2017年10月31日 星期二

"Without having seen the Sistine Chapel one can form no appreciable idea of what one man is capable of achieving."

1512年的今天,米开朗琪罗在西斯廷教堂天顶绘制的壁画首次向公众开放。
1512年的今天,米开朗琪罗在西斯廷教堂天顶绘制的壁画首次向公众开放。 Plinio Lepri/Associated Press
你有没有在资历不符的时候,就获得了一份工作?
职业雕塑家米开朗基罗就遇到过,当时他在梵蒂冈西斯廷教堂在天花板作画,这一作品是在1512年的今天首次面向公众开放的。
受教皇儒略二世(Julius II)所托,米开朗基罗花了四年时间在天花板上作画,该作品有130英尺长(约合40米)、45英尺宽(约合14米)。(你可在这里进行虚拟游览。)
 米开朗基罗当时深信自己会失败,他在一开始就变得爱妄想,在结束时健康状况一塌糊涂。他写了一首诗,开头是这样的
“从这场折磨中,我患上了甲状腺肿
在这里像伦巴第的猫一样弓着背
(或是其他死水流毒的地方)”
天花板上中心的作品是《创世纪》(Creation of Adam),那是圣经《创世纪》中的九个场景之一。
这一壁画在现代只有过一次修复需求,那是在上世纪八九十年代,但每年超过500万人参观带来的影响还是引发了一些担忧
这幅壁画之所以大受欢迎是可以理解的。就像德国作家约翰·沃尔夫冈·冯·歌德(Johann Wolfgang von Goethe)注意到的那样:“没到过西斯廷教堂的人,无法了解一个人的能力能有多大。”

Quotes on Michelangelo's frescoes in the Sistine Chapel[edit]

"Without having seen the Sistine Chapel one can form no appreciable idea of what one man is capable of achieving."
— Johann Wolfgang Goethe, 23 August 1787, [31]

https://en.wikipedia.org/wiki/Sistine_Chapel

2017年10月30日 星期一

Ecclesiasticus 30


熊智翔

心中喜樂是人的生命,是聖德的無盡寶藏;人心愉快,可享長壽。(德訓篇三十23)
首先,德訓篇?  
我以前用過,可找出:

Ecclesiasticus

King James Version (KJV)


https://www.kingjamesbibleonline.org/Ecclesiasticus-Chapter-30/


22The gladness of the heart is the life of man, and the joyfulness of a man prolongeth his days.
23Love thine own soul, and comfort thy heart, remove sorrow far from thee: for sorrow hath killed many, and there is no profit therein.

有一些翻譯上的"不同",然而,這些對"修養"不相干.......

'Poet in Spain' Offers New Translations of Lorca's Soulful Work. Robert Guillaume



BOOKS OF THE TIMES

'Poet in Spain' Offers New Translations of Lorca's Soulful Work

By DWIGHT GARNER

The translator Sarah Arvio bypasses Federico García Lorca's New York poems, focusing instead on what she calls his "moonlit earthbound Spanish poems."

Photo
CreditSonny Figueroa/The New York Times
The poet and playwright Federico García Lorca is, after Cervantes, the most commanding figure in Spain’s literature. He died young, executed at 38 by nationalist forces at the start of the Spanish Civil War. This early death has rendered him a permanent political and cultural object of desire.
During his lifetime Lorca feared what he called “stupid fame.” It’s hard to say what he would make of the flourishing industry of works (ballets, operas, films, novels, pop songs, poems) that reference and adapt his life and work.
Lorca’s body was never found. This hasn’t stopped artists from figuratively pickpocketing it, hoping to nick a bit of his gravitas and spirit, and to import tragic frissons by association. His work is less read today than it is projected upon.
Lorca was a great explicator of duende, the idea that an artwork should brim with authenticity and death-awareness and skin-prickling and foot-stamping awe and soul.

