fame英語(yǔ)課文翻譯
在漢語(yǔ)和英語(yǔ)兩種語(yǔ)言中存在著許多共同之處, 在對(duì)于許多英語(yǔ)句子的 翻譯過(guò)程中, 完全可以采取直譯的方法，下面為大家分享了fame的課文翻譯，一起來(lái)看看吧！
fame英語(yǔ)課文翻譯 篇1
Fame is very much like an animal chasing its own tail who, when he captures it, does not knowwhat else to do but to continue chasing it. Fame and the exhilarating popularity thataccompanies it, force the famous person to participate in his or her own destruction. Ironicisn't it?
聲譽(yù)很像一只追逐自己尾巴的動(dòng)物，抓住后除了繼續(xù)追逐不舍之外，再也沒(méi)有其他方法了。聲譽(yù)與隨之而來(lái)的令人興奮的贊揚(yáng)迫著這位出了名的人走上自己的末路。這難道不令人啼笑皆非嗎？
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 ismarketed aggressively and gains some popularity, and it is this popularity that usuallyconvinces the performer to continue performing in the same style, since that is what the publicseems to want and to enjoy. But in time, the performer becomes bored singing the same songsin the same way year after year, or the painter becomes bored painting similar scenes orportraits, or the actor is tired of playing the same character repeatedly. The demand of thepublic holds the artist hostage to his or her own success, fame. If the artist attempts to changehis or her style of writing or dancing or singing, etc., the audience may turn away and look toconfer fleeting fickle fame on another and then, in time, on another, and so on and so on.
在已經(jīng)出了名的人們中間，絕大多數(shù)是因有一技之長(zhǎng)，如唱歌、舞蹈、繪畫、寫作等等，而獲此聲譽(yù)的。這位成功的表演者展示出一種在市場(chǎng)上可以爭(zhēng)雄制勝的風(fēng)格，因而獲得聲譽(yù)。而且也就是這種聲譽(yù)常使表演者確信必須把這種風(fēng)格堅(jiān)持下去，因?yàn)榭磥?lái)這正是大眾所需要和喜愛的�？墒请S著時(shí)間之轉(zhuǎn)移，歌手年復(fù)一年地依老調(diào)唱老歌，畫師畫同樣的風(fēng)景人物，演員反復(fù)重演同一角色，都會(huì)感到厭煩。為了維持自己的成功和聲譽(yù)，群眾的要求竟把這位藝術(shù)家如人質(zhì)般束縛住了。如果這位藝術(shù)家企圖改變筆調(diào)、舞步、唱腔的話，聽眾觀眾就會(huì)舍他而去，把那飄忽不定的稱譽(yù)轉(zhuǎn)移給別人。隨后有轉(zhuǎn)移給另一人，這樣不停地轉(zhuǎn)來(lái)轉(zhuǎn)去。
Who cannot recognize a Tennessee Williams play or a novel by John Updike or ErnestHemingway or a poem by Robert Frost or W. H. Auden or T. S. Eliot? The same is true ofpainters 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 inthe traditional forms and granted them fame and forturn, but they were not free to developother styles or forms because their audience demanded of each of them what they originallypresented. Hemingway cannot even now be confused with Henry James or anyone else, norcan 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 endlessadmiration and respect, but there is a heavy price one must pay for it.
