钱锺书先生翻译举隅

钱锺书先生翻译举隅

摘自《谈艺录》

钱锺书先生当代硕学，其博学多闻，覃思妙虑，并世罕俦。世人咸知先生通多国文字，顾先生少有译作，唯于著述中援引外国作家之语类多附注原文，学者于此得所取则。唯零金碎玉检索不易，爰特搜集成册，以便观览。后生末学得窥云中之一鳞，证月印于千江，则此帙之辑为不虚矣。

——李慎之
一九八九年六月

1．If all the sky were parchment and all the sea were ink
按“青天做纸张”之语，西方各国诗人皆有之，常以“碧海化墨水”为对。P.19

2．New forms are simply canonization of inferior genres.
百凡新体，只是向来卑不足道之体忽然列品入流。P.35

3．behind its attributes
须在未具性德以前，推其本质。P.37

4．“Not of the letter, but of the spirit; for the letter killeth, but the spirit giveth life.”
意在言外，得意忘言，不以词害意。P.43

5．To hold, as’t were, the mirror up to nature.
持镜照自然。P.60

6．selective imitation
取舍之工。P.60

7．This is an art / Which does mend nature, change it rather, but/ That art itself is Nature (The Winter’s Tale, IV, iv. Polixenes)
莎士比亚尝曰：“人艺足补天工，然而人艺即天工也。”p.61

8．In shape the perfection of the berry, in light the radiance of the dewdrop. (Lord Tennyson; A Memoir, by his son, Vol. I, P.211)
体完如樱桃，光灿若露珠。P.114

9．“A poem round and perfect as a star. ”（Alexander Smith: A Life Drama）
“诗好比星圆。”P.114

10．“It used to be said of a famous cricketeer that he bowled or batted with his head. ”（S. Alexander: Beauty and Other Forms of Value, p.25）
画以心而不以手。P.211

11．A direct sensuous apprehension of thought.
能以官感领会义理。P.232

12．Be thou thine own home, and in thy selfe dwell;/Inn any where, continuance maketh hell./ And seeing the snaile, which every where doth rome, /Carrying his owne house still, still is at home.(Complete Poetry and Selected Prose, ed. J. Hayward, pp.153-4)
万物皆备于身，方之蜗牛戴壳，随遇自足，著处为家。—— 约翰唐（John Donne）名篇: （To Sir Henry Wotton）P.232

13．“Poetry should strike the Reader as a working of his own highest thoughts and appear almost a Remembrance. ”（Letter to Taytor, 27 Feb. 1818, H. E. Rollins, ed., Letters I, 238）
“好诗当道人心中事，一若忆旧而得者。” ——济慈 (Keats) 论诗第一要义（axiom）P.255

14．ear pleasure
悦耳 P.269

15．mind pleasure
餍心 P.269

16．unreasonable or magical element
不落理路、神幻无方。P.269

17．natural magic
魔力 P.269

18．inspiration
落笔神来之际 P.269

19．catharsis
情欲宣泄 P.270

20．purification
斋心洁己 P.270

21．All

Arts aspire to the condition of music.
佩特谓诸艺造妙皆向往于音乐之空灵澹荡。 P.271

22． Most imitative of arts（S. H. Butcher: Aristotle’s Theory of Poetry and Fine Art, P.122）
“乐在诸艺中最近自然。”P.271

23．committed fornication
意淫 P.273

24．mental fictions
乱真 P.273

25．“All emotion, Of thorough enough, would take one to heaven.”
“一切情感，充极至尽，皆可引人入天。” P.288

26．“This creative reason thinks eternally. Of this unceasing work of thought, however, we retain no memory, because this reason is unaffected by its objects. ”（Aristotle’s Psychology, with Introduction and Notes, by E. Wallace, ” P.161, P.272）
“无时间性，变易不居，勿滞于物，不可记忆。” P.289

