williesilgd

喬爾蒂文翻譯猶如比來摘要的〈普魯斯特的形象〉，一樣收錄在《啟迪》(Illuminations) 這一本「本雅明文選」當中的〈譯作者的義務〉，也是我小我相當愛好並且想要保舉給其他格友的一篇文章翻譯
在闡明的終端我們會看到，一切生命的有目標的顯現，包羅其目標性自己，其目標都不在於生命自己，而在於表達本身的素質，在於對本身意義的再現。而譯作在最終意義上正辦事於這一目標，因為它顯示出不同語言之間的至關主要的互補關係。



但是，既然天成翻譯公司們遠遠地脫離那些個別的人而糊口，既然天成翻譯公司們最強烈的感情，諸如天成翻譯公司對外祖母的愛、對阿爾貝蒂娜的愛經由幾年後天成翻譯公司們已不再有所感觸感染，既然它們已只是我們一個不理解的詞，既然在我們所愛的一切已死去的時辰，我們還能對衆人、還樂於到他們家去和他們講講那些故人，那麽，假如還有什麽能使我們學會理解那些被遺忘的詞的方式，這個方式我們不應把它用起來嗎？需不需要爲此而先把它們譯寫成通用的、至少將是持久的說話，能使逝去的人們在他們最真實的本質上釀成所有人的永久取得物的說話呢？乃至，那條使這些詞變得不可理解的轉變法則，假如我們能做到把它解釋清晰的話，我們的短處不又變成一種新的氣力了嗎？ (普魯斯特翻譯社 追憶似水韶華 VII 重現的韶光 聯經版 1992)
Wherein resides the relatedness of two languages, apart from historical considerations? Certainly not in the similarity between works of literature or words. Rather, all suprahistorical kinship of languages rests in the intention underlying each language as a whole-an intention翻譯社 however翻譯社 which no single language can attain by itself but which is realized only by the totality of their intentions supplementing each other: pure language. While all individual elements of foreign languages-words, sentences, structure-are mutually exclusive翻譯社 these languages supplement one another in their intentions. Without distinguishing the intended object from the mode of intention, no firm grasp of this basic law of a philosophy of language can be achieved.
Translations that are more than transmissions of subject matter come into being when in the course of its survival a work has reached the age of its fame. Contrary, therefore翻譯社 to the claims of bad translators, such translations do not so much serve the work as owe their existence to it. The life of the originals attains in them to its ever-renewed latest and most abundant flowering.

Translatability is an essential quality of certain works, which is not to say that it is essential that they be translated; it means rather that a specific significance inherent in the original manifests itself in its translatability. It is plausible that no translation翻譯社 however good it may be, can have any significance as regards the original., Yet, by virtue of its translatability the original is closely connected with the translation; in fact, this connection is all the closer since it is no longer of importance to the original. We may call this connection a natural one, or, more specifically, a vital connection. Just as the manifestations of life are intimately connected with the phenomenon of life without being of importance to it, a translation issues from the original-not so much from its life as from its afterlife. For a translation comes later than the original, and since the important works of world literature never find their chosen translators at the time of their origin, their translation marks their stage of continued life. The idea of life and afterlife in works of art should be regarded with an entirely unmetaphorical objectivity.
在單一的，沒有被其他說話補充的說話中，意義曆來沒有像在個別字句裡那樣呈現在相對的獨立性當中，相反，意義老是處於不斷的活動狀態，直到它可以或許作為純語言從各式各樣的意向性樣式的協調中浮現出來。在此之前，意義僅僅埋沒在分歧的說話裡面。要是諸說話以這種方式繼續成長，直到它們壽命的盡頭，那麼正是譯作捉住了作品的永恆生命並置身於說話的不竭更新當中翻譯因為譯作不息把諸說話使人畏敬的成長付諸檢驗，看看它們潛藏的意義距意義的敞露還有多遠，或關於這一距離的常識能讓天成翻譯公司們把這一距離縮小到何等程度。
一部真正的譯作是透明的，它不會掩蔽原作，不會蓋住原作的光芒，而是經由過程本身的前言增強了原作，使純說話更充裕地在原作中表現出來。天成翻譯公司們也許可以通過對句式的直譯做到這一點。在這類直譯中，對於譯者來講基本的身分是詞語，而不是句子翻譯若是句子是聳立在原作說話面前的牆，那麼逐字直譯就是拱廊。


