《活着》余华中文版自序中英翻译李俏妍英语93

《活着》余华中文版自序中英翻译李俏妍英语93 1 李俏妍 英语93 实践名称:笔译实践 姓名:李俏妍 班级:英语93 日期:2012年6月 [1]《活着》中文版自序 余华 一位真正的作家永远只为内心写作，只有内心才会真实地告诉他，他的自私、他的高尚是多么突出。内心让他真实地了解自己，一旦了解了自己也就了解了世界。很多年前我就明白了这个原则，可是要捍卫这个原则必须付出艰辛的劳动和长时期的痛苦，因为内心并非时时刻刻都是敞开的，它更多的时候倒是封闭起来，于是只有写作、不停地写作才能使内心敞开，才能使自己置身于发现之中，就像日出的光芒照亮了黑暗，灵感这时候才会突然来到。 长期以来，我的作品都是源于和现实的那一层紧张关系。我沉湎于想象之中，又被现实紧紧控制，我明确感受着自我的分裂，我无法使自己变得纯粹，我曾经希望自己成为一位童话作家，要不就是一位实实在在作品的拥有者，如果我能够成为这两者中的任何一个，我想我内心的痛苦将轻微很多，可是与此同时我的力量也会削弱很多。 事实上我只能成为现在这样的作家，我始终为内心的需要而写作，理智代替不了我的写作，正因为此，我在很长一段时间里是一个愤怒和冷漠的作家。 这不只是我个人面临的困难，几乎所有优秀的作家都处于和现实的紧张关系中，在他们笔下，只有当现实处于遥远状态时，他们作品中的现实才会闪闪发亮。应该看到，这过去的现实虽然充满了力，可它已经蒙上了一层虚幻的色彩，那里面塞满了个人想象和个人理解。真正的现实，也就是作家生活中的现实，是令人费解和难以相处的。 作家要 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 达与之朝夕相处的现实，他常常会感到难以承受，蜂拥而来的真实几乎都在诉说着丑恶和阴险，怪就怪在这里，为什么丑恶的事物总是在身边，而美好的事物却远在海角。换句话说，人的友爱和同情往往只是作为情绪来到，而相反的事实则是伸手便可触及。正像一位诗人所表达的:人类无法忍 2 李俏妍 英语93 受太多的真实。 也有这样的作家，一生都在解决自我和现实的紧张关系，福克纳是一个成功的例子，他找到了一条温和的途径，他描写中间状态的事物，同时包容了美好和丑恶，他将美国南方的现实放到了历史和人文精神之中，这是真正意义上的文学现实，因为它连接了过去和将来。 一些不成功的作家也在描写现实，可是他们笔下的现实说穿了只是一个环境，是固定的、死去的现实。他们看不到人是怎样走过来的，也看不到怎样走去。当他们在描写斤斤计较的人物时，我们会感到作家本人也在斤斤计较。这样的作家是在写实在的作品，而不是现实的作品。 前面已经说过，我和现实关系紧张，说得严重一点，我一直是以敌对的态度看待现实。随着时间的推移，我内心的愤怒渐渐平息，我开始意识到一位真正的作家所寻找的是真理，是一种排斥道德判断的真理。作家的使命不是发泄，不是控诉或者揭露，他应该向人们展示高尚。这里所说的高尚不是那种单纯的美好，而是对一切事物理解之后的超然，对善和恶一视同仁，用同情的目光看待世界。 正是在这样的心态下，我听到了一首美国民歌《 老黑奴 》，歌中那位老黑奴经历了一生的苦难，家人都先他而去，而他依然友好地对待这个世界，没有一句抱怨的话。这首歌深深地打动了我，我决定写下一篇这样的小说，就是这篇《 活着 》，写人对苦难的承受能力，对世界乐观的态度。写作过程让我明白，人是为活着本身而活着的，而不是为了活着之外的任何事物所活着。我感到自己写下了高尚的作品。 海盐，一九九三年七月二十 3 李俏妍 英语93 To Live Chinese Preface By Yu Hua A genuine writer would always write for the conscience of his heart, since only this could honestly tell him how prominent his selfishness and nobility is. His heart would let him truly understand himself; once he understands himself he would unders tand the world. I have known this principle since many years ago, but to defend this principle one shall pay for hard labors and the long time of pains. Because our heart is not widely open all the time, however, it is closed at most of the time. So only the writing, the uninterrupted writing could let the heart open, could set you in the advent ure of exploring. Just like the new sun's brightness shall shine up the darkness, and the inspirations would come to you at this very moment. Over the years, my works are all derived from the tense relationships with the reality. I lost myself in imaginaries, meanwhile, I was also tightly controlled by the reality, so I could clearly feel the self-split. I could hardly make myself pure at sense and I had wished to become a fairy tale writer or just an ordinary owner of my work. If I could be either one of those, I think the pain in my