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本文目录
一、07年“高级英语”课文逐句翻译(11)
1、从很小的时候，大概五、六岁，我知道长大以后将成为一个作家。
2、 From a very early age， perhaps the age of five or six， I knew that when I grew up I should be a writer.
3、从15到24岁的这段时间预测（数据为往年仅供参考）里，我试图打消这个念头，可总觉得这样做是在戕害我的天性，认为我迟早会坐下来伏案著书。
4、 Between the ages of about seventeen and twenty-four I tried to adandon this idea， but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books.
5、三个孩子中，我是老二。老大和老三与我相隔五岁。8岁以前，我很少见到我爸爸。由于这个以及其他一些缘故，我的性格有些孤僻。我的举止言谈逐渐变得很不讨人喜欢，这使我在上学期间几乎没有什么朋友。
6、 I was the middle child of three， but there was a gap of five years on either side， and I barely saw my father before I was eight- For this and other reasons I was somewhat lonely， and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays.
7、我像一般孤僻的孩子一样，喜欢凭空编造各种故事，和想像的人谈话。我觉得，从一开始，我的文学志向就与一种孤独寂寞、被人冷落的感觉联系在一起。我知道我有驾驭语言的才能和直面令人不快的现实的能力。这一切似乎造就了一个私人的天地，在此天地中我能挽回我在日常生活中的不得意。
8、 I had the lonely child's habit of making up stories and holding conversations with imaginary persons， and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued.
9、我知道我有驾驭语言的才能和直面令人不快的现实的能力。这一切似乎造就了一个私人的天地，在此天地中我能挽回我在日常生活中的不得意。
10、 I knew that I had a facility with words and a power of facing unpleasant facts， and I felt that this created a sort of private world in which I could get my own back for my failure
11、还是一个小孩子的时候，我就总爱把自己想像成惊险传奇中的主人公，例如罗宾汉。但不久，我的故事不再是粗糙简单的自我欣赏了。它开始趋向描写我的行动和我所见所闻的人和事。
12、。. As a very small child I used to imagine that I was， say， Robin Hood， and picture myself as the hero of thrilling adventures， but quite soon my“story” ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw.
13、一连几分钟，我脑子里常会有类似这样的描述：“他推开门，走进屋，一缕黄昏的阳光，透过薄纱窗帘，斜照在桌上。桌上有一个火柴盒，半开着，在墨水瓶旁边，他右手插在兜里，朝窗户走去。街心处一只龟甲猫正在追逐着一片败叶。”等等，等等。
14、 For minutes at a time this kind of thing would be running through my head：“He pushed the door open and entered the room. A yellow beam of sunlight， filtering through the muslin curtains， slanted on to the table， where a matchbox， half open， lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf，” etc.， etc.
15、我在差不多25岁真正从事文学创作之前，一直保持着这种描述习惯。虽然我必须搜寻，而且也的确在寻觅恰如其分的字眼。可这种描述似乎是不由自主的，是迫于一种外界的压力。
16、 This habit continued till I was about twenty-five， right through my non-literary years. Although I had to search， and did search， for the right words， I seemed to be making this descriptive effort almost against my will， under a kind of compulsion from outside.
17、我在不同时期崇仰风格各异的作家。我想，从这些“故事”一定能看出这些作家的文笔风格的痕迹。但是我记得，这些描述又总是一样地细致入微，纤毫毕现。
18、 The“story” must， I suppose， have reflected the styles of the various writers I admired at different ages， but so far as I remember it always had the same meticulous descriptive quality.
19、 16岁那年，我突然发现词语本身即词的音响和词的连缀就能给人以愉悦。《失乐园》中有这样一段诗行：
20、 When I was about sixteen I suddenly discovered the joy of mere words， i， e. the sounds and associations of words. The lines from Paradise Lost—
21、“So hee with difficulty and labour hard
22、 Moved on： with difficulty and labour hee，“
23、现在看来这并没有什么了不得，可当时却使我心灵震颤。而用hee的拼写代替he，更增加了愉悦。
24、 which do not now seem to me so very wonderful， sent shivers down my backbone； and the spelling“hee” for“he” was an added pleasure.
25、至于写景物的必要，我那时已深有领悟。如果说当时我有志著书的话，我会写什么样的书是显而易见的。
26、 As for the need to describe things， I knew all about it already. So it is clear what kind of books I wanted to write， in so far as I could be said to want to write books at that time.
