老来乐
Delights in Growing Old
六十整岁望七十岁如攀高山。不料七十岁居然过了。又想八十岁是难于上青天，可望不可即了。岂知八十岁又过了。老汉今年八十二矣。这是照传统算法，务虚不务实。现在不是提倡尊重传统吗 ?
At the age of sixty I longed for a life span of seventy, a goal as difficult as a summit to be reached. Who would expect that I had reached it? Then I dreamed of living to be eighty, a target in sight but as inaccessible as Heaven. Out of my anticipation, I had hit it. As a matter of fact, I am now an old man of eighty-two. Such longevity is a grant bestowed by Nature; though nominal and not real, yet it conforms to our tradition. Is it not advocated to pay respect to nowadays?
老年多半能悟道。孔子说“天下有道”。老子说“道可道”。《圣经》说“太初有道”。佛教说“邪魔外道”。我老了，不免胡思乱想，胡说八道，自觉悟出一条真理 : 老年是广阔天地，是可以大有作为的。
An old man is said to understand the Way most probably: the Way of good administration as put forth by Confucius, the Way that can be explained as suggested by Laotzu, the Word (Way) in the very beginning as written in the Bible and the Way of pagans as denounced by the Buddhists. As I am growing old, I can't help being given to flights of fancy and having my own Way of creating stories. However I have come to realize the truth: my old age serves as a vast world in which I can still have my talents employed fully and developed completely.
七十岁开始可以诸事不做而拿退休金，不愁没有一碗饭吃，自由自在，自得其乐。要看书可以随便乱翻。金庸、梁羽生、克里斯蒂、松本清张，从前哪能拜读 ? 现在可以了。随看随忘，便扔在一边。无忧无虑，无人打扰，不必出门而自有天地。真是无限风光在老年。At the age of seventy I began my retirement, in which I can rely on my old-age pension for a living, free from my burden of the boring routines I used to bear, and lead a life carefree and contended. As for reading I can, now, choose at my own will to thumb through anything to while away the time. I can find time to read anything that I didn't used to, for instance, such time-killers as those created by Jin Yong, Liang Yusheng, Christie and Seicho Matsummoto. I don't have to keep them in mind and quit them as I see fit. There being no worry and disturbance, I need not travel far in my own world so vast. True it is that the most spIendid view may be found in old age!
偶尔有人来，不论男女老少认识不认识，天南地北，天上地下，天文地理，谈天说地，百无禁忌。我的话匣子一开，激光磁盘便响个不停，滔滔不绝。无奈我闲人忙，昕众逐渐稀少，终于门庭冷落，只剩一屋子广阔天地，任我独往独来，随意挥洒。
Occasionally I had some visitors, male or female, old or young, acquainted and unacquainted. We could chat about everything in the north or in the south, in the space or at the core, related to astronomy or geography, in the Heaven or in the Hell and there were no taboos for us at all. Whenever I broke the ice I began to pour my words, in a flow of eloquence, as continuously as a laser disc. Unfortunately, I was jobless while they were so busy that they almost melted away until few knocks came at the door and the world became vacant again. Now I alone can occupy it and go my own way.
打开电视，又是一番新气象。古今中外，赤道南极，变幻莫测。真能坐地日行八万里。忽而庄严说教，忽而插科打浑，忽而高歌一曲，忽而舞步翩翩。帝王将相，牛鬼蛇神，无不具备，应有尽有，场面各有不同。主持人个个精神焕发。服装表演件件花样翻新。足球射门中的。篮球投篮不空。马家军飒爽英姿。大歌星真人假唱。忽然出现红顶花翎，拖着辫子，仿佛我的一百四十岁的父亲复活。他不辞辛苦跑到北京来对宣统皇帝磕头。我却曾在大庭广众中对溥仪先生点头问好。真是一代不如一代，一代胜过一代。正在得意之间，不料长袍马褂已变成西装革履。长发长袜，飘来跳去，三点泳装耀眼生辉。眼睛耳朵实在招架不住，那就下令暂停，闭目养神去也。这正是 :
小屋之中天地阔老年无事是忙人。
When I turn on the TV set, some other new scenes come into my sight, for example, the changeable events in history or in current affaires, on the equator or at the poles. It might be said that while sitting in my room I can cover eighty thousand miles a day since our planet spins. Come upon the screen, now serious preaches, now comic gestures and remarks, now resounding songs, now twists and dances. The cast may be emperors, generals, monsters or demons, of all kinds and of all sorts, but in different situations. Every host beams with vigor and energy, as a model girl shows a brand new costume, as a goal is made in a football game, as each shot scores the basket, as a distance- race runner on the team coached by Mr. Ma makes a good performance or as a famous star comes on the stage in person but his /her song comes from the cassette. Suddenly the picture changes as an official in a red-topped hat and with a pigtail behind the back comes upon the scene, as if my 140-year-old father had come to life again. He made light of a tiring travel from my hometown to the capital in order to kowtow to the emperor Xuantong. In contrast, I did once meet with and greet Mr. Pu Yi, the same person, in public. Really, a new generation may be inferior to the old and in turn an old generation may be outshone by the new. As I am beside myself in high glee, the traditional costume gives way to a western suit. Then the long-haired and the long-stocked shake their legs as if adrift, sandwiched by the radiating bikinied. My eyes and ears can hardly stand those things and I order the set to be turned off for I am going to close my eyes for a rest. So it is well said: The world is vast though in the house very small;
The old become jobless, yet now most active of all.