27．“None can care for literature in itself who do not take a special pleasure in the sound of names. ”
“凡不知人名地名声音之谐美者，不足以言文。”——史梯芬生《游美杂记》（Stevenson: Across the Plains Tuesday） P.295

28．“Silence and speech acting together”
“语言与静默协力”——卡莱尔论象征 P.309

29．“Leave something to the willing intelligence of the reader. ”
须留与读者思量。——佩特论文 P.309

30．thinking intently of his own name
英诗人丁尼生常言自思其名字，系念不散。P.312

31．“and the earth looked black behind them, /as though turned up by plows. But it was gold,/All gold—a wonder of the artist’s craft. ”—Iliad, XVIII 630-32
“犁田发土，泥色俨如黑。然此盾固纯金铸也，盖艺妙入神矣。”P.318

32．“O! One glimpse of the human face, and shake of the human hand, is better than whole reams of this cold, thin correspondence, etc. ”—Works, ed. E. V. Lucas, VI, 175
“得与其人一瞥面、一握手，胜于此等枯寒笔墨百函千牍也。噫！” P.320

33．habitualization, automatization
落套刻板 P.320

34．defamiliarization
使熟者生 P.320

35．rebarbarization
使文者野 P.320

36．“Grace of style comes from arrangement. ”
“词意位置得当，文章遂饶姿致。”P.325

37．repose, perfect fitness
一字之稳当 P.328

38．“I have such a sensitive ear that the repetition of a word irritates me three pages away. ”—A. Rhodes, The Poet as Superman, 46
“至谓一字在三页后重出，便刺渠耳。”—— 邓南遮P.329

39．“We have had the brow and the eye of the moon before; but what have we reserved for human beings, if their features and organs are to be lavished on objects without feeling and intelligence? ”—Letters: Later Years, ed. E. de Selincourt, I, 436
“语已有月眉、月眼矣。复欲以五官百体尽予此等无知无情之物，吾人独不为己身地耶。”—— 华兹华斯 P.344

40．“The first is physical. The second is intellectual and is much hig

her. The third signifies a nobler power of the soul which is so high and so noble that it apprehends God in His own naked being. ”—Sermon XIX, in James M. Clark, Meister Eckhart, 220, cf. 62
“学为有上中下三等：下学以身；中学以心知；上学以神，绝伦造极，对越上帝。” ——十四世纪德国神秘宗师爱克哈特（Meister Eckhart）P.366

41．Meister Eckhart, Sermon, XII:“I take a basin full of water, place in it a mirror and put it below the sun’s disc. The reflection of the sun is the sun within the sun, and yet the mirror remains what it is.”
“以一镜照形，以余镜照影，镜镜相照，影影相传；是形也、与影无殊，是影也、与形无异。”P.371

42．“If Galileo had said in verse that the world moved, the Inquisition might have left him alone. —quoted in R. Gittings, The Older Hardy, Penguin, 1980, 120
“苟伽俐略只作诗述其地球转动说，则宗教法庭或且任纵之而不问。”——哈代 P.388

43．To count chicken before they are hatched.
“卵未抱而早计雏数。”P.392

44． Edward Young, Conjectures on Original Composition: “A genius differs from a good understanding, as a magician from an architect; that raises his structure by means invisible, this by the skilful use of common tools.”—E. D. Jones, ed., English Critical Essays;16th, 17th and 18th Centuries, “The World’s Classics”, 279
“天才与聪慧之别，犹神通之幻师迥异乎构建之巧匠；一则不见施为，而楼台忽现，一则善用板筑常器，经之营之。”——爱德华·杨 P.411

45．E. H. Gombrich, Art and Illusion, 5th ed., 1977, 174-5,“screen”, “the power of expressing through absence of brush and ink.”
无笔墨处与点染处互相发挥烘托。P.415

46． “The most beautiful figure is the sphere among solids and the circle among plane figures.”—Diogenes Laertes, VIII. 35, “Loeb”, II, 351
立体中最美者为球，平面中最美者为圈。——毕达哥拉斯 P.430

