Many Blacks Find Hope in a Breakthrough
Many African-Americans exulted in a political triumph they never thought they would see, hoping their children would draw strength.
‘Nihil quod tetigit non ornavit.’ His mind resembled a fertile, but thin soil. ..... for chymical experiments, of which Johnson was all his life very fond. ...The Life of Samuel Johnson LL.D., by James Boswell (chapter21)
這Johnson 給 Goldsmith 在西敏逝寺的墓志銘;epitaph :nihil tetigit quod non ornavit 三本中文翻譯都略去
有意思的是我們可以找到Nihil tetigit quod non ornavit 的一些英文翻譯:
He touched nothing that he didn’t adorn..
He adorned whatever he touched..
He touched nothing without embellishing it.
But art and poetry will always give to universals "a local habitation and a name." They have made the particular, even the minute, inviolable. Nowhere more so than in Canto IV of Pope's The Rape of the Lock:
A constant Vapour o'er the palace flies; Strange phantoms rising as the mists arise; Dreadful, as hermit's dreams in haunted shades, Or bright, as visions of expiring maids. Now glaring fiends, and snakes on rolling spires, Pale spectres, gaping tombs, and purple fires: Now lakes of liquid gold, Elysian scenes, And crystal domes, and Angels in machines.Unnumber'd throngs on ev'ry side are seen, Of bodies chang'd to various forms of Spleen. Here living Tea-pots stand, one arm held out, One bent; the handle this, and that the spout: A Pipkin there, like Homer's Tripod walks; Here sighs a Jar, and there a Goose-pye talks; Men prove with child, as pow'rful fancy works, And maids turn'd bottles, call aloud for corks.
That last couplet cries out, doubtless, for reduction to the psychoanalytic. Yet how little of its surrealistic magic such reduction can theorize. Pope's ironic self-subversions can, indeed, be grist for a deconstructive mill. Ground to theoretical dust, what have they yielded of their nightmare-charm? The most penetrating gloss on this passage is Beardsley's illustration in which, if not God, the devil lies in the detail. Ask any child whether that "living Tea-pot" can suffer deconstruction, whether theory can arrest that walking pipkin.
上述是Errata第一章之末尾又,George Steiner這位仁兄:
George Steiner was a contributor to The Economist and chief literary critic of The New Yorker. He is a former professor at Princeton University, Cambridge University, and the University of Geneva. He is the author of After Babel, The Death of Tragedy, and Language and Silence.
我們在SU等地談過他;兩篇隨筆如附。
After Babel: aspects of language and translation
現在記一點點 After Babel: aspects of language and translation Oxford University Press
這本書1975/92/98(第三版)有影印:
上海外語教育出版社 (2001) ; Southern African Linguistics and Applied Language Studies, Volume 25, Number 2, June 2007 , pp. 239-243(5) Publisher: NISC Pty Ltd
After Babel 書前引言 MARTIN HEIDEGGER的德文和 J.-L., Borges的西班牙文和 Henri MESCHONNIC的法文,都有看沒懂(沒翻譯),幸虧另外等份量的英文難不倒我(Are you sure? ),其中一小段:No problem is as completely concordant with literature and with the modest mystery of literature as is the problem posed by a translation.
