fame新世紀課文翻譯
fame是聲譽(yù)的意思，聲譽(yù)常常是在明確強調“與他人對自己評價(jià)有關(guān)時(shí)”使用。下面是小編為大家整理的fame新世紀課文翻譯，歡迎閱讀。
Fame
聲譽(yù)
Fame is very much like an animal chasing its own tail who, when he captures it, does not know what else to do but to continue chasing it. Fame and the exhilarating popularity that accompanies it, force the famous person to participate in his or her own destruction. Ironic isn't it?
聲譽(yù)很像一只追逐自己尾巴的動(dòng)物，抓住后除了繼續追逐不舍之外，再也沒(méi)有其他方法了。聲譽(yù)與隨之而來(lái)的令人興奮的贊揚迫著(zhù)這位出了名的人走上自己的末路。這難道不令人啼笑皆非嗎？
Those who gain fame most often gain it as a result of possessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful performer develops a style that is marketed aggressively and gains some popularity, and it is this popularity that usually convinces the performer to continue performing in the same style, since that is what the public seems to want and to enjoy. But in time, the performer becomes bored singing the same songs in the same way year after year, or the painter becomes bored painting similar scenes or portraits, or the actor is tired of playing the same character repeatedly. The demand of the public holds the artist hostage to his or her own success, fame. If the artist attempts to change his or her style of writing or dancing or singing, etc., the audience may turn away and look to confer fleeting fickle fame on another and then, in time, on another, and so on and so on.
在已經(jīng)出了名的人們中間，絕大多數是因有一技之長(cháng)，如唱歌、舞蹈、繪畫(huà)、寫(xiě)作等等，而獲此聲譽(yù)的。這位成功的表演者展示出一種在市場(chǎng)上可以爭雄制勝的風(fēng)格，因而獲得聲譽(yù)。而且也就是這種聲譽(yù)常使表演者確信必須把這種風(fēng)格堅持下去，因為看來(lái)這正是大眾所需要和喜愛(ài)的�？墒请S著(zhù)時(shí)間之轉移，歌手年復一年地依老調唱老歌，畫(huà)師畫(huà)同樣的風(fēng)景人物，演員反復重演同一角色，都會(huì )感到厭煩。為了維持自己的成功和聲譽(yù)，群眾的要求竟把這位藝術(shù)家如人質(zhì)般束縛住了。如果這位藝術(shù)家企圖改變筆調、舞步、唱腔的話(huà)，聽(tīng)眾觀(guān)眾就會(huì )舍他而去，把那飄忽不定的稱(chēng)譽(yù)轉移給別人。隨后有轉移給另一人，這樣不停地轉來(lái)轉去。
Who cannot recognize a Tennessee Williams play or a novel by John Updike or Ernest Hemingway or a poem by Robert Frost or W. H. Auden or T. S. Eliot? The same is true of painters like Monet, Renoir, Dali or Picasso and it is true of movie makers like Hitchcock, Fellini, Spielberg, Chen Kai-ge or Zhang Yimou. Their distinctive styles marked a significant change in the traditional forms and granted them fame and forturn, but they were not free to develop other styles or forms because their audience demanded of each of them what they originally presented. Hemingway cannot even now be confused with Henry James or anyone else, nor can Forst be confused with Yeats, etc. The unique forms each of them created, created them. No artist or performer can entirely escape the lure of fame and its promise of endless admiration and respect, but there is a heavy price one must pay for it.
