清末民初的譯界三氏─嚴復、林紓與辜鴻銘的譯風 (童元方)
Wikipedia
林紓是一位不懂外文的翻譯家，林紓與魏易、王慶驥等人通過口譯，翻譯一百六十多部小說，其中六十多部是世界文學名著，有英、法、美、德、俄、希臘等十多國家的作家，如小仲馬、莎士比亞、塞萬提斯、托爾斯泰、狄更斯、司各得、易卜生、伊索、笛福、雨果、哈葛德等。
錢鍾書指出林紓雖然經常漏譯、誤譯，但後來他重溫了大部分的林譯，發現許多都值得重讀。本文分析林紓對原作除了煩刪外，還有增補的作用，功力甚至勝過原作的弱筆或敗筆，得出「寧可讀林紓的譯本，不樂意讀哈葛德的原文」的結論，理由是「林紓的中文文筆比哈葛德的的英文文筆高明得多。哈葛德的原文很笨重，對話更呆蠢板滯，尤其是冒險小說裡的對話，把古代英語和近代語言雜拌一起。……林紓的譯筆說不上工致，但大體上比哈葛德的輕快明爽」。錢還指出，林譯除了節譯之外，還有增飾的句子，例如《滑稽外史》第三三章中：「方司圭爾引皮時，而小瓦克福已大哭，摩其肌曰：『翁乃苦我!』」。「翁乃苦我」事實上是林紓別出心裁的對白，原文並沒有此句[1]。
錢鍾書從小就嗜讀林譯小說，他回憶說：「林紓的翻譯所起的『媒』的作用，已經是文學史上公認的事實……我自己就是讀了他的翻譯而增加學習外國語文的興趣的。商務印書館發行的那兩小箱《林譯小說叢書》是我十一、二歲時的大發現，帶領我進了一個新天地，一個在《水滸》、《西遊記》、《聊齋誌異》以外另闢的世界。」錢鍾書以為文學翻譯的最高境界在於——化，「林紓的翻譯」有一段話：「漢代文字學者許慎有一節關於翻譯的訓詁，義蘊頗為豐富。《說文解字》卷十二《囗》部第二十六字：『囮』，譯也。從『囗』，『化』聲。率鳥者系生鳥以來之，名曰『囮』，讀若『訛』。南唐以來，小學家都申說『譯』就是『傳四夷及鳥獸之語』，好比『鳥媒』對『禽鳥』的引『誘』，『言為』、『訛』、『化』和『囮』，是同一個字。」《林紓的翻譯》談論的重點不是「化」，而是翻譯這門藝業不能迴避的「訛」。
錢鍾書文中指出，「林紓四十四五歲，在逛石鼓山的船上，開始翻譯，他不斷譯書，直到逝世，共譯一百七十餘種作品。」「接近三十年的翻譯生涯顯明地分為兩個時期。癸丑三月（民國二年）譯完的《離恨天》算得前後兩期之間的界標。在它以前，林譯十之七八都很醒目，在它以後，譯筆逐漸退步，色彩枯暗，勁頭鬆懈，使讀者厭倦。」
注釋[編輯]
- ^ 這樣的例子在林紓的譯文中是屢見不鮮，單德興就大量從《海外軒渠錄》找到這樣的例子。（〈翻譯‧介入‧顛覆：重估林紓的文學翻譯──以《海外軒渠錄》為例〉）
《翻譯的傳說：中國新女性的形成, 1899-1918》
這翻譯本連書名都寫錯：Persons, Roles, and Minds: Identity in "Peony Pavilion" - JStor：Persons複數寫成單數；
"江蘇人民出版社"同一系列的《翻譯的傳說：中國新女性的形成, 1899-1918》 (Tales of Translation: Composing the New Woman in China, 1899-1918)，則寫成:"Tales of Translations"。這
本書的"參考文獻"中的一些毛病：將"孫康宜"都寫錯了；"vision" 一律翻譯成"視角"，高友工自譯為"境界".....
書名的翻譯不夠傳神，因為composing 有"作文、書寫"等義。
第98頁Need you have been so particular with a girl like me? 把particular翻譯成"仔細"。
林紓用"禮"、"禮法"來翻譯，是對的：
譬如說，牛津字典網站：
Insisting that something should be correct or suitablein every detail; fastidious:she is very particular about cleanliness
Tales of Translation: Composing the New Woman in China, 1899-1918 |
The figure of the New Woman, soon to become a major signpost of Chinese modernity, was in the process of being composed at the turn of the twentieth century. This was a liminal moment in Chinese history, a period of great possibilities and much fluidity. At this time, the term xin nüxin or xin funü (the New Woman) had not yet achieved currency, for she represented an ideal yet to be fully articulated.
The cultural production of this period in China illustrates that the New Woman was constructed vis-à-vis her significant "others," whether domestic or foreign, male or female. To know the New Woman, then, it is necessary to know not just herself but also her others. Instead of offering a model of Western influence or indigenous origin, this study employs a model of translation, in which both the self and the other are subject to multiple transformations. It reads several popular Chinese writers and translators of the period whose abundant fiction (whether original or translated) bristles with difficulties in presuming either fidelity of translation or adequacy of depicting cross-cultural experience in the construction of the New Woman.
The late Qing era witnessed the translating, printing, and reading of a vast amount of Western literature, amounting to what has been called a "translation fever." The author focuses on the fictional and translational representation of a range of Western female icons, including Sophia Perovskaia (the Russian anarchist and would-be assassin of the tsar), the French Revolutionary figure Madame Roland, and Dumas's "la Dame aux camélias." In tracing the circulation and transformation of these popular figures through travel books, biographies, newspaper articles, oral performance scripts, and novels, this book narrates the complex relationship between imagining a foreign other and re-imagining the self. In investigating the very processes of translation, it provides a sustained analysis of the cultural and historical forces that produced the New Woman in China.
The cultural production of this period in China illustrates that the New Woman was constructed vis-à-vis her significant "others," whether domestic or foreign, male or female. To know the New Woman, then, it is necessary to know not just herself but also her others. Instead of offering a model of Western influence or indigenous origin, this study employs a model of translation, in which both the self and the other are subject to multiple transformations. It reads several popular Chinese writers and translators of the period whose abundant fiction (whether original or translated) bristles with difficulties in presuming either fidelity of translation or adequacy of depicting cross-cultural experience in the construction of the New Woman.
The late Qing era witnessed the translating, printing, and reading of a vast amount of Western literature, amounting to what has been called a "translation fever." The author focuses on the fictional and translational representation of a range of Western female icons, including Sophia Perovskaia (the Russian anarchist and would-be assassin of the tsar), the French Revolutionary figure Madame Roland, and Dumas's "la Dame aux camélias." In tracing the circulation and transformation of these popular figures through travel books, biographies, newspaper articles, oral performance scripts, and novels, this book narrates the complex relationship between imagining a foreign other and re-imagining the self. In investigating the very processes of translation, it provides a sustained analysis of the cultural and historical forces that produced the New Woman in China.
Contents
| 1 |
| 19 |
| 67 |
| 106 |
| 109 |
| 122 |
| 149 |
| 153 |
| 178 |
| 197 |
| 235 |
| 253 |
沒有留言:
張貼留言