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《譯者的使命》中英文對照(1,2)


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, no picture for the beholder, no symphony for the listener.
在欣賞一件藝術作品或者一種藝術形式時,如果考慮接受者,將永遠不會有所收獲。從理論上對
藝術進行考量,對于特定群體來說,不管是任何提示,或是有代表性的誤導,即使對于理想的接受者來說都是有害的。因為藝術就是存在,與人的本質包括肉體與精神的存在一樣,沒有一樣需要考慮人的反應。沒有一首詩是寫給讀者的,沒有一幅畫是畫給觀者的,沒有一首交響樂是譜給聽者的。
Is a translation meant for readers who do not understand the original? This would seem to explain adequately the divergence of their standing in the realm of art. Moreover, it seems to be the only conceivable reason for saying “the same thing” repeatedly. For what does a literary work “say”? What does it communicate? It “tells” very little to those who understand it. Its essential quality is not statement or the imparting of information. Yet any translation which intends to perform a transmitting function cannot transmit anything but information—hence, something inessential. This is the hallmark of bad translations. 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, the “poetic”, something that a translator can reproduce only if he is also a poet? This, 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 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?
翻譯就是為那些不懂原文讀者服務的嗎?這個問題似乎可以充分地說明讀者為什么會對藝術作品在理解上有分歧。此外,這似乎是唯一可以解釋翻來覆去地說“譯作與原作是同樣的東西”的可能原因所在。文學作品究竟在“說”什么?它要傳達什么?對于了解它的人們來說,它緘默不語。文學作品的本質并不是要講述或是傳遞什么信息。盡管翻譯往往扮演的是傳播的角色,但其只能傳遞一些無關緊要的信息,除此之外,不能傳遞任何東西。這就是糟糕翻譯的特點。一般而言,難道文學作品除了信息之外,沒有其它實質性的東西嗎?即使是再差的譯者也承認:文學作品中包含的神秘的、深不可測的詩一樣的東西,盡管其也能復制,難道說譯者也是詩人嗎?事實上,這也是造成劣等翻譯的另外一個原因,我們可以把這種低劣翻譯稱作無關緊要內容的不準確翻譯。只要譯者擔負的是服務讀者的任務,這是無可質疑的。然而,如果翻譯是為讀者服務的,譯文與原文要絲毫不差。如果原文并不是為讀者存在,基于如此前提的翻譯如何讓人理解呢?
——from Walter Benjamin's The Task of the Translator: An Introduction of the Translation of Baudlaire’s Tableaux Parisians

 


 

 

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