对比翻译_百度文库
两大类热门资源免费畅读
续费一年阅读会员，立省24元！
&&translation
阅读已结束，下载文档到电脑
想免费下载更多文档？
定制HR最喜欢的简历
你可能喜欢本文由Bingo教你说美语授权爱思英语发布，转载请注明出处和作者
编者按：爱思英语网推出全新栏目《佳作欣赏》，旨在为各位网友提供互相、探讨、交流的平台。《佳作欣赏》主要设置以下子栏目：英文，，方法，人生感悟。除英文以外，其余子栏目中英文皆可。如果您有好的作品，请向我们推荐。原创优先，转载作品请注明作者及出处。爱思，因你而精彩；爱思，大家的平台！
前几天在好友家吃饭，友人问我一个英语问题：
&Bingo, &碰瓷&的英文是什么?&
我说英文里没有一个单词是表示碰瓷的，必须用几个单词描述解释。
在今天教大家翻译碰瓷之前，先说几句更重要更有意义的话。
因为文化差异性的存在，有时增加了语言翻译的难度。
说通俗一点就是：
有时英语里有的东西中文没有；中文里有的东西英语没有。
那么这个时候，从A语言跨度到B语言时就会稍微难一点。
所以翻译一般会有以下几种现象：
1⃣️ 中文英文都存在的，直接翻译。比如：
我们也吃，老外也吃，所以吃叫'eat'.对应即可。
2⃣️ 中文英文意思有区别；但用法一样。比如：
中国文化讲究谦逊，面对别人的夸奖要回答说&哪里哪里&。
英语文化讲究自信，面对别人的夸奖要回答说&谢谢你&。
所以中文里的&哪里哪里&＝英语里的&Thank you&.
虽然意思确实不一样，但用的场景一样。
也就是说英语的时候要忘记中文的谦逊。
3⃣️ 中国有的西方没有或者西方有的中国没有。比如：
中国的&风水&，源自中国，西方没有，所以&风水&的英文就是'fengshui'.
用了中文的拼音再加点英语发音特点，这个词就出来了。
这都算好的了，直接用拼音，还能有个词能对上。
很多时候根本对不上，直接用几个词或一句话来描述。
比如&碰瓷&的英文。
先找本质，我看百度百科是这样解释的：
碰瓷属于北京方言，泛指一些投机取巧敲诈勒索的行为。
也是古玩业的一句行话，指个别不法之徒在摊位上摆卖古董，
常常故意把易碎裂的瓷器放路中央，专等路人不小心碰坏，从而索赔。
所以&碰瓷&的字面意思与本质意思都找到了。
你会发现英文报纸网站出现碰瓷的话题时，都用的是拼音&pengci&＋一段解释。
因为真的没有一个单词完全和碰瓷是对应起来的。
所以下次老外问你What&s 'pengci'?的时候，你可以试试这样：
简单了事版：
Literally, it means 'touch porcelain',
but basically, it means faking an accident to claim for compensation.
字面意思是&触碰瓷&，但本质指的是假装故意发生事故来索取赔偿。
复杂完整版：
Literally, it means 'touch porcelain'.
&It comes from the antique industry jargon.
Some bad business men will place some porcelain products toward the middle of the passage way on purpose so that when customers pass, they may break them easily. The sellers will then claim for compensation.
but basically, it's a Beijing dialect. It refers to malicious and illegal behaviors intended for blackmail purpose. For example, one may deliberately crash a car and demands compensation.
我看到网上有人把&碰瓷&翻译成blackmail (敲诈勒索)；我觉得差很多。
也有人翻译成feign injury (假装受伤)，我觉得还可以。
但如果真的要把碰瓷的本质全部翻译出去给老外听，简单几个词是真不够的。
87000人订阅
更多精彩敬请订阅!
过去几年，我在国外旅行和生活。在此期间，我和许多把英语作为外语的人交谈过。在与成千上万这样的人用英语交谈后，我注意到他们做了几件事，损害了他们作为一个语言学习者的进步。下面是常见的7个问题：1. Don’t Be too Asha
这个词是什么呢？这个词就是 Google，它是英语史上最出名的一个错别字（typo）。是的，就是谷歌公司的名字。 其实，一开始创始人给公司起名字的时候，起的是 googol，这个词的意思是“10的100次方”。googol 这个词出自美国数学家爱
Love the life you live. Live the life you love.爱你生活的日子，过你所爱的生活。 ---鲍勃·马利语言点：liveadj. 活的；生动的；实况转播的；精力充沛的vt. 经历；度过vi. 活；居住；生存【短语】live up v. 快乐地过日子live on
Alessandra Ambrosio has announced her retirement from Victoria's Secret after 17 years with the lingeriebrand.在为女士内衣品牌维多利亚的秘密走秀17年之后，亚历珊德拉·安布罗西奥宣布将退出维密秀。The
She has been strutting her stuff for the Victoria's Secret Fashion Show since 2013.从2013年开始，奚梦瑶就开始在维秘上走秀了。But Ming Xi momentarily lost composure as she suffered an epic tumble at
陈述句是我们学习英语语法的入门知识，是最开始接触的最基础的内容，很多人觉得陈述句简单便忽略了它，但实际上很多人英语学到了高级阶段，却连最简单的句子也造不出来，所以陈述句千万不能忽略。小编这次就为大家带来了关于陈
陈述句是我们学习英语语法的入门知识，是最开始接触的最基础的内容，可以你知道怎么样在陈述句和反问句还有疑问句之间随意转换吗? 小编这次就为大家整理了一些转换方法，快来一起学起来吧！陈述句是陈述一个事实或者说话人的
陈述句是我们学习英语语法的入门知识，是最开始接触的最基础的内容，可是你知道怎么样在陈述句和感叹句之间随意转换吗? 小编这次就为大家整理了一些转换方法，快来一起学起来吧！感叹句是用来表示喜怒哀乐等强烈情感的句子，很
英语学习推荐22被浏览9673分享邀请回答189 条评论分享收藏感谢收起君，已阅读到文档的结尾了呢~~
第一次修改针对第二小组的,多是语法层面,拼写方面的错误,主要是由粗心,及语法...如果在标准的改卷方法中出现类似The British Council写成The British council 的错误...
扫扫二维码，随身浏览文档
手机或平板扫扫即可继续访问
翻译是一项伟大而艰巨的任务当你忙碌几个小时的成果在...
