Fortune 和Aspiration 和《天生英哲》 Yankee from Olympus, 1944, 香港1962年初版- 一句

 

Fortune 和Aspiration 2024

今日世界出版社的《天生英哲》 Yankee from Olympus, 1944, 香港1962年初版--採用讀者文摘的摘要版 , 1975年八版

書名	Yankee from Olympus: Justice Holmes and his family
作者	Catherine Drinker Bowen

這本書的結尾 引下述演講詞 HOLMES' 1884 MEMORIAL DAY SPEECH 黑體字部分


But, nevertheless, the generation that carried on the war has been set apart by its experience. Through our great good fortune, in our youth our hearts were touched with fire. It was given to us to learn at the outset that life is a profound and passionate thing. While we are permitted to scorn nothing but indifference, and do not pretend to undervalue the worldly rewards of ambition, we have seen wih our own eyes, beyond and above the gold fields, the snowy heights of honor, and it is for us to bear the report to those who come after us. But, above all, we have learned that whether a man accepts from Fortune her spade, and will look downward and dig, or from Aspiration her axe and cord, and will scale the ice, the one and only success which it is his to command is to bring to his work a mighty heart.
思果先生的翻譯是:
"不管一個人是從"幸運女神"那兒接受了他的鏟子低下頭去挖土，或是"希望女神"那兒接受了他的斧頭和繩子，往冰上爬 ；唯一屬於他的成功在於做事要有一顆剛毅的心。" (黑體 ) 翻譯沒問題，

(GOOGLE 但最重要的是，我們知道，一個人是否接受命運的鏟子，向下看去挖掘，或者接受願望的斧頭和繩索，攀登冰面，這是他所掌握的唯一的成功就是給他的工作帶來一顆強大的心。)

 我對翻譯的一些看法: 這牽涉到神話"希望女神"的翻譯，可稍商榷。Aspiration是與"幸運"對比，一起的 ，或許是"人間的希望或雄心，努力向上"。

Fortune 和Aspiration

今日世界出版社的《天生英哲》 Yankee from Olympus, 1944, 香港1962年初版--採用讀者文摘的摘要版 , 1975年八版

書名 Yankee from Olympus: Justice Holmes and his family

作者 Catherine Drinker Bowen

這本書的結尾 引下述演講詞 HOLMES' 1884 MEMORIAL DAY SPEECH 黑體字部分

But, nevertheless, the generation that carried on the war has been set apart by its experience. Through our great good fortune, in our youth our hearts were touched with fire. It was given to us to learn at the outset that life is a profound and passionate thing. While we are permitted to scorn nothing but indifference, and do not pretend to undervalue the worldly rewards of ambition, we have seen wih our own eyes, beyond and above the gold fields, the snowy heights of honor, and it is for us to bear the report to those who come after us. But, above all, we have learned that whether a man accepts from Fortune her spade, and will look downward and dig, or from Aspiration her axe and cord, and will scale the ice, the one and only success which it is his to command is to bring to his work a mighty heart.

思果先生的翻譯是:

"不管一個人是從"幸運女神"那兒接受了他的鏟子低下頭去挖土，或是"希望女神"那兒接受了他的斧頭和繩子，往冰上爬 ；唯一屬於他的成功在於做事要有一顆剛毅的心。" (黑體 ) 翻譯沒問題，

Fortuna
Goddess of chance, luck and fate https://en.wikipedia.org/wiki/Fortuna

對比  ASPIRATIION  希望或雄心，非女神    :a hope or ambition of achieving something.

(GOOGLE 但最重要的是，我們知道，一個人是否接受命運的鏟子，向下看去挖掘，或者接受願望的斧頭和繩索，攀登冰面，這是他所掌握的唯一的成功就是給他的工作帶來一顆強大的心。)

 我對翻譯的一些看法: 這牽涉到神話"希望女神"的翻譯，可稍商榷。Aspiration是與"幸運"一起的 ，或許是"努力女神"。"努力向上" (自力奮鬥)，即 action of desiring and striving for something"....

我根據Shorter O.E.D  "aspiration"詞句 的一句 B. Bainbridge的 "His entire life, with its small triumphs and disasters, its boundless hopes and aspirations for the future."

