翻译批评与赏析讲义.doc

Lecture OneOn Verse TranslationI. Part One: On Verse Translation1. Marcus Tullius Cicero (马尔库斯图留斯西塞罗，106 B.C.-43 B.C.)荷马史诗奥德赛译者His opinions on translation:Translate not as an interpreter, but as an orator, keeping the same ideas and forms, namely, the figures of thought;In language, conform to our usage; not hold it necessary to render word for word, but preserve the general style and force of the language; Count the words out to the reader like coins, but pay them by weight; Translate flexibly to make the version superior to the original.2. Quintus Horatius flaccus (贺拉斯，65 B.C.-8 B.C.)诗人、翻译家His opinions on translation: Do not be a literal translator, faithfully rendering word for word from the original language;A translator who is faithful to the original will not translate word for word.3. St. Jerome (347?-420)In literary translation, he translated the original into his own language by conquest.4. Gavin Douglas (1475-1522) A famous Scot poet and literary translatorFlexible and free translation rather than literal translation;5. Nicolas Grimald (1519-1562) A poet and translator; A translator of Ciceros worksThe Version should be as concise as the original so as to keep the complete original style;The faithfulness to the original should be the top principle of translation;6. George Chapman (1559-1634) poet, translator of Greek classicsAgainst rigid word-for-word translation;Against over-free translation. (two extremes)7. Johann Wolfgang von Goethe (1749-1832)Translate the poetry in essay style; (What is the essence of poetry? Something left after the original poem has been translated into the version in the form of essay; the poetic form is nothing but shining outer ornament or decoration.)8. John Denham (1615-1669) A famous translator in the 17th century;A poet and literary criticsNo faithfulness in verse translation;Translate poetry in form of poetry;Faithful to the original meaning rather than the original form;Add something new to compensate for the loss aroused by the alteration of the times, languages, and places.9. Abraham Cowley (1618-1667)An important poet, critic, and translator; Famous for his translation of pindars poemsIts ridiculous to translate a poem literally;Recreate freely with the original theme to make the version superior or equal to the original.10. Wentworth Dillon, earl of Roscommon (1633-1685)A poet and translator; His main contribution to translation: translation theory; Essay on translated verse.Poetry must be translated by poets.A friendly relationship must be set between the original author and the translator;Choose the original materials of his own style to translate;Comprehend