——第十七届" 韩素音青年翻译奖 " 汉译英参赛译文评析
第十七届 " 韩素音青年翻译奖 " 汉译英部分评选工作已顺利完成。从数量上看，有效参赛译文稿件创历史新高 ; 就原文的难度来考虑，参赛译文水平可以说不减以往。评阅组经过三次筛选，将较好的文稿提交评委会最后审定，通过评议，排定名次。作为评议员，没有一定的标准，难以做到公平合理，因为这毕竟是竞赛。但翻译又是一种较复杂的语言和文化交流活动，因此，对评定尺度的把握，很难说做到绝对准确。为了突出这次参赛译文的特点，本文也只能以较好的译文为重点，做出评析。
1. 关于对原文主题思想的理解
| 本届汉译英参赛原文《老来乐》是我国著名学者金克木先生的一篇散文。金克木 (1912－2000) 先生是北京大学教授、梵文研究专家和翻译家 ; 他早年曾是 " 现代派 " 的重要诗
人之一。他的散文主要是思想随笔，涉及读书札记、文化漫谈。往往是针对某一议题生发开来，融进丰富的知识，表现出思维活跃、充满智慧而又诙谐从容。我国文学界将这类散文称为 " 学者散文 " 或 " 文化散文 " 。《老来乐》就是一个范例。
从全文来看，《老来乐》体现作者对待人生的积极态度。这里主要是指一个人应当如何看待自己的晚年，如何在晚年发挥自己的余热。很多人，一到晚年，一旦退休，就产生一种失落感。而作者则以乐观的态度对待这种自然规律。古今中外的不少学者，对人生的感悟也达到这种境界，例如杜牧在《山行》一诗中所表达的意境和英国现代哲学家罗素在 How to Grow Old一文中所表达的哲理，都反映他们积极上进的人生观。金克木先生是以当今社会现实和个人体验来谈晚年的，所以笔下留言更贴近生活，更感人肺腑。
很多参赛青年对原文的主题思想是进行过深入探讨的，这可以说是本次参赛译文的特点之一。有一位参赛者将金克木的照片和简介装订在文稿的首页，这一方面说明他对原作者有一定的了解，更说明他对原作者的尊敬。很多参赛者在文稿后面附上大量的注释，涉及对原作者的介绍、对原文中多处典故的阐释等等。有的注释，篇幅甚至超过译文。我们认为，忠于原作和尊重原作者是一种译德。青年译者继承这种译德，是可喜可敬的。但是从多数参赛文稿来看，尤其是从那些被筛选掉的文稿来看，这方面下的工夫不够，因此根据字面逐一对应，“硬译 " 或 " 死译 " 的现象仍然普遍存在。
2. 关于对原文主题思想的译语表达
翻译一般分为理解和表达两大过程，即 : 译者对原语的解码和用译语重新编码的过程。对原文主题思想的理解应贯穿在表达的全过程。衡量一篇译文的优劣，就要看译者能否将其贯穿始终。《老来乐》全文共六个自然段。第一个自然段讲述作者自己年满六十之后的期盼及其实现。到第二个自然段，作者点出文章的主题 : " 老年是广阔的天地，是可以大有作为的" 。以下几个自然段列举具体事实加以佐证，包括物质待遇和精神生活、社交活动和文娱活动。最后做出结论 :" 小屋之中天地阔 ; 老年无事是忙人。 " 译者若能以主题思想为线索，理顺文章结构和内容，从宏观着眼，微观入手，就能在表达过程中，顺理成章，一气呵成。由于各自然段有具体的翻译难点要在下文讨论，这里首先看体现主题思想的三个要点的翻译，即 : 标题的翻译、主题句的翻译和结论句的翻译。
从较好的参赛译文中，我们看到如下的标题英译 :
A Blissful Retirement, Bliss in Old Age, Pleasures of the Old Age, Happiness of My Old Age, The Joy of Old Age, Old in Age but cheerful in Spirit, The Joy of Getting Old, The Delights of Growing Old 。我们认为，除最后两种译法外，其它译法都是一种静态的表达，不太切合原作者动态感悟的活跃思想。而且原作者在第一段就说明了自己从六十岁到八十多岁这二十多年的体验，而不只是退休后的感受，所以取动态表达为宜。再联想到罗素的散文 How to Grow Old, 我们认为最好取最后两种译法。原文实际列举了作者的多种乐趣，英语名词用复数形式为佳; 因此，译为 Delights in Growing Old 似乎更切合主题。
原作者点出主题是用典喻。上个世纪五、六十年代，号召青年学生上山下乡的口号就是 :" 农村是个广阔的天地，青年人在那里是大有作为的。 " 参赛者多数是学生和青年翻译工作者，对三、四十年前的时代背景可能不大了解，更谈不上体验，不知道原作者是在用典，而且带有诙谐的口吻，所以对这句话的英译可说是五花八门。在此不一一列举。不过我们认为，只要译文跟主题切合，仍然是可取的。
文章的结尾在形式上是对联，保持原文的形式对应是可以做到的，英语散文、故事和轶事等文体也有用双偶体 (couplet) 来结尾的。当然，翻译更重要的是内容。我们认为，关键是对最后一句的把握。译者对 " 无事 " 和 " 忙人 " 的理解尤为关键。原作者所谓的 " 无事”不是 " 无所事事 " 所隐含的 " 无事 ", 也不是 " 闲得无事 " 所表达的 " 无事 ",
而是指原来的在职工作，是就自己份内的事务而言的。这跟文章第三个自然段提到的 " 诸事不做 " 是前后呼应的。那么 " 诸事不做 " 而又是 " 忙人 " 的逻辑关系是什么呢 ? 原作者所说的忙人有两类。一类是那些为了自己的生存，为了养家糊口而疲于奔命的 " 忙人" 。可以说，这是一种 " 苦忙？？”, 一类是 " 自由自在，自得其乐 " 的人。原作者当然属于后一类，这也正好反映我国老年人的现状。只要看看央视《夕阳红》节目，就可以了解老年人的生活片段。再看我国大、中城市早晨的生活风貌，也可以感触到老年人的生活脉搏。在市井的广场、社区的空地，退休人员的扇舞、剑舞、秧歌舞、腰鼓舞等等，比比皆是，其自觉性和积极性远远超过亿万在校学生。可以说，这是一种 " 乐忙 " 。有的参赛者没有把握全文的中心思想，在翻译中就难能做到形式和内容的对等，译文往往顾此失彼，例如 : A vast space in my small room, I am busy at old age as an idler.
