Question

求翻译,不要软件翻译的

“I have one pound seventeen here, and twoand six at the office; I can cut off my coffee at the office, say ten shillings, making two nine and six, with your eighteenand three makes three nine seven, with five naught in my cheque-book makeseight nine seven – who is that moving? – Eight nine seven, dot and carry seven– don’t speak, my own–and the pound you lent to that man who came to the door –quiet, child – dot and carry child – there, you’ve done it! – did I say nineseven? Yes, I said nine seven; the question is, can we try it for a year onnine seven?”
“Of course we can, George,” she cried. Butshe was prejudiced in Wendy’s favor, and he was really the grander character of the two.
“Remember mumps,” he warned her almost threateningly,and off he went again. “Mumps one pound that is what I have put down, but Idaresay it will be more like thirty shillings–don’t speak–measles one five,German measles half a guinea, makes two fifteen six – don’t waggle your finger– whooping cough, say fifteen shillings” – and so on it went, and it added updifferently each time; but at last Wendy just got through, with mumps reducedto twelve six, and the two kinds of measles treated as one.” (Peter Pan: I).
On the other hand, some characters lostpsychological profoundness in the film adaptation .Captain Hook and even Peter Pan are more schematic than in novel. This linearityis also reflected in broader terms: thesecond layer of analysis is somewhat lost in the adaptation. While James Barriecreated a work that would have one meaning for youths and another for adults,the Disney picture merely focuses onthe adventurous side of the story and gives only slight hints about theimportance of family.
Moreover,the film finishes, in narrative terms, earlier than the book, not only becauseof time limitations, but because the Disney studios did not want to give Barrie’s more complexending to their young viewers10. In fact, the author of Peter Pan ends hisnovel in a much less hermetic way than the movie. He writes a chapter thatincorporates Nietzsche’s “eternal return” concept and that attributes anallegoric status to the novella: generation after generation, children willdream of overcoming their physical and social limitations to live adventures intheir minds. This is not only impossible to avoid but is essential for a harmonious and healthy growth:
“As you look at Wendy you may see her hair becomingwhite, and figure little again, for all this happened long ago. Jane is now acommon grown-up, with a daughter called Margaret; and every spring-cleaning time, except when he forgets, Peter comes for Margaret and takes her to the Neverland, where she tells him storiesabout himself, to which he listens eagerly. When Margaret grows up she willhave a daughter, who is to be Peter’s mother in turn; and thus it will go on,so long as children are gay and innocent and heartless.” (Peter Pan: XVII).

Answer 1

“我有一磅十七在这里，和两个孩子六在办公室；我可以砍下我的咖啡在办公室，说十先令，二九和六，与你的eighteenand三等于三九七，与我的支票簿makeseight九七–五零运动是谁？八九七点和七–，进行–不会说，我自己的–和英镑你借给那个人来开门–安静点，孩子–进行–有孩子，你做到了！–我说弗瑞德？是的，我说九七；问题是，我们能试它一年onnine七？“当然可以，乔治，”她哭了。但使温迪的青睐，他真的是两个宏大的性格。“记住流行性腮腺炎，”他提醒她几乎是险恶的，他走了一遍。“流行性腮腺炎一磅，我已经放下了，但idaresay就更像三十先令–不说一五–麻疹，德国麻疹半克朗，使二一五六–不摆动你的手指–百日咳，说十五先令”–等它走，它增加了updifferently每次；但最后温迪刚刚通过，腮腺炎减少一二六，两种麻疹并视为一个。”（彼得潘：我）。另一方面，一些字符lostpsychological深邃的电影改编。胡克船长甚至彼得潘比小说更示意图。这linearityis还体现在更广泛的意义上分析，第二层：是有点失去了适应。而杰姆斯barriecreated工作会有另一个青年和成人一个意义，迪士尼的图片只是集中在冒险的故事和对家庭的重要性只有轻微的暗示。此外，电影结束，在叙事方面，比书，不仅由于时间的限制，但由于迪士尼制片厂不想给巴里的更complexending他们年轻viewers10。事实上，彼得潘作者在结束他那里得到较少的密封方式比电影。他写了一章thatincorporates尼采的“永恒回归”的概念和属性anallegoric状态的中篇小说：一代又一代，克服他们的身体和社会的局限性生活的冒险在心中的孩子可以梦想。这不仅是不可能避免的，是和谐健康发展必不可少的：“你看看温迪你可以看到她的头发becomingwhite，和身体又缩小了，这一切都发生在很久以前。简现在是一种成熟的，有一个女儿叫玛格丽特；每到春季大扫除的时候，除了当他忘了，彼得是玛格丽特，把她带到梦幻岛，在那里她告诉他关于他自己，而他聚精会神地听着。玛格丽特长大后，她有一个女儿，谁是彼得的母亲反过来；因此它将继续下去，只要孩子们是快活的、天真的、无情的。”（彼得潘：17）。

Answer 2

“我这儿有一镑十七先令，在办公室还有两先令六便士；办公室的咖啡我可以取消，就算省下十先令吧，就有两镑九先令六便士。加上你的十八先令三便士，合计三镑九先令七便士，我的存折上还有五镑，总共八镑九先令七便士——是谁在那儿动？——八——九——七，小数点进位七——别说话，我亲爱的——还有你借给找上门来的那个人的一镑钱——安静点，乖乖——小数点进位，乖乖——瞧，到底让你给搅乱了——我刚才是说九——九——七来着？对了，我说的是九——九——七；问题是，我们靠这个九——九——七，能不能试试看对付它一年？”
“我们当然能，乔治。”达林太太嚷道。她当然是偏袒温迪的，可达林先生是两人中更有能耐的一个。
“别忘了腮腺炎，”达林先生几乎带点威胁地警告她，接着又算下去，“腮腺炎我算它一镑，不过我敢说，更大的可能要花三十先令——别说话——麻疹一镑五先令，德国麻疹半个几尼，加起来是两镑十五先令六便士——别摇手——百日咳，算十五先令。”——他继续算下去，每次算出的结果都不一样。不过最后温迪总算熬了过来，腮腺炎减到了十二先令六便士，两种麻疹并作一次处理。 (Peter Pan: I).

在一方面，一些人物在电影改编中失去了原有的特点。从更广义的角度来说，线性体现在：第二层分析在改编中有所丢失。James Barrie创作的是一件对青少年有一种意义而对于成年人有另一种意义的作品，而电影侧重的是故事的冒险性和关于家庭的重要性的轻微暗示。

而且，电影在叙事方面早于原著，不仅是因为时间的限制，还有因为迪斯尼制片厂不想做多余的补充。事实上，比起电影，彼得潘的作者是以一种严谨的方式来结束小说的。。一代又一代，孩子们就会想着去克服这些身体上的和社会上的限制。这不仅是无法避免的而且对健康成长是极其重要的。

你再见到温迪时，会看到她头发变白了，身体又缩小了，因为，这些事是老早老早以前发生的。简现在是普通的成年人了，女儿名叫玛格丽特；每到春季大扫除时节，除非彼得自己忘记了，他总是来带玛格丽特去永无乡。她给彼得讲他自己的故事，彼得聚精会神地听着。玛格丽特长大后，又会有一个女儿，她又成了彼得的母亲。事情就这样周而复始，只要孩子们是快活的、天真的、没心没肺的。(Peter Pan: XVII).

中间两段为对於电影的评论,个人觉得不太...按照作者大概意思及自己所能翻译的,嘻嘻...还真有点难度.