请高手指点翻译：惠特曼论朗费罗之死
惠特曼论朗费罗之死有几个句子翻译的很不好年轻朋友指点啊，虚心的想你们学习。
在我看来，朗费罗的大量的作品中，风格和形式是卓越的，有口语化的词汇，悦耳的音调，而且他带来了一种观念：诗歌是人类心灵和生活的品味的表达，是很多事物的本质。他是我们这个重物质、讲个人、拜金钱的盎格鲁—撒克逊民族最需要的一种中和剂。尤其在当代的美国——在一个处于企业家、商人、金融家和政治家专制之下的时代——更是知此。他作为优雅的高贵的诗人，曾经游览了意大利，德国, 西班牙，他是青年男女普遍接受的大众诗人。假如有人要我说出一个为美国做出了(比朗费罗)更大、更宝贵贡献的人来，那我还得好好地想一想。我怀疑在这之前是否还有如此准确的直觉的判断和美丽的诗歌选集。他的许多德国和斯堪的纳维亚作品的翻译据说比本国原作还要好。
他温良敦厚，和他一起如沐春风。他热情、充满活力。他叙写了很多大众的情感，而不写个人的痛苦和人性的卑鄙。他不是革命的，没有带来什么令人讨厌的或者新的东西，不自吹自擂。如果他们心情激动，相反，他的诗歌可以缓解并治愈这种情绪。他自己则不温不怒。
在朗费罗的诗歌气质中没有不适当的忧郁。即使在早期的翻译作品《the Manrique》the movement is as of strong and steady wind or tide holding up and buoying.在他的很多诗歌主题中没有避免死亡这个母题，在他最初的作品中，大胆的描写那种令人畏惧主题。
对于他人的不礼貌的抱怨，控告(很多年前Margaret Fuller所为，后来又发生几次)他的诗歌缺乏原创性，我仅仅说美国和整个世界将心怀感激,而且将感恩不尽。他是本世纪赐予给我们优秀的诗人，不必问他的诗歌与他人有何不同。补充一点我曾经听到朗费罗本人所说新世界是最原始的，可以认可她自己以及她的英雄，他必须拥有他人的原创性，而且在阿伽门农之前尊敬他人认可的英雄。
作为诗人，没有嫉妒，没有暴躁的脾气，随着岁月的流逝，他的生命溶入了他自己的爱，学识、坦率、谦恭、践行自己的人生美德。在世界的竞技场中，他又很多自己的悲苦，但是他也有自己的荣誉、骄傲、认可、辉煌。
今天诚实的说，在长时间内，朗费罗的名声不会确定。随着时间的流逝，他的影响是广泛的，深远的。
Longfellow in his voluminous works seems to me not only to be eminent in the style and forms of poetical expression that mark the present age (an idiocrasy, almost a sickness, of verbal melody), but to bring what is always dearest as poetry to the general human heart and taste, and probably must be so in the nature of things.
He is certainly the sort of bard and counteractant most needed for our materialistic, self-assertive, money-worshipping, Anglo-Saxon races, and especially for the present age in America an age tyrannically regulated with reference to the manufacturer, the merchant, the financier, the politician and
the day workman for whom and among whom he comes as the poet of melody, courtesy, deference poet of the mellow twilight of the past in Italy, Germany, Spain, and in Northern Europe poet of all sympathetic gentleness and universal poet of women and young people. I should have to think long if I were asked to name the man who has done more, and in more valuable directions, for America.
I doubt if there ever was before such a fine intuitive judge and selecter of poems. His translations of many German and Scandinavian pieces are said to be better than the vernaculars.
He does not urge or lash. His influence is like good drink or air. He is not tepid either, but always vital, with flavor, motion, grace. He strikes a splendid average, and does not sing exceptional passions, or humanity's jagged escapades. He is not revolutionary, brings nothing offensive or new, does not deal hard blows. On the contrary his songs soothe and heal, or if they excite, it is a healthy and agreeable excitement. His very anger is gentle, is at second hand, (as in The Quadroon Girl and The Witnesses ).there is no undue element of pensiveness in Longfellow's strains. Even in the early translation, `the Manrique,' the movement is as of strong and steady wind or tide holding up and buoying. Death is not avoided through his many themes, but there is something almost winning in his original verses and renderings on that dread subject....
To the ungracious complaint-charge (as by Margaret Fuller many years ago, and several times since), of his want of racy nativity and special originality, I shall only say that America and the world may well be reverently thankful can never be thankful enough for any such singing-bird vouchsafed out of the centuries, without asking that the notes be different from those of other songsters; adding what I have heard Longfellow himself say, that ere the New World can be worthily original and announce herself and her own heroes, she must be well saturated with the originality of others, and respectfully consider the heroes that lived before Agamemnon.，
Without jealousies, without mean passions, never did the personality, character, daily and yearly life of a poet, more steadily and truly assimilate his own loving, cultured, guileless, courteous ideal, and exemplify it. In the world's arena, he had some special sorrows but he had prizes, triumphs, recognitions, the grandest.
Extensive and heartfelt as is to-day, and has been for a long while, the fame of Longfellow, it is probable, nay certain, that years hence it will be wider and deeper... 真诚的希望翻译的朋友家诶与帮助 我不是高手，也不是学文科的。浅浅地看了一下，楼主好像漏译了不少啊，像第一段里的"that mark the present age"及后面括号里的表达。一些原文好像也引错了，比如"idiocrasy"应该不是个单词吧。 that mark the present age (an idiocrasy, almost a sickness, of verbal melody),
那时目前的一个时代的标志：有口语化的词汇，悦耳的音调。当否？ 引用第0楼liushijun于2008-07-18 18:35发表的 请高手指点翻译：惠特曼论朗费罗之死 :
惠特曼论朗费罗之死
有几个句子翻译的很不好年轻朋友指点啊，虚心的想你们学习。
.......
楼主的意思是否是“有几个句子翻译得很不好，请朋友指点啊，虚心地向你们学习。”？？？ thank you
i will correct what i made carefully
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