the original thoroughly, and be faithful to the essential meaning of the original without addition or distraction.11. John Dryden (1631-1700) Translation is an art; The equivalence of beauty between the original and the version12. Alexander Pope (1688-1744) A translator must be faithful to the original to the most degree; A translator should not try to surpass the original author; Equivalent to the original style; Against literal translation as well as imitation.13. William Cowper (1731-1800) A famous translator of Homers epics Against Popes free style of wording; A midway between metaphrase and imitation; The highest principle of translation: faithful to the original; tightly close to the original; Against translating Homers epic in English rhyme pattern.14. Samuel Johnson (1709-1784) poet and criticDifferent language is formed with different principle; hence the same expressions of the different languages do not mean the same beauty and grace all the way;The successful translation depends on the choice of the style.15. Pushkin (1799-1837)The greatest peoples poet in Russia; a prominent representative of Russian literature in 19th century; a verse translator.A translator must have his own freedom in the choice of original materials;A translator should enjoy sufficient freedom in translation; (imitation and adaptation);A translator must convey the original features as completely as possible.16. Rukovsky (茹科夫斯基，1783-1852)The first true lyric poet in RussiaA verse translator should have more freedom in translation than an essay translator does; (An essay translator is a slave of the original author, while a verse translator an enemy.)A translator should only translate the original works with the same quality and flavor of his own. (Roscommom)17. Lermontov (莱蒙托夫，1814-1841)A great poet after Pushkin Translated freely and creatively to show the representative features of the original;The evaluation of a version depends on the literary value of the version as a Russian literary work.18. Fet (费特)A typical representative of the pure-art poetsThe artistic works have nothing to do with the people;The poetic creation should break away from the vulgar people; The wonderfulness in form cannot be separated from the genius of the work.Translate as literally as possible;19. Theodore H. Savory A lingual scholar; his major work: The Art of TranslationTranslation is an art: Literary translation as painting; scientific translation photography;His 12 descriptive principles on translation:1) A translation must give the words of the original;2) A translation must give the ideas of the original;3) A translation should read like an original work;4) A