有哪個(gè)人會(huì)認(rèn)識(shí)不出一本田納西·威廉斯的劇本、一本約翰·厄普代克或歐內(nèi)斯特·海明威的小說(shuō)，或羅伯特·弗羅斯特，或W.H奧登或T.S艾略特所寫的一首詩(shī)歌呢？畫家中，如莫奈、雷諾阿、達(dá)利或畢加索的畫，導(dǎo)演制片如希區(qū)科克、費(fèi)利尼、斯皮爾伯格、陳凱歌、張藝謀等等的作品，不也正是這樣嗎？他們的獨(dú)特風(fēng)格，迥異于一般傳統(tǒng)，給他們帶來(lái)美譽(yù)及財(cái)富。但他們不能自由地另創(chuàng)風(fēng)格或形式。這是因?yàn)槿罕娤蛩麄兠總�(gè)人所要求的正是他們?cè)瓉?lái)所提供的一切。直到現(xiàn)在，海明威決不能與亨利·詹姆斯或其他任何人相混淆，弗羅斯特也決不能與葉芝相混淆，如此等等。他們每個(gè)人都創(chuàng)造了獨(dú)特風(fēng)格。也創(chuàng)遣了他們自己。沒(méi)有一位藝術(shù)家或表演家能完全逃避榮譽(yù)的引誘，榮譽(yù)給他們帶來(lái)無(wú)窮的贊揚(yáng)和崇敬，但他們要付出的代價(jià)也是靠常昂貴的。
Fame brings celebrity and high regard from adoring and loyal fans in each field of endeavor andit is heady stuff. A performer can easily come to believe that he or she is as good as his or herpress. But most people, most artists do not gain fame and fortune. What about thoseperformers who fail, or anyone who fails? Curiously enough, failure often serves as its ownreward for many people! It brings sympathy from others who are delighted not to be you, andit allows family and friends to lower their expectation of you so that you need not competewith those who have more talent and who secceed. And they find excuses and explanations foryour inability to succeed and become famous: you are too sensitive, you are not interested inmoney, you are not interested in the power that fame brings and you are not interested in theloss of privacy it demands, etc. ---all excuses, but comforting to those who fail and those whopretend not to notice the failure.
在每個(gè)領(lǐng)域里，出了名就會(huì)使一些虔敬的入迷者表示贊揚(yáng)和尊崇，但這也是一種容易使人陶醉的東西。一位表演家糧容易相信自己的成就當(dāng)真和報(bào)章輿論所說(shuō)的一樣�？墒谴蠖鄶�(shù)人，大多數(shù)藝人并沒(méi)有得到聲名財(cái)富。那些失敗的表現(xiàn)者又如何呢？其他任何一個(gè)失敗者又如何呢？真奇怪，對(duì)很多人來(lái)說(shuō)，失敗也常常會(huì)起一種報(bào)償?shù)淖饔�！有些人慶幸自己不像你那樣地失敗，就會(huì)對(duì)你表示同情，你的親朋們也會(huì)降低對(duì)你的期望，使你不必去同那些才智勝于你而獲得成功的人們較量。他們會(huì)找借口解說(shuō)你不成功不出名的原因，說(shuō)什么：你太敏感了呀；你對(duì)金錢沒(méi)有興趣呀；你對(duì)聲名所能帶來(lái)的權(quán)力不感興趣呀；因?yàn)槁曌u(yù)要使你喪失隱私權(quán)，因而你不感興趣呀，等等--這一些無(wú)非都是借口而已，但對(duì)失敗者或假裝不關(guān)心自己失敗的人來(lái)說(shuō)，都多少帶來(lái)一點(diǎn)安慰。
History has amply proven that some failure for some people at certain times in their lives doesindeed motivate them to strive even harder to succeed and to continue believing inthemselves. Thomas Wolfe, the American novelist, had his first novel Look Homeward, Angerrejected 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 becomethe greatest, most famous musician in the world, and Pestalozzi, the famous Italian educator inthe 19th century, failed at every job he ever had until he came upon the idea of teachingchildren 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 seemedto the teacher to be quite dull and unruly. Many other cases may be found of people who failedand 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 arefew, if any, famous failures.