 其中，hopes 和 aspirations是 連在一起 。

 末句"唯一屬於他的"， 或許可改成"唯一他能控制的，就是成功在於做事要有一顆剛毅的心。"..

----2014?

約10年前我的錯誤理解

Fortune 和Aspiration

今日世界出版社的天生英哲Yankee from Olympus, 1944, 香港1962年初版--採用讀者文摘的摘要版 , 1975年八版

書名	Yankee from Olympus: Justice Holmes and his family
作者	Catherine Drinker Bowen

這本書的結尾 引下述演講詞 HOLMES' 1884 MEMORIAL DAY SPEECH 黑體字部分


But, nevertheless, the generation that carried on the war has been set apart by its experience. Through our great good fortune, in our youth our hearts were touched with fire. It was given to us to learn at the outset that life is a profound and passionate thing. While we are permitted to scorn nothing but indifference, and do not pretend to undervalue the worldly rewards of ambition, we have seen wih our own eyes, beyond and above the gold fields, the snowy heights of honor, and it is for us to bear the report to those who come after us. But, above all, we have learned that whether a man accepts from Fortune her spade, and will look downward and dig, or from Aspiration her axe and cord, and will scale the ice, the one and only success which it is his to command is to bring to his work a mighty heart.
思果先生的翻譯是:
"不管一個人是從幸運女神那兒接受了他的鏟子低下頭去挖土，或是希望女神那兒接受了他的斧頭和繩子，往冰上爬 ；唯一屬於他的成功在於做事要有一顆剛毅的心。"

 我對翻譯的一些看法: 這牽涉到神話"希望女神"的翻譯可商榷。Aspiration是與"幸運"對比 ，或許是"努力女神"。"努力" (自力奮鬥)，即 action of desiring and striving for something"....

我根據Shorter O.E.D  "aspiration"詞句 的一句 B. Bainbridge的 "His entire life, with its small triumphs and disasters, its boundless hopes and aspirations for the future."

 其中，hopes 和 aspirations是 對比 。

 末句"唯一屬於他的"， 或許可改成"唯一他能控制的，就是成功在於做事要有一顆剛毅的心。"..

6月25日 2018 錢永祥兄來電邀"談翻譯"的稿子。我戲草底下的文本博大家一笑。2024補香港的大學Renditions (magazine) (中文大學；這個翻譯世界網絡，請參考：孔慧怡 《不帶感傷的回憶》香港，牛津大學出版社，2017. 2024 此學刊100期，停刊 )

 2018 

 6月28日午，接到 《思想》主編錢永祥兄寄來的雜誌時，我剛好在讀楊武能翻譯的 《魔山》 (北京：燕山出版社，2006，這本書的缺點之一是，規避插圖的版權交代)。這本書的〈後記--我譯《魔山》 二十年〉說明楊先生從事文學名著翻譯四十年，個人的翻譯環境的際遇的差別：1990年，四人合譯的《魔山》 出版，有些譯筆一致性的困擾，決定單人重譯，這時(2004年，受「歐洲譯家協會」聘為「該協會的駐會翻譯家」)，翻譯的"環境"，已由中國冰天凍地的北京或火爐般的重慶附近，到一處德國聯邦的「歐洲譯者工作中心」(藏有275語種的15萬冊書，2.5萬冊辭典和參考工具......，頁522。)
我不免為故友彭淮棟兄獨立在80年代初翻譯《魔山》 的努力所感動。



6月25日錢永祥兄來電邀"談翻譯"的稿子。我戲草底下的文本博大家一笑。

華文翻譯：夢想與期望
幾年前，Economist 周刊及衛報等，都報導台灣是"出版量/人口數"的世界第2名。

UK publishes more books per capita than any other country, report ...https://www.theguardian.com/books/.../uk-publishes-more-books-per-capita-million-r...2014/10/22 - UK tops chart of publications per million inhabitants by a huge margin, with only China and US publishing more titles ... and places the UK an astonishing 1,000-plus titles ahead of second-placed Taiwan and Slovenia (1,831).

