英语翻译“听说是秒速五厘米哦?”“嗯?你说什么?”“樱花飘落的速度,每秒五厘米”远野贵树站在阳光下的道口,紧紧盯着眼前急速驶过的列车,似乎想透过闪过的车窗,看到对面打着粉红色小

英语翻译“听说是秒速五厘米哦?”“嗯?你说什么?”“樱花飘落的速度,每秒五厘米”远野贵树站在阳光下的道口,紧紧盯着眼前急速驶过的列车,似乎想透过闪过的车窗,看到对面打着粉红色小
英语翻译
“听说是秒速五厘米哦?”
“嗯?你说什么?”
“樱花飘落的速度,每秒五厘米”
远野贵树站在阳光下的道口,紧紧盯着眼前急速驶过的列车,似乎想透过闪过的车窗,看到对面打着粉红色小伞的篠原明里的隐约身影.空气中飘散的樱花瓣若隐若现,仿佛饮茶后吃下的甜点,那份清苦之下透出的些许甜意.
那一年,贵树十岁.
舌尖融化的是明里柔软的唇.起初的惊乍,随后的犹疑和最后令人慰藉的安然,像拂过花瓣的轻柔手指一样,流泻于心.树梢上雪块坠地的声音,风吹过雪原的声音,都没有让眼前的少年睁开双眼.这里是心灵,灵魂,以及一切至深之物的所在之处,他相信,即使是漫长厚重到可怕的时空,也无法将他与这个地方阻隔.
那一年,贵树十三岁.
狂暴的轰鸣声,高耸如云的水汽柱,就连神祗撕开天幕的雷火也为之逊色.贵树出神地仰望着天际,全然不顾颈部传来的酸痛感,以及身边那个几乎要掉下泪来的女孩.呵,那遥远到需要用光年计数的旅程,那寂寞到碰不到一个氢原子的旅程,漫长地像无数个孑然一身的夜晚：鹿儿岛亮得像华灯下夜间城市的星空,以及相比之下犹如发出微光的萤火虫般的手机屏幕.那些没有收件人的短信没有人看过,没有人听过,就像13岁那年那封消失在寒风中厚厚的信,和在行将启动的列车上,面对明里即将远去的脸时没能说出的话语.
那一年,贵树十七岁.
远野贵树站在阳光下的道口,紧紧盯着眼前急速驶过的列车,似乎想透过闪过的车窗,看到对面打着粉红色小伞的篠原明里的隐约身影.空气中飘散的樱花瓣若隐若现,仿佛饮茶后吃下的甜点,那份清苦之下透出的些许甜意.这一切与十三岁那一年何其相似,何其相似,直到列车扬起的气流散去以后,他看到铁轨另一边空无一人的道口.
那一年,贵树二十七岁.
这就是新海诚在《秒速五厘米》中与我们分享的故事：它是一个少年略显青涩的成长故事,又似我们深藏在心底的回忆,正如他在访谈中说到的那样:"我们只是尽量坚持实地取景,真实地表现生活.尽管少了波澜和戏剧性场面,但作品中同样装满了世间的各种滋味以及生活的美丽.用胶片记录下这些实实在在的场景,使影片看起来就像日常生活般贴近现实.”我们人人都曾是贵树,曾是明里,或多或少地.我们内心的一部分借助影片的一帧帧画面人格化,成为银幕上的贵树和明里.
电影的英文副标题是A chain stories about distance.我们的人生不可避免地面临着时间或空间的距离,以及随之而来的疏离感.无情的时空会不断消解着我们化解这种疏离感的努力和可能性,直到我们自己渐渐习以为常,成为这种疏离感的一部分.第一次看完《秒速》,我把这部电影带来的感伤情愫归结为“人生的巧合”,比如贵树被风带走的信,比如结尾那辆不合时宜的列车.而结合这个副标题来看,这些都是新海诚用来隐喻“距离”的载体：无论是只能靠单薄的信纸承载的情感,还是驶过的列车就能阻隔的相会,都是漂流在汹涌的时间长河里的纸船,它们能暂时浮在水面,向着远方的大海驶去,却最终将消散在混沌的河水里.
我们深知这个事实,却无力改变,想要对抗这一切的努力往往是徒劳的,犹如西西弗斯无尽的苦役.但是,我们无法从时间的流逝中逃脱,我们却能铭记.我们想告诉人们自己确实在这里,想大声叫喊自己确实在这里的事实.这就是《秒速五厘米》能够如此打动我们的原因.面对这无法消解的人生困境,我们必须要有这样一个幻想般的慰藉才能继续生活下去.