有的参赛者能透过字面领悟更深层的涵义，因此译文基本做到内容和形式的统一，例如 : The world is vast though in the house very small;
The old become jobless, yet now the busiest of all.
3. 关于章节内容的翻译
金克木先生这篇文章紧扣主题，凭思路自然展开。每个自然段衔接自如，脉络清晰，颇有英美随笔 (informal essay) 的写作特色。英语写作强调四大要素 : 思想统一(unity), 意思连贯 (coherence), 语气强调 (emphasis), 字音悦耳 (euphony) 。汉译英的目的是提出译品供英美人欣赏的，翻译如果讲究一点英语的写作修辞手法，就更能达到上述目的。下面以上四大写作要素来评析参赛者对一个较难翻译的语段的译文。这就是原文的第二个自然段。
此段围绕 " 道 " 而展开，首先原作者提出老年人多半能悟 " 道”, 最后亮出自己所悟到的 " 道 ", 也就是 " 老年是广阔天地，是可以大有作为的 " 这条真理。显然，在原文中，" 道 " 和 " 真理 " 是同义词。不少参赛者在注释中将孔子、老子、圣经、佛经所说的 " 道" 以及原作者所说 " 胡说八道 " 中的 " 道 " 联系起来，理解以 " 道 " 为主线而贯穿全段的写作技巧，但是在翻译过程中却找不到契合的方法。这样一来，直接引经据典的译文很多，这就使译文成为英语修辞所忌讳的连排句 (choppy sentences ) 。这里还须指出，" 邪魔外道 " 不是佛家所提倡的，而是佛教所摈弃的。同时原作者的 " 胡说八道 " 是反语，所以不能照字面译成 nonsense 。无论是连排还是直译，都破坏了译文的统一和连贯，也不能做到流畅和朗朗上口。少数参赛者能把握 " 道 " 这条主线，行文较流畅，但对最后两个 " 道 " 的处理却又不尽人意。
原文第五个自然段是谈高新技术给人们带来的丰富多彩的文化生活。过去人们要做到世事通达，非 " 行万里路，破万卷书 " 不可。而现在通过电视和其它媒体，真能实现 " 坐地日行八万里 " 的梦想。从这个自然段可以看出，原作者虽然年迈，对现代文化也是十分关注的，也在自强不息，与时俱进。但他对节目是有选择的。原文提到的 " 得意之间 " 以上的节目，是他感兴趣的，涉及到电视的主要栏目，虽然对个别节目也有诙谐的批评，例如，假唱、滥用历史题材的剧目之类。但是对那些过分显露、过分注重感官剌激的节目，他是不屑一顾的，所以原文带有讽刺挖苦的口气。多数参赛者没有分清原文的层次，辨别不出原作者的口吻，因此在译文中，只是对电视节目进行一般的罗列。少数较好的参赛译文则能理解原作者的格调，保持原文的风味。
此段还有几个值得商讨的问题。不少译者将 " 假唱”译成 lip-sync 。英语 lip-sync 是影视行业的专业术语，即“对口形 " 。如果直接与原文对应而不加必要的增补，似不能充分表这原文 " 真人假唱 " 的含义。我们认为可以运用翻译技巧来处理这个问题。要么增益，例如 :their performance is nothing but just lip-synching; 要么意译，例如 :they come upon the scene in person but their songs are prerecorded 。原文中的 " 长发 "
如果是指女演员，我们以为，金先生应当可以接受，因为女人留长发是理所当然的。但男人留长发在常人眼里确有点不伦不类。可是，不少参赛者都把 " 长发 " 译成女性。原作者将祖辈所经历的封建社会和自己经历的民主社会进行对比，是通过见皇帝的方式不同来表述的。结论是 " 一代不如一代，一代胜过一代 ":" 不如 " 是指遵循封建礼节，" 胜过 " 是指享有自由平等。从修辞考虑，原句是隽语辞格 (paradox ), 即 : 看来自相矛盾，实际道出真理的修辞手法。英语这种辞格，往往是通过句法的妙用来体现的，因此译文宜在句层找到对应。
4. 关于如何使译文切合原文风格的问题
我国学界前辈是提倡尽量使译文保持原文风格的。融惯中西的学者朱光潜和王佐良对此都有真知灼见。著名翻译理论家和翻译家刘重德先生也提出了 " 信、达、切 " 的具体标准。 " 切 " 就是切合原文的风格（风格的定性概括-具有特定的形态化）。前面我们已谈到金克木先生 " 学者散文 " 的基本风格。从《老来乐》来看，整个风格可以概括为 " 简约平易 "(a concise and plain style) 。这种风格也是英美散文作家们所十分推崇的，如大家所熟悉的英国散文作家培根、美国散文作家欧文等等。经过反复评议，我们发现参赛译文中注意原文风格，能基本做到文从字顺 ; 相反，则牵强附会。
风格的体现首先在谴词造句上。不少译文选词时而高雅，时而通俗。例如，原作者在提到三个年龄段 ( 六十、七十、和八十 ) 时，并未用汉语 " 花甲 " 、 " 古稀＼ "耄耋" 等书面语；可很多参赛译文则用上英语较生僻的词语，如 :septuagenarian, octogenarian 等等。这样虽然显得高雅，却损坏了原文的风格。段落结构也是如此，译文若按英语写作的要则，将丰富的内容融入言简意赅的表达形式，就能保留原文的风格。美国知名英语教授帕墨 (Palmer) 讲得好 :" 凡能做到言简意赅的，可称语言大师 "(Masters are those who can put much into a few.) 。原文多处用典，如果我们只顾追求对原文的忠实，而不去对其进行 " 脱胎转世 "( 钱钟书语 ) 的化解，就会使译文拖泥带水，冗长繁杂。关于这一点，沈雁冰先生早有过精辟的论述 :" 太不顾原句的组织法的译本，如昔日林琴南诸氏的意译本，却又太和原作面目差异，也似不足为训 ; 我以为句调的翻译只可于可能的范围内求其相似，而一定不能勉强其处处相似，不过句调的精神却一毫不得放过。 "( 见罗新璋编《翻译论集》第 341 页，商务印书馆，1984 年版)。
5. 结语
我们主观认为，几百份译文大致可以分为两类 : 以直译为主的和以意译为主的。两类中都有较优秀的译品。就是那些被筛选掉的译文中，也有部分段落是翻译得十分得体，对一些词语的处理也灵活多样，妙趣横生。我们希望青年翻译工作者和在校学生，认真继承我国优秀的翻译传统，积极借鉴国外的翻译理论，进行更多的翻译实践，做到依本求信，神形兼容，翻译出更多的优秀译品。( 集体讨论定稿，萧立明、屠国元执笔
On Irritability Irritability is the tendency to get upset for reasons that seem – to other people – to be pretty minor. Your partner asks you how work went and the way they ask makes you feel intensely agitated. Your partner is putting knives and forks on the table before dinner and you mention (not for the first time) that the fork should go on the left hand side, not the right. They then immediately let out a huge sigh and sweep the cutlery onto the floor and tell you that you can xxxx-ing do it yourself if you know better. It was the most minor of criticisms and technically quite correct. And now they’ve exploded. There is so much irritability around and it exacts a huge daily cost on our collective lives, so we deserve to get a lot more curious about it: what is really going on for the irritable person? Why, really, are they getting so agitated? And instead of blaming them for getting het up about “little things”, we should do them the honour of working out why, in fact, these things may not be so minor after all. The journey begins by recognising the role of fear in irritability in couples. Behind most outbursts are cack-handed attempts to teach the other person something. There are things we’d like to point out, flaws that we can discern, remarks w e feel we really must make, but our awareness of how to proceed is panicked and hasty. We give cack-handed, mean speeches, which bear no faith in the legitimacy (even the nobility) of