，像是一种压抑感。 Again a dull disquiet —ii couldn't yet be described as a fear—exended its empire over Chavel's chest. 当第六个人抽到空白纸条时，他发现自己在打哈欠；当第十个人——就是大家称作雅维耶的那个人抽完签后，他的心中又充满了某中怨愤的情绪。现在抽中死签的机会同开始时一样了。 It was like a constriction： he found himself yawning as the sixth man drew a blank slip， and a sense of grievance nagged at his mind when the tenth man bad drawn—it was the one they called Janvier—and the chances were once again the same as when the draw started. 有的人抽出他们手指碰到的第一张纸条；有的人似乎怀疑命运企图将某一张纸条强加于他们，所以他们刚刚从鞋里抽出一张，就又扔回去，再另换一张。 Some men drew the first slip which touched their fingers； others seemed to suspect tha t fate was trying to force on them a particular slip and when they bad drawn one a little way from the shoe would let it drop again and choose another. 时间过得很慢，令人难以置信。那个叫做维尔森的人靠墙坐着，嘴里叼着仍未点燃的香烟，对一切都不再在意。 Time passed with incredible slowness， and the man called Voisin sat against the wall with the unlighted cigarette in his mouth paying them no attention at all. 就在生存的机会逐渐变小，抽中死签的可能性达到八分之一时，一个叫做勒诺特的上年纪的职员抽中了第二张死签。 The chances had narrowed to one in eight when the elderly clerk —his name was Lenotre—drew the second slip. 他清了清喉咙，戴上夹鼻眼镜，好像要确认自己没有看错。“喂，维尔森先生，我能加入吗？”他带着淡淡的微笑说道。 He cleared his throat and put on his pince-nez as though he had to make sure he was not mistaken. “Ah， Monsieur Voisin，” he said with a thin undecided smile， “May I join you？” 令人难以琢磨的机会再次以绝对对查维尔有利的优势朝他走来，抽中死签的可能性只有十五分之一，可他这次却没有丝毫欣慰，他被普通百姓所具有的勇气所震撼，他想让这一切尽快结束，就像一副扑克玩得太久了，他只希望有人离开牌桌，结束牌局。 This time Chavel felt no joy even though the elusive odds were back again overwhelmingly in his favor at fifteen to one； he was daunted by the courage of common men. He wanted the whole thing to be over as quickly as possible： like a game of cards which has gone on too long， he only wanted someone to make a move and break up the table. 勒诺特在维尔森身边靠墙坐下，他翻过纸条，背面是信中的一点内容，“是你妻子的？”维尔森问道。“是我女儿的。”勒诺特答道，“请原谅。”他起身走到自己的铺盖处，抽出一本便笺，回到维尔森身边开始写起来。他不慌不忙，认认真真地写下一串纤细而清晰的字迹。 。 Lenotre， sitting down against the wall next to Voisin， turned the slip over： on the back was a scrap of writing. Your-wife？“ Voisin said. “My daughter，” Lenotre said. “Excuse me.” He went over to his roll of bedding and drew out a writing pad. Then he sat down next to Voisin and began to write， carefully， without hurry， a thin legible hand. 这时中死签的概率又回到了10比1. The odds were back to ten to one. 从那时起，对查维尔来说，抽中死签的可能性似乎以一种不可避免的可怕趋势发生着变化。 From that point the odds seemed to move toward Chavel with a dreadful inevitability： 9比1，8比1，抽中死签的可能性好像指向了他。 nine to one， eight to one； they were like a pointing finger. 剩下的人抽得越来越快，越来越随便。 The men who were left drew more quickly and more carelessly： 在查维尔看来，他们似乎都知道了某种秘密，知道他会抽到死签。 they seemed to Chavel to have some inner information —to know that he was the one. 轮到他抽签时，只剩下了3张纸，留给他的机会这么少，在他看来真是不公平。 When his time came to draw there were only three slips left ， and it appeared to Chavel a monstrous injustice that there were so few choices left for him. 他从鞋中抽出一张，接着又认定这是同伴的意志强加给他的，一定有十字。于是他把它放回去，另抽了一张。 