以下信息为复旦大学翻译硕士考研真题回忆版，希望能对您有所帮助。
一、2014年复旦大学翻译硕士考研《翻译硕士英语》真题（回忆版）

　　短文翻译

　　英翻汉(出自Intelligent Life杂志2012年8月31日的文章The British Way with Umbrellas，真题貌似有删改，现给出全文)

　　One of the more prominent features of this sodden British summer has been the umbrella, unfurled incessantly against the inclemency, and, moreover, starring in the opening ceremonies of both the Olympics and Paralympics. The latter is a reminder that the umbrella is unequalled in instantly conjuring the British character in nearly all of its aspects, including the comic, the cautious and the class-conscious, and as such has been utilised to fine effect by writers as various as Dickens (Mrs Gamp in "Martin Chuzzlewit"), Defoe ("Robinson Crusoe"), P.L. Travers ("Mary Poppins") and Brian Clemens (John Steed in "The Avengers").

　　Its adoption and popularity here is at once surprising and not. Obviously, and particularly recently, it does rain quite a lot; but why a country which has prided itself on no-nonsense practicality should take to such a fussy piece of equipment rather than rely on hat and cape is not immediately clear.

　　After all, it's difficult to imagine those brave British forbears at, say, Agincourt carrying them (the longbow men in particular would have got in quite a tangle). Against that, though, is the example of Major Allison Digby Tatham-Warter at Arnhem, who carried one throughout the engagement because, as he explained, he could never remember passwords and the umbrella would make it perfectly clear he was British. The key here, I think, is that much proclaimed but elusive native quality, eccentricity. Nevertheless, the Major disabled an enemy armoured car on at least one occasion by poking his umbrella through a slit and blinding the driver.

　　Even so, Jonas Hanway, the umbrella's populariser in Britain, did not have an entirely easy ride with his novel contraption, having to endure "the contemptuous gestures of his shocked compatriots" as he strolled about London. It evidently cut no ice that he had come across the umbrella among rebellious and quite violent tribesmen in Persia. (Interestingly, some years ago, I encountered a Kurdish guerilla opposed to rule from Tehran who, in addition to his Kalashnikov and bandolier, also carried a shortie umbrella tucked into his belt.)

　　But, despite such heros as Major Tatham-Warter and John Steed, the umbrella has continued to have problems. For what impulsive, devil-may-care fellow takes an umbrella out with him in case of rain? What is prudence among women is pathetic among men. Not even Bulgarian brollies with poisoned tips have countered the image. I suspect, for one, that Hanway has left a long shadow: he was also a campaigner, writer and prolific pamphleteer who has been described as "one of the most indefatigable and splendid bores of English history".

　　And, of course, there's class. Not a working man's implement, exactly. Even here, though, and as usual, you have to be careful with the nuances. A friend of mine (employing an umbrella, as it happens) once encountered a grand acquaintance dressed in tweed hurrying to his London home through torrential rain, and rather wet. "Why," asked my friend, pointing to his own, "no umbrella?" The man looked shocked. "What, with country clothes?!" I, however, shall contine to use, and fairly often lose, one, fortified by a fine remark from Major Tatham-Warter when a comrade counselled caution against a concerted mortar attack: "Don't worry, I've got an umbrella."

　　汉翻英(出自《全国翻译专业资格考试指定教材 英语笔译实务 2级》Unit 13，《人间天堂 杭州》，真题有删改)

　　杭州是一座悠久历史的文化名城。“良渚文化”遗址即可证明，在4000多年前，这里已有人类繁衍生息。五代时的吴越国和南宋均曾在此建都，历时237年。现今的杭州，辖市内8个区，3个市和2个县.杭州素以风景秀丽著称。700年前，意大利旅行家马可?波罗曾称誉它是“世界上最美丽华贵之城”。

　　四季变幻 难画难诗

　　杭州的春天，淡妆浓抹，无不相宜;夏日荷香阵阵，沁人心脾;秋天桂枝飘香，菊花斗艳;冬日琼装玉琢，俏丽媚人。西湖以变幻多姿的风韵，令人心旷神怡。

　　两江一湖 别具风光

　　郁郁葱葱的峰岭之间，一条碧澄的玉带逶迤而过，这是美丽的富春江。溯源而西，便是有中国“第二漓江”之称的新安江，尽头处，有浩瀚的“千岛湖”。人们来到这里，无异于后回到了大自然的怀抱，能充分享受淳朴的自然灵气。

　　美的山水 美的艺术

　　美的山水孕育着美的心灵，美的心灵创造出美的艺术。历来的大诗人、大文学家、大艺术家，都在杭州留下了不朽的篇章。杭州的民间艺术更是异彩纷呈，引人注目。

　　宾馆舒适 名菜可口

　　杭州的宾馆，设备新颖，服务周到。西湖名菜有南宋风味，载誉已久，其特点是用鲜活材料制成，保持原汁原味，美味可口。

　　二、2014年复旦大学翻译硕士考研复试真题（回忆版）

　　英翻汉(出自William Somerset Maugham的作品The Moon And Sixpence的chapter 2)

　　Sometimes a man survives a considerable time from an era in which he had his place into one which is strange to him, and then the curious are offered one of the most singular spectacles in the human comedy. Who now, for example, thinks of George Crabbe? He was a famous poet in his day, and the world recognised his genius with a unanimity which the greater complexity of modern life has rendered infrequent. He had learnt his craft at the school of Alexander Pope, and he wrote moral stories in rhymed couplets. Then came the French Revolution and the Napoleonic Wars, and the poets sang new songs. Mr. Crabbe continued to write moral stories in rhymed couplets. I think he must have read the verse of these young men who were making so great a stir in the world, and I fancy he found it poor stuff. Of course, much of it was. But the odes of Keats and of Wordsworth, a poem or two by Coleridge, a few more by Shelley, discovered vast realms of the spirit that none had explored before. Mr. Crabbe was as dead as mutton, but Mr. Crabbe continued to write moral stories in rhymed couplets. I have read desultorily the writings of the younger generation. It may be that among them a more fervid Keats, a more ethereal Shelley, has already published numbers the world will willingly remember. I cannot tell. I admire their polish -- their youth is already so accomplished that it seems absurd to speak of promise -- I marvel at the felicity of their style; but with all their copiousness (their vocabulary suggests that they fingered Roget's Thesaurus in their cradles) they say nothing to me: to my mind they know too much and feel too obviously; I cannot stomach the heartiness with which they slap me on the back or the emotion with which they hurl themselves on my bosom; their passion seems to me a little anaemic and their dreams a trifle dull. I do not like them. I am on the shelf. I will continue to write moral stories in rhymed couplets. But I should be thrice a fool if I did it for aught but my own entertainment.

　　汉翻英

　　主要内容是探讨中国哲学发展的历程，关键词有“人文主义”“儒学”等，出现了诸如“正名”“中庸”“仁”等涉及中国传统文化的词语。字数为250——300。