the act of imparting advice. And when our partners are on the receiving end of these irritable “lessons”, they of course swiftly grow defensive and brittle in the face of suggestions which seem more like mean-minded and senseless assaults on their very natures rather than caring, gentle attempts to address troublesome aspects of joint life. The prerequisite of calm in a teacher is a degree of indifference as to the success or failure of the lesson. One naturally wants for things to go well, but if an obdurate pupil flunks trigonometry, it is – at base – their problem. Tempers can stay even because individual students do not have very much power over teachers’ lives. Fortunately, as not caring too much turns out to be a critical aspect of successful pedagogy. Yet this isn’t an option open to the fearful, irritable lover. They feel ineluctably led to deliver their “lessons” in a cataclysmic, frenzied manner (the door slams very loudly indeed) not because they are insane or vile (though one could easily draw these
Irritability is the tendency to get upset for reasons that seem – to other people – to be pretty minor. Your partner asks you how work went and the way they ask makes you feel intensely agitated. Your partner is putting knives and forks on the table before dinner and you mention (not for the first time) that the fork should go on the left hand side, not the right. They then immediately let out a huge sigh and sweep the cutlery onto the floor and tell you that you can xxxx-ing do it yourself if you know better. It was the most minor of criticisms and technically quite correct. And now they’ve exploded. There is so much irritability around and it exacts a huge daily cost on our collective lives, so we deserve to get a lot more curious about it: what is really going on for the irritable person? Why, really, are they getting so agitated? And instead of blaming them for getting het up about “little things”, we should do them the honour of working out why, in fact, these things may not be so minor after all.
第二十届韩素音青年翻译奖竞赛参赛原文 1楼2008-05-14 15:00回复查看(800) 回复(2) 1楼 cathyhello cathy 积分2008等级6入室弟子 英译汉部分：Philosophy vs. Emerson (Excerpt)“HE is,” said Matthew Arnold of Emerson, “the friend and aider of those who would live in the spirit.” These well-known words are perhaps the best expression of the somewhat vague yet powerful and inspiring effect of Emerson,s courageous but disjointed philosophy. Descended from a long line of New England ministers, Emerson, finding himself fettered by even the most liberal ministry of his day, gently yet audaciously stepped down from the pulpit and, wi t h little or no modification in his interests or utterances, became the greatest lay preacher of his time. From the days of his undergraduate essay upon “The Present State of Ethical Philosophy” he continued to be preoccupied wi t h matters of conduct: whatever the object of his attention—an ancient poet, a fact in science, or an event in the morning newspaper—he contrives to extract from it a lesson which in his ringing, glistening style he drives home as an exhortation to a higher and more independent life. Historically, Emerson marks one of the largest reactions against the Calvinism of his ancestors. That stern creed had taught the depravity of man, the impossibility of a natural, unaided growth toward perfection, and the necessity of constant and anxious effort to win the unmerited reward of being numbered among the elect. Emerson starts with the assumption that the individual, if he can only come into possession of his natural excellence, is the most godlike of creatures. Instead of believing with the Calvinist that as a man grows better he becomes more unlike his natural self (and therefore can become better only by an act of divine mercy), Emerson believes that as a man grows in excellence he becomes more like his natural self. It is common to hear the expression, when one is deeply stirred, as by sublime music or a moving discourse: “That fairly lifted me out of myself.” Emerson would have said that such influences lift us into ourselves. For one of Emerson’s most fundamental and frequently recurring ideas is that of a “great nature in