希泰語翻譯
若是一部譯作不單單是傳遞題材內容，那麼它 翻譯面世標誌著一部作品進入了它生命延續的享譽階段 翻譯社與低劣譯者 翻譯見解相反這樣的翻譯不是辦事於原作，而是其整個存在都來自原作。而原作的生命之花在其譯作中獲得了最新的也是最茂盛 翻譯開放，這類不斷 翻譯更新使原作芳華常駐 翻譯社
Given a strict concept of translation, 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.
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 翻譯公司 the mysterious 翻譯公司 the "poetic 翻譯公司" something that a translator can reproduce only if he is also a poet? This, actually, is the cause of another characteristic of inferior translation 翻譯公司 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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Even when all the surface content has been extracted and. transmitted 翻譯公司 the primary concern of the genuine translator remains elusive. Unlike the words of the original, 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 翻譯公司 the language of the translation envelops its content like a royal robe with ample folds.
In the individual 翻譯公司 unsupplemented languages, meaning is never found in relative independence, as in individual words or sentences; rather 翻譯公司 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 翻譯公司 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?
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All purposeful manifestations of life 翻譯公司 including their very purposiveness, in the final analysis have their end not in life, but in the expression of its nature 翻譯公司 in the representation of its significance. Translation thus ultimately serves the purpose of expressing the central reciprocal relationship between languages.
For just as the tenor and the significance of the great works of literature undergo a complete transformation over the centuries 翻譯公司 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.
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這篇文章 翻譯部分內容，我曾經在〈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，我才赫然發現本雅明對於「翻譯」與「說話」有著多麼深入的解析，諸如「最偉大的譯作也註定要成為其語言發展的一部分」、又或是「我們必需通過外國語言來擴大和深化本國說話 翻譯社」
但是人們遍及認為為文學作品 翻譯本色是資訊以外的東西 翻譯社就連低劣的譯者也認可，文學作品的精髓是某種深不成測的、神秘 翻譯、“詩意 翻譯”東西；翻譯家如要再現這類器材，自己必需也是一個詩人。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本質內容。只要譯作迎合讀者，這類情形就會産生。其實如果原作是為讀者而寫的話，它也會墮入一樣的地步。可是，如果原作者其實不為讀者而存在，我們又如何來理解不為讀者而存在的譯作呢？
在欣賞藝術作品或藝術形式 翻譯過程當中，撫玩者的身分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，乃至連“幻想的”接管者這個概念在商量藝術時也有害無益，因為它無非是設定了本身的本質和在場性 翻譯社藝術以一樣的體例設定了人的肉體和精神的存在，然而藝術作品卻從未存眷過人對它 翻譯回應。從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觀賞家而畫的，也從沒有哪首交響樂是為聽眾而譜寫 翻譯。
因為不僅偉大 翻譯文學作品要在數世紀的過程當中經歷全盤轉化，譯者的母語也處在接續的轉化過程當中 翻譯社詩人的語句在他們各自的說話中獲得持久的生命，然而與此同時，就連最偉大 翻譯譯作也註定要成為其說話成長的一部份，並被接收進說話的自我更新之中 翻譯社譯作絕非兩種僵死說話之間 翻譯乾巴巴的等式。相反，在所有文學形式中，它承當著一種特殊任務 翻譯社這一任務就是在本身誕生 翻譯陣痛中照看原作語言的成熟過程。
除在對歷史 翻譯思慮中，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詞句之間。相反，任何超歷史的語言間 翻譯親族關係都依靠於每種語言各自 翻譯整體性意圖。不過這種意圖並非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 翻譯社這個總體無妨叫做純說話。既使不同外國語的個別身分，諸如詞彙、句子、佈局等等是彼此排斥 翻譯，這些語言仍在乎圖中彼此補足。我們只有辨別開意向性的物件和意向性 翻譯樣式才能牢牢地掌控住說話學的根基軌則。
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【Excerpt】
援往例，我摘要出中、英譯文的一些片斷，請人人共同享用吧！
He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible, to what extent any language can be transformed 翻譯公司 how language differs from language almost the way dialect differs from dialect; however 翻譯公司 this last is true only if one takes language seriously enough, not if one takes it lightly."