He drew one out of the shoe and then feeling certain that this one had been willed on him by his companions and contained the penciled cross he threw it back and snatched another. “律师，你偷看了。”剩下的两个人中有一个大声说道，但另一个让他安静下来。 “You looked， lawyer，” one of the two men exclaimed， but the other quieted him. “他没有偷看，他抽到的是有记号的。” “He didn't look. He's got the marked one now.” “不，不。”查维尔把纸条扔到地上，开始大叫：“我从来就没有同意，你们不能让我替别人去死。” “No，” Chavel said， “no.” He threw the slip upon the ground and cried， “I never consented to the draw. You can't make me die for the rest of you. . . ” 大家惊讶地看着他，但并没有敌意。 They watched him with astonishment but without enmity. 他是一个出身高贵的人。人们没有用自己的标准去衡量他，因为他属于一个别人难以理解的阶层。人们甚至没有把他的行为与胆怯联系起来。 He was a gentleman. They didn't judge him by their own standards： he belonged to an unaccountable class and they didn't at first even attach the idea of cowardice to his actions. “听我说，”查维尔一边哀求，一边举起那张纸条。大家既惊奇又好奇地看着他。“谁接受这张纸条，我就给他10万法郎。” “Listen，” Chavel implored them. He held out the slip of paper and they all watched him with compassionate curiosity. “I'll give a hundred thousand francs to anyone who'll take this.” 他快速移动着小步地从一个人面前走到另一个人面前，朝每一个人展示那张小纸条，好像是拍卖会上的服务员。 He took little rapid steps from one man to another， showing each man the bit of paper as if he were an attendant at an auction. “10万法郎。”他恳求道。人们感到震惊，同样又感到一丝怜悯：他是他们之中惟一的有钱人，这是与众不同之处。 “A hundred thousand francs，” he implored， and they watched him with a kind of shocked pity： he was the only rich man among them and this was a unique situation. 人们无法去比较，只能认定这就是他那个阶层的特点，这犹如一个在异国港口下船就餐的旅游者能从一个碰巧与他同桌的狡猾商人身上总结出该国的国民性格。 They had no means of comparison and assumed that this was a characteristic of his class， just as a traveler stepping off the liner at a foreign port for luncheon sums up a nation's character forever in the wily businessman who happens to share the table with him.
lesson4 自己选择死亡方式 Lesson Four Die as You Choose 制定关于安乐死的法律已经到了不能再回避的地步。 The need for laws on euthanasia cannot be dodged for much longer. 在世界上某个较小的国家里，安乐死被医疗机构普遍接受，每年都有数千例公开实施。 In one of the world's smaller countries， mercy-killing is accepted by the medical establishment and openly practiced a few thousand times each year. 而在某个世界大国，安乐死虽然经常受到医疗机构的公开谴责，每年却以数倍于此的次数秘密实施，且从未公之于众。 In one of the world's biggest countries， euthanasia is condemned by the medical establishment， secretly practiced many times more often， and almost never comes to light. 但是，在上述那个国家有医生因为实施安乐死而在监狱里服刑呢？ Which of these countries has a mercy-killing doctor now languishing in its jails？ 是在小国荷兰。荷兰制定了有关安乐死的法律，能有效地管理它。 It is the small one， Holland， which has rules for euthanasia and so can police it effectively. 那位荷兰的医生违反了他国家的规定。 The Dutch doctor broke his country's rules. 有关安乐死的问题在所有国家都存在，决不仅出现在美国这个禁止安乐死的大国。 There is a moral here for all the countries， and not just for the big death-forbidding country， America. 目前美国正再次展开有关安乐死的辩论。 Right now it is going over the arguments about euthanasia once again. 美国医学协会会刊1月份发表了一封非同寻常的来信。一位医生在信中宣称自己按照病人的意愿，杀死了一位身患癌症的20岁女孩。 