[2012.02.11] “一见钟情”辛波丝卡

引用 yannanchen 2012-2-12 03:41

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WHEN Wislawa Szymborska won the world’s top literary prize in 1996, her friends called it the “Nobel disaster”. This was not just because she had spent an uncomfortable night before the award ceremony in the bath: the bathroom was the only part of her quarters in a grand Stockholm hotel in which she could manage to turn on the light. Nor was it the “torture” she felt in having to make a speech—one of only three she had given in her life. The real disaster was the trauma of fame and fortune. It was years before she could publish another poem. Her fans’ delight in her Nobel prize was mixed with disappointment that it had rendered her mute.1966年,维斯瓦娃•辛波丝卡荣膺文学最高荣誉，朋友却打诨为“诺贝尔灾难”。在颁奖的前一天，她还在浴室里挨过了一个难受的夜晚，因为在豪华的斯德哥尔摩酒店，浴室是其房间里唯一一处能找到灯光的地方。辛波丝卡一生中只做过三次演讲，每一次都身心“折磨”，这次也不例外。而真正的灾难要数名誉与财富带来的创伤。就在这几年前她还发表了一篇诗，而折桂诺贝尔奖后，粉丝高兴之余夹杂着些许失望，因为奖项也使这位桂冠诗人哑言。
评论： 整段的翻译显示译者没有真正的理解。以下是分析， 不是翻译
Nobel disaster 为什么？
不只是因为： 1. 颁奖的前一天住在斯德哥尔摩大酒店，虽然豪华对她却不舒服， 套间虽多， 灯却开不亮（找不到北？太乡巴佬？），只有浴室里的灯开的亮。 只好一整夜呆住浴室里。
也不只是因为（nor was it=this was neither just because： 2. 她视演讲为畏途
说它是disaster， 真正（real）的原因是：名誉与财富带来的创伤
什么创伤？得奖之后很久很久才又发表了一首新诗（It was years before she could publish another poem.）

引用 yannanchen 2012-2-12 03:50

Her ironic and individualistic spirit was ill fitted to the grey conformity of “people’s Poland”: the Nobel citation said she wrote with the ease of Mozart and the fury of Beethoven. Playful, subtle and haunting, her poetry could never be in harmony with the socialist realist style dictated by the country’s cultural commissars. She mocked their intolerance of dissent in a poem on pornography:辛波丝卡性情自讽而独特，难以融入日益式微的波兰人民共和国：诺贝尔奖褒奖她文如莫扎特一样舒缓，贝多芬一样愤怒。她的诗诙谐而精致，让人回味无穷，却与国家文化政委规定下的社会主义现实风格格不入。她以色情为题，借一首小诗嘲讽了这个狭隘的国度。
grey conformity of “people’s Poland”: “人民波兰”要求作家必需遵守的令人厌烦的（跟D中央保持的）一致性。

引用 yannanchen 2012-2-12 04:00

This sort of wantonness runs wild like a wind-borne weed on a plot laid out for daisies.放纵滋蔓，犹如风媒后的野草，静候雏菊临幸。
这种横恣无忌得以滋生蔓长， 就像随风飘至的野草侵临了原本要种雏菊的土地。

引用 yannanchen 2012-2-12 04:02

Communism she likened to the abominable snowman—horrid and unreal—though she stayed in the party until 1966, hoping “to try to fix it all from the inside”. That, she said later, had been another delusion.辛波丝卡将共产主义比作可憎的雪人，恐怖而虚幻。1966年还是党员的她希望将党从能其内部“一一收拾掉”。随后她自嘲道这不过幻想一场罢。
她在D内一直呆到1966年， 希望从内部解决所有的问题。

引用 yannanchen 2012-2-12 04:09

Ms Szymborska was 16 when Hitler and Stalin carved up Poland between them. “Old age was the privilege of rocks and trees,” she wrote. Although not a mainstream dissident, her poems distilled the essence of individual stubbornness in the face of what the party bosses said was historical inevitability. 16岁那年小辛波丝卡经历希特勒与斯大林瓜分祖国。“年迈是岩石与树木的特权”她于是写道。尽管异议称不上主流，面对党派大佬鼓吹历史必然时，诗中却将那份骨子中的倔强娓娓道来。
尽管她称不上是主流的异议者， 面对着党内大佬所断言的历史必然性， 她的诗歌精华地表现了她个人的倔强反抗。

