一：汉译英部分（75分）
We boarded a steam launch to Guangzhou and left Hongkong at ten o’clock.
As the boat started to move, my friend Hong called me outside the cabin. The moment I stepped out I heard him yelling："Look! Hongkong’s night view is marvelous, you can’t miss it".
Outside on the deck I leaned against the railing, watching Hongkong receding from us.
The sea was dark, so was the sky. There scattered some stars in the heavens but most of them not quite bright while Hongkong in the distance made a constellation of stars.
Over the mountains, on the streets and buildings were lights, each resembling a star, yet in my naked eyes they outshone stars. Myriads of lights dotted here and there constituted a mountain of stars, shining with a spectacle of brilliance.
Tranquility and peace reigned the night. Not a sound could be heard from cross the water as though Hongkong closed its big mouth. However, when I gazed at that starry mountain I felt as if those countless lights were whispering with each other. The ship was moving and so were the lights, together with the lamplights on the running trolley buses and cars on the opposite streets. I saw them turning dim and bright now and then just like children winkling or frolicking or chatting with each other. My visual and auditory senses blending, I was almost listening with my eyes. The star-studded mountain was no dumb; instead, they were busy with performing a magnificent symphony...
I was almost lost in reverie.
Presumably the ship was swinging around. The star-lit mountain retreated smaller and smaller, yet in my eyes there were shining with an expanse of golden rays and lingering on a touching melody.
Slowly the ship sailed into the heart of mountains (I could not distinguish whether they were mountains or islands), for Hongkong was gone unseen. Lightless on the sea, our ship was enveloped by the pitch darkness. The mountain of stars disappeared like a vague dream. Standing lost there, I wished to find the mountain back yet there was noting in sight. Outside the air was cool, but the blowing wind was too much for my head, so I walked back to the crowded and noisy cabin, a completely different world. As I set my foot in to the cabin, I couldn’t help asking myself: was it only a mirage that I saw just now?
Hong Kong At Night by Bajin
二：英译汉部分（75分）
事实是，作为一名作家，福克纳更热衷于对南方各州突发的经济变化进行社会评论，而很少有兴趣去解决问题。失败以及由此带来的后果只不过是福克纳史诗般作品成长的沃土而已。吸引他的并不是以社会为单位的人们，而是成长于社会中的个体（人）。作为一个社会的个体，虽充满好奇，却绝不为外界事物所扰。这些个人的悲剧与希腊悲剧没有共同之处：激情——或是传承而来，或是受传统以及社会环境的影响——把他们带到了无情的深渊。这些激情或是突然迸发，或是持续几代慢慢释放。几乎在福克纳的每一部新作品当中，他都能够深入剖析人类的灵魂，了解人类自我牺牲的伟大之处和力量之源，全面揭示人类的权力欲、贪婪、匮乏的精神、狭隘的思想、可笑的固执、痛苦、恐惧和堕落的道德。
福克纳是一名善于观察的心理学家，在众多仍然在世的英美小说家当中，他堪称是无人匹敌的大师。他的同行当中无人具有他那非凡的想象力以及塑造人物的能力。在以死亡为主题的悲剧或喜剧中，福克纳塑造的近似人类而又超乎人类的人物都来源于他对现实的观察，而这些现实即使是我们身边最贴近的人都很少有人能够提供如此真实的信息。这些人物在一个混杂了亚热带植物的清香、女人香水的芳香、黑人汗水的体香和骡马臭味的环境中活动，这股气味甚至可以立即弥漫到斯堪的纳维亚的一间温暖舒适的小房子里。作为一名风景画画家，福克纳具有猎人般熟知猎场的能力，地形学家的精确的判断力和印象派画家的敏感力。此外，福克纳还是二十世纪伟大的实验主义者和小说家，与乔伊斯并列，但或许要强于乔伊斯。在他的小说当中，没有任何两部小说在写作手法上是相似的。似乎正是通过这种不断的更新，福克纳才可以获得他想要的创作广度，而这种广度是他所处的缺乏创见的世界（无论是主观的还是客观的世界）所不能给予他的。
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