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同步美語口譯


援往例，我摘要出中、英譯文的一些片斷，請各人共同享用吧！


譯者的使命就是在自己的說話中把純說話從另外一種語言的魔咒中釋放出來，是經由過程本身的再締造把軟禁在作品中的說話解放出來。為了純說話的緣故，譯者打破了他自己說話中的各種的陳舊迂腐的障礙。
Translations that are more than transmissions of subject matter come into being when in the course of its survival a work has reached the age of its fame. Contrary, therefore, to the claims of bad translators翻譯社 such translations do not so much serve the work as owe their existence to it. The life of the originals attains in them to its ever-renewed latest and most abundant flowering.

因為不但偉大的文學作品要在數世紀的過程中經歷全盤轉化，譯者的母語也處在不竭的轉化過程當中翻譯詩人的語句在他們各自的說話中取得持久的生命，但是與此同時，就連最偉大的譯作也註定要成為其語言成長的一部門，並被接收進說話的自我更新之中。譯作絕非兩種僵死說話之間的乾巴巴的等式。相反，在所有文學情勢中，它承當著一種特別任務翻譯這一任務就是在本身誕生的陣痛中照看原作說話的成熟過程。

Translatability is an essential quality of certain works, which is not to say that it is essential that they be translated; it means rather that a specific significance inherent in the original manifests itself in its translatability. It is plausible that no translation, however good it may be, can have any significance as regards the original., Yet, by virtue of its translatability the original is closely connected with the translation; in fact, this connection is all the closer since it is no longer of importance to the original. We may call this connection a natural one, or, more specifically, a vital connection. Just as the manifestations of life are intimately connected with the phenomenon of life without being of importance to it翻譯社 a translation issues from the original-not so much from its life as from its afterlife. For a translation comes later than the original翻譯社 and since the important works of world literature never find their chosen translators at the time of their origin, their translation marks their stage of continued life. The idea of life and afterlife in works of art should be regarded with an entirely unmetaphorical objectivity.

For just as the tenor and the significance of the great works of literature undergo a complete transformation over the centuries, the mother tongue of the translator is transformed as well. While a poet’s words endure in his own language, even the greatest translation is destined to become part of the growth of its own language and eventually to be absorbed by its renewal. Translation is so far removed from being the sterile equation of two dead languages that of all literary forms it is the one charged with the special mission of watching over the maturing process of the original language and the birth pangs of its own.
除在對歷史的思慮中，我們還能在哪裡找到兩種說話間的相似性呢？這類類似性天然不在文學作品或文句之間。相反，任何超歷史的語言間的親族關係都依靠於每種說話各自的整體性意圖。不外這種意圖並非任何說話單獨能夠實現而是實現於所有這些意圖的互補的整體當中翻譯這個總體無妨叫做純說話。既使分歧外國語的個體身分，諸如詞彙、句子、佈局等等是彼此排擠的，這些說話仍在乎圖中彼此補足。鉦昱翻譯公司們只有辨別開意向性的物件和意向性的樣式才能緊緊地掌控住說話學的根基法例翻譯
如果一部譯作不單單是傳遞題材內容，那麼它的面世標誌著一部作品進入了它生命延續的享譽階段。與拙劣譯者的觀點相反如許的翻譯不是辦事於原作，而是其全部存在都來自原作翻譯而原作的生命之花在其譯作中得到了最新的也是最茂盛的開放，這種不斷的更新使原作芳華常駐翻譯
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Given a strict concept of translation, would they not really be translatable to some degree? The question as to whether the translation of certain linguistic creations is called for ought to be posed in this sense. For this thought is valid here: If translation is a mode翻譯社 translatability must be an essential feature of certain works.