heart would be released at some extent. However, my power would be reduced at the same time. In fact I could only be this kind of writer, I always write for the need of my heart. And the senses could not replace my writings; therefore, I have been an angry and apathetic writer. This is not only the difficulty that I am facing with, but also almost all the writers are in the tense relationships with reality. Under their pen, only when the realit 4 李俏妍 英语93 y was in the statement of unfamiliar could let their works shine in the reality. This shall be seen as the past reality is full of charms; perhaps it has been covered with a layer of illusory color, in which is filled up with people's imagination and personal understandings. The real reality, so as the reality of a writer's life, is puzzling and difficult to get along with. A writer would often feel unbearable when he expressed the reality in which he lives in it. The overwhelming truths are all almost telling the ugly and the sinister. And the strange things lie in there, why all the ugly and sinister things are around us but the beautiful things are far away at the end of the sea. In other words, people's fraternity and compassion always come as emotions, however, the opposite fact is touchable when you reach out your hands. Just like one poet has expressed: human beings cannot bear too many realities. There are also these kind of authors who spend their whole lives to solve the tense relationship between themselves and the reality. William Faulkner is a successful examples, he found a mild path: he wrote things and objects in the middle of it, and includes the beautiful and the ugly things at the same time. He puts the reality of southern America into history and humanistic spirit. This is the true essence of literary realism, which combines the past and the future. Some unsuccessful writers are also describing the reality, but the reality under their pens, to put it bluntly, is just an environment, a rigid and dead one. They could neither see how people come by nor go away. When they are describing someone who is particular about trifle we would also feel that the author himself is someone 5 李俏妍 英语93 who would haggle over every ounce. Writers like these are writing the works for truth, but not the works for reality. I have stated that I am in a tense relationship with reality. To be more seriously, I am always in an hostile attitude against reality. As time passes by, the anger in my heart faded slowly and I have started realizing: what a real writer is looking for is truth, a truth that excludes the moral judgment. The missions for writers are neither giving vent to their