第一講文學(xué)翻譯導(dǎo)論-優(yōu)質(zhì)課件

1、文學(xué)翻譯：導(dǎo)論 文學(xué)的涵義在西方，“文學(xué)”（literature）一詞是在十四世紀(jì)從拉丁文litteratura和 litteralis引進(jìn)的，意思是“著作”或者“書本知識(shí)”，是與政治、歷史、哲學(xué)、倫理學(xué)、神學(xué)等一樣的文化產(chǎn)品，并無特殊的或?qū)Ｓ械男再|(zhì)。直到十八世紀(jì)，文學(xué)才從作為一般的文化產(chǎn)品中獨(dú)立出來，用以特指具有美的形式和能產(chǎn)生情感作用的文學(xué)作品。在我國(guó)，“文學(xué)”一詞的含義也經(jīng)歷了一個(gè)演變過程。魏晉以前，“文學(xué)”（或“文”）的意思是“學(xué)問”或“文化”。魏晉時(shí)期，“文學(xué)”與“文章”和“文”漸成同義詞。到五世紀(jì)時(shí)，宋文帝建立“四學(xué)”，“文學(xué)”才與“儒學(xué)”、“玄學(xué)”、“史學(xué)”正式分了家，獲得獨(dú)立發(fā)

2、展的地位，并被賦予了特殊的審美性質(zhì)。至現(xiàn)代，由于受到西方文學(xué)觀念的影響，我國(guó)學(xué)者主要是通過突出文學(xué)的審美特性與語言特性來理解與界定文學(xué)的。合而觀之，文學(xué)有廣義文學(xué)與狹義文學(xué)之分。“廣義的文學(xué)指的是一切用文字所撰寫的著述。狹義的文學(xué)指的就是用美的語言文字作為媒介而創(chuàng)造的文學(xué)作品?！?今天通行的文學(xué)作品如詩歌、散文、小說、戲劇等即為狹義的文學(xué)。鑒于此，本課程論及的文學(xué)翻譯是指對(duì)狹義文學(xué)作品的翻譯，即對(duì)詩歌、散文、小說、戲劇等的翻譯。文學(xué)翻譯的涵義 文學(xué)翻譯的最高標(biāo)準(zhǔn)是“化”。把作品從一國(guó)文字轉(zhuǎn)變成另一國(guó)文字，既能不因語文習(xí)慣的差異而露出生硬牽強(qiáng)的痕跡，又能完全保存原有的風(fēng)味，那就算得入于“化境”。

3、十七世紀(jì)有人贊美這種造詣的翻譯，比為原作的“投胎轉(zhuǎn)世”（the transmigration of souls），軀殼換了一個(gè)，而精神姿致依然故我。（錢鐘書） 文學(xué)翻譯是藝術(shù)化的翻譯，是譯者對(duì)原作的思想內(nèi)容與藝術(shù)風(fēng)格的審美把握，是用另一種文學(xué)語言恰如其分地完整地再現(xiàn)原作的藝術(shù)形象和藝術(shù)風(fēng)格，使譯文讀者得到與原文讀者相同的啟發(fā)、感動(dòng)和美的享受。（鄭海凌） 文學(xué)翻譯是文學(xué)領(lǐng)域內(nèi)兩個(gè)語言社會(huì)之間的交際過程和交際工具，它的目的是要促進(jìn)本語言社會(huì)的政治、經(jīng)濟(jì)和（或）文化進(jìn)步，它的任務(wù)是要把原作中包含的一定社會(huì)生活映像完好無損地從一種語言移注到另一種語言中去。（張今、張寧） 文學(xué)翻譯的實(shí)質(zhì)內(nèi)涵文學(xué)翻譯不只

4、是文學(xué)語言文字符號(hào)之間的轉(zhuǎn)換，還是藝術(shù)表現(xiàn)形式與特質(zhì)以及藝術(shù)形象和藝術(shù)風(fēng)格的再現(xiàn)；它不只是語言信息的傳遞，還是社會(huì)文化觀念的交流、溝通與融合；它不只是一種行為過程，還是一種再創(chuàng)作過程，甚至是一種藝術(shù)創(chuàng)作過程；它不只是追求譯文與原文的客觀真實(shí)，還追求兩者間的藝術(shù)真實(shí)、社會(huì)真實(shí)與同等讀者效果。文學(xué)翻譯的過程1 理解的層次與方法 理解可分為表層理解與深層理解。前者是對(duì)文本的字面理解和外觀理解，具體包括對(duì)作品的詞句、典故、比喻、擬人等各種修辭手法的理解，也包括對(duì)構(gòu)成意義的表象、結(jié)構(gòu)、韻律、節(jié)奏以及作品中特定的表現(xiàn)手法等的理解；后者是對(duì)文本的象征意蘊(yùn)和營(yíng)構(gòu)機(jī)制的理解，具體來說，就是破譯作者的象征密碼，捕