我們必需經由過程外國說話來擴大和深化本國說話翻譯人們常常熟悉不到我們能在多大程度上做到這一點，在多大水平任何說話都能被轉化，熟悉不到語言同語言間的區別同方言與方言間的區分是多麼相像翻譯不過，只有當人們嚴厲地對待語言，才能熟悉到後者的准確性。”






一切偉大的文本都在字裡行間包括著它的潛伏的譯文；這在神聖的作品中具有最高的真實性。聖經不同文字的逐行對比本是所有譯作的原型和理想。

翻譯與說話— Excerpt: The Task of the Translator


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英譯：HARRY ZOHN
The task of the translator consists in finding that intended effect [Intention] upon the language into which he is translating which produces in it the echo of the original. This is a feature of translation which basically differentiates it from the poet's work, because the effort of the latter is never directed at the language as such, at its totality, but solely and immediately at specific linguistic contextual aspects. Unlike a work of literature翻譯社 translation does not find itself in the center of the language forest but on the outside facing the wooded ridge; it calls into it without entering, aiming at that single spot where the echo is able to give, in its own language, the reverberation of the work in the alien one. Not only does the aim of translation differ from that of a literary work-it intends language as a whole, taking an individual work in an alien language as a point of departure but it is a different effort altogether. The intention of the poet is spontaneous, primary, graphic; that of the translator is derivative, ultimate翻譯社 ideational. For the great motif of integrating many tongues into one true language is at work. This language is one in which the independent sentences, works of literature翻譯社 critical judgments翻譯社 will 'never communicate-for they remain dependent on translation; but in it the languages themselves, supplemented and reconciled in their mode of signification, harmonize.
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在浏覽藝術作品或藝術情勢的過程當中，鑒賞者的因素從未帶給人什麼收穫。談論什麼公眾或其代表人物在此只能令人誤入邪路，甚至連“幻想的”接管者這個概念在切磋藝術時也有害無益，因為它不過是設定了本身的本質和在場性。藝術以一樣的體式格局設定了人的肉體和精力的存在，然而藝術作品卻從未關注過人對它的回應。曆來沒有哪一首詩是為它的讀者而作的，從來沒有哪一幅畫是為鑒賞家而畫的，也從沒有哪首交響樂是為聽眾而譜寫的。
It is the task of the translator to release in his own language that pure language which is under the spell of another, to liberate the language imprisoned in a work in his . re-creation of that work. For the sake of pure language he breaks through decayed barriers of his own language.




Wherein resides the relatedness of two languages, apart from historical considerations? Certainly not in the similarity between works of literature or words. Rather, all suprahistorical kinship of languages rests in the intention underlying each language as a whole-an intention, however, which no single language can attain by itself but which is realized only by the totality of their intentions supplementing each other: pure language. While all individual elements of foreign languages-words翻譯社 sentences, structure-are mutually exclusive, these languages supplement one another in their intentions. Without distinguishing the intended object from the mode of intention, no firm grasp of this basic law of a philosophy of language can be achieved.
一部真實的譯作是透明的，它不會掩蔽原作，不會擋住原作的光線，而是經由過程本身的媒介加強了原作，使純說話更充裕地在原作中體現出來翻譯我們也許可以經由過程對句式的直譯做到這一點。在這類直譯中，對於譯者來講根基的身分是詞語，而不是句子翻譯若是句子是矗立在原作說話眼前的牆，那麼逐字直譯就是拱廊翻譯

For to some degree all great texts contain their potential translation between the lines; this is true to the highest degree of sacred writings. The interlinear version of the Scriptures is the prototype or ideal of all translation.
【Excerpt】

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A real translation is transparent; it does not cover the original, does not block its light翻譯社 but allows the pure language, as though reinforced by its own medium, to shine upon the original all the more fully. This may be achieved翻譯社 above all, by a literal rendering of the syntax which proves words rather than sentences to be the primary element of the translator. For if the sentence is the 'wall before the language of the original, literalness is the arcade.


在分析的終端鉦昱翻譯公司們會看到，一切生命的有目標的顯現，包括其目標性自己，其目標都不在於生命本身，而在於表達自己的素質，在於對自身意義的再現翻譯而譯作在最終意義上正辦事於這一目的，因為它浮現出分歧語言之間的相當重要的互補關係翻譯


對於翻譯理論及說話學完全陌生的鉦昱翻譯公司來講，確切獲益匪淺，感受上這篇文章真的是字字珠璣，值得細細咀嚼翻譯

猶如最近摘要的〈普魯斯特的形象〉，一樣收錄在《啟迪》(Illuminations) 這一本「本雅明文選」當中的〈譯作者的使命〉，也是我小我相當愛好而且想要保舉給其他格友的一篇文章翻譯