有哪個(gè)人會(huì )認識不出一本田納西·威廉斯的劇本、一本約翰·厄普代克或歐內斯特·海明威的小說(shuō)，或羅伯特·弗羅斯特，或W.H奧登或T.S艾略特所寫(xiě)的一首詩(shī)歌呢？畫(huà)家中，如莫奈、雷諾阿、達利或畢加索的畫(huà)，導演制片如希區科克、費利尼、斯皮爾伯格、陳凱歌、張藝謀等等的作品，不也正是這樣嗎？他們的獨特風(fēng)格，迥異于一般傳統，給他們帶來(lái)美譽(yù)及財富。但他們不能自由地另創(chuàng )風(fēng)格或形式。這是因為群眾向他們每個(gè)人所要求的正是他們原來(lái)所提供的一切。直到現在，海明威決不能與亨利·詹姆斯或其他任何人相混淆，弗羅斯特也決不能與葉芝相混淆，如此等等。他們每個(gè)人都創(chuàng )造了獨特風(fēng)格。也創(chuàng )遣了他們自己。沒(méi)有一位藝術(shù)家或表演家能完全逃避榮譽(yù)的引誘，榮譽(yù)給他們帶來(lái)無(wú)窮的贊揚和崇敬，但他們要付出的代價(jià)也是靠常昂貴的。
Fame brings celebrity and high regard from adoring and loyal fans in each field of endeavor and it is heady stuff. A performer can easily come to believe that he or she is as good as his or her press. But most people, most artists do not gain fame and fortune. What about those performers who fail, or anyone who fails? Curiously enough, failure often serves as its own reward for many people! It brings sympathy from others who are delighted not to be you, and it allows family and friends to lower their expectation of you so that you need not compete with those who have more talent and who secceed. And they find excuses and explanations for your inability to succeed and become famous: you are too sensitive, you are not interested in money, you are not interested in the power that fame brings and you are not interested in the loss of privacy it demands, etc. ---all excuses, but comforting to those who fail and those who pretend not to notice the failure.
在每個(gè)領(lǐng)域里，出了名就會(huì )使一些虔敬的入迷者表示贊揚和尊崇，但這也是一種容易使人陶醉的東西。一位表演家糧容易相信自己的成就當真和報章輿論所說(shuō)的一樣�？墒谴蠖鄶等�，大多數藝人并沒(méi)有得到聲名財富。那些失敗的表現者又如何呢？其他任何一個(gè)失敗者又如何呢？真奇怪，對很多人來(lái)說(shuō)，失敗也常常會(huì )起一種報償的作用！有些人慶幸自己不像你那樣地失敗，就會(huì )對你表示同情，你的親朋們也會(huì )降低對你的期望，使你不必去同那些才智勝于你而獲得成功的人們較量。他們會(huì )找借口解說(shuō)你不成功不出名的原因，說(shuō)什么：你太敏感了呀；你對金錢(qián)沒(méi)有興趣呀；你對聲名所能帶來(lái)的權力不感興趣呀；因為聲譽(yù)要使你喪失隱私權，因而你不感興趣呀，等等--這一些無(wú)非都是借口而已，但對失敗者或假裝不關(guān)心自己失敗的人來(lái)說(shuō)，都多少帶來(lái)一點(diǎn)安慰。
History has amply proven that some failure for some people at certain times in their lives does indeed motivate them to strive even harder to succeed and to continue believing in themselves. Thomas Wolfe, the American novelist, had his first novel Look Homeward, Anger rejected 39 times before it was finally published and launched his career and created his fame. Beethoven overcame his tyrannical father and grudging acceptance as a musician to become the greatest, most famous musician in the world, and Pestalozzi, the famous Italian educator in the 19th century, failed at every job he ever had until he came upon the idea of teaching children and developing the fundamental theories to produce a new form of education. Thomas Edison was thrown out of school in fourth grade, at about age 10, because he seemed to the teacher to be quite dull and unruly. Many other cases may be found of people who failed and used the failure to motivate them to achieve, to succeed, and to become famous. But, unfortunately, for most people failure is the end of their struggle, not the beginning. There are few, if any, famous failures.
