王佐良-翻译：思考与试笔

王佐良，翻译：思考与试笔，外语教学与研究出版社，1997  一、辩证地看——尽可能顺译，必要时直译；任何好的译文总是顺译与直译的结合。 二、一切照原作，雅俗如之，深浅如之，口气如之，文体如之。（3）  文体问 题 快递公司问题件快递公司问题件货款处理关于圆的周长面积重点题型关于解方程组的题及答案关于南海问题 ： 似乎可以按照不同文体，定年同译法。例如信息类译意，文艺类译文，通知、广告类译 体，等等。所谓意，是指内容、事实、数据等等，需力求准确，表达法要符合当代国际 习惯。所谓文，是指作家个人的感情色彩、文学手法、结构形式等等，需力求保持原貌， 因此常需直译。所谓体，是指格式、方式、措词等等，需力求符合该体在该语中的惯例， 决不能“以我为主”，把商品广告译成火气甚重的政治宣传品等等。（4）  意义是复杂的。一个词不仅有直接的、表面的、词典土的意义，还有内涵的、情感的、 牵涉许多联想的意义。一切话不只是其中单词意义的简单的综合，它的结构、语音、语 调、节奏、速度也都产生意义。一词一句的意义有时不是从本身看得清楚的，而要通过 整段整篇——亦即通过这个词或这句话在不同情境下曲多次再现——才能确定。（9）  常规与变异：语言的运用常有程度不同的个人变异，而变异的目的在于造成突出，引起 注意。每种语言都有运用上的常规，即有若干共同遵守的最基本的惯例，但在运用时则 各人的“表现”不一样，有些人为了造成强调或其它效果，总要来点或大或小的变异， 而以文学作家——特别是诗人——所作的变异为最多最大胆。变异即是对语言的创造性 的运用。（12） 对于译者来说，他有双重任务：一是要有慧眼能在原作里发现变异之处，而这就需要他 对那个语言的常规很熟悉；二是要有本领能在自己的译文里再现这变异所造成的效果， 而这就需要他对自己语言的各种表达方式有充分的掌握。（13）  比喻的好处，一是形象化，具体比，一见就明白，捉摸得住；二是高度集中，在纷纭现 象用一二字就点出核心，语言的运用不能比它更精练了。而要做到这两点，须有将两种 不同事物联在一起——将熟悉的、身边的东西同生疏的、辽远的东西联在一（13）起， 将琐碎的、实际的、无甚意义的小东西同一个大背景、大的精神世界联系在一起——的 想象力。……文学家——特别是诗人——无不致力于创造新的比喻，新的形象。20 世 纪作家笔下出现的比喻是这样一类： The Multitudinous windows of the new Hilton look to me like the heavy-lidded eyes of insomnia sufferers, aching for rest.（14） Everywhere giant finned cars nose forward like fish; a savage servility slides by on grease. (Robert Lowell: For the Union Dead) (14)  适合就是一切。文体学的灵魂在于研究什么样的语言适合什么样的社会场合。译者的任 务在于再现原作的面貌和精神：原作是细致说理的，译文也细致说理；原作是高举想象 之翼的，译文也向举想象之翼。一篇文章的风格只是作者为表达特定内容而运用语言的 个人方式，它与内容是血肉一体，而不是外加的、美化的成分。因此从译文来说，严复 的“信、达、雅”里的“雅”是没有道（15）理的，——原作如不雅，又何雅之可言？ （16）  有一次，口译员把“采取具体步骤”译成“Take concrete steps”，另外一些译员就笑他， 说：“You don’t take concrete steps. You walk on them”。因为，concrete steps可以理解为 “洋灰做的台阶”。（31）  有放，也有收。为了传达彭斯的活泼和戏剧性，在句式、节奏上就须紧扣原诗： He was care-defying blade, As ever Bacchus listed! Tho’ Fortune sair upon him laid, His heart, she ever miss’d it. He had no wish but---to be glad, Nor want but---when he thristed; He hated nought but---to be sad, An’ thus the Muse suggested His sang that night. 诗人原是自由自在的风流客， 酒神门下谁也不及他癫狂！ 虽然人生的忧患他尝遍， 他的心可从未在命运手里受过伤。 他只有一个愿望——永远快乐无忧， 他什么也不需要——只不过爱喝黄汤； 他什么也不怨恨—一除了悲哀颓唐， 这样缪斯就替他写下诗行 让位当众歌唱。 ——《爱情与台由：大合唱》 这里五六七三行同原诗的句子结构一样，节奏也相似。（78-79） 当然，我也作了变动，如脚韵排列不是双韵，而是一韵到底。读者还会看到，在另外一 些诗的译文中，还有不少其它变动：词汇(例如草木虫鱼之名)有时不执着于词典定义， 句式有时颠倒，脚韵安排有时破格，也偶有一行未尽原义而于次行补叙的作法，等等。 这些变动，除了两种语言、文化不同的原因之外，还因为我有一个考虑，即译文本身应 作整体来看。这包含两层意思。一层是：除了句对句、行对行的忠实之外，还应使整篇 译文在总的效果上与原作一致。仅仅注意细节易使译文支离破碎，缺乏全局的连贯性。 语言达意，总要依靠上下文；上下文一连贯，译者也就对细节的处理产生新的看法，或 须突出，或当省赂，或应变动，总之要同全局的情调或气氛一致。更深一层看，一首诗、 一个作品经过翻译，实是脱离了母体，而获得了自己的生命。译文与原作有血缘关系， 但又是一个独立的实体。文学翻译的创造性，归宿应在这里。（79）  Milton: Paradise Lost选段 A Cry in the Dark (III, 40-50) Thus with the Year Seasons return, but not to me returns Day, or the sweet approach of Ev’n or Morn Or sight of vernal bloom, or Summer’s Rose, Or flocks, or herds, or human face divine! But cloud instead, and ever-during dark Surrounds me, from the cheerful ways of men Cut off, and for the Book of knowledge fair Presented with a Universal blanc Of Nature’s works to me expung’d and ras’d, And wisdom at one entrance quite shut out. 