which we rest as the earth lies in the soft arms of the atmosphere,” an “Over-Soul, within which every man’s particular being is contained and made one wi t h all other,”which “evermore tends to pass into our thought and hand and become wisdom and virtue and power and beauty.”This is the incentive—the sublime incentive of approaching the perfection which is ours by nature and by divine intention—that Emerson holds out when he asks us to submit us to ourselves and to all instructive influences. Natur e, which he says“is loved by what is best in us,”is all about us, inviting our perception of its remotest and most cosmic principles by surrounding us with its simpler manifestations.“A man does not tie his shoe without recognizing laws which bind the fart hest regions of nature.”Thus man “carries the world in his head.” Whether he be a great scientist, proving by his discovery of a sweeping physical law that he has some such constructive sense as that which guides the universe, or whether he be a poet behol ding trees as“imperfect men,”who“seem to bemoan their imprisonment, rooted in the ground,”he is being brought into his own by perceiving “the virtue and pungency of the influence on the mind of material objects, whether inorganic or organized.”Ranging over time and space with astonishing rapidity and binding names and things together that no ordinary vision could connect, Emerson calls the Past also to witness the need of self-reliance and a steadfast obedience to intuition.The need of such independence, he thought, was particularly great for the
The Posteverything Generation I never expected to gain any new insight into the nature of my generation, or the changing landscape of American colleges, in Lit Theory. Lit Theory is supposed to be the class where you sit at the back of the room with every other jaded sophomore wearing skinny jeans, thick-framed glasses, an ironic tee-shirt and over-sized retro headphones, just waiting for lecture to be over so you can light up a Turkish Gold and walk to lunch while listening to Wilco. That’s pretty much the way I spent the course, too: through structuralism, formalism, gender theory, and post-colonialism, I was far too busy shuffling through my Ipod to see what the patriarchal world order of capitalist oppression had to do with Ethan Frome. But when we began to study postmodernism, something struck a chord with me and made me sit up and look anew at the seemingly blasé college-aged literati of which I was so self-consciously one. According to my textbook, the problem with defining postmodernism is that it’s i mpossible. The difficulty is that it is so...post. It defines itself so negatively against what came before it –naturalism, romanticism and the wild revolution of modernism –that it’s sometimes hard to see what it actually is. It denies that anything can be explained neatly or even at all. It is parodic, detached, strange, and sometimes menacing to traditionalists who do not understand it. Although it arose in the post-war west (the term was coined in 1949), the generation that has witnessed its ascendance has yet to come up with an explanation of what postmodern attitudes mean for the future of culture or society. The subject intrigued me because, in a class otherwise consumed by dead-letter theories, postmodernism remained an open book, tempting to the young and curious. But it also intrigued me because the question of what postmodernism –what a movement so post-everything, so reticent to define itself – is spoke to a larger question about the political and
英汉翻译讲解（1） I.英汉之间的差别： “对于中国学生最有用的帮助是让他认识英语和汉语的差别。”------吕叔湘 国内学者的共识是：汉语是综合性的，描写性的，而英语是分析性的，逻辑性的。在语言学上最重要的区别在于形合和意合的对比（contrast between hypotaxis and parataxis），英语重形合（形式上的融合），汉语重意合（意思或意境的融合）。在句法方面，有学者形象地把英汉比喻为以下几种： 1．雄孔雀/雄狮-----即英语习惯于把最着重的事物放在句首先说出来，开门见山，一语破的，然后再把各种标志一条条补述，一步步交代，慢条斯理，从容不迫，形成一条头短尾长地线性链，象头小尾大地雄孔雀。而汉语则相反，其线性序列的展开好比画龙点睛，先把外围的环境与衬托一一交代周到，最后点出话语的信息中心，水到渠成，给人以豁然开朗之感，形成雄狮型头大尾小地局式。 例如：I was all the more delighted when, as a result of the initiative of your Government it proved possible to reinstate the visit so quickly. 译文：由于贵国政府的提议，才得以这样快地重新实现访问。这使我感到特别高兴。 