He evoked duende perhaps most fully in his “Gypsy Ballads,” published in 1928. It’s a canonical book in Spain. Here was a highly cultivated poet reworking Andalusian folk culture and myth. The high-low effect was startling. It was as if Robert Lowell had made a murderous little book that drew its inspiration from Harry Smith’s “Anthology of American Folk Music.”
The poet and translator Sarah Arvio is here now with “Poet in Spain,” a new translation of Lorca’s poems into English. It is the first major undertaking of its kind since “Collected Poems: A Bilingual Edition” (1991), the work of several translators and edited by Christopher Maurer.

Unlike Maurer, Arvio omits Lorca’s intemperate and political and Whitman-inflected New York poems, written after he visited the city in 1929 and 1930. (These were published after his death under the title “Poet in New York.”) She focuses instead entirely on what she calls his “moonlit earthbound Spanish poems.”

About Lorca’s New York versus his Spanish poems, Arvio writes, “To my ear, these voices are so different they could almost be the voices of two different poets.” The crucial word here is “almost.” The absence of these vital poems immediately renders Arvio’s book less necessary than Maurer’s in terms of seeing this complicated poet whole.
There are consolations. Arvio is a supple translator, and she has delivered a personal book. She has felt free to shift Lorca’s poems around in sequence, as he himself often did when putting together his books. Most notably she has shorn the poems of punctuation, as Lorca sometimes did in his drafts.
The spare effect can be riveting. Take this snippet of “Dreamwalking Ballad”:
Compadre can I swap
my horse for your house
saddle for your mirror
knife for your blanket
compadre I come bleeding
from the Cabra passes
If I could young friend
the deal would be done
But I’m no longer me
my house isn’t mine
At other moments, the punctuation is missed. You feel Lorca has been tamped down. His poem “Cazador” (“Hunter”), for example, begins with these words: “¡Alto pinar!” Arvio translates this, with a vast diminution in energy, as “High grove of pines.”
Lorca wrote in an exclamatory style that gave his work a flamenco brashness. Witness the first stanza of “Árboles” (“Trees”) from 1919:
¡Árboles!
¿Habéis sido flechas
Caídas del azul?
¿Qué terribles guerreros os lanzaron?
¿Han sido las estrellas?
Arvio renders this in telegraphic yet somewhat lobotomized fashion:
Were you once arrows
falling from the sky
What terrible warriors shot you
Were they the stars
At other moments, Arvio’s translations are both less accurate and less felicitous than those in Maurer’s edition. The opening lines of “Reyerta” (“Brawl” or “Feud”), for example, read this way: “En la mitad del barranco / las navajas de Albacete, / bellas de sangre contraria, / relucen como los peces.”
Arvio gives us this translation: “Halfway down the gully / the blades from Albacete / glisten like fishes / flush with fighting blood.”

In Maurer’s book, it is: “Halfway down the gorge / knives of Albacete, / beautiful with enemy blood, / shine like fish.”

Beautiful with enemy blood. That isn’t just a gorgeous phrase, ripe with meaning, but it comports more exactly with Lorca’s Spanish.
The poems in this book include not only “Gypsy Ballads,” but the “Dark Love Sonnets,” with their death-haunted homoeroticism, and poems about the deadly goring of Lorca’s friend the bullfighter Ignacio Sánchez Mejías, among others.
Lorca’s poems from Spain are a poetry of dreams and journeys and glimpses from balconies, of sunbaked meadows and realms of erotic yearning. He went to the well often for the same elemental imagery: the sea, the wind, the moon, flowers and trees. His mind worked feverishly enough to induce hallucinations.
He completed 13 plays and nine books of verse between 1917 and 1936. This book includes one of those plays, a rich and gripping retranslation of “Blood Wedding,” written in 1932. It’s an unconventional choice to print it in a book of poems, but Arvio argues and then demonstrates that the language in it is of a piece with Lorca’s blood-warm verse.

The poet Ted Hughes, who once translated “Blood Wedding,” observed that “Lorca cannot be Englished.” Perhaps. But his life and work offer mysteries we’re still profitably untangling.

----
Robert Guillaume, Emmy-winning actor from TV sitcoms "Soap" and "Benson," has died at age 89.