我們或許知道，台灣每年書市推出的書籍當中，可能四分之一以上是翻譯類，所以選暢銷書的排行版


本文所談的華文翻譯，指台灣、中國、香港出版的譯本。香港特指各大學的翻譯系及其刊物如Renditions (magazine) (中文大學；這個翻譯世界網絡，請參考：孔慧怡 《不帶感傷的回憶》香港，牛津大學出版社，2017. 2024 此學刊100期，停刊 )，以及宗教文藝出版社等等關於宗教、神學、哲學；文學等的出版品，當然， 《明報月刊》也連載過周縱策的《五四運動史：現代中國的思想革命》等大著。


中國的翻譯組織比較有規模、層級。香港的民間翻譯學會所選出的"會士/院士"，公論很好。台灣似乎還沒有相對強點的翻譯組織 (包括翻譯獎)。

在1949年之前，最大的翻譯出版社當屬商務印書館。1949年之後，中國的翻譯出版，似乎比較分散點。台灣的情形類似，更分散，然而學術點的翻譯，有家後起之秀，即聯經出版社，它的主編胡金倫先生，在2018年6月末驕傲地說，歷屆唐獎的漢學類的得獎者，該社都有其著作的翻譯本。

就世界名著的翻譯而言，台灣的缺點之一是"人口"較少。"我的朋友"彭淮棟先生在80年代中期就告訴我，出版社找顧問列出"待譯書單"不難，難在找出恰當、勝任的人來翻譯。這點，在21世紀初期，逐漸由中國的出版社"補齊"，甚至更深入，譬如劉小楓先生在北京華夏出版主編的「西方傳統：經典與解釋」等叢書。

中國的翻譯優勢和缺點：市場大、人才(含外語人才)多，可以作長期叢書的規劃等等。缺點是官方的意識形態等要求的禁忌、自我審查。舉例而言，宇文所安和孫康宜主編的《劍橋中國文學史》，簡體字版，缺末章。Herbert A. Simon 的回憶錄《我生活的模式》缺1989年的北京動亂的親身體驗記；簡體字版的Le Corbusier 的《東方遊記》將1911年談論土耳其憲法改革的"憲法"，改成"建設"。鄙人新譯的【轉危為安】、【新經濟學】 (台北：經濟新潮；北京：機械工業，2015)的簡體版〈譯者序〉給加些愛國感人的話。
能夠妥協的簡體字版，不見得皆大歡喜："2010年底，《巨流河》簡體字版由北京三聯書店取得授權，雖在少許刪節的立場上有些折沖與磨合，但終能順利出版。齊邦媛這個名字也由此為大陸讀者熟知。"
比較：《巨流河》日文版在日本正式出版了20?，日本相關部門沒有進行篡改與閹割，這是讓日本讀者重新看待八十年前戰爭真相的最佳讀本。

Death in Venice (German: Der Tod in Venedig) is a novella by German author Thomas Mann, published in 1912.

 Death in Venice (German: Der Tod in Venedig) is a novella by German author Thomas Mann, published in 1912.^[1] It presents an ennobled writer who visits Venice and is liberated, uplifted, and then increasingly obsessed by the sight of a boy in a family of Polish tourists—Tadzio, a nickname for Tadeusz. Tadzio was likely based on a boy named Władzio whom Mann had observed during his 1911 visit to the city.

The former Grand Hôtel des Bains in Venice where Thomas Mann stayed and where he set action in the novel.

Translations

[edit]

An English translation by Kenneth Burke was published in periodical form in The Dial in 1924 over three issues (vol. LXXVI, March to May, issues # 3–5, Camden, NJ, USA). This translation was published in book form the following year by Alfred A. Knopf as Death in Venice and Other Stories. W. H. Auden called it the definitive translation, but it is unclear to what other translations Auden was comparing it.^[10]

Helen Tracy Lowe-Porter's authorized translation, published in 1922 in Mann's Stories of Three Decades,^[11] has been less well received by critics due to Lowe-Porter's treatment of sexuality and homoeroticism.^[12] In the Oxford Guide to Literature in English Translation it is criticized for its "puritanism", which saw Lowe-Porter "tone down Mann's treatment of sexuality, especially homoeroticism". The author considers the result "disastrous" and sees "a reworked, sanitized version of the text" by Mann.^[13]

A translation published in 2005 by Michael Henry Heim won the Helen and Kurt Wolff Translator's Prize.

