翻译家——卞之琳

• For example：His translation of
Solitary Reaper 《割麦女》 by William Wordsworth, a British romantic poet:
The
• The Original:
Behold her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the Vale profound Is overflowing with the sound. (The Solitary Reaper, The first stanza 1~8)
• From 1938 to 1939 he took a visit to Yan'an and Taihangshan, and once taught at the institute of Lu Xun' art and literature. • Bian compiled his A Selection of 10 Years' Poetry (1930–1939) (《十年诗草》) in 1941, and it was published in the next year. • In 1946, he went to the Nankai University to teach. • In 1949, Bian became a professor of the foreign language department of Beijing University. • From 1964, he served as a researcher of the Institute of Foreign Literature of the Chinese Academy of Social Sciences (中国社会科学院外 国文学研究所).
你明人你 装月看站 饰装风在 了饰景桥 别了在上 人你楼看 的的上风 梦窗看景 。子你， ，。
断 章
卞 之 琳
——
• 《断章》写于1935年10月，原为诗人一首 长诗中的片段，后将其独立成章，因此标 题名之为《断章》。这是中国现代文学史 上文字简短、然而意蕴丰富而又朦胧的著 名短诗。
Achievements as a Translator
译作必须在思想内容和艺术形式上均和原作达到最大 的一致。这在他的许多翻译作品当中都得到了很好的
体现。
Bian’s Translation in Poetry
卞之琳的译诗主张：“诗人译诗,以诗译诗; 格律译诗,以顿代步” 1. 卞之琳是一名诗人,同时,他也长期从事英国诗歌 的翻译。凭借“诗人”这一得天独厚的优势,他 将自己写诗的亲身经历运用于诗歌的翻译当中, 印证了他自己所提倡的“诗人译诗,以诗译诗”。 2. 卞之琳认为“外国诗译成汉语,既要显得是外国 诗,又要在中文里产生在外国所有的同样或相似 效果,而且在中文里读得上口,叫人听得出来”。 所以卞之琳又提出“我们译西方诗,要亦步亦趋, 但是也可以作一些与原诗同样有规律的相应伸 缩”。
• Shinian shicao《十年诗草 》(1942; “Poems of a Decade”) ：It is an edition intended to represent the author’s best work. It includes verse from the three earlier volumes, a section of poems that had not been published in book form, and a group of works originally published in 1940 as Weilao xinji 《慰劳信集》 (“Letters of Comfort”).
Bian as a Translator
Bian’s practices of translation started as he was a students. His first translation works was a collected works, which called the west window assembles 《西窗集》and collected some western Modernist literature that translated by Bian.
……
He published little original poetry thereafter, concentrating instead on translations, notably a verse translation of William Shakespeare’s Hamlet.
Now, let’s appreciate a piece of his poem
A Broken Stanza
─ By Bian Zhilin
To take in the view, On the bridge stood the viewer. Who was then pursued, By the eye upstairs of the beholder.
Your windowsill was silvered, By the moonlight. As you gilded the dream of the dreamer, On the very night.
He was a Chinese poet, translator and literature researcher of 20th century .
卞 之 琳
Bian Zhilin （1910.12.8－2000.12.2）
His Life
• Bian was born in Haimen, Jiangsu on December 8, 1910. • In 1929, he entered the English department of Beijing University to study. There he met Western-educated poets Xu Zhimo and Wen Yiduo and became familiar with such poets as T.S. Eliot(托马斯.艾略特，英国著 名现代派诗人和文艺评论家) and the French Symbolists. • During the Second Sino-Japanese War, he taught at Sichuan University and National Southwestern Associated University(国立西 南联合大学) .
• The Translation:
看她,在田里独自一个, 那个苏格兰高原的少女! 独自在收割,独自在唱歌;
停住吧,或者悄悄走过去!