5、捉其象征含義，探尋文本藝術(shù)營(yíng)構(gòu)的奧秘。 2 表達(dá)的目的與原則 首先，表達(dá)是基于原文充分理解的表達(dá)，表達(dá)的信息應(yīng)與原文謀得一致。離開原文的理解而進(jìn)行的表達(dá)，要么是譯者的改寫，要么是譯者的個(gè)人創(chuàng)造，算不得翻譯。 其次，表達(dá)是為譯入語讀者的表達(dá)，這就要求譯文的表達(dá)要清晰、通順、流暢，符合譯入語讀者的閱讀習(xí)慣，便于他們理解與接受。最后也許是最為重要的是，表達(dá)是對(duì)作者創(chuàng)作個(gè)性或藝術(shù)個(gè)性的表達(dá)。譯李白就得像李白，譯拜倫就得是拜倫。文學(xué)翻譯，不是文字翻譯，也不只是意義的翻譯。表達(dá)過程中，既要表達(dá)作品的意義，更要表達(dá)作品的“韻味”。 文學(xué)翻譯的原則 翻譯原則：在我國(guó)有嚴(yán)復(fù)的“信達(dá)雅”、魯迅的“信順”、林語堂的

6、“忠實(shí)、通順、美”、傅雷的“神似”、錢鐘書的“化境”。等等。在西方有泰特勒（Alexander F. Tytler）的“翻譯三原則”、費(fèi)道羅夫（Alexander V. Fedorov）的“等值翻譯”、奈達(dá)（Eugene A. Nida）的“功能對(duì)等”、紐馬克（Peter Newmark）的“交際翻譯與語義翻譯”、塞萊斯科維奇（Danica Seleskovitch）的“翻譯釋義”。 文學(xué)語言的基本特性 1 自指性自指性，也稱自我指涉性，與語言的他指性（即外部指涉性）相對(duì)。語言的他指性是指語言用于信息交流后，就完成了自己的所有使命。而語言的自指性則在語言完成信息交流任務(wù)后，還會(huì)關(guān)注語言自身的表

7、達(dá)是否具有音樂性、節(jié)奏感、語體美等審美效果。 文學(xué)語言突出和顯示自身的目的一是運(yùn)用自我指涉的強(qiáng)化作用來增強(qiáng)語言的審美效果，使其更容易吸引、打動(dòng)和感染讀者，更容易激發(fā)起讀者的審美感知和審美情感；二是更為有效地傳達(dá)語言所要再現(xiàn)或表現(xiàn)的內(nèi)容。 文學(xué)語言的自指性往往通過“突顯”，亦即“前景化（foregrounding）”的方式表現(xiàn)出來，也就是說，使話語在一般背景中突顯出來，占據(jù)前景的位置。這種“前景化”的做法，常常會(huì)打破語言常規(guī)，創(chuàng)造出新的語言表達(dá)方式，這也便是俄國(guó)形式主義者一再?gòu)?qiáng)調(diào)的“反常化”（defamiliarization）。藝術(shù)中的“反常化”語言是與日常生活中的“自動(dòng)化”（automati

8、on）語言相對(duì)提出的。文學(xué)作品中這種“反?；闭Z言隨處可見，可表現(xiàn)在文學(xué)語言的語音、語法、語義、語體、書寫等各個(gè)方面。Sweet and Low （Alfred Tennyson） Sweet and low, sweet and low, Wind of the western sea,Low, low, breathe and blow, Wind of the western sea!Over the rolling waters go,Come from the dying moon, and blow, Blow him again to me;While my little one

9、, while my pretty one, sleeps.該詩節(jié)表達(dá)的語義是“希望吹拂的海風(fēng)與翻滾的波濤能將孩子遠(yuǎn)行的父親送還”，似乎并無什么特別之處。但從語音上看，清輔音s f、半元音w、邊流音l等的反復(fù)出現(xiàn)模擬出柔風(fēng)輕濤的聲響；長(zhǎng)元音i:、雙元音ou i等的不斷復(fù)現(xiàn)暗示出徐緩、低回的詩情；詩句中抑楊格（iambic）與揚(yáng)抑格（trochaic）彼此交錯(cuò)復(fù)現(xiàn)啟示出波濤上下起伏的情景，詩節(jié)韻式ababaabc昭示著詩情穩(wěn)定中的延展。等等。基于該詩節(jié)的語義，綜而觀之，詩節(jié)營(yíng)造出一位母親用徐緩、溫柔、低回的聲音輕輕哼唱，用手輕輕拍兒入眠，小兒漸漸睡去的情景。不難看出，語音的調(diào)配與組合大大強(qiáng)化了詩

