The Dickens world
2008段義孚Landscapes of fear, 人本主义地理学之我见
此書(FEAR)有四處見間接引CD****
1961年8月 胡適談到香港"元培" 提到英國大文豪在19世紀寫工商部核定的學校之惡 他說看過林琴南百本以上 不知是否譯本之記憶
1993
CD 提到3處 Hard Times
近代西方思想史/ 史壯柏格(Roland N. Stromberg)著; 蔡伸章譯. Imprint
2006
今天獨到 CD 專家大力批評此書本著所謂 SIGNIFICANT FORM 想法批評 CD的 艱難時世 Hard Times 等 特地找出它來 2009
初讀《歷史學家的三堂小說課》
2006-02-17
【美】彼得·蓋伊著『歷史學家的三堂小說課』劉森堯譯，
「狄更斯、福樓拜、湯瑪斯·曼是讀者熟悉的現實主義小說家，
【談小說的書由學外文的來翻譯就一定比較好嗎？以《
[ 原書名：SAVAGE REPRISALS : Bleak House, Madame Bovary, Buddenbrooks 〈by Gay, Peter〉 ]
台灣版：彼得‧蓋伊 /著 《歷史學家的三堂小說課》（ Savage Reprisals: Bleak House, Ma dame Bovary, Buddenbrooks （2002））劉森堯譯，台北：立緒， 2004年
日本版： 小説から歴史へ―ディケンズ、フロベール、トーマス・マン
金子 幸男【訳】，東京：岩波書店 (2004-09-28出版)
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台灣版和日本版都未將原書名： SAVAGE REPRISALS翻譯出來，也沒解釋原題目之意思— 其實在第一、二、三章之內文都舉出各作家之「怒」之創作之「
彼得‧蓋伊的著作都值得一讀。不過劉森堯先生的譯文雖然通順，
）讀和用字 search-inside--尤其「序曲」和「結語」
我舉些有問題之例子：篇章名翻譯就有問題。
日本沒問題：
１章 怒れるアナーキスト ―『荒涼館』におけるチャールズ・ディケンズ
２章 恐怖症に挑む解剖学者 ―『ボヴァリー夫人』におけるギュスターヴ・フロベール
３章 反抗的な名門市民― 『ブッデンブローク家の人 々 』におけるトーマス・マン
台灣本副標題分別為：
狄更斯的《荒涼屋》、福樓拜的《包法利夫人》、湯馬斯曼的《
用「的」翻譯「 in」是錯誤的，因為原文為Charles Dickens in Bleak House 等等。
雖然改成類似『巴金在巴黎』的『狄更斯在《荒涼屋》』有點奇，
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翻譯為免加注結果弄成另外意思
「從柏拉圖的時代以至十九世紀初瑞士的教育改革者斐 …….的時代」其中educators 漏掉，意思差多（p.13）
"... the Victorians; it had been no news to the ancient Greeks and to educators in the centuries from Plato to Pestalozzi. A hundred years before Freud made a theory of it, Wordsworth had famously proclaimed that the Child is father of ..."
---
第 34頁：「這其中最精彩的莫過於對於柯魯克突然暴斃的描寫，
我自己學了英文： shuffles off his mortal coil 典出『哈姆雷特』，表示一命嗚呼。
對於將 coarse, mean- spirited owner of a wretched junkshop翻譯成「一個畏瑣而卑鄙的專收破爛的小商人」
對於coarse和 mean-spirited 的翻譯也不解？
「未必能夠贏得讀者一掬同情之淚」？
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翻譯經常不理會原文的句號，將數句聯成一句。
許多名詞完全直譯、不加注，可能讓讀者不知所云。譬如說，第 36頁的heart of hold 和 Newgate novel（「新門小說」）【案：我印象中這是監獄之所在】。
---
以下關於 paradigm shifts之句有數處錯：翻譯成「
Even Thomas Kuhn, probably the twentieth century's most influential historian and philosopher of science, whose brave talk of paradigm shifts has been misappropriated by relativists, maintained that the external world is real, neither constructed nor invented.
