感謝賜教：狄更斯作品兩處 2006

2006-03-20 10:52:12 人氣(70) | 回應(0) | 推薦 (0)

感謝賜教：狄更斯作品兩處

剛剛到日本的CD分會去看一下....我想一個社會的質量很南說清楚，台灣人口少、大陸人口多，不過都沒有日本學界的一些特色。

這幾天關於CD（狄更斯）小說中的幾處問題，都有朋友指導。列出等幾十年之後的翻譯者利用。
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早上讀CD的DC一段（XXVI. I Fall into Captivity）*，我手頭的翻譯本，對於地理、歷史都打馬虎眼，譬如說倫敦繁榮的西東（South East） 郊區的Norwood Road,、the Park，還有 the BAZAAR（一般直覺：「在我們這裡就像是東門市場，我想應該可泛指廉價商店街。」*請問這 THE BAZAAR 是什麼地方？）等等。他們的英文都好，不過都忘記the 指的是特定的地方等……

謝RL啦：方才查閱聯經版思果譯（p.583）
..I haunted the Bazaar like an unquiet spirit,
…；在商品陳列所出沒，像個冤魂。…
Oxford Explanatory Notes (p.896)
387 the Bazaar: the Soho Bazaar on the west side of Soho Square, established in 1815. It was described in Peter Cunningham’s Handbook of London: Past and Present (1850) as ’the best bazaar in London for fancy articles, and is much frequented’. It closed in 1885.
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And yet, wretched cripple as I made myself by this act of homage to Dora, I walked miles upon miles daily in the hope of seeing her. Not only was I soon as well known on the Norwood Road as the postmen on that beat, but I pervaded London likewise. I walked about the streets where the best shops for ladies were, I haunted the Bazaar like an unquiet spirit, I fagged through the Park again and again, long after I was quite knocked up. Sometimes, at long intervals, and on rare occasions, I saw her. Perhaps I saw her glove waved in a carriage window; perhaps I met her, walked with her and Miss Murdstone a little way, and spoke to her. In the latter case I was always very miserable afterwards, to think that I had said nothing to the purpose; or that she had no idea of the extent of my devotion, or that she cared nothing about me. I was always looking out, as may be supposed, for another invitation to Mr. Spenlow’s house. I was always being disappointed, for I got none.
Charles Dickens. (1812–1870). David Copperfield.
XXVI. I Fall into Captivity


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請問 什麼叫POETIC FURY? （一般翻譯為「詩人之激情」，不過這是「不知所云」。出處GE /CHAPTER 15
- still, in my desire to be wiser, I got this composition by heart
with the utmost gravity; nor do I recollect that I questioned its
merit, except that I thought (as I still do) the amount of Too rul
somewhat in excess of the poetry. In my hunger for information, I made
proposals to Mr. Wopsle to bestow some intellectual crumbs upon me;
with which he kindly complied. As it turned out, however, that he only
wanted me for a dramatic lay-figure, to be contradicted and embraced
and wept over and bullied and clutched and stabbed and knocked about
in a variety of ways, I soon declined that course of instruction;
though not until Mr. Wopsle in his poetic fury had severely mauled me. ）

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小讀者：……furor poeticus 譯成英文即 poetic fury
詩人(瘋狂)的(創作)激情烈火興奮狀態? 詩人/詩的創作都非凡人狀態?

poetic fury ==> poetic rage ==> poetic madness ===> poetic frenzy

What is translated here as enthusiasm is not what
Plato had in mind when he spoke of the furor poeticus,
a concept that has played a significant role in the
literary criticism of the sixteenth century (Weinberg,
I, Ch. VII). Finck’s “enthusiasm” shares with Plato’s
furor poeticus the element of emotional intensity with
which poet or musician embraces his chosen art, but
what separates the two concepts of Finck and Plato
is the element of rationality. Plato believes that once
the poet is inspired—and without inspiration he has
no invention—he is out of his senses and out of his
mind. “For not by art does the poet sing, but by power
divine” (Lowinsky [1964], p. 488). But the Renaissance
theorist, however strongly he may stress irrational
elements, never abandons the idea of a rational and
practical mastery of the musical craft as an indispensa-
ble basis for the work of genius. Indeed, Finck stresses
the necessity for the young genius to grow up in the
workshop of an older master, whose compositions he
should take as models for his own.

我們或許找到原出處，不過我們並沒說出用什麼翻譯比較好。