搜狗做题网请高手帮我翻译一下!谢谢!
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请高手帮我翻译一下!谢谢!
IN Gulliver’s Travels humanity is attacked, or criticized, from at least three different angles, and the implied character of Gulliver himself necessarily changes somewhat in the process. In Part I he is the typical eighteenth-century voyager, bold, practical and unromantic, his homely outlook skilfully impressed on the reader by the biographical details at the beginning, by his age (he is a man of forty, with two children, when his adventures start), and by the inventory of the things in his pockets, especially his spectacles, which make several appearances. In Part II he has in general the same character, but at moments when the story demands it he has a tendency to develop into an imbecile who is capable of boasting of “our noble Country, the Mistress of Arts and Arms, the Scourge of France”, etc., etc., and at the same time of betraying every available scandalous fact about the country which he professes to love. In Part III he is much as he was in Part I, though, as he is consorting chiefly with courtiers and men of learning, one has the impression that he has risen in the social scale. In Part IV he conceives a horror of the human race which is not apparent, or only intermittently apparent, in the earlier books, and changes into a sort of unreligious anchorite whose one desire is to live in some desolate spot where he can devote himself to meditating on the goodness of the Houyhnhnms. However, these inconsistencies are forced upon Swift by the fact that Gulliver is there chiefly to provide a contrast. It is necessary, for instance, that he should appear sensible in Part I and at least intermittently silly in Part II because in both books the essential manoeuvre is the same, i.e. to make the human being look ridiculous by imagining him as a creature six inches high. Whenever Gulliver is not acting as a stooge there is a sort of continuity in his character, which comes out especially in his resourcefulness and his observation of physical detail. He is much the same kind of person, with the same prose style, when he bears off the warships of Blefuscu, when he rips open the belly of the monstrous rat, and when he sails away upon the ocean in his frail coracle made from. the skins of Yahoos. Moreover, it is difficult not to feel that in his shrewder moments Gulliver is simply Swift himself, and there is at least one incident in which Swift seems to be venting his private grievance against contemporary Society. It will be remembered that when the Emperor of Lilliput’s palace catches fire, Gulliver puts it out by urinating on it. Instead of being congratulated on his presence of mind, he finds that he has committed a capital offence by making water in the precincts of the palace, and
I was privately assured, that the Empress, conceiving the greatest Abhorrence of what I had done, removed to the most distant Side of the Court, firmly resolved that those buildings should never be repaired for her Use; and, in the Presence of her chief Confidents, could not forbear vowing Revenge.
According to Professor G. M. Trevelyan (England under Queen Anne), part of the reason for Swift's failure to get preferment was that the Queen was scandalized by the Tale of a Tub — a pamphlet in which Swift probably felt that he had done a great service to the English Crown, since it scarifies the Dissenters and still more the Catholics while leaving the Established Church alone. In any case no one would deny that Gulliver's Travels is a rancorous as well as a pessimistic book, and that especially in Parts I and III it often descends into political partisanship of a narrow kind.
IN Gulliver’s Travels humanity is attacked, or criticized, from at least three different angles, and the implied character of Gulliver himself necessarily changes somewhat in the process. In Part I he is the typical eighteenth-century voyager, bold, practical and unromantic, his homely outlook skilfully impressed on the reader by the biographical details at the beginning, by his age (he is a man of forty, with two children, when his adventures start), and by the inventory of the things in his pockets, especially his spectacles, which make several appearances. In Part II he has in general the same character, but at moments when the story demands it he has a tendency to develop into an imbecile who is capable of boasting of “our noble Country, the Mistress of Arts and Arms, the Scourge of France”, etc., etc., and at the same time of betraying every available scandalous fact about the country which he professes to love. In Part III he is much as he was in Part I, though, as he is consorting chiefly with courtiers and men of learning, one has the impression that he has risen in the social scale. In Part IV he conceives a horror of the human race which is not apparent, or only intermittently apparent, in the earlier books, and changes into a sort of unreligious anchorite whose one desire is to live in some desolate spot where he can devote himself to meditating on the goodness of the Houyhnhnms. However, these inconsistencies are forced upon Swift by the fact that Gulliver is there chiefly to provide a contrast. It is necessary, for instance, that he should appear sensible in Part I and at least intermittently silly in Part II because in both books the essential manoeuvre is the same, i.e. to make the human being look ridiculous by imagining him as a creature six inches high. Whenever Gulliver is not acting as a stooge there is a sort of continuity in his character, which comes out especially in his resourcefulness and his observation of physical detail. He is much the same kind of person, with the same prose style, when he bears off the warships of Blefuscu, when he rips open the belly of the monstrous rat, and when he sails away upon the ocean in his frail coracle made from. the skins of Yahoos. Moreover, it is difficult not to feel that in his shrewder moments Gulliver is simply Swift himself, and there is at least one incident in which Swift seems to be venting his private grievance against contemporary Society. It will be remembered that when the Emperor of Lilliput’s palace catches fire, Gulliver puts it out by urinating on it. Instead of being congratulated on his presence of mind, he finds that he has committed a capital offence by making water in the precincts of the palace, and
I was privately assured, that the Empress, conceiving the greatest Abhorrence of what I had done, removed to the most distant Side of the Court, firmly resolved that those buildings should never be repaired for her Use; and, in the Presence of her chief Confidents, could not forbear vowing Revenge.
