《a view of mountains》课文翻译：
望远山
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，一颗原子弹投向长崎。当天，在日军中服役的摄影师山端庸介被派遣到这座已遭毁灭的城市。
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.
他第二天拍摄的百来张照片可谓现存最完整的核毁灭威力的影像记录。此前3天也遭遇毁灭的广岛在轰炸的第一天基本没被相机拍摄下来。
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.
山端碰巧有条不紊地用伟大而简洁的艺术手法记录下了核武器爆炸后仅仅数小时对人类的影响。山端的部分照片展示了被核火球以其独特的方式烧焦了的尸体。
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.
他们是被光烧焦的——用专业术语来说，他们是被“热脉冲”烧焦的——尸体通常都烙上了衣服的图案，因为不同的颜色吸光程度不同。
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.
一张照片拍下了一匹身形扭曲的马儿蜷缩在它拉的大车下面。另一张显示了一堆悬挂在突出物上面伸进沟渠的东西，看得出这也是一个人的遗骸。
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张照片中有个小女孩站在防空洞入口处，不知何故她虽经历劫难却毫发无伤。她脸上露出诡异的笑容，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.
如果不是这张照片，在我们现在见证的场景中，原先的日常生活已一去不返。大片茫茫的废墟瓦砾一直伸向远方，残火零落其间，而这片景象的背景则是绵延的大山。
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.
我们能遥望远山，正因为整个城市已化为焦土。城市的灰飞烟灭比断壁残垣更能说明问题的核心本质。这一事件的真正效应不在于城市还剩下什么，而在于消失的一切。
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.
美国使用世界上第2颗原子弹将长崎夷为平地仅仅用了几秒钟，然而，山端拍摄这一事件的照片从长崎辗转回到美国却用了50年之久。
They were shown for the first time in this country in 1995, at theInternational Center for Photography in New York.
照片第一次在美国展出是在1995年，展出地点是纽约国际摄影中心。
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.
迟到了半个世纪，这些照片仍然带有新闻效应。这些照片展示的是单个城市的命运，但却带有普遍意义，因为在我们这个核武器时代，发生在长崎身上的灾难也可能在转瞬之间发生在世界任何一个城市身上。通过这些照片，长崎为自己正名。
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.
它一直存在于广岛的阴影中，因为似乎人类的想象力到达广岛这第一个被毁灭的城市的废墟之后便裹足不前、消失殆尽了，以至于连长崎的边缘都到达不了。
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，长崎的灭顶之灾在某些方面恰恰是笼罩在我们头顶上的核威胁阴云的更有力的象征。它证明人类一旦大开核武器杀戒，就会重蹈覆辙。
It introduces the idea of a series －the series that, with tens of thousands of nuclear weapons remaining in existence, continues to threaten everyone.
它带来了系列破坏的概念，就是说，有成千上万的核武器持续存在，我们每个人都有可能受到威胁。
(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颗原子弹原定是投向小仓的，只是后来因为天气恶劣，空中视线不佳，这才使小仓免遭长崎的厄运。这说明了核武器系列性威胁捉摸不定、难以预测的性质。)
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，与其说每张照片似乎记录了半个世纪之前发生的景象，还不如说它是嵌在摄影中心墙上的一扇窗户，透过它人们能看到也许很快就会轻而易举地发生在纽约的事情。
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，无论这些展品到达何方，这些“视窗”展示的遭受威胁的未来景象都大致准确，因为尽管每个完好无损的城市和其他城市都大不相同，任何遭遇核毁灭打击的城市面貌都将相差无几。
3、Yamahata’s pictures afford a glimpse of the end of the world.
山端的照片使人们对世界末日可以管中窥豹。
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，在这个时代，我们的挑战不仅是认识核威胁的存在，还要抓住这个天赐良机彻底消灭核威胁。
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，除了这些照片，我们还需要其他照片来抵消遭受毁灭的长崎带来的负面感受；我们需要的照片所展示的不是我们通过失败会失去的事物，而是通过成功我们能得到的东西。但是，这该是什么样的照片？
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?
你如何展示和世界末日截然相反的另一面？是长崎在投弹前完好无缺、生机勃勃的照片吗？抑或是逃过一劫的小仓？
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?
或者是一个儿童，还是一位母亲和她的孩子，抑或是地球本身？没有一张能充分达到目的。原因是我们如何能以有限之形式来展现现在和将来气象万千的全人类生机无限的一个个鲜活生命？
Imagination, faced with either the end of the world or its continuation, must remain incomplete. Only action can satisfy.
面对世界末日或世界未来，想象力的确力不从心。只有行动能令人满意。
4、Once, the arrival in the world of new generations took care of itself.
过去，新生代降临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.
现在，他们只有依靠今人充满信仰的行动和集体意志才能到来，我们必须保障他们存在的权利。
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.
当今世人最重大的责任就是采取这样的行动。时间的礼物永远是生命的礼物，前提是我们必须懂得如何接受这样的礼物。
翻译英语的技巧：
一、转换句子法。
顾名思义，转换句子法就是在英译中，或者中译英的翻译题里，为了使将要译出的句子符合中文/英文里面的表达习惯、方法和方式等目标，而把题目中原句的语态、所用词类以及句型等进行处理转换。
1、在语态上，把主动语态变为被动语态（中译英），或者把被动语态变为主动语态（英译中）。
2、在词性上面，用介词、形容词、副词、名词等来替换原来的动词，用动词、形容词、代词来替代名词，或者用短语、副词来替代形容词。
3、在句子成分的方面，用表语、定语、状语、宾语来替换主语，用表语、主语、定语转换谓语，或者用主语、状语转换定语。
4、在句型上面，可以把简单句和复杂句互换，复合句痛并列句互换，或将定语从句转化为状语从句。
二、省略翻译法
这与最开始提到的增译法相反，就是要求你把不符合汉语，或者英语的表达的方式、思维的习惯或者语言的习惯的部分删去，以免使所翻译出的句子沉杂累赘。
三、合并法
合并翻译法就是把多个短句子或者简单句合并到一起，形成一个复合句或者说复杂句，多出现在汉译英的题目里出现，比如最后会翻译成定语从句、状语从句、宾语从句等等。
这是因为汉语句子里面喜欢所谓的“形散神不散”，即句子结构松散，但其中的语意又是紧密相连的，所以为了表达出这种感觉，汉语多用简单句进行写作。而英语则不同，它比较强调形式，结构严谨，所以会多用复杂句、长句。因此，汉译英时还需要注意介词、连词、分词的使用。
四、拆分法
当然，英译汉的时候，就要采取完全相反的战术——拆分法，即把一个长难句细细拆分为一个个小短句、简单句，并适当补充词语，是句子通顺。最后，注意还需要按照汉语习惯调整语序，达到不仅能看懂而且不拗口的目标。
五、插入法
就是把不能处理的句子，利用括号、双逗号等插入到所翻译的句子中，不过这种方法多用在笔译里面，口译用的非常少。