Question

求大神翻译~

The writer builds with words, and no builder uses a raw material more slippery and elusive and treacherous. A writer's work is a constant struggle to get the right word in the right place, to find that particular word that will convey his meaning exactly, that will persuade the reader or soothe him or startle or amuse him. He never succeeds altogether --- sometimes he feels that he scarcely succeeds at all --- but such success as he has are what make the thing doing.
Some words are what we call "colorful". By this we mean that they are calculated to produce a picture or induce an emotion. They are dressy instead of plain, specific instead of general, loud instead of soft. However it should not be supposed that the fancy word is always better. Often it is as well to write “Her heart beat" or "It was hot" in place of "Her heart pounded" or "It was blistering “if that is all it did or all it was. Ages differ in how they like their prose. The nineteenth century liked it rich and smoky. The twentieth has usually preferred it lean and cool. The twentieth century writer is wary of sounding feverish. He tends to pitch it low, to understate it, to throw it away. He knows that if he gets too colorful, the audience is likely to giggle.

Answer 1

作者用语言构建,没有构建器使用原材料更加光滑和难以捉摸的和危险的。一个作家的工作是一个不断努力获得正确的单词在正确的地方,发现特定的词,可以精确地传达他的意思,能说服读者或舒缓或惊吓或逗他。他从来没有完全成功——有时他觉得他几乎成功——但这种成功因为他做的东西做什么。
有些字是我们所说的“多彩”。通过计算我们意味着他们产生一幅画或诱发一种情感。他们讲究服装的平原,而是具体的,而不是一般,大声而柔软。不过应该不应该,华丽的词总是更好的。通常是写“她的心跳”或“热”代替“她的心怦怦直跳”或“这是水泡”如果它所做的或全部。年龄的差异表现在他们喜欢他们的散文。十九世纪喜欢它丰富和烟熏。二十通常首选它精益和酷。20世纪作家对测深发烧。他倾向于它推销低,低估了它,把它扔掉。他知道,如果他太丰富多彩的,观众可能会傻笑。