《a view of mountains》課文翻譯：
望遠山
1、On August 9, 1945, the day the atomic bomb was dropped on Nagasaki, Yosuke Yamahata, aphotographer serving in the Japanese army, was dispatched to the destroyed city.?
1945年8月9日，壹顆原子彈投向長崎。當天，在日軍中服役的攝影師山端庸介被派遣到這座已遭毀滅的城市。
The hundred or so pictures he took the next day constitute the fullest photographic record of nuclear destruction inexistence. Hiroshima, destroyed three days earlier, had largely escaped the camera’s lens in the first day after the bombing.
他第二天拍攝的百來張照片可謂現存最完整的核毀滅威力的影像記錄。此前3天也遭遇毀滅的廣島在轟炸的第壹天基本沒被相機拍攝下來。
It was therefore left to Yamahata to record, methodically －and, as ithappens, with a great and simple artistry – the effects on a human population of a nuclear weapon only hours after it had been used.Some of Yamahata’s pictures show corpses charred in the peculiar way in which a nuclear fireball chars its victims.?
山端碰巧有條不紊地用偉大而簡潔的藝術手法記錄下了核武器爆炸後僅僅數小時對人類的影響。山端的部分照片展示了被核火球以其獨特的方式燒焦了的屍體。
They have been burned by light – technicallyspeaking, by the “thermal pulse” －and their bodies are often branded with the patterns of theirclothes, whose colors absorb light in different degrees.?
他們是被光燒焦的——用專業術語來說，他們是被“熱脈沖”燒焦的——屍體通常都烙上了衣服的圖案，因為不同的顏色吸光程度不同。
One photograph shows a horse twisted under the cart it had been pulling. Another shows a heap of something that once had been a human being hanging over a ledge into a ditch.?
壹張照片拍下了壹匹身形扭曲的馬兒蜷縮在它拉的大車下面。另壹張顯示了壹堆懸掛在突出物上面伸進溝渠的東西，看得出這也是壹個人的遺骸。
A third shows a girl who has somehow survived unwoundedstanding in the open mouth of a bomb shelter and smiling an unearthly smile, shocking us with the sight of ordinary life, which otherwise seems to have been left behind for good in the scenes we are witnessing.
第3張照片中有個小女孩站在防空洞入口處，不知何故她雖經歷劫難卻毫發無傷。她臉上露出詭異的笑容，令人震撼。
Stretching into the distance on all sides are fields of rubble dotted with fires, and, in the background, a view of mountains.?
如果不是這張照片，在我們現在見證的場景中，原先的日常生活已壹去不返。大片茫茫的廢墟瓦礫壹直伸向遠方，殘火零落其間，而這片景象的背景則是綿延的大山。
We can see the mountains because the city is gone. That absence, even more than wreckage, contains the heart of the matter. The true measure of the event lies not in what remains but in all that has disappeared.
我們能遙望遠山，正因為整個城市已化為焦土。城市的灰飛煙滅比斷壁殘垣更能說明問題的核心本質。這壹事件的真正效應不在於城市還剩下什麽，而在於消失的壹切。?
2、It took a few seconds for the United States to destroy Nagasaki with the wo rld’s second atomicbomb, but it took fifty years for Yamahata’s pictures of the event to make the journey back fromNagasaki to the United States.?
美國使用世界上第2顆原子彈將長崎夷為平地僅僅用了幾秒鐘，然而，山端拍攝這壹事件的照片從長崎輾轉回到美國卻用了50年之久。
They were shown for the first time in this country in 1995, at theInternational Center for Photography in New York.?
照片第壹次在美國展出是在1995年，展出地點是紐約國際攝影中心。
Arriving a half-century late, they are still news.The photographs display the fate of a single city, but their meaning is universal, since, in our age of nuclear arms, what happened to Nagasaki can, in a flash, happen to any city in the world.?
遲到了半個世紀，這些照片仍然帶有新聞效應。這些照片展示的是單個城市的命運，但卻帶有普遍意義，因為在我們這個核武器時代，發生在長崎身上的災難也可能在轉瞬之間發生在世界任何壹個城市身上。通過這些照片，長崎為自己正名。
In thephotographs, Nagasaki comes into its own. Nagasaki has always been in the shadow of Hiroshima, as if the human imagination had stumbled to exhaustion in the wreckage of the first ruined city without reaching even the outskirts of the second.?
它壹直存在於廣島的陰影中，因為似乎人類的想象力到達廣島這第壹個被毀滅的城市的廢墟之後便裹足不前、消失殆盡了，以至於連長崎的邊緣都到達不了。
Yet the bombing of Nagasaki is in certain respects the fitter symbol of the nuclear danger that still hangs over us.?It is proof that, having once used nuclearweapons, we can use them again.
然而，長崎的滅頂之災在某些方面恰恰是籠罩在我們頭頂上的核威脅陰雲的更有力的象征。它證明人類壹旦大開核武器殺戒，就會重蹈覆轍。
It introduces the idea of a series －the series that, with tens of thousands of nuclear weapons remaining in existence, continues to threaten everyone.?
它帶來了系列破壞的概念，就是說，有成千上萬的核武器持續存在，我們每個人都有可能受到威脅。
(The unpredictable, open-ended character of the series is suggested by the fact that the second bomb originally was to be dropped on the city of Kokura, which was spared Nagasak i’s fate only because bad weather protected it from view.)?
