翻译批评与欣赏 Three.docVIP

Lecture Three On C-E Verse Translation On the translating contest: The original: These aspects of her personality I came to know gradually over the coming months. What struck me first were the outward things, her animation and expressiveness. I couldn’t tell whether this was something she was born with, or whether the projection of emotion which she had learned as an actress had become second nature. When indignant, her eyes would flash fire, when happy she would laugh unrestrainedly like a child. I quickly changed my preconceived notions about the “inscrutableness” of Orientals. Version I: 几个月来，我渐渐了解了她性格中的方方面面。她最初打动我的是一些外在的东西：活泼健谈，感情外露。我不知道这是她与生俱来的天性，还是当演员学来的本领。她生气时两眼冒火，开心时纵情大笑，无所顾忌，有如孩童。我以前一直认为东方人难以捉摸，是她让我很快改变了这种看法。 Version II: 初逢余爱，唯知其精力旺盛，活泼善言，然其内在禀性，日久徐知。每每怒气填膺，必火冒三丈，每逢乐事，定雀跃如孩童，喜怒形于色如此。或其天性这般，或坐学艺得之，情之投射，乃其常态，余甚惑焉。余曾视东方人神秘莫测之族，遇其后余念速易之。 Version III: 数月来，伊人秉性种种，余已渐知。初逅之时，其雀跃之态，喋喋之言，令余心动。其情有所感，必形于色。天性若此耶？弄戏使然耶？渺然难晓。然其怒则瞋目灼灼，喜则破颜嘻嘻，率尔无拘，真稚童也！余尝执“猾夏”之说，而今遽改之。 Review: The Acceptance of the poetic forms of the version 译例一： 自由与爱情 自由与爱情 我需要这两样 为了爱情 我牺牲我的生命 为了自由 我又牺牲了我的爱情。 （兴万生 译） 译例二： 生命诚可贵， 爱情价更高。 若为自由故， 二者皆可抛。 Part One: the Verse-Translation regardless of form 1．Weng Xianliang’s comment on verse transllation 译语的字形形式决不是原语字形形式的翻译等值成分。 ——翁显良 2. Weng Xianliang’s translating style 原诗： 惜别 多情还似总无情， 惟觉樽前笑不成。 蜡烛有心还惜别， 为人垂泪到天明。 翁显良的译诗： Deep deep our love, too deep to show. Deep deep we drink, in painful silence. Even the candle grieves at our parting. All night long it burns out into its heart, melting into tears. 3. Some foreigners’ translating styles 原诗： 移舟泊烟渚， 日暮客愁新。 野旷天低树， 江清月近人。 译诗一： I steer my boat to anchor by the mist—clad river eyot And mourn the dying day that brings me nearer to my fate. Across the woodland wild I see the sky lean on the trees, While close to hand the mirror moon floats on the shining streams. (tr. by Herbert A. Giles, 1898) 译诗二： Our boat by the mist-covered islet we tied. The s