27、我想写大部头的自然主义小说，以悲剧结局，充满细致的描写和惊人的比喻，而且不乏文才斐然的段落，字词的使用部分要求其音响效果。
28、 I wanted to write enormous naturalistic novels with unhappy endings， full of detailed descriptions and arresting similes， and also full of purple passages in which words were used partly for the sake of their sound.
29、事实上，我的比较好部小说，《缅甸岁月》就属于这一类书，那是我早已构思但30岁时才写成的作品。
30、 And in fact my first completed novel， Burmese Days， which I wrote when I was thirty but projected much earlier， is rather that kind of book.
31、我介绍这些背景情况是因为我认为要判定一个作家的写作动机，就得对其早年的经历有所了解。
32、 I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development.
33、作家的题材总是由他所处的时代决定的，至少在我们这个动荡不安的时代是如此。但他在提笔著文之前，总会养成一种在后来的创作中永远不能彻底磨灭的情感倾向
34、 His subject matter will be determined by the age he lives in—at least this is true in tumultuous， revolutionary ages like our own—but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape.
35、毫无疑问，作家有责任控制自己的禀性，使之不至于沉溺于那种幼稚的阶段，或陷于违反常理的心境中。但如果他从早年的熏染和志趣中脱胎换骨，他就会虐杀自己的写作热情。
36、 It is his job， no doubt， to discipline his temperament and avoid getting stuck at some immature stage， or in some perverse mood： but if he escapes from his early influences altogether， he will have killed his impulse to write.
37、除去以写作为谋生之计不谈，我认为写作有四种动机，至少小说和散文写作是如此。
38、 Putting aside the need to earn a living， I think there are four great motives for writing， at any rate for writing prose.
39、这四种动机或多或少地存在于每个作家身上，在某一个作家身上，它们会因时代的不同和生活环境的不同而变化。它们是：
40、 They exist in different degrees in every writer， and in any one writer the proportions will vary from time to time， according to the atmosphere in which he is living. They are：
41、一、纯粹的自我主义。想显示自己的聪明；想成为人们的议论中心；想身后留名；想报复那些小时候压制、指责过自己的成年人等等。不承认这是动机，是一种强烈的动机，完全是自欺欺人。
42、（1） Sheer egoism. Desire to seem clever， to be talked about， to be remembered after death， to get your own back on grown-ups who snubbed you in childhood， etc.， etc. It is humbug to pretend that this is not a motive， and a strong one...
43、二、对美的狂热。能感觉身外世界的美，或者词语及其妙语连珠的美。对一个读音作用于另一个读音的音响效果，对充实缜密的行文或一篇小说的结构，感到乐趣无穷，赏心悦目。有心与人们分享一种认为有价值、不应忽略的经历。
44、（2） Aesthetic enthusiasm. Perception of beauty in the external world， or， on the other hand， in words and their right arrangement. Pleasure in the impact of one sound on another， in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed…
45、三、历史感。有志按事物的原貌来观察理解事物；有心寻找确凿的事实，收集储存以飨后人。
46、（3） Historical impulse. Desire to see things， as they are， to find out true facts and store them up for the use of posterity.
47、四、政治上的目的。这里指的是最广泛意义的政治：有志推动世界向某个方向前进；改造人们的观念，劝勉人们追求某种理想社会。就像美感因素一样，没有一本书能真正消除政治倾向。那种认为艺术与政治不相干的论点本身就是一种政治态度。
48、（4） Political purpose—using the word“political” in the widest possible sense. Desire to push the world in a certain direction， to ater other people's idea of the kind of society that they should strive after. Once again， no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.
49、可以看出，这些不同的动机会互相抵触，会因人因时发生变化。
50、 It can be seen how these various impulses must war against one another， and how they must fluctuate from person to person and from time to time.
51、由于我的天性——“天性”这里指刚成年时的状态，在我身上前三种动机远远超过第四种。
52、 By nature—taking your“nature” to be the state you have attained when you are first adult—I am a person in whom the first three motives would outweigh the fourth.
53、在和平年代，我或许会写些词藻华美或专写事物写景的书，几乎意识不到我政治上的取舍。
54、 In a peaceful age！ might have written ornate or merely descriptive books， and might have remained almost unaware of my political loyalties.
