英译汉原文：
文章源自英文巴士-https://www.en84.com/13428.html
As anyone who’s read it can confirm, Notes from Underground is a powerful but extremely weird novel, and both these qualities have to do with the fact that the book is at once universal and particular. Its protagonist’s self-diagnosed “disease” – a blend of grandiosity and self-contempt, of rage and cowardice, of ideological fervor and a self-conscious inability to act on his convictions: his whole paradoxical and self-negating character-makes him a universal figure in whom we can all see parts of ourselves. But at the same time, Notes from Underground is impossible really to understand without some knowledge of the intellectual climate of Russia in the 1860s.文章源自英文巴士-https://www.en84.com/13428.html
文章源自英文巴士-https://www.en84.com/13428.html
Dostoevsky is a literary titan, and in some ways this can be the kiss of death. His works, and the tall hill of criticism they’ve inspired, are all required acquisitions for college libraries...and there the books usually sit, yellowly, smelling the way really old library books smell, waiting for somebody to have to do a term paper.文章源自英文巴士-https://www.en84.com/13428.html
文章源自英文巴士-https://www.en84.com/13428.html
Russian is notoriously hard to translate into English, and when you add to this difficulty the archaisms of nineteenth-century literary language, Dostoevsky’s prose/dialogue can often come off mannered and pleonastic and silly. Plus there’s the stiltedness of the culture Dostoevsky’s characters inhabit. But some art is worth the extra work of getting past all the impediments to its appreciation; and Dostoevsky’s books are definitely worth the work. Dostoevsky isn’t just great – he’s also fun. His novels almost always have ripping good plots, lurid and intricate and thoroughly dramatic. There are murders and attempted murders and police and dysfunctional-family feuding and spies, tough guys and beautiful women and sudden inheritances and villains and scheming.文章源自英文巴士-https://www.en84.com/13428.html
文章源自英文巴士-https://www.en84.com/13428.html
Of course, the fact that Dostoevsky can tell a juicy story isn’t enough to make him great. The main thing that makes his works artistically good is that he has talent for characterization.文章源自英文巴士-https://www.en84.com/13428.html
文章源自英文巴士-https://www.en84.com/13428.html
The thing about Dostoevsky’s characters is that they are alive. The best of them live inside us, forever, once we’ve met them. FMD (Fyodor Mikhailovich Dostoevsky) creatures are alive not because they’re just skillfully drawn types or facets of human beings but because, acting within plausible and morally compelling plots, they dramatize the profoundest parts of all humans, the parts most conflicted, most serious – the ones with the most at stake. Plus, without ever ceasing to be 3-D individuals, Dostoevsky’s characters manage to embody whole ideologies and philosophies of life. His concern was always what it is to be a human being – that is, how to be an actual person, someone whose life is informed by values and principles, instead of just an especially shrewd kind of self-preserving animal.文章源自英文巴士-https://www.en84.com/13428.html
汉译英原文：
白话文运动
1917年，以胡适等人为代表的学者和知识分子发起了白话文运动。1919年，北京学生发起了一场政治和文化运动——五四运动。这两次运动共同掀起了中国民主主义的浪潮。
白话文运动的拥护者否定传统信条，提倡西方的民主与科学（德先生与赛先生）。他们还主张弃用只有少数人才能看得懂的文言文，改用通俗易懂的白话文写作。中国当时的报纸和课本很快便采用白话文，也是农民教育的一次革命。
1917年，胡适在《新青年》杂志上发表了《文学改良刍议》，提倡新的文学形式而不是老传统。鲁迅是第一位用白话文创作小说的现代作家。《呐喊》是他的第一部作品集，收录了他最早也是最知名的两部小说：《狂人日记》和《阿Q正传》。《狂人日记》发表于1918年，是中国第一部现代小说。狂人认为他的朋友和家人都在“吃人”，而且确信封建礼教提倡“吃人”行为，讽刺和鞭挞了传统文化。
1921年至1922年，《阿Q正传》在《北京晨报》连载。这部中篇小说讲述了一个愚昧无知、自欺欺人、自以为是的农民——阿Q的故事，以此来揭示中国旧社会的保守自大和落后腐朽。两部小说标志着白话文学的开始，不仅是表现在使用白话文写作，还体现在处理五四运动斗争的焦点，比如说落后的儒家思想的禁锢和对腐朽传统的盲目接受。
