（譯者劉仲敬）也不知道“economy”除了“經濟”還有“儉約”之意，將“want of economy and an ill-judged liberality were Henry's great defects ”（不知儉約和不得其所的慷慨是亨利最大的缺點）譯為“亨利最大的弱點就是財政困難和欠考慮的慷慨賞賜”。（第2卷：中文18頁，英文13頁）
（譯者劉仲敬）不知道“raise”除了有“供養”之外還有“提高”之意，把“The committee of danger in April 1648 voted to raise the army to 40,000 men”（1648年4月，危機委員會投票決定將軍隊增至4萬人）譯為“1648年4月，危機委員會投票通過決議：供給四萬大軍”。（第6卷：中文108，英文94）
小說一開頭是這樣的：如果它果真是朱光潛先生翻譯的，tragically是他的本行， ◆tragic より陰気な感じが強い.Causing or characterized by extreme distress or sorrow:tragically.《副詞》悲劇的に；悲惨に. "驚惶自擾"是不錯的翻譯？
Ours is essentially a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habitats, to have newlittle hopes. It is rather hard work: there is now no smooth road into the future: but we go round, or scramble over the obstacles. We've got to live, no matter how many skies have fallen. This was more or less Constance Chatterley's position.
當代散文家埃爾文·布魯克斯·懷特（Elwyn Brooks White）曾在《這裡是紐約》（Here is New York）寫道：「...he buys a bunch of pussy willows, a Mazda bulb, a drink, a shine – all between the corner where he steps off the bus and his apartment」（他買了一堆 (sic，應是一把) 貓柳、馬茲達燈泡、飲料、一道光線* - 由他自公車下車處至公寓間的街角）。
房龍（Hendrik Van Loon）這句話說得很妙啊。
「任何對無知所展開的攻擊註定會失敗，因為大眾總是做了準備，不讓他們最寶貴的財產－－他們的無知－－受到攻擊。」（Any formal attack on ignorance is bound to fail because the masses are always ready to defend their most precious possession – their ignorance.）
One evening this past September, more than 300 people squeezed into a narrow room at BookCourt bookstore in Brooklyn for the launch of “The Story of the Lost Child,” by Italian author Elena Ferrante. The author, whose true identity is a closely held secret, was absent. Instead, the crowd whooped and cheered for the headliner of the evening: the book’s translator, Ann Goldstein.
Translators rarely achieve celebrity status. But as Ms. Ferrante’s star has risen, so too has Ms. Goldstein’s. Her English translations of the four books in Ms. Ferrante’s Neapolitan series have sold more than a million copies in North America, the U.K., Australia and New Zealand. Ms. Goldstein, 66 years old, is now one of the most sought-after translators of Italian literature. Last fall, she celebrated the completion of a gargantuan project: “The Complete Works of Primo Levi,” a 3,000-page collection for which she oversaw nine translators and translated three out of 14 books herself. This year, she expects to see the release of five of her translations, including “In Other Words,” a memoir by the American Pulitzer Prize-winner Jhumpa Lahiri, which Ms. Lahiri wrote in Italian. “Frantumaglia,” a collection of interviews and writings by Ms. Ferrante, will also be released this year.
All of this comes on top of Ms. Goldstein’s day job, as head of the copy department at the New Yorker magazine.
She became a translator by accident, though it was clear from childhood that she had a deep affinity for languages.
She grew up in Maplewood, N.J., and began studying French and Latin in grade school. At Bennington College in Vermont, she took up ancient Greek, wanting to read Homer and Aeschylus. In 1973, she took her first job as a proofreader for Esquire. She moved to the New Yorker the following year, and worked her way up through the copy department, becoming its chief in the late 1980s. She has edited writers including John Updike, Ian Frazier and Adam Gopnik.
At the magazine, she earned a reputation as a master of English grammar who helped writers polish their sentences until they shined.
She didn’t begin studying Italian—or even visit Italy—until her late 30s. In 1986, she and some of her New Yorker colleagues invited an Italian instructor to teach a class once a week at their office. Ms. Goldstein had always wanted to read Dante in the original language. Together, over the next couple of years, she and her colleagues read the entire “Divina Commedia.”“She’s like a diamond cutter,” said New Yorker editor David Remnick. “It’s just an accumulation of refinement after refinement… that makes you a better you.”
She visited Italy for the first time in 1987. Smitten with the language and the country, she began reading in Italian as much as she could.
In 1992, New Yorker cartoonist Saul Steinberg asked editor Robert Gottlieb to consider a short book by his friend, Italian author Aldo Buzzi. Mr. Gottlieb couldn’t read Italian, so he asked Ms. Goldstein to have a look at it. She read it, liked it, and decided to try her hand at translating it.
“I liked it as a way of reading,” Ms. Goldstein recalled in an interview at a cafe near her office at One World Trade Center. “If you have to copy down every word of something, you become very close to it.”
Mr. Gottlieb liked the translation, and published it in the magazine.
Ms. Goldstein continued to translate both magazine pieces and books. And in 2004, she got a big break. A new publishing company called Europa Editions invited her to submit a sample translation for its first book: Ms. Ferrante’s “The Days of Abandonment.” Ms. Goldstein submitted a sample of the book’s searing opening. So did Michael Reynolds, then a freelance copy editor for Europa, living in Rome.
Among the applicants, Ms. Goldstein wasn’t the best-known translator, but the editors decided her sample was the best. She beat out Mr. Reynolds, who later became editor in chief of the company, and now serves as her editor.
There is a spectrum, among translators, ranging from those who hew very closely to the original to those who take more liberties with the text. Ms. Goldstein leans toward fidelity. Editors who have worked with her say her strength comes not just from her mastery of Italian, but from her profound love of English.