歷史已充分證明有些人在生命中某些時(shí)刻遭遇的失敗確實(shí)促使他們更努力奮斗，繼續(xù)深信自己，以求得成功。美國(guó)小說(shuō)家托馬斯·沃爾夫的第一部小說(shuō)《天使，望故鄉(xiāng)》出版之前，被退稿39次，終于開始了他的寫作事業(yè)并贏得了聲譽(yù)。貝多芬不屈服于他的專橫的父親，還忍氣當(dāng)過(guò)樂(lè)師，但終于克服一切，成為全世界最偉大最著名的音樂(lè)家。19世紀(jì)意大利著名教育家貝斯達(dá)洛齊從事各業(yè)一無(wú)成就，但最后專心于兒童教育，研討了新教育法的基本原理，形成一種新的教育理論。托馬斯·愛迪生十歲左右，從四年級(jí)里被趕出校外，因?yàn)榻處熡X(jué)得他又笨又倔強(qiáng)。這種以失敗為動(dòng)力，奮發(fā)有為，成名成家的人還有多例可舉。但不幸的是，對(duì)多數(shù)人來(lái)說(shuō)，失敗是奮斗的結(jié)束，而不是開始。成名的失敗事例即使有，也是少數(shù)。
Well then, why does anyone want fame? Do you? Do you want to be known to many peopleand admired by them? Do you want the money that usually comes with fame? Do you want themedia to notice everything you do or say both in public and in private? Do you want themhounding you, questioning you and trying to undo you? In American politics it is very obviousthat to be famous is to be the target of everyone who disagrees with you as well as of themedia. Fame turns all the lights on and while it gives power and prestige, it takes the you outof you: you must be what the public thinks you are, not what you really are or could be. Thepolitician, like the performer, must please his or her audiences and that often means sayingthings 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 anyonewant fame? Several reasons come to mind: to demonstrate excellence in some field; to gainthe admiration and love of many others; to be the one everyone talks about; to show familyand friends you are more than they thought you were. Probably you can list some otherreasons, but I think are reasonably common.
那么，一個(gè)人為什么要追求聲譽(yù)呢？你追求聲譽(yù)嗎？你希望許多人都知道你贊賞你嗎？你要那個(gè)往往隨聲譽(yù)而來(lái)的金錢嗎？你要傳播媒介注意你在公開或私下的一言一行嗎？你要他們像獵狗似的追逐著你，向你提問(wèn)，想辦法拆你的臺(tái)腳嗎？在美國(guó)政界中非常明顯，你要出名就得成為反對(duì)你的每個(gè)人的目標(biāo)，也是傳播媒介的目標(biāo)。聲譽(yù)把一切燈光打亮，一邊給你權(quán)力和威望，另一邊也把“你”趕出你的自身之外：你必須成為大眾意想之中的你，而不是那個(gè)真實(shí)的你或者可能實(shí)現(xiàn)的你。像表演家一樣，政治家必須討好他的聽眾，這就往往意味著要講一點(diǎn)自己并不完全相信或同意的話。所以相信政治家的人是如此之少，這就不足為奇了。但是我們還沒(méi)有回答本節(jié)開始所提的問(wèn)題：為什么人人都追求聲譽(yù)呢？我們想到的是下列幾點(diǎn)理由：為了顯示出在某方面的超越成就；贏得許多人的景仰愛慕；做一個(gè)人人都在提到的人；在親朋前顯示你超乎于他們對(duì)你的想象之上。也許你還可加些其他理由，但我覺(jué)得上述各點(diǎn)當(dāng)然是普遍的。
Is it possible to be famous and to remain true to yourself, the real you? Perhaps, but one ishard pressed to come up with the names of those who have done their thing their way andsecceeded in the fame game. Many political dissidents around the world, in particular, DawnAung Suu Kyi of Burma, is a rare exception to the rule that says maintaining unpopular viewsor unpopular attitudes or approaches in any field will destroy you. The famous Irish writerOscar Wilde, a very successful writer of stories, poems and plays, was known for his mostunusual clothing and eccentric behavior, social and sexual. This behavior brought him to theattention of the mother of a young man Oscar was intimate with and she accused him. He wasfurious about this and sued the young man's mother which led to a trial and imprisonment fortwo years. He remained true to himself and paid a heavy price for it by being ostracized anddefamed.
