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大學(xué)英語(yǔ)fame課文翻譯
學(xué)習(xí)大學(xué)英語(yǔ)，經(jīng)常會(huì)遇到課文翻譯的題目，你知道大學(xué)英語(yǔ)fame課文怎么翻譯嗎？以下是小編整理的大學(xué)英語(yǔ)fame課文翻譯，歡迎閱讀。
【大學(xué)英語(yǔ)fame課文】
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 celebrity that accompanies it, force the famous person to participate in his or her own destruction. Ironic isn't it?
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 enjow. 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 portraite, 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.
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.
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.
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.
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.
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， and 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.
【翻譯】
名聲就像一只追逐自己尾巴的動(dòng)物，當(dāng)它抓住它的時(shí)候，它不知道還能做什么，只能繼續(xù)追逐它。名聲和隨之而來的令人興奮的名聲，迫使名人參與到他或她自己的毀滅中。諷刺的不是嗎？
獲得名望通常獲得它的人由于擁有一個(gè)天賦或技能：唱歌，跳舞，繪畫，或?qū)懽鳎鹊取３晒Φ谋硌菡叻e極開發(fā)銷售的風(fēng)格并獲得一些聲望，和這個(gè)流行通常讓表演者繼續(xù)在同一風(fēng)格的表現(xiàn)，因?yàn)檫@就是公眾似乎想要和enjow。但隨著時(shí)間的推移，表演者厭倦了同樣的歌曲，年復(fù)一年地唱著同樣的歌，或者畫家厭倦了畫類似的場(chǎng)景或肖像，或者演員厭倦了反復(fù)扮演同一個(gè)角色。公眾對(duì)藝術(shù)家的要求使他或她自己的成功成為人質(zhì)。如果藝術(shù)家試圖改變他或她的寫作風(fēng)格、舞蹈或歌唱等，觀眾可能會(huì)轉(zhuǎn)向別處，尋求稍縱即逝的浮躁的名聲，然后，在時(shí)間上，在另一個(gè)，如此等等。
誰(shuí)不認(rèn)識(shí)田納西·威廉姆斯的戲劇或者約翰·厄普代克（John Updike）或歐內(nèi)斯特·海明威（Ernest Hemingway）的小說，還是羅伯特·弗羅斯特（Robert Frost）或w·h·奧登（w 。 h 。 Auden）或艾略特（t 。 s 。 Eliot）的一首詩(shī)？像莫奈、雷諾阿、達(dá)利或畢加索這樣的畫家也是如此，像希區(qū)柯克、費(fèi)里尼、斯皮爾伯格、陳凱歌或張藝謀這樣的電影制作人也是如此。他們獨(dú)特的風(fēng)格標(biāo)志著傳統(tǒng)形式的顯著改變，并賦予他們名聲和力量，但他們因?yàn)樗麄兊挠^眾要求他們每個(gè)人最初呈現(xiàn)的東西，所以他們沒有自由發(fā)展其他的風(fēng)格或形式。海明威甚至不能與亨利·詹姆斯或其他任何人混淆，也不能與葉芝混淆。這些獨(dú)特的形式創(chuàng)造了他們，創(chuàng)造了他們。沒有一個(gè)藝術(shù)家或表演者能完全逃脫名聲的誘惑，也沒有得到無(wú)限欽佩和尊重的承諾，但必須付出沉重的代價(jià)。
在每一個(gè)領(lǐng)域都有名人和忠誠(chéng)的粉絲，這是令人興奮的事情。一個(gè)表演者很容易就會(huì)相信自己和他的媒體一樣優(yōu)秀。但大多數(shù)人，大多數(shù)藝術(shù)家并不會(huì)名利雙收。那些失敗的表演者，或者失敗的人怎么辦？奇怪的是，失敗往往是對(duì)許多人的獎(jiǎng)賞。它能帶給那些不喜歡你的人的同情，它允許家人和朋友降低對(duì)你的期望，這樣你就不必與那些有更多天賦的人競(jìng)爭(zhēng)。他們找借口和解釋對(duì)你無(wú)法成功和成名：你太敏感，你的錢不感興趣，你不感興趣的名聲帶來的力量，你不感興趣的隱私要求，等等都是借口，但安慰那些失敗，那些假裝沒有注意到失敗。
歷史已經(jīng)充分證明，某些人在某些時(shí)刻的失敗確實(shí)激勵(lì)他們更加努力地取得成功，并繼續(xù)相信自己。美國(guó)小說家托馬斯·沃爾夫（Thomas Wolfe）第一部小說《回家看》（Look Homeward），憤怒被拒絕了39次才最終出版發(fā)行職業(yè)生涯并創(chuàng)造了他的名聲。貝多芬克服了他殘暴的父親和勉強(qiáng)接受作為一個(gè)音樂家成為最偉大的，世界上最著名的音樂家，和裴斯塔洛齊，在19世紀(jì)意大利著名教育家，在每一份工作，他曾經(jīng)失敗，直到他來到教會(huì)孩子的想法和發(fā)展基本理論產(chǎn)生一種新形式的教育。托馬斯·愛迪生在四年級(jí)的時(shí)候被學(xué)校開除了，大約10歲，因?yàn)樗X得老師很呆板，不守規(guī)矩。許多其他的案例可能被發(fā)現(xiàn)是那些失敗的人，他們利用失敗來激勵(lì)他們?nèi)〉贸晒Γ晒Γ⒊蔀槊恕５恍业氖牵瑢?duì)于大多數(shù)人來說，失敗是他們奮斗的終點(diǎn)，而不是開始。幾乎沒有什么著名的失敗。
那么，為什么有人想要出名呢？你呢？你想要被許多人所了解，被他們所崇拜嗎？你想要那些通常伴隨名譽(yù)而來的錢嗎？你想讓媒體注意到你在公共和私人場(chǎng)合所做的一切嗎？你是想讓他們追著你，問你，想要解開你？在美國(guó)的政治中，很明顯，要出名，就得成為所有不同意你和媒體的人的目標(biāo)。名聲把所有的燈都打開，當(dāng)它賦予權(quán)力和威望時(shí)，它將你從你身上帶出：你必須是公眾認(rèn)為你是什么，而不是你真正的或可能的。政治家，像表演者一樣，必須取悅他或她的聽眾，這通常意味著說他不代表或不相信的事情。難怪很少人會(huì)這么做。
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