举报该文档为侵权文档。
举报该文档含有违规或不良信息。
反馈该文档无法正常浏览。
举报该文档为重复文档。
推荐理由：
将文档分享至：
分享完整地址
文档地址：
粘贴到BBS或博客
flash地址：
支持嵌入FLASH地址的网站使用
html代码：
&embed src='/DocinViewer-.swf' width='100%' height='600' type=application/x-shockwave-flash ALLOWFULLSCREEN='true' ALLOWSCRIPTACCESS='always'&&/embed&
450px*300px480px*400px650px*490px
支持嵌入HTML代码的网站使用
您的内容已经提交成功
您所提交的内容需要审核后才能发布，请您等待！
3秒自动关闭窗口Garibaldi in the AssemblyAbout midday on June 30, while Manara was dying in the hospital, Garibaldi was galloping across the Tiber to the Capitol 1 , whither the Assembly of the Roman Republic had summoned him to attend its fateful session. He rode in haste, for though the fighting had died away, he would not consent to be absent from his post longer than one hour. He had missed death in the battle, and his heart was bitter within him.To add to his misery, news had just been brought that his faithful negro friend, Aguyar, who had so often guarded his life in the perils of war, had been killed by a shell whilst walking across a street in the Trastevere. Garibaldi, who was far above base racial pride, and regarded all men as brothers to be valued each according to his deserts, had given his love freely to the noble Othello, 2 who in body and soul 3 alike far surpassed the common type of white man, Sore at heart, and pre-occupied by bitter thoughts, he galloped up to the Capitol, dismounted, and entered the Assembly as he was, his red shirt covered with dust and blood, his face still moist with the sweat of battle, his sword so bent that it stuck half-way out of the scabbard. The members, deeply moved, rose to their feet and cheered, as he walked slowly to the tribune and mounted the steps.They had sent to ask his advice on the three plans, between which, as Mazzini had told them in his speech that morning, they were now reduced to choose. T they could die fig or, lastly, they could make their exodus into the mountains, taking with them the Government and the army. This third plan was that which Garibaldi had for days past been urging on the Triumvirate, and he now pressed the Assembly to adopt it, in a brief and vigorous speech.He brushed aside the idea of continuing the defence of Rome. It could no longer, he showed them, be carried on even by street fighting 4 , for the Trastevere must be abandoned, and the enemy's cannon from the height of San Pietro in Montorio could reduce the capital of the world to ashes. As to surrender, he does not seem to have discussed it 5 . There remained the third plan ― to carry the Government and army into the wilderness. This he approved. ‘ Dovunque saremo, colà sarà Roma '(‘Wherever we go, there will be Rome'), he said. This was the part he had chosen for himself and for everyone who would come with him. But he wished to have only volunteers and to take no one on false pretences 6 . He declared that he could promise nothing, and very honestly drew for the senators a picture of the life of danger and hardship to which he invited them.Altogether it was a wise and noble speech 7 , for it put an end to all thought of bringing further ruin on the buildings of Rome, and at the same time offered a path of glory and sacrifice to those who, like himself, were determined never to treat with the foreigner on Italian soil 8 . Having spoken, he left the hall and galloped back to the Janiculum.【 概述 】本文是 2000 年第十二届“韩素音青年翻译奖”英译汉部分的参赛原文。所描写的是 1849 年 6 月底，在罗马保卫战的关键时刻，加里波第―― 一位意大利民 族统一运动的著名领袖，杰出的游击战专家，应急召赴罗马共和国议会发表演讲的情景。文章简洁、生动、有力、成功地塑造了加里波第的英雄形象。这篇文 章翻译起来难度较大，主要有两方面的原因：第一，文章确有一些“语言陷阱”，一不警惕，很容易译错；第二，有些细节的背景资料不好查询。【 翻译要点评析】1.the Capitol: 文中的 the Capitol 是卡匹托尔山上接近山顶处建筑群的总称，如把它译成 “ 卡匹托尔山 ” ，则 up to 无法解释和处理 , 也不符合有 些百科全书中把 the Capitol 释为建筑群的释义。如译成 “ 市政厅 ” 或 “ 元老院 ” ，则至少与原文不符。如译成 “ 议会大厦 ” ，则把会址的真实 处所失却了。 笔者认为可把 the Capitol 译成 “ 卡匹托尔 ” ， 并可加注， 释为 “ 卡匹托尔山上接近山顶处的卡匹托尔广场及广场周围建筑物的总称 ” 。 有的书将其议成 “ 罗马神殿 ” 、 “ 神殿 ” ，皆不妥。2. ? had given his love freely to the noble Othello: 从上下文看这里的 Othello 并非指莎翁笔下的那位黑人将军奥赛罗，而是指 Aguyar （加里波第 的贴身侍卫），使用的是“换称” (antonomasia) 的修辞手法。原句意为“在阿古亚尔这位高尚的‘奥赛罗'身上倾注了厚爱。3?.in body and soul alike: alike 是副词 , 意为 in the same way 。此短语意为“在体魄（的强健）和心灵（的高尚）两方面都”。4. (? the idea if continuing the defence of Rome.) It could no longer? be carried on even by street fighting: 注意“ It ”的指代和“ no longer ” 的语义。“ It ”指的是上一句中的“ the defence ”， “ no longer ”译为“不再”。5. ( As to surrender,) he does not seem to have discussed it: 原句可以改写为： ?, it seems that he did not discuss it (in his speech). 可 译为：“至于投降，似乎他（在发言中）未加讨论。”6. (he)wished...to take no one on false pretences: on false pretences 不是 one 的后置定语，而是修饰 take 的状语。句子的有关部分可改写为 he did not wish to take anyone on false pretences 。意为 “ 他不想用花言巧语哄骗任何人和他走 ” 。如果把上句的 come with him 与下句的 promising nothing 和 honestly 联系起来看，对正确理解此句有一定帮助。7.Altogether it was a wise and noble speech: Altogether 位于句首，属联加状语 (conjunct) 中的“总结” (summative) 类别，而不是“增强语”中的 “最高程度语”，原句可译为“总之， 这一演讲不乏明志，境界高尚。”8. ...who... were determined never to treat with the foreigner on Italian soil: treat with 是动词短语，意为 “ 与 ?? 谈判；与 ?? 妥协 ” ； on Italian soil = in Italy, 将其视为 foreigner 的后置定语较妥。当时意大利尚未统一， “ 国土 ” 宜改为 “ 土地 ” 。原句译为：“决不与意大利 土地上的异族入侵者媾和的那些人”。（参考韦荣辰执笔的评析）【 参考译文 】议会上的加里波第六月三十日，大约中午时分，马拉纳在医院里生命垂危的时候，加里波第正策马跃过台伯河，朝卡匹托尔奔去。他奉罗马共和国议会之召，去那里参加决定共 和国命运的会议。他一路急如星火；虽然战斗已经停息，他执意要在一个小时内返回自己的岗位。他因为能战死沙场内心十分痛苦。更让他感到痛苦的事，他 刚刚得到消息，他忠实的黑人朋友，多次在战场的危难中保护他生命的阿古亚尔，在穿过特拉斯特维尔的一条街道是被一颗子弹夺去了生命。加里波第绝无低 俗的种族优越感，他把所有的人都视为兄弟，对每一个人都是根据他的品行给以评价，而对这位身心都远远胜过普通白人的奥赛罗式人物，他毫无保留地倾注 了他的爱。加里波第怀着沉痛的心情和苦楚的思绪，驱马急驰上了卡匹托尔，翻身下马，戎装未卸，就进了议会大厅，身上的红衫沾满灰尘和血迹，脸上仍有 从战场上带来的湿漉漉的汗水，腰间的佩剑已经弯曲，半截露出鞘外。当他缓缓走向讲坛、一步步踏上台阶时，深受感动的议员们纷纷起立向他欢呼致意。他们就马志尼提出的三个方案将他找来听取他的意见；马志尼在当天上午的讲话中说过，他们必须从三者之中做出抉择。他们可以投降；可以战死街头；或者， 走最后一条路，撤出罗马，把政府和军队拉到山里。而这第三个方案正是加里波第几天来一直敦促三执政接受的；现在，他正以简单明了、铿锵有力的讲演力 谏议会采纳。他排除了继续保卫罗马的意见。他向他们指明，即使开展巷战，也难以保住罗马，因为特拉斯特维尔必须放弃，而且敌人部署在蒙托里奥的圣彼得罗高地上的 大炮会将这世界之都化为灰烬。 至于投降， 看来他未曾谈及。 这样就剩下三个方案， 把政府和军队撤到山野。 即， 这个方案他是赞成的。 他说： Dovunque saremo, “ colà sarà Roma”(“ 我们走到哪里，哪里就是罗马 ”) 。这就是他为自己以及每一个愿意跟他走的人所做的选择。但是，他只要志愿者，绝不以虚假的理由 骗走任何人。他声明他不做任何承诺，并坦诚地向议员们描绘了一幅画面――应邀与他同行的诸位所面临的生活将充满危险与艰辛。总之，他的演讲表现出英明的睿智和高尚的气节；它不但结束了使罗马建筑物遭受更大破坏的想法，同时又为像他一样誓死不与意大利土地上的外敌媾和的志 士们指出了一条既光荣又有牺牲的道路。演讲一结束，他就离开大厅，骑马奔回雅尼库卢姆阵地。