是否有可能既出名又保持著真實(shí)的你呢？也許可能。但我苦恩冥索實(shí)在想不出那些既能以己意行事而又能在聲譽(yù)角逐中獲勝的人的姓名來(lái)。世界上有許多持不同政見的人們，特別像緬甸的昂山蘇姬，是稀有的超越常規(guī)的例外情況。因?yàn)橐话愠Ｒ?guī)是在任何場(chǎng)合里，如果你采取反群眾的觀點(diǎn)、態(tài)度及方法，必將使你自己毀滅。著名的愛爾蘭作家奧斯卡。王爾德以小說(shuō)、詩(shī)歌及劇本極為著稱，同時(shí)，也因他的奇裝異服和怪異的社交和性行為出了名。這種行為受到他的一位青年密友的母親的注意。她指責(zé)了王爾德。王爾德為此大發(fā)雷霆，向這位青年的母親提出控訴。之后，法庭判他兩年徒刑。王爾德為了忠實(shí)于自己，付出了受社會(huì)排斥及喪失名譽(yù)的沉重代價(jià)。
Time magazine of June 17, 1996 devoted a good deal of its issue to discussing people (25 inAmerica) who are the most influential in the country in their opinion. They added a short essayon who are the most powerful people in America and no one on the first list appeared on thesecond list, and strangely enough, none of the poeple on either list was described as famous,although I think several surely are. Can we really distinguish influential people and powerfulpeople from those who are famous? Maybe, but their list of influential prople includes JerrySeinfeld the comedian and TV star, Courtney Love the singer and drug addict whose fame hascome largely through her husband Kurt Cobain, the guitarist who committed suicide, and thelist inbludes Oparh Winfrey the talk show host and Calvin Klein the clothing designer. All ofthese people are famous , but I believe, not very influential in the sense that they change theway most of us think or act. In Time magazine's list we find a Supreme Court justice, SandraDay O'Connorm, who is no more influential or powerful than any of other justices. PresidentClinton is not considered influential (?) but is considred powerful! You decide if you thinkfamous and influential and powerful are closely related, or different.
1996年6月17日那期的《時(shí)代》周刊以很多篇幅討論他們心目中各國(guó)最有影響的人物（美國(guó)有25人）。他們又為美國(guó)最有權(quán)勢(shì)的人加一篇短文。在第一個(gè)名單中（指最有影響的--譯者注）沒(méi)有一個(gè)人在第二個(gè)名單中（指最有權(quán)勢(shì)的--譯者注）出現(xiàn)。奇怪的是，在兩個(gè)名單中，沒(méi)有一個(gè)是被稱為有聲譽(yù)的，盡管我覺(jué)得其中有些人確有聲譽(yù)。我們真的能把有影響的人、有權(quán)力的人同有聲譽(yù)的人加以區(qū)分嗎？也許可以。但他們的有影響人物名單中包括喜劇演員和電視明星杰里。圣菲爾德；歌手和吸毒者哥特尼·洛夫，此人的名望主要來(lái)自她的丈夫，那個(gè)自殺的吉他手庫(kù)爾特·柯本。這名單里還包括脫口秀主持人奧柏拉。溫弗里和服裝設(shè)計(jì)師卡爾文·克萊恩。這些都是名人，但我想不是很有影響的，因?yàn)樗麄儾皇悄軌蚋淖兾覀兇蠖鄶?shù)人的思想或行為的人。在《時(shí)代》雜志表里我們也發(fā)現(xiàn)最高法院法官桑德拉·岱·奧康納，她也并不比其他八位法官中的任何一位更有影響或更有權(quán)力�？肆诸D總統(tǒng)不算有影響，只被認(rèn)為是有權(quán)力而已！如你以為有聲譽(yù)、有影響和有權(quán)力三者是緊密相聯(lián)或可以劃分的話，那么，隨你決定吧。
I believe that fame and celebrity, influence and power, success and failure, reality and illusionare all somehow neatly woven into a seamless fabric we laughingly call reality. I say to thosewho desperately seek fame and fortune, celebrity: good luck. But what will you do when youhave caught your tail, your success, your fame? Keep chasing it ? If you do catch it, hang onfor dear life because falling is not as painful as landing. See you soon famous and almostfamous, wayfarers on this unbright, nonlinear planet!
