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[【外语类】] 佳译共赏:納霞堡之莪默伽亞謨絕句集(伯昏子译)

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发表于 2007-11-26 17:35:34 | 显示全部楼层 |阅读模式
據菲茨傑拉德第五版英譯本轉譯

其一
醒罷東君逐夜還,紛紜列宿逝冥關。赫戲萬丈光如箭,正射君王宮闕間。

其二
昧爽昏昏酒肆閒,忽傳聲叱意茫然。神宮設醮皆齊具,香客何猶閫外眠。

其三
雞聲茅店客來喧,羈日無多倚戶言。分袂一朝江海去,悠悠不復過君門。

其四
宿願新歲又蘖芽,萬千神思隱孤葩。摩西素手橫枝出,人子黃泉亦起嗟。

其五
翳林已逝葬薔薇,七扣御樽安所歸。惟覩蒲桃赤瓊灼,千園繞水滿芳菲。

其六
韓娥已絕繞梁音,淒豔但闻莺嘯吟。佶屈殷勤呼美酒,萎花病頰暈霞侵。

其七
春暖邀君酌羽觴,惱人重襺盡除將。韶光振翮無多路,跂翼時禽欲遠揚。

其八
往復雙城安立身,樽中甘苦與誰論?命如莤酒滲將盡,枯葉紛飛歸故根。

其九
朝花千束日堪摘,昨夕紫薇何處覓?孟夏但攜群艷來,帝君難老倩誰錫?

其十
父子稱雄過眼冥,祖孫帝業底干卿?且任沙場吼不息,誰趨鼎食與鍾鳴?

其十一
田園沙磧望漫漫,芳甸如紳挈兩端。臣主假名安復記,無愁天子倚金鑾。

其十二
一片乾餱一卷詩,一壺美酒傍疏枝。荒原有汝歌清發,爰得樂郊無盡時。

其十三
光耀人間世所希,升遐來日或心期。花開堪折直須折,宮鼓鼉鳴哪復知?

其十四
環眸四際盡薔薇,鬧罷紅塵笑語歸。“旦暮看余繡囊裂,奇珍園囿散霏霏。”

其十五
或持金粟惜如珠,或任風抛雨委輸。擬化丹砂既未得,塋封誰復事刨刳。

其十六
塵心如熾世人傾,旋作死灰旋復生。白雪橫飛沙磧面,熠燿須臾終不成。

其十七
逆旅千年已弊穿,陰陽圜轉戶樞前。列王隆貴今安在,時命相追馭鶴煙。

其十八
野驢馳踐羿王元,猶夢黃粱伏草宛②。英主深宮曾醉臥,雄獅巨蜥守無言。

其十九
薔薇何處最紅妍,凱撒王陵喋血殷。風信飄園如落帽,教猜螓首墮華鬘。

其二十
輕臥河漘覆碧茸,甦生芳甸正芃芃。麝香暗吐誰家女,教惜櫻唇一點紅。

其二十一
命酌同心盡此朝,後憂前悔泯然消。余身明日將何在,當化池灰作劫燒。

其二十二
江山歷代有才人,醇酒能醅幾日新?換盞推杯數巡後,山阿托體藉橫陳。

其二十三
椒房金屋樂無垠,夏日穠芳衣著新。終臥黃泉之下土,余身之上臥何人?

其二十四
極慾窮情君莫遲,終歸塵土復誰知。塵來塵去塵中息,無酒無歌無絕期。

其二十五
或求今世願能持,或溺諸緣來世睎。暗塔司辰叱衆\妄,“汝之所報不於茲。”

