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 Life

I 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 Colony

During 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 on

Passage 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 Han

Pictures. 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, mostly

collect 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 variety

in 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 outi

ng, 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 cestral

temples 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-Serpent

Monster; N u Wa, who was described as the primary ancestor and the creator of the heaven, the earth, and the human

beings; 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 Compared

SAMUEL JOHNSON

He 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 master

Integrity of understanding and nicety of discernment were not allotted in a less proportion to

Dryden than to Pope. The rectitude of Dryden 's mind was sufficiently shown by the dismission of

his 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 and

rapid; Pope is always smooth, uniform, and gentle. Dryden ' s page is a natural field, rising into inequalities, and diversified by

the varied exuberance of abundant vegetation; Pope ' s is a velvet latwhen,sschyathv e,nabnyd

leveled 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 by

some 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。在他的一生中，一有机会，他总是对德莱顿赞誉有加。与其师相比，蒲柏的性格或许更能引人评说。

论知识之圆满、洞见之完善，德莱顿并不比蒲柏逊色多少。德莱顿判事之正见，足以显露在他对诗歌偏见的摒弃、及对造作的思想和粗陋的韵律的反对中。但是，德莱顿从未企求运用他所有的判事正见。他从事写作并以此为业，不过为了别人；他取悦了别人，也就取悦了自己。他没有费时费力地去激发潜力，也从未试图使他的作品锦上添花；明知有些地方有

缺点，他也不常修改。正如他告诉我们的，他的写作往往不假思索；事到临头、不容推托之时，他便灵机一动，信笔挥洒，一旦出版，就抛诸脑后；只要没有金钱利益的纠葛，他便不以为虑。

蒲柏不满足于取悦他人，而总是渴望尽量出类拔萃：对于读者，他不追求公正，但敢于面对读者评判，既不愿受惠于人，也不去孤芳自赏。他细致入微，不知疲倦，字字句句，斟酌再三，直至无可挑剔。

由于这个原因，蒲柏总是一再构思，迟迟不能脱稿。有人认为，他的两首讽刺诗堪称耗时创作之最。道兹利告诉我，这两首诗是由作者交给他的，大概又工整地抄写了一遍。他说:

“几乎每行都写了两遍以上；我给他的是一份整洁的文稿，而一段时间之后他给我付印的，却是几乎每行都写了两遍以上的东西。”

严格地说，他的“作品一出版就不再在乎”的宣言是不正确的。他像父母一样关注着他的作品，不离不弃；一旦发现他的初版有缺陷，他都会不声不响地在以后的版本中改正。他似乎已经修订过《伊里亚特》，使之臻于完美；在他的《批评集》初版之后，也得到过多次的改善。人们发现，他每次往往都是把他的文稿修改得更清楚、更优雅、更有活力。也许，蒲柏拥有德莱顿的判断力，但德莱顿肯定也需要蒲柏的勤勉。

就求知而言，德莱顿肯定更胜一筹，他所受的教育更具有学究气息，而且，在成为作家

之前，他曾有更多时间、更好的途径来求学致知。他的思想更为恢宏，对诗歌意象的抒发描绘取自更广阔的科学领域。德莱顿更了解普遍的人性，而蒲柏则更了解特殊的人性。德莱顿的洞见源于全面的思索，而蒲柏则源于细致的关注。德莱顿的学识更为高贵大气，而蒲柏的学识则更为确切明了。

他们两人并非仅仅以诗名获誉，因为两人同样兼工散文；但蒲柏的散文并未因袭出德莱

顿。德莱顿的文风汪洋恣肆，而蒲柏的文风循规蹈矩；德莱顿随心所欲信笔挥洒，而蒲柏则

以自身的文法降服其心。德莱顿的笔锋时时酣畅淋漓；而蒲柏则是四平八稳，整齐划一，温婉可人。德莱顿之文，如原野苍苍，峥嵘突兀，其间繁花锦簇，木叶葱茏；蒲柏之文，则茵茵草圃，修剪侍弄得平平整整。

天赋是造就诗人的力量，是一种品质。若无天赋，诗人在应物判事之际就会木然呆滞；天赋

是一种能量，可以聚合激发。审慎细究之下，德莱顿在天赋方面也略胜一筹。但这决非表明

因为德莱顿诗才超卓，蒲柏便微乎其微。自弥尔顿以来，除德莱顿外，其他作家无不将蒲柏

奉为至尊；必须指出，德莱顿虽长于组词成段，却短于布局谋篇。不知由于外务所牵，还是私事所累，德莱顿写诗著文，往往匆匆而就，下笔不假思索，付梓不计正误。文心所感，

诗兴所至，无不恣意点染。蒲柏写诗则慎之又慎，之于机巧。因此，如果说德莱顿飞腾而靡高，烈，那么蒲柏则温火恒常。德莱顿常不落窠臼，诧连连，而蒲柏的作品则给人永久的喜悦。情深意浓，意象丰富，既累之于学识，又得

那么蒲柏则翱翔而益远。如果说德莱顿光焰烈蒲柏则从不流于低俗。德莱顿的作品令人惊