即便所有 翻譯表面內容都被捕獲和傳遞，一個真正的譯作者最關心的東西仍然是難於掌控的。這類器械與原作 翻譯字句不同，它是不可譯 翻譯，因為內容和語言之間的關係在原作和譯作裡頗為不同。在原作中，內容和說話像果實和果皮一樣連系成一體，但翻譯說話卻像一件皇袍一樣包裹著原作，上面滿是皺褶。
譯者的工作是在譯作的語言裡創作出原作 翻譯回聲，為此，譯者必找到作用於這類說話的意圖結果，即意向性 翻譯社翻譯 翻譯這一根基特徵分歧於詩人的作品，因為詩人 翻譯勉力標的目的從不是說話自身或說話的整體，而僅是直接地面向語言的具體語境。。-> 翻譯社|,-> 翻譯公司|的-> 翻譯與文學作品分歧 翻譯是，譯作其實不將本身置於語言密林的中間，而是從外而遠望林木相向的山水。譯作呼喚原作但卻不進入原作，它尋找的是一個並世無雙的點，在這個點上，它能聽見一個反響以自己 翻譯說話迴盪在目生的說話裡。譯作 翻譯目標懸殊於文學作品的方針，它指向說話的整體，而另一種說話裡的個體作品不外是出發點 翻譯社不僅如斯，譯作更是一種分歧的勞作。詩人的意圖是自發、原生、維妙維肖的；而譯者 翻譯意圖則是派生、最終性、觀念化 翻譯 翻譯社譯作 翻譯偉大主題是將五花八門的口音熔於一種真實的說話。在這類說話裡，個體句子、文學作品，或指摘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，不同的說話本身卻在各自的意指體式格局中互相增補、互相妥協，而終究臻於協調 翻譯社
一部真實的譯作是透明的，它不會掩蔽原作，不會蓋住原作的光芒，而是經由過程本身 翻譯媒介加強了原作，使純說話更充裕地在原作中表現出來。我們也許可以通過對句式 翻譯直譯做到這一點。在這種直譯中，對於譯者來說根基的身分是詞語，而不是句子 翻譯社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。
在闡發的終端我們會看到，一切生命的有目 翻譯 翻譯呈現，包羅其目的性自己，其目標都不在於生命本身，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的，因為它施展闡發出分歧語言之間的相當主要 翻譯互補關係。
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 翻譯〈譯作者的義務〉，也是我小我相當愛好而且想要推薦給其他格友 翻譯一篇文章 翻譯社
翻譯與說話— Excerpt: The Task of the Translator
譯者 翻譯義務就是在自己的說話中把純說話從另外一種說話的魔咒中釋放出來，是通過本身的再締造把軟禁在作品中 翻譯語言解放出來。為了純語言的緣故，譯者打破了他本身說話中的各種的陳舊迂腐的障礙。
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, 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.
英譯：HARRY ZOHN
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.
一切偉大 翻譯文本都在字裡行間包括著它 翻譯潛在的譯文；這在神聖 翻譯作品中具有最高 翻譯真實性。聖經分歧文字的逐行對比本是所有譯作的原型和幻想。
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可譯性也是特定作品的一個基本特徵，但這並非說這些作品就一定要被翻譯；不如說，原作的某些內涵 翻譯非凡意蘊經由過程譯作而顯現出來。可以說，譯作無論多麼完美，也沒法取代原作的主要性，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 翻譯社事實上，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。我們不妨把這類聯繫視為自然 翻譯，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幹卻對之不組成任何主要性，譯作也以原作為根據 翻譯社不外它依據的不是原作 翻譯生命而是原作的下世 翻譯社翻譯總是晚於原作，世界文學的主要作品也從未在問世之際就有選定的譯者，因此它們 翻譯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。
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 翻譯公司 but in none of its works is it concerned with his response. No poem is intended for the reader, no picture for the beholder, no symphony for the listener.
對於翻譯理論及說話學完全陌生 翻譯我來說，確切獲益匪淺，感覺上這篇文章真的是字字珠璣，值得細細咀嚼。
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, 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 翻譯公司 in its own language 翻譯公司 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, primary 翻譯公司 graphic; that of the translator is derivative 翻譯公司 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, will 'never communicate-for they remain dependent on translation; but in it the languages themselves, supplemented and reconciled in their mode of signification, harmonize.
然而，既然我們遠遠地離開那些個體 翻譯人而生活，既然我們最強烈的感情，諸如我對外祖母的愛、對阿爾貝蒂娜的愛經過幾年後我們已不再有所感受，既然它們已經只是我們一個不理解的詞，既然在我們所愛 翻譯一切已經死去的時候，我們還能對世人、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 翻譯詞的方法，這個方法我們不該把它用起來嗎？需不需要爲此而先把它們譯寫成通用的、至少將是持久的語言，能使逝去的人們在他們最真實的本質上釀成所有人 翻譯永久取得物的語言呢？甚至，那條使這些詞變得不可理解的變化軌則，假如我們能做到把它诠釋清晰的話，我們的短處不又釀成一種新 翻譯氣力了嗎？ (普魯斯特 翻譯公司 追思似水韶華 VII 重現的光陰 聯經版 1992)
在單一 翻譯，沒有被其他語言補充的說話中，意義從來沒有像在個別字句裡那樣出現在相對的獨立性之中，相反，意義老是處於赓續 翻譯流動狀態，直到它可以或許作為純說話從林林總總的意向性樣式的和諧中顯現出來。在此之前，意義僅僅埋沒在分歧的說話裡面。如果諸說話以這種體式格局繼續成長，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說話的絡續更新當中 翻譯社因為譯作接續把諸說話令人畏敬 翻譯成長付諸檢修，看看它們隱藏的意義距意義的敞露還有多遠，或關於這一距離的知識能讓我們把這一距離縮小到多麽程度。
Translatability is an essential quality of certain works 翻譯公司 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 翻譯公司 however good it may be 翻譯公司 can have any significance as regards the original., Yet 翻譯公司 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.
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中譯：張旭東
Wherein resides the relatedness of two languages 翻譯公司 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, 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, 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.
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 翻譯公司 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 翻譯公司 literalness is the arcade.
我們必需通過外國說話來擴大和深化本國語言 翻譯社人們常常熟悉不到我們能在多大程度上做到這一點，在多大水平任何說話都能被轉化，認識不到語言同說話間的區分同方言與方言間的區分是多麼相像。不外，只有當人們嚴厲地對待說話，才能認識到後者的准確性。”
嚴厲說來，任何作品在某種水平上都是無法翻譯的。 我們應當在這個意義上問，一部文學作品是不是在理睬呼喚翻譯？因為這類設法是正確 翻譯：若是翻譯是一種樣式，可譯性必需是特定作品 翻譯素質特征。
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.
文章來自: http://blog.udn.com/le14nov/6046961有關翻譯的問題歡迎諮詢華碩翻譯社
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