emotions nor complaining or exposing. He shall show the noble things to people, which are not only the beautiful things but also a release after understanding everything; a non-discriminatory perspective on the good and evil; and the sympathetic view to look at the world. [3]Under such state of minds, I heard an America folk song Old Black Joe, the old black Joe has been through a lifelong sufferings: all of his family members passed away before him but he still treated this world friendly as usual and gave no compla ins. This deeply touched me and I decided to write a novel like this, To Live, to write on the ability that people could bear for the sufferings and optimistic attitude towards the world. The processes of composing made me understand that people live for life itself but not live for other things which do not belong to life. I feel that I have written a noble work. thHaiyan, July 27, 1993 6 李俏妍 英语93 《活着》中文版自序翻译心得 翻译是两种语言之间的思维转换，它同时也在极大程度上考察译者的文学功底。翻译的时态问题，语句，标点，结构等等，直接影响着阅读者对原著的理解。我认为好的翻译作品就像是作者的第二语言写作，在极大程度上排除减少不同语言之间因文法与语言表达习惯而造成的差异。英国翻译学家乔治坎贝尔(George Campbell)对翻译原则上的理解很深刻,我认为值得后来者参考借鉴:The first thing...is to give a just representation of the sense of the original...The second thing is, to convey into his version, as much as possible, in a consistency with the genius of the language which he writes, the author's spirit and manner...The third and last thing is, to take care, the version have at least, so far the quality of an original performance, as to appear natural and easy...(Venuti, 1995: 75) (首先，准确地再现原作的意思;第二，在符合译作语言特征的前提下，尽可能地移植作者的精神和风格;第三，也是最后，使译作至少具有原创作品的特性，显得自然流 [2] 畅。) 在翻译《活着》这本书的中文版自序时，行文之间，我清晰而深刻的感受到了两种不用文化背景的语言在转换的过程中语境翻译的难度。余华在自序中提出，“一位真正的作家用于只为内心写作，只有内心才会真是的告诉他的自私、他的高尚是多么突出。”中文“内心”和英文“内心”所代表的文化背景有着非常悬殊的差异，有时，中文的“内心”甚至可以上升到中国传统哲学思想的高度。然而在翻译余华这句话的时候，我谨慎的在考虑，作者到底是在指示怎样的“内心”。这个“内心”是什么样子的，能使一位真正的作家认识到 7 李俏妍 英语93 自己的自私与高尚。我考虑用英语中“The heart，the voice of his heart, inner self”这三个词语搭配来替代余华在汉语中提到的“内心”一词。后来通过反复推敲与思考，我认为应该直译，用“His heart”来代表余华提到的“内心”一词。这种直译忠于原稿，没有使原意语境变的狭窄，给读者留出了更多的想象空间。 作者余华在文章中多次提及“现实”，“真理”，“高尚”等抽象词汇。他在文章对于这些词汇的解释自然有着深厚的思想背景，所以在翻译成英文时，我特别注意选词的严谨性。"Realism, actuality, reality" 这三个词汇都有“现实”的意思。 在牛津高阶英汉双解词典第六版里，"Actuality" 一词的解释为"The state [4] of something existing in reality; things that exist; facts."这个词语义在“事实客 存在”的语义，所以用在翻译“现实”这一词时不合观存在”上面，更强调“ 适。将中文文章翻译成英文文章的过程中，我学到了很多词汇，并且深度细化了以前所掌握的词汇运用的语义与语境，这种用词更加准确的习惯非常有利于 我的中文水平也得到了提高，比如在翻译提高英文写作功底。在翻译的同时， “我沉湎于想象之中”的“沉湎”时，我查阅了《现代汉语字典》中关于“沉湎”一词确切的描述:“沉湎:沉溺，耽于。比喻潜心于某事物或处于某种境界或思维活动中，深深迷恋着，无法自拔。”从而更有利于确切的翻译作者的意思，所以在“Lost oneself in...”和“Indulge in...”这两个词组中我最终选择了前者。翻译的过程，就是再思考的过程，是学习的过程，反复推敲的过程，我发现，这种权衡之间，译者可以获得丰厚的文学熏陶，文学素养的积淀和异国风土文化积累。 