2. 外语
  3. 在古罗马，柱子是按照人的比例划分的；到了文艺复兴时期，人就是世界上最美好的尺度。今天的中国城市里，裁弯取直的河渠，向四面八方扩张的交通，膨胀硕大的以便于接纳更多商业行为的城市广场与建筑立面，都在告诉人们建设背后的权力与资本才是审美标准。直到有一天。回过头来

在古罗马，柱子是按照人的比例划分的；到了文艺复兴时期，人就是世界上最美好的尺度。今天的中国城市里，裁弯取直的河渠，向四面八方扩张的交通，膨胀硕大的以便于接纳更多商业行为的城市广场与建筑立面，都在告诉人们建设背后的权力与资本才是审美标准。直到有一天。回过头来

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问题     在古罗马，柱子是按照人的比例划分的；到了文艺复兴时期，人就是世界上最美好的尺度。今天的中国城市里，裁弯取直的河渠，向四面八方扩张的交通，膨胀硕大的以便于接纳更多商业行为的城市广场与建筑立面，都在告诉人们建设背后的权力与资本才是审美标准。直到有一天。回过头来看到自己的孩子站在为车辆交通铺开的、满是尘土的路上，我们才发现，城市的大，却容不下一个让孩子们展开笑颜的机会。
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答案As early as in ancient Rome, columns were designed in proportion to the human body. When it came to the Renaissance, human was celebrated as the finest measure that had ever appeared in the world. By now, in Chinese cities, however, the aesthetic values of construction are measured by power and capital behind the construction projects—the shortcut rivers, widespread traffic arteries, the ever-expanding city squares and outer space of buildings that accommodates more commercial activities—all reveal the same truth. One day, looking back, we may find it ironic that the bustling and dusty roads of our huge cities, which may be convenient for traffic, are hard for our children standing amid them to have delighted expressions.
解析     本文节选自卢思岚的《城市的迷失》，刊于《南风窗》。本文谈及现代城市发展的尴尬以及人们在生活中所面临的困境，视角新颖，内容发人深省。翻译时既要注意语义上的“信”，同时也要注意语篇上的“顺”。
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