她独自割麦,又把它捆好,
唱着一支忧郁的曲调;
听啊!整个深邃的谷地 都有这一Baidu Nhomakorabea歌声在洋溢。
• 全诗一共有四节,每节八行,原诗的格律采用的是抑 扬格四音步(iambic tetrameter)。在翻译第一句 Behold her, single in the field时,卞之琳采用的 便是“以顿代步”的方法,用汉语的“四顿”代替 英语中的“四音步”,将其翻译成“看她,/在田里/ 独自/一个”。 • 同时,卞之琳认为,形式对于诗歌是非常重要的,翻 译一首诗歌时,如果改变了原诗的形式,那么原诗的 意义也不可能很好地被传达给译文读者。所以在 原文跨行的地方,卞之琳也跟着跨行,使译文在艺术 形式和思想内容上都与原文一致,从而很好地做到 了“寓神于形”,达到“神形兼备”。 • 英国浪漫主义诗人写诗经常用祈使语气,卞之琳在 翻译当中也采用同样的语气,将“Behold her”译 成“看她”。
• 《西窗集》是诗人卞之琳于 30年代翻译的一本作品集， 此书的体例很独特，书中选 译了一批西方作家的作品， 而且大多是节译而非全文。 将一些没有译全的作品集中 在一起，似乎是一种残缺的 组合。然而读这本书时，却 没有残缺和不完整的感觉。 书中的作品，大多写于19世 纪末或者20世纪初，是文学 创作中最初的“现代主义” 潮流中的晶莹浪花，在20世 纪20年代，这些作品曾是欧 洲文学界的时髦读物。
Subsequently, Bian translated Lytton Strachey’ work of Queen Victoria and some French articles written by 纪德 and 贡思当.
But in all various of his translation works, the best Known are A Chinese Selection of English Poetry 《英国诗选》and 《莎士比亚悲剧四 种》.
Bian’s Style in Translation
Bian’s Criteria of translation ： “ 信、似 、译”
• 卞之琳对于翻译中所出现的二元对立现象, 即“神似与 形似”、 “直译和意译”等, 采取辩证的观点来看待, 提出了自己的翻译主张, 即“信、 似、 译”。他所说 的“信”, 与严复所提出的“信、达、雅”中的“信” 相同,就是译文要全面忠实于原文; “似”, 即“神寓于 形”,由于中西方语言在构成上的差异, 我们的翻译只 能做到“近似”; “译”, 就是要强调翻译本身并不同于 创作, 是要受到原作的束缚的。总的来说, 卞之琳认为
3. 卞之琳提倡用格律体白话诗翻译格律体英文诗。 一首诗可以无韵(rhyme),但必须要有节(rhythm), 而节奏就是格律的基本组成要素。汉语中没有英 语格律诗中“音步（foot）”为基本单位一说,卞 之琳便提出用汉语诗中的“顿”或“音组”来代 替英语中的“音步”, 即“以顿代步”的译诗思想。 同时,卞之琳对于是否按照原文的韵式押韵也没有 做要求,这也印证了前面他所说的“相应伸缩” 。
•《英国诗选》这本书 收录了卞之琳所翻译 的莎士比亚至奥顿期 间历代名家的优秀诗 作,给中国的读者和诗 人提供了一个了解西 方文化, 汲取西方诗 歌精粹的机会, 同时 这部译著还收录了十 二首法国诗。
• 除了诗歌, 卞之琳致 力于莎士比亚的研究, 他用格律体的诗歌来 翻译莎剧, 独具色。 他的《莎士比亚悲剧 四种》代表了我国解 放后莎剧翻译的最高 成就,是用诗歌体裁翻 译莎剧的典范。
His Main Literature Works
• Sanqiu cao《三秋草》(1933; “Leaves of Three Autumns”) : Bian’s first volume of poetry, contains verses filled with the melancholy and despair then prevalent among Chinese youth. • Yumuji《鱼目集》 (1935; “Fish Eyes Collection”) : His second work, is divided into five sections, mostly by order of composition. • Hanyuanji 《汉园集》 (1936; “The Han Garden Collection”)：Bian compiled, also contains the work of He Qifang何其芳 and Li Guangtian李广田.