其二十六
先哲二宗論別裁,流同術士亦愚哉。猥辭瑣語隨塵散,佞口如簧止積埃。

其二十七
壯歲求知切問存,俊賢捫蝨坐談論。詹詹喋喋皆聽慣,出入無非總一門。

其二十八
齊播智種共耕躬,長育辛勤拮据功。問我於茲何所獲,來如流水逝如風。

其二十九
不知何日亦何由,天地玄黃水自流。橐籥出風何處去,無心蕩蕩過荒疇。

其三十
莫問何來疾若風,焉知此去又何從。平生枉屈無窮憶,辱沒杯杯禁酒中。

其三十一
遐升帝闕七重門,安坐填星致極尊。中道漫漫頻破惑,獨餘性命惑猶存。

其三十二
孤門扃鐍固難開,重幕深垂瞽目哀。卿我人言偶稍及,便隨風逝失塵垓。

其三十三
地不言兮海哭嗥,紫波失眷恨滔滔。參商隱現陰陽界,璿璣默然天運\高。

其三十四
我中卿在幕帷藏,舉手求卿逐暗光。心外驚聞叱聲起,卿中之我實爲盲。

其三十五
誰主此生心欲參,土甌唇側對呢喃。生時荷锸長懽醉,埋罷冥幽絕此甘。

其三十六
姑酌金罍晤語輕,憐卿曾醉亦曾生。絳唇今點何其冷,縱接千回不解酲。

其三十七
憶昔遊方半道棲,暮觀陶匠正摶批。泥中鴂舌忽輕語,楚毒輕加請緩稽。

其三十八
一抔濕土女媧摶,造作人形獨有天。亙古綿延豈不絕,渺茫此說代相傳。

其三十九
香醪酹地入冥藏,滴滴潛行土未嚐。千歲游魂深隱在,熾心灼目得清涼。

其四十
仙露晨思降玉皇,紅塵儼儼鬱金香。君誠\當若空樽覆,地轉天翻亦醉狂。

其四十一
幽心不復惑人神,明日亂麻風解紛。擁醉當壚誰氏子,指間青發掌中身。

其四十二
不使芳唇負綠醪,色空生滅豈能逃。昨之汝即今之汝,明汝安能易一毫。

其四十三
神差尋汝至西崦,澤畔終逢釅酒拈。捉汝元神來對酌,羽觴飛舉勿相謙。

其四十四
玉宇憑虛浩浩翔,天爲棟宇屋爲裳。塵骸跼蹐何其辱,不若元神棄濁囊。

其四十五
一日之暇憩野廬,六龍御駕赴酆都。有司默然收供具,留待新賓復此趨。

其四十六
天縱教人畢有終,輪回誰睹造化工。萬千酒沫皆如我,汩汩斟流溢爵中。

其四十七
重重天幕共行穿,浮世悠悠百億年。卿我去來誰又見,石投於海浪依然。

其四十八
憩停片暇大荒中,遽飲仙泉行色匆。征轡\丁令致遠極,自空處出復歸空。

其四十九
忍負韶華破此謎,孜孜求索勿遲稽。僞真其間不容髮,何郤庖丁尚可批。

其五十
僞真其間不容髮,一字能尋拯迷沒。直上昆侖崒嵂宮,或逢真宰傲然兀。

其五十一
萬類幽攡問太玄,遄行如汞慰憂煎。雜然魚月流形賦,運\化惟其獨不遷。

其五十二
簾幕深深費猜度,刹那衣冠沉暗霧。悲喜自生還自看,流光优孟無盡數。

其五十三
仰察皇天閉網羅,俯看后土恨蹉跎。汝身有汝惟今日,明日成非奈汝何。

其五十四
韶光毋付水硼砰,亦莫徒勞與世爭。苦果無終何用慼,蒲桃與共樂天成。

其五十五
智衰妻老終無嗣,卷帳遣教棲冷宮,會飲瓊筵賓友賀,蒲桃新婦笑嫣紅。

其五十六
正理雖能別是非,陟降因明亦可追。慾海茫茫淵不測,瓊漿深溺獨歸依。

其五十七
籌算人言餘獨善,曆書漸密年漸短。昨天已死但將除,明日未生何足選。

其五十八
熹微茅店入門堂,忽賭金身顯異光。原是仙人負甕至,蒲桃佳釀令余嚐。

其五十九
酒德頌堪至理明,坐談橫議盡消冥。何處真仙生可遇,沉鉛刹那化金銒。

其六十
萬千憂懼黯銷魂,黑帳壓城如黑雲。天祐聖人拔劍起,一麾江海散愁軍。

其六十一
天教碩果成佳釀,休踐鬚藤誣穽網。福至堪承直可承,詛災難曉誰能降。

其六十二
生当歸靜未曾忘,券契還憂至期償。碾作香塵尚何冀,但求仙釀滿余觴。

其六十三
地域天堂寔命歧,臨川嘆逝駭飛馳。于斯為實它皆妄,凋盡曇花誰復知。

其六十四
怪哉千萬往匆匆,俱入鬼關幽界中。欲問前途皆不返,漫漫求索苦追從。

其六十五
漫道先知遭火焚,聖賢示道代相聞。醒來說此傳奇事,一夢槐安風雨紛。

其六十六
希夷吾遣吾靈過,使探來生當亦可。未幾即還為報言,天堂地獄皆為我。

其六十七
慾充形妄即天堂,煉火銷魂地獄光。吾輩俱投幽暗去,曾生曾死兩茫茫。

其六十八
日烛庭燎誰取明,司烜中夜独能擎。憧憧來往惟吾輩,幻影光前隊隊行。

其六十九
璿天棋布任移挪,枰局陰陽立網羅。馳突沙场攻杀罷,終歸一匣樂行窩。

其七十
隨人宛轉纵横飛,团鞠焉能辨是非。唯有蹴君塵世者,因緣獨識理無違。

其七十一
柔荑巧運\灑洋洋,書罷焉能刪半行。齋絜靈機皆枉用②,滂沱涕泗亦徒傷。

其七十二
昊天如簋覆群生,六道群生伏楅衡。舉手何須籲上祐,彼如兀者亦難行。

其七十三
造人摶土功才足,末日豐田亦播穀。有始光中何所書,暾熹終劫恭聼讀。

其七十四
今日狷狂昨夜生,明朝恺沮默然成。何從何去君難悟,酣飲忘機不復醒。

其七十五
語汝重征發紫垣,馱星天馬燿雙肩。蒲桃根末已深植,靈土耕揉了宿緣。

其七十六
自在蒲桃根畔眠。游僧且任共嗤玩,濁囊化鑰啓門入,笑彼狂呼邃宇前。

其七十七
真火燒身賸炬燼,管它生懟抑生憫。神祠幽邃永消痕,未若酒廛光一瞬。

其七十八
無知無慾虛空界,終化有情成實在。受此偷懽之軶轅,恐遭永劫未能碎。

其七十九
予人熔滓帝何忒,反索真金償彼值。逋債何來安得知,此般貿物悔無極。

其八十
汝命通衢機穽充,教余躑躅勒青驄。汝教罪罟由天降,強墮余之惡彀中。

其八十一
摶泥汝已造元元,何設毒蟲藏樂園。罪按黥刑汝皆赦,猶人赦汝亦無言。

*******************************

其八十二
西山薄暮消殘照,齋月饑腸方欲了。重謁陶坊獨佇觀,行行瓦缶余身繞。

其八十三
千姿万態立參差,地上成行壁下依。或喜多言或喜默,或惟側耳諦聼徽。

其八十四
有物自言凡埴挻,挻成又毀豈徒然。幾經蹂躪還歸土,形復無形本自天。

其八十五
有曰狡童媅酒池,金罍欲墜強能持。亦如瓦缶彼親作,怒罷何曾毀棄之?

其八十六
稍定訩訩忽語詹,咨嗟物怪似無鹽。人皆笑我籧篨貌,余豈陶人顫手拈?

其八十七
粗紋小罋發霆雷,鼓舌滔滔驚四維。陶器陶人枉煩絮,汝知彼等竟為誰?

其八十八
器之成毀己何辜,教墮鐡圍臨鬼誅。謬甚斯言二三子,洵知彼己善而都。

其八十九
器成待價任由它,余乃乾泥葬冷花。倘得陳年醇釀沃,迴光返照病能賒。

其九十
一干瓦缶雜諓諓,待月初窺清牖前。鳩聚相呼四美至,酒罎已壓酒人肩。

*************************************

其九十一
賜我殘生以碧醪,百年亦令骨骸澆。葬余碧葉花枝下,絡繹凴臨不寂寥。

其九十二
既將骸骨葬花叢,更化氤氳繞碧空。正信之人全不覺,熙熙攘攘繞其中。

其九十三
亦曾虔奉眾神像,玷譽誠\如直措枉。榮寵常教浸淺\斟,浮名終把換低唱。

其九十四
幾番立誓悔前衷,疑是當時醉夢中。手執薔薇佇春日,隨風舊憾盡銷溶。

其九十五
造釀誤人猶異端,奪我紫緋羞我顏。諸料當壚所讎值,恐無珍物若斯般。

其九十六
春風終亦謝薔薇,行跡華年勒墓碑。枝上黃鶯獨吟唱,何來何去更問誰。

其九十七
泉之沙磧倘生眸,縱是矇騰亦啓猷。一眺行人病中起,恰如偃草復昂頭。

其九十八
神差插翅速飛升,冥錄能追未束縢。當使閻羅重紀錄,或投一炬殿前燈。

其九十九
擕卿與我共天謀\,機運\堪憐俱攝收。倘可毀之重範鑄,此心方遂恨方休。

其一百
玉壺光轉又升空,清苑盈虛未有窮。升復升兮炤復炤,佼人何處去無蹤。

其一百零一
侑客如星散林樾,夭紹玉人難得歇。殷勤倘至我身旁,但請覆杯空對月。

(篇終)


2007-11-22

伯昏子:此书国内有《鲁拜集》《柔巴依》《莪默絕句集》等不同译名,分别译自英语、波斯语的译本多达20多种。其中按照绝句这一中国传统诗歌形式来翻译此部世界名作的译本并不太多,其中合乎旧诗格律的译本更少。而所谓“鲁拜”或“四行诗”这种诗歌格律形式,与汉诗的绝句罕见雷同,也不是偶然的。这也是本人不惮繁复,用与作者同时代的汉语,用中国传统的文学语言,用诸多与莪默齐辉并耀于世界诗坛的中国诗坛巨星所使用的诗歌语言,来重新翻译这部名作的主要原因。我觉得,这也是本译作值得公布于世的原因之一。

http://www.stph.com.cn/mybbs/announce/announce.asp?BoardID=15&ID=145918&aupflag=1&anum=1

第五版原文:
I.