After Babel 書末舉 Beckett 自己將 Endgame 中主角Hamm到瘋人院看他朋友的一段英文和其翻譯的許多差別(pp. 496-97)。
書中談哥德的三層次翻譯論(pp. 270-75:我在1997年的 Out of the Crisis 的翻譯後記中提過它呢 哈哈 有點吹牛啦.. )
Errata和 Lessons of the Masters的中文翻譯都無索引 問題多多
勘誤表-審視後的生命 Errata 中文序言大略談第五章The Hermeneutic Motion 的 "信任" 攻佔" "吸納" "補償"等 不過太簡陋啦
附
| 2006-07-24 11:03:30 |
喬治‧史坦納(George Steiner)『哈佛諾頓講座之大師與門徒』(Lessons of the Masters)邱振訓譯,台北:立緒出版社,2006,pp
"真正的教學是一份使命,是一種神召。……接受神召的先知或捫其良
他的思想
觸及遙遠高處,直至天堂諸神,
而他的想像所眺景象
遠超他凡人視力所及。他學習所有事物
以其縝密而熱切的心靈,他帶回家中
所習得的一切並坐在群眾之中
教導他們真正有價值事物,而他們聆聽
在一片靜默之中……
……
常有人以質疑甚或嘲弄的態度來看待這份神諭:「我現在將跟隨我心中
沒有什麼奇景可比擬於列在
星空之高,遠離塵世沈悶的宗教,
騰雲駕霧,站在亞特拉斯巨人的肩上,
眺望遠處,俯瞰下方,那些小小人兒
奔波東西,欠缺理性,
焦慮不安,因懼怕死亡,去勸告他們
去開啟未定的命運。"
***** hc評
作者插的那句評論會讓讀者有點困惑。這原來是同一章之詩。
現在將另外一比較可靠的散文翻譯:
奧維德『變形記』楊周翰譯,北京:人民文學出版社,1984
我現在是受神的感召在說話 因此我就服從神的旨意 說他叫我說的話
我要把得爾福和天堂打開 把至高的神意向你們表露
我喜歡離開沉濁的人寰 翱翔於萬點星空 足乘青雲
凌駕阿特拉斯之上而俯視[塵世
望著眾人浮游其間
全無理性
惶惶不可終日
惟恐寂滅
我要勸告你們
我要把命運究竟展示給你們看….
ERRATA
An Examined Life.
By George Steiner.
206 pp. New Haven:
Yale University Press. $25.
英國版1997年出版
George Steiner, polymath, has written an intellectual autobiography.
Read the First Chapter
文末 將 Aubrey (Vincent) Beardsley 的"Pope's Rape of the Lock (1896)插畫" (illustration)誤以為是The most penetrating gloss on this passage is Beardsley's illustration in which, if not God, the devil lies in the detail. 這句也是英文熟語的文字遊戲 翻譯未表示"細節"
gloss是說明而非分析
紐約時報書評一針見血指出作者許多科學用語多為濫用
G Steiner, Errata: An Examined Life (London, Faber, 1997)
日文版幾乎同步--· ジョージ・スタイナー, "G. スタイナー自伝", 工藤政司 訳, みすず書房, 1998., ISBN4-622-03085-3 C1010 \3000E
書名:勘誤表-審視後的生命
作者:喬治‧史坦納
譯者:李根芳
台北:行人 出版 2007 / 08
這本書的譯注還是缺近百來個待補
有的多注言不及義 譬如說 George Orwell 關於英文語文的著作 才是作者要談的
我還懷疑她對某詩人(策蘭.....)名字翻譯多名稱
出版社沒搞"索引" 就無法幫助讀者很快了解作者對自己著作--他的書日本翻譯得相當多
本書作者一重要字眼 presence ---它在第一章中是如何處理
{presence: 臨在;鑒臨;親在:指兩存有物某種程度的互相滲透
:At that hour, in the days following, the totalities of personal experience, of human contacts, of landscape around me became a mosaic, each fragment at once luminous and resistant in its "quiddity" (the Scholastic term for integral presence revived by Gerard Manley Hopkins). 翻譯為.......每個碎片的"本質" "quiddity" (....指完整呈現的詞語........).
我們需要索引來詳細審查一些術語 譬如說 本書翻譯成" 重重深淵"的 :在第一章類似「紋中紋手法(mise en abyme )」(ミザナビーム(mise-en-abyme)とは、フランス語で「深淵に入る」と言う意味で、英語では "put in the abyss"と訳されます。 また、ミザナビームの別名として、入れ子構造の物語(Chinese box narrative) 、 ...)…..
