翻译批评与欣赏Five

Lecture Five On C-E Prose Translation 1. The Prose Translation by Lin Yutang Passage I:闲情记趣（节选）余忆童稚时，能张目对日，明察秋毫，见藐小微物，必细察其纹理，故时有物外之趣。

夏蚊成雷，私拟作群鹤舞空。

心之所向，则或千或百，果然鹤也。

昂首观之，项为之强。

又留纹于素帐中，徐喷以烟，使其冲烟飞鸣，作青云白鹤观，果如鹤立云端，怡然称快。

于土墙凹凸处，花台小草丛杂处，常蹲其身，使与台齐；定神细视，以丛草为林，以虫蚁为兽，以土砾凸者为丘，凹者为壑，神游其中，怡然自得。

（摘自《浮生六记》第二卷）The Version:The Little Pleasure of LifeI remember that when I was a child, I could stare at the sun with wide, open eyes. I could see the tiniest objects, and loved to observe the fine grains and patterns of small things, from which I derived a romantic, unworldly pleasure. When mosquitoes were humming round in summer, I transformed them in my imagination into a company of storks dancing in the air. And when I regarded them that way, they were real storks to me, flying by the hundreds and thousands, and I would look up at them till my neck was stiff. Again, I kept a few mosquitoes inside a white curtain and blow a puff of smoke round them, so that to me they became a company of white storks flying among the blue clouds, and their humming to me the song of storks singing in high heaven, which delighted me intensely. Sometimes I would squat by a broken earthen wall, or by a little bush on a raised flower-bed itself, and there I would look and look, transforming in my mind the little plot of grass into a forest and the ants and insects into wild animals. The little elevations on the ground become my hills, and the depressed areas became my valleys, and my spirit wandered in that world at leisure.Passage II:桃花源记陶渊明晋太元中，武陵人捕鱼为业，缘溪行，忘路之远近；忽逢桃花林，夹岸数百步，中无杂树，芳草鲜美，落英缤纷。

渔人甚异之。

复前行，欲穷其林。

林尽水源，便得一山。

山有小口，仿佛若有光。

便舍船，从口入。

The version:The Peach ColonyDuring the reign of Taiyuan of Chin, there was a fisherman of Wuling. One day he was walking along a bank. After having gone a certain distance, he suddenly came upon a peach grove which extended along the bank for about a hundred yards. He noticed with surprise that the grove had a magic effect, so singularly free from the usual mingling of brushwood, while the beautifully grassy ground was covered with its rose petals. He went further to explore, and when he came to the end of the grove, he saw a spring which came from a cave in the hill. Having noticed that there seemed to be a weak light in the cave, he tied up his boat and decided to go in and explore.2. Other Prose Tran slati onPassage I:徜徉于黑红世界（节选）十多年前，在朋友的怂恿下，我一脚踏进了汉画世界， 会，我的责任编辑张倩老师，一再鼓励，从此，踏破铁鞋， 疲，如痴如狂。

倾家荡产，在所不惜。

我所收藏的汉画拓片，大多出自以汉皇故里的徐州为 中心，150公里为半径的苏鲁豫皖四省交界地区，大致是东汉徐州刺史部辖区，今又称淮海 地区，涵盖了汉画像石产地的大部，足以反映汉画思想与艺术的概貌。

我坚信孔子的那句名言：礼失求诸野”，所以我的收藏方向以民间为主，此书所录，很多是首次问世。

我收藏的千余种汉画像石拓片，内容丰富多彩，我把这些拓片分为四类。

一是丰富多采的现实生活。

如迎来送往、车骑出行、迎宾拜谒、庖厨宴饮、乐舞杂技、钟鸣 鼎食、六博对弈、驰逐狩猎、射御比武、飞剑跳丸、驯象弄蛇、鱼龙漫衍、吞刀吐火、捕鱼 田猎、亭台楼阁、门卒侍卫等。