WAKE! For the Sun, who scatter'd into flight
The Stars before him from the Field of Night,
  Drives Night along with them from Heav'n, and strikes
The Sultan's Turret with a Shaft of Light.


II.

Before the phantom of False morning died,
Methought a Voice within the Tavern cried,
  \"When all the Temple is prepared within,
\"Why nods the drowsy Worshiper outside?\"


III.

And, as the Cock crew, those who stood before
The Tavern shouted--\"Open then the Door!
  \"You know how little while we have to stay,
And, once departed, may return no more.\"


IV.

Now the New Year reviving old Desires,
The thoughtful Soul to Solitude retires,
  Where the WHITE HAND OF MOSES on the Bough
Puts out, and Jesus from the Ground suspires.


V.

Iram indeed is gone with all his Rose,
And Jamshyd's Sev'n-ring'd Cup where no one knows;
  But still a Ruby kindles in the Vine,
And many a Garden by the Water blows.


VI.

And David's lips are lockt; but in divine
High-piping Pehlevi, with \"Wine! Wine! Wine!
  \"Red Wine!\"--the Nightingale cries to the Rose
That sallow cheek of hers to' incarnadine.


VII.

Come, fill the Cup, and in the fire of Spring
Your Winter garment of Repentance fling:
  The Bird of Time has but a little way
To flutter--and the Bird is on the Wing.


VIII.

Whether at Naishapur or Babylon,
Whether the Cup with sweet or bitter run,
  The Wine of Life keeps oozing drop by drop,
The Leaves of Life keep falling one by one.


IX.

Each Morn a thousand Roses brings, you say:
Yes, but where leaves the Rose of Yesterday?
  And this first Summer month that brings the Rose
Shall take Jamshyd and Kaikobad away.


X.

Well, let it take them! What have we to do
With Kaikobad the Great, or Kaikhosru?
  Let Zal and Rustum bluster as they will,
Or Hatim call to Supper--heed not you.


XI.

With me along the strip of Herbage strown
That just divides the desert from the sown,
  Where name of Slave and Sultan is forgot--
And Peace to Mahmud on his golden Throne!


XII.

A Book of Verses underneath the Bough,
A Jug of Wine, a Loaf of Bread--and Thou
  Beside me singing in the Wilderness--
Oh, Wilderness were Paradise enow!


XIII.

Some for the Glories of This World; and some
Sigh for the Prophet's Paradise to come;
  Ah, take the Cash, and let the Credit go,
Nor heed the rumble of a distant Drum!


XIV.

Look to the blowing Rose about us--\"Lo,
Laughing,\" she says, \"into the world I blow,
  At once the silken tassel of my Purse
Tear, and its Treasure on the Garden throw.\"


XV.

And those who husbanded the Golden grain,
And those who flung it to the winds like Rain,
  Alike to no such aureate Earth are turn'd
As, buried once, Men want dug up again.


XVI.

The Worldly Hope men set their Hearts upon
Turns Ashes--or it prospers; and anon,
  Like Snow upon the Desert's dusty Face,
Lighting a little hour or two--is gone.


XVII.

Think, in this batter'd Caravanserai
Whose Portals are alternate Night and Day,
  How Sultan after Sultan with his Pomp
Abode his destined Hour, and went his way.


XVIII.

They say the Lion and the Lizard keep
The courts where Jamshyd gloried and drank deep:
  And Bahram, that great Hunter--the Wild Ass
Stamps o'er his Head, but cannot break his Sleep.


XIX.

I sometimes think that never blows so red
The Rose as where some buried Caesar bled;
  That every Hyacinth the Garden wears
Dropt in her Lap from some once lovely Head.


XX.

And this reviving Herb whose tender Green
Fledges the River-Lip on which we lean--
  Ah, lean upon it lightly! for who knows
From what once lovely Lip it springs unseen!


XXI.

Ah, my Beloved, fill the Cup that clears
TO-DAY of past Regrets and future Fears:
  To-morrow--Why, To-morrow I may be
Myself with Yesterday's Sev'n thousand Years.


XXII.

For some we loved, the loveliest and the best
That from his Vintage rolling Time hath prest,
  Have drunk their Cup a Round or two before,
And one by one crept silently to rest.


XXIII.

And we, that now make merry in the Room
They left, and Summer dresses in new bloom,
  Ourselves must we beneath the Couch of Earth
Descend--ourselves to make a Couch--for whom?


XXIV.

Ah, make the most of what we yet may spend,
Before we too into the Dust descend;
  Dust into Dust, and under Dust to lie,
Sans Wine, sans Song, sans Singer, and--sans End!


XXV.

Alike for those who for TO-DAY prepare,
And those that after some TO-MORROW stare,
  A Muezzin from the Tower of Darkness cries,
\"Fools! your Reward is neither Here nor There.\"


XXVI.

Why, all the Saints and Sages who discuss'd
Of the Two Worlds so wisely--they are thrust
  Like foolish Prophets forth; their Words to Scorn
Are scatter'd, and their Mouths are stopt with Dust.


XXVII.

Myself when young did eagerly frequent
Doctor and Saint, and heard great argument
  About it and about: but evermore
Came out by the same door where in I went.


XXVIII.

With them the seed of Wisdom did I sow,
And with mine own hand wrought to make it grow;
  And this was all the Harvest that I reap'd--
\"I came like Water, and like Wind I go.\"


XXIX.

Into this Universe, and Why not knowing
Nor Whence, like Water willy-nilly flowing;
  And out of it, as Wind along the Waste,
I know not Whither, willy-nilly blowing.


XXX.

What, without asking, hither hurried Whence?
And, without asking, Whither hurried hence!
  Oh, many a Cup of this forbidden Wine
Must drown the memory of that insolence!


XXXI.

Up from Earth's Center through the Seventh Gate
I rose, and on the Throne of Saturn sate,
  And many a Knot unravel'd by the Road;
But not the Master-knot of Human Fate.


XXXII.

There was the Door to which I found no Key;
There was the Veil through which I might not see:
  Some little talk awhile of ME and THEE
There was--and then no more of THEE and ME.


XXXIII.

Earth could not answer; nor the Seas that mourn
In flowing Purple, of their Lord Forlorn;
  Nor rolling Heaven, with all his Signs reveal'd
And hidden by the sleeve of Night and Morn.


XXXIV.

Then of the THEE IN ME who works behind
The Veil, I lifted up my hands to find
  A lamp amid the Darkness; and I heard,
As from Without--\"THE ME WITHIN THEE BLIND!\"


XXXV.

Then to the Lip of this poor earthen Urn
I lean'd, the Secret of my Life to learn:
  And Lip to Lip it murmur'd--\"While you live,
\"Drink!--for, once dead, you never shall return.\"


XXXVI.

I think the Vessel, that with fugitive
Articulation answer'd, once did live,
  And drink; and Ah! the passive Lip I kiss'd,
How many Kisses might it take--and give!


