1、我有一個志愿我是個沒有什么大志愿的人。我向來沒說過自己有如何了不起的學問和天才，也沒覺得誰的職業(yè)比我自己的高貴或低賤。我只希望吃得飽，穿得暖，而盡心盡力地寫些文章。1I Have a DreamI am not an ambitious person and never claim to be learned or gifted, nor do I consider anyone elses profession as superior or inferior or anything for that matter. I merely wish to have enough to eat an

2、d enough to wear so that I can devote myself to writing.2在寫文章中我可是有個志愿希望能寫出一本好的劇本來。雖然我是沒有什么遠大志愿的人，這個志愿寫個好劇本可的確不算很小。要達到這個志愿，我須第一，去讀很多的書頂好是能上外國去讀幾年書。第二，我須有戲必看，去“養(yǎng)”我的眼睛。 3Talking about writing, however, I have a dream to realize I wish to write a play, a good play, some day. Though I am not an ambitious

3、 person, this dream of mine is by no means a small one. To realize this dream, I need to read a lot in the first place or, better still, spend a couple of years studying abroad. Secondly, I must go to the theater and see as many plays as possible just to cultivate my mind. 4第三，我想我應當?shù)绞裁磩F中作二年職員，天天和導演

4、、演員、與其他的專門的技術(shù)人員有親密的接觸。第四，或者我還應當學學演戲，常扮個什么不重要的角色。把上述四項都作到，我還不知道我是否有寫劇的天才。假若沒有，我的工夫雖然下到了，可還是難以如愿。這個志愿真的不算小！ 5Thirdly, I should get a job at the theater and work there for a year or two to be in daily contact with directors, actors and technical staff. Fourthly, perhaps, I should also learn some acting

5、, with some minor role to play from time to time. But even given all these prerequisites, I am still not sure that I have the aptitude of a playwright. If that is the case, my dream cannot come true even if I have worked every hard. So you see, in this sense, my dream is really not a small one.6恐怕有人

6、以為我不很實誠吧寫個劇本也值得發(fā)這么大的愿？好，讓咱們往遠里說說吧。第一，即使在沒有用文字寫出來的小說的民族中，他們也必定有口傳的詩歌與故事，人，從一個意義來說，是活在記憶中的。7You might think I am not telling the truth, making such a fuss over the business of writing a play. Very well. Let us look at the matter in a broader perspective. Even in a nation without written fiction, there

7、 must be ballads and folk-tales passed down orally. Man, in a sense, lives in memory. 8他記得過去，才關(guān)切將來。否則他們活在虛無飄渺中，不知自己從何而來，和要往哪里去。因此，文藝不管是寫出來的還是口傳的老不會死亡。文藝出喪的日子，也就是文化死亡的時候。9As he remembers the past, he cares for the future. Otherwise he loses his sense of continuity, not knowing where he comes from and

8、 where he is going. Therefore, literature and arts, either in written form or oral, will never die. Should they do, culture would die too.10郭沫若（1892-1978）1914年留日學醫(yī)，后棄醫(yī)從文。精通日、德、英等語言，1917年前后，從英文譯泰戈爾、海涅等人的詩歌。20年代的譯論強調(diào)“喚醒譯書家的責任心”，創(chuàng)造性提出“風韻譯”的說法：“詩的生命，全在它那種不可把捉之風韻，所以我想譯詩的手腕于直譯意譯之外，當?shù)糜蟹N風韻譯”；“字面，意義，風韻，三者均能兼顧，自是上乘。即使字義有失而風韻能傳，尚不失為佳品。若是純粹的直譯死譯，那只好屏諸譯壇之外了。”11主張發(fā)揮譯者主觀能動性，強調(diào)譯者的主觀感情投入：“譯雪萊的詩，是要使我成為雪萊，是要使雪萊成為我自己。譯詩不是鸚鵡學舌，不是沐猴而冠。” “翻譯是一種創(chuàng)造性的工作，好的翻譯等于創(chuàng)作，甚至還可能超過創(chuàng)作。”12重視翻譯對語言文學的影