(第2顆原子彈原定是投向小倉的，只是後來因為天氣惡劣，空中視線不佳，這才使小倉免遭長崎的厄運。這說明了核武器系列性威脅捉摸不定、難以預測的性質。)
Each picture therefore seemed not so much an image of something that happened a half-century ago as a window cut into the wall of the photography center showing what soon could easily happen to New York.?
因此，與其說每張照片似乎記錄了半個世紀之前發生的景象，還不如說它是嵌在攝影中心墻上的壹扇窗戶，透過它人們能看到也許很快就會輕而易舉地發生在紐約的事情。
Wherever the exhibit might travel, moreover, the view of threatened future from these “windows” would be roughly accurate, since, although every intact city is different from every other, all cities that suffer nuclear destruction will look much the same.
而且，無論這些展品到達何方，這些“視窗”展示的遭受威脅的未來景象都大致準確，因為盡管每個完好無損的城市和其他城市都大不相同，任何遭遇核毀滅打擊的城市面貌都將相差無幾。?
3、Yamahata’s pictures afford a glimpse of the end of the world.?
山端的照片使人們對世界末日可以管中窺豹。
Yet in our day, when the challenge is not just to apprehend the nuclear peril but to seize a God-given opportunity to dispel it once and for all,?
然而，在這個時代，我們的挑戰不僅是認識核威脅的存在，還要抓住這個天賜良機徹底消滅核威脅。
we seem to need, in addition, some other picture to counterpoise against ruined Nagasaki －one showing not what we would lose through our failure but what we would gain by our success.?What might that picture be, though?
所以，除了這些照片，我們還需要其他照片來抵消遭受毀滅的長崎帶來的負面感受；我們需要的照片所展示的不是我們通過失敗會失去的事物，而是通過成功我們能得到的東西。但是，這該是什麽樣的照片？
How do you show the opposite of the end of the world? Should it be Nagasaki, intact and alive, before the bomb was dropped －or perhaps the spared city of Kokura?
妳如何展示和世界末日截然相反的另壹面？是長崎在投彈前完好無缺、生機勃勃的照片嗎？抑或是逃過壹劫的小倉？
Should it be a child, or a mother and child, or perhaps the Earth itself? None seems adequate, for how can we give a definite form to that which can assume infinite forms, namely, the lives of all human beings, now and in the future?
或者是壹個兒童，還是壹位母親和她的孩子，抑或是地球本身？沒有壹張能充分達到目的。原因是我們如何能以有限之形式來展現現在和將來氣象萬千的全人類生機無限的壹個個鮮活生命？
Imagination, faced with either the end of the world or its continuation, must remain incomplete. Only action can satisfy.
面對世界末日或世界未來，想象力的確力不從心。只有行動能令人滿意。
4、Once, the arrival in the world of new generations took care of itself.?
過去，新生代降臨人世乃自然而然之事。
Now, they can come into existence only if, through an act of faith and collective will, we ensure their right to exist.?
現在，他們只有依靠今人充滿信仰的行動和集體意誌才能到來，我們必須保障他們存在的權利。
Performing that act is the greatest of the responsibilities of the generations now alive. The gift of time is the gift of life, forever, if we know how to receive it.
當今世人最重大的責任就是采取這樣的行動。時間的禮物永遠是生命的禮物，前提是我們必須懂得如何接受這樣的禮物。
翻譯英語的技巧：
壹、轉換句子法。
顧名思義，轉換句子法就是在英譯中，或者中譯英的翻譯題裏，為了使將要譯出的句子符合中文/英文裏面的表達習慣、方法和方式等目標，而把題目中原句的語態、所用詞類以及句型等進行處理轉換。
1、在語態上，把主動語態變為被動語態（中譯英），或者把被動語態變為主動語態（英譯中）。
2、在詞性上面，用介詞、形容詞、副詞、名詞等來替換原來的動詞，用動詞、形容詞、代詞來替代名詞，或者用短語、副詞來替代形容詞。
3、在句子成分的方面，用表語、定語、狀語、賓語來替換主語，用表語、主語、定語轉換謂語，或者用主語、狀語轉換定語。
4、在句型上面，可以把簡單句和復雜句互換，復合句痛並列句互換，或將定語從句轉化為狀語從句。
二、省略翻譯法
這與最開始提到的增譯法相反，就是要求妳把不符合漢語，或者英語的表達的方式、思維的習慣或者語言的習慣的部分刪去，以免使所翻譯出的句子沈雜累贅。
三、合並法
合並翻譯法就是把多個短句子或者簡單句合並到壹起，形成壹個復合句或者說復雜句，多出現在漢譯英的題目裏出現，比如最後會翻譯成定語從句、狀語從句、賓語從句等等。
這是因為漢語句子裏面喜歡所謂的“形散神不散”，即句子結構松散，但其中的語意又是緊密相連的，所以為了表達出這種感覺，漢語多用簡單句進行寫作。而英語則不同，它比較強調形式，結構嚴謹，所以會多用復雜句、長句。因此，漢譯英時還需要註意介詞、連詞、分詞的使用。
四、拆分法
當然，英譯漢的時候，就要采取完全相反的戰術——拆分法，即把壹個長難句細細拆分為壹個個小短句、簡單句，並適當補充詞語，是句子通順。最後，註意還需要按照漢語習慣調整語序，達到不僅能看懂而且不拗口的目標。
五、插入法
就是把不能處理的句子，利用括號、雙逗號等插入到所翻譯的句子中，不過這種方法多用在筆譯裏面，口譯用的非常少。