二是垂教后世的历史故事。

反映历史人物故事的内容有周公辅成王、齐桓公释卫、荆轲刺秦王、聂政刺侠累、晋灵公欲杀赵盾、苍颉造字、泗水捞鼎、 孔子见老子、二桃杀三士等。

这些内容往往刻在祠堂里， 作为对家族后人道德教育的教科书。

三是雄奇瑰丽的神仙世界。

有青龙、白虎、朱雀、玄武（龟蛇相交）四神，有传说的抟士造 人，炼石补天，创造天、地、人的始祖女娲，有伏羲、女娲人首蛇身相交，有玉兔捣药、神 兽守鼎、西王母与东王公、有随车出行的九头人面兽--开明兽，也有三足乌、九尾狐、灵 芝、麒麟、天神羽人、奇禽异兽等。

为了死后能够得道升仙，充满想象力的先民把龙、虎、 鹿等神奇动物作为升仙的骑乘工具。

四是各具特色的汉画专题。

The Version:Ten years ago, I, with the support and connivance of some friends of mine, ste pped up to the world of the HanPictures. At the turn of the new century when I joined the Chinese Writers Associati on, I, en couraged con sta ntly by Zhang Qian, my editor, bega n exhaust ing n early all my en ergy and money in a crazy way to search, to collect, and to app reciate the rubb ings of the Han Pictures. Most of the rubb ings of the Han Pictures collected by me came from the juncture of four provin ces, i.e. Jia ngsu, Shandong, Henan and An hui, which is cen tered at Xuzhou City, the home town of the Han emp erors, coveri ng an area of 300 square kilometers. App roximately sp eak ing, this area, which is called Huihai Zone nowadays, was under the jurisdiction of the Xuzhou Gover nor in the Easter n Han p eriod. It covered most origi n of the ston e-i nscribed Han Pi ctures, which, therefore, sufficiently reflect the spirit and flavor of the Han Pictures. I stick firmly to Confucius ' saying, that is, The lost propriety can be regained in the countryside.” I, therefore, mostlycollect the Han Pictures from the coun tryside, and many works men ti oned in this book are p ublished for the first time.The rubb ings of the ston e-i nscribed Han Pictures I have collected, thousa nd or more in type, with a great varietyin content, are divided into four categories by me.The first category is related to the colorful actual life, such as the receivi ng and see ing off of guests, the drive outing, the banq uette, acrobatics, games, hunting, fish ing, arrow shooti ng, martial arts match ing, ani mal tam ing, fish or drago n roam ing, buildi ngs, p avili ons, soldiers, waiters and bodyguard, etc. The second is to the instructive historical stories of various Chinese historical figures, in cludi ng the Duke of Zhou, the Duke of Qi Huan , Jing Ke, She Zheng, the Duke of Jin Ling, Cang Jie, Con fucius, Lao Zi, and Yan Zi, ect., which have bee n in scribed in the an cestraltemples as wonderful instructions of moral cultivation for the posterities. The third is to the world of immortals according to the Chinese myths, including the four immortals of Black Dragon, White Tiger, Red Peacock, and Tortoise-SerpentMonster; N u Wa, who was described as the primary ancestor and the creator of the heaven, the earth, and the humanbeings; the mating figures of N u Wa with Fu Xi, another early ancestor of the Chinese people, with their human head and serpent ; the Jade Hare grinding medicine in the Lunar Palace; the divine animal guarding the bronze vessel for imperial ceremonies; the West Queens; the Duke of Dong Wang; and some other queer animals or plants such as the Enlightening 世纪之交，参加《中国作家》笔 八方搜求，收藏，欣赏，乐此不Animal (described as a nine-head monster with human faces, and which can accompany the cart in an outing. ), the three-clawed crow, the nine-tailed fox, the Chinese unicorn, the winged gods from the heaven, and ling zhi (a rare mushroom with wonderful medicine effect), etc. and what is more, there are other miraculous animals, see, dragons, tigers and deer, which were described by our imaginative forefathers as the animals they could ride on their route to the immortal world. And the fourth is to the special series of the Han Pictures with various features. (tr. by Meng Fanjun)Passage II:Pope and Dryden ComparedSAMUEL JOHNSONHe professed to have learned his poetry from Dryden, whom, whenever an opportunity was presented, he praised through his whole life with unvaried liberality; and perhaps his character may receive some illustration, if he be compared with his masterIntegrity of understanding and nicety of discernment were not allotted in a less proportion toDryden than to Pope. The rectitude of Dryden 's mind was sufficiently shown by the dismission ofhis poetical prejudices, and the rejection of unnatural thoughts and rugged numbers. But Dryden never desired to apply all the judgment that he had. He wrote, and professed to write, merely for the people; and when he pleased others, he contented himself. He spent no time in struggles to rouse latent powers; he never attempted to