黑暗中的呼声（第三章 40—50行） 一年又过， 季节转回了，却再也转不回 我的白天，甜蜜的黄昏和清晨也不再来； 再不见绿叶和夏天的玫瑰， 不见牛羊，不见圣洁的人脸， 只有云雾，只有永在的黑暗 笼罩着我，将我从人世的欢乐 隔绝；代替了美好的知识大书的 是遮天盖地的一片白茫茫， 抹掉了大自然的一切景物， 把接收智慧的一个大门完全关闭。 Eve to Adam (IV, 639-656) With thee conversing I forget all time, All seasons and thir change, all please alike. Sweet is the breath of morn, her rising sweet, With charm of earliest Birds; pleasant the Sun When first on this delightful Land he spreads His orient Beams, on herb, tree, fruit, and flow’r, Glist’ring with dew; fragrant the fertile earth After soft showers; and sweet the coming on Of grateful Ev’ning mild, then silent Night With this her solemn Bird and this fair Moon, And these the Gems of Heav’n, her starry train: But neither breath of Morn when she ascends With charm of earliest Birds, nor rising Sun On this delightful land, nor herb, fruit, flow’r, Glist’ring with dew, nor fragrance after showers, Nor grateful Ev’ning mild, nor silent Night With this her solemn Bird, nor walk by Moon, Or glittering Star-light without thee is sweet. 夏娃诉衷情（第 4章 639-556行） 同你谈着话，我全忘了时间。 时辰和时辰的改变，一样叫我喜欢。 早晨的空气好甜，刚升的晨光好甜， 最初的鸟歌多好听，太阳带来愉快， 当它刚在这可爱的大地上洒下金光， 照亮了草、树、果子、花朵， 只见一片露水晶莹，潇潇细雨过后， 丰饶的大地喷着香气；甜蜜的黄昏 带着喜悦来临，接着安静的夜晚 降下，这里鸟在低唱，那里月光似水， 天上闪着宝石，全是伴月的星星。 但是早晨的空气也好，鸟的欢歌 也好，可爱的大地上刚升的太阳 也好，带露的草、果、花朵也好， 雨后大地的芳香也好，温柔的黄昏 也好，安静的夜晚和低唱的鸟， 游行的月亮和闪亮的星光也好， 没有你，什么也不甜蜜。  Alexander Pope One Truth All Nature is but Art, unknown to thee; All Chance, Direction, which thou canst not see; All Discord, Harmony, not understood; All partial Evil, universal Good: And, spite of Pride, in erring Reason's spite, One truth is clear, 'Whatever is, is right.' ---Essay on Man, I, 289-294 道理 整个自然都是艺术，不过你不领悟； 一切偶然都是规定，只是你没看清； 一切不协，是你不理解的和谐； 一切局部的祸，乃是全体的福。 高傲可鄙，只因它不近情理。 凡存在都合理，这就是清楚的道理。 ——人论  P. B. Shelly: A Dirge Rough wind, that moanest loud Grief too sad for song; Wild wind, when sullen cloud Knells all the night long; Sad storm, whose tears are vain, Rare woods, whose branches strain, Deep caves and dreary main, Wail, for the world's wrong! 哀歌 嚎啕大哭的粗鲁的风， 悲痛得失去了声音； 横扫阴云的狂野的风， 彻夜将丧钟打个不停； 暴风雨空把泪水流， 树林里枯枝摇个不休， 洞深，海冷，处愁—— 号哭吧，来为天下鸣不平！  Hugh MacDiarmid Moonlight Among the Pines Thraw oot your shaddaws Owre the heich hillsides, A' ye lang trees Quhair the white mune rides. My spirit 'ud darken For aye, gin my luve Laid hare her white breist. O shaddaw that derns O' Luve sends it plungin’ A’ else into nicht!... ---Sangchaw, 1925 松林之月 把你们的影子 投在高高的山冈， 一切耸立的松树， 在一切有月光的地方。 我敢于遮住东方的太阳 让它永远不能发光， 如果我的爱人 要露出她洁白的胸膛。 呵，我心里还藏着阴影， 但只要爱情一露面， 我就把影子和其它一切 都赶进那黑夜无边！……  曹禺：《雷雨》（第三幕片断） 车站的钟打了十下，杏花巷的老少还沿着那白天蒸发着臭气、半夜才吹来一阵凉风的水 塘边上乘凉。方才落了一阵暴雨，天气还是郁热难堪。人们心里还是热燥燥的，期望着 再来一次雷雨。池塘里的青蛙叫得更起劲，一直不停。乘凉的人谈话的声音有一阵没一 阵的。无星的天空时而打着没有雷的闪电，蓝森森地一晃，闪露出来池塘边的垂柳在水 面颤动着。闪光过去，还是黑黝黝的一片。 