translation should read like a translation;5) A translation should reflect the style of the original;6) A translation should reflect the style of the translator;7) A translation should read as a contemporary of the original;8) A translation should read as a contemporary of the translator;9) A translation may add to or omit from the original;10) A translation may never add to or omit from the original;11) A translation of verse should be in prose;12) A translation of verse should be in verse;20. 苏曼殊：诗歌之美，在乎气体；然其情思幼眇，抑亦十方同感。按文切理，语无增饰；陈义悱恻，事辞相称。 （拜伦诗选自序）21郭沫若：处女应当尊重，媒婆应当稍加遏抑。（论诗三札之余）理想的翻译对于原文的字句，对于原文的意义，自然不许走转，而对于原文的气韵尤其不许走转。（理想的翻译之我见）译雪莱的诗，是要使我成为雪莱，是要使雪莱成为我自己。译诗不是鹦鹉学话，不是沐猴而冠。我爱雪莱，我能感听得他的心声，我能和他共鸣，我和他结婚了。我和他合二为一了。他的诗便如像我自己的诗，我译他的诗，便如像我自己在创作一样。（雪莱诗选小序）是诗的，无论写成文言白话，韵体散体，他根本是诗。（同上）提炼、滋补、定型。（浮士德简论）22茅盾：“诗是具有一种奥妙的精神的，由这种文字而转于那种文字上时，他就完全蒸散了；如果没有一种新的精神，加在译文里，那么，除了无用之物以外，更没有什么东西存留着呢。”（引用Denham的话）我也赞成意译对于死译而言的意译，不是任意删改原文，以意译之的意译；换句话说，就是主要在保留原作神韵的译法。（译诗的一些意见）我以为一首诗的神韵是诗中最重要的一部，如果我们不失原诗的神韵，其余关于“韵”“律”种种不妨相异。而且神韵的保留是可能的，韵律的保留是不可能的。（同上）意译的限制：一、不删节原文；二、保持原诗神韵；三、合乎原诗风格。（同上）译诗的形式：是该译成散文呢，还是译成本国的诗歌形式？凡是有格律的诗，固然也有他从格律生出来的美，译外国有格律的诗，在理论上，自然照样也译为有格律的诗，来得好些。但在实际，拘拘于格律，便要妨碍了译诗其他的必要条件。而且格律总不能尽依原诗，反正是部分的模仿，不如不管，而用散文体去翻译，翻译成散文的不是一定没有韵，要用韵仍旧可以用的。（同上）我觉得翻译外国诗似乎也可以有一个原则，这就是不以能仿照原诗格律为贵。（同上）翻译本来全随译者手段的高低而分优劣，什么方法，什么原则，都是无用的废话；而且即使有了，在低手段的译者是知而不能，在天才的译者反成了桎梏。（同上）23成仿吾：理想的译诗，第一，它应当自己也是诗；第二，它应传原诗的情绪；第三，它应传原诗的内容；第四，它应取原诗的形式。（论译诗）译诗的时候，译者须没入诗人的对象中，使诗人成为自己，自己成为诗人，然后把在自己胸中沸腾着的情感，用全部的势力与纯真吐出。（同上）24王科一：译诗要以传达境界为主，移植形式次之，遣词用字又次之，然而话也得说回来，能够抓住了境界，移植形式和驾驭语言的问题也就迎刃而解了。（从雪莱论译诗谈起）附雪莱论译诗：“译诗是徒劳无益的，把一个诗人的创作从一种语言译成另一种语言，犹如把一朵紫罗兰投入坩埚，企图由此探索它的色泽和香味的构造原理，其为不智一也。”25许渊冲：创优似竞赛，美化之艺术。26丰华瞻：译诗和写诗一样，要民族化、大众化、要做到上口；译诗时要作出努力，将翻译的诗纳入我国的民族形式。译诗时应忠实于原诗的意义与诗情，而不是忠实于原诗的语法结构和个别词汇，也不必忠实于原诗的行数、韵律等。把诗译成诗。（诗歌翻译的几个问题）27曹明伦： 关于诗歌翻译，我历来主张在神似的基础上追求最大限度的形似，因为译介外国文学作品一方面是要为本民族读者提供读之有益的读物，另一方面则是要为本民族作家提供可资借鉴的文本。要实现这一目的，就不仅要译出原作的思想内容，同时还要译出其文体风格；对译诗而言，要译出原诗的文体风格，就应该尽量保留原诗的音步和韵式。因为正如英国诗人锡德尼指出的那样：历史上所有伟大的诗歌都证明，任何一种成熟的诗都必须有严谨的格律；而美国诗人弗罗斯特在论及自由诗和格律诗的关系时则说：“如果没有多年的格律诗功底，自由诗会自由得一无是处。”28辜正坤：诗歌鉴赏五象美：1）诗歌视象美；2) 诗歌音象美；3）诗歌义象美；4）诗歌事象美；5）诗歌味象美。中西诗歌鉴赏十角度：1）时间角度；2）空间角度；3）作者角度；4）作品角度；5）读者角度；6）年龄角度；7）性别角度；8）社会文化角度；9）阐释者角度；10）译者角度。诗歌五功能：1）纯审美功能；2）娱乐功能；3）教谕功能；4）认知功能；5）实用功能。诗歌鉴赏五标准：1）纯审美标准；2）娱乐标准；3）教谕标准；4）认知标准；5）实用标准。Part Two: The Criticism & Appreciation of the E-C Translation of Poems例一：原诗：Ode to the Human Life (Extracted) By LongfellowTell me not, in mournful numbers, Life is but an empty dream!For the soul is dead that slumbers, And things are not what they seem.译诗一：勿以忧时言人生若虚梦灵性咄即与死无异不仅形骸尚有灵在 （威妥玛 译）译诗二：莫将烦恼著诗篇百岁原如一觉眠梦短梦长同是梦独留真气满乾坤 （董洵 译）例二：原诗：Elegy Written in a Country Churchyard (extracted) By GreyFull many a gem of purest ray serene,The dark unfathomd caves of ocean bear:Full many a flower is born to blush unseen,And waste its sweetness on the desert air.