10、情表現(xiàn)的力度，同時(shí)也渲染了詩作表達(dá)的意境與氛圍。2 曲指性曲指性，也稱間接指涉性，與語言的直指性（即直接指涉性）相對(duì)。人們?nèi)粘＝涣髯⒅厮谜Z言簡(jiǎn)潔明了，直達(dá)其意，也就是語言的直指性，而文學(xué)語言的表達(dá)，為了追求審美效果和藝術(shù)感染力，則更看重曲達(dá)其意，也就是語言的曲指性。 所謂文學(xué)語言的曲指性是指“文學(xué)作者經(jīng)常采用一些曲折迂回的表達(dá)手法表達(dá)他的意思，使他所表達(dá)的意思不費(fèi)一番思索和揣測(cè)就很難被讀者把握到?！蔽膶W(xué)語言曲指性的形成，從作者角度來看，是作家表意時(shí)自覺追求的結(jié)果，有時(shí)還是迫于外在環(huán)境（比如政治原因）而變化的結(jié)果；從語言自身角度來看，是由于通過形象所指涉的內(nèi)容具有不可窮盡性的特點(diǎn)所致；從讀者角

11、度來看，則與讀者的審美要求有關(guān)，讀者可從中獲得更多的想象與回味的余地?！把杂斜M而意無窮”、“言在此而意在彼”、“句中有余味，篇中有余意。”、“深文隱蔚，余味曲包?！?、“不著一字，盡得風(fēng)流?！本菍?duì)文學(xué)語言曲指性的生動(dòng)表述。 Cool was I and logical. Keen, calculating, perspicacious, acute and astute - I was all of these. My brain was as powerful as a dynamo, as precise as a chemists scales, as penetrating as a

12、scalpel. And - think of it! - I was only eighteen. (Love Is a Fallacy - Max Shulman) 這段話中作者對(duì)“我”的諸多優(yōu)秀品質(zhì)可謂贊不絕口，但從其使用的比喻來看，“我的大腦”都與客觀器物“a dynamo”、“a chemists scales”、“a scalpel”緊密相聯(lián)，給人“機(jī)械刻板、單調(diào)枯燥，缺乏變化、缺乏情趣的”印象或聯(lián)想。而事實(shí)上，在隨后的語篇發(fā)展中，“我的這類特點(diǎn)”也的確如此。作者“言在此而意在彼” 表面贊揚(yáng)，內(nèi)里貶抑，將此段落置于篇章的開始處，也由此定下了整個(gè)語篇反諷的基調(diào)。3 虛指性虛指性，也稱

13、虛假指涉性，與語言的真值性（即真實(shí)指涉性）相對(duì)。人們?nèi)粘＝涣髦v求說真話，講實(shí)事，也就是真實(shí)陳述，追求生活的真實(shí)。而文學(xué)語言的表達(dá)往往指涉的是虛構(gòu)的、假想的情景，追求的是藝術(shù)的真實(shí)。 例如，李白詩句“白發(fā)三千丈，緣愁似個(gè)長(zhǎng)。” The Eagle （Alfred Tennyson ） He clasps the crag with crooked hands; Close to the sun in lonely lands, Ringed with the azure world, he stands. The wrinkled sea beneath him crawls; He watch

14、es from his mountain walls, And like a thunderbolt he falls. 這是詩人為悼念摯友阿瑟海拉姆（Arthur Hallam）所寫的詩篇。詩中“The Eagle”喻指阿瑟海拉姆，顯而易見，詩句 “Close to the sun in lonely lands”，“The wrinkled sea beneath him crawls”等是現(xiàn)實(shí)生活中不大可能出現(xiàn)的事鷹不可能飛那么高、那么遠(yuǎn)，也不可能在太陽附近存活下來；大海也不可能象人的皺紋那樣波動(dòng)（wrinkled），然而正是詩人的這種想象與虛構(gòu)傳神地表現(xiàn)出友人高遠(yuǎn)的品格、宏闊的視野、超

15、塵拔俗的境界、博大的胸懷與偉岸的形象。對(duì)于詩人來說，好友的失去猶如巨星隕落，讓人感嘆唏噓，扼腕再三，不能自已。 文學(xué)文本的結(jié)構(gòu)特點(diǎn) 1 中國(guó)古代文本結(jié)構(gòu)論中國(guó)古代有過兩種文本結(jié)構(gòu)論：一種是“言象意”論，另一種是“粗精”論。周易系辭上中記載有：“書不盡言，言不盡意?！焙汀笆ト肆⑾笠员M意，設(shè)卦以盡情偽，系辭焉以盡其言?！钡挠^點(diǎn)，初步涉及到文本的言、象、意三要素。莊子在外物中提出了“得意忘言”的觀點(diǎn)：“言者所以在意，得意而忘言?！比龂?guó)時(shí)的王弼在周易略例中將前人的“言意”論做了進(jìn)一步的擴(kuò)展與闡發(fā)：“夫象者，出意者也。言者，明象者也。盡意莫若象，盡象莫若言。言出于象，故可尋言以觀象；象先于意，故可尋象已