又如：The assertion that it was difficult, if not impossible, for a people to enjoy its basic rights unless it was able to determine freely its political status and to ensure freely its economic, social and cultural development was now scarcely （不足地，不充分地；一定不，绝不）contested （斗争；比赛）. 译文：如果一个民族不能自由地决定其政治地位，不能自由地保证其经济、社会和文化的发展，要享受其基本权利，即使不是不可能，也是不容易的。这一论断几乎是无可置辩的了。 2．葡萄/竹竿-----即把英语句子比作“葡萄型”结构，葡萄主干很短，其上附结着丰硕的果实。而汉语句子则较短，一个短句接一个短句地往下叙述，逐步展开，内容像竹竿一样一节一节展开，常称为“竹竿型”结构。 She was beautiful, with long dark hair and brilliant green eyes.她长得很美，一头乌黑亮丽的长发，一双晶莹明亮的绿色眼睛。 She has smooth akin as pale and iridescent as the moon shining over a snow-covered landscape.她光滑的肌肤白里透红，宛如皎洁的月光洒在茫茫血地上。 3．多枝共干----英语句子中还有两个或几个动词共受一个状语修饰，共有一个主语或宾语，或者两个或几个状语共同修饰一个动词，两个或几个主语或宾语共一个动词，这就好比几根树枝长在同一根树干上，我们称为“多枝共干”式结构。 4．也有学者认为英语是一种弥漫着“男子气”的语言。逻辑性、组织性和理性是以英语为母语的民族的思维支撑点，从而就形成了英语的“阳刚之美”。而汉语自有汉语之美。汉语不注重对客观现实作符合逻辑的形式的描摹，不执着于形式结构的规范，中国人的思维支撑点似乎更具有抽象，深邃和疏放的取向，由此繁衍生出的是显赫的暗示和幽远的意境从而形成汉语的“阴柔之美”。汉语的魅力在于她的流散和疏放，系于她超凡的暗示力和意境性。所以汉语的形式机制很弱，主谓宾没有形式标定，主谓间关系松散，宾语无定格，无定位，主语的超句承接功能很强。 如果说汉语是一种“人治”语言，那么，英语则是一种“理性”语言。汉语能化逻辑为内在，英语则必须将逻辑外化，化作种种行合的标记，化作启转承合的纽带。英语语法规范森严，理性十足；英语形式逻辑缜密，滴水不漏。 5．汉语是一种意境语言，一种艺术语言。寥寥数词，就能出意境，出氛围，出画面。
第二十六届“韩素音青年翻译奖”竞赛原文 英译汉竞赛原文： How the News Got Less Mean The most read article of all time on BuzzFeed contains no photographs of celebrity nip slips and no inflammatory ranting. It’s a series of photos called “21 pictures that will restore your fait h in humanity,” which has pulled in nearly 14 million visits so far. At Upworthy too, hope is the major draw. “This kid just died. What he left behind is wondtacular,” an Upworthy post about a terminally ill teen singer, earned 15 million views this summer and has raised more than $300,000 for cancer research. The recipe for attracting visitors to stories online is changing. Bloggers have traditionally turned to sarcasm and snark to draw attention. But the success of sites like BuzzFeed and Upworthy, whose philosophies embrace the viral nature of upbeat stories, hints that the Web craves positivity. The reason: social media. Researchers are discovering that people want to create positive images of themselves online by sharing upbeat stories. And with more people turning to Facebook and Twitter to find out what’s happening in the world, news stories may need to cheer up in order to court an audience. If social is the future of media, then optimistic stories might be media’s future. “When we started, the prevailing wisdom was that snark ruled the Internet,” says Eli Pariser, a co-founder of Upworthy. “And we just had a really different sense of what works.” “You don’t want to be that guy at the party who’s crazy and angry and ranting in the c orner—it’s the same for Twitter or Facebook,” he says. “Part of what we’re trying to do with Upworthy is give people the tools to express a conscientious, thoughtful and positive identity in social media.” And the science appears to support Pariser’s philosophy. In a recent study from the Massachusetts Institute of Technology, researchers found that “up votes,” showing that a visitor liked a comment or story, begat more up votes on comments on the site, but “down votes” did not do the same. In fact, a single up vote increased the likelihood that someone else would like a comment by 32%, whereas a down vote had no effect. People don’t want to support the cranky commenter, the critic or the troll. Nor do they want to be that negative personality online. In another study published in 2012, Jonah Berger, author of Contagious: Why Things Catch On and professor of marketing at the Wharton School of the University of Pennsylvania, monitored the most e-mailed stories produced by the New York Times for six months and found that positive stories were more likely to make the list than negative ones. “What we share [or like] is almost like the car we drive or the clothes we wear,” he says. “It