译诗一：有许多珍异的珠宝至朗至醇在那沉黑无底的海洋之中埋泯；有许多花的清芬在荒天之中自谢自开，无人过问，飘零。 （译者不详）译诗二：多少颗宝石，灿烂放光芒，埋藏大海底，美好无人赏。多少朵鲜花，开在荒原上，娇艳无人见，空自扬芬芳。 （丰华瞻 译）例三：The Dover Beach By Mathew ArnoldThe sea is calm tonight.The tilde is full, the moon lies fairUpon he Straits; -on the French coast the lightGleams and is gone; the cliffs of England stand, Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanchd land,Listen! You hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again beginWith tremulous cadence slow, and bringThe eternal note of sadness in.译诗一：今夕海波平，潮满月如镜。海峡之上空，流光照遥境。彼岸法兰西，灯光时明灭。英伦森峭壁，闪烁而兀臬。请来窗边坐，夜气何清和。只见月光下，遥岸滚银波。请听细石音，随潮去复来。打上高岸头，方退又再回。万古恒如斯，音调徐而悲。 （郭沫若 译）译诗二：沧海静入夜。正潮满，长峡托孤月；看法兰西岸，灯火明灭。英伦峭壁森森，光熠熠，崖下风烟一时绝。凭窗立，觉夜气清和透心冽！远望，月洗平沙千万里，排浪一线翻霜雪。听！潮卷砾石声威烈，又回首，怒掷高滩侧。才至也，又消歇，慢调如泣轻吟处，愁音万古声声切！（辜正坤 译）例四：Fifty-seventh Sonnet By William Shakespeare (1564-1616)Being your slave, what should I do but tendUpon the hours and times of your desire?I have no precious time at all to spendNor services to do, till you require:Nor dare I chide chide: 斥责。 the world-without-end hourWhilst I, my sovereign sovereign: 君主，此处用作对恋人的爱称。, watch the clock for you,Nor think the bitterness of absence sourWhen you have bid your servant once adieu bid adieu：道别。:Nor dare I question with my jealous thoughtWhere you may be, or your affairs suppose,But like a sad slave, stay and think of nought nought：子虚乌有。Save, where you are, how happy you made those. So true a fool is love, that in your will, Though you do anything, he thinks no ill.译诗一：五 七做了你的奴隶，我能干什么，假如不去侍候你，讨你的喜欢？我的时间根本就不算什么，我也没事情可做，只等你使唤。我的君王！我为你守着时钟，可是不敢咒骂那不尽的时间，也不敢老想着别离是多么苦痛，自从你对你的仆人说过了再见；我也不敢一心嫉妒地去探究你到了哪儿，或猜测你的情形，只象个悲伤的奴隶，没别的念头，只想：你使你周围的人们多高兴。爱真象傻瓜，不管你在干什么，他总是以为你存心好，不算什么。 （屠岸 译）译诗二：57既是你的奴仆，我只能聊尽愚忠满足你的欲望，一刻也不放松。我虽无宝贵的时间供自己驱遣，却可听命于你帐下，垂首鞠躬。我不敢抱怨大千世界绵邈无穷，我只为你，我的君王，看守时钟。你吩咐我这个仆从悄然退下，我不敢多想，离思别绪愁更浓。我不敢心怀嫉妒，暗自猜疑，你干什么勾当，何处留下行踪。我只如一个忧戚的奴仆，头脑空空，只玄想你身形到处多少人为你怦然心动。唉，我这植入你欲田的爱真是蠢猪，眼见你为所欲为，却淡然视若无睹。 （辜正坤 译）译诗三：第57首商籁体诗既然已舍此身与你为奴，勤眷顾遂你愿更复何求？无聊赖徒任韶华成虚度，直到你耳提面命训谕留：每当我对时钟将你苦等，不敢怨天地悠悠光阴慢；每当你向我更道别离声，不思量芳影杳然惹辛酸：怎知晓香车情系谁家树？又岂敢怨语呕呕起妒心。如痴奴终日哀哀无意趣，除非是芳踪觅得人欢欣。 却恰是人已成痴只为爱，任伊人率性而为畅心怀。 （孟凡君 译）例五：The Passionate Shepherd to his LoveBy Christopher Marlowe (1564-1593)Come live with me and be my love,And we will all the pleasures proveThat hills and valleys, dales dale: 沟壑。 and fields,Or woods or steepy mountain yields.And we will sit upon the rocksAnd see the shepherds feed their flocks,By shallow rivers, to whose fallsMelodious melodious: 悦耳的。 birds sing madrigals madrigal: 无伴奏清唱。.And I will make thee beds of rosesAnd a thousand fragrant posies posy: 花束。