譯者的工作是在譯作的語言裡創作出原作的回聲，為此，譯者必找到感化於這種說話的意圖結果，即意向性。翻譯的這一基本特徵不同於詩人的作品，因為詩人的努力偏向從不是說話本身或說話的整體，而僅是直接地面向說話的具體語境。與文學作品不同的是，譯作其實不將本身置於語言密林的中間，而是從外而眺望林木相向的山水。譯作呼喊原作但卻不進入原作，它尋覓的是一個並世無雙的點，在這個點上，它能聽見一個反響以本身的語言迴盪在陌生的說話裡翻譯譯作的目的迥異於文學作品的目標，它指向說話的整體，而另外一種說話裡的個體作品不外是起點。不僅如此，譯作更是一種不同的勞作。詩人的意圖是自發、原生、栩栩如生的；而譯者的意圖則是派生、終極性、觀念化的。譯作的偉大主題是將五花八門的口音熔於一種真實的說話翻譯在這類說話裡，個體句子、文學作品，或指斥的判定彼此沒法溝通，因為它們都依靠於譯作；然而在譯作裡，分歧的說話本身卻在各自的意指方式中彼此補充、互相妥協，而終究臻於和諧。
在單一的，沒有被其他說話彌補的說話中，意義曆來沒有像在個體字句裡那樣呈現在相對的自力性之中，相反，意義總是處於絡續的流動狀態，直到它可以或許作為純語言從各式各樣的意向性樣式的協調中顯現出來。在此之前，意義僅僅埋沒在分歧的說話裡面。如果諸說話以這類體式格局繼續成長，直到它們壽命的盡頭，那麼恰是譯作捉住了作品的永恆生命並置身於說話的不斷更新當中。因為譯作不斷把諸語言使人敬畏的成長付諸檢討，看看它們潛藏的意義距意義的敞露還有多遠，或者關於這一距離的常識能讓我們把這一距離縮小到多麽水平。

