2008年6月16日 星期一

"功夫在詩外"的知識不足--Errata 等例

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
翻譯的"誤解"都是 "功夫在詩外"的知識不足

Errata, Lessons of the Masters, After Babel

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 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

談一段奧維德(Ovid)《變形記》

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.21-3

"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心的理性主義者都會如此發問。奧維德(Ovid)在《變形記》十五章中仍對畢達哥拉斯感到無比驚異:

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神明所開示的德爾斐明諭(sequar ora moventem / Rite deum Delphosque meos ipsumque recludam)。」【hc將原來的 sequar or 改正】

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,1984/2000,pp.357-58

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….

2007831 星期五

勘誤表-審視後的生命 Errata

ERRATA
An Examined Life.
By George Steiner.
206 pp.
New Haven:
Yale University Press. $25.
英國版1997年出版

April 12, 1998

Idea Man


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
對於這個段落最深刻的分析首推貝爾斯利的"解說":如果不是上帝 那就是魔鬼藏身其中 (頁8)

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

Aubrey Beardsley

  1. The Morning Dream
  2. The Billet-doux
  3. The Toilette
  4. The Baron's Prayer
  5. The Barge
  6. The Rape of the Lock
  7. The Cave of Spleen
  8. The Battle of the Beaux and Belles
  9. The New Star


By ANTHONY GOTTLIEB

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 , 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--的摘述等

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。造物主天主臨在於宇宙,尤其與我們人類同在,包括基督親臨信徒中,尤指基督親在聖體聖事中。 presence at Mass:參與彌撒;與祭。presence of God:天主的鑒臨;天主的臨在:無所不在的天主,此時此刻就在我們面前,善人的靈魂是天主的聖殿。}

: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" :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) ...)…..

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