Other translations include those by David Luke (1988), Clayton Koelb (1994), Stanley Applebaum (1995), Joachim Neugroschel (1998), Martin C. Doege (2010), and Damion Searls (2023).

Madeleine Vionnet 自認 媲美巴甫洛娃（Pavlova）的藝術家，哪位Pavlova？

  這短文費時多.....

Madeleine Vionnet 自認 媲美巴甫洛娃（Pavlova）的藝術家，哪位Pavlova？

ENCOUNTER 

The association of haute couture with the very rich makes it suspect for many people. But for Madame  Vionnet, who once was a penniless, couture is not a minor art. Like the dance it is a evanescent art, but a great one.  She sees herself as an artist on the level of, say, Pavlova.   ~~ Bruce Chatwin (1940~1989) 的Madeleine Vionnet一文，出自 WHAT AMI DOING HERE 一書

高級時裝與富人的連結讓許多人感到懷疑。但對於曾經身無分文的Vionnet女士，時裝設計並不是一門小藝術。就像舞蹈一樣，它是一門轉瞬即逝的藝術，但卻是一門偉大的藝術。 她認為自己是一位可以與巴甫洛娃（Pavlova）媲美的藝術家。

黑體字段，中譯本(p.110)完全錯了，錯得離譜(把Pavlova搞成奶油蛋白餅)，不如上述的Google 翻譯。

但是，Madeleine Vionnet 自認 媲美巴甫洛娃（Pavlova）的藝術家，哪位Pavlova？

前文提到舞蹈，所以合理猜識與卓別林合影過的芭雷舞名家Anna Pavlovna Pavlova(1881年2月12日 - 1931年1月26日) 

 

Charlie Chaplin and Russian prima ballerina Anna Pavlova

Sir Charles Spencer Chaplin KBE (16 April 1889 – 25 December 1977)

****

Madeleine Vionnet (pronounced [ma.də.lɛn vjɔ.ne]; June 22, 1876, Loiret, France – March 2, 1975) was a French fashion designer best known for being the “pioneer of the bias cut dress”,^[1][2] Vionnet trained in London before returning to France to establish her first fashion house in Paris in 1912. Although it was forced to close in 1914 at the outbreak of the First World War, it re-opened after the war and Vionnet became one of the leading designers of 1920s-30s Paris. Vionnet was forced to close her house again in 1939 at the start of the Second World War and she retired in 1940.^[2]

Madeleine Vionnet（發音為[ma.də.lɛn vjɔ.ne]；1876 年6 月22 日，法國盧瓦雷- 1975 年3 月2 日）是法國時裝設計師，因「斜裁連身裙的先驅」而聞名，[1 ][2] Vionnet 在倫敦接受培訓，然後返回法國，於1912 年在巴黎建立了她的第一家時裝店。雖然該公司於1914 年因第一次世界大戰爆發而被迫關閉，但在戰後重新開業，Vionnet 成為20 世紀 20 年代至 30 年代巴黎的頂尖設計師之一。 1939 年第二次世界大戰開始時，Vionnet 被迫再次關閉她的房子，並於 1940 年退休。

Anna Pavlova (1881-1931), one of the most celebrated and influential ballet dancers of her time, is captured in this stunning portrait from around 1911-1912. Known for her delicate yet powerful performances, Pavlova revolutionized the art of ballet with her emotive and expressive style. She became famous worldwide for her interpretation of "The Dying Swan," a role that remains iconic in the history of dance.

Pavlova’s dedication to her craft and her natural talent helped her to break barriers for women in the arts. Born in Russia, she trained at the Imperial Ballet School in St. Petersburg and went on to perform with the renowned Mariinsky Ballet. Her international fame grew as she toured across Europe, America, and beyond, performing in major cultural capitals and captivating audiences with her grace and technical precision.

Throughout her career, Pavlova’s commitment to ballet and her artistry left a lasting legacy on the world of dance. Even after her death in 1931, she continued to inspire generations of dancers, and her name remains synonymous with the beauty and emotional depth that ballet can convey. This portrait captures her poise and the elegance for which she was so well known, marking her as one of the true legends of classical ballet.