歷史已充分證明有些人在生命中某些時(shí)刻遭遇的失敗確實(shí)促使他們更努力奮斗，繼續深信自己，以求得成功。美國小說(shuō)家托馬斯·沃爾夫的第一部小說(shuō)《天使，望故鄉》出版之前，被退稿39次，終于開(kāi)始了他的寫(xiě)作事業(yè)并贏(yíng)得了聲譽(yù)。貝多芬不屈服于他的專(zhuān)橫的父親，還忍氣當過(guò)樂(lè )師，但終于克服一切，成為全世界最偉大最著(zhù)名的音樂(lè )家。19世紀意大利著(zhù)名教育家貝斯達洛齊從事各業(yè)一無(wú)成就，但最后專(zhuān)心于兒童教育，研討了新教育法的基本原理，形成一種新的教育理論。托馬斯·愛(ài)迪生十歲左右，從四年級里被趕出校外，因為教師覺(jué)得他又笨又倔強。這種以失敗為動(dòng)力，奮發(fā)有為，成名成家的人還有多例可舉。但不幸的是，對多數人來(lái)說(shuō)，失敗是奮斗的結束，而不是開(kāi)始。成名的失敗事例即使有，也是少數。
Well then, why does anyone want fame? Do you? Do you want to be known to many people and admired by them? Do you want the money that usually comes with fame? Do you want the media to notice everything you do or say both in public and in private? Do you want them hounding you, questioning you and trying to undo you? In American politics it is very obvious that to be famous is to be the target of everyone who disagrees with you as well as of the media. Fame turns all the lights on and while it gives power and prestige, it takes the you out of you: you must be what the public thinks you are, not what you really are or could be. The politician, like the performer, must please his or her audiences and that often means saying things he does not mean or does not believe in fully. No wonder so few people trust politicians. But we have not answered the question at the beginning of this paragraph: why does anyone want fame? Several reasons come to mind: to demonstrate excellence in some field; to gain the admiration and love of many others; to be the one everyone talks about; to show family and friends you are more than they thought you were. Probably you can list some other reasons, but I think are reasonably common.
那么，一個(gè)人為什么要追求聲譽(yù)呢？你追求聲譽(yù)嗎？你希望許多人都知道你贊賞你嗎？你要那個(gè)往往隨聲譽(yù)而來(lái)的金錢(qián)嗎？你要傳播媒介注意你在公開(kāi)或私下的一言一行嗎？你要他們像獵狗似的追逐著(zhù)你，向你提問(wèn)，想辦法拆你的臺腳嗎？在美國政界中非常明顯，你要出名就得成為反對你的每個(gè)人的目標，也是傳播媒介的目標。聲譽(yù)把一切燈光打亮，一邊給你權力和威望，另一邊也把“你”趕出你的自身之外：你必須成為大眾意想之中的你，而不是那個(gè)真實(shí)的你或者可能實(shí)現的你。像表演家一樣，政治家必須討好他的聽(tīng)眾，這就往往意味著(zhù)要講一點(diǎn)自己并不完全相信或同意的話(huà)。所以相信政治家的人是如此之少，這就不足為奇了。但是我們還沒(méi)有回答本節開(kāi)始所提的問(wèn)題：為什么人人都追求聲譽(yù)呢？我們想到的是下列幾點(diǎn)理由：為了顯示出在某方面的超越成就；贏(yíng)得許多人的景仰愛(ài)慕；做一個(gè)人人都在提到的人；在親朋前顯示你超乎于他們對你的想象之上。也許你還可加些其他理由，但我覺(jué)得上述各點(diǎn)當然是普遍的。
Is it possible to be famous and to remain true to yourself, the real you? Perhaps, but one is hard pressed to come up with the names of those who have done their thing their way and secceeded in the fame game. Many political dissidents around the world, in particular, Dawn Aung Suu Kyi of Burma, is a rare exception to the rule that says maintaining unpopular views or unpopular attitudes or approaches in any field will destroy you. The famous Irish writer Oscar Wilde, a very successful writer of stories, poems and plays, was known for his most unusual clothing and eccentric behavior, social and sexual. This behavior brought him to the attention of the mother of a young man Oscar was intimate with and she accused him. He was furious about this and sued the young man's mother which led to a trial and imprisonment for two years. He remained true to himself and paid a heavy price for it by being ostracized and defamed.