文章的结尾两端是全文最精彩的部分，同时也是作者表达中心思想的之 8 李俏妍 英语93 处，但想要把这两段翻译贴切且入木三分并非易事。在这最后的两端中，作者充分表达了他想写《活着》的初衷与目的，正如他所说的:“这首歌深深地打动了我，我决定写下一篇这样的小说，就是这篇《活着》，写人对苦难的承受能力，对世界乐观的态度。写作过程让我明白，人是为活着本身而活着的，而不是为了活着之外的任何事物所活着。我感到自己写下了高尚的作品。”我认为在翻译“人是为活着本身而活着的，而不是为了活着之外的任何事物所活着。”这句话时，“活着”的译法和“活着本身、活着之外的任何事物”的“活着”的译法不同。我将这句话翻译成“The process of composing made me understand that people live for life itself but not live for other things which do not belong to life.”其中不同意思的“活着”分别翻译成“live”和“life”。在翻译《活着》中文版自序的过程中，我发现在最后截稿时，将作品打印出来逐字检查要比在电脑上校对检查效率高很多。记得教授美国文学的林莉教授曾对我说过，纸质的文学作品，其包装和装订手法也都是作品的一部分，也代表着作者对其作品的态度。梁秋实老先生在他著的《英国文学史》首卷序言中曾写道:“我编的这部《英国文学史》可以归在教科书式的一类。注重的是事实，而非批评。我假象中的读者是一般喜爱文学而又想知道英国文学梗概的人......坊间英文写的英国文学史的教科用书，多到不胜列举，其中不乏佳构，但其编写对象乃英美读者， [5] 其内容在倚轻倚重之间未必全能适合我们的中国读者之需要。”在阅读他的这段话时，我深受老先生的启发，从而在翻译《活着》中文版自序的时候，非常注意我所翻译的作品的能否被作品的假象读者所接受。就像当年白居易作诗一样，他时常把做好的诗拿给不同层次的人来读，看看大家是否能接受他的诗作。我认为读书最大的乐趣，在于你的思想是否能穿梭浮游在字里行间，是否能享 9 李俏妍 英语93 受到简单的文字代码拼凑出来的图像的美妙。好的翻译作品也一样，在翻译《活着》中文版自序的时候，我尽力地讲中文翻译成地道的英语表达。希望自己翻译出来的作品，就好似是作者的第二语言写作。以上是我对《活着》中文版自序的翻译心得。 文献参考与注释 1. 《活着》，余华，作家出版社，2011年6月，ISBN 978-7-5063-5595-7,第1-4页。 2. 《新编英汉翻译教程》，孙致礼，上海外语教育出版社，2010年8月，ISBN 978-7-81080-662-6/H.263，第7-8页。 3. Old Black Joe《老黑奴》文化背景介绍 I. 作者:斯蒂芬?福斯特(，1826,1864)，美国作曲Stephen Collins Foster 家，生于宾夕法尼亚的匹兹堡。其作品结构简单，节奏平稳，材料精练，音调多吸收黑人之民歌的养料，真挚纯朴中含感伤色彩。 II.《老黑奴》 歌词 Gone are the days when my heart w我听见他们柔声呼唤 ， as young and gay; “老黑乔～” Gone are my friends from the cotton fiel(反复)我来了，我来了，因为我的ds away; 头渐渐低垂; gone from the earth to a better land I k我听见他们柔声呼唤“老黑乔～”二: now, Why do I weep when my heart should fI hear their gentle voices calling, eel no pain? "Old Black Joe!" Why do I sigh that my friends come no(Refrain :) I'm coming, I'm coming, for t again? my head is bending low; Grieving for forms now departed long I hear their gentle voices calling, ago, "Old Black Joe!" I hear their gentle voices calling, 那些心头年轻、无忧无虑的日子已离"Old Black Joe!" 我远去， (Refrain :) I'm coming, I'm coming, for我的伙伴也离开了棉花田， my head is bending low; 离开这里到一个更好的地方，我知道， I hear their gentle voices calling, 10 李俏妍 英语93 "Old Black Joe!" ged to go, 我为何哭泣，我心并不悲伤, I hear their gentle voices calling, 我为何要叹息伙伴不复来, "Old Black Joe!" 只为怀念早已逝去的人， (Refrain :) I'm coming, I'm coming, for 我听见他们柔声呼唤， my head is bending low; “老黑乔～” I hear their gentle voices calling, (反复)我来了，我来了，因为我的"Old Black Joe!" 头渐渐低垂; 昔日快乐无羁的人们，如今安在, 我听见他们柔声呼唤“老黑乔～” 还有，我抱在膝上可爱的小家伙, 他们都已到了我灵魂所渴望去的海 Where are thee hearts once so happy a岸， nd so free? 我听见他们柔声呼唤， The children so dear that I held upon“老黑乔～” my knee? Gone to the shore where my soul has lon(反复)我来了， 我来了， 因为我的头渐渐低垂; 我听见他们柔声呼唤“老黑乔～” 《牛津高阶英汉双解词典(第六版,缩印版)》，商务印书馆，牛津大学出版4. 社，2005年9月， ISBN 7-100-04374-3/H.1098, 第18页。 5. 《英国文学史》，梁秋实，新星出版社，ISBN 978-7-5133-0283-8，第一卷，第2-3页。