（参考郗庆华执笔的译文）On Going HomeI am home for my daughter's first birthday. By &home& I do not mean the house in Los Angeles where my husband and I and the baby live, but the place where my family is, in the Central Valley of California. It is a vital although troublesome distinction. My husband likes my family but is uneasy in their house, because once there I fall into their ways, which are difficult, oblique, deliberately inarticulate, not my husband's ways. We live in dusty houses (&D-U-S-T,& he once wrote with his finger on surfaces all over the house, but no one noticed it) filled with mementos quite without value to him (what could the Canton dessert plates 1. mean to him? How could he have known about the assay scales, why should he care if he did know?), and we appear to talk exclusively about people we know who have been committed to mental hospitals, about people we know who have been booked on drunk-driving charges, and about property, particularly about property, land, price per acre and C-2 zoning and assessments and freeway access 2. . My brother 3. does not understand my husband's inability to perceive the advantage in the rather common real-estate transaction known as &sale-leaseback,& and my husband in turn does not understand why so many of the people he hears about in my father's house have recently been committed to mental hospitals or booked on drunk-driving charges. Nor does he understand that when we talk about sale-leasebacks and right-of-way condemnations we are talking in code about the things we like best, the yellow fields and the cottonwoods and the rivers rising and falling and the mountain roads closing when the heavy snow comes in. We miss each other's points, have another drink and regard the fire. My brother refers to my husband, in his presence, as &Joan's husband.& Marriage is the classic betrayal.Or perhaps it is not any more. Sometimes I think that those of us who are now in our thirties were born into the last generation to carry the burden of &home,& to find in family life the source of all tension and drama. I had by all objective accounts a &normal &and a &happy & family situation, and yet I was almost thirty years old before I could talk to my family on the telephone without crying after I had hung up. We did not fight. Nothing was wrong. And yet some nameless anxiety colored the emotional charges between me and the place that I came from 4 . The question of whether or not you could go home again was a very real part of the sentimental and largely literary baggage with which we left home in the fifties 5 ; I suspect that it is irrelevant to the children born of the fragmentation after World War II. A few weeks ago in a San Francisco bar I saw a pretty young girl on crystal take off her clothes and dance for the cash prize in an &amateurtopless& contest. There was no particular sense of moment about this, none of the effect of romantic degradation, of &dark journey,& for which my generation strived so assiduously. What sense could that girl possibly make of, say, Long Day's Journey into Night ? Who is beside the point?That I am trapped in this particular irrelevancy is never more apparent to me than when I am home. Paralyzed by the neurotic lassitude engendered by meeting one's past at every turn, around every corner, inside every cupboard, I go aimlessly from room to room. I decide to meet it head-on and clean out a drawer, and I spread the contents on the bed. A bathing suit I wore the summer I was seventeen. A letter of rejection fromThe Nation , an aerial photograph of the site for a shopping center my father did not build in 1954. Three teacups hand-painted with cabbageroses and signed &E.M.,& my grandmother's initials. There is no final solution for letters of rejection from The Nation and teacups hand-painted in 1900. Nor is there any answer to snapshots of one's grandfather as a young man on skis, surveying around Donner Pass in the year 1910. I smooth out the snapshot and look into his face, and do and do not see my own. I close the drawer, and have another cup of coffee with my mother. We get along very well, veterans of a guerrilla war we never understood. Days pass. I see no one. I come to dread my husband's evening call, not only because he is full of news of what by now seems to me our remote life in Los Angeles, people he has seen, letters which require attention, but because he asks what I have been doing, suggests uneasily that I get out, drive to San Francisco or Berkeley. Instead I drive across the river to a family graveyard. It has been vandalized since my last visit and the monuments are broken, overturned in the dry grass. Because I once saw a rattlesnake in the grass I stay in the car and listen to a country-and-Western station. Later I drive with my father to a ranch he has in the foothills. The man who runs his cattle on it asks us to the roundup, a week from Sunday, and although I know that I will be in Los Angeles I say, in the oblique way my familytalks, that I will come. Once home I mention the broken monuments in the graveyard. My mother shrugs.I go to visit my great-aunts. A few of them think now that I am my cousin, or their daughter who died young. We recall an anecdote about a relative last seen in 1948, and they ask if I still like living in New York City. I have lived in Los Angeles for three years, but I say that I do. The baby is offered a horehound drop, and I am slipped a dollar bill &to buy a treat.& Questions trail off, answers are abandoned, the baby plays with the dust motes in a shaft of afternoon sun.It is time for the baby's birthday party: a white cake, strawberry-marshmallow ice cream, a bottle of champagne saved from another party. In the evening, after she has gone to sleep, I kneel beside the crib and touch her face, where it is pressed against the slats, with mine. She is an open and trusting child, unprepared for and unaccustomed to the ambushes of family life, and perhaps it is just as well that I can offer her little of that life. I would like to give her more. I would like to promise her that she will grow up with a sense of her cousins and of rivers and of her great-grandmother's teacups, would like to pledge her a picnic on a river with fried chicken and her hair uncombed, would like to give her home for her birthday, but we live differently now and I can promise her nothing like that. I give her a xylophone and a sundress from Madeira, and promise to tell her a funny story.【 概述 】本文是 2001 年第十三届“韩素音青年翻译奖”英译汉部分的参赛原文。 原文作者 Joan Didion 是 位散文文体大家，她的文章极有文采和个性，要贴切 地表达成汉语确实要下一番功夫。而这篇文章艰深的背景知识更是给准确翻译设置了很大障碍。不了解该文的作者及其生活道路、创作思想，不了解文章 的写作背景及反映的时代特征，好些地方会觉得把握不准，甚至一筹莫展。【 翻译要点评析 】1 ． the Canton dessert plates: 查英文词典我们可能会取 “ the former name of Guangzhou ”这一释义，然后把这一部分译成“产自广州的甜点盘 子”。但 The Dolphin Reader (Hunt, 1990) 收录的 On Going Home 中对“ canton ”的注释为“ Fine Chinese porcelain ”。据此注释，“ canton ” 在 这里应是指这些盘子的质地，而不是产地。另外，《英汉辞海》（王同亿， 1987）里有 “ Canton china ”词条，译文第一条为“广东瓷；广东瓷器， 尤指青花瓷”；韦伯斯特电子词典 （ 2000 Merriam-Webster, Incorporated. Version 2.5. ） 有 “ Canton ware ”词条，释义照录于下：“ ceramic ware exported from China especially during the 18 th and 19 th centuries by way of Canton and including blue-and-white and enameled porcelain and various ornamented stonewares ” （从中国出口的陶瓷器，特别是 18、19 世纪期间经由广州出口的，包括青花上釉瓷器和各种有装饰的粗陶器）。 综合以上信息，最后把这个地方译成“粤式细瓷点心盘”。2． ?and about property, particularly about property, land, price per acre and C-2 zoning and assessments and freeway access: 这里有两 个问题，一是其中两个“ property ”指涉是不是一样；二是如何翻译“ C-2 zoning ”。我们知道地产或房地产交易在作者当时的家乡司空见惯，成为 人们生活中一个不可或缺的部分，经常谈论这些事情是理所当然的事。