其他哲學術語如什麼「理想主義」（案：通常稱為「唯心觀」？ p.205）
----
They have nothing in common except their severity with the devotees of Clio. The first holds that novelists and poets reach higher-which is to say deeper-truths, truths that historians, pedestrian, document- ridden fact grubbers that they are, can never even approach.
翻譯：「
「史詩」不之來自何處？「特別熱衷」應為「特別熱衷者（們）」（ devotees）；原文 severities with （嚴厲待之）漏譯…….
----
漏譯： multiple（p.210 ）
The delightful stories a historian can tell, in Simon Schama's words, "dissolve the certainty of events into the multiple possibilities of alternative narrations." Such cheerfulness runs counter to the ..."
誤會：不知道為什麼 "Objectivity is not neutrality." 翻譯為「客關性並不等於公正性」（ p.215）
The American his- torian Thomas L. Haskell has put it trenchantly: "Objectivity is not neutrality." In fact, in the right hands, a certain way of look- ing ..."
翻譯成：「一般人會發生的對於一場戰役的錯誤觀念」（ p.217）
Fabrice erring about the battlefield of Waterloo in Stendhal's La Chartreuse de Parme unfolds a confusing, almost incomprehensible scene of battle, typical of most battles; but it is through Fabrice's consciousness that ..."
2009 《荒涼山莊》狄更斯鬼魅小說集 Dickens in Taiwan 2009
問楊博士 他說 台灣似乎無研究 CD 之名家
****
朱羲胄，《林琴南先生學行譜記四種》，臺北：世界書局，1965。
生平
林紓，《畏廬三集》，上海：商務印書館，1927。
林紓，《畏廬文集》，上海：商務印書館，1923。
林紓，《畏廬續集》，上海：商務印書館，1927。
林紓少孤家貧，自幼嗜書如命，五歲時在私塾旁聽，感動過私孰教師。自言“四十五以內，匪書不觀”，“雜收斷簡零篇用自磨治”，校閱古籍二千餘卷。林紓崇尚程朱理學，自言讀程朱二氏之書“篤嗜如飫粱肉”，但卻又能看清“宋儒嗜兩廡之冷肉，凝拘攣曲局其身，盡日作禮容，雖心中私念美女顏色，亦不敢少動”的虛偽。
林紓性情急躁，思想屬保守派，與當時新文化運動的領袖如陳獨秀、胡適等 人意見相左。其實林紓並不反對白話，他還寫過白話詩，他只是反對盡廢古文。林紓稱胡適是“左右校長而出”的“秦二世”。不過胡適對林紓的成績仍有正面的評 價，《五十年來中國之文學》文中提到：“古文不曾做過長篇的小說，林紓居然用古文譯了一百多種長篇的小說。古文裡有很少滑稽的風味，林紓居然用古文譯了歐文和狄更斯的作品。古文不長於寫情，林紓居然用古文譯了《茶花女》與《迦因小傳》等書。古文的應用，自司馬遷以來，從沒有這種大的成績。”
琴南不諳外語，不能讀外國原著，只能“玩索譯本，默印心中”，后來他与王壽昌、魏易、王慶驥、王慶通等人合作，翻譯外國小說，曾筆述英、法、美、比、俄、挪威、瑞士、希腊、日本和西班牙等國的作品。林紓譯書的速度極快，他自己曾經形容“耳受手追，聲已筆止”，當然也有不少失誤，林紓自己也把責任推掉：“鄙人不審西文，但能筆達，即有訛錯，均出不知”（《西利亞郡主別傳·序》）。甚至把許多極好的劇本，譯成了小說，鄭振鐸曾指出：“如莎士比亞的劇本《亨利第四》、《雷差得紀》、《亨利第六》、《凱撒遺事》以及易卜生的《群鬼》（梅孽）都是被他譯得變成了另外一部書了。”林紓與魏易合作完成美國作家斯托夫人的《黑奴吁天錄》（1901年），他在書前的“例言”說：“是書開場、伏脈、接筍、結穴，處處均得古文家義法”。
林紓一生著譯甚豐，稿酬如潮，他的好友陳衍（石遺）戲稱他的書房是“造幣廠”。根據錢鍾書的觀察，在譯完《離恨天》（1913年）之前，林譯本十之七八都很出色，後期的譯筆逐漸退步，無甚趣味。
[编辑] 譯文賞析