Robert Guillaume
Google:羅伯·紀堯姆
此姓竟然沒收入"法語姓名譯名手冊" (新華社, 北京商務,1996,約1187頁)

2017年10月19日 星期四

Titian. "Portrait of a Young Woman" (circa 1536)

Google 英譯:可理解

# Painting_day # Titian
The genre of the portrait occupies a significant place in the work of Titian. "Portrait of a Young Woman" (circa 1536) is executed from a model that the artist has repeatedly depicted: so, from it was written the famous "Venus of Urbino."
Blooming Venetian, personifying the femininity and charm of youth, in general terms corresponds to the ideal described in the work of Agnolo Firenzuola "Discourse on female beauty." For example, in a beautiful woman, "the skin should be slightly reddish from the bloodstream," "shoulders should be wide, ... no bone should protrude on the breast." The perfect breast rises smoothly, imperceptibly to the eye, "" the forearms must be white. "
Virtual Academy. The Italian Renaissance in the Hermitage. The Art of Venice - http://bit.ly/2v9iwe9

Facebook翻譯:接近無法理解
Жанр портрета занимает значительное место в творчестве Тициана. "Портрет молодой женщины" (около 1536 г.) исполнен с модели, которую художник не раз изображал: так, с нее была написана знаменитая "Венера Урбинская".
Цветущая венецианка, олицетворяющая собой женственность и прелесть юности, в общих чертах соответствует идеалу, описанному в сочинении Аньоло Фиренцуолы "Рассуждения о женской красоте". Например, у красавицы "кожа должна быть слегка красноватой от кровообращения", "плечи должны быть широкими,... на груди не должна выступать ни одна кость. Совершенная грудь повышается плавно, незаметно для глаза", "предплечья должны быть белыми".
Виртуальная Академия. Итальянское Возрождение в Эрмитаже. Искусство Венеции - http://bit.ly/2v9iwe9
#Картина_дня #Тициан

肖像的類型在創意中佔有很大的位置. "年輕 女性 的 肖像" (約1536克)是用藝術家反復描述的模式進行的: 這是著名的維納斯urbinskaâ寫的.

威尼斯的青春之美, 美麗的美麗和青春的美麗, 與寫作中描述的"女性美女"的理想完全一致. 例如". 肌膚的美麗". ", 肩膀必須寬,... 沒有骨頭應該在胸部. 完美的胸部上升, 沒人注意", 必須是白色的.

虛擬學院. 義大利在追的復興. 第條: 享受社會保障的權利

2017年10月14日 星期六

Mercedes-Benz, plum pudding, plum cake

Mercedes-Benz 中文可能5種:賓士 (台灣)、奔馳 (中國)、平治 (彭博商業周刊 )......
梅賽德斯-賓士Mercedes-Benz,根據地區與時期的不同分別有賓士奔馳平治梅賽德斯朋馳等多種中文簡稱),是一家以豪華和高性能著稱的德國汽車品牌[1],總部設於德國斯圖加特。旗下產品有各式乘用車、中大型商用車輛。目前梅賽德斯-賓士是戴姆勒公司旗下的成員之一。

~~~~

🎄 I know it's only October but...


2012我則是讀張華兄去年的大作Through the Looking Glass 愛麗絲鏡中棋緣 (譯者:張華)
    趙先生把第7章的plum cake和第9章的plum pudding分別譯成「梅子糕」與「梅子布丁」,但1957啟明書局版則分別譯成「葡萄餅」與「葡萄乾布丁」。本書經查證後,分別譯為「水果蛋糕」 (7章註13) 和「葡萄乾布丁」 (9章註18)
去了解: plúm cáke[plúm cáke]
[U][C]((主に英))(干しブドウなどがはいった)フルーツケーキ.
BBC 還教您如何做此蛋糕---經驗說,上下底的水果以梅為最:


~~~
2016.12.1

每次我看到plum pudding譯成梅子布丁就覺得好笑。
聖誕節快到了,這個字應該會更常出現。
何謂plum pudding:http://tinyurl.com/htr3m8t
翻譯時,順便google一下圖片或影片是不錯的輔助。
我覺得網路版的必應字典非常棒,查單字都會順便跳出圖片。
Despite the name "plum pudding," the pudding contains no actual plums due to the pre-Victorian use of the word "plums" as a term for raisins.