55、可结果我却不得不成了一个写小册子的作家。
56、 As it is I have been forced into becoming a sort of pamphleteer.
57、最初，我在一个很不合适的职业中度过了5年，那是在缅甸的印度帝国警察署。随后，我经历了贫困，体会到穷困窘迫是何滋味。这使我对权势的本能的嫉妒变得更强烈，我开始意识到劳动阶级的存在，缅甸的职业使我对帝国主义的本质有所了解，但这一切并不足以赋予我明确的政治倾向。
58、 First I spent five years in an unsuitable profession（the Indian Imperial Police， in Burma）， and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the firs t time fully aware of the existence of the working classes， and the job in Burma had given me some understanding of the nature of imperialism； but these experiences were not enough to give me an accurate political orientation.
59、接着*出现了，西班牙战争爆发了，各种事件频频发生。
60、 Then came Hitler， the Spanish Civil War， etc.
61、到1935年底，我仍没有能决定何去何从。西班牙内战以及1936至1937年之间的其他事件扭转了这种状况，从此我认准了我的立场。
62、 By the end of 1935 I had still failed to reach a firm decision. The Spanish war and other events in 1936- 1937 turned the scale and thereafter I know where I stood.
63、 1936年以来，我的严肃作品中的每一行都是为间接或直接地反对极权主义，拥护我所理解的***社会主义而写的。
64、 Every line of serious work that I have written since 1936 has been written， directly or indirectly， against totalitarianism and for democratic socialism， as I understand it.
65、认为在我们这样的年代，作家可以回避这种题材，在我看来是无稽之谈。
66、 It seems to me nonsense， in a period like our own， to think that one can avoid writing of such subjects.
67、每个人都以这样那样的方式写这个题材。
68、 Everyone writes of them in one guise or another.
69、这其实就是站在哪一边，取什么态度的问题。
70、 It is simply a question of which side one takes and what approach one follows.
71、一个人越是意识到自己的政治态度，他越是有可能按政治行事而又不牺牲自己在美感和心智方面的追求。
72、 And the more one is conscious of one's political bias， the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.
73、在过去的十年中，我的愿望是把政治色彩的写作变成艺术创造。
74、 What I have most wanted to do throughout the past ten years is to make political writing into an art.
75、我的出发点总是一种党派意识，一种对非正义的敏感。
76、 My starting point is always a feeling of partisanship， a sense of injustice.
77、我坐下来写书时，不会自语道：“现在我要创造一个艺术作品了。”
78、 When I sit down to write a book I do not say to myself，“I am going to produce a work of art.”
79、写作是为了揭发某种谎言，为了让人们重视某些事实。我的初衷总是向读者披露心声，赢得听众。
80、 I write it because there is some lie that I want to expose， some fact to which I want to draw attention， and my initial concern is to get a hearing.
81、然而，写作必须同时又是一种美感经验。否则，我就无法完成著书的工作，甚至连一篇长篇的报刊文章都写不成。
82、 But I could not do the work of writing a book， or even a long magazine article， if it were not also an aesthetic experience.
83、任何一位有心细读我的作品的读者都会发现，即使作品是直截了当的宣传鼓励，也包含着许多职业政客视为节外生枝的点缀。
84、 Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant.
85、我不能，也不愿意完全放弃我在童年时养成的世界观。
86、 I am not able， and I do not want， completely to abandon the world-view that I acquired in childhood.
87、只要我还活着，我仍会继续讲究文笔风格，热爱大地的山川胜景，对琐细的物品和无用的传闻感到欣悦。
88、 So long as I remain alive and well I shall continue to feel strongly about prose style， to love the surface of the earth， and to take a pleasure in solid objects and scraps of useless information.
89、要抑制我这方面的本能是无济于事的。我的任务是把个人根深蒂固的好恶与时代强加于我们大家的政治活动协调起来。
90、 It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public， non-individual activities that this age forces on all of us.
91、这并不容易。这会产生构思及语言的问题。而真实性也以新的方式出现了疑问。
92、 It is not easy. It raises problems of construction and of language， and it raises in a new way the problem of truthfulness...
93、这个问题以各种各样的形态出现。
94、 In one form or another this problem comes up again.
95、语言则是个更微妙的问题，得花费很大的工夫讨论。
96、 The problem of language is subtler and would take too long to discuss.