大偉考伯菲而曰：余在此一部書中，是否為主人翁者，諸君但逐節下觀，當自得之。余欲自述余之生事，不能不溯源而筆諸吾書。余誕時在禮拜五夜半十二句 鐘，聞人言，鐘聲丁丁時，正吾開口作呱呱之聲。（Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. To begin my life with the beginning of my life, I record that I was born (as I have been informed and believe) on a Friday, at twelve o'clock at night. It was remarked that the clock began to strike, and I began to cry, simultaneously.）
[编辑] 譯作一覽
- 《巴黎茶花女遺事》，法國小仲馬，林紓、王壽昌合譯（1895）
- 《吟邊燕語》，莎士比亞著，林紓、魏易合譯。（1903）
- 《伊索寓言》，希臘伊索（1903）
- 《利俾瑟戰血餘腥記》林紓、曾宗鞏譯（1904）
- 《黑奴籲天錄》，即《湯姆叔叔的小屋》，美國斯托夫人，林紓、魏易合譯（1905）
- 《迦因小傳》，英，亨利·萊特·哈葛德（H·R·Haggard）（1905）
- 《埃及金字塔剖屍記》，林紓、曾宗鞏合譯（1905）
- 《英孝子火山報仇錄》，林紓、魏易合譯（1905）
- 《鬼山狼俠傳》，林紓、曾宗鞏合譯（1905）
- 《斐洲煙水愁城錄》，林紓、曾宗鞏合譯（1905）
- 《玉雪留痕》，林紓、魏易合譯（1905）
- 《埃斯蘭情俠傳》，林紓、魏易合譯（1905）
- 《撒克遜劫後英雄略》（1905）
- 《洪罕女郎傳》，林紓、魏易合譯（1906）
- 《霧中人》，英國哈葛德，林紓、曾宗鞏合譯（1906）
- 《蠻荒志異》，英國哈葛德著，林紓、曾宗鞏（1906）
- 《橡湖仙影》，英國哈葛德著，林紓、魏易合譯（1906）
- 《紅礁畫槳錄》，英國哈葛德著，林紓、魏易合譯（1906）
- 《海外軒渠錄》，英國斯威夫特，林紓、魏易合譯（1906）
- 《拊掌錄》，英國歐文，林紓、魏易合譯（1907）
- 《金風鐵雨錄》，林紓、魏易合譯（1907）
- 《滑稽外史》，英國狄更斯，林紓、魏易合譯（1907）
- 《劍底鴛鴦》，英國司各德，林紓、魏易合譯（1907）
- 《神樞鬼藏錄》，林紓、魏易合譯（1907）
- 《旅行述異》，英國歐文，林紓、魏易合譯（1907）
- 《大食故宮餘載》，英國歐文，林紓、魏易合譯（1907）
- 《空谷佳人》，英國博蘭克巴勒著，林紓、魏易合譯（1907）
- 《雙孝子喋血酬恩記》，英國大畏克司蒂穆雷著，林紓、魏易合譯（1907）
- 《孤星淚》，法國囂俄（雨果）著，林紓、魏易合譯（1907）
- 《旅行述異》，英國歐文，林紓、魏易合譯（1907）
- 《愛國二童子傳》，法國沛那，林紓、李世中合譯（1907）
- 《花因》，林紓、魏易合譯（1907）
- 《孝女耐兒傳》，英國狄更斯，林紓、魏易合譯（1908）
- 《賊史》，英國狄更斯，林紓、魏易合譯（1908）
- 《塊肉餘生錄》，英國狄更斯，林紓、魏易合譯（1908）
- 《塊肉餘生述後編》，英國狄更斯，林紓、魏易合譯（1908）
- 《新天方夜譚》，斯蒂文森（1908）
- 《髯刺客傳》，柯南達利著，英國柯南達利，林紓、魏易合譯（1908）
- 《恨綺愁羅記》，柯南達利著，英國柯南達利，林紓、魏易合譯（1908）
- 《電影樓臺》，柯南達利著，英國柯南達利，林紓、魏易合譯（1908）
- 《蛇女士傳》，柯南達利著，林紓、魏易合譯（1908）
- 《西北亞郡主別傳》，馬支孟德著，林紓、魏易合譯（1908）
- 《荒唐言》，林紓、曾宗鞏合譯（1908）
- 《大俠繁露傳》，林紓、魏易合譯（1908）
- 《鐘乳骷髏》，林紓、曾宗鞏合譯（1908）
- 《不如歸》，日本德富健次郎著，林紓、魏易合譯（1908）
- 《黑太子南征錄》，英國柯南達利，林紓、魏易合譯（1909）
- 《璣司刺虎記》，英國哈葛德著，林紓、陳家麟合譯（1909）
- 《藕孔避兵錄》，英國斐立伯倭本翰著，林紓、魏易合譯（1909）
- 《西奴林娜小史》，安東尼·霍普，林紓、魏易合譯（1909）
- 《蘆花餘孽》，林紓、魏易合譯（1909）
- 《慧星奪婿案》，林紓、魏易合譯（1909）
- 《歇洛克奇案開場》，英國柯南道爾
- 《玉樓花劫》，法國大仲馬（1908）
- 《凱撒遺事》，英國莎士比亞
- 《鸇巢記》，瑞士威斯
- 《鬼山狼俠傳》，英國哈葛德
- 《洞冥記》，菲爾丁
- 《梅孽》，挪威易卜生的
- 《魯濱孫飄流記》（RobinSon Crusoe），英國笛福，林紓、曾宗鞏譯
- 《利俾瑟戰血餘腥記》林紓、曾宗鞏譯
- 《美洲童子萬里尋親記》，林紓、曾宗鞏合譯
- 《天囚懺悔錄》，林紓、魏易合譯（1908）
- 《脂粉議員》，林紓、魏易合譯（1909）
- 《三千年豔屍記》，英國哈葛德著，林紓、曾宗鞏合譯（1910）
- 《古鬼遺金記》，英國哈葛德著，林紓、陳家麟譯（1912）
- 《離恨天》，森彼得著，林紓、王慶驥合譯（1913）
- 《哀吹錄》，法國巴魯薩（巴爾扎克）著，林紓、陳家麟合譯（1915）
- 《薄辛郎》，林紓、陳家麟合譯（1915）
- 《鷹梯小豪傑》，林紓、陳家麟合譯（1916）