這篇文章的部分內容，我曾在〈這是一篇有關《卡繆札記》的札記〉(請詳舊文 http://blog.udn.com/le14nov/5969028 )裡引述過，但重讀之後，我才赫然發現本雅明對於「翻譯」與「語言」有著多麼深切的解析，諸如「最偉大的譯作也註定要成為其語言成長的一部門」、又或者是「我們必需經由過程外國說話來擴大和深化本國說話翻譯」
天成翻譯公司們必需經由過程外國說話來擴展和深化本國語言。人們常常認識不到天成翻譯公司們能在多大水平上做到這一點，在多大水平任何說話都能被轉化，認識不到說話同語言間的區別同方言與方言間的區分是多麼相像。不外，只有當人們嚴肅地對待語言，才能熟悉到後者的准確性翻譯”



Even when all the surface content has been extracted and. transmitted, the primary concern of the genuine translator remains elusive. Unlike the words of the original翻譯社 it is not translatable, because the relationship between content and language is quite different in the original and the translation. While content and language form a certain unity in the original翻譯社 like a fruit and its skin翻譯社 the language of the translation envelops its content like a royal robe with ample folds.
嚴格說來，任何作品在某種程度上都是無法翻譯的。 我們應該在這個意義上問，一部文學作品是否是在呼喚翻譯？因為這類想法是正確的：若是翻譯是一種樣式，可譯性必需是特定作品的素質特征。
援往例，我摘要出中、英譯文的一些片段，請人人配合享用吧！
He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible翻譯社 to what extent any language can be transformed, how language differs from language almost the way dialect differs from dialect; however, this last is true only if one takes language seriously enough, not if one takes it lightly."


因為不但偉大的文學作品要在數世紀的過程中經歷全盤轉化，譯者的母語也處在不斷的轉化過程中。詩人的語句在他們各自的語言中獲得持久的生命，然而與此同時，就連最偉大的譯作也註定要成為其語言發展的一部份，並被接收進說話的自我更新之中。譯作絕非兩種僵死語言之間的乾巴巴的等式。相反，在所有文學形式中，它承當著一種希奇任務翻譯這一任務就是在本身降生的陣痛中照看原作語言的成熟進程翻譯

For just as the tenor and the significance of the great works of literature undergo a complete transformation over the centuries, the mother tongue of the translator is transformed as well. While a poet’s words endure in his own language翻譯社 even the greatest translation is destined to become part of the growth of its own language and eventually to be absorbed by its renewal. Translation is so far removed from being the sterile equation of two dead languages that of all literary forms it is the one charged with the special mission of watching over the maturing process of the original language and the birth pangs of its own.
中譯：張旭東

It is the task of the translator to release in his own language that pure language which is under the spell of another, to liberate the language imprisoned in a work in his . re-creation of that work. For the sake of pure language he breaks through decayed barriers of his own language.
對於翻譯理論及說話學完全目生的我來說，確切獲益匪淺，感受上這篇文章真的是字字珠璣，值得細細咀嚼。


除在對歷史的思慮中，我們還能在哪裡找到兩種說話間的類似性呢？這類類似性天然不在文學作品或文句之間翻譯相反，任何超歷史的語言間的親族關係都依靠於每一種說話各自的整體性意圖翻譯不過這類意圖並非任何說話單獨可以或許實現而是實現於所有這些意圖的互補的總體之中。這個整體不妨叫做純說話。既使分歧外國語的個體身分，諸如詞彙、句子、構造等等是彼此排擠的，這些語言仍在乎圖中互相補足翻譯我們只有區分開意向性的物件和意向性的樣式才能緊緊地把握住說話學的根基法則。