In January the Journal of the American Medical Association published a bizarre letter， in which an anonymous doctor claimed to have killed a 20-year-old cancer patient at her own request. 这件事引起了一场辩论，而这场辩论将轰轰烈烈地持续到秋季，那时加利福尼亚州可能会就一项使安乐死合法化的法律进行投票表决。 This started a debate that will rumble on into the autumn， when Californians may vote on a proposed law legalizing euthanasia. 这封信可能是为了起到引发争论的效果，内容并不可信。 The letter was probably written for polemical impact. It is scarcely credible. 是作者自己在信中声称他（或她）第一次与那位得了癌症的病人见面，听到病人说出5个字——“让我去死吧”——然后就杀了她。 It's author claims that he met the cancer patient for the first time， heard five words from her – “Let's get this over with” – then killer her. 即使是极端的安乐死支持者也不赞成在这种情况下采取如此做法。 Even the most extreme proponents of euthanasia do not support such an action in those circumstances. 然而，医疗上出现的可怕事件如洪水猛兽一般，并不比安乐死的情况更好。它们无疑会在英美以及其他国家中继续肆虐，几乎成了令人恐怖的常规。 Yet medical monstrosities that are hardly any better undoubtedly continue， almost as a matter of macabre routine， in America， Britain and many other countries. 一些医生私下透露他们有时会故意杀死病人，这样的情况非常普遍，令人担忧。 It is disturbingly easy to find doctors who will say， in private， that they sometimes kill patients on purpose. 多数医生说他们知道其他医生也有同样的行为，但是因为即使在病人乞求他们的时候，医生也几乎不能与病人公开讨论安乐死，因此医生往往倾向于仅在要死的人处于垂危昏迷之际而无法表达是否同意安乐死时，才结束其生命。 Most say that know somebody else who does. But because they can rarely discuss euthanasia openly with patients – even when those patients beg them for it – doctors tend to kill only when the dying are too far gone to consent. 由于自愿要求安乐死受到禁止，就只能由医生自行作出决定了，病人会在夜间受到药物注射而非自愿地离开人世。 Thus， because voluntary euthanasia is taboo， a doctor makes the decision himself – and the patient is killed involuntarily in the night with a syringe. 这是不使安乐死公开的代价。 That is one price of keeping euthanasia secret. 如果所有形式的安乐死都是错误的，那就应该统统列入禁止之列。 If all forms of mercy-killing are wrong， they should remain taboo. 可情况果真如此吗？ But are they？ 许多人都认为依靠医学技术来延续生命带给人的痛苦是令人悲哀、可憎可恶的，完全不顾人的尊严，因此被动的安乐死——让病人自行死亡——被人们普遍接受。 Because many people accept that it is sad， undignified and gruesome to prolong the throes of death will all the might of medical technology， passive euthanasia – letting patients die – is widely accepted. 美国大多数州都有关于“活遗嘱”的法规，为医生提供保护。如果医生没有尽力救助曾声明不想延续生命的病人，不会为此受到起诉。 Most American states have “living – will” legislation that protects doctors from prosecution if they do not try to save someone who has said he does not want life prolonged. 主动的安乐死——杀死病人——却依然争论颇多。 Active euthanasia – killing – remains controversial. 将人杀死与让人死亡之间的界线还能维持多久呢？ How long can the distinction between killing and letting die hold out？ 正如因未履行某种职责受到处罚一样，人也可能因干了某事而不受责难。 Just as there can be culpable omissions， so too can there be blameless acts. 让我们从道德伦理著作中举例说明。假定一个人会从某个孩子的死亡中获益，当这个孩子在浴缸中撞伤头部而失去知觉时，那个人视而不见，任其溺水身亡。 Suppose – to take an example from the moral philosophy books – that a man stands to gain from the death of a certain child. The child strikes his head in the bath and falls unconscious. The man sits down and watches him drown. 