16、觀意。意以象盡，象以言著?！?在王弼看來，“言”、“象”、“意”構(gòu)成了表情達(dá)意逐層深入的層次結(jié)構(gòu)。 清代文論家劉大櫆在論文偶記中將文學(xué)文本區(qū)分為“粗”與“精”兩個(gè)層面：“神氣者，文之最精處也；音節(jié)者，文之稍粗處也；字句者，文之最粗處也。然論文而至于字句，則文之能事盡矣。蓋音節(jié)者，神氣之跡也；字句者，音節(jié)之矩也。神氣不可見，于音節(jié)見之；音節(jié)無可準(zhǔn)，以字句準(zhǔn)之?！庇纱丝梢姡膶W(xué)文本由外在的可見的音節(jié)、字句之“粗”和內(nèi)在的不可見的意義或意蘊(yùn)（即神氣）之“精”構(gòu)成。劉大櫆的弟子清代古文家姚鼐則在古文辭類纂中將先師簡(jiǎn)略的層次論進(jìn)行了具體化：“所以為文者八，曰神、理、氣、味、格、律、聲、色。神、理、氣、味

17、者，文之精也；格、律、聲、色者，文之粗也。然茍舍其粗，則精者胡以寓焉？學(xué)者之于古人，必始而遇其粗，中而遇其精，終而銜其精者而遺其粗者?！睆倪@里可以看到，讀者先從作品的語言層面（即格、律、聲、色）入手，而后進(jìn)入作品的意義（即神、理、氣、味）層面，及至“銜其精者而遺其粗者”，則表明領(lǐng)悟了作品的意蘊(yùn)之后，可以擺脫原來作品中的具體描寫，進(jìn)入更高層次的欣賞、體驗(yàn)與品味了。2 國(guó)外文本結(jié)構(gòu)論現(xiàn)象學(xué)家英伽登（Roman Ingarden）的文本構(gòu)成論，他將文學(xué)作品的構(gòu)成要素劃分為五個(gè)層次：字音層，即字音、字形等的語義與審美意義；意義單位，即每一句法結(jié)構(gòu)都有它的意義單元；圖式化方面，即每一所寫客體都是由諸多方

18、面構(gòu)成的，在文學(xué)作品中出現(xiàn)時(shí)只能寫出其某些方面；被再現(xiàn)客體，即文學(xué)作品中所表達(dá)的人、物、情、事等；形而上性質(zhì)層，即揭示出的生命和存在更深的意義，如作品中所表現(xiàn)出的悲劇性、戲劇性、神圣性等。 3當(dāng)代文本結(jié)構(gòu)論童慶炳的“三分法”簡(jiǎn)明扼要，層次分明文學(xué)話語層，即呈現(xiàn)于讀者面前、供其閱讀的具體話語系統(tǒng)。這一話語系統(tǒng)除具有形象性、生動(dòng)性、凝煉性、音樂性外，還具有內(nèi)指性（指向文本中的藝術(shù)世界）、心理蘊(yùn)含性（蘊(yùn)含了作家豐富的知覺、情感、想象等心理體驗(yàn)）、阻拒性（打破某些語言的常規(guī)引起人們的注意和興趣，從而獲得較強(qiáng)的審美效果。）文學(xué)形象層，即讀者經(jīng)過想象和聯(lián)想而在頭腦中喚起的具體可感的動(dòng)人的生活圖景。文學(xué)意蘊(yùn)

19、層，即文本所蘊(yùn)含的思想、感情等各種內(nèi)容。這一層面又分為歷史內(nèi)容層（包含一定的社會(huì)歷史內(nèi)容），哲學(xué)意味層（對(duì)宇宙人生所作的形而上的思考）以及審美意蘊(yùn)層。The Red Wheelbarrow (William Carlos Williams )so much dependsupona red wheelbarrowglazed with rainwater beside the white chickens.七古 紅色手推車 一輛紅色手推車，著雨白色雞群邊。 直信此中有真意， 只是欲辨已忘言。 譯者用漢詩傳統(tǒng)的詩體與詩學(xué)表現(xiàn)方式對(duì)原作進(jìn)行了“改寫”，如此一來，譯詩漢詩特點(diǎn)鮮明，而原詩的詩學(xué)特色與