Charlie Chaplin and Anna Pavlova

Read about one translator’s philosophy of the craft, which centers on trust and freedom:

 

The New Yorker 

為你推薦  · 1天  · 

“Translation is something of the runt of the literary litter, more often perceived as grunt work than art work,” Max Norman writes. “Its practitioners have rarely received attention for anything other than screwing up.” In the United States, it’s estimated that about 3% of books published annually are translations. But translators are increasingly visible in the public sphere.

Damion Searls, who has translated the Nobel laureate Jon Fosse, gives neither an apology nor a theory nor a history but, rather, a “philosophy” of translation in his new essay, “The Philosophy of Translation.” More precisely, he offers a “phenomenology” of translation, the study not of how the world might be perceived in the abstract but of our actual experience of the world. For Searls, translation is phenomenological because it is fundamentally about experience: the translator’s experience of reading the original, which is then recreated for a new reader.

Reading, according to Searls, is a form of perception, and a text is rather like a world, Norman writes. Words and phrases present affordances that readers take up as they go. A translator, then, isn’t just a lexical go-between, interpreting one word at a time. A translator, rather, is a reader who re-creates their own path through the textual world of a book. Read about one translator’s philosophy of the craft, which centers on trust and freedom: https://newyorkermag.visitlink.me/sHdXdc

inadvertently ordering an avalanche of sushi. 記錄語言的小變遷 志高先生看了一聲不響，只用鉛筆改為"不巧"!

 這篇只記錄語言的小變遷

我查台灣的"大陸英漢辭典"，有： advertence, -cy : 注意，留意 (反義字是 inadvertence... )

OXFORD CONCISE ENGLISH  (1995)則已不收advertentence 等，直接 inadvertent : (1) of an action: unitentional 2. a not properly attentive. b negligent....在字源 解釋advertent 已棄用....

董橋 2000.2  抓住那一髮青山，p.104".......雖然你們不幸不懂原文，無從欣賞原作。......"文中"不幸"的原文是 THROUGH SOME IN ADVERTENCE；字典說 in advertence 是漫不經心 粗心大意 疏漏 錯誤。....喬志高先生看了一聲不響，只用鉛筆改為"不巧"!   

inadvertently ordering an avalanche of sushi.

彭鏡禧的譯路，譯業簡述，散見彭鏡禧《拾零：敝帚自珍集》2024 等

 

彭鏡禧《拾零：敝帚自珍集》談譯《非理性的人--存在哲學研究》1969 1971，台北志文新潮文庫 31， Irrational Man By William Barrett 英文原書 1958。 書緣和對張清吉的感恩，都可參考《拾零：敝帚自珍集》 2024  合作翻譯 國科會：布雷希特  《四川好人》、《高加索灰闌記》 聯經出版   

彭鏡禧《拾零：敝帚自珍集》2024 兩主題就是「莎士比亞」和「文學翻譯」，很平實，充實的回憶文錄，充滿感恩。末篇《寵兒的告白》(台大的「我的學思歷程」演講)   也可作全書導引  。澳洲總理安東尼·阿爾巴尼斯（Anthony Albanese）表示，需要立法來保護年輕人免受社交媒體的「傷害」

《拾穗》《》


合作翻譯 國科會：布雷希特  《四川好人》、《高加索灰闌記》
聯經出版
https://www.linkingbooks.com.tw › ...

參見彭鏡禧《拾零：敝帚自珍集 紀念   9 胡老師，謝謝您！》





四川好人、高加索灰闌記. 四川好人、高加索灰闌記. 作者譯注者：鄭芳雄、彭鏡禧出版社：聯經出版日期：2005/1

彭鏡禧老師《拾零：敝帚自珍集》兩主題就是莎士比亞和文學翻譯。

大作“拾零”即已由書林出版，集結數十年來發表的精彩文章。

11/15（五）下午會舉行新書發表會

主要發表請參考三民書局彭鏡禧網頁：

https://www.sanmin.com.tw/search/index/?au=%E5%BD%AD%E9%8F%A1%E7%A6%A7

零散的篇章本身是果實，卻也是種籽，日後或可結出更為豐碩的果實。
本書收錄了作者五十多年來零散發表於報章雜誌及學報，卻未集結成冊的文章六十三篇。共分為八個單元，依序是「莎士比亞札記」、「動畫莎劇」、「看戲」、「讀書」、「學術翻譯」、「文學作品翻譯」、「紀念」、及「其他」。
這些篇章，大部分在寫作當時並沒有預設藍圖。如今撿拾起來，卻可以拼湊出作者的學術領域與進程。一切都像是事先安排好的。就連他不識字的母親，也是上天的恩賜，開啟了他的翻譯生涯。