According to Professor G. M. Trevelyan (England under Queen Anne), part of the reason for Swift's failure to get preferment was that the Queen was scandalized by the Tale of a Tub — a pamphlet in which Swift probably felt that he had done a great service to the English Crown, since it scarifies the Dissenters and still more the Catholics while leaving the Established Church alone. In any case no one would deny that Gulliver's Travels is a rancorous as well as a pessimistic book, and that especially in Parts I and III it often descends into political partisanship of a narrow kind.
在Gulliver’s旅行人类被攻击,或者批评,从三个不同角度和Gulliver至少含蓄的字符在过程中必要改变有些.一部分我他是典型的十八世纪航海者,大胆,实用和平淡无奇的,在读者首先熟练地铭记的他的亲切外型由自传细节,由他的年龄(他是一个人四十,与二个孩子,当他的冒险开始)时和由事的存货在他的口袋的,特别是他的眼镜,几次露面.部分II他一般来说有同一个字符,但是在片刻,当故事要求它时他有一个倾向开发成蠢人谁能够吹嘘“our高尚的国家、艺术和胳膊的女主人,France”、等等等等鞭和同时背叛关于他公开宣称爱的国家的每个可利用的诽谤性的事实.部分III他是,因为他是一部分我,虽然,他首要陪伴与学会的廷臣奉承者和人,一个有印象他在社会标度起来了.部分IV他只间歇地设想不是明显的人种的恐怖,或者明显,在更加早期的书和变动入一个欲望是居住在某一落寞地方他可以致力于思考在Houyhnhnms的善良的一种无宗教带状闪长岩.然而,这些不一致是牵强的在快速由事实Gulliver首要在那里提供对比.例如,是必要的他应该至少间歇地看上去易察觉一部分我和傻部分II,因为在两本书方面根本回旋相同,即使人看起来可笑通过想象他作为高的生物六英寸.每当Gulliver不作为那里傀儡是在他的个性的一种连续性,特别是在他的足智多谋和他的物理细节的观察出来.他是这同一人,有同一散文体的,当他负担Blefuscu时军舰,当他剥去开放怪异鼠的腹部时,并且,当他航行在他的虚弱小圆舟的海洋做从时.Yahoos皮肤.而且,不感觉是难的那在他的更加敏锐的片刻Gulliver是完全快速的他自己,并且有快速似乎放气他的反对当代社会的私有委屈至少的一个事件.记住,当Lilliput’s宫殿皇帝捉住火,Gulliver通过小便投入它对此.而不是对他的镇定祝贺,他发现他通过做水做了死罪在宫殿的界域,和
问题补充：I私下保证了,那女皇,设想什么的最巨大的憎恶我做了,被取消对,坚定地被解决的法院的最遥远的边不应该修理那些大厦为她的使用; 并且,在她的首要Confidents面前,不能克制发誓复仇.根据G.M.Trevelyan (在女王安妮)之下的英国,一部分教授的的快速疏忽的原因得到提升是女王/王后由木盆反感—的传说快速大概认为的小册子他做了一项了不起的服务到英国冠,因为它翻挖持异议者和仍然更多天主教徒,当不理会国教时.无论如何没人否认Gulliver的旅行仇恨并且一本悲观的书,并且特别是部分我和III它经常下降入狭窄的种类的政治派性.
问题补充：I私下保证了,那女皇,设想什么的最巨大的憎恶我做了,被取消对,坚定地被解决的法院的最遥远的边不应该修理那些大厦为她的使用; 并且,在她的首要Confidents面前,不能克制发誓复仇.根据G.M.Trevelyan (在女王安妮)之下的英国,一部分教授的的快速疏忽的原因得到提升是女王/王后由木盆反感—的传说快速大概认为的小册子他做了一项了不起的服务到英国冠,因为它翻挖持异议者和仍然更多天主教徒,当不理会国教时.无论如何没人否认Gulliver的旅行仇恨并且一本悲观的书,并且特别是部分我和III它经常下降入狭窄的种类的政治派性.