http://www.self-learning-college.org/forum/viewtopic.php?f=17&t=348
錢大師的翻譯水平，再多幾輩子的功夫也學不到。欣賞之餘，得其一二，已是幾生做化。從中可見中文底子好，翻譯才會好。
1．If all the sky were parchment and all the sea were ink 按“青天做紙張”之語，西方各國詩人皆有之，常以“碧海化墨水”為對。
2．New forms are simply canonization of inferior genres. 百凡新體，只是向來卑不足道之體忽然列品入流。
3．behind its attributes 須在未具性德以前，推其本質。
4．“Not of the letter, but of the spirit; for the letter killeth, but the spirit giveth life.” 意在言外，得意忘言，不以詞害意。
5．To hold, as’t were, the mirror up to nature. 持鏡照自然。
6．selective imitation 取捨之工。
7．This is an art / Which does mend nature, change it rather, but / That art itself is Nature 莎士比亞嘗曰：“人藝足補天工，然而人藝即天工也。”
8．In shape the perfection of the berry, in light the radiance of the dewdrop. 體完如櫻桃，光燦若露珠。
9．“A poem round and perfect as a star. ” “詩好比星圓。”
10．“It used to be said of a famous cricketeer that he bowled or batted with his head. ” 畫以心而不以手。
11．A direct sensuous apprehension of thought. 能以官感領會義理。
12．Be thou thine own home, and in thy selfe dwell;/Inn any where, continuance maketh hell. / And seeing the snaile, which every where doth rome, /Carrying his owne house still, still is at home. 萬物皆備于身，方之蝸牛戴殼，隨遇自足，著處為家。
13．“Poetry should strike the Reader as a working of his own highest thoughts and appear almost a Remembrance. ”（Letter to Taytor, 27 Feb. 1818, H. E. Rollins, ed., Letters I, 238）
“好詩當道人心中事，一若憶舊而得者。” ——濟慈 (Keats) 論詩第一要義（axiom）
14．ear pleasure 悅耳
15．mind pleasure 饜心
16．unreasonable or magical element 不落理路、神幻無方。
17．natural magic 魔力
18．inspiration 落筆神來之際
19．catharsis 情欲宣洩
20．purification 齋心潔己
21．All Arts aspire to the condition of music. 諸藝造妙皆嚮往於音樂之空靈澹蕩。
22． Most imitative of arts 樂在諸藝中最近自然。
23．committed fornication 意淫
24．mental fictions 亂真
25．“All emotion, Of thorough enough, would take one to heaven.” “一切情感，充極至盡，皆可引人入天。
26．“This creative reason thinks eternally. Of this unceasing work of thought, however, we retain no memory, because this reason is unaffected by its objects. ” 無時間性，變易不居，勿滯於物，不可記憶。
27．“None can care for literature in itself who do not take a special pleasure in the sound of names. ” “凡不知人名地名聲音之諧美者，不足以言文。
28．“Silence and speech acting together” “語言與靜默協力”
29．“Leave something to the willing intelligence of the reader. ” 須留與讀者思量。
30．thinking intently of his own name 英詩人丁尼生常言自思其名字，繫念不散。
31．“and the earth looked black behind them, /as though turned up by plows. But it was gold, /All gold—a wonder of the artist’s craft. ”—Iliad, XVIII 630-32 “犁田發土，泥色儼如黑。然此盾固純金鑄也，蓋藝妙入神矣。
32．“O! One glimpse of the human face, and shake of the human hand, is better than whole reams of this cold, thin correspondence, etc. ” “得與其人一瞥面、一握手，勝於此等枯寒筆墨百函千牘也。噫！”
33．habitualization, automatization 落套刻板
34．defamiliarization 使熟者生
35．rebarbarization 使文者野
36．“Grace of style comes from arrangement. ” “詞意位置得當，文章遂饒姿致。
37．repose, perfect fitness 一字之穩當
38．“I have such a sensitive ear that the repetition of a word irritates me three pages away. ” “至謂一字在三頁後重出，便刺渠耳。”
39．“We have had the brow and the eye of the moon before; but what have we reserved for human beings, if their features and organs are to be lavished on objects without feeling and intelligence? ” “語已有月眉、月眼矣。複欲以五官百體盡予此等無知無情之物，吾人獨不為己身地耶。”
40．“The first is physical. The second is intellectual and is much higher. The third signifies a nobler power of the soul which is so high and so noble that it apprehends God in His own naked being. ” “學為有上中下三等：下學以身；中學以心知；上學以神，絕倫造極，對越上帝。”
41．Meister Eckhart, Sermon, XII:“I take a basin full of water, place in it a mirror and put it below the sun’s disc. The reflection of the sun is the sun within the sun, and yet the mirror remains what it is.” “以一鏡照形，以餘鏡照影，鏡鏡相照，影影相傳；是形也、與影無殊，是影也、與形無異。”
42．“If Galileo had said in verse that the world moved, the Inquisition might have left him alone. “苟伽俐略只作詩述其地球轉動說，則宗教法庭或且任縱之而不問。”
43．To count chicken before they are hatched. “卵未抱而早計雛數。”
44．“A genius differs from a good understanding, as a magician from an architect; that raises his structure by means invisible, this by the skilful use of common tools.” “天才與聰慧之別，猶神通之幻師迥異乎構建之巧匠；一則不見施為，而樓臺忽現，一則善用板築常器，經之營之。”
45．“the power of expressing through absence of brush and ink.” 無筆墨處與點染處互相發揮烘托。
46．“The most beautiful figure is the sphere among solids and the circle among plane figures.” 立體中最美者為球，平面中最美者為圈。
47．“Let it (the mind) once become a sphere, and spherical it abides.” 心不為外物所著，當如圓球。