20、情趣則幾乎喪失殆盡。在這一意義上，譯詩顯然未能達(dá)到理想傳譯原作的境界。 譯者忽略原詩獨(dú)特的外在形式及其審美價(jià)值所致，換句話說，譯者未能充分把握原詩之“詩質(zhì)”及其藝術(shù)表現(xiàn)形式。從原詩中的跨行、語法切斷與空間切斷給人的認(rèn)知來看，詩作從上至下逐漸展示的情景畫面折射出攝影藝術(shù)中取景鏡頭“推拉搖移”的影子。具體來說，原詩1-2行為“拉”，鏡頭取的是遠(yuǎn)景；第3-4行為“推”，取的是近景，其中第4行為固定鏡頭的左右搖動(dòng)；第5-6行為鏡頭先上下后左右的“搖”，其中第6行為進(jìn)一步的“推”，是特寫；第7-8行為鏡頭變動(dòng)下的水平移動(dòng)，其中第8行也可視為移動(dòng)中的“推”，即特寫。如此看來，原詩的外在形式演繹著鮮明的動(dòng)態(tài)

21、變化感與寫景層次感，而且與詩作內(nèi)容渾然一體。 紅色手推車（張保紅）這么多東西依靠一個(gè)紅輪手推車晶瑩閃亮著雨水旁邊是白色的小雞。The Authors Account of Himself I was always fond of visiting new scenes, and observing strange characters and manners. Even when a mere child I began my travels, and made many tours of discovery into foreign parts and unknown regions of

22、my native city, to the frequent alarm of my parents, and the emolument of the town crier. As I grew into boyhood, I extended the range of my observations. My holiday afternoons were spent in rambles about the surrounding country. I made myself familiar with all its places famous in history or fable.

23、 I knew every spot where a murder or robbery had been committed, or a ghost seen. I visited the neighboring villages, and added greatly to my stock of knowledge, by noting their habits and customs, and conversing with their sages and great men. I even journeyed one long summers day to the summit of

24、the most distant hill, whence I stretched my eye over many a mile of terra incognita, and was astonished to find how vast a globe I inhabited.This rambling propensity strengthened with my years. Books of voyages and travels became my passion, and in devouring their contents, I neglected the regular

25、exercises of the school. How wistfully would I wander about the pier-heads in fine weather, and watch the parting ships, bound to distant climes; with what longing eyes would I gaze after their lessening sails, and waft myself in imagination to the ends of the earth!Further reading and thinking, tho

26、ugh they brought this vague inclination into more reasonable bounds, only served to make it more decided. I visited various parts of my own country; and had I been merely a lover of fine scenery, I should have felt little desire to seek elsewhere its gratification, for on no country had the charms o

27、f nature been more prodigally lavished. Her mighty lakes, her oceans of liquid silver; her mountains, with their bright aerial tints; her valleys, teeming with wild fertility; her tremendous cataracts, thundering in their solitudes; her boundless plains, waving with spontaneous verdure; her broad, d

28、eep rivers, rolling in solemn silence to the ocean; her trackless forests, where vegetation puts forth all its magnificence; her skies, kindling with the magic of summer clouds and glorious sunshine;-no, never need an American look beyond his own country for the sublime and beautiful of natural scen

29、ery.作者自序(高健譯)我平生最喜游覽新境,考察種種異地人物及其風(fēng)習(xí)。早在童稚時(shí)期,我 的旅行即已開始,觀察區(qū)域之廣,遍及我出生城鎮(zhèn)的各個(gè)偏僻之所與罕至之地;此事固曾使我的父母飽受虛驚,市鎮(zhèn)報(bào)訊人卻也賴以沾益頗豐。及長(zhǎng), 我觀察的范圍繼續(xù)擴(kuò)大。無數(shù)假日下午盡行消磨在郊垌的漫游之中。那里一切在歷史上或傳說上有名的地方,我無不十分熟悉。我知道那里的每一處殺人越貨之所與鬼魂出現(xiàn)之地。我繼而訪問了許多鄰村,觀察其地的風(fēng)俗習(xí)慣, 并與當(dāng)?shù)氐氖ベt與偉人接談, 因而極大增加了我的原有見聞。一次,在一個(gè)漫長(zhǎng)的夏日,我竟漫游到了一座遠(yuǎn)山之巔,登臨縱目,望見了數(shù)不盡的無名 廣土, 因而驚悟所居天地之寬。這種浪游

30、的習(xí)性在我竟隨著年齡而俱增。描寫海與陸的游記成了我的酷 嗜,寢饋其中,致廢課業(yè)。在天氣晴和的日子里,我往往懷著多么渴慕的心 情漫步在碼頭周圍,凝視著一艘艘離去的船只駛赴迢迢的遠(yuǎn)方;我曾以何等希羨的眼神目送著那漸漸消逝的桅帆,并在想象之中自己也隨風(fēng)飄越至地角天邊!此后進(jìn)一步的閱讀與思考雖使這種渺茫的向往稍就理性之范,卻適足以使之更其固定。我游歷了自己國(guó)土的各個(gè)地方;而如果我的愛好僅限于妍麗景物的追逐, 則快心悅目,盡可以無須遠(yuǎn)求,因?yàn)榧円源笞匀坏膵趁亩?此邦卻可謂得天獨(dú)厚,世罕其儔。試想她那銀波蕩漾、與海相若的浩渺湖面;那晴光耀眼、頂作天青的巍峨群山;那粗獷而富饒盈衍的峽岸溪谷;那雷鳴喧豗于闃