我相信聲譽(yù)和贊揚(yáng)、影響和權(quán)力、成功和失敗、現(xiàn)實(shí)和幻想都好像是精密編織在一匹光潔無(wú)縫的織品之中，即我們笑稱之現(xiàn)實(shí)的東西。對(duì)那些拼命追求聲譽(yù)、財(cái)富和贊賞的人們，我說(shuō)：祝您好運(yùn)。但當(dāng)你已抓住了尾巴、成功、聲譽(yù)之后，你將做什么呢？一直追逐下去嗎？如你確實(shí)抓住了它的話，那就舍命也不要松手，因?yàn)橄聣嬁偙葔嫷匾偻纯嘁稽c(diǎn)。走在這蒼茫而不可理喻的星球上的蕓蕓過(guò)客們，我盼你們不久就功成名就，或近乎功成名就吧！
fame英語(yǔ)課文翻譯 篇2
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(lái)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�，等等。成功的表演者積極開發(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(shuō)，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(méi)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(méi)有一個(gè)藝術(shù)家或表演者能完全逃脫名聲的誘惑，也沒(méi)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(lái)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(méi)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(shuō)家托馬斯·沃爾夫（Thomas Wolfe）第一部小說(shuō)《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(lè)家成為最偉大的，世界上最著名的音樂(lè)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(lái)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(jué)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(lái)激勵(lì)他們?nèi)〉贸晒Γ晒�，并成為名人。但不幸的是，�?duì)于大多數(shù)人來(lái)說(shuō)，失敗是他們奮斗的終點(diǎn)，而不是開始。幾乎沒(méi)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(lái)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(wèn)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(shuō)他不代表或不相信的事情。難怪很少人會(huì)這么做。
fame英語(yǔ)課文翻譯 篇3
Fame
Fame is very much like an animal chasing its own tailwho, when he captures it, does not know what elseto do but to continue chasing it. Fame and thedelighting popularity that accompanies it, force thefamous person to participate in his or her owndestruction.
Those who gain fame most often gain it as a result ofpossessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful performerdevelops a style that is marketed aggressively andgains some popularity. And it is this popularity that usually convinces the performer tocontinue performing in the same style, since that is what the public seems to want and toenjoy. But in time, the performer becomes bored singing the same songs in the same way yearafter year, or the painter becomes bored painting similar scenes or portraits, or the actor istired of playing the same character repeatedly. The demand of the public holds the artisthostage to his or her own success, fame. If the artist attempts to change his or her style ofwriting or dancing or singing, etc.the audience may turn away and look to confer changeablefame which is passing quickly on another.
I believe that fame and celebrity, influence and power,success and failure, reality and illusionare all somehow neatly woven into a seamless fabric we laughingly call reality. I say to thosewho desperately seek fame and fortune, celebrity:good luck. But what will you do when youhave caught your tail, your success, and your fame? Keep chasing it? If you do catch it, hangon for dear life because falling is not as painful as landing. See you soon famous and almostfamous.
聲譽(yù)
聲譽(yù)很像一只追逐自己尾巴的動(dòng)物，當(dāng)它抓住了自己的尾巴后，除了再繼續(xù)追逐外再不知做什么。聲譽(yù)與令人興奮的知名度相生相伴，從而使名人走向毀滅。
那些聲名鵲起之人多半是由于有一技之長(zhǎng)；唱歌、跳舞、繪畫或?qū)懽鞯�。一個(gè)成功的表演者發(fā)展了一種雄踞市場(chǎng)的風(fēng)格因而受到歡迎。正是由于這種受歡迎程度才使得他繼續(xù)保持這種風(fēng)格，因?yàn)檫@種風(fēng)格是大眾所需要和喜愛的。但最終，歌手為年復(fù)一年地以同樣的方式唱同樣的歌而感到心煩，畫家為畫類似的風(fēng)景人物而感到厭倦，演員為
反復(fù)演同樣的角色而疲憊不堪。公眾的需求使得藝術(shù)家們固守自己的名譽(yù)。若他們企圖改變自己的寫作風(fēng)格、唱腔、舞步等，則聽眾、觀眾便會(huì)離去，把稍縱即逝的名譽(yù)給予他人。
我相信名譽(yù)和聲望、影響和權(quán)力、成功與失敗，現(xiàn)實(shí)和幻想都以某種方法整齊地編織在山張無(wú)縫隙的織緞中，即我們所笑稱的現(xiàn)實(shí)。我對(duì)那些拼命尋求名譽(yù)、財(cái)富和聲望的人說(shuō)：祝你好運(yùn)。但當(dāng)你抓住自己的尾巴、獲得成功和贏得名譽(yù)之后你又能做什么呢?繼續(xù)追逐名利嗎?如果你確實(shí)抓住的話，千萬(wàn)抓緊了，因?yàn)橄聣嬇c落地的痛楚不一樣。祝你很快成名或差不多成名!
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