XXXVII.

For I remember stopping by the way
To watch a Potter thumping his wet Clay:
  And with its all-obliterated Tongue
It murmur'd--\"Gently, Brother, gently, pray!\"


XXXVIII.

And has not such a Story from of Old
Down Man's successive generations roll'd
  Of such a clod of saturated Earth
Cast by the Maker into Human mold?


XXXIX.

And not a drop that from our Cups we throw
For Earth to drink of, but may steal below
  To quench the fire of Anguish in some Eye
There hidden--far beneath, and long ago.


XL.

As then the Tulip for her morning sup
Of Heav'nly Vintage from the soil looks up,
  Do you devoutly do the like, till Heav'n
To Earth invert you--like an empty Cup.


XLI.

Perplext no more with Human or Divine,
To-morrow's tangle to the winds resign,
  And lose your fingers in the tresses of
The Cypress-slender Minister of Wine.


XLII.

And if the Wine you drink, the Lip you press,
End in what All begins and ends in--Yes;
  Think then you are TO-DAY what YESTERDAY
You were--TO-MORROW you shall not be less.


XLIII.

So when that Angel of the darker Drink
At last shall find you by the river-brink,
  And, offering his Cup, invite your Soul
Forth to your Lips to quaff--you shall not shrink.


XLIV.

Why, if the Soul can fling the Dust aside,
And naked on the Air of Heaven ride,
  Were't not a Shame--were't not a Shame for him
In this clay carcass crippled to abide?


XLV.

'Tis but a Tent where takes his one day's rest
A Sultan to the realm of Death addrest;
  The Sultan rises, and the dark Ferrash
Strikes, and prepares it for another Guest.


XLVI.

And fear not lest Existence closing your
Account, and mine, should know the like no more;
  The Eternal Saki from that Bowl has pour'd
Millions of Bubbles like us, and will pour.


XLVII.

When You and I behind the Veil are past,
Oh, but the long, long while the World shall last,
  Which of our Coming and Departure heeds
As the Sea's self should heed a pebble-cast.


XLVIII.

A Moment's Halt--a momentary taste
Of BEING from the Well amid the Waste--
  And Lo!--the phantom Caravan has reach'd
The NOTHING it set out from--Oh, make haste!


XLIX.

Would you that spangle of Existence spend
About THE SECRET--quick about it, Friend!
  A Hair perhaps divides the False from True--
And upon what, prithee, may life depend?


L.

A Hair perhaps divides the False and True;
Yes; and a single Alif were the clue--
  Could you but find it--to the Treasure-house,
And peradventure to THE MASTER too;


LI.

Whose secret Presence through Creation's veins
Running Quicksilver-like eludes your pains;
  Taking all shapes from Mah to Mahi and
They change and perish all--but He remains;


LII.

A moment guessed--then back behind the Fold
Immerst of Darkness round the Drama roll'd
  Which, for the Pastime of Eternity,
He doth Himself contrive, enact, behold.


LIII.

But if in vain, down on the stubborn floor
Of Earth, and up to Heav'n's unopening Door,
  You gaze TO-DAY, while You are You--how then
TO-MORROW, when You shall be You no more?


LIV.

Waste not your Hour, nor in the vain pursuit
Of This and That endeavor and dispute;
  Better be jocund with the fruitful Grape
Than sadden after none, or bitter, Fruit.


LV.

You know, my Friends, with what a brave Carouse
I made a Second Marriage in my house;
  Divorced old barren Reason from my Bed,
And took the Daughter of the Vine to Spouse.


LVI.

For \"Is\" and \"Is-not\" though with Rule and Line
And \"UP-AND-DOWN\" by Logic I define,
  Of all that one should care to fathom, I
was never deep in anything but--Wine.


LVII.

Ah, by my Computations, People say,
Reduce the Year to better reckoning?--Nay,
  'Twas only striking from the Calendar
Unborn To-morrow and dead Yesterday.


LVIII.

And lately, by the Tavern Door agape,
Came shining through the Dusk an Angel Shape
  Bearing a Vessel on his Shoulder; and
He bid me taste of it; and 'twas--the Grape!


LIX.

The Grape that can with Logic absolute
The Two-and-Seventy jarring Sects confute:
  The sovereign Alchemist that in a trice
Life's leaden metal into Gold transmute;


LX.

The mighty Mahmud, Allah-breathing Lord,
That all the misbelieving and black Horde
  Of Fears and Sorrows that infest the Soul
Scatters before him with his whirlwind Sword.


LXI.

Why, be this Juice the growth of God, who dare
Blaspheme the twisted tendril as a Snare?
  A Blessing, we should use it, should we not?
And if a Curse--why, then, Who set it there?


LXII.

I must abjure the Balm of Life, I must,
Scared by some After-reckoning ta'en on trust,
  Or lured with Hope of some Diviner Drink,
To fill the Cup--when crumbled into Dust!


LXIII.

Of threats of Hell and Hopes of Paradise!
One thing at least is certain--This Life flies;
  One thing is certain and the rest is Lies;
The Flower that once has blown for ever dies.


LXIV.

Strange, is it not? that of the myriads who
Before us pass'd the door of Darkness through,
  Not one returns to tell us of the Road,
Which to discover we must travel too.


LXV.

The Revelations of Devout and Learn'd
Who rose before us, and as Prophets burn'd,
  Are all but Stories, which, awoke from Sleep
They told their comrades, and to Sleep return'd.


LXVI.

I sent my Soul through the Invisible,
Some letter of that After-life to spell:
  And by and by my Soul return'd to me,
And answer'd \"I Myself am Heav'n and Hell:\"


LXVII.

Heav'n but the Vision of fulfill'd Desire,
And Hell the Shadow from a Soul on fire,
  Cast on the Darkness into which Ourselves,
So late emerged from, shall so soon expire.


LXVIII.

We are no other than a moving row
Of Magic Shadow-shapes that come and go
  Round with the Sun-illumined Lantern held
In Midnight by the Master of the Show;


LXIX.

But helpless Pieces of the Game He plays
Upon this Chequer-board of Nights and Days;
  Hither and thither moves, and checks, and slays,
And one by one back in the Closet lays.


LXX.

The Ball no question makes of Ayes and Noes,
But Here or There as strikes the Player goes;
  And He that toss'd you down into the Field,
He knows about it all--HE knows--HE knows!


LXXI.

The Moving Finger writes; and, having writ,
Moves on: nor all your Piety nor Wit
  Shall lure it back to cancel half a Line,
Nor all your Tears wash out a Word of it.


LXXII.

And that inverted Bowl they call the Sky,
Whereunder crawling coop'd we live and die,
  Lift not your hands to It for help--for It
As impotently moves as you or I.


LXXIII.

With Earth's first Clay They did the Last Man knead,
And there of the Last Harvest sow'd the Seed:
  And the first Morning of Creation wrote
What the Last Dawn of Reckoning shall read.


LXXIV.

YESTERDAY This Day's Madness did prepare;
TO-MORROW's Silence, Triumph, or Despair:
  Drink! for you not know whence you came, nor why:
Drink! for you know not why you go, nor where.