31、寂之中的巨大飛瀑急湍;那綠色蔥蘢、好風(fēng)陣陣的無際平原;那莊嚴(yán)靜謐、滾滾入海的深廣江流;那萬木爭(zhēng)榮、無徑可循的茂密森林;那夏云麗日、譎詭幻變的燦爛天空;不,在自然景物的壯麗方面,美國(guó)人從不需要舍本土而遠(yuǎn)求。夏濟(jì)安譯文:我喜歡游歷,見識(shí)各地的奇風(fēng)異俗,我的旅行從童年時(shí)就開始,我本城范圍以內(nèi)的窮鄉(xiāng)僻壤,我很小就去考察,因此我常常失蹤,害得家長(zhǎng)很著急,鎮(zhèn)上的地保把我找回來了,常常因此受到獎(jiǎng)賞。我這個(gè)小孩子長(zhǎng)成大孩子,觀察范圍也日益擴(kuò)大。每逢假日下午,我總到附近鄉(xiāng)村去漫游。有些地方是歷史名勝,有些地方是有神話傳說的,我都親加勘察,把它們摸熟了。什么地方發(fā)生過盜案或者兇殺案的,什么地方有過鬼魂出現(xiàn)的,我都

32、知道。鄰近各村我常去觀光,當(dāng)?shù)氐鸟罄洗T德我總?cè)ヵ嚅T求教,因此我的智識(shí)也大為增加。有一天那是漫長(zhǎng)的夏天我爬上了很遠(yuǎn)很遠(yuǎn)的一個(gè)山頭,縱目四望,一哩之內(nèi)的地方我是大多不認(rèn)識(shí)的,我想起我們這個(gè)地球是多么的大,心里不免吃驚。歲月增添,游興更盛。我最愛讀的書是游記旅行之類,廢寢忘餐讀這種閑書,把學(xué)校里的正課練習(xí)都給耽誤了。風(fēng)和日暖之日,我到碼頭四周去游蕩,看見船只一艘一艘的開向遠(yuǎn)方,不禁心響往之船帆漸遠(yuǎn)漸小,岸上的我,以目遠(yuǎn)送,我的靈魂已經(jīng)隨著我的幻想到了地球的不知哪一個(gè)角落了。以后讀書更多,思想日開,我這種好玩的性情,自然也漸漸的納入理性的規(guī)范;但是本來只是空泛的憧憬,現(xiàn)在變成確定的心愿了。在自己本國(guó),

33、我也算游歷了不少地方;假如我只想欣賞自然風(fēng)景,那么美國(guó)風(fēng)景之美,品類繁多,我已經(jīng)目不暇接,無遑他求了。美國(guó)有大湖,銀波閃翻,浩瀚汪洋;有高山,空靈縹緲,上接蒼空;有草木橫生鳥獸繁殖的山谷,有在荒山中澎直瀉的大瀑布;有一望無際滿目綠色的大平原;美國(guó)的大河,身闊水深,莊嚴(yán)的靜靜的流向海洋;美國(guó)的森林,古木參天,綿延千里,至今沒有樵徑可循;美國(guó)的天空,陽光普照,夏云過處,光彩奇麗;舉凡天地之美,不論是宏偉的,或是優(yōu)美的,均盡萃于此,美國(guó)有景如斯,美國(guó)人實(shí)在用不著舍近求遠(yuǎn),到外國(guó)去游山玩水了。林紓 譯文余生平好采風(fēng)而問俗,凡有奇事,必稔聞之。自少時(shí)恒樂外出,即就我生長(zhǎng)之城中,搜尋幽僻之地、猶探險(xiǎn)然。二

34、親頗為我憂,輒倩人四出偵我,受倩者轉(zhuǎn)用以取資于我家。吾年既長(zhǎng),旅行之范圍亦漸展拓。當(dāng)午后放學(xué),輒作效行,于典故有關(guān)之陳跡,余必至而考驗(yàn)。于有人遇盜或見鬼之區(qū),余必親涉其地,相其原隰。并入鄰村訪問故老,審其風(fēng)俗。曾于夏假長(zhǎng)日中,登高山四望,覺吾生所覆地局,而地球博也,而好游之心,遂與吾年競(jìng)長(zhǎng)。迨既能讀,尤嗜讀古人之游記,屏正書弗讀。有時(shí)至商埠,見賈舶張帆,而余一縷游魂,競(jìng)逐此大船至于天涯海角。后次讀書既博,而意念亦端,惟遠(yuǎn)游之心,尚勃勃然。余之在本國(guó),所經(jīng)亦不謂少。若云風(fēng)物之佳,似吾美洲較人為勝。以天然景物,孰側(cè)類似富庶者?湖身廣博如海,山色如畫,山中產(chǎn)物夥,而巨瀑之聲,乃震數(shù)里以外。平原曠壤,