,A cup of flowers, and a kirtle kirtle: 女裙。Embroiderd all with leaves of myrtle.A gown made of the finest wool,Which from our pretty lambs we pull,Fair lind slippers for the cold,With buckles buckle: 鞋袢扣。 of the purest gold.A belt of straw and ivy budsWith coral coral: 珊瑚。 clasps and amber studs amber studs: 琥珀点缀。:And if these pleasures may thee move,Come live with me and be my love.Thy silver dishes for thy meatAs precious as the gods to eat,Shall on an ivory table bePrepared each day for thee and me.The shepherd swains shall dance and singFor thy delight each May-morning:If these delights thy mind may move,Then live with me and be my love.译诗一：牧羊人的恋歌来吧，和我生活在一起，做我的爱人，在这里将使我们快乐无边：这里有峻峭秀丽的山峦，还有风光明媚的山谷田园。在那边，我俩坐在山岩上，看牧羊人喂养可爱的羔羊；在浅浅的小溪旁，鸟儿随着潺潺流水把爱情歌唱。在那边，我将用玫瑰编一顶花冠，用成千的花束做床，用爱神木的叶子织成长裙；一切都献给你，绚丽与芬芳！从羔羊身上剪下最好的羊毛，为你做防寒的鞋衬和长袍；用纯金为你制作鞋扣，该是多么珍贵，多么荣耀！长春藤和芳草做的腰带，珊瑚带扣点缀着琥珀水晶。假如这些享受能打动你的心，来吧，和我生活在一起，做我的爱人。银碟里盛着你吃的美味儿，如同天上众神所用的一样，丰盛的佳肴将为我俩摆在象牙制的桌面上。牧羊少年们在每个五月的早晨，将为你纵情舞蹈，高歌入云；假如这些欢乐能打动你的心，来吧，和我生活在一起，做我的爱人。 （袁广达 梁葆成 译）译诗二：牧人激情吟来与我相依又相恋，将所有的欢乐体验：有峦嶂幽谷和原野，也会有丛林和险岳。你我在山岩上置身，看牧者们侍弄牧群，溪流浅浅，水潺潺，有好鸟清音来相伴。为你铺设好玫瑰床，千百束艳蕊沁芬芳，为你奉献上鲜花杯，淑女裙香叶来点缀。做衣裙的上佳羊毛，来自我们的俏羊羔。条纹绚丽的柔软靴，袢扣用纯金来打做。腰带是芳草加藤蕾有珊瑚琥珀相点缀：若喜悦拨动你心弦，来与我相依又相恋。且用银盘盛就三餐，珍馐佳肴赛过神仙，在象牙桌上相供奉，让你我每天来享用。让我为你曼舞轻歌，五月的晨光多欢乐：若欢乐拨动你心弦，来与我相依又相恋。 （孟凡君 译）例六：原诗：She Walks in Beauty By George Gordon Byron (1788-1824)She walks in beauty, like the nightOf cloudless climes and starry skies,And all thats best of dark and brightMeet in her aspect and her eyes;Thus mellowd mellow: 绚丽多彩的。 to that tender lightWhich heaven to gaudy gaudy: 亮丽的。 day denies.One shade the more, one ray the less,Had half impaird impair: 妨害。 the nameless graceWhich waves in every raven tress raven tress: 乌黑的长发。Or softly lightens oer her face,Where thoughts serenely serenely: 恬静的。 sweet expressHow pure, how dear their dwelling-place.And on that cheek and oer that browSo soft, so calm, yet eloquent eloquent: 愿意为雄辩地，此处意为欢畅的。,The smiles that win, the tints tint: 面色。 that glowBut tell of days in goodness spent,A mind at peace with all below,A heart whose love is innocent.译诗一：她走在美的光影里她走在美的光影里，好像 无云的夜空，繁星闪烁；明与暗的最美的形相 凝聚于她的容颜和眼波，融成一片淡雅的清光 浓艳的白天得不到的恩泽。多一道阴影，少一缕光芒，都会有损于这无名之美：美在她绺绺黑发上飘荡， 也在她腮颊上洒布柔辉；愉悦的思想在那儿颂扬 这神圣寓所的纯洁高贵。那脸颊，那眉宇，安详，和蔼， 情态胜却似万语千言；迷人的笑容，照人的光彩， 显示温情伴送着芳年；恬静的、涵容一切的胸怀！ 蕴蓄着真纯爱情的心田！ （杨德豫 译）译诗二：她在美中行她在美中行，宛若晴空缀满闪闪繁星，她的容颜光彩烁烁，她的黑眸秋波滢滢；她的仪态柔情脉脉，恰如丽日气色清清。那难以名状的艳美，随乌黑的发丝波荡，在玉颜上柔柔生辉，表露出恬静的思想；光与影的增加减退，皆将她的美艳毁伤。佳人那亮丽的笑容，在面颊和眉梢绽放，纵华年已度太匆匆，多柔婉恬静和欢畅，心中有纯真的爱情，脑中有和善的思想。 （孟凡君 译）例七：Farewell, Sweet Groves By George WhitherFarewell,Sweet groves grove: 丛林。 to you;Your hills, that highest dwell,And all you humble vales, adieu adieu: 告别。.You wanton wanton: 湍急的。 