LXXV.

I tell you this--When, started from the Goal,
Over the flaming shoulders of the Foal
  Of Heav'n Parwin and Mushtari they flung,
In my predestined Plot of Dust and Soul.


LXXVI.

The Vine had struck a fiber: which about
It clings my Being--let the Dervish flout;
  Of my Base metal may be filed a Key
That shall unlock the Door he howls without.


LXXVII.

And this I know: whether the one True Light
Kindle to Love, or Wrath consume me quite,
  One Flash of It within the Tavern caught
Better than in the Temple lost outright.


LXXVIII.

What! out of senseless Nothing to provoke
A conscious Something to resent the yoke
  Of unpermitted Pleasure, under pain
Of Everlasting Penalties, if broke!


LXXIX.

What! from his helpless Creature be repaid
Pure Gold for what he lent him dross-allay'd--
  Sue for a Debt he never did contract,
And cannot answer--Oh the sorry trade!


LXXX.

Oh Thou, who didst with pitfall and with gin
Beset the Road I was to wander in,
  Thou wilt not with Predestined Evil round
Enmesh, and then impute my Fall to Sin!


LXXXI.

Oh Thou, who Man of baser Earth didst make,
And ev'n with Paradise devise the Snake:
  For all the Sin wherewith the Face of Man
Is blacken'd--Man's forgiveness give--and take!

* * * * * * * * * * * * * * * * * * * * * * * *


LXXXII.

As under cover of departing Day
Slunk hunger-stricken Ramazan away,
  Once more within the Potter's house alone
I stood, surrounded by the Shapes of Clay.


LXXXIII.

Shapes of all Sorts and Sizes, great and small,
That stood along the floor and by the wall;
  And some loquacious Vessels were; and some
Listen'd perhaps, but never talk'd at all.


LXXXIV.

Said one among them--\"Surely not in vain
My substance of the common Earth was ta'en
  And to this Figure molded, to be broke,
Or trampled back to shapeless Earth again.\"


LXXXV.

Then said a Second--\"Ne'er a peevish Boy
Would break the Bowl from which he drank in joy;
  And He that with his hand the Vessel made
Will surely not in after Wrath destroy.\"


LXXXVI.

After a momentary silence spake
Some Vessel of a more ungainly Make;
  \"They sneer at me for leaning all awry:
What! did the Hand then of the Potter shake?\"


LXXXVII.

Whereat some one of the loquacious Lot--
I think a Sufi pipkin--waxing hot--
  \"All this of Pot and Potter--Tell me then,
Who is the Potter, pray, and who the Pot?\"


LXXXVIII.

\"Why,\" said another, \"Some there are who tell
Of one who threatens he will toss to Hell
  The luckless Pots he marr'd in making--Pish!
He's a Good Fellow, and 'twill all be well.\"


LXXXIX.

\"Well,\" murmured one, \"Let whoso make or buy,
My Clay with long Oblivion is gone dry:
  But fill me with the old familiar Juice,
Methinks I might recover by and by.\"


XC.

So while the Vessels one by one were speaking,
The little Moon look'd in that all were seeking:
  And then they jogg'd each other, \"Brother! Brother!
Now for the Porter's shoulders' knot a-creaking!\"

* * * * * * * * * * * * * * * * * * * *


XCI.

Ah, with the Grape my fading life provide,
And wash the Body whence the Life has died,
  And lay me, shrouded in the living Leaf,
By some not unfrequented Garden-side.


XCII.

That ev'n buried Ashes such a snare
Of Vintage shall fling up into the Air
  As not a True-believer passing by
But shall be overtaken unaware.


XCIII.

Indeed the Idols I have loved so long
Have done my credit in this World much wrong:
  Have drown'd my Glory in a shallow Cup,
And sold my reputation for a Song.


XCIV.

Indeed, indeed, Repentance oft before
I swore--but was I sober when I swore?
  And then and then came Spring, and Rose-in-hand
My thread-bare Penitence apieces tore.


XCV.

And much as Wine has play'd the Infidel,
And robb'd me of my Robe of Honor--Well,
  I wonder often what the Vintners buy
One half so precious as the stuff they sell.


XCVI.

Yet Ah, that Spring should vanish with the Rose!
That Youth's sweet-scented manuscript should close!
  The Nightingale that in the branches sang,
Ah whence, and whither flown again, who knows!


XCVII.

Would but the Desert of the Fountain yield
One glimpse--if dimly, yet indeed, reveal'd,
  To which the fainting Traveler might spring,
As springs the trampled herbage of the field!


XCVIII.

Would but some winged Angel ere too late
Arrest the yet unfolded Roll of Fate,
  And make the stern Recorder otherwise
Enregister, or quite obliterate!


XCIX.

Ah Love! could you and I with Him conspire
To grasp this sorry Scheme of Things entire,
  Would not we shatter it to bits--and then
Re-mold it nearer to the Heart's Desire!


C.

Yon rising Moon that looks for us again--
How oft hereafter will she wax and wane;
  How oft hereafter rising look for us
Through this same Garden--and for one in vain!


CI.

And when like her, oh Saki, you shall pass
Among the Guests Star-scatter'd on the Grass,
  And in your joyous errand reach the spot
Where I made One--turn down an empty Glass!


TAMAM.

附:鲁拜集汉译版本
作者:jb909 经验值:8605 时间:2004/01/17 14:59


  ◎郭沫若译 莪默.鲁拜集
   上海泰东书局 1924年,人民文学出版社 1958年,1978年,以英文译本为主,参考日文译本转译
  ◎李竟龙《鲁拜集》旧诗体译本,1942年毛边纸自印
  ◎吴剑岚、伍蠡甫 《鲁拜集》上海黎明书局 一九三五年
  ◎孙毓棠,《鲁拜集》韵体译本,1939年全部刊于上海《西洋文学月刊》
  ◎柏丽汉译《怒湃译草》英汉对照插图本,,中国人民大学 1990年
  ◎黄杲炘,《柔巴依集》, 上海译文出版社 1982
  ◎潘家柏,《鲁拜集》新诗无韵体译本
   依Le Gallienne Richard (1866-1947英国诗人)无韵散文诗体的英译本
  ◎陈次云、孟祥森 狂歌集 晨钟出版社1971年
  ◎黄克孙,鲁拜集 1986年 台北:书林
  ◎张晖译 《柔巴依诗集》(波斯)欧玛尔·哈亚姆着,,湖南人民出版社1988年,有20多幅彩色、黑白插图,从波斯文直接译来的,共有一百八十九首。
  ◎虞尔昌(1985年)?????????
  ◎孟祥森 鲁拜集   远景出版社1990年
  ◎邢秉顺 鲁拜(载于人民文学出版社的《鲁达基海亚姆萨迪哈菲兹作品选》),
   收154首。译自波斯文,1999出版
  ◎张鸿年 《鲁拜集》 ,2000年,波斯原著翻译的中译本(收380首)