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But do we not generally regard as the essential substance of a literary work what it contains in addition to information-as even a poor translator will admit-the unfathomable, the mysterious, the "poetic," something that a translator can reproduce only if he is also a poet? This, actually翻譯社 is the cause of another characteristic of inferior translation翻譯社 which consequently we may define as the inaccurate transmission of an inessential content. This will be true whenever a translation undertakes to serve the reader. However, if it were intended for the reader, the same would have to apply to the original. If the original does not exist for the reader's sake, how could the translation be understood on the basis of this premise?
中譯：張旭東
Even when all the surface content has been extracted and. transmitted翻譯社 the primary concern of the genuine translator remains elusive. Unlike the words of the original, it is not translatable翻譯社 because the relationship between content and language is quite different in the original and the translation. While content and language form a certain unity in the original翻譯社 like a fruit and its skin, the language of the translation envelops its content like a royal robe with ample folds.
可是人們遍及認為為文學作品的實質是資訊以外的器械。就連拙劣的譯者也承認，文學作品的精髓是某種深不成測的、神秘的、“詩意的”器械；翻譯家如要再現這種東西，本身必需也是一個詩人。事實上，這帶來了劣質翻譯的另外一特點，鉦昱翻譯公司們無妨稱之為不準確地翻譯非素質內容。只要譯作逢迎讀者，這種情況就會産生翻譯其實要是原作是為讀者而寫的話，它也會陷入同樣的地步。可是，如果原作者其實不為讀者而存在，我們又如何來理解不為讀者而存在的譯作呢？
All purposeful manifestations of life, including their very purposiveness翻譯社 in the final analysis have their end not in life翻譯社 but in the expression of its nature翻譯社 in the representation of its significance. Translation thus ultimately serves the purpose of expressing the central reciprocal relationship between languages.
然而，既然鉦昱翻譯公司們遠遠地分開那些個別的人而生涯，既然我們最強烈的豪情，諸如鉦昱翻譯公司對外祖母的愛、對阿爾貝蒂娜的愛經由幾年後我們已不再有所感觸感染，既然它們已只是我們一個不睬解的詞，既然在我們所愛的一切已經死去的時辰，我們還能對世人、還樂於到他們家去和他們講講那些故人，那麽，若是還有什麽能使鉦昱翻譯公司們學會理解那些被遺忘的詞的方法，這個方式我們不該把它用起來嗎？需不需要爲此而先把它們譯寫成通用的、最少將是持久的說話，能使逝去的人們在他們最真實的素質上變成所有人的永久取得物的說話呢？甚至，那條使這些詞變得不成理解的變化法例，若是鉦昱翻譯公司們能做到把它诠釋清晰的話，我們的短處不又釀成一種新的氣力了嗎？ (普魯斯特翻譯社 追思似水韶華 VII 重現的韶光 聯經版 1992)
In the appreciation of a work of art or an art form, consideration of the receiver never proves fruitful. Not only is any reference to a certain public or its representatives misleading, but even the concept of an "ideal" receiver is detrimental in the theoretical consideration of art, since all it posits is the existence and nature of man as such. Art, in the same way翻譯社 posits man's physical and spiritual existence, but in none of its works is it concerned with his response. No poem is intended for the reader翻譯社 no picture for the beholder翻譯社 no symphony for the listener.
In the individual, unsupplemented languages, meaning is never found in relative independence, as in individual words or sentences; rather, it is in a constant state of flux-until it is able to emerge as pure language from the harmony of 'all the various modes of intention. Until then翻譯社 it remains hidden in the languages. If翻譯社 however t these languages continue to grow in this manner until the end of their time, it is translation which catches fire on the eternal life of the works and the perpetual renewal of language. Translation keeps putting the hallowed growth of languages to the test: How far removed is their hidden meaning from revelation翻譯社 how close can it be brought by the knowledge of this remoteness?
可譯性也是特定作品的一個根基特徵，但這並非說這些作品就必然要被翻譯；不如說，原作的某些內涵的特別意蘊通過譯作而顯現出來。可以說，譯作不管多麼完美，也無法代替原作的重要性，但原作卻可以經由過程可譯性而同譯作緊密地聯繫在一路。事實上，正因為譯尴尬刁難原作是無足輕重的，它才更為慎密地同原作聯繫起來翻譯我們不妨把這類聯繫視為自然的，或更進一步，把它視為譯作同原作間的生命線。正如生活的表象雖與糊口的現象密切相幹卻對之不組成任何主要性，譯作也以原作為根據。不外它根據的不是原作的生命而是原作的下世。翻譯老是晚於原作，世界文學的主要作品也從未在問世之際就有選定的譯者，因此它們的譯本標誌著它們生命的延續翻譯對於藝術作品的現世與來世的觀念，我們應從一個全然客觀而非隱喻的角度去看。
即便所有的皮相內容都被捕獲和傳遞，一個真實的譯作者最關心的東西仍然是難於把握的。這類東西與原作的字句不同，它是不行譯的，因為內容和語言之間的關係在原作和譯作裡頗為分歧。在原作中，內容和說話像果實和果皮一樣連系成一體，但翻譯說話卻像一件皇袍一樣包裹著原作，上面盡是皺褶。
He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible, to what extent any language can be transformed翻譯社 how language differs from language almost the way dialect differs from dialect; however, this last is true only if one takes language seriously enough, not if one takes it lightly."




這篇文章的部份內容，我曾在〈這是一篇有關《卡繆札記》的札記〉(請詳舊文 http://blog.udn.com/le14nov/5969028 )裡引述過，但重讀之後，鉦昱翻譯公司才赫然發現本雅明對於「翻譯」與「說話」有著多麼深切的解析，諸如「最偉大的譯作也註定要成為其語言成長的一部份」、又或者是「我們必需經由過程外國說話來擴大和深化本國說話。」

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嚴格說來，任何作品在某種程度上都是沒法翻譯的。 我們應當在這個意義上問，一部文學作品是否是在呼喚翻譯？因為這種設法是准確的：如果翻譯是一種樣式，可譯性必需是特定作品的素質特性。


文章出自: http://blog.udn.com/le14nov/6046961有關各國語文翻譯公證的問題歡迎諮詢鉦昱翻譯公司02-23690937