make that better which was already good, nor often to mend what he must have known to be faulty. He wrote, as he tells us, with very little consideration; when occasion or necessity called upon him, he poured out what the present moment happened to supply, and, when once it had passed the press, ejected it from his mind; for when he had no pecuniary interest, he had no further solicitude.Pope was not content to satisfy; he desired to excel, and therefore always endeavored to do his best: he did not court the candor, but dared the judgment of his reader, and, expecting no indulgence from others, he showed none to himself. He examined lines and words with minute and punctilious observation, and retouched every part with indefatigable diligence, till he had left nothing to be forgiven.For this reason he kept his pieces very long in his hands, while he considered and reconsidered them. The only poems which can be supposed to have been written with such regard to the times as might hasten their publication were the two satires of Thirty-Eight ; of which Dodsley told me that they were brought him by the author, that they might be fairly copied. “Almost every line, ” he said, “was then written twice over; I gave him a clean transcript, which he sent some time afterwards to me for the press, with almost every line written twice over a second time. ”His declaration, that his care for his works ceased at their publication, was not strictly true.His parental attention never abandoned them; what he found amiss in the first edition, he silently corrected in those that followed. He appears to have revised the Iliad , and freed it from some of its imperfections; and the Essay on Criticism received many improvements after its first appearance. It will seldom be found that he altered without adding clearness, elegance, or vigor. Pope had perhaps the judgment of Dryden; but Dryden certainly wanted the diligence of Pope.In acquired knowledge, the superiority must be allowed to Dryden, whose education was more scholastic, and who before he became an author had been allowed more time for study, with better means of information. His mind has a larger range and he collects his images and illustrations from a more extensive circumference of science. Dryden knew more of man in his general nature, and Pope in his local manners. The notions of Dryden were formed by comprehensive speculation, and those of Pope by minute attention. There is more dignity in the knowledge of Dryden, and more certainty in that of Pope.Poetry was not the sole praise of either; for both excelled likewise in prose; but Pope did not borrow his prose from his predecessor. The style of Dryden is capricious and varied, that of Pope is cautious and uniform; Dryden obeys the motions of his own mind, Pope constrains his mind to his own rules of composition. Dryden is sometimes vehement andrapid; Pope is always smooth, uniform, and gentle. Dryden ' s page is a natural field, rising into inequalities, and diversified bythe varied exuberance of abundant vegetation; Pope ' s is a velvet latwhen,sschyathv e,nabnydleveled by the roller.Of genius, that power which constitutes a poet; that quality without which judgment is cold and knowledge is inert; that energy which collects, combines, amplifies, and animates; the superiority must, with some hesitation, be allowed to Dryden. It is not to be inferred that of this poetical vigor Pope had only a little, because Dryden had more; for every other writer since Milton must give place to Pope; and even of Dryden it must be said that if he has brighter paragraphs, he has not better poems. Dryden 's performances were always hasty, either excited bysome external occasion, or extorted by domestic necessity; he composed without consideration, and published without correction. What his mind could supply at call, or gather in one excursion, was all that he sought, and all that he gave. The dilatory caution of Pope enabled him to condense his sentiments, to multiply his images, and to accumulate all that study might produce, or chance might supply. If the flights of Dryden therefore are higher, Pope continues longer on the wing. If of Dryden ' s fire the blaze is brighter, of Pope ' s the heat is more regular and constant. Dryden often surpasses expectation, and Pope never falls below it. Dryden is read with frequent astonishment, and Pope with perpetual delight.The Version:蒲柏与德莱顿的对比蒲柏承认他跟德莱顿学过写诗。