是否有可能既出名又保持著(zhù)真實(shí)的你呢？也許可能。但我苦恩冥索實(shí)在想不出那些既能以己意行事而又能在聲譽(yù)角逐中獲勝的人的姓名來(lái)。世界上有許多持不同政見(jiàn)的人們，特別像緬甸的昂山蘇姬，是稀有的超越常規的例外情況。因為一般常規是在任何場(chǎng)合里，如果你采取反群眾的觀(guān)點(diǎn)、態(tài)度及方法，必將使你自己毀滅。著(zhù)名的愛(ài)爾蘭作家?jiàn)W斯卡。王爾德以小說(shuō)、詩(shī)歌及劇本極為著(zhù)稱(chēng)，同時(shí)，也因他的奇裝異服和怪異的社交和性行為出了名。這種行為受到他的一位青年密友的母親的注意。她指責了王爾德。王爾德為此大發(fā)雷霆，向這位青年的母親提出控訴。之后，法庭判他兩年徒刑。王爾德為了忠實(shí)于自己，付出了受社會(huì )排斥及喪失名譽(yù)的沉重代價(jià)。
Time magazine of June 17, 1996 devoted a good deal of its issue to discussing people (25 in America) who are the most influential in the country in their opinion. They added a short essay on who are the most powerful people in America and no one on the first list appeared on the second list, and strangely enough, none of the poeple on either list was described as famous, although I think several surely are. Can we really distinguish influential people and powerful people from those who are famous? Maybe, but their list of influential prople includes Jerry Seinfeld the comedian and TV star, Courtney Love the singer and drug addict whose fame has come largely through her husband Kurt Cobain, the guitarist who committed suicide, and the list inbludes Oparh Winfrey the talk show host and Calvin Klein the clothing designer. All of these people are famous , but I believe, not very influential in the sense that they change the way most of us think or act. In Time magazine's list we find a Supreme Court justice, Sandra Day O'Connorm, who is no more influential or powerful than any of other justices. President Clinton is not considered influential (?) but is considred powerful! You decide if you think famous and influential and powerful are closely related, or different.
1996年6月17日那期的《時(shí)代》周刊以很多篇幅討論他們心目中各國最有影響的人物（美國有25人）。他們又為美國最有權勢的人加一篇短文。在第一個(gè)名單中（指最有影響的--譯者注）沒(méi)有一個(gè)人在第二個(gè)名單中（指最有權勢的--譯者注）出現。奇怪的是，在兩個(gè)名單中，沒(méi)有一個(gè)是被稱(chēng)為有聲譽(yù)的，盡管我覺(jué)得其中有些人確有聲譽(yù)。我們真的能把有影響的人、有權力的人同有聲譽(yù)的人加以區分嗎？也許可以。但他們的有影響人物名單中包括喜劇演員和電視明星杰里。圣菲爾德；歌手和吸毒者哥特尼·洛夫，此人的名望主要來(lái)自她的丈夫，那個(gè)自殺的吉他手庫爾特·柯本。這名單里還包括脫口秀主持人奧柏拉。溫弗里和服裝設計師卡爾文·克萊恩。這些都是名人，但我想不是很有影響的，因為他們不是能夠改變我們大多數人的思想或行為的人。在《時(shí)代》雜志表里我們也發(fā)現最高法院法官桑德拉·岱·奧康納，她也并不比其他八位法官中的任何一位更有影響或更有權力�？肆诸D總統不算有影響(?)，只被認為是有權力而已！如你以為有聲譽(yù)、有影響和有權力三者是緊密相聯(lián)或可以劃分的話(huà)，那么，隨你決定吧。
I believe that fame and celebrity, influence and power, success and failure, reality and illusion are all somehow neatly woven into a seamless fabric we laughingly call reality. I say to those who desperately seek fame and fortune, celebrity: good luck. But what will you do when you have caught your tail, your success, your fame? Keep chasing it ? If you do catch it, hang on for dear life because falling is not as painful as landing. See you soon famous and almost famous, wayfarers on this unbright, nonlinear planet!
我相信聲譽(yù)和贊揚、影響和權力、成功和失敗、現實(shí)和幻想都好像是精密編織在一匹光潔無(wú)縫的織品之中，即我們笑稱(chēng)之現實(shí)的東西。對那些拼命追求聲譽(yù)、財富和贊賞的人們，我說(shuō)：祝您好運。但當你已抓住了尾巴、成功、聲譽(yù)之后，你將做什么呢？一直追逐下去嗎？如你確實(shí)抓住了它的話(huà)，那就舍命也不要松手，因為下墜總比墜地要少痛苦一點(diǎn)。走在這蒼茫而不可理喻的星球上的蕓蕓過(guò)客們，我盼你們不久就功成名就，或近乎功成名就吧！
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