 作者簡介

作者簡介
 
彭鏡禧
 
美國密西根大學比較文學博士，臺灣大學戲劇系及外文系名譽教授。香港翻譯學會榮譽會士、臺灣莎士比亞學會和臺灣翻譯學會榮譽會員。臺大人文藝術類傑出校友。
 
曾任美國維吉尼亞大學、廣西大學、南京大學、蘇州大學、華東師範大學、香港城市大學等校客座教授，輔仁大學講座教授，中華民國比較文學學會會長，中華戲劇學會理事長，中華民國筆會會長，臺大外文系、戲劇系主任，文學院院長。
 
研究領域為文學翻譯及莎士比亞。

 序

拾零者言
 
這本集子收錄了六十三篇長短不一的文字，是筆者近一甲子以來零星發表在報章雜誌或學報，但未曾結集成書的作品。整理的時候，發現從這些拾掇起來的零碎，可以拼湊出自己學術生涯的軌跡。美國詩人佛洛斯特（Robert Frost, 1874–1963）有一首膾炙人口的詩〈未擇之路〉（“The Road Not Taken”），對自己的選擇似乎略有憾焉，我則慶幸自己很早就註定了這輩子要走的路：文學翻譯與莎士比亞研究。
 
本集的內容按照性質略分為八個單元。首先是「莎士比亞札記」，所收八篇多是我對莎翁劇作粗淺簡約的看法，乃日後發展為較成熟之學術論文的基石。第二個單元「動畫莎劇」八篇源於英國 BBC2電視台與威爾士電視台 S4C 合製、每個劇本濃縮為三十分鐘以內的Shakespeare: The Animated Tales。首篇是紀蔚然、石昌杰兩位教授與筆者的對談，綜論此一動畫系列，旁及劇本改編問題；其他則是筆者個人對其中七齣動畫的簡要觀察。第三個單元「看戲」十篇，包括劇評以及閱讀文本的心得。第四個單元「讀書」八篇，都是應邀而寫的序文或評論。第五個單元七篇，名之為「學術翻譯」，內中五篇論述美國文學，一篇記錄中國古典文學研究歷程，另一篇評介一本根據「佚失的」莎士比亞劇本《卡丹紐》新編的同名話劇。第六個單元也是翻譯作品，但內容並非學術論文，而是文學創作，有小說，有戲劇對白，有散文，有詩，因此名之曰「文學作品翻譯」，共八篇。其中有幾篇是五十多年前大學時期發表於《拾穗》的舊作。第七個單元「紀念」記錄了多位師友對我的深遠影響。最後一個單元是一些學術或非學術的雜感，無法歸入以上七類，故名為「其他」；置於卷尾的「寵兒的告白」，是根據在臺大《我的學思歷程》系列演講整理而成。
 
這本選集幾乎排除了個人所有詩的翻譯，也許日後可以另編一本譯詩選。英文有一句成語：All his geese are swans，嘲諷把自家的醜小鵝捧若天鵝的人。則本書的六十三篇，至多是敝帚自珍的鵝毛而已，本不值一哂，尚祈讀者諸君諒之。若干作品原本包含或多或少的註釋，如今悉數刪除，但每一篇都標明出處，以便有興趣者查考。
 
