最近林水福新譯《源氏物語》說其中和歌當時為口語，所以林文月等用大風歌，三行譯，不恰當。這是翻譯大哉提問，類似例子，不勝枚舉。例如英國人喝酒時唱的歌，都成為文謅謅的爛調，很不足取：
A life's but a span.
IAGO
65Some wine, ho!(sings)And let me the cannikin clink, clink,And let me the cannikin clink.A soldier’s a man,70A life’s but a span,Why then let a soldier drink.Some wine, boys!
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。
“A wordmaster, he was also a meticulous mosaicist. The translator need only find the right verbal stones and install them in comely sentences, in cadences that mirror the author’s own, and Mishima’s voice will emerge.” John Nathan discusses translating the work of Yukio Mishima, whose story “From the Wilderness” appears in the latest issue of the magazine.
https://newyorkermag.visitlink.me/lgWVn3