虽然这个人什么都没有做，但他并不能因此开脱罪责。 The fact that the man has performed no action does not excuse him. 同样，再假设为了缩短而不是延长死亡到来的时间，医生终止某种治疗是无可指责的做法，那么如果这位医生使用足够的镇痛剂致使病人死亡，他就一定大错特错吗？ Similarly， suppose that a doctor does no wrong by withholding some treatment in order that death should come sooner rather than later. Is he then necessarily wrong if he administers enough painkillers to kill？ 这位医生采取了某种行动，而不是未尽某种职责，这会使他有罪吗？ Does the fact that the doctor performed an action， rather than an omission， condemn him？ 许多医生一直在为解除病人临终前的痛苦而奋斗着。他们认为在病人请求安乐死时，根本无法截然区分被动与主动的安乐死。 Many doctors working on the battlefield of terminal suffering think that only squeamishness demands a firm difference between passive and active euthanasia on request. 他们赞成医生杀死病人的理由是：医生的职责之一就是使病人免遭痛苦，这是医生所做的全部事情，而杀死病人则是做到这一点的惟一办法。 Their argument for killing goes like this： one of a doctor's duties is to prevent suffering； sometimes that is all there is left for him to do， and killing is the only way to do it. 这个观点并不新颖。当希波克拉底为医生制定信条的时候，曾明确禁止安乐死，而多数其他希腊医生和思想家都不赞成这一禁令。 There is nothing new in this view. When Hippocrates formulated his oath for doctors， which explicitly rules out active killing， most other Greek doctors and thinkers disagreed with his ban. 前事不忘，后事之师。 Let the past be a guide. 有人认为死亡的时间是上帝安排的，任何人不得缩短他人的生命，然而假如一位病人的人生观使其接受安乐死，那么人们不禁要问：为什么其他人还要用不同的宗教观念去干预其死亡呢？ Some people believe that the time of death is appointed by God and that no man should put the clock back on another. Yet if a patient's philosophical views embrace euthanasia， it is not clear why the religious objections of others should intrude on his death. 另一个令人担忧问题是，有关安乐死的法律体系允许医生在规定的情况下按照垂死病人的请求实施安乐死，就可能为杀人首开先例，从而危害社会。 Another worry is that a legal framework for euthanasia， permitting a doctor to comply with a dying man's request in a prescribed set of circumstances， might pose dangers for society by setting a precedent for killing. 这个问题取决于社会。 That depends on the society. 尽管有不同意见，荷兰对建立这样的法律体系已经准备就绪。 Holland， arguably， is ready for it. 当年就是荷兰医生英勇无比地顶住了压力，拒绝参与使安乐死声名狼藉的纳粹用人体进行医学实验的暴行，这恐怕不是巧合。 It is probably no coincidence that it was Dutch doctors who most heroically resisted pressure to join in the Nazi medical atrocities that have given euthanasia its worst name. 这些医生对个人自由坚定不移的尊重使他们没有杀害渴望活下去的健康人。今天正是同样的精神又使他们去帮助不愿活下去的垂危病人。 The same tenacious respect for individual liberty that stopped them killing healthy people， who did not want to die， now lets them help dying people who do. 与之相反，西德在未来相当长的时间里都无法使任何形式的安乐死合法化。 West Germany， by contrast， will not be able to legalize any form of euthanasia for a long time to come. 由于历史的阴影反对安乐死的力量异常强大，在那些近年来自由意志的传统未受任何干扰的国家里，为自愿安乐死制定有限的规定并不会使人们产生太多的恐惧。 Opposition is too fierce， because of the shadow of the past. Countries with an uninterrupted recent libertarian tradition have less to fear from setting some limited rules for voluntary euthanasia. 拒绝讨论这个问题会使情况更加糟糕。 By refusing to discuss it， they usher in something worse.
当然是多听多写多看多理解，平时可以听英语歌，可以看一些英语文章，也可以看看英语电影，多让耳朵熟悉英语，久而久之，潜移默化，你的英语翻译技巧就会愈加熟练
