第一部分：英译汉译文（50分）

自然与艺术

就色彩和形状而论，大自然包含所有图画的元素，就像键盘包含所有音乐的音符一样。

艺术家的天职就是对这些元素进行选择，将它们巧妙地糅合起来，构成一幅美丽的图画——就像音乐家用声音谱成和音，从混乱无序的声音中创作出动听和谐的乐曲一样。

如果对画家说他可以照大自然本来的样子画，就等于对演奏家说他可以一屁股坐在钢琴的键盘上……

白雪皑皑的高山若是变得清晰可见就失去了它的威严，但观光者却因为能看见山顶上的游客而喜形于色。大多数人是为了看见而要看见，只是为了使这个愿望得到满足而已，因此他们仅以能看见细节为快。

当傍晚富有诗意的迷雾象柔纱般地笼罩着河边，破旧的建筑消失在朦胧的天空，高高的烟囱变成一座座钟楼，大大小小的仓库恍如夜间的宫殿，整个城市悬在了空中，宛若仙境展现在我们眼前，那时候，路上的人们匆匆走路回家；劳动者和文化人，智者和浪子，因为他们熟视无睹，他们也就不能理解，而只在此时才开始歌唱的大自然便把自己微妙的歌唱给艺术家——她的儿子和她的主人；说他是儿子是因为他爱她，说他是主人是因为他理解她。

只有对他，她才展现她的秘密，只有对他，她的内涵才逐渐变得清晰。他观察着她的花朵，不是用为植物学家采集实据的放大镜，而是用一种眼光，她用这种眼光在她精选的灿烂色调和精妙色彩中可以看见即将诞生的画面是多么和谐。

他并非不假思索地描摹每一片草叶，如同那些不谙此道的人们所赞扬的那样，而是在又高又直的茎干上的细长叶弯里，他发现，优雅和尊严融为一体，力量使它更加温柔，而后才产生了高雅。

在蝴蝶那淡淡的香橼色并布满雅致的橘黄斑点的翅膀上，他看见庄严的金色大厅就在眼前，还有又细又高的金黄顶柱，并且懂得了那高墙上精巧的图画要用轻柔的雄黄色调来描绘，并要以更加庄重的色调为底色将其绘制下来。

在所有这些雅致和可爱的元素里，他得到如何进行融合的启示，这样，大自然就成了他取之不尽的源泉，随时为他服务，对他从不拒绝。

通过他的大脑，如同通过最后一道蒸馏器一样，那发端于诸神，并由诸神托付他去实现的思想精髓得以净化。

由于受到诸神的青睐去完成他们的作品，他创作了被称之为杰作的绝妙之作，它的完美超出诸神在大自然里所创造的一切；他们站在一旁，惊叹不已，并发现米洛斯岛上的维纳斯像比他们自己的夏娃要美丽得多。

第二部分：汉译英译文 （50分）

An American Writer Who Was Born in Tianjin

It has been gone like smoke and clouds. How time flies! In the autumn of 1981 when Tianjin Writers’ Association has just resumed its normal function in the wake of the Cultural Revolution, Mr. John Hersey, Ex-Chairman of American Writers’ Federation, came to Tianjin. He had come toChinaas a tourist and made a point of coming to see his former home there.

How come Tianjin had become Hersey’s hometown? What happened was that his father, a missionary fromAmerica, was in charge of Tianjin YMCA for many years and his mother, at the request of Nankai Middle School, was there teaching English. His interpreter offered a few humorous remarks that at Nankai Middle School his mother had taught a student that later became a world-known figure and this student was none other than Zhou Enlai. He added that Hersey had once said half jokingly that he had known this great figure when he was still in his mother’s womb. He was born in Tianjin in 1914, and left forAmericaat the age of eleven. But Tianjin had always been to the fore of his mind. He had visited Tianjin twice earlier, the first one in 1939 and the second in 1946, and this was his third visit.

Hersey was well prepared for his visit to Tianjin. His interpreter again offered some extra information that, while in Beijing, he had asked someone to translate and read to him in English some works by Tianjin writers and he had a high opinion of “The Lotus Lake” by Sun Li and “The Visitor” by Fang Ji, and that gave us a glimpse of his attitude toward life and how he looked at social realities.

The next day I was invited to the hotel where he stayed and we had a long talk in his room. He put his pocket recorder on the tea table, saying he wanted to note down what I was going to say as it was being interpreted. He asked how Tianjin was affected by the Tangshan earthquake and then he said he would like to be furnished with some information about Tianjin writers, because, during his previous visits to Tianjin, it had never occurred to him that there was any writer in this city. When he learned that writers inChinawere paid regular salaries, apart from contribution fees for their writings, he was so amazed that he put it in his notebook as if he had discovered something unusual. Picking up the topic from where he left off I asked how he had managed to make a living by writing and he said he was currently employed as a journalist for a newspaper and a professor at a university. His employment in the two occupations not only provided him with materials for creative writing and widened the range of his learning. Some of his novels were developed on the reportage he had written as a journalist and others were conceived while he was teaching at university.