翻譯人才All purposeful manifestations of life, including their very purposiveness, in the final analysis have their end not in life, 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.
對於翻譯理論及說話學完全生疏的我來講，確實獲益匪淺，感覺上這篇文章真的是字字珠璣，值得細細咀嚼。
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, 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.
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.
【Excerpt】
For to some degree all great texts contain their potential translation between the lines; this is true to the highest degree of sacred writings. The interlinear version of the Scriptures is the prototype or ideal of all translation.
可譯性也是特定作品的一個根基特徵，但這並不是說這些作品就一定要被翻譯；不如說，原作的某些內涵的特別意蘊通過譯作而顯現出來。可以說，譯作無論多麼完美，也沒法代替原作的主要性，但原作卻可以經由過程可譯性而同譯作慎密地聯繫在一起。事實上，正因為譯尴尬刁難原作是無足輕重的，它才更為緊密地同原作聯繫起來。天成翻譯公司們無妨把這類聯繫視為自然的，或更進一步，把它視為譯作同原作間的生命線。正如生活的表象雖與糊口的現象親昵相關卻對之不組成任何重要性，譯作也以原作為依據。不外它根據的不是原作的生命而是原作的下世。翻譯老是晚於原作，世界文學的主要作品也從未在問世之際就有選定的譯者，因而它們的譯本標誌著它們生命的延續。對於藝術作品的現世與下世的觀念，我們應從一個全然客觀而非隱喻的角度去看。
我們必須通過外國語言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程度上做到這一點，在多大程度任何語言都能被轉化，認識不到語言同語言間的區別同方言與方言間的區別是多麼相像。不過，只有當人們嚴肅地看待語言，才能認識到後者的正確性。”
英譯：HARRY ZOHN
一切偉大的文本都在字裡行間包含著它的潛在的譯文；這在神聖的作品中具有最高的真實性。聖經不同文字的逐行對照本是所有譯作的原型和理想。
譯者的工作是在譯作的語言裡創作出原作的反響，為此，譯者必找到作用於這種說話的意圖結果，即意向性。翻譯的這一基本特徵不同於詩人的作品，因為詩人的勉力方向從不是語言本身或語言的整體，而僅是直接地面向說話的具體語境翻譯與文學作品不同的是，譯作其實不將自己置於說話密林的中間，而是從外而眺望林木相向的山川。譯作呼叫原作但卻不進入原作，它尋覓的是一個獨一無二的點，在這個點上，它能聽見一個反響以本身的說話迴盪在陌生的說話裡。譯作的目標懸殊於文學作品的目標，它指向說話的整體，而另外一種說話裡的個別作品不外是出發點翻譯不但如斯，譯作更是一種分歧的勞作。詩人的意圖是自覺、原生、維妙維肖的；而譯者的意圖則是派生、最終性、觀念化的。譯作的偉大主題是將形形色色的口音熔於一種真實的語言。在這類說話裡，個體句子、文學作品，或批評的判定彼此沒法溝通，因為它們都依靠於譯作；但是在譯作裡，分歧的語言自己卻在各自的意指體例中彼此彌補、彼此讓步，而終究臻於協調翻譯
中譯：張旭東
譯者的使命就是在自己的語言中把純語言從另一種語言的魔咒中釋放出來，是通過自己的再創造把囚禁在作品中的語言解放出來。為了純語言的緣故，譯者打破了他自己語言中的種種的腐朽的障礙。
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In the appreciation of a work of art or an art form, consideration of the receiver never proves fruitful. Not only is any reference to a certain public or its representatives misleading, but even the concept of an "ideal" receiver is detrimental in the theoretical consideration of art, since all it posits is the existence and nature of man as such. Art, in the same way, posits man's physical and spiritual existence, but in none of its works is it concerned with his response. No poem is intended for the reader翻譯社 no picture for the beholder, no symphony for the listener.
嚴格說來，任何作品在某種水平上都是沒法翻譯的。 我們應當在這個意義上問，一部文學作品是否是在召喚翻譯？因為這種設法主意是准確的：假如翻譯是一種樣式，可譯性必須是特定作品的本質特征翻譯
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翻譯社 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.
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如果一部譯作不單單是傳遞題材內容，那麼它的面世標誌著一部作品進入了它生命延續的享譽階段。與低劣譯者的見地相反如許的翻譯不是辦事於原作，而是其全部存在都來自原作。而原作的生命之花在其譯作中獲得了最新的也是最鬧熱的開放，這類不息的更新使原作芳華常駐翻譯
在闡明的終端我們會看到，一切生命的有目的的出現，包羅其目標性自己，其目標都不在於生命自己，而在於表達本身的本質，在於對自身意義的再現翻譯而譯作在最終意義上正辦事於這一目標，因為它顯示出不同說話之間的相當主要的互補關係。
即使所有的外觀內容都被捕捉和傳遞，一個真實的譯作者最關心的器材依然是難於掌控的。這類工具與原作的字句不同，它是不可譯的，因為內容和說話之間的關係在原作和譯作裡頗為分歧。在原作中，內容和說話像果實和果皮一樣連系成一體，但翻譯語言卻像一件皇袍一樣包裹著原作，上面全是皺褶。
這篇文章的部門內容，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，但重讀以後，天成翻譯公司才赫然發現本雅明對於「翻譯」與「說話」有著多麼深切的解析，諸如「最偉大的譯作也註定要成為其說話成長的一部門」、又或是「天成翻譯公司們必須經由過程外國說話來擴展和深化本國說話。」
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一部真正的譯作是透明的，它不會遮蔽原作，不會蓋住原作的毫光，而是經由過程自身的媒介增強了原作，使純語言更充分地在原作中表現出來。我們或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，而不是句子翻譯如果句子是矗立在原作說話眼前的牆，那麼逐字直譯就是拱廊。
Even when all the surface content has been extracted and. transmitted翻譯社 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, like a fruit and its skin, the language of the translation envelops its content like a royal robe with ample folds.