一、技巧：
1、先翻译后分析。语法是句子的框架，学语法应该说是学习语言的一个捷径。相对而言，句子的灵魂是词汇，正如楼上所说，学习是个长期积累过程，词汇积累更是如此。学习也要讲究方法，活学活用，在运用中记忆，不能死记硬背。另外，语言都有些相通的地方，结合母语对照学习也很有效的。
2、句子：The basic function of the board Shared Memory is to store the information of the responses that is sent by the A6 board through connector P2, in this manner the Processor of the Extractor will read them through the VME bus (connector P1)
3、先翻译：主板共享存储器的基本功能是存储由A6板通过P2连接器反馈的信息；那么解析器的处理器就可以通过VME总线（P1连接器）来阅读那些信息了。（专有名词翻译略，自己查专业词典）
4、后分析：找出长句的第一个出现的谓语成分，那么它的前面一般是主语，后面一般是谓语成分的宾语或者状语；后面再出现的谓语成分，要么与第一个谓语成分并列，要么就是作为其他主语(第一个主语的宾语或者状语）的修辞语，是定语从句中的一部分，一般是宾语成分的定语。
一、英语简介：
1、主语：就是一个句子陈述的对象，或是动作的执行者。它回答的是“谁”“什么”的问题。如：我看书。谁看书？“我”。“我”就是这句子的主语。主语由名词或相当于名词的词充当。（如动词不定式，动名词，代词都可作主语，主语从句）
2、谓语：说明主语是什么，干什么，怎么样。它回答的是主语“干什么，是什么”的问题。如上句中主语“我”干什么？“看书”。“看书”就是谓语。 一个句子，一般都可分成主、谓两大部分（祈使句是省主句）。再细分又可分成谓语（动词）、宾语，表语，补语（包括宾补和主补），定语，状语，同位语等。 如第一例中谓语部分可划分成谓语（看）和宾语（书）。 谓语部分中心词一定要是一个动词，要么是行为动词，要么是系动词，不同的动词构成不同的句子类型。句子的各种时态、人称和数的变化都在谓语动词上变 。
3、宾语。指谓语动词所涉及的对象，由名、代、数，宾语从句等相当于名词的词句充当，但人称代词要用宾格。如：还说上例。谓语动词是“看”，看什么？看“书”，“书”是动词“看”所涉及的对象，是“看”的宾语。需要说明的是：只有及物动词和介词或相当于及物动词和介词的短语才可带宾语。
4、表语。是和系动词紧密相连的。在陈述句中系动词后面的就是表语，这就是“主系表”结构。作表语的也是名词性的词，也可以是从句。
5、定语：修饰限定名字、代词的词，说明所修饰词的性质、特征等，如 a tall boy 中，tall修饰boy,tall是boy的定语。可作定语的有形容词、名词、副词、定语从句、分词等。不定代词的定语一律后置。
6、状语：修饰动词、副词、形容词甚至整句，说明谓语动作发生的时间、地点、方式、伴随状况、目的等等。如：他在灯下看书。“在灯下”是状语。
7、补语：补充说明主语或宾语的成份,补充说明主语的叫主语补足语，补充宾语叫宾语补足语。如：他把我逗笑了。He made me laugh.主语：he;谓语：made;宾语：me;宾补：laugh.补语和它补充说明的成份之间有逻辑上的主谓关系，这可以把它和其它成份区分开。如：上句宾语me和宾补laugh之间，laugh的动作是me来做的。这就是一种逻辑上的主谓关系。把这两部分单拿出来可以成一句完整的话，即I laughed。
英语句子翻译的十大技巧:一、增译法：指根据英汉两种语言不同的思维方式、语言习惯和表达方式，在翻译时增添一些词、短句或句子，以便更准确地表达出原文所包含的意义。这种方式多半用在汉译英里。汉语无主句较多，而英语句子一般都要有主语，所以在翻译汉语无主句的时候，除了少数可用英语无主句、被动语态或“There be…”结构来翻译以外，一般都要根据语境补出主语，使句子完整。二、省译法：这是与增译法相对应的一种翻译方法，即删去不符合目标语思维习惯、语言习惯和表达方式的词，以避免译文累赘。增译法的例句反之即可。三、转换法：指翻译过程中为了使译文符合目标语的表述方式、方法和习惯而对原句中的词类、句型和语态等进行转换。具体的说，就是在词性方面，把名词转换为代词、形容词、动词;把动词转换成名词、形容词、副词、介词;把形容词转换成副词和短语。在句子成分方面，把主语变成状语、定语、宾语、表语;把谓语变成主语、定语、表语;把定语变成状语、主语;把宾语变成主语。在句型方面，把并列句变成复合句，把复合句变成并列句，把状语从句变成定语从句。在语态方面，可以把主动语态变为被动语态。四、拆句法和合并法：这是两种相对应的翻译方法。拆句法是把一个长而复杂的句子拆译成若干个较短、较简单的句子，通常用于英译汉;合并法是把若干个短句合并成一个长句，一般用于汉译英。汉语强调意合，结构较松散，因此简单句较多;英语强调形合，结构较严密，因此长句较多。所以汉译英时要根据需要注意利用连词、分词、介词、不定式、定语从句、独立结构等把汉语短句连成长句;而英译汉时又常常要在原句的关系代词、关系副词、主谓连接处、并列或转折连接处、后续成分与主体的连接处，以及意群结束处将长句切断，译成汉语分句。这样就可以基本保留英语语序，顺译全句，顺应现代汉语长短句相替、单复句相间的句法修辞原则。五、正译法和反译法：这两种方法通常用于汉译英，偶尔也用于英译汉。所谓正译，是指把句子按照与汉语相同的语序或表达方式译成英语。所谓反译则是指把句子按照与汉语相反的语序或表达方式译成英语。正译与反译常常具有同义的效果，但反译往往更符合英语的思维方式和表达习惯。因此比较地道。六、倒置法：在汉语中，定语修饰语和状语修饰语往往位于被修饰语之前;在英语中，许多修饰语常常位于被修饰语之后，因此翻译时往往要把原文的语序颠倒过来。倒置法通常用于英译汉, 即对英语长句按照汉语的习惯表达法进行前后调换，按意群或进行全部倒置，原则是使汉语译句安排符合现代汉语论理叙事的一般逻辑顺序。有时倒置法也用于汉译英。七、包孕法：这种方法多用于英译汉。所谓包孕是指在把英语长句译成汉语时，把英语后置成分按照汉语的正常语序放在中心词之前，使修饰成分在汉语句中形成前置包孕。但修饰成分不宜过长，否则会形成拖沓或造成汉语句子成分在连接上的纠葛。八、插入法：指把难以处理的句子成分用破折号、括号或前后逗号插入译句中。这种方法主要用于笔译中。偶尔也用于口译中，即用同位语、插入语或定语从句来处理一些解释性成分。九、重组法：指在进行英译汉时，为了使译文流畅和更符合汉语叙事论理的习惯，在捋清英语长句的结构、弄懂英语原意的基础上，彻底摆脱原文语序和句子形式，对句子进行重新组合。十、综合法：是指单用某种翻译技巧无法译出时，着眼篇章，以逻辑分析为基础，同时使用转换法、倒置法、增译法、省译法、拆句法等多种翻译技巧的方法。