从语法上说， “ particularly about property ”可以是起加强语气作用的插入 语，下面的 “ land, price per acre and C-2 zoning and assessments and freeway access ” 是列举他们谈论有关 “ property ” 的具体内容。 因此，这两个 “ property ” 指涉应该是一样的。 “ C-2 zoning ” 的翻译比较棘手。根据《 21 世纪城市规划管理》一书中的解释，这里“C”指“公 共设施用地，主要指居住区及居住区以上的行政、经济文化、教育、卫生、体育、商贸及科研设计等机构和设施的用地。”（任致远，）另外， 《城市规划概论》（陈友华、赵民，2000）上面专门有一节介绍“用地区划” （ Zoning ） ，在 244-245 页上还附有纽约市用地区划表，其中“ C2 ” 的对应汉语是“地区服务区”。 综合上面这些知识，最后把这个地方译为“ 特别是地产，土地和地价， C-2 区制规划及评估，还有高速公路的出入口， 等等 ”。3. my brother: 这里从原文无法判断 “ brother ” 是 “ elder brother ” 还是 “ younger brother ” ，因为在英语中这两者一般是不做区分的， 而在汉语里正好相反。如果笼统地译成“兄弟”，觉得很别扭。迪迪翁的文章自传性很强，其中讲的都是真人真事，这里 “ brother ” 是“弟弟”还是 “哥哥”应确切所指。迪迪翁在另一篇文章 John Wayne: A Love Song （《约翰?韦恩：一首爱之歌》（ 1965）中有这样一段描述： “ In the summerof 1943 I was eight ,and my father and mother and small brother and I were at Peterson Field in Colorado Springs. （ Slouching, p. 29 ） （下划线为笔者所加）据此， “ my brother ” 应译为“弟弟”。4. And yet some nameless anxiety colored the emotional charges between me and the place that I came from: 如何译“ colored the emotional charges” 是传达意境的关键。有人把这句话译成 “ 可是一种莫名的焦渴笼罩着我和我的出生地之间的情感蕴藉 ” ，还有人译为 “ 可是一种莫名的 焦虑扭曲了我和我的家乡之间的情感交流 ” ，都译得不太好，原文的诗意全无。查了韦伯斯特电子词典（同上）对 “charge” 的解释，其中有如下释 义： “a store or accumulation of impelling force” ，并随后附有用法举例 “the deeply emotional charge of the drama” 。经过斟酌，我们 可以把这句话译为 “ 但一丝莫名的忧虑，浸染了我和生我养我的家之间的情感纠葛 ”。5 ． The question of whether or not you could go home again was a very real part of the sentimental and largely literary baggage with which we left home in the fifties ： 这里如何处理“ the sentimental and largely literary baggage ”感到很棘手。我们来看一看作者的生活道路。迪 迪翁 1956 年毕业于加州大学英文系，有很高的文学修养。这句话中说的“ we left home in the fifties ”很可能就是指她的同学们一起（她那一代人） 大学毕业后离开家到各地寻求前程，开始独立生活。这难免让人伤感，而她们刚出校园，又难免满脑子不切实际的书生气。“ baggage ”的英文释义中有 一条是 “ superfluous ideas ”（过多的想法）这一意思，我们可把这句话译成 “ 五十年代我们离家时，背负着一个装着伤感、多半是书籍的行囊。 还能回家吗？ ” 翻译过程是一个包含一系列选择和决策的过程。 译者的选择不是随意的， 而是受到语境的制约， 有时译者要依据整部作品或大语境 macro （ context ）作出取舍。语言在一定语境中才有意义。英语中有句老话，叫做 Words
people have meanings for words （词无本 义，义随人生）。故而，译者不仅要有良好的双语能力，还应掌握相关的语境资料，从而准确地理解原文涉及的社会文化信息，贴切地再现原文。（参考王祥兵执笔的评析）【 参考译文 】回 家我回家给女儿过周岁生日。我所说的“家”，并非指丈夫 ， 我和小宝宝在洛杉矶的家，而是指位于加州中央谷地的娘家。这样区分，尽管麻烦，却很重 要。丈夫不是不喜欢我娘家的人，但是在我娘家却颇不自在。因为我一回去，就染上了娘家人的习惯，说起话来故意吞吞吐吐、拐弯抹角、令人费解，完 全有别于丈夫的习惯。我们住在灰蒙蒙的屋子里（丈夫曾用手指在落满灰尘的地方都写上了“灰――尘”两个大字，只是没人注意。），里面还摆满了纪 念品，可在丈夫眼里这些东西毫无价值（粤式细瓷点心盘对他来说能有什么意义？他怎么可能了解分析天平？即使他了解，他又何必在意？）。在他看来， 我们好像尽在那谈熟人，哪个被送进了精神病院，哪个被控酒后驾车。还谈财产，特别是地产，土地和地价， C-2 区制规划及评估，还有高速公路的出入 口，等等。弟弟弄不明白，我丈夫怎么连很平常的“售后回租”这种房地产交易的好处也不懂？丈夫也觉得奇怪，在我娘家为何听到这么多人最近被送进 了精神病院，或是因酒后开车被控？其实丈夫不明白，我们谈售后回租和依法征用公共用地的时候，是在用娘家人特有的语言谈论最来劲的东西，像金黄 色的田野、棉白杨、时涨时落的河水，以及下大雪时封闭的山路。话不投机，索性接着喝酒，默默注视着炉火。弟弟当着我丈夫的面，称他为“琼的丈夫”。 结婚啊，从古到今，都意味着背叛。或许，现在情况变了。我有时想，我们这些三十几岁的人，注定成为承担“家”的重负、并经受家庭生活中种种紧张和冲突的最后一代人。在别人的眼里， 无论从哪方面看，我都曾拥有一个“正常”而“幸福”的家。然而，直到将近三十岁以前，我与娘家人通电话后总是要哭鼻子。我们没吵过架，也没出过 岔子。但一丝莫名的忧虑，浸染了我和生我养我的家之间的情感纠葛。五十年代我们离家时，背负着一个装着伤感、多半是书籍的行囊。还能回家吗？这 个问题便是行囊中实实在在的一部分。我想，这个问题大概与二战后破碎家庭里出生的孩子无关。几个礼拜前，在旧金山的一个酒吧里，我看见一位吸了 毒的漂亮姑娘，脱去衣服跳舞，仅仅是为得到一场“业余无上装”比赛的现金奖励！这没有什么特别的意思，与浪漫沉沦沾不上边儿，与我们这一代人所 趋之若鹜的“黑暗之旅”也沾不上边儿。那位姑娘呀，你对《进入黑夜的漫长旅程》作何理解？到底是谁离题了？这个不相干的问题困扰着我，在我返回老家后尤为明显。走过每个角落，打开每个食橱，转身驻足间，我一次次地面对过去，思绪不宁，及至疲乏不堪， 我还是漫无目的地逐个房间走着。我决意正眼看去，清理出一个抽屉，把东西摊在床上。一件我十七岁那年夏天穿的泳衣；一封《民族》周刊的退稿信； 一张从空中拍摄的选址照片， 1954 年父亲曾打算在那里建购物中心；还有三只茶杯，上面有手绘的百叶蔷薇，并签有祖母名字的两个首字母“E.M.”。我不知道该如何处理 1900 年手绘的茶杯和《民族》周刊的退稿信，也不知道该如何处理祖父 1910 年的几张快照。照片里的祖父青春年少，踩着滑雪板，在 察看唐纳山口。我抚平照片，注视着祖父的脸，依稀看到自己的影子，又似乎没有。我关上抽屉，陪母亲又喝了一杯咖啡。我们现在相处得很好，就像打 过游击战的老兵一样，真不明白过去为何有龃龉。日子一天天过去，我没拜访任何人。我开始对丈夫晚间打来的电话感到害怕，不光是因为他老是跟我讲洛杉矶的情况，见到谁啦，哪些信件该回啦，等等， 而洛杉矶的生活距离我似乎已遥远了啊！还因为他问我在做什么，有点拘束地建议我出去走走，开车去旧金山或伯克利。我却驾车去了河对岸的一块家族 墓地。自我上次来过之后，墓地被破坏了，墓碑断裂，翻倒在枯草丛里。以前我曾在草丛里见到一条响尾蛇，所以这次我呆在车上，收听乡村与西部音乐 台的广播。后来我同父亲开车去了他在山麓小丘上的农场。为他放牛的人请我们下周日来看他赶拢牛群。尽管我明明知道那时我已回到洛杉矶了，但我还 是以家里人绕弯子的方式说要来。一回到家里，我就提起了墓地里的断碑。母亲耸了耸肩。我去看望姑婆们。其中几位把我当成了我的堂妹，或她们早逝的女儿，我们回忆起一位亲戚的轶事，上次相见是在 1948 年。她们问我是否还喜欢住在纽约 市。其实我在洛杉矶已经住了三年，但我还是说喜欢纽约。她们给我女儿带苦味的薄荷糖吃，还塞给我一块钱“去买好吃的。”慢慢地，问题少了，回答 也就省了。女儿在午后的一缕阳光里，欢快地抓弄着尘土。女儿的生日聚会开始了――有白蛋糕，草莓蜜饯冰激凌，和一瓶从别的聚会上留下来的香槟。晚上，女儿睡着后，我跪在小床边，面颊贴着她那紧挨着床 栏的小脸蛋。女儿性情开朗，相信别人，对于家庭生活的陷阱既不知晓，也无防范。也许，我还是让她少过这种生活吧。我倒是愿意给与她更多别的东西。 我倒愿意许诺让堂兄弟姊妹的手足之情、潺潺流淌的小河、以及外曾祖母的茶杯伴着她成长；愿意答应带她去河边野炊，认她披散着头发，啃炸鸡；愿意 给她一个真正的家作为生日礼物。但是，我们的生活不同了啊，我无法许诺给予她这一切！我只给了她一把木琴和来自马德里的背心裙，还答应给她讲个 有趣的故事。（参考方开瑞执笔的译文）翻译竞赛译文评析 英译汉部分： 竞赛原文之三top An Experience of AestheticsI climbed the heights above Yosemite Valley, California in order to see the splendid granite mountain, Half Dome, in its fullest view. Approaching the edge through the woods I was filled with heightened expectation 1 . I saw the ruin of a cabin and my approach caused the alignment of the chimney on this side of the valley with the shorn mountain across the valley 2 . I stopped. Something happened. The stone verticals corresponded, one human-shaped, the other natural 3 . The human site was still engaged in sightseeing 4 . I was on its side. I saw the famous sight through the eyes of the ruin. I had c I discovered an unexpected dimension to the beauty of the scene/seen.In this experience I had been seeking the aesthetic. I knew I would find it, for I had seen post cards in advance and was following the trail map. The seeking took considerable effort and time. It was a heavy investment. I was not going for the scientific purpose of studying rock formation, nor was it for the recreational purpose of exercising my limbs in the fresh air, though that exertion added intensity to the experience and was its context. Primarily, I was going for the scenic wonders. No wonder that I would take delight in seeing Half Dome. The expectation elicited the outcome. I was suitably prepared. No distractions of practical consideration ― or theoretic ― detracted from my concentrated expectancy. Indeed, the world all around me on the climb contributed to the context for my goal. I was on the terrain of Nature in a national park, following the trail to a viewpoint upon a celebrated natural formation. Each step in the climb not only brought me closer but obliged me to sense the altitude. Moving through the thick woods was in anticipatory contrast to the great gap of the valley and the starkness of the treeless granite boulder 5 .My spirit and my senses were heightened. I was keenly aware of the world, eager to experience it. My senses were willing to be gratified by their fullest exercise. Hence my eye was sharp, but so was my ear and my nose, I was open to experiencing aesthetically. And on the way I did take minor pleasure in a bird' s song, a tree' s sway, and a cloud' s contortion. I was in the world considered as potential aesthetic realm. Any pleasing feature that appeared would be welcomed. And that welcoming mode drew forth pleasing features. A tonic subjective at-homeness with the world pervaded my feelings. I was in the right mood to enjoy Nature.Then the unexpected happened. I had no thought in reaching the natural heights that a human structure would be