35、有同碧海。長(zhǎng)江大河,日夜奔流入海,至若林光云物,在咸足飽飫。試問美國(guó)人乃反嗜他國(guó)煙水耶?A Watering Place （Hayden） The Warwickshire Avon falls into the Severn here, and on the sides of both, for many miles hack, there are the finest meadows that ever were seen. In looking over them, and beholding the endless flocks and herds, one wonders what

36、can become of all the meat! By riding on about eight or nine miles farther, however, this wonder is a little diminished; for here we come to one of the devouring WENS: namely, CHELTENHAM, which is what they call a “watering place”, that is to say, a place to which East India plunderers, West India f

37、loggers, English tax-gorgers, together with gluttons, drunkards, and debauchees of all descriptions, female as well as male, resort, at the suggestion of silently laughing quacks, in the hope of getting rid of the bodily consequences of their manifold sins and iniquities. When I enter a place like t

38、his, I always feel disposed to squeeze up my nose with my fingers. It is nonsense, to be sure; but I conceit that every two-legged creature, that I see coming near me, is about to cover me with the poisonous proceeds of its impurities. To places like this come all that is knavish and all that is foo

39、lish and all that is base; gamesters, pick-pockets, and harlots; young wife hunters in search of rich and ugly and old women, and young husband-hunters in search of rich and wrinkled or half-rotten men, the former resolutely bent, be the means what they may, to give the latter heirs to their lands a

40、nd tenements. These things are notorious; and Sir William Scott, in his speech of 1802, in favour of the non-residence of the Clergy, expressly said, that they and their families ought to appear at watering places, and that this was amongst the means of making them respected by their flocks! Memoran

41、dum: he was a member for Oxford when he said this! 溫泉?jiǎng)俚兀ㄍ踝袅?譯）華立克夏的埃文河在此處流入塞紋河，兩河沿岸若干英里水草豐美，前所未見。草地上牛羊成群，沿途不斷?？粗@景色、這牛羊，心想這些好肉可作多少用途，不禁感到神奇。但是再向前騎八九英里，這神奇之感就破滅了；原來我們已到達(dá)一個(gè)毒瘤似的害人地方，名叫卻爾特能，所謂溫泉?jiǎng)俚厥且?。這地方充滿了東印度的劫掠者，西印度的奴隸主，英國(guó)的稅吏、吃客、酒鬼、淫棍，各色各樣，男女俱全。他們聽了一些竊竊暗笑的江湖郎中的鬼話，以為在做了多少丑事之后，一身孽障，可以到此一洗而凈！我每次進(jìn)入這等地方，總想用

42、手指捏住自己鼻子。當(dāng)然這話沒有道理，但我一看見這兒任何一個(gè)兩腿畜生向我走來，實(shí)在覺得他們骯臟不堪，像是一有機(jī)會(huì)就要將他們的毒瘡傳染給我似的！來這地方的都是最惡劣、最愚蠢、最下流的人：賭鬼、小偷、娼妓，一心想娶有錢的丑老婆子的年輕男子，一心想嫁有錢的滿臉皺紋、半身入土的老頭子的年輕女人，這些少夫幼妻為了便于承繼產(chǎn)業(yè)，不惜一切手段，堅(jiān)決要為這些老婦衰翁生男育女！ 這等丑事，盡人皆知。然而威廉司各特爵士在1802年演講，明白主張牧師不必定居教區(qū)，而應(yīng)攜眷到溫泉游覽，據(jù)說這樣反而能得到他們教區(qū)子民的尊敬云云。查此人作此語時(shí)，官任代表牛津城的國(guó)會(huì)議員！ Neat People vs. Sloppy Pe

43、ople（Suzanne Britt ）Ive finally figured out the difference between neat people and sloppy people. The distinction is, as always, moral. Neat people are lazier and meaner than sloppy people. Sloppy people, you see, are not really sloppy. Their sloppiness is merely the unfortunate consequence of their

44、 extreme moral rectitude. Sloppy people carry in their minds eye a heavenly vision, a precise plan, that is so stupendous, so perfect, it cant be achieved in this world or the next. Sloppy people live in Never-Never Land. Someday is their metier. Someday they are planning to alphabetize all their bo

45、oks and set up home catalogues. Someday they will go through their wardrobes and mark certain items for tentative mending and certain items for passing on to relatives of similar shape and size. Someday sloppy people will make family scrapbooks into which they will put newspaper clippings, postcards