- 《織錦拒婚》，林紓、陳家麟合譯（1916）
- 《香鉤情眼》，林紓、王慶通合譯（1916）
- 《奇女格露枝小傳》，林紓、陳家麟合譯（1916）
- 《橄欖山》，林紓、陳家麟合譯（1916）
- 《詩人解頤語》，林紓、陳家麟合譯（1916）
- 《社會聲影錄》，林紓、陳家麟（1917）
- 《癡郎幻影》，林紓、陳家麟合譯（1918）
- 《現身說法》，林紓、陳家麟合譯（1918）
- 《恨樓情絲》，林紓、陳家麟合譯（1919）
- 《鐵匣頭顱》，林紓、陳家麟合譯（1919）
- 《賂史》，英國亞波倭得著，林紓、陳家麟合譯（1920）
- 《顫巢記》，林紓、陳家麟合譯（1920）
- 《金梭神女再生緣》，林紓、陳家麟合譯（1920）
- 《歐戰春閨夢》（續編），林紓、陳家麟合譯（1920）
- 《戎馬書生》，林紓、陳家麟合譯（1920）
- 《炸鬼記》，英國哈葛德著，林紓、陳家麟合譯（1921）
- 《僵桃記》，林紓、毛文鐘合譯（1921）
- 《馬妒》，林紓、毛文鐘合譯（1921）
- 《雙雄義死錄》法國預勾（雨果），林紓、毛文鐘合譯（1921）
- 《情海疑波》，林紓、林凱合譯（1921）
- 《魔俠傳》，即《唐吉訶德》，林紓、陳家麟合譯（1922）
- 《矐目英雄》，林紓、毛文鐘合譯（1922）
- 《情翳》，林紓、毛文鐘合譯（1922）
- 《情天補恨錄》，林紓、毛文鐘合譯（1924）
2009年3月我在英文人行道貼
filial affection, credulity, credulous
A haiku by Ochi Etsujin in the early Edo Period (1603-1867), a disciple of the poet Matsuo Basho (1644-1694), reads: "Getting older/ I hide my graying hair/ From my parents." If parents notice that their children's hair is getting gray, it must make them feel disheartened. That is why the poet felt the need to hide it. I regarded the haiku as a sincere expression of filial affection, or am I wrong?Little Dorrit
This adaptation of "Little Dorrit," the Dickens novel, begins on most PBS stations on Sunday. Above, Claire Foy in the title role, threatened by Rigaud, played by Andy Serkis.
Dickens and the Business Cycle: The Victorian Way of Debt
The fund promised high and unwavering annual returns, but you had to know someone to get in on it. And that was really all it took to attract credulous investors, that and the sterling reputation of the banker behind it, a financier revered in privileged circles as “the Man of the Age.”
More About This Series
Tom Courtenay stars as William Dorrit.
Multimedia
Preview: 'Little Dorrit' 
The Dorrit sisters: Claire Foy, left, as Amy, and Emma Pierson as Fanny.
Eddie Marsan, left, as Pancks, and Matthew Macfadyen as Arthur Clennam in an adaptation of Dickens’s “Little Dorrit.”
“I’ve looked into it,” is how one investor reassured a friend who wondered what would happen if the fund should fail. “Name up everywhere, immense resources, high connections, government influence — can’t be done.”