  
  参考資料
  ◎慈恩 《三十五年鲁拜集翻译沧桑录》
  ◎黄杲炘 《 柔巴依集的汉译情况》
  ◎莫渝 《鲁拜集---甲子翻译史》

http://note.ssreader.com/show_to ... 5187&forumid=12

傻按:附件为DJVU格式,Macmillan 1905年版,所据即1889年“the fifth edition”。那位大兄的书目中,“孙毓棠,《鲁拜集》韵体译本,1939年全部刊于上海《西洋文学月刊》”,犹误,孙毓棠译本实际刊载于《西洋文学》月刊1941年[民国三十年三月出版]第7期。此外,朱湘节译本,收于湖南文艺“诗苑译林”《朱湘译诗集》。

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发表于 2007-11-26 20:11:52 | 显示全部楼层
英译下载了,有空看看.多谢分享.
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发表于 2007-11-26 20:23:28 | 显示全部楼层
读外国的诗作非要体味出中国味来
我觉得还是不要这样刻意翻译好些
虽说这样翻译能体现出译者的才华
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 楼主| 发表于 2007-11-27 12:32:46 | 显示全部楼层
引用第2楼aπολλωv于2007-11-26 20:23发表的 :
读外国的诗作非要体味出中国味来
我觉得还是不要这样刻意翻译好些
虽说这样翻译能体现出译者的才华
同意船长的话,船长所说的,大抵属于过度“归化”吧。但是,文学作品中,不顾原文的时代、体式、风格,将诗译成散文,让Beowulf说“你、我”而非“汝、吾”,傻以为,亦属于不“忠”(信)。
所以,船长批评的,应该是:http://www.readfree.net/bbs/read-htm-tid-4499511.html
伯昏子兄在那厢说:
本译文全部按照汉语历史音韵和近体诗的基本要求来处理格律与押韵。偶尔会邻韵通押,也是遵照近体邻韵分类原则来安排。格律上孤平力求避免,拗救可能未全面顾及。文字上也追求唐宋汉语的历史风貌,本质上就是以莪默时代的汉语来翻译莪默的诗。

其实不一定是炫耀,傻看做是他再现鲁拜集时代感的努力。诗是语言艺术,不是翻译出大意就可的:古希腊、拉丁语,英语,法语,德语……诗歌的音韵是各不相同的:“长短”、“抑扬”、“阴阳”……都必须注意——英国人译古罗马诗时,将拉丁语的“短长”模写成英语的“抑扬”,于是乃形成英诗自己的品质……所以,汉译前辈有“以顿代步”的尝试。我辈对此岂能视而不见?
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发表于 2007-11-27 14:39:15 | 显示全部楼层
译品的水准先不提,单说"以莪默时代的汉语来翻译莪默的诗",这个想法太奇特了,况且还是照着Fitzgerald的英文来做这件事!试想一下,如果Fitzgerald当年,也是按照"莪默时代的英语"来译莪默的诗,那还有大家今天读到的"莪默"吗?
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 楼主| 发表于 2007-11-27 16:01:31 | 显示全部楼层
引用第4楼chaque于2007-11-27 14:39发表的 :
译品的水准先不提,单说"以莪默时代的汉语来翻译莪默的诗",这个想法太奇特了,况且还是照着Fitzgerald的英文来做这件事!试想一下,如果Fitzgerald当年,也是按照"莪默时代的英语"来译莪默的诗,那还有大家今天读到的"莪默"吗?
]"以莪默时代的汉语来翻译莪默的诗",并不奇特,确实奇特的是:“照着Fitzgerald的英文来做这件事”。Dasha是始终反对转译的人,更何况Dasha阅读了大量并不负责任的英译本。

Fitzgerald的“柔巴依”影响巨大,但并非英国人都认为其为佳译。如果菲氏按照"莪默时代的英语"来译莪默的诗,未必影响深远,但也未必不是佳译。梵澄先生“骚体”译“薄伽梵歌”,无论如何,也是让Dasha叹服的。李太白如果译鲁拜,结果会是怎样的呢?“刺勒川,阴山下,天似穹庐,笼盖四野。天苍苍,野茫茫,风吹草低见牛羊。”也是从蛮语里译过来的,真不知道黄杲炘如果找到了原文,会弄成什么样的“口语诗”。同样的例子就是西人的汉学著作,用现代汉语回译成的那些古代汉语引文,Dasha的评价则只有“呸”。j借此,再次对译《蒙古帝国史》的龚钺,对最近Dasha刚翻阅过的《琉璃宫史》的众译者表示景仰。
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发表于 2007-11-27 16:15:09 | 显示全部楼层
初来园地得见着许多高人不胜景仰

尤其是读到G兄对翻译的一些看法 深深赞同(学术栏)。顺藤摸瓜看到G兄德文藏书和里尔克的专门网站,羡慕之余更是感佩,像是找到了队伍:)

首先谢谢G兄分享译文。对翻译观有些些不同看法:

译文学作品是否需要以古译古,以诗译诗,值得商榷。
另外翻译中是否仅仅考虑原文这一个因素(当然是必须考虑的),“忠”是否在任何情况下都是翻译的目的,也是个问题。

举例说明:

Luther的德译圣经,奠定了现代德语的基础,成为后来德国各城邦联系的最重要的纽带,不可谓不成功,但若以以古译古的观点衡量,则必不够忠实。新近K. Berger 与Ch.Nord将新约重译,其使用的德语自然比Luther的“年轻”,以上述标准衡量,则一没有必要二无人接受。然而苏黎世报评价如下

Dieser 躡ersetzung geht es nicht um Worttreue, sondern ausschlie遧ich um Verst鋘dlichkeit. Sie nimmt den kulturhistorischen Abstand zwischen den christlichen Schriften der Antike der ersten zwei Jahrhunderte und dem heutigen Publikum ernst und versucht, die Fremdheit der Texte in die Zielsprache zu transferieren, aber so, da
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发表于 2007-11-27 16:26:31 | 显示全部楼层
Gossudar兄又谈了很多有益的读、译心得,受教!

可能上面我说得还是太含糊,现在就再挑明一些。这里有三个情况:
1.伯昏子的翻译原则是:应以莪默时代的汉语来翻译莪默的诗。
2.Fitzgerald的翻译实践是:以近代英语来翻译11~12世纪的Omar诗。
3.伯昏子采用Fitzgerald的译本转译Omar。