The station clock has struck ten, and the people of Almond Blossom Lane, old and young, are taking the air along the banks of a pond which, although it is the source of evil exhalations drawn up by the summer sun in the daytime, provides late at night cat open space, where one may catch the fresh, cool breezes. Despite a sharp downpour a moment ago, it is still unbearably hot and close. It is the sort of weather that makes people feel parched inside and thirsting for another thunderstorm. Yet the frogs that crouch among the reeds by the pond are as untiringly strident as ever. The sound of the strollers’ voices comes in desultory snatches. From time to time a silent flash of lightning splashes the starless sky with a harsh blue glare and for one startled moment shows us the weeping willows by the pond, drooping and trembling over the water. Then, just as suddenly, it is dark again. 渐渐乘凉的人散了，四周围静下来。雷又隐隐地响着，青蛙象是吓得不敢多叫。风又吹 起来，柳叶沙沙地响。 Then, one by one, the strollers drift away and silence closes in on all sides. A rumble of distant thunder seems to cow even the frogs into silence; a breeze springs up again and sifts through the rustling leaves of the willows. 闪电更亮得蓝森森地可怕，雷也更凶恶地隆隆地滚着。四周却更显得沉闷了，偶尔听见 几声青蛙叫和更夫的木梆声，暴雨就快要来了。 Presently the lightning blazes again, stark and terrifying, then a jarring burst of thunder goes shuddering across the sky. In its wake comes .a close, oppressive silence, broken only by the occasional croaking of a frog and, what is louder, the sharp clack of a night-watchman's bamboo "gong." A storm is about to break. 鲁贵现在才吃完晚饭，每个人的心绪都是烦躁的。各人有各人的心思。大海蹲在屋角上 正在擦什么东西。侍萍同四凤一句话也不说，都沉默着。侍萍低头在屋子中间的圆桌旁 收拾筷子碗，鲁贵坐在左边一张破靠椅上，喝得醉醺醺的，满眼红丝，象个猴子，望着 侍萍打噎。他光着脚，穿一件白汗衫，已经汗透了，贴在身上，不住地摇着芭蕉扇。 The Lus have just finished their evening meal. All four of them are in an unpleasant mood, and each of them is occupied with his or her own thoughts. Ta-hai is sitting in a corner cleaning something. Lu Ma and Ssu-feng keep an uncomfortable silence. The former, her head bent, is clearing away the howls and chopsticks from the round table in the centre of the room. A drink-fuddled Lu Kuei sits slumped back in a rickety easy-chair on the left. Monkey-like, he stares at his wife from bloodshot eyes and hiccups. He puts his bare feet on the floor with his legs sprawled wide apart. He wears a white singlet, sweatsoaked and clinging. He fans himself incessantly with a palmleaf fan. 四凤在中间窗户前面站着：背向观众，对窗外不安地望着，池塘边有乘凉的人说话的声 音和青蛙的叫声。她神情不安，时而转过头看了看鲁贵，又厌恶地转回去。在她旁边靠 左墙是一张搭好的木板床，上面铺着凉席，一床很干净的夹被，一个凉枕和一把蒲扇， 很整齐地放在上面。 Ssu-feng is standing in front of the window. Her back is towards the audience as she stares anxiously out. From outside the window comes the croaking of the frogs and the lighthearted voices of passers-by. She seems to be listening uneasily from something, and from time to time she looks round at her father and then looks swiftly away again in disgust. Beside her, standing against the left wall, is a plank-bed covered with a mat and a spotless double quilt. A mat pillow and a palmleaf fan are neatly arranged on it. 