present. Normally, I would have avoided any such structure as I directed my steps toward the natural view. In retrospect it makes sense that a service building be present at the trail end 6 . It may have had facilities for visitors and played an interpretive role. But the building was not present when I arrived. It was absent though its ruin was present. And that ruin spoke to my experience as related to what I had come to see. If I had been trudging on in a dulled state, passing the time in surroundings ― like those of the railway station ― that did not draw interest, I might well have missed the chimney, walked past it as if it were another tree on the way to the goal. The heightened intensity of my sensibility allowed the chimney to be integrated into the experiencing aesthetically. Readiness was all. The extraterrestrial aesthetician would explain that 7 the creature it was observing on the trail was a specimen of an aesthetic being whose experiencing apparatus for the aesthetic was on full alert. The individual was completely given over to the enjoyment of its experience. And while headed in the direction of an anticipated goal it was nonetheless open to enjoying anything that came its way. Something quite unexpected came its way, and it was ready to attend to it, getting the maximum aesthetic value out of the encounter. The creature was embarked on an adventure in experience. Given the wide range of accessible natural wonders in the national park, the individual in the right mood was bound to mak e gratifying discoveries.What are the contents of the aesthetic discovery? Formal properties of beauty may be pointed to in what I saw: the verticals as distinctively shaped and gathering space about them, and the interplay between the two kinds of vertical shapes over the enormous intervening space. The pleasure of perspective entered, for though the chimney is miniscule compared to Half Dome, my approaching it from the trail made it assume visual and spatial dignity equal to the mountain. Complexity of human meaning is encountered with poignant irony. The chimney is an enduring marker of the human value placed on the mountain visible from this point. Here human hands raised stones to shelter an experience of pure stone 8 . So I have com I am at home. But the human occupation has been lifted 9 ; our presence has turned to stone 10 . Nature has reclaimed its elements. Half Dome presides over the petrifaction of the world. Chimney and mountain are in dialogue as I sense the switching between their perspectives. I am present in ruin and in unity.【 概述 】本文是 2002 年第十四届“韩素音青年翻译奖”英译汉部分的参赛原文。选自 Michael H. Mitias 主编的美学论文集 Possibility of the Aesthetic Experience ， 1986 年出版， An Experience of Aesthetics 为其中一篇，作者 Robert Ginsberg ，现为美国宾夕法尼亚州立大学哲学系教授。【 翻译要点评析 】Approaching the edge through the woods I was filled with heightened expectation: 有人将此句中的 the edge 理解为树林的边缘 , 将 heightened expectation 误解为“登高 / 变高的期盼”。根据上下文， the edge 应是“山沿”， heightened expectation 应是“强烈的期盼”。My approach caused the alignment of the chimney on this side of the valley with the shorn mountain across the valley ：此句中的（排成直 线）是指烟囱与大山连成一线，而不少人将其理解为“群山连成了一线，突兀直立”，或是理解为“我与烟囱和山脉连成了一线”。3 ． The stone verticals corresponded, one human-shaped, the other natural ：对 stone verticals 和 human-shaped 的理解普遍有误。根据上 下文， stone verticals 指的是烟囱和山崖这两道垂直体， 而不是泛指所有的悬崖峭壁； human-shaped 一词在此处为“人工修建的”而不是“像人形的”。The human site was still engaged in sightseeing: 此处原意为“人的场所”，可译为“人造景观”。全句的正确译文为：“人造景观这边仍供观光游览”，而不是“人们仍在观赏胜景”或“有着人形岩石的一方正在观赏风景”。Moving through the thick woods was in anticipatory contrast to the great gap of the valley andthe starkness of the treeless granite boulder ：此句中的对照关系是作者行进在茂密的丛林（ Moving through the thick woods ）与登上花岗岩 山时（ granite boulder ）所感觉到的巨大反差。有人未能体会到两者之间的关系，因此造成了译文的偏差。此句中的 in anticipatory contrast to 为 “不出所料”之意，而不是“更出乎意料的是”。6 ． In retrospect it makes sense that a service building be present at the trail end ：此句中的 makes sense 意为“合情合理”，“在情理 之中”，不少人在没有完全理解原文的前提下，将其译作“有意义的”、“有可能的”，造成译文的误解。7 ． The extraterrestrial aesthetician would explain that? ：这是作者采用的一种虚拟语气，按汉语的习惯表达应当增添“如果 ??, 那么 ?? ” 之类的连接语气词转换，如未能把握原文的真实含义，译文则无法到位。此句中的 experience apparatus 直译为“体验器官”，即“审美感官”，一些 人误译为“体验器具”、“感官体验”等。8 ． Here human hands raised stones to shelter an experience of pure stones ：不少人将 raised stones 直译为“抬起石头”，将 shelter an experience of pure stones 译为“掩盖了石头的本来面目”，全然没有领会此处的真实含义。此处 raised stones 的上下文含义是“用手垒石筑屋”， shelter 的本意为“掩蔽”，此处为“（为体验天然石峰）提供遮风避雨的场所”之意。9 ． But the human occupation has been lifted ：此句中不少人对 occupation 和 lifted 两个词的理解有误，根据上下文， occupation 指的是人 类小屋对自然的占据， lifted 此处为“解除、撤销”之意。因此不能译为“人类的创造得到了升华”、“烟囱的存在意义升华了”等等。全句的意思应 该翻译为“人类对自然的占据被消除掉了”。10 ． Our presence has turned to stone ：此处的 presence 喻指前面屡次提及的小屋，此句似可译为：“人为的建筑最终又还原成了石头”。考虑到 原文所隐含的生存与毁灭的哲理，亦可采用虚化手段，将此句译作：“我们的存在与石头融为一体”。而不是“我们自身化成了顽石”或“我们的存在变 成了顽石”。（参考许建平、纪康丽执笔的评析）【 参考译文 】审美的体验为了饱览壮丽的花岗岩山峰半穹顶的全景，我登上了加州约塞米蒂谷的高地。 穿过树林，走近山沿，心中充满美的期盼。 远远望见一处小屋的废墟，走 到近前，只见山谷这边的烟囱与横穿山谷的陡峭山崖恰好连成一线。我停下脚步，奇观出现了：两道石壁遥相呼应，一边人工打造，一边浑然天成。人造 景观这边仍供观光游览，我此时就身临其境。透过小屋的废墟，我看到了著名的景观。我怀着对美的期盼而来，不经意问却发现了美的另一番天地。这次旅程中我一直在捕捉一种美感。我知道会如愿以偿，因为我事先看过一些有关风景明信片，循着山路示意图一路找来。这样的寻找费时费力，投入颇 大。我此行的目的既不是出于对科学的动机来研究岩石的结构，也不是出于娱乐消遣的考虑在清新的空气中舒展肢体――尽管这次跋涉加深了我对美的体 验，而且是这番体验的不可或缺的环节。我来这主要是为了览胜，因此见到半穹顶自然欣喜不已。有什么样的期盼就有什么样的结果。我有备而来，心无 旁骛，一心期盼着美景，不受任何实际或假设因素的干扰。真的，在攀登过程中，我周围的一切都为寻美营造了氛围。我登上了国家公园的天然山地，循 着山道前来观赏闻名遐迩的大自然鬼斧神工。攀登中的每一步不仅使我距目标越来越近，也使我感受到海拔越来越高。不出所料，穿行在茂密的树林中， 登上大峡谷寸草不生的花岗岩巨石，两种不同境界给人以强烈的反差。我精神抖擞，感官敏锐。我真切地感受到周围的一切，急于体验这一切，渴望在最充分的感官体验中得到最大满足。因此我不但目光敏锐，听觉和嗅觉也十分灵敏――我敞开心扉，尽情地体验着美的滋味。沿途所见所闻，哪怕是一点小小的愉悦，鸟雀鸣唱、树影婆娑、云卷云舒，都着实让我动情。置身于 这样一个处处蕴含着美的王国，我随时准备接纳任何不期而至的景色。这样一种心态更促生了令人赏心悦目的景致，一种心旷神怡的回归自然之情在我心 中油然而生。这样一种心情最适于欣赏自然美景不过了。接着，出乎意料的景观出现了。我怎么也不曾想到，在抵达天然高地时竟然会出现一处人工建筑。在通常情况下，我要是徒步参观某处自然景点，一定会 绕开这类建筑。回想起来，在山路尽头有一座服务性建筑也全在情理之中。这小屋也许曾为游客提供过方便，起过导游讲解作用。可我来到高地时，小屋 不见了。虽有断垣残壁，房屋却荡然无存。而正是这片废墟使我体验到此行览胜的真正含义。如果我当时兴致索然地一路跋涉，比如像在火车站那样的地 方消磨时光，周围的事物一点也不引人注意，那么我很可能会错过烟囱，只当它是沿途路过的又一棵树罢了。而现在，我的感悟力增强了，烟囱作为一道 景观融入了审美体验的始终。一切取决于心态。如果一个天外美学家看到我这模样，可能会认为，它观察到的路上这个怪人准是个充满审美细胞的动物， 其审美感官正处于极度警觉的状态。他已完全沉浸在审美体验所带来的愉悦之中。他朝着既定的目标行进，同时又不放过闯入视野的任何景致。奇观乍现， 立即映入眼帘，他便从中发掘出最大的审美价值。此人正在经历一次美的历险。有国家公园这般天地，随处可见自然奇现，心境舒畅的游人必定会获得心 满意足的发现。这次审美体验的发现是什么 ? 我所目睹的景致或许可以说明美的外在特征：悬崖峭壁，造型奇特，给人以强烈的空间感，两道石壁形状迥异，广袤交错， 凌空矗立。此外，还有透视效果带来的愉悦：虽然与半穹顶相比石烟囱显得非常渺小，但我从山道这边靠近，看上去无论在视觉上还是空间上其气势都一 点儿不亚于半穹顶。人类的复杂意图受到了辛辣的讽刺。从这一视点看过去，那烟囱是人的价值置于大山上的一道永久性标记。人类在那里垒石筑屋，以 观苍石。这样看来，我来对了地方，我找到了归宿。不过人类对自然的占据被消除掉了，我们的存在与石头融为一体。大自然索回了自己的要素，半穹顶 主宰着石头的世界。我感受到两种不同景致的交替，仿佛听见烟囱在和大山对话。我站在小屋废墟上，也置身于和谐统一中。