汉译英原文： 居在巷陌的寻常幸福 隐逸的生活似乎在传统意识中一直被认为是幸福的至高境界。但这种孤傲遁世同时也是孤独的，纯粹的隐者实属少数，而少数者的满足不能用来解读普世的幸福模样。 有道是小隐隐于野，大隐隐于市。真正的幸福并不隐逸，可以在街市而不是丛林中去寻找。 晨光，透过古色古香的雕花窗棂，给庭院里精致的盆景慢慢地化上一抹金黄的淡妆。那煎鸡蛋的“刺啦”声袅袅升起，空气中开始充斥着稚嫩的童音、汽车 启动的节奏、夫妻间甜蜜的道别，还有邻居们简单朴素的问好。巷陌中的这一切，忙碌却不混乱，活泼却不嘈杂，平淡却不厌烦。 巷尾的绿地虽然没有山野的苍翠欲滴，但是空气中弥漫着荒野中所没有的 生机。微黄的路灯下，每一张长椅都写着不同的心情，甜蜜与快乐、悲伤与喜悦，交织在一起，在静谧中缓缓发酵。谁也不会知道在下一个转角中会是怎样的惊喜，会是一家风格独特食客不断的小吃店？是一家放着爵士乐的酒吧？还是一家摆着高脚木凳、连空气都闲散的小小咖啡馆？坐在户外撑着遮阳伞的木椅上， 和新认识的朋友一边喝茶，一边谈着自己小小的生活，或许也是一种惬意。 一切，被时间打磨，被时间沉淀，终于形成了一种习惯，一种默契，一种文化。 和来家中做客的邻居朋友用同一种腔调巧妙地笑谑着身边的琐事，大家眯起的眼睛都默契地着同一种狡黠；和家人一起围在饭桌前，衔满食物的嘴还发着 含糊的声音，有些聒噪，但没人厌烦。 小巷虽然狭窄，却拉不住快乐蔓延的速度…… 随着城市里那些密集而冰冷的高楼大厦拔地而起，在拥堵的车流中，在污 浊的空气里，人们的幸福正在一点点地破碎，飘零。大家住得越来越宽敞，越来越私密。自我，也被划进一个单独的空间里，小心地不去触碰别人的心灵，也 不容许他人轻易介入。可是，一个人安静下来时会觉得，曾经厌烦的那些嘈杂回想起来很温情很怀念。 比起高楼耸立的曼哈顿，人们更加喜欢佛罗伦萨红色穹顶下被阳光淹没的古老巷道；比起在夜晚光辉璀璨的陆家嘴，人们会更喜欢充满孩子们打闹嬉笑的万航渡路。就算已苍然老去，支撑起梦境的应该是老房子暗灰的安详，吴侬软语的叫卖声，那一方氤氲过温馨和回忆的小弄堂。 如果用一双细腻的眼眸去观照，其实每一片青苔和爬山虎占据的墙角，是 墨绿色的诗篇，不会飘逸，不会豪放，只是那种平淡的幸福，简简单单。 幸福是什么模样，或许并不难回答。幸福就是一本摊开的诗篇，关于在城市的天空下，那些寻常巷陌的诗。 夜幕笼罩，那散落一地的万家灯火中，有多少寻常的幸福正蜗居在巷陌……
评：在最后一句“回眸一笑百媚生，六宫粉黛无颜色”中，译者将“百媚”翻 译为“ full of grace ” ,在此处应取“ eleganee and beauty of movement expression ， a beautiful figure which she used in subtle movements unparalleled grace ”这一义，我认为此处强调的是“媚”这个字，这种美是无 人能比的，以至于六宫粉黛无颜色，所以在翻译之时，可以把这种媚翻译成魅 力，而且是“百媚”，此处“百”又不是真的“ hundred ”，而是一种“ end beauty, end of charm ”。 评：最后一句“六宫”翻译成six places 非常生硬，感觉没有体现中国古典文 化中六宫的含义。同时fairest face 也太过于字面化，没有什么美感。回眸直 接翻译为turning her head 也是过于直接，体现不出古典诗歌所要表达的美。 or of of 评：第二句杨家有女初长成中， womanhood just grow ，womanhood 略感多余，前面已经用 了 maiden ，意透露性别信息，无需再次强调女性身份，第三句中天生丽质难自弃，用 en dowed with n atural beauty, en dow 之嫌，一朝选在君王侧翻作 selected for the mon arch' 妃，回眸一笑百媚生，六宫粉黛无颜色有承接关系，觉得， 已有天生具有的意思，再用 natural 强调原生有语义赘余 s side,太过直译，可以意译为入宫为 that 放入前半句更好， that she turns her head, with a sweet and grace smile 。 评：诗歌标题“长恨歌”并非表达一种真正的恨意和痛苦， 的遗憾和悔恨。“ regret ”正好有“悔恨，遗憾”之意，“ 而是指唐明皇和杨贵妃无法长相厮守 everlasting ”正好表达岀了长久的意 味。许渊冲的翻译避免了直接翻译的直白， 又恰到好处地将两人无法长相厮守的遗憾表达得淋漓 尽致，十分贴切。 《长恨歌》翻译评析 长恨歌 许渊冲译 The Everlast ing Regret 汉皇重色思倾国，御宇多年求不得。 The beauty-lovi ng mon arch Ion ged year after year To find a beautiful lady without peer. 杨家有女初长成，养在深闺人未识。 A maide n of the Yan gs* to woma nhood just grow n. In inner chambers bred, to the world was unknown. 天生丽质难自弃，一朝选在君王侧。 En dowed with n atural beauty too hard to hide, One day she stood selected for the mon arch ' s side. 回眸一笑百媚生，六宫粉黛无颜色。 Turning her head, she smiled so sweet and full of grace That she outsh one in six palaces the fairest face.
第十三届“韩素音青年翻译奖”竞赛原文及参考译文（汉译英）2010-3-26 23:32|发布者: sisu04|查看: 881|评论: 0 摘要: 韩素音青年翻译奖 歌德之人生启示 宗白华 人生是什么？人生的真相如何？人生的意义何在？人生的目的是何？这些人生最重大最中心的问题，不只是古来一切大宗教家哲学家所殚精竭虑以求解答的。世界上第一流的大诗人凝神冥想，深入灵魂的幽邃，或纵身大化中，于一朵花中窥见天国，一滴露水参悟生命，然后用他们生花之笔，幻现层层世界，幕幕人生，归根也不外乎启示这生命的真相与意义。宗教家对这些问题的方法与态度是预言的说教的，哲学家是解释的说明的，诗人文豪是表现的启示的。荷马的长歌启示了希腊艺术文明幻美的人生与理想，但丁的神曲启示了中古基督教文化心灵的生活与信仰，莎士比亚的剧本表现了文艺复兴时人们的生活矛盾与权力意志。至于近代的，建筑于这三种文明精神之上而同时开展一个新时代，所谓近代人生，则由伟大的歌德以他的人格，生活，作品表现出它的特殊意义与内在的问题。 歌德对人生的启示有几层意义，几种方面。就人类全体讲，他的人格与生活可谓极尽了人类的可能性。他同时是诗人，科学家，政治家，思想家，他也是近代泛神论信仰的一个伟大的代表。他表现了西方文明自强不息的精神，又同时具有东方乐天知命宁静致远的智慧。德国哲学家息默尔（Simmel）说：“歌德的人生所以给我们以无穷兴奋与深沉的安慰的，就是他只是一个人，他只是极尽了人性，但却如此伟大，使我们对人类感到有希望，鼓动我们努力向前做一个人。“我们可以说歌德是世界一扇明窗，我们由他窥见了人生生命永恒幽邃奇丽广大的天空！ 再狭小范围，就欧洲文化的观点说，歌德确是代表文艺复兴以后近代人的心灵生活及其内在的问题。近代人失去了基督教对一超越上帝虔诚的信仰。人类精神上获得了解放，得到了自由；但也就同时失所依傍，彷徨摸索，苦闷，追求，欲在生活本身的努力中寻得人生的意义与价值。歌德是这时代精神伟大的代表，他的主著《浮士德》是这人生全部的反映与其问题的解决。歌德与其替身浮士德一生生活的内容就是尽量体验这近代人生特殊的精神意义，了解其悲剧而努力以解决其问题，指出解救之道。所以有人称他的浮士德是近代人的圣
摘要: 韩素音青年翻译奖 歌德之人生启示 宗白华 人生是什么人生的真相如何人生的意义何在人生的目的是何这些人生最重大最中心的问题，不只是古来一切大宗教家哲学家所殚精竭虑以求解答的。世界上第一流的大诗人凝神冥想，深入灵魂的幽邃，或纵身大化中，于一朵花中窥见天国，一滴露水参悟生命，然后用他们生花之笔，幻现层层世界，幕幕人生，归根也不外乎启示这生命的真相与意义。宗教家对这些问题的方法与态度是预言的说教的，哲学家是解释的说明的，诗人文豪是表现的启示的。荷马的长歌启示了希腊艺术文明幻美的人生与理想，但丁的神曲启示了中古基督教文化心灵的生活与信仰，莎士比亚的剧本表现了文艺复兴时人们的生活矛盾与权力意志。至于近代的，建筑于这三种文明精神之上而同时开展一个新时代，所谓近代人生，则由伟大的歌德以他的人格，生活，作品表现出它的特殊意义与内在的问题。 歌德对人生的启示有几层意义，几种方面。就人类全体讲，他的人格与生活可谓极尽了人类的可能性。他同时是诗人，科学家，政治家，思想家，他也是近代泛神论信仰的一个伟大的代表。他表现了西方文明自强不息的精神，又同时具有东方乐天知命宁静致远的智慧。德国哲学家息默尔（Simmel）说：“歌德的人生所以给我们以无穷兴奋与深沉的安慰的，就是他只是一个人，他只是极尽了人性，但却如此伟大，使我们对人类感到有希望，鼓动我们努力向前做一个人。“我们可以说歌德是世界一扇明窗，我们由他窥见了人生生命永恒幽邃奇丽广大的天空！ 再狭小范围，就欧洲文化的观点说，歌德确是代表文艺复兴以后近代人的心灵生活及其内在的问题。近代人失去了基督教对一超越上帝虔诚的信仰。人类精神上获得了解放，得到了自由；但也就同时失所依傍，彷徨摸索，苦闷，追求，欲在生活本身的努力中寻得人生的意义与价值。歌德是这时代精神伟大的代表，他的主著《浮士德》是这人生全部的反映与其问题的解决。歌德与其替身浮士德一生生活的内容就是尽量体验这近代人生特殊的精神意义，了解其悲剧而努力以解决其问题，指出解救之道。所以有人称他的浮士德是近代人的圣经。 但歌德与但丁莎士比亚不同的地方，就是他不单是由作品里启示我们人生真相，尤其在他自己的人格与生活中表现了人生广大精微的义谛。