這本「鵝毛集」的出版，要特別感謝：
──當年接受或邀約稿件的刊物編者；
──張綺容教授提供我在《拾穗》發表的譯作；
──陳芳教授和她的助理蔡斯昀小姐及施之小姐把三十多萬字從剪報和雜誌中鍵入電腦，成為可以修訂的文字檔，最為辛苦；
──臺灣莎士比亞學會的理監事玉成；理事長許以心教授、邱錦榮教授、蘇子中教授親赴書林出版社商洽出版事宜；
──臺灣莎士比亞學會副理事長吳敏華教授不憚其煩，仔細為全書校對兩次，統一了標點符號和字體，尤為可感。
──書林出版公司的張雅雯編輯無可挑剔的專業與敬業，使這本書能夠順
利面世。
 
以上諸位的深情厚誼，絕非感謝二字可以回報，但也只能說：謝謝！
 
彭鏡禧　謹誌
中華民國113年8月

 目次

拾零者言

莎士比亞札記
1 莎劇淺說
2 淺談莎士比亞的戲劇藝術
3 千古不息的妒火：《奧賽羅》
4 戲耶？真耶？──戲說《亨利四世》
5 為莎學研究樹立新里程碑
6 問世間，情為何物？
7 戲中之戲：莎翁的《仲夏夜之夢》
8 再見卡丹紐

動畫莎劇
1 莎劇動畫座談：戲．動畫．莎士比亞
2 嘉年華之必要：《第十二夜》
3 關於年少輕狂和愛的甜美：《羅密歐與茱麗葉》
4 失色的愛情：《奧賽羅》
5 《馴悍記》：挑戰新女性？嘲諷大男人？
6 悲喜人間：《冬天的故事》
7 哈姆雷的天人交戰
8 野心的報償：《馬克白》

看戲
1 計將安出？淺說關漢卿編劇的一項特色
2 竇娥的性格刻劃──兼論元雜劇的一項慣例
3 假戲假做跟假戲真做──兩種「戲中戲」
4 《紅鼻子》戲中戲
5 再碾一次玉：重讀姚著《碾玉觀音》
6 我看《真？理》
7 小人物．大哀愁──哈武德《服裝師》簡介
8 推陳出新：我看莎劇《錯中錯》
9 馴悍記，尋漢記，或尋憾記
10 顛倒眾生：《莎姆雷特》啟示錄

讀書
1 期待多元的世界文學經典論集（閱讀《西方正典》）
2 「演義」莎士比亞
3 莎士比亞十四行詩
4 《嘉德橋市長》
5 愛，永遠年輕──喜讀《鄉野小子》（序）
6 填補歷史的空白（《「肋」在其中》代序）
7 我詩，故我在：悅讀揭春雨
8 捧讀《雲中錦箋：中國莎學書信》

學術翻譯
1 艾德格．愛倫．坡的《怪譚奇聞故事集》
2 霍桑的《七角大廈》
3 惠特曼的〈自我之歌〉
4 亨利．詹姆士的《奉使記》
5 論伊迪斯．華頓的主要小說
6 尋尋覓覓：從燕昭王的黃金臺說起
7 莎士比亞佚失的一齣戲

文學作品翻譯
1 叔叔的夢
2 爸爸．小提琴．我
3 富蘭克林與痛風夫人的對白
4 一枚胸針
5 正好眠
6 夢
7 一舉成名
8 小品斯洛伐克：十二帖

紀念
1 師恩難忘
2 施與受
3 朱老師，晚安
4 使命感與使命幹──一個伙計眼中的顏老闆
5 開風氣之先：懷念恩師顏元叔教授
6 懷恩師──紀念虞爾昌先生一百週年冥誕
7 懷念FRANÇOISE
8 敬悼余光中先生
9 胡老師，謝謝您！

其他
1 請李白杜甫搭捷運
2 《尋找歷史場景：戲劇史學面面觀》編者前言
3 跨文化作品的原創本質
4 畢業
5 寵兒的告白

The Moon and Sixpence is a novel by W. Somerset Maugham, 第一段翻譯討論 (部分)

 

《月亮與六便士》傅惟慈 譯， 新潮文庫 368  ，1995/1999    The Moon and Sixpence is a novel by W. Somerset Maugham, 

The Moon and Sixpence is a novel by W. Somerset Maugham, first published on 15 April 1919. It is told in episodic form by a first-person narrator providing a series of glimpses into the mind and soul of the central character, Charles Strickland, a middle-aged English stockbroker, who abandons his wife and children abruptly to pursue his desire to become an artist. The story is, in part, based on the life of the painter Paul Gauguin.