It’s not Bernard L. Madoff’s fund, it’s the one created — and wrecked — by Mr. Merdle, the legendary London banker who brings masses of wealthy, well-meaning people to ruin in Charles Dickens’s classic “Little Dorrit.” And that uncanny parallel is one of many reasons that this adaptation by Andrew Davies, which begins on PBS this Sunday, is so timely.
Mr. Davies, whose interpretations of the classics include the 1995 BBC version of “Pride and Prejudice,” as well as “Middlemarch” and “Vanity Fair,” has become the Cecil B. DeMille of the A.P. English canon. Here he flushes out the similarities between The City of Victorian London and 21st-century Wall Street without losing sight of the larger vision of Dickens’s story.
“Little Dorrit” is particularly apt and enjoyable at this moment in history because the story focuses intently on something deeper and more universal than real estate bubbles or bank runs: unfairness.
And there are so many variations on injustice in the tale. Matthew Macfadyen, who starred in “MI-5” and the film version of “Pride and Prejudice,” plays Arthur Clennam, a fair-minded businessman who returns to England after decades in China and finds himself stymied by the Office of Circumlocution, a suffocating, impenetrable government agency.
William Dorrit, played magnificently by Tom Courtenay, is the title heroine’s father, a man of pride and breeding who has spent more than 20 years in the infamous Marshalsea debtors’ prison for unpaid bills he cannot remember, let alone ever repay, while wealthier, better-connected cheats and fat cats elude creditors in government sinecures, private clubs and villas overseas — too fat to fail.
Rent collectors stalk working-class families crammed into a crumbling neighborhood named Bleeding Heart Yard. As soon as they can pay up, the landlord ruthlessly raises the rates.
And there are inequities of feeling as well as of station, like the myopia and self-absorption of a self-deluding father like Mr. Dorrit, who exploits the kindness and filial piety of his youngest daughter, Amy (Claire Foy), who was born in the Marshalsea. Tiny, tender-hearted and taking care of her relatives with what Dickens described as a “pitiful and plaintive look,” Amy is known as Little Dorrit, beloved by the good and the brave and mistreated by almost everyone else.