查中文網路發現將NAVAN/NAVEN/NAVIN等,都翻譯成納文。提倡多採用專名之原文,不要翻譯。
我們可以比較書名副標題的翻譯
譯者將MONGOLS(蒙古人) 翻譯成" 蒙戈爾人" (p.212) ,有點不可思議。
錢鍾書”談藝錄” 頁61:「人藝足補天工,然而人藝即天工也。」(This is an Art/ Which does mend Nature, change it rather, but/The Art itself is Nature )
錢先生沒全譯。
朱生豪版本全譯卻冗長:「這是一種改良天然的藝術,或者可說是改變天然,但那種藝術的本身正是出於天然。」(此版本的第四幕第三場,與一般的第四幕第四場不同)。
找的版本標點等都略有不同:
Perd. For I haue heard it said,
There is an Art, which in their pidenesse shares
With great creating-Nature
Pol. Say there be:
Yet Nature is made better by no meane,
But Nature makes that Meane: so ouer that Art,
(Which you say addes to Nature) is an Art
That Nature makes: you see (sweet Maid) we marry
A gentler Sien, to the wildest Stocke,
And make conceyue a barke of baser kinde
By bud of Nobler race. This is an Art
Which do's mend Nature: change it rather, but
The Art it selfe, is Nature
http://www.gutenberg.org/dirs/etext00/0ws4010.txt
學者提出許多問題,譬如說為什麼在此羊毛之鄉談起園藝?
The fourth Act of The Winter's Tale is excessively long and tedious, without obvious progression of the plot. In this Act, we can see masque-like features-music, songs, dances and sheep-shearing. In ActIV, scene iv, there is Perdita's quasi-philosophical debate with Polixenes on Art and Nature. Why is the debate being invoked in the middle of a country sheep-shearing festival? This paper argues what this peculiarity means in the flow of Shakespeare's dramaturgy.
WSJ的翻譯:
But many who lived through the seven tense months before the deal say Bear Stearns imploded because it was at war with itself. Buffeted by the most treacherous market forces in a generation and hobbled by indecision, the firm's leaders missed opportunities that might have been able to save the 85-year-old brokerage.
不過那些經歷了交易前那緊張的七個月時間的人們表示﹐貝爾斯登的千里之堤之所以潰敗﹐是因為它在內耗。遭遇幾十年來最為凶險的市場力量﹐加之管理層的優柔寡斷﹐這家有著85年曆(sic;原文錯字)史的老牌經紀公司錯失了那些可能拯救自己【hc案:這是怪中文】的機會。
Many African-Americans exulted in a political triumph they never thought they would see, hoping their children would draw strength.
你們中當然有些人會對華爾街指望你們慷慨解囊感到惱怒﹐他們甚至對你們的痛苦也進行了算計。世界大型企業聯合會(The Conference Board)上週公佈的數據顯示﹐消費者信心指數已下滑至16年來的最低。1967年以來﹐你們的信心只有5次降至這種水平或更為糟糕的程度﹐但每次下滑到這一程度後﹐股市都很快飆升。根據摩根大通(JPMorgan)的數據﹐標準普爾500指數在隨後的6個月中平均回升15%﹐並在1年時間里平均回升23%。
(The Conference Board)=世界大型企業聯合會?
網路http://www.conference-board.org/worldwide/chinese_china.cfm
就是如此翻譯。
“世界大型企业联合会在中国开展项目和活动的目的在于为中外企业界决策者了解复杂多变的经济与企业发展形势提供帮助。项目和活动内容包括高层次的同行间的交 流、与政府领导人和决策者的对话以及经济研究和商业分析。为服务于我们在中国和世界各地的企业会员,世界大型企业联合会将其众多研究领域的全球观点和视角 引入了中国独特的商业环境,包括经济与商业周期分析、创新、公司治理、可持续发展、人力资源和组织能力研究等。”
現在比較有趣的是法律問題。The Conference Board 在美國以”Inc”(公司法人)註冊,不過網路採 org 方式….