《月亮和六便士》 是威廉·薩默塞特·毛姆的一本小說，以第一人稱通過對中心人物查爾斯·思特里克蘭德（Charles Strickland）心靈的描述，展現一個中年英國股票經紀人如何突然扔下妻子和孩子去追尋成爲藝術家的夢想。故事一說是取材於畫家保羅·高更的生活。

• The Moon and Sixpence - 古騰堡計劃

About the title

[edit]

According to some sources, the title, the meaning of which is not explicitly revealed in the book, was taken from a review in The Times Literary Supplement of Maugham's novel Of Human Bondage, in which the novel's protagonist, Philip Carey, is described as being "so busy yearning for the moon that he never saw the sixpence at his feet."^[3] According to a 1956 letter from Maugham, "If you look on the ground in search of a sixpence, you don't look up, and so miss the moon." Maugham's title echoes the description of Gauguin by his contemporary biographer, Meier-Graefe (1908): "He [Gauguin] may be charged with having always wanted something else."^[2]

The Moon and Sixpence by W. Somerset Maugham, 第一段翻譯討論 (部分)

Chapter I

 I confess that when first I made acquaintance with Charles Strickland I never for a moment discerned that there was in him anything out of the ordinary. 

Yet now few will be found to deny his greatness. 

I do not speak of that greatness which is achieved by the fortunate politician or the successful soldier; that is a quality which belongs to the place he occupies rather than to the man; and a change of circumstances reduces it to very discreet proportions.

 The Prime Minister out of office is seen, too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town. 

The greatness of Charles Strickland was authentic. 

It may be that you do not like his art, but at all events you can hardly refuse it the tribute of your interest.

 He disturbs and arrests. 

GOOGLE:

查爾斯·斯特里克蘭的偉大是真實的。 
也許你不喜歡他的藝術，但無論如何你都很難拒絕它對你的興趣的貢獻。
 他擾亂並逮捕。

傅惟慈 譯

....無論如何你不能不對它感到興趣。他的作品使你不能平靜扣緊你的心弦。

The time has passed when he was an object of ridicule, and it is no longer a mark of eccentricity to defend or of perversity to extol him.

 His faults are accepted as the necessary complement to his merits.

 

It is still possible to discuss his place in art, and the adulation of his admirers is perhaps no less capricious than the disparagement of his detractors; but one thing can never be doubtful, and that is that he had genius. 

討論他在藝術中的地位仍然是可能的，他的崇拜者的奉承也許與他的批評者的貶低一樣反复無常。但有一點是不容置疑的，那就是他有天賦。

傅惟慈 譯

他在藝術中的地位儘可以繼續爭論。崇拜者對他的讚頌同貶抑者對他的詆毀固然都可能出於偏頗和任性，但有一點是不容置疑的，那就是他具有天才。

To my mind the most interesting thing in art is the personality of the artist; and if that is singular, I am willing to excuse a thousand faults. I suppose Velasquez was a better painter than El Greco, but custom stales one’s admiration for him: the Cretan, sensual and tragic, proffers the mystery of his soul like a standing sacrifice. 

在我看來，藝術中最有趣的是藝術家的個性；如果這是單一的，我願意原諒一千個錯誤。我認為委拉斯凱茲是一位比埃爾·格列柯更好的畫家，但風俗習慣使人們對他的欽佩不再那麼令人欽佩：克里特島，感性而悲慘，像常備的祭品一樣提供了他靈魂的神秘。

案：STANDING

.

remaining in force or use; permanent.

"he has a standing invitation to visit them"

The artist, painter, poet, or musician, by his decoration, sublime or beautiful, satisfies the aesthetic sense; but that is akin to the sexual instinct, and shares its barbarity: he lays before you also the greater gift of himself. To pursue his secret has something of the fascination of a detective story. It is a riddle which shares with the universe the merit of having no answer. The most insignificant of Strickland’s works suggests a personality which is strange, tormented, and complex; and it is this surely which prevents even those who do not like his pictures from being indifferent to them; it is this which has excited so curious an interest in his life and character.