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In the individual, unsupplemented languages, meaning is never found in relative independence翻譯社 as in individual words or sentences; rather, it is in a constant state of flux-until it is able to emerge as pure language from the harmony of 'all the various modes of intention. Until then翻譯社 it remains hidden in the languages. If, however t these languages continue to grow in this manner until the end of their time, it is translation which catches fire on the eternal life of the works and the perpetual renewal of language. Translation keeps putting the hallowed growth of languages to the test: How far removed is their hidden meaning from revelation, how close can it be brought by the knowledge of this remoteness?
But do we not generally regard as the essential substance of a literary work what it contains in addition to information-as even a poor translator will admit-the unfathomable, the mysterious翻譯社 the "poetic," something that a translator can reproduce only if he is also a poet? This翻譯社 actually, is the cause of another characteristic of inferior translation, which consequently we may define as the inaccurate transmission of an inessential content. This will be true whenever a translation undertakes to serve the reader. However, if it were intended for the reader, the same would have to apply to the original. If the original does not exist for the reader's sake翻譯社 how could the translation be understood on the basis of this premise?

All purposeful manifestations of life, including their very purposiveness翻譯社 in the final analysis have their end not in life翻譯社 but in the expression of its nature, in the representation of its significance. Translation thus ultimately serves the purpose of expressing the central reciprocal relationship between languages.
英譯：HARRY ZOHN
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The task of the translator consists in finding that intended effect [Intention] upon the language into which he is translating which produces in it the echo of the original. This is a feature of translation which basically differentiates it from the poet's work, because the effort of the latter is never directed at the language as such, at its totality翻譯社 but solely and immediately at specific linguistic contextual aspects. Unlike a work of literature, translation does not find itself in the center of the language forest but on the outside facing the wooded ridge; it calls into it without entering, aiming at that single spot where the echo is able to give, in its own language, the reverberation of the work in the alien one. Not only does the aim of translation differ from that of a literary work-it intends language as a whole翻譯社 taking an individual work in an alien language as a point of departure but it is a different effort altogether. The intention of the poet is spontaneous, primary翻譯社 graphic; that of the translator is derivative, ultimate, ideational. For the great motif of integrating many tongues into one true language is at work. This language is one in which the independent sentences, works of literature, critical judgments翻譯社 will 'never communicate-for they remain dependent on translation; but in it the languages themselves, supplemented and reconciled in their mode of signification, harmonize.






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在浏覽藝術作品或藝術情勢的過程當中，鑒賞者的因素從未帶給人什麼收穫。談論什麼公眾或其代表人物在此只能令人誤入邪路，甚至連“幻想的”接管者這個概念在商量藝術時也有害無益，因為它不過是設定了本身的素質和在場性。藝術以一樣的體式格局設定了人的肉體和精力的存在，但是藝術作品卻從未存眷過人對它的回應。曆來沒有哪一首詩是為它的讀者而作的，曆來沒有哪一幅畫是為鑒賞家而畫的，也從沒有哪首交響樂是為聽眾而譜寫的。
譯者的義務就是在本身的說話中把純語言從另外一種說話的魔咒中釋放出來，是經由過程本身的再締造把囚禁在作品中的說話解放出來。為了純說話的原因，譯者打破了他本身說話中的各種的陳舊迂腐的障礙。
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A real translation is transparent; it does not cover the original, does not block its light, but allows the pure language, as though reinforced by its own medium, to shine upon the original all the more fully. This may be achieved, above all翻譯社 by a literal rendering of the syntax which proves words rather than sentences to be the primary element of the translator. For if the sentence is the 'wall before the language of the original翻譯社 literalness is the arcade.
翻譯與說話— Excerpt: The Task of the Translator