1,2各自的情况,或许都各有可以言之成理之处;究竟该取哪一方的立场,这里不是做分别判断的地方。但两者显然是相互矛盾的,因此将双方捏合成3,就实在扞格不通了。因为,如果你支持1,就只能反对2;认可2,就不能再按1的方式走下去。换句话说,我实在想不出,为什么一个主张“以莪默时代的汉语来翻译莪默的诗"的人,会选Fitzgerald为底本翻译。这好比是喝冰水驱寒、嚼辣椒止渴了。
西人的汉学著作,用现代汉语回译成的那些古代汉语引文...
我以为最佳办法是古代汉语原文附现代汉语回译或西文原文,这样也能让读者领略“西人”对中国典籍的妙解或误解。
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发表于 2007-11-27 16:39:16 | 显示全部楼层
另外,刚才我之所以说“以莪默时代的汉语来翻译莪默的诗”的想法很奇特,是因为想到语言也有年轻、年长之分;要求译文的语言与原文语言同样古老,这对于很多新兴语言来说就是不可能的。
比如,《论语》的英译者固然可以把译本语言处理得雅训、古朴一些,但若按照“以孔子时代的英语来翻译孔子的话”这一标准,就不可能有英译《论语》这种东西了,除非我们新发现了“孔子时代的英语”是怎么说的。所以我觉得上述原则,至多是一种趣论。
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发表于 2007-11-27 17:23:17 | 显示全部楼层
路过顺便请教一下:各位,假如把《诗经》翻译成英文,采用什么年代的英文比较合适??
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发表于 2007-11-27 19:15:11 | 显示全部楼层
嘿嘿,那就需要用凯尔特语翻译《诗经》了
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发表于 2007-11-27 19:46:15 | 显示全部楼层
引用第9楼swell于2007-11-27 17:23发表的 :
路过顺便请教一下:各位,假如把《诗经》翻译成英文,采用什么年代的英文比较合适??
History of the English Language

The figure below shows the timeline of the history of the English language. The earliest known residents of the British Isles were the Celts, who spoke Celtic languages—a separate branch of the Indo-European language family tree. Over the centuries the British Isles were invaded and conquered by various peoples, who brought their languages and customs with them as they settled in their new lives. There is now very little Celtic influence left in English. The earliest time when we can say that English was spoken was in the 5th century CE (Common Era—a politically correct term used to replace AD).

In case you hadn’t made the connection, “England” <– “Engla Land” <– “Angle Land” (Land of the Angles, a people of northern old Germany). Their name lives on in the district of England named East Anglia, and also in the Anglican Church. In the present day there is still a region of Germany known as Angeln, which is likely the same area from which the original Angles came. Angeln lies in Schleswig-Holstein on the eastern side of the Jutland peninsula near the cities of Flensburg and Schleswig.

  

(from http://www.danshort.com/ie/timeline.htm)

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发表于 2007-11-27 19:55:23 | 显示全部楼层
爱哭兄,swell老师可是英(外)语专家,呵呵
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发表于 2007-11-27 20:01:30 | 显示全部楼层
引用第12楼aπολλωv于2007-11-27 19:55发表的 :
爱哭兄,swell老师可是英(外)语专家,呵呵
嗯,俺大概明白swell老师的意思。俺是妄想给老师做个TA,准备个背景资料啥的;顺便给自己扫扫盲,做个笔记在这个巨帖里,以后就好找了,嘿嘿。
各位都是明白人,俺画蛇添足了哈。专家就甭看了,看了还得挑错。
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 楼主| 发表于 2007-11-27 20:27:45 | 显示全部楼层
楼上诸兄的言论让Dasha不断省思,幸甚。

klaustang兄对Dasha的溢美,Dasha只有当作鞭策,继续努力了。兄提及“翻译策略”,傻不由想起哲人王Vivo前几天提到的“阅读策略”,多少有些功利性吧。傻不以翻译为业,只愿像Kafka私人写作那样“玩弄文字”。而兄贴中的“削足适履”,恐怕只能说译者的文字功力不足,唐诗、宋词……诗(词)人们哪一个不是“戴着镣铐舞蹈”。

Swell问《论语》对应的同时代英语,船长说Celtic,傻则觉得该是Rune啦——像俺们的甲骨文,至少是石刻,嵇康曾经研究过的那种。对此,傻重复Dasha在2楼的话:“傻看做是他再现鲁拜集时代感的努力”。

傻所谓的古文译古文(文风的模拟),当然基本同于chaque兄的“把译本语言处理得雅训、古朴一些”,比如莎士比亚不妨用明的话本或者再早一些的元曲——记得多年前看的《Growing Pains》里面有“他把莎士比亚翻译成英语”样的话,也就是说,Shakespeare的文字对于当代英语人士,至少像“国语合和本”对于我们当代的许多中国人吧。翻译不该是译者把自以为最美好的母语罗列在一起,对“待译文本”的风格不加考虑,恐怕不是无知,就是不负责任。
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发表于 2007-11-27 22:41:31 | 显示全部楼层
引用第13楼woi55于2007-11-27 20:01发表的 :

嗯,俺大概明白swell老师的意思。俺是妄想给老师做个TA,准备个背景资料啥的;顺便给自己扫扫盲,做个笔记在这个巨帖里,以后就好找了,嘿嘿。
各位都是明白人,俺画蛇添足了哈。专家就甭看了,看了还得挑错。

俺这个门外汉花了很大的功夫才看明白,爱哭兄是为翻译红楼梦的译者准备的吧?
虽然与曹雪芹同时代的,是啥Modern English,但翻译红楼梦估计那一条杠子全都用得上。

不懂莪默的诗,据说鲁拜一般1、2、4行句尾押韵, 也有1、2、3、4行押韵的。这么说来,用绝句来译似乎倒是蛮好的。不过如果说成是因为作者时代的原因,那么得庆幸莪默没有国人喜欢“代圣人立言”的恶习了,否则换作英译一下莪默那个时代或稍后一些的中国人的诗文,那么带先秦味的、沾魏晋气的都成Middle English了,实际上不少东西和几个世纪之前乃至十几个世纪之前的人写的东西在遣词用句上面其实没啥两样,而这种恶习好似也非中华的特产吧,对于时代感不强的俺还是觉得dasha兄说的“文风的模拟”比较容易理解,呵呵。
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发表于 2007-11-28 03:47:56 | 显示全部楼层
前面停云兄在给我的回复打分的时候,有一段较长的评语,可惜被系统给截断了,现在复制出来以飨读者:

俺想对于翻译而言,风格而非时代才应该是首要考虑的对象,如莪默之诗可以雅致一些,却不必强求格律,甚至用那么多的典。


我认为这个评语是恰当的。从我这个中英文都没学好的读者眼光看,Fitzgerald的英译清新可读,除了一些当地风情的词汇略需省思之外,整体上没有什么费解的地方;而伯昏子先生的新译读来就好像雾里看花了,我看到在他自己的blog上发表的时候甚至做了大量自注:
http://www.poetry-cn.com/blog/in ... 26&art_id=54565
这似乎恰恰违背了他所依照的底本风格的。

Gossudar兄认为这是一种"再现鲁拜集时代感的努力",并打比方说,"不妨用明的话本或者再早一些的元曲"语言翻译莎士比亚。我看这是对伯昏子先生立场的一种回护或稀释(把"以莪默时代的汉语来翻译莪默的诗"这个几乎不可辩护的奇特原则给略加驯化了)。那么所谓古文译古文,或文风的模拟是不是一条全然自明,毫无争议的原则呢?我猜不一定。因为,固然有一部分"古文"在写作的时候就已经是雅训深奥,不易索解,可也有很多“古文”看上去古雅非凡,但其实这只是现代读者的感受,古人在当时大概只是我手写我口而已,并未存心一开口就古意盎然的。那么全力拟古的译者对“时代感”的“再现”,反而倒沦为一种基于现代立场的假再现了:他越拟古,离古人的真精神就越远。
打个比方说,英译水浒的时候,究竟该用什么样的语言“再现时代感”?如果英译者也要采取“施耐庵时代的英语",或者至少遵循"让英语读者体会21世纪汉语读者对水浒的陌生感"这个"以古译古"的原则,让李逵宋江诸位满口thou thee,我猜那结果只能是一场年代错误(anachronism)了。