引用 yannanchen 2012-2-12 04:14

Scepticism was her watchword. She eschewed political causes; her fight was “against the bad poet who is prone to usingtoo many words”. Her favourite phrase was “I don’t know”. She told the Nobel audience: “It’s small, but it flies on mighty wings. It expands our lives to include the spaces within us as well as those outer expanses in which our tiny Earth hangs suspended.” Without it, she said, Isaac Newton would have gobbled apples rather than pondering the force that makes them drop. Her compatriot Marie Sklodowska-Curie would have “wound up teaching chemistry at some private high school for young ladies from good families.”辛波丝卡常把“怀疑论”挂在嘴边。她有意避开政治运动，斗争对象常是那些“话多的诗人”。她最喜欢的短语是“不知道”。 诺贝尔奖授奖演说时，她如此说道：这两个词虽然小，却插上了有力的翅膀，扩大了我们内心中的生活范围，还有我们这小小地球悬于其中的天地。如果伊萨克•牛顿没有对自己说“我不知道”，便不会去想哪种力量使其落下，最多也只不过躬下身去拾起来，津津有味地吃下去。相比之下，同胞居里夫人则愿“在私立高中教导贵少妇化学而终此一生”。
相比之下？？？
It expands our lives to include the spaces within us as well as those outer expanses in which our tiny Earth hangs suspended.” = It expands our lives to include the spaces within us，and  also to include  those outer expanses in which our tiny Earth hangs suspended.”

引用 yannanchen 2012-2-12 04:26

An accretion of answers答案徒增
It was the same for poets. Each poem was a kind of answer, but as soon as the last full stop hit the page the result seemed inadequate. “So the poets keep on trying, and sooner or later the consecutive results of their self-dissatisfaction are clipped together with a giant paper clip by literary historians and called their ‘oeuvre’.” “不知道”同样适用于诗人。每首诗都含有一种解释，当最后一个句号跃于纸上，答案却显得并不充分。“诗人不懈地努力着，总有这么一天，提出一系列自己不满意的理由，文学史家于是给他的作品夹上一个大的夹子，美其名曰“毕生之作”
分析： 这一段解释 accretion to answers，
一首诗歌， 只是一种答案， 一首诗歌点上句号， 写完了， 所提供的答案就马上给人不充分的感觉。这个不充分，引起个别诗人对自己诗歌的不满意（self-dissatisfaction） 所以诗人要不断地写， 不但自己不断地写， 整个诗人群体也要不断地写。 总有一天， 整个诗人群体连续写作的所有诗歌，（consecutive results）， 所有不充分不满意的加总， 会被文学史家用一个大书夹子， 夹起来， 称为这一群诗人的作品。
Accretion指的就是这种不断递增的过程。

引用 yannanchen 2012-2-12 04:27

Her own output was slender in quantity and lean in style. For all her erudition, she did not come across as intimidatingly brainy (unlike some other Polish post-war poets). Schoolchildren learn her poems by heart, like this one about a bereaved pet.作品较少的辛波丝卡以文风简洁见长。和其他战后波兰诗人不同，尽管她学识过人，却不被视为天才。学童个个熟记她的诗词，这首悼念死去的宠物就是一例。
却不被视为天才？？？ Intimidatingly brainy不是此意。

引用 mylta 2012-2-12 07:40

林兄风格改变了不少，有点遗憾。

引用 林忆纾 2012-2-12 09:52

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1.看到this was not...和Nor was...以为用“真正的灾难”语气带出来
恩，没有注意到it is years before这个句型。。

2.People’s Poland 指“波兰人民共和国”吧？
恩，grey表depressing; monotonous

3.我也觉得比较奇怪
不过不是以porn为主题。。。如果是诗，这样翻可以么？
‘
4 distill the essence of提炼出精华，但“精华地的表现”理解不能啊？

5.

相比之下？？？ 。。。

后来觉得不顺加上去的。。。算对比吧？

引用 vincent1986 2012-2-12 15:24

Who, indeed? But plenty read and love the results of her self-imposed solitude.
说真的，谁能？恐怕要数品咂辛老诗词之际又偏爱她那份自找的孤独之人吧。

read and love共同接后面的宾语吧。

引用 Medea 2012-2-13 04:07

本帖最后由 Medea 于 2012-2-13 09:16 编辑

回复 vincent1986 的帖子

Who, indeed? But plenty read and love the results of her self-imposed solitude.
说真的，谁能？恐怕要数品咂辛老诗词之际又偏爱她那份自找的孤独之人吧。

read and love共同接后面的宾语吧。

品咂（=读）……之际又偏爱……（=又爱），整体=读……而且爱……，results应该指的是由孤独激发灵感而来的诗歌，我觉得大问题没有，貌似只是换了个说法而已。从诗歌里读出孤独然后爱上那份感觉，也解得通。

引用 daisy_ace 2012-2-13 09:14

这么优秀的一位诗人竟然已经去世了。。。。我是看几米《向左走 向右走》的电影知道她的

引用 dandan881107 2012-2-13 17:25

楼主学问呀

引用 lalala8967 2012-2-20 17:00

beautiful ~~~~~~~~~~~~~~~~·

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