（参考许建平执笔的译文）翻译竞赛译文评析 英译汉部分： 竞赛原文之四top A Person Who Apologizes Has the Moral Ball in His Court 1I have sympathy for the butler in The Big Sleep. Marlowe detects him in a contradiction and asks him aggressively, 'You made a mistake, didn' t you?' To which the man replies, sadly and sweetly, ' I make many mistakes, sir.' And so do I. I am, by instinct and training, a very specific writer 2. , and so my errors are numerous. Recent ones include misspelling Geoffrey Madan' s name ―I phoned the printers with a correction but my page had already gone to press ― and crediting Richard Tauber with Donald Peers's signature-tune, 'By a babbling brook' (Tauber' s, of course, was ' You are my heart' s delight'). I apologise for these mistakes, and for others in the past, and for those to come.Disraeli thought that, in politics, apologies don't work. I see why. Such being the nature of parliamentary conflict, an apology in politics merely leads to fresh accusations and further demands for embarrassing details. I once said to Harold Wilson when he was prime minister, ' It would be a good idea, Harold, to admit the government's mistakes occasionally, and apologise.' He replied,' That' s a shrewd suggestion, Paul, and I entirely agree with it.' (Harold being Harold, I knew an untruth was coming.) ' The trouble is, though, I can' t actually think of any mistakes, and so there' s nothing to apologise for.' Which was to make Disraeli's point, though in a Wilsonian way.Apologise is one of those words which has effectively reversed its original meaning. Its origin, in the Greek lawcourts, was jurisprudential: it signified the speech for the defence in which the prosecution' s case was answered point by point. It retained its original meaning until at least the 16th century. Thus Sir Thomas More, after resigning from office, drew up his 'Apologie of Syr Thomas More, K made byhim, after he had geuen ouer the office of Lord Chancellor of Englande'. Today we would say vindication. Only gradually did the word acquire the connotation of excuse, withdrawal, admission of fault and plea for forbearance. It still bore its original meaning in theology: Newman's Apologia pro Vita Sua 3. was not an apology at all but a vigorous rebuttal of Charles Kingsley' s charges. Dickens' s unfortunate statement about his reasons for splitting up with his wife, which his friends begged him not to publish, was self-destructive precisely because it was halfway between the two meanings: half defiant vindication, half admission of guilt.No doubt everyone has to apologise for his life, sooner or later 4 . When we appear at the Last Judgment and the Recording Angel reads out a list of our sins, we will presumably be given an opportunity to apologise, in the old sense of rebuttal, and in the new sense too, by way of confession and plea of repentance. In this life, it is well to apologise (in the new sense), but promptly, voluntarily, fully and sincerely. If the error is a matter of opinion and unpunishable, so much the better ―an apology then becomes a gracious and creditable occasion, and an example to all. An enforced apology is a miserable affair.Newspaper apologies nearly always seem inadequate. The most audacious one I know was brought back from America by the artist Edward Burne-Jones to show his friend Lady Homer of Mells. It read: ' Instead of being arrested as we stated, for kicking his wife down a flight of stairs, and hurling a lighted kerosene lamp after her, the Revd. James P. Wellman died unmarried four years ago.' This sentence is remarkable for the enormity of the error and the succinctness of the correction ― not, be it noted, an apology, for the law of libel, in the United States as in England, offers no redress to a dead person. I suspect the extract is from the New York World when it was a sensational paper owned by Pulitzer. For reasons which a recent biography of him does not clarify, he had a particular hatred for clergymen of all denominations, and frequently exaggerated or invented discreditable news items about them. He also discovered that such items invariably put on circulation.The most famous apology in history was made to a much maligned, though far from innocent, cleric: Hildebrand, Pope Gregory VII. He had become involved in what is known as the Investiture Dispute, a fierce Church-State Kulturkampf, revolving round the appointment of bishops. His chief opponent, the Holy Roman Emperor Henry IV ― not a nice man but not a monster either ― had called him an impostor, an antipope, an Antichrist and I know not what, but had got the worst of it in the armed struggle that followed. Henry decided to purge his excommunication and get the interdict on his territories withdrawn by apologising and doing penance. The Pope had sought the protection of Countess Matilda of Tuscany, then the world's richest woman, and a princess 5. of startling beauty, taste and wisdom. He was sheltering at her stupendous mountain stronghold of Canossa, not far from Modena, and the Emperor had to climb there barefoot, in the depths of winter, to make his kowtow.Why has this amazing story not been the subject of a great opera? Perhaps it has. Needless to say, the apology was insincere and the tragic story ended in tears on both sides, the Pope' s bitter last words being: ' I have loved justice and hated iniquity: therefore I die in exile.' But the fact that the Church was slow to canonise this remarkable man suggests that to begin with it did not accept his version of events. A century later. Henry II of England was locked in mortal struggle over the same issue with Becket, and also apologised after he caused the archbishop' s murder. This, too, was in some degree insincere, and trouble broke out afresh soon after Henry had donned sackcloth. Becket was at least as intemperate as Hildebrand, but he not only got his halo but did so in the fastest time on record. But then he was a martyr, and they always move to canonisation faster than any other category of saint.When I was an editor, I always preferred to apologise promptly, whatever the merits of the case, rather than face the expense and, more importantly, the time-consuming complexities and debilitating worry of litigation, libel being one of the least satisfactory branches of the law. When we took a crack at Dr Bodkin Adams, believing him to be dead, and his joyful lawyer phoned me the next morning to tell mehe was very much alive, I settled the matter there and then for the sum (if I remember correctly) of ￡ 450 and an apology. So my advice to editors is, get shot of claims quickly, unless the plaintiff s demands are manifestly unreasonable.Besides, there is something distinguished about a ready apology. It is the mark of a gentleman, more particularly if it is not necessary. It is the opposite of revenge. Bacon wrote, 'In seeking revenge, a man is but equal with his enemy, but in forgiving him, he is superior, for it is a princes 5 ' part to pardon.' So, the person who apologises freely has the moral ball in his court.【 概述 】本文是 2003 年第十五届“韩素音青年翻译奖”英译汉部分的参赛原文。出自伦敦出版的《观察家》，作者保罗?约翰逊是一位著名的历史学家，其文笔犀 利奇崛而不失幽默。全文围绕 “ Apologise ”或“ Apology ”这个字作文章，旁征博引、谈古论今。