46、, locks of hair, and dried corsage from their senior prom. Someday they will file everything on the surface of their desks, including the cash receipts from coffee purchases at the snack shop. Someday they will sit down and read all the back issues of The New Yorker. For all these noble reasons and

47、more, sloppy people never get neat. They aim too high and wide. They save everything, planning someday to file, order, and straighten out the world. But while these ambitious plans take clearer and clearer shape in their heads-, the books spill from the shelves onto the floor, the clothes pile up in

48、 the hamper and closet, the family mementos accumulate in every drawer, the surface of the desk is buried under mounds of paper and the unread magazines threaten to reach the ceiling. Sloppy people cant bear to part with anything. They give loving attention to every detail. When sloppy people say th

49、eyre going to tackle the surface of the desk, they really mean it. Not a paper will go unturned; not a rubber-band will go unboxed. Four hours or two weeks into the excavation, the desk looks exactly the same, primarily because the sloppy person is meticulously creating new piles of papers with new

50、headings and scrupulously stopping to read all the old book catalog before he throws them away. A neat person would just bulldoze the desk. Neat people are bums and clods at heart. They have cavalier attitudes toward possessions, including family heirlooms. Everything is just another dust-catcher to

51、 them. If anything collects dust, its got to go and thats that. Neat people will toy with the idea of throwing the children out of the house just to cut down on the clutter. Neat people dont care about process. They like results. What they want to do is get the whole thing over with so they can sit

52、down and watch the rasslin on TV. Neat people operate on two unvarying principles: Never handle any item twice, and throw everything away. The only thing messy in a neat persons house is the trash can. The minute something comes to a neat person s hand, he will look at it, try to decide if it has im

53、mediate use and, finding none, throw it in the trash. Neat people are especially vicious with mail. They never go through their mail unless they are standing directly over a trash can. If the trash can is beside the mailbox, even better. All ads, catalogs, pleas for charitable contributions, church

54、bulletins and money-saving coupons go straight into the trash can without being opened. All letters from home, postcards from Europe, bills and paychecks are opened, immediately responded to, then dropped in the trash can. Neat people keep their receipts only for tax purposes. Thats it. No sentiment

55、al salvaging of birthday cards or the last letter a dying relative ever wrote. Into the trash it goes. Neat people place neatness above everything, even economics. They are incredibly wasteful. Neat people throw away several toys every time they walk through the den. I knew a neat person once who th

56、rew away a perfectly good dish drainer because it had mold on it. The drainer was too much trouble to wash. And neat people sell their furniture when they move. They will sell a La-Z-Boy recliner while you are reclining in it. Neat people are no good to borrow from. Neat people buy everything in exp

57、ensive little single portions. They get their flour and sugar in two-pound bags. They wouldnt consider clipping a coupon, saving a leftover, reusing plastic non-dairy whipped cream containers or rinsing off tin foil and draping it over the unmoldy dish drainer. You can never borrow a neat persons ne

58、wspaper to see whats playing at the movies. Neat people have the paper all wadded up and in the trash by 7:05 a.m.Neat people cut a clean swath through the organic as well as the inorganic world. People, animals, and things are all one to them. They are so insensitive. After they have finished with

59、the pantry, the medicine cabinet, and the attic, they will throw out the red geranium (too many leaves) sell the dog (too many fleas), and send the children off to boarding school (too many scuffmarks on the hardwood floors). 整潔人與邋遢人 （孫致禮 譯）我終于悟出了整潔人與邋遢人的區(qū)別。他們的區(qū)別總是表現(xiàn)在德行上。整潔人比邋遢人來得更懶惰、更吝嗇。 要知道，邋遢人其實(shí)并

60、真的邋遢。他們的邋遢只是過于講究德行而造成的不良后果。邋遢人心目中有著美妙的想象，有著周密的計(jì)劃，既宏偉又完滿，今生來世都無法實(shí)現(xiàn)。 邋遢人生活在理想王國(guó)里。他們最善于籌劃有朝一日怎么辦。有朝一日，他們要把自己的書全都按照字母順序編排好，建立一個(gè)家庭圖書目錄。有朝一日，他們要把自己的衣服全都翻個(gè)遍，有的標(biāo)明要實(shí)施能不能修補(bǔ)一下，有的要送給體型身材差不多的親戚。有朝一日，邋遢人要制作家庭剪貼簿，把剪報(bào)、明信片、頭發(fā)以及大學(xué)四年級(jí)班級(jí)舞會(huì)上用過的枯萎的裝飾花放在里面。有朝一日，他們要把辦公桌上的所有東西，包括在快餐店買咖啡的現(xiàn)金收據(jù)，全部歸檔整理好。有朝一日，他們要坐下來閱讀所有過期的紐約人。 由