Dickens heroines are rarely spirited or saucy; his world was not populated by the likes of Jane Eyre or Elizabeth Bennett. Mostly, they are closer to the mold of the meek, self-sacrificing girl in “The Old Curiosity Shop,” who drove Oscar Wilde to joke, “One must have a heart of stone to read the death of little Nell without laughing.”
Little Dorrit is boringly good, and that highlights the deliciously bad characters around her. The story’s main villain, the French thief and murderer Rigaud (Andy Serkis), is the exception, Gothic and one-dimensional. “Little Dorrit” is as rich at the margins as at the center with strange, and strangely believable, characters from almost all levels of society, rendered in quick, firm strokes.
Pancks (Eddie Marsan), an unsavory debt collector, is especially well drawn. He seems at first like a heartless and decidedly repulsive specimen, but beneath his coarse speech and strange facial tics, Pancks reveals a good heart and a sharp nose for unraveling secrets; he forms an unlikely alliance with the genteel Clennam to revive the Dorrit family fortunes.
Mrs. Merdle (Amanda Redman) is a great beauty and social tyrant who bullies her banker husband while trying to prevent her idiot son, Edmund (Sebastian Armesto), from marrying Amy’s older sister, Fanny (Emma Pierson).
Fanny, a dancer, is as callous and greedily ambitious as Thackeray’s Becky Sharp, but she feels genuine love for her little sister, though she takes advantage of her kindness and belittles her naïveté.
Even the Marshalsea has its pecking order and social intrigues, and the relationships between jailers and prisoners are as delicate and complex as those in the wealthiest bankers’ drawing rooms. Mr. Chivery (Ron Cook), the turnkey, has kept a watchful eye on the prison for decades, treating Dorrit, despite all his airs and delusions, with courtesy and also calculation.
Mr. Chivery is determined to keep his son John (Russell Tovey) in the family business, and that means helping the young man woo Little Dorrit. John and his father have the power to punish and even coerce their prisoners, but both display unexpected moments of nobility that few other characters can match.
Mr. Davies is well known for giving minor characters their humorous due; he is even better known for spicing up the most strait-laced classics with hints of sex and carnal yearning.
“Little Dorrit” is no exception, adding a hint of lesbian attraction to the opaque friendship between Miss Wade (Maxine Peake) and Tattycorum (Freema Agyeman), a girl adopted and perhaps exploited by the otherwise kindly Meagles family. In the novel Tattycorum is a dark-haired orphan, a status that in Victorian times was likely to condemn her to be treated more as a servant than as a companion. In the television version she is black.
Both Ms. Foy, as Amy, and Mr. Macfadyen, as Clennam, are persuasive and touching. But William Dorrit is at the core of this tale, and Mr. Courtenay does the role full justice, layering the pathos of the elderly debtor with rich swaths of self-pity and vanity.
Mr. Merdle’s fund is too good to be true, but “Little Dorrit” lives up to Dickens’s every word.
LITTLE DORRIT
On most PBS stations on Sunday nights through April 26 (check local listings).
Adapted for television by Andrew Davies; Dearbhla Walsh, Adam Smith and Diarmuid Lawrence, directors; Lisa Osborne, producer; Anne Pivcevic for BBC and Rebecca Eaton for WGBH, executive producers.
WITH: Claire Foy (Amy Dorrit), Matthew Macfadyen (Arthur Clennam), Tom Courtenay (William Dorrit), Andy Serkis (Rigaud), Emma Pierson (Fanny Dorrit), Eddie Marsan (Pancks), Russell Tovey (John Chivery), Judy Parfitt (Mrs. Clennam), Freema Agyeman (Tattycorum), Sebastian Armesto (Edmund Sparkler), Ron Cook (Mr. Chivery), Anton Lesser (Mr. Merdle), Amanda Redman (Mrs. Merdle) and Maxine Peake (Miss Wade).
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