作者始终谈该词的“道歉”之义，继而谈其古义， 即“辩护”， 终而再谈其今义之用法并引用培根的名言来证明道歉乃是上策。【 翻译要点评析 】1.A person who apologizes has the moral ball in his court ：这个英文标题从句法上看是一个普通陈述句；从修辞学来看，因为使用了“ Moral ” 一词来限制“ To have a ball in one's court ”，这个标题就有了引申意义；因此，题目可以解读为：一个人若是道歉了，那么，在道义上就掌握了主 动权，正像球在他自己的那一半场地上一样。2.I am, by instinct and training, a very specific writer ：此处如果只简单的翻译成“我是一个具体的作家”，就有些费解，这里的“ writer ” 要成动词，并加以解释，就有了“写起东西来旁征博引，力求翔实，自然就言多语失喽。 ”3 ． Apologia pro Vita Sua ：古语和外语的译法：此处“ Apologia ”就是“ Apology ”的意思，“ Vita ”就是“ Vitamin ”这个词的前半部分， 即“ Life ”之义。4 ． Apologise ：这属于一词两译的译法，本文的主旨是要告诉大家学会“ Apologise ”（致歉），文章前两段的内容谈的都是道歉，谈及这个词的中 古英语时的意义时，即“辩白、辩护”之义了，故而在“ No doubt everyone has to apologise for his life, sooner or later ”句中，该词的意义 即为“辩白、辩护”之义而非“致歉”之义。5.“Prince”和“Princess”：地位词的译法：“Prince”和“Princess”这两个词通常应该分别翻译成“王子”和“公主”，但在此篇文章中不能这样 来译。“Prince”这个词，在中古英语中，有“King”的意思，所以译为“王者”是正确的。至于此处“Princess”，是保罗所指的玛蒂尔达女士，她出 身并非皇族， 故而不能译为“公主”。 “Princess”一词在字典里有“堪称公主的妇女， 如在某些方面杰出的妇女”， 因为玛蒂尔达是波尼费斯侯爵 （Marquis Boniface）之女，故译为“郡主”。这里把“Prince”往高里译，而把 “Princess”则往底里译了。（参考范守义的评析）【 参考译文 】谁给别人道歉，谁就在道义上掌握了主动我同情《长眠》这部影片中的男管家。马洛探长发现了他讲话前后有矛盾 ， 就逼问道： “ 你犯了一个错，对不？ ” 管家伤感而乖巧地答曰： “ 我 犯下的错可多去啦 ，先生。 ” 我又何尝不是如此呢？我有点灵气并且训练有素，写起东西来旁征博引，力求翔实，自然就言多语失喽。最近犯下的错误 包括把杰弗瑞 ? 马丹的名字拼写错了－－我给印厂打了个电话，把更正告诉他们，可是我的那页已经开印了；我把唐纳德 ? 皮尔斯的信号曲 “ 在潺潺的小溪旁 ” 安到了理查德 ? 陶波的头上（陶波的信号曲自然是 “ 你是我心中的喜悦 ” 。）对于这些错误 ，以及过去犯的错误和今后会犯的错误， 在下这厢有礼啦。迪斯累里首相认为在政治问题上，给别人道歉行不通。我明白个中的缘由。议会斗争的本质就是如此，在政治问题上，道歉只会招致新的诘责和进一步要 求交待让你左右为难的详情。还是哈罗德 ? 威尔逊担任首相的时候，有一次我向他进言： “ 哈罗德，偶尔承认一下政府的错误，并且道个歉，不失为 一个好主意吧。 ” 他答道 ： “ 你这个建议高，保罗，本人完全赞同。 ”( 哈罗德毕竟是哈罗德 ， 我知道一句言不由衷的话就要脱口而出了。 )“ 然 而难办的是我实在想不出有哪些错误 ，因此 ，也就没有甚么好道歉的喽。 ” 这正是以威尔逊的方式表达出了迪斯累里的意思。有那么一些词儿 ，已经彻底演变得与本义完全相反， “Apologise” 即是其中之一。该词的本义 ，在希腊法庭上 ，具有法理学意义：该词即指辩护词 ， 在辩护过程中 ，对于诉讼方的指控 ，逐一予以回答。其原义至少到了 16 世纪还一直保留着。托马斯 ? 莫尔爵士在挂印辞官之后 ，就是这样撰写了他 的 “ 托马斯 ? 莫尔爵士之辩护词 : 辞去英格兰大法官之职后所作。 ” 今天我们会使用 “Vindication”(“ 辩白 ，辩护 “) 一词。 只是渐渐地 “Apologise” 这个词才获得了 “ 原谅、 撤回所说的话、 承认错误并请求宽恕 ” 之含义。 在神学中该词仍保留原来的意义： 纽曼的 《为吾生辩》 (Apologia pro Vita Sua) 根本就不是什么道歉 ，而是对查尔士 ? 金斯菜的指控所作的强硬辩驳。讲狄更斯与其妻分手理由的那篇倒霉的陈词 ( 其友人求他不要 发表 ) ，就是自毁其身 ，恰恰是它介于两个意义之间 : 一半是倔强的辩白 ， 一半是承认有愧。毋庸置疑 ，任何人都要为自己的一生辩护 ，不管是今生还是来世。当我们出席最后的审判时 ，记录天使诵读出所罗列的我们的罪孽 ，我们作了忏悔并 请求宽恕 ，这样大概会被给予辩白 ( 这个词的老义 ) 和表示歉意 ( 它的新义 ) 的机会。在今生中 ， 道歉 ( 新义 ) 是桩对的事 ， 但是要做到及时、 要心甘情愿、要完完全全、要诚心诚意。如果过错是看法上的事 ， 并且错不当罚 ， 那最好不过――说一声 “ 对不起 ” 就成了一个显示大度的机会 ， 可赞可叹 ， 众人之楷模也。 而被迫去道歉 ， 那可就难受了。报社的道歉几乎从来是不到位的。据我所知 ，最为厚颜的一次是艺术家爱德华 ? 伯恩 - 琼斯从美国带回来 ，让他的友人麦尔斯庄园的洪纳夫人看的 ， 曰： “ 詹姆士 ? 维尔曼神甫没有像我们所述说的那样 ，因为将妻子一脚踹下了楼梯 ，随后又将一支点燃的煤油灯朝她掷去而被逮捕 ，而是于四年之 前过世 ，从未婚娶。 ” 对于如此之大的错误 ，而更正又如此之简短 ，这一句话可谓妙矣也哉 DD 请注意 ， 这算不上是 “ 赔礼道歉 ” ，因为在 美国 ( 正如在英国一样 ) ，根据诽谤法，是不给死人纠错的。我猜想这条剪报取自《纽约世界报》，曾是一家轰动的报纸，由普利策拥有。不知何故 ( 最 近有关普氏的传记并未澄清 ) 他尤其痛恨各个教派的教士们，经常将一些诋毁他们的新闻段子加以渲染 ，或是编造出一些这样的段子。他还发现此类新 闻段子总是会使发行量剧增。历史上最为有名的 “ 道歉 ” 是向一位神职人士所致 : 此公乃是希尔得布兰德 ，即教皇格列高利七世，他被人诋毁多多，然而也并非无辜。他卷入了 史书所记载的 “ 授职争议 ” ，即一次围绕教会与国家之间有关任命主教问题的激烈的 “ 文化冲突 ” 。他的主要对手就是神圣罗马帝国的皇帝亨利 四世――他算不上是个好人，但也不是什么魔鬼――他称教皇是个骗子、伪教皇、假耶稣，还有一些不知道是什么样的骂名，但是在随后的武装冲突中， 他却为此一败涂地。亨利四世决定向教皇请罪，表示诲意，以此希冀教皇解除将其逐出教门的惩罚，并撤回在其领土上的授权禁令。教皇寻求托斯坎尼区 的玛蒂尔达伯爵夫人的庇佑，这位伯爵夫人是当时世界上最富有的女人，一位倾国倾城，睿智聪颖，极有品味的郡主。教皇躲进了她那气势恢宏的山间城 堡，它建在离摩德纳市不远的卡诺萨。皇帝不得不在隆冬季节赤脚攀上城堡，前去叩头谢罪。这样一个令人拍案叫绝的故事却不曾成为一个 大歌剧的主题，未知何也 ? 或许已经有了。毋庸赘言，这次道歉并非真心实意，而悲剧则是以双方眼泪洗 面告终。教皇临终时痛楚地说 :“ 吾爱正义而恶不公 : 故而吾死于流放。 ” 但是，教会迟迟不将这位杰出的人封为圣人，此事表明他们从一开始就未 曾接受他对事件的说法。一个世纪之后，英格兰的亨利二世与贝克特大主教在同一问题上打得你死我活，不可开交；在他指使谋杀大主教之后，也做了道 歉。这在某种程度上也并非诚心诚意，在亨利二世披上麻衣去忏悔之后，麻烦再度出现。贝克特主教至少也和希尔得布兰德一样放纵无度，然而他不但得 到了光环，而且是以有史记载以来最快的速度得到的。再说啦，他算是个殉道者，这些殉道者比起其他类圣人，其被封圣的速度要快得多。我还是编辑的时候，无论情况如何，我总是选择立马道歉，而不是去面对诉讼过程中所发生的费用，更为重要的是，去面对费时耗神的诉讼过程中产生的 复杂情况。诽谤法是法律当中最不尽人意的部分。我们曾拿鲍德金 ? 亚当姆斯医生开涮，还以为他已经死了；莅日，他的律师喜滋滋地打电话给我，告 诉我亚当姆斯医生还活得好好的，我立时以一笔 450 英镑 ( 如果我没记错的话 ) 的赔偿费和一句道歉的话了结此事。所以，我对编辑们的忠告是 : 对于赔偿要求要立马了结，除非原告的要求太离谱。此外，随时准备好一句道歉的话，是一种高尚行为，特别是在没有必要道歉时而道歉，更显示出一个绅士的特质。道歉与报复相对。培根有云 : “ 夫图 报复焉，汝与汝仇等：苟汝恕之，则汝优於汝仇焉；盖宽恕也，王者之风也。 ” 由是，谁把 “ 对不起 ” 常挂在嘴边，谁就在道义上掌握了主动。（参考了范守义的译文）Necessary FictionsThe most pathetic in Friedrich Dürrenmatt's play The Visit is the Schoolmaster. The play tells the story of a town bribed by an enormously wealthy lady (the “visitor” of the title) to murder her former lover. That, at least, is the surface plot. The real plot is the reenactment by the townspeople of the archetypal ritual sacrifice that is the subject of Sir James Frazer's study of primitive religion, The GoldenBough , and that classical scholars such as Gilbert Murray and F. M. Cornford have found at the root of Greek tragedy. The play thus moveson two levels. On one, it is the story of a judicial murder 1 for money, an indictment of materialism. On the other, it has nothing to do with motives in the conventional sense 2 . It is a play about religious impulses that are independent of the ways people explain them 3 .Dürrenmatt's Schoolmaster is a key figure because he represents the liberal and rational heritage of Western culture. He is “Headmaster of Guellen College, and lover of the noblest Muse.” He sponsors the town's Youth Club and describes himself as “a humanist, a lover of the ancient Greeks, an admirer of Plato.” He is a true believer in all those liberal and rational values that Western culture has inherited from antiquity.In keeping with these values, Dürrenmatt's schoolmaster is horrified by the plans of his fellow townspeople, whom he has tried to inspire with visions of nobility, to commit murder. As the climax approaches, however, he crumbles. Not only does he know of the murder plan, he knows he will become a part of it: I know something else. I shall take part in it. I canfeel myself slowly becoming a murderer. My faithin humanity is powerless to stop it. The Schoolmaster has discovered that the apparently absolute values of “the ancient Greeks?and Plato” have limits. Other values, hidden and irrational, are at least as powerful. Are the latter true and the former nothing more than lovely and venerable fictions?The Visit brilliantly explores one of the most ancient paradoxes in Western experience, a paradox that appears in the Old Testament in thecontrast between the Gentiles who worship graven idols and the Hebrews who worship invisible truth: “Thou shalt not make unto thee any graven image, or any likeness of anything that is in heaven above, or that is in the earth underneath, or that is in the waters under the earth.” The same paradox recurs in the conflict between pagan learning and Christian revelation in the early centuries of the Christian era 4 , and again, in the high Middle Ages, in the debate between Thomistic rationalism, which sees the world as an intelligible and orderly expression of divine reason, and the mysticism of St. Bonaventure's The Mind's Road to God , which sees the world as a delusion and turns from it to suprarational experience. In the seventeenth century the paradox is embodied in the conflict between science and revelation, a conflict that was renewed in the nineteenth century by the publication of Darwin's Origin