97、这里我只能说，近几年来，我竭力减少生动形象的描写，尽量写得更谨严简练。
98、 I will only say that of late years I have tried to write less picturesquely and more exactly.
99、我发现一位作家一旦使某种文笔风格臻于完善，他也就已经超越了这种风格。
100、 In any case I find that by the time you have perfected any style of writing， you have always outgrown it.
101、《动物庄园》一书便是我在有意识有计划地把政治目的和艺术追求结合为一体的尝试。
102、 Animal Farm was the first book in which I tried， with full consciousness of what I was doing， to fuse political purpose and artistic purpose into one whole.
103、我已经7年没写小说了，但我希望不久能写一部。
104、 I have not written a novel for seven years， but I hope to write another fairly soon.
105、这部小说注定会成败笔，每次完成的作品都觉得处处是败笔，但我清楚地知道我要写什么样的书。
106、 It is bound to be a failure， every book is a failure， but I do know with some clarity what kind of book I want to write.
107、写作是一场可怕的劳心伤神的斗争，犹如一场恶病长时间预测（数据为往年仅供参考）发作。
108、…Writing a book is a horrible， exhausting struggle， like a long bout of some painful illness.
109、要不是被一种既不可抗拒又不可理喻的鬼怪驱使，没人愿意从事写作。
110、 One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.
111、这种魔怪不外乎是婴儿嚎啕以引起人注意的本能。
112、 For all one knows that demon is simply the same instinct that makes a baby squall for attention.
113、但话又说回来，作家若不能努力隐去自己的个性，他便写不出什么值得一读的东西。
114、 And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality.
115、 Good prose is like a window pane.
116、我不能肯定地说我的哪一种动机，但我知道哪一个目标我必须遵循。
117、 I cannot say with certainty which of my motives are the strongest， but I know which of them deserve to be followed.
118、回顾我的创作，我发现，什么时候缺乏政治目的，什么时候我就会写出毫无生气的书，就会坠入华而不实的篇章，写出毫无意义的句子，卖弄矫饰的形容词和堆砌一大堆空话废话。
119、 And looking back through my work， I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages， sentences without meaninmeaning， decorative adjectives and humbug generally.
二、《高级英语》课文逐句翻译(10)
就在第二天下午3点（闹钟上的时间预测（数据为往年仅供参考）），一个军官走进了牢房。这是他们几星期以来见到的比较好位军官。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.”
牢房里很长时间预测（数据为往年仅供参考）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.”
“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。”***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。”***说，“我现在是未婚，你呢？”
“I have lost my wife，” the mayor said，“I am not married now. And you…”
***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***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...“
“He's right，” Pierre said.
***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***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。”***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。”***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，从抽比较好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比较好张纸条；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.
时间预测（数据为往年仅供参考）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***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.
“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.
三、英语课文翻译。急急急!!!
1、谢谢你的信息。是的，我在法国的交换学生计划。我在到这儿之前我有点紧张，但没有理由。我的寄宿家庭是非常好的。他们以自己的方式让我感觉我在家里。祖母知道我想念***菜。所以她真的学会了如何烹饪***菜！她还有一个十几岁的孙女，年龄大概和我差不多大，她跟我说话帮我练习法语。你不会相信我的法语有这么大的进步就是因为如此。我现在讲法语很舒服。虽然我仍然会犯很多错误，我并不担心，因为它使用。
2、我***的挑战是学习如何在餐桌上的举止。你可以想象，从他们的在家里每个人是不同的。例如，你不应该把面包放在你的盘子。你应该把它放在桌子上！我认为，首先是很奇怪，但是我习惯了。另一个例子是，你不应该用手吃任何东西除了面包，水果也不行。你必须把它和吃用叉子。另一件事是，你说的全是不礼貌的。如果你不需要任何更多的食物，你应该说，“那是美味的。”你不应该把手肘放在桌上。我不得不说，我发现记住所有的事情很难，但我渐渐习惯了。我不认为法国海关太奇怪了。
3、我会再写信告诉你更多关于我的生活在法国，希望你有一个好的学年。
关于本次职高英语课文山东省教育厅和职高英语教程的问题分享到这里就结束了，如果解决了您的问题，我们非常高兴。
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文章标题：2024年职高英语课文山东省教育厅(职高英语教程)
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