“Sometimes, I think, it’s puzzle-solving,” Ms. Goldstein said. “I want to make good English sentences but without losing the particular voice of the Italian writer. I can’t explain how that happens. I think it has to do with staying pretty close to the original.”
Italian sentences tend to be more complex than English sentences, often running on with clauses and sub-clauses. Because English grammar doesn’t have gendered nouns, these clauses have to be rearranged to make sense in English. Ms. Ferrante’s sentences tumble forward, comma after comma, with emotional intensity. Ms. Goldstein’s translation replicates that rhythm, and that emotion.
In a December interview via email with FT Magazine, Ms. Ferrante said of Ms. Goldstein: “I trust her completely.”
Ms. Goldstein says she doesn’t know Ms. Ferrante’s real identity. She has exchanged emails with her a couple of times, but usually sends questions or clarifications through the author’s Italian editors. Ms. Ferrante reads English and signs off on the final versions but generally doesn’t suggest revisions, Mr. Reynolds said.
Ms. Goldstein said she was floored—and intimidated—when she was invited to translate Ms. Lahiri’s memoir. In a preface to the book, to be released Feb. 9 from Alfred A. Knopf, the author explains that she decided not to translate her own work because she wanted to immerse herself fully in Italian, and would have felt the urge to smooth out the “rough edges” of her adopted language.
Ms. Goldstein was immediately drawn to the book, in which the author recounts how she learned Italian as an adult, moved with her family to Rome and decided to write only in Italian. (One of Ms. Goldstein’s greatest regrets is never having lived in Italy—at least not yet.)
“Of course, it was also incredibly stressful,” Ms. Goldstein said of translating Ms. Lahiri’s book. “She’s a writer in English. I felt very anxious about it.”
Ms. Lahiri’s Italian is fairly simple in the book’s early chapters. The translation reflects how her syntax and vocabulary become more complex as the author becomes more confident in Italian. In contrast to Ms. Ferrante, Ms. Lahiri was closely involved in the translation. Ms. Goldstein said the author submitted at least three rounds of revisions to the translation, one of them after Ms. Lahiri recorded the audiobook in both English and Italian. Ms. Goldstein said she deferred to the author: “She had some stuff she wanted to change, which was fine.”
The intensity of their collaboration was unusual for Ms. Goldstein, who usually works with authors who are dead or, in Ms. Ferrante’s case, not present. Ms. Lahiri declined to comment for this article. The two women seem to have emerged from the project with their relationship intact: They appeared together in November at the Center for Fiction in New York, where they discussed the Ferrante novels.
In addition to the Ferrante interview collection coming in November, Europa Editions this year will publish Ms. Goldstein’s translations of “The Young Bride” by Alessandro Baricco and “The Street Kids” by Pier Paolo Pasolini. World Editions is slated to publish her translation of Emanuele Trevi’s “Something Written.”
Ferrante Fever began in earnest in the U.S. with the 2014 release of the third novel in the Neapolitan series. Ms. Goldstein was suddenly in demand as a stand-in for the enigmatic author at live events. Shy by nature, she has warmed to her role as an ambassador not just for the mysterious Ms. Ferrante but for translation in general. Translators are rarely named in book reviews. Their names often are left off book jackets. Ms. Goldstein’s name, however, has become a valuable commodity. On its website, Europa Editions touts “The Street Kids” as “a new translation by Ann Goldstein, translator of Elena Ferrante’s Neapolitan Novels.”
“Her name on a book now is gold,” said Robert Weil, editor in chief of Liveright, who hired her for the Primo Levi project. Colleagues said Ms. Goldstein now stands among the ranks of great translators such as the late William Weaver, a doyen of Italian translation.
This spring, she has been invited to speak on a panel at the PEN World Voices Festival in New York and at writers’ festivals in Sydney and Auckland.
At the end of the night at BookCourt last September, the booksellers asked Ms. Goldstein to autograph their stock.
“I thought, ‘Who wants the translator’s signature?’” she said.
China is doing for coal what it once did for oil: helping push prices to new highs, adding more pressure to the creaking global economy.
中國正在煤炭上重蹈石油的覆轍﹕為價格不斷創出新高推波助瀾﹐對岌岌可危的全球經濟產生更大壓力。
這CREAKING 翻譯成"岌岌可危"有意思......
量詞。英語dozen音譯的省略。十二個為一打。如：一打鉛筆；一打毛巾。
談兩段狄更斯Bleak House的翻譯
「來自比「古古」更任勞任怨的搜索引擎「小古古」：
（PR：下回應該試用手機照下那幾頁即可, 像電影裡的間諜）
Twice lately there has been a crash and a cloud of dust, like the springing of a mine, in Tom-all-Alone's; and each time a house has fallen. These accidents have made a paragraph in the newspapers and have filled a bed or two in the nearest hospital. The gaps remain, and there are not unpopular lodgings among the rubbish. As several more houses are nearly ready to go, the next crash in Tom-all-Alone's may be expected to be a good one.
「地震爆炸」可能是「地雷爆炸」之筆誤。”and each time a house has fallen.”漏譯。末句或可翻譯為「可能非常轟烈了」。
Ch.46
There is not a drop of Tom's corrupted blood but propagates infection and contagion somewhere. It shall pollute, this very night, the choice stream (in which chemists on analysis would find the genuine nobility) of a Norman house, and his Grace shall not be able to say Nay to the infamous alliance. There is not an atom of Tom's slime, not a cubic inch of any pestilential gas in which he lives, not one obscenity or degradation about him, not an ignorance, not a wickedness, not a brutality of his committing, but shall work its retribution
“not one obscenity or degradation about him, not an ignorance, not a wickedness, not a brutality of his committing, but shall work its retribution”的翻譯解釋過份。