所以说,拟古的实质,是用一种特殊的、现成的文体装置,对表达加以陌生化、离间化,以期人为地制造出时代上的间隔感。不能说这个目的一定无法达成,但我们很容易看到,它与(通常认为的)翻译的本身任务是有抵触的。翻译意在渡引,拟古则力求分隔。更成问题的是,拟古者通常把目标语言的十八般兵器,缩减为其中一种固定的文体和装置(比如Omar时代的汉语之类),这样就限制了自己能够调用的技术资源——更几乎完全放弃了在翻译的过程中,用源语言本身的资源重新塑造目标语言的可能性。而这最后一种可能性(也就是路德通过翻译圣经重塑德语时所经历的那种可能性),我素来以为是翻译中最可珍视的经验。

就我现在看到的成绩判断,拟古翻译的实际价值,其实在于它构成了一种风格练习,或者直言就是“炫耀”——真有好手艺又有什么不能炫耀的呢?比如早几年有人用诗经体翻译的Scaborough fair,或者钱钟书用佛经体翻译的希罗多德,都是这方面的好例子。在最好的情况下,这种练习本身就形成了不错的文学小品,但更通常的情况则是,做出的译本没有什么自在的价值,只是在与原本的比照下——这种比照本身肯定是不乏意趣的——能体现出译者的一番匠心罢了。

球赛开始之前恰好有点时间,不觉罗唣了这么多,就算是博各位方家一笑吧。
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发表于 2007-11-28 11:31:53 | 显示全部楼层
翻译既是个人行为,更是社会现象。纵然是个人行为,译者也无法置身物外,与社会现实格格不入。至于译者要不要尊从社会现实,那就要看看翻译的目的了:译作是给自己看、一小部分人看、圈内人看、还是更多人看?给今人看还是古人看?给什么样的当代人看?给什么样的古人看?。。。。读者对象不同,译者所采用的策略自然就不同了。

语言代有变迁,今人的通行语,几千年后,就是那时的古语了。现在手上拿到的古旧文本,说不定就是作者用当时的通行语写成的。谈论翻译的人,往往免不了要涉及到风格问题,也往往会涉及到功能或审美问题。假如翻译是有目的的,假如谈论的是文学翻译,那么审美功能的传递显然必不可少。理论上,某个原作的语言在某个时代的人看来,是清新自然的,在另一个时代的人看来,则未必可爱可读。之所以会需要重译,很大程度上是语言变迁所促成的。

语言文字系统也会影响翻译的策略。言文一致与言文分离,更会影响译者对语言风格的判断。今人觉得古雅的东西,几百年前未必就是古雅的。所以,审美趣味是随着时代变化而变化的。

但是,审美趣味是指什么人的审美趣味?多数人还是少数人?什么样的人?。。。太复杂了!

大家接着谈,呵呵
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发表于 2007-11-28 13:26:03 | 显示全部楼层
Peter Newmark做了个翻译制动要素图(The Dynamics of Translation, A Textbook of Translation,P4),谓考虑翻译有SL writer; SL norms; SL culture; SL setting and tradition; TL relationship; TL norms; TL culture; TL setting and tradition; The truth (the facts of the matter); Translator等十种要素参与,这与swell说的诸多可能——从接受以及接受者到语言策略——很有类似。不过,“翻译的可能”是一种在理论上根据个人(译者,或尤其是双语的旁观者)素质、才智、思考甚至目的等,可做无限衍生的东西,而“翻译的结果”是放在众人评说之下的特定的白纸黑字。从这一意义上看,翻译评价,常常是个由正向观之还是反向观之而萌发出来的问题:由结果到源头进行要素搜罗,或由源头到结果进行要素搜罗,相信两者之间错落交合的位置,就是分歧与同意的所在。
不忍心潜水的好帖,呵呵!希望不要介意我插上一嘴。大家继续。。。
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 楼主| 发表于 2007-11-28 14:55:36 | 显示全部楼层
惨!“对伯昏子先生立场的一种回护或稀释”(chaque)——Dasha与伯昏子兄此前并不相识,Dasha不是在对伯昏子先生进行回护,Dasha是在对Dasha自己“拟古翻译立场”做些思考。

尝试举例,比如有这么一个电影或电视片段,一位美国老师给学生们上语文课,他先说,Beowulf的“Klaeber edition of the Old English”是这样的:

HW芓, WE GAR-DEna in geardagum,
?odcyninga ?ym gefrunon,
hu 餫 纩elingas ellen fremedon!


然后,又说,Francis Gummere将之转写成的modern English是:

LO, praise of the prowess of people-kings
of spear-armed Danes, in days long sped,
we have heard, and what honor the athelings won!


此时,我们的翻译该怎样应对这两段英文?三联1992年出版冯象“第一次从原文(古英语)完整地译出”的《贝奥武甫》译文如下:
  

译林1999年出版陈才宇据“一九九一年英国米德尔塞克斯出版的……采用古英语和现代英语排版……还参阅过一九七三年出版的《企鹅丛书》中的现代英语本和一九七〇年纽约出版的《诺顿文学选集》中的散文译文”的《贝奥武甫》译文如下:
  

如此,我们用冯象的对应第一段,用陈才宇的对应第二段,可以吗?能够让观众(读者)因此感觉到这是内容一样但古今不同的文字么?

Dasha继续假想,如果一位英国人好事,将冯、陈二人的汉语回译成英语,会选择Dasha所罗列的两种英文的哪一种呢?

所有这些,Dasha都限定在文学翻译中。因为,文学翻译,本就是chaque兄所说的“风格练习”(文字的技艺),而不是仅仅知道大意的产品说明书。所以,“风格练习”是必须的,至于如何练习,那是译者自己的问题。但是,无视文学作品中语言的时代感,恣意将诗歌译成散文,应该是对阅读者的藐视。正如前两日Dasha见到:
下面引用由Onetti发表的内容:

当当网有位顾客在昆德拉《被背叛的遗嘱》商品页面留下了愤怒的留言。
标题是“翻译太可怕”,看了正文,我被感动了:


我虽然不懂法语,但不要以为我也不懂中文!
http://www.stph.com.cn/mybbs/Ann ... ID=12&ID=112145

傻按:Dasha去当当查验了一下,没有找到,恐怕是当当给“河蟹”了。

其实,傻近来在思考的是诗歌的翻译。傻觉得,无论怎么译,如果该诗被谱曲唱出,我们的译文不能够契合,是不是就是最直接的失败呢?比如,勃拉姆斯Op.54的荷尔德林的《许珀里翁 的命运之歌》(Schiksaalslied (Schicksalslied, Song of Destiny))。

烦请诸兄为Dasha指点迷津。

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