或许以每秒五厘米的速度生活着,就能和你再次相遇.
请不要拿自动翻译机翻译的过来,

英语翻译“听说是秒速五厘米哦?”“嗯?你说什么?”“樱花飘落的速度,每秒五厘米”远野贵树站在阳光下的道口,紧紧盯着眼前急速驶过的列车,似乎想透过闪过的车窗,看到对面打着粉红色小
真是一项严峻的工程啊,呼呼,终于翻好了.有些地方是意译,不完全跟中文一致.
　　"I hear that It has a speed of 5 cm per second."
　　"Hmm,what?"
　　"Cherry blossom falls at a speet of 5 cm per second."
　　Standing at a crossing under the sun,Takaki Tōno stared at the high-speed train before him.It seemed that he had seen a shadowy figure of Akari Shinohara through the train window that flashes,who stood right in front with a pink umbrella.The cherry blossoms were flying indistinctly and slowly,just like the dessert after drinking tea,which tastes sweet in the bitter.
　　That year,Takak was ten.
　　Her lips are warm and soft which nearly melt his heart.Original surprise and subsequent hesitation are succeeded by a feeling of comforting peace.Just like fingers ran gently over the petals,warmth full of my heart.Neither The sound of snow falling from trees nor the whisper of the wind pass by makes the boy open his eyes.It’s the very place where his heart,spirit and all other deepest sentiment live.He believes that even if the long awful time and space,nothing could separate him from this place.
　　That year,Takak was thirteen.
　　The fury of the roar,the towering clouds of water vapor column,even the thunder fires used by gods to tear the canopy could be inferior.Takak keeps looking up at the sky,fascinated,paying no attention to the soreness of his neck and the girl by him who nearly dropped a tear.Oh ,that is a distant journey which has to be told in light years,a lonely journey that will never meet a hydrogen atom.Long enough just like thousands if nights when I’m alone,the Deer Island is as bright as the sky of city with colorful lights while glow-worm light r of phone screen in contrast.Messages without a receiver have not been seen or been heard of,like the sick letter which missed in the cold wind at the year of 13 and words that haven’t been told to the girl who is about to go in a leaving train.
　　That year,Takak was 17.
　　Standing at a crossing under the sun,Takaki Tōno stared at the high-speed train before him.It seemed that he had seen a shadowy figure of Akari Shinohara through the train window that flashes,who stood right in front with a pink umbrella.The cherry blossoms were flying indistinctly and slowly,just like the dessert after drinking tea,which tastes sweet in the bitter.All of this,with how is similar what happened at the year of 13.Not until the airflow lifted up by train disappears,he found nobody in the other side of the crossroad.
　　That year,Takak was 27.
　　That’s the story Xin Haicheng shared with us in A chain stories about distance,which tells the growth of a boy,much like our own memories hidden inside.As Xin said in the interview,we try our best to play the common life and less dramaticism.It also shows the different emotions of the earth ,and the beauty of the world.We record the real scenes with cartridges so as to make it look more realistic.Each of us once was Takak,or Akari more or less.Part of our experience become lively to be Takak and Akari on the screen.
　　The film has a subtitle A chain stories about distanc.Our life inevitably faces distance of time and space and the following distance of emotion.Ruthless time and space will
　　consistently reduce our efforts or possibility on strive to break the distance and when we get used to the distance,we are part of it.After finishing watching the film for the first time,I map the sad feelings into a coincidence,such as Takak ‘s letter taken by the wind,or the untimely train at the end.And combined with the subtitles,we can find that they are all metaphorical carrier for"distance" by Xin.Both the emotion which can only be held by thin writing paper,and meeting that cut off by passing train are paper ships drifting in the long river of time.They can temporarily floating on the surface of the water,toward the distant sea,but eventually will be dispersed in the chaos of the water.
　　We know the fact well,but could do nothing.We want to fight against only find all these efforts are in vain just like Florida’s endless slavery.Thouth we cannot escape from the passage of time,we can remember something.We want to tell people that they arehere,and shouting in the fact that I do here.This is the reason why the film moves us.In front of the problems that cannot be resolved,we have to make such a fantasy to keep living.
　　Maybe living with a speed of five cm per second,I will meet you again.