“CATTI杯”第二十七届韩素音青年翻译奖竞赛 英译汉竞赛原文： The Posteverything Generation I never expected to gain any new insight into the nature of my generation, or the changing landscape of American colleges, in Lit Theory. Lit Theory is supposed to be the class where you sit at the back of the room with every other jaded sophomore wearing skinny jeans, thick-framed glasses, an ironic tee-shirt and over-sized retro headphones, just waiting for lecture to be over so you can light up a Turkish Gold and walk to lunch while listening to Wilco. That’s pretty much the way I spent the course, too: through structuralism, formalism, gender theory, and post-colonialism, I was far too busy shuffling through my Ipod to see what the patriarchal world order of capitalist oppression had to do with Ethan Frome. But when we began to study postmodernism, something struck a chord with me and made me sit up and look anew at the seemingly blasécollege-aged literati of which I was so self-consciously one. According to my textbook, the problem with defining postmodernism is that it’s impossible. The difficulty is that it is so...post. It defines itself so negatively against what came before it – naturalism, romanticism and the wild revolution of modernism – that it’s sometimes hard to see what it actually is. It denies that anything can be explained neatly or even at all. It is parodic, detached, strange, and sometimes menacing to traditionalists who do not understand it. Although it arose in the post-war west (the term was coined in 1949), the generation that has witnessed its ascendance has yet to come up with an explanation of what postmodern attitudes mean for the future of culture or society. The subject intrigued me because, in a class otherwise consumed by dead-letter theories, postmodernism remained an open book, tempting to the young and curious. But it also intrigued me because the question of what postmodernism – what a movement so post-everything, so reticent to define itself – is spoke to a larger question about the political and popular culture of today, of the other jaded sophomores sitting around me who had grown up in a postmodern world. In many ways, as a college-aged generation, we are also extremely post: post-Cold War, post-industrial, post-baby boom, post-9/11...at one point in his famous essay, “Postmodernism, or the Cultural Logic of Late Capitalism,” literary critic Frederic Jameson even calls us “post-literate.” We are a generation that is riding on the tail-end of a century of war and revolution that toppled civilizations, overturned repressive social orders, and left us with more privilege and opportunity than any other society in history. Ours could be an era to accomplish anything. And yet do we take to the streets and the airwaves and say “here we are, and this is what we demand”? Do we plant our flag of youthful rebellion on the mall in Washington and say “we are not leaving until we see change! Our eyes have been opened by our education and our conception of what is possible has been expanded by our privilege and we demand a better world because it is our right”? It would seem we do the opposite. We go to war without so much as questioning the rationale, we sign away our civil liberties, we say nothing when the Supreme Court uses Brown v. Board of Education to outlaw desegregation, and we sit back to watch the carnage on the evening news. On campus, we sign petitions, join organizations, put our names on mailing lists, make small-money contributions, volunteer a spare hour to tutor, and sport an entire wardrobe’s worth of Live Strong bracelets advertising our moderately priced opposition to everything from breast cancer to global warming. But what do we really stand for? Like a true postmodern generation we refuse to weave together an overarching narrative to our own political consciousness, to present a cast of inspirational or revolutionary characters on our public stage, or to define a specific philosophy. We are a story seemingly without direction or theme, structure or meaning – a generation defined negatively against what came before us. When Al Gore once said “It’s the combination of narcissism and nihilism that really defines postmodernism,” he might as well have been echoing his entire generation’s critique of our own. We are a generation for whom even revolution seems trite, and therefore as fair a target for bland imitation as anything else. We are the generation of the Che Geuvera tee-shirt.