47． “Let it (the mind) once become a sphere, and spherical it abides.”—Marcus Aurelius, Meditations VIII§41, tr. J. Jackson, 152
心不为外物所著，当如圆球。——古罗马哲人马可·奥勒留 P.430

48．“On a Drop of Dew”
So the Soul, that Drop, that Ray,
Of the clear Fountain of Eternal Day,
…
Does, in its pure and circling thoughts express
The greater Heaven in an Heaven less
—Helen Gardner, ed., The Metaphysical Poets, Penguin, 1972, 241
露珠圆澄，能映白日，正如灵魂之圆转环行，显示天运也。——英国诗人马委尔（Andrew Marvell）《露珠》诗 P.431

49．“Till rolling time is lost in round eternity.”—Dryden, The Hind and Panther, Pt III, 1.19
圆永恒 P.431

50．Why, at the height of desire and human pleasure—worldly, social, amorous, ambitious, or even avaricious—does there mingle a certain sense of do

ubt and sorrow?—L. A. Marchand, Byron, 1957, II, 900
入世务俗，交游酬应，男女爱悦，图营势位，乃至贪婪财货，人生百为，于兴最高、人最欢时，辄微觉乐趣中杂以疑虑与忧伤，其故何耶。P.438

51． I have thought some of nature’s journeymen had made men, and not made them well, they imitated humanity so abominably.— Hamlet, III. Ii
“其人似为大自然之学徒所造，手艺甚拙，像人之形而狞恶可憎。”——哈姆雷特 P.464

52．One may remember the lion of medieval bestiaries who, at every step forward, wiped out his footprints with his tail, in order to elude his pursuers.—L. Spitzer:“Linguistics and Literary History”, in D. C. Freeman, ed., Linguistics and Literary Style, 1970, 31
有如中世纪相传，狮子每行一步，辄掉尾扫去沙土中足印，俾追者无可踪迹。P.466

53． Why does a painting seem better in a mirror than outside it? —Leonardo da Vinci, Notebooks, tr. E. Maecurdy, II, 272
“镜中所映画图，似较镜外所见为佳，何以故？”P.483

54．Of making many books there is no end; and much study is a weariness of flesh. —Ecclesiastes, xii. 12
“书籍无穷，多读徒疲精弊体。”——旧约全书P. 502

55． Wit, you know is the unexpected copulation of ideas, the discovery of some occult relation between images in appearance remote from each other.—Rambler, No. 194, Everyman’s Lib., 284;cf. R. Wellek, A History of Modern Criticism, I, 3
“使观念之配偶出人意表，于貌若漠不相关之物象察见其灵犀暗通。”——约翰生 P.522

56． Foregrounding, the intentional violation of the norm of the standard, distortion
刻意破常示异。 P.532

57． Normally every datum of sense is at once devoured by a hungry intellect and digested for the sake of its vital juices. Knowledge is not eating. —G. Santayana, The Life of Reason, I, 75, 77
当世论师以唯心论与为实论均常拟致知于饮食，遂嘲为“口腹哲学。” P.535

58．Everything is the same, but you are not here, and I still am. In separation the one who goes away suffers less than the one who stays behind. —Leslie A. Marchand, Byron, II 783
“此间百凡如故，我仍留而君已去耳。行行生别离，去者不如留者神伤之甚也。”P.541

59．Poetry, like schoolboys, by too frequent and severe corrections, may be cowed into Dullness.—The Notebooks of S. T. Coleridge, ed. K. Coburn, I 35
诗苟多改痛改，犹学童常遭塾师扑责，积威之下，易成钝儿。——柯尔律治 P.557

60．that particular kind of borrowing which thinks to disguise itself by inserting or extracting “notes”—G. Saintsbury, History of Criticism, III, 591
“取古人成说，是其所非，非其所是，颠倒衣裳，改换头面，乃假借之一法耳。”P.562

