fame是聲譽(yù)的意思，聲譽(yù)常常是在明確強(qiáng)調(diào)“與他人對(duì)自己評(píng)價(jià)有關(guān)時(shí)”使用。下面是小編為大家整理的fame新世紀(jì)課文翻譯，歡迎閱讀。

　　Fame

　　聲譽(yù)

　　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 popularity that accompanies it, force the famous person to participate in his or her own destruction. Ironic isn'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 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 enjoy. 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 portraits, 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.

　　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(huà)、寫(xiě)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(ài)的。可是隨著時(shí)間之轉(zhuǎn)移，歌手年復(fù)一年地依老調(diào)唱老歌，畫(huà)師畫(huà)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(huà)，聽(tīng)眾觀眾就會(huì)舍他而去，把那飄忽不定的稱(chēng)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 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.

　　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(xiě)的一首詩(shī)歌呢？畫(huà)家中，如莫奈、雷諾阿、達(dá)利或畢加索的畫(huà)，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 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.

　　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。可是大多數(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)淖饔茫∮行┤藨c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(qián)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 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.