brooks and solitary rocks,My dear companions all, and you, my tender flocks!Farewell, my pipe, and all those pleasing songs, whose moving stringsDelighted once the fairest nymphs nymphs: 乡间女郎。 that dance upon the plains;You discontents, whose deep and over-deadly smart;Sighs, tears, and every sad annoy,That erst did with me dwell,And all others joyFarewell!Adieu,Fair shepherdesses shepherdess: 牧羊女。:Let garlands of sad yewAdorn your dainty golden tresses dainty golden tresses: 秀美的金发。.I, that loved you, and often with my quill quill: 羽毛笔。Made music that delighted fountain, grove, and hill:I, whom you loved so, and with a sweet and chaste embrace.(Yea, with a thousand rarer favours) would vouchsafe vouchsafe: 得到。 to grace,I, now must leave you all alone, of love to plain:And never pipe, nor never sing again.I must, for evermore, be gone.And therefore bid I youAnd every one,Adieu.【译诗】告别丛林飘香告别，丛林飘香；告别峰峦超绝，告别一切深谷低夼。告别溪流湍飞危岩独立，告别所有密友，温顺的牧匹！告别我的短笛，告别所有的欢歌，弦韵悠悠，乡间众佳丽起舞婆娑；你深重的哀怨，已痛彻心髓，将无暇真心无情地打碎；一切欢愉与我相违，惟有声声讶嗟，挥泪啼悲，告别！再见，牧羊娇娃：让悲哀的杉环，装点你秀美的金发。爱过你的我，羽笔作歌，给山泉丛林和山峦带来欢乐：你爱过的我，以甜蜜纯洁的拥抱，以千般无上的妙意，将赐福得到。而我，却让你独享爱的忧伤：永不吹笛，也永不歌唱。我将与你长相分离，从此一去不返。致语各位：再见。 (孟凡君 译)例八：Of Beauty By Richard FanshaweLet us use it while we maySnatch those joys that haste away!Earth her winter coat may cast,And renew her beauty past:But, our vinter come, in vainWe solicit solicit: 索取。 spring again;And when our furrows snow shall cover,Love may return but never lover.译诗：美欢情易逝不复回，及时行乐犹可追。大地或遭隆冬雪，须臾重现三春晖：此生若感凄寒意，青春一去永相违。一朝朱颜槁枯云鬓改，回首伊人虽在容已非。 （孟凡君 译）例九：The Grave of Love By Thomas Love PeacockI dug, beneath the cypress cypress: 柏树。 shade, What well might seem an elfins elfin: 精致的。 grave;And every pledge in earth I laid, That erst thy false affection gave.I pressed them down the sod sod: 土块。 beneath; I placed one mossy stone above;And twined the roses fading wreath Around the sepulcher sepulcher: 坟冢。 of love.Frail frail: 脆弱的。 as thy love, the flowers were dead, Ere yet the evening sun was set:But years shall see the cypress spread, Immutable immutable: 不变的。 as my regret.译诗：爱冢在那棵柏树的荫下， 挖一个精致的小冢；把信誓旦旦都埋下， 那是你往日的虚情。用土压紧爱的誓言； 立一个生苔的石碑；把干枯的玫瑰花环 环绕在爱冢的周围。如你的爱羸弱无主， 花谢了，日坠西天：恰好似翠柏年年绿， 徒任我、此恨绵绵。 (孟凡君 译)例十：A Memory By Lola RidgeI rememberThe crackle crackle: 发出的声响。 of the palm treesOver the mooned white roofs of the townThe shining townAnd the tender fumbling fumble: 波荡。 of the surf surf: 海浪的泡沫。On the sulphur-yellow sulphur-yellow: 硫磺色的，或橙黄色的。 beachesAs we sata little apartin the close Pressing night.The moon hung above us like a golden mango mango: 芒果。,And the moist air clung to our faces,Warm and fragrant as the open mouth of a childAnd we watched the outflung seaRol