因為不但偉大的文學作品要在數世紀的過程當中經歷全盤轉化，譯者的母語也處在不竭的轉化過程當中。詩人的語句在他們各自的說話中獲得持久的生命，但是與此同時，就連最偉大的譯作也註定要成為其語言成長的一部門，並被接收進說話的自我更新之中翻譯譯作絕非兩種僵死語言之間的乾巴巴的等式翻譯相反，在所有文學情勢中，它承當著一種特別使命翻譯這一任務就是在本身誕生的陣痛中照看原作說話的成熟進程翻譯
但是，既然天成翻譯公司們遠遠地分開那些個別的人而生活，既然我們最強烈的感情，諸如天成翻譯公司對外祖母的愛、對阿爾貝蒂娜的愛顛末幾年後我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，如果還有什麽能使我們學會理解那些被遺忘的詞的方法，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素質上變成所有人的永久獲得物的說話呢？乃至，那條使這些詞變得不行理解的變化軌則，如果我們能做到把它注釋清晰的話，我們的短處不又變成一種新的氣力了嗎？ (普魯斯特翻譯社 追思似水韶華 VII 重現的光陰 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翻譯社 all suprahistorical kinship of languages rests in the intention underlying each language as a whole-an intention, however, 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翻譯社 sentences, structure-are mutually exclusive, 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.
翻譯與語言— Excerpt: The Task of the Translator
在賞識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使人誤入邪路，乃至連“幻想的”接管者這個概念在探討藝術時也有害無益，因為它無非是設定了本身的素質和在場性。藝術以一樣的體例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。
援往例，我摘要出中、英譯文的一些片斷，請大家共同享用吧！
In the individual, unsupplemented languages, meaning is never found in relative independence翻譯社 as in individual words or sentences; rather翻譯社 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, 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?
猶如最近摘要的〈普魯斯特的形象〉，同樣收錄在《啟迪》(Illuminations) 這一本「本雅明文選」當中的〈譯作者的任務〉，也是天成翻譯公司小我相當愛好並且想要推薦給其他格友的一篇文章翻譯
但是人們遍及認為為文學作品的本色是資訊以外的器材。就連拙劣的譯者也承認，文學作品的精華是某種深弗成測的、神秘的、“詩意的”工具；翻譯家如要再現這類工具，本身必需也是一個詩人翻譯事實上，這帶來了劣質翻譯的另外一特點，我們無妨稱之為不準確地翻譯非素質內容。只要譯作逢迎讀者，這種情況就會産生翻譯其實如果原作是為讀者而寫的話，它也會墮入同樣的地步。可是，如果原作者其實不為讀者而存在，天成翻譯公司們又如何來理解不為讀者而存在的譯作呢？
Given a strict concept of translation翻譯社 would they not really be translatable to some degree? The question as to whether the translation of certain linguistic creations is called for ought to be posed in this sense. For this thought is valid here: If translation is a mode, translatability must be an essential feature of certain works.
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A real translation is transparent; it does not cover the original翻譯社 does not block its light, but allows the pure language, as though reinforced by its own medium翻譯社 to shine upon the original all the more fully. This may be achieved, above all, 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, literalness is the arcade.
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, how could the translation be understood on the basis of this premise?
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除在對歷史的思慮中，我們還能在哪裡找到兩種說話間的相似性呢？這類類似性天然不在文學作品或文句之間。相反，任何超歷史的語言間的親族關係都依靠於每種說話各自的整體性意圖翻譯不外這種意圖並不是任何說話零丁可以或許實現而是實現於所有這些意圖的互補的整體當中翻譯這個整體無妨叫做純說話翻譯既使不同外國語的個別身分，諸如詞彙、句子、佈局等等是彼此排擠的，這些說話仍在意圖中彼此補足翻譯我們只有辨別開意向性的物件和意向性的樣式才能緊緊地掌控住語言學的根基法例翻譯
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翻譯社 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.
He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible, to what extent any language can be transformed翻譯社 how language differs from language almost the way dialect differs from dialect; however, this last is true only if one takes language seriously enough翻譯社 not if one takes it lightly."
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翻譯社 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翻譯社 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, 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翻譯社 primary翻譯社 graphic; that of the translator is derivative翻譯社 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翻譯社 works of literature翻譯社 critical judgments, will 'never communicate-for they remain dependent on translation; but in it the languages themselves, supplemented and reconciled in their mode of signification, harmonize.
在單一的，沒有被其他說話增補的說話中，意義從來沒有像在個體字句裡那樣泛起在相對的自力性之中，相反，意義老是處於不斷的流動狀況，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顯現出來。在此之前，意義僅僅隱藏在分歧的說話裡面。如果諸說話以這類體例繼續成長，直到它們壽命的盡頭，那麼恰是譯作抓住了作品的永恆生命並置身於語言的不休更新之中翻譯因為譯作不息把諸說話使人敬畏的成長付諸檢驗，看看它們埋沒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多麽程度。
本文出自: http://blog.udn.com/le14nov/6046961有關各國語文翻譯公證的問題歡迎諮詢天成翻譯公司02-77260931
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