屋子不大，屋顶低低地压在头上。床头上挂着一张烟草公司的广告画，左边墙上贴着旧 年画。下面有一张小方桌，上面有镜子，梳子，女人用的几件平常的化妆品。四凤的床 下正排着两三双时髦的鞋。床头有一只箱子，上面铺着一块白布，放着一个瓷壶同两三 个粗碗。右墙角的茶几上放着一盏油灯，上面罩一个鲜红的纸灯罩。 The room is very small and, as is always the case in the houses of the poor, the ceiling comes oppressively low over one’s head. On the wall over the head of the bed hangs an illustrated poster advertising a brand of cigarettes, while on the left-hand wall is pasted an old reproduction originally put up as a New Year decoration and now every tattered and torn. A small table stands by the only chair in the room---now occupied by Lu Kuei---with a mirror, a comb and various cheap cosmetics on it: apparently Ssu-feng’s dressing-table. Along the left-hand wall stands a bench, and by the table in the middle of the room there is a solitary stool. Under Ssu-feng’s bed, there is a trunk draped with a white cloth and with a teapot and several cheap bowls on it. An oil lamp with a bright red-paper lampshade stands on the round table. 这屋子有两个门，左边小门上挂着一幅色彩强烈的花幔帐。里面存着煤，也是四凤换衣 的地方。右边的门通外间，是鲁贵住的地方，门边靠着一副铺板。 The room has two doors, of which the one on the left---the other where the bed is---is no more than a gaudily patterned red curtain hanging over a recess which, besides providing storage-space for a heap of coal and bits of old furniture, also serves as Ssu-feng’s dressing-room. The door on the right leads to the front room. This is Lu Kuei’s room. Just inside the door between the two rooms, leaning against the wall, are several long planks for making a bed with. 鲁贵兴致淋漓地刚刚数落完他的家庭训话。屋内沉默而紧张。他好象很得以自己在家里 面的位置同威风，拿着那把破芭蕉扇，挥着，舞着，指着，肥脑袋探向前面，眼睛迷腾 腾的，在各人的身上扫来扫去。 When the curtain rises, Lu Kuei has just delivered a voluble and highly-coloured lecture to his family. A tense silence follows this spirited outburst. Lu Kuei is apparently revelling in his position of authority as head of the family, judging by the gusto with which he brandishes his tattered palm-leaf fan and the way he points and gestures with it. His sweat-soaked, flesh-draped head is thrust forward and his glazed eyes swing from one member of his family to another. 鲁贵：你看看，这孩子这点小脾气！——咳，说回来，这也不能就怪大海，周家的人从 上到下就没有一个好东西。我伺候他们这两年，他们那点出息我哪一样不知道，反正有 钱的人顶方便，做了坏事，外面比做了好事装得还体面。文明词越用得多，心里头越男 盗女娼，王八蛋。别看今天我走的时候，老爷太太装模做样地跟我尽打官腔，好东西， 明儿见！我们家里这点出息当我不知道？ Well, well! Proper temper the lads’ got, hasn’t he! Though you know, on second thoughts, I don't think it's all Ta-hai's fault. There isn't a single decent Chou in the whole of their family. I've been with them two years, and what I haven’t found out about their little antics isn't worth knowing. Still, it's always the same for people with plenty of money they can get away with anything. The worse they behave the more respectable they pretend to be. The more they give themselves airs, the nastier their minds, the dirty beasts! Look at the way they carried on when I left this afternoon. There they were, both of them, trying to smooth me down with their soft-soap. Well, just you wait and see, my hearties! They think I don't know about the little capers they cut! 四凤把右边门关上，隔壁鲁贵又唱“花开花谢年年有，人过了青春不再来”的小曲。她 走到圆桌前面，把洋灯的火捻小了，这时听见外面的蛙声同狗叫。她解开几个扣子，走 了两步，又回来坐在床边，深深地叹了一口气倒在床上。屋外一声一声的梆子。四凤又 由床上坐起，拿起蒲扇用力地挥着。闷极了，她把窗户打开，立在窗前。 Ssu-feng closes the door behind her. In the next room Lu Kuei is singing his song again: “Every springtime brings the flowers…” She goes over to the round table and turns the lamp down to a glimmer. From outside come the croaking of the frogs and the barking of dogs. She undoes two or three buttons as she paces restlessly up and down, then goes and sits on the edge of the bed. Finally, she heaves a deep sigh and throws herself down on the bed. The regular, hollow clop-clop-clop of a night-watchman’s bamboo “gong” breaks the silence. Ssu-feng sits up again and fans herself vigorously with her palm-leaf fan. Finding the air too close and stifling, she opens the window and stands in front of it. 四凤到右门口，把门关上，立在右门旁一会，听见鲁贵同侍萍说话的声音。走到圆桌旁， 长叹一声，低面重地捶着桌子，扑在桌上抽咽。外面有口哨声。四凤突然惊起，把桌上 的灯捻亮，跑到窗前，探望了一下，又关上。她倚着窗户，惶惑不安。口哨的声音更清 楚，她把一张红纸罩着的灯，放在窗前，口哨愈近，远远一阵雷，窗外面有脚步的声音。 Ssu-feng goes across to the door on the right and closes it. She stands by the door for a few moments, listening to her parents talking in the next room, then goes back to the round table with a long sigh and throw herself down across it, sobbing and quietly pounding the table-top. Suddenly, someone whistles outside. Ssu-feng starts up, turns up the lamp and runs across to the window. She puts her head out for a quick look round, then closes the window and stands leaning against window-sill in a state of great agitation. The whistles become more distinct. She puts the lamp with the red-paper lampshade in the window. The whistles come nearer and nearer. There is a distant rumble of thunder, then the sound of footsteps outside the window.  卞之琳 断章 你站在桥上看风景， 看风景的人在楼上看你。 明月装饰了你的窗子， 你装饰了别人的梦。 Fragment You watched the sight from a bridge, As a sightseer watched you from a tower. The moon adorns your window, And you adorn another’s dream.  雪莱：《奥西曼提斯》 Ozymandias I met a traveler from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert. Near them, on the sand, Half sun, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: “My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!” Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. 客自海外归，曾见沙漠古国 有石像半毁，唯余巨腿 蹲立沙砾间。像头旁落， 半遭沙埋，但人面依然可畏， 那冷笑，那发号施令的高傲， 足见雕匠看透了主人的心， 才把那石头刻得神情唯肖， 而刻像的手和像主的心 早戚友烬。像座上大字在目 “吾乃万王之王是也， 盖世功业，敢叫天公折服!” 此外无一物，但见废墟周围， 寂寞平沙空莽莽， 伸向荒凉的四方。