2017年10月13日 星期五

Richard Howard 及一些台灣的大譯家; George Plimpton on Translating Proust

Richard Joseph Howard (born October 13, 1929; adopted as Richard Joseph Orwitz) is an American poetliterary criticessayistteacher, and translator. He was born in Cleveland, Ohio and is a graduate of Columbia University, where he studied under Mark Van Doren,[1] and where he now teaches. He lives in New York City.




Major translations (French to English)[edit]


Happy birthday to Richard Howard, who is eighty-eight today. Read his Art of Poetry interview here:
Visiting Richard Howard in his Greenwich Village apartment, I brought with me a photograph I’d discovered of the two of us, taken not long after we’d met, thirty years ago. What’s startling is to look up from the picture to the man in…
THEPARISREVIEW.ORG



2011.1.2
Richard Howard 及一些台灣的大譯家
上周四 辜振豐和明智周
辜先生的時尚考要出增訂版/ 明智周新書談日語中的敬語
辜先生談 Richard Howard 他們對於我知道這為名譯家有點驚訝
其實查Wikipedia 的他
就知道他1982年獲法國騎士獎章In 1982, Howard was named a Chevalier of L'Ordre National du Mérite by the government of France.
我讀他的Barthes英譯 收穫最多
(Major Translations (French to English)

企盼有機會讀讀他的文集 The Rustle of Language
The rustle of language - Google 圖書結果Roland Barthes, Richard Howard - 1989 - Language Arts & Disciplines - 373 頁
Essays discuss science, mythology, language, style, history, semiotics, literature, and meaning In the 'The Rustle of Language' almost all the essays in this ...
***


昨天傍晚 我在超市前遇到瑞麟
我跟他說 胡適紀念日中午去他那兒 未遇
他說現在花很多時間在附近的佛堂
所以我說歲末 Simon U 的人應該聚會 (他說月娟日前打過電話問起這)
去年只為HOWARD 永安辦過一次讀書會
(欣寧的文字收納室:梁永安:嚼飯授人之事)
他說現在在家的時間少
多可惜
就用幾個文字向各大譯家賀新年
現在在等梁永安翻譯的dhl 短篇小說和櫻桃園文化出版的初戀




On translating Marcel Proust.


Richard Howard first appeared in The Paris Review in our thirteenth…
THEPARISREVIEW.ORG



Richard Howard first appeared in The Paris Review in our thirteenth issue—from the summer of 1956. Since then, several of his poems and translations have found their way to these pages, and in 2004, J. D. McClatchy interviewed him for our Art of Poetry series. In our Summer 1989 issue, George Plimpton spoke with Howard about translating Proust.
GP
The first line of Remembrance of Things Past is one of the most famous in literature. How does your version differ from the others?
RH
Three versions of Proust’s first sentence—“Longtemps, je me suis couché de bonne heure.”—have been published. The Scott Moncrieff-Kilmartin: “For a long time I used to go to bed early.” James Grieve (an Australian professor): “Time was, when I always went to bed early.” And mine: “Time and again, I have gone to bed early.”
GP
And what is the thinking behind your version?
RH
To begin with, “time and again” seems one of those cell-like phrases which sums up a meaning of the whole book, as long-temps does in French. I admire Professor Grieve’s “time was”, but it doesn’t have the notion of recurrence that I wanted. It seemed to me that what was needed was not only an opening phrase which would reveal the book’s meaning, but one that would begin with the word “time”, which would be the last word in the book as well, as it is in French. 
GP
Were there other considerations?
RH
Roger Shattuck has an essay about this, and Alfred Corn has explored it in his essays too: in the whole book, the only use of the passé composé occurs, to all intents and purposes, in the first sentence. Oh sometimes characters use this tense in speech, but the narrative is virtually never in the passé composé (je me suis couché). So that one hears a deliberate little jolt there; I wanted to echo that...