of Species .It is still with us. No one could be more devoted to humane values ― or more knowledgeable in the field of biology ― than Jacques Monod, co-recipient of the 1965 Nobel Prize for medicine and physiology. In a much-admired essay, “On Values in the Age of Science” (1969), Monod proclaimed the end of the Age of Faith: Modern nations?still teach and preach somemore or less modernized version of traditionalsystems of values, blatantly incompatible withwhat scientific culture they have 5 . The western,liberal-capitalist countries still pay lip service toa nauseating mixture of 6 Judeo-Christian religiosity,“Natural” Human rights, pedestrian utilitarianismand X IX Century progressivism?They all lie andthey know it. No intelligent and cultivated person,in any of these societies can really believe in thevalidity of these dogma?While a great many “intelligent and cultivated persons” undoubtedly agree with Monod, many others do not. Dürrenmatt is a case in point. What he shows through his Schoolmaster is that a rational and secular value system of the kind proposed by Monod is delusion that may crumble as soon as it is subjected to stress. Dürrenmatt had good reason to believe his message. The Visit was written in 1956 when memories of the Holocaust were still vivid. Since then, confidence in rational and secular values has continued to decline. In 1979, in what was almost a national paroxism of disgust, the people of Iran rejected Western rationalism and opted for a form of government that looks very much like theocracy. The diatribes of Iran's Mullahs are hardly less passionate than tirades of America's Moral Majority and the sermons of its radio and television evangelists. It is interesting and significant that the American Mullahs consistently identify “secular humanism” as the chief corruption of modern society. In fact, in 1979 the General Convention of the Episcopal Church, a normally moderate body 7 , felt the pressure sufficiently to include a denunciation of “humanistic secularization” in its proceedings. While the Schoolmasters of Western society dream of nobility, the Faithful quote the Sermon on the Mount: No man can serve two masters: for either he will hate the on or else he will hold to the one, and despise the other. Ye cannot serve God and Mammon. And:Take therefore no thought of the morrow, for the morrow shall take no thought for the things of itself.And: Everyone that heareth these things, and doeth them not, shall be likened unto a foolish man,which built his house upon sand.The conflict between the graven idols of secular humanism and the invisible realities known only to the saving remnant of the devout is very much alive today. If Dürrenmatt is correct, there is little to be said for humanism. It is an illusion, a fiction, a thin coating of rationalizations covering something awesome and terrifying. The Mullahs have won.Before abandoning humanism and all its works, however, let us consider it from another angle. For the sake of speculation, let us imagine a humanism that is a way of seeing 8 . The things it sees are human creations or things that have special human significance. This sort of humanism will be interested in the values these things express but not in any particular set of those values.A humanism that is a way of seeing will be committed describing what it sees. It will seek to fix the condition of the human spirit at a particular place in a particular moment of time in relation to a particular experience 9 , and it will choose its places and times and experiences because they express the condition of the human spirit with particular clarity. They are the evidence concerning the nature of the human spirit that has accumulated throughout history. In other words, they are to humanism what the raw materials of physics, biology, and chemistry are to science.【 概述】第十六届“韩素音青年翻译奖”英译汉原文取自西方文化著作《走进迷宫》中第一部分的第二节。作者 O. B. Hardison, Jr. 是一位出色的诗人和学者。 作者在本文中通过对瑞士作家迪伦马特的剧作《老妇还乡》中校长这一人物的评析，提出坚持人文主义价值观的必要性。原文涉及的人名、书名和历史事 件有近三十个，涉及理解和表达的语言点有近二十个，难度较大。现就理解和表达方面的问题，作一评析。【 翻译要点评析】Judicial murder ：根据 《英汉大词典》和 《牛津现代高级英汉双解词典》， Judicial 是多义词，可以分别指 “司法的，法庭的”“明断公正的”， 与 murder 搭配时指“合法但不公正的死刑判决；冤死。”我们应结合词典的解释，再参考上下文进行翻译。On the other, it has nothing to do with motives in the conventional sense ： motives 一词可有两种解释：一是“ the reason for a certain course of action, whether conscious or unconscious”, 二是 “a variant spelling of motif ” 这里，此词应理解为“动机”原因是这一句的 motives 和 下一句的 impulses 意义相近，互为照应。It is a play about religious impulses that are independent of the ways people explain them.根据 《英汉大词典》， be in dependent of 的解释为“不依赖 ?? 的”，“独立于 ?? 以外的”据此，这句话应理解为“不依赖于人们的解释方式 而独立存在的宗教冲动”或“独立于人们解释方式之外而存在的宗教冲动”。4. The same paradox recurs in the conflict between pagan learning and Christian revelation inthe early centuries of the Christian era?要正确理解何为 pagan learning and Christian revelation ，首先得对整段话有个整体把握。作者在此段对西方文明史前后出现的矛盾现象展开讨论。 所讨论的差异、政论和冲突都与 pagan learning and Christian revelation 之间的冲突有联系。 pagan learning 中的 learning 指的是 knowledg Christian revelation 中的 revelation 指的是 knowledge offered to humanity by God. 据此，我们把 pagan learning 译为 “异教认知论”，把 Christian revelation 译为“基督教天启论”。因此，在翻译中，对段落的总体把握以及其中词汇之间的联系必须加以重视，才能 正确地把握作者的本意。5. Modern nations ? still teach and preach ? with what scientific culture they have.scientific culture 不能错误理解为“科学文化”（ science and culture ）。“科学”和“文化”属于不同的范畴。而这里的 scientific （形容词） 与 culture ( 名词 ) 是有关联的。 根据 COE 对 culture 的是释义，是指： particular form, stage, or type of intellectual development or civilization.作者强调的是西方现代国家的科学技术的发展与传统的价值观体系之间的差异和冲突。这里译为“科学文明”重点突出，比较妥当。The western, liberal-capitalist countries still pay lip service to a nauseating mixture of ?pay lip service to 指“空口的应酬话，对 ?? 口惠而实不至”强调光嘴上说得好听，却没有实际行动。因此较准确的译文是“口头上信奉”。In fact, in1979 the General Convention of the Episcopal Church?, felt the pressure sufficiently to include a denunciation of “humanistic secularization” in its proceedings.从上下文看，当时，反对“ 世俗人文主义”的呼声很高，在这种情况下，美国圣公会也感受到做出这一举动的迫切需要，而非外界对它施加了什么压力， 或是不这么做会遭受到不良后果。因此， felt the pressure sufficiently 译为“被迫”语气过重，而“感受到巨大压力”更为合适。For the sake of speculation, let us imagine a humanism that is a way of seeing .句中 imagine 的宾语是 a humanism ； that is a way of seeing 作定语从句。原文 humanism 前有不定冠词 a ，强调这里所说的“人文主义”是一种 全新的人文主义。因此，译为“我们假定有一种人文主义，它也是一种观察方式。”更加紧扣原文。It will seek to fix the condition of the human spirit at a particular place in a particular moment experience.of time in relation to a particular在译这句话之前，首先要弄清楚 at a particular place in a particular moment of time in relation to a particular experience. 在这句 话中的作用，也就是说它作为定语修饰 the condition of the human spirit ，这句话应译为“它将力图确定在特定的地点、特定的时间，与特定的经历 有关的人文精神状况”。（参考王宏、张玲的评析）【 参考译文 】必要的虚构在弗里德利希?迪伦马特的剧作《老妇还乡》中，最可悲的人物是那位校长。 该剧讲述了一座小城的居民被一位亿万富婆（即剧名中的“老妇”）收买， 害死其昔日情人的故事。 这只是表面情节，而实际情节是通过小城居民重演了一段原型祭祀仪式。 詹姆斯?弗雷泽爵士在七研究原始宗教的著作《金枝》 一书中探讨过这一主题， 吉尔伯特?默里、 F.M. 康福德等古典人文学者则发现，古希腊悲剧皆