48．“On a Drop of Dew” So the Soul, that Drop, that Ray, Of the clear Fountain of Eternal Day, … Does, in its pure and circling thoughts express The greater Heaven in an Heaven less 露珠圓澄，能映白日，正如靈魂之圓轉環行，顯示天運也。
英國詩人馬委爾（Andrew Marvell）《露珠》
49．“Till rolling time is lost in round eternity.” 圓永恆
50．Why, at the height of desire and human pleasure— worldly, social, amorous, ambitious, or even avaricious—does there mingle a certain sense of doubt and sorrow? 入世務俗，交遊酬應，男女愛悅，圖營勢位，乃至貪婪財貨，人生百為，於興最高、人最歡時，輒微覺樂趣中雜以疑慮與憂傷，其故何耶。
51．I have thought some of nature’s journeymen had made men, and not made them well, they imitated humanity so abominably. “其人似為大自然之學徒所造，手藝甚拙，像人之形而獰惡可憎。”
52．One may remember the lion of medieval bestiaries who, at every step forward, wiped out his footprints with his tail, in order to elude his pursuers. 有如中世紀相傳，獅子每行一步，輒掉尾掃去沙土中足印，俾追者無可蹤跡。
53．Why does a painting seem better in a mirror than outside it? “鏡中所映畫圖，似較鏡外所見為佳，何以故？
54．Of making many books there is no end; and much study is a weariness of flesh. “書籍無窮，多讀徒疲精弊體。”
55．Wit, you know is the unexpected copulation of ideas, the discovery of some occult relation between images in appearance remote from each other. “使觀念之配偶出人意表，於貌若漠不相關之物象察見其靈犀暗通。”
56． Foregrounding, the intentional violation of the norm of the standard, distortion 刻意破常示異。
57．Normally every datum of sense is at once devoured by a hungry intellect and digested for the sake of its vital juices. Knowledge is not eating. 當世論師以唯心論與為實論均常擬致知於飲食，遂嘲為“口腹哲學。”
58．Everything is the same, but you are not here, and I still am. In separation the one who goes away suffers less than the one who stays behind. “此間百凡如故，我仍留而君已去耳。行行生別離，去者不如留者神傷之甚也。”
59．Poetry, like schoolboys, by too frequent and severe corrections, may be cowed into Dullness. 詩苟多改痛改，猶學童常遭塾師撲責，積威之下，易成鈍兒。
60．that particular kind of borrowing which thinks to disguise itself by inserting or extracting “notes” “取古人成說，是其所非，非其所是，顛倒衣裳，改換頭面，乃假借之一法耳。”
61．They are to me original: I have never seen the notions in any other place; yet be that reads them here persuades himself that he has always felt them. “創辟嶄新，未見有人道過，然讀之只覺心中向來宿有此意。”
62．Now I never wrote a “good” line, in my life, but the moment after it was written it seemed a hundred years old. Very commonly I had a sudden conviction that I had seen it somewhere. “吾生平每得一佳句，乍書於紙，忽覺其為百年陳語，確信曾在不憶何處見過。”
63．History is philosophy teaching by or learned from examples. “歷史乃哲學用以教人之實例。”
64．Use of the description instead of the name of a thing 不道事物之名而寫事物之狀
65．in peace— which is as much above joy as joy is above pleasure, and which can scarcely be called emotion, since it rests, as it were, in final good, the premium mobile, which is without motion—we find ourselves in the region of “great art”—C. Patmore,Principle in Art 1889, 29 藝之至者，終和且平，使人情欲止息，造寧靜之境；此境高於悅愉，猶悅愉高於痛快也。
66．I never can catch myself. 自我不可把捉。
67．The passage is remarkably like a central tenet of Buddhism, a cult of which Hume could hardly have heard. 酷似佛教主旨，然休謨未必聞有釋氏也。
68．Shakespeare in composing had no I, but the I representative. 無我而有綜蓋之我。
69．When I am assailed with heavy tribulations, I rush out among my pigs, rather than remain alone by myself. The human heart is like a millstone in a mill: when you put wheat under it, it turns and grinds and bruises the wheat to flour; if you put no wheat, it still grinds on, but then’ tis itself it grinds and wears away. So the human heart, unless it be occupied with some employment, leaves space for the devil, who wriggles himself in, and brings with him a whole host of evil thoughts, temptations and tribulations, which grind our the heart. “吾遭逢大不如意事，急往飼牧吾豬，不欲閒居獨處。人心猶磨坊石磑，苟中實以麥，則碾而成面；中虛無物，石仍轆轉無已，徒自研損耳。人心倘無專務，魔鬼乘虛潛入，挾惡念邪思及諸煩惱以俱來，此心遂為所耗蝕矣。”
70．“There’s a surprising lot of layers (in the wild onion). Are we never coming to the kernel? There isn’t one! To the innermost bit It’s nothing but layers, smaller and smaller…” “自我之皇帝”而欲覓處世應物之“自我”，則猶剝玉蔥求其核心然，層層揭淨，至境無可得
71．For one can only“interpret”a poem by reducing it to an allegory —Which is like eating an apple for its pips. “此舉何異食蘋婆者，不嗜其果脯而咀嚼其果中核乎。
72．The movement of love is circular, at one and the same impulse projecting creatures into independency and drawing them into harmony. 情愛運行，做團圓相，此機一動，獨立與偶合遂同時並作，相反相成。
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