61．They are to me original: I have never seen the notions in any other p

lace; yet be that reads them here persuades himself that he has always felt them. —Lives of the Poets, ed., B. Hill, III, 442
“创辟崭新，未见有人道过，然读之只觉心中向来宿有此意。”——葛雷（Thomas Gray）凭吊墟墓诗 P.573

62．Now I never wrote a “good” line, in my life, but the moment after it was written it seemed a hundred years old. Very commonly I had a sudden conviction that I had seen it somewhere.—O. W. Holmes, The Autocrat of the Breakfast, Table, ii
“吾生平每得一佳句，乍书于纸，忽觉其为百年陈语，确信曾在不忆何处见过。”——霍姆士 P.574

63．History is philosophy teaching by or learned from examples.
“历史乃哲学用以教人之实例。”P.586

64．Use of the description instead of the name of a thing—Rhetoric, VI. i, Loeb, 375
不道事物之名而写事物之状 P.567

65．in peace—which is as much above joy as joy is above pleasure, and which can scarcely be called emotion, since it rests, as it were, in final good, the premium mobile, which is without motion—we find ourselves in the region of “great art”—C. Patmore,Principle in Art 1889, 29
艺之至者，终和且平，使人情欲止息，造宁静之境；此境高于悦愉，犹悦愉高于痛快也。P.589

66．I never can catch myself.
自我不可把捉。——休谟 P.597

67．The passage is remarkably like a central tenet of Buddhism, a cult of which Hume could hardly have heard.—O. Elton, A Survey of English Literature: 1730—1780, 1928, II, 163
酷似佛教主旨，然休谟未必闻有释氏也。P.597

68． Shakespeare in composing had no I, but the I representative. —Biographia Literaria, ed. J. Shawcross, I, 213 note
无我而有综盖之我。——柯尔律治 P.597

69．When I am assailed with heavy tribulations, I rush out among my pigs, rather than remain alone by myself. The human heart is like a millstone in a mill: when you put wheat under it, it turns and grinds and bruises the wheat to flour; if you put no wheat, it still grinds on, but then’ tis itself it grinds and wears away. So the human heart, unless it be occupied with some employment, leaves space for the devil, who wriggles himself in, and brings with him a whole host of evil thoughts, temptations and tribulations, which grind our the heart. — Martin Luther, Table Talk, tr. W. Hazlitt, “Bohn’s Library”, 275
“吾遭逢大不如意事，急往饲牧吾猪，不欲闲居独处。人心犹磨坊石硙，苟中实以麦，则碾而成面；中虚无物，石仍辘转无已，徒自研损耳。人心倘无专务，魔鬼乘虚潜入，挟恶念邪思及诸烦恼以俱来，此心遂为所耗蚀矣。”——马丁·路德 P.599

70． Peer Gynt, IV. Xiii, Begriffenfeldt:“Long live the Emperor of self; V. v, Peer:“There’s a surprising lot of layers (in the wild onion).
Are we never coming to the kernel?
There isn’t one!

To the innermost bit
It’s nothing but layers, smaller and smaller…”
—Everyman’s Library 171, 201-2
易卜生一名剧中主角号：“自我之皇帝”而欲觅处世应物之“自我”，则犹剥玉葱求其核心然，层层揭净，至境无可得。P.600

71．For one can only“interpret”a poem by reducing it to an allegory—Which is like eating an apple for its pips.—G. Orwell, Collected Essays, Journalism and Letters, 1968, I, 72
“此举何异食苹婆者，不嗜其果脯而咀嚼其果中核乎。”P.610

72．The movement of love is circular, at one and the same impulse projecting creatures into independency and drawing them into harmony.—Collected Papers, ed. C. Hartshorne and P. Weiss, VI, 191
情